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Your auntie baked a tart with a secret ingredient. | 0:00:02 | 0:00:04 | |
She thinks no-one knows what it is, | 0:00:04 | 0:00:05 | |
but you spotted the jammy fingerprint on the fridge. | 0:00:05 | 0:00:07 | |
Nothing gets past you. That's why you've tuned in today. | 0:00:07 | 0:00:10 | |
Welcome to the TV show with only one question - | 0:00:10 | 0:00:13 | |
whodunit? | 0:00:13 | 0:00:14 | |
Welcome to Armchair Detectives, | 0:00:28 | 0:00:30 | |
the show where these 15 murder mystery enthusiasts | 0:00:30 | 0:00:33 | |
will try and solve a deadly crime. | 0:00:33 | 0:00:36 | |
Our amateur sleuths immerse themselves | 0:00:36 | 0:00:38 | |
into a fictional investigation set in Mortcliff, | 0:00:38 | 0:00:42 | |
the village you're better off driving past. | 0:00:42 | 0:00:45 | |
Searching for the means, motive and opportunity | 0:00:45 | 0:00:48 | |
is Mortcliff's top coppers, DI Knight, DC Slater | 0:00:48 | 0:00:52 | |
and Scene of Crime Officer Simmons. | 0:00:52 | 0:00:55 | |
Before we head to Mortcliff for the first time, | 0:00:55 | 0:00:57 | |
let's meet our Armchair Detectives. | 0:00:57 | 0:00:59 | |
-Hello, Armchair Detectives. ALL: -Hi. | 0:00:59 | 0:01:02 | |
It's so beautiful. | 0:01:02 | 0:01:03 | |
Only three of you play each day, | 0:01:03 | 0:01:05 | |
so please take your armchairs, | 0:01:05 | 0:01:07 | |
Toria, Dipak and Charley, come on up! | 0:01:07 | 0:01:09 | |
CHEERING | 0:01:09 | 0:01:12 | |
As you know by now, | 0:01:16 | 0:01:17 | |
the detective guessing the killer correctly | 0:01:17 | 0:01:19 | |
will win one of these - | 0:01:19 | 0:01:21 | |
our golden magnifying glass trophy. | 0:01:21 | 0:01:24 | |
OOH-ING | 0:01:24 | 0:01:26 | |
They do that every day for me. | 0:01:26 | 0:01:28 | |
You've all played Armchair Detectives | 0:01:28 | 0:01:30 | |
at least twice now. | 0:01:30 | 0:01:31 | |
Is it getting competitive, Toria? | 0:01:31 | 0:01:35 | |
-Yes. -LAUGHTER | 0:01:35 | 0:01:37 | |
In simple terms - yes, it is. Is it getting competitive, Dipak? | 0:01:37 | 0:01:40 | |
Definitely. | 0:01:40 | 0:01:41 | |
Oh, my goodness. They're in the zone. | 0:01:42 | 0:01:44 | |
Charley, competitive? | 0:01:44 | 0:01:46 | |
A little bit, yes. | 0:01:46 | 0:01:47 | |
I mean, I dipped my last one and I've been beating myself | 0:01:47 | 0:01:49 | |
up and down the room since that | 0:01:49 | 0:01:51 | |
-cos I just changed at the last moment, so... -Yeah. | 0:01:51 | 0:01:54 | |
Do you know what? It happens a lot. | 0:01:54 | 0:01:55 | |
You just go, "Oh, no I'm not going to trust my gut instinct." | 0:01:55 | 0:01:58 | |
You change, and then you get it completely wrong. | 0:01:58 | 0:02:00 | |
Good luck, Charley. | 0:02:00 | 0:02:01 | |
LAUGHTER | 0:02:01 | 0:02:02 | |
It's time for Round One, the crime scene. | 0:02:02 | 0:02:05 | |
Knight and Slater meet Simmons, | 0:02:05 | 0:02:07 | |
who's found the victim in unusual circumstances at the local library. | 0:02:07 | 0:02:11 | |
Notepads at the ready. For the first time today, | 0:02:11 | 0:02:15 | |
let's head over to Mortcliff. | 0:02:15 | 0:02:17 | |
The deceased is Jim Tiddlesworth, local librarian. | 0:02:26 | 0:02:32 | |
Evening, Simmons. | 0:02:32 | 0:02:34 | |
So...this is not natural causes? | 0:02:34 | 0:02:39 | |
It's impossible to be conclusive at this point. | 0:02:39 | 0:02:42 | |
No obvious signs of injury, | 0:02:42 | 0:02:44 | |
other than a slight bump on the back of the head. | 0:02:44 | 0:02:47 | |
Could have been a heart attack or haematoma. | 0:02:48 | 0:02:51 | |
The room was locked when the uniforms arrived. | 0:02:52 | 0:02:55 | |
Judging by the carpet indentations, | 0:02:57 | 0:02:59 | |
this particular shelf | 0:02:59 | 0:03:01 | |
had been standing in the same place for years. | 0:03:01 | 0:03:03 | |
In Cold Blood and Catch Me If You Can. Interesting. | 0:03:05 | 0:03:09 | |
Message from the killer, sir? | 0:03:09 | 0:03:11 | |
Heavy books falling on an elderly man | 0:03:13 | 0:03:17 | |
could cause severe intracranial injury. | 0:03:17 | 0:03:19 | |
But not enough to cause instantaneous death. | 0:03:19 | 0:03:23 | |
It's feasible. He was knocked over, he got up, | 0:03:23 | 0:03:28 | |
walked over here, sat down, | 0:03:28 | 0:03:31 | |
and the haematoma kicked in. | 0:03:31 | 0:03:33 | |
This shelf is pretty robust, Simmons. | 0:03:34 | 0:03:37 | |
I'm thinking it definitely had some help. | 0:03:37 | 0:03:41 | |
We are dusting for prints. | 0:03:41 | 0:03:43 | |
As soon as I know, you'll know. | 0:03:43 | 0:03:46 | |
Sir, the desk sarge just let me know, | 0:03:46 | 0:03:48 | |
Jim's wife Kitty reported him missing earlier today. | 0:03:48 | 0:03:51 | |
Let's go and pay her a visit, shall we? | 0:03:54 | 0:03:56 | |
I always said those books would be the death of him. | 0:04:06 | 0:04:10 | |
That's why when he started writing these articles | 0:04:10 | 0:04:13 | |
I was so thrilled, until I read them. | 0:04:13 | 0:04:17 | |
Who was he writing them for? | 0:04:18 | 0:04:20 | |
The Mortcliff Mercury. | 0:04:20 | 0:04:22 | |
She begged him, she did, for years, to write. | 0:04:22 | 0:04:26 | |
Sorry, "she" being who? | 0:04:29 | 0:04:32 | |
Maxine Taylor. | 0:04:32 | 0:04:34 | |
She filled his head with stupid notions | 0:04:34 | 0:04:38 | |
of being just like Piers Morgan, I ask you! | 0:04:38 | 0:04:43 | |
Right. | 0:04:45 | 0:04:47 | |
Raventhorpe was his nom de plume. | 0:04:51 | 0:04:54 | |
I thought it a lot of nonsense at first, | 0:04:55 | 0:04:57 | |
but then when the threats started. | 0:04:57 | 0:05:02 | |
What kind of threats were they? | 0:05:02 | 0:05:03 | |
They didn't come here, they went to the paper - | 0:05:03 | 0:05:06 | |
e-mails and the like. | 0:05:06 | 0:05:08 | |
That's why I was worried when he didn't come home | 0:05:08 | 0:05:11 | |
at lunchtime as arranged. | 0:05:11 | 0:05:14 | |
He'd only written two articles, but they'd made people angry. | 0:05:14 | 0:05:18 | |
He wanted to show what was really happening | 0:05:18 | 0:05:21 | |
to decent people in this town. | 0:05:21 | 0:05:24 | |
Do you know this Patsie Leaning? | 0:05:24 | 0:05:26 | |
She owns the B&B on the old Tarbuck Road. | 0:05:26 | 0:05:30 | |
So Jim's article was going to reveal that? | 0:05:30 | 0:05:32 | |
Exactly. | 0:05:32 | 0:05:34 | |
A nicer man you couldn't hope to meet. | 0:05:34 | 0:05:37 | |
Tristan Staite doesn't deserve to be seen with the likes of her. | 0:05:37 | 0:05:43 | |
I knew there'd be some kind of article | 0:05:51 | 0:05:53 | |
about me coming to this hotel with Tristan, | 0:05:53 | 0:05:55 | |
as well as with others. | 0:05:55 | 0:05:58 | |
We're all adults, aren't we? | 0:05:58 | 0:05:59 | |
Who told you, if you don't mind me asking? | 0:06:01 | 0:06:03 | |
An anonymous text. Yeah, from a private number. | 0:06:04 | 0:06:08 | |
Do you know Jim Tiddlesworth? | 0:06:10 | 0:06:12 | |
His wife has always had it in for me. | 0:06:13 | 0:06:16 | |
I saw him yesterday, same as always. | 0:06:16 | 0:06:19 | |
When was that, Mr Staite? | 0:06:19 | 0:06:21 | |
It was around 12.30 when I returned books. | 0:06:21 | 0:06:24 | |
Which books were they? | 0:06:26 | 0:06:28 | |
The History Of Kew Gardens and Ancient Chinese Gardens. | 0:06:28 | 0:06:31 | |
Was there anything about his behaviour | 0:06:31 | 0:06:34 | |
that struck you as unusual or strange? | 0:06:34 | 0:06:36 | |
Why? What's happened? | 0:06:38 | 0:06:40 | |
Curiouser and curiouser. | 0:06:47 | 0:06:49 | |
Armchair Detectives, tell me what's going on. | 0:06:49 | 0:06:52 | |
I kind of quite quickly noticed The History Of Kew Gardens, | 0:06:52 | 0:06:55 | |
and I thought maybe I'm just really into gardening, | 0:06:55 | 0:06:58 | |
but he mentioned that he returned that book | 0:06:58 | 0:07:00 | |
and the Chinese Gardens, | 0:07:00 | 0:07:02 | |
so I feel like these books have got to be significant, | 0:07:02 | 0:07:04 | |
because it was a pile of crime books, I think, | 0:07:04 | 0:07:06 | |
that was knocked over. | 0:07:06 | 0:07:07 | |
-With the exception of two gardening books, yeah. -Of those two. | 0:07:07 | 0:07:10 | |
I think the wife was going on about threatening e-mails. | 0:07:10 | 0:07:12 | |
-Yeah, which had been sent. -That had made an impact as well. | 0:07:12 | 0:07:15 | |
Patsie said something about an anonymous text | 0:07:15 | 0:07:16 | |
-from a private number. -Yeah. | 0:07:16 | 0:07:18 | |
That's how she found that the article was going to be posted, | 0:07:18 | 0:07:20 | |
cos it hadn't been posted in the Mercury yet. | 0:07:20 | 0:07:22 | |
Let's get the victim's details up | 0:07:22 | 0:07:23 | |
cos that might help us with this discussion. | 0:07:23 | 0:07:25 | |
So, remember, today we're investigating the death | 0:07:25 | 0:07:28 | |
of Jim Tiddlesworth. He was aged 70. | 0:07:28 | 0:07:30 | |
Jim was a librarian at the Mortcliff Library and a writer. | 0:07:30 | 0:07:33 | |
He was married with two children. | 0:07:33 | 0:07:35 | |
The cause of death is suspected heart attack | 0:07:35 | 0:07:38 | |
or haematoma due to a head injury. | 0:07:38 | 0:07:40 | |
The time of death is still under investigation. | 0:07:40 | 0:07:43 | |
I don't know, it's maybe a bit ageist, | 0:07:43 | 0:07:45 | |
but I wonder why now he's decided to start writing these articles. | 0:07:45 | 0:07:48 | |
Has he got an axe to grind? | 0:07:48 | 0:07:50 | |
It's not like you suddenly flip over and go, | 0:07:50 | 0:07:52 | |
"That's it, I'm going to be expose from now on." | 0:07:52 | 0:07:54 | |
So it's obviously built up towards something by being a librarian. | 0:07:54 | 0:07:57 | |
-It's quite a curious thing. -Yeah. | 0:07:57 | 0:07:58 | |
Let me bring up the suspects as well for you | 0:07:58 | 0:08:00 | |
so we can talk around them as well. The suspects so far are - | 0:08:00 | 0:08:03 | |
Kitty Tiddlesworth, Jim's wife, | 0:08:03 | 0:08:06 | |
Patsie Leaning, the B&B owner, | 0:08:06 | 0:08:09 | |
Tristan Staite, landscape gardener, | 0:08:09 | 0:08:12 | |
and Maxine Taylor, who we've not met yet, | 0:08:12 | 0:08:15 | |
who is the editor of the Mortcliff Mercury. | 0:08:15 | 0:08:18 | |
-Definitely want to know who they are and what they're up to. -Yeah. | 0:08:18 | 0:08:21 | |
They're obviously hiding probably a whole load of things. | 0:08:21 | 0:08:24 | |
There's got to be more about Maxine. | 0:08:24 | 0:08:27 | |
You're in charge of something that could unhinge people, | 0:08:27 | 0:08:31 | |
you're using the victim as a as a horse to peddle something | 0:08:31 | 0:08:34 | |
that she's after, and then might...you might know more... | 0:08:34 | 0:08:36 | |
-Maybe, maybe. Yeah. -Stomping horse, that as the editor, yeah. | 0:08:36 | 0:08:39 | |
Is it just about sales or is she quite an antagonistic person? | 0:08:39 | 0:08:42 | |
If she's been picked up, pushed into this role, | 0:08:42 | 0:08:44 | |
got a handful of death threats | 0:08:44 | 0:08:46 | |
and then offed by the editor, then that's circulation a go-go, that is. | 0:08:46 | 0:08:49 | |
Bear in mind all these questions, Armchair Detectives, | 0:08:49 | 0:08:51 | |
here is your first piece of evidence. | 0:08:51 | 0:08:54 | |
It is a floor plan for the library. | 0:08:54 | 0:08:58 | |
So the shelf that went over was front right | 0:08:58 | 0:09:00 | |
as you're sitting behind the desk. | 0:09:00 | 0:09:03 | |
So which one do we think went over? | 0:09:03 | 0:09:05 | |
Looked like 300 to 499. | 0:09:05 | 0:09:07 | |
It did, but that said on the Dewey Decimal thing | 0:09:07 | 0:09:09 | |
that crime fiction was 600, | 0:09:09 | 0:09:11 | |
which should be the shelf behind, | 0:09:11 | 0:09:12 | |
which would also include the non-fiction for the gardening books. | 0:09:12 | 0:09:16 | |
So by a process of hopeful elimination, | 0:09:16 | 0:09:18 | |
it would be back right, if we go one, two, three, four... | 0:09:18 | 0:09:22 | |
-Nearest the fire exit. -..it would be number four nearest the fire exit. | 0:09:22 | 0:09:25 | |
-Yeah, so definitely the right-hand side. -Take a note of that. | 0:09:25 | 0:09:27 | |
That might come in handy later on. | 0:09:27 | 0:09:29 | |
Now it's time for Round Two, last movements. | 0:09:29 | 0:09:32 | |
We're about to see Jim Tiddlesworth | 0:09:32 | 0:09:34 | |
in the final moments before his death. | 0:09:34 | 0:09:36 | |
Let's head back to Mortcliff. | 0:09:36 | 0:09:38 | |
Tristan Staite's advert for tomorrow's paper, | 0:09:50 | 0:09:53 | |
how many freebies did you promise? | 0:09:53 | 0:09:55 | |
Two or three, I can't remember. | 0:09:55 | 0:09:57 | |
Have you contacted Raventhorpe about the revised article? | 0:09:57 | 0:10:00 | |
Yeah, so far no word from him. | 0:10:00 | 0:10:01 | |
Maxine, we need advertisers to pay. | 0:10:01 | 0:10:03 | |
If we offer Tristan freebies, | 0:10:03 | 0:10:05 | |
how many others are going to expect the same thing? | 0:10:05 | 0:10:07 | |
If Raventhorpe doesn't deliver, then... | 0:10:07 | 0:10:10 | |
Blessing in disguise, really. | 0:10:10 | 0:10:12 | |
I'll crack on with a filler piece. | 0:10:12 | 0:10:14 | |
Maybe we'll have a quieter week, eh? | 0:10:14 | 0:10:16 | |
Oh, got yourself all mixed up, love. | 0:10:16 | 0:10:19 | |
She's really busy and not to be disturbed. | 0:10:25 | 0:10:27 | |
She'll see me all right, | 0:10:27 | 0:10:29 | |
if she's interested in the future of this paper! | 0:10:29 | 0:10:31 | |
Mr Robertson! | 0:10:31 | 0:10:32 | |
Warren. | 0:10:34 | 0:10:35 | |
I'm sorry, Maxine. | 0:10:35 | 0:10:36 | |
Two visits in two days, should I book you in for tomorrow? | 0:10:36 | 0:10:39 | |
What gives you the right to play God with other people's lives? | 0:10:39 | 0:10:41 | |
It's fine. | 0:10:41 | 0:10:42 | |
We publish the facts and nothing else. | 0:10:47 | 0:10:49 | |
I'm one of your biggest advertisers. | 0:10:49 | 0:10:52 | |
I'll pull all the advertising. | 0:10:52 | 0:10:54 | |
Warren? Sit down. Come on, sit. | 0:10:54 | 0:10:57 | |
-I can't breathe. -Well, just take your time. Slowly just... | 0:10:57 | 0:11:00 | |
Just breathe in, just breathe. | 0:11:00 | 0:11:02 | |
Breathe. | 0:11:02 | 0:11:03 | |
Here, look, take one of these. | 0:11:03 | 0:11:05 | |
They're my lifeline, they're perfect for stress. | 0:11:05 | 0:11:08 | |
I promise you, this will do you good. | 0:11:10 | 0:11:12 | |
Every little helps. | 0:11:23 | 0:11:25 | |
I will look into this, Warren, now. | 0:11:38 | 0:11:40 | |
-You all right, Jim? -Oh, hello, old chap. | 0:11:47 | 0:11:50 | |
You done with these already? | 0:11:50 | 0:11:51 | |
Well, no, but I'm going away for a few days. | 0:11:51 | 0:11:53 | |
I thought I could drop these before they're due. | 0:11:53 | 0:11:55 | |
Can always collect them on the way back. | 0:11:55 | 0:11:57 | |
Oh, come on, Tristan, we'll never get there at this rate. | 0:11:57 | 0:12:00 | |
OK, if you give me a sec. | 0:12:00 | 0:12:02 | |
Are you going anywhere special? | 0:12:03 | 0:12:05 | |
Just the Moorcroft Country Inn for a couple of days. | 0:12:05 | 0:12:07 | |
Oh, right. Well, enjoy yourselves. | 0:12:07 | 0:12:08 | |
Keep my books for me, eh? | 0:12:08 | 0:12:09 | |
Will do. Just going to lock up. | 0:12:09 | 0:12:12 | |
KEYS JANGLE | 0:12:21 | 0:12:22 | |
CLATTERING | 0:12:24 | 0:12:28 | |
GROANING | 0:12:28 | 0:12:29 | |
Again, lots and lots of information in that film. | 0:12:38 | 0:12:41 | |
Talk me through what you saw. | 0:12:41 | 0:12:44 | |
Well, I think definitely the idea of Maxine | 0:12:44 | 0:12:46 | |
kind of set him up as Raventhorpe and then get rid of him | 0:12:46 | 0:12:49 | |
was looking quite nice because she went, | 0:12:49 | 0:12:52 | |
"Have we got anything from Raventhorpe yet?" | 0:12:52 | 0:12:54 | |
Then sort of looked philosophical and said, | 0:12:54 | 0:12:56 | |
"Hmm, might be a blessing in disguise." | 0:12:56 | 0:12:58 | |
That sort of seemed quite... | 0:12:58 | 0:12:59 | |
That article had something to do with the advertising | 0:12:59 | 0:13:02 | |
coming from Tristan. | 0:13:02 | 0:13:04 | |
-Yes. -Let me... Let me add the new suspects for you, | 0:13:04 | 0:13:06 | |
cos this might help out. So we've now met Maxine Taylor, | 0:13:06 | 0:13:09 | |
the editor of the Mortcliff Mercury. | 0:13:09 | 0:13:11 | |
Also Keegan Meeke, features editor. | 0:13:11 | 0:13:14 | |
And Warren Robertson, the MD of WR Carpets. | 0:13:14 | 0:13:20 | |
What is Keegan Meeke so adamant to eavesdrop on? | 0:13:20 | 0:13:23 | |
And is Maxine the only person | 0:13:23 | 0:13:26 | |
that knows the pseudonym for the writer as well? | 0:13:26 | 0:13:29 | |
Cos it seemed to be kept a secret in the office, | 0:13:29 | 0:13:31 | |
because she was only referring to him by the... | 0:13:31 | 0:13:34 | |
by the writer's name as well, wasn't it? | 0:13:34 | 0:13:35 | |
-Yeah, actually who knows who he actually is? -Yeah. | 0:13:35 | 0:13:38 | |
Warren has put in a bunch of advertising, | 0:13:38 | 0:13:40 | |
he's probably been suckered in with free advertising from Maxine | 0:13:40 | 0:13:42 | |
and then got both barrels of a story that's kind of exposing him. | 0:13:42 | 0:13:45 | |
Tristan, with his business, has had two or three free adverts, | 0:13:45 | 0:13:48 | |
so they're being lured in, | 0:13:48 | 0:13:50 | |
and so then Maxine can say, | 0:13:50 | 0:13:51 | |
"The paper's not beholden to anyone, | 0:13:51 | 0:13:53 | |
"we've run explosive stories on two companies | 0:13:53 | 0:13:56 | |
"that have been our advertisers. | 0:13:56 | 0:13:58 | |
"Look at how awesome we are, | 0:13:58 | 0:13:59 | |
"an investigative journalist has got killed." You know? | 0:13:59 | 0:14:02 | |
So we're saying Warren might be the other article victim? | 0:14:02 | 0:14:05 | |
Warren might be the other article or it could be | 0:14:05 | 0:14:07 | |
completely something different, but what do we think? | 0:14:07 | 0:14:09 | |
-Does that sound plausible or... -Everything's plausible | 0:14:09 | 0:14:11 | |
because we haven't got enough, really. | 0:14:11 | 0:14:13 | |
Think about all your questions, let me help you out. | 0:14:13 | 0:14:15 | |
Now is your chance to pick a piece of evidence. | 0:14:15 | 0:14:17 | |
We have... | 0:14:17 | 0:14:19 | |
a glance at Mortcliff's local paper. | 0:14:19 | 0:14:22 | |
Just a glance. | 0:14:22 | 0:14:23 | |
Or Tristan's gardening ad copy for the paper. | 0:14:23 | 0:14:27 | |
Finally, the Moorcroft Inn guest book. | 0:14:27 | 0:14:31 | |
I want to see forensic evidence, is what I want to see. | 0:14:31 | 0:14:34 | |
-Yeah, yeah. -Well, let me just... Hold on a second, Dipak. | 0:14:34 | 0:14:36 | |
Eh, no. | 0:14:36 | 0:14:37 | |
No forensics. | 0:14:37 | 0:14:38 | |
I would say take a look at the Mortcliff Mercury, | 0:14:40 | 0:14:42 | |
cos that can confirm or deny | 0:14:42 | 0:14:43 | |
whether or not Warren Robertson was the target of the previous hit, | 0:14:43 | 0:14:46 | |
and if it's something completely different, | 0:14:46 | 0:14:48 | |
then we know I'm barking up the wrong tree. Thoughts? | 0:14:48 | 0:14:51 | |
But you're doing some really convincing barking. | 0:14:51 | 0:14:53 | |
-Oh, yeah, I'm convincing myself. -That was a really convincing bark. | 0:14:53 | 0:14:56 | |
-That doesn't mean I'm right. -That was a definite woof. | 0:14:56 | 0:14:58 | |
-I'll go with the woof. -You're going to go with the woof? | 0:14:58 | 0:15:01 | |
Let's start somewhere until we get some proper evidence. | 0:15:01 | 0:15:03 | |
Right. So... | 0:15:03 | 0:15:04 | |
CLAMOURING | 0:15:04 | 0:15:07 | |
It's all proper evidence. It's how you interpret it, Dipak. | 0:15:07 | 0:15:11 | |
LAUGHTER | 0:15:11 | 0:15:13 | |
So you're wanting to see the Mortcliff Mercury? | 0:15:13 | 0:15:15 | |
Please. | 0:15:15 | 0:15:16 | |
LAUGHTER AND APPLAUSE | 0:15:18 | 0:15:21 | |
It literally is a glance. | 0:15:24 | 0:15:26 | |
-Touche. -Have a look. | 0:15:26 | 0:15:28 | |
-Do you see... -So it comes out on the Thursday. | 0:15:28 | 0:15:31 | |
-Yeah. -He died Wednesday, nine o'clock, | 0:15:31 | 0:15:32 | |
9pm was when the body was discovered, | 0:15:32 | 0:15:35 | |
and it was going to be released on Thursday. | 0:15:35 | 0:15:37 | |
So potentially before the deadline. | 0:15:37 | 0:15:38 | |
Seems like if you had a motive against trying to stop | 0:15:38 | 0:15:40 | |
-what was about to be printed in the paper... -Yes, mm-hmm. | 0:15:40 | 0:15:43 | |
..it would suggest that you knew what was about to be printed, | 0:15:43 | 0:15:45 | |
or you'd had enough, it was going to be printed anyway | 0:15:45 | 0:15:48 | |
and this person needed to be out of life. Gone. | 0:15:48 | 0:15:52 | |
Armchair Detectives, it's time to lock in your prime suspect. | 0:15:52 | 0:15:56 | |
Now. | 0:15:56 | 0:15:57 | |
Toria, who have you chosen and why? | 0:16:04 | 0:16:06 | |
I have chosen Maxine at this stage. | 0:16:06 | 0:16:08 | |
Why? | 0:16:08 | 0:16:10 | |
Those pills. My question is maybe whatever it is is heart related, | 0:16:10 | 0:16:13 | |
and an overdose of that could have caused a heart.. | 0:16:13 | 0:16:17 | |
Because of course we still don't know exactly | 0:16:17 | 0:16:19 | |
what the cause of death is. | 0:16:19 | 0:16:21 | |
Dipak, who have you chosen as your prime suspect? | 0:16:21 | 0:16:23 | |
I have gone for the extremely suspicious Maxine. | 0:16:23 | 0:16:26 | |
-Because? -She's kind of got the only motive | 0:16:26 | 0:16:28 | |
to why she needs to get rid of this person | 0:16:28 | 0:16:31 | |
who's causing more trouble for her than she might have realised. | 0:16:31 | 0:16:33 | |
Charley? | 0:16:33 | 0:16:35 | |
I've gone for Kitty, the wife. | 0:16:35 | 0:16:36 | |
Right. Excuse me, pardon me? | 0:16:36 | 0:16:37 | |
-Kitty the wife. -You've gone for the elderly, bereaved... | 0:16:37 | 0:16:41 | |
LAUGHTER | 0:16:41 | 0:16:43 | |
-Bingo. -You've gone for a sweet-looking old lady... | 0:16:43 | 0:16:46 | |
-Exactly. -You can't rule anyone out. | 0:16:46 | 0:16:47 | |
..who has so far not featured apart from being clearly grief stricken? | 0:16:47 | 0:16:51 | |
One moment, I'm waiting for this. Right. | 0:16:51 | 0:16:53 | |
Yeah, not yet. Hold on a sec. Right, wait a minute. | 0:16:53 | 0:16:56 | |
OK. Kitty has been there, she's spent her entire life | 0:16:56 | 0:16:58 | |
in her husband's shadow, she's always been a frustrated journalist. | 0:16:58 | 0:17:01 | |
A life under a different nom de plume perhaps, I don't know, | 0:17:01 | 0:17:03 | |
Dovethorpe, and suddenly the husband's getting the notice, | 0:17:03 | 0:17:06 | |
the husband's getting all this sort of stuff. | 0:17:06 | 0:17:07 | |
She's sick of it, she goes in one day, undoes a wing nut, | 0:17:07 | 0:17:10 | |
she knows exactly which one in the library, cascade of books. | 0:17:10 | 0:17:13 | |
She just meant to teach him a lesson | 0:17:13 | 0:17:15 | |
and this sweet old lady will be behind bars. | 0:17:15 | 0:17:18 | |
LAUGHTER AND APPLAUSE | 0:17:18 | 0:17:20 | |
Oh, God. Charley, I hope this is the right answer. | 0:17:25 | 0:17:28 | |
I really do. | 0:17:28 | 0:17:30 | |
So to round up the suspects just now. | 0:17:30 | 0:17:33 | |
Toria has gone for Maxine, Dipak has gone for Maxine, | 0:17:33 | 0:17:37 | |
and Charley has just thrown all of the cards out, | 0:17:37 | 0:17:41 | |
and has gone for the grieving, beautiful, sensitive widow - Kitty. | 0:17:41 | 0:17:46 | |
And it's on to Round Three, the police interviews. | 0:17:48 | 0:17:51 | |
Knight and Slater have called in Warren, Patsie, | 0:17:51 | 0:17:54 | |
Tristan and Maxine for questioning. | 0:17:54 | 0:17:57 | |
Will the Mortcliff Four reveal a key clue? | 0:17:57 | 0:18:00 | |
It's off to the police station. | 0:18:00 | 0:18:03 | |
Can you confirm your whereabouts | 0:18:12 | 0:18:14 | |
on Wednesday at around 12 o'clock, midday? | 0:18:14 | 0:18:19 | |
I was with Maxine Taylor, | 0:18:20 | 0:18:23 | |
the editor of the Mortcliff Mercury in her office. | 0:18:23 | 0:18:28 | |
And that's on the third floor of the Mortcliff Library building? | 0:18:28 | 0:18:32 | |
Yes. | 0:18:32 | 0:18:34 | |
What was the nature of your visit? | 0:18:34 | 0:18:36 | |
That's a personal question. | 0:18:37 | 0:18:39 | |
Yes, it is. That's my job. | 0:18:39 | 0:18:41 | |
Well... | 0:18:44 | 0:18:46 | |
I'd gone to complain about an article. | 0:18:46 | 0:18:49 | |
She put me completely at ease. | 0:18:49 | 0:18:51 | |
I don't remember much, but it was very...amicable. | 0:18:53 | 0:18:57 | |
After that we drove to the Moorcroft Inn. | 0:18:59 | 0:19:02 | |
They had advertised a special that morning, | 0:19:02 | 0:19:05 | |
so I'd called Tristan to see if he was keen. He was. | 0:19:05 | 0:19:09 | |
I booked it and we got there just before one. | 0:19:09 | 0:19:13 | |
We spent the rest of the day and the night there. | 0:19:13 | 0:19:17 | |
So before you drove there you were at the library with Tristan? | 0:19:18 | 0:19:22 | |
Yeah, at about 12. | 0:19:22 | 0:19:25 | |
But I was just waiting for Tristan to drop off his books. | 0:19:25 | 0:19:28 | |
Who else was there? | 0:19:28 | 0:19:30 | |
I don't know I didn't see anyone. | 0:19:31 | 0:19:33 | |
You didn't go inside? | 0:19:33 | 0:19:35 | |
I popped my head in for a second | 0:19:35 | 0:19:37 | |
to ask Tristan to hurry up, but I wasn't paying attention. | 0:19:37 | 0:19:40 | |
So you saw no-one arrive or leave? | 0:19:41 | 0:19:44 | |
No. | 0:19:44 | 0:19:45 | |
So as far as you're aware, | 0:19:46 | 0:19:49 | |
Tristan was the only person in the library with Jim? | 0:19:49 | 0:19:53 | |
Yes, but then he left and we spent the whole of the day together. | 0:19:55 | 0:20:00 | |
So I told him where I was going and then we left. | 0:20:01 | 0:20:06 | |
What is the nature of your relationship with Patsie Leaning? | 0:20:07 | 0:20:11 | |
We're friends. | 0:20:11 | 0:20:13 | |
Friends? | 0:20:13 | 0:20:14 | |
With benefits. | 0:20:15 | 0:20:16 | |
How does Patsie feel about that? | 0:20:18 | 0:20:20 | |
You'd have to ask her. | 0:20:21 | 0:20:23 | |
And it's not something you're ashamed of? | 0:20:23 | 0:20:26 | |
No, I wouldn't think so. | 0:20:26 | 0:20:27 | |
You never been lonely, Inspector? | 0:20:29 | 0:20:31 | |
Patsie's a nice woman. | 0:20:33 | 0:20:34 | |
And no-one else knew where you were going? | 0:20:37 | 0:20:39 | |
No-one apart from Jim. | 0:20:40 | 0:20:43 | |
Patsie only called me that morning. | 0:20:43 | 0:20:45 | |
Warren Robertson seems to have enjoyed | 0:20:49 | 0:20:51 | |
his meeting with you on Wednesday. | 0:20:51 | 0:20:53 | |
He was upset, but I calmed him down. | 0:20:53 | 0:20:56 | |
And what time did the meeting take place? | 0:20:57 | 0:20:59 | |
It was about 12-ish. | 0:20:59 | 0:21:02 | |
Keegan, my features editor, can confirm that. | 0:21:02 | 0:21:05 | |
And you were in your office with him the entire time? | 0:21:05 | 0:21:08 | |
Yes. He really was very agitated. | 0:21:08 | 0:21:11 | |
To be honest, I was a bit taken aback at how angry he was, | 0:21:12 | 0:21:16 | |
but he eventually saw sense. | 0:21:16 | 0:21:18 | |
What exactly was he angry about? | 0:21:18 | 0:21:20 | |
I don't think that's relevant to this investigation. | 0:21:21 | 0:21:25 | |
This is a murder investigation, Ms Taylor, everything is relevant. | 0:21:25 | 0:21:28 | |
Jim was my friend, a very good friend. | 0:21:31 | 0:21:34 | |
I've known him for years. | 0:21:34 | 0:21:36 | |
-VOICE BREAKING: -Poor Kitty, she'll be lost. | 0:21:36 | 0:21:39 | |
Why are you interrogating innocent people | 0:21:40 | 0:21:43 | |
when a cold-blooded killer stalks the streets? | 0:21:43 | 0:21:45 | |
We're doing our jobs, Ms Taylor. | 0:21:45 | 0:21:47 | |
Talking of jobs, how is yours going? | 0:21:49 | 0:21:53 | |
Busy as usual. | 0:21:54 | 0:21:56 | |
Not what I've heard. | 0:21:57 | 0:21:58 | |
I believe your readership is in decline, | 0:22:00 | 0:22:04 | |
that you're under tremendous pressure | 0:22:04 | 0:22:05 | |
to keep the advertising revenue while increasing readership. | 0:22:05 | 0:22:09 | |
Would you like a glass of water, Ms Taylor? | 0:22:16 | 0:22:18 | |
No. What I need is some breathing space. | 0:22:18 | 0:22:22 | |
Wouldn't a murder be an excellent way | 0:22:24 | 0:22:27 | |
for a newspaper to regain lost ground? | 0:22:27 | 0:22:30 | |
That is disgusting. | 0:22:30 | 0:22:32 | |
Please sit down, Ms Taylor, this interview isn't over. | 0:22:33 | 0:22:36 | |
Oh, I think it is. | 0:22:37 | 0:22:39 | |
I think DI Knight drinks too much coffee. Has anyone else noticed? | 0:22:43 | 0:22:47 | |
Tell me what came up in those interviews. | 0:22:47 | 0:22:49 | |
There's definitely a tie to do with what's going on with this paper, | 0:22:49 | 0:22:52 | |
and she's still on these stress tablets, which... | 0:22:52 | 0:22:55 | |
she seems to have seven. | 0:22:55 | 0:22:56 | |
Warren came out afterwards and said, | 0:22:56 | 0:22:58 | |
"I don't remember what the meeting was about." | 0:22:58 | 0:23:00 | |
Which means that either through a combination | 0:23:00 | 0:23:02 | |
of vast quantities of single malt or through these pills | 0:23:02 | 0:23:05 | |
he's forgotten what he was upset about. | 0:23:05 | 0:23:06 | |
He thinks he had a pleasant meeting. | 0:23:06 | 0:23:08 | |
Armchair Detectives, let me help you out a bit. | 0:23:08 | 0:23:10 | |
-Oh, please. -You can pick a piece of evidence. | 0:23:10 | 0:23:12 | |
We now have Tristan's gardening ad copy for the paper, | 0:23:12 | 0:23:16 | |
the Moorcroft Inn guest book, or a new piece of evidence, | 0:23:16 | 0:23:19 | |
Raventhorpe's last published column. | 0:23:19 | 0:23:21 | |
Go for the guest book, because that will at least eliminate or... | 0:23:21 | 0:23:24 | |
-Tell us if someone's telling a... -Yeah? | 0:23:24 | 0:23:26 | |
Or, "Had a great time, kiss, kiss, kiss." | 0:23:26 | 0:23:29 | |
The Moorcroft Inn guest book. Let's have a look at it. | 0:23:29 | 0:23:32 | |
Wednesday, 1.02pm, C Brown and G Jekyll. | 0:23:32 | 0:23:35 | |
12.15pm, Mr and Mrs J Craddock. | 0:23:35 | 0:23:39 | |
1.10pm, The Jones Family. | 0:23:39 | 0:23:41 | |
Well, the only ones that I think it could be on that list | 0:23:41 | 0:23:44 | |
would be Brown and Jekyll. | 0:23:44 | 0:23:46 | |
If it is them, but if it is them, | 0:23:46 | 0:23:47 | |
why are they going under a different name? | 0:23:47 | 0:23:49 | |
Well, what time did Patsie say that they'd checked into the hotel? | 0:23:49 | 0:23:52 | |
-One o'clock. -One o'clock. -Before one o'clock. | 0:23:52 | 0:23:55 | |
Do we accept 1.02pm to be before one o'clock? | 0:23:55 | 0:23:57 | |
Technically not, because it's after one o'clock, | 0:23:57 | 0:24:00 | |
but depends on what you see. | 0:24:00 | 0:24:01 | |
Well, it seems a remarkably precise number as well, you know, | 0:24:01 | 0:24:04 | |
who books in for 1.02pm unless they've gone, | 0:24:04 | 0:24:06 | |
"Ah, ah, ah, 1.02pm," as if to sort of prove a point on? | 0:24:06 | 0:24:09 | |
OK, guys, it's time to pick your prime suspect again, | 0:24:09 | 0:24:12 | |
let's have a look at the board. | 0:24:12 | 0:24:14 | |
Kitty, Patsie, Tristan, Maxine, Keegan, Warren. | 0:24:14 | 0:24:17 | |
Write the names in your notebooks now. | 0:24:17 | 0:24:20 | |
So, Toria, last time your prime suspect was... | 0:24:26 | 0:24:30 | |
-Maxine. Have you changed your mind? -Yes. | 0:24:30 | 0:24:33 | |
Who have you gone for? | 0:24:33 | 0:24:34 | |
Keegan. | 0:24:34 | 0:24:35 | |
Keegan?! | 0:24:35 | 0:24:37 | |
Why? | 0:24:37 | 0:24:39 | |
Something about the way he was listening into the door | 0:24:39 | 0:24:42 | |
and not reacting to the conversation. | 0:24:42 | 0:24:45 | |
Maybe he's desperate, so desperate to save his job | 0:24:45 | 0:24:48 | |
that he thinks killing someone | 0:24:48 | 0:24:51 | |
will generate enough readership to keep the paper going | 0:24:51 | 0:24:54 | |
and keep him in employment. | 0:24:54 | 0:24:55 | |
I mean it's extreme, but newspapers are facing a difficult time | 0:24:55 | 0:24:58 | |
just now, you never know. | 0:24:58 | 0:24:59 | |
Dipak, last time you went for Maxine, have you changed your mind? | 0:24:59 | 0:25:02 | |
-Yeah. Yeah, because I was wrong. I've gone for Tristan. -Yeah? | 0:25:02 | 0:25:05 | |
Why Tristan? | 0:25:05 | 0:25:06 | |
He's definitely lying about something. | 0:25:06 | 0:25:08 | |
Coming back to that crime scene and the whole point that | 0:25:08 | 0:25:11 | |
you've got a librarian who would allow two books | 0:25:11 | 0:25:13 | |
to be in the wrong section | 0:25:13 | 0:25:15 | |
or not be in the wrong section. | 0:25:15 | 0:25:16 | |
Has he put them away to stop people thinking he'd just been in and out? | 0:25:16 | 0:25:19 | |
Charley, last time you went for Kitty. | 0:25:19 | 0:25:21 | |
-Kitty, yes. -Have you changed your mind? | 0:25:21 | 0:25:23 | |
Well, obviously I took on board what you'd said | 0:25:23 | 0:25:25 | |
about how this sweet old lady couldn't conceivably be a murderer. | 0:25:25 | 0:25:28 | |
-Yes, uh-huh. -Then we got to the stage where Maxine has | 0:25:28 | 0:25:30 | |
these forgetfulness pills and a sort of Manchurian Candidate style | 0:25:30 | 0:25:34 | |
thing where she could programme, so I stuck with Kitty, | 0:25:34 | 0:25:37 | |
only she's now not working under her own control. | 0:25:37 | 0:25:39 | |
A Manchurian Candidate scenario. | 0:25:40 | 0:25:43 | |
So to round up the suspects - | 0:25:43 | 0:25:46 | |
Toria has gone for Keegan, | 0:25:46 | 0:25:49 | |
Dipak has gone for Tristan, | 0:25:49 | 0:25:52 | |
and Charley believes that Kitty is being controlled by another person. | 0:25:52 | 0:25:57 | |
So it's time for Round Four now, where we dig a little bit deeper. | 0:25:57 | 0:26:00 | |
Let's see what happened the day before Jim's death. | 0:26:00 | 0:26:05 | |
Let's head back to Mortcliff. | 0:26:05 | 0:26:08 | |
Honestly, Jim, you were up all night. | 0:26:13 | 0:26:17 | |
You've taken on far too much. | 0:26:17 | 0:26:19 | |
You keep thinking of that caravan in Devon, love. | 0:26:19 | 0:26:22 | |
No point in happy holidays if you're dead. | 0:26:22 | 0:26:26 | |
The trouble about writing the truth is | 0:26:29 | 0:26:31 | |
what do you do when you don't have any? | 0:26:31 | 0:26:34 | |
There's always Patsie's story. | 0:26:34 | 0:26:36 | |
You really think all that malarkey is true? | 0:26:36 | 0:26:38 | |
Well, I was down at the Co-op with Jenny, | 0:26:38 | 0:26:40 | |
her brother had been off for a weekend with Patsie, | 0:26:40 | 0:26:43 | |
came back a different man. | 0:26:43 | 0:26:45 | |
-Oh. -Albeit it with a lighter wallet. | 0:26:45 | 0:26:48 | |
Didn't see any sense in denying it either. | 0:26:50 | 0:26:53 | |
That's not the first time I've heard it, | 0:26:53 | 0:26:55 | |
but it's the first time anybody's admitted it so openly. | 0:26:55 | 0:26:59 | |
I've e-mailed it to you as well. | 0:27:10 | 0:27:12 | |
Ah, Jim. | 0:27:12 | 0:27:14 | |
Ah. Read it and weep, my dear. I think it's the best one yet. | 0:27:14 | 0:27:17 | |
-Have you read it? -He's just dropped it off. | 0:27:19 | 0:27:21 | |
Listen, Warren Robertson's called you | 0:27:21 | 0:27:23 | |
seven times already this morning. | 0:27:23 | 0:27:25 | |
You're going to need to call him back. | 0:27:25 | 0:27:27 | |
Yeah, I will do. I've just got one or two things to do first. | 0:27:27 | 0:27:29 | |
Mr Robertson! | 0:27:38 | 0:27:40 | |
Who the hell is Raventhorpe? | 0:27:40 | 0:27:41 | |
Warren, I was just about to call you. | 0:27:41 | 0:27:43 | |
I could cost you your job, Maxine, do not test me! | 0:27:43 | 0:27:46 | |
You have no right to come in here and threaten me. | 0:27:46 | 0:27:48 | |
Get out now! | 0:27:48 | 0:27:50 | |
Is that all you have to say? | 0:27:50 | 0:27:52 | |
Absolutely. Leave, now. | 0:27:52 | 0:27:54 | |
Keegan, please will you call the police? | 0:27:57 | 0:28:00 | |
Hello, Police? Yes, I'd like to report a threatening disturbance. | 0:28:01 | 0:28:04 | |
-God's sake! -Maxine, we may have a problem. | 0:29:01 | 0:29:03 | |
MESSAGE ALERT SOUNDS | 0:29:07 | 0:29:08 | |
Well, well. | 0:29:24 | 0:29:27 | |
Bombshell, he accidentally... | 0:29:27 | 0:29:29 | |
Warren took the article. | 0:29:29 | 0:29:31 | |
Keegan was going to get an e-mail of the article later, | 0:29:31 | 0:29:35 | |
so he knew it had been taken by Warren, | 0:29:35 | 0:29:37 | |
because it had disappeared off the desk. | 0:29:37 | 0:29:39 | |
Then we've got a situation where Patsie's got information | 0:29:39 | 0:29:42 | |
that she's going to be the next victim, | 0:29:42 | 0:29:44 | |
and I can't read fast enough to get all of those text messages, | 0:29:44 | 0:29:47 | |
so how did you guys get on? | 0:29:47 | 0:29:48 | |
It said "Darling" at the beginning of one of them, | 0:29:48 | 0:29:50 | |
so Warren is calling Patsie Darling. | 0:29:50 | 0:29:52 | |
Yeah, well we've already had the stuff from poor Kitty | 0:29:52 | 0:29:55 | |
that she's a bit of a local good-time girl | 0:29:55 | 0:29:58 | |
with, you know, multiple partners and "a lighter wallet" | 0:29:58 | 0:30:01 | |
said afterwards, which is possibly a subtle way... | 0:30:01 | 0:30:03 | |
And if Warren's been kind of availing himself of her services | 0:30:03 | 0:30:06 | |
in the past, that would explain why he's got her number | 0:30:06 | 0:30:09 | |
and why he wanted to give her the heads up. | 0:30:09 | 0:30:11 | |
Well, let's see if any of the evidence picks can help you out. | 0:30:11 | 0:30:14 | |
There is a new item on the list. | 0:30:14 | 0:30:16 | |
So Tristan's gardening ad, copy for the paper, | 0:30:16 | 0:30:19 | |
Raventhorpe's last published column. | 0:30:19 | 0:30:22 | |
The pill Maxine took at her police interview. | 0:30:22 | 0:30:27 | |
Well, we're relatively comfortable the column | 0:30:27 | 0:30:29 | |
is probably going to be towards Patsie | 0:30:29 | 0:30:32 | |
and that's why it's come about. | 0:30:32 | 0:30:33 | |
The ad we've been ignoring for a while. | 0:30:33 | 0:30:36 | |
Shall we go for the shiny, shiny new thing | 0:30:36 | 0:30:38 | |
that's been dangled in front of us like a cat with keys? | 0:30:38 | 0:30:40 | |
This pill's been bugging us with every, every film. | 0:30:40 | 0:30:42 | |
-Yeah, OK. -OK, let's go with the pill. -The pill for now? | 0:30:42 | 0:30:44 | |
-Pill for now. -Have a look. | 0:30:44 | 0:30:46 | |
So that is the pill she was taking in the interview, Saturday's pill. | 0:30:46 | 0:30:49 | |
That means that she didn't take a pill on Wednesday | 0:30:49 | 0:30:52 | |
because she gave Wednesday's pill away. | 0:30:52 | 0:30:54 | |
Or she's a day ahead because she gave Wednesday's pill away, | 0:30:54 | 0:30:56 | |
which means she hasn't actually given one to Jim | 0:30:56 | 0:31:01 | |
because she's only one day ahead. | 0:31:01 | 0:31:03 | |
Armchair Detectives, it's time for you to pick | 0:31:03 | 0:31:05 | |
your prime suspect again. Write down your prime suspect now. | 0:31:05 | 0:31:08 | |
Write it down at home if you think you know who it is. | 0:31:10 | 0:31:13 | |
Toria, last time you went for Keegan. | 0:31:13 | 0:31:17 | |
Have you changed your mind? | 0:31:17 | 0:31:18 | |
I'm jumping to Tristan now. | 0:31:18 | 0:31:20 | |
Tristan. OK, why? | 0:31:20 | 0:31:22 | |
I think he was lying when he said, | 0:31:22 | 0:31:24 | |
"We did this in this order, and this person | 0:31:24 | 0:31:26 | |
"was the only person we knew when we were at this time." | 0:31:26 | 0:31:28 | |
-And those books. -Dipak, last time you went for Tristan. | 0:31:28 | 0:31:32 | |
-Have you changed your mind? -Yep. Yeah, because I was wrong. | 0:31:32 | 0:31:34 | |
-Right. -Yeah. -Who have you gone for? | 0:31:34 | 0:31:36 | |
-Warren. -Warren? Why? | 0:31:36 | 0:31:38 | |
So he's got something going on with Patsie, | 0:31:38 | 0:31:41 | |
there's a relationship we haven't seen yet, | 0:31:41 | 0:31:43 | |
but again means, motive, he stole that pill that he didn't take, | 0:31:43 | 0:31:48 | |
because it seems that Maxine was taking pills correctly | 0:31:48 | 0:31:53 | |
and somehow he might have even been faking his stress, | 0:31:53 | 0:31:56 | |
because he seemed stressed the day before and didn't need a pill... | 0:31:56 | 0:31:59 | |
-Maybe. Yeah. Maybe. -..and a magic double shot of whisky. | 0:31:59 | 0:32:01 | |
Charley, last time you went for Kitty. | 0:32:01 | 0:32:03 | |
-Indeed. -Who have you gone for this time? | 0:32:03 | 0:32:05 | |
Well, there's now starting to get a little bit of evidence | 0:32:05 | 0:32:07 | |
for my outlandish theories which takes most of the fun out of it, | 0:32:07 | 0:32:10 | |
-so I've gone for Patsie instead. -Why? | 0:32:10 | 0:32:12 | |
Because she's obviously there as the next victim | 0:32:12 | 0:32:15 | |
of Raventhorpe's poisoned pen, | 0:32:15 | 0:32:17 | |
so she's got the kind of the friend with benefits | 0:32:17 | 0:32:20 | |
who's going to appear at the same time. | 0:32:20 | 0:32:22 | |
They both go into the library, | 0:32:22 | 0:32:23 | |
she gets a nice obvious in front of the cameras, | 0:32:23 | 0:32:26 | |
"I'll wait out in the car." | 0:32:26 | 0:32:27 | |
Goes round the back where Tristan's left the fire escape open, | 0:32:27 | 0:32:30 | |
pushes the bookcase over onto the old guy, | 0:32:30 | 0:32:32 | |
disappears out the fire escape leaving it to click | 0:32:32 | 0:32:34 | |
with no-one any the wiser. | 0:32:34 | 0:32:35 | |
All valid theories, so to round up at this stage - | 0:32:35 | 0:32:38 | |
prime suspects are, Toria's gone for Tristan, | 0:32:38 | 0:32:41 | |
Dipak has gone for Warren, | 0:32:41 | 0:32:43 | |
and Charley has gone for Patsie. | 0:32:43 | 0:32:44 | |
Well, it's time now for Round Five, the final clues. | 0:32:45 | 0:32:48 | |
Will Knight and Slater be able to catch the killer | 0:32:48 | 0:32:51 | |
and be front page news? | 0:32:51 | 0:32:52 | |
Notepads at the ready, let's find out. | 0:32:52 | 0:32:55 | |
He arrived about 11.30, really angry. | 0:33:00 | 0:33:03 | |
Stormed straight past me into her office. | 0:33:03 | 0:33:05 | |
Any idea why he was so angry? | 0:33:05 | 0:33:07 | |
Yeah. | 0:33:08 | 0:33:10 | |
He found out who Raventhorpe was. | 0:33:10 | 0:33:11 | |
Who told him? | 0:33:13 | 0:33:15 | |
Jim always insisted on delivering hard copies as well as e-mails. | 0:33:15 | 0:33:18 | |
Apparently he doesn't trust the internet. | 0:33:18 | 0:33:22 | |
Mr Robertson grabbed the hard copy off my desk | 0:33:22 | 0:33:24 | |
when he stormed out of here on Tuesday. | 0:33:24 | 0:33:26 | |
So Warren Robertson was here two days in a row, angry and unhappy? | 0:33:26 | 0:33:30 | |
Tuesday I had to call the police, | 0:33:31 | 0:33:33 | |
but Wednesday Maxine tried to talk him down. | 0:33:33 | 0:33:36 | |
It must have worked. | 0:33:36 | 0:33:38 | |
I stood at the door. | 0:33:38 | 0:33:41 | |
Then by the time he left, he was fine. | 0:33:41 | 0:33:43 | |
Completely mellow. | 0:33:43 | 0:33:45 | |
Almost like a different person. | 0:33:45 | 0:33:46 | |
-KNOCK AT DOOR -Come in. | 0:33:55 | 0:33:57 | |
The printers say we can do an update on Jim's murder | 0:33:59 | 0:34:01 | |
if we get a copy to them within the hour. | 0:34:01 | 0:34:03 | |
Shall I write the copy? | 0:34:03 | 0:34:04 | |
Eh, no, I'll do it. | 0:34:04 | 0:34:06 | |
Only thing is we'd have to lose Tristan's advert, | 0:34:06 | 0:34:08 | |
we don't have space for both. | 0:34:08 | 0:34:10 | |
This is the biggest story we've had in years, we need to run it. | 0:34:10 | 0:34:13 | |
Tristan can wait until he comes back from holiday. | 0:34:13 | 0:34:15 | |
That advert keeps coming up, doesn't it? | 0:34:21 | 0:34:23 | |
Only two people knew who Raventhorpe was, | 0:34:23 | 0:34:26 | |
are you guys getting that? | 0:34:26 | 0:34:27 | |
By the time of his death, a lot more people could have known, | 0:34:27 | 0:34:31 | |
because if Warren found out, | 0:34:31 | 0:34:32 | |
you don't know who he's been ranting and raving to. | 0:34:32 | 0:34:35 | |
Did Tristan and Patsie know? | 0:34:35 | 0:34:36 | |
That's what I'm trying to understand. | 0:34:36 | 0:34:37 | |
Yeah, well, Patsie obviously knew. | 0:34:37 | 0:34:39 | |
That's the thing we don't know, do we? We don't know. | 0:34:39 | 0:34:41 | |
You've got two pieces of evidence left. | 0:34:41 | 0:34:43 | |
Pick the right one and it might help you out. | 0:34:43 | 0:34:46 | |
Do you want to see Tristan's ad | 0:34:46 | 0:34:48 | |
or the last published column of Raventhorpe? | 0:34:48 | 0:34:52 | |
Please put your hands up if you want to see the gardening ad. | 0:34:52 | 0:34:55 | |
Yeah, sod it. Why not? Let's go for the gardening ad. | 0:34:56 | 0:34:59 | |
Two for one, I'm afraid, Dipak. We're seeing the gardening ad. | 0:34:59 | 0:35:01 | |
Let's have a look at it. | 0:35:01 | 0:35:02 | |
Experienced landscape gardener offers 25 years of experience. | 0:35:02 | 0:35:05 | |
Patios and decking. Turfing and planting. | 0:35:05 | 0:35:07 | |
Year-round seasonal maintenance. | 0:35:07 | 0:35:09 | |
Pest management. Paths, driveways and walls. | 0:35:09 | 0:35:11 | |
Contact Tristan Staite on 07700900361 | 0:35:11 | 0:35:18 | |
for a free quote. | 0:35:18 | 0:35:20 | |
That number. We didn't see the number that that text came from. | 0:35:20 | 0:35:24 | |
The text came from a withheld number, but... | 0:35:24 | 0:35:26 | |
There was no number showing. | 0:35:26 | 0:35:27 | |
There was no number showing, but the other two did... | 0:35:27 | 0:35:30 | |
I can't remember the numbers from them, didn't grab them in time, | 0:35:30 | 0:35:33 | |
so that could be proof positive | 0:35:33 | 0:35:37 | |
that he's having an affair with Patsie, which we already knew. | 0:35:37 | 0:35:40 | |
Well, it would make sense if the message was coming from him | 0:35:42 | 0:35:44 | |
saying "Darling" such and such. | 0:35:44 | 0:35:47 | |
Maybe he already knew. | 0:35:47 | 0:35:49 | |
We're assuming it was Warren, but actually Tristan found out. | 0:35:49 | 0:35:52 | |
Armchair Detectives, it's the moment when you pick who you're accusing. | 0:35:52 | 0:35:57 | |
For the chance of winning the golden magnifying glass trophy - | 0:35:58 | 0:36:03 | |
Kitty, Patsie, Tristan, Maxine, Keegan, Warren - | 0:36:03 | 0:36:08 | |
it's time to answer the only question that matters, whodunit? | 0:36:08 | 0:36:13 | |
Hello to the Felixstowe Fishing Club, | 0:36:16 | 0:36:18 | |
hoping to get the catch of the day in today's killer. | 0:36:18 | 0:36:21 | |
Time's up, notepads down. The moment has arrived. | 0:36:28 | 0:36:31 | |
Armchair Detectives, who have you accused? | 0:36:31 | 0:36:34 | |
Toria? | 0:36:34 | 0:36:35 | |
I've gone for Tristan. | 0:36:35 | 0:36:38 | |
Why? | 0:36:38 | 0:36:39 | |
At least in my head there's a whole load of plot holes with him | 0:36:39 | 0:36:43 | |
where things aren't just... | 0:36:43 | 0:36:46 | |
They're just not adding up. | 0:36:46 | 0:36:47 | |
-Something's not. -Yeah, something's not right. | 0:36:47 | 0:36:49 | |
Dipak, who are you accusing? | 0:36:49 | 0:36:51 | |
-I've stuck with Warren. -Warren. Because? | 0:36:51 | 0:36:55 | |
-The pill. -The pill. | 0:36:55 | 0:36:57 | |
The two days visiting of anger, | 0:36:57 | 0:36:59 | |
the relationship possibly with Patsie. | 0:36:59 | 0:37:01 | |
I wanted it to be Tristan because he was the only liar | 0:37:02 | 0:37:05 | |
that I could see, | 0:37:05 | 0:37:07 | |
but I'm going to stick with Warren. | 0:37:07 | 0:37:08 | |
-You've accused Warren. -I'm going to use something called evidence. | 0:37:08 | 0:37:11 | |
Oh, right, interesting. | 0:37:11 | 0:37:13 | |
Charley, who are you accusing? | 0:37:13 | 0:37:14 | |
I'm going for Patsie. | 0:37:14 | 0:37:15 | |
-Right. -On the grounds she... | 0:37:15 | 0:37:17 | |
Warren's got a really great revenge motive, | 0:37:17 | 0:37:20 | |
get back at, he knows who Raventhorpe is, | 0:37:20 | 0:37:22 | |
he's passed it on to her, she's gone there | 0:37:22 | 0:37:24 | |
with a nice little in front of the cameras alibi, | 0:37:24 | 0:37:27 | |
gone round the back to the opened fire escape and pushed it, | 0:37:27 | 0:37:29 | |
cos it's the only one who's kind of prevention | 0:37:29 | 0:37:32 | |
of reputation destruction | 0:37:32 | 0:37:33 | |
rather than revenge for reputation destruction. | 0:37:33 | 0:37:35 | |
So, in summary, Toria has gone for Tristan, | 0:37:35 | 0:37:38 | |
Dipak has gone for Warren, and Charley has gone for Patsie. | 0:37:38 | 0:37:43 | |
There's a final piece of evidence, though, left over on the board, | 0:37:43 | 0:37:46 | |
so let's have a look at it. | 0:37:46 | 0:37:47 | |
Would it have affected your decision? | 0:37:47 | 0:37:49 | |
It is the Raventhorpe last published column. | 0:37:49 | 0:37:52 | |
It says... | 0:37:52 | 0:37:53 | |
..rug pulled from under dodgy WR Carpets. | 0:37:55 | 0:37:58 | |
Apparently the owner offered thousands of pounds | 0:37:58 | 0:38:00 | |
in brown envelopes to Mortcliff's MP to ask questions. | 0:38:00 | 0:38:04 | |
Would that have affected your decision, Toria? | 0:38:04 | 0:38:06 | |
No. | 0:38:06 | 0:38:07 | |
Good. Dipak? | 0:38:07 | 0:38:09 | |
Charley? | 0:38:13 | 0:38:14 | |
-At this stage I don't... -I mean, it says to me Kitty did it. | 0:38:14 | 0:38:17 | |
I mean that's what that's saying. | 0:38:17 | 0:38:18 | |
I don't even know who I am any more. | 0:38:18 | 0:38:20 | |
LAUGHTER | 0:38:20 | 0:38:21 | |
Well, what really happened in today's story, Tell Tale Signs? | 0:38:21 | 0:38:25 | |
Who killed Jim Tiddlesworth? | 0:38:25 | 0:38:27 | |
Let's find out whodunit. | 0:38:27 | 0:38:29 | |
"Ms Taylor told me she'd write the copy for Jim's murder herself. | 0:38:38 | 0:38:43 | |
"When I reminded her we would have to shift Tristan's advert, | 0:38:44 | 0:38:47 | |
"she said it would be fine, | 0:38:47 | 0:38:49 | |
"she would deal with it when he returned from holiday." | 0:38:49 | 0:38:53 | |
Well, if that's what Keegan said, then fine. I just can't remember. | 0:38:55 | 0:38:59 | |
Tristan told Jim Tiddlesworth he was going away | 0:39:02 | 0:39:05 | |
when he went to drop off his library books | 0:39:05 | 0:39:08 | |
on Wednesday at about midday. | 0:39:08 | 0:39:09 | |
You going anywhere special? | 0:39:09 | 0:39:11 | |
Just the Moorcroft Country Inn for a couple of days. | 0:39:11 | 0:39:13 | |
Aye. Well, enjoy yourselves. | 0:39:13 | 0:39:15 | |
You must have been in the vicinity to hear that, | 0:39:15 | 0:39:17 | |
cos Tristan assured us he told no-one else. | 0:39:17 | 0:39:20 | |
As I've already told you, I was with Warren the entire time in my office. | 0:39:21 | 0:39:25 | |
Who, when he left your office, seemed, | 0:39:25 | 0:39:29 | |
to quote Keegan again, | 0:39:29 | 0:39:31 | |
"Completely mellow, almost like a different person." | 0:39:31 | 0:39:35 | |
We were together the entire time. | 0:39:37 | 0:39:39 | |
What medication are you on Ms Taylor? | 0:39:40 | 0:39:43 | |
Standard anti-anxieties. I have a prescription, ask my doctor. | 0:39:43 | 0:39:47 | |
And am I right in thinking you've been advised | 0:39:47 | 0:39:50 | |
never to drink alcohol with your anti-anxiety medication? | 0:39:50 | 0:39:54 | |
I was with Warren the entire time. He's already told you this himself. | 0:39:54 | 0:39:58 | |
Actually, he didn't. He told us you were very nice to him, | 0:39:58 | 0:40:00 | |
but when we pressed him, | 0:40:00 | 0:40:01 | |
it appeared as though he had almost no recollection of the conversation. | 0:40:01 | 0:40:05 | |
As if you'd given Warren Robertson | 0:40:05 | 0:40:08 | |
one of your helpful anti-anxieties along with a double tot of whisky. | 0:40:08 | 0:40:12 | |
-Come on, sit. -Can't breathe. | 0:40:12 | 0:40:14 | |
Take one of these, they're my lifeline. | 0:40:14 | 0:40:16 | |
Every little helps. | 0:40:16 | 0:40:17 | |
Warren wouldn't have been in any position to notice you leave. | 0:40:19 | 0:40:22 | |
No-one would've unless they kept a careful watch | 0:40:22 | 0:40:26 | |
of the fire escape which leads from your office | 0:40:26 | 0:40:28 | |
all the way down to the back door of the library. | 0:40:28 | 0:40:31 | |
This is harassment. | 0:40:31 | 0:40:33 | |
No, it's not, actually. | 0:40:33 | 0:40:36 | |
Raventhorpe was a complete miscalculation. | 0:40:36 | 0:40:40 | |
It was stoking too many fires. | 0:40:40 | 0:40:42 | |
You went to see Jim to tell him that Raventhorpe was over, | 0:40:42 | 0:40:46 | |
my guess is he didn't agree. | 0:40:46 | 0:40:48 | |
"Publish and be damned" he said. The fool. | 0:40:52 | 0:40:56 | |
So did you leave and come back again? | 0:40:56 | 0:40:59 | |
No. You would have stayed, | 0:41:01 | 0:41:05 | |
otherwise you wouldn't have heard that Tristan was going away. | 0:41:05 | 0:41:09 | |
You waited until Tristan left and then you heard Jim lock the door. | 0:41:10 | 0:41:13 | |
What you didn't realise is that Jim grabbed the shelf | 0:41:35 | 0:41:38 | |
in an attempt to steady himself. | 0:41:38 | 0:41:41 | |
In doing so, he pulled the whole thing on top of him. | 0:41:41 | 0:41:44 | |
Forensics identified his fingerprints. | 0:41:44 | 0:41:47 | |
The impact of the books hitting his head | 0:41:47 | 0:41:50 | |
was enough to cause a fatal subdural haematoma in someone of his age. | 0:41:50 | 0:41:53 | |
I... | 0:41:56 | 0:41:57 | |
I only meant for him to be slightly hurt, I never meant... | 0:41:59 | 0:42:03 | |
Just so he wouldn't be able to write. | 0:42:03 | 0:42:06 | |
I never meant... | 0:42:06 | 0:42:07 | |
He was my friend. | 0:42:08 | 0:42:10 | |
Well... | 0:42:16 | 0:42:18 | |
Armchair Detectives, she did give Warren a pill | 0:42:20 | 0:42:25 | |
in combination with the whisky, it sent him to sleep. | 0:42:25 | 0:42:29 | |
You ruled her out as a suspect | 0:42:29 | 0:42:31 | |
because you thought, "Well, that's why the pills are all there." | 0:42:31 | 0:42:34 | |
I'm afraid none of you picked today's killer. | 0:42:34 | 0:42:38 | |
Better luck next time. | 0:42:38 | 0:42:39 | |
Armchair Detectives over here, did any of you get it right? Maxine? | 0:42:39 | 0:42:42 | |
Ellouise! | 0:42:42 | 0:42:44 | |
LAUGHTER | 0:42:44 | 0:42:45 | |
Yes! | 0:42:45 | 0:42:46 | |
And I was wrong as well, but who cares? | 0:42:46 | 0:42:49 | |
Never mind, Armchair Detectives, better luck next time. | 0:42:49 | 0:42:51 | |
That's all from Armchair Detectives. | 0:42:51 | 0:42:53 | |
Come back tomorrow to see Knight and Slater | 0:42:53 | 0:42:55 | |
investigating a deadly crime, | 0:42:55 | 0:42:57 | |
where art and recycling collide. | 0:42:57 | 0:43:01 | |
And remember, no-one gets away with murder in Mortcliff. | 0:43:01 | 0:43:06 | |
Goodbye. | 0:43:06 | 0:43:08 | |
Better luck next time. | 0:43:08 | 0:43:09 | |
That was a tough one. Tough one. | 0:43:09 | 0:43:13 | |
Tough one. | 0:43:13 | 0:43:14 |