Browse content similar to Part 2. Check below for episodes and series from the same categories and more!
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This programme contains some violent scenes from the start | 0:00:02 | 0:00:05 | |
and scenes which some viewers may find upsetting from the start | 0:00:05 | 0:00:08 | |
It's a girl. | 0:00:09 | 0:00:10 | |
Victim's Karim Benzal. Turkish national. | 0:00:10 | 0:00:13 | |
The victim's mouth is sealed then chilli powder mixed with | 0:00:13 | 0:00:16 | |
carbonated water is forced down his nasal passage. | 0:00:16 | 0:00:19 | |
So, you haven't forgotten how then. | 0:00:22 | 0:00:24 | |
No, it feels good, getting back in the saddle. | 0:00:24 | 0:00:26 | |
I think Benzal was silenced. | 0:00:26 | 0:00:28 | |
By the firearms division? | 0:00:28 | 0:00:30 | |
Who else? | 0:00:30 | 0:00:31 | |
-Armed police. -Armed police. -Armed police. Get down! | 0:00:31 | 0:00:34 | |
-Hands on the table! Hands on the table! -Armed police! | 0:00:34 | 0:00:36 | |
Where is he? Where's Sakir? | 0:00:36 | 0:00:37 | |
What's happened? | 0:00:37 | 0:00:38 | |
We've lost the witness. | 0:00:38 | 0:00:40 | |
Tell me where they live. I will make them talk. | 0:00:40 | 0:00:42 | |
We're too late. | 0:00:44 | 0:00:45 | |
No. No! | 0:00:45 | 0:00:47 | |
# Testator silens | 0:00:55 | 0:01:02 | |
# Costestes e spiritu | 0:01:03 | 0:01:09 | |
# Silentium. # | 0:01:11 | 0:01:18 | |
Come through. | 0:01:37 | 0:01:38 | |
Jack, through here. | 0:01:53 | 0:01:54 | |
Bruno Lubas's fleeing prints. | 0:01:58 | 0:02:02 | |
No attempt to cover his tracks. | 0:02:02 | 0:02:04 | |
She's in here. | 0:02:06 | 0:02:07 | |
Looks like she was already on the bed | 0:02:11 | 0:02:13 | |
when the killer started shooting. | 0:02:13 | 0:02:15 | |
She'd been drinking, from the bottle? | 0:02:15 | 0:02:17 | |
We'll need to wait for the tox report. | 0:02:17 | 0:02:19 | |
Neighbours didn't hear a thing. | 0:02:19 | 0:02:21 | |
Silencer? | 0:02:23 | 0:02:24 | |
Did Bruno's gun have a silencer? | 0:02:24 | 0:02:26 | |
Er, it was a revolver. Looked like a Webley. | 0:02:28 | 0:02:32 | |
The chamber is separate from the barrel - | 0:02:33 | 0:02:36 | |
sound leaks out so a silencer is useless. | 0:02:36 | 0:02:39 | |
You were sure it was a Webley? | 0:02:39 | 0:02:40 | |
Sure enough. | 0:02:40 | 0:02:42 | |
Oh, must've muffled the sound with something else. | 0:02:42 | 0:02:44 | |
Looks like pure rage. Overkill. Venting his anger. | 0:02:44 | 0:02:47 | |
Unless you have another interpretation? | 0:02:47 | 0:02:50 | |
No. | 0:02:51 | 0:02:52 | |
Not as much blood as I would have expected. | 0:02:55 | 0:02:57 | |
Right, so he's jemmied the door. | 0:03:00 | 0:03:03 | |
Just a few seconds to get up this corridor, | 0:03:03 | 0:03:05 | |
couple of seconds to get in this room. | 0:03:05 | 0:03:07 | |
She's been drinking, falls asleep on the bed, no chance to get away. | 0:03:07 | 0:03:12 | |
Nikki. Nikki. | 0:03:12 | 0:03:14 | |
Signs of a struggle. | 0:03:18 | 0:03:20 | |
Oh. No obvious defence wounds. | 0:03:20 | 0:03:24 | |
OK, so he smashes the lock, | 0:03:24 | 0:03:26 | |
she comes out to try and stop him... | 0:03:26 | 0:03:29 | |
Er, there's a struggle, the mirror cracks, | 0:03:29 | 0:03:31 | |
chases her back into the bedroom at gunpoint. | 0:03:31 | 0:03:33 | |
Why target Keating? | 0:03:33 | 0:03:35 | |
Her address was the only one posted. | 0:03:35 | 0:03:37 | |
She wasn't the officer who shot Helena Lubas. | 0:03:37 | 0:03:39 | |
OK, so why would anyone post her address and only hers? | 0:03:39 | 0:03:42 | |
Their IDs are confidential. | 0:03:42 | 0:03:44 | |
Guv? | 0:03:44 | 0:03:45 | |
What is it? | 0:03:48 | 0:03:49 | |
You think your IPCC woman was behind the leak? | 0:03:51 | 0:03:53 | |
Looks like I backed the wrong horse. | 0:03:53 | 0:03:55 | |
Geoff! Geoff, calm down! | 0:03:55 | 0:03:58 | |
Steve, calm down! Geoff! | 0:03:58 | 0:04:00 | |
We just want to see her? | 0:04:00 | 0:04:01 | |
Just wait there. Stay there. Stay there! | 0:04:01 | 0:04:03 | |
And then we'll go. | 0:04:03 | 0:04:05 | |
Oh, Jesus. | 0:04:05 | 0:04:07 | |
Come on, this is a crime scene. Come on. | 0:04:10 | 0:04:13 | |
All right, get him out. Come on. Let's go. | 0:04:17 | 0:04:20 | |
SIREN WAILS | 0:04:26 | 0:04:28 | |
What the hell happened? Where is he? | 0:05:01 | 0:05:05 | |
-Someone sent Bruno her address. -What? | 0:05:05 | 0:05:08 | |
-Last time I saw him, he was driving away with a gun. -A gun? | 0:05:08 | 0:05:11 | |
Was it you? | 0:05:11 | 0:05:13 | |
-Is that why you phoned me? -Was it? | 0:05:13 | 0:05:15 | |
You think I'm stupid enough to give Bruno a name. | 0:05:15 | 0:05:18 | |
I'd be throwing away my job. For what? | 0:05:18 | 0:05:20 | |
I can't believe you'd even begin to think that! | 0:05:20 | 0:05:22 | |
I-I-I don't... | 0:05:22 | 0:05:24 | |
Julia, I have backed your family to the hilt, publicly and privately. | 0:05:24 | 0:05:27 | |
I-I know... | 0:05:27 | 0:05:28 | |
And now you tell me Bruno has a gun. | 0:05:28 | 0:05:30 | |
-You think this is all about you? -What? | 0:05:31 | 0:05:33 | |
Is that all you care about? | 0:05:33 | 0:05:35 | |
That's not fair. | 0:05:35 | 0:05:36 | |
I was here for you when no-one gave a shit. | 0:05:36 | 0:05:39 | |
BANGING | 0:05:39 | 0:05:41 | |
-Julia Lubas. -Yes. | 0:05:47 | 0:05:48 | |
-I have a warrant to search your premises... -Do you want me to stay? | 0:05:48 | 0:05:51 | |
Your presence is not required, you need to go. | 0:05:51 | 0:05:53 | |
Can you take us through, please? | 0:05:53 | 0:05:55 | |
Leave now. | 0:05:55 | 0:05:57 | |
OK. | 0:05:57 | 0:05:58 | |
I didn't do it, Jack. | 0:06:03 | 0:06:05 | |
Unbelievable. | 0:06:05 | 0:06:06 | |
If we knew where he was we would tell you! | 0:06:16 | 0:06:18 | |
You've no idea where he is so you won't mind us checking your phones to verify that? | 0:06:18 | 0:06:21 | |
We don't lie to police officers! | 0:06:21 | 0:06:23 | |
Jack. | 0:06:23 | 0:06:24 | |
Collecting evidence. | 0:06:24 | 0:06:25 | |
What? | 0:06:25 | 0:06:27 | |
What kind of evidence? | 0:06:27 | 0:06:29 | |
You seem very at home, Jack? | 0:06:33 | 0:06:36 | |
Well, talk to me. | 0:06:36 | 0:06:38 | |
Before he took off, he gave this thing a good kicking. | 0:06:38 | 0:06:41 | |
If this shoe print matches the ones in Keating's hall, | 0:06:41 | 0:06:44 | |
we can place him at the scene. | 0:06:44 | 0:06:46 | |
Do you still want to help us, Jack? | 0:06:46 | 0:06:47 | |
Do you still want to find the truth about Helena? | 0:06:47 | 0:06:50 | |
Can you step back, please? | 0:06:50 | 0:06:51 | |
Well, good work, thanks, Jack. | 0:07:16 | 0:07:19 | |
Can I have a minute with her? | 0:07:19 | 0:07:21 | |
Yeah. | 0:07:21 | 0:07:22 | |
CAMERA WHIRS | 0:07:45 | 0:07:48 | |
Was it him? Was it Bruno Lubas? | 0:08:16 | 0:08:17 | |
This is a crime scene. Who are you? | 0:08:17 | 0:08:19 | |
I'm Tim Friend, I work with Jo. | 0:08:19 | 0:08:21 | |
How did you get in? You can't be here, do you understand? | 0:08:21 | 0:08:23 | |
-This doesn't make any sense... -Please, I need you to step out of the room. | 0:08:23 | 0:08:27 | |
Yeah. | 0:08:27 | 0:08:29 | |
Hang on. What doesn't make any sense? | 0:08:29 | 0:08:33 | |
The fact that she would let somebody like him get the jump on her. | 0:08:36 | 0:08:39 | |
She's highly trained in self-defence. She's the best. | 0:08:39 | 0:08:42 | |
You don't just switch that off when you go home. | 0:08:42 | 0:08:44 | |
Are you saying that you don't think that Bruno Lubas was responsible for this? | 0:08:44 | 0:08:47 | |
I don't know what I'm saying. | 0:08:47 | 0:08:49 | |
-I won't lie, Julia. -That's reassuring. | 0:09:02 | 0:09:04 | |
There is strong evidence Bruno did this. | 0:09:04 | 0:09:08 | |
No. That's impossible. | 0:09:08 | 0:09:10 | |
I mean, yes, he was angry, but he would never shoot a policewoman. | 0:09:10 | 0:09:14 | |
Maybe you don't know him as well as you think you do? | 0:09:14 | 0:09:17 | |
Why do you say that? | 0:09:17 | 0:09:19 | |
Did you know he owned a firearm? | 0:09:19 | 0:09:21 | |
Of course not. | 0:09:21 | 0:09:22 | |
But you're not surprised, are you, when you think about it? | 0:09:22 | 0:09:26 | |
Bruno and Helena were close. | 0:09:28 | 0:09:31 | |
Since she died he's... | 0:09:31 | 0:09:33 | |
He's changed. | 0:09:33 | 0:09:34 | |
-Yeah. -In what way? | 0:09:34 | 0:09:35 | |
In every way. | 0:09:37 | 0:09:38 | |
Julia, do you think he could be involved in something? | 0:09:38 | 0:09:42 | |
I don't know. I don't know any more. | 0:09:44 | 0:09:46 | |
Jack. | 0:09:46 | 0:09:47 | |
What is it? | 0:09:49 | 0:09:50 | |
We've found Bruno's abandoned van. | 0:09:50 | 0:09:53 | |
Driver door not locked. | 0:09:56 | 0:09:58 | |
Panicked? Abandoned ship? | 0:10:01 | 0:10:03 | |
He's a fair way from Finsbury Park, | 0:10:04 | 0:10:07 | |
so what's his closest port in the storm? | 0:10:07 | 0:10:09 | |
Anything? | 0:10:09 | 0:10:11 | |
No. He's wiped his recent destinations. | 0:10:13 | 0:10:16 | |
But I know a way to access the history. | 0:10:16 | 0:10:19 | |
I can't believe it. | 0:10:26 | 0:10:28 | |
Do you know who did it? | 0:10:28 | 0:10:31 | |
Bruno Lubas. | 0:10:31 | 0:10:32 | |
I swear he looked like he was fit to explode the whole way through | 0:10:32 | 0:10:36 | |
that inquest. | 0:10:36 | 0:10:37 | |
How the hell did he even get hold of her address? | 0:10:37 | 0:10:40 | |
It must have been that bitch Sharpe, eh? | 0:10:40 | 0:10:42 | |
Shoe definitely fits. | 0:10:42 | 0:10:43 | |
She was looking at dismissal at best. | 0:10:43 | 0:10:45 | |
Lobbed a grenade on her way out. | 0:10:45 | 0:10:47 | |
But we'll find out for definite. I promise. | 0:10:47 | 0:10:51 | |
In the meantime, I want you all in a safe house. | 0:10:51 | 0:10:53 | |
-Forget that. -Why? He doesn't know where we live. | 0:10:53 | 0:10:56 | |
He's started something, | 0:10:56 | 0:10:57 | |
who knows whether or not he wants to finish it? | 0:10:57 | 0:11:00 | |
We've got no idea where he is and we're not certain who gave him | 0:11:00 | 0:11:03 | |
Keating's address. | 0:11:03 | 0:11:04 | |
And they could do the same to us at any time. | 0:11:04 | 0:11:07 | |
I called you as soon as I heard about Jo. | 0:11:09 | 0:11:11 | |
Yeah. Sorry. I forgot my phone. Sheila had me running errands, | 0:11:13 | 0:11:16 | |
taking some cooking back to her mother's... | 0:11:16 | 0:11:18 | |
Yeah, that's why they call them mobiles, mate. | 0:11:18 | 0:11:20 | |
You can take them with you, eh? | 0:11:20 | 0:11:22 | |
I told you to get a bowl. | 0:11:36 | 0:11:37 | |
-I don't want a bowl. -KNOCKING | 0:11:37 | 0:11:39 | |
Wait here. | 0:11:41 | 0:11:42 | |
KNOCKING | 0:11:45 | 0:11:47 | |
Let me in! | 0:11:51 | 0:11:52 | |
Get me a phone. | 0:11:55 | 0:11:56 | |
What's going on, Bruno? | 0:11:56 | 0:11:58 | |
Get me a phone! | 0:12:02 | 0:12:04 | |
Lisa! | 0:12:04 | 0:12:05 | |
-I've got a phone. Go and sit down, Bobby. -Shut him up! | 0:12:05 | 0:12:09 | |
Go and sit down. | 0:12:09 | 0:12:10 | |
-You got any alcohol? -No. | 0:12:27 | 0:12:29 | |
-Nothing?! -I'm sorry... | 0:12:29 | 0:12:31 | |
Lisa! Police cars. | 0:12:32 | 0:12:34 | |
KNOCKING | 0:13:02 | 0:13:03 | |
Police! Open up! | 0:13:03 | 0:13:04 | |
TOILET FLUSHES | 0:13:04 | 0:13:06 | |
They're in there, get that open. | 0:13:06 | 0:13:07 | |
Armed police! Armed police, clear! | 0:13:08 | 0:13:11 | |
Armed police, move away from the window. | 0:13:11 | 0:13:13 | |
-I haven't done anything wrong. -Move away from the window. | 0:13:13 | 0:13:15 | |
-Get on the bed. -Move away. -Get on the bed now! -I haven't done anything! | 0:13:15 | 0:13:18 | |
-Put your hands where I can see them. Where's Bruno Lubas? -I don't know | 0:13:18 | 0:13:21 | |
-who you're on about. -Where's Bruno Lubas? -I don't know him! | 0:13:21 | 0:13:24 | |
SIREN WAILS | 0:13:24 | 0:13:27 | |
What do you mean you don't know him? Where is he? | 0:13:31 | 0:13:33 | |
Look, I've told you it's the wrong address. | 0:13:33 | 0:13:35 | |
-You've got the wrong address! -I don't think so. | 0:13:35 | 0:13:37 | |
You've got the wrong person. It's just me and my brother. | 0:13:37 | 0:13:40 | |
Just calm down. | 0:13:40 | 0:13:41 | |
Right, what's that? | 0:13:41 | 0:13:43 | |
OK, so if we dry this out, | 0:13:43 | 0:13:45 | |
are we going to find his contact on that phone? | 0:13:45 | 0:13:47 | |
-I don't know him. -Well, he knows you! | 0:13:47 | 0:13:49 | |
-Where is he? -I have no idea who you're on about. | 0:13:49 | 0:13:51 | |
-Put your hand down. -Where is he? | 0:13:51 | 0:13:53 | |
-Where's my little brother? -Your brother is fine, all right? | 0:13:53 | 0:13:55 | |
He's all right. Now listen, we need to search the whole flat. | 0:13:55 | 0:13:58 | |
You can make this easy for us or difficult. All right? | 0:13:58 | 0:14:01 | |
Please, you're scaring my little brother! | 0:14:01 | 0:14:03 | |
calm down, Lisa! This is serious. | 0:14:03 | 0:14:05 | |
You've got to tell me what you know, OK? | 0:14:05 | 0:14:08 | |
Broken mirror, from Keating's flat, I'd wager. | 0:14:11 | 0:14:13 | |
Is that Bruno's blood in the bathroom? | 0:14:13 | 0:14:15 | |
-I told you I don't know him! -Stabbed, shot, what? | 0:14:15 | 0:14:17 | |
-I don't know him! -Before you answer any of this, Lisa, | 0:14:17 | 0:14:19 | |
you need to know that Bruno is wanted for the murder of a police officer. | 0:14:19 | 0:14:24 | |
Do you understand what I'm telling you? | 0:14:24 | 0:14:26 | |
Just leave me alone! | 0:14:26 | 0:14:27 | |
This is serious, Lisa. You need to tell us everything you know. | 0:14:27 | 0:14:31 | |
I don't know what you're on about. | 0:14:31 | 0:14:32 | |
Are you taking my sister away? | 0:14:32 | 0:14:34 | |
Er, we just need her help with something. | 0:14:34 | 0:14:37 | |
If she helps you, will it make things better? | 0:14:37 | 0:14:40 | |
It could. | 0:14:40 | 0:14:41 | |
What have you got? | 0:14:47 | 0:14:49 | |
Cooke! | 0:15:05 | 0:15:06 | |
Oh, shit. | 0:15:12 | 0:15:14 | |
Where have you been? | 0:15:15 | 0:15:17 | |
They haven't told me anything. | 0:15:21 | 0:15:24 | |
What the hell is going on? | 0:15:24 | 0:15:26 | |
-What are we being protected from? -Sheil... | 0:15:26 | 0:15:28 | |
-It's all over the news. -Listen... | 0:15:28 | 0:15:30 | |
A female officer shot dead in her own home. | 0:15:30 | 0:15:33 | |
Don't tell me it's Jo. | 0:15:33 | 0:15:34 | |
Listen, she was killed by Helena Lubas's brother. | 0:15:34 | 0:15:37 | |
-They know who did it, they'll find him. -Oh, my God. | 0:15:37 | 0:15:39 | |
But why, why would he kill Jo? | 0:15:39 | 0:15:41 | |
It doesn't matter. Look, he doesn't know which one of... | 0:15:41 | 0:15:44 | |
Listen, I'm going to take you to a safe house. | 0:15:44 | 0:15:46 | |
And what about you? | 0:15:46 | 0:15:48 | |
I don't believe this. | 0:15:48 | 0:15:49 | |
Our lives are in danger, | 0:15:49 | 0:15:51 | |
and, and you still can't step away from your work? | 0:15:51 | 0:15:55 | |
-Is Jack around? -No. | 0:16:01 | 0:16:02 | |
Can you tell me if the PM on Constable Keating has been carried out? | 0:16:02 | 0:16:06 | |
Can you tell me why you want to know? | 0:16:06 | 0:16:08 | |
Everyone thinks I leaked their names. I didn't. | 0:16:08 | 0:16:11 | |
But the more I think about it, the more it strikes me | 0:16:11 | 0:16:14 | |
who might've done. | 0:16:14 | 0:16:16 | |
OK, go on. | 0:16:16 | 0:16:17 | |
What if one of Keating's fellow officers killed her | 0:16:17 | 0:16:20 | |
then leaked the names to throw us off the scent? | 0:16:20 | 0:16:22 | |
-In, say, Bruno Lubas's direction? -Why would they kill her? | 0:16:22 | 0:16:24 | |
Because she had evidence, or suspicions, | 0:16:24 | 0:16:26 | |
that one of her own killed Benzal? | 0:16:26 | 0:16:28 | |
No, I'm sorry. | 0:16:28 | 0:16:29 | |
I can't discuss Constable Keating's death with you, | 0:16:29 | 0:16:32 | |
and...neither can Jack. | 0:16:32 | 0:16:34 | |
Open your mouth. | 0:16:47 | 0:16:49 | |
She knows more about Lubas than she's saying. | 0:17:05 | 0:17:08 | |
She's scared. We need leverage. | 0:17:08 | 0:17:10 | |
Three guns isn't leverage? | 0:17:10 | 0:17:12 | |
Not in her world. | 0:17:12 | 0:17:14 | |
HE DIALS PHONE | 0:17:18 | 0:17:20 | |
Hi, I'm sending Lisa's prints now and biking a DNA sample, | 0:17:21 | 0:17:25 | |
along with a bloody shard of glass from her bathroom I need you to profile. | 0:17:25 | 0:17:28 | |
Can we expedite? | 0:17:28 | 0:17:30 | |
Sure, just give me a minute to process these three firearms and I'll get right to it. | 0:17:30 | 0:17:35 | |
Stop complaining. | 0:17:35 | 0:17:36 | |
-She's 17, this girl? -Apparently. | 0:17:39 | 0:17:41 | |
Christ. I had stuff stashed under my bed when I was 17 | 0:17:41 | 0:17:45 | |
-but nothing as exciting as that. -Define "exciting". | 0:17:45 | 0:17:49 | |
Not a chance. | 0:17:49 | 0:17:51 | |
-Interesting. -What? | 0:17:52 | 0:17:54 | |
There's a fine red powder inside the barrel of every one of these guns. | 0:17:54 | 0:17:59 | |
Gun lending? | 0:18:05 | 0:18:07 | |
I know you're raising Bobby on your own | 0:18:09 | 0:18:11 | |
but what about putting him in danger? Hmm? | 0:18:11 | 0:18:13 | |
Did it start with a boyfriend? | 0:18:16 | 0:18:17 | |
Told you that he loved you, | 0:18:17 | 0:18:19 | |
just before he asked you to hold on to one of his guns? | 0:18:19 | 0:18:23 | |
Suppose I was good cover. | 0:18:23 | 0:18:26 | |
And what then, he upgraded you to lending? | 0:18:28 | 0:18:30 | |
Look, none of them belong to me. | 0:18:30 | 0:18:33 | |
I just hold on to 'em for a bit. | 0:18:33 | 0:18:34 | |
Pick 'em up, drop 'em off, that's it. They're not my responsibility. | 0:18:34 | 0:18:38 | |
And was Bruno a regular customer? | 0:18:38 | 0:18:40 | |
I'm not saying any more. | 0:18:40 | 0:18:42 | |
That is not going to cut it with me! Sit down! | 0:18:42 | 0:18:44 | |
Lisa! | 0:18:44 | 0:18:46 | |
Come on! You have to tell me what you know. | 0:18:46 | 0:18:49 | |
We're talking about the murder of a police officer here! | 0:18:49 | 0:18:52 | |
Everyone is out there looking for him. | 0:18:52 | 0:18:55 | |
It's a full-scale manhunt. | 0:18:55 | 0:18:56 | |
PHONE RINGS | 0:18:56 | 0:18:57 | |
You understand? | 0:18:57 | 0:18:59 | |
Clarissa? | 0:18:59 | 0:19:00 | |
Call you back. | 0:19:02 | 0:19:04 | |
KNOCKING | 0:19:05 | 0:19:07 | |
Quick word? | 0:19:07 | 0:19:09 | |
Right. Definitely Bruno's blood in her bathroom | 0:19:14 | 0:19:17 | |
and on the shard of glass. That's not all. | 0:19:17 | 0:19:20 | |
Remember we found matching unidentified female DNA | 0:19:20 | 0:19:23 | |
-on Sakir and Sean Dyers' guns? -It's hers? | 0:19:23 | 0:19:25 | |
If that's not leverage, I'm retiring. | 0:19:25 | 0:19:28 | |
DOOR CLOSES | 0:19:34 | 0:19:37 | |
I probably shouldn't say this. | 0:19:39 | 0:19:41 | |
You know, in some ways - in a lot of ways - | 0:19:41 | 0:19:44 | |
you're an impressive young woman. | 0:19:44 | 0:19:46 | |
Hmm? | 0:19:48 | 0:19:49 | |
We know your mum's inside, your dad left...a long time ago. | 0:19:49 | 0:19:54 | |
Well, kids are expensive, huh? | 0:19:56 | 0:19:59 | |
They need crisps, and trainers, and PlayStation 4s | 0:19:59 | 0:20:03 | |
and where the hell are you supposed to get that kind of money from? | 0:20:03 | 0:20:06 | |
Your options are limited. | 0:20:06 | 0:20:08 | |
So the way you sell it to yourself is | 0:20:10 | 0:20:12 | |
whatever happens to those guns after they leave your flat | 0:20:12 | 0:20:16 | |
has got nothing to do with you. | 0:20:16 | 0:20:18 | |
You just hide them in a box for a little while, yeah? | 0:20:18 | 0:20:22 | |
-Yeah. -Yeah. | 0:20:22 | 0:20:23 | |
Like I said, I don't know what happens after I drop them, | 0:20:23 | 0:20:26 | |
and I don't want to know. | 0:20:26 | 0:20:27 | |
Right, I just want to focus on two guns that DNA suggests | 0:20:30 | 0:20:33 | |
passed through your hands. | 0:20:33 | 0:20:36 | |
This one was used to shoot at a police officer. He survived. | 0:20:36 | 0:20:39 | |
Another man, Karim Benzal, wasn't so lucky. | 0:20:39 | 0:20:41 | |
He was killed with this gun, which also bears your DNA. | 0:20:41 | 0:20:45 | |
That one didn't come back. Maybe, like, six weeks ago. | 0:20:46 | 0:20:50 | |
Can you tell me who that is? | 0:20:50 | 0:20:52 | |
Sean. Sean Dyer. | 0:20:54 | 0:20:56 | |
And you knew him, what, as a gun-runner? | 0:20:58 | 0:21:00 | |
Who'd he work for? | 0:21:02 | 0:21:04 | |
Can I ask you to leave, please? | 0:21:11 | 0:21:13 | |
Help us Lisa, and we'll help you. | 0:21:20 | 0:21:23 | |
We will. | 0:21:23 | 0:21:25 | |
We're looking at possession and harbouring for now, | 0:21:25 | 0:21:28 | |
but we can reduce that if you're prepared to make a deal. | 0:21:28 | 0:21:32 | |
What kind of deal? | 0:21:33 | 0:21:34 | |
One where you don't get banged up and I throw away the key. | 0:21:34 | 0:21:38 | |
What, protection? | 0:21:38 | 0:21:39 | |
Yes, protection, Lisa, yes. OK? | 0:21:39 | 0:21:43 | |
All right? Now I'm going to ask you one more time, | 0:21:43 | 0:21:46 | |
who did Dyer work for? | 0:21:46 | 0:21:47 | |
Bruno. | 0:21:49 | 0:21:51 | |
Tox report's back. Blood alcohol level is... | 0:21:54 | 0:21:58 | |
zero. | 0:21:58 | 0:22:00 | |
Are you sure? | 0:22:00 | 0:22:01 | |
Yes. I'm sure. | 0:22:01 | 0:22:03 | |
You ready, Jack? | 0:22:06 | 0:22:07 | |
-Let's do this. -Right. | 0:22:07 | 0:22:09 | |
Lowest wound - gunshot to the right thigh. | 0:22:11 | 0:22:17 | |
Would've grazed the femur. Otherwise only muscle damage. | 0:22:17 | 0:22:21 | |
-And her head was next to the headboard? -Yep. | 0:22:21 | 0:22:24 | |
Bullet hole number one concurs with approximate location of thigh. | 0:22:24 | 0:22:27 | |
Next, lower back. Anything on the scan, Nikki? | 0:22:27 | 0:22:32 | |
Passed through the peritoneum. No immediate fatal damage. | 0:22:32 | 0:22:36 | |
Got it. Number two. | 0:22:36 | 0:22:38 | |
Next. Upper back. | 0:22:38 | 0:22:41 | |
Nikki? | 0:22:41 | 0:22:42 | |
Missed the heart by... approximately 2cm. | 0:22:44 | 0:22:46 | |
So, non-fatal on impact. Just. | 0:22:46 | 0:22:49 | |
Number three. | 0:22:52 | 0:22:53 | |
Then, shot to the left shoulder... | 0:22:53 | 0:22:55 | |
..and another to the right arm, both of them flesh wounds. | 0:22:59 | 0:23:02 | |
-Jack? -Nothing fatal yet? -No. | 0:23:09 | 0:23:12 | |
Because there's not as much blood loss as I'd expect | 0:23:12 | 0:23:14 | |
-from any of these wounds. -I know. | 0:23:14 | 0:23:16 | |
Looks like the fatal wound was number six. | 0:23:16 | 0:23:19 | |
Top of the head, Nikki. | 0:23:19 | 0:23:20 | |
Down through the brain stem... | 0:23:24 | 0:23:27 | |
coming through the neck and... | 0:23:27 | 0:23:30 | |
Exited out of the lower sternum. | 0:23:30 | 0:23:32 | |
Powder ring is 4cm. | 0:23:35 | 0:23:39 | |
Which means we're looking at a close-range shot. | 0:23:39 | 0:23:41 | |
The only bullet hole left is next to her head, not her lower sternum. | 0:23:41 | 0:23:46 | |
And there's no exsanguination. | 0:23:46 | 0:23:49 | |
There should be spatter on the headboard. | 0:23:49 | 0:23:51 | |
There is just a small underlying pool. No spatter at all. | 0:23:51 | 0:23:57 | |
If the headshot killed her, then she didn't die in this bed. | 0:23:57 | 0:24:01 | |
Which is why she didn't bleed heavily on the bed. | 0:24:01 | 0:24:05 | |
She was already dead. | 0:24:05 | 0:24:06 | |
So where was she killed? | 0:24:06 | 0:24:08 | |
I'd say she was sitting down or standing up, | 0:24:08 | 0:24:10 | |
given the angle of the wound. | 0:24:10 | 0:24:13 | |
Chair. Nothing. | 0:24:13 | 0:24:15 | |
Heading out. | 0:24:23 | 0:24:25 | |
I think I've found the bullet hole. | 0:24:39 | 0:24:41 | |
But no bullet. | 0:24:45 | 0:24:48 | |
I think we're in business. | 0:25:13 | 0:25:15 | |
SPRAYING | 0:25:22 | 0:25:24 | |
Got it. | 0:25:40 | 0:25:42 | |
She was killed by the first bullet fired, | 0:25:42 | 0:25:44 | |
to the top of the head, just inside the front door. | 0:25:44 | 0:25:47 | |
She definitely didn't get a chance to put up a fight. | 0:25:49 | 0:25:52 | |
Back spatter, definitely consistent with the gunshot wound to the head. | 0:25:54 | 0:25:57 | |
-So he forced his way in... -Shot her straight away. | 0:25:59 | 0:26:03 | |
..carried her into the bedroom, staged it like a crazed killer | 0:26:03 | 0:26:08 | |
and cleaned up. | 0:26:08 | 0:26:09 | |
Bruno knows I saw the gun. He made no attempt to hide it, | 0:26:09 | 0:26:12 | |
so why would he need to stage the scene to make it look like it was him? | 0:26:12 | 0:26:15 | |
We've got Bruno armed at the scene, | 0:26:15 | 0:26:17 | |
we've got his shoe print and blood on the mirror - it's indisputable! | 0:26:17 | 0:26:20 | |
Let's not undo the good work we've done here. | 0:26:20 | 0:26:22 | |
What, so, so Bruno was fighting with himself in the hall? | 0:26:22 | 0:26:25 | |
Jo Keating was dead at the front door. | 0:26:25 | 0:26:27 | |
Look, we know that Bruno was here, but maybe he didn't kill Keating? | 0:26:27 | 0:26:30 | |
Maybe he was baited here by someone else? | 0:26:30 | 0:26:33 | |
A third person who knew that all they had to do was leak | 0:26:33 | 0:26:36 | |
-her address and Bruno would come running. -Yeah, I get it, | 0:26:36 | 0:26:38 | |
it's a theory. | 0:26:38 | 0:26:39 | |
You can't prove a negative. | 0:26:39 | 0:26:41 | |
What's to say that he didn't smash the window | 0:26:41 | 0:26:44 | |
when he was setting up the stage in his frenzied state? | 0:26:44 | 0:26:47 | |
What was your response time after my call? | 0:26:48 | 0:26:50 | |
-Nine minutes. -Nine minutes. | 0:26:50 | 0:26:52 | |
Bruno could have made it here from the cafe in five. | 0:26:52 | 0:26:54 | |
Enough time for a quick kill | 0:26:54 | 0:26:56 | |
but definitely not enough time to stage and clean up. | 0:26:56 | 0:26:58 | |
That...has just put Bruno Lubas in the clear. | 0:26:58 | 0:27:02 | |
This person wasn't agitated or emotional. | 0:27:02 | 0:27:05 | |
This was a cold-blooded, efficient killer, | 0:27:05 | 0:27:08 | |
someone confident with guns. | 0:27:08 | 0:27:10 | |
Are you now saying you think it was one of her own team? | 0:27:10 | 0:27:13 | |
Tim Friend turned up here after you'd all gone. He was agitated. | 0:27:13 | 0:27:17 | |
I think he knew something. I think he knew that it wasn't Bruno Lubas. | 0:27:17 | 0:27:21 | |
If the facts keep pointing to the theory... | 0:27:23 | 0:27:25 | |
Ah. | 0:27:25 | 0:27:27 | |
It was them. The day Sakir was taken down, they were all there. | 0:27:27 | 0:27:33 | |
They had the perfect opportunity to plant the sickle. | 0:27:33 | 0:27:35 | |
There were dozens of officers there. | 0:27:35 | 0:27:37 | |
Even if there was a third person, | 0:27:37 | 0:27:39 | |
there's nothing here to say it was the Firearms Division. | 0:27:39 | 0:27:41 | |
Look, the important thing is to find Bruno, | 0:27:41 | 0:27:44 | |
and if he was here and didn't kill Keating - and that's a big "if" - | 0:27:44 | 0:27:47 | |
then it's possible he saw who did. | 0:27:47 | 0:27:50 | |
Everything's going to be fine. | 0:27:55 | 0:27:57 | |
I hope so. | 0:27:57 | 0:27:58 | |
You know where I'm going to be. | 0:28:04 | 0:28:06 | |
Whatever you need to prove, just do it. | 0:28:06 | 0:28:08 | |
KNOCKING | 0:28:43 | 0:28:46 | |
Can I help you? | 0:28:54 | 0:28:56 | |
I've come to see Jo. | 0:28:56 | 0:28:58 | |
Her parents will be here tomorrow. | 0:29:07 | 0:29:10 | |
I didn't like the idea of her lying here alone. | 0:29:10 | 0:29:13 | |
You know I've lost four guys since I've joined the Firearms Division. | 0:29:16 | 0:29:19 | |
Really? | 0:29:19 | 0:29:22 | |
One was killed at a bank raid. | 0:29:22 | 0:29:24 | |
Two invalided out with serious injuries. | 0:29:24 | 0:29:27 | |
And now Jo. | 0:29:27 | 0:29:29 | |
I hear she was decorated. | 0:29:31 | 0:29:33 | |
Who mourns them, eh? | 0:29:35 | 0:29:38 | |
Not the public, not the press, not even members of our own force. | 0:29:38 | 0:29:44 | |
Recognition is important, but it's not what matters most. | 0:29:45 | 0:29:48 | |
That's not why you do what you do, is it? | 0:29:48 | 0:29:53 | |
Dobrze. | 0:30:34 | 0:30:36 | |
What did they say? Do they know I didn't do it? | 0:32:15 | 0:32:18 | |
-No. -Did you tell them that someone was there? | 0:32:18 | 0:32:21 | |
That I saw him? That he did this? | 0:32:21 | 0:32:22 | |
Bruno, Bruno! They'll never believe it. | 0:32:22 | 0:32:24 | |
There's 5,000 euros and a passport. | 0:32:26 | 0:32:29 | |
You have to disappear. | 0:32:29 | 0:32:31 | |
I can't. You need me here. | 0:32:31 | 0:32:33 | |
Look, no. Is there anything else you want to tell me? | 0:32:33 | 0:32:36 | |
OK, the passport's a fake and there's a car outside. | 0:32:38 | 0:32:42 | |
You have to start again, Bruno, start somewhere new. | 0:32:43 | 0:32:47 | |
-Come with me. -How? How? How?! | 0:32:57 | 0:32:59 | |
With Mama and the cafe, it's impossible! | 0:32:59 | 0:33:03 | |
I'm sorry. | 0:33:05 | 0:33:07 | |
TRAIN RUMBLES OVERHEAD | 0:33:11 | 0:33:15 | |
GUNSHOT | 0:34:10 | 0:34:12 | |
TRAIN RUMBLES OVERHEAD | 0:34:13 | 0:34:17 | |
You OK? | 0:34:36 | 0:34:37 | |
That's not the gun he had in his van. | 0:34:48 | 0:34:50 | |
Are you sure? | 0:34:50 | 0:34:51 | |
That's a Beretta, he had a Webley. | 0:34:51 | 0:34:55 | |
We're saying it's suicide, right? | 0:34:55 | 0:34:57 | |
-No blood present on his hand. -What, shot himself at arm's length? | 0:34:59 | 0:35:03 | |
Powder tattooing is around 5cm in diameter. | 0:35:05 | 0:35:10 | |
Which means that he was shot at close range, | 0:35:10 | 0:35:12 | |
but the gun wasn't pressed to his skin. | 0:35:12 | 0:35:14 | |
We'll need to send a swab to Clarissa to establish GSR levels | 0:35:14 | 0:35:18 | |
but in the meantime, I want to do an old school sodium rhodizonate test. | 0:35:18 | 0:35:21 | |
Check for lead residue. | 0:35:21 | 0:35:23 | |
No, he didn't shoot himself at all. | 0:35:38 | 0:35:40 | |
If he'd pulled the trigger, the concentration of lead | 0:35:40 | 0:35:42 | |
that would have covered his hand and sleeve would be turning bright pink right now. | 0:35:42 | 0:35:46 | |
And that's not the gun he had in his van. | 0:35:46 | 0:35:49 | |
He was set up. | 0:35:49 | 0:35:50 | |
Yet another scene staged? | 0:35:50 | 0:35:52 | |
POLICE RADIO CHATTER | 0:35:55 | 0:35:59 | |
Mama. | 0:36:23 | 0:36:25 | |
It's Bruno. | 0:36:25 | 0:36:28 | |
He's dead. | 0:36:28 | 0:36:29 | |
Yes, thank you, I know. | 0:36:29 | 0:36:32 | |
SOBBING | 0:36:51 | 0:36:55 | |
KNOCKING | 0:37:19 | 0:37:20 | |
-All right. -All right. | 0:37:36 | 0:37:38 | |
Are you going to ask me in? | 0:37:39 | 0:37:41 | |
Yeah, sorry. Come in. | 0:37:41 | 0:37:43 | |
Cheers. | 0:37:43 | 0:37:44 | |
Sheila not in? | 0:37:52 | 0:37:54 | |
No, she's away. Why? | 0:37:54 | 0:37:56 | |
Thought you might want to know that they found Bruno Lubas. | 0:37:56 | 0:38:00 | |
That's good. | 0:38:01 | 0:38:02 | |
Yeah, shot himself. | 0:38:02 | 0:38:04 | |
Really? | 0:38:04 | 0:38:05 | |
Evil bastard, eh? | 0:38:05 | 0:38:07 | |
Yeah. | 0:38:07 | 0:38:08 | |
Right, you can get Sheila back, safe. | 0:38:10 | 0:38:14 | |
Yeah, yeah. She'll be, she'll be glad about that. | 0:38:14 | 0:38:17 | |
Do you want a drink? | 0:38:21 | 0:38:23 | |
Yeah, why not? Cheers. | 0:38:23 | 0:38:25 | |
Right. | 0:38:25 | 0:38:27 | |
COMPUTER BEEPS | 0:39:02 | 0:39:04 | |
Results of Bruno Lubas's gunshot residue. | 0:39:04 | 0:39:07 | |
Only trace residue. | 0:39:13 | 0:39:14 | |
On his hands. He definitely didn't pull the trigger. | 0:39:14 | 0:39:18 | |
Now we just have to prove which of the Firearms Division did. | 0:39:18 | 0:39:22 | |
Hi. | 0:39:34 | 0:39:35 | |
Why did you call me? | 0:39:35 | 0:39:37 | |
What do you want? | 0:39:37 | 0:39:38 | |
Well, I just wanted you to let know that I didn't tell them anything. | 0:39:38 | 0:39:41 | |
-Nothing? -Nothing. | 0:39:41 | 0:39:43 | |
How close did they get? | 0:39:43 | 0:39:45 | |
So they just let you go? | 0:39:46 | 0:39:48 | |
Well, they've got me on possession. | 0:39:48 | 0:39:50 | |
I'm out on bail. | 0:39:50 | 0:39:51 | |
-And you didn't mention me? -No. | 0:39:51 | 0:39:53 | |
You're sweating? | 0:39:54 | 0:39:56 | |
-I'm scared. -I know. | 0:39:56 | 0:39:58 | |
-Right, so what's the plan? -Don't worry about that. | 0:39:58 | 0:40:02 | |
Well, who's going to be making the drops without Bruno? | 0:40:02 | 0:40:04 | |
I've got plenty of people who can do it. | 0:40:04 | 0:40:06 | |
I don't have to mention what harm will come to Bobby | 0:40:11 | 0:40:13 | |
if I find the police at my door. | 0:40:13 | 0:40:15 | |
I'm sorry, Julia, about Bruno. | 0:40:17 | 0:40:20 | |
Your brother's body's still warm. | 0:40:29 | 0:40:32 | |
Julia Lubas, I'm arresting you on suspicion of trafficking | 0:40:33 | 0:40:37 | |
and supplying illegal firearms. | 0:40:37 | 0:40:38 | |
You don't have to say anything but anything you do say... | 0:40:38 | 0:40:42 | |
The red powder I found on the guns from Lisa's flat, | 0:40:42 | 0:40:45 | |
it's paprika. | 0:40:45 | 0:40:47 | |
I'm thinking Polish stews in commercial volumes. | 0:40:47 | 0:40:50 | |
Served by the Lubas Cafe? | 0:40:50 | 0:40:52 | |
Bruno Lubas had foodstuffs in the back of his van. | 0:40:52 | 0:40:55 | |
Makes sense - smuggle the guns in the spices. | 0:40:55 | 0:40:58 | |
Two murders, that we know of, were carried out using your guns, | 0:40:59 | 0:41:03 | |
and no doubt that's just the beginning. | 0:41:03 | 0:41:05 | |
So, ready to talk? | 0:41:05 | 0:41:08 | |
We retrieved these guns from under Lisa's bed. | 0:41:25 | 0:41:30 | |
Recognise them? | 0:41:32 | 0:41:33 | |
They were stored in paprika, | 0:41:35 | 0:41:37 | |
high-grade Hungarian rose paprika, which we found in your cafe | 0:41:37 | 0:41:41 | |
and in the back of Bruno's van. | 0:41:41 | 0:41:44 | |
Is that who you really are, Julia? | 0:41:47 | 0:41:49 | |
Tough gun runner, doesn't give a shit about the wreckage? Huh? | 0:41:49 | 0:41:54 | |
If you'd told us where Bruno was, he'd still be alive now. | 0:41:57 | 0:42:03 | |
That's funny. | 0:42:06 | 0:42:07 | |
When you moved here, your mum spent the first year cleaning, yeah? | 0:42:18 | 0:42:22 | |
So you wanted a better life. | 0:42:23 | 0:42:25 | |
I mean, was it worth it, Julia? | 0:42:25 | 0:42:27 | |
Do you think she's still going to want the cafe | 0:42:27 | 0:42:29 | |
when she finds out it's cost her two children? | 0:42:29 | 0:42:32 | |
Bruno's temper got him killed. OK? | 0:42:34 | 0:42:37 | |
And Helena, she should never have been there. | 0:42:37 | 0:42:40 | |
Bruno should have been, she knew nothing. | 0:42:40 | 0:42:43 | |
Dyer was the runner. | 0:42:43 | 0:42:46 | |
Bruno only gave Dyer one gun to give to Lisa. | 0:42:46 | 0:42:50 | |
To Lisa? | 0:42:50 | 0:42:52 | |
She was the other side of the drop. | 0:42:54 | 0:42:56 | |
She watched them shoot Helena unarmed. Then she ran. | 0:42:56 | 0:43:00 | |
No-one saw her. | 0:43:00 | 0:43:02 | |
Interview suspended. | 0:43:02 | 0:43:04 | |
Jack? | 0:43:04 | 0:43:05 | |
You know, I don't expect you to understand. | 0:43:11 | 0:43:13 | |
We came from a good family. | 0:43:13 | 0:43:16 | |
When we got here, we were treated like dirt. | 0:43:16 | 0:43:18 | |
No, Julia. You could have done anything. | 0:43:18 | 0:43:22 | |
Christ. I mean, how do we handle this? | 0:43:30 | 0:43:33 | |
I've never been in this situation before. | 0:43:33 | 0:43:36 | |
I'm going to have to go right to the top. | 0:43:36 | 0:43:38 | |
I mean, bloody Firearms Division?! | 0:43:38 | 0:43:40 | |
Lisa was there. She said that Helena didn't have a gun in her hand | 0:43:40 | 0:43:44 | |
when she was shot. | 0:43:44 | 0:43:45 | |
She's agreed to give a full, signed statement. | 0:43:45 | 0:43:48 | |
Of course, the bloody CPS will doubt her credibility as a witness. | 0:43:48 | 0:43:52 | |
The gun lending doesn't help. | 0:43:52 | 0:43:54 | |
Then hopefully this will. | 0:43:54 | 0:43:56 | |
I've found the source of Jo Keating's address leak. | 0:43:56 | 0:43:59 | |
It came from a fake account set up on a proxy server | 0:44:01 | 0:44:04 | |
on a computer within the Firearms Division base. | 0:44:04 | 0:44:07 | |
I mean, effectively, a public computer - | 0:44:07 | 0:44:10 | |
well, accessed by the 200 or so armed cops that work there. | 0:44:10 | 0:44:13 | |
So, which one of the three was it? | 0:44:13 | 0:44:15 | |
SIREN WAILS | 0:44:17 | 0:44:19 | |
CID investigation. Put everything down. | 0:44:24 | 0:44:26 | |
Stay where you are. | 0:44:26 | 0:44:28 | |
-What have you got? -A warrant to search the premises. | 0:44:35 | 0:44:38 | |
-What? Get out! -Let's see it. Let's see this warrant. | 0:44:38 | 0:44:41 | |
Search the computers, lockers, check their bags, | 0:44:41 | 0:44:44 | |
get the car keys out, search their cars, | 0:44:44 | 0:44:46 | |
everything. Geoff get your coat, I'm taking you down the station. | 0:44:46 | 0:44:50 | |
-How long you been doing this job? -Long enough. | 0:45:16 | 0:45:19 | |
From where I'm standing, I'd say too long. | 0:45:19 | 0:45:21 | |
Where you heading with this? | 0:45:21 | 0:45:22 | |
How well do you know your team? | 0:45:22 | 0:45:24 | |
And you trust them? All of them? | 0:45:42 | 0:45:45 | |
With my life. | 0:45:45 | 0:45:47 | |
So, what would you do if I told you that we had a new witness | 0:45:47 | 0:45:49 | |
who disputes all three of your officers' statements in the Helena Lubas shooting? | 0:45:49 | 0:45:53 | |
What would you say? | 0:45:53 | 0:45:55 | |
I'd say you were lying. | 0:45:55 | 0:45:56 | |
MOBILE PHONE RINGS | 0:45:58 | 0:45:59 | |
Excuse me. | 0:45:59 | 0:46:01 | |
-Jack? -'I've just been searching Tim Friend's car.' | 0:46:02 | 0:46:06 | |
-You can't do this. -Geoff, Geoff. | 0:46:11 | 0:46:13 | |
-It's a lie! This whole thing is a lie! -Leave it. | 0:46:13 | 0:46:16 | |
-I've lost one officer this week... -I know, mate. Come on. | 0:46:16 | 0:46:19 | |
Come on. Come on. | 0:46:19 | 0:46:21 | |
Hi. | 0:46:22 | 0:46:23 | |
First off, I owe you an apology. | 0:46:23 | 0:46:25 | |
Second, you need to get down the station right away. | 0:46:25 | 0:46:28 | |
'Thanks, Jack.' | 0:46:28 | 0:46:30 | |
What's that? | 0:46:42 | 0:46:43 | |
It's the gun that belonged to Bruno Lubas. | 0:46:43 | 0:46:46 | |
The one you took off him after you killed him. | 0:46:46 | 0:46:48 | |
We found it in your car. | 0:46:50 | 0:46:51 | |
I didn't kill him. | 0:46:51 | 0:46:52 | |
That gun can't have been in my car. | 0:46:52 | 0:46:54 | |
It's a mistake. It's impossible. | 0:46:54 | 0:46:56 | |
I mean, how could you? | 0:46:56 | 0:46:58 | |
Hmm, one of your own? | 0:46:59 | 0:47:02 | |
I mean, nobody gets to commit four murders without making a mistake, | 0:47:02 | 0:47:06 | |
not even someone from Firearms Division, eh? | 0:47:06 | 0:47:09 | |
I mean, we've got everything we need. | 0:47:09 | 0:47:11 | |
I told you I didn't do this. | 0:47:11 | 0:47:13 | |
There was no gun in my car. | 0:47:13 | 0:47:15 | |
I didn't shoot Bruno Lubas, or Jo Keating. | 0:47:15 | 0:47:18 | |
You shot Helena Lubas when she was unarmed, | 0:47:18 | 0:47:21 | |
according to our brand-new witness, | 0:47:21 | 0:47:23 | |
and you're not going to get your hands on this one. | 0:47:23 | 0:47:26 | |
Fine. I did. | 0:47:26 | 0:47:29 | |
But Helena Lubas was a mistake. | 0:47:30 | 0:47:33 | |
A split-second decision. | 0:47:33 | 0:47:35 | |
I heard shots and I thought she was firing... | 0:47:35 | 0:47:38 | |
Off the bike! | 0:47:39 | 0:47:41 | |
Hands! Show me your hands! | 0:47:43 | 0:47:45 | |
Drop it. | 0:47:45 | 0:47:46 | |
GUNSHOTS | 0:47:46 | 0:47:49 | |
Tim? Tim. | 0:47:49 | 0:47:51 | |
It's a girl. | 0:47:51 | 0:47:53 | |
Take this! | 0:48:03 | 0:48:04 | |
You nearly had me there, | 0:48:21 | 0:48:23 | |
until you got to the bit where the seriously injured Monk gets up, | 0:48:23 | 0:48:27 | |
drags himself along and plants the gun. | 0:48:27 | 0:48:30 | |
How low can you get? | 0:48:31 | 0:48:33 | |
And then you find out about Karim Benzal and you killed him | 0:48:33 | 0:48:37 | |
-to protect yourself? -No. | 0:48:37 | 0:48:39 | |
-And what about Jo Keating? -No. | 0:48:39 | 0:48:40 | |
She was your friend. She trusted you! | 0:48:40 | 0:48:43 | |
I didn't kill Jo, or Karim Benzal, or Bruno Lubas. | 0:48:43 | 0:48:47 | |
You don't get it, do you? | 0:48:47 | 0:48:49 | |
I, I already told you, it was him. Monk, he had the gun. | 0:48:49 | 0:48:53 | |
I'm not going to sit here and listen to any more of your lies. | 0:48:53 | 0:48:56 | |
Finding Bruno Lubas's Webley in the boot of his car | 0:49:27 | 0:49:31 | |
seemed pretty easy, didn't it, given how thorough he was at the scenes? | 0:49:31 | 0:49:35 | |
Well, he had to make a mistake some time. | 0:49:35 | 0:49:38 | |
Overconfident after his third, or rather fourth, kill. | 0:49:38 | 0:49:41 | |
Where's Jack? | 0:49:41 | 0:49:43 | |
Finishing off a deep search of the base. Why? | 0:49:43 | 0:49:45 | |
We need to call Cooke, now! | 0:49:45 | 0:49:47 | |
So, that's your route, we all clear? | 0:49:47 | 0:49:50 | |
Excellent, follow me. Now, every situation must be approached | 0:49:50 | 0:49:54 | |
with one thing and one thing alone in mind - | 0:49:54 | 0:49:58 | |
that's how to minimise the risk of injury and loss of life. | 0:49:58 | 0:50:01 | |
So to minimise your loss of life, | 0:50:01 | 0:50:04 | |
we'll be starting today with soap bullets. | 0:50:04 | 0:50:08 | |
All out. Training cancelled. | 0:50:08 | 0:50:10 | |
Move it! | 0:50:10 | 0:50:12 | |
Cooke said they've got a new witness. | 0:50:20 | 0:50:23 | |
A girl who was there the day that Helena Lubas was shot. | 0:50:23 | 0:50:26 | |
-There was no girl. -Cooke's saying there is. Why would he lie? | 0:50:26 | 0:50:29 | |
Cos he's grasping at straws. | 0:50:29 | 0:50:30 | |
If you had a problem, you should've come to me. | 0:50:30 | 0:50:32 | |
I never pushed, but you always knew where I was. | 0:50:32 | 0:50:36 | |
So I'm asking you to tell me now. What happened? | 0:50:36 | 0:50:41 | |
What did the girl see? | 0:50:41 | 0:50:43 | |
He's my friend. I can't. | 0:50:43 | 0:50:45 | |
Tell me! | 0:50:45 | 0:50:46 | |
MOBILE PHONE RINGS | 0:50:48 | 0:50:51 | |
-Yup? -Jack? -What's up? | 0:50:51 | 0:50:53 | |
-'We've just got some results back on the Webley.' -Uh-huh? | 0:50:53 | 0:50:56 | |
Metabolites from the sweat we recovered in the grooves | 0:50:56 | 0:50:59 | |
show the usual - alcohol, nicotine, codeine, | 0:50:59 | 0:51:02 | |
but also traces of penicillamine. | 0:51:02 | 0:51:05 | |
Say again. | 0:51:06 | 0:51:07 | |
Traces of penicillamine. | 0:51:07 | 0:51:09 | |
Which locker's Monk's? | 0:51:14 | 0:51:15 | |
-Number 13. -Lee, can you open this? | 0:51:15 | 0:51:18 | |
Where is he? Monk, where is he? | 0:51:26 | 0:51:28 | |
Ward just kicked us out of the training room to speak to him. | 0:51:28 | 0:51:31 | |
Helena Lubas's hands were empty when Tim shot her. | 0:51:33 | 0:51:35 | |
He just... He couldn't come back from that. | 0:51:37 | 0:51:40 | |
Doesn't make sense. | 0:51:41 | 0:51:43 | |
Where did the gun in her hand come from? | 0:51:44 | 0:51:47 | |
Tim was nervous in the field, yeah? He carried a spare gun. | 0:51:47 | 0:51:50 | |
-Ah. -Just in case. | 0:51:50 | 0:51:52 | |
This day he found a use for it. He planted it in her hand. | 0:51:52 | 0:51:57 | |
I think he's been killing ever since, to cover his tracks. | 0:51:57 | 0:52:00 | |
This is not Tim. | 0:52:00 | 0:52:02 | |
We're a team. First and foremost. | 0:52:02 | 0:52:04 | |
Strong as the weakest link. | 0:52:04 | 0:52:06 | |
None of us wanted to admit how weak Tim really was. | 0:52:06 | 0:52:09 | |
Tim was never a weak link. | 0:52:09 | 0:52:11 | |
I knew Jo, she was as straight as a die. | 0:52:11 | 0:52:13 | |
I know Tim, I've worked with him for years. | 0:52:13 | 0:52:16 | |
But I've never known you. | 0:52:16 | 0:52:17 | |
That is not true. | 0:52:17 | 0:52:19 | |
RATTLING | 0:52:19 | 0:52:20 | |
What's that? | 0:52:20 | 0:52:21 | |
You did a pretty good clean-up on Bruno's Webley, | 0:52:21 | 0:52:24 | |
but not quite good enough. | 0:52:24 | 0:52:26 | |
You see, we found sweat in the crevices, | 0:52:26 | 0:52:28 | |
and in the sweat - penicillamine. | 0:52:28 | 0:52:31 | |
It counteracts potential lead poisoning after a gunshot wound. | 0:52:31 | 0:52:35 | |
Now Tim Friend, he's never been shot and I found these in your locker. | 0:52:35 | 0:52:39 | |
You took the Webley from Bruno after you shot him | 0:52:39 | 0:52:42 | |
and planted it in Tim's car as insurance. | 0:52:42 | 0:52:45 | |
Or did you know he suspected you? | 0:52:45 | 0:52:47 | |
Oh, don't be ridiculous. | 0:52:47 | 0:52:49 | |
I get it. You're working your way through every member of Firearms Division | 0:52:49 | 0:52:53 | |
and now it's my turn? Tell him to get out. | 0:52:53 | 0:52:56 | |
You showed up at Keating's, | 0:52:56 | 0:52:58 | |
venting your grief, kicking the door, fighting those tears. | 0:52:58 | 0:53:02 | |
Why, that was... That was some performance, that. | 0:53:02 | 0:53:06 | |
It wasn't a performance. I loved Jo. | 0:53:06 | 0:53:09 | |
Oh, yeah, you loved her so much that you killed her. | 0:53:09 | 0:53:11 | |
She opened the door and turned her back to let you in. | 0:53:11 | 0:53:14 | |
She trusted you | 0:53:14 | 0:53:16 | |
and you shot her from behind in cold blood. | 0:53:16 | 0:53:20 | |
Like a coward. | 0:53:20 | 0:53:21 | |
SHE was the coward! | 0:53:21 | 0:53:24 | |
It's all about loyalty, Jack. | 0:53:24 | 0:53:27 | |
Do you know what it feels like when your jaw shatters? | 0:53:28 | 0:53:31 | |
What it's like to have your mouth wired shut for three months? | 0:53:31 | 0:53:36 | |
To know that... | 0:53:36 | 0:53:38 | |
that you will never feel the same man again? | 0:53:38 | 0:53:41 | |
GUNSHOT | 0:53:41 | 0:53:43 | |
And yet, the only thing everyone else is concerned about | 0:53:44 | 0:53:47 | |
is whether scum like Helena Lubas deserved what they got. | 0:53:47 | 0:53:52 | |
That brush with death brings you so much closer to life | 0:53:54 | 0:53:59 | |
and you want to hold on to that as tight as you can. | 0:53:59 | 0:54:03 | |
Jack Hodgson, forensics? | 0:54:10 | 0:54:12 | |
It's a second chance, right? | 0:54:12 | 0:54:14 | |
I wasn't going to let Karim Benzal take that from me. | 0:54:14 | 0:54:18 | |
So you tortured and murdered an innocent man to protect yourself? | 0:54:18 | 0:54:21 | |
To protect the team. | 0:54:21 | 0:54:23 | |
Huh. | 0:54:23 | 0:54:25 | |
Tim made a mistake - a human error - a split-second decision | 0:54:25 | 0:54:30 | |
and Helena Lubas was the casualty of that. | 0:54:30 | 0:54:32 | |
You've murdered three people in cold blood. | 0:54:32 | 0:54:34 | |
And you're going to spend the rest of your second chance paying for it. | 0:54:34 | 0:54:38 | |
GUNSHOTS | 0:54:38 | 0:54:40 | |
Get in there now! | 0:54:42 | 0:54:44 | |
All clear, stand down. | 0:54:48 | 0:54:49 | |
Jack? Jack! | 0:54:49 | 0:54:51 | |
Jack. | 0:54:53 | 0:54:56 | |
Jack, come on, mate! | 0:54:56 | 0:54:58 | |
Thank God. | 0:54:58 | 0:55:00 | |
What is this? | 0:55:00 | 0:55:02 | |
Training bullets. | 0:55:02 | 0:55:03 | |
Made of soap. | 0:55:03 | 0:55:05 | |
But why? | 0:55:05 | 0:55:06 | |
I couldn't be sure. | 0:55:06 | 0:55:08 | |
Jack. | 0:55:13 | 0:55:15 | |
You OK, mate? You all right? Jack? | 0:55:18 | 0:55:22 | |
Mama? | 0:55:43 | 0:55:46 | |
Mama! | 0:55:48 | 0:55:51 | |
Mama! | 0:55:53 | 0:55:55 | |
Make us a wee cup of tea, would you? Thanks. | 0:56:02 | 0:56:04 | |
They've reopened the Helena Lubas inquest. | 0:56:04 | 0:56:07 | |
-Who says? -Sharpe. | 0:56:07 | 0:56:08 | |
What the? | 0:56:12 | 0:56:14 | |
We would've done balloons and a banner but there was no time. | 0:56:14 | 0:56:19 | |
Oh, yeah, I get it. | 0:56:19 | 0:56:22 | |
Good luck. | 0:56:56 | 0:56:58 | |
GUNSHOTS | 0:57:33 | 0:57:34 | |
-Get in the car! -In the car. Drive! | 0:57:34 | 0:57:37 | |
Chris Chandler and Kate Blair, both pronounced dead by paramedics. | 0:57:41 | 0:57:45 | |
Single entry wound to the temple. | 0:57:45 | 0:57:47 | |
Two entry wounds to the throat and chest. | 0:57:47 | 0:57:49 | |
What we doing here, Sarge? | 0:57:49 | 0:57:50 | |
It's an old case. | 0:57:52 | 0:57:54 | |
Your sister's boyfriend, Chris, did you get on with him? | 0:57:54 | 0:57:59 | |
Was Chris involved in drugs? | 0:57:59 | 0:58:01 | |
Chris was the straightest guy you ever met. | 0:58:01 | 0:58:04 | |
We heard there was an altercation. | 0:58:04 | 0:58:06 | |
My wife of ten years is dead. | 0:58:06 | 0:58:09 | |
She's young. Does she know what she's doing? | 0:58:09 | 0:58:12 | |
-Listen, I'm more than happy to... -She knows what she's doing. | 0:58:12 | 0:58:15 | |
If we're missing a body... | 0:58:15 | 0:58:17 | |
The killer must've taken it from the scene. | 0:58:17 | 0:58:20 | |
We've been looking down the wrong end of the telescope. | 0:58:20 | 0:58:22 | |
# Testator silens | 0:58:22 | 0:58:29 | |
# Costestes e spiritu | 0:58:29 | 0:58:37 | |
# Silentium. # | 0:58:37 | 0:58:44 |