Yeardley:  This episode contains dramatic recreations of historical scenes and depictions of violence that some listeners may find disturbing. So, please take care when listening. Also, the words spoken by the actors in this series are taken from letters, diary entries, legal transcripts, and period newspaper interviews.

[dramatic music]

 Small Town Dicks presents Beyond Recognition, the First Modern Murder.

[somber music]

Yeardley:  It’s 06:30 in the morning on a gray Sunday, September 15th, 1935. Agnes Oxley is still in bed, trying to grab a few more minutes of sleep. She’s a housekeeper at the home of Dr. Buck Ruxton, one of the most popular physicians in Lancaster, a city in Northern England.

[knocking on door]

 Someone at the door this early? That’s strange. Oxley bundles into her robe and walks down the hall.

[door opening]

Ruxton:  Oh, good morning, Mrs. Oxley. I need to speak with you.

Agnes:  Dr. Ruxton. What are you doing here?

Yeardley:  Oxley is puzzled. The doctor has never come to her house before, and he seems nervous. She knows Ruxton’s an excitable man, capable of dramatic mood swings. She’s witnessed more than a few yelling matches between him and his wife, Isabella, fights that exploded and then fizzled out just as quickly. But this is different. His eyes are bloodshot, he hasn’t shaved, his clothes are a mess, and he smells of nervous sweat. The thing is, Dr. Ruxton prides himself on always looking well-groomed and immaculately dressed.

Agnes:  What can I do for you, doctor?

Ruxton:  No, no need for you to come to the house this morning. Mrs. Ruxton and Mary have gone to Edinburgh for a few days, and I’ll be taking the children to the beach at Morecombe.

Yeardley:  Ruxton is talking about his wife, Isabella, and Mary Rogerson, the young nanny for the three Ruxton children. Oxley’s worked alongside Mary for many months now. But Mary on a road trip with Mrs. Ruxton? That’s a new one.

Agnes:  Well, the missus don’t need to be there for me to clean up your surgery.

Ruxton:  No, no. I’m telling you, that won’t be necessary. I’ll see you on Monday as usual.

Yeardley:  Umm-mm. Okay. Oxley nods slowly, looks him up and down.

Agnes:  Are you sure you’re all right, Dr. Ruxton?

Ruxton:  Yes. Yes, of course. I’m fine. Bit of a sleepless night. Too much coffee, I suppose.

Yeardley:  And with that, Ruxton makes a beeline for his car and drives away. Oxley can tell something is up. And she’s right. Ruxton’s lying to her, but not about everything. Ruxton did have a sleepless night, but it had nothing to do with coffee.

[upbeat music]

Yeardley:  Previously on Beyond Recognition.

Laura  Well, it was certainly uncommon back in the day for women to go to the police.

Tom:  He was so enthralled by her that he was also threatened that he would lose her.

Jeremy:  He felt that his pride was being slighted by Isabella and the talk of her seeing other men.

Tom:  And this, of course, is the ultimate tragedy because she’s trapped. She’s trapped in this cycle.

[upbeat music]

Yeardley:  I’m Yeardley Smith. From Audio 99, this is Beyond Recognition. Episode 3, Sunday, Bloody Sunday. Over the last year, Dr. Ruxton and Isabella’s relationship has become increasingly violent. And in 1935, domestic violence is not on law enforcement’s radar. And so, the cycle continues. Ruxton lectures her, beats her, humiliates her, prays for her. Isabella resists him every step of the way. But as she does, Ruxton amps up the brutality and neither of them are backing down.

 Let’s wind back now to the night before Ruxton comes knocking at Oxley’s door. Isabella has taken a trip with her sisters to the Seaside Resort of Blackpool. That evening, she starts her return home hours later than she had promised. Here’s former Edinburgh detective and author, Tom Wood. He’s spent years studying what happened that night.

[bell ringing]

Tom:  So, as the evening goes on, Ruxton, remember, paranoid by this time, raging with fury at yet another insult that his wife has heaped upon him, here she is, she said she’d be back at 10:00 and it’s now 11:30 near midnight, she’s still not back. And so, the pressure grows and grows and grows.

Yeardley:  At midnight, Ruxton hears her car pull up. The front door opens. He listens to Isabella’s soft steps on the carpeted stairs.

Tom:  So, we can be sure that in the early hours of the morning, Bella came in and she got to the top of the stairs before being confronted by Ruxton. And it was obviously furious words and not for the first time, he grabbed her round the throat.

Yeardley:  It isn’t the first time Ruxton’s wrapped his hands around Isabella’s neck. But this time is different. This time, he doesn’t let go. He looks her in the eye as she struggles to breathe, and he strangles her to death.

Tom:  At this point in time, he would be completely beyond reason, completely lost all his composure.

Yeardley:  After Ruxton strangles Isabella, he stabs her multiple times. She collapses on the landing, her blood soaking into the carpet. But the horror isn’t over yet. The attack wakes up the nanny, Mary Rogerson.

[somber music]

Tom:  Mary came out of her room at that time, almost certainly, and tried to help her mistress.

Yeardley:  Ruxton realizes he can’t have a witness to the murder of his wife.

Tom:  I think, poor Mary, I have no doubt that she gave up her life for her mistress. She was bludgeoned. A serious head injury, probably by a poker which came from the main bedroom fire.

Yeardley:  Standing at the top of the staircase in the dark, Ruxton is now panting, gazing at the two women lying at his feet, dead and dying. He looks at his hands and his clothes. They’re splattered heavily with blood. So is everything else the carpet, the walls, the stairway. The house is quiet. Everything is still. All he can hear is his heartbeat, thumping in his ears like a cannon.

[heartbeat thumping]

Sue:  Most murders are not premeditated.

Yeardley:  That’s Professor Sue Black. She’s one of the world’s leading forensic anthropologists.

Sue:  Most murders occur in an act of passion. Whether it is anger, it is drug related, it is alcohol related, whatever it may be, it’s usually an act of passion. And you’re suddenly faced with a dead body, what do you do?

Yeardley:  Professor Black really knows her stuff. She led the British forensics team during war crime investigations in Kosovo and she’s helped solve many high-profile cases throughout the UK.

[somber music]

Sue:  There are a number of those who will say, “I’ve got a body, I need to get rid of it.” And those of us who have no experience in how to get rid of a body, then it’s a really difficult thing to do because a body is really heavy, it’s really unwieldy, it doesn’t behave the way you expected.

Yeardley:  Yes, but Ruxton is a doctor, and doctors know how bodies behave.

Sue:  If you then think, “Right, I’ll cut it into pieces,” most people don’t know how to dismember a body and so it’s a really difficult thing to do. But if you have the skills, it’s actually really straightforward and Ruxton had the skills.

Yeardley:  Between years of surgical training in medical school, his military service in the field and hospital jobs, Ruxton certainly knew his way around a cadaver. Here again is former detective, Tom Wood.

Tom:  Now, you must remember that Ruxton had some experience as a police doctor. He was a voluntary police doctor for the Lancastrian police. And he had also had forensic science lectures in his time. So, he was aware, he was forensically aware.

Yeardley:  Ruxton chooses his best disposal option, dissection and mutilation. Where to do it is the only question. There’s his examining room on the first floor, but he’d have to drag the bodies downstairs to get there. There’s another option though, right down the hall.

Sue:  Every house has got a room that is ideal for dismemberment because it’s usually got a running water system, which is a bathroom, and if you have a bath, you have a receptacle. There’s a perfect size for a body to go into. So, if I was going to dismember someone, I would take them into the bath and I’d do it in the bath, because you limit the amount of blood that there is. Of course, he’d murdered them on the landing. So, there was going to be blood there. But to actually bleed the bodies out, the bath is the perfect place.

Tom:  Now, much has been made of the fact that he cut up the bodies and there’s been sort of sadistic motives ascribed to this action. I don’t think that’s true at all. I don’t think he set out to desecrate the bodies. I think he just set out to use the skills that he had to try and conceal his crimes and try to cover his tracks.

Sue:  So, he was thinking not only as a surgeon in the dismemberment, he was thinking forensically in terms of, “What can I remove so that these people can’t be identified?”

[upbeat music]

Yeardley:  Okay. All right, listen to me. We’re about to give you a very graphic description of human mutilation. It’s an honest and detailed account of what actually happened in that bathroom in 1935. But it may be hard to listen to. Here’s Tom Wood.

Tom:  Ruxton removed the reproductive organs. He skinned the torso, he removed the breasts, he cut off the head, he removed the noses, he took out the eyes, he removed the lips, he took off the ears, he removed most of the hair from the skulls.

Yeardley:  Oh, boy. Dr. Ruxton is incredibly thorough in mutilating the mother of his children. There’s almost nothing left to identify Isabella Ruxton as herself, down to a large bunion on her left foot. When the doctor is done, it’s hard to tell if she’s even female.

Tom:  So, all that was left, and you can see this in the crime scene photographs, was basically a skull with strands of flesh hanging from them. The teeth were gone, and he did that with the whole of the skeletal frame.

Yeardley:  But as he begins dissecting Mary Rogerson’s body, Ruxton cuts himself. Here’s Sue Black.

Sue:  You’ve got to bear in mind he won’t have had gloves. Everything was done without gloves and his hands would have been slippy.

Yeardley:  Ruxton gets a deep wound on his right hand that instantly spews blood.

Sue:  So now, he was in pain and he was in discomfort. So, it became more and more difficult for him to do the dismemberments, but he certainly would have done them in just a matter of hours because he knew what he was doing.

[somber music]

Yeardley:  With dawn approaching, Ruxton’s energy starts to flag. His scalpel’s getting dull. The deep cut in his right-hand hurts like hell. And on top of all that, his three kids, Elizabeth, Diana and Billy, are asleep down the hall. At least Ruxton hopes they are. He hopes they didn’t hear his brutal attack on their mother and their nanny.

Tom:  Remember that Elizabeth is six years old. So, she’s at an age and stage where she’s very aware of things going on. So, there must have been a real concern in his mind that she would wake up, she would hear the noises, she’d come out and be presented with this awful scene and then, of course, what would he do then?

Yeardley:  Luckily for Ruxton, that question goes unanswered. The kids stay asleep.

Tom:  So, as the daylight comes in, he’s got another set of problems because he’s got to act normal, and he’s got to look concerned because his wife and Mary have gone away. But he’s got to look after the kids, and he’s got to perform the duties of a doctor.

Yeardley:  The throbbing hand wound slows down Ruxton’s dissection of Mary. He’s exhausted and he’s a bit more careless than he was with Isabella’s body. Now, as Sunday morning arrives, Ruxton’s got a lot to figure out, starting with what to do about a blood-spattered house, full of body parts.

[somber music]

 So, here’s Ruxton’s basic plan to outwit the police. Turn two dead women’s bodies into dozens of portable parcels of meat and bone, then dump them far away from 2 Dalton Square. Sell the idea that Isabella has abandoned him for another man and get on with his life. By mid-morning, Ruxton is already spinning lies and taking action to cover his tracks. He tells the newspaper and milk delivery women that Isabella and Mary are visiting Scotland. As he reaches for the special Sunday Graphic local edition, his injured right hand is hard to ignore.

[upbeat music]

 The bandage looks like a thick white mitten with blood seeping through it. After the delivery women leave, Ruxton drives to petrol stations and buys eight gallons of gas in cans. Now, that’s a lot of gas for that time. Unless, you’re planning a long drive or you want to burn something. Back at his home office, when a patient arrives for an early appointment, Ruxton says he’s too busy to see her. He says he’s planning some redecorating and needs to take up some carpets. The patient leaves puzzled. I mean, the place is already so elaborately decorated.

[somber music]

 A little bit later, Ruxton shows up unannounced with his three kids at the home of his friends, Herbert and Ethel Anderson. He tells them Isabella’s gone off somewhere and he needs help with the children.

Tom:  And of course, the friends were used to this, were used to Bella going off to Edinburgh or going off to see friends. So, there was a deal of sympathy for Ruxton. Some did know the background of domestic violence and strife, but others thought she was just a high-spirited woman who wanted to lead her own life. And poor old Dr. Ruxton was left holding the baby, quite literally, the three babies.

Yeardley:  Ruxton asked the Andersons if the kids can stay there. Ethel, sweet Ethel, feels for him and she’s happy to have the children stay for a few days. Herbert Anderson, who’s a dentist, asks about Ruxton’s hand. Ruxton unwraps the gauze, revealing an angry slice across three fingers, down to the bone. He says he cut it while opening a tin of peaches for the kid’s breakfast. Huh. Anderson inspects the gaping wound and says, “Well, that must be a hell of a can opener.” Ruxton shrugs it off and gets on his way. He’s got to get back to dispose of the decaying body parts that he’s piled up in the two upstairs bedrooms. Sure, he’s wrapped the pieces in newspaper and cloth, but that’s not going to hold back the creeping stench of rot and leaking fluids for very long.

 Around noon on Sunday, Ruxton shows up at the home of Mary Hampshire. She’s been his patient for seven years. He asks if she and her husband will come and do some cleaning before decorators arrive on Monday. He says with his injured hand, it’s just too much for him and he will pay them. That might sound like a weird request, especially because Ruxton didn’t want his own housekeeper to clean that morning. But by this point, he realizes he cannot sanitize the house alone. And in this era before health insurance and Britain’s National Health Service, it wasn’t uncommon for a patient to barter work for medical care.

 Ruxton knows the Hampshires are working class people who could use extra cash, and they won’t ask questions, particularly of their trusted doctor. Mary Hampshire agrees. Ruxton tells her that Isabella is in Blackpool, not Edinburgh, like he told other people, and that the nanny is away on holiday. None of that strikes Hampshire as particularly odd. But what she sees inside 2 Dalton Square, that’s another story which she eventually would tell in court.

Mary:  I noticed the stairs were in a dirty condition. The bathtub was a very dirty yellow, right up to about 6 inches from the top. I was very much surprised and told the doctor so. I gave the bath a good scrub but could not get the stains off. I noticed blood dripped on the floor and it had been roughly wiped up. The bedroom doors on the top floor were locked, but there were no other doors locked.

Yeardley:  On that day, Ruxton takes Hampshire through the house into the backyard. On the way out she sees a blood-stained suit. Out back, he shows her several carpets caked with dried blood. There’s also a blood-stained shirt and blood stained, partially burned towels. “Well, I mean, he is a doctor,” Hampshire thinks, and where there’s a doctor there’s going to be blood, right? But this is a lot of blood. Ruxton explains it came from the cut on his hand.

Mary  We said that if the carpets and the suit were of any use to us, we could have them. He said the suit was badly stained but it was a good suit, and I could have it cleaned. He said he had worn it that morning when he cut his finger.

Yeardley:  You know, the cut he got from opening a can of peaches. She nods and doesn’t ask questions. Ruxton says if she and her husband want the suit and the carpets, they can have them. Then, he drives off. It’s almost dusk.

[somber music]

 Hampshire’s husband arrives to help with the job. They scrub blood for hours. She pours buckets of water on the carpets. It runs off a deep rust color again and again. They sweep the rooms and stairs from top to bottom. They collect trash from every part of the house. They find a lot of it. But it’s what they don’t find that sticks out to the Hampshires. That can opener and an empty can of peaches. After 5 hours of cleaning, well into the night, the Hampshire’s are ready to leave. Mr. Hampshire waits outside smoking a cigarette, holding the suit. It begins to rain.

[raining]

 Mary Hampshire walks through the house, switching off the lights. As she does, the three-story building gets darker and darker. The life seems to drain out of it. At the front door, she turns and looks at her and her husband’s handiwork. They have scrubbed the place clean. Her eyes travel slowly up the staircase, now completely free of blood. She pauses, then flicks off the hallway light, closes the door, turns the key and she’s gone. But up that long dim staircase at the end of the shadowy hallway, there are two bedrooms that are still locked tight. And inside, there’s something moving, something making a soft slight sound, flies.

 On Monday, the day after the murders, Ruxton moves on to round two of juggling, cleanup and coverup. At 09:30 in the morning, Agnes Oxley comes to 2 Dalton square for her housekeeping shift. You know, the one she skipped the day before, after Ruxton told her not to come. Ruxton drives up as she’s waiting outside the front door. He’s a mess, unshaven, unwashed, wearing an old raincoat. As Oxley later said in court-

Agnes  I asked him about his hand and he said he cut it on a can opener on Sunday and lost gallons and gallons of blood. He said that Mrs. Ruxton and Mary going away together had been a made-up thing, that Mary had asked for her wages in advance.

Yeardley:  Oxley doesn’t know what the hell to make of all this. Ruxton drives off and she begins to work, but there’s virtually nothing to clean. She notices the locked bedroom doors. These are doors that she’s never seen locked in all the years she’s cleaned this house. So, what gives? Ruxton drives to Mary Hampshire’s home. He walks in without knocking, demanding his blood-soaked suit. Yes, the same one that he said Mr. and Mrs. Hampshire could have. He also wants a pair of scissors. Mary hands them over. He cuts out the tag on the inner pocket that reads “B Ruxton” and tosses it into the flames of Mary’s fireplace. Ruxton tells Mary someone might read the tag and of course, you know, it’s undignified for a man to wear another man’s suit. Ruxton says he’s saving Mary’s husband untold embarrassment. He asks Hampshire to return to 2 Dalton Square at noon for more cleaning. He heads off again to rent a car, a four-seat sedan with an exceptionally large trunk. It’s much bigger and faster than his own car.

 On Monday afternoon, a few hours after Oxley leaves, Hampshire shows up once more at Ruxton’s home. She lets herself in with the key the doctor gave her. And like Oxley, she quickly realizes there is nothing for her to clean. And then, Ruxton shows up, looking even worse than the last time she saw him. She’ll explain in court that none of this makes sense to her.

Mary:  I asked him why, when he was so ill, he did not send for the missus to come back. He replied that she was in London. I told him he was telling lies, and he said he was, that he was the most unhappy man in the world and that his wife had gone off with another man. He was awfully distressed and laid his head down and cried. I asked him why he’d sent for me when there was nothing in the place to do. He said, “I’ve sent for you because you give me courage.”

[music]

Yeardley:  By Tuesday, the tang of decomposing flesh is noticeable on the top floor of 2 Daltons Square. It’s time for Ruxton to pack the rental car and dispose of the bodies. Again, former detective, Tom Wood.

Tom:  Now, he knows enough about the different jurisdictions in Scotland and England. He’s close to the Scottish border to know that the Scottish and English police service don’t always talk to each other, don’t have effective communication.

Yeardley:  So, Ruxton’s plan of ditching his victims’ miles from the scene of the crime, in a different country for that matter, makes complete sense. Remember, this is a long time before DNA. It’s also way before computers, cell phones, email, police scanners, pretty much any other form of technology that allows law enforcement to share information quickly these days. And Ruxton is counting on one more thing to make this crime and the body parts disappear.

Tom:  He calculates that they will be so putrefied that perhaps animals, foxes and other creatures will carry them off and devour them. But he’s also confident that even if bits of them are found, they will not be identifiable as human.

Yeardley:  So, Ruxton sets about stuffing the roomy trunk with his load of death.

[ambient nature noises]

Tom:  So, early in the morning he plans to leave and do this job. And so, he sets off and he’s got Billy, he’s got his youngest kid who’s two years old. It’s a reasonable alibi to take the child with him. The child’s not going to see anything that he can recall and so the child sits in the back seat while he heads north.

Yeardley:  Jeremy Craddock is the author of the Jigsaw Murders, the story of the Ruxton case.

Jeremy:  He and Isabella were used to driving the route from Lancaster to Edinburgh to see Isabella’s family. That route includes the bridge over the ravine just north of Moffat’s Gardenholme Linn So, it would have been a route that he would have known.

Yeardley:  Moffat’s a little over 100 miles from Lancaster. The bridge is a mile and a half outside the village and has clear sight lines. If another car or passerby approaches this lonely stretch, Ruxton will be able to see them from a distance. It’s a perfectly strategic spot.

[car stops]

 Ruxton stops and takes a glance over the bridge 37ft below, he sees a stream running strong. Tom Wood.

[river flowing]

Tom:  It’s absolutely ideal because he figures if he chucks the stuff, it will be carried away downstream and into the main river and then on down to the sea.

Yeardley:  Leaving two-year-old Billy sitting in the car, Ruxton lifts the newspaper-wrapped body pieces from the trunk and heaves them from the parapet of the old stone bridge. They’re instantly swallowed up by rushing white water. The job only takes a few minutes, and no one shows up. Breathing heavily, Ruxton climbs back into the car and steps on the gas. He needs to return to Lancaster and resume his normal life. After all, he’s got an afternoon of patients to see. Speeding along, he’s pleased with himself, he’s thought of everything. But something’s about to happen that he never expected.

Tom:  Underneath the bridge, the River Lyne is what we call in Scotland a spate burn. It can be a trickle at most times of year, but then it carries water off the mountains, off the hills nearby. So, when there’s been heavy rain, it’s a raging torrent.

Yeardley:  Yes, but you see, the thing is, Ruxton isn’t from Scotland. He doesn’t know what a spate burn is. He doesn’t know that shortly after he leaves, the rain-fed torrent in the ravine below will dry up to a trickle. He doesn’t know that the heads and arms and legs of and pieces of flesh will be left scattered on the banks for yards, many visible from the bridge, just waiting to be discovered.

[somber music]

 About 12:30 that same afternoon, Bernard Beattie is pedaling his bicycle through Kendal. That’s a small English town 20 miles south of the Scottish border. Ruxton is gunning his rental car down the winding road to Lancaster, driving through a blur of green countryside. He wants to put as much distance between him and the dumpsite as he can, as fast as he can. It’ll be like he was never even in Scotland. In 20 miles, he’ll be back in his office, wearing his stethoscope and a properly concerned expression, listening to someone’s heartbeat.

Tom:  And he’s trying to make up time. He’s driving too fast. And he goes through this tiny village and the cyclist comes out from a side road and it’s a very minor collision.

Yeardley:  So minor that if Ruxton had just stopped and apologized, maybe even offered some cash to the man on the bike, the doctor could have gone on his way, the incident completely forgotten. But Ruxton doesn’t do any of that. He hits and runs. Big mistake. As Beattie, the cyclist, later testifies in court, he was livid.

Beattie:  I was thrown on the pavement and was only shaken, but my bicycle was pretty well smashed up. The car didn’t stop, and I took the number and reported it. I noticed that the driver waved as he passed. I shouted at him to stop, but he didn’t do so.

Yeardley:  That day, Beattie reports the accident to a local cop, who makes a call to the police station in the next village down the road. When Ruxton drives through a few minutes later, he’s pulled over. He doesn’t have his license or proof of insurance. He seems very agitated. He spits out an improvised fiction. He says he had business in the border town of Carlisle. Now, he’s in a rush to get back to Lancaster because, you know, he’s a doctor for God’s sake. Ruxton is talking fast. The cop is a little bit concerned.

Tom:  There’s a wee boy in the car. And so, the policeman takes the view that it’s no big deal, really, and the doctor goes on his way. But the policeman, being in a very quiet county station, makes a full report of this. And so, this is a major problem for Ruxton, and he knows it. He knows he’s made a stupid mistake, and he knows he has been identified as being [sighs] in the wrong place at the wrong time and with no excuse, no real reason to be there that would stand up.

[music]

Yeardley:  Late Tuesday night, Ruxton is uneasy. The encounter with the cyclist weighs heavily on him. It’s after midnight before he climbs into bed with a book called Thoughts are Things. It’s a study in harnessing your thinking to achieve peace of mind. But the things in Ruxton’s mind are hardly peaceful. He’s planning alibis. He’s assessing his situation over and over, especially what to tell people about the family’s nanny, Mary Rogerson.

Tom:  The longer that Mary did not communicate, the longer that Mary was out of the picture and was quiet and silent, the more suspicious it became. And certainly, her family became more and more suspicious. They smell a rat.

Yeardley:  As far as the Rogersons are concerned, that rat is Dr. Buck Ruxton, and they’re ready to become his worst nightmare.

On the next episode of Beyond Recognition, Buck Ruxton constructs elaborate lies to keep the police office sentence and the forensics experts make a fatal error. But some outstanding police legwork leads the investigators straight to the doctor’s door.

[somber music]

 Beyond Recognition was written and produced by Peter Gilstrap. I’m your host, Yeardley Smith. Thanks to our story editors, Barbara Bogaev and Sasha Khokha. Logan Heftel was our sound supervisor with editing and sound design from Soren Begin, Sarah Ma, Christina Bracamontes, and Aaron Phelps. Field recordings in Moffat and Lancaster were captured by Sean Kerwin and Kit Cummings. Original music was composed by Logan Heftel.

 The series was produced by Audio 99 under the direction of executive producer, Gary Scott. Our social media maven is Monica Scott. Beyond Recognition was inspired by the book, Ruxton: The First Modern Murder, written by Tom Wood. Among our many other sources are The Jigsaw Murders by Jeremy Craddock, Written in Bone by Sue Black, and the Trial of Buck Ruxton, edited by R.H. Blundell and G.H. Wilson, as well as original interviews and period news accounts.

 The actors in this episode are Ramesh Matani as Buck Ruxton, Maura Vincent as Agnes Oxley, Larissa Gallagher as Mary Hampshire, Matthew Waterson as Bernard Beattie.

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