
Browse content similar to Blue Lightning - Part 2. Check below for episodes and series from the same categories and more!
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|---|---|---|---|
Dr Blake was found murdered in the lab this morning. | 0:00:02 | 0:00:05 | |
Anna? | 0:00:05 | 0:00:06 | |
She was my wife... | 0:00:06 | 0:00:08 | |
Was there anything unusual | 0:00:08 | 0:00:10 | |
in your wife working with Peter Latimer late? | 0:00:10 | 0:00:12 | |
There was nothing unusual. | 0:00:12 | 0:00:14 | |
Anna Blake booked two same-day return flights to Lerwick, | 0:00:14 | 0:00:17 | |
one for herself, the other for Peter Latimer. | 0:00:17 | 0:00:19 | |
Dr Blake's computer is still running and it's password protected. | 0:00:19 | 0:00:24 | |
Just have a look at the contents of Finlay's camera. | 0:00:26 | 0:00:29 | |
Gina, what was in the attachments? | 0:00:29 | 0:00:31 | |
Photographs of me going about my life. It was creepy. | 0:00:31 | 0:00:35 | |
Joe Blake... | 0:00:35 | 0:00:36 | |
Any idea why he would come back during term time? | 0:00:36 | 0:00:38 | |
How do you mean? When did he come back? | 0:00:38 | 0:00:40 | |
Last night. | 0:00:40 | 0:00:42 | |
FIRE BELLOWS | 0:00:43 | 0:00:45 | |
MAN SCREAMS | 0:00:45 | 0:00:46 | |
What's happened? Who is it?! | 0:00:46 | 0:00:48 | |
It's Peter Latimer. | 0:00:48 | 0:00:50 | |
Coastguard get Peter Latimer back to Lerwick OK? | 0:01:49 | 0:01:52 | |
Yeah, Anna's body too. He'll be in a hospital bed by now. | 0:01:52 | 0:01:56 | |
Come here and look at this. | 0:01:56 | 0:01:59 | |
What does that look like to you? | 0:01:59 | 0:02:02 | |
Like something was dragged from here inside. | 0:02:02 | 0:02:06 | |
Yeah, that's what I think. | 0:02:06 | 0:02:08 | |
It's hard to tell. | 0:02:09 | 0:02:11 | |
Hard to tell. | 0:02:13 | 0:02:14 | |
MACHINE BEEPS | 0:02:17 | 0:02:20 | |
BEEPING QUICKENS | 0:02:28 | 0:02:30 | |
MONITOR ALARM BEEPS | 0:02:33 | 0:02:37 | |
Burgh Road, Church Road... | 0:02:40 | 0:02:43 | |
Church Road, camera two... | 0:02:45 | 0:02:47 | |
Commercial Street. | 0:02:49 | 0:02:51 | |
Asbrigg Place, Burgh Road, Church Road, | 0:02:52 | 0:02:54 | |
Church Road, camera two, Commercial Street... Camera down? | 0:02:54 | 0:02:58 | |
That was the hospital. It's Latimer. | 0:02:58 | 0:03:02 | |
His condition's deteriorating. | 0:03:02 | 0:03:04 | |
I think you better get down there quick. | 0:03:04 | 0:03:06 | |
BEEPING | 0:03:07 | 0:03:09 | |
..three, four, five. | 0:03:09 | 0:03:11 | |
-One, two... -Three, four, five. | 0:03:11 | 0:03:13 | |
One, two... | 0:03:13 | 0:03:14 | |
They must have some idea when planes can fly again? | 0:03:19 | 0:03:22 | |
Darling, please... | 0:03:22 | 0:03:23 | |
Patience. | 0:03:24 | 0:03:26 | |
You're fine. You have your work to distract you. | 0:03:26 | 0:03:30 | |
Did you not bring a book or...? | 0:03:30 | 0:03:31 | |
Why would I bring a book? | 0:03:31 | 0:03:33 | |
I came here to see Bill on our anniversary. | 0:03:33 | 0:03:38 | |
There are plenty of books here, if you want to... | 0:03:38 | 0:03:41 | |
They're not all about birds. | 0:03:41 | 0:03:43 | |
Somebody left The Da Vinci Code. | 0:03:44 | 0:03:46 | |
Tosh? | 0:04:11 | 0:04:12 | |
-That's Latimer's. -Sure? | 0:04:14 | 0:04:16 | |
It was there when I searched his room. | 0:04:16 | 0:04:19 | |
So, what do you think? | 0:04:22 | 0:04:24 | |
He came out here with a hip flask full of whisky | 0:04:24 | 0:04:26 | |
and then fell asleep with a cigarette on the go? | 0:04:26 | 0:04:30 | |
I had an uncle who did something similar, | 0:04:30 | 0:04:32 | |
except with a chip pan. Nearly burnt himself to a crisp. | 0:04:32 | 0:04:35 | |
He's only allowed oven-ready now. | 0:04:35 | 0:04:37 | |
Do you still want to talk to Finlay? | 0:04:44 | 0:04:47 | |
Aye...and the rest. | 0:04:47 | 0:04:49 | |
You know, after Frank attacked him yesterday, | 0:05:29 | 0:05:31 | |
you'd have thought he'd stay in here for his own safety. | 0:05:31 | 0:05:34 | |
He could drink in here, he could smoke in here - | 0:05:34 | 0:05:36 | |
he's disabled the alarm. | 0:05:36 | 0:05:37 | |
So, after all the agro of yesterday, | 0:05:37 | 0:05:40 | |
why would you put yourself at risk again | 0:05:40 | 0:05:42 | |
and tramp halfway across the island to booze it up in a cold, dark hut? | 0:05:42 | 0:05:46 | |
It doesn't make sense. | 0:05:46 | 0:05:47 | |
He must have gone there to meet someone. | 0:05:47 | 0:05:49 | |
PHONE RINGS | 0:05:49 | 0:05:51 | |
Sir... | 0:05:55 | 0:05:57 | |
Peter Latimer has just died. | 0:05:58 | 0:06:00 | |
He went into cardiac arrest and couldn't be resuscitated. | 0:06:02 | 0:06:05 | |
They're making arrangements to move the body now. | 0:06:06 | 0:06:10 | |
OK. Before they do, have Cora examine the body | 0:06:10 | 0:06:15 | |
and request that they fast-track the forensics, OK? | 0:06:15 | 0:06:17 | |
I'll call her now. | 0:06:17 | 0:06:19 | |
Peter Latimer just died. | 0:06:22 | 0:06:24 | |
Two work colleagues killed in suspicious circumstances | 0:06:27 | 0:06:30 | |
less than 24 hours apart? | 0:06:30 | 0:06:32 | |
I know. | 0:06:32 | 0:06:33 | |
And when Anna was attacked, there were no defensive wounds, | 0:06:33 | 0:06:35 | |
and nobody heard a thing, | 0:06:35 | 0:06:37 | |
and I think people here know a lot more than they're letting on. | 0:06:37 | 0:06:40 | |
You think it's the same person involved in both deaths? | 0:06:40 | 0:06:43 | |
Maybe, unless Latimer is a revenge killing for Anna. | 0:06:43 | 0:06:46 | |
But we shouldn't get too far ahead of ourselves | 0:06:47 | 0:06:50 | |
until we have spoken to Cora. | 0:06:50 | 0:06:51 | |
In the meantime, we should be talking to our stalker. | 0:06:51 | 0:06:54 | |
Where is everybody? | 0:07:05 | 0:07:06 | |
Frank's not here, Joe's been missing since last night. | 0:07:06 | 0:07:10 | |
Finlay, I'd like a word with you in private, please. | 0:07:11 | 0:07:14 | |
In the reading room. | 0:07:14 | 0:07:16 | |
As soon as Frank gets back, tell him I want to see him. | 0:07:16 | 0:07:19 | |
I...I would like to apologise for my behaviour yesterday. | 0:07:25 | 0:07:31 | |
That's very big of you. | 0:07:31 | 0:07:33 | |
You know you're probably facing a charge of obstruction, right? | 0:07:35 | 0:07:38 | |
You managed to access the memory card, then? | 0:07:38 | 0:07:41 | |
Eventually, yes. | 0:07:41 | 0:07:42 | |
-It was quite an eye-opener. -Well, you can understand my reaction. | 0:07:43 | 0:07:47 | |
I don't care about your reaction. | 0:07:47 | 0:07:49 | |
I'm far more concerned about your behaviour in the first place... | 0:07:51 | 0:07:54 | |
because you've got hundreds of photographs of Anna Blake. | 0:07:54 | 0:07:59 | |
You can't always control how you feel about people. | 0:08:02 | 0:08:05 | |
How DID you feel about her? | 0:08:05 | 0:08:07 | |
-I, um... -I mean, did you love her? Did you hate her? | 0:08:07 | 0:08:09 | |
I worshipped her. | 0:08:09 | 0:08:11 | |
I just wanted to be part of her life, to be close to her. | 0:08:12 | 0:08:16 | |
The photographs were the only option available to me. | 0:08:17 | 0:08:20 | |
That's not really true. | 0:08:20 | 0:08:22 | |
She could have any man she wanted. | 0:08:22 | 0:08:24 | |
You could imagine what she'd make of an advance | 0:08:24 | 0:08:27 | |
-from the likes of me. -OK. | 0:08:27 | 0:08:29 | |
What about Gina? What about her? | 0:08:37 | 0:08:41 | |
You know about that? | 0:08:43 | 0:08:45 | |
I...I never would have hurt Anna and I...I never hurt Gina. | 0:08:49 | 0:08:53 | |
-You scared Gina, though. -No, I... I was teasing her. | 0:08:53 | 0:08:57 | |
I wanted her to know she had a secret admirer. | 0:08:57 | 0:08:59 | |
She didn't want one, | 0:08:59 | 0:09:01 | |
and I am very sure that neither did Anna Blake. | 0:09:01 | 0:09:04 | |
Take a seat. | 0:09:07 | 0:09:09 | |
I need to know exactly where you were last night. | 0:09:14 | 0:09:17 | |
I was around here. | 0:09:19 | 0:09:20 | |
-Be more specific. -I was at the chapel. | 0:09:20 | 0:09:23 | |
For how long? | 0:09:23 | 0:09:24 | |
Uh... I got there about six | 0:09:24 | 0:09:28 | |
and I left at around 8.30. | 0:09:28 | 0:09:31 | |
Around 8.30? | 0:09:31 | 0:09:32 | |
Yeah. Well, I...I wasn't looking at my watch. | 0:09:32 | 0:09:35 | |
Why did you stay so long? | 0:09:39 | 0:09:41 | |
I was praying for Anna. | 0:09:45 | 0:09:46 | |
DOOR OPENS | 0:09:48 | 0:09:49 | |
Sir. | 0:09:49 | 0:09:51 | |
You'd better be telling me the truth. | 0:09:52 | 0:09:55 | |
DOOR CLOSES | 0:09:56 | 0:09:57 | |
Bill and Tessa have given each other an alibi. | 0:10:01 | 0:10:03 | |
-They were together in their room. -That's very handy. | 0:10:03 | 0:10:06 | |
Feel a bit sorry for them. Some wedding anniversary. | 0:10:06 | 0:10:09 | |
I take it that's not why you called me out here. | 0:10:09 | 0:10:11 | |
No, your dad called. He said Frank's at the chapel. | 0:10:11 | 0:10:14 | |
Popular place. | 0:10:15 | 0:10:17 | |
He's worried about him. Said he's been there since first light. | 0:10:17 | 0:10:21 | |
Hi, Joe. | 0:10:49 | 0:10:51 | |
Is Angus in? | 0:10:51 | 0:10:52 | |
No, he's not. | 0:10:52 | 0:10:54 | |
Is that the truth? | 0:10:54 | 0:10:55 | |
Look, I am really sorry about what happened to your mum. | 0:10:55 | 0:11:01 | |
We're all really sorry, Joe. | 0:11:01 | 0:11:03 | |
-Will you even tell him that I called? -Of course I'll tell him. | 0:11:03 | 0:11:07 | |
You should go back. | 0:11:09 | 0:11:11 | |
-You got the note, didn't you? -Eh? -You found the note. | 0:11:13 | 0:11:17 | |
Come on, son. You better go back. | 0:11:17 | 0:11:19 | |
What note? | 0:11:25 | 0:11:26 | |
I don't know what he's on about. | 0:11:27 | 0:11:29 | |
DOOR OPENS | 0:11:50 | 0:11:52 | |
He hasn't moved for two hours. | 0:12:00 | 0:12:03 | |
OK, Dad. | 0:12:06 | 0:12:08 | |
Peter Latimer died of his injuries 45 minutes ago. | 0:12:24 | 0:12:27 | |
Are you expecting regret? | 0:12:30 | 0:12:32 | |
I'm not expecting anything. | 0:12:33 | 0:12:35 | |
God knows, it was coming. | 0:12:35 | 0:12:37 | |
What makes you say that? | 0:12:39 | 0:12:41 | |
There were many occasions when I had to go up to the hide to fetch him | 0:12:43 | 0:12:46 | |
when he was half-cut... cos he'd sloped off for a session. | 0:12:46 | 0:12:49 | |
So, you knew he drank, then? | 0:12:51 | 0:12:54 | |
When he first arrived, he played the Oxford golden boy to a tee. | 0:12:55 | 0:13:00 | |
After a while, I got to know him. | 0:13:02 | 0:13:05 | |
I saw a different side to him. | 0:13:07 | 0:13:09 | |
Which was what? | 0:13:11 | 0:13:12 | |
Crippling self-doubt about the work. | 0:13:13 | 0:13:16 | |
"Is it good enough? | 0:13:17 | 0:13:18 | |
"Is it original enough? | 0:13:18 | 0:13:20 | |
"Am I making a contribution?" | 0:13:20 | 0:13:22 | |
In short, are they wasting their lives? | 0:13:22 | 0:13:26 | |
Well, we've all thought like that from time to time. | 0:13:29 | 0:13:32 | |
No. | 0:13:32 | 0:13:33 | |
Not Anna. | 0:13:33 | 0:13:35 | |
Anna never had any self-doubt. | 0:13:35 | 0:13:38 | |
Her personal life might have been a bit of a mess, | 0:13:39 | 0:13:42 | |
but when it came to her work... | 0:13:42 | 0:13:44 | |
..she was something else. | 0:13:46 | 0:13:48 | |
Where were you last night? | 0:13:51 | 0:13:53 | |
I was at the centre. | 0:13:53 | 0:13:55 | |
Anybody verify that? | 0:13:55 | 0:13:57 | |
No, I was alone. | 0:13:58 | 0:14:00 | |
Do you know where Joe is? | 0:14:00 | 0:14:01 | |
Apparently, he's gone missing. | 0:14:01 | 0:14:03 | |
Joe often goes off on his own. | 0:14:03 | 0:14:06 | |
He's a loner. | 0:14:06 | 0:14:08 | |
He always has been. | 0:14:08 | 0:14:10 | |
I've been using it as an excuse to be a bad father for far too long. | 0:14:11 | 0:14:15 | |
Joe wouldn't hurt anyone. | 0:14:18 | 0:14:19 | |
No, I'm not suggesting he would, | 0:14:19 | 0:14:22 | |
but I just need to establish where he was. | 0:14:22 | 0:14:24 | |
Maybe I should have said he was with me. | 0:14:26 | 0:14:29 | |
That wouldn't make any difference in the end, would it, Frank? | 0:14:29 | 0:14:32 | |
How is he? | 0:14:40 | 0:14:42 | |
Coping as best he can, I suppose. | 0:14:42 | 0:14:44 | |
The sooner this nightmare ends, | 0:14:44 | 0:14:46 | |
the sooner we can start repairing the damage done to this community. | 0:14:46 | 0:14:49 | |
We're going as fast as we can, Dad. | 0:14:49 | 0:14:51 | |
I know that, son, | 0:14:51 | 0:14:53 | |
but this place is unlike anywhere else in so many respects. | 0:14:53 | 0:14:57 | |
Even Finlay has found God. | 0:14:57 | 0:14:59 | |
Gordon came in last night to lock up and he found him just sitting there. | 0:14:59 | 0:15:04 | |
Didn't want to disturb him. | 0:15:04 | 0:15:06 | |
What time was that? | 0:15:07 | 0:15:09 | |
About half past eight, I think he said. | 0:15:09 | 0:15:13 | |
For the sake of this wee lump of rock, Jimmy, catch this person. | 0:15:13 | 0:15:17 | |
Don't worry, Dad. | 0:15:19 | 0:15:21 | |
Finlay Caufield looks like he's got an alibi. | 0:15:37 | 0:15:41 | |
According to my dad, he was at the chapel last night | 0:15:41 | 0:15:44 | |
at about half past eight, | 0:15:44 | 0:15:46 | |
which would make it impossible for him to have set fire to the hide. | 0:15:46 | 0:15:50 | |
Angus... | 0:15:50 | 0:15:52 | |
Any luck? | 0:15:52 | 0:15:53 | |
Getting there. | 0:15:53 | 0:15:55 | |
Most passwords are run through an algorithm | 0:15:55 | 0:15:57 | |
that generate a scrambled string of characters | 0:15:57 | 0:15:59 | |
-that can't be reversed back to the original text. -Right. | 0:15:59 | 0:16:02 | |
That's called a one-way hash. | 0:16:02 | 0:16:03 | |
So, to crack a password means getting a copy | 0:16:03 | 0:16:06 | |
of the one-way hash on the server | 0:16:06 | 0:16:07 | |
then using the algorithm to generate lots of hashes | 0:16:07 | 0:16:10 | |
until you get a match. | 0:16:10 | 0:16:11 | |
Does that mean you're getting there? | 0:16:11 | 0:16:13 | |
-It's only a matter of when. -Right. | 0:16:13 | 0:16:15 | |
SHE CHUCKLES | 0:16:17 | 0:16:19 | |
OK, I think you're right. | 0:16:21 | 0:16:23 | |
-Peter and Anna were having an affair. -Yeah? -Mmm. | 0:16:23 | 0:16:26 | |
And if you're right, then that would give Frank | 0:16:26 | 0:16:29 | |
a motive for killing them both. | 0:16:29 | 0:16:31 | |
Extreme... | 0:16:31 | 0:16:33 | |
Betrayal and humiliation are extreme. | 0:16:33 | 0:16:36 | |
Bingo! | 0:16:38 | 0:16:39 | |
I got you in. | 0:16:41 | 0:16:42 | |
He was clearly on the bubble. | 0:16:45 | 0:16:47 | |
The what? | 0:16:50 | 0:16:51 | |
An expression used by surgeons in the US military | 0:16:51 | 0:16:55 | |
for patients with 50% burns. | 0:16:55 | 0:16:58 | |
"On the bubble" refers to a patient balanced on the threshold | 0:16:58 | 0:17:01 | |
between life and death. | 0:17:01 | 0:17:03 | |
Why "bubble"? | 0:17:05 | 0:17:06 | |
Apparently, it relates to the Indy 500 race in America. | 0:17:06 | 0:17:11 | |
If a driver was only just about to qualify for the race proper, | 0:17:11 | 0:17:16 | |
and a rival posted a better time, | 0:17:16 | 0:17:19 | |
then the first driver's dreams are dashed and his bubble is burst. | 0:17:19 | 0:17:24 | |
Isn't that terrific? | 0:17:24 | 0:17:25 | |
-Not if you're that driver. -Well, no. | 0:17:25 | 0:17:28 | |
But as a metaphor, it's... | 0:17:28 | 0:17:31 | |
Oh... | 0:17:31 | 0:17:32 | |
Hello... What's this? | 0:17:33 | 0:17:36 | |
-Tosh... -Mm-hm? | 0:17:41 | 0:17:43 | |
There's nothing of any note in Anna's inboxes or outboxes, | 0:17:47 | 0:17:51 | |
but there's this... | 0:17:51 | 0:17:53 | |
"Dear Prof Martinez..." Who's that? | 0:17:54 | 0:17:57 | |
-It's Latimer's department head at Oxford. -Oh. | 0:17:57 | 0:17:59 | |
"I am duty bound by our professional ethics to report | 0:17:59 | 0:18:02 | |
"a distressing situation relating to your colleague Peter Latimer." | 0:18:02 | 0:18:05 | |
Oh, my God. | 0:18:07 | 0:18:09 | |
Latimer was fabricating research data. | 0:18:09 | 0:18:12 | |
Look at the date it was written. | 0:18:12 | 0:18:14 | |
Two weeks before she died. | 0:18:14 | 0:18:16 | |
Why wasn't it sent? | 0:18:16 | 0:18:18 | |
-Obviously something happened to stop her. -Such as? | 0:18:18 | 0:18:22 | |
Well, their trip to Lerwick | 0:18:22 | 0:18:26 | |
was only three days later. | 0:18:26 | 0:18:29 | |
You think it's related? | 0:18:29 | 0:18:31 | |
Right. | 0:18:35 | 0:18:36 | |
I won't be long. | 0:18:36 | 0:18:38 | |
How are you? | 0:18:47 | 0:18:49 | |
I don't know where to put myself. | 0:18:53 | 0:18:55 | |
We lost someone. | 0:18:57 | 0:19:00 | |
It changes how you look at the world... | 0:19:01 | 0:19:03 | |
..but you live. | 0:19:04 | 0:19:06 | |
PHONE RINGS | 0:19:14 | 0:19:17 | |
Sandy? | 0:19:19 | 0:19:20 | |
Cora found a fracture at the back of Latimer's skull. | 0:19:20 | 0:19:23 | |
In her view, it was almost certainly caused by a severe blow. | 0:19:23 | 0:19:27 | |
Right. Or a fall? | 0:19:27 | 0:19:29 | |
No, the location of the fracture isn't one normally associated | 0:19:29 | 0:19:32 | |
with impact fractures resulting from a fall backwards. | 0:19:32 | 0:19:35 | |
In Cora's view, Latimer was hit hard from behind. | 0:19:35 | 0:19:41 | |
OK, good work. | 0:19:41 | 0:19:42 | |
Oh, and I've found footage of Anna and Latimer | 0:19:42 | 0:19:46 | |
entering Commercial Street. | 0:19:46 | 0:19:48 | |
But the cameras on Commercial Street itself were down that day. | 0:19:48 | 0:19:52 | |
I'm going to try and bridge that gap. | 0:19:52 | 0:19:54 | |
Right, listen, keep in touch, | 0:19:54 | 0:19:55 | |
cos you're all I've got over there, OK? | 0:19:55 | 0:19:58 | |
DOOR CLOSES | 0:20:01 | 0:20:03 | |
Frank... | 0:20:06 | 0:20:08 | |
Why would Peter Latimer start fabricating his research data? | 0:20:15 | 0:20:19 | |
What are you talking about? | 0:20:19 | 0:20:20 | |
I've just found the draft of an accusatory e-mail on Anna's computer | 0:20:20 | 0:20:25 | |
intended for Latimer's department head | 0:20:25 | 0:20:28 | |
at Oxford University. | 0:20:28 | 0:20:30 | |
A draft? Written when? | 0:20:30 | 0:20:32 | |
Two weeks ago. | 0:20:32 | 0:20:33 | |
I've no idea what all that's about. | 0:20:36 | 0:20:39 | |
And I have no idea why she didn't send it. | 0:20:39 | 0:20:41 | |
That's not Anna. | 0:20:41 | 0:20:43 | |
Anna dealt with everything in the moment, when it occurred. | 0:20:43 | 0:20:46 | |
That way, she could focus on what was really important. | 0:20:46 | 0:20:50 | |
Right, her work. | 0:20:50 | 0:20:51 | |
What about her relationship with Peter Latimer? | 0:20:53 | 0:20:57 | |
Is it possible that there was something | 0:20:59 | 0:21:01 | |
going on between the two of them? Did you ever have any suspicions? | 0:21:01 | 0:21:05 | |
No. | 0:21:07 | 0:21:08 | |
It never occurred to me. | 0:21:10 | 0:21:12 | |
-Is that it? -You sure? | 0:21:14 | 0:21:16 | |
Yes, I'm sure. | 0:21:18 | 0:21:19 | |
-Can I go now? -For now, sure. | 0:21:22 | 0:21:24 | |
Are you any closer to finding out who actually killed her?! | 0:21:31 | 0:21:34 | |
I mean, it's an island. How difficult can it be? | 0:21:36 | 0:21:39 | |
Sergeant, could you take a look at this with me? | 0:21:48 | 0:21:51 | |
What have we got? | 0:21:52 | 0:21:53 | |
Are the timelines for these CCTV footages correct? | 0:21:53 | 0:21:57 | |
-Yeah. -Well, then it looks to me like | 0:21:57 | 0:21:59 | |
when Latimer enters Commercial Street, | 0:21:59 | 0:22:02 | |
he's not got a bag, | 0:22:02 | 0:22:04 | |
and when he leaves... | 0:22:04 | 0:22:06 | |
he has. | 0:22:06 | 0:22:08 | |
Sir... | 0:22:13 | 0:22:15 | |
Sandy noticed that Latimer was carrying a backpack | 0:22:15 | 0:22:17 | |
when they emerged from Commercial Street. | 0:22:17 | 0:22:19 | |
And you didn't find it when you searched Latimer's room? | 0:22:21 | 0:22:24 | |
And you searched his room in the morning, | 0:22:25 | 0:22:27 | |
which means that it was already missing | 0:22:27 | 0:22:29 | |
by the time the hide was set alight. | 0:22:29 | 0:22:31 | |
It was odd that he went out that morning. | 0:22:33 | 0:22:35 | |
He must have known that it was going to look suspicious. | 0:22:35 | 0:22:38 | |
Sure this is where you saw Latimer, Tosh? | 0:23:00 | 0:23:02 | |
Yeah. Over there. | 0:23:02 | 0:23:04 | |
Definitely. That's approximately 275 yards to there. | 0:23:04 | 0:23:08 | |
-That's impressive. -Well, I spent a lifetime at sea, Tosh, | 0:23:08 | 0:23:11 | |
estimating the distance between one wave and the other. | 0:23:11 | 0:23:14 | |
-Get that wrong and you can be... -Quite literally, sunk. | 0:23:14 | 0:23:17 | |
Shall we...? | 0:23:17 | 0:23:18 | |
HE MUTTERS | 0:23:20 | 0:23:21 | |
Are you sure you don't want to check out the wreckage of the Heinkel? | 0:23:26 | 0:23:30 | |
No, I think it's a wee bit obvious, Dad. | 0:23:30 | 0:23:32 | |
What's the Heinkel? | 0:23:32 | 0:23:34 | |
A German plane brought down in 1941. | 0:23:34 | 0:23:38 | |
It's just up over the hill there. | 0:23:38 | 0:23:40 | |
PHONE RINGS | 0:24:19 | 0:24:22 | |
-Hello. -It's Sandy. | 0:24:25 | 0:24:28 | |
Sandy, I was just about to call you. | 0:24:28 | 0:24:31 | |
The pathologist confirms Cora's suspicion | 0:24:31 | 0:24:33 | |
about Latimer's head injury. | 0:24:33 | 0:24:35 | |
He would've had to have been running backwards into a tree | 0:24:35 | 0:24:38 | |
at 30 miles an hour to sustain that amount of damage. | 0:24:38 | 0:24:41 | |
OK. Any more from forensics on Anna Blake? | 0:24:41 | 0:24:44 | |
They're still working on the bruising on her face. | 0:24:44 | 0:24:46 | |
More as it comes through. | 0:24:46 | 0:24:48 | |
Right. I also want you to get on to the Royal Bank of Scotland | 0:24:48 | 0:24:51 | |
in Commercial Street. | 0:24:51 | 0:24:53 | |
I want you to ask them if there was a withdrawal | 0:24:53 | 0:24:56 | |
for £10,000 under the name of Peter Latimer. | 0:24:56 | 0:25:01 | |
OK. OK, I'll do that now. | 0:25:01 | 0:25:03 | |
Right. Pathology have confirmed that Peter Latimer was hit from behind. | 0:25:04 | 0:25:10 | |
So, he hid the ten grand in the morning, | 0:25:10 | 0:25:15 | |
knowing that we were arriving. | 0:25:15 | 0:25:17 | |
Why didn't he want to be found with it on him? | 0:25:17 | 0:25:21 | |
He took the money out with Anna | 0:25:21 | 0:25:23 | |
so it's reasonable to assume it had something to do with her. | 0:25:23 | 0:25:27 | |
Whatever the reason, | 0:25:27 | 0:25:28 | |
get on to Rhona and tell her that we're now looking | 0:25:28 | 0:25:31 | |
at a double murder enquiry, | 0:25:31 | 0:25:33 | |
and that I think we're looking for the same killer for both crimes. | 0:25:33 | 0:25:36 | |
KNOCK ON DOOR | 0:25:36 | 0:25:39 | |
-Hi, Joe. -I need to speak to you. | 0:25:46 | 0:25:48 | |
-OK. -I know who killed my mother. | 0:25:49 | 0:25:52 | |
OK, come on in, son. | 0:25:54 | 0:25:56 | |
Have a seat, if you like. | 0:26:02 | 0:26:05 | |
-This is Detective Sergeant McIntosh. -Hiya. | 0:26:07 | 0:26:09 | |
Erm... | 0:26:11 | 0:26:12 | |
I was just about to make a cup of tea. Do you want one? | 0:26:13 | 0:26:17 | |
Fine. What do you take? | 0:26:17 | 0:26:19 | |
-Milk. -Just milk? | 0:26:19 | 0:26:21 | |
-Don't you want to know? -Sure. | 0:26:26 | 0:26:28 | |
I'm just a wee bit concerned that it's taken you this long | 0:26:28 | 0:26:31 | |
to come and tell us. | 0:26:31 | 0:26:33 | |
Donnie Tulloch. | 0:26:38 | 0:26:40 | |
Donnie Tulloch? | 0:26:44 | 0:26:45 | |
Donnie Tulloch killed your mum? | 0:26:47 | 0:26:49 | |
Yes. | 0:26:51 | 0:26:52 | |
That's a really serious allegation, Joe. | 0:26:57 | 0:27:00 | |
How do you know this? | 0:27:00 | 0:27:02 | |
-He was at the research centre that night. -Of course he was. | 0:27:02 | 0:27:06 | |
Cos the dance was for Angus's 18th birthday party | 0:27:06 | 0:27:12 | |
and most of the island was there. | 0:27:12 | 0:27:14 | |
You know your mum wasn't attacked until everyone had gone home. | 0:27:14 | 0:27:18 | |
So...why Donnie? | 0:27:18 | 0:27:21 | |
I mean, why would he do a thing like that? | 0:27:24 | 0:27:27 | |
-They didn't want me there. -Who didn't? | 0:27:29 | 0:27:31 | |
Donnie...and my parents. | 0:27:31 | 0:27:35 | |
Didn't want you where? At the dance? | 0:27:35 | 0:27:38 | |
They wanted me anywhere but there. | 0:27:38 | 0:27:40 | |
They had an agreement to make me stay away. | 0:27:40 | 0:27:44 | |
I'm sorry, Joe, I don't understand. | 0:27:44 | 0:27:47 | |
You had an agreement to stay away from the dance? | 0:27:48 | 0:27:52 | |
No. | 0:27:54 | 0:27:56 | |
From Angus. | 0:28:00 | 0:28:02 | |
Yes, the name is Peter Latimer. | 0:28:07 | 0:28:12 | |
Yes, £10,000 in cash. | 0:28:14 | 0:28:18 | |
Can you give that dog something to eat? | 0:28:18 | 0:28:21 | |
-I can't take the big doe eyes any more. -It's for his own good. | 0:28:21 | 0:28:23 | |
Then take him for a walk, or something. Honestly, I can't bear it! | 0:28:23 | 0:28:27 | |
Come on. | 0:28:27 | 0:28:29 | |
OK, could you try... | 0:28:29 | 0:28:31 | |
..DR Peter Latimer? | 0:28:32 | 0:28:34 | |
So, did Donnie and Isobel see you as being... | 0:28:34 | 0:28:40 | |
a bad influence on Angus? | 0:28:40 | 0:28:43 | |
Donnie did. | 0:28:43 | 0:28:46 | |
I don't think Isobel knew about us. | 0:28:48 | 0:28:50 | |
And what about Angus? | 0:28:53 | 0:28:55 | |
Did he feel the same way? | 0:28:56 | 0:28:58 | |
-I thought so. -Right. | 0:29:02 | 0:29:04 | |
And then Donnie found out about the relationship? | 0:29:05 | 0:29:09 | |
He saw us together... | 0:29:09 | 0:29:10 | |
Hit the roof. | 0:29:12 | 0:29:14 | |
So, your parents agreed to send you away? | 0:29:14 | 0:29:17 | |
My mother did. | 0:29:18 | 0:29:20 | |
But you came back on Angus's 18th birthday? | 0:29:20 | 0:29:22 | |
Yeah. | 0:29:24 | 0:29:26 | |
And you came back to make a point? | 0:29:27 | 0:29:30 | |
I suppose so. | 0:29:33 | 0:29:35 | |
PHONE RINGS | 0:29:37 | 0:29:40 | |
Hi, Sandy. | 0:29:41 | 0:29:43 | |
They got into an argument that night, Donnie and Mum. | 0:29:43 | 0:29:46 | |
He blames her for me turning up out of the blue. | 0:29:46 | 0:29:50 | |
Said she wasn't taking the situation seriously enough. | 0:29:51 | 0:29:54 | |
Right, first things first. | 0:29:54 | 0:29:56 | |
Donnie's in the wrong about this, Joe, | 0:29:56 | 0:29:59 | |
but there's absolutely no evidence to connect him with any crime. | 0:29:59 | 0:30:04 | |
-Covering up for your friend? -No, son. | 0:30:05 | 0:30:08 | |
But I can't go around accusing people of murder | 0:30:08 | 0:30:11 | |
based on nothing. | 0:30:11 | 0:30:14 | |
Peter Latimer didn't withdraw £10,000 from his bank account. | 0:30:23 | 0:30:27 | |
Anna withdrew it from hers. | 0:30:27 | 0:30:29 | |
It smells like some sort of payoff. But for what? | 0:30:31 | 0:30:34 | |
Where are you going? | 0:30:35 | 0:30:37 | |
I need to go and talk to Donnie about Joe. | 0:30:37 | 0:30:40 | |
I need some straight answers. | 0:30:42 | 0:30:44 | |
Donnie? | 0:30:57 | 0:30:58 | |
Hello. | 0:31:08 | 0:31:11 | |
Didn't think we'd see you today. How's it going? | 0:31:11 | 0:31:14 | |
Fine, fine. Is Donnie here? | 0:31:14 | 0:31:16 | |
He's in the kitchen. He smelt my scones from over the road. | 0:31:16 | 0:31:20 | |
He's got a nose like a bloodhound. | 0:31:20 | 0:31:22 | |
-Hello. -Some serious baking going on in there. | 0:31:22 | 0:31:25 | |
-So I see. Hi. -Hi. | 0:31:25 | 0:31:27 | |
What are you two doing? | 0:31:27 | 0:31:29 | |
Just playing some stupid game. | 0:31:29 | 0:31:31 | |
It's for kids, really. We're regressing. | 0:31:31 | 0:31:33 | |
Maybe that's no bad thing. | 0:31:33 | 0:31:35 | |
Jimmy, you can't stop them growing up, no matter how much you want to. | 0:31:35 | 0:31:39 | |
I know, but it doesn't stop you worrying about them, though. How is she? | 0:31:39 | 0:31:42 | |
She's fine. She's fine. | 0:31:42 | 0:31:45 | |
You got time for a cuppa? | 0:31:45 | 0:31:47 | |
No, I want to talk to Donnie. | 0:31:47 | 0:31:49 | |
Thought I heard your voice. | 0:31:49 | 0:31:51 | |
You got time for a wee chat in private? | 0:31:51 | 0:31:53 | |
-Oh. Sounds serious. -Mm-hm. | 0:31:53 | 0:31:55 | |
-The kitchen's all yours. -Thanks, Mum. | 0:31:55 | 0:31:58 | |
-I was thinking about you today, actually. -Why was that? | 0:32:00 | 0:32:03 | |
I was up by the South Lighthouse, | 0:32:03 | 0:32:05 | |
reminded me of the time we broke in there, do you remember? | 0:32:05 | 0:32:08 | |
No, I remember that YOU broke in there. | 0:32:08 | 0:32:10 | |
No, it was your idea. I was just the muscle. | 0:32:10 | 0:32:13 | |
That was the same summer there was those, erm... | 0:32:13 | 0:32:16 | |
..geography students got stranded, wasn't it? | 0:32:17 | 0:32:20 | |
That's right. | 0:32:20 | 0:32:22 | |
You and me and 15 girls. | 0:32:22 | 0:32:23 | |
Happy days, eh? | 0:32:25 | 0:32:27 | |
I need to ask you a couple of questions. | 0:32:27 | 0:32:29 | |
Fire away. | 0:32:29 | 0:32:31 | |
Did you and Anna Blake have an argument the night she died? | 0:32:35 | 0:32:38 | |
No, why would we? | 0:32:39 | 0:32:41 | |
Just somebody said they overheard you and her having words, | 0:32:42 | 0:32:45 | |
-that's all. -Who? | 0:32:45 | 0:32:47 | |
Well, if it didn't happen, it doesn't matter, does it? | 0:32:47 | 0:32:50 | |
We had a discussion. | 0:32:54 | 0:32:56 | |
-It was a wee bit heated. -About what? | 0:32:59 | 0:33:01 | |
It's personal, Jimmy. | 0:33:01 | 0:33:03 | |
Why didn't you tell me this before? | 0:33:05 | 0:33:07 | |
-It's got nothing to do with what happened. -That's for me to decide. | 0:33:07 | 0:33:10 | |
Are you interviewing me here? Is that what this is? | 0:33:14 | 0:33:18 | |
I need to know things like this. | 0:33:18 | 0:33:21 | |
It helps me see the big picture. | 0:33:23 | 0:33:25 | |
It was about the kids. | 0:33:34 | 0:33:35 | |
Joe's been leading Angus astray. | 0:33:37 | 0:33:39 | |
He's bad news, Jimmy. He's a troubled boy. | 0:33:41 | 0:33:45 | |
Anna had her head in the sand about the whole thing. | 0:33:45 | 0:33:47 | |
You're not thinking I had something to do with her death? | 0:33:55 | 0:33:58 | |
-I never said that. -Jimmy... | 0:33:58 | 0:34:00 | |
You really think I could do something like that? | 0:34:03 | 0:34:05 | |
I don't think anything of the sort. | 0:34:07 | 0:34:10 | |
I'll tell you this, though. | 0:34:12 | 0:34:14 | |
It's not just Anna Blake who could stick her head in the sand. | 0:34:14 | 0:34:18 | |
PHONE RINGS | 0:34:26 | 0:34:28 | |
-Tosh? -I've just had a thought. I'm not sure if it's a good thought, | 0:34:29 | 0:34:33 | |
but it's a thought. | 0:34:33 | 0:34:35 | |
Well, try me. | 0:34:35 | 0:34:37 | |
Well, if we're looking for proof of an affair between Latimer | 0:34:37 | 0:34:40 | |
and Anna, then who better to ask than Finlay? | 0:34:40 | 0:34:44 | |
He's been recording every detail of her life | 0:34:44 | 0:34:47 | |
for the past few months, hasn't he? | 0:34:47 | 0:34:50 | |
Potato scones. | 0:35:02 | 0:35:03 | |
That's what used to pass for a vegetable in my house. | 0:35:05 | 0:35:08 | |
Don't look so concerned, Finlay. | 0:35:10 | 0:35:11 | |
I'm just going to ask you a couple of questions. | 0:35:11 | 0:35:14 | |
That is excellent news. Thank you. | 0:35:17 | 0:35:19 | |
The storm's moved over to Iceland. | 0:35:20 | 0:35:22 | |
Commercial flights are due to resume in three hours. | 0:35:22 | 0:35:26 | |
The new research group will be arriving soon. | 0:35:27 | 0:35:31 | |
So we can go? | 0:35:31 | 0:35:33 | |
Better tell Finlay - he'll be pleased. | 0:35:34 | 0:35:37 | |
You took 362 photographs of Anna Blake. | 0:35:39 | 0:35:43 | |
You must have spent quite a bit of time watching her, | 0:35:44 | 0:35:46 | |
so you must have seen things and heard things that no-one else did. | 0:35:46 | 0:35:50 | |
-I'm not a gossip, Detective Inspector. -Mm. | 0:35:50 | 0:35:54 | |
When I spoke to you earlier, | 0:35:59 | 0:36:01 | |
you told me that Anna Blake could have any man she wanted. | 0:36:01 | 0:36:05 | |
So, did she want Peter Latimer? | 0:36:07 | 0:36:09 | |
It doesn't feel right talking about her like this. | 0:36:13 | 0:36:16 | |
She did something stupid, and she regretted it. | 0:36:16 | 0:36:19 | |
Did she have a affair? | 0:36:19 | 0:36:21 | |
-Briefly. -How brief? | 0:36:23 | 0:36:24 | |
It didn't last any longer than three weeks. | 0:36:26 | 0:36:30 | |
-It had started when Latimer first arrived. -Why did it end? | 0:36:31 | 0:36:34 | |
She grew tired of him. | 0:36:36 | 0:36:38 | |
He was flattered by her attention, | 0:36:39 | 0:36:41 | |
and then, when she withdrew it, he slunk back to the bottle. | 0:36:41 | 0:36:45 | |
And did Frank know? | 0:36:46 | 0:36:48 | |
-Not at first. -But he found out? -Yeah. | 0:36:49 | 0:36:52 | |
Angus still over seeing Cassie? | 0:37:07 | 0:37:09 | |
He is, aye. | 0:37:09 | 0:37:11 | |
What's wrong, Donnie? | 0:37:11 | 0:37:13 | |
-It's nothing. -I know when something's wrong. | 0:37:13 | 0:37:16 | |
I saw Jimmy on the road back. | 0:37:18 | 0:37:20 | |
He asked me a couple of questions. | 0:37:22 | 0:37:24 | |
-He asked YOU a couple of questions? -Aye. -About what? | 0:37:24 | 0:37:28 | |
Forget about it, it doesn't matter. | 0:37:31 | 0:37:34 | |
Finlay said I'd find you up here. | 0:38:02 | 0:38:05 | |
I needed to give myself something to do. | 0:38:05 | 0:38:07 | |
Do you mind if we have a word? | 0:38:07 | 0:38:09 | |
Come in. | 0:38:12 | 0:38:14 | |
So has there been a development? | 0:38:17 | 0:38:19 | |
Yeah, in a manner of speaking. | 0:38:19 | 0:38:21 | |
Erm...it's about Anna and Peter Latimer. | 0:38:22 | 0:38:25 | |
Right. | 0:38:26 | 0:38:28 | |
We have a statement that says that they were having an affair. | 0:38:28 | 0:38:31 | |
What?! | 0:38:31 | 0:38:33 | |
I'm sorry to break it to you like that, | 0:38:33 | 0:38:37 | |
but I had a feeling that maybe you suspected, | 0:38:37 | 0:38:40 | |
after you told me your wife was not perfect. | 0:38:40 | 0:38:43 | |
No, no, you misunderstood, I was referring... | 0:38:43 | 0:38:46 | |
OK! You have to stop lying to me. | 0:38:46 | 0:38:48 | |
I don't know whose reputation you're trying to protect, | 0:38:48 | 0:38:51 | |
whether it's your own, or your wife's, | 0:38:51 | 0:38:53 | |
but whichever way it is, you have to start being straight with me now. | 0:38:53 | 0:38:57 | |
It didn't seem relevant. | 0:39:07 | 0:39:09 | |
It wasn't the first time. | 0:39:11 | 0:39:14 | |
Of course it's relevant, especially if it's not the first time. | 0:39:14 | 0:39:17 | |
She promised me that it had stopped. | 0:39:17 | 0:39:20 | |
You know... | 0:39:22 | 0:39:23 | |
..all that. | 0:39:26 | 0:39:27 | |
The...the affairs. | 0:39:29 | 0:39:31 | |
I hated it. | 0:39:33 | 0:39:35 | |
I hated it. | 0:39:38 | 0:39:39 | |
But I learned to live with it. | 0:39:42 | 0:39:44 | |
You should have told me. | 0:39:46 | 0:39:47 | |
You should have also told me about Anna sending Joe away. | 0:39:49 | 0:39:52 | |
Anna only did that to protect him. | 0:39:52 | 0:39:55 | |
I know it may not look like the perfect marriage to you but... | 0:39:56 | 0:40:01 | |
we loved each other. | 0:40:01 | 0:40:03 | |
DOOR OPENS | 0:40:07 | 0:40:09 | |
Tosh. | 0:40:10 | 0:40:12 | |
Finlay's confirmed that Anna and Peter Latimer WERE having an affair, | 0:40:12 | 0:40:17 | |
and Frank knew about it. | 0:40:17 | 0:40:19 | |
-He knew? -Yeah, I don't think Anna realised that. | 0:40:19 | 0:40:22 | |
I think she was trying to protect him. | 0:40:22 | 0:40:24 | |
Did you mention the ten grand? | 0:40:24 | 0:40:26 | |
No. I didn't want to finish him off with the notion that Anna might | 0:40:26 | 0:40:30 | |
have also been planning to leave him. | 0:40:30 | 0:40:33 | |
-She wasn't, was she? -No. I know that, but it might have occurred to Frank. | 0:40:33 | 0:40:37 | |
Maybe when Anna told Latimer about the e-mail, | 0:40:37 | 0:40:40 | |
he threatened her back with telling Frank about them. | 0:40:40 | 0:40:43 | |
She knew it would break Frank in half. | 0:40:43 | 0:40:45 | |
That would certainly explain why the e-mail was never sent. | 0:40:45 | 0:40:48 | |
-And possibly the £10,000 payoff. -Mm. | 0:40:48 | 0:40:50 | |
FOOTSTEPS APPROACH | 0:40:50 | 0:40:52 | |
-Isobel, you can't be in here. -I need to talk to you, Jimmy. | 0:40:54 | 0:40:57 | |
That's fine, but we should go outside. | 0:40:57 | 0:41:00 | |
But what's going on? Why did you question Donnie? | 0:41:00 | 0:41:03 | |
Come on, let's go for a walk. | 0:41:03 | 0:41:05 | |
Was he having an affair with Joe Blake's mum, was that it? | 0:41:08 | 0:41:11 | |
No, it's nothing like that. | 0:41:11 | 0:41:14 | |
I mean, I don't even think it's something you should be that worried about. | 0:41:14 | 0:41:18 | |
Look, I was the first girl who ever let you kiss her. | 0:41:18 | 0:41:22 | |
You owe me. | 0:41:22 | 0:41:24 | |
Talk to Donnie. | 0:41:27 | 0:41:29 | |
Talk to him about Angus and Joe. | 0:41:30 | 0:41:33 | |
OK? | 0:41:34 | 0:41:36 | |
It'll be fine. | 0:41:40 | 0:41:42 | |
I've got Sandy on the line. He was checking out Latimer | 0:41:53 | 0:41:56 | |
and he came across a conference in Hawaii eight years ago that | 0:41:56 | 0:41:59 | |
Latimer was presenting a paper at - you'll want to hear this... | 0:41:59 | 0:42:02 | |
OK, put him on speaker phone. | 0:42:02 | 0:42:05 | |
OK, Sandy, what have you got? | 0:42:05 | 0:42:07 | |
Also giving a paper at the same conference... | 0:42:07 | 0:42:10 | |
..Dr Bill Warren. | 0:42:12 | 0:42:15 | |
Latimer's CV is relatively short and uninteresting | 0:42:15 | 0:42:19 | |
because of his age and the fact that he's not very prolific. | 0:42:19 | 0:42:22 | |
So I just thought I'd do some more research on Bill Warren. | 0:42:22 | 0:42:26 | |
And he found this - taken at Infotaka in 1997. | 0:42:26 | 0:42:30 | |
It's a research station on a nature reserve in Malaysia. | 0:42:30 | 0:42:34 | |
This is Bill Warren 17 years ago. | 0:42:34 | 0:42:36 | |
And this woman whose waist he has his arm so comfortably around... | 0:42:36 | 0:42:39 | |
Is Anna Blake. | 0:42:39 | 0:42:41 | |
And one more thing. There is also an online blog written | 0:42:41 | 0:42:45 | |
by Bill and his 12-year-old son David | 0:42:45 | 0:42:48 | |
when they took a trip of a lifetime to the Galapagos Islands in 2009. | 0:42:48 | 0:42:53 | |
Is there a picture of the boy? | 0:42:53 | 0:42:55 | |
He looks just like Joe Blake. | 0:42:57 | 0:42:58 | |
Yes. But it is definitely David Warren. | 0:42:58 | 0:43:02 | |
He died of leukaemia six months after the trip was made. | 0:43:02 | 0:43:05 | |
It was because he had terminal leukaemia that they went. | 0:43:05 | 0:43:08 | |
So Anna Blake and Bill Warren were in Malaysia 17 years ago. | 0:43:08 | 0:43:14 | |
Anna Blake's son, Joe, is 17... | 0:43:14 | 0:43:18 | |
Need to rewind a bit. | 0:43:20 | 0:43:23 | |
Bill Warren said that before he came to Fair Isle | 0:43:23 | 0:43:26 | |
he didn't know Anna Blake, except through her work. | 0:43:26 | 0:43:29 | |
So he lied. And I think we all know why. | 0:43:30 | 0:43:35 | |
Dr Warren. | 0:43:44 | 0:43:45 | |
You waiting on someone? | 0:43:46 | 0:43:48 | |
Sort of. The planes are flying again. | 0:43:48 | 0:43:50 | |
We managed to get seats on the 6.30. | 0:43:50 | 0:43:52 | |
I was looking to see if I could spot it coming in. | 0:43:52 | 0:43:55 | |
You've got just enough time to answer a couple of questions. | 0:43:55 | 0:43:58 | |
-Yes, of course. If it will help. I'll just let my wife know. -It's OK, it won't take long. | 0:43:58 | 0:44:02 | |
Just come into the reading room. | 0:44:02 | 0:44:04 | |
All right, Is? Cup of tea? | 0:44:08 | 0:44:10 | |
Yeah. | 0:44:10 | 0:44:12 | |
Angus, can you go up to your room, please? | 0:44:15 | 0:44:17 | |
I'm not five, you know. | 0:44:19 | 0:44:21 | |
I just want to talk to your dad in private. Go on. | 0:44:21 | 0:44:24 | |
Christ, I can barely get you out of the bloody room | 0:44:27 | 0:44:31 | |
and now you want to be in the belly of the kirk? Go on! | 0:44:31 | 0:44:34 | |
Go on, Angus. | 0:44:40 | 0:44:41 | |
Talk to me about Joe Blake now. | 0:45:01 | 0:45:04 | |
DOOR OPENS | 0:45:09 | 0:45:11 | |
Joe. | 0:45:12 | 0:45:14 | |
Where have you been? | 0:45:17 | 0:45:19 | |
Does it matter? | 0:45:19 | 0:45:20 | |
-We need to talk. -Bit late for talking, don't you think? | 0:45:23 | 0:45:27 | |
I should never have agreed to you being sent away. | 0:45:30 | 0:45:33 | |
It was wrong. | 0:45:33 | 0:45:35 | |
But at the time we thought that... | 0:45:35 | 0:45:37 | |
maybe a bit of breathing space... | 0:45:37 | 0:45:41 | |
you know... | 0:45:41 | 0:45:43 | |
With your mother, | 0:45:43 | 0:45:45 | |
I didn't always feel that I had the right to intervene. | 0:45:45 | 0:45:50 | |
But you're my son. | 0:45:51 | 0:45:53 | |
And I love you. | 0:45:59 | 0:46:01 | |
You made me feel ashamed of who I am. | 0:46:02 | 0:46:05 | |
I know, and that will never happen again. | 0:46:05 | 0:46:08 | |
I promise. | 0:46:11 | 0:46:13 | |
-Did you know that Anna had fallen pregnant? -No. | 0:46:22 | 0:46:25 | |
We maintained contact for a year or so afterwards, | 0:46:27 | 0:46:30 | |
professional contact, and she made no mention of a child. | 0:46:30 | 0:46:34 | |
-So you had no idea you had a son? -None. | 0:46:34 | 0:46:37 | |
But when you arranged the placement here... | 0:46:37 | 0:46:39 | |
I knew it was her, of course. 18 years is a long time. | 0:46:39 | 0:46:42 | |
There was no reason to suppose that it would affect | 0:46:42 | 0:46:45 | |
our working relationship here. And it didn't. | 0:46:45 | 0:46:48 | |
It didn't occur to you that every time she mentioned Joe, | 0:46:48 | 0:46:51 | |
she was talking about...? | 0:46:51 | 0:46:53 | |
She wasn't in the habit of talking about him. | 0:46:53 | 0:46:56 | |
Joe wasn't here in my time on Fair Isle so I never came across him. | 0:46:56 | 0:46:59 | |
Until the dance. | 0:46:59 | 0:47:01 | |
Tessa said that she had seen a boy on the boat | 0:47:02 | 0:47:04 | |
who looked so much like David it broke her heart all over again. | 0:47:04 | 0:47:09 | |
We've seen a photograph. | 0:47:11 | 0:47:13 | |
He looked like a lovely boy, Dr Warren. | 0:47:13 | 0:47:15 | |
We were extremely close. | 0:47:15 | 0:47:17 | |
I'm sorry... | 0:47:18 | 0:47:20 | |
No, it's OK. It's OK. Just take your time. | 0:47:20 | 0:47:23 | |
When I found out that Joe was Anna's son, I put two and two together. | 0:47:24 | 0:47:28 | |
-And what? You confronted her with that? -Yes. | 0:47:28 | 0:47:32 | |
Anna told me that she discovered she was pregnant on the flight | 0:47:33 | 0:47:37 | |
home from Malaysia, and as was her character, | 0:47:37 | 0:47:39 | |
by the time the flight had landed she'd decided that it was in the best interests of all concerned | 0:47:39 | 0:47:44 | |
that I remain blissfully ignorant | 0:47:44 | 0:47:46 | |
while she and Frank bring up the child up as theirs. | 0:47:46 | 0:47:50 | |
When I knew the truth... | 0:47:52 | 0:47:54 | |
..I felt like I'd lost two children. | 0:47:56 | 0:47:58 | |
I couldn't believe she'd done that to me, | 0:47:58 | 0:48:00 | |
denied me the chance to be a father. | 0:48:00 | 0:48:03 | |
How did that make you feel? | 0:48:03 | 0:48:05 | |
Worse. I suppose I'd suppressed so much that I just couldn't any more. | 0:48:05 | 0:48:09 | |
I wanted to kill her. | 0:48:14 | 0:48:17 | |
And... | 0:48:17 | 0:48:18 | |
And that's what I did. | 0:48:20 | 0:48:22 | |
Let me get this straight. You're saying you killed Anna Blake | 0:48:29 | 0:48:34 | |
because she hid the fact that you had a son together? | 0:48:34 | 0:48:37 | |
Yes, that's right. | 0:48:39 | 0:48:42 | |
PHONE RINGS | 0:48:42 | 0:48:44 | |
DOOR CLOSES | 0:48:48 | 0:48:50 | |
Hi, Sandy, what have you got? | 0:48:54 | 0:48:56 | |
The forensic analysis of the bruising on Anna's face | 0:48:56 | 0:48:59 | |
has just come through. There is one key finding. | 0:48:59 | 0:49:03 | |
OK. Let's just go over what actually happened, OK? | 0:49:05 | 0:49:09 | |
-I don't think it could be any clearer, do you? -To you, maybe. | 0:49:09 | 0:49:14 | |
DOOR OPENS | 0:49:14 | 0:49:16 | |
OK. So, you're saying that when you found out that Joe | 0:49:30 | 0:49:35 | |
was your son and that Anna had kept that from you, you were furious? | 0:49:35 | 0:49:39 | |
-Yes. -And during an argument, you what...? You lashed out at her? | 0:49:39 | 0:49:45 | |
Yes. That's right, I struck her. | 0:49:45 | 0:49:47 | |
-Sorry, with which hand? -Um... | 0:49:49 | 0:49:52 | |
My left. Anna tried to push me out of the laboratory. | 0:49:52 | 0:49:56 | |
I'm ashamed to say that I knocked her to the floor. | 0:49:56 | 0:50:00 | |
And left her to die of her injuries. | 0:50:00 | 0:50:02 | |
Oh, God! | 0:50:02 | 0:50:03 | |
It was a moment of madness. | 0:50:03 | 0:50:07 | |
It's something that I will have to live with for the rest of my life. | 0:50:07 | 0:50:11 | |
Let me see your left hand. | 0:50:13 | 0:50:15 | |
Within the bruise... | 0:50:22 | 0:50:24 | |
..there's a mark that was left by a hand with a ring on it. | 0:50:25 | 0:50:29 | |
You don't wear a ring. | 0:50:31 | 0:50:33 | |
But your wife Tessa does. | 0:50:35 | 0:50:37 | |
Are you trying to protect your wife? | 0:50:43 | 0:50:45 | |
No. It was me. | 0:50:45 | 0:50:48 | |
Why on earth would she do that? | 0:50:48 | 0:50:50 | |
Well, let's find out. Tosh, go and find Mrs Warren | 0:50:50 | 0:50:54 | |
and hold her in the common room. | 0:50:54 | 0:50:56 | |
(Please...) | 0:50:59 | 0:51:01 | |
DOOR CLOSES | 0:51:01 | 0:51:03 | |
So, Peter Latimer? | 0:51:15 | 0:51:17 | |
Did he hear something? Did he see something? | 0:51:18 | 0:51:21 | |
Latimer knew that something had happened. | 0:51:21 | 0:51:23 | |
He said he was sure there was a perfectly simple explanation. | 0:51:23 | 0:51:27 | |
Clearly, he was going to blackmail us. | 0:51:30 | 0:51:32 | |
I couldn't allow that to happen. | 0:51:32 | 0:51:34 | |
Not to Tess. | 0:51:34 | 0:51:36 | |
Sir, Mrs Warren's not in the centre. | 0:51:38 | 0:51:40 | |
Finlay say he saw her walking south towards the cliffs. | 0:51:40 | 0:51:43 | |
No wait. You just stay here. | 0:51:43 | 0:51:46 | |
I'll go and find her. | 0:51:46 | 0:51:48 | |
Tessa. | 0:52:34 | 0:52:36 | |
If you think this is the only choice you've got... | 0:52:39 | 0:52:42 | |
..it isn't, you know. | 0:52:44 | 0:52:46 | |
What about your husband? | 0:52:48 | 0:52:50 | |
Some people look at all this terrible beauty | 0:52:52 | 0:52:54 | |
and they see the hand of God in it. | 0:52:54 | 0:52:56 | |
But where was God when my David died? | 0:52:58 | 0:53:01 | |
Where was God then? | 0:53:03 | 0:53:04 | |
She didn't know what it was like to lose a child. | 0:53:08 | 0:53:11 | |
I simply asked her to let Bill into Joe's life, | 0:53:11 | 0:53:14 | |
so he could be a father again. | 0:53:14 | 0:53:17 | |
She didn't care. | 0:53:19 | 0:53:20 | |
She just turned away. | 0:53:21 | 0:53:23 | |
I don't know where God was when your son died... | 0:53:23 | 0:53:26 | |
..or my wife, for that matter. | 0:53:28 | 0:53:31 | |
But killing yourself isn't going to make anything better, Tessa. | 0:53:31 | 0:53:36 | |
It's just going to make everything that wee bit harder | 0:53:36 | 0:53:39 | |
for everybody who loves you and cares about you. | 0:53:39 | 0:53:42 | |
Whatever you say now, I know you didn't mean to kill Anna. | 0:53:42 | 0:53:46 | |
Nobody thinks you did. | 0:53:46 | 0:53:48 | |
But somebody has to be punished. | 0:53:48 | 0:53:50 | |
Not like this. | 0:53:52 | 0:53:53 | |
Tessa. | 0:53:56 | 0:53:58 | |
Come on. | 0:54:07 | 0:54:09 | |
Please. | 0:54:14 | 0:54:15 | |
-SHE SOBS -I know... | 0:54:28 | 0:54:31 | |
Come on. | 0:54:34 | 0:54:36 | |
Thanks, Mum. | 0:55:02 | 0:55:03 | |
Absolutely any time. Cassie's a lovely girl. | 0:55:03 | 0:55:06 | |
-You're doing a fine job. -Do you think so? -Yes. | 0:55:06 | 0:55:10 | |
Bye, Ma. | 0:55:13 | 0:55:15 | |
And maybe when you're over next month getting your hair done, | 0:55:16 | 0:55:19 | |
I'll take Jimmy for a pint and we'll catch up proper. | 0:55:19 | 0:55:22 | |
I'd like that, aye. All right, Donnie? | 0:55:22 | 0:55:25 | |
-I'll see you, Jimmy, yeah? Sorry for being an idiot. -See you. | 0:55:25 | 0:55:28 | |
-Thanks. -You'll be fine. | 0:55:31 | 0:55:32 | |
And next time you're over on the mainland, | 0:55:32 | 0:55:35 | |
-you're always welcome, come stay with us. -I'd like that. | 0:55:35 | 0:55:37 | |
-All right. -Thanks. | 0:55:37 | 0:55:39 | |
-Bye, Angus. -Cheers. | 0:55:39 | 0:55:41 | |
See you next time, Grandad. | 0:55:48 | 0:55:50 | |
In the meantime, watch out for the boys. | 0:55:50 | 0:55:53 | |
-Which ones? -All of them, Lerwick's a big place. | 0:55:53 | 0:55:56 | |
So, I'll see you for a pint? | 0:55:57 | 0:56:00 | |
It's a date. | 0:56:00 | 0:56:01 | |
Life's too short, Jimmy. | 0:56:01 | 0:56:03 | |
I know. | 0:56:03 | 0:56:06 | |
Tosh, how are your sea legs? | 0:56:06 | 0:56:08 | |
-Why? -Cos if you thought the flight over was rough, | 0:56:08 | 0:56:12 | |
you're about to experience the true meaning of the word. | 0:56:12 | 0:56:15 | |
But just remember, it was you that insisted on sailing. | 0:56:15 | 0:56:18 | |
Anything's better than the death plane. | 0:56:18 | 0:56:21 | |
I'll see you, Dad. | 0:56:21 | 0:56:23 | |
Not so long next time. | 0:56:25 | 0:56:28 | |
-Cass? -Yeah? | 0:56:36 | 0:56:38 | |
I just wanted to have a wee word with you about Angus. | 0:56:38 | 0:56:41 | |
I know he's gay. So what? | 0:56:41 | 0:56:44 | |
OK. | 0:56:46 | 0:56:47 | |
Well... | 0:56:49 | 0:56:50 |