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This programme contains scenes which some viewers may find upsetting | 0:00:02 | 0:00:09 | |
-I appreciate you coming, Dr Alexander. -Jack? | 0:00:09 | 0:00:11 | |
TV: 'The body is believed to be female, but that is unconfirmed.' | 0:00:11 | 0:00:14 | |
Caitlin was pursued, shot, and then re-dressed by the killer. | 0:00:14 | 0:00:18 | |
The man who shot the deer and found the body, what's his name? | 0:00:18 | 0:00:22 | |
Niall Wallace has over 20 firearms registered in his name. | 0:00:22 | 0:00:25 | |
When he was a kid, he was prime suspect | 0:00:25 | 0:00:27 | |
in the shooting of his dad, Pete Wallace. | 0:00:27 | 0:00:30 | |
Do you have a New York themed bar or restaurant around here? | 0:00:30 | 0:00:33 | |
-Try that again and I'll give you a show, pal! -Mike, that's enough. | 0:00:35 | 0:00:38 | |
A little bird tells me that you're heading up to the Grand Prix | 0:00:40 | 0:00:43 | |
-to shake down an oil worker? -Is that a problem? -Not now, it's not. | 0:00:43 | 0:00:47 | |
You were the last person to see the victim alive | 0:00:47 | 0:00:50 | |
before she runs into the night, bleeding. | 0:00:50 | 0:00:52 | |
Some bloke came by this afternoon. | 0:00:52 | 0:00:55 | |
-Who? -I dunno. | 0:00:55 | 0:00:57 | |
Just spoke to him on the intercom. He didn't come up. | 0:00:57 | 0:01:00 | |
We're dealing with a highly organised, | 0:01:00 | 0:01:02 | |
sexually motivated killer. | 0:01:02 | 0:01:04 | |
We need to search that forest. | 0:01:04 | 0:01:06 | |
See, you're not selling me a watertight alibi here, Niall. | 0:01:09 | 0:01:12 | |
Skinner's only been in the UK for a year. | 0:01:12 | 0:01:14 | |
Puts Skinner in the clear, that's what. | 0:01:14 | 0:01:17 | |
Barbara Cheung. | 0:02:34 | 0:02:36 | |
She never made it back to London. | 0:02:46 | 0:02:47 | |
Laing and MacNeil's favourite pathologist, Dr Jenkins, is here. | 0:02:50 | 0:02:55 | |
-Dr Andrew Jenkins... -Dr Nikki Alexander. Jack Hodgson. | 0:03:01 | 0:03:05 | |
-Hello. -Yes, I've read some of... Well, several of your papers. | 0:03:06 | 0:03:10 | |
-I'm glad to make your acquaintance. -Thank you. | 0:03:10 | 0:03:15 | |
Although, I will confess I was... surprised to learn | 0:03:15 | 0:03:18 | |
that DS Ross had recruited from so far afield. | 0:03:18 | 0:03:20 | |
-And when I say "surprised"... -You mean "offended"? | 0:03:21 | 0:03:25 | |
Well, let's settle for "disappointed". | 0:03:25 | 0:03:27 | |
-VOICE MAIL: -'Hi, you've reached Sarah's phone. | 0:03:33 | 0:03:35 | |
'Leave a message and I'll get back to you.' | 0:03:35 | 0:03:38 | |
PHONE BEEPS | 0:03:38 | 0:03:40 | |
I'm going to go and look for her. Can you stay for a bit? | 0:03:42 | 0:03:45 | |
Sure. | 0:03:47 | 0:03:48 | |
THUNDER RUMBLES | 0:03:50 | 0:03:53 | |
RAIN PATTERS | 0:03:56 | 0:03:59 | |
DOOR SLAMS | 0:04:00 | 0:04:01 | |
MOBILE RINGS FAINTLY | 0:04:07 | 0:04:09 | |
MOBILE RINGS | 0:04:15 | 0:04:17 | |
Jack? | 0:04:26 | 0:04:27 | |
She might be the oldest yet. | 0:04:30 | 0:04:32 | |
The cuffs must've slipped off as the body decomposed. | 0:04:32 | 0:04:35 | |
-Anything we didn't see with Caitlin? -Funny you should ask. | 0:04:36 | 0:04:39 | |
Something we didn't see with Caitlin and we're still not seeing. | 0:04:39 | 0:04:42 | |
No jewellery. | 0:04:44 | 0:04:46 | |
Not a ring. | 0:04:46 | 0:04:48 | |
Not a necklace. Not a bracelet. | 0:04:48 | 0:04:50 | |
Trophies. | 0:04:50 | 0:04:52 | |
Exactly. | 0:04:52 | 0:04:54 | |
SHEEP BLEAT NEARBY | 0:05:14 | 0:05:16 | |
Niall? | 0:05:22 | 0:05:24 | |
NIALL! | 0:05:25 | 0:05:26 | |
Have you heard the news? | 0:05:28 | 0:05:30 | |
About the bodies? | 0:05:32 | 0:05:33 | |
-Where've you been all night? -Where do you think I've been, eh? | 0:05:35 | 0:05:38 | |
-Might be my last chance. -What...? Why are you saying that? | 0:05:41 | 0:05:45 | |
They're going to pin this on me sure as day follows night. | 0:05:48 | 0:05:51 | |
But...you haven't done anything? | 0:05:51 | 0:05:53 | |
-Was that a question? -No. | 0:05:55 | 0:05:58 | |
You sure? Cos that sounded like a question. | 0:05:59 | 0:06:02 | |
Niall, please... | 0:06:02 | 0:06:04 | |
You can't even look at me. | 0:06:06 | 0:06:08 | |
You don't... | 0:06:08 | 0:06:10 | |
I know that you're innocent! | 0:06:10 | 0:06:12 | |
And I know that you never killed your dad! | 0:06:12 | 0:06:15 | |
No matter what you think, I never told the police you did! | 0:06:15 | 0:06:19 | |
Niall! | 0:06:19 | 0:06:20 | |
NIALL! | 0:06:20 | 0:06:22 | |
Come to bed. Just for an hour. | 0:06:46 | 0:06:49 | |
I don't want to scare you, Tania, but... | 0:06:50 | 0:06:53 | |
..until this is over, you keep the doors locked and this close by. OK? | 0:06:55 | 0:06:59 | |
-You are scaring me. -Not without good reason. | 0:07:01 | 0:07:04 | |
The doors. The gun. | 0:07:05 | 0:07:08 | |
-Is that taken on board? -Yes, it's taken on board...? | 0:07:10 | 0:07:14 | |
I'm sorry. | 0:07:19 | 0:07:20 | |
SHE SIGHS | 0:07:27 | 0:07:30 | |
WATER TRICKLES | 0:07:32 | 0:07:36 | |
-PHONE RINGS -Chamberlin? | 0:07:39 | 0:07:40 | |
-Thomas, it's Nikki. -How's Scotland? | 0:07:40 | 0:07:43 | |
I need your help. | 0:07:43 | 0:07:45 | |
Two bodies checked in here this morning. | 0:07:45 | 0:07:47 | |
-It's me that needs you. Today. -I'm sorry, but they'll have to wait. | 0:07:47 | 0:07:50 | |
That's not your call, Nikki. | 0:07:50 | 0:07:52 | |
We found seven more bodies in the forest last night. | 0:07:52 | 0:07:55 | |
With Caitlin that's eight. I want to send you four. | 0:07:57 | 0:08:00 | |
I'm sure they have more than adequate... | 0:08:00 | 0:08:03 | |
Not in Kirkhaven, they don't. | 0:08:03 | 0:08:04 | |
Look, this killer was free to keep on killing because nobody cared. | 0:08:04 | 0:08:09 | |
I want us to see this through, | 0:08:09 | 0:08:11 | |
and I really need your help to do that. | 0:08:11 | 0:08:14 | |
SHOUTING, CAMERA SHUTTERS CLICK | 0:08:16 | 0:08:18 | |
We cannot say anything at this time. | 0:08:21 | 0:08:23 | |
We will hold a press conference later | 0:08:23 | 0:08:25 | |
and answer your questions then. Thank you. | 0:08:25 | 0:08:28 | |
CLAMOUR | 0:08:28 | 0:08:30 | |
Of the eight bodies recovered so far, this is the best preserved | 0:08:32 | 0:08:36 | |
and, pending identification, will be known as Victim B. | 0:08:36 | 0:08:39 | |
Victim B is wearing a denim jacket buttoned all the way up. | 0:08:39 | 0:08:43 | |
It looks like the victim might have been shot from behind at close range | 0:08:56 | 0:09:01 | |
with an expanding bullet, and then re-dressed. | 0:09:01 | 0:09:05 | |
We saw the re-dressing signature with Caitlin's murder. | 0:09:06 | 0:09:09 | |
Dr Jenkins? Have you come across these hallmarks before? | 0:09:09 | 0:09:14 | |
No. No. I think I would've remembered. | 0:09:14 | 0:09:18 | |
"Chased". "Re-dressed"? What does it add up to? | 0:09:18 | 0:09:21 | |
I think it adds up to a woman-hating sadist | 0:09:21 | 0:09:24 | |
who masks his inadequacies with guns | 0:09:24 | 0:09:26 | |
and possibly, other military paraphernalia. | 0:09:26 | 0:09:29 | |
OK, that's quite the theory, but why? Why does he do it? | 0:09:29 | 0:09:33 | |
Power. | 0:09:33 | 0:09:34 | |
He chains them up like slaves, hunts them like animals, | 0:09:35 | 0:09:39 | |
and then re-dresses their bodies like dolls. | 0:09:39 | 0:09:41 | |
What are the common factors? | 0:09:41 | 0:09:42 | |
Power. Control. | 0:09:42 | 0:09:45 | |
Specifically, control over women | 0:09:45 | 0:09:47 | |
that probably eludes him in everyday life. | 0:09:47 | 0:09:49 | |
Quite the profiler for a pathologist. | 0:09:49 | 0:09:52 | |
I've picked up a few things here and there. | 0:09:52 | 0:09:55 | |
Mainly from guys like you. | 0:09:55 | 0:09:56 | |
Carry on. | 0:09:59 | 0:10:00 | |
Looks like she was shot in the lower right calf... | 0:10:06 | 0:10:10 | |
Bringing down a target with a maiming shot is a military technique. | 0:10:12 | 0:10:15 | |
Yes, it is. But the fatal shot is typically administered to the head. | 0:10:15 | 0:10:18 | |
Well, you can't cover up a gunshot wound to the face. | 0:10:18 | 0:10:21 | |
So...? | 0:10:21 | 0:10:22 | |
So, if the re-dressing element is important to him, | 0:10:22 | 0:10:25 | |
then it might explain the discrepancy. | 0:10:25 | 0:10:28 | |
A fatal shot to the chest, he can work with. Zip up. Button over. | 0:10:29 | 0:10:33 | |
During transportation, I noticed that three of the other seven bodies | 0:10:35 | 0:10:38 | |
had similar injuries. All to the rear of the lower right leg. | 0:10:38 | 0:10:42 | |
Dr Alexander? | 0:10:44 | 0:10:46 | |
Two days ago, DS Ross questioned a Niall Wallace | 0:10:46 | 0:10:49 | |
-in connection with Caitlin's murder. -What tied Wallace in? | 0:10:49 | 0:10:52 | |
He hand-modified the bullet that killed her. | 0:10:52 | 0:10:55 | |
As a teenager, he was a suspect, | 0:10:55 | 0:10:57 | |
only a suspect, in the murder of his father. | 0:10:57 | 0:11:01 | |
I like him already(!) | 0:11:01 | 0:11:02 | |
His father bled to death after being shot | 0:11:02 | 0:11:05 | |
in the back of the leg in Macroom Forest. | 0:11:05 | 0:11:07 | |
-Trip down memory lane, coming back here... -A happy one? | 0:11:11 | 0:11:14 | |
Overall? No. | 0:11:14 | 0:11:16 | |
I mean, her phone was in her car, | 0:11:18 | 0:11:20 | |
and the keys just left in the ignition. | 0:11:20 | 0:11:22 | |
Just put it all down, sir. That's what the form's for. | 0:11:22 | 0:11:25 | |
Same MO. | 0:11:35 | 0:11:37 | |
Good enough for me. Let's bring him in. | 0:11:38 | 0:11:41 | |
Well, I'll need to get on with the next postmortem, | 0:11:43 | 0:11:46 | |
so if there anyone else you want to attend instead, then... | 0:11:46 | 0:11:49 | |
No, no need. I'll attend. | 0:11:50 | 0:11:53 | |
You interview Wallace? | 0:11:55 | 0:11:57 | |
OK. | 0:11:57 | 0:11:59 | |
CHAINS CLANK | 0:12:10 | 0:12:14 | |
FLIES BUZZ, WET CRUNCHING | 0:12:27 | 0:12:31 | |
SIRENS APPROACHING | 0:12:31 | 0:12:33 | |
ENGINE APPROACHING | 0:12:38 | 0:12:39 | |
SIREN STOPS | 0:12:39 | 0:12:41 | |
WET CRUNCHING | 0:12:41 | 0:12:43 | |
WET SQUELCHING | 0:12:43 | 0:12:46 | |
Partial muddy shoe print in the back here. It rained last night. | 0:12:46 | 0:12:50 | |
Assailant lies in wait, grabs her from behind. | 0:12:52 | 0:12:55 | |
And takes her. But where? | 0:12:55 | 0:12:57 | |
This was broken with force. | 0:13:05 | 0:13:07 | |
THUNDER RUMBLES, RAIN PATTERS | 0:13:07 | 0:13:10 | |
'He's trying to get her in the back of his car...' | 0:13:11 | 0:13:14 | |
DULL THUD | 0:13:14 | 0:13:16 | |
'She's grabbing at anything she can...' | 0:13:16 | 0:13:18 | |
THUNDER RUMBLES | 0:13:19 | 0:13:22 | |
-You haven't seen her or heard from her all night? -No. | 0:13:24 | 0:13:27 | |
Is it normal for her to stay out? | 0:13:27 | 0:13:29 | |
No. What is it? Have you found something? | 0:13:29 | 0:13:31 | |
If it's not normal, why didn't you call the police till this morning? | 0:13:31 | 0:13:35 | |
Because we had a row, OK? Now, what's this about? | 0:13:35 | 0:13:38 | |
We need something with Sarah's DNA. | 0:13:38 | 0:13:40 | |
Sir, if there's a chance she's been abducted we have to move fast. | 0:13:40 | 0:13:43 | |
Look, there's something I need to tell you. | 0:13:46 | 0:13:48 | |
Oh! | 0:13:59 | 0:14:01 | |
Showing someone a graphic image of their dead father? | 0:14:01 | 0:14:03 | |
Well, congratulations, Sergeant, that's a new low(!) | 0:14:03 | 0:14:06 | |
Well, you know, we can't rest on our laurels, Sophie. | 0:14:06 | 0:14:09 | |
You know what I think, Niall... | 0:14:10 | 0:14:13 | |
All those poor lasses out in Macroom Forest, | 0:14:13 | 0:14:16 | |
they would still be here now, if it wasn't for your bastard father. | 0:14:16 | 0:14:19 | |
Watching your dad die. | 0:14:21 | 0:14:22 | |
That gave you an even bigger thrill than you expected, didn't it? | 0:14:22 | 0:14:26 | |
Seeing the old man running scared, bleeding out. | 0:14:26 | 0:14:30 | |
At your mercy. | 0:14:30 | 0:14:31 | |
Felt great. Powerful. | 0:14:32 | 0:14:34 | |
You're the big man, at last. | 0:14:34 | 0:14:37 | |
And like a cold beer on a hot day, | 0:14:39 | 0:14:41 | |
you couldn't stop at one, could you? | 0:14:41 | 0:14:44 | |
With Dad gone, you needed fresh victims. | 0:14:44 | 0:14:47 | |
And with all those... | 0:14:49 | 0:14:51 | |
those nasty hormones all raging through your blood... | 0:14:51 | 0:14:55 | |
..they had to be female, Niall, eh? | 0:14:56 | 0:14:59 | |
They had to be female victims. | 0:14:59 | 0:15:01 | |
The brief I had back then... | 0:15:04 | 0:15:06 | |
He told me to say I was home when Dad was shot. | 0:15:08 | 0:15:10 | |
That was a lie? | 0:15:12 | 0:15:13 | |
I WAS in the forest that afternoon. | 0:15:14 | 0:15:17 | |
GUNSHOT | 0:15:23 | 0:15:24 | |
GUNSHOT ECHOES | 0:15:24 | 0:15:27 | |
RUSTLING | 0:15:29 | 0:15:31 | |
This "man in the military fatigues", how old was he? | 0:15:35 | 0:15:38 | |
Mid-thirties, maybe. | 0:15:39 | 0:15:41 | |
"Mid-thirties, maybe". What else? | 0:15:41 | 0:15:43 | |
Come on, what else? Anything else about him? | 0:15:43 | 0:15:46 | |
-No. -No. So the man ran away. Then what? | 0:15:46 | 0:15:51 | |
I remember I was spooked. | 0:15:52 | 0:15:54 | |
So, I decided to go home. | 0:15:54 | 0:15:56 | |
RATTLING | 0:15:56 | 0:15:57 | |
HE CRIES OUT | 0:15:58 | 0:16:00 | |
There were other folk in the wood that day. | 0:16:01 | 0:16:04 | |
Not a word about this man in military fatigues. | 0:16:04 | 0:16:06 | |
-It's not a wood, it's a forest. -There is no evidence that he is anything more | 0:16:06 | 0:16:10 | |
than a figment of your guilty conscience! | 0:16:10 | 0:16:13 | |
I saw him, you prick! | 0:16:13 | 0:16:16 | |
-You understand that? -OK, Niall... -I saw him. | 0:16:16 | 0:16:19 | |
Now would be a great time to sit back down | 0:16:19 | 0:16:21 | |
and apologise to Sergeant MacNeil. | 0:16:21 | 0:16:24 | |
Apologise, my arse. | 0:16:24 | 0:16:26 | |
CHAIR SCRAPES | 0:16:29 | 0:16:32 | |
I hear they sweated you hard about your dad. | 0:16:39 | 0:16:42 | |
Held you to the wire, eh? | 0:16:42 | 0:16:44 | |
Questioned you all night? | 0:16:44 | 0:16:46 | |
And yet you never once mentioned this man. | 0:16:47 | 0:16:49 | |
How many times? My brief told me to say that I was at home. | 0:16:49 | 0:16:54 | |
-Your brief told you to lie? -Yes. | 0:16:54 | 0:16:56 | |
Oh, I would love to meet this ex-brief of yours. Wouldn't you, Ms Dalglish? | 0:16:56 | 0:16:59 | |
Well, good luck. Cos he's dead. | 0:17:01 | 0:17:04 | |
Isn't that convenient(!) | 0:17:04 | 0:17:06 | |
He took her to Macroom Forest and told her to run. | 0:17:10 | 0:17:13 | |
Bound and blindfolded? | 0:17:13 | 0:17:15 | |
She said he took the blindfold off, | 0:17:15 | 0:17:17 | |
started chasing her through the trees. Firing at her. | 0:17:17 | 0:17:21 | |
-And she never went to the police? -I think she was ashamed. | 0:17:21 | 0:17:24 | |
-Why? -When she told me about her stripping, | 0:17:24 | 0:17:27 | |
I was shocked. I had to know if that was the extent of... | 0:17:29 | 0:17:34 | |
-..you know, what she'd done. -And it wasn't? | 0:17:35 | 0:17:38 | |
She'd gone with a punter. Just the once, she said. | 0:17:40 | 0:17:44 | |
-And you were less than understanding? -It was a shock, that's all. | 0:17:44 | 0:17:47 | |
-More of a shock than the fact that she was raped and almost killed? -No, of course not! -Easy, Jack. | 0:17:47 | 0:17:52 | |
She lived with this for years. | 0:17:52 | 0:17:54 | |
Finally worked up the courage to tell you, | 0:17:54 | 0:17:57 | |
and you threw it in her face? | 0:17:57 | 0:18:00 | |
INDISTINCT TWOWAY RADIO CHATTER | 0:18:12 | 0:18:14 | |
Sir? | 0:18:16 | 0:18:17 | |
A woman went missing last night and, get this, | 0:18:19 | 0:18:23 | |
-her husband says she was abducted five years ago and taken to Macroom Forest. -The same woman? | 0:18:23 | 0:18:27 | |
Sarah O'Keefe. We found her car outside her flat this morning, | 0:18:27 | 0:18:30 | |
-key in the ignition, phone still in her bag. Doesn't look good. -"We"? | 0:18:30 | 0:18:34 | |
Me and Jack Hodgson. | 0:18:35 | 0:18:37 | |
You want to join me for round two with Niall Wallace? | 0:18:39 | 0:18:42 | |
I'll raise a priority alert for this Sarah O'Keefe. | 0:18:42 | 0:18:45 | |
I'll see you in there. | 0:18:45 | 0:18:47 | |
-Good on you. -Sorry. | 0:18:50 | 0:18:52 | |
Please, step back! CLAMOUR | 0:18:54 | 0:18:57 | |
We cannot answer your questions at this time. | 0:18:57 | 0:18:59 | |
We believe that a Miss Sarah O'Keefe has been abducted | 0:18:59 | 0:19:03 | |
and we would ask that anybody who can help us | 0:19:03 | 0:19:05 | |
with our enquiries should call our helpline. | 0:19:05 | 0:19:08 | |
I can say no more than that at this time. | 0:19:08 | 0:19:09 | |
DISTORTED BREATHING | 0:19:09 | 0:19:12 | |
-Where's Sarah O'Keefe? What have you done with her? -Who? | 0:19:24 | 0:19:27 | |
She's the one that got away, Niall! | 0:19:27 | 0:19:29 | |
You had to fix that before we came for you, didn't you? | 0:19:29 | 0:19:31 | |
-Where is she? -What? | 0:19:31 | 0:19:32 | |
She's got a little boy, 18 months! He wants his mummy! | 0:19:34 | 0:19:36 | |
-Niall, do you want a break? -He's just had a break! | 0:19:36 | 0:19:38 | |
-Where were you last night? -Hunting. | 0:19:38 | 0:19:41 | |
I don't know this woman. | 0:19:46 | 0:19:47 | |
-Bullshit! Where is she?! -I DON'T KNOW HER, ALL RIGHT?! | 0:19:47 | 0:19:50 | |
Just get me out of here, all right?! | 0:19:52 | 0:19:53 | |
This is your last chance, Niall. | 0:19:58 | 0:20:00 | |
This is your last chance to buy a bit of goodwill. | 0:20:00 | 0:20:03 | |
Bit of remorse goes a long way with the judge. Isn't that right, Sophie? | 0:20:03 | 0:20:07 | |
We need to search his farm again. | 0:20:11 | 0:20:13 | |
Well, sir, it's our patch. | 0:20:16 | 0:20:20 | |
My men know that farm inside out. | 0:20:20 | 0:20:22 | |
I can handle the search and you can stay here where you need to be. | 0:20:22 | 0:20:25 | |
I'll decide "where I need to be". | 0:20:25 | 0:20:27 | |
Thank you. Sergeant. | 0:20:27 | 0:20:30 | |
CLANKING, MUFFLED YELLS | 0:20:40 | 0:20:44 | |
SHE SCREAMS | 0:20:44 | 0:20:46 | |
-Can I ask you something? -What? | 0:20:51 | 0:20:54 | |
When you were based down here, do you remember any cases | 0:20:54 | 0:20:56 | |
-Dr Jenkins worked where the re-dressing signature was present? -No. | 0:20:56 | 0:20:59 | |
The first time I asked you why you'd recruited me | 0:20:59 | 0:21:01 | |
and not Dr Jenkins you hinted at a prior conflict. | 0:21:01 | 0:21:04 | |
I'm not sure now is the best time. | 0:21:04 | 0:21:05 | |
Well, was the conflict recent or when you worked down in Kirkhaven? | 0:21:05 | 0:21:08 | |
I really need you to give me a straight answer, Jason. | 0:21:10 | 0:21:13 | |
Come here. | 0:21:16 | 0:21:17 | |
Look, Laing and MacNeil aren't bad cops, | 0:21:23 | 0:21:25 | |
but they like to cut corners when cases don't stick. | 0:21:25 | 0:21:28 | |
-And Jenkins goes along with that? -It's been known, all right? | 0:21:28 | 0:21:31 | |
Now, I need to go. It's all hands on deck to find Sarah O'Keefe. | 0:21:31 | 0:21:34 | |
And you better talk to Jack. | 0:21:34 | 0:21:35 | |
Something about this case disagrees with him and he needs to deal with it or go home. | 0:21:35 | 0:21:39 | |
Well, that's a bit harsh. Not to say ungrateful. | 0:21:39 | 0:21:41 | |
He just gave Sarah's husband a bollocking | 0:21:41 | 0:21:43 | |
after he told us how she was abducted. That's harsh. | 0:21:43 | 0:21:46 | |
So, what have we got? | 0:22:01 | 0:22:02 | |
Searched the farm twice, sir. No sign of Sarah O'Keefe. | 0:22:02 | 0:22:06 | |
The cellar and some of the barns are padlocked. | 0:22:06 | 0:22:08 | |
SOCOs are on their way. They'll have the tools to breach them. | 0:22:08 | 0:22:11 | |
Right, I'm just going to have a wee look around. | 0:22:11 | 0:22:13 | |
Right you are, sir. | 0:22:16 | 0:22:17 | |
GUNSHOT | 0:22:19 | 0:22:20 | |
BOLTS CLUNK | 0:22:21 | 0:22:22 | |
GUN COCKS | 0:22:24 | 0:22:25 | |
FOOTSTEPS APPROACH | 0:22:27 | 0:22:29 | |
GUNSHOT | 0:22:32 | 0:22:34 | |
CASING TINKLES ON GROUND | 0:22:34 | 0:22:36 | |
I lifted a clear set of prints from the broken wiper | 0:22:38 | 0:22:41 | |
and they match prints from Sarah O'Keefe's hairbrush. | 0:22:41 | 0:22:44 | |
She ripped that wiper off fighting for her life for a second time. | 0:22:44 | 0:22:47 | |
GUNSHOT, CASING DROPS | 0:22:47 | 0:22:49 | |
Are you OK? | 0:22:49 | 0:22:51 | |
I'll be fine when we find Sarah alive and well. | 0:22:51 | 0:22:54 | |
I hear you tore a strip off her husband? | 0:22:54 | 0:22:56 | |
Yeah. I went back and apologised. | 0:22:56 | 0:22:59 | |
GUNSHOT | 0:22:59 | 0:23:01 | |
BOLTS CLUNK, CASING DROPS | 0:23:01 | 0:23:03 | |
What is it about this case that's affecting you so much? | 0:23:05 | 0:23:08 | |
This man preyed on the most vulnerable women he could find, | 0:23:09 | 0:23:13 | |
then hunted them down like vermin. | 0:23:13 | 0:23:16 | |
What is there not to be affected by? | 0:23:17 | 0:23:19 | |
GUNSHOT | 0:23:20 | 0:23:22 | |
-We've seen worse. -BOLTS CLUNK | 0:23:22 | 0:23:24 | |
Not worse. | 0:23:24 | 0:23:26 | |
Jack... | 0:24:27 | 0:24:28 | |
What is it? | 0:24:32 | 0:24:34 | |
All right. | 0:24:52 | 0:24:54 | |
When I was 16, I met a girl called Katie... | 0:24:57 | 0:24:59 | |
-That's how the best stories start, isn't it? -Go on. | 0:25:03 | 0:25:06 | |
She just turned up at our school in the middle of term... | 0:25:08 | 0:25:12 | |
She was different. Pretty wild. | 0:25:14 | 0:25:17 | |
Funny. Didn't give a shit about the rules... | 0:25:17 | 0:25:21 | |
And we dated for about a year, | 0:25:23 | 0:25:26 | |
and, er... | 0:25:26 | 0:25:28 | |
and then she got expelled for dishing out Es | 0:25:28 | 0:25:31 | |
at the Christmas carol service. | 0:25:31 | 0:25:33 | |
HE CHUCKLES | 0:25:34 | 0:25:36 | |
Oh, dear. Yeah... | 0:25:39 | 0:25:41 | |
Anyway, my parents laid down the law. | 0:25:43 | 0:25:46 | |
No more Katie? | 0:25:49 | 0:25:50 | |
Broke my heart, | 0:25:52 | 0:25:55 | |
but, yeah, | 0:25:55 | 0:25:56 | |
I dumped her. | 0:25:56 | 0:25:59 | |
She couldn't get into another school, | 0:26:02 | 0:26:05 | |
then fell in with a really bad crowd. | 0:26:05 | 0:26:07 | |
Her parents kicked her out. | 0:26:09 | 0:26:11 | |
What happened to her? | 0:26:12 | 0:26:14 | |
She died of a heart attack a week before her 19th birthday. | 0:26:17 | 0:26:21 | |
Heroin-and-coke speedballs. Yeah... | 0:26:22 | 0:26:26 | |
Found her body in an underpass. | 0:26:32 | 0:26:33 | |
They say...she was trying to get warm. | 0:26:37 | 0:26:41 | |
HE SIGHS | 0:26:47 | 0:26:52 | |
I didn't speak to my parents for six months. | 0:26:52 | 0:26:57 | |
But it was me that I couldn't forgive. | 0:27:00 | 0:27:02 | |
Still can't. | 0:27:05 | 0:27:06 | |
You said she was wild, right? | 0:27:14 | 0:27:16 | |
So, maybe that's just who she was. | 0:27:19 | 0:27:22 | |
Maybe... | 0:27:22 | 0:27:23 | |
..Katie was just hard-wired to be that way... | 0:27:24 | 0:27:27 | |
..and not even Jack Hodgson | 0:27:29 | 0:27:32 | |
would have been able to keep her on course? | 0:27:32 | 0:27:35 | |
Body is that of a young female. | 0:27:50 | 0:27:53 | |
Decomposition rates, factoring in temperature and soil conditions, | 0:27:53 | 0:27:58 | |
collectively suggest the victim died three-and-a-half to four years ago. | 0:27:58 | 0:28:03 | |
Three false teeth. | 0:28:08 | 0:28:10 | |
The kind a patient wears while a permanent bridge is made. | 0:28:10 | 0:28:12 | |
So, it seems our victim had a temporary bridge installed | 0:28:12 | 0:28:16 | |
right before she was abducted. | 0:28:16 | 0:28:18 | |
We're probably only talking a few days, a week at the most. | 0:28:18 | 0:28:21 | |
But then, after that, it would seem logical, | 0:28:21 | 0:28:24 | |
she missed a follow-up appointment. | 0:28:24 | 0:28:26 | |
To have the permanent bridge put in its place, yes. | 0:28:26 | 0:28:29 | |
I'll phone around Kirkhaven dentists. | 0:28:29 | 0:28:31 | |
We may get an ID. | 0:28:32 | 0:28:33 | |
Dr Jenkins. Ross. | 0:28:36 | 0:28:39 | |
-Sir. -No sign of Sarah, but we've nailed Niall to the wall for good. | 0:28:39 | 0:28:43 | |
-Nailed him? Nailed him, how? -"Nailed him how, SIR"! -Sir. | 0:28:43 | 0:28:47 | |
-Broken wiper. -That's not all. | 0:28:52 | 0:28:54 | |
Pat. | 0:28:54 | 0:28:55 | |
Hairs. Exact visual match for Sarah's long brown hair. | 0:28:56 | 0:29:00 | |
Compelling. | 0:29:00 | 0:29:01 | |
-Any sign of a Winchester .308? -No. | 0:29:04 | 0:29:06 | |
It's just that all the victims were killed with one | 0:29:06 | 0:29:08 | |
and it's pretty much the only model of rifle Niall Wallace doesn't own. | 0:29:08 | 0:29:11 | |
So, he was smart enough not to use a gun registered in his name. | 0:29:11 | 0:29:14 | |
-I mean, we know he's forensically sharp, right? -Right. | 0:29:14 | 0:29:17 | |
And, obviously, he's got a second location where he's keeping Sarah. | 0:29:17 | 0:29:20 | |
-THAT'S where the Winchester will be. -Now, all we need to do is find it. | 0:29:20 | 0:29:24 | |
-Find what? -That second location, sir. | 0:29:24 | 0:29:26 | |
I just said that. | 0:29:28 | 0:29:29 | |
Well done, sir. | 0:29:33 | 0:29:34 | |
Are you any closer to sourcing the white paint flakes in Caitlin's hair? | 0:29:38 | 0:29:41 | |
Not yet, but we've managed to identify one of the deceased | 0:29:41 | 0:29:45 | |
from her dental records. Sending you over the details, now. | 0:29:45 | 0:29:49 | |
HE RATTLES DOOR | 0:29:51 | 0:29:54 | |
HE KNOCKS | 0:29:54 | 0:29:56 | |
HE KNOCKS | 0:29:59 | 0:30:01 | |
< THUDDING | 0:30:01 | 0:30:02 | |
Jerome. | 0:30:09 | 0:30:10 | |
Jerome? | 0:30:11 | 0:30:13 | |
-Hi, Jack. -This is Nikki. We work together. -Hi. | 0:30:14 | 0:30:18 | |
Listen, Jack, I'm sorry if my mother seemed defensive the other night. | 0:30:18 | 0:30:22 | |
-That's fine. -She knew you had had her best interests at heart | 0:30:22 | 0:30:24 | |
-when you offered to drive Amy home. -Yeah, don't worry about it. | 0:30:24 | 0:30:28 | |
Wasn't so pleased to lose one of our best assets, though. | 0:30:28 | 0:30:31 | |
-What do you mean? -Apparently, Amy took your advice and went home to Mummy. | 0:30:31 | 0:30:35 | |
Thank God. | 0:30:35 | 0:30:37 | |
High horses. | 0:30:39 | 0:30:41 | |
-What's that? -You should try getting off them. | 0:30:41 | 0:30:43 | |
-He means, thank God she's safe. -It's fine, I get it. | 0:30:43 | 0:30:46 | |
You walk in a place like this | 0:30:46 | 0:30:48 | |
and all you see is women getting exploited, right? | 0:30:48 | 0:30:51 | |
-It's the guys who are the real suckers. -How's that? | 0:30:51 | 0:30:54 | |
Because they pay through the nose, and for what? | 0:30:54 | 0:30:57 | |
To see some girl's tits and arse? | 0:30:57 | 0:30:58 | |
I mean, what's the girl lost? A bit of dignity, maybe. | 0:30:58 | 0:31:01 | |
She's not even fully naked. | 0:31:01 | 0:31:04 | |
The way I see it, it's the girls that are in charge. | 0:31:04 | 0:31:06 | |
Until someone drags them into their van and rapes and murders them? | 0:31:06 | 0:31:09 | |
Who says that only happens to pole dancers? | 0:31:09 | 0:31:11 | |
What about this latest girl who's gone missing? | 0:31:11 | 0:31:14 | |
Sorry, but we're in something of a hurry. | 0:31:14 | 0:31:16 | |
-What does the name Magda Borek mean to you? -I own this bar. | 0:31:16 | 0:31:19 | |
If you have any questions, address them to me. | 0:31:19 | 0:31:22 | |
Happily. It was you we came to see. | 0:31:22 | 0:31:25 | |
Yes, I paid for Magda's dental work. | 0:31:30 | 0:31:32 | |
-Why? -She worked here. | 0:31:33 | 0:31:36 | |
And all your girls enjoy a comprehensive health package, do they? Give me a break! | 0:31:36 | 0:31:40 | |
Magda slipped and fell and was all for suing me. | 0:31:44 | 0:31:47 | |
We reached an agreement, I'd pay for her dental bills, and she'd move on. | 0:31:47 | 0:31:52 | |
That's interesting. Meredith Caine, who did the reconstructive work, | 0:31:52 | 0:31:55 | |
believed it was the result of a physical assault. | 0:31:55 | 0:31:58 | |
And looking at the photos Dr Caine took of Magda's jaw, so do I. | 0:31:58 | 0:32:02 | |
I'm telling you, she fell. | 0:32:02 | 0:32:03 | |
If you're implying a punter hit her and I covered it up, forget it. | 0:32:05 | 0:32:08 | |
I'd have the police here in a heartbeat. | 0:32:09 | 0:32:12 | |
-What? -Here's the bottom line - | 0:32:15 | 0:32:17 | |
at least two girls who worked for you wound up dead in Macroom Forest. | 0:32:17 | 0:32:21 | |
-You going to tell me that's just a coincidence? -Well, it is. | 0:32:21 | 0:32:25 | |
And you can't prove otherwise. | 0:32:25 | 0:32:27 | |
That's a very strange thing to say, Stella. | 0:32:28 | 0:32:31 | |
Stella, in the days after that bridge was installed, | 0:32:34 | 0:32:39 | |
Magda was abducted and killed. | 0:32:39 | 0:32:42 | |
-Please, be honest with us. If somebody hit her... -How many times?! | 0:32:42 | 0:32:45 | |
She fell over coming off stage. | 0:32:47 | 0:32:50 | |
She blamed the lighting and the floor tiles and was talking legal action. | 0:32:50 | 0:32:53 | |
Maybe I'm a mug, maybe it was scare tactics, | 0:32:55 | 0:32:58 | |
but I didn't fancy some vast compensation claim so I paid up. | 0:32:58 | 0:33:03 | |
And now I'm paying again. | 0:33:03 | 0:33:05 | |
REPORTERS SHOUT, CAMERAS CLICK | 0:33:07 | 0:33:10 | |
HELICOPTER WHIRS OVERHEAD | 0:33:10 | 0:33:12 | |
The good news is that hairs we found in Niall Wallace's vehicle | 0:33:14 | 0:33:18 | |
are a DNA match for Sarah O'Keefe. | 0:33:18 | 0:33:19 | |
The bad news, he is still not talking. | 0:33:19 | 0:33:21 | |
It's up to us to find Sarah and we only have hours to do it. | 0:33:21 | 0:33:25 | |
If she is alive, she likely has no access to water. | 0:33:25 | 0:33:28 | |
This is a picture of Sarah leaving her apartment block. | 0:33:28 | 0:33:32 | |
This picture was taken on the night she was abducted... | 0:33:32 | 0:33:35 | |
Now, we've searched every corner of the Wallace estate, | 0:33:35 | 0:33:38 | |
so he must have her at another location. Where? | 0:33:38 | 0:33:41 | |
To find that out, you're going to have to scour | 0:33:41 | 0:33:44 | |
every aspect of his life. | 0:33:44 | 0:33:46 | |
Because her life depends on it. | 0:33:46 | 0:33:48 | |
Get out. Find out. Anyone got any questions, please? | 0:33:48 | 0:33:51 | |
Good. | 0:33:52 | 0:33:53 | |
SHE YELLS, PIPES CLANK | 0:33:56 | 0:33:58 | |
CLANKING | 0:34:00 | 0:34:03 | |
SHE PANTS | 0:34:12 | 0:34:15 | |
CLANKING | 0:34:15 | 0:34:17 | |
SHE YELLS, PIPES CLANKING | 0:34:17 | 0:34:20 | |
CLANKING | 0:34:23 | 0:34:26 | |
CLUNKING | 0:34:26 | 0:34:28 | |
SHE PANTS AND GASPS | 0:34:28 | 0:34:31 | |
Oh! | 0:34:39 | 0:34:40 | |
SHE SIGHS | 0:34:40 | 0:34:42 | |
SHE PANTS | 0:34:42 | 0:34:45 | |
SHE SCREAMS | 0:34:54 | 0:34:56 | |
SEAGULLS CRY | 0:34:56 | 0:34:58 | |
I had Clarissa clean up the CCTV of Sarah leaving her flat. | 0:35:06 | 0:35:09 | |
Now, in Sarah's driving licence photo, she's got long hair. | 0:35:09 | 0:35:13 | |
Some of the hair recovered from her hairbrush is also long. | 0:35:13 | 0:35:16 | |
But on the night she was abducted, her hair's much shorter, | 0:35:16 | 0:35:19 | |
-almost bobbed. -Exactly. | 0:35:19 | 0:35:21 | |
You think that the longer hair was taken from Sarah's hairbrush | 0:35:21 | 0:35:24 | |
and planted in Niall's jeep? | 0:35:24 | 0:35:26 | |
Yeah. And my money's on Laing doing the planting. | 0:35:26 | 0:35:29 | |
Do the timings work? Did Laing have access to the evidence? | 0:35:31 | 0:35:34 | |
Yes, to both. I checked the hairbrush into the evidence locker | 0:35:34 | 0:35:37 | |
and went straight to tell Laing about Sarah's probable abduction. | 0:35:37 | 0:35:40 | |
I was surprised he was sitting out the interview with Niall. | 0:35:40 | 0:35:43 | |
So was DS MacNeil. He invited Laing in twice, and twice he refused. | 0:35:43 | 0:35:47 | |
-Yeah, he didn't want to be trapped in an interview room. -Then he went off to search Niall's farm. | 0:35:47 | 0:35:51 | |
When I offered to assist he knocked me back... | 0:35:51 | 0:35:53 | |
He couldn't plant evidence and break the wiper with you breathing down his neck... | 0:35:53 | 0:35:57 | |
One question. Why is he planting evidence at all? | 0:35:57 | 0:36:00 | |
And why the hell would he frame an innocent man, | 0:36:00 | 0:36:02 | |
knowing that he was sentencing Sarah to death? | 0:36:02 | 0:36:05 | |
No idea. | 0:36:05 | 0:36:06 | |
What if Dr Jenkins has an inkling about Laing? | 0:36:10 | 0:36:13 | |
No. You'll never get him to break ranks with Laing and MacNeil. | 0:36:13 | 0:36:16 | |
No. Not without leverage. | 0:36:16 | 0:36:17 | |
Where's the Collator's Office in Kirkhaven station? | 0:36:20 | 0:36:23 | |
MUSIC: "Slave To Love" by Bryan Ferry | 0:36:27 | 0:36:29 | |
DOOR OPENS | 0:36:34 | 0:36:36 | |
You told me it was urgent. | 0:36:38 | 0:36:40 | |
They found Magda's dental bridge | 0:36:40 | 0:36:42 | |
and, Christ knows how, but they know I paid for it. | 0:36:42 | 0:36:45 | |
What happened, Stella? | 0:36:45 | 0:36:46 | |
Jerome said he'd caught her using, | 0:36:46 | 0:36:49 | |
tried to confiscate the drugs, but she resisted... | 0:36:49 | 0:36:52 | |
And he hit her in self-defence? | 0:36:52 | 0:36:53 | |
More likely she saw through his knight-in-shining-armour act and paid the price. | 0:36:53 | 0:36:57 | |
I don't know. That's why I covered her dental bills. | 0:36:57 | 0:37:00 | |
Because I didn't know! | 0:37:00 | 0:37:02 | |
What? | 0:37:07 | 0:37:09 | |
Oh, God forbid, Stella! | 0:37:09 | 0:37:11 | |
No... | 0:37:12 | 0:37:14 | |
No way. | 0:37:14 | 0:37:15 | |
Forget it. | 0:37:15 | 0:37:16 | |
Don't tell me the thought hasn't crossed your mind! | 0:37:16 | 0:37:19 | |
It hasn't crossed my mind. No way! | 0:37:19 | 0:37:22 | |
I mean, you've got someone, right? | 0:37:22 | 0:37:24 | |
-Yes, I've got "someone". I took care of that. -What do you mean? | 0:37:24 | 0:37:27 | |
I took precautions to protect us. | 0:37:28 | 0:37:31 | |
-But if Jerome did this... -He didn't! | 0:37:31 | 0:37:33 | |
If he did, and the truth gets out... | 0:37:33 | 0:37:34 | |
There's no "if" here, Simon. Jerome's just not capable of... | 0:37:34 | 0:37:38 | |
Of what? Eh?! | 0:37:38 | 0:37:41 | |
I wish I shared your confidence...! | 0:37:43 | 0:37:44 | |
-Hello. -Do me a favour and just swing by Jerome's place, | 0:37:55 | 0:37:58 | |
-see if he's in, OK? -Jerome? | 0:37:58 | 0:38:00 | |
-Jerome Nelson. -'What, do you want me to give him some money?' | 0:38:00 | 0:38:03 | |
-No. Just keep an eye on him, that's all. -'What's up? Is he in trouble?' | 0:38:03 | 0:38:07 | |
-No, it's probably...probably nothing. -Aye, it's done. | 0:38:07 | 0:38:10 | |
MOBILE RINGS | 0:38:37 | 0:38:40 | |
PHONE BEEPS | 0:38:41 | 0:38:43 | |
He's on the move. | 0:38:43 | 0:38:45 | |
You want me to stop him? | 0:38:45 | 0:38:47 | |
Sir? | 0:38:50 | 0:38:51 | |
No. Follow him. Follow him, and speak to nobody but me. Clear? | 0:38:51 | 0:38:55 | |
-I'm not sure I am. -How many times have I covered your arse, Mike? | 0:38:55 | 0:38:58 | |
Eh, how many times? | 0:38:58 | 0:39:00 | |
Jesus! No need for that. | 0:39:00 | 0:39:02 | |
I'm sorry. Call me when he gets where he's going. OK? | 0:39:02 | 0:39:05 | |
Yeah. Will do. | 0:39:06 | 0:39:08 | |
PHONE BEEPS | 0:39:08 | 0:39:10 | |
Gunshot wound to the chest. No corresponding bullet hole in her clothes. | 0:39:25 | 0:39:29 | |
She was re-dressed just like the forest victims. | 0:39:29 | 0:39:31 | |
But this happened here in Kirkhaven six years ago. | 0:39:31 | 0:39:35 | |
What was the official version of events? | 0:39:35 | 0:39:38 | |
Classic murder-suicide. | 0:39:39 | 0:39:41 | |
Danielle Farley, a 21-year-old prostitute shot by her pimp, | 0:39:43 | 0:39:47 | |
Darren Mounsey, | 0:39:47 | 0:39:48 | |
also found dead at the scene from a gunshot wound to the head. | 0:39:48 | 0:39:51 | |
Not a lick of jewellery. | 0:39:51 | 0:39:52 | |
But she's got pierced ears and ring marks on her fingers... | 0:39:52 | 0:39:56 | |
Trophies from his first kill. | 0:39:56 | 0:39:58 | |
Prostitutes make easy prey. Smart place to start. | 0:39:58 | 0:40:00 | |
Turn the page. | 0:40:02 | 0:40:03 | |
I knew that Jenkins had seen the re-dressing before! | 0:40:13 | 0:40:16 | |
So, why did he deny it? | 0:40:16 | 0:40:17 | |
Danielle Farley's murder was solved. | 0:40:22 | 0:40:24 | |
-Her pimp, Darren Mounsey... -Shot her before shooting himself. Yes, I've read your report. | 0:40:24 | 0:40:29 | |
There's your answer. There's no connection. There can't be. | 0:40:29 | 0:40:32 | |
This wasn't a murder-suicide, this was a double murder | 0:40:32 | 0:40:34 | |
and I have no doubt that the Macroom Forest killer was responsible. Do you? | 0:40:34 | 0:40:39 | |
I've made my position perfectly clear. | 0:40:41 | 0:40:43 | |
Well, allow me to do the same. | 0:40:43 | 0:40:45 | |
Darren Mounsey. | 0:40:47 | 0:40:48 | |
As you are aware, almost all gunshot suicides | 0:40:48 | 0:40:51 | |
are a product of a contact shot | 0:40:51 | 0:40:53 | |
which leaves muzzle burn or close-range shots | 0:40:53 | 0:40:55 | |
which leave stippling and fouling. I'm seeing neither. Are you? | 0:40:55 | 0:40:59 | |
Nor is there any spatter on the right hand | 0:41:02 | 0:41:04 | |
with which he supposedly pulled the trigger. | 0:41:04 | 0:41:06 | |
All this suggests that he was shot from further away by a third party. | 0:41:06 | 0:41:10 | |
Well, let's just call it a professional difference of opinion. | 0:41:10 | 0:41:14 | |
That certainly sounds better than "wilfully covering up a double murder". | 0:41:14 | 0:41:17 | |
Danielle and Darren worked as informants for Laing and MacNeil. | 0:41:24 | 0:41:28 | |
MacNeil has a temper. | 0:41:31 | 0:41:33 | |
I assumed he'd fallen out with them, shot them. | 0:41:33 | 0:41:36 | |
Laing was trying to clean up his mess. | 0:41:37 | 0:41:40 | |
By staging a murder-suicide? | 0:41:40 | 0:41:42 | |
Are you saying that MacNeil wasn't at the scene? | 0:41:45 | 0:41:48 | |
Mmm. Just Laing. | 0:41:48 | 0:41:49 | |
'Poor guy spent his life clearing up after MacNeil... | 0:41:52 | 0:41:55 | |
'It was a crude effort. | 0:42:00 | 0:42:02 | |
'The gun, a Walther P38, was placed in Darren's open right hand, | 0:42:02 | 0:42:05 | |
'turned out he was left-handed. | 0:42:05 | 0:42:09 | |
'And while Darren's prints were on the handle, | 0:42:10 | 0:42:12 | |
'they weren't on the trigger.' | 0:42:12 | 0:42:14 | |
And you went along with it? | 0:42:14 | 0:42:16 | |
Yeah, I appeased my conscience. I kept the gun. | 0:42:20 | 0:42:23 | |
It's clean. | 0:42:24 | 0:42:26 | |
I swabbed for DNA and prints at the time. | 0:42:26 | 0:42:28 | |
WIND HOWLS | 0:42:44 | 0:42:47 | |
METAL CLATTERS | 0:43:09 | 0:43:12 | |
SHE WHIMPERS | 0:43:12 | 0:43:15 | |
SHE WHIMPERS AND GASPS | 0:43:18 | 0:43:21 | |
SHE SCREAMS | 0:43:21 | 0:43:23 | |
MUFFLED SCREAMS | 0:43:25 | 0:43:28 | |
PLEADING, YELLING, CLANKING | 0:43:28 | 0:43:31 | |
SHE PANTS | 0:43:52 | 0:43:54 | |
SHE WHIMPERS | 0:43:54 | 0:43:57 | |
SHE GASPS | 0:43:57 | 0:43:59 | |
GUNSHOT | 0:43:59 | 0:44:01 | |
GUNSHOT | 0:44:02 | 0:44:04 | |
SHE SOBS | 0:44:10 | 0:44:12 | |
SHE GASPS | 0:44:17 | 0:44:18 | |
HE CHUCKLES, SHE WHIMPERS | 0:44:19 | 0:44:23 | |
SHE CRIES | 0:44:25 | 0:44:27 | |
ENGINE REVS | 0:44:45 | 0:44:47 | |
Work. Sorry. | 0:44:59 | 0:45:02 | |
RUMBLING | 0:45:04 | 0:45:08 | |
I knew you couldn't identify me. | 0:45:14 | 0:45:16 | |
But that's not the reason I took you. | 0:45:16 | 0:45:18 | |
I took you because you're the only one that got away. | 0:45:18 | 0:45:20 | |
SHE SHRIEKS | 0:45:20 | 0:45:22 | |
The only one. | 0:45:22 | 0:45:24 | |
SCREAMS ECHO | 0:45:24 | 0:45:27 | |
VAN RUMBLES | 0:45:46 | 0:45:48 | |
SHE PANTS | 0:45:54 | 0:45:55 | |
GUNSHOT, SHE SCREAMS | 0:46:02 | 0:46:04 | |
Sir, we've made a link between the Macroom Forest bodies | 0:46:07 | 0:46:10 | |
and a double shooting that took place here in Kirkhaven back in 2009. | 0:46:10 | 0:46:14 | |
-A link? -The re-dressing signature is present, | 0:46:14 | 0:46:17 | |
as well as the removal of the victim's jewellery. | 0:46:17 | 0:46:20 | |
We've also recovered the gun used in the 2009 shooting. | 0:46:20 | 0:46:23 | |
-It bears traces of male DNA. -Male DNA that's a very close match to your own. | 0:46:23 | 0:46:27 | |
MOBILE VIBRATES | 0:46:30 | 0:46:32 | |
CLARISSA: I can shed more light on the paint flakes from Caitlin's hair. | 0:46:36 | 0:46:40 | |
There's an unusual anti-bacterial chemical coagulant, | 0:46:40 | 0:46:43 | |
which makes it likely the paint's from a meat-packaging plant | 0:46:43 | 0:46:46 | |
-or a dairy farm building. -OK, that helps... | 0:46:46 | 0:46:50 | |
And I've lifted a print from the material used to blindfold Magda Borek. | 0:46:50 | 0:46:54 | |
Do you have a match? | 0:46:54 | 0:46:56 | |
Yes. A Stella Nelson, formerly known as Maxine Clay, | 0:46:56 | 0:47:00 | |
owner of the Manhattan Bar in Kirkhaven. | 0:47:00 | 0:47:03 | |
I have just e-mailed you her mug shot if that helps. | 0:47:03 | 0:47:06 | |
Who is Stella Nelson, born Maxine Clay, to you? | 0:47:12 | 0:47:15 | |
Stella Nelson is the mother of my son. | 0:47:20 | 0:47:23 | |
Where is Sarah O'Keefe? Where has he taken her? | 0:47:27 | 0:47:29 | |
-If I knew, I would tell you... -Jack! | 0:47:29 | 0:47:32 | |
PANTING | 0:47:38 | 0:47:42 | |
GUNSHOT | 0:47:43 | 0:47:45 | |
Run. | 0:47:54 | 0:47:55 | |
RUN! | 0:47:59 | 0:48:00 | |
SHE PANTS | 0:48:01 | 0:48:03 | |
WIND BLOWS, GRASS RUSTLES | 0:48:04 | 0:48:07 | |
Screw you. | 0:48:09 | 0:48:11 | |
HE YELLS | 0:48:14 | 0:48:16 | |
DISTORTED SHRIEK | 0:48:23 | 0:48:26 | |
LAING: 'My son is a troubled soul.' | 0:48:27 | 0:48:29 | |
MUSIC DROWNS AUDIO | 0:48:29 | 0:48:32 | |
If anyone can make him talk, it's me. | 0:48:39 | 0:48:42 | |
Has Jerome ever worked at an abattoir or a dairy farm? | 0:48:51 | 0:48:54 | |
HE SIGHS | 0:48:56 | 0:48:58 | |
Stella's brother used to work at Young's dairy farm. | 0:49:00 | 0:49:05 | |
Out on the B20? | 0:49:05 | 0:49:07 | |
Did Jerome ever go there? | 0:49:07 | 0:49:09 | |
I'm sure he did, but they closed it down years ago. | 0:49:09 | 0:49:12 | |
Keys. | 0:49:12 | 0:49:14 | |
You need to start talking. Now. | 0:49:17 | 0:49:20 | |
< DOOR SLAMS | 0:49:23 | 0:49:24 | |
You can't run from DNA. | 0:49:30 | 0:49:32 | |
Stella proved Jerome was mine. | 0:49:33 | 0:49:35 | |
Her silence came at a price. | 0:49:37 | 0:49:39 | |
The Manhattan Bar. | 0:49:39 | 0:49:41 | |
Well, down payment anyway. | 0:49:44 | 0:49:47 | |
HE SNIFFLES | 0:49:51 | 0:49:52 | |
Next time I saw Jerome again, | 0:49:52 | 0:49:54 | |
I was married with a daughter... | 0:49:54 | 0:49:56 | |
But no son. | 0:49:59 | 0:50:00 | |
You reconnected? | 0:50:00 | 0:50:02 | |
It was an insane risk... | 0:50:06 | 0:50:08 | |
..I knew it, but... | 0:50:10 | 0:50:12 | |
..he was mine. | 0:50:13 | 0:50:14 | |
My flesh and blood. | 0:50:16 | 0:50:17 | |
'I started to take him hunting.' | 0:50:18 | 0:50:20 | |
That was a mistake. | 0:50:23 | 0:50:24 | |
GUNSHOT | 0:50:27 | 0:50:28 | |
'The more he saw of me, the more he resented | 0:50:28 | 0:50:30 | |
'it hadn't been me that raised him.' | 0:50:30 | 0:50:32 | |
Blamed his mum and what she'd been. | 0:50:32 | 0:50:34 | |
He was just full of hate. | 0:50:36 | 0:50:38 | |
I mean, CONSUMED by it... | 0:50:38 | 0:50:40 | |
running his mum down every other minute. | 0:50:40 | 0:50:43 | |
RAIN PATTERS | 0:50:43 | 0:50:44 | |
'And one day I'd...had enough.' | 0:50:44 | 0:50:48 | |
Plus my wife was pregnant, so... | 0:50:48 | 0:50:51 | |
..I knocked it on the head. | 0:50:52 | 0:50:54 | |
Did you tell Jerome about the pregnancy? | 0:50:54 | 0:50:57 | |
He was devastated. | 0:50:59 | 0:51:00 | |
He... | 0:51:02 | 0:51:04 | |
..guilt-mongered me into... | 0:51:05 | 0:51:06 | |
..taking him out one last time. | 0:51:08 | 0:51:09 | |
GUNSHOT | 0:51:24 | 0:51:25 | |
HE GASPS | 0:51:25 | 0:51:27 | |
'He told me Peter Wallace was an accident and I just wanted to believe him.' | 0:51:33 | 0:51:38 | |
Jerome! | 0:51:38 | 0:51:40 | |
No, it SUITED you to believe him! | 0:51:41 | 0:51:43 | |
Turning him in would've meant your wife finding out. | 0:51:44 | 0:51:48 | |
But now Jerome had you over a barrel. | 0:51:50 | 0:51:52 | |
And he could call you any time he got into trouble, right? | 0:51:52 | 0:51:56 | |
Take your jacket off. | 0:52:00 | 0:52:02 | |
Walk forward. | 0:52:04 | 0:52:05 | |
Keep walking. | 0:52:07 | 0:52:08 | |
Stop. | 0:52:11 | 0:52:13 | |
Take your blindfold off. | 0:52:16 | 0:52:17 | |
Look at me. | 0:52:24 | 0:52:25 | |
Run. | 0:52:31 | 0:52:32 | |
GUNSHOT | 0:52:33 | 0:52:35 | |
'I thought Danielle was a one-off.' | 0:52:38 | 0:52:39 | |
'I tried to keep an eye on him after that.' | 0:52:41 | 0:52:44 | |
GUNSHOT | 0:52:44 | 0:52:45 | |
'I had no idea he'd gone on to kill other girls.' | 0:52:47 | 0:52:50 | |
I swear. | 0:52:50 | 0:52:51 | |
You need to make this right, sir. As much as you ever can. | 0:52:52 | 0:52:56 | |
Sarah! | 0:52:58 | 0:52:59 | |
SARAH! | 0:52:59 | 0:53:01 | |
(Oh, Jesus Christ!) | 0:53:06 | 0:53:07 | |
< Jack! | 0:53:16 | 0:53:18 | |
Stop-stop-stop! | 0:53:23 | 0:53:25 | |
Sarah! | 0:53:35 | 0:53:36 | |
Sarah! | 0:53:36 | 0:53:37 | |
Sarah...? | 0:53:41 | 0:53:42 | |
-SOFTLY: -Sarah. Sarah? | 0:53:44 | 0:53:46 | |
We're going to get you out of here, OK? | 0:53:49 | 0:53:52 | |
..She's alive! Get some help, though! | 0:53:52 | 0:53:54 | |
-SOFTLY: -..All right. Just...stay there. | 0:53:55 | 0:53:57 | |
HE PANTS | 0:53:57 | 0:54:00 | |
-Stop that! -What? -Stop it! | 0:54:15 | 0:54:16 | |
-I need to talk to you! -What the hell are you doing?! | 0:54:16 | 0:54:18 | |
-Don't you talk to me like that! -Shut up! Come here! | 0:54:22 | 0:54:24 | |
Give me that jewellery. I didn't have any business giving it to you in the first place. | 0:54:24 | 0:54:28 | |
-It's going to get us in a lot of trouble. -Why? Did you steal it? | 0:54:28 | 0:54:31 | |
-Well, you could say that... -You worthless piece of shit! | 0:54:31 | 0:54:35 | |
Who are you to insult anyone? I mean, seriously, look at yourself. | 0:54:37 | 0:54:42 | |
What do you think people see? Hmm? | 0:54:42 | 0:54:45 | |
A businesswoman?! A boss?! | 0:54:45 | 0:54:46 | |
A proud, single mum?! | 0:54:46 | 0:54:48 | |
No! They see a whore! | 0:54:48 | 0:54:50 | |
A worthless old, withered whore. | 0:54:50 | 0:54:54 | |
So, what does that make me, eh?! | 0:54:54 | 0:54:56 | |
I feel BAD! | 0:54:56 | 0:54:58 | |
I hurt all those girls cos I just wanted to hurt YOU! | 0:54:59 | 0:55:01 | |
Hurt me? Why? | 0:55:01 | 0:55:03 | |
Caitlin... Oh, my God! | 0:55:05 | 0:55:07 | |
He's right... | 0:55:07 | 0:55:08 | |
SHE WHIMPERS | 0:55:08 | 0:55:10 | |
-"Right?" Who's right? -Get away from me! | 0:55:10 | 0:55:13 | |
-Mum! Who's right? Someone been pouring poison in your ear? -Jerome! | 0:55:13 | 0:55:16 | |
Jerome, if anyone deserves your anger, it's me not her. | 0:55:19 | 0:55:22 | |
Jerome, please. | 0:55:23 | 0:55:25 | |
Please, put it down. | 0:55:25 | 0:55:27 | |
HE PANTS | 0:55:27 | 0:55:30 | |
Jerome, you do the right thing | 0:55:31 | 0:55:34 | |
and I'll always be there for you. | 0:55:34 | 0:55:36 | |
I'll be the dad you always wanted. | 0:55:36 | 0:55:40 | |
Deserved. | 0:55:40 | 0:55:41 | |
Do you mean that? | 0:55:46 | 0:55:47 | |
I do. | 0:55:49 | 0:55:50 | |
JEROME GROANS | 0:55:53 | 0:55:55 | |
HE PANTS | 0:55:55 | 0:55:58 | |
Simon...? | 0:56:12 | 0:56:13 | |
Laing. | 0:56:19 | 0:56:20 | |
Laing! | 0:56:20 | 0:56:21 | |
GRUNTING, GUNSHOT | 0:56:22 | 0:56:24 | |
Don't move! Stay down, sir! Stay down! | 0:56:24 | 0:56:27 | |
BOLTS CLANK, SHELLS DROP | 0:56:27 | 0:56:29 | |
ALL PANT | 0:56:29 | 0:56:31 | |
Any luck IDing Caitlin? | 0:57:10 | 0:57:11 | |
Looks like she'll just be "Caitlin" for ever... | 0:57:15 | 0:57:18 | |
Her daughter will never know | 0:57:19 | 0:57:23 | |
that she didn't just abandon her, | 0:57:23 | 0:57:25 | |
she couldn't come home. | 0:57:25 | 0:57:28 | |
BIRDSONG | 0:57:57 | 0:58:00 | |
SILENCED GUNSHOTS | 0:58:13 | 0:58:15 | |
ENGINE REVS | 0:58:15 | 0:58:17 | |
It was a drunken shag, not Wuthering Heights! | 0:58:25 | 0:58:28 | |
Mum, did you hear what I said? He's evil. You can't be with him! | 0:58:28 | 0:58:31 | |
OK, we're all impressed. But maybe put the knife down? | 0:58:31 | 0:58:34 | |
SHE SCREAMS | 0:58:34 | 0:58:36 |