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Thomas Malone, convicted in 1994 for the murder of Lizzie Kilmuir. | 0:00:02 | 0:00:04 | |
Drew McColl called in. | 0:00:04 | 0:00:06 | |
His daughter seems to be missing. | 0:00:06 | 0:00:07 | |
They've deployed a major investigation team. | 0:00:07 | 0:00:09 | |
They arrive first thing in the morning. | 0:00:09 | 0:00:11 | |
A bunch of people that just think we knit jumpers up here. | 0:00:11 | 0:00:14 | |
This is a eight-millimetre film | 0:00:14 | 0:00:16 | |
I got transferred. | 0:00:16 | 0:00:17 | |
Is that your dad, Kevin? | 0:00:17 | 0:00:19 | |
Aye. That's him. | 0:00:19 | 0:00:20 | |
Alan Killick showed us some of their home movies. | 0:00:20 | 0:00:23 | |
-You were in it. -What are these doing on the wall? | 0:00:23 | 0:00:25 | |
If you go anywhere near Molly, again, anywhere near her, | 0:00:25 | 0:00:28 | |
I will kill you. | 0:00:28 | 0:00:30 | |
-SHE SHRIEKS -Jo, it's me. It's Alan. | 0:00:32 | 0:00:34 | |
Someone from Bergen wanting to talk to you | 0:00:34 | 0:00:36 | |
about their Soderland investigation. | 0:00:36 | 0:00:38 | |
-Hi. -Lars. | 0:00:38 | 0:00:39 | |
Jo Halley thinks there's someone outside her croft. | 0:00:39 | 0:00:42 | |
-HE SIGHS -Again? -Go and take a wee look, | 0:00:42 | 0:00:44 | |
-will you? -Jo! | 0:00:44 | 0:00:46 | |
Jesus! I'm at Jo's croft. | 0:00:46 | 0:00:48 | |
Place has been turned over. | 0:00:48 | 0:00:51 | |
Is Jo OK? | 0:00:51 | 0:00:52 | |
I don't know. | 0:00:52 | 0:00:53 | |
Do you think she's going to be OK? | 0:02:09 | 0:02:11 | |
They'll let us know. | 0:02:12 | 0:02:14 | |
How long between the call and you getting here? | 0:02:16 | 0:02:19 | |
I don't know. | 0:02:19 | 0:02:20 | |
I got here as quick as I could. | 0:02:20 | 0:02:23 | |
It's not the first time she's said there was somebody on the property. | 0:02:23 | 0:02:26 | |
Yeah, only this time she was telling the truth. | 0:02:26 | 0:02:28 | |
Well, given as her attacker tried to strangle her, I don't think | 0:02:30 | 0:02:34 | |
it takes a genius to see who our person of interest should be. | 0:02:34 | 0:02:37 | |
Oh, it's a mess in there. | 0:02:39 | 0:02:41 | |
Whoever attacked her must have been looking for something. | 0:02:41 | 0:02:44 | |
You have any luck tracking down the ex-husband? | 0:02:44 | 0:02:46 | |
No, not yet. | 0:02:46 | 0:02:48 | |
You get on that. | 0:02:49 | 0:02:50 | |
Go to the hospital. | 0:02:51 | 0:02:52 | |
Keep me posted. | 0:02:54 | 0:02:56 | |
-I want to know what she says when she comes round. -OK. | 0:02:56 | 0:02:58 | |
There's nothing you can say that I haven't already thought myself. | 0:03:01 | 0:03:04 | |
Alan, you can't go in there. | 0:03:15 | 0:03:17 | |
What's happened? Is Jo OK? | 0:03:17 | 0:03:19 | |
She was attacked last night. | 0:03:20 | 0:03:22 | |
What...? Is she all right? | 0:03:24 | 0:03:27 | |
When did you last speak to her? | 0:03:27 | 0:03:28 | |
I don't believe this. | 0:03:28 | 0:03:30 | |
Do you know who did it? | 0:03:30 | 0:03:32 | |
I suggest you go home | 0:03:32 | 0:03:33 | |
and I'll talk to you later. | 0:03:33 | 0:03:35 | |
So how do you want to play this? | 0:03:46 | 0:03:47 | |
Are you going to bring Malone in? | 0:03:47 | 0:03:49 | |
I will. | 0:03:49 | 0:03:51 | |
But I've got an abusive ex-husband I want to talk to before I do. | 0:03:51 | 0:03:54 | |
Jimmy, the first thing MIT will do is arrest Malone. The second, | 0:03:54 | 0:03:59 | |
they'll demand to know why you haven't. | 0:03:59 | 0:04:00 | |
They can think what they like. | 0:04:00 | 0:04:02 | |
But this is different from Lizzie and it's different from Sally. | 0:04:02 | 0:04:05 | |
Jo was attacked in her own home. | 0:04:05 | 0:04:07 | |
I'm just warning you. | 0:04:07 | 0:04:09 | |
OK. | 0:04:09 | 0:04:10 | |
Oh. Alan Killick, he was at Jo's croft this morning asking questions | 0:04:12 | 0:04:17 | |
and that bothers me. | 0:04:17 | 0:04:20 | |
Like a bad penny, that boy. | 0:04:20 | 0:04:21 | |
Jo Halley is the only witness that we've got who saw Sally talking | 0:04:54 | 0:04:58 | |
to our mystery Norwegian at the festival. | 0:04:58 | 0:05:00 | |
However, we're going to have to accept that Jo might have been | 0:05:00 | 0:05:04 | |
mistaken and the person she saw might have been somebody local. | 0:05:04 | 0:05:07 | |
One thing's for sure, though - | 0:05:09 | 0:05:11 | |
whoever broke in was looking for something. | 0:05:11 | 0:05:13 | |
What, we don't know. | 0:05:13 | 0:05:15 | |
So I'm going to need you to knock on every door between Lerwick | 0:05:15 | 0:05:20 | |
and Jo's croft and I want you to check every CCTV | 0:05:20 | 0:05:24 | |
camera on Shetland and then check it again. | 0:05:24 | 0:05:27 | |
Because somebody crossed those hills to that croft, attacked Jo | 0:05:27 | 0:05:32 | |
and then ran away and they must have left a trace somewhere. | 0:05:32 | 0:05:36 | |
Thanks. Sir, someone by the name of Downing hired a car from Sumburgh | 0:05:36 | 0:05:39 | |
Airport two days ago. | 0:05:39 | 0:05:40 | |
Could be Jo's ex-husband. | 0:05:40 | 0:05:42 | |
OK, well, if he's still on Shetland, then we're going | 0:05:42 | 0:05:44 | |
to need to talk to him. BUZZER RINGS | 0:05:44 | 0:05:46 | |
Detective Inspector Cole? | 0:05:50 | 0:05:52 | |
-Hello. -Billy McCabe. | 0:05:52 | 0:05:53 | |
DOOR OPENS | 0:05:53 | 0:05:55 | |
Not much space, I'm afraid, but I've designated | 0:05:55 | 0:05:59 | |
an interview room as your office. | 0:05:59 | 0:06:01 | |
Oh, thank you. | 0:06:01 | 0:06:04 | |
Er, we will need DI Perez to brief | 0:06:04 | 0:06:05 | |
my team as soon as possible. We've just got an awful lot to get | 0:06:05 | 0:06:08 | |
-through and time's of the essence. -I'm DI Perez. | 0:06:08 | 0:06:10 | |
-Ah. -Welcome to Shetland. | 0:06:10 | 0:06:12 | |
How was your flight? | 0:06:13 | 0:06:15 | |
Well, let's just say I prefer my planes a little bigger | 0:06:15 | 0:06:18 | |
and my runways a little longer. | 0:06:18 | 0:06:20 | |
They'll wrap this up in no time. | 0:06:24 | 0:06:25 | |
So in both the Kilmuir and McColl cases, the victims were found in | 0:06:28 | 0:06:32 | |
some sort of stone cairn, is that right? | 0:06:32 | 0:06:35 | |
Yeah. | 0:06:35 | 0:06:36 | |
But this attack is connected? | 0:06:36 | 0:06:39 | |
Jo Halley is the only witness that we've got who saw the man | 0:06:39 | 0:06:42 | |
that we believe attacked Sally McColl after the music festival. | 0:06:42 | 0:06:46 | |
Hm. | 0:06:46 | 0:06:47 | |
Well, in that case, I'd like to interview Thomas Malone again. | 0:06:47 | 0:06:50 | |
I know you've already spoken to him | 0:06:50 | 0:06:52 | |
but perhaps we can get more out of him. | 0:06:52 | 0:06:54 | |
Definitely. | 0:06:54 | 0:06:55 | |
We need to put some real pressure on him. | 0:06:55 | 0:06:57 | |
Did you find anything useful when you searched his farmhouse? | 0:06:57 | 0:07:00 | |
Please tell me you searched his farmhouse. | 0:07:04 | 0:07:05 | |
We have no evidence to link him to Sally McColl's death. | 0:07:05 | 0:07:09 | |
Apart from a previous conviction for a similar crime? | 0:07:09 | 0:07:11 | |
That conviction was quashed. | 0:07:11 | 0:07:13 | |
Well, as far as we're concerned, that original conviction was | 0:07:13 | 0:07:15 | |
evidentially sound. | 0:07:15 | 0:07:17 | |
A mistrial doesn't mean that he was innocent | 0:07:17 | 0:07:18 | |
and we have to proceed on that basis. | 0:07:18 | 0:07:20 | |
Look, if he feels that you're targeting him, | 0:07:20 | 0:07:25 | |
then he could react badly. | 0:07:25 | 0:07:26 | |
I'm sorry, am I missing something here? | 0:07:26 | 0:07:29 | |
Or have I stumbled into the social work department by mistake? | 0:07:29 | 0:07:31 | |
Organise a search, soon as. | 0:07:34 | 0:07:36 | |
I was led to believe that the McColl case was still ours. | 0:07:36 | 0:07:39 | |
Well, not if they're connected and, according to your report, | 0:07:39 | 0:07:43 | |
Malone was given a false alibi by Gail Callahan, | 0:07:43 | 0:07:45 | |
which makes me believe that they could be. | 0:07:45 | 0:07:47 | |
SIRENS WAIL | 0:07:49 | 0:07:51 | |
Thomas Malone! | 0:08:15 | 0:08:16 | |
Open up! | 0:08:19 | 0:08:20 | |
We're police officers. | 0:08:20 | 0:08:22 | |
What's the score with Lars? | 0:08:35 | 0:08:37 | |
Is he here to take a statement or make a statement? | 0:08:38 | 0:08:41 | |
Very good. | 0:08:44 | 0:08:45 | |
Does seem to have a wee bit of thing for you, though, doesn't he? | 0:08:45 | 0:08:48 | |
Well, he's only human. | 0:08:48 | 0:08:50 | |
Downing gave the car hire firm the St Olaf Hill Hotel as an address. | 0:08:50 | 0:08:54 | |
I've got a uniform picking him up now. | 0:08:54 | 0:08:56 | |
Where you going? | 0:08:56 | 0:08:57 | |
Away from you. | 0:08:57 | 0:08:59 | |
Mr Downing, I'm DI Perez, this is DS McIntosh. | 0:09:16 | 0:09:19 | |
We'd like to ask you some questions about your ex-wife Jo Halley. | 0:09:19 | 0:09:23 | |
-Has something happened I should know about? -Why do you ask that? | 0:09:23 | 0:09:26 | |
Because I'm here. With you. | 0:09:26 | 0:09:29 | |
She's been attacked. | 0:09:29 | 0:09:31 | |
And given your history, I would like to know where you were last night. | 0:09:31 | 0:09:35 | |
Is she OK? | 0:09:37 | 0:09:38 | |
Where were you? | 0:09:38 | 0:09:40 | |
At the hotel. | 0:09:40 | 0:09:41 | |
And you can verify that? | 0:09:41 | 0:09:42 | |
I think so, I... | 0:09:42 | 0:09:44 | |
I was in the bar at one point. | 0:09:44 | 0:09:45 | |
When was the last time you saw Jo? | 0:09:46 | 0:09:48 | |
Yesterday. That's why I'm up here, she... | 0:09:48 | 0:09:51 | |
She asked me to come. | 0:09:51 | 0:09:52 | |
She wanted to see me | 0:09:52 | 0:09:54 | |
to apologise. | 0:09:54 | 0:09:55 | |
For what? | 0:09:55 | 0:09:56 | |
For telling a pack of lies about me | 0:09:56 | 0:09:59 | |
and getting me locked up. | 0:09:59 | 0:10:01 | |
She wanted to make amends, | 0:10:01 | 0:10:02 | |
maybe even start over. | 0:10:02 | 0:10:04 | |
Bit of a coincidence that she gets attacked just after you | 0:10:04 | 0:10:06 | |
-arrive on Shetland, though? -I know what you're thinking, | 0:10:06 | 0:10:08 | |
but it wasn't me. | 0:10:08 | 0:10:10 | |
Well, I'm going to keep you in custody until Jo regains | 0:10:10 | 0:10:13 | |
consciousness and she can identify the man that tried to kill her. | 0:10:13 | 0:10:16 | |
I've got a flight booked. | 0:10:16 | 0:10:17 | |
Well, you'll have to change it. | 0:10:17 | 0:10:20 | |
This is crazy, I didn't touch her. | 0:10:20 | 0:10:22 | |
You know what? | 0:10:22 | 0:10:25 | |
I don't believe you. | 0:10:25 | 0:10:26 | |
Convince me. | 0:10:29 | 0:10:30 | |
I... I did hit her when we were together. | 0:10:33 | 0:10:36 | |
But I went to counselling in prison. I've turned my life around. | 0:10:36 | 0:10:39 | |
I came up here to find her, not to hurt her, but | 0:10:41 | 0:10:44 | |
to see if she'd take me back. | 0:10:44 | 0:10:46 | |
She isn't interested, so I left. | 0:10:46 | 0:10:48 | |
OK, so you've already lied to me, | 0:10:48 | 0:10:52 | |
so why should I believe you now? | 0:10:52 | 0:10:54 | |
I'd be fool to lay a hand on her again, I know that. | 0:10:54 | 0:10:57 | |
Well, maybe you just can't help yourself. | 0:10:57 | 0:10:59 | |
As I see it, I don't have a choice. | 0:10:59 | 0:11:00 | |
I can't go back inside. I... | 0:11:02 | 0:11:03 | |
I couldn't survive that again. | 0:11:04 | 0:11:06 | |
I never laid a hand on her. | 0:11:09 | 0:11:10 | |
That's the God's honest truth. | 0:11:10 | 0:11:12 | |
Malone's gone. | 0:11:18 | 0:11:19 | |
His place is empty. | 0:11:19 | 0:11:21 | |
Do you have any idea where he could be? | 0:11:21 | 0:11:23 | |
Is his medication still there? | 0:11:23 | 0:11:25 | |
-I'll check. -If that's gone, then he's planning to leave the island. | 0:11:25 | 0:11:29 | |
If not... | 0:11:29 | 0:11:31 | |
..he could just be out walking. | 0:11:31 | 0:11:33 | |
Where? Back to happiness? | 0:11:33 | 0:11:35 | |
Or he may have tried to harm himself. | 0:11:37 | 0:11:40 | |
Yes, well, either way, we still need to find him. | 0:11:40 | 0:11:44 | |
We can't risk another attack. | 0:11:44 | 0:11:45 | |
You know he's playing you, don't you? | 0:11:48 | 0:11:50 | |
And it's working. | 0:11:50 | 0:11:51 | |
You're looking at everyone else apart from him. | 0:11:51 | 0:11:53 | |
Then you're making the same mistake that Drew McColl did. | 0:11:53 | 0:11:56 | |
Donna Killick can't account for Alan's movements last night. | 0:12:02 | 0:12:07 | |
OK, er...don't let Downing go anywhere. | 0:12:07 | 0:12:10 | |
I'll be back in half an hour. | 0:12:12 | 0:12:13 | |
Been looking for you. | 0:12:18 | 0:12:20 | |
What happened? Why didn't you come in this morning? | 0:12:24 | 0:12:27 | |
You know why. | 0:12:27 | 0:12:28 | |
I don't want to cause any problem between you and your mum. | 0:12:28 | 0:12:31 | |
She was the same with Sally. | 0:12:31 | 0:12:33 | |
She's just really possessive. | 0:12:33 | 0:12:36 | |
Pushed her away. Sally hated it. | 0:12:36 | 0:12:38 | |
Anyway, it's not just up to her. | 0:12:38 | 0:12:41 | |
We run the place now. | 0:12:41 | 0:12:42 | |
Sally had a point. | 0:12:43 | 0:12:45 | |
Nobody wants to be somewhere they're not wanted. | 0:12:45 | 0:12:48 | |
You are wanted. | 0:12:48 | 0:12:49 | |
I couldn't have handled any of this without you. | 0:12:52 | 0:12:54 | |
You know, I better go. | 0:12:59 | 0:13:01 | |
Just come back to the sanctuary full time. | 0:13:01 | 0:13:04 | |
And I'll deal with my mum. | 0:13:04 | 0:13:06 | |
Just think about it, please. | 0:13:06 | 0:13:08 | |
SHE SIGHS | 0:13:14 | 0:13:17 | |
What do you want, Dad? I don't appreciate being followed. | 0:13:18 | 0:13:21 | |
It's not you I want to talk to, Cassie, it's Alan. | 0:13:21 | 0:13:24 | |
You're going to need to account for your movements last night | 0:13:34 | 0:13:36 | |
and I don't want any mistakes this time. | 0:13:36 | 0:13:38 | |
I went to see Jo and then I changed my mind | 0:13:38 | 0:13:40 | |
-and I went down to the beach. -Which beach would that be? | 0:13:40 | 0:13:42 | |
The one by the sanctuary. | 0:13:42 | 0:13:44 | |
Alone? | 0:13:45 | 0:13:46 | |
That's right. | 0:13:46 | 0:13:48 | |
-See anybody? -No. | 0:13:48 | 0:13:50 | |
Nobody walking their dog, nothing? | 0:13:50 | 0:13:52 | |
Deserted. | 0:13:52 | 0:13:53 | |
Why did you change your mind about going to Jo's? | 0:13:56 | 0:13:59 | |
It was late, I didn't want to give her a fright again. | 0:13:59 | 0:14:01 | |
What do you mean again? | 0:14:03 | 0:14:04 | |
I went up see her before... | 0:14:06 | 0:14:07 | |
..cos I wanted to get some of Sally's stuff, and | 0:14:09 | 0:14:12 | |
I gave her a fright. | 0:14:12 | 0:14:13 | |
Why did you come to Jo's this morning? | 0:14:13 | 0:14:15 | |
I was going to ask her if she wanted to get some breakfast. | 0:14:16 | 0:14:19 | |
What's your relationship with Jo exactly? | 0:14:27 | 0:14:29 | |
Just friends. | 0:14:29 | 0:14:31 | |
Why are you asking me this? | 0:14:31 | 0:14:33 | |
I just thought that under the circumstances you and I should | 0:14:36 | 0:14:39 | |
get to know each other a wee bit better. | 0:14:39 | 0:14:41 | |
Look at me when I'm talking to you. | 0:14:43 | 0:14:44 | |
See if you're using my daughter as a shield, | 0:14:48 | 0:14:51 | |
see if anything happens to her, | 0:14:51 | 0:14:53 | |
I'll take you apart bit by bit. | 0:14:53 | 0:14:55 | |
Do we understand each other? | 0:14:55 | 0:14:57 | |
-WHISPERS: -Yeah. | 0:14:57 | 0:14:58 | |
What? | 0:15:00 | 0:15:01 | |
Yeah. | 0:15:02 | 0:15:03 | |
You need to come into the station to make a statement, so arrange a time. | 0:15:06 | 0:15:09 | |
It's my job. | 0:15:22 | 0:15:23 | |
Hey. | 0:15:32 | 0:15:34 | |
So, I wrote up your statement in Norwegian. | 0:15:34 | 0:15:37 | |
-I can read it over with you if you'd like. -Oh. I trust you. | 0:15:37 | 0:15:40 | |
All right. Er... | 0:15:40 | 0:15:42 | |
..so I just need your signature - right here. Right? | 0:15:42 | 0:15:45 | |
So how's your witness doing? | 0:15:46 | 0:15:48 | |
Not sure. She hasn't regained consciousness yet. | 0:15:48 | 0:15:51 | |
I suppose you're too busy for lunch. | 0:15:54 | 0:15:55 | |
-Sorry. -Yeah. | 0:15:55 | 0:15:57 | |
I understand. | 0:15:57 | 0:15:58 | |
So any idea who attacked her yet? | 0:15:59 | 0:16:01 | |
-Well, it wasn't Soderland, we know that. -Mm. | 0:16:01 | 0:16:05 | |
She made up this whole thing with the Norwegian guy. | 0:16:05 | 0:16:08 | |
What makes you say that? | 0:16:08 | 0:16:09 | |
I don't know. Just from the way you've been talking about her, | 0:16:11 | 0:16:13 | |
she sounds a little bit crazy. | 0:16:13 | 0:16:15 | |
Billy. | 0:16:29 | 0:16:31 | |
Hillhead Road isn't still closed off, is it? | 0:16:31 | 0:16:34 | |
What? | 0:16:34 | 0:16:35 | |
Hillhead Road. Lars said it was closed for roadworks. | 0:16:35 | 0:16:40 | |
That was last week. | 0:16:40 | 0:16:41 | |
-Hi, Graeme. -Hi, Tosh. | 0:16:56 | 0:16:57 | |
I need to know if any of your drivers picked this man | 0:16:57 | 0:17:00 | |
up from the airport on the 28th. | 0:17:00 | 0:17:02 | |
-WHISPERS: -The only way Lars would know that Hillhead Road was closed | 0:17:05 | 0:17:08 | |
last week is if he was here. | 0:17:08 | 0:17:10 | |
And one of the drivers thinks he picked him up from the ferry | 0:17:10 | 0:17:13 | |
on the day of the festival. | 0:17:13 | 0:17:14 | |
I had a feeling about him when we were in Norway. | 0:17:16 | 0:17:18 | |
Well, why didn't you say something? | 0:17:20 | 0:17:22 | |
I didn't trust my own judgment. | 0:17:24 | 0:17:25 | |
I do. | 0:17:31 | 0:17:34 | |
I trust your judgment. | 0:17:34 | 0:17:35 | |
So the next time, say something, OK? | 0:17:38 | 0:17:41 | |
OK. | 0:17:41 | 0:17:42 | |
I need some information on Lars Bleymann. | 0:17:47 | 0:17:50 | |
-Why? -I just need to verify some dates. | 0:17:50 | 0:17:52 | |
I don't understand. | 0:17:53 | 0:17:55 | |
Well, look, I mean, it's probably nothing. | 0:17:55 | 0:17:57 | |
I just need to know if Lars was on leave on the 28th of last month. | 0:17:57 | 0:18:02 | |
The reason for this? | 0:18:02 | 0:18:04 | |
We have a report saying that he was on Shetland on that day. | 0:18:04 | 0:18:08 | |
Why would Lars be on Shetland? | 0:18:09 | 0:18:11 | |
Well, that's what we're trying to establish. | 0:18:11 | 0:18:15 | |
SHE SIGHS | 0:18:15 | 0:18:17 | |
Well, I can tell you the dates myself. | 0:18:19 | 0:18:21 | |
He took two weeks' leave to spend time with his grandfather, er... | 0:18:21 | 0:18:25 | |
The 1st was his first day back. | 0:18:27 | 0:18:29 | |
Are you saying you think Lars is your Norwegian? | 0:18:29 | 0:18:31 | |
I don't know. | 0:18:31 | 0:18:32 | |
But I know he's lying. | 0:18:34 | 0:18:35 | |
Billy, is Detective Bleymann still here? | 0:18:39 | 0:18:41 | |
I thought he was waiting to take a statement from you, | 0:18:41 | 0:18:43 | |
but he left a while ago - must've gone to the airport. | 0:18:43 | 0:18:46 | |
Right, make sure he doesn't get on that Bergen flight | 0:18:46 | 0:18:48 | |
cos we need to talk to him. | 0:18:48 | 0:18:49 | |
You're all right, Jo. | 0:19:00 | 0:19:01 | |
You're safe now. | 0:19:03 | 0:19:05 | |
Jo... | 0:19:07 | 0:19:10 | |
..can you remember who did this to you? | 0:19:10 | 0:19:11 | |
Was it Thomas Malone? | 0:19:15 | 0:19:16 | |
Was it your ex-husband? | 0:19:19 | 0:19:20 | |
I'll fetch someone. | 0:19:24 | 0:19:26 | |
This is the CCTV footage of Sally at Bergen Airport. | 0:19:48 | 0:19:51 | |
I just wanted to look at it again cos Lars kept asking about it. | 0:19:51 | 0:19:55 | |
See, she talks to this woman in the red jacket. | 0:19:55 | 0:19:58 | |
He seemed to want to know who she was. | 0:19:58 | 0:20:00 | |
Stop, rewind. | 0:20:00 | 0:20:01 | |
There. Does she... | 0:20:05 | 0:20:06 | |
Does she give her something? | 0:20:06 | 0:20:08 | |
Bring up the CCTV footage of Sally at Sumburgh | 0:20:18 | 0:20:23 | |
before she goes to Norway. | 0:20:23 | 0:20:25 | |
She parks her car, locks it and heads inside. | 0:20:25 | 0:20:28 | |
She doesn't call anyone or speak to anyone. | 0:20:28 | 0:20:29 | |
-It's the same on her way back. -Here. Here, stop. | 0:20:29 | 0:20:32 | |
Zoom in there. | 0:20:32 | 0:20:34 | |
Freeze it. | 0:20:34 | 0:20:35 | |
Right, now show me the footage | 0:20:35 | 0:20:38 | |
of her opening the car when she comes back. | 0:20:38 | 0:20:41 | |
-What am I missing? -There. | 0:20:45 | 0:20:48 | |
See, there's something on the key ring. | 0:20:48 | 0:20:50 | |
It wasn't there when she left and it's there when she came back. | 0:20:50 | 0:20:53 | |
That's the thing the woman gave her in Bergen | 0:20:53 | 0:20:55 | |
It's a memory stick. | 0:21:22 | 0:21:23 | |
Holiday snaps? | 0:21:41 | 0:21:43 | |
See what's in the other file. | 0:21:43 | 0:21:44 | |
That's the NDA office in Bergen. | 0:21:49 | 0:21:51 | |
Sally must have filmed this. | 0:21:51 | 0:21:52 | |
Looks like a meeting with different far-right groups. | 0:21:52 | 0:21:55 | |
Er, there's Soderland. | 0:21:58 | 0:21:59 | |
THEY SPEAK OWN LANGUAGE | 0:22:01 | 0:22:04 | |
-Tordenskjold! -Tordenskjold! | 0:22:05 | 0:22:08 | |
-Tordenskjold! -Tordenskjold! | 0:22:08 | 0:22:10 | |
-Tordenskjold! -Tordenskjold! | 0:22:10 | 0:22:11 | |
SHE SCOFFS | 0:22:19 | 0:22:21 | |
You OK? | 0:22:25 | 0:22:27 | |
Yeah. | 0:22:27 | 0:22:28 | |
Hey! | 0:22:44 | 0:22:45 | |
What... What are you doing in here? You're not allowed in there. | 0:22:45 | 0:22:48 | |
Stay with Jo. Hey! | 0:22:52 | 0:22:53 | |
Tosh. Detective Bleymann has just run out of the hospital. | 0:23:06 | 0:23:10 | |
-What's going on? -Look, he's involved, Sandy, I'm not sure how, | 0:23:10 | 0:23:13 | |
-but if he comes back, detain him. -PHONE RINGS | 0:23:13 | 0:23:15 | |
-Billy. -Yeah. -There's only one way off the island for him, | 0:23:15 | 0:23:17 | |
so get them to hold the ferry. | 0:23:17 | 0:23:19 | |
Get Sandy down at the terminal, but tell him | 0:23:19 | 0:23:21 | |
to leave a uniform at the hospital. Tosh, let's go. | 0:23:21 | 0:23:24 | |
Thank you. | 0:23:44 | 0:23:45 | |
Hi. | 0:23:45 | 0:23:47 | |
Got a sighting of him at the terminal. | 0:24:05 | 0:24:07 | |
Armed response are on their way from Lossiemouth, | 0:24:07 | 0:24:09 | |
they'll be at least 30 minutes. | 0:24:09 | 0:24:11 | |
SIREN WAILS | 0:24:54 | 0:24:56 | |
Ladies and gentlemen, on behalf of NorthLink Ferries, | 0:25:42 | 0:25:44 | |
I'd like to apologise for the delay of the departure from Lerwick. | 0:25:44 | 0:25:48 | |
We will keep you informed of any updates. | 0:25:48 | 0:25:50 | |
Tosh, any sign of him? | 0:25:50 | 0:25:52 | |
He's not up here. | 0:25:52 | 0:25:54 | |
Try the lounge. | 0:25:54 | 0:25:55 | |
Sir! They don't want to hold the ferry much longer. | 0:26:25 | 0:26:28 | |
Well, they'll have to wait. | 0:26:28 | 0:26:29 | |
Just keep looking, he's here somewhere. | 0:26:29 | 0:26:31 | |
That'll be great, actually - I just want to go and check. | 0:27:21 | 0:27:23 | |
Yeah, I'll just see if I have it here. | 0:27:30 | 0:27:32 | |
-CAR ENGINE STARTS -Hey! Hey! Hey! | 0:27:41 | 0:27:44 | |
That's my car! | 0:27:44 | 0:27:45 | |
That's my car! | 0:27:45 | 0:27:47 | |
Stay where you are. | 0:27:51 | 0:27:52 | |
Tosh. He's on the car deck. | 0:28:01 | 0:28:03 | |
There's been a crash with a police car. | 0:28:03 | 0:28:05 | |
He's going towards passenger deck. Block the stairs! | 0:28:05 | 0:28:08 | |
-Block the stairs! -Will do. | 0:28:08 | 0:28:09 | |
Lars, stop! | 0:28:16 | 0:28:17 | |
Move out of the way, Tosh. | 0:28:23 | 0:28:24 | |
-Lars! -Stop right there. | 0:28:24 | 0:28:25 | |
Lars, don't. | 0:28:25 | 0:28:27 | |
We've seen the footage, we know you're involved with the NDA. | 0:28:27 | 0:28:30 | |
Put the knife down. | 0:28:30 | 0:28:31 | |
There's nowhere to go, Lars. | 0:28:33 | 0:28:35 | |
She's right, Lars. Put the knife down, it's over. | 0:28:35 | 0:28:37 | |
It's over, Lars. | 0:28:42 | 0:28:43 | |
All right. | 0:28:47 | 0:28:49 | |
Fy faen. | 0:28:53 | 0:28:55 | |
Fy faen i helvete! | 0:28:55 | 0:28:57 | |
Thomas Malone. | 0:29:07 | 0:29:08 | |
I'd like you to come with me, please. | 0:29:15 | 0:29:17 | |
No. No. No. | 0:29:17 | 0:29:18 | |
No! No! | 0:29:21 | 0:29:22 | |
You're saying this is the man who killed Sally McColl? | 0:29:28 | 0:29:30 | |
No. I'm saying it's possible. | 0:29:30 | 0:29:32 | |
He's a clandestine member of the NDA. | 0:29:33 | 0:29:36 | |
I'm assuming that Sally filmed him at a meeting in Bergen | 0:29:37 | 0:29:41 | |
and he came over here to try to retrieve the evidence. | 0:29:41 | 0:29:44 | |
He stole her phone, they argued... | 0:29:46 | 0:29:49 | |
And he killed her? | 0:29:49 | 0:29:50 | |
Making it look like Malone did it. | 0:29:50 | 0:29:52 | |
It's possible that he could've read up on the case | 0:29:52 | 0:29:54 | |
while he was here. | 0:29:54 | 0:29:56 | |
I'm not buying it. Malone has a stronger motive - revenge. | 0:29:56 | 0:30:00 | |
-And Jo Halley? -Well, when Tosh went to Bergen, | 0:30:01 | 0:30:05 | |
I think it alerted him to the fact | 0:30:05 | 0:30:07 | |
that he'd been spotted at the festival, | 0:30:07 | 0:30:10 | |
so he then knew that Jo Halley could identify him at some point. | 0:30:10 | 0:30:14 | |
I also believe that he told the NDA that Mathias Soderland was | 0:30:14 | 0:30:19 | |
an informer, which lead directly to him being killed. | 0:30:19 | 0:30:22 | |
Well, if you're right, | 0:30:22 | 0:30:24 | |
what's so important about that NDA footage | 0:30:24 | 0:30:28 | |
that Jo and Sally had to be silenced? | 0:30:28 | 0:30:30 | |
Interview with Detective Bleymann, commencing 2:56. | 0:30:45 | 0:30:50 | |
Present are DI Perez. | 0:30:50 | 0:30:52 | |
And DS McIntosh. | 0:30:52 | 0:30:53 | |
Detective Bleymann, you've been detained on suspicion of murder | 0:30:54 | 0:30:58 | |
and attempted murder. | 0:30:58 | 0:31:00 | |
You don't need to answer any questions other than | 0:31:00 | 0:31:02 | |
giving your name, address, date and place of birth and nationality | 0:31:02 | 0:31:05 | |
and you have the right to have a solicitor present. | 0:31:05 | 0:31:07 | |
-Your initial detainment time is 12 hours but this... -I know this. | 0:31:07 | 0:31:10 | |
..can be extended to 24 hours. | 0:31:10 | 0:31:13 | |
I would like you to tell me why you were at the Shetland Folk Festival. | 0:31:19 | 0:31:23 | |
No comment. | 0:31:25 | 0:31:26 | |
Did you meet Sally McColl there? | 0:31:28 | 0:31:30 | |
No comment. | 0:31:31 | 0:31:33 | |
Or Jo Halley? | 0:31:33 | 0:31:34 | |
No comment. | 0:31:35 | 0:31:36 | |
You tried to distract us | 0:31:38 | 0:31:40 | |
with the CCTV footage of Sally meeting a woman in Bergen Airport. | 0:31:40 | 0:31:47 | |
Well, that backfired on you... | 0:31:47 | 0:31:48 | |
..because we now know that Sally filmed you at an NDA | 0:31:50 | 0:31:53 | |
meeting of far-right groups. | 0:31:53 | 0:31:56 | |
And then you traced her back here | 0:31:56 | 0:31:59 | |
and then you killed her, and I would like to know why. | 0:31:59 | 0:32:01 | |
No comment. | 0:32:03 | 0:32:04 | |
You know, saying "no comment" is not going to make this go away. | 0:32:05 | 0:32:09 | |
No comment. | 0:32:09 | 0:32:11 | |
You didn't want anyone to know you were part of the NDA. | 0:32:11 | 0:32:14 | |
You'd lose your job, I get that. | 0:32:14 | 0:32:16 | |
But to kill Sally because of it? | 0:32:16 | 0:32:18 | |
Yeah, I don't think it was just about protecting your identity, | 0:32:19 | 0:32:22 | |
was it? | 0:32:22 | 0:32:23 | |
There was something else that you were trying to hide. | 0:32:26 | 0:32:30 | |
Now, you told the NDA that Mathias Soderland was an informer. | 0:32:30 | 0:32:34 | |
What were you trying to protect? | 0:32:36 | 0:32:38 | |
My country. | 0:32:39 | 0:32:40 | |
Your country? | 0:32:43 | 0:32:44 | |
Sorry, what threat was Sally McColl to your country? | 0:32:46 | 0:32:48 | |
All I am trying to do is keep people safe. | 0:32:49 | 0:32:53 | |
By killing them? Sorry, you've lost me a wee bit there. | 0:32:53 | 0:32:55 | |
By preserving our way of life. | 0:32:55 | 0:32:56 | |
OK, let me ask you again, | 0:32:56 | 0:32:58 | |
what threat was Sally McColl to your country? | 0:32:58 | 0:33:02 | |
This is not the question you should be asking. | 0:33:02 | 0:33:04 | |
We know that the NDA are planning attacks of some kind. | 0:33:04 | 0:33:07 | |
Is that what this is about? | 0:33:07 | 0:33:08 | |
I'm sure it's probably some kind of soft target. | 0:33:09 | 0:33:12 | |
Young people, defenceless children, | 0:33:13 | 0:33:15 | |
women - nothing too dangerous. | 0:33:15 | 0:33:17 | |
Cowardly. | 0:33:19 | 0:33:20 | |
Like Utoya. | 0:33:22 | 0:33:24 | |
You have no idea what you're talking about. | 0:33:26 | 0:33:28 | |
Anders Breivik was not a coward. | 0:33:30 | 0:33:32 | |
He should be considered a hero. | 0:33:33 | 0:33:35 | |
Aye... | 0:33:39 | 0:33:40 | |
Your idea of a hero and mine are very, very different. | 0:33:41 | 0:33:45 | |
Well, he fought for what he believed in, didn't he? | 0:33:45 | 0:33:47 | |
Oh, is that what you were doing when you murdered Sally | 0:33:47 | 0:33:49 | |
and tried to kill Jo? | 0:33:49 | 0:33:50 | |
It took courage to do what he did. | 0:33:50 | 0:33:52 | |
He's what people who love their country should aspire to be. | 0:33:53 | 0:33:56 | |
Oh, really? | 0:33:56 | 0:33:57 | |
A pathetic child killer who lived with his mum? | 0:33:57 | 0:34:04 | |
He lived with his mum! | 0:34:04 | 0:34:05 | |
We need to look after our own first. | 0:34:05 | 0:34:08 | |
Before we try to save everyone else. | 0:34:08 | 0:34:11 | |
No more foreigners. | 0:34:11 | 0:34:13 | |
Why should we trust them? | 0:34:13 | 0:34:15 | |
Our race is being destroyed. | 0:34:15 | 0:34:18 | |
Our blood is being diluted. | 0:34:18 | 0:34:21 | |
They...they marry our women, they pollute our genes. | 0:34:21 | 0:34:25 | |
We will disappear if we don't act now. | 0:34:25 | 0:34:27 | |
And I thought that you would understand that. | 0:34:29 | 0:34:32 | |
Aren't you proud of your Shetland heritage? | 0:34:32 | 0:34:34 | |
-Don't you want to live with your own people? -Yes, I do. | 0:34:34 | 0:34:37 | |
But, you see, the thing is my blood's already diluted. | 0:34:39 | 0:34:43 | |
Clue's in the name. | 0:34:45 | 0:34:46 | |
All right, Perez. | 0:34:50 | 0:34:51 | |
Then why don't you tell your happy family | 0:34:54 | 0:34:57 | |
that we are going to kill even more than Anders Breivik did? | 0:34:57 | 0:35:00 | |
Tosh. | 0:35:15 | 0:35:16 | |
We have to get some idea what the target is. | 0:35:29 | 0:35:31 | |
He will stall us till they do whatever they plan to do. | 0:35:31 | 0:35:33 | |
I got the footage translated but you can't really make out | 0:35:33 | 0:35:36 | |
what they're saying. | 0:35:36 | 0:35:37 | |
Tordenskjold is mentioned a few times. | 0:35:37 | 0:35:40 | |
Now, I think it's a | 0:35:40 | 0:35:41 | |
reference to Peter Tordenskjold, he was a Norwegian naval hero. | 0:35:41 | 0:35:44 | |
His face is on everything in Norway - | 0:35:44 | 0:35:46 | |
matches, bank notes, stamps. | 0:35:46 | 0:35:49 | |
Is it on any buildings? | 0:35:49 | 0:35:51 | |
Hospitals, schools, something that could be a target? | 0:35:52 | 0:35:54 | |
The Norwegian government is using a ferry - the Tordenskjold - | 0:36:03 | 0:36:08 | |
to house migrants. | 0:36:08 | 0:36:09 | |
How many people are on it? | 0:36:09 | 0:36:10 | |
400. Mostly from Syria. | 0:36:12 | 0:36:15 | |
OK, well, this might already be on their radar, | 0:36:15 | 0:36:17 | |
but let you better let Bergen know. | 0:36:17 | 0:36:20 | |
Tosh. | 0:36:20 | 0:36:21 | |
Are there any other Norwegian heroes you want to talk to me about, Lars? | 0:36:25 | 0:36:29 | |
Peter Tordenskjold, for example. | 0:36:29 | 0:36:31 | |
I suppose if you were looking for a symbolic attack, | 0:36:31 | 0:36:33 | |
then a ship housing desperate refugees | 0:36:33 | 0:36:36 | |
would probably do the trick, wouldn't it? | 0:36:36 | 0:36:38 | |
Especially a ship named after a great Norwegian hero like that. | 0:36:38 | 0:36:41 | |
I mean, that must be quite a kick in the teeth for the NDA. | 0:36:41 | 0:36:44 | |
Using a ship like that for those people? | 0:36:44 | 0:36:46 | |
What were you going to do? Were you just going to walk on board | 0:36:46 | 0:36:49 | |
and start shooting women and children? | 0:36:49 | 0:36:51 | |
I have no idea what you're talking about. | 0:36:51 | 0:36:54 | |
Yes, you do. | 0:36:54 | 0:36:55 | |
Cos that's why you came back after Sally. | 0:36:55 | 0:36:57 | |
Cos what she filmed was you making plans to attack | 0:36:59 | 0:37:02 | |
the Tordenskjold. | 0:37:02 | 0:37:03 | |
It's not going to happen, Lars. | 0:37:03 | 0:37:05 | |
Not now. So you might as well tell us the truth. | 0:37:05 | 0:37:09 | |
Well, even if I did, there is not much you can do about it. | 0:37:09 | 0:37:13 | |
Is there? | 0:37:13 | 0:37:14 | |
Take your hands off me! No! | 0:37:19 | 0:37:23 | |
HE GROANS | 0:37:24 | 0:37:26 | |
HE WAILS | 0:37:28 | 0:37:31 | |
Calm down, Thomas. | 0:37:32 | 0:37:34 | |
We just want to ask you a few questions | 0:37:34 | 0:37:36 | |
about the night Sally went missing. | 0:37:36 | 0:37:37 | |
Maybe we should have Perez in here, too. | 0:37:38 | 0:37:41 | |
So you were at this music festival, is that right? | 0:37:46 | 0:37:48 | |
And in your statement to DI Perez, | 0:37:48 | 0:37:50 | |
it says you went home and called Gail Callahan. Why? | 0:37:50 | 0:37:53 | |
I was upset. | 0:37:54 | 0:37:55 | |
-You were upset? -Aye. | 0:37:55 | 0:37:57 | |
Why were you upset? | 0:37:57 | 0:37:58 | |
Cos people were... | 0:37:59 | 0:38:01 | |
They were watching me. | 0:38:01 | 0:38:03 | |
Because? | 0:38:03 | 0:38:04 | |
Because they knew who I was. | 0:38:08 | 0:38:12 | |
Gail Callahan says that you were on the phone to her all night | 0:38:12 | 0:38:15 | |
but...well, our phone records show that not to be true. | 0:38:15 | 0:38:18 | |
What's that to do with me? | 0:38:21 | 0:38:22 | |
Well, there's a gap between the end of the music festival | 0:38:22 | 0:38:25 | |
and that phone call being made. | 0:38:25 | 0:38:27 | |
Where were you at the time in between? | 0:38:29 | 0:38:31 | |
Was walking. | 0:38:38 | 0:38:40 | |
Thomas, I'm going to need better than that. | 0:38:40 | 0:38:42 | |
No. | 0:38:46 | 0:38:47 | |
I was just walking. | 0:38:48 | 0:38:50 | |
Do you want to know what I think? | 0:38:54 | 0:38:56 | |
No. | 0:38:56 | 0:38:57 | |
I think that Gail Callahan was protecting you | 0:38:57 | 0:39:02 | |
because she thinks you do have something to do | 0:39:02 | 0:39:04 | |
with the death of Sally McColl. | 0:39:04 | 0:39:06 | |
No way. | 0:39:10 | 0:39:11 | |
Just like your own mother thought that you killed Lizzie Kilmuir. | 0:39:11 | 0:39:15 | |
You are aware, Thomas, that double jeopardy doesn't | 0:39:15 | 0:39:19 | |
exist in Scotland any more? | 0:39:19 | 0:39:20 | |
So if I find out that you're in any way involved | 0:39:22 | 0:39:25 | |
in these new crimes, | 0:39:25 | 0:39:27 | |
you'll be prosecuted a second time for the murder of Lizzie Kilmuir. | 0:39:27 | 0:39:30 | |
I'll see you later. | 0:39:35 | 0:39:37 | |
Hey. | 0:39:37 | 0:39:38 | |
Hey! | 0:39:40 | 0:39:42 | |
Hey! | 0:39:42 | 0:39:43 | |
Hey! | 0:39:45 | 0:39:46 | |
The NDA are claiming Lars has nothing to do with them. | 0:39:48 | 0:39:52 | |
Not according to the video that Sally took. | 0:39:52 | 0:39:55 | |
I'm not sure we have enough to charge him. | 0:39:55 | 0:39:57 | |
There's no physical evidence. | 0:39:57 | 0:39:59 | |
We're going to have to wait for forensics | 0:39:59 | 0:40:01 | |
-to come back on Jo's clothing. -Mm-mm. | 0:40:01 | 0:40:02 | |
This guy's going nowhere. | 0:40:02 | 0:40:04 | |
He is extremely dangerous. | 0:40:05 | 0:40:07 | |
The Norwegians are going to have to start taking this seriously. | 0:40:09 | 0:40:13 | |
Just thought you'd like to know, they've got Malone in a cell, | 0:40:13 | 0:40:17 | |
trying to find out where he went on the night that Sally died. | 0:40:17 | 0:40:19 | |
And he's not a happy bunny. | 0:40:19 | 0:40:21 | |
LOCK CLATTERS | 0:40:39 | 0:40:41 | |
You said that if I told the truth... | 0:40:47 | 0:40:51 | |
..I was going to be OK. | 0:40:52 | 0:40:54 | |
Yes, I did. | 0:40:54 | 0:40:55 | |
Well, they're going to put me on trial again... | 0:40:55 | 0:40:58 | |
..for the killing of Lizzie Kilmuir! | 0:40:58 | 0:41:01 | |
Hm? | 0:41:01 | 0:41:02 | |
-They said that. -Who said that? | 0:41:02 | 0:41:04 | |
Them! They said that. | 0:41:04 | 0:41:06 | |
This is because another young woman was attacked last night. | 0:41:11 | 0:41:14 | |
-HE LAUGHS -OK, well... | 0:41:14 | 0:41:17 | |
That's bad news for me, then. | 0:41:17 | 0:41:19 | |
Name's Jo Halley. | 0:41:19 | 0:41:20 | |
Used to live with Sally McColl. | 0:41:20 | 0:41:22 | |
OK, Thomas. | 0:41:25 | 0:41:26 | |
You're a smart guy. | 0:41:28 | 0:41:30 | |
You hide it really well, but you're far fae stupid, | 0:41:30 | 0:41:32 | |
so I'm going to be straight with you. | 0:41:32 | 0:41:34 | |
You're not being paranoid - | 0:41:34 | 0:41:36 | |
they are out to get you. | 0:41:36 | 0:41:38 | |
And unless you start giving them some straight answers, | 0:41:39 | 0:41:42 | |
they're going to find a way to charge you with Sally's death. | 0:41:42 | 0:41:45 | |
What do you want from me? | 0:41:47 | 0:41:49 | |
What do you want from me? | 0:41:49 | 0:41:50 | |
Another confession? | 0:41:51 | 0:41:52 | |
I didnae kill Lizzie, or Sally, OK? | 0:41:53 | 0:41:57 | |
And it's not my fault that you don't know who did. | 0:41:57 | 0:42:00 | |
And it's not my fault that Gail Callahan gave you a false | 0:42:00 | 0:42:04 | |
alibi for the night Sally went missing, | 0:42:04 | 0:42:07 | |
so why won't you let yourself off the hook and tell me where you went? | 0:42:07 | 0:42:11 | |
That's my business. | 0:42:11 | 0:42:13 | |
Mine. | 0:42:13 | 0:42:14 | |
Hey! Nobody needs to know anything about me. | 0:42:14 | 0:42:18 | |
Cos I'm a free man. | 0:42:21 | 0:42:22 | |
Be smart, Thomas... | 0:42:23 | 0:42:25 | |
..be smarter... | 0:42:27 | 0:42:28 | |
..and tell me where you went. | 0:42:29 | 0:42:31 | |
HE SNIFFS | 0:42:46 | 0:42:48 | |
Same place as I went to last night. | 0:42:48 | 0:42:50 | |
To the cliffs. | 0:42:58 | 0:42:59 | |
And I stood there. | 0:43:07 | 0:43:08 | |
And I thought... | 0:43:11 | 0:43:12 | |
.."Maybe I'll just fly away." | 0:43:16 | 0:43:18 | |
Just let myself go and fly. | 0:43:26 | 0:43:28 | |
But I want to live. | 0:43:38 | 0:43:40 | |
I deserve... | 0:43:46 | 0:43:48 | |
..to live. | 0:43:50 | 0:43:52 | |
OK. | 0:44:04 | 0:44:05 | |
Billy. | 0:44:10 | 0:44:11 | |
Release Thomas Malone. | 0:44:12 | 0:44:14 | |
I'll take the flak. | 0:44:14 | 0:44:16 | |
Exactly what did you achieve in there? | 0:44:16 | 0:44:18 | |
That guy is like a time bomb waiting to go off | 0:44:19 | 0:44:23 | |
and you might just have lit the fuse. | 0:44:23 | 0:44:25 | |
I'm sorry. I'll take some classes in pussyfooting around once | 0:44:25 | 0:44:28 | |
I find out who killed Lizzie and Sally. | 0:44:28 | 0:44:31 | |
The assistant chief constable sent you up here to cover her arse. | 0:44:31 | 0:44:36 | |
And we both know it. | 0:44:36 | 0:44:37 | |
Interview with Detective Bleymann recommences at 5:35 | 0:44:39 | 0:44:42 | |
with DI Perez and DS McIntosh. | 0:44:42 | 0:44:44 | |
Well, the refugees are safe. | 0:44:47 | 0:44:49 | |
And your friends at the NDA are under investigation. | 0:44:51 | 0:44:54 | |
You're lying. | 0:44:57 | 0:44:59 | |
Well, somebody in this room is, but it's not us. | 0:44:59 | 0:45:01 | |
You're a police officer. | 0:45:01 | 0:45:03 | |
People trusted you. | 0:45:04 | 0:45:05 | |
I trusted you. | 0:45:07 | 0:45:08 | |
Don't you feel any shame at all? | 0:45:10 | 0:45:12 | |
Why? | 0:45:12 | 0:45:13 | |
I have nothing to be ashamed of. | 0:45:13 | 0:45:14 | |
Well, then turn around and look at us. | 0:45:14 | 0:45:16 | |
You're not even half as smart as you think you are. | 0:45:34 | 0:45:36 | |
Now, stop insulting my intelligence | 0:45:38 | 0:45:40 | |
and tell us the truth about Sally McColl. | 0:45:40 | 0:45:43 | |
I only came here for the footage. | 0:45:43 | 0:45:46 | |
That's all. I broke into her car, I stole her laptop and took her phone. | 0:45:46 | 0:45:49 | |
These things I did. | 0:45:49 | 0:45:51 | |
But then I left. | 0:45:51 | 0:45:52 | |
I had what I needed. | 0:45:53 | 0:45:55 | |
I never touched Sally McColl. | 0:45:55 | 0:45:56 | |
You're lying. You killed Sally and then you came back to make sure | 0:45:56 | 0:46:01 | |
that Jo couldn't identify you. | 0:46:01 | 0:46:03 | |
You came back to kill her. | 0:46:03 | 0:46:04 | |
I wasn't going to kill her. | 0:46:06 | 0:46:08 | |
Seriously? You beat her and tried to strangle her. | 0:46:08 | 0:46:11 | |
If it wasn't for one of our officers, she'd be dead now. | 0:46:12 | 0:46:15 | |
Yeah, I just needed to make sure that she didn't have the footage. | 0:46:15 | 0:46:18 | |
But then she started screaming and kicking. | 0:46:18 | 0:46:20 | |
What was I supposed to do? | 0:46:20 | 0:46:22 | |
Well, then why would you go to the hospital | 0:46:22 | 0:46:23 | |
if it wasn't to finish her off? Or was that a lie as well? | 0:46:23 | 0:46:26 | |
Was it? | 0:46:26 | 0:46:27 | |
I just had to talk to her. | 0:46:30 | 0:46:33 | |
-I just had to make sure... -You really expect us to believe that? | 0:46:33 | 0:46:35 | |
Well, it's the truth. | 0:46:35 | 0:46:37 | |
Lars... | 0:46:40 | 0:46:41 | |
..this is your last chance. | 0:46:42 | 0:46:44 | |
Did you kill Sally McColl? | 0:46:47 | 0:46:48 | |
No. | 0:46:51 | 0:46:52 | |
The last I saw of her, | 0:46:54 | 0:46:55 | |
she was arguing with an older man at the festival. | 0:46:55 | 0:46:58 | |
You know...perhaps you should be talking with him right now, | 0:46:58 | 0:47:02 | |
instead of me. | 0:47:02 | 0:47:03 | |
An older man? | 0:47:05 | 0:47:06 | |
Yes. | 0:47:06 | 0:47:07 | |
This man? | 0:47:18 | 0:47:19 | |
No. | 0:47:22 | 0:47:23 | |
Well, would you recognise him if you saw him again? | 0:47:25 | 0:47:27 | |
Yeah, sure. | 0:47:30 | 0:47:31 | |
That's him right there, next to you. | 0:47:33 | 0:47:35 | |
This man here? | 0:47:40 | 0:47:41 | |
Yes. That man. | 0:47:41 | 0:47:43 | |
That's the man I saw talking to Sally. | 0:47:43 | 0:47:45 | |
You don't believe him, do you? | 0:47:50 | 0:47:53 | |
Mr Trustworthy in there? He's a lying ratbag. | 0:47:53 | 0:47:55 | |
He'll say anything. | 0:47:55 | 0:47:56 | |
Duncan's hiding something, Tosh. | 0:47:57 | 0:47:59 | |
I knew when I saw Alan's home movie that he knew Lizzie a lot better | 0:48:03 | 0:48:06 | |
than he was letting on. | 0:48:06 | 0:48:08 | |
What's that got to do with him arguing with Sally? | 0:48:08 | 0:48:10 | |
Not sure. | 0:48:10 | 0:48:11 | |
Why didn't he tell me that he spoke to her that night? | 0:48:11 | 0:48:14 | |
Hi. | 0:48:30 | 0:48:32 | |
It's Alan, isn't it? | 0:48:32 | 0:48:33 | |
That's right. If you're looking for Cass she's not here. | 0:48:33 | 0:48:36 | |
Aye... No, it was you I came to see, actually. | 0:48:36 | 0:48:39 | |
I wanted to ask you a favour. Erm... | 0:48:41 | 0:48:43 | |
Would you mind withdrawing your offer of a full-time job for Cass? | 0:48:46 | 0:48:50 | |
Why? | 0:48:50 | 0:48:52 | |
I want her to come and work with me for a bit. | 0:48:52 | 0:48:55 | |
Erm, keep her where I can see her, | 0:48:55 | 0:48:57 | |
you know. | 0:48:57 | 0:48:58 | |
Just till she gets over this break-up. | 0:48:58 | 0:49:01 | |
Is that not up to her? | 0:49:01 | 0:49:02 | |
Well, in normal circumstances, aye. | 0:49:04 | 0:49:05 | |
What do you mean by that? | 0:49:07 | 0:49:08 | |
Erm, well... | 0:49:09 | 0:49:12 | |
Cass is a bit vulnerable just now, Alan, and, erm... | 0:49:12 | 0:49:15 | |
..I don't want her getting dragged into whatever's | 0:49:17 | 0:49:19 | |
going on in your life. | 0:49:19 | 0:49:20 | |
I don't mean that to sound heartless, | 0:49:20 | 0:49:22 | |
-but I'm just trying to look after my daughter, you know. -That's funny. | 0:49:22 | 0:49:26 | |
I thought Jimmy Perez was her father. | 0:49:26 | 0:49:28 | |
Well, she's, er... She's lucky, she's got two for the price of one. | 0:49:28 | 0:49:32 | |
I'm not just thinking about her. I'm thinking about you, too. | 0:49:32 | 0:49:35 | |
I'm sure this is the last thing you need, don't you think? | 0:49:35 | 0:49:38 | |
Well, I'm touched. Thanks for your concern. | 0:49:38 | 0:49:40 | |
I'm not saying withdraw the offer of a job completely, | 0:49:40 | 0:49:43 | |
just until things calm down, till we know what happened to Sally and Jo. | 0:49:43 | 0:49:46 | |
You think I killed my girlfriend, don't you? | 0:49:49 | 0:49:50 | |
Have you got any proof? | 0:49:51 | 0:49:53 | |
No? | 0:49:53 | 0:49:55 | |
Well, I suggest you keep your mouth shut. | 0:49:55 | 0:49:57 | |
What did Duncan Hunter want? | 0:50:12 | 0:50:14 | |
He's getting on at me for offering Cass a full-time job. | 0:50:17 | 0:50:20 | |
VEHICLE APPROACHES | 0:50:24 | 0:50:27 | |
Hey, what's up? | 0:50:37 | 0:50:38 | |
Did you speak to Sally McColl the night she disappeared? | 0:50:38 | 0:50:42 | |
I might've said a quick hello at the festival. | 0:50:42 | 0:50:45 | |
I've got a witness that said that he saw you arguing with her. | 0:50:45 | 0:50:48 | |
I...offered her a lift home because | 0:50:54 | 0:50:57 | |
she'd had a bit to drink and... | 0:50:57 | 0:51:00 | |
..she seemed upset. | 0:51:00 | 0:51:02 | |
-About what? -She didn't say. | 0:51:02 | 0:51:04 | |
Did you see her leave? | 0:51:05 | 0:51:07 | |
She went in that direction, yeah. | 0:51:08 | 0:51:10 | |
Was Mary with you? | 0:51:11 | 0:51:13 | |
No, she went home. | 0:51:13 | 0:51:15 | |
Did anybody see you leave? | 0:51:15 | 0:51:17 | |
Did you speak to anybody else? | 0:51:17 | 0:51:20 | |
I... I don't think so, no. | 0:51:20 | 0:51:23 | |
Oh, for Christ's sake, Duncan, | 0:51:23 | 0:51:25 | |
why didn't you tell me before that you'd spoken to Sally? | 0:51:25 | 0:51:27 | |
It was a very brief conversation. | 0:51:28 | 0:51:31 | |
-I forgot. -You forgot! | 0:51:31 | 0:51:33 | |
You forgot that you'd spoken to a woman who got killed the same night? | 0:51:35 | 0:51:38 | |
What time did you get home? | 0:51:42 | 0:51:43 | |
-Midnight. -Right, can Mary confirm that? | 0:51:45 | 0:51:48 | |
No, she was asleep. | 0:51:48 | 0:51:49 | |
You don't seriously think I had something to do with it, do you? | 0:51:53 | 0:51:55 | |
Cos that would tip my day over from bad to horrendous. | 0:51:58 | 0:52:00 | |
Oh, come on, have a drink. | 0:52:03 | 0:52:05 | |
I've got to get back to work. | 0:52:12 | 0:52:13 | |
You will see I was right one day. | 0:52:20 | 0:52:22 | |
That'll never happen. | 0:52:22 | 0:52:24 | |
Maybe I could come back to Shetland, pay you a visit. | 0:52:25 | 0:52:28 | |
If that is supposed to scare me, Lars, you really don't know me. | 0:52:28 | 0:52:32 | |
Locking me up in here doesn't change anything. | 0:52:44 | 0:52:46 | |
-HE BANGS DOOR -Tosh, I know you can hear me. | 0:52:46 | 0:52:50 | |
Fa dem ut! | 0:52:50 | 0:52:51 | |
-Good work. -Fa dem ut! | 0:52:51 | 0:52:54 | |
Fa dem ut! | 0:52:54 | 0:52:56 | |
Fa dem ut! | 0:52:56 | 0:52:58 | |
I heard about Jo Halley. Is she going to be OK? | 0:52:58 | 0:53:01 | |
Erm, she'll recover. | 0:53:01 | 0:53:03 | |
I don't know about OK. | 0:53:05 | 0:53:07 | |
Do you think it was the same person that killed Sally? | 0:53:07 | 0:53:10 | |
I don't think so, no. | 0:53:10 | 0:53:11 | |
Truth is, though, I need to... | 0:53:13 | 0:53:15 | |
I need to know what happened to Lizzie in order to try and make | 0:53:16 | 0:53:19 | |
sense of what happened to Sally. | 0:53:19 | 0:53:21 | |
Now, there's an eight-millimetre film from back in 1993 | 0:53:21 | 0:53:26 | |
at a party on a beach... | 0:53:26 | 0:53:28 | |
..and you're on it. | 0:53:28 | 0:53:30 | |
And you're watching your sister and Duncan Hunter, | 0:53:30 | 0:53:33 | |
and I could be wrong, but you look jealous. | 0:53:33 | 0:53:36 | |
Of my sister? | 0:53:38 | 0:53:40 | |
Yeah. | 0:53:40 | 0:53:41 | |
Absolutely. | 0:53:42 | 0:53:44 | |
I was. | 0:53:44 | 0:53:45 | |
Er... | 0:53:46 | 0:53:48 | |
Being a twin is different. | 0:53:49 | 0:53:50 | |
If you lose one, it's not like losing a sibling. | 0:53:51 | 0:53:53 | |
It's like half of you is just gone. | 0:53:53 | 0:53:55 | |
Just gone. | 0:53:57 | 0:53:58 | |
Anyway, I would look in the mirror... | 0:54:00 | 0:54:03 | |
..and all I could see was Lizzie. | 0:54:03 | 0:54:06 | |
I mean, my mum... | 0:54:07 | 0:54:10 | |
My mum couldn't even look at me cos all that she saw was a constant | 0:54:10 | 0:54:13 | |
reminder of what she had lost. | 0:54:13 | 0:54:14 | |
So I tried to | 0:54:14 | 0:54:17 | |
change the way that I looked. | 0:54:17 | 0:54:19 | |
Cut my hair, stopped eating. | 0:54:19 | 0:54:21 | |
And then I started sleeping around, | 0:54:21 | 0:54:23 | |
and it didn't matter who with, just... | 0:54:23 | 0:54:27 | |
..just needed somebody to distract me. | 0:54:27 | 0:54:29 | |
And then I got pregnant. | 0:54:29 | 0:54:31 | |
And Molly changed everything. | 0:54:33 | 0:54:35 | |
I looked in the mirror and it wasn't Lizzie that I saw, | 0:54:37 | 0:54:39 | |
it was Molly's mum. | 0:54:39 | 0:54:40 | |
I wasn't alone any more. | 0:54:42 | 0:54:43 | |
So...yeah, my feelings towards Lizzie are quite complicated. | 0:54:45 | 0:54:50 | |
OK. | 0:54:51 | 0:54:53 | |
What about her and Duncan Hunter? | 0:54:56 | 0:54:58 | |
-On that day? -Mm-hm. | 0:54:59 | 0:55:00 | |
Oh, she was a pain in the arse. | 0:55:02 | 0:55:04 | |
She was flirting with all the older guys. | 0:55:05 | 0:55:07 | |
But Duncan mostly. | 0:55:08 | 0:55:09 | |
DOOR CREAKS | 0:55:39 | 0:55:42 | |
So, I'm sorry. | 0:55:54 | 0:55:56 | |
About earlier. | 0:55:56 | 0:55:57 | |
It's OK. It's a weird time for you. | 0:56:01 | 0:56:04 | |
So, I kind of threw out all Mum's old boots and stuff. | 0:56:10 | 0:56:14 | |
I know. | 0:56:16 | 0:56:18 | |
And you're OK with that? | 0:56:18 | 0:56:20 | |
Yeah. | 0:56:22 | 0:56:23 | |
And you're looking at old photographs? | 0:56:25 | 0:56:28 | |
Mm-hm. | 0:56:31 | 0:56:32 | |
Don't. | 0:56:35 | 0:56:37 | |
OK? | 0:56:37 | 0:56:38 | |
Go and watch the football or something. | 0:56:38 | 0:56:41 |