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Keep calm, there's a killer on the loose | 0:00:02 | 0:00:04 | |
and the only way to carry on is to track them down. | 0:00:04 | 0:00:06 | |
Welcome to the TV show with only one question. | 0:00:06 | 0:00:09 | |
Whodunnit? | 0:00:09 | 0:00:11 | |
Welcome to Armchair Detectives, | 0:00:26 | 0:00:29 | |
where our 15 murder mystery enthusiasts are going to try | 0:00:29 | 0:00:32 | |
and determine who committed a devious crime. | 0:00:32 | 0:00:35 | |
We'll see the comings and goings of a case set in Mortcliff, | 0:00:35 | 0:00:38 | |
a village you really don't want to visit. | 0:00:38 | 0:00:42 | |
We'll follow these three top coppers as they weed out the evidence - | 0:00:42 | 0:00:46 | |
DI Knight, DC Slater, | 0:00:46 | 0:00:48 | |
and Scene of Crime Officer Simmons. | 0:00:48 | 0:00:51 | |
Before we head to Mortcliff for the first time today, | 0:00:51 | 0:00:53 | |
let's meet our Armchair Detectives. | 0:00:53 | 0:00:55 | |
Hello, Armchair Detectives. | 0:00:55 | 0:00:57 | |
-ALL: -Hi. | 0:00:57 | 0:00:58 | |
They stay cheerful every single day. | 0:00:58 | 0:01:01 | |
Now, only three of you play each day, | 0:01:01 | 0:01:03 | |
so please take your armchairs, | 0:01:03 | 0:01:05 | |
Gregor, Ellouise and Charley. | 0:01:05 | 0:01:08 | |
As you know by now, the detective guessing the killer correctly | 0:01:14 | 0:01:18 | |
will win one of these - | 0:01:18 | 0:01:20 | |
our golden magnifying glass trophy. | 0:01:20 | 0:01:23 | |
-ALL: -Oooh! | 0:01:23 | 0:01:25 | |
Now, Gregor, the pressure is on you a little bit. | 0:01:26 | 0:01:29 | |
Just a wee bit. | 0:01:29 | 0:01:30 | |
Are you going to be able to match your girlfriend Toria's | 0:01:30 | 0:01:33 | |
double win and secure a golden magnifying glass today, Gregor? | 0:01:33 | 0:01:36 | |
-I'm confident, just like last time. -Right. | 0:01:36 | 0:01:39 | |
But this time I'll be paying a lot more attention. | 0:01:39 | 0:01:42 | |
Ellouise, what are you going to do differently to try | 0:01:42 | 0:01:45 | |
and win your first trophy? | 0:01:45 | 0:01:47 | |
-So I've got a theory... -Yeah? | 0:01:47 | 0:01:49 | |
..that when I'm sitting there, I'm not taking notes | 0:01:49 | 0:01:52 | |
and I'm getting them right, so I'm not taking notes. | 0:01:52 | 0:01:55 | |
-ALL: -Ohhh! -No notes. -No notes. | 0:01:55 | 0:01:58 | |
For the first time in Armchair Detectives history, | 0:01:58 | 0:02:01 | |
that notepad is not being used. | 0:02:01 | 0:02:03 | |
-Let's see if these tactics work. -I know! | 0:02:03 | 0:02:07 | |
I'm relying on you guys to take notes. | 0:02:07 | 0:02:09 | |
Charley, what do you think about Ellouise's tactics of taking | 0:02:09 | 0:02:12 | |
no notes at all? | 0:02:12 | 0:02:14 | |
I think it's a bold gamble, and I like it. | 0:02:14 | 0:02:16 | |
-It's a bold gamble! -I like it. -What a polite way of putting it. | 0:02:16 | 0:02:19 | |
LAUGHTER | 0:02:19 | 0:02:21 | |
So it's on to Round One, the Crime Scene. | 0:02:21 | 0:02:24 | |
Knight, Slater and Simmons | 0:02:24 | 0:02:26 | |
find today's victim dead in his own living room. | 0:02:26 | 0:02:29 | |
Notepads at the ready, unless you're Ellouise. | 0:02:29 | 0:02:32 | |
LAUGHTER | 0:02:32 | 0:02:33 | |
For the first time today, let's head over to Mortcliff. | 0:02:33 | 0:02:37 | |
Morning, Simmons. What have you got for us? | 0:02:48 | 0:02:51 | |
Victim was the home owner, Clive Wintern, | 0:02:51 | 0:02:53 | |
retired history professor. | 0:02:53 | 0:02:56 | |
Looks like poisoning. | 0:02:56 | 0:02:57 | |
His lips were swollen and he tried to be sick. | 0:02:57 | 0:03:00 | |
-Disabled? -Hm, he was a polio survivor, had limited leg mobility. | 0:03:00 | 0:03:05 | |
Looks like he's just eaten. Are those sugar crystals at the bottom? | 0:03:06 | 0:03:09 | |
Yeah, looks like it. We'll check. This is water next to it. | 0:03:09 | 0:03:14 | |
Green litmus, pH 7. | 0:03:14 | 0:03:18 | |
Anything else? | 0:03:19 | 0:03:20 | |
We found this battery-operated push-button device | 0:03:22 | 0:03:25 | |
lying next to him. | 0:03:25 | 0:03:26 | |
That's a rather large bag for one man. | 0:03:28 | 0:03:31 | |
Yeah, maybe he was thinking about running off | 0:03:31 | 0:03:34 | |
and somebody stopped him. We'll look into it. | 0:03:34 | 0:03:37 | |
What's the relevance of this biro? | 0:03:37 | 0:03:39 | |
Well, I think it might match the writing on this crossword. | 0:03:39 | 0:03:43 | |
It's got a mark next to one of the clues. | 0:03:43 | 0:03:45 | |
Acidity level in European laurel, six letters. | 0:03:45 | 0:03:50 | |
What's the answer? | 0:03:52 | 0:03:54 | |
Since when do forensics have time for cryptic crosswords? | 0:03:54 | 0:03:57 | |
-Well, I mean, it's just that... -You're the detective. | 0:03:57 | 0:04:00 | |
I solve crime, sir, not crosswords. | 0:04:02 | 0:04:04 | |
Well, now, what a puzzle. What did you spot? Have a chat. | 0:04:11 | 0:04:15 | |
He had a panic button, but do we know if it was pushed yet? | 0:04:15 | 0:04:18 | |
And do we know if it was working? | 0:04:18 | 0:04:20 | |
-Yeah, true. -Yeah, that's what I was going to say, does it even work? | 0:04:20 | 0:04:22 | |
-Yeah. -Battery powered, so the battery might be dead, | 0:04:22 | 0:04:25 | |
so we need to find out about that. | 0:04:25 | 0:04:26 | |
Dead or short circuited, they're relatively easy to block. | 0:04:26 | 0:04:28 | |
Has it been tampered with in any way? | 0:04:28 | 0:04:30 | |
So I'm interested to see what's in the locked bag - | 0:04:30 | 0:04:33 | |
was he hiding something | 0:04:33 | 0:04:35 | |
or was it just an innocent locked bag? | 0:04:35 | 0:04:38 | |
-Which is very unlikely. -Is there such a thing | 0:04:38 | 0:04:41 | |
as an innocent locked bag? | 0:04:41 | 0:04:44 | |
-AUDIENCE: -Oooh! | 0:04:44 | 0:04:45 | |
I'd also like to know who had access to his food, | 0:04:45 | 0:04:48 | |
because it looks like he's been poisoned by food, so he's | 0:04:48 | 0:04:51 | |
obviously had to eat something. Has someone else got a key to the house? | 0:04:51 | 0:04:55 | |
He looked like he was just at home doing a crossword, | 0:04:55 | 0:04:57 | |
innocently eating. | 0:04:57 | 0:04:59 | |
Does he have a carer cos he has polio or something like that? | 0:04:59 | 0:05:01 | |
Yeah, does he have a carer? | 0:05:01 | 0:05:02 | |
Well, let's take a look at today's victim. | 0:05:02 | 0:05:05 | |
The cause of death is suspected consumption of poison, | 0:05:14 | 0:05:18 | |
causing extreme swelling around the mouth. | 0:05:18 | 0:05:21 | |
The time of Clive's death is still under investigation. | 0:05:21 | 0:05:26 | |
So that's the victim. | 0:05:26 | 0:05:27 | |
Well, right now, because time of death is under investigation, | 0:05:27 | 0:05:30 | |
we don't actually know when he was poisoned, | 0:05:30 | 0:05:32 | |
so it might have nothing to do with the food that... | 0:05:32 | 0:05:34 | |
We just don't know until we know what the crystallisation is. | 0:05:34 | 0:05:37 | |
One of the joys of poison is they can be cumulative, slow acting. | 0:05:37 | 0:05:39 | |
-They sit in fatty tissues. -So this could be over | 0:05:39 | 0:05:41 | |
-a long period of time. -It could be any point. | 0:05:41 | 0:05:43 | |
I can give you a piece of evidence to look at, | 0:05:43 | 0:05:45 | |
see if this helps you out. | 0:05:45 | 0:05:47 | |
This is the crossword found at the crime scene. | 0:05:47 | 0:05:52 | |
As you can see, | 0:05:52 | 0:05:54 | |
a couple of things have been picked out - | 0:05:54 | 0:05:56 | |
acidity level in Europe laurel - | 0:05:56 | 0:06:00 | |
and that's the corresponding box there. | 0:06:00 | 0:06:04 | |
The clue - "Acidity level in Europe laurel" - | 0:06:04 | 0:06:06 | |
and if you go for laurel in the sense of laurels you have earned | 0:06:06 | 0:06:09 | |
or kind of laurel wreaths, and | 0:06:09 | 0:06:11 | |
he's answered that with "doping". The reason for the heart is cos it's | 0:06:11 | 0:06:14 | |
the wrong number of letters, so it doesn't really sort of fit in there. | 0:06:14 | 0:06:18 | |
So is it a European laurel, | 0:06:18 | 0:06:19 | |
somebody's won a European competition but was doping? | 0:06:19 | 0:06:22 | |
And Clive Wintern has put this in through the communication | 0:06:22 | 0:06:27 | |
method of the crossword clues, he's outing a cheating sportsman | 0:06:27 | 0:06:29 | |
and that's why he's been murdered. | 0:06:29 | 0:06:31 | |
OK, keep that in mind. Ellouise, take a photograph with your mind. | 0:06:31 | 0:06:35 | |
-Click! -LAUGHTER | 0:06:35 | 0:06:37 | |
It's on to Round Two, Last Movements. | 0:06:37 | 0:06:40 | |
Notepads at the ready, let's head back to Clive Wintern's | 0:06:40 | 0:06:43 | |
living room in Mortcliff shortly before his death. | 0:06:43 | 0:06:47 | |
27 across is... | 0:06:52 | 0:06:56 | |
Palimpsest. | 0:06:57 | 0:06:58 | |
-Correct. -CLIVE CHUCKLES | 0:06:58 | 0:07:00 | |
Beating you again, Malcolm! | 0:07:00 | 0:07:02 | |
It's almost as if the answers come to you from nowhere. | 0:07:02 | 0:07:05 | |
CLIVE MUTTERS NERVOUSLY | 0:07:05 | 0:07:08 | |
Are you all right? | 0:07:08 | 0:07:09 | |
Perfect. | 0:07:10 | 0:07:12 | |
Look, I've got to go. We're off to Crete tomorrow morning. | 0:07:12 | 0:07:14 | |
-Lucky for some. -Ah, we've managed to save up enough Green Shield Stamps. | 0:07:14 | 0:07:18 | |
It's a history research trip. | 0:07:18 | 0:07:20 | |
Clive, tell me the "we" is not you and Stephanie. | 0:07:20 | 0:07:24 | |
For God's sake, you're old enough... | 0:07:24 | 0:07:26 | |
CLIVE HANGS UP | 0:07:26 | 0:07:28 | |
What are Green Shield Stamps? | 0:07:28 | 0:07:30 | |
Oh, just a thing from the old days. | 0:07:30 | 0:07:33 | |
I've managed to set up a meeting with a Carthage | 0:07:34 | 0:07:36 | |
professor on the island. | 0:07:36 | 0:07:38 | |
He really loves my Hannibal theory. | 0:07:38 | 0:07:40 | |
Of course he does. | 0:07:40 | 0:07:41 | |
But you think it's a waste of time. | 0:07:43 | 0:07:45 | |
Look, we've been over this before. | 0:07:47 | 0:07:48 | |
Look, your theory is brilliant, but it's just that, a theory. | 0:07:48 | 0:07:54 | |
At present. | 0:07:54 | 0:07:55 | |
Don't sulk. | 0:07:57 | 0:07:58 | |
Don't patronise me. | 0:07:58 | 0:08:00 | |
How's the packing coming? | 0:08:01 | 0:08:03 | |
Suitcase is ready, but it's too heavy for me, though. | 0:08:03 | 0:08:05 | |
Oh, don't worry, I'll get Brian to sort it. | 0:08:05 | 0:08:07 | |
-What do you want me to do? -Would you bring the suitcase in? | 0:08:09 | 0:08:11 | |
And I'll check to see we're good to go first thing. | 0:08:11 | 0:08:14 | |
Tell me that's a snack. | 0:08:16 | 0:08:17 | |
-Your supper. -CLIVE GROANS | 0:08:19 | 0:08:20 | |
Fruit salad and a pint of water. | 0:08:20 | 0:08:22 | |
A pint! It's almost an armful. | 0:08:22 | 0:08:24 | |
CLIVE CHUCKLES | 0:08:24 | 0:08:26 | |
Look, I'll waste away on that. | 0:08:26 | 0:08:28 | |
You said you wanted to lose a few pounds. | 0:08:28 | 0:08:30 | |
No, you did. | 0:08:30 | 0:08:32 | |
All the exploring we'll be doing in Crete. | 0:08:33 | 0:08:35 | |
Well, can't do it on fruit alone. | 0:08:35 | 0:08:37 | |
See you tomorrow, Professor. | 0:08:37 | 0:08:38 | |
High maintenance, is she? | 0:08:42 | 0:08:45 | |
It's complicated. | 0:08:45 | 0:08:46 | |
I can't see how. You have the best of all worlds. | 0:08:47 | 0:08:50 | |
Someone who's very smart, who stimulates you. | 0:08:50 | 0:08:53 | |
She's very pretty, and she's not going to stick around. | 0:08:53 | 0:08:56 | |
I have never seen anyone as passionate about history | 0:08:57 | 0:09:00 | |
other than you, Clive. | 0:09:00 | 0:09:01 | |
She's a genius, one of a kind, | 0:09:01 | 0:09:05 | |
but it's a meeting of the minds, Brian, that's all. | 0:09:05 | 0:09:08 | |
Well, there's your answer. | 0:09:10 | 0:09:11 | |
You're something to aspire to, Clive, I'll give you that. | 0:09:11 | 0:09:14 | |
Oh, God knows what she's packed. | 0:09:41 | 0:09:45 | |
Probably got half her hair salon in there. | 0:09:45 | 0:09:47 | |
What have I gotten myself into? I'm not sure about this, Brian. | 0:09:48 | 0:09:52 | |
Right, well, I'll be off. | 0:09:54 | 0:09:56 | |
Oh... | 0:09:56 | 0:09:57 | |
You don't want to leave this lying around. | 0:09:59 | 0:10:01 | |
Buzz me if you need anything. House alarm will be on, OK? | 0:10:02 | 0:10:06 | |
Thank you, Brian. | 0:10:06 | 0:10:07 | |
DOOR CLOSES | 0:10:10 | 0:10:12 | |
That will do. | 0:10:16 | 0:10:17 | |
HE SIGHS | 0:10:19 | 0:10:21 | |
HE BREATHES LABORIOUSLY | 0:10:26 | 0:10:29 | |
DING! | 0:10:43 | 0:10:44 | |
Come on, I want some answers! | 0:11:16 | 0:11:19 | |
Hello, Malcolm. Bit early, isn't it? | 0:11:20 | 0:11:23 | |
He's refusing to answer the phone. | 0:11:23 | 0:11:25 | |
He sleeps like the dead. | 0:11:25 | 0:11:26 | |
Can I come in? | 0:11:26 | 0:11:27 | |
-Clive! -Oh, my... | 0:11:42 | 0:11:44 | |
Clive! | 0:11:44 | 0:11:45 | |
Professor? | 0:11:47 | 0:11:49 | |
Are you ready to go yet? | 0:11:50 | 0:11:52 | |
What have you done to him? | 0:11:56 | 0:11:57 | |
AUDIENCE MURMUR | 0:11:59 | 0:12:00 | |
-OK. -Well, it tells us who has access to the house. | 0:12:00 | 0:12:04 | |
-Yes. -I was under the impression that lady... | 0:12:04 | 0:12:07 | |
-Stephanie. -I thought she went home, | 0:12:07 | 0:12:09 | |
but she was already in the house when they... | 0:12:09 | 0:12:12 | |
..they came in. | 0:12:12 | 0:12:13 | |
I don't think we saw whether she came in from outside or | 0:12:13 | 0:12:16 | |
whether she was already downstairs. | 0:12:16 | 0:12:18 | |
OK, let's take a look at who we're talking about. | 0:12:18 | 0:12:21 | |
We have three suspects to look at. | 0:12:21 | 0:12:23 | |
Stephanie McCracken - Clive's private student, | 0:12:23 | 0:12:27 | |
Brian Hunterson - gardener and housekeeper, | 0:12:27 | 0:12:30 | |
and Malcolm Gray - Clive's friend. | 0:12:30 | 0:12:33 | |
-So... -I'm really cautious of Brian. | 0:12:33 | 0:12:35 | |
We know the buzzer was pushed, but it looks like it's not working. | 0:12:35 | 0:12:37 | |
-It's not working. -And we saw Brian hand that to him. | 0:12:37 | 0:12:40 | |
So why did Stephanie say, as the first thing, "What have you done?" | 0:12:40 | 0:12:43 | |
-Yeah, that was interesting. -Yeah that...that stuck out. | 0:12:43 | 0:12:45 | |
-Was that taking attention away from her or...? -As if there was | 0:12:45 | 0:12:48 | |
an underlying issue between them. | 0:12:48 | 0:12:49 | |
Well, let's see if I can help you out a bit more | 0:12:49 | 0:12:51 | |
because it's on to the Evidence Pick. | 0:12:51 | 0:12:54 | |
Would you like to see a document found in a printer | 0:12:54 | 0:12:58 | |
at the crime scene, or a panic alarm found at the crime scene, | 0:12:58 | 0:13:02 | |
and finally the suitcase found at the crime scene? | 0:13:02 | 0:13:07 | |
The panic alarm is going to let us know | 0:13:07 | 0:13:08 | |
whether or not it's been tampered with. | 0:13:08 | 0:13:10 | |
Brian obviously is the closest link to it. | 0:13:10 | 0:13:12 | |
Ellouise and I are looking at each other | 0:13:12 | 0:13:15 | |
because you never assume anything in Armchair Detectives. | 0:13:15 | 0:13:20 | |
I find it weird that he... | 0:13:20 | 0:13:23 | |
..he said he'll check the suitcase, | 0:13:23 | 0:13:25 | |
so why has she put a bulky lock on it? | 0:13:25 | 0:13:27 | |
I would like to see the panic button. | 0:13:27 | 0:13:29 | |
Go for the panic first and then the suitcase after? | 0:13:29 | 0:13:31 | |
-Yeah, panic. -OK, we're going for the panic alarm. | 0:13:31 | 0:13:34 | |
So take a look at it - what can you see? | 0:13:34 | 0:13:38 | |
Is the battery the wrong way round? | 0:13:38 | 0:13:40 | |
Panic... Yeah, it is. Yeah, it is, the springy bit's at the bottom. | 0:13:40 | 0:13:45 | |
I was about to say, "Does anyone know anything?" | 0:13:45 | 0:13:47 | |
-but apparently I do. -LAUGHTER | 0:13:47 | 0:13:48 | |
See, as soon as Ellouise throws away her notepad, she's seeing | 0:13:48 | 0:13:51 | |
everything, she's seeing everything. | 0:13:51 | 0:13:53 | |
-Tactics. -So, what does that tell you? | 0:13:53 | 0:13:55 | |
That means the panic button doesn't work. | 0:13:55 | 0:13:57 | |
Because someone's inserted the battery the wrong way round. | 0:13:57 | 0:13:59 | |
Now, was that an accident or intentional? | 0:13:59 | 0:14:01 | |
Well, Armchair Detectives, is your prime suspect | 0:14:01 | 0:14:04 | |
Stephanie, Brian or Malcolm? | 0:14:04 | 0:14:07 | |
Write it down now. | 0:14:07 | 0:14:08 | |
Notepads down, please. So, Gregor? | 0:14:13 | 0:14:17 | |
I've gone for Stephanie right now. | 0:14:17 | 0:14:19 | |
I'd like to know more about her theory. | 0:14:19 | 0:14:21 | |
She might have a grudge to bear against Clive. | 0:14:21 | 0:14:23 | |
Ellouise? | 0:14:23 | 0:14:24 | |
At this stage, I've gone with Brian. | 0:14:24 | 0:14:27 | |
-Right. -Purely because he's the last person we've seen handing over | 0:14:27 | 0:14:32 | |
the bowl and the drink that we presume killed him. | 0:14:32 | 0:14:35 | |
Not to say that hasn't been tampered by anyone else, | 0:14:35 | 0:14:38 | |
but just from what I've seen. | 0:14:38 | 0:14:39 | |
-Charley. -My prime suspect, like Gregor, I've gone for Stephanie. | 0:14:39 | 0:14:43 | |
OK. So the prime suspects right now are... | 0:14:43 | 0:14:48 | |
..Stephanie, Brian and Stephanie. | 0:14:48 | 0:14:51 | |
So it's on to Round Three, the Police Interviews. | 0:14:51 | 0:14:55 | |
Two suspects have been pulled in for questioning, but who are they? | 0:14:55 | 0:14:59 | |
Notepads at the ready, let's find out. | 0:14:59 | 0:15:02 | |
Mr Gray, do you recognise the handwriting on the piece | 0:15:13 | 0:15:16 | |
of paper shown in this photograph? | 0:15:16 | 0:15:18 | |
Yes. | 0:15:19 | 0:15:20 | |
Can you tell us what's written across the top of the page? | 0:15:21 | 0:15:25 | |
I've written, "Malcolm's time, 17 minutes 5 seconds." | 0:15:25 | 0:15:29 | |
You and the victim were crossword rivals? | 0:15:32 | 0:15:37 | |
Friendly ones, yes. | 0:15:37 | 0:15:39 | |
I would print out a random crossword from the past ten years, | 0:15:39 | 0:15:43 | |
take off the date, numbers and newspaper details, | 0:15:43 | 0:15:46 | |
just leave the grid and the clues. | 0:15:46 | 0:15:48 | |
And then I'd add my time and drop it around to his house. | 0:15:48 | 0:15:52 | |
He'd then see if he could beat it, which he did do 99% of the time. | 0:15:52 | 0:15:57 | |
We found Professor Wintern to be quite a phenomenon at the | 0:15:59 | 0:16:02 | |
National Crossword Championships, won nine years in a row. | 0:16:02 | 0:16:06 | |
And I've won twice since he stopped entering. | 0:16:07 | 0:16:10 | |
So you finally got some success when your main competitor stopped. | 0:16:10 | 0:16:14 | |
What are you saying? | 0:16:16 | 0:16:18 | |
Well, you're a proud man. Maybe you got tired of losing. | 0:16:18 | 0:16:23 | |
You can't lose to a cheat. | 0:16:23 | 0:16:25 | |
How long had you been Clive's gardener and housekeeper? | 0:16:26 | 0:16:30 | |
About four years, ever since I was discharged from the army. | 0:16:30 | 0:16:35 | |
He used to manage really well with his crutches, | 0:16:38 | 0:16:40 | |
but then he had a bad fall, decided he needed some looking after. | 0:16:40 | 0:16:44 | |
I cook, lock up at night, do a bit of gardening. | 0:16:44 | 0:16:49 | |
He was a very generous boss. | 0:16:51 | 0:16:53 | |
Sometimes I think he took me on as a favour. | 0:16:53 | 0:16:56 | |
And you were the last one to see him? | 0:16:56 | 0:16:58 | |
I guess. | 0:17:01 | 0:17:02 | |
His...protegee, Stephanie, had left, | 0:17:03 | 0:17:08 | |
I'd given him his supper. | 0:17:08 | 0:17:10 | |
He puts himself to bed normally. | 0:17:10 | 0:17:12 | |
Did he keep valuables around? | 0:17:13 | 0:17:16 | |
Could it have been a burglary? | 0:17:16 | 0:17:18 | |
No, not really. | 0:17:22 | 0:17:23 | |
I put the burglar alarms on for Clive at night | 0:17:24 | 0:17:27 | |
and all the windows have locks on. | 0:17:27 | 0:17:29 | |
Can anyone else disable the alarm? | 0:17:30 | 0:17:32 | |
No-one. | 0:17:33 | 0:17:34 | |
I'm the only one with the electronic fob to turn it off. | 0:17:34 | 0:17:38 | |
So essentially he was trapped in his own home? | 0:17:38 | 0:17:41 | |
I leave him with a remote control gadget that he can press | 0:17:42 | 0:17:45 | |
if he gets into trouble. It buzzes me and I can get over there quickly. | 0:17:45 | 0:17:49 | |
I stay a couple of doors away. | 0:17:49 | 0:17:51 | |
Professor Wintern left a rather generous bequest to you in his will. | 0:17:51 | 0:17:55 | |
-So? -Well, it's not every day someone leaves them their home, is it? | 0:17:58 | 0:18:01 | |
You didn't know him very long. | 0:18:02 | 0:18:04 | |
You rented the house two doors down. | 0:18:05 | 0:18:07 | |
Look, I don't know where this is going, | 0:18:08 | 0:18:11 | |
but when I left Clive, he was the picture of health. | 0:18:11 | 0:18:14 | |
I went home, I cooked my tea, the next time I saw him he was dead. | 0:18:14 | 0:18:19 | |
Can anyone corroborate that? | 0:18:19 | 0:18:21 | |
The plot thickens, Armchair Detectives. | 0:18:28 | 0:18:32 | |
We know now that there's obviously an ongoing competition, | 0:18:32 | 0:18:37 | |
but I don't feel | 0:18:37 | 0:18:40 | |
like it's worthy of death from... | 0:18:40 | 0:18:44 | |
-..from Malcolm. -Especially cos Clive had already retired, | 0:18:44 | 0:18:47 | |
so this was Malcolm's chance to shine. | 0:18:47 | 0:18:49 | |
-Yeah. -But Malcolm did accuse him of cheating. | 0:18:49 | 0:18:53 | |
-Yeah. -So... -Yes. -I think there's more to that story, | 0:18:53 | 0:18:56 | |
but I don't necessarily think that... | 0:18:56 | 0:18:58 | |
He would kill him when he's already retired. | 0:18:58 | 0:19:00 | |
-Yeah. -Yeah. -Well, let's see if we can take you forward a bit | 0:19:00 | 0:19:03 | |
-with some more evidence. -Please. -Yeah. | 0:19:03 | 0:19:05 | |
Do you want to see a document found in a printer at the crime scene, | 0:19:05 | 0:19:08 | |
the suitcase found at the crime scene, | 0:19:08 | 0:19:10 | |
or this new piece of evidence, | 0:19:10 | 0:19:12 | |
the call log from Clive's landline phone? | 0:19:12 | 0:19:17 | |
-Is that printout going to give us a motive? -Something interesting. | 0:19:17 | 0:19:20 | |
Yeah. Because I'm thinking we're pretty comfortable, | 0:19:20 | 0:19:23 | |
we've locked down so far where the poison might be. | 0:19:23 | 0:19:26 | |
We've nothing on a motive, so printout - motive, printout? | 0:19:26 | 0:19:29 | |
-Yeah, I think so. -Printout for a motive, please. | 0:19:29 | 0:19:32 | |
-So you want to see the printout. -Yes, please. | 0:19:32 | 0:19:34 | |
This is a document found in a printer at the crime scene, | 0:19:34 | 0:19:36 | |
and this is Clive's internet history. | 0:19:36 | 0:19:40 | |
-So this is proof that he's a cheat. -Yeah, he was looking up the answers. | 0:19:47 | 0:19:50 | |
See, now I'm starting to create a theory in my head. | 0:19:50 | 0:19:54 | |
Stephanie really believes in this theory... | 0:19:54 | 0:19:58 | |
-That she has. -He's sort of belittling her a little bit. | 0:19:58 | 0:20:01 | |
This is her evidence that... | 0:20:01 | 0:20:03 | |
"You're not actually that good at crosswords. | 0:20:03 | 0:20:06 | |
"I'm better than you, have some poison, see you later." | 0:20:06 | 0:20:10 | |
LAUGHTER, APPLAUSE | 0:20:10 | 0:20:13 | |
-Oh, you got a round of applause! -Yep. -Thank you. | 0:20:13 | 0:20:16 | |
It's prime suspect time. | 0:20:16 | 0:20:18 | |
Stephanie, Brian or Malcolm. | 0:20:18 | 0:20:20 | |
Please write down who your prime suspect is. | 0:20:20 | 0:20:24 | |
Notepads down, please, Armchair Detectives. | 0:20:30 | 0:20:32 | |
So, Gregor, last time your prime suspect was Stephanie - | 0:20:32 | 0:20:38 | |
-have you changed your mind? -I have not. | 0:20:38 | 0:20:39 | |
-Still with Stephanie? -Still with Stephanie. | 0:20:39 | 0:20:41 | |
Ellouise, last time your prime suspect was Brian - | 0:20:41 | 0:20:45 | |
-have you changed your mind? -I have, I've changed to Stephanie. | 0:20:45 | 0:20:47 | |
Stephanie. | 0:20:47 | 0:20:48 | |
He's always going to be her superior, he's... | 0:20:48 | 0:20:51 | |
..he's lived his life, now it's her turn, | 0:20:51 | 0:20:54 | |
-"Move out the way." -Yeah. Charley, last time you... | 0:20:54 | 0:20:57 | |
-Yes. -..accused Stephanie. -Stephanie. | 0:20:57 | 0:20:59 | |
I'm staying very much with Stephanie on this one. | 0:20:59 | 0:21:02 | |
-Staying with Stephanie. Full house. -Yep. -Yes. | 0:21:02 | 0:21:04 | |
I'm thinking because the European laurel bit, and there's... | 0:21:04 | 0:21:07 | |
-Yeah. -..there's a back of the mind | 0:21:07 | 0:21:09 | |
tickle but I'm remembering that laurel is a respiratory poison | 0:21:09 | 0:21:12 | |
and if all of a sudden we discover later on that he was poisoned | 0:21:12 | 0:21:15 | |
by European laurel, it points towards the gardener, so wonderfully | 0:21:15 | 0:21:18 | |
and elegantly that it can't be, and therefore Stephanie's been framing. | 0:21:18 | 0:21:22 | |
LAUGHTER, APPLAUSE | 0:21:22 | 0:21:25 | |
So every one of our Armchair Detectives thinks that | 0:21:25 | 0:21:29 | |
Stephanie is the prime suspect. Will that change? | 0:21:29 | 0:21:33 | |
It's on to Round Four - Dig Deeper. | 0:21:33 | 0:21:36 | |
Who's acting suspicious and who has a clear conscience? | 0:21:36 | 0:21:41 | |
Notepads at the ready, let's head back to Mortcliff. | 0:21:41 | 0:21:44 | |
You've not been answering your phone. | 0:21:52 | 0:21:54 | |
I can't seem to find it. | 0:21:54 | 0:21:55 | |
I think I've left it at Clive's house. | 0:21:55 | 0:21:57 | |
It's good to see you. | 0:21:57 | 0:21:59 | |
Thanks for meeting me. | 0:21:59 | 0:22:02 | |
Better late than never. So how's the world of architecture? | 0:22:02 | 0:22:06 | |
Pretty good. We've got a few bigger clients now, more regular work. | 0:22:06 | 0:22:10 | |
You still obsessed with ancient Greece? | 0:22:10 | 0:22:12 | |
Absolutely, I've made some amazing discoveries about Carthage | 0:22:12 | 0:22:16 | |
and Hannibal. | 0:22:16 | 0:22:17 | |
-He was the... -He was the best Carthaginian general, who beat | 0:22:17 | 0:22:21 | |
the majority of the Roman generals who fought against him, | 0:22:21 | 0:22:25 | |
and they crossed the Alps on elephants. | 0:22:25 | 0:22:28 | |
THEY CHUCKLE | 0:22:28 | 0:22:29 | |
So I guess you wouldn't be interested in the assistant | 0:22:29 | 0:22:31 | |
job going at my firm? | 0:22:31 | 0:22:33 | |
Thanks, but I'm happy for now. | 0:22:33 | 0:22:36 | |
The Professor still helping you prepare with your uni application? | 0:22:36 | 0:22:40 | |
Yeah, it's really good of him to take me under his wing. | 0:22:40 | 0:22:43 | |
So I guess you don't need me any more, huh? | 0:22:43 | 0:22:46 | |
It's not like that. | 0:22:46 | 0:22:48 | |
I was heartbroken leaving you behind with Mum. | 0:22:50 | 0:22:53 | |
I felt I'd failed you. | 0:22:53 | 0:22:55 | |
There were a lot of good times in our house, you know, | 0:22:56 | 0:22:59 | |
before the tax man turned up. | 0:22:59 | 0:23:02 | |
I hope I've turned things around now. | 0:23:02 | 0:23:04 | |
Yeah. It was good, us all together. | 0:23:04 | 0:23:07 | |
I've missed you too. | 0:23:09 | 0:23:10 | |
It means a lot to me, you still using my surname. | 0:23:11 | 0:23:14 | |
Why wouldn't I? You're my father. | 0:23:14 | 0:23:16 | |
Who'd want to be an Atkins anyway, huh? | 0:23:17 | 0:23:19 | |
THEY CHUCKLE | 0:23:19 | 0:23:21 | |
Could you give this to Clive? | 0:23:26 | 0:23:27 | |
Of course. | 0:23:27 | 0:23:28 | |
And can I ask you something in confidence? | 0:23:28 | 0:23:31 | |
-Sure. -Is Clive really as clever as he makes out? | 0:23:31 | 0:23:37 | |
Of course he is. | 0:23:37 | 0:23:39 | |
Do you help him in any way with the crosswords? | 0:23:39 | 0:23:41 | |
Oh, no. I'm nothing compared to him. | 0:23:41 | 0:23:44 | |
Although he does sometimes find special crosswords for me | 0:23:45 | 0:23:51 | |
to attempt. It's cute, really. He finds ones with answers | 0:23:51 | 0:23:55 | |
-that are... -He's won the National Cryptic Competition | 0:23:55 | 0:23:58 | |
nine years in a row, | 0:23:58 | 0:23:59 | |
but he hasn't entered for the past few years. | 0:23:59 | 0:24:02 | |
Why not? | 0:24:02 | 0:24:03 | |
He says he's bored of winning. I reckon he's scared. | 0:24:03 | 0:24:07 | |
I can't understand how I still can't beat that doddery old | 0:24:07 | 0:24:10 | |
bag of bones. No matter what newspaper | 0:24:10 | 0:24:13 | |
I get my cryptic clues from, he beats me nearly every time. | 0:24:13 | 0:24:17 | |
That's funny that you should say that, actually. | 0:24:18 | 0:24:21 | |
I don't exactly know what this means, | 0:24:23 | 0:24:25 | |
but it's a printout from Clive's computer. | 0:24:25 | 0:24:28 | |
And it looks odd. | 0:24:28 | 0:24:31 | |
The devious swine! | 0:24:31 | 0:24:34 | |
Hm, talk to me. Talk to me, Armchair Detectives. | 0:24:36 | 0:24:40 | |
I think I have a theory. | 0:24:40 | 0:24:41 | |
Steph found out just how much Clive was a cheater and liar, | 0:24:41 | 0:24:44 | |
and she trusted him beyond belief, and...yeah. | 0:24:44 | 0:24:48 | |
Let's take a look at the suspects board | 0:24:48 | 0:24:50 | |
because we've got an extra suspect to add. | 0:24:50 | 0:24:52 | |
-Ross. -We've got Ross McCracken, who's Stephanie's father, | 0:24:52 | 0:24:57 | |
and of course we have Brian and Malcolm who have been there before. | 0:24:57 | 0:25:00 | |
Talk to me about Ross. | 0:25:00 | 0:25:02 | |
Well, it's interesting the affect he's going to have had on Stephanie. | 0:25:02 | 0:25:06 | |
She's certainly looking for a father figure to which our victim | 0:25:06 | 0:25:09 | |
-turns up, you know, avuncular, happy. -Yeah. | 0:25:09 | 0:25:11 | |
-But she stuck with Clive.. -She's happy with Clive, yeah. | 0:25:11 | 0:25:13 | |
And then she discovers he's been fibbing. | 0:25:13 | 0:25:15 | |
I think at this stage everyone has actually got a motive of some kind. | 0:25:15 | 0:25:19 | |
-A sort of motive, yeah. -Yes. -But who's got the motive | 0:25:19 | 0:25:21 | |
-that would push them to murder? -Who would do it more? -Yeah. | 0:25:21 | 0:25:23 | |
Let's try and narrow it down, let's pick another piece of evidence. | 0:25:23 | 0:25:27 | |
You can choose one from the list. | 0:25:27 | 0:25:29 | |
The suitcase found at the crime scene, | 0:25:29 | 0:25:31 | |
the call log from Clive's landline phone, | 0:25:31 | 0:25:34 | |
and the new item of evidence - | 0:25:34 | 0:25:36 | |
a catalogue found at Brian's personal allotment. | 0:25:36 | 0:25:40 | |
So Brian's catalogue, I wonder if that means he's circled | 0:25:40 | 0:25:43 | |
something that he knows very well could be a poison. | 0:25:43 | 0:25:46 | |
I kind of want to see the suitcase just to give us peace of mind. | 0:25:46 | 0:25:49 | |
-Yeah, get it out of the way. -Let's go for it. | 0:25:49 | 0:25:50 | |
If it's nothing, at least we know it's nothing. | 0:25:50 | 0:25:52 | |
That's what you wanted at the beginning of the show, to see that suitcase. | 0:25:52 | 0:25:55 | |
-So, do you want to see the suitcase? -Absolutely. -Yeah. | 0:25:55 | 0:25:58 | |
OK, let's go for the suitcase. | 0:25:58 | 0:25:59 | |
-Contents - empty. -Ah! | 0:25:59 | 0:26:03 | |
Ahh... | 0:26:03 | 0:26:05 | |
Audible gasp from the Armchair Detectives! | 0:26:05 | 0:26:07 | |
-So Stephanie's lied? -Stephanie's lied and Brian's... | 0:26:07 | 0:26:10 | |
Yeah, and Brian seemed to have some serious difficulty getting it | 0:26:10 | 0:26:13 | |
down the stairs for an empty suitcase. | 0:26:13 | 0:26:14 | |
Now, Armchair Detectives, | 0:26:14 | 0:26:16 | |
Bola's practically jumping out of her seat at this point. | 0:26:16 | 0:26:20 | |
Who packed it, whose is it, who brought it in? | 0:26:20 | 0:26:23 | |
It's empty now... | 0:26:23 | 0:26:25 | |
-Yeah. -But was it? | 0:26:25 | 0:26:27 | |
Well, Steph said she packed it, Brian had trouble lifting it, | 0:26:27 | 0:26:30 | |
and after the death, it's empty. | 0:26:30 | 0:26:32 | |
If Simon was here, he'd say there was someone in the suitcase. | 0:26:32 | 0:26:34 | |
I can fit in a suitcase. | 0:26:34 | 0:26:36 | |
I went in and someone zipped it up and I went, "Oh, that works". | 0:26:36 | 0:26:39 | |
Did you go anywhere nice? | 0:26:39 | 0:26:40 | |
LAUGHTER | 0:26:40 | 0:26:42 | |
With a new suspect on the board, we have | 0:26:42 | 0:26:45 | |
Stephanie, Brian, Malcolm | 0:26:45 | 0:26:48 | |
and Ross. | 0:26:48 | 0:26:50 | |
It's time to lock in your prime suspect, Armchair Detectives. | 0:26:50 | 0:26:53 | |
Write down who that is now. | 0:26:53 | 0:26:56 | |
Notepads away, please, Armchair Detectives. | 0:27:02 | 0:27:04 | |
The tension is mounting. Please tell me who is your prime suspect, | 0:27:04 | 0:27:08 | |
Gregor. | 0:27:08 | 0:27:09 | |
So I'm sticking with Stephanie because why... | 0:27:09 | 0:27:11 | |
If Brian was the killer, why would he empty the suitcase? | 0:27:11 | 0:27:14 | |
Ellouise. Prime suspect? | 0:27:14 | 0:27:16 | |
-Stephanie. -Yeah? | 0:27:16 | 0:27:17 | |
She's lied about the suitcase, | 0:27:17 | 0:27:19 | |
potentially it could have been empty. | 0:27:19 | 0:27:20 | |
I need more evidence before I change my mind. | 0:27:20 | 0:27:23 | |
Charley, prime suspect? | 0:27:23 | 0:27:25 | |
-I'm still sticking with Stephanie. -Stephanie, OK. | 0:27:25 | 0:27:27 | |
So prime suspects, as we stand just now, | 0:27:27 | 0:27:31 | |
all of them going for Stephanie. | 0:27:31 | 0:27:34 | |
We're racing towards closing this case. | 0:27:34 | 0:27:37 | |
It's Round Five, the Final Clues. | 0:27:37 | 0:27:40 | |
Knight and Slater meet Brian at his allotment to ask further questions. | 0:27:40 | 0:27:44 | |
Can you tell us who was around the day he died? | 0:27:50 | 0:27:52 | |
I let the nurse in for Clive's weekly home visit. | 0:27:53 | 0:27:56 | |
She was a lot earlier than she usually is. | 0:27:56 | 0:27:59 | |
She said that he had been trying to reach me unsuccessfully, | 0:27:59 | 0:28:02 | |
so I changed the batteries in his panic alarm. | 0:28:02 | 0:28:06 | |
Then Malcolm dropped by with a new crossword to pass on to Clive. | 0:28:06 | 0:28:11 | |
Stephanie was dropped off by a guy in a car, I presume it was her dad. | 0:28:12 | 0:28:17 | |
She looked a bit teary-eyed. | 0:28:17 | 0:28:18 | |
You're curious about Stephanie, aren't you? | 0:28:19 | 0:28:22 | |
More puzzled than curious. | 0:28:23 | 0:28:26 | |
I wondered if there was a bit more to it. | 0:28:26 | 0:28:30 | |
You didn't approve of their friendship? | 0:28:30 | 0:28:32 | |
One doesn't like to speak ill of the dead, but...she's only 18 | 0:28:34 | 0:28:39 | |
and I wondered if she was developing a bit of a fondness for him. | 0:28:39 | 0:28:44 | |
Was their relationship intimate? | 0:28:44 | 0:28:46 | |
What were you up to the rest of the afternoon? | 0:28:51 | 0:28:54 | |
Finished off in the garden, cutting the grass, watering the plants. | 0:28:54 | 0:28:59 | |
You said the suitcase you took in to Clive's was heavy? | 0:29:01 | 0:29:06 | |
Hm, yeah, very much so. | 0:29:06 | 0:29:09 | |
And yet it had no clothes in it when we found it at the crime scene. | 0:29:09 | 0:29:13 | |
Well, maybe he put them back in the wardrobe, | 0:29:14 | 0:29:17 | |
he was having second thoughts about the trip. | 0:29:17 | 0:29:20 | |
Looking to order in some new plants? | 0:29:26 | 0:29:28 | |
Oh... | 0:29:30 | 0:29:31 | |
Forgot about that. | 0:29:33 | 0:29:34 | |
Bit late now. | 0:29:36 | 0:29:37 | |
There's a phone call from Clive Wintern's landline to | 0:29:43 | 0:29:46 | |
one of the nurses here on Wednesday. | 0:29:46 | 0:29:47 | |
Only lasted a few seconds. | 0:29:47 | 0:29:49 | |
Was that nurse Dee McCracken? | 0:29:49 | 0:29:51 | |
I believe she prefers Miss Atkins. | 0:29:51 | 0:29:54 | |
Oh, happy birthday. | 0:29:56 | 0:29:58 | |
Oh, is that still on? | 0:29:58 | 0:30:01 | |
I'm just coming off shift. | 0:30:01 | 0:30:02 | |
Miss Atkins, DI Knight. This is DC Slater. We'd just like to ask | 0:30:03 | 0:30:07 | |
you a few questions about your daughter, Stephanie. | 0:30:07 | 0:30:10 | |
I don't see much of her these days. She's nearly 19. | 0:30:10 | 0:30:14 | |
How would you describe your daughter? | 0:30:14 | 0:30:17 | |
Is she in trouble? | 0:30:17 | 0:30:19 | |
This is part of a wider investigation. | 0:30:19 | 0:30:21 | |
Steph is...difficult. | 0:30:23 | 0:30:27 | |
She could read fluently by the age of four. | 0:30:27 | 0:30:30 | |
She could do things that no other child her age could even imagine. | 0:30:30 | 0:30:34 | |
I thought there was something wrong with her. | 0:30:34 | 0:30:36 | |
Anyway, we had her assessed and it turns out she's a genius. | 0:30:36 | 0:30:41 | |
Whatever that means. | 0:30:41 | 0:30:43 | |
What do you make of her friendship with Professor Wintern? | 0:30:43 | 0:30:47 | |
She's always preferred the company of older people. | 0:30:49 | 0:30:51 | |
Sorry, has something happened? | 0:30:53 | 0:30:55 | |
I'm sorry to have to tell you, | 0:30:57 | 0:30:58 | |
but Professor Wintern was found dead on Thursday morning. | 0:30:58 | 0:31:00 | |
-Would you like to sit down? -No, no, I'm...fine. | 0:31:07 | 0:31:12 | |
Had you heard from him recently? | 0:31:14 | 0:31:16 | |
Yeah, now you mention it, Clive did call me. | 0:31:19 | 0:31:24 | |
I see him on my home visits once a week. | 0:31:25 | 0:31:29 | |
I thought he'd dialled by accident. He didn't say anything. | 0:31:29 | 0:31:32 | |
Can you tell us where you were on Wednesday evening from about seven? | 0:31:34 | 0:31:37 | |
I was driving to work for my night shift. | 0:31:39 | 0:31:43 | |
Sorry, if there's nothing else...? | 0:31:45 | 0:31:47 | |
Yeah, no, that's all for now, thank you. | 0:31:47 | 0:31:49 | |
Seems rather upset for someone who only met their patient once a week. | 0:31:55 | 0:31:59 | |
Indeed. | 0:32:01 | 0:32:02 | |
-OK. -OK. OK, OK, let's take stock. | 0:32:04 | 0:32:08 | |
OK? We have another suspect on the board. | 0:32:08 | 0:32:12 | |
Dee Atkins, Stephanie's mum. | 0:32:12 | 0:32:16 | |
Had access to the house, found out Clive was a cheater, | 0:32:16 | 0:32:20 | |
disappointing her daughter. | 0:32:20 | 0:32:22 | |
She reacted really, really significantly. | 0:32:22 | 0:32:25 | |
-Heartbroken. -Yeah. -And I found myself wondering | 0:32:25 | 0:32:28 | |
if perhaps she had a far longer relationship with Clive. | 0:32:28 | 0:32:31 | |
-Than we realise. -Well, you've got two pieces of evidence | 0:32:31 | 0:32:34 | |
still to look at, so let's look at one of those | 0:32:34 | 0:32:36 | |
-and see if it's helps you out. -Two pieces. | 0:32:36 | 0:32:38 | |
You can have either the call log from Clive's landline or | 0:32:38 | 0:32:42 | |
a catalogue found at Brian's personal allotment. | 0:32:42 | 0:32:45 | |
We kind of saw bits of that in that film, | 0:32:45 | 0:32:49 | |
so which one would you like to see? | 0:32:49 | 0:32:50 | |
Brian's catalogue, the officer saw it. | 0:32:50 | 0:32:53 | |
-Yeah. -He went, "Oh, I forgot about that," folded it over. | 0:32:53 | 0:32:55 | |
I really want to know what that green tank was | 0:32:55 | 0:32:57 | |
in front of DC Knight. | 0:32:57 | 0:32:58 | |
OK, Gregor, I was looking at that too, | 0:32:58 | 0:33:00 | |
I was looking at that too, going... | 0:33:00 | 0:33:02 | |
-What is that? -"Ah, what is it?" | 0:33:02 | 0:33:03 | |
I think there's definitely more to this Dee. The fact that... | 0:33:03 | 0:33:06 | |
What really stuck with me with her is the fact that she knows | 0:33:06 | 0:33:09 | |
the relationship and didn't say, "I wonder how Stephanie is." | 0:33:09 | 0:33:12 | |
-I think the call log. -I'm inclined to agree, yeah. -I'm going to go call log. | 0:33:12 | 0:33:15 | |
Call log? OK, let's take a look at the call log. | 0:33:15 | 0:33:17 | |
Yeah, I want to see who else he called. | 0:33:17 | 0:33:19 | |
-Wednesday, we can see there there's a number of calls. -Sweetheart? | 0:33:19 | 0:33:23 | |
Some quite close together. | 0:33:23 | 0:33:25 | |
It's "Sweetheart, duration four seconds," which would be the mum. | 0:33:25 | 0:33:29 | |
-Yep. -Why has he saved her as Sweetheart? | 0:33:29 | 0:33:33 | |
How do you know that's...that's her mum? | 0:33:33 | 0:33:35 | |
Because the officers did say we can see you called her number, | 0:33:35 | 0:33:39 | |
and it was only a few seconds, | 0:33:39 | 0:33:41 | |
-and she said she just assumed it was an accident dial. -However... | 0:33:41 | 0:33:45 | |
But there's two of them that's only four seconds. | 0:33:45 | 0:33:47 | |
The four seconds, and I'm thinking the 0131 number ends in four zeros, | 0:33:47 | 0:33:50 | |
which means it's going to be a switchboard. | 0:33:50 | 0:33:52 | |
-So switchboard for the hospital. -Hospital. | 0:33:52 | 0:33:54 | |
So he's called them at three o'clock for eight minutes. | 0:33:54 | 0:33:57 | |
What was that call about? | 0:33:57 | 0:33:59 | |
-Yeah. -Yes, it's the same number, isn't it? -It is. | 0:33:59 | 0:34:02 | |
Reschedule the nurse's appointment? | 0:34:02 | 0:34:04 | |
There was something on that on one of the.. | 0:34:04 | 0:34:06 | |
when she was talking to Brian Hunterson, "reschedule the nurse's | 0:34:06 | 0:34:08 | |
"appointment," an eight-minute call to the hospital would explain that. | 0:34:08 | 0:34:11 | |
Armchair Detectives, I hate to say this to you, | 0:34:11 | 0:34:14 | |
but the big moment has arrived. | 0:34:14 | 0:34:16 | |
It's time to make your final accusation. | 0:34:16 | 0:34:18 | |
Guess correctly and you'll win a golden magnifying glass trophy. | 0:34:18 | 0:34:22 | |
AUDIENCE OOH AND AAH | 0:34:22 | 0:34:25 | |
Charley, this could be your second win. | 0:34:27 | 0:34:28 | |
Gregor and Ellouise, you're chasing your first. | 0:34:28 | 0:34:31 | |
Write down today's killer. | 0:34:31 | 0:34:34 | |
Simple. | 0:34:34 | 0:34:36 | |
Stephanie, Brian, Malcolm, Ross, Dee. | 0:34:36 | 0:34:40 | |
It's time to answer the only question that matters. | 0:34:40 | 0:34:44 | |
Whodunnit? | 0:34:44 | 0:34:45 | |
Time's up, Armchair Detectives, notepads down. | 0:35:00 | 0:35:05 | |
I need you to reveal your choices to me. | 0:35:07 | 0:35:09 | |
Gregor, who are you accusing? | 0:35:09 | 0:35:11 | |
-I've stuck with Stephanie the whole time. -Stephanie. | 0:35:13 | 0:35:16 | |
-All the way through. -Aye, all the way through. | 0:35:16 | 0:35:18 | |
It's the only one that I think would | 0:35:18 | 0:35:20 | |
actually be angry enough to do something. | 0:35:20 | 0:35:21 | |
Ellouise. | 0:35:21 | 0:35:23 | |
I've also gone with Stephanie. | 0:35:23 | 0:35:25 | |
-Stephanie again. Because? -Yeah. | 0:35:25 | 0:35:28 | |
Again, I think everyone's got motive, but I think in terms | 0:35:28 | 0:35:32 | |
of access and timeframe, | 0:35:32 | 0:35:38 | |
it's all the little tiny things that I think make | 0:35:38 | 0:35:40 | |
the big things in this situation. | 0:35:40 | 0:35:42 | |
-I hope. -Charley, who are you accusing? | 0:35:42 | 0:35:44 | |
In a shocking last-minute twist, I've gone for Brian. | 0:35:44 | 0:35:47 | |
-ALL: Ohh! AUDIENCE MEMBER: -I knew you was going to do that! | 0:35:47 | 0:35:50 | |
Because, again, motives are for juries, | 0:35:50 | 0:35:53 | |
he has the toxins in the shed, | 0:35:53 | 0:35:56 | |
he has access to sugar, he has access to the house. | 0:35:56 | 0:35:59 | |
I know it... I feel like I'm going for the simple one. | 0:35:59 | 0:36:02 | |
-I have a sneaky suspicion I'll be kicking myself, but... -OK. Brian. | 0:36:02 | 0:36:05 | |
-I think it's Brian. -Gregor, I'm going to ask you why you're jumping out of your seat. | 0:36:05 | 0:36:08 | |
Because I remember one of the first things I thought of poison, | 0:36:08 | 0:36:11 | |
poison is what they classically call a woman's weapon. | 0:36:11 | 0:36:14 | |
Ah! | 0:36:14 | 0:36:15 | |
Whereas Brian was a soldier, | 0:36:15 | 0:36:17 | |
whereas I think if he was going to take out Clive, | 0:36:17 | 0:36:19 | |
he would do it as a soldier. | 0:36:19 | 0:36:21 | |
Gregor and Ellouise are accusing Stephanie | 0:36:21 | 0:36:24 | |
and Charley, in a last-minute change of mind, has gone for Brian. | 0:36:24 | 0:36:28 | |
Now, before we go to Mortcliff for the answer, | 0:36:28 | 0:36:30 | |
we have a final piece of evidence to look at. | 0:36:30 | 0:36:33 | |
Was this deadwood? Let's take a look. | 0:36:33 | 0:36:36 | |
The catalogue found at Brian's personal allotment, | 0:36:36 | 0:36:40 | |
let's see what it is. | 0:36:40 | 0:36:41 | |
Whose birthday is it? | 0:36:45 | 0:36:47 | |
I'm going to assume maybe Clive's is coming up | 0:36:47 | 0:36:49 | |
and he wanted to get him a very nice pretty flower. | 0:36:49 | 0:36:51 | |
Well, he's not going to make it. | 0:36:51 | 0:36:53 | |
I don't know if that would have helped or hindered you, | 0:36:53 | 0:36:56 | |
-Armchair Detectives. -Ooh! | 0:36:56 | 0:36:57 | |
So, what really happened in today's story? | 0:36:57 | 0:37:02 | |
Six letters beginning with M. Who killed Clive Wintern? | 0:37:02 | 0:37:08 | |
Let's find out who dunnit! | 0:37:09 | 0:37:11 | |
We just got CCTV footage, | 0:37:18 | 0:37:21 | |
and Ross was having dinner with a colleague in the city. | 0:37:21 | 0:37:24 | |
And Malcolm's alibi is established, too. | 0:37:24 | 0:37:29 | |
Do you think Stephanie's mother was having a relationship with Clive? | 0:37:32 | 0:37:36 | |
Looks like it. | 0:37:36 | 0:37:37 | |
Stephanie's intelligence made it difficult for her to | 0:37:39 | 0:37:42 | |
relate to the other kids. | 0:37:42 | 0:37:43 | |
Also, being a typical only child, | 0:37:43 | 0:37:46 | |
she preferred the company of adults anyway. | 0:37:46 | 0:37:49 | |
Her mother, Dee, couldn't handle her, | 0:37:49 | 0:37:53 | |
and her dad left when she was six. | 0:37:53 | 0:37:56 | |
What about Brian? | 0:37:58 | 0:38:00 | |
You remember his catalogue? | 0:38:02 | 0:38:04 | |
-Mm-hm. -He'd written a reminder in it to give the plant with a ribbon | 0:38:04 | 0:38:09 | |
round it to someone called Daphne. | 0:38:09 | 0:38:11 | |
Who's Daphne? | 0:38:15 | 0:38:17 | |
Good question. | 0:38:17 | 0:38:18 | |
Hang on! | 0:38:20 | 0:38:21 | |
Are you thinking what I'm thinking? | 0:38:23 | 0:38:25 | |
Great minds, Slater. | 0:38:25 | 0:38:27 | |
You and Professor Wintern thought about things in a similar way, | 0:38:42 | 0:38:47 | |
didn't you? | 0:38:47 | 0:38:48 | |
What do you mean? | 0:38:49 | 0:38:51 | |
Well, for one thing, | 0:38:51 | 0:38:52 | |
you both wanted to end your friendship at the same time. | 0:38:52 | 0:38:56 | |
My question to you is, why did you feel the need to make it so final? | 0:38:56 | 0:39:00 | |
I'm not going to be intimidated by you. | 0:39:02 | 0:39:04 | |
Let's go through the facts, then, shall we? | 0:39:07 | 0:39:09 | |
What about the suitcase? | 0:39:12 | 0:39:14 | |
Brian brought it in and said it was very heavy. | 0:39:14 | 0:39:17 | |
Could that be because you were inside it? | 0:39:17 | 0:39:20 | |
SHE CHUCKLES | 0:39:20 | 0:39:23 | |
How can anyone get out of a suitcase | 0:39:23 | 0:39:26 | |
when the zip is locked on the outside? | 0:39:26 | 0:39:30 | |
But you know that the suitcase can be unzipped from the inside | 0:39:31 | 0:39:36 | |
using a biro, just like the one we found at the crime scene. | 0:39:36 | 0:39:39 | |
Oh, and we identified the poison. It's from the very same plant | 0:39:39 | 0:39:43 | |
you gave to Brian to give to your mother as a birthday present. | 0:39:43 | 0:39:48 | |
Very clever, considering its name. | 0:39:48 | 0:39:50 | |
The poison is found in the berries of the plant, the red berries. | 0:39:51 | 0:39:54 | |
You put the red berries in the fruit salad that Brian took to Clive. | 0:39:54 | 0:39:58 | |
You used the suitcase as a Trojan horse in which you hid | 0:39:59 | 0:40:03 | |
while the alarm was on. | 0:40:03 | 0:40:04 | |
When Clive left the room, you got out of the suitcase and hid again, | 0:40:05 | 0:40:09 | |
while he ate his deadly fruit salad. | 0:40:09 | 0:40:12 | |
You wanted to ensure his death so you stayed, | 0:40:12 | 0:40:16 | |
clearing up evidence and planning your public discovery of his death. | 0:40:16 | 0:40:21 | |
Then you pretended to arrive again the following morning, | 0:40:21 | 0:40:24 | |
after Brian had disabled the alarm. | 0:40:24 | 0:40:27 | |
You saw that Clive's crossword had one missing answer. | 0:40:28 | 0:40:30 | |
The clue had a heart next to it. | 0:40:30 | 0:40:32 | |
That was Clive's way of telling you that his future lay | 0:40:32 | 0:40:35 | |
with your mother. | 0:40:35 | 0:40:36 | |
You didn't want to implicate your mother, | 0:40:36 | 0:40:38 | |
so you wrote the wrong answer in your handwriting. | 0:40:38 | 0:40:41 | |
We can tell by the way O, I and G are written differently. | 0:40:41 | 0:40:46 | |
The correct answer is... | 0:40:47 | 0:40:49 | |
Acidity levels, pH. | 0:40:50 | 0:40:53 | |
Inside European - a Dane - gives a word meaning laurel. | 0:40:54 | 0:40:59 | |
pH inside Dane? | 0:41:01 | 0:41:03 | |
Daphne. | 0:41:05 | 0:41:06 | |
So the plant you used to kill Clive with was named... | 0:41:09 | 0:41:13 | |
Daphne. | 0:41:15 | 0:41:16 | |
You thought that by murdering Clive, everything in your life would | 0:41:18 | 0:41:22 | |
return to the way it used to be. | 0:41:22 | 0:41:24 | |
You and your mother wouldn't be rivals for the same man's attention. | 0:41:25 | 0:41:28 | |
And your father could be reinstated to his rightful place. | 0:41:30 | 0:41:33 | |
Ridiculous, Freudian psychobabble. | 0:41:35 | 0:41:40 | |
Is it? | 0:41:43 | 0:41:44 | |
When did you discover Clive was seeing your mother? | 0:41:44 | 0:41:47 | |
When I used his landline to call my phone, | 0:41:48 | 0:41:51 | |
there was a number | 0:41:51 | 0:41:53 | |
saved as "Sweetheart". | 0:41:53 | 0:41:55 | |
I called it... | 0:41:58 | 0:41:59 | |
..and my own mum picked up. | 0:42:01 | 0:42:03 | |
I did murder him... | 0:42:09 | 0:42:11 | |
..and I don't regret it either. | 0:42:12 | 0:42:14 | |
Can we just stop for a moment? | 0:42:24 | 0:42:25 | |
Ha-ha-ha-ha, "I've been in a suitcase," ha-ha-ha-ha. | 0:42:25 | 0:42:29 | |
LAUGHTER | 0:42:29 | 0:42:31 | |
If proof was needed that I don't know what's happening in this show, | 0:42:31 | 0:42:35 | |
the fact that I said I could fit in a suitcase might tell you that. | 0:42:35 | 0:42:40 | |
Gregor and Ellouise, you picked the killer correctly | 0:42:40 | 0:42:43 | |
and are today's winners - well done to both of you! | 0:42:43 | 0:42:46 | |
APPLAUSE | 0:42:46 | 0:42:49 | |
It just goes to show, Armchair Detectives, | 0:42:49 | 0:42:52 | |
you don't need to take a single note and you get it right! | 0:42:52 | 0:42:54 | |
Well done to everyone. Brilliant show, Charley, | 0:42:55 | 0:42:58 | |
don't beat yourself up about it. | 0:42:58 | 0:43:00 | |
That's all from Armchair Detectives. Come back tomorrow | 0:43:00 | 0:43:03 | |
when there's a cat amongst the pigeons... | 0:43:03 | 0:43:06 | |
-AUDIENCE: -Oooh! | 0:43:06 | 0:43:08 | |
And remember, no-one gets away with murder in Mortcliff. | 0:43:08 | 0:43:12 | |
Goodbye. | 0:43:12 | 0:43:13 | |
Well done. Well done, Ellouise! | 0:43:15 | 0:43:17 | |
Well done, Gregor. | 0:43:17 | 0:43:20 |