Inspector Morse (1987–2000): Season 2, Episode 4 - Last Bus to Woodstock - full transcript
Morse and Lewis investigate the murder of a young woman, Sylvia Kane, found dead in a pub car park. She was last seen at a bus stop asking for the times of the bus to Woodstock and was to meet as friend at the same pub where she was found. She had accepted a lift from someone in a red car and the police find an envelope on the dead girl addressed to Jennifer Coleby, a co-worker. This leads Morse to uncover a complex set of social inter-relationships and eventually, the girl's killer.
Excuse me. When's the next bus to Woodstock?
lt's supposed to be here soon.
lt's generally late.
Why don't we try and hitch?
Woodstock.
Aren't you coming?
I'II see you in the morning, then.
(Hum of conversation)
A pint of lager
and a large gin and tonic, please.
- Same again, love?
- Yes, please.
On your own?
l'm supposed to be meeting someone.
She's a bit late.
Well, it's a pretty nasty night out there.
l'll be back in a minute.
Sod!
Argh!
Argh!
The wine of life is drawn,
The mere lees are left this vault to brag of.
What?
Another pint, please.
Oh, right, Peter.
Oi! What do you think you're doing?
What's going on?
l'd better get on with it.
At least it's stopped raining.
(Sighs) Funny one, this, Bill.
Broken neck, scratches on her face, bruising.
Quite interesting.
l've got the names of everybody in the bar, sir.
Do you want to talk to them?
- ln a minute, Lewis.
- Right.
Do you want to take a look, Morse?
l've taken a look.
A proper look.
You're going to like this one.
Quite a puzzle.
Just a little look.
Why do you say it's a puzzle, Max?
Well...
Morse, my dear,
she's been run over, l should say.
By a car that scratched her face?
Precisely.
l'll tell you more after the autopsy.
PHOTOGRAPHER: Excuse me, sir.
Do we know her name?
Sylvia Kane, according to the lad who found her.
- l think you're right.
- What?
There is a puzzle here.
(Animated chatter)
(Chatter dies down)
Who's the man that found the body?
MORSE: What's his name?
LEWlS: Sanders.
John Sanders.
- He's in a bit of a state.
- l can see that, Lewis.
MAN: How Iong are we going to be kept here?
Have you got the list?
Clifford...Atkins...
Newlove...
Yes?
l've told them how to get in touch with us
if they remember anything.
Right. This lot can go.
The Chief lnspector says you can go now.
About time.
Many thanks for your cooperation.
WOMAN: Thank you, Iadies and gentIemen.
- You are the landlady?
- Yes.
And your name is?
Mrs Phillips. Vikki Phillips.
Can we start clearing up now?
Yeah. Any chance of a drink first?
You're the boss.
What do you want?
Lewis?
St Clements, please. lce and lemon.
John?
Whisky, no ice, please.
JOHN: Can I caII my mum? She'II be worried.
She stays up till l get home.
This way.
?1 .60, please.
Oh.
Have you seen John Sanders before?
Never.
When did he arrive this evening?
Early on.
He was waiting for her.
Who?
Her. The dead girl.
He had a date with the victim?
Well, that's what he told me.
What else did he tell you?
Not a lot.
A bit shy.
When he found the body,
how long was he out of the bar?
A few minutes.
He'd just ordered another pint.
He went to the gents, l imagine.
There's one outside.
How much had he drunk?
About two pints.
Thanks.
Oh, thank you.
Can l carry on?
l don't see why not.
- OK?
- No problem.
Thanks.
So...
What happened, John?
l was waiting for her.
She should have been here earlier.
l didn't know what to do. l was going to go home.
- Have you known her long?
- Just met her a few days ago.
Oh. Where?
She came into the shop where l work.
Where's that?
GiII's. The ironmonger's.
She wanted curtain hooks.
We got talking.
Do you always chat up your customers?
No.
You asked her out.
She asked me.
Why did you come all the way out here?
lt was her idea, not mine.
l was quite...you know...?
When she asked me.
You don't go out often?
No.
Who's Jennifer Coleby?
Who?
Jennifer Coleby.
Never heard of her.
What happened when you found Sylvia?
Well...l went out to the gents first,
then l thought l'd run over to the bus stop
to see if she was coming.
lt was still raining.
ln the car park, l saw...
what Iooked Iike a sack.
And l realised it was a body.
l saw all this blood bubbling out of her mouth.
lt was Sylvia.
l came back inside and...and threw up.
Anyone else about out there?
No.
How many cars were there in the car park?
Lots...Iots.
Er...
There was a space where I found her.
Room for a car?
You've been out there, haven't you?
When you went out to the car park,
did you hear anything?
There was...
a sound of a...of a car driving off fast.
What sort of car?
I never saw it.
lt was revved up at full blast.
Take him home.
ls that it?
LEWlS: We'II take a proper statement Iater.
Are you finished?
Not yet.
Can l start clearing up here now?
Mm.
- Ready, Mrs Kane?
- Yes.
Yes.
That's my daughter.
MORSE: "Dear Miss CoIeby,
Many thanks for your appIication for
the vacant post of my personaI private secretary.
l've had stacks of people making contact,
as you can imagine.
This is just to confirm
that your application has been considered
and we're interested to help you.
Yours sincerely, E.''
Mrs Kane's identified the body.
Ssh.
(Phone rings)
Take a look.
What's special about this?
- Who's Miss Coleby?
- lt's in code, Lewis.
- ls it?
- A very childish effort.
Look at the missing letters.
T.
A.
K. E.
Well done, Lewis. lt says ''Take it please''.
Take it, please?
- Take what?
- l don't know.
What fits into a long brown envelope?
- Another letter?
- Possibly.
Money.
Well, it says ''it''.
lf it was money, it would say ''this'', wouldn't it?
lt might do.
Let's see the envelope.
''Miss Jennifer Coleby.
St Aldgates Assurance Company.''
MORSE: SyIvia Kane worked as a typist there.
Delivered by hand.
- No date. No address at the letterhead.
- Nor on the envelope.
And it's handwritten.
Where did this come from?
Sylvia Kane's handbag.
- So?
- lt's murder, Lewis.
- Why do you say that?
- The bruising on the face.
The scratches.
Coded messages.
Murder. Right up my street.
lt's not a bad way to start the day.
SyIvia was 1 8 years oId.
Brought up by her mother.
- SingIe-parent famiIy.
- Where did she live, the mother?
West London.
She sold up here and went to live with her sister.
Sylvia didn't fancy London. Stayed on.
She's been working at St Aldgates
for the past three months.
Where did she live?
A bedsit.
I taIked to a student in the fIat underneath.
He said she went out a Iot.
- Doesn't think she brought people back often.
- How often was that?
l'm not really sure, sir.
Oh, she had a record.
Oh?
Done for shoplifting. 1 8 months ago.
Fined.
MOZART: Cos? Fan Tutte Overture
Mr Newlove... l'm sorry to interrupt, Dr Crowther.
- What do you want, Angie?
- l wanted to meet about my essay.
- Come and see me later.
- Right.
l'm looking forward to your lecture on Rochester,
Dr Crowther.
- Oh, thank you very much, Miss er...
- Hartman.
Hartman. l hope you enjoy it.
Thank you.
Could l leave a message for Mr Smith?
CouId he pIease ring Mr PaImer's office
on extension 2542?
Yes, it is quite urgent.
- Good morning.
- Morning.
Chief lnspector Morse. Sergeant Lewis.
We'd like to see Mr um...
Clive Palmer, please.
- Would you like to take a seat?
- No, thank you.
Mr Palmer?
There are two police officers here to see you, sir.
Right.
He'II be through presentIy.
Thanks.
- These are to go before lunch.
- Yeah. All right.
- Oh, and Jimmy...
- What?
Make sure the first class ones go first class.
Mr Palmer wasn't too pleased
when Friday's mail took three days to arrive.
Well, it ain't my fault, is it?
Good morning. l am Clive Palmer.
Chief lnspector Morse.
- How do you do?
- This is Sergeant Lewis.
Hello. Come along to my office.
- lt's about Sylvia, l take it.
- Mm.
Just down here, on the left.
We were all deeply shocked
when we heard of her death.
Here.
(Rings)
Jennifer Coleby.
There are two poIice officers
in with Mr PaImer now.
Right. Thank you.
Listen, everybody.
Two police officers have just arrived.
They're with Mr Palmer now.
l don't know if they'll want to come and ask us
anything, but make sure things are tidy. All right?
LEWlS: Your wife and children, Mr Palmer?
Oh, yes.
Mark's eight and Alison's just six.
- l've two of my own.
- Keep you busy, don't they?
- Oh, wouldn't be without them, though, would...
- ls that it, Lewis?
Um...thank you, Samantha.
Yes, Mr Palmer.
How long had Sylvia worked for you, Mr Palmer?
Two or three months. Not long.
How was she getting on?
Fine. No problems.
- Nice girl.
- What did you know about her?
- Her past, you mean?
- Yes.
Oh, there were the usual references.
Everything was in order.
May l see them?
References are provided
in the strictest confidence.
This is a murder inquiry, Mr Palmer.
l don't have her file.
Miss Coleby,
she keeps all that sort of thing.
Miss Jennifer Coleby?
Yes.
How long have you been here, Mr Palmer?
A year. More or less.
Was Miss Coleby here when you came?
Yes.
What exactly is her position?
Senior assistant in charge of the office staff.
The day-to-day running of the place.
Absolutely excellent.
Did she know Sylvia better than you?
I suppose so. Yes.
MORSE: More so than the other staff?
Not more so, no.
They work as a team, lnspector.
SyIvia was our...
junior copy typist, in fact.
What time did Sylvia leave yesterday?
Oh, l don't know.
You'll have to ask Jennifer. Miss Coleby.
At what time shouId she have left?
Not before five o'clock.
What sort of a man would kill a young girl?
Man?
- Well, l...
- Miss CoIeby...
Um...you'd miss her, if she left, would you?
Left?
Found another job.
What do you mean?
Let's meet her, shall we?
l'd like to see where Sylvia worked.
Oh, right.
lf you'd follow me, lnspector.
Miss Coleby.
This is Miss Coleby.
- Chief lnspector Morse.
- Hello.
Hello.
And Sergeant Luce.
- Lewis.
- Sorry. Lewis.
Hello.
Perhaps l could talk to everyone, before we start.
Yes. Certainly.
Ladies and gentlemen,
this is Chief lnspector Morse.
As l'm sure you're aware,
Sylvia Kane was killed last night.
I'd Iike to ask you aII a few questions.
Was anyone in particular
working with her yesterday afternoon?
l think she was at her desk, as usual
- Which one?
- lt's down there.
This one, here.
Has anything been touched since yesterday?
No. l don't think so.
Did Miss Kane say
where she was going last night,
- or who she was meeting?
- I think she had a date.
Who with?
She didn't say.
Did she have a regular boyfriend?
I think she had severaI.
l'd like to go to the post room.
- The post room?
- Yes, please.
lt'll be locked up now
and Jimmy's on his lunch hour.
- Where does he go?
- l don't know.
Try the Circus' snooker room.
Thank you.
Jimmy?
l'd like a chat.
Yeah. Hang on a minute.
What can you tell me about Sylvia Kane?
Not much.
Did you ever talk to her?
Not often.
But she collected letters from you
in the post room.
No. l take the letters round.
But she used to come down to your room,
didn't she?
How do you know that?
When did she last visit you, Jimmy?
Yesterday.
- Afternoon?
- Yeah.
What time?
About 4:30.
Did you give her any letters?
At 4:30?
l'd done the second post by then, hadn't l?
What about letters delivered by hand?
Do you recognise this?
She said she was going to give it to Miss Coleby.
Who said she didn't?
- How'd you get hold of it, then?
- What was in the envelope?
l dunno. l never opened it.
A letter?
No. lt was thick.
How thick?
l dunno. Like...newspaper cuttings.
Soft and thick.
Like money?
Who delivered it?
l don't know! Honest.
Don't tell Palmer. Please, mister.
Where were you last night, Jimmy?
l was in here! You can ask the lads.
lt was money in the envelope. l'm sure of it.
Sylvia was still light-fingered, it seems.
The money was meant for Jennifer Coleby?
And it's still missing.
Now, why would somebody
want to pay off Miss Coleby?
Struck dumb, are you, Lewis?
A coded letter, money, violence.
Too much for you?
Haven't you forgotten something, sir?
Sex.
Quite right, Lewis.
Well done.
WOMAN: Ready?
MAN: Running.
WOMAN: Cue.
l'm here in the car park of the Fox & Castle
public house in Woodstock.
This is where the body of Sylvia Kane
was found last night between 9:00
and 9:30.
We're treating it as a case of murder.
The victim didn't have her own car.
We beIieve she traveIIed from Oxford
on the Woodstock Road
between 6:30 and 7:1 5 yesterday evening.
She might have traveIIed by bus.
She may have been given a Iift
in someone's car, or even hitched.
We don't know whether she was aIone,
or in company.
She was wearing a white sweater
and a dark bIue skirt.
She had a very distinctive yeIIow raincoat,
Iike this one.
SyIvia Kane was 1 8 years oId,
and for the Iast three months had been working
for a company in the city of Oxford.
So, there must be peopIe watching
who recognise her
- and who'd be abIe to assist us in our enquiries.
- Evening.
Whether SyIvia Kane was kiIIed here,
in this car park,
or whether she died eIsewhere and her body
was dumped here Iater, we don't know.
It's possibIe we're deaIing with a very dangerous
person, or persons, in this case.
If anyone saw SyIvia Kane wearing this raincoat,
catching a bus to Woodstock, trying to hitch a Iift,
or traveIIing in someone's car,
pIease contact us at the foIIowing number.
(Doorbell)
Sorry if l'm early, Margaret.
You're welcome any time.
- For you.
- Oh...thank you.
- Bernard's in the sitting room.
- Everything all right?
You know he's up for this Chair
at the Bonnington?
- Professor Crowther!
- lt's put him under such a strain.
But l'm determined...
- Oh, well...
- Now, don't worry, Margaret.
- l'll soon cheer him up.
- Oh, thank you.
- Over there?
- Yes, please.
MOZART: Piano Sonata ln C K545
Fix me a drink, Bernard. And do put that away.
''After death, nothing is, and nothing death:
- The utmost limit of...
BOTH: A gasp of breath.''
- ls it true?
- That there's nothing after death?
l shouldn't be surprised.
l'll fix myself a drink. l can't wait for you.
You should know more about death than most.
l know about dead bodies.
How people died.
Not immortality.
- Doesn't it frighten you?
- No.
More a source of curiosity.
You can develop quite a relationship
with a corpse.
Taking it apart, examining it in...minute detail.
ls that what you've been doing today?
Yes. A young girl.
Oh?
What happened to her?
Police work. Confidential.
- Shall l get you another drink?
- Please.
- The usual?
- lf you will.
Slide guitar
- Good evening, sir.
- Good eve... Room 1 1 6, please.
l'm afraid it's already...
Oh, l think my wife must have got back early.
Thank you.
Oh...good evening, sir.
Huh! Rude bugger.
Sorry l'm late.
l thought you'd never get here.
Of course, if he gets the Chair,
he's made for life.
Aren't you, dear?
- Max?
- Ah. Ta, Marge. Ta.
Bernard?
We should know one way or another
in a week or two.
Oh, talk about something else,
for God's sake, will you?
Thank you.
Do you still hear from Aunt Sarah?
She still sends me
those russet appIes at Christmas.
- Thank God for maiden aunts.
- Yes.
Why did God...
create Adam and Eve...as adults?
lf they'd been created children,
Adam would have been up that tree in a flash
and devoured all the fruit
before Eve got a look-in.
The Serpent was male
and always has existed in man.
Dirty male trick -
bIaming Eve for our faII from grace.
I've got very used to traveIIing aIone.
In fact, I prefer it.
Every summer, l take a few weeks in Crete.
l love the heat, you see.
I wouIdn't have a companion if you paid me!
l'm off to Spain this Christmas and New Year.
lt's so cheap!
Miss Jarman, are you sure this is the girl
you saw last night?
Oh, yes. Definitely.
She had that yeIIow coat
you showed us on teIevision.
She wanted to know
the times of buses to Woodstock.
She had a friend with her.
What was her friend like?
l never really saw her.
She was behind Sylvia Kane.
lt was raining. She had her hood up.
What was she wearing, the other girl?
Did l say it was a girl?
No.
l thought she was older. A woman?
l might be wrong, of course.
- She...
- What...?
No, don't interrupt.
She, if it was a she...
l've been thinking about it
and l'm not absolutely sure...
It...was wearing jeans,
a raincoat - navy blue - and pumps.
Pumps?
On its feet.
Gym shoes.
- Training shoes?
- Oh, young man! They're all the same to me.
- What did they say to each other?
- Ah!
Now, l think l have an important clue for you.
Do sit down.
l've always loved detectives.
Off they went to hitch.
But SyIvia Kane got picked up
and left her friend by the roadside.
Then she said, Sylvia, l mean,
''See you in the morning.''
Then it caught the bus.
- The same bus that you were on?
- Yes.
l was downstairs. It went upstairs.
l got off first, so l'm afraid l can't tell you exactly
where the other creature got off, lnspector.
But, you see, they must work together.
Why?
''See you in the morning.''
Why would she say that?
Sylvia Kane had a job.
I read about it in the evening paper.
So...
What are you going to do next, lnspector?
- Did you see what make of car, Miss Jarman?
- l'd have told you if l had.
- What colour was it?
- Red.
Good heavens!
But what sort of car?
l don't know.
- Try.
- l am trying.
l can't remember.
But l'm sure it was red!
MARGARET: Something's going on, Max.
With Bernard?
I think he's having an affair.
Bernard?!
He's never been so secretive.
We always used to discuss everything.
Oh, he's had other women.
He used to tell me and l never used to mind.
But...
this is different.
How do you know?
When you've lived with somebody for 25 years,
you know.
Slide guitar
- How much is this one?
- That one's 25 quid.
25?
OK.
Of course, the case is extra.
How much extra?
1 2 quid, to you.
OK.
LEWlS: Max's autopsy report, sir.
There's something very odd
about this coded letter, Lewis.
Mildly interesting.
He, or she,
wanted Jennifer Coleby to get this without delay.
Not the next morning.
''Take it please''.
Note the pleading in the use of ''please''.
You ought to read this, sir.
She'd been offered
whatever was in this envelope before.
l thought you said it was money.
Possibly. lf it was a love letter or something,
it wouldn't be worth stealing.
Ah...lt must be money.
Jimmy gave her the letter
to give to Jennifer Coleby.
Sylvia opened it, saw the cash
and decided to keep it.
So Sylvia was killed by someone who knew
she had a lot of money in her bag?
Yeah.
Why kill her though?
Why not just snatch the bag?
Remember, Miss Coleby
doesn't know about the letter. She never got it.
What's the time?
(Sighs) 8:45.
l think it's time we paid Miss Coleby a visit.
lt's a bit late, sir.
Oh?
Anything l need to know
about the autopsy report?
Sylvia had had a few gin and tonics.
There were scratches to the face.
Oh, a blow on the face, just above the eye, here.
- How hard?
- Not very.
Could have been a man or a woman, sir.
Oh, this is becoming a very irritating case.
Murder or accident?
One assailant or two? Man or woman?
lt's a mess.
Oh, go home, Lewis.
See your wife. Kiss your children.
And when l get home,
she's at the end of her tether.
She's said to the kids, ''You'll get a smack
off your dad when he gets in.''
l'm like the public executioner in my house.
My house? lt belongs to both of you, doesn't it?
Well, our house, then.
That's the trouble, isn't it?
Men think they own everything.
Property, families, the women in their lives.
- l don't own my wife.
- You talk as though you do.
- That was just a slip of the tongue.
- Ah...
lt's easy for you.
- Really?
- You know what l mean.
Because l live on my own, you mean?
Well...
l don't want to own anyone else, Lewis.
No.
(Rings doorbell)
Chief lnspector Morse. ls Miss Coleby in?
Come in.
Hold on.
Jenny! Jenny!
- Yes?
- There's a nice policeman to see you!
OK. I'II be down in a minute.
Come on in.
Don't mind the mess.
Sit down. Make yourself at home. l'm Angie.
What's the book?
Oh.
The Faerie Queene.
You're an EngIish Iiterature student.
For my sins.
Lucky you. l'd love to spend three years reading.
At school, l used to think Spenser was hopeless.
''A gentle knight was pricking on the plaine...''
An unfortunate opening line
to throw at an A-level student.
l now think he's a great poet.
First impressions are often misleading.
l bet.
(Door slams)
Oh, bloody hospital!
Evening.
l thought this was the ''no men'' evening.
l'm sorry.
- Are you staying the night?
- Mary! Honestly!
Oh! God!
Take no notice.
She's got a foul temper sometimes,
but she's OK really.
- She lives here too?
- Yes.
A happy little threesome.
Who owns the house?
- Jenny.
- Miss Coleby?
Yes.
Mary and l help pay the mortgage.
Who the hell's that man downstairs?
The police. A chief inspector.
Well, what's he doing here?
Oh, that girl at work, you know...
- Look, have you got that money you owe me?
- Oh, don't start.
You're two weeks late with last month's rent,
Mary.
Look, l have just had a flaming row
at the hospital.
The place is crawling
with time and motion experts
getting paid twice as much as me
to get under my feet.
l still want the money, Mary.
l'm getting changed.
Do they make you work hard?
Quite. But it's up to you, really.
What are the lecturers like?
Not bad...
- Bloody useless, some of them.
- Rochester.
Do you read a Iot of poetry?
Yes.
How odd.
We're an endangered species.
What do you think of John Wilmot?
A great, but unfulfilled, talent.
l didn't think policemen
were interested in such things.
Do you believe in his deathbed conversion,
or was that his last great joke?
l don't know.
The Church loves a repentant sinner.
Good for business.
Listen.
- There's a pubIic Iecture tomorrow. Dr Crowther.
- On what?
John Wilmot. That's why l'm mugging him up.
Why don't you come? lt's free.
MARY: I toId you,
you'II have to wait tiII the end of the month!
You always get your money! Stupid cow!
A minor domestic drama.
Morse.
Mary Widdowson.
How do you do?
- l'm sorry l was so rude.
- Oh...
Another game?
How much?
50?
Yeah. Go on.
MARY: Jennifer's pretty shaken up, I can teII you.
MORSE: Did you know her?
MARY: SyIvia Kane?
Yeah.
WeII, she works with Jenny.
Yes, but did you know her, Miss Widdowson?
You can call me Mary.
Milk and sugar, lnspector?
Just black, please.
Detectives arrived rather late in literature.
The Moonstone.
Trent's Last Case.
Um...Bentley?
EC Bentley.
JENNlFER:
You've taken us by surprise, Inspector.
l'm sorry.
- No. l'm sorry, for keeping you waiting.
- That's OK. We had a very interesting chat.
Sit down.
l think he's lonely. l think he wants company.
Oh, do shut up.
Sorry!
How can l help you?
l'd like to ask you some questions,
if that's all right?
Yes.
JENNlFER: Fire away.
What were you doing last night?
At the time of the murder?
l...what was l doing?
Oh! l went to change my library book.
What time was this?
Um...l got back from work at 5:30,
watched the news, had some coffee.
- 7 o'cIock? Quarter past? Something Iike that.
- Then?
l spent the evening making biscuits.
ANGlE: Have one!
Thank you.
Mm...
Who else was here?
50 quid.
Or, double or quits?
Yeah. OK. l'm going to the gents. l'll be back.
- Are you coming back?
- No. l think l've had enough.
Look, l'll pay you next week, OK?
OK.
Take it.
Tosser.
..but in literature, there's a horrid link
between love, lust and power
and it always seems to end up
with someone killing someone.
As though death is hungry and he's always
looking for more people to gobble up.
Why do we assume death is a he?
Well, nice things like Mother Earth,
Dame Nature, countries, ships, are she.
But death is a he.
What's the difference between love and lust?
Love doesn't kill.
Lust does.
Love might kill.
Maybe love is more dangerous than lust.
Well, l must go. Thanks for making me welcome.
l enjoyed this evening.
Come again.
What's wrong with working at St Aldgates?
Nothing. l like it.
But aren't you looking for another job?
No, l'm not. Who told you that?
Good night, Miss Coleby.
..and l'm supposed to get up
in front of 50 students
and pretend to be an authority
on life, death, love...
His knowledge of life is so limited!
She loves to humiliate me.
Rot! l just want to keep a grip on you.
See what l mean?
l don't want you to blunder into something stupid.
Not with the Chair coming up.
lt's me that's kept him going.
He's got no guts at all.
Yes, well, l've had more than
my fair share of guts for one day.
- Night, Max.
- Good night, Bernard.
Oh, and...thanks for a lovely evening.
Any time, Max.
(Baby crying)
(Rock music blares)
Who the hell are you?
Mrs Kane?
Yes.
- Do you boys always tear everything apart?
- l'm very sorry about this.
Here.
l need company.
l'm sorry about your daughter, Mrs Kane.
Sure.
l missed you this morning.
l thought you'd gone back to London.
Someone's got to clear up the mess.
There's no-one else.
There's only me left.
l see.
lt's finished. End of story.
l keep expecting her
to come walking through that door.
When the beII rang,
l thought that was her.
Did you see what he did to her?
l mean, who could do such a...
Her little face, it was all battered and bruised.
ls there anything you can tell me
that might help?
l told the other chap everything l could.
Sergeant Lewis?
That's him.
She was just 1 8.
She was only a kid.
l brought her up myself.
She really wanted a dad like the other girls.
Five minutes in a lay-by,
that's all it took to have her.
He toId me he was in the Navy.
I don't think he ever knew
he was a dad.
Have you got any kids?
No.
Are you married?
No.
Do you get on alone?
Yes.
l always need someone.
They come and they go.
When you need help most...
..there's no-one there.
Why did they have to do this to her things?
We were looking for something.
What?
We were trying to trace some money.
Money?!
ls that why she died?
We don't know for sure.
How are you going to get her things
back to London?
God knows.
l've got to be back in London tomorrow evening.
Would you like me to send a van in the morning?
A couple of men'll help you clear out the flat.
Oh...
Oh, that would be really nice of you.
Thank you.
l've got to go.
You'll be OK here?
Yeah.
Find him, won't you?
What time do you call this, then?
l'm sorry, Mr Gill. l couldn't help it.
- What have you done to your face?
- l was in a bit of trouble last night.
Right. That's it. You're finished.
- Go home.
- What? Why?
l'll pay you what l owe.
You've had two warnings,
so don't bother compIaining.
l'm not having my customers scared off
by a young thug.
l'm not a young thug!
Plenty of young people
need employment, Sanders.
- You've had your chance.
- Please, Mr Gill.
My mum'll kill me.
That's your problem, sonny. Clear off.
(Knock at door)
- Oh, sorry to trouble you, Peter.
- Hello, Bernard.
Could l borrow your Empson, Seven Types?
Yes, of course. lt's over there, on that shelf.
l seem to have misplaced mine.
It's on the top.
Er...
Ah.
WouId you care for a sherry?
Oh, thanks.
- Actually, would you mind if l had a Scotch?
- Help yourself.
Anything the matter?
No. No, no.
Not the lecture?
Good Lord, no.
lf it's the wretched professorial Chair,
it's in the bag.
ls it?
- Yes. lt's common knowledge.
(Knock at door)
Are you busy?
Looks like it.
l've got my essay
on the iconography in Spenser.
What? AII of Spenser?
My God, Newlove, you're a sadist.
- Can you come back after lunch?
- Shall l leave it?
- No. l'd like you to read it to me.
- Right.
- Bye!
- Bye.
Hands full, Peter?
As usual.
Are you OK?
Yes. Yes, l think so.
I just get a bit breathIess sometimes.
Bloody angina.
''As trees are by their bark embraced,
Love to my soul doth cling.''
ls that how you feel about your wife, Lewis?
Not exactly.
You disappoint me.
Mrs Kane...
Five minutes in a lay-by.
That's what she said.
A total stranger.
Hello, sailor, and what do you get?
1 8 years of Sylvia Kane.
lt doesn't make sense, does it?
There's nothing trivial about fornication.
lt's a great pity, but there we are.
Did they teach you that at school?
l don't think so, sir.
ln Rochester's time,
they used to make condoms out of leather.
To protect themselves from the pox.
Nothing changes much, does it, Lewis?
ls sex more trouble than it's worth?
l keep wanting to find the answer.
Now, the idea that Gilbert Burnet
converted Rochester to Catholicism
on his deathbed, isn't actually correct.
Burnet's conversations with Rochester
extended over a considerable period of time.
Long before Rochester
made his final journey to Woodstock.
I urge you to read Burnet's account
of these discussions.
They were pubIished under the titIe of
Some Passages Of The Life And Death
Of The Right Honourable John,
Earl Of Rochester, London, 1 680.
The struggle of...
unsatisfied lust.
Man's capacity for violence.
That's something that urges on a man to...
rape...
to kill, even, murder.
It's a madness that seizes the mind
and drives out reason.
GuiIt.
That comes Iater
when passion's spent.
When all the fuses have blown.
Sick, and in extreme pain,
Rochester spent some weeks
in a ranger's Iodge in Woodstock Forest.
And it was the ministrations
of the young Oxford man,
Robert Parsons,
that brought about his final conversion.
After a life of the utmost
scandal and debauchery,
the ''maimed debauchee''
had finally come home...
..to seek forgiveness...
..and absolution.
Thank you.
That's done what all good lectures should do.
What?
Make me want to go home and read all
Rochester's work again, as soon as possible.
A bit theatrical, though, didn't you think?
Anyway, l've got a tutorial. l must go.
Do you want me to stay?
Yes, please.
(Knock at door)
Come in.
MORSE: Sit down, Miss CoIeby.
Last night, you told me that
on the evening of the death of Sylvia Kane,
you went to the library to change a book.
- Yes.
- Which library was that?
Hainault Grove.
What time did you go to the library?
Seven o'clock? lt closes at...
On Wednesdays, it closes at six.
Yes.
What were you doing, Miss Coleby?
l don't want to tell you.
l think it would be a good idea if you did.
l was meeting someone.
- Who?
- l'm not prepared to say.
lt's absolutely nothing to do with the murder.
lt's very private.
Look, l'm not involved in this in any way.
Why are you picking on me?
Who is E, Miss Coleby?
- E?
- Yes.
l haven't the slightest idea.
This letter,
signed by E, is addressed to you.
How do you know it was addressed to me?
This is the envelope.
May l see the letter?
l've never seen it before.
l know. lt never reached you.
lt should have done.
On the afternoon of the murder.
Where did you get it, then?
lt's in code, Miss Coleby.
ls it?
- Oh, honestly, lnspector...
- lt says ''Take it please''.
Does it?
Who sent it?
And what does it mean?
l honestly don't know.
Withholding vital information
is a very serious offence, Miss Coleby.
l am not!
This is outrageous!
lt's private.
lt concerns only me and another person.
lt has nothing to do with Sylvia Kane.
l'm not prepared to proceed any further
with this interview.
lf you want anything else,
it'll have to be in the presence of my solicitor.
l've told you everything l know that's relevant.
l don't believe you.
That's your problem.
(Door slams)
Sit down, Mr Palmer.
Don't waste any more of my time.
Please.
Where did you take Miss Coleby
on the night of the murder?
To a hotel.
- Where?
- On the Newbury Road.
The Grove.
And what name did you register under?
Williams.
- How long have you and Miss Coleby been...?
- About six months.
Does your wife know?
No.
Does she have to?
Who is E?
l've no idea.
l don't know what all that's about.
l'm sure Jenny's not applying for another job.
l'd have heard about it if she was.
Did you ever have sex with Sylvia Kane?
Sylvia Kane?
Of course not.
Of course not! Why do you ask that?
Thank you, Mr Palmer.
Ah, Nurse...
- Staff Nurse Widdowson.
- Yes. And l'm busy.
- Good. What are you doing?
- l'm on my way back to the ward.
- And you've just collected these?
- Yes.
- And which ward was that?
- 1 7.
1 7...
lt's in that direction, isn't it?
Yes.
So, why are you going in that direction?
l'm going to the ladies. Do you mind?
What, with all those...whatever they are?
ls that hygienic, Nurse?
Why don't you hang yourself up
in the drying room?
You may be able to read this,
an examiner would be struggling.
l'm sorry.
When it comes to exams,
some poor idiot has got to read
hundreds of essays.
Handwriting never was my strong point.
People get impatient.
Right.
Otherwise, it was very good.
l won't say excellent,
in case you get carried away.
Come to tea at my place.
Oh...
Five o'clock?
All right.
Do you come with a government health warning?
We're not doing very well.
LEWlS: EarIy days yet, sir.
Maybe we're looking for a serial killer.
Oh, come off it.
Sylvia just happened to be in the wrong place
at the wrong time.
Someone who doesn't think
girls should have a good time.
A religious freak.
A born-again murderer.
AII this stuff about codes
and stolen money is just coincidental.
Right.
Tomorrow, I want you to get someone
to run a check on aII unsoIved murders
of women between the ages of 1 5 and 30
in the south of England in the last 1 0 years.
So, south of a line
between the Mersey and the Wash, sir?
You don't think that's a good idea, Lewis?
I'II teII you what.
l think we're making a mistake
about Jennifer Coleby.
You mean, l am.
Yes, sir.
And what would you do?
- Bring her in.
- And?
She knows more about the letter.
We need that information.
What if she won't tell us anything?
- Charge her.
- With what?
Hindering our enquiries?
You're confusing things, Lewis.
How?
There's more than one offence in this.
Sylvia probably stole some money
that should have been given to Coleby.
Right.
But Coleby didn't know
that Sylvia had pinched the cash, did she?
How do you know?
Anyway, she was making it with Palmer
at the Grove Hotel.
No, no...
She's more use to us out there.
She's under pressure. We'll watch and wait.
Sir, look.
lt looks as if John's been a bad boy.
Why can't these bloody kids learn to behave,
Lewis?
What's next on the agenda?
WOMAN: A coupIe of road accidents.
- And a gIue-sniffing.
- Really?
- By the way...
- Yeah?
Sylvia Kane had minor surgery on her arm.
Where, Kate?
Here.
Ooh... Missed that.
Good work by someone.
Elbow problems.
lt wouldn't have improved her tennis serve.
- lmportant?
- You never can tell.
lt seems rather late for tea.
l thought we'd have a nice crisp gin and tonic.
Thank you.
We only have old age and extinction
to look forward to, after all.
Cheers.
Cheers.
l don't know why.
There was the blood.
Then the money.
Like l thought it was me.
lt wasn't. l didn't do it.
l just took the money.
l saw the envelope and some notes
sticking from it, and l just took the cash.
MORSE: How much?
?500.
Exactly?
- Yes.
- What sort of notes?
20s, mostly.
Where's the cash now?
ln a box on top of the wardrobe in my room.
l spent some of it.
How much?
About ?1 00.
- On what?
- A new snooker cue.
?1 00 on a cue?
Well, l got some clothes, as well.
And some of the money got...got lost.
ldiot.
l know.
Charge him, Lewis.
You must know about the letter!
Tell me what the hell's going on.
That letter wasn't meant for me.
lt was addressed to you.
l know, but l was meant to pass it on
to someone else.
- Who?
- No-one you know.
Clive, it doesn't concern us.
The police think so.
Well, they're wrong.
l think we should get back to our work.
Clive, when are we going to meet again?
l don't know.
We've got to let things cool down a bit.
Please.
- Tomorrow night.
- No. l can't.
- Well, when?
- l don't know.
Jennifer, l think it's finished.
l don't think so.
- lt's easy for you.
- lt isn't easy at all.
l have to go home. There's the children...
l go home too.
l have to lie to my friends,
make excuses to protect you.
All this business with the police...
Please, Jenny.
We can't talk about it now.
We've got to meet.
lf you can't make tomorrow night, the night after.
The hotel at Thame?
- More deception.
- l don't enjoy it either.
Oh, Clive...
Make a clean break.
Leave her.
- Come and live with me.
- l can't do that.
Be realistic, for God's sake.
lt's a question of what really matters, isn't it?
l broke off my engagement for you,
and don't you forget it.
Let's get on with our work.
- Just because things are difficult...
- Not now!
You're hurting me, Peter. Please! Let go of me!
What's the matter?
Why are you encouraging me?
- What?!
- Why do you lead me on?
l don't know what l'm doing. l'm frightened.
Look, don't be scared.
l won't hurt you.
l'll be very gentle.
Please stop it, Peter!
Argh!
- l hate you!
- Angie!
Shit.
Morning.
Morning.
- ls Mary still asleep?
- l think so. Why?
l just wanted to talk to someone.
What's the matter?
l've just been such a fool.
What's happened?
l had a close encounter with my tutor yesterday.
Oh?
He just about raped me.
At college?!
No. At his flat.
Oh, dear.
- Jenny, can l tell you something?
- Sure.
Well, l've never ever been with a man.
You know...
l know.
lt doesn't matter. lt's OK.
l know l talk sometimes
as though l'm the whore of Babylon.
But it's all a bit of an act. l've never ever done it.
Good for you. l'm almost jealous.
l've always had a bit of a thing about my tutor.
He really fancies himself. Makes me sick.
But l thought it would be OK, you know?
He kept asking me round to his place.
And...well, l played along a bit.
Oh, God. What a fool. l could shoot myself.
Oh, what happened?
Well, l went round to his place for high tea,
as he calls it.
He makes it sound like a religious rite.
Anyway, l crumbled. l was so nervous.
So l had a huge gin and tonic when l arrived.
Mm?
And then, when he started... WeII, you know.
l thought, ''This man is a repulsive toad.
What am l doing here?''
Then it turned into a martial arts contest,
with me scratching his eyes out
- and him chasing me aII over the pIace.
- Did he catch you?
Certainly not!
l escaped. Virgo intacta.
God, aren't men hateful, Jenny?
(Doorbell)
(Doorbell)
- Mrs Margaret Crowther?
- Yes.
ls that your car?
Yes. Why?
Just a routine investigation, madam.
Oh.
We're checking out
the owners of all red cars in the area.
lt's just to eliminate your vehicle
from our enquiries.
l see.
l think you've got some more to tell me, John.
Have l?
Don't waste my time, John.
l'm not. Honest.
Have you been to my home?
Have you seen my mum?
We've recovered the rest of the money.
Did you see his mum?
- Yes, sir.
- What did she say?
She's worried about you, John,
so let's get things sorted out, shall we?
Sit down.
But l've told you everything.
What happened in the car park?
Not again!
She was lying there, like l told you.
And you took the money?
Yes.
- What eIse?
- Nothing.
Who did this belong to?
Sylvia.
How did you get it?
l took it.
l don't know why. l was angry.
Angry?
WeII, she was supposed to be meeting me.
She Ieft me waiting in the bar.
She made a fool of me.
l just picked it up. lt was lying there.
Did you kill her?
Of course I didn't!
You can go home.
Can I?
After you've made another statement.
Leave nothing out.
l mean nothing.
No.
No.
l don't recognise any of these women.
No.
Take your time, Miss Jarman.
l have taken my time.
Would you like to have just one more look?
l don't think there's a lot of point, is there?
However...
l have got one piece of information
which might interest you.
l think l've got the number of the car.
- The red car?
- Precisely!
Now, where is it?
Ah. Here we are.
l also wrote down the make.
Where did you get this, Miss Jarman?
Well...
l was out shopping.
l generally get out every day, if l can.
And l saw the car!
Are you sure it was the same one?
- lt was the light!
- What light?
When l saw it, l remembered.
You see...
the light at the back of the car...
- The rear light?
- Yes. The left one.
lt was broken.
As though it had had a bump.
lt had to be the same car!
There are hundreds
of red Ford Escorts in Oxford,
Miss Jarman.
That is the car, lnspector.
(Car horn blares)
Rupert, what is the difference
between a pigeon and a stockbroker?
A pigeon is the only one...
who can put a deposit on a Porsche!
A pint of best and...
Two pints of best.
Look at that bunch of yuppies.
l don't know. At least if they became regulars,
it'd work wonders for his sales of gin and tonic.
l bet they ask for VAT receipts
at the end of the session.
Now, drink that, Lewis.
Loosen some brain cells.
Mmm...
Sir, Miss Jarman's number.
- Yes?
- lt does belong to a Ford Escort.
- Oh?
- A Mrs M Crowther.
(Laughter)
l think l'll get some of our lads
to breathalyse them.
That should sweep the place clean.
Crowther...
Crowther?
- Dr Crowther's wife?
- Who?
Jennifer Coleby. Angie.
A coded letter.
Miss Jarman's not as daft as l thought.
The cunning old buzzard!
- What's up, sir?
- Crowther, the old goat.
Yes...
The maimed debauchee, Lewis.
He borrowed his wife's car.
He picked up Sylvia Kane.
How do you know this Mrs Crowther's his wife?
l don't even know if he's married, but l bet he is.
Come on. Drink up.
Do you want me to come around the back, sir?
l don't think Mrs Crowther's
going to jump out of the kitchen window, Lewis.
There's no-one in, damn it.
Let's go back to my place, try again later.
The slightest hint of scandal
and you'll ruin everything!
- My dear...
- You'll throw it all away. Please, Bernard!
You need that Chair. You deserve it.
l want it.
l lied for you, Bernard.
l told the police that l had the car that night.
Now, for God's sake, tell me the truth.
Well...
l did give someone a lift.
lt was that girl, the one who was murdered.
Mm. Apparently.
lt was you.
You killed her.
Not deliberately. Of course l didn't.
How did you meet her?
Well, she was hitching a lift.
I picked her up and drove to Woodstock.
We stopped for a drink on the way.
(Soundless)
When she suggested that we turn
into the car park of the Fox & Castle,
l thought she just wanted another drink.
She had other ideas.
In my car?
Well, she soon realised
she'd picked up the wrong man.
l was completely out of my depth.
And suddenIy she Iost her temper.
There was a bit of a struggIe.
And she got out of the car, sIammed the door.
l was completely shattered, l can tell you.
I just wanted to get out of there
as fast as possibIe.
I started up the car, stuck it into reverse and...
reversed out quickIy.
I do remember a sIight bump.
I thought I'djust driven over a kerb,
or something.
l didn't realise it was her.
Not then.
And l drove home.
Why didn't you tell me this before?
Because l'm a fool.
Oh, God!
How are we going to get out of this?
- l'm going to the police. l've had enough.
- Like hell you are!
We know it was an accident.
They might think otherwise.
- Margaret...
- Please.
Now, listen.
This is what we're going to do.
Yeah. That's the one.
Yeah. Great.
Right.
Thanks.
That Mrs Crowther is Dr Crowther's wife.
You were right.
So, Crowther borrows his wife's car...
sees Sylvia Kane hitching...
Does he know her?
No.
So it's just chance.
Yes. He sees Sylvia with her thumb out...
Kerb crawling.
lf you want to kerb crawl,
you don't head for the Woodstock Road, Lewis.
Oh, really, sir?
Yes, he picks up SyIvia
and they drive off.
Why doesn't he take the other girl? Person.
He doesn't see her.
Well, Sylvia would say, ''What about my friend?''
But Crowther's doing the driving.
And then...there's a gap.
She had a couple of gin and tonics somewhere.
This other girl, Lewis...
- lt is a girl.
- In spite of Miss Jarman?
l'm sure it's a girl.
Crowther.
Does he know Jennifer Coleby?
No.
He knows one of Jennifer Coleby's lodgers.
Angie Hartman.
Sex is the problem, isn't it, Lewis?
Who was abusing Sylvia Kane?
lt could be the other way about.
No chance.
- Are you finished?
- Just about.
Well, hurry up.
l found one of her hairs on the seat.
Oh, God.
MAN: Hey, you there!
What are you playing at?
- Take your rubbish home!
- Come on.
Come back! Come back, damn it!
Come back here!
Quick! Get in.
Oh...
Quick.
Oh, God, Bernard...
HoId on!
l want a word with you.
(Doorbell)
l wonder if that's the nice policeman again.
Oh, God. l bloody well hope not.
- May l come in?
- You're not supposed to come here.
Where can we talk?
(Door slams)
Hello.
Angie...
l'll go and finish my essay.
Just call me Cinderella.
Jenny, l've made a decision.
This whole thing's got to stop.
Oh, you've made a decision, have you?
- l want you to get another job.
- What?!
We can't go on working under the same roof.
Not after all this.
l've done some phoning around for you
this afternoon.
- l'll give you great references.
- l don't believe you said that.
- With luck, you'll be better paid.
- l don't want another job!
l'm sorry about that. lt's just got to happen.
Oh, God. What sort of a creep are you?
You'll be all right.
You just try and get rid of me...
You just try it.
You'll do well out of me, damn it.
lt's what you wanted, wasn't it?
You bastard!
What are you doing?
l'm going to talk to your wife.
Like hell you are.
Argh!
- You bitch.
- Now, get out!
Who was that?
(Bleeping)
lt looks like there's somebody in this time.
(Rings doorbell)
Max...
- What are you doing here?
- l could ask the same of you, Morse.
You're one step ahead of us.
What are you talking about?
- How did you get in?
- Who told you l was here?
Do you know the Crowthers?
Of course l do. Margaret's my niece.
Her husband's had a heart attack.
l was just collecting some of his things.
- He's at the hospital?
- Yes.
Look, what's going on?
l want to ask him a few questions
about Sylvia Kane.
Bernard?
Oh, he's not mixed up in that, surely?
Bernard?
Good God, Morse.
Let's go.
Hang on.
More news from the home front.
Sylvia Kane had problems with her elbow.
A cycIing accident.
- Not now, Max.
- She was still having treatment.
- We'd better see Crowther at the hospital.
- Her next appointment with the speciaIist
was the day after her death.
See you in the morning, sir.
Lewis...
What did you just say?
- What?
- To Max.
See you in the morning.
Miss Jarman...
Sylvia Kane
was seeing someone in the morning.
At the hospital.
The specialist?
And a nurse, most likely.
- The nurse who lives with Jennifer Coleby!
- Brilliant, Lewis.
- Widdowson.
- Mary Widdowson.
Seen my watch?
lt's on the piano.
Oh, thanks.
Oh, God. Everything's a mess.
l hit him over the head with the phone.
You what?!
Well, good for you, Jenny.
He's probably on his way to casualty right now.
No chance.
He'll be off home.
To that wife of his.
Well, good riddance.
- lt's that bloody letter that ruined everything.
- What letter?
Oh, that old man you're so keen on.
He wrote you
another of those stupid coded things.
The police have got it now.
What?
l haven't told them anything.
lt's all muddled up with that girl that got killed.
- Sylvia?
- Sylvia Kane. Yes.
Did you know her?
Um... Oh, l'd met her at the hospital.
She was having therapy
to improve the flexibility of her elbow.
Oh, l remember. She had some time off work.
Anyway, l've bent over backwards
to keep you out of this.
Thanks.
lt looks like we're in the same boat now.
ls there somewhere we can talk to you,
Miss Widdowson?
Yes, of course.
Can we be alone?
Wait here, Lewis.
Tell me about Bernard Crowther.
l want you to tell me what happened
in the car park of the Fox & Castle, Mary.
Please.
lt was an accident.
- All this talk of murder's rubbish.
- l know.
You do?
Yes.
lt wasn't Bernard's fault she died.
Look...
l met Sylvia Kane, by chance, at a bus stop.
- You knew her from her visits here?
- Yes.
Funny...
That's how l met Bernard.
He comes in here for tests on his heart.
Anyway...
l wanted an evening away from Oxford.
Time to think things through.
We'd been having an affair
for some time.
Very discreet.
A couple of hours together each week.
A meal somewhere.
Often, we just enjoyed each other's company.
Not necessarily for sex, you know?
Talking together.
Companionship.
You were lovers as well?
At first.
- But...
- What?
l wanted him to leave her.
- That wife of his.
- Have you ever met her?
No.
She's sitting in the corridor outside.
Oh, God. l thought it was her.
She won't know you. We'II be very discreet.
When we leave.
Why did Bernard send you ?500?
He didn't.
He did.
ln a coded letter.
Ah...
l never got the letter.
l know. But why the code?
He was like that.
l don't think he recovered
from reading Boy's Own annuals.
l was his secret.
That was half the fun to him,
deceiving that bitch of a wife.
What was the money for, Mary?
lt was for a holiday in the sun.
He wanted me out of the way.
He had some professorial Chair in the offing.
He didn't want a scandal at the last moment.
lt was one of the things we rowed about.
So, you met Sylvia Kane at the bus stop...
She wanted to hitch.
She went on ahead...and this red car stopped.
It was Bernard.
Where are you going?
I recognised his voice.
Hop in. l'll give you a lift.
He didn't see me. I didn't get in.
They drove off together.
I am ashamed of what I did next.
The bus came soon after.
lnstead of going home...
l should have done, l know.
..l followed them to Woodstock.
l was seething.
l knew Bernard's old haunts.
l searched for them.
l went to a few pubs and they weren't there.
Then, at last,
I spotted the car in the car park.
MORSE: At the Fox & CastIe?
MARY: The windows were aII steamed up.
I couId hear a row going on.
Then SyIvia got out of the car
and sIammed the door.
I rushed up to her
and I hit her.
Then Bernard reversed the car
and drove over her.
No!
He had no idea
she was on the ground.
l knew she was dead.
l ran off.
What's going to happen to him?
l'm not sure.
The important thing
is for him to get better as soon as possible.
Will l be charged?
l should think so.
Yes.
Bernard still doesn't know l was there.
He thinks it was all his fault.
Will you let me see him before l go?
Please.
Morse.
Excuse me, sir.
Margaret, my niece...
she's not...
You know?
Well, l think she's got her plate
pretty full at the moment.
You take care of her, Max. We'll see her later.
Thanks, old friend.
- Who's that woman?
- Which woman, dear?
- That nurse.
- Oh...
- l haven't the slightest idea.
- Mrs Crowther?
- Yes?
- Would you like to see your husband?
Thank you.
Lewis, if anyone offered you
a free holiday in the sun, what would you do?
Take it.
Sensible fellow.
Let's get out of here. l hate the smell of hospitals.
''All this to love and rapture's due;
Must we not pay a debt to pleasure, too?''
- What?
- Rochester, Lewis.
l think maybe it's time l bought you a drink.
Long overdue, Lewis.
lt's supposed to be here soon.
lt's generally late.
Why don't we try and hitch?
Woodstock.
Aren't you coming?
I'II see you in the morning, then.
(Hum of conversation)
A pint of lager
and a large gin and tonic, please.
- Same again, love?
- Yes, please.
On your own?
l'm supposed to be meeting someone.
She's a bit late.
Well, it's a pretty nasty night out there.
l'll be back in a minute.
Sod!
Argh!
Argh!
The wine of life is drawn,
The mere lees are left this vault to brag of.
What?
Another pint, please.
Oh, right, Peter.
Oi! What do you think you're doing?
What's going on?
l'd better get on with it.
At least it's stopped raining.
(Sighs) Funny one, this, Bill.
Broken neck, scratches on her face, bruising.
Quite interesting.
l've got the names of everybody in the bar, sir.
Do you want to talk to them?
- ln a minute, Lewis.
- Right.
Do you want to take a look, Morse?
l've taken a look.
A proper look.
You're going to like this one.
Quite a puzzle.
Just a little look.
Why do you say it's a puzzle, Max?
Well...
Morse, my dear,
she's been run over, l should say.
By a car that scratched her face?
Precisely.
l'll tell you more after the autopsy.
PHOTOGRAPHER: Excuse me, sir.
Do we know her name?
Sylvia Kane, according to the lad who found her.
- l think you're right.
- What?
There is a puzzle here.
(Animated chatter)
(Chatter dies down)
Who's the man that found the body?
MORSE: What's his name?
LEWlS: Sanders.
John Sanders.
- He's in a bit of a state.
- l can see that, Lewis.
MAN: How Iong are we going to be kept here?
Have you got the list?
Clifford...Atkins...
Newlove...
Yes?
l've told them how to get in touch with us
if they remember anything.
Right. This lot can go.
The Chief lnspector says you can go now.
About time.
Many thanks for your cooperation.
WOMAN: Thank you, Iadies and gentIemen.
- You are the landlady?
- Yes.
And your name is?
Mrs Phillips. Vikki Phillips.
Can we start clearing up now?
Yeah. Any chance of a drink first?
You're the boss.
What do you want?
Lewis?
St Clements, please. lce and lemon.
John?
Whisky, no ice, please.
JOHN: Can I caII my mum? She'II be worried.
She stays up till l get home.
This way.
?1 .60, please.
Oh.
Have you seen John Sanders before?
Never.
When did he arrive this evening?
Early on.
He was waiting for her.
Who?
Her. The dead girl.
He had a date with the victim?
Well, that's what he told me.
What else did he tell you?
Not a lot.
A bit shy.
When he found the body,
how long was he out of the bar?
A few minutes.
He'd just ordered another pint.
He went to the gents, l imagine.
There's one outside.
How much had he drunk?
About two pints.
Thanks.
Oh, thank you.
Can l carry on?
l don't see why not.
- OK?
- No problem.
Thanks.
So...
What happened, John?
l was waiting for her.
She should have been here earlier.
l didn't know what to do. l was going to go home.
- Have you known her long?
- Just met her a few days ago.
Oh. Where?
She came into the shop where l work.
Where's that?
GiII's. The ironmonger's.
She wanted curtain hooks.
We got talking.
Do you always chat up your customers?
No.
You asked her out.
She asked me.
Why did you come all the way out here?
lt was her idea, not mine.
l was quite...you know...?
When she asked me.
You don't go out often?
No.
Who's Jennifer Coleby?
Who?
Jennifer Coleby.
Never heard of her.
What happened when you found Sylvia?
Well...l went out to the gents first,
then l thought l'd run over to the bus stop
to see if she was coming.
lt was still raining.
ln the car park, l saw...
what Iooked Iike a sack.
And l realised it was a body.
l saw all this blood bubbling out of her mouth.
lt was Sylvia.
l came back inside and...and threw up.
Anyone else about out there?
No.
How many cars were there in the car park?
Lots...Iots.
Er...
There was a space where I found her.
Room for a car?
You've been out there, haven't you?
When you went out to the car park,
did you hear anything?
There was...
a sound of a...of a car driving off fast.
What sort of car?
I never saw it.
lt was revved up at full blast.
Take him home.
ls that it?
LEWlS: We'II take a proper statement Iater.
Are you finished?
Not yet.
Can l start clearing up here now?
Mm.
- Ready, Mrs Kane?
- Yes.
Yes.
That's my daughter.
MORSE: "Dear Miss CoIeby,
Many thanks for your appIication for
the vacant post of my personaI private secretary.
l've had stacks of people making contact,
as you can imagine.
This is just to confirm
that your application has been considered
and we're interested to help you.
Yours sincerely, E.''
Mrs Kane's identified the body.
Ssh.
(Phone rings)
Take a look.
What's special about this?
- Who's Miss Coleby?
- lt's in code, Lewis.
- ls it?
- A very childish effort.
Look at the missing letters.
T.
A.
K. E.
Well done, Lewis. lt says ''Take it please''.
Take it, please?
- Take what?
- l don't know.
What fits into a long brown envelope?
- Another letter?
- Possibly.
Money.
Well, it says ''it''.
lf it was money, it would say ''this'', wouldn't it?
lt might do.
Let's see the envelope.
''Miss Jennifer Coleby.
St Aldgates Assurance Company.''
MORSE: SyIvia Kane worked as a typist there.
Delivered by hand.
- No date. No address at the letterhead.
- Nor on the envelope.
And it's handwritten.
Where did this come from?
Sylvia Kane's handbag.
- So?
- lt's murder, Lewis.
- Why do you say that?
- The bruising on the face.
The scratches.
Coded messages.
Murder. Right up my street.
lt's not a bad way to start the day.
SyIvia was 1 8 years oId.
Brought up by her mother.
- SingIe-parent famiIy.
- Where did she live, the mother?
West London.
She sold up here and went to live with her sister.
Sylvia didn't fancy London. Stayed on.
She's been working at St Aldgates
for the past three months.
Where did she live?
A bedsit.
I taIked to a student in the fIat underneath.
He said she went out a Iot.
- Doesn't think she brought people back often.
- How often was that?
l'm not really sure, sir.
Oh, she had a record.
Oh?
Done for shoplifting. 1 8 months ago.
Fined.
MOZART: Cos? Fan Tutte Overture
Mr Newlove... l'm sorry to interrupt, Dr Crowther.
- What do you want, Angie?
- l wanted to meet about my essay.
- Come and see me later.
- Right.
l'm looking forward to your lecture on Rochester,
Dr Crowther.
- Oh, thank you very much, Miss er...
- Hartman.
Hartman. l hope you enjoy it.
Thank you.
Could l leave a message for Mr Smith?
CouId he pIease ring Mr PaImer's office
on extension 2542?
Yes, it is quite urgent.
- Good morning.
- Morning.
Chief lnspector Morse. Sergeant Lewis.
We'd like to see Mr um...
Clive Palmer, please.
- Would you like to take a seat?
- No, thank you.
Mr Palmer?
There are two police officers here to see you, sir.
Right.
He'II be through presentIy.
Thanks.
- These are to go before lunch.
- Yeah. All right.
- Oh, and Jimmy...
- What?
Make sure the first class ones go first class.
Mr Palmer wasn't too pleased
when Friday's mail took three days to arrive.
Well, it ain't my fault, is it?
Good morning. l am Clive Palmer.
Chief lnspector Morse.
- How do you do?
- This is Sergeant Lewis.
Hello. Come along to my office.
- lt's about Sylvia, l take it.
- Mm.
Just down here, on the left.
We were all deeply shocked
when we heard of her death.
Here.
(Rings)
Jennifer Coleby.
There are two poIice officers
in with Mr PaImer now.
Right. Thank you.
Listen, everybody.
Two police officers have just arrived.
They're with Mr Palmer now.
l don't know if they'll want to come and ask us
anything, but make sure things are tidy. All right?
LEWlS: Your wife and children, Mr Palmer?
Oh, yes.
Mark's eight and Alison's just six.
- l've two of my own.
- Keep you busy, don't they?
- Oh, wouldn't be without them, though, would...
- ls that it, Lewis?
Um...thank you, Samantha.
Yes, Mr Palmer.
How long had Sylvia worked for you, Mr Palmer?
Two or three months. Not long.
How was she getting on?
Fine. No problems.
- Nice girl.
- What did you know about her?
- Her past, you mean?
- Yes.
Oh, there were the usual references.
Everything was in order.
May l see them?
References are provided
in the strictest confidence.
This is a murder inquiry, Mr Palmer.
l don't have her file.
Miss Coleby,
she keeps all that sort of thing.
Miss Jennifer Coleby?
Yes.
How long have you been here, Mr Palmer?
A year. More or less.
Was Miss Coleby here when you came?
Yes.
What exactly is her position?
Senior assistant in charge of the office staff.
The day-to-day running of the place.
Absolutely excellent.
Did she know Sylvia better than you?
I suppose so. Yes.
MORSE: More so than the other staff?
Not more so, no.
They work as a team, lnspector.
SyIvia was our...
junior copy typist, in fact.
What time did Sylvia leave yesterday?
Oh, l don't know.
You'll have to ask Jennifer. Miss Coleby.
At what time shouId she have left?
Not before five o'clock.
What sort of a man would kill a young girl?
Man?
- Well, l...
- Miss CoIeby...
Um...you'd miss her, if she left, would you?
Left?
Found another job.
What do you mean?
Let's meet her, shall we?
l'd like to see where Sylvia worked.
Oh, right.
lf you'd follow me, lnspector.
Miss Coleby.
This is Miss Coleby.
- Chief lnspector Morse.
- Hello.
Hello.
And Sergeant Luce.
- Lewis.
- Sorry. Lewis.
Hello.
Perhaps l could talk to everyone, before we start.
Yes. Certainly.
Ladies and gentlemen,
this is Chief lnspector Morse.
As l'm sure you're aware,
Sylvia Kane was killed last night.
I'd Iike to ask you aII a few questions.
Was anyone in particular
working with her yesterday afternoon?
l think she was at her desk, as usual
- Which one?
- lt's down there.
This one, here.
Has anything been touched since yesterday?
No. l don't think so.
Did Miss Kane say
where she was going last night,
- or who she was meeting?
- I think she had a date.
Who with?
She didn't say.
Did she have a regular boyfriend?
I think she had severaI.
l'd like to go to the post room.
- The post room?
- Yes, please.
lt'll be locked up now
and Jimmy's on his lunch hour.
- Where does he go?
- l don't know.
Try the Circus' snooker room.
Thank you.
Jimmy?
l'd like a chat.
Yeah. Hang on a minute.
What can you tell me about Sylvia Kane?
Not much.
Did you ever talk to her?
Not often.
But she collected letters from you
in the post room.
No. l take the letters round.
But she used to come down to your room,
didn't she?
How do you know that?
When did she last visit you, Jimmy?
Yesterday.
- Afternoon?
- Yeah.
What time?
About 4:30.
Did you give her any letters?
At 4:30?
l'd done the second post by then, hadn't l?
What about letters delivered by hand?
Do you recognise this?
She said she was going to give it to Miss Coleby.
Who said she didn't?
- How'd you get hold of it, then?
- What was in the envelope?
l dunno. l never opened it.
A letter?
No. lt was thick.
How thick?
l dunno. Like...newspaper cuttings.
Soft and thick.
Like money?
Who delivered it?
l don't know! Honest.
Don't tell Palmer. Please, mister.
Where were you last night, Jimmy?
l was in here! You can ask the lads.
lt was money in the envelope. l'm sure of it.
Sylvia was still light-fingered, it seems.
The money was meant for Jennifer Coleby?
And it's still missing.
Now, why would somebody
want to pay off Miss Coleby?
Struck dumb, are you, Lewis?
A coded letter, money, violence.
Too much for you?
Haven't you forgotten something, sir?
Sex.
Quite right, Lewis.
Well done.
WOMAN: Ready?
MAN: Running.
WOMAN: Cue.
l'm here in the car park of the Fox & Castle
public house in Woodstock.
This is where the body of Sylvia Kane
was found last night between 9:00
and 9:30.
We're treating it as a case of murder.
The victim didn't have her own car.
We beIieve she traveIIed from Oxford
on the Woodstock Road
between 6:30 and 7:1 5 yesterday evening.
She might have traveIIed by bus.
She may have been given a Iift
in someone's car, or even hitched.
We don't know whether she was aIone,
or in company.
She was wearing a white sweater
and a dark bIue skirt.
She had a very distinctive yeIIow raincoat,
Iike this one.
SyIvia Kane was 1 8 years oId,
and for the Iast three months had been working
for a company in the city of Oxford.
So, there must be peopIe watching
who recognise her
- and who'd be abIe to assist us in our enquiries.
- Evening.
Whether SyIvia Kane was kiIIed here,
in this car park,
or whether she died eIsewhere and her body
was dumped here Iater, we don't know.
It's possibIe we're deaIing with a very dangerous
person, or persons, in this case.
If anyone saw SyIvia Kane wearing this raincoat,
catching a bus to Woodstock, trying to hitch a Iift,
or traveIIing in someone's car,
pIease contact us at the foIIowing number.
(Doorbell)
Sorry if l'm early, Margaret.
You're welcome any time.
- For you.
- Oh...thank you.
- Bernard's in the sitting room.
- Everything all right?
You know he's up for this Chair
at the Bonnington?
- Professor Crowther!
- lt's put him under such a strain.
But l'm determined...
- Oh, well...
- Now, don't worry, Margaret.
- l'll soon cheer him up.
- Oh, thank you.
- Over there?
- Yes, please.
MOZART: Piano Sonata ln C K545
Fix me a drink, Bernard. And do put that away.
''After death, nothing is, and nothing death:
- The utmost limit of...
BOTH: A gasp of breath.''
- ls it true?
- That there's nothing after death?
l shouldn't be surprised.
l'll fix myself a drink. l can't wait for you.
You should know more about death than most.
l know about dead bodies.
How people died.
Not immortality.
- Doesn't it frighten you?
- No.
More a source of curiosity.
You can develop quite a relationship
with a corpse.
Taking it apart, examining it in...minute detail.
ls that what you've been doing today?
Yes. A young girl.
Oh?
What happened to her?
Police work. Confidential.
- Shall l get you another drink?
- Please.
- The usual?
- lf you will.
Slide guitar
- Good evening, sir.
- Good eve... Room 1 1 6, please.
l'm afraid it's already...
Oh, l think my wife must have got back early.
Thank you.
Oh...good evening, sir.
Huh! Rude bugger.
Sorry l'm late.
l thought you'd never get here.
Of course, if he gets the Chair,
he's made for life.
Aren't you, dear?
- Max?
- Ah. Ta, Marge. Ta.
Bernard?
We should know one way or another
in a week or two.
Oh, talk about something else,
for God's sake, will you?
Thank you.
Do you still hear from Aunt Sarah?
She still sends me
those russet appIes at Christmas.
- Thank God for maiden aunts.
- Yes.
Why did God...
create Adam and Eve...as adults?
lf they'd been created children,
Adam would have been up that tree in a flash
and devoured all the fruit
before Eve got a look-in.
The Serpent was male
and always has existed in man.
Dirty male trick -
bIaming Eve for our faII from grace.
I've got very used to traveIIing aIone.
In fact, I prefer it.
Every summer, l take a few weeks in Crete.
l love the heat, you see.
I wouIdn't have a companion if you paid me!
l'm off to Spain this Christmas and New Year.
lt's so cheap!
Miss Jarman, are you sure this is the girl
you saw last night?
Oh, yes. Definitely.
She had that yeIIow coat
you showed us on teIevision.
She wanted to know
the times of buses to Woodstock.
She had a friend with her.
What was her friend like?
l never really saw her.
She was behind Sylvia Kane.
lt was raining. She had her hood up.
What was she wearing, the other girl?
Did l say it was a girl?
No.
l thought she was older. A woman?
l might be wrong, of course.
- She...
- What...?
No, don't interrupt.
She, if it was a she...
l've been thinking about it
and l'm not absolutely sure...
It...was wearing jeans,
a raincoat - navy blue - and pumps.
Pumps?
On its feet.
Gym shoes.
- Training shoes?
- Oh, young man! They're all the same to me.
- What did they say to each other?
- Ah!
Now, l think l have an important clue for you.
Do sit down.
l've always loved detectives.
Off they went to hitch.
But SyIvia Kane got picked up
and left her friend by the roadside.
Then she said, Sylvia, l mean,
''See you in the morning.''
Then it caught the bus.
- The same bus that you were on?
- Yes.
l was downstairs. It went upstairs.
l got off first, so l'm afraid l can't tell you exactly
where the other creature got off, lnspector.
But, you see, they must work together.
Why?
''See you in the morning.''
Why would she say that?
Sylvia Kane had a job.
I read about it in the evening paper.
So...
What are you going to do next, lnspector?
- Did you see what make of car, Miss Jarman?
- l'd have told you if l had.
- What colour was it?
- Red.
Good heavens!
But what sort of car?
l don't know.
- Try.
- l am trying.
l can't remember.
But l'm sure it was red!
MARGARET: Something's going on, Max.
With Bernard?
I think he's having an affair.
Bernard?!
He's never been so secretive.
We always used to discuss everything.
Oh, he's had other women.
He used to tell me and l never used to mind.
But...
this is different.
How do you know?
When you've lived with somebody for 25 years,
you know.
Slide guitar
- How much is this one?
- That one's 25 quid.
25?
OK.
Of course, the case is extra.
How much extra?
1 2 quid, to you.
OK.
LEWlS: Max's autopsy report, sir.
There's something very odd
about this coded letter, Lewis.
Mildly interesting.
He, or she,
wanted Jennifer Coleby to get this without delay.
Not the next morning.
''Take it please''.
Note the pleading in the use of ''please''.
You ought to read this, sir.
She'd been offered
whatever was in this envelope before.
l thought you said it was money.
Possibly. lf it was a love letter or something,
it wouldn't be worth stealing.
Ah...lt must be money.
Jimmy gave her the letter
to give to Jennifer Coleby.
Sylvia opened it, saw the cash
and decided to keep it.
So Sylvia was killed by someone who knew
she had a lot of money in her bag?
Yeah.
Why kill her though?
Why not just snatch the bag?
Remember, Miss Coleby
doesn't know about the letter. She never got it.
What's the time?
(Sighs) 8:45.
l think it's time we paid Miss Coleby a visit.
lt's a bit late, sir.
Oh?
Anything l need to know
about the autopsy report?
Sylvia had had a few gin and tonics.
There were scratches to the face.
Oh, a blow on the face, just above the eye, here.
- How hard?
- Not very.
Could have been a man or a woman, sir.
Oh, this is becoming a very irritating case.
Murder or accident?
One assailant or two? Man or woman?
lt's a mess.
Oh, go home, Lewis.
See your wife. Kiss your children.
And when l get home,
she's at the end of her tether.
She's said to the kids, ''You'll get a smack
off your dad when he gets in.''
l'm like the public executioner in my house.
My house? lt belongs to both of you, doesn't it?
Well, our house, then.
That's the trouble, isn't it?
Men think they own everything.
Property, families, the women in their lives.
- l don't own my wife.
- You talk as though you do.
- That was just a slip of the tongue.
- Ah...
lt's easy for you.
- Really?
- You know what l mean.
Because l live on my own, you mean?
Well...
l don't want to own anyone else, Lewis.
No.
(Rings doorbell)
Chief lnspector Morse. ls Miss Coleby in?
Come in.
Hold on.
Jenny! Jenny!
- Yes?
- There's a nice policeman to see you!
OK. I'II be down in a minute.
Come on in.
Don't mind the mess.
Sit down. Make yourself at home. l'm Angie.
What's the book?
Oh.
The Faerie Queene.
You're an EngIish Iiterature student.
For my sins.
Lucky you. l'd love to spend three years reading.
At school, l used to think Spenser was hopeless.
''A gentle knight was pricking on the plaine...''
An unfortunate opening line
to throw at an A-level student.
l now think he's a great poet.
First impressions are often misleading.
l bet.
(Door slams)
Oh, bloody hospital!
Evening.
l thought this was the ''no men'' evening.
l'm sorry.
- Are you staying the night?
- Mary! Honestly!
Oh! God!
Take no notice.
She's got a foul temper sometimes,
but she's OK really.
- She lives here too?
- Yes.
A happy little threesome.
Who owns the house?
- Jenny.
- Miss Coleby?
Yes.
Mary and l help pay the mortgage.
Who the hell's that man downstairs?
The police. A chief inspector.
Well, what's he doing here?
Oh, that girl at work, you know...
- Look, have you got that money you owe me?
- Oh, don't start.
You're two weeks late with last month's rent,
Mary.
Look, l have just had a flaming row
at the hospital.
The place is crawling
with time and motion experts
getting paid twice as much as me
to get under my feet.
l still want the money, Mary.
l'm getting changed.
Do they make you work hard?
Quite. But it's up to you, really.
What are the lecturers like?
Not bad...
- Bloody useless, some of them.
- Rochester.
Do you read a Iot of poetry?
Yes.
How odd.
We're an endangered species.
What do you think of John Wilmot?
A great, but unfulfilled, talent.
l didn't think policemen
were interested in such things.
Do you believe in his deathbed conversion,
or was that his last great joke?
l don't know.
The Church loves a repentant sinner.
Good for business.
Listen.
- There's a pubIic Iecture tomorrow. Dr Crowther.
- On what?
John Wilmot. That's why l'm mugging him up.
Why don't you come? lt's free.
MARY: I toId you,
you'II have to wait tiII the end of the month!
You always get your money! Stupid cow!
A minor domestic drama.
Morse.
Mary Widdowson.
How do you do?
- l'm sorry l was so rude.
- Oh...
Another game?
How much?
50?
Yeah. Go on.
MARY: Jennifer's pretty shaken up, I can teII you.
MORSE: Did you know her?
MARY: SyIvia Kane?
Yeah.
WeII, she works with Jenny.
Yes, but did you know her, Miss Widdowson?
You can call me Mary.
Milk and sugar, lnspector?
Just black, please.
Detectives arrived rather late in literature.
The Moonstone.
Trent's Last Case.
Um...Bentley?
EC Bentley.
JENNlFER:
You've taken us by surprise, Inspector.
l'm sorry.
- No. l'm sorry, for keeping you waiting.
- That's OK. We had a very interesting chat.
Sit down.
l think he's lonely. l think he wants company.
Oh, do shut up.
Sorry!
How can l help you?
l'd like to ask you some questions,
if that's all right?
Yes.
JENNlFER: Fire away.
What were you doing last night?
At the time of the murder?
l...what was l doing?
Oh! l went to change my library book.
What time was this?
Um...l got back from work at 5:30,
watched the news, had some coffee.
- 7 o'cIock? Quarter past? Something Iike that.
- Then?
l spent the evening making biscuits.
ANGlE: Have one!
Thank you.
Mm...
Who else was here?
50 quid.
Or, double or quits?
Yeah. OK. l'm going to the gents. l'll be back.
- Are you coming back?
- No. l think l've had enough.
Look, l'll pay you next week, OK?
OK.
Take it.
Tosser.
..but in literature, there's a horrid link
between love, lust and power
and it always seems to end up
with someone killing someone.
As though death is hungry and he's always
looking for more people to gobble up.
Why do we assume death is a he?
Well, nice things like Mother Earth,
Dame Nature, countries, ships, are she.
But death is a he.
What's the difference between love and lust?
Love doesn't kill.
Lust does.
Love might kill.
Maybe love is more dangerous than lust.
Well, l must go. Thanks for making me welcome.
l enjoyed this evening.
Come again.
What's wrong with working at St Aldgates?
Nothing. l like it.
But aren't you looking for another job?
No, l'm not. Who told you that?
Good night, Miss Coleby.
..and l'm supposed to get up
in front of 50 students
and pretend to be an authority
on life, death, love...
His knowledge of life is so limited!
She loves to humiliate me.
Rot! l just want to keep a grip on you.
See what l mean?
l don't want you to blunder into something stupid.
Not with the Chair coming up.
lt's me that's kept him going.
He's got no guts at all.
Yes, well, l've had more than
my fair share of guts for one day.
- Night, Max.
- Good night, Bernard.
Oh, and...thanks for a lovely evening.
Any time, Max.
(Baby crying)
(Rock music blares)
Who the hell are you?
Mrs Kane?
Yes.
- Do you boys always tear everything apart?
- l'm very sorry about this.
Here.
l need company.
l'm sorry about your daughter, Mrs Kane.
Sure.
l missed you this morning.
l thought you'd gone back to London.
Someone's got to clear up the mess.
There's no-one else.
There's only me left.
l see.
lt's finished. End of story.
l keep expecting her
to come walking through that door.
When the beII rang,
l thought that was her.
Did you see what he did to her?
l mean, who could do such a...
Her little face, it was all battered and bruised.
ls there anything you can tell me
that might help?
l told the other chap everything l could.
Sergeant Lewis?
That's him.
She was just 1 8.
She was only a kid.
l brought her up myself.
She really wanted a dad like the other girls.
Five minutes in a lay-by,
that's all it took to have her.
He toId me he was in the Navy.
I don't think he ever knew
he was a dad.
Have you got any kids?
No.
Are you married?
No.
Do you get on alone?
Yes.
l always need someone.
They come and they go.
When you need help most...
..there's no-one there.
Why did they have to do this to her things?
We were looking for something.
What?
We were trying to trace some money.
Money?!
ls that why she died?
We don't know for sure.
How are you going to get her things
back to London?
God knows.
l've got to be back in London tomorrow evening.
Would you like me to send a van in the morning?
A couple of men'll help you clear out the flat.
Oh...
Oh, that would be really nice of you.
Thank you.
l've got to go.
You'll be OK here?
Yeah.
Find him, won't you?
What time do you call this, then?
l'm sorry, Mr Gill. l couldn't help it.
- What have you done to your face?
- l was in a bit of trouble last night.
Right. That's it. You're finished.
- Go home.
- What? Why?
l'll pay you what l owe.
You've had two warnings,
so don't bother compIaining.
l'm not having my customers scared off
by a young thug.
l'm not a young thug!
Plenty of young people
need employment, Sanders.
- You've had your chance.
- Please, Mr Gill.
My mum'll kill me.
That's your problem, sonny. Clear off.
(Knock at door)
- Oh, sorry to trouble you, Peter.
- Hello, Bernard.
Could l borrow your Empson, Seven Types?
Yes, of course. lt's over there, on that shelf.
l seem to have misplaced mine.
It's on the top.
Er...
Ah.
WouId you care for a sherry?
Oh, thanks.
- Actually, would you mind if l had a Scotch?
- Help yourself.
Anything the matter?
No. No, no.
Not the lecture?
Good Lord, no.
lf it's the wretched professorial Chair,
it's in the bag.
ls it?
- Yes. lt's common knowledge.
(Knock at door)
Are you busy?
Looks like it.
l've got my essay
on the iconography in Spenser.
What? AII of Spenser?
My God, Newlove, you're a sadist.
- Can you come back after lunch?
- Shall l leave it?
- No. l'd like you to read it to me.
- Right.
- Bye!
- Bye.
Hands full, Peter?
As usual.
Are you OK?
Yes. Yes, l think so.
I just get a bit breathIess sometimes.
Bloody angina.
''As trees are by their bark embraced,
Love to my soul doth cling.''
ls that how you feel about your wife, Lewis?
Not exactly.
You disappoint me.
Mrs Kane...
Five minutes in a lay-by.
That's what she said.
A total stranger.
Hello, sailor, and what do you get?
1 8 years of Sylvia Kane.
lt doesn't make sense, does it?
There's nothing trivial about fornication.
lt's a great pity, but there we are.
Did they teach you that at school?
l don't think so, sir.
ln Rochester's time,
they used to make condoms out of leather.
To protect themselves from the pox.
Nothing changes much, does it, Lewis?
ls sex more trouble than it's worth?
l keep wanting to find the answer.
Now, the idea that Gilbert Burnet
converted Rochester to Catholicism
on his deathbed, isn't actually correct.
Burnet's conversations with Rochester
extended over a considerable period of time.
Long before Rochester
made his final journey to Woodstock.
I urge you to read Burnet's account
of these discussions.
They were pubIished under the titIe of
Some Passages Of The Life And Death
Of The Right Honourable John,
Earl Of Rochester, London, 1 680.
The struggle of...
unsatisfied lust.
Man's capacity for violence.
That's something that urges on a man to...
rape...
to kill, even, murder.
It's a madness that seizes the mind
and drives out reason.
GuiIt.
That comes Iater
when passion's spent.
When all the fuses have blown.
Sick, and in extreme pain,
Rochester spent some weeks
in a ranger's Iodge in Woodstock Forest.
And it was the ministrations
of the young Oxford man,
Robert Parsons,
that brought about his final conversion.
After a life of the utmost
scandal and debauchery,
the ''maimed debauchee''
had finally come home...
..to seek forgiveness...
..and absolution.
Thank you.
That's done what all good lectures should do.
What?
Make me want to go home and read all
Rochester's work again, as soon as possible.
A bit theatrical, though, didn't you think?
Anyway, l've got a tutorial. l must go.
Do you want me to stay?
Yes, please.
(Knock at door)
Come in.
MORSE: Sit down, Miss CoIeby.
Last night, you told me that
on the evening of the death of Sylvia Kane,
you went to the library to change a book.
- Yes.
- Which library was that?
Hainault Grove.
What time did you go to the library?
Seven o'clock? lt closes at...
On Wednesdays, it closes at six.
Yes.
What were you doing, Miss Coleby?
l don't want to tell you.
l think it would be a good idea if you did.
l was meeting someone.
- Who?
- l'm not prepared to say.
lt's absolutely nothing to do with the murder.
lt's very private.
Look, l'm not involved in this in any way.
Why are you picking on me?
Who is E, Miss Coleby?
- E?
- Yes.
l haven't the slightest idea.
This letter,
signed by E, is addressed to you.
How do you know it was addressed to me?
This is the envelope.
May l see the letter?
l've never seen it before.
l know. lt never reached you.
lt should have done.
On the afternoon of the murder.
Where did you get it, then?
lt's in code, Miss Coleby.
ls it?
- Oh, honestly, lnspector...
- lt says ''Take it please''.
Does it?
Who sent it?
And what does it mean?
l honestly don't know.
Withholding vital information
is a very serious offence, Miss Coleby.
l am not!
This is outrageous!
lt's private.
lt concerns only me and another person.
lt has nothing to do with Sylvia Kane.
l'm not prepared to proceed any further
with this interview.
lf you want anything else,
it'll have to be in the presence of my solicitor.
l've told you everything l know that's relevant.
l don't believe you.
That's your problem.
(Door slams)
Sit down, Mr Palmer.
Don't waste any more of my time.
Please.
Where did you take Miss Coleby
on the night of the murder?
To a hotel.
- Where?
- On the Newbury Road.
The Grove.
And what name did you register under?
Williams.
- How long have you and Miss Coleby been...?
- About six months.
Does your wife know?
No.
Does she have to?
Who is E?
l've no idea.
l don't know what all that's about.
l'm sure Jenny's not applying for another job.
l'd have heard about it if she was.
Did you ever have sex with Sylvia Kane?
Sylvia Kane?
Of course not.
Of course not! Why do you ask that?
Thank you, Mr Palmer.
Ah, Nurse...
- Staff Nurse Widdowson.
- Yes. And l'm busy.
- Good. What are you doing?
- l'm on my way back to the ward.
- And you've just collected these?
- Yes.
- And which ward was that?
- 1 7.
1 7...
lt's in that direction, isn't it?
Yes.
So, why are you going in that direction?
l'm going to the ladies. Do you mind?
What, with all those...whatever they are?
ls that hygienic, Nurse?
Why don't you hang yourself up
in the drying room?
You may be able to read this,
an examiner would be struggling.
l'm sorry.
When it comes to exams,
some poor idiot has got to read
hundreds of essays.
Handwriting never was my strong point.
People get impatient.
Right.
Otherwise, it was very good.
l won't say excellent,
in case you get carried away.
Come to tea at my place.
Oh...
Five o'clock?
All right.
Do you come with a government health warning?
We're not doing very well.
LEWlS: EarIy days yet, sir.
Maybe we're looking for a serial killer.
Oh, come off it.
Sylvia just happened to be in the wrong place
at the wrong time.
Someone who doesn't think
girls should have a good time.
A religious freak.
A born-again murderer.
AII this stuff about codes
and stolen money is just coincidental.
Right.
Tomorrow, I want you to get someone
to run a check on aII unsoIved murders
of women between the ages of 1 5 and 30
in the south of England in the last 1 0 years.
So, south of a line
between the Mersey and the Wash, sir?
You don't think that's a good idea, Lewis?
I'II teII you what.
l think we're making a mistake
about Jennifer Coleby.
You mean, l am.
Yes, sir.
And what would you do?
- Bring her in.
- And?
She knows more about the letter.
We need that information.
What if she won't tell us anything?
- Charge her.
- With what?
Hindering our enquiries?
You're confusing things, Lewis.
How?
There's more than one offence in this.
Sylvia probably stole some money
that should have been given to Coleby.
Right.
But Coleby didn't know
that Sylvia had pinched the cash, did she?
How do you know?
Anyway, she was making it with Palmer
at the Grove Hotel.
No, no...
She's more use to us out there.
She's under pressure. We'll watch and wait.
Sir, look.
lt looks as if John's been a bad boy.
Why can't these bloody kids learn to behave,
Lewis?
What's next on the agenda?
WOMAN: A coupIe of road accidents.
- And a gIue-sniffing.
- Really?
- By the way...
- Yeah?
Sylvia Kane had minor surgery on her arm.
Where, Kate?
Here.
Ooh... Missed that.
Good work by someone.
Elbow problems.
lt wouldn't have improved her tennis serve.
- lmportant?
- You never can tell.
lt seems rather late for tea.
l thought we'd have a nice crisp gin and tonic.
Thank you.
We only have old age and extinction
to look forward to, after all.
Cheers.
Cheers.
l don't know why.
There was the blood.
Then the money.
Like l thought it was me.
lt wasn't. l didn't do it.
l just took the money.
l saw the envelope and some notes
sticking from it, and l just took the cash.
MORSE: How much?
?500.
Exactly?
- Yes.
- What sort of notes?
20s, mostly.
Where's the cash now?
ln a box on top of the wardrobe in my room.
l spent some of it.
How much?
About ?1 00.
- On what?
- A new snooker cue.
?1 00 on a cue?
Well, l got some clothes, as well.
And some of the money got...got lost.
ldiot.
l know.
Charge him, Lewis.
You must know about the letter!
Tell me what the hell's going on.
That letter wasn't meant for me.
lt was addressed to you.
l know, but l was meant to pass it on
to someone else.
- Who?
- No-one you know.
Clive, it doesn't concern us.
The police think so.
Well, they're wrong.
l think we should get back to our work.
Clive, when are we going to meet again?
l don't know.
We've got to let things cool down a bit.
Please.
- Tomorrow night.
- No. l can't.
- Well, when?
- l don't know.
Jennifer, l think it's finished.
l don't think so.
- lt's easy for you.
- lt isn't easy at all.
l have to go home. There's the children...
l go home too.
l have to lie to my friends,
make excuses to protect you.
All this business with the police...
Please, Jenny.
We can't talk about it now.
We've got to meet.
lf you can't make tomorrow night, the night after.
The hotel at Thame?
- More deception.
- l don't enjoy it either.
Oh, Clive...
Make a clean break.
Leave her.
- Come and live with me.
- l can't do that.
Be realistic, for God's sake.
lt's a question of what really matters, isn't it?
l broke off my engagement for you,
and don't you forget it.
Let's get on with our work.
- Just because things are difficult...
- Not now!
You're hurting me, Peter. Please! Let go of me!
What's the matter?
Why are you encouraging me?
- What?!
- Why do you lead me on?
l don't know what l'm doing. l'm frightened.
Look, don't be scared.
l won't hurt you.
l'll be very gentle.
Please stop it, Peter!
Argh!
- l hate you!
- Angie!
Shit.
Morning.
Morning.
- ls Mary still asleep?
- l think so. Why?
l just wanted to talk to someone.
What's the matter?
l've just been such a fool.
What's happened?
l had a close encounter with my tutor yesterday.
Oh?
He just about raped me.
At college?!
No. At his flat.
Oh, dear.
- Jenny, can l tell you something?
- Sure.
Well, l've never ever been with a man.
You know...
l know.
lt doesn't matter. lt's OK.
l know l talk sometimes
as though l'm the whore of Babylon.
But it's all a bit of an act. l've never ever done it.
Good for you. l'm almost jealous.
l've always had a bit of a thing about my tutor.
He really fancies himself. Makes me sick.
But l thought it would be OK, you know?
He kept asking me round to his place.
And...well, l played along a bit.
Oh, God. What a fool. l could shoot myself.
Oh, what happened?
Well, l went round to his place for high tea,
as he calls it.
He makes it sound like a religious rite.
Anyway, l crumbled. l was so nervous.
So l had a huge gin and tonic when l arrived.
Mm?
And then, when he started... WeII, you know.
l thought, ''This man is a repulsive toad.
What am l doing here?''
Then it turned into a martial arts contest,
with me scratching his eyes out
- and him chasing me aII over the pIace.
- Did he catch you?
Certainly not!
l escaped. Virgo intacta.
God, aren't men hateful, Jenny?
(Doorbell)
(Doorbell)
- Mrs Margaret Crowther?
- Yes.
ls that your car?
Yes. Why?
Just a routine investigation, madam.
Oh.
We're checking out
the owners of all red cars in the area.
lt's just to eliminate your vehicle
from our enquiries.
l see.
l think you've got some more to tell me, John.
Have l?
Don't waste my time, John.
l'm not. Honest.
Have you been to my home?
Have you seen my mum?
We've recovered the rest of the money.
Did you see his mum?
- Yes, sir.
- What did she say?
She's worried about you, John,
so let's get things sorted out, shall we?
Sit down.
But l've told you everything.
What happened in the car park?
Not again!
She was lying there, like l told you.
And you took the money?
Yes.
- What eIse?
- Nothing.
Who did this belong to?
Sylvia.
How did you get it?
l took it.
l don't know why. l was angry.
Angry?
WeII, she was supposed to be meeting me.
She Ieft me waiting in the bar.
She made a fool of me.
l just picked it up. lt was lying there.
Did you kill her?
Of course I didn't!
You can go home.
Can I?
After you've made another statement.
Leave nothing out.
l mean nothing.
No.
No.
l don't recognise any of these women.
No.
Take your time, Miss Jarman.
l have taken my time.
Would you like to have just one more look?
l don't think there's a lot of point, is there?
However...
l have got one piece of information
which might interest you.
l think l've got the number of the car.
- The red car?
- Precisely!
Now, where is it?
Ah. Here we are.
l also wrote down the make.
Where did you get this, Miss Jarman?
Well...
l was out shopping.
l generally get out every day, if l can.
And l saw the car!
Are you sure it was the same one?
- lt was the light!
- What light?
When l saw it, l remembered.
You see...
the light at the back of the car...
- The rear light?
- Yes. The left one.
lt was broken.
As though it had had a bump.
lt had to be the same car!
There are hundreds
of red Ford Escorts in Oxford,
Miss Jarman.
That is the car, lnspector.
(Car horn blares)
Rupert, what is the difference
between a pigeon and a stockbroker?
A pigeon is the only one...
who can put a deposit on a Porsche!
A pint of best and...
Two pints of best.
Look at that bunch of yuppies.
l don't know. At least if they became regulars,
it'd work wonders for his sales of gin and tonic.
l bet they ask for VAT receipts
at the end of the session.
Now, drink that, Lewis.
Loosen some brain cells.
Mmm...
Sir, Miss Jarman's number.
- Yes?
- lt does belong to a Ford Escort.
- Oh?
- A Mrs M Crowther.
(Laughter)
l think l'll get some of our lads
to breathalyse them.
That should sweep the place clean.
Crowther...
Crowther?
- Dr Crowther's wife?
- Who?
Jennifer Coleby. Angie.
A coded letter.
Miss Jarman's not as daft as l thought.
The cunning old buzzard!
- What's up, sir?
- Crowther, the old goat.
Yes...
The maimed debauchee, Lewis.
He borrowed his wife's car.
He picked up Sylvia Kane.
How do you know this Mrs Crowther's his wife?
l don't even know if he's married, but l bet he is.
Come on. Drink up.
Do you want me to come around the back, sir?
l don't think Mrs Crowther's
going to jump out of the kitchen window, Lewis.
There's no-one in, damn it.
Let's go back to my place, try again later.
The slightest hint of scandal
and you'll ruin everything!
- My dear...
- You'll throw it all away. Please, Bernard!
You need that Chair. You deserve it.
l want it.
l lied for you, Bernard.
l told the police that l had the car that night.
Now, for God's sake, tell me the truth.
Well...
l did give someone a lift.
lt was that girl, the one who was murdered.
Mm. Apparently.
lt was you.
You killed her.
Not deliberately. Of course l didn't.
How did you meet her?
Well, she was hitching a lift.
I picked her up and drove to Woodstock.
We stopped for a drink on the way.
(Soundless)
When she suggested that we turn
into the car park of the Fox & Castle,
l thought she just wanted another drink.
She had other ideas.
In my car?
Well, she soon realised
she'd picked up the wrong man.
l was completely out of my depth.
And suddenIy she Iost her temper.
There was a bit of a struggIe.
And she got out of the car, sIammed the door.
l was completely shattered, l can tell you.
I just wanted to get out of there
as fast as possibIe.
I started up the car, stuck it into reverse and...
reversed out quickIy.
I do remember a sIight bump.
I thought I'djust driven over a kerb,
or something.
l didn't realise it was her.
Not then.
And l drove home.
Why didn't you tell me this before?
Because l'm a fool.
Oh, God!
How are we going to get out of this?
- l'm going to the police. l've had enough.
- Like hell you are!
We know it was an accident.
They might think otherwise.
- Margaret...
- Please.
Now, listen.
This is what we're going to do.
Yeah. That's the one.
Yeah. Great.
Right.
Thanks.
That Mrs Crowther is Dr Crowther's wife.
You were right.
So, Crowther borrows his wife's car...
sees Sylvia Kane hitching...
Does he know her?
No.
So it's just chance.
Yes. He sees Sylvia with her thumb out...
Kerb crawling.
lf you want to kerb crawl,
you don't head for the Woodstock Road, Lewis.
Oh, really, sir?
Yes, he picks up SyIvia
and they drive off.
Why doesn't he take the other girl? Person.
He doesn't see her.
Well, Sylvia would say, ''What about my friend?''
But Crowther's doing the driving.
And then...there's a gap.
She had a couple of gin and tonics somewhere.
This other girl, Lewis...
- lt is a girl.
- In spite of Miss Jarman?
l'm sure it's a girl.
Crowther.
Does he know Jennifer Coleby?
No.
He knows one of Jennifer Coleby's lodgers.
Angie Hartman.
Sex is the problem, isn't it, Lewis?
Who was abusing Sylvia Kane?
lt could be the other way about.
No chance.
- Are you finished?
- Just about.
Well, hurry up.
l found one of her hairs on the seat.
Oh, God.
MAN: Hey, you there!
What are you playing at?
- Take your rubbish home!
- Come on.
Come back! Come back, damn it!
Come back here!
Quick! Get in.
Oh...
Quick.
Oh, God, Bernard...
HoId on!
l want a word with you.
(Doorbell)
l wonder if that's the nice policeman again.
Oh, God. l bloody well hope not.
- May l come in?
- You're not supposed to come here.
Where can we talk?
(Door slams)
Hello.
Angie...
l'll go and finish my essay.
Just call me Cinderella.
Jenny, l've made a decision.
This whole thing's got to stop.
Oh, you've made a decision, have you?
- l want you to get another job.
- What?!
We can't go on working under the same roof.
Not after all this.
l've done some phoning around for you
this afternoon.
- l'll give you great references.
- l don't believe you said that.
- With luck, you'll be better paid.
- l don't want another job!
l'm sorry about that. lt's just got to happen.
Oh, God. What sort of a creep are you?
You'll be all right.
You just try and get rid of me...
You just try it.
You'll do well out of me, damn it.
lt's what you wanted, wasn't it?
You bastard!
What are you doing?
l'm going to talk to your wife.
Like hell you are.
Argh!
- You bitch.
- Now, get out!
Who was that?
(Bleeping)
lt looks like there's somebody in this time.
(Rings doorbell)
Max...
- What are you doing here?
- l could ask the same of you, Morse.
You're one step ahead of us.
What are you talking about?
- How did you get in?
- Who told you l was here?
Do you know the Crowthers?
Of course l do. Margaret's my niece.
Her husband's had a heart attack.
l was just collecting some of his things.
- He's at the hospital?
- Yes.
Look, what's going on?
l want to ask him a few questions
about Sylvia Kane.
Bernard?
Oh, he's not mixed up in that, surely?
Bernard?
Good God, Morse.
Let's go.
Hang on.
More news from the home front.
Sylvia Kane had problems with her elbow.
A cycIing accident.
- Not now, Max.
- She was still having treatment.
- We'd better see Crowther at the hospital.
- Her next appointment with the speciaIist
was the day after her death.
See you in the morning, sir.
Lewis...
What did you just say?
- What?
- To Max.
See you in the morning.
Miss Jarman...
Sylvia Kane
was seeing someone in the morning.
At the hospital.
The specialist?
And a nurse, most likely.
- The nurse who lives with Jennifer Coleby!
- Brilliant, Lewis.
- Widdowson.
- Mary Widdowson.
Seen my watch?
lt's on the piano.
Oh, thanks.
Oh, God. Everything's a mess.
l hit him over the head with the phone.
You what?!
Well, good for you, Jenny.
He's probably on his way to casualty right now.
No chance.
He'll be off home.
To that wife of his.
Well, good riddance.
- lt's that bloody letter that ruined everything.
- What letter?
Oh, that old man you're so keen on.
He wrote you
another of those stupid coded things.
The police have got it now.
What?
l haven't told them anything.
lt's all muddled up with that girl that got killed.
- Sylvia?
- Sylvia Kane. Yes.
Did you know her?
Um... Oh, l'd met her at the hospital.
She was having therapy
to improve the flexibility of her elbow.
Oh, l remember. She had some time off work.
Anyway, l've bent over backwards
to keep you out of this.
Thanks.
lt looks like we're in the same boat now.
ls there somewhere we can talk to you,
Miss Widdowson?
Yes, of course.
Can we be alone?
Wait here, Lewis.
Tell me about Bernard Crowther.
l want you to tell me what happened
in the car park of the Fox & Castle, Mary.
Please.
lt was an accident.
- All this talk of murder's rubbish.
- l know.
You do?
Yes.
lt wasn't Bernard's fault she died.
Look...
l met Sylvia Kane, by chance, at a bus stop.
- You knew her from her visits here?
- Yes.
Funny...
That's how l met Bernard.
He comes in here for tests on his heart.
Anyway...
l wanted an evening away from Oxford.
Time to think things through.
We'd been having an affair
for some time.
Very discreet.
A couple of hours together each week.
A meal somewhere.
Often, we just enjoyed each other's company.
Not necessarily for sex, you know?
Talking together.
Companionship.
You were lovers as well?
At first.
- But...
- What?
l wanted him to leave her.
- That wife of his.
- Have you ever met her?
No.
She's sitting in the corridor outside.
Oh, God. l thought it was her.
She won't know you. We'II be very discreet.
When we leave.
Why did Bernard send you ?500?
He didn't.
He did.
ln a coded letter.
Ah...
l never got the letter.
l know. But why the code?
He was like that.
l don't think he recovered
from reading Boy's Own annuals.
l was his secret.
That was half the fun to him,
deceiving that bitch of a wife.
What was the money for, Mary?
lt was for a holiday in the sun.
He wanted me out of the way.
He had some professorial Chair in the offing.
He didn't want a scandal at the last moment.
lt was one of the things we rowed about.
So, you met Sylvia Kane at the bus stop...
She wanted to hitch.
She went on ahead...and this red car stopped.
It was Bernard.
Where are you going?
I recognised his voice.
Hop in. l'll give you a lift.
He didn't see me. I didn't get in.
They drove off together.
I am ashamed of what I did next.
The bus came soon after.
lnstead of going home...
l should have done, l know.
..l followed them to Woodstock.
l was seething.
l knew Bernard's old haunts.
l searched for them.
l went to a few pubs and they weren't there.
Then, at last,
I spotted the car in the car park.
MORSE: At the Fox & CastIe?
MARY: The windows were aII steamed up.
I couId hear a row going on.
Then SyIvia got out of the car
and sIammed the door.
I rushed up to her
and I hit her.
Then Bernard reversed the car
and drove over her.
No!
He had no idea
she was on the ground.
l knew she was dead.
l ran off.
What's going to happen to him?
l'm not sure.
The important thing
is for him to get better as soon as possible.
Will l be charged?
l should think so.
Yes.
Bernard still doesn't know l was there.
He thinks it was all his fault.
Will you let me see him before l go?
Please.
Morse.
Excuse me, sir.
Margaret, my niece...
she's not...
You know?
Well, l think she's got her plate
pretty full at the moment.
You take care of her, Max. We'll see her later.
Thanks, old friend.
- Who's that woman?
- Which woman, dear?
- That nurse.
- Oh...
- l haven't the slightest idea.
- Mrs Crowther?
- Yes?
- Would you like to see your husband?
Thank you.
Lewis, if anyone offered you
a free holiday in the sun, what would you do?
Take it.
Sensible fellow.
Let's get out of here. l hate the smell of hospitals.
''All this to love and rapture's due;
Must we not pay a debt to pleasure, too?''
- What?
- Rochester, Lewis.
l think maybe it's time l bought you a drink.
Long overdue, Lewis.