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Janice from accounts has had her stapler stolen. | 0:00:02 | 0:00:04 | |
IT Malcolm looks guilty, so does Debbie on reception. | 0:00:04 | 0:00:06 | |
You know where the trail of staples leads, | 0:00:06 | 0:00:08 | |
and that's why this is the place for you. | 0:00:08 | 0:00:10 | |
Welcome to the TV show with only one question, whodunnit? | 0:00:10 | 0:00:16 | |
APPLAUSE | 0:00:27 | 0:00:29 | |
Hello, this is Armchair Detectives. | 0:00:30 | 0:00:32 | |
15 murder mystery enthusiasts are ready to solve a fictional crime. | 0:00:32 | 0:00:37 | |
Our amateur detectives will watch the evidence unfold | 0:00:37 | 0:00:40 | |
from a case set in Mortcliff, | 0:00:40 | 0:00:42 | |
the picture-postcard village with a hoard of hardened criminals. | 0:00:42 | 0:00:46 | |
We'll see the town's diligent police detectives | 0:00:46 | 0:00:49 | |
sift through all the clues in today's case. | 0:00:49 | 0:00:51 | |
Here they are. | 0:00:51 | 0:00:52 | |
DI Knight, DC Slater, and Scene of Crimes Officer Simmons. | 0:00:52 | 0:00:57 | |
Before we head to Mortcliff for the first time, | 0:00:57 | 0:00:59 | |
let's meet our Armchair Detectives. | 0:00:59 | 0:01:01 | |
Hello, Armchair Detectives! | 0:01:01 | 0:01:03 | |
-ALL: -Hello. | 0:01:03 | 0:01:04 | |
Oh, they're all ready to go again. | 0:01:04 | 0:01:06 | |
Only three of you play each day, though. | 0:01:06 | 0:01:08 | |
So, please, take your armchairs Roger, Gregor, and Laura. | 0:01:08 | 0:01:11 | |
Come on up! | 0:01:11 | 0:01:12 | |
CHEERING | 0:01:12 | 0:01:14 | |
The Armchair Detective guessing the killer correctly will win this, | 0:01:19 | 0:01:22 | |
the fiercely-contested golden magnifying glass. | 0:01:22 | 0:01:27 | |
-AUDIENCE: -Woo! | 0:01:27 | 0:01:29 | |
Not bought from a pound shop! | 0:01:29 | 0:01:31 | |
This is your final appearance on the show. | 0:01:31 | 0:01:34 | |
So, can you sum up what it's like being an Armchair Detective | 0:01:34 | 0:01:37 | |
in three words for me, Roger? | 0:01:37 | 0:01:39 | |
I would say it is brilliantly challenging fun. | 0:01:39 | 0:01:44 | |
I would have to go with fantastic, amazing, and argh! | 0:01:44 | 0:01:48 | |
LAUGHTER | 0:01:48 | 0:01:50 | |
-Not even a word but I know what you mean. -Yeah. | 0:01:50 | 0:01:52 | |
It's definitely an adventure. Certainly an experience. | 0:01:52 | 0:01:55 | |
And it certainly puts a long of things in perspective. | 0:01:55 | 0:01:58 | |
Oh, beautiful. It's time for round one, the crime scene. | 0:01:58 | 0:02:02 | |
Knight and Slater meet Simmons at a stunning country house, | 0:02:02 | 0:02:05 | |
Strath Manor. | 0:02:05 | 0:02:06 | |
Notepads at the ready. | 0:02:06 | 0:02:08 | |
For the first time today, let's head over to Mortcliff. | 0:02:08 | 0:02:12 | |
Strath Manor is the ancestral home of the Laxford family. | 0:02:23 | 0:02:28 | |
This part of the house was used as a hospital barracks during the war. | 0:02:28 | 0:02:31 | |
It was bombed in 1941. | 0:02:31 | 0:02:33 | |
And they've only started renovations now? | 0:02:33 | 0:02:35 | |
I would have called Homes Under The Hammer, sir. | 0:02:35 | 0:02:38 | |
Sir Charles has been applying for heritage funding for years, | 0:02:38 | 0:02:41 | |
but there's all this nonsense nowadays about | 0:02:41 | 0:02:43 | |
historic homes being undeserving. | 0:02:43 | 0:02:45 | |
Right. | 0:02:45 | 0:02:47 | |
When Strath Manor is reserved to its former glory, | 0:02:47 | 0:02:49 | |
it will be a beacon of beauty as well as offering employment. | 0:02:49 | 0:02:53 | |
Boo! | 0:02:53 | 0:02:55 | |
-Don't believe in ghosts do you, Slater? -No. Not at all, sir. Ahem. | 0:02:55 | 0:02:58 | |
It's time to start. | 0:02:58 | 0:03:00 | |
Thank you, Mrs Mackenzie. | 0:03:01 | 0:03:03 | |
Um, I will also need to speak to Lord Laxford. | 0:03:03 | 0:03:06 | |
He and his family are on their way back from the Cairngorms. | 0:03:06 | 0:03:09 | |
I see. Thank you. | 0:03:09 | 0:03:12 | |
Don't tell me you've found Lady Miranda? | 0:03:17 | 0:03:19 | |
Just through here. | 0:03:19 | 0:03:22 | |
No way! | 0:03:25 | 0:03:27 | |
Who is Lady Miranda? | 0:03:28 | 0:03:30 | |
She's Lord Charles Laxford's wife. | 0:03:30 | 0:03:34 | |
She went missing 15 years ago. Are you absolutely sure it's her? | 0:03:34 | 0:03:37 | |
It's a female skeleton of the same age. | 0:03:37 | 0:03:41 | |
She has an old fracture on her right leg that corresponds with | 0:03:41 | 0:03:44 | |
a skiing accident on her medical records. | 0:03:44 | 0:03:46 | |
And...we found this. | 0:03:46 | 0:03:50 | |
We found it by her left hand. | 0:03:50 | 0:03:52 | |
We've dusted for prints but I wouldn't hold your breath. | 0:03:52 | 0:03:56 | |
We've sent her dental records off | 0:03:56 | 0:03:58 | |
but, judging by her age, I just am 100% sure that this is her. | 0:03:58 | 0:04:03 | |
Anything else? What about these gas canisters? | 0:04:04 | 0:04:07 | |
Not sure if they're of any importance yet. | 0:04:07 | 0:04:10 | |
Although I did notice one's quite badly damaged. | 0:04:10 | 0:04:12 | |
Could that be what killed her? | 0:04:12 | 0:04:14 | |
I'll not know until I've run some tests. | 0:04:14 | 0:04:16 | |
Luckily no-one smoked nearby, sir. | 0:04:16 | 0:04:19 | |
Indeed. | 0:04:20 | 0:04:21 | |
Otherwise the Heritage Society would have been looking at | 0:04:22 | 0:04:24 | |
a full-scale construction from the ground up. | 0:04:24 | 0:04:27 | |
Could you make sure we get some tea? | 0:04:39 | 0:04:41 | |
I thought when Jane called, you'd found her in Morocco or...not this. | 0:04:49 | 0:04:55 | |
She was here all along? | 0:04:58 | 0:04:59 | |
Just yards away. | 0:05:02 | 0:05:03 | |
Poor Daniel. | 0:05:06 | 0:05:07 | |
We'll obviously be investigating all possibilities. | 0:05:07 | 0:05:11 | |
Of course, um... | 0:05:13 | 0:05:14 | |
I expect you'll want to know where I was the day she supposedly left. | 0:05:16 | 0:05:22 | |
Yes, sir. | 0:05:23 | 0:05:24 | |
I remember it like it was yesterday. | 0:05:24 | 0:05:26 | |
We were all set to go and visit Aunt Netty. | 0:05:27 | 0:05:30 | |
She had been unable to meet baby Daniel, and Jemima was ill. | 0:05:31 | 0:05:37 | |
So, I took Daniel, and Miranda stayed here with her mother. | 0:05:38 | 0:05:42 | |
You'd best speak to Jemima sooner rather than later. | 0:05:44 | 0:05:48 | |
She has dementia now, and today was a good day | 0:05:48 | 0:05:53 | |
but, er, she isn't always so lucid. | 0:05:53 | 0:05:56 | |
Do you recall the events of the day your daughter went missing? | 0:06:00 | 0:06:04 | |
Well, of course! | 0:06:04 | 0:06:05 | |
Well, I was taken ill. | 0:06:05 | 0:06:07 | |
Miranda kindly looked after me. | 0:06:07 | 0:06:09 | |
I stayed in bed and read. | 0:06:09 | 0:06:11 | |
Do you remember which book? | 0:06:12 | 0:06:13 | |
I read it every night before I retire. | 0:06:18 | 0:06:20 | |
Ah, it's an invitation. | 0:06:30 | 0:06:32 | |
16 years ago, that's almost a year before Lady Miranda went missing. | 0:06:33 | 0:06:36 | |
There's something written on the back. | 0:06:36 | 0:06:39 | |
Is there? Do read it, dear. | 0:06:39 | 0:06:41 | |
"Let's just keep this between the two of us." | 0:06:41 | 0:06:44 | |
Sir. That's what we call a clue. | 0:06:47 | 0:06:50 | |
Well, there's no fooling you, is there, Slater?! | 0:06:51 | 0:06:54 | |
LAUGHTER | 0:06:56 | 0:06:58 | |
Armchair Detectives, we have a cold case on our hands. | 0:07:00 | 0:07:06 | |
-She's not looking her best, is she?! -No, she's not. | 0:07:06 | 0:07:10 | |
Although, I think she might have intended to look her best | 0:07:10 | 0:07:14 | |
because that looked rather a fancy yellow, laced dress. | 0:07:14 | 0:07:18 | |
And also the rather lovely engagement ring | 0:07:18 | 0:07:22 | |
-next to her left hand. -Left hand. -Next to her left hand. | 0:07:22 | 0:07:25 | |
-There were modern gas tanks there. -Yeah. | 0:07:25 | 0:07:27 | |
I couldn't clearly see what was lying alongside the body. | 0:07:27 | 0:07:31 | |
-Was it a sword or something similarly shaped? -I couldn't see... | 0:07:31 | 0:07:35 | |
It looked more like just rubble and things. | 0:07:35 | 0:07:37 | |
Let me tell you a bit more about the victim | 0:07:37 | 0:07:39 | |
and we'll talk a bit more. | 0:07:39 | 0:07:40 | |
Today, we're investigating the death of Lady Miranda | 0:07:40 | 0:07:43 | |
who was 35 years old when she went missing 15 years ago. | 0:07:43 | 0:07:48 | |
She was the Lady of Strath Manor. | 0:07:48 | 0:07:51 | |
Lady Miranda was married and had one child. | 0:07:51 | 0:07:53 | |
The cause and time of death is currently under investigation. | 0:07:53 | 0:07:57 | |
So, that's our victim. | 0:07:57 | 0:07:59 | |
Charles, the previous husband, mentioned the fact that | 0:07:59 | 0:08:02 | |
the mother was suffering dementia or beginning to. | 0:08:02 | 0:08:05 | |
Um, so, do we take her at her word she remembers | 0:08:05 | 0:08:08 | |
she was in bed reading because she was ill? | 0:08:08 | 0:08:10 | |
Which did kind of coincide with his story, but are we meant to... | 0:08:10 | 0:08:13 | |
-Miranda stayed behind... -To take care of the mum. | 0:08:13 | 0:08:17 | |
Or was she taking advantage of the absence of her husband | 0:08:17 | 0:08:22 | |
-for some reason? -Yes. -Hence the smart frock. | 0:08:22 | 0:08:25 | |
Who's to say that invite, "Keep it between the two of us" | 0:08:25 | 0:08:28 | |
was Jemima's? It might have been Miranda's. | 0:08:28 | 0:08:31 | |
-Two of who? -Yes. -Mm-hm. | 0:08:31 | 0:08:33 | |
Well, let's have a look at the suspects. | 0:08:33 | 0:08:35 | |
The suspects so far are | 0:08:35 | 0:08:37 | |
Lord Charles Laxford, the Lord of Strath Manor, | 0:08:37 | 0:08:41 | |
Jemima Andrews, mother of Lady Miranda, | 0:08:41 | 0:08:44 | |
and Judith Mackenzie, the housekeeper of Strath Manor. | 0:08:44 | 0:08:48 | |
Yeah, it's more about alibis and things at the moment. | 0:08:48 | 0:08:50 | |
-Yes, it's difficult when it's so far in the past. -Yeah. -Mm-hm. | 0:08:50 | 0:08:54 | |
But let me try and help you out with a piece of evidence. | 0:08:54 | 0:08:56 | |
In every round you get to interrogate a piece of evidence, | 0:08:56 | 0:08:59 | |
and I'm going to start you off with one. | 0:08:59 | 0:09:01 | |
It is the party invitation found in Jemima's book. | 0:09:01 | 0:09:06 | |
"Let's just keep this between the two of us." | 0:09:06 | 0:09:08 | |
And it is "Lord and Lady Laxford invite you to join them | 0:09:08 | 0:09:12 | |
"at Strath Manor between 5 and 10pm. RSVP." | 0:09:12 | 0:09:17 | |
And also you can see there the book that it was in. | 0:09:18 | 0:09:21 | |
Poems of Elizabeth Barrett Browning. | 0:09:21 | 0:09:23 | |
Well, the invitation is to the party at the manor. | 0:09:23 | 0:09:29 | |
-At the manor, so, someone else brought it into the house. -Yes. | 0:09:29 | 0:09:32 | |
What did they say about the date of that invitation, though? | 0:09:32 | 0:09:34 | |
-Cos she talked about... -It's 16 years, not 15 years. -Yes. | 0:09:34 | 0:09:38 | |
-So, the year before. -Which could be why | 0:09:38 | 0:09:41 | |
there could be something going on. Maybe an affair, a possibility. | 0:09:41 | 0:09:44 | |
-Well, baby Daniel. -Ooh. | 0:09:44 | 0:09:46 | |
Laura, that's just what I was thinking as well. | 0:09:46 | 0:09:49 | |
-A year, a year, you say. -I don't have any children | 0:09:49 | 0:09:51 | |
but I understand there's some distance between things happening | 0:09:51 | 0:09:53 | |
and things happening! | 0:09:53 | 0:09:55 | |
LAUGHTER | 0:09:55 | 0:09:56 | |
So, that's the party invitation. | 0:09:57 | 0:10:00 | |
It's time now for round two, last movements. | 0:10:00 | 0:10:02 | |
We'll see what happened to Lady Miranda on the day of her death | 0:10:02 | 0:10:06 | |
15 years ago. | 0:10:06 | 0:10:07 | |
It's a flashback. Ooh! | 0:10:07 | 0:10:09 | |
LAUGHTER | 0:10:09 | 0:10:10 | |
Notepads at the ready, let's had back to Strath Manor. | 0:10:10 | 0:10:13 | |
-TV: -And finally, a reminder of today's top stories. | 0:10:21 | 0:10:25 | |
After seven years of construction, the new bridge has finally opened | 0:10:25 | 0:10:29 | |
for traffic at Loch Menzies. | 0:10:29 | 0:10:30 | |
-The outsider Maiden Zet... -DOOR SLAMS | 0:10:30 | 0:10:32 | |
-..won the Champion's Hurdle at 66-1. -FOOTSTEPS | 0:10:32 | 0:10:35 | |
In business news, | 0:10:35 | 0:10:37 | |
the Financial Times 30 Index had one of its worst... | 0:10:37 | 0:10:40 | |
-Mummy! -Oh! | 0:10:42 | 0:10:44 | |
What are you doing creeping around? | 0:10:44 | 0:10:47 | |
You're going to set fire to something one of these days. | 0:10:47 | 0:10:49 | |
What are you doing with that? | 0:10:49 | 0:10:52 | |
-Help! Murder! -Honestly. | 0:10:52 | 0:10:55 | |
Have you carried on drinking? | 0:10:55 | 0:10:57 | |
-BOTTLE CLATTERS -Absolutely not. | 0:10:57 | 0:10:59 | |
Show yourself! | 0:11:00 | 0:11:02 | |
There's no-one there. | 0:11:03 | 0:11:04 | |
Too much gin makes you hallucinate. Did you know that, Mummy? | 0:11:04 | 0:11:08 | |
Into bed, go on. | 0:11:12 | 0:11:14 | |
Darling, are you there? | 0:12:06 | 0:12:09 | |
Darling? | 0:12:19 | 0:12:20 | |
-ALL: -Ooh! | 0:12:30 | 0:12:31 | |
I always wear my pearls to bed as well! | 0:12:31 | 0:12:33 | |
Armchair Detectives? | 0:12:34 | 0:12:35 | |
-It would seem it wasn't a sword, it's the poker. -Yes. -Yes. | 0:12:35 | 0:12:39 | |
So, there was something potentially beside the body | 0:12:39 | 0:12:42 | |
and it was the poker she was carrying. | 0:12:42 | 0:12:44 | |
Whereas I think she was expecting trouble. | 0:12:44 | 0:12:46 | |
The moment the mother made sounds, she went straight for a weapon. | 0:12:46 | 0:12:50 | |
Charles was definitely hiding something because he called out | 0:12:50 | 0:12:52 | |
to find out where the wife was, and then hid an envelope in a drawer. | 0:12:52 | 0:12:55 | |
-Yes, something happened there, didn't it? -A nice thick... | 0:12:55 | 0:12:58 | |
-A nice thick envelope. -Mm-hm. -Yeah. | 0:12:58 | 0:13:00 | |
Did anyone see what time the car drove away? | 0:13:00 | 0:13:03 | |
-6.40. -6.40, thank you. | 0:13:03 | 0:13:05 | |
-And His Lordship arrived at 7? -7.20. | 0:13:05 | 0:13:08 | |
7.20, it was 7.20. | 0:13:08 | 0:13:10 | |
-And was it a different car? -It was the same estate, but I can't tell | 0:13:10 | 0:13:13 | |
if that was like 12 hours later or if that was just an hour and a bit. | 0:13:13 | 0:13:17 | |
And then the noise in the hallway, | 0:13:17 | 0:13:21 | |
but both women heard it, and both women came to find out what it was. | 0:13:21 | 0:13:26 | |
As always, it's time to pick a piece of evidence from the following. | 0:13:26 | 0:13:29 | |
We have the forensics on the fireplace poker. | 0:13:29 | 0:13:32 | |
Or from the cold case file, a forensics report on the candlestick. | 0:13:32 | 0:13:37 | |
And finally from the cold case file, a police report on the envelope. So? | 0:13:37 | 0:13:42 | |
The poker, I would love to know if she maybe got a whack at the guy | 0:13:42 | 0:13:46 | |
or person who attacked her. | 0:13:46 | 0:13:49 | |
Envelope, I'd love to know what was in that thick envelope. | 0:13:49 | 0:13:52 | |
But I might have missed the candlesticks. | 0:13:52 | 0:13:54 | |
-I don't recall... -Well, Mum was holding a candlestick. | 0:13:54 | 0:13:57 | |
That was a gin bottle. | 0:13:57 | 0:13:58 | |
No, the gin bottle was picked up, she was lighting her way | 0:13:58 | 0:14:01 | |
-with the candlestick. -Oh, the candlestick. | 0:14:01 | 0:14:02 | |
I imagine the poker forensics ought to tell us | 0:14:02 | 0:14:06 | |
if that was the murder weapon. | 0:14:06 | 0:14:09 | |
I would like to see the envelope to begin with, just so we can know... | 0:14:09 | 0:14:14 | |
-Know what he was up to. -..what he was up to. | 0:14:14 | 0:14:16 | |
-We'll inevitably return to the poker forensics. -And the candlestick. | 0:14:16 | 0:14:21 | |
We'll be haunted by the candlesticks for the rest of the game. | 0:14:21 | 0:14:24 | |
-I'm happy to go with you and the envelope. -Envelope? | 0:14:24 | 0:14:26 | |
-I'm happy to go with the envelope. -Yeah. Let's see it, then. | 0:14:26 | 0:14:28 | |
-This is an envelope found 15 years ago... -Right. | 0:14:28 | 0:14:32 | |
..in the top drawer, | 0:14:32 | 0:14:34 | |
containing £6,700 in cash, and you can see the denominations there. | 0:14:34 | 0:14:39 | |
132 £50 notes, three £20 notes, four £10 notes. | 0:14:39 | 0:14:43 | |
-It's a lot of money. -It's a lot of money. | 0:14:43 | 0:14:45 | |
15 years ago as well, that would have been a lot of cash. | 0:14:45 | 0:14:47 | |
Has it come from the bank? | 0:14:47 | 0:14:49 | |
Does the bank normally issue money in envelopes of that kind, or...? | 0:14:49 | 0:14:56 | |
Currently, it's the bank of Auntie Netty. | 0:14:56 | 0:14:58 | |
-Well, yes, that was going to be my follow-up. -Well, yes. | 0:14:58 | 0:15:02 | |
Has he gone scrounging off the family? | 0:15:02 | 0:15:03 | |
-Where did this money came from? -That's a very good point, yeah. | 0:15:03 | 0:15:06 | |
It's time to lock in your prime suspect. | 0:15:06 | 0:15:08 | |
We have Lord Charles, Jemima, and Judith. | 0:15:08 | 0:15:12 | |
Please write down who your prime suspect is now. | 0:15:12 | 0:15:16 | |
Time's up, Armchair Detectives, notepads down. | 0:15:22 | 0:15:25 | |
So, Roger, tell me who's your prime suspect and why? | 0:15:25 | 0:15:28 | |
I have at this stage said Jemima | 0:15:28 | 0:15:31 | |
because I suspect there is hanky-panky going on | 0:15:31 | 0:15:36 | |
on the part of Miranda and, um, | 0:15:36 | 0:15:41 | |
Jemima does not approve of this at all. | 0:15:41 | 0:15:43 | |
Gregor, who's your prime suspect and why? | 0:15:43 | 0:15:46 | |
I have also gone for Jemima. | 0:15:46 | 0:15:47 | |
She hallucinates when drinking | 0:15:47 | 0:15:49 | |
so, it might have been a case of accidental death. | 0:15:49 | 0:15:53 | |
Laura, who's your prime suspect and why? | 0:15:53 | 0:15:56 | |
-Well, I've gone for Lord Charles. -Yes. | 0:15:56 | 0:15:59 | |
Although I am also thinking that it's Jemima. | 0:15:59 | 0:16:03 | |
-But what put me off was murdering your own daughter. -Yes. | 0:16:03 | 0:16:07 | |
-But the hallucination thing is... -Mm. -It's cast doubts. -Yes. | 0:16:07 | 0:16:13 | |
So, in summary, Roger has gone for Jemima, | 0:16:13 | 0:16:16 | |
Gregor has gone for Jemima, | 0:16:16 | 0:16:18 | |
and Laura has gone for Lord Charles. | 0:16:18 | 0:16:22 | |
So, it's on to round three now, the police interviews. | 0:16:22 | 0:16:25 | |
Knight and Slater decide to ask Lord Laxford | 0:16:25 | 0:16:28 | |
further questions at Strath Manor. | 0:16:28 | 0:16:31 | |
Notepads at the ready. Let's go back to Mortcliff. | 0:16:31 | 0:16:34 | |
I'm sorry about that. | 0:16:47 | 0:16:49 | |
Here it is. | 0:16:50 | 0:16:52 | |
I've been going through the police reports | 0:16:52 | 0:16:53 | |
on your wife's disappearance. | 0:16:53 | 0:16:56 | |
At the time, there were questions raised | 0:16:56 | 0:17:00 | |
as to whether the letter she left was authentic. | 0:17:00 | 0:17:04 | |
I understand you found it a few days after she went missing? | 0:17:05 | 0:17:11 | |
It's her typewriter, and that's her signature, signed with her pen. | 0:17:12 | 0:17:18 | |
I bought her a pen the day she disappeared. | 0:17:18 | 0:17:21 | |
I still have it if you need to do tests. | 0:17:24 | 0:17:26 | |
Who's Brian? | 0:17:28 | 0:17:30 | |
Brian Murray. | 0:17:32 | 0:17:34 | |
He delivered food every week and did a bit of catering if we needed it. | 0:17:34 | 0:17:39 | |
And you're convinced that she was... | 0:17:39 | 0:17:41 | |
I knew she was attracted to him. | 0:17:41 | 0:17:43 | |
She enjoyed cooking. | 0:17:43 | 0:17:46 | |
They spent a lot of time together, | 0:17:46 | 0:17:48 | |
especially when I couldn't give her what she needed. | 0:17:48 | 0:17:51 | |
I loved Miranda, but we had problems. | 0:17:52 | 0:17:55 | |
I guess, at the time, it made sense to me. | 0:17:56 | 0:18:01 | |
Brian Murray? | 0:18:07 | 0:18:08 | |
No, Brian Peters. | 0:18:10 | 0:18:13 | |
Are you sure? | 0:18:15 | 0:18:16 | |
You certainly match the description we have. | 0:18:17 | 0:18:20 | |
Better come inside. | 0:18:22 | 0:18:24 | |
Do you always keep photographs of people you don't know? | 0:18:30 | 0:18:33 | |
I do know them. | 0:18:34 | 0:18:36 | |
So, you are the Brian Murray who used to do catering for them? | 0:18:37 | 0:18:42 | |
Yes, I am. | 0:18:44 | 0:18:45 | |
After the old lady threw a meat cleaver at me, I left. | 0:18:46 | 0:18:49 | |
Sweet old lady Jemima! | 0:18:49 | 0:18:52 | |
I don't know what she's like now | 0:18:52 | 0:18:54 | |
but she had a bit of a bad drink problem back then. | 0:18:54 | 0:18:58 | |
The family were nice enough. | 0:18:59 | 0:19:01 | |
But when I complained to Lady Miranda, she got angry, | 0:19:01 | 0:19:04 | |
accused me of all sorts, so, I left. | 0:19:04 | 0:19:08 | |
Took early retirement and moved here. | 0:19:08 | 0:19:10 | |
-You changed your name as well? -Not legally. | 0:19:12 | 0:19:15 | |
Peter is my middle name. | 0:19:16 | 0:19:18 | |
Never fancied Murray much. | 0:19:18 | 0:19:20 | |
Would you say you and Miranda Laxford were...close? | 0:19:20 | 0:19:24 | |
-HE CHUCKLES -No. | 0:19:24 | 0:19:26 | |
I know what the rumours were. | 0:19:26 | 0:19:27 | |
What were they? | 0:19:27 | 0:19:29 | |
That she fancied me. | 0:19:29 | 0:19:32 | |
I was flattered but there was never anything like that. | 0:19:32 | 0:19:36 | |
She was a nice lady. | 0:19:36 | 0:19:37 | |
Had a blind spot where her mother was concerned, though. | 0:19:37 | 0:19:41 | |
I, mean think about it. | 0:19:41 | 0:19:44 | |
Would she really want all this | 0:19:44 | 0:19:45 | |
when she lived up there in that fancy house? | 0:19:45 | 0:19:48 | |
It's not always about the money. | 0:19:48 | 0:19:49 | |
She loved him, Lord Charles. | 0:19:49 | 0:19:53 | |
And he loved her, there was never any doubt about that. | 0:19:53 | 0:19:56 | |
Why are youse here after all this time? | 0:19:57 | 0:19:59 | |
Her body was recently discovered. | 0:20:02 | 0:20:04 | |
How awful. | 0:20:07 | 0:20:08 | |
Well, if there's anything I can do to help. | 0:20:10 | 0:20:13 | |
Thank you. We'll be in touch, Mr Murray. | 0:20:14 | 0:20:19 | |
Mr Peters. | 0:20:19 | 0:20:20 | |
-Ah. -Very interesting. | 0:20:25 | 0:20:27 | |
Let me just bring up the suspects board before we talk about it, | 0:20:27 | 0:20:30 | |
because we've got an extra suspect. | 0:20:30 | 0:20:32 | |
Brian Murray, a former employee of the victim. | 0:20:32 | 0:20:36 | |
Let's deal with Lord Charles first of all. | 0:20:36 | 0:20:39 | |
At first he was looking through the betting slips on the table | 0:20:39 | 0:20:43 | |
-when he walked into the room. -Yes. | 0:20:43 | 0:20:46 | |
Which, on the night of Lady Miranda's disappearance, | 0:20:46 | 0:20:51 | |
she was listening to the radio, which mentioned the horse | 0:20:51 | 0:20:54 | |
racing was on at the time, which may account for... | 0:20:54 | 0:20:58 | |
-His winnings. -..his winnings. | 0:20:58 | 0:21:00 | |
-Which could be winnings. -Which could be winnings. | 0:21:00 | 0:21:02 | |
But if he had a bad gambling habit then he might not have always won. | 0:21:02 | 0:21:07 | |
Precisely. | 0:21:07 | 0:21:09 | |
-We also have a note. -We also have a note. | 0:21:09 | 0:21:11 | |
-Yeah. A typed note. -A typed note. | 0:21:11 | 0:21:14 | |
-Lord Charles says it's her signature. -Yes. | 0:21:14 | 0:21:18 | |
-Yeah. -Is that so? | 0:21:18 | 0:21:20 | |
And, Brian, there's something not quite right there. | 0:21:20 | 0:21:24 | |
Yeah. What's he trying to hide? What's he running away from? | 0:21:24 | 0:21:27 | |
And what was mentioned in the letter? | 0:21:27 | 0:21:30 | |
Am I getting a sniff of Lady Chatterley's Lover here? | 0:21:30 | 0:21:33 | |
His Lordship can't give his wife what she wants. | 0:21:34 | 0:21:37 | |
She needs. | 0:21:37 | 0:21:38 | |
And maybe he can't provide the wherewithal for an heir. | 0:21:38 | 0:21:42 | |
OK. | 0:21:42 | 0:21:43 | |
Once again you can pick a piece of evidence, | 0:21:43 | 0:21:45 | |
and we've added a new one to the list. | 0:21:45 | 0:21:47 | |
So would you like to see the forensics on the fireplace poker? | 0:21:47 | 0:21:51 | |
From the cold case file, forensics on the candlestick? | 0:21:51 | 0:21:55 | |
Our new piece of evidence is a photograph of the Laxford | 0:21:55 | 0:22:00 | |
family taken at Strath Manor. | 0:22:00 | 0:22:02 | |
So, the questions for here and now, the candlestick is a cold case file. | 0:22:02 | 0:22:08 | |
Yeah, so for some reason at that time | 0:22:08 | 0:22:11 | |
they decided to investigate the candlestick. | 0:22:11 | 0:22:14 | |
-Mm-hm. -Whereas we know the poker was found next to the body. | 0:22:14 | 0:22:17 | |
So, I'd like to know why they felt it was necessary to do | 0:22:17 | 0:22:20 | |
a forensics report on the candlesticks at that time. | 0:22:20 | 0:22:23 | |
Yeah, yeah. | 0:22:23 | 0:22:24 | |
I should like to see the candlesticks at the moment, I think. | 0:22:24 | 0:22:27 | |
Colonel Mustard, candlestick. | 0:22:27 | 0:22:29 | |
-Colonel Mustard, candlestick in the library. -Yes. | 0:22:29 | 0:22:31 | |
Yes. It's an antique French Second Empire silver candlestick. | 0:22:31 | 0:22:36 | |
And the prints on it are Miranda's and Jemima's. | 0:22:36 | 0:22:40 | |
Prints found but nothing else found. No blood, no hair. | 0:22:42 | 0:22:48 | |
It certainly seems to be quite an old, expensive, antique | 0:22:48 | 0:22:50 | |
candlestick, doesn't it? | 0:22:50 | 0:22:52 | |
But it's an old, expensive house. | 0:22:52 | 0:22:54 | |
It is an old, expensive house. | 0:22:54 | 0:22:55 | |
-So presumably such things are about the place. -So they just... | 0:22:55 | 0:22:58 | |
Absolutely. OK, it's prime suspect time again, armchair detectives. | 0:22:58 | 0:23:01 | |
Lord Charles, Jemima, Judith, or Brian? | 0:23:01 | 0:23:05 | |
Please write down who your prime suspect is now. | 0:23:05 | 0:23:09 | |
Notepads down, please, armchair detectives. Time is up. | 0:23:14 | 0:23:17 | |
So, Roger, last time you picked Jemima. Have you changed your mind? | 0:23:17 | 0:23:22 | |
I'm still sticking with Jemima for the time being, although I am | 0:23:22 | 0:23:28 | |
still hanging onto this touch of Lady Chatterley theory. | 0:23:28 | 0:23:32 | |
Gregor, last time you went for Jemima. Have you changed your mind? | 0:23:32 | 0:23:37 | |
I have not. To be honest, it's still the same, hallucination, drinking. | 0:23:37 | 0:23:42 | |
There might be a backstory that we're going to learn | 0:23:42 | 0:23:44 | |
possibly about the whole baby aspect and whatnot. | 0:23:44 | 0:23:47 | |
Laura, last time you went for Charles. Have you changed your mind? | 0:23:47 | 0:23:51 | |
-Not yet. -Oh, right, OK. | 0:23:51 | 0:23:53 | |
Brian seemed...he seemed sincere in saying that he wasn't | 0:23:53 | 0:23:59 | |
attracted to Miranda. | 0:23:59 | 0:24:00 | |
The rumours were that there was something between them, | 0:24:00 | 0:24:04 | |
but he didn't have much truck with that. | 0:24:04 | 0:24:07 | |
Suspect round up, then. | 0:24:07 | 0:24:09 | |
Roger has gone for Jemima, Gregor has gone for Jemima, | 0:24:09 | 0:24:11 | |
and Laura has gone for Lord Charles. | 0:24:11 | 0:24:14 | |
So, it's time for round four now, Dig Deeper. | 0:24:14 | 0:24:18 | |
We'll now discover more details of what | 0:24:18 | 0:24:20 | |
happened on the day of Lady Miranda's death 15 years ago. | 0:24:20 | 0:24:25 | |
And for you. | 0:24:38 | 0:24:39 | |
Oh, I don't deserve you. | 0:24:43 | 0:24:44 | |
Oh, God. | 0:24:46 | 0:24:47 | |
Mummy! | 0:24:47 | 0:24:48 | |
Come on, old chap, let's get you into the car. | 0:24:48 | 0:24:51 | |
You evil woman! And you, you're not even a real father. | 0:24:51 | 0:24:56 | |
Jemima. | 0:24:56 | 0:24:58 | |
Take Daniel out of here, Charles. | 0:24:59 | 0:25:01 | |
Let me. Let me. | 0:25:01 | 0:25:03 | |
No, I'm better at dealing with her than you. | 0:25:03 | 0:25:05 | |
How much have you had to drink? | 0:25:05 | 0:25:07 | |
Good God, it's only one o'clock in the afternoon. | 0:25:07 | 0:25:10 | |
She'll be fine with the housekeeper. | 0:25:10 | 0:25:12 | |
If I can get her to sleep it off then I can try | 0:25:14 | 0:25:16 | |
and get her to see sense. | 0:25:16 | 0:25:18 | |
Have a lovely day with Aunt Netty. | 0:25:20 | 0:25:23 | |
And you better be going, otherwise you'll be late. | 0:25:23 | 0:25:26 | |
Oh, do you have any cash? I've run out. | 0:25:26 | 0:25:30 | |
In the hallway dresser drawer. | 0:25:30 | 0:25:32 | |
What a mess. | 0:25:36 | 0:25:37 | |
ENGINE STARTS | 0:26:10 | 0:26:11 | |
The car that drove away in the earlier clip, | 0:26:27 | 0:26:30 | |
was it the same as his Lordship's car? | 0:26:30 | 0:26:33 | |
See, I thought it was an estate. | 0:26:33 | 0:26:34 | |
I thought it wasn't. | 0:26:34 | 0:26:35 | |
The car was seen going and coming. | 0:26:35 | 0:26:39 | |
Lady Miranda's just watched him leave at this time. | 0:26:39 | 0:26:43 | |
-One o'clock. -At one o'clock. -At one o'clock, yeah. | 0:26:43 | 0:26:45 | |
Cos we saw him...we saw that car departing again at 6.40. | 0:26:45 | 0:26:49 | |
-And he returned at 7.20. -And he returned at 7,20, | 0:26:49 | 0:26:51 | |
When he did the thing with the money. Now... | 0:26:51 | 0:26:55 | |
If Aunt Netty is looking after the baby | 0:26:55 | 0:26:58 | |
while he's gone to the horse races and then come back. | 0:26:58 | 0:27:03 | |
Get more money then go back to get the baby. | 0:27:03 | 0:27:06 | |
Let's have a look at the evidence, see | 0:27:06 | 0:27:08 | |
if we can help you out a little bit. | 0:27:08 | 0:27:10 | |
Your choices are either the forensics on the fireplace | 0:27:10 | 0:27:13 | |
poker, or a photograph of the Laxford family | 0:27:13 | 0:27:16 | |
taken at Strath Manor, and there's a new item, which is | 0:27:16 | 0:27:19 | |
from the cold case file, Lady Miranda's goodbye letter. | 0:27:19 | 0:27:23 | |
If she was testing the pen by signing her name... | 0:27:24 | 0:27:28 | |
On that bit of paper. | 0:27:28 | 0:27:29 | |
..and that just conveniently there to be... | 0:27:29 | 0:27:32 | |
And that's why it was typed. | 0:27:32 | 0:27:33 | |
I would like confirmation of what that letter contains. | 0:27:33 | 0:27:36 | |
Yes. Without confirmation of what the letter contains it's easy to | 0:27:36 | 0:27:40 | |
get caught up in all the new things. | 0:27:40 | 0:27:42 | |
Yeah, understood. | 0:27:42 | 0:27:43 | |
I would like to see the poker. | 0:27:43 | 0:27:45 | |
To see if there was DNA, blood, anything like that. | 0:27:45 | 0:27:48 | |
-Is that the murder weapon? -Shall we go for the... | 0:27:48 | 0:27:50 | |
-Poker? -Yeah, I'm... Yeah, poker. | 0:27:50 | 0:27:52 | |
So it is a robust steel poker from the Netherlands, wrought iron. | 0:27:52 | 0:27:57 | |
And the prints on it are Miranda Laxford and Charles Laxford. | 0:27:57 | 0:28:01 | |
She might not have been bashed across the head to | 0:28:03 | 0:28:06 | |
produce the blood and hair. | 0:28:06 | 0:28:07 | |
It could have been a soft tissue injury, | 0:28:07 | 0:28:11 | |
if that was the murder weapon, which... | 0:28:11 | 0:28:14 | |
Well, we don't actually know the cause of death. | 0:28:14 | 0:28:17 | |
No, we don't know the cause of death. | 0:28:17 | 0:28:18 | |
No, we don't. No. | 0:28:18 | 0:28:19 | |
But the fact you don't know a lot of things doesn't stop us | 0:28:19 | 0:28:22 | |
from asking you who's your prime suspect? | 0:28:22 | 0:28:24 | |
It's time to lock in. Lord Charles, Jemima, Judith, and Brian. | 0:28:24 | 0:28:29 | |
Who is your prime suspect? Write it down in your notebooks now. | 0:28:29 | 0:28:32 | |
Time's up. Notebooks down, armchair detectives. | 0:28:38 | 0:28:41 | |
OK, Roger, last time your prime suspect was Jemima. | 0:28:41 | 0:28:45 | |
Have you changed your mind? | 0:28:45 | 0:28:47 | |
For the time being, I have. | 0:28:47 | 0:28:49 | |
Oh, right. Who have you gone for? | 0:28:49 | 0:28:51 | |
I've gone for Charles. | 0:28:51 | 0:28:52 | |
Charles, why? | 0:28:52 | 0:28:53 | |
The Lady Chatterley business, and he's got what he needs, | 0:28:53 | 0:28:58 | |
which is an heir, and I really want to find out about that letter. | 0:28:58 | 0:29:02 | |
But she is no longer necessary. | 0:29:02 | 0:29:05 | |
Disposable wife. Gregor, last time you went for Jemima. | 0:29:05 | 0:29:10 | |
Have you changed your mind? | 0:29:10 | 0:29:12 | |
I haven't. I'm sticking. | 0:29:12 | 0:29:13 | |
You're still sticking? | 0:29:13 | 0:29:15 | |
Sticking with Mummy for now. There's just something about her. | 0:29:15 | 0:29:17 | |
Yeah. Laura, last time you went for Charles. | 0:29:17 | 0:29:20 | |
Who have you gone for this time? | 0:29:20 | 0:29:22 | |
I've stayed with Charles so far, but I'm still curious about Brian. | 0:29:22 | 0:29:28 | |
So, in summary, the suspects as we stand are Roger has gone for | 0:29:28 | 0:29:33 | |
Charles, Gregor has gone for Jemima, and Laura has gone for Charles. | 0:29:33 | 0:29:37 | |
It's round five, the Final Clues. | 0:29:37 | 0:29:40 | |
Knight and Slater are still looking for answers | 0:29:40 | 0:29:42 | |
and have pulled in Lord Laxford and Jemima for questioning. | 0:29:42 | 0:29:46 | |
This time, they're at the Mortcliff Police Station. | 0:29:46 | 0:29:49 | |
Who's trying to hide family secrets? | 0:29:49 | 0:29:51 | |
Notepads at the ready, let's find out. | 0:29:51 | 0:29:53 | |
So the bulk of the wealth of the estate | 0:30:05 | 0:30:07 | |
comes from Lady Laxford's family? | 0:30:07 | 0:30:09 | |
Yes. It's no secret. | 0:30:11 | 0:30:14 | |
The house is my ancestral home, | 0:30:15 | 0:30:18 | |
but my father lost a lot of money after the war. | 0:30:18 | 0:30:22 | |
Seven years after your wife's disappearance you had her | 0:30:22 | 0:30:25 | |
declared dead. | 0:30:25 | 0:30:27 | |
It seemed like she was never coming back. | 0:30:28 | 0:30:31 | |
It was time to move on. | 0:30:31 | 0:30:33 | |
Bit extreme, don't you think, when you didn't know she was dead? | 0:30:33 | 0:30:37 | |
It was done on the advice of my solicitor. | 0:30:37 | 0:30:40 | |
Your wife in her will left the bulk of her money to you and your son. | 0:30:40 | 0:30:45 | |
Detective, it's common practice for people to make wills... | 0:30:46 | 0:30:50 | |
..especially when there's a lot of money involved. | 0:30:51 | 0:30:54 | |
You've sold a lot of assets, though, since your wife disappeared. | 0:30:54 | 0:30:57 | |
Why didn't you keep on looking for her? | 0:30:58 | 0:31:01 | |
Isn't that what you lot are supposed to do? | 0:31:01 | 0:31:03 | |
Sir, last time we met you said you couldn't give Miranda what | 0:31:03 | 0:31:07 | |
she wanted. | 0:31:07 | 0:31:08 | |
What did you mean by that? | 0:31:08 | 0:31:09 | |
I have a condition. | 0:31:14 | 0:31:15 | |
I'm sterile. | 0:31:18 | 0:31:19 | |
Which is why, 15 years ago | 0:31:21 | 0:31:23 | |
when Daniel was born, you had a paternity test done. | 0:31:23 | 0:31:25 | |
That's none of your business. | 0:31:27 | 0:31:28 | |
According to the postmortem report, your wife died of a | 0:31:31 | 0:31:36 | |
"violent, blunt-force trauma to the back of the head." | 0:31:36 | 0:31:40 | |
Murder, I'm afraid, is very much our business. | 0:31:42 | 0:31:45 | |
I wanted to be sure. Of course Daniel isn't my biological son. | 0:31:48 | 0:31:54 | |
Miranda had an affair, it was over. We desperately wanted children. | 0:31:55 | 0:32:02 | |
We tried IVF, but it didn't work for us. | 0:32:02 | 0:32:06 | |
I know she loved me, as I loved her. | 0:32:09 | 0:32:13 | |
Very much. | 0:32:17 | 0:32:18 | |
Lord Charles, I'm going | 0:32:20 | 0:32:23 | |
to need your permission to take a DNA sample from Daniel. | 0:32:23 | 0:32:27 | |
I can't remember much from that time. | 0:32:35 | 0:32:38 | |
They used to argue about the fact that they couldn't have children, | 0:32:38 | 0:32:42 | |
and he was desperate to have someone carry on his family name. | 0:32:42 | 0:32:46 | |
I'm sure you're as virile as an ox. | 0:32:47 | 0:32:50 | |
Flattery, my lady, will get you everywhere. | 0:32:51 | 0:32:53 | |
Now, can you remember anything from that night at all? | 0:32:55 | 0:32:59 | |
I remember hearing a car start up and leave, | 0:33:01 | 0:33:05 | |
then waking up with rather a sore head. | 0:33:05 | 0:33:07 | |
I'm not sure why. I got up and looked through my window. | 0:33:07 | 0:33:12 | |
It felt as though almost immediately the same car came back again. | 0:33:12 | 0:33:17 | |
But it couldn't have been. | 0:33:18 | 0:33:20 | |
How come? | 0:33:20 | 0:33:22 | |
Because the car that came back was Charles. | 0:33:22 | 0:33:25 | |
DOOR OPENS | 0:33:25 | 0:33:26 | |
For the record, a uniformed officer has entered the room. | 0:33:26 | 0:33:29 | |
No more abuse, Madame du Bois. This time I shall defend myself! | 0:33:29 | 0:33:33 | |
Lady Jemima, everything's all right, she can't hurt you now. | 0:33:33 | 0:33:36 | |
Please, sit down. | 0:33:36 | 0:33:39 | |
Sit down. | 0:33:41 | 0:33:42 | |
I'm so sorry, I don't know what came over me. | 0:33:47 | 0:33:50 | |
That's all right. | 0:33:50 | 0:33:51 | |
Do you know why you reacted like that? | 0:33:54 | 0:33:56 | |
Never trust a woman who wears a yellow dress. | 0:33:59 | 0:34:02 | |
-Ah. -So, armchair detectives, what do you think? | 0:34:06 | 0:34:11 | |
-I think I said other facilities, didn't I? -You did, yes. | 0:34:11 | 0:34:14 | |
Well, I think the other facilities were definitely made | 0:34:14 | 0:34:17 | |
use of by the family. | 0:34:17 | 0:34:19 | |
Whose facilities? | 0:34:19 | 0:34:20 | |
LAUGHTER | 0:34:20 | 0:34:21 | |
I think they used Brian's facilities. | 0:34:23 | 0:34:25 | |
Used Brian's facilities. | 0:34:25 | 0:34:27 | |
So you think that that discussion with Lord Charles is | 0:34:28 | 0:34:32 | |
confirmation of the theory? | 0:34:32 | 0:34:33 | |
Well, his facilities weren't working. | 0:34:33 | 0:34:35 | |
Yes. OK. | 0:34:35 | 0:34:37 | |
But Charles seemed sincere and honest. | 0:34:37 | 0:34:41 | |
-I thought that. -And his fingerprints are on the poker, | 0:34:41 | 0:34:43 | |
-not surprising because it's his poker. -Yeah. | 0:34:43 | 0:34:46 | |
You've got one more pick before you make your accusation. | 0:34:46 | 0:34:49 | |
There are just two pieces of evidence left. | 0:34:49 | 0:34:52 | |
You can have the photograph of the Laxford family taken at | 0:34:52 | 0:34:55 | |
Strath Manor, or, from the cold case file, Lady Miranda's goodbye letter. | 0:34:55 | 0:35:01 | |
I'm keen to see the letter. | 0:35:01 | 0:35:02 | |
Yes, the letter. | 0:35:02 | 0:35:04 | |
The letter? Let's have a look at Lady Miranda's letter. | 0:35:04 | 0:35:06 | |
Miranda Laxford. | 0:35:06 | 0:35:08 | |
"Sorry, I have to be with Brian. Look after our son." | 0:35:08 | 0:35:11 | |
OK, that's the practice signature. | 0:35:11 | 0:35:13 | |
-Yeah, the practice signature. -Can I... | 0:35:13 | 0:35:16 | |
And someone found that and put it through the typewriter. | 0:35:16 | 0:35:19 | |
..just say that that A looks awfully like a Q. | 0:35:19 | 0:35:21 | |
I think that's maybe the typing skills of somebody who's not | 0:35:21 | 0:35:27 | |
terribly focused. | 0:35:27 | 0:35:28 | |
-A little intoxicated. -OK. | 0:35:28 | 0:35:30 | |
How does Brian come into this, though? | 0:35:30 | 0:35:32 | |
What are you thinking about Brian? | 0:35:32 | 0:35:33 | |
Well, the letter is inferring that Miranda, | 0:35:34 | 0:35:40 | |
being in love with Brian, wants to go and start a life with him. | 0:35:40 | 0:35:44 | |
But we already know from the interview that Brian might | 0:35:44 | 0:35:48 | |
have been convenient. | 0:35:48 | 0:35:50 | |
Yeah. I mean, that's not a letter, that's an improvisation. | 0:35:50 | 0:35:55 | |
So you're fairly certain this isn't actually... | 0:35:55 | 0:35:57 | |
-No. What it... -It's almost like you discovered a scrap of paper with | 0:35:57 | 0:36:00 | |
somebody's signature on it and then... | 0:36:00 | 0:36:02 | |
-Then they put it through a typewriter. -And put it through a typewriter, absolutely. | 0:36:02 | 0:36:05 | |
-Because they couldn't do the handwriting. -That's what it looks like to me. | 0:36:05 | 0:36:08 | |
Armchair detectives, I'm sorry, the big moment has arrived. | 0:36:08 | 0:36:11 | |
-No! -You're about to make your final accusation for the chance | 0:36:11 | 0:36:14 | |
of winning a golden magnifying glass. | 0:36:14 | 0:36:17 | |
This is your last chance to get your hands on the trophy. | 0:36:17 | 0:36:22 | |
It's time to answer the only question that matters, whodunnit? | 0:36:22 | 0:36:26 | |
Notepads down, time's up, armchair detectives. | 0:36:32 | 0:36:35 | |
Roger, who have you accused and why? | 0:36:35 | 0:36:37 | |
I've gone back to Jemima. | 0:36:37 | 0:36:40 | |
She heartily disapproves of her daughter's shenanigans. | 0:36:40 | 0:36:45 | |
Gregor, who are you accusing and why? | 0:36:45 | 0:36:48 | |
I have stuck with Jemima. | 0:36:48 | 0:36:50 | |
Whether she knew what she was doing or not, I'm not sure. | 0:36:52 | 0:36:56 | |
Laura, who are you accusing and why? | 0:36:56 | 0:36:58 | |
I have gone to Jemima. | 0:36:59 | 0:37:01 | |
Jemima. Why? | 0:37:01 | 0:37:04 | |
Because we're finding out the... The narrative gaps are being | 0:37:04 | 0:37:09 | |
filled in in the background, | 0:37:09 | 0:37:10 | |
but the letter suggests somebody who doesn't know about the agreement. | 0:37:10 | 0:37:16 | |
The gentleman's agreement. | 0:37:16 | 0:37:18 | |
So in summary, it's a full house. | 0:37:18 | 0:37:21 | |
Roger, Gregor, and Laura have all gone for Jemima. | 0:37:21 | 0:37:25 | |
However, there is one piece of evidence left. | 0:37:25 | 0:37:28 | |
-The photograph. -Oh, yes. | 0:37:28 | 0:37:29 | |
So let's have a look at the photograph. | 0:37:29 | 0:37:31 | |
Would it have made a difference or is it a red herring? | 0:37:31 | 0:37:33 | |
Let's take a look at the photograph of the Laxford family. | 0:37:33 | 0:37:37 | |
This is the Polaroid picture that was taken on the day of the murder. | 0:37:37 | 0:37:41 | |
Happy families. | 0:37:42 | 0:37:44 | |
Cos it is his child. | 0:37:44 | 0:37:45 | |
Very possibly. | 0:37:46 | 0:37:47 | |
Let's find out what really happened in today's story, | 0:37:48 | 0:37:51 | |
What Became Of Miranda? | 0:37:51 | 0:37:53 | |
Who killed Lady Miranda Laxford? Let's find out whodunnit. | 0:37:53 | 0:37:58 | |
How many men would raise another man's child? | 0:38:05 | 0:38:08 | |
Depends on the circumstances. | 0:38:08 | 0:38:11 | |
I do believe him when he said he loved his wife, though. | 0:38:11 | 0:38:14 | |
He told us he wasn't jealous, | 0:38:14 | 0:38:17 | |
but Jemima said they argued about not having children. | 0:38:17 | 0:38:20 | |
And love can be a motive for murder. | 0:38:22 | 0:38:24 | |
I just... I can't see him striking her from behind, though, | 0:38:24 | 0:38:28 | |
feels too last-minute for me. | 0:38:28 | 0:38:30 | |
Also, if he murdered her in a fit of rage, | 0:38:30 | 0:38:32 | |
why would he still call Daniel his son when he's not? | 0:38:32 | 0:38:35 | |
So he didn't go to Aunt Netty's. | 0:38:38 | 0:38:40 | |
But he did put a bet on the horses. | 0:38:40 | 0:38:42 | |
And the race track is too far away for him to go there | 0:38:42 | 0:38:45 | |
and come back again in time. | 0:38:45 | 0:38:46 | |
Thanks. | 0:38:50 | 0:38:52 | |
Right, so, Jemima Andrews, drunk at the time, | 0:38:52 | 0:38:55 | |
but, as we know, prone to outbursts of violence. | 0:38:55 | 0:38:58 | |
She doesn't trust women in yellow dresses. | 0:38:58 | 0:39:00 | |
Miranda was wearing a yellow | 0:39:00 | 0:39:02 | |
dress during the time of her disappearance. | 0:39:02 | 0:39:04 | |
As for Brian Murray, though, | 0:39:05 | 0:39:08 | |
she did write a letter saying she was leaving with him. | 0:39:08 | 0:39:11 | |
You're assuming that it was Lady Miranda that wrote that letter. | 0:39:11 | 0:39:15 | |
Yeah, true. It was typed, supposed anyone could have written it. | 0:39:18 | 0:39:21 | |
Full DNA match with Daniel Laxford. | 0:39:26 | 0:39:28 | |
PHONE RINGS | 0:39:28 | 0:39:31 | |
-Hello. -Hi, it's Judith from Strath Manor, if you remember. | 0:39:35 | 0:39:37 | |
Ah, Judith. Yes, of course I remember. | 0:39:37 | 0:39:41 | |
Someone's at the crime scene. | 0:39:41 | 0:39:43 | |
I see. | 0:39:43 | 0:39:44 | |
He doesn't look like an officer. | 0:39:44 | 0:39:45 | |
We'll be right there. Grab your coat, Slater. | 0:39:45 | 0:39:49 | |
We're going to see the ghost of Strath Manor. | 0:39:49 | 0:39:51 | |
Mr Murray, fancy meeting you here. | 0:39:57 | 0:40:01 | |
I was... | 0:40:02 | 0:40:04 | |
OK, so I lied to you. | 0:40:06 | 0:40:09 | |
We did sleep together, but it was only once. | 0:40:10 | 0:40:12 | |
And you know that once is all it takes, Mr Murray. | 0:40:12 | 0:40:15 | |
I propose to you that you were suspicious that Daniel was your son. | 0:40:15 | 0:40:20 | |
That you went to the house to confront Miranda about that fact. | 0:40:21 | 0:40:26 | |
She denied it and you got angry. | 0:40:26 | 0:40:28 | |
-No. -Were you blackmailing her? | 0:40:28 | 0:40:30 | |
Absolutely not. | 0:40:30 | 0:40:31 | |
Did you want her to leave her husband for you? | 0:40:31 | 0:40:33 | |
I said nothing like that. | 0:40:33 | 0:40:35 | |
Or was it the boy? | 0:40:35 | 0:40:37 | |
The one thing in her life that she really wanted | 0:40:37 | 0:40:40 | |
and you were going to take him away from her. | 0:40:40 | 0:40:43 | |
You got into a fight, she called out for help, | 0:40:43 | 0:40:46 | |
you hit her on the back of the head and then you left. | 0:40:46 | 0:40:49 | |
I loved her. | 0:40:54 | 0:40:56 | |
You loved her so much you didn't want her to be with anyone else | 0:40:56 | 0:40:59 | |
so you killed her. | 0:40:59 | 0:41:01 | |
But then you couldn't bear the thought of never | 0:41:01 | 0:41:03 | |
seeing your son again, so you moved close. | 0:41:03 | 0:41:07 | |
You went downstairs, you found that piece of paper with her | 0:41:08 | 0:41:12 | |
signature on it, you typed the letter on it and then you left. | 0:41:12 | 0:41:16 | |
No. | 0:41:16 | 0:41:17 | |
What are you doing in this section of the house? | 0:41:19 | 0:41:22 | |
To look for this. | 0:41:24 | 0:41:26 | |
To prove to you that that crazy old woman killed her daughter. | 0:41:27 | 0:41:30 | |
If that had been here for 15 years it would be black by now. | 0:41:31 | 0:41:34 | |
She wanted to stay with him. Pretend Daniel was his son. | 0:41:38 | 0:41:42 | |
She accused me of trying to get my hands on her money. | 0:41:44 | 0:41:46 | |
She refused to believe I loved her. | 0:41:46 | 0:41:49 | |
Brian Murray, I'm arresting you on suspicion of the murder | 0:41:50 | 0:41:53 | |
of Miranda Laxford. | 0:41:53 | 0:41:55 | |
Spit it out, Slater. | 0:41:57 | 0:41:59 | |
Who typed the letter, sir? | 0:41:59 | 0:42:01 | |
We may never know, but my money's on Jemima. | 0:42:01 | 0:42:05 | |
I think she wrote it just to put Lord Charles out of his misery. | 0:42:08 | 0:42:11 | |
And don't forget, she believed her daughter had run off with Brian. | 0:42:13 | 0:42:16 | |
Mm. Yeah. That's an interesting theory, sir. | 0:42:18 | 0:42:24 | |
Well, never mind, guys. | 0:42:30 | 0:42:33 | |
You failed to pick today's killer, which means, Gregor, | 0:42:33 | 0:42:36 | |
your girlfriend, Toria, will finish with more trophies than you. | 0:42:36 | 0:42:40 | |
Well done, Toria. Well done. | 0:42:40 | 0:42:41 | |
Armchair detectives, how many of you got that right? | 0:42:45 | 0:42:48 | |
Oh, not as many as usual. That was a tough one. | 0:42:48 | 0:42:51 | |
So that's all from Armchair Detectives. | 0:42:51 | 0:42:53 | |
Come back tomorrow, as we put our faith in Knight and Slater, | 0:42:53 | 0:42:56 | |
who try and solve a deadly crime at a church. | 0:42:56 | 0:42:59 | |
And remember, no-one gets away with murder in Mortcliff. Goodbye. | 0:42:59 | 0:43:05 |