UNDERWORLD

Hill's Yorkshire police-procedurals are unusually varied, from the black-comedy of Exit Lines to the psychodrama of A Killing Kindness. This new episode, set in and around a mining village, is an ironic yet somber blend of sociology, darkish humor, and classy soap-opera—as Sgt. Peter Pascoe's investigation becomes shadowed by his wife Ellie's relationship with a handsome young miner. The tiny burg of Burrthorpe is haunted by the memory of two recent tragedies: the disappearance of wee Tracey Pedley, presumed to have been one of the victims of a serial-killer who more or less confessed before committing suicide; and the death—soon thereafter—of mine-veteran Billy Farr in a fatal fall. Then the specter quickly worsens—when evidence emerges to prove that the serial-killer couldn't have murdered little Tracey. Who did, then? Could it have been (as some whisper) old Billy, who doted on the girl? Was his "fall" suicide. . .or? And do these old crimes connect to the brand-new murder of a miners' deputy named Satterthwaite? A prime suspect is Billy's wild, good-looking son Colin, angry defender of his father's reputation and Satterthwaite's rival for the adulterous favors of a local sexpot. Also, Colin is the standout pupil in a once-a-week writing class taught by left-wing do-gooder Ellie Pascoe, who finds herself protecting Colin from the cops (including husband Peter) while being undeniably attracted to this plebeian Adonis. So there'll be lots of very personal tension before the finale—when Pascoe and fat boss Andy Dalziel wind up chasing both Colin and another suspect through perilous mine-shafts. Textured, too, with police-department politics, gritty atmosphere, and earthy pubtalk: the richest, strongest Hill since Ruling Passion a decade ago.