Dalziel and Pascoe (1996–2007): Season 9, Episode 7 - Dust Thou Art: Part 1 - full transcript

(DANCE MUSIC PLAYING)

Lisa, wait a minute.

Lisa!

Lisa.

Lisa, come on.

—(GRUNTS)
—Fellas, PC Jackson.

Do you need a hand?

We're all right, love.
Backup's on its way.

Unless you want a lift.

We'll give you a lift, love!

(TYRES SQUEALING)



(MUFFLED SCREAMING)

—Mmm.
—Fellas, over here.

No, help.

(PANTING)

Uh. (MUFFLED SCREAMING)

(TYRES SCREECHING)

(MUFFLED)

MAN ON TELEVISION: The Strength
has seemed to be draining away from...

(MUFFLED)

Oh, yeah. Oh.

(FARTS) Oh.

Well, this may be 17th—century
and Dutch...

Oh, it is!

...but it doesn't do much for me.



Come here.

Come and stand here.

Look at the tips of the waves.

It looks like the artist

has put silver on his brush
and blended it in.

(DANCE MUSIC PLAYING)

MAN: Hiya.

—Hiya.
—How you doing?

I'm good. Thanks. You?

—Yes, I'm fine. You look well.
—Good.

Thank you.

—Keys.
—Yeah?

—I have to get going.
—Okay.

Okay?

AUCTIONEER: 47,000.

47,500.

48,000.

48,000, 48,500.

49,000.

49,500.

Any advance on 49,500?

50,000.

Any advance on 50,000?

Selling at 50,000.

I'm selling.

(GAVEL THUDS)

Thank you, madam.

(MURMURING)

Goodnight!

— (TYRES SQUEALING)
—Look out!

You okay?

Yes.

(PANTING)

(PHONE RINGING)

Yeah, this is DI Pascoe.

Uh, my location is the car park
of the auction house in Brewer Street.

Yeah, I've just witnessed,
uh, an attempted hit and run

by someone driving a grey saloon

uh, south along the Malton Road.

Thank you. God bless you.

The victim's name is, uh...

Anna. Anna Wisley.

(DANCE MUSIC PLAYING)

You should be at home, Emma.

Warming my brother's toes.

Someone's got to be trusted
to cash up after this lot.

Haven't they, Dave?

Free drinks aren't a perk of the job.

I hope you paid for that bottle, Tony.

You'll be owing us a few quid then.

(LAUGHS)

(DOOR OPENING)

(DOOR CLOSES)

—We got a name?
—A Visha Iqbal.

Wallet with cash and credit cards
found in his trouser pocket.

Suspicious?

Time of death?

At the first approximation,
I'd say early hours of the morning.

We're trying to trace the next of kin.

—(CAMERA CLICKS)
—Is that a stab wound?

Chest wound consistent with
penetrating trauma, yes.

Looks like a defensive wound
to the hand.

It'll be murder again then.

—You don't want to talk to Tony, do you?
—I can't just turn him out.

I feel responsible for him.

Roll on your retirement.
Then Visha can deal with him.

If you'd have only let me take over.

Oh, come on. We've been
through this hundreds of times.

I'm sorry, Emma.

It's okay.

But my brother's not.

He's a grown man,

an employee,

our so—called drama teacher,

and he never pulls his weight.

I'm running late.

Oh, you've forgotten your script.

(PIANO PLAYING)

# Consider yourself at home #

He won't survive when Visha takes over.

If I'd been appointed
as your successor...

Do we really need to go
through all this again, Emma?

I'd have been telling Tony to resign
quietly or face dismissal.

Don't think Visha will give him
the soft option.

Morning, lads.

—Morning.
—Morning, Jimmy.

—You got anything?
—Not yet.

Well, there is a little bit
of station gossip.

—Well, go on then.
—I've been having a word with uniform

and apparently Jackson
hasn't reported for duty today.

Saucy cow.

Bet she was out on the tiles last night.

Picked up a fella.

Still squeezing the goodness out of him.

That's what her mates think.

(PANTING)

(WHIMPERING)

Come and have a look at this.

New acquisition for the museum?

Yes, uh, it needs some, uh, restoration.

But I quite like it.

So, what do you want me to do?

The sailing ships.
They've become quite obscured.

—Sailing ships?
—Yes, one large and one small.

There and there.

Oh, yes. I think I see what you mean.

Yes, and it obviously had

a bit more going on
in the foreground there.

—Yes, obviously.
—(LAUGHS)

-Usual terms.
—My pleasure.

I'm really embarrassed that
I can't pay you more.

Well, it's the only way
we're gonna keep this museum open.

I like Emma.

You know, she's a good worker,
she's a good business woman

and she's the last person
in the world I would wanna offend.

(SIGHS)

So, what's it gonna take to swing it?

Um, a box of chocolates or some flowers?

Gone beyond all that, Tony.

—Your whole record...
—I know, I know, Paul.

I mean, you gave me a break here
when I really needed it

and I really wanted to make it work.

You could have been
a terrific theatre manager.

You had lots of ideas.

You sound like my old headmaster.

"You're a really gifted student, Tony,
but you must work harder."

And then he expelled me.

You were expelled for theft, remember?

It's not too late.

And you can't really fail
with Oliver!

You can't even get in on time
for your own rehearsals.

Let alone run a whole production
of your own.

—(SIGHS)
-Got lots of pencils.

I don't think you can survive
in this place when I retire.

Wouldn't you be surprised to see me
do something successful on my own?

I mean, I know you've always
had to bail me out.

And I know the knives will be sharpened
for me when you go, but...

Maybe that's just what I need.

And what about the money?

Commercial sponsorship.

No, I mean the money you owe here.

A £20,000 loan.

That'll be okay. I'll take care of it.

Yeah, I know.

You and Emma have got me down
as being a feckless little shit.

No one said that.

I've got to get back to rehearsals.

We'll see.

(SIGHS)

(GASPS)

(SCREAMS)

Shut up.

(WHIMPERS)

Thank you.

Pam's in the sitting room, Anna.
Go on in.

I know we agreed that we didn't want
the police involved, Richard,

but someone tried
to run me over last night.

-Are you all right?
—Yeah.

I'm worried it's because
of what I said about the drawings.

I can't tell the police, Anna.
It's impossible.

Maybe it's just coincidence.

But, Richard,

if it was the people
you were dealing with...

I'm sorry but I won't tell the police.

Lisa was kidnapped last night.

Oh, baby.

RICHARD: I've got to do
a deal with them.

The money will have to be paid

and the drawings returned.

Oliver! I saw the film of that.

# All I want is a room somewhere

# Far awe y from the fold night air #

—That's the one, isn't it?
—No.

Don't be daft. Course it is.

It was good, that.

# Oh, wouldn't it be lovely?

# Lovely? Love... #

Hey!

Hey! Come here.

Ow! Ow!

—Police.
—PASCOE: Andy.

I think there's been a misunderstanding.

—Name.
—Mark Tattoo.

What do you call this?

It's sheep shit, actually.

-Ah!
—(SNIFFS) Urgh!

—It bloody is an' all!
—It's art, Andy.

Where's the shit come in?

What's wrong with paint and a brush?

(WHIMPERING)

Hello.

Can you hear me?

What's your name?

Lisa.

Lisa, my name is Maria Jackson.

I'm a police officer.

The police? Thank God!

—Shh.
—What?

Keep your voice down.
They mustn't know I'm police.

Who are these people?

What's going on?

You tell me.

(SOBS)

It'll be all right.

We're gonna be okay.
We're gonna get out of here.

Visha was our music tutor.

Evening classes, schools' programmes.

He was very popular with everyone.

He was going to take over from me
when I retire.

Do you, uh...

Do you know a Lisa John stone?

Lisa John stone? Aye.
She's at sixth—form college.

Actually, she should be here right now
with Visha's music class.

When you say "should"?

She didn't turn up today.

What was the relationship
between Visha and Lisa?

Pupil and teacher. Why?

Were they having an affair?

They were consenting adults.

He was a married man of 35 with two kids
and she's a 17—year—old schoolgirl.

What's up?

I'm really worried about Jackson, sir.

Didn't realise you were so soft on her.

She still hasn't turned up.

Well, haven't you tried her at home?

No sign of her.

Jackson will have been out with
some of the other uniforms.

They'll know whose bed she's in.

Well, that's just it.
She wasn't, though.

Don't tell me she was on her own.

Any one of the local shits
could recognise her.

Have you checked
all her relatives and friends?

Uniform will sort it.

Yeah, well, they're not detectives,
are they?

If they need us, they'll ask, Andy.

We got a murder on our hands, remember?
Come on!

Keep me posted. Take this.

MARIA: Help!

She's doing my head in.

I'll sort it.

MARIA: We need water!

We haven't had anything!

(GRUNTING)

Please! If you can hear me!

We'll die without water!

Shut up, you little slag!

(BREATHING HEAVILY)

(PANTING)

(DOOR OPENS)

She's had a drink.

The essence of drama

is the ability to become characters
other than ourselves.

Now, let's take that one step further
as an exercise...

We didn't come here for drama.

We're music, us.

Okay, well, you can be
an organ, then, Kirsten.

(ALL LAUGH)

Sorry to interrupt, Tony,
but has Lisa John stone arrived yet?

Um, no.

Ask Kirsten,
they're usually joined at the hip.

Oh, in that case then,
we'd like a word with you.

Uh, if you can spare her, Mr Watson.

Oh, we'll just have to manage.

I told ya.

We normally meet for a coffee
and a fag at Joe's before we come here,

but she didn't show up.

That's all I know.

And she didn't call you?

Or even text you to let you know?

Have you two had a row?

Fallen out over Visha Iqbal
by any chance?

Mr Iqbal's wife

received an anonymous letter.

Is this your handiwork?

It weren't me.

Mr Iqbal's been found dead.

What?

So, you see, Kirsten,

this is a very serious matter.

It were only meant to be a joke.

# Vous coucher avec moi

# Voluez vous coucher avec moi

# Now come on and share
at“! your deep fantasies

# I'm asking, not telling you, please

# Show me at“! night
you can do me right

# Take me where I wanna be

# And I'll be singing

# Gitchi gitchi yaya dada

# Gitchi gitchi yaya here

# Mocha chocolata, yaya

# Where do you think
you're sleeping tonight? Oh

# Voulez vous coucher avec moi ce soir

# Voulez vous coucher avec moi

# Voulez vous coucher avec moi

# Voulez vous coucher avec moi #

Uh, carry on, Kirsten.

KIRSTEN: It was pretty obvious,
the way they carried on.

But, anyway, Lisa told me straight out.

How did she feel
about this relationship?

She was full of it.

She's like, this educated,
sophisticated, mature man

has taken an interest in her.

Taking her seriously.

Telling her she's beautiful
and talented.

And you didn't approve?

I told her,
"You're talking out of your bum.

"He just wants to get in your knickers."

And he did.

What else can you tell us
about Visha Iqbal?

Go on.

Him and Lisa were having
a row last night.

(DANCE MUSIC PLAYING)

KIRSTEN: Here, at the dub.

DALZIEL: What about?

KIRSTEN: I don't know

IQBAL: Lisa, wait a minute.

KIRSTEN: Then they went off together.
IQBAL: Lisa.

DALZIEL: Did you see Visha after that?

No.

What about Lisa?

I tried her on her mobile.

It was switched off.

I left messages.

Is she in trouble?

I don't know, Kirsten.

LISA: What are you doing?

Getting us out of here
before they come back.

(WHIMPERS)

I feel really sick.

You'll be all right.
You probably just need a drink.

No, it's not that.

I'm pregnant.

Oh, God!

(SIGHS)

(TYRES SCREECHING)

Right!

Oh!

(SCREAMS)

(MOBILE PHONE RINGING)

(SCREAMS)

(SCREAMING CONTINUES)

Is it true that Visha's been murdered?

He, uh...

He was such a lovely guy, I...
I don't know how this place will go on.

Same as we all do.

Someone's gonna tell you,
so it might as well be me.

And you are?

Susie Ferdinand.

I was having a...

a fling with Visha.

A fling with a future
or just a one—night stand?

I don't know, really.

Visha would promise you anything.

You know the old story.

"When the children are older,

"when I'm in a better
position financially."

But you believed it.

That night I did.

Susie, did you know that
Visha was having a relationship

with Lisa John stone?

No.

(SIGHS)

I suppose I shouldn't be
surprised, really.

So, you weren't jealous?

No.

What are you trying to say?

Who else are we supposed to see
apart from this Lisa John stone?

I'd like to have a word
with Tony Watson.

According to Emma Collins,
Visha was gonna fire him

as soon as he took over
the running of this place.

# I don't want nobody hurt for me
Or made to do the dirt for me

# This rotten life is not for me
It's getting far too hot for me

# Don't want no one to ml for me
But who will find a job for me?

# There is no in between for me

# But who will change the scene for me?

# I think I'll have to
think it out again, hey! #

Very touching.

Yeah. Won't be a dry eye in the house.

I need to ask you some questions.

Yeah, of course.

Where were you last night?

I was rehearsing in here,
then I was in the bar.

What was your relationship
with Visha Iqbal?

Well, it's a bit delicate.

Try me.

Well, you see, he was having
a fling with Susie Ferdinand

and so was I.

Go on.

Well, it's just that someone
coming in from the outside

might misread the situation.

So, how should they read it?

Well, personally, I thought
Susie was daft to have anything

to do with a chancer like Visha.

But, none of my business.

How did you get on
with him professionally?

Yeah, well enough.

Wasn't he gonna be your new boss
when your brother retired?

Half brother.

No, I didn't want the job anyway.

Well, it's not the same as having
your brother in charge, though, is it?

Job's not worth killing for. (CHUCKLES)

You're a good actor.

I expect there'll be
a search on for you.

Oh, yeah.
My mum and dad will be going mad.

They'd be squeaking for the police
as soon as I was five minutes late.

(GROANING)

(METAL CLANKING)

(LISA PANTING)

Where's the pain?
Is it something to do with the baby?

I don't know.

(SOBBING)

It feels a bit like period pains
from hell. (GROANS)

You're not bleeding, are you?

(SOBS)

I don't think so. It just hurts.

And I'm so cold.

Okay, okay.

We've got to keep you warm.
Come on, lift up.

(SOBBING)

It's easing a bit.

I think it's going away.

They'll be looking for you too,
won't they?

Oh, I don't know about that.

Probably just think I've gone off sick.

But what about your home?

Someone's got a few bob.

Not exactly homely, though, is it?

(DOORBELL RINGS)

(DOOR OPENS)

RICHARD: Yes?

Superintendent Dalziel.
This is Detective Inspector Pascoe.

We'd like to speak to Lisa John stone.

That isn't possible.

My daughter isn't at home right now.

We think she may have been the last
person to see her music teacher alive.

Visha Iqbal?

These are lovely.

Yes.

Yes, we're very lucky.
They're originals.

Stock in trade, you might say.

We have an art and antiques business

and we like to get some enjoyment
out of our working capital.

So, where is your daughter,
Mr John stone?

She's gone away for a few days
with my wife.

But you must know where they are.

Well, they took my wife's car
and headed off for the Cotswolds.

Going to take pot luck
at whatever they came across.

DALZIEL: Strange thing to do
in the middle of term.

RICHARD: Yes. But we had a problem.

What kind of problem?

Lisa was having a relationship
with Visha Iqbal.

Well, that couldn't go on,

it was an outrageous abuse
of his position, so we...

decided to take Lisa away for a while

until we worked out what to do.

Oh, yeah.

Can you confirm
your whereabouts last night?

Well, certainly. I was here
with my wife and Lisa

until they left early this morning.

But your daughter was at the club
at the Art Centre last night.

Yes, I mean when Lisa came home.

You do understand that it's urgent
that we speak to your daughter.

(PHONE RINGING)

Excuse me.

DI Pascoe.

As soon as Pam gets in contact, I'll...

I'll tell her you need to talk to Lisa.

Well, ring her on her mobile now.

Tell her I need to speak
to both of them.

It'll be turned off.
My wife's a very careful driver.

Leave a message.

Andy.

There's another body.

(BREATHING HEAVILY)

-We're going to die here, aren't we?
—(SHIVERING) Don't be daft.

There's bound to be a big search on.

Pictures on the news and everything.

Yes.

All we gotta do is stay calm.

(DOOR OPENING)

Be assertive.

Well, what about our feet?

Lisa's in pain.

I thought you were giving up.

Come on, Suse.

I know you were fond of him.

We all were.

Sick of this place.

Time to move on.

—You wanna come with me?
—Where?

Somewhere hot.

Spain maybe.

Buy an old ruin.

—Do it up.
—(CHUCKLES)

Tony, you've not got
two pennies to rub together.

No, money's not a problem.

I've got the best part
of 20,000 quid for starters.

—I don't understand.
—You don't have to.

What are we doing here?

Just an RTC, isn't it?

Uh, Traffic weren't happy.

There's damage to the side of the car.

Looks like it might have been
shunted off the road.

Fair enough.

I know this woman.

—Who is she?
—Anna Wisley.

She was nearly run over last night
outside the auction house.

(LISA SOBBING)

I think I'm bleeding.

You know, from inside.

I think it's the baby.

Listen, don't worry.

I'm gonna get out of here
and get us some help.

Don't leave me, please.

—Please, don't leave me.
—Okay, okay.

All we've gotta do is get
the chain off your ankle.

Any further news on Jackson?

Still hasn't turned up.

Phil Higson was on town centre
duty last night.

He said he saw her about 9 o'clock
going to get a cab

wearing her clubbing gear.

What's on the CCTV?

Nothing on the camera. It was focusing
on the brawl Higson was sorting out.

So someone tried to run Miss Wisley
over last night,

and now she's been forced off the road.

Mason thinks she died on impact.

What was she doing
in the middle of nowhere

when she should have been at work?

Well, that's the road
to the John stones'.

I'm sure I saw them
with her at the auction last night.

Miss Wisley's assistant said
the painting she bought

from the museum's missing.

PASCOE: It's a 17th—century
Dutch seascape.

Mark Tattoo, that sheep shit artist,
was here this morning.

Then she cancel led
the rest of her appointments.

Has Tony ever mentioned to you
about buying a cottage in Spain?

Yes, and, arm... apartment in Florida
and a beach hut in Thailand.

You name it, he's planning it.

Oh.

So, it's a Spanish villa this time?

You don't take him seriously, do you?

No. No.

He's a conman, Susie.

I thought Paul was the only one
who couldn't see it.

Look, tell uniform to get
their finger out.

She's one of theirs.

All right?

Right.

Well, make my day.

If it isn't Dave Green.

It's been a while.

Not long enough, Dalziel.

Not working behind a bar again, are you?

Give me a break.
It's the only trade I know.

Oh, be fair to yourself.

There's always fiddling.

I did my time for that and more.

How did you get this job?

Fake references?

PASCOE: What can you tell us
about Visha Iqbal?

Not a big drinker.

Put it about a bit.

DALZIEL: Was he into any scams?

'Cause you're the lad who'd know.

LISA: What are you doing?

(WHIMPERS)

They're taking me.

It's all right, Lisa.

Just do what they say
and you'll be okay.

(DOOR CLOSES)

This is the painting Anna Wisley bought
last night at the auction.

So, what are you doing with it, Mark?

I'm restoring it.

How do you get involved in that then?

Well, I did a bit of training
when I lived in Italy,

I mentioned it to Anna,

and she asked me
if I'd like to do some work for her.

So, uh, what do you do?

You X—ray the painting,
see what's underneath,

then use chemicals to clean it up?

No, it's more like
just paint and a brush.

You mean you make it up?

I mean, Anna and I know
what ought to be there

after the dirt's been taken off.

And all this adds significantly
to the value of the picture?

Well, it would, yes.

But what you've got to understand
is Anna isn't trying

to make money out of any of this.

-Oh, no?
—No.

She does it for the museum.

Look, she has a very limited budget
for new acquisitions.

She just wants to give the public
better paintings than it can afford.

So, Mark...

Can you think of any reason why
someone would want Miss Wisley killed?

No.

Well, her car was shunted off the road
earlier today.

No.

No, she was lovely.

A real friend.

Huh.

(LISA SHIVERING)

What happened?

They made me do a video recording
asking for help.

Lisa, I found a way out of here.

I can't go anywhere.

My stomach's really hurting.

We've got to do something.

You're ill. Look at you.
I've got to get help.

No, don't be stupid.

They'll kill us.

I'll be back for you, Lisa.

I promise.

(SOBBING)

Oh.

And why would anyone want to kill
a highly—respected art expert?

Now, Mark Tattoo worked for Miss Wisley.

And also at the Art Centre.

And he's the only connection
between the two murders.

Uh, Parvez, have you got anything

—from forensics on Visha Iqbal?
—No.

But I've worked
through Wisley's phone records.

There are several calls to the home
of Pamela and Richard John stone,

confirming they knew each other well.

Well, that gives us another connection.

So everything points
to the bloody Art Centre.

I never did like art.
Here you are, take this.

All right.
Noses to the grindstone, everyone.

Let's keep at it, okay?

—Uh, Claire, isn't it?
—Yes, sir.

Can I have a word?

Your inspector said that, uh,

you were on patrol
with Maria Jackson yesterday.

I've already told him, sir.
I don't know where she is.

I mean, if I knew I'd have said.

I'm just trying to figure out
what sort of mood she was in.

Was there something wrong?

Well, you can tell me.

She was a bit upset.

Go on.

Well, more than a bit, actually.

I don't know
if I ought to say this to you, sir.

There won't be any comebacks.

Well, it was when she came
to see you, yesterday.

Came to see me?

Did she?

Oh.

She did put her head around the door.

DALZIEL: Hang about, I've only got
one pair of hands, you know.

Are you sure we're talking about
the same ca... Oh, bloody hell.

Hold on. I've dropped
my doings on the floor.

(PUTS DOWN RECEIVER)

—(PHONE RINGS)
—What? Oh!

Dalziel. Hold on, I'm on the land line.

Sorry, sir.
It's a bad time. You're busy.

'Course I'm bloody busy. I'm at work!

Hold on a minute. I've got uniform
here with something. Well?

Actually, it's nothing urgent.

Well, in case you hadn't noticed,
I'm on duty.

And, as you're in uniform,
I assume you are as well.

This is CID, not the recreation room.

I might have been a bit sharp with her.

She was going to ask
if you'd recommend her for CID training.

Was she?

Well, I'd certainly give it
serious consideration.

She's a good kid.

But after she'd seen you,
she said that...

Well, spit it out.

"Dalziel can stuff his CID
where the sun doesn't shine.

"I'm pissed off with
this bloody job altogether."

Sir.

Thanks.

—(PANTING)
—(ANIMAL SCREECHING)

I don't think we can be
of much help to you.

It... it's a long time since Maria
has been in contact with us.

But you're her parents.

MR JACKSON: Adoptive parents.

Like the social services say,
some placements just don't work out.

We adopted because we thought we
couldn't have children of our own,

but...when Maria was nine
our Jemma came along.

Maria played up from that moment
till she left home.

Well, it was very difficult for her.

MR JACKSON: She made it
bloody difficult for us.

I'm not surprised she's gone missing.

She bunked off often enough.

We tried to bring her back in line.
Hmph!

Impossible.

One word from me,
she'd be straight down the bus station.

Well, she always struck me as being
a very responsible young woman

and a good police officer.

Yes, well, you're not her father,
are you?

Dali, hem me.

(5085) Help me.

Please give them what they want.

Please, hem me.

(PHONE RINGING)

Richard John stone. Yes.

Yes, I've seen it.

Listen, we're doing our best. Please,

please, don't hurt her.

We'll do everything you want.

Leave off groping that kid.
She's worth money.

Unharmed.

Just a bit of fun.

Here you are, what the hell's this?

Is that bird in there a copper?

Looks like it.

I knew we should have got rid of her.

—Well, we didn't. Sit down.
—Why?

She's not part of the deal, is she?

We can do what we like with her.

(PLAYING PIANO)

# I'm reviewing

# The situation

# Can a fella be a villain
all his life? #

In your case, yes.

You haven't got an artistic bone
in your body.

I'm rehearsing.

Well, I'm reviewing your situation.

And, as I'm bound to be
Visha's successor,

I've decided that
you'll be the first to go.

You can't do that.
Paul's still in charge.

Well, he won't be in three weeks' time.

Emma's just told me
that she's taking over from Paul.

And then she's gonna get rid
of all of us.

There's gonna be no more theatre.

Your studio's out the window.

Probably gonna
turn this place into flats.

Come on, Tony, she's winding you up.

You wait and see.

I'm done with this. Cheers.

I always said these old books
would turn out to be an investment.

I'm not sure I want to
stay here much longer.

You want to go for a drink?

Yeah. Yeah, why not?

Hmm.

(DOOR OPENS)

(PANTING)

(GROANS)

(PANTING) Help!

Help me! Please!

(SOBBING)

Please!

I've been kidnapped
and they're coming after me.

Dave.

Dave.

I can't believe it's you.

It's Maria. I come to the club.

(DOOR OPENS)

How did you get on?

DALZIEL: Oh...

I knew that Jackson had been adopted
but I thought...

Well...

She's such a happy girl.

But her parents didn't seem bothered.

Did they have any idea
why she might go missing?

No.

They washed their hands of her
years ago.

I hope it's not something I said to her.

Sir,

got something from forensics
on Visha Iqbal.

Let's have a look then.

—Where's this come from?
—The back of Visha Iqbal's T—shirt.

—You see these fragments?
—Yeah, what are they?

Some kind of acrylic resin.

What's acrylic resin when it's at home?

Artist's oil paint
are made up of pigments,

colours mixed with oil.

Acrylic resin is a substitute
for the oil.

I think we're looking at
traces of fine art paint.

Like you might find on the floor
of an artist's studio.

So, Visha Iqbal could have been
killed at the Art Centre.

Mark Tattoo again.

What are they looking for?

Who has keys to the studio?

Well, me and Paul, of course, and Visha.

I mean, Visha
had a set as deputy director.

Were you using the studio
the night Visha died?

Uh...

Well, yeah. I'd have been in and out
of there during the evening.

What time were you in there last?

Ten thirty, elevenish, maybe.

Then what?

Went home.

And the studio was locked?

—Yes.
—(PHONE RINGS)

Excuse me.

—DI Pascoe.
—OFFICER: Sir, we found a female body

(INDISTINCT RADIO CHATTER)

OFFICER: Sir.

It's Emma Collins.

—I thought it was...
—I know.

Where is she, Peter?

—Where's Jackson?
—They're looking for her.

(SOBBING) Could help me with the pain?

—Where's Maria?
—Shut up!

—What have you done with her?
—Shut it!

(MUFFLED SCREAM)

Come here.

I know it's not
because of what I said to her.

People don't just disappear.

But they do, Andy. Every day.
You know that.

If someone doesn't want to be found,
there's a not a lot we can do.

No, no. Look. This is Jackson.

It'd take more than a bad day
to make her disappear.

In any case, she's one of us.

I'm, uh...

I'm really sorry to have to
press you now, Mr Boddison,

but Emma's the second person
from the Art Centre to be murdered...

It's okay.

DALZIEL: Were you together last night?

No.

We'd had a bit of a row and...

(SIGHS) I went home without her.

Where was she last night?

She stayed on at the Centre.

She needed to talk to
our artist in residence.

Mark Tattoo?

LATEEF: Sir?

Forensics reckon the car that forced
Anna Wisley off the road

is a red Volvo, 1995.

Good, get it circulated.

Morning, Kirsten.

So, what would you like to tell us?

I wanted to talk to you about Lisa.

Go on.

Well, the thing is...

she was meant to be meeting me...

early this morning.

Right.

She didn't turn up.

Didn't turn up for what, Kirsten?

I was going with her to the clinic.

You see, I had to go there myself once.

What kind of clinic?

An abortion clinic.

(GROANS)

I'm really not in a position
to help you.

Lisa was the last person
to see Visha Iqbal alive.

You spoke to Anna Wisley
on the morning she was murdered.

And now there's been another murder.

And you're telling us that your wife
and daughter still haven't made contact.

DALZIEL: Does your family's absence
have anything to do

with your daughter's pregnancy?

So what happened, Mr John stone?

Did you kill Visha Iqbal
because he got your daughter pregnant?

Anna Wisley found out about the murder?

Are your wife and daughter in hiding
whilst you sort this mess out?

Or have you killed them as well?

Richard, I can't stand this any longer.

Tell them.

Lisa's been kidnapped.

We've been liquidating our savings

and selling stock to pay
the ransom money.

I beg you not to interfere.

We were told not to contact the police.

#A man's gala heart

# Hasn't he?

# joking apart

# Hasn't he?

# And though I'd be the first one
to 55 y that I wasn't a saint

# I'm finding if hard to be
really as black as they paint

# I'm reviewing

# The situation

# Can a fellow be
a villain all his life?

# All the trials and tribulations

# I better settle down
and get myself a wife

# And a wife would cook and sew for me

# And come for me, and go for me

# And go for me, and flag at me

# The fingers, she would wag at me

# The money she would take from me

# A misery, she'd make of me

# I think I'd better
think it out again #

Thank you.

(THUNDER)

(GRUNTING)

This place has become a nightmare.
It could be any one of us next.

I've got an idea.

Why don't I get on the internet
and book a one—way flight to Spain?

We both know we're not going anywhere.

No, look. I want to take care of you.

Just you and me.

A new start.

Maybe we could buy a restaurant.

I suppose you want me to do the cooking.

Yesterday you wanted buy an old ruin.

No, what I really want
is for us to get married.

You're so full of shit, Tony.

—Anything from the kidnappers?
—No.

But Lateef has got some results
from Mark Tattoo's studio

at the Arts Centre.

Tell me.

LATEEF: The traces of blood
in the studio

I DNA matched to the samples
from Visha Iqbal's body.

If he weren't killed there,
his body was certainly kept there.

And Emma Collins's fingerprints were
all over the desk and papers as well.

Good. Anything else?

Well, there's some weird stuff.

I don't know if
it means anything or not.

The problem is,
what's normal in an art studio?

Sheep shit, apparently.
What have you found?

Particles of some kind of keratin.

What?

It's what makes up animals' claws,
bird feathers, human fingernails.

There's other organic stuff,
particles of oak gall...

Don't you get oak galls when
wasps lay their eggs in oak trees?

Thank you, David Attenborough.

We also found traces of iron sulphate.

Don't know what any of it means yet.

Any word about Jackson?

Nothing, sir.

Heath field's brought the girl
back into Wetherton.

I don't have to know that.
As long as it's secure.

All right, Dave?

Get the coffee on.

I can't serve you right now, Tony.
I'm busy.

All right.
Will you keep an eye on that for me?

(MUMBLES) Miserable git.

Go on.

The thing is,
there's a search on for the copper.

I know.

We've gotta get shot
of both of them soon.

Yeah, well, as soon as her old man
comes up with the money

and the drawings,
you'll get your share and Lisa can go.

—And the other one?
—I don't want to know.

DALZIEL: There must be something,
we haven't thought of, Peter.

—We should have found Jackson by now.
—We've had a break, sir.

Just had a call from a Mr Malone
from the Big Crush.

—The big what?
—Car crushers.

A man, medium height,
thinning brown hair, sharp chin,

just brought in a red Volvo.

—The car's registered to a...
—Mark Tattoo.

I can't prove I wasn't driving my car
when Anna was pushed off the road

but I was very fond of her,
she was my mentor.

Believe it or not, she liked my work.

Financially, well, any restoration work
she actually put my way.

Why would I want to kill her?

What about Emma Collins and Visha Iqbal?

Were they gonna get rid of you?

Is that why you murdered them?

(KNOCKING AT DOOR)

Lisa Johnstone's kidnappers
have made contact with her dad.

I'll get this over to surveillance.

We need a tracking device on it
right away.

Your wife does the drop, two o'clock,
one plastic shopping bag.

Pay phone, first floor
of the shopping centre.

Wait for instructions.

No, wait a minute.

I'm not sure.

I think I should do it.

(SIGHS)

(STUTTERING) I don't think
I can ask my wife to do this.

You heard just do it.

—(RECEIVER CLICKS)
—(DIAL TONE)

They're doing a trace.

RICHARD: I can't ask Pam to do this.

Whatever they want, I'll do it.

DALZIEL: Don't worry, Mr John stone.

We'll be there.

And we'll get Lisa back.

Charlie 1, courier's driving
into car park.

Charlie 1, courier's walking
towards the lift.

Foxtrot 5, we have visual.

PASCOE: Roger. You have control.

DALZIEL: You're doing fine, Pam.

Don't get into the lift.

Remember, use the stairs.

Foxtrot 7, I have visual.

Roger, you have control.

The phone booth's
at the top of the escalator, Pam.

Foxtrot 7,
courier's approaching the phone.

(ENGAGED TONE)

—Shit!
—(DISCONNECTS PHONE)

Okay.

That would be nice. Yeah. Bye.

(PHONE RINGING)

—MAN: Pamela Johnstone?
—Yes.

Leave the shopping centre
by the north exit.

Cross the road to the bus stop.

Catch the next 237 to Leeds, 601' if?

Yes.

I've got to get a bus.

-To Leeds.
- We're still with you, Pam.

Don't worry. Just keep going.

Foxtrot 7, courier is on the move.

Unable to pursue.

The Leeds bus could be a decoy.

All units stand by

(MOTORBIKE APPROACHING)

Charlie 1, two up on motorbike.

Approaching from Temple Street,
heading towards bus stop.

This is it. Do not intervene.

All units stand by

PASCOE: Charlie 1, possible targets
on bike heading for courier.

Charlie 1, targets have the money.
Heading west. West on Ickfield Street.

—(TYRES SCREECHING)
—Unable to pursue.

I'm coming out there now.

Do not let anyone move in
till we know Lisa's safe.

Take over.

—What's happening? Please.
—(MOBILE PHONE RINGING)

(SOBBING) I need to know.

I told you.
I'll let you know when it's over.

Then you can come and collect the money.

(SOFTLY) Dan?

Don't leave me here.
I'm in really, really bad pain.

I need a doctor.

(GROANING)

Charlie 1, I have visual.

(MOTORBIKE IDLING)

Get rid of the bag.

(DIALLING)

We've done it.

We got it all.

I said get rid of it!

Count to a hundred.

One.

—Two.
—(ENGINE STARTING)

Three.

(TYRES SCREECHING)

(RINGING)

Hello?

Mum!

It's me.

(SOBBING) I'm all right

Oh, Lisa.

Thank God!

Hello, Lisa. I'm a police officer.
Where are you?

LATEEF: Hostage is safe.
I repeat, hostage is safe.

PASCOE: All right. Let's take 'em out.

(CAR TYRES SCREECHING)

Charlie 1,
targets now riding on bicycle path!

I'm now on foot. Unable to pursue!

I'm at the north side, Peter!
Stay with them!

Sean, here!

Go.

(GRUNTING)

(HANDCUFFS CLINKING)

Name?

—Name!
—Mickey Heath field.

I'm arresting you for kidnapping!

Hang on!
We released the John stone kid, right?

You want a medal?

I'm holding me hands up
for the John stone kid,

but the other one's
got nothing to do with me.

—Other one?
—I was driving.

Didn't know anything about it
till she got pulled out the boot.

—What other one?
—The copper.

—She was all right last time I saw her.
—Where is she?

—What have you done with her?
—Don't know!

Get off me!

All units,
we gotta get the other bastard!

He's got Jackson!
They kidnapped Jackson!

Jackson?
How the hell did she get into this?

Well?

When we took the John stone kid,
the copper stuck her nose in,

she got taken as well.

—Where is she?
—Look, I'm telling you the truth!

I don't know!

Go for a walk, Peter.

—Andy...
—Go on!

You know you're not gonna enjoy this.

—Now then!
—Last time I saw her was yesterday.

We split the girls up.

I don't know anything
about the other one.

My mate took her off.
It's got nothing to do with me.

So, what's your mate's name?

I handcuffed the prisoner

but he attempted to escape
and fell in the canal!

I've been warned off swimming
since my heart trouble!

I've swore away worse things
than that, lad!

Doherty. Sean Doherty.

(THUNDER RUMBLING)

(WHIMPERING)

You've got a sexy mouth, you know that?

Now, then. Open wide.

What was it you said?
You can die without water?

Well, now you can have
as much water as you like.

(WHIMPERING)

I've got plans for you.

Listen, you could just disappear!

I don't know who you are!
I don't wanna know!

No, we're gonna get to know
each other, you and me.

We'll know each other inside out
before the finish.

You can spend a lifetime inside
regretting it.

They'd have to catch me first.
And even then, I'd have me memories.

Piss off, you creep!

(SPITS)

That's what I like, a bit of spirit.

(GRUNTS)

—Right!
—(SCREAMS)

You can stay here until you rot!

Paul.

Thanks for stepping in for me.

What are you doing here?
You should be at home.

I don't want to be on my own.

Well, why don't you come
and stay with me?

I'll take the sofa
and you can have the bed.

Haven't done that for a bit, have we?

(EXHALES)

I was looking forward
to seeing more of her.

In three weeks,
I'll be leaving this place.

I'll have all the time in the world.

And no Emma.

You've got me.

Maybe your kid brother
can look after you for a change.

Plus, we really need you
to come back and direct this play.

I really don't think
I'm cut out to be a director.

(CHUCKLES)

Too much like hard work.

Come on.

Got to keep going.

(OVERLAPPING CHATTER)

You got something?

You know Doherty did
four years in Wake field?

Armed robbery. Well?

For some of that time,
he was three up in a cell.

Wanna make a guess
to who his other cellmates were?

Heath field.

A starter. The other one?

Dave Green.

Magic.

—There you are, sir.
—About time.

Heath field's phone. It's bound
to have Doherty's number on it.

Trace it and we shouldn't
be far from Jackson.

(CHUCKLING)

(LAUGHING)

That confirms what Lisa told us.

I'll meet you at Dave Green's
when I'm finished here.

All right.

(MOBILE PHONE BEEPS)

(SIGHS) It's over.

Not for PC Jackson, it isn't.

Why didn't the kidnappers
go for someone famous?

Someone on TV.

What made them think of you?

RICHARD: Fortunately,
I kept photocopies.

One of our specialisms
is old master drawings.

We were offered these by a source
which was, well, rather irregular.

DALZIEL: So, who was this source?

I think we have to accept our losses
and stay out of the line of fire.

We'll come back to that.

Go on.

They seem to have been

an authentic part of
the Marino collection at some point.

Early 17th—century sketches
of a very high quality.

The asking price was half a million.
We agreed to buy.

That's a lot of money to pay for goods
from what you call an irregular source.

They would have been a bargain.

In my world, if you're offered
something good at a bargain price

from someone dodgy,
you'd suspect it was stolen.

Yes, well, there are
a lot of grey areas in the art world.

And you didn't ask too many questions.

We were confident
we could find customers.

Let's leave it at that.

You paid up?

We were asked to make a cheque out
to a private company.

What went wrong?

Our friend Anna Wisley came for supper.

And we showed her the drawings.

Yes, they're just up your street, Anna.

But, sadly, I don't think
the museum will be able to afford them.

Come and have a look.

Anna spent the rest
of the evening poring over the drawings.

ANNA: Oh, yes.

They're lovely.

RICHARD: Then, after a couple of hours,
she spotted something.

I was very surprised

I mean, I always considered myself
to be something of an expert.

Have a close look at the stroke
on the left arm there. Mmm?

RICHARD: Why?

Well, I'm not 100% sure,

but I don't think
that's quite the artist's style.

Look, Richard, there's a strange flick
on the right, too.

—Mmm?
—Yes, I think you're right.

I can't believe I never spotted it.

So what did you do?

I stopped the cheque
and complained to our supplier.

The next thing I knew,
the money was demanded in cash

as a ransom for Lisa,
along with the drawings.

Who is this supplier?

You try and trace them. I can't.

DALZIEL: Revilo Pictures.

Revilo.

That's Oliver backwards.

(DOOR OPENING)

Dave.

Dave!

You'd better not be hiding.
I want my bloody money.

Shop!

Dave?

Come on, some of us
are dying of thirst out here!

Been working very hard.

All right.
I've only got one pair of hands.

TONY: Susie, seen Dave?

No, I bloody haven't,
and he's not answering his phone.

Well, I'm just gonna help myself, then.

(SHUTTER RATTLING)

(COUGHING)

(COUGHING)

Look at this,
where the shaft meets the handle.

PASCOE: Looks like dried blood.

How convenient.

It's just the kind of weapon
that killed Visha Iqbal.

Frank, I was gonna say...

the skin doesn't look very red to me.

I thought you always got that
in carbon monoxide poisoning.

Old forensic proverb,
"Never say always, never say never."

I'll comment on the skin pigmentation

when I've got
better lighting conditions.

Anything else?

Body smells strongly of alcohol,

there's an empty bottle of Scotch
in the car.

Also, a bottle of what appeared
to be diazepam tranquilisers.

Nearly empty.

(SOBBING)

DALZIEL: Our main priority
is finding Jackson alive.

Doherty's got her. So, our only lead
is Doherty's mobile phone.

—Have you got anything?
—His phone's switched off.

I'm just waiting for him to make a call.

Anything else from Dave Green's house?

Yeah. This was found in his dustbin.

It's the other half of the pair
Emma Collins was wearing.

You're a bright lad.
Emma Collins' spreadsheets.

And what am I looking for?

A motive for Dave Green to murder her.

Can I show you this first, sir?

This image was drawn on a piece of paper
that was resting on a bit of card

I found in Mark Tattoo's studio.

That same bit of card Emma Collins
must have picked up,

as her fingerprints were on it, too.

DALZIEL: Looks like one of the fakes
the John stones nearly bought

from Revilo Pictures.

We've been having a crash course on
how to fake old masters drawings, Mark.

There are certain things
you need, of course,

like pen and ink.

But you have to make those yourself.

Like the old masters did.

No nipping down the stationer's
in those days.

PASCOE: For a pen,
you'd use a goose quill.

Trim the nib,

fut the feather.

And that would leave traces of keratin,

which we found in your studio.

As for ink weft“,

oak galls are very authentic

Ground up into a powder,

soaked in rainwater,

then boiled up with gum Arabic
and iron sulphate.

We found oak gall particles
and iron sulphate

in your studio at the Arts Centre.

PASCOE: Antique paper
is a good idea as well.

Where did you get that from, Mark?

Old books.

You ease out the fly-leaf
and distress the edges.

It's not difficult.

DALZIEL: Of course...

there's one basic essential
we haven't mentioned.

You have to be able to draw.

Yeah.

I've always kept a bit quiet about that.

When I went to art school,
it wasn't really the way to get on.

DALZIEL: So What became of the pictures?

MARK: They were sold

As old master drawings?

Hang about! All I did was make
the drawings using authentic materials.

It was perfectly legal.

I never said anything about old masters.

But you added
the "Marine collection" stamp.

The "Marine collection" stamp? No.

So who handled the marketing?

Tony Watson.

Tony took the pictures from you
and sold them?

Tony would take one of my ink drawings

down to a small dealer
out in the sticks, spin a yarn.

The dealer pays Tony
a few hundred pounds,

takes the drawing down
to an art dealer in London

and sells it for a lot more money.

And how much did you get paid?

Maybe a hundred pound.

PASCOE: That's all you got?

These pictures changed hands
for a lot more than that.

Look, if a dealer's sold them on

or if someone's added
a collection stamp,

that's not my fault, is it?

PASCOE: Isn't it?

If you got rid of some of these books,

you'd have enough room
for a decent—sized bed.

Yeah, but I don't choose my beds
on the grounds of decency.

Rather the reverse.

Mister smartarse.

I don't know how you read
any of this old stuff anyway.

Books aren't just for reading,

any more than beds are
just for sleeping in.

I wish we'd met years ago.

You haven't answered my question!

Who else is involved,
apart from you and Tony Watson?

Two girls have been kidnapped,
three people murdered,

—and you're the missing link.
—Dave Green.

Go on.

He supplied the cash for the materials.

That's why Emma Collins thought
there was something iffy about

the bar figures.

So was Dave Green fiddling the till
and Emma found out?

I told you, I don't know
what happened to her.

It's our information
that a set of your drawings

were offered for sale
at half a million pounds.

What?

(COMPUTER BEEPING)

Sir?

I think I've got the hang of
Emma Collins' spreadsheets.

Good lad.

—And you're gonna be disappointed.
—Why?

Well, as far as I can see,
all the accounts add up.

There's nothing to show
that Dave Green was fiddling.

However, there is one thing.

—Well?
—Under assets and liabilities,

there's a loan of 20,000 pounds
from the Arts Centre to Tony Watson.

PASCOE: On very soft terms.

Any sign of Doherty
or a trace of his phone yet?

'Fraid not.

If I was in Doherty's position,

I wouldn't want all the bother
of keeping a captive this long.

You'd let her go?

(THUNDER RUMBLING)

(MARIA SOBBING)

TONY: We could
find a place for ourselves.

Buy other properties,
do them up for holiday lets.

Since when did you become
a property developer?

Well, idiots do it, Susie, it's...

money for old rope.

Yeah? Well, I'll leave
the blue sky thinking to you.

I've got to get going.

You know, for the first time,
everything's coming good for me.

—I didn't know you took these.
-Put them down.

I'm sorry.

I just didn't want you to know.

It's just this place.

I mean, things will be different
when we get to Spain.

Suse, look, come with me.

Two tickets, club class.

Soon as the play's finished, we're off.

Tony, this is really all too soon.

Why? I booked the flights.

And we can't cancel them now.

You're coming with me, aren't you?

I've got to go.

I'll... see you later.

Looks like Tony's been having
a bit more than meals on wheels.

TONY: I got into financial difficulties

quite a while ago.

And my employers

helped me out with a soft loan,
but it's all above board.

And do you see yourself paying it back?

In due course.

I'd have thought it put you under
considerable financial strain.

I mean, salaries aren't
over—generous in your line of work.

It'll be dealt with.

It's not a crime, is it?

And how did Emma
feel about the situation?

Well, she wasn't very happy
about it, but...

I mean, you're not suggesting
I murdered her over it, are you?

I'm not in the business
of making suggestions.

You've got quite a collection here.

Yeah, these things build up
over the years.

The fly papers seem to be missing.

Well, ZOO—year—old books
are seldom in mint condition.

Ever lend books to Mark Tattoo?

That what he told you?

We're asking you.

Yeah, I believe I did,
from time to time.

Did they come back intact?

I don't know.

Um, what's this about?

Are you involved in a scam to pass off

contemporary drawings as old masters?

(CHUCKLES)

If there was a lawyer in the room,
he would ask you if you could prove it.

In the absence of a lawyer,

I don't have anything to say.

Where were you this afternoon
from about 2:30 onwards?

—Was that when poor Dave died?
—Answer the question.

Well, I was in rehearsal, and that
took up the rest of the afternoon.

There' ll be witnesses?

Well, if...
When you think about it,

that's rather in the nature
of a theatrical performance.

Unless you're really crap.

This is a murder inquiry.
Don't push your luck.

I'm sorry. It's just
my manner of speaking.

He does have a point though, Andy.

—If he was on stage.
—Yeah, right.

Well, uh...

I really do have a rehearsal to get to.

Right, shall we show Oliver
how it's done, boys?

—ALL: Yeah!
—Ha—ha.

# Why should we

# Break our backs

# Stupidly

# Paying tax?

# Better find some untaxed income

# Better pick a pocket or two

# You got to pick
a pocket or two, boys

# Better pick a pocket or two

# Why should we all
break our backs?

# Better pick a pocket or two #

(PHONE RINGING)

Wait a minute. I'm sorry, Paul.

I thought I told you
to turn that thing off.

—(PHONE RINGING)
—Okay, lads, take a break.

(CHILDREN MURMURING)

Who's this?

DOHERTY: I want me money

I don't know what you're talking about.

Of course you do.

You saw me in Dave's bar
and he told me who you were.

Your name's in his phone.

Now don't piss around.

I want my share of that 500 grand

I still don't know
what you're talking about.

All right, Tony,
I'll make it clear for you.

I'm standing over a very wet, very cold,
and very frightened copper.

At the moment, she's alive.

But I've got a bit of evidence here
that will link you to her murder.

If I don't get my dough
within the next two hours,

I'm gonna phone the police,
plant the evidence...

and you're gonna be arrested

Is that clear, Tony?

Where are you?

Meet me at the entrance of Midgely
Sewerage Plant on the Halifax Road,

Sir.

Forensics have matched the DNA on
that cigarette and in Mark Tattoo's car

to Sean Doherty.

Well, why would Doherty
steal Tattoo's car

and then run Wisley off the road?

And Doherty's number's been activated.

The phone company's traced the call
to the Midgely area, off Halifax Road.

That place is a rabbit warren.

Jackson could be anywhere
within half a mile radius.

Who was he calling?

Tony Watson.

(GASPS)

(COUGHS)

Help!

So, did he top himself?

It's not as simple as that.

Well, get on with it.

This man didn't die from
carbon monoxide poisoning.

The levels in his blood are quite low.

What then?

Card I o respiratory failure.

Brought on by
a massive dose of diazepam.

The effects of which
were magnified by alcohol.

In fact, he was dead before
the carbon monoxide

had much chance to get at him.

Or, maybe he planned a suicide
by inhaling exhaust fumes

and took a massive overdose of drugs
and booze to get through it,

but died soon after
switching on the engine.

No, I don't think so.

The thing about diazepam is,
if you swallow them in a quantity,

you'll still have un—degraded capsules
in your stomach after death.

Now there's no sign of that here.

So, he didn't actually
swallow the capsules?

I think the capsules were opened
and the drug dissolved in the alcohol.

Toxicology has confirmed
high levels of diazepam

in the bottom of Green '5 whisky bottle.

You're saying he was drugged
by someone else.

You draw your own conclusions.

I thought diazepam was
only given out on prescription.

MASON: Yeah, but you can buy it
on the Internet.

And there's something else.

Pre—mortem bruising on the upper arms
could suggest

that he was held under the armpits
and dragged.

If it is Tony Watson,

how did he fake Dave Green's suicide
while he was on stage, rehearsing?

I've been thinking about that.

In the novel,
Fagin doesn't appear till quite late.

So I checked.

It's the same in the musical.

He doesn't turn up till late in Act One.

He'd have had time.

# What happens when I'm 70?

# Must some a time

# Seventy

# When you're old and you're £0111,
and who fares if you live or you die

# Your one consolation's
the money you may have put by

# I'm reviewing

# The situation

# I'm a bad 'un
and a bad 'un I shall stay

# You'll be seeing no transformation

# But it's wrong to be a rogue
in every way

# I don't want nobody hurt for me
Or made to do the dirt for me

# This rotten life is not for me
It's getting far too hot for me

# Don't want no one to rob for me
But who will find a job for me

# There is no in between for me
But who will change the scene for me

# I think I'd better think it out again
Hey! #

—(AUDIENCE APPLAUDING)
-PAUL: Very good. Well done, Tony.

We need to talk to you.

I can't really,
I'm back on stage in two minutes.

Tough.

We know Dave Green was murdered
with diazepam.

And there was a half—empty bottle
in your flat.

We also know
you had the opportunity to kill him.

And fake his suicide.

PASCOE: Evidence was planted,
framing Dave Green for the murders.

(DOOR CLOSES)

Who would've had that evidence
apart from the murderer?

DALZIEL: You and Visha Iqbal
were sharing the same woman.

Jealousy has proved motive enough
in the past.

PASCOE: Then you realised
it couldn't stop there.

Because Emma had found our
ab out the scam,

EMMA: I think I've got the picture.

DALZIEL: So you killed
your brother's wife.

Tony Watson...

I'm arresting you
for kidnapping and murder.

—You do not have to say anything...
—I wouldn't do that if I was you.

You see, your policewoman
is being held by Doherty.

And unless he gets his money
within the hour,

then he's gonna kill her.

Well, now's your chance to do
one decent thing in your life.

(THUNDER RUMBLING)

TONY: All right, where is she?

(CAR ENGINE REVVING)

Police! Stop!

—(ENGINE SPUTTERING)
—Stay where you are!

The water's rising, I'm gonna drown!

(COUGHING)

You're gonna be all right, love!

Just keep your head up!

Come on, love! You're gonna be okay!

We'll get you out of there!

Hurry up with the cutters!

(SOBBING)

Help me!

Please, hurry up!

My ankle's chained, I can't move!

You'll be all right!

We're gonna get you out!

Please hurry up!

I'm gonna drown!

It's chained on me!

Pass me the cutters!

Please, be quick!

(SOBBING)

(COUGHING)

She's free! Pull her up!

Come on!

It's all right, keep going!

Keep coming, love!

Keep coming! Come on!

Come on, come on!

Come on, darling.

-Are you all right, darling?
—Yeah.

—You all right, love?
—Yeah.

Come on, keep coming.

(POLICE SIREN WAILING)

Are you all right?
Are you all right, darling?

Easy. That's it.

Why?

So that I wouldn't have to act
any more, Dalziel.

Have you noticed, Peter?

Some women will do anything
for a bit of attention.