ALAN CUMMING: This is "Masterpiece Mystery!"
SIDNEY: Do you ever feel like everything isn't quite how it should be?
You are all right, aren't you, Sidney?
LEONARD: The future will be a beacon of hope.
(bang echoes) NATHANIEL: Charles!
LEONARD: This is Will Davenport.
GEORDIE: Who gave you the knife, chaplain?
I'm not gonna tell you that.
LEONARD: This time it's not just about a girl.
GEORDIE: I've had enough of secrets!
No one is above the law.
He's a stubborn old sod.
So am I.
♪ ♪ CUMMING: "Grantchester," right now, on "Masterpiece Mystery!"
♪ ♪ (thunder claps) (whimpers) (click) Sidney Chambers is a passionate man.
A clergyman who believes there's grace in the world if you look for it.
And a detective who knows that human life is full of evil and injustice.
Sometimes the man of the cloth struggles with the man of the world-- especially when love and murder are involved.
"Grantchester," season four.
("Grantchester" theme playing) SIDNEY: The church sees the love I have for her as shameful.
MRS. CHAPMAN: You can't marry a divorced woman.
That's the truth of it.
Sooner or later, you'll have to make a choice.
MARGARET: I thought we weren't doing this anymore.
SIDNEY: You're married!
So is Amanda.
So spare me the sermon.
Daniel, this is Leonard, my fiancé.
How do you do?
LEONARD (crying): In the eyes of the Lord, I'm an abomination.
Oh, you must have noticed.
Stopping out late, getting close with his colleagues.
(crying): Do you love her?
SIDNEY: We tell people to lead a perfect life, and, and when they don't, we are the cause of the suffering!
You've lost your faith.
I have lost my faith in the church.
SIDNEY: I will stay until you find a replacement, but I would like to tender my resignation.
♪ ♪ (tires squealing) MRS. CHAPMAN: People need you, Sidney.
They look to you, not to the church-- they look to you.
SIDNEY: God forgives you.
GEORDIE: I don't believe in God.
Well, then, I forgive you.
(weeping) AMANDA: Your resignation letter, you were never going to send it.
I'm so sorry.
It's who I am.
(bells tolling) SIDNEY: If you would raise your glasses to Mrs. C. and Jack!
ALL: Mrs. C. and Jack!
And, to love.
LEONARD: Maybe people aren't ready for us to be honest.
We should at least be honest with ourselves.
GEORDIE: Let me set you up with a girl.
Buy me a pint and shut up.
(birds chirping, dog barking) GEORDIE: This country's going down the pan.
I'll tell you why.
I was quite enjoying the silence, you know.
People used to respect each other.
Kids respected adults.
No, they didn't.
Criminals respected coppers.
Give me one example.
I blame that fellow with the pelvis.
What's his name?
All that thrusting.
His name rhymes with pelvis.
How do you not remember that?
In front of the kids, as well?
I miss the old days.
The wars, the bombs?
The abject misery?
Well, at least you knew your neighbors.
The ones that weren't dead.
It's not the same anymore.
That's all I'm saying.
That's him, Geordie.
Jim Parsons... (car doors close) I'm arresting you for theft, and grievous bodily... All right, let's not play silly buggers.
Sidney, leave him!
♪ Gonna tell Aunt Mary 'bout Uncle John ♪ ♪ He claim he has the misery but he havin' a lot of fun ♪ ♪ Oh, baby, yes, baby ♪ ♪ Whoo, baby, havin' me some fun tonight ♪ ♪ Yeah ♪ ♪ Well, long tall Sally, she's built for speed ♪ ♪ She got everything that Uncle John need ♪ ♪ Oh, baby yes, baby ♪ ♪ Whoo, baby, havin' me some fun tonight ♪ ♪ Yeah ♪ ♪ Well, I saw Uncle John with bald head Sally ♪ ♪ He saw Aunt Mary coming and he ducked back in the alley ♪ ♪ Oh, baby, yes, baby ♪ ♪ Whoo, baby, havin' me some fun tonight ♪ ♪ Yeah, ow ♪ ♪ ♪ ♪ ♪ (car engine revs) (grunts) ♪ Yeah, gonna have some fun tonight... ♪ GEORDIE: What did I say?
(Jim grunts) Something about a pelvis?
You've got to stop doing this.
You listening to me?
No more bloody heroics.
♪ Having some fun tonight ♪ (car door closes) Would you open your books to hymn number seven, "Christ Whose Glory Fills The Skies"?
MRS. CHAPMAN: Item number five.
A very grave matter.
A very grave matter, indeed.
Mold in the vestry.
SIDNEY: Hymn number 520, "Love Divine All Loves Excelling."
Baking soda, water, and a vigorous scrubbing with a sturdy brush.
MRS. BENNETT: I suppose that would work, Mrs. Chapman, if you're not averse to corroding the stonework.
SIDNEY: Hymn number 573.
MRS. BENNETT (voiceover): I suggest two parts vinegar and three parts water.
Buff robustly with a soft cloth.
MRS. CHAPMAN (voiceover): I suppose vinegar would be acceptable, Mrs. Bennett, if you weren't adverse to the house of our Lord reeking like a chip shop.
Item number six, a very serious matter.
A very serious matter, indeed.
MRS. CHAPMAN: The church fête.
MRS. BENNETT: I suggest we give it a good deal of thought.
I would go further, Mrs. Bennett, and say we give it considerable thought.
Make a note of that if you would, Leonard.
SIDNEY (voiceover): I was ready to poke their eyes out with a pencil.
I was ready to poke my own eyes out with a pencil just to make it remotely tolerable.
It is part of your job, Sidney.
It's a fête.
It's exactly the same every year.
Well, I rather enjoy it.
You read Dostoevsky for fun.
What's this talk about again?
Religion's role in the civil rights struggle.
Wouldn't you rather go to the pictures?
You're always telling me I lack inspiration.
What could be more inspiring?
"The King and I."
I hear Deborah Kerr's wonderful.
More men of God!
You're crawling out of the woodwork today.
It's the lure of a free buffet.
How are you, Professor Barkley?
For Reverend Todd's organization.
All donations gratefully received.
(coins clinking) We've attracted a pious bunch.
It's as dull as tombs in there.
Go and liven things up, would you?
We'll do our best.
Darling, a drink for these gentlemen.
Yes, follow me, please.
I was saving that penny for an iced bun.
Oh, stop moaning.
Good to see you.
Word of warning-- if they're not wearing a dog collar, they're a theology student.
(laughs) Just spent the last 20 minutes avoiding eye contact.
This is Will Davenport.
Chaplain at Corpus.
SIDNEY: Ah, how do you do?
I owe you a debt of gratitude.
Well, the dean thinks that I'm a liability.
But apparently you were worse, so thank you for sharing the burden.
(chuckling): You're more than welcome.
Ah, that's him.
Reverend Nathaniel Todd.
(people talking in background) CHARLES: Morning.
Nice to meet you.
I'm Violet, nice to meet you.
♪ ♪ Just beautiful.
(taps dish) They're paste-- all kinds of paste.
Bet you're disappointed you came in here now, huh?
Oh, I didn't come in here for the sandwiches.
You looked like you could do with the company.
You were talking to a painting.
(chuckles): I was communing with it.
It's older than my entire country.
Give or take a few years.
Uh... try a hundred.
Paste and pedantry-- you Brits have it all.
CHARLES: This is serious.
ROBERT: Will you not even consider, sir?
NATHANIEL: I think it makes us look like cowards, Mr. Deveaux.
ROBERT: With all due respect, sir, who cares how it looks?
Papa, please, just think about it.
I came here to speak, and that is what I shall do.
Enjoy your sandwich.
MAN: Don't trust them!
Go back to where you came from!
WOMAN: Keep Britain white!
♪ ♪ (grunts) Charles...
♪ ♪ MAN: Go home, Todd!
♪ ♪ (crowd talking in background) (chuckles softly) Good afternoon.
It's my great privilege to introduce our guest today Here on the first leg of a fundraising tour from Richmond, Alabama, an activist, an orator, and now a friend, Reverend Nathaniel Todd.
(audience applauding) NATHANIEL: Thank you, Henry.
Now, I am no activist.
I'm no orator.
I'm simply a man of God.
Last year, a Negro boy in my town, 14 years of age, was lynched by a group of white men.
Because he had the audacity to buy a white girl a soda.
That night, people came to my church.
They came to pray.
Because when you are persecuted, when you are victimized, when there is no one else to turn to, who do you turn to?
NATHANIEL: "And the hand of the Lord was with them."
It is God who has brought me here today.
It is God who has brought you here.
For we are all God's children.
(muttering) GREGORY: "A servant he shall be to his brethren.
"And the Lord set a mark upon Cain!"
Sit down, son.
You have no right to speak here.
Sit down, Gregory.
GREGORY: He has no right to speak!
You want the Negro to rule.
HENRY: Get him out.
GREGORY: The Negro will never rule!
Sit down before I make you sit down!
NATHANIEL: Charles, you leave it now!
(loud bang echoes, woman screams) (loud bang echoes, people scream) (people clamoring) Let's go.
♪ ♪ (loud bang echoes) Sidney!
WOMAN: Bloody racists!
(people shouting and murmuring) CHARLES: We shouldn't have come here.
Was it a gun?
Yeah, I knew we shouldn't have come here.
They were fireworks.
(pounding on door, people shouting) HENRY: Stop pushing!
(loud bang echoes) ♪ ♪ (exhales deeply) NATHANIEL: Charles?
Let me see, let me see, now.
NATHANIEL: Hold on!
Hold on, son!
Stay with us, now.
Look at me.
Somebody get help!
NATHANIEL: Hold on.
Charles, you look at us, now.
Stay with us, now, you're going to be all right.
Stay with me!
Look at us now.
(echoing): Hold on, hold on, son!
♪ ♪ (people talking in background) Find the knife?
Not yet, guv, sorry.
(camera clicks) For God's sake, have some bloody respect!
(sighs): Did you see what happened?
I was just trying not to die.
That makes a change.
I lost my shoe.
The black man won't let us move him.
He's making a right song and dance.
Okay, we need to move him now, sir.
Let them see what they did to him.
Let them see!
(loud bang echoes) MAN: Go home, Todd!
Go, go, move!
(bang echoes) Get the body out of here.
LARRY: Yes, guv.
(loud bang echoes) GEORDIE: Get in the van.
You're making us look like criminals.
I don't care, get in.
I cannot guarantee your safety.
We feel a lot safer out here than we ever would in there.
♪ ♪ We will find our own way.
♪ ♪ You speaking to that boy, the one shouting his mouth off?
He's a rather opinionated student of mine.
He's a vile bigot.
He's a first-year who's listened to too much Mosley.
GEORDIE: We'll talk to him, don't worry.
But we do worry, Officer.
Why was your son afraid, Mr. Todd?
He wanted you to cancel the talk.
(paper rustling) The reverend's had one a day since we got here.
SIDNEY: The Phineas Society?
GEORDIE: "If you speak today, know that... Jephthah's fate shall be your own."
GEORDIE: What happened to Jephthah?
His daughter was killed.
May I have a bowl of water, please?
You can't touch him.
I bathed him on his first day in this world.
I shall bathe him on his last.
♪ ♪ ♪ ♪ GEORDIE (voiceover): The Phineas Society.
(paper rustling) Who's Phineas?
SIDNEY: He killed an Israelite man and a Midianite woman to punish them for intermingling.
Sounds like a barrel of laughs.
You wrote these letters.
Does it salve your feelings of inadequacy, spilling out this hate?
GEORDIE: Who else is in this society of yours?
There are many of us.
We are everywhere.
An organization whose members are sworn to secrecy.
We've got enough to charge him.
You made death threats, Gregory.
They're not death threats, they're... Treatises?
"He hath made of one blood all nations of men "for to dwell on all the face of the Earth, "and the bounds of their habitation.
That they might seek the..." (door slams) GEORDIE (voiceover): I've got officers outside.
I'd like to put another one in the house.
To guard them or keep an eye on them?
Miss Todd was mentioned in those letters.
Until we've accounted for all members of this Phineas Society...
It's decided-- Mr. Deveaux will accompany my daughter home.
She leaves tomorrow.
GEORDIE: No one's going anywhere.
Not till this is sorted.
I cannot lose both my children, sir.
GEORDIE: Then you let me put another one of my men in here.
I'll stay if you want me to.
(exhales): Thank you, Reverend.
(birds chirping) HENRY: There's momentum now-- people are angry.
People are angry.
Then harness it!
People want to hear Nathaniel talk!
I say we cut our losses and go home.
Then Charles' death is for nothing.
ROBERT: It was for nothing anyway!
We had no purpose here!
There's too much noise.
When we were first married, Henry would introduce me as his rani.
What does it mean?
People assumed it meant maid.
Or, worse, concubine.
They couldn't comprehend that we were in love.
Geordie, the policeman.
He's a friend of mine.
He's a police officer.
Even so, he's not the kind to discriminate.
He's a police officer.
He'll blame us soon enough.
(sighs) I thought it'd be different here.
I thought it'd be a little brighter.
A little more hopeful.
VIOLET (voiceover): Our first night here, people were so welcoming, so kind.
We danced... And we laughed.
At least you know where you stand in Alabama.
At least you know they hate you.
(sizzling) (rockabilly music playing, family talking) Come and dance!
What, to this claptrap?
You're such a square.
Squares are sensible.
Squares are neat.
You know where you are with a square.
Es, set the table.
Come on, Daddy.
Come on, spin us!
Yes, spin us!
(music continues) For the record, I am doing this against my will.
(music continues) CATHY: Hello!
Is everybody still breathing?
(girls giggling) (sighing): Ah, thank Christ for that.
(music continues) (girls talking excitedly) (rockabilly music playing on radio) (radio tuning) (piano playing slow piece on radio) (Madhia screams) ♪ ♪ There's someone up here.
Should I get the officer?
♪ ♪ CATHY: So, Dotty-- you know Dotty.
Oh, yes, you do-- from haberdashery.
She says to me, "There's a shoplifter doing the rounds."
So, I say to Pauline from undies...
I don't know who Pauline is.
"Let's set a trap."
So we put out a tray of tie pins by Maureen's counter-- you know Maureen.
She was loving it.
Because I've never met her.
Peeking round corners, following people to the lav.
Since when were my wages not enough, Cathy?
I'm not having this conversation again, Geordie.
(phone rings) Hello.
♪ ♪ Whose room is this?
♪ ♪ We need to get her out of here.
♪ ♪ GEORDIE: Take everything.
(car doors and trunk opening) ♪ ♪ (car doors close) MRS. CHAPMAN: The young lady is in...?
She's in my room.
The vicar and the other chap?
They're in here.
So where are you?
I'm in Leonard's room.
Where the Dickens is Leonard?
MEN: At Daniel's!
So I'll have the house to myself.
I'll be completely, completely alone.
MRS. CHAPMAN: If you please.
SIDNEY: Please, make yourselves at home.
If you like, you can sleep here, Mr. Todd.
Couldn't they stay in a bed and breakfast?
It's one night.
What will people think?
I don't give a damn.
That's abundantly clear.
(jazz playing) She hates us, your housekeeper.
She hates everyone.
Once we're gone, she'll wash the sheets twice.
Not everyone is prejudiced.
With all due respect, you don't know a damn thing about it.
So tell me.
(glass clinks, drink pours) (jazz continues) A white lady once wiped a bench with her handkerchief because I'd been sitting there.
I was four years old at the time.
They call it the land of the free, the home of the brave, but you're only free if you're white.
And you only get to call it home if you're white, so...
Were you close, you and Charles?
I admired him.
That's not quite the same.
It's hard to be close in a family like ours.
We don't have affection, we have a cause.
Maybe you should cancel the tour.
We should, but we won't.
We'll keep on going.
But you're grieving.
Grief is a distraction.
Grief is undignified.
If there's one time you're allowed to be undignified, I'd say that it's now.
You drink too much.
Maybe you're the one who needs a cause.
(pours drink) (places bottle down) Maybe.
Are you happy?
Present circumstances aside, you mean?
Apologize too much, too.
Why don't you speak at the talks?
I support my father.
I encourage, I placate.
But you have so much to say.
And you say it so beautifully.
It's just the way things are.
Why don't you change the way things are?
Why don't you?
(jazz continues) Thank you for your hospitality, Mr.
(jazz continues) ♪ ♪ (sighs) ♪ ♪ (knocking softly) ♪ ♪ (whispers): I'm sorry.
(softly): You apologize too much.
♪ ♪ ♪ ♪ (birds chirping) NATHANIEL: Thank you, ma'am.
Ooh, I think I'll push the boat out, Mrs. C., and have a soft-boiled egg.
MRS. CHAPMAN: You're very chipper.
I had a wonderful night's sleep.
At least someone did.
So, how do we feel about a spoken-word tent at the fête?
Aren't all words spoken?
Isn't that the very nature of words?
It's poetry, Mrs. C. Sounds a bit modern.
If you'll excuse us, ma'am, we have an engagement to honor.
Are you sure that's wise?
Let me speak to Geordie first.
Always looking to save.
This is what we've found out about your Phineas Society.
(drops folder) All that "we are everywhere" cobblers.
It's just you in your underpants writing letters.
Jesus Christ, boy, they're letters!
I never threatened the girl.
What, you're saying you wrote all the letters bar the one that threatens Ms. Todd?
You barged into that talk, you shouted your mouth off...
I didn't barge in, I was invited.
Why make up a secret society?
Girls like dangerous men.
Son, I'll tell you this for nothing.
You will never, in all your born days, be dangerous.
(slides folder) My advice would be to cancel any further engagements.
You're trying to silence them.
I'm not trying to silence anybody.
I'm almost certain Gregory Jones isn't the killer.
ROBERT: Almost certain?
And if he isn't, the perpetrator's still at large.
Well, if you came here to reassure, you aren't doing a very good job.
Why did you invite Gregory Jones to the talk, Professor?
I'm an educator-- I educate.
Strikes me you were looking to liven things up a bit.
Our aim is to raise money.
A spirited debate creates interest.
Backfired a bit, didn't it?
You're still in danger, Mr. Todd.
Your daughter's still in danger.
We are always in danger, sir.
So you'll understand why I'm asking you not to continue the tour.
This is censorship-- this man has a right to speak.
It's not censorship, Henry.
It is common sense!
♪ ♪ (footsteps approaching) WILL: Set-to with God?
(chuckles): God would be easier.
I saw you preach here a few years back.
You were fantastic.
You sure it was me?
(chuckles) You told a story about your Sunday school class.
Little boy who'd just learnt that Adam formed Eve from his rib.
And that evening, he had a stomachache, and he said to his mum...
BOTH: "I think I'm having a wife."
Will, I don't think you came here to talk about Sunday school.
HENRY: Don't be so naïve!
ROBERT: I'm not being naïve!
NATHANIEL: Mr. Deveaux!
ROBERT: You put profit above this man's safety.
I don't think they've noticed I've gone.
Here's where I'm lost.
If there is no Phineas Society, who carved a bloody great cross on the wall, hm?
Gregory Jones was in custody.
The only other people who knew about those letters were in that house.
The Barkleys and the Yanks.
Here we go.
Violet knew you would do this.
She knew you'd make them suspects.
Please tell me you didn't.
Dress it up any way you like, Geordie, it's prejudice.
You did, didn't you?
You screwed her.
She's grieving, for Christ's sake.
I know that.
She's a suspect.
She's not a suspect.
Of course she is!
They all are!
The knife found on Violet's bed wasn't the murder weapon, was it?
That's a nice change of subject.
Seamless-- you are a bloody idiot.
You are looking for a kitchen knife about this big.
What are you not telling me, Sidney?
♪ ♪ I was given it.
By someone who wishes to remain anonymous.
You see, I understand how it works, the whole vicar... Chaplain.
Dog collar hoopla.
People feel they can tell you things.
The most intimate things you wouldn't believe.
That is where you and I differ.
No one tells you anything?
Not a bastard thing.
That's a shame.
It really is.
Who gave you the knife, Chaplain?
I'm not going to tell you that.
Is it someone you know?
I'm not going to tell you that, either.
Did they confess to the murder of Charles Todd?
I should probably stop you there.
I'm not going to tell you anything at any point about any of it, so...
I've always been a man who speaks his mind.
My wife hated it.
Said it was vanity, the need to always be the center of attention.
There's nothing vain about what you say.
(chuckles) The father of the boy who was killed in my town came to me.
He was so angry, he was shaking with it.
I told him, "You can't hold malice in your heart.
"You need to forgive those white boys "in the Lord's name, find that grace."
(voice trembling): I am so angry...
I am so angry, I can't see grace.
You have a right to be angry.
I can't see God.
God always leaves a path back to Him; you will find Him.
There's grace in this world if you look for it.
You still have Violet.
She's suffering, too-- she needs you.
WILL: I was told in confidence.
It's not my information to tell.
You understand there's no higher authority than the police force.
(chuckling): I'd say God's a little bit higher.
You think this is a joke?
Of course I don't.
The man is dead.
And where were the bloody police?
Doing nothing while those bigots had the run of the place.
Who gave you the knife, Chaplain?
I am just trying to do my job.
At the expense of mine.
No one is above the law.
I don't claim to be.
If I break their trust, what kind of man does that make me?
Let alone a priest.
♪ ♪ (cell door slams) (turning lock, keys jangling) ♪ ♪ (cell door slams) He's a stubborn old sod.
So am I, unfortunately.
(clicks lighter shut) Why does he think you're a liability, the dean?
(exhales): He says I'm a boat-rocker.
We have a platform to say something.
We have a boat.
Why not rock it?
He once called me a dissenter.
(chuckles) There was a time I would never break a confidence.
Meeting a man of the law changed that, did it?
Let's just say Geordie gave me a new perspective.
The person who came to me was afraid.
I gave them my word.
There are no laws in our church about sharing a confession.
There's a moral obligation, though, surely.
Isn't there a moral obligation to bring a killer to justice?
It just feels wrong.
God believes in the goodness of men.
And although he can be an ass sometimes, Geordie is the best of men.
You can trust him.
I promise you that.
He says he didn't kill Charles.
He insists the knife was placed into his pocket by an unknown assailant.
He fears you'll blame him for the murder.
I fear you will, too.
I know that must've cost you personally, and I am grateful, Mr. Davenport.
♪ ♪ Please.
Call me Will.
Good to meet you, Will.
♪ ♪ And lo, it came to pass.
(sets paper down) Get off me!
Get off me!
Don't even think about it!
Get off of me!
Get your hands off me!
Get off me!
Get off me!
Get off of me!
Get off me!
♪ ♪ You want to hear that I killed Charles over some slight or other?
A burning anger born in jealousy?
He was a brother to me.
Violet was threatened, too-- do you consider her your sister?
Your motives are unmistakable, Reverend.
This letter... What motives are they?
She could never love a white man.
The one that threatens Miss Todd, did you write it?
They were sent by that boy.
SIDNEY: All but this one.
Read this passage for me, if you would, Mr. Deveaux.
"Your visit here is an affront.
Whites and coloreds should not mingle."
(drops paper) GEORDIE: Coloreds is spelled without a U.
The American spelling.
SIDNEY: You wrote it.
SIDNEY (voiceover): You put that knife on her bed.
You wanted to scare her.
We had no business here.
We should go home.
Violet needs to be home.
With you, you mean?
Why'd you come to our talk, Reverend?
To dabble with controversy?
To feel a frisson of danger?
Then go home to your quiet life, smug that you did your bit for the Negro?
When y'all done nothing at all but perpetuate the myth that we all need saving from ourselves.
Did you kill Charles Todd?
I did not, sir.
Did you intend to kill Violet Todd?
Why would I kill the woman I one day hope to marry?
♪ ♪ (birds chirping) MRS. CHAPMAN (voiceover): Is it ostentatious?
(phone rings) Telephone.
Marvelously so-- I love it.
There, you see?
Leonard thinks it's marvelous.
What does he know?
You can take it right back.
GEORDIE (on phone): Say it is Gregory.
It's not Gregory.
GEORDIE: He's angry at the world, he hates colored people... ...Mrs. Bennett, accusing me of being flashy.
I like you flashy-- the flashier the better.
Stabbing someone, twisting the knife?
GEORDIE: And Gregory's not vicious?
He made up a secret society to impress girls.
GEORDIE: Fair point.
Which brings us back to square one.
Any bugger could have done it-- damn.
I'm going to call you back.
GEORDIE: Thank you for your sterling contribution there.
NATHANIEL: You are 26.
VIOLET: So I should think myself grateful?
Would it really be so terrible that you... NATHANIEL: Robert cares for you.
VIOLET: Did you even think to ask what I thought?
I have opinions, I have thoughts and feelings.
(birds chirping, children laughing) VIOLET: I'm part of this struggle at the forefront of change, and yet they see me as good for nothing but marriage and babies.
Look pretty, keep quiet.
Like all those butterflies in their cases.
They'd be hard-pushed to keep you quiet.
You saying I talk too much?
That's exactly what I'm saying.
I'm going to take that as a compliment.
I meant it as one.
I have done this before.
A few times.
More than a few times.
With more than a few women.
It's none of my business.
No, it is.
I want to be honest with you.
I just... don't want you to think that I took advantage.
Well, maybe I took advantage of you.
Have you thought about that?
I haven't thought about that.
Frankly, I'm appalled.
You have to understand, where I come from, this, us, could never be.
I was a novelty, was I?
They killed that boy in my town for buying a white girl a soda.
People have died for less than sex.
People have died for... For having the audacity to assume that they're equals.
The night before your brother died.
Who did he dance with?
Madhia Barkley-- why?
(bell ringing) CATHY: Come on, Esme.
ESME: It's for babies.
CATHY: No, it isn't.
Oh, you're still a baby to me, so...
I'd rather not if it's all the same.
Tuppence, was it?
It's all right, I've got it.
Well, that was humiliating.
(sighs): It's tuppence, Geordie.
It's not like I pulled your trousers down and gave everyone a look at your family jewels.
Don't be such a prude.
(bell rings, carousel music plays) Miss Todd.
Sidney sniff out the beer tent, did he?
No, he left.
The tour's been canceled.
It's a travesty.
Freedom to speak isn't a right, it's a bloody necessity.
How long have you been married, Professor Barkley?
Six years, why?
Do you trust your wife?
Oh, what an odd question.
Yes, of course, I do, implicitly.
Charles danced with her-- is that all it took?
I thought we were discussing freedom of speech.
It's not about trust, though, exactly, is it?
I'd like you to leave now.
She's your queen.
It's all about possessing.
You aren't married, are you, Mr.
Admire, look, but don't touch.
You are dangerously close to insulting me.
Did it matter that he was colored, or is it any man touching your wife?
I'm calling the police.
For all your liberality, for your open-mindedness, you couldn't bear to see it, could you?
SIDNEY (voiceover): I imagine in that brief moment, she enjoyed herself more than she ever did with you.
Her arms around him.
His hand in the small of her back.
You couldn't bear it, could you?
Madhia smiling up at him.
(grunts) (gasping) (grunting) (glass shatters) (groaning) (grunting) She's my wife.
She's my wife!
(gasps in pain) (door bursts open) (men speaking in distortion) GEORDIE (distorted): Sidney?
(Sidney gasping) You've got to stop doing this.
Ah, stop fussing.
Your lip's bleeding, you daft sod.
(sighs) Trying to get yourself killed, is that it?
That's what it feels like.
Are you from America?
I am, yes.
Do you know Elvis Presley?
Sadly, I don't.
I do know a few musicians he's plagiarized, though.
(carousel music playing) You speaking didn't cause your son's death.
It was the jealousy of a possessive man.
Charles died because he was a black man that touched a white man's wife.
ROBERT: This is what we're up against.
VIOLET: It's not your fault, Papa.
Please don't think that.
Did Charles know... ...that I loved him?
Of course he did.
I never told him.
I never said the words.
Of course he knew.
(weeping) SIDNEY: When do you leave?
As soon as we can.
I've never seen Papa like this before.
He'll find the way through it.
He'll find the strength.
I have to go and give the blessing.
Come with me.
Come and have a go on the tombola.
What the hell is a tombola?
If you don't know, you haven't lived.
(people talking and laughing in background) (carousel music playing) (cackling, children laughing) (laughing): It's a wonderful hat.
MRS. CHAPMAN: They're laughing at me.
They think I'm showing off.
JACK: Sod the lot of them.
I'm not saying she married him for the money, but... JACK: Oh, it wasn't the money she married me for.
It was the lovemaking.
MAN: And now please welcome one of our fine local poets.
(crowd applauds) "Spring"... (microphone emits feedback) "Spring" by L.E.
VIOLET: What does the E stand for?
VIOLET: Of course it does.
LEONARD: From darkness unfurling... From moist climes springs life, Surging forth.
GEORDIE: Someone swallowed a thesaurus.
A new life.
A new peace.
Someone's had sex.
He's struggling a little with subtext.
(audience applauds) Is that what he's been working on all this time?
It doesn't even rhyme.
Poems don't have to rhyme anymore, Mrs. C. Since when?
Well, since forever, really.
LEONARD: And now Mr.
Chambers will say the blessing.
You do it.
Give them hell.
No one wants to hear what I have to say.
No, but they're all too polite to stop you, so... All right.
MRS. CHAPMAN: What's she doing?
My name is Violet Todd.
It may come as a surprise to you, but I'm not from around these parts.
I am from a place of violence, oppression, and prejudice.
You may look around you and think, "Who gives a damn?
There's none of that here."
But look harder.
There is oppression.
There is prejudice.
There is suffering.
And if one person suffers, we all do.
If one person falls, we all fall.
I truly believe there is a better time for all of us.
One where we all have our moment in the sun.
But to get there, we must stand together.
Side by side.
We must walk together and leave no one behind.
♪ ♪ (audience applauds) ♪ ♪ ♪ ♪ (footsteps echoing) (sighs) (Geordie kicks pew) (sighs) The silence of this place used to fill me with joy.
(sighs): Now it's all I hear.
Can you stand up?
I'm already standing up.
Oh, so you are, good man.
(Sidney groaning) I love you, Geordie.
Shall we sing?
♪ And all the roses falling ♪ ♪ It's you I... ♪ I'm lost, Geordie.
Yeah, well, you're home now.
Sometimes I feel lost.
You're just going through a funny patch, Sidney.
Do I need a cause?
You need a clip round the ear once in a while.
That's what you need.
I think I love her.
She's gone, and my heart, it's... it's bursting.
(slides shoe off): It's the hangover kicking in.
(shoe clatters) (exhales) Sleep well, Sidney.
(Sidney sighs, footsteps retreating) I love her.
I love Violet Todd.
♪ ♪ (jukebox rattling) ("Earth Angel" by The Penguins playing on jukebox) ♪ Earth angel, Earth angel ♪ ♪ Will you be mine ♪ ♪ My darling dear, love you all the time ♪ (bell rings, song fades into distortion) ♪ ♪ MAN (distorted): You struck out, mate.
(man talking indistinctly) SADIE (distorted): Hello, lovely.
Do you need a light?
(match strikes, "Earth Angel" continues faintly) (exhales) (vacuum humming in distance) (vacuum humming loudly) (shouting): What time is it?
(vacuum shuts off) Time we had a full and frank discussion.
LEONARD: I thought we agreed I'd do this on my own.
When did we agree that?
Five minutes ago in the kitchen.
(Sidney exhales) May I be candid, Sidney?
When have you been anything else?
You look done in.
My father had the same look once.
Took to his bed for a fortnight.
Vital exhaustion, they called it.
Have you seen my jacket?
Has the black dog come calling?
(whimpering) Stop repeating everything in that tone.
I don't have a tone.
You're all tone, Mrs. C. If you don't pull your socks up, I'll have to have a word with the archdeacon.
We agreed, no threats.
When did we agree that?
Five minutes ago, in the kitchen.
You've become positively Stalinist since you joined the church council.
I've been, uh, distracted.
I know I have.
I'll, uh, I'll be better, I'm sorry.
We're not looking for an apology.
(Sidney sighs) If you need someone to listen... or rail at, you've helped me an awful lot.
Let me return the favor.
It's the black dog, Leonard.
He'll go away of his own accord.
Stalin, I knew she reminded me of somebody.
(chuckling) (car horn honks) ♪ And it is, it is a glorious thing ♪ ♪ To be a Pirate King.
The last time I checked.
We're sharing an office.
There was a memo.
(moving cup) So there was.
Spent all that money on a new place, and still not enough room.
(cups clattering) I'm Geordie.
People call me Geordie, so, uh...
So where you transferred from?
Ah-- I went to Leeds Castle once.
It's not in Leeds.
(phone ringing in distance) Assault victim.
Young lady picked up down the Kite.
In a bad way, apparently.
What's the Kite?
It's a rough end of town.
It's a dive.
It's all yours, Keating.
♪ ♪ Just a second.
(struggling for breath) Is there anybody I can get for you, my love?
♪ ♪ (jazz playing) (door opens) Going for a three-pronged attack, are they?
It was a few too many beers, Geordie.
Let's be honest, it's hardly the most unusual of occurrences.
GEORDIE: How well did you know her?
(match strikes) She gave me a light.
You speak to her?
(speaking in distortion) I think so.
She tell you her name?
♪ ♪ I don't remember, Geordie.
Jesus, how much did you put away?
A few whiskies.
And the rest.
Did you screw her?
I had to ask.
No, you didn't.
What does that look like to you?
Some kind of puncture wound, maybe?
I didn't hurt her, Geordie.
Now give over.
Course you didn't.
(exhales) ♪ ♪ GEORDIE: This is where she was dumped.
Right in the middle of the street.
All those windows.
Somebody had to have seen something.
(children shouting indistinctly) ♪ ♪ Penny to mind your car, guv?
GEORDIE: Sod off.
(baby crying) GEORDIE: Watch him on the stairs, love.
(continues knocking) (door opens) SIDNEY: Excuse me, miss.
Do you know the girl who was picked up down there?
Which girl would that be?
Don't be smart-- what was her name?
(pounding on door): Lottie, hurry your arse up.
LOTTIE: All right!
What was her name?
(door unlocks) I heard you the first time.
(shouting in distance) (door closes) Hold on, miss.
I haven't got anything to say.
(door opens) She's dead, isn't she?
Oh, my God.
LOTTIE (voiceover): Sadie was a lovely girl, wasn't she?
She always had a smile.
PEGGY: She'd make you laugh till you'd almost wet your knickers.
(giggling nervously): Peggy.
Oh, knickers, knickers, knickers.
What line of work was Sadie in?
Seamstress-- we all are.
♪ ♪ SADIE (voiceover): I'm not sure I deserve it.
GEORDIE: Who's your boss?
We're not on first-name terms.
He owns this dump, too.
Charges half a crown a week.
For the three of you?
He's a money-grabbing arse, what can I say?
You really telling me you didn't see what happened?
You didn't see anything?
LOTTIE: You learn pretty quick not to look out the window here.
Maybe you gave it to her because she was cold.
Don't do that.
Don't make me out to be a gentleman.
She was trying to tell me something, and all I could think about was my next drink.
Here we go.
Right, you're a monster.
You're an awful, awful man.
Those girls know a hell of a lot more than they're letting on.
SIDNEY: They're afraid.
Yeah, they're meant to be.
Leaving Sadie lying out here like that.
Someone was warning them.
(match strikes) (puffing) ♪ ♪ Oi!
Watch the paintwork, you... Geordie.
It was hers.
(pounding on door) Call me a cynic, but those girls aren't running up frocks on a sewing machine.
♪ ♪ She was a prostitute.
They all are.
Weren't you paying attention at all back there?
Perhaps it's a blessing you don't remember what happened.
I didn't sleep with her, Geordie.
Jesus, I'm teasing you.
♪ ♪ GEORDIE (voiceover): Mr. Simpson, please.
SECRETARY (on phone): Who's calling?
SECRETARY: Hold the line, please.
(door opens) Rupert Simpson, owns half the Kite.
No criminal record to speak of.
(exhales): Knock, Larry.
Next time, knock.
Simpson's got his finger in a whole heap of pies.
I can feel your shame radiating from here.
(exhales): I've really got to stop drinking.
Yeah, you really have.
Pub tonight, though, right?
SECRETARY (on phone): Mr. Simpson's unavailable.
He's at his golf club in Barton.
Come on, chop-chop.
Is he allowed in here?
(typewriter keys clacking) (birds chirping) (talking softly in background) GEORDIE: Mr. Simpson?
You're ruining my shot.
ARCHER DAVIS: Oh, he's usually in the bunker at this point, so I wouldn't worry about it too much.
One of your tenants, Sadie Parker, died this morning.
I'm sorry to hear that.
Do pass on my condolences to her family.
Is that all you've got to say?
I have over 100 tenants.
If I lost sleep over every single one, where would I be?
Not here, probably.
You're all heart, Rupert.
You own Patsy's nightclub?
Have you met Mr. Davis?
He runs the council.
Pays your wages.
Just answer the man, so we can finish this sodding game.
Unless you intend to arrest me, I respectfully ask you to leave.
Oh, respectfully, that's nice.
Did you know that she was a prostitute?
SIDNEY: Have you seen how they live, Mr. Simpson?
I'll be in touch.
Did you kill her?
Get them out of here.
Hey, don't walk away from me.
Did you kill her?
CADDY: Stand back, sir.
♪ ♪ GEORDIE: What the hell's wrong with you?
(dog barking in distance) Do you ever feel not right in your own skin?
Like everything isn't quite how it should be?
Well, that's that conversation over.
Amanda was a long time ago.
It's not about her.
What is it about, then, Sidney?
I don't know!
If I knew, I would do something about it.
This is your life.
It's an endless merry-go-round.
Feel bad, drink.
Sin, feel bad, drink.
Oh, come on.
Don't be like that.
I'm no use to you, Geordie.
(footsteps retreating) (horn honks) (brakes squeal, car door opens) ♪ ♪ (groans) (sniffs): Have you been drinking?
Just a pick-me-up.
But I need the money.
(engine starts) Rory!
(engine starts) ♪ ♪ (women talking indistinctly) ♪ ♪ Violet?
(bike brakes squeal) (bike skids, brakes squeal) Violet!
(bike bell ringing) You're still here.
You look well.
So do you.
Actually, you look awful.
You shock me.
Why didn't you tell me you were still here?
I'm waiting for Charles' death certificate, then I'm going.
Besides, I don't like goodbyes.
Well, then, when the time comes, we won't say it.
Uh, what are you doing now?
I'm going to the post office.
Well, let me help you.
I think I can manage.
I'll give you a lift.
Where's your car?
I don't have one.
(laughs) ♪ ♪ How's your father?
Well, he's home now, so... And Robert?
Why do you care about Robert?
I don't, really.
Well, he's home, too.
That's a terrible, terrible shame.
(chuckles) ♪ ♪ This is kind of disgusting.
It's part of the charm.
The disgusting-ness is part of the charm?
Gives us something to moan about.
We Brits are nothing if we don't have something to moan about.
I've noticed that.
♪ ♪ (car horn honking) (dinner music playing, dishes clinking) (people laughing and talking in background) (music continues) (man chuckles softly) Larry?
Knocked off early, have we?
Least that's what the girlfriend thinks.
You don't have a girlfriend, Larry.
I doubt you've even had a kiss yet.
I've kissed girls.
No, your sister doesn't count.
(others chuckling) Behave yourselves.
(music continues) (men laughing, dishes clinking) Whiskey, double.
(stammers): Coppers drink for free.
That must keep the wolf from Mr. Simpson's door.
Please leave us alone.
Where's the post office?
Back in Cambridge.
So this was all a ruse?
And you call yourself a man of God.
A man of God?
You're having me on.
Do you ever feel you're on the wrong path?
A path God doesn't want you to take?
All the time.
I have made some mistakes recently.
Present company included?
I didn't mean you.
Maybe you're on the right path.
Maybe where you're at is just a turn in the road.
I honestly don't know.
(jazz music playing) (music continues faintly) AVA: Gents are that way.
Did Sadie work here?
You don't understand how much trouble we'll be in.
Just yes or no.
Yes, now sod off.
I don't mean to be rude.
You're made to do more than serve drinks, aren't you?
No one makes us do anything.
Was Sadie working last night?
We work every night.
They get their money's worth.
There's no punters allowed back here.
What about a detective inspector?
These women are prostitutes.
Who was Sadie with last night?
What she gets up to her on her own time is none of my business.
But you pick them up from that slum, which Simpson owns.
You bring them to the club, which Simpson owns.
When is their own time?
If they don't like it, they're free to go.
Did Sadie want to go?
(exhales) I doubt she had any more... appealing options available to her.
That lot back there might be distracted by a few free drinks, but I believe you're assisting in the management of a brothel, Mr. Dale.
I also believe you're doing it with the willing cooperation of Mr. Simpson.
(giggling) GEORDIE: On your feet.
I need this place searched.
No, tomorrow, Larry.
Get the punters out.
Shut the club.
I feel a bit queasy.
LARRY: Pub's closing.
Not a word.
LARRY: Police orders.
Not a word.
Open the safe.
LARRY: I need everyone to get out now.
LARRY: This club's closing.
(safe unlocking, opening) This club's closing, I need everybody out.
Everybody out, please, the club's closing.
♪ ♪ (sniffs) ♪ ♪ (closes ledger) (birds chirping) I don't remember what I said to her.
I probably talked about my own problems rather than listening to hers.
I wasn't good enough.
I hate this.
(sighs): I hate who I've become.
I hate this.
Actually, you're doing worse than that.
You've convinced yourself you're thinking about this girl when actually you're thinking about yourself.
A little harsh?
You think you're not good enough.
I haven't been for a long time.
So be better.
You have everything at your disposal.
You're a man, you're white.
You could recite a grocery list, and people would listen.
I have been wallowing, haven't I?
You're doing it again.
So how do I make amends?
You didn't help this girl.
But there are other girls, right?
So help them.
Always a little black book.
Why is that?
Lack of imagination, maybe?
Says in here you made payments of ten pounds every week.
You own the place.
Why do you need a tab?
You don't own it at all, do you?
You're the monkey.
Someone else is the organ-grinder.
That is a spurious accusation.
You got a lot of fancy words, haven't you?
Were these payments for prostitutes?
I don't need to remind you that lying to a policeman is a serious offense.
I have, on occasion, procured the company of certain ladies.
My wife doesn't know.
I bet she doesn't.
When did you last procure her company?
She came to my office.
We were having a... pleasant time.
And suddenly, she loses her temper.
I thought we had something special.
I had you down as a clever man.
Who do you work for, Mr. Simpson?
The girls are starting to talk.
I doubt they'll hold back when they learn what you did to one of their own.
Now, there's a fancy word for you.
Simpson's selling those slums the girls are living in.
Why are you going after the landlord?
He knows more than he's letting on.
About the girl?
About all of it.
There's someone above him.
Someone else is running the show.
You're one of those coppers.
(Sean chuckles) A moral crusader.
You make it sound like a failing.
Our men are drinking in his club.
Nice bar, pretty girls.
It's not just black and white, is it?
There'll always be cops, there'll always be robbers.
It'll always be black and white to me.
(typewriter keys clacking faintly, Sean chuckles) What if they don't want my help?
They probably won't.
♪ ♪ (glass shattering, women screaming) (women screaming) ♪ ♪ (doors crashing open) (crashes) Come here, come here.
Who's been talking?
(thuds loudly) AVA: There are kids in there, Rory.
Get out of it.
Stay away, stay away.
SIDNEY: Leave them.
(grunting) (yelps) (groaning in pain) He said leave them.
(catching breath) (spits) ♪ ♪ Success.
AVA: We don't need charity.
What are you doing here?
Why don't I put the door back up, so you have something to slam in our face?
Don't waste your time-- he'll just do it again.
So we put bolts on them.
(baby crying faintly) No offense, lady, but the last thing we need is an uptight, Bible-loving bitch telling us that Jesus will save our souls.
He hasn't saved us yet, and I'm pretty certain he ain't going to save us now, so... Any glasses that aren't smashed, or is this Bible-loving bitch going to have to drink from the bottle?
LEONARD: We need a present that conveys to Sidney that we appreciate him.
We've got some lovely stock in.
Mr. Hobbs has a very good eye.
MRS. CHAPMAN: It also needs to say that it's time to knuckle down.
Put this silliness behind him.
(closes catalogue) Something work-related, like a pen.
No, I think something... frivolous.
MRS. CHAPMAN: His life is all frivolity, Leonard.
LEONARD: Frivolity born of pain.
So it needs to convey appreciation and friendship, but also duty and a little bit of telling-off.
And if it were under three bob, that would be marvelous.
Please stop making a fuss of him.
He's just having one of his moments.
LEONARD: No, I think it's more than that.
I fear for him.
We both do.
How about a nice watch?
That would suggest he dawdles.
MRS. CHAPMAN: He's always dawdling.
We've got some lovely ones with a leather strap.
LEONARD: Ooh, very nice.
VIOLET: We protest.
They beat us.
But we get up, and we protest again.
And next time, there are more of us.
Maybe we should protest.
No one gives a damn about us.
No one gives a damn about us.
But we shout anyway.
Being silent gets you nowhere.
(snorts): Tell that to Sadie.
Did she say something?
PEGGY: They're moving us out of here.
Selling the place.
And Sadie wouldn't stand for it.
It may not look like much to you, but it's the only home we got.
What did she say?
That we were worth more than how they treat us.
We got a job.
Roof over our heads.
That's more than most.
You don't know anything, lady.
LOTTIE: Look at her, Ava.
Course she knows.
I've got a question.
Have you two done the deed?
You have, ain't you?
VIOLET: You're making him blush.
I'm not blushing.
Was he any good?
Okay, now I am blushing.
(laughing) (rattling) ♪ ♪ (match strikes) (exhaling) SIDNEY: It was thrown on the ashes.
Someone was trying to get rid of it.
And she was wearing it when you met her?
You forgiven me yet?
I always do, don't I?
(sighs) You know they're selling the place.
Sadie knew, too-- I think she made her feelings pretty clear.
She finds out they're getting evicted, there's a struggle.
It has to be Simpson.
I'm not so sure.
No, no, this is good, this is good.
We're getting somewhere.
You are all right, aren't you, Sidney?
You'd tell me if you weren't.
Of course I'd tell you.
So Simpson claims he has no idea what they were arguing about.
What he claims.
It all starts here.
GEORDIE (voiceover): Where were you when you had intercourse with Miss Parker?
There is a lady present.
We can do this here or at home.
(exhales) In front of your wife.
We, um... You're all class, Mr. Simpson.
So you have sex...
I phone for a taxi, I come back... And she was angry.
SIMPSON (voiceover): Screaming.
Have you no heart?
You disgust me, do you know that?
I hate your guts, I hate the lot of you!
Like a banshee.
♪ ♪ SADIE (voiceover): He gave me this.
I thought I must be special.
♪ ♪ Different girls, all with the same necklace.
GEORDIE: Your golfing chum.
Archer Davis is a fine man.
Forgive us if we don't take your word on that.
This wasn't just about the eviction.
She realized she was being taken for a mug.
No, she realized they all were.
He's the monkey.
And that's our organ-grinder right there.
GEORDIE: Had quite a few girlfriends.
If you had the chance, don't tell me you wouldn't do the same.
Do you pay them for sex?
I don't need to pay.
Natural charm see you through?
I suppose it must do.
Did you know Sadie was being evicted?
Progress is progress, isn't it?
What do you mean by that?
Decent homes for all.
That's our stance at the council.
The council's buying those slums?
From Mr. Simpson?
(chuckles softly) You not going to let me in on the joke?
You're a clever, clever man.
I'd take that as a compliment, but I don't think you meant it as one.
You own the club, the girls.
You own those slums; dirty money.
But you make it clean again by selling it back to the council.
You really have me down as a master criminal.
More than that.
I have you down as a murderer.
I think Sadie stood up to you.
And you weren't having it.
Got any evidence to back that up?
'Cause there won't be any, will there?
You'll have made damn sure of that.
Are you honestly trying to link me to the death of a prostitute?
A prostitute you were having a relationship with.
Listen, I ended it with Sadie.
Bit of a jealous type-- clingy.
Get bored of her, did you?
Bored enough to kill her?
You're not going to let it go, are you?
Why did you do it?
Warning to the other girls?
I was home in bed with my wife... Sadie starts mouthing off-- one girl starts, they all start.
I was home with my wife.
You've got to keep them down, under control.
Did you kill her?
Did you kill her?
(knock on door) What?
(door opens) ARCHER: All right, fellow?
How are you?
There's a chap here.
Says he wants to cop to everything.
Prostitution, all of it.
♪ ♪ I surrender.
So not Rupert Simpson.
Not Archer Davis.
You run the show?
Who's Archer Davis?
How much did they pay you to come in here and cop to it all, hmm?
Enough to see you through prison?
A few quid extra to make it sound convincing?
You have entirely the wrong opinion of me, Officer.
The girl got shirty with Archer, and he made a warning of her.
I'm right, aren't I?
I don't want to talk anymore.
Be a pal and show me to my cell.
AVA: There won't be a funeral.
They'll put her in an unmarked grave with the murderers and the vagrants.
Won't even be a stone to remember her by.
VIOLET: As long as you're here, she'll be remembered.
PEGGY: And how long will that be?
We're all of us going to an unmarked grave.
Samuel Ford, Amelia Evans, Elijah Parr, James Brook.
LOTTIE: Who are they?
Everyone I've lost to violence.
Unless they kill me, too, I'll keep remembering.
And I'll keep fighting.
Showing me the right path.
You're already on it.
You underestimate yourself, Sidney.
♪ ♪ Stay with me.
This was never forever.
We both knew that.
Why can't it be?
I don't care what people think.
I don't care what they say...
I have to go home.
No, you don't.
This-- everything here-- is nothing compared to what I see every day.
I have to go back.
You could help here, too.
This is not my world, Sidney.
(footsteps retreating) ♪ ♪ (door opens) See you, doll.
(dog barking in distance) Rory didn't come and pick us up.
But you're going anyway.
Like lemmings falling off a cliff.
You can't see a way out.
She dump you, did she?
On your feet, soldier.
SIDNEY (voiceover): I met Sadie.
She told us.
What did she say?
That she met a handsome vicar.
That he was kind to her, told her God was on her side.
SIDNEY (voiceover): God wants you to be happy, so rejoice always.
I like that.
You gave Sadie a bit of hope.
For the smallest of moments.
I hope so.
(chuckles softly) Always surprises me.
That there are still good men out there.
She must be off her rocker.
To let go of you.
♪ ♪ I'm flattered, but...
You're such a sweetie.
You gave Sadie hope.
Don't forget that.
(footsteps retreating) ♪ ♪ (chuckles) See you next week.
Had a change of heart, have you?
♪ ♪ SIDNEY (voiceover): Your ring punctured Sadie's neck.
I really did like her, you know?
She was a lovely girl.
GEORDIE: Ava Holmes, I'm arresting you for the murder of Sadie Parker.
You do not have to say anything.
But anything you do say will be written down and may be used in evidence.
♪ ♪ SADIE: Hello, lovely.
(match strikes) Do you need a light?
You're a lifesaver.
Never been one of those before.
Who is he?
Chap you're crying over.
What you going to do?
(inhales) I'm seeing double right now, so I doubt that would be wise.
I'll tell you a secret.
(sniffs) (exhales): I'm a vicar.
A man of God?
You're having me on.
I'm not good at much, but I am good at listening.
He gave me this.
I thought I must be special.
I hate my life.
So change it.
Just like that?
I'm not sure I deserve it.
God wants you to be happy, so... rejoice always.
I like that.
If you need me, come to Grantchester.
What's your name?
Thank you for the light, Sadie Parker.
♪ ♪ (lighter opens) (shuts lighter) What's that word you used?
Sadie never was.
(photos rustling) (photos sliding) GEORDIE: She saw these.
Did she tell you?
She told everyone.
Then she told Archer what for.
In front of his mates from the council.
Don't believe a word he says.
It's all lies.
ARCHER: Sweetheart, come on, not now.
He's not a good man.
He whores us out.
Get her out of here.
He uses us, and then he throws us away.
ARCHER: Get her out.
We're his whores!
We're his whores!
He owns it all, doesn't he?
They've been good to me.
They were selling your home from under you.
They'd have found us somewhere else.
They exploited you.
She humiliated him.
It was going to come back on all of us.
SADIE (voiceover): I got to tell someone.
We've got to tell someone, Ava.
Let me go.
(gasps) Get out of the way, Ava.
Let me go, Ava!
Let me go!
(shrieks) (choking): Please!
♪ ♪ (Sadie struggling to breathe) Did Archer tell you to keep her quiet?
No one did.
That makes it worse somehow, doesn't it?
GEORDIE: And the other girls?
They weren't in on it.
It was all me.
♪ ♪ Fear's a funny thing, isn't it?
It makes you feel like...
There's no way out.
SIDNEY (voiceover): As we remember Sadie in this place, hold before us our beginning and our ending.
The dust from which we come and the death to which we move, in Jesus Christ our Lord.
ALL: ♪ That saved a wretch... ♪ Don't think badly of Ava.
She's not an evil girl.
She couldn't see a way out.
Sadie saw a way out.
And she died for it.
Sadie was just one voice.
I'm just one voice.
You know, there'll always be another Sadie, another Ava.
If no one stands up to them, this carries on.
Look after each other.
♪ ♪ (phone ringing in distance, footsteps approaching) Archer runs it all.
It's not in his name, but it's all his.
He hurts us.
He enjoys it.
He breaks us one by one.
It'll be her word against his.
It's one woman's testimony.
♪ ♪ ♪ ♪ (breathing deeply) Archer Davis?
I'm arresting you on suspicion of earning money from prostitution.
You have the right to remain silent.
Anything you do say will be written down and may be used in evidence.
♪ ♪ (footsteps approaching) You're going.
Don't say it.
I wouldn't dare.
I'm a better man for meeting you.
You were far better than you realized.
♪ ♪ (exhales) (breathing deeply) I'll come with you.
This isn't your world, I know that.
But it's not mine anymore, either.
Not without you.
I'll come with you.
You don't understand.
We can help people.
We could do so much good... You could get arrested for being with me.
I don't care.
You'll be hated.
I don't care.
I love you, Violet.
If you're with me... You love me, too, don't you?
Of course I do.
But you have to be sure.
You have to be sure.
♪ ♪ I think we'd have been better off with the cufflinks.
MRS. CHAPMAN: It will make his life easier.
LEONARD: Be honest, you bought this for yourself.
I bought it for the greater good.
(muttering): Greater good.
MRS. CHAPMAN: Now who's all tone?
It's rather attractive, isn't it?
Mrs. Bennett hasn't got a washing machine.
She'll be green with envy.
Chap in the shop says it has all the mod cons.
What's a double-spin tub?
(inhales): We've been here before.
This time it's not just about a girl.
It is always about a girl.
This time it's about God.
It's about doing God's work.
We can't lose him, Geordie.
We're not going to lose him.
You're the only one he'll listen to.
(birds chirping) SIDNEY: They want you to talk me out of it.
GEORDIE: Got a whole speech planned.
Does it say I'm throwing my life away?
That's my opening argument.
How I'm making a stupid, reckless mistake?
All of that.
You know I value your opinion above everybody.
I need to do this.
And I need to know that I have your blessing.
Do you love her?
Oh, God, yes.
Sidney Chambers, happy.
Who'd have thought?
♪ ♪ SIDNEY: It's terrifying to step outside the bounds of our lives.
To step away from those we love, from the friends we cherish.
But sometimes we must.
Sometimes God has a different path for us.
One that feels impossible, because we must leave so much behind.
One that makes us feel alone.
But know this.
♪ ♪ We are never alone.
On our path through life, God is always by our side.
♪ ♪ Maybe I'll come and visit.
Bring the kids.
Ah, you sod.
I didn't get you anything.
I can't take it with me, so...
Still trying to make me a better man?
(paper rustling) ♪ ♪ One last game, Sidney?
(breathing deeply) One last game.
♪ ♪ ♪ ♪ Every "Masterpiece Mystery!"
program ends with something that matters.
Someone we care about leaves, or a stranger arrives, a cliffhanger shocks us-- "What will happen next?"
Detectives solve the crimes, but they also delve into the mysteries of the human heart.
As a member of your local station, you make this possible.
If you're not a member yet, please call us or go to our website right now, and we'll see you next time.
♪ ♪ (click) LEONARD: I like to think that every end is a new beginning.
You deserve a bit of cheering up.
So you're ranking you're quids-in for the Grantchester job, then?
Mrs. Chapman seems quite certain.
If she's on your side, you're a shoo-in.
WILL: Mrs. Chapman?
I'm William Davenport.
The archdeacon sent me to introduce myself as the prospective new vicar of Grantchester.
Did he, now?
WILL: I know how this works, Geordie.
You'll reel me in, and then next thing I know, I'll be down at the police station doing your job instead of mine.
LEONARD: Mrs. C., Mrs. C., please!
People are born with innate goodness.
GEORDIE: If you met some of the sorry creatures I've come across, you might see things differently.
You're a dark horse.
Don't worry, I'll get to the bottom of you.
You will answer Inspector Keating's question.
EDDIE: And I thought this evening was going to be dull.
CUMMING: Next time, on "Masterpiece Mystery!"
LEONARD: They say progress is inevitable.
TIM: In the future, they'll be able to do everything.
TIM: The mercury.
JACK: "I would strongly recommend Mr. Finch as vicar of Grantchester."
WILL: I'm William Davenport.
CUMMING: "Grantchester," next time, on "Masterpiece Mystery!"
♪ ♪ Go to the "Masterpiece" website, watch full episodes, listen to our podcast, and more.
To order this program on Blu-Ray or DVD, visit ShopPBS.org.
Also available on Amazon Prime Video.