Browse content similar to Part 2. Check below for episodes and series from the same categories and more!
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This programme contains some scenes which some viewers may find upsetting. | 0:00:02 | 0:00:09 | |
-'Thanks, Nikki, much appreciated.' -The conviction is quashed. | 0:00:09 | 0:00:12 | |
A guilty man was released yesterday. I'm not looking for anybody else. | 0:00:12 | 0:00:14 | |
-What are you doing? Get off! -Did you write this? | 0:00:15 | 0:00:19 | |
You come after me and mine again, and I promise you, | 0:00:19 | 0:00:21 | |
I'll come after you and yours. | 0:00:21 | 0:00:23 | |
Same place as Daniel Harris and Michael Freeman. | 0:00:23 | 0:00:26 | |
Remind you of anything? | 0:00:26 | 0:00:27 | |
ON THE FLOOR NOW! ON THE FLOOR! Hands behind your head! | 0:00:27 | 0:00:31 | |
Byron Lee. No passport, birth certificate, | 0:00:31 | 0:00:33 | |
previous convictions, driving licence, nothing. | 0:00:33 | 0:00:36 | |
-This guy doesn't exist. -So, who is he, then? | 0:00:36 | 0:00:38 | |
So, am I being removed for political reasons or | 0:00:38 | 0:00:40 | |
because of the DI's displeasure? | 0:00:40 | 0:00:41 | |
Shall we say the former? | 0:00:41 | 0:00:42 | |
He's got previous for sexual assault. Callum Jordan. | 0:00:42 | 0:00:45 | |
Should've worn a condom, Callum. DNA. Yours. On the body. | 0:00:45 | 0:00:48 | |
I can't make it up. I can't make Bennetto be innocent. | 0:00:48 | 0:00:51 | |
-I don't want that. -No, but you need it. | 0:00:51 | 0:00:53 | |
The night? | 0:00:53 | 0:00:54 | |
You said spend the night. | 0:00:56 | 0:00:58 | |
The police are on me back, the press are after me family. | 0:00:58 | 0:01:00 | |
-You said you'd sort it. -I am sorting it, David. | 0:01:00 | 0:01:03 | |
We've got another body. Charlie Masham. | 0:01:03 | 0:01:05 | |
Nikki! | 0:01:08 | 0:01:09 | |
All units in position. | 0:01:59 | 0:02:00 | |
How much longer are you going to wait? | 0:02:10 | 0:02:12 | |
-Tell me what they know. -She's told you... -Again! | 0:02:18 | 0:02:21 | |
-I've told you it all. -She's not keeping anything back, David. | 0:02:21 | 0:02:24 | |
-Again! -David... -Again! -David! | 0:02:24 | 0:02:25 | |
-The drugs, the gun... -What else? -Nothing. | 0:02:25 | 0:02:29 | |
-David, put the gun down. -Right, get up. We're going. Get up! | 0:02:29 | 0:02:32 | |
-You don't know what you're doing, David. -Shut your mouth. | 0:02:32 | 0:02:35 | |
-We've got activity. -They're watching. -Shut your mouth! -David. | 0:02:36 | 0:02:39 | |
Shut up! SHUT UP! | 0:02:39 | 0:02:40 | |
NIKKI PANTS, PHONE RINGS | 0:02:40 | 0:02:42 | |
At least hear what they've got to say. | 0:02:42 | 0:02:45 | |
David, listen. You're never going to make it out of here. | 0:02:49 | 0:02:52 | |
The first chance they get, they'll take the shot. Now, they want to negotiate. They're trying. | 0:02:52 | 0:02:56 | |
OK, so, think, think about it. Take the call. | 0:02:56 | 0:02:59 | |
PHONE RINGS | 0:03:05 | 0:03:07 | |
David? It's Rachel Klein. | 0:03:09 | 0:03:11 | |
I'm not going back to prison. | 0:03:12 | 0:03:13 | |
Look. | 0:03:13 | 0:03:14 | |
You know me, we go way back. | 0:03:14 | 0:03:17 | |
You'll be heard, David, all right? | 0:03:17 | 0:03:20 | |
We'll take our time. | 0:03:20 | 0:03:23 | |
Come on, there's no need | 0:03:23 | 0:03:24 | |
for anyone else to get hurt cos of what you've done. | 0:03:24 | 0:03:27 | |
"What I've done"? | 0:03:27 | 0:03:29 | |
What I've... What have I done? | 0:03:29 | 0:03:31 | |
What have I done? What have I done? | 0:03:31 | 0:03:34 | |
What have I done?! | 0:03:34 | 0:03:35 | |
DEAD TONE, SHE SIGHS | 0:03:35 | 0:03:37 | |
Brilliant. | 0:03:39 | 0:03:40 | |
HELICOPTER OVERHEAD | 0:03:45 | 0:03:48 | |
What's going on, David? | 0:04:07 | 0:04:08 | |
What are you looking at? | 0:04:11 | 0:04:13 | |
Daniel's not here. He was meant to be here now. | 0:04:13 | 0:04:17 | |
He's not here. | 0:04:17 | 0:04:18 | |
David, listen to me... Listen, listen. | 0:04:22 | 0:04:25 | |
Come on. Don't do that. | 0:04:25 | 0:04:27 | |
Hey, David, it's me, listen to me carefully. | 0:04:27 | 0:04:31 | |
Do you remember last night, you told me | 0:04:31 | 0:04:34 | |
that you were going to give me the gun. Do you remember that? | 0:04:34 | 0:04:38 | |
Well, that's why you asked me here. So that you could give me the gun. | 0:04:38 | 0:04:43 | |
Is that what we're saying to the police? | 0:04:43 | 0:04:45 | |
Yeah. Exactly. Now, Nikki has nothing to do with this, | 0:04:45 | 0:04:49 | |
so you don't need to put her into danger. | 0:04:49 | 0:04:52 | |
All you need to do is just give me the gun, OK, | 0:04:52 | 0:04:56 | |
and that way no-one is going to try and shoot you, | 0:04:56 | 0:04:59 | |
no-one's going to hurt you. | 0:04:59 | 0:05:00 | |
OK. I will sort it out. I promise you. | 0:05:00 | 0:05:03 | |
Everywhere I turn, there's something else. | 0:05:03 | 0:05:05 | |
I know. | 0:05:05 | 0:05:07 | |
It just has to stop. | 0:05:07 | 0:05:09 | |
It's OK. OK? | 0:05:09 | 0:05:12 | |
Come on. | 0:05:12 | 0:05:13 | |
Everything's going to be OK. | 0:05:15 | 0:05:17 | |
OK. That's good. | 0:05:23 | 0:05:25 | |
SHE GASPS | 0:05:25 | 0:05:28 | |
David? What are you doing? | 0:05:34 | 0:05:36 | |
Subject visible. | 0:05:38 | 0:05:40 | |
-He's going to fire. -Take the shot. -No! | 0:05:44 | 0:05:47 | |
Subject down. He's down. | 0:05:50 | 0:05:52 | |
I've lost visual. | 0:05:52 | 0:05:54 | |
Stay down. Stay down. | 0:05:54 | 0:05:56 | |
HE SCREAMS | 0:05:56 | 0:05:57 | |
He's down! | 0:05:57 | 0:05:59 | |
HE GASPS | 0:06:02 | 0:06:04 | |
SIRENS WAIL | 0:06:04 | 0:06:06 | |
You OK? | 0:06:12 | 0:06:14 | |
Yeah. Thank you. | 0:06:14 | 0:06:15 | |
No, I'm...I'm sorry. | 0:06:15 | 0:06:18 | |
Why don't you ever listen? | 0:06:18 | 0:06:20 | |
-Hey... -Hmm? I told you! -Look, now's not the time. | 0:06:20 | 0:06:23 | |
SOCOs need organising in Bennetto's flat. Forensic sweep. | 0:06:23 | 0:06:26 | |
Well, go on. | 0:06:28 | 0:06:29 | |
I'll see you later. | 0:06:36 | 0:06:37 | |
-Well? -I'm OK. -You think? | 0:06:39 | 0:06:41 | |
INAUDIBLE | 0:06:50 | 0:06:52 | |
Dad? | 0:07:00 | 0:07:01 | |
I'm very sorry for your loss. | 0:07:12 | 0:07:14 | |
It's your fault. | 0:07:14 | 0:07:15 | |
You got him out - you put him back on the streets. | 0:07:16 | 0:07:20 | |
Charlie'd still be alive! | 0:07:20 | 0:07:22 | |
Was it quick? | 0:07:30 | 0:07:32 | |
Have you ever lost anybody? | 0:07:46 | 0:07:49 | |
Yes. | 0:07:49 | 0:07:50 | |
Could you cry? | 0:07:52 | 0:07:53 | |
Shock can freeze you up. | 0:07:55 | 0:07:57 | |
It's like a safe mode, so we can still function. | 0:07:58 | 0:08:02 | |
Is that what happened to you? | 0:08:02 | 0:08:03 | |
CAMERA SHUTTER CLICKS | 0:08:07 | 0:08:10 | |
CAMERA SHUTTER CLICKS | 0:08:19 | 0:08:23 | |
The other three victims had exit and entry wounds | 0:08:49 | 0:08:52 | |
but, er, no bullets recovered. | 0:08:52 | 0:08:54 | |
-So, you can match that to Bennetto's gun? -I can run tests. | 0:08:54 | 0:08:57 | |
So, well, we've got him. | 0:08:57 | 0:08:59 | |
Do we have a time of death yet? | 0:08:59 | 0:09:01 | |
Around 8pm. | 0:09:01 | 0:09:03 | |
So, we released Bennetto yesterday around three. | 0:09:03 | 0:09:05 | |
Charlie Masham leaves his father's house around six. | 0:09:05 | 0:09:08 | |
Bennetto picks him up somehow, kills him somewhere, | 0:09:08 | 0:09:10 | |
-and then dumps him somewhere else? -Are you sure the body was moved? | 0:09:10 | 0:09:13 | |
There was hardly any blood at the scene, so, yeah. | 0:09:13 | 0:09:16 | |
Which means a vehicle was involved. | 0:09:16 | 0:09:18 | |
Again, like Byron Lee. A transit-type again? | 0:09:18 | 0:09:20 | |
Maybe, but there were no tyre tracks this time. | 0:09:20 | 0:09:22 | |
-Cameras? -No. -At least we've got an ID on the victim this time. | 0:09:22 | 0:09:25 | |
-Any progress with that? -I sent mug shots through. -Right. | 0:09:25 | 0:09:27 | |
Well, anything else you can do would be gratefully received. | 0:09:27 | 0:09:30 | |
Why didn't he dump THIS one in the same marshland area | 0:09:30 | 0:09:32 | |
as the other three victims? | 0:09:32 | 0:09:34 | |
Maybe he was disturbed. Maybe he couldn't get clear access. | 0:09:34 | 0:09:38 | |
Nikki's here for a meeting. | 0:09:39 | 0:09:41 | |
Give us five minutes. | 0:09:43 | 0:09:44 | |
-So, what do you want to do with Callum Jordan? -Let him go. | 0:09:50 | 0:09:53 | |
-Really? -No, I thought I'd just wind you up. | 0:09:54 | 0:09:56 | |
You loved it when I looked like a twat, didn't you? | 0:09:56 | 0:09:59 | |
Well, not any more. From now on, when I say jump, you say...? | 0:09:59 | 0:10:02 | |
"Off what cliff? | 0:10:02 | 0:10:05 | |
"Ma'am." | 0:10:05 | 0:10:06 | |
The Home Office are calling for an inquiry. | 0:10:08 | 0:10:10 | |
You can't expect anything else, can you? You help get him released, | 0:10:10 | 0:10:13 | |
-then this happens. -It was the court's decision, not mine. | 0:10:13 | 0:10:16 | |
Whatever. There will be an inquiry, I'll make sure of that. | 0:10:16 | 0:10:19 | |
To what end? To scapegoat me? | 0:10:19 | 0:10:21 | |
This whole thing begins and ends with YOU, Nikki. | 0:10:21 | 0:10:24 | |
You're planning to announce that to the public, are you? The inquiry? | 0:10:24 | 0:10:27 | |
-You're damn right I am. -Which will drag the Home Secretary into it, | 0:10:27 | 0:10:30 | |
thereby guaranteeing this whole thing will run and run. | 0:10:30 | 0:10:33 | |
So, what instead? Do nothing? | 0:10:33 | 0:10:34 | |
The press won't stay quiet for long. | 0:10:34 | 0:10:36 | |
DI Klein's holding a press conference later. | 0:10:36 | 0:10:38 | |
-For what reason? -To appeal for information. How about I tag along? | 0:10:38 | 0:10:41 | |
-Can I say something...? -To...? | 0:10:41 | 0:10:42 | |
To formally announce that Nikki's contrite | 0:10:42 | 0:10:44 | |
and that disciplinary measures are in train. No mention of an inquiry. | 0:10:44 | 0:10:49 | |
That way, we give them something to chew on | 0:10:49 | 0:10:51 | |
-but do nothing to escalate the crisis. -Does the little woman get a say in this? -No. | 0:10:51 | 0:10:54 | |
Agreed. But you announce that she's suspended. | 0:10:54 | 0:10:57 | |
-That's my call. -The minister... -My call, Richard. | 0:10:57 | 0:11:00 | |
My centre, my decision. | 0:11:02 | 0:11:04 | |
There'll be no suspension, no sacking, | 0:11:04 | 0:11:06 | |
not without a proper INTERNAL investigation. | 0:11:06 | 0:11:09 | |
On your head be it. | 0:11:12 | 0:11:13 | |
Didn't my partner, Jason... Didn't he phone for me? | 0:11:17 | 0:11:20 | |
Strangely enough, we're not a hotel, sir. | 0:11:20 | 0:11:23 | |
-Be complaining about the state of the beds if you were. -Right. Come on. | 0:11:23 | 0:11:26 | |
You didn't tell Jason, did you? What I said, paying for it? | 0:11:31 | 0:11:36 | |
That's for me to know and you to find out. Go on. Off you go. | 0:11:36 | 0:11:40 | |
-Police sent this over. -What is it? | 0:11:45 | 0:11:47 | |
From Byron Lee, or whatever his name is. From where he was staying. | 0:11:47 | 0:11:51 | |
Thought it might help you piece together his ID. | 0:11:51 | 0:11:53 | |
-It's police work, that. -OK. | 0:11:53 | 0:11:56 | |
CAMERA SHUTTERS CLICKING | 0:12:37 | 0:12:39 | |
CAMERA SHUTTERS CLICKING, SHOUTING | 0:12:47 | 0:12:50 | |
CLAMOUR | 0:12:50 | 0:12:53 | |
Do you know these boys? | 0:13:05 | 0:13:06 | |
Should we? | 0:13:08 | 0:13:09 | |
-Yes or no. -No. | 0:13:12 | 0:13:14 | |
How about this? | 0:13:18 | 0:13:19 | |
-Is this the gun that Davey's supposed to have used? -Mmm. | 0:13:23 | 0:13:27 | |
-A Browning Hi-Power 9mm. -You know about guns? | 0:13:27 | 0:13:31 | |
Nope, but I know this one, and it's not Davey's. | 0:13:31 | 0:13:35 | |
It's my dad's. He was in the Marines. 3 Commando. Falklands. | 0:13:35 | 0:13:41 | |
He got it off a prisoner of war. | 0:13:41 | 0:13:44 | |
His own...little bit of Goose Green. | 0:13:45 | 0:13:48 | |
He told me mum he'd got rid of it. | 0:13:48 | 0:13:50 | |
-Right, so, when would this have been? -Years ago. | 0:13:50 | 0:13:53 | |
So, how come David had it? Would your father have given it to him? | 0:13:53 | 0:13:57 | |
No, no way. He wouldn't give Davey the time of day. | 0:13:57 | 0:14:02 | |
He'd have hidden it. | 0:14:04 | 0:14:07 | |
One in the eye for authority and all that. | 0:14:07 | 0:14:09 | |
PHONE VIBRATES | 0:14:09 | 0:14:11 | |
Excuse me. | 0:14:17 | 0:14:18 | |
I heard, mate. I'm really sorry. | 0:14:26 | 0:14:28 | |
-You still feeling loyal because... -You want him locked up. | 0:14:28 | 0:14:32 | |
Yeah, well, that or...no more. Gone, dead, I don't care which. | 0:14:32 | 0:14:35 | |
If you want to help, the offer's still on the table. | 0:14:35 | 0:14:39 | |
Walker? Wouldn't trust him as far as I could throw him. | 0:14:57 | 0:15:00 | |
"Deal in facts, don't get emotionally involved." Your mantra, right? | 0:15:03 | 0:15:07 | |
OK, fact. Bennetto's DNA wasn't on Byron's body. | 0:15:09 | 0:15:13 | |
Could've been wearing a condom. | 0:15:13 | 0:15:15 | |
Not just in the semen, but in any other way. There was no contact. | 0:15:15 | 0:15:18 | |
I'll bet you that we'll get the same results from Charlie Masham. | 0:15:18 | 0:15:22 | |
"Dear Martha"? Do 19-year-olds still write love letters? | 0:15:23 | 0:15:28 | |
Don't they just text their requirements? | 0:15:28 | 0:15:30 | |
SOS? | 0:15:33 | 0:15:34 | |
-ABBA? -Huh? | 0:15:34 | 0:15:36 | |
Just trying to lighten the mood. Go on, give us a song. | 0:15:36 | 0:15:39 | |
Maybe later. The O is lower case, so maybe towns? | 0:15:39 | 0:15:42 | |
I don't know something on something... | 0:15:42 | 0:15:45 | |
Stoke on... Shipston-on-Stour. | 0:15:45 | 0:15:47 | |
-Stourport-on-Severn. -Where? -Sorry, bit classy for you. | 0:15:47 | 0:15:51 | |
Byron had a biopsy or he'd donated bone marrow, didn't he? | 0:15:53 | 0:15:57 | |
OK, so...you want to get on to the bone marrow register | 0:15:57 | 0:16:00 | |
-and local transplant centres? -Local to where? | 0:16:00 | 0:16:03 | |
Anywhere with "SOS" in the name. | 0:16:03 | 0:16:05 | |
How much Lorazepam was Bennetto prescribed when he left prison? | 0:16:06 | 0:16:09 | |
60 milligrams total. Why? | 0:16:09 | 0:16:12 | |
I just finished the tox screen on Charlie Masham. | 0:16:12 | 0:16:15 | |
Add what was found in his system to the amount found in Byron Lee's | 0:16:15 | 0:16:18 | |
and it's way higher than 60 milligrams. | 0:16:18 | 0:16:20 | |
So, he saw a GP and got another prescription. | 0:16:20 | 0:16:23 | |
-Not according to his medical notes. -You want me to double-check that? | 0:16:23 | 0:16:26 | |
-Thanks. What's all this? -Klein wanted us to work on ID'ing Byron. | 0:16:26 | 0:16:30 | |
After the bullet comparison, please. Prioritise that. | 0:16:30 | 0:16:33 | |
Where were you yesterday between 3pm and 8pm? | 0:16:37 | 0:16:40 | |
What? When he wasn't murdering rent boys? | 0:16:40 | 0:16:42 | |
Does this pretty boy mean anything to you? | 0:16:42 | 0:16:46 | |
Oh, wow! He does, doesn't he? | 0:16:46 | 0:16:49 | |
Go on, then, who is he? | 0:16:49 | 0:16:51 | |
-You don't have to answer that. -Peter Masham's son. | 0:16:51 | 0:16:54 | |
Yeah. Now, he had the bullet still in him. | 0:16:54 | 0:16:57 | |
What's the betting that'll match your daddy's gun? | 0:16:57 | 0:17:00 | |
-Actually, I have information... -Mr Walker, please. | 0:17:00 | 0:17:02 | |
It's relevant to the investigation. Do you want it or not? | 0:17:02 | 0:17:06 | |
Listen. I don't want to waste your time, | 0:17:10 | 0:17:12 | |
especially with upstairs looking on. | 0:17:12 | 0:17:14 | |
If you've got something to say, say it. | 0:17:14 | 0:17:16 | |
OK, he told me yesterday that he found the gun at his father's. | 0:17:16 | 0:17:18 | |
He didn't know what to do with it. | 0:17:18 | 0:17:20 | |
He knew that if you people got to know, he would be in deep trouble. | 0:17:20 | 0:17:23 | |
Right, so, don't tell me, so you went to the flat | 0:17:23 | 0:17:25 | |
so he could give it to you, to give to us. Bollocks! | 0:17:25 | 0:17:28 | |
Dr Alexander came across the gun before we could make the exchange. | 0:17:28 | 0:17:31 | |
Next thing, here comes the sheriff and her posse. | 0:17:31 | 0:17:34 | |
No, but why didn't he say something at the time | 0:17:34 | 0:17:36 | |
-when I phoned the flat? -Come on. | 0:17:36 | 0:17:38 | |
He's got...he's got snipers eyeing him through their sights, | 0:17:38 | 0:17:41 | |
he's shitting himself. You... You want a rational explanation? | 0:17:41 | 0:17:44 | |
You could've told me this earlier. Why didn't you? | 0:17:46 | 0:17:48 | |
I don't remember you asking. | 0:17:48 | 0:17:50 | |
HE COCKS GUN | 0:18:24 | 0:18:26 | |
GUNSHOT | 0:18:26 | 0:18:27 | |
HUSHED MURMURS | 0:18:27 | 0:18:29 | |
Ladies and gentlemen. | 0:18:29 | 0:18:30 | |
Thank you. | 0:18:33 | 0:18:34 | |
As most of you already know, I'm DI Rachel Klein. | 0:18:34 | 0:18:37 | |
On my right, Assistant Commissioner Simon Riley | 0:18:37 | 0:18:40 | |
and Dr Thomas Chamberlain of the Lyell Centre. | 0:18:40 | 0:18:43 | |
To begin with, I want to confirm that David Bennetto | 0:18:43 | 0:18:45 | |
has been rearrested in connection with the murders of both... | 0:18:45 | 0:18:50 | |
-Byron Lee and Charles Masham. -CAMERA SHUTTERS CLICK | 0:18:50 | 0:18:53 | |
OK, any questions before I ask Dr Chamberlain to read his statement? | 0:19:20 | 0:19:24 | |
Remember, we're looking at reaching out to the public | 0:19:24 | 0:19:27 | |
for information on these murders. | 0:19:27 | 0:19:29 | |
Yes, Patrick? | 0:19:29 | 0:19:30 | |
Dr Alexander and Greg Walker, did they know Bennetto was guilty? | 0:19:30 | 0:19:33 | |
Sorry, I couldn't possibly answer that. | 0:19:33 | 0:19:35 | |
This lady on the second row here? | 0:19:35 | 0:19:36 | |
-My son was murdered... -Are we looking at a serial killer now? -Potentially... | 0:19:36 | 0:19:40 | |
-Were mistakes made because of institutionalised homophobia in the police? -My son! | 0:19:40 | 0:19:44 | |
MY SON was killed because I knew who Bennetto is, and WHAT he is. | 0:19:44 | 0:19:50 | |
-Mr Masham... -His appeal was a farce. | 0:19:50 | 0:19:53 | |
His lawyers employed a tame pathologist to make him look innocent. | 0:19:53 | 0:19:57 | |
You turned a killer loose and now two young men, | 0:19:57 | 0:20:01 | |
their whole lives in front of them... | 0:20:01 | 0:20:04 | |
they've gone. | 0:20:04 | 0:20:06 | |
And where is Dr Alexander, eh? | 0:20:06 | 0:20:08 | |
-Hiding away? -If you'll let me explain... | 0:20:10 | 0:20:12 | |
No. No. No. You should be ashamed, really. | 0:20:12 | 0:20:15 | |
You should be ashamed. | 0:20:15 | 0:20:16 | |
That's the bullet fired from Bennetto's father's gun. OK? | 0:20:24 | 0:20:28 | |
And THIS is the one recovered from Charlie Masham's body. | 0:20:34 | 0:20:38 | |
Striations don't match. | 0:20:45 | 0:20:47 | |
I think you might be interested in this too. | 0:20:50 | 0:20:52 | |
Shit. | 0:20:59 | 0:21:01 | |
Two things. Clarissa checked with medical records, | 0:21:15 | 0:21:18 | |
just got an e-mail back. | 0:21:18 | 0:21:20 | |
Bennetto didn't file a prescription for more Lorazepam | 0:21:20 | 0:21:22 | |
so, he couldn't have drugged Byron Lee with what he had. | 0:21:22 | 0:21:25 | |
-And? -And the bullet that killed Charlie Masham | 0:21:26 | 0:21:30 | |
didn't come from Bennetto's gun. | 0:21:30 | 0:21:33 | |
-You're sure? -Positive. | 0:21:35 | 0:21:38 | |
-I'd first like to clarify... -Why was she there, at his flat? | 0:21:43 | 0:21:46 | |
PHONE VIBRATES, CAMERAS CLICK | 0:21:46 | 0:21:48 | |
If you'll allow me to, Mr Masham, I will explain. | 0:21:50 | 0:21:53 | |
-Yeah, will you hell(!) -Dr Alexander had already been removed from the case. | 0:21:53 | 0:21:56 | |
Her presence at Mr Bennetto's flat was entirely... | 0:21:56 | 0:21:58 | |
If she was off the case, why was she there with Greg Walker? | 0:21:58 | 0:22:01 | |
What were they cooking up? Dr Chamberlain? | 0:22:01 | 0:22:04 | |
-Sorry, what was your question? -What were they cooking up? | 0:22:04 | 0:22:07 | |
My son would still be alive if Bennetto hadn't walked out of that court. | 0:22:07 | 0:22:10 | |
I deserve some answers! | 0:22:10 | 0:22:12 | |
You know you're hiding something. | 0:22:12 | 0:22:15 | |
I'm sorry. You'll have to, er, excuse me for a few minutes. | 0:22:15 | 0:22:17 | |
SHOUTING AND CLAMOUR | 0:22:17 | 0:22:19 | |
Hey! Hey! Hey! | 0:22:19 | 0:22:21 | |
I'll explain. | 0:22:21 | 0:22:22 | |
How many more young men are going to die? | 0:22:22 | 0:22:25 | |
-He could've bought more Lorazepam on the streets? -You can't prove that. | 0:22:25 | 0:22:28 | |
-OK, the gun. -It's not the same weapon. | 0:22:28 | 0:22:30 | |
-He could have hidden another somewhere. -Conjecture. | 0:22:30 | 0:22:32 | |
Oh, what, a legal expert now, are we? | 0:22:32 | 0:22:35 | |
There's absolutely nothing to place Bennetto at either areas of marshland. | 0:22:35 | 0:22:39 | |
Tyre tracks there don't match Jill's car. They're van tyres. | 0:22:39 | 0:22:41 | |
He didn't have access to one. I've checked all the hire companies. | 0:22:41 | 0:22:44 | |
Why not hold him for possession of the handgun, let us keep digging. | 0:22:44 | 0:22:47 | |
What, the handgun that isn't his? | 0:22:47 | 0:22:49 | |
Who let you in? | 0:22:49 | 0:22:50 | |
-It wasn't his gun, Rachel. -He was still in possession of it. | 0:22:50 | 0:22:53 | |
You saw him hand it to me, right? | 0:22:53 | 0:22:54 | |
-That was his intention all along. -Oh, piss off, Greg! -Nikki? | 0:22:54 | 0:22:58 | |
No, you shouldn't even be in here. | 0:22:58 | 0:23:00 | |
-He handed it to me, right? -Will you back off? -Yes or no? | 0:23:00 | 0:23:03 | |
-Yes. -Yes. | 0:23:03 | 0:23:05 | |
So, here's the bottom line. | 0:23:05 | 0:23:07 | |
You drove an innocent, mentally ill man to attempt suicide by cop. | 0:23:07 | 0:23:11 | |
-Oh, come on! -Then you had him shot for waving a mobile phone. | 0:23:11 | 0:23:14 | |
-For Christ's sake! -Now, what you have does not stand up. | 0:23:14 | 0:23:18 | |
Is that right? Huh? Eh? | 0:23:26 | 0:23:29 | |
-Ow! -Did Bennetto give him the gun? -What? You think I'm lying now? | 0:23:29 | 0:23:33 | |
He is working you, Nikki. | 0:23:34 | 0:23:36 | |
-Get off. -OK, enough. | 0:23:36 | 0:23:39 | |
You're on your own. | 0:23:40 | 0:23:41 | |
Come in. | 0:23:50 | 0:23:52 | |
-You want a drink or something? -No. Thanks. | 0:23:59 | 0:24:01 | |
I'm really sorry. | 0:24:05 | 0:24:06 | |
Shall we get this over with? | 0:24:06 | 0:24:08 | |
Do what you want with them. | 0:24:13 | 0:24:15 | |
He deserves what he gets. | 0:24:15 | 0:24:17 | |
-No, honestly. -Take it. | 0:24:24 | 0:24:26 | |
This is just between us, right? | 0:24:30 | 0:24:32 | |
DOOR SLAMS | 0:24:47 | 0:24:48 | |
SHE SIGHS | 0:24:48 | 0:24:49 | |
Charlie Masham. The killer must've been disturbed | 0:24:51 | 0:24:54 | |
or else he didn't have access to the marshes without being seen or... | 0:24:54 | 0:24:56 | |
-I told YOU that. -Well, no, it was Dr Alex... | 0:24:56 | 0:24:58 | |
Whatever. Look, the thing is, he's got a ritual. | 0:25:01 | 0:25:05 | |
The cutting, THEN the shooting. | 0:25:05 | 0:25:08 | |
It's getting to the root of that, why he does what he does. | 0:25:08 | 0:25:11 | |
Because, obviously, he wants to shag other blokes | 0:25:11 | 0:25:13 | |
and he can't come to terms with it. | 0:25:13 | 0:25:15 | |
And why? Because his father was a knob. There you go. | 0:25:15 | 0:25:17 | |
Is that enough psychology for you? | 0:25:17 | 0:25:19 | |
SHE SIGHS | 0:25:21 | 0:25:23 | |
-Release him. -You what? | 0:25:24 | 0:25:26 | |
Well, we're not going to get anything out of him in here, | 0:25:26 | 0:25:29 | |
not with Walker standing guard. | 0:25:29 | 0:25:31 | |
Put him under surveillance. | 0:25:31 | 0:25:33 | |
OK. | 0:25:34 | 0:25:35 | |
FOOTSTEPS RETREATING | 0:25:35 | 0:25:37 | |
DOOR CLANKS, HINGES CREAK | 0:25:39 | 0:25:42 | |
OK. That's as far as we go for now. I've, er, got another client to see. | 0:26:04 | 0:26:08 | |
OK. Come on, you're OK, David. | 0:26:17 | 0:26:21 | |
Come on, you're OK, man. | 0:26:21 | 0:26:23 | |
Listen, er, don't go back to your dad's tonight. | 0:26:29 | 0:26:31 | |
Yeah, the press will be all over it. OK, get a hotel. | 0:26:31 | 0:26:35 | |
Take it, David. | 0:26:38 | 0:26:40 | |
-David, take it. -Thank you. | 0:26:42 | 0:26:44 | |
CAR DRIVES AWAY | 0:26:55 | 0:26:57 | |
SIRENS IN DISTANCE | 0:26:57 | 0:26:59 | |
ARGUING VOICES NEARBY | 0:26:59 | 0:27:01 | |
Here. | 0:27:09 | 0:27:11 | |
How are we doing? | 0:27:18 | 0:27:20 | |
PHONE RINGS | 0:27:22 | 0:27:24 | |
PEN SCRATCHES, ANSWERPHONE BEEPS | 0:27:28 | 0:27:30 | |
-WALKER: -'Hey, I...got your message. Yeah, er, lunch would be great. | 0:27:30 | 0:27:34 | |
'I'll see you there. I've, er, got a meeting nearby, so, um...' | 0:27:34 | 0:27:37 | |
Hi? | 0:27:37 | 0:27:39 | |
Hi. | 0:27:39 | 0:27:40 | |
VOICES NEARBY, KIDS YELLING OUTSIDE | 0:27:42 | 0:27:45 | |
DOOR SLAMS | 0:28:10 | 0:28:11 | |
OK. | 0:28:25 | 0:28:27 | |
He's moving. | 0:28:28 | 0:28:29 | |
INAUDIBLE | 0:28:37 | 0:28:40 | |
TRAIN RUMBLES NEARBY | 0:29:02 | 0:29:05 | |
INDISTINCT RAIL ANNOUNCEMENTS | 0:29:15 | 0:29:18 | |
TRAIN CLATTERS | 0:29:43 | 0:29:46 | |
METAL FENCE JINGLES | 0:30:10 | 0:30:12 | |
TRAIN ROARS | 0:30:20 | 0:30:23 | |
HE PANTS | 0:30:29 | 0:30:31 | |
'Ma'am, we've lost him.' | 0:30:35 | 0:30:37 | |
Oh, shit! | 0:30:37 | 0:30:38 | |
SHE SIGHS | 0:30:38 | 0:30:40 | |
Not eating? | 0:30:47 | 0:30:49 | |
Not got the stomach for it. | 0:30:50 | 0:30:52 | |
Downside of the job, huh? | 0:30:53 | 0:30:54 | |
Listen, I forced your hand at the Lyell Centre, yesterday? | 0:31:01 | 0:31:04 | |
Is that what this is about? | 0:31:04 | 0:31:06 | |
Nikki, you knew he was going to hand the gun over. | 0:31:06 | 0:31:08 | |
No, you told him that at the time. | 0:31:08 | 0:31:10 | |
But it was the intention from the beginning. | 0:31:10 | 0:31:12 | |
You got here early, did you? | 0:31:14 | 0:31:15 | |
-Sorry? -To make sure you weren't seen being dropped off. | 0:31:17 | 0:31:21 | |
Your wife, presumably? | 0:31:22 | 0:31:24 | |
And child? | 0:31:25 | 0:31:26 | |
-I don't do this, Greg. I really... -I was going to tell you. | 0:31:29 | 0:31:32 | |
I just didn't want you to panic and run. | 0:31:32 | 0:31:35 | |
-Like I'm not going to do that now? -Before you jump to conclusions... | 0:31:35 | 0:31:38 | |
We're separated, and we were separated before I met you, so... | 0:31:38 | 0:31:42 | |
-So, why didn't you tell me before? -Because... | 0:31:42 | 0:31:45 | |
I suppose I'm still working some things out in my own mind. | 0:31:45 | 0:31:49 | |
What things? | 0:31:49 | 0:31:50 | |
Walking out on them. | 0:31:50 | 0:31:53 | |
-How Bella is dealing with that. -Your daughter? | 0:31:54 | 0:31:58 | |
-Yeah. -Adopted? | 0:31:58 | 0:32:00 | |
Yeah. Well, I saw her for breakfast this morning. | 0:32:00 | 0:32:03 | |
And her mum picked us up and dropped me off, so... | 0:32:03 | 0:32:06 | |
-Listen, we were trying for kids and... -You know what... | 0:32:10 | 0:32:12 | |
-No, please, let me explain. We had IVF and... -I... | 0:32:12 | 0:32:15 | |
OK, which was my fault. Because of me. | 0:32:15 | 0:32:18 | |
Then we went through an adoption, | 0:32:18 | 0:32:19 | |
all that upset and the stress of that, and then me walking out. | 0:32:19 | 0:32:23 | |
Well, I guess I just... | 0:32:23 | 0:32:26 | |
I am... | 0:32:26 | 0:32:27 | |
I have a lot of guilt. | 0:32:27 | 0:32:28 | |
It would've been nice to know. | 0:32:34 | 0:32:35 | |
Yeah. | 0:32:37 | 0:32:38 | |
Thanks for standing by me with the Home Office. | 0:32:54 | 0:32:58 | |
You're welcome. It won't just stop with you, you know? | 0:32:58 | 0:33:00 | |
If you fall, they'll come after the Lyell. | 0:33:00 | 0:33:03 | |
-Ah, so, I am a firewall. -Come and have a look at this a second? | 0:33:05 | 0:33:09 | |
It's THESE marks. | 0:33:13 | 0:33:14 | |
Did you notice this before? | 0:33:21 | 0:33:22 | |
No. Same on Charlie Masham. | 0:33:22 | 0:33:24 | |
Look at his eye. | 0:33:33 | 0:33:35 | |
What does that tell you? | 0:33:35 | 0:33:37 | |
Asphyxiation. | 0:33:38 | 0:33:40 | |
They were suffocated. | 0:33:41 | 0:33:43 | |
I thought previous PM reports were shipped out. | 0:33:46 | 0:33:48 | |
Yeah, I kept copies though, thank God! | 0:33:48 | 0:33:51 | |
Was this cause of death, do you think? | 0:33:53 | 0:33:55 | |
Asphyxiation? Shooting? It's impossible to tell. | 0:33:55 | 0:33:58 | |
Right... | 0:33:58 | 0:34:00 | |
these are the murders that Bennetto was convicted of. | 0:34:00 | 0:34:03 | |
And that he was acquitted of. | 0:34:03 | 0:34:05 | |
Daniel Harris and Michael Freeman. | 0:34:06 | 0:34:08 | |
Where's his face? | 0:34:08 | 0:34:11 | |
Here. | 0:34:11 | 0:34:13 | |
MONITOR BEEPS | 0:34:13 | 0:34:14 | |
Here we go. | 0:34:16 | 0:34:18 | |
Yeah, the same. | 0:34:23 | 0:34:24 | |
What caused it? | 0:34:24 | 0:34:26 | |
Don't know. | 0:34:26 | 0:34:29 | |
-Some sort of mask maybe, a vent mask? -They're padded. | 0:34:29 | 0:34:34 | |
Sure, but apply a lot of downward pressure, | 0:34:34 | 0:34:36 | |
-it's going to bruise... -How come Dr Bell missed this? | 0:34:36 | 0:34:39 | |
I did, too, to begin with. | 0:34:39 | 0:34:41 | |
More than one set of marks too. Look, it's repeated. | 0:34:44 | 0:34:48 | |
So, starve the victim of oxygen, | 0:34:50 | 0:34:51 | |
take him to the brink of unconsciousness, and bring him back. | 0:34:51 | 0:34:55 | |
Do you want to tell Klein? | 0:34:58 | 0:34:59 | |
We ran an ESDA test on Byron Lee's notebook | 0:35:03 | 0:35:06 | |
and I think we may have traced him. | 0:35:06 | 0:35:08 | |
Brian Lowe is a runaway. | 0:35:08 | 0:35:10 | |
Left home in Southend when he was 14. Not been heard from since. | 0:35:10 | 0:35:15 | |
Well, could be anybody. | 0:35:16 | 0:35:18 | |
Byron Lee. Brian Lowe. Same initials. | 0:35:18 | 0:35:21 | |
Dr Alexander wants a word. | 0:35:21 | 0:35:23 | |
We've got something else for you. | 0:35:23 | 0:35:25 | |
-He donated bone marrow, right? -Possibly. | 0:35:29 | 0:35:32 | |
We've got a lead to ID him, but the hospitals won't talk to me. | 0:35:32 | 0:35:35 | |
-Can you call them? -Sure. | 0:35:35 | 0:35:37 | |
All four victims were asphyxiated before they were killed, | 0:35:37 | 0:35:41 | |
and I think asphyxiation changes the whole thing. | 0:35:41 | 0:35:43 | |
-How? -Well, we thought that Bennetto's motive was sexual, right? | 0:35:43 | 0:35:47 | |
-Getting some degree of sexual pleasure from this? -And? | 0:35:47 | 0:35:51 | |
I don't think that this guy was killing for those reasons. | 0:35:51 | 0:35:54 | |
What he gets off on is taking them to the brink of death | 0:35:54 | 0:35:57 | |
over and over again. | 0:35:57 | 0:35:59 | |
It's having ultimate control, that's what's giving him his kicks. | 0:35:59 | 0:36:03 | |
Their sexual orientation isn't at the heart of this... | 0:36:03 | 0:36:05 | |
So, what's with masturbating over them... | 0:36:05 | 0:36:07 | |
He does that after death, after controlling them, after killing them. | 0:36:07 | 0:36:11 | |
No...! | 0:36:12 | 0:36:14 | |
Think about it. | 0:36:14 | 0:36:16 | |
Byron was the only victim whose body exhibited signs of recent sex | 0:36:16 | 0:36:19 | |
and he was selling himself. | 0:36:19 | 0:36:21 | |
None of the other victims were interfered with sexually. | 0:36:21 | 0:36:24 | |
OK, it's a theory. | 0:36:25 | 0:36:27 | |
But it doesn't mean Bennetto couldn't have done this. | 0:36:27 | 0:36:29 | |
I'm very grateful, thanks. Bye. | 0:36:30 | 0:36:32 | |
-So? -Brian Lowe had a sister a couple of years younger than him called Martha. | 0:36:34 | 0:36:40 | |
Figures. The girl in the photo. He was writing to her. | 0:36:40 | 0:36:44 | |
She was diagnosed with Hodgkin's lymphoma | 0:36:44 | 0:36:46 | |
when he was about 14 years old. | 0:36:46 | 0:36:48 | |
-He donated bone marrow to her. -Hence the scars on his lower back. | 0:36:48 | 0:36:51 | |
-But she died a few months later. -So, how come he was writing to her? | 0:36:51 | 0:36:54 | |
Don't know. | 0:36:54 | 0:36:56 | |
Maybe, maybe not for real. Not TO her, not the way you mean. | 0:36:58 | 0:37:02 | |
Like he took her death really badly and just...disappeared. | 0:37:02 | 0:37:06 | |
-Parents have been looking for him ever since. -Right. | 0:37:06 | 0:37:10 | |
Klein should be told. | 0:37:11 | 0:37:12 | |
I'll do it. | 0:37:13 | 0:37:14 | |
DOORBELL RINGS | 0:37:53 | 0:37:55 | |
DOORBELL RINGS | 0:38:00 | 0:38:02 | |
Can I come in? | 0:38:08 | 0:38:09 | |
Sure. | 0:38:09 | 0:38:10 | |
OK, I bow to your greater insight. | 0:38:13 | 0:38:17 | |
Greg Walker is somewhat economical with the truth. | 0:38:17 | 0:38:21 | |
-Personally, anyway. -Want to go into detail? | 0:38:21 | 0:38:23 | |
No. It's not a big deal. | 0:38:23 | 0:38:26 | |
Not such a blue-eyed boy any more, hey? That's a shame. | 0:38:26 | 0:38:29 | |
-You don't mean that. -What gave you that idea(?) | 0:38:29 | 0:38:31 | |
Thomas told me about Byron... | 0:38:36 | 0:38:38 | |
-Police work. -Hmm? | 0:38:38 | 0:38:40 | |
Tracing him. Should've been Klein and her team. | 0:38:40 | 0:38:42 | |
-If she was more competent? -You two still at war? | 0:38:42 | 0:38:45 | |
It's not of my making. | 0:38:45 | 0:38:47 | |
Course not, you've been fully objective all along(!) | 0:38:47 | 0:38:51 | |
Oh, come on! | 0:38:51 | 0:38:52 | |
I'm just saying, that maybe it's time to bury the hatchet, | 0:38:52 | 0:38:56 | |
and not in her head. | 0:38:56 | 0:38:58 | |
So, have you told Klein about Byron's real identity? | 0:39:02 | 0:39:05 | |
-No. -Why not? -Because... | 0:39:05 | 0:39:09 | |
-Jack? -Because... | 0:39:09 | 0:39:12 | |
what's she going to do, go round his mum and dad's and tell them, | 0:39:12 | 0:39:15 | |
"Hooray, we've found your missing kid! | 0:39:15 | 0:39:17 | |
"But, oh, he's dead. Shot in the head." | 0:39:17 | 0:39:19 | |
They're better off not knowing. | 0:39:20 | 0:39:22 | |
We have to be objective, don't we? Your words. | 0:39:22 | 0:39:25 | |
-Yup. But this is different. -Is it? | 0:39:25 | 0:39:28 | |
Give your evidence, Jack. | 0:39:29 | 0:39:30 | |
It's up to others what they do with it. You're not responsible. | 0:39:30 | 0:39:34 | |
I think the police have made a huge mistake, right from the start. | 0:39:58 | 0:40:01 | |
They've assumed that the victims were targeted because of their sexuality. | 0:40:01 | 0:40:05 | |
Well, they were all gay. | 0:40:05 | 0:40:06 | |
Sexual violence isn't about the sexual preference | 0:40:06 | 0:40:09 | |
-or even sexual pleasure, is it? -I don't know. | 0:40:09 | 0:40:11 | |
We've found evidence of torture, asphyxiation. | 0:40:11 | 0:40:14 | |
This guy almost killed them over and over again | 0:40:16 | 0:40:19 | |
and then revived them over and over again. | 0:40:19 | 0:40:22 | |
-He played with them. -Right. | 0:40:22 | 0:40:24 | |
So, I don't think that it's necessarily about him being gay - | 0:40:24 | 0:40:27 | |
-or even anti-gay - that's not what the motivation was. -So, what? | 0:40:27 | 0:40:31 | |
-Power? Control? -Yes. | 0:40:33 | 0:40:36 | |
-So, then why target gay men? -Was Charlie Masham gay? | 0:40:36 | 0:40:39 | |
What he did was target young men. | 0:40:39 | 0:40:42 | |
OK, same question. | 0:40:42 | 0:40:43 | |
Well, I think back to when I was that age, | 0:40:43 | 0:40:45 | |
and I was like pretty much everyone else. | 0:40:45 | 0:40:48 | |
I wanted fun however it came, I wanted as many highs as I could get, | 0:40:48 | 0:40:51 | |
and that makes you vulnerable, doesn't it? | 0:40:51 | 0:40:53 | |
Sure, but there are plenty of women at weekends out there, | 0:40:53 | 0:40:56 | |
drunk, wandering the streets - why does he not target them? | 0:40:56 | 0:40:59 | |
Because his problem is with men, and not with women. | 0:40:59 | 0:41:02 | |
THAT'S what's at the root of this. | 0:41:02 | 0:41:05 | |
Am I describing David Bennetto? | 0:41:05 | 0:41:08 | |
I don't know. | 0:41:08 | 0:41:09 | |
HE CLEARS HIS THROAT | 0:41:10 | 0:41:12 | |
I mean, look, I'm no psychologist but... | 0:41:14 | 0:41:18 | |
David's father controlled the people around him, | 0:41:18 | 0:41:22 | |
in his family, through fear. | 0:41:22 | 0:41:24 | |
He would pick on whoever was vulnerable. | 0:41:24 | 0:41:27 | |
Through violence, the threat of violence... | 0:41:27 | 0:41:29 | |
never knowing what is coming next. | 0:41:29 | 0:41:31 | |
And that takes away your self-respect, | 0:41:31 | 0:41:35 | |
any control you feel you have over your own life. | 0:41:35 | 0:41:38 | |
And, I think, sometimes that can make people... | 0:41:39 | 0:41:42 | |
do things that they hate themselves for | 0:41:42 | 0:41:45 | |
-in order to get that control back. -So, you think Bennetto...? | 0:41:45 | 0:41:48 | |
What? Having power over another human being, | 0:41:48 | 0:41:51 | |
being able to decide how and when they die, | 0:41:52 | 0:41:55 | |
that's the ultimate control. | 0:41:55 | 0:41:57 | |
And it must be... must be a massive hit. | 0:41:58 | 0:42:01 | |
Must feel like you're on the very cusp of existence. | 0:42:01 | 0:42:04 | |
But that's not David. | 0:42:06 | 0:42:09 | |
And that's not because he's your client, and that's what you're supposed to say? | 0:42:09 | 0:42:14 | |
It's because I know he's innocent. | 0:42:15 | 0:42:18 | |
And so do you. | 0:42:18 | 0:42:19 | |
Here. | 0:42:25 | 0:42:27 | |
ENGINE STOPS, HANDBRAKE CRANKS | 0:42:34 | 0:42:37 | |
Better she doesn't know, isn't it? | 0:42:38 | 0:42:41 | |
Carries on living in hope. | 0:42:41 | 0:42:43 | |
You and me? | 0:42:47 | 0:42:49 | |
You. | 0:42:52 | 0:42:53 | |
Thanks(!) | 0:42:57 | 0:42:58 | |
INAUDIBLE | 0:43:15 | 0:43:17 | |
INAUDIBLE | 0:43:23 | 0:43:25 | |
SHE SIGHS | 0:43:27 | 0:43:29 | |
DOOR CLOSES | 0:43:42 | 0:43:43 | |
-Did you close the curtains? -No. | 0:43:43 | 0:43:45 | |
(Stay here.) | 0:43:47 | 0:43:48 | |
How much did he pay you, mate? | 0:43:51 | 0:43:53 | |
Get upstairs! Jacob, take Mummy's bag! | 0:43:54 | 0:43:57 | |
Davey! David get off! | 0:43:57 | 0:44:00 | |
Davey! | 0:44:00 | 0:44:02 | |
Davey! Stop it! | 0:44:04 | 0:44:06 | |
Davey, look at me! | 0:44:06 | 0:44:07 | |
David, look at me! Look at me! | 0:44:07 | 0:44:09 | |
Calm down. Calm down, please. | 0:44:09 | 0:44:11 | |
Can I have the police, please? | 0:44:11 | 0:44:13 | |
HE GROANS | 0:44:14 | 0:44:16 | |
SHE GASPS | 0:44:16 | 0:44:18 | |
You've heard? | 0:44:27 | 0:44:28 | |
Yeah. | 0:44:28 | 0:44:30 | |
They've just picked him up at his sister's. | 0:44:30 | 0:44:32 | |
Klein won't let it go. No other suspect, still just Bennetto. | 0:44:32 | 0:44:38 | |
You've changed your tune. | 0:44:38 | 0:44:39 | |
I'm doing what she should've done. Just focused on the evidence. | 0:44:39 | 0:44:42 | |
No prints, no DNA. | 0:44:47 | 0:44:50 | |
-Sorry? -Nowhere. | 0:44:50 | 0:44:52 | |
Everything's circumstantial - nothing forensic. | 0:44:52 | 0:44:55 | |
No smoking gun, | 0:44:55 | 0:44:57 | |
literally or otherwise. | 0:44:57 | 0:44:59 | |
DRAWER OPENS | 0:45:01 | 0:45:02 | |
DRAWER SLAMS | 0:45:02 | 0:45:03 | |
Here we go. | 0:45:06 | 0:45:08 | |
Bodies. | 0:45:08 | 0:45:10 | |
In the marshland. Riverside. | 0:45:10 | 0:45:12 | |
One of them, Bennetto's lover. | 0:45:12 | 0:45:15 | |
So, he's really tied into it. | 0:45:15 | 0:45:17 | |
The other one, Michael Freeman, | 0:45:17 | 0:45:19 | |
so Bennetto goes down for five years. | 0:45:19 | 0:45:22 | |
You get him out of prison, | 0:45:22 | 0:45:23 | |
because the evidence doesn't entirely stack up. | 0:45:23 | 0:45:26 | |
-Thank you. -Then what? CCTV. | 0:45:26 | 0:45:30 | |
He's in Byron's street the day he's murdered. | 0:45:30 | 0:45:33 | |
And then, the gun and the Lorazepam. | 0:45:36 | 0:45:39 | |
So, OK, either it is him and he's got a fantastic lawyer, | 0:45:39 | 0:45:43 | |
or it's all massively coincidental, every tiny bit of it. | 0:45:43 | 0:45:46 | |
Or the evidence is planted. | 0:45:46 | 0:45:48 | |
What if it's all staged, all make-believe, everything we see, | 0:45:52 | 0:45:56 | |
everything we think we know - | 0:45:56 | 0:45:59 | |
the Lorazepam, Bennetto on CCTV... | 0:45:59 | 0:46:01 | |
-Explains the coincidences. -And the next logical question is? | 0:46:01 | 0:46:05 | |
Who staged it? It would have to be someone who knew him incredibly well. | 0:46:05 | 0:46:08 | |
They'd have to know where he'd been, where he was planning to go, | 0:46:08 | 0:46:10 | |
-what kind of things he did in his spare time... -What medication he was on. | 0:46:10 | 0:46:14 | |
-Someone he met in prison? -His sister? Brother-in-law? | 0:46:15 | 0:46:18 | |
There is one other person. | 0:46:18 | 0:46:20 | |
Oh, come on. | 0:46:23 | 0:46:25 | |
HE CHUCKLES | 0:46:25 | 0:46:26 | |
OK, yeah, a woman scorned, but... | 0:46:26 | 0:46:29 | |
-Why not? -Because, if it was him, he'd already got away with it. | 0:46:29 | 0:46:33 | |
Bennetto was already banged up, why would he get him released? | 0:46:33 | 0:46:37 | |
Because, with Bennetto locked up, | 0:46:37 | 0:46:40 | |
he couldn't kill - not with the same MO - | 0:46:40 | 0:46:42 | |
that would be like running up a flag to say Bennetto's innocent. | 0:46:42 | 0:46:46 | |
That the wrong man was convicted. | 0:46:46 | 0:46:48 | |
Exactly! But with Bennetto back on the streets, | 0:46:48 | 0:46:51 | |
Walker could indulge again. | 0:46:51 | 0:46:53 | |
He has control fantasies. | 0:46:53 | 0:46:56 | |
He wants to dominate, to take people to the brink of death, | 0:46:56 | 0:47:02 | |
and then, when he's had enough, he takes their lives. | 0:47:02 | 0:47:05 | |
What about the siege? Walker saved Bennetto's life. | 0:47:05 | 0:47:08 | |
Yeah, because he needed a patsy and he needed him alive and free. | 0:47:08 | 0:47:12 | |
And targeting Charlie Masham? | 0:47:12 | 0:47:14 | |
Well, that tied Bennetto right back into it. | 0:47:14 | 0:47:16 | |
Bennetto had a motive to go for Charlie - | 0:47:16 | 0:47:19 | |
he wanted to get back at Peter Masham - Walker knew it! | 0:47:19 | 0:47:21 | |
It's all a set-up, an invention! | 0:47:21 | 0:47:24 | |
You must feel like you're right on the cusp of existence. | 0:47:24 | 0:47:28 | |
-Huh? -That's what Greg Walker said to me. | 0:47:28 | 0:47:31 | |
Like a confession. | 0:47:31 | 0:47:33 | |
Deal in facts. I thought we agreed. | 0:47:36 | 0:47:39 | |
OK, facts. | 0:47:41 | 0:47:43 | |
There were two sources of semen on Byron Lee's body. | 0:47:45 | 0:47:48 | |
-One we know came from... -Callum Jordan. | 0:47:48 | 0:47:50 | |
-And the other? -No trace. | 0:47:50 | 0:47:52 | |
Yes. But that sample contained absolutely no sperm. | 0:47:52 | 0:47:55 | |
So, the donor was infertile. | 0:47:55 | 0:47:57 | |
Greg Walker couldn't have kids. They had to adopt. | 0:47:57 | 0:48:00 | |
What time was Byron Lee killed? | 0:48:00 | 0:48:02 | |
-Sometime between 6 and 8pm. -And Charlie? | 0:48:02 | 0:48:04 | |
Similar time frame. Why? Where was Walker then? | 0:48:04 | 0:48:08 | |
Did you see him either of those days? | 0:48:08 | 0:48:09 | |
Yeah. Both. | 0:48:12 | 0:48:14 | |
And both times, at the same bar. | 0:48:14 | 0:48:17 | |
He was late the first time, and the second... | 0:48:17 | 0:48:19 | |
Time? | 0:48:19 | 0:48:20 | |
Nine-ish. | 0:48:21 | 0:48:23 | |
So, there was time to dispose of Charlie's body and then get to you. | 0:48:23 | 0:48:26 | |
If he'd just used a gun to kill Charlie... | 0:48:28 | 0:48:31 | |
..then there'd be gunshot residue on his hands. | 0:48:32 | 0:48:35 | |
-I've already run the tests! -So, run them again! | 0:48:51 | 0:48:53 | |
Bennetto's not your man, Rachel. | 0:48:53 | 0:48:55 | |
So, what are you telling me? | 0:48:57 | 0:48:59 | |
I've spent the last six years barking up the wrong tree? | 0:48:59 | 0:49:02 | |
Uniform have been to Walker's flat and office. He's not there. | 0:49:02 | 0:49:05 | |
I've put out an all-vehicle alert. | 0:49:05 | 0:49:07 | |
OK, so, where else would he go? | 0:49:11 | 0:49:13 | |
Just help me, David. I've stood by you and I'm on your side. | 0:49:39 | 0:49:44 | |
-Who knew you were taking Lorazepam? -Why? | 0:49:44 | 0:49:46 | |
Please, just answer. | 0:49:46 | 0:49:48 | |
-Jill and Mark. -And Greg? -Yeah, course. | 0:49:48 | 0:49:51 | |
Remember that time you got caught on CCTV in Byron's street? | 0:49:51 | 0:49:54 | |
-Yeah. -Whose idea was it for you to go down that road? | 0:49:54 | 0:49:56 | |
Greg said that he dropped you off. | 0:49:56 | 0:49:58 | |
So, did you just walk and find yourself in the street | 0:49:58 | 0:50:00 | |
or did he tell you which way to go? | 0:50:00 | 0:50:03 | |
He told me. | 0:50:03 | 0:50:04 | |
How did you meet Greg? Did he come to you? | 0:50:04 | 0:50:07 | |
Yeah. | 0:50:07 | 0:50:09 | |
When Daniel died, I got arrested, he said he'd represent me. | 0:50:10 | 0:50:13 | |
-He got me out. -So, when Michael Freeman was murdered | 0:50:13 | 0:50:16 | |
-you were already a suspect? -Yeah. | 0:50:16 | 0:50:18 | |
-Which would have made you easier to frame. -What you talking about? | 0:50:18 | 0:50:21 | |
Look, this is going to be really difficult for you to hear, | 0:50:23 | 0:50:27 | |
but all the evidence against you has been planted. | 0:50:27 | 0:50:31 | |
Now, we need to find Greg, right away. | 0:50:31 | 0:50:33 | |
He's not at home or at his office. You know him really well, | 0:50:33 | 0:50:36 | |
so we thought that you might know where he might've gone. | 0:50:36 | 0:50:38 | |
-What you saying? -Where else would he go? | 0:50:38 | 0:50:41 | |
-I don't know. -Well, think! -I said, I don't know, didn't I! | 0:50:41 | 0:50:44 | |
SHE KNOCKS SOFTLY | 0:51:19 | 0:51:21 | |
FOOTSTEPS APPROACH | 0:51:23 | 0:51:26 | |
He played me. | 0:51:38 | 0:51:40 | |
He played me, too. | 0:51:41 | 0:51:43 | |
No. You didn't put the wrong man away. | 0:51:43 | 0:51:45 | |
No. | 0:51:46 | 0:51:48 | |
They're moving me. | 0:51:53 | 0:51:54 | |
I can forget about DCI now. | 0:51:56 | 0:51:58 | |
Desk job, regular hours. | 0:51:58 | 0:52:00 | |
Yeah, right. Who gives a shit(?) | 0:52:03 | 0:52:05 | |
Why's she bothered about being promoted now? | 0:52:07 | 0:52:10 | |
That surely, that's not the priority. | 0:52:10 | 0:52:12 | |
Because... | 0:52:13 | 0:52:14 | |
Anyway, | 0:52:23 | 0:52:25 | |
once I've put this to bed they can shove the job. | 0:52:25 | 0:52:27 | |
SHE SNIFFLES | 0:52:27 | 0:52:29 | |
There's no paperwork at his office for a Transit van. | 0:53:01 | 0:53:04 | |
And there's nothing registered in his wife's name either. | 0:53:04 | 0:53:07 | |
-You did an all-ports? Circulated details? -Ma'am. | 0:53:07 | 0:53:11 | |
There is one other way we can get to him. Maybe. | 0:53:14 | 0:53:18 | |
-Does he know you're onto him? -No. | 0:53:20 | 0:53:23 | |
-You're sure? -Yeah. -Not the slightest inkling? | 0:53:23 | 0:53:25 | |
No. | 0:53:25 | 0:53:27 | |
So, call him. | 0:53:28 | 0:53:29 | |
Keep him on the phone long enough to trace his mobile signal. | 0:53:29 | 0:53:32 | |
OK. | 0:53:43 | 0:53:45 | |
KEYPAD TONES | 0:53:46 | 0:53:49 | |
MOBILE RINGS | 0:53:53 | 0:53:55 | |
KEYPAD TONE | 0:53:59 | 0:54:01 | |
-Nikki, hi. -Hi. | 0:54:02 | 0:54:03 | |
I, er... I hoped you'd call. | 0:54:05 | 0:54:07 | |
Where are you? | 0:54:07 | 0:54:08 | |
Can we meet? | 0:54:13 | 0:54:14 | |
When? | 0:54:14 | 0:54:15 | |
Now. Tonight? | 0:54:15 | 0:54:17 | |
I don't think so. | 0:54:19 | 0:54:21 | |
I'm, um... I'm tired, Nikki. | 0:54:21 | 0:54:23 | |
You worked it out yet? | 0:54:25 | 0:54:26 | |
Sorry? | 0:54:26 | 0:54:28 | |
Cos you're the only one who could have. | 0:54:28 | 0:54:30 | |
Yeah. | 0:54:34 | 0:54:35 | |
I worked it out. | 0:54:36 | 0:54:38 | |
Good. | 0:54:38 | 0:54:39 | |
KEYPAD TONE | 0:54:41 | 0:54:43 | |
HE SIGHS | 0:54:43 | 0:54:45 | |
MOBILE VIBRATES | 0:55:00 | 0:55:02 | |
David. | 0:55:08 | 0:55:10 | |
Listen. You'll get compensation money. | 0:55:11 | 0:55:14 | |
Just make sure you get a good solicitor. | 0:55:14 | 0:55:18 | |
It's over now. | 0:55:18 | 0:55:19 | |
We're free. | 0:55:20 | 0:55:21 | |
Is that it? | 0:55:21 | 0:55:23 | |
KEYPAD TONE | 0:55:25 | 0:55:27 | |
BIRDSONG | 0:55:37 | 0:55:39 | |
SIRENS APPROACHING | 0:55:42 | 0:55:44 | |
ENGINES REV | 0:55:49 | 0:55:52 | |
SIRENS STOP | 0:55:55 | 0:55:57 | |
Greg? | 0:55:57 | 0:55:59 | |
Out the van. | 0:56:01 | 0:56:02 | |
Out the van, Greg? | 0:56:06 | 0:56:08 | |
Hands above your head, where we can see 'em. | 0:56:24 | 0:56:26 | |
Hands above your head, where we can see them! | 0:56:30 | 0:56:33 | |
GUNSHOTS No, don't! It's what he wants... | 0:56:36 | 0:56:38 | |
HE CHOKES AND GASPS | 0:56:38 | 0:56:41 | |
You, with me! | 0:56:43 | 0:56:44 | |
All right. Clear! | 0:56:48 | 0:56:50 | |
Has he got a pulse? | 0:56:54 | 0:56:56 | |
Bring him back. I want him alive. | 0:56:57 | 0:56:59 | |
NIKKI PANTS | 0:57:02 | 0:57:04 | |
HE GASPS | 0:57:08 | 0:57:10 | |
SHE PANTS | 0:57:13 | 0:57:16 | |
TROLLEY CLATTERS | 0:57:16 | 0:57:18 | |
I was right, wasn't I? | 0:57:25 | 0:57:27 | |
I was right. | 0:57:30 | 0:57:31 | |
SHE SOBS | 0:57:34 | 0:57:36 | |
The victim is an unidentified female in her early twenties. | 0:58:15 | 0:58:19 | |
Victim has a broken nose that's partially healed. | 0:58:19 | 0:58:22 | |
From the bruising, it looks like the breakage was sustained | 0:58:22 | 0:58:25 | |
roughly a week before her death. | 0:58:25 | 0:58:26 | |
I'm trying to ID a young woman, recently deceased. | 0:58:26 | 0:58:30 | |
Well, well! Look what the cat dragged in. DI Laing. | 0:58:30 | 0:58:33 | |
Somewhere here, he's made a mistake. | 0:58:33 | 0:58:35 |