Browse content similar to Part 1. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
This programme contains some scenes which some viewers may find upsetting | 0:00:02 | 0:00:07 | |
HE CRIES OUT IN FEAR | 0:00:15 | 0:00:18 | |
HE GROANS WITH EFFORT | 0:00:54 | 0:00:57 | |
Niall! | 0:00:59 | 0:01:01 | |
Niall! | 0:01:03 | 0:01:08 | |
SHE GASPS | 0:01:12 | 0:01:14 | |
He's massive. Now that's four of your seven seconds. | 0:02:27 | 0:02:31 | |
GUNSHOT SOUNDS | 0:02:34 | 0:02:37 | |
GUNSHOT SOUNDS | 0:02:39 | 0:02:41 | |
Hello, old friend. | 0:02:55 | 0:02:57 | |
You've...hunted this actual deer before? | 0:02:58 | 0:03:01 | |
This actual deer. Aye. | 0:03:01 | 0:03:04 | |
I knew I'd get him one day. | 0:03:10 | 0:03:13 | |
# Testator silens | 0:03:29 | 0:03:36 | |
# Costestes e spiritu | 0:03:37 | 0:03:42 | |
# Silentium. # | 0:03:44 | 0:03:49 | |
How was your flight? Sorry? | 0:04:24 | 0:04:27 | |
How was your flight? Oh. Fine, thanks. | 0:04:27 | 0:04:30 | |
I really appreciate you coming all this way, Dr Alexander. | 0:04:30 | 0:04:33 | |
You too, Mr Hodges. Hodgson. Jack. | 0:04:33 | 0:04:36 | |
So what else did he say on the phone? | 0:04:38 | 0:04:41 | |
Attended a seminar I did in Edinburgh | 0:04:41 | 0:04:43 | |
and stayed behind for a chat. | 0:04:43 | 0:04:45 | |
You did a seminar in Edinburgh? Thanks for the invite(!) | 0:04:45 | 0:04:48 | |
About what? Forensic anthropology, I presume. | 0:04:48 | 0:04:51 | |
But you don't remember? Jack! | 0:04:51 | 0:04:53 | |
Thanks. You are sure he's an actual policeman, aren't you? | 0:04:53 | 0:04:57 | |
He looks about 12. | 0:04:57 | 0:04:58 | |
I made sure nothing was touched. I wanted you to see it fresh. Good. | 0:05:04 | 0:05:08 | |
So...was she killed here or is this just a deposition site? | 0:05:18 | 0:05:21 | |
No blanching. | 0:05:25 | 0:05:27 | |
Lividity on the underside of her legs is fixed. | 0:05:28 | 0:05:31 | |
OK. | 0:05:31 | 0:05:33 | |
Suggests that she was left in this position at time of death | 0:05:33 | 0:05:36 | |
or shortly after. Any idea of cause of death? | 0:05:36 | 0:05:39 | |
No good ones. Well, there's no evidence of strangulation. | 0:05:40 | 0:05:44 | |
Probably best if we process first and talk second. | 0:05:44 | 0:05:47 | |
Sure thing. Just be over there. | 0:05:50 | 0:05:52 | |
Matchbook. Clarissa might be able to clean up the lettering on that. | 0:06:04 | 0:06:08 | |
I'll get it secure couriered back to the Lyell. | 0:06:08 | 0:06:11 | |
Mud and grazes on both knees suggest she fell hard. | 0:06:11 | 0:06:14 | |
Deep, thin abrasions. | 0:06:15 | 0:06:17 | |
Looks like wire. Wire he then removed. | 0:06:18 | 0:06:21 | |
Vicious and methodical. | 0:06:21 | 0:06:23 | |
Get the pot. | 0:06:26 | 0:06:28 | |
Gotcha. | 0:06:34 | 0:06:36 | |
Thank you. | 0:06:38 | 0:06:39 | |
Jack. | 0:06:46 | 0:06:48 | |
Jesus! | 0:06:49 | 0:06:51 | |
Looks like an exit wound. | 0:06:54 | 0:06:56 | |
Let's check her back. | 0:06:57 | 0:06:59 | |
No bullet hole. | 0:07:04 | 0:07:06 | |
Get the feeling we won't be making that plane? Just a bit. | 0:07:09 | 0:07:12 | |
She was shot? Shot and then redressed. Jesus! | 0:07:14 | 0:07:17 | |
Any ID? | 0:07:19 | 0:07:21 | |
Not yet. We need to get the body back for postmortem. | 0:07:21 | 0:07:24 | |
Someone must be looking for her. | 0:07:24 | 0:07:26 | |
ELECTRONIC MUSIC FADES IN | 0:07:48 | 0:07:50 | |
MUSIC: "Oblivion" by Grimes | 0:07:50 | 0:07:53 | |
# Ah | 0:07:53 | 0:07:58 | |
# Another walk about after dark | 0:08:03 | 0:08:06 | |
# It's my point of view | 0:08:06 | 0:08:08 | |
# If someone could break your neck | 0:08:08 | 0:08:10 | |
# Coming up behind you | 0:08:10 | 0:08:12 | |
# Always coming and you never have a clue... # | 0:08:12 | 0:08:14 | |
Here! That's not a dance, that's a tease! | 0:08:14 | 0:08:18 | |
Hey! | 0:08:26 | 0:08:27 | |
Oi! Try that again and I'll give you a show, pal. | 0:08:32 | 0:08:35 | |
Are you OK? Yeah. Of course. You sure? | 0:08:40 | 0:08:43 | |
Here we go. VOICES CLAMOUR | 0:08:55 | 0:08:59 | |
Vultures, but they have their uses. | 0:09:01 | 0:09:04 | |
Bet they're even worse down south? | 0:09:05 | 0:09:08 | |
I don't know. Journalists are journalists. | 0:09:08 | 0:09:11 | |
Bit like pathologists. | 0:09:11 | 0:09:13 | |
That sounds like false modesty. Actually, it was more of a question. | 0:09:13 | 0:09:17 | |
You want to know why I didn't recruit locally? Mm-hmm. | 0:09:20 | 0:09:23 | |
Well, for a forensic pathologist, I have to venture down to Kirkhaven. | 0:09:25 | 0:09:29 | |
Home of Dr Andrew Jenkins. BMSc, MBChB, DMJ, FRCPath. | 0:09:29 | 0:09:34 | |
That's right. How do you know that? | 0:09:36 | 0:09:39 | |
I have a computer and access to the internet. | 0:09:39 | 0:09:42 | |
Last murder case I worked on... | 0:09:44 | 0:09:46 | |
Let's just say Dr Jenkins and I had a difference of opinion. | 0:09:46 | 0:09:49 | |
About? | 0:09:49 | 0:09:51 | |
Well, I don't want to impugn a man | 0:09:52 | 0:09:54 | |
with all those letters after his name. | 0:09:54 | 0:09:57 | |
Especially not to another pathologist. | 0:09:57 | 0:09:58 | |
METAL DETECTOR BEEPS | 0:10:08 | 0:10:10 | |
METAL DETECTOR BEEPS | 0:10:22 | 0:10:24 | |
Hi Gloria, sorry I'm late. | 0:10:43 | 0:10:46 | |
Hi. How are you? Come to Mummy? | 0:10:47 | 0:10:51 | |
Going to give Mummy a kiss? Hmm? SHE GIGGLES | 0:10:51 | 0:10:55 | |
TWIGS SNAP | 0:11:06 | 0:11:09 | |
TWIG SNAPS | 0:11:11 | 0:11:14 | |
REPORTER: Crenlogue Police have launched a murder investigation | 0:11:36 | 0:11:40 | |
after a body was discovered in Macroom Forest by a hunting party. | 0:11:40 | 0:11:43 | |
Forensic teams have now begun a search of the area | 0:11:43 | 0:11:46 | |
spanning 15 square miles. | 0:11:46 | 0:11:48 | |
The body is believed to be female but that remains unconfirmed. | 0:11:48 | 0:11:52 | |
A postmortem examination will take place at the end of today... | 0:11:52 | 0:11:55 | |
TV REPORT FADES OUT | 0:11:55 | 0:11:57 | |
The victim is an unidentified female in her early 20s. | 0:12:00 | 0:12:03 | |
She was lying face-up for a period of five to seven days | 0:12:03 | 0:12:07 | |
between her death and the discovery of her body. | 0:12:07 | 0:12:11 | |
The bullet appears to have entered the heart and lung cavity, | 0:12:11 | 0:12:14 | |
penetrating the aorta and tearing open the heart and lung tissue. | 0:12:14 | 0:12:17 | |
Looks like an expanding bullet. Mm. | 0:12:17 | 0:12:20 | |
Small entry wound in her back | 0:12:24 | 0:12:26 | |
and contrastingly large exit wound to the chest | 0:12:26 | 0:12:29 | |
suggest that the bullet lodged inside her and then mushroomed. | 0:12:29 | 0:12:33 | |
Cause of death, then? Yes. No question. | 0:12:33 | 0:12:38 | |
Any chance of a bit more light? | 0:12:44 | 0:12:46 | |
I'll get that then, shall I? | 0:12:50 | 0:12:52 | |
Thanks. | 0:12:52 | 0:12:54 | |
Bullet fragment. | 0:13:03 | 0:13:05 | |
Victim has a broken nose which is partially healed. | 0:13:11 | 0:13:14 | |
From the bruising it looks like the breakage | 0:13:14 | 0:13:16 | |
was sustained roughly a week before her death. | 0:13:16 | 0:13:19 | |
Various cuts and scratches to the victim's arms and legs. | 0:13:19 | 0:13:22 | |
Embedded in the wounds are splinters... | 0:13:24 | 0:13:26 | |
..and bark consistent with the trees | 0:13:27 | 0:13:29 | |
in the forest where the victim was found. | 0:13:29 | 0:13:31 | |
She was running through the trees? | 0:13:31 | 0:13:34 | |
Injuries suggest high velocity contact, yes. | 0:13:34 | 0:13:36 | |
But we didn't find corresponding scratches and tears to her clothing. | 0:13:36 | 0:13:40 | |
Suggests that she was pursued, shot, then redressed by the killer. | 0:13:40 | 0:13:44 | |
There is evidence of vulval trauma suggestive of rape, | 0:13:47 | 0:13:50 | |
possibly multiple rapes. | 0:13:50 | 0:13:52 | |
I'll swab for DNA and under her fingernails... | 0:13:54 | 0:13:56 | |
..which have recently been cut short. | 0:13:57 | 0:14:00 | |
White paint flakes here. | 0:14:01 | 0:14:04 | |
There's white paint on the wire I found at the scene. | 0:14:07 | 0:14:10 | |
It looks like the width of the wire | 0:14:12 | 0:14:14 | |
matches the welts in the victim's wrists. | 0:14:14 | 0:14:16 | |
So, we have white paint flakes in her hair | 0:14:18 | 0:14:20 | |
and in the circular injuries to her wrist | 0:14:20 | 0:14:23 | |
and on the wire that we think caused those injuries. | 0:14:23 | 0:14:25 | |
She was strung up over something? Chips are edged with rust. | 0:14:25 | 0:14:29 | |
Something metallic? I dunno, a pipe? Mm. A pipe works. | 0:14:29 | 0:14:33 | |
And it explains the upward angle of the welts | 0:14:34 | 0:14:36 | |
on the outer side of her wrists. | 0:14:36 | 0:14:38 | |
Gravity. | 0:14:46 | 0:14:48 | |
She hung suspended. | 0:14:48 | 0:14:50 | |
MUSIC: "Help Me Lose My Mind" by Disclosure Ft. London Grammar | 0:14:54 | 0:14:57 | |
# Help me lose my mind... # | 0:14:57 | 0:15:01 | |
Thank you, Jerome. Oh, wait a minute. | 0:15:06 | 0:15:09 | |
What about the money, mate? Stick it on the tab. | 0:15:09 | 0:15:12 | |
Yeah, I would stick it on your tab | 0:15:12 | 0:15:14 | |
but it's running away with itself. So? | 0:15:14 | 0:15:16 | |
So it's over a grand and we've got a business to run. | 0:15:16 | 0:15:19 | |
Over a grand? Jesus Christ, I'm sorry(!) | 0:15:19 | 0:15:22 | |
I'm so... I had no idea. I'm so sorry(!) | 0:15:22 | 0:15:25 | |
Let's see when it gets to two grand pal, let me know. | 0:15:25 | 0:15:27 | |
Arsehole. | 0:15:29 | 0:15:31 | |
That was a bit unnecessary, wasn't it? Oh, come on! | 0:15:36 | 0:15:39 | |
Yes, it bloody was. He's just doing his job. | 0:15:39 | 0:15:42 | |
Oh, so he is. Aye. Poor wee gentleman(!) | 0:15:42 | 0:15:45 | |
Oh, you know, it's such a... | 0:15:45 | 0:15:47 | |
Oh, I feel terrible now, I really do(!) Mike. That's enough. | 0:15:47 | 0:15:50 | |
You stay for the lecture, pal. I've got better things to do. | 0:15:52 | 0:15:55 | |
Here. I'll bring the rest tomorrow. | 0:16:01 | 0:16:04 | |
I'm sorry about him. You've been saying that for 20 years. | 0:16:06 | 0:16:09 | |
Thank God there's only another ten left then, eh? | 0:16:09 | 0:16:13 | |
HE SHOUTS | 0:16:16 | 0:16:18 | |
What am I looking at? I've no idea. What are you looking at? | 0:16:27 | 0:16:31 | |
A matchbook found on an unidentified body. | 0:16:31 | 0:16:35 | |
An unidentified body in Scotland, by any chance? | 0:16:35 | 0:16:38 | |
What difference does it make? | 0:16:38 | 0:16:40 | |
I wondered if your victim might be American. | 0:16:40 | 0:16:43 | |
American? More specifically a New Yorker. | 0:16:43 | 0:16:45 | |
SHE GASPS It's the Manhattan bloody skyline. | 0:16:48 | 0:16:51 | |
So you've had no reports of missing girls at all? No. As in none? | 0:16:53 | 0:16:56 | |
Not recently. Not from Crenlogue. | 0:16:56 | 0:16:58 | |
And before "recently"? Not in the two years I've been up here. | 0:16:58 | 0:17:01 | |
You sure about that? We've had the odd lass running off to Kirkhaven | 0:17:01 | 0:17:04 | |
but no-one who didn't turn up again, all right? | 0:17:04 | 0:17:06 | |
Whoever did this was confident. Organised. | 0:17:06 | 0:17:09 | |
Nothing about it feels like a first kill. | 0:17:09 | 0:17:11 | |
MOBILE PHONE RINGS | 0:17:11 | 0:17:13 | |
Maybe if the victim's not from the area, the killer isn't either. | 0:17:13 | 0:17:17 | |
Maybe. But they know their way around Macroom Forest. | 0:17:17 | 0:17:19 | |
All 15 square miles of it. | 0:17:19 | 0:17:21 | |
Do you have a New York-themed bar or restaurant around here? | 0:17:23 | 0:17:26 | |
In Crenlogue? Are you joking? What about further afield? | 0:17:26 | 0:17:29 | |
I think there's a place down in Kirkhaven called the Manhattan Bar. | 0:17:30 | 0:17:33 | |
What kind of place is it? Pole dancing club. | 0:17:33 | 0:17:36 | |
Well, we need to pay it a visit. Now. Says who? | 0:17:36 | 0:17:39 | |
The matchbox in our victim's jacket says who. | 0:17:39 | 0:17:42 | |
Look, by all means you follow it up | 0:17:42 | 0:17:44 | |
but I've got a murder inquiry to coordinate. | 0:17:44 | 0:17:46 | |
Fine. Jack, just do me a favour? | 0:17:47 | 0:17:51 | |
Tread carefully. It's not my patch. | 0:17:52 | 0:17:54 | |
BABY CRIES | 0:18:01 | 0:18:03 | |
Sarah. | 0:18:04 | 0:18:06 | |
Is everything OK? | 0:18:08 | 0:18:10 | |
Mmm-hmm. Well, how long's he been crying? | 0:18:12 | 0:18:15 | |
SHE SIGHS I don't know. I just... | 0:18:15 | 0:18:18 | |
I had to sit down. Bad day? | 0:18:19 | 0:18:21 | |
Sweetheart? Nah, it's just a headache. | 0:18:24 | 0:18:26 | |
I'll tend to him. Sure? | 0:18:30 | 0:18:32 | |
The man who shot the deer and found the body, what's his name? | 0:18:38 | 0:18:41 | |
Niall Wallace. Why? | 0:18:41 | 0:18:42 | |
Bullet casing from our victim. | 0:18:42 | 0:18:44 | |
Note the two fine tramline scratches. | 0:18:45 | 0:18:48 | |
Remnant of the bullet casing we think killed the stag. | 0:18:52 | 0:18:55 | |
Same scratches. | 0:18:55 | 0:18:57 | |
Both bullets were hand modified using the same implement. | 0:18:57 | 0:19:00 | |
If we found the common tool... | 0:19:00 | 0:19:02 | |
What kind of tool are we talking about? A collet bullet puller. | 0:19:02 | 0:19:05 | |
What? A bullet press. | 0:19:05 | 0:19:07 | |
It uses a caliber-specific clamp to grip the bullet | 0:19:09 | 0:19:11 | |
while the loading press is used to pull the case downwards. | 0:19:11 | 0:19:14 | |
Niall Wallace owns several. | 0:19:14 | 0:19:16 | |
How do you know? It's where I buy my ammo. | 0:19:16 | 0:19:19 | |
He's the best. | 0:19:19 | 0:19:21 | |
Thanks. | 0:19:22 | 0:19:24 | |
Niall Wallace has over 20 firearms registered in his name. | 0:19:25 | 0:19:29 | |
Good to know. | 0:19:29 | 0:19:31 | |
There's something else you should know about Niall. | 0:19:31 | 0:19:34 | |
When he was a kid he was prime suspect | 0:19:34 | 0:19:36 | |
in the shooting of his dad, Pete Wallace. | 0:19:36 | 0:19:38 | |
Are we talking a fatal shooting? Aye. We are. | 0:19:38 | 0:19:42 | |
Why didn't you mention this before? Like when he found the body? | 0:19:42 | 0:19:46 | |
Didn't seem right, sir. Kid was only a suspect. Nothing proven. | 0:19:46 | 0:19:50 | |
But you're mentioning it now? | 0:19:50 | 0:19:52 | |
Yeah. We all knew he did it and we all pitied him, I suppose. | 0:19:52 | 0:19:55 | |
Why? Cos his dad was a monster. | 0:19:55 | 0:19:58 | |
Cos every copper in Crenlogue had been up that farm at one time | 0:19:58 | 0:20:01 | |
or another helping Mrs Wallace pick her teeth off the floor. | 0:20:01 | 0:20:04 | |
Well, his car's here. | 0:20:33 | 0:20:35 | |
That's his workshop, there. | 0:20:36 | 0:20:38 | |
I'll check the house, sir. On you go. | 0:20:39 | 0:20:41 | |
OBJECTS CLATTER (Shit!) | 0:21:29 | 0:21:31 | |
(Are you OK?) (Yeah.) | 0:21:32 | 0:21:34 | |
(Give me a torch.) | 0:21:36 | 0:21:38 | |
See if you can find a light switch? | 0:21:39 | 0:21:41 | |
(Jesus!) | 0:22:15 | 0:22:17 | |
(Here's your bullet press.) | 0:22:41 | 0:22:43 | |
Nikki. Nikki. | 0:22:55 | 0:22:57 | |
THEY BREATHE HEAVILY | 0:23:31 | 0:23:33 | |
(Scratch marks.) | 0:23:36 | 0:23:38 | |
(He's definitely hung something up there.) | 0:23:38 | 0:23:41 | |
PC Bathurst, right? | 0:23:42 | 0:23:44 | |
Right. | 0:23:45 | 0:23:47 | |
How can I help? | 0:23:48 | 0:23:49 | |
Well, you can start by putting that gun down. | 0:23:51 | 0:23:54 | |
This old thing? | 0:23:55 | 0:23:57 | |
I was just cleaning it. | 0:24:01 | 0:24:03 | |
Didn't realise it was still in my hand. | 0:24:04 | 0:24:06 | |
Come on, Niall. We just want to ask you some questions. | 0:24:10 | 0:24:13 | |
That's what you said when my dad died. | 0:24:16 | 0:24:19 | |
Didn't see my bed for a week. | 0:24:20 | 0:24:23 | |
(Paint flakes.) | 0:24:23 | 0:24:25 | |
(Look familiar?) (Yeah.) | 0:24:29 | 0:24:31 | |
Sir! | 0:24:34 | 0:24:36 | |
Well, come and get it, big man. | 0:24:43 | 0:24:45 | |
HANDCUFFS CLICK | 0:24:50 | 0:24:52 | |
DISTANT MUSIC | 0:25:22 | 0:25:24 | |
MUSIC: "Devon" by Grimes | 0:25:29 | 0:25:31 | |
# Oh, baby darling | 0:25:31 | 0:25:33 | |
# I will wait before | 0:25:33 | 0:25:36 | |
# Oh, baby darling | 0:25:38 | 0:25:41 | |
# I will wait before | 0:25:41 | 0:25:44 | |
# Oh, long night | 0:25:45 | 0:25:48 | |
# I will wait before | 0:25:50 | 0:25:52 | |
# Oh, every night | 0:25:53 | 0:25:56 | |
# I will wait before... # | 0:25:57 | 0:25:59 | |
Hey, you can look but you can't touch. | 0:26:05 | 0:26:07 | |
What can I get you? | 0:26:07 | 0:26:09 | |
My name's Jack Hodgson. | 0:26:09 | 0:26:11 | |
I'm a forensic scientist working alongside the police. | 0:26:11 | 0:26:15 | |
What? Like a CSI? | 0:26:15 | 0:26:17 | |
Yeah, like CSI. | 0:26:17 | 0:26:19 | |
What can I do for you, Jack? | 0:26:19 | 0:26:22 | |
I'm trying to ID a young woman, recently deceased. | 0:26:22 | 0:26:25 | |
Could it be a member of your staff, could just be a punter, | 0:26:25 | 0:26:28 | |
in which case... In which case? | 0:26:28 | 0:26:31 | |
Can I help you, mate? | 0:26:34 | 0:26:36 | |
Who is this girl? | 0:26:36 | 0:26:39 | |
Afraid you're out of luck. | 0:26:41 | 0:26:43 | |
But we've got plenty of other nice girls. | 0:26:43 | 0:26:45 | |
Mum. He's with the police. | 0:26:45 | 0:26:47 | |
Her name's Caitlin. Caitlin what? No idea. | 0:26:49 | 0:26:52 | |
She worked here? In a manner of speaking. | 0:26:52 | 0:26:54 | |
What does that mean? Means when she could be arsed to turn up. | 0:26:54 | 0:26:57 | |
Then how come you don't know her last name? | 0:26:57 | 0:26:59 | |
Because she never bloody told me, all right? What is this? | 0:26:59 | 0:27:03 | |
Caitlin was found yesterday afternoon in Macroom Forest. | 0:27:03 | 0:27:06 | |
We estimate she'd been dead about a week. | 0:27:06 | 0:27:09 | |
This is shrapnel from the deer we know you shot | 0:27:18 | 0:27:20 | |
and this is a fragment from the bullet that killed the young woman. | 0:27:20 | 0:27:24 | |
So what? Both bullets were modified by the bullet press | 0:27:25 | 0:27:28 | |
we found in your workshop. | 0:27:28 | 0:27:30 | |
You know, I've been thinking about making a change. | 0:27:34 | 0:27:36 | |
Been thinking about it for a while. A change? Aye. | 0:27:36 | 0:27:39 | |
You mean like upgrading your prey from deer to women? | 0:27:39 | 0:27:43 | |
Wouldn't call that an upgrade. No? No. | 0:27:43 | 0:27:46 | |
See, hunting's a test. It's a challenge. | 0:27:46 | 0:27:48 | |
I mean, where's the challenge | 0:27:48 | 0:27:51 | |
in hunting some tart through the trees? Eh? | 0:27:51 | 0:27:53 | |
So what kind of change were you talking about then, Niall? | 0:27:55 | 0:27:57 | |
Decent bullet press shouldn't leave any marks. | 0:27:57 | 0:28:01 | |
I was thinking of changing to a spring-loader. | 0:28:01 | 0:28:04 | |
Well, you know what they say about bad workmen blaming their tools? | 0:28:04 | 0:28:07 | |
I'm no workman. I'm more of an engineer. | 0:28:07 | 0:28:10 | |
Well, some say I'm an artist. Really? Mm. | 0:28:10 | 0:28:14 | |
See, that's why my hand-augmented ammo | 0:28:14 | 0:28:17 | |
sells to such a wide variety of people. | 0:28:17 | 0:28:19 | |
Hunters, tourists, farmers, | 0:28:19 | 0:28:22 | |
weekenders from the city | 0:28:22 | 0:28:24 | |
who fancy killing something that's not computer generated. | 0:28:24 | 0:28:27 | |
The rifle you pointed at PC Bathurst was illegally modified. | 0:28:27 | 0:28:30 | |
I didn't point it at him. That's not what he says. Then he's lying. | 0:28:30 | 0:28:34 | |
And as for small changes I may or may not have made | 0:28:34 | 0:28:37 | |
to the barrelling, big deal. | 0:28:37 | 0:28:39 | |
But it is a big deal, Niall. It's against the law. | 0:28:39 | 0:28:41 | |
Well then, it's against the law for my customers - | 0:28:41 | 0:28:44 | |
the sheriffs, chief constables, procurators fiscal. | 0:28:44 | 0:28:48 | |
Aye. That's right. You see I modify their guns, too. | 0:28:49 | 0:28:54 | |
We're all hunters up here, miss. | 0:28:54 | 0:28:56 | |
And you'd know that if you were local. Genuine local, I mean. | 0:28:56 | 0:29:00 | |
Trust me, I wear it as a badge of honour that I'm not. | 0:29:00 | 0:29:03 | |
You see, that kind of attitude, well, it's liable to get you killed. | 0:29:05 | 0:29:10 | |
Are you threatening me? | 0:29:13 | 0:29:15 | |
No. Just the opposite. | 0:29:16 | 0:29:19 | |
I'm warning you. | 0:29:19 | 0:29:21 | |
Did you warn your dad? | 0:29:21 | 0:29:23 | |
Watch your step. | 0:29:28 | 0:29:30 | |
Give us a minute, girls. FAINT MUSIC | 0:29:31 | 0:29:33 | |
Hello. | 0:29:40 | 0:29:42 | |
I hear you knew Caitlin well? Well enough. | 0:29:48 | 0:29:51 | |
What about her last name? I don't know. She was just Caitlin. | 0:29:51 | 0:29:56 | |
When did she last come in to work? | 0:29:56 | 0:29:59 | |
A week ago Thursday. You asked me that already. | 0:29:59 | 0:30:01 | |
And now I'm asking her. You got a problem with that? | 0:30:01 | 0:30:04 | |
She was fine. Wasn't she, Amy? | 0:30:04 | 0:30:07 | |
Why do you think she was just plain old Caitlin? It was her choice! | 0:30:07 | 0:30:10 | |
I think you were her employer and you had a duty of care. | 0:30:10 | 0:30:13 | |
She didn't want us to know her last name, | 0:30:13 | 0:30:15 | |
who she was and where she came from. | 0:30:15 | 0:30:18 | |
Half the girls don't and I don't ask. | 0:30:18 | 0:30:21 | |
Sounds like you've told me all you can. | 0:30:21 | 0:30:24 | |
Thank you. Bye-bye. | 0:30:24 | 0:30:26 | |
All the pathology evidence | 0:30:34 | 0:30:36 | |
indicates that we're looking for a seasoned hunter. | 0:30:36 | 0:30:39 | |
I understand you're the best. | 0:30:41 | 0:30:43 | |
Your homemade bullet caused some of the worst internal injuries | 0:30:46 | 0:30:49 | |
I have ever seen. | 0:30:49 | 0:30:51 | |
Like you said, I'm the best. | 0:30:53 | 0:30:55 | |
Few days before I found the body, | 0:30:59 | 0:31:01 | |
I was in the same part of the forest. I heard someone. | 0:31:01 | 0:31:04 | |
You heard someone? Aye. | 0:31:04 | 0:31:07 | |
Then I heard a shot. Just the one. | 0:31:07 | 0:31:11 | |
What did you see? Nothing. | 0:31:11 | 0:31:13 | |
Sound travels in a forest, Detective. | 0:31:17 | 0:31:19 | |
You can be 500 yards from someone | 0:31:19 | 0:31:22 | |
and it sounds like they're right next to you. | 0:31:22 | 0:31:24 | |
You said this was a few days before the body was found. | 0:31:24 | 0:31:28 | |
Can you be more specific? | 0:31:28 | 0:31:29 | |
I want to say it was Sunday, | 0:31:29 | 0:31:32 | |
but I was priming the out house all weekend. | 0:31:32 | 0:31:35 | |
Must've been last Friday. | 0:31:35 | 0:31:37 | |
So six days before the body was found? | 0:31:39 | 0:31:41 | |
Were you alone? Aye. | 0:31:46 | 0:31:48 | |
And you can't give us any kind of description? No. | 0:31:49 | 0:31:51 | |
Nothing? Nope. | 0:31:51 | 0:31:53 | |
Oh. I did see a van parked down the lane, aye. | 0:31:55 | 0:31:59 | |
Maroon or dark red. | 0:31:59 | 0:32:02 | |
Maroon or dark red? | 0:32:02 | 0:32:04 | |
Your bullshit is starting to get on my nerves a wee bit, hillbilly. | 0:32:04 | 0:32:08 | |
So let's see if I can get this straight. | 0:32:08 | 0:32:10 | |
You heard someone but you didn't see anyone. | 0:32:10 | 0:32:13 | |
You heard a bullet but you're not positive about what day. | 0:32:13 | 0:32:15 | |
And you saw a van that was either maroon or dark red. | 0:32:15 | 0:32:18 | |
See, you're not selling me a watertight alibi here, Niall. | 0:32:18 | 0:32:22 | |
And it begs the question, | 0:32:22 | 0:32:24 | |
why didn't you mention this when you found the body? | 0:32:24 | 0:32:27 | |
I'll tell you something, wee man. | 0:32:30 | 0:32:32 | |
If I'd been on my own when I found her | 0:32:34 | 0:32:36 | |
I would have left her there. Why? | 0:32:36 | 0:32:39 | |
Call it prior experience. | 0:32:39 | 0:32:41 | |
When my dad died, all this lot tried to do was pin it on me. | 0:32:43 | 0:32:47 | |
I want as little to do with you corrupt little bastards as possible. | 0:32:47 | 0:32:52 | |
Unless we're buying your hunting supplies? | 0:32:52 | 0:32:55 | |
Shut up, Niall. As in don't speak. | 0:32:56 | 0:32:59 | |
Don't say another solitary word. | 0:32:59 | 0:33:01 | |
Are you personally indemnified against prosecution, detective? | 0:33:03 | 0:33:07 | |
The reason I ask is I don't want you to get a big shock | 0:33:07 | 0:33:10 | |
when I bring civil cases against the police force that you represent | 0:33:10 | 0:33:14 | |
and you, individually, shorn of your detective constable status. | 0:33:14 | 0:33:17 | |
Detective sergeant. | 0:33:17 | 0:33:19 | |
If you're going to sue me, you might as well get my rank right. | 0:33:19 | 0:33:21 | |
Look, I gave him his phone call... Just cut the crap. | 0:33:21 | 0:33:24 | |
You don't say squat to my client until I'm sat by his side. | 0:33:24 | 0:33:26 | |
And if any of this is news to you then I am seriously depressed. | 0:33:26 | 0:33:30 | |
What was she like, Caitlin? | 0:33:34 | 0:33:36 | |
She was a laugh. | 0:33:38 | 0:33:40 | |
When I first started, she gave me the confidence | 0:33:40 | 0:33:43 | |
to get up and do it, you know? Uh-huh. | 0:33:43 | 0:33:47 | |
Taught me how to handle the punters, too. | 0:33:47 | 0:33:49 | |
She looked out for you? Yeah. | 0:33:49 | 0:33:51 | |
She used to say, "Do as I say not as I do." | 0:33:53 | 0:33:55 | |
Did she have troubles of her own? Doesn't everyone? | 0:33:56 | 0:33:59 | |
I'm not judging her, Amy. | 0:33:59 | 0:34:01 | |
I just want to find out what happened to her. | 0:34:01 | 0:34:04 | |
That night when we were leaving the club she was pretty drunk or high... | 0:34:07 | 0:34:12 | |
I don't know... Go on? | 0:34:12 | 0:34:14 | |
I'd noticed she'd got a bit close to one of the punters | 0:34:14 | 0:34:17 | |
when she was dancing. A regular? | 0:34:17 | 0:34:19 | |
No, I'd never seen him before. | 0:34:19 | 0:34:21 | |
But when we got outside, I turned round and she was gone. | 0:34:21 | 0:34:23 | |
Did you think she might've gone off with the punter? | 0:34:23 | 0:34:26 | |
I contacted the police two days later. Weren't interested. | 0:34:28 | 0:34:32 | |
They have you fill out a missing persons report though, yeah? | 0:34:32 | 0:34:35 | |
No. They told me to stop wasting their time. | 0:34:35 | 0:34:37 | |
Is this the man you think Caitlin went off with? No. | 0:34:42 | 0:34:45 | |
I mean, I didn't get a good look at him but definitely not him. | 0:34:45 | 0:34:50 | |
Thank you, Amy. | 0:34:51 | 0:34:53 | |
Are you OK? | 0:34:56 | 0:34:58 | |
Can I take you anywhere? | 0:35:00 | 0:35:02 | |
If I was the bitch you're making me out to be, | 0:35:07 | 0:35:09 | |
I would've cleared her locker last week. | 0:35:09 | 0:35:11 | |
She had a kid. | 0:35:26 | 0:35:29 | |
HE SIGHS | 0:35:30 | 0:35:32 | |
Lamborghini 5. | 0:35:48 | 0:35:50 | |
Does that mean anything to you? Sounds like the Grand Prix Hotel. | 0:35:51 | 0:35:56 | |
The rooms are named after different cars. Classy joint(!) | 0:35:56 | 0:36:00 | |
Most of their guests are off-shore oil workers. Rough lot? | 0:36:00 | 0:36:03 | |
Some of them. We get our share here. | 0:36:03 | 0:36:06 | |
DS ROSS: Are you sure? No. Not without chemical tests. | 0:36:06 | 0:36:09 | |
But the texture's visibly different, have a look. | 0:36:09 | 0:36:12 | |
Paint flake found on Caitlin... | 0:36:13 | 0:36:15 | |
..and from the pipe in Wallace's barn. | 0:36:16 | 0:36:18 | |
He says he uses the pipe to hang animal hides. | 0:36:21 | 0:36:24 | |
Maybe he does. Either way, I don't have enough to hold him. | 0:36:24 | 0:36:27 | |
Not with that brief. | 0:36:27 | 0:36:29 | |
MOBILE PHONE RINGS | 0:36:45 | 0:36:47 | |
Jack? 'Listen. I managed to identify the victim. | 0:36:49 | 0:36:53 | |
'Tell Ross we need a warrant for the Grand Prix Hotel.' | 0:36:53 | 0:36:56 | |
How is he, OK? Yeah, that should be him for tonight. | 0:37:01 | 0:37:04 | |
You know, I've been thinking about you all day. | 0:37:16 | 0:37:19 | |
I'm tired. Another headache? | 0:37:22 | 0:37:24 | |
No. You gone off me, then? | 0:37:25 | 0:37:29 | |
Just leave it, Steve, you know it's not that. | 0:37:30 | 0:37:33 | |
Well, why don't you tell me what it is, then? | 0:37:33 | 0:37:36 | |
DISTANT SIREN SOUNDS | 0:38:06 | 0:38:08 | |
SIREN SOUNDS | 0:38:25 | 0:38:27 | |
BRAKES SCREECH | 0:38:32 | 0:38:34 | |
Well, well. Kerb crawling while on duty, eh? | 0:38:40 | 0:38:44 | |
Picking up slappers on police time? | 0:38:44 | 0:38:47 | |
Look what the cat dragged in, DI Laing. | 0:38:47 | 0:38:49 | |
He doesn't write. He doesn't call. It's disappointing. | 0:38:49 | 0:38:52 | |
It's heartbreaking. I taught this bastard everything he knows. | 0:38:52 | 0:38:55 | |
And when he does darken our doorway he doesn't even knock. | 0:38:55 | 0:38:58 | |
I'm sorry. You what? | 0:38:58 | 0:39:01 | |
I'm sorry. You're sorry? | 0:39:01 | 0:39:03 | |
Apology not accepted. | 0:39:04 | 0:39:07 | |
You've hurt his feelings, son. | 0:39:09 | 0:39:11 | |
This is Dr Nikki Alexander. She's helping me with a case. | 0:39:12 | 0:39:16 | |
In what capacity? I'm a forensic pathologist. | 0:39:16 | 0:39:19 | |
A forensic pathologist? From where? London. | 0:39:19 | 0:39:23 | |
That's a long way. | 0:39:25 | 0:39:28 | |
A little bird tells me that you're heading up to the Grand Prix | 0:39:28 | 0:39:31 | |
to shake down an oil worker? | 0:39:31 | 0:39:33 | |
Is that a problem? Not now, it's not. | 0:39:34 | 0:39:38 | |
This is Jack Hodgson. He's helping us on the forensics side of things. | 0:39:41 | 0:39:44 | |
DI Laing, DS MacNeil. Hello. | 0:39:44 | 0:39:47 | |
You from London, too? Depends how far back you want to go. | 0:39:47 | 0:39:49 | |
Ha! What is it with you? | 0:39:49 | 0:39:51 | |
Bringing in outside help just to wrap up a dead tart! | 0:39:51 | 0:39:53 | |
We've got experts up here too, you know. | 0:39:53 | 0:39:55 | |
She had a name, it's Caitlin. | 0:39:55 | 0:39:58 | |
She was raped and tortured and gunned down as she fled for her life. | 0:39:58 | 0:40:01 | |
Yes. I heard that. Yes, you did. | 0:40:01 | 0:40:03 | |
Her workmate reported her missing and was told to stop wasting police time. | 0:40:03 | 0:40:07 | |
That's all we need. A squint with a heart. All right, Mike? | 0:40:07 | 0:40:10 | |
How'd you know my name? Cheeky! | 0:40:10 | 0:40:13 | |
Have I nicked her? I think you have, yeah. | 0:40:13 | 0:40:15 | |
Oh, can I help you? | 0:40:17 | 0:40:19 | |
Yep. Lamborgini 5, mate. Is it occupied? | 0:40:19 | 0:40:21 | |
Yeah. Who by? How long? | 0:40:23 | 0:40:24 | |
Linus Skinner. Couple of weeks. Right. | 0:40:26 | 0:40:29 | |
KNOCKING ON DOOR | 0:40:41 | 0:40:43 | |
KNOCKING ON DOOR | 0:40:45 | 0:40:47 | |
Who is it? | 0:40:55 | 0:40:57 | |
Linus Skinner, open up. | 0:40:57 | 0:40:59 | |
Go away. DOOR BANGS | 0:41:03 | 0:41:05 | |
Guess we're not in Kansas anymore. | 0:41:08 | 0:41:10 | |
What've you been up to, Skinner? Piss off. I've got rights. | 0:41:10 | 0:41:13 | |
Yeah, you do. | 0:41:13 | 0:41:15 | |
Until you start raping and murdering girls of Kirkhaven. | 0:41:15 | 0:41:18 | |
Then those rights diminish somewhat. | 0:41:18 | 0:41:20 | |
When did you last see this girl? What girl? This girl. | 0:41:21 | 0:41:24 | |
Well, I can't see properly, can I? Cos of fatso here. | 0:41:24 | 0:41:27 | |
Argh! You were saying? | 0:41:27 | 0:41:28 | |
This girl is dead. Murdered. | 0:41:29 | 0:41:32 | |
We found a beer mat in her shorts with your room number written on it. | 0:41:32 | 0:41:34 | |
Our guess is it'll have your DNA and fingerprints all over it. | 0:41:34 | 0:41:38 | |
So I go down the Manhattan Club for a few drinks. | 0:41:39 | 0:41:41 | |
That's where it ends. I'm a family man. | 0:41:41 | 0:41:44 | |
See? | 0:41:47 | 0:41:49 | |
Why would I want to play away with a wife like that at home? | 0:41:49 | 0:41:51 | |
I think I preferred you blonde, Mrs Skinner. Wrong room, love. | 0:41:57 | 0:42:00 | |
Right key, though. Nice boots. | 0:42:02 | 0:42:05 | |
Where'd you get them? | 0:42:05 | 0:42:07 | |
Present from a friend. This friend? | 0:42:07 | 0:42:12 | |
Because, as her friend, you might be interested to know she's dead. | 0:42:14 | 0:42:18 | |
He gave me them to me. | 0:42:20 | 0:42:22 | |
There's blood staining inside the boots. | 0:42:49 | 0:42:52 | |
If it belongs to Caitlin, | 0:42:52 | 0:42:54 | |
I'm pretty confident we don't have the wrong room. | 0:42:54 | 0:42:57 | |
The fact the blood's not smudged tells its own story. | 0:42:57 | 0:43:00 | |
It had time to dry out after Caitlin sustained the injury | 0:43:00 | 0:43:04 | |
and before you gave them to your friend. | 0:43:04 | 0:43:06 | |
I take it all back, Ross. I quite like these two. | 0:43:07 | 0:43:10 | |
All right. Caitlin came back here with me after the club. | 0:43:14 | 0:43:18 | |
Last Thursday, right? Yeah. | 0:43:18 | 0:43:21 | |
But by the time we got back here she was a mess. | 0:43:24 | 0:43:26 | |
She was hyper one minute, suicidal the next. | 0:43:28 | 0:43:31 | |
Kept going on about her bloody kid. | 0:43:32 | 0:43:35 | |
I didn't mean to hit her that hard. You broke her nose. | 0:43:39 | 0:43:42 | |
Serves her right. Little junkie prick tease. | 0:43:44 | 0:43:47 | |
Oi! Oi! Easy, easy. Come on, back off! Come on! | 0:43:49 | 0:43:53 | |
Get off me! | 0:43:53 | 0:43:55 | |
Easy, Tyson. That's our job. | 0:43:57 | 0:43:59 | |
Right, you hit her. Then what? | 0:44:01 | 0:44:03 | |
The blood just seemed to freak her out. | 0:44:06 | 0:44:09 | |
She just ran out of here like the building was on fire. | 0:44:09 | 0:44:12 | |
I have two observations. | 0:44:15 | 0:44:17 | |
You're the last person to see her alive | 0:44:17 | 0:44:20 | |
and your story's full of shit. | 0:44:20 | 0:44:22 | |
I'm taking him in. It's my case. | 0:44:26 | 0:44:28 | |
Not if that room's our primary crime scene, it isn't. | 0:44:28 | 0:44:31 | |
It isn't. Caitlin was shot out in Macroom Forest. | 0:44:31 | 0:44:34 | |
If Skinner's guilty, then this was just the abduction site. | 0:44:34 | 0:44:37 | |
No, no. Listen, blondie, unless you want us to stick your mate Jack | 0:44:37 | 0:44:40 | |
in for assault, keep your nose out of it. OK? It's fine, Nikki, honestly. | 0:44:40 | 0:44:45 | |
Nikki. Hey. | 0:44:47 | 0:44:49 | |
What the hell happened in there, Jack? I'll tell you later. | 0:44:51 | 0:44:53 | |
No. Tell me now. No, I promise you... | 0:44:53 | 0:44:55 | |
If something is going on, then... Listen to me! Two scenarios. | 0:44:55 | 0:44:58 | |
Depending on whether Skinner's lying, | 0:44:58 | 0:45:00 | |
Caitlin was either barefoot or wearing cowboy boots | 0:45:00 | 0:45:03 | |
last time she was seen alive. | 0:45:03 | 0:45:05 | |
So who does the gold shoe you found belong to? Exactly. | 0:45:05 | 0:45:08 | |
Getting some prints here. Going to e-mail them to Clarissa. | 0:45:15 | 0:45:19 | |
It's three o'clock in the morning. Has she ever let us down? | 0:45:20 | 0:45:24 | |
You didn't! You called her? | 0:45:24 | 0:45:27 | |
She was totally cool about it. You owe me big time for this. | 0:45:28 | 0:45:32 | |
I'm not talking dinner, bottle of wine, chocolates. | 0:45:32 | 0:45:35 | |
I'm talking blood. | 0:45:35 | 0:45:37 | |
'I really appreciate it, thanks.' I'll call you back. | 0:45:37 | 0:45:40 | |
Prints on your shoe belong to a Barbara Cheung. | 0:45:42 | 0:45:46 | |
Convictions for drug possession, intent to supply. | 0:45:46 | 0:45:50 | |
'Got an address?' As of her last conviction | 0:45:50 | 0:45:53 | |
she listed her place of work as a massage parlour in Kirkhaven. | 0:45:53 | 0:45:57 | |
What is it? | 0:46:16 | 0:46:18 | |
Tell me. | 0:46:21 | 0:46:23 | |
Why have you never asked me about these? | 0:46:25 | 0:46:28 | |
I thought you'd tell me when you were ready. | 0:46:30 | 0:46:33 | |
I'm ready. | 0:46:34 | 0:46:35 | |
Five years ago... | 0:46:43 | 0:46:45 | |
..a man kidnapped me. | 0:46:49 | 0:46:51 | |
He raped me. | 0:46:53 | 0:46:55 | |
He raped me and he tried to kill me. | 0:46:56 | 0:46:58 | |
Why did you not tell me this before? | 0:47:02 | 0:47:04 | |
Did the police get him? No. I didn't tell the police. Why not? | 0:47:04 | 0:47:09 | |
Sarah? Because I was ashamed. | 0:47:10 | 0:47:13 | |
I was broke... | 0:47:15 | 0:47:18 | |
..and to make ends meet I was doing some stripping. | 0:47:19 | 0:47:22 | |
I had debts and my parents couldn't help me. I was desperate. | 0:47:25 | 0:47:29 | |
And is that as far as it went? | 0:47:31 | 0:47:33 | |
Stripping? | 0:47:34 | 0:47:36 | |
You mean did I sell my body? | 0:47:41 | 0:47:43 | |
Yeah. | 0:47:46 | 0:47:47 | |
Once. | 0:47:53 | 0:47:54 | |
When I was absolutely desperate. | 0:47:56 | 0:47:58 | |
I hated it. | 0:48:00 | 0:48:02 | |
It was...it was a disaster, and never again. OK, happy? | 0:48:03 | 0:48:07 | |
Carry on. | 0:48:12 | 0:48:14 | |
I'm not a complicated man, Skinner. | 0:48:19 | 0:48:21 | |
But this seems pretty simple to me - you've got a temper, | 0:48:22 | 0:48:26 | |
you beat up tarts. | 0:48:26 | 0:48:28 | |
You were the last person to see the victim alive before she runs | 0:48:30 | 0:48:33 | |
into the night, bleeding from an injury that you inflicted. | 0:48:33 | 0:48:37 | |
Yeah. I know it doesn't look good. | 0:48:39 | 0:48:41 | |
That's the understatement of the year, son. | 0:48:44 | 0:48:47 | |
You served in the Army. | 0:48:47 | 0:48:49 | |
Once upon a time, yeah. | 0:48:51 | 0:48:54 | |
You know the difference between a light support, | 0:48:54 | 0:48:56 | |
a carbine and a semi-automatic. | 0:48:56 | 0:48:58 | |
You know that the L96 can achieve a first-round hit at 600 metres... | 0:49:00 | 0:49:04 | |
..and harassing fire out to 1,100 metres. | 0:49:06 | 0:49:08 | |
Sounds like you do. | 0:49:11 | 0:49:13 | |
No. I did my bit in Kuwait. Gulf War One. | 0:49:14 | 0:49:19 | |
The point is that you can handle a high-powered rifle, | 0:49:21 | 0:49:24 | |
stalk a moving target, steady your aim. | 0:49:24 | 0:49:28 | |
I haven't handled a rifle in 15 years. | 0:49:28 | 0:49:31 | |
It's a bit like riding a bike though, isn't it? | 0:49:31 | 0:49:33 | |
You never forget. | 0:49:33 | 0:49:35 | |
PHONE RINGS | 0:49:38 | 0:49:39 | |
KNOCKING ON DOOR | 0:49:43 | 0:49:46 | |
How'd it go with Skinner? Stuck to his story. To the letter. | 0:49:47 | 0:49:50 | |
They had to let him get some sleep eventually. | 0:49:50 | 0:49:53 | |
You've got some history with those two? Laing and MacNeil? | 0:49:53 | 0:49:56 | |
You could say that. I used to work down here. | 0:49:56 | 0:49:59 | |
That much I got. | 0:49:59 | 0:50:01 | |
Jack. | 0:50:04 | 0:50:06 | |
I haven't seen Barbara Cheung in over three month. Sorry. | 0:50:07 | 0:50:12 | |
What was she like? | 0:50:12 | 0:50:14 | |
Tough cookie. You could trust her. | 0:50:15 | 0:50:18 | |
I even let her look after this place sometimes. | 0:50:18 | 0:50:21 | |
You have any idea where she went after she left? | 0:50:22 | 0:50:24 | |
London, probably. That's where she was from. | 0:50:24 | 0:50:27 | |
But you're not sure? Did she leave suddenly? Yeah. Very. | 0:50:27 | 0:50:31 | |
Didn't even pick up her last pay packet, as I recall. | 0:50:31 | 0:50:33 | |
He came from nowhere. | 0:50:37 | 0:50:39 | |
He grabbed me... | 0:50:41 | 0:50:43 | |
..pushed me into his van. | 0:50:44 | 0:50:46 | |
He tied my hands with wire... | 0:50:46 | 0:50:48 | |
..and he blindfolded me... | 0:50:50 | 0:50:52 | |
..and then he raped me. | 0:50:53 | 0:50:55 | |
HE SIGHS | 0:50:55 | 0:50:57 | |
In the morning he... | 0:50:59 | 0:51:01 | |
..he drove me out to Macroom Forest... | 0:51:02 | 0:51:05 | |
..and he told me to run. | 0:51:06 | 0:51:08 | |
And I did. I ran for my life. | 0:51:10 | 0:51:15 | |
And he started firing at me. | 0:51:17 | 0:51:19 | |
I could smell the gunpowder | 0:51:19 | 0:51:21 | |
but I couldn't even see where I was going. | 0:51:21 | 0:51:24 | |
But I managed to find a hiding place. | 0:51:26 | 0:51:28 | |
And I watched him go by, and I ran the other away. | 0:51:32 | 0:51:37 | |
I walked all day with my hands still tied. | 0:51:39 | 0:51:44 | |
Hours and hours. | 0:51:45 | 0:51:48 | |
I really thought I was going to die in that forest. | 0:51:51 | 0:51:53 | |
Steve? | 0:51:59 | 0:52:01 | |
I need some time to think about this. | 0:52:05 | 0:52:07 | |
Steve. | 0:52:09 | 0:52:11 | |
Look at me. | 0:52:13 | 0:52:15 | |
Please. | 0:52:17 | 0:52:19 | |
Does nothing I've said here make sense to you? | 0:52:29 | 0:52:32 | |
Oh, for all you know, Barbara Cheung's back in London, | 0:52:32 | 0:52:34 | |
massaging for England. | 0:52:34 | 0:52:36 | |
Come on, she left without her pay packet. | 0:52:36 | 0:52:39 | |
I found her shoe 20 yards from the body of another young woman. | 0:52:39 | 0:52:43 | |
He's right. You don't have the budget to launch a search that big? | 0:52:43 | 0:52:47 | |
You know I don't, sir. That's why I'm here. | 0:52:47 | 0:52:49 | |
MOBILE PHONE RINGS | 0:52:49 | 0:52:51 | |
Hello. Now we're sure there's other bodies buried in that forest. | 0:52:51 | 0:52:55 | |
That's what we're sure about, is it? How come he didn't bury this one? | 0:52:55 | 0:52:58 | |
How come he didn't bury Caitlin? | 0:52:58 | 0:53:00 | |
Look, it's possible he was disturbed before he got the chance. | 0:53:00 | 0:53:03 | |
Results are back on the fingernail scrapings | 0:53:03 | 0:53:05 | |
and vaginal swabs from Caitlin. | 0:53:05 | 0:53:07 | |
Both show the presence of bleach, which destroys DNA. | 0:53:07 | 0:53:10 | |
We're dealing with a highly organised, | 0:53:13 | 0:53:15 | |
sexually motivated killer. | 0:53:15 | 0:53:17 | |
We need to search that forest. | 0:53:19 | 0:53:21 | |
DOGS BARK | 0:53:28 | 0:53:30 | |
Set the dogs free. All of them. | 0:53:40 | 0:53:42 | |
DOG BARKS | 0:53:45 | 0:53:48 | |
What have we got? | 0:54:39 | 0:54:41 | |
Five so far. | 0:54:43 | 0:54:45 | |
All female. | 0:54:45 | 0:54:47 | |
I don't care how good he thinks he is. | 0:54:48 | 0:54:51 | |
Somewhere here, he's made a mistake. | 0:54:51 | 0:54:54 | |
Left us a clue. Something. | 0:54:56 | 0:54:59 | |
PHONE RINGS | 0:55:15 | 0:55:20 | |
Hello. | 0:55:22 | 0:55:24 | |
Amy. It's Jack Hodgson. | 0:55:24 | 0:55:27 | |
Who? The forensics guy. We met yesterday. | 0:55:27 | 0:55:30 | |
Amy, you need to get home and stay home, and you need to do it now. | 0:55:30 | 0:55:34 | |
Gloria. Has Steve called? No. | 0:55:36 | 0:55:39 | |
Some bloke did come by this afternoon. | 0:55:39 | 0:55:41 | |
Who? I dunno. Just spoke to him on the intercom. | 0:55:45 | 0:55:48 | |
He didn't come up. | 0:55:48 | 0:55:50 | |
Well...what was his name? He didn't give one. | 0:55:50 | 0:55:53 | |
He just asked for you and I said you were out. | 0:55:53 | 0:55:56 | |
Is everything OK? | 0:55:56 | 0:55:59 | |
OUTBOUND RINGTONE | 0:56:05 | 0:56:07 | |
What are your first impressions of how long | 0:56:14 | 0:56:16 | |
the bodies have been in the ground? | 0:56:16 | 0:56:18 | |
Decomposition rates vary wildly | 0:56:18 | 0:56:20 | |
so we'll really need to assess once we get back to the mortuary. | 0:56:20 | 0:56:23 | |
That's why I said "first impressions", love. | 0:56:23 | 0:56:26 | |
'This is the Kirkhaven major incident room. Please hold.' | 0:56:27 | 0:56:31 | |
PHONE BEEPS | 0:56:31 | 0:56:33 | |
I think that the oldest body | 0:56:37 | 0:56:39 | |
has been in the ground at least three years. | 0:56:39 | 0:56:42 | |
What? | 0:56:44 | 0:56:46 | |
Skinner's in the clear, that's what. | 0:56:53 | 0:56:55 | |
We've got nothing. We have to let him go. | 0:56:55 | 0:56:58 | |
Skinner's only been in the UK for a year. | 0:56:59 | 0:57:01 | |
Before that he was in Dubai. For how long? | 0:57:01 | 0:57:03 | |
The guts of a decade, his employers confirm it. | 0:57:03 | 0:57:06 | |
Woman went missing last night. | 0:57:44 | 0:57:46 | |
Her husband says she was abducted five years ago | 0:57:46 | 0:57:48 | |
and taken to Macroom Forest. The same woman? | 0:57:48 | 0:57:51 | |
They're going to pin this on me, as sure as day follows night. | 0:57:51 | 0:57:53 | |
The good news is the hairs we found in Niall Wallace's vehicle | 0:57:53 | 0:57:56 | |
are a DNA match for Sarah O'Keefe's. | 0:57:56 | 0:57:58 | |
There is no evidence that he is anything more | 0:57:58 | 0:58:01 | |
than a figment of your guilty conscience. | 0:58:01 | 0:58:04 | |
I saw him, you prick! | 0:58:04 | 0:58:06 | |
It's all hands on deck to find Sarah O'Keefe and you better talk to Jack. | 0:58:06 | 0:58:09 | |
Something about this case disagrees with him, | 0:58:09 | 0:58:11 | |
then he needs to deal with it or go home. | 0:58:11 | 0:58:13 | |
At least two girls who worked for you wound up dead in Macroom Forest. | 0:58:13 | 0:58:17 | |
I can handle the search and you stay here where you need to be. | 0:58:17 | 0:58:19 | |
I'll decide where I need to be. | 0:58:19 | 0:58:21 | |
I don't know this woman. Bullshit! Where is she? | 0:58:21 | 0:58:24 | |
I don't know her! All right? | 0:58:24 | 0:58:26 | |
Look, there's something I need to tell you. | 0:58:26 | 0:58:28 | |
# Testator silens | 0:58:28 | 0:58:35 | |
# Costestes e spiritu | 0:58:36 | 0:58:42 | |
# Silentium... # | 0:58:45 | 0:58:50 |