(upbeat folk music) - Why'd I let you talk me into this?

- Because you're curious.

- Why would I be?

- Two words, Mike.

Artisan cheese maker.

- That's three words.

♪ Anything for you ♪ - You need a coffee.

- Mm.

♪ Opened all my heart ♪ ♪ But all the things you wanted from me ♪ ♪ I couldn't give you ♪ - I don't get markets.

Why drag yourself up at the crack of dawn for spotty organic fruit and patchwork toilet roll holders?

- Um, before 9:00 is hardly the crack of dawn.

And you have to get here early or all the good stuff goes.

- Define "good stuff."

- [Kristin] I'm here for the chutney.

- You said cheese!

- Yeah, to go with the chutney.

- Yo.

- [Kristin] Thank you.

- Oh, thanks, Frodo.

- Hey, I like the new look.

It's very upmarket.

- [Frodo] Yeah, that's the new boss.

Sophie's all over that stuff.

- What, the Sophie?

- [Frodo] Yeah, she's all about the look.

- The look?

(wheels creaking) The look my ass!

The woman's so far up herself she can't see daylight!

- Numbers are up.

You've got to give her that.

- I wouldn't give her squat.

This place was a lot better without her!

- Pete's just old-school.

He doesn't like a lady being in charge.

- Right.

Let's check out the cheese.

Apparently his brie, (upbeat music) next level.

- Sophie, are we doing this?

The light's perfect now.

Let me in.

- Who is this Sophie?

- Celebrity chef.

Sold a bunch of cookbooks.

Fresh.

Fabulous.

Authentic.

- How do you know this?

You don't cook.

- You don't have to be a cook to know who Sophie Grainger is.

She's a lifestyle brand.

Ah, here we are.

Dylan McCracken, Artisan Cheese.

- Hm.

- Did Petra take his last name or did she hyphenate?

Petra Conway-McCracken.

No, you wouldn't.

- Mike!

Kristin!

- Petra!

- Hi!

- We were just wondering what name you go by now.

- Since you married the cheese maker.

- Same name I went by when I was married to you.

Petra Conway.

McCracken's a bit of a mouthful.

- Indeed.

- Speaking of mouthfuls, can I tempt you to try the wares?

- Ah, yes, please.

I've heard the brie is very good.

- Mm-hmm.

- Where's Dylan?

- He's just nipped into the barn with his cheese for the shoot.

The cover of Sophie's new book.

She's featuring all the market produce.

It'll do big things for this place.

- Mm, yup.

I'll have a bit of that, please.

- Okay, $10.

Thank you.

Oh, there's my darling.

- He's lost the Gandalf look, I see.

- Sorry, babe.

There was a queue.

- That's okay!

- There you go.

- I might slip off and check on Willy.

- [Dylan] Yeah.

- How is Willy?

- Mm, he's cooped up in the car.

He won't be happy, but Sophie's word is law, no dogs at the market.

I'll see you later.

(kiss smacks) - Gina!

- Mike!

I need a strong cheddar that will also crumble.

- [Dylan] Mm-hmm.

- We'll leave you to it.

(door bangs) - [Rosie] Why won't she open up?

- You know what she's like.

"You missed the deadline!"

- You can't hurry piping!

- They are gorgeous, Rosie.

- But they're not going to be in the photo.

(sighs) (door bangs) - Come on, Sophie!

- She is deliberately shutting me out.

Why did you let her take over?

You just handed it to her on a plate!

- Let's not go over that again.

- You've got your cheese.

Let's go!

- I want the chutney.

Her chutney, Cressida Cooper.

You can't get it anywhere else.

Tamarillo and lime.

- Those doughnuts look good.

- Oh, there you go!

(serene music) Now you're getting the market vibe.

You kick back, you graze.

- Short black, make it quick.

- Still driving that pile of junk, cuz?

Lawn-mowing business going downhill, is it?

- Nah, not at all.

I'm doing' heaps better than you ever did with it.

- Hey, I did fine with it.

- Well, I'm doing better.

- Get a better car then.

Here we go.

(crowd chattering) (crowd applauding) (suspenseful music) (crowd gasping and murmuring) (tense music) - We need statements from everyone who went into the barn (radio chattering) before it opened, all the stall holders.

- Excuse me, Detective Shepherd.

- Oh, Mrs.

Marlowe, always a pleasure.

- There's something I feel I should tell you.

I was privy to a moment earlier that I think might be significant.

I just moved away from my stall, I do quilting, you know?

- Uh, DC Chalmers, perhaps you could... Ka pai, Senior.

- Mrs.

Marlowe!

(Mrs.

Marlowe laughs) DC Daniel Chalmers.

- Look at you!

You used to steal my mandarins as a young scallywag.

- They were very good mandarins.

- Still are.

A wonderful crop this year.

You should pop over.

- So what was it that you saw?

- Well, it may be nothing, but... - The dog unit's on its way and the barn's secure.

(gloves squeak) - Good.

Give Chalmers a hand with the stall holders.

I'll have a chat with Sophie.

That was quick.

- I keep a suit in the trunk of my car.

Death, it's always in our midst.

- After you.

- Thanks.

(tense music) She has not been moved?

- That's where she fell.

- Remarkable!

That she was able to leave the building with this implement in her torso.

(shutter clicks) The spinal cord has not been severed.

She is lucky.

- That's debatable.

(shutter clicks) - Oh, I have a lot of work to do.

And I need to saw that off.

- I understand.

- Because she will not go in the bag unless... - Gina, I need a moment please.

- Of course.

(mysterious music) - Hello, Sophie.

What happened here?

How did you end up impaled?

- Mike.

Fluids are pooling as we speak.

- She's from Vladivostok.

- Are we done here?

My small-goods are defrosting.

- Thanks.

Pete, you are free to leave.

- What a wash-out!

I've been up since sparrow fart, and I haven't sold a sausage.

- [Kristin] Uh, Dylan.

- Yes?

- [Kristin] Can I ask you a few questions?

- So, who owns the barn?

- Sophie.

She owns all this land.

- Yeah, but it used to be Cressida's.

- Not anymore.

- We started this market, a group of locals.

And Cressida, she never charged anyone to be here.

She never pulled rank- - Rosie, he doesn't need the history.

- Yeah, well, all I'm saying is it was different when it was yours.

- Things change.

Sophie made me an offer, several offers.

I turned her down, but she kept going up.

I let her have it.

Oh!

When can we get back in the barn?

I've got chutney I need to move.

- No one moves anything.

- So it's a crime scene?

- Let's just say, as long as the tape's up, it's off-limits.

(saw rasping) - You ready to take a look?

- Sure.

Thanks for your help.

- The pitchfork is now a sawn-off pitchfork, but every care was taken to preserve forensic evidence.

- I don't doubt that for a moment.

- Nasty way to go.

(suspenseful music) - She must've lifted this to get out.

- The power of adrenaline.

She came from all the way over there.

- There's not a lot of blood.

- What's happened here?

- The result of a struggle, perhaps.

But, there's no blood near the table.

It's a straight path starting here.

- This must have clocked her.

- Wow.

- It's quite a setup, isn't it?

- Yeah, they would've been lovely photos.

All her books are gorgeous.

Lovely food, lovely husband, lovely kids.

I'm going to go notify the family.

They live up the road.

- Do you want a hand?

- Nope.

I've got a fresh box of tissues.

- (sighs) What do you reckon?

- I reckon Sophie went to a lot of trouble.

And someone else did too.

(upbeat dance music) (door knocking) (singer vocalizing) (upbeat dance music continues) (upbeat dance music continues) - Hi!

(blender whirring) Hi!

- Oh!

- I did knock, sorry.

- Oh, no.

I know.

- Detective Sims, Kristin.

Is your dad at home?

- Um, no, he's out on his Sunday ride.

- Okay, can I call him?

- Arlo!

Can it!

Is he in trouble?

- No, but I do need to speak to him.

- Um, yeah.

(pensive music) I'll just step outside.

- Uh, macchiato, please.

(phone buzzing) - Sorry, a what?

- Macchiato it's an espresso with a whisper of hot milk.

Hello?

- Rory Grainger?

- [Rory] Speaking.

- Detective Kristin Sims, Brokenwood C.I.B.

- What's this about?

There's been an accident involving your wife.

- What sort of accident?

- [Kristin] A serious accident.

Could you meet me at your home?

- I'm on my way.

- This might sound far-fetched, but could this have been an accident?

- Are you playing devil's advocate?

- Well, old building, fallen beam.

- Convince me.

- All right .

Well, let's walk through it.

I'm Sophie.

I'm finishing off my arrangements, when suddenly, out of nowhere- - Or, more accurately, out of the roof a giant beam falls.

- I get hit.

I go down.

- [Mike] You're stunned, but you're not dead.

- So I get up and I make for the door.

- Uh-huh, and where's the pitchfork?

I mean, they're not lying around.

All the pointy stuff is out of harm's way.

- But if I'm meandering- - But you're not.

Look at the blood, it's a straight line.

And even if there was a stray pitchfork lying in the middle of the floor, how do you fall on it, backwards, hard enough that it goes right through you?

- What if I fell out of the hay loft and landed on it?

- So the beam hits you after you land on the pitchfork?

- Put the "super freak" in freak accident.

Yeah, okay.

Not feeling it.

- This was an orchestrated event.

The beam's probably sabotaged too.

- One way to find out.

After you.

- Oh, no, after you.

(upbeat dance music) ♪ You make my heart ♪ - [Hazel] She's a cop.

(melancholic music) - Did Dad fall off his bike?

- No.

He's on his way.

- Then it must be Mum.

(melancholic music continues) - Detective Kristin Sims.

- Rory Grainger.

Where are the kids?

- In the kitchen.

Is there somewhere private we can speak?

- Yeah.

(footsteps shuffling) Whatever it is, just say it.

- Would you like to sit?

- You said it's about Sophie?

- Uh... there was a serious incident at the market this morning.

And, she didn't survive it.

- She's dead?

- I'm so sorry.

- Oh, God... (Rory sobbing) - You alright there?

You look a little shaky.

- Yeah.

- You gonna throw up?

- No, I'm not going to throw up.

It's a beautiful piece of carpentry.

- [Chalmers] One hell of a weight.

- Yeah, and one hell of a coincidence.

A beam that's stood firm for maybe a hundred years just happens to come loose... - When the new owner of the barn is standing right underneath it.

- So possibly, somebody detached the beam earlier and tied it up with this rope, and maybe they came up here and waited this morning.

- It's a perfect view, concealed.

- Yeah, but risky.

Or perfect.

I mean, there's plenty of people milling around.

You could just escape into the crowd.

- You could jump down here... Easy!

Stick her with a pitchfork.

Out the back door.

What's that smell?

(window thuds) - Prime spot, eh?

(tense music) 'Round the back and down-wind of (censored).

- [Chalmers] How'd you end up here?

- Madam's decision, her market, her rules.

- There'd be a bit of foot traffic with the, uh- - Yeah, but it's not what you want when you're selling meat products.

I complained, got nowhere.

She handed out this little map of who went where, and that was that.

- Have you got a copy of this map?

- Not on me, no.

- Could you hunt it down?

- I've gotta get this lot back into the chiller before it all goes off.

- [Mike] When you can.

- Kai and tiko so much wrong here I don't know where to start.

(cellphone rings) - Talk to me, Gina.

- [Gina] Mike, please, I need your help.

I am dancing on one foot.

- You are dancing on one foot?

- It's a saying, Mike.

In Russia, when a woman dances on one foot, it's a sign of excitement and incredulity.

And even perhaps discombobulation.

I must have you, Mike.

I must have you here, now.

- She sounded a bit rattled.

- Gina doesn't do rattled.

- But she does do one-legged dancing.

How is that different from hopping?

She sounded rattled to me.

(Mike chuckles) - Hold the fort.

I'll keep you updated.

Thanks.

(door thuds) - In all my years, I have not seen this.

(tense music) - This is all over her body?

- The legs, torso, everywhere.

Chuck, rib, loin, and rump.

Someone meant to butcher this woman.

(tense music) - Shank, flank, short loin, brisket.

- [Mike] It's front and back.

Full body.

- There is a very sick person out there.

- Someone with a serious grudge.

- And a detailed knowledge of meat.

- These markings weren't done in the barn.

There wasn't time.

- Which means Sophie must've known.

- Can you tell when they were made in relation to time of death?

- Not now.

With testing, possibly.

- This was not a random stranger or a loss of control.

Someone wanted Sophie Grainger dead and took elaborate steps to achieve it.

Why?

Best-selling author, lifestyle queen, successful, wealthy.

- [Chalmers] Could money be a motive?

- She had plenty of it.

She self-published all her own books.

Loaded.

- Let's start with her will.

- Or professional jealousy (phone ringing) could be a factor.

She took over the market, not everyone liked it.

- Pete London certainly didn't.

- And the doughnut lady didn't.

- Whoever killed her chose the time and place with care.

Who else went into the barn that morning?

- Pete London.

- [Chalmers] Dylan McCracken.

- [Kristin] Cressida Cooper.

- In that order?

- [Chalmers] No, there was a schedule.

Timed to the second, everyone was given five-minute time slots to present their wares for the photos.

- But not everyone did what they were told.

(door creaks) - What are you doing here?!

Now is not your time!

- I don't give a fat rat's ass.

- Uh-uh-uh-uh, not over there!

Over here!

- I'll put 'em anywhere I damn well like.

- Not until you've removed those tacky little flags you're not- - Don't touch them!

(tense music) - This is my show.

- You don't own this market.

(Sophie laughs) - Actually, I do.

I own the barn and I own the land, and you know that.

- Well, you don't own me!

- If you don't like it, tough.

You can always go!

- Look, what I don't like is being stuck 'round the side where I can't even plug in my bloody fridge!

- Yes, well, I decide who goes where.

- You're trying to kill my trade.

- I don't have time for this.

Will you just go?

- Bah!

(door thuds) (lock clicks) (door rattling) Nobody likes you!

You're a blight!

(tense music) - I heard that!

- I don't care.

I've had a guts full of that cow!

- Really?

Pete called her a cow?

- According to Mrs.

Marlowe.

- I don't hold with women being compared to barnyard animals.

I said to Pete, "I don't like your tone.

You may not like the woman, but that's no call for verbal abuse."

And he said there was every call, she was out to get him, and he wasn't going to leave it there.

Quite honestly, it sounded like a... - Like?

- A threat.

(mysterious music) - And according to Pete, that was the last time he saw Sophie, around 8:15.

- Who was next?

- Uh, the chutney lady, Cressida Cooper.

Is it just me, or is there a touch of "American Gothic" to that woman?

You could see her with a pitchfork, right?

- Mm.

- Let's not get ahead of ourselves.

What happened between them?

- [Chalmers] A business discussion.

- Beautiful, Cressida!

Immaculate presentation, as always.

- It's not the presentation that sells my chutney.

It's the taste.

- Yes!

Yes, of course, I mean, the taste is amazing, but, well... looks do count, I find.

(tense music) - Some people think so.

Not everyone.

- So, have you considered my proposition?

- I've thought about it.

- [Sophie] And?

- And you'll have your answer when I'm good and ready, not before.

- What was that about?

What proposition?

- [Chalmers] Something about licensing her chutney recipe.

- Oh, well, you, you could make millions from that chutney.

- You reckon?

- Yup, it's the flavor combo.

- Yeah, but the texture, like a car tire cut up small.

- Yeah, okay, I think we've established it's not really your thing.

- Okay, so there's an offer on the table from Sophie to Cressida.

- Yeah, she already had the land and the barn.

She was going for the trifecta.

- Interesting, everything that Cressida had, Sophie wanted.

Chalk and cheese.

Who's next?

- It was meant to be the doughnut lady, but that didn't happen.

- I'm not late, am I?

- You know you are.

- Uh, hold this.

(door knocks) - She won't answer you.

- She promised my doughnuts a good spot.

(door knocks) Millions of people are going to see this photo!

It's my one chance to get my name out there.

- She only cares about one name, and it's not yours.

- I am hundred times the baker she is!

- [Chalmers] It's a bold claim.

- Yeah, but in my view, justified.

They are sensational doughnuts.

- But Rosie didn't get in.

As per schedule, Sophie barred the doors at 8:30 to do final tweaks before the photographer came at 8:45.

- Except the photographer didn't get in either.

- Yeah, so the chutney lady was the last person to see Sophie alive.

- No, that was Dylan.

- Who wasn't at the cheese stall when we arrived.

He was in the barn.

- But he got back just before 9:00 with coffee.

- Which he claimed took him a long time to get.

So unaccounted for during the crucial window.

- Which is?

- 8:30 to just after 9:00.

- Therefore the cheese maker is not off the hook.

Sophie's husband, where was he at the time of death?

- [Kristin] Near Tahuna Point, on a bike ride.

- [Chalmers] Ah, one of those Lycra guys.

- [Kristin] Motorbike.

- Oh!

What sort?

- A red one.

Ducati.

- Classy.

- [Mike] So the husband was half an hour away at the time of death.

- He's coming in tomorrow for the I.D.

- I'll have a chat.

- Do we need to mention the markings?

- The human in me says yes, the cop says no.

But while I'm talking to him, I need you to prep the warrant for the will in case we need it.

And I need you to visit our local butcher.

(somber music) (somber music continues) (somber music continues) (Rory sighs) - Yes.

That's...Soph.

Can I?

(Rory whimpers) - There's something else.

Can you shed any light on this?

(tense music) - What the hell?

- You've never seen this before?

- [Rory] No.

I thought it was an accident?

That's what your colleague said.

- [Mike] It quickly became apparent that wasn't the case.

Even before we knew about the markings, it was clear from the manner of death that the offender planned their actions.

- It's sick.

- However, if this suggests anything to you, if there's anyone you think we should question, just call us any time.

- I didn't even get to say goodbye.

You've got to get the psycho who did this.

(tense music) - Here's the map that madam handed out.

Where we were told to go.

I filed it in the garbage where it belongs.

- Okay, so here's the barn.

- Yeah, this is my usual spot.

Prime position, out the front.

And she shoves me around here!

And there's no foot traffic, there's no access to mains power.

(chains rattling) (mysterious music) It was Siberia.

I'd been shafted.

My snags are a star item.

They have been for years!

But she shoved me around here where I couldn't plug in my portable freezer.

- So you went into the barn to have it out with Sophie.

- And I got the bum's rush.

She couldn't care less.

Two grand's worth of defrosting sausages on my hands, and I had to go and get my portable genny to power my freezer or I would've lost the lot.

- Where do you keep your generator?

- Oh, here.

I whizzed back, grabbed it, and went back.

- Did anyone see you?

- You did.

When I got back, you were at Frodo's.

- No, I mean, did anyone see you here?

From about 8:30 to 9:00?

- Well, they're at the market!

Home in bed.

I didn't see anyone.

- [Kristin] Where'd you get that?

- Oh, I don't know.

(tense music) Some sales rep.

You can get them anywhere.

They're on the Internet.

- And they're accurate?

As a guide?

- Yeah.

Any competent amateur could do a decent job on an animal following that.

Are we done here?

I've got a living to make, you know?

- Thanks!

Pete can't account for himself during the crucial time.

He argued with Sophie around 8:15, then he says he left the market, went to his shop, then went back the market close to 9:00 with his generator.

- We saw him then.

- Yeah, but no one saw him at his shop.

So, what if the generator was already on-site and he actually never left?

- Got back into the barn somehow.

- Put his generator on the trolley and wheeled it past us.

- Possible.

Let's park it for now.

I want to know more about the deal, the land, the barn, the chutney.

- I'll take that.

- Might get some freebies, lucky.

- Chalmers, shoot up to Tahuna Point, check on the husband's story.

- [Kristin] Yeah, he filled his bike up with gas at the petrol station, got a coffee, shouldn't be hard to verify.

- Hard not to see a Ducati.

Where'd he get coffee?

- Uh, the Do Duck Inn.

- Oh, good cream teas there.

- Oh, I'll take one (pensive music) for the team on that.

(pensive music continues) - I hope this won't take too long.

I'm in the process of moving house.

(suspenseful music) - [Kristin] That smells amazing!

- Leek and Gruyere.

Sophie wasn't the only cook in the neighborhood.

Tea?

- Yeah, only if you're making one.

- Just clear the decks.

(suspenseful music) So, what do you want?

- Can you tell me a bit more about your relationship with Sophie Grainger?

- [Cressida] What relationship?

- You mentioned a deal to my colleague, something unresolved.

(teapot whistling) Sophie wanted an answer?

- She was persistent.

But then, so am I, and I wasn't giving way on that one.

- It was about the chutney, a licensing deal, is that right?

- I told the other cop, DC Chalmers?

Why are we going over it?

- Just to hear it in your words.

- Sophie wanted to buy my recipe and market it under her label.

With her face on it.

Does that seem necessary to you?

Put your face on a jar of chutney?

A name, yes.

My name.

I agreed she could market it, her customer base is huge, and we'd share the profits.

That way, it's a win for both of us.

I didn't agree to her face being on it.

That was going too far.

Anyway, she kept on it, all or nothing.

And I decided yesterday it would be nothing.

She got everything else from me.

She wasn't getting that.

(tense music) - Meaning the market and the barn?

- And the land and the house.

- [Kristin] Why did you sell?

- [Cressida] Honey?

Or as it comes?

- Oh, just as it comes.

Why?

- I'd had enough.

And she was offering crazy money.

But I drew the line at the recipe.

She didn't get it, but there are some things that money can't buy.

Take it.

- I'd love to, but, the rules.

- Yes.

I might be trying to bribe you with condiments.

Cover my tracks with chutney.

(Kristin chuckles) - Is that tablecloth from the market?

- Probably.

I'll need to take it for forensic testing.

- Be my guest.

I hope you can get the stains out.

(suspenseful music) (motor whirring) (suspenseful music continues) (door thuds) (suspenseful music continues) (door thudding) - DSS Mike Shepherd, Brokenwood C.I.B.

Hazel, is it?

Is your dad home?

- He's in his office.

(birds chirping) - Rory.

Are you getting anywhere?

- We're taking it step by step.

There's something you might be able to help us with.

Do you have a copy of Sophie's will?

- Sorry, what?

Her will?

Yeah, to help us understand if money was a possible motive.

- Someone marks my wife up like a side of beef and you think it's about money?

- We're exploring every avenue.

But you're not obliged to show us the will.

We can go through the legal channels.

It'll just take longer.

(Rory sighs) - No, I'll show you, if I can find it.

We both had the same arrangement, mirror wills.

Left everything to each other.

- Did Sophie have life insurance?

- What for?

We don't have debt, why pay the premiums?

There it is.

Both wills.

Both the same.

- Thanks.

(Rory sighs) - I can't believe we're even talking about this.

There's some screw loose out there.

- You're right, whoever did this is disturbed, and what we know is that this was carefully set up, and whoever set it up had access to the barn.

Is it usually locked?

- No.

No, anyone could get in.

- Mm.

I take it you weren't at the market.

Neither were either of your children.

Is, is that usual?

- No, Sunday markets were very much Sophie's domain.

We always left her to it.

- So who set up the barn for the photo shoot?

- Oh, me and the kids.

We helped out the day before.

Keep the peace.

Did what we were told.

Well, I did.

- Yeah, just up against the hay bales.

Um, no on more of an angle.

It needs to look more real, casual.

- Come on, Rory, give it some flair.

Hazel, give it some texture.

Zhoosh up those rakes and hoes.

- No, no, no, no, no, no, no!

- Yes!

Informal.

Authentic.

- I mean this ridiculous pantomime dame routine.

Really?!

Now of all times?

- I'm bringing the pizzazz, honey!

I mean, this is so tragically trad.

I mean, gingham?

Really?

- Ah, gingham works at a farmer's market.

- [Arlo] In your opinion.

- Yes!

And mine is the only opinion that counts.

- Well, then maybe I am not interested in helping you.

- Uh, you've been precious little help so far.

And you know what?

(tense music) If you're thinking of upstaging me tomorrow, you can think again.

- Hey, dial it back, Soph.

- [Arlo] Don't worry.

I wouldn't be caught dead at your little farmer's market.

(Sophie scoffs) (Arlo smooches) - Do you have teenagers?

- [Mike] Mm, challenging?

- Well, you have to accept they're not going to live by your rules and... Sophie found it hard to step back.

- What is with him?!

- Them.

- Oh, please!

He is not a them.

- You don't get to say that!

- And you don't get to tell me how to speak to my own children.

- And we don't want to be in your books anymore, the cutesy little apple-pie family having a backyard barbie!

- No, you've put paid to that already with all of your nonsense.

- Look, I'm not pretending to eat murdered animals just so you can flog off a cookbook!

- Did you lock up when you left?

- Ah, I wasn't the last one there.

- [Mike] Do you know who was?

- Maybe you wanna talk to Dylan.

- [Mike] Dylan McCracken?

The cheese maker?

- Yeah, he, he had some stuff that she wanted,¦ props for the shoot.

(tense music) - Such as?

- He brought the pitchfork.

(cellphone rings) - [Kristin] Hi, Mike!

- [Mike] Have you spoken to the cheese maker yet?

- I am on my way to his restaurant as we speak.

- Yeah, I want in on that.

He's hiding something.

(tense music continues) - So, Dylan, the pitchfork that was used to kill Sophie Grainger, that belongs to you?

- But there's a very simple explanation.

- I'd like to hear it from Dylan.

Dylan, you are the owner of the implement?

- Yeah, she asked me to bring it over for the, um, for the look.

- As you can see, Dylan collects vintage tools.

- And she liked my, um, my aesthetic.

- And your ass.

- Mike, Sophie and I, we shared an approach to food, authentic, artisanal.

I liked what she was doing for the market.

I mean, some people didn't, but she was lifting the sales for all of us.

- So you took it to the barn?

- Yeah.

I didn't stay long.

She just had a few little jobs she wanted done.

- Oh, no!

Much higher, higher!

I mean, I need scale!

We need drama, right?

I think it's going to have to go all the way to the beams.

(Rory groaning) - Oh, I can grab it from here, one sec.

- Oh, see, that's it!

(laughs) (Sophie sighs) I love a man with can-do.

- Where did you put the pitchfork?

- I put it where she told me to.

So just, um, just like that?

Sort of... - (sighs) I mean, you've got the special touch.

- [Mike] So your prints would be on the handle?

- Well, that only proves that he touched it, which he's already told you.

- However, you didn't mention ownership of the pitchfork on the day, why the omission?

- Don't tell me he's a suspect?

- We're following up with everyone involved in the market setup.

- [Mike] What time did you leave the barn on Saturday?

- About 6:00, and I came back here.

- And you didn't see Sophie again that day?

- [Dylan] No.

I was working.

- [Petra] And then we went home.

Together.

- So the next time you saw her was at the market on Sunday morning?

- That's right.

- [Kristin] And can you give us more of an exact time?

- Ah, well, she told me to bring the cheese to the barn at 8:30, but I wasn't happy with that.

Dairy, it sweats under the lights.

So I saw on her schedule that the photograph was at 8:45, so I went just before that.

- Weren't the doors already bolted by then?

- I went 'round the back.

- We were told that door was locked too.

- Sophie let me in.

We had a secret knock.

(fist knocking) - Oh!

That's a big one!

(tense music) - Yeah.

- You should've come when I told you!

I'm going to have to rearrange everything now.

- That's alright, that... Yeah, right there that is the perfect place- - [Sophie] Ah, don't touch that.

- It's okay.

(tense music) Just pick it up and put it here next to the cake stand.

It'll be easier for everyone to see.

- I said leave it!

- Was it a recipe book?

- It was the book.

The holy relic.

- Some old family heirloom.

Yeah, it was Sophie's grandmother's.

Um, yeah, it had all the old baking recipes from her first book.

- Mm, "The Baking Bible."

I've got that.

- [Dylan] And the book, it was this tatty old thing, falling apart.

- [Sophie] That's it.

(pensive music) It was like that.

- But the cheese makes a more compelling visual statement than that- - We'll do it my way, thank you.

Now get out.

I need this shot before 9:00.

- [Dylan] I was in and out in under five minutes.

- Did anyone see you coming out?

- [Dylan] No, I went out the back.

- [Mike] Where did you go then?

- I went to the Portaloo, then I went to the, um, coffee wagon, and then I went back to the cheese tent.

- Where you were tasting the brie.

- [Mike] Before you left to check on Willy.

- Just as well I did.

He was very hot and bothered.

I had to take him home and walk along the beach for ages.

- Yeah, we're at Tahuna Point.

(suspenseful music) - You went to Tahuna Point on Sunday morning?

- That's what I just said.

Why do you ask?

- We've been very generous with our time, but we are fully booked tonight, so we need to get on with it.

You can see yourselves out.

(footsteps thudding) - Some coincidence, Rory and Petra, both at Tahuna Point.

- (sighs) Is that the sound of a long bow being drawn I hear?

- Scoff all you like.

She's got a track record a mile long.

- So you immediately assume she's banging Rory?

- I know Petra.

(cellphone rings) He's just her type.

Chalmers.

- I have statements from two witnesses who saw Rory Grainger at Tahuna Point on Sunday morning.

Can I get a little extra jam with that?

Ta.

A forecourt attendant at the gas station remembers him.

You don't see a Ducati (engine purring) around these parts every day.

And they've got a very distinctive engine sound.

You can feel it in your chest cavity.

And he noticed Rory's bike helmet, described it.

And the waitress at the Do Duck Inn remembers him because he ordered a macchiato.

Thank you.

- Ask her if Rory was alone.

- Like a dog with a bone.

- It's a simple question.

- [Chalmers] Negative, boss.

- Okay, thanks.

(phone beeps) - Well?

Was Petra Conway-McCracken all over Rory Grainger at the Do Duck Inn?

- No.

- Probably because he didn't go to Tahuna Point to shag her.

- We don't definitively know that.

And they're both married, so they wouldn't want to be seen in public.

- I'm wasting my breath.

- Yeah, and if I'm right, it confirms Rory's alibi.

- We already have two witnesses who have confirmed it.

We don't need further proof.

- Mike.

Why are you still here?

- [Mike] Just exploring a few things.

- Well, do it somewhere else.

We've got guests arriving.

- Leaving now.

- Do you have time for a chat later on?

- Another chat?

- I just want to clear something up.

Just between ourselves.

- Well, come out to the beach then.

Dylan won't be back till late.

He, um, he wouldn't want me to talk to you, but I think there's something (suspenseful music) you should be aware of.

(suspenseful music continues) (bag thuds) (photos rustling) (radio chattering) - So where is the tatty old notebook?

(suspenseful music continues) - Come for the rest of my washing, Detective?

- I have a few more questions.

- Thanks for the tea.

- Anytime.

(tense music) - I saw a notebook here this morning.

You put it in the drawer.

- What about it?

- I need to look at it.

- Be my guest.

(drawer racketing) - Where is it?

- I gave it to Rosie.

- A similar notebook went missing from the crime scene on Sunday.

Can you explain that?

- It's not similar.

It's the same.

(suspenseful music) - [Kristin] So you took it from the barn?

- I did.

- Before or after Sophie was killed?

- After.

- [Kristin] Why?

- Because the minute I saw it, I knew what it was.

Where did you get that book from?

- I found it in a junk shop.

- [Cressida] No, you didn't.

You took it.

From a bedroom.

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

- [Cressida] There's a message inside.

- It's time for you to go now.

- [Kristin] And did you?

- No, I ran her through with a pitchfork and then cleaned up the mess with a gingham tablecloth.

That was a joke.

- Ms.

Cooper, this is a homicide investigation.

- I'm aware of that.

Yes.

- You're not obliged to say anything about your whereabouts around the time Sophie Grainger was murdered, but if you can offer any information, now would be the time.

- I knew that notebook was Rosie's.

Sophie stole it.

Years ago.

When she keeled over, (suspenseful music) that's when I went back in.

I knew you people would be swarming all over it, so that was my chance, and I took it.

- Come on in!

(footsteps shuffling) - Nice place!

- Yeah, it is.

Our happy home.

No offense, but I never knew marriage could be like this.

Warm, trusting, totally open.

- You sure about that?

- I don't have any secrets from Dylan.

- Then why am I here?

- I'm helping him.

Because he's too nice to help himself.

- Can you do this?

Are you on-duty?

- Technically, yes.

- What does that mean?

- Well, this is on the record.

But, um, it's after-hours.

So I can exercise my discretion when it comes to an innocent glass of wine.

- You won't be disappointed.

- Mm.

- [Petra] So, to the point?

- In what sense is your marriage open?

- Did I just say that?

- Yes, you did.

Do you have other partners?

- [Petra] No.

I meant open as in trusting.

- So you're not involved with Rory Grainger?

(Petra scoffs) - Where did you get that from?

- Instinct.

Precedent.

- No, I'm not involved with Rory.

But your instincts are right.

There was someone in that marriage looking for outside action.

(suspenseful music) I used to tease Dylan that Sophie had the hots for him, but I wasn't worried.

And then one day, I came home from lunch service and she was here.

Body language was pretty clear.

(Sophie chattering and laughing) Hi!

- [Sophie] Petra!

Talk some sense into Dylan, would you?

- About what?

- About what a brilliant team we'd make.

- Um, Sophie has a, a proposition.

- A business proposition!

(laughs) A joint cookbook.

My recipes, his cheeses, and we feature the restaurant as a location.

- Sounds like a great partnership.

- That's what I think, but your man here's playing very hard to get.

- Well, you know, I've got so much on my plate at the moment.

- See what I mean?

(laughs) I don't make these kind of offers lightly.

Dylan could go all the way with me.

Don't take too long.

(footsteps shuffling) - I can't work with that woman.

- Because?

- Because she won't take no for an answer.

- He liked her, but he didn't wanna encourage her.

So he thought it would be a mistake to work together.

- And what did you say?

- That he should level with her, say he was happily married.

That if it was just business, fine.

- Did he say that?

- He tried to.

- No, for me, (moody music) it's just about the cheese.

No, just the cheese.

- Did she back off?

- No, she was still gunning for him at the market.

Risqué remarks, a hand on the bum.

- Did he fend her off?

- [Petra] Not with a garden implement.

- I know he's your husband, but- - Listen, Mike, he is a gentle man.

It is not in him to be violent.

You cannot suspect him.

- Well, it's my job to suspect him.

- And what about me?

What am I suspected of?

You had absolutely no grounds, and yet you tried to make a thing out of me and Sophie's husband?

- You were in the same place at the same time on Sunday morning.

I wanted to put that to bed.

- [Petra] As it were.

- But I take your word.

I believe the leopard has changed its spots.

(playful music) - She has.

I'm a one-man woman now, and that man is Dylan.

I'd stake my life he's innocent.

♪ While we're on the surface ♪ ♪ Let's swim away from this ♪ ♪ My lover's ghost still exists ♪ ♪ I know I talk in riddles ♪ ♪ But what else can I do ♪ ♪ When all I love ♪ ♪ Still exists ♪ - Where are the crime scene photos?

- They're on my desk.

And no, there's no notebook on the cake stand.

Cressida took it, and Rosie has it now.

- She took it?

When?

- Before the crime scene was secured.

She swooped in before the cordon went up.

- Bold but not illegal, I guess.

- And if her story's true, the notebook's stolen property anyway.

- What's in it?

The secrets to the universe?

- If you're a baker, yes.

Old family recipes, apparently nicked by Sophie, who published them as her own, but, according to Cressida, (tense music) they actually belonged to Rosie Ford.

- So there could be motive there.

- [Chalmers] Recipes to die for.

- Cressida's copped to stealing the notebook, but nothing beyond that.

How did you go with this scenario?

Is Petra on with Rory Grainger?

- Nope.

In my defense, my instincts were right, just the wrong way 'round.

- Come again?

- Sparks were flying, but not between Rory and Petra, between Sophie and Dylan.

- Sophie's been getting it on with the cheese maker?

- [Mike] Sophie wanted to.

He wasn't playing ball.

- So she came on to him.

He repelled her advances?

- With a pitchfork?

Bit heavy-handed.

- Yeah, it's out of character.

- What?

Last to see her alive.

Prints on the murder weapon.

- I just don't think he's our man.

- Oh, I know she looks harmless, but there's something there.

- And Pete's not in the clear yet.

- Work for tomorrow, team.

Let's get some rest.

(suspenseful music) (door knocking) - Mike?

I have something to share.

- Uh, I don't think- - Relax.

I will go slowly.

But you must see this.

Observe!

I am sectioned like a beast, each portion time-coded using indelible ink.

The thigh, the loin, my whole body is covered.

- Yeah, I'll take your word for it.

- I then tried to remove the markings with soap and water.

I stood under the shower, vigorously rubbing.

Some markings will became degraded.

- The newer ones or the older ones?

- Newer.

The older one will not budge, as you see.

The short ribs and the brisket.

(both chuckle) - That's, uh, very impressive.

- I have been conducting this test for 24 hours, no sleeping, and my timings allow me to determine when Sophie's body was defaced with a pin-point accuracy.

Sunday morning, 2:00 AM.

- That's very precise.

- [Gina] The toxicology report supports my finding.

- I've been reading that.

She had a very high blood alcohol reading.

- Also sedatives.

A strong dose.

- She would've been out cold.

- [Gina] Unresponsive to the sensation of the pen on her flesh, unaware of being moved, as she must have been.

She was rolled over to mark her back.

This I have replicated also.

- That can't have been easy, to draw on your own back.

- I have required assistance.

More than that, I cannot say.

- How long would you say the markings took?

- They are not slap-dash.

Between one hour and two hours.

So between 2:00 and 4:00 on Sunday morning?

That's correct.

(suspenseful music) - So whoever did this- - Was in her house.

(suspenseful music continues) - [Kristin] (sighs) How did you sleep?

- [Chalmers] Like a baby.

- [Kristin] Lucky.

- Eat too much cheese?

- No, it's just if I wake up and my brain engages, then I start running all these different scenarios and there's just this one thing that I don't understand.

Why would you... You're not listening, are you?

- [Chalmers] What?

- [Kristin] Well, I was saying- - The lines on that bike are just weird.

- That's my cousin Johnny's new ride.

Bit too Batman for me.

Oh, he doesn't care about looks.

He's into speed.

Eh, cuz?

- What's that?

- [Frodo] You're a speed man.

- Guess so.

That's for both.

- Last of the big spenders.

- It's not for taking with you, Frodes.

- Johnny.

- Oh, yeah.

Hi.

- You're not with the Ghost Train anymore?

- [Johnny] Nah.

I'm an entrepreneur now.

- [Frodo] Sure I can't tempt you?

- Richer pickings elsewhere.

Nice bike.

- Yeah, it's inline four, 800 CC.

Total chick magnet, if I'm honest.

- Okay, I can see that.

- Yeah.

(engine revving) (engine revving continues) (pensive music) - She might not give us anything.

- I've put the kettle on and, uh, I've made a slice.

- Then again, she might.

- Mm-hmm.

(dance music) (dance music continues) - Dad's not home.

- It's okay.

I want to speak to you and Arlo.

- Arlo!

- About, about Saturday night.

(birds chirping) Who was home?

- Just us.

I made pizzas.

- Mum was too trashed to cook.

It's true.

She was in a foul mood.

I wound her up, and Mum and Dad had a fight.

- Not a fight, just- - Just the usual.

Her being a complete control freak and him checking out.

- As in leaving the house?

- [Arlo] No, I mean emotionally.

I don't know whether he was in the house or not.

- [Hazel] He might've been in his room.

- In the office?

- No, his bedroom.

They don't share a room?

- [Arlo] Not lately.

- Hm.

So, there was a disagreement.

Your dad went off somewhere.

What did your mum do?

- She dropped Tramadol and crashed out.

- She was tense about her shoot.

- Where was she?

- [Hazel] In her room.

- Has anyone been in your mother's room since she passed?

Could you show me?

- She was there.

I came in to say good night.

- I don't know why.

She can't hear you when she's like that.

- It's just a nice thing to do.

- What time was that?

- Midnight, maybe.

- Were you still up?

- [Arlo] Yeah.

I'm a night owl.

(calm music) - Were you aware of anyone in the house that night?

Did you hear anyone moving around?

So you don't know where your father was?

- No.

(calm music continues) - Were the windows and doors secure?

- [Arlo] What are you looking for?

Is this about the marks?

- You know about those?

- Dad told us.

He was really upset.

- Do you think someone broke in here and did that?

- We know that they were made that night.

When she was asleep.

- Whoever's last to bed's meant to lock up.

That was me.

Sometimes I forget.

(calm music continues) - Look, my mother wrote that.

- "To my darling girl, all I can give you."

- She was 16.

In trouble.

She was sent to one of those homes.

You know they wouldn't even let them hold their babies?

The meanness of it.

But she left this for me, and then the nuns gave it to my parents when they came to pick me up.

- You must have treasured it.

- Slept with it every night.

I knew every page, every blotch.

I'd made everything in it by the time I was 8.

Baking was the only thing I was ever any good at.

School was a waste of time.

Although, cooking school was better.

I mean, that's where I met Sophie.

She was a real go-getter, even then.

- I didn't realize you went that far back.

- Years, before she was anyone.

But we all knew she would be.

I mean, she wasn't the best, but, well, that's not what counts, is it?

I remember Cressida saying to me, "Watch that one."

- So Cressida was there too?

- Yeah, she was the star of the school.

Her cooking knocked spots (suspenseful music) off Sophie's.

And she was cool.

She drove a Citroen, she lived in a big old house.

I lived there too, for a while.

And that's when the notebook disappeared.

- Disappeared how?

- Well, it happened during a party.

You know what it's like.

People in and out of bedrooms, stuff goes missing.

I still slept with it by my bed, and that night, it had gone.

I was beside myself.

I knew someone had taken it.

- And Sophie was there?

- Yeah, along with hundreds of other people.

I had no reason to suspect her.

But later, when her baking book came out, then I knew.

Every recipe identical to mine.

Every amount, every detail, every instruction.

- Did you ever put this to her?

- Well, I couldn't prove how she did it, but I knew it, in my bones.

- So on Sunday morning at the market, you didn't talk to her about...?

- I never saw her.

- [Chalmers] But you knew the book was there?

- Well, not till Cressida told me.

I had no idea.

I was very grateful she saw it.

That she got it for me.

- Yeah, well, strictly speaking, she shouldn't have touched it.

- You're not going to take it from me, are you?

- We do have to examine it, yes, but I promise, faithfully, to return it.

- If all the recipes are as good as this, it's a precious gem.

- They are.

(tense music) It made Sophie rich.

But money isn't everything, is it?

(footsteps shuffling) (radio chattering) - The missing notebook.

- Okay.

- [Chalmers] Not a motive for murder, at this stage.

So we're no better off.

- I've got doubts about this, too.

- You're dismissing the early-morning speed-butchery theory?

- Yeah, 'cause it's not necessarily connected to the killing.

- It's not?

- Well, it looks like it, but I don't think they're actually related.

I mean, put yourself in Sophie's position.

It's Sunday morning, your alarm goes off, you wake up, bit groggy from all the, the wine and Tramadol.

- Where is this coming from?

- Uh, toxicology report.

Anyway, you feel like mud, but you've got a photo shoot to get to, so you've got to get going.

And then you get up and then, what the...?

Hang on.

Someone's turned you into a meat map.

I mean, what would you do?

- Um, I'd be a bit freaked out.

- Yeah, but you'd call the police, right?

You wouldn't just go about your day, would you?

But she does.

She has a shower, a bit of a scrub, it won't come off, and then she gets dressed and she makes her way to work.

What does that tell you?

- That she didn't think it was a threat.

- So it was what?

A prank?

- I think so.

So she's heading to the photo shoot, the queen of the perfect image, and she looks like something you'd hang on a butcher's wall.

(tense music) Who do you think would find that funny?

(tense music continues) - He keeps saying that he couldn't stand her.

So maybe he'd go that far.

- Really?

Break into her house and work her over with a marker pen?

- Or maybe they had some kinky thing going on.

- Sophie and Pete?

- Well, didn't Petra say that Sophie was looking for extra action?

- Yeah, with Dylan.

I mean, he's a snack.

- Yeah, but he wasn't playing ball.

And we know that Pete hasn't always been strictly faithful to Mrs.

Pete.

- [Chalmers] Really?

- Yeah, he visited a strip club one time when he was saying he was elsewhere, but that doesn't mean that he plays away.

- Let's put it to him.

See what he says.

- You think I was (censored) Sophie Grainger?

- Please don't say (censored).

- But that's what you wanna know.

- We want to know if there's any history between you that perhaps you haven't disclosed.

- Not in a million years!

You lot must be truly desperate if this is what you've come up with.

- There's a reason behind this line of inquiry.

- Someone did that to Sophie Grainger.

- What, like the poster?

- [Kristin] Exactly like the poster.

- Well, then, they didn't know their ass from their elbow.

That's not how you'd portion a human.

- So, you've thought about it?

- What butcher hasn't?

And the cuts would be different.

And they're different for every animal.

I mean, a chicken isn't a sheep, and a human isn't a cattle beast.

What's that say?

- Oxtail.

- [Pete] Did she have that on her?

- Yeah, she did.

- But she doesn't have a tail, does she?

So this isn't the work of a professional butcher.

It's some amateur trying to make a point.

Though what that point is escapes me.

- Got it.

(suspenseful music) - Thanks, Pete.

You've been very helpful.

Who wants to send a message to a meat lover?

- A vegetarian.

(bell dings) You won't be in any trouble, Hazel.

- You'd actually be helping us.

Clearing something up.

- Just tell them.

- We did it together.

But it was my idea.

She didn't believe (tense music) that animals suffer when we kill them.

I just wanted to make her to think.

An animal is a living being!

- Oh, spare me this bleeding-heart routine!

I don't buy it!

- Girls!

- They feel!

How would you feel if someone chopped you up and ate you?!

Being vegetarian is good for the environment.

It's good for humans, it's a no-brainer.

She thought it was a fad, but it's not.

She's a pig-headed moron!

- She doesn't take us seriously.

We're not real.

We're just extensions of her.

Cute little props for her photo shoots.

We're meat puppets.

- She's a meat puppet.

(tense music continues) Oh, my God.

It was, it was just a "what if?"

I didn't mean it.

But when I went in and, and saw her all flaked out, I thought, "Well, I could."

- I thought it was a genius idea.

I thought she'd wake up the next day and she'd completely freak out.

(phone clacking) (arms thud) - Do you, do you think that this is funny?

- Do you think it's funny?

- What are you trying to do here, Hazel?

Just ruin my life entirely?

- Well, at least you have a life.

At least you're not trapped in a cage being force-fed just so you can be slaughtered!

- No!

I do not have time for this today!

- Did the diva get the memo?

- [Hazel] Sure did!

- [Sophie] It won't come off!

(both laugh) - I never thought that that would be the last time that I saw her.

I didn't know how it was gonna look.

(Hazel sobbing) It was just supposed to be a joke.

- Well, we can see that.

- Thanks for clearing it up.

- Can I talk to you?

Privately?

- I'll stay here with Hazel.

- Sure.

- Why are you spending your time on that?

It's got nothing to do with anything.

- We know that now.

- It's been three days.

Don't you know who killed my mother?

- Sounds like you do.

- Here's a clue.

Where did this come from?

And this?

And this?

My mother was a brunette.

Hazel is too.

(suspenseful music) Mine's blonde.

Dad's is short.

This is long.

Do you need a map?

Who has long gray hair?

- Cressida Cooper.

She's your neighbor.

She's no doubt visited at some stage.

Everybody drops hairs.

- Mm, in the shower in Dad's bathroom?

Mum found it.

- When was this?

- About two weeks ago.

She lost the plot.

- [Sophie] Cressida finally sold me the house.

- That's great!

- And the barn.

And the market.

You know why?

(tense music) How could you do this to me?!

She's, she's old!

- [Rory] She's not old!

- She's older than me!

- It's not about how she looks, okay!

It's who she is!

- Oh, she's no one.

- She's someone to me!

She's someone I love!

- You love her?

- Yes.

And I wanna be with her.

I don't want to live like this.

- Like what?!

Like this?

This?

This beautiful home, our kids?

You have this life because of me!

- Okay... I love the kids!

- Thank you, Arlo.

(pensive music) - I was right.

Rory's been playing away, but not with Petra.

With Cressida Cooper.

- Wow.

That changes the picture.

- [Mike] Doesn't it?

- So that's what I didn't get.

Suddenly she sells her house and all her land to a woman she can't stand.

Unless she's shagging that woman's husband, in which case it makes sense.

It's too messy.

She wants to get away.

- Or maybe she doesn't.

Maybe she wants it to look like she's going, but she's not going anywhere.

- So she makes the sale, lets Sophie have it.

- And then she really lets her have it.

She gets to keep everything.

Her home, her land, her barn, and her man.

(broom swishes) - What now?

- Some new information has come to light.

- Specifically about Rory Grainger.

- [Cressida] What about him?

- Are you in a relationship with him?

- He's my neighbor.

Soon to be ex-neighbor.

- [Mike] An intimate relationship.

- We can do this here or we can go down to the station.

It's up to you.

(tense music) You've withheld quite a bit of information.

The notebook, your affair with Rory Grainger.

- I answered every question you asked me.

If you don't ask the right questions, that's not my fault.

- Do you still have keys to the barn?

- [Cressida] I handed over the keys when I sold the property.

- Yet you're still here?

- Sophie and Rory were kind enough to let me stay while I found somewhere else.

- Easy enough to make a copy.

- [Cressida] Not these keys.

They're hand-forged.

- Or keep a spare.

- People don't really lock barns.

- Sophie did, the morning she was killed.

- And someone got in anyway.

- Yeah, was that you, Cressida?

Did you just not leave?

After you fought with Sophie about the notebook, did you hop up into the hayloft and wait for your moment?

Sophie was distracted with Dylan.

You'd had plenty of time to set the beam.

All you had to do was release the rope.

But Sophie had to be alone.

- It's perfect!

(beam crashing) - Very clever.

- But not quite clever enough, because the beam didn't kill Sophie.

She got up.

Bleeding, concussed, she didn't know what hit her.

You had to finish the job off.

(Sophie grunts) Quickly.

(pitchfork thuds) Just a moment to wipe the handle off, then out.

(door thuds) Then carry on.

- It's a terrific plan, but I didn't kill Sophie.

- [Mike] What about Rory?

- What about him?

- Is your relationship ongoing?

- No.

(melancholic music) - [Mike] Who ended it?

- I did.

Two weeks ago.

(lips smacking) - Don't leave me.

- I have to.

- Why?

Aren't we happy?

- You might be.

Little bits and pieces of you, that's all I get.

When you can sneak away, when she's not home.

I want more than that.

I'm worth more than that.

- [Rory] I know you are.

- Then leave her.

- It's not that simple.

- Yes, it is.

- No.

It's her brand.

Happy home, happy family.

- Yeah, but it's not happy.

- It works.

Functions.

- If I can't have you, honestly and openly, I'll go.

I'm not a plaything.

I'm, I'm the real thing.

And if you can't see that- - No, I do.

I do see that.

(melancholic music continues) What would it take to make you stay?

- But I knew he wouldn't leave her, so I made the decision.

I sold her the house.

She got what she wanted.

- Not entirely.

- No.

That must have been a new experience for her.

I won't pretend I liked her.

- Hi, Rory, it's Kristin Sims.

Can you come down to the station?

Yeah, now's good.

- He didn't ask why?

- He'll already know why.

Cressida wouldn't let him walk into an ambush.

- It's true.

We, we had a relationship.

- Did Sophie know about it?

- Cressida told her.

She wanted a clean break, cards on the table.

She's like that.

She told Sophie she could have the house and, uh, she told her why.

- Was that the first Sophie knew?

- Yeah.

Yeah, she came straight home and tore the house apart.

Found the evidence, confronted me.

I asked her if she wanted to end the marriage, but she didn't.

She was very invested, and it meant a lot to me too.

The kids, you know.

I thought we'd, uh, we'd weather it somehow.

We'd get through it.

- But things were rocky?

- Of course they were.

- So on Saturday night, you apparently argued again.

- Like I said, it had been a bit rocky.

- [Mike] And then?

- I left the house.

- [Mike] To go where?

- To Cressida's.

She wouldn't let me in.

Everything was in boxes.

She said, uh, I'd made my choice and she'd made hers.

So I, uh, I came back home, I had a few drinks and I went to bed.

- Did you see Sophie again that night?

- [Rory] No.

- Or in the morning?

- No.

I left early, like I said.

- For Tahuna Point.

Any particular reason?

- It's my Sunday ride.

I do it every week.

It's my me time.

I used it as an opportunity to post something.

- And what was that?

- [Rory] Birthday card for my nephew.

- Can I get a name and number?

- Sure.

- Where's the post box in Tahuna Point?

- [Rory] Um, outside the superette.

- So you did that, then what?

- Uh, I topped up the gas.

I, I headed back.

I stopped for a coffee.

(suspenseful music) - How do take your coffee?

White?

Black?

Any sugars?

- Macchiato.

The waitress wasn't sure how to make one.

So I was just about to tell her when I got the call from you.

You know all this.

- [Kristin] Well, sometimes it's good to go over things again.

- In case there are things that you forgot to mention.

- Like the affair with Cressida and the birthday card.

- I came home and you told me my wife was dead.

I can't remember what I said.

But you can check.

It's my nephew's birthday, he's 6.

- Wow, really?

Rory and the chutney lady were doing the wild thing?

- Indeed.

So, we're parking the cheese maker, the butcher, and the doughnut lady.

- [Mike] And the kids.

- Who probably wish they'd left their little prank till April Fool's Day, although it was excellent.

Which leaves these two.

- [Chalmers] Were they in it together?

- Either that or one of them was lying.

- Well, Cressida's very cocky.

I don't trust her.

- And Rory was at Tahuna Point.

- You ride, don't you?

- Yeah, I do.

Triumph.

Street twin.

- A real chick magnet?

- If you say so.

- I need you to take a spin up to Tahuna Point.

Go as fast as you can, within the speed limit, and post this at the superette.

Then stop for gas.

- And on to the Do Duck Inn?

- Yeah, I'll see you there.

- I could have a scone?

You have a mail delivery to verify.

(upbeat rock music) ♪ Welcome back to the house when Daddy lost his job ♪ ♪ Put a hitch on the back of Mama's little silver Dodge ♪ ♪ Drove with nothing but clothes and guitar ♪ ♪ Right down to Nashville, gonna be big stars ♪ ♪ Hey, hey ♪ ♪ Just work a little harder ♪ ♪ Hey, hey ♪ ♪ Punching that clock with work and prayer ♪ ♪ And a little bit of luck ♪ ♪ Make so much money, need a 10-ton truck ♪ (singer laughing) (singer laughing continues) - Okay, thanks for your help.

Ah, the birthday card arrived.

Rory's sister sent it through.

That's the envelope that shows where it was franked.

- Good work.

- Well, I think I deserve a cream tea.

- Uh, two cream teas, thanks, and a moment of your time.

DSS Mike Shepherd, and this is Detective Kristin Sims.

- Do you remember this man?

- Another guy was asking about that.

- Yeah, he's a colleague.

He said you remember serving this man.

- [Waitress] Yeah.

He wanted a flash coffee.

- A macchiato.

(birds cawing) - That's the one.

I noticed him when he arrived, because his bike was really loud.

He pulled in off the road, parked outside, then took a seat.

- When you say he pulled in off the road, did he park on the other side and cross the road?

Or did he do a U-turn?

- [Waitress] No, (engine revving) he just came out of the traffic.

(suspenseful music) - On this side of the road?

- [Waitress] Yep.

- What time was this?

- [Waitress] Maybe quarter to 10:00.

- And how did he seem to you?

- Macchiato, it's an espresso with a whisper of hot milk.

(chuckles) - Just normal.

He knew what he wanted, he ordered straight away, that weird kind of coffee, and then he got a phone call and left really fast.

Without the coffee.

- Thanks, you've been very helpful.

- You want those cream teas now?

- We sure do.

Um, what kind of jam comes with the scones?

- I think it's apricot.

- Apricot?

Why?

- If you were coming from Tahuna Point, you wouldn't be on this side of the road.

You'd be on the other side.

You'd need to cross the road.

Maybe he wasn't coming from Tahuna Point.

(suspenseful music) (suspenseful music continues) (suspenseful music continues) (engine revving) (suspenseful music continues) - That guy on the Ducati on Sunday morning bought a Voodoo bar at the gas station at Tahuna Point.

That chocolate bar guy, did he have something on his hand?

- Yeah, yeah, he did.

Something kinda girlie.

Lame as.

- And he had a tattoo on his hand.

And it might just be a freaky coincidence, but that guy, Frodo's cousin, has a tattoo as well, same hand.

- It's a total chick magnet if I'm honest.

- Let's bring Johnny in.

Last time we spoke, you were a Traveling Wilberry.

- Wilbury Brothers, that's right.

I ran the ghost train.

- As I recall, you had a side line in recreational substances?

- For medicinal purposes.

- Yeah, of course.

But now you're in the lawn-mowing business.

- Yeah, I took over my cousin Frodo's operation.

It's a steadier line of work.

- Traveling shows come and go, but lawns stay put.

- You got it, mate.

In a nutshell.

- Plenty of grass up at the Grainger place.

- Oh, they've got a ride-on.

It's no sweat.

- [Mike] Do you mostly deal with Rory when you're up there?

- Mostly, yeah.

- Did you know Sophie at all?

- Oh, a little bit.

It's bad what happened, eh?

It's not a sight you forget.

- No indeed.

(tense music) You were at the coffee cart when it happened, weren't you?

- Well, you'd know, you saw me.

- [Mike] You'd arrived late.

- [Chalmers] Where were you before that?

- Home.

- Not at Tahuna Point?

- Why would I be there?

- To buy a Voodoo Bar?

- What?

- [Chalmers] There's someone on a time-coded CCTV tape buying a chocolate bar at the gas station.

Looks like you.

- Well, it wasn't.

- Okay, well, I'll show you.

It's a pretty good likeness.

Don't go away.

(tense music continues) - The guy on the tape's probably wearing a helmet.

How would you even know- - Just take a moment, Johnny.

Sometimes the first thing we say isn't the right thing, and in a situation like this, it's important to be right.

So if you wanted to change your story, well... Now would be a good time.

(tense music) (engine revving) - You can feel it in your chest.

(tense music) - We've got some more questions.

- I'm sorry, I've got Reverend Greene coming to talk about the funeral service.

Can it wait?

- Not really.

But it shouldn't take long.

- Here's what you've told us so far, Rory.

On Sunday morning, you left the house early and rode out to Tahuna Point, where you posted a birthday card to your nephew, put some gas in your bike, and then you headed home, by way of the Do Duck Inn.

I've been wondering, did you take your helmet off at any point?

- Uh, when I got to the Do Duck.

- [Kristin] Not before that?

- Well, there was no need to.

There was a stamp on the card, and I paid for the, for the gas at the pump.

- At 8:24.

- About that, I guess.

- We've got it on CCTV.

We can be exact.

So you pay for the gas.

What's your next move?

- Uh... (tense music) - Do you go inside, buy a Voodoo Chocolate bar, and pay with cash?

- Because someone did.

It looks like you.

Same helmet, same leathers.

- But you haven't mentioned it.

- [Mike] So either it's something you forgot, like the birthday card... - Or this person isn't you.

- Of course it's me.

And I sent that card.

- We know.

We checked.

- So, assuming this is you, after buying the chocolate bar at 8:25 and paying cash, you head off to the Do Duck Inn.

Or do you?

- I do.

- Straight there, from Tahuna Point?

- [Rory] Yes.

- So you were traveling south?

- Yeah, that's right.

- Did you pull in opposite the café and cross the road, or did you do a U-turn and park outside?

- Ah, it's too dangerous to do a U-turn there, so I, I crossed the road.

- Of course, because if you're traveling the other way, you would've just pulled in.

- Yeah, no, that's right.

But I wasn't, so I didn't.

(laughs) - You sure about that?

- Yeah, I know where I was coming from.

(Kristin chuckles) - What if you weren't coming from Tahuna Point?

What if you were coming from a rendezvous point where you switched vehicles with another rider of a similar build to yourself?

You would've been traveling north, not south, and you would've just pulled in, no need to cross the road.

- I crossed the road.

- [Mike] Not according to the waitress.

- Who doesn't even know what a macchiato is.

- Well, she's not the only one who remembers things slightly differently from you.

- Oh, yeah!

Yeah, it's all coming back to me now.

Look, I didn't think anything of it at the time, but... - Great job, mate!

- Yeah.

- You busy Sunday?

- Well, that depends.

What are you after?

- Could you shoot up to Tahuna Point, post something for me?

(suspenseful music) - Yeah, for sure!

Is there a fee?

- You know that old Z800 in there?

You can have it.

- [Johnny] For the ride?

- Nah, for good.

Needs a bit of a tune-up, be ready in a couple of days.

- It must be a pretty important letter.

- It is.

Since that bike won't be ready, uh, take the Ducati if you like.

- Sweet!

Is that all you want?

Just the posting or...?

- Yeah!

You'll need to put some gas in the tank.

40 bucks should do it.

Oh, and, um, keep your helmet on.

Yeah?

- [Mike] You didn't wonder about that?

- In my life, I have done stuff a little outside the circle.

- The circle being?

- Well, the circle of law.

- The law is circular?

I did not know that.

- The way I see it, yeah.

It's like the circle of life, only different.

So, there are two circles.

There's the circle of life and then there's the circle of law.

Now, I've done stuff not quite inside the inner circle.

In my time.

And the way that works is, don't ask, don't tell.

- So you didn't ask?

- A motorbike to post a letter?

I'm not a moron.

Who am I to judge?

But when I saw what happened to his missus, I got a bad feeling.

- That guy smokes a ton of weed!

You can smell it on him.

I don't know what he's trying to pull here, but, possibly extortion.

This is nuts!

- What, is that?

- Could you put your hands on the table, please?

(tense music) - I'm not going on with this.

Um, I want my lawyer.

- You're entitled to that.

But while we wait, why don't I share with you what Johnny shared with us?

He was very thorough.

(engine purring) You did indeed leave the house early on Sunday morning.

(tense music continues) (engine revving) But only to meet Johnny at the rendezvous point.

You swapped vehicles, you gave him your leathers, he shot off on the bike.

- At which point, presumably, you went back to the barn and hid in the hay loft.

- You had a key, or the doors were unlocked.

All you had to do was wait.

Because you'd already made sure that the beam was loose, ready to fall.

- [Kristin] If you dropped it at the right moment, it would look like a terrible accident.

(rope zipping) - It wasn't meant to be like that.

- [Dylan] Cheese makes a more compelling visual statement.

- [Sophie] We will do it my way!

Thank you!

Now get out!

I need this shot before 9:00.

Go.

(door thuds) (beam creaking) It's perfect.

It's perfect.

(beam crashing) - It was meant to be just, just a blackout.

(Sophie groaning) (tense music continues) - But she saw you.

(Sophie gasping) (Sophie gasping continues) - [Kristin] So you had to finish it.

(Rory gasping) (plates crashing) (tense music crescendos) (pitchfork thuds) (Sophie grunts) (tense music continues) - I couldn't lose Cressida.

(calm romantic music) I knew what I had to do to make her stay.

She told me.

- No Sophie.

My life, just as it is, with you in it, and Sophie gone.

♪ Don't wait your whole life ♪ ♪ Hoping things might change ♪ ♪ Don't wait your whole life ♪ - Are you saying it was Cressida's idea?

- No.

No.

No, you, you can't blame her.

I mean, if she'd known, she would have stopped me.

She's way smarter than me.

♪ Gotta take a risk now honey ♪ ♪ Spread your wings wide ♪ - If she was going to kill someone, she would never get caught.

♪ Do what you were born for ♪ ♪ Do what makes you smile ♪ - I wonder if it was her idea?

- Well, if he says it wasn't, and she doesn't crack... - She'll never crack.

- Then we'll never know.

Anyway, it wasn't an idea that killed Sophie Grainger.

It was a beam and a pitchfork.

- [Kristin] Till death do us part.

- It's a bit extreme.

Why didn't he just leave her?

- You've never been married, have you?

(Kristin chuckles) - [Chalmers] Came close a couple of times.

- Oh!

But?

- It's like the tide, came and it went.

- I'll just say this, it's not a state that encourages rational decision making.

- (laughs) Leave a couple plain.

- You don't know what you're missing.

- I was dubious, but, (sniffs) man, this stuff's good.

- Yeah, and the cheese is good too, right?

- Good, not great.

- Oh, just let it go!

(Kristin groans) - Did the lab come back with a result on Cressida's tablecloth?

- Ah, yup, it was chutney.

- [Chalmers] You're mad to go near it.

- I can't agree.

If I found a woman who made chutney this good, I wouldn't want to let her go either.

- Yes, but, (serene music) would you kill for her?

- I'd like to think not.

- [Kristin] Mm.

- [Mike] Mm.

- [Kristin] So good!

(upbeat music) (upbeat music continues) (upbeat music continues) (upbeat music continues) (no audio)