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# It's all right, it's OK, doesn't really matter if you're old and grey | 0:00:02 | 0:00:05 | |
# It's all right, I say it's OK | 0:00:05 | 0:00:08 | |
# Listen to what I say | 0:00:08 | 0:00:11 | |
# It's all right, doing fine | 0:00:11 | 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 getting to the end of the day # | 0:00:19 | 0:00:22 | |
-Why did you kill him, Mehtin? -I didn't. -You're lying. | 0:00:25 | 0:00:30 | |
Look, I admit I was a bad man ten years ago. | 0:00:30 | 0:00:33 | |
You were a heroin-smuggling sociopath who killed Sean Docherty. | 0:00:33 | 0:00:37 | |
I didn't even know the guy. | 0:00:37 | 0:00:39 | |
He was a poet, yeah? Do I look like I need a rhyme? | 0:00:39 | 0:00:42 | |
-His body was found in your yard. -You "found" the poet on my patch | 0:00:42 | 0:00:47 | |
and used it as an excuse to sniff around | 0:00:47 | 0:00:49 | |
and bring me down for a load of other stuff. | 0:00:49 | 0:00:52 | |
But you never charged me for the murder | 0:00:52 | 0:00:55 | |
and I'm walking out of here in nine months, so go suck on that. | 0:00:55 | 0:01:00 | |
Sean was | 0:01:00 | 0:01:01 | |
bludgeoned to death and then set alight in your yard | 0:01:01 | 0:01:05 | |
between 10 and 10.30pm on March 29th 2002. | 0:01:05 | 0:01:08 | |
-If you say so. -Yet you weren't even in London according to your chauffeur Emre. | 0:01:08 | 0:01:13 | |
-I was driving up to Newcastle. -He's told that story for ten years. | 0:01:13 | 0:01:16 | |
He's a good lad. I'll buy him a drink when I get out. | 0:01:16 | 0:01:19 | |
You'll have a job. He's gone into witness protection. | 0:01:19 | 0:01:23 | |
But, before he went, he broke your alibi. | 0:01:23 | 0:01:26 | |
So go suck on that. | 0:01:27 | 0:01:30 | |
CHEERING AND WHISTLING | 0:01:30 | 0:01:32 | |
Thanks, guys. Thank you. Thank you. | 0:01:32 | 0:01:35 | |
You're all I got. | 0:01:36 | 0:01:39 | |
A mirrored hostage to beauty, | 0:01:39 | 0:01:42 | |
Never quite lost till very, Never quite lost till the end, | 0:01:42 | 0:01:47 | |
"I would nail your arms to sunset, | 0:01:47 | 0:01:50 | |
"I would pin your lies to luck, | 0:01:50 | 0:01:52 | |
"When you put me to your crimson lips and make me want to f..." | 0:01:52 | 0:01:57 | |
Sean Docherty at a poetry slam | 0:01:57 | 0:01:59 | |
-in 2001. -That what you call it? -He was a 22-year-old | 0:01:59 | 0:02:03 | |
from Belfast, recently graduated with a First from UCL | 0:02:03 | 0:02:08 | |
and thought the most exciting poetic prospect of the new millennium. | 0:02:08 | 0:02:12 | |
But his potential never got a chance to flower? | 0:02:12 | 0:02:14 | |
His head was smashed his head in and his body burnt to a crisp. | 0:02:14 | 0:02:18 | |
Found in Mehtin Topal's scrap yard. | 0:02:18 | 0:02:20 | |
-Who? -Topal - was a heroin smuggler | 0:02:20 | 0:02:22 | |
with a network that reached from here to Turkey and beyond. | 0:02:22 | 0:02:26 | |
What was a poet doing mixed up with a drug smuggler? | 0:02:26 | 0:02:29 | |
Can I say right now, I'm allergic to poetry, OK? | 0:02:29 | 0:02:33 | |
so I could take an admin role in this one. | 0:02:33 | 0:02:36 | |
His body was so burnt, they couldn¹t get forensics, | 0:02:36 | 0:02:40 | |
but Docherty's skin, blood, hair, finger and footprints | 0:02:40 | 0:02:43 | |
-were all over the yard. -As were Topal's. | 0:02:43 | 0:02:46 | |
As you¹d expect, seeing as he owned the place. | 0:02:46 | 0:02:49 | |
He claimed he was nowhere near, but his alibi has just gone south. | 0:02:49 | 0:02:52 | |
-And the initial investigation? -The evidence was only circumstantial | 0:02:52 | 0:02:56 | |
and even though they had nothing solid to link into Sean's death, | 0:02:56 | 0:02:59 | |
the CPS did him for drug dealing and laundering. He got 16 years. | 0:02:59 | 0:03:04 | |
He'll have scores to settle, then, when he gets out. | 0:03:04 | 0:03:07 | |
We have to prevent that from happening. | 0:03:07 | 0:03:10 | |
They interviewed his sister before, she didn't have much to say. | 0:03:10 | 0:03:13 | |
No, she's since married an Eoin Donaldson, who's got a GBH from 01. | 0:03:13 | 0:03:18 | |
They don¹t share Sean's artistic sensibilities, then? | 0:03:18 | 0:03:21 | |
-I didn¹t really know him. -Cos of the age difference? | 0:03:32 | 0:03:34 | |
12 years. I'd left and come over before he got to primary school. | 0:03:34 | 0:03:38 | |
What about when he came to university? | 0:03:38 | 0:03:41 | |
He wasn't interested. I saw him a few times, when he needed money, | 0:03:41 | 0:03:44 | |
-but he had more important things to do. -Things that got him killed? | 0:03:44 | 0:03:48 | |
If you whore, fight and thieve, I¹m sure there's a price to pay. | 0:03:48 | 0:03:51 | |
-This is my husband, Eoin. They're asking about Sean. -Yeah? | 0:03:53 | 0:03:57 | |
-How well did you know your brother-in-law? -He was a gobshite. -Eoin! | 0:03:57 | 0:04:00 | |
I'm sure he was sweet when you were in Belfast, | 0:04:00 | 0:04:03 | |
but when he came here, he was Billy Big Bollocks. | 0:04:03 | 0:04:06 | |
-He got what was coming to him. -How did he get involved with Topal? | 0:04:06 | 0:04:10 | |
Sean pissed off everyone he met. Round here that's not so clever. | 0:04:10 | 0:04:15 | |
Can you tell us about your GBH? | 0:04:15 | 0:04:18 | |
Load of nonsense. I used to be a silly boy before I fell in love. | 0:04:18 | 0:04:23 | |
-Used to be? -Cleaned up my act ages ago, when I met the girl of my dreams. | 0:04:23 | 0:04:27 | |
Look, I got nothing to hide. All I'm saying is, | 0:04:29 | 0:04:32 | |
if you want to find out who done Sean, | 0:04:32 | 0:04:34 | |
you've got a job on your hands sorting through the list. | 0:04:34 | 0:04:37 | |
Would you like to give us some names? | 0:04:37 | 0:04:41 | |
You better come next door and take a seat. This could take a while. | 0:04:41 | 0:04:46 | |
So we've got jilted lovers, angry husbands, dealers, pimps, bookies, | 0:04:46 | 0:04:49 | |
bouncers and every villain who ever fenced in North London. | 0:04:49 | 0:04:52 | |
Like I said, he wasn't very popular. | 0:04:52 | 0:04:55 | |
Mara said she hardly saw him, yet you give us a phone book - how come? | 0:04:55 | 0:04:59 | |
I knew Sean a bit better than she ever needs to know, you understand? | 0:04:59 | 0:05:03 | |
-No. Give me a little help. -We went on the lash a few times, that's all. | 0:05:03 | 0:05:08 | |
Sean was OK when he wasn't a twat. | 0:05:08 | 0:05:09 | |
This list'll take weeks to look at. Are you sending us round the houses? | 0:05:09 | 0:05:13 | |
I'm telling you how it is! But if you're really in a hurry | 0:05:13 | 0:05:17 | |
and want to save yourselves some time... | 0:05:17 | 0:05:20 | |
I'm no grass, but I'll give you this for free | 0:05:20 | 0:05:23 | |
cos you'll never meet this geezer. | 0:05:23 | 0:05:25 | |
Try us. | 0:05:25 | 0:05:27 | |
Gourkan Ozil. | 0:05:27 | 0:05:29 | |
He ran some doors, sold some gear, kept a book or two. | 0:05:30 | 0:05:34 | |
Industrious chappie - what's he got to do with Sean? | 0:05:34 | 0:05:36 | |
Sean owed him. Sean owed most people, | 0:05:36 | 0:05:39 | |
but Ozil was the only one who'd slice you for his debt. | 0:05:39 | 0:05:44 | |
I didn't know poets were so minted. | 0:05:51 | 0:05:54 | |
We're in the wrong game. I could've been a poet. | 0:05:54 | 0:05:59 | |
There was a young girl from Peru, who badly needed... | 0:05:59 | 0:06:02 | |
Taxi's on its way to take him to the studio. You've got two minutes. | 0:06:02 | 0:06:06 | |
Wonder if SHE'S Peruvian. | 0:06:06 | 0:06:08 | |
Thank you. | 0:06:08 | 0:06:11 | |
-Morning. -Morning. | 0:06:14 | 0:06:17 | |
Brian Lane and Gerry Standing. | 0:06:17 | 0:06:19 | |
Sorry I can¹t give you long, I'm due on a chat show within the hour. | 0:06:19 | 0:06:24 | |
Yeah? Why? | 0:06:24 | 0:06:26 | |
Haven't you heard? I've been voted Britain's Sexiest Poet. | 0:06:26 | 0:06:30 | |
-Your mum must be so proud. -Do a lot of that kind of thing? | 0:06:30 | 0:06:34 | |
Too much. I only spend 20 per cent of my time actually writing. | 0:06:34 | 0:06:39 | |
And the rest counting your money. | 0:06:39 | 0:06:42 | |
Help yourself. | 0:06:42 | 0:06:44 | |
Oh. | 0:06:44 | 0:06:46 | |
"Liminal Lakes". Thanks very much. Now, you were Sean's flatmate? | 0:06:46 | 0:06:51 | |
Not at the time of his death. But we studied together and we were close. | 0:06:51 | 0:06:57 | |
You told the original investigation you didn't know where he was living. | 0:06:57 | 0:07:00 | |
Sean was a... a free spirit. | 0:07:00 | 0:07:05 | |
He slept on floors, sofas, streets, boxes and other people's beds. | 0:07:05 | 0:07:10 | |
When was the last time you saw him? | 0:07:10 | 0:07:12 | |
-Haven't you read your notes? -We'd rather hear it first hand. | 0:07:12 | 0:07:16 | |
He turned up and stayed a couple of nights, on the 17th and 18th - | 0:07:16 | 0:07:20 | |
ten days or so before he died. | 0:07:20 | 0:07:22 | |
How was he? | 0:07:22 | 0:07:24 | |
Loud, funny,... brilliant. | 0:07:24 | 0:07:28 | |
Who was the last person to see him? | 0:07:28 | 0:07:31 | |
Good question. He never carried a phone. | 0:07:31 | 0:07:33 | |
Last I heard he was trying to get to a party in Ibiza. | 0:07:33 | 0:07:37 | |
We heard he wasn¹t very popular. | 0:07:37 | 0:07:41 | |
Sean... Sean could start a fight in an empty house, | 0:07:41 | 0:07:46 | |
-but that was only part of the story. -But that's the part we're hearing about most. | 0:07:46 | 0:07:51 | |
He was also the most compassionate and inspiring of men. | 0:07:51 | 0:07:56 | |
Were you lovers? | 0:07:56 | 0:07:58 | |
Mm-hm. | 0:07:58 | 0:08:00 | |
Not sexually. The modern era has a myopic obsession with sexual love, | 0:08:00 | 0:08:05 | |
but there are other types. The Greeks had four different words. | 0:08:05 | 0:08:09 | |
Yes, Eros, but there was also Philia, | 0:08:09 | 0:08:11 | |
Agape and Storge. | 0:08:11 | 0:08:15 | |
Which type did you have for Sean? | 0:08:15 | 0:08:17 | |
Agape. | 0:08:17 | 0:08:19 | |
I loved Sean's mind | 0:08:19 | 0:08:21 | |
and his soul | 0:08:21 | 0:08:24 | |
and every querulous and unpredictable moment with him. | 0:08:24 | 0:08:28 | |
Do people kill for Agape? | 0:08:28 | 0:08:30 | |
I'm sure they do, | 0:08:30 | 0:08:32 | |
but in this case, Sean was killed by that lowlife Topal. MOBILE PHONE CHIMES | 0:08:32 | 0:08:36 | |
How they were involved, do you know? | 0:08:36 | 0:08:39 | |
He never let me near his shady side. | 0:08:39 | 0:08:42 | |
But I could tell he was terrified of something. | 0:08:42 | 0:08:46 | |
The taxi is here. | 0:08:46 | 0:08:48 | |
Did he ever mention a man called Gourkan Ozil? | 0:08:48 | 0:08:51 | |
I have to go. | 0:08:52 | 0:08:54 | |
He was a bookmaker. Sean owed him money. | 0:08:54 | 0:08:57 | |
I don't know much about bookmakers. I'm sorry I can't be more help. | 0:08:57 | 0:09:03 | |
He was frightened. Clammed up when we mentioned Ozil's name. | 0:09:05 | 0:09:09 | |
Proper blast from the past, that. I haven't heard of him for years. | 0:09:09 | 0:09:13 | |
-Didn¹t he keep a rival locked in a torture room? -Death by a thousand cuts. | 0:09:13 | 0:09:17 | |
-If Docherty owed him, no surprise he wound up dead. -He had a deal with Serious Crime. | 0:09:17 | 0:09:22 | |
I tried to get near him, they told me to back down. | 0:09:22 | 0:09:25 | |
-Nothing about him on file. -Nah. SCD will have pulled it. | 0:09:25 | 0:09:28 | |
I thought he went back to Turkey. | 0:09:28 | 0:09:31 | |
-Shall I ask the intelligence unit at his local station? -Yeah. | 0:09:31 | 0:09:34 | |
-Shall I ask around on the streets? -OK. | 0:09:34 | 0:09:37 | |
According to the original notes, | 0:09:58 | 0:10:00 | |
nobody spoke to Docherty's university. | 0:10:00 | 0:10:02 | |
-They questioned his college friends. -Didn¹t talk to his tutor though. | 0:10:02 | 0:10:06 | |
-Tutors can be close to their students. -And the rest. -We got a name? | 0:10:06 | 0:10:10 | |
Yeah, I just e-mailed HR. | 0:10:10 | 0:10:12 | |
The tutor was a Professor Powell, | 0:10:12 | 0:10:15 | |
she's an expert in modern poetry. | 0:10:15 | 0:10:17 | |
She's still teaching at UCL AND she was tutor to Luke Oswald. | 0:10:17 | 0:10:22 | |
Worth a visit. Anything on Ozil? | 0:10:22 | 0:10:24 | |
-Nah. Everyone¹s too frightened to talk. -No, drop him. He's a smoke screen. | 0:10:24 | 0:10:29 | |
The intel unit at Ozil¹s nick say he went back to Turkey years ago. | 0:10:29 | 0:10:32 | |
-SCD probably helped him get there. -Eoin Donaldson said we'd never find him. | 0:10:32 | 0:10:36 | |
But he didn't mention that his defence witness for his GBH in 2001 | 0:10:36 | 0:10:40 | |
was a Mr Tony Quinn. | 0:10:40 | 0:10:42 | |
Quinn? Wasn't he one of Topal's men? | 0:10:42 | 0:10:45 | |
Yeah, he got killed during the power struggle after Topal was nicked. | 0:10:45 | 0:10:48 | |
If Donaldson knew one of Topal's thugs, he's got to be in the mix. | 0:10:48 | 0:10:52 | |
You think Eoin worked for Topal as well? | 0:10:52 | 0:10:55 | |
-Let's go and ask him. -Let's call a cab. | 0:10:55 | 0:10:58 | |
Cab for McAndrew? | 0:11:01 | 0:11:03 | |
I used to hang about with Tony, got into a few scrapes. | 0:11:08 | 0:11:12 | |
What sort of scrapes? | 0:11:12 | 0:11:14 | |
Punch-ups in pubs. Tony was a big man, everyone wanted a pop at him. | 0:11:14 | 0:11:19 | |
Eoin, your GBH was more than that. It was intimidation of a shopkeeper. | 0:11:19 | 0:11:23 | |
-Looked like racketeering to me. -Was that a job for Topal? | 0:11:23 | 0:11:27 | |
OK, hands up, you got me. | 0:11:27 | 0:11:29 | |
I was a bit of muscle, dished out a few slaps for Topal with Tony, | 0:11:29 | 0:11:33 | |
that's all, it was innocent. | 0:11:33 | 0:11:35 | |
Why didn't you tell us? | 0:11:35 | 0:11:37 | |
Not in front of Mara. | 0:11:37 | 0:11:39 | |
If she thought I did stuff for Topal... | 0:11:39 | 0:11:42 | |
Didn't she like the idea of someone who worked for a drug dealer? | 0:11:42 | 0:11:46 | |
I never touched that side of things. | 0:11:46 | 0:11:48 | |
Anyway, Mara's the least of your worries. | 0:11:48 | 0:11:50 | |
It looks to me like you avoided mentioning your connection to Topal | 0:11:50 | 0:11:55 | |
because you knew it linked you to the scene of crime. | 0:11:55 | 0:11:59 | |
I had nothing to with... Did you kill Sean? | 0:11:59 | 0:12:02 | |
No! Look, I¹ve been helpful! | 0:12:02 | 0:12:05 | |
Given you a list of people who might've wanted him dead. | 0:12:05 | 0:12:08 | |
To throw us off the scent. Then you gave us Ozil, a bloody ghost! | 0:12:08 | 0:12:12 | |
I told you he disappeared years ago. | 0:12:12 | 0:12:14 | |
Where to? I dunno! Turkey? Witness protection? | 0:12:14 | 0:12:18 | |
- Someone whacked him? I heard he... - Changing the subject again! | 0:12:18 | 0:12:21 | |
Look, I had nothing to do with it. | 0:12:21 | 0:12:23 | |
We'll be in touch. | 0:12:25 | 0:12:27 | |
I don¹t like you. | 0:12:28 | 0:12:31 | |
Auden's talking about the banality of human affliction, | 0:12:33 | 0:12:37 | |
but we can all do that in the pub - | 0:12:37 | 0:12:39 | |
"death sucks, but life goes on" is the thrust of what he's saying. | 0:12:39 | 0:12:44 | |
But poetry isn't about the simple pursuit of a puzzle, | 0:12:44 | 0:12:49 | |
it's about the method of expression. | 0:12:49 | 0:12:51 | |
The language of a poem IS its ideas. | 0:12:51 | 0:12:54 | |
Didn't Auden also argue that poetry should, | 0:12:55 | 0:12:58 | |
as far as possible, tell us the truth | 0:12:58 | 0:13:01 | |
by exposing life's contradictions? | 0:13:01 | 0:13:03 | |
Beaux Arts is a manifestation of that, | 0:13:03 | 0:13:06 | |
-the way it juxtaposes the ordinary... -Back in the real world - | 0:13:06 | 0:13:10 | |
someone beat Docherty to death with a brick and set his body on fire - | 0:13:10 | 0:13:15 | |
have you got any idea who might've done that to him? | 0:13:15 | 0:13:19 | |
Did you know what was going on in his life outside these walls? | 0:13:19 | 0:13:23 | |
I only knew him as a student. | 0:13:24 | 0:13:27 | |
-What about him and Luke Oswald? -They seemed very close. | 0:13:27 | 0:13:31 | |
Did you get any sense that Sean was in trouble? Did he miss lectures? | 0:13:31 | 0:13:35 | |
No. Not at all. | 0:13:35 | 0:13:37 | |
Have you ever heard of a man called Mehtin Topal? | 0:13:37 | 0:13:40 | |
-Not before... all this happened. -We're trying to find a connection | 0:13:40 | 0:13:45 | |
between the two of them. Was Sean a druggie? | 0:13:45 | 0:13:48 | |
-Absolutely not. -A dealer, then? | 0:13:48 | 0:13:51 | |
Sean was a prodigiously talented poet. That was his alpha and omega. | 0:13:51 | 0:13:55 | |
We've seen a tape of him performing at a slam. He was very compelling. | 0:13:55 | 0:14:00 | |
Poetry is all he ever thought about. | 0:14:00 | 0:14:03 | |
Really? I heard he was a bad bugger. Birds, booze and brawling. | 0:14:03 | 0:14:07 | |
Poetry is the pursuit of truth. You can't find that sitting at home | 0:14:07 | 0:14:11 | |
-with a Horlicks. -I suppose he wore velvet jackets an' all? | 0:14:11 | 0:14:15 | |
I must apologise for my colleague. | 0:14:15 | 0:14:18 | |
It's fine. To him, poetry is fey and unimportant | 0:14:18 | 0:14:21 | |
whereas to me it's vital, muscular, | 0:14:21 | 0:14:24 | |
it plunges us into the heart of the human condition. | 0:14:24 | 0:14:28 | |
Absolutely. | 0:14:28 | 0:14:29 | |
Sean had an appetite for life and heightened experience. | 0:14:29 | 0:14:35 | |
-You sound like you were very fond of him. -I was. | 0:14:35 | 0:14:40 | |
Did you shag him? | 0:14:40 | 0:14:43 | |
Why are you so determinedly anti-intellectual? | 0:14:43 | 0:14:46 | |
-She was selling us guff, not answering questions. -You wear it like a badge of pride. | 0:14:46 | 0:14:52 | |
I was after the "truth of their human condition". They were at it. | 0:14:52 | 0:14:56 | |
Maybe, but there are subtler ways of drawing her out | 0:14:56 | 0:15:00 | |
and helping the investigation. | 0:15:00 | 0:15:02 | |
Maybe she did him in when he chucked her. She looked like a bunny boiler. | 0:15:02 | 0:15:07 | |
-She's not the type. -You're only saying that cos you want to get into her Alans. | 0:15:07 | 0:15:12 | |
-Eh? -Cockney poetry. Alan Whickers. Work it out. | 0:15:12 | 0:15:18 | |
I hope you like prison food, Mehtin - | 0:15:23 | 0:15:26 | |
cos you're gonna have an extended stay. | 0:15:26 | 0:15:28 | |
Is that like a joke, only much smaller? Should I be laughing? | 0:15:28 | 0:15:32 | |
-You lied to us. -It's been known to happen. | 0:15:32 | 0:15:35 | |
So you didn't know Docherty? His brother-in-law Eoin worked for you. | 0:15:35 | 0:15:39 | |
Says who? | 0:15:39 | 0:15:41 | |
Everyone talks too loud. | 0:15:44 | 0:15:47 | |
Did Eoin also tell you that Sean worked for me? | 0:15:47 | 0:15:50 | |
So you DID know Sean?! | 0:15:50 | 0:15:52 | |
-Eoin introduced us. -You've spent ten years denying any knowledge of him. | 0:15:52 | 0:15:57 | |
You were desperate to pin his death on me. Denial was my best tactic. | 0:15:57 | 0:16:01 | |
So why yourself get an alibi if you had nothing to hide? | 0:16:01 | 0:16:04 | |
Did Eoin also tell you that Sean grassed on him and Tony? | 0:16:04 | 0:16:08 | |
He put them in the dock for GBH to get off a drink-drive charge. Idiot. | 0:16:08 | 0:16:14 | |
- Is that why you wanted him dead? - I didn't like him. Nobody did. | 0:16:14 | 0:16:17 | |
He was mouthy. So he never worked for me again, but I didn't kill him. | 0:16:17 | 0:16:22 | |
- It's bad for business. - So who did kill him? | 0:16:22 | 0:16:26 | |
-Somebody was trying to stitch me up. -Like who? -I don't squeal. | 0:16:26 | 0:16:31 | |
Well, you better start, cos everyone else is at it | 0:16:31 | 0:16:34 | |
and from where I'm sitting, you're the only one in chains. | 0:16:34 | 0:16:37 | |
Eoin Donaldson. He had a motive, | 0:16:40 | 0:16:42 | |
-access to the yard and he had a problem with Sean. -Is that right? | 0:16:42 | 0:16:46 | |
He wanted to marry the sister, but Sean kept getting him into trouble. | 0:16:46 | 0:16:50 | |
She doesn't want a gangster for a husband. | 0:16:50 | 0:16:54 | |
So Eoin does him, dumps him in my yard, | 0:16:54 | 0:16:56 | |
calls it in and waits for you lot to put the blame my way. | 0:16:56 | 0:17:00 | |
Where were you on the night of 29th March 2002? | 0:17:00 | 0:17:05 | |
Is this for real? | 0:17:07 | 0:17:09 | |
I was at Spurs-Arsenal. I know I wasn't straight with you... | 0:17:11 | 0:17:15 | |
Got any witnesses? | 0:17:15 | 0:17:17 | |
Sure. | 0:17:18 | 0:17:20 | |
Mark, Jase, Lenny - | 0:17:20 | 0:17:24 | |
they all saw me there. | 0:17:24 | 0:17:26 | |
Mark, Jase, Lenny. I'll be needing their full names and addresses. | 0:17:26 | 0:17:30 | |
I didn't say anything cos Mara would have torn me apart if she found out. | 0:17:30 | 0:17:33 | |
Found out what? | 0:17:33 | 0:17:36 | |
That I introduced Sean to Topal. | 0:17:37 | 0:17:41 | |
The kid ends up dead in his yard - that's game over for my marriage. | 0:17:41 | 0:17:45 | |
Football finishes just after 10 - | 0:17:45 | 0:17:47 | |
still gives you time to kill Sean. | 0:17:47 | 0:17:49 | |
-I was in the pub. The Barn - everyone would've seen me there. -What, Mark? Jase? Lenny? | 0:17:49 | 0:17:55 | |
You admit working for Topal and introducing Sean? He needed cash. Thought I'd help. | 0:17:55 | 0:18:00 | |
Fat chance. What happened? | 0:18:00 | 0:18:02 | |
He played the big lad. | 0:18:02 | 0:18:06 | |
I had to slap him about - bring him in to line. | 0:18:06 | 0:18:09 | |
-Is this a confession, Eoin? -I didn't kill Sean. | 0:18:09 | 0:18:12 | |
-Didn't he grass you up for your GBH? Is that why you killed him? -Topal done him. Everyone knows that. | 0:18:12 | 0:18:17 | |
You thought Ozil last time. | 0:18:17 | 0:18:19 | |
Tell you what I think - Topal had nothing to do with this, | 0:18:21 | 0:18:25 | |
neither did Ozil or anyone else you've tried to put us on to. | 0:18:25 | 0:18:29 | |
Sean was a bad penny. No end of trouble. He'd already squealed once, | 0:18:29 | 0:18:33 | |
which proved he couldn't be trusted to keep his mouth shut | 0:18:33 | 0:18:36 | |
so you killed him and then you put him in Topal's yard | 0:18:36 | 0:18:41 | |
hoping he'd get the blame. That¹s what I think. | 0:18:41 | 0:18:44 | |
-Thank you for coming along. -I'm happy to help, but I'm not sure what you're hoping to gain. | 0:18:48 | 0:18:54 | |
An understanding of how this sort of life works. | 0:18:54 | 0:18:57 | |
He seems very popular. | 0:19:00 | 0:19:02 | |
Shall we get our seats? | 0:19:05 | 0:19:07 | |
"You remember our summer's secret, | 0:19:12 | 0:19:16 | |
"Wild strawberries and honeyed wine, | 0:19:16 | 0:19:19 | |
"Our fingers over lawns and flowers, | 0:19:19 | 0:19:24 | |
"The season's ceaseless turn, | 0:19:24 | 0:19:27 | |
"Naked, we were pure in rapture, | 0:19:30 | 0:19:34 | |
"Let me be still... in your heart." | 0:19:34 | 0:19:39 | |
-Are you all right? -I've heard those lines before. From Sean. | 0:19:39 | 0:19:44 | |
I overreacted earlier. I'm not saying Oswald stole those lines. | 0:19:55 | 0:19:58 | |
"Naked, we were pure in rapture"? | 0:19:58 | 0:20:01 | |
"Let me be still in your heart". Sean once used them on me. | 0:20:01 | 0:20:06 | |
Used? | 0:20:06 | 0:20:07 | |
He was trying to get me into bed. Oldest trick in the book. | 0:20:07 | 0:20:11 | |
-I expect you get a lot of that. -Most students get crushes, | 0:20:11 | 0:20:16 | |
few of them do anything about it. | 0:20:16 | 0:20:18 | |
Sean was more impulsive. | 0:20:18 | 0:20:21 | |
He, um, claimed he was in love with me. | 0:20:21 | 0:20:24 | |
He'd been struck by "coup de foudre" - love at first sight. | 0:20:24 | 0:20:28 | |
"Whoever loved that loved not at first sight". Shakespeare knew his onions. | 0:20:28 | 0:20:33 | |
Oh, it wasn't Shakespeare actually. | 0:20:33 | 0:20:35 | |
Though he did use the line in As You Like It. | 0:20:35 | 0:20:39 | |
Marlowe coined the phrase seven years earlier. | 0:20:39 | 0:20:42 | |
Poets borrow and reference each other the whole time. | 0:20:42 | 0:20:45 | |
So when Oswald... used a line today | 0:20:45 | 0:20:50 | |
that you'd previously heard from Sean - doesn¹t mean he stole it? | 0:20:50 | 0:20:54 | |
I shouldn't have got involved, | 0:20:57 | 0:21:00 | |
it was completely unethical, but we were so happy. | 0:21:00 | 0:21:05 | |
How long were you together? | 0:21:05 | 0:21:07 | |
Eight months. | 0:21:07 | 0:21:11 | |
-This could really help us. -It won't. That's why I didn¹t mention it before. | 0:21:11 | 0:21:15 | |
-You might be able to shed light... -Our relationship was entirely personal. | 0:21:15 | 0:21:20 | |
It didn¹t exist in any other context. | 0:21:20 | 0:21:24 | |
Did he ever talk about Eoin? | 0:21:24 | 0:21:26 | |
He didn't tell me anything about his life. | 0:21:26 | 0:21:28 | |
We didn't talk about each other. We held each other and read our books. | 0:21:28 | 0:21:33 | |
-Where would you meet? -My flat always. There wasn't anywhere else. | 0:21:33 | 0:21:38 | |
Though he did take me away to a cottage once. | 0:21:38 | 0:21:41 | |
Very romantic. | 0:21:41 | 0:21:44 | |
A place that Yeats rented once apparently. | 0:21:44 | 0:21:48 | |
The idea thrilled Sean, sleeping in a bed of giants. | 0:21:48 | 0:21:52 | |
-So what went wrong in the end? -I had to end it. | 0:21:52 | 0:21:56 | |
One, the age difference. | 0:21:56 | 0:21:59 | |
I was doing the right thing. | 0:21:59 | 0:22:02 | |
He was so angry afterwards. | 0:22:02 | 0:22:05 | |
Got into all sorts of trouble. I just wish I hadn't hurt him. | 0:22:05 | 0:22:10 | |
-I knew they were at it! -No, it was a proper love affair. | 0:22:10 | 0:22:14 | |
Sounds like she still loves him. Should've seized the day back then. | 0:22:14 | 0:22:19 | |
Still, not much to go on, is it? | 0:22:19 | 0:22:21 | |
It's a tangible motive. | 0:22:21 | 0:22:23 | |
Oswald, who wasn't a brilliant poet, kills Docherty, who was, | 0:22:23 | 0:22:26 | |
and nicks his poetry. | 0:22:26 | 0:22:28 | |
No, no, no. Brian, people kill each other because of love, hate, money - | 0:22:28 | 0:22:33 | |
not poncy poetry. | 0:22:33 | 0:22:35 | |
Well, I'd like to follow it up, Sandra. How's Eoin's alibi? | 0:22:35 | 0:22:40 | |
His mates are standing up for him - at the game and then the pub. | 0:22:40 | 0:22:43 | |
Whoa, whoa, whoa. Eoin's credit card was used at 10.45 | 0:22:43 | 0:22:47 | |
at a petrol station in Deptford! | 0:22:47 | 0:22:50 | |
What was he doing over there? That's nowhere near the football. | 0:22:50 | 0:22:54 | |
-Or the crime scene. -Pull him in again? | 0:22:54 | 0:22:56 | |
No, let's wait til we get his mobile records, give him time to stew. | 0:22:56 | 0:23:00 | |
All right, Brian, come on, let's go and see your thieving poet. | 0:23:00 | 0:23:05 | |
SHE RINGS BELL | 0:23:09 | 0:23:11 | |
-Is Oswald here? -No. | 0:23:16 | 0:23:18 | |
-Are you his partner? -That's rather personal. You'd better come in. | 0:23:18 | 0:23:25 | |
I'm sorting out Luke's papers while he's away. He's lost some notebooks. | 0:23:25 | 0:23:31 | |
Are you his PA? | 0:23:31 | 0:23:33 | |
His agent. Writers can't look after themselves. You end up being | 0:23:33 | 0:23:38 | |
psychiatrist, butler, teacher... | 0:23:38 | 0:23:41 | |
-Where can we find him? -Haven't a clue. | 0:23:41 | 0:23:44 | |
-You mean he's gone missing? -No. He's gone writing. | 0:23:44 | 0:23:48 | |
-Where? -Who knows? | 0:23:48 | 0:23:50 | |
Some writers like the monotony of sameness and work from home. | 0:23:50 | 0:23:55 | |
Whereas Hemmingway wrote in brothels. | 0:23:55 | 0:23:58 | |
Was this trip planned? | 0:23:58 | 0:24:01 | |
-You'll have to ask Luke. -Or did he skip off because we turned up asking awkward questions? | 0:24:01 | 0:24:06 | |
Don't flatter yourself. He's got a reading tomorrow. He'll be back. | 0:24:06 | 0:24:12 | |
I¹ll try and get along to it. | 0:24:12 | 0:24:15 | |
Do you know why some of Docherty¹s work shows up in Luke's poetry? | 0:24:15 | 0:24:20 | |
-You suggesting he's a plagiarist? -Just asking. | 0:24:20 | 0:24:23 | |
Sean and Luke were incredibly close. | 0:24:23 | 0:24:26 | |
They discussed ideas, themes, techniques. | 0:24:26 | 0:24:29 | |
You're implying Luke "stole" a line, | 0:24:29 | 0:24:32 | |
but it's equally possible it was Sean who stole it from Luke first. | 0:24:32 | 0:24:36 | |
-Have you any proof of that? -No. And nor have you. | 0:24:36 | 0:24:40 | |
But poets constantly influence and quote each other in their work. | 0:24:40 | 0:24:45 | |
Thanks. We'll be in touch... when your client come out of hiding. | 0:24:45 | 0:24:50 | |
Who's she? | 0:24:56 | 0:24:58 | |
-Eoin's real alibi. And why he's been telling us so many fibs. -Mistress? | 0:24:58 | 0:25:03 | |
Not for ten years and she still hates him for taking fright | 0:25:03 | 0:25:06 | |
and dumping her after Sean got killed. | 0:25:06 | 0:25:09 | |
-So Eoin's persuaded her in to clear his name? -She didn't want him done for murder. | 0:25:09 | 0:25:14 | |
He knew the phone records would lead us to her in the end. | 0:25:14 | 0:25:17 | |
Anyway, she swears he was with her that night after the game. | 0:25:17 | 0:25:22 | |
Eoin's clean. | 0:25:22 | 0:25:25 | |
"GARBLED VOICE" | 0:25:25 | 0:25:28 | |
It's Topal all we need is the evidence. | 0:25:31 | 0:25:34 | |
Topal ran a tight ship - why kill a numpty like Docherty, | 0:25:34 | 0:25:37 | |
-then dump him in his own back yard? -Usual story, innit? | 0:25:37 | 0:25:41 | |
Got cocky, thought he was bulletproof. Forgot to clean house. | 0:25:41 | 0:25:45 | |
He hasn't got a motive, Gerry. | 0:25:45 | 0:25:47 | |
Then why did he find himself an alibi and steer us to Eoin? | 0:25:47 | 0:25:50 | |
-What did you get out of Oswald? -Vanished. Gone to do some writing, apparently. | 0:25:50 | 0:25:55 | |
-You don't sound convinced. -I don't like people going AWOL. How we doing with Ozil? | 0:25:55 | 0:25:59 | |
The files have definitely been pulled but SCD and Five both swear | 0:25:59 | 0:26:04 | |
-they had nothing to do with it. -Great. He's in witness protection. | 0:26:04 | 0:26:08 | |
I spoke to some uniform at Belmarsh, that¹s what they'd heard about him. | 0:26:08 | 0:26:11 | |
-That's us stuffed. We'll never be allowed to near him. -All we¹ve got is hearsay on Ozil. | 0:26:11 | 0:26:16 | |
-Both Eoin and Topal are much more likely suspects. -This is about poetry, not gangsters. | 0:26:16 | 0:26:22 | |
Here we go. | 0:26:22 | 0:26:24 | |
Oswald killed Docherty to steal his poetry. | 0:26:24 | 0:26:27 | |
-Why else did he disappear as soon as we turned up? -I just want to know where he is. | 0:26:27 | 0:26:32 | |
-And that agent of his claims she hasn't got a clue. -She's hiding something. | 0:26:32 | 0:26:38 | |
-Look at this. -Oh, you bored our bollocks blue with this already! -Hang on. | 0:26:39 | 0:26:44 | |
-"The scent..." -There! | 0:26:48 | 0:26:50 | |
"Through human voices | 0:26:50 | 0:26:53 | |
"Shake us | 0:26:53 | 0:26:56 | |
"And we follow." | 0:26:56 | 0:26:59 | |
He was schtupping Roxanne as well? | 0:27:01 | 0:27:03 | |
Was this before or after the split with Powell? | 0:27:03 | 0:27:06 | |
-I'm not sure. -Let's find out tomorrow morning. Come on. | 0:27:06 | 0:27:10 | |
What I don¹t get | 0:27:10 | 0:27:12 | |
is why two attractive, intelligent women are throwing themselves | 0:27:12 | 0:27:17 | |
-at a scrote like Docherty? -It's the power of poetry, pal. | 0:27:17 | 0:27:20 | |
-Don't be daft. -It's an aphrodisiac, man. | 0:27:20 | 0:27:24 | |
Ugly men have always used honeyed words to lure attractive women. | 0:27:24 | 0:27:29 | |
At last. An explanation of how he pulled Esther. | 0:27:29 | 0:27:34 | |
SMATTERING OF APPLAUSE | 0:27:52 | 0:27:54 | |
Darkness. | 0:28:00 | 0:28:02 | |
Eternal... silence. | 0:28:06 | 0:28:11 | |
A womb! | 0:28:15 | 0:28:17 | |
Twisted with regret! | 0:28:17 | 0:28:19 | |
Don¹t leave me! I shall die of pain! | 0:28:25 | 0:28:29 | |
SHE SHRIEKS La-la-la-la-lal-la-la-la-la-la | 0:28:29 | 0:28:32 | |
la-la-la-la-la-la-la-la-la-la-la... | 0:28:32 | 0:28:36 | |
Brilliant. I've always loved Andrew Marvell. | 0:28:41 | 0:28:45 | |
This York stone is £15. So we could go for that or the terracotta. | 0:28:45 | 0:28:51 | |
Oh, yes, listen to this. | 0:28:52 | 0:28:55 | |
"Had we but world enough and time, | 0:28:55 | 0:28:57 | |
"This coyness, lady, were no crime." | 0:28:57 | 0:29:00 | |
Or Indian sandstone, that's nice. | 0:29:00 | 0:29:03 | |
"But at my back I always hear, | 0:29:03 | 0:29:05 | |
"Time's winged chariot hurrying near, | 0:29:05 | 0:29:08 | |
"And yonder all before us lie, | 0:29:08 | 0:29:11 | |
-"Deserts of vast eternity." -Well, it's your own fault. | 0:29:11 | 0:29:14 | |
I said we should sort out the lawn. | 0:29:14 | 0:29:16 | |
"Let us roll our strength and all our sweetness up into one ball, | 0:29:16 | 0:29:21 | |
"And tear our pleasures with rough strife | 0:29:21 | 0:29:24 | |
"Thorough the iron gates of life!" | 0:29:24 | 0:29:27 | |
Shut up. | 0:29:27 | 0:29:30 | |
Actually, on second thoughts... Come here. | 0:29:32 | 0:29:37 | |
Ooh! | 0:29:37 | 0:29:39 | |
Take those to the post room. And get me a double macchiato. | 0:29:39 | 0:29:45 | |
You again? Are you looking for representation? Is Oswald back yet? | 0:29:48 | 0:29:51 | |
-No. -Anyone would think he had something to hide. | 0:29:51 | 0:29:55 | |
I have every confidence he'll be at his reading later. | 0:29:55 | 0:29:58 | |
TV shows, book tours, lectures in America - you work him hard. | 0:29:58 | 0:30:02 | |
Poets don¹t bathe in gold. If you want to make a living, | 0:30:02 | 0:30:07 | |
-you need to maintain a profile. Luke understands that. -Why didn't you tell us | 0:30:07 | 0:30:12 | |
you and Sean were lovers? | 0:30:12 | 0:30:14 | |
I don't recall you ever asking. | 0:30:14 | 0:30:17 | |
Most people would volunteer the information. Less suspicious. | 0:30:17 | 0:30:21 | |
You can put away the nasty eyes. | 0:30:21 | 0:30:24 | |
I took Sean on straight from uni. | 0:30:26 | 0:30:29 | |
We subsequently slept with each other four times, | 0:30:29 | 0:30:32 | |
or rather 15 times on four occasions if you really need to know, | 0:30:32 | 0:30:35 | |
and he was a demanding lover, albeit a little bit impatient and weepy, | 0:30:35 | 0:30:41 | |
who was on the rebound and had a thing for older women. | 0:30:41 | 0:30:44 | |
Is this too much information or just about right? | 0:30:44 | 0:30:48 | |
- Is this after he finished with Powell? - That's what I meant by "rebound". | 0:30:48 | 0:30:52 | |
You should have told us this before. | 0:30:52 | 0:30:55 | |
Did he mention any of his underworld activities to you? | 0:30:55 | 0:30:58 | |
Nope. It was obvious he was taking a walk on the wild side | 0:30:58 | 0:31:03 | |
and maybe even a little bit pleased with himself for it, | 0:31:03 | 0:31:06 | |
but I wasn't interested in his autobiography. | 0:31:06 | 0:31:10 | |
I was bloody annoyed at the older-woman tag too - I was only 29. | 0:31:10 | 0:31:13 | |
Was his poetry any good? | 0:31:13 | 0:31:16 | |
He was the real deal. | 0:31:16 | 0:31:18 | |
-What about Oswald? -He is also a very exciting poet, I'll make him Laureate one day. | 0:31:18 | 0:31:24 | |
- When did you take him on? - About the same time as Sean. | 0:31:24 | 0:31:27 | |
Buy one, get one free? | 0:31:27 | 0:31:30 | |
Poets aren't commodities. | 0:31:30 | 0:31:32 | |
-But they pay for all this. -Misery memoirs of balloon-breasted celebrities pay for all this. | 0:31:32 | 0:31:37 | |
-Poets bring prestige. -Who came first? Sean or Luke? | 0:31:37 | 0:31:41 | |
I can't remember. | 0:31:41 | 0:31:42 | |
You must have the details on file. Can we take a look? | 0:31:42 | 0:31:46 | |
The filing is pretty chaotic. | 0:31:46 | 0:31:49 | |
You take a look. I've got some calls to make. | 0:31:49 | 0:31:54 | |
This is your filing? | 0:31:59 | 0:32:02 | |
Yeah, we're fully computerised from 03, | 0:32:02 | 0:32:05 | |
but I'm afraid the rest is still on paper. Sorry. | 0:32:05 | 0:32:08 | |
Don¹t worry. Everything from the last 150 years is here somewhere. | 0:32:08 | 0:32:12 | |
I'm sure you'll find what you¹re looking for. | 0:32:12 | 0:32:15 | |
I wonder if Oswald is actually going to turn up. | 0:32:15 | 0:32:19 | |
-He'd be a fool not to. -It would look extremely suspicious if he's done a runner. | 0:32:19 | 0:32:24 | |
I don't mean that, I'm talking about the amount of fit birds here! | 0:32:24 | 0:32:28 | |
I told you - poetry is an aphrodisiac. | 0:32:28 | 0:32:32 | |
You don't need an aphrodisiac with this amount of crumpet. | 0:32:32 | 0:32:35 | |
Open your mind to it. You might find yourself surprised. | 0:32:35 | 0:32:39 | |
Where's Sarah got to? | 0:32:39 | 0:32:43 | |
Ah, here she is. | 0:32:43 | 0:32:45 | |
-Hi. -Hi. Are you all right? | 0:32:48 | 0:32:52 | |
Yeah, I'm fine. I'm just... | 0:32:52 | 0:32:55 | |
..being silly. Overactive imagination, I expect. | 0:32:56 | 0:33:01 | |
Ladies and gentlemen, please welcome Luke Oswald. | 0:33:03 | 0:33:06 | |
This isn't what I wanted when I set out to be a poet. Not at all. | 0:33:15 | 0:33:21 | |
My, um, my friend died tragically young | 0:33:23 | 0:33:27 | |
before his talent could flourish | 0:33:27 | 0:33:30 | |
and, uh, there's not a day goes by | 0:33:30 | 0:33:33 | |
that I don't... | 0:33:33 | 0:33:35 | |
This poem "Rainsong" | 0:33:39 | 0:33:43 | |
is a true expression of Sean Docherty¹s genius. | 0:33:44 | 0:33:48 | |
"Summer rain drums the heads of broken yeomen...º | 0:33:51 | 0:33:54 | |
"Mud-black horses shiver mouth-on-mouth, | 0:34:02 | 0:34:05 | |
"Gaunt and quick as drunken wind..." | 0:34:05 | 0:34:07 | |
-Enjoying it? -I'm loving it. Very surprising. | 0:34:09 | 0:34:14 | |
Ooh, ooh! | 0:34:17 | 0:34:19 | |
Gotcha! | 0:34:35 | 0:34:36 | |
- Find what you wanted? - There was a lot to wade through. | 0:34:38 | 0:34:41 | |
Sorry I couldn't be more help. | 0:34:41 | 0:34:44 | |
We did find this. A letter you wrote to Oswald in November 2001. | 0:34:44 | 0:34:50 | |
You thank him for sending in his material, | 0:34:50 | 0:34:53 | |
but you can't represent him because you think his poetry | 0:34:53 | 0:34:56 | |
is "immature and lacklustre". | 0:34:56 | 0:34:59 | |
-There's no point mincing words. -It's a bit confusing - | 0:34:59 | 0:35:02 | |
we also found a terms-of-engagement letter between the two of you | 0:35:02 | 0:35:07 | |
from April the following year. | 0:35:07 | 0:35:09 | |
Yes. So? | 0:35:09 | 0:35:11 | |
You turn Oswald away, then after Docherty dies, you represent him. | 0:35:11 | 0:35:16 | |
I had a spare place on my list. | 0:35:16 | 0:35:18 | |
-That simple? -Luke sent me some new work. It was much stronger. | 0:35:18 | 0:35:23 | |
-Really? -Poets mature at different moments. | 0:35:23 | 0:35:27 | |
Some, like Dryden and Donne, get better with age. | 0:35:27 | 0:35:30 | |
Some hit a couple of hot spots over 40 years | 0:35:30 | 0:35:33 | |
and others, like Wordsworth, never recapture the glory of their youth. | 0:35:33 | 0:35:37 | |
Have you ever read The Prelude? | 0:35:37 | 0:35:40 | |
No. | 0:35:40 | 0:35:41 | |
Don't. | 0:35:41 | 0:35:44 | |
"Saved by what I am and pulled by what will be, | 0:35:44 | 0:35:47 | |
"Hollow dusk widens every day..." | 0:35:47 | 0:35:50 | |
-MOBILE PHONE CHIMES -Ooh... | 0:35:50 | 0:35:52 | |
Hello? | 0:35:56 | 0:35:57 | |
-Is Oswald with you? -Yeah. He's been going for hours. | 0:35:57 | 0:36:01 | |
His agent is a liar and his poetry's transformed since Docherty died. | 0:36:01 | 0:36:04 | |
-It's time we had a chat. Will you ask him to come in? -With pleasure. | 0:36:04 | 0:36:09 | |
Are you insinuating I killed my dearest friend to steal his poetry? | 0:36:09 | 0:36:14 | |
It's something we're considering. | 0:36:14 | 0:36:17 | |
Your poem "Wild Strawberries" | 0:36:17 | 0:36:20 | |
contains the line "Naked, we were pure in rapture | 0:36:20 | 0:36:23 | |
"Let me be still in your heart." | 0:36:23 | 0:36:25 | |
It does. | 0:36:25 | 0:36:28 | |
Sean Docherty wrote that in 1998. | 0:36:28 | 0:36:30 | |
-Says who? -You're denying you stole the line? | 0:36:30 | 0:36:33 | |
Sarah Powell told you that, didn't she? | 0:36:33 | 0:36:36 | |
You do know she's slightly conflicted when it comes to Sean? | 0:36:36 | 0:36:39 | |
-So you knew about their affair? -I was too polite to say, but seeing as she's telling tales... | 0:36:39 | 0:36:46 | |
Were you jealous of Sean's talent? | 0:36:46 | 0:36:48 | |
Yes. | 0:36:48 | 0:36:50 | |
He was a natural. You had to work harder. Did that make you angry? | 0:36:50 | 0:36:56 | |
It made me full of admiration. And proud to be his friend. | 0:36:56 | 0:37:01 | |
So how come his words are in your work? | 0:37:01 | 0:37:04 | |
This is ridiculous. Sean was 22 when he died. Brilliant though he was, | 0:37:04 | 0:37:09 | |
no poet produces real quality until they¹re much older. | 0:37:09 | 0:37:12 | |
Wordsworth was best when he was young. Have you read The Prelude? | 0:37:12 | 0:37:16 | |
Course I have. | 0:37:16 | 0:37:18 | |
-Boring, isn't it? -What I mean is | 0:37:18 | 0:37:20 | |
it's hardly worth me killing him for a few pages of juvenilia. | 0:37:20 | 0:37:25 | |
Hm? Wouldn't it be better to wait till he's older | 0:37:25 | 0:37:28 | |
to get my hands on a real, decent body of work? | 0:37:28 | 0:37:32 | |
Why did you run away when we started asking you questions? | 0:37:32 | 0:37:37 | |
I went away to write. | 0:37:37 | 0:37:39 | |
You've got a habit of heading for the hills. When I first met you, | 0:37:39 | 0:37:44 | |
you were very chatty until my colleague | 0:37:44 | 0:37:46 | |
started asking you about Gourkan Ozil. | 0:37:46 | 0:37:49 | |
-I told you, I don't know him. -You left as soon as | 0:37:49 | 0:37:52 | |
-his name was mentioned. -I had a taxi waiting. | 0:37:52 | 0:37:55 | |
-Where did you go to write? -I'm not telling you. | 0:37:55 | 0:37:57 | |
I'd advise that cooperation is the best strategy here. | 0:37:57 | 0:38:00 | |
I've never told anybody. That's the point of having somewhere secret. | 0:38:00 | 0:38:05 | |
-I don't want you disappearing again, is that understood? -You can't stop me from working. | 0:38:05 | 0:38:10 | |
If I need to go away, I'll go away. | 0:38:10 | 0:38:14 | |
You approached Roxanne Guthrie in September 2001. | 0:38:16 | 0:38:21 | |
She turned you down. But she signed Sean. | 0:38:21 | 0:38:24 | |
Six weeks after his death, you approached her again and she agreed. | 0:38:24 | 0:38:29 | |
Why the change? | 0:38:29 | 0:38:32 | |
-You'd have to ask HER that. -She said you got better. | 0:38:32 | 0:38:35 | |
She'd be right. The first pieces I sent her were... insipid. | 0:38:35 | 0:38:41 | |
I was impatient, immature. A callow, coltish, privileged boy. | 0:38:41 | 0:38:46 | |
Unlike Sean. | 0:38:46 | 0:38:49 | |
He'd lived! That's what was inspiring about him. | 0:38:51 | 0:38:56 | |
He made you a better writer? | 0:38:56 | 0:38:58 | |
-Yes! -Because you stole his work. -Because I loved him so fiercely that when he died, I became a man! | 0:38:58 | 0:39:05 | |
And I used my despair to become a better poet. | 0:39:05 | 0:39:10 | |
That quality suffuses my work today. | 0:39:10 | 0:39:13 | |
But I'd trade all my success and plaudits in a heartbeat,... | 0:39:15 | 0:39:20 | |
..if I knew it would bring Sean back. | 0:39:21 | 0:39:24 | |
It's annoying, but I think he's genuine. | 0:39:29 | 0:39:33 | |
He clearly adored the bloke. | 0:39:33 | 0:39:36 | |
-Didn¹t stop him nicking his poetry though, did it? -That's going to be hard to prove. | 0:39:36 | 0:39:40 | |
If you ask me who's a more likely killer - Oswald or Topal and Ozil.. | 0:39:40 | 0:39:45 | |
What about Sarah Powell? Mara? Roxanne? | 0:39:45 | 0:39:49 | |
-She rubbed you up the wrong way. -I'm surprised she hasn't married her own reflection. | 0:39:49 | 0:39:53 | |
She's got a career, plenty of cash - why would she want to kill Sean? | 0:39:53 | 0:39:57 | |
She was his rebound lover after Powell. Maybe he chucked her. | 0:39:57 | 0:40:01 | |
She wouldn't take rejection well. | 0:40:01 | 0:40:03 | |
She might hurt him in a moment of passion, | 0:40:03 | 0:40:05 | |
but bash him on the head, douse him in petrol? | 0:40:05 | 0:40:09 | |
-If she hated him badly enough... -You'd have to put Powell in the loop too. | 0:40:09 | 0:40:13 | |
Maybe she killed him after she found him dipping his pen with Roxanne. | 0:40:13 | 0:40:17 | |
Pardon my metaphor. | 0:40:17 | 0:40:20 | |
Any luck? | 0:40:21 | 0:40:24 | |
-I don't know. Women today. -Maybe it's your technique, Gerry. | 0:40:24 | 0:40:27 | |
Nothing wrong with my technique, thistleface. | 0:40:27 | 0:40:30 | |
-PHONE RINGS -Try a bit of poetry on her. | 0:40:32 | 0:40:35 | |
-Do what? -Worked wonders for me and Esther. -Yeah? | 0:40:35 | 0:40:40 | |
I read her a bit of Marvell's Coy Mistress and... | 0:40:40 | 0:40:45 | |
-And what? -Poetry can be very effective. | 0:40:45 | 0:40:49 | |
Sarah Powell's called the station. She claims she¹s being stalked. | 0:40:52 | 0:40:57 | |
-Sorry to cause all this trouble. -What happened? | 0:40:57 | 0:41:00 | |
-Someone followed me home. -Why would they want to do that? | 0:41:00 | 0:41:04 | |
-I don't know. -Did you get a look at him? | 0:41:04 | 0:41:07 | |
No, I just ran in here and locked myself in. | 0:41:07 | 0:41:10 | |
When I looked out, he was by that tree. | 0:41:10 | 0:41:13 | |
When he saw me pick up the phone to call you, he ran away. | 0:41:13 | 0:41:18 | |
OK, thank you. | 0:41:18 | 0:41:20 | |
There's a few shops further up the road. | 0:41:24 | 0:41:26 | |
See if you can harvest CCTV from any of those | 0:41:26 | 0:41:29 | |
and the ones en route from the tube. | 0:41:29 | 0:41:31 | |
Brian... Can you stay for a bit? | 0:41:31 | 0:41:35 | |
Ah, thank you. | 0:41:38 | 0:41:41 | |
Well, these are Sean's. | 0:41:41 | 0:41:43 | |
Ah, thanks. | 0:41:43 | 0:41:46 | |
Aha. "Rainsong" again. | 0:41:47 | 0:41:50 | |
Think there's any significance in Oswald reading that today? | 0:41:50 | 0:41:54 | |
It's one of Sean¹s best poems. | 0:41:54 | 0:41:57 | |
Are there any clues in Sean's work | 0:41:57 | 0:42:01 | |
as to what he was feeling or doing before he died? | 0:42:01 | 0:42:04 | |
I've looked. Analysed every verse, metre, metaphor, rhyming scheme, | 0:42:04 | 0:42:09 | |
-tried every sort of acrostic, numerology. -Numerology? | 0:42:09 | 0:42:13 | |
You can find a "hidden" message in anything if you want to enough. | 0:42:13 | 0:42:17 | |
You know, like the Bible Code fanatics | 0:42:17 | 0:42:20 | |
or literary conspiracy theorists | 0:42:20 | 0:42:22 | |
who say there's a hidden sentence in Shakespeare¹s sonnets | 0:42:22 | 0:42:25 | |
that proclaims "Kit Marlowe wrote this." | 0:42:25 | 0:42:28 | |
-HE CHUCKLES -But there¹s none of that in Sean¹s? | 0:42:28 | 0:42:31 | |
Sean didn't go in for layered ambiguity. His work is very direct. | 0:42:31 | 0:42:35 | |
Sadly, there's no hidden secrets from beyond the grave. | 0:42:35 | 0:42:38 | |
Oswald's pretty good though, isn't he? | 0:42:38 | 0:42:43 | |
Mm. Yes, I'd dismissed him as a media construct, | 0:42:43 | 0:42:47 | |
but I've enjoyed what I've heard of his work so far. | 0:42:47 | 0:42:50 | |
Here, you can borrow this if you like. | 0:42:50 | 0:42:54 | |
-Oh. -There's a terrific tension in his work. | 0:42:54 | 0:42:57 | |
He's very big on identity, redemption, | 0:42:57 | 0:43:02 | |
the healing power of nature. | 0:43:02 | 0:43:04 | |
I think he's exploring... | 0:43:04 | 0:43:06 | |
Sorry. Would you mind going? I feel a bit tired. | 0:43:06 | 0:43:12 | |
But soft, what bike from yonder copper breaks? | 0:43:18 | 0:43:22 | |
How was your damsel in distress? | 0:43:22 | 0:43:24 | |
"Brian, Brian, wherefore art thou, Brian?" | 0:43:24 | 0:43:28 | |
Have you found that stalker yet? | 0:43:28 | 0:43:31 | |
I've got your professor coming out the tube | 0:43:31 | 0:43:33 | |
and I've got her walk home from bars, chemists, even a hairdresser. | 0:43:33 | 0:43:38 | |
But it's hard to identify anyone who looks like they're following her. | 0:43:38 | 0:43:42 | |
I bet it was Oswald. He's not answering. Nor is his bloody agent. | 0:43:42 | 0:43:46 | |
Yeah, that makes sense. He was rattled. | 0:43:46 | 0:43:49 | |
He probably left us and went straight to find Powell. | 0:43:49 | 0:43:52 | |
-Worked out she told us about the missing poetry. -And he wanted to shut her up. | 0:43:52 | 0:43:57 | |
Yeah, so he's stalking her, planning his next move... | 0:43:57 | 0:44:00 | |
And we turn up mob-handed. | 0:44:00 | 0:44:02 | |
-Right, issue a picture. -Hold it, hold it. Take a look at this. | 0:44:02 | 0:44:08 | |
What? | 0:44:10 | 0:44:11 | |
Blimey, it's Sean Docherty! | 0:44:13 | 0:44:16 | |
So who's the body in the yard? | 0:44:16 | 0:44:19 | |
I've got some good news for you, Mara. | 0:44:19 | 0:44:23 | |
It's not Sean's body in Mehtin Topal's scrap yard. | 0:44:23 | 0:44:28 | |
But then you knew that all along, didn't you? | 0:44:28 | 0:44:32 | |
Did you not know she lied to the police? Let us think Sean was dead? | 0:44:32 | 0:44:35 | |
-He's alive? -Yeah, she probably knows where he is right now. | 0:44:35 | 0:44:39 | |
-I don't! I swear I don't! -Mara... | 0:44:39 | 0:44:42 | |
He made me do it. | 0:44:42 | 0:44:44 | |
Listen, son, the Prison Authorities aren't going to let you walk | 0:44:44 | 0:44:48 | |
with this complication over your head. | 0:44:48 | 0:44:50 | |
We just want to know what actually happened in that yard. | 0:44:50 | 0:44:54 | |
It's not Docherty, but the bones were dressed like him. | 0:44:54 | 0:44:56 | |
He's your suspect, I'm in the clear. | 0:44:56 | 0:44:58 | |
-So what's his connection with Ozil? -He owed him money. | 0:44:58 | 0:45:02 | |
Ozil had been chasing him all day. Sean was terrified. | 0:45:02 | 0:45:07 | |
Ozil? So he IS involved in this? | 0:45:07 | 0:45:09 | |
I don't know! Sean said the police would find a body with his stuff | 0:45:09 | 0:45:14 | |
-and when they did I was to... -Lie. | 0:45:14 | 0:45:16 | |
If I didn't help him, he'd tell you lot about the jobs | 0:45:16 | 0:45:19 | |
that Eoin and him did for Topal. | 0:45:19 | 0:45:21 | |
-What jobs? -I knew you'd stop all your bad behaviour | 0:45:21 | 0:45:27 | |
if Sean wasn¹t around to lead you astray! | 0:45:27 | 0:45:30 | |
-Where is he now? -I don't know! | 0:45:30 | 0:45:33 | |
I just wanted him out of our life! | 0:45:33 | 0:45:36 | |
Right, how does this sound? | 0:45:43 | 0:45:46 | |
Ozil is after Sean for his debt. | 0:45:46 | 0:45:48 | |
Sean comes clean and arranges to meet him at the yard after hours. | 0:45:48 | 0:45:53 | |
So they get together at the yard. Sean lumps him, swaps his clothes, | 0:45:53 | 0:45:58 | |
pours petrol all over him and then scarpers. | 0:45:58 | 0:46:01 | |
Could've been planning the whole thing for months. | 0:46:01 | 0:46:04 | |
Yeah. All we've got to do now is find the bastard and ask him. | 0:46:04 | 0:46:08 | |
OK, we're saying that he burns Ozil and runs. | 0:46:08 | 0:46:11 | |
He's a poet who loves nature, but he's a drinker and a gambler | 0:46:11 | 0:46:14 | |
-and he likes a Friday-night punch-up, so where would he go? -Isle of Dogs? | 0:46:14 | 0:46:18 | |
I can't find Powell. She's skipped her lectures, | 0:46:20 | 0:46:24 | |
hasn't been seen since last night. | 0:46:24 | 0:46:26 | |
Sarah! | 0:46:28 | 0:46:29 | |
-Sarah, are you in there?! -Not unless she's been murdered. | 0:46:29 | 0:46:33 | |
-Well, it's what we're all thinking. -We can¹t wait for backup. | 0:46:33 | 0:46:37 | |
-OK, I'm concerned for the safety of the person inside. All agree? -ALL: Yeah. | 0:46:37 | 0:46:42 | |
Steve, do your thing. | 0:46:42 | 0:46:45 | |
Oh, OK. | 0:46:45 | 0:46:47 | |
Here we go. This should do it. | 0:46:48 | 0:46:52 | |
-Open sesame. -Well done. | 0:46:55 | 0:46:57 | |
Sarah! | 0:46:57 | 0:46:59 | |
-She's not strangled in the bedroom. -Or chopped up in the bath. | 0:46:59 | 0:47:03 | |
-So what's happened to her? -She's with Docherty. | 0:47:03 | 0:47:06 | |
What happened here last night? | 0:47:06 | 0:47:08 | |
We talked. | 0:47:08 | 0:47:10 | |
A wide-ranging literary discussion actually, it was wonderful. | 0:47:10 | 0:47:15 | |
Although she did suddenly ask me to leave. Her mood just changed. | 0:47:15 | 0:47:21 | |
I asked her about Docherty's poems | 0:47:21 | 0:47:23 | |
and if they contained any hidden meaning. | 0:47:23 | 0:47:27 | |
It's "Rainsong". She's noticed some kind of message in "Rainsong"! | 0:47:33 | 0:47:38 | |
-What message? -I'm not sure. Where he is maybe? | 0:47:38 | 0:47:42 | |
If we can decipher what she saw in this poem, we can find Docherty. | 0:47:42 | 0:47:48 | |
All right. You stick with that. Boys - with me. | 0:47:48 | 0:47:53 | |
I reckon Oswald, Docherty and Powell are all in on this. | 0:47:53 | 0:47:58 | |
-I¹m going to go to Oswald's house. -He won't be there. | 0:47:58 | 0:48:01 | |
-No, but it's time his agent helped. -I'll get on CCTV, see if there's any trace of Powell leaving here. | 0:48:01 | 0:48:07 | |
-OK. -What about me? | 0:48:07 | 0:48:09 | |
-Track her phone, tell us where she went. -We haven't got time for a triangulation request... | 0:48:09 | 0:48:14 | |
-You still got that contact at the mobile network? -Alice? Yeah. | 0:48:14 | 0:48:19 | |
-Pay her a visit. -Do I have to? She's a bit overwhelming. | 0:48:19 | 0:48:23 | |
Take one for the team, Gerry. | 0:48:23 | 0:48:26 | |
You know, there's a lot of similarities | 0:48:28 | 0:48:31 | |
between this and the supposed death of Christopher Marlowe in 1593. | 0:48:31 | 0:48:36 | |
Marlowe had debts, he was in trouble with the state | 0:48:36 | 0:48:40 | |
and a lot of academics reckon that he didn't die, | 0:48:40 | 0:48:44 | |
but faked his own death and then... | 0:48:44 | 0:48:47 | |
-Spare me the literary lecture. This is a manhunt. -Yeah, but nobody can find them. | 0:48:47 | 0:48:52 | |
This can show us where they are! | 0:48:52 | 0:48:54 | |
I know you feel taken for a ride, but let that go, do some policing. | 0:48:54 | 0:48:58 | |
Look, if we start by running a simple cipher text, | 0:48:58 | 0:49:04 | |
where we replace each letter with the next letter in the alphabet... | 0:49:04 | 0:49:09 | |
Alice! Fancy bumping into you. | 0:49:14 | 0:49:17 | |
You didn't call. You're very rude. | 0:49:19 | 0:49:23 | |
No. but I've been ever so busy. Been undercover. | 0:49:23 | 0:49:27 | |
And I've got a booty like Beyonce's. | 0:49:27 | 0:49:30 | |
No, no, Alice. I've been thinking about you, honestly. | 0:49:30 | 0:49:34 | |
I've written a poem about us. | 0:49:34 | 0:49:36 | |
A proper poem? | 0:49:37 | 0:49:39 | |
Naked,... | 0:49:41 | 0:49:43 | |
We were pure in rapture, | 0:49:43 | 0:49:47 | |
Let me be still in your heart... | 0:49:47 | 0:49:49 | |
It bangs on like that for a bit. I'll tell you the rest later, | 0:49:49 | 0:49:53 | |
but first, I need a favour. | 0:49:53 | 0:49:56 | |
No. There's no sign of them. She must have gone out a back exit. | 0:50:01 | 0:50:08 | |
All is not lost. We could find her with a mono-alphabetic substitution. | 0:50:08 | 0:50:12 | |
We just identify a "key text" to match against... | 0:50:12 | 0:50:16 | |
Wait a minute. Wait a minute. | 0:50:16 | 0:50:19 | |
This is a long shot, | 0:50:19 | 0:50:21 | |
but if you apply... frequency analysis | 0:50:21 | 0:50:25 | |
to each letter of the poem,... | 0:50:25 | 0:50:30 | |
you get a message. | 0:50:30 | 0:50:32 | |
Yes? Yes! What?! | 0:50:32 | 0:50:35 | |
DOORBELL | 0:50:44 | 0:50:47 | |
-Where's Oswald? -He¹s gone away. | 0:50:48 | 0:50:50 | |
-And you're going to tell me where. -I told you, I don't know. | 0:50:50 | 0:50:54 | |
But Sean phoned me, if that's of any interest. | 0:50:54 | 0:50:57 | |
He wants to come out of hiding. | 0:50:57 | 0:51:00 | |
-I presume you told him to hand himself into the police? -I asked him if he was still writing. | 0:51:00 | 0:51:06 | |
His renaissance'd be a sensation, | 0:51:06 | 0:51:08 | |
but only if his poetry was up to snuff. | 0:51:08 | 0:51:10 | |
You do know that Oswald has been in on this all along. With Sean. | 0:51:10 | 0:51:14 | |
I suspect they've even been writing together. What do you think? | 0:51:14 | 0:51:18 | |
This whole affair is becoming tiresome. | 0:51:18 | 0:51:22 | |
Just find Sean and Luke, do what you have to do to sort this out | 0:51:22 | 0:51:26 | |
-and let us get on with our lives. -I could get you ten years for perverting the course of justice. | 0:51:26 | 0:51:31 | |
-Where is Oswald hiding? -Suffolk. And that's all I know. | 0:51:31 | 0:51:37 | |
Oswald is in Suffolk. Any joy with Powell on CCTV? | 0:51:37 | 0:51:42 | |
Not yet, but she hasn't used her Oyster or credit cards. | 0:51:42 | 0:51:45 | |
That's coincidence or she knows what she¹s doing. | 0:51:45 | 0:51:48 | |
-Has she been in contact with him all along? -She could've helped plan the escape. | 0:51:48 | 0:51:52 | |
-Maybe she even helped kill Ozil. -You're being ridiculous! | 0:51:52 | 0:51:57 | |
God, phone companies! Said it'd take three days to process my request! | 0:51:57 | 0:52:01 | |
-We haven't got three days, Gerry. -Fortunately, Alice has hidden skills. | 0:52:01 | 0:52:07 | |
It took her twenty minutes. | 0:52:07 | 0:52:09 | |
Powell's mobile phone was last registered yesterday at 11.17. | 0:52:09 | 0:52:13 | |
Junction 30 of the A12. | 0:52:13 | 0:52:15 | |
-That's in Suffolk! She's gone to see Oswald. -Oh, I'm a bloody fool! | 0:52:15 | 0:52:19 | |
Docherty and Oswald are Marlowe and Shakespeare! | 0:52:19 | 0:52:23 | |
I'm looking at the wrong poem. | 0:52:23 | 0:52:25 | |
A lot of people think Marlowe faked his death | 0:52:25 | 0:52:28 | |
and subsequently fed his verse to Shakespeare. | 0:52:28 | 0:52:31 | |
-There's meta-textual reference to the arrangement in As You Like It. -Brian, get to the point. | 0:52:31 | 0:52:36 | |
Docherty has been alive all this time and giving his work to Oswald. | 0:52:36 | 0:52:40 | |
So all Oswald's poems are actually Docherty's. D'you see? | 0:52:40 | 0:52:44 | |
And that's where Powell got her clue from. | 0:52:44 | 0:52:48 | |
Not from "Rainsong" but from "Liminal Lakes", | 0:52:48 | 0:52:51 | |
-which, when we broke into her house, was open at this page. -So what did she see? | 0:52:51 | 0:52:57 | |
I'm telling you, they're in a cottage nearby. | 0:52:57 | 0:53:01 | |
There's got to be a thousand cottages in Suffolk. | 0:53:01 | 0:53:04 | |
Yeah, but there's only one that Yeats rented. | 0:53:04 | 0:53:07 | |
Docherty and Powell stayed there once ten years ago. | 0:53:07 | 0:53:11 | |
And it's in his poem! | 0:53:11 | 0:53:14 | |
"A decade dreaming in a giant's bed" - | 0:53:14 | 0:53:17 | |
these are Docherty's words in Oswald's guise. | 0:53:17 | 0:53:20 | |
-Makes all the sense in the world. -They're the words Powell used to describe their weekend away | 0:53:20 | 0:53:25 | |
at the cottage that Yeats once rented. Yeats is the giant! | 0:53:25 | 0:53:30 | |
You see, the poem's describing where Docherty lives. | 0:53:30 | 0:53:33 | |
It's an autobiographical map if you know they once stayed there. | 0:53:33 | 0:53:37 | |
And this is the clincher - "a white-bricked prisoner | 0:53:37 | 0:53:42 | |
"circled by nature's changing crown". | 0:53:42 | 0:53:45 | |
KNOCK AT DOOR, DOOR OPENS | 0:53:54 | 0:53:57 | |
Where's Sean Docherty? | 0:53:59 | 0:54:01 | |
Did you never hear about the man from Porlock? | 0:54:01 | 0:54:04 | |
The entire poem "Kubla Khan" came to Coleridge in a dream, | 0:54:04 | 0:54:08 | |
but while writing it down, on line 54, he was interrupted by a visitor. | 0:54:08 | 0:54:14 | |
The rest of the poem vanished | 0:54:14 | 0:54:16 | |
-like ripples on the surface of a stream. -Is there anyone else here with you? | 0:54:16 | 0:54:20 | |
-Nope. -Have Powell and Docherty been here? | 0:54:20 | 0:54:23 | |
No. | 0:54:23 | 0:54:25 | |
And as you don¹t appear to have a warrant, I have to ask you to leave. | 0:54:25 | 0:54:31 | |
Did you help fake Docherty's death? | 0:54:31 | 0:54:33 | |
This feel a lot like harassment. | 0:54:33 | 0:54:36 | |
- Why don't you answer the question? - I have lots of work to do. | 0:54:36 | 0:54:39 | |
Arrest me or I promise I'll see you tomorrow to answer your questions. | 0:54:39 | 0:54:44 | |
-- Tell us about Gourkan Ozil. - Do I need to call my lawyer? -We know you're alive, Sean! | 0:54:44 | 0:54:48 | |
-You're starting to look very foolish now. -We can wait all day. | 0:54:48 | 0:54:54 | |
This is embarrassing. | 0:54:57 | 0:54:59 | |
Yes, you do need to call your lawyer. | 0:54:59 | 0:55:02 | |
It's over, Luke. Don¹t tell them anything. Let me sort this out. | 0:55:04 | 0:55:08 | |
This is my mess. It's right that it's me who pays the price. | 0:55:08 | 0:55:12 | |
I'll come with you. | 0:55:15 | 0:55:18 | |
When did you know? | 0:55:25 | 0:55:27 | |
Not till I read the poem. Brian, I would've told you... | 0:55:27 | 0:55:30 | |
You're not living up to the legend, Sean - rock-star poet, | 0:55:33 | 0:55:38 | |
pursuing the truth - but I'm not getting any sense of that. | 0:55:38 | 0:55:41 | |
Perhaps you're not so brilliant after all. | 0:55:41 | 0:55:44 | |
Maybe that's why you killed Ozil. | 0:55:47 | 0:55:49 | |
You were angry because you couldn't live up to the hype. | 0:55:49 | 0:55:54 | |
It's OK. You don't have to tell us. | 0:55:55 | 0:55:59 | |
Sarah's in the next room, sweating on a conspiracy charge. | 0:55:59 | 0:56:03 | |
-Leave her alone! She's nothing to do with this! -Then, who is? | 0:56:03 | 0:56:07 | |
You're in a world of trouble, son. | 0:56:07 | 0:56:11 | |
I know. | 0:56:11 | 0:56:13 | |
Tell me from the beginning. | 0:56:13 | 0:56:16 | |
I did it. | 0:56:16 | 0:56:18 | |
I... | 0:56:18 | 0:56:21 | |
killed Gourkan Ozil. | 0:56:21 | 0:56:23 | |
Right, Sean, Luke says that he did it. | 0:56:25 | 0:56:29 | |
He wants you to tell us the truth. | 0:56:29 | 0:56:31 | |
I owed Ozil money. | 0:56:35 | 0:56:37 | |
It was only a few hundred quid, but... | 0:56:37 | 0:56:42 | |
..he was determined to get his flesh. | 0:56:43 | 0:56:47 | |
He'd been following me all day. | 0:56:48 | 0:56:52 | |
-He was enjoying it, you know? -What happened? | 0:56:52 | 0:56:56 | |
I was frantic. | 0:56:59 | 0:57:01 | |
I ran to Luke's, I thought I¹d be safe there. | 0:57:01 | 0:57:04 | |
But... Ozil smashed his way in and... | 0:57:04 | 0:57:08 | |
- What happened then? - I got home. | 0:57:08 | 0:57:13 | |
I heard Sean... whimpering. | 0:57:13 | 0:57:16 | |
The smell of blood... | 0:57:18 | 0:57:21 | |
He'd tied him to a chair. | 0:57:21 | 0:57:24 | |
He was torturing him. | 0:57:24 | 0:57:26 | |
He was going to kill me. Be under no doubt about that. | 0:57:28 | 0:57:32 | |
So what did Luke do? | 0:57:32 | 0:57:35 | |
Just went for him. | 0:57:35 | 0:57:37 | |
And then? | 0:57:37 | 0:57:39 | |
Got him cold with this punch. | 0:57:39 | 0:57:42 | |
So pure and clean that... | 0:57:44 | 0:57:47 | |
..just killed him. | 0:57:49 | 0:57:51 | |
So after he killed Ozil, they just made the rest up on the hoof? | 0:57:53 | 0:57:58 | |
Pure opportunism. | 0:57:58 | 0:57:59 | |
And Oswald's got famous on Docherty¹s poems. | 0:57:59 | 0:58:02 | |
-Oswald saved his life. I expect Sean was happy with the deal. -Maybe felt safer being "dead" | 0:58:02 | 0:58:08 | |
-than having half of North London's gangsters after him. -Anyway, | 0:58:08 | 0:58:13 | |
Oswald is determined to take the fall. | 0:58:13 | 0:58:15 | |
He hated his friend being a fugitive because of what he'd done. | 0:58:15 | 0:58:18 | |
-I'm sure his lawyers will be expensive enough to get him off. -And sadly Topal's in the clear. | 0:58:18 | 0:58:23 | |
Doesn't matter, does it? We got a result. All's well that ends well. | 0:58:23 | 0:58:27 | |
-Ha! That's Shakespeare, you know. -I know. I bloody love poetry! | 0:58:27 | 0:58:32 | |
When I went to see Alice, she was ready to give me a right earbashing. | 0:58:32 | 0:58:36 | |
One line of verse and she melted. It's bloody Viagra that stuff! | 0:58:36 | 0:58:40 | |
-Told you. -Wasted on the likes of you. | 0:58:40 | 0:58:44 | |
# It's all right, it's OK | 0:58:47 | 0:58:49 | |
# Doesn't really matter if you're old and grey | 0:58:49 | 0:58:52 | |
# It's all right, I say, it's OK | 0:58:52 | 0:58:55 | |
# Listen to what I say | 0:58:55 | 0:58:58 | |
# It's all right, doing fine | 0:58:58 | 0:59:00 | |
# Doesn't really matter if the sun don't shine | 0:59:00 | 0:59:03 | |
# It's all right, I say, it's OK | 0:59:03 | 0:59:06 | |
# We're getting to the end of the day # | 0:59:06 | 0:59:09 | |
Subtitles by Red Bee Media Ltd | 0:59:10 | 0:59:14 |