0:00:02 > 0:00:03# It's all right It's OK
0:00:03 > 0:00:06# Doesn't really matter if you're old and grey
0:00:06 > 0:00:08# It's all right I say it's OK
0:00:08 > 0:00:11# Listen to what I say
0:00:11 > 0:00:13# It's all right, doing fine
0:00:13 > 0:00:16# Doesn't really matter if the sun don't shine
0:00:16 > 0:00:19# It's all right I say it's OK
0:00:19 > 0:00:21# We're gettin' to the end of the day. #
0:02:05 > 0:02:06Hello?
0:02:15 > 0:02:17Hello? It's me.
0:02:43 > 0:02:46WOMAN SCREAMS
0:02:48 > 0:02:50- I use those little bags. - What little bags?
0:02:50 > 0:02:51You crack the egg into them
0:02:51 > 0:02:53and then drop the whole thing into boiling water.
0:02:53 > 0:02:54No, no, you don't use bags.
0:02:54 > 0:02:56You just get the water swirling nicely...
0:02:56 > 0:02:59- Yeah, and then you add vinegar. - No, I've tried this.
0:02:59 > 0:03:02- It just produces vinegar-flavoured egg water.- Morning.- All right?
0:03:02 > 0:03:04Clearly I'm doing it wrong, that's why I use the bags.
0:03:04 > 0:03:07Sasha, what method do you use for poaching eggs?
0:03:07 > 0:03:09I've no idea, I just point at them on a menu.
0:03:09 > 0:03:10What do they want?
0:03:10 > 0:03:11You.
0:03:11 > 0:03:14Well, I'm pretty sure that's no longer true of one of them.
0:03:14 > 0:03:17- I'd give Strickland a go, though. - Really?
0:03:17 > 0:03:19No, Steve, it was a joke.
0:03:19 > 0:03:21If I'm not out in ten minutes,
0:03:21 > 0:03:23somebody set off the fire alarm again.
0:03:23 > 0:03:25- Morning, Sasha.- Hello.
0:03:25 > 0:03:26Morning.
0:03:27 > 0:03:29DAC Hancock has something for us.
0:03:29 > 0:03:31- Oh, good.- Oliver Houghton.
0:03:31 > 0:03:33The guy they fished out of the sewer?
0:03:33 > 0:03:36He died two days ago, Sasha, it's not a cold case.
0:03:36 > 0:03:37Ah.
0:03:37 > 0:03:41I have a team on it, but they're struggling.
0:03:41 > 0:03:43Problems at the top?
0:03:44 > 0:03:46Oliver Houghton was questioned as a potential witness
0:03:46 > 0:03:48in an unsolved murder from 20 years ago.
0:03:48 > 0:03:51And you think there might be a connection to his death?
0:03:51 > 0:03:52Honestly? No, I don't.
0:03:52 > 0:03:54I think it's a wild goose chase.
0:03:54 > 0:03:58But I don't have the manpower to follow it up and, well,
0:03:58 > 0:04:00- it's what you guys do, isn't it? - Sure, give it to us.
0:04:00 > 0:04:02But it will go at the bottom of a very big pile.
0:04:02 > 0:04:04I said we would accommodate...
0:04:04 > 0:04:06He doesn't even think there's a connection.
0:04:06 > 0:04:08I could be wrong.
0:04:08 > 0:04:10I'm sorry, what did you just say?
0:04:10 > 0:04:13- We're going to help them out with this one. - This is political, isn't it?
0:04:13 > 0:04:15No, it's called helping out a fellow officer...
0:04:15 > 0:04:16Yes, it's completely political.
0:04:16 > 0:04:18Fine. Then I want a demarcation. Houghton is yours.
0:04:18 > 0:04:21- This unsolved case... - David Straka.
0:04:21 > 0:04:23- The artist?- Yep.
0:04:23 > 0:04:25He's ours.
0:04:25 > 0:04:29No looking over my shoulder, no interfering.
0:04:29 > 0:04:32Suits me. He's all yours.
0:04:32 > 0:04:35But I will need updates.
0:04:56 > 0:04:57OK, here comes the exposition.
0:04:57 > 0:04:59David Straka was a conceptual artist,
0:04:59 > 0:05:01living and working in Hampstead.
0:05:01 > 0:05:02STANDING GROANS
0:05:02 > 0:05:04May 20th, 1994, David Straka was found dead
0:05:04 > 0:05:06on the Vale of Health on Hampstead Heath.
0:05:06 > 0:05:09Straka was gay and he was known to frequent the Heath
0:05:09 > 0:05:11after dark to meet people for sex.
0:05:11 > 0:05:14Now the assumption at the time was that he met the wrong guy.
0:05:14 > 0:05:15Cause of death was drowning.
0:05:15 > 0:05:18His face was pushed here, into this stream.
0:05:18 > 0:05:22There were no leads at the time and, as you know, there's no CCTV
0:05:22 > 0:05:24on the Heath and any number of ways off of it.
0:05:24 > 0:05:26So what's changed? What do we think we know now?
0:05:26 > 0:05:28Well, nothing. We know now what we knew then...
0:05:28 > 0:05:31except Oliver Houghton.
0:05:31 > 0:05:33Isn't that the bloke who was found dead in the sewer?
0:05:33 > 0:05:35- That's a juicy one. - Not our juicy one, I'm afraid.
0:05:35 > 0:05:39The team leading the Houghton investigation aren't making much progress.
0:05:39 > 0:05:41There's no motives, he had no known enemies...
0:05:41 > 0:05:44- Wasn't he a film critic? - There you go. Next!
0:05:44 > 0:05:45What he was, Gerry,
0:05:45 > 0:05:48was a witness in the original David Straka investigation.
0:05:48 > 0:05:49That a fact?
0:05:49 > 0:05:52Yeah, Oliver Houghton worked as an assistant for David Straka.
0:05:52 > 0:05:53Were they romantically involved?
0:05:53 > 0:05:55- Good question. Don't know.- Ah, right.
0:05:55 > 0:05:59So we're looking for a connection between this bloke Straka,
0:05:59 > 0:06:02drowned on the Heath by somebody he picked up there,
0:06:02 > 0:06:06and a film critic who ends up dead in a sewer 20 years later?
0:06:06 > 0:06:09Now with all due respect, Guv'nor, there are three seasoned cops here
0:06:09 > 0:06:12- who'll tell you there's bugger all in this.- Yeah.
0:06:12 > 0:06:14- Two.- Hey?
0:06:14 > 0:06:19Two. This seasoned cop has just spotted something interesting.
0:06:22 > 0:06:27This is pretty much the exact spot where David Straka was killed.
0:06:27 > 0:06:28And I think the method is a clue.
0:06:28 > 0:06:30Go on.
0:06:30 > 0:06:31Straka was drowned.
0:06:31 > 0:06:33He wasn't beaten or strangled,
0:06:33 > 0:06:35which is how a lot of these situations end up when they go badly.
0:06:35 > 0:06:37He was drowned.
0:06:37 > 0:06:40We knew all this when we were drinking tea in a nice warm office.
0:06:40 > 0:06:42- Who's heard of the River Fleet? - I have.
0:06:42 > 0:06:44Put your hand up, don't just call out.
0:06:44 > 0:06:47- It's an underground river.- Yes.
0:06:47 > 0:06:49It was the biggest of London's lost rivers.
0:06:49 > 0:06:52It was a proper waterway, with boats and trade and whatnot.
0:06:52 > 0:06:56It got pretty mucky, though, basically filled up with sewage,
0:06:56 > 0:06:59dead dogs and the occasional victim of violent crime.
0:06:59 > 0:07:01The whole thing got so unpleasant that,
0:07:01 > 0:07:02by the middle of the 19th century,
0:07:02 > 0:07:05it had either been built over gradually or redirected underground.
0:07:05 > 0:07:06But it's still there.
0:07:06 > 0:07:09It's still flowing, but it's under the city now.
0:07:09 > 0:07:11I knew all of that... except for the dead dogs.
0:07:11 > 0:07:13Well, the Fleet has two sources.
0:07:13 > 0:07:17One is over that way, in the grounds of Kenwood House
0:07:17 > 0:07:18and the other one is here.
0:07:18 > 0:07:20Here?
0:07:20 > 0:07:22Here. This is the source.
0:07:22 > 0:07:26The river flows down that way, through Hampstead Ponds
0:07:26 > 0:07:28and then down to Camden, King's Cross, Clerkenwell,
0:07:28 > 0:07:30flows into the Thames underneath Blackfriars Bridge.
0:07:30 > 0:07:32For most of its length, it's a sewer now.
0:07:32 > 0:07:36Would this be the same sewer that Oliver Houghton's body was found in?
0:07:36 > 0:07:38- Yes.- Yeah, but couldn't that just be coincidence?
0:07:38 > 0:07:41Both victims were drowned in the same river.
0:07:41 > 0:07:43And where Houghton was found is not easy to get to.
0:07:43 > 0:07:46Somebody really wanted his body to end up there.
0:07:48 > 0:07:49DOORBELL BUZZES
0:07:54 > 0:07:55DOOR LOCK BUZZES
0:07:59 > 0:08:01So this was David Straka's studio?
0:08:01 > 0:08:05That's right, and it's now the archive.
0:08:05 > 0:08:08I'm putting a book together on his entire body of work.
0:08:08 > 0:08:12I'm not sure it helps that you're dragging up his death again,
0:08:12 > 0:08:15but I suppose this is because of poor Ollie Houghton?
0:08:15 > 0:08:17I was just reading about it.
0:08:17 > 0:08:19Would you like coffee?
0:08:19 > 0:08:20It's only instant.
0:08:20 > 0:08:22No, thanks, no.
0:08:22 > 0:08:26You think that the one death has something to do with the other?
0:08:26 > 0:08:29We're looking at all the possibilities at the moment.
0:08:29 > 0:08:31You wrote a biography of David Straka.
0:08:31 > 0:08:34How did you feel about the official version of his death?
0:08:34 > 0:08:36Was he killed by some bugger, you mean?
0:08:36 > 0:08:40Yes, that more than rang true, I'm afraid.
0:08:40 > 0:08:43Liked a bit of rough, did David. The rougher the better.
0:08:43 > 0:08:45You knew him well when he was alive?
0:08:45 > 0:08:47Oh, very well, yes.
0:08:47 > 0:08:50We dined together every Friday.
0:08:50 > 0:08:52The whole salon.
0:08:52 > 0:08:53The whole what?
0:08:53 > 0:08:56A gathering of the artistically inclined.
0:08:56 > 0:08:58David's inner circle, if you will.
0:08:58 > 0:09:00Do you have a list of names?
0:09:00 > 0:09:05I'm afraid most of them are dead now. Cancer, AIDS...
0:09:05 > 0:09:07A couple of them decamped to warmer climes...
0:09:07 > 0:09:11while David was still alive, you understand. Nothing sinister.
0:09:14 > 0:09:18Just Ruth and Cyril remain and I haven't seen them for years.
0:09:18 > 0:09:19Ruth and Cyril?
0:09:19 > 0:09:22Ruth Shireen and Cyril Watkins.
0:09:22 > 0:09:25Characters, both of them.
0:09:25 > 0:09:29But I suppose we all were back then,
0:09:29 > 0:09:32at least viewed through the prism of the normal.
0:09:32 > 0:09:34Do you have contact details for either of them?
0:09:34 > 0:09:38I'm afraid not. Lost to the mists of time.
0:09:38 > 0:09:39What's this?
0:09:44 > 0:09:45Oh...
0:09:47 > 0:09:49..that's from an unfinished project.
0:09:49 > 0:09:50And what was it?
0:09:50 > 0:09:52Oh, nothing, a minor piece at best.
0:09:54 > 0:09:56It's just a still from a moving image piece.
0:09:56 > 0:10:01Found footage, retrieved, reassembled and re-contextualised.
0:10:01 > 0:10:02Minor, as I say.
0:10:02 > 0:10:05Now, if you're interested in some of David's...
0:10:05 > 0:10:06I'm interested in this.
0:10:08 > 0:10:11It's just some cheap home-made film clips David had happened upon.
0:10:11 > 0:10:13And where did he happen upon them?
0:10:13 > 0:10:16- I've no idea.- And he was working on this when he died?
0:10:16 > 0:10:18That's right, yes.
0:10:18 > 0:10:20I'm afraid I fail to see why you should...
0:10:20 > 0:10:23Does it tie into the Fleet River at all?
0:10:23 > 0:10:27The underground river, you mean? I don't think...
0:10:27 > 0:10:30Well, I wouldn't have thought... He most certainly never mentioned it.
0:10:30 > 0:10:32And what happened to these clips?
0:10:32 > 0:10:34Well, nothing.
0:10:34 > 0:10:36The plan was to re-assemble them
0:10:36 > 0:10:39and build some sort of performance piece around them.
0:10:39 > 0:10:42But he never managed to track down all the clips.
0:10:42 > 0:10:44What about the ones he did find?
0:10:44 > 0:10:46Well, I'm sure they're around somewhere.
0:10:46 > 0:10:48There are much more interesting pieces...
0:10:48 > 0:10:50We'd like to take a look at them.
0:10:52 > 0:10:59SINISTER MUSIC
0:11:22 > 0:11:24Danny, when you said arty '70s home movie,
0:11:24 > 0:11:28- this isn't exactly what I was hoping to see.- Yeah. What was that?
0:11:28 > 0:11:30There's a lot of words to describe what that was,
0:11:30 > 0:11:32but "useful" and "evidence" aren't among them.
0:11:32 > 0:11:35So why was MacFarlane so keen to dismiss them?
0:11:35 > 0:11:36I think there's more to it.
0:11:36 > 0:11:39- Do you want to run with these clips for a bit?- Yeah.
0:11:39 > 0:11:42OK. Gerry, you and I are going to see Emily Fraser.
0:11:42 > 0:11:44Who's Emily Fraser?
0:11:44 > 0:11:46She was another one of Straka's assistants.
0:11:46 > 0:11:48She worked with Oliver Houghton.
0:11:48 > 0:11:52How many assistants does a conceptual artist need?
0:11:52 > 0:11:54- Two, apparently.- What about me?
0:11:54 > 0:11:57You're on secondment to Danny Mulder's spooky woo-woo department.
0:11:57 > 0:12:00- What? - STANDING IMITATES GHOST
0:12:17 > 0:12:19Do you like art?
0:12:19 > 0:12:21Is that an actual question?
0:12:21 > 0:12:24It's like asking someone if they read books.
0:12:24 > 0:12:28I don't know much about art but I like it, yeah. Of course I like it.
0:12:28 > 0:12:30Nah, it's not for me.
0:12:31 > 0:12:34I mean, you explain to me the difference between that
0:12:34 > 0:12:35and what a child would paint.
0:12:35 > 0:12:37Are you waiting for me?
0:12:37 > 0:12:38- Emily Fraser?- Yes.
0:12:38 > 0:12:42Detective Chief Inspector Sasha Miller. This is Gerry Standing.
0:12:42 > 0:12:43Has something happened?
0:12:43 > 0:12:47No, no. Well, yes, 20 years ago. We're here about David Straka.
0:12:47 > 0:12:50Oh! Sorry, they just told me the police were here.
0:12:50 > 0:12:53My dad's ill, he lives with me, and I thought...
0:12:53 > 0:12:55No, no, no, no, nothing like that.
0:12:55 > 0:12:57Is there somewhere we can talk?
0:12:57 > 0:12:59Yes, yes. I have an office upstairs.
0:13:00 > 0:13:03That Francis Bacon you were looking at,
0:13:03 > 0:13:06it's considered a landmark in British post-war art.
0:13:06 > 0:13:07Oh, right.
0:13:07 > 0:13:08Doesn't mean you'd want it hanging
0:13:08 > 0:13:10on your living room wall, though, huh?
0:13:10 > 0:13:12I don't get it, I'm afraid.
0:13:12 > 0:13:15Well, I could give you a two-hour lecture on Bacon's contribution
0:13:15 > 0:13:17to British surrealism, post-Paul Nash and Graham Sutherland
0:13:17 > 0:13:21and the influence of the works of Aeschylus and Picasso's Biomorphs
0:13:21 > 0:13:23on those three paintings...
0:13:23 > 0:13:27or you could just treat art the same as books or film or music.
0:13:27 > 0:13:30You like what you like and bollocks to anyone who says you're wrong.
0:13:35 > 0:13:38- Come in. - You worked with David Straka?
0:13:38 > 0:13:40Yeah, as an assistant for a few months after I left university.
0:13:40 > 0:13:42Really? And what sort of thing did that involve?
0:13:42 > 0:13:45Well, whatever needed doing, really.
0:13:45 > 0:13:49Arranging models for him to paint or photograph, finding locations,
0:13:49 > 0:13:51dealing with galleries and exhibitions.
0:13:51 > 0:13:53Sometimes it would just be tidying up the studio
0:13:53 > 0:13:55or collecting his dry-cleaning.
0:13:55 > 0:13:58- The project he was working on when he died...- The film thing?
0:13:58 > 0:14:00What, you didn't approve?
0:14:00 > 0:14:03Well, it wasn't for me to approve, really. I just...
0:14:03 > 0:14:07I went to work with David because I thought his work was amazing.
0:14:07 > 0:14:10But that last project, it just didn't sit right for me.
0:14:10 > 0:14:14It was all to do with spiritualism and I just found it all
0:14:14 > 0:14:16a bit adolescent, if I'm honest.
0:14:16 > 0:14:19- What about his private life? - Oh, we never, um...
0:14:19 > 0:14:21No, I mean did you ever get any insight
0:14:21 > 0:14:23into what his life was like outside the studio?
0:14:23 > 0:14:26Well, he picked up men on Hampstead Heath, didn't he?
0:14:26 > 0:14:27That's how he died.
0:14:27 > 0:14:30It wasn't exactly a rare phenomenon in that world.
0:14:30 > 0:14:32Were he and Oliver Houghton ever lovers?
0:14:32 > 0:14:35Ollie? God, no. No, Ollie was definitely straight.
0:14:35 > 0:14:37He's a good person to talk to, though,
0:14:37 > 0:14:40he knew more about David's private life than I did.
0:14:40 > 0:14:43I probably don't have an up-to-date number for him now,
0:14:43 > 0:14:44it's been a long time.
0:14:44 > 0:14:46- Um...- What?
0:14:46 > 0:14:49You don't know about Oliver Houghton, do you?
0:14:49 > 0:14:51He was murdered two days ago.
0:14:51 > 0:14:53It was in the papers, we assumed you knew.
0:14:53 > 0:14:56No, I didn't.
0:14:56 > 0:14:58But you said you were here about David Straka.
0:14:58 > 0:15:02We are. It's a tangential investigation.
0:15:02 > 0:15:04Because Oliver Houghton was a witness in the David Straka case,
0:15:04 > 0:15:07we've been asked to see if there's a connection to his death.
0:15:07 > 0:15:09But David was killed by some guy on the Heath.
0:15:09 > 0:15:12How can that connect to Ollie being killed two decades later?
0:15:12 > 0:15:14We don't really know if it does.
0:15:14 > 0:15:16I think we've got everything we need.
0:15:16 > 0:15:19Well, if you do need more information about David,
0:15:19 > 0:15:21you should probably talk to Ruth Shireen.
0:15:21 > 0:15:24Yes, I think Sam MacFarlane mentioned her.
0:15:24 > 0:15:26You've spoken to Sam MacFarlane?
0:15:26 > 0:15:28Well, he's Straka's biographer.
0:15:28 > 0:15:30Biographer is a bit strong.
0:15:30 > 0:15:33He was one of those obsessive fans who hangs around long enough,
0:15:33 > 0:15:35they become part of the furniture.
0:15:35 > 0:15:38Ruth's more of an artist in her own right,
0:15:38 > 0:15:41very much influenced by David's work.
0:15:41 > 0:15:43She's more of an insider.
0:15:43 > 0:15:46If you do go and see her, have a look at her work.
0:15:46 > 0:15:48- It might be more your thing. - Hmm.
0:15:48 > 0:15:49Thanks for your time, Miss Fraser.
0:15:59 > 0:16:02In 1865, Thomas Hardy, the novelist,
0:16:02 > 0:16:04was working as a trainee architect.
0:16:04 > 0:16:07He was overseeing the removal of bodies from part of this churchyard
0:16:07 > 0:16:10because they were about to build the Midland Railway line through here.
0:16:10 > 0:16:12And rather than smashing up the headstones,
0:16:12 > 0:16:14Hardy stacked them around this tree.
0:16:16 > 0:16:18How do you know all this stuff?
0:16:18 > 0:16:20They write it in books.
0:16:20 > 0:16:22Do you know what's more interesting?
0:16:22 > 0:16:24I can't imagine(!)
0:16:26 > 0:16:29This churchyard used to be on the bank of a river.
0:16:30 > 0:16:31The Fleet?
0:16:34 > 0:16:35That is interesting.
0:16:46 > 0:16:47Go on, then.
0:16:47 > 0:16:50Bagnigge House was actually the home of Nell Gwynne.
0:16:50 > 0:16:52Except it wasn't here, it was up the road.
0:16:52 > 0:16:56But they moved that plaque there, to the site of what were the Bagnigge Wells.
0:16:56 > 0:16:58There was a spa here in the late 1700s.
0:16:58 > 0:17:01I say spa, it was really more of a knocking shop.
0:17:01 > 0:17:03But it's the wells that are interesting.
0:17:03 > 0:17:05Very(!)
0:17:05 > 0:17:08So, all this water came from the Fleet?
0:17:08 > 0:17:12Yes. Here and St Chad's Well, the Clerk's Well or Clerkenwell,
0:17:12 > 0:17:15- were all situated on the banks of the Fleet.- All right, all right.
0:17:15 > 0:17:18- If I admit there's a pattern to these clips, can we go home?- No.
0:17:21 > 0:17:24- SHIREEN:- Yeah, that whole scene got very weird towards the end.
0:17:24 > 0:17:25I mean, it was kind of weird already.
0:17:25 > 0:17:27Very much a cult of personality,
0:17:27 > 0:17:30David Straka being the great messiah of contemporary art.
0:17:30 > 0:17:32- You didn't rate him? - Oh, no, he was brilliant.
0:17:32 > 0:17:34That's one of the reasons I was there.
0:17:34 > 0:17:37He was a guest lecturer in my last year at Goldsmiths. Amazing man.
0:17:37 > 0:17:39If the work had been allowed to stand up for itself...
0:17:39 > 0:17:43But there was all the media interest and the Cool Britannia bullshit.
0:17:43 > 0:17:46It distracted him, I think, probably went to his head.
0:17:46 > 0:17:49And it meant there was this coterie of hangers on all the time.
0:17:49 > 0:17:51What, like Sam MacFarlane?
0:17:51 > 0:17:53Sam, yeah, yeah.
0:17:53 > 0:17:56Oh, God... That attention is just too distracting.
0:17:56 > 0:17:58Hmmm. That's nice.
0:17:58 > 0:18:02Thank you, it's part of a series I'm working on based
0:18:02 > 0:18:05on the Protestant work ethic and how it's been corrupted by the media
0:18:05 > 0:18:09and systemically taken advantage of by the politico-financial cabals.
0:18:09 > 0:18:11Yeah, I like the fruity bits.
0:18:11 > 0:18:13Speaking of distracted.
0:18:13 > 0:18:19Yeah, David... I think he started to believe in all the hype
0:18:19 > 0:18:21and it affected the quality of his work towards the end.
0:18:21 > 0:18:22You mean the film clips piece?
0:18:22 > 0:18:24Oh, yeah, that project was a load of rubbish.
0:18:24 > 0:18:26Those clips David found were just bad.
0:18:26 > 0:18:28Pretentious home-made nonsense.
0:18:28 > 0:18:30But David believed he could see something in them
0:18:30 > 0:18:33and kind of decided these clips held some sort of occult significance,
0:18:33 > 0:18:35that they were a magical key or something.
0:18:35 > 0:18:37If it all turned so bad, why did you hang around?
0:18:37 > 0:18:39Well, because I was shagging Ollie Houghton.
0:18:39 > 0:18:41That didn't last long, though.
0:18:41 > 0:18:44He got involved in all the nonsense as well
0:18:44 > 0:18:48and he started reading all this stuff about Aleister Crowley
0:18:48 > 0:18:51and the Hermetic Order of the Golden Dawn.
0:18:51 > 0:18:54And he and Straka started going to these get-togethers
0:18:54 > 0:18:57held by crackpots in rooms above pubs.
0:18:57 > 0:19:00Ollie even got me to try some sex magic with him.
0:19:00 > 0:19:03Turns out that's messy and not to be recommended.
0:19:03 > 0:19:05Anyway, this was all because of Cyril Watkins, of course.
0:19:05 > 0:19:07That name's come up before.
0:19:07 > 0:19:10Yeah, really nasty piece of work. Sam introduced him into the group.
0:19:10 > 0:19:12Sam MacFarlane?
0:19:12 > 0:19:15Sam was up to his eyes in all that rubbish.
0:19:15 > 0:19:19Him and Watkins belonged to some sort of occult-pagan
0:19:19 > 0:19:20secret society thing.
0:19:20 > 0:19:23All rolled-up trouser legs and dodgy handshakes.
0:19:23 > 0:19:26I mean, Cyril was properly, properly dark,
0:19:26 > 0:19:28which made him exactly David's type.
0:19:28 > 0:19:30What, they were having a relationship?
0:19:30 > 0:19:32Watkins and Straka? Oh, yeah, yeah, yeah.
0:19:32 > 0:19:35Really, really intense.
0:19:35 > 0:19:38Do you think Watkins was capable of murder?
0:19:38 > 0:19:40That's a big question. I wouldn't want to say that about anyone.
0:19:40 > 0:19:43I mean, I was out of that group before David died,
0:19:43 > 0:19:45so I don't really know what happened.
0:19:45 > 0:19:46But when I heard about Ollie,
0:19:46 > 0:19:49- my mind immediately did leap back there.- Why?
0:19:49 > 0:19:53Because of that river, the Fleet. They never shut up about it.
0:19:53 > 0:19:58"The mystical Fleet, the artery of old London."
0:19:58 > 0:20:00And they did both...
0:20:00 > 0:20:03Well, they did both...die in it.
0:20:08 > 0:20:10This was the course of the Fleet.
0:20:10 > 0:20:12It wound down through Pakenham Street, Phoenix Place
0:20:12 > 0:20:14and through here.
0:20:14 > 0:20:17So this street rising up, is that the riverbank?
0:20:17 > 0:20:21Exactly. Herbal Hill, over there, got its name because...
0:20:21 > 0:20:23Because they grew herbs there?
0:20:23 > 0:20:25Yes, there's Vine Street, Saffron Hill.
0:20:25 > 0:20:27But we're here for this.
0:20:28 > 0:20:32Please don't tell me you recognised this particular grate.
0:20:32 > 0:20:35Well, of course not. That would be ridiculous.
0:20:35 > 0:20:37But if this film is about the Fleet,
0:20:37 > 0:20:39then that grate is pretty well-known.
0:20:44 > 0:20:45You hear that?
0:20:45 > 0:20:48RUSHING WATER
0:20:48 > 0:20:49Is that it?
0:20:49 > 0:20:51It's the Fleet.
0:20:51 > 0:20:54The city has grown up over it, but it's still down there.
0:20:55 > 0:20:58So you've got the Vale of Health, then King's Cross,
0:20:58 > 0:21:02Clerkenwell and on down to Blackfriars.
0:21:02 > 0:21:05Now where we're standing in fact, Holborn, that literally means
0:21:05 > 0:21:08Old Bourne or Old Stream because Sir Christopher Wren...
0:21:08 > 0:21:09Wait a minute, wait a minute.
0:21:09 > 0:21:14So if each of these clips references part of the Fleet's course...
0:21:14 > 0:21:16what if we reordered them?
0:21:16 > 0:21:20- Into the order that the river flows, you mean?- Yeah.
0:21:20 > 0:21:23Well, then that would change the narrative and probably make...
0:21:23 > 0:21:25- Oh.- What?
0:21:27 > 0:21:29I think I know what this is.
0:21:29 > 0:21:31DOORBELL RINGS
0:21:34 > 0:21:36DOORBELL RINGS
0:21:39 > 0:21:41DOOR OPENS
0:21:41 > 0:21:44Oh, thanks.
0:21:45 > 0:21:47Eyes front, Gerry.
0:21:54 > 0:21:56Mr MacFarlane?
0:22:00 > 0:22:02Mr MacFarlane?
0:22:17 > 0:22:18He's in a coma. Blunt force trauma.
0:22:18 > 0:22:20What did he give you that was so important?
0:22:20 > 0:22:22All he gave us were those film clips.
0:22:22 > 0:22:24Dan and Steve said he didn't seem keen to hand them over.
0:22:24 > 0:22:25And is there anything on them?
0:22:25 > 0:22:28- Boss, the film clips are the key. - Apparently so.
0:22:28 > 0:22:31If you put them in the right order, here's the Fleet River as was.
0:22:31 > 0:22:33David Straka was killed up here
0:22:33 > 0:22:35and Oliver Houghton's body was found here.
0:22:35 > 0:22:37Now this much we knew.
0:22:37 > 0:22:41But then we come to the film clips that David Straka was collecting.
0:22:41 > 0:22:44- Now Steve and I have been out all day.- Which was fun(!)
0:22:44 > 0:22:47And we think we've identified exactly where it was filmed.
0:22:47 > 0:22:49There were shots on each clip that allowed us
0:22:49 > 0:22:51to formally identify it all.
0:22:51 > 0:22:54For example, this is the Hardy Tree...
0:22:54 > 0:22:56- The what?- Oh, please, don't.
0:22:56 > 0:22:59Placing the clips by location allows us to put them in order.
0:22:59 > 0:23:01Now viewed individually, they're nonsense.
0:23:01 > 0:23:06But if we sequence them with the flow of the river,
0:23:06 > 0:23:08then a narrative starts to emerge.
0:23:11 > 0:23:13As you see, it's heavy with symbolism.
0:23:13 > 0:23:16Lots of flowing water, which ties it in with the Fleet River.
0:23:16 > 0:23:17So it's all about flow.
0:23:17 > 0:23:19- Is that a knife going in there? - Yes, it is.
0:23:19 > 0:23:22We think it's some kind of sacrificial dagger.
0:23:22 > 0:23:23So the knife goes in at the beginning.
0:23:23 > 0:23:25And then in the last clip, the knife goes in again,
0:23:25 > 0:23:28- but this time it's... STRICKLAND:- Got blood on it.
0:23:28 > 0:23:31In the beginning, the blade is cleansed by the flowing water of the river.
0:23:31 > 0:23:33You saw something burning there, that was sage,
0:23:33 > 0:23:36which lots of cultures use as part of a cleansing ritual.
0:23:36 > 0:23:37Hold on. What are you saying?
0:23:37 > 0:23:40I'm saying that we could be looking at footage, albeit incomplete,
0:23:40 > 0:23:42of a human sacrifice.
0:23:42 > 0:23:43- In the 1970s?- Yes.
0:23:43 > 0:23:45- In London?- Yes.
0:23:45 > 0:23:46- Bollocks.- Hold on a second, Ned.
0:23:46 > 0:23:49You think Oliver Houghton was killed by, what, wizards?
0:23:49 > 0:23:50This isn't about Oliver Houghton.
0:23:50 > 0:23:53You asked us to look into David Straka's death
0:23:53 > 0:23:54and this is what we've found.
0:23:54 > 0:23:56- Houghton thought it was a sacrifice, too.- Excuse me?
0:23:56 > 0:23:58Oliver Houghton. He wrote about these film clips.
0:23:58 > 0:24:01Houghton's not your case. How have you got access to his writing?
0:24:01 > 0:24:03Because he published it on his blog.
0:24:05 > 0:24:09Don't tell me your guys didn't read his blog.
0:24:09 > 0:24:10What did it say, Steve?
0:24:10 > 0:24:14Well, Sasha, we know Houghton was obsessed with these clips, right.
0:24:14 > 0:24:16I mean, there's a bit of a buzz about them online,
0:24:16 > 0:24:19whether they're a hoax, where the missing bits were, stuff like that.
0:24:19 > 0:24:22But Houghton was considered to be a real expert
0:24:22 > 0:24:25and he believed the complete film shows a real human sacrifice.
0:24:25 > 0:24:27- Had he seen the complete film?- No.
0:24:27 > 0:24:30From what we've been able to gather on the online forums, no-one has.
0:24:30 > 0:24:33- So we don't actually know what it shows?- We don't.
0:24:33 > 0:24:35So it might not be a snuff movie,
0:24:35 > 0:24:38it might just be some avant-garde porno.
0:24:38 > 0:24:39What's that?
0:24:39 > 0:24:42- MCANDREW:- That's from the Clerkenwell clip.- It's an occult symbol.
0:24:42 > 0:24:44A sigil. We don't know what it means yet.
0:24:44 > 0:24:46- Right.- Why, what is it?
0:24:48 > 0:24:50Ned?
0:24:50 > 0:24:54Well, it's in the Houghton postmortem report.
0:24:54 > 0:24:57Oliver Houghton had that symbol branded onto his arm.
0:24:57 > 0:25:00Branded? He really was taking these clips seriously.
0:25:00 > 0:25:02- STRICKLAND:- Did Straka have one of those?
0:25:02 > 0:25:04I never saw any mention of it.
0:25:04 > 0:25:05Here...
0:25:13 > 0:25:14Yes, I remember it.
0:25:14 > 0:25:17You didn't mention anything of this nature before.
0:25:17 > 0:25:19No. Please sit down.
0:25:19 > 0:25:20Thank you.
0:25:20 > 0:25:23No, well, I'm sure I mentioned that David's last project
0:25:23 > 0:25:24had shades of spiritualism.
0:25:24 > 0:25:27I guess I found it all a bit embarrassing, really.
0:25:27 > 0:25:30- How's that?- Well, because it's silly, isn't it, this occult stuff?
0:25:30 > 0:25:33- But David Straka believed in it. - I suppose so, yes.
0:25:33 > 0:25:35- And Oliver Houghton?- Yes.
0:25:35 > 0:25:38But you can't... You don't think this had anything to do with...
0:25:38 > 0:25:41We don't know, Emily. But we're finding that some people
0:25:41 > 0:25:43seem to take these film clips very seriously.
0:25:43 > 0:25:45Sam MacFarlane's in a coma.
0:25:45 > 0:25:48- He was attacked after he gave some of these clips to us.- Sam?
0:25:48 > 0:25:51And Oliver Houghton was heavily involved in online forums
0:25:51 > 0:25:52that discuss them.
0:25:52 > 0:25:55Do you have any idea what this symbol means?
0:25:55 > 0:25:59Yeah, it's the symbol for some sort of occult club.
0:25:59 > 0:26:01It dates back to the '60s or something.
0:26:01 > 0:26:04Did you know that Oliver Houghton had it branded on his arm?
0:26:06 > 0:26:07Oh, oh, Ollie...
0:26:07 > 0:26:09You don't seem surprised.
0:26:09 > 0:26:13Well, Ollie was always searching for something to cling to.
0:26:13 > 0:26:17Branding's a bit extreme. Straka didn't have one, did he?
0:26:18 > 0:26:21Cyril Watkins had the brand.
0:26:21 > 0:26:22I only met him a few times.
0:26:22 > 0:26:25I really did try to keep my distance from all this stuff.
0:26:25 > 0:26:28But he had the brand.
0:26:28 > 0:26:30I asked him about it, because, well, who wouldn't?
0:26:30 > 0:26:33And he said the pain was a vital part of the experience.
0:26:33 > 0:26:35He sounds like fun(!)
0:26:35 > 0:26:36He really wasn't.
0:26:36 > 0:26:39He was a dreadful influence on David and Ollie.
0:26:40 > 0:26:42Is this him?
0:26:42 > 0:26:45Yeah, that's him. He'd be older now.
0:26:45 > 0:26:48- When was this taken? - We don't know. We got it online.
0:26:48 > 0:26:50It's the only image we could find of Cyril Watkins.
0:26:50 > 0:26:52Was he in a relationship with David Straka?
0:26:52 > 0:26:54Well, depends on your definition of a relationship.
0:26:54 > 0:26:56They were definitely...
0:26:56 > 0:26:57- Dad?- Haircut.
0:26:57 > 0:27:00Where are you going, Dad? You had a haircut Monday.
0:27:00 > 0:27:02Sorry about this.
0:27:03 > 0:27:05Dad.
0:27:05 > 0:27:07Door's jammed.
0:27:07 > 0:27:09No, it's locked. Dad, you don't need to go anywhere.
0:27:11 > 0:27:13Your hair looks nice. Come on.
0:27:18 > 0:27:19Who's this?
0:27:19 > 0:27:21Just some friends who've popped round.
0:27:21 > 0:27:25- Steve. Hello.- Hi, I'm Sasha.
0:27:25 > 0:27:26I know you.
0:27:26 > 0:27:28I don't think you do, Dad.
0:27:28 > 0:27:30I'd recognise Alice anywhere.
0:27:31 > 0:27:33It's lovely Alice.
0:27:33 > 0:27:36No, it's not Mum.
0:27:36 > 0:27:38Mum's not with us any more, Dad.
0:27:39 > 0:27:41Remember?
0:27:42 > 0:27:44Listen, you take your coat off.
0:27:44 > 0:27:47I'll bring you up some tea and biscuits in a bit, yeah?
0:27:54 > 0:27:56Sorry.
0:27:56 > 0:27:59- Um...- Oh, Cyril Watkins. - Ah, yeah.
0:27:59 > 0:28:02Yes, he and David were in a relationship.
0:28:02 > 0:28:04The exact nature of it is anyone's guess.
0:28:04 > 0:28:08But all this occult stuff came from Cyril Watkins and Sam MacFarlane.
0:28:10 > 0:28:11Poor Sam.
0:28:13 > 0:28:16You don't think that Cyril Watkins could've...?
0:28:16 > 0:28:20Well, we're certainly pretty keen to talk to him.
0:28:25 > 0:28:27Good evening, ladies and gentlemen.
0:28:27 > 0:28:29I can tell by my watch that it is that time again,
0:28:29 > 0:28:31so let's get started, shall we?
0:28:31 > 0:28:35A bit of house-keeping before we start.
0:28:35 > 0:28:38You'll notice there are some flyers on all of the tables
0:28:38 > 0:28:42and Patrick from the North London Chaos Society has asked me
0:28:42 > 0:28:46to point out that there is a misprint on theirs.
0:28:46 > 0:28:51When it says every Tuesday, it's actually every Thursday.
0:28:51 > 0:28:57Also, David from the Lost River Explorer's Society
0:28:57 > 0:28:58sends his apologies.
0:28:58 > 0:29:02He was due to give a short presentation on what the LRES...
0:29:02 > 0:29:04I'm not seeing him, are you?
0:29:04 > 0:29:07..but he unfortunately is double-booked tonight.
0:29:07 > 0:29:11But on the plus side, that does give us more time
0:29:11 > 0:29:14for our main speaker tonight
0:29:14 > 0:29:17and I can see she is already raring to go.
0:29:19 > 0:29:21That's the woman from Straka's studio.
0:29:23 > 0:29:25- You sure?- Absolutely.
0:29:31 > 0:29:33- Excuse me.- Sorry, excuse us.
0:29:37 > 0:29:39Excuse me! Oi!
0:29:39 > 0:29:41Right, get the car, cut her off.
0:30:14 > 0:30:17WOMAN GROANS IN PAIN
0:30:21 > 0:30:23Cyril Watkins?
0:30:23 > 0:30:25It's Cecily now.
0:30:25 > 0:30:28You were David Straka's lover at the time he died.
0:30:28 > 0:30:32You got him and his circle into some fairly weird occult stuff,
0:30:32 > 0:30:35tied into a series of film clips and the Fleet River.
0:30:36 > 0:30:40No-one in Straka's circle seems to have had a very high opinion of you.
0:30:40 > 0:30:43And then there's Sam MacFarlane, who was also assisting us
0:30:43 > 0:30:47with our enquiries and had provided us with copies of those clips.
0:30:47 > 0:30:49He's in a coma now.
0:30:49 > 0:30:52If he doesn't wake up, you're looking at a murder charge.
0:30:52 > 0:30:56All you can do now is hope to make things a little bit better
0:30:56 > 0:30:58for yourself by talking to us.
0:30:58 > 0:31:00You can start by explaining that.
0:31:02 > 0:31:05- It's just a burn.- No, it's not.
0:31:05 > 0:31:07It's this.
0:31:07 > 0:31:09It's a sigil.
0:31:10 > 0:31:13You have no idea what you're dealing with, do you?
0:31:13 > 0:31:16What we're dealing with is murder, whatever the justification.
0:31:16 > 0:31:18Whether it's cos your dog told you to do it, God told you to do it
0:31:18 > 0:31:21or you did it because you think you're Gandalf,
0:31:21 > 0:31:23it all boils down to the same thing.
0:31:23 > 0:31:25I didn't kill anyone.
0:31:25 > 0:31:28Then you're going to need to start cooperating with us
0:31:28 > 0:31:31because right now you're the prime suspect.
0:31:31 > 0:31:33If we carry on down this road,
0:31:33 > 0:31:37there's very little of your personal history or winning personality
0:31:37 > 0:31:40that's going to convince any jury that we were wrong.
0:31:47 > 0:31:49The film shows a woman dying.
0:31:49 > 0:31:51- Have you seen it? - Not that part, no.
0:31:51 > 0:31:53- No-one has.- Then how do you...
0:31:53 > 0:31:56Because I am sufficiently well-versed in occult lore
0:31:56 > 0:31:58and chaos magic to be able to read the signs.
0:31:58 > 0:32:00- Who's the victim?- I don't know.
0:32:00 > 0:32:02All right.
0:32:02 > 0:32:05How did David Straka come into possession of these clips?
0:32:05 > 0:32:07- He bought them.- From who?
0:32:09 > 0:32:13In the late '60s, early '70s, there was an occult group.
0:32:13 > 0:32:16They called themselves the Order of the Nikwuz.
0:32:16 > 0:32:20The Nikwuz were Saxon water spirits and the Order concerned itself
0:32:20 > 0:32:23with the mystical properties of the lost rivers of London.
0:32:23 > 0:32:26They used the sigil that you've seen.
0:32:26 > 0:32:29And your group nicked it off of them?
0:32:29 > 0:32:31We were inspired by them.
0:32:31 > 0:32:34Oh, like a tribute band?
0:32:34 > 0:32:38One of the Order made that film. Somehow, fragments of it surfaced.
0:32:38 > 0:32:41David Straka bought all the ones we could find.
0:32:41 > 0:32:42But they came from different people
0:32:42 > 0:32:44and the provenance could never be traced.
0:32:44 > 0:32:48So you're claiming that this film was some kind of ritual?
0:32:49 > 0:32:51What kind of ritual?
0:32:51 > 0:32:53Human sacrifice?
0:32:53 > 0:32:56We don't do human sacrifices.
0:32:56 > 0:32:59Chaos magic is all about accessing the meta-programming
0:32:59 > 0:33:01of the subconscious mind.
0:33:01 > 0:33:04Physical rituals trigger changes in reality,
0:33:04 > 0:33:07or the perception of reality, as experienced by the magician.
0:33:07 > 0:33:09Ah, that's cleared that up(!)
0:33:09 > 0:33:12- We don't hurt people.- No?
0:33:12 > 0:33:16Well, we've got two dead bodies and a man in a coma that says otherwise.
0:33:18 > 0:33:21The ritual in the film was a blood-letting.
0:33:21 > 0:33:24A woman's blood was offered up to the spirit of the Fleet River.
0:33:24 > 0:33:27- For what purpose? - That I don't know.
0:33:27 > 0:33:29But I do know the effect it had.
0:33:29 > 0:33:30Which was?
0:33:30 > 0:33:32She died.
0:33:32 > 0:33:33The woman.
0:33:33 > 0:33:34It was an accident.
0:33:34 > 0:33:38Probably she or the person making the film nicked an artery by mistake.
0:33:38 > 0:33:40Too much blood flowed into the river.
0:33:40 > 0:33:42Her life was given up to it
0:33:42 > 0:33:44and the spirit of the river was awoken.
0:33:44 > 0:33:45I'm sorry?
0:33:45 > 0:33:48The Fleet is an ancient part of London.
0:33:48 > 0:33:49It predates the city itself.
0:33:49 > 0:33:52It's an artery, flowing into Mother Thames.
0:33:52 > 0:33:56It's a river. It's water flowing downhill.
0:33:56 > 0:33:58It's awake now.
0:33:58 > 0:34:02The spirit of the river was woken by blood, and blood is what it craves.
0:34:02 > 0:34:07Why do you think they sent the river underground? It attracted violence.
0:34:07 > 0:34:10Its water was choked with dead animals, dead people,
0:34:10 > 0:34:13so they covered it over and it went to sleep.
0:34:13 > 0:34:15But then this happened.
0:34:15 > 0:34:19Look at the crime statistics, look at the rise in violence
0:34:19 > 0:34:22and murder along the course of the Fleet in the years
0:34:22 > 0:34:24since this woman gave her life to it.
0:34:24 > 0:34:27Cecily, nothing you're telling me here is making me any less certain
0:34:27 > 0:34:30that you were involved in these murders.
0:34:30 > 0:34:34There's another clip out there. It shows the victim of the sacrifice.
0:34:34 > 0:34:35Have you seen it?
0:34:35 > 0:34:37- No.- Oh, for God's sake.
0:34:37 > 0:34:39But David Straka saw it on the day he died.
0:34:39 > 0:34:41It shows a woman on a bridge.
0:34:41 > 0:34:44- What bridge?- I don't know.
0:34:44 > 0:34:46Look, I'm getting this from a note he left me.
0:34:46 > 0:34:50It said he'd found a new clip and it showed a woman on a bridge.
0:34:50 > 0:34:53But by the time I got the note, he was already dead.
0:34:53 > 0:34:55So what happened to this mysterious clip?
0:34:55 > 0:34:57Well, it wasn't anywhere in the house.
0:34:57 > 0:35:00When I went to the studio, where all the other clips were kept,
0:35:00 > 0:35:02it wasn't there, either.
0:35:02 > 0:35:05So the only evidence that we've got that there is another clip
0:35:05 > 0:35:07or that David Straka saw it...
0:35:07 > 0:35:08Oliver Houghton saw it, too.
0:35:08 > 0:35:11He told me afterwards that he watched it with David that day.
0:35:11 > 0:35:14So you're suggesting that Oliver Houghton and David Straka
0:35:14 > 0:35:17were killed because they saw the woman in this clip?
0:35:17 > 0:35:19If they could have identified the woman, it would have led them
0:35:19 > 0:35:21to whoever it was that made the clips.
0:35:21 > 0:35:25But why did whoever it was wait 20 years before murdering Houghton?
0:35:25 > 0:35:26I don't know.
0:35:26 > 0:35:29It's a fun theory, Cecily, but it's all a little difficult to prove
0:35:29 > 0:35:32if the only people who can support it are dead.
0:35:32 > 0:35:33Emily's not dead.
0:35:33 > 0:35:35Emily Fraser?
0:35:35 > 0:35:36She was in the studio that day.
0:35:38 > 0:35:42She never liked me. She wouldn't talk to me at all after David died.
0:35:42 > 0:35:47But if David screened that clip in his studio for Ollie,
0:35:47 > 0:35:49Emily saw it, too.
0:35:53 > 0:35:55I didn't see it.
0:35:55 > 0:35:56Well, do you remember David Straka
0:35:56 > 0:35:59- screening this clip for Oliver Houghton?- No.
0:35:59 > 0:36:02- Did you get this from Cyril Watkins? - It's Cecily now.
0:36:02 > 0:36:06Is it? Well, he... She is mistaken.
0:36:06 > 0:36:09She seems to think that David Straka and Oliver Houghton were killed
0:36:09 > 0:36:13- because they saw the victim, the face of the victim, in this clip.- Victim?
0:36:13 > 0:36:15It's possible the film shows the death of a woman,
0:36:15 > 0:36:17an occult ritual that went badly wrong.
0:36:17 > 0:36:19- And you believe this? - We have to look into it.
0:36:19 > 0:36:21It's nonsense. All this stuff was always nonsense.
0:36:21 > 0:36:24I didn't see a clip and I don't remember him screening one.
0:36:24 > 0:36:26I understand that this must seem a little far-fetched,
0:36:26 > 0:36:29but if you did see this clip but you're scared because you...
0:36:29 > 0:36:31I'm not scared, I'm late for a lecture.
0:36:31 > 0:36:33Sorry, I've got to go.
0:36:33 > 0:36:35Look, you've got Cyril Watkins. Cecily, whatever.
0:36:35 > 0:36:38That's who killed David Straka. Probably Oliver Houghton, too.
0:36:38 > 0:36:40We've no evidence to support that theory.
0:36:40 > 0:36:43That's not my fault. Sorry, I've got to go.
0:36:44 > 0:36:47That was a bit out of character, don't you think?
0:36:47 > 0:36:50Maybe she just doesn't like being late.
0:36:50 > 0:36:52She's not late...
0:36:52 > 0:36:53she's an hour early.
0:36:54 > 0:36:57- You are joking.- Houghton was a writer, he must have kept notebooks.
0:36:57 > 0:36:59Tonnes of them. Shelves and shelves, literally.
0:36:59 > 0:37:01So somewhere in there must be something.
0:37:01 > 0:37:03Houghton is not your case, Sasha.
0:37:03 > 0:37:05I know, but say he saw this missing clip and he wrote about it,
0:37:05 > 0:37:08you know, that could be a massive break in the Straka case.
0:37:08 > 0:37:11You're only looking at the Straka case because it relates to Houghton.
0:37:11 > 0:37:13I'm not handing my team's evidence over to UCOS,
0:37:13 > 0:37:16that's the organ-grinder giving...
0:37:16 > 0:37:18to the monkey.
0:37:18 > 0:37:21- It's what?- You know what I mean.
0:37:21 > 0:37:23Yeah, I know exactly what you mean,
0:37:23 > 0:37:26and I know exactly what this has all been about from the off.
0:37:26 > 0:37:28- Sasha.- This is about you controlling me.
0:37:28 > 0:37:31It's about you abusing your seniority to...
0:37:31 > 0:37:33I'm not the one who brings our personal life to work.
0:37:33 > 0:37:34We don't have a f... personal life!
0:37:34 > 0:37:37- I am not the one who speaks to you like...- Like what?
0:37:37 > 0:37:40You know how you speak to me in front of people. You undermine me.
0:37:40 > 0:37:43- Oh, grow up.- There you go. - There's no-one here!
0:37:48 > 0:37:50OK. You're right, I'm sorry.
0:37:50 > 0:37:52I shouldn't do that.
0:37:52 > 0:37:54I'm not asking you to call me sir.
0:37:54 > 0:37:56Too bloody right you're not.
0:38:00 > 0:38:04To crack this case, I really need to have access to Houghton's notebooks.
0:38:08 > 0:38:10Look, if there was any other way...
0:38:10 > 0:38:11You know I hate coming to you.
0:38:13 > 0:38:14You don't have to hate it.
0:38:19 > 0:38:21I really need this, Ned.
0:38:23 > 0:38:25I'm sorry I undermine you,
0:38:25 > 0:38:28I'll try and keep a lid on it in future.
0:38:31 > 0:38:33But please...
0:38:36 > 0:38:39- I'll see what I can do. - (Thank you.)
0:38:46 > 0:38:50OK, I've spoken to Ned Hancock and I think he's going to let us...
0:38:50 > 0:38:51What are you working on?
0:38:51 > 0:38:53Houghton's notebooks.
0:38:53 > 0:38:55I requested them first thing.
0:38:55 > 0:38:57Ned sent them round a couple of hours ago.
0:38:57 > 0:38:58(Bastard!)
0:38:59 > 0:39:01Never mind. What have we got?
0:39:01 > 0:39:05Well, I've got a few references, but nothing much to go on.
0:39:05 > 0:39:08The first is a note about the face on the bridge clip.
0:39:08 > 0:39:11Hold on, hold on, why do you keep talking about a bridge?
0:39:11 > 0:39:14I mean, if the Fleet is all covered over and flowing underground,
0:39:14 > 0:39:15how can there be a bridge?
0:39:15 > 0:39:17Holborn Viaduct?
0:39:17 > 0:39:20Then there's something about the woman on the bridge,
0:39:20 > 0:39:23but there's not much to go on here. It says blonde, early 20s.
0:39:23 > 0:39:24All pretty vague.
0:39:24 > 0:39:26Oh, there is one thing that's quite interesting.
0:39:26 > 0:39:29This is an entry dated about eight months ago.
0:39:29 > 0:39:32Now, Houghton had been on one of those online forums
0:39:32 > 0:39:33where they discuss the clips.
0:39:33 > 0:39:34Now, I went onto the forum myself,
0:39:34 > 0:39:37but the exchange he refers to has been taken down.
0:39:37 > 0:39:39Now, it could have been archived because it was old or...
0:39:39 > 0:39:42What does it say, Dan?
0:39:42 > 0:39:46Someone was claiming to know where the blood sacrifice took place.
0:39:48 > 0:39:49And?
0:39:49 > 0:39:52- Ludgate.- If I was going to perform a human sacrifice,
0:39:52 > 0:39:54I'd be looking for somewhere a wee bit quieter than this.
0:39:54 > 0:39:57But you'd be hard pressed to find somewhere with greater
0:39:57 > 0:40:00- psycho-geographical significance, though.- Easy for him to say.
0:40:00 > 0:40:02You see, Ludgate was one of the original gates
0:40:02 > 0:40:03through the London Wall.
0:40:03 > 0:40:05It was on the banks of the Fleet
0:40:05 > 0:40:08and there's a strong argument that says that the name is
0:40:08 > 0:40:12actually a bastardisation of Flood Gate or even Fleet Gate.
0:40:12 > 0:40:14Now, the Fleet was wide here.
0:40:14 > 0:40:17There were docks, loading stations, you name it.
0:40:17 > 0:40:21There was a bridge that joined Fleet Street to Ludgate Hill here.
0:40:21 > 0:40:24And then Bridewell Prison was down that way.
0:40:24 > 0:40:26That was on the banks of the Fleet, too.
0:40:26 > 0:40:28And Fleet Prison was down there.
0:40:28 > 0:40:30So?
0:40:30 > 0:40:34So this was an area where a lot of people suffered and died.
0:40:34 > 0:40:37In occult terms, that makes it a pretty potent place for a ritual.
0:40:37 > 0:40:40Yeah, but come on, where here could you film yourself cutting
0:40:40 > 0:40:42someone up and dripping their blood all over the place?
0:40:42 > 0:40:46Any of these buildings, if they were empty in the early '70s.
0:40:46 > 0:40:48That's no use to us, there'd be no evidence left.
0:40:48 > 0:40:51- You said the Fleet was wide here, Dan?- Yes.
0:40:51 > 0:40:56So presumably at this stage in its course, it's now a sewer?
0:40:56 > 0:40:58- Yes, a big one. - Flowing right beneath us,
0:40:58 > 0:41:01through this area of immense psycho-geographical significance.
0:41:01 > 0:41:02Yes.
0:41:04 > 0:41:07No. You're not thinking...?
0:41:13 > 0:41:16- GUIDE:- Welcome to the Fleet.- Wow.
0:41:16 > 0:41:18So whereabouts do you want to be?
0:41:18 > 0:41:20I've lost my bearings.
0:41:20 > 0:41:22- That way's north?- Yup.
0:41:22 > 0:41:24So Ludgate is that way?
0:41:33 > 0:41:35This is amazing.
0:41:35 > 0:41:37It's a sewer.
0:41:37 > 0:41:40Oh, come on. How often do you get to come to places like this?
0:41:40 > 0:41:43We're cops, Sasha, we spend half our lives knee-deep in shit.
0:41:43 > 0:41:45You're no fun, that's your problem.
0:41:45 > 0:41:48That is very much their problem.
0:41:48 > 0:41:50But what are we expecting to find down here anyway?
0:41:50 > 0:41:52Giant alligators.
0:41:52 > 0:41:55Places that you can't access from the street.
0:41:55 > 0:41:59There are basements with manhole covers that led down to the Fleet.
0:41:59 > 0:42:02Some of the buildings destroyed in the Blitz had basements
0:42:02 > 0:42:05that were permanently sealed off when they were re-built.
0:42:05 > 0:42:09Basements that can only be accessed from down here.
0:42:10 > 0:42:13- GUIDE:- This is about where Ludgate is.
0:42:13 > 0:42:15What about these side tunnels?
0:42:15 > 0:42:19Maintenance access, some are for run-off.
0:42:19 > 0:42:20All right, let's split up.
0:42:20 > 0:42:23There speaks a woman who's never seen a horror film.
0:42:23 > 0:42:25Dan, you're with me.
0:42:28 > 0:42:31- GUIDE:- I'll be waiting right here for you.
0:42:31 > 0:42:34Come on, Gerry, you'll be all right. Stick with me.
0:42:40 > 0:42:44I mean, I know it's unprofessional, but I'm not a robot, am I?
0:42:44 > 0:42:46You're not a robot.
0:42:46 > 0:42:50I mean, I can't just see him, that man who betrayed me,
0:42:50 > 0:42:52this man that tore my family apart...
0:42:52 > 0:42:53I can't just see him in the office
0:42:53 > 0:42:55and just see a fellow police officer, can I?
0:42:55 > 0:42:57That wouldn't be normal, would it?
0:42:57 > 0:43:00I mean, I know it makes people feel uncomfortable and slightly awkward,
0:43:00 > 0:43:03- but how do you think I feel when I walk into...- Ssh!
0:43:03 > 0:43:04What?
0:43:04 > 0:43:07Nothing. Just ssh.
0:43:12 > 0:43:15They should have given us protective clothing for this.
0:43:15 > 0:43:17As soon as I get out, I'm burning all my gear.
0:43:17 > 0:43:19You're going to burn all your clothes?
0:43:19 > 0:43:22Well, maybe not burn, no, but get it super cleaned over and over,
0:43:22 > 0:43:23just to get rid of the smell.
0:43:23 > 0:43:25It's not even halfway up the boots, Gerry.
0:43:25 > 0:43:27Yeah, and there's the gas.
0:43:27 > 0:43:30You know, they've got pockets of methane or whatever it is down here.
0:43:30 > 0:43:33One little spark and boom!
0:43:33 > 0:43:36Yeah, mutant creatures. You know, rats the size of dogs, apparently.
0:43:36 > 0:43:38Yeah, all right, you can take the piss
0:43:38 > 0:43:42- but I'm not used to these sort of conditions.- Oh, and I am, am I?
0:43:42 > 0:43:44Well, I've been up to your neck of the woods, yeah,
0:43:44 > 0:43:46that's where I remember the smell from.
0:43:46 > 0:43:48- Oh! What's that?- Careful!
0:43:50 > 0:43:52- What's that? - It's an alligator, I think.
0:43:52 > 0:43:56- It's not an alligator, you dope. - What?- It's a trap door.
0:44:44 > 0:44:49Right, everybody back down the ladder. This is now a crime scene.
0:44:49 > 0:44:50Right, thanks.
0:44:50 > 0:44:54Well, nothing's set in stone, but initial findings suggest our body
0:44:54 > 0:44:56is of a woman in her early 20s.
0:44:56 > 0:44:59The rate of decomposition indicates she's been dead about 40 years.
0:44:59 > 0:45:02- So what do we reckon?- It's her.
0:45:02 > 0:45:05OK. So we're assuming that these film clips do in fact depict some kind
0:45:05 > 0:45:08of ritual blood-letting that went wrong and this woman,
0:45:08 > 0:45:10whoever she was, was the victim.
0:45:10 > 0:45:12Now, according to Cecily Watkins,
0:45:12 > 0:45:15David Straka saw a clip of this woman, on the day he died,
0:45:15 > 0:45:17standing on a bridge.
0:45:17 > 0:45:19That clip vanished from his studio on the same day.
0:45:19 > 0:45:22If David Straka was killed because he could identify this woman
0:45:22 > 0:45:25in this clip, that would explain why Oliver Houghton was killed as well,
0:45:25 > 0:45:26cos he also saw the clip.
0:45:26 > 0:45:29But it doesn't explain why it took the killer
0:45:29 > 0:45:3020 years to get round to him.
0:45:30 > 0:45:31Maybe it wasn't the same killer.
0:45:31 > 0:45:33Well, if this occult group were involved,
0:45:33 > 0:45:35maybe it's two different members of the same sect..
0:45:35 > 0:45:38This isn't your case, Sasha.
0:45:38 > 0:45:40This body that's just been found is a new case.
0:45:40 > 0:45:43It's not unsolved and it's not open
0:45:43 > 0:45:45but it directly relates to the Houghton murder,
0:45:45 > 0:45:48which puts it firmly within the purview of my team.
0:45:48 > 0:45:50Why don't you piss off back under your slimy,
0:45:50 > 0:45:52- adulterous little rock, Ned?- Sasha!
0:45:52 > 0:45:55- This is about the Houghton notebooks, isn't it?- Do you think?
0:45:55 > 0:45:59I think we'll take this somewhere more private. Now!
0:46:07 > 0:46:08This is exactly what I'm talking about.
0:46:08 > 0:46:11You're bringing our private problems into the office.
0:46:11 > 0:46:13This is plainly not a UCOS case
0:46:13 > 0:46:15and insulting me in public isn't going to make it one.
0:46:15 > 0:46:18- It is a UCOS case, Ned.- Excuse me?
0:46:18 > 0:46:20The discovery of this new body comes as a direct result
0:46:20 > 0:46:23of the UCOS team's investigation into the murder of David Straka.
0:46:23 > 0:46:26An investigation undertaken as an adjunct to the Houghton case.
0:46:26 > 0:46:29Which your team have got precisely nowhere with.
0:46:29 > 0:46:31If it wasn't for Griffin and McAndrew, your team wouldn't have
0:46:31 > 0:46:34even read Houghton's blog, let alone his notebooks.
0:46:34 > 0:46:37- The point is...- UCOS has done the legwork, they found the body,
0:46:37 > 0:46:39they have a workable theory.
0:46:39 > 0:46:42I've already had a conversation with the Assistant Commissioner.
0:46:42 > 0:46:43We're running with this one, Ned.
0:46:48 > 0:46:50These moments are not forgotten, Robert.
0:46:58 > 0:47:01If I ever hear you speak to a Deputy Assistant Commissioner
0:47:01 > 0:47:03like that again, you'll be out of here so fast
0:47:03 > 0:47:05your feet won't touch the ground.
0:47:14 > 0:47:18OK, so it's the 20-year gap between the murder of David Straka
0:47:18 > 0:47:20and the murder of Oliver Houghton that's bothering me.
0:47:20 > 0:47:22Houghton wasn't exactly in hiding.
0:47:22 > 0:47:24It wouldn't have taken that long to find him.
0:47:24 > 0:47:26If both these guys were killed because they saw this film clip,
0:47:26 > 0:47:29how come Emily Fraser's still walking around?
0:47:29 > 0:47:30We don't know that she saw it.
0:47:30 > 0:47:32She got pretty defensive when we asked her about it.
0:47:32 > 0:47:34If Houghton was a member of this occult group,
0:47:34 > 0:47:36maybe they had a falling out.
0:47:36 > 0:47:37He could have been onside for 20 years
0:47:37 > 0:47:39and then decided to turn against them.
0:47:39 > 0:47:42- Anything in his writing to support that?- Well, not so far.
0:47:42 > 0:47:45The writing has to be the key. Houghton wrote everything down,
0:47:45 > 0:47:47so somewhere, recently, he saw or did something
0:47:47 > 0:47:50- that made him a target.- And it'll be in his stuff somewhere.- Yeah.
0:47:50 > 0:47:51- Oh, my God- What?- It's her.
0:47:51 > 0:47:53- What's her?- It has to be her!
0:47:55 > 0:47:58Houghton saw the clip 20 years ago,
0:47:58 > 0:48:02but it was only recently that he was able to identify the victim.
0:48:02 > 0:48:03How?
0:48:03 > 0:48:06I finally got a copy of Houghton's hard drive.
0:48:06 > 0:48:10Now, when he died, he was working on a piece about
0:48:10 > 0:48:13- underground British film-makers in the '60s and '70s.- A must-read(!)
0:48:13 > 0:48:18And there were some clips attached to the folder...
0:48:18 > 0:48:19here.
0:48:20 > 0:48:24Now, if he recognised our victim from one of these films...
0:48:24 > 0:48:26Yeah, but which one?
0:48:26 > 0:48:3020 years, and he finally thinks he's seen the same woman?
0:48:30 > 0:48:33He must have watched that clip over and over again.
0:48:33 > 0:48:35Then it's this one.
0:48:40 > 0:48:43- Go back to the beginning. Spool it back.- What?
0:48:43 > 0:48:44Play it again.
0:48:46 > 0:48:49Pause it. Can you make it bigger?
0:48:50 > 0:48:52That's right.
0:48:52 > 0:48:53On her arm.
0:48:56 > 0:48:58It's definitely her.
0:48:58 > 0:49:00She was a member of the original group.
0:49:00 > 0:49:02The Order of the Nikwuz.
0:49:02 > 0:49:04So she was party to what happened to her.
0:49:04 > 0:49:07She was prepared to have her blood taken.
0:49:07 > 0:49:09Presumably, she didn't know how it would end up.
0:49:09 > 0:49:12But she was in that world. We need a name.
0:49:12 > 0:49:15Just checking to see if there's a cast list online.
0:49:19 > 0:49:21What are you looking at, Danny?
0:49:21 > 0:49:23I think it's the same guy.
0:49:23 > 0:49:26- Same as what?- That made both films.
0:49:26 > 0:49:29Look, look here, look at the framing,
0:49:29 > 0:49:31there and there.
0:49:31 > 0:49:35And look, there's a slight scratch on the lens.
0:49:35 > 0:49:37It's all too similar.
0:49:37 > 0:49:40Guv, her name's Alice, Alice Unsworth.
0:49:40 > 0:49:43I've cross-checked, and this film is her only credit
0:49:43 > 0:49:46and there's no record of her after 1972.
0:49:46 > 0:49:48And she was never reported missing?
0:49:48 > 0:49:50- No.- Who directed the film, Steve?
0:49:54 > 0:49:57Oh, you are kidding!
0:50:01 > 0:50:04Edward? You've got some visitors.
0:50:10 > 0:50:14Hello, Mr Fraser. Do you remember me?
0:50:16 > 0:50:20Oh, yes, lovely Alice!
0:50:20 > 0:50:23Hello, Mr Fraser, remember me too?
0:50:23 > 0:50:25Steve. We met the other day.
0:50:25 > 0:50:27How are you doing? OK?
0:50:27 > 0:50:29Good man.
0:50:32 > 0:50:35My name's Gerry. Now, we understand you used to make films?
0:50:35 > 0:50:39Ah, yes. Very good films.
0:50:39 > 0:50:40A long time ago now.
0:50:40 > 0:50:43Do you still have any? We'd love to see them.
0:50:43 > 0:50:47Proper films, you know, none of your video nonsense.
0:50:47 > 0:50:50No. Of course not.
0:50:50 > 0:50:52Do you have a projector for them?
0:50:52 > 0:50:55Oh, yes, very good nick, it is, too.
0:50:55 > 0:50:57Yes, I used to be a projectionist.
0:50:57 > 0:51:01Leicester Square. 40 years.
0:51:01 > 0:51:03Can I give you a hand setting it up?
0:51:03 > 0:51:05Oh, yes.
0:51:07 > 0:51:11There's one here about otters.
0:51:11 > 0:51:14Oh, that was a nice film.
0:51:14 > 0:51:17Very hard to get close to them.
0:51:17 > 0:51:19You have to win their trust.
0:51:22 > 0:51:24I'd like to see this one.
0:51:41 > 0:51:44Alice...
0:51:44 > 0:51:46lovely Alice.
0:51:56 > 0:52:00I always thought she'd been killed in an accident when I was a toddler.
0:52:01 > 0:52:03I don't really have any memory of her.
0:52:03 > 0:52:05It was always just Dad and me.
0:52:07 > 0:52:10I'd seen the symbol that David was painting
0:52:10 > 0:52:12and the brand on Cyril Watkins' arm
0:52:12 > 0:52:15and I knew they were the same thing that Dad had,
0:52:15 > 0:52:18but it didn't make any sense to me.
0:52:18 > 0:52:20I didn't want it to.
0:52:22 > 0:52:24And then David showed us the film...
0:52:27 > 0:52:29..and I saw her.
0:52:29 > 0:52:32I saw Mum on that bridge
0:52:32 > 0:52:35and then I knew what it meant.
0:52:35 > 0:52:37I knew what Dad had done.
0:52:37 > 0:52:40You didn't kill David Straka, did you?
0:52:45 > 0:52:48I confronted Dad.
0:52:48 > 0:52:50I told him what I'd seen.
0:52:51 > 0:52:54He tried to make me understand.
0:52:54 > 0:52:57That he and Mum, they were young
0:52:57 > 0:53:01and they were into drugs and magic
0:53:01 > 0:53:05and they just somehow got caught up in it all...
0:53:05 > 0:53:09and it was an accident, she wasn't supposed to die.
0:53:11 > 0:53:16And if he's confessed, I would have been taken away,
0:53:16 > 0:53:19put into care.
0:53:19 > 0:53:22We had this big fight and he stormed out.
0:53:22 > 0:53:25And then I went to work the next day
0:53:25 > 0:53:28and they told me that David had been killed and the film clip was missing
0:53:28 > 0:53:31and I knew...
0:53:31 > 0:53:34but I just wanted everything to go back to the way it was.
0:53:34 > 0:53:36- TV GETS LOUDER - Dad!
0:53:36 > 0:53:39What? Oh, sorry, love.
0:53:39 > 0:53:42- TV VOLUME LOWERS - Look at him.
0:53:42 > 0:53:45He doesn't remember. He doesn't know what he's done.
0:53:45 > 0:53:48Mum, David...
0:53:48 > 0:53:50He hasn't known for years.
0:53:50 > 0:53:53So Oliver Houghton was in touch with you recently?
0:53:55 > 0:54:01He called out of the blue and said he had this film that Dad had made.
0:54:01 > 0:54:03Could he come and talk to us about it?
0:54:05 > 0:54:09He said it was for a piece he was writing.
0:54:09 > 0:54:12Something in his tone...
0:54:12 > 0:54:15I just knew he'd figured it all out.
0:54:15 > 0:54:18But this time, you had to deal with it.
0:54:19 > 0:54:21Who else?
0:54:23 > 0:54:26He either wanted money that I didn't have
0:54:26 > 0:54:29or he was going to go public with it somehow.
0:54:29 > 0:54:32So they would have taken Dad away
0:54:32 > 0:54:34and he wouldn't have even understood why.
0:54:39 > 0:54:42(Dad.
0:54:42 > 0:54:44(I love you, Dad.)
0:54:45 > 0:54:47I'm sorry.
0:54:49 > 0:54:51It's all coming apart.
0:54:53 > 0:54:56It's the river.
0:54:56 > 0:54:58It still wants more.
0:55:01 > 0:55:04I think we should get you both down to the station.
0:55:04 > 0:55:06Oh.
0:55:06 > 0:55:08Come on, Mr Fraser.
0:55:08 > 0:55:10Where's Emily gone?
0:55:10 > 0:55:12Get after her.
0:55:12 > 0:55:14- Get the carer back down here. - Emily!
0:55:14 > 0:55:16It's all right, she's not here.
0:55:16 > 0:55:20Oh, I suppose she just popped out for something.
0:55:27 > 0:55:30SHE SOBS
0:55:34 > 0:55:37- She could be anywhere around here. - Tell me about it.
0:55:44 > 0:55:47Hi. Yeah, she's disappeared. We think she's gone east.
0:55:49 > 0:55:51They've lost her. Where's she going?
0:55:51 > 0:55:53Well, that's anybody's guess.
0:55:53 > 0:55:56No, it's our guess. What did she say at the end?
0:55:56 > 0:55:58She said, "The river wants more."
0:56:00 > 0:56:01Shit.
0:56:18 > 0:56:19Emily.
0:56:21 > 0:56:22It's all right.
0:56:26 > 0:56:28Emily, Emily, step back towards me.
0:56:30 > 0:56:32It still wants blood. It wants more blood.
0:56:36 > 0:56:38Every last drop.
0:56:38 > 0:56:40It's not real, Emily.
0:56:40 > 0:56:43The Fleet's not there any more.
0:56:45 > 0:56:47This will end it.
0:56:47 > 0:56:49No.
0:56:57 > 0:56:59I want to see her again.
0:57:00 > 0:57:01No.
0:57:03 > 0:57:05No, Emily!
0:57:05 > 0:57:08LOUD THUMP, TYRES SQUEAL
0:57:08 > 0:57:12CAR HORNS BLARE
0:57:18 > 0:57:21Well, this means we've got absolutely nothing on Edward Fraser.
0:57:21 > 0:57:24I mean, if he really can't remember anything from back then,
0:57:24 > 0:57:26he's hardly going to be able to make a confession, is he?
0:57:26 > 0:57:28I'm sure that was part of Emily's thinking.
0:57:28 > 0:57:30Really? She seemed pretty far gone at the end.
0:57:30 > 0:57:32She had a lot to carry.
0:57:32 > 0:57:35To think, the river that runs underneath us
0:57:35 > 0:57:37governed her life for 40 years.
0:57:37 > 0:57:39- A sobering thought. - Talking of sober,
0:57:39 > 0:57:42there's a very nice pub a couple of minutes just down...
0:57:42 > 0:57:44- Bloody hell.- What?
0:57:45 > 0:57:47Oh. Go on, I'll see you in the pub.
0:57:47 > 0:57:50You sure?
0:57:50 > 0:57:52- Sir.- Gents.- Guv'nor.
0:57:53 > 0:57:56- You OK?- Yeah.
0:57:56 > 0:57:58Good job.
0:57:58 > 0:57:59I wish it had ended differently.
0:57:59 > 0:58:02It was never going to end well.
0:58:02 > 0:58:03You cracked this one, Sasha.
0:58:05 > 0:58:09They're a good team and you're good with them.
0:58:09 > 0:58:11I just wanted to say that.
0:58:12 > 0:58:15So, you joining them in the pub?
0:58:15 > 0:58:17- Yeah, quick one. It's been a long day.- Shall I...?
0:58:17 > 0:58:19Don't even try it, Ned.
0:58:19 > 0:58:22- See you on the next one.- Yeah.