Endeavour (2012– )
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Endeavour is tasked with protecting prisoner and criminal informant Terry Bakewell whilst he's undergoing treatment in Cowley General Hospital.


Colin Dexter (characters), Russell Lewis (written and devised by)

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Episode cast overview, first billed only:
Glen Davies Glen Davies ... Burt Talbot
Sarah Winter ... Staff Nurse Jo-Beth Mills
Robert Wilfort ... Lester Fagen
Morgan Jones ... Lyle Capper
Celine Buckens ... Student Nurse Daisy Bennett
Ciara Charteris ... Nurse Flora Byron
Shaun Evans ... DC Endeavour Morse
Roger Allam ... DI Fred Thursday
Phoebe Nicholls ... Caroline Bryce-Morgan
David Yelland ... Sir Merlyn Chubb
Edward MacLiam ... Dr. Malcolm Kane
Amy Marston ... Sister Clodagh MacMahon
John Hopkins John Hopkins ... Dr. Dean Powell
James Bradshaw ... Dr. Max DeBryn
Alex McSweeney Alex McSweeney ... Terence Bakewell


Police informant Terence Bakewell dies in the Fosdick ward of the Cowley general hospital under Morse's guard, in the same bed where three patients have died over the past five weeks, one of whose wife was in dispute with the hospital and is also found dead. All had been operated on by ageing surgeon Sir Merlyn Chubb and a view on the ward is that his ineptitude is responsible but Morse is puzzled to learn that in each case white lilies had been placed beside the deceased and then pathologist Max discovers puncture wounds in the bodies. A charismatic doctor falls under suspicion until Morse uncovers an incident in his past and a bereaved relative out for revenge. He also locates the missing Joan Thursday who wants her whereabouts kept from her parents. Written by don @ minifie-1

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Crime | Drama | Mystery


TV-14 | See all certifications »






Release Date:

3 September 2017 (USA) See more »

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Did You Know?


The hidden message in the closing credits is Henry Eckford, a Scottish horticulturalist who developed the sweet pea, a flower which features prominently in this episode. See more »


Staff Nurse Jo-Beth Mills: Heaven knows we don't get paid much, but one doesn't go into nursing for the money.
DC Endeavour Morse: It's a calling, I suppose.
Staff Nurse Jo-Beth Mills: Yes. If you like. And policing? What's that?
DC Endeavour Morse: A failing.
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Crazy Credits

The red letters in the closing credits spell out HENRY ECKFORD, a Scottish horticulturist who specialized in cultivating sweet peas - the flower that was featured throughout the episode. See more »


References Inspector Morse: Dead on Time (1992) See more »


Main Theme
Main Theme by Barrington Pheloung
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User Reviews

Morse and murder at Cowley General
7 July 2017 | by TheLittleSongbirdSee all my reviews

Having recently been, and just finished being, on a roll reviewing all the episodes of 'Lewis', which generally was very enjoyable before having some disappointments later on, it occurred to me to do the same for 'Inspector Morse's' (one of my favourites for over a decade, and all the episodes were also reviewed in my first year on IMDb eight years ago) prequel series 'Endeavour'.

As said in my review for the entire show two years ago, 'Endeavour' is not just a more than worthy prequel series to one of my favourite detective dramas of all time and goes very well with it, but it is a great series on its own as well. It maintains everything that makes 'Inspector Morse' so good, while also containing enough to make it its own, and in my mind 'Inspector Morse', 'Lewis' and 'Endeavour' go perfectly well together.

Was very impressed by the pilot episode, even with a very understandable slight finding-its-feet feel (that is true of a lot of shows, exceptions like 'Morse' itself, 'A Touch of Frost' and 'Midsomer Murders', which started off great and were remarkably well established, are fairly few. The first season was even better, with all the episodes being outstanding. Season 2 took a darker turn, but once again all the episodes were great (even with "Trove" having one of 'Endeavour's' most far-fetched and over-complicated endings, great episode otherwise), with the weakest one "Sway" still being very good, "Neverland" especially was exceptional and a show high-point.

Season 3 is considered by fans as nowhere near as good as previously. Will admit that it is not as good as Seasons 1 and 2, which had more believable stories and didn't try to do too much but count me in as someone who has still enjoyed the episodes and has found a lot to like, while finding "Coda" outstanding.

"Game" was such a terrific start for Season 4. "Canticle" was a very good change of pace, if a slight step down with a rushed and melodramatic ending. As far as Season 4 goes, it is hard to decide which is better between "Game" and "Lazaretto" as the best of the season, both of them being so great in their own way.

For me the only thing that let down "Lazaretto" was the Joan subplot. Potentially that was intriguing but it didn't add as much as it could have done and it was off-putting to see Joan act out of character and to me seem inconsiderate about her suffering parents (including how and whether it could possibly affect Thursday's future). To a lesser extent, Bright is somewhat under-utilised (especially when you compare this to when he got some great and much needed development in Season 3's "Prey"), though one does care what happens to him here.

Conversely, there is nothing that can be faulted with the production values. It is exquisitely filmed, with a hugely effective and almost terrifying claustrophobic bleakness and a marvellously eerie setting (who knew a hospital could be so eerie?). The music as always is hauntingly beautiful, the use of the Schubert Quintet was just sublime.

Writing, as has been said many times in my reviews for the previous 'Endeavour' episodes, is every bit as intelligent, entertaining and tense as the previous episodes and as the best of 'Morse', and, again, really liked the references, this time from the 'Carry On' films and the 'Morse' episodes "Promised Land" and "Dead On Time" (two of my favourite 'Morse' episodes).

Although the setting and atmosphere helps it a lot, the story is creepy, sometimes poignant and is thankfully simpler than the whole of Season 3 and the previous two episodes of Season 4 on the most part. With that being said, it has enough twists, turns and shocks to ensure that it doesn't get simplistic. Nothing's over-complicated here, not to the extent of some endings of previous 'Endeavour' episodes. The ending is very tense and suspenseful, but to me didn't descend too much into melodrama.

The pacing is restrained, but that allows the atmosphere to come through, and pretty much all the same it excels in that aspect. The characters are interesting, lead and supporting, "), with Morse displaying more recognisable character quirks with each episode and as aforementioned it is impossible not to love his relationship with Thursday, which has always been one of the finest things about 'Endeavour'.

Shaun Evans as ever does some powerful, charismatic work as younger Morse, showing enough loyalty to John Thaw's iconic Morse while making the character his own too. Roger Allam is also superb, his rapport with Evans always compels and entertains but Thursday is quite a sympathetic character, as well as loyal and firm, and Allam does a lot special with a role that could have been less interesting possibly in lesser hands.

Overall, great episode. 9/10 Bethany Cox

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