18x08 - Looking For Isabella

[bunniefuu]

♪ Heartbeat

♪ Why do you miss when my baby kisses me?

♪ Heartbeat

♪ Why does a love kiss stay in my memory? ♪

Dare you to touch the front door.

-Go on. - No.

Scaredy-cat.

Michael.

Michael.

Wait for me!

- Hiya. - How's the baby?

Oh, he's fine, thanks.

He woke up twice in the night but apart from--

Hey, you two!

Wonder what they've been up to.

Ah, kids.

Talking of which, when are you next seeing yours?

Tomorrow, with any luck, if Sandy doesn't change plans.

BABY CRIES

Where's Peter?

Oh, what have you done with him now?

He was... He was just behind us.

Behind you where? Where have you been?

Nowhere.

Tell me exactly where you were.

On the back lane to Elsinby, wasn't it?

-Yes. - How far did you go?

- As far as the old house? - No.

They wouldn't go that far.

They're only allowed to the crossroads.

OK, I'll take a look.

-No luck? - No.

What on earth's happened to him?

He's probably stopped off at a friend's. Come on.

JOE:Peter!

PEGGY: 'He's been gone for an hour now.'

And when you think of the things that do happen.

I mean, do you remember that little girl that vanished?

All they found was a skipping rope lying...

-Have you got him? - No.

Go on. Tell him what you saw.

I don't suppose it's anything,

but me and Don were at the crossroads

the time Peter disappeared

and we saw the two kids running back to the village.

And then this van sped past. A blue Ford van.

OK. I think it's time to bring Sergeant Miller in.

-I'm gonna look for him. - PEGGY: David!

Well, I can't just stand here while the lad's missing.

He's right, Peg. We should all lend a hand.

Why don't we all have a look? He's got to be somewhere.

MUSIC: 'Cirrus Minor' by Pink Floyd

♪ Waving to the river daughters

♪ Swaying in the...

Peter!

Peter!

♪ A trip to Cirrus Minor...

Peter!

♪ Saw a crater in the sun

♪ A thousand miles of moonlight later... ♪

Peter!

Peter!

Peter!

You passed Constable Wetherby here on your way home.

- He says you were running. - Quite fast too.

MILLER: Had something frightened you?

Come on, Michael.

The policeman asked you a question.

-No, sir. - MILLER: Nothing?

Nobody stopped and spoke to you

- from a car, say, or a van? - No.

- Lizzie? - No.

And that's the absolute truth?

You better start a search of the village

starting from the point they last saw him.

They're obviously hiding something.

I'll get them on their own. Try and find out what it is.

Do that. I'll radio in the details of this van.

Didn't like to say anything in front of them,

but I don't like the sound of this.

Quite.

Will do, sarge. Over.

A blue van,

registration number possibly ending ,

possibly a Ford.

They don't think he's been kidnapped, do they?

Right then, you two.

We want to find Peter as quickly as we can, don't we?

Which means we have to tell the absolute truth.

Now, Lizzie, I'll ask you first.

Did a van driver stop you and try to talk to you?

No.

But something had frightened you, though.

What was it?Lizzie?

Mum and Dad will be cross.

No, they won't. I promise.

We went into that old garden.

Well done.

I've checked the garage, even in the old oil t*nk.

And I've been all the way up to Maltby.

OK, thanks. Did you happen to see this van?

BERTIE:Vans go up and down here all day, Joseph.

They were playing at the old hall. The kids.

Apparently it was strictly out of bounds.

They didn't dare admit it in front of Dad.

I think a chap called Druce lives there.

I'll come with you.

Bernard, did I hear him mention Mr Druce?

Yeah.

He won't be there. He doesn't live there any more.

Don't you remember?

His wife was Spanish and she went back to Spain.

- No, she didn't. - Course she did.

Have you ever wondered why we never see her around?

After a bit he went an' all.

No, he didn't.

I saw him just the other week in Ashfordly shopping.

You didn't?

Eh, Bernie, you should see the state of his house.

- I wouldn't dream of prying. - Well, I have.

And I've looked through the windows.

Yes, and that's called trespassing.

Ohh.

KNOCK AT DOOR

KNOCKING CONTINUES

KNOCKING

KNOCKING ECHOES

PETER: Help!

Peter?

-Peter? - Help!

It's all right. I'm coming.

Where are you?

- Keep calling out. - Help!

Oh, no.

Help! Help!

Just hold on, lad. Hold on tight.

Now stretch out your hand, so I can reach.

That's it. A little bit further. Come on.

A little bit further. That's it.

You're nearly there. You're nearly there.

Good, good.

Good. Now, hold on tight. I'm going to pull you out.

-Is he there? - Hang in there, lad.

- Hang on. - PETER: Argh!

CLATTERING

I couldn't hold him, Joe. I tried, but I couldn't.

- Eh? - He's fallen down a well.

They can't get him out. Had to bring in an engineer.

Oh, that poor little...

Any news on the occupant of the house?

Mr McKenzie needs all the info we can give.

- The age, depth of the well. - MILLER: Dust an inch thick.

I shouldn't think anyone's been in there for years.

-So? - We can't go in that way.

The metal ladder's blocked the entrance

and if we try to remove it,

the sides could cave in completely.

The only way to get him out, and this is a long sh*t,

is to sink a parallel shaft and go in sideways.

-What? - It'll take slightly longer.

But it should be fairly straightforward.

-How long will that take? - From to hours.

-Ohh! - It's OK. He'll be all right.

And I estimate he's about ft down.

Right, let's do it.

The twin dangers

are hypothermia and lack of oxygen.

Oh, and the degree to which the child is injured.

-I said it was a long sh*t. - Best get started.

ENGINEER: If I could use your radio,

I'll get my men onto it right away.

Don, it wasn't your fault.

It was my fault.

If I hadn't tried to rescue him,

this wouldn't have happened.

Anyone would have done the same.

Look, without you,

he might not even have been found.

That's the third lot to ring.

PHONE RINGS

Here we go again. Ashfordly police station.

Who? Oh.

Er, no, it's a... an ongoing situation.

Who is it?

Well, Aidensfield station's your nearest.

Oh. He's rung off.

-Well, who was it? - I'll show you.

Sheridan Ralph. I'll tell you what, Geoff,

we're getting them all up for this one,

even your London lot, hm.

MUSIC: 'The Stealer' by Free

♪ I went down to the centre of town ♪

Good evening. I am looking for the landlord.

Yes, that's me.

What I'm after, my dear, is a room. A room at the inn.

Nothing too grand.

Just a place to rest my weary head.

I'm really sorry, all my rooms are let.

No, no, I don't think you quite realise.

This is Sheridan Ralph speaking.

Not the Sheridan Ralph out of the paper?

The same, madam.

And, surely, young lady, now you know who I am...

I'm really sorry. I don't.

- PEGGY: We could put you up. - DAVID: No, we couldn't.

We could. We've got plenty of room.

- No, we haven't. - Yes, we have, David.

But we're not a pub.

We're a country house establishment

with extensive rural views.

Excellent, now that's settled,

I'll have a large Scotch on account.

I shall need a driver

to take me to the scene of the disaster.

What?

They look all in.

-I'll get more tea. - Good idea.

See if Gina can make some sandwiches.

It's gonna be a long night.

Another double, please, my dear. On account.

-That's his third. - I know.

Auntie's just gone off and left me to it.

I've got to take him in the car and then get him home.

That's if he's still standing.

GINA: Oh, Don, how's it going?

They've just started sinking the second shaft.

Can we have more tea and maybe some sandwiches?

Yeah. Bring the cups through.

What those poor parents must be going through.

Oh, I know.

I've cancelled seeing the kids tomorrow, by the way.

I can't leave, not till they get the boy out.

All right, Gina, I'll do this.

You get back to the bar.

I'm about to make sarnies.

There are people waiting to be served.

GINA SIGHS

- What's going on? - I beg your pardon?

Between you and Gina. Not that I mind.

It's just that Gina and I run this place together

so if there are plans afoot, I think I should know.

Oscar, all I'm thinking about at the moment

is that poor kid. I'm sorry.

SAWING

OK, hold the work, everyone.

-Go on, Pam. - Peter.

Peter, can you hear me?

CAR DOORS SLAM

Complete quiet, please!

Peter, it's Mummy.

Say something to me, darling.

Mummy.

ENGINEER: OK, lads, step on it.

Quick as you can.

CAROL: You need a break. I'll take you home.

- I can't leave. - Yes, you can.

He won't be out for a while. Got to stay strong for him.

- Come on. I'll be here. -Come on.

Plank coming.

Fascinating.

Mm, so that's where these people

you've been telling me about live.

Well, yeah, but...

But, you see, I don't know if they're even still there.

That's the thing. It's all a bit of a mystery.

And mystery is something I can never resist.

MILLER: Oi, you!

I don't care who you are.

There's a child's life in the balance here.

Show a bit of respect. Take him away, will you?

It's no good. I've got to get back.

CAROL: Pamela, you've got the night to get through.

You need to rest.

I can't sleep.

Come here.

I keep thinking about that man.

-What man? - The man at the window.

There you are!

My word. Mrs Armstrong.

Peggy. Call me Peggy.

Peggy. You look so very, erm,different.

Oh, it's nothing. 'Ere, have a drink, Mr Ralph.

It's my very best nettle brandy.

-A-ha. - BOTH: Cheers.

Mm.

-Oh. - Ooh. Ohh.

Now, sit yourself down.

I've had an idea about your newspaper column.

Background colour is so important, I always think.

So I suggest that you interview

a genuine Yorkshire person.

Someone who knows the background to this area.

Drink up. Drink up, Mr Ralph. There's plenty more.

So...

What do you think?

My Day With A True Yorkshire Lass.

With a photograph across the top.

And are we... are we talking about you?

Oh... no.

No, no, no, I'd never suggest myself.

But I might be available for a small consideration.

Mm.

Would you... would you pop down

to the local hostelry, dear boy,

and buy me a bottle of single malt, tout suite?

-What now? - Yes!

And bring my photographer back with you.

Your aunt has hit on rather a good idea.

Now then, I want you

to tell me all you know about everything.

Well, I was born...

No, no, no, we'll come to you in a minute.

I want to put you in context.

-Context? - The gossip, dear lady.

That's what I need.

Such as, for instance,

the landlady in the pub and the policeman.

I detected a frisson there.

Oh, you mean Don Wetherby? No, no.

I think some things are best left unsaid, Sheridan.

That's my opinion.

Especially as he's only recently

separated from his wife.

Really?

Mm.

CAROL: Joe.

Joe.Lizzie says she saw someone at the window.

- What? - When they were in the garden.

- That's why they ran. - She can't have.

But she seemed so certain.

You know what kids are like. Vivid imaginations.

They were trespassing.

They were nervous, that's all it was.

Look, if there was somebody in there

they'd have come out by now.

-MAN: Coming up. - Please, Joe.

I'll take another look.

Yeah.

SIGHS

Oh, he's in a mood.

No, he's just upset, Dawn, like we all are.

DOOR SLAMS

David.

I've got to buy a bottle of whisky

for that Sheridan bloke.

I've got to charge it to his paper,

whatever that means.

My flipping auntie.

She's dressed up like a dog's dinner.

Oh, I've got to ask that photographer

to come and take her photograph.

The two of them are halfway through

a bottle of nettle brandy and...

I just don't want to go home.

Well, don't then. Just stay here.

With any luck they'll be in bed

by the time you get back.

Not together. I-I didn't mean together.

It's all right, Dawn.

I'm sure David didn't think you did.

No, no, he's having my bed

because I've got to sleep on the sofa.

CLATTERING

Is there anyone here?

Hello?

SNORES

Come on then.Oh, no.

Is this the lady you wanted me to take?

Well, yes, but...

DAVID:Hang on. I don't think she'd like that.

Let me wake her up first.

I'd better get back.

Yes, but you've just...

- Well? - Nothing.

By 'eck, I don't believe it.

Listen to this.

"In Aidensfield's tiny run-down garage..."

Tiny run-down garage?

"..presided over by frail grandfather,

Bernard Scripps, aged ."

Cheeky...

OSCAR:Bernie, have you noticed anything?

As soon as the press get hold of anything the crowds follow.

They're like vultures

feeding off other people's distress.

It's disgusting.

Which way to the rescue, please?

Listen to this.

"Beneath its sleepy exterior,

Aidensfield is a place where anything goes.

Where affairs are commonplace

and where the local constable, a married man no less,

and the... the village barmaid..."

Who's told 'em this rubbish?

I've got no idea.

- Bet it was you, wasn't it? - Me?

-Don't be silly. - I think it was, Oscar.

Thanks a bunch.

I'm just gonna go and see how the rescue's going.

Sarge.

I just saw something.

MILLER: Mason, I've looked, you've looked.

-There's no one there. - OK, stop the work.

We're down to the right level now.

We've got to dig through sideways

to the main shaft.

Mr Beavis has volunteered to go down.

Can we talk to Peter first?

Yeah, yeah, course.

PAMELA: Go on, Ray.

Peter?

Peter, can you hear me?

Peter? Peter, say something.

MUSIC: 'Three Hours' by Nick Drake

Please. It's Daddy.

Peter.

SOBS

SOBS

ENGINEER: All right. Let's go down and get him.

-I'll do it. - MILLER: Mr Morley...

He's my son.

♪ Three hours from sundown

♪ Jeremy flies

♪ Hoping to keep

♪ The sun from his eyes

♪ East from the city...

- Sarge. - Oi, you.

♪ And down to the cave ♪

Clear off.

g*nsh*t

What's happening?

g*nshots

Come on.

g*nsh*t

GEOFF: Get down, Dawn!

g*nsh*t

We can't even get to the radio.

-I'll give it a try. - No, don't, Geoff.

You might get k*lled.

g*nsh*t

This way.

g*nsh*t

g*nsh*t

ENGINEER:Help me, someone.

Can't we get him down to the bottom?

Not until they've got the gunman.

It's how to get across, Mrs Morley.

Every time we move, they sh**t.

All you have to do is wind him down.

- I'm sorry. -I'll do it myself, then.

CAROL: Pamela, no!

g*nsh*t

Pamela, back. Get back.Get back. Get back.

g*nsh*t

Get back! Get down.

Hold on.

Come on, move. Move!

Please, will somebody get to my boy?

Help me, help me!

FOOTSTEPS

Come in.

Come in.

Put your hands up.

Come on, Mr Druce--

Up, I said. Up, up, up.

This is crazy.

You had no right to interfere.

It's what she wanted.

Look, sir,

we are here because there is a small boy down your well.

All we are trying to do is get him out before he dies!

A boy?

Down... down my well?

Yes, and thanks to you

the whole rescue has come to a halt.

So you're... so y...

You're not looking for Isabella?

No.

Oh.

You can carry on! We've got him!

KNOCK AT DOOR

OSCAR: Where is he?

Tell me who gave you this information.

- Come on. Who was it? - Dear chap.

If you could find my reading glasses.

Why don't we let Mr Sherry get his clothes on? Then...

What's all this racket? Oscar?

Is this your doing, is it?

-What? - This.

Is this today's paper? I might be in it!

Er, not yet. That's the early edition.

Someone's feeding him gossip and I'm getting the blame.

Where?

Page two, column one. Read it.

Oh, no. No.

I would never pass on smut like that.

As Sheridan well knows.

Absolutely not.

She is a soul of discretion.

No one told me. It's obvious for all to see.

MUSIC: 'Epitaph' by King Crimson

He's started to dig through now.

Right. Tell Mum, will you?

Nearly there. He's just going through to the well.

♪ The wall

♪ On which the prophets wrote

♪ Is cracking

♪ At the seams

-I've got him! - MAN: Stand by!

♪ The instruments of death

♪ The sunlight

♪ Brightly gleams

♪ When every man

♪ Is torn apart

♪ With nightmares

♪ And with dreams

♪ Will no one lay

♪ The laurel wreath

♪ When silence

♪ Drowns the screams

♪ Confusion

♪ Will be my epitaph

Ohh!

♪ As I crawl

♪ A cracked and broken path

♪ If we make it

♪ We can all

♪ Sit back and laugh

♪ But I fear tomorrow

♪ I'll be crying...

We've got a faint pulse.

♪ I'll be crying

♪ Yes, I fear tomorrow

♪ I'll be crying... ♪

If you could just wait here, sir.

They're sending a psychiatrist to examine him.

Right.

You wait here. I'll get this secure.

While you're waiting, find out why he did it.

It's touch and go, but the lad's still alive.

Right. Move away, please.

Right away. Thank you. It's over.

What's happened?

They're sending a doctor to assess his mental condition.

Then we'll decide whether to charge him.

Sorry, sarge.

Gina.

Gina.

-Have you seen the, er... - The thing in the paper?

Yeah. Oscar showed me.

-I'm really sorry. - It's not your fault.

Yeah, well, all the same.

I expect I've been a bit naive

imagining people wouldn't gossip.

The thing is, Don,

it's probably best if we stop being seen together,

especially the way Oscar's being about it all.

You're right.

So, no more chats.

From now on, we'll... we'll keep our distance.

We can still talk, Don.

As long as it's not just the two of us.

Yeah?

DEEFER WHINES

SIGHS

A-ha. Dandelion.

Hm.

Leave it. Leave it.

Sorry.

It has to stay as it was.

As it was?When?

-When she left. - Who are we talking about?

Your wife?

Is this her?

Do you mind?

She was very beautiful.

Someone said that she was Spanish.

Is this you?

Was this the Spanish Civil w*r?

- So you and... - Isabella.

We came here after she became ill.

Leukaemia.

She d*ed here, did she?

This house...

was always full of roses.

How about a drink?

Come on, sir. We've both been up all night.

'Eh, excuse me.

I've got lots more stories

about this village I could tell you for your...

Oh, well, please yourselves.

I'm sure you'd like to hear my stories.

They'd be very interesting for your readers.

- Goodbye. - Er...

You're of no further use. Let that be a lesson to you.

Perhaps in the future you'll keep your mouth shut.

And as for you lot,

if you hadn't been swarming all over the place

frightening poor old Mr Druce out of his wits,

he'd never have opened fire.

You endangered the rescue. That's what you lot did.

And while we're on the subject,

isn't it about time your Mr Ralph

came in here and settled his bar bill?

Oscar, you can leave that to me.

Oh, can I?Or is your mind on other things?

SIGHS

What's that supposed to mean?

So my mind's on other things. Meaning what, exactly?

Well, you and Don Wetherby up at the well.

I saw you. Thick as thieves.

-Don't know why you deny it. - I'm not listening to this.

Nobody minds, Gina.

If you keep it a secret it looks as if you're guilty.

Guilty of what?

-Breaking up a marriage. - That's it.

I want the truth. From you than read it in some rag!

So you believe what you read, do you?

After, we've known each other all these years,

you prefer to take the word of Sheridan Ralph

- because he's in the papers? - Not at all.

So, me and Don talk to each sometimes.

Is that it?

And that makes me a marriage breaker?

Oscar, he's just doing his job.

He's the federation rep. He supports police widows.

- There's nothing else to it. -All right.

And even if there was it's none of your business.

Now, if you'll excuse me,

I'd like to get back to the bar, please.

You're not my dad, you know.

Someone had to comfort Don after all that happened.

And I didn't see you doing it.

What do you mean?

He tried to rescue Peter.

And that's when the well collapsed.

He thinks it's all his fault.

Oh, sorry. Didn't you know?

GINA SIGHS

DOOR SLAMS

DAVID:Mr Sheridan.

SNORING

Mr Blaketon says you've got to settle up...

Mr Sheridan!

Mr Sheridan, wake up!

GRUNTS

DRUCE:I promised...

that I would never leave her.

I made a solemn oath, you see,

on the day she d*ed.

I can't break my word.

I see.

Is she buried nearby?

In Aidensfield churchyard?

Well, where then? Ashfordly?

Here.

Here?

She didn't want any fuss.

So she's...

In the garden.

I see.

Does anyone know?

I mean, when you registered the death, did you...?

Get permission? Hmm.

We didn't believe in that sort of thing.

We believed in freedom.

Freedom.

Whereabouts in the garden?

The rose bed.

All that noise, all those people.

I couldn't see.

I thought they were looking for Isabella.

Mr Sheridan?

What about your bill for bed and breakfast?

Charge it to the newspaper, dear boy.

Oh, and your drinks at the pub.

Ditto, lad. Ditto.

No good asking me for money, old chap.

I'm stony-broke.

Hey, who's going to pay for Auntie's blanket?

Can you move your car, please?

Come in, but just for a minute.

He's still very weak. OK?

Hello.

SIGHS

Thank you, constable.

We'll be thanking everyone properly in due course.

If you hadn't have found him when you did...

- Are you coming to the pub? - Er, better not.

Oh?

Keeping a low profile, Carol,

what with that thing in the paper and everything.

GEOFF: The doctor came to see Mr Druce

and had to send him off to hospital to be assessed.

- What, the mental hospital? - Yeah, that's right.

Poor old chap.

To think he was stuck in that house

all those years, all on his own.

Mm, enough to make anyone go round the twist.

You know what the worst thing is.

Nobody even helped him.

We should have helped.

We should have, David. You're quite right.

- Still no news on Peter? - DAWN: No.

I am disgusted!

I've traipsed round every newsagent for miles

for the late edition and they're all sold out.

Oh, so won't have seen Mr Ralph's article then.

I don't think Aunt Peggy would want to see that.

Of course I would.

Page four.

-Oh... - That's a good one, Peggy.

BERTIE:Very true to life.

After all I did for that man.

I would like to wring his neck.

That's the last time I am nice

to a stuck-up, pompous, drunken...

GRUNTS

-Everyone, Peter's all right. - ALL: Oh!

-Thank goodness. - This calls for a drink.

- Get the glasses, Dawn. - Oh, that's nice.

I bought you the late edition. With the piece about you.

I haven't looked at it yet but...

STIFLED LAUGHTER

GINA:OK, raise your glasses, everyone.

- To Peter. - ALL: To Peter.

ALL: Cheers.

GLASSES CLINKING

So, are we friends again?

I suppose so.

Good.

Buried his wife in the garden?

In the rose bed, yes.

That's why he got upset.

He thought we were digging her up.

Oh, good Lord.

With no death certificate, surely that's illegal.

-What will you do, report it? - We'll have to.

-But what good will it do? - None, I suppose.

So why not let Isabella rest in peace?