A coach drives along a country road and comes to a stop.

CAPTION: OCTOBER 1944

Fred Dawson gets off, using a cane. A man hands him his suitcase.

Man: Here you are. Good luck, mate. 

Fred waves as the coach drives off.

Later. Fred approaches Down End Farm. As he makes his way through the buildings, a dog comes running up to him, barking. He sets his suitcase down to make a fuss of her.

Fred: Hello, old girl. 

Farmhouse. Fred steps inside, setting his suitcase down, and looks around. There's a wedding photo of him in an army uniform with his wife Rose.

Kitchen. Fred lifts the lid on a pot on the stovetop, then hears Rose's laughter outside the window.

Fred: Rose? 

He looks out of the window. Rose is working in the field. A German POW, Johann, is just lifting her young son Daniel out of a wheelbarrow.

Johann: Ah, Daniel! One moment. 

He walks away. Inside the house, Fred moves towards the door.

Outside. Daniel is watching Rose pull up leeks.

Johann (offscreen): Daniel! Daniel! 

Daniel gets up to watch him as he does a magic trick.

Johann: Schau, meine Hande sind leer. Schau, was ich gefunden hab'. 

He makes an egg appear from behind Daniel's ear. Rose laughs as Daniel tries to grab the egg and Johann holds it up out of reach. Behind them, Fred comes out of the house. Johann gives Daniel the egg, but he drops it.

Rose: Oh, Danny.

As she picks it up, she sees Daniel is looking at something and turns to follow his gaze.

Rose: Fred.

She stands up.

Johann: Good morning. 

Fred: Who the hell is he? 

OPENING CREDITS

A market in Hastings. Foyle walks between the stalls and past a pair of children playing pat-a-cake.

Children: Bake me a cake as fast as you can. Pat it and prick it and cover it with a B...

Cafe. Doctor Josef Novak is playing chess with another man at one of the tables. He makes a final move.

Man: Oh! 

He chuckles and stands up to shake Novak's hand.

Man: Thank you. 

Novak takes his glasses off and peers through the window as he sees Foyle passing outside.

Radio: This is the BBC Home Service. At last, the liberation...

Outside. Novak hurries out of the door as Foyle passes it.

Novak: Mr Foyle. 

Foyle: Doctor. 

Novak: Has my star pupil time for a game? 

Foyle: Er, not now, I'm afraid. This evening, perhaps? 

Novak: I look forward to it. You always present a firm challenge, unlike some. 

Radio: And the city streets are awash..

Foyle: Have I missed anything? My wireless is on the blink. I didn't hear the news. 

Novak: I wasn't listening. I try to avoid a daily dose of death and destruction with my morning coffee. 

Foyle: Well, be all over soon. 

Novak: I'm afraid there are horrors still to come. 

They're interrupted by group of POWS who are coming down the street escorted by soldiers, singing in German. An old man spits on the ground as they pass.

Man (offscreen): Get on the first bus out! Be off with you! Go on!

Novak: What is this? 

Foyle: They just arrived. They'll be on their way to the prisoner-of-w*r camp. 

A country field. Fifteen-year-old Tommy Crooks is running along, a bag slung over his shoulder. He stops and looks around a moment, then runs on.

Dawson farmhouse. Daniel is sitting at the table.

Daniel: Who's that man, Mummy? 

Fred is at the other end of the table. Rose lifts Daniel down from his chair.

Rose: Come on, Daniel. Go to your father. 

Daniel looks at him for a moment, then runs off instead.

Rose: Daniel! He doesn't know you yet. He'll come round. 

Fred: Takes after you. 

Rose: Does he? 

Fred: Can't see much Dawson in him. 

Rose: You should have let me know you were coming, sent me a telegram. 

Fred: I thought you'd think the worst when the telegram boy knocked on the door. I wanted it to be a surprise. What's the n*zi doing here? 

Rose: Oh, he's not like that. After your dad passed on, there was no one to do the labouring, so they sent Johann from the camp. He's good with Danny. 

Fred: Is he, now? 

Rose: Fred, I'm glad you're home. 

Fred: I'm going to take a kip. Which bed do you want me to use? 

They both stand up.

Rose: What? 

Fred: Oh, I'm, I'm dog-tired. That's all. 

Rose: What's wrong with your leg? 

He leaves the room without answering her.

Police station reception area. Sam is passing by the front desk where Sergeant Brooke is on duty.

Brooke: So, what do you reckon for Saturday, Miss Stewart? Portsmouth or Charlton Athletic? 

Sam: Are you confusing me with someone who gives two hoots? 

Brooke: Sorry? 

Sam: I thought the w*r had put a stop to football and all the endless chitchat. 

Brooke: Not any more. It's the w*r Cup on Saturday and I'm doing the Unity Pools. So, what d'you say? Draw or away win? 

Sam shrugs as the phone begins to ring. As Brooke goes to answer it, Milner comes through the doors behind Sam.

Brooke: Sergeant Brooke. 

Milner (offscreen): Morning, Sam. 

Sam (offscreen): Morning. 

Brooke: Oh, hold on. I, I'll put you onto DS Milner. 

He holds the phone out to Milner.

Brooke: It's the Met. 

Milner nods and comes over to take the phone, but then Brooke lifts it back to his ear.

Brooke: Here, while you're on, what sort of team do you think Charlton'll put out on Saturday? Ah, you think Bartram'll play? 

Rose Dawson comes through the doors behind Sam with Daniel.

Rose: Sam! 

Sam: Rose! Hello, little man! 

She ruffles his hair.

Behind the desk, Brooke finally gives Milner the phone.

Sam (offscreen): What is it? 

Milner lifts the phone to his ear.

Milner: Hello? 

Rose: Fred's home. 

Sam: No! Ah!

Foyle comes in through the doors behind them.

Foyle: Morning. 

Sam: Morning, sir. 

He heads on towards his office. Milner is still speaking into the phone.

Milner: Yes. And how old is the lad? 

Sam: Rose has wonderful news, Brookie. Her husband's come home. 

Brooke: Oh, good for him. 

Rose: Yeah, after five years. He's been a POW since Dunkirk. He managed to escape. 

Sam: And is he all right? 

Rose: He's fine. I wondered if I could borrow a dress. 

Foyle's office. Milner stand in the doorway speaking with Foyle.

Milner: His name's Tommy Crooks. He's fifteen. He, er, works for the Post Office in London, delivering telegrams, but he's been missing for three days. 

Foyle: Mm-hmm.

Milner: Apparently, he had a row with his father and didn't come home the next day. 

The woods. Tommy climbs over a wall and looks around.

Foyle (voiceover): What makes them think we can help?

Milner (voiceover): Well, it's a bit of a long sh*t, but he used to be an evacuee down here.

Tommy runs through a gate towards a big old manor house. He stops as he sees vehicles parked outside and a number of people walking around. He runs towards the building, where Josef Novak is watching some nurses help a man down from a van. Tommy approaches him.

Tommy: Excuse me. 

Novak: Yes, young man? Can I help you? 

Tommy: Yeah, I'm looking for Sir John and Lady Muriel. 

Novak: They don't live here any more. 

Tommy: Don't they? 

Novak: The house is a psychiatric clinic now. 

Tommy: A what? 

Novak: For, erm, soldiers and airmen who are sick a little in the head. Er, Sir John and Lady Muriel are staying at Dial Cottage, over that hill. 

He points.

Tommy: Oh, I know. Thank you. 

Novak: Don't mention it. 

Tommy leaves.

Peter (offscreen): Get out of my seat! 

Novak: Peter! Stop that! 

He dashes over to where one of the patients, Peter Phelps, is wrestling with another man over some lawn furniture. A pair of white-coated orderlies run in to break up the fight.

Novak: Come away. Peter, Peter, leave him. Leave him. Stop, now. Peter! Peter, leave him. Leave him.

The orderlies manage to separate the two men, and Novak follows the one hauling Peter away.

Novak: Leave him. Leave him. Leave him, Peter. Peter, Peter, come here.

He leads Peter over to a bench.

Novak: Many things will aid your eventual recovery, but you will not truly recover until you say what is going on in your mind. 

Peter: When I close my eyes, I see... I hear... 

Novak: What do you hear, Peter? Who do you see? 

Peter: What am I going to do? 

Novak: I will give you something to make you sleep. And that scene just now, you att*cked a fellow patient. Why? 

Peter: He annoys me. That's all. 

Novak: Peter, this is not good. v*olence never achieves anything. 

Peter laughs.

Peter: That's a good one, Doctor. Where have you been these last five years? And how many people in the world have been k*lled while we've been sitting here having this cosy little chat? 

There's the sound of footsteps, and Novak looks up to see Joy Phelps approaching.

Novak: Ah, here comes your charming wife. 

Joy: Hello, Doctor Novak. Hello, Peter. 

Peter ignores her.

Dial Cottage. Sir John and Lady Muriel Sackville are in the kitchen.

Lady Muriel: There's more smoke in here than London in the Blitz! 

She goes over to open a window.

Lady Muriel: What on earth were you doing? 

Sir John: The Times crossword. Eight down was especially ticklish. 

Lady Muriel lifts a baking tray from the stovetop and shows him the blackened roast.

Lady Muriel: That is more or less our entire meat ration for the week, you hopeless creature. 

Sir John: We can get more from the farm. 

Lady Muriel: Johnny, we can't! When are you going to understand? Everything is controlled. Rose is very kind, giving us the occasional egg. 

Tommy Crooks appears in the kitchen doorway.

Sir John: I'm not having any more eggs. I'm constipated enough, as it is. 

Lady Muriel: Well, it'll have to be turnip on toast. I've nothing else. 

There's a clattering of pans as he sits down at the table.

Sir John: God in heaven! 

Lady Muriel: Johnny.

Sir John: What have we done to deserve this? 

He looks up and spots Tommy in the doorway.

Sir John: Hello? Hello! Look, Mama - it's the boy. 

Lady Muriel: Tommy? What are you doing here? 

Tommy takes his coat off.

Sam's lodgings. Rose is checking the dress she's wearing in the mirror.

Sam (offscreen): Oh, you look just like Veronica Lake! 

Rose snorts.

Sam: He'll love you in that. 

Rose: Do you think? Thanks. 

Sam: Are you going out? 

Rose: No, I'm cooking for him. He's got so thin, Sam. 

Sam goes to put another dress back in the wardrobe, passing Daniel, who's sitting on a nearby chair wearing Sam's uniform hat.

Rose: I'll put Danny to bed early and then we can just eat and talk, like we used to. 

Sam: I'm so happy for you, Rose. 

Rose: Don't suppose you've got any lipstick. 

Sam: Not since my Yank chap deserted me for one of those French girls. I swear by beetroot juice, myself. Have you got any beetroot? 

Rose: Mmm... about six acres. 

Sam laughs.

Rose: I'm scared, Sam. All this time we've been apart, I don't- I don't know if we'll get on. If Dan'll take to him. If he still loves me. 

Down End Farm. Fred watches through the curtains as Rose rides up on her bike and Johann lifts Daniel from the back.

Johann: Come, my friend. 

He drapes Danny over his shoulder.

Johann: How is your husband, Rose? 

Rose: Very tired. 

Johann: Perhaps he has a bad time in prison camp. Worse than for me. 

Rose: Perhaps. Johann... 

Johann: I will not trouble him. I will get on with work and keep quiet. 

Rose: Thank you. 

Fred watches from above as Rose briefly grasps Johann's arm.

Rose: Come on, Daniel. 

Johann sets him down on the ground and they head towards the farmhouse.

Daniel: Mummy, mummy, I'm hungry.

Upstairs, Fred lowers the curtains and turns away from the window.

Psychiatric hospital. Peter runs through the grounds and into a building, flattening himself against a wall and looking round as if expecting to be chased.

Novak (voiceover): His mental state is becoming increasingly fragile. I'm concerned for him.

Campbell (voiceover): The fracas outside. 

Doctor Campbell's office. A group of staff are gathered around a table, including Novak, Iain Campbell and Julian Worth.

Campbell: He was quite out of control, I understand. 

Worth: I'm not familiar with this case. What happened to this man? Phelps, is it? 

Novak: He's with b*mb Command. Some months ago his plane crash-landed. The crew were all burnt to death except for him. 

Worth: Lucky man. 

Novak: The plane was part of an incendiary raid over Germany which caused a f*re-storm which lasted for two days. Thousands were k*lled, and Peter was a b*mb-aimer, by the way. 

Worth: He did his job well, then. 

Novak: But a sensitive young man, with a troubled childhood. When he was nine, his twin brother died in a housefire. 

Worth: Fascinating case. The guilt of the survivor, three times over. It would be interesting to talk to him, with your permission, of course, Novak. But I won't have the time now. 

Campbell: Yes, we must congratulate our colleague on a promotion. Doctor Worth has just been appointed to a prestigious position at Cambridge. Do we need to do anything drastic about Phelps, Doctor Novak? Is he a danger to himself or anyone else? 

Novak: I don't believe so, but I will keep a close eye on him, of course. 

Outer office. Joy Phelps is working at a typewriter as Novak walks through with a nurse.

Novak: It's very important that he is watched at all times. 

Nurse: Very well, Doctor. 

Joy stops typing and sighs. Novak looks round at her.

Novak: Joy, are you all right? 

Joy: It's Peter. He's getting worse, not better. 

Novak: Now, listen to me. He is my patient, under my care and protection, and I am determined to help him back to health and a normal, happy life, with you beside him. 

Conference room. Campbell and Worth are the last two left in the room.

Worth: Well, it worked. 

Campbell: Apparently. God help Cambridge. You've caused more trouble in the six months you've been here than a nest of vipers. 

Worth: You must be happy, then. 

Campbell: I will be when you've fulfilled your side of the bargain. 

Worth: All in good time, Doctor Campbell. 

Campbell: Now, look here... 

He starts to round the table, but then stops. After a moment Worth walks out.

Down End Farm. Johann is sitting by the side of the road as Home Guard Ernie Pond comes cycling up.

Ernie: Ready? Let's get you back to the Hotel h*tler, then. 

Rose watches from the kitchen window as Johann jogs off with him.

Later. Rose peels and slices vegetables and sets a dish in the oven. Upstairs in her room, she puts on the borrowed dress and paints her lips with beetroot juice. She looks at herself in the mirror.

Doctor Worth's office, psychiatric hospital. Worth looks through a folder and carries it over to set on the desk. He looks up at the door opens and Novak enters.

Novak: You are leaving us so soon? 

Worth: The university want me to get started as soon as possible. 

Novak: My congratulations. I'm sorry to see you go. 

Worth: No, you're not. 

Novak: Oh, by the way, those case notes you borrowed some months ago. You never returned them. 

Worth: Oh, yes. Erm, quite interesting. I'll dig them out. 

Novak turns to leave.

Dawson farmhouse. Fred is sitting at the dinner table. Rose brings over the last of the dishes and sits down opposite.

Rose: You'll never guess what I made for pud. Peach cobbler! 

Fred: Nice. 

He starts to eat.

Rose: It's so strange seeing you sitting there. We used to talk about you, me and Danny. Where you were. What you were doing. What was it like, Fred? Tell me. 

Fred: Leave it, Rose. 

Rose: If you can't talk to your wife, Fred...

He suddenly gets up and hurries over to the sink to vomit.

Fred: The food's too rich. I'm not used to it. I'm sorry. 

Rose: It doesn't matter. 

Cafe. Foyle and Novak are playing chess. Novak takes one of Foyle's pieces.

Foyle: Well, that's, erm... quite ruthless. 

Novak looks through a psychiatric journal as he waits for Foyle to make his move.

Novak: I was taught by my uncle, who was as ruthless with me as with a Grand Master. He was champion of Poland, by the way. Until the n*zi's declared chess an Aryan pursuit, and Jews were banned from competition. And of course, that was just the beginning. 

Foyle contemplates the board, and makes a move of his own.

Novak: Now, that is excellent. You are coming along tremendously. Chess is splendid, don't you think? Along with the cinema, it keeps me sane. 

Foyle: Not your work? 

Novak: The opposite. The enormity of trying to mend so many lives. All those broken souls, Mr Foyle. In the months we've known each other, played these games, you've never once asked about my history, my family. 

Foyle: Well, I didn't feel I could, without it being an intrusion. 

Novak: It is I who must intrude on you. My wife is a musician, a pianist. Chopin. I can't listen to him any more - the associations. We have a daughter. Marianka. She will be fourteen in a few days, by the way. We lived in the old family home in Lublin. In September '39, Herr h*tler took the opportunity of my absence at a symposium in Paris to inv*de my country. I couldn't get back. Does that make me a lucky man, Mr Foyle? In June '41, my family was forcibly taken from our home and placed in the ghetto. That much I know. Eighteen months later I believe they were sent to a place called Majdanek. The rest is silence. And so I fear it will remain. 

Foyle: Always hope, wouldn't you say? 

Novak: You think so? We shall see. 

He makes another move.

Foyle: Pupils, er, should win occasionally, don't you think? 

He studies the board. Novak is distracted by something in the journal that he's looking at.

Novak: I'll k*ll him!

He stand up, flicking urgently through the remaining pages.

Novak: I'll k*ll him! 

He looks up at Foyle.

Novak: Excuse me. 

He hurries out.

Farmhouse bedroom. Rose is in her nightgown, brushing her hair in front of the mirror. She looks round at Fred where he's just doing his pyjama top up. As he stands up, she approaches him. She goes in for a kiss, but then he yelps in pain.

Rose: Sorry, sorry. 

Then she looks down, and sees the badly damaged state of his left foot.

Rose: Oh, Fred! 

Fred: Frostbite. They don't reckon I'll walk properly again. 

Rose: Let me see. 

Fred: No. Look, I can't. I'll, er, I'll sleep in the spare room. 

She watches as he shuffles away.

Psychiatric hospital, early morning. A cleaner approaches the building, humming to herself.

Inside. The cleaner heads through into Doctor Worth's office with a mop and basket of cleaning supplies. Then she sees Worth lying on the floor, a Kn*fe sticking out of his chest.

Cleaner: Doctor Worth? 

She gasps in horror as she looks down at him.

Later. Sam drives Foyle up to the hospital building. Milner comes over to meet Foyle as they get out.

Milner: Requisitioned by the Army a few months ago. They needed more space for the work they were doing here. I was planning on coming here today to talk to the owners. The missing boy, Tommy Crooks. This is where he was evacuated. 

Foyle: Mm-hmm.

Milner: Now it looks like I'm gonna be tied up all day. 

Sam: I know the owners. Sir John and Lady Muriel. They're friends of my uncle's. I could have a word. 

Foyle: All right. 

He and Milner head into the building.

Worth's office. The two of them study the body. The room looks as if it's been ransacked.

Milner: Letter-opener. Not premeditated. The k*ller used what was to hand. 

Foyle: Wonder if they found what they were looking for. 

He looks around, and touches one of the papers left lying around.

Foyle: Are these all his? 

Milner: Yes, sir. Doctor Worth was about to leave. New job. 

At the sound of a vehicle approaching outside, Foyle goes over to look out of the window. A van pulls up below, and Novak goes to meet the doctor who gets out.

Novak: Good morning. We need your help, doctor, with the patient that's coming down now.

Milner (offscreen): Shall we make our own search, sir? In case the k*ller didn't find what he was looking for. 

Foyle: Yeah. And we can take him away. And nobody in this room for the time being, yeah?

Dial Cottage sitting room. Tommy is cleaning the windows, while Sir John is doing a crossword and singing along to Gilbert & Sullivan's The Mikado on the radio:

♪ I've got to take under my wing, tra-la ♪ 

♪ A most unattractive old thing, tra-la ♪ 

♪ With a caricature of a face, with a caricature of a face ♪

Looking out of the window, Tommy spots Sam approaching.

♪ And that's what we mean when we say or we... ♪ 

Tommy switches off the radio and hurries away.

Sir John: Whoa there! I was enjoying that! 

Lady Muriel comes into the room.

Lady Muriel: What's wrong? 

Tommy: Somebody's coming. 

There's a knock at the door.

Worth's office. Campbell is there with Milner and Foyle.

Campbell: He was a young man in a hurry. Well qualified, even better connected. I'm sure he would have gone far, if, er... 

Milner: Were you sorry to see him go? 

Campbell: With our patient numbers, I'd be sorry to lose any member of my staff. 

Milner: You didn't like him.

Campbell: What's happened, it's a terrible thing. But Doctor Worth wasn't a person I warmed to. 

Foyle is walking round, and spots a copy of the journal Novak was reading.

Campbell: Ambition's one thing. Arrogance another. 

Milner: Did he have any enemies here? 

Campbell: I can't say. He wasn't the most popular member of staff, but, er, nothing to justify a Kn*fe in the chest. 

Foyle is looking through the journal.

Foyle: He's got an article in here, is that right? 

Campbell: Yes, and a fine piece of work, I must admit. I'm sure it was instrumental in getting him his new job. 

Foyle: Is that right? 

Milner: What about your patients? Could one of them have got in here? 

Campbell: This isn't an asylum, sergeant. We don't lock our patients up. They may have their difficulties, but they're neither mad nor bad. 

Dawson farmhouse, dining room. Fred uses a Kn*fe to make a new hole in his belt. Rose comes in from outside.

Rose: Fred. You all right? Did you sleep well? 

Fred: Take a while, I reckon. Along with some other things. 

Rose: Yeah.

Fred: Sorry about last night. 

Rose: Found your work-clothes, then? You look so small in them. 

Fred: I thought I'd go out. Walk the bounds. Get a feel for the old place. 

Rose: That's nice. 

She watches through the window as he heads outside and whistles for the dog.

Fred: Billy! 

The dog runs up, barking. They head out over the fields together.

Dial Cottage. Sam is at the table with Sir John while Lady Muriel irons nearby.

Sam: Are you managing all right on your own? 

Sir John: Dear girl, we're not completely hopeless! 

Lady Muriel: In a way, it's enjoyable being without staff. One feels one is doing one's bit. 

Sam: Indeed. So, you do remember the boy? 

Sir John: What? 

Sam: Tommy Crooks. 

Lady Muriel: Oh, he came at the start, Samantha, with two other lads, but they didn't last. 

Sir John: Hopeless. One of them was light-fingered. The other wet the bed. 

Lady Muriel: Tommy was a nice boy. Polite, willing. 

Sir John: Knew nothing when he first arrived. 

Lady Muriel: He simply loved mucking out the animals. 

Sir John: Thought a sheep was a goat! What do they teach them at school? 

Sam: Yes. And he went back to London earlier this year? 

Sir John: Oh, he didn't want to. Felt at home, see. 

Lady Muriel: We were sorry. We became fond of him. 

Sir John: Run off, you say? 

Sam: Are you sure you haven't seen him? 

Sir John: Here? Why should he come here? 

Sam: Well, if, if he was happy, and he might have-

Sir John: Well, look around if you don't believe us. 

Lady Muriel glances out through the window to where Tommy is hiding outside.

Sam: No, that's quite all right, Sir John. I'm sure he'll turn up. 

Worth's office. Foyle is sitting reading Worth's journal article while Milner and a uniformed officer search the room. After a short while, Foyle sets the journal aside.

Hallway. Foyle makes his way through the building, following the sound of classical music to Novak's office. He knocks on the door.

Inside. Novak sighs at the interruption.

Novak: Come in. 

Foyle enters.

Foyle: Excuse me. Do you have a moment? 

Novak: Mr Foyle. I'm sorry.

He lowers the volume on his radio.

Novak: Er, how are you? 

Foyle: Well, I'm very well. How are you? 

Novak: Oh, I'm well enough. Of course, it's, it's dreadful, by the way. 

Foyle: Isn't it? This is, er, Doctor Worth's article. 

He takes the journal out of his pocket.

Foyle: I was wondering what, er, there is in it that upset you so very much last night. 

Novak sighs.

Novak: He, er, used case notes about my patients. Confidential observations about their state of mind and treatment. I loaned them to him, in good faith. 

Foyle: Mm-hmm. I see. 'Cause you remember what you said? 

Novak chuckles.

Novak: Yeah. I was very angry. It was a bad thing he did. A breach of professional trust. 

Foyle: Some might call it theft. 

Novak: Oh, you think I would k*ll a man for that? 

Foyle: Well, I really don't know. 

Novak: Mr Foyle, I'm dealing with an urgent matter for one of my patients. It won't take long. If you could bear with me. Five minutes. I'll come and find you. 

Novak: Of course. 

Radio: And now we leave this morning's concert to go over to the news room.

Novak turns the volume up.

Radio: This is the ten o'clock news, and this is Frank Clacey reading it.

Down End Farm. Fred is out walking with the dog. He hears Daniel laughing, and looks over the gate to the next field, where Johann is singing in German as he lifts Daniel up to sit on a piece of farm machinery. Daniel makes engine noises. After a moment, Fred turns to leave.

Psychiatric hospital. Orderlies are leading Peter through the building.

Peter: Where are we going? Where are you taking me? 

Novak's office.

Radio: And that concludes this special bulletin, direct from the Eastern Front. We now return to this morning's concert.

The music resumes, but Novak just sits staring at the radio.

Hospital grounds. Sam is just walking in through the front gate as Doctor Novak is leaving on a bicycle.

Sam: Morning, Doctor Novak.

He rides on without acknowledging her.

Building entrance. Joy and Campbell walk out, followed by the orderlies escorting Peter. He starts to struggle against them.

Peter: No! No! No! What are you doing? 

They guide him into the back of the van.

Orderly: Mind your head. 

Joy (offscreen): This is too much! 

They close the doors and Peter bangs against the barred windows.

Joy: Peter! Peter! 

Campbell holds her back from running after him.

Campbell: It's all right, my dear. It's all right. It's all right.

Peter: No!

Joy: Somebody help him!

Peter (offscreen): No!

Joy: Please! 

The van starts to drive away.

Peter: No! No!

Campbell still has his arms around Joy, now openly sobbing.

Campbell: Now, now, now. Shh. Inside. Inside. 

As he guides her towards the door, Foyle and Milner are coming out.

Foyle: What's happening here? 

Campbell: A patient's being transferred. A routine matter. 

Joy sobs.

Campbell: My secretary, Joy Phelps. Peter's her husband. 

Foyle: I see.

Sam comes up behind Campbell.

Campbell: Can you excuse us? 

Foyle: Of course.

Foyle: Whose patient is he? 

Campbell: Doctor Novak's. Surprised he isn't here to see him off. 

He follows Joy into the building.

Sam: Doctor Novak's gone, sir. I saw him on his bicycle. He looked white as a sheet, actually. 

Milner: Bit odd, sir. Moving a patient, today of all days. 

Foyle: I think we should ask him. 

Novak's house. Novak rides up and gets off his bicycle.

Inside. Novak enters, locking the door behind him. He's still staring into the distance as he takes off his coat and tie. He walks through into the bathroom and sits on the edge of the bath to take his shoes off, then starts the water running.

Front room. Novak takes a record out of a drawer and sets it on a gramophone. Chopin's Concerto No.2, Second Movement begins to play. Novak goes back into the bathroom and picks up a straight razor. He gets into the running bath, still wearing his underclothes, and sets the razor against his inner arm.

Front room. The record crackles as it keeps playing.

Bathroom. Novak sets the bloody razor down and lays back in the bath.

Outside. Sam pulls up in the car and Foyle and Milner get out.

Bathroom. There's the sound of someone knocking. Novak closes his eyes.

Outside. Milner knocks on the front door. He exchanges a look with Foyle.

Milner: Doctor Novak? 

Foyle walks over to look through a window. Milner bends down to look in through the letterbox.

Milner: I can't see anything, sir, but I can hear something. 

They listen to the faint music as Sam gets out of the car behind them.

Milner: What is that, sir? 

Foyle: Chopin. 

He steps up and tries the door again.

Foyle: We need to get in here, don't we? 

Milner: Yes, sir. 

He starts trying to force the door with his shoulder.

Bathroom. Bloody water is overflowing from the tub.

Outside. Milner succeeds in ramming the door open and he and Foyle head inside. Sam waits outside, looking in through the doorway.

Front room. Milner spots the overflowing bath through the bathroom door, left ajar.

Milner: Doctor Novak? 

He opens the bathroom door and then rushes in, turning off the running tap. Foyle appears in the doorway behind him, and sighs.

Dawson barn. Johann, shirtless, splashes his face with water from a pail. Rose walks in with a tray of food as he's drying his face.

Johann: Rose! 

Rose: I brought you dinner. I can't let you eat in the kitchen any more. I'm sorry. Fred-

He takes the tray.

Johann: Please, no. You have been so good to me. 

Fred enters behind Rose.

Fred: What you playing at? 

Rose: I just brought Johann some dinner. 

Fred steps up and takes the tray from Johann.

Fred: You're not.

Rose: Fred, please. 

Johann: Don't you realise how his lot treated me for five years? The muck they fed us? You don't know the half. 

Rose: He's not stopped all day. He deserves it.

Johann: And you give him egg and chips and all the trimmings. I wonder what else! 

Rose: What do you mean? 

She walks out. Fred sighs. Then he throws a chunk of bread from the tray at Johann.

Fred: Here. You can have the bread. 

He leaves.

Novak's house. Novak is being carried out on a stretcher. Foyle watches as he's taken to the ambulance. Novak groans.

Novak: Could you not just let me go? 

Foyle: Why have you done this? 

Novak: It was what he said. Werth.

Foyle: What's that? 

Novak: Werth. What he said. 

He's loaded into an ambulance.

Village street. A bus pulls up and Morris Crooks gets out. He looks around.

Country lane. Morris is walking along. He stops and takes a swig from a flask.

Dial Cottage. Tommy sits at the table, listening in.

Morris (offscreen): I want to see my son. 

Sir John (offscreen): And I tell you he's not here. 

Outside. The two of them are talking on the doorstep.

Morris: Don't give me that. I know he is. Where else would he go, eh? 

Sir John: Now, listen to me, my man. It would be better for you if you left now. 

Morris: I'm not your man, and you can't tell me where to go. 

Lady Muriel comes out.

Lady Muriel: What is it, darling? Who are you? 

Sir John: Oh, this fella.

He heads back in.

Morris: You know who I am. I've been down here a few times.

Lady Muriel: You're the father of the Crooks boy, aren't you?

Morris: That's right. And I've come to take him home, where he belongs. 

He starts to push his way in, but stops as Sir John comes back out with a g*n.

Sir John: It's loaded. 

Morris: What are you doing, you potty old fool? 

Sir John: Defending my property. Now, get out of here. 

Morris: You're finished, you and your kind. You wait till the w*r's over! You won't be running this country no more. You mark my words. 

He heads off down the lane.

Sir John: Oh, don't be absurd! 

Dawson farmhouse. Fred sits having breakfast as a cock crows. Johann walks in to the house.

Johann: Excuse me. May I come in? I wish to speak with you. 

Fred: What do you want? 

Johann: You are angry with me, because of my country, and what happened to you there. 

Fred stands up to take his plates over to the sink.

Fred: Say what you have to say and go. 

Johann: It does not matter for me. But for Rose, to make her so unhappy, it is not so good. 

Fred: Don't you tell me-

Johann: You are home again. I know nothing of my family. If they are alive or d*ad. You are a lucky man. To have a beautiful wife and such a fine son. 

Fred turns his back on him.

Johann: I wish... I went to the w*r, like you. Gave up my life. Lost my friends. Saw bad things. Got locked up. You see, we are not so different.

Fred leaves the room.

Johann: Just soldiers. 

Novak's house. Novak sits in the armchair, wrapped in a blanket.

Novak: What a failure. I could not even k*ll myself. 

Foyle sits in the chair opposite.

Foyle: I'm surprised they let you home.

Novak:  No sympathy for civilians, foreigners and would-be suicides. And they needed the bed for more deserving cases. 

Foyle: Look, at some point I'm going to have to ask for your help. Erm, do you feel all right now, or shall I come back? 

Novak: What would you like to know? 

Foyle: I'd like to know why you had Peter Phelps moved. 

Novak: I was unable to help him. Another failure. 

Foyle: He was your patient? 

Novak: Yes. 

Foyle: And where did you move him to? 

Novak: I had him committed to a mental asylum. 

Foyle: Impossible to overlook that you chose to move him within hours of Doctor Worth's death. 

Novak: Coincidence. It does happen. 

Foyle: What did Doctor Worth say to you? As they were taking you to the hospital, you tried to tell me something about what he'd said to you. 

Novak: Did I? I can't remember. 

Foyle: Because, of course, it's also impossible to overlook the fact that you've attempted to k*ll yourself within hours of telling me you were going to k*ll Doctor Worth. Did you? 

Novak: It wasn't that he lied to me, cheated me. Rather, that he used the misery of brave and damaged men to better himself. I'm so tired. The bestiality of v*olence, and the horror, the horror. I don't want to be part of your brave new world. Aren't you going to arrest me? 

Foyle stands up.

Foyle: Not just yet. 

Novak: Then I'd like to go back to work as soon as possible. 

Foyle: I can help. 

Later. Sam drives Novak back towards the psychiatric hospital.

Novak: This is very good of you. 

Sam: My pleasure. We had a report about a young boy who's run away from home. We think he might be hiding down here somewhere. I was wondering what would make a child do that. 

Novak: Unhappiness at home, perhaps. Or school. 

Sam: Oh, I think he's left school. He delivers telegrams for the Post Office. 

They pull in through the gates of the hospital.

Novak: I suppose that, every day, he delivers one of those telegrams, your missing boy. Telling a mother or a wife their son or husband is d*ad. 

The car comes to a halt.

Novak: The pain he must see. How old is he? 

Sam: Fifteen. He was evacuated here at the start of the w*r, you see?

Novak: Really? 

He sighs.

Novak: What a burden, poor child. He is a messenger of death. 

He gets out of the car.

Dial Cottage. Tommy is chopping wood outside the cottage.

Foyle's office. There's a chess board set up on a side table.

Milner (offscreen): You don't think Doctor Novak k*lled Worth, do you, sir? 

Foyle: Did I say that? 

Milner: So, shall I go on interviewing Worth's colleagues and patients? 

Foyle: Yep. 

Milner: Despite what Doctor Novak said? 

Foyle: Yeah. You can also speak to Mrs Phelps. Find out where they've taken her husband and as much as you can about him. 

He sits down at his desk.

Milner: Yes, sir. Doctor Novak does seem to be a decent man, sir. 

Foyle: And decent men don't k*ll? 

Milner: Not usually. 

Foyle: Well, quite. 

Psychiatric hospital. Campbell paces in his office as Joy talks to Milner at her desk outside.

Joy: When Peter had his breakdown and was sent here, I came down to be near him. I had to find a job. Doctor Campbell was looking for a secretary, so... 

Milner: Good for everyone. 

Joy: Iain - Doctor Campbell - he's been very kind. 

Campbell walks in and gives a document to Joy.

Campbell: A draft of the staff newsletter. Perhaps you could tidy it up. 

He nods to Milner and stays standing beside her.

Milner: I understand that your husband's condition has worsened recently. 

Joy: He's become more... difficult. Short-tempered. I can't seem to reach him, get through to him, let alone help him. Isn't it awful? His own wife. 

Milner: I'm sorry. 

Campbell lays a comforting hand on Joy's shoulder. Milner glances at it, and then Campbell removes it.

Milner: Was your husband ever violent towards you? 

Joy: No, no. Well, at least, only in words. 

Campbell: It was Doctor Novak's view that Peter was losing control somewhat and it was better that he be cared for in a more appropriate place. 

Milner: An asylum? 

Campbell: I agreed. It's not such a bad place. I'll get you the details. 

Police station. Sam is sitting behind the front desk with Sergeant Brooke.

Brooke: You look at the fixtures, tell me what you think the results are going to be, I'll fill out the coupon in the paper, and Robert's your father's brother. 

Sam: But what's the point? 

Brooke: The point, Sam, is you might win something sizable for your bottom drawer. 

Sam: I haven't got any drawers. Bottom or otherwise. 

He starts to laugh, then she does too. Foyle walks past the two of them.

Foyle: What did I miss? 

Brooke: Nothing, sir. In fact, you're just in time - to hand over a tenner. 

Foyle: What's that for? 

Brooke: Football pools, sir. 

Foyle: Right. That's really where my money should be going? There's a w*r on. 

Brooke: Well, it's nearly over, Mr Foyle. 

Sam: Call it an exercise in staff morale, with the station closing and everything. 

Foyle hands him the money.

Foyle: Right. 

Sam: Leaving? 

Foyle: Yep. 

Milner is just arriving as they both head out. Foyle stops to speak with him.

Foyle: How'd you get on? 

Milner: I spoke to Mrs Phelps, sir. She's very cut up about her husband being put away. 

Foyle: Mm-hmm.

Milner hands him a sheet of paper.

Foyle: What's, er- is this where he is? 

Milner: Yes, sir. But she looked almost guilty about it. I rather got the impression that there might be something between her and Doctor Campbell. 

Foyle: Ah. How does that help, I wonder? 

As he leaves, Morris Crooks is coming in.

Brooke: Come on, Milner.

He waves the pools coupon at him.

Brooke: Put your hand in your pocket. 

Milner: Ah.

Brooke: Ooh.

He claps as if to swat an insect.

Brooke: See all the moths flying out? 

Milner chuckles and hands over some coins.

Brooke: Thank you. 

He goes to put the money away, then spots Morris waiting at the desk.

Morris: When you've quite finished. I want to make a complaint. 

Meeting room. Morris sits opposite Milner.

Morris: Look, I just wanna know he's safe. I know he come running back up here. Yeah, that's why I went to see the landed gentry. 

Milner: And caused a right old to-do, by the sound of it. 

Morris: He was the one with the g*n! I want him charged, by the way. thr*at behaviour. 

Milner: What happened, before Tommy ran away? 

Morris: We had words. He was supposed to bring in something for the tea, but he forgot, so I had a go at him. He started creating, and... I gave him a wallop. I wish I hadn't, but, er, but I did. 

Country lane. Ernie Pond is riding along on his bike and comes to a halt. He sees Fred Dawson in the graveyard of the church opposite, and goes over to join him.

Fred: I keep thinking he's just away at the market

He's standing in front of a gravestone for Mary and Albert Dawson.

Fred: Or in Hastings. He'll be back soon. 

Ernie: wore him out, son. Running the place on his own. Got too much for him. 

Fred: And I wasn't here. 

Ernie: You were doing your bit. He was proud of you. 

Fred: Nothing to be proud of. Second day in action, they took me. Didn't even get to k*ll one of the bastards. 

He walks away from the gravestone.

Fred: You come for him, then? 

Ernie: Yep. 

Fred: I'll, er, walk back with you. 

Johann is sitting waiting by the side of the road.

Johann: Rose! 

He stands up. Rose comes over with a basket.

Rose: I made you a rabbit pie. And a plum cake. 

She pulls a knitted jumper out of the basket as well.

Johann: What is this? 

Rose: I made it for Fred coming home, but it's too big for him now. I want you to have it. 

Johann: Rose?

Rose: I'll write to the Agricultural Committee. They'll talk to the camp commander, find you another place. 

Johann: Please, look at me. You're sending me away? 

She nods.

Rose: I don't know what we're gonna do, but you can't stay, and that's a fact. 

Johann: Rose, I-

Rose: Don't. Please. 

Johann: Don't be upset. Everything will be okay. I will miss you. 

Rose: I'll miss you too, Johann. 

She gives him a hug just as Fred and Ernie are arriving. Fred stops walking.

Ernie: Now, Fred.

Fred: Oi, you! Get your hands off her! 

Rose: Fred.

Fred grabs hold of Johann and then punches him.

Fred: You bloody n*zi! 

Rose: Don't! 

As the two of them wrestle, Ernie hurries over to stand his bike against the wall. Johann tries to restrain Fred.

Johann: Stop this, or I will hurt you! 

Daniel comes walking up behind a nearby fence, watching the fight. Fred manages to break free and elbows Johann in the gut.

Ernie: Fred, stop it!

Rose: Fred! 

Ernie: That's enough, now! Stop it, Fred.

Johann pins Fred down on the ground.

Ernie: Fred, you stop it! That's enough! 

Johann lets Fred go and stands up, raising his hands. Ernie gestures at him.

Ernie: You, get going. 

He grabs Fred by the collar.

Ernie: Leave off, Fred! 

Fred: You come back here, and I'll k*ll you! 

Johann starts walking away. Fred 

Fred: Inside. I wanna talk to you. 

Fred starts pulling Rose with him towards the house.

Rose: Let go, you're hurting me! 

Johann turns back.

Johann: Rose! 

Ernie: Leave it. Get walking. 

He gives Johann a shove. The two of them leave.

Farmhouse. Rose follows Fred inside and shuts the door behind them. Daniel stands inside the door, watching them. Fred grabs Rose by the arm.

Fred: Oh, no! He's had you, hasn't he? He's been in my bed and my wife. 

She pulls away from him.

Rose: Don't be disgusting. 

He raises his hand as if to strike her, then pulls back. She gasps.

Rose: That's right. You're too weak to take it out on him, so you belt your wife instead. 

She starts to cry. Fred turns away and Rose grabs Daniel, taking him upstairs. Behind them Fred grabs a bottle of Scotch and sits down at the table with it.

Asylum. An orderly leads Foyle into a padded room where Peter is lying curled up on the bed.

Foyle: Mr Phelps? Peter? Erm, my name is Foyle. D'you remember Doctor Worth? 

Peter whimpers to himself.

Foyle: D'you know who I mean? What did you see? 

Peter opens his eyes.

Peter: I saw the blood. I saw the blood. 

Foyle: What else did you see? 

Peter: I saw the blood. 

He whimpers to himself again.

Orderly: It's all right. It's all right, Peter. 

He gestures Foyle towards the door, and lets him out.

Woods. Tommy Crooks runs through the trees towards a pond with a fishing rod. He stops as he sees Doctor Novak sitting by the water.

Novak: Hello. 

Tommy: Hello. 

Novak: You found Sir John and Lady Muriel, then? And now you're catching their supper. 

Tommy: If I get lucky. You a doctor, then? 

Novak: Yes. 

Tommy: How do you make people better when they've gone a bit barmy? 

Novak: Often people get better just by talking about the things that have upset them. 

Tommy: You a Jerry?

Novak: No.

Tommy: I hate the Jerries, don't you? 

Novak: Why did you run away, Tommy? 

Tommy: This woman in Bethnal Green. Took her a telegram. Found her in the back yard, beating this old rug on the washing line. She looks at it, hands it back and asks me to read it for her. Her husband, he was in the Navy. His ship had been sunk, he- And she just starts screaming. You know, lays into me with the beater, going, "Get away! Get away, you little bastard!" And why'd she do that? I don't get it. Why'd she do that? 

Novak stands up.

Novak: Tommy. This lady was out of her mind with sorrow. When people lose their loved... She lashed out at you just because you were there. If she were here now, she would want to hold you and say sorry to you. This wasn't your fault. 

Tommy: No? 

Novak: No. 

Tommy: Okay. Thanks. 

He turns towards the water with his fishing rod.

Novak: Your family will be worried. They should know you are safe. We should tell the police where you are, by the way. 

Tommy: I'm not going back to London. Staying here. Nothing bad ever happens here. 

Farmhouse. Fred is slumped over the table, drunk. Rose comes down from upstairs carrying a sleeping Daniel, and lets herself out the front door.

Outside. Rose wheels her bike out to the road with Daniel sitting in a basket on the back. She climbs on it and rides away.

POW camp bunk room. A group of German POWs are tossing a ball around. A bell rings and the game breaks up. Johann is sitting on one of the bunks by himself.

POW: Johann, kommst du mit zum Essen? 

Johann: Nein, ich bin nicht hungrig. 

The others leave. Johann sighs. He picks up his back and takes out the jumper that Rose made for him. He brings it up to his face and smells it, then sighs again.

Police station reception area. Sam is sitting in the waiting area as Foyle comes out from the back. She stands up.

Sam: All right, sir? 

Foyle: Er, listen, it's been quite a day. I'm gonna walk. You go home. 

Sam: Goodnight, sir. 

Foyle: Goodnight. 

Brooke (offscreen): Night, sir.

Foyle leaves.

Ruby Cinema, evening. Foyle walks past a group of people lined up waiting to go in. Doctor Novak is one of them.

Novak: Mr Foyle! 

Foyle: Doctor. 

Novak: Will you join me? It's the new Bing Crosby. 

Foyle: Er, not quite my cup of tea, frankly. 

Novak: Ah, sentimental music, Mr Foyle. It always touches me. 

Foyle: You're looking a great deal better. 

Novak: I did something useful today. Maybe there is a point, after all. Ah, curtain up. 

The queue starts to move inside.

Novak: I found the boy, Tommy. He's with the Sackvilles. 

Foyle: Right. Goodnight. 

Novak: Au revoir.

He waves to Foyle and heads into the cinema.

Sam's lodgings. Rose walks up with Daniel and knocks on the door. Sam answers it.

Sam: Oh, Rose. 

Inside. Sam follows the two of them in.

Rose: I'm sorry about this. 

Sam: Whatever's the matter? 

POW camp, night. A man empties a dustbin into the back of a dustcart, then heads into the building. Johann looks around the side of the building to make sure he's gone, then hurries over to climb into the dustcart. A moment later, the man comes back with another dustbin. He whistles as he empties it into the back.

Front gate. The guard lifts the barrier to let the dustcart drive out.

Woods. As the dustcart slowly drives along, Johann jumps out of the back. The driver keeps going, and Johann hurries away.

Daylight. A manhunt is underway, police and dog-handlers spread out across a field. Tommy watches from the underbrush nearby.

Man (offscreen): Slow down a bit. Keep going. Steady!

As they approach Tommy turns to leave.

Country lane. Rose is riding her bike with Daniel. She stops and she sees a military vehicle stop ahead and men with r*fles jump out of the back with another dog. As she watches them, Sam comes driving up and stops beside her.

Rose: You left early. What's going on, Sam? 

Sam: Oh, one of the POWs escaped from the camp. 

Rose: Really? 

Sam: It's Johann, Rose. 

Rose: Johann? Why would he have done that? 

Sam: He got away last night. You all right? Listen, I've got to get to work. I'm sorry. Already late. 

She drives on.

POW camp.

Loudspeaker: Achtung! Achtung!

The announcement continues in the background as Ernie leads Milner through the empty bunk room.

Ernie: Never had a minute's bother with him. Did what he was told. Got on with his work. Wish they were all like him. 

Milner: Why d'you think he cleared off? 

Ernie: I... don't rightly know. 

Milner: He's not daft enough to try getting back to Germany, is he? Do his bit, now their backs are against the wall? 

Ernie: Oh, what's he gonna do? Swim the Channel? Doesn't make sense, does it? Anyway, he's not that kind of lad. 

Milner: No n*zi, you mean? 

Ernie: Well, told me he hates soldiering. He's a farm boy. Likes animals. 

Milner: Was he his usual self yesterday afternoon? Nothing out of the ordinary? 

Ernie: Just a normal day. Took him to the farm in the morning, brought him back in the evening. 

Milner: And everything was all right? 

Ernie: Yeah. I don't understand it. I mean, he- I think he was happy here. You know? 

Dial Cottage. Sir John is digging in the vegetable garden. He sets the fork down with a sigh.

Sir John: Damn and blast! There's got to be a few here somewhere. 

He starts shaking a garden sieve. Sam comes up behind him.

Sir John: Ah!

He plucks something out of the sieve.

Sir John: Oh.

Then he notices Sam.

Sir John: Are you spying on me, girl? 

Sam: Couldn't Tommy do that for you, Sir John? I know he's here. 

Sir John: No, he's not. 

Sam: He was seen. Someone spoke to him not far from here. 

Sir John: You misunderstand me. He was here, but he is no longer. 

Sam: I don't understand. 

Sir John: He went out fishing. Something for the supper. He never came home. We haven't seen him since. 

Cut to Tommy running through the trees as dogs bark in the distance.

Sir John (voiceover): We're worried about him. Keep hoping he's going to come through the door with a nice, fat trout.

Tommy stops to rest against a tree, looking back at the search party, then runs on.

Farmhouse. Rose enters to find Fred still asleep at the table, the Scotch bottle now almost empty. She looks around the room a moment, then backs out again, pulling the door closed after her.

Outside. Rose walks over to the barn with Daniel. She leaves him at the doorway as she goes in.

Rose: Johann? Johann? 

Outside. Rose walks through the fields with Daniel. 

Man (offscreen): Steady! Straight.

They see the search party in the adjacent field.

Man: Move forward on the left.

Daniel: Where's Johann, Mummy? 

Rose: Come on. Let's go down to the lake. See if the ducks are there. 

They walk through the trees together. Daniel runs on ahead.

Rose: Be careful, Daniel. It's dangerous down. 

Daniel: What's that, Mummy? 

Rose: What? 

She catches up to him.

Daniel: Down there, look. 

She puts her hand on his shoulder as she sees Johann's body floating in the water.

Later. Foyle, Milner and Ernie Pond watch as a couple of men in waders bring the body back to shore. 

Ernie: That's him. 

Milner bends down to look at the body.

Milner: Sir, there's something on the back of the head. A wound. 

Rose is standing up on the top of the bank with Daniel and Sam. She takes hold of Daniel to lead him away.

Foyle (offscreen): How's that happened, do you think? 

Milner: Well, he could have fallen. Trying to get away, stumbling along in the dark. 

Foyle: Full moon last night, wasn't it? 

Milner nods.

Milner: Or he was h*t. He is a German, after all. That's enough motive for some. 

Ernie is listening to this, looking concerned.

Down End Farm. Fred sticks his head under an outside water pump. As he reaches for a towel he sees Rose and Daniel returning.

Fred: Rose? 

Rose: Go and play, Daniel. 

She sends him off into the field and walks over to join Fred.

Fred: Where you been? I've been worried. 

Rose is tearful.

Rose: Johann's d*ad. 

Fred: What? 

Rose: In the lake. His head.

Behind them, Daniel picks up a toy plane and starts making aeroplane noises.

Fred: He got out of the camp? 

Rose: Did you see him here? Did he come here last night? 

Fred: No. I don't know. I... 

Daniel is still making noises and Rose turns to snap at him.

Rose: Daniel, will you stop doing that now? 

Daniel falls silent.

Rose: You'd better pull yourself together. The police'll be here soon. 

She walks away.

Sam and Foyle are driving along a country lane.

Foyle: Did you find the boy, by the way, at the Sackvilles'? 

Sam: Tommy Crooks? No, sir. He didn't come home from a fishing trip. They don't know where he is. 

Foyle gives her a sidelong look, and after a moment she speaks up.

Sam: I wouldn't normally, but under the circumstances, I, I feel I ought to tell you. Mrs Dawson spent the night with me last night. She turned up at my doorstep, very upset. She and her husband had an argument, about Johann Schultz. 

They arrive at the farm.

Foyle: I see. 

Sam drives up to the buildings.

Farmhouse.

Foyle: So, he, erm, left here at the usual time yesterday? 

Rose is sitting at the table.

Rose: Yes. 

Foyle: And that was the last you saw of him? 

She nods. Fred is sitting in an armchair behind Foyle.

Foyle: Because where his body was found suggests that he was either on his way here or... coming back from here. But, erm, you couldn't confirm that? 

Rose: No. 

Foyle: No. But I gather you weren't here last night. 

Rose: I stayed with Sam. 

Foyle: Any particular reason for that? 

Rose: I had some shopping to do in town. I didn't want to cycle back in the blackout. 

Foyle: Mm-hmm. 

He's silent for a few moments, then turns to Fred.

Foyle: What about you, Mr Dawson? 

Fred: What about me? 

Foyle: Er, were you here last night? 

Fred: Yeah. I was here all night. I had a bit to drink. I fell asleep. I didn't see him. 

Foyle: How difficult was it, er, coming back home, after five years in a prisoner-of-w*r camp, to find a German working on your farm? 

Fred: Yeah, well, he did his job. 

Foyle: Impossible not to understand whatever resentment you might have felt, in the circumstances. 

Fred: So, I didn't like him. Not a crime, is it? We're fighting the bastards, for God's sake. But I didn't k*ll him, if that's what you're thinking. 

Foyle: Mm-hmm.

He turns back to Rose.

Foyle: How did you get on with him? 

Rose: He was a lovely boy. I'm so sad he's d*ad. I, I don't know how I'm going to explain it to my son. He adored him. 

Psychiatric hospital. Sam and Foyle drive up and park outside. As Foyle gets out and heads in, Tommy watches them from the bushes nearby.

Inside. Foyle lets himself in through a door into the outer office beyond Campbell's.

Joy (offscreen): To think of him shut away in that place - it's unbearable to me. 

Campbell (offscreen): It has to be that way. You know that. 

Foyle pauses outside Campbell's office door, left ajar.

Inside.

Joy: Hold me. Kiss me. 

Outside. Foyle loudly turns the handle to enter. The two of them break apart from their kiss, and Joy turns away.

Campbell: Chief Superintendent. 

Foyle: Do beg your pardon. Should have knocked. I'll come back. 

He moves as if to go, then steps back in.

Foyle: Mrs Phelps. I've been to the asylum to see your husband. Have you? 

Joy: How is he? 

Foyle: He's in a very bad way. 

She walks out past him.

Campbell: Joy... Mrs Phelps is under great strain. She needs a great deal of support. 

Foyle: Yeah, I can see. How's, er, Doctor Novak, by the way, since he's been back at work? 

Campbell: I wanted him to take more time off. I'm concerned about him. 

Foyle: Mm-hmm. What do you make of him, er, claiming responsibility for Doctor Worth's death? 

Campbell: Josef's a good man. Compassionate, kind. But who knows what men are capable of when pushed to the limit? It may seem a truism, Mr Foyle, but all of mankind's most impenetrable secrets lie inside the head. 

Novak's office. He's sitting in the armchair next to the desk, and looks up at the sound of a knock.

Foyle walks in.

Foyle: Disturbing you? You don't look very well. 

Novak: Do you know this definition of a psychiatrist? A person trained at length and great expense to help other persons go mad. 

Foyle smiles.

Foyle: Perhaps I shouldn't be asking you for your help, then. In spite of you having seen him, the boy seems to have gone missing again. 

Novak: Odd. Why should he do that? 

Foyle: And it seems that, er, you were the last to see him. How was he? 

Novak: Calm. We had a good talk. There was a distressing incident at work. That's why he ran away. 

Foyle: And where did you see him?

Novak: He was at the pond, fishing, quite happily. 

Foyle: Mm-hmm. I should also mention that I've been to see, er, Peter Phelps. 

Novak stands up and goes to his desk.

Novak: I've told you who k*lled that shabby little man, Worth. 

Foyle: Yes, well. I'd say you didn't have it in you to k*ll. 

Novak: I think you're allowing friendship to interfere with the prosecution of your job. 

Foyle: Never has before. 

Novak: I'd also say you're ignoring the lessons of recent history. Think of all those men who led such unremarkable lives till '39. We gave them a uniform, a g*n and a mandate. "k*ll," we said. And they have, unblinkingly, in vast numbers. 

Police station reception area. Brooke stands up as Sam and Foyle walk in. 

Brooke: Mr Foyle, I sent off the coupon. 

Foyle: Excellent. What coupon's that? 

Brooke: From the paper. The football pools. The w*r Cup. They're playing tomorrow. 

Foyle: Wonderful. 

He moves to walk away.

Brooke: I must say, I had to laugh when I saw your line. 

Foyle: Well, filled in solely with your amusement in mind, sergeant.

Brooke: Well, Port Vale have as much chance of getting a draw at Arsenal as I have of winning the Derby on a seaside donkey. 

Foyle: Right. 

Brooke: My, my! What, what system did you use, sir? 

Foyle: I used the random system, Sergeant. 

Brooke: But you can't do that, sir. No, you have to look at the teams. You work out which is better and how, and then you decide. That's how you win. 

Foyle: Well, science, never my strong point. 

He heads through towards his office.

Brooke: Well, we'll see which comes out on top, shall we, sir? Science or chance. 

Foyle: We will. 

Milner steps out from his office behind Foyle.

Milner: Sir, we've had the MO's report on Johann Schultz. 

Foyle: Ah, right. 

The two of them walk into Foyle's office. Sam and Brooke watch them go.

Sam: Port Vale. What a lovely name. It sounds such a peaceful place. Where is it, exactly? 

Brooke: Somewhere up north. 

Foyle's office. Milner closes the door behind them.

Milner: He can't say exactly what caused the head injury. There were fragments of stone in the wound, but whether they're the result of a fall or a blow, he can't say. 

Foyle: Mm-hmm. 

Milner: However, he did find something else. There was no water in his lungs. He didn't drown. He was d*ad before he went into the lake. 

Foyle: Right. 

Later. The two of them are speaking with Ernie Pond in a meeting room.

Ernie: Someone k*lled him? 

Milner: Looks like it, yes. 

Ernie: Jesus! That's-

He sits down.

Ernie: Oh, I need a smoke. 

Milner: You liked him, didn't you? 

Ernie: Bloody hell. 

He lights a cigarette.

Milner: What happened between Fred Dawson and Johann yesterday? 

Ernie: Nothing happened. He thought there was something going on between Johann and Rose. Yesterday afternoon, it all blew up. Bit of a fight. Nothing much. Fred was no match for Johann. I took him away. Fred and Rose had things to sort out. 

Milner: When Johann escaped, do you think it was to go back to Down End Farm? 

Ernie: I dunno. Maybe he was worried about Rose. She was... kind to him. 

Foyle: Fred... very angry yesterday? 

Ernie: A bit. 

Foyle: How angry? 

Ernie: Look, it's not going to be me that puts the noose round Fred's neck. Just for k*lling a Jerry. 

Foyle: But if he'd, er, done or said anything he perhaps shouldn't have, you'd tell us, wouldn't you? 

Ernie: Course. 

Foyle: And you'd tell us because, er, German or not, whether you liked him or not, this man's been beaten to death and that's wrong. You'd agree? 

Ernie: Yes. 

Foyle: Mm-hmm. How angry? 

Ernie: He said, if he ever came back to the farm again, he'd k*ll him. There. I've said it. God forgive me. 

Dawson farmhouse. Fred stands up from the table.

Fred: I'm under arrest? 

Milner and Sam are both there, as is Rose.

Milner: There are questions you need to answer about the death of Johann Schultz. 

Rose: Oh, Fred.

Milner: Please, if you'll come with us.

He and Fred leave. 

Rose: Oh, Sam.

Sam: I know. It's going to be all right, Rose. 

Rose: What if he did it? 

Police interview room.

Fred: I'm telling you, I never saw him again. I downed half a bottle of Scotch and passed out. I didn't wake till first light.

Foyle stands opposite him at the table.

Foyle: Well, all of that's fine, of course, except that nobody can vouch for it. You were on your own. 

Fred: Yes. 

Foyle: What can be vouched for is your att*ck on Mr Schultz.

Fred: No, that's-

Foyle: The reason for your att*ck on Mr Schultz. 

Fred: I was angry with him, I admit that. 

Foyle: And your thr*at to k*ll Mr Schultz if he ever stepped foot on the farm again. 

Fred: I didn't mean it! 

Foyle: So, you'd understand that, on the face of it, it looks to us as if that's precisely what happened. 

Fred: I didn't mean it. It was just one of those things you say!

He pants for breath for a moment, calming down.

Fred: It was just one of those things you say.

Fred: I didn't k*ll him. And if he came back, I didn't see him. 

Front desk. Brooke is on duty as Foyle comes out from the back.

Foyle: Sergeant. Look after Mr Dawson in there for a moment, would you, for a moment? 

Brooke: Sir. 

Morris Crookes steps into the reception area just as the two of them leave. As Foyle is heading back to his office, a radio is playing in the break room.

Radio: This is the BBC Home Services network.

Foyle stops to listen.

Radio: We now bring you a further dispatch from our Moscow correspondent, Alexander Werth.

Foyle walks through into the break room.

Radio: Who was with the Red Army when it liberated the n*zi concentration camp at Majdanek in Eastern Poland. 

Werth (radio): Nothing in my experience could have prepared me for the image that greeted us on our arrival earlier today. Row upon row of drab huts, containing horrors that defy imagination, that were nevertheless arranged in front of us like some scene from hell.

Milner's office. Morris Crookes walks in and Milner closes the door behind them.

Morris: I just wondered if there was any news on my lad. 

Milner: He was staying with the old couple, after all, but he's gone. 

Morris: Well, where's he gone? 

Milner: You haven't seen him? 

Morris: No. 

Milner: Well, if he's not with you, and he's not with them...

He shrugs.

Morris: Run off again? I dunno what's wrong with that lad. I mean, I dunno what to say to him. 

He sits down.

Morris: Jeannie would have known. She'd have got through to him. She was good at that. 

Milner: Your wife? She's passed away? 

Morris: Last July. Just after Tommy came home. She was in a baker's on the Commercial Road, getting a loaf for his sandwiches. Doodlebug. k*lled everyone in the place. 

Milner: I'm sorry. 

Morris: Tommy, he was the first one there. You know, what he must have seen, it doesn't bear thinking about. But he never cried. Always said he didn't want the w*r to end, so he could join up and get his own back. 

Milner: Revenge, you mean? 

Morris: Oh, yeah. Hates them, he does. I don't know what he'd do if he met a Jerry in the street. 

Foyle's office. Foyle is at the desk looking through a stack of newspapers as Milner speaks to him.

Milner: We know that Tommy was out and about the day that Schultz escaped. Doctor Novak saw him barely half a mile from the lake, so it gives him an opportunity, as well as a motive. 

Foyle stands up, but still keeps looking through the papers.

Foyle: And, er, how old is he? 

Milner: He's fifteen, but he's a big lad for his age. 

Foyle: Mmm?

Milner: And now he's disappeared. At first I thought it was a coincidence, but now I'm not so sure. 

Foyle lifts one of the newspapers to reveal an article about the concentration camp. He start to walk around his desk to leave.

Foyle: Well, obviously, the sooner we find him the better. 

The telephone rings.

Foyle: Will you get that? 

Milner picks up the phone.

Milner: Hello? 

He looks at the article open on the desk as he listens.

Milner: Yes. Yes, he's here. 

He holds the phone out to Foyle.

Milner: It's the gentleman from the BBC you were after, sir. 

Foyle comes back to the desk to take the phone.

Ruby Cinema. Foyle walks into the building and approaches a member of staff.

Foyle: Good afternoon. May I speak to the manager, please? 

Woman: Yes, of course. 

As she leaves, Foyle turns and looks at the posters on the wall.

Police station reception area. Sam stands with Brooke at the desk.

Sam: He's gone to the pictures? 

Brooke: Yeah, I'm sure there's method in his madness. 

Sam: I wonder what's on. 

Foyle walks through the doors behind them. He heads through into the back without seeming to notice either of them. Milner is just coming out of his office, dressed to leave.

Sam: Sir? 

Foyle turns and she points towards the door.

Sam: Er...?

She clears her throat. Foyle looks around for a moment, then turns back to walk out again.

Foyle: Right. 

Psychiatric hospital. Sam, Foyle and Milner pull up outside in the car. They all get out.

Sam: Sir, how long do you think you're going to be? 

Foyle: About an hour. 

Milner: Last look around, before we hand back the keys. 

Sam: Well, I was thinking about Tommy. If I was in trouble, where would I hide? And he lived here for four years. Had the run of the place. He knew it better than anybody. I was wondering, could I take a look? 

Foyle: Do. 

Worth's office. Foyle and Milner walk into the room.

Foyle: And nobody's been in here, right? 

Milner: Er, no, sir, apart from me and one of our men, when we were doing the search. 

Foyle: Find anything? 

Milner: Not really. 

Campbell appears in the doorway.

Campbell: Ah, you're back. Have you finished in here yet? 

Foyle: Almost. 

Campbell: Good. We're desperately short of space. 

Foyle: Mm-hmm. 

Campbell nods and leaves. Foyle looks at Milner.

Foyle: What does "not really" mean? 

Staircase. Sam climbs a set of stairs elsewhere in the building.

Worth's office. Milner picks up a file folder.

Milner: There's a copy of a letter. A reference from Doctor Campbell in support of Worth's job application. Doesn't quite tally with what Campbell said about him. 

He hands it to Foyle.

Milner: Perhaps he was just desperate to get rid of him. 

Upper floor. Sam looks around. A nurse walks past her carrying a tray.

Worth's office.

Foyle: That it? 

He hands the letter back.

Milner: Yes, sir. We've been through all the packing cases, his desk, the rest of the furniture. Pictures off the walls, rugs off the floor. Up the chimney.

Foyle, turning to look around the room, stops and focuses on something on the mantelpiece.

Milner: The only thing we haven't done is lift the floorboards. Maybe the m*rder found what he was looking for, after all. 

Foyle approaches the mantelpiece, where there's a bust marked up with the areas of the brain. He turns it around, then lifts it up. The fabric covering the base is loose.

Foyle: Where do, er, all of mankind's impenetrable secrets lie, Milner? 

He pulls an envelope out from inside the bust.

Milner: Sorry, sir? 

Foyle unfolds the envelope, and sees it's labelled 'Joy Phelps'. He pulls out the folded papers inside.

Upper floor. Sam is still searching. She opens a door onto another set of stairs and climbs them up to the attic. She goes over to the window to look out.

Campbell's office. Campbell is just leaving the room as Milner arrives.

Milner: Ah, sir. We've finished with Doctor Worth's study. 

Campbell: Ah, good. 

Milner hands over the keys.

Milner: Compliments of DCS Foyle. 

Campbell: Thank you. 

Attic. Walking around, Sam finds a mattress and bedding with a candle beside it. She hears a door creak somewhere nearby.

Sam: Hello? Tommy? Is that you? 

She sees Tommy run past in the next section of the attic, and hurries after him.

Outside. Milner is walking back towards the car. He hears a clatter and looks up to see Tommy standing on the roof. Tommy runs along the rooftop.

Attic. Sam hears a noise from above.

Outside. Milner starts walking back towards the building.

Worth's office. Campbell unlocks the door and opens it.

Rooftop. Sam climbs out of a window onto the roof. Tommy stands up from where he's crouched nearby.

Tommy: Stay away. 

Sam: Are you all right? 

Tommy: Leave me alone. 

Sam: Look, I'm here to help you. 

Milner looks out through the window behind her.

Milner: Sam? 

Sam: Please, Tommy. 

Milner climbs out to join them.

Milner: No one's going to hurt you. Why did you run away, Tommy? 

Tommy: I'm saying nothing. 

Milner: Er, you met the German, didn't you? By the lake. Were you thinking about what happened to your mum? 

Tommy: No! Don't come any closer. 

He climbs onto the edge of the roof.

Milner: Careful!

Tommy: I'll jump! I'm not scared. 

Worth's office. Foyle approaches the door and opens it to find Campbell searching the room.

Foyle: Ah.

He holds up the envelope.

Foyle: Looking for this? 

Rooftop. Tommy is still sitting on the edge of the roof.

Milner: Tell us what happened, Tommy. I promise you it'll be for the best. 

Sam: We know you didn't k*ll that man. But you must have seen something. 

Tommy: I was trying my luck at the lake. I got nothing in the pond. 

Milner: Go on.

Tommy: Two men, I heard them talking on the path above the lake. Then him, the one who fell, he walked on, but the other man, he picks something up and he runs after the other bloke and he h*t him over the head, like really hard, like this. And then... Like, did you say his name was Johann? 

Sam and Milner both nod.

Tommy: Is he really a Jerry? 

Sam: He was a prisoner of w*r. 

Tommy: See, I never knew that. That he was German. 

Milner: Then what happened? 

Tommy: He fell down. The other man bent down to look at him, and he put his head in his hands, like this. Then he rolled him into the lake. Not twenty yards away from where I was standing. 

Sam: Who was it, Tommy? Who k*lled Johann? 

Tommy just shakes his head.

Worth's office. Campbell sits down.

Campbell: "Affair" makes it sound so grubby. And that's not how it was. But Worth was a nasty little shit. He said something to me about Joy. A lewd remark. I snapped at him. And he laughed. He knew. And I made the mistake of writing to Joy. An affectionate letter. I put it in the post tray in the staff sitting room. Worth took it, and he used it. If it ever got out - the wife of a patient - I'd have been ruined. And poor Joy. He forced me to write a glowing reference for his job application. I did it on condition I got the letter back. And he broke his word. Said he'd keep it as insurance. And he smiled. He never should have smiled. 

There's the sound of the door opening.

Joy (offscreen): Iain?

She steps in and sees the two of them.

Joy: Oh, I'm sorry, Mr Foyle. 

Campbell: I must make it clear that Joy knows nothing of this. She thinks her husband k*lled Worth. 

Joy: What is it? What's... Is everything all right? What's going on? 

Foyle: I'll leave you for a few minutes.

He walks out, closing the door behind him. Joy looks at Campbell expectantly.

Cafe. Foyle approaches the building and walks in. Novak is setting up a chessboard, and waves at the sight of him. One of the waitresses comes over to take Foyle's hat and coat.

Waitress: Mr Foyle?

Later. Foyle and Novak are in the middle of a chess game. Foyle sits contemplating the board.

Novak: You're quiet today, even by your standards. 

Foyle: Well, I know I've got to make a better show of this than I did last time. 

He makes a move.

Foyle: Check. 

Novak: I'm surprised you have the time, given everything that's on your plate. Glad, of course, but, er... 

Foyle: And I'm also wondering how I'm going to tell you. 

Novak: Tell me what? 

Foyle: Well, firstly, we now know who k*lled Doctor Worth. And I'm relieved to be able to tell you that it wasn't you. 

Novak: Wasn't it? 

Foyle: Though I do now perhaps understand why it is that you tried to take the blame. 

Novak: It was Peter, wasn't it? 

Foyle: Well, I'd be very interested to hear why you're so convinced it was. 

Novak: Because when I went to Worth's study that night, Peter was there. 

Flashback to Peter, kneeling over Worth's body, his hands covered in blood. Novak walks in and sees him.

Novak (voiceover): Kneeling over the corpse. Blood on his hands. Completely gone. What was he doing there?

Cut back to the cafe.

Novak: I felt desperate that I hadn't been able to help him, that it was my fault. Of, of course it was Peter. 

Foyle: It was Campbell. 

Novak: But why? I don't understand. 

Foyle: Worth was blackmailing him because of his relationship with Peter's wife. But this, none of this, Worth's m*rder or your belief that Peter was responsible for it, is the reason why you tried to take your own life, is it? And it wasn't until today that I realised that it wasn't even what Doctor Worth had said to you... 

Flashback to Novak being loaded into the ambulance.

Novak: It was what he said. Werth. 

Foyle: What's that? 

Cut back to the cafe.

Foyle: But what the BBC correspondent, Alexander Werth, had said in his report from Majdanek. First broadcast, according to the BBC, the morning I came to see you in your office, describing the unimaginable horror that had been uncovered there. 

Novak: No, the point is, someone did imagine it and then made it a reality. For my family, amongst countless others. I was wrong to try to take my life. We must carry on, however bleak the future seems, however impossible it is to face it. And I was wrong to take the blame for Worth's death. But when I came to myself in hospital, it seemed I had betrayed my m*rder family. I was alive and they were d*ad. It was the guilt of the survivor, and I had to take the blame for something. I had to find a reason for my existence. And if I could help Peter in any way, help give him time to recover... 

He starts to tear up.

Novak: I'm sorry. I had news today. From my contacts in Poland. There were very few survivors in Majdanek, but... among them, it seems, my daughter Marianka... it seems she is alive. 

Foyle: I'm very pleased to hear it. 

Novak: You have been a good friend to me, Christopher, at a most difficult time in my life. 

Foyle: Well, the occasional game of chess, Josef. It's not very much. 

Novak: You listen. You understand. I am so grateful. But I think I have taught you too well. You have beaten me here for the first time! If you'll excuse me, I think I should get back to work. 

He starts to stand up.

Foyle: And secondly... How was the film the other night? 

Novak: Bing Crosby? Oh. Silly and sentimental and quite wonderful. 

Foyle: The print for that film didn't arrive. They showed Abbott and Costello, instead.

Novak slowly sits back down.

Foyle: They also showed Pathé News. And the report from Majdanek was unbearable. 

Novak: Legs. Sticking in the air, stiff with death. 

Foyle: I couldn't watch it all. You couldn't, either, could you? 

Flashback to Novak walking through the woods in the dark.

Novak (voiceover): I left. I don't know where I went. I have no memory of anything.

Cut back to the cafe.

Novak: Until... 

Foyle: You met Johann. 

Novak: He came out of nowhere. 

Flashback to Johann running through the woods. He crashes into Novak from behind and both of them go sprawling. Johann gets up again as Novak rolls over.

Novak (voiceover): I looked up. I saw this face.

Johann: Aus dem Weg! 

Novak (voiceover): Out of my way.

Johann: Dummkopf. 

He starts to walk on.

Novak (voiceover): I saw this uniform, and this rage went through me like a f*re.

Novak takes hold of a rock from the ground beside him.

Novak (voiceover): I picked up a rock and...

He comes up behind Johann and hits him over the back of the head with the rock.

Cut back to cafe.

Novak: A moment. That's all it took. 

Flashback to Novak rolling Johann's body down into the lake.

Novak (voiceover): But it will define my entire life.

Cut back to cafe.

Novak: I k*lled a man. A boy. 

Foyle: Perhaps the circumstances... 

Novak: No, they offer no excuse. We're all tainted by this w*r, Christopher, in one way or another, but not everyone commits m*rder. 

Foyle: Perhaps hearing him speak German? 

Novak: Perhaps. Or perhaps it was because he was up there. And I was down there in the gutter, where all Jews belong. I had this evil taste in my mouth. I spat it out. That's all. I became the enemy. It's strange. I... am a rational being. I am a scientist. I believe in free will, and yet I cannot escape the fact that the most important events of my life have been dictated by chance. I met my wife on a train I nearly missed. I evaded death at Majdanek because I was at a symposium in Paris. And I k*lled a man because I like Bing Crosby and you do not. If you had been there... 

Foyle: I'm sorry. 

Novak: How did you know? 

Foyle: By chance, you were seen. 

Flashback to Novak throwing the rock into the lake.

Novak (voiceover): Who?

Foyle (voiceover): By a troubled boy, to whom you offered help.

Nearby, Tommy stands with his fishing rod.

Cut back to cafe.

Novak: Oh. Poor Tommy. 

Dial Cottage. Tommy sits at the kitchen table, listening to another argument at the door.

Morris (offscreen): I wanna see my son. 

Lady Muriel (offscreen): Who is it, darling? Who are you?

Morris (offscreen): Don't give me that. 

Lady Muriel (offscreen): This way, please. 

She leads Morris into the house. Sir John stands nearby.

Sir John: Take your boots off, man. 

Morris goes to obey him, then stops himself.

Morris: They're not dirty. Why can't you leave my Tommy alone? Ain't you got no son of your own? 

Sir John: Not any more. He was k*lled at Dieppe. 

He gestures to a photo on a table nearby. Morris looks at it for a moment. When he looks back, Sir John has sat down with a newspaper. Morris moves on to the kitchen.

Morris: Right. You coming home, then? 

Tommy: Dunno. 

Morris: Now, look here, you-

Tommy: Don't shout at me! 

Morris sits down opposite him.

Morris: Look, I know you've been through it. And I wish I could make it better. But words can't do the job, even if I had 'em, which I ain't. 

Tommy: I used to feel safe here. 

Morris: Yeah, well, you can come and visit the ruling classes in your holidays. And if you really want to take up this country life, then, well, do it when the w*r's finished, eh? 

Tommy: Why d'you want me to come back? What does it matter to you? 

Morris: 'Cause you're mine, damn it! 'Cause I need you. I can't bear that house without your mum. Come home, Tommy, please. 

Tommy: Yeah. Okay, then, Dad. 

Down End Farm. Fred is walking back towards the farmhouse. He sees Rose and Daniel coming towards him.

Rose: Wanted to come and meet you. 

Fred: Did you? 

Rose: It's like you're coming home all over again. 

Fred: Yeah. 

Rose: You gonna be all right? 

Fred: Dunno. But I've got to try, for all our sakes. Especially his. Come on. It's okay.

Rose urges Daniel forward.

Fred: Come to your dad. 

He takes Daniel's hand.

Fred: I'm sorry about everything. I'm sorry about... your friend. Were you and him- 

Rose: Please, Fred.

Fred: I've got to ask, even if it's not what I want to hear. 

Rose: These last eighteen months, I couldn't have done without him, and that's the truth. I was fond of him, and he was sweet on me. But the thing is, Fred... I was waiting for you. My sweetheart. 

Fred is silent for a moment.

Fred: I'm hungry. Are you hungry? 

Daniel nods.

Fred: Let's go home. 

The three of them start walking back together.

Foyle's office. He's sitting contemplating in silence. There's the sound of laughter outside, then a knock at the door. Brooke enters the room

Foyle: Sergeant. What you doing here? I thought you'd gone. 

Brooke: Had to come back, sir. You'll never guess. 

Sam comes in behind him.

Brooke: We've won! 

Foyle: The w*r? 

Brooke: The football pools. Well, not the jackpot, but a tidy old sum. A hundred quid. 

Milner enters behind them. Foyle stands up.

Foyle: Why? Who got the line? 

Brooke: Guess. 

Foyle: Milner. 

Brooke laughs.

Brooke: Not one draw. 

Foyle: Not, er... 

He gestures at Sam, who shakes her head.

Brooke: No, sir. 

Foyle: Oh, I see. It's you or me, is it? 

Brooke: Yes, it is, sir. 

Foyle: And? 

Brooke: It's a classic case of beginner's luck. Chance has won the day, sir. 

Foyle: Well, well, well. Thank you. Port Vale drew with Arsenal? 

Brooke: Well, the g*n were a player short. They had to borrow two of Port Vale's reserves. 

Sam: What are you going to do with the money, sir? 

Foyle: Well, I don't know. Erm, a hundred pounds. That's quite a lot. What do you think? A donation, perhaps? One of the refugee funds? 

Milner: Very good, sir. 

Foyle: Yeah. 

Sam: Yes. Good idea. 

Foyle: There's a Jewish refugee fund. Erm, sergeant, would you...? 

Brooke: Certainly, sir. 

Foyle: And, er, hold back a fiver, and we'll get ourselves the best meal that, er, rations will allow. 

Sam: Hooray! Followed by a film at the Ruby! Bing at his best! 

Milner: Do we have to? 

Sam leaves and Brooke follows her out, launching into a Bing Crosby impersonation as he goes.

Brooke: ♪ Ba-ba-ba-bom ♪

Brooke and Sam: ♪ A home, a home on the range, where the deer and the antelope play... ♪ 

As Foyle puts his coat on, he looks at the chess board on the side table, set up ready to start a game.

Milner: Sad case, sir. 

Foyle: Yeah.

Milner leaves. As Foyle follows, he knocks over one of the white pawns. He turns out the light.
{"type": "series", "show": "Foyle's War", "episode": "06x02 - Broken Souls"}