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GENERAL CHATTER | 0:00:02 | 0:00:03 | |
-Mr Standing? -Yes, yeah. | 0:00:10 | 0:00:12 | |
-You certainly pick your moment, don't you? -Well, if it's not a good time... | 0:00:12 | 0:00:16 | |
Oh, no, no. It's taken eight years to get you here. | 0:00:16 | 0:00:18 | |
-I'm not letting you out of my sight. This way. -Can I take those? | 0:00:18 | 0:00:21 | |
Oh, yeah, thank you. | 0:00:21 | 0:00:23 | |
Who said chivalry was dead? | 0:00:23 | 0:00:25 | |
-Just dump them down there. -Okey-doke. | 0:00:28 | 0:00:30 | |
Oh, you actually MAKE things here? | 0:00:31 | 0:00:34 | |
-Well, it is a fashion college! -Yeah. | 0:00:34 | 0:00:37 | |
-Hey. -Oh, you like that, do you? | 0:00:37 | 0:00:40 | |
-Yeah. -Yeah, it's by one of my most promising students. | 0:00:40 | 0:00:43 | |
-Try it on. -No, no, no, no. | 0:00:43 | 0:00:45 | |
Yeah, go on, I think it'd suit you. | 0:00:45 | 0:00:47 | |
Do you? | 0:00:47 | 0:00:48 | |
Yeah, you may as well. | 0:00:48 | 0:00:50 | |
You could do with losing a couple of inches | 0:00:57 | 0:01:00 | |
but I think you can pull that off. | 0:01:00 | 0:01:02 | |
Still, you have to play the part, don't you? | 0:01:02 | 0:01:04 | |
-What do you mean? -I suppose you have to look like a policeman. | 0:01:04 | 0:01:08 | |
-Well... -It's a shame. | 0:01:08 | 0:01:12 | |
It took ten years off you. | 0:01:12 | 0:01:14 | |
Now I've finally got you here I don't really know what to say. | 0:01:14 | 0:01:17 | |
I assumed my letters were going in the bin. | 0:01:17 | 0:01:19 | |
No way, they're all on file. | 0:01:19 | 0:01:21 | |
We can't re-open cases every time someone writes us a letter. | 0:01:21 | 0:01:25 | |
Please, Mr Standing. | 0:01:25 | 0:01:27 | |
Gerry. | 0:01:29 | 0:01:31 | |
Gerry. | 0:01:31 | 0:01:33 | |
# It's all right, it's OK | 0:01:34 | 0:01:37 | |
# Doesn't really matter if you're old and gray | 0:01:37 | 0:01:40 | |
# It's all right, I say, it's OK | 0:01:40 | 0:01:43 | |
# Listen to what I say | 0:01:43 | 0:01:45 | |
# It's all right, doin' fine | 0:01:45 | 0:01:48 | |
# Doesn't really matter if the sun don't shine | 0:01:48 | 0:01:51 | |
# It's all right, I say it's OK | 0:01:51 | 0:01:54 | |
# We're gettin' to the end of the day! # | 0:01:54 | 0:01:57 | |
Ah, Guv'nor, hold on. | 0:02:01 | 0:02:04 | |
Good morning in court? | 0:02:04 | 0:02:05 | |
Joyful as ever. How was Sarah Levene? | 0:02:05 | 0:02:07 | |
Whoa! Cracking and interesting! | 0:02:07 | 0:02:09 | |
I knew I should have sent Jack. | 0:02:09 | 0:02:10 | |
Guv, Guv? | 0:02:10 | 0:02:13 | |
Do you think I look...? | 0:02:13 | 0:02:16 | |
-Oh, never mind. -What? | 0:02:16 | 0:02:18 | |
No, no, forget it, forget it. | 0:02:18 | 0:02:20 | |
Fashion designer Ritchie Levene. | 0:02:25 | 0:02:27 | |
Oh yes, The Fashion Victim. | 0:02:27 | 0:02:30 | |
The CID nicknamed him. | 0:02:30 | 0:02:31 | |
-Quite good for them. -April, 2002. He was killed on his 40th birthday. | 0:02:31 | 0:02:36 | |
Yup, during a party at his home in Shoreditch. | 0:02:36 | 0:02:39 | |
His body was discovered around 2am in his private studio at the back of the house. | 0:02:39 | 0:02:44 | |
He'd been stabbed in the neck. | 0:02:44 | 0:02:46 | |
The murder weapon was never found, but the pathologist reckoned | 0:02:46 | 0:02:49 | |
from the size of the wound it could have been scissors. | 0:02:49 | 0:02:52 | |
-Big wound for scissors. -Dress making scissors, like shears, really. | 0:02:52 | 0:02:56 | |
-There were several pairs lying around the studio. -So why are we looking at it now? | 0:02:56 | 0:03:00 | |
Because of this woman - Sarah Levene. Ritchie's first wife. | 0:03:00 | 0:03:03 | |
They married in '85, divorced in '98. | 0:03:03 | 0:03:06 | |
It's funny, all this fashion stuff, | 0:03:06 | 0:03:08 | |
you think he would have been a bit light on his loafers, eh? | 0:03:08 | 0:03:11 | |
Good to see that you're entering this with your usual open mind, Gerry. | 0:03:11 | 0:03:15 | |
Yeah, well Sarah had been petitioning the CPS for years, and in her last letter | 0:03:15 | 0:03:19 | |
she said she was going to picket this retrospective exhibition of all Ritchie Levene's fashion stuff. | 0:03:19 | 0:03:25 | |
-So, don't tell me, Strickland got nervous? -Precisely. | 0:03:25 | 0:03:28 | |
Now the original investigation centred around Levene's 19-year-old PA Melanie Higgs. | 0:03:28 | 0:03:34 | |
She was seen running from the studio just before the body was discovered | 0:03:34 | 0:03:38 | |
-and her finger prints were all over the room. -If she was his PA, that's where they would be. | 0:03:38 | 0:03:43 | |
-No, no, no, her fingers made prints with his blood. -Ah! | 0:03:43 | 0:03:46 | |
She later admitted finding the body but said that she panicked and fled. I'd like you two to talk to her. | 0:03:46 | 0:03:51 | |
Just now you said that Sarah was Ritchie Levene's first wife, so... | 0:03:51 | 0:03:55 | |
Yeah, he married again, just months before his murder, | 0:03:55 | 0:03:58 | |
this time to Alison Henninghem, a former model. | 0:03:58 | 0:04:01 | |
-Were either of the wives suspects? -They were both at the party | 0:04:01 | 0:04:04 | |
and neither of them had alibis for the half hour or so | 0:04:04 | 0:04:07 | |
-that Ritchie was reportedly in his studio. -The same could be said | 0:04:07 | 0:04:10 | |
for dozens of other people at the house. | 0:04:10 | 0:04:12 | |
So there are too many potential suspects and not enough forensic evidence? | 0:04:12 | 0:04:16 | |
Except for this Melanie girl. | 0:04:16 | 0:04:18 | |
No, there was a series of psychiatric evaluations which concluded that it | 0:04:18 | 0:04:22 | |
was "highly unlikely" that she could have killed him. | 0:04:22 | 0:04:25 | |
And after that the case stalled. | 0:04:25 | 0:04:26 | |
So why does Sarah Levene want to picket this exhibition? | 0:04:26 | 0:04:30 | |
Because it's been organised by Levene's younger brother, Adrian. | 0:04:30 | 0:04:35 | |
And Sarah believes that Adrian killed Ritchie. | 0:04:35 | 0:04:38 | |
Why? | 0:04:38 | 0:04:39 | |
Well, after Ritchie died he got the business and made a fortune. | 0:04:39 | 0:04:44 | |
You know, I need to make sure that they put it absolutely right above the door, OK? | 0:04:44 | 0:04:48 | |
-OK. -All right, well go and do it. | 0:04:48 | 0:04:50 | |
-Mr Levene? -> | 0:04:50 | 0:04:52 | |
Yeah. | 0:04:52 | 0:04:54 | |
-Got a moment to talk? -You can see I'm busy? | 0:04:54 | 0:04:56 | |
Well, no we can see everybody else is busy. | 0:04:56 | 0:05:00 | |
-What's this about? -Your brother. | 0:05:00 | 0:05:03 | |
-I don't understand. -We're reopening the investigation into his death. | 0:05:03 | 0:05:07 | |
Well, I'm staggered. | 0:05:07 | 0:05:09 | |
-You didn't do anything last time when his murderer was right in front of you. -Meaning? | 0:05:09 | 0:05:14 | |
Melanie Higgs. | 0:05:14 | 0:05:15 | |
The original investigation looked closely at Melanie but there was never enough evidence. | 0:05:15 | 0:05:20 | |
-She was seen running from his studio with his blood on her. What more do you want? -A motive. | 0:05:20 | 0:05:24 | |
-She was obsessed with him. -Yeah, you said that in your statements. | 0:05:24 | 0:05:27 | |
How did you get on with your brother? | 0:05:27 | 0:05:30 | |
He was wonderful. | 0:05:30 | 0:05:32 | |
-Um, I was very proud of him. -You were close? | 0:05:32 | 0:05:35 | |
-Yeah, very. -You took over the label after he died, is that right? | 0:05:35 | 0:05:39 | |
-Yes. -And before that? | 0:05:39 | 0:05:41 | |
-We worked together. -But Ritchie was in charge? | 0:05:41 | 0:05:43 | |
It was his name, they were his designs | 0:05:43 | 0:05:45 | |
and I dealt with the business side. | 0:05:45 | 0:05:47 | |
Since Ritchie died, the label has become very successful, hasn't it? | 0:05:47 | 0:05:51 | |
Yeah, very. But I just built on the foundations of my brother's work. | 0:05:51 | 0:05:56 | |
Melanie Higgs? | 0:05:56 | 0:05:58 | |
-Yes? -We'd like to talk to you about Ritchie Levene, if you have a moment. | 0:05:58 | 0:06:02 | |
I don't. And I don't know who sent you or what you want, but I've got nothing to say. | 0:06:02 | 0:06:07 | |
We're with the police. | 0:06:07 | 0:06:09 | |
-You think I did it? -No. | 0:06:09 | 0:06:11 | |
We're not here to judge you. | 0:06:11 | 0:06:13 | |
We just want to hear your version of events. | 0:06:13 | 0:06:16 | |
You were never interested in what I had to say before. You just wanted to lock me up. | 0:06:16 | 0:06:20 | |
You did flee the murder scene and Ritchie's blood was found on your dress. | 0:06:20 | 0:06:23 | |
I explained that at the time. | 0:06:23 | 0:06:25 | |
Well, this is a new investigation. | 0:06:25 | 0:06:27 | |
We want to start with a clean slate. | 0:06:27 | 0:06:29 | |
Sounds like it. | 0:06:29 | 0:06:31 | |
How did you come to meet Ritchie? | 0:06:31 | 0:06:33 | |
-Work experience. -What, making tea? Answering the phones? -Yeah, at first. | 0:06:35 | 0:06:39 | |
And then he made you his PA? You did well. | 0:06:39 | 0:06:41 | |
Ritchie needed me, it just worked. | 0:06:41 | 0:06:43 | |
-Did you two of you have a sexual relationship? -Here we go again. | 0:06:43 | 0:06:48 | |
-No. -You say he "needed" you? | 0:06:48 | 0:06:51 | |
Yeah, well Ritchie never knew what was best for him. | 0:06:51 | 0:06:54 | |
-And you did? -I was there to protect him. | 0:06:54 | 0:06:56 | |
-From? -He was famous, everyone wanted a piece of him. | 0:06:56 | 0:07:00 | |
I was there to keep them away, all those people that wanted to use him. | 0:07:00 | 0:07:03 | |
That's why when I found him that night I didn't know who to turn to. | 0:07:03 | 0:07:06 | |
There was no-one you could trust? | 0:07:06 | 0:07:08 | |
Not really. | 0:07:08 | 0:07:10 | |
And back at the party, it was dark and the music was really loud | 0:07:10 | 0:07:14 | |
and there were lots of faces I didn't recognise. | 0:07:14 | 0:07:16 | |
It was like being trapped in some kind of horror film. | 0:07:16 | 0:07:19 | |
So that's why I ran away. I'm sorry if you don't approve of my behaviour but... | 0:07:19 | 0:07:23 | |
-I was terrified. -You were obviously very close to Ritchie. | 0:07:23 | 0:07:27 | |
Did that cause any problems between you and Alison? | 0:07:27 | 0:07:30 | |
No. She never loved him anyway. | 0:07:30 | 0:07:32 | |
Why do you say that? | 0:07:32 | 0:07:34 | |
You should have seen the way she was with men. | 0:07:34 | 0:07:37 | |
-Flirting all the time. -With who? | 0:07:37 | 0:07:39 | |
Everyone. Ritchie said he liked that other men found her attractive, but how could he? | 0:07:39 | 0:07:44 | |
Did she seem close to anyone in particular? | 0:07:44 | 0:07:47 | |
Men were always falling over themselves to get in with her, especially Tyler, | 0:07:47 | 0:07:51 | |
-that junkie ex-boyfriend of hers. You know he lived at the house, too? -Yes, Tyler Curtis. | 0:07:51 | 0:07:56 | |
Alison was more interested in getting him off drugs than being a good wife to Ritchie. | 0:07:56 | 0:08:00 | |
No wonder he started drinking. | 0:08:00 | 0:08:02 | |
-Who? Ritchie? -Yeah, he'd been teetotal for years, hadn't he? | 0:08:02 | 0:08:06 | |
But then he changed, he seemed worried and started again. | 0:08:06 | 0:08:09 | |
It was all her fault. | 0:08:11 | 0:08:13 | |
Alison was... | 0:08:13 | 0:08:15 | |
Ritchie always liked pretty young things. | 0:08:15 | 0:08:18 | |
The one drawback of being married to a designer, | 0:08:18 | 0:08:20 | |
they're easily distracted by something shiny and new. | 0:08:20 | 0:08:23 | |
Doubt if that just applies to designers? | 0:08:23 | 0:08:25 | |
Yeah, but you were divorced three years before he married Alison. | 0:08:25 | 0:08:29 | |
Oh, Ritchie loved women and he took every opportunity to love as many as he could. | 0:08:29 | 0:08:33 | |
That applied throughout our marriage. | 0:08:33 | 0:08:35 | |
-He cheated on you? -God, yeah. | 0:08:35 | 0:08:38 | |
-Frequently? -Habitually. | 0:08:38 | 0:08:40 | |
Did that make you feel angry? | 0:08:40 | 0:08:42 | |
Well, in the end, defeated more than angry. | 0:08:42 | 0:08:44 | |
During the divorce, Ritchie's lawyer said that you made threats. | 0:08:44 | 0:08:48 | |
-It was a public divorce, I felt humiliated. -So you WERE angry with him. | 0:08:48 | 0:08:52 | |
Well, yeah, but anything I said was in the heat of the moment. | 0:08:52 | 0:08:55 | |
If you think I killed him... | 0:08:55 | 0:08:57 | |
Why are you so convinced it was his brother? | 0:08:57 | 0:08:59 | |
Because Adrian always wanted to control the label. | 0:08:59 | 0:09:02 | |
The name, the flair, the talent - was all Ritchie's. | 0:09:02 | 0:09:05 | |
-Adrian couldn't bear that. -But did they get on together OK as brothers? | 0:09:05 | 0:09:09 | |
Adrian was ambitious, always wanted everything done his way | 0:09:09 | 0:09:13 | |
-and Ritchie always wanted to see the best in people, but even he lost patience with him. -Over what? | 0:09:13 | 0:09:18 | |
How the label should be run. | 0:09:18 | 0:09:19 | |
Adrian wanted to turn it into a mass market product, | 0:09:19 | 0:09:22 | |
use cheaper fabrics, cut corners, | 0:09:22 | 0:09:24 | |
-farm the labour out to sweat shops. -And did he? | 0:09:24 | 0:09:26 | |
-Not while Ritchie was alive because he owned the majority stake. -Which Alison inherited? | 0:09:26 | 0:09:31 | |
No. It was in Ritchie's will that his share of the business would pass to Adrian. | 0:09:31 | 0:09:35 | |
I always said he should do something about that, but... He never got round to it. | 0:09:35 | 0:09:39 | |
Who did you think the beneficiary should be? | 0:09:39 | 0:09:41 | |
Well, anyone but Adrian. | 0:09:41 | 0:09:43 | |
But as Ritchie didn't alter his will, then maybe their disputes weren't as serious as you say? | 0:09:43 | 0:09:49 | |
Well, Ritchie thought he was going to live forever. | 0:09:49 | 0:09:51 | |
He didn't change it because he didn't think he needed to. | 0:09:51 | 0:09:55 | |
But the situation was serious. | 0:09:55 | 0:09:57 | |
I know he tried to buy Adrian out of the label just before he died. | 0:09:57 | 0:10:02 | |
Sarah is very keen to point the finger at Adrian. | 0:10:02 | 0:10:04 | |
Maybe rightly so, he does have the most to gain | 0:10:04 | 0:10:07 | |
and maybe that's why he's trying to push us towards Melanie, | 0:10:07 | 0:10:11 | |
try and throw us off. | 0:10:11 | 0:10:12 | |
-Talking of which? -Well, by the sound of it I'm with Adrian or Melanie. | 0:10:12 | 0:10:16 | |
-There's something not quite right with her. -Bunny boiler? -Not half! She's obsessed with him. | 0:10:16 | 0:10:20 | |
Maybe she felt if she couldn't have Ritchie, she didn't want Alison to have him either. | 0:10:20 | 0:10:25 | |
You could say the same for Sarah. | 0:10:25 | 0:10:26 | |
Well, the way Melanie put it, Alison was more interested in her ex, Tyler Curtis. | 0:10:26 | 0:10:31 | |
He's got an alibi, but it's probably worth speaking to him. | 0:10:31 | 0:10:34 | |
Melanie also said that Ritchie had changed towards the end. | 0:10:34 | 0:10:38 | |
He seemed to be worried about something. | 0:10:38 | 0:10:40 | |
-And he fell off the wagon. -I'm not surprised the poor sod's worried. | 0:10:40 | 0:10:43 | |
Probably wondering what his wife's getting up to with her ex! | 0:10:43 | 0:10:48 | |
Yes. | 0:10:49 | 0:10:51 | |
No. | 0:10:51 | 0:10:53 | |
Yes. | 0:10:53 | 0:10:54 | |
No. | 0:10:55 | 0:10:57 | |
And this? Don't come to me with anything like this again. | 0:10:57 | 0:11:01 | |
Alison Levene? | 0:11:02 | 0:11:05 | |
Where did you get that coat? | 0:11:05 | 0:11:08 | |
Me wife bought it in Parkin and Wickes, 1984. | 0:11:08 | 0:11:13 | |
I love it. So retro. | 0:11:13 | 0:11:15 | |
I know why you're here... | 0:11:15 | 0:11:18 | |
Ritchie. | 0:11:18 | 0:11:19 | |
-How come? -Adrian called, told me you'd been to see him. | 0:11:19 | 0:11:24 | |
There were over 100 people at that party. No expense had been spared, | 0:11:24 | 0:11:28 | |
yet according to the company accounts the Levene label | 0:11:28 | 0:11:31 | |
had been losing money steadily since 1999. | 0:11:31 | 0:11:34 | |
By the time he died he was virtually broke, so how did he afford it? | 0:11:34 | 0:11:37 | |
Well, he was like me when I went bankrupt. | 0:11:37 | 0:11:39 | |
There's always one last round at the boozer even when you know you are stoney broke. | 0:11:39 | 0:11:44 | |
But it wasn't just the party. If he was going to buy his brother's share in the company... | 0:11:44 | 0:11:48 | |
Like Sarah said, Adrian knew he didn't have the wedge to do it. | 0:11:48 | 0:11:51 | |
Then there's this - that was three weeks before his death. Interesting to know how he did it. | 0:11:51 | 0:11:56 | |
Any luck with Tyler Curtis? | 0:11:56 | 0:11:58 | |
No, nothing. | 0:11:58 | 0:11:59 | |
No social security, DVLA, bank account, passports - total blank. | 0:11:59 | 0:12:04 | |
-Missing persons? -No, same. | 0:12:04 | 0:12:07 | |
A tenner says he died years ago and nobody identified the body. | 0:12:07 | 0:12:11 | |
Yeah, well if he was a heroin addict and no-one had reported him as missing. | 0:12:11 | 0:12:15 | |
Who was his alibi on the night of the party? | 0:12:15 | 0:12:17 | |
A bloke called Colin Beck and I've got his address - you want to come? | 0:12:17 | 0:12:22 | |
Yeah, why not. | 0:12:22 | 0:12:24 | |
We understand your late husbands' PA Melanie Higgs was very protective of him. How did you get on with her? | 0:12:24 | 0:12:30 | |
-How would you get on with the woman who's in love with your husband? -You think they were having an affair? | 0:12:30 | 0:12:35 | |
The newspapers tried to suggest that something was going on. Thought they knew his reputation. | 0:12:35 | 0:12:40 | |
-Were they right? -No. | 0:12:40 | 0:12:42 | |
Ritchie and I were very happy. | 0:12:42 | 0:12:43 | |
So whose idea was it to have your previous boyfriend move in with the pair of you? | 0:12:43 | 0:12:48 | |
Mine. | 0:12:49 | 0:12:50 | |
Tyler needed somewhere to clean up. | 0:12:50 | 0:12:53 | |
How long had he been an addict? | 0:12:53 | 0:12:55 | |
Years. | 0:12:55 | 0:12:57 | |
I thought that that "elegantly wasted" look was romantic at first. | 0:12:57 | 0:13:01 | |
Did he clean up? | 0:13:01 | 0:13:03 | |
-Yes. -Are you still in touch? | 0:13:03 | 0:13:05 | |
No. I haven't seen him for years. | 0:13:05 | 0:13:08 | |
How did your husband feel about Tyler Curtis being in the house? | 0:13:08 | 0:13:12 | |
It's no secret that Ritchie had been through a lot with drink and drugs himself. | 0:13:12 | 0:13:16 | |
-He wanted to help. That was Ritchie. -Even so, it can't have been an easy situation. | 0:13:16 | 0:13:20 | |
You don't think that he was concerned, worried? | 0:13:20 | 0:13:23 | |
No. It was easier when Tyler left, sure, but you know, he was happy. | 0:13:23 | 0:13:28 | |
What is it you do here now? | 0:13:28 | 0:13:31 | |
I'm a creative consultant. | 0:13:33 | 0:13:35 | |
And what does that involve? | 0:13:35 | 0:13:38 | |
Ensuring that the label stays true to Ritchie's vision. | 0:13:38 | 0:13:42 | |
It's what he would have wanted. | 0:13:42 | 0:13:44 | |
Hiya, we've come to see Colin Beck. | 0:14:01 | 0:14:03 | |
-Is he expecting you? -No. -Your names? | 0:14:03 | 0:14:06 | |
Jack Halford, Gerry Standing. Metropolitan Police. | 0:14:06 | 0:14:09 | |
First floor. | 0:14:09 | 0:14:10 | |
Well, that's got him wondering. | 0:14:13 | 0:14:15 | |
I'm not sure if I'd like a bloke like that knowing all my comings and goings. | 0:14:15 | 0:14:19 | |
I bet you wouldn't! | 0:14:19 | 0:14:21 | |
Are you sure you won't have coffee? | 0:14:23 | 0:14:25 | |
-No, I'm fine, thank you. -Thank you very much. | 0:14:25 | 0:14:28 | |
Please, take a seat. | 0:14:28 | 0:14:30 | |
Thank you. | 0:14:30 | 0:14:31 | |
Yes, poor Ritchie. | 0:14:32 | 0:14:35 | |
It's hard to believe even now. | 0:14:35 | 0:14:37 | |
You were best man at both his weddings. You must have been very close? | 0:14:37 | 0:14:41 | |
-Terribly, I think Ritchie looked up to me as a sort of uncle, bless him. -But you weren't in the same game? | 0:14:41 | 0:14:47 | |
No, I ran a Trust Fund business in the City. | 0:14:47 | 0:14:50 | |
My girlfriend at the time dragged me along to one of Ritchie's first collections. | 0:14:50 | 0:14:54 | |
We met afterwards and got on like a house on fire. | 0:14:54 | 0:14:57 | |
But you didn't go to his 40th birthday party? | 0:14:57 | 0:15:00 | |
-No, I was looking after a mutual friend. -Tyler Curtis? -Yes. | 0:15:00 | 0:15:03 | |
-How come? -Well, he'd been staying with Ritchie's for quite a while. | 0:15:03 | 0:15:07 | |
God knows it can't have been easy for any of them. | 0:15:07 | 0:15:10 | |
I just took Tyler in for a week or so. | 0:15:10 | 0:15:12 | |
An unlikely friendship? Have much in common? | 0:15:12 | 0:15:15 | |
Not really, but Alison asked if I could help. | 0:15:15 | 0:15:18 | |
She's a charming woman, very hard to refuse. | 0:15:18 | 0:15:22 | |
I was just trying to do my bit. | 0:15:22 | 0:15:24 | |
-Was Tyler using drugs while he was here? -God, no! | 0:15:24 | 0:15:27 | |
I still don't understand why you chose not to go to the party that night. | 0:15:27 | 0:15:31 | |
I was a bit long in the tooth for Ritchie's parties even then. | 0:15:31 | 0:15:35 | |
Where did Tyler go when he moved out of here? | 0:15:35 | 0:15:38 | |
I really don't know. | 0:15:38 | 0:15:39 | |
He was a drifter and Ritchie's death had hit us all so badly. | 0:15:39 | 0:15:43 | |
When did you last see Ritchie? | 0:15:43 | 0:15:45 | |
A few weeks before he died. | 0:15:45 | 0:15:47 | |
-And how was he? -High spirits, as usual. | 0:15:47 | 0:15:50 | |
-You didn't notice anything different about him, he wasn't worried or anything? -No, not at all. | 0:15:50 | 0:15:54 | |
We understand he was having some financial problems. | 0:15:54 | 0:15:57 | |
We never discussed that. | 0:15:57 | 0:15:59 | |
Ritchie was a friend, not a client. | 0:15:59 | 0:16:02 | |
I always draw a line between friendship and business. | 0:16:02 | 0:16:06 | |
Why is it only Melanie telling us Richie was unhappy before he died? | 0:16:06 | 0:16:10 | |
Maybe that's what she wants us to believe. | 0:16:10 | 0:16:13 | |
Or the others don't want us to know he had any problems. | 0:16:13 | 0:16:16 | |
Men confide all kind of things to their secretaries that they wouldn't admit to their family or friends. | 0:16:16 | 0:16:21 | |
Look, he was broke and he had Alison's junkie ex-boyfriend hanging around. | 0:16:21 | 0:16:25 | |
If you ask me, that's plenty to be unhappy about. | 0:16:25 | 0:16:27 | |
-Talking of which, where are we with Tyler? -Off the radar. I'm running out of places to look. | 0:16:27 | 0:16:32 | |
You've obviously tried rehab centres, retreats, hostels? | 0:16:32 | 0:16:35 | |
Yeah, dozens and there's still loads more. | 0:16:35 | 0:16:37 | |
OK, that'll keep you busy tomorrow. | 0:16:37 | 0:16:39 | |
-Tonight however, I think we deserve a little outing. -Where? | 0:16:39 | 0:16:43 | |
Style Icon, The Genius of Ritchie Levene. | 0:16:43 | 0:16:45 | |
You'll love it, Brian, you'll fit right in. | 0:16:45 | 0:16:48 | |
Right. Where do you want to start? | 0:16:51 | 0:16:54 | |
-I don't know. -I've been dying to do this for so long, you've got no idea. | 0:16:54 | 0:17:00 | |
I can't believe you're still going around in clothes that your ex-wife bought you 20 years ago! | 0:17:00 | 0:17:04 | |
How about this? | 0:17:04 | 0:17:06 | |
I need something to go to work in not skateboarding! | 0:17:06 | 0:17:09 | |
-I thought you were going out tonight? -Yeah, I'm not going to spend 50 quid on something I only wear once. | 0:17:09 | 0:17:14 | |
50? When did you last go shopping? | 0:17:14 | 0:17:16 | |
Don't answer that. | 0:17:16 | 0:17:18 | |
Come and have a look at these. | 0:17:18 | 0:17:20 | |
You know, I don't think this was such a good idea. | 0:17:20 | 0:17:23 | |
-We just need to find you something you feel comfortable in. -Yeah, but.... | 0:17:23 | 0:17:27 | |
How about this? | 0:17:27 | 0:17:29 | |
-How much?! -Just try it on. | 0:17:30 | 0:17:33 | |
Look, I know I used to be a detective, | 0:17:33 | 0:17:35 | |
but I wasn't Inspector bleeding Clouseau. | 0:17:35 | 0:17:37 | |
Oh, hold on. | 0:17:39 | 0:17:40 | |
Hmm. | 0:17:42 | 0:17:44 | |
Where's Gerry? | 0:18:04 | 0:18:05 | |
It's not like him to miss out on a free drink. | 0:18:05 | 0:18:08 | |
-Cheers. -Sandra, where are you going? | 0:18:08 | 0:18:12 | |
-No reception. -Don't leave us here! | 0:18:12 | 0:18:15 | |
Just mingle. Use your retro charms! | 0:18:15 | 0:18:18 | |
You'd look a right prat going round the shops in that lot! | 0:18:31 | 0:18:34 | |
I don't think you've quite got the hang of haute couture. | 0:18:34 | 0:18:37 | |
It's not meant to be accessorised with a supermarket trolley. | 0:18:37 | 0:18:41 | |
Fashion(!) | 0:18:41 | 0:18:43 | |
It's daft though, isn't it? | 0:18:43 | 0:18:46 | |
Folk spending their lives chucking out perfectly good clothing only to buy same stuff again 10 years later. | 0:18:46 | 0:18:52 | |
Good grief! | 0:18:52 | 0:18:54 | |
-What's all this? -What do you think, tasty, eh? | 0:19:07 | 0:19:09 | |
Don't tell us, you met some scrubber and you're trying to impress her? | 0:19:09 | 0:19:13 | |
No, I did this for me. | 0:19:13 | 0:19:16 | |
Don't you ever look at us and think maybe we should do something about ourselves? | 0:19:16 | 0:19:21 | |
BOTH: No. | 0:19:21 | 0:19:23 | |
Come on, come on. | 0:19:45 | 0:19:48 | |
Well, well, well, what a surprise! | 0:19:56 | 0:19:58 | |
Oh, God it's her. | 0:19:58 | 0:20:00 | |
What's she doing here? | 0:20:00 | 0:20:01 | |
I take it your wife doesn't know about this, then? | 0:20:08 | 0:20:11 | |
No, of course not. | 0:20:11 | 0:20:13 | |
Look, I know what you must be thinking. | 0:20:13 | 0:20:15 | |
That something was going on between us while Ritchie was alive. | 0:20:15 | 0:20:19 | |
-It wasn't. -We'd known each other for years before anything happened, I swear. | 0:20:19 | 0:20:23 | |
We went through hell when Ritchie died - | 0:20:23 | 0:20:25 | |
I lost my husband, Adrian lost his brother. | 0:20:25 | 0:20:27 | |
I hadn't even looked at another man. | 0:20:27 | 0:20:29 | |
My wife doesn't need to know anything about this, please. | 0:20:29 | 0:20:32 | |
No, of course not, | 0:20:32 | 0:20:34 | |
that really wouldn't be good for the image, would it? | 0:20:34 | 0:20:37 | |
Excuse me. | 0:20:54 | 0:20:55 | |
Have you seen this, our very own Style Icon! | 0:20:55 | 0:20:59 | |
-Very nice, guess who I just caught snogging behind the bike sheds? -Who? | 0:20:59 | 0:21:03 | |
The plot thickens. | 0:21:08 | 0:21:10 | |
Hello, good evening. | 0:21:10 | 0:21:13 | |
Thank you for coming tonight on behalf of myself, Alison and our wonderful staff at Ritchie Levene. | 0:21:13 | 0:21:20 | |
We're going to be showcasing our new season here over the next week, | 0:21:20 | 0:21:25 | |
as well as celebrating the genius of my late brother. | 0:21:25 | 0:21:29 | |
APPLAUSE | 0:21:29 | 0:21:33 | |
Thank you to everybody here for giving us this opportunity to demonstrate why we're still... | 0:21:33 | 0:21:39 | |
Hypocrite! | 0:21:39 | 0:21:41 | |
Both of you should be ashamed. | 0:21:41 | 0:21:44 | |
-We hope you have a very wonderful evening. Thank you very much. -How can you stand there, | 0:21:44 | 0:21:48 | |
-when all you've done is cheapen everything your brother stood for! -She's off. | 0:21:48 | 0:21:52 | |
Get back here, you coward! | 0:21:52 | 0:21:54 | |
I am talking to you. | 0:21:54 | 0:21:55 | |
It is typical of you to try something like this. | 0:21:55 | 0:21:58 | |
Ritchie was your brother not a brand! | 0:21:58 | 0:22:00 | |
Although considering everything you've done to trample over his name | 0:22:00 | 0:22:03 | |
he'd want even less to do with you now than he did when he was alive! | 0:22:03 | 0:22:06 | |
Oh, and here's your partner in crime. | 0:22:06 | 0:22:08 | |
-No wonder Ritchie couldn't wait to be shot of you. -What would you know? | 0:22:08 | 0:22:12 | |
I made him happy which is more than you. | 0:22:12 | 0:22:14 | |
You're another one who just used him. | 0:22:14 | 0:22:16 | |
Don't forget, wearing clothes doesn't qualify you to make them. | 0:22:16 | 0:22:19 | |
OK, Sarah, this isn't helping, come with me. Get them back to the party. | 0:22:19 | 0:22:24 | |
Look at you now. You are nothing without Ritchie and you know it. | 0:22:24 | 0:22:28 | |
-That's enough, come on. -What's this all about? | 0:22:28 | 0:22:30 | |
I shouldn't have come. | 0:22:30 | 0:22:32 | |
-Look, I'd told you we'd look into the case, there was no need for all this. -I know. | 0:22:32 | 0:22:37 | |
I'm sorry. | 0:22:37 | 0:22:39 | |
I just... How can they parade themselves in front of his name when all they've done is exploit it? | 0:22:39 | 0:22:44 | |
-You really ought to go home, you know. -I'm being stupid. | 0:22:44 | 0:22:47 | |
I just couldn't bear seeing them up there like that, basking in it all. | 0:22:47 | 0:22:51 | |
I thought we needed each other, me and Ritchie. | 0:22:53 | 0:22:56 | |
I always imagined he'd come back. | 0:22:58 | 0:23:00 | |
I'm glad to see you took my advice. | 0:23:03 | 0:23:05 | |
Well, if she was expecting him to come back to her, but he married Alison instead? | 0:23:08 | 0:23:12 | |
Nah, I don't buy that. Sarah's no killer. | 0:23:12 | 0:23:14 | |
We've got Adrian and Alison now. How do we know they haven't been at it for years? | 0:23:14 | 0:23:18 | |
If they were having an affair while Ritchie was still alive, then maybe Alison was in on the murder? | 0:23:18 | 0:23:23 | |
She's certainly been a busy girl. Tyler, Ritchie, Adrian. | 0:23:23 | 0:23:26 | |
Tyler's still the missing piece. | 0:23:26 | 0:23:28 | |
You're in danger for feeling sorry for Sarah. | 0:23:28 | 0:23:31 | |
Yeah, I am actually! | 0:23:31 | 0:23:33 | |
-Morning. -Morning. | 0:23:36 | 0:23:38 | |
-What? -HE LAUGHS | 0:23:44 | 0:23:47 | |
-I'm updating the old image, all right? -What image? | 0:23:47 | 0:23:51 | |
-A hard drinking, heavy smoking, foul mouthed, ex-detective? -Gerry, mate. | 0:23:51 | 0:23:55 | |
Why didn't you tell us you were going through a mid life crisis? | 0:23:55 | 0:23:59 | |
Strickland's furious. Last night's bust up's already made the papers. | 0:23:59 | 0:24:03 | |
-It's on the internet an all! -Coffee? -Yeah, urghh. | 0:24:03 | 0:24:05 | |
Let's go through everything again. What've we got? | 0:24:07 | 0:24:09 | |
Well, we still haven't eliminated Melanie and she was the last person | 0:24:09 | 0:24:14 | |
-in that studio before the body was discovered. -Oh, I don't know, Jack. | 0:24:14 | 0:24:18 | |
The original investigation team fancied her. Maybe they were right. | 0:24:18 | 0:24:21 | |
I mean, suppose she told Ritchie how she felt about him. | 0:24:21 | 0:24:25 | |
You know how people get at parties. | 0:24:25 | 0:24:27 | |
He rejected her, she picked up the nearest thing at hand and... | 0:24:27 | 0:24:30 | |
But she was shorter than him. | 0:24:30 | 0:24:34 | |
The lab report says the blade went in straight, not at an angle. | 0:24:34 | 0:24:37 | |
And if she did do it, why risk going back through | 0:24:37 | 0:24:40 | |
the house when she could have left through that door there? | 0:24:40 | 0:24:43 | |
It might not have been anyone at the party. He could have let anybody in through that door. | 0:24:43 | 0:24:47 | |
-Yeah, someone he recognised. -That doesn't discount anyone. | 0:24:47 | 0:24:50 | |
None of this lot had a clear alibi when Ritchie was in that studio. | 0:24:50 | 0:24:54 | |
Any one of them could have walked through the front door and come back in there. | 0:24:54 | 0:24:58 | |
Alison? | 0:24:58 | 0:25:00 | |
Adrian? | 0:25:00 | 0:25:02 | |
Alison and Adrian? | 0:25:02 | 0:25:03 | |
I'm going to go and talk to Melanie and see if she noticed anything going on between them at the time. | 0:25:03 | 0:25:08 | |
-What else? -Well, we know Ritchie was worried at the time. | 0:25:08 | 0:25:12 | |
And I'm sure this Tyler was involved in some way. | 0:25:12 | 0:25:15 | |
Yeah, well, I'm always suspicious of someone we can't find AND there's this! | 0:25:15 | 0:25:19 | |
How did it happen? Some fight with Adrian over control of the company, maybe? | 0:25:19 | 0:25:23 | |
Why don't we go and have a little chat with Adrian and Alison? | 0:25:23 | 0:25:27 | |
Yeah, get some straight answers out of them. | 0:25:27 | 0:25:29 | |
Good idea. | 0:25:29 | 0:25:32 | |
Here we are. | 0:25:35 | 0:25:36 | |
DOORBELL RINGS | 0:25:36 | 0:25:38 | |
Cor, it's a bit grim, isn't it? | 0:25:38 | 0:25:41 | |
Yeah. It's amazing, when I was a kid we couldn't wait to get out of here, | 0:25:41 | 0:25:44 | |
now all the arty farty lot can't wait to get in so they can live amongst the working classes. | 0:25:44 | 0:25:49 | |
-Having spent half a million converting it! -Yeah. | 0:25:49 | 0:25:52 | |
You would have thought Alison would've wanted to move, after what happened here. | 0:25:52 | 0:25:56 | |
Maybe it's her way of hanging onto the past? | 0:25:56 | 0:25:59 | |
The way Sarah talks about her, I would have thought she would have flogged it and pocketed the cash. | 0:25:59 | 0:26:03 | |
Perhaps Sarah hasn't quite got the measure of Alison. | 0:26:03 | 0:26:06 | |
Good morning, we called the office but they said you were working from home today. | 0:26:08 | 0:26:13 | |
500 grand and the rest! | 0:26:31 | 0:26:33 | |
It's weird though, innit? | 0:26:35 | 0:26:37 | |
Here, what does that remind you of? | 0:26:46 | 0:26:49 | |
No, it can't be. | 0:26:49 | 0:26:51 | |
Alison said his coat was retro. | 0:26:51 | 0:26:53 | |
I always said that Brian was the height of fashion! | 0:26:53 | 0:26:57 | |
I know it can't be easy to talk about these things. | 0:26:57 | 0:27:01 | |
I have talked about it. To you. | 0:27:01 | 0:27:03 | |
-Yesterday. -I know, but... | 0:27:03 | 0:27:05 | |
I wonder if you ever really reconciled yourself to what happened. | 0:27:07 | 0:27:11 | |
It's a bit early for analysis. My appointment's not till Thursday. | 0:27:11 | 0:27:15 | |
Are you seeing a psychiatrist? | 0:27:15 | 0:27:17 | |
Yeah, that's what happens when your life's turned upside down by people like you. | 0:27:17 | 0:27:22 | |
I know the last thing you need is an old sod like me telling you how you should and shouldn't feel, but | 0:27:22 | 0:27:26 | |
-I wonder if you're not blaming yourself in some way for Ritchie's death? -Do I have to listen to this? | 0:27:26 | 0:27:31 | |
Why don't I buy you a coffee? Dr Lane here can look after the stall. | 0:27:31 | 0:27:34 | |
-You wanted to ask me something? -Yes. | 0:27:40 | 0:27:42 | |
Your relationship with Adrian. | 0:27:42 | 0:27:44 | |
I told your boss last night about us. | 0:27:44 | 0:27:46 | |
You said you'd only been together for a short time. | 0:27:46 | 0:27:48 | |
-Four months. -Can you prove that? | 0:27:48 | 0:27:51 | |
Ask about. | 0:27:51 | 0:27:53 | |
You can't keep secrets for long in this business. | 0:27:53 | 0:27:56 | |
We weren't going to say anything until Adrian had... | 0:27:56 | 0:27:59 | |
Well, he's got a lot to sort out. | 0:27:59 | 0:28:01 | |
You're not kidding. But you can see why we're asking. | 0:28:01 | 0:28:05 | |
I mean, after Ritchie died you inherited all this, got the good job, nice office... | 0:28:05 | 0:28:10 | |
And, what, that would be a reason for me to murder my husband? | 0:28:10 | 0:28:14 | |
And Adrian gets the company. | 0:28:14 | 0:28:16 | |
-Nice little package. -How can you even think that? | 0:28:16 | 0:28:20 | |
Well, look at it from Adrian's point of view. | 0:28:20 | 0:28:22 | |
-He's ended up with everything he ever wanted. -Except I lost my brother. | 0:28:22 | 0:28:27 | |
Does your missus know you're here? | 0:28:28 | 0:28:31 | |
If you want a divorce lawyer, I know three to avoid. | 0:28:31 | 0:28:35 | |
OK, if you have any questions to ask us, why don't you just ask them? | 0:28:35 | 0:28:39 | |
We don't have any secrets from each other. | 0:28:39 | 0:28:43 | |
You never liked Alison, did you? | 0:28:43 | 0:28:45 | |
Because of the way that she was with other men? | 0:28:45 | 0:28:48 | |
I said she never loved him. | 0:28:48 | 0:28:50 | |
You mentioned Tyler, | 0:28:50 | 0:28:53 | |
but thinking back was there anyone else in particular that she was close to? | 0:28:53 | 0:28:57 | |
No, she was like that with all blokes. | 0:28:57 | 0:28:59 | |
-How is she with Adrian? -I don't know. | 0:28:59 | 0:29:02 | |
He just did the money stuff, I didn't really see much of him. | 0:29:02 | 0:29:06 | |
-What are you saying? -Nothing, nothing, I was just asking. | 0:29:06 | 0:29:10 | |
Apparently you were very protective of Ritchie - so presumably you'd have looked out for him? | 0:29:12 | 0:29:18 | |
Yeah, I tried to. | 0:29:18 | 0:29:21 | |
He was very charismatic, wasn't he? | 0:29:21 | 0:29:23 | |
Talented, good looking, kind. | 0:29:23 | 0:29:26 | |
I can see why you felt the way you did about him. | 0:29:26 | 0:29:30 | |
What do you mean? | 0:29:30 | 0:29:31 | |
-I wasn't in love with him. -Nothing wrong with it if you were. | 0:29:33 | 0:29:37 | |
Is it true Ritchie wanted to buy you out of the company? | 0:29:40 | 0:29:43 | |
Ritchie often said things he didn't really mean. | 0:29:43 | 0:29:47 | |
So he did, or he didn't? | 0:29:47 | 0:29:49 | |
He mentioned it. | 0:29:49 | 0:29:51 | |
Did he make an offer? | 0:29:51 | 0:29:52 | |
Yes, 200 grand. | 0:29:54 | 0:29:57 | |
Adrian? | 0:29:57 | 0:29:59 | |
-That doesn't sound like very much. -Well, the company was on its knees and it was barely worth anything. | 0:29:59 | 0:30:04 | |
-Ritchie couldn't even find 200 grand. -He did tell me he was going to come into some money though. | 0:30:04 | 0:30:08 | |
He said he had a plan. | 0:30:08 | 0:30:10 | |
I never knew what it was. | 0:30:10 | 0:30:13 | |
I guess it might have come through if... | 0:30:13 | 0:30:15 | |
-Why did he want you out of the company? -He wasn't a businessman. | 0:30:15 | 0:30:18 | |
I was trying to help him but he didn't like my plans for the label. | 0:30:18 | 0:30:21 | |
Lucky you took over when you did then. | 0:30:21 | 0:30:23 | |
Well, not really. My brother DIED. Do you think I didn't care? | 0:30:23 | 0:30:27 | |
Am I right in thinking that shortly before his death he started boozing again? | 0:30:27 | 0:30:33 | |
-Yes. -It wasn't anything serious. | 0:30:34 | 0:30:36 | |
An alcoholic falling off the wagon is always serious. | 0:30:36 | 0:30:39 | |
-Well, he wasn't drinking heavily. -Yes, he was. -Why? -I don't know. | 0:30:39 | 0:30:43 | |
There's always a reason? | 0:30:43 | 0:30:45 | |
Do you think he suspected that there was something going on with you two? | 0:30:45 | 0:30:48 | |
Oh, for God's sake! Why aren't you finding out who killed my brother | 0:30:48 | 0:30:52 | |
instead of asking us these bloody stupid questions?! | 0:30:52 | 0:30:55 | |
I'm sorry. | 0:30:58 | 0:31:00 | |
Ritchie broke his arm a few weeks before his death. | 0:31:00 | 0:31:03 | |
How did that happen? | 0:31:03 | 0:31:06 | |
He fell off a motorbike, I think. | 0:31:06 | 0:31:08 | |
You think? | 0:31:08 | 0:31:10 | |
Life with Ritchie was full of surprises. | 0:31:10 | 0:31:13 | |
I lost track of everything he got up to. | 0:31:13 | 0:31:15 | |
I told him he should be more careful on the bike. | 0:31:15 | 0:31:18 | |
Was Mr Lane right, | 0:31:21 | 0:31:24 | |
about you never having forgiven yourself for not being able to help Ritchie that night? | 0:31:24 | 0:31:28 | |
Yeah. | 0:31:30 | 0:31:31 | |
I'm telling you, you look a picture. | 0:31:35 | 0:31:37 | |
-You go down the disco tonight you'll really get noticed. -What's going on? | 0:31:37 | 0:31:42 | |
-I'm minding your stall for you, love. -What have you done? | 0:31:42 | 0:31:44 | |
If you don't mind me saying so, you weren't making the most of your presentation. | 0:31:44 | 0:31:49 | |
So I've organised everything in units and I've colour coded things, you see. | 0:31:49 | 0:31:53 | |
-It's my stall! -Well, yes, I know. | 0:31:53 | 0:31:55 | |
Hang on a minute. ..Are you buying that, love? | 0:31:55 | 0:31:57 | |
-How much is it? -Have a look at the tag! | 0:31:57 | 0:31:59 | |
-It's £35. -£35, love. | 0:31:59 | 0:32:01 | |
-Yeah, go on. -Yes, sold to the lady. | 0:32:01 | 0:32:03 | |
-Thank you. -Very nice Bolero is that. | 0:32:03 | 0:32:06 | |
That's rabbit fur is that, or maybe its mink... | 0:32:06 | 0:32:10 | |
And the bag is free. £35. | 0:32:10 | 0:32:12 | |
-Thank you very much. -Thank you, enjoy. -Bye. | 0:32:12 | 0:32:14 | |
Now what were you saying? | 0:32:14 | 0:32:16 | |
Come on, Brian. | 0:32:16 | 0:32:18 | |
Right, here's your money. | 0:32:18 | 0:32:21 | |
I enjoyed that. | 0:32:21 | 0:32:24 | |
I might get me own stall. | 0:32:30 | 0:32:32 | |
-I could make a fortune. -Wait... | 0:32:32 | 0:32:36 | |
What? | 0:32:36 | 0:32:38 | |
There's something else. | 0:32:38 | 0:32:41 | |
When I found Ritchie... I took something. | 0:32:41 | 0:32:43 | |
What did you take? | 0:32:43 | 0:32:45 | |
His notebook. It was on his desk. | 0:32:45 | 0:32:47 | |
I'd seen him writing in it all the time, personal stuff he said. | 0:32:47 | 0:32:51 | |
You know, thoughts, ideas. | 0:32:51 | 0:32:52 | |
Why did you take it? | 0:32:52 | 0:32:54 | |
Because I hoped he might have written about me. | 0:32:54 | 0:32:57 | |
And did he? | 0:32:57 | 0:32:58 | |
I couldn't give it back before, I knew I'd get in trouble... But I don't want it any more. | 0:33:01 | 0:33:06 | |
-OK, where is it now? -At my place. | 0:33:07 | 0:33:10 | |
-Where's that? -Five minutes from here. | 0:33:10 | 0:33:12 | |
Lead the way! | 0:33:12 | 0:33:14 | |
There you go. | 0:33:17 | 0:33:19 | |
Where's...? Ah. | 0:33:19 | 0:33:22 | |
That was interest... Oh, what you got there? | 0:33:25 | 0:33:27 | |
-It's a notebook belonging to Ritchie. -Where did you find that? | 0:33:27 | 0:33:31 | |
Melanie. Took it from the studio after finding the body. | 0:33:31 | 0:33:34 | |
-What, she nicked it? -I knew she wasn't telling us everything. | 0:33:34 | 0:33:37 | |
-So what's in there? -Oh, sketches, ideas... | 0:33:37 | 0:33:40 | |
Some terrible poetry! | 0:33:40 | 0:33:42 | |
There might be something in here. How were Alison and Adrian? | 0:33:42 | 0:33:46 | |
He's hiding something, playing down how his brother was during those last few weeks. | 0:33:46 | 0:33:50 | |
And he's got a hell of a temper. | 0:33:50 | 0:33:52 | |
-I thought he was going to thump Gerry at one point. -You all right? -'Course I am. | 0:33:52 | 0:33:56 | |
But she did give us one thing, a picture of Tyler Curtis. | 0:33:56 | 0:34:01 | |
-Oh, good! -And Ritchie's broken arm - | 0:34:01 | 0:34:04 | |
she said she thought he fell off a motorbike. | 0:34:04 | 0:34:07 | |
When I was married I might have been a bit vague about a few things, | 0:34:07 | 0:34:10 | |
you know, anniversaries, birthdays. | 0:34:10 | 0:34:12 | |
Whose bed you should be sleeping in. | 0:34:12 | 0:34:14 | |
But even I would remember how one of my exes broke an arm. | 0:34:14 | 0:34:17 | |
Ah, you old romantic(!) | 0:34:17 | 0:34:19 | |
What about if Ritchie had had enough, tells Tyler to get out of the house. | 0:34:19 | 0:34:24 | |
There's an argument, a fight. Bosh! | 0:34:24 | 0:34:26 | |
Circulate that. I want to talk to him. | 0:34:26 | 0:34:30 | |
Yeah, yeah. Nothing! | 0:34:40 | 0:34:44 | |
Jack? Have a look at this. | 0:34:44 | 0:34:46 | |
..OK, well thanks again for checking. Cheers, bye. | 0:35:05 | 0:35:09 | |
The accident report from when Ritchie broke his arm. | 0:35:09 | 0:35:12 | |
Now, Alison said that he fell off his bike, right? | 0:35:12 | 0:35:16 | |
It was a clean break with no bruising to the ribs or his chest. | 0:35:16 | 0:35:20 | |
There's no grazing or cuts either! | 0:35:20 | 0:35:23 | |
Yeah, which might explain her reaction. | 0:35:23 | 0:35:25 | |
Ritchie did not fall off a bike. | 0:35:25 | 0:35:27 | |
Guv? I think we've got something! | 0:35:27 | 0:35:30 | |
-Here. -"TS 75K"? | 0:35:33 | 0:35:36 | |
There are a dozen or so more exactly like this. | 0:35:36 | 0:35:39 | |
Here dated 26th of January; "SP 120K." | 0:35:39 | 0:35:44 | |
"KM 60K", that's on the 30th January. | 0:35:44 | 0:35:47 | |
They go on. | 0:35:47 | 0:35:48 | |
Alison said Ritchie had some scheme for making money. | 0:35:48 | 0:35:51 | |
Now, the last entry was here on the 17th March, | 0:35:51 | 0:35:56 | |
three weeks before his murder, "CD". | 0:35:56 | 0:35:59 | |
-If they're initials who's are they? -We could ask Alison, she might have an idea. | 0:35:59 | 0:36:03 | |
No, the person to speak to is Sarah. | 0:36:03 | 0:36:05 | |
She knew Ritchie better than anyone. | 0:36:05 | 0:36:08 | |
-What are they? -That's what we want to know. | 0:36:08 | 0:36:11 | |
Well... | 0:36:13 | 0:36:14 | |
They could be... | 0:36:14 | 0:36:16 | |
Could be? | 0:36:16 | 0:36:18 | |
AC that could be Alex Clarke, | 0:36:19 | 0:36:23 | |
-he's another designer. -Hang on. | 0:36:23 | 0:36:26 | |
Alex Clarke, OK. | 0:36:26 | 0:36:29 | |
"SP", that might be Sean Pate, he's a film maker Ritchie knew. | 0:36:29 | 0:36:34 | |
"IA"? | 0:36:34 | 0:36:36 | |
No not sure about that one, but "ER" could be Eleanor Rodley. | 0:36:36 | 0:36:40 | |
-I'm only guessing, but these could be the initials of some of Ritchie's best friends. -Cheers. | 0:36:40 | 0:36:46 | |
No, no, that's fine I'll hold. | 0:36:46 | 0:36:48 | |
-This is interesting. -What's that? | 0:36:48 | 0:36:50 | |
Minutes of a board meeting that Ritchie convened | 0:36:50 | 0:36:53 | |
on the 3rd of January, 2002 where he proposed removing his brother from the company. | 0:36:53 | 0:36:59 | |
And there were and I quote... REPLY ON PHONE | 0:36:59 | 0:37:01 | |
"Insufficient funds to offer an appropriate financial settlement" | 0:37:01 | 0:37:05 | |
so the idea was rejected. | 0:37:05 | 0:37:08 | |
Hello. | 0:37:08 | 0:37:09 | |
Yeah. Oh, that's terrific. | 0:37:09 | 0:37:13 | |
Nah, thanks very much. I owe you one! | 0:37:13 | 0:37:17 | |
Whey, now we're getting somewhere. | 0:37:17 | 0:37:18 | |
That was Sutton Nick. They think they've identified Tyler. | 0:37:18 | 0:37:21 | |
-Really? -Well, they couldn't confirm his surname, | 0:37:21 | 0:37:24 | |
but there's a Tyler matching our description who's working at some rehab commune in Kingswood. | 0:37:24 | 0:37:29 | |
So come on, I'll take you for a nice ride in the country. | 0:37:29 | 0:37:33 | |
Right. | 0:37:33 | 0:37:35 | |
-'Hello?' -Sandra Pullman, Metropolitan Police. | 0:37:39 | 0:37:41 | |
Is Alex Clarke there? | 0:37:41 | 0:37:44 | |
-'Hello?' -I wonder if I could have a word with Sean Pate? | 0:37:49 | 0:37:53 | |
-Are you sure this is the place? -Ah, I bloody hope so! | 0:38:03 | 0:38:07 | |
He's in there. | 0:38:15 | 0:38:17 | |
Cheers. | 0:38:17 | 0:38:19 | |
Tyler Curtis? | 0:38:21 | 0:38:23 | |
Eight years, | 0:38:27 | 0:38:28 | |
I've been here eight years. | 0:38:28 | 0:38:31 | |
It's the best thing that ever happened. | 0:38:31 | 0:38:33 | |
But why did you shut yourself away from everyone? | 0:38:33 | 0:38:35 | |
Just easier that way. | 0:38:35 | 0:38:38 | |
We're all ex-addicts here on the farm, we keep each other out of trouble. | 0:38:38 | 0:38:42 | |
-Do any of you two smoke? -Yeah, yeah. | 0:38:44 | 0:38:47 | |
Thanks. | 0:38:49 | 0:38:51 | |
It's the one addiction we're allowed, you know. | 0:38:51 | 0:38:54 | |
Here y'are. | 0:38:54 | 0:38:56 | |
Why did you leave Ritchie's place? | 0:38:57 | 0:39:00 | |
Because it was just too hard. | 0:39:00 | 0:39:03 | |
I had thought that Alison might change her mind and take me back. | 0:39:03 | 0:39:07 | |
So you went to stay with Colin Beck? | 0:39:07 | 0:39:09 | |
I had nowhere else to go. | 0:39:11 | 0:39:14 | |
Colin was kind, you know, but... | 0:39:14 | 0:39:17 | |
-Well, I had no money and I needed to score. -So you stole from him? | 0:39:17 | 0:39:21 | |
-No, no, he gave it to me. -Did he? | 0:39:21 | 0:39:24 | |
Yeah, yeah. Well, look... | 0:39:24 | 0:39:27 | |
Look, it's not his fault, is it? | 0:39:27 | 0:39:29 | |
Colin's a straight guy, he doesn't know how to handle a junkie. | 0:39:29 | 0:39:32 | |
I gave my life to that shit. | 0:39:34 | 0:39:36 | |
I even chose it over Alison. | 0:39:38 | 0:39:40 | |
That is the biggest mistake of my life. | 0:39:40 | 0:39:42 | |
You didn't go to Ritchie's to clean up. You went there to be near her. | 0:39:42 | 0:39:46 | |
Yeah. | 0:39:46 | 0:39:49 | |
Although I did try for a while, you know, | 0:39:49 | 0:39:52 | |
for her sake to show her that I could change. | 0:39:52 | 0:39:55 | |
But it was just was too hard. | 0:39:55 | 0:39:57 | |
Ritchie, man, he... | 0:39:57 | 0:40:00 | |
he killed me with kindness. | 0:40:00 | 0:40:02 | |
Did you argue? | 0:40:02 | 0:40:04 | |
-Yeah, yeah, once or twice. -Did it get physical? | 0:40:04 | 0:40:07 | |
-No. -Come on. | 0:40:08 | 0:40:10 | |
He's married to your ex, the woman you loved. | 0:40:10 | 0:40:14 | |
Now don't tell me that didn't hurt? | 0:40:14 | 0:40:15 | |
Yes, it did hurt, that's why I left. | 0:40:15 | 0:40:17 | |
Nah, I think you couldn't handle it any more. | 0:40:17 | 0:40:20 | |
Seeing them all happy and loved up, I think you snapped. | 0:40:20 | 0:40:25 | |
It only happened the once. | 0:40:26 | 0:40:28 | |
Is that how he ended up with a broken arm? | 0:40:28 | 0:40:30 | |
Yeah, I was wound up. | 0:40:30 | 0:40:32 | |
We had an argument and I pushed him and he fell over. | 0:40:32 | 0:40:36 | |
Even then he forgave me. | 0:40:38 | 0:40:40 | |
That was Ritchie, you see, he wanted to see the good in everyone. | 0:40:41 | 0:40:45 | |
Even if it wasn't there. | 0:40:45 | 0:40:46 | |
Where were you on the night Ritchie died? | 0:40:46 | 0:40:50 | |
-I was with Colin. -Where? | 0:40:50 | 0:40:52 | |
I was in his flat. All night. | 0:40:52 | 0:40:55 | |
We'll be in touch. | 0:41:23 | 0:41:25 | |
It would be a lot easier for us if you didn't do one of your vanishing acts again. | 0:41:25 | 0:41:29 | |
Where would I go? | 0:41:29 | 0:41:32 | |
This is my home. | 0:41:32 | 0:41:33 | |
Well, Tyler certainly had a motive. | 0:41:35 | 0:41:37 | |
He was in love with Alison and wanted her back. | 0:41:37 | 0:41:40 | |
And he was high on smack, and he admitted he had this fight with Ritchie and Ritchie fell over. | 0:41:40 | 0:41:45 | |
-But it's a hell of a leap from there to killing a man. -Plus he's got an alibi. | 0:41:45 | 0:41:49 | |
All right, let's park that for a minute and take a look at this. | 0:41:49 | 0:41:53 | |
13 initials. Of those we have nine possible names. | 0:41:53 | 0:41:56 | |
Now, Brian and I tracked down seven of them and they all had one thing in common. | 0:41:56 | 0:42:01 | |
Each of them invested money through Ritchie into a company called Tempestas Capital Management. | 0:42:01 | 0:42:06 | |
-And that is? -Bloody difficult to track down. | 0:42:06 | 0:42:08 | |
Whatever it is, it's offshore. | 0:42:08 | 0:42:10 | |
-How does this figure with Tyler? -I don't know. | 0:42:10 | 0:42:13 | |
Well, we better have another word with Colin Beck, he gave Tyler his alibi. | 0:42:13 | 0:42:18 | |
Yeah, all right, but in the mean time I'd like you two to speak to Peter Glyn, | 0:42:18 | 0:42:22 | |
the OIC at Specialist Crime and see if he can figure what this is all about. | 0:42:22 | 0:42:26 | |
Tempestas Capital Management's a new one on me. | 0:42:29 | 0:42:33 | |
It might take some time to find it. | 0:42:33 | 0:42:35 | |
I can call you when I've got news. | 0:42:37 | 0:42:39 | |
We'll wait. | 0:42:39 | 0:42:41 | |
Mr Beck. Where were you on the night Ritchie was murdered? | 0:42:44 | 0:42:47 | |
-Well, here at my flat. -With Tyler? | 0:42:47 | 0:42:50 | |
-Yes. -You never left him? | 0:42:50 | 0:42:52 | |
No. We were here all night. | 0:42:52 | 0:42:54 | |
What did the two of you do all night? | 0:42:54 | 0:42:56 | |
I couldn't tell you exactly. | 0:42:57 | 0:42:59 | |
But you remember enough to know that he never went out? | 0:42:59 | 0:43:02 | |
-Yes. -Not even to score any smack? | 0:43:02 | 0:43:05 | |
Now you told me he wasn't using when he lived here. That wasn't true, was it? | 0:43:05 | 0:43:09 | |
You gave him money. | 0:43:09 | 0:43:12 | |
Yes. | 0:43:12 | 0:43:13 | |
I wish I could deny it but the truth is I felt out of my depth with him. | 0:43:13 | 0:43:16 | |
-I didn't know what to do. -Why did you agree to help him? | 0:43:16 | 0:43:19 | |
Loyalty to Ritchie. | 0:43:19 | 0:43:21 | |
As I told you before, I really just wanted to help. | 0:43:21 | 0:43:24 | |
Well, as you didn't buy the drugs yourself we can't nick you for it, | 0:43:24 | 0:43:28 | |
-but I'm sure you realise it was an incredibly irresponsible thing to do. -I do. | 0:43:28 | 0:43:33 | |
I accept that. | 0:43:33 | 0:43:36 | |
It is fascinating, isn't it? | 0:43:41 | 0:43:44 | |
Forensic accountancy? | 0:43:44 | 0:43:46 | |
What's that? | 0:43:47 | 0:43:49 | |
A cash flow statement. | 0:43:49 | 0:43:51 | |
Oh. | 0:43:51 | 0:43:52 | |
Brian, could you leave them, please? | 0:43:57 | 0:43:59 | |
Sorry. | 0:43:59 | 0:44:00 | |
I always fancied dabbling in the markets meself. | 0:44:02 | 0:44:06 | |
But Esther, my wife, she was dead against it. | 0:44:06 | 0:44:08 | |
Silly, I could have been a tycoon. | 0:44:08 | 0:44:11 | |
No, not there, Jack! | 0:44:15 | 0:44:18 | |
Any joy? | 0:44:18 | 0:44:20 | |
It's very technical. | 0:44:20 | 0:44:21 | |
Thank you. | 0:44:26 | 0:44:28 | |
Cheers. | 0:44:28 | 0:44:30 | |
Tyler must have got out of the flat without him knowing. | 0:44:30 | 0:44:33 | |
-MOBILE PHONE RINGS -Either that or Beck's covering for him. -Why would he do that? | 0:44:33 | 0:44:37 | |
Jack? | 0:44:39 | 0:44:40 | |
OK, we'll be right there. | 0:44:43 | 0:44:46 | |
Tempestas Capital Management was established in 2000 by Colin Beck | 0:44:46 | 0:44:49 | |
and it's still going today, which is remarkable. | 0:44:49 | 0:44:52 | |
Beck specifically told us he never had any financial dealings with Ritchie. | 0:44:52 | 0:44:56 | |
-Well, he'd hardly have mentioned this to you. -Why? | 0:44:56 | 0:44:59 | |
-And why's it remarkable that Tempestas is still going? -Because of the nature of what this scheme is. | 0:44:59 | 0:45:04 | |
Just look at the company's cash flow statements. | 0:45:04 | 0:45:08 | |
Now do you see? | 0:45:08 | 0:45:09 | |
No, Brian, I don't. All I see are a lot of numbers. | 0:45:09 | 0:45:12 | |
To make sense of that you need to know what the stock market was doing at the time. | 0:45:12 | 0:45:16 | |
-And what was it doing? -Fluctuating. | 0:45:16 | 0:45:18 | |
But the returns from Tempestas weren't. | 0:45:18 | 0:45:21 | |
Do I have to bang my head against this desk before you start speaking English? | 0:45:21 | 0:45:25 | |
-Maybe I should explain this. -Yes, please. | 0:45:25 | 0:45:27 | |
With any investment, the returns reflect changes in the money markets. | 0:45:27 | 0:45:30 | |
The markets rise, so do profits, markets fall, share values follow. | 0:45:30 | 0:45:35 | |
-OK. -But here the investors are getting consistently large returns, | 0:45:35 | 0:45:40 | |
independent of any global financial patterns. | 0:45:40 | 0:45:42 | |
-Which means? -It's... -It's a Ponzi. | 0:45:42 | 0:45:46 | |
-What, you mean like that American bloke? -Bernie Madoff. | 0:45:46 | 0:45:48 | |
-What exactly is a Ponzi? -Oh, for...! | 0:45:48 | 0:45:52 | |
Essentially, it's just piles of cash. | 0:45:52 | 0:45:55 | |
They all start with a promise of very high returns, probably something like 50%. | 0:45:55 | 0:46:00 | |
So you persuade Person A to invest. Then Person B. | 0:46:00 | 0:46:05 | |
You take Person B's money and use that to pay out to Person A. | 0:46:05 | 0:46:08 | |
But then you need Person C to pay out to person B, and so it goes on. | 0:46:08 | 0:46:13 | |
And those investors are the people whose names we found in Ritchie's diary? | 0:46:13 | 0:46:17 | |
Eight years ago, yes, but now there's hundreds of people involved. | 0:46:17 | 0:46:21 | |
That's why they're illegal, they can only end one of two ways. | 0:46:21 | 0:46:24 | |
Either the person behind it pockets the cash and skips the country or it collapses under its own weight. | 0:46:24 | 0:46:30 | |
And this is where Ritchie was hoping to get his money from? | 0:46:30 | 0:46:33 | |
-Do you think he and Beck cooked it up together? -I don't know. | 0:46:33 | 0:46:37 | |
OK, so Colin Beck is a very dodgy investment broker, right? | 0:46:37 | 0:46:41 | |
-But how does this tie in with the murder? -We're beyond that now. | 0:46:41 | 0:46:45 | |
There's tens of millions tied up. We need to talk to the SFO and the FSA. | 0:46:45 | 0:46:48 | |
No, hold on, hold on, if the Fraud boys come in, they'll take it right out of our hands. | 0:46:48 | 0:46:53 | |
-No way. It's our case. -What if Alison knew all about this. | 0:46:53 | 0:46:57 | |
Could she have killed Ritchie for the money? | 0:46:57 | 0:46:59 | |
I'm not so sure she did know. | 0:46:59 | 0:47:01 | |
After his death, the dividends were transferred into another account. | 0:47:01 | 0:47:05 | |
Whose? | 0:47:05 | 0:47:06 | |
Adrian's. | 0:47:06 | 0:47:08 | |
Ever heard of Charles Ponzi? | 0:47:08 | 0:47:10 | |
Let me give you a clue. | 0:47:12 | 0:47:14 | |
Tempestas Capital Management. A certain fraudulent investment scheme. | 0:47:14 | 0:47:19 | |
Which you're still making money from. | 0:47:19 | 0:47:23 | |
-I don't know what you're talking about. -Yeah, you do. | 0:47:23 | 0:47:26 | |
I'm now showing Mr Levene a copy of his personal bank statement. | 0:47:26 | 0:47:30 | |
Quite a tidy sum. | 0:47:30 | 0:47:32 | |
You were there the night of Ritchie's party. | 0:47:32 | 0:47:35 | |
Who's to say that you didn't follow him into his studio? | 0:47:35 | 0:47:38 | |
-We've seen it all before. You'd both been drinking, an argument gets heated... -That's ridiculous. | 0:47:38 | 0:47:43 | |
When I asked you about Ritchie wanting you out of the company, | 0:47:43 | 0:47:46 | |
you said he "mentioned" it. | 0:47:46 | 0:47:47 | |
He did more than that, he spoke to the board. | 0:47:47 | 0:47:50 | |
He couldn't force you out because he was broke, | 0:47:50 | 0:47:53 | |
but if you discovered that he was about to come into some serious money, you'd know he could, so... | 0:47:53 | 0:47:58 | |
kill him, transfer the investment to your name, you get the company and the cash. | 0:47:58 | 0:48:03 | |
And the girl. How long had you had feelings for Alison? | 0:48:03 | 0:48:06 | |
How much easier would it have been with your brother out of the way? | 0:48:06 | 0:48:09 | |
I did not kill him! | 0:48:09 | 0:48:11 | |
Then why's this money in your account? | 0:48:11 | 0:48:13 | |
Because I didn't want Alison knowing about it. | 0:48:15 | 0:48:18 | |
I knew what it was and I didn't want it going near her. | 0:48:18 | 0:48:21 | |
Oh, you were just looking after it for her, were you? | 0:48:21 | 0:48:24 | |
-Did Ritchie set this scheme up? -No. | 0:48:26 | 0:48:29 | |
No, he was just an investor. | 0:48:29 | 0:48:31 | |
He didn't have any money. | 0:48:31 | 0:48:33 | |
He forged our parents' signatures on some of their share certificates. | 0:48:33 | 0:48:37 | |
Why would he do that to your parents? | 0:48:37 | 0:48:39 | |
Because Colin Beck convinced him it was a chance in a lifetime, exclusive investment that would | 0:48:39 | 0:48:45 | |
rescue the label and make him rich again. That was all my brother needed to hear. | 0:48:45 | 0:48:49 | |
And that's why he got his friends involved. | 0:48:49 | 0:48:51 | |
Yeah, Beck encouraged him to. | 0:48:51 | 0:48:54 | |
My brother thought he was onto a good thing and he wanted to share it with them. | 0:48:54 | 0:48:58 | |
So this whole thing was Colin Beck's idea? | 0:48:58 | 0:49:00 | |
Of course, my brother didn't have a clue what he was getting into. | 0:49:00 | 0:49:04 | |
It was only when I looked at it I could see that his money was all tied up | 0:49:04 | 0:49:08 | |
and he was unlikely that he'd ever get it back. | 0:49:08 | 0:49:10 | |
-Why not? -Because you can't withdraw your original stake without endangering the whole scheme. | 0:49:10 | 0:49:15 | |
So, what did you do? | 0:49:15 | 0:49:17 | |
We confronted Colin, but he knew that we wouldn't want to risk a scandal. | 0:49:17 | 0:49:21 | |
The label was in enough trouble... | 0:49:21 | 0:49:23 | |
And Ritchie was terrified that his friends would find out what he got them into. | 0:49:23 | 0:49:27 | |
But then he changed his mind and he told Colin that he was going to expose the whole thing anyway. | 0:49:29 | 0:49:35 | |
Why? | 0:49:35 | 0:49:37 | |
He was an honest man. | 0:49:37 | 0:49:39 | |
He couldn't live with himself knowing that Colin had taken them all for a ride. | 0:49:39 | 0:49:44 | |
After Ritchie's murder, why didn't you go to the police and tell them all this? | 0:49:44 | 0:49:48 | |
I was thinking of his friends. | 0:49:48 | 0:49:49 | |
They were good people. They'd have lost everything. | 0:49:49 | 0:49:52 | |
Nice try, but that's not it. | 0:49:52 | 0:49:54 | |
You arranged with Beck to transfer the Ponzi account to your name. | 0:49:54 | 0:49:58 | |
You wanted that scheme to keep going. | 0:49:58 | 0:50:01 | |
Look, all along you have treated me like a criminal, so, yes | 0:50:01 | 0:50:04 | |
I hold my hands up, I knew what it was and I didn't say anything. | 0:50:04 | 0:50:08 | |
But if you think that I had something to do with Ritchie's death... | 0:50:08 | 0:50:12 | |
I loved him. | 0:50:14 | 0:50:15 | |
But he was the artist, and I was just a money man. | 0:50:17 | 0:50:21 | |
In the end though, I was the one who saved his company, not him. | 0:50:21 | 0:50:26 | |
I just wish that he was here so that he could see that I could have helped. | 0:50:26 | 0:50:31 | |
That's all I wanted to do. | 0:50:31 | 0:50:34 | |
If Ritchie was about to blow the whistle on the Ponzi, | 0:50:37 | 0:50:40 | |
it gives Beck a hell of a motive for wanting him dead. | 0:50:40 | 0:50:43 | |
We mustn't loose sight of Tyler, he's the one with the oldest motive in the world - jealousy. | 0:50:43 | 0:50:48 | |
Convenient then that our two suspects are each other's alibis, eh? | 0:50:48 | 0:50:52 | |
And we know that Tyler was capable of being physically violent with Ritchie. | 0:50:52 | 0:50:56 | |
We'll bring them both in. | 0:50:56 | 0:50:59 | |
You're retired, is that right? | 0:50:59 | 0:51:01 | |
Yes, happily. | 0:51:01 | 0:51:02 | |
-You don't still, what's the word, dabble? -No, no. | 0:51:02 | 0:51:07 | |
When you were working, what was it exactly that you did? | 0:51:07 | 0:51:09 | |
I was a financier. I dealt in capital growth programs. | 0:51:09 | 0:51:12 | |
More specifically? | 0:51:12 | 0:51:14 | |
Well, it's rather complicated. I employed a system of financial instruments. | 0:51:14 | 0:51:18 | |
I traded futures, stock options, derivatives, leverages. | 0:51:18 | 0:51:22 | |
This is fascinating I could listen to it all day! | 0:51:22 | 0:51:24 | |
And Ponzi's - what do you know about them? | 0:51:24 | 0:51:27 | |
When Ritchie found out what you'd got him into, | 0:51:30 | 0:51:32 | |
he threatened to expose you, so you wanted shot of him. | 0:51:32 | 0:51:36 | |
Ritchie was my friend, and besides, I wasn't at the party that night. | 0:51:36 | 0:51:39 | |
And your alibi is Tyler Curtis? | 0:51:39 | 0:51:42 | |
Now the question is, which one of you is lying for the other? | 0:51:42 | 0:51:44 | |
-Well, if you found him, we could sort all this out. -Oh, we have. We should be picking him up any minute. | 0:51:44 | 0:51:49 | |
Tyler? | 0:51:55 | 0:51:56 | |
Tyler! ..Call for back up. | 0:51:58 | 0:52:00 | |
This is Jack Halford from UCOS. | 0:52:02 | 0:52:04 | |
I need urgent assistance at Fairchurch Farm, Kingswood. | 0:52:04 | 0:52:07 | |
My colleague is pursuing a suspect on foot. I need back up immediately. | 0:52:07 | 0:52:11 | |
Stay where you are, it's all right, stay where you are. | 0:52:34 | 0:52:38 | |
-It's all right. I just need to talk. -FABRIC TEARS | 0:52:39 | 0:52:42 | |
Shit! | 0:52:42 | 0:52:44 | |
Look, son, | 0:52:45 | 0:52:48 | |
it doesn't look good when you keep running away. | 0:52:48 | 0:52:53 | |
Now, it's just the two of us, all right? | 0:52:53 | 0:52:55 | |
So, come on, tell me... | 0:52:55 | 0:52:58 | |
what really happened that night? | 0:52:58 | 0:53:00 | |
HE LAUGHS | 0:53:00 | 0:53:02 | |
I don't know... | 0:53:02 | 0:53:05 | |
-I don't know, I can't remember. -Oh, come on. | 0:53:05 | 0:53:07 | |
No, really. I can't remember. | 0:53:07 | 0:53:10 | |
I was completely out of the game. | 0:53:10 | 0:53:13 | |
I woke up the next morning, it's all over the news, Ritchie's dead. | 0:53:13 | 0:53:17 | |
I don't know what happened. I don't know. | 0:53:17 | 0:53:19 | |
It's not good enough, son. | 0:53:21 | 0:53:22 | |
Why? | 0:53:38 | 0:53:41 | |
Why did you have to come and find me? | 0:53:41 | 0:53:44 | |
Why did you have to bring all this back to me? | 0:53:44 | 0:53:48 | |
It's my job. | 0:53:48 | 0:53:50 | |
Come on, let's go. | 0:53:53 | 0:53:55 | |
Tyler! | 0:53:57 | 0:53:59 | |
Tyler, give it up! | 0:53:59 | 0:54:00 | |
Come down. | 0:54:00 | 0:54:02 | |
We need to talk about this. | 0:54:04 | 0:54:06 | |
Tyler? | 0:54:06 | 0:54:08 | |
Tyler! No! | 0:54:10 | 0:54:11 | |
Shit! | 0:54:15 | 0:54:16 | |
He obviously thought we were there to arrest him for Ritchie's murder. There you go. | 0:54:50 | 0:54:55 | |
Well, I suppose that's as close to a confession as we're going to get. | 0:54:55 | 0:54:59 | |
He didn't do it. | 0:54:59 | 0:55:01 | |
What do you mean? | 0:55:01 | 0:55:03 | |
I don't think he did it. | 0:55:03 | 0:55:06 | |
Look, if it's all right with you I want to check something. | 0:55:06 | 0:55:09 | |
Faced with exposure, you saw your chance with Tyler. | 0:55:13 | 0:55:17 | |
You made sure that he'd enough drugs to knock him out for the night, | 0:55:17 | 0:55:20 | |
then went to the party where it was dark and crowded, | 0:55:20 | 0:55:24 | |
making it nice and easy for you to slip in unnoticed. | 0:55:24 | 0:55:27 | |
Either that or Ritchie opened the back door of the studio for you. | 0:55:27 | 0:55:30 | |
-And then you killed him. -This is ludicrous. | 0:55:30 | 0:55:33 | |
What does Tyler have to say about all this? | 0:55:33 | 0:55:35 | |
He's dead. | 0:55:35 | 0:55:37 | |
Dead? | 0:55:37 | 0:55:39 | |
-Well, then he can't contradict my alibi even if he wanted to. -He doesn't have to. | 0:55:39 | 0:55:43 | |
Do you know a Graham Moss? | 0:55:43 | 0:55:46 | |
-No. -Well, you should, he's opened a door for you pretty much every week day for the last 12 years. | 0:55:46 | 0:55:52 | |
He's the concierge at your flats. | 0:55:52 | 0:55:54 | |
Yeah, I just went to see him - really nice bloke - | 0:55:54 | 0:55:57 | |
and him and the other porters keep very thorough records. | 0:55:57 | 0:56:01 | |
You see, the night Ritchie died | 0:56:01 | 0:56:03 | |
one of the neighbours complained about loud music coming from your flat. | 0:56:03 | 0:56:07 | |
They phoned the council helpline who sent someone round | 0:56:07 | 0:56:10 | |
and one of the night porters unlocked the door for them. | 0:56:10 | 0:56:13 | |
Where they found... | 0:56:13 | 0:56:15 | |
"A young man, known to be a guest of Mr Beck's, asleep on the floor." | 0:56:15 | 0:56:21 | |
"Assuming he was drunk, | 0:56:21 | 0:56:23 | |
"they turned off the music and left..." | 0:56:23 | 0:56:27 | |
And YOU weren't there. | 0:56:27 | 0:56:30 | |
-What was that about alibis? -Well, none of that proves I killed Ritchie. | 0:56:30 | 0:56:35 | |
True, but the FSA are going to be fascinated to see what we've got on you. | 0:56:35 | 0:56:40 | |
How long did they send Madoff down for? | 0:56:40 | 0:56:43 | |
Madoff, oh, 150 years, wasn't it? | 0:56:43 | 0:56:46 | |
Of course, that's America. We don't hand out sentences like that. | 0:56:46 | 0:56:50 | |
We keep it simpler. We call it life. | 0:56:50 | 0:56:53 | |
Do you think you have enough evidence? | 0:56:55 | 0:56:58 | |
Well, I can't promise anything, but he had the motive and he gave us a false alibi. | 0:56:58 | 0:57:02 | |
I mean, we're fairly certain we'd get him on financial wrong-doings, | 0:57:02 | 0:57:06 | |
but that's how it goes sometimes, just get them the best way you can. | 0:57:06 | 0:57:10 | |
I was so sure it was Adrian. | 0:57:10 | 0:57:13 | |
I've wasted all that time blaming him. | 0:57:13 | 0:57:15 | |
You didn't really waste any time. You got an answer. | 0:57:15 | 0:57:19 | |
Besides, we both made mistakes on this one. | 0:57:19 | 0:57:21 | |
Yeah, I'm sorry. | 0:57:21 | 0:57:25 | |
That must have been terrible. | 0:57:25 | 0:57:27 | |
It was, it was really horrible. | 0:57:27 | 0:57:30 | |
You can't blame yourself for what happened. | 0:57:30 | 0:57:33 | |
So, you're back to the old look, then? | 0:57:36 | 0:57:40 | |
Yeah. | 0:57:40 | 0:57:41 | |
I'm retro and proud of it. | 0:57:41 | 0:57:43 | |
# It's all right, it's OK | 0:57:45 | 0:57:48 | |
# Doesn't really matter if you're old and gray | 0:57:48 | 0:57:50 | |
# It's all right, I say, it's OK | 0:57:50 | 0:57:53 | |
# Listen to what I say | 0:57:53 | 0:57:56 | |
# It's all right, doin' fine | 0:57:56 | 0:57:58 | |
# Doesn't really matter if the sun don't shine | 0:57:58 | 0:58:02 | |
# It's all right, I say it's OK | 0:58:02 | 0:58:04 | |
# We're gettin' to the end of the day! # | 0:58:04 | 0:58:07 | |
Subtitles by Red Bee Media Ltd | 0:58:07 | 0:58:10 | |
E-mail: [email protected] | 0:58:10 | 0:58:12 |