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When you were kids, did you play detectives in the park? | 0:00:02 | 0:00:04 | |
Were you Cagney, and your best friend played Lacey? | 0:00:04 | 0:00:06 | |
Well, now you can play detectives again. | 0:00:06 | 0:00:08 | |
Welcome to the TV show with only one question - whodunnit? | 0:00:08 | 0:00:13 | |
Welcome to Armchair Detectives, | 0:00:28 | 0:00:29 | |
the show where these 15 murder mystery enthusiasts | 0:00:29 | 0:00:33 | |
aim to work out the culprit of a deadly crime. | 0:00:33 | 0:00:36 | |
Set in the fictional village of Mortcliff, home to 645 inhabitants, | 0:00:36 | 0:00:41 | |
although that number is decreasing by the day. | 0:00:41 | 0:00:45 | |
Helping them to solve the case is Mortcliff's police detective | 0:00:45 | 0:00:48 | |
dream team - DI Knight, DC Slater, and Scene Of Crime Officer Simmons. | 0:00:48 | 0:00:53 | |
Before we head to Mortcliff for the first time, | 0:00:53 | 0:00:55 | |
let's meet our Armchair Detectives. Hello, Armchair Detectives. | 0:00:55 | 0:00:59 | |
-Hi! -Bright and breezy, excellent. | 0:00:59 | 0:01:02 | |
Now, only three of you play each day, | 0:01:02 | 0:01:04 | |
so please take your armchairs Krystyna, Ashley, and Gregor. | 0:01:04 | 0:01:08 | |
Come on up. | 0:01:08 | 0:01:10 | |
Of course, the detective guessing the killer correctly | 0:01:16 | 0:01:18 | |
will win one of these, our golden magnifying glass. | 0:01:18 | 0:01:22 | |
Ooh! | 0:01:22 | 0:01:24 | |
Well, it's time for round one - The Crime Scene. | 0:01:25 | 0:01:28 | |
Knight and Slater go to meet Simmons, | 0:01:28 | 0:01:30 | |
and she has another dead body for them. | 0:01:30 | 0:01:33 | |
I'm becoming suspicious that Simmons is doing all the murdering, | 0:01:33 | 0:01:35 | |
I'll be honest with you. | 0:01:35 | 0:01:37 | |
Let's head over to Mortcliff. | 0:01:37 | 0:01:39 | |
Wonder what's in store for us today, Slater. | 0:01:48 | 0:01:50 | |
Yeah, I wouldn't mind a simple case today, sir. | 0:01:50 | 0:01:53 | |
Lots of evidence, loads of witnesses, caught on camera, | 0:01:53 | 0:01:55 | |
home for dinner, Match Of The Day, perhaps. | 0:01:55 | 0:01:58 | |
In Mortcliff? Unlikely. | 0:01:58 | 0:02:00 | |
-Morning, Simmons. -Hi. | 0:02:00 | 0:02:01 | |
-What have we got? -Well, it's definitely murder. | 0:02:01 | 0:02:05 | |
This is Rick Saddleworth. Looks as though he's been moved here. | 0:02:05 | 0:02:08 | |
Who found him? | 0:02:08 | 0:02:09 | |
Adam Webster, a waste management engineer. | 0:02:09 | 0:02:12 | |
There's no blood splatter. | 0:02:12 | 0:02:14 | |
No, cos this isn't the scene of the crime. | 0:02:14 | 0:02:16 | |
As you can see, it was raining last night, and the body's not even wet. | 0:02:16 | 0:02:20 | |
Any sign of a murder weapon? | 0:02:20 | 0:02:22 | |
Looks as though his throat's been slit. | 0:02:22 | 0:02:24 | |
It's probably a knife, but we haven't found the weapon yet. | 0:02:24 | 0:02:27 | |
I reckon he died some time between 11.30 and midnight last night. | 0:02:27 | 0:02:32 | |
OK. | 0:02:32 | 0:02:33 | |
Let's go and talk to Mr Webster. | 0:02:34 | 0:02:36 | |
DI Knight, this is DC Slater. | 0:02:43 | 0:02:45 | |
We just need to ask you a few questions. | 0:02:45 | 0:02:47 | |
I've never seen a dead body before. | 0:02:47 | 0:02:49 | |
Were you on the bin round? | 0:02:49 | 0:02:50 | |
No. I used to do that. I'm a street sweeper. | 0:02:50 | 0:02:53 | |
I have a portfolio career. | 0:02:53 | 0:02:55 | |
I was helping out with the bins when I found him. | 0:02:55 | 0:02:57 | |
How did you find the body? | 0:02:57 | 0:02:59 | |
I was doing my rounds, noticed Rick lying on the grass, | 0:02:59 | 0:03:02 | |
called the police. | 0:03:02 | 0:03:04 | |
-Nothing more to say, really. -So you knew him? | 0:03:04 | 0:03:07 | |
I don't know his surname, but he's made a bit of a name for himself. | 0:03:07 | 0:03:10 | |
He upcycles. Takes old stuff, makes sculptures out of it. | 0:03:10 | 0:03:14 | |
OK. Thank you. We'll be in touch if we need anything else. | 0:03:14 | 0:03:17 | |
Sorry, is this going to take long? | 0:03:23 | 0:03:25 | |
Yeah, perhaps. Do you need wheelchair access? | 0:03:25 | 0:03:28 | |
Yes, please. My mother needs to get to her daycare centre, | 0:03:28 | 0:03:30 | |
and I'm late opening up shop. | 0:03:30 | 0:03:32 | |
Right, sorry, you are...? | 0:03:32 | 0:03:34 | |
Philip Grantham. I run an estate agency in town. | 0:03:34 | 0:03:38 | |
If you give me a few minutes, I'll grab a uniformed officer | 0:03:38 | 0:03:40 | |
to let you in. | 0:03:40 | 0:03:41 | |
And the priority is to interview the remaining residents. | 0:03:41 | 0:03:45 | |
Thanks for your patience. Hopefully, it won't be too long. | 0:03:45 | 0:03:47 | |
Excuse me. | 0:04:00 | 0:04:02 | |
Hello, gorgeous. What's happening here? | 0:04:02 | 0:04:04 | |
DC Slater. | 0:04:04 | 0:04:05 | |
I'm afraid there's been an incident here that we're investigating, | 0:04:05 | 0:04:08 | |
-Mrs...? -Miss. Jenny Hawk. | 0:04:08 | 0:04:10 | |
Miss Jenny Hawk, there's been a fatality. | 0:04:10 | 0:04:12 | |
-Do you live in these flats? -Yes, I do. | 0:04:12 | 0:04:15 | |
Right, I'm afraid I'm going to need to ask you a few questions. | 0:04:15 | 0:04:17 | |
Sure. I'm a loan consultant at the bank. | 0:04:17 | 0:04:21 | |
I work a lot of weekends and evenings. | 0:04:21 | 0:04:23 | |
I've got today off, though. You could say I live at work. | 0:04:23 | 0:04:26 | |
JENNY YAWNS | 0:04:26 | 0:04:28 | |
-Sorry. -Late night? | 0:04:28 | 0:04:30 | |
After-work bash. Us banking types like to party. | 0:04:30 | 0:04:33 | |
Did you see anything strange happening at around 11.00? | 0:04:33 | 0:04:36 | |
Nothing, really. | 0:04:37 | 0:04:39 | |
And what time was the party? | 0:04:39 | 0:04:41 | |
Started at 10.00. | 0:04:41 | 0:04:43 | |
I popped out about 11.30 to get tonic water from the shop. | 0:04:43 | 0:04:46 | |
JENNY YAWNS | 0:04:46 | 0:04:48 | |
I was in bed by about 1.00. | 0:04:48 | 0:04:50 | |
OK. Thank you. | 0:04:52 | 0:04:54 | |
No worries, cutie pie. Any time. | 0:04:54 | 0:04:56 | |
Sir. | 0:05:04 | 0:05:05 | |
Mate, fasten your seat belt. | 0:05:07 | 0:05:10 | |
Portfolio business number two is about to make some serious cash. | 0:05:10 | 0:05:13 | |
Oh! | 0:05:18 | 0:05:20 | |
What the dickens is going on in Mortcliff today? | 0:05:20 | 0:05:25 | |
Everyone's taken a saucy pill. | 0:05:25 | 0:05:27 | |
The first thing I saw, he had different socks on. | 0:05:27 | 0:05:29 | |
-I missed that. -The dead body had different socks. | 0:05:30 | 0:05:33 | |
So that could be many reasons - in a rush to get dressed, | 0:05:33 | 0:05:36 | |
somebody took the shoes off and put different socks on, | 0:05:36 | 0:05:39 | |
but that was one thing I noticed. | 0:05:39 | 0:05:40 | |
Yeah, but they did tie up the DMs pretty tightly afterwards, though. | 0:05:40 | 0:05:43 | |
LAUGHTER | 0:05:43 | 0:05:44 | |
Well, the body, you know, has been moved, so the blood isn't there. | 0:05:44 | 0:05:47 | |
It was raining last night, but the body's dry. | 0:05:47 | 0:05:50 | |
But moving a body can be tough, so it might have been locally, | 0:05:50 | 0:05:54 | |
so it could have actually been in that building. | 0:05:54 | 0:05:57 | |
OK. So today we're investigating | 0:05:57 | 0:05:59 | |
the death of Rick Saddleworth. | 0:05:59 | 0:06:01 | |
He was 21. Rick was an artist. | 0:06:01 | 0:06:04 | |
In his personal life, | 0:06:04 | 0:06:05 | |
he is a political and environmental activist. | 0:06:05 | 0:06:09 | |
The cause of death is a laceration to the neck, and the time of death | 0:06:09 | 0:06:13 | |
is approximately between 11.30pm and midnight. | 0:06:13 | 0:06:18 | |
So... | 0:06:18 | 0:06:19 | |
-So we know he was an artist. -Yeah. | 0:06:19 | 0:06:21 | |
He liked collecting what other people were throwing away, | 0:06:21 | 0:06:24 | |
-and making art out of it. -Yeah, and making them into other things. | 0:06:24 | 0:06:27 | |
Adam, who we met, is a binman, and probably hated that. | 0:06:27 | 0:06:30 | |
But he sounded very happy about what's happened to Rick, | 0:06:30 | 0:06:33 | |
-cos it sounds like he's going to try and make some money from that. -Yeah. | 0:06:33 | 0:06:36 | |
Let's take a look at the suspects, and talk about who we've met so far. | 0:06:36 | 0:06:39 | |
So the suspects are Adam Webster, waste management engineer, | 0:06:39 | 0:06:43 | |
Philip Grantham, property developer, and Jenny Hawk, loan consultant. | 0:06:43 | 0:06:48 | |
Well, as we know, Adam is the binman. | 0:06:48 | 0:06:53 | |
He used to be a street sweeper, moved onto the bins to help out, | 0:06:53 | 0:06:57 | |
but his main business is the portfolio. | 0:06:57 | 0:07:01 | |
So, when he discovered Rick's body, | 0:07:01 | 0:07:04 | |
he seemed a bit chuffed, made a phone call. | 0:07:04 | 0:07:06 | |
So I'd like to know who he was talking to in regards to that. | 0:07:06 | 0:07:08 | |
-Yeah. -Yeah. | 0:07:08 | 0:07:10 | |
Jenny works in the bank, had a good night last night. | 0:07:10 | 0:07:13 | |
But could she have met Rick on a night out and taken him back? | 0:07:13 | 0:07:17 | |
-Mm-hm. -We don't know. | 0:07:17 | 0:07:19 | |
But she did say she popped out to the shops, | 0:07:19 | 0:07:21 | |
so maybe if someone else can corroborate that... | 0:07:21 | 0:07:23 | |
-What time did she pop out to the shops? -11.30. | 0:07:23 | 0:07:25 | |
What about Philip Grantham? We only met him briefly. | 0:07:25 | 0:07:28 | |
Property developer, his mum lives in the building, and is disabled. | 0:07:28 | 0:07:31 | |
Yeah, that's right. Yeah, she does. He's wheeling a wheelchair. | 0:07:31 | 0:07:34 | |
-Mm-hm. -So couldn't he have taken the body in the wheelchair? | 0:07:34 | 0:07:36 | |
Krystyna, that's just what I was thinking! | 0:07:36 | 0:07:38 | |
Audience at home, I'm playing along as well. | 0:07:38 | 0:07:40 | |
I don't know who the killer is, | 0:07:40 | 0:07:41 | |
and at almost exactly the same moment Krystyna went.... | 0:07:41 | 0:07:44 | |
We both... | 0:07:44 | 0:07:45 | |
We both went, "He's got a wheelchair! That would be handy!" | 0:07:45 | 0:07:50 | |
Mm. And the link is, I mean, what I noticed about the deceased | 0:07:50 | 0:07:52 | |
is that he was an activist, political. | 0:07:52 | 0:07:55 | |
That could link in with Philip, cos he was an estate agent, | 0:07:55 | 0:07:59 | |
if I'm correct to say so. | 0:07:59 | 0:08:00 | |
-He wanted to build somewhere, and... -Something, I don't know. | 0:08:00 | 0:08:03 | |
Let me try and help you out. Let's have your first piece of evidence. | 0:08:03 | 0:08:06 | |
-Yay! -Okey-dokey. | 0:08:06 | 0:08:07 | |
It is a piece of Rick's artwork, and his artworks were known as Rickseys. | 0:08:07 | 0:08:11 | |
Rickseys. What do you think? | 0:08:11 | 0:08:13 | |
Definitely using tins. The middle bit, the chest, | 0:08:14 | 0:08:17 | |
-is that a haystack? -Yeah, what is that middle one? | 0:08:17 | 0:08:19 | |
Is that a haystack with a gold ring round it? | 0:08:19 | 0:08:22 | |
On the right-hand side? | 0:08:22 | 0:08:23 | |
Looks like... Yeah, looks like a sort of wheat sheaf. | 0:08:23 | 0:08:26 | |
-There's a lot of orange in this image, so... -Yeah. | 0:08:26 | 0:08:28 | |
..keep an eye out for that symbol. It could be significant. | 0:08:28 | 0:08:30 | |
-Yeah. -Yeah, exactly. | 0:08:30 | 0:08:31 | |
Remember all of that. It's time for round two - Last Movements. | 0:08:31 | 0:08:35 | |
Notepads at the ready. Let's take a look | 0:08:35 | 0:08:38 | |
at what happened the evening before Rick was found dead. | 0:08:38 | 0:08:42 | |
Enough is enough. I went out on a limb for you, Rick. | 0:08:52 | 0:08:56 | |
Get inside. | 0:08:56 | 0:08:57 | |
Jenny, you know it's worth it. | 0:09:02 | 0:09:06 | |
-You love my work. -I love my job more. | 0:09:06 | 0:09:09 | |
I've done all I can to help you. | 0:09:10 | 0:09:11 | |
-You know how I feel about you. -Don't patronise me! | 0:09:13 | 0:09:15 | |
I gave you that loan in good faith. | 0:09:17 | 0:09:19 | |
It's not my fault if you renege on the deal. | 0:09:20 | 0:09:23 | |
It's out of my hands. | 0:09:24 | 0:09:25 | |
I'm not patronising you. | 0:09:26 | 0:09:28 | |
Please, Jenny, I need to see you later. | 0:09:29 | 0:09:32 | |
Would you shut up? | 0:09:32 | 0:09:33 | |
You're not thinking of giving HIM a loan, are you? | 0:09:35 | 0:09:38 | |
-Who? -You know who. | 0:09:40 | 0:09:41 | |
I saw you speaking to him earlier. | 0:09:42 | 0:09:44 | |
It's none of your business. | 0:09:45 | 0:09:47 | |
What happens in this area is totally 100% my business. | 0:09:47 | 0:09:51 | |
I'm up to here with all these capitalist pigs | 0:09:53 | 0:09:55 | |
moving into this area. | 0:09:55 | 0:09:56 | |
We can barely afford to live. | 0:09:58 | 0:10:00 | |
If you give any more of them loans, I'll call your boss. | 0:10:03 | 0:10:07 | |
And tell him what? | 0:10:08 | 0:10:10 | |
That you gave me a loan when I didn't qualify for one. | 0:10:10 | 0:10:13 | |
-After all I've done for you? -I never asked for any of it. | 0:10:13 | 0:10:17 | |
Take this as a friendly warning. | 0:10:17 | 0:10:19 | |
Some people don't want you around here any more. | 0:10:19 | 0:10:22 | |
Threats are not going to stop my life's work. | 0:10:22 | 0:10:24 | |
Oh, don't make me laugh. | 0:10:24 | 0:10:26 | |
You know what? I've had enough of you. | 0:10:26 | 0:10:29 | |
You can find somewhere else to crash tonight | 0:10:30 | 0:10:33 | |
because, let's face it, that was your next question, after the money. | 0:10:33 | 0:10:38 | |
-RADIO: -And now the weather. | 0:10:42 | 0:10:44 | |
Rain will continue for most of the night into tomorrow, | 0:10:44 | 0:10:46 | |
with Mortcliff experiencing some thunder | 0:10:46 | 0:10:48 | |
and lightning storms later this evening. | 0:10:48 | 0:10:50 | |
Not going out with the lads tonight? | 0:10:50 | 0:10:53 | |
Nah, babe, I'm skint. | 0:10:53 | 0:10:55 | |
-Have to resort to beer in front of the TV. -Yeah, tell me about it. | 0:10:55 | 0:10:58 | |
I've not had a good night out in ages. | 0:10:58 | 0:10:59 | |
It's hard to make a pretty penny | 0:10:59 | 0:11:01 | |
-when your main competitor's doing the same thing for free. -Hm. | 0:11:01 | 0:11:04 | |
Rick and his lot to thank for that. | 0:11:04 | 0:11:06 | |
Rick and his gang just come in here to shoplift. | 0:11:06 | 0:11:08 | |
The only people that buy anything from me are the new yuppies. | 0:11:08 | 0:11:11 | |
How long are they going to stay | 0:11:11 | 0:11:12 | |
if Rick and his gang keep slashing their car tyres? | 0:11:12 | 0:11:14 | |
It's all very well for them to protest about gentrification, | 0:11:14 | 0:11:17 | |
but how am I supposed to make any money when the only people actually | 0:11:17 | 0:11:20 | |
buying anything from me are the ones that are getting hounded out? | 0:11:20 | 0:11:23 | |
Stuff I want to make and sell he gives away for free. | 0:11:23 | 0:11:25 | |
Oi! I'm watching you. | 0:11:26 | 0:11:29 | |
Stop! | 0:11:29 | 0:11:30 | |
What is it with some people? You going to phone the police? | 0:11:40 | 0:11:44 | |
I know where to find them. | 0:11:44 | 0:11:45 | |
Sounds ominous, Beth. You're almost starting to scare me. | 0:11:45 | 0:11:49 | |
I'm serious. I'm going to sort this out once and for all. | 0:11:50 | 0:11:53 | |
This has been going on for far too long. | 0:11:53 | 0:11:55 | |
Police, please. | 0:12:20 | 0:12:21 | |
-ARMCHAIR DETECTIVES: -Ooh. -A-ha. -Wow. | 0:12:23 | 0:12:25 | |
Armchair Detectives is getting political | 0:12:25 | 0:12:27 | |
about the gentrification of Mortcliff! | 0:12:27 | 0:12:30 | |
-Talk to me, Armchair Detectives. -He was telling the truth | 0:12:30 | 0:12:33 | |
because he did ring the police straight away, | 0:12:33 | 0:12:35 | |
and he did say that earlier. | 0:12:35 | 0:12:37 | |
-But he wasn't light, was he? -Yeah, he did. -He was not light. | 0:12:37 | 0:12:40 | |
Before we go any further, let me just introduce a fourth suspect | 0:12:40 | 0:12:44 | |
who's Beth Davies, the shop worker. | 0:12:44 | 0:12:46 | |
And, at this early stage, that is the suspect board now full. | 0:12:46 | 0:12:51 | |
I believe the grey hoodie was Rick, I believe. | 0:12:51 | 0:12:55 | |
So, she did say a threat that... And also Jenny's given a threat to Rick. | 0:12:55 | 0:12:59 | |
-So, we've got two people that have given... -Yeah, I know what you mean. | 0:12:59 | 0:13:03 | |
I don't, actually. I think Philip Grantham's got the most... | 0:13:03 | 0:13:05 | |
Well, we don't know yet. | 0:13:05 | 0:13:06 | |
-We've still not heard a huge amount. -No. -He's in the background. | 0:13:06 | 0:13:09 | |
And the property... But it's all this about gentrification. | 0:13:09 | 0:13:12 | |
And we saw a very difficult discussion between the victim | 0:13:12 | 0:13:15 | |
-and Jenny, didn't we? -Yes. | 0:13:15 | 0:13:17 | |
So, it sounds like Jenny gave him a loan, he didn't qualify for it. | 0:13:17 | 0:13:20 | |
-He's even staying with her. -But then she's saying something | 0:13:20 | 0:13:23 | |
about, "Are you going to give him a loan?" | 0:13:23 | 0:13:24 | |
Who do you think the other person, | 0:13:24 | 0:13:26 | |
who do you think he was in that context? | 0:13:26 | 0:13:28 | |
"Are you going to give him another loan?" | 0:13:28 | 0:13:30 | |
The refuse collector. | 0:13:30 | 0:13:31 | |
-Adam? -Yes. -Right. OK. | 0:13:31 | 0:13:34 | |
Well, Armchair Detectives, now's your chance to pick | 0:13:34 | 0:13:36 | |
a piece of evidence from the following list. | 0:13:36 | 0:13:39 | |
Would you like to see a letter from the bank? | 0:13:39 | 0:13:42 | |
Or a Mortcliff weather report on the day of the murder? | 0:13:42 | 0:13:46 | |
And finally, a police report of the victim's clothes? | 0:13:46 | 0:13:50 | |
The weather report, they just said, didn't they, earlier on, | 0:13:50 | 0:13:53 | |
-in the supermarket... -We know it was raining | 0:13:53 | 0:13:55 | |
-but we'd like to know when it was raining. -Good point. | 0:13:55 | 0:13:57 | |
-Because, at 11.30, it wasn't raining. -Yeah. -So, what time frame? | 0:13:57 | 0:14:00 | |
11.25 it wasn't raining because they said | 0:14:00 | 0:14:01 | |
you have to wait out for when it was raining. | 0:14:01 | 0:14:03 | |
-I reckon weather report. -I think weather report. | 0:14:03 | 0:14:05 | |
-But then, I always like forensics. -Weather report. -That was easy! | 0:14:05 | 0:14:08 | |
-Weather report? -Yeah. -Yeah. | 0:14:08 | 0:14:10 | |
So, this is Monday's weather. Sunny, cloudy. | 0:14:10 | 0:14:14 | |
Thunderstorms about 11 o'clock. Thunder and lightning. | 0:14:14 | 0:14:18 | |
And then it started raining at three in the morning. | 0:14:18 | 0:14:21 | |
And it was 21 degrees. | 0:14:21 | 0:14:24 | |
That's very warm for Scotland, isn't it? | 0:14:24 | 0:14:27 | |
I would have had my bikini on if that was the weather! | 0:14:27 | 0:14:29 | |
LAUGHTER | 0:14:29 | 0:14:30 | |
21 degrees at 11 o'clock. | 0:14:30 | 0:14:32 | |
And then, at three o'clock, it started raining. | 0:14:32 | 0:14:34 | |
So, that answers your question, Gregor, about when it actually | 0:14:34 | 0:14:37 | |
started raining, three o'clock in the morning. | 0:14:37 | 0:14:40 | |
So, the body was dumped after 3.00am. | 0:14:40 | 0:14:41 | |
So, basically, what we can tell is the body was... | 0:14:41 | 0:14:44 | |
-11.30 to midnight is the time of death. -Yeah. -Yeah. | 0:14:44 | 0:14:46 | |
-It was left for a long time before it was moved. -Yeah. | 0:14:46 | 0:14:48 | |
-So, it was somewhere else... -It was somewhere else. | 0:14:48 | 0:14:50 | |
We know it was already somewhere else. | 0:14:50 | 0:14:52 | |
..for a period of time. Well, Armchair Detectives, | 0:14:52 | 0:14:54 | |
after that stunning revelation regarding the unseasonably | 0:14:54 | 0:14:58 | |
warm temperatures in Scotland, it's time to lock in your prime suspect. | 0:14:58 | 0:15:02 | |
Write down your prime suspect now. | 0:15:02 | 0:15:05 | |
Time's up. Notepads away, please, Armchair Detectives. | 0:15:11 | 0:15:14 | |
I want you to tell me your prime suspect, and why. Krystyna? | 0:15:14 | 0:15:18 | |
I think it's Philip. | 0:15:18 | 0:15:20 | |
-Why? -Somehow, I think he doesn't want to have this bloke around | 0:15:20 | 0:15:23 | |
to mess up his little gentrification of the town. | 0:15:23 | 0:15:27 | |
Ashley, who's your prime suspect? | 0:15:27 | 0:15:29 | |
-So, I'm going for Jenny. -Right, OK. | 0:15:29 | 0:15:31 | |
She had the motive. | 0:15:31 | 0:15:33 | |
She did threaten him. | 0:15:33 | 0:15:36 | |
So, you've gone for Jenny. | 0:15:36 | 0:15:37 | |
And, Gregor, who have you gone for as your prime suspect? | 0:15:37 | 0:15:40 | |
-I've gone for Beth. -OK. Why? | 0:15:40 | 0:15:42 | |
We don't know where she lives. | 0:15:42 | 0:15:43 | |
She was very frustrated with the shoplifting. | 0:15:43 | 0:15:46 | |
She said she was going to try and take care of it. | 0:15:46 | 0:15:48 | |
If she lives in the same block as everybody else, | 0:15:48 | 0:15:52 | |
-that's what I'd like to know. -Yes. | 0:15:52 | 0:15:54 | |
So, Krystyna has gone for Philip. | 0:15:54 | 0:15:56 | |
Ashley has gone for Jenny. | 0:15:56 | 0:15:58 | |
And Gregor has gone for Beth. | 0:15:58 | 0:16:01 | |
So, it's on to round three, the police interviews. | 0:16:01 | 0:16:04 | |
Knight and Slater have called Adam and Beth in for questioning. | 0:16:04 | 0:16:08 | |
But who's acting suspicious? | 0:16:08 | 0:16:10 | |
Notepads at the ready. It's off to Mortcliff Police Station. | 0:16:10 | 0:16:14 | |
My brother Tom and I used to work the bins, | 0:16:23 | 0:16:26 | |
before he got the sack and I got a written warning. | 0:16:26 | 0:16:28 | |
All because of some rubbish. | 0:16:30 | 0:16:32 | |
It was his first job in three years, you know. | 0:16:32 | 0:16:35 | |
It isn't just about the rubbish, though, is it, Adam? | 0:16:35 | 0:16:38 | |
Look, I don't only have one revenue stream, I have a number of them. | 0:16:39 | 0:16:43 | |
And you are...Mortbinner33? | 0:16:44 | 0:16:49 | |
Yeah. | 0:16:49 | 0:16:50 | |
There's nothing wrong with being an entrepreneur. | 0:16:52 | 0:16:54 | |
No, nothing at all. | 0:16:54 | 0:16:56 | |
Taking stuff that doesn't belong to you, though, | 0:16:57 | 0:17:00 | |
and selling it on the internet, well... | 0:17:00 | 0:17:02 | |
Look, it's lying about the streets. It's rubbish. | 0:17:03 | 0:17:06 | |
So what if I take a bit of trash for myself? | 0:17:06 | 0:17:08 | |
I have a feeling the council didn't see it the same way. | 0:17:08 | 0:17:11 | |
But still, at least you'll get plenty more bids on these | 0:17:12 | 0:17:18 | |
now that he's considered to be an established dead artist. | 0:17:18 | 0:17:22 | |
We've been looking at your figures. | 0:17:27 | 0:17:29 | |
It seems your sales have gone down significantly | 0:17:29 | 0:17:32 | |
in the last three months. | 0:17:32 | 0:17:34 | |
Business has been tough. | 0:17:34 | 0:17:35 | |
I've had a few issues with Rick and his gang | 0:17:36 | 0:17:39 | |
of so-called street artists. | 0:17:39 | 0:17:41 | |
They give their art away for free | 0:17:41 | 0:17:42 | |
and then come and steal food from my shop. | 0:17:42 | 0:17:44 | |
How long has this been going on for? | 0:17:44 | 0:17:47 | |
A fair bit of time. It's got worse of late, though. | 0:17:47 | 0:17:50 | |
He liked to think of himself as Robin Hood, | 0:17:50 | 0:17:54 | |
except I'm not exactly the Sheriff of Nottingham. | 0:17:54 | 0:17:56 | |
Rich people were moving into the area, and he was against it. | 0:17:56 | 0:18:00 | |
It was hiking prices up. | 0:18:00 | 0:18:02 | |
Him and his band of layabouts could no longer live for free. | 0:18:02 | 0:18:05 | |
But then he didn't think it weird to shoplift from me! | 0:18:05 | 0:18:10 | |
Probably because I own a shop. He was an absolute hypocrite. | 0:18:10 | 0:18:14 | |
Yet there are no records of your calls to the police. Why's that? | 0:18:14 | 0:18:18 | |
I like to sort things out in my own way. | 0:18:19 | 0:18:21 | |
That doesn't always work out, though, does it? | 0:18:21 | 0:18:24 | |
Well, I don't trust people like you. | 0:18:24 | 0:18:26 | |
And why is that, Miss Davies? | 0:18:26 | 0:18:28 | |
Well, you help for a bit, but then in, no time, | 0:18:28 | 0:18:31 | |
it's back to the way it was. Best to sort these things out myself. | 0:18:31 | 0:18:35 | |
We'd like to show you something. | 0:18:36 | 0:18:38 | |
We're showing Miss Davies CCTV footage | 0:18:41 | 0:18:43 | |
of the night the victim was murdered. | 0:18:43 | 0:18:45 | |
That figure there is you? | 0:18:45 | 0:18:47 | |
Do you recognise the hooded figure? | 0:18:52 | 0:18:54 | |
Yes. Rick. | 0:18:54 | 0:18:56 | |
He often stole six-packs of beers when he was low on money, | 0:18:58 | 0:19:01 | |
which was often. | 0:19:01 | 0:19:03 | |
You don't like people like us, so, how does a person like you | 0:19:03 | 0:19:07 | |
deal with this really rather serious situation? | 0:19:07 | 0:19:10 | |
-Are you suggesting? -Merely asking a question. | 0:19:11 | 0:19:14 | |
Hang on. Wind it forward a bit. | 0:19:14 | 0:19:17 | |
There. Look. I'm still there. | 0:19:19 | 0:19:22 | |
For the record, the witness is pointing to a clock | 0:19:22 | 0:19:25 | |
with the timestamp of 11.50. | 0:19:25 | 0:19:27 | |
The witness is present throughout. | 0:19:27 | 0:19:29 | |
You could have adjusted the time. | 0:19:29 | 0:19:31 | |
No. It syncs with a radio time signal. | 0:19:31 | 0:19:35 | |
-ARMCHAIR DETECTIVES: -Ooh. -Mm. | 0:19:38 | 0:19:40 | |
Ah. | 0:19:40 | 0:19:43 | |
So, Adam and Beth there. | 0:19:43 | 0:19:45 | |
What I got from that, Adam would benefit from a dead artist. | 0:19:45 | 0:19:50 | |
Everything goes up when you're dead, when you're an artist. | 0:19:50 | 0:19:53 | |
-So, he would benefit from selling it. -Yeah. | 0:19:53 | 0:19:56 | |
-Beth would benefit because no more shoplifters. -No more shoplifters. | 0:19:56 | 0:20:01 | |
Would you kill somebody if they were shoplifting, seriously? | 0:20:01 | 0:20:04 | |
-Well, she doesn't trust the police. -I can't believe she'd want | 0:20:04 | 0:20:07 | |
to kill somebody and pull somebody along. | 0:20:07 | 0:20:09 | |
Well, let's see if we can help you out. | 0:20:09 | 0:20:11 | |
It's time to pick another piece of evidence from this list. | 0:20:11 | 0:20:14 | |
You can have a letter from the bank. | 0:20:14 | 0:20:16 | |
A police report on the victim's clothes. | 0:20:16 | 0:20:18 | |
Or a new piece of evidence which is CCTV footage from Beth's shop. | 0:20:18 | 0:20:25 | |
-Well, I'm going... I want to see the victim's clothes. -Yeah, so do I. | 0:20:25 | 0:20:30 | |
Because - was he dressed after he was murdered? | 0:20:30 | 0:20:32 | |
-Because, the victim's clothes, he might have a pair of socks on. -Mm. | 0:20:32 | 0:20:37 | |
The bank letter I do feel that we would get the name from that. | 0:20:37 | 0:20:40 | |
But, I don't know, with the victim's clothes, | 0:20:40 | 0:20:42 | |
A, I'd like to see the difference you were saying, | 0:20:42 | 0:20:45 | |
but also I'd like to know if there's any DNA on there, | 0:20:45 | 0:20:48 | |
the DNA that would give it away who he was with at that time. | 0:20:48 | 0:20:51 | |
Well, he's couch surfing, effectively. | 0:20:51 | 0:20:53 | |
He was staying with Jenny. | 0:20:53 | 0:20:54 | |
But he's not the type of person that's going to keep track | 0:20:54 | 0:20:57 | |
of all his clothes. Wearing odd socks, I constantly wear odd socks. | 0:20:57 | 0:21:01 | |
Let's think about the bank letter. | 0:21:01 | 0:21:03 | |
-Yeah, the name on it. -The name. | 0:21:03 | 0:21:05 | |
That's what I'd like to see. Bank letter. | 0:21:05 | 0:21:07 | |
Victim's clothes. | 0:21:07 | 0:21:09 | |
Krystyna? | 0:21:09 | 0:21:10 | |
-Casting vote. -Bank letter. -Bank letter. | 0:21:10 | 0:21:12 | |
We're seeing the bank letter, then. | 0:21:12 | 0:21:13 | |
So, it's Rick Saddleworth, approval of loan application, | 0:21:13 | 0:21:17 | |
and it's a loan for £3,000, has been approved, | 0:21:17 | 0:21:23 | |
signed, Jenny Hawk. | 0:21:23 | 0:21:26 | |
And all he needed was proof of identification. | 0:21:26 | 0:21:29 | |
What did he do with £3,000? | 0:21:29 | 0:21:32 | |
If he's shoplifting a six-pack of beer... | 0:21:32 | 0:21:34 | |
-Quite a lot of money, isn't it? -It is a lot of money. | 0:21:34 | 0:21:36 | |
-..where did all that money go? -Mm. | 0:21:36 | 0:21:39 | |
-He was approved for the loan. -But do we know... | 0:21:39 | 0:21:42 | |
Yes, because if he's taking stuff and recycling it, that's freebies. | 0:21:42 | 0:21:46 | |
He got the money, and we don't know what he did with it. | 0:21:46 | 0:21:49 | |
So, looking at the suspect board. Adam, Philip, Jenny, and Beth. | 0:21:49 | 0:21:53 | |
Write down your choice now. | 0:21:53 | 0:21:55 | |
Time's up, Armchair Detectives. Notepads away. | 0:22:01 | 0:22:04 | |
Now, Krystyna, last time your prime suspect was Philip. | 0:22:04 | 0:22:07 | |
Have you changed your mind? | 0:22:07 | 0:22:09 | |
-Yes. -Who have you gone for? -I've gone for Adam. | 0:22:09 | 0:22:12 | |
Why have you gone for Adam? | 0:22:12 | 0:22:14 | |
When Rick was talking to Jenny, he was saying about, | 0:22:14 | 0:22:16 | |
"You're going to give him a loan." | 0:22:16 | 0:22:18 | |
And then it started me thinking about the £3,000. | 0:22:18 | 0:22:22 | |
And I'm wondering whether Rick was going to actually open up | 0:22:22 | 0:22:26 | |
a little gallery. | 0:22:26 | 0:22:28 | |
Adam, is it, was thinking, you know, | 0:22:28 | 0:22:30 | |
that's going to take his business away from online auction. | 0:22:30 | 0:22:34 | |
-I might be completely wrong. -Valid theory. | 0:22:34 | 0:22:36 | |
Ashley, last time you went for Jenny. | 0:22:36 | 0:22:39 | |
Who have you gone for this time? | 0:22:39 | 0:22:40 | |
-I've stuck with Jenny. -Stuck with Jenny, why? -Yeah. | 0:22:40 | 0:22:43 | |
The reason is she's got the motive. | 0:22:43 | 0:22:46 | |
Rick was going to show her up. | 0:22:46 | 0:22:49 | |
She would have definitely lost her job, yeah. | 0:22:49 | 0:22:52 | |
And that's the main motive, I think. | 0:22:52 | 0:22:55 | |
OK. And, Gregor, last time you went for Beth. | 0:22:55 | 0:22:57 | |
-Have you changed your mind? -I have. | 0:22:57 | 0:23:00 | |
-Who've you gone for? -I've gone for Philip. -OK. | 0:23:00 | 0:23:03 | |
-I don't know enough about him yet. -Right. | 0:23:03 | 0:23:06 | |
So, I want to know a lot more about Philip, what's happening with him. | 0:23:06 | 0:23:10 | |
-Who is he? What's going on with him? -Yes. | 0:23:10 | 0:23:12 | |
So, in summary, Krystyna has gone for Adam, | 0:23:12 | 0:23:15 | |
Ashley has gone for Jenny, | 0:23:15 | 0:23:16 | |
and Gregor has gone for Philip. | 0:23:16 | 0:23:19 | |
Well, now it's time for round four. | 0:23:19 | 0:23:21 | |
Dig deeper. | 0:23:21 | 0:23:22 | |
We're going to see what happened | 0:23:22 | 0:23:24 | |
the morning before Rick's body was discovered. | 0:23:24 | 0:23:27 | |
That stuff's going to rot your teeth. | 0:23:40 | 0:23:42 | |
I don't know how you drink it all the time. | 0:23:42 | 0:23:44 | |
I've got you some more cans. | 0:23:46 | 0:23:47 | |
I'm going to spin aluminium into gold. | 0:23:50 | 0:23:52 | |
Remember who helped you out when you're famous. | 0:23:52 | 0:23:54 | |
Catch you later? | 0:23:54 | 0:23:56 | |
If you're lucky. | 0:23:56 | 0:23:57 | |
-Are you all right? -Yeah, it's my new boots just causing some gyp. | 0:23:58 | 0:24:02 | |
-Well, hello, Mr Grantham. -Hi. | 0:24:16 | 0:24:18 | |
You're an early bird this morning. | 0:24:18 | 0:24:20 | |
-Just came to do business. -Well, you're in the right place. | 0:24:20 | 0:24:22 | |
So, what made you get into the property business? | 0:24:24 | 0:24:27 | |
I wanted to join the RAF. | 0:24:27 | 0:24:29 | |
Always loved the idea of flying, but I failed my medical. | 0:24:29 | 0:24:32 | |
So, I had to do something else with my life. | 0:24:32 | 0:24:34 | |
You look fit enough to me. | 0:24:34 | 0:24:36 | |
So, you want to buy another flat? | 0:24:36 | 0:24:38 | |
Yes. I've got the deposit, finally. Took me a while to scrape together, | 0:24:38 | 0:24:42 | |
but I managed to get there eventually. | 0:24:42 | 0:24:44 | |
Did you get my details? | 0:24:44 | 0:24:46 | |
Yes, thank you. | 0:24:47 | 0:24:48 | |
-Unfortunately, sir... -Surely there's no problem? | 0:24:49 | 0:24:53 | |
It's just that property around here, residential and commercial, | 0:24:53 | 0:24:58 | |
has spiked quite a bit in the last few months. | 0:24:58 | 0:24:59 | |
It's becoming quite the hot spot. | 0:24:59 | 0:25:02 | |
Businesses want to come here and it's now a desired location. | 0:25:02 | 0:25:06 | |
Yes, I know. The Shoreditch of the North. | 0:25:06 | 0:25:10 | |
-So? -It means that your deposit is not enough for the mortgage | 0:25:10 | 0:25:14 | |
you've applied for. Now, if you're willing to look at other areas. | 0:25:14 | 0:25:18 | |
Other areas are dead as a doornail. | 0:25:18 | 0:25:21 | |
I'm sorry. I'm not sure if I can help you today. | 0:25:21 | 0:25:25 | |
And yet that hippy that I saw you with outside, | 0:25:25 | 0:25:29 | |
he's managed to secure a lock-up somewhere. | 0:25:29 | 0:25:34 | |
Amazing when he's made a point of giving away his art for free. | 0:25:34 | 0:25:38 | |
I wonder if you're giving him more favourable terms. | 0:25:40 | 0:25:43 | |
Is that an accusation? | 0:25:43 | 0:25:44 | |
One I'm sure your boss will be keen to hear. | 0:25:44 | 0:25:46 | |
Giving loans to lovers would constitute bad banking practice, | 0:25:46 | 0:25:50 | |
-would it not? -You can't prove anything. | 0:25:50 | 0:25:53 | |
I mean, you'd lose your job, | 0:25:53 | 0:25:55 | |
and you wouldn't be able to get another one in banking. | 0:25:55 | 0:25:57 | |
You need to leave, right now. | 0:25:57 | 0:26:00 | |
So think very carefully before you decide | 0:26:00 | 0:26:03 | |
whether my deposit is really not enough. | 0:26:03 | 0:26:06 | |
I was wondering if I could speak to you about an overdraft extension. | 0:26:17 | 0:26:20 | |
For the Shoreditch of the North, a lot of people are in | 0:26:26 | 0:26:29 | |
financial difficulty in Mortcliff, aren't they? | 0:26:29 | 0:26:31 | |
My goodness me. Quite a few questions answered there. | 0:26:31 | 0:26:35 | |
Krystyna. | 0:26:35 | 0:26:37 | |
-The fact that he'd got a lock-up. -Yes. | 0:26:37 | 0:26:39 | |
-And that's what the £3,000 was for. -Possibly. | 0:26:39 | 0:26:41 | |
I thought it may have been a gallery, | 0:26:41 | 0:26:43 | |
but a lock-up sounds the sort of place to store your kit, isn't it? | 0:26:43 | 0:26:47 | |
So he's got a lock-up somewhere. | 0:26:47 | 0:26:48 | |
Philip wanted property in that area. | 0:26:48 | 0:26:50 | |
He'd worked, he'd saved, | 0:26:50 | 0:26:52 | |
but suddenly his money wasn't good enough. | 0:26:52 | 0:26:55 | |
Whereas el hippy boy, Rick, | 0:26:55 | 0:26:57 | |
got money for nothing effectively from Jenny. | 0:26:57 | 0:27:00 | |
So, Jenny is under a lot of pressure. | 0:27:00 | 0:27:03 | |
Beth wanting an extension on her overdraft. | 0:27:03 | 0:27:06 | |
I mean, she's got financial trouble, she's got the shop, | 0:27:06 | 0:27:09 | |
so now I would love to see the CCTV. | 0:27:09 | 0:27:12 | |
Well, handily enough, Gregor, it's time to pick your evidence. | 0:27:12 | 0:27:15 | |
And there's another new item on the list. | 0:27:15 | 0:27:18 | |
A police report on the victim's clothes, | 0:27:18 | 0:27:20 | |
CCTV footage from Beth's shop, and the new item of evidence, | 0:27:20 | 0:27:24 | |
a still from a video on Philip's phone. | 0:27:24 | 0:27:27 | |
Victim's clothes. | 0:27:27 | 0:27:29 | |
I'm more intrigued to the CCTV footage now. | 0:27:29 | 0:27:32 | |
Are you? | 0:27:32 | 0:27:33 | |
Because we know Beth is in financial trouble, | 0:27:33 | 0:27:35 | |
I want to know if that CCTV video is from when we think it is. | 0:27:35 | 0:27:40 | |
But I just think victim's clothes. | 0:27:40 | 0:27:41 | |
I just got...there's something about those socks, | 0:27:41 | 0:27:44 | |
I can't get it out of me head. | 0:27:44 | 0:27:45 | |
What I love about it is that Ashley's | 0:27:45 | 0:27:47 | |
focused on the clothes, Gregor's focused on the CCTV. | 0:27:47 | 0:27:49 | |
Krystyna, really, at this point, what are you focused on? | 0:27:49 | 0:27:53 | |
I'm all about forensics. | 0:27:53 | 0:27:55 | |
-Yeah. -Victim's clothes. | 0:27:55 | 0:27:57 | |
-I'm afraid, Gregor. -That's fine, that's fine with me. | 0:27:57 | 0:28:00 | |
It's two to one. So, we're going to have look at the victim's clothes. | 0:28:00 | 0:28:03 | |
The victim was dry, despite the evening storm. | 0:28:03 | 0:28:05 | |
The victim was wearing a belt, which was not tight around the waist. | 0:28:05 | 0:28:09 | |
Victim was wearing mismatching socks, | 0:28:09 | 0:28:11 | |
one brown, one green, similar in style. | 0:28:11 | 0:28:15 | |
So, it sounds like someone might have dressed him in a hurry, | 0:28:15 | 0:28:17 | |
just felt the fabric. Didn't realise they were different. | 0:28:17 | 0:28:20 | |
-Are they the new boots... -They are. -..that he had on? | 0:28:20 | 0:28:23 | |
Which were affecting him on the back, obviously. | 0:28:23 | 0:28:25 | |
-Like he was doing that, wasn't he? -They were rubbing. | 0:28:25 | 0:28:27 | |
Yes. He did something, didn't he? | 0:28:27 | 0:28:29 | |
-Yes. -He did. -He did something. | 0:28:29 | 0:28:30 | |
I don't know whether it was to stick his jeans in, | 0:28:30 | 0:28:32 | |
in which case they're not actually in the boots there, are they? | 0:28:32 | 0:28:35 | |
Someone dressed him. | 0:28:35 | 0:28:37 | |
-Right. -Is what I believe. -Yes. -Yeah. | 0:28:37 | 0:28:39 | |
Has that changed your view on Adam, Philip, Jenny, or Beth? | 0:28:39 | 0:28:43 | |
It's time to write down your prime suspect in your notepads now. | 0:28:43 | 0:28:47 | |
Right, notepads down, Armchair Detectives. | 0:28:52 | 0:28:55 | |
Let's see who you have picked. | 0:28:55 | 0:28:56 | |
Now, last time, Krystyna, you went for Adam. | 0:28:56 | 0:28:59 | |
-Have you changed your mind? -No. | 0:28:59 | 0:29:01 | |
-Still with Adam. -He had a motive. | 0:29:01 | 0:29:04 | |
Yeah. Ashley, last time you went for Jenny. | 0:29:04 | 0:29:07 | |
Have you changed your mind? | 0:29:07 | 0:29:08 | |
-No, sticking with Jenny. -Still with Jenny. | 0:29:08 | 0:29:10 | |
-Yeah. -Yeah. -But the bit that I'm a bit confused about | 0:29:10 | 0:29:13 | |
is that by knocking her boyfriend off, | 0:29:13 | 0:29:16 | |
what would she benefit from that? | 0:29:16 | 0:29:17 | |
Gregor, last time you went for Philip. Have you changed your mind? | 0:29:17 | 0:29:21 | |
-I have. -Who have you gone for? -I've gone for Jenny as well. | 0:29:21 | 0:29:24 | |
-OK. Why? -Well, it sounds like Beth didn't like Rick, the victim. | 0:29:24 | 0:29:30 | |
-Yes, true. -So, I highly doubt he was stripping off his clothes | 0:29:30 | 0:29:35 | |
and being with Beth, whereas he was staying at Jenny's. | 0:29:35 | 0:29:38 | |
Do you think he was naked? | 0:29:38 | 0:29:40 | |
I think... Well, someone dressed him for a reason. | 0:29:40 | 0:29:42 | |
In summary, Krystyna has gone for Adam, Ashley has gone for Jenny, | 0:29:42 | 0:29:48 | |
and Gregor has also gone for Jenny. | 0:29:48 | 0:29:51 | |
Well, it's time for round five now. | 0:29:51 | 0:29:53 | |
The final clues. | 0:29:53 | 0:29:55 | |
Will Knight and Slater find the killer and salvage this case? | 0:29:55 | 0:29:58 | |
Notepads at the ready. Let's find out. | 0:29:58 | 0:30:01 | |
It's changed a lot. | 0:30:09 | 0:30:11 | |
Yeah, a few arty types have set up shop. | 0:30:11 | 0:30:13 | |
Our victim's workshop is in there too. | 0:30:13 | 0:30:16 | |
Forensics team have checked it out, | 0:30:16 | 0:30:18 | |
but they say they can't see anything out of place. | 0:30:18 | 0:30:21 | |
It's a lot brighter than it used to be. Miss Hawk. | 0:30:21 | 0:30:23 | |
Brighter for you. Others can't stand it. | 0:30:23 | 0:30:25 | |
And why's that? | 0:30:25 | 0:30:27 | |
Beth blamed Rick and his artist group for the vandalism | 0:30:27 | 0:30:31 | |
the yuppies complained about. | 0:30:31 | 0:30:33 | |
And, of course, they did steal from her shop, | 0:30:33 | 0:30:35 | |
so it's understandable, I guess. | 0:30:35 | 0:30:38 | |
Those artists remind her of them. | 0:30:39 | 0:30:40 | |
And how do you feel about the artists? | 0:30:40 | 0:30:43 | |
I thought they were amazing, | 0:30:43 | 0:30:45 | |
and it brought lots of business to the bank. | 0:30:45 | 0:30:47 | |
Thanks to Rick. | 0:30:48 | 0:30:49 | |
We found some paperwork from your bank. | 0:30:49 | 0:30:53 | |
Apparently you gave him a loan? | 0:30:53 | 0:30:56 | |
I gave him a loan to get a lock-up. | 0:30:57 | 0:30:59 | |
But surely he'd need proof of income to get a loan. | 0:30:59 | 0:31:03 | |
He was self-employed. | 0:31:03 | 0:31:05 | |
So he could provide proof of three years' worth of income, could he? | 0:31:05 | 0:31:10 | |
-Well... -Well, could he? | 0:31:10 | 0:31:11 | |
No. | 0:31:12 | 0:31:14 | |
But he really needed somewhere to work and store his material. | 0:31:14 | 0:31:18 | |
It rained on the night of Rick's death, but his body was dry, | 0:31:18 | 0:31:22 | |
indicating that he wasn't killed where he was discovered. | 0:31:22 | 0:31:26 | |
He must have spent the night indoors. So, where was he staying? | 0:31:26 | 0:31:31 | |
He used to stay at my place sometimes. | 0:31:31 | 0:31:34 | |
I thought he'd come over later, but that night he didn't. | 0:31:34 | 0:31:39 | |
So, you were in a relationship with Rick? | 0:31:39 | 0:31:43 | |
Rick didn't do relationships. He just stayed over sometimes. | 0:31:43 | 0:31:51 | |
You were in love with him, so you got him alone, | 0:31:51 | 0:31:53 | |
hoping that he would reciprocate your feelings, is that it? | 0:31:53 | 0:31:56 | |
How stupid am I? | 0:31:56 | 0:31:58 | |
Got you where I want you, Phil? 27 ahead, 25 on the table. | 0:32:04 | 0:32:09 | |
Watch and learn, Davey boy. Watch and learn. | 0:32:11 | 0:32:14 | |
Excuse me, gents. DI Knight, this is DC Slater. | 0:32:14 | 0:32:18 | |
Just like to ask you a few questions, if you don't mind. | 0:32:18 | 0:32:20 | |
Finally. It's been three weeks since we complained, you know. | 0:32:20 | 0:32:25 | |
-Sorry? -Well, aren't you here about the complaint? | 0:32:25 | 0:32:29 | |
What complaint are you referring to? | 0:32:29 | 0:32:32 | |
Hello again, gentleman. This here is Dave Eddy, he's a local councillor. | 0:32:32 | 0:32:37 | |
I think he's talking about the complaint that we made | 0:32:37 | 0:32:39 | |
about all the vandalism, as well as Rick and his gang protesting. | 0:32:39 | 0:32:43 | |
Honestly, it's been ridiculous. | 0:32:43 | 0:32:45 | |
I mean, this neighbourhood has been regenerated and all | 0:32:45 | 0:32:49 | |
they want to do is drag us back to the 1950s. | 0:32:49 | 0:32:52 | |
When will that lot realise that money makes the world go round | 0:32:52 | 0:32:56 | |
and not used-up bits of rubbish? | 0:32:56 | 0:32:58 | |
We're investigating the death of Rick Saddleworth. | 0:32:58 | 0:33:01 | |
Mr Grantham, where were you last night? | 0:33:01 | 0:33:04 | |
Er... I was at home from about 10.30 onwards. | 0:33:04 | 0:33:08 | |
That's around 20 minutes from here, right? | 0:33:08 | 0:33:11 | |
Were you up to anything else last night? Anything unusual happen? | 0:33:11 | 0:33:16 | |
No. It was that fantastic thunderstorm. Remember? | 0:33:16 | 0:33:19 | |
Look at this beauty. | 0:33:23 | 0:33:25 | |
ON PHONE: Wow, look at that. What a thunderstorm. | 0:33:27 | 0:33:31 | |
We're witnessing this amazing thunderstorm. | 0:33:31 | 0:33:35 | |
Did you see that? This is incredible. | 0:33:35 | 0:33:38 | |
It was a really active storm, the biggest I've ever seen. | 0:33:38 | 0:33:41 | |
We're trying to eliminate people from our investigation. | 0:33:41 | 0:33:43 | |
Can you e-mail that to me? | 0:33:43 | 0:33:45 | |
My address is on the back of that. | 0:33:45 | 0:33:46 | |
Yeah, sure. | 0:33:46 | 0:33:48 | |
Thank you. That will be all. | 0:33:48 | 0:33:49 | |
Please, carry on. | 0:33:49 | 0:33:51 | |
OK... | 0:33:52 | 0:33:54 | |
-That's three to me. -Wrong again. | 0:33:59 | 0:34:03 | |
We've found some fibres on the victim's clothes | 0:34:12 | 0:34:14 | |
and body that aren't his. | 0:34:14 | 0:34:17 | |
I think they're from whatever the murderer used to cover their prints. | 0:34:17 | 0:34:21 | |
So the murderer improvised on what they could get their hands on? | 0:34:21 | 0:34:24 | |
The victim also had problems with his feet. | 0:34:24 | 0:34:27 | |
They were covered in blisters. | 0:34:27 | 0:34:28 | |
So, do we know where the fibres come from? | 0:34:29 | 0:34:34 | |
I can tell you exactly where they're from. | 0:34:34 | 0:34:36 | |
They're from his socks, his odd socks. | 0:34:36 | 0:34:40 | |
Ashley, socks. | 0:34:45 | 0:34:47 | |
It's about the socks. I told you it was about the socks. | 0:34:47 | 0:34:50 | |
I don't know what you guys think, | 0:34:50 | 0:34:51 | |
but I don't think Philip was telling the truth. | 0:34:51 | 0:34:53 | |
-He was definitely being dodgy. -Yeah. | 0:34:53 | 0:34:55 | |
Did Jenny improvise with gloves with socks? | 0:34:55 | 0:35:00 | |
-Yeah, and she picked up... -With the socks. | 0:35:00 | 0:35:02 | |
What I'm thinking is it's Jenny because she's picked | 0:35:02 | 0:35:05 | |
up his socks, she's picked up one of his art pieces that's made of tin. | 0:35:05 | 0:35:09 | |
-Yeah. -And that's what the murder weapon was. | 0:35:09 | 0:35:11 | |
-She used his own art piece to slash his throat. -Oh, well done. | 0:35:11 | 0:35:14 | |
-And that's what that piece was at the top. -Oh, that's brilliant. | 0:35:14 | 0:35:17 | |
-And then she's redressed him... -Oh, that's brilliant. | 0:35:17 | 0:35:19 | |
-..with the socks she used to hold the art piece. -I like you, Gregor. | 0:35:19 | 0:35:22 | |
Because she liked his art. | 0:35:22 | 0:35:23 | |
Let's look at the evidence. | 0:35:23 | 0:35:25 | |
Do you want to see the CCTV footage from Beth's shop, or Philip's video? | 0:35:25 | 0:35:29 | |
So, which piece of evidence is going to help you make that accusation? | 0:35:29 | 0:35:33 | |
I'd like to see the CCTV file. | 0:35:33 | 0:35:34 | |
Yeah, so would I. What about you, Ashley? | 0:35:34 | 0:35:36 | |
Well, it's two to one at that point. | 0:35:37 | 0:35:39 | |
I'm not going to argue anyway, we'll go for the CCTV. | 0:35:39 | 0:35:42 | |
-CCTV footage? CCTV. -Yes. -OK. | 0:35:42 | 0:35:44 | |
So, what did you see? | 0:36:04 | 0:36:06 | |
-It was 23.27, that was the time. -Yeah. | 0:36:06 | 0:36:10 | |
We clearly saw who we believe is Rick in the hood leaving, | 0:36:10 | 0:36:14 | |
-chased quickly by Beth. -Beth. | 0:36:14 | 0:36:15 | |
Then Adam, then Jenny entered the shop followed quickly by Beth | 0:36:15 | 0:36:19 | |
and then Adam. | 0:36:19 | 0:36:20 | |
And then we cut to stills inside the shop | 0:36:20 | 0:36:23 | |
of Beth doing stock and whatnot. | 0:36:23 | 0:36:25 | |
-On her own, yeah. -So, we can from that know | 0:36:25 | 0:36:29 | |
that Adam went back inside, | 0:36:29 | 0:36:31 | |
where he got his beer, blah blah blah. | 0:36:31 | 0:36:33 | |
Jenny did say at the very beginning she did go to the | 0:36:33 | 0:36:36 | |
shop around 11.30 for tonic, but then she was home for midnight. | 0:36:36 | 0:36:40 | |
Now... | 0:36:40 | 0:36:41 | |
Ah, I'm still going for Jenny. | 0:36:42 | 0:36:44 | |
Well, he definitely... The shoes he ran out with were the shoes that | 0:36:44 | 0:36:48 | |
were found on him. | 0:36:48 | 0:36:49 | |
-Yes, exactly. -So it's definitely Rick that ran out the shop. | 0:36:49 | 0:36:53 | |
-Yeah. -Well, the moment has arrived, Armchair Detectives, for you to | 0:36:53 | 0:36:56 | |
make your accusations. | 0:36:56 | 0:36:57 | |
Adam, Philip, Jenny, or Beth? | 0:36:57 | 0:37:01 | |
It's time to answer the only question that matters, whodunnit? | 0:37:01 | 0:37:05 | |
It's time for final accusation time. | 0:37:10 | 0:37:12 | |
Tell me, Krystyna, who are you accusing? | 0:37:12 | 0:37:14 | |
I'm still going for Adam. | 0:37:14 | 0:37:16 | |
Adam. Because? | 0:37:16 | 0:37:17 | |
Well, it's just little odd things that I've heard, | 0:37:17 | 0:37:20 | |
and then also, what was all that thing about on the phone? | 0:37:20 | 0:37:23 | |
Oh, yeah, I'd forgotten about that. Yeah, that's right. | 0:37:23 | 0:37:25 | |
Oh, yeah, he was speaking to someone. | 0:37:25 | 0:37:27 | |
So you've gone for Adam, Krystyna. Ashley, who are you accusing? | 0:37:27 | 0:37:30 | |
I'm accusing Jenny. | 0:37:30 | 0:37:31 | |
-Jenny. -I'm sticking from the start to the finish. | 0:37:31 | 0:37:34 | |
And I just think that she put the socks on to kill... | 0:37:34 | 0:37:38 | |
-To kill... -Yes. -..the victim. | 0:37:38 | 0:37:41 | |
-Yes. -Gregor, who are you accusing? | 0:37:41 | 0:37:43 | |
-Jenny. -Jenny. | 0:37:43 | 0:37:45 | |
-Yeah. -Because? | 0:37:45 | 0:37:46 | |
I just have the theory in my head. | 0:37:46 | 0:37:48 | |
Beth didn't like him, he stole from the shop. | 0:37:48 | 0:37:51 | |
He was... Someone dressed him, is my theory. | 0:37:51 | 0:37:54 | |
Jenny just, it sort of all fits. | 0:37:54 | 0:37:57 | |
-You're right. -So, Armchair Detectives are accusing... | 0:37:57 | 0:38:00 | |
Krystyna is accusing Adam, Ashley's accusing Jenny, | 0:38:00 | 0:38:04 | |
and Gregor is accusing Jenny. | 0:38:04 | 0:38:06 | |
Well, the final piece of evidence has been left on the board. | 0:38:06 | 0:38:09 | |
It's a still from Philip's video. | 0:38:09 | 0:38:12 | |
The strangest selfie ever. | 0:38:12 | 0:38:14 | |
-The time. -Yeah. | 0:38:14 | 0:38:17 | |
-On the clock. -Yeah. | 0:38:17 | 0:38:19 | |
20 to 12. | 0:38:19 | 0:38:20 | |
And based on his location, which is his home, | 0:38:20 | 0:38:22 | |
which was 20 minutes away from the victim's, it's... | 0:38:22 | 0:38:25 | |
-Does it rule him out? -Yeah. | 0:38:25 | 0:38:27 | |
Yeah. None of you accused him, so that's OK, unless it's wrong. | 0:38:27 | 0:38:31 | |
So what really happened in today's story, A Can Of Worms? | 0:38:32 | 0:38:36 | |
Who killed Rick Saddleworth? Let's find out whodunnit. | 0:38:36 | 0:38:40 | |
So we know from Philip Grantham's records that he | 0:38:50 | 0:38:52 | |
wasn't in a good place financially. | 0:38:52 | 0:38:54 | |
Yeah, but that's just about every other suspect on the board, sir. | 0:38:54 | 0:38:57 | |
Yeah. Apart from Jenny, actually, although her giving out unapproved | 0:38:57 | 0:39:02 | |
loans is going to get her into trouble at some point. | 0:39:02 | 0:39:05 | |
What we also know is that Philip Grantham was a letting | 0:39:05 | 0:39:08 | |
agent for three of the flats in that building. | 0:39:08 | 0:39:10 | |
That interesting, is it? | 0:39:12 | 0:39:13 | |
What? Yeah. Well, look. | 0:39:13 | 0:39:15 | |
I mean, look at the town clock. | 0:39:15 | 0:39:16 | |
Yeah. It says 11.30, which is when we know the storm started. | 0:39:19 | 0:39:22 | |
That's his alibi. | 0:39:22 | 0:39:23 | |
Right, well, either this was filmed using a mirror or some video | 0:39:23 | 0:39:27 | |
-software that somehow flips the image. -How can you tell? | 0:39:27 | 0:39:29 | |
Look at this shirt. Look at the buttons on it, and the pocket. | 0:39:29 | 0:39:33 | |
-I need a coffee. -Just the one. | 0:39:34 | 0:39:36 | |
Yeah, and while you're there, | 0:39:36 | 0:39:38 | |
can you ask forensics to look at that wheelchair? | 0:39:38 | 0:39:40 | |
Coffee and forensics, look at the wheelchair. Yeah, sir. | 0:39:41 | 0:39:44 | |
You own three properties in East Mortcliff. | 0:39:47 | 0:39:52 | |
Rick Saddleworth and his ongoing protests have become | 0:39:53 | 0:39:58 | |
a serious problem for you, have they not? | 0:39:58 | 0:40:00 | |
The gentrification of the area has been of enormous benefit to you. | 0:40:00 | 0:40:04 | |
Rick and his fellow protesters were in the way. | 0:40:04 | 0:40:07 | |
You wanted to get rid of him. | 0:40:07 | 0:40:08 | |
You offered Rick a lift | 0:40:08 | 0:40:10 | |
and a bed for the night in one of your furnished properties. | 0:40:10 | 0:40:13 | |
When you thought he was asleep you let yourself back in. | 0:40:13 | 0:40:16 | |
You then attacked Rick in bed, and used a pair of his socks as gloves. | 0:40:16 | 0:40:22 | |
You then left. | 0:40:22 | 0:40:24 | |
You then went home to concoct an alibi. | 0:40:24 | 0:40:26 | |
You filmed yourself, using a mirror or some video software that | 0:40:26 | 0:40:32 | |
flips the image, that allowed you to manipulate the time. | 0:40:32 | 0:40:35 | |
Your shirt pocket gave you away there. | 0:40:35 | 0:40:38 | |
In the morning, you returned with the wheelchair. | 0:40:38 | 0:40:40 | |
You dressed the body, | 0:40:40 | 0:40:42 | |
not realising you'd left another pair of socks in the room. | 0:40:42 | 0:40:45 | |
You see, Rick had used two pairs of socks in order to cope | 0:40:45 | 0:40:49 | |
with his blisters. | 0:40:49 | 0:40:51 | |
You put the body in the wheelchair, and then, when the coast was | 0:40:51 | 0:40:54 | |
clear, took it down in the lift and dumped it outside on the grass. | 0:40:54 | 0:40:58 | |
No response? | 0:41:00 | 0:41:01 | |
OK, Mr Grantham, this interview | 0:41:03 | 0:41:05 | |
doesn't seem to be getting us anywhere. | 0:41:05 | 0:41:08 | |
You're free to go. | 0:41:08 | 0:41:09 | |
Oh, before you leave, could you just sign this interview form | 0:41:10 | 0:41:14 | |
using the red pen in block capitals, please? | 0:41:14 | 0:41:18 | |
Marvellous. | 0:41:28 | 0:41:29 | |
There's only one red pen in here. | 0:41:33 | 0:41:36 | |
You just proved that you're colour-blind. | 0:41:36 | 0:41:38 | |
I suppose that's why you were rejected from the RAF | 0:41:38 | 0:41:40 | |
and why you potted the brown instead of the green while playing snooker. | 0:41:40 | 0:41:45 | |
And why you made a key mistake. | 0:41:45 | 0:41:47 | |
See, you used one pair of socks as gloves, | 0:41:48 | 0:41:52 | |
except you didn't choose a matching a pair. | 0:41:52 | 0:41:55 | |
You used one brown sock and one green sock, | 0:41:56 | 0:41:59 | |
leaving another odd pair of socks in the room. | 0:41:59 | 0:42:01 | |
That just narrows to anyone who's colour-blind to within | 0:42:03 | 0:42:06 | |
a 100-mile radius. | 0:42:06 | 0:42:07 | |
I like those odds. | 0:42:07 | 0:42:09 | |
You let out properties in the area, | 0:42:09 | 0:42:11 | |
presumably you have keys for them all. | 0:42:11 | 0:42:13 | |
It's only a matter of time before we find some interesting forensics. | 0:42:13 | 0:42:16 | |
Mr Grantham, I'm arresting you for the murder of Rick Saddleworth. | 0:42:16 | 0:42:20 | |
Never mind, guys. You failed to pick today's killer. | 0:42:27 | 0:42:30 | |
The thing is you did have all the clues there. The wheelchair... | 0:42:30 | 0:42:33 | |
I should have stuck with my gut instinct. | 0:42:33 | 0:42:35 | |
The wheelchair. Ashley, the socks. | 0:42:35 | 0:42:37 | |
You were obsessed with the socks, | 0:42:37 | 0:42:39 | |
and the socks were one of the crucial things. | 0:42:39 | 0:42:41 | |
Armchair Detectives, some of you were jumping | 0:42:41 | 0:42:43 | |
out of your seats like that, "We saw it Susan, we saw it." | 0:42:43 | 0:42:47 | |
Hands up if you got it right. | 0:42:47 | 0:42:49 | |
Oh, come on! | 0:42:49 | 0:42:50 | |
So, that's all from Armchair Detectives. | 0:42:53 | 0:42:55 | |
Join us next time, when Knight | 0:42:55 | 0:42:57 | |
and Slater investigate a deadly crime at a Chinese restaurant. | 0:42:57 | 0:43:00 | |
But will it be a sweet or sour case? | 0:43:00 | 0:43:03 | |
AUDIENCE MEMBER GROANS | 0:43:03 | 0:43:04 | |
Shut up. | 0:43:04 | 0:43:05 | |
And remember, no-one gets away with murder in Mortcliff. | 0:43:05 | 0:43:10 | |
Goodbye. | 0:43:10 | 0:43:13 | |
Well done. Well done. | 0:43:13 | 0:43:15 | |
Well done, well done. | 0:43:15 | 0:43:18 |