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ENDEAVOUR <br />
ENDEAVOUR <strong>II</strong> <br />
1
ENDEAVOUR <br />
SERIES <strong>II</strong> <br />
PRODUCTION NOTES <br />
Press Release .................................................................................................... Pages 3 – 4 <br />
Foreword by Writer & Executive Producer, Russell Lewis ................................ Pages 5 – 7 <br />
Shaun Evans plays <strong>Endeavour</strong> ......................................................................... Pages 8 – 10 <br />
Roger Allam plays DI Fred Thursday ............................................................. Pages 11 – 13 <br />
Synopses ....................................................................................................... Pages 14 – 17 <br />
Cast and Crew Credits ................................................................................... Pages 18 – 21 <br />
Press contact: <br />
Kate Bain <br />
Tel: 020 7157 3039 <br />
Email: Kate.Bain@itv.com <br />
Picture contact: <br />
Patrick Smith <br />
Tel: 020 7157 3044 <br />
Email: Patrick.Smith@itv.com <br />
ENDEAVOUR <strong>II</strong> <br />
2
<strong>Endeavour</strong> <strong>II</strong> <br />
Shaun Evans (The Take, The Last Weekend) returns in the lead role as young Morse, <br />
with Roger Allam (The Thick of It, Parade’s End) as his senior Detective Inspector Fred <br />
Thursday, in the second series of <strong>Endeavour</strong>, the phenomenally successful ITV crime <br />
drama and prequel to Inspector Morse. <br />
Series regulars Anton Lesser, James Bradshaw, Jack Laskey, Sean Rigby, Caroline O’Neill <br />
and Abigail Thaw also return. Shvorne Marks joins the cast this series as <strong>Endeavour</strong>’s <br />
new neighbour Monica. <br />
The new series of <strong>Endeavour</strong> will comprise 4 x 120 minute films; Trove, Nocturne, <br />
Sway, and Neverland. All four are written by acclaimed screenwriter and Morse <br />
contributor, Russell Lewis. <br />
Colin Dexter, whose first Morse story was published in 1975, continues his association <br />
with the drama, acting as a consultant to <strong>Endeavour</strong> producers Mammoth Screen. <br />
Writer Russell Lewis said: "1966 brings <strong>Endeavour</strong> a fresh quartet of baffling mysteries <br />
set to test his brain and body to breaking point. Though offset by the possibility of love <br />
unlooked for, against a backdrop of growing change in Britain and the wider world, <br />
<strong>Endeavour</strong> must face a challenge that threatens to take from him all he holds dear... <br />
Family. Friends. Colleagues. The old order changeth... but not without a fight. To the <br />
death." <br />
<strong>Endeavour</strong> debuted in 2012 as a feature length story to celebrate the 25th anniversary <br />
of inspector Morse. This became the highest performing new drama title to air on ITV <br />
that year. <br />
The first full series of <strong>Endeavour</strong> screened earlier in 2013, with each of the four <br />
episodes averaging 7.0m and a 25% share, making it one of the best performing drama <br />
series on ITV that year alongside Broadchurch and Mr Selfridge. <br />
Russell Lewis serves as Executive Producer alongside Mammoth Screen’s Michele Buck <br />
and Damien Timmer, who have overseen <strong>Endeavour</strong> since its inception. Camille Gatin <br />
(Shadow Dancer) is producer. The directors of the four films are Kristoffer Nyholm (The <br />
Killing), Giuseppe Capotondi (The Double Hour), Andy Wilson (Ripper Street) and <br />
Geoffrey Sax (Murder on the Home Front). <br />
ENDEAVOUR <strong>II</strong> <br />
3
ITV Press Contact: <br />
Kate Bain <br />
Tel: 020 7157 3039 <br />
Email: Kate.Bain@itv.com <br />
ITV Picture Contact: <br />
Patrick Smith <br />
Tel: 020 7157 3044 <br />
Email: Patrick.Smith@itv.com <br />
ENDEAVOUR <strong>II</strong> <br />
4
Foreword <br />
by Writer & Executive Producer, Russell Lewis <br />
1966… And all that. <br />
The opening bars of the second movement of Ein deutches Requiem by Johannes <br />
Brahms – which plays across the visual overture of FILM 1: TROVE – set the tone for <br />
ENDEAVOUR SERIES <strong>II</strong>: 1966. Intimations of mortality and an aching melancholy. <br />
The choir sings words taken from scripture – specifically, 1 Peter 1:24 -‐-‐ 'Denn alles <br />
Fleisch, es ist wie Gras' – 'For all flesh, it is as grass'. A fitting memento mori for <br />
<strong>Endeavour</strong> Morse as he deals with the aftershocks of his own brush with death. Thus <br />
we find him, four months on from being shot, awaiting his appointment with the Force <br />
Medical Examiner who will decide if he is fit enough to return to work. <br />
Whether he is indeed fully restored to health – in mind as well as body – is the <br />
question which troubles friend and mentor Detective Inspector Fred Thursday, and <br />
informs the unfolding drama… <br />
1966… It was a very good year. The last hurrah of the old order. A sense of something <br />
ending. Pepper, The Piper, Hendrix and The Doors waiting in the darkened wings to <br />
sweep all asunder. Revolver had shown the way, but there was one act still to play out <br />
before the watershed of '67. <br />
There will be, naturally, a look at a certain sporting event which held the nation <br />
enthralled. All the nation, it should be said, save a young Detective Constable with the <br />
Oxford City Police whose attention is engaged upon the strange and chilling mystery of <br />
FILM 2: NOCTURNE. <br />
1966 was also the year of Dr.Jonathan Miller's masterly interpretation of 'Alice in <br />
Wonderland.' A favourite. Eerie. Unsettling. Haunting. <br />
FILM 3: 'SWAY'… Season of mists and mellow fruitfulness, our Oxford autumn brings <br />
an English particular, fireworks – literal and figurative -‐ and a strangler on the prowl. <br />
The story was born of a bit of digging into Oxford City Police history. November the <br />
Fifth was a perennial problem for the force. Leave for all ranks was invariably <br />
cancelled, and squads of cops in mufti (wait till you see Jim Strange!) were sent into <br />
the night to do what they might to keep the peace. For as darkness fell, so <br />
lawlessness, violence and riotous disorder gripped the streets. And yet it's another <br />
instruction from the Firework Code which looms large… Albeit in a different context <br />
altogether. <br />
On some notional level at least, 'SWAY' invokes the mood of a certain INSPECTOR <br />
MORSE film generally held to be amongst the finest in the canon. I think afficionados <br />
will recognise a pleasing foreshadowing… The old adage has it that those who do not <br />
learn from history are doomed to repeat it. A lesson <strong>Endeavour</strong> Morse appears to <br />
have missed. <br />
ENDEAVOUR <strong>II</strong> <br />
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The question most commonly asked of writers is 'Where do you get your ideas from' <br />
For me it's fragments – a picture; a piece of music; a line from a newspaper, or a beat <br />
from a book; a play; a film; a snatch of conversation overheard on a train. As often as <br />
not, it's a place. Usually somewhere I've come upon in my walking boots. Remote, <br />
typically. Hidden. Often derelict. But always it's somewhere with an atmosphere. <br />
Something that sets the Spider-‐senses tingling. <br />
These things can lie undisturbed amongst the leaf litter of the imagination for weeks, <br />
months, very often years. The fragment puts out tendrils; dark, creeping feelers, that <br />
quest blindly across the gloomy forest floor until they connect with another and make <br />
an unexpected connection. And that's what wakes you at three in the morning and <br />
won't let you get back to sleep. <br />
As a boy in South London in the 1960s, I had a much loved, and oft visited, aunt who <br />
lived in a Victorian tenement. She and the other wives there – for it was invariably <br />
women who did such work – daily swilled down their front step, and swabbed the <br />
communal staircases, with bleach and hot water. From just such a 'partial print' – the <br />
acrid, throat clotting scent of steaming bleach – the mind reconstructs the rest of the <br />
sights and sounds of the place at that period; girls skipping in the courtyard -‐ 'Salt, <br />
mustard, vinegar, pepper.'; the Tallyman on his weekly rounds, collecting hire <br />
purchase payments. Everything on the 'Never-‐Never'… <br />
The next thing you know, nearly fifty years have gone by and, yet, somehow, also <br />
stood still, for <strong>Endeavour</strong> and DS Jakes are climbing a faintly familiar staircase, albeit <br />
one transported to Oxford; looking, in this instance, for a missing boy – and Jakes is <br />
pouring scorn on a place altogether too close too home as 'Never-‐Never-‐Land'… from <br />
which FILM 4: 'NEVERLAND' takes its title. <br />
When it comes to preserving the sacred televisual legacy we inherited, 'nothing but <br />
the best will do for <strong>Endeavour</strong> Morse' is the phrase that springs to mind. It's giddying <br />
company. What you'll be seeing across the four films represents the greater part of a <br />
year's work by a huge number of people – a phenomenal cast and crew. I am indebted <br />
to all of them. <br />
Being allowed to fill in some of the blanks in <strong>Endeavour</strong> Morse's history has been a <br />
great privilege. That such an adventure would also give me the opportunity to <br />
introduce D.I. Fred Thursday and his family, Win, Joan & Sam; Ms. Dorothea Frazil; <br />
Ch.Supt. Reginald Bright; and D.S. Peter Jakes has been a treat beyond any scribbler's <br />
deserving. Add to this the chance to renew an audience's acquaintance with a young <br />
PC Jim Strange and Dr. Max deBryn. <br />
<strong>Endeavour</strong> Morse has enjoyed a long and intimate relationship with his audience, and <br />
we never lose sight of that for a moment. Throughout it all, our touchstone and True <br />
North is Colin Dexter's original vision. Kind, wise and generous to a fault, he makes <br />
himself available to us throughout production. If a story or line of dialogue passes <br />
Colin's quality control test, then we know we're okay. <br />
ENDEAVOUR <strong>II</strong> <br />
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As FILM 1: TROVE begins with the Brahms requiem, so FILM 4: NEVERLAND opens <br />
appropriately with the sublimely moving Purcell 'Nunc dimittis' in G minor, and the <br />
Roseingrave 'Gloria'. 'As it was in the beginning, is now, and ever shall be. World <br />
without end. Amen.' <br />
I hope you enjoy the films. <br />
ENDEAVOUR <strong>II</strong> <br />
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Shaun Evans plays <strong>Endeavour</strong> Morse <br />
A dramatic series finale saw <strong>Endeavour</strong> Morse lose his father and get shot in the line of <br />
duty. After a stint on lighter duties at a different station, the young detective is <br />
deemed medically fit and returns to Oxford City Police to help solve serious crime and <br />
murder in the new second series. <br />
“In the first <strong>Endeavour</strong> film of this series my character comes back to the station after <br />
a few months in another division where he was assigned light duties”, explains Shaun <br />
Evans who reprises his role as <strong>Endeavour</strong> Morse in the drama. <br />
“At the end of last series his father died and he was shot. The events have rocked him, <br />
and his absence means relationships with his colleagues in the police force have <br />
changed. <br />
Shaun continues: “He comes back a far more damaged person. He’s a bit lost in his <br />
grief. He’s also still questioning himself, thinking am I any good Was the last solved <br />
crime a fluke <br />
“A lot of what we want to do with this series is to try and tease out the qualities that <br />
make him unique. It’s a continually shaping process.” <br />
As the series unfolds it becomes clear there are tensions at the station, which also <br />
cause Morse to question his future on the police force. <br />
“The Force itself is changing. The whole thing rests on uneven ground and <strong>Endeavour</strong> <br />
feels like it is shifting constantly. He begins to question, is this the right place for me” <br />
One reason to stay on the Force is Morse’s Detective Inspector Fred Thursday, played <br />
by Roger Allam. <br />
ENDEAVOUR <strong>II</strong> <br />
8
“A lot of this series is about relationships. One of the most important to <strong>Endeavour</strong> is <br />
with Thursday. <br />
“Thursday sees the brilliance in him. Whilst it can be counter-‐productive in some <br />
spheres of his life, with a bit of help his brilliance could make him a great detective and <br />
a great man as well. <br />
“<strong>Endeavour</strong> brings a different thought process into detective work. Thursday is <br />
nurturing that side of him and helping him become a more rounded person. <br />
“I think if you can solve four unusual crimes in a year like he does it certainly deserves <br />
some credit! If he didn’t work in that way then they probably would never have been <br />
solved. Thursday can see there is a place for him on the Force and has his back <br />
covered. This series becomes more about the upper echelons of the hierarchy of the <br />
Police Force recognising and learning that there is a place for him too.” <br />
DI Fred Thursday has established himself as a mentor and firm father figure for Morse. <br />
It’s a relationship that extends beyond the boundaries of the police station. <br />
Explains Shaun: “The relationship between <strong>Endeavour</strong> and Fred Thursday is more two-sided<br />
this time. <br />
“Fred and the whole Thursday family feel <strong>Endeavour</strong> is someone they should take <br />
under their wing. But <strong>Endeavour</strong> is someone they need in their life too.” <br />
Another important relationship begins when Morse moves into a new flat in Oxford. <br />
Living next door is Monica, a nurse who soon becomes the object of his affections… <br />
“Monica comes into <strong>Endeavour</strong>’s life when he’s on his knees. I think it’s very telling <br />
that the relationship comes along at this time. It’s ironic she’s a nurse; she <br />
automatically has that caring, nurturing nature he needs. He’s a broken man and she <br />
contributes to his mending. <br />
“I think it’s a very good thing. Apparently it was very common in those days for <br />
policemen to be with nurses. <br />
“We don’t know how their relationship is going to develop or end up. It’s very much up <br />
for grabs.” <br />
Shaun reveals he was very happy with the audience’s response to the pilot and first <br />
series of <strong>Endeavour</strong>. <br />
“I’m delighted it got such a great audience, particularly as so much work goes into it. In <br />
this job you want to get a good story, tell it well, and hope the audience enjoys it. We <br />
seem to have ticked those boxes. <br />
“I think it’s great to have the opportunity to build and improve on a character so I was <br />
glad to get back and have another crack.” <br />
ENDEAVOUR <strong>II</strong> <br />
9
<strong>Endeavour</strong> was created by writer and executive producer Russell Lewis as the prequel <br />
to the acclaimed series Inspector Morse (1987-‐2000), starring John Thaw. <br />
“Building on the character of Morse has always been the intention. On one level I’m <br />
glad the audience is open to what we’ve done. But even more so that those people <br />
who haven’t seen the original series before can see this series for what it is. <br />
“The second series has allowed us to deepen the relationships and add more depth to <br />
all the characters – <strong>Endeavour</strong>, Thursday, Jakes. The series is not just about crime or <br />
whodunit, although that’s a massive part, it’s also about the people. Whether you <br />
grow to like them or hate them more, you get to know them better.” <br />
So, is Shaun any good at guessing whodunit <br />
“I am getting more used to working it out. But I’m actually more interested in how <br />
<strong>Endeavour</strong> makes the discovery -‐ how the crime is solved, rather than who committed <br />
the crime and why. <strong>Endeavour</strong> uses his intuition and for me, it’s about those <br />
discoveries on the way. I think it is incredibly intellectual and that’s what makes it <br />
interesting.” <br />
Why does Shaun think <strong>Endeavour</strong> is popular with audiences <br />
“Let’s face it, there are a lot of detective shows out there. I think it needs to be <br />
different and interesting – that’s what’s great about this particular character. Where <br />
else would you get a policeman who sings in a choir, who likes crosswords, went to <br />
Oxford, and is at the lower end of the police hierarchy He’s an interesting character <br />
and an interesting human being. I think that’s what makes <strong>Endeavour</strong> unique.” <br />
Being set in the 1960s also sets <strong>Endeavour</strong> apart from other crime drama. <br />
“I’m delighted people like the history of it”, says Shaun. “It was a period of great cars, <br />
great costumes, great styles and great ideas. Also, women are starting to get much <br />
more of a voice and it’s a significant period of change in music.” <br />
The Jaguar driven by <strong>Endeavour</strong> Morse has become an icon of the series and of that <br />
period in time. What’s it like <br />
“Fantastic. It smells of old leather. It’s a beautiful car, such a classic. If I had the <br />
opportunity I would take it home. It would probably break down, but it’s a beautiful <br />
motor and nice to drive.” <br />
Shaun’s credits include: War Book; The Last Weekend; Silk; Whitechapel; Wreckers; <br />
The Take; Cashback. <br />
ENDEAVOUR <strong>II</strong> <br />
10
Roger Allam plays DI Fred Thursday <br />
As the prequel to Inspector Morse, <strong>Endeavour</strong> is set in the iconic 1960s, a bygone era <br />
famous for change in Britain. The new second series kicks off in the year 1966, in the <br />
lead up to the World Cup. <br />
Roger Allam recalls that memorable year when he was a young boy living in London, <br />
and why he thinks nostalgia in a period drama can appeal to audiences. <br />
“Working on a period drama such as <strong>Endeavour</strong> does bring back a lot of memories”, <br />
says Roger. In the series there is a scene when Thursday’s family is sitting around the <br />
television watching the football. I remember doing just that -‐ cheering and shouting <br />
with my family around me. <br />
“I think having something like the World Cup in the background, because it’s 1966, is a <br />
way to pinpoint a moment in the past. We don’t overly focus on it in the series, but it’s <br />
there as a marker. <br />
“One of the pleasures is being able to look back, but it also serves as a way in for <br />
younger people who didn’t witness that period. After the 2012 Olympics there is a <br />
recent good feeling about British sport. The World Cup of 1966 refers back to another <br />
period when there was a good feeling about English sport. <br />
Driving the classic black Jaguar used in <strong>Endeavour</strong> also reminds Roger of his childhood. <br />
“As a small boy I remember the first car my father ever bought – it was a second hand <br />
Austin of England and cost about £30. Obviously I was just a lad but it felt as if you <br />
were sitting in an armchair in your living room. It had a very different feel – that of the <br />
steering wheel, the smell of the interior. <br />
ENDEAVOUR <strong>II</strong> <br />
11
“I wouldn’t say the Jag was an easy drive, far from it. It feels like you have to catch a <br />
taxi to reach the gear stick sometimes”, laughs Roger. “But it’s old now so not easy <br />
compared to the cars we have nowadays. Of course, there were far fewer cars on the <br />
road then. <br />
“I lived in Putney in 1966 and I remember our street only had four cars parked. It <br />
certainly made it easy to play football in the road!” <br />
The first <strong>Endeavour</strong> film sees the return of the young detective to the station following <br />
a dramatic climax to series one. Roger reveals how his character, DI Fred Thursday is <br />
pleased to see his colleague back and willing to take on more serious crime in Oxford. <br />
“At the end of the first series Morse was wounded and his father died. The first story <br />
shows his period of recovery. Thursday is very keen to have him back but he’s also <br />
concerned as to how he’ll recover. <br />
“Thursday was a service commander in the war -‐ his experiences of that time and of <br />
being injured mean he understands the physical toll something like a gunshot wound <br />
can take on you. Morse is a robust character but there’s a rupture in the norm, and it <br />
takes a while for everything to fit back together and become comfortable.” <br />
Morse had a turbulent relationship with his own father before he died. Does Roger <br />
think DI Fred Thursday has become a surrogate father figure <br />
“I think if you lack a warm father figure in your life perhaps you do seek another. It’s <br />
not something either of them do consciously. It’s a nurturing relationship and they <br />
offer support for each other.” <br />
Morse is able to offer his support to Thursday when a person from his past stirs painful <br />
memories of the war. <br />
“In the third film you get to see more of Thursday’s past -‐ almost like a haunting. It’s a <br />
revelation to Morse. I think it can be enlightening and disturbing at the same time <br />
when you find out something big about someone’s past. But Morse helps Thursday to <br />
keep some sense of stability.” <br />
Since <strong>Endeavour</strong> began, audiences have grown to love DI Fred Thursday and his direct, <br />
if sometimes gruff approach to policing. <br />
“Thursday has a very strong moral sense of what’s right and what’s wrong. I don’t <br />
think he’s afraid to step outside of the rules if needs be, and this is partly because of <br />
his experiences at war,” says Roger. “He’s been in extreme situations where he’s <br />
needed to cut to the centre of the problem, and that might sometimes involve a bit of <br />
fisticuffs.” <br />
“He represents a strand of people who fought in the war, defending the British Empire, <br />
defending patriotism and building a decent future in Britain. He’ll bend the rules when <br />
the very core of his beliefs is threatened. <br />
ENDEAVOUR <strong>II</strong> <br />
12
“Thursday is a good detective. Being on the right side of the law is important to him <br />
and bound up in who he is. If he lost that part of himself he would struggle with life.” <br />
<strong>Endeavour</strong> wouldn’t be the same without DI Thursday, and luckily Roger was over the <br />
moon to return for another series. <br />
“It’s good to come back. Luckily I really like the characters! This is the first time I’ve <br />
ever been involved in anything quite like this. I did have an on-‐going character in The <br />
Thick of It but that’s very different. This is far more grounded in characterisation. <br />
“I am really pleased audiences seem to enjoy it. The fear was people who remember <br />
Inspector Morse might be critical of it, but it’s been accepted by them and presumably <br />
there will be some viewers watching who won’t have seen the original Morse at all.” <br />
What can Roger reveal about the four new and much anticipated films <br />
“It’s an interesting series with lots going on. Each film is a stand-‐alone story but <br />
running through it is a potential merger to create Thames Valley. There’s potential <br />
corruption and plenty of questions to be answered, including that of the futures for <br />
both Thursday and Morse. <br />
“I think it’s safe to say there’s a bit of a cliff hanger at the end of the second series <br />
which might look forward to a third series!” <br />
Roger Allam’s credits include: The Politician’s Husband; The Thick of It; Parade’s End; <br />
The Woman in Black; The Iron Lady; The Jury; Game of Thrones; Tamara Drewe. <br />
ENDEAVOUR <strong>II</strong> <br />
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<strong>Endeavour</strong> <strong>II</strong> Synopses <br />
FILM ONE -‐ 'TROVE' <br />
May 1966. DC <strong>Endeavour</strong> Morse returns to Oxford City Police after a four-‐month <br />
absence from duty. Reunited with DI Fred Thursday, still reeling from the final <br />
moments of Series 1, the young detective's involuntary furlough has left him wounded <br />
-‐ in mind, more than body. <br />
Another dazzlingly complex mystery is set in motion during a Broad Street parade, <br />
celebrating the might of Britain's military accomplishments. The festivities, soured by a <br />
rash student stunt, are thrown into sharp relief when a John Doe plummets to his <br />
death from a nearby council building. A clutch of business cards bearing multiple <br />
identities suggest the death was more than just a routine suicide. <strong>Endeavour</strong> flexes his <br />
gumshoe muscles to uncover the corpse's identity -‐ a solitary pursuit that builds to <br />
a trip to London with troubling consequences. Whilst a concerned Thursday looks on, <br />
the fractured pieces of the kaleidoscope mirror the young detective's state of mind, as <br />
he pulls two seemingly unrelated cases into the fray -‐ an anguished father searching <br />
for a missing daughter, and a smash-‐and-‐grab robbery of medieval artifacts at Oxford's <br />
Beaufort College. <br />
All strands coalesce around the victim's final message, scrawled on a motel notepad: <br />
D-‐DAY, FRIDAY, 98018. As Oxonians go to the polls in a closely fought by-‐election and a <br />
beauty contest builds to its conclusion, <strong>Endeavour</strong> must navigate the choppy waters of <br />
both worlds, as his investigation shakes the highest pillars of Oxford society. With the <br />
body count rising and his fierce intellect slowly drawing back into focus, the young <br />
detective risks all to bring those responsible to justice. It is a decision that will send <br />
shockwaves across the course of the series. <br />
ENDEAVOUR <strong>II</strong> <br />
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FILM TWO -‐ 'NOCTURNE' <br />
July 1966. World Cup fever grips the nation, as Argentina face off against England in <br />
the quarterfinals. In a sleepy corner of an Oxford museum, a septet of schoolgirls <br />
saunters through the worldly exhibits. But in a closed-‐off enclave, a blade slashes, <br />
blood sprays crimson and a man falls to his death... <br />
DC <strong>Endeavour</strong> Morse is one of the first on the scene in the killing of Adrian Weiss, an <br />
elderly gentleman with a specialism in heraldry and genealogy. His throat laid open, <br />
Weiss was slain by a katar -‐ a ceremonial dagger with links to nineteenth century <br />
British India. The weapon will prove key to unlocking Weiss' final hours. <br />
The mystery propels <strong>Endeavour</strong> to the Blythe Mount School for Girls; an establishment <br />
isolated in the summer months save for a skeleton staff and a handful of pupils. A <br />
funereal pall hanging over the school stokes the young detective's sense of dread. He <br />
returns home to find an instruction ('SAVE ME') slipped into his coat pocket. <br />
<strong>Endeavour</strong> digs into the building's troubled history, determining a connection between <br />
Weiss' untimely fate and a series of murders on the Blythe Mount grounds. Murders <br />
that transpired almost a hundred years ago to the day -‐-‐ and presently unsolved. <br />
Tensions teeter over a knife-‐edge when one of the seven girls disappears into the <br />
night, without trace or explanation. <br />
As the centenary of the murders loom and the malign presence within the school <br />
quickens its pace, with devastating consequences, <strong>Endeavour</strong> must retrace the <br />
hanging threads of Weiss' remaining research. Spectres from the past threaten to <br />
crash into the present and the bounds of the young detective's rational mind are <br />
tested. <br />
ENDEAVOUR <strong>II</strong> <br />
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FILM THREE -‐ 'SWAY' <br />
November 1966. Oxford's dreaming spires darken as Bonfire Night beckons. A <br />
housewife, Mrs Vivienne Haldane, found choked to death in her own home marks the <br />
third strangling in a month, setting Oxford City Police on edge. Pulled tight around the <br />
victim's throat -‐-‐ a silk black stocking. Though the victims bear little relation to one <br />
another beyond the superficial, DC <strong>Endeavour</strong> Morse bridges the divide: the three <br />
victims are married women, all of whom have been found shorn of their wedding <br />
rings. <br />
As a city-‐wide manhunt for a multiple murderer brews, <strong>Endeavour</strong> unearths a private <br />
diary kept hidden by Mrs Haldane, detailing periodic infidelities with an anonymous <br />
'Mr X'. Her husband, a bloated mathematician, offers precious little information. But <br />
the specificity of the murderous stocking -‐-‐ a high-‐line brand, 'Le Minou Noir' -‐-‐ opens <br />
a new avenue of investigation. <br />
<strong>Endeavour</strong> traces the garment's provenance to Burridges, an innocuous department <br />
store, save for being the stocking's sole supplier across Oxford. As its denizens fall <br />
under suspicion, the investigation draws out painful memories for DI Fred Thursday, <br />
for whom a chance encounter with shopgirl Luisa Armstrong rouses reminiscences of <br />
wartime strife and unbidden promises. <br />
As the suspect list narrows, and the Oxford Strangler stalks his next victim with <br />
increasing desperation, other common strands begin to pull into focus. But <strong>Endeavour</strong> <br />
and Thursday, grappling with personal travails in their private lives, miss a deeper <br />
tragedy unfolding, not far beneath the surface. <br />
ENDEAVOUR <strong>II</strong> <br />
16
FILM FOUR -‐ 'NEVERLAND' <br />
December 1966. Change is in the air as winter's chill grips Oxford. Plans to build a new <br />
police station lead both DC <strong>Endeavour</strong> Morse and DI Fred Thursday to question their <br />
respective places on the force. A brace of cases occupy the young detective's time: a <br />
boy, Tommy Cork, reported missing from a broken home, and the body of a washed-‐up <br />
journalist, found on railroad tracks in mysterious circumstances. <br />
The cadaver is that of Eric Patterson -‐ a disreputable reporter last seen embroiled in an <br />
altercation with a high-‐ranking Council official. Their topic of conversation Landesman <br />
Construction, a company with hasty plans to redevelop the site of a long-‐since <br />
shuttered boys' correctional facility, Blenheim Vale. When a petty criminal absconds <br />
from an open prison, also with a connection to Blenheim, it sets off a chain reaction of <br />
troubling events, threatening to expose unspeakable horrors of the past. <br />
The investigation deepening, <strong>Endeavour</strong> and Thursday find themselves confronted by a <br />
cone of silence, and a disparate group of men unwilling to talk. Increasingly on the <br />
outs at a police force tainted with cronyism and corruption, the two men must band <br />
together, peeling back layers of malfeasance extending to the upper echelons of <br />
Oxford society. <br />
When it transpires Tommy Cork's disappearance is part and parcel of the same case -‐ <br />
the boy possibly witness to an event others would kill to conceal -‐ <strong>Endeavour</strong> and <br />
Thursday steel themselves for a reckoning in blood, as Series 2 builds to its <br />
thunderous, irrevocable conclusion. <br />
ENDEAVOUR <strong>II</strong> <br />
17
Cast Credits <br />
<strong>Endeavour</strong> ................................................................................................. SHAUN EVANS <br />
DI Fred Thursday ...................................................................................... ROGER ALLAM <br />
CH SUPT Reginald Bright .......................................................................... ANTON LESSER <br />
PC Strange ..................................................................................................... SEAN RIGBY <br />
DS Peter Jakes .............................................................................................. JACK LASKEY <br />
Dr Max Debryn .................................................................................. JAMES BRADSHAW <br />
Dorothea Frazil ........................................................................................ ABIGAIL THAW <br />
Win Thursday ..................................................................................... CAROLINE O’NEILL <br />
Joan Thursday ........................................................................................... SARA VICKERS <br />
Sam Thursday ........................................................................................... JACK BANNON <br />
Monica ................................................................................................. SHVORNE MARKS <br />
FILM ONE – TROVE <br />
Walter Fisher ............................................................................................. NIGEL COOKE <br />
Kitty Batten ............................................................................................. JESSIE BUCKLEY <br />
F.M.E ......................................................................................................... NICK WARING <br />
Speight ......................................................................................... WILLIAM MANNERING <br />
Barbara Batten ....................................................................................... BETH GODDARD <br />
Archie Batten ......................................................................................... JONATHAN COY <br />
Bernard Yelland ......................................................................... PHILIP MARTIN BROWN <br />
Diana Day .............................................................................................. JESSICA ELLERBY <br />
Muriel Todd .......................................................................................... POOKY QUESNEL <br />
Val Todd ............................................................................................. DAVID WESTHEAD <br />
Tony Frisco ............................................................................................ LIAM GARRIGAN <br />
Justin Delfarge ........................................................................................ JAMES PALMER <br />
Copley-‐Barnes ........................................................................................... JAMIE PARKER <br />
Mallory .................................................................................................. SAMUEL OATLEY <br />
Jenkins ........................................................................................................ CELYN JONES <br />
Lydia ..................................................................................................... EMILY PLUMTREE <br />
Frida Yelland ............................................................................................ TIEVA LOVELLE <br />
Returning Officer .................................................................................. MICHAEL HOBBS <br />
ENDEAVOUR <strong>II</strong> <br />
18
FILM TWO – NOCTURNE <br />
Miss Victoria Danby ....................................................................................... SUSY KANE <br />
Petra Bryant ........................................................................................... LUCY BOYNTON <br />
Stephanie Hackett .................................................................................... MAYA GERBER <br />
Philippa Collins-‐Davidson ................................................................... ANYA TAYLOR-‐JOY <br />
Shelly Thengardi ..................................................................................... EMILY WARREN <br />
Antonia Lockwood .......................................................................................... EVE PERRY <br />
Edwina Phillips .................................................................................... IMOGEN GURNEY <br />
Bunty Glossop ....................................................................................... NELL TIGER FREE <br />
Terence Black .............................................................................................. DANIEL INGS <br />
Nahum Gardiner .......................................................................... MICHAEL J. SHANNON <br />
Tabby Gardiner ....................................................................................... LYNN FARLEIGH <br />
Daisy Weiss ................................................................................................... KATE LAMB <br />
Miss Bronwen Symes ............................................................................ DIANE FLETCHER <br />
Fitzowen .......................................................................................... DESMOND BARRITT <br />
Cendrée Wyvern ................................................................................. THOMAS ARNOLD <br />
DI Church .................................................................................................... SIMON KUNZ <br />
Maud ............................................................................................ ELEANOR NORTHCOTT <br />
Tom Prior ............................................................................................... BILLY KARSWELL <br />
Struan Rodger ........................................................................................ WILF KARSWELL <br />
Ian Peck ................................................................................................................... OSSIE <br />
FILM THREE – SWAY <br />
Luisa Armstrong .......................................................................................... CÉCILE PAOLI <br />
Charles Highbank ................................................................................. ADRIAN SCHILLER <br />
Joey Lisk ............................................................................................. MAX WROTTESLEY <br />
Gloria Deeks ........................................................................................... GINA BRAMHILL <br />
Roy Huggins .................................................................................................. ROB JARVIS <br />
Barry ....................................................................................................... ROB COMPTON <br />
Quinbury ............................................................................................... TIM MCMULLAN <br />
Alan Burridge .......................................................................................... JOE BANNISTER <br />
Rufus Haldane .................................................................................... MICHAEL THOMAS <br />
ENDEAVOUR <strong>II</strong> <br />
19
Norman Parkis ................................................................................. MATTHEW WILSON <br />
Lee ........................................................................................................ JAMES DOHERTY <br />
Store Detective ......................................................................................... PAUL LACOUX <br />
Talfryn Pugh .............................................................................................. BRIAN LIPSON <br />
FILM FOUR -‐ NEVERLAND <br />
Tommy Cork .......................................................................... LOUIS ASHBOURNE-‐SERKIS <br />
Benny Topling ........................................................................................ OLIVER LANSLEY <br />
Nicholas Myers ................................................................................... ANDREW GOWER <br />
Gerald Wintergreen .......................................................................... GORDON KENNEDY <br />
Joe Landesman ...................................................................................... RICHARD DIXON <br />
Angela McGarrett ........................................................................... EMMA HIDDLESTON <br />
Dr. Jasper Fairbridge ................................................................................... PAUL RIDLEY <br />
Prison Officer Wainwright ....................................................................... MARK FLITTON <br />
“Nosey” Parker .................................................................................. MARTIN HANCOCK <br />
Clive Deare ................................................................................................. JAMES WILBY <br />
Henry Portmore .................................................................................. OLIVER COLEMAN <br />
Hilary Portmore ............................................................................ SARAH BECK MATHER <br />
Chief Constable Standish ............................................................... DEREK HUTCHINSON <br />
County PC Willis .................................................................................... GEORGE TURVEY <br />
Hazel Wintergreen ......................................................................... SARAH WOODWARD <br />
DI Church .................................................................................................... SIMON KUNZ <br />
Mona Cork ..................................................................................................... ABBY FORD <br />
DI Chard ....................................................................................................... VINCE LEIGH <br />
DI Gregson ..................................................................................................... MAX GOLD <br />
F.M.E ......................................................................................................... NICK WARING <br />
ENDEAVOUR <strong>II</strong> <br />
20
<strong>Production</strong> Credits <br />
Executive Producer .................................................................................. MICHELE BUCK <br />
Executive Producer .............................................................................. DAMIEN TIMMER <br />
Executive Producer/ Writer ..................................................................... RUSSELL LEWIS <br />
Producer ................................................................................................. CAMILLE GATIN <br />
Line Producer ............................................................................................ HELGA DOWIE <br />
Director, Film 1 ............................................................................. KRISTOFFER NYHOLM <br />
Director, Film 2 ............................................................................ GIUSEPPE CAPOTONDI <br />
Director, Film 3 ......................................................................................... ANDY WILSON <br />
Director, Film 4 ........................................................................................ GEOFFREY SAX <br />
1 st Assistant Director, Films 1 & 3 ......................................................... MARCUS CATLIN <br />
1 st Assistant Director, Films 2 & 4 .............................................................. PAUL JUDGES <br />
Director of Photography, Films 1 & 4 ................................................. RASMUS ARRILDT <br />
Director of Photography, Film 2 .................................................................... NEUS OLLÉ <br />
Director of Photography, Film 3 ............................................................... GAVIN FINNEY <br />
<strong>Production</strong> Designer .......................................................................... ANNA HIGGINSON <br />
Costume Designer .................................................................................... JO THOMPSON <br />
Make-‐Up Designer ..................................................................................... IRENE NAPIER <br />
Location Manager, Films 1 & 3 .............................................................. NICK MARSHALL <br />
Location Manager, Films 2 & 4 ............................................................. ALEXANDER COX <br />
Sound Recordist ................................................................................... DAVID LASCELLES <br />
Editor, Film 1 ........................................................................................ CHARLIE PHILLIPS <br />
Editor, Film 2 ................................................................................................... YAN MILES <br />
Editor, Film 3 ................................................................................ ANDREW MACRITCHIE <br />
Editor, Film 4 .................................................................................... DAVID BLACKMORE <br />
Casting Director ........................................................................................ SUSIE PARRISS <br />
ENDEAVOUR <strong>II</strong> <br />
21