Browse content similar to The Uninvited Guest. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Always peeking through the curtains, keeping an eye on your neighbours? | 0:00:02 | 0:00:05 | |
That Cheryl at number 30, she's up to something. | 0:00:05 | 0:00:07 | |
You're the one to catch her red-handed. | 0:00:07 | 0:00:10 | |
Welcome to the TV show with only one question - | 0:00:10 | 0:00:13 | |
whodunnit? | 0:00:13 | 0:00:15 | |
Welcome to Armchair Detectives. | 0:00:31 | 0:00:33 | |
These 15 murder mystery enthusiasts are hoping to solve | 0:00:33 | 0:00:37 | |
a crime on today's programme. | 0:00:37 | 0:00:39 | |
Our eagle-eyed sleuths will see the evidence to a murder | 0:00:39 | 0:00:42 | |
set in the fictional village of Mortcliff, | 0:00:42 | 0:00:45 | |
and hopefully, they'll catch the killer. | 0:00:45 | 0:00:48 | |
Hot on the criminal's tail | 0:00:48 | 0:00:49 | |
is Mortcliff's own crack team of detectives. | 0:00:49 | 0:00:52 | |
There they are. | 0:00:52 | 0:00:54 | |
DI Knight, DC Slater and Soco Simmons. | 0:00:54 | 0:00:57 | |
And here's our Armchair Detectives, | 0:00:57 | 0:00:59 | |
all eager to play today's show. | 0:00:59 | 0:01:01 | |
Hello, Armchair Detectives. | 0:01:01 | 0:01:03 | |
-ALL: -Hello. | 0:01:03 | 0:01:04 | |
SUSAN LAUGHS | 0:01:04 | 0:01:05 | |
They're just champing at the bit to get started. | 0:01:05 | 0:01:07 | |
Well, only three of you play each day, | 0:01:07 | 0:01:09 | |
so please take your chairs, Simon, Laura and Kathryn. | 0:01:09 | 0:01:13 | |
Come on up. | 0:01:13 | 0:01:15 | |
As you know by now, | 0:01:20 | 0:01:22 | |
the detective correctly guessing the killer wins one of these. | 0:01:22 | 0:01:25 | |
It's our golden magnifying glass trophy. | 0:01:26 | 0:01:28 | |
-AUDIENCE: -Ooh! | 0:01:28 | 0:01:30 | |
What kind of mystery would you like to see today, Simon? | 0:01:30 | 0:01:32 | |
I would absolutely adore to have a nice, gruelling one. | 0:01:32 | 0:01:36 | |
OK. We'll see what we can do for you. | 0:01:36 | 0:01:39 | |
Laura, what did you learn from sitting | 0:01:39 | 0:01:41 | |
and watching the other Armchair Detectives? | 0:01:41 | 0:01:43 | |
Everything's there, just trust you can put the pieces together. | 0:01:43 | 0:01:48 | |
Kathryn, you've solved one. This is your second one. | 0:01:48 | 0:01:51 | |
What are you going to be looking out for today? | 0:01:51 | 0:01:54 | |
I think to do a rapid survey of a scene | 0:01:54 | 0:01:57 | |
when it's presented to us, and try and make a quick decision | 0:01:57 | 0:02:00 | |
on what I think are the important things. | 0:02:00 | 0:02:02 | |
It's time for round one - | 0:02:02 | 0:02:04 | |
the crime scene. | 0:02:04 | 0:02:06 | |
Knight and Slater meet Simmons at the Wistery Heights B&B. | 0:02:06 | 0:02:10 | |
Notepads at the ready, Armchair Detectives. | 0:02:10 | 0:02:12 | |
Let's head over to Mortcliff. | 0:02:12 | 0:02:14 | |
Mrs Albright, I believe it was you that found the deceased, | 0:02:24 | 0:02:27 | |
Brian Thomson? | 0:02:27 | 0:02:28 | |
Brian was due to check out at ten. | 0:02:30 | 0:02:33 | |
I knocked on his door, couldn't wake him, | 0:02:34 | 0:02:37 | |
so I tried to open it with the master key, | 0:02:37 | 0:02:41 | |
but the chain was on. | 0:02:41 | 0:02:43 | |
Well, that's when I called the police. | 0:02:43 | 0:02:45 | |
Something just felt wrong. | 0:02:45 | 0:02:46 | |
Morning, Simmons. | 0:02:51 | 0:02:52 | |
Take your rage out on the door this morning? | 0:02:52 | 0:02:54 | |
It was either that or Slater. | 0:02:54 | 0:02:56 | |
Funny! | 0:02:56 | 0:02:57 | |
Anyway, the victim was found in the bath. | 0:02:58 | 0:03:01 | |
He was wearing a dressing gown | 0:03:01 | 0:03:03 | |
and holding a bottle of beer in his right hand. | 0:03:03 | 0:03:06 | |
Time of death, some time between 11pm and 1am. | 0:03:06 | 0:03:10 | |
Cause of death is possibly drowning. | 0:03:10 | 0:03:13 | |
He's got some marks on the back of his neck that concern me, though. | 0:03:13 | 0:03:16 | |
Shower curtain's ripped. | 0:03:18 | 0:03:20 | |
Could that have happened during a struggle? | 0:03:20 | 0:03:23 | |
It's a possibility. | 0:03:23 | 0:03:25 | |
We'll dust for prints and test for DNA, but... | 0:03:25 | 0:03:27 | |
..drowning wouldn't cause those marks on his neck. | 0:03:28 | 0:03:31 | |
Did anyone enter or exit the building? | 0:03:34 | 0:03:36 | |
No, sir. | 0:03:36 | 0:03:37 | |
There is one door and one window into Brian's room. | 0:03:39 | 0:03:44 | |
That's two ways in, two ways out, both locked. | 0:03:45 | 0:03:48 | |
I hope you've brought your deerstalker for this one, Slater. | 0:03:51 | 0:03:54 | |
At home, if someone offers you an internet deal | 0:03:59 | 0:04:02 | |
for a weekend in Mortcliff, | 0:04:02 | 0:04:04 | |
I'd say no. | 0:04:04 | 0:04:05 | |
LAUGHTER | 0:04:05 | 0:04:06 | |
Armchair detectives? | 0:04:06 | 0:04:07 | |
Well, there was lipstick on the coffee cup. | 0:04:07 | 0:04:10 | |
-Yeah. -Oh? | 0:04:10 | 0:04:12 | |
On the spilled coffee cup. | 0:04:12 | 0:04:13 | |
At home, I don't know who did it either. | 0:04:13 | 0:04:15 | |
I'm playing along, and I didn't even notice that. Well-spotted. | 0:04:15 | 0:04:18 | |
-If, you know, you love your coffee as much as I do... -Right. | 0:04:18 | 0:04:21 | |
..when you see a mug on the floor, you know something's gone awry. | 0:04:21 | 0:04:24 | |
LAUGHTER | 0:04:24 | 0:04:25 | |
Well, he had his beer in his right hand, | 0:04:25 | 0:04:28 | |
and he appeared still to be clinging to the bottle. | 0:04:28 | 0:04:32 | |
He could have been gripping it like a weapon. | 0:04:32 | 0:04:34 | |
I thought he was holding the bottle like that, | 0:04:34 | 0:04:37 | |
which implied that he was going to take a drink out of it. | 0:04:37 | 0:04:41 | |
Let's just set the facts out for you. | 0:04:41 | 0:04:44 | |
Today, we're investigating the death of Brian Thomson. | 0:04:44 | 0:04:48 | |
Brian was 40 years old, | 0:04:48 | 0:04:51 | |
and a freelance writer. | 0:04:51 | 0:04:53 | |
He had a master's degree in journalism. | 0:04:53 | 0:04:56 | |
Brian was single. | 0:04:56 | 0:04:57 | |
And the cause of death is suspected drowning, | 0:04:57 | 0:05:00 | |
but it's currently under investigation. | 0:05:00 | 0:05:03 | |
The time of death is approximately between 11pm and 1 am. | 0:05:03 | 0:05:07 | |
-He was a journalist. -He was a journalist. | 0:05:07 | 0:05:09 | |
-So he could be... -Freelance journalist. | 0:05:09 | 0:05:11 | |
He could be a campaigning or an investigate...investigative | 0:05:11 | 0:05:14 | |
journalist, and he's found out something which has... | 0:05:14 | 0:05:17 | |
..got up somebody's nose, | 0:05:17 | 0:05:19 | |
or somebody who wants to keep him quiet. | 0:05:19 | 0:05:21 | |
What do you think of that theory, Laura? | 0:05:21 | 0:05:22 | |
There's plenty of opportunities to do an expose, you know, | 0:05:22 | 0:05:26 | |
on anything, any one of our Mortcliff residents. | 0:05:26 | 0:05:30 | |
Well, let's take a look at the suspects board. | 0:05:30 | 0:05:32 | |
So far we have Jilly Albright and George Albright, | 0:05:32 | 0:05:36 | |
the husband-and-wife team who co-own the Wistery Heights B&B. | 0:05:36 | 0:05:41 | |
They had the master key. | 0:05:41 | 0:05:42 | |
They've only got the one key in and out of that room. | 0:05:42 | 0:05:45 | |
Yes, but the chain was on, wasn't it? From the inside. | 0:05:45 | 0:05:49 | |
So, we've got our locked room mystery. | 0:05:49 | 0:05:51 | |
But that's a familiar shade of lipstick. | 0:05:51 | 0:05:54 | |
-Yes. -Yes. -Oh. | 0:05:54 | 0:05:55 | |
Look how bright the lips are. Look at that. | 0:05:55 | 0:05:57 | |
-My goodness. -Let me see if I can help you out. | 0:05:57 | 0:05:59 | |
Here's your first piece of evidence to examine. | 0:05:59 | 0:06:02 | |
So, this shows the layout of the bedrooms of the B&B. | 0:06:02 | 0:06:05 | |
And what I can tell you is the reception | 0:06:05 | 0:06:07 | |
and dining room are downstairs, | 0:06:07 | 0:06:10 | |
so it's on two levels. | 0:06:10 | 0:06:12 | |
Did we notice which room our deceased was in? | 0:06:12 | 0:06:15 | |
I take it it's... | 0:06:15 | 0:06:16 | |
Well, I don't think it was four, cos there was only one bed. | 0:06:16 | 0:06:19 | |
It must be room six, it's the only one that can have the en-suite. | 0:06:21 | 0:06:24 | |
Yeah. It's the only one. | 0:06:24 | 0:06:26 | |
That way... Yes. | 0:06:26 | 0:06:28 | |
OK? OK. | 0:06:28 | 0:06:29 | |
It's time for round two - | 0:06:29 | 0:06:30 | |
last movements. | 0:06:30 | 0:06:32 | |
Notepads at the ready, | 0:06:32 | 0:06:34 | |
let's go back to Wistery Heights B&B in Mortcliff. | 0:06:34 | 0:06:38 | |
OK, Spencer. | 0:06:43 | 0:06:45 | |
Love you lots. | 0:06:46 | 0:06:48 | |
Oh, Dad sends his love, too. | 0:06:48 | 0:06:49 | |
Love you, bye. | 0:06:49 | 0:06:51 | |
Sorry to trouble you, but I'm afraid my bed broke. | 0:06:55 | 0:06:58 | |
What were you doing to the thing? | 0:06:59 | 0:07:01 | |
Absolutely nothing, I assure you. | 0:07:01 | 0:07:03 | |
Well, no-one else has ever broken a bed before, honestly. | 0:07:03 | 0:07:06 | |
The bed broke while I was sleeping. | 0:07:06 | 0:07:08 | |
It woke me up. | 0:07:08 | 0:07:09 | |
And I'd like another room. | 0:07:09 | 0:07:11 | |
And I'd like an apology. | 0:07:11 | 0:07:13 | |
Whatever happened to, "The customer is always right"? | 0:07:13 | 0:07:16 | |
That overused maxim went out after the financial crash. | 0:07:16 | 0:07:20 | |
Right. | 0:07:20 | 0:07:22 | |
Oh... | 0:07:25 | 0:07:27 | |
Are you a journalist? | 0:07:27 | 0:07:28 | |
Er... | 0:07:30 | 0:07:32 | |
You can sleep in room two. | 0:07:32 | 0:07:33 | |
Does it have a sea view? | 0:07:34 | 0:07:36 | |
I specifically paid extra, and I'd like a room with a sea view. | 0:07:36 | 0:07:39 | |
Are you a journalist? | 0:07:39 | 0:07:41 | |
I'm...an investigator, of sorts. | 0:07:41 | 0:07:45 | |
I'm just trying to track down a relative. | 0:07:45 | 0:07:47 | |
Well, all right, then. | 0:07:47 | 0:07:49 | |
Um... | 0:07:49 | 0:07:50 | |
I'll give you room six. | 0:07:50 | 0:07:51 | |
Thank you. Good morning. | 0:07:51 | 0:07:53 | |
Good morning. | 0:07:53 | 0:07:55 | |
I'm moving Angela Grayson to room two. | 0:07:55 | 0:07:57 | |
She always has room six. | 0:07:58 | 0:08:00 | |
Exactly, so she shouldn't mind, just this once. | 0:08:00 | 0:08:02 | |
Oh... Can you help Mr Thomson move his things later? | 0:08:04 | 0:08:09 | |
Of course. | 0:08:09 | 0:08:11 | |
SHE SIGHS | 0:08:14 | 0:08:16 | |
Oh, we've had a marvellous morning. | 0:08:17 | 0:08:20 | |
Glad to hear it. | 0:08:20 | 0:08:21 | |
We've been gold panning in the River Crown. | 0:08:21 | 0:08:24 | |
My psychic abilities told me | 0:08:24 | 0:08:27 | |
that we would find an item of great value, | 0:08:27 | 0:08:30 | |
so I had Roger here buy some gold panning equipment. | 0:08:30 | 0:08:33 | |
Didn't find a speck, did we? | 0:08:34 | 0:08:37 | |
I think you were holding the pan wrong. | 0:08:37 | 0:08:39 | |
Yes, dear. | 0:08:39 | 0:08:41 | |
You're on a journey. | 0:08:42 | 0:08:44 | |
You're looking for someone, yeah? | 0:08:44 | 0:08:46 | |
That's really none of your business. | 0:08:46 | 0:08:49 | |
Part of accepting life is accepting loss, my dear. | 0:08:49 | 0:08:52 | |
What rubbish. | 0:08:52 | 0:08:54 | |
Oh! | 0:08:54 | 0:08:55 | |
You don't need to be so surly. | 0:08:55 | 0:08:57 | |
Georgie's just being friendly. | 0:08:57 | 0:08:59 | |
Didn't your parents teach you any manners? | 0:08:59 | 0:09:01 | |
I value my privacy. | 0:09:01 | 0:09:02 | |
I'm terribly sorry. | 0:09:04 | 0:09:06 | |
Well, there you go, she's apologised. | 0:09:06 | 0:09:08 | |
I'm...I'm sorry. I don't mean to be rude. | 0:09:10 | 0:09:13 | |
Well, of course not, we all have things on our minds. | 0:09:13 | 0:09:16 | |
Just that you should be careful how you talk to others. | 0:09:16 | 0:09:19 | |
Don't worry, you've already found what you're looking for. | 0:09:21 | 0:09:24 | |
I've got the shopping list. | 0:09:38 | 0:09:40 | |
I'll be gone a couple of hours. | 0:09:40 | 0:09:42 | |
Might grab a coffee at the Harbour Cafe. | 0:09:42 | 0:09:44 | |
Well, don't be too long. | 0:09:44 | 0:09:45 | |
I've got to put the stew on before tonight. | 0:09:45 | 0:09:47 | |
SHE WHISPERS | 0:09:51 | 0:09:55 | |
Venison stew. Enjoy. | 0:10:18 | 0:10:20 | |
Thank you. | 0:10:22 | 0:10:23 | |
Made it myself from scratch. | 0:10:23 | 0:10:25 | |
Thank God for Nigella! | 0:10:25 | 0:10:26 | |
Roger... | 0:10:30 | 0:10:32 | |
..I'm terribly sorry about earlier. | 0:10:32 | 0:10:35 | |
I really feel very bad. | 0:10:36 | 0:10:37 | |
Well, I've sorted it for now, anyway. | 0:10:37 | 0:10:40 | |
Well, if there's anything I can do. | 0:10:41 | 0:10:43 | |
Perhaps I could take you for a couple of pints after dinner, | 0:10:45 | 0:10:48 | |
you and Georgina? | 0:10:48 | 0:10:49 | |
Once I've done my cleanse, I can't take any alcohol. | 0:10:49 | 0:10:53 | |
That's why we quite like it here, | 0:10:53 | 0:10:55 | |
because of the no-alcohol rule. | 0:10:55 | 0:10:58 | |
Sounds like a brilliant plan. | 0:10:59 | 0:11:01 | |
Oh... | 0:11:13 | 0:11:15 | |
See that stupid light, | 0:11:15 | 0:11:16 | |
it's been keeping me awake for the past couple of nights. | 0:11:16 | 0:11:19 | |
Whenever someone comes out the door, it stays on for a good ten minutes. | 0:11:19 | 0:11:24 | |
Makes it very difficult to get back to sleep. | 0:11:24 | 0:11:27 | |
And I get irritable when I'm tired. | 0:11:27 | 0:11:28 | |
Yes, they're remarkably busy for an establishment | 0:11:28 | 0:11:31 | |
that really doesn't have very good reviews online. | 0:11:31 | 0:11:33 | |
I'm going to be honest with you, Armchair Detectives, | 0:11:35 | 0:11:37 | |
there were about five million different things | 0:11:37 | 0:11:39 | |
that happened in that film. | 0:11:39 | 0:11:41 | |
I noticed that he hardly touched the meal, which means, again, | 0:11:41 | 0:11:44 | |
another kind of jab at the B&B, that he doesn't like their establishment. | 0:11:44 | 0:11:48 | |
Again, stupid light, | 0:11:48 | 0:11:50 | |
so anyone passing that light is going to be noticed. | 0:11:50 | 0:11:54 | |
We hear about this Angela Grayson. | 0:11:54 | 0:11:56 | |
So she always stays in the room, and they're going to move her. | 0:11:56 | 0:11:59 | |
If somebody was killed in room six, could it be somebody thought | 0:11:59 | 0:12:02 | |
it was the person who always stays there? | 0:12:02 | 0:12:04 | |
Let's start talking about who might be involved. | 0:12:04 | 0:12:08 | |
There are now three new suspects. | 0:12:08 | 0:12:10 | |
We have Jilly Albright, | 0:12:10 | 0:12:12 | |
George Albright, owners of the B&B. | 0:12:12 | 0:12:14 | |
And then we've got Roger, Georgina and Angela. | 0:12:14 | 0:12:18 | |
Georgina's behaviour is extraordinary. | 0:12:18 | 0:12:20 | |
I mean, I can understand people have these beliefs, | 0:12:20 | 0:12:23 | |
but what normal people would do it in an ordinary, run-of-the-mill B&B? | 0:12:23 | 0:12:26 | |
And also, can we...can we presume that the lady we saw in the corner | 0:12:26 | 0:12:30 | |
of the dining room with the rather nice-looking Alsatian | 0:12:30 | 0:12:34 | |
was Angela Grayson? | 0:12:34 | 0:12:35 | |
It is Angela Grayson. That is who you saw. | 0:12:35 | 0:12:37 | |
-That's Angela Grayson? -Yes. Yes. | 0:12:37 | 0:12:39 | |
And if the dog is, you know, | 0:12:39 | 0:12:40 | |
attuned to hearing strange footsteps... | 0:12:40 | 0:12:44 | |
Yeah, then it's going to be difficult for people to get in | 0:12:44 | 0:12:46 | |
and out without disturbing the dog. | 0:12:46 | 0:12:48 | |
Let me see if I can help you on a little bit. | 0:12:48 | 0:12:50 | |
It's time to pick another piece of evidence | 0:12:50 | 0:12:52 | |
from these three choices. | 0:12:52 | 0:12:54 | |
You can have the last page from Brian's journal, | 0:12:54 | 0:12:57 | |
or TrekAdvisor ratings for Wistery Heights, | 0:12:57 | 0:13:01 | |
and finally, the forensics report on a mug found at the crime scene. | 0:13:01 | 0:13:06 | |
TrekAdvisors. | 0:13:06 | 0:13:09 | |
LAUGHTER | 0:13:09 | 0:13:11 | |
Don't know what you're laughing at! | 0:13:11 | 0:13:13 | |
Well, I've got a funny feeling that TrekAdvisor | 0:13:14 | 0:13:17 | |
isn't going to be a five-star review. | 0:13:17 | 0:13:20 | |
-No. -No. -No. -No. | 0:13:20 | 0:13:22 | |
Could we take a punt on the forensics on the coffee mug? | 0:13:22 | 0:13:25 | |
I reckon...I reckon the journal might account for someone | 0:13:25 | 0:13:30 | |
trying to visit him, or might account for... | 0:13:30 | 0:13:32 | |
-Why he's there. -..you know, why he's there. | 0:13:32 | 0:13:34 | |
Is it possible that somebody who did murder him | 0:13:34 | 0:13:36 | |
then ripped the last few pages out? | 0:13:36 | 0:13:39 | |
I hadn't even thought of that. | 0:13:39 | 0:13:41 | |
It's a closed room, | 0:13:41 | 0:13:42 | |
we've got two pieces of evidence that are from the room. | 0:13:42 | 0:13:45 | |
-So... -Which one... What would you like to see? | 0:13:45 | 0:13:47 | |
I'm sorry, I'm going to go... I'm going to go for the journal. | 0:13:47 | 0:13:50 | |
-Go for the journal. -I'm going to go for the journal. | 0:13:50 | 0:13:52 | |
I would have gone for the mug, but I'm happy with the journal. | 0:13:52 | 0:13:54 | |
-Go for the journal? -Would have gone for the mug, happy with the journal. | 0:13:54 | 0:13:57 | |
-Journal. -Journal. -Journal? -Journal. -Journal. -Journal. | 0:13:57 | 0:14:00 | |
LAUGHTER | 0:14:00 | 0:14:01 | |
We're going to look at Brian's journal. | 0:14:01 | 0:14:03 | |
This shows us that the last entry to Brian's journal | 0:14:03 | 0:14:06 | |
-has been ripped... -Yes! | 0:14:06 | 0:14:08 | |
..out of the book. | 0:14:08 | 0:14:09 | |
-Give the lady... -SUSAN'S LAUGHTER DROWNS COMMENT | 0:14:09 | 0:14:11 | |
It's like they... | 0:14:11 | 0:14:12 | |
It's like they won a gold medal at the Olympics. | 0:14:12 | 0:14:14 | |
"Yes!" | 0:14:14 | 0:14:16 | |
So, "Sitting by..." | 0:14:17 | 0:14:19 | |
So, he's making notes of, potentially, the people | 0:14:19 | 0:14:21 | |
that are in the room, just to look at what's not there. | 0:14:21 | 0:14:24 | |
-That's probably Georgina. -Yeah. | 0:14:24 | 0:14:26 | |
"Georgina, today, I had, and." | 0:14:26 | 0:14:28 | |
This person's very, very intelligent, | 0:14:28 | 0:14:30 | |
he's a mastermind to get rid of the evidence. | 0:14:30 | 0:14:32 | |
-OK. -Well, if he was, he would have got rid of it properly | 0:14:32 | 0:14:34 | |
-by ripping it out properly. -Yes, I think that's probably... | 0:14:34 | 0:14:36 | |
LAUGHTER, APPLAUSE | 0:14:36 | 0:14:38 | |
That could indicate they were in a hurry. | 0:14:38 | 0:14:39 | |
-But just a minute. -Yeah? | 0:14:41 | 0:14:42 | |
The G... Haven't we got a George and a Georgina? | 0:14:42 | 0:14:46 | |
Did anybody notice which hand he was writing with, | 0:14:46 | 0:14:48 | |
for having the beer bottle in whichever hand? | 0:14:48 | 0:14:51 | |
Oh, oh, here we are. OK. | 0:14:51 | 0:14:53 | |
Prepare to pick your prime suspect. | 0:14:53 | 0:14:56 | |
Is it Jilly, George, Roger, Georgina or Angela? | 0:14:56 | 0:15:01 | |
Please write the name down now. | 0:15:01 | 0:15:03 | |
Pencils down, Armchair Detectives. | 0:15:08 | 0:15:11 | |
Simon, who is your current suspect? | 0:15:11 | 0:15:15 | |
Angela. | 0:15:15 | 0:15:16 | |
Why? | 0:15:16 | 0:15:17 | |
Because I don't know if anyone picked up on it, but her eyesight | 0:15:17 | 0:15:20 | |
was actually kept straight and you could not see the collar of the dog. | 0:15:20 | 0:15:25 | |
Now, weird theory here... | 0:15:25 | 0:15:27 | |
She might be blind. | 0:15:28 | 0:15:30 | |
That is a good one. | 0:15:30 | 0:15:31 | |
She might be blind, cos she was staring straight ahead | 0:15:31 | 0:15:34 | |
and her hand... | 0:15:34 | 0:15:35 | |
..was like that on the dog. | 0:15:36 | 0:15:37 | |
And I didn't recogn... | 0:15:37 | 0:15:38 | |
And she didn't look round the room, she just kept doing that to the dog. | 0:15:38 | 0:15:41 | |
OK. Laura, who's your prime suspect? | 0:15:41 | 0:15:45 | |
I have gone for Georgina. | 0:15:45 | 0:15:46 | |
Why? | 0:15:46 | 0:15:48 | |
Seems like the type to foster resentment at this juncture. | 0:15:48 | 0:15:51 | |
Kathryn, who's your prime suspect? | 0:15:51 | 0:15:54 | |
George. | 0:15:54 | 0:15:55 | |
Why? | 0:15:55 | 0:15:56 | |
-I think he's out to protect his wife. -Mm. | 0:15:56 | 0:16:00 | |
She's taken a bad review too seriously | 0:16:00 | 0:16:04 | |
and become obsessed with it, and he just wants the problem to go away. | 0:16:04 | 0:16:08 | |
OK. So, prime suspects... | 0:16:08 | 0:16:11 | |
Angela, Georgina and George. | 0:16:11 | 0:16:15 | |
On to Round Three - The Police Interviews. | 0:16:15 | 0:16:18 | |
Notepads at the ready, | 0:16:18 | 0:16:19 | |
as Knight and Slater are questioning suspects at the Wistery Heights B&B. | 0:16:19 | 0:16:24 | |
No need to drag them all down to the police station... | 0:16:24 | 0:16:27 | |
just do it in the dining room! | 0:16:27 | 0:16:29 | |
SEAGULLS CRY | 0:16:33 | 0:16:36 | |
-SIGHING: -Slater! | 0:16:40 | 0:16:42 | |
-Well, keep complaining and I'll stop offering, sir. -Now... | 0:16:42 | 0:16:46 | |
Everything all right? | 0:16:47 | 0:16:48 | |
Yes, fine. We were...just... | 0:16:50 | 0:16:53 | |
According to your website, there's a no alcohol policy in your B&B, | 0:16:53 | 0:16:58 | |
but Brian had beer in his room. | 0:16:58 | 0:17:01 | |
Do you usually let guests sneak alcohol past you? | 0:17:01 | 0:17:04 | |
Not as far as I'm aware. | 0:17:04 | 0:17:05 | |
We do keep a bit of beer and wine in that room for ourselves. | 0:17:05 | 0:17:10 | |
When Angela isn't staying, | 0:17:10 | 0:17:11 | |
I use the room when Jilly snores too loudly or vice versa. | 0:17:11 | 0:17:15 | |
Brian must have found one of my beers last night. | 0:17:16 | 0:17:18 | |
And I thought we'd hidden them very well. | 0:17:19 | 0:17:22 | |
What time did you go to bed? | 0:17:22 | 0:17:23 | |
Around 10:30. I think Roger was doing some photography last night. | 0:17:23 | 0:17:29 | |
We locked the door at ten o'clock. | 0:17:29 | 0:17:31 | |
I didn't hear him knock afterwards. I presume he was out all night. | 0:17:31 | 0:17:36 | |
Notice anything unusual? | 0:17:36 | 0:17:38 | |
Nothing at all. | 0:17:38 | 0:17:40 | |
I've been a regular customer for the past five years or so. | 0:17:40 | 0:17:44 | |
Whenever I stay here I usually stay in room six, | 0:17:44 | 0:17:47 | |
at the end of the corridor. | 0:17:47 | 0:17:48 | |
It's quiet there so Billy doesn't bark. | 0:17:48 | 0:17:51 | |
SHE INHALES DEEPLY | 0:17:51 | 0:17:52 | |
I was in room two this time, though, because Brian requested | 0:17:52 | 0:17:56 | |
a sea view room and that was the only room available. | 0:17:56 | 0:17:59 | |
There was some problem with the bed in his room or something. | 0:18:00 | 0:18:05 | |
That reminds me, | 0:18:06 | 0:18:07 | |
someone did walk past at about 10:30. I was reading my book. | 0:18:07 | 0:18:11 | |
Billy barked a couple of times, then was quiet. | 0:18:11 | 0:18:15 | |
I went to sleep soon after. | 0:18:15 | 0:18:17 | |
Had you spent any time with Brian? | 0:18:20 | 0:18:23 | |
A little. I went to the pub with him for an hour. | 0:18:23 | 0:18:27 | |
He seemed quite nervous. | 0:18:27 | 0:18:29 | |
He bought me a drink to apologise for breaking my tripod earlier. | 0:18:29 | 0:18:33 | |
Did you hear anyone visit Brian's room? | 0:18:35 | 0:18:38 | |
I had been out all night taking some long exposure pictures. | 0:18:38 | 0:18:44 | |
Uh, I came back around 7am. George let me in. | 0:18:44 | 0:18:48 | |
There was white powder that my dearest loves to use. | 0:18:48 | 0:18:52 | |
Um, it was all over the floor | 0:18:52 | 0:18:55 | |
and in the corridor between our and Brian's room. | 0:18:55 | 0:18:59 | |
I took a picture of footprints, two sets. | 0:18:59 | 0:19:04 | |
I don't know if they're normal or not, | 0:19:04 | 0:19:06 | |
but you can have the snap. | 0:19:06 | 0:19:09 | |
Two sets? | 0:19:09 | 0:19:10 | |
SIMON EXHALES DEEPLY | 0:19:16 | 0:19:17 | |
Roger said that our poor victim took him out for a drink | 0:19:17 | 0:19:22 | |
to apologise for breaking the tripod. | 0:19:22 | 0:19:25 | |
And then he says he stayed out all night taking long exposures | 0:19:25 | 0:19:29 | |
with the camera. | 0:19:29 | 0:19:30 | |
Has he got arms of steel? | 0:19:30 | 0:19:31 | |
Well, tell me why that's a problem, Kathryn. | 0:19:31 | 0:19:34 | |
You know, if you're taking a long exposure, you need to keep the | 0:19:34 | 0:19:36 | |
camera absolutely steady, and how can you do that without a tripod? | 0:19:36 | 0:19:39 | |
Well picked up, Kathryn. | 0:19:39 | 0:19:41 | |
-Angela's not blind. -She's not blind. -Not blind. -So... | 0:19:41 | 0:19:44 | |
-No. -She's not blind. | 0:19:44 | 0:19:45 | |
She was just enjoying stroking her dog. | 0:19:45 | 0:19:49 | |
Didn't George say that when Jilly snores too loudly, | 0:19:49 | 0:19:52 | |
he goes in to room six? | 0:19:52 | 0:19:54 | |
He goes into that room, yeah. | 0:19:54 | 0:19:56 | |
Where they have a stash of beer and wine for their own use, | 0:19:56 | 0:19:59 | |
and he thought he'd hidden it, you know, quite well. | 0:19:59 | 0:20:02 | |
But then... But then again, | 0:20:02 | 0:20:04 | |
-George guided Brian up the stairs to the new room. -Mm. | 0:20:04 | 0:20:08 | |
Joked about, like, the drinks and that's how Brian found out. | 0:20:08 | 0:20:11 | |
Yeah. Let's have a look at the suspects... | 0:20:11 | 0:20:13 | |
Anything piquing your interest? | 0:20:19 | 0:20:22 | |
Brian is, you know, definitely was hiding something. | 0:20:22 | 0:20:26 | |
-Mm-hm. Laura? -There's something on everyone and the... | 0:20:26 | 0:20:29 | |
George saying he went to bed at 10:30, | 0:20:31 | 0:20:33 | |
and he locked the doors at ten, Roger was out. | 0:20:33 | 0:20:37 | |
So Roger was out taking long exposure photographs | 0:20:37 | 0:20:39 | |
without his tripod. | 0:20:39 | 0:20:41 | |
-Yes. -When he comes back at 7am | 0:20:41 | 0:20:43 | |
-there's the white powder all over the corridor... -Mm. -..in between, | 0:20:43 | 0:20:48 | |
so we know Georgina's been wandering the halls at night. | 0:20:48 | 0:20:51 | |
Well, let's see if we can help you out a little bit. | 0:20:51 | 0:20:54 | |
It's time to pick another piece of evidence. | 0:20:54 | 0:20:57 | |
So, you can have the TrekAdvisor ratings for Wistery Heights, | 0:20:57 | 0:21:00 | |
the forensics report on a mug found at the crime scene, | 0:21:00 | 0:21:03 | |
OR the new piece of evidence - | 0:21:03 | 0:21:05 | |
a photo taken by Roger on the night of the murder. | 0:21:05 | 0:21:10 | |
I would like to go back to the forensics of the mug in the room. | 0:21:10 | 0:21:14 | |
-I think so, yes. I'd like to... -Yeah? -..to see that. -Yeah. | 0:21:14 | 0:21:17 | |
-Forensics on the mug. -Forensics on the mug? -Yeah. | 0:21:17 | 0:21:19 | |
So pink lipstick and Jilly Albright's DNA was found on the mug. | 0:21:19 | 0:21:24 | |
She was obviously drinking coffee when he first came down | 0:21:24 | 0:21:27 | |
to complain about the bed being broken in his original room. | 0:21:27 | 0:21:31 | |
-So, she got her husband to help him move to the new room. -Yes. | 0:21:31 | 0:21:36 | |
So, you would theorise that it was after he'd settled in to this | 0:21:36 | 0:21:40 | |
new room that she came up to see how he was doing. | 0:21:40 | 0:21:43 | |
What if that has actually been drunken | 0:21:43 | 0:21:45 | |
after she's discovered the body? | 0:21:45 | 0:21:47 | |
So she's drunk the coffee, went into the room, saw the body, | 0:21:47 | 0:21:50 | |
dropped the mug. | 0:21:50 | 0:21:51 | |
-She couldn't get into the room, though. -She couldn't get into the room. -Mm! | 0:21:51 | 0:21:54 | |
-They had to break the door down. -Oh, of course, yes, the chain. -Yeah. | 0:21:54 | 0:21:56 | |
Well, unfortunately, it's time for you to pick your prime suspect, | 0:21:56 | 0:21:59 | |
Armchair Detectives, and tell me who you think committed the murder. | 0:21:59 | 0:22:04 | |
Notepads away, Armchair Detectives. Let's find out who you've chosen. | 0:22:10 | 0:22:14 | |
Now, last time, Simon, you picked Angela. | 0:22:14 | 0:22:16 | |
Have you stayed with that pick? | 0:22:16 | 0:22:19 | |
-No. -Who've you got? | 0:22:19 | 0:22:20 | |
George. | 0:22:20 | 0:22:21 | |
George. Why have you switched to George? | 0:22:21 | 0:22:23 | |
SHE, because she is asleep, does not know about him | 0:22:23 | 0:22:26 | |
going off to room six with the, uh, with the alcohol stash. | 0:22:26 | 0:22:31 | |
Oh, right. Well, OK. OK. | 0:22:31 | 0:22:33 | |
Laura, last time you picked Georgina. | 0:22:33 | 0:22:36 | |
-I've stuck with Georgina so far. -OK. | 0:22:36 | 0:22:38 | |
Uh, so that I can do the dramatic change of mind later on! | 0:22:38 | 0:22:41 | |
OK, we're looking forward to that. | 0:22:41 | 0:22:43 | |
Yeah. And, Kathryn, last time you picked George. | 0:22:43 | 0:22:46 | |
Have you stuck with George? | 0:22:46 | 0:22:47 | |
-I'm sticking with George at the moment. -OK. Mm-hm. | 0:22:47 | 0:22:50 | |
Um, I'm wondering whether when George goes up to the room, | 0:22:50 | 0:22:54 | |
perhaps to get alcohol for himself, and, you know, blows a fuse and... | 0:22:54 | 0:22:59 | |
Again, lots of different theories. Just to summarise... | 0:22:59 | 0:23:02 | |
Prime suspects, as we stand just now - George, Georgina and George. | 0:23:02 | 0:23:08 | |
Let's see how the case develops. It's on to Round Four - Dig Deeper. | 0:23:08 | 0:23:14 | |
Notepads at the ready, as we head back to Mortcliff, | 0:23:14 | 0:23:17 | |
and this time we're off to the seaside. | 0:23:17 | 0:23:20 | |
SEAGULLS CRY | 0:23:23 | 0:23:25 | |
Hi, Roger. Oh, I'm sorry, I didn't mean to frighten you. | 0:23:31 | 0:23:35 | |
Not at all, I was miles away. | 0:23:35 | 0:23:38 | |
Ah. Do you, uh...take pictures just for pleasure or do you exhibit? | 0:23:38 | 0:23:43 | |
Well, I'd like to exhibit, | 0:23:43 | 0:23:44 | |
but it's finding the time, what with Georgina. | 0:23:44 | 0:23:47 | |
Ah, yes. She must be quite a handful. | 0:23:47 | 0:23:50 | |
What is it, dementia? | 0:23:50 | 0:23:52 | |
Absolutely not! | 0:23:52 | 0:23:54 | |
I'm terribly sorry, I... I-I didn't mean to offend you. | 0:23:54 | 0:23:57 | |
There's absolutely nothing wrong with my wife! | 0:23:57 | 0:23:59 | |
Of course, of course not. | 0:23:59 | 0:24:01 | |
-Um... Do you mind if I take a look? -Hm. | 0:24:01 | 0:24:04 | |
-Ooh! -Oh! Honestly! | 0:24:06 | 0:24:09 | |
You're... | 0:24:10 | 0:24:12 | |
just a walking disaster. | 0:24:12 | 0:24:14 | |
SEAGULLS CRY | 0:24:23 | 0:24:26 | |
TV BLARES | 0:24:48 | 0:24:50 | |
SHE LAUGHS | 0:24:51 | 0:24:54 | |
-SIGHING: -That's it, dining room's now closed. | 0:24:54 | 0:24:57 | |
Glad I've got these off, my feet are killing me! | 0:24:57 | 0:24:59 | |
Do you have a couple of minutes? | 0:25:02 | 0:25:04 | |
-Can it wait till the morning? -I'm afraid not. | 0:25:05 | 0:25:08 | |
Uh! Come on, Angela, let's give these two some privacy. | 0:25:09 | 0:25:13 | |
ANGELA TUTS: Oh... | 0:25:13 | 0:25:15 | |
Thank you. | 0:25:22 | 0:25:23 | |
-SIGHING: -Look, if this has got anything to do with this afternoon... | 0:25:23 | 0:25:26 | |
I discovered recently that I'd been adopted. | 0:25:26 | 0:25:28 | |
I've been doing some research. | 0:25:30 | 0:25:32 | |
Is that right? | 0:25:32 | 0:25:33 | |
Did you give anyone up for adoption? | 0:25:35 | 0:25:36 | |
Well, when Christina McCay and I were together, | 0:25:39 | 0:25:43 | |
she was 16 and she fell pregnant. | 0:25:43 | 0:25:45 | |
Do you in any way recognise me? | 0:25:48 | 0:25:51 | |
I mean, sometimes when people look at one another they... | 0:25:51 | 0:25:54 | |
They just know. | 0:25:55 | 0:25:56 | |
Listen, mate, no offence... | 0:25:56 | 0:25:58 | |
..but, no, I don't think so. | 0:25:59 | 0:26:01 | |
Because according to my birth records, YOU are my father | 0:26:01 | 0:26:05 | |
and my mother Christine...is dead. | 0:26:05 | 0:26:08 | |
There was a car crash a few years later. | 0:26:12 | 0:26:15 | |
I'm sorry. | 0:26:18 | 0:26:19 | |
Things were different then. | 0:26:20 | 0:26:22 | |
Social stigma. | 0:26:23 | 0:26:25 | |
Is that the reason you gave me away? | 0:26:26 | 0:26:28 | |
It was tough. We were young. | 0:26:28 | 0:26:32 | |
But the people who adopted me were utterly joyless! | 0:26:32 | 0:26:35 | |
-Did they treat you badly? -Well, no. | 0:26:36 | 0:26:39 | |
You seem sensible, well educated. | 0:26:42 | 0:26:45 | |
Oh, they fed and clothed me, but that was it. | 0:26:45 | 0:26:48 | |
They didn't love me. They didn't care what I did. | 0:26:48 | 0:26:51 | |
Life's hard, Brian. | 0:26:52 | 0:26:53 | |
Happy lives are...a fairy tale! | 0:26:55 | 0:26:58 | |
I couldn't wait to meet you. | 0:26:59 | 0:27:00 | |
I thought maybe there'd be a... A connection of some kind, I... | 0:27:02 | 0:27:05 | |
I thought maybe... | 0:27:05 | 0:27:06 | |
Oh, I don't know. I... | 0:27:08 | 0:27:09 | |
Does your wife know? | 0:27:10 | 0:27:11 | |
I haven't told anyone I had a child. | 0:27:14 | 0:27:16 | |
Neither her, nor my son. | 0:27:17 | 0:27:19 | |
And does she know you're having an affair? | 0:27:20 | 0:27:22 | |
What do you want? Money? | 0:27:24 | 0:27:27 | |
What I want is a father who'll spend time with me, | 0:27:28 | 0:27:32 | |
who's interested in ME! | 0:27:32 | 0:27:34 | |
And who wants to make up for giving me away. | 0:27:35 | 0:27:37 | |
How much money can buy that? | 0:27:39 | 0:27:41 | |
THUD, CREAKING | 0:27:44 | 0:27:46 | |
DOG BARKS | 0:27:56 | 0:27:58 | |
DOG BARKS | 0:28:02 | 0:28:03 | |
What did we all make of... quite a dramatic moment in time | 0:28:06 | 0:28:11 | |
at the Wistery B&B? | 0:28:11 | 0:28:14 | |
Our victim was left-handed, which implies that whoever... | 0:28:14 | 0:28:18 | |
It was the murderer that perhaps stuck the beer bottle | 0:28:18 | 0:28:21 | |
-in that hand to make it look as if he'd been...tiddled. -OK. | 0:28:21 | 0:28:24 | |
He was tiddly and fell and drowned himself. | 0:28:24 | 0:28:26 | |
-Someone who didn't know he was left-handed? -Yeah. | 0:28:26 | 0:28:28 | |
There was an affair! An affair between Angela and George. | 0:28:28 | 0:28:33 | |
Angela always makes regular visits. He has alcohol in his room. | 0:28:33 | 0:28:38 | |
But, yet, Angela's the one that would usually be in the room... | 0:28:38 | 0:28:42 | |
-In the room. -..with the secret stash that George visits in the middle | 0:28:42 | 0:28:45 | |
of the night when Jilly's snoring. | 0:28:45 | 0:28:47 | |
But then the dog... But then the dog would be there in the same, | 0:28:47 | 0:28:50 | |
-you know... -But it's nice and quiet and the dog doesn't bark. | 0:28:50 | 0:28:53 | |
Could it be that the dog is used to George, | 0:28:53 | 0:28:55 | |
because they're always, you know, playing...? | 0:28:55 | 0:28:57 | |
You know the drill. | 0:28:58 | 0:28:59 | |
You can pick one piece of evidence from this selection. | 0:28:59 | 0:29:03 | |
TrekAdvisor ratings for Wistery Heights, | 0:29:03 | 0:29:06 | |
a photo taken by Roger on the night of the murder, | 0:29:06 | 0:29:09 | |
and a new piece of evidence, ladies' shoes found in room one. | 0:29:09 | 0:29:15 | |
So, I reckon there's... I reckon there's something in the photo. | 0:29:15 | 0:29:18 | |
I reckon there's... It could capture a silhouette maybe, | 0:29:18 | 0:29:21 | |
or he's taken a picture of where they're staying. | 0:29:21 | 0:29:24 | |
Who wants Roger's photos? | 0:29:24 | 0:29:26 | |
-Who wants the ladies' shoes? -I think... | 0:29:27 | 0:29:30 | |
I had my way last time, so, go on, ladies. | 0:29:30 | 0:29:33 | |
OK. Let's take a look at the ladies' shoes. | 0:29:33 | 0:29:35 | |
Slightly worn. | 0:29:36 | 0:29:38 | |
Been in the possession a long time. | 0:29:38 | 0:29:39 | |
-Not that worn. -No. | 0:29:39 | 0:29:41 | |
I didn't catch the glimpse of our landlady when she said, | 0:29:41 | 0:29:46 | |
"I'm glad to take these shoes off." | 0:29:46 | 0:29:49 | |
Exactly. Well, she said she was just in the dining room. | 0:29:50 | 0:29:53 | |
Why...why would you wear shoes in a dining room that look so classy? | 0:29:53 | 0:29:57 | |
-You know. -Right, Armchair Detectives, prime suspect time. | 0:29:57 | 0:30:01 | |
Is it Jilly, George, Roger, Georgina or Angela? | 0:30:01 | 0:30:06 | |
Please write down your prime suspect now. | 0:30:06 | 0:30:08 | |
Notepads away, please, Armchair Detectives. | 0:30:14 | 0:30:17 | |
Simon, last time you picked George. | 0:30:17 | 0:30:20 | |
Have you stuck with George? | 0:30:20 | 0:30:21 | |
Yes. He has got a life where he makes money, he has a wife, | 0:30:21 | 0:30:27 | |
he has an establishment. | 0:30:27 | 0:30:29 | |
-Suddenly, this person comes along claiming to be the son. -Yes. | 0:30:29 | 0:30:33 | |
-What dramatic effect would it now have on his life? -OK. | 0:30:33 | 0:30:37 | |
That could truly rock the boat. | 0:30:37 | 0:30:38 | |
OK. Laura, last time you went for Georgina. | 0:30:38 | 0:30:43 | |
Have you stuck with Georgina? | 0:30:43 | 0:30:44 | |
-I've stuck with Georgina. -OK. | 0:30:44 | 0:30:46 | |
We know that Georgina's husband was out taking photographs | 0:30:46 | 0:30:49 | |
and probably caught the affair. | 0:30:49 | 0:30:51 | |
-So... -OK. | 0:30:51 | 0:30:52 | |
Somebody was listening in to the conversation. | 0:30:52 | 0:30:56 | |
Kathryn, last time you went for George. | 0:30:56 | 0:31:00 | |
-Who've you gone for this time? -I've still stuck with George. | 0:31:00 | 0:31:03 | |
Stuck with George, OK. | 0:31:03 | 0:31:05 | |
I can see exactly what Simon is getting at. | 0:31:05 | 0:31:07 | |
OK. The prime suspects haven't changed at all. | 0:31:07 | 0:31:10 | |
Simon has gone for George, | 0:31:10 | 0:31:12 | |
Laura's gone for Georgina | 0:31:12 | 0:31:13 | |
and Kathryn has gone for George. | 0:31:13 | 0:31:15 | |
Let's see if you change your minds after seeing this. | 0:31:15 | 0:31:19 | |
The final clues. | 0:31:19 | 0:31:21 | |
Will Knight and Slater reveal anything more from our suspects? | 0:31:21 | 0:31:25 | |
Notepads at the ready. It's back to the Wistery Heights. | 0:31:25 | 0:31:29 | |
MOBILE RINGS | 0:31:36 | 0:31:38 | |
-Simmons, what have you got for us? -A few more facts have come to light. | 0:31:38 | 0:31:44 | |
The bruising around the neck, which I was concerned about, | 0:31:44 | 0:31:47 | |
occurred close to the time of death, which was definitely by drowning. | 0:31:47 | 0:31:51 | |
There's also alcohol in the U-bend underneath the sink. | 0:31:51 | 0:31:54 | |
Thanks, Simmons. | 0:31:56 | 0:31:57 | |
I'm missing something. | 0:32:01 | 0:32:02 | |
What is it? | 0:32:04 | 0:32:05 | |
I can't put a finger on it, sir. | 0:32:06 | 0:32:08 | |
DOG BARKS, KNOCK ON DOOR | 0:32:08 | 0:32:10 | |
Come in. | 0:32:10 | 0:32:11 | |
Sorry, he's a bit sensitive. | 0:32:12 | 0:32:15 | |
Hello. | 0:32:15 | 0:32:16 | |
Will you be much longer? You disturbed Roger's nap. | 0:32:23 | 0:32:26 | |
Looks like you were about to go out. | 0:32:26 | 0:32:29 | |
Roger likes weight on his feet when he sleeps. | 0:32:29 | 0:32:32 | |
Sorry to disturb your nap, Roger. | 0:32:33 | 0:32:35 | |
Can you explain why you've got mud on one side of your coat? | 0:32:35 | 0:32:39 | |
Well, I slipped and fell last night whilst out taking photos. | 0:32:39 | 0:32:43 | |
Did anyone have a key to Brian's door? | 0:32:46 | 0:32:49 | |
We have a master key that unlocks all the doors here. | 0:32:49 | 0:32:52 | |
But, as my wife said, the door was chained from the inside. | 0:32:52 | 0:32:55 | |
WINDOW RATTLES | 0:33:05 | 0:33:08 | |
The genius of simplicity, Slater. | 0:33:21 | 0:33:24 | |
Yes, sir. | 0:33:26 | 0:33:28 | |
What are you scribbling down in your notebook, Simon? | 0:33:31 | 0:33:34 | |
Body in the wardrobe. | 0:33:35 | 0:33:37 | |
I think someone was actually already in the room. | 0:33:37 | 0:33:40 | |
Someone was hiding in the room? | 0:33:40 | 0:33:42 | |
Yes, because they looked at the wall. | 0:33:42 | 0:33:44 | |
The only thing on the wall was a wardrobe | 0:33:44 | 0:33:46 | |
and in the wardrobe was a body. | 0:33:46 | 0:33:48 | |
Oh, it's brilliant. | 0:33:48 | 0:33:49 | |
How did they get out of the room? | 0:33:49 | 0:33:52 | |
Past the scene of crime. | 0:33:52 | 0:33:54 | |
No, genuine question. If... I get it, they're in the wardrobe, ta-da. | 0:33:54 | 0:34:00 | |
How did they get out of the room? | 0:34:02 | 0:34:03 | |
Cos it was chained from the inside. | 0:34:03 | 0:34:05 | |
Hmm. | 0:34:06 | 0:34:08 | |
I noticed in the interview for the husband and wife | 0:34:08 | 0:34:12 | |
that there was a stack of shoeboxes by the fireplace | 0:34:12 | 0:34:15 | |
with a nice pair of blue shoes on the left-hand side. | 0:34:15 | 0:34:19 | |
Blue-heeled shoes with strappy sandals. | 0:34:19 | 0:34:22 | |
Listen, let's try and...let's try and help you. Final evidence pick. | 0:34:22 | 0:34:26 | |
You can have either the TrekAdvisor ratings for Wistery Heights, | 0:34:26 | 0:34:30 | |
or a photo taken by Roger on the night of the murder. | 0:34:30 | 0:34:34 | |
-Well, the shoes were found in room one. -Yeah. | 0:34:34 | 0:34:38 | |
Which is the room behind room six, where our victim was found. | 0:34:38 | 0:34:43 | |
Tempted to go for the TrekAdvisor. | 0:34:43 | 0:34:45 | |
I don't think we can...we've got anything to lose | 0:34:45 | 0:34:47 | |
-with looking at that at this stage. -No, no. -No. -I don't think so. | 0:34:47 | 0:34:50 | |
-Go on, let's... -TrekAdvisor? -Let's look at the TrekAdvisor. | 0:34:50 | 0:34:52 | |
-Let's go for Trek... -TrekAdvisor rating. Let's go for it. | 0:34:52 | 0:34:56 | |
We have a one, and a two, and a one-star review. | 0:34:56 | 0:35:00 | |
Highlighted there, "There is a strict curfew. | 0:35:00 | 0:35:03 | |
"You have to be back by 10pm or you're not allowed back in." | 0:35:03 | 0:35:07 | |
"Bit standoffish, no alcohol allowed on premises." | 0:35:07 | 0:35:10 | |
"The attendant was terrible. | 0:35:10 | 0:35:12 | |
"Her attitude as appalling." Have a look at what they say. | 0:35:12 | 0:35:16 | |
Well, you can hear loud snoring through the doors, | 0:35:16 | 0:35:18 | |
which we've already established is our landlady. | 0:35:18 | 0:35:22 | |
The... | 0:35:22 | 0:35:24 | |
-I've found... The doors open and close very... -..Really noisily. | 0:35:24 | 0:35:29 | |
-OK. -Does that tell us | 0:35:29 | 0:35:31 | |
that somebody had to have gone out through the window, then? | 0:35:31 | 0:35:33 | |
Armchair Detectives, this is why you're all here. | 0:35:33 | 0:35:38 | |
You're about to accuse the suspect you think committed the crime. | 0:35:38 | 0:35:42 | |
Jilly, George, Roger, Georgina, Angela. | 0:35:42 | 0:35:47 | |
It's time to answer the only question that matters... | 0:35:47 | 0:35:50 | |
..whodunnit? | 0:35:50 | 0:35:52 | |
Armchair Detectives, notepads down, please. Time is up. | 0:35:58 | 0:36:02 | |
I want you to reveal your choice and tell me your reasons. | 0:36:02 | 0:36:06 | |
I'm staying with George. | 0:36:06 | 0:36:09 | |
-George. -Yes. -You've stuck with George all the way through. | 0:36:09 | 0:36:12 | |
I've stuck with George all the way through. | 0:36:12 | 0:36:14 | |
-And have your reasons changed? -No. | 0:36:14 | 0:36:16 | |
Someone knows of his secret, wants to keep the life he has, | 0:36:16 | 0:36:20 | |
get rid of the person who knows. | 0:36:20 | 0:36:22 | |
Unfortunately, of course, Brian bit the dust. | 0:36:22 | 0:36:25 | |
Laura, who are you accusing? | 0:36:25 | 0:36:26 | |
I... I've stuck with Georgina. | 0:36:26 | 0:36:28 | |
She knows more than she's letting on. | 0:36:28 | 0:36:33 | |
I'm sure her behaviour is very suspicious, | 0:36:33 | 0:36:36 | |
-so, she's up to something. -Kathryn, who are you accusing? | 0:36:36 | 0:36:39 | |
I have stuck with George for quite a few of the reasons that Simon | 0:36:39 | 0:36:44 | |
says, but also because we heard that the death was due to drowning, | 0:36:44 | 0:36:49 | |
and I think it would need a man to get a healthy, active bloke | 0:36:49 | 0:36:55 | |
into a bath and drown him. | 0:36:55 | 0:36:57 | |
George, Georgina and George. | 0:36:57 | 0:37:01 | |
You've stuck with those prime suspects, | 0:37:01 | 0:37:03 | |
that's who you're accusing. | 0:37:03 | 0:37:05 | |
Now, before we got to Mortcliff for the answer, | 0:37:05 | 0:37:07 | |
is the last piece of evidence the most important? | 0:37:07 | 0:37:10 | |
Let's take a look at that evidence. | 0:37:10 | 0:37:12 | |
It is a photo taken by Roger on the night of the murder. | 0:37:12 | 0:37:16 | |
This shows us footprints made in the white powder | 0:37:16 | 0:37:19 | |
thrown by Georgina in the corridor outside Brian's room. | 0:37:19 | 0:37:24 | |
Print one a loafer, size 44. | 0:37:24 | 0:37:26 | |
Print two a lady's heel, size 39. | 0:37:26 | 0:37:29 | |
Print three a smudge, possible knee, | 0:37:29 | 0:37:32 | |
possible fall. Does this inform you? | 0:37:32 | 0:37:36 | |
He's got one shoe on one foot and one shoe on the other | 0:37:36 | 0:37:40 | |
and he's fallen off his heel. | 0:37:40 | 0:37:42 | |
LAUGHTER | 0:37:43 | 0:37:45 | |
I love it. I love it, Laura. I love it! | 0:37:45 | 0:37:48 | |
To be honest with you, in this show, it wouldn't surprise me. | 0:37:48 | 0:37:52 | |
Well, Armchair Detectives, | 0:37:52 | 0:37:54 | |
what really happened in today's story, the Uninvited Guest? | 0:37:54 | 0:37:57 | |
Who killed Brian Thompson? | 0:37:57 | 0:37:59 | |
Let's find out whodunnit. | 0:37:59 | 0:38:02 | |
Sir. | 0:38:26 | 0:38:27 | |
-Ah. -Interesting read? | 0:38:29 | 0:38:31 | |
There are lots of interesting elements to this case, Slater. | 0:38:31 | 0:38:35 | |
That, for example. | 0:38:38 | 0:38:39 | |
Now, are we sure? | 0:38:41 | 0:38:43 | |
Positive. | 0:38:43 | 0:38:45 | |
Right, then, time for a chat. | 0:38:49 | 0:38:52 | |
As we now know, there's a connecting door between room six | 0:38:57 | 0:39:01 | |
and the room you share with your wife, Jilly. | 0:39:01 | 0:39:04 | |
What we also know according to the Mortcliff Hotel is that you | 0:39:04 | 0:39:07 | |
and Angela were occasionally seen having dinner there. | 0:39:07 | 0:39:09 | |
To discuss refurbishment, perhaps. | 0:39:09 | 0:39:12 | |
We also know you booked a hotel room on a few occasions | 0:39:12 | 0:39:16 | |
before the Wistery Heights refurbishment was complete. | 0:39:16 | 0:39:20 | |
What has this got to do with anything? | 0:39:22 | 0:39:24 | |
Well, it offers a motive for Brian Thompson's death. | 0:39:24 | 0:39:28 | |
Perhaps he discovered you and Angela were having an affair | 0:39:28 | 0:39:31 | |
and was there to blackmail you? | 0:39:31 | 0:39:33 | |
I don't think I spoke any more than ten words to the man. | 0:39:35 | 0:39:39 | |
That's strange, considering who the man was. | 0:39:39 | 0:39:42 | |
Brian's diary. | 0:39:44 | 0:39:46 | |
A sad tale of abandonment, neglect and alienation. | 0:39:48 | 0:39:52 | |
A tale you wanted no part of | 0:39:52 | 0:39:54 | |
for fear it would threaten your marriage, | 0:39:54 | 0:39:56 | |
your affair and your relationship with your son, Spencer. | 0:39:56 | 0:40:00 | |
Initially, Angela had been put into room six | 0:40:00 | 0:40:03 | |
so that you could see her once your wife was asleep. | 0:40:03 | 0:40:06 | |
But once Brian revealed his identity to you, you panicked. | 0:40:06 | 0:40:09 | |
You used the connecting door to creep in to Brian's bathroom | 0:40:11 | 0:40:14 | |
and drown him in the tub. | 0:40:14 | 0:40:15 | |
There were bruises on the back of his neck where you held him down. | 0:40:15 | 0:40:19 | |
You then poured a beer down the sink | 0:40:19 | 0:40:22 | |
and put the empty bottle into Brian's hand. | 0:40:22 | 0:40:24 | |
We found traces of alcohol in the U-bend. | 0:40:24 | 0:40:27 | |
Brian was left-handed. You placed the bottle in Brian's right hand. | 0:40:27 | 0:40:31 | |
Oh, God. | 0:40:38 | 0:40:40 | |
Jilly. | 0:40:40 | 0:40:42 | |
The powder that your guest Georgina Gates | 0:40:43 | 0:40:45 | |
so helpfully sprinkled up and down the corridor told us that | 0:40:45 | 0:40:48 | |
your wife's shoes were worn from your bedroom to Brian's bedroom. | 0:40:48 | 0:40:53 | |
There are no tracks leading away from that door. | 0:40:53 | 0:40:56 | |
So, she knocked on his door, confronted him, | 0:41:00 | 0:41:03 | |
and came back through the adjoining door. | 0:41:03 | 0:41:06 | |
Or while she slept like a log and snored loudly, | 0:41:07 | 0:41:11 | |
you used the connecting door to | 0:41:11 | 0:41:13 | |
go into Brian's room, drown him, put the bottle in his hand, | 0:41:13 | 0:41:18 | |
tear the page out of his diary, and then go back to your own room. | 0:41:18 | 0:41:21 | |
You then decided to cast aspersions on your own wife | 0:41:21 | 0:41:25 | |
by putting on her shoes, walking to Brian's room, | 0:41:25 | 0:41:29 | |
and backtracking in your own footsteps to your own. | 0:41:29 | 0:41:32 | |
Because you're not used to wearing high heels, you tripped. | 0:41:32 | 0:41:35 | |
We found a rather large knee indentation on the floor. | 0:41:35 | 0:41:39 | |
You see, the strap on this shoe had been loosened. | 0:41:39 | 0:41:44 | |
There's a groove where it was originally. | 0:41:44 | 0:41:46 | |
Whoever wore these shoes last had much bigger feet. | 0:41:47 | 0:41:50 | |
I could see he wasn't going to go away. | 0:41:54 | 0:41:56 | |
He wanted the relationship. | 0:41:58 | 0:42:00 | |
He wanted a father. | 0:42:01 | 0:42:03 | |
It was going to cost me everything. | 0:42:06 | 0:42:08 | |
George Albright, I'm arresting you for the murder of Brian Thompson. | 0:42:10 | 0:42:14 | |
Well, there wasn't someone hiding in the wardrobe, Simon, | 0:42:22 | 0:42:26 | |
but your theory was kind of getting there. | 0:42:26 | 0:42:28 | |
Congratulations, Simon and Kathryn, you both picked the killer | 0:42:28 | 0:42:31 | |
and have won again. | 0:42:31 | 0:42:33 | |
Another golden magnifying glass for your mantelpiece. Well done. | 0:42:33 | 0:42:37 | |
Never mind, Laura. You were very close, Laura. | 0:42:39 | 0:42:43 | |
You were very, very close indeed. Show of hands who got that right. | 0:42:43 | 0:42:46 | |
Ah, quite a lot of you. So, that's all from Armchair Detectives. | 0:42:47 | 0:42:51 | |
Come back tomorrow when Knight and Slater are at a dairy farm. | 0:42:51 | 0:42:54 | |
But will they be crying over spilt milk? | 0:42:54 | 0:42:57 | |
And, remember, no-one gets away with murder in Mortcliff. | 0:42:58 | 0:43:03 | |
Goodbye. | 0:43:03 | 0:43:05 | |
Well done, darling. | 0:43:08 | 0:43:09 | |
Congratulations. Congratulations. | 0:43:09 | 0:43:11 |