All language subtitles for Midsomer Murders S09E01 - The House in the Woods2

(dramatic music)

- [Boy] Oy, fat boy!

On a romantic date with your missus?

- Like always on a Friday night!

- [Woman] Phone the
council in the morning.

- [Boy] Just have a look at those muppets!

Write to the council!

Ooh!

- [Girl] Ain't you got
nothing better to do?

- [Boy] I can give you
more rubbish, if you want.

- [Boy] I should stick chewing gum

on the floor so you can tread in it.

Keep on your shoes.

(laughing)
(dramatic music)

- Is it your bedtime, Danny?

- I wanna watch something
on the TV all right.

- Oh, don't go, Danny, please.

- He's scared of his mum.

- I ain't scared.

- Go to the house in the
woods and knock on the door.

- [Boy] Yeah, yeah, go on Danny!

- For me, I dare you.

(suspenseful music)

- Fine, then.

(suspenseful music)

- [Boy] Ooh, he's going.

(door clicks)

- Mum?

- It's gone 11.

You've got school in the morning.

- Did you ever see the ghost?

About the house in the woods?

- No, because there's no such thing.

- Everyone at school says.

- I used to go past Winyard every

day when I was at school

and I remember Mr. and Mrs. Barrett.

They were very nice people.

Do you want me to leave
the landing light on?

- So why does everyone
keep saying it's haunted?

- Because it's just a bit old

and creepy now but it used to be very nice

and people like making up
stories but that's all they are.

They're just stories.

- [Boy] Mum!

- [Mom] Phillip.

- When's Danny coming home?

- Ten minutes ago, so he's
for it when he gets in.

Will you put the light
out and go to sleep?

(suspenseful music)

(wind whistling)

(suspenseful music)

(dramatic music)

- Okay.

Bye.

(dramatic music)

- Come on, you two it's on the table.

- I'll kill him.

- Phillip!

- Okay.

Where is it?

- What?

- My bike.

- Well, I dunno.

- Mum!

You took it out last night.

- I'll get it later, all right?

(doorbell rings)

- Ooh, that's what I
like, a woman in uniform.

Any chance of a bacon sarnie?

- Yeah, if you make it yourself.

- Hey, did I leave a folder round here?

- No, not that I remember.

- Got Harriet Davis Estates on the cover.

- Oh, so it is important, then.

- Anne, it's a business partnership.

- There's only one business
you're interested in.

- Yeah, and you love it.

(creaks)

Anyway, listen, if you find it,

give us a bell cause it's important.

(suspenseful music)

- Anything for me?

- Nobody loves you today, sorry.

- What, no-one?

I find that hard to believe.

What have you got?

Ooh, Midsomer Museum.

- It's the conservation group.

I'm going to help them with a survey.

- What, hedgehogs, badgers and stuff?

- It's the built environment.

Architectural conservation.

Not small, furry animals.

- Ooh, Giles Cato.

He's the custodian of our
built environment now, is he?

- He's going to make an
inventory of at-risk buildings.

Factories, barns, old cottages before

the developers get in and he
thought I might like to help.

- Mm, it's not a pretext
for house hunting, is it?

- Well, you never know what I might find.

- No.

Bye.

- Bye.

- Oh, thank you, that's very kind.

- Are you leaving us already?

- Afraid so.

- Oh, no luck, then?

- Nothing.

- Still, it must be fun, eh?

I'd love to be looking for a new house.

- The problem is we've got

a very fixed idea of what we want.

- Unfortunately, it doesn't

seem to exist, at least not in Midsomer.

- Oh.

- I don't suppose you happen to know

of any idyllic cottages
in need of a bit of TLC?

We're not afraid of hard work.

- Actually, there is one place.

I mean it hasn't been touched for years.

- Is it for sale?

- Oh, yeah, there's a
local builder interested.

It could be worth a look, though.

Winyard, it's called.

It's in Midsomer Newton.

You know Harriet Davis Estates
just along the high street?

They're handling it, apparently.

- Thank you.

- Good luck.

(kids chattering)

(bell rings)

- [Woman] Right, who knows a story?

- [Kids] Miss, miss, me miss, me, miss!

I know a story, Miss.

Miss!

Miss!

- Phillip!

Well, you haven't had
much to say this morning.

What stories do you
know about the village?

- Nothing, Miss.

- Well, you must know something.

- No.

- He does, Miss.

He knows a really good story.

- Yes?

- I don't, Miss.

- He does.

He told everyone before assembly.

- Well, let's hear it, then.

- Miss, please, Miss.

- Phillip!

- There's this house and it's haunted.

- [Boy] Yeah, right

- Go on.

- That's all I know, Miss.

- Phillip, you have a captive audience.

We're all agog.

- But there isn't anything
else to tell, Miss.

- There is, Miss.

His brother went there.

- I told you not to.

- Phillip.

Well, what's the name of this house?

- Winyard.

It's out in the woods.

- And it's haunted?

- There used to be this horrible old man.

(kids chattering)

- Shh, please!

- And they had a mad son and they went mad

and they killed their son
and now they're all ghosts.

- Calm down!

Well, it's a very short story, I must say.

- He made it up, Miss.

- It's not made up, Miss.

My brother's seen the ghosts.

Last night he went in there and he heard,

like, this weird noise.

(hums)

And the ghost called his name.

He ran away but the ghost came out

and caught him and held him down.

And it had long nails and it
tried to slash his throat.

(eerie music)

(kids chattering)

(dramatic chord)

- Phillip!

What did that man want?

- Nothing.

- Did he ask you anything?

Your name?

Where you lived?

- No.

- Phillip, did he ask you

to go anywhere with him after school?

- Miss, I'm not stupid.

He used to go to this school.

He was telling me what it
was like in the olden days.

- Well, you see that man again,

you don't talk to him, you go straight

to a grown-up and you tell them.

Do you understand?

- Yes, Miss.

- [Woman] It is one of ours but
I'm afraid it's under offer.

- Well, we'd still like to see it.

- Can I ask how you heard about it?

One of the girls at
the hotel mentioned it.

Can we see it?

- I'm afraid that's not possible.

- Why?

- Perhaps you'd like
to leave your details.

I'll let you know if there's any movement.

- I don't understand why we can't see it.

- The vendor is being quite strict.

No viewings while under offer.

Of course, if it was up to me.

- Who is the vendor?

- I'm sorry, client confidentiality.

- Well I hope he's satisfied with

the service he's getting here.

I wouldn't be.

(bell rings)

- Mr. Magwood.

How are you today?

- Yes, I'm fine, thanks.

Any news yet?

- Nothing, I'm afraid.

I did say it could take a while.

- Well, it's not even in the window.

- No, we're still waiting for the pictures

to come back from the printers.

It should be this week, though.

- See that couple that's just gone out?

They're the sort of people

that would be interested
in a place like that.

Young, plenty of money.

- Unfortunately they're looking

for something that's
already had the work done.

The market is very slow at the moment.

We might have to consider dropping

the asking price 20 or 30K.

- 20 or 30.

That place is my pension.

- If you want a quick sale.

We'll call you as soon as we get a bite.

- Well, I suppose you know your business.

- Tea's ready.

Will you turn that thing off

and get in here, the pair of you?

Right, I'm off to work.

So, you, dishes.

You, clearing up.

Did you hear what I said?

- Yeah.

- I'm telling her.

- You're dead.

- I want my bike back.

- You know where it is.

- You left it there.

I ain't scared.

- So go yourself, then.

(eerie music)

- Oh, it's you.

Is this where you live?

(engine rumbles)

- Miss Woodhall wants to know why

she has to put up with that eyesore

just so that he can get a decent picture.

She's got a point.

- Talk to those two.

Spoiling all these lovely, little places.

Yes, I know your game.

You're hand in glove.

(dramatic music)

- You should read this.

It's got a horrible history.

- Caroline, darling, it's taken

all afternoon to find the place.

(car door bangs)

(ominous music)

Good God.

- Okay, now we've seen it.

- No wonder that Davis
woman was so secretive.

Whoever's put that offer in
must be terrified of losing it.

(suspenseful music)

- Peter!

I'm tired, I'm cold and I want to go home.

(eerie music)

(door clicks)

- Look at that.

Not even locked.

- We shouldn't be doing this.

- Come on!

(eerie music)

Amazing.

- Peter, I'm scared.

Give me the car keys.

Peter, please.

- They're in the car.

- If you're not back in five
minutes, I'm going without you.

(eerie music)

(classical music)

(eerie music)

- Ow!

(classical music)

(choking)
(classical music)

(classical music)

(eerie music)

I could do with a drink.

(classical music)
(choking)

- Tom.

No Scott this morning?

- No, he called in sick, I'm on my own.

- Oh, he'll be sorry he missed this.

One for the connoisseur.

The postman found them.

Garrotted.

Very popular in Spain at one time.

Probably why we all went
off the Costa Blanca.

(chuckles)

- And you are?

- Er, Constable Jones, sir.

- Constable Jones.

Oh, they were house hunting.

Whoever did this must have

been waiting for them in the back.

What do you think, Constable Jones?

- Well, he could only kill them

one at a time, couldn't he, sir?

So why didn't the other
one put up a fight?

- And if the other was killed before

the other one got in,
why didn't he notice?

- Unless there were two murderers.

- What, both hiding in the back?

- If the killer did get in here,

they must both have
been out of the vehicle

at the time, leaving it unlocked.

Then they got back in.

- One at a time.

- And he killed them one at a time.

- I don't think I could sit down

next to a corpse and not know it sir.

- What ever you can find that

looks interesting and under threat.

Pigsty's to potting sheds.

It's all part of our
architectural heritage.

We have to catch it and preserve

it before it disappears forever.

Think of it as protecting
endangered species.

Everything's going, Joyce.

One day we'll step out here and

to quote Larkin, and that
will be England gone.

The shadows, the meadows, the lanes,

the guild halls, the carved choirs.

Someone has to say to the vandals, enough.

You threaten the birthright
of every free-born Englishman.

Proceed in peril of your life.

- It's that serious?

- Indeed it is.

The day may be near when
we must kill to conserve.

(dramatic chord)

- Sir.

I just found this in the glove box.

I thought it looked quite
interesting on the back.

- Oh, yeah.

The Feathers Hotel, Causton.

Yes, well done, Jones.

Where does this lane go?

- Er, some old house.

Looks derelict.

(dramatic music)

(rattles)

- Hm.

Do you possess a suit, Jones?

- Yes, sir.

- And a tie?

- I do, sir, yes.

- How do you fancy working

with the CID for a couple of days?

- Yes, sir.

- Just got the tables to
clear and then I'm done.

Are you all right for a minute?

- Yeah.

I'll save them for later.

- Anne, people to see you.

- Oh, come on.

We're just about to leave.

- Sorry.

In the dining room.

- They said they were house hunting.

- They wanted somewhere special

that they could do up and I told

them about a house called
Winyard in Midsomer Newton.

- Forgive me but there's not a

for sale sign outside
that house, is there?

So how did you know that it was for sale?

Someone said that Davis
Estates had been there.

I told them that it might
be worth calling round.

I was only trying to help.

(bell rings)

- Er, be a sweetheart and
pop out for some coffee.

- We thought it was time we called again.

- To see how it's all coming along.

We're very excited.

- Of course you are.

- Have you had much to do
with estate agents, Jones?

- I don't trust them, sir, any of them.

- Huh, don't you?

I like your suit.

- We're very grateful.

- And discreet about other matters.

- So we'll be hearing from you soon?

- I hope so.

- Ms. Davis?

- Harriet Davis, yes.

- Afternoon.

I'm Detective Chief Inspector Barnaby,

Causton CID, and this is Acting
Detective Constable Jones.

Can we have a word, please?

- Of course.

- It's a Mr. and Mrs. Cave.

I believe they came to
see you yesterday morning.

- Er, I was out yesterday.

Roman?

- Hm.

I don't remember them.

- It's about a property you're handling.

Winyard.

- We have been instructed but
I'm not holding my breath.

It's in a hell of a state.

Anyway, it's hardly on the market yet.

- Mr. and Mrs. Cave were
at the Feathers Hotel

while they were house hunting.

They did say they were coming to see you.

- I think I would have remembered.

- Perhaps it will come back to you.

You haven't asked us why

we're interested in Mr. and Mrs. Cave.

- Parking?

Overtaking on a double white line.

- Mr. and Mrs. Cave were found dead early

this morning, not 200
yards away from Winyard.

- Not exactly giving it
the hard sell, is she?

Garden sheds go for half
a million in Midsomer.

- And that suggests to you?

- She's lying.

(engine rumbles)

Winyard's got a whole chapter to itself.

In 1795, Margaret Peat hanged herself

from a beam in the kitchen.

1820, a child of three missing

for some days fished out of the well dead.

1916, two sons killed in northern France.

- Not a lucky house, then, eh?

- Apparently not.

- We'd better take a
closer look at Winyard.

(dramatic music)

- Well, it's certainly got an atmosphere.

- Neglect.

(dramatic music)

- Have a look in here, sir.

Amazing no-one's tried to nick it all.

(piano music)

Not in tune.

(thudding)

- Ah, perhaps this.

- Is where our murder weapon came from.

- Yes.

- Do you think the Caves got this far?

Maybe someone caught them poking around.

- Lesley and Barbara Flux.

Find out where they live, Jones.

- Sir.

♪ Summer is a coming in
loudly sing the cuckoo clock ♪

- [Woman] Let's start again.

♪ Summer is a-coming in
summer is a-coming in ♪

♪ Loudly sings cuckoo clock ♪

♪ Grow the seed and blow the mead ♪

♪ And springs the wood anew ♪

- Ye are come well, ye are
well come, ye are welcome.

What's that about, then?

(bell rings)

- That's a generous sentiment.

Mr. Flux?

Mr. Lesley Flux?

- Yes.

- I'm Detective Chief Inspector Barnaby.

This is DC Jones.

May we come in, please?

- Yes.

Come in.

- Thank you.

- My wife Barbara.

- How do you do?

- How do you do?

I do hope we're not interrupting anything.

Are you rehearsing a play, perhaps?

- No, no, don't you mind us.

- No.

No, we're working on a new book.

Festivals of old Midsomer.

- We like to live in
the spirit of the past.

- To live the past is
to understand the past.

If only we had the space.

- We need a bigger stage.

A house where we can bring full
expression to our theories.

- Like Winyard, perhaps.

- Ah, yes, can I assume that

your visit's to do with the murders?

- You don't sound very surprised.

- You expect it with a house like that.

This is the cause of all
the problems at Winyard.

(eerie music)

- What is it?

- It's a human heart.

It's stuck with thorns and pins

hidden in the chimney.

- The hearth is the heart of the house.

Curse the hearth and you curse the house.

- The idea is to harm
anyone living in the house.

- And you took this from Winyard?

- We rescued it.

Of course we'll return it as soon

as the new owners settle in.

- And you think this is the reason

why Winyard has stood
empty all these years?

- Empty but not deserted.

There's still a presence
protecting the house.

- What from?

- Well, you see what's
happening to Midsomer.

Hideous conservatories all over the place.

Hacienda-style bungalows.

- And who's behind it?

Builders and estate agents.

- You were in Harriet
Davis Estates this morning.

You left as we arrived.

- Ah, yes, Harriet Davis.

- Leslie.

- No, perhaps it needs saying.

That woman has been
systematically raping Midsomer.

- But she won't get away
with it for much longer.

- Houses like Winyard have souls.

They need to be loved, nurtured.

- Thank you, sir.

- Weirdos or what?

They seriously want
that house, don't they?

The Caves had a copy of their book

and they were at the
estate agents this morning.

- What do you make of the ghost stories?

- Just want to sell their
little books, don't they?

- And they don't want anyone
else to buy that house.

- [Tom] Joyce!

- Do you know, I found places
I didn't even know existed?

I bet you didn't know there's

a nuclear fallout shelter
just by Badger's Drift.

- No, I did not.

I thought you said this survey

was all about buildings under threat.

- It is.

- Yeah.

Well, what sort of threat could

you pose to a nuclear fallout shelter?

I mean, if it's designed to
withstand a nuclear blast.

(engine rumbles)

(eerie music)

(beeping)

(eerie music)

(eerie music)

- Have you got a minute, sir?

- Yeah.

- [Magwood] 'That's a
lovely bit of cheese.

Are you having some?

- [Phillip] No, I've had my tea.

- I thought I'd do some ghost-hunting.

I left this at the house last night.

(piano music)

- [Magwood] Not bad.

Sit up straight, though.

(piano music)

Hear the difference?

- [Philip] Yeah.

- [Magwood] Now try again.

- A ghost who gives piano lessons.

- Could be our murderer, sir.

- Yeah and our murder weapon
was a piano wire, wasn't it?

The boy didn't sound frightened, did he?

- I hope I wasn't out of line, sir.

- No, no, you were not Jones, well done.

Look I think it best you go to the school,

see if you can find out who this lad is.

(groaning)

- All right.

All right, calm down, calm down now.

- It was the ghost, miss.

The same ones that got Phillip's brother.

- How many more times?

There are no ghosts!

- Miss, my dad's friend's a postman,

and he found the dead people,

and he said their heads
had been chopped off.

- Well then daddy's friend is a thoroughly

irresponsible person for saying so.

Now, someone who really knows

what happened is going
to come and tell you.

So you won't have to make
up any more silly stories.

- Is it the postman, miss?

- No.

It's a policeman.

- They're only children, Jones.

Smile.

Be reassuring.

I'll pick you up in about an hour, okay?

(kids chattering)

- We get a lot of time-wasters you see.

People trying to fill up a wet afternoon.

No intention of buying.

But we both suddenly remembered

the couple you were asking about.

- Did you think Mr. and
Mrs. Cave were time-wasters?

- The point is that the
vendor's instructions are

that Winyard should go to
the right sort of people.

- Right sort of people?

- He doesn't want to see it spoiled.

Mr. and Mrs. Cave look
like the sort who would.

Well, I think they had plans.

You get to know the sort.

- Well I'm sure you do.

You don't perhaps have a buyer
lined up already, do you?

- I'm the agent for the vendor.

It's my job to get the
best price I can for him.

- Mr. and Mrs. Flux seem very
interested in the property.

- I, I don't think they're in a position

to make an offer on anywhere like Winyard.

- Who is the vendor?

- He wishes to remain anonymous.

- Oh, does he?

Can I remind you that two people

who were interested in
one of your properties

have been found dead, very
close to that property.

Now, I suppose I could caution you.

- Magwood.

Charlie Magwood.

He lives in London, but he's
staying at the Feathers.

- Thank you.

- Well?

- I only said it for a joke.

- Well, two people have died, Phillip.

Now, I think you should tell the others

that you made those stories up.

Will you do that?

- I keep telling them, there's
no such thing as ghosts.

- Good lad.

- Sir?

(eerie music)

- Where did you get this?

- Found it.

It's got a bell on it,
and it's a police car.

- [Jones] I'm sure that's
the lad we heard on the tape.

- [Barnaby] In which case,
what was he doing at Winyard?

- Well it wasn't really
the moment to ask him, sir

but I've got his address.

How did you get on with Davis?

- She finally admitted the
Caves had been into the office.

She told them she couldn't
let them view the house.

Strict instructions from the vendor.

- She's got another buyer lined up.

Any money she's on a backhander

to make sure they get it, too.

- Someone like the Fluxes, perhaps.

- Bit out of their reach,
wouldn't you say, sir?

- Unless they've got some
sort of hold over her.

- Phillip showed me one of these too.

- You must talk to that lad
first chance you get, okay?

- I will.

- [Cato] Where is this?

- Midsomer Newton.

Sweet, isn't it?

- This is more than sweet, Joyce.

And now you're going to tell me

someone has applied for permission

to do something unspeakable to it.

- I got a copy of the
planning application.

It's a big extension.

(sighs)

- Do we know the name of the person

applying to commit this atrocity?

- Local builder.

Gerry Moore.

- Gerry Moore.

I think I'm going to need
time to take this in.

But a first-class effort so far.

Well done, Joyce.

(eerie music)

(screaming)

- Mr. Magwood?

- Yes?

- Good morning, sir.

I'm Detective Chief Inspector
Barnaby from Causton CID

and this is acting
Detective Constable Jones.

We'd like, if we may, to
ask you a few questions.

- Oh, be my guests.

- Thank you.

- Right, what can I do for you gentlemen?

- A house called Winyard.

- Yeah.

- You've got it on the market haven't you

with Davis Estates on the High Street.

- Yeah, for all the good it's doing.

Three weeks now she's been
saying there's been no interest.

Which I can't believe it.

I've come down from London
to wake her up a bit.

- How long have you
owned the property, sir?

- I was evacuated here during the war.

Damn draughty old place, but
the couple were very nice.

They had no kids of their own,
so they left the place to me.

- When was this?

- Oh, years ago now.

- So, what made you
suddenly decide to sell it?

- Well I'm getting on a bit now.

The missus is dead.

I thought, must be worth a few bob.

- Have you been there recently?

- No, not inside.

It's in a hell of a state.

I just said to the estate
agent, do the best you can.

Just a quick sale, that's all I want.

(dramatic music)

- Listen.

The planning is a formality,
so just push the sale through

it will take six weeks
max for the rebuild.

We get it back on for another 200K.

We 50-50, we move on to the next one.

- The police are all over the place.

- They can't connect you to the murders.

- No?

Two people who'd been in my office

that very morning asking about the house.

Wake up.

Then there's that couple of
weirdos from the same village.

- What, Les and Barbara Flux?

- They know I'm involved with you.

- How?

- What we're doing is illegal.

You do understand that?

- Don't worry about them.

I'll soon sort them out.

- No.

Let me deal with them.

We have to take our time with this.

- How much time have you got?

- Enough for you, no doubt.

But nowhere near enough for me.

As usual.

- Tell you what, I'll owe you one.

(dramatic music)

- She won't be long.

Why don't you sit over
there, and read a magazine?

(laughing)
(dramatic music)

- Jack?

(dramatic music)

Jack?

- Phillip?

(engine rumbles)
(dramatic music)

(dramatic music)

(doorbell ringing)

(eerie music)

- Mrs. Merrick?

- Yes.

- Acting DC Jones.

I spoke to Phillip at school today.

- He's in his bedroom.

Come in.

I have told him.

I don't want him going anywhere

near that house in the woods.

That is why you've come
to talk to him, isn't it?

- Yes.

- Phillip?

Phillip?

The little.

I am so sorry.

- Just give me a call when he turns up.

I need to talk to him
urgently Mrs. Merrick.

(door clicks)

- Have you seen Phillip?

- No.

(dramatic music)

- Were you in the hotel?

- What hotel?

- Where my mum works in Causton.

I called out, but you didn't see me.

- Haven't been to Causton.

- Well, I thought it was you.

- Yeah, well, don't worry over it.

Now, let's see if we
can get this going, eh?

(whistles)
(chuckles)

- Mrs. Barnaby's doing sterling work.

Was that what you wanted to see me about?

- No, it wasn't.

I would like, please your opinion on this.

You've seen that before, haven't you?

- I'm aware of it, yes.

- But you don't rate it professionally?

- Many great men began
their careers as amateurs.

Mr. and Mrs. Flux are, however,

what one might call rank amateurs.

Rank in the sense of being off.

- So, it's not a proper history book?

- Have you met Mr. and Mrs. Flux?

- Uh, yes, we have.

- You mustn't confuse amateur dramatics

with genuine scholarship.

- They are very interested
in a house called Winyard.

- They think it's haunted.

- Oh, dear God.

Winyard is a very special house,

very special indeed, but haunted?

Please.

- They are passionate about it.

- Yes, well, let's hope we can protect it

from the misguided enthusiasm

of the likes of Leslie and Barbara Flux.

- You're not perhaps interested

in the property yourself, are you?

- From a conservation point of view, yes.

- Have you been to the house?

- No, not yet, but I'll have to go.

- No, please, I beg you.

Don't go.

- I'm not frightened of ghosts.

- No.

Two people have been murdered

very close to that house Mr. Cato.

And anyone who has been up there

in the last 48 hours, they're
on our list of suspects.

It is a crime scene, so
I'm telling you, don't go.

- Certainly gets them all
worked up, doesn't it?

- Yeah.

My guess is, he saw the
house was on the market,

and wanted it all to himself.

(phone rings)

- Hello?

Mrs. Merrick.

Uh-huh.

I'm coming over.

- What?

- Phillip's been taking
food from the hotel.

She wants me to have a word with him.

- I'll drop you off.

I wouldn't mind half
an hour up at the house

on my own, soak up some
of that atmosphere.

- The chef noticed things
disappearing all the time.

Just silly little things
like bread, cheese, fruit.

I could lose my job.

- Why has he been stealing food?

- No idea.

Then I saw him calling to
some old man like he knew him.

Of course he didn't.

- What old man is this?

- Just a man staying at the hotel.

He's a nice enough chap, but I
mean, you never know, do you?

(eerie music)

(tuning fork rings)

- Right, I'd better get going.

Give me a call when he gets in.

- Where the hell have you been?

- Nowhere.

- Oh, I know when you're lying.

- Hold on, hold on.

Phillip, this is important.

Where have you been?

- The house in the woods.

- And what did I tell
you about that place?

- What were you doing up there?

- Looking around.

- Tell the truth, Phillip.

- Were you with anyone?

- No.

- [Jones] Did you see anyone?

- Phillip.

- An old man in a suit, with
shiny shoes and a stripey tie.

- What are you talking about?

- Phillip, I get very annoyed

when people play games with me.

Well his mum's worried sick about him.

Thinks he's been taking

the food to some old man at the house.

- She's probably right.

I saw biscuits and an orange on the table.

- The man he was talking to on my tape,

I thought he meant it was Charlie Magwood.

But his mum said the lad saw him

at the hotel, but Charlie
didn't recognise him.

- So, who is this man who
leaves his tuning fork

behind after teaching the
boy to play piano, eh?

- And is that the same person who takes

wire out of the piano to
garrote Mr. and Mrs. Cave?

We should stake the place out, sir.

- No, let's see who else it attracts.

- No, no, no, no Babs let me have a go.

- Wait Leslie, I think I'm
getting the hang of it.

- You can't make a sound basket
with an imperfect bottom.

- I'm sorry to interrupt you again.

Would you mind?

- Babs is in a tangle
with her willow wands.

- There's a couple of points
I'd like to clear up, if I may.

When a house gets a reputation

for being cursed or haunted,

it'll have the effect of putting

off prospective buyers, don't you think?

You have created just such a reputation

for Winyard, haven't you?

- Did you kill Mr. and Mrs.
Cave for the same reason?

To discourage anyone else
from putting in an offer.

- No.

- We're not murderers.

- Did you see anyone at
Winyard who might be?

Because if they saw you.

- You're not suggesting that we.

That Babs and I are in danger?

- Just tell us who you've seen.

- Do you mind if we go inside?

- We seem to have got
embroiled in something.

- We're not used to this sort of thing.

- All we wanted was
somewhere we could cherish.

- I told you Barbra, we should
never have got involved.

We should never have trusted that woman.

- Do you mean Harriet Davis?

- Yes.

- How exactly are you involved with her?

- We couldn't afford Winyard
at the price she was asking.

- We knew what she was
up to with the builder.

She'd be handling a property,

and telling the vendor it wasn't selling.

Then she'd let the builder
have it at a ridiculous price.

He'd give it a quick makeover,

double the price, and
they'd split the profit.

- It's the oldest trick in the book.

- So, what did you do?

- We went to see Harriet Davis,

and we suggested that she might

let us have Winyard at a discount.

- In return for keeping your mouths shut

about her other activities, yes?

- Yes.

- You blackmailed her?

- We encouraged her to do
something decent for once.

- One final question.

When did you last tune the piano?

Time to tighten the
screws on Harriet Davis.

Are you good for that, Detective?

- Oh, I think so, sir.

- And I'll talk to the solicitor

supposedly acting for Mr. Magwood.

- You think he's in on the scam too?

- One of the Midsomer mafia, Jones.

- Everything there, thank you very much.

Thank you, that's great.

Thank you, bye-bye.

- Thanks.

(engine rumbles)

- Still acting, Constable Jones?

- No, Miss.

This is for real.

- Well, I'm afraid you're too late

to put in an offer on this one.

I've just sold it.

- Oh, shame.

I'll have to keep looking, won't I?

What about Winyard?

Any movement there?

I was wondering if it had any interest

from a Mr. Giles Cato, curator
of the Midsomer Museum.

- I have had a visit from Mr. Cato, yes,

but his interest is purely
in the conservation aspect.

- You mean he doesn't want it

falling into the hands of
someone like Gerry Moore?

- Does DCI Barnaby know you're
out on your own, constable?

- Mr. and Mrs. Flux
told us their interests

were purely in the
conservation aspect too.

But that's not true, is it?

- I've told you, they're fantasists.

They come out of the woodwork whenever

a place like Winyard hits the market.

- They've got you in a position

where you'll have to make them an offer.

- I don't know what they've been saying.

- Of course you do.

And the offer you make them won't be

in the best interests
of the vendor, will it?

Does Mr. Magwood know you're about

to sell him down the river
so you can get yourself

out of difficulty with Mr. and Mrs. Flux?

- If Mr. Magwood isn't happy with

the service he's getting from me,

he's perfectly at liberty
to instruct another agent.

- Mr. Magwood's a pensioner, Miss Davis,

and I think you and Gerry
Moore saw him coming.

An old man down from London

and you thought he'd be
a pushover, didn't you.

Till Mr. and Mrs. Cave found
the house of their dreams.

Is that why you killed them?

With the help of Gerry Moore, of course.

(buzzes)

- Mandy could you bring in
the Magwood file, please?

It's the old man from London
with the tumbledown house.

My predecessor Geoffrey
Hollington died with his boots on.

He was 73, and he'd put down roots.

It's taking a while for me to get

to terms with his rather
antiquated filing system.

Ah, Mandy.

Thanks very much.

Great, right.

Let's have a look.

Oh, yes.

Yes, they've got the property
on with one of the more

enterprising local
estate agents, actually.

Okay.

How can I help?

- I'm investigating a double murder

that took place close to Winyard,

and I was hoping you'd be able to help me

with some of the recent
history of the place.

- My God.

- Mr. Magwood seems very keen to sell,

and I understand there are a number

of potential buyers for the house

that included the two
people who were killed.

- This is awful.

Ah.

Sorry, hang on.

Please.

Sit down.

Well this file hadn't seen any action

for 15 years or more when suddenly

Mr. Magwood's brother Charles

turns up with power of attorney saying

that Jack wants to sell the property.

- His brother?

- Mm.

- So, so the Magwood actually selling

the house is not the legal owner?

- No.

No, but the papers are all in order.

Here's Jack Magwood's signature.

So, I released the deeds to his brother,

and as far as I know
the sale's going ahead.

Actually, it did put me
into rather a quandary.

- Oh?

- Well a couple of days ago I had

a visit from someone who said

that she'd heard the
property was up for sale.

And I confirmed that was the case.

However, the lady was adamant

that the legal owner did not want to sell.

- But the legal owner is Jack?

How did she know?

- Well, she wouldn't say.

She just kept telling me
she knew what he wanted.

- And the name of this lady?

- Well, it's Miss Woodhall.

Grace Woodhall.

Sunnybank Row, Midsomer Newton.

- Thank you Mr. Harcourt,
thank you very much.

(engine rumbles)

- You don't think, Gerry.

You never think!

The police have been back to talk to me.

Again.

They're onto us.

They think we did the murders.

- Hold on, we?

- [Harriet] They know
we're working together.

- [Gerry] You're the agent.

- [Harriet] Oh, no, you don't.

We're gonna drop this one now.

It was good while it
lasted, but it's over.

- [Gerry] No way.

I have got too much invested in this,

and Winyard's gonna be
our best earner yet.

- [Harriet] It might have been

if you'd kept your mouth shut.

- Listen, I haven't said
anything to anybody!

- Well you explain to me how

that couple the Caves knew
Winyard was on the market?

No?

They heard it from your little single

mother up in the council houses.

- What are you talking about?

- The one who works in the Feathers.

Now I don't care if you are shagging her.

What I do care about is that you

don't discuss our business
while you're doing it.

- Listen I haven't told her anything!

- It's finished.

I should have known you
wouldn't be able to handle it.

- Listen, Harriet, I am warning you.

If you try and cut me out.

- You're already out.

And if the police do come back to me,

I won't be going down on my own.

(clatters)

- Excuse me.

Sorry to bother you.

- Not at all, dear lady.

- I wonder if you could help
me with some directions?

I'm looking for a house called Winyard.

- Winyard?

I'm afraid you're well out of the way.

- It doesn't seem to
be marked on this map.

- No.

Your best bet is to go.

Yes.

Out of the village.

- Back that way?

- You'll come to a main road.

Turn right, and keep going
for about five miles.

- Five miles?

Are you sure?

- You're in completely the
wrong neck of the woods.

- You know, I thought I was quite close.

- Oh, no, you're well out of your way.

Sorry.

- Well thank you.

(engine rumbles)

(siren blares)

- Gerry Moore's favourite, sir.

He and Harriet Davis are
definitely in it together.

- So did Ms. Davis confess?

- Not on tape, sir.

But we should bring them in.

- No, no, no hang on.

Let's not get ahead of ourselves here.

Listen, Jones, Charlie
Magwood has got a brother,

and Winyard actually
belongs to that brother.

Now, I want you to have another
word with young Phillip.

Do you remember him
saying the old man he saw

up at the house used to go to his school?

- You think that's who
he was stealing food for?

Charlie's brother?

- Yeah.

- Turn right there, left again
at bottom and you're there.

- That's great, thank you so much.

- Pleasure.

- Okay.

I should have said before.

The house belongs to my brother Jack.

- Why didn't you tell us you
had a brother, Mr. Magwood?

- Well, he's in prison
for murdering a copper.

It's not the sort of think you talk about.

- Well, I'd like you to talk
about it to me, Mr. Magwood.

- Well, it's ah 18 years ago now.

He killed a young PC, Colin
Armstrong, in Hatton Garden.

I don't want to go through it all.

Why don't you do your own homework?

- What would be really
helpful at this stage,

Mr. Magwood, is a clear idea

of your brother Jack's
connection with Winyard.

- We was evacuated there.

We was very lucky, I suppose.

The Barrett's were a very nice couple.

And of course typical Jack charmer.

(chuckles)

They were eating out of
his hands in five minutes.

Couldn't do enough for him.

Me, I never liked it.

I missed my mum and dad.

But after the war, Jack used
to come down and visit them.

And of course, nobody was surprised,

they left him the house.

But he's inside, isn't he?

So the place stayed the way
it was the day they died.

- Did you get on with your brother?

- Oh, we're very different people.

- This power of attorney.

Why did Jack suddenly ask you

to sell the house, after all this time?

- Well he's due to be released
in a couple of months,

so he's thinking what to do about money.

So he gave me the power of attorney

and asked me to sell the place.

- I wish you'd told us
this at the start, Charlie.

- Yeah.

I didn't think.

(kid chattering)

- It's not stealing.

They've got loads of food in there.

- Were you hungry?

- My mum hasn't got much money.

It was lunches for me and Danny.

- I don't believe you, Phillip.

And I know where you got
that car you showed me.

- There was this man in the playground.

- What did I tell you?

- Go on.

- He said he used to come to
school here when he was little.

Then I went to the house in the woods,

cause my brother left my bike
there, and I saw him again.

He said he used to live there.

He's really nice.

He's teaching me to play the piano.

He never did those murders.

I know he didn't.

I want to go home now, Miss.

I want to see my mum.

- Thanks, Phillip.

But stay away from that house.

Understand?

(phone rings)

- It's all here.

And I've been on to Layfield open prison,

where Jack Magwood is serving

a life sentence for the
murder of PC Colin Armstrong.

- The Hatton Garden robbery?

- That's the one.

- I remember reading about that case.

- He absconded a week ago.

There's an all ports call-out for him.

- So!

Winyard is owned by a convicted killer.

He escapes from prison,
and a couple of days later,

two people are found
murdered near the house.

- I wonder.

I wonder if these two brothers

aren't one and the same man, eh?

We've got uniform all round the hotel,

so tomorrow, first thing,

we'll go and ask Charlie
if his name is Jack.

- Joyce!

Joyce?

(dramatic music)

- The man he was talking to on my tape,

I thought it meant he was Charlie Magwood.

But his mum said the lad saw him

at the hotel, but Charlie
didn't recognise him.

- Jones, Winyard, straightaway.

And bring some backup.

(engine rumbles)
(dramatic music)

(suspenseful music)

Magwood!

(siren blaring)

Magwood.

Stay where you are.

Joyce, get that boy outside.

Now.

Stay where you are!

No!

- Come on, no one's going
to hurt him, I promise.

- It's all right.

- It's all right come here.

- Right, on your feet.

Jack Magwood, I'm arresting you

for the murders of
Peter and Caroline Cave.

- He hasn't done anything!

He hasn't!

- It's all right.

(dramatic music)

- Stupid old fool.

18 years he's done.

He's only weeks from his release date.

Huh.

I don't know what he's playing at.

- We were rather hoping
that you would tell us.

- Oh, I can't understand it.

- Are you quite sure, Charlie,

that Jack really, really
wanted to sell the house?

- Well, put it this way.

He might not have wanted
to, but he knew he had to.

- Hm.

Now, I don't know whether
you've heard this, Charlie,

but two people have been found dead,

not a couple hundred yards from Winyard.

They were both murdered.

And we know they were
interested in buying that house.

- And now we discover your
brother, a convicted murderer.

- No, not Jack.

Oh, no, I know he's reckless,
but no, he, he wouldn't.

He couldn't have.

(dramatic music)

(knocks)

- Miss Woodhall?

I'm Detective Chief Inspector
Barnaby, from Causton CID.

This is DC Jones.

I'd be extremely grateful if you

could let us have a moment, please.

You went to see Jack Magwood's
solicitor about Winyard.

Why did you do that?

- I'd heard it was up for sale.

- And you told the solicitor

that Jack didn't want to sell it.

- Yes.

- How did you know Jack
didn't want to sell it?

- I know Jack Magwood, I know
how he feels about the place.

He would never sell it.

- Has Jack Magwood been staying

with you in the last few days?

- Jack's in Layfield Prison.

- No, Miss Woodhall.

Jack Magwood is in custody, in Causton,

under arrest, on suspicion of murder.

- No!

Not Jack!

- I'm afraid so.

- Oh, not again.

It couldn't happen again.

- So, if you have been harbouring him,

you could be charged as
an accessory to murder.

- Jack Magwood is not a murderer.

He never was, and he never will be.

He was put away for
something he didn't do.

Ask anyone who knows him.

- We've done that, Miss Woodhall.

We had a long, very long chat,
with his brother Charlie.

- Oh!

Yes.

And I can guess what
Charlie told you as well.

I know Jack.

I've, I know him very well.

We grew up together.

Look.

That was us when we were young.

They were the best years of our lives.

- You remember the Barrett's?

- They were the parents
Jack should have had,

not that feckless bunch back in London.

Did you know Jack won a
scholarship to Causton Grammar?

He was heading for university.

Oxford, Cambridge.

But the family made him go back to London

and work in a fruit and veg stall!

Can you imagine what that did to him?

(crying)

- What can you tell us about
the murder of PC Armstrong?

- Oh it was what killed the Barrett's.

- Seeing Jack go to prison?

- Seeing him go to prison
for something he hadn't done.

And then, when the appeal was turned down,

well, they, they gave up hope.

We all gave up hope.

- The evidence, the evidence

against Jack was very compelling.

- They never found the
gun, though, did they?

That was the problem.

Jack never held a gun in his life.

If they'd found the gun,

they would have known it wasn't Jack.

You know he refused to say
anything in his own defence?

- Yes.

Why do you think that was?

- He was frightened.

The Magwoods were mixed up
in all sorts in those days.

Charlie knew Jack was innocent.

I think he probably
even knew who'd done it.

He could have spoken up
for Jack, but he wouldn't.

I suppose he was scared as well.

Oh.

I'll be glad when he's gone.

- [Jones] Well if he's disturbing
you, I can have a word.

- [Woodhall] I wouldn't mind if it

was just the hammering and banging.

But the arguments.

- Who's he arguing with?

- Oh, that estate agent, Harriet Davis.

You should have heard them!

I thought he was going to kill her.

- Are you sure it was Harriet Davis?

- Of course I'm sure.

She said the police were after her.

You want someone for the
murders, you ask him.

- They could do you for nicking that.

(whistles)

(beeps)

- Would you tell me why you walked

out of Layfield prison, Mr. Magwood?

- I wanted to see where I used to live.

- What, just three months
before you were released?

We've been talking with your brother.

- How is Charlie?

- You'd given him power of attorney.

Or had you?

We've also had a very interesting

conversation with Grace Woodhall.

She was telling us all
about Mr. and Mrs. Barrett.

And about the house.

Did you walk out of prison to try

and stop your brother selling Winyard?

Did you murder Peter and Caroline Cave

because you thought they
were going to buy it?

Did you murder PC Colin Armstrong?

- I don't want to appear rude,
but I don't talk about it.

I didn't then, and I won't now.

It's just a rule with me.

I never talk about it.

(dramatic music)

(phone ringing)

- Harriet Davis Estates.

Tonight?

I, okay.

About ten.

(alarm blares)

- David?

David!

Wait, everybody, ladies and gentlemen

if you'd just keep calm,

I'm sure there's a very
simple explanation.

David!

So if we can just.

- Sorry, excuse me.

Is this for real?

- I've absolutely no idea.

If we could just get everybody

outside and then we'll take a roll call.

- Yeah, come on everyone this way.

(dramatic chord)

(wind whistling)

- Harry?

Harriet!

(eerie music)

(chuckling)

- Garroted.

Same MO as the Caves.

Any luck tracing that call?

- A phone box, in the village.

Male voice.

It's got to be the builder, sir.

I've put a call out for him

and uniform are at his house now.

- And the hotel?

- False alarm, sir.

All the guests are accounted for.

- Charlie Magwood?

- Eventually.

Claims he got used to alarms in the Blitz.

Said he went for a stroll round the block.

- Does he indeed?

- Same person who killed the Caves, then?

- Which rules out Jack Magwood doesn't it,

who spent last night in a prison cell.

I'm beginning to think the Fluxes

were right about this place.

All that stuff about the heart?

They made it up, didn't they?

- It's a human heart, stuck with thorns

and pins, and hidden in the chimney.

- The hearth is the heart of the house.

Curse the hearth and you curse the house.

- The hearth is the heart of the house.

Curse the hearth and you curse the house.

Wonder what else might be
hidden up that chimney?

(eerie music)

(cries out)

(eerie music)

(dramatic chord)

George!

I want you to get onto the Met,

for the prints of everyone involved

in the shooting of PC Armstrong.

- Yes, sir.

- Look what we found up the chimney.

Can you do anything with that?

- Been there a long time.

- Yeah, 18 years, I reckon.

(phone rings)

I just wonder whose
fingerprints are on the trigger.

Barnaby.

No, no, no.

You did the right thing.

Yeah.

We'll be right over.

Grace Woodhall.

She's got another row going on next door.

- [Cato] I refuse to
stand by and watch you.

- [Gerry] I don't know who you

are or what you're talking about!

What I suggest is that you

get back in your car and you drive away!

And if I hear you've said
anyone to anything about me

or my business again.

- You're a married, aren't you, Mr. Moore?

Does your wife know how
you spend your afternoons?

- I'll kill you, you filthy bastard!

- Get him off!

I'm arresting you on suspicion.

- I'm not giving up, Mr. Moore!

Don't think this means that I'm giving up.

- You're under arrest too.

- You killed her, you bastard!

You killed her!

- Gerry Moore's got a powerful
motive for killing her.

- So has Cato.

- But I don't quite see that, do you?

- Not really.

- I'm going to have another go at Jack.

Take some backup and
bring Charlie Magwood in.

I want to see those two
brothers face to face.

- [Man] Michael?

it's all over.

They've got the murderer.

(engine rumbles)

- [Anne] There's a message
for you, Mr. Magwood.

- Thank you.

(dramatic music)

(knocking)

(dramatic music)

- Jack.

I think it's time to make a
clean break with the past.

Don't you?

- You mean, ah, tell the truth?

- Yeah, that'd be it.

- The stall wasn't making any money.

Not enough to keep the whole family.

It was down to me to
do something about it.

I only needed to do one job,

make enough to see us all through.

If that copper hadn't shown up.

I pointed the gun at him,
pulled the trigger and ran.

And the rest, as they
say, is, ah, history.

- But it's not history, is it, Jack?

It is here, and it is now.

That's been lying in a chimney

for the last 18 years, where you hid it.

That's the gun that
killed PC Colin Armstrong.

That's the gun that you hid at Winyard.

There's a couple of sets of
prints on that gun, Jack.

Yours, and Charlie's.

- I know, I tried to make
Charlie take it, but he wouldn't.

- Charlie's prints are on the trigger.

Yours are only on the barrel.

He made you take the gun, didn't he?

And hide it.

You didn't kill Colin Armstrong.

Charlie did.

- No.

- Yes.

Look Jack, you served 18 years for a crime

committed by your
brother, the same brother

that's trying to framing
you for the murders

of Peter and Caroline Cave.

- I know you've got a job to do, but.

- It was Grace who told you

that Charlie was trying
to sell Winyard wasn't it?

That's why you walked out

of Layfield prison, to try and stop him.

But once Charlie discovered you were out,

he killed the Caves and tried to make

it look as if you'd done it.

And then Harriet Davis tried to cheat him,

so he killed her too, not realising

that you were in custody at the time.

Jack, your brother does
not deserve your loyalty.

- Loyalty?

It's got nothing to do with loyalty!

- Then tell me what it is.

- We are identical twins.

- But Charlie is not you.

You are not Charlie.

The law recognises the difference.

Grace knows the difference.

- The law?

The law doesn't know how it feels.

There's only one thing we're different in.

Charlie was tougher, but I was luckier.

I got the brains.

I got the talent.

I was the one that everybody loved.

Charlie got all the bad bits.

But that wasn't his fault.

It was an accident.

- Jack, what you allowed to happen

all those years ago
was a gross miscarriage

of justice and it's
still going on, isn't it?

Three more people have died.

You've been a bloody fool.

It's time to put a stop to it.

- Turn that machine off.

- It's not on.

Just tell the truth, Jack.

- The truth?

I'm not sure I know what
the truth is any more.

Well, I told you about the money problems.

That was true.

Our little stall couldn't keep
Charlie in suits and cars.

He had debts.

People were after him.

They would have murdered him.

One night, he got a gun and
went down Hatton Garden.

When he'd done what he did,

he came running back into the market.

He was scared, pushed the gun
at me, asked me to hide it.

Next morning, I came down here.

I wrapped it up in one
of Mrs. Barrett's aprons,

and hid it in the chimney.

I'm sure Charlie didn't mean to shoot him.

It was an accident.

- Are you willing to repeat

what you've just told me on the tape?

- I appreciate what you're doing.

But it's too late.

(knocks)

- There's no sign of Charlie.

He's checked out of the hotel.

- Get a warrant out for
Charlie's arrest will you.

I'm driving Jack back to
Layfield prison myself.

If both of them have to end up inside

because he's too pigheaded to tell

the truth in court, then so be it.

(dramatic chord)

(dramatic music)

One last look?

(dramatic music)

Do you want a minute to yourself?

Just to say goodbye?

- Yeah.

Thank you.

- Okay.

Here, Jack.

(door creaks)

(piano music)

(cries out)
(piano blaring)

(crying out)

- [Barnaby] Come on, get off him!

Come on!

Leave him!

Come on, Jones, in here!

- Yes sir!

That's enough now!

Let go!

Leave it Magwood.

- You think you've done him a favour?

You think, good, he's going
to be a free man at last?

You know what?

He'll never be free.

He's stuck with me until the day he dies,

whether he likes it or not.

(dramatic music)

- Sir?

- What?

- That message you sent to
Charlie, was it, you know?

- Was it what?

- Well, a way of getting Charlie to.

No, it's nothing, sir.

- You're not suggesting, are you,

that I deliberately used Jack
as bait to get Charlie here?

- Not at all.

- Well, because that would have

been a very high-risk strategy, Constable.

- Exactly, sir.

- You've put in two requests,

haven't you, to transfer to CID?

- Well I'm keen to move on, sir.

Broaden my experience.

- Well, I'll have to see what I can do.

(piano music)

(applauding)

- Coming on, isn't he?

- Yes, he is.

And it's good to see the old house

being cared for again Jack.

- Yeah, we're gonna having a new bathroom,

and central heating.

- When I've sold my cottage.

(whistling)

- Now that's the music I like to hear.

I could murder.

- Tom.

- What?

- Anyone for tea?

(dramatic music)