90 Day Pillow Talk Season 29 Episode 17

Showtime USA

90 Day Pillow Talk Season 29 Episode 17  #Showtime USA 🎞 Please join https://t.me/CinemaSeriesUSFilm

Transcript

00:00TING TING TING

00:13Congratulations, everyone. 18 months of hard work. Isn't that right, Brendan?

00:20You don't need me for anything else, do you?

00:22All work and no play, that one.

00:25But we have got there.

00:28The Astley family collection, all under one roof, just as it should be.

00:34You're very good health.

00:36So exciting.

00:37Now you two are going to be there at the grand opening on Friday, aren't you?

00:40I mean, we couldn't have done it without you.

00:42Restoring my family portraits.

00:44Much appreciated, sir. Isn't it, Dougston?

00:47Jolly good. We're absolutely thrilled, aren't we, darling?

00:50Oh, and everyone, a big thank you to Francis Crozier here from the National Gallery,

00:55who brought the fourth and fifth earls here to complete the set.

00:59And apparently, he's also going to give us a bit of a presentation.

01:04Let's just say I shall be sharing something quite explosive.

01:08So what do you think of this thing?

01:13Oh, it's fun, isn't it?

01:15See, they've done something very clever, haven't they?

01:17With the daylight coming through.

01:22Uh, Helena.

01:23I just wondered if you'd given any more thought to my offer.

01:27Uh, yes, of course.

01:29It's very tempting.

01:31Well, perhaps we can discuss it.

01:33Later.

01:34Why don't you pop by the coach house?

01:38Francis, could I possibly have a word with you in my study?

01:42Now?

01:44If I must.

01:46I must.

02:16What are you doing here?

02:18What are you doing here?

02:20What are you doing here?

03:40It's my mum, painted by my dad.

03:45Gave it to me just before he disappeared.

03:49First dates, eh?

03:53Was the sofa bed all right?

03:56Fine.

03:56You should have let me stay on it.

04:00Yes, I should.

04:03I should...

04:04Yeah.

04:05I...

04:06I...

04:06I need to...

04:08Right.

04:16Hello?

04:17Rosa, we should do...

04:19D.I. Palmer?

04:23Yes.

04:23Is that him?

04:48That is D.I. Palmer.

04:50He makes up the entire workforce of the heritage crime unit.

04:54God help us.

04:56Ooh.

04:57What?

04:58Not having him and his ridiculous painting squad show up my force.

05:03Stick to him.

05:04Tell me what he's up to.

05:05What?

05:05Spy on him, sir?

05:06Don't be so dramatic, Malik.

05:09Just keep me posted.

05:12Amazing house.

05:14This is the perfect example of a Victorian Italianate palazzo.

05:18It's like a doll's house on steroids.

05:20Yeah.

05:24Um, D.I. Hollis.

05:25Welcome to Yorkshire.

05:26God's own country.

05:28Mick Palmer.

05:30Sorry about taking the case from under you, but, um, delicate situation with the National Gallery.

05:35No, no, it's, uh...

05:37It's no problem.

05:38I, uh...

05:39I'm sure you Londoners can teach us country folk a thing or two.

05:43We're here to offer every assistance, including one of my finest constables, PC Shazir Malik.

05:48Looking forward to working with you, sir.

05:50Pleasure to meet you, PC Malik.

05:53All right.

05:53Well, that's your team.

05:56Anything else I can help you with?

05:57Uh, no?

05:58I was just wondering...

05:59Right, so, where should we start?

06:05Crime scene, sir.

06:06Great shout.

06:07Shall we?

06:09Go take your back.

06:10Yeah.

06:10Sure.

06:20So, what? You investigate paintings, then?

06:26All sorts, really.

06:28Art theft, illegal trafficking, forgery, fraud.

06:31And murder.

06:32Yes.

06:32The victim is Francis Crozier, who was attached to the National Gallery.

06:39What else do we know?

06:40He was staying in the coach house, overseeing the loan of two new paintings in the gallery.

06:45Yes.

06:46The Fourth and the Fifth Earls.

06:47Eighteenth century artists undetributed.

06:49Right.

06:49His body was discovered here this morning by the owner of the house, Lord Astley, Earl of Halesby.

06:57Is that it?

06:58Anything else to add?

06:59Those are the established facts.

07:01Facts are good, but interpretation is more important.

07:06So, take, for example, your boss, Hollis.

07:09He said he wanted to help.

07:12Fact.

07:13But my interpretation is that he's a bit of a dick, and he wanted to send me packing back to London.

07:18Am I close?

07:20Hang on, sir.

07:21Ah.

07:23Shall we?

07:24The victim was found at ten past seven this morning by Lord Astley, formerly identified as Francis Crozier, 43 years old.

07:47Rigor Mortis was still present, so I'd estimate time of death between 12 and 18 hours.

07:54The cause of death?

07:55A traumatic brain injury caused by a series of blows to the side of the head.

07:59A curvilinear laceration, most likely caused by a hammer.

08:03Very meditated.

08:05Don't see many hammers lying around.

08:08Um, any sign of the murder weapon yet?

08:11Still searching, sir.

08:12Nothing yet.

08:14It's wine.

08:16And blood.

08:18I see we're missing a laptop.

08:21Any sign of a mobile?

08:22The victim had no defensive injuries.

08:25No bruises or scratches on the arms or hands.

08:28So Crozier knew his attacker?

08:36Could you let me know when you're done?

08:40Um, thanks.

08:41Why did we leave?

08:42I need a clear view.

08:44It's impossible with all that banging about.

08:47It could be a robbery, but then his wallet was right there on the desk.

08:51Yeah.

08:51Get me his phone records.

08:54Everyone's a critic.

08:56What do you reckon?

08:57Local kids?

08:59It's hardly Banksy.

09:03Look at the side of it.

09:05Don't know if I should go in through the front door or find the gift shop.

09:08Good afternoon.

09:19Good afternoon.

09:20My name is Detective Inspector Palmer from the Heritage Crime Unit.

09:25The Heritage what?

09:27Heritage Crime.

09:28This is PC Malick.

09:31Where are the proper police?

09:33And you are?

09:34Brendan Kennedy.

09:35Estate manager.

09:37A proper one.

09:38Presumably.

09:38I'm asking that nobody leave the house without permission.

09:43And I will need you to make a statement.

09:45Well, you're not suggesting it's one of us, are you?

09:47I'm just trying to get a sense of events.

09:51How well did you know Mr. Crozier?

09:53Not very well at all.

09:54He'd only been here a few days a week, perhaps.

09:56Had he been here a week, Helena?

09:58Sorry, this is Helena McGuigan, my assistant.

10:00He was writing a guide to the gallery, plus the information panels on the wall.

10:05Did he know anyone else from around here?

10:07Not that I'm aware.

10:10Look, I think we're all a bit shaken, Inspector.

10:13But I'm sure I speak for everyone when I say that we owe it to Mr. Crozier to push ahead

10:17with the grand opening of the exhibition.

10:20Well, yes, I have done a great deal of work to get us this far.

10:22I wonder if we could start with the CCTV.

10:26Oh, yes, of course, Helena.

10:28Could you expedite?

10:29Yes, happy to.

10:31Techie stuff isn't really my forte, I'm afraid.

10:34I'm sure you have other strengths.

10:44Okay.

10:48So, this is the system.

10:54Does this cover the coach house?

10:55uh no only the main house in the drive there's no recording of last night someone's disconnected

11:05the camera feed well they didn't want to be seen heading over there who has access to the system

11:11anyone in the house really well there was nobody else here last night um the restorers stayed for

11:17a drink but they left straight after but they wouldn't have had access to this no absolutely

11:21not can you think of anyone who had anything against crozier uh i mean um

11:31i did hear francis mr crozier and lord astley having a row in the study over what i'm not sure but lord

11:43astley sounded very upset

11:44it was a minor disagreement over the interpretation of one of the pictures that's all

11:52where were you last night no uh well um i'd had a glass of wine too many i took myself off to bed

11:59popped a sleeping bin and was out for the count

12:00so you found the body yes yes that's right horribly shocking at seven in the morning

12:11that's an early start uh yes i popped in while i was out walking the dog what happened here

12:19oh that um kids uh graffitied the statue on the lawn broke a window and and uh vandalized one of the

12:28portraits with a with a paint gun the restorers came to pick it up it's going to be fine apparently

12:33is that an important piece of work important it's the first earl percy asked me

12:40he made the family fortune member of parliament major philanthropist patron of the arts

12:45bit of a hero of mine actually did you report it

12:51well no uh i i i was going to but you didn't want the national gallery to take their two pictures back

12:59it is taking enormous amount of effort to get this collection together i really wanted to show

13:06it to the world on friday's grand opening

13:08i won't be able to return any of that either not that arabella will mind

13:16she has very expensive tastes that girl

13:18if there's nothing else inspector i think we're good thank you thank you

13:29she looks well miserable

13:47she's got a face like a wet weekend

13:50woman at table

13:53could have spent five more minutes on the title

13:56should have spent five more minutes painting it

13:59school of vermeer johannes vermeer 17th century dutch

14:04girl with a pearl earring

14:07exactly

14:08he would have done the hands and the face and his students would have done the rest

14:14sounds like a bit of a scam

14:15although unattributed the work demonstrates vermeer's characteristic use of light

14:21and his ability to create an intimate sense of mood

14:24crozier wrote that it's nonsense

14:27look at it

14:28it's leaden

14:29it's

14:30it's flat

14:31it's

14:32the composition's all wonky

14:34there's

14:35there's no signature

14:37it's just wrong

14:38so it's not worth anything then

14:41well the real vermeer would be worth millions and school of

14:43thousands

14:44but this is

14:45this is a dud

14:49soko's finished at the crime scene sir

14:51any sign of the murder weapon

14:53no sir

14:54it's

14:55even if it's not a dog

14:56in the middle of the grave

14:57so

14:59if you want to talk to somebody

15:00you've got a dog

15:01and you've got a dog

15:02that's a dog

15:04who could have been

15:04there

15:05she's

15:06if you want to go

15:08and you're a dog

15:09and you know

15:09it's

15:10just

15:11all

15:11and you're

15:12and you're

15:12you're

15:13the

15:14the

15:15dutch

15:16where

15:17you're

15:18the

15:19dutch

15:20Looks like a phone number

15:32Bank account

15:34I don't think so

15:49Take away

15:49All right

15:5320, Sagaloo

15:5754, Peshwari 9

15:5937, Chicken Kulma

16:01What is the point of a Kulma?

16:0416?

16:058.50, 12.50, 16 pounds

16:09It's pretty decent actually

16:11Not bad

16:12Hello

16:15Hello

16:15I thought there was something written on the one

16:20In the bag

16:21Triumph equals desire

16:26Does that mean anything to you?

16:30No

16:30Sir Crozier had company last night

16:37Whoever it was took more than his laptop and his phone

16:43There was some paper on the table

16:46I know exactly who it was

16:51Lipstick on the wine glass

16:56Cadmium red

16:58Francis Bacon's trademark

17:01He said he could get me a job

17:05At the National Gallery

17:07Said he could pull some strings for me

17:11He tried to kiss me

17:15I managed to push him away and told him I wasn't interested

17:21Last night someone smashed Crozier over the head with a hammer

17:25And you lied about being with him

17:27Doesn't look good, does it?

17:32Don't blame yourself for Crozier's behaviour

17:35I don't

17:37Crozier's laptop is missing

17:40Did you see it when you were there?

17:42Yeah, he was working when I arrived

17:45Creep

17:47He wouldn't even be here if it wasn't for me

17:49You didn't even like him

17:52Do the words triumph and desire mean anything to you?

17:57I don't think so

17:59How long does the house hold on to the CCTV recordings?

18:02Seven days

18:03Why?

18:05I'd like to review the footage from the night the painting was vandalised

18:08Okay

18:10The camera's not great, but you can see the gallery window

18:14Is there any more footage?

18:21Yeah, just one

18:21So why use a paintball?

18:24And why shoot that painting?

18:29There's a paintball centre just down the road

18:31Let's pay them a visit

18:33You...

18:35What'd I get that?

18:36Yeah

18:36Well, I'll, um, wait in the car

18:39Okay

18:39Shit

18:42Malick

18:43Got an update for me?

18:46It's like Downton Abbey here, boss

18:48How's Palmer doing?

18:50He's a bit random

18:51He keeps going on about the paintings and that

18:54And he leads?

18:56So Lord Astley had a big row with Crozier the night he died

18:58He'd be my bet

19:00Right, well

19:01Keep me in the loop

19:02I want to be the one who makes the arrest

19:05Remember who you were for?

19:06Never in doubt, boss

19:08Never in doubt, boss

19:09Help you?

19:32Maybe

19:32P.C. Malick, East Yorkshire Police, D.I. Palmer

19:43Just inquiring about an incident at Astley Estate

19:46I heard

19:47A murder in Halesby

19:48Nasty for Bella

19:50Bella

19:51Bella

19:51Bella Hartley

19:52Bella Hartley

19:52Lady Arabella now

19:53She used to work here

19:55Then she hooked up with Ashley

19:57That's the last we heard from her

19:58Still, that's her business

20:00What can I do you for?

20:02Do you ever have any equipment go missing?

20:03Don't think so

20:05I mean, it's not Fort Knox

20:07We'll need a list of members

20:08Nah, no members

20:09We've got some regulars

20:11But anyone can book a session

20:12Well, get me a list of bookings then

20:14I'll see what I can find

20:16Look who loves his paintball

20:21Our proper estate manager

20:24I'll follow back to your wall

20:28Come on

20:29Hello

20:43It's Derek

20:44I've just had the police here

20:54Thank you

21:21Front door's open.

21:42Check the window.

21:47Mr. Kennedy?

21:51Mr. Kennedy?

22:18Mr. Kennedy?

22:19I don't know.

22:49I don't know.

22:51Manny!

22:53Mr. Kennedy!

22:57Get off me!

22:59No, I'm coming! Quietly!

23:01What were you thinking?

23:07Thought you jumped to conclusions.

23:11Why would we do that?

23:13Because of your conviction for assault?

23:17Just a bunch of lads letting off a bit of steam.

23:23Why did you vandalise Lord Astley's painting?

23:28What? What are you talking about?

23:30It was damaged with a paintball gun.

23:32You're a paintballer, aren't you?

23:35You got a problem with Lord Astley?

23:38Well, he's my boss.

23:41So are you stealing champagne from your boss or are you sleeping with his wife?

23:47Bravo, Constable.

23:50Yeah.

23:51I do occasionally see Brendan.

23:54Because it's better than hanging around here, bored out of my mind.

23:58And you knew Brendan from the paintball centre?

24:01Him and his mates running around like they're on caller duty.

24:04Do you think he'd shoot one of the paintings in the gallery?

24:07He's not stupid.

24:09Well, not that stupid.

24:11And the CCTV, that was you as well, wasn't it?

24:14Bravo, Sherlock.

24:15Oh, Sherlock.

24:16I usually reconnect it in the morning, so no one's any wiser.

24:20So had Crozier discovered what was happening between you?

24:23Was he blackmailing you?

24:25I'm pretty sure Crozier had no interest in me and all my activities.

24:29He looked down on us.

24:30The bloke in the paintball centre said the same thing about you.

24:33You've not spoken to them since you got the keys to this castle?

24:36The keys to this decrepit, debt-ridden castle.

24:38What a prize.

24:40I apologise for my colleague's directness.

24:45What we're trying to pinpoint is what Crozier was working on before his death.

24:50All Crozier wanted was to hide away in archives.

24:53At least he didn't have to sit through his lecture.

24:56His explosive announcement.

24:58What announcement was that?

25:00I don't know.

25:02I expect he found something in the ledgers.

25:05Do you know if it included the phrase, triumph equals desire?

25:11God knows.

25:12Crozier barely said two words to me.

25:14Which beats Hugh banging on about his family history.

25:19So, unless you intend to arrest me for cheating on him,

25:22I've got better things to do.

25:29And they all lived happily ever after.

25:31Crozier had found something in these archives.

25:40And the answer is in one of these books.

25:43Or ledgers.

25:45Good luck finding which one.

25:47Yeah.

25:48It wasn't a QUEEN and the zwei, indeed.

25:51DNA

25:57But I've got less money somewhere...

26:00About three or so.

26:04Why not?

26:05What do you think?

26:06Both the elves have remained empty,

26:08didn't figure the man ganged that night for 12 years.

26:10Yes...

26:11After meaning, how is it possible?

26:12From one touch...

26:13At the top of a mission,

26:14Um, sir?

26:36Bingo.

26:43Chicken korma.

26:45He found something in here that he was excited about.

26:48Something that might be worth silencing him for.

26:53And something connects Crozier with the damaged painting.

26:59A lot of somethings. Have a smell.

27:01Oh, no.

27:04Title page has been ripped out.

27:07Have you had Crozier's phone record yet?

27:09Oh, mobile company are dragging their heels.

27:12I'm going to give them a kick.

27:13Okay, sir.

27:15Right.

27:16Let's call it a day.

27:17Good work today, Malik.

27:20Must be hard with Hollis on your back.

27:29Could I get a lift to the hotel?

27:30Well, I've got some bedtime reading to do.

27:33Oh, no.

27:45Yeah.

27:49Oh, man.

27:51Oh, man.

27:52Then he's talking about lipstick colours and the girl with the pearl earring.

28:20What, the film? What's that got to do with anything?

28:25Search me, boss. Five minutes later he's sniffing some old book and he's obsessing about this vandalised painting when we're trying to solve the murder.

28:32You've heard a rumour about him and his dad.

28:35Oh, Alma, just talking about you. Made any arrests yet?

28:40Early days.

28:43So, what's the plan?

28:45I want to speak to the restorer, the person who's fixing the damaged painting.

28:49You do realise this is a homicide investigation, Palmer?

28:52Yes, I think they're connected.

28:54And then, of course, there's the note. Triumph equals desire.

29:00Yeah, of course.

29:02Well, I'm glad you know what you're doing.

29:05Good.

29:05PC Malick and D.I. Palmer.

29:33Sorry for the interruption.

29:39That's no trouble.

29:41Tea.

29:42Love one.

29:43Dunstan, put the kettle on. There's a good lad.

29:49Colourful.

29:52Duran.

29:53One of the wild beasts, 20th century.

29:56Le Fauve.

29:57Matisse and his mates.

29:58That, that's by one of the greats, that is.

30:02An original Dunstan Fisher.

30:04Dad.

30:05All right, son.

30:06Parents can be allowed to be proud of their kid, aren't they?

30:09Not in my experience.

30:10You got a place at art school.

30:13We didn't see the point, did we, Dunst?

30:14Because you can't teach talent.

30:18Besides, we wanted to concentrate on building up the family business.

30:22Not much work around.

30:23Back in the 90s, we had four people working here full-time.

30:27You hear about the murder?

30:31I'd like to inspect the vandalised painting.

30:34Well, the damage was very localised,

30:36so the repairs have been pretty straightforward.

30:39May I?

30:40Yeah, go ahead.

30:40Priyamph.

31:01This must be what Crozier was talking about.

31:04Huh.

31:04The ship's bow's been overpainted.

31:21I need to see what's underneath that paint.

31:24Phone records have come through.

31:26Text messages from the night of the murder.

31:29All from Lord Astley.

31:30And?

31:31Not very friendly.

31:32We need to talk.

31:36I'm sure we can come to some arrangement.

31:38I'll make sure you regret this.

31:41Anything that shows what they're rowing about?

31:43Uh, no, nothing specific.

31:48Crozier must have found something in here.

31:51This lists the inventories of everything from Astley's shipping warehouses.

31:57Ships going backwards and forwards from the Caribbean.

32:00I mean, listen to this.

32:02Third of March, 1772.

32:06Bristol docks.

32:07Cargo.

32:08Sacks of coffee, bales of tobacco, spices, tortoises.

32:12Tortoises?

32:13They'd stack them upside down like bowls.

32:15Apparently it was delicious.

32:16You're joking.

32:17Afraid not.

32:18Mm.

32:18There's pages and pages of this stuff, but I can't see anything that would get someone killed.

32:24Right.

32:25That's all done.

32:27Is that what you were expecting?

32:30Triumph equals desire.

32:33Lord Astley's little secret.

32:36Nice work.

32:37Boss?

32:45I think Palmer's about to make an arrest.

32:49Ah, the first oil.

33:02All cleaned up and restored.

33:03Good as new.

33:07The artist wasn't much of a portrait painter.

33:10But he knew his ships.

33:12You recognize it?

33:13Well, it's just a merchant ship, isn't it?

33:15It's a guineaman.

33:16They were called that because they traveled to the West Indies down the Guinea coast from West Africa.

33:24It's a slave ship.

33:26Specifically, the desire.

33:30Somebody tried to cover that up a century ago because it was toxic even then, but I reckon you already knew that, didn't you?

33:37My ancestors did trade all over the world.

33:40Slave trading was very lucrative.

33:42There were different times.

33:44Everyone was doing it.

33:45Police.

33:46Made a packet, old Percy, didn't he?

33:53Built a family fortune, bought the land you still own.

33:57These are the shipping records.

34:00You tore out the first page, but you should have torn out the back.

34:04The desire blew up in 1789, and it was recorded as an accident, but it wasn't, was it?

34:09It was deliberate.

34:10But worse than that, it was carrying 580 enslaved Africans on board.

34:15They weren't listed as people.

34:17They were classed as property.

34:19So in insurance terms, they were worth more dead than they were alive.

34:25Crozier's explosive revelation, not great for PR, is it?

34:29Was Crozier blackmailing you?

34:31No.

34:32No, no, of course not.

34:34There was some papers taken from his desk.

34:36Was that you?

34:38Thank you, Palmer.

34:39I'll take it from here.

34:40This is now an East Yorkshire case.

34:46What's going on?

34:47Lord Astley, I am arresting you for the murder of Francis Crozier.

34:51You can't do that.

34:52If you can come with us, sir.

34:55Read him his rights, Hawthorne.

34:56This is a disgrace.

34:58Arabella, call the solicitors.

35:00Get them to come down to the police station.

35:01As fast as you can.

35:03And get some money out of the safety immediately.

35:06I might be bailed.

35:08Sorry, Palmer.

35:10Early bird and all that.

35:12Be my guest.

35:13Why, you can go back to your museum.

35:16Or whatever you call it.

35:19Malak.

35:20With me.

35:20I think you did it.

35:31I can't believe that.

35:33Well, it doesn't make sense, does it?

35:37It doesn't explain the vandalism.

35:43Why would somebody shoot a painting?

35:50You don't think it was Astley, do you?

36:17Don't I?

36:18Hollis seems to think so.

36:21Okay, yeah.

36:23That did come from me.

36:25Not my finest moment.

36:31Don't worry.

36:33I get it.

36:35It isn't him, is it?

36:37I tried to tell Hollis, but he wasn't interested.

36:40Go on.

36:42So Astley took the notes from Crozier's desk.

36:44But the paper had dried and stuck to the table, which means he took it in the morning when he found the body.

36:50The murderer would have taken it there and there.

36:52Exactly.

36:55Good work, Malak.

36:57Really.

37:00And Astley definitely didn't shoot the painting, so who did?

37:04And how did Crozier manage to spot the renamed slave ship, but not see how bad that was?

37:11Amir's characteristic use of light.

37:32It's like he's talking about a different painting.

37:34Not Calmer again.

37:52Malak.

37:57Let's go.

37:59Let's go.

38:00Let's go.

38:01Let's go.

38:03Oh, hello, officers.

38:07How can I help?

38:12When did you realise what it was?

38:15What?

38:16That it was worth millions.

38:18What was?

38:19The Vermeer.

38:20What, at the gallery?

38:22That's a copy.

38:24Easy for someone of Dunstan's skill, though.

38:26Right?

38:26I don't know what you're talking about.

38:30I think you noticed when you were restoring the painting for the gallery.

38:35You saw the little tear that was on the canvas, and then you realised that it was one half of an entirely different painting.

38:44The other half of this.

38:45That's why the composition's all wonky.

38:51And why there's no signature.

38:53And then you got lucky.

38:56A few weeks later, that Vermeer came up for auction.

39:00And you knew it was the other half of Astley's painting.

39:03What a moment that must have been.

39:07To know that you had been holding a genuine Vermeer.

39:12And all you had to do was reunite the two halves.

39:16And what would it be worth?

39:18Millions.

39:19You just needed to make a copy and get it into the gallery before it opened.

39:27It was the smell that was the giveaway.

39:31It's very hard to fake the whiff of 300-year-old varnish.

39:36Oh, come on.

39:38Dunstan wouldn't do a thing like that.

39:40In order to do the swap, you needed a reason to get back into the gallery.

39:44So, why not restore a painting?

39:47I mean, that's what you do.

39:48And one that was damaged with a paintball.

40:01You chose one of Astley's worthless old paintings.

40:06And when you went to collect it, you did the switch.

40:18Where's the Vermeer?

40:36Where's the real Vermeer?

40:38Is it up in the loft, away from your dad?

40:41Dunstan!

40:41Stop it!

40:42Put that down!

40:43Now, why should Lord Astley get to have it?

40:45It's wasted on him.

40:46Oh, Crozer, is that what you killed him with?

40:49What are you doing here?

40:50Oh, my God.

40:54He found out about it.

40:56He was so pleased with himself.

40:58It was his big surprise.

41:00No.

41:01No, it wasn't.

41:02He had discovered that the family had a history of slave trading.

41:06That was his big announcement.

41:08You'd have seen that if you'd looked on the laptop, but I...

41:10I suppose you just got rid of it, right?

41:12No, you're lying.

41:13You're lying.

41:14I'm not.

41:16You killed him for nothing.

41:20Dunstan, what have you done?

41:24What have I done?

41:27I've wasted my life.

41:30I tried to do the right thing, but this...

41:34Look at us.

41:37Stuck here.

41:38Scraping a living, waiting for crumbs.

41:40I thought this was what you wanted.

41:43No, I wanted more than this.

41:44I didn't want to end up like...

41:48like me.

42:03Dunstan Fisher, I'm arresting you for the murder of Francis Crozier.

42:06You do not have to say anything, but it may harm your defence.

42:08If you do not say something when questioned,

42:09would you later rely on in court?

42:11Anything you do say may be given in evidence.

42:18Lord Astley has been released without charge,

42:21which begs the question,

42:22why did you let me arrest him?

42:24It was a fast-moving situation, sir.

42:26Withheld information pertinent to an arrest?

42:29I tried to tell you.

42:31It's just...

42:31Well...

42:32D.I. Palmer...

42:33He listened to me.

42:35You have some nerve, Malick.

42:36From tomorrow morning, you're on traffic duty.

42:40Actually, sir,

42:42D.I. Palmer's requested I join his department.

42:46And so six weeks later,

42:49woman at table

42:50becomes woman

42:51in national gallery.

42:53Look at that.

42:54Pride of place.

42:56Love it.

42:57Characteristic use of lights.

43:00Indeed.

43:00So, for the piece of resistance,

43:02look at this.

43:04There.

43:05Together at last.

43:06They look almost as unhappy as the Astley's.

43:08T.K. Ma.

43:13Arty, huh?

43:14Right.

43:16Let's go.

43:17Lots to sort before the big move.

43:18Mainly stuff from my parents coming with me.

43:20All right.

43:21Well,

43:22see you in a month.

43:24The Heritage Crime Unit is expanding.

43:26And Hollis is fuming.

43:29Really looking forward to it, boss.

43:31See ya.

43:32See ya.

43:33See ya.

44:03I love you, son.

44:33See ya.

44:34See ya.

44:35I love you, son.

44:36See ya.

44:38See ya.

44:39See ya.

44:47See ya.

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