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This programme contains prolonged violent scenes and some strong language. | 0:00:02 | 0:00:09 | |
CHEERING AND SHOUTING | 0:00:33 | 0:00:35 | |
GUNFIRE AND SCREAMING | 0:01:36 | 0:01:40 | |
GUNSHOT | 0:01:40 | 0:01:41 | |
JAUNTY EASY-LISTENING MUSIC PLAYS | 0:02:49 | 0:02:53 | |
IN ITALIAN: | 0:03:21 | 0:03:25 | |
OK? Si. | 0:03:54 | 0:03:56 | |
SHE BREATHES RAPIDLY | 0:04:19 | 0:04:21 | |
Please tell me, Reina. | 0:04:24 | 0:04:26 | |
-SOBBING: -They're dead. | 0:04:28 | 0:04:30 | |
-Who? -Anna, Vita, all of them. | 0:04:35 | 0:04:40 | |
It's all my fault! | 0:04:43 | 0:04:46 | |
Of course it's not your fault. | 0:04:47 | 0:04:49 | |
Why should it be your fault? | 0:04:51 | 0:04:53 | |
Welcome. | 0:07:18 | 0:07:19 | |
IN ITALIAN: | 0:07:25 | 0:07:27 | |
-Your Italian is good, but perhaps we should talk in English. -OK. | 0:07:53 | 0:07:58 | |
Nikos Voultsos was a top man in Ghiottone, | 0:07:58 | 0:08:01 | |
their operation chief in Europe, | 0:08:01 | 0:08:03 | |
so they are not going to be happy about this murder. | 0:08:03 | 0:08:05 | |
Yes, I was wondering, this old man in the picture | 0:08:05 | 0:08:10 | |
with Nikos Voultsos, who is he? | 0:08:10 | 0:08:12 | |
Marco di Spinelli, a 91-year-old banker, politically active | 0:08:12 | 0:08:17 | |
and outwardly has a very respectable front. | 0:08:17 | 0:08:21 | |
But behind the front? | 0:08:21 | 0:08:23 | |
He runs Ghiottone. | 0:08:23 | 0:08:25 | |
Unfortunately, we don't have enough on him to arrest him just yet. | 0:08:26 | 0:08:31 | |
He has very powerful friends. | 0:08:31 | 0:08:33 | |
What exactly does Ghiottone mean? | 0:08:33 | 0:08:38 | |
Wolverine, the predator. | 0:08:38 | 0:08:41 | |
Er...Nikos Voultsos's body | 0:08:41 | 0:08:44 | |
was half eaten by wolverines in a zoo in Stockholm. | 0:08:44 | 0:08:48 | |
Intriguing. | 0:08:48 | 0:08:50 | |
Yes, but hardly a coincidence. | 0:08:50 | 0:08:53 | |
-Hardly. -No. | 0:08:53 | 0:08:56 | |
I... | 0:08:56 | 0:08:59 | |
I would very much like to meet this Spinelli. | 0:08:59 | 0:09:05 | |
I thought we were only supposed to go through our investigations. | 0:09:07 | 0:09:10 | |
Yes, I'm a little bit curious. | 0:09:10 | 0:09:13 | |
Please, can you arrange a meeting? | 0:09:13 | 0:09:15 | |
I would rather not. | 0:09:15 | 0:09:16 | |
-Why? -We try to disturb him as little as possible | 0:09:16 | 0:09:21 | |
in the hope he will lower his guard. | 0:09:21 | 0:09:23 | |
Yes, but a...a brief meeting? | 0:09:23 | 0:09:28 | |
Please? | 0:09:30 | 0:09:31 | |
NILSSON SIGHS | 0:11:27 | 0:11:30 | |
Uh-huh? | 0:11:56 | 0:11:57 | |
How the hell did Nilsson know about us? | 0:12:42 | 0:12:44 | |
He knows everything that goes on. | 0:12:44 | 0:12:46 | |
He peeks through keyholes and sneaks around. | 0:12:46 | 0:12:51 | |
-How many degrees on this? -40. | 0:12:51 | 0:12:53 | |
-So what are you going to do? -I don't know. | 0:12:56 | 0:12:59 | |
-Has he said anything about us to the police? -No. | 0:12:59 | 0:13:03 | |
Why do they want to talk to you? | 0:13:03 | 0:13:05 | |
Cos... | 0:13:07 | 0:13:08 | |
Cos of something to do with the girls, with the murders. | 0:13:08 | 0:13:11 | |
They must know that I live there too. I don't know. How many? | 0:13:11 | 0:13:15 | |
One. | 0:13:15 | 0:13:16 | |
Are you going to disappear? | 0:13:27 | 0:13:29 | |
You come with me. | 0:13:38 | 0:13:39 | |
No. | 0:13:40 | 0:13:42 | |
Come on, we talked about this. | 0:13:42 | 0:13:44 | |
-I don't want to leave Sweden. -And I don't want to leave you. | 0:13:44 | 0:13:50 | |
So what do we do? | 0:13:50 | 0:13:51 | |
IN ITALIAN: | 0:16:10 | 0:16:12 | |
'Si.' | 0:16:12 | 0:16:13 | |
Em, arms. | 0:16:33 | 0:16:34 | |
Enjoy this fantastic view. Look how beautiful it is. Sit down. | 0:17:02 | 0:17:08 | |
There was an Italian writer, Cesare Pavese, | 0:17:08 | 0:17:12 | |
who was at this very same place | 0:17:12 | 0:17:14 | |
when he wrote his famous book - La Luna E I Falo. | 0:17:14 | 0:17:19 | |
-Grappa? -Yes. | 0:17:19 | 0:17:22 | |
This grappa is made from the skins of the Amarone grapes. | 0:17:22 | 0:17:28 | |
Rondinella, Corvina and Molinara. | 0:17:30 | 0:17:33 | |
Yes! You're a connoisseur! I like that! | 0:17:33 | 0:17:36 | |
Very good. You know... | 0:17:36 | 0:17:40 | |
I must admit I was a little bit surprised when you first came in. | 0:17:40 | 0:17:44 | |
You were? Why is that? | 0:17:44 | 0:17:47 | |
Because you remind me very much of a man I met a long time ago, | 0:17:47 | 0:17:51 | |
-during the war. -Did you know many men with blond hair during the war? | 0:17:51 | 0:17:58 | |
One or two. You know, I was living in Switzerland. | 0:17:58 | 0:18:02 | |
I fled from the fascists. But enough about that. | 0:18:02 | 0:18:07 | |
Now, what can I do for the Swedish police? | 0:18:08 | 0:18:11 | |
Well, erm, there was a Greek named Nikos Voultsos. | 0:18:11 | 0:18:17 | |
He was murdered in Stockholm. His body was half eaten by wolverines. | 0:18:18 | 0:18:24 | |
You mean in Stockholm you have wolverines? How exotic! | 0:18:25 | 0:18:29 | |
No, er, his body was found in their cage at the zoo. | 0:18:29 | 0:18:33 | |
-What a strange fate. -Hmm, yes. | 0:18:34 | 0:18:38 | |
I have a... Oh! | 0:18:38 | 0:18:39 | |
-Here, help yourself. -Thank you, I'm sorry. | 0:18:51 | 0:18:55 | |
I have here a...a photo of you sitting with this murdered Voultsos. | 0:18:55 | 0:19:02 | |
SPINELLI SIGHS | 0:19:05 | 0:19:06 | |
-Who took this picture? -I take it that you know each other? | 0:19:10 | 0:19:14 | |
You mean that this is, what's his name, this Greek name? | 0:19:17 | 0:19:20 | |
-What's the name? -Voultsos, yes. | 0:19:20 | 0:19:22 | |
-He was a pimp to some prostitutes outside Stockholm. -Oh. | 0:19:22 | 0:19:28 | |
-They are also dead now. Murdered. -That's very sad. | 0:19:31 | 0:19:35 | |
Listen, I am very sorry to disappoint you, but I didn't know him, sorry. | 0:19:35 | 0:19:41 | |
I understand, but what do you think about his peculiar death, | 0:19:41 | 0:19:45 | |
eaten by wolverines, "ghiottone" in Italian? | 0:19:45 | 0:19:48 | |
Any thoughts on that? | 0:19:48 | 0:19:50 | |
You've been speaking to Signor Marconi, I hear, right? | 0:19:50 | 0:19:54 | |
-Yes. -You know...he's very fond of grappa too. | 0:19:54 | 0:19:59 | |
Tell me, are you perhaps familiar with this man? | 0:20:06 | 0:20:12 | |
-Is it the same man? -Yes. His name was Leonard Sheinkman. | 0:20:21 | 0:20:26 | |
-He was a famous brain researcher. -Was? -Yes, he was murdered too. | 0:20:26 | 0:20:33 | |
In fact, he was tortured to death, a metal needle was driven | 0:20:33 | 0:20:37 | |
through his brain while he was hanging upside down from a tree. | 0:20:37 | 0:20:41 | |
Oh, my God. How terrible. | 0:20:41 | 0:20:44 | |
I mean, I always thought that Sweden was such a safe country to live in. | 0:20:44 | 0:20:48 | |
-Everything changes. -I'm sorry. | 0:20:50 | 0:20:53 | |
-Well, farewell, Mr Soderstedt. Please. -Farewell. | 0:20:53 | 0:20:59 | |
HE SIGHS | 0:21:09 | 0:21:11 | |
HE CLICKS HIS FINGERS | 0:21:17 | 0:21:19 | |
I'm glad to see you're alive in one piece. | 0:23:36 | 0:23:38 | |
-I don't think I'm any kind of threat to Spinelli. -You never know. | 0:23:38 | 0:23:42 | |
I recommend baccala alla vicentina if you like fish. | 0:23:45 | 0:23:47 | |
A dish from Vicenza, very special, made from dried cod from Norway. | 0:23:48 | 0:23:52 | |
Norway? | 0:23:52 | 0:23:54 | |
-OK, I'll... I'll try that. -Gigi! | 0:23:55 | 0:23:59 | |
-So how did the meeting go? -Er, well, he refused to recognise Voultsos, | 0:24:09 | 0:24:15 | |
-but I guess that was only to be expected. -Yes. | 0:24:15 | 0:24:19 | |
But, you know, I think he might have known another | 0:24:19 | 0:24:23 | |
victim of a murder case we are investigating - Leonard Sheinkman. | 0:24:23 | 0:24:28 | |
And what makes you think that? | 0:24:28 | 0:24:29 | |
The way he reacted when I mentioned how this Sheinkman was murdered. | 0:24:29 | 0:24:34 | |
-And how was he murdered? -With a metal needle through the head. | 0:24:34 | 0:24:40 | |
Very unpleasant. | 0:24:40 | 0:24:42 | |
And how would this Spinelli have known this man, Sheinkman? | 0:24:42 | 0:24:45 | |
I don't know. Er, maybe, em... | 0:24:47 | 0:24:50 | |
Sheinkman was a brain researcher. | 0:24:51 | 0:24:53 | |
Maybe he did some research on Spinelli's brain, I don't know. | 0:24:53 | 0:24:57 | |
HE LAUGHS Quite possible. | 0:24:57 | 0:25:00 | |
Marco di Spinelli has a very vivid mind for a 91-year-old. | 0:25:00 | 0:25:05 | |
-Yes. What's your relationship, exactly? -With Spinelli? -Yes. | 0:25:05 | 0:25:10 | |
-Buon appetito. -Grazie. | 0:25:10 | 0:25:12 | |
Cin cin. | 0:25:20 | 0:25:22 | |
Yes, mail me everything. Email me. Yes, OK, bye. | 0:25:22 | 0:25:26 | |
SHE EXHALES | 0:26:15 | 0:26:16 | |
-Vresta Motel? -Yeah, is it far? -45 minutes. | 0:26:29 | 0:26:33 | |
PHONE RINGS | 0:28:06 | 0:28:08 | |
Hello? | 0:28:15 | 0:28:17 | |
-'Go home.' -LINE GOES DEAD | 0:28:17 | 0:28:20 | |
MOBILE PHONE RINGS | 0:28:20 | 0:28:24 | |
SHE SIGHS | 0:29:31 | 0:29:33 | |
DOOR OPENS AND CLOSES | 0:30:40 | 0:30:43 | |
IN ENGLISH: Can I help you with anything? | 0:31:08 | 0:31:11 | |
Yes. | 0:31:11 | 0:31:13 | |
Please. Just give me her address. | 0:31:31 | 0:31:35 | |
Fuck you. | 0:31:38 | 0:31:39 | |
Please. | 0:31:48 | 0:31:49 | |
NILSSON SOBS AND PANTS | 0:31:51 | 0:31:54 | |
REINA CHUCKLES | 0:32:07 | 0:32:10 | |
-Blackberries. -Mm. | 0:32:10 | 0:32:13 | |
-Don't you like them? -I love them. | 0:32:24 | 0:32:25 | |
What then? | 0:32:27 | 0:32:29 | |
-We used to pick them every summer. -At home? | 0:32:30 | 0:32:35 | |
-Me and my sister. Yhazhenika we call it. -Yhazhenika? | 0:32:37 | 0:32:43 | |
REINA LAUGHS | 0:32:43 | 0:32:45 | |
Yhazhenika. | 0:32:45 | 0:32:47 | |
They grew behind the house. | 0:32:47 | 0:32:49 | |
You never talk about your family. | 0:32:53 | 0:32:55 | |
I don't have any family. | 0:32:55 | 0:32:57 | |
My mum died of cancer when we were young. My dad was an alcoholic. | 0:32:57 | 0:33:01 | |
We grew up in foster homes. | 0:33:01 | 0:33:03 | |
What happened to your sister? | 0:33:06 | 0:33:07 | |
She was strong, a survivor. | 0:33:07 | 0:33:11 | |
She started to study and became a researcher. | 0:33:14 | 0:33:19 | |
I started to take drugs. | 0:33:19 | 0:33:21 | |
I became a whore. | 0:33:21 | 0:33:22 | |
Come on, Reina. | 0:33:25 | 0:33:27 | |
You didn't become a whore. | 0:33:30 | 0:33:33 | |
You were abused by men who used you to make money. | 0:33:33 | 0:33:37 | |
You were on drugs, right? | 0:33:37 | 0:33:40 | |
Do you have any contact with your sister? | 0:33:43 | 0:33:45 | |
-We call each other sometimes. -What happened to your dad? | 0:33:45 | 0:33:51 | |
I don't know. He disappeared when I was nine. | 0:33:51 | 0:33:56 | |
And you haven't talked to him since then? | 0:33:56 | 0:33:58 | |
-No. -Haven't you tried? | 0:33:58 | 0:34:01 | |
Shouldn't you go to work? | 0:34:03 | 0:34:05 | |
Oh, shit! | 0:34:06 | 0:34:08 | |
THEY LAUGH | 0:34:08 | 0:34:12 | |
Spinelli claims that he was in Switzerland during World War II, | 0:34:28 | 0:34:32 | |
in exile. Is that right? | 0:34:32 | 0:34:35 | |
Why do you ask? | 0:34:35 | 0:34:38 | |
I'm just wondering where he could have met Sheinkman. | 0:34:38 | 0:34:43 | |
-You think he did? -Well, I got the impression that he did, yes. | 0:34:43 | 0:34:46 | |
-Sheinkman was Jewish? -Yes. And he was in Buchenwald. | 0:34:48 | 0:34:53 | |
-It sounds really likely they met there. -No. | 0:34:53 | 0:34:58 | |
Unless Spinelli was a Nazi. | 0:34:58 | 0:35:00 | |
Are there any official papers or documents that he was | 0:35:00 | 0:35:05 | |
actually in Switzerland? | 0:35:05 | 0:35:07 | |
-No, so it's just his version of the story? -Hmm, yes. | 0:35:07 | 0:35:12 | |
-Do you think he's lying about it? -I don't know. | 0:35:14 | 0:35:17 | |
-It might be worth looking into. -What are you planning to do now? | 0:35:17 | 0:35:22 | |
I mean, we could make a photocopy of the entire investigation | 0:35:22 | 0:35:25 | |
if you want to return home. | 0:35:25 | 0:35:26 | |
-What do you think? -I think it would be wise. | 0:35:28 | 0:35:32 | |
-To go home? -Yes. I think you've irritated this Spinelli enough. | 0:35:33 | 0:35:39 | |
Next time he won't be content with | 0:35:39 | 0:35:41 | |
just turning your hotel room upside down. | 0:35:41 | 0:35:44 | |
-What is it? -Nilsson has been attacked and is beaten up. | 0:36:04 | 0:36:07 | |
It must be them. | 0:36:07 | 0:36:10 | |
-What? The guys who murdered the girls? -Nikos worked for them. | 0:36:10 | 0:36:13 | |
-They're looking for me. -You?! -Yes, I've got to go. I'll call you later. | 0:36:13 | 0:36:18 | |
SIRENS WAIL | 0:36:18 | 0:36:20 | |
DOOR CLOSES IN DISTANCE | 0:38:27 | 0:38:29 | |
WATER LAPS GENTLY | 0:39:31 | 0:39:35 | |
OK. | 0:40:15 | 0:40:17 | |
-I'll tell you everything as soon as... -'But where are you?' | 0:41:17 | 0:41:20 | |
-In town. I must hide for a while. -Why? | 0:41:20 | 0:41:23 | |
Because... Dyta, I can't explain anything right now. | 0:41:23 | 0:41:27 | |
Has it something to do with the murder of your pimp? | 0:41:27 | 0:41:30 | |
-Yes. -And you were mixed up in that? -No! | 0:41:31 | 0:41:34 | |
-Yes, come on, Reina, I'm not stupid! -Dyta! | 0:41:34 | 0:41:37 | |
PHONE RINGS | 0:41:51 | 0:41:55 | |
PHONE RINGS | 0:42:16 | 0:42:19 | |
PHONE CONTINUES TO RING | 0:42:32 | 0:42:35 | |
Where is Reina? | 0:42:39 | 0:42:40 | |
Where is Reina? | 0:42:56 | 0:42:57 | |
Who is Reina? | 0:42:58 | 0:43:00 | |
OK. | 0:43:29 | 0:43:31 | |
Yes, my name is Kerstin Holm and I'm calling from the Swedish police. | 0:43:31 | 0:43:34 | |
RECORDING OF BELLS CHIMING PLAYS | 0:43:52 | 0:43:55 | |
OK. Thank you. Bye. | 0:44:04 | 0:44:06 | |
OK. | 0:44:29 | 0:44:31 | |
MOBILE PHONE RINGS | 0:45:42 | 0:45:43 | |
OK. | 0:45:47 | 0:45:48 | |
TYRES SCREECH | 0:47:45 | 0:47:47 | |
MUSIC PLAYS QUIETLY ON RADIO | 0:47:48 | 0:47:53 | |
FLOORBOARD CREAKS | 0:48:18 | 0:48:20 | |
REINA GASPS | 0:48:49 | 0:48:51 | |
SIRENS WAIL | 0:49:09 | 0:49:11 | |
SIRENS WAIL | 0:49:36 | 0:49:38 | |
DOOR OPENS | 0:49:41 | 0:49:43 | |
REINA BREATHES SHAKILY | 0:50:25 | 0:50:27 | |
REINA SOBS | 0:50:58 | 0:51:01 | |
Mr Soderstedt? | 0:54:49 | 0:54:51 | |
-Yes. -Yes? Welcome. | 0:54:53 | 0:54:54 | |
-So, what's a Swedish policeman doing here? -I don't know, actually. | 0:54:59 | 0:55:04 | |
Possibly getting some information on a murder | 0:55:04 | 0:55:06 | |
we're investigating in Stockholm. | 0:55:06 | 0:55:08 | |
-Which has connections all the way here? -Possibly. | 0:55:08 | 0:55:11 | |
BELLS PEAL TUNEFULLY | 0:55:26 | 0:55:28 | |
It's Jakobskirche. | 0:55:28 | 0:55:30 | |
Beautiful. | 0:55:30 | 0:55:32 | |
Mr Soderstedt? Very welcome. My name is Peter Herschel. | 0:55:39 | 0:55:44 | |
Nice to meet you. | 0:55:44 | 0:55:45 | |
I must say I was very disturbed when I heard about the murder | 0:55:45 | 0:55:48 | |
of Leonard Sheinkman and the method that was used. | 0:55:48 | 0:55:51 | |
It feels extremely unpleasant. | 0:55:51 | 0:55:54 | |
We've been keeping a very low profile with our research here | 0:55:54 | 0:55:57 | |
and I don't understand how anyone could know about it. | 0:55:57 | 0:56:01 | |
You probably don't know what this building is. | 0:56:03 | 0:56:06 | |
An old Nazi administrative building? | 0:56:08 | 0:56:10 | |
Yes, a so-called Gauforum, the only that was ever built. | 0:56:10 | 0:56:14 | |
The Nazis also had their pain research centre in this building. | 0:56:14 | 0:56:18 | |
-Pain research? -That was their name for it, and not without reason. | 0:56:18 | 0:56:23 | |
This way. | 0:56:23 | 0:56:24 | |
During the renovation of this place, | 0:56:24 | 0:56:26 | |
we suddenly realised that the prisoners who were kept here | 0:56:26 | 0:56:30 | |
must have been tortured inside this building, so we knocked | 0:56:30 | 0:56:35 | |
down a bit of a stone wall and found the actual torture chamber. | 0:56:35 | 0:56:41 | |
Everything in there is completely intact since the war. | 0:56:43 | 0:56:46 | |
I advise you not to touch anything. | 0:56:46 | 0:56:48 | |
This is where the actual experiments took place, | 0:56:49 | 0:56:52 | |
if one can call torture an experiment. | 0:56:52 | 0:56:55 | |
And here is where they hung the victims upside down, | 0:56:59 | 0:57:03 | |
just like your victim in Stockholm. | 0:57:03 | 0:57:05 | |
-Why did they do that? -So the blood would flow to the brain. | 0:57:12 | 0:57:16 | |
The Nazis conducted experiments on the brain's pain centre, | 0:57:16 | 0:57:19 | |
the cerebral cortex, hence the name of this place. | 0:57:19 | 0:57:25 | |
The idea was to create the maximum effect of pain | 0:57:25 | 0:57:28 | |
in the human...Versuchskaninchen. | 0:57:28 | 0:57:31 | |
This was pierced through the victims' brains. | 0:57:35 | 0:57:39 | |
That is the exact same kind of needle | 0:57:40 | 0:57:43 | |
that was used on Leonard Sheinkman. | 0:57:43 | 0:57:45 | |
He must have suffered terribly before he died. | 0:57:47 | 0:57:50 | |
But, er, if Leonard Sheinkman was a human guinea pig here, | 0:57:50 | 0:57:55 | |
how come he didn't die if they conducted experiments on him? | 0:57:55 | 0:57:59 | |
I don't know. | 0:57:59 | 0:58:01 | |
Maybe he managed to escape when the Third Reich collapsed. | 0:58:01 | 0:58:06 | |
-Perhaps he was lucky. -Who ran the experiments here? | 0:58:06 | 0:58:11 | |
Three men, three butchers if you like. | 0:58:11 | 0:58:14 | |
Horrid people. | 0:58:17 | 0:58:19 | |
Part of their salary came from dental gold fillings | 0:58:19 | 0:58:21 | |
taken from Jews. | 0:58:21 | 0:58:23 | |
-That's terrible. -Very much so. | 0:58:23 | 0:58:26 | |
-Do you know who they were? -Two of them. One is still unidentified. | 0:58:27 | 0:58:31 | |
One was called Hans von Heilberg. | 0:58:31 | 0:58:34 | |
He was of German-Italian origin. | 0:58:34 | 0:58:38 | |
-The third was a Swedish SS doctor, Anton Eriksson. -Swedish? -Yes. | 0:58:38 | 0:58:43 | |
I'm sorry. | 0:58:43 | 0:58:45 | |
-Do you have proof that he was Swedish? -Yes. | 0:58:47 | 0:58:49 | |
Two of them tried to destroy all the records about themselves | 0:58:49 | 0:58:53 | |
and made quite a good job of it too - | 0:58:53 | 0:58:54 | |
the unknown man and Hans von Heilberg. | 0:58:54 | 0:58:56 | |
We discovered his identity by chance in a medical record. | 0:58:56 | 0:59:01 | |
-We had noticed a purple birthmark on his neck. -Wait, wait. | 0:59:01 | 0:59:06 | |
Hans von Heilberg had a birthmark? | 0:59:06 | 0:59:08 | |
What did it look like, the birthmark, do you know? | 0:59:08 | 0:59:11 | |
It was in the shape of a small heart. Why do you ask? | 0:59:11 | 0:59:14 | |
-Do you have a picture of him? -No, I'm sorry. | 0:59:19 | 0:59:22 | |
-If he would still be alive today, how old would he be? -91. | 0:59:25 | 0:59:29 | |
-And nobody knows what happened with him after the war? -No. What is it? | 0:59:31 | 0:59:37 | |
No, no, it's... It's nothing. | 0:59:37 | 0:59:39 | |
Could you please tell me more about this Swedish person, Anton Eriksson? | 0:59:39 | 0:59:46 | |
He's hardly removed any traces about himself. | 0:59:46 | 0:59:50 | |
I have an entire file on him from his days here. | 0:59:50 | 0:59:54 | |
But how come he didn't cover up his tracks? | 0:59:56 | 0:59:59 | |
Probably because he planned a safe escape, | 0:59:59 | 1:00:03 | |
certain that no-one ever would find him. | 1:00:03 | 1:00:06 | |
-But if it's possible, could you please send me his file to me in Stockholm? -Of course. | 1:00:06 | 1:00:12 | |
IN GERMAN: | 1:00:12 | 1:00:14 | |
So, please follow me. | 1:00:18 | 1:00:20 | |
This is where the prisoners they experimented on were kept | 1:00:22 | 1:00:29 | |
and this is where Leonard Sheinkman was kept. | 1:00:29 | 1:00:34 | |
DOOR CREAKS LOUDLY | 1:00:34 | 1:00:35 | |
So, er, when are you going to publish all this? | 1:00:54 | 1:00:58 | |
-When we are ready, but it might take a couple of years. -I see. | 1:00:58 | 1:01:02 | |
-The third butcher, you have nothing on him? -No, all we found is... | 1:01:02 | 1:01:08 | |
Here, an old photo of him. | 1:01:10 | 1:01:13 | |
We go. | 1:01:44 | 1:01:45 | |
-Did you get the help that you wanted? -Yes. | 1:02:01 | 1:02:05 | |
-You don't seem very happy about it. -Well, yes and no. | 1:02:10 | 1:02:15 | |
-I believe that one of the three butchers is still alive. -Is it true? | 1:02:16 | 1:02:21 | |
Yes, Hans von Heilberg, except now he calls himself Marco di Spinelli. | 1:02:22 | 1:02:28 | |
He lives in Italy, outside of Torino. | 1:02:28 | 1:02:30 | |
He's the leader of a crime syndicate called Ghiottone. | 1:02:30 | 1:02:36 | |
-But how do you know that? -Because I've met him. | 1:02:36 | 1:02:39 | |
-And you're sure it's him? -I believe so, yes. | 1:02:39 | 1:02:44 | |
MAGDA WHISPERS | 1:03:29 | 1:03:30 | |
I just checked on Spinelli and you were right. | 1:05:03 | 1:05:05 | |
He never was in Switzerland during the war. | 1:05:05 | 1:05:08 | |
No, he was in Germany, in Weimar, as an SS officer. | 1:05:08 | 1:05:11 | |
-He ran a torture chamber. -Are you certain? -Almost. | 1:05:11 | 1:05:15 | |
There's a birthmark that ties him to the place, among other things. | 1:05:15 | 1:05:18 | |
If what you say is right, | 1:05:18 | 1:05:20 | |
this could end up in the International Court in The Hague! | 1:05:20 | 1:05:23 | |
Well, at least we have enough to warrant a preliminary investigation. | 1:05:23 | 1:05:27 | |
Excellent. Call me when you reach Turin. | 1:05:27 | 1:05:29 | |
I will pick you up. OK, bye, Arto. | 1:05:29 | 1:05:32 | |
MOBILE PHONE RINGS | 1:05:33 | 1:05:36 | |
Come on. | 1:06:23 | 1:06:24 | |
DOOR OPENS | 1:07:21 | 1:07:22 | |
OK. | 1:08:20 | 1:08:22 | |
Exactly. | 1:10:15 | 1:10:16 | |
-Fine. Yes. How long will it take? -I'll be there in ten minutes. Bye. | 1:10:31 | 1:10:36 | |
MOBILE PHONE RINGS | 1:11:47 | 1:11:49 | |
-I was wondering if Arto Soderstedt had contacted you? -No, why? | 1:11:59 | 1:12:04 | |
I was supposed to pick him up at the train station, but he's not here. | 1:12:04 | 1:12:08 | |
-But he's in Weimar. -No, no, he came here. -Why? | 1:12:08 | 1:12:12 | |
-We are thinking of arresting Marco di Spinelli. -You what?! | 1:12:12 | 1:12:16 | |
IN SWEDISH: | 1:12:16 | 1:12:18 | |
We'll keep in touch, OK? | 1:12:18 | 1:12:20 | |
Come on. | 1:13:20 | 1:13:22 | |
SODERSTEDT BREATHES HEAVILY | 1:13:52 | 1:13:54 | |
-You have been to Weimar? -Yes. To a pain research centre. -I see. | 1:14:02 | 1:14:10 | |
So does Marconi. He was very happy with my information about you. | 1:14:10 | 1:14:14 | |
The birthmark on your throat is noted in the records at Weimar. | 1:14:14 | 1:14:18 | |
-Marconi mentioned International Court in Hague. -Did he?! | 1:14:18 | 1:14:23 | |
You know, sooner or later, our past catches up with us. | 1:14:26 | 1:14:31 | |
Did Bertie Lindrott work at the pain research centre? | 1:14:41 | 1:14:45 | |
-Is it a relation? -Yes. -Oh, that explains the resemblance. Yes, yes. | 1:14:47 | 1:14:55 | |
-The eyes, the cheekbones, yes. -Did he work there?! | 1:14:55 | 1:15:00 | |
Yes, he worked there. He was a very efficient doctor, | 1:15:00 | 1:15:02 | |
a fantastic doctor with an enormous capacity for work. | 1:15:02 | 1:15:07 | |
But kind of a weak character though, you know what I mean, | 1:15:07 | 1:15:11 | |
but very, very efficient. | 1:15:11 | 1:15:12 | |
You know that he made a fortune during the short time he was there? | 1:15:13 | 1:15:17 | |
Was he paid in Jewish dental gold? | 1:15:17 | 1:15:20 | |
Well, of course, like all the other doctors. What do you think? | 1:15:20 | 1:15:23 | |
Mr Soderstedt, now... how are we going to solve this? | 1:15:29 | 1:15:35 | |
Actually, you ought to be hanging upside down in the trees, you know. | 1:16:33 | 1:16:36 | |
The pain is more efficient that way. | 1:16:37 | 1:16:40 | |
But I think this will be more than sufficient. | 1:16:40 | 1:16:43 | |
SIRENS WAIL | 1:17:49 | 1:17:51 | |
HEARTBEAT | 1:17:55 | 1:17:58 | |
HEARTBEAT SLOWS | 1:18:03 | 1:18:06 | |
SCREAMING | 1:18:10 | 1:18:12 | |
DISTANT SIRENS WAIL | 1:18:18 | 1:18:20 | |
Yes? | 1:20:48 | 1:20:49 | |
Thank you. | 1:21:05 | 1:21:06 | |
How did it... How did it all start? | 1:21:31 | 1:21:36 | |
My sister came to visit me. | 1:21:40 | 1:21:42 | |
In Stockholm. | 1:21:42 | 1:21:43 | |
She was working on some research project in Weimar to find out | 1:21:43 | 1:21:47 | |
what happened to our father. | 1:21:47 | 1:21:49 | |
There, she discovered what happened. | 1:21:51 | 1:21:55 | |
What they'd done to him there. | 1:21:57 | 1:21:59 | |
She found out that one of the men had stolen his identity. | 1:21:59 | 1:22:03 | |
One of those who had tortured and killed him. | 1:22:03 | 1:22:05 | |
And that he was still alive and living in Stockholm now. | 1:22:05 | 1:22:09 | |
She wanted revenge for all the hell that... | 1:22:15 | 1:22:20 | |
I can understand that. | 1:22:20 | 1:22:22 | |
Why did your father come to Sweden? | 1:22:30 | 1:22:32 | |
I think that he found out that there was | 1:22:34 | 1:22:37 | |
a Leonard Sheinkman in Stockholm the same age as grandfather. | 1:22:37 | 1:22:40 | |
And that he thought that he was our grandfather, | 1:22:42 | 1:22:45 | |
that somehow had survived the war and had gone there. | 1:22:45 | 1:22:48 | |
So he went to meet with his father, | 1:22:48 | 1:22:50 | |
but instead he met his father's murderer. | 1:22:50 | 1:22:53 | |
Yes. | 1:22:53 | 1:22:54 | |
What about Spinelli? | 1:22:56 | 1:22:57 | |
-Was that also revenge for your father and grandfather? -Yes. | 1:22:57 | 1:23:02 | |
But there were other reasons too. | 1:23:03 | 1:23:06 | |
You know I'm a police officer? | 1:23:11 | 1:23:13 | |
Yes. | 1:23:13 | 1:23:16 | |
And you've committed murder. | 1:23:19 | 1:23:21 | |
Something like that. | 1:23:22 | 1:23:24 | |
OK. | 1:23:30 | 1:23:32 | |
-I wanted to ask you something. -What's that? | 1:23:33 | 1:23:36 | |
That my father would have a proper grave, | 1:23:38 | 1:23:40 | |
a stone with "Franz Sheinkman" on it. | 1:23:40 | 1:23:43 | |
-Instead of Shtayf? -Yes. | 1:23:48 | 1:23:52 | |
Take care. | 1:23:58 | 1:23:59 | |
Reina? | 1:24:02 | 1:24:03 | |
You take care too. | 1:24:08 | 1:24:10 | |
# It's 3am | 1:25:36 | 1:25:38 | |
# In the morning | 1:25:40 | 1:25:42 | |
# I fall asleep | 1:25:47 | 1:25:51 | |
# With the dawning | 1:25:51 | 1:25:53 | |
# Sunlight finds | 1:26:00 | 1:26:03 | |
# The crack in the curtains | 1:26:05 | 1:26:09 | |
# I lie awake | 1:26:12 | 1:26:15 | |
# For how long, I'm uncertain | 1:26:15 | 1:26:20 | |
# Get out of bed | 1:26:24 | 1:26:26 | |
# Clear my head | 1:26:31 | 1:26:32 | |
# Try and make sense of the whirlings | 1:26:36 | 1:26:42 | |
# It's deep inside | 1:27:45 | 1:27:47 | |
# The knots they tied | 1:27:51 | 1:27:54 | |
# I try and make sense of the pain. # | 1:27:57 | 1:28:02 | |
Subtitles for the deaf and hard of hearing by Red Bee Media Ltd | 1:28:11 | 1:28:14 |