A BBC Radio 4 full-cast adaptation of Simon Brett's comic murder mystery, starring Bill Nighy as the irrepressible Charles Paris. Charles Paris (unsuccessful actor, bad husband, dipsomaniac) is currently appearing as a fork lift operator in a corporate video. It's not prime-time television or a major film, but it seems like easy money - until the fork lift is used to commit a murder. When Charles himself comes under suspicion, he decides to find out for himself who the murderer is.

A BBC Radio 4 full-cast dramatisation of Simon Brett's entertaining crime novel, starring Bill Nighy. Charles Paris has been resting for quite a while, so he's relieved when he is cast as Ghost of Hamlet's Father and First Gravedigger in a touring production of Hamlet. But rehearsals are a little tense - the lead roles of Hamlet and Ophelia are played by a reality TV contestant and TV talent show winner respectively, and their opinions on celebrity and the theatre differ somewhat from those of the more experienced members of the cast.

Actor and reluctant sleuth Charles Paris is facing chaos on the domestic front. He’s lodging with his ex-wife Frances, and now their pregnant daughter has moved in as well. It’s all a bit much.... So he is over the moon when he lands a job on the BBC Radio Rep - but the ink is barely dry on his contract when a murder takes place in Broadcasting House. A young female studio manager is found dead in an editing suite, and Charles steps in to investigate....

Charles Paris is his own worst enemy, a louche lush who can resist anything except temptation - especially in the form of women and alcohol. He’s been out of work so long now he feels he may never get a job and he’s driving Frances, his semi-ex-wife, mad. So when he’s offered a small role in a play, she nearly pushes him out of the door. But it seems that ‘The Message is Murder’ is such a terrible production that someone wants to kill off the cast.

Bill Nighy stars as Charles Paris with Martine McCutcheon as Jodie Ricks in this BBC Radio 4 comedy detective drama. Charles finds himself uncharacteristically employed in a film, having landed the part of Szabec, a middle management vampire in 'The Wreathing'. His co-star is swimwear model turned actress Jodie Ricks and before long, Jodie is using Charles as a confidant.

Bill Nighy returns as Charles Paris: unsuccessful actor, bad husband, and dipsomaniac. Desperately in need of work, having been kicked out of his marital home, Charles jumps at playing a missing property developer in a crime-reconstruction program. But the missing person case soon turns to murder when severed body parts begin to appear.

Bill Nighy stars as Charles Paris in a BBC Radio 4 full-cast dramatisation of Simon Brett's novel. Charles Paris is understudying in a West End production, whose star Michael Banks seems unable to master the script. Has Charles time to solve a murder, win Frances' heart and make it on stage by the time the curtain goes up?

When Charles Paris’ agent rings with the news that he has a part for him in a new musical, Charles is delighted - and somewhat amazed, as he can neither sing nor dance. But Maurice has an ulterior motive: as one of the show’s backers, he wants Charles to play detective and investigate a series of accidents that have dogged the production. The pianist has been shot in the hand, and another cast member fell downstairs - or was he pushed? Anxious about their investment and their star, Chris Watt, the ‘angels’ are keen to ensure that nothing else goes wrong.

A job in pantomime seems the perfect way to spend the Christmas season for Charles, but the cast of Cinderella are a motley crew from reality TV and Charles finds himself having to explain the traditions of panto to their baffled American star whose career is on a downward trajectory. When the star is shot dead, and Charles finds the body, he finds himself under suspicion.

A three-month run of a new farce is not to be sniffed at by a jobbing actor. Especially when there's the distinct possibility of a West End run. Which is why Charles Paris is standing on stage. However, by the time the troupe reaches Bath a darker mood has set in and Charles' old friend Mark has a drink problem that amounts to a death wish. But it's not the drink that kills Mark - it's somebody in the cast who has a secret that Mark must not be allowed to reveal....

What makes Charles different from other seedy, middle-aged, down at heel actors is that he can't avoid finding himself near trouble, that trouble being murder. He may be an amateur sleuth but he's patently no Poirot. Most of his brainwork is done over a large Bell's in the pub. In the still, quiet, deadly hours of the early morning, lying alone, Charles can't help wondering where he'd be if he put half as much energy into his career as he does into solving crime.

Charles Paris is on his way up again, career-wise. No longer ‘resting’ or playing a corpse in a cupboard, he finds himself doubling almost every role in a provincial production of the play dreaded by superstitious theatrefolk: Macbeth.

Charles Paris returns again, in a fringe show at the Edinburgh Festival, with another nubile girl to provoke him, his accommodating wife to console him and a gory murder to challenge him. Edinburgh and the Festival are both background and foreground with Charles flitting between a production of A Midsummer Night’s Dream, a ‘mixed-media’ satire, a late-night revue and his own one-man show on Thomas Hood. Then a fading pop star is murdered, there’s a bomb scare in Holyrood Palace and someone makes a suicide leap from the top of the Rock….

Maggie and John had a passionate but disastrous affair in their younger days, but it didn't last. Now in their late 60s, a surprise encounter gives them another chance to take up where they left off. Will they manage to find the best in each other and finally get together? Or will old wounds and an awareness of their ageing bodies deter them? Will the treadmill created by the high-cost, high-pressure 21st century, and their endless other commitments and interruptions large and small, overwhelm them? Or will they take the final risk? 

A rising young stage comedian, who is about to receive his profession's award as ‘Most Promising Newcomer’, dies sensationally on stage at the start of his act; as he picks up the mike, he is electrocuted. Faulty wiring seems to be the cause; no one person is to blame; a verdict of death by misadventure is returned at the inquest.