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This programme contains some scenes which some viewers may find upsetting | 0:00:02 | 0:00:06 | |
Chris Chandler and Kate Blair, both pronounced dead by paramedics. | 0:00:06 | 0:00:09 | |
Ten years ago, a girl named Karen Myers was found in the same river | 0:00:09 | 0:00:12 | |
as Dan Blair, just a mile upstream. The body was found the next day. | 0:00:12 | 0:00:15 | |
-Does she know what she's doing? -She knows what she's doing. | 0:00:15 | 0:00:17 | |
One explanation could be there was a fourth person in the car. | 0:00:17 | 0:00:20 | |
My wife of ten years is dead. My son's in a coma. | 0:00:20 | 0:00:23 | |
How dare you suggest I had anything to do with this? | 0:00:23 | 0:00:26 | |
So what brings you here? | 0:00:26 | 0:00:27 | |
Karen Myers. You were the last person that saw her alive. | 0:00:27 | 0:00:31 | |
Dan Blair - he didn't make it. | 0:00:31 | 0:00:34 | |
You are charged under common law that you murdered Kate Blair | 0:00:34 | 0:00:39 | |
and your son, Daniel Blair. | 0:00:39 | 0:00:42 | |
She was the primary target. | 0:00:42 | 0:00:43 | |
We've been looking down the wrong end of the telescope. | 0:00:43 | 0:00:46 | |
# Testator silens | 0:00:49 | 0:00:57 | |
# Costestes e spiritu | 0:00:57 | 0:01:05 | |
# Silentium. # | 0:01:05 | 0:01:14 | |
WOMAN SCREAMS Oh, my God! They're coming! Help me! | 0:01:17 | 0:01:20 | |
SHE SCREAMS They're coming! They're coming! | 0:01:20 | 0:01:23 | |
-It's OK, it's OK. -Let's get her out of here. | 0:01:23 | 0:01:25 | |
-Get her in the car. Dan, in the car! -Get in! | 0:01:25 | 0:01:29 | |
Where are we going? | 0:01:29 | 0:01:30 | |
She must've been in a hell of a state. | 0:01:30 | 0:01:32 | |
They didn't even stop to pack up their stuff. | 0:01:32 | 0:01:35 | |
GUNSHOTS | 0:01:35 | 0:01:38 | |
The killer lifts her out of the car, keeps her wrapped up in the blanket... | 0:01:40 | 0:01:43 | |
You'd only remove a body if you were sure it would incriminate you. | 0:01:43 | 0:01:46 | |
Or if the victim's identity would lead straight to you. | 0:01:46 | 0:01:49 | |
So where exactly was she running from? | 0:01:49 | 0:01:52 | |
SHE SCREAMS | 0:02:09 | 0:02:11 | |
Someone hit the brakes hard. | 0:02:12 | 0:02:14 | |
And recently - the sap's still tacky. | 0:02:18 | 0:02:21 | |
And there's car paint. | 0:02:21 | 0:02:23 | |
So where did the car come from? | 0:02:27 | 0:02:29 | |
Let's see. | 0:02:29 | 0:02:31 | |
From a lane that serves a dozen or so properties, | 0:02:31 | 0:02:34 | |
connects up to the main road. | 0:02:34 | 0:02:36 | |
She could've escaped from any one of them. | 0:02:36 | 0:02:38 | |
She could've escaped from a car, too. | 0:02:38 | 0:02:40 | |
We should get back to Guillam. | 0:02:40 | 0:02:42 | |
Where's our ride? | 0:02:46 | 0:02:48 | |
I'll call him. | 0:02:48 | 0:02:49 | |
No, I won't. No signal. | 0:02:51 | 0:02:53 | |
Me neither. | 0:02:53 | 0:02:54 | |
Bellemeade Farm, let's have a look. | 0:02:59 | 0:03:01 | |
-DJ: -'OK, guys, to play us out this evening, | 0:03:31 | 0:03:33 | |
'here's one of my favourite tracks from 2005. Goodnight.' | 0:03:33 | 0:03:37 | |
Do you think there'll be anyone there I know? | 0:03:37 | 0:03:39 | |
What, you mean, like, famous? | 0:03:39 | 0:03:41 | |
Yeah. | 0:03:41 | 0:03:43 | |
No. They're more like...City people, maybe the odd politician. | 0:03:43 | 0:03:49 | |
-Just remember what I said. -I will... | 0:03:53 | 0:03:56 | |
Where the hell is he? | 0:04:04 | 0:04:06 | |
There's no way we could've missed him. | 0:04:06 | 0:04:08 | |
-No, one road in, one road out. -He's got to be around somewhere. | 0:04:08 | 0:04:11 | |
SHE KNOCKS ON DOOR | 0:04:29 | 0:04:30 | |
Nikki? | 0:05:16 | 0:05:18 | |
Car coming. | 0:05:18 | 0:05:19 | |
Hi. Nikki Alexander. Jack Hodgson. | 0:05:37 | 0:05:40 | |
We're working on the River Malt shooting. | 0:05:40 | 0:05:42 | |
ID? | 0:05:42 | 0:05:43 | |
Oh. Right. Claudia Baxter. | 0:05:47 | 0:05:50 | |
Has there been some new development? | 0:05:50 | 0:05:51 | |
Well, we're looking for a colleague, DS Guillam. He was heading up here to speak to you. | 0:05:51 | 0:05:55 | |
I'm sorry, I left the house first thing. | 0:05:55 | 0:05:57 | |
Is there any chance we could use your phone? We've both got zero reception. | 0:05:57 | 0:06:01 | |
Sure. Come in. | 0:06:01 | 0:06:03 | |
-There you go. -Ah, thanks so much. | 0:06:17 | 0:06:19 | |
Any chance of a glass of water? | 0:06:21 | 0:06:22 | |
-Yes, of course. -Thank you. | 0:06:22 | 0:06:24 | |
KEYPAD BEEPS | 0:06:24 | 0:06:26 | |
Hi, Malcolm. It's Nikki. Where are you? | 0:06:34 | 0:06:37 | |
We're at Bellemeade Farm with Claudia Baxter. | 0:06:37 | 0:06:40 | |
Call on this number when you get the message. | 0:06:40 | 0:06:43 | |
Malcolm? | 0:06:49 | 0:06:51 | |
Is that your son? | 0:06:59 | 0:07:01 | |
-Michael. -What does he do? | 0:07:01 | 0:07:03 | |
Studying zoology at Leeds. | 0:07:03 | 0:07:06 | |
Oh, right. | 0:07:06 | 0:07:08 | |
After the shootings, he said he'd come home, | 0:07:08 | 0:07:10 | |
but I didn't want to disrupt his studies. | 0:07:10 | 0:07:12 | |
Malcolm? | 0:07:12 | 0:07:13 | |
Did you throw a party recently? | 0:07:43 | 0:07:45 | |
I had some friends down. | 0:07:45 | 0:07:48 | |
I wouldn't call it a party, exactly. How did you know? | 0:07:48 | 0:07:51 | |
Trained eye. | 0:07:51 | 0:07:52 | |
You have tyre treads on your lawn outside | 0:07:52 | 0:07:55 | |
and a load of empty booze bottles in your bin. | 0:07:55 | 0:07:58 | |
That IS a trained eye. | 0:07:58 | 0:08:00 | |
DOOR OPENS | 0:08:00 | 0:08:01 | |
Everything all right? Did you manage to make your call? | 0:08:03 | 0:08:06 | |
I did, thank you. Can't reach him. | 0:08:06 | 0:08:08 | |
-Must be a misunderstanding. -Right. | 0:08:08 | 0:08:10 | |
I think we should head back to the river and wait for him there. | 0:08:10 | 0:08:13 | |
-Really? -Would you like a lift back down the hill? | 0:08:13 | 0:08:16 | |
No, it's fine, we'll walk. | 0:08:16 | 0:08:17 | |
-Are you sure? It's no... -Positive. Thanks. | 0:08:17 | 0:08:19 | |
Nice to meet you. | 0:08:26 | 0:08:27 | |
DOOR SHUTS | 0:08:32 | 0:08:33 | |
Why are we walking? | 0:08:33 | 0:08:35 | |
Guillam uses these picks. He's been here. | 0:08:36 | 0:08:39 | |
-So? Probably got no answer and headed off. -Well, then, where is he? | 0:08:39 | 0:08:43 | |
We would've passed him. You said it - one road up, one road down. | 0:08:43 | 0:08:46 | |
I'm sure I saw someone behind that barn. | 0:08:46 | 0:08:49 | |
It's a farm, it could be anyone. | 0:08:49 | 0:08:51 | |
What do you want to do? | 0:08:57 | 0:08:59 | |
Have another look around. Discreetly. | 0:08:59 | 0:09:01 | |
-Paint on that tree was black, right? -Yeah. | 0:09:10 | 0:09:12 | |
No damage this side. | 0:09:16 | 0:09:17 | |
None here either. | 0:09:17 | 0:09:19 | |
DOG BARKS | 0:09:26 | 0:09:28 | |
It's Guillam's car. | 0:09:43 | 0:09:44 | |
Oh, no. | 0:09:52 | 0:09:53 | |
KNOCKING > | 0:09:54 | 0:09:56 | |
GUNSHOT | 0:10:00 | 0:10:01 | |
Go, go, go, go. Go! | 0:10:01 | 0:10:03 | |
DOG BARKS | 0:10:04 | 0:10:07 | |
Come on! | 0:10:12 | 0:10:13 | |
Oh, my God! | 0:10:41 | 0:10:42 | |
SHE CRIES OUT | 0:10:49 | 0:10:50 | |
Nikki! Are you OK? | 0:10:53 | 0:10:55 | |
Shit! | 0:10:58 | 0:10:59 | |
Get up. Come on, get up. | 0:10:59 | 0:11:01 | |
Come on, let's go. | 0:11:01 | 0:11:03 | |
OK? | 0:11:18 | 0:11:19 | |
NIKKI GROANS | 0:11:19 | 0:11:21 | |
(Nothing.) | 0:11:56 | 0:11:57 | |
(Nothing.) | 0:12:03 | 0:12:04 | |
Shit! What have we walked into? | 0:12:05 | 0:12:08 | |
OK... | 0:12:08 | 0:12:09 | |
We're getting out of here. OK? Stay here a sec. | 0:12:09 | 0:12:13 | |
Come on, we've got to go. | 0:12:28 | 0:12:30 | |
UNDERGROWTH RUSTLES | 0:12:41 | 0:12:42 | |
Shh-shh-shh. Shh. | 0:12:42 | 0:12:44 | |
GUNSHOT | 0:12:51 | 0:12:53 | |
GUNSHOT | 0:13:00 | 0:13:02 | |
All right. Get them out. | 0:13:41 | 0:13:43 | |
OK, thanks. | 0:13:49 | 0:13:50 | |
We think that the fourth victim in the car - the blonde female - | 0:13:54 | 0:13:57 | |
was the real target and the family were just unlucky. | 0:13:57 | 0:14:01 | |
She's probably one of the girls in the freezer. | 0:14:01 | 0:14:04 | |
Guillam's murder supports that. | 0:14:04 | 0:14:06 | |
They died because of whatever's going on on this farm, | 0:14:06 | 0:14:09 | |
not because of a messy divorce. | 0:14:09 | 0:14:11 | |
Oh, Christ. | 0:14:11 | 0:14:13 | |
What about Claudia Baxter? Have you picked her up yet? | 0:14:13 | 0:14:16 | |
Not yet. | 0:14:16 | 0:14:17 | |
The definition of "Prime Central London" is expanding by the day, | 0:14:17 | 0:14:23 | |
which means that the smart money is no longer in Kensington | 0:14:23 | 0:14:27 | |
or Notting Hill, but in previously second- and third-tier locations. | 0:14:27 | 0:14:31 | |
Kilburn Square development embodies that paradigm shift. | 0:14:33 | 0:14:37 | |
-RATTLING -Linked by... | 0:14:37 | 0:14:39 | |
Linked by mainline rail, road and Tube, | 0:14:39 | 0:14:43 | |
Kilburn Square is a mixed used development, | 0:14:43 | 0:14:46 | |
-combining prime residential office and retail... -Simon. | 0:14:46 | 0:14:49 | |
Please forgive me. It'll only take a moment. | 0:14:53 | 0:14:56 | |
MURMURING | 0:14:59 | 0:15:00 | |
DOOR SHUTS | 0:15:02 | 0:15:04 | |
There's a dead policeman on my property! | 0:15:08 | 0:15:10 | |
Which you genuinely know nothing about. | 0:15:10 | 0:15:13 | |
The girls... They found the girls, Simon. | 0:15:13 | 0:15:16 | |
And I'm telling you, if it comes to it, I will tell the truth. | 0:15:16 | 0:15:19 | |
The truth? What do you mean? | 0:15:19 | 0:15:21 | |
I mean, I had nothing to do with... with what happened to them. | 0:15:22 | 0:15:27 | |
Come on, Claudia. | 0:15:27 | 0:15:29 | |
We've all got our hands dirty, one way or another. | 0:15:29 | 0:15:33 | |
We're all implicated. | 0:15:33 | 0:15:34 | |
You won't drag me deeper into this. I won't let you. | 0:15:34 | 0:15:36 | |
How much of this is news to you, Simon? I want to know. | 0:15:40 | 0:15:43 | |
DOOR OPENS AND CLOSES | 0:15:43 | 0:15:46 | |
He said he was sending someone to mop up. | 0:15:49 | 0:15:52 | |
-I should've told you. -You bloody should have. -OK... | 0:15:52 | 0:15:54 | |
-I'm sorry. I handled it badly. -Bit of an understatement, isn't it? | 0:15:54 | 0:15:58 | |
OK, but what matters is what we do next. What YOU do next. | 0:15:58 | 0:16:01 | |
We need to think very carefully about damage limitation. | 0:16:01 | 0:16:04 | |
I'll leave that to you. I'm getting on a plane. | 0:16:04 | 0:16:06 | |
That, Claudia, is the very last thing that you should do. | 0:16:06 | 0:16:09 | |
For one, think of Michael. | 0:16:09 | 0:16:10 | |
-I'll take him with me. -Flight speaks of guilt, which in... | 0:16:10 | 0:16:13 | |
And we're not guilty? | 0:16:13 | 0:16:14 | |
-Like you said. We've all got our hands dirty. -Shh. | 0:16:15 | 0:16:18 | |
Some of us more than others. | 0:16:21 | 0:16:22 | |
OK, I'm going to forget that you said that, for your sake. | 0:16:22 | 0:16:26 | |
I remember once, we were cleaning up, back in the early days, | 0:16:31 | 0:16:35 | |
a hotel suite in Marylebone, I think it was. | 0:16:35 | 0:16:38 | |
Vomit, coke, fag burns and the rest, and you turned to me and you said, | 0:16:38 | 0:16:44 | |
"Claudia, you want to enjoy the high life, you'd better embrace some serious low life." | 0:16:44 | 0:16:50 | |
-What's going on? -We're just wrapping up. | 0:16:52 | 0:16:55 | |
Jack, anything? | 0:17:34 | 0:17:36 | |
Well, we've got tools and bleach and all sorts of lovely stuff up here. | 0:17:36 | 0:17:41 | |
I think he was here to clean up. And... | 0:17:41 | 0:17:44 | |
..car rental documents. | 0:17:46 | 0:17:47 | |
What's your name? Surely, you can tell me that. | 0:17:50 | 0:17:54 | |
What happened to those girls? Did you kill them? | 0:17:56 | 0:18:00 | |
Here's how this goes. | 0:18:05 | 0:18:06 | |
You've killed a cop. | 0:18:08 | 0:18:10 | |
Which means your life from here on in will either be miserable | 0:18:10 | 0:18:14 | |
or intolerable. | 0:18:14 | 0:18:16 | |
Little things - your cellmate, | 0:18:16 | 0:18:19 | |
the remand prison we put you in - | 0:18:19 | 0:18:23 | |
they can make all the difference. | 0:18:23 | 0:18:26 | |
KNOCK AT DOOR, DOOR OPENS | 0:18:26 | 0:18:29 | |
Ma'am. | 0:18:29 | 0:18:30 | |
The Jeep was rented by a Dutch national called Johan Kranz | 0:18:40 | 0:18:44 | |
a month ago. Photo ID is a match to the suspect. | 0:18:44 | 0:18:48 | |
The Dutch police say he has no record, | 0:18:48 | 0:18:51 | |
but they were able to tell me he's a freelance close protection expert. | 0:18:51 | 0:18:54 | |
Sounds like cover for a multitude of sins. | 0:18:54 | 0:18:57 | |
Maybe protection from prosecution in this case. | 0:18:57 | 0:19:00 | |
Jack thinks he was down there to clean house. | 0:19:00 | 0:19:03 | |
What about Miles Blair? | 0:19:03 | 0:19:04 | |
I've advised the CPS to drop the murder charges. | 0:19:06 | 0:19:10 | |
Soon as they confirm, we inform him in person. | 0:19:10 | 0:19:13 | |
Want me to break the news? | 0:19:13 | 0:19:15 | |
No, but I appreciate the offer. | 0:19:15 | 0:19:18 | |
It's my mess, so I'll clean it up. | 0:19:18 | 0:19:19 | |
Simon, it's Amy. I've just seen the news. | 0:19:35 | 0:19:38 | |
'Simon, it's Amy. I've just seen the news. | 0:20:06 | 0:20:09 | |
'What is going on at the farm? | 0:20:09 | 0:20:11 | |
'Does this have anything to do with you or with Karen? | 0:20:11 | 0:20:14 | |
'Call me.' | 0:20:14 | 0:20:16 | |
Well, despite a spot of turbulence, that went bloody well, I thought. | 0:20:28 | 0:20:34 | |
Feng's a lock, Harbinson's a lock, | 0:20:34 | 0:20:37 | |
and when he sees the numbers, I think Bowman'll bite, too. | 0:20:37 | 0:20:40 | |
You told me they had someone in custody. | 0:20:40 | 0:20:42 | |
Yeah, they do. The woman's ex-husband. | 0:20:42 | 0:20:46 | |
-So what were they looking for at the farm? -I don't know. | 0:20:46 | 0:20:50 | |
Your man. He'll keep his mouth shut? | 0:20:51 | 0:20:55 | |
Oh, yeah. Him I can count on. | 0:20:55 | 0:20:58 | |
Then I think we can contain this. | 0:21:00 | 0:21:03 | |
So with Feng, Harbison and Bowman, plus your good self, | 0:21:03 | 0:21:06 | |
I'd say we're halfway home. | 0:21:06 | 0:21:09 | |
You? | 0:21:09 | 0:21:10 | |
I think when the door of opportunity opens, | 0:21:11 | 0:21:14 | |
there's always a feeding frenzy and there's always one greedy prick | 0:21:14 | 0:21:18 | |
left out in the cold when it slams shut. | 0:21:18 | 0:21:21 | |
I want it on my gravestone that guy wasn't me. | 0:21:21 | 0:21:26 | |
Well, what are you saying? | 0:21:26 | 0:21:28 | |
That London new-build is at a saturation point | 0:21:28 | 0:21:31 | |
and I want to review the numbers again. | 0:21:31 | 0:21:33 | |
But I'm counting on you coming in! | 0:21:33 | 0:21:35 | |
Well, don't. | 0:21:35 | 0:21:36 | |
Erich! If you walk away, they all walk away. | 0:21:36 | 0:21:40 | |
You told me everything was in hand. | 0:21:40 | 0:21:42 | |
And now a cop's dead and my guy's in prison. | 0:21:42 | 0:21:45 | |
For life. | 0:21:45 | 0:21:47 | |
I ask you to put out a fire, you start a whole new one. | 0:21:47 | 0:21:51 | |
So I gotta ask - what fresh hell is waiting around the corner? | 0:21:51 | 0:21:56 | |
What loose ends could still trip us up? | 0:21:58 | 0:22:01 | |
And know that the last thing I want to hear | 0:22:01 | 0:22:04 | |
is your "everything's fine" bullshit if it's not. | 0:22:04 | 0:22:07 | |
The truth is, I spend most of my time in my flat in London. | 0:22:11 | 0:22:15 | |
And the farm, it has a fair few outbuildings, | 0:22:16 | 0:22:19 | |
and some of them I don't enter from January through to December. | 0:22:19 | 0:22:22 | |
And? | 0:22:22 | 0:22:23 | |
And someone - local, maybe - has exploited my absence. | 0:22:23 | 0:22:30 | |
A local? | 0:22:31 | 0:22:32 | |
Well, I'm just trying to make sense of all of this, that's all. | 0:22:32 | 0:22:36 | |
I understand you had a party on Saturday night. | 0:22:38 | 0:22:41 | |
It was really quite a small affair. | 0:22:41 | 0:22:43 | |
Were they present? | 0:22:45 | 0:22:46 | |
No. | 0:22:48 | 0:22:50 | |
So who was? | 0:22:50 | 0:22:52 | |
I want names, Claudia. | 0:22:52 | 0:22:54 | |
No problem. I can furnish you with a list. | 0:22:55 | 0:22:58 | |
Let's talk about him. | 0:23:05 | 0:23:07 | |
I don't know this man. | 0:23:08 | 0:23:10 | |
Then what was he doing at your property? | 0:23:10 | 0:23:12 | |
Who sent him to clean up, Claudia? | 0:23:12 | 0:23:16 | |
Two girls and a police officer were murdered on your farm. | 0:23:16 | 0:23:19 | |
You WILL answer my questions and you WILL give me a name. | 0:23:19 | 0:23:23 | |
The lady is not for talking. I need some heavyweight inducements. | 0:23:26 | 0:23:30 | |
-We'll do our best. -What about DS Guillam? | 0:23:30 | 0:23:33 | |
We'll do his postmortem separately to avoid cross-contamination. | 0:23:33 | 0:23:38 | |
The victim is an unidentified female, | 0:23:38 | 0:23:40 | |
probably in her early twenties. | 0:23:40 | 0:23:42 | |
She has long blonde hair and appears to have been previously healthy. | 0:23:42 | 0:23:46 | |
Facial bruising, suggesting an attack | 0:23:46 | 0:23:48 | |
that happened very close to death. | 0:23:48 | 0:23:50 | |
There are three gunshot wounds - to the chest, right forearm, | 0:23:50 | 0:23:56 | |
and right shoulder. | 0:23:56 | 0:23:58 | |
DNA will confirm that this victim was present | 0:24:05 | 0:24:08 | |
when Chris Chandler and Kate Blair were shot. | 0:24:08 | 0:24:10 | |
How so? | 0:24:10 | 0:24:12 | |
Her bones are tinged with yellow | 0:24:12 | 0:24:14 | |
consistent with a shard of bone recovered from Dan Blair's arm. | 0:24:14 | 0:24:17 | |
Her arms and legs bear peri-mortem scratches. | 0:24:17 | 0:24:21 | |
Similar markings to the soles of her feet. | 0:24:22 | 0:24:24 | |
Looks like she was running barefoot. | 0:24:24 | 0:24:26 | |
We found a shoe. Fingerprints confirm it belonged to the victim. | 0:24:26 | 0:24:30 | |
The scratches could be the result of branches and thorns. | 0:24:30 | 0:24:33 | |
There is a discernible odour | 0:24:33 | 0:24:35 | |
of sodium hypochlorite emanating from the body. | 0:24:35 | 0:24:38 | |
No doubt employed to destroy any forensics. | 0:24:38 | 0:24:40 | |
Jesus Christ. What did they do to her at that farm? | 0:24:40 | 0:24:43 | |
Cause of death is a bullet wound to the heart. | 0:24:45 | 0:24:48 | |
The bullet breached the aorta... | 0:24:48 | 0:24:50 | |
..and lodged in the spine. | 0:24:56 | 0:24:57 | |
Second victim from the freezer | 0:25:00 | 0:25:02 | |
also appears to have been previously healthy. | 0:25:02 | 0:25:04 | |
Her neck has four coin-shaped bruises on each side. | 0:25:04 | 0:25:09 | |
Cause of death could be manual strangulation. | 0:25:09 | 0:25:12 | |
There are also crescent-shaped fingernail abrasions | 0:25:12 | 0:25:15 | |
where she probably tried to pull her assailant's hands away. | 0:25:15 | 0:25:18 | |
And petechial haemorrhages in the eyes. | 0:25:21 | 0:25:24 | |
There are further coin-shaped bruises on her arms | 0:25:24 | 0:25:26 | |
consistent with being restrained. | 0:25:26 | 0:25:28 | |
Again, striking absence of trace evidence, | 0:25:28 | 0:25:31 | |
and the same strong odour of bleach. | 0:25:31 | 0:25:33 | |
There's also some evidence of vaginal trauma | 0:25:33 | 0:25:35 | |
suggestive of intercourse. | 0:25:35 | 0:25:37 | |
The smell of bleach is particularly strong here | 0:25:37 | 0:25:40 | |
and has stained the flesh white, | 0:25:40 | 0:25:42 | |
suggesting it was applied undiluted. | 0:25:42 | 0:25:44 | |
He wanted to destroy any semen and DNA? | 0:25:44 | 0:25:48 | |
The strangulation of the dark-haired victim could be illuminating. | 0:25:48 | 0:25:52 | |
In what way? | 0:25:52 | 0:25:53 | |
Did DS Guillam tell you about the Karen Myers case in 2005? | 0:25:53 | 0:25:57 | |
He mentioned it, yeah. | 0:25:57 | 0:25:59 | |
Karen was strangled, albeit nonfatally, | 0:25:59 | 0:26:01 | |
before falling to her death not two miles from Bellemeade Farm. | 0:26:01 | 0:26:06 | |
She had traces of Rohypnol in her bloodstream. | 0:26:06 | 0:26:09 | |
Back then, the thinking was, she was running from a trucker's caff. | 0:26:09 | 0:26:13 | |
But you think she was running from Bellemeade Farm? | 0:26:13 | 0:26:16 | |
The brunette's fingerprints are on file - Natalie Day, 22, | 0:26:16 | 0:26:20 | |
one conviction for cocaine possession. | 0:26:20 | 0:26:22 | |
And what about the blonde? | 0:26:22 | 0:26:25 | |
Ran her prints and DNA - no match. | 0:26:25 | 0:26:27 | |
But there's a strong commonality with Natalie Day's DNA. | 0:26:27 | 0:26:31 | |
So strong, it means one thing - they're sisters. | 0:26:31 | 0:26:35 | |
SOBBING: Natalie, please. Natalie... | 0:26:55 | 0:26:59 | |
SOBBING ECHOES | 0:27:03 | 0:27:06 | |
The master bedroom's been stripped and wiped. Looks like a thorough job. | 0:27:24 | 0:27:27 | |
Same story with the bodies. | 0:27:27 | 0:27:29 | |
'They were sisters, Jack. Bella and Natalie Day.' | 0:27:29 | 0:27:32 | |
Have their parents been told? | 0:27:32 | 0:27:34 | |
-They're both dead. It's a mercy, in a way. -'Yeah.' | 0:27:34 | 0:27:39 | |
Well, no-one's that good. I'm going to get to work. | 0:27:39 | 0:27:43 | |
Tox is back. There was Rohypnol in both sisters' bloodstreams. | 0:27:47 | 0:27:51 | |
Just like Karen Myers. | 0:27:51 | 0:27:52 | |
Drugs, sexual assault and murder at the parties on the farm. | 0:27:52 | 0:27:55 | |
Right. | 0:27:56 | 0:27:57 | |
Let's work back from the moment Bella arrives at the picnic - | 0:27:57 | 0:28:00 | |
what was that, midday? | 0:28:00 | 0:28:02 | |
With the Rohypnol in her system, it's possible she didn't surface till late. | 0:28:02 | 0:28:05 | |
And she was still in last night's clothes - the silk, heels and hairslide tell us that. | 0:28:05 | 0:28:09 | |
She either finds her sister's body or no-one will tell her where she is. | 0:28:09 | 0:28:12 | |
Yeah. She freaks out, gets into a fight - hence the black eye. | 0:28:12 | 0:28:15 | |
-And she runs. -She must've got quite a head start, given how far she made it. | 0:28:15 | 0:28:19 | |
And the car paint shows her pursuers didn't go after her on foot. | 0:28:19 | 0:28:23 | |
Claudia fed you the story about the driver just to throw you off the scent. | 0:28:23 | 0:28:26 | |
The fact that she picked Miles out was just his bad luck. | 0:28:26 | 0:28:30 | |
Got to make that bitch talk. | 0:28:33 | 0:28:35 | |
I just took receipt of her phone and laptop - | 0:28:35 | 0:28:39 | |
-they may be eloquent on her behalf. -Good. | 0:28:39 | 0:28:41 | |
-Do you have Karen Myers' PM report? -Yeah. | 0:28:41 | 0:28:45 | |
Amy, you didn't call me. | 0:29:40 | 0:29:43 | |
We found the flowers that you left for Karen. | 0:29:43 | 0:29:46 | |
What were you sorry about? | 0:29:46 | 0:29:49 | |
It doesn't matter now. | 0:29:49 | 0:29:51 | |
If you know anything about how Karen died, it couldn't matter more. | 0:29:51 | 0:29:55 | |
-No-one tried harder to solve Karen's murder than DS Guillam, and now he's dead. -I know. | 0:29:55 | 0:30:00 | |
I saw the news. | 0:30:00 | 0:30:02 | |
Then help me finish what he started. | 0:30:03 | 0:30:05 | |
You think it's that easy? | 0:30:07 | 0:30:08 | |
The two girls in your freezer were sisters. | 0:30:11 | 0:30:14 | |
But you know that already. | 0:30:14 | 0:30:16 | |
Natalie and Bella Day. | 0:30:16 | 0:30:19 | |
We've talked to their mates. | 0:30:19 | 0:30:21 | |
They seemed to have a charmed life. | 0:30:21 | 0:30:23 | |
Clothes, jewellery, Christmas in the Caribbean - | 0:30:23 | 0:30:27 | |
despite both being on the dole. | 0:30:27 | 0:30:29 | |
Can you shed any light on that mystery, Claudia? | 0:30:30 | 0:30:34 | |
I've told you before, I don't know these girls. | 0:30:34 | 0:30:36 | |
In a way, Karen was their sister, too. | 0:30:38 | 0:30:42 | |
She was found dead, very close to your farm back in 2005. | 0:30:44 | 0:30:48 | |
There was Rohypnol in her blood and bruises on her throat. | 0:30:50 | 0:30:55 | |
Just like Natalie Day. | 0:30:59 | 0:31:00 | |
Drugged. Sexually assaulted. Choked. | 0:31:02 | 0:31:04 | |
Your parties led to their deaths. That means you're complicit. | 0:31:05 | 0:31:09 | |
I think you have a guest, Claudia. | 0:31:11 | 0:31:13 | |
A regular, long-standing guest | 0:31:13 | 0:31:15 | |
whose tastes are somewhat out of the ordinary. | 0:31:15 | 0:31:19 | |
Sisters. Rough sex. Choking. | 0:31:19 | 0:31:23 | |
This man had a lucky escape back in '05. | 0:31:25 | 0:31:29 | |
Karen fell to her death behind a transport caff | 0:31:29 | 0:31:33 | |
so police thought - lorry driver. | 0:31:33 | 0:31:36 | |
Maybe that near-miss was a wake-up call. | 0:31:36 | 0:31:39 | |
Maybe after that, | 0:31:39 | 0:31:41 | |
you always had someone like Johan Kranz around to clean up any mess. | 0:31:41 | 0:31:45 | |
I don't know Johan Kranz. | 0:31:47 | 0:31:48 | |
Who is he, Claudia? | 0:31:50 | 0:31:51 | |
Who's the man who likes choking girls? | 0:31:53 | 0:31:56 | |
I don't know. | 0:31:58 | 0:31:59 | |
Amy, how lovely to see you. | 0:32:16 | 0:32:18 | |
-Claudia, this is Karen. -Karen. | 0:32:18 | 0:32:20 | |
-Hi. -Welcome. Enjoy yourself. | 0:32:20 | 0:32:23 | |
Feel free to mingle. | 0:32:23 | 0:32:26 | |
Karen, can I introduce you to someone? | 0:32:26 | 0:32:28 | |
-This is Tony. Tony, this is Karen. -Hi. -Would you like a drink? -Yes, thanks. | 0:32:28 | 0:32:32 | |
'I didn't say goodbye to Karen at the Tube.' | 0:32:39 | 0:32:41 | |
If I had, she'd still be alive. | 0:32:43 | 0:32:44 | |
It started out with tips for making cocktails, foot massages, | 0:32:48 | 0:32:53 | |
some above-board escort work. | 0:32:53 | 0:32:55 | |
I had two lives. The normal student life and the parties. | 0:32:58 | 0:33:02 | |
Karen was always badgering me to invite her to one | 0:33:04 | 0:33:07 | |
so eventually I did, just to shut her up about it. | 0:33:07 | 0:33:09 | |
At Bellemeade Farm? | 0:33:09 | 0:33:10 | |
A man took a shine to Karen. He was Canadian. | 0:33:13 | 0:33:19 | |
And I remember because somebody assumed that he was American | 0:33:19 | 0:33:23 | |
and he made this big deal of correcting them. | 0:33:23 | 0:33:25 | |
I don't remember much after that. | 0:33:27 | 0:33:29 | |
I mean, I was pretty out of it myself. | 0:33:29 | 0:33:31 | |
But the next morning, I couldn't find Karen. | 0:33:33 | 0:33:35 | |
Amy! I thought we were meeting in the lobby. | 0:33:37 | 0:33:40 | |
Oh, well, I'm sure it's my mistake, but we should get a move on. | 0:33:40 | 0:33:43 | |
Come on. Don't want to keep them waiting. Three-line whip. | 0:33:43 | 0:33:47 | |
Amy, what's going on? | 0:33:47 | 0:33:48 | |
Simon Forsyth. I'm an old friend of Amy's. | 0:33:48 | 0:33:51 | |
-Amy, what are you doing? Who is this guy? -I'm sorry. | 0:33:51 | 0:33:54 | |
Amy, wait! | 0:33:59 | 0:34:00 | |
ENGINE STARTS | 0:34:11 | 0:34:13 | |
It's a good thing I came along when I did. That's all I can say. | 0:34:26 | 0:34:30 | |
You hadn't thought it through, had you? | 0:34:30 | 0:34:32 | |
If you conjure up a whole new account of what happened to Karen, | 0:34:35 | 0:34:38 | |
who's to say they'll believe you? | 0:34:38 | 0:34:40 | |
And if they do, that's you bang to rights for perverting the course of justice. | 0:34:40 | 0:34:44 | |
I know. | 0:34:44 | 0:34:45 | |
Then again, what's that? Six months? | 0:34:52 | 0:34:55 | |
Suspended sentence? | 0:34:56 | 0:34:58 | |
It might trigger other things, Amy. | 0:35:00 | 0:35:03 | |
Amy! | 0:35:06 | 0:35:07 | |
SHE PANTS | 0:35:27 | 0:35:29 | |
I've been through Claudia Baxter's phone and laptop. | 0:35:53 | 0:35:56 | |
The woman's seriously cautious. No texts, no e-mails, just calls. | 0:35:56 | 0:36:02 | |
OK. | 0:36:02 | 0:36:03 | |
One number comes up regularly, building in frequency | 0:36:03 | 0:36:06 | |
in the run-up to certain weekends, then dropping off for a few weeks. | 0:36:06 | 0:36:10 | |
-Last weekend, for instance. -Parties take planning. | 0:36:10 | 0:36:14 | |
Making one Simon Forsyth chief planner. | 0:36:14 | 0:36:17 | |
MOBILE PHONE RINGS | 0:36:17 | 0:36:20 | |
Nikki... | 0:36:23 | 0:36:24 | |
'We need to run a check on a Simon Forsyth.' | 0:36:24 | 0:36:27 | |
..He's going to freak when he sees it. | 0:36:28 | 0:36:31 | |
-Hey, Amy. -Hi. -A courier left something for you. | 0:36:31 | 0:36:34 | |
-Great. Thanks. -OK? -Yeah. | 0:36:34 | 0:36:36 | |
I'm surprised he hasn't said anything, though. | 0:36:40 | 0:36:42 | |
I'm sure he'll have something to say about it. | 0:36:42 | 0:36:44 | |
SHE SIGHS | 0:37:07 | 0:37:08 | |
MONITOR BEEPS | 0:37:11 | 0:37:13 | |
MUTTERING | 0:37:18 | 0:37:20 | |
OK, clip. | 0:37:20 | 0:37:22 | |
Clip! | 0:37:22 | 0:37:23 | |
Are you all right, Amy? | 0:37:27 | 0:37:30 | |
Smaller clip, please. | 0:37:30 | 0:37:31 | |
-Amy? -Yeah, I'm fine. | 0:37:33 | 0:37:35 | |
The bullet that killed DS Guillam is a match to the Beretta | 0:37:38 | 0:37:42 | |
that we recovered from Johan Kranz. | 0:37:42 | 0:37:44 | |
He's going down for Guillam's murder, at least. | 0:37:44 | 0:37:47 | |
-Kate and Dan Blair, Chris Chandler and Bella Day, not so much. -No. | 0:37:47 | 0:37:51 | |
They were shot with an H&K, | 0:37:51 | 0:37:53 | |
we haven't got it and Kranz isn't talking. | 0:37:53 | 0:37:55 | |
You want to pin those four on him, cherchez le gun. | 0:37:55 | 0:37:58 | |
Searched his hotel room. But beyond that, we don't know where to start. | 0:37:58 | 0:38:01 | |
At the very least, you need to put him in the area at the time. | 0:38:01 | 0:38:04 | |
CCTV and plate recognition could help there. | 0:38:04 | 0:38:06 | |
Give me a couple of hours. | 0:38:06 | 0:38:08 | |
In other news, the black paint recovered from the tree | 0:38:08 | 0:38:11 | |
at the crime scene is car paint. | 0:38:11 | 0:38:14 | |
Boasts a chlorinated anti-rusting agent only marketed in Germany. | 0:38:14 | 0:38:19 | |
Which in the UK market boils down to VW, BMW, Mercedes and Audi. | 0:38:19 | 0:38:24 | |
-I should be able to narrow it down further. -Good. | 0:38:24 | 0:38:27 | |
Mr Forsythe, thanks for coming in. I'll cut to the chase. | 0:38:31 | 0:38:36 | |
Do you know Claudia Baxter? | 0:38:36 | 0:38:37 | |
-Yes, I do. -You can hardly deny that, can you, | 0:38:37 | 0:38:41 | |
given the volume of calls between you? | 0:38:41 | 0:38:44 | |
-I'm not denying it. -Then there's the singular pattern to the calls. | 0:38:44 | 0:38:48 | |
A flurry at sporadic intervals, then almost no contact for weeks. | 0:38:48 | 0:38:52 | |
Is there a question in there somewhere? | 0:38:54 | 0:38:56 | |
What's the nature of your relationship? | 0:38:57 | 0:39:00 | |
-Well, Claudia used to work for me. -19 years ago. | 0:39:00 | 0:39:03 | |
Is that really how long it is? Oh, that's shocking. | 0:39:03 | 0:39:07 | |
After which, you offered her a very generous severance package. | 0:39:07 | 0:39:12 | |
-It's the least I could do. -Why do you say that? | 0:39:12 | 0:39:15 | |
Well, I'm the father of Claudia's son, Michael. | 0:39:17 | 0:39:20 | |
And, yes, my wife knows. It's no great secret. | 0:39:22 | 0:39:26 | |
Claudia and I have always remained close. | 0:39:26 | 0:39:28 | |
Does that answer your question? | 0:39:28 | 0:39:31 | |
It doesn't explain the feast or famine nature of your phone calls. | 0:39:31 | 0:39:35 | |
Sorry. What exactly am I being accused of here? | 0:39:35 | 0:39:38 | |
I don't know about accused. I'll tell you what I suspect. | 0:39:38 | 0:39:42 | |
You and Claudia Baxter organised parties | 0:39:44 | 0:39:47 | |
which have led to the deaths of at least three females | 0:39:47 | 0:39:50 | |
as well as the River Malt victims. | 0:39:50 | 0:39:52 | |
I have absolutely no idea what you're talking about. | 0:39:53 | 0:39:56 | |
I'm not saying you killed them, but you know who did - | 0:39:56 | 0:40:00 | |
which particular guest. | 0:40:00 | 0:40:01 | |
Where were you on Saturday night? | 0:40:03 | 0:40:05 | |
I was at home with my wife and daughter, and they'll back me up. | 0:40:05 | 0:40:10 | |
With a lawyer present, if need be. | 0:40:10 | 0:40:12 | |
MOBILE PHONE BEEPS | 0:40:16 | 0:40:18 | |
SHE BREATHES HEAVILY | 0:40:23 | 0:40:25 | |
MOBILE PHONE RINGS | 0:40:35 | 0:40:37 | |
SHE EXHALES | 0:40:45 | 0:40:48 | |
RINGING STOPS | 0:40:48 | 0:40:49 | |
-Do you mind if I sit down? -No, of course not. | 0:41:15 | 0:41:17 | |
LAUGHTER AND INAUDIBLE CONVERSATION | 0:41:28 | 0:41:31 | |
Well, your friend's making quite an impression. | 0:41:35 | 0:41:39 | |
Who is he? | 0:41:39 | 0:41:40 | |
HE TUTS You know the drill, Amy. | 0:41:40 | 0:41:42 | |
If a guest wants you to know their name... | 0:41:42 | 0:41:44 | |
-Oh, you're such a stickler, Simon. -Well, rules are rules. | 0:41:44 | 0:41:47 | |
You'll be the death of me. | 0:41:50 | 0:41:51 | |
Karen? | 0:41:54 | 0:41:56 | |
We're just going out for some air. | 0:41:56 | 0:41:58 | |
Some country air. | 0:41:58 | 0:42:01 | |
Now, how much do you need? | 0:42:01 | 0:42:04 | |
KAREN GIGGLES | 0:42:04 | 0:42:06 | |
MOBILE PHONE RINGS | 0:42:12 | 0:42:15 | |
Amy, are you OK? | 0:42:36 | 0:42:39 | |
Look, I know you want to help me, but you can't. | 0:42:39 | 0:42:42 | |
Listen to me. | 0:42:42 | 0:42:45 | |
Between what we know and what you know, we might have a case. | 0:42:45 | 0:42:48 | |
'We might even be able to get justice for Karen. | 0:42:48 | 0:42:51 | |
'That's what you want, isn't it?' | 0:42:51 | 0:42:53 | |
Yeah, of course it is! | 0:42:53 | 0:42:55 | |
Well, then, what are we waiting for? | 0:42:55 | 0:42:57 | |
If I help you, if I do this, my life is over! | 0:42:59 | 0:43:03 | |
No, you're going to get your life back. | 0:43:03 | 0:43:05 | |
Where are you? | 0:43:08 | 0:43:09 | |
'Amy?' | 0:43:12 | 0:43:13 | |
His name's Erich Schrader. | 0:43:16 | 0:43:19 | |
I treated him in his home three days ago. | 0:43:19 | 0:43:21 | |
Treated him? | 0:43:21 | 0:43:23 | |
Looked like he'd been attacked with a glass bottle. | 0:43:23 | 0:43:26 | |
Bella Day. | 0:43:26 | 0:43:27 | |
SOBBING Please! | 0:43:27 | 0:43:29 | |
HE GRUNTS | 0:43:35 | 0:43:36 | |
-I dug shards of glass out of his flesh. -Brown glass? | 0:43:36 | 0:43:39 | |
HE SIGHS | 0:44:12 | 0:44:14 | |
Care to put your shoulder to the wheel? | 0:44:14 | 0:44:16 | |
Dinner somewhere decent. | 0:44:16 | 0:44:18 | |
-Michelin stars. -You're on, kid. | 0:44:18 | 0:44:20 | |
What we looking for? | 0:44:20 | 0:44:22 | |
A carrier bag containing shards of bloody glass. | 0:44:22 | 0:44:25 | |
-OK. -I need one piece of evidence that links Schrader and Bella Day. | 0:44:25 | 0:44:28 | |
His blood, her fingerprints, being the dream ticket. | 0:44:28 | 0:44:32 | |
That was in London Business and Finance three weeks ago. | 0:44:32 | 0:44:36 | |
My mother used to collect my cuttings, God rest her soul. | 0:44:37 | 0:44:40 | |
Gotta throw that tie out, don't you think? | 0:44:43 | 0:44:46 | |
Johan Kranz killed a serving police officer in cold blood. | 0:44:49 | 0:44:54 | |
I heard about Johan. What's it got to do with me? | 0:44:54 | 0:44:57 | |
His bank records show you've used his services half a dozen times. | 0:44:57 | 0:45:01 | |
-I employ several close protection people. -Why? | 0:45:01 | 0:45:05 | |
I've made a few enemies over the years. | 0:45:05 | 0:45:08 | |
I got in early in Russia when the Iron Curtain fell. | 0:45:08 | 0:45:11 | |
Not everyone applauded my prescience. | 0:45:11 | 0:45:14 | |
Let's get back to Johan Kranz. | 0:45:14 | 0:45:15 | |
He worked for a lot of people, not just me, | 0:45:17 | 0:45:19 | |
and I certainly didn't order him to kill a policeman. | 0:45:19 | 0:45:21 | |
Are we done? I've got a plane to catch. | 0:45:21 | 0:45:25 | |
Have you suffered an injury lately, Mr Schrader? | 0:45:47 | 0:45:50 | |
Tripped over in my house. | 0:45:50 | 0:45:53 | |
-Landed on a beer bottle for my sins. -KNOCK AT DOOR | 0:45:53 | 0:45:56 | |
Dr Alexander is going to examine and document your wounds. | 0:45:57 | 0:46:00 | |
SCHRADER CHUCKLES | 0:46:03 | 0:46:05 | |
That's a serious wound. | 0:46:16 | 0:46:18 | |
-Were you treated at a hospital? -I was treated privately. | 0:46:20 | 0:46:24 | |
You mean at a private hospital? | 0:46:24 | 0:46:26 | |
Private hospitals aren't that private. | 0:46:26 | 0:46:28 | |
Just ask your royal family. | 0:46:28 | 0:46:30 | |
You're in the financial papers, but you're not in the tabloids. | 0:46:33 | 0:46:36 | |
I'm a very private person. | 0:46:36 | 0:46:39 | |
The depth and shape of the wound | 0:46:42 | 0:46:44 | |
don't square with you falling on a beer bottle. | 0:46:44 | 0:46:46 | |
I'm sorry, Mr Schrader. | 0:46:46 | 0:46:48 | |
This suggests that the bottle was already broken | 0:46:48 | 0:46:50 | |
when it connected with the skin. | 0:46:50 | 0:46:52 | |
Looks more like a stab wound to me. | 0:46:52 | 0:46:55 | |
A broken bottle used as a weapon, perhaps. | 0:46:56 | 0:46:58 | |
Can I do up my shirt now? | 0:47:02 | 0:47:03 | |
Johan Kranz is facing up to six counts of murder. | 0:47:06 | 0:47:10 | |
That's life without parole. | 0:47:10 | 0:47:12 | |
Do you honestly think he's going to keep his mouth shut forever? | 0:47:14 | 0:47:18 | |
My guess is, he'll tell us | 0:47:19 | 0:47:21 | |
he was clearing up for you at Bellemeade Farm. | 0:47:21 | 0:47:23 | |
HE SIGHS | 0:47:31 | 0:47:33 | |
No fingerprints, and if there was DNA from Bella, | 0:47:33 | 0:47:36 | |
Schrader's blood washed it off. | 0:47:36 | 0:47:38 | |
This glass is not going to link him to her death. | 0:47:41 | 0:47:44 | |
-We had to release him, Amy. -What? | 0:47:50 | 0:47:52 | |
Bottom line - we can't tie him to the farmhouse | 0:47:52 | 0:47:55 | |
or to any of the victims. | 0:47:55 | 0:47:57 | |
Well, what about Karen? | 0:47:57 | 0:47:59 | |
There was male DNA from the rape. They said that at the inquest. | 0:47:59 | 0:48:03 | |
The sample was seriously degraded by the river. | 0:48:03 | 0:48:05 | |
It's like a phone number with missing digits. | 0:48:05 | 0:48:07 | |
It won't stand up in court. I'm sorry. | 0:48:07 | 0:48:10 | |
I'm facing charges for perverting the course of justice. | 0:48:12 | 0:48:15 | |
They've got pictures of me that will be all over the internet. | 0:48:15 | 0:48:18 | |
"Sorry" isn't going to cut it, Nikki. | 0:48:18 | 0:48:21 | |
Why did I listen to you? | 0:48:21 | 0:48:23 | |
That bastard. | 0:48:25 | 0:48:26 | |
Nikki... | 0:48:26 | 0:48:27 | |
I'll be back in a minute. | 0:48:32 | 0:48:33 | |
Johan Kranz could not have been responsible | 0:49:03 | 0:49:05 | |
for the River Malt murders, | 0:49:05 | 0:49:07 | |
cos he was in central London at the time. | 0:49:07 | 0:49:09 | |
And so say at least a dozen cameras. | 0:49:09 | 0:49:11 | |
You've got to be kidding. | 0:49:13 | 0:49:15 | |
Looks like he was strictly there for the clean-up. | 0:49:15 | 0:49:17 | |
-Different gun, different killer. -Yeah. | 0:49:17 | 0:49:19 | |
Could Schrader have gone after Bella himself? | 0:49:19 | 0:49:22 | |
He's a suit. You said the gunman was a crack shot. | 0:49:22 | 0:49:25 | |
-Maybe he was a weekend hunter back home. -We can look into that. | 0:49:25 | 0:49:28 | |
-Where is she? -Er, who? | 0:49:33 | 0:49:35 | |
Amy. | 0:49:35 | 0:49:36 | |
She didn't say goodbye. | 0:49:38 | 0:49:39 | |
Oh, my God. | 0:49:41 | 0:49:43 | |
She saw them. | 0:49:47 | 0:49:49 | |
-Schrader... -Does she know where he lives? | 0:49:49 | 0:49:52 | |
HE PLAYS PIANO | 0:49:54 | 0:49:57 | |
-Mr Schrader... -MUSIC STOPS | 0:50:10 | 0:50:12 | |
-I'll be off now, Mr Schrader. -OK. Thanks, Maria. | 0:50:14 | 0:50:18 | |
Can I help you? | 0:50:20 | 0:50:22 | |
It's Amy. Remember? I... I treated you. | 0:50:23 | 0:50:26 | |
Oh, yeah. Sure. | 0:50:26 | 0:50:28 | |
I just thought I'd check on your stitches. | 0:50:28 | 0:50:30 | |
Doctor's orders? | 0:50:36 | 0:50:37 | |
'Fraid so! | 0:50:37 | 0:50:39 | |
Please sit down. I need to ask you some questions first. | 0:50:41 | 0:50:44 | |
"Where does it hurt?" | 0:50:46 | 0:50:48 | |
Do you remember a girl... | 0:50:55 | 0:50:58 | |
called Karen? | 0:50:58 | 0:51:00 | |
Should I? | 0:51:00 | 0:51:01 | |
Yeah. | 0:51:03 | 0:51:04 | |
-She was my friend. -What is this? A shakedown? | 0:51:05 | 0:51:09 | |
-Do you remember her? -I can't say that I do. | 0:51:09 | 0:51:12 | |
Does that help? | 0:51:16 | 0:51:17 | |
Yours was the last face that she ever saw. | 0:51:19 | 0:51:22 | |
Do you remember her now? | 0:51:24 | 0:51:26 | |
I think you've mistaken me for someone else. | 0:51:33 | 0:51:37 | |
And I think you should leave. | 0:51:37 | 0:51:39 | |
Just tell me you remember her. | 0:51:39 | 0:51:41 | |
That's all. | 0:51:43 | 0:51:44 | |
-VOICE BREAKING: -She deserves that much, at least. | 0:51:45 | 0:51:49 | |
Just some kind of acknowledgement! | 0:51:49 | 0:51:51 | |
ELECTRONIC BEEPING | 0:51:52 | 0:51:54 | |
No! | 0:51:54 | 0:51:55 | |
No! No! | 0:51:55 | 0:51:57 | |
HE PANTS | 0:51:59 | 0:52:00 | |
Get out. | 0:52:04 | 0:52:06 | |
Did you think you could blackmail me? | 0:52:06 | 0:52:08 | |
Dumb bitch. | 0:52:09 | 0:52:10 | |
What were you thinking? | 0:52:11 | 0:52:13 | |
HE YELPS | 0:52:13 | 0:52:15 | |
No! | 0:52:15 | 0:52:17 | |
THEY GRUNT, AMY CHOKES | 0:52:17 | 0:52:19 | |
SHE WHIMPERS | 0:52:21 | 0:52:23 | |
Checked Schrader out. | 0:52:31 | 0:52:33 | |
No military or firearms training in his very public CV. | 0:52:33 | 0:52:37 | |
-Strictly Harvard Business School. -Can't say I'm surprised. | 0:52:37 | 0:52:41 | |
So I switched focus to Simon Forsyth. | 0:52:41 | 0:52:44 | |
Decorated officer in the Marines | 0:52:44 | 0:52:46 | |
who served his last two years at Redhill Barracks. | 0:52:46 | 0:52:48 | |
The same barracks where the Heckler & Kochs went missing? | 0:52:48 | 0:52:52 | |
Well, surely that was years after he left? | 0:52:52 | 0:52:54 | |
Seems he kept his hand in - never missed a regimental dinner. | 0:52:54 | 0:52:58 | |
But he's a City boy now. Why would he want a gun? | 0:52:58 | 0:53:00 | |
For his extracurricular activities. | 0:53:00 | 0:53:02 | |
Parties? | 0:53:02 | 0:53:04 | |
Karen Myers' death was a wake-up call. | 0:53:04 | 0:53:06 | |
He wasn't going to let one get away again. | 0:53:06 | 0:53:09 | |
Bringing up Forsyth's DVLA records now. | 0:53:09 | 0:53:12 | |
Four cars registered to him. | 0:53:14 | 0:53:16 | |
One black BMW. | 0:53:18 | 0:53:21 | |
The car paint found on the tree. | 0:53:21 | 0:53:23 | |
FOOTSTEPS APPROACH | 0:53:27 | 0:53:30 | |
DOOR SWINGS OPEN | 0:53:33 | 0:53:35 | |
-No! No! No! -What the hell did he do to you? | 0:53:37 | 0:53:39 | |
-No, get away from me! -It's OK, it's OK, it's OK, he's gone. | 0:53:39 | 0:53:42 | |
I'm so sorry, Amy. | 0:53:42 | 0:53:44 | |
I never meant for this, you know that. Look at me. | 0:53:44 | 0:53:46 | |
-Look at me! -SHE WHIMPERS | 0:53:46 | 0:53:48 | |
OK, we're going to go to my car before he gets back | 0:53:48 | 0:53:51 | |
and we're going to go to the police. | 0:53:51 | 0:53:52 | |
-Liar! -I'm not lying. | 0:53:52 | 0:53:54 | |
This has gone too far. | 0:53:55 | 0:53:57 | |
What about those photos you sent me? | 0:53:57 | 0:53:59 | |
He forced me to send those! | 0:53:59 | 0:54:01 | |
I trusted you, Simon. | 0:54:01 | 0:54:04 | |
Let's get you cleaned up and out of this damned house. | 0:54:04 | 0:54:07 | |
MOBILE PHONE RINGS | 0:54:10 | 0:54:12 | |
Jack... | 0:54:17 | 0:54:18 | |
Nikki, we think Forsyth was the River Malt shooter. | 0:54:18 | 0:54:21 | |
'He's being picked up now. | 0:54:21 | 0:54:23 | |
'I'll call you back when we have more, OK?' | 0:54:23 | 0:54:25 | |
-OK. -'Bye.' | 0:54:25 | 0:54:27 | |
Amy? | 0:54:42 | 0:54:43 | |
Amy! | 0:54:45 | 0:54:47 | |
BUZZER BEEPS | 0:54:47 | 0:54:49 | |
Amy! | 0:54:49 | 0:54:50 | |
BUZZER BEEPS | 0:54:50 | 0:54:53 | |
Amy! | 0:54:53 | 0:54:54 | |
You? | 0:54:57 | 0:54:59 | |
It's Simon, right? | 0:54:59 | 0:55:01 | |
Where's Schrader? | 0:55:01 | 0:55:03 | |
Is everything OK? | 0:55:03 | 0:55:05 | |
Yeah, she had a bit of a tumble, but she's all right. | 0:55:05 | 0:55:08 | |
-Amy? -There's nothing broken. | 0:55:08 | 0:55:10 | |
I'm fine, Nikki. | 0:55:12 | 0:55:13 | |
Are you sure? | 0:55:13 | 0:55:15 | |
She said she's fine. | 0:55:15 | 0:55:16 | |
I'd still like to check her over. | 0:55:16 | 0:55:18 | |
What are you doing here? | 0:55:20 | 0:55:22 | |
-It wasn't him. -It's OK. | 0:55:22 | 0:55:24 | |
OK, this is a personal matter that we need to resolve in private. | 0:55:24 | 0:55:27 | |
We should still get you checked out. I can run you to the hospital now. | 0:55:27 | 0:55:30 | |
OK, you're trespassing on private property - you need to leave. | 0:55:30 | 0:55:33 | |
What are the gloves for? | 0:55:33 | 0:55:35 | |
Simon? | 0:55:36 | 0:55:38 | |
SHE SHRIEKS | 0:55:40 | 0:55:42 | |
MUFFLED YELPING | 0:55:45 | 0:55:46 | |
NIKKI GAGS AND CHOKES | 0:55:48 | 0:55:50 | |
HE GRUNTS | 0:55:58 | 0:56:00 | |
HE CRIES OUT | 0:56:02 | 0:56:04 | |
POLICE RADIO CHATTER | 0:56:14 | 0:56:16 | |
You'd better come with me. | 0:56:31 | 0:56:32 | |
Amy... | 0:56:34 | 0:56:36 | |
Thanks. | 0:56:55 | 0:56:56 | |
Claudia Baxter, we are charging you | 0:57:10 | 0:57:13 | |
with five counts of conspiracy to pervert the course of justice | 0:57:13 | 0:57:16 | |
contrary to common law | 0:57:16 | 0:57:18 | |
and that you did assist an offender in a murder investigation, | 0:57:18 | 0:57:21 | |
contrary to the Criminal Law Act... | 0:57:21 | 0:57:23 | |
MOBILE PHONE RINGS | 0:57:24 | 0:57:27 | |
-Hi, Thomas. -So? | 0:57:27 | 0:57:29 | |
Well, Forsyth will go down, but there's no sign of Schrader. | 0:57:29 | 0:57:33 | |
No forensics? | 0:57:33 | 0:57:34 | |
Nothing really probative. | 0:57:34 | 0:57:36 | |
-'I'll be back soon.' -You all right, Nikki? | 0:57:37 | 0:57:39 | |
-I'm fine. -'You sure?' | 0:57:39 | 0:57:42 | |
Really. | 0:57:42 | 0:57:43 | |
I physically want to hurt you. | 0:57:44 | 0:57:47 | |
I'm not reneging, I'm not reneging, I'm merely... | 0:57:47 | 0:57:50 | |
-What's he reneging on? -Dinner. | 0:57:50 | 0:57:52 | |
-Jack! -I'm not reneging! | 0:57:52 | 0:57:54 | |
One minute we're talking Michelin stars, | 0:57:54 | 0:57:57 | |
now it's chicken drummers chez Jack. | 0:57:57 | 0:57:59 | |
-Shameful. -Whatever. | 0:57:59 | 0:58:01 | |
-Hey, I can run to more than chicken drummers. -Oh, really? | 0:58:01 | 0:58:04 | |
-Yeah. -Really? | 0:58:04 | 0:58:05 | |
Whoa. Stand down. | 0:58:05 | 0:58:06 | |
INDISTINCT AIRPORT ANNOUNCEMENTS | 0:58:14 | 0:58:16 | |
Mr Schrader? | 0:58:25 | 0:58:27 | |
You dropped this. | 0:58:27 | 0:58:28 | |
# Testator silens | 0:58:45 | 0:58:53 | |
# Costestes e spiritu | 0:58:53 | 0:59:00 | |
# Silentium. # | 0:59:00 | 0:59:12 |