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# It's all right, it's OK | 0:00:02 | 0:00:04 | |
# Doesn't really matter if you're old and grey | 0:00:04 | 0:00:07 | |
# It's all right, I say it's OK | 0:00:07 | 0:00:09 | |
# Listen to what I say It's all right, doing fine | 0:00:09 | 0:00:13 | |
# Doesn't really matter if the sun don't shine | 0:00:13 | 0:00:16 | |
# It's all right, I say it's OK | 0:00:16 | 0:00:19 | |
# We're gettin' to the end of the day. # | 0:00:19 | 0:00:22 | |
BELL CHIMES | 0:00:32 | 0:00:37 | |
CREAKING | 0:00:41 | 0:00:45 | |
FOOTSTEPS | 0:01:40 | 0:01:44 | |
-Whoa! -HORSE NEIGHS | 0:02:03 | 0:02:06 | |
Ah! | 0:02:22 | 0:02:23 | |
SHE PANTS | 0:02:25 | 0:02:28 | |
DOG BARKS | 0:02:49 | 0:02:52 | |
SHE SCREAMS | 0:02:56 | 0:02:58 | |
I'm Sorry, when was this? | 0:03:06 | 0:03:09 | |
The fourth of January, 1851. | 0:03:09 | 0:03:11 | |
-Don't look at me. -This one's mine. Sandra's starting from the same place you are. | 0:03:11 | 0:03:15 | |
And that means it jumps the queue? | 0:03:15 | 0:03:17 | |
-It's a day's work. Everything else can wait a day. -You all right with this? | 0:03:17 | 0:03:20 | |
-I'm listening, Gerry. -Thank you, Sandra. | 0:03:20 | 0:03:22 | |
Though I am the ranking officer, Gerry, | 0:03:22 | 0:03:24 | |
so "being all right with it" isn't a prerequisite. | 0:03:24 | 0:03:26 | |
-Tell that to Jack. -If he decides to grace us with his presence, I will. | 0:03:26 | 0:03:30 | |
Abigale Padua. She was bludgeoned to death by an unknown assailant. | 0:03:30 | 0:03:34 | |
A hundred and sixty-odd years ago. | 0:03:34 | 0:03:35 | |
-Yes. -So why the sudden urgency? | 0:03:35 | 0:03:38 | |
-Is it always like this? -Yes. But they do have a point. | 0:03:38 | 0:03:41 | |
I assume you're not suggesting that Abigale Padua's killer is still at large? | 0:03:41 | 0:03:44 | |
I just need UCOS to spend the day on this case. | 0:03:44 | 0:03:48 | |
-Why? -It's been requested. | 0:03:48 | 0:03:49 | |
And it's not a request I'm in a position to refuse. | 0:03:49 | 0:03:52 | |
Sorry, Sandra, usually I'd tell you more but... | 0:03:52 | 0:03:55 | |
Inspector George Renfield was the investigating officer. | 0:03:55 | 0:03:58 | |
This is his report. It is the only copy in existence so I... | 0:03:58 | 0:04:01 | |
-Sorry, everybody! -Everything all right, Jack? | 0:04:01 | 0:04:03 | |
Yes, yes, my bank Manager. Had a meeting first thing and... | 0:04:03 | 0:04:08 | |
Oh, it... It overran. Sorry I'm late. | 0:04:08 | 0:04:12 | |
Since when did you have meetings with your bank manager? | 0:04:12 | 0:04:14 | |
Since when did you become an authority on my comings and goings? | 0:04:14 | 0:04:17 | |
My bank manager's got it in for me. | 0:04:17 | 0:04:19 | |
No, that's your tailor. Is this a new one? | 0:04:19 | 0:04:23 | |
-Hardly. -Because I've been thinking about the Kirby business | 0:04:23 | 0:04:25 | |
-and I think we need to go back to the stepdaughter. -No, no, no. | 0:04:25 | 0:04:28 | |
The stepdaughter's in the clear. | 0:04:28 | 0:04:30 | |
Only for her alibi, and I reckon there's a hole... | 0:04:30 | 0:04:32 | |
Is this supposed to be a crime scene picture? | 0:04:32 | 0:04:34 | |
What idiot took these? | 0:04:34 | 0:04:36 | |
-They're daguerreotypes. -They're what? | 0:04:36 | 0:04:39 | |
Well, it's old photography. Victorian. | 0:04:39 | 0:04:42 | |
1851 Jack. The unsolved murder of a woman named... | 0:04:42 | 0:04:45 | |
-You're kidding! -..Abigale Padua. | 0:04:45 | 0:04:48 | |
I see and you're afraid this bloke might strike again? | 0:04:48 | 0:04:50 | |
If I could get beyond saying this woman's name this morning, THAT would be... | 0:04:50 | 0:04:53 | |
David Kirby's killer is alive and well, and we have a chance of catching her. | 0:04:53 | 0:04:58 | |
This is a day's work, Jack. | 0:04:58 | 0:05:00 | |
Well, when we have a spare day, we'll give it all our attention. | 0:05:00 | 0:05:03 | |
-Coffee, Jack? -He's had enough coffee. | 0:05:04 | 0:05:07 | |
-Sandra? -If you could come back here please, Brian? | 0:05:07 | 0:05:10 | |
Kettle's not long been boiled, it's a waste of energy just to leave it. | 0:05:10 | 0:05:14 | |
< Quite right. | 0:05:14 | 0:05:16 | |
And we wouldn't want to be careless with the kind of energy that's generated in this room. | 0:05:17 | 0:05:21 | |
Black, one sugar. If it's real, of course. | 0:05:22 | 0:05:26 | |
I'm sorry, who are you? | 0:05:26 | 0:05:28 | |
This is Stephen Fisher. Stephen - Sandra Pullman. | 0:05:28 | 0:05:31 | |
-The bloke from Intelligence? -Or thereabouts. | 0:05:31 | 0:05:33 | |
How did you get down here without an escort? | 0:05:33 | 0:05:35 | |
Oh, bless. | 0:05:36 | 0:05:40 | |
It's instant. | 0:05:40 | 0:05:43 | |
Instant coffee... Sorry. | 0:05:43 | 0:05:46 | |
I'll blink, shall I? I find these games a little tedious. | 0:05:48 | 0:05:50 | |
I'll pass on the coffee, thank you, Mr Lane. | 0:05:52 | 0:05:55 | |
I asked him down here, Sandra. | 0:05:55 | 0:05:57 | |
The Abigale Padua case came from Stephen. | 0:05:57 | 0:05:59 | |
Yes, how's that going? | 0:05:59 | 0:06:01 | |
-Barely started. -Oh, really? | 0:06:01 | 0:06:03 | |
I thought I was running late. Not to worry. | 0:06:03 | 0:06:08 | |
May I? | 0:06:08 | 0:06:09 | |
Abigale Padua. | 0:06:16 | 0:06:17 | |
Beaten to death in an alley in the city of London on the night | 0:06:17 | 0:06:20 | |
of the fourth of January, 1851. | 0:06:20 | 0:06:22 | |
Did that sound sufficiently "police-y"? | 0:06:22 | 0:06:26 | |
Miss Padua was something of a whiz with numbers, a "computer" | 0:06:28 | 0:06:33 | |
in the parlance of Victorian times. Literally someone who computes. | 0:06:33 | 0:06:37 | |
Rather unusual for a woman to do that, | 0:06:37 | 0:06:40 | |
but it seems she had an uncommon gift for it. | 0:06:40 | 0:06:44 | |
She worked for the family business, which was run by her brother, | 0:06:44 | 0:06:47 | |
Sidney, both parents having died some years previously. | 0:06:47 | 0:06:51 | |
To all intents and purposes, | 0:06:51 | 0:06:53 | |
Miss Padua's death looks like a violent robbery. | 0:06:53 | 0:06:58 | |
Money and jewellery were even removed from her person by the killer. | 0:06:58 | 0:07:02 | |
But, a few weeks after she died, | 0:07:02 | 0:07:05 | |
a new investment package the Padua's had been marketing | 0:07:05 | 0:07:09 | |
went belly-up, ruining a lot of well-placed, influential members of London society. | 0:07:09 | 0:07:16 | |
And Inspector Renfield, who was in charge of the investigation, | 0:07:16 | 0:07:20 | |
came to believe there might be more to Miss Padua's demise than met the eye. | 0:07:20 | 0:07:25 | |
Unfortunately, he was unable to reach any firm conclusions. | 0:07:25 | 0:07:31 | |
And you think that we, without any new witnesses to interview, | 0:07:31 | 0:07:35 | |
no new evidence, will succeed where he failed? | 0:07:35 | 0:07:38 | |
That's what you do, isn't it? | 0:07:38 | 0:07:42 | |
And there is new evidence. | 0:07:42 | 0:07:43 | |
What Renfield didn't know at the time, | 0:07:43 | 0:07:46 | |
because the various sections of the Metropolitan Police Force | 0:07:46 | 0:07:49 | |
didn't work in such beautiful harmony as they do now, | 0:07:49 | 0:07:52 | |
was that a man named Joseph Gleick, | 0:07:52 | 0:07:54 | |
who had been Abigale Padua's mathematics tutor and who subsequently became her mentor, | 0:07:54 | 0:08:01 | |
lost his life in a house fire later that same night. | 0:08:01 | 0:08:05 | |
There are several other interesting commonalities, | 0:08:06 | 0:08:09 | |
I'm sure your well-honed instincts will root them out very quickly. | 0:08:09 | 0:08:13 | |
Sir, there are a couple of ongoing cases that frankly should... | 0:08:13 | 0:08:16 | |
Those cases are on hold as of now. | 0:08:16 | 0:08:18 | |
Abigale Padua is the priority. | 0:08:18 | 0:08:21 | |
This is a burn-bag. | 0:08:24 | 0:08:27 | |
At the conclusion of your investigation, | 0:08:27 | 0:08:30 | |
everything you've discovered - | 0:08:30 | 0:08:32 | |
any notes you've made, documents you've sourced, | 0:08:32 | 0:08:35 | |
together with the original copy of Renfield's report and the various other items in the case file - | 0:08:35 | 0:08:41 | |
will be placed in here to be incinerated by me. | 0:08:41 | 0:08:45 | |
Are you serious? | 0:08:45 | 0:08:47 | |
Oh, dear, has my reputation as a prankster preceded me? | 0:08:47 | 0:08:52 | |
Shove it. We don't take orders from you. | 0:08:52 | 0:08:55 | |
-Jack... -And we don't take orders from you, either. | 0:08:55 | 0:08:57 | |
Sandra does, we're all retired. | 0:08:57 | 0:09:01 | |
We work on cases where there's at least a chance of nicking someone. | 0:09:01 | 0:09:04 | |
And there's plenty of those to keep us busy. | 0:09:04 | 0:09:06 | |
So you can shove it. | 0:09:06 | 0:09:08 | |
Jack, if I decide this is a UCOS case... | 0:09:08 | 0:09:10 | |
No, no, Robert, Mr Halford makes a perfectly fair point. | 0:09:10 | 0:09:14 | |
Mr Halford, Mr Standing, Mr Lane - you're excused. | 0:09:14 | 0:09:19 | |
You can't fire us either. | 0:09:19 | 0:09:22 | |
I wouldn't dream of it. | 0:09:22 | 0:09:23 | |
I will, however, need your desks for a day or two, | 0:09:23 | 0:09:28 | |
so that I can draft in some new officers to work with Detective Superintendent Pullman. | 0:09:28 | 0:09:32 | |
When this is all over, you'll be free to resume your duties. | 0:09:33 | 0:09:37 | |
Fine by me. | 0:09:42 | 0:09:43 | |
If you could just leave behind a cheque for £17,433, Mr Standing, | 0:09:45 | 0:09:52 | |
I'll see it gets to the Inland Revenue. | 0:09:52 | 0:09:54 | |
You what? | 0:09:54 | 0:09:56 | |
The tax due on your undeclared earnings over the past 30 years. | 0:09:56 | 0:10:01 | |
Are you threatening me? | 0:10:02 | 0:10:03 | |
Actually, perhaps it would best if you all stay after all. | 0:10:05 | 0:10:08 | |
We wouldn't want any of our guilty little secrets coming to light, would we? | 0:10:08 | 0:10:13 | |
Mr Lane? | 0:10:14 | 0:10:15 | |
Mr Halford? | 0:10:17 | 0:10:19 | |
Bollocks. | 0:10:20 | 0:10:22 | |
Excellent. I'll require hourly reports. | 0:10:22 | 0:10:26 | |
-That's your office, Detective Superintendent? -Yes. | 0:10:28 | 0:10:31 | |
Robert? | 0:10:38 | 0:10:40 | |
Grumpy lot, aren't they? | 0:11:00 | 0:11:03 | |
Did they expect you to stick up for them, do you think? | 0:11:03 | 0:11:07 | |
-I don't know. -But you didn't. | 0:11:07 | 0:11:10 | |
They were right. They do have several active cases. | 0:11:10 | 0:11:13 | |
This is important. | 0:11:13 | 0:11:16 | |
Why? | 0:11:16 | 0:11:18 | |
You don't think I'm entitled to know why you're requisitioning my team? | 0:11:18 | 0:11:22 | |
I KNOW you're not entitled to know. | 0:11:22 | 0:11:24 | |
the vast difference in our security clearance levels tells me that. | 0:11:24 | 0:11:27 | |
I really don't mean to keep you, Robert, | 0:11:27 | 0:11:30 | |
you should feel free to go about your day. | 0:11:30 | 0:11:32 | |
And leave you in charge? | 0:11:32 | 0:11:35 | |
I think I'll stay. | 0:11:35 | 0:11:36 | |
Maybe it's an academic exercise, you know, some kind of test. | 0:11:41 | 0:11:44 | |
Testing what? | 0:11:44 | 0:11:46 | |
I don't know. Our ability to take shit from superiors? | 0:11:46 | 0:11:50 | |
When was that ever in doubt? | 0:11:50 | 0:11:51 | |
Question is, why is Fisher so interested in a Victorian murder mystery? | 0:11:51 | 0:11:56 | |
That's what I want to know and I bet the answer lies somewhere in this case. | 0:11:56 | 0:11:59 | |
It is an interesting one, computers being people, rather than machines. | 0:11:59 | 0:12:04 | |
All these financial institutions trusting incredibly complex calculations to human beings | 0:12:04 | 0:12:10 | |
like Abigale Padua. | 0:12:10 | 0:12:11 | |
Whereas now they use actual computers, and we know where THAT'S got them. | 0:12:11 | 0:12:14 | |
She must have had an incredible brain, is what I'm saying. | 0:12:14 | 0:12:17 | |
Maybe that's why she was killed? | 0:12:17 | 0:12:19 | |
Well, if we find out who did it, | 0:12:19 | 0:12:21 | |
we could have a seance and ask him. | 0:12:21 | 0:12:23 | |
Well at least we know what he looked like - | 0:12:23 | 0:12:25 | |
witnesses reported seeing a woman matching Abigale Padua's description | 0:12:25 | 0:12:29 | |
being chased through the streets shortly before she was murdered. | 0:12:29 | 0:12:33 | |
There was a coachman in Threadneedle Street | 0:12:33 | 0:12:37 | |
who gave a description of the man chasing her. | 0:12:37 | 0:12:39 | |
Said he was tall and slim, wearing a dark coat and a black hat. | 0:12:39 | 0:12:42 | |
In my mental image of Victorian London, they all look like that. | 0:12:42 | 0:12:46 | |
But there was a night watchman called Thomas Quinn, | 0:12:46 | 0:12:48 | |
who worked in a building adjacent to the alley where Abigale Padua was killed, | 0:12:48 | 0:12:53 | |
who also claimed to have seen a tall, thin man dressed in black | 0:12:53 | 0:12:57 | |
emerging from the alleyway a few moments later. | 0:12:57 | 0:13:00 | |
And then the Southwark police claimed that | 0:13:00 | 0:13:03 | |
a man matching the same description was seen later that night | 0:13:03 | 0:13:06 | |
in the vicinity of Joseph Gleick's house, | 0:13:06 | 0:13:09 | |
just before it burned to the ground. | 0:13:09 | 0:13:12 | |
Although, of course Renfield wasn't to know that at the time, | 0:13:12 | 0:13:14 | |
because nobody had made the connection between the two deaths. | 0:13:14 | 0:13:17 | |
Brilliant! | 0:13:17 | 0:13:19 | |
We're looking for a tall dark stranger who's been dead for a hundred years! | 0:13:19 | 0:13:23 | |
You're very quiet over there, Jack. | 0:13:23 | 0:13:25 | |
I want to tell you all something. | 0:13:27 | 0:13:29 | |
What is it? | 0:13:29 | 0:13:30 | |
I was going to tell you first thing, | 0:13:30 | 0:13:32 | |
then this nonsense with Fisher happened. | 0:13:32 | 0:13:35 | |
I'm leaving. | 0:13:36 | 0:13:38 | |
You what? | 0:13:38 | 0:13:39 | |
I'm leaving UCOS. I'm retiring. Retiring again. | 0:13:39 | 0:13:42 | |
Why? | 0:13:42 | 0:13:44 | |
Well, I just think it's time. | 0:13:44 | 0:13:47 | |
If I don't go now, I never will. | 0:13:47 | 0:13:49 | |
Yeah, but what are you going to do? | 0:13:49 | 0:13:51 | |
Well, there's a little village in the Ardeche | 0:13:51 | 0:13:53 | |
that Mary and I used to go to on holidays. | 0:13:53 | 0:13:56 | |
We always used to say we'd try and find a little place there when I retired. | 0:13:56 | 0:14:00 | |
Well, I've found a little place, I've sold the house, | 0:14:00 | 0:14:04 | |
we finalised the deal this morning. | 0:14:04 | 0:14:06 | |
You sold the house?! | 0:14:06 | 0:14:08 | |
So, you've been planning this? | 0:14:09 | 0:14:11 | |
Why didn't you say something? | 0:14:12 | 0:14:14 | |
Because I knew you'd try and talk me out of it. | 0:14:16 | 0:14:18 | |
And you may have succeeded. Now, well, it's a fait accompli. | 0:14:18 | 0:14:22 | |
I don't know what to say. | 0:14:22 | 0:14:24 | |
I can't stay here forever. | 0:14:24 | 0:14:26 | |
When are you going? | 0:14:26 | 0:14:27 | |
Well, I was hoping to be able to settle this Kirby case, | 0:14:28 | 0:14:32 | |
but that's not an option today, now. | 0:14:32 | 0:14:34 | |
Today? | 0:14:34 | 0:14:36 | |
If I don't leave now there'll be another case. And another. | 0:14:36 | 0:14:39 | |
I never thought I'd be here THIS long. | 0:14:39 | 0:14:41 | |
PHONE RINGS | 0:14:41 | 0:14:43 | |
So it looks like this Victorian business will be my last case. | 0:14:43 | 0:14:47 | |
Fisher be damned, but it would be good to solve it. | 0:14:48 | 0:14:51 | |
Look, I've got to return this call. | 0:14:51 | 0:14:53 | |
We need to talk about this, Jack. | 0:14:53 | 0:14:55 | |
No, we don't, we really don't. | 0:14:55 | 0:14:57 | |
Let's get on with this case, and then we can all have a nice drink. | 0:14:57 | 0:15:00 | |
-No. He's not serious. -You don't think? | 0:15:05 | 0:15:09 | |
What him, retire to France? | 0:15:09 | 0:15:12 | |
Like he says, he can't stay here forever. None of us can. | 0:15:13 | 0:15:17 | |
-Yeah, well, I'm not buying it. -Why is it all so sudden? | 0:15:17 | 0:15:20 | |
As you all seem to be sitting around chatting perhaps you could get us some coffee? | 0:15:23 | 0:15:27 | |
-I need a word. -Excuse me? | 0:15:27 | 0:15:30 | |
A word, sir. | 0:15:30 | 0:15:31 | |
-Sandra, I know this is... -What the hell is going on? | 0:15:32 | 0:15:35 | |
Look, Stephen Fisher... | 0:15:35 | 0:15:36 | |
What are you playing at letting Fisher take over? | 0:15:36 | 0:15:39 | |
-Sandra... -What are you playing at letting him talk to us like that? | 0:15:39 | 0:15:42 | |
-If I could get a word in. -Jack's leaving. | 0:15:42 | 0:15:45 | |
What do you mean, leaving? | 0:15:45 | 0:15:47 | |
He says he's retiring. For good, this time. He's moving to France. | 0:15:49 | 0:15:52 | |
Well, I suppose you can't blame the man for... | 0:15:52 | 0:15:54 | |
I don't blame him, but his leaving affects the team. | 0:15:54 | 0:15:57 | |
Do you want me to talk to him? | 0:15:57 | 0:15:59 | |
-And say what? You're hardly flavour of the month. -OK. We'll deal with that later. | 0:15:59 | 0:16:02 | |
Let's concentrate on the matter in hand. | 0:16:02 | 0:16:04 | |
Stephen Fisher's a very difficult man to deal with. | 0:16:04 | 0:16:06 | |
-Butting heads with him gets you nowhere. -What's he up to here? | 0:16:06 | 0:16:09 | |
I honestly don't know anything more about this case | 0:16:09 | 0:16:11 | |
or his reasons for wanting it looked at than you do. | 0:16:11 | 0:16:14 | |
-If I find anything out, you'll be the first to know. -I don't trust him. | 0:16:14 | 0:16:18 | |
That's a very good place to start. | 0:16:18 | 0:16:20 | |
No, he's just in one of his moods. He'll change his mind by lunchtime. | 0:16:20 | 0:16:24 | |
No, there's more to it than that. | 0:16:24 | 0:16:26 | |
He was late in this morning, that's not like Jack. | 0:16:26 | 0:16:29 | |
Then there's the phone calls. | 0:16:29 | 0:16:31 | |
What phone calls? | 0:16:31 | 0:16:33 | |
Eh? | 0:16:34 | 0:16:35 | |
The past few days, he keeps getting these calls on his mobile | 0:16:38 | 0:16:41 | |
and he runs off and takes them in private. | 0:16:41 | 0:16:44 | |
-Like just now. -I hadn't noticed that. | 0:16:44 | 0:16:47 | |
Call yourself a detective? | 0:16:47 | 0:16:49 | |
I tell you what did surprise me, is how well he speaks French. | 0:16:49 | 0:16:52 | |
Jack's a subject for later. | 0:16:52 | 0:16:54 | |
We must get on now and get Fisher out of our hair. | 0:16:54 | 0:16:56 | |
What are you doing, Brian? | 0:16:56 | 0:16:58 | |
I'm trying to make sense of the crime scene. | 0:16:58 | 0:17:00 | |
This bloke Thomas Quinn, who reckons he saw the murderer emerging from the alleyway, | 0:17:00 | 0:17:05 | |
he was a night watchman working here. | 0:17:05 | 0:17:08 | |
The coffee jar? | 0:17:08 | 0:17:09 | |
Yeah, but what he says doesn't make sense. | 0:17:09 | 0:17:12 | |
-Do you think he was lying? -Possibly. It's to do with the lines of sight. | 0:17:12 | 0:17:15 | |
From here, through to that bag of sugar, there. | 0:17:15 | 0:17:18 | |
Course, I am working from a very old map | 0:17:18 | 0:17:20 | |
and a slightly rudimentary model. | 0:17:20 | 0:17:23 | |
-Slightly? -Does the alley still exist? | 0:17:23 | 0:17:25 | |
Yeah. A lot of the buildings have changed, but it's still on the map. | 0:17:25 | 0:17:28 | |
OK, good, get your coats. | 0:17:28 | 0:17:31 | |
Find Jack and tell him to meet us out front. | 0:17:31 | 0:17:33 | |
Where are you going? | 0:17:34 | 0:17:36 | |
-Crime scene. -No. -How did I know you were going to say that? | 0:17:36 | 0:17:39 | |
Everything you need is in the documents I provided. | 0:17:39 | 0:17:42 | |
If you're such an expert on criminal investigation, why are you wasting our time? | 0:17:42 | 0:17:46 | |
No one leaves this building. | 0:17:46 | 0:17:47 | |
We think that one of Renfield's witnesses was lying. | 0:17:48 | 0:17:51 | |
How do you know? | 0:17:51 | 0:17:53 | |
Apart from being good at our jobs, you mean? | 0:17:53 | 0:17:55 | |
We don't think he could have seen what he claimed to have seen. | 0:17:55 | 0:17:58 | |
And you want to check that on the real location? | 0:17:58 | 0:18:00 | |
-Yeah. -It will have changed too much. -This is how we work. | 0:18:00 | 0:18:02 | |
Now, you either let us do our jobs, or there's the door. | 0:18:02 | 0:18:05 | |
-Miss Pullman... -Detective Superintendent Pullman. | 0:18:05 | 0:18:08 | |
Back in an hour. | 0:18:08 | 0:18:10 | |
This is how you let them speak to you? | 0:18:14 | 0:18:16 | |
No, Stephen, it's how I let them speak to YOU. | 0:18:16 | 0:18:19 | |
Jack... | 0:18:23 | 0:18:25 | |
Ah-ha! Here we are! | 0:18:25 | 0:18:27 | |
Not now, Sandra. | 0:18:27 | 0:18:28 | |
This is the exact spot where, | 0:18:28 | 0:18:29 | |
according to John Harper the coachman, Abigale Padua | 0:18:29 | 0:18:33 | |
ran out from under that archway and into the street and in front of his cart, | 0:18:33 | 0:18:37 | |
causing the horse to rear up and the cart's axle to break. | 0:18:37 | 0:18:41 | |
It was quite a serious traffic incident at the time. | 0:18:41 | 0:18:43 | |
Now, in his statement, Harper reckoned that moments later, | 0:18:43 | 0:18:47 | |
a man emerged from the archway and gave chase. | 0:18:47 | 0:18:51 | |
Any idea where she was coming from? | 0:18:51 | 0:18:54 | |
No, but we know where she ended up. | 0:18:54 | 0:18:56 | |
So, this is where she died. | 0:19:02 | 0:19:05 | |
Now, this is my problem. | 0:19:05 | 0:19:07 | |
Thomas Quinn, our night watchman, was working up there on the night of the murder, right? | 0:19:07 | 0:19:12 | |
-That's the coffee jar? -Exactly. | 0:19:12 | 0:19:14 | |
Now, according to the statement he gave Renfield's men, | 0:19:14 | 0:19:17 | |
he saw a tall man in a dark coat emerging from the alleyway | 0:19:17 | 0:19:21 | |
and heading off down in that direction. | 0:19:21 | 0:19:23 | |
He says he saw the man turn left down at the end, there. | 0:19:23 | 0:19:25 | |
But there's no line of sight. | 0:19:27 | 0:19:29 | |
You can't see the bag of sugar from the first floor of the coffee jar. | 0:19:29 | 0:19:33 | |
Why would he lie? And why didn't Renfield spot this at the time? | 0:19:33 | 0:19:36 | |
There were lots of witnesses, and lots of conflicting statements. | 0:19:36 | 0:19:39 | |
Maybe he was taken off the case before he had a chance to follow them all up. | 0:19:39 | 0:19:43 | |
-And this is the actual alley, is it? -Yep. | 0:19:43 | 0:19:46 | |
I think Jack's right. The witness statements are what threw Renfield's investigation, | 0:19:46 | 0:19:50 | |
because Quinn said the killer turned left onto the main road, | 0:19:50 | 0:19:54 | |
but there was another witness, George Boole, who says he saw | 0:19:54 | 0:19:57 | |
the same man running south down the street behind these buildings. | 0:19:57 | 0:20:02 | |
-One of them's wrong. -Or lying. | 0:20:02 | 0:20:04 | |
PHONE RINGS | 0:20:04 | 0:20:06 | |
So, this was where she was killed, yeah? | 0:20:06 | 0:20:08 | |
Yeah. Her body was found here. | 0:20:08 | 0:20:10 | |
Did anyone actually see it happen? | 0:20:10 | 0:20:13 | |
No, no witnesses to the murder itself. | 0:20:13 | 0:20:15 | |
She should have kept running. | 0:20:15 | 0:20:17 | |
Why? | 0:20:17 | 0:20:18 | |
Well, rather than hide here and hope he didn't find her, | 0:20:18 | 0:20:20 | |
if she'd kept going, she would have been in the clear. | 0:20:20 | 0:20:23 | |
No, she couldn't have done, cos that was a dead end back then. | 0:20:23 | 0:20:26 | |
This building was a factory, | 0:20:26 | 0:20:28 | |
but originally it was L-shaped so it went right across the end there, | 0:20:28 | 0:20:32 | |
so there was no way through. | 0:20:32 | 0:20:34 | |
Then it was bombed during the Blitz | 0:20:34 | 0:20:36 | |
and that half was made into a through-way when they... | 0:20:36 | 0:20:41 | |
When they what? | 0:20:41 | 0:20:43 | |
Where's he off to now? | 0:20:44 | 0:20:45 | |
This is Maiden Lane. | 0:20:48 | 0:20:49 | |
Yeah. So? | 0:20:49 | 0:20:51 | |
Well, this other witness, who said he saw a man | 0:20:51 | 0:20:53 | |
running down this street in the opposite direction | 0:20:53 | 0:20:55 | |
gave his address as 10 Maiden Lane. | 0:20:55 | 0:20:58 | |
It was all one building. | 0:20:59 | 0:21:01 | |
Before the Blitz, this was a dead end. | 0:21:01 | 0:21:03 | |
This building is new, but back in 1851 - | 0:21:03 | 0:21:06 | |
This would have been 10 Maiden Lane. | 0:21:06 | 0:21:09 | |
Right, now two witnesses, two doors on two different streets, | 0:21:09 | 0:21:13 | |
both leading into the same building. | 0:21:13 | 0:21:16 | |
Yeah, but the building was empty. | 0:21:16 | 0:21:18 | |
Apart from Thomas Quinn. | 0:21:18 | 0:21:19 | |
So who was George Boole? | 0:21:19 | 0:21:21 | |
And which one of them sent the police on a wild goose chase? | 0:21:21 | 0:21:24 | |
'Jack Halford's an interesting one.' | 0:21:24 | 0:21:26 | |
-In what way? -Whiter than white on the surface. | 0:21:26 | 0:21:29 | |
A role model, I'd have thought, hard-working, diligent, | 0:21:29 | 0:21:33 | |
tenacious, intelligent, a good leader of men. | 0:21:33 | 0:21:36 | |
Yes. | 0:21:36 | 0:21:38 | |
That is, without doubt, the worst cup of coffee I've ever had. | 0:21:41 | 0:21:44 | |
What point are you trying to make about Jack? | 0:21:46 | 0:21:48 | |
He was a Detective Chief Superintendent when he retired. | 0:21:49 | 0:21:53 | |
That's right. | 0:21:53 | 0:21:54 | |
A position he achieved through honest hard work? | 0:21:54 | 0:21:56 | |
Yes. | 0:21:56 | 0:21:57 | |
Oh, come now. | 0:21:57 | 0:21:59 | |
You don't know Jack. | 0:21:59 | 0:22:00 | |
Well one of us doesn't know him, that's for sure. | 0:22:00 | 0:22:03 | |
Has he told you he's leaving yet? | 0:22:03 | 0:22:05 | |
He's retiring to France. | 0:22:06 | 0:22:07 | |
Is he? | 0:22:07 | 0:22:09 | |
Good for him. | 0:22:10 | 0:22:12 | |
Thomas Quinn, George Boole and John Harper, the coach driver, | 0:22:12 | 0:22:16 | |
all claimed to have seen a tall man in a dark coat and a hat | 0:22:16 | 0:22:19 | |
in the vicinity of Abigale Padua's murder. | 0:22:19 | 0:22:21 | |
We don't think Thomas Quinn could have seen what he claimed to have seen | 0:22:21 | 0:22:24 | |
from the first floor window of that factory, | 0:22:24 | 0:22:26 | |
and there's a question mark next to George Boole | 0:22:26 | 0:22:29 | |
because the address we have for him turns out to be | 0:22:29 | 0:22:31 | |
in the same empty building where Quinn was a night watchman. | 0:22:31 | 0:22:34 | |
All these women were local prostitutes who claim to have been | 0:22:34 | 0:22:37 | |
variously harassed by someone matching the killer's description. | 0:22:37 | 0:22:40 | |
-It's noise. -How d'you mean? | 0:22:40 | 0:22:42 | |
They're all conflicting, they can't all be true. | 0:22:42 | 0:22:44 | |
The police don't know what to believe, so can't get anywhere with the investigation. | 0:22:44 | 0:22:48 | |
Maybe so. Gerry, I want you to look into all these witnesses. | 0:22:48 | 0:22:52 | |
Find out who they were and what happened to them. | 0:22:52 | 0:22:54 | |
Let's see if hindsight can give us a better idea of who was lying and who wasn't. | 0:22:54 | 0:22:57 | |
Right you are. | 0:22:57 | 0:22:58 | |
There are a load of figures in this file. | 0:22:58 | 0:23:01 | |
Calculations. | 0:23:01 | 0:23:02 | |
Presumably Abigale Padua's. | 0:23:02 | 0:23:05 | |
I think they might relate to that investment package she was working on. | 0:23:05 | 0:23:09 | |
You know, that went belly-up when she died. | 0:23:09 | 0:23:12 | |
-Do you think you can make any sense of them? -I could try. | 0:23:12 | 0:23:15 | |
The Padua company went bust. | 0:23:15 | 0:23:16 | |
Did anyone benefit from that? | 0:23:16 | 0:23:19 | |
A business competitor or someone involved in a family feud maybe? | 0:23:19 | 0:23:22 | |
Then there's this... | 0:23:22 | 0:23:25 | |
Abigale Padua's jewellery was taken, | 0:23:25 | 0:23:27 | |
presumably to make the police think it was a robbery. | 0:23:27 | 0:23:30 | |
But this ring here is quite distinctive. | 0:23:30 | 0:23:34 | |
Now, I know it's a long shot, but let's get an image out there | 0:23:34 | 0:23:37 | |
and see if it turned up anywhere subsequently. | 0:23:37 | 0:23:40 | |
Very good, Miss Pullman. I'm sorry, Detective Superintendent. | 0:23:40 | 0:23:43 | |
What are you not telling us? | 0:23:43 | 0:23:45 | |
Ah, you're ahead of me now, I'm afraid. | 0:23:46 | 0:23:49 | |
No, we're not. | 0:23:49 | 0:23:50 | |
No, because nothing we've discovered so far would explain | 0:23:50 | 0:23:53 | |
your interest this case. | 0:23:53 | 0:23:55 | |
Ah. | 0:23:55 | 0:23:57 | |
So? | 0:23:57 | 0:23:58 | |
Abigale Padua was my mother's great-grandmother. | 0:24:02 | 0:24:06 | |
This crime has haunted my family for generations. | 0:24:08 | 0:24:11 | |
It was my mother's dying wish that I should discover | 0:24:14 | 0:24:18 | |
the truth about what happened to Abigale. | 0:24:18 | 0:24:21 | |
Abigale Padua didn't have any children. | 0:24:23 | 0:24:25 | |
Well, it can't be that then. I'll be in your office if you need me. | 0:24:27 | 0:24:30 | |
Do knock. | 0:24:32 | 0:24:33 | |
PHONE BEEPS | 0:24:45 | 0:24:48 | |
Jack? What do you make of this? | 0:25:01 | 0:25:03 | |
What? | 0:25:03 | 0:25:04 | |
Don't ask me, Brian, you're much better to do all this financial stuff than I am. | 0:25:16 | 0:25:20 | |
PHONE RINGS | 0:25:31 | 0:25:32 | |
HE COUGHS | 0:25:32 | 0:25:36 | |
Oh, I'll be back in a minute. | 0:25:45 | 0:25:47 | |
Gerry?! What are you doing? | 0:25:52 | 0:25:54 | |
It's a woman. | 0:25:54 | 0:25:56 | |
What woman? | 0:25:56 | 0:25:57 | |
Elizabeth. Elizabeth Green. Nearly all his incoming and outgoing calls over the last few days, | 0:25:57 | 0:26:01 | |
including that last one, Elizabeth Green. | 0:26:01 | 0:26:03 | |
Maybe it's a girlfriend? | 0:26:03 | 0:26:05 | |
Of course. | 0:26:05 | 0:26:07 | |
A girlfriend? Don't be stupid. | 0:26:07 | 0:26:08 | |
Well, what then? | 0:26:08 | 0:26:10 | |
You think it's a girlfriend? | 0:26:10 | 0:26:11 | |
What else could it be? | 0:26:11 | 0:26:12 | |
I don't know but not Jack, no. | 0:26:12 | 0:26:15 | |
He's leaving us for a bit of skirt. | 0:26:15 | 0:26:17 | |
I doubt she's a "bit of skirt", Brian. | 0:26:17 | 0:26:19 | |
What about Mary? | 0:26:19 | 0:26:21 | |
Mary's dead. | 0:26:21 | 0:26:22 | |
Oh, so that's a licence for him to shack up in France | 0:26:22 | 0:26:25 | |
with the first girl that flutters her eyelashes, is it? | 0:26:25 | 0:26:27 | |
This is Jack we're talking about, Brian, not Benny Hill. | 0:26:27 | 0:26:30 | |
Look, if he wants to talk to us about it, then that's fine, | 0:26:30 | 0:26:32 | |
but we can't worry about it today, we must focus on this case. | 0:26:32 | 0:26:36 | |
Fifth of January, 1851. Interview with Sidney Padua Esquire. | 0:26:45 | 0:26:51 | |
It is Mister Padua's assertion that he was working late at his office | 0:26:51 | 0:26:54 | |
on the night of the fourth of January and he was not expecting | 0:26:54 | 0:26:57 | |
to see his sister, Abigale, | 0:26:57 | 0:26:59 | |
until office hours commencing at eight o'clock the following morning. | 0:26:59 | 0:27:02 | |
Sixth of January. | 0:27:02 | 0:27:03 | |
I share with Mister Padua my concern that he bears a striking resemblance | 0:27:03 | 0:27:07 | |
to a man seen by several witnesses in the vicinity | 0:27:07 | 0:27:11 | |
of Abigale Padua's murder. | 0:27:11 | 0:27:14 | |
Mr Padua insists that he was in his office at the time of the murder. | 0:27:14 | 0:27:17 | |
Seventh of January, Mister Padua denies being involved | 0:27:17 | 0:27:21 | |
in any altercations with women of low repute | 0:27:21 | 0:27:25 | |
in the weeks preceding Abigail Padua's death. | 0:27:25 | 0:27:27 | |
He also denies reports by members of his household staff | 0:27:27 | 0:27:32 | |
that he and his sister enjoyed a tempestuous relationship... | 0:27:32 | 0:27:35 | |
I came out into the hallway and Mr Padua and Miss Abigale, | 0:27:35 | 0:27:38 | |
they were arguing, | 0:27:38 | 0:27:39 | |
and then he struck her across the face. | 0:27:39 | 0:27:42 | |
How dare you, Inspector! | 0:27:42 | 0:27:44 | |
This is the third time you have come to my house | 0:27:44 | 0:27:46 | |
and the third time you have chosen to insult me! | 0:27:46 | 0:27:49 | |
Renfield had his sights firmly fixed on Sidney Padua. | 0:27:53 | 0:27:57 | |
Did he ever talk to a man called William Anderson? | 0:27:57 | 0:28:00 | |
Not so far. Why, who's he? | 0:28:00 | 0:28:02 | |
Padua's most obvious business rival. | 0:28:02 | 0:28:04 | |
When Padua & Co went under, Anderson cleaned up. | 0:28:04 | 0:28:07 | |
There was speculation at the time that he'd somehow bet against Padua. | 0:28:07 | 0:28:11 | |
Don't ask me how that works, | 0:28:11 | 0:28:13 | |
but it would require that Anderson knew in advance | 0:28:13 | 0:28:16 | |
that Padua's investment scheme would collapse. | 0:28:16 | 0:28:20 | |
Renfield wouldn't have known about that. | 0:28:20 | 0:28:22 | |
The case was closed before anything about investments would've come out. | 0:28:22 | 0:28:25 | |
What was it? Two weeks? It's a bit quick, innit. | 0:28:25 | 0:28:28 | |
A lot of very important people lost a lot of money, Gerry. | 0:28:28 | 0:28:30 | |
They wouldn't have wanted it known they'd invested in a shaky scheme cooked up by | 0:28:30 | 0:28:34 | |
a bloke suspected of murdering his sister. | 0:28:34 | 0:28:36 | |
Hence why there's only one copy of the Renfield report. | 0:28:36 | 0:28:39 | |
And why there's absolutely nothing about this case online. | 0:28:39 | 0:28:42 | |
And hence Fisher's burn-bag. | 0:28:42 | 0:28:44 | |
So what the hell is he up to? | 0:28:44 | 0:28:47 | |
I don't know, but I do think Sidney Padua is our man | 0:28:47 | 0:28:49 | |
and whatever he did, must be connected to now, or he wouldn't be so interested. | 0:28:49 | 0:28:54 | |
It took them long enough to focus, didn't it? | 0:28:56 | 0:28:58 | |
I feel like I'm presiding over detention. | 0:28:58 | 0:29:01 | |
Are you sulking, Robert? | 0:29:03 | 0:29:04 | |
How did you know Jack was leaving? | 0:29:04 | 0:29:06 | |
I know lots of things. | 0:29:06 | 0:29:08 | |
How did Pullman take it? | 0:29:11 | 0:29:12 | |
We haven't had much chance to discuss it, have we? | 0:29:12 | 0:29:15 | |
She's losing her mentor. | 0:29:15 | 0:29:17 | |
I think she can stand on her own two feet. | 0:29:17 | 0:29:19 | |
Oh, she's very capable. | 0:29:19 | 0:29:21 | |
Too capable, wouldn't you say? | 0:29:23 | 0:29:24 | |
The work we do here... | 0:29:26 | 0:29:27 | |
Yes, yes, I know. | 0:29:27 | 0:29:29 | |
It's all very vital and challenging. | 0:29:29 | 0:29:31 | |
So is cleaning the toilets at the House of Lords but we don't put our best people on it. | 0:29:31 | 0:29:35 | |
She's here because she wants to be. | 0:29:35 | 0:29:36 | |
She's very loyal to this team. | 0:29:36 | 0:29:39 | |
Interesting that you see it that way round. | 0:29:39 | 0:29:41 | |
I wonder if it's not their loyalty to her that keeps her here. | 0:29:41 | 0:29:46 | |
UCOS wouldn't survive Pullman leaving, would it? | 0:29:46 | 0:29:49 | |
I don't know. | 0:29:49 | 0:29:51 | |
Yes you do. | 0:29:51 | 0:29:52 | |
You might find someone to replace her, but you'd very likely lose the team dynamic - | 0:29:52 | 0:29:56 | |
if dynamic is the right word. | 0:29:56 | 0:29:58 | |
Pullman knows that. | 0:30:00 | 0:30:01 | |
She has no partner, no children. | 0:30:01 | 0:30:04 | |
Her father committed suicide, her mother... | 0:30:04 | 0:30:08 | |
Surely Sandra Pullman is here | 0:30:11 | 0:30:13 | |
because it's the only place she actually feels wanted? | 0:30:13 | 0:30:16 | |
Is this conversation useful, Stephen? | 0:30:16 | 0:30:19 | |
It's interesting, human nature. Don't you find? | 0:30:19 | 0:30:23 | |
If you understand what makes someone tick, they become predictable. | 0:30:23 | 0:30:27 | |
I wouldn't call anyone out there predictable. | 0:30:28 | 0:30:31 | |
Oh, but they are, Robert. You wait and see. | 0:30:31 | 0:30:36 | |
There's something weird going on with these numbers. | 0:30:45 | 0:30:47 | |
I love conversations that start like that. | 0:30:47 | 0:30:50 | |
This algorithm that Abigale Padua invented for the investment company, | 0:30:50 | 0:30:55 | |
I've been feeding the numbers into a spreadsheet | 0:30:55 | 0:30:58 | |
and it works like a dream until the inputs get too high... | 0:30:58 | 0:31:01 | |
What does that actually mean, Brian? | 0:31:01 | 0:31:03 | |
Well, it means that if too many people invest too much money, | 0:31:03 | 0:31:06 | |
the whole thing collapses and everyone loses. | 0:31:06 | 0:31:08 | |
-That's what happened, didn't it? -Could it have been deliberate? | 0:31:08 | 0:31:12 | |
Revenge, you mean? | 0:31:12 | 0:31:13 | |
According to Renfield's report, Sidney Padua didn't treat Abigale very well. | 0:31:13 | 0:31:19 | |
It's hard to tell if this flaw is intended or not. | 0:31:19 | 0:31:22 | |
There are annotations alongside Abigale's calculations, initialled "JG", | 0:31:22 | 0:31:27 | |
presumably Joseph Gleick, our second victim. | 0:31:27 | 0:31:32 | |
The annotations suggest that he'd also spotted the problem. | 0:31:32 | 0:31:36 | |
Why didn't they warn Sidney? | 0:31:36 | 0:31:38 | |
-Maybe he didn't believe them. -Or didn't want to hear it. | 0:31:38 | 0:31:40 | |
If someone warns you your company's about to go under... | 0:31:40 | 0:31:44 | |
It could've been too late to do anything. | 0:31:44 | 0:31:46 | |
Plus wealthy, influential people have invested with you, | 0:31:46 | 0:31:49 | |
you'll lose a lot of face giving them their money back because you got the numbers wrong. | 0:31:49 | 0:31:53 | |
You're going under either way, though, aren't you? | 0:31:53 | 0:31:55 | |
So there's only one thing to do... | 0:31:55 | 0:31:57 | |
William Anderson. | 0:31:57 | 0:31:58 | |
We know Anderson made a lot of money when Padua & Co went under. | 0:31:58 | 0:32:01 | |
He couldn't have done that without a tip-off. | 0:32:01 | 0:32:03 | |
Sidney goes to his biggest rival, | 0:32:03 | 0:32:06 | |
presumably under a different name and bets against himself. | 0:32:06 | 0:32:09 | |
The investment goes belly up. | 0:32:09 | 0:32:11 | |
And Sidney makes a fortune. | 0:32:11 | 0:32:12 | |
No, no, no, but did he, though? | 0:32:12 | 0:32:14 | |
I thought he left London penniless? | 0:32:14 | 0:32:16 | |
He'd have to make it appear that way, wouldn't he? | 0:32:16 | 0:32:19 | |
And the only flies in the ointment would be Abigale Padua and Joseph Gleick. | 0:32:19 | 0:32:23 | |
If they'd already warned him and he hadn't called the thing off, | 0:32:23 | 0:32:26 | |
then they'd know he was up to something... | 0:32:26 | 0:32:28 | |
Find out where Sidney Padua went | 0:32:30 | 0:32:32 | |
and more importantly what kind of lifestyle he had when he got there. | 0:32:32 | 0:32:36 | |
Well, yes, France will be different... More relaxing, yes... | 0:32:36 | 0:32:40 | |
Something's come up, I'll call you back. | 0:32:40 | 0:32:43 | |
-What's going on, Jack? -With what? | 0:32:43 | 0:32:46 | |
Your sudden decision to leave for a start, and all these secret phone calls. | 0:32:46 | 0:32:50 | |
They're not secret, they're private. | 0:32:50 | 0:32:52 | |
There's a lot of things to do, Sandra. | 0:32:52 | 0:32:54 | |
You're seriously leaving? | 0:32:55 | 0:32:57 | |
-Yes. -France? | 0:32:57 | 0:32:58 | |
The Ardeche. And it's not a sudden decision, | 0:32:58 | 0:33:01 | |
I've been thinking about leaving for 50 years. | 0:33:01 | 0:33:04 | |
In that case you could have given us more than a day's notice. | 0:33:04 | 0:33:07 | |
I was trying to avoid this sort of conversation. | 0:33:07 | 0:33:09 | |
Well, it didn't work, did it. Who's Elizabeth Green? | 0:33:09 | 0:33:13 | |
Oh, so Gerry looked at my phone. | 0:33:13 | 0:33:15 | |
-Yeah, cos we're worried. We don't understand... -I don't want you to worry about me. | 0:33:15 | 0:33:19 | |
Who is she? | 0:33:19 | 0:33:21 | |
-That's none of your business. -If she's the reason you're leaving it is my business. | 0:33:21 | 0:33:24 | |
I'm leaving because I'm fed up. | 0:33:24 | 0:33:26 | |
I didn't join the force to put up with the political machinations | 0:33:26 | 0:33:29 | |
of Strickland and Fisher and all their kind, | 0:33:29 | 0:33:32 | |
and yet that's all I seem to have done for the last five decades. | 0:33:32 | 0:33:36 | |
Fine. You do what you want, Jack. Please yourself. | 0:33:36 | 0:33:38 | |
Is there anybody else I'm supposed to be pleasing? | 0:33:38 | 0:33:41 | |
Is there anybody else I'm supposed to be responsible for? | 0:33:41 | 0:33:44 | |
No. | 0:33:45 | 0:33:47 | |
Are you trying to tell me you can't stand on your own two feet? | 0:33:47 | 0:33:50 | |
I just don't want you to go. | 0:33:51 | 0:33:52 | |
Well, why didn't you say that in the first place? | 0:33:52 | 0:33:55 | |
Would it have made a difference? | 0:33:55 | 0:33:57 | |
No. | 0:33:57 | 0:33:58 | |
But at least it would have avoided this ridiculous conversation. | 0:33:58 | 0:34:01 | |
Come on, let's get back to work. | 0:34:02 | 0:34:04 | |
Now. Witnesses. | 0:34:14 | 0:34:15 | |
These women were all on the game. | 0:34:15 | 0:34:18 | |
And according to Renfield's report they all claimed to have been hassled | 0:34:18 | 0:34:22 | |
by a tall man in a long dark coat | 0:34:22 | 0:34:24 | |
in the two weeks prior to Abigale's death. | 0:34:24 | 0:34:26 | |
But none of them came forward until after the murder. | 0:34:26 | 0:34:29 | |
Now Renfield was iffy about them and I think he was right to be, | 0:34:29 | 0:34:34 | |
-I reckon they were paid to tell porkies to the cops. -Can we prove that? | 0:34:34 | 0:34:37 | |
No. There's no way of tracing them, | 0:34:37 | 0:34:39 | |
or checking if they suddenly came into money. | 0:34:39 | 0:34:41 | |
What about Quinn and Co? | 0:34:41 | 0:34:43 | |
Well, that is more interesting. | 0:34:43 | 0:34:45 | |
In the 1851 census, there was a Thomas Quinn | 0:34:45 | 0:34:50 | |
living within a few streets of the factory where he was night-watchman. | 0:34:50 | 0:34:53 | |
But, he doesn't appear on the 1861 census. | 0:34:53 | 0:34:59 | |
Tell them about the bomb. | 0:34:59 | 0:35:00 | |
I'm coming to that, Brian. The factory was bombed in the Blitz. | 0:35:00 | 0:35:03 | |
So I did a little search, and I came up with this... | 0:35:03 | 0:35:08 | |
Now the bomb that landed on the factory didn't explode, | 0:35:11 | 0:35:14 | |
but it caused a lot of damage as it fell through the building | 0:35:14 | 0:35:18 | |
and buried itself in the basement. | 0:35:18 | 0:35:20 | |
When the bomb disposal crews turned up to dig it out and defuse it, | 0:35:20 | 0:35:23 | |
they found the body of a 30-year-old man, | 0:35:23 | 0:35:26 | |
which they reckon had been buried in the dirt under the basement for a hell of a long time. | 0:35:26 | 0:35:32 | |
Thomas Quinn? | 0:35:32 | 0:35:34 | |
Can't prove it, there's no way of matching those bones, wherever they are, to Quinn's. | 0:35:34 | 0:35:38 | |
But what is interesting is he cause of death. | 0:35:38 | 0:35:40 | |
He was bludgeoned? | 0:35:40 | 0:35:42 | |
Skull caved in in three places. | 0:35:42 | 0:35:43 | |
What about this other witness? | 0:35:43 | 0:35:45 | |
The one with the different address that turned out to be in the same building... | 0:35:45 | 0:35:49 | |
George Boole. | 0:35:49 | 0:35:50 | |
Never existed. At least, he's not on any census that I've found. | 0:35:50 | 0:35:54 | |
Thomas Quinn couldn't have seen what he claimed to have seen from that first floor window? | 0:35:54 | 0:35:59 | |
-No. -But he saw something. -There's a window at the back overlooking the crime scene. | 0:35:59 | 0:36:03 | |
Quinn could have been a witness to the actual murder... | 0:36:03 | 0:36:07 | |
And the killer saw him. | 0:36:07 | 0:36:08 | |
So he finishes with Abigale Padua | 0:36:08 | 0:36:11 | |
and then he pays Thomas Quinn a little visit. | 0:36:11 | 0:36:13 | |
HE SCREAMS | 0:36:13 | 0:36:16 | |
He takes the body down to the basement and he buries it. | 0:36:16 | 0:36:18 | |
So he buries Quinn, cleans himself up and then he's about to slip away... | 0:36:18 | 0:36:23 | |
but the alarm has gone up and there are police everywhere. | 0:36:23 | 0:36:25 | |
Maybe they knock on the door looking for witnesses | 0:36:25 | 0:36:27 | |
or maybe the killer comes out of his own accord. | 0:36:27 | 0:36:30 | |
Either way, he's improvising now. | 0:36:30 | 0:36:32 | |
Quinn's murder was spur of the moment | 0:36:32 | 0:36:34 | |
but, he doesn't panic, he turns all of this to his advantage... | 0:36:34 | 0:36:37 | |
He identifies himself to the police as Thomas Quinn | 0:36:37 | 0:36:40 | |
and sends them in the wrong direction. | 0:36:40 | 0:36:42 | |
But he can't leave the building because he's told them he's the night watchman. | 0:36:42 | 0:36:46 | |
So he goes back through the factory... | 0:36:46 | 0:36:48 | |
And out the back door? | 0:36:48 | 0:36:49 | |
And there he meets more police, | 0:36:49 | 0:36:51 | |
whereupon he identifies himself as George Boole | 0:36:51 | 0:36:54 | |
and he sends those policemen off in a completely different direction. | 0:36:54 | 0:36:58 | |
So, it's like Jack said, | 0:36:58 | 0:36:59 | |
he's creating noise, | 0:36:59 | 0:37:01 | |
he's confusing the police with contradictory witness statements. | 0:37:01 | 0:37:05 | |
So Quinn and Boole are both the killer. | 0:37:05 | 0:37:09 | |
It does fit. | 0:37:09 | 0:37:10 | |
We can't prove it. | 0:37:10 | 0:37:12 | |
You don't have to prove it. | 0:37:12 | 0:37:14 | |
As you all variously pointed out earlier, | 0:37:14 | 0:37:17 | |
it's a little late to arrest anyone for this crime. | 0:37:17 | 0:37:20 | |
I just want to know what happened. | 0:37:20 | 0:37:23 | |
But why? | 0:37:23 | 0:37:24 | |
Please... Continue. | 0:37:24 | 0:37:27 | |
All this actually means is that all our witnesses are fakes. | 0:37:27 | 0:37:33 | |
No, no, not all of them. John Harper. | 0:37:33 | 0:37:35 | |
The outlier. He doesn't fit the pattern. | 0:37:35 | 0:37:38 | |
No, I reckon he's legit. | 0:37:38 | 0:37:41 | |
Abigale Padua ran in front of his coach and caused this huge pile up. | 0:37:41 | 0:37:44 | |
Now he described the man chasing her and I think he's the only one telling the truth. | 0:37:44 | 0:37:49 | |
So what happened to him? | 0:37:49 | 0:37:50 | |
-Murdered. -You're kidding. | 0:37:50 | 0:37:52 | |
Two weeks later, down by the river. | 0:37:52 | 0:37:54 | |
-How? -Skull caved in. | 0:37:54 | 0:37:55 | |
It looked like a robbery. Maybe it was. | 0:37:55 | 0:37:57 | |
And maybe it wasn't. | 0:37:57 | 0:37:59 | |
It doesn't make sense, though. | 0:38:01 | 0:38:02 | |
Harper had already made his statement, | 0:38:02 | 0:38:05 | |
which was woolly at best, so why kill him? | 0:38:05 | 0:38:08 | |
He'd seen the murderer. | 0:38:09 | 0:38:10 | |
Yeah, but his description was so general as to be useless. | 0:38:10 | 0:38:13 | |
That's not the point. He'd seen him. There was a good chance he'd recognise him if he saw him again. | 0:38:13 | 0:38:17 | |
Gerry, what was the date of John Harper's murder? | 0:38:17 | 0:38:21 | |
30th of January. | 0:38:22 | 0:38:24 | |
The date on this newspaper is February the second. | 0:38:26 | 0:38:30 | |
He might not've given a very good description of the killer... | 0:38:30 | 0:38:32 | |
But he'd have recognised the picture. | 0:38:32 | 0:38:34 | |
And Sidney Padua must have known that piece was about to appear with his picture attached. | 0:38:34 | 0:38:40 | |
So we're back to Sidney Padua. | 0:38:40 | 0:38:42 | |
-It's only circumstantial, though. -It doesn't need to be anything more. | 0:38:42 | 0:38:45 | |
Excuse me, but yes it does. | 0:38:45 | 0:38:49 | |
If you're forcing us to pursue this nonsense, at least we'll do it properly. | 0:38:49 | 0:38:54 | |
Professional to the last, Mr Halford. | 0:38:54 | 0:38:57 | |
What outcome are you hoping for here, Stephen? | 0:39:02 | 0:39:05 | |
I told you before, Robert, your clearance level... | 0:39:05 | 0:39:07 | |
I mean, when is this over? | 0:39:07 | 0:39:09 | |
It seems pretty clear Sidney Padua killed his sister. | 0:39:09 | 0:39:11 | |
Brian Lane thinks that's circumstantial. | 0:39:11 | 0:39:14 | |
And you said that was enough. | 0:39:14 | 0:39:16 | |
Lane's an odd fish, isn't he? | 0:39:18 | 0:39:20 | |
Does he still sneak the occasional drink, do you think? | 0:39:20 | 0:39:22 | |
No. | 0:39:22 | 0:39:24 | |
Can't ever be sure though, can you? | 0:39:24 | 0:39:26 | |
Can never fully trust someone like that. | 0:39:26 | 0:39:28 | |
I do. | 0:39:28 | 0:39:30 | |
What would it take, I wonder? | 0:39:30 | 0:39:33 | |
A bad day at work? Some bad news? | 0:39:33 | 0:39:36 | |
Possibly a friend or loved-one in poor health? | 0:39:36 | 0:39:39 | |
They say an alcoholic is always looking for a reason... | 0:39:39 | 0:39:42 | |
Who's "they"? | 0:39:42 | 0:39:44 | |
Well, that's true. I didn't answer your question. | 0:39:44 | 0:39:48 | |
I don't require proof that Sidney Padua killed his sister. | 0:39:49 | 0:39:52 | |
I doubt that's even available, | 0:39:52 | 0:39:55 | |
but I need to know for certain what happened. | 0:39:55 | 0:39:57 | |
And then you're going to destroy all the documentation. | 0:39:57 | 0:40:00 | |
Yes. Yours not to reason why, I'm afraid. | 0:40:00 | 0:40:02 | |
-DOOR OPENS -I thought we were knocking? | 0:40:02 | 0:40:04 | |
Ellis-Finch. | 0:40:04 | 0:40:06 | |
-I'm sorry? -The finance company? -The finance company. | 0:40:06 | 0:40:08 | |
Well? | 0:40:10 | 0:40:11 | |
What have you found? | 0:40:11 | 0:40:13 | |
-We're asking the questions now. -I certainly am. What's going on? | 0:40:13 | 0:40:16 | |
One of the items of jewellery taken from Abigale Padua | 0:40:18 | 0:40:21 | |
was a very distinctive ring. | 0:40:21 | 0:40:23 | |
This ring. | 0:40:23 | 0:40:24 | |
It was sold to a museum at a charity auction in New York in 1987. | 0:40:26 | 0:40:31 | |
Who was the seller? | 0:40:31 | 0:40:33 | |
Joshua Ellis. | 0:40:33 | 0:40:34 | |
Of Ellis-Finch? | 0:40:34 | 0:40:36 | |
A company last year who was involved in the collapse | 0:40:36 | 0:40:38 | |
of two mortgage companies and who are now brokering a deal | 0:40:38 | 0:40:43 | |
to let some big Chinese corporation take over one of our largest pension funds! | 0:40:43 | 0:40:47 | |
And God knows what happens to all those pensions when they do. | 0:40:47 | 0:40:51 | |
What's the connection, Stephen? | 0:40:51 | 0:40:53 | |
Between...? | 0:40:53 | 0:40:55 | |
Do you honestly expect us to believe that it's a coincidence | 0:40:55 | 0:40:58 | |
that a 160-year-old case | 0:40:58 | 0:41:00 | |
is suddenly connected to a major financial deal involving the Chinese? | 0:41:00 | 0:41:04 | |
I really can't control what you believe. | 0:41:04 | 0:41:07 | |
The game's up, Stephen. | 0:41:07 | 0:41:09 | |
You actually do say that, do you? | 0:41:10 | 0:41:12 | |
I'm here because I was led to believe there might be a connection | 0:41:13 | 0:41:17 | |
between Joshua Ellis and the murder of Abigale Padua. | 0:41:17 | 0:41:20 | |
So why didn't you tell us? | 0:41:20 | 0:41:22 | |
Because there's a difference between mounting an investigation | 0:41:22 | 0:41:25 | |
and seeking to prove a hypothesis. | 0:41:25 | 0:41:27 | |
I find the former to be a little more...honest. | 0:41:29 | 0:41:32 | |
There may have been no such connection, after all. | 0:41:32 | 0:41:35 | |
Well, now we know there is, | 0:41:35 | 0:41:37 | |
would you like to share the nature of it with us? | 0:41:37 | 0:41:39 | |
I have no idea, I'm afraid. | 0:41:39 | 0:41:42 | |
I was assuming that would be your team's next course of enquiry. | 0:41:42 | 0:41:46 | |
Who told you about this in the first place? | 0:41:46 | 0:41:48 | |
You know better than to ask. | 0:41:48 | 0:41:51 | |
-Even -I -didn't think you'd involve UCOS in something like this. | 0:41:53 | 0:41:57 | |
Something like what? | 0:41:57 | 0:41:59 | |
This is political. You're a representative of the UK Government, | 0:41:59 | 0:42:02 | |
tasking us to investigate an international investment scheme involving the Chinese. | 0:42:02 | 0:42:07 | |
-You make it sound so sinister. -Well, I'm sure, to the thousands of people | 0:42:07 | 0:42:10 | |
whose pensions are at risk in this scheme, it IS sinister. | 0:42:10 | 0:42:13 | |
We don't know yet, do we? | 0:42:13 | 0:42:15 | |
There may be a perfectly innocent explanation | 0:42:15 | 0:42:17 | |
as to how that ring came into Joshua Ellis's possession. | 0:42:17 | 0:42:20 | |
You don't believe that for a second. | 0:42:20 | 0:42:22 | |
Not for a second, no. | 0:42:22 | 0:42:24 | |
Talk to me about Gerry Standing. | 0:42:30 | 0:42:32 | |
No, I don't think I will. | 0:42:32 | 0:42:33 | |
Well, according to the bumph in this auction catalogue, | 0:42:36 | 0:42:39 | |
that ring was an Ellis family heirloom. | 0:42:39 | 0:42:42 | |
Yeah, right(!) | 0:42:42 | 0:42:44 | |
-It could have been. -How's that? | 0:42:44 | 0:42:46 | |
Depending on how far back you can trace the Ellis family. | 0:42:46 | 0:42:50 | |
Well, that's the thing. I've gone as far back as I can | 0:42:50 | 0:42:52 | |
and the first one I come up with is Henry Ellis, | 0:42:52 | 0:42:55 | |
who turned up in New York in 1852. | 0:42:55 | 0:42:58 | |
The year after the murders. | 0:42:58 | 0:42:59 | |
-Where had he come from? -There's no record of that. | 0:42:59 | 0:43:02 | |
He just seems to appear out of nowhere. But he's got money, | 0:43:02 | 0:43:05 | |
because a few months later, he started an investment firm in Manhattan | 0:43:05 | 0:43:09 | |
and that's the firm that went on to become Ellis-Finch. | 0:43:09 | 0:43:12 | |
-Pictures? -No. | 0:43:12 | 0:43:13 | |
And that's weird as well because in New York in those days, | 0:43:13 | 0:43:17 | |
like today, if you're rich, you're moving in the right circles, | 0:43:17 | 0:43:20 | |
somebody's going to take a photograph of you. | 0:43:20 | 0:43:22 | |
But Henry Ellis seems to have been more than a little camera-shy. | 0:43:22 | 0:43:26 | |
He'd learned his lesson after that newspaper article. | 0:43:26 | 0:43:28 | |
So we still have no concrete link between Sidney Padua and Henry Ellis. | 0:43:28 | 0:43:32 | |
Not concrete, no, but here's the kicker. | 0:43:32 | 0:43:35 | |
Five years later, he got married and had two children. | 0:43:35 | 0:43:38 | |
A boy and a girl... | 0:43:38 | 0:43:40 | |
Abigale and Joseph. | 0:43:41 | 0:43:42 | |
He names his kids after two people he's killed? | 0:43:42 | 0:43:45 | |
-Sounds like it. -That's it, then. | 0:43:45 | 0:43:47 | |
Fisher said he didn't need hard evidence. | 0:43:47 | 0:43:49 | |
What we've got is circumstantial, but pretty damning. | 0:43:49 | 0:43:52 | |
What's the point of it all? | 0:43:52 | 0:43:54 | |
We can't prove Joshua Ellis knows the truth about his ancestry | 0:43:54 | 0:43:59 | |
and, even if he does, he's not responsible for the murders. | 0:43:59 | 0:44:02 | |
He wouldn't be where he is today without them though, would he? | 0:44:02 | 0:44:05 | |
If Sidney hadn't killed his sister and Gleick | 0:44:05 | 0:44:07 | |
and bet against his own company, then Ellis-Finch wouldn't exist. | 0:44:07 | 0:44:10 | |
-Yeah, but who cares now? -The Chinese. It's very important | 0:44:10 | 0:44:14 | |
-family history. -Especially when you're trusting your money | 0:44:14 | 0:44:18 | |
-to a family who made theirs by ripping off investors. -It wasn't him. | 0:44:18 | 0:44:21 | |
Who wasn't him? | 0:44:21 | 0:44:22 | |
Sidney Padua. Guess where he went when he left London? | 0:44:22 | 0:44:26 | |
It's not going to be New York, is it? | 0:44:26 | 0:44:29 | |
He went home. Well, sort of. | 0:44:29 | 0:44:31 | |
Padua? | 0:44:31 | 0:44:33 | |
He died in 1881 in a little village just outside Padua, Italy. | 0:44:33 | 0:44:37 | |
He wasn't living in an enormous mansion by any chance, was he? | 0:44:37 | 0:44:41 | |
He was a shoe salesman for nearly 30 years. | 0:44:41 | 0:44:44 | |
He had three daughters and he was practically penniless. | 0:44:44 | 0:44:46 | |
I know the feeling. | 0:44:46 | 0:44:48 | |
-So Sidney Padua didn't become Henry Ellis? -No. | 0:44:48 | 0:44:52 | |
-And he didn't kill his sister or Joseph Gleick, or the coachman. -No. | 0:44:52 | 0:44:57 | |
But what about the photo in the paper | 0:44:57 | 0:44:59 | |
and the timing of the coachman's death? | 0:44:59 | 0:45:02 | |
Coincidence. It wasn't him. | 0:45:02 | 0:45:05 | |
-Then who was it? -We don't know. | 0:45:05 | 0:45:07 | |
Well, that's ridiculous. | 0:45:07 | 0:45:08 | |
How many people could it have been? | 0:45:08 | 0:45:11 | |
In London? In 1851? Two million, maybe? | 0:45:11 | 0:45:14 | |
Don't be facetious, Mr Halford. | 0:45:14 | 0:45:16 | |
He's not being. | 0:45:16 | 0:45:17 | |
If it wasn't Sidney Padua, then it could have been anyone. | 0:45:17 | 0:45:21 | |
Anyone linked to the Ellis family. | 0:45:21 | 0:45:23 | |
You can only link to the Ellis family | 0:45:23 | 0:45:25 | |
once you've decided what two things you're trying to link together, | 0:45:25 | 0:45:29 | |
that's just simple logic. | 0:45:29 | 0:45:31 | |
Logic! | 0:45:33 | 0:45:35 | |
Boolean logic! | 0:45:35 | 0:45:37 | |
Why did the killer pick that name? | 0:45:37 | 0:45:40 | |
George Boole you mean? | 0:45:40 | 0:45:42 | |
Yeah, it was probably spur of the moment. | 0:45:42 | 0:45:44 | |
He's just buried Thomas Quinn, | 0:45:44 | 0:45:46 | |
he's sent the police off on a wild goose chase. | 0:45:46 | 0:45:48 | |
He's improvising like mad. | 0:45:48 | 0:45:51 | |
But he thinks he's home and dry, | 0:45:51 | 0:45:53 | |
so he calmly walks out through the back door, bang into more policemen, | 0:45:53 | 0:45:57 | |
and he identifies himself as George Boole. | 0:45:57 | 0:46:00 | |
This newspaper. | 0:46:01 | 0:46:03 | |
-Do we have the rest of this newspaper? -Yeah, I have somewhere. | 0:46:03 | 0:46:05 | |
What have you got, Brian? | 0:46:05 | 0:46:07 | |
Boole was a famous Victorian mathematician. | 0:46:07 | 0:46:10 | |
There you go. | 0:46:10 | 0:46:12 | |
Boolean logic - it's like binary. | 0:46:12 | 0:46:14 | |
You know, ones and zeroes. | 0:46:14 | 0:46:16 | |
Ah-ha! | 0:46:17 | 0:46:19 | |
Who plucks a name like that out of his head on the spur of the moment? | 0:46:21 | 0:46:25 | |
You? | 0:46:25 | 0:46:26 | |
It's got to be another mathematician. | 0:46:26 | 0:46:29 | |
That's Gleick. | 0:46:31 | 0:46:32 | |
Yes. An etching taken from a photograph. A very good likeness. | 0:46:32 | 0:46:35 | |
Published on the same day as the picture of Sidney Padua. | 0:46:35 | 0:46:39 | |
Two days after the coachman who saw the killer was killed. | 0:46:39 | 0:46:43 | |
Now we've been assuming that the coachman was killed | 0:46:43 | 0:46:47 | |
to stop him identifying a picture of Sidney Padua in the newspaper. | 0:46:47 | 0:46:52 | |
But maybe it was to stop him | 0:46:52 | 0:46:53 | |
identifying another picture due to be published that day, | 0:46:53 | 0:46:57 | |
to accompany an obituary for Joseph Gleick! | 0:46:57 | 0:47:00 | |
Obituary is the point, surely? Gleick was dead. | 0:47:00 | 0:47:03 | |
Well, no, not necessarily. | 0:47:03 | 0:47:05 | |
Gleick's house was burned down and Gleick was never seen again. | 0:47:05 | 0:47:09 | |
No remains were ever found and I doubt any were looked for. | 0:47:09 | 0:47:12 | |
As far as the Southwark Police were concerned, he died in the fire. | 0:47:12 | 0:47:15 | |
And if Gleick knew that the investment algorithm wasn't going to work... | 0:47:15 | 0:47:20 | |
Maybe you were right before. Maybe it was designed not to work. | 0:47:20 | 0:47:24 | |
These annotations - maybe Gleick wasn't correcting Abigale, | 0:47:24 | 0:47:28 | |
maybe he was collaborating with her. | 0:47:28 | 0:47:31 | |
They decided to have a go at Sidney for what he's done to Abigale | 0:47:33 | 0:47:36 | |
and make a profit on the side. | 0:47:36 | 0:47:38 | |
But if at some point Abigale had a change of heart... | 0:47:38 | 0:47:40 | |
It doesn't take an expert to realise that not only Sidney would be hurt, | 0:47:40 | 0:47:44 | |
but a lot of other people would also lose their money in that deal. | 0:47:44 | 0:47:47 | |
So she goes to warn Sidney. | 0:47:47 | 0:47:49 | |
She's a brave girl, considering how Sidney would have reacted. | 0:47:49 | 0:47:52 | |
But Gleick knows, that if she gets to Sidney, | 0:47:52 | 0:47:54 | |
not only will his profit disappear, but he'll be in serious trouble. | 0:47:54 | 0:47:59 | |
This is another hypothesis. | 0:48:02 | 0:48:04 | |
It seems like a pretty good one to me. | 0:48:04 | 0:48:06 | |
And one we can prove. | 0:48:06 | 0:48:08 | |
How? | 0:48:08 | 0:48:09 | |
Look at this, these are the articles of incorporation | 0:48:09 | 0:48:12 | |
for the company that Henry Ellis set up in 1852. | 0:48:12 | 0:48:16 | |
Look at that. | 0:48:19 | 0:48:20 | |
-You'd need an expert to verify it... -It's the same handwriting. | 0:48:20 | 0:48:23 | |
It was Joseph Gleick all along. | 0:48:24 | 0:48:26 | |
What are you doing to do? | 0:48:28 | 0:48:30 | |
Do? | 0:48:31 | 0:48:32 | |
I need Renfield's original report, all the documents you've used, | 0:48:35 | 0:48:39 | |
every note you made, the physical samples of Gleick's handwriting... | 0:48:39 | 0:48:43 | |
We have evidence here. | 0:48:43 | 0:48:45 | |
Of a crime that was committed a century and a half ago. | 0:48:45 | 0:48:47 | |
As you've all taken great pains to point out, | 0:48:47 | 0:48:49 | |
that's hardly relevant today. | 0:48:49 | 0:48:51 | |
Yes, it is relevant. | 0:48:51 | 0:48:52 | |
That information could stop this Ellis-Finch deal with the Chinese. | 0:48:52 | 0:48:57 | |
He doesn't want it stopped. | 0:48:57 | 0:48:59 | |
He wants to make sure it can't be stopped. | 0:48:59 | 0:49:01 | |
And like Jack said this is a pension fund they're interfering with. | 0:49:03 | 0:49:06 | |
-It's people's lives. -He doesn't care about that, Brian. | 0:49:06 | 0:49:09 | |
Whether I care or not, that's not the business I'm in. | 0:49:09 | 0:49:12 | |
What business are you in? | 0:49:12 | 0:49:14 | |
I serve the national interest. | 0:49:14 | 0:49:15 | |
And it's more important for the nation to make nice with China | 0:49:15 | 0:49:19 | |
and keep people like Joshua Ellis happy | 0:49:19 | 0:49:21 | |
than it is to protect hundreds of thousands of pensioners, is it? | 0:49:21 | 0:49:24 | |
You're not even aware of how naive that sounds, are you? | 0:49:24 | 0:49:27 | |
I think it's time you left, Stephen. | 0:49:27 | 0:49:30 | |
By all means. | 0:49:31 | 0:49:32 | |
Empty-handed, I'm afraid. | 0:49:32 | 0:49:34 | |
-Ah. -It's one thing to come in here and requisition this team | 0:49:35 | 0:49:38 | |
for your own private investigation. | 0:49:38 | 0:49:40 | |
It's quite another to make us all complicit | 0:49:40 | 0:49:42 | |
in the destruction of evidence in a murder investigation, | 0:49:42 | 0:49:45 | |
especially one which may have implications in the present day, | 0:49:45 | 0:49:47 | |
on the international stage. | 0:49:47 | 0:49:49 | |
You've been rehearsing that speech. | 0:49:49 | 0:49:52 | |
The evidence will stay here, | 0:49:55 | 0:49:57 | |
pending a conversation I'm going to have with the Commissioner. | 0:49:57 | 0:49:59 | |
I see. | 0:49:59 | 0:50:01 | |
How do you envisage that conversation playing out? | 0:50:02 | 0:50:05 | |
Well, we'll have to see, won't we? | 0:50:05 | 0:50:07 | |
I can tell you, if you're interested. | 0:50:07 | 0:50:10 | |
The conversation ends with you handing over to me | 0:50:10 | 0:50:12 | |
everything I've asked for, | 0:50:12 | 0:50:14 | |
just prior to writing your letter of resignation. | 0:50:14 | 0:50:16 | |
I won't be threatened by you, Stephen. | 0:50:16 | 0:50:19 | |
I know you'd like us all to think your power extends that far... | 0:50:19 | 0:50:23 | |
Not my power, Robert! | 0:50:23 | 0:50:25 | |
The power of the British Government, | 0:50:26 | 0:50:29 | |
brandishing the Official Secrets Act, to which you are all subject | 0:50:29 | 0:50:32 | |
and the contravention of which brings with it | 0:50:32 | 0:50:35 | |
consequences far graver than you seem to be considering. | 0:50:35 | 0:50:38 | |
Those of you who still have careers, | 0:50:40 | 0:50:42 | |
consider what you will do without them. | 0:50:42 | 0:50:44 | |
Those of you who don't, consider how your loved ones will cope | 0:50:44 | 0:50:49 | |
while you live out the twilight of your lives at Her Majesty's pleasure. | 0:50:49 | 0:50:52 | |
Now... | 0:50:56 | 0:50:57 | |
..I suggest you put the documents in the bag | 0:50:59 | 0:51:04 | |
and put today's events very firmly out of your minds. | 0:51:04 | 0:51:07 | |
A wise decision, Mr Halford. | 0:51:18 | 0:51:21 | |
Shove it. | 0:51:21 | 0:51:22 | |
We must do this again, Robert. Always a pleasure. | 0:51:53 | 0:51:57 | |
-I'm sorry. -It's not your fault. | 0:52:04 | 0:52:06 | |
There was nothing we could do. | 0:52:06 | 0:52:08 | |
Well, I think we've earned a drink. | 0:52:08 | 0:52:10 | |
You up for that, Jack? | 0:52:10 | 0:52:12 | |
There's a couple of things I want to do. I'll meet you there. | 0:52:12 | 0:52:16 | |
What do you want to do? | 0:52:16 | 0:52:17 | |
Couple of errands. I'll see you in about an hour. | 0:52:17 | 0:52:19 | |
-Well, that was quick. -Maybe he's got a date. -A what? | 0:52:22 | 0:52:25 | |
Perhaps there's more to Jack's retirement than meets the eye. | 0:52:25 | 0:52:29 | |
I think we should throw a load of drink down his throat | 0:52:29 | 0:52:31 | |
and just ask him outright. | 0:52:31 | 0:52:33 | |
Go gently, I don't want it turning nasty. | 0:52:33 | 0:52:36 | |
-You coming, Brian? -Yes, yes, of course. I'll just tidy up first. | 0:52:36 | 0:52:40 | |
Work starts again tomorrow, Brian. | 0:52:40 | 0:52:42 | |
We'll finish the Kirby case, so Jack can draw a line under it. | 0:52:42 | 0:52:45 | |
I'll just close the computer down. | 0:52:45 | 0:52:47 | |
Suit yourself. | 0:52:47 | 0:52:49 | |
I'll see you in the pub. | 0:52:49 | 0:52:51 | |
See ya. | 0:52:51 | 0:52:52 | |
It's me. | 0:53:56 | 0:53:57 | |
Yes, it's done. | 0:53:59 | 0:54:00 | |
The information will be in the papers in the next day or so. | 0:54:00 | 0:54:03 | |
No, I've no idea which one of them leaked it. | 0:54:06 | 0:54:09 | |
I think our Mister Ellis will have plenty to worry about | 0:54:09 | 0:54:12 | |
without stringing up some retired policeman. | 0:54:12 | 0:54:14 | |
Exactly. | 0:54:16 | 0:54:17 | |
I suggest it gets put down to yet another careless civil servant | 0:54:19 | 0:54:23 | |
leaving his homework on the train. | 0:54:23 | 0:54:25 | |
Mission accomplished, | 0:54:28 | 0:54:30 | |
we should let sleeping plods lie I think, don't you? | 0:54:30 | 0:54:34 | |
Good luck, Jack. | 0:54:40 | 0:54:42 | |
They think you've got a fancy woman. | 0:54:54 | 0:54:56 | |
Bloody hell, Brian! What are you doing sneaking around? | 0:54:56 | 0:54:59 | |
I was waiting for you. | 0:54:59 | 0:55:00 | |
And you couldn't wait in the pub? | 0:55:00 | 0:55:02 | |
I wanted to warn you. They think you've got a fancy woman. | 0:55:02 | 0:55:06 | |
Elizabeth Green. It's not what you think. | 0:55:07 | 0:55:10 | |
It's not what they think. | 0:55:11 | 0:55:13 | |
You understand them being suspicious, though, don't you? | 0:55:13 | 0:55:17 | |
It's all been a bit sudden. | 0:55:17 | 0:55:19 | |
They think I'm running off to France with a floozy. | 0:55:19 | 0:55:21 | |
What do they think I am? | 0:55:21 | 0:55:23 | |
A liar. | 0:55:23 | 0:55:24 | |
They even had me believing it for a while. | 0:55:25 | 0:55:27 | |
Until I saw you switch those documents on Fisher. | 0:55:27 | 0:55:30 | |
I saw that and I thought, | 0:55:30 | 0:55:33 | |
"Why would Jack risk everything for this? | 0:55:33 | 0:55:37 | |
"Why would he risk his whole future?" | 0:55:37 | 0:55:40 | |
-That's when I looked up Elizabeth Green. -Brian... | 0:55:41 | 0:55:44 | |
The Elizabeth Green Hospice. | 0:55:44 | 0:55:47 | |
I'm going to the Ardeche. | 0:55:52 | 0:55:54 | |
The hospice is arranging the medication I need to take with me. | 0:55:54 | 0:55:57 | |
When did you find out? | 0:55:59 | 0:56:01 | |
Few weeks ago. | 0:56:01 | 0:56:02 | |
It's in the liver. | 0:56:02 | 0:56:04 | |
There's nothing they can do. | 0:56:05 | 0:56:06 | |
We're your friends. | 0:56:09 | 0:56:11 | |
I don't want any fuss. | 0:56:11 | 0:56:12 | |
We're your friends! | 0:56:12 | 0:56:15 | |
Yes, you are. And I want you to remember me as I am. | 0:56:15 | 0:56:18 | |
I want to go away to a place that was special to Mary and me. | 0:56:20 | 0:56:24 | |
And just be there, with her and our memories. | 0:56:24 | 0:56:28 | |
When are you going? | 0:56:29 | 0:56:31 | |
ASAP. | 0:56:31 | 0:56:33 | |
Will you do something for me, Brian? | 0:56:33 | 0:56:36 | |
Yeah, of course I will. Anything. | 0:56:36 | 0:56:39 | |
Don't tell anyone. | 0:56:39 | 0:56:41 | |
Not until after. | 0:56:41 | 0:56:44 | |
And I don't want anyone to try and stop me. | 0:56:45 | 0:56:47 | |
Or anyone coming after me or anyone trying to get in touch with me. | 0:56:47 | 0:56:51 | |
It's just me and Mary. | 0:56:53 | 0:56:55 | |
D'you understand? | 0:56:57 | 0:56:58 | |
Yes. | 0:57:03 | 0:57:04 | |
Now, get into that pub and put on a brave face. | 0:57:04 | 0:57:06 | |
I'm so sorry, Jack. | 0:57:12 | 0:57:14 | |
Brave face, Brian. | 0:57:19 | 0:57:20 | |
And mine's a large Scotch. | 0:57:23 | 0:57:25 | |
Subtitles by Red Bee Media Ltd | 0:58:37 | 0:58:40 |