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This programme contains some violent scenes and scenes which some viewers may find disturbing. | 0:00:07 | 0:00:17 | |
Are we done? | 0:01:02 | 0:01:03 | |
Bar what I suspect will be a lengthy debriefing. | 0:01:03 | 0:01:06 | |
-But tomorrow, yeah? -Tomorrow. | 0:01:06 | 0:01:09 | |
You all right? | 0:01:09 | 0:01:10 | |
I think he's pushed some bone into my brain. | 0:01:10 | 0:01:12 | |
Excellent. | 0:01:12 | 0:01:13 | |
MUSIC: "Paradise Circus" by Massive Attack | 0:05:11 | 0:05:14 | |
# Love is like a sin, my love | 0:05:14 | 0:05:19 | |
# For the ones that feel it the most | 0:05:21 | 0:05:27 | |
# Look at her with her eyes Like a flame | 0:05:27 | 0:05:33 | |
# She will love you like a fly Will never love you | 0:05:35 | 0:05:40 | |
# Again. # | 0:05:42 | 0:05:44 | |
Victim's Emily Hammond. Edits technical manuals. | 0:06:06 | 0:06:09 | |
Divorced. No kids. | 0:06:09 | 0:06:11 | |
Comes home round 11. No sign of forced entry, | 0:06:11 | 0:06:13 | |
so it looks like she might have known her killer. Let him in. | 0:06:13 | 0:06:16 | |
Comes home from where? | 0:06:16 | 0:06:17 | |
Speed-dating. | 0:06:17 | 0:06:18 | |
What, she's brought him home and...? That doesn't sound right, does it? | 0:06:18 | 0:06:21 | |
No? | 0:06:21 | 0:06:22 | |
Women don't go speed-dating for sex, they go for a relationship. | 0:06:22 | 0:06:25 | |
But check them all out. Um, ex-husband? | 0:06:25 | 0:06:27 | |
Lives in Bristol. | 0:06:27 | 0:06:29 | |
-On it? -Being done as we speak. | 0:06:29 | 0:06:31 | |
There's nothing to suggest she was into S&M. | 0:06:35 | 0:06:37 | |
No fetish gear in the wardrobe, nothing on her browsing history. | 0:06:37 | 0:06:40 | |
No, no. Our boy's brought this stuff with him. | 0:06:40 | 0:06:44 | |
You reckon? | 0:06:44 | 0:06:46 | |
Mmm, look, it's a very specific look. The wig, the make-up. | 0:06:46 | 0:06:51 | |
It's a bit of a Siouxsie And The Banshees thing going on here. | 0:06:51 | 0:06:53 | |
-Who and the what? -'80s. Post-punk. | 0:06:53 | 0:06:56 | |
Oh. Goths. | 0:06:57 | 0:06:59 | |
Post-punk. | 0:06:59 | 0:07:00 | |
Oh, it's definitely not her wig. | 0:07:00 | 0:07:03 | |
Dirty old thing. | 0:07:03 | 0:07:04 | |
She's not wearing shoes. | 0:07:04 | 0:07:05 | |
You can see the strap marks. | 0:07:08 | 0:07:10 | |
She was wearing the shoes when she was strangled. | 0:07:12 | 0:07:15 | |
So where are the shoes? | 0:07:15 | 0:07:16 | |
I've seen something like this before. | 0:07:20 | 0:07:23 | |
Yeah, where? | 0:07:23 | 0:07:24 | |
Photograph. Something. | 0:07:24 | 0:07:26 | |
So he's what? Re-enacting an old murder? | 0:07:28 | 0:07:31 | |
Maybe he's a fan. | 0:07:31 | 0:07:32 | |
Paying homage. | 0:07:34 | 0:07:35 | |
Back door was point of exit. Front door was deadbolted. | 0:07:35 | 0:07:37 | |
Right, well... | 0:07:39 | 0:07:41 | |
Check that back door again. | 0:07:41 | 0:07:43 | |
Chances are it's probably the way he let himself in. | 0:07:43 | 0:07:45 | |
DCI Luther? | 0:07:45 | 0:07:47 | |
Do you have a moment? | 0:07:47 | 0:07:48 | |
How was it? | 0:07:51 | 0:07:53 | |
Fetish killing. | 0:07:53 | 0:07:54 | |
Whatever he's doing, | 0:07:55 | 0:07:57 | |
it looks like he's been planning it for a long time. | 0:07:57 | 0:08:00 | |
So now that he's started... | 0:08:00 | 0:08:02 | |
Be hard for him to stop, even if he wanted to. | 0:08:02 | 0:08:04 | |
I, um... | 0:08:06 | 0:08:07 | |
I've been ordered to move you to another case. | 0:08:09 | 0:08:12 | |
What other case? | 0:08:12 | 0:08:14 | |
Jared Cass. | 0:08:14 | 0:08:15 | |
Sickness beneficiary, "cyber activist", whatever that might be. | 0:08:16 | 0:08:20 | |
Found dead in his flat this morning. | 0:08:20 | 0:08:23 | |
This was filmed on Cass's smartphone, | 0:08:23 | 0:08:26 | |
distributed to his contacts list. | 0:08:26 | 0:08:28 | |
-'I'm sorry!' -This was how it ended. | 0:08:30 | 0:08:32 | |
What a day. OK. But why us? | 0:08:34 | 0:08:37 | |
Not us. | 0:08:37 | 0:08:38 | |
-You. -Me? | 0:08:39 | 0:08:40 | |
-Personally? Why? -Murder's murder, John. | 0:08:42 | 0:08:45 | |
No. Come on, boss. You see, this is a revenge killing. | 0:08:45 | 0:08:49 | |
Meat and potatoes. | 0:08:49 | 0:08:51 | |
The man who killed Emily Hammond is organised, but not sane. | 0:08:51 | 0:08:54 | |
He's going to kill again, and very soon. | 0:08:54 | 0:08:56 | |
It's out of my hands. | 0:08:56 | 0:08:58 | |
You know this smells funny. Right? | 0:08:58 | 0:09:00 | |
Can you handle both? | 0:09:03 | 0:09:04 | |
I can handle both. | 0:09:06 | 0:09:08 | |
Don't make me regret it. | 0:09:08 | 0:09:09 | |
What's that? | 0:09:13 | 0:09:14 | |
I've got another thing. | 0:09:14 | 0:09:16 | |
You're kidding. What other thing? | 0:09:16 | 0:09:18 | |
Animal cruelty. Listen. I need you to brief Benny. | 0:09:18 | 0:09:22 | |
Tell him to go over cold cases. | 0:09:22 | 0:09:24 | |
Anything pertaining to Emily's death. | 0:09:24 | 0:09:26 | |
I'm talking strangulation, burglary, shoe theft... | 0:09:26 | 0:09:28 | |
-Masks and wigs? -Yeah, don't rule out anything. | 0:09:28 | 0:09:31 | |
You know what? The mask, the wigs... | 0:09:31 | 0:09:34 | |
I think it's part of something else, you know, | 0:09:34 | 0:09:36 | |
trying to recreate something. | 0:09:36 | 0:09:37 | |
Staging something. It's not part of the fetish. | 0:09:37 | 0:09:40 | |
Right, how far back are we looking? | 0:09:40 | 0:09:42 | |
1979 or something. Oi, meet me at the Jared Cass crime scene | 0:09:42 | 0:09:45 | |
on Hawksmoor estate. | 0:09:45 | 0:09:47 | |
MOBILE RINGS | 0:09:47 | 0:09:49 | |
Hello? | 0:09:50 | 0:09:52 | |
Why? What's it about? | 0:09:54 | 0:09:55 | |
Do I have any choice? | 0:09:57 | 0:09:58 | |
I'll be there. | 0:10:03 | 0:10:04 | |
Detective Sergeant Ripley. | 0:10:36 | 0:10:38 | |
Detective Chief Inspector Gray. | 0:10:38 | 0:10:40 | |
Just "Ma'am" will do. | 0:10:41 | 0:10:42 | |
How's life in the Judas Division, Ma'am? | 0:10:43 | 0:10:46 | |
Rooting out dirty coppers? Satisfying. | 0:10:46 | 0:10:49 | |
The way you stitched me up to save your boss, I owe you a favour. | 0:10:49 | 0:10:52 | |
You've given me a vocation. | 0:10:52 | 0:10:55 | |
So what am I doing here? Are you going to waterboard me? | 0:10:55 | 0:10:57 | |
Get in. | 0:11:01 | 0:11:02 | |
DS Ripley? | 0:12:02 | 0:12:03 | |
George Stark. | 0:12:03 | 0:12:05 | |
Out of what division? | 0:12:06 | 0:12:07 | |
Retired. | 0:12:10 | 0:12:11 | |
They un-retired me. | 0:12:12 | 0:12:13 | |
For a special project. | 0:12:15 | 0:12:16 | |
Come with me. | 0:12:18 | 0:12:19 | |
Oh, come on, you've got to be kidding me. | 0:12:30 | 0:12:32 | |
Have a seat. | 0:12:34 | 0:12:35 | |
Zoe Luther, dead. | 0:12:44 | 0:12:46 | |
Ian Reed, dead. | 0:12:46 | 0:12:48 | |
Henry Madsen, dead. | 0:12:48 | 0:12:50 | |
Toby Kent, dead. | 0:12:50 | 0:12:51 | |
Alice Morgan. Missing, presumed... Well, who knows? | 0:12:51 | 0:12:57 | |
Common denominator? | 0:12:58 | 0:12:59 | |
So? | 0:13:04 | 0:13:05 | |
There was a Park Ranger. | 0:13:08 | 0:13:09 | |
In America, that is. | 0:13:11 | 0:13:13 | |
He was struck seven times by lightning. Seven times! | 0:13:13 | 0:13:17 | |
Actually made the Guinness Book Of Records | 0:13:17 | 0:13:20 | |
for being the unluckiest guy in the world. | 0:13:20 | 0:13:22 | |
Or maybe the luckiest guy in the world. | 0:13:22 | 0:13:24 | |
Depends on how you look at it. | 0:13:24 | 0:13:26 | |
And? | 0:13:26 | 0:13:27 | |
Do you really think he's innocent, your boss? | 0:13:28 | 0:13:31 | |
Of this murder? | 0:13:32 | 0:13:33 | |
Of this? | 0:13:34 | 0:13:36 | |
Of this one? | 0:13:36 | 0:13:38 | |
Think he's just some kind of lighting rod? | 0:13:38 | 0:13:40 | |
Someone who just gets struck again | 0:13:40 | 0:13:42 | |
and again, and again, and again? | 0:13:42 | 0:13:44 | |
Carpet underlay, from one of the holes | 0:13:53 | 0:13:55 | |
that your boss used to live in. | 0:13:55 | 0:13:57 | |
It's got this man's blood on it. Toby Kent. | 0:13:57 | 0:14:01 | |
Never heard of him. | 0:14:02 | 0:14:03 | |
Our witness says that Luther killed him. | 0:14:05 | 0:14:09 | |
Put a knife through the back of the skull. | 0:14:09 | 0:14:12 | |
That place was disgusting. You could find anything on that carpet. | 0:14:12 | 0:14:15 | |
Are you homosexual? | 0:14:20 | 0:14:22 | |
Like that's any of your business. | 0:14:22 | 0:14:24 | |
It is my business if your romantic yearnings are clouding | 0:14:24 | 0:14:28 | |
your judgment as a police officer. | 0:14:28 | 0:14:31 | |
If you're trying to touch a nerve, | 0:14:31 | 0:14:32 | |
then you're touching me in the wrong place. | 0:14:32 | 0:14:34 | |
Then you're either a donkey, or you're an accomplice. | 0:14:34 | 0:14:38 | |
And I don't think you're a donkey. | 0:14:38 | 0:14:40 | |
I won't answer any more questions without my union rep. | 0:14:44 | 0:14:47 | |
Well, then, your career ends here. | 0:14:49 | 0:14:52 | |
Because you'll be charged as an accessory after the fact. | 0:14:53 | 0:14:57 | |
What fact? If you had any proof of wrongdoings, then you'd show it. | 0:14:57 | 0:15:01 | |
-What, I'd show you my hand? -Yeah. | 0:15:01 | 0:15:03 | |
Yeah, right, fine. | 0:15:05 | 0:15:07 | |
You think I don't know a liar when I see one, son? | 0:15:09 | 0:15:12 | |
You're lying to me. Now, talk to me! | 0:15:12 | 0:15:15 | |
Tell me! | 0:15:15 | 0:15:16 | |
It's not very nice, is it? | 0:15:28 | 0:15:31 | |
Somebody who's supposed to be representing the law, | 0:15:31 | 0:15:34 | |
and yet operates in his own sense of justice? | 0:15:34 | 0:15:38 | |
Just read it. | 0:15:40 | 0:15:42 | |
-Benny, what you got? -Do you remember the Shoreditch Creeper? | 0:15:47 | 0:15:50 | |
Er, yeah. Dim, distant memory. Go on. | 0:15:50 | 0:15:52 | |
OK, '78 to '81. He assaults eight women in an escalating pattern. | 0:15:52 | 0:15:57 | |
Breaks in, ties them up. | 0:15:57 | 0:15:58 | |
Masturbates while sucking their toes. Then steals their shoes. | 0:15:58 | 0:16:02 | |
Graduates to killing three times. | 0:16:02 | 0:16:04 | |
Theresa Johnson in '81, and Vivian Leavie. Plus Cheryl Moody, in '82. | 0:16:04 | 0:16:09 | |
Then he just stops. Drops off the grid. | 0:16:09 | 0:16:12 | |
Not of his own accord, he doesn't. Not if he's escalating like that. | 0:16:12 | 0:16:15 | |
-How old is he? -Mid-thirties when the offending began. | 0:16:15 | 0:16:18 | |
What, puts him in his...seventies now? | 0:16:18 | 0:16:21 | |
Doesn't sound right, does it? Benny, do me a favour. | 0:16:23 | 0:16:25 | |
Sign off on the cold cases, and have them sent to me. | 0:16:25 | 0:16:27 | |
Right. On their way... | 0:16:27 | 0:16:29 | |
Sir? | 0:16:30 | 0:16:31 | |
Come on. Come on. | 0:16:31 | 0:16:34 | |
Are you all right? | 0:16:37 | 0:16:38 | |
Think so. Er, yeah. | 0:16:41 | 0:16:44 | |
-Oh, whoa, whoa. -Sorry. | 0:16:48 | 0:16:49 | |
You need to sit down. Just for a second. | 0:16:49 | 0:16:52 | |
-You just need to sit down there. All right? -Yeah. | 0:16:52 | 0:16:55 | |
Oh, your poor car. | 0:16:56 | 0:16:58 | |
No, don't worry about that. It always looks like that. | 0:16:58 | 0:17:02 | |
Is it, like, a classic? | 0:17:02 | 0:17:04 | |
Yeah, probably. | 0:17:04 | 0:17:06 | |
Do you mind if I just take a look? | 0:17:06 | 0:17:08 | |
Er, just look left. | 0:17:08 | 0:17:10 | |
Right. | 0:17:10 | 0:17:11 | |
Up. Down. | 0:17:11 | 0:17:13 | |
Any dizziness? Did you bang your head, did you? | 0:17:13 | 0:17:15 | |
No, no. Are you a doctor? | 0:17:15 | 0:17:17 | |
No, I'm a copper. DCI Luther. | 0:17:17 | 0:17:20 | |
Luther? That's a good name. | 0:17:20 | 0:17:23 | |
I can't take the credit for it. | 0:17:23 | 0:17:24 | |
It's an unusual name. | 0:17:24 | 0:17:26 | |
Not in MY house. | 0:17:26 | 0:17:28 | |
Look, don't worry about any of this. | 0:17:30 | 0:17:31 | |
Um, it really was my fault. | 0:17:31 | 0:17:33 | |
I'm not totally sure it was. I was... | 0:17:33 | 0:17:35 | |
Honestly. It was my fault. | 0:17:35 | 0:17:37 | |
So I'm going to get your information for the insurance. | 0:17:37 | 0:17:39 | |
-Cos I've got to... -Be somewhere. Of course. -Yeah. | 0:17:39 | 0:17:42 | |
Rushing to the scene of the crime? | 0:17:42 | 0:17:43 | |
I am, actually. | 0:17:43 | 0:17:45 | |
Right. Sorry. Um... | 0:17:45 | 0:17:48 | |
I haven't got my um, thingy... | 0:17:48 | 0:17:49 | |
It's all right. I'll just write my... My name's John. | 0:17:49 | 0:17:52 | |
All right. | 0:17:53 | 0:17:54 | |
So I'll call you. | 0:17:55 | 0:17:57 | |
-Go! -All right. | 0:17:57 | 0:17:59 | |
I'm fine. | 0:17:59 | 0:18:00 | |
If you had any real evidence, you'd be talking to John, not me. | 0:18:11 | 0:18:14 | |
If you really believe he's so spotless, then prevent an injustice. | 0:18:14 | 0:18:17 | |
Help him. Prove it. | 0:18:18 | 0:18:21 | |
And how do you suggest I do that? | 0:18:21 | 0:18:23 | |
DCI Luther will be taking on a case | 0:18:23 | 0:18:26 | |
of a waste of semen called Jared Cass. | 0:18:26 | 0:18:30 | |
Squalid little business. | 0:18:30 | 0:18:33 | |
Small cheese for big, bad John. | 0:18:33 | 0:18:35 | |
It was you? | 0:18:35 | 0:18:37 | |
You had him assigned to the Jared Cass murder? | 0:18:37 | 0:18:39 | |
I want to know exactly how he handles that investigation. | 0:18:39 | 0:18:43 | |
And I mean every move by move, breath by breath. | 0:18:44 | 0:18:49 | |
If he breaks the law, I want his head on a stick. | 0:18:49 | 0:18:53 | |
He doesn't know it, | 0:18:55 | 0:18:57 | |
but his good fortune ran out the day that I heard his name. | 0:18:57 | 0:19:02 | |
'Stand clear of the doors.' | 0:19:14 | 0:19:16 | |
Sir. | 0:19:23 | 0:19:24 | |
All yours. | 0:19:26 | 0:19:28 | |
You'll read anything, you. | 0:20:04 | 0:20:05 | |
Wotcher. | 0:20:07 | 0:20:08 | |
-What's it say? -Gang tags mainly. Territorial pissing. | 0:20:08 | 0:20:12 | |
The killer's signed the body? That's handy. | 0:20:13 | 0:20:16 | |
Nah. Post-mortem, apparently. | 0:20:16 | 0:20:19 | |
They've walked in here... | 0:20:20 | 0:20:22 | |
..nicked the stuff, | 0:20:23 | 0:20:24 | |
tagged the walls. Tagged him. Spat on him. Pissed on him. | 0:20:24 | 0:20:28 | |
Still. I suppose it's what he would've have wanted. | 0:20:28 | 0:20:30 | |
You know, we're under the cosh to clear this up quickly. | 0:20:30 | 0:20:34 | |
Yeah, but we're going to do it right, though, yeah? | 0:20:35 | 0:20:38 | |
What is wrong with everyone today? Of course we're going to do it right. | 0:20:40 | 0:20:43 | |
We're just going to do it quickly, that's all. | 0:20:43 | 0:20:46 | |
So where do we start? | 0:20:46 | 0:20:48 | |
Well, enemies. | 0:20:48 | 0:20:50 | |
Apparently he had quite a few. | 0:20:52 | 0:20:54 | |
Guess he liked to sit in a room, and slag people off on the internet. | 0:20:54 | 0:20:57 | |
Aye. He was a troll? | 0:20:57 | 0:20:58 | |
See, here's what I don't understand... | 0:20:58 | 0:21:01 | |
..is why did they loot the place? | 0:21:02 | 0:21:05 | |
Because it's here? | 0:21:05 | 0:21:06 | |
Yeah, but you loot somewhere and it's got stuff worth looting, don't you? | 0:21:06 | 0:21:10 | |
Iraqi National Museum. JD Sports. | 0:21:11 | 0:21:14 | |
Yeah, but not Jared Cass. He was on sickness benefit. | 0:21:14 | 0:21:18 | |
Never left the place. | 0:21:18 | 0:21:19 | |
So what did he have that was so expensive? | 0:21:19 | 0:21:23 | |
Where'd you get the money, Jared? | 0:21:25 | 0:21:27 | |
'OK, John, listen. | 0:22:53 | 0:22:55 | |
'The Shoreditch Creeper case was a massive investigation.' | 0:22:55 | 0:22:58 | |
It's not so much police work as archaeology. | 0:22:58 | 0:23:01 | |
-'Who was senior?' -Er, DCI Ronnie Holland. | 0:23:01 | 0:23:04 | |
Good copper, Ronnie. Long since had his clock. | 0:23:04 | 0:23:07 | |
'Let's find DCI Holland, see what he remembers.' | 0:23:07 | 0:23:10 | |
In a case like this, he must've known who he liked for it, | 0:23:10 | 0:23:12 | |
even if he couldn't prove it. | 0:23:12 | 0:23:14 | |
So let's find out who, yeah? | 0:23:14 | 0:23:16 | |
Yup. I'm going straight there now. | 0:23:16 | 0:23:18 | |
There's a Sean Beamish at 67. | 0:23:20 | 0:23:23 | |
And that gentleman thinks he might go by the name of "Beanie". | 0:23:23 | 0:23:25 | |
Sean Beamish. | 0:23:33 | 0:23:35 | |
Sean "Beanie" Beamish? It's the police. Open up. | 0:23:35 | 0:23:38 | |
What? | 0:23:39 | 0:23:40 | |
Jared Cass. | 0:23:40 | 0:23:42 | |
What about him? | 0:23:43 | 0:23:44 | |
Well, he's dead, isn't he? | 0:23:44 | 0:23:46 | |
What, still? Lazy sod, ain't he? | 0:23:46 | 0:23:48 | |
Well, it took us all of two minutes to find out he borrowed | 0:23:50 | 0:23:53 | |
money from you, to buy all that stuff he really couldn't afford. | 0:23:53 | 0:23:56 | |
60-inch LCD, Blu-ray library, laptop. | 0:23:56 | 0:23:59 | |
I mean, what's a loan shark supposed to do? | 0:23:59 | 0:24:01 | |
Can't pay his bill so you threatened him | 0:24:01 | 0:24:03 | |
and you threatened him again and then... | 0:24:03 | 0:24:05 | |
Oops. He's dead. | 0:24:05 | 0:24:08 | |
Funny, that. | 0:24:08 | 0:24:10 | |
Oi! Oi, oi, oi! Come here! | 0:24:11 | 0:24:12 | |
-John, wh... -Argh, help! Help! | 0:24:14 | 0:24:17 | |
-Boss! Boss. -Shush! You're making me very nervous. -Boss. Stop! | 0:24:18 | 0:24:22 | |
Not now, Mr Ripley, I don't want to drop him. | 0:24:22 | 0:24:25 | |
Erin! Whatever's happening, I want eyes on it. Now. | 0:24:25 | 0:24:28 | |
-On my way. -Let me up! | 0:24:28 | 0:24:30 | |
I've got a very nasty man doing very nasty things to people. | 0:24:30 | 0:24:34 | |
And I want to get off this grubby case as fast as I can. | 0:24:34 | 0:24:36 | |
-Please! Let me up! -Boss! Boss! | 0:24:36 | 0:24:38 | |
-Come on! Let me up! -Can you see him? | 0:24:38 | 0:24:41 | |
-Do you want to help me or what? -Yeah! Please! | 0:24:41 | 0:24:44 | |
-Can you see him? -Go on. | 0:24:45 | 0:24:47 | |
Oh, dear. | 0:24:49 | 0:24:50 | |
Nothing. | 0:24:52 | 0:24:53 | |
How many convictions have you had? | 0:24:56 | 0:24:58 | |
I don't...I don't know. A few. | 0:24:59 | 0:25:01 | |
Yeah. | 0:25:01 | 0:25:02 | |
Bit of this, bit of that. | 0:25:02 | 0:25:04 | |
Ever been done on a murder charge? | 0:25:04 | 0:25:05 | |
-No! -No? Why not? | 0:25:05 | 0:25:07 | |
Because I never killed no-one. | 0:25:07 | 0:25:09 | |
Except for Jared Cass. | 0:25:09 | 0:25:11 | |
Except no, I didn't do him, so you got no evidence. | 0:25:11 | 0:25:13 | |
Evidence! | 0:25:13 | 0:25:14 | |
Come on, a man of your experience, you're talking about evidence! | 0:25:14 | 0:25:18 | |
This is how it actually works. | 0:25:18 | 0:25:19 | |
A murder investigation has three pillars, | 0:25:19 | 0:25:22 | |
'means, motive, opportunity. I've got means and motive down.' | 0:25:22 | 0:25:24 | |
Yeah, but you haven't got the other one. | 0:25:24 | 0:25:26 | |
Oh, oh, opportunity? Yeah, well, that's seasoning. | 0:25:26 | 0:25:29 | |
And when it comes to seasoning, I'm like Jamie Oliver. | 0:25:29 | 0:25:32 | |
I just rummage around the cupboards and see what I can find. | 0:25:32 | 0:25:36 | |
Are you saying you'd fit me up? | 0:25:36 | 0:25:37 | |
Come on, you dirty bastard. Say it. | 0:25:37 | 0:25:40 | |
What is this? Nazi Russia? | 0:25:43 | 0:25:45 | |
Oh, yeah, yeah. It's Nazi Russia. | 0:25:45 | 0:25:47 | |
Stand up! | 0:25:47 | 0:25:49 | |
You put yourself at the crime scene, didn't you? | 0:25:52 | 0:25:54 | |
You made yourself prime suspect number one, | 0:25:54 | 0:25:56 | |
so I don't need to fit you up, do I? | 0:25:56 | 0:25:58 | |
Bollocks. | 0:25:58 | 0:25:59 | |
'I heard he was dead, all right?' | 0:25:59 | 0:26:01 | |
Everyone did. | 0:26:01 | 0:26:02 | |
So I went to get back what he owed me while I had the chance. | 0:26:02 | 0:26:05 | |
He was dead when I got there. | 0:26:05 | 0:26:06 | |
He was a funny colour and everything. I totally swear. | 0:26:06 | 0:26:09 | |
Completely and totally. On my sack, blood. | 0:26:09 | 0:26:12 | |
I'm not your blood. | 0:26:12 | 0:26:13 | |
So who did it, then? | 0:26:15 | 0:26:16 | |
Anyone, really. Throw a brick. | 0:26:17 | 0:26:18 | |
Is that supposed to help me? | 0:26:20 | 0:26:22 | |
Because it really don't help me. | 0:26:22 | 0:26:23 | |
Look. The bloke never went out. All he did was sit in that flat. | 0:26:25 | 0:26:29 | |
He slagged off loads of people online. | 0:26:29 | 0:26:31 | |
Any one of them would have killed him. | 0:26:31 | 0:26:34 | |
We want his laptop. And his phone. | 0:26:34 | 0:26:35 | |
Just give me the laptop. How it got there, I don't really care. | 0:26:35 | 0:26:39 | |
My lock-up. Downstairs. | 0:26:40 | 0:26:43 | |
You shouldn't joke around like that, you know. | 0:26:43 | 0:26:45 | |
Like what? | 0:26:45 | 0:26:47 | |
About fitting people up. One day the wrong people could be listening. | 0:26:47 | 0:26:50 | |
-Who said I was joking? -Seriously. You shouldn't joke. | 0:26:50 | 0:26:52 | |
What are you, my dad? | 0:26:53 | 0:26:55 | |
Right. I'll get it to the lab. | 0:26:56 | 0:26:58 | |
-How long's that going to take? -Dunno. Week? | 0:26:58 | 0:27:00 | |
-Can't you fast-track it? -That IS fast-track. | 0:27:02 | 0:27:04 | |
Well, YOU do it, then. | 0:27:04 | 0:27:06 | |
Come on! Do you want this cleared up quickly or not? | 0:27:07 | 0:27:10 | |
All right. | 0:27:10 | 0:27:11 | |
I'm going as fast as I can. | 0:28:10 | 0:28:11 | |
Did I say anything? | 0:28:11 | 0:28:12 | |
You were thinking it. | 0:28:12 | 0:28:14 | |
PHONE RINGS Well, I... | 0:28:14 | 0:28:15 | |
Yeah? | 0:28:20 | 0:28:21 | |
I've been looking up your name. Do you know what it means? | 0:28:21 | 0:28:25 | |
Tired and grumpy? | 0:28:25 | 0:28:26 | |
No. | 0:28:26 | 0:28:27 | |
Erm, well, it's derived from the German, liut, meaning "people", | 0:28:27 | 0:28:32 | |
and heri, meaning "army". So it means "people's army." | 0:28:32 | 0:28:37 | |
Oh. OK. | 0:28:38 | 0:28:40 | |
I felt bad about earlier. | 0:28:44 | 0:28:45 | |
So you call me and tell me what my name means? | 0:28:47 | 0:28:49 | |
I thought you might like to know. | 0:28:50 | 0:28:53 | |
OK. | 0:28:53 | 0:28:54 | |
So... | 0:28:55 | 0:28:56 | |
It was my fault. | 0:28:58 | 0:28:59 | |
I was retuning the radio. | 0:29:01 | 0:29:03 | |
And I let you think it was your fault. | 0:29:03 | 0:29:05 | |
And I feel bad. | 0:29:05 | 0:29:07 | |
There. | 0:29:08 | 0:29:10 | |
Said it. | 0:29:10 | 0:29:11 | |
No, listen. Honestly. Don't worry about it. | 0:29:11 | 0:29:13 | |
The AA have got my number on speed dial. | 0:29:13 | 0:29:17 | |
So, what? You're happy to just take the blame? | 0:29:17 | 0:29:20 | |
Happy's a strong word. | 0:29:21 | 0:29:23 | |
Seriously? | 0:29:24 | 0:29:25 | |
No, honestly. Don't worry about it. Really. | 0:29:25 | 0:29:28 | |
Well, can I buy you a drink or something? Make it up to you? | 0:29:29 | 0:29:32 | |
Yeah. Sure. Why not? | 0:29:32 | 0:29:34 | |
OK. When? | 0:29:34 | 0:29:37 | |
HORN BLOWS | 0:29:37 | 0:29:38 | |
Listen. I've got to go. Can I call you later? | 0:29:38 | 0:29:41 | |
OK. | 0:29:41 | 0:29:42 | |
Motive maybe? | 0:29:50 | 0:29:51 | |
-Ken Barnaby? -Yes. | 0:29:59 | 0:30:01 | |
DCI John Luther. DS Ripley. Can we come in? | 0:30:01 | 0:30:04 | |
-Yes. -Thank you. | 0:30:04 | 0:30:06 | |
-It's just downstairs. -Yup. | 0:30:06 | 0:30:08 | |
Her name was Cathy. | 0:30:17 | 0:30:18 | |
She was in the sixth form. Four A-levels. | 0:30:20 | 0:30:23 | |
She wanted to go to Oxford. | 0:30:25 | 0:30:27 | |
She was a very, very clever girl. | 0:30:28 | 0:30:32 | |
Brilliant, really. | 0:30:32 | 0:30:34 | |
Very beautiful. Very kind. | 0:30:35 | 0:30:36 | |
She'd been managing the epilepsy since she was seven. | 0:30:38 | 0:30:41 | |
And she never let it frighten her, never let it stop her. | 0:30:42 | 0:30:45 | |
She was amazing. She was my little girl. | 0:30:46 | 0:30:49 | |
And then, well... | 0:30:52 | 0:30:53 | |
I'm very sorry. | 0:30:59 | 0:31:00 | |
Um, I hate to keep dragging this up. But, um... | 0:31:03 | 0:31:08 | |
Her memorial site. | 0:31:13 | 0:31:14 | |
It was defaced. | 0:31:16 | 0:31:17 | |
It started with someone impersonating her online. | 0:31:24 | 0:31:27 | |
Sending messages. | 0:31:28 | 0:31:30 | |
"Help me, Daddy. It's so hot in hell." | 0:31:30 | 0:31:32 | |
Pictures of... | 0:31:33 | 0:31:35 | |
corpses... | 0:31:35 | 0:31:36 | |
..with her name written on them. | 0:31:38 | 0:31:40 | |
Messages on Father's Day. | 0:31:40 | 0:31:42 | |
Photos of a graveyard. | 0:31:43 | 0:31:46 | |
"Wish you were here." | 0:31:46 | 0:31:47 | |
And then... | 0:31:49 | 0:31:50 | |
..he started sending pictures. | 0:31:53 | 0:31:55 | |
Cathy's face... | 0:31:58 | 0:31:59 | |
..Photoshopped onto obscene images. | 0:32:01 | 0:32:04 | |
My little girl. | 0:32:06 | 0:32:07 | |
Images where men were... | 0:32:09 | 0:32:11 | |
Did you know who was doing it? | 0:32:18 | 0:32:19 | |
No. No. | 0:32:20 | 0:32:22 | |
We'd complain. | 0:32:22 | 0:32:23 | |
The site would get taken down, but another would spring up. | 0:32:23 | 0:32:28 | |
It...it just... It didn't stop. | 0:32:28 | 0:32:30 | |
Er, the taunts, the emails, the pictures. | 0:32:31 | 0:32:34 | |
Horrible things. | 0:32:34 | 0:32:35 | |
Who could do it to us? | 0:32:36 | 0:32:38 | |
I hadn't been very well and, er... | 0:32:40 | 0:32:42 | |
Well, since Cathy died it was very tough. | 0:32:42 | 0:32:45 | |
It was very hard for Ken and me. | 0:32:48 | 0:32:50 | |
Could I offer you a glass of water? | 0:33:02 | 0:33:04 | |
-No, thank you, we're fine... -Yes. | 0:33:04 | 0:33:06 | |
We'd love some water, Ken. Thank you. | 0:33:07 | 0:33:09 | |
HE CRIES | 0:33:34 | 0:33:36 | |
I'm sorry to be so... | 0:34:37 | 0:34:39 | |
Don't worry. You've got a job to do. | 0:34:39 | 0:34:41 | |
I wonder... | 0:34:43 | 0:34:44 | |
Could I ask you where Ken was, three nights ago? | 0:34:46 | 0:34:49 | |
You OK, boss? | 0:34:55 | 0:34:56 | |
No. | 0:34:57 | 0:34:58 | |
You OK? | 0:35:00 | 0:35:02 | |
Not really. That was horrible. | 0:35:02 | 0:35:03 | |
Do you like him for it? Barnaby? | 0:35:05 | 0:35:07 | |
No. | 0:35:08 | 0:35:10 | |
Boss... | 0:35:10 | 0:35:11 | |
What? His wife alibied him. | 0:35:11 | 0:35:13 | |
What, he was home all night and he has some texts to prove it? Come on. | 0:35:13 | 0:35:18 | |
Got any evidence? | 0:35:18 | 0:35:19 | |
No. But we've got motive. | 0:35:19 | 0:35:21 | |
I don't know what you want me to say. | 0:35:23 | 0:35:25 | |
What? Look I've got a fetish killer on the loose, all right? | 0:35:27 | 0:35:31 | |
This is important, but it's not my priority. | 0:35:31 | 0:35:33 | |
Ronnie? Ronnie Holland? | 0:35:43 | 0:35:46 | |
-I think we'd better take the door down. -Sir. | 0:35:55 | 0:35:58 | |
I'll follow you in. | 0:36:19 | 0:36:21 | |
All right. | 0:36:21 | 0:36:22 | |
What the hell are you doing? Do you think he's stupid?! | 0:36:34 | 0:36:37 | |
No. But I think he's already noticed something's not right. | 0:36:37 | 0:36:40 | |
You're not a very good liar, Justin. | 0:36:40 | 0:36:41 | |
And that makes you think coming here's a good idea? | 0:36:41 | 0:36:44 | |
No. But this does. | 0:36:48 | 0:36:49 | |
If he thinks you're acting weird and sneaking around | 0:37:00 | 0:37:02 | |
because we're seeing each other, he'll be in his element. | 0:37:02 | 0:37:05 | |
Think he's got one over on you. | 0:37:05 | 0:37:07 | |
You do know Ken Barnaby killed Jared Cass? | 0:37:10 | 0:37:14 | |
I know, yeah. | 0:37:14 | 0:37:15 | |
And so does Luther. But he's going to let Barnaby walk. | 0:37:15 | 0:37:18 | |
His mind's on this other thing. Emily Hammond. That's all it is. | 0:37:18 | 0:37:21 | |
So push him. Force him to make a decision. | 0:37:21 | 0:37:24 | |
If he comes down on the right side, orders Ken Barnaby arrested, | 0:37:24 | 0:37:27 | |
you've proved your point. And if he doesn't... | 0:37:27 | 0:37:29 | |
Well, I don't know what's going to open your eyes. | 0:37:29 | 0:37:32 | |
You don't have to enjoy this so much, Erin. | 0:37:32 | 0:37:34 | |
You're better than this. | 0:37:34 | 0:37:35 | |
No. What I am is better than him. | 0:37:37 | 0:37:41 | |
And so are you. | 0:37:43 | 0:37:45 | |
The clothes and the wig date to the early '80s. | 0:38:03 | 0:38:05 | |
But whoever's face is on that mask, she's not in the cold case files. | 0:38:05 | 0:38:10 | |
It all fits the MO, but she's just not in there. | 0:38:10 | 0:38:12 | |
OK, so if she's not a known victim, then what is the killer recreating? | 0:38:12 | 0:38:16 | |
What am I not seeing? | 0:38:17 | 0:38:18 | |
Boss, I've had an idea about the other thing. Jared Cass. | 0:38:21 | 0:38:24 | |
Mind if I shoot off, and look into it? | 0:38:24 | 0:38:27 | |
Yeah. You go. | 0:38:27 | 0:38:28 | |
How'd it go with Ronnie Holland? | 0:38:38 | 0:38:40 | |
I found him dead in his hallway. | 0:38:40 | 0:38:41 | |
He'd been there for months. | 0:38:43 | 0:38:45 | |
The neighbours thought the stink came from the communal bins. | 0:38:46 | 0:38:48 | |
Cause of death? | 0:38:49 | 0:38:51 | |
Blunt-force trauma to the skull. No sign of struggle. | 0:38:51 | 0:38:53 | |
John, where's all this going? | 0:38:55 | 0:38:57 | |
I don't know. It's all mixed up. Past, present. | 0:38:57 | 0:39:00 | |
I can't get my head around it. | 0:39:02 | 0:39:03 | |
OK. Back to Emily Hammond. | 0:39:05 | 0:39:06 | |
Emily, because... | 0:39:08 | 0:39:09 | |
Emily, because Emily has some particular quality | 0:39:09 | 0:39:14 | |
which reminds the killer of... | 0:39:14 | 0:39:16 | |
..this woman. Right, but what connects her | 0:39:16 | 0:39:20 | |
to a series of murders that happened 30 years ago? | 0:39:20 | 0:39:25 | |
What ties them together? | 0:39:25 | 0:39:28 | |
What do they have in common? | 0:39:30 | 0:39:31 | |
Everything. They've got everything in common. | 0:39:37 | 0:39:39 | |
We've been looking at this the wrong way round. | 0:39:39 | 0:39:41 | |
Emily was the fantasy. Specifically her. | 0:39:41 | 0:39:45 | |
It's always been about her. | 0:39:45 | 0:39:46 | |
Yeah, then, why cover her face? Why the mask and the clothes? | 0:39:46 | 0:39:49 | |
That's not another woman. | 0:39:51 | 0:39:53 | |
Cos that's Emily. | 0:39:53 | 0:39:55 | |
He's making her look the way she used to, | 0:39:55 | 0:39:57 | |
back in 1982. | 0:39:57 | 0:39:59 | |
-These bins have definitely been emptied and searched? -Yes, Guv. | 0:40:59 | 0:41:02 | |
But upstairs, by the garbage chute, there's loads of piles of bin bags. | 0:41:02 | 0:41:06 | |
-They weren't there this morning. -Give me the torch. | 0:41:06 | 0:41:09 | |
It's blocked. | 0:41:15 | 0:41:16 | |
I want this chute emptied and searched. | 0:41:18 | 0:41:21 | |
-That was nice. -Yeah. | 0:41:26 | 0:41:27 | |
That was really, really lovely. | 0:41:29 | 0:41:31 | |
Did you hear a...? | 0:41:35 | 0:41:37 | |
OK. | 0:41:37 | 0:41:39 | |
Smokey! | 0:41:43 | 0:41:44 | |
Benny was right. | 0:42:52 | 0:42:53 | |
Emily is absolutely not in the cold case file. | 0:42:53 | 0:42:56 | |
However, I know how Ronnie's mind worked. | 0:42:57 | 0:42:59 | |
He would have kept a subset of "possibly related" files. | 0:42:59 | 0:43:02 | |
Is she in there? | 0:43:02 | 0:43:03 | |
1982, Emily Hammond's 14 years of age, | 0:43:05 | 0:43:09 | |
she's living with her mother at 148 Crosswood Street, Shoreditch. | 0:43:09 | 0:43:12 | |
On the evening of March 12th, Emily's alone at home, asleep, | 0:43:13 | 0:43:17 | |
when the lodger comes home from a CND rally. | 0:43:17 | 0:43:20 | |
The lodger discovers a man in Emily's bedroom. | 0:43:20 | 0:43:22 | |
However the lodger isn't alone. She's got six other people with her, | 0:43:22 | 0:43:26 | |
who are all fired-up from this rally. | 0:43:26 | 0:43:27 | |
So the men get stuck into the intruder, | 0:43:27 | 0:43:29 | |
-who makes a break for it and gets away. -It's him. | 0:43:29 | 0:43:33 | |
Ronnie seemed to think so, but his bosses didn't agree. | 0:43:33 | 0:43:36 | |
MO was different. | 0:43:36 | 0:43:37 | |
The other victims were older, in their twenties, lived alone. | 0:43:37 | 0:43:40 | |
How many people lived at that address? | 0:43:40 | 0:43:42 | |
Oh, Emily and her mother, a Claire Hammond, since died. | 0:43:42 | 0:43:46 | |
Oh, and the lodger, Dani Shahi. | 0:43:46 | 0:43:48 | |
Dani Shahi, we need to speak to her, | 0:43:48 | 0:43:50 | |
and the other six people that were at that house that day. | 0:43:50 | 0:43:52 | |
See if there's anything in their memories that we can use. | 0:43:52 | 0:43:55 | |
Justin? | 0:43:55 | 0:43:57 | |
'I'm back at the Hawksmoor Estate.' | 0:43:57 | 0:43:58 | |
'The killer filmed Jared Cass begging for his life, | 0:43:58 | 0:44:01 | |
'then threw the phone away.' | 0:44:01 | 0:44:03 | |
But first, he removed the SIM card. | 0:44:03 | 0:44:04 | |
And you can't do that with gloves on. | 0:44:04 | 0:44:06 | |
We've got a clean print. | 0:44:06 | 0:44:07 | |
Good. Great work. | 0:44:10 | 0:44:11 | |
So, do we bring Barnaby in? | 0:44:11 | 0:44:14 | |
No, come on. It's late. | 0:44:14 | 0:44:15 | |
And we ain't even got his fingerprints on file. | 0:44:15 | 0:44:17 | |
-No, but he did it. -'What do you want me to do? Call in the SAS?' | 0:44:17 | 0:44:20 | |
I've got a dead copper here and a woman strangled in her bed. | 0:44:20 | 0:44:23 | |
Barnaby's a vigilante killer. | 0:44:23 | 0:44:25 | |
All right. I'll take care of it. | 0:44:25 | 0:44:27 | |
Jeez, who beat HIM with the grumpy stick? | 0:44:29 | 0:44:31 | |
I have no idea. | 0:44:31 | 0:44:33 | |
Get me Ken Barnaby's number, please. | 0:44:33 | 0:44:35 | |
Can you sign this, boss? | 0:44:36 | 0:44:37 | |
-Come on, Benny. -All right. | 0:44:43 | 0:44:45 | |
Cheers. | 0:44:52 | 0:44:53 | |
Hello? | 0:45:07 | 0:45:09 | |
Mr Barnaby? It's DCI John Luther from Serious and Serial. | 0:45:09 | 0:45:13 | |
We spoke earlier? | 0:45:13 | 0:45:14 | |
Yes. Hi. How can I can help? | 0:45:14 | 0:45:16 | |
Nothing to worry about at all. | 0:45:16 | 0:45:18 | |
Just your fingerprints are not on file and I'd like to, | 0:45:18 | 0:45:21 | |
well, take a record of them just to eliminate you from the enquiry. | 0:45:21 | 0:45:26 | |
Absolutely. No problem. What time shall I come? | 0:45:26 | 0:45:29 | |
Just after nine. Any time after nine. | 0:45:29 | 0:45:32 | |
And give your name to the desk sergeant. | 0:45:32 | 0:45:34 | |
-'Excellent. OK, then. I'll see you in the morning.' -All right. | 0:45:34 | 0:45:38 | |
Where are you going? | 0:45:55 | 0:45:56 | |
Nowhere. I'm staying here with you. | 0:45:56 | 0:45:58 | |
How is he? | 0:47:21 | 0:47:23 | |
He's going to lose his hand. | 0:47:27 | 0:47:28 | |
And that fingerprint's no good | 0:47:28 | 0:47:30 | |
without a finger to compare it to, is it? | 0:47:30 | 0:47:33 | |
His fingerprints are all over the house. | 0:47:33 | 0:47:34 | |
So go and find them. Dust everything he ever touched. | 0:47:34 | 0:47:37 | |
You've still got to prove that print belongs to a finger | 0:47:37 | 0:47:41 | |
-that doesn't exist any more. -We can do that. | 0:47:41 | 0:47:44 | |
Maybe. But if I was on the defence team, I'd argue it into the ground. | 0:47:44 | 0:47:48 | |
And if I was on the jury, looking at poor Ken Barnaby, | 0:47:48 | 0:47:51 | |
I'd look for any excuse not to convict. | 0:47:51 | 0:47:55 | |
The fingerprint on the SIM card? | 0:47:55 | 0:47:57 | |
That's got Barnaby bang to rights. | 0:47:58 | 0:48:00 | |
All this... | 0:48:02 | 0:48:03 | |
looks like someone trying to give himself a chance | 0:48:03 | 0:48:06 | |
at reasonable doubt. | 0:48:06 | 0:48:08 | |
Dani Shahi, the lodger. Married, divorced, remarried again, | 0:48:23 | 0:48:27 | |
is now Dani Lane. | 0:48:27 | 0:48:30 | |
Think it's too late to call? | 0:48:30 | 0:48:31 | |
Smokey! | 0:48:43 | 0:48:44 | |
Smokey! Smokey! | 0:48:53 | 0:48:55 | |
-Did you warn him? -Warn who about what? | 0:49:19 | 0:49:22 | |
PHONE RINGS | 0:49:22 | 0:49:24 | |
Who's that calling so late? | 0:49:24 | 0:49:26 | |
-Hello? -Did you warn him? -Sorry, who are we talking about? | 0:49:27 | 0:49:29 | |
-Ken Barnaby! -'Hello?' -I told him to come in and get his prints done. | 0:49:29 | 0:49:32 | |
And did you know what he'd do? | 0:49:32 | 0:49:34 | |
Because you know people, don't you? You know how they think. | 0:49:34 | 0:49:37 | |
Mate, I'm lost. | 0:49:37 | 0:49:38 | |
Whatever's happened, I promise you, I had nothing to do with it. | 0:49:38 | 0:49:41 | |
-Again. -Sorry? -No matter what it is, it's never you, is it? | 0:49:41 | 0:49:43 | |
-Justin, I don't know what you're talking... -There was blood on the ceiling! | 0:49:43 | 0:49:47 | |
What are you doing?! | 0:49:53 | 0:49:54 | |
Right, whatever this is, it ends, here and now. | 0:49:54 | 0:49:57 | |
-Do you understand me? -What is wrong with you, Justin?! | 0:49:57 | 0:50:00 | |
I want you both out of my sight. | 0:50:00 | 0:50:02 | |
Back here tomorrow morning with this resolved, | 0:50:02 | 0:50:04 | |
or you're both suspended. John? | 0:50:04 | 0:50:05 | |
-Yes. Boss. -Justin? | 0:50:05 | 0:50:07 | |
Oh! | 0:50:39 | 0:50:40 | |
Cold, cold, cold! Your feet are freezing! | 0:50:40 | 0:50:43 | |
How's the headache? | 0:50:43 | 0:50:45 | |
I haven't got a headache. | 0:50:45 | 0:50:46 | |
Excellent. | 0:50:46 | 0:50:48 | |
It's too cold for any of that malarkey. | 0:50:49 | 0:50:52 | |
-It'll warm you up. -I'm reading! | 0:50:52 | 0:50:54 | |
SHE LAUGHS | 0:50:58 | 0:50:59 | |
WHINING | 0:51:12 | 0:51:14 | |
What was that? | 0:51:16 | 0:51:17 | |
I don't know. | 0:51:17 | 0:51:19 | |
I thought I heard it before. I thought maybe it was... | 0:51:19 | 0:51:21 | |
What? | 0:51:21 | 0:51:23 | |
Sounds like a cat. | 0:51:24 | 0:51:26 | |
MOANING | 0:51:29 | 0:51:31 | |
What the hell is that? | 0:51:31 | 0:51:33 | |
What are you doing? | 0:51:39 | 0:51:41 | |
Calling the police. | 0:51:41 | 0:51:42 | |
And tell them what? Our cat's stuck in the attic? | 0:51:42 | 0:51:44 | |
It's weird. | 0:51:44 | 0:51:45 | |
MEOWING | 0:51:48 | 0:51:51 | |
The cat. | 0:51:54 | 0:51:56 | |
How did it get up there? | 0:52:00 | 0:52:01 | |
There must be a loose tile and he's climbed in, | 0:52:02 | 0:52:05 | |
and can't get out. | 0:52:05 | 0:52:07 | |
Oh! | 0:53:22 | 0:53:24 | |
Craig? | 0:53:31 | 0:53:32 | |
Oh! | 0:53:35 | 0:53:37 | |
SHE SCREAMS | 0:53:44 | 0:53:46 | |
SCREAMING | 0:53:53 | 0:53:54 | |
DOOR CLOSES | 0:54:58 | 0:55:00 | |
RINGING TONE | 0:55:35 | 0:55:36 | |
The name, Luther, comes from my grandad. | 0:55:45 | 0:55:50 | |
He chose it. | 0:55:50 | 0:55:51 | |
'Why?' | 0:55:51 | 0:55:52 | |
For love. | 0:55:54 | 0:55:55 | |
'That's got to be just about the best reason | 0:55:55 | 0:55:57 | |
'to do anything, doesn't it?' | 0:55:57 | 0:55:59 | |
So, er, is it too late for that drink? | 0:55:59 | 0:56:02 | |
'Aaaah! Help!' | 0:56:22 | 0:56:26 | |
You're right. Somebody needs to stop him. | 0:56:31 | 0:56:34 | |
Stop! | 0:56:45 | 0:56:46 | |
You're such a gentle man. | 0:57:08 | 0:57:10 | |
I don't know about that. | 0:57:11 | 0:57:13 | |
I'm going to take you down twice as hard and twice as fast. | 0:57:17 | 0:57:20 | |
Subtitles by Red Bee Media Ltd | 0:57:28 | 0:57:31 |