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The cold nights are drawing in. You're thinking, "I could do with curling up on the sofa with a great | 0:00:02 | 0:00:06 | |
"murder mystery and a nice cuppa." Well, you're in luck. | 0:00:06 | 0:00:08 | |
Welcome to the TV show with only one question - whodunnit? | 0:00:08 | 0:00:13 | |
CHEERING | 0:00:22 | 0:00:24 | |
Welcome to Armchair Detectives, | 0:00:26 | 0:00:28 | |
the show where 15 murder mystery enthusiasts | 0:00:28 | 0:00:31 | |
and you at home will try and solve a deadly crime. | 0:00:31 | 0:00:34 | |
They need to find a fictional killer in Mortcliff, | 0:00:34 | 0:00:37 | |
the sleepy village with more murderers than I've had hot dinners. | 0:00:37 | 0:00:41 | |
There it is. I've had a lot of dinners. | 0:00:41 | 0:00:43 | |
Helping us in each case is the local police investigation team, | 0:00:43 | 0:00:46 | |
DI Knight, DC Slater and Scene of Crime Officer Simmons. | 0:00:46 | 0:00:50 | |
Before we head to Mortcliff for the first time, | 0:00:50 | 0:00:52 | |
let's meet our Armchair Detectives. | 0:00:52 | 0:00:55 | |
-Hello, Armchair Detectives. ALL: -Hi! | 0:00:55 | 0:00:57 | |
SUSAN LAUGHS They just get better every day! | 0:00:57 | 0:01:00 | |
Only three of you play each day, so please take your armchairs, | 0:01:00 | 0:01:03 | |
Simon, Roger and Ellouise. Come on up. | 0:01:03 | 0:01:06 | |
CHEERING | 0:01:06 | 0:01:08 | |
As you know by now, the detective guessing the killer correctly | 0:01:13 | 0:01:16 | |
will win one of these... | 0:01:16 | 0:01:18 | |
Our golden magnifying glass trophy. | 0:01:18 | 0:01:21 | |
-ALL: -Ooh! -Oh, it's so exciting! | 0:01:21 | 0:01:25 | |
Simon, you've played two shows before and won them both. | 0:01:25 | 0:01:29 | |
Is it good luck or judgment? | 0:01:29 | 0:01:32 | |
Oh, I'd definitely say it's judgment. | 0:01:32 | 0:01:33 | |
-I have this little theory, you see. -Right. | 0:01:33 | 0:01:36 | |
The murderer is the person who will GAIN the most by the person dying. | 0:01:36 | 0:01:40 | |
That's my little theory. | 0:01:40 | 0:01:42 | |
Right. Let's see if that plays out today. | 0:01:42 | 0:01:44 | |
Roger, you mentioned on your first appearance that you write | 0:01:44 | 0:01:47 | |
murder mystery stories. | 0:01:47 | 0:01:49 | |
Do you set them in a place like Mortcliff? | 0:01:49 | 0:01:52 | |
No, I send Inspector Constable off to all sorts of places, | 0:01:52 | 0:01:54 | |
you know, film studios and restaurants and the theatre, but, uh... | 0:01:54 | 0:01:59 | |
There's-There's... There's no lack of venue. | 0:01:59 | 0:02:02 | |
Yes. There's certainly no lack of murders in Mortcliff, as we know. | 0:02:02 | 0:02:06 | |
Now, Ellouise, last time you played, you decided to take no notes | 0:02:06 | 0:02:10 | |
and guessed the killer correctly. Are you doing the same thing again? | 0:02:10 | 0:02:13 | |
Yes, but I'm not... If I feel to take notes this time... | 0:02:13 | 0:02:16 | |
-Mm-hm. -..I will. | 0:02:16 | 0:02:17 | |
-OK. -If there's something that I think might need that. | 0:02:17 | 0:02:20 | |
-So a compromise tactic. -Yeah. | 0:02:20 | 0:02:23 | |
-Maybe take some notes, maybe not take some notes. -Yeah. | 0:02:23 | 0:02:26 | |
That's why I like you, Ellouise, I never know what you're going to do! | 0:02:26 | 0:02:28 | |
LAUGHTER | 0:02:28 | 0:02:30 | |
It's time for round one - The Crime Scene. | 0:02:30 | 0:02:34 | |
Knight and Slater pay a visit to the countryside | 0:02:34 | 0:02:36 | |
to meet Simmons on the beautiful Kirkmore Estate. | 0:02:36 | 0:02:39 | |
For the first time today, let's head over to Mortcliff. | 0:02:39 | 0:02:43 | |
Picturesque spot for a dead body, Simmons. | 0:02:49 | 0:02:51 | |
Even Forensics need a day out! | 0:02:51 | 0:02:53 | |
This is George Wilson. | 0:02:54 | 0:02:56 | |
He was butler of the estate. | 0:02:56 | 0:02:58 | |
It's pretty obvious he was killed with a shotgun. | 0:02:58 | 0:03:01 | |
There's a grouping of about 20 medium-sized pellets. | 0:03:01 | 0:03:04 | |
Any chance that it could have been a suicide? | 0:03:04 | 0:03:07 | |
The pellet wounds all lie within a circle of about eight inches wide, | 0:03:07 | 0:03:11 | |
which means the shotgun was fired about eight feet from the victim. | 0:03:11 | 0:03:15 | |
And...he was shot in the back. | 0:03:15 | 0:03:17 | |
Right. | 0:03:19 | 0:03:20 | |
We found him face down. | 0:03:21 | 0:03:22 | |
What happens here? | 0:03:24 | 0:03:25 | |
Hunting? | 0:03:25 | 0:03:27 | |
Any idea where we should start? | 0:03:28 | 0:03:30 | |
There's a guy in the house who might be handy. | 0:03:32 | 0:03:34 | |
He's the armourer. | 0:03:34 | 0:03:35 | |
He was in the house all day, | 0:03:35 | 0:03:37 | |
but he could fill in any gaps in your knowledge about weapons. | 0:03:37 | 0:03:40 | |
-Thanks. -Thanks, Simmons. -OK. | 0:03:41 | 0:03:44 | |
I'm DI Knight, this is DC Slater. | 0:03:50 | 0:03:53 | |
Bill Sharpe, armourer. Happy to help however I can. | 0:03:54 | 0:03:58 | |
This is the first time this has happened in my watch. | 0:04:00 | 0:04:03 | |
Nasty business. No foul play...was there? | 0:04:03 | 0:04:08 | |
Well, that's what we're here to find out. | 0:04:08 | 0:04:10 | |
What does your job entail exactly? | 0:04:12 | 0:04:14 | |
Amelia just hires me in whenever she has a shooting party. | 0:04:14 | 0:04:18 | |
I look after the guns, help with the cleaning and maintenance. | 0:04:18 | 0:04:22 | |
Obviously, I haven't touched them since... | 0:04:22 | 0:04:25 | |
..the event. | 0:04:27 | 0:04:28 | |
So...what type of gun would you use on this shoot? | 0:04:28 | 0:04:33 | |
Well, we have six available, three of each type. | 0:04:33 | 0:04:37 | |
The one with the narrow barrels, | 0:04:37 | 0:04:38 | |
they're used for bird shooting up on the moor. | 0:04:38 | 0:04:41 | |
They have less of a recoil, | 0:04:41 | 0:04:42 | |
so they're easier for the novice to use. | 0:04:42 | 0:04:45 | |
The type with the wider barrels, | 0:04:45 | 0:04:47 | |
they're used for shooting in the wooded area. | 0:04:47 | 0:04:50 | |
-Presumably you keep records? -I do, and not just for safety... | 0:04:50 | 0:04:56 | |
To stop the numpties from losing them! | 0:04:56 | 0:04:58 | |
Eight grand each these cost, you know? | 0:04:59 | 0:05:02 | |
Anyway. What I can tell you is... | 0:05:02 | 0:05:06 | |
William, Harriet and Finn signed out the three bird guns | 0:05:06 | 0:05:10 | |
and went to the moor. | 0:05:10 | 0:05:11 | |
Now, I know NOBODY went hunting | 0:05:11 | 0:05:13 | |
because I hadn't put out the buckshots yet. | 0:05:13 | 0:05:16 | |
In the other session, and that's the one after lunch, | 0:05:16 | 0:05:20 | |
Harriet, Amelia and Blake took the three bird guns. | 0:05:20 | 0:05:24 | |
About 20 minutes later, William signed out the buck gun. | 0:05:24 | 0:05:27 | |
That's used for shooting foxes. | 0:05:28 | 0:05:31 | |
After everyone was served, I went for lunch. | 0:05:32 | 0:05:34 | |
Bill, they're here again. | 0:05:36 | 0:05:38 | |
I can't find the rifle. Can I borrow a gun? | 0:05:38 | 0:05:40 | |
-Excuse me? -Not now, Violet. Excuse me, gents. | 0:05:40 | 0:05:44 | |
A gun?! | 0:05:45 | 0:05:46 | |
I let them use my house for filming for a small fee. | 0:05:50 | 0:05:53 | |
LAUGHTER Armchair Detectives. | 0:05:53 | 0:05:56 | |
-There's an enormously large number of guns sloshing about. -Mm. | 0:05:56 | 0:06:00 | |
With a bit of luck, we'll find out which type of gun is likely | 0:06:00 | 0:06:04 | |
to have been used to fire the fatal shots. | 0:06:04 | 0:06:07 | |
Was there anything else at the crime scene that you saw? | 0:06:07 | 0:06:10 | |
Uh... | 0:06:10 | 0:06:11 | |
Cake. What you'd maybe... Cheese knife? | 0:06:11 | 0:06:14 | |
D'you know? What would go under and... | 0:06:14 | 0:06:16 | |
LAUGHTER | 0:06:16 | 0:06:19 | |
I'd like to come to a dinner party at your house. | 0:06:19 | 0:06:21 | |
"Anyone want some cheese?" SUSAN MIMES FLICKING CHEESE | 0:06:21 | 0:06:24 | |
I can imagine a Mortcliff murder by cheese knife, | 0:06:24 | 0:06:26 | |
that'd just be the kind of thing. | 0:06:26 | 0:06:28 | |
Well, let me tell you about the victim. | 0:06:28 | 0:06:30 | |
Today, we're investigating the death of George Wilson. | 0:06:30 | 0:06:34 | |
He was 30 years old, his occupation was full-time butler | 0:06:34 | 0:06:39 | |
and he trained at a prestigious butler school in Switzerland. | 0:06:39 | 0:06:43 | |
He is a former employee of the Smith family. | 0:06:43 | 0:06:46 | |
In his personal life, George was in a relationship. | 0:06:46 | 0:06:49 | |
The cause of death is a buckshot gun wound to the back | 0:06:49 | 0:06:53 | |
and the time of death is approximately 3 to 3:30pm. | 0:06:53 | 0:06:57 | |
-He gets around a lot. -Mm-hm. -If he's... If he's in... | 0:06:57 | 0:07:00 | |
Of Switzerland first, then England. | 0:07:00 | 0:07:03 | |
He may have been from Switzerland and he may have... | 0:07:03 | 0:07:06 | |
It's not a particularly Swiss name. | 0:07:06 | 0:07:09 | |
Well, it's not, no, but... let's not make any prejudgements. | 0:07:09 | 0:07:13 | |
Ellouise, you've learned your lesson from previous episodes. | 0:07:13 | 0:07:16 | |
"Well, he's clearly not Swiss." | 0:07:16 | 0:07:18 | |
Next piece of evidence - "He was Swiss." | 0:07:18 | 0:07:19 | |
"Ah, no! I knew it!" LAUGHTER | 0:07:19 | 0:07:22 | |
Let's see if we can take this a bit further by looking at the suspects. | 0:07:22 | 0:07:26 | |
Bill Sharpe, the armourer... | 0:07:26 | 0:07:29 | |
POSH VOICE: ..and Lady Violet, head of Kirkmore Estate. | 0:07:29 | 0:07:31 | |
She was quite panicky, wasn't she, Lady Violet, | 0:07:31 | 0:07:34 | |
when she came into the room? | 0:07:34 | 0:07:35 | |
She was like, "I'd like another gun!" So, I... | 0:07:35 | 0:07:38 | |
-I didn't see that. -I... | 0:07:38 | 0:07:40 | |
She was a little bit panicky... Oh, well, very keen to have another gun. | 0:07:40 | 0:07:44 | |
-Panicky or keen? -Do the upper classes panic? | 0:07:44 | 0:07:47 | |
-Yes, yes, we do sometimes! -Yes. | 0:07:47 | 0:07:50 | |
-We're all human. -Well done, Ellouise, absolutely right. | 0:07:50 | 0:07:53 | |
But we don't know an awful lot yet about either of them, | 0:07:53 | 0:07:55 | |
so let's try and help you out. | 0:07:55 | 0:07:57 | |
It's time for your first piece of evidence. | 0:07:57 | 0:07:59 | |
Here is a search of the crime scene perimeter. | 0:07:59 | 0:08:03 | |
We've got a deceased adult male fox... | 0:08:03 | 0:08:06 | |
Death from gunshot wound... | 0:08:07 | 0:08:09 | |
The gun used was likely a .22 rifle. | 0:08:09 | 0:08:13 | |
William had the fox gun. | 0:08:13 | 0:08:16 | |
I can recall William had the fox gun. | 0:08:17 | 0:08:19 | |
But is a .22 rifle a fox gun? | 0:08:19 | 0:08:21 | |
Did anyone write that down? | 0:08:24 | 0:08:25 | |
-No. -No. | 0:08:25 | 0:08:27 | |
Well, there's a lesson there, isn't there? ELLOUISE LAUGHS | 0:08:27 | 0:08:29 | |
Write down a list of who's got what guns! | 0:08:29 | 0:08:32 | |
It's time for round two - Last Movements. | 0:08:32 | 0:08:35 | |
We'll see what happened to George Wilson on the day of his murder. | 0:08:35 | 0:08:40 | |
What did the butler see? Let's find out. | 0:08:40 | 0:08:44 | |
Thank you for the invite, young man. | 0:08:55 | 0:08:57 | |
You're welcome, Mr Weber. I look forward to our chat later. | 0:08:57 | 0:09:01 | |
FINN CHUCKLES | 0:09:01 | 0:09:02 | |
Oh, you humping back up the hill again, Amelia? | 0:09:11 | 0:09:13 | |
I know your car is out of action, but it's a bit of a drag. | 0:09:13 | 0:09:15 | |
I've got a magazine to put to bed tomorrow. | 0:09:15 | 0:09:17 | |
Don't worry, I've arranged with a plumber | 0:09:17 | 0:09:19 | |
to use his for the afternoon. | 0:09:19 | 0:09:20 | |
You'll have to excuse the piping, | 0:09:20 | 0:09:22 | |
but it's better than the schlep out. | 0:09:22 | 0:09:24 | |
We're very happy to be hosting you, Finn. | 0:09:24 | 0:09:26 | |
Tell me, did my son invite you? | 0:09:26 | 0:09:28 | |
In a manner of speaking. | 0:09:28 | 0:09:30 | |
-Got everything you need? -Thank you, darling. | 0:09:32 | 0:09:35 | |
Is this the right thing? | 0:09:35 | 0:09:36 | |
I don't want to blow anyone's head off. | 0:09:36 | 0:09:38 | |
Don't worry, those smaller guns are no more dangerous | 0:09:38 | 0:09:41 | |
than a peashooter. | 0:09:41 | 0:09:42 | |
Pick up your ammo and pop in the car with the others. | 0:09:42 | 0:09:45 | |
Can you sign me out for a 20 bore, Bill? | 0:09:46 | 0:09:48 | |
Thanks. Must dash, the others are waiting. | 0:09:48 | 0:09:52 | |
Bill, can I have a buckshot, please? | 0:09:55 | 0:09:58 | |
After another sly fox? Help yourself. | 0:09:58 | 0:10:01 | |
Thank you. | 0:10:01 | 0:10:03 | |
I don't need to remind you about the kickback? | 0:10:03 | 0:10:06 | |
No, you don't. | 0:10:06 | 0:10:08 | |
Sorry, old habits. | 0:10:10 | 0:10:12 | |
CAR DOOR SHUTS | 0:10:23 | 0:10:25 | |
SECOND DOOR SHUTS | 0:10:29 | 0:10:30 | |
-Drink, sir? -Thank you. | 0:10:33 | 0:10:36 | |
CAR IGNITION RATTLES, ENGINE PURRS | 0:10:36 | 0:10:38 | |
-CAR MOVES OFF -Ah! | 0:10:40 | 0:10:42 | |
I'm off to the woods. | 0:10:45 | 0:10:46 | |
Oh, what a Glorious Twelfth. | 0:10:54 | 0:10:56 | |
Forgot your gun, Finn? | 0:10:58 | 0:11:00 | |
This is the only type of shooting I do. | 0:11:00 | 0:11:02 | |
Well, you can help us beat the grouse then. | 0:11:02 | 0:11:05 | |
Well, I hardly think... | 0:11:05 | 0:11:06 | |
Uh! You're going to give yourself a terrible bruise | 0:11:06 | 0:11:08 | |
if you hold the gun like that, darling. | 0:11:08 | 0:11:10 | |
Here, rule number one - get it right into your shoulder. | 0:11:10 | 0:11:13 | |
CAMERA CLICKS | 0:11:15 | 0:11:17 | |
A drink for you, Miss Violet? | 0:11:21 | 0:11:24 | |
Nan. | 0:11:24 | 0:11:25 | |
Miss Amelia says I have to call you Miss Violet. | 0:11:25 | 0:11:28 | |
I don't care what my daughter tells you, call me Nan. | 0:11:28 | 0:11:32 | |
Very good. Nan. | 0:11:32 | 0:11:34 | |
Are you looking forward to having your own apartment soon? | 0:11:35 | 0:11:38 | |
So much better than you being cooped up here all day. | 0:11:38 | 0:11:40 | |
I don't care about the apartment. | 0:11:40 | 0:11:43 | |
Look, George, they're getting closer now. | 0:11:43 | 0:11:46 | |
I'm sure it's just your imagination. | 0:11:46 | 0:11:49 | |
Well, if that's everything, | 0:11:54 | 0:11:56 | |
I have to collect some firewood for tonight. | 0:11:56 | 0:11:58 | |
SHE SNORES | 0:12:12 | 0:12:15 | |
HE TUTS | 0:12:17 | 0:12:18 | |
Oh... | 0:12:26 | 0:12:28 | |
They've shot George! | 0:12:36 | 0:12:38 | |
-Oof! -Oh! -Mm! -"They shot George!" | 0:12:40 | 0:12:43 | |
Heavens to Murgatroyd, everyone's got a gun! | 0:12:44 | 0:12:46 | |
I think I made a note that we know who was issued with the bird guns, | 0:12:46 | 0:12:51 | |
which I think I noted was Finn, Blake and Harriet, | 0:12:51 | 0:12:56 | |
although later it was said that Finn didn't have a gun. | 0:12:56 | 0:13:00 | |
Um, have I noted that down wrongly or...? | 0:13:00 | 0:13:02 | |
-No, I'm pretty sure Finn did take a gun, but... -Yeah. | 0:13:02 | 0:13:05 | |
-..he just didn't use it. -..Have a gun. -Mm-hm. | 0:13:05 | 0:13:07 | |
-I also noticed a zoom-in on the gun in the boot. -Mm-hm. | 0:13:07 | 0:13:11 | |
But, obviously, they all got guns out, | 0:13:11 | 0:13:13 | |
so I don't know how useful that is. | 0:13:13 | 0:13:16 | |
Um... What interested me was that the butler had invited a guest | 0:13:16 | 0:13:22 | |
and the mother said to the guest... "Did my son invite you?" | 0:13:22 | 0:13:27 | |
Which makes me think... | 0:13:28 | 0:13:30 | |
Why is the butler inviting guests to the house? | 0:13:30 | 0:13:34 | |
When asked, "Were you invited?" Finn said, "In a manner of speaking". | 0:13:34 | 0:13:39 | |
-Mm. -Yeah. -Which makes me think that maybe there's some bad... | 0:13:39 | 0:13:43 | |
bad blood already. | 0:13:43 | 0:13:45 | |
-Mm. -There's a thing that I'm interested to find out, | 0:13:45 | 0:13:48 | |
which is when the victim George was described, when we had his personal | 0:13:48 | 0:13:54 | |
dossier, um, up front, he was described as, "In a relationship". | 0:13:54 | 0:14:00 | |
-Mm. -I'll be interested to know | 0:14:00 | 0:14:02 | |
-precisely what that means and with whom. -Mm. | 0:14:02 | 0:14:05 | |
Let me bring up the suspects board. | 0:14:05 | 0:14:07 | |
There are five more suspects now. LAUGHTER | 0:14:07 | 0:14:09 | |
So we have Finn Weber - a photo journalist. | 0:14:09 | 0:14:12 | |
Amelia Anderson - Lady Violet's daughter. | 0:14:12 | 0:14:14 | |
Harriet Smith - Amelia's best friend. | 0:14:14 | 0:14:17 | |
Blake Smith - Harriet's son. | 0:14:17 | 0:14:19 | |
-William Anderson - Amelia's son. -Mm. | 0:14:19 | 0:14:23 | |
I noticed when William came out, | 0:14:23 | 0:14:25 | |
he actually spoke to George and said, "I'll be in the woods." | 0:14:25 | 0:14:28 | |
Like, it was a bit too obvious. | 0:14:28 | 0:14:31 | |
Of course he's going to be in the woods, | 0:14:31 | 0:14:33 | |
he's-he's going to shoot for animals. | 0:14:33 | 0:14:35 | |
They're going to be in a wood, | 0:14:35 | 0:14:36 | |
so why would he bring up that point directly to George? | 0:14:36 | 0:14:39 | |
-And he's the one with the fox gun. -And he's the one with the fox gun. | 0:14:39 | 0:14:42 | |
-Let me try and help you a little bit, Armchair Detectives... -OK. | 0:14:42 | 0:14:45 | |
..cos you've got an evidence pick now. | 0:14:45 | 0:14:48 | |
What are you going to go for from this lot? | 0:14:48 | 0:14:50 | |
We've got Bill Sharpe's armoury log | 0:14:50 | 0:14:53 | |
and the contents of his armourer's table. | 0:14:53 | 0:14:56 | |
Or the napkin George handed to William. | 0:14:56 | 0:15:00 | |
And finally, newspaper clippings found in a manila folder | 0:15:00 | 0:15:05 | |
at the house. | 0:15:05 | 0:15:06 | |
I would like to vote for Bill's table, | 0:15:06 | 0:15:08 | |
just so we can make it really clear who's got what gun. | 0:15:08 | 0:15:10 | |
-Yeah, I'm happy to go with that. -Yeah? -OK. -Yes. | 0:15:10 | 0:15:12 | |
This is Bill Sharpe's armoury log | 0:15:12 | 0:15:14 | |
and the contents of his armourer's table. | 0:15:14 | 0:15:18 | |
So... In the morning, William, Harriet and Finn... | 0:15:18 | 0:15:23 | |
And then, Harriet, Amelia, Blake and William, and that is the gun type. | 0:15:23 | 0:15:29 | |
Birdshot, buckshot. | 0:15:29 | 0:15:32 | |
Which we know a buckshot was the murder weapon. | 0:15:32 | 0:15:34 | |
Is that helping you out? | 0:15:35 | 0:15:37 | |
It does, but it also means that Lady Violet's gun wasn't checked out. | 0:15:39 | 0:15:44 | |
-Why? -It was... -The name's not there. | 0:15:44 | 0:15:47 | |
Bill is very much aware she's got a gun, | 0:15:48 | 0:15:51 | |
but he's not writing down that she's got a gun. | 0:15:51 | 0:15:53 | |
-Mm-hm. -Why? -Mm-hm. | 0:15:53 | 0:15:55 | |
Well, Armchair Detectives, for the first time today, I'd like you | 0:15:55 | 0:15:58 | |
to lock in your prime suspect. | 0:15:58 | 0:16:00 | |
Please write down a name in your detective notepads now. | 0:16:00 | 0:16:05 | |
Simon, tell me who is your prime suspect and why. | 0:16:19 | 0:16:22 | |
Well, I'm going for William. | 0:16:22 | 0:16:24 | |
-Right, and why? -There is definite history between him and George. | 0:16:24 | 0:16:27 | |
If anyone didn't know... The little smile. | 0:16:27 | 0:16:29 | |
They had a moment together, it was just like... | 0:16:29 | 0:16:32 | |
And then he toddled off to the woods. | 0:16:32 | 0:16:34 | |
There's history, there is history between those two. | 0:16:34 | 0:16:36 | |
There's history. Roger? | 0:16:36 | 0:16:38 | |
I've also gone for William and for much the same reasons. | 0:16:38 | 0:16:42 | |
Um, he was the only one | 0:16:42 | 0:16:45 | |
that we KNOW to have been in possession of the, uh, | 0:16:45 | 0:16:49 | |
of the fox gun, | 0:16:49 | 0:16:50 | |
and I'm going back to that mysterious word - relationship. | 0:16:50 | 0:16:55 | |
-Ellouise, who have you gone for? -I've also gone for William. -Uh-huh. | 0:16:55 | 0:16:58 | |
However, I've gone down a slightly different route | 0:16:58 | 0:17:01 | |
in terms of the fact that the butler has invited someone | 0:17:01 | 0:17:05 | |
-on behalf of William. -Right. | 0:17:05 | 0:17:08 | |
And that may have ticked him off enough to... Pew! | 0:17:08 | 0:17:12 | |
-Beautiful. -Thank you. | 0:17:12 | 0:17:13 | |
So, in summary, | 0:17:13 | 0:17:15 | |
our Armchair Detectives' prime suspects are, um... | 0:17:15 | 0:17:18 | |
Well, William. They've all gone for William. | 0:17:18 | 0:17:21 | |
So, it's on to round three - The Police Interviews. | 0:17:21 | 0:17:24 | |
As Knight and Slater continue hunting for the killer, | 0:17:24 | 0:17:27 | |
will their interviews hit the evidence they need? | 0:17:27 | 0:17:30 | |
It's off to Mortcliff Police Station. | 0:17:30 | 0:17:32 | |
Walker killed by stampeding cattle, | 0:17:38 | 0:17:42 | |
farmer in combine harvester tragedy and now a mysterious shooting. | 0:17:42 | 0:17:49 | |
Bad news has a way of following you around, Mr Weber. | 0:17:49 | 0:17:52 | |
The countryside's a more dangerous place than people realise. | 0:17:52 | 0:17:55 | |
My job is dedicated to promoting the countryside in a positive fashion. | 0:17:55 | 0:17:59 | |
I go wherever I can to get an exclusive. | 0:17:59 | 0:18:01 | |
HE CHUCKLES | 0:18:01 | 0:18:02 | |
And would you do whatever it takes to get an exclusive? | 0:18:02 | 0:18:05 | |
I don't make things up, if that's what you mean. | 0:18:07 | 0:18:09 | |
I'm an award-winning photo journalist. | 0:18:10 | 0:18:13 | |
Why would I jeopardise that reputation? | 0:18:13 | 0:18:15 | |
Why indeed? Where were you at the time of the murder? | 0:18:16 | 0:18:19 | |
I heard the shooting had stopped, so... | 0:18:20 | 0:18:22 | |
I came back to see what was going on. | 0:18:22 | 0:18:24 | |
Only Harriet was there. | 0:18:25 | 0:18:27 | |
Apparently, Blake and Amelia had gone to sort some kind of problem. | 0:18:28 | 0:18:33 | |
A short time after taking that, I remember... | 0:18:33 | 0:18:36 | |
..William coming out of the north side of the woods. | 0:18:37 | 0:18:41 | |
I have a picture here taken just before it happened. | 0:18:41 | 0:18:43 | |
Here. | 0:18:44 | 0:18:45 | |
Oh, thank you. Yes, we'll... | 0:18:45 | 0:18:47 | |
We'll take this image and whatever else is on your camera. | 0:18:47 | 0:18:51 | |
It may help to eliminate some people from our investigation. | 0:18:51 | 0:18:54 | |
Well... | 0:18:54 | 0:18:56 | |
Thank you so much. | 0:18:56 | 0:18:57 | |
So the place is crawling with foxes, vermin. I annihilated one earlier. | 0:19:00 | 0:19:06 | |
-Violet... -Nan! | 0:19:06 | 0:19:08 | |
OK. Nan. | 0:19:08 | 0:19:10 | |
Can we talk about George? | 0:19:12 | 0:19:13 | |
Did he do anything unusual in the days before his murder? | 0:19:15 | 0:19:19 | |
Amelia always told George to look after me - like I need baby-sitting! | 0:19:19 | 0:19:24 | |
I spent my life sending him on errands | 0:19:25 | 0:19:27 | |
in order for him to leave me alone! | 0:19:27 | 0:19:30 | |
Lovely man, but somewhat secretive. | 0:19:30 | 0:19:32 | |
Oh? In what way? | 0:19:33 | 0:19:36 | |
Well, he often pretended to dust the bookshelves in the library, | 0:19:37 | 0:19:41 | |
but I found a folder there once. | 0:19:41 | 0:19:45 | |
He was keeping newspaper clippings in there. | 0:19:45 | 0:19:47 | |
None of the clippings had names disclosed, | 0:19:49 | 0:19:51 | |
but they were all about financial scandal! | 0:19:51 | 0:19:54 | |
Notification of court dates, that sort of thing. | 0:19:54 | 0:19:57 | |
He was oddly obsessed! | 0:19:58 | 0:20:00 | |
So you took the wrong ammo to the moor? | 0:20:05 | 0:20:07 | |
Yeah. I've never shot before. | 0:20:07 | 0:20:10 | |
I'm not an expert, unlike Amelia. | 0:20:10 | 0:20:14 | |
Well, unless you believe the rumours. | 0:20:14 | 0:20:16 | |
What do you mean? | 0:20:18 | 0:20:20 | |
George had told me that Amelia keeps telling people | 0:20:20 | 0:20:23 | |
she won East Lothian Markswoman of the Year ten years ago, | 0:20:23 | 0:20:27 | |
but he checked and... she only came fifth. | 0:20:27 | 0:20:30 | |
You're not a fan of Amelia's? | 0:20:32 | 0:20:35 | |
Well, no, it's not that, she's just... | 0:20:36 | 0:20:38 | |
..rather old-fashioned, likes to live in the past and... | 0:20:39 | 0:20:42 | |
..I don't understand her. | 0:20:43 | 0:20:44 | |
Right, so Amelia dropped you off, you walked into the house... | 0:20:44 | 0:20:51 | |
What happened next? | 0:20:51 | 0:20:53 | |
I went to the armoury, but the door was locked. | 0:20:53 | 0:20:57 | |
Apparently, Nan had gone a bit Rambo with one of the guns | 0:20:57 | 0:21:00 | |
while Bill Sharpe was on lunch. | 0:21:00 | 0:21:02 | |
He took it off her and locked the room. | 0:21:02 | 0:21:04 | |
Took me a few minutes to find Bill, chatting to the kitchen staff. | 0:21:05 | 0:21:09 | |
He unlocked the door and we went in. | 0:21:09 | 0:21:13 | |
There were two guns there, one for the birds and one for the foxes. | 0:21:13 | 0:21:18 | |
He asked me what one I wanted next, but... | 0:21:18 | 0:21:21 | |
I told him I had the wrong ammo, so...he swapped the boxes for me. | 0:21:21 | 0:21:25 | |
And shortly after you got that ammo... | 0:21:26 | 0:21:28 | |
..George was found dead. | 0:21:30 | 0:21:31 | |
-Oof! Oh! -Hmm. -Wow! -Mm! | 0:21:35 | 0:21:38 | |
I hope at home you've got a notepad and are keeping track of this | 0:21:38 | 0:21:41 | |
because I'm struggling to keep up! | 0:21:41 | 0:21:43 | |
Well, there's a grandmother with a gun. | 0:21:43 | 0:21:45 | |
-Right. -Um... But she was locked in the room for her safekeeping. | 0:21:45 | 0:21:50 | |
The armoury was locked, was she locked in? Did I miss... | 0:21:50 | 0:21:53 | |
-Did I miss that? -I didn't hear that. | 0:21:53 | 0:21:55 | |
They wouldn't have locked her in the armoury, | 0:21:55 | 0:21:58 | |
not if they didn't trust her with the guns. | 0:21:58 | 0:22:01 | |
Yes, that would be a mistake, I think, to lock her in the armoury. | 0:22:01 | 0:22:04 | |
-The journalist... -Yes. | 0:22:04 | 0:22:05 | |
..may be the source of some of these articles which are | 0:22:05 | 0:22:10 | |
in that file, that we'll want to look at, at some point. | 0:22:10 | 0:22:14 | |
The relationship. | 0:22:14 | 0:22:16 | |
Maybe he's very proud, so he keeps all of the news clippings, | 0:22:16 | 0:22:21 | |
-because he's so proud. -Oh, hello. | 0:22:21 | 0:22:24 | |
Well, let me try and help you out, Armchair Detectives, | 0:22:24 | 0:22:26 | |
because, once again, you get to pick a piece of evidence. | 0:22:26 | 0:22:30 | |
We've added a new one to the list. | 0:22:30 | 0:22:32 | |
We now have the napkin George handed to William, | 0:22:32 | 0:22:35 | |
newspaper clippings found in a manila folder at the house, | 0:22:35 | 0:22:39 | |
or the new piece of evidence - a photograph taken by Finn | 0:22:39 | 0:22:45 | |
on the moor. | 0:22:45 | 0:22:46 | |
Those clippings said "financial scandals", | 0:22:46 | 0:22:49 | |
and what if it's a scandal of their estate? | 0:22:49 | 0:22:52 | |
I'm interested in the clippings. | 0:22:52 | 0:22:54 | |
There was obviously something surreptitious | 0:22:54 | 0:22:56 | |
about George's handling of those. | 0:22:56 | 0:22:59 | |
I'm actually quite happy with the newspaper clippings. | 0:22:59 | 0:23:01 | |
I think it might meet the theory of, maybe it is a relationship | 0:23:01 | 0:23:05 | |
and he's saving them for that reason rather than what's | 0:23:05 | 0:23:08 | |
actually in the article? | 0:23:08 | 0:23:09 | |
So what would you like to see, newspaper clippings? | 0:23:09 | 0:23:11 | |
-Clippings, please, yeah. -Newspaper clippings please, yeah. -Great. | 0:23:11 | 0:23:14 | |
These are the newspaper clippings found in a manila folder | 0:23:14 | 0:23:16 | |
at the house. | 0:23:16 | 0:23:18 | |
"There's a scandal about the break that will get many tongues wagging | 0:23:18 | 0:23:21 | |
"in high-class circles. | 0:23:21 | 0:23:23 | |
"The family will not be happy if Classier magazine | 0:23:23 | 0:23:26 | |
"releases this information. | 0:23:26 | 0:23:28 | |
"A member of a household has been fined by a court. | 0:23:28 | 0:23:31 | |
"Classier magazine has the full name of the person fined and this | 0:23:31 | 0:23:35 | |
"person is very concerned their name will come into public domain." | 0:23:35 | 0:23:39 | |
We have two members of staff. | 0:23:39 | 0:23:41 | |
The armourer is a member of staff... | 0:23:41 | 0:23:42 | |
-Yes. -..the butler is a member of staff. -Yes. | 0:23:42 | 0:23:45 | |
-Yes. -So it's not clear to which they refer. | 0:23:45 | 0:23:50 | |
But also, surely if they've been fined by the court, | 0:23:50 | 0:23:52 | |
-they would have been removed from the household? -Yeah. | 0:23:52 | 0:23:56 | |
They're not going to say, "Right, we're fining you for information, | 0:23:56 | 0:23:59 | |
"but here's your job, go back to work." | 0:23:59 | 0:24:01 | |
If it'd have been family, you'd think it would have said "family" | 0:24:01 | 0:24:03 | |
-rather than "household." -Yeah, I definitely think it's staff, | 0:24:03 | 0:24:06 | |
but my theory is the staff member has been since removed. | 0:24:06 | 0:24:09 | |
Well, you'll be pleased to know it's that moment again, | 0:24:09 | 0:24:11 | |
it's time to pick your prime suspect, Armchair Detectives. | 0:24:11 | 0:24:14 | |
Please write down who your prime suspect is... | 0:24:14 | 0:24:17 | |
now. | 0:24:17 | 0:24:18 | |
Need you to tell me who your prime suspect is. | 0:24:24 | 0:24:26 | |
Now, Simon, last time you went for William. | 0:24:26 | 0:24:29 | |
Yes. | 0:24:29 | 0:24:30 | |
Who have you gone for this time? | 0:24:30 | 0:24:32 | |
-I have to keep with William. -Yeah. | 0:24:32 | 0:24:33 | |
There are so many unanswered questions about this bloke. | 0:24:33 | 0:24:37 | |
Roger, last time you went for William. | 0:24:37 | 0:24:39 | |
And I've stuck with William. | 0:24:39 | 0:24:40 | |
-William again. -He was seen emerging from the woods. | 0:24:40 | 0:24:44 | |
That's the only extra thing that might pin it on him. | 0:24:45 | 0:24:49 | |
Ellouise, last time you went for William, | 0:24:49 | 0:24:51 | |
-have you stuck with William? -I have for now. | 0:24:51 | 0:24:54 | |
At the moment, the only evidence I have is that he checked the gun out. | 0:24:54 | 0:24:57 | |
So, in summary, our Armchair Detectives have all stuck | 0:24:57 | 0:25:00 | |
with William as their prime suspect. | 0:25:00 | 0:25:02 | |
Let's see if we can find out a little bit more about the crime. | 0:25:02 | 0:25:05 | |
Now it's time for round four, Dig Deeper. | 0:25:05 | 0:25:08 | |
Notepads at the ready, we're heading back to the Kirkmore Estate | 0:25:08 | 0:25:12 | |
to uncover more clues. | 0:25:12 | 0:25:14 | |
You should have come with us, darling - such fun. | 0:25:17 | 0:25:20 | |
I really have better things to do. | 0:25:20 | 0:25:22 | |
Not even prepared to give it a go? | 0:25:23 | 0:25:26 | |
After lunch, I expect you to come with us and at least pull a trigger. | 0:25:26 | 0:25:30 | |
God almighty, you don't actually have to kill anything. | 0:25:30 | 0:25:33 | |
Long time since I've met a girlfriend, Will. | 0:25:35 | 0:25:38 | |
No, I'm a fussy git, Harriet, I always have been. | 0:25:38 | 0:25:42 | |
Can't afford to be too fussy. | 0:25:42 | 0:25:44 | |
The biological clock of many a lady is a'ticking. | 0:25:44 | 0:25:47 | |
So is the lifeline of the planet. | 0:25:47 | 0:25:49 | |
William's not gone all left-wing pinko, has he? | 0:25:57 | 0:26:00 | |
Why? What's he said now? | 0:26:02 | 0:26:04 | |
Some claptrap about the "planet's lifeline," | 0:26:04 | 0:26:07 | |
which is why he's not too keen on children. | 0:26:07 | 0:26:09 | |
Well, he's got the pick of women across the British Isles. | 0:26:09 | 0:26:12 | |
He can have this estate when I am gone, but only if | 0:26:12 | 0:26:15 | |
it's to raise a family. | 0:26:15 | 0:26:17 | |
Otherwise, it's going to the National Trust. | 0:26:17 | 0:26:20 | |
I'm not having him frittering it away on his | 0:26:20 | 0:26:22 | |
silly technology businesses. | 0:26:22 | 0:26:24 | |
Quite right, Amelia. | 0:26:24 | 0:26:26 | |
In fact, I'd go so far as to say that it's about time William | 0:26:26 | 0:26:29 | |
manned up and got on with finding a real business. | 0:26:29 | 0:26:32 | |
George, can you get Mother from upstairs, please? | 0:26:34 | 0:26:37 | |
She needs some lunch. | 0:26:37 | 0:26:38 | |
How time flies. | 0:26:41 | 0:26:43 | |
Are they having some work done? | 0:26:48 | 0:26:50 | |
They're converting the west wing into a granny flat - | 0:26:50 | 0:26:53 | |
new bathroom, kitchen, the works - so that Nan can look out onto | 0:26:53 | 0:26:57 | |
the garden from the ground floor instead of her crow's nest upstairs. | 0:26:57 | 0:27:01 | |
Amelia's very good to her mother. | 0:27:03 | 0:27:05 | |
Well, yes, but she can rent it out over the hunting season once... | 0:27:05 | 0:27:10 | |
..you know. | 0:27:11 | 0:27:13 | |
The rest of the wing will be en-suite guest rooms. | 0:27:14 | 0:27:17 | |
Can't be cheap to do that in a house like this. | 0:27:18 | 0:27:20 | |
Costs the Earth. | 0:27:20 | 0:27:21 | |
Not sure where the money's coming from, to be honest. | 0:27:21 | 0:27:24 | |
Mama said that a member of the Anderson family was in court | 0:27:24 | 0:27:27 | |
over non-payment of a fine. | 0:27:27 | 0:27:30 | |
Hang on. | 0:27:30 | 0:27:31 | |
Thank you. I was looking for that. | 0:27:35 | 0:27:38 | |
Hmm. | 0:27:41 | 0:27:42 | |
How time flies. Armchair Detectives... | 0:27:42 | 0:27:45 | |
George seems... | 0:27:45 | 0:27:47 | |
In a room full of people, the only one he goes straight to, | 0:27:47 | 0:27:49 | |
to talk with, is George. | 0:27:49 | 0:27:52 | |
Maybe there is the idea of maybe a very close friendship | 0:27:52 | 0:27:55 | |
-or even a relationship. -Mm-hm. | 0:27:55 | 0:27:56 | |
Well, Amelia said something interesting, didn't she? | 0:27:56 | 0:27:59 | |
That he was going to have the estate... | 0:27:59 | 0:28:02 | |
-If he raises a family. -And if he didn't... | 0:28:02 | 0:28:05 | |
-It's going to the National Trust. -It'll go to the National Trust. | 0:28:05 | 0:28:07 | |
Let's see if we can find out what's going on. | 0:28:07 | 0:28:09 | |
It's time to pick some more evidence. You can choose from - | 0:28:09 | 0:28:12 | |
the napkin George handed to William, | 0:28:12 | 0:28:15 | |
a photograph taken by Finn on the moor, or the new piece of evidence | 0:28:15 | 0:28:18 | |
on the board - the contents of the car used by the moor shooters. | 0:28:18 | 0:28:25 | |
-The plumber's vehicle... -What is that napkin there for? | 0:28:25 | 0:28:28 | |
It was... It was just.. | 0:28:28 | 0:28:30 | |
Is there a secret message concealed within? | 0:28:30 | 0:28:33 | |
Oh, that could say, "Meet me in the forest." | 0:28:33 | 0:28:35 | |
-"Meet you behind the third tree from the right." -Exactly! | 0:28:35 | 0:28:38 | |
George said, "I'm in the woods," after he looked at the napkin. | 0:28:38 | 0:28:42 | |
-OK, let's go with the napkin. -Napkin? | 0:28:42 | 0:28:44 | |
-Napkin. -Napkin. -Napkin. | 0:28:44 | 0:28:45 | |
So this is the napkin George handed to William. | 0:28:45 | 0:28:49 | |
143. | 0:28:49 | 0:28:50 | |
-What does that mean? -Who's got the list of the guns? | 0:28:50 | 0:28:54 | |
So I've got A22 riffle, but no 143 rifle. | 0:28:54 | 0:28:58 | |
-No. -I'm out. | 0:28:58 | 0:28:59 | |
Well, unless there's a zero hidden, | 0:29:00 | 0:29:03 | |
it could mean, "Meet me in the woods at half past two." | 0:29:03 | 0:29:05 | |
Oh. | 0:29:07 | 0:29:08 | |
Oh, hang on a sec. | 0:29:08 | 0:29:10 | |
But the murder was done between the hours of | 0:29:10 | 0:29:13 | |
-three o'clock and half past. -Three and half past, yes. | 0:29:13 | 0:29:16 | |
After that revelatory piece of evidence, Armchair Detectives, | 0:29:16 | 0:29:19 | |
it's time to lock in and pick your prime suspect! | 0:29:19 | 0:29:22 | |
Write it down now. | 0:29:22 | 0:29:23 | |
So last time, Simon, you went for William. Have you changed your mind? | 0:29:29 | 0:29:33 | |
-Yes. -Who are you going for? | 0:29:33 | 0:29:35 | |
-Amelia. -OK, tell me why. | 0:29:35 | 0:29:38 | |
Well, they would lose the house all due to maybe | 0:29:38 | 0:29:42 | |
a possible relationship between George and William. | 0:29:42 | 0:29:45 | |
She's a very old-fashioned lady, | 0:29:45 | 0:29:46 | |
she can't stand the idea of losing that house. | 0:29:46 | 0:29:49 | |
William going away, living his technology dreams. | 0:29:49 | 0:29:52 | |
Very old-fashioned with a gun - boom. | 0:29:52 | 0:29:54 | |
Roger, last time you went for William, | 0:29:54 | 0:29:56 | |
who have you gone for this time? | 0:29:56 | 0:29:58 | |
Well, as my brain has been turned to complete spaghetti | 0:29:58 | 0:30:00 | |
by that 143, I've had to stick with William | 0:30:00 | 0:30:03 | |
because I've, at the moment, got nothing better to offer. | 0:30:03 | 0:30:07 | |
OK. | 0:30:07 | 0:30:08 | |
Ellouise, last time you went for William, who've you gone this time? | 0:30:08 | 0:30:11 | |
I've changed to Bill. | 0:30:11 | 0:30:12 | |
Bill! | 0:30:12 | 0:30:14 | |
Why? | 0:30:14 | 0:30:15 | |
He has got access to all of the guns. | 0:30:15 | 0:30:17 | |
-Yes. -And he didn't check in Lady Violet's gun, | 0:30:17 | 0:30:23 | |
but took it back and put it away. | 0:30:23 | 0:30:25 | |
Yes, that... That is absolutely... | 0:30:25 | 0:30:27 | |
There's a gun that he took. | 0:30:27 | 0:30:28 | |
And there's two of the same gun available, one was checked out by | 0:30:28 | 0:30:32 | |
William and the other one is locked with the key that's in his pocket. | 0:30:32 | 0:30:37 | |
-Hello, Ellouise. -Here I am. | 0:30:37 | 0:30:39 | |
So, to summarise, Simon has gone for Amelia, Roger has | 0:30:39 | 0:30:44 | |
gone for William and Ellouise has gone for Bill. | 0:30:44 | 0:30:47 | |
Well, it's round five now, the Final Clues. | 0:30:48 | 0:30:52 | |
Who's in Knight and Slater's firing line? | 0:30:52 | 0:30:54 | |
Notepads at the ready. | 0:30:54 | 0:30:56 | |
Let's find out. | 0:30:56 | 0:30:57 | |
Are you the detectives? | 0:31:05 | 0:31:07 | |
Yes, I'm DI Knight, this is DC Slater. | 0:31:07 | 0:31:11 | |
How can we help? | 0:31:11 | 0:31:13 | |
I'm Harriet, friend of the family's. | 0:31:13 | 0:31:16 | |
Oh, Harriet Smith, we're due to interview you later on today. | 0:31:16 | 0:31:19 | |
Yes, well, no need. | 0:31:19 | 0:31:21 | |
I had to come to tell you that this shooting is a nonsense. | 0:31:21 | 0:31:24 | |
Amelia is doing a sterling job keeping this estate going, | 0:31:24 | 0:31:27 | |
someone is clearly trying to ruin her reputation, | 0:31:27 | 0:31:31 | |
which is most unfair given that she lost her husband | 0:31:31 | 0:31:33 | |
only a few years ago. | 0:31:33 | 0:31:35 | |
Well, it's our job to get to the bottom of all this, | 0:31:35 | 0:31:38 | |
so please don't worry. | 0:31:38 | 0:31:40 | |
But while you're here, would you mind | 0:31:41 | 0:31:43 | |
telling us where you were at the time of the shooting? | 0:31:43 | 0:31:46 | |
I was alone on the moor most of the time. | 0:31:46 | 0:31:49 | |
Amelia and Blake were away changing ammunition. | 0:31:49 | 0:31:51 | |
Finn came back at some point. | 0:31:51 | 0:31:54 | |
Did you have any ammunition? | 0:31:54 | 0:31:56 | |
I got to the end of my box of shells. | 0:31:57 | 0:32:00 | |
I was sharing with my son, Blake. | 0:32:00 | 0:32:02 | |
His wouldn't fit in his gun. | 0:32:03 | 0:32:05 | |
Amelia told Blake he'd picked up the wrong box, | 0:32:05 | 0:32:09 | |
so Amelia drove him back to get some more. | 0:32:09 | 0:32:11 | |
Do you know if either of them took their guns with them? | 0:32:12 | 0:32:15 | |
Blake took his, Amelia left hers. | 0:32:17 | 0:32:20 | |
Thank you. | 0:32:22 | 0:32:23 | |
I'll leave you to it. | 0:32:25 | 0:32:26 | |
You have my number, should you need me. | 0:32:26 | 0:32:29 | |
Still can't believe it. | 0:32:36 | 0:32:38 | |
How long had George been your butler? | 0:32:38 | 0:32:39 | |
About ten years. | 0:32:42 | 0:32:43 | |
But he was more than that. | 0:32:44 | 0:32:47 | |
He was my friend. | 0:32:47 | 0:32:48 | |
You went to the woods where George was eventually found. | 0:32:50 | 0:32:54 | |
He wanted to speak to me. | 0:32:58 | 0:33:01 | |
He wasn't happy and he was thinking of leaving. | 0:33:01 | 0:33:03 | |
How did you feel about that? | 0:33:04 | 0:33:06 | |
Devastated, naturally. | 0:33:07 | 0:33:09 | |
Right. | 0:33:09 | 0:33:10 | |
Why was that? | 0:33:11 | 0:33:12 | |
Well, like I said, he was my friend. | 0:33:14 | 0:33:17 | |
OK. | 0:33:18 | 0:33:19 | |
You see, the thing is, our latest forensic report shows that the | 0:33:21 | 0:33:27 | |
only cartridge found in the forest area had your DNA on it. | 0:33:27 | 0:33:31 | |
And because we know the armourer cleaned the guns at lunchtime... | 0:33:33 | 0:33:37 | |
..the only gun that George touched was the one you used. | 0:33:39 | 0:33:43 | |
Are you suggesting that I shot George? | 0:33:44 | 0:33:46 | |
No. | 0:33:46 | 0:33:48 | |
I'm just asking why the gun you used had George's DNA on it | 0:33:48 | 0:33:51 | |
and the only cartridge we found... | 0:33:51 | 0:33:53 | |
..had your DNA? | 0:33:55 | 0:33:56 | |
He just wanted a shot. | 0:33:58 | 0:33:59 | |
He'd never fired one before, so I showed him. | 0:34:01 | 0:34:05 | |
He didn't like it, it was too violent. | 0:34:05 | 0:34:07 | |
So he went back to the house and I went north towards the moorland | 0:34:09 | 0:34:13 | |
to look for Mum. | 0:34:13 | 0:34:14 | |
So you're telling me that he was upset, you were upset, | 0:34:14 | 0:34:18 | |
and in order to cheer him up, | 0:34:18 | 0:34:21 | |
you showed him how to discharge a weapon? | 0:34:21 | 0:34:23 | |
Yeah. | 0:34:25 | 0:34:26 | |
Mr Anderson, how long had you and George | 0:34:31 | 0:34:35 | |
been in an intimate relationship? | 0:34:35 | 0:34:36 | |
I don't know what you mean. | 0:34:39 | 0:34:43 | |
It's not against the law, we just need to find out all the facts. | 0:34:43 | 0:34:47 | |
It's true. | 0:34:49 | 0:34:50 | |
Why all the secrecy? | 0:34:52 | 0:34:53 | |
There's a clause in my mother's will which says I need to be in a | 0:34:55 | 0:34:59 | |
stable marriage to a woman in order to inherit the estate when she dies. | 0:34:59 | 0:35:05 | |
It's just really important that we get a clear picture of what | 0:35:05 | 0:35:07 | |
happened with you and George in the woods, William. | 0:35:07 | 0:35:10 | |
He had this stupid, harebrained plan. | 0:35:11 | 0:35:16 | |
He asked my mother to change her will and give us her blessing to | 0:35:16 | 0:35:19 | |
marry or he would hand over evidence of this financial scandal to Finn. | 0:35:19 | 0:35:26 | |
As you know, she plans to set up a new upmarket hotel. | 0:35:26 | 0:35:28 | |
And that was the last time you saw him, | 0:35:31 | 0:35:35 | |
when he threatened your mother? | 0:35:35 | 0:35:37 | |
Simon, your face was a picture during that! | 0:35:40 | 0:35:43 | |
LAUGHTER | 0:35:43 | 0:35:44 | |
Tell me what you're thinking. | 0:35:44 | 0:35:46 | |
Oh, my goodness! The mother's going to lose everything... | 0:35:46 | 0:35:50 | |
If that scheme had gone ahead, she would have lost | 0:35:50 | 0:35:53 | |
the entire world. | 0:35:53 | 0:35:54 | |
Did I or did I not say relationship? | 0:35:54 | 0:35:56 | |
You did say. You went, "Relationship." | 0:35:56 | 0:35:58 | |
-I think that came as no great shock to any of us, I think. -No, no. | 0:35:58 | 0:36:03 | |
Before final accusation time, it's time for another evidence pick. | 0:36:03 | 0:36:07 | |
You have just two pieces of evidence to choose from. | 0:36:07 | 0:36:09 | |
You can have either a photograph taken by Finn on the moor, | 0:36:09 | 0:36:13 | |
or the contents of the car used by the moor shooters. | 0:36:13 | 0:36:18 | |
Well, we were told what was in the photograph, | 0:36:18 | 0:36:21 | |
it's William coming out the north side of the woods. | 0:36:21 | 0:36:24 | |
We suspect what's in the photograph - never assume. | 0:36:24 | 0:36:27 | |
OK. So you want to go for the vehicle? | 0:36:27 | 0:36:29 | |
-Yeah. -Yes. -Yes. -Yes? OK. | 0:36:29 | 0:36:31 | |
This is the contents of the car used by the moor shooters. | 0:36:31 | 0:36:36 | |
Two barrels of guns, they've been detached. | 0:36:36 | 0:36:41 | |
I was going to say, two barrels but no gun. | 0:36:41 | 0:36:43 | |
I'm just trying to think what was by the body when they found it | 0:36:43 | 0:36:47 | |
and if anything here would go with that? | 0:36:47 | 0:36:52 | |
There's a box of tools. Was it some kind of tool | 0:36:52 | 0:36:54 | |
and not a cheese slice? Although... | 0:36:54 | 0:36:56 | |
No, it was definitely a cheese thingy. | 0:36:56 | 0:36:58 | |
This is the problem. | 0:36:58 | 0:36:59 | |
You saw something else at the crime scene that you haven't seen, | 0:36:59 | 0:37:02 | |
-so you can't... -And we missed... We missed that. | 0:37:02 | 0:37:04 | |
-But there was also the broken... -There was a twig and there was | 0:37:04 | 0:37:06 | |
-a body of a fox, wasn't there? -And there was something else. | 0:37:06 | 0:37:09 | |
Hey, Armchair Detectives, who wants to win a gold magnifying glass? | 0:37:09 | 0:37:13 | |
LAUGHTER | 0:37:13 | 0:37:14 | |
-AUDIENCE: -Ooh! | 0:37:14 | 0:37:15 | |
It's time to answer the only question that matters... | 0:37:17 | 0:37:19 | |
Hope you're multitasking at home, dunking a custard cream in one hand | 0:37:24 | 0:37:27 | |
while writing who you're accusing in the other. | 0:37:27 | 0:37:30 | |
Let's see who you are accusing. | 0:37:36 | 0:37:38 | |
Simon. | 0:37:38 | 0:37:39 | |
-Amelia. -Amelia. For what reason? | 0:37:39 | 0:37:43 | |
For the reason that she would absolutely lose everything. | 0:37:43 | 0:37:47 | |
If the harebrained scheme of George and William going off together | 0:37:47 | 0:37:51 | |
would work, she would lose absolutely everything. | 0:37:51 | 0:37:53 | |
Roger, who are you accusing? | 0:37:53 | 0:37:55 | |
I have switched away from William - why would he kill his lover? - | 0:37:55 | 0:38:00 | |
to Amelia, on the basis of, "To whose benefit?" | 0:38:00 | 0:38:05 | |
-Ellouise? -Hi. | 0:38:07 | 0:38:08 | |
Who are you accusing? | 0:38:08 | 0:38:10 | |
-Bill. -Why? | 0:38:10 | 0:38:12 | |
-William checked out the gun, how... -Yep. | 0:38:12 | 0:38:15 | |
We haven't seen how she, Amelia, would have got the gun, | 0:38:15 | 0:38:19 | |
whereas Bill had access to that other gun. | 0:38:19 | 0:38:23 | |
And that is all I have. | 0:38:23 | 0:38:24 | |
Well, I mean, it's as valid a theory as anything else. | 0:38:24 | 0:38:27 | |
So, in summary, Simon has gone for Amelia, | 0:38:27 | 0:38:29 | |
Roger has gone for Amelia, and Ellouise has gone for Bill. | 0:38:29 | 0:38:34 | |
Now, you left one final piece of evidence. | 0:38:34 | 0:38:36 | |
Will it shed any clearer light on the situation? | 0:38:36 | 0:38:40 | |
It was a photograph taken by Finn on the moor. | 0:38:40 | 0:38:42 | |
Let's have a look at it. | 0:38:42 | 0:38:43 | |
Now, that is Harriet at 15:12. | 0:38:43 | 0:38:47 | |
And there's another gun behind it. | 0:38:47 | 0:38:49 | |
Because you were all assuming it was going to be | 0:38:49 | 0:38:51 | |
a picture of William coming out of the forest, | 0:38:51 | 0:38:54 | |
and it's not at all, is it? | 0:38:54 | 0:38:56 | |
-Never assume. -Finn's lied. | 0:38:56 | 0:38:58 | |
Why do you think Finn lied? | 0:38:58 | 0:38:59 | |
Because he said that the actual picture had William walking away | 0:38:59 | 0:39:04 | |
from the north side of the woods. | 0:39:04 | 0:39:06 | |
He's led us up the primrose path. | 0:39:06 | 0:39:08 | |
OK. | 0:39:08 | 0:39:10 | |
I feel like Bill is not actually that far off. | 0:39:10 | 0:39:12 | |
Well, Armchair Detectives, | 0:39:14 | 0:39:15 | |
what really happened in today's story, High Class Killer? | 0:39:15 | 0:39:19 | |
Who killed George Wilson? | 0:39:19 | 0:39:21 | |
Let's find out whodunnit. | 0:39:21 | 0:39:23 | |
So, here's what we think - using your knowledge of guns, you were | 0:39:30 | 0:39:36 | |
able to break down the gun into pieces. | 0:39:36 | 0:39:39 | |
You were then able to fit those pieces into your bag. | 0:39:40 | 0:39:43 | |
Then while Blake went back into the house to swap | 0:39:44 | 0:39:46 | |
the shells for the correct type, you saw your chance. | 0:39:46 | 0:39:49 | |
George was walking down the path on his own, you put the shotgun | 0:39:49 | 0:39:54 | |
back together in one piece and shot him in cold blood. | 0:39:54 | 0:39:57 | |
Without saying a word, you then got back into the car | 0:39:58 | 0:40:01 | |
and returned to the grouse shoot with Blake none the wiser. | 0:40:01 | 0:40:04 | |
My gun was at the hideout at the grouse field. | 0:40:06 | 0:40:08 | |
Finn even took a photo of it at the time. | 0:40:08 | 0:40:10 | |
No gun, no proof. | 0:40:10 | 0:40:12 | |
We found this at the grouse hideout. The dogs sniffed it out. | 0:40:21 | 0:40:26 | |
I dare say it has your DNA on it as well as your scent. | 0:40:26 | 0:40:29 | |
Could be any old piece of rubbish. | 0:40:30 | 0:40:32 | |
Could be, but I think you used the plumber's car | 0:40:33 | 0:40:37 | |
because you knew it had this PVC piping inside it. | 0:40:37 | 0:40:41 | |
You then arranged the piping so that it looked like your gun | 0:40:42 | 0:40:46 | |
inside your bag, which you then placed in the grouse hideout. | 0:40:46 | 0:40:50 | |
Finn photographed the piping, he didn't photograph your gun, | 0:40:52 | 0:40:57 | |
because your gun was broken into pieces inside your bag. | 0:40:57 | 0:41:00 | |
If you say so. | 0:41:02 | 0:41:03 | |
You deliberately took the wrong gun. | 0:41:03 | 0:41:06 | |
Can you sign me out for a 20-bore, Bill? | 0:41:06 | 0:41:09 | |
A 12-bore. | 0:41:09 | 0:41:10 | |
Thanks. | 0:41:12 | 0:41:13 | |
Must dash, the others are waiting. | 0:41:13 | 0:41:15 | |
And drove up to the north field. | 0:41:15 | 0:41:17 | |
When Blake and Harriet ran out of ammunition, Blake then | 0:41:18 | 0:41:22 | |
realised that the cartridges he'd brought by mistake wouldn't | 0:41:22 | 0:41:25 | |
fit in either his or Harriet's guns. | 0:41:25 | 0:41:28 | |
So you took a couple of shells from Blake's box, | 0:41:28 | 0:41:33 | |
offered to run Blake back to the house so that he could swap them, | 0:41:33 | 0:41:39 | |
and, doing that, you committed the ultimate crime. | 0:41:39 | 0:41:41 | |
You knew that the bird shooters were likely to avoid suspicion. | 0:41:44 | 0:41:48 | |
Again, if you say so. | 0:41:50 | 0:41:52 | |
I do say so. | 0:41:54 | 0:41:56 | |
You were horrified that your son was having a relationship | 0:41:57 | 0:42:01 | |
with George Wilson. | 0:42:01 | 0:42:03 | |
Now, whether that was because George was a man | 0:42:03 | 0:42:05 | |
or because he was a butler, I can't tell you. | 0:42:05 | 0:42:08 | |
But when George threatened to expose your financial dealings, | 0:42:08 | 0:42:11 | |
you felt you were left with no choice. | 0:42:11 | 0:42:13 | |
William has so much going for him. | 0:42:16 | 0:42:19 | |
He was going to throw it all away on that lowbred blackmailer! | 0:42:19 | 0:42:22 | |
Amelia Anderson, I am arresting you on suspicion of the murder | 0:42:24 | 0:42:26 | |
of George Wilson. | 0:42:26 | 0:42:28 | |
Well done, Simon, well done, Roger - you both picked the killer, | 0:42:33 | 0:42:38 | |
and win another gold magnifying glass trophy! | 0:42:38 | 0:42:41 | |
CHEERING | 0:42:41 | 0:42:42 | |
Tough luck, Ellouise. | 0:42:43 | 0:42:45 | |
So just one thing, which is the napkin. | 0:42:45 | 0:42:47 | |
143 stands for "I love you." | 0:42:47 | 0:42:52 | |
It's an old code that you used to use at school. | 0:42:52 | 0:42:54 | |
THEY SIGH | 0:42:54 | 0:42:56 | |
Over here, how many of you got it right? | 0:42:56 | 0:42:58 | |
Well, that's all from Armchair Detectives. | 0:42:58 | 0:43:00 | |
Join us tomorrow to see deadly amounts of fake tan | 0:43:00 | 0:43:04 | |
and killer heels lead to disaster at a beauty pageant. | 0:43:04 | 0:43:08 | |
And remember, no-one gets away with murder in Mortcliff. | 0:43:08 | 0:43:11 | |
Goodbye. | 0:43:13 | 0:43:14 | |
Well done, darling. Well done, darling. | 0:43:15 | 0:43:18 | |
Well done, darling, well done. | 0:43:18 | 0:43:20 | |
Tough one. | 0:43:20 | 0:43:21 |