All language subtitles for Midsomer Murders S10E07 - They Seek Him Here

(animals screeching)
(people yelling)

(clattering)

- [Man] No! Please, no!

No! No!

Please! No! No!

Please no! No!

No! Please! No!

Please.

(dramatic music)

No! No!

(people yelling)
(drums beating)

- [Woman] No! No!

No! No!

(crowd yelling)

(blade whacks)

(dog whimpers)

(crowd cheers)

- [Man] Cut!

- [Man] Cut.

- [Man] Cut.

- Okay, reset, everybody.

Reset.

We're running out of blood.

(people laughing)

(dramatic music)

(engine rumbles)
(suspenseful music)

(phone beeping)

(suspenseful music)

- [Man] I've got something
interesting, sir.

I'm tailing George Ince.

- George Ince?

Really?

- [Man] Yeah, it's definitely him.

- That is not good news.

With a bit of luck, he'll
drive straight through

and onto someone else's patch.

(suspenseful music)

- [Man] And he's heading
towards Midsomer Magna.

- Well then, Jones, it
falls to us to protect

the wealthier citizens of Midsomer

from Mr. Ince's thieving ways.

(suspenseful music)

- How does this sound?

It is a little-known fact that, in 1905,

the Hungarian aristocrat
and writer, Baroness Orczy,

was a guest of Lord Fitzgibbon
at Midsomer Magna Manor.

What's wrong?

- Neville, don't.

Please.

- You could have let me finish.

- You were going to
say the woman who wrote

the Scarlet Pimpernel based the character

of Sir Percy Blakeney on Lord Fitzgibbon,

who owned Magna Manor at the
turn of the last century.

- Well, yes.

- We know she never went near the place,

never mind met his Lordship.

- We know that.

- Well given that they're
filming that very book

in the grounds of the manor,

don't you think it'll be a
tad obvious to everyone else?

- You're right.

- The occasional embellishment
to the history of a place,

I mean, everyone does that.

But Terence Charteris had no right

to ask you to lie to so blatantly.

- If I don't play along, I lose the job.

Where else am I going to
find work in Midsomer Magna?

- They're still hiring extras on the film.

You could have a dip
back into the business,

for old times' sake.

- You obviously don't know
who's directing this film.

- Who?

- Nick Cheyney.

(dramatic music)

- [Man] All right everyone.

Three, two, one, drop!

Cut it!

- [Woman] 82, take 1.

- [Man] And, action!

(cheering)

Cut it.

- Nick, these execution scenes

- I know, I know.

Enough blood to float an abattoir.

I'll have a word with special effects,

get them to turn it down.

- Good grief, no, don't do that.

If anything, we need more blood.

Buckets of the stuff.

Know your audience.

It's not as if you're directing
an art-house movie, is it?

- Ah, Jones.

So, Mr. Ince is here.

- They're opening the
place to the public, sir.

Apparently, it's got historic connections

with the French Revolution.

- Doing a film, aren't they?

The Scarlet Pimpernel.

- [Jones] What you might call

a remake of a remake of a remake.

Yes, Joyce mentioned something about it.

Where is he now?

- Parked up round the side.

- You know your informant
has got to be right

doesn't he, about Ince setting up a job.

What other interest could
he have in a stately home?

- Maybe he's come for a dose
of culture and a guided tour.

Although George prefers to guide himself

round places like this.

- [Barnaby] And usually by torchlight

when there's no-one else about.

Let's find out what he's up to.

- [Man] Three, two, one, drop.

Cut it.

- [Woman] 82, take 1.

- [Man] Action.

(crowd yelling)

- Something else not
right about that scene.

- Enlighten me.

- Not enough peasants.

- [Man] You want me to reshoot?

- Oh, God, no.

No, but for future scenes,
you'll need more crones and hags.

- Crones and hags.

Well I'll see what I can conjure up.

- Don't make hard work of it Nick.

An area like this must be
overrun with yokels and inbreds.

Why don't you try the
local old folks' home.

They'll come cheap.

- [Man] And drop.

- [Barnaby] There he is.

- [Jones] Look who he's with.

- [Barnaby] Jed Norris!

- [Jones] Talk about thick as thieves, eh?

- No, leave it, leave it.

You'll get nothing from him.

A word with Mr. Norris
might prove more useful.

- I can see exactly why you're
going for this heritage scam.

- Do you have to use that word?

- I'm joking, Diane.

No, I mean it certainly looks

like an authentic historical pile.

From what I gather it's getting

more authentically historical by the day.

(chuckles)

- Got a man working on it.

Local historian.

- Historian?

Oh, you don't need one of them.

Dip into Hans Christian Andersen.

He was good with fairytales.

Listen, Terence.

I'm not sure how much more
I can take of Jack Braxton.

The man's a philistine.

- Ooh!

You want the producer sacked,

you'll have to clear that with Diane.

- Why's that?

- Because they're very good friends.

- I didn't even know you knew him.

- He's being facetious.

- I don't understand.

- It may have escaped your notice Nick,

but this marriage is on the rocks.

We're just trying to hold things together

till we get the business off the ground.

- So you and Braxton are er.

- Close.

- Well, even so.

He's a hatchet man.

Known for it.

- He's the producer.

Money men have to be like that.

- Yeah well we want this film

to look as good as possible, don't we?

I mean don't we?

- Look, Nick.

I know you see this as a chance

to get your career back on track,

but to us it's just business, okay?

- Right, well thanks for
putting me in the picture.

I'd better get back to set.

Actors to execute.

I'll see you both tomorrow night, then.

- [Man] Keep up the good work.

- I don't know how you can bear that man

in the house after the way
he's treated our daughter.

How do you think Leonie feels about this?

- Diane, there's family
and there's business.

Right now, the family
business is in trouble.

We need Nick Cheyney.

So Leonie's just gonna have to lump it.

All right?

- Hello, Jed!

I didn't think you were
due for release just yet.

- Parole.

Good behaviour.

- Well, congratulations.

- Yeah, I think they
needed the cell space.

I'm telling you, overcrowding
in prisons is criminal.

- So it's not somewhere you
want to rush back to, is it?

- Never again.

I can't handle any more.

- So why the meeting with George Ince?

- It wasn't a meeting.

I just happened to bump into him.

- Small world.

What's he doing here?

- You don't ask people
like George their business.

- No, you don't, nasty
piece of work George is.

So what are you doing at Magna Manor?

I'm working here.

- You, work!

- That's right.

Big laugh!

Excuse me.

Thank you.

- No meeting between Jed Norris

and George Ince is coincidental.

Get hold of the management here.

If anything untoward happens,

I want to know about it, anything.

- Sir.

- Can you get over to the props boys?

- Nick, erm, these are the
old folk from The Cedars.

- Crones and hags.

As ordered.

- Right.

Well, get them fitted out with rags.

I want them on set at
eight tomorrow morning.

- Some of them are over 80, Mr. Cheyney.

(sigh)

- Nine, then.

- [Man] It's a bit late.

We've gotta get the costumes ready.

- Nick?

- Gwen?

Gwen Morrison?

- You do remember me.

- Always, but, well, it must be what?

- 17 years.

- No.

No, not that long, surely.

- Well, I've lived in this
village for 15 of them.

Ever since Ted died.

- Ted died?

So you're on your own, then?

- No, no.

I live with Neville.

You remember Neville.

(laughs)

- Of course, Neville.

I might've known he'd still be around.

Listen, darling, I really
can't talk now but, er...

I'll catch you later, all right?

Gwen Morrison.

- [Woman] Excuse me, excuse me!

- It's not as though you're asking me

to update the history of the Manor.

- [Man] That is exactly
what I'm asking you to do.

- But what you want is pure fantasy.

- Your point?

- It's not ethical.

And it shouldn't be part of my remit

as Events Organiser of the Manor.

- Don't flatter yourself.

Part-time tour guide was
all you were ever gonna be.

- Were?

- I need to get this place
open to the public ASAP.

Till then, I'm just haemorrhaging money.

So I can't afford to have whinge losers

like you holding me back.

Go on, you're fired!

What're you waiting for?

- Right, bye.

- How come you're at Gwen's?

- It was a bit chaotic today.

- Ooh, sounds exciting.

- It was.

We were up at The Cedars
on charity shop business

when someone came round from

the film unit to recruit
the old folk as extras.

They need more crones and hags.

- Crones?

They actually used those terms?

- Not that any of us minded.

Most of us are thrilled to bits

to be in The Scarlet Pimpernel.

- Us?

- Well Gwen and I
volunteered to be chaperones,

so we thought we might
as well be extras too.

- Following in your
daughter's footsteps, eh?

(phone ringing)

- Oh, hello, Neville.

- Jones?

- Sir, report of a prowler, Magna Manor.

- You think it could be Ince?

- Looks like it, sir.

- Right, get yourself some back-up.

I'll be right there.

(door bangs)

- Well, I challenged him and he fired me.

- A week before the place is
due to open to the public?

- I've picked up on what's happening.

Terence Charteris may
live in a manor house,

but he's a barrow boy out of his depth.

He's over-stretched himself
and he's about to go under.

I don't think he could afford to pay me.

- Well, no great loss, if you ask me.

I mean, why not sign up as an extra?

- He's round the back somewhere.

- Right, Jones, off you go.

I have to tell you if he's the man

we think he is, he has
a history of violence.

Your husband's, he's not
out looking for him, is he?

- My husband's gone out for the evening.

(suspenseful music)

- Police!

Stop!

(dramatic music)

(sirens blaring)

Gotcha!

- Oi!

What's going on?

- Better late than never.

- Diane, what is going on?

- A prowler.

- Prowler?

Where?

- Standing in front of you!

- Don't be ridiculous,
he's the security guard!

- Since when?

- A couple of days ago.

- Oh, well, thank you for telling me.

- Then why did you run away?

- I didn't know who you were.

- I shouted police.

- Anybody could do that.

- Security guard for the Manor?

- And for the film set.

- Seemed to make sense, him keeping

an eye on things over there
while he was working here.

So I had a word with Jack Braxton.

- Who's he?

- The film's producer.

- Jed Norris, a security guard?

Talk about putting the fox
in charge of the hen house.

- Our friend Ince must
be involved in this.

That producer needs to
know what he's taken on.

- Okay, where's your Mum?

Come on, Leonie.

- I'm coming, I'm coming.

- Bag.

- Take, take that one.

You know Gwen's got a job
as an extra on this film,

so I'm on my own in
the charity shop today.

Oh, hello!

- I was watching that Nick
Cheyney on set all day yesterday.

- What?

You didn't say anything to him?

Danny, please.

You promised.

Leave him to me.

- I want Cheyney out of our lives, Leonie.

For good.

(engine rumbles)

- Sir five years ago,
when Ince was on remand,

he and Norris were briefly
in Causton Jail together.

They're old acquaintances.

And Mr. Norris has just conned
his way into a security job.

- Pull him in for questioning, sir?

- Jed's not really in the
same league as Ince, is he?

Just, er, cut him a bit of
slack, keep an eye on him.

George Ince is the man we really want

and if Jed Norris can lead us to him,

well, that'd be a result.

- Come on, Gwen.

You'll get the old folk fired

if I don't get them to the set on time.

- Why don't you help Joyce
with the old folk today?

I'll stay here and look after Josh.

- No, thanks.

I'm not going anywhere near that film set.

- Come on, we're out of here.

- Let's say bye to Auntie Gwen.

Bye!

- Bye, Josh.

Bye, Leonie.

- Bye.

Right, right!

- [Man] All right, mind your backs!

Out the way, please!

And you!

(upbeat music)

- Joyce!

- [Man] Aristos to the carriage, please.

Costume checks, please.

- So, you say this guy
Norris has got form?

- Just a bit.

- What do you recommend?

- I'd like you to keep him on.

At least then we'll know where he is

for the duration of the shoot.

And, between you and me, he
might prove a useful lead

to someone else we want to keep tabs on.

- Suits me.

He has all the qualifications I need.

He's cheap.

- [Barnaby] What?

Tight budget, this film?

(chuckles)

- Like a tourniquet.

Still, we'd have half a chance

if someone other than
that clown of a director

was calling the shots
from behind the camera.

- But you're the producer, aren't you?

I mean, don't you appoint the director?

- I do.

And ordinarily I wouldn't
touch Nick Cheyney.

But he brokered the deal that
got us this location for free.

Knows the people who own the Manor.

- Ah, Mr. And Mrs. Charteris.

- Friends of yours?

- No, we don't move in
the same social circles.

- Lucky you.

The wife's okay, her husband's
a complete philistine.

The people we have to get into
bed with to get a movie made.

Figure of speech.

- Mrs. Barnaby looks very
fetching in that red cap, sir.

(upbeat music)

- Peasants behind the cart, thank you!

- Now, I need you to stop in
line with the arch, all right?

Can we get some quiet, please,
and a bit of concentration?

All right, now, the.

- Let's just have a look, love, okay?

- The rider's gonna come
galloping in down here, all right?

Can we finish checks
now, please, thank you.

Rider comes galloping in,
gives you the news from Paris.

Get out of here, no time to lose.

Barbarous hordes on their
way, blah, blah, blah.

Now, you're horrified but dignified.

Remember, you're French aristocrats.

That's all right.

Can we get the coats off, please?

- Quieten down!

- Can we get the coats off now!

- Coats off, Nigel!

- [Woman] Going for a take.

- Right.

Going for a take!

- [Man] All right, standing by for a take.

- Turn over!

- Speed!

- Sound running!

- Mark it!

- [Man] 143 take 1.

- Background action!

- And action!

- Go!

Go, go!

And stop!

And run back!

Go!

(horn blaring)

Who the hell is that?

Cut!

Cut!

- [Woman] And we've cut there, we've cut!

- [Man] Reset, reset!

- [Man] First positions, everybody.

- I know that car.

It can't be!

Throw him off the set.

- 'Scuse me, 'scuse me!

You can't park here!

- Ah, Nick!

Hope I didn't disturb anything.

- No one makes an entrance
quite like Raymond Clandillon.

- Dying art, I'm afraid.

I try to keep it going.

- Just passing?

- No, thought I'd stop for
a while and get involved.

- Yeah, well I'm afraid
the film's already cast.

- I know.

According to this there's
not a D-list celeb

or clapped out sports
star to be found anywhere.

You've got them all.

- So no room for you, then.

- Oh, you can squeeze me
in, for old time's sake.

- And what makes you think I
want a disruptive old queen

like you anywhere near my film?

- I've given up the booze.

- Really?

- Smell my breath.

- I'd rather not.

- I need this.

- Oh, what the hell.

We go back a long way, don't we?

- Oh, thanks, Nick.

- Show him where wardrobe is.

He can be the cart driver.

- [Woman] Reload!

Reload, please!

- Are you offering me work as an extra?

- Take it or leave it.

- Okay.

- And if you so much as
look at a bottle of booze.

Can we do that again?

And this time, if it's
not too much trouble,

can you get the timing right?

- First positions, please!

- Raymond?

Oh!

Is that you?

- In the flesh!

Come here, you!

- Oh!

What a wonderful, wonderful surprise.

- I don't know about you,

but a Christmas card every
year just hasn't been enough.

I wanted to see what you
looked like after 17 years.

- Well, you haven't changed.

- Gwen!

- Oh, all right.

A bit frayed round the edges.

But the car's still immaculate.

Well, of course.

I cherish her.

If there was but one room at the Inn,

I'd gladly stay out in the cold

and let her have shelter for the night.

- You might have to.

Hello, Raymond.

- Neville.

- The Magna Hotel's full to bursting.

I take it you are staying?

- I am.

I saw that they were shooting
this film in your neck

of the woods and thought it would be

the ideal opportunity
to catch up with you.

I didn't realise we'd
all be working on it.

- You've got a part?

- Sort of.

Must dash.

Have to get changed.

- Raymond.

That's for the extras.

- I know.

Hasn't that made your day?

- Working as an extra?

God, that must be so humiliating for him.

- And in a film directed by Nick Cheyney.

- All aristos and peasants
back on set in 15 minutes!

- [Wpman] All right!

- 15 minutes, all right?

- What the hell's he
still doing in your life?

- I always sign our Christmas
cards from both of us.

You knew he was still living with me.

- But why?

You don't owe him anything.

Ted's dead.

You're under no obligation
to look after his brother.

- I know that.

So why would you want your brother-in-law

lurking about the place?

Particularly when you're, well, you know.

- What?

- Trying to entertain.

- Do you mean sex?

- Yes.

It must be hard enough
to come by in a dead

and alive hole like this.

- Oh, I've lost interest in all that.

- You?

I don't believe it!

- You go without something long
enough, you get used to it.

- Then we'll have to get you unused to it.

- Oh, yeah?

And what are you going to
do about it, you old poof?

- Oooh!

That's my Gwen!

- You look as though you need that.

- Well, I know how Sisyphus felt.

- Is that a medical complaint?

- Character in Greek mythology.

Had to push a boulder up a hill.

Couldn't relax or it would
roll back and crush him.

- I'll keep 'em coming, then.

- Nah, I've gotta go to the Manor.

Dinner with the producer.

- Oh.

You likely to be late?

- I hope not, why?

- Well, I'll wait up.

We can sink a few then.

- [Nick] Good man.

Well, I'll drink to that.

- Oh, I was just saying.

Drink later on, when you
get back from dinner?

Oh, I thought you meant
just the two of us.

- Oh, I.

- Very nice of you to include me.

Don't worry Nick, I've got other plans.

- I'm sure you have.

(bell dings)

- Can I help you, sir?

- You certainly can.

I have spent the last 30 years
coming out of the closet,

and you have put me back into one.

- I'm sorry, I don't understand.

- I want a bigger room.

- Taxi for Mr. Cheyney.

Through there, to the left, peasants' bar.

I'll check on the computer.

(suspenseful music)

- All right?

(suspenseful music)

- Have you ridden with this guy before?

- No, why?

- Well from the look he was giving you,

I assumed you'd forgotten to tip him.

- Oh, no, my darling.

Leave it, please.

- Well, it's me or Danny.

- Well, does it have to be
either of you, just now?

- He's got to be confronted.

(dramatic music)

- So, I was thinking
as an added attraction

for the great unwashed we might open

the place to the public
while you're still filming.

- Come on, I can't have the public

roaming around while I'm trying to work.

- Well then get your arse into gear.

Remember you're a jobbing
director, not Fellini.

We can't afford to finance your fantasies.

- Leonie.

- Ah, your gorgeous daughter!

- [Terence] Leonie, please.

This is a business meeting.

It's neither the time nor the place.

- It's always about
what you want, isn't it?

Must never jeopardise the deal.

- Diane, see our daughter out, will you?

- I'm sorry?

You seem to have mistaken me
for one of the hired help.

Besides, I don't think
she's ready to go yet.

- Oh, I am!

Don't you even think about coming

anywhere near me or my child.

My child.

Do you understand what I'm saying?

- Am I being threatened?

- Yes, you are.

- I seem to have lost my appetite.

- Yeah, well, I'll come with you.

- You're the reason I'm leaving.

- Sorry, Nick.

Maybe this wasn't such
a good idea after all.

- Hands off my grandson,
Nick, or I'll see you dead.

(suspenseful music)

(engine rumbles)
(suspenseful music)

- I promised Leonie I'd stay out of this,

but if you go anywhere near her or Josh.

- Good God!

Even the taxi driver's threatening me now.

Is the whole bloody village in on this?

- No.

Just me.

- And just what has it got to do with you?

- I'm Leonie's partner.

- Partner?

(laughs)

How PC.

Well, partner or not, you have no rights

where Josh is concerned, but I have.

So if I choose to get closer to my son

there's nothing you can do to stop me.

- Oh, there is!

(engine rumbles)
(suspenseful music)

(suspenseful music)

- Hi, George.

What have you got here?

- Dead five or six hours.

Cause of death, head
separated from the body.

- Now, that's where we benefit

from having an expert on the job.

- That's enough from you.

- It's Nick Cheyney.

The film's director.

- You know him?

- I saw him yesterday.

When he was in one piece.

- Well, we don't have to look
far for the murder weapon.

- If it was murder.

- Really?

- There's no sign of a
struggle and only Mr. Cheyney

and Mr. Braxton held
keys to the safety lock.

- You think it could be suicide?

- Except there's no sign of his key.

- Who found him?

- The security guard.

- Jed Norris.

- I spoke to him.

Mr. Cheyney.

He came looking for me.

- What for?

- Wanted me to get lost for an hour.

I have to say, I didn't expect
to see him again last night.

- Again?

- Yeah.

He'd been to dinner at the Manor.

Big bust up.

I could hear them arguing from outside

and the looks they were
giving him when he left.

- Who?

- Mr. and Mrs. Charteris,
their daughter, Mr. Braxton.

Even the cab driver.

- Was he alone on the
set when you saw him?

- Oh, yeah.

That's what made it all a bit creepy.

- In what way?

- He was so drunk he was barely conscious.

- So someone drove him there.

- I never heard him arrive.

I mean, car, dead of night.

You'd hear it.

But I didn't.

Here, listen, could I
have a strong coffee?

This place is giving me the creeps.

- Turning sensitive in your old age, Jed?

- Oh, yeah, yeah, that's
right, don't worry about me.

I'm only the one who found
the head in the basket.

- Did you find it?

- You know I did.

- Or did you put it there?

- No, no, no, no, no, no!

I'm not having that.

I mean, I might have a bit of form

but I'm not a violent man.

Check my record.

- We know your record, Jed.

What about George Ince?

- Ince was nowhere near
this place last night.

Far as I know.

- All right, Jed, go get
yourself that coffee.

- Thanks.

- What about Ince?

He's a violent man.

- Yeah, but he's a robber
first and foremost.

And if Cheyney had disturbed
him during a break-in,

he would have attacked
him without a thought.

But he wouldn't have had
to chop his head off.

You know, Jones, under the circumstances,

this is not an ideal interview room.

Who was at the dinner party last night?

- It was a working dinner.

Just the three of us.

- The three of you?

- Me, Nick and Jack Braxton.

- Mrs. Charteris, you weren't there?

- No, no.

It was a business meeting.

- Although she did make an entrance later

with our charming daughter.

- Leonie turned up unexpectedly.

She left early.

- After doing her best
to ruin the evening.

- Why would she want to do that?

- Because she's my daughter.

Do you have children, Chief Inspector?

- How can you even ask that?

Do you know, you and Nick
Cheyney are two of a kind.

- What's that supposed to mean?

- You're both.

(phone ringing)

Lousy fathers!

- Jones?

- Oh, steady on, Sergeant.

That's a high-quality piece

of furniture you're knocking about there.

Priceless, in fact.

- Sorry.

It was a wrong number.

I understand you're planning

to open the Manor as a heritage site, sir?

- [Terence] That's right.

Turns out the old place
is groaning with history.

- Priceless, eh?

- Yeah, well, not
literally, but pretty close.

Certainly irreplaceable.

- Mr. Charteris, did Braxton
and Cheyney leave together?

- No, they left separately.

They don't have much time for one another.

- [Barnaby] And what state was
Mr. Cheyney in when he left?

- [Terence] Well, he'd had a drink.

- What does that mean, precisely?

- It means he was drunk.

And objectionably so.

- That's Nick.

- As though that makes it acceptable?

- Look I suppose there's no way

of stopping this, Chief Inspector?

- I'm sorry?

- All the negative publicity.

- Oh, that is not my
department, I'm afraid.

Mrs. Charteris, what did you
do after Mr. Cheyney left?

- I had an early night.

(scoffs)

- Jones, what was all
that about the furniture?

We are investigating a suspicious death

and you're going on
about a flaming cupboard.

- Because it was a fake.

- How do you know?

- My grandad was a cabinet maker.

- He was a what?

- He was a master cabinet maker.

- So he'd know all about
dodgy cupboards would he?

- All I'm saying is

that cupboard was far from irreplaceable.

- Ironic, isn't it?

An every-expense-spared production

and the cheap old prop we had made up

to look like a guillotine actually works.

But you want to know if you
can carry on filming, yeah?

- I was thinking more
along the lines of when.

- How're you gonna find a new
director at such short notice?

On our budget, we won't!

Although Cheyney wasn't being paid,

his indulgent style of shooting
was costing us a fortune.

- Not being paid?

- He was on a profit-sharing agreement.

That's how desperate we both were.

No, I will take over as director.

- Will you?

You seem very pleased at the prospect.

Mr. Braxton, is there someone who

can confirm where you were at the

time of Nick Cheyney's
death, like Mrs. Charteris?

What are you implying?

- Mrs. Charteris, she
called us out a couple

of nights ago to investigate a prowler.

She said she was just about to go to bed.

- So?

- Well, her husband was out.

Your car was at the front door.

- Okay.

Diane Charteris and I spent
last night together too.

- So you are each other's alibis

for the time of Nick Cheyney's death?

- Mm.

- Thank you.

And yes, you can carry on filming.

But only because I want
to keep everyone together

for the sake of this investigation.

Thank you, Mr. Braxton.

(phone ringing)

- Freddie.

- Morning, sir.

- Nick Cheyney.

He was staying here, wasn't he?

- That's right.

I heard him come back last night.

Only he didn't.

- I'm sorry, you've lost me.

- He'd been for dinner at the Manor.

We'd arranged to have a
drink when he got back.

Well, I heard Danny's
taxi pull up outside.

- [Barnaby] Danny, who's Danny?

- Danny Twyman.

He's a nice lad.

Runs a local minibus.

- And you recognised his voice.

- Yeah.

They were having an argument.

- About what?

- I couldn't hear.

Didn't last long, though.

Danny drove off and I
was expecting Cheyney

to come into the hotel.

He didn't.

What do you think happened to him?

- We know what happened.

We're trying to work out why.

(crying)

- We knew him when he first started out.

- He was a louse even then.

- What a waste of life.

What a wicked waste of life.

- Fortunately his own, this time.

(dramatic music)

- Nick Cheyney, where did
you drop him off last night?

- Outside the Midsomer Magna Hotel.

- We have a witness who
heard raised voices.

- We had a row over the fare.

Asked if I took credit cards.

As if!

- So you didn't drive him to the film set?

- No way.

He'd already had one ride for free.

- [Barnaby] See anyone else while

you were picking up, dropping
off, around the Manor?

- Only Jed Norris hanging
around the grounds.

- How long have you known Miss Charteris?

- We were students together,
on a drama course in London.

- Before she was pregnant?

- I'm not Josh's dad, if
that's what you're asking.

I'd like to be.

That's why I followed her
back to Midsomer Magna.

To help her make the break.

- The break from what?

- Her dad.

Lets her live here rent-free
but he's a control freak.

- Is that what she argued
with him about last night?

- Or had she gone there
to confront Nick Cheyney?

- Well, she didn't like the man.

- Well, neither does her mother.

Is that because Nick Cheyney

is the father of Leonie's child?

- Yes.

Yes, he was.

- So they were in a relationship?

- He came to our college
as a visiting lecturer.

The only relationship they had

was the sort that happens after

a 50p-a-pint night in the student bar.

- You come and give your
Auntie Gwen a big cuddle.

- Gwen, you really ought to go home.

I can manage here.

- Are you sure?

Cause I really do feel dreadful.

- It's fine.

Really.

- Good morning.

- Tom.

- Gwen.

Miss Charteris.

- You've come to see me?

- Yes, yes, we have.

I'm Detective Chief Inspector Barnaby

and this is Detective Sergeant
Jones from Causton CID.

Miss Charteris, I understand

that you were at a dinner
with Mr. Nick Cheyney

last night and you had an argument.

- A blazing row would be more accurate.

Look, Danny's phoned me.

- Has he?

Then he will have told you that

we know that Nick Cheyney
was Josh's father?

- What?

Oh, God!

- Are you okay?

- No, I'm all right.

Please.

No, I'm fine, I'm fine.

- Gwen was just about
to go home, actually.

Nick's death has really upset her.

Err, Miss Charteris, can we?

- Yes, of course.

- How did your parents react
when you became pregnant?

- Oh, my dad had a top man
lined up in Harley Street.

- Which you obviously resisted.

- You bet.

- And where was Mr.
Cheyney in all of this?

- [Gwen] Making the arrangements.

- How did you know?

- That's the sort of
thing Nick would've done.

- Of course, you knew him, didn't you?

- All right, so your parents

were aware that Cheyney was Josh's father?

- Oh, yeah.

What bugs me is how easily Dad dismisses

what Nick did to me.

It may not have been rape
but he took advantage.

- And did he acknowledge

that he was the father of your child?

- Barely, and that suited me fine.

Until he arrived here and started talking

about getting to know Josh.

He could've been winding me up.

But I wasn't taking any chances.

- By luring him to the guillotine
and chopping his head off?

- Do I look like a murderer?

(dramatic music)

- Yes and Lady Arabella, her name was.

Fine looking woman.

- Beautiful.

- Yes, distinct likeness, if I may say so.

- Mind out, sir.

I know, you were asking about.

This apparently is the only chalk farm.

- Mr. Charteris.

- Oh.

- I've got a couple of questions for you.

Why didn't you tell us about the argument

you had at your dinner
party the other evening?

- It was just Leonie
being bloody with Nick.

- The father of her son.

- Oh, you know about that now, do you?

Single mother against the world.

- Hardly a single mother,
she's in a relationship.

- Oh, is that what you call it?

- You don't approve of Danny Twyman?

- Are you serious?

Went against the grain to
hire him for the evening,

but he's the only taxi in the area.

- You hired him?

- Yeah, paid him on
account to pick Nick up

and drop him back off again.

- You must have had a very complicated

relationship with Nick Cheyney.

- I've known Nick for
years, Chief Inspector.

- And you knew about his
affair with your daughter?

- Yes.

- And you still felt able to entertain

him to dinner under your roof?

- That was purely business.

- And you weren't in favour

of Nick Cheyney being involved
in your grandson's life?

- I'd have made sure it didn't happen.

- How would you have done that?

- Not by killing him, Chief Inspector.

But I would have stopped him.

- How long had you known Nick Cheyney?

- We worked on some films together.

- Yeah, we looked him up on the database.

Apparently he made a few box office hits.

- Oh, he'd known what it was like

to work with big names, big budgets.

I suppose you can understand him

becoming a bit resentful in later life.

- Gwen, stop defending the man.

Nobody ever liked him.

- That's not true.

We worked with lots of other
directors besides Nick.

In the business we were
known as the Four Musketeers.

Me, Neville, Raymond and Ted.

- Ted?

- My late husband.

Neville's brother.

He died just before we
moved to Midsomer Magna.

- No children?

- Does that question have any relevance?

- Well, I won't know
until you answer it, Gwen.

- No.

No children.

- Background artists for scene
53, back on set now, please!

- Gwen?

- Yes, off you go, thank you.

- Touched a nerve there.

- I thought I might.

Last time I saw Nick, as
he was leaving for dinner.

I was in reception trying

to get moved from my shoebox of a room.

- And where were you after that?

- In bed.

Exhausted and defeated.

- You didn't like Nick Cheyney, did you?

- No, and I did briefly entertain

the notion of trying to kill
him to get a bigger room,

but I thought that was a touch excessive.

- Did you have any other
reason for wanting him dead?

- Believe me, having to spend the night

in that single bed was reason enough.

- Thank you.

Keep the change.

- Psst!

Psst!

Chief Inspector.

- Yes?

- I've been waiting to speak to you.

- Why didn't you come through to the bar?

- I could hardly do that.

It was Raymond Clandillon
I wanted to tell you about.

You do know they hated one
another, him and Nick Cheyney?

- Well, he didn't put
it as strongly as that.

- And I bet he didn't tell you why.

Nick Cheyney sacked him from
a film they were working on.

- So he had a reason?

- But Cheyney didn't leave it at that.

Bad-mouthed him all around the industry.

Tipped Raymond's career into free-fall.

- Did he?

Well, thank you, thank you for that.

- Just thought you'd like to know.

- Yes, thank you.

- [Man] Right, going for a take!

- [Woman] Going for a take!

- [Man] Standing by for a take!

- [Man] Turn over!

- [Woman] Speed!

- [Man] Sound rolling!

- [Man] Mark it!

- [Man] 168, take 7.

Stand by.

And action!

(drum rolling)

(crowd cheers)

- Cut!

- Cut!

- I would like to try
and clarify something.

You are downtrodden peasants.

And these people, see?

These people have ground
you into the earth.

They've exploited you all your lives.

You hate them with a passion.

And now it is payback time.

So when you hear the blade
slice through their necks,

I want you to try and imagine

your feelings of joyful
revenge, and let me hear it!

Right?

Okay, reset, everybody!

Ronnie, how long with the blood?

- Ten minutes.

- Make it five!

- Raymond Clandillon was
no fan of Nick Cheyney.

- Neither was Neville Hayward.

- And Jack Braxton's almost joyful

at getting rid of him from the film.

- Diane Charteris loathed him.

- Not sure about the husband, though.

- Hurry up with that blood!

- Gwen, you shouldn't be doing this.

You're still in shock.

- [Braxton] Take it up!

- I've always been a professional, Joyce.

I hope I still am.

- Then, of course, there's Danny Twyman.

He admits having a row with Nick Cheyney,

but he lied about the reason, didn't he?

I mean it couldn't have
been over the taxi fare

because that had already been
paid for by Terence Charteris.

- So why should we
believe him when he says

he didn't take Cheyney to
the film set that night?

- Hello.

What's going on over there?

- Someone find me the unit nurse, please.

- It's not booze.

- Neville!

- It's worth checking,
given his track record.

- Raymond?

- What's going on?

- [Woman] How are you feeling?

- I'm fine now.

- [Woman] Are you sure?

- Yeah.

High blood pressure.

Happens from time to time.

- Tell me.

Why are you prepared to work as an extra?

- Got to do something to pay the bills.

- No, I mean on this particular film.

With a director who did his
best to ruin your career?

- Cheyney only helped me on my way.

I was already well down that slope.

- So you didn't bear him a grudge?

- Of course I did.

That's exactly why I
wanted to get on this film.

- You came to kill him.

- I came to gloat.

- Sorry, I'm not following that one.

- Look, I may be just an
extra in a rubbish movie,

but Nick was actually directing it.

And for him that was a living death.

- Mr. Braxton?

I'm sorry.

Her head won't actually be underneath

the blade when it falls, will it?

- No.

Let me show you.

Can you demonstrate the blade safety?

Satisfied?

- Ah, yes.

But that guillotine remains under guard

at all times and you retain the key, okay?

- Fine.

Is it absolutely necessary for him

to be here while we're filming?

- Well, I can have him removed,

but we'll have to shut down your film set.

If he goes, everybody goes.

- Right, let's do this!

- Quiet, please!

Going for a take!

- [Man] Quiet, please!

- [Man] Stand by!

- [Man] Turnover!

- [Woman] Running!

- [Man] End board!

- Stand by!

And action!

(suspenseful music)

- [Jones] Takes some guts

to put your head where Cheyney lost his.

- There's more to Gwen
Morrison than meets the eye.

- Let's hope it stays that way.

- [Man] Quiet, everyone!

(phone rings)

- Cut!

- Cut!

(phone ringing)

- [Braxton] Whose mobile is that?

(phone ringing)

- Sorry!

- Beautiful.

Feeling better?

- Much.

But you look as though you
could do with cheering up.

- I'm all right, I've got Josh.

- Cute little fellow but
he belongs with his mum.

He's the last thing you need
right now, and you know it.

- So what do you suggest?

- A spin in my beast.

It'll put the glow back
in your cheeks again.

- But I can't, I've got to
wait for the old people.

- They can manage without you.

Now, come on, come on.

We'll go for a trip down memory lane.

- Oh, stop it.

- That argument you had with Nick Cheyney,

It was nothing to do with
that taxi fare, was it?

- You were angrier than that.

- Was I?

- Yes you were, Nick Cheyney

was trying to get involved
again in Josh's life.

- You couldn't let that
happen, understandably.

- [Barnaby] Though I don't
know why you were worried.

Is wasn't as if Leonie
was about to push you

out in favour of Nick Cheyney.

- Although, successful
film director, cab driver.

Given the choice.

- Yes, and after all, Nick
Cheyney was the real father.

- The best thing Nick ever did

for Josh was stay away from him.

Real father?

I'm the only father Josh has ever known

and that's the way it's going to stay!

(dramatic music)

- That's Ince!

With Charteris.

- Yeah.

I doubt they're talking rare antiques.

- Remember this?

You and Ted in the back, me at the wheel,

and Neville chewing his
nails down to his elbows.

- You did drive a bit recklessly.

- With gay abandon!

- Reckless abandon.

Happy days!

- Then why the tears?

- You know why.

- Gwen, it's over.

A long time ago.

- We've found traces of
Oramorph in Cheyney's body.

- What's Oramorph?

- Morphine based, colourless.

It's a controlled drug,
issued on prescription.

Usually to terminal cancer
patients to ease their pain.

- Any sign of cancer in Cheyney?

- None at all.

- So what is the significance of this?

- Combined with alcohol, and
there was plenty of that in his

system, Oramorph would have
caused Cheyney to pass out.

- So the likelihood is that Cheyney

was unconscious before the blade fell.

- I'd have thought so.

- Which tells us.

- That someone else was involved

and that this is now a
murder investigation.

- Now what?

- Sit yourself down, Jed.

I want you to know why you're employed

here as a security guard.

- It's obvious.

This place is stacked
out with valuable stuff.

Some of the pictures
alone are worth millions.

- Who told you that?

Charteris or Ince?

- I don't know what you mean.

- They're in it together, Jed,

and you are being taken for a mug.

- There's nothing in this place
worth more than a few quid.

It's all fake.

- It's an insurance scam, Jed.

Once your friend Ince has
cleared this place out,

who d'you think I'll be looking

for as the inside man who let him in, eh?

- With your record,
it'll be open and shut.

- [Barnaby] Charteris and Ince
know that you are no grass.

In fact, they're relying on it.

- It'll be a long sentence too.

- Yes, indeed it will.

Especially if he's
involved with a murderer.

- Murderer?

- Oh, I needed that.

- Oh, you've earned those, gentlemen.

(laughing)

- Careful, careful, careful.

Here comes the constabulary.

Being a bit loud, were we?

- No, of course you weren't.

May we join you?

- Yeah.

- Thank you.

You're looking in better spirits.

- We were remembering one

of Nick's films that we
all worked on together.

That's me, Neville,
Raymond and that's Ted.

- Oh, thank you.

Oh, the Four Musketeers.

- That was a long time ago.

- I can tell that by the
togas you're all wearing.

(laughs)

- That was on the set of
The Cross And The Sword.

A Biblical epic.

They were slaves.

I was an army commander.

I was actually on a horse.

- Raymond was an actor back then.

Proper parts.

- I was, yes.

You can look me up in Who's
This? of show business.

- Well, you're an extra
with the rest of us now.

- And it's the drink which has brought me

this far down the evolutionary
scale, Your Honour.

- Shame it wasn't a solo trip.

- Neville!

- But no, you had to drag
Ted along for the ride.

- Neville, that's not what happened.

- Oh, for pity's sake, Gwen.

Your husband, my brother,
drank himself to death

and he was always there
to buy the next round.

I'm going home.

Sorry.

'Scuse me!

- Hey!

- [Neville] Thank you!

- Thank you.

- Er, that's mine.

- Oh, I thought you were
gonna let me keep it.

- Sorry, darling.

- Aw!

- It's the only one I have of Ted.

(dramatic music)

(crying)
(dramatic music)

- You wish once more to see me

a love-sick supplicant at your feet,

so that you can have the pleasure

of kicking me aside like
a troublesome lapdog?

- It's not working.

- It's only a run-through.

He's doing his best.

- He's too wooden.

- He is supposed to be wooden.

He's a stiff-arsed aristocrat

who can't express his true feelings.

- My husband!

A man who loves me with a
passion underneath all that.

- But he can't bring himself to tell you.

That is the whole point of the scene.

Let's take a break.

- [Woman] Reload!

(phone beeping)

- Neville Hayward resents
the time Clandillon

spent drinking with his
brother Ted, doesn't he?

- Yeah, but Gwen didn't seem
bothered by it, did she?

And Ted was Gwen's husband.

- So maybe Neville was jealous?

Maybe he fancied Clandillon.

Unrequited love and all that.

- Do you think Neville's gay?

- Well, he's never married.

He's lived with his sister-in-law
most of his adult life.

- I'm not so sure about that.

Problem, Mr. Braxton?

- Oh, just the usual.

- Why don't you get someone
else to read the scene with her?

- Any suggestions?

- Yeah, Neville Hayward.

- Who?

- Neville Hayward.

There, talking to her now.

- An extra?

He'll be no better.

- She doesn't want someone
who's better, Mr. Braxton.

She wants some acknowledgement

of the tantrum she's just thrown.

- You're right.

Might be worth a try.

- And you'd be doing
me a favour, thank you.

- [Man] Stand by, stand by!

(dramatic music)

- Right, we're getting there.

Let's go once more from
the top of the scene.

And action!

- You required my presence, madam?

I assume that it was not with a view to

indulging in tender reminiscences.

- Why not?

The present is not so glorious

but that I should wish to
dwell a little in the past.

Is it possible that love can die?

- Good, good.

But you're ferociously proud,

and you're determined to get him

to express his true feelings for you.

- I thought the passion you felt for me

would outlast the span of human life.

- You wish once more to see
me a love-sick supplicant

at your feet, so that
you may have the pleasure

of kicking me aside like
a troublesome lapdog?

- I entreat you can we not bury the past?

- But I understood you to say that it

was your desire to dwell in it.

- And tears, tears.

- Since it distresses you
we will speak no more of it.

- Unable to express his
feelings he turns and leaves.

And that is where we're gonna cut.

That's absolutely wonderful!

Are you happy?

Right, well, all we need
now is for Sir Percy

to grace us with his
presence and we're away.

- [Man] Jack, have you got a minute?

- Neville.

That was very good, that.

Very good.

And very revealing.

- What do you mean?

- Gwen Morrison's interest in children?

Why did she never have
any children of her own?

- It's a touchy subject.

They were desperate to have a family.

Her and my brother, Ted.

- But they never did.

- Oh, well, they tried.

Three miscarriages, Gwen suffered.

- And what effect did that have on Ted?

- He was devastated.

Turned to drink.

Slow suicide.

- With Raymond Clandillon for company.

- When Ted died, I did
what I could for Gwen

but I can never forgive Raymond.

- That was good of you though, wasn't it,

you know, to stay around
and pick up the pieces?

- I did it for my brother.

- [Barnaby] Almost taking his place.

- Up to a point.

- Oh, yes, of course up to a point.

It's not as though you and
Gwen were husband and wife.

- Sergeant.

- We've just been talking
to Neville Hayward.

- That sounds ominous.

What's he been telling you?

(dramatic music)

- Gwen, I was very interested

in your attitude towards children,

and Neville told me about
your three miscarriages.

- He had no right.

- Was your husband, was Ted,

the father in all three pregnancies?

Or am I right in thinking
that, in one case,

the father was Nick Cheyney?

- This is none of your business.

- Well I'm sorry but I think
it certainly is my business.

I am trying to find out
who killed Nick Cheyney

and since I believe he was the father

of one of your unborn children,

it's very much part of my investigation.

- Where's all this come from?

- It comes from your behaviour
with Josh in the charity shop,

when you found out that
Nick Cheyney was his father.

that we know that Nick
Cheyney was Josh's father?

- Oh, God!

- [Leonie] She was just
about to go home, actually.

Nick's death has really upset her.

- I couldn't believe that I was holding

Nick's son after I'd killed our own.

I so wanted to have that child.

But I couldn't do it to Ted.

Not after what we'd been through

and so I let him think
that I'd had a miscarriage.

- [Jones] What about Cheyney?

He, made all the arrangements.

He was good at that sort of thing.

- Gwen, did you kill him?

(door creaks)

- They seek him here, they seek him there.

And now I've found him.

- What the hell are you doing?

- I thought somewhere private.

Somewhere suitably murky for
a grubby little revelation.

- Are you raving?

- I know your secret.

- You're mad!

- And you do have a secret, don't you?

I know, because I have it right here.

You killed Ted.

- No.

- Your own brother.

Just because he was married to Gwen.

Is that what it was with Cheyney?

Was he too close to her for your liking?

- [Gwen] Leave the village, why?

- You can see the way Barnaby's thinking.

That we're in this together.

That we've exacted some kind
of revenge on Nick Cheyney.

- And why would he think that?

- Because he knows
Cheyney wrecked your life.

So trust me, please.

We have to leave this village
if we want to be together.

- We are together.

- You know what I mean.

- Neville, I don't want
to talk about this.

- No.

I'm not allowed to mention
the way I really feel.

Talk about that love that
dare not speak its name.

- Now you're being histrionic.

- You can give yourself to

a callous bastard like Nick Cheyney.

- Stop it!

- Where did I go wrong?

Made the mistake of
actually caring for you,

instead of treating you the way

every other man in your
life did, except Ted.

How many times did you expect
him to look the other way?

- He never knew.

- In our business?

Impossible.

You must have known you
were destroying him.

But you kept on playing the part.

Poor Gwen, she was so in love with Ted.

Must have been to put up with

that brother of his all these years.

- I know why you've put up with me.

And it's never gonna happen.

And if you can no longer accept that,

then you'd better leave.

Now!

- [Man] Tom, you got five?

- Oh, Raymond.

It's you.

- Not still down in the dumps?

- I've just had a
terrible row with Neville.

- Well, that's not difficult.

Here.

Have a few swigs of this.

- I thought you'd stopped drinking.

- I have.

But I'm like an old Saint Bernard

bringing succour to those that need it.

- So, you'll be on until
two o'clock and then.

(dramatic music)

- You haven't seen Gwen, have you?

- No, not for a while.

But she wasn't feeling
too good earlier on.

- She might have gone
home with Neville, then.

- More than likely.

- Oh!

Ron, Maria!

(suspenseful music)

(whistling)
(suspenseful music)

(suspenseful music)

(car hissing)
(suspenseful music)

(suspenseful music)

- Are you all right?

- Bloody but unbowed.

In fact, not even bloody.

- What happened?

- Had one of my turns.

Came off the road.

Still feel a bit groggy.

- Right, I'll call for help.

- Thanks.

Mine's in the car.

- Where are you going?

- I forgot to turn the engine off.

- No, wait a minute.

You wait there.

I'll do that.

(suspenseful music)

Right, rescue vehicle's on its way.

Now, come on, Raymond.

Let's get you to A&E.

- Oh, there's no need for that.

- Yes, there is.

Come on, no arguments.

You've gotta be checked out.

Come on.

Uh, tell me.

You and Gwen Morrison.

Why do you get on so well?

- I suppose it's because we

both once cared for the same man.

(suspenseful music)

(engine rumbles)
(suspenseful music)

- I thought you were supposed
to be going out at eight.

It's nearly nine.

- It's a girls' night out.

It's nothing to do with you.

- Let's drop the pretence, shall we?

You're off to spend the
night with Jack Braxton.

- Of course.

I'm simply keeping up the
facade of civilised duplicity.

Enjoy your evening with Lady Blakeney,

or whatever her name is.

- Diane just because I used
Cheyney for my business,

don't think that made me
despise him any the less,

or myself for having
anything to do with him.

- Why are you telling me this?

Did you kill Nick?

- I'm just saying.

I'm sorry it had to come to this.

- Why didn't you say that
while there was still time?

(dramatic music)

(phone beeping)

(buttons beeping)

(locks clicking)

(dramatic music)

- Terence.

- Oh, at the risk of
sounding a little corny,

a beautiful rose for a beautiful lady.

- Oh, you shouldn't have.

- Special occasion?

- A special drink for a special lady.

- Okay, don't move!

That's enough Ince!

Cuff him!

- [Terence] I mean, I love the idea but,

does it have to be the '60s?

It makes it much more expensive.

- I know but we've got it down

to about three million dollars.

We've got a production
company in Maryland.

- [Barnaby] Mr. Charteris.

- Oh.

Chief Inspector.

- There's been an attempted
robbery up at the Manor.

- Terry.

- Attempted?

- Yes, sir, attempted.

Fortunately, we caught them in the act.

- You don't seem very pleased, sir?

(dramatic music)

- Not very vigilant, Jed.

- I was going to give you a ring, Jed,

but I thought you'd prefer
to hear the news in person.

All rounded up.

Didn't have to use the
thumbscrews on Mr. Ince.

He's already given us Charteris's name.

- And yours.

Just as well you decided
to change sides, eh?

- So a big thank you.

- By the way, somebody tried to break

into the props store earlier.

But we didn't find anyone.

- We?

- Me and your PC, guarding the guillotine.

- Constable!

Give me the torch!

(dramatic music)

- Oh, oh, my.

- Gwen.

- There's no sign of Neville
and his car's missing.

I've put out an APB.

- Ah!

The law never sleeps, eh?

A bit early in the day
to come calling, though.

- Could say the same for you sir.

- No car.

I've come to cadge a lift from Gwen.

What?

- Gwen Morrison won't
be going to work today.

(gasps)

- Full name, that sounded official.

- Gwen, Gwen's body was
found at the guillotine

in the early hours of this morning.

- Body?

- She's been beheaded.

- I keep trying to picture it and block it

out of my mind at the same time.

Oh, God.

How's Neville taking it?

- Well, we'll know that when we find him.

- Gone missing?

- It appears so, yes.

- Well, does that mean?

- Does it mean what?

- Well, Gwen dead, Neville gone missing.

- Do you think it's likely

that Neville would have harmed her?

- Gwen, no, no.

He'd love to get me under
that blade, but Gwen, never!

- There's no love lost
between you two, is there?

- I'm afraid I might be partly

responsible for him disappearing.

- What's this?

- An anonymous letter.

Well, it was sent to
Ted anonymously, anyway.

Telling him about his
wife and Nick Cheyney.

- Did Ted know who was
responsible for this?

- No but it had to be from somebody that

wanted the marriage to break up.

- Someone who was willing to
spend 15 years of his life

with Gwen without ever letting
his true feelings show?

- That's why you're the Chief Inspector.

Took me years to work that out.

- What did you do with it?

- Oh, I confronted him with it yesterday.

A grubby little revelation.

He was a snivelling wreck.

Because I have it right here.

Especially when I threatened
to show it to Gwen.

- [Jones] And what would that achieve?

- It was a bluff.

I wouldn't have done that to her.

- But Neville didn't
know you were bluffing.

- No.

I thought he deserved to sweat.

- You know, Raymond, if Neville felt

that strongly about Gwen,
it must have been hard

for him just living with her as a friend.

- Torture.

But you'd be surprised how little someone

will settle for when they're in love.

- Mr. Braxton.

You know why I'm here.

- You're closing us down.

- That is correct.

- Before you make the announcement,

may I just say a few words?

- Make it brief.

- Ladies and gentlemen.

Could I have your attention, please?

Quiet, please!

We're going for a take!

- Quiet, please!

- [Man] Quiet, please!

- Thank you.

I just wanted to say a
few words about Gwen.

Most of us knew her in
some capacity or other.

The people of the village remember

a compassionate and caring woman.

The more venerable among
us in the acting profession

knew that side of her too,

but we also remember a performer
who was game for anything.

Who can forget the leather bikini,

the whip and the stuffed swan?

The Lovely Leida.

Well, the point is Gwen
was a very special person,

and however we choose to remember her,

we should do our best to
keep that memory alive.

Thank you.

- The Lovely Leida?

- There was a side to Gwen

that you knew nothing
about in Midsomer Magna.

- So Gwen hadn't returned home by the time

you left the house
yesterday evening, right?

- I didn't expect her to.

- Why is that?

- I thought she was deliberately
staying away till I'd gone.

- Had she asked you to leave?

Where did you plan to go?

- Plan?

Do I look as though I had a plan?

- You know, everything points
to Neville Hayward, sir.

- Except for the fact
that we picked him up

at a 24-hour diner and the staff tell us

he'd been sitting there
since yesterday evening.

- All during the time Gwen
Morrison was guillotined.

- So we let him go?

- Yes, well, we've got no choice, have we?

Tell him not to leave the
house without notifying us.

- DS Jones.

Yeah.

Take Neville Hayward home, please.

Thanks.

(dramatic music)

- On my way home, Tom.

- George.

- But we found traces of
Oramorph in Gwen Morrison's body.

- Did you?

Enough to render her unconscious
before she was killed?

- Definitely.

- So they were both
unconscious by the time

the killer laid them under
the blade of the guillotine.

That's why there was no sign of

a struggle from either her or Cheyney.

- I still don't see how
it's possible to get

them there without being seen or heard.

- No, me neither.

Especially Gwen.

I mean, all right, the killer broke into

the props store as a diversion

but that wouldn't have given him

the time he needed, would it?

- No.

Unless, unless the body was
already at the guillotine.

The cart full of headless dummies.

- Sir?

- Headless dummies, Jones.

He should have been driving them away

from the guillotine, not towards it!

George.

Come back, I want you to be part of this.

The Oramorph.

You said it was available
on prescription, yes?

- At any high street chemist.

- Or hospital pharmacy.

That's how he knew where it was.

Raymond, let's get you to A&E.

- Oh, there's no need for that.

- Oh, yes, there is.

Come on, no arguments.

When I was driving
Clandillon to the hospital

that time there were roadworks.

There were diversions, but
he knew the way around them.

Because he'd been there before.

- Is he suffering from terminal cancer?

- Any way of confirming that, George?

- A post mortem.

- Well, use your clout with the hospital.

- Not in my remit.

- Thank you, George, thank you.

(dramatic music)

- I don't any more, as you know.

But I thought you might
like a little pick-me-up.

- Oh.

- You suspected, didn't you,

that Neville was in love with Raymond

and jealous of him spending
so much time with Ted.

- That's when I thought
Neville was gay, but he isn't.

- But Raymond is!

What if, during the many
hours he spent consoling

Ted in the various pubs and bars,

Raymond fell in love with him?

- [Jones] Without Ted realising?

- And when Ted died of the booze

and the broken heart,
caused by Gwen and Cheyney,

then Raymond would have been
devastated and very angry.

- But why wait 15 years
to take your revenge?

- He's dying.

He's got nothing left to lose.

He's settling old scores.

And his car.

I didn't realise it was still running.

His engine was still running

but I couldn't hear it.

It explains why Freddie Greenaway

didn't hear a second car engine outside

the hotel the night of
Cheyney's murder, doesn't it?

- Clandillon took Cheyney
to the film set in his car.

If he was in love with Ted,

he'd have a reason to
kill Cheyney and Gwen.

- And Neville Hayward for
sending Ted that letter.

(doorbell rings)

- No sign of movement, sir.

- Film set.

(dramatic music)

(groaning)

(dramatic music)

- Chief Inspector.

I must applaud your sense of the dramatic.

Unfortunately, your timing's
just a little bit out.

- There is no point in this.

- Oh, I think there is.

I'm not prepared to let the people

responsible for Ted's death go unpunished.

- But you've already done what

you've set out to do, haven't you?

You came to Midsomer to
catch up with Nick Cheyney

and you've done that.

- And having Gwen here
made it so much easier

to lure him to his fate.

- [Barnaby] You waited outside the hotel

for him to get back from
his dinner at the Manor.

And you knew he'd be drunk, didn't you?

And then what?

I suppose you told him that
Gwen wanted to see him?

- Given the history between
them, I knew he'd be curious.

(laughs)

- Top quality malt.

I knew it!

I knew you were still drinking.

I suppose you know this
means you're fired.

- Finish it off.

- [Barnaby] The whisky
was spiked with Oramorph.

- You have been doing your homework.

- And then what?

I suppose you parked a little way away

from the film set and advised Cheyney

to get rid of the security guard

so his meeting with Gwen wouldn't be seen.

- It's as though you were there.

- You're dying, Raymond.

Why would you be bothered
about being caught?

- Well, I wasn't.

And there was still Gwen and
Neville to be taken care of.

- Raymond, Cheyney I can understand.

Neville, yes, maybe.

But Gwen?

I mean, why Gwen?

Surely Gwen was the chief victim?

- Victim?

Gwen was a more than willing partner

in their squalid little affair.

- [Barnaby] So in your eyes
she was as guilty as Cheyney.

- More so.

- Oh, Raymond.

It's you.

- I bided my time.

Gave her a few swigs from my hip flask.

Specially prepared.

- Whisky and Oramorph.

(dramatic music)

Do you know, Raymond?

You are doing him a great favour.

- You think so?

- Yes, I do.

He wouldn't want to
wake up to the memories

he'd have to live with.

- Don't come any closer, Sergeant.

A rather squalid attempt

at reverse psychology, Chief Inspector.

But it's worked.

He'd much prefer oblivion
to a living hell.

Here.

You want this.

- No, not really.

I had that lock changed.

I wanted to see what you'd do.

- And I made the noble gesture.

Appropriate, really,
the Scarlet Pimpernel.

It's a far, far better thing I do.

That's A Tale Of Two Cities.

- Is it?

Typical of my life.

I'm in someone else's story again.

- [Jones] By the way,

thanks for telling me
about changing the lock.

- [Barnaby] Oh, sorry.

- [Jones] I was sweating cobs back there.

- [Barnaby] Yeah, I'm sorry.

It was a last-minute decision.

- Oh, it's just as well.

He was going for the hat trick.

I mean Cheyney, Neville, I can understand.

But I had no idea how he
really felt about Gwen.

- I think he'd be very
pleased, very proud,

if he could hear you saying that.

- Sir?

- Well, obviously he saved his
best performance till last.

(clangs)

(dramatic music)