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-'DCI John Luther. DS Justin Ripley.' -I lobbied to be stationed with you. | 0:00:02 | 0:00:04 | |
I put in the request nine months ago, I chased it up three times a week, in writing. | 0:00:04 | 0:00:08 | |
My mate Justin. I love him. | 0:00:08 | 0:00:10 | |
I don't think you're going to shoot me. | 0:00:10 | 0:00:12 | |
Don't you...don't you. | 0:00:12 | 0:00:14 | |
Hey! Get up! | 0:00:14 | 0:00:16 | |
John, I don't know what to say. | 0:00:17 | 0:00:20 | |
SCREAMING | 0:00:20 | 0:00:21 | |
Wotcha. I wanted something. | 0:00:24 | 0:00:25 | |
-What? -You. | 0:00:25 | 0:00:27 | |
I assumed you'd need it eventually. | 0:00:30 | 0:00:33 | |
This programme contains some strong language | 0:00:33 | 0:00:40 | |
This programme contains some scenes which some viewers may find upsetting | 0:00:40 | 0:00:46 | |
So, now what? | 0:00:46 | 0:00:50 | |
So, now what? | 0:01:06 | 0:01:08 | |
Your phone's off. You're wanted. | 0:01:10 | 0:01:13 | |
That's why my phone's off. | 0:01:13 | 0:01:16 | |
Fair enough. | 0:01:16 | 0:01:17 | |
Nice view. | 0:01:18 | 0:01:19 | |
Yeah. | 0:01:21 | 0:01:22 | |
Do you never do this? | 0:01:23 | 0:01:24 | |
Do you never come up to a really high place | 0:01:24 | 0:01:27 | |
and wonder what it would be like to fall? | 0:01:27 | 0:01:29 | |
Why would I do that? I've got enough to worry about. | 0:01:30 | 0:01:33 | |
LUTHER CHUCKLES | 0:01:33 | 0:01:34 | |
Why do you do it? Come up here? | 0:01:35 | 0:01:38 | |
You ever have that dream when you're falling? | 0:01:40 | 0:01:43 | |
Yeah. | 0:01:44 | 0:01:45 | |
Do you ever wake up in it? | 0:01:46 | 0:01:48 | |
No. | 0:01:48 | 0:01:49 | |
Do you? | 0:01:51 | 0:01:52 | |
Nah. | 0:01:53 | 0:01:54 | |
What do you think would happen? | 0:01:57 | 0:01:59 | |
Dunno. | 0:02:01 | 0:02:02 | |
Nah. Me, neither. | 0:02:04 | 0:02:06 | |
PHONE VIBRATES | 0:02:50 | 0:02:53 | |
MUSIC PLAYS: Tokyo Joe by Bryan Ferry | 0:03:25 | 0:03:26 | |
PHONE VIBRATES | 0:03:40 | 0:03:42 | |
CREAKING | 0:03:50 | 0:03:52 | |
RATTLING | 0:04:21 | 0:04:24 | |
CHECKOUT SCANNER BEEPS | 0:04:49 | 0:04:50 | |
CLATTERING CONTINUES | 0:04:57 | 0:04:59 | |
Oh! | 0:05:08 | 0:05:09 | |
CLATTERING INTENSIFIES | 0:05:09 | 0:05:11 | |
CLATTERING STOPS | 0:05:17 | 0:05:18 | |
MUSIC: Love Is The Drug by Roxy Music | 0:05:54 | 0:05:57 | |
Hello, love. | 0:06:22 | 0:06:24 | |
One of us left the bathroom window open this morning | 0:06:25 | 0:06:29 | |
and a bloody pigeon got in. | 0:06:29 | 0:06:32 | |
It scared the crap out of me, flapping about. | 0:06:35 | 0:06:40 | |
Who are you? | 0:06:45 | 0:06:46 | |
SHE SCREAMS | 0:06:49 | 0:06:50 | |
# Love is like a sin, my love | 0:06:52 | 0:06:59 | |
# For the ones that feel it the most | 0:07:00 | 0:07:06 | |
# Look at her with her eyes like a flame | 0:07:07 | 0:07:13 | |
# She will love you like a fly | 0:07:14 | 0:07:18 | |
# Will never love you again. # | 0:07:18 | 0:07:22 | |
Guv. | 0:08:01 | 0:08:03 | |
How goes it? | 0:08:05 | 0:08:07 | |
Fair to middling. | 0:08:07 | 0:08:08 | |
John Luther, this is DS Lane. | 0:08:12 | 0:08:13 | |
Emma. | 0:08:13 | 0:08:15 | |
Wotcha. | 0:08:15 | 0:08:16 | |
Guv? | 0:08:16 | 0:08:17 | |
Fancy a cuppa? | 0:08:17 | 0:08:18 | |
Always. | 0:08:18 | 0:08:20 | |
Crikey! Pretty close to the edge. | 0:08:23 | 0:08:26 | |
Closer and closer every day. | 0:08:27 | 0:08:29 | |
That's why the place comes cheap. | 0:08:30 | 0:08:32 | |
How are you filling your days? | 0:08:47 | 0:08:49 | |
Days seem to fill themselves, really. | 0:08:49 | 0:08:52 | |
So? | 0:08:54 | 0:08:56 | |
So...Alice Morgan. | 0:08:56 | 0:09:00 | |
Ah. They gave you that, did they? | 0:09:01 | 0:09:04 | |
Yeah. What can you do? | 0:09:05 | 0:09:07 | |
What can you do? | 0:09:07 | 0:09:09 | |
Has she been in contact at all? | 0:09:09 | 0:09:11 | |
Alice? Since when? | 0:09:12 | 0:09:15 | |
Well, since you last saw her - on Southwark Bridge, was it? | 0:09:15 | 0:09:19 | |
No. | 0:09:21 | 0:09:22 | |
No e-mails, no phone calls? | 0:09:22 | 0:09:24 | |
No. | 0:09:24 | 0:09:26 | |
She didn't say where she was going? | 0:09:26 | 0:09:28 | |
Nope. | 0:09:28 | 0:09:29 | |
And you didn't ask? | 0:09:29 | 0:09:30 | |
Has something happened? | 0:09:33 | 0:09:34 | |
Interpol caught her scent in Berlin. | 0:09:37 | 0:09:39 | |
OK. | 0:09:39 | 0:09:41 | |
They pick her up? | 0:09:42 | 0:09:43 | |
No. No, the trail went cold in Madrid. And then this happened. | 0:09:43 | 0:09:48 | |
In Antwerp, three days ago. | 0:09:48 | 0:09:51 | |
Blimey. | 0:09:54 | 0:09:56 | |
Hm. | 0:09:56 | 0:09:58 | |
The dead man at the wheel. | 0:09:58 | 0:10:00 | |
Akram el-Mejjati. Small-time hoodlum from the 18th Arrondissement. | 0:10:00 | 0:10:04 | |
Paris. | 0:10:04 | 0:10:05 | |
The other bloke? | 0:10:05 | 0:10:07 | |
Who can say? | 0:10:07 | 0:10:08 | |
What was she doing? | 0:10:08 | 0:10:10 | |
We were hoping you might shine a light on that. | 0:10:11 | 0:10:14 | |
No. | 0:10:14 | 0:10:16 | |
I can't be of any help. | 0:10:18 | 0:10:21 | |
Oh. OK. | 0:10:21 | 0:10:24 | |
I don't suppose we thought you could. | 0:10:26 | 0:10:28 | |
Not really. | 0:10:28 | 0:10:29 | |
So what are we all doing here? | 0:10:31 | 0:10:33 | |
Well, I'm afraid she's dead, John. | 0:10:35 | 0:10:38 | |
No, she's not. | 0:10:43 | 0:10:45 | |
They found her in the Schelde. | 0:10:45 | 0:10:47 | |
I mean, yeah, it does look like her, but it's not her. | 0:10:55 | 0:10:58 | |
An autopsy confirms it. Dental records. | 0:10:58 | 0:11:01 | |
They can be faked. | 0:11:01 | 0:11:02 | |
Prints, too. I'm sorry, John. It's her. | 0:11:02 | 0:11:05 | |
Just give me a sec. | 0:11:14 | 0:11:16 | |
How? | 0:11:31 | 0:11:33 | |
Um, she drowned. | 0:11:33 | 0:11:37 | |
Alice? | 0:11:38 | 0:11:39 | |
HE LAUGHS | 0:11:39 | 0:11:41 | |
Toxicology's clean. No signs of trauma. | 0:11:41 | 0:11:45 | |
Water on the lungs. | 0:11:45 | 0:11:47 | |
The theory seems to be that she was concussed after the car crash. | 0:11:47 | 0:11:51 | |
Possibly confused. | 0:11:51 | 0:11:52 | |
They're saying she fell? | 0:11:52 | 0:11:54 | |
John? | 0:11:56 | 0:11:58 | |
You understand that we need to have a look around the place? | 0:11:58 | 0:12:01 | |
Yeah. I mean, yeah. | 0:12:01 | 0:12:02 | |
OK, DS Lane, if you'd like to keep John company? | 0:12:03 | 0:12:06 | |
Yes. | 0:12:06 | 0:12:07 | |
May I? | 0:12:21 | 0:12:22 | |
Can I get you that cup of tea? | 0:12:51 | 0:12:53 | |
-Yeah. -Yeah? Tea. OK. | 0:12:53 | 0:12:55 | |
PHONE VIBRATES | 0:13:06 | 0:13:08 | |
Boss? | 0:13:08 | 0:13:10 | |
How so? | 0:13:13 | 0:13:14 | |
Hm-mm. | 0:13:19 | 0:13:20 | |
Understood. OK. | 0:13:22 | 0:13:25 | |
OK. OK. | 0:13:37 | 0:13:38 | |
So now what? You going to arrest me? | 0:13:40 | 0:13:44 | |
Why? You done something wrong? | 0:13:45 | 0:13:47 | |
You know I haven't. | 0:13:47 | 0:13:49 | |
Then why arrest you? | 0:13:49 | 0:13:51 | |
We'll have to leave the tea, though, I'm afraid. Duty calls. | 0:13:51 | 0:13:54 | |
Vivid misdeeds in Hackney Wick. | 0:13:54 | 0:13:56 | |
Give me a second. | 0:14:02 | 0:14:03 | |
You and Alice Morgan. | 0:14:24 | 0:14:26 | |
I'm aware that, um, there was a...fondness between you. | 0:14:28 | 0:14:35 | |
Yeah, there was... a fondness, yeah. | 0:14:37 | 0:14:44 | |
So maybe you shouldn't be alone right now. | 0:14:44 | 0:14:47 | |
Hm? Is there someone I can call? | 0:14:47 | 0:14:49 | |
No. No, no, I'll, um, be fine. | 0:14:53 | 0:14:58 | |
Give 'em all my love. | 0:14:58 | 0:15:00 | |
Hey. | 0:15:04 | 0:15:05 | |
Are you OK? Really? | 0:15:08 | 0:15:10 | |
Yeah. | 0:15:13 | 0:15:14 | |
Everything's tickety boo. Totally disco. | 0:15:14 | 0:15:18 | |
Thank you, guv. | 0:17:15 | 0:17:16 | |
You've been with Luther? | 0:17:19 | 0:17:21 | |
We have, yes. | 0:17:21 | 0:17:23 | |
And did he know? About Alice Morgan? | 0:17:23 | 0:17:27 | |
It's difficult to be certain. | 0:17:27 | 0:17:29 | |
And that's what we'll tell the Lokale Politie Antwerpen, is it? | 0:17:29 | 0:17:33 | |
"It's difficult to be certain?" | 0:17:33 | 0:17:35 | |
He didn't know, boss. He was, um, crushed. | 0:17:35 | 0:17:38 | |
The victim's Chloe Morley. | 0:17:41 | 0:17:43 | |
Looks like her husband's the killer, Alastair Morley. | 0:17:43 | 0:17:46 | |
Dentist. | 0:17:46 | 0:17:47 | |
Picture's in the file. | 0:17:47 | 0:17:48 | |
SOCO's left? | 0:17:51 | 0:17:52 | |
Yep. | 0:17:52 | 0:17:53 | |
And her husband did this? | 0:18:16 | 0:18:17 | |
Apparently so. | 0:18:19 | 0:18:21 | |
God help us. | 0:18:21 | 0:18:22 | |
What did he do with the heart? | 0:18:25 | 0:18:27 | |
He ate it. | 0:18:28 | 0:18:29 | |
Forensics found what was left of it. | 0:18:32 | 0:18:34 | |
Guv? | 0:18:40 | 0:18:41 | |
One sec. | 0:18:41 | 0:18:42 | |
Emma? Guv? | 0:18:52 | 0:18:53 | |
These CCTV images. | 0:18:58 | 0:19:00 | |
He's letting himself out of Alastair Morley's workplace, | 0:19:01 | 0:19:05 | |
driving Alastair Morley's car, texting on Alastair Morley's phone. | 0:19:05 | 0:19:09 | |
He's killing Alastair Morley's wife and eating her heart. | 0:19:09 | 0:19:13 | |
But whoever this is, it's not Alastair Morley. | 0:19:13 | 0:19:18 | |
Alastair Morley. | 0:19:48 | 0:19:49 | |
Guv. | 0:19:56 | 0:19:57 | |
It belongs to a Julian Lewis. | 0:20:10 | 0:20:11 | |
Is he our man on the CCTV? | 0:20:11 | 0:20:13 | |
Definitely not. | 0:20:13 | 0:20:15 | |
PHONE RINGS | 0:20:18 | 0:20:20 | |
DS Silver. | 0:20:20 | 0:20:22 | |
'Wotcha.' | 0:20:22 | 0:20:23 | |
Wotcha, boss. | 0:20:24 | 0:20:26 | |
Benny, what's going on with this Alice Morgan thing? | 0:20:26 | 0:20:28 | |
Hang on a minute. | 0:20:28 | 0:20:29 | |
I'll give you the bones of it. | 0:20:29 | 0:20:31 | |
Morning, sir. | 0:20:38 | 0:20:39 | |
OK, so, truth is, we don't know much. | 0:20:56 | 0:20:59 | |
'The Belgians are looking after it, | 0:20:59 | 0:21:00 | |
'and you know what they're like with sharing stuff.' | 0:21:00 | 0:21:03 | |
Do they like anyone for it? | 0:21:03 | 0:21:04 | |
'Honestly, I don't know.' | 0:21:04 | 0:21:06 | |
I don't know if they're even looking for anybody because, | 0:21:06 | 0:21:08 | |
as far as I'm aware, they're treating it as an accident. | 0:21:08 | 0:21:11 | |
Yeah, well, it wasn't an accident. | 0:21:11 | 0:21:13 | |
Did Theo Bloom take something from my house today? | 0:21:15 | 0:21:18 | |
Something like what? | 0:21:19 | 0:21:20 | |
Like a phone. A burner. | 0:21:20 | 0:21:22 | |
'Well, if he did, he'd have logged it for chain of evidence.' | 0:21:22 | 0:21:25 | |
Yeah, cos he's squeaky clean, isn't he? Eh, Benny? | 0:21:25 | 0:21:30 | |
No cleaner man. | 0:21:30 | 0:21:31 | |
No cleaner man, not since the chap in the manger. | 0:21:31 | 0:21:34 | |
So he wouldn't take a phone, would he? | 0:21:34 | 0:21:36 | |
'Look, why would he? | 0:21:36 | 0:21:38 | |
'He had a warrant, didn't he?' | 0:21:38 | 0:21:41 | |
Then if he didn't, who did? | 0:21:42 | 0:21:44 | |
'Boss, what's going on?' | 0:21:44 | 0:21:46 | |
Nothing, Benny, nothing. I'll let you crack on. | 0:21:46 | 0:21:50 | |
ENGINE REVS | 0:22:16 | 0:22:18 | |
TRAIN RUMBLES BY OUTSIDE | 0:22:45 | 0:22:46 | |
MURMUR OF DIFFERENT TV CHANNELS | 0:22:53 | 0:22:55 | |
FOOTSTEPS | 0:22:58 | 0:23:00 | |
RECORD CRACKLES | 0:23:29 | 0:23:31 | |
KNOCK | 0:23:31 | 0:23:33 | |
Julian Lewis! Police! Open up! | 0:23:33 | 0:23:34 | |
Armed police! Armed police! | 0:23:43 | 0:23:44 | |
-Search! -Searching! | 0:23:44 | 0:23:46 | |
-Bathroom clear! -Clear! | 0:23:46 | 0:23:48 | |
Medic says he ate the tongue. | 0:24:05 | 0:24:07 | |
Boss, what do we do with something like this? | 0:24:11 | 0:24:14 | |
We keep going. | 0:24:17 | 0:24:18 | |
Trace it back to a point of origin. | 0:24:20 | 0:24:23 | |
First cause. And there we will find our man. | 0:24:23 | 0:24:29 | |
Belongs to a Bruno Dresller. | 0:24:39 | 0:24:42 | |
How are you? | 0:25:01 | 0:25:02 | |
Well, to be honest, boss, I don't know how I am. | 0:25:04 | 0:25:06 | |
She was... | 0:25:07 | 0:25:08 | |
'Yeah, she was.' | 0:25:08 | 0:25:09 | |
Any idea how it happened? | 0:25:11 | 0:25:13 | |
'Do you?' | 0:25:15 | 0:25:16 | |
-No. -In that case, let me offer some friendly counsel. | 0:25:16 | 0:25:20 | |
'Such as?' | 0:25:20 | 0:25:22 | |
Step back and let the Belgians do their job. | 0:25:22 | 0:25:26 | |
Yeah, of course. I mean, what else am I going to do? | 0:25:26 | 0:25:28 | |
How's your thing? | 0:25:28 | 0:25:29 | |
'Not great.' | 0:25:29 | 0:25:31 | |
Playing catch-up with some bedlamite. | 0:25:31 | 0:25:34 | |
Following his spoor back to source. | 0:25:34 | 0:25:37 | |
No, you don't want to be doing that. | 0:25:37 | 0:25:39 | |
An animal like that - he's always moving forward. | 0:25:39 | 0:25:43 | |
You should be, too. | 0:25:43 | 0:25:44 | |
'You know, John, we can't discuss this any further. | 0:25:44 | 0:25:47 | |
'Not unless you walk away from this leave of absence thing.' | 0:25:47 | 0:25:52 | |
Got to go, boss. Sorry. | 0:25:52 | 0:25:54 | |
DANCE MUSIC PLAYING IN DISTANCE | 0:25:54 | 0:25:57 | |
MUSIC GETS LOUDER | 0:26:07 | 0:26:09 | |
MUSIC STOPS | 0:26:34 | 0:26:35 | |
All right, mate? Looking a bit militant, there. | 0:26:35 | 0:26:37 | |
It's the police. | 0:26:42 | 0:26:43 | |
Well, can I see a badge, then? | 0:26:47 | 0:26:49 | |
No. | 0:26:49 | 0:26:50 | |
Errol, is he having a laugh? | 0:27:01 | 0:27:04 | |
Are you having a laugh? | 0:27:09 | 0:27:11 | |
Let's have a talk in my office, then, shall we? | 0:27:22 | 0:27:25 | |
Yeah. | 0:27:27 | 0:27:29 | |
MUSIC STARTS UP AGAIN | 0:27:29 | 0:27:31 | |
Recognise her? | 0:27:43 | 0:27:45 | |
Nope. I wouldn't mind, though. Chung, innit? | 0:27:45 | 0:27:48 | |
Chung? | 0:27:48 | 0:27:50 | |
That's very funny, cos I think one of your boys just killed her. | 0:27:50 | 0:27:54 | |
Callum Greene. He's one of your Mash men, ain't he? | 0:28:00 | 0:28:04 | |
I wonder how many of those boys out there know that you've been | 0:28:04 | 0:28:08 | |
a snitch since before Cool Britannia was all the thing? | 0:28:08 | 0:28:11 | |
I mean, we know what they'd think about that, though, don't we? | 0:28:11 | 0:28:15 | |
They'd end your days on earth, Errol. Let's have a word. | 0:28:16 | 0:28:21 | |
Hey, hey, hey. This woman. | 0:28:21 | 0:28:23 | |
I don't know who she was. | 0:28:23 | 0:28:25 | |
So what's Callum Greene doing with her in Antwerp? | 0:28:25 | 0:28:27 | |
All I know is that he was contracted out. | 0:28:27 | 0:28:30 | |
Oh, yeah, by who? | 0:28:30 | 0:28:32 | |
Come on! | 0:28:32 | 0:28:33 | |
Don't matter. | 0:28:36 | 0:28:38 | |
Hey, hey, hey! | 0:28:38 | 0:28:39 | |
George Cornelius. | 0:28:40 | 0:28:42 | |
Come on, man. The old school geezer from Islington? | 0:28:46 | 0:28:51 | |
That's him, yeah. | 0:28:51 | 0:28:52 | |
You are a snitch. | 0:28:54 | 0:28:55 | |
Good afternoon. I'd like to speak to George Cornelius, please. | 0:29:45 | 0:29:48 | |
Yeah, I'm sorry. He's not in. | 0:29:48 | 0:29:50 | |
Yes, he is. | 0:29:51 | 0:29:53 | |
Hurry up! | 0:29:56 | 0:29:57 | |
You rang, my lord? | 0:30:04 | 0:30:06 | |
George Cornelius? | 0:30:07 | 0:30:09 | |
You know I am. | 0:30:11 | 0:30:12 | |
Come with me, please. | 0:30:12 | 0:30:14 | |
Sorry, mate. Who are you, again? | 0:30:15 | 0:30:17 | |
Police. | 0:30:17 | 0:30:18 | |
Which police? | 0:30:18 | 0:30:19 | |
THE police. | 0:30:19 | 0:30:21 | |
I don't care if you're fucking Sting. | 0:30:21 | 0:30:24 | |
You lot do not come round here, not for any reason. | 0:30:24 | 0:30:26 | |
This is my house. You all know that. | 0:30:26 | 0:30:28 | |
Yeah, well, I'm sorry about that, but I'm here now, so we might as well crack on. | 0:30:28 | 0:30:31 | |
No, straight up now, what's going on? Who's your governor? | 0:30:31 | 0:30:36 | |
I've got this, Dad. | 0:30:36 | 0:30:38 | |
Look. | 0:30:40 | 0:30:41 | |
You're coming along with me. There we go... | 0:30:43 | 0:30:46 | |
Down the steps, let's go. | 0:30:46 | 0:30:48 | |
ENGINE STARTS | 0:30:57 | 0:30:58 | |
Are you really a copper? | 0:31:24 | 0:31:26 | |
Sort of. | 0:31:30 | 0:31:32 | |
And this is your gaff, is it? | 0:31:34 | 0:31:36 | |
Sort of. | 0:31:38 | 0:31:40 | |
You don't spend a lot of time here, though. | 0:31:40 | 0:31:42 | |
Not by the look of it. | 0:31:42 | 0:31:44 | |
No, not really. | 0:31:44 | 0:31:45 | |
Actually, I was thinking of leaving the country. | 0:31:47 | 0:31:50 | |
Well, I was until you put a crimp on it. | 0:31:52 | 0:31:55 | |
Oh, yeah? How'd I do that? | 0:31:55 | 0:31:57 | |
By killing Alice Morgan. Or having her killed. | 0:31:57 | 0:32:01 | |
Same difference, really. | 0:32:01 | 0:32:03 | |
I did what to who now? | 0:32:03 | 0:32:05 | |
Don't tell me you don't know who she is, George. | 0:32:06 | 0:32:09 | |
Mate, I didn't put her down. Or have her put down. | 0:32:12 | 0:32:17 | |
Why would I? | 0:32:17 | 0:32:18 | |
I don't know. But that's what I'm here to find out. | 0:32:18 | 0:32:22 | |
Before I end it for you. | 0:32:23 | 0:32:24 | |
You do know they saw you - my boy, my daughter-in-law. | 0:32:26 | 0:32:30 | |
They clocked your face, they clocked your car. | 0:32:30 | 0:32:33 | |
How long do you think you've got | 0:32:33 | 0:32:35 | |
before my firm are popping your eyeballs out with their thumbs? | 0:32:35 | 0:32:39 | |
Yeah. I don't care, George, you don't scare me. | 0:32:39 | 0:32:42 | |
Fair enough. | 0:32:45 | 0:32:46 | |
All right. What it is - she comes to me, your girl. | 0:32:48 | 0:32:51 | |
Different name. She's got these uncut diamonds. | 0:32:51 | 0:32:54 | |
Blue-ribbon merchandise, worth a lot of money, | 0:32:54 | 0:32:56 | |
but difficult to shift, unless you've got the right connections, | 0:32:56 | 0:32:59 | |
which I've got - she doesn't. We agree a 70/30 split. | 0:32:59 | 0:33:03 | |
She doesn't like it, but she needs the money sharpish. | 0:33:03 | 0:33:07 | |
She say why? | 0:33:07 | 0:33:09 | |
Her and some geezer are running away to... | 0:33:09 | 0:33:11 | |
Sao Paulo. | 0:33:11 | 0:33:12 | |
So that'll be you, then. The geezer. | 0:33:15 | 0:33:18 | |
Yeah, that'll be me. | 0:33:21 | 0:33:23 | |
Right. | 0:33:25 | 0:33:26 | |
So I give her the name of a contact in the trade, | 0:33:26 | 0:33:29 | |
bent as a bottle of chips, | 0:33:29 | 0:33:30 | |
she's supposed to meet him in Antwerp... | 0:33:30 | 0:33:32 | |
Except she meets your boys instead, and you rob her. | 0:33:32 | 0:33:35 | |
Well, what can I say? | 0:33:35 | 0:33:36 | |
It's a lot of money, and at the end of the day, I'm a thief. | 0:33:36 | 0:33:39 | |
But the thing is, she doesn't like being ripped off, | 0:33:41 | 0:33:44 | |
and she knows how to put up a fight. | 0:33:44 | 0:33:46 | |
She stabs the driver in the back of the skull with a hat pin. | 0:33:46 | 0:33:49 | |
What about Callum Greene? | 0:33:49 | 0:33:52 | |
Callum, he stumbles out the car, gets himself straight to hospital. | 0:33:52 | 0:33:55 | |
Turns out, she's kicked him in the nuts so hard, | 0:33:55 | 0:33:58 | |
they've blown up like footballs. | 0:33:58 | 0:33:59 | |
He's in no condition to hurt anybody. | 0:33:59 | 0:34:01 | |
And the burner? Why did you steal the burner? | 0:34:04 | 0:34:07 | |
What burner? | 0:34:07 | 0:34:08 | |
George, the phone I used to call Alice Morgan. | 0:34:08 | 0:34:11 | |
Mate, until today I had no idea you existed. | 0:34:13 | 0:34:18 | |
You didn't do it, did you? | 0:34:23 | 0:34:25 | |
I really didn't. | 0:34:25 | 0:34:27 | |
Bruno Dresller. 35. Owns and runs Body By Dresller, | 0:34:27 | 0:34:31 | |
'a small chain of gymnasiums. A clean record, more or less. | 0:34:31 | 0:34:36 | |
'His name was connected to a trial in America of | 0:34:36 | 0:34:39 | |
'a man called Donald Guthrey.' | 0:34:39 | 0:34:41 | |
Dresller and Guthrey exchanged e-mails on a fetish website | 0:34:41 | 0:34:45 | |
devoted to, and I quote - | 0:34:45 | 0:34:48 | |
'"cannibal erotica". | 0:34:48 | 0:34:50 | |
'He and Guthrey exchanged intensely detailed fantasies about how | 0:34:50 | 0:34:54 | |
'they wanted to kidnap, rape, cook and eat young women and teenagers.' | 0:34:54 | 0:35:01 | |
I'm on my way. | 0:35:01 | 0:35:02 | |
Roger. | 0:35:02 | 0:35:04 | |
We've got a body in the bath. Dissolved in lye, apparently. | 0:35:22 | 0:35:26 | |
'Very old school.' | 0:35:26 | 0:35:28 | |
Could be Dresller. Hard to tell. | 0:35:28 | 0:35:30 | |
The head and hands are missing. | 0:35:30 | 0:35:32 | |
'OK. With you in five.' | 0:35:32 | 0:35:36 | |
PHONE VIBRATES | 0:35:50 | 0:35:53 | |
Yeah? | 0:36:00 | 0:36:01 | |
John, Theo. | 0:36:01 | 0:36:03 | |
'Can you talk? | 0:36:03 | 0:36:05 | |
'Sorry to impose. I need a disinterested ear.' | 0:36:05 | 0:36:09 | |
Yeah. Course. Go on. | 0:36:11 | 0:36:13 | |
You ever had your nose pressed up too close to something? | 0:36:13 | 0:36:16 | |
'Er, yeah, once too often.' | 0:36:16 | 0:36:18 | |
I can't see it, John. | 0:36:18 | 0:36:19 | |
Or I can't see past it, | 0:36:19 | 0:36:21 | |
or something. I'm, er, like one of those drawings - | 0:36:21 | 0:36:25 | |
you're looking at a profile of an old hag. | 0:36:25 | 0:36:27 | |
You know there's a portrait of a young girl in there somewhere. | 0:36:27 | 0:36:30 | |
You just have to refocus somehow. | 0:36:30 | 0:36:32 | |
OK. | 0:36:32 | 0:36:33 | |
What are we looking at? | 0:36:34 | 0:36:36 | |
You find a body dissolved in lye, the head and hands are missing - | 0:36:37 | 0:36:41 | |
what's the first assumption? | 0:36:41 | 0:36:43 | |
'Well, your boy's working hard to prevent you making an ID.' | 0:36:43 | 0:36:47 | |
But that's not what this boy does. Not what he needs. | 0:36:47 | 0:36:51 | |
So why does he need it now? | 0:36:51 | 0:36:53 | |
Why remove the head and hands? | 0:36:53 | 0:36:55 | |
Because they're important to him? | 0:36:55 | 0:36:57 | |
Yeah, but in what way? | 0:36:57 | 0:36:58 | |
'Seems to me, there's one of two options.' | 0:36:58 | 0:37:00 | |
Option one, that they're important to him personally, | 0:37:00 | 0:37:04 | |
'so he wants to keep 'em.' | 0:37:04 | 0:37:06 | |
Option two, for some practical reason, they're important | 0:37:07 | 0:37:11 | |
so he wants to make sure they're never ever found. | 0:37:11 | 0:37:14 | |
I'm thinking it's option one. He's keeping them. | 0:37:24 | 0:37:28 | |
Hang on. | 0:37:30 | 0:37:32 | |
Theo? | 0:37:37 | 0:37:38 | |
Just give me a second. | 0:37:38 | 0:37:39 | |
EXPLOSION | 0:37:56 | 0:37:57 | |
Theo? | 0:38:00 | 0:38:01 | |
Theo?! | 0:38:03 | 0:38:05 | |
'..are reported dead following a large explosion | 0:38:42 | 0:38:46 | |
'in a central London block of flats. | 0:38:46 | 0:38:48 | |
'Police and emergency service personnel attending the site | 0:38:48 | 0:38:51 | |
'have yet to comment on the source of the...' | 0:38:51 | 0:38:53 | |
Argh! | 0:38:53 | 0:38:54 | |
You stay there. | 0:38:57 | 0:38:59 | |
HE SIGHS | 0:39:06 | 0:39:08 | |
HELICOPTER WHIRS | 0:39:20 | 0:39:21 | |
They've taken Theo away. | 0:39:24 | 0:39:26 | |
They'll look after him now. | 0:39:28 | 0:39:30 | |
The, er, EMT has checked me out. | 0:39:33 | 0:39:37 | |
I'm fine. | 0:39:38 | 0:39:39 | |
Of course you're not fine. | 0:39:39 | 0:39:41 | |
Once they've signed me off... | 0:39:41 | 0:39:43 | |
..I can come back. I'm fine. | 0:39:44 | 0:39:46 | |
I'm fine. | 0:39:47 | 0:39:49 | |
HORN TOOTS | 0:39:49 | 0:39:50 | |
Where do I sit? | 0:40:35 | 0:40:37 | |
Budge up. | 0:40:41 | 0:40:43 | |
Alice Morgan. | 0:40:50 | 0:40:52 | |
There's not a lot to see, boss. | 0:40:53 | 0:40:55 | |
I still need to see it. | 0:40:55 | 0:40:56 | |
Guv. | 0:40:57 | 0:40:59 | |
Boss. | 0:40:59 | 0:41:01 | |
You got a minute? | 0:41:02 | 0:41:03 | |
I'm sorry you lost him like that. | 0:41:21 | 0:41:22 | |
I loved him. | 0:41:28 | 0:41:30 | |
I don't mean, er, loved him loved him. | 0:41:36 | 0:41:39 | |
-I mean that... -I know what you mean. | 0:41:39 | 0:41:41 | |
I just want to say... | 0:41:48 | 0:41:50 | |
..whatever it takes... | 0:41:55 | 0:41:57 | |
..you know? | 0:41:59 | 0:42:00 | |
I'm in. | 0:42:02 | 0:42:04 | |
Anything? | 0:42:06 | 0:42:07 | |
Anything. | 0:42:09 | 0:42:11 | |
HE SIGHS | 0:42:15 | 0:42:16 | |
You've got a family? | 0:42:18 | 0:42:20 | |
Yeah. | 0:42:20 | 0:42:21 | |
Your girlfriend's expecting a baby? | 0:42:21 | 0:42:24 | |
Six weeks. | 0:42:24 | 0:42:25 | |
You love her? | 0:42:27 | 0:42:29 | |
More than anything. | 0:42:31 | 0:42:32 | |
That's good. | 0:42:38 | 0:42:40 | |
There are some things that you might have heard about me | 0:42:41 | 0:42:44 | |
that quite possibly could be true. | 0:42:44 | 0:42:46 | |
I know what you're going through right now. I sincerely do. | 0:42:50 | 0:42:53 | |
But there's something I need you to hear from me. | 0:42:59 | 0:43:03 | |
Never cut corners. | 0:43:05 | 0:43:08 | |
Never. | 0:43:08 | 0:43:10 | |
Not even if you know no-one else will know, | 0:43:11 | 0:43:14 | |
no-one else will find out... | 0:43:14 | 0:43:15 | |
..that it is exactly the right thing to do - because it never, ever is. | 0:43:17 | 0:43:21 | |
Ever. | 0:43:23 | 0:43:24 | |
You do this the right way. | 0:43:27 | 0:43:29 | |
All right, straight down the line. | 0:43:30 | 0:43:32 | |
You do it that way or I get you kicked off for being unfit for duty. | 0:43:33 | 0:43:39 | |
Lab reports confirmed that it's Dresller in the bath. | 0:44:11 | 0:44:13 | |
And we got into Dresller's laptop. | 0:44:13 | 0:44:15 | |
He spent a lot of time online over the last couple of months, | 0:44:15 | 0:44:18 | |
boss, exchanging fantasies about cooking and eating human flesh. | 0:44:18 | 0:44:23 | |
I mean, detailed fantasies at that. | 0:44:23 | 0:44:25 | |
There's a lot in there about brides. Wedding dresses, pregnant mothers. | 0:44:25 | 0:44:29 | |
And all of that's in there, is it? | 0:44:29 | 0:44:30 | |
-Yep. -So if we can find all that, our boy can find it, too. | 0:44:30 | 0:44:33 | |
He leads us to Dresller, right? | 0:44:35 | 0:44:38 | |
The fridge, the laptop, all that time spent | 0:44:38 | 0:44:41 | |
running around in circles, all so he's got the time to... | 0:44:41 | 0:44:45 | |
To what? | 0:44:45 | 0:44:47 | |
To finish off what he's started. | 0:44:48 | 0:44:50 | |
I dunno. | 0:44:52 | 0:44:54 | |
Let's see who's been poking around Dresller's private life, shall we? | 0:44:55 | 0:44:58 | |
'That was last year, so we thought, yeah, I know, | 0:45:00 | 0:45:03 | |
'we thought you could all come to ours this year... | 0:45:03 | 0:45:05 | |
'I know, why not, right?' | 0:45:05 | 0:45:07 | |
-'Hello?' -Hello? | 0:45:07 | 0:45:10 | |
Is this Alastair's mum? | 0:45:10 | 0:45:13 | |
'Who is this?' | 0:45:13 | 0:45:15 | |
I was with him. | 0:45:17 | 0:45:19 | |
When he died. | 0:45:19 | 0:45:21 | |
-'Who are you?' -He was asking for you at the end. | 0:45:21 | 0:45:26 | |
When he couldn't fight any more. | 0:45:27 | 0:45:30 | |
CRYING DOWN THE PHONE | 0:45:30 | 0:45:31 | |
"Mum. Mum." | 0:45:31 | 0:45:34 | |
He was so scared of dying. | 0:45:36 | 0:45:39 | |
'Why would you do this?!' | 0:45:40 | 0:45:42 | |
HE GROANS | 0:46:04 | 0:46:05 | |
What you got? | 0:46:38 | 0:46:39 | |
Well, you were right. We found spyware deep in Dresller's laptop. | 0:46:40 | 0:46:44 | |
How closely was he being watched? | 0:46:45 | 0:46:47 | |
Close enough to know everything there is to know. | 0:46:47 | 0:46:50 | |
It's not just passwords and bank account log-ins. | 0:46:50 | 0:46:52 | |
Whoever's been watching him knows every sentence he's composed, | 0:46:52 | 0:46:55 | |
every website he's visited. | 0:46:55 | 0:46:57 | |
He knows his thoughts. | 0:46:57 | 0:46:59 | |
It used to be that we could never know the truth about each other. | 0:46:59 | 0:47:02 | |
Not really. | 0:47:02 | 0:47:04 | |
Those days are gone. | 0:47:04 | 0:47:05 | |
More's the pity. | 0:47:05 | 0:47:07 | |
And how confident can we be that the killer | 0:47:07 | 0:47:10 | |
and the fellow who loaded the spyware is the same guy? | 0:47:10 | 0:47:13 | |
Well, we can't, to be fair, er, we can't be certain - | 0:47:14 | 0:47:17 | |
it could be anyone who had access to that laptop. | 0:47:17 | 0:47:20 | |
You say "anyone". | 0:47:20 | 0:47:21 | |
But, I mean, well, how many people can that be, realistically? | 0:47:21 | 0:47:25 | |
I mean, someone like Dresller, | 0:47:25 | 0:47:27 | |
a man with that kind of fantasy life, those kind of secrets. | 0:47:27 | 0:47:31 | |
How many people are you going to let near your computer? | 0:47:31 | 0:47:34 | |
How many people do any of us let near our computer? | 0:47:34 | 0:47:37 | |
So if he was watching Dresller that closely, | 0:47:37 | 0:47:39 | |
what are the chances he was watching all of them? | 0:47:39 | 0:47:43 | |
TV ON | 0:47:44 | 0:47:46 | |
In order to plant the spyware, | 0:48:05 | 0:48:06 | |
our subject had to have direct physical access | 0:48:06 | 0:48:09 | |
to everyone's computer, so, we pulled credit card records | 0:48:09 | 0:48:13 | |
from all the victims and cross referenced. | 0:48:13 | 0:48:15 | |
Now, over the past two-three years, each of them | 0:48:15 | 0:48:18 | |
made at least one payment to a company called Geek Patrol. | 0:48:18 | 0:48:22 | |
They come round your house, fix your computer, set up your wifi network. | 0:48:22 | 0:48:25 | |
Whatever... | 0:48:25 | 0:48:27 | |
And all their computers were fixed by one man. | 0:48:27 | 0:48:30 | |
A Steven Rose. | 0:48:32 | 0:48:34 | |
That's him. | 0:48:35 | 0:48:37 | |
Have we got an address? | 0:48:37 | 0:48:38 | |
SIRENS APPROACH | 0:48:54 | 0:48:56 | |
What are we waiting for? | 0:49:07 | 0:49:08 | |
Bomb squad. | 0:49:10 | 0:49:11 | |
All right, you've got your perimeter, the area's cleared, | 0:49:41 | 0:49:44 | |
we need to get in there, guv. | 0:49:44 | 0:49:46 | |
He's not going to booby trap his own place. Come on! | 0:49:46 | 0:49:49 | |
And you're sure of that, are you? | 0:49:49 | 0:49:50 | |
Yeah. I am. | 0:49:50 | 0:49:52 | |
Easy for you to say, John - you weren't here | 0:49:52 | 0:49:55 | |
when I had to watch them scrape Theo Bloom off the wall. | 0:49:55 | 0:49:58 | |
Guv, Steven Rose could be on his way to his next victim, | 0:50:04 | 0:50:06 | |
and we won't know who that is unless we are in there! | 0:50:06 | 0:50:09 | |
The answer is "no". | 0:50:09 | 0:50:11 | |
If you want to discuss it further, we can do it back at the factory. | 0:50:11 | 0:50:14 | |
I think I hear someone in there. | 0:50:18 | 0:50:20 | |
In fact, I can! I can hear someone screaming for help. | 0:50:20 | 0:50:23 | |
DCI Luther... | 0:50:23 | 0:50:24 | |
Exigent circumstances, sir! | 0:50:24 | 0:50:27 | |
DCI Luther! | 0:50:27 | 0:50:29 | |
DISTORTED MUSIC PLAYS | 0:50:38 | 0:50:40 | |
Benny! | 0:51:02 | 0:51:04 | |
Benny! | 0:51:05 | 0:51:07 | |
Benny! Ben, come on! | 0:51:07 | 0:51:09 | |
Come in. | 0:51:14 | 0:51:16 | |
Benny, can you, er, stop this? Whatever? Turn it off? | 0:51:16 | 0:51:20 | |
-Whatever. -I'll give it a go. | 0:51:20 | 0:51:22 | |
Are you OK? Boss? | 0:52:27 | 0:52:29 | |
Yeah, it's all right. | 0:52:29 | 0:52:31 | |
CLATTERING | 0:54:24 | 0:54:25 | |
Steven! | 0:55:05 | 0:55:06 | |
You've gotta stop! | 0:55:07 | 0:55:09 | |
HE SIGHS | 0:55:24 | 0:55:25 | |
-'Is it US law?' -No, this one's according to English law. | 0:55:35 | 0:55:38 | |
'When can I see it?' | 0:55:38 | 0:55:40 | |
I'm sending it over right now. Why don't we talk tomorrow morning? | 0:55:40 | 0:55:43 | |
-9.30 your time? -'OK.' | 0:55:43 | 0:55:44 | |
ECHOING CLATTER | 0:55:51 | 0:55:52 | |
CLATTERING IN DISTANCE | 0:56:30 | 0:56:32 | |
Sorry, guv. She's asked for you by name. | 0:56:53 | 0:56:55 | |
Can I help? | 0:57:01 | 0:57:03 | |
Are you DCI Luther? | 0:57:03 | 0:57:05 | |
Yeah. | 0:57:07 | 0:57:08 | |
I have a message for you. | 0:57:09 | 0:57:11 | |
A message from who? | 0:57:12 | 0:57:14 | |
Alice Morgan. | 0:57:15 | 0:57:17 | |
MUSIC: Money Is Not Our God (Babylon Dub) by Killing Joke | 0:57:26 | 0:57:28 |