Beyond Paradise Season 1 Episode 3
#BeyondParadise
#PrimeUSTV
#BeyondParadise
#PrimeUSTV
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Short filmTranscript
00:00Say they'd gone their way, they both would go together
00:03The small black sand and the lambs could play
00:06How pleasant was the weather
00:07They'd be a weary pencil down
00:10Beneath the tree with the branches round
00:13The earth was sitting and the beam on disguise
00:16The tide was growing
00:17Humphrey
00:27Thank you so much for doing this
00:30Oh, nonsense
00:30It's exactly what we should be doing
00:32Serving the community
00:33Besides
00:35Kelby volunteered
00:38One of these
00:43What?
00:43No, no, no, no
00:44There's too much glare
00:45Just change the filter
00:46Will you, please?
00:47Right, Mr. Witham
00:48Mr. Witham
00:49May I introduce Detective Inspector Humphrey Goodman
00:54Detective Sergeant Williams
00:56And P.C. Hartford
00:57This is Terence Witham
00:59The current owner of the Solo Mare
01:00Very pleased to meet you
01:01And one of you will be in the room with the painting, yes?
01:04Er, yes
01:05I do hope it's you
01:08Actually, no
01:10Why?
01:14You're the finest ship to Nabot has to offer
01:16Are you?
01:17Yes
01:18A very reassuring
01:22Excuse me
01:23He's a bundle of fun
01:28He's artistic
01:29He's very highly strung
01:30Yeah, he should be
01:31Wait
01:32Get yourself set up
01:34A solo mare
01:38It's a horse's bottom
01:45Yes
01:47But the front end is looking at Shipton Abbot in 1710
01:51Maybe they should have made the horse out of the way
01:52Humphrey
01:54Let me introduce you to our hostess
01:56This is Lady Louise Fitzallan
01:58Wonderful to meet you
02:00I've heard so much about you
02:02Anne and I are on the Arts Committee together
02:04This is DS Williams
02:05You have a beautiful home
02:07Thank you
02:08Augustus Craig, the artist
02:11Was my great, great, great grandfather
02:13Yes, so I understand, yes
02:14I hear you're lending us a constable for the evening
02:17Seems it really does pay to have friends
02:20Or rather future son-in-laws
02:22In high places
02:23Yes
02:24It's been a pleasure meeting you both
02:26And you
02:26Kelby
02:31We'll leave you to it then
02:34Thanks
02:34Oh, and sir
02:37Thank you for trusting me with this
02:41Can't think of a better man for the job
02:43Um, who are they?
03:06Oh, they call themselves Edith's Army
03:09Who's Edith?
03:11According to them
03:12It's a person who really painted the solo mare
03:14Really?
03:20Okay, so that's everyone
03:21Mr. Witham
03:23You'll lock the door behind us, yes?
03:27Yes, sir
03:27Good
03:28No one
03:34Is to go beyond those robes
03:37Until I return in the morning, yes?
03:39Understood, sir
03:40No one
03:42Yeah
03:43No one
03:44Sorry at that
03:45Go beyond those robes
03:45No, it's not
03:46No one
03:47Who's that?
03:47No one
03:48No one
03:49That's what I did
03:50No one
03:51Yeah
03:51Yeah
03:51Yeah
03:51Yeah
03:52He left
04:53Thanks, Mum.
04:54Hello?
04:55Hello?
04:56Hello?
04:57Hello?
04:58Hello?
04:59Hello?
05:00Hello?
05:01Hello?
05:02Hello?
05:03Hello?
05:04Hello?
05:05Hello?
05:06Hello?
05:07Hello?
05:08Hello?
05:09Hello?
05:10Hello?
05:11Hello?
05:12Hello?
05:13Hello?
05:14Hello?
05:18Hello?
05:26The power has gone out!
05:38Hello?
05:44The power has gone out!
05:48Hello?
06:14The power has gone out!
06:19The power has gone out!
06:22Oh my god!
06:25The power has gone out!
06:28I don't know.
06:58I don't know.
07:28I don't know.
07:29This is Lloyd.
07:30Excellent.
07:31I wonder, would you stay around until Lady Louise and Mr. Witham come up?
07:33They're just having breakfast downstairs.
07:34Of course.
07:35Shall I bring you up a bacon sandwich?
07:37Oh, yes please.
07:39Oh, yes please.
07:40Yeah.
07:41Yeah!
07:42Yeah!
07:43Yeah!
07:44Yeah!
07:45Yeah!
07:46Yeah!
07:47Yeah!
07:48Yeah!
07:49Yeah!
07:50Yeah!
07:51Yeah!
07:52Yeah!
07:53Yeah!
07:54Yeah!
07:55Yeah!
07:56Hello.
08:06Hello.
08:08Need a hand?
08:09No, it's the last one.
08:11Many Yorkshire puddings. Excellent.
08:14I'll save you one.
08:17Thank you all very much for coming to help us mark
08:21the historic return of Shipton Abbott's very own solo mare.
08:27As Acting Chair of the Arts Committee,
08:29I'd like to thank Lady Louise Fitzallan for inviting us into her home,
08:34and not to mention agreeing to buy the painting on behalf of Shipton Abbott.
08:44I'd also like to thank Mr Terence Witham, the current owner of Solo Mare,
08:49for agreeing to allow it to return home,
08:52to come back, as it were, to its rightful place,
08:54to the manor house where it was conceived.
08:57After the unveiling, we will all witness this historic moment,
09:01live, as it were,
09:03when the deeds of agreement are signed
09:05and the transaction completed.
09:08So, without further ado,
09:09I would like to invite the Mayor and Mayoress
09:11to step forward and reveal to us
09:13what we have all been waiting a very long time to see.
09:18On behalf of everyone in Shipton Abbott,
09:27welcome home.
09:28I will sue.
09:41I will sue you.
09:42I will sue the Arts Committee.
09:43I mean, there was a police officer...
09:44In the room, for goodness sake, in the room!
09:46There's nothing we could have done.
09:47It's absolutely...
09:48I've checked with Mrs Fitzallen in case anyone could have hidden in the room before it was locked.
09:54There are no secret compartments or false walls anywhere in this room.
09:58This window latch is broken,
10:00which means it could be open from the outside.
10:02I saw someone out that window running across the lawn with a, uh, an orange cap on.
10:07What time?
10:09Midnight.
10:10Would you know them if you saw them again?
10:12I'm not sure, sir.
10:13It was dark, and it happened just after the electric went off.
10:18There was a power cut.
10:19You didn't say anything.
10:20We came back on again.
10:22But you didn't leave the room?
10:23No.
10:24Well, not really.
10:26I...
10:26I opened the door when the power went off.
10:30You opened the door?
10:31To see if anyone was sorting out the electric.
10:34But you stayed in the room.
10:35I might have stepped out for a minute.
10:49Gallery room needs to remain sealed until forensics get here.
10:52I don't want a list of everyone who stayed at the house last night.
10:54Can someone tell me what's going on?
10:56We'll bring you up to speed as soon as we know more, sir.
10:58I heard they came in through the window.
11:01In which case, how the hell did they get past him, hmm?
11:04Unless he left the room?
11:05You did, didn't you?
11:10Sir, that's enough.
11:12Please go back inside and let us do our job.
11:14Ha!
11:15You haven't exactly covered yourself in glory so far, have you?
11:18I want answers.
11:19Then I suggest you leave us alone to find some.
11:23Bloody amateurs.
11:26This is all my fault.
11:29Hey, I think you better see this.
11:31No.
11:35Just under the gallery room.
11:38Must have been the guy who Kelby saw running away.
11:41Yeah, but if he's here to steal the painting, why risk getting called to stop and do graffiti?
11:46Let's get it all taped off and have forensics check it while they're here.
11:49We waited all this time and it was here one night.
11:52We'll get it back, Margot.
11:54You better go and open the station.
11:56Yeah.
11:58What shall I do?
12:01Maybe you go too.
12:09If Kelby's right about only being on the land in a couple of minutes, that's not long enough to break in, get into the room, take the painting from the frame and get back out again.
12:18You must have been out of the room longer.
12:19Yes, agreed.
12:21How's it going?
12:22Well, a bit flummoxed, to be honest.
12:24Mum's distraught.
12:25It's not her fault.
12:26It's not how she sees it.
12:27She organised everything.
12:30You want to get it back for her, won't you?
12:42It's going to be all right.
12:44Okay.
12:45Bye.
12:45Bye.
12:47That was Doc Trollman.
12:49Lost 25 sheep.
12:51Go out of a bottom field.
12:52I'll head down there.
12:53Uh, Margot, anything back from the scene yet?
12:56Forensics have just arrived.
12:58Right.
12:59Okay, while we're waiting for them, let's start building a picture.
13:03Background checks on these to start with, please.
13:08Missing a few, aren't we?
13:10Uh, who?
13:12Head of the Arts Committee who organised everything.
13:15Caterers.
13:15You want me to investigate my future mother-in-law and my fiancé?
13:20Depends if you want to be thorough or not.
13:23Just those people on the list.
13:25Thank you, Margot.
13:25Kelby, you mustn't blame yourself, you know.
13:40I was the one guarding it.
13:41Um, well then, we find out what happened.
13:46We arrest whoever's responsible and we get the painting back.
13:50And we do that as a team.
13:51We do it together.
13:52Okay?
13:53Yes, sir.
13:54Ah.
13:54Okay.
13:59So, let's assume that whoever stole the solo mare now intends to sell it.
14:06So let's think about how they would go about that.
14:08Well, they can't just stick it on eBay.
14:10Exactly.
14:11So what does that tell us?
14:12Is this someone in the know?
14:14Head of the Arts Committee.
14:16Thank you, Margot.
14:17And if the power being cut was there as a diversion, then where is the Master Fuse Board and who had access to that?
14:24And our protesters.
14:25Surely they had the biggest motive of all, did they not?
14:28If they believe that the solo mare doesn't belong to the current owner, well that it shouldn't be displayed at Shipton Manor.
14:34So who are they?
14:35Can they account for their whereabouts?
14:37And is Kelby's mystery man in the orange baseball cap one of them?
14:50Did you know about this feud over the painting?
14:52Most of Shipton does.
14:54Augustus Craig had a young stable girl called Edith Jay who worked on the estate but then went on to be an artist in her own right.
15:01The claim is that she was Craig's secret protégé.
15:06Not only that, but because of the subject, some believe she's the one that painted the solo mare.
15:12Yes, but wasn't it signed by Augustus Craig?
15:16Yeah, but they still believe she painted it.
15:19Both families have argued about the prominence for generations.
15:23Right.
15:28Isla Jay?
15:31Surprise, surprise.
15:47Looks like you're expecting another painting, Isla.
15:51Very funny.
15:52You do claim that the solo mare was painted by one of your ancestors?
15:56I don't claim anything.
16:00I know it was.
16:02By Edith Jay?
16:03Stable girl?
16:05My great, great, great grandmother.
16:10Yes, but Mr. Witham is an expert.
16:12He seems clear that it was painted by Augustus Craig.
16:16It's in his interest for it to be painted by Craig.
16:20More money for him if it is.
16:22So, are you going to ask me?
16:28Ask you what?
16:29If I know to.
16:30Did you?
16:30No.
16:35But I would have done if I could.
16:42There are others who feel as passionately about Edith as you.
16:47Do you think any of them could be responsible?
16:50How would I not?
16:52Better ask them.
16:53You know, one of them wears an orange baseball cap, I believe.
16:56What was his name again?
16:59No idea who you're talking about.
17:03And blame who you like.
17:05All I know is I can't steal something that's already mine.
17:08And I can prove it.
17:25Found it in Gran's things when she passed.
17:29It belonged to Edith Jay.
17:31A sketch of the solo man?
17:50Or a plan of how she wanted to paint it.
17:51I'll never live it down.
18:01Stop worrying.
18:03If anyone can figure out what's happened, it's Humphrey.
18:07I can only imagine what your dad would say.
18:10But when he was chair,
18:12all he ever talked about was
18:13bringing the solo mayor home.
18:17Hello?
18:17No.
18:18Humphrey, please tell me you found it.
18:20Oh, wait, not quite.
18:23But we're making excellent progress.
18:25Really?
18:26Yes.
18:27See, Mum, I told you.
18:29Anne.
18:31So where do you stand on the whole
18:33Edith Jay, Augustus Craig debate?
18:34Oh, the families have been arguing about it for years.
18:37It was signed by Craig,
18:39but Martha's father
18:40had a great deal of sympathy for the Jay family.
18:44He supported looking into it
18:45if the solo mayor was ever found.
18:47But we lost him
18:49before that happened.
18:51Rosé, as requested.
18:52Oh, thank you.
18:56Humphrey?
18:56Hi.
18:57Anne.
18:58Oh, I heard about the painting.
19:00Must have been quite a blow, I imagine.
19:01You've no idea.
19:03Is there anything I can do to help?
19:04Not unless you know who stole it.
19:06Afraid not.
19:08Well, I'd better get back.
19:09Oh, Motti, did you mention to Humph
19:11what we were talking about?
19:12Oh, no.
19:13Sorry.
19:15Oh, don't worry.
19:16Nothing too deep.
19:17I just thought it might be nice for you and I
19:18to grab a beer sometime.
19:21Beer?
19:22Get to know each other.
19:23After all, I am in partnership
19:24with your fiancée.
19:26I'm sure Humphrey's very busy.
19:29Nonsense.
19:30Great.
19:30What about later?
19:31After work?
19:32Uh, Kitty Jays.
19:33A couple of pints,
19:34a bag of crisps,
19:36and we can exchange some war stories.
19:38Oh, why not?
19:39Good man.
19:40Uh, 6.30?
19:41I'll look forward to it.
19:45Right.
19:49Back on the case.
19:50Yes.
20:03Esther, hello.
20:04There were nine protesters outside the gates.
20:06I'm working my way through them.
20:08Oh, and it seems the only people
20:10staying at the house last night
20:11were Louise Fitzallan and Terence Witham.
20:13Mr Fitzallan is away on business
20:15and there are no living staff.
20:17Okay, very good.
20:18See you back at the station.
20:19Okay.
20:20See you soon.
20:20Well, of course I'm aware of the controversy
20:28surrounding the painting.
20:30My father and Howard Jay
20:31almost came to blow us over it.
20:33Can you imagine?
20:34And Howard Jay is?
20:36Isla Jay's father.
20:37I see.
20:39She and I have had the occasional interaction,
20:42but nothing quite so heated.
20:43What kind of interaction?
20:44Well, it usually consists of her
20:47shouting at me in public
20:48and me smiling politely.
20:50It's all rather vulgar.
20:52So when you went to your room last night,
20:54you didn't see or hear anything until this morning?
20:57Nothing.
20:58PC Hartford said he might have seen someone
21:01in the grounds last night about midnight
21:04wearing an orange baseball cap.
21:07You any idea who that might have been?
21:09Um, no.
21:11Staff go home at six,
21:12so if there was anyone in the garden after that,
21:14they were trespassing.
21:16Oh.
21:25Can I ask if you saw or heard anything last night?
21:29Like what?
21:31Were you aware there was a power cart, for example?
21:34Around midnight?
21:35No.
21:36You were asleep?
21:37Yes.
21:38Listen, since you're here,
21:39maybe I could get back into the gallery room.
21:41I need to collect my things before I go.
21:43The display stand.
21:44The frame itself is actually quite valuable.
21:46You'll just need to bear with us a while longer.
21:49We need to keep the room sealed.
21:51Perhaps if you came back tomorrow.
21:54Don't suppose I have a choice?
21:56We'll be as quick as we can.
22:00Can I ask?
22:03Were you aware of the controversy
22:04surrounding the solo there?
22:06Of course.
22:08The Jay family are talking absolute nonsense.
22:11And you feel that the solo mayor is in keeping with other works produced by Augustus Craig?
22:16Without a shadow of a doubt.
22:18It has his signature on it.
22:21So if someone wanted to sell a stolen painting of this quality, how would they go about it?
22:31Painting, this importance, Inspector, is almost always stolen to order.
22:37So they would have a buyer already in place?
22:39Oh, I can think of a dozen private collectors who pay good money for it.
22:44What was the price agreed between you and Mrs. Fitzsala?
22:47Five hundred thousand.
22:51Five hundred thousand.
22:51Five hundred thousand.
22:52Gosh.
22:54So a buyer would pay that?
22:57Even if they knew it was stolen?
23:00Oh, maybe more.
23:01Art, Inspector, is enhanced by the tales that surround it.
23:09And a painting that was stolen from under the nose of a police officer while he was in the room.
23:15Well, that is quite a story to recount over dinner, isn't it?
23:37You've been to see Dr. Trollman yet?
23:40Look, I haven't got time to go looking for missing sheep.
23:43I need to find this bloke I saw last night.
23:46Do you know how many mug shots are in the county database?
23:51Surprise me.
23:54Two hundred and nineteen thousand four hundred and eleven.
23:57And how many have you looked at?
23:59Two hundred and nine.
24:01And how many of them are wearing an orange baseball cap?
24:05None.
24:07Chin up.
24:09Only another two hundred and nineteen thousand two hundred and two to go.
24:13Thanks.
24:18Nothing on any of the protesters, sir.
24:21All either in bed or can prove they were nowhere near the manor.
24:24Yes, I suspected as much.
24:26Margot, are forensics that shipped in manor?
24:28Good news or bad news?
24:30Good.
24:31They got prints from the window.
24:32Great.
24:33And the bad?
24:35There are around thirty people in the room, so they'll need to do exclusion prints on all of them.
24:39I also checked with the power company.
24:42There were no disruptions in the power supply last night.
24:44Yeah, it's all very unhelpful.
24:46You're welcome.
24:52Oh, wait.
24:55I have got some good news.
24:57Yes?
24:58The chief superintendent's been on.
25:00Wants you at the hub.
25:02Nine o'clock tomorrow morning.
25:04How is that good news?
25:06You can get croissants and coffee on your way back.
25:10Yes.
25:11Right.
25:11Come on.
25:12Come on, everyone.
25:13What are we missing?
25:15Gate cameras.
25:16Nothing.
25:17And the manor house has a three-mile perimeter.
25:19There's lots of places they could have got in.
25:21OK, what about this power cut?
25:22If it wasn't the grid, then it must have been cut off in the house.
25:26And only Terence Witham and Louise Fitzallan were inside the house.
25:30Background checks.
25:32Did Mrs Fitzallan first?
25:33Thought that'd be the most interesting.
25:35Turns out the Fitzallans aren't as loaded as I thought.
25:39The husband inherited the house, but they struggled to afford the running costs.
25:43They can afford half a million pounds for a painting, though.
25:45What about our art dealer, Terence Witham?
25:48Well, known for his niche taste, beginning his career specialising in works,
25:52depicting alternative lifestyles, escapologists, circus performers and the like.
25:58Discovered the solo mare in a small-town auction in January 2022.
26:04Listed his heroes as Banksy Mozart and the Dalai Lama.
26:09Yes, they're collecting a mix.
26:10But, again, as he already owned the painting,
26:13what possible motive could he have to steal it?
26:15So we're back to our man in the baseball cap?
26:17Yes.
26:18Because he definitely feels like he is the key to unlock everything.
26:22We need to find him.
26:27You were seen.
26:30Doesn't matter by who, just don't do anything else.
26:34The police have been here all afternoon.
26:36Just wait.
26:38That we had an agreement.
26:40So, football, I'm a Chelsea man.
26:51What about you?
26:52I don't really follow football, sorry.
26:54Rugby?
26:55Gosh, I'm not sure I know the rules, to be honest.
26:57So, you and Martha?
27:05The Caribbean, right?
27:08Uh, yes.
27:09Well, I was stationed there.
27:11She was travelling.
27:13We had met briefly a year or so before in London.
27:16A happy coincidence.
27:17I still wake up every morning and, well, wonder what she sees in me, really.
27:26Okay.
27:27Well, I guess it's just one of life's mysteries.
27:29It's best not to think about it too much.
27:32I guess I jinx it.
27:33We could always ask her.
27:37I do.
27:38She says we're the perfect fit.
27:40You know, like yin and yang.
27:44I don't know which is which.
27:47I think I'm maybe yang.
27:54Perversely, I used to think we were perfect together.
27:57Turns out she didn't feel the same way.
28:00Lucky for me.
28:02Sorry.
28:02Don't be.
28:04It's true.
28:09So I need to ask.
28:11Does it bother you?
28:12Us working together.
28:14Should it?
28:16Course not.
28:32How did it go?
28:44How did it go?
28:45It was brilliant.
28:47It turns out we have loads in common.
28:49You have nothing in common.
28:51It's not true, actually.
28:52We narrowed it down to you.
28:56And cheese and onion crisps.
28:58Was it a disaster?
28:59Not a disaster, I know.
29:02But, uh...
29:03I'm not sure what you saw in either of us, to be honest.
29:09What should we do for dinner?
29:11Oh, Mum's still upset about the missing painting, so I said we'd eat with her, if that's okay.
29:17Yeah, of course.
29:18Archie asked me if we were planning to start a family.
29:31But I didn't know what to tell him.
29:32So what did you say?
29:36Told him we were thinking about it.
29:39And we are.
29:42Are we?
29:45Come on.
29:47Mum's waiting.
29:48Okay.
29:55I knew you'd still be in here.
29:57I need to find him.
30:01Oh.
30:02Just give me ten more minutes.
30:06Now.
30:07Okay.
30:08I've got a fancy dress party at Jamie Elvin's, and I'm late as it is.
30:13Who's going as?
30:16Kenny Everett.
30:18Who's that?
30:20Before your time.
30:22Come on.
30:24Find Mr Baseball Cat tomorrow.
30:27Hey.
30:27Yes.
30:28Yes.
30:28So, he was a Caucasian male.
30:41Um, quite white.
30:44He was a brown male.
30:46Quite white.
30:47Uh, I think we're in a baseball cap.
30:49There you go.
30:50Hi there.
30:53And, uh, yeah, I think we're in a baseball cap for you.
30:57Uh, about the baseball cap.
31:00Find this one.
31:01And, uh, about the time.
31:06Oh, excuse me.
31:26Oh, God.
31:32I'm so sorry.
31:34I'm sorry.
31:39Oh, gosh.
31:39No, no, no.
31:40Oh, sorry.
31:42I think I'm just a bit nervous.
31:45I went to meet my new chief superintendent.
31:48There's nothing but moan about how much money he's shipped to Navitas spending.
31:52Oh, you're from one of the old station houses?
31:55Yes.
31:55We're old, but perfectly formed.
31:57Or pretty, but not very efficient.
31:59I think we're efficient enough.
32:01Oh, I don't doubt it's people.
32:03But we've moved on, haven't we?
32:04Away from a system of individual outposts towards a more modern and joined-up approach.
32:09We've shared information and technology, facial recognition systems, biometric.
32:14I just prefer good old-fashioned policing.
32:17Or running around with whistles.
32:18Well, with respect, um, that's your interpretation.
32:23And as an inspector sitting by...
32:24Except I'm not an inspector.
32:26Yeah, it's two pips.
32:27Pip and a crown.
32:30Oh, gosh.
32:30Sorry, that makes you, uh, chief superintendent.
32:36Shall we go to my office?
32:39You've got a crane's like the ocean, gonna take it in some motion.
32:45Got emotions that'll make you the last.
32:48You've got freckles on your shoulder, ammunition like a soldier,
32:52envisions, ambitions to be the best.
32:55Oh, and 10, how we 10, how we be getting bigger.
33:0110, 10, 2, but we 10, how we be getting bigger.
33:05Oh, oh, oh, oh, oh, oh, oh.
33:07Well, I'm guessing you'd like an update on the solo, Mayor.
33:16Do you have one?
33:18We're still pursuing leads.
33:20So that's a no.
33:21Actually, that's not why I brought you here, nor was it to listen to your views on 21st century policing, enlightening as that was, or even to tell you off face-to-face for spending too much money.
33:33Did you look around earlier?
33:35You'll find every force in the county with a base here.
33:39This place is the beating heart of the Southwest Police.
33:41And what does that make us?
33:43The kidney?
33:44More like a benign growth.
33:46Fine for now.
33:47Dangerous if left unchecked.
33:50Tactical command are considering bringing you and your team into this building.
33:54It's closing down the old station house.
33:56Well, that's a shame.
33:57For who?
33:59Us, but also the community who've been using that building for 100 years.
34:03We'll have more support here, more resources.
34:05Community liaison.
34:07Be part of a bigger picture.
34:08Yeah.
34:08There once was a ship that put to see the name of the ship was a belly of tea.
34:18The winds blew up her bowed up down or below my bully boys blow up.
34:23Soon made the weatherman come to bring the sugar and tea and rum.
34:28Oi!
34:30Here, don't pay me back.
34:32Oi!
34:35What the hell are you doing?
34:36What are you doing here?
35:01I'm not without my computer.
35:03It's got my wholesale order on it.
35:06What are these?
35:08We had a Turner visit in 1987.
35:13Your father planned it all.
35:15Went off beautifully.
35:17Oh, Mum.
35:18I told you.
35:20You can't keep blaming yourself.
35:22You weren't even there.
35:23I really just can't help thinking that I let him down.
35:28What do you?
35:38So, how was the chief super?
35:40Oh, good.
35:41Spilled coffee on her.
35:42Then got given a lecture on modern policing methods.
35:45Oh, dear.
35:46But this will cheer you up.
35:48Kelby found our mystery baseball capman.
35:52Where?
35:53At the fish market, apparently.
35:54Anyway, he's processing him now.
35:56Excellent.
35:57We have got other things to be doing, you know.
35:59We're not all sitting here twiddling our thumbs.
36:02Now, I said we'll get to it.
36:05And we will.
36:06Right?
36:06What was that?
36:09Seems everyone's moaning at me today.
36:11That was Doc Trowman moaning about her shape.
36:15Then I had that with them on earlier.
36:17Wanted to know if he can get in the gallery yet to get his stuff out.
36:20Uh, I'd say yes.
36:22I think we're done there.
36:24Okay.
36:25He is in the interview room.
36:27Ready for you.
36:28Thanks, Kelby.
36:28Yes, great work, Kelby.
36:30Sir.
36:31Um.
36:32This might not be important, but.
36:35When I saw him first.
36:36And I'm not sure about this.
36:39But he was with a woman.
36:40And it looked like she was passing something to him.
36:44She was a little older.
36:46And it looked like Mrs Fitzallan from the manor.
36:58Aaron Cole.
37:00Previous for criminal damage, theft and common assault.
37:05Okay.
37:06So, uh.
37:08Can you tell us what you were doing in the grounds of Shipton Manor the night before last around midnight?
37:14You were seen.
37:16On the night a painting worth £500,000 was stolen.
37:19Whoa, whoa, whoa.
37:19You ain't pinning that on me.
37:20Well, unless you've got a really good explanation for being there, it doesn't look good, does it?
37:25Right now, you're our prime suspect.
37:28I didn't steal anything, I swear.
37:30Well, look, if you're innocent, you can be out of this room in five minutes.
37:33I mean, you're no stranger to this process by the sound of things, are you, Aaron?
37:38So, you know full well that the only way that's going to happen is if you tell us the truth.
37:42And if you tell us exactly why you were there.
37:47If it helps, we already know about Mrs Fitzsala.
37:55Do you really think she's going to protect you?
37:57She wanted me to nick the painting.
38:03So you've missed stealing it?
38:04No.
38:05I was supposed to draw that stuff on the back of the house the first night, then the second night,
38:09she was supposed to leave the window open and the alarm off so I could get the painting.
38:13That way, people would blame the protesters.
38:16But she phoned me yesterday to call it all off.
38:20And raced to meet her in town.
38:22Told her I wanted paint anyway.
38:23Wait, so the plan was for you to steal the painting last night?
38:27Yeah.
38:29Well, it looks like someone beat me to it.
38:36Aaron Cowell was at school with my son, James.
38:39I spent most of their teenage years telling James to stay away from him.
38:45Rather ironic.
38:46So you contacted him?
38:49My circle of criminal acquaintance is rather small.
38:52Do you admit you were paying him to steal the painting?
38:56After what you've just said, it would be rather churnish not to.
39:02You see, my husband isn't away on business.
39:07Charles is actually in Antigua.
39:09With his secretary.
39:13And most of our money.
39:17I'm sorry.
39:19Then why go through with buying the painting?
39:21Because I'm a FitzAlan.
39:24And the guardianship of this house comes with responsibilities.
39:29The homecoming of the solar mayor brought the entire community back together.
39:32How could I suddenly announce I wasn't going to go through with it?
39:34It would have been excruciating.
39:41Charles had arranged to borrow the money and convince me to use the manor as security against the loan.
39:46So you hoped to claim on the insurance to help pay back the loan?
39:51And save face in the process.
39:53Rather tawdry solution, don't you think?
39:56Which means that the painting had to be stolen last night.
39:59Because until then, you didn't actually own it.
40:03Exactly.
40:05And the only good thing to come out of this conversation is that you will now see that it wasn't in my interest to steal it any sooner.
40:11Sir?
40:31Yes, it's coming.
40:31Sir Witham.
40:41Me?
40:42Please, let me help.
40:43Yes, I'll take that.
40:47Sorry, we couldn't let you go any sooner.
40:49Yeah, whatever.
40:57Aaron Cole could be lying.
40:59He might have stolen the painting anyway.
41:00Yes, very true.
41:03Nothing in this case is quite what it seems.
41:05I'm starting to think we may never find out what happened.
41:18I suppose me taking over his place on the Arts Committee was my way of holding on to him a bit longer.
41:26I know.
41:27I know.
41:30I still miss him.
41:33You see, but I know I shouldn't after all this time.
41:39We stop mentioning it to people.
41:41Well, because it starts to be a bit awkward after a while.
41:45As if sympathy has a use-by date.
41:48And once you're past that date, you're supposed to snap out of it.
41:52Stop harking back to the past.
41:54Move on.
41:55And it's difficult to move on.
41:58On your own.
42:00And you're so used to doing everything together.
42:04I miss him, too.
42:07Oh, I know you do.
42:11You don't get your own way as much as you used to.
42:13When he was here.
42:15True.
42:16Just my luck to get left with a strict parent.
42:18I know why you came back.
42:24Oh?
42:26You were worried about me being on my own.
42:29Oh, I'm sure the dream of opening your own cafe and being fed up with London was all true, too.
42:34But that's not why you came back.
42:35And you were right.
42:41I'm not sure I could have coped on my own.
42:46But that's what you do, isn't it?
42:49The people you love.
42:51Put your own wants and needs to one side and give them what they need.
42:57Never thought about it like that.
43:00All I ever wanted was for your dad to be content and happy.
43:05I suppose that's what Humphrey's doing for you, isn't it?
43:11Giving up everything to come down here with you.
43:15Yes, he is.
43:18And he's doing that because he loves you.
43:23It's a very precious thing, you know, Monty.
43:25Love.
43:29You hold on to it.
43:31As tightly as you can.
43:35Sir, I, um...
43:41If our intruder came in through the gallery window, then he's already inside the room where the painting actually was.
43:47So why did the power need to be switched off and why didn't Kelby see him?
43:50I don't know.
43:53But I asked for the sale memo from when Witham originally bought the painting.
43:57Part of the auction house is due diligence.
44:00Why?
44:00Well, I was hoping there might be something in it that might solve the debate.
44:03Give Isla J some peace of mind.
44:05That was a nice thing to do.
44:07Hmm.
44:07I'm not sure it helps, though.
44:09The only thing of note is that the artist may have used the canvas before and overpainted, but even that's quite common.
44:16Doesn't that help?
44:17It might make it worse.
44:19If Craig painted over Edith's painting, it's still an original Craig.
44:25You know, I keep coming back to the power being turned off.
44:30Common sense demands that we look at the two people who are actually inside the house when the painting was stolen.
44:36Hmm.
44:36Louise Fitzsald and Terence Witham.
44:38But we've discounted them both.
44:42Shape!
44:43What?
44:44What?
44:45She's been on the phone again.
44:47Threatening to go to HQ.
44:51Fine.
44:51I'll go.
44:53But I can't see how you can lose 25 sheep.
44:55It's not like they can turn invisible, is it?
44:58Or maybe they're just playing hide and seek.
45:01Hmm.
45:08Thanks, Margot.
45:09Hiding!
45:21What?
45:22Hiding!
45:24It was the only thing we've never really considered.
45:26I'm not following.
45:27I'm not following.
45:30Sir.
45:30We've always known that it was impossible to climb in through the window, steal the painting, and get out again in the two minutes that Kelby said he was on the landing.
45:38So what did we do?
45:39We chose not to believe him.
45:41But what if he was telling the truth?
45:45What if it was two minutes or less?
45:47That's not possible.
45:48Exactly.
45:49And that's the point.
45:50It's why everything is not quite what it seemed.
45:53Because we were trying to prove something that never actually happened.
45:57See, when Witham left art college, he worked with the art of the macabre, with magicians and show people.
46:02And?
46:03And, on his website, he listed as one of his heroes, Banksy, remember?
46:07Yeah.
46:07So?
46:08So, at the auction for Banksy's famous girl with balloon picture, what did he do?
46:14He shredded it!
46:15I remember that!
46:16Yes!
46:17I'm not sure I understand.
46:19Where's that report you had earlier?
46:20Here.
46:33Oh, I think I've got it.
46:36Okay.
46:37So who stole the solo mac?
46:40I did.
46:51I think when Terence Witham first got the auction house report, he saw it exactly as you did.
46:57It confirmed it was of the period, in keeping with the work of Augustus Cray.
47:00And, yes, there was a mention of a possible overpainting at the bottom of the canvas, but that's not unusual.
47:07As far as he was concerned, everything checked out.
47:10He bought a genuine Augustus Cray for a fraction of what it was really worth.
47:18But, at some point, he became curious about what was underneath.
47:23The overpainting was at the bottom of the canvas, where the signature would be.
47:27So I think he found Edith J.'s signature beneath that of Augustus Cray.
47:35Thereby, confirming the theory that Craig had signed his protege's painting.
47:42So Witham knew it was Edith J.'s all along?
47:44And he also knew that, unlike an Augustus Cray original, a painting of a horse's backside by a stable girl would be worthless in comparison.
47:52And he'd already agreed the sale with the Arts Committee.
47:55But, more importantly, he knew that now the painting was home in Shipton Abbott.
47:59The clamour to have it tested to finally prove who the real artist was and end the controversy would be irresistible.
48:04And if that happened, it would ruin his reputation.
48:08And, no doubt, have Louise Fitzallan demanding her money back.
48:11But, the sale already being agreed also gave him an opportunity.
48:16What better way to disguise the theft of your own painting, than doing it while it's in someone else's care?
48:24Ours.
48:24So, what if he was inspired by a combination of Banksy's shredding frame, and his early work with magicians?
48:36And he constructed a frame, designed to hide the painting within it.
48:44Okay, so that's everyone.
48:47Mr. Witham.
48:47So, on the night of the supposed theft, it was simple enough for him to make me last-minute adjustments to the painting before he left.
48:56You'll lock the door behind us, yes?
48:58Yes, sir.
49:01No one is to go beyond those robes until I return in the morning, yes?
49:07Understood, sir.
49:08Like any magician worth his salt.
49:17He knew about the importance of misdirection, and making the audience look the other way, to cover what they're really doing.
49:27Creating the illusion that the painting was stolen when the lights went out.
49:30Exactly.
49:31Hello?
49:35Hello?
49:38Hello?
49:41Witham waited a minute or two, and turned the power back on.
49:53Then, the next morning, when the room opened up again, more misdirection as he broke the window latch.
49:58All that was left was to be as surprised as everyone else on the morning of the unveiling.
50:08On behalf of all of us in Shipton Abbott, welcome home.
50:12And none more than Louise Fitzgerald, who had her own plan in place to steal the painting for herself.
50:20And that's why Witham was so keen to get back in the room and collect his frame.
50:23Yes, but the person I believe actually took the painting from this house was me.
50:29Mr. Witham, please let me help.
50:35Yes, I'll take you.
50:37Sorry we couldn't let you go any sooner.
50:39Yeah.
50:39Okay, fine.
50:47He left the manor house five minutes ago.
50:50Right, get his vehicle details, put out an APB.
50:53Sure.
50:53Oh, hi, everyone.
51:21Oh, hello, dear, mate.
51:23Oh, come on, Ed.
51:27Yeah, calm down.
51:28Shh, it's all right.
51:31Mrs. Trowin, I've got your sheep.
51:34Um, you're going to need to bring a truck, all right?
51:37And the...
51:38Oh, jeez.
51:41Who the hell's in charge here?
51:43I am.
51:44APB on black for transit courier.
51:53Registration echo November 1-5.
51:56Yankee Sierra Bravo.
51:58Driven by a Terrence Witham.
52:01Dark air, 5 foot 11.
52:03Last scene, leaving Shipton Abbott, heading towards Exeter.
52:06Wandered on suspicion of fraud.
52:08Please apprehend.
52:15Excuse me.
52:16Excuse me.
52:17Excuse me.
52:20Excuse me.
52:22Oi!
52:25Come back!
52:26Oi!
52:27Go!
52:28Go!
52:28Go!
52:29Go to show us how this works?
52:52Very well.
52:53Let's see.
53:15So, it was in the room the whole time?
53:18It...
53:18It wasn't stolen on my watch?
53:21No, it wasn't.
53:23So, my record on guarding valuable paintings is still 100%?
53:30Yes, well done, Kelby.
53:32Take him away, will you?
53:35Yes, sir.
53:44Well done, sergeant.
53:53You're welcome.
53:55Louise Fitz-Allen has offered to buy the Solo Mare anyway.
54:02Really?
54:03At a tenth of the price.
54:05Why?
54:06She knows it wasn't painted by her ancestor.
54:08Who knows?
54:09But Edith J was still a local.
54:11So, at this rate, Shipton Abbott might just embrace you as one of our own.
54:17The man who saved the Solo Mare.
54:19Yes, well, right now I'd happily settle for the gratitude of my future mother-in-law.
54:23Yeah.
54:26Good night, sir.
54:27Sergeant.
54:27What do you want?
54:46We could start with a cup of tea.
54:48Okay.
54:48Perfect timing.
55:14Well, I've just made your mother a very happy woman.
55:21Not sure if I want you to elaborate or not.
55:28Just found her painting.
55:32I knew you would.
55:33Ah, yes.
55:38Selwyn!
55:39Selwyn's back.
55:41Selwyn?
55:41Er, yes.
55:43Well, he needed a name, and rather strangely, I found myself missing the commissioner.
55:47This will soften the blow a little.
55:49Eat.
55:50Yes.
55:52Pasta.
55:53Just what a hungry man needs after catching an art fraudster.
55:57Just what a woman needs, too.
55:59To build up her strength before she starts IVF again.
56:04What?
56:08You mean...
56:08You mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean, you mean