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This programme contains some violent scenes | 0:00:02 | 0:00:04 | |
and some scenes which some viewers may find upsetting | 0:00:04 | 0:00:06 | |
-You've got a motive. -I wouldn't hurt her. -Ali, you should see this. | 0:00:06 | 0:00:09 | |
We've had a walk-in, a couple. Their daughter went missing. Ruth Tresize. | 0:00:09 | 0:00:12 | |
She was friends with Lorna Katz. They were at school together. | 0:00:12 | 0:00:15 | |
My husband was physically abusing our daughter. | 0:00:15 | 0:00:18 | |
I slapped her. Once. | 0:00:18 | 0:00:19 | |
So you said. | 0:00:19 | 0:00:20 | |
It's Kieran Vale again for DI Ashton. | 0:00:20 | 0:00:23 | |
I'm at a place where Lorna and Ruth and I used to hang out. | 0:00:23 | 0:00:26 | |
How did you find out where I live? | 0:00:28 | 0:00:29 | |
I followed you from your office. | 0:00:29 | 0:00:31 | |
I didn't protect my daughter as I should. | 0:00:31 | 0:00:34 | |
Not even from my husband. | 0:00:34 | 0:00:36 | |
Aaron Logan's got an alibi for Ruth and Lorna. | 0:00:36 | 0:00:39 | |
Kieran Vale has, an' all. | 0:00:39 | 0:00:40 | |
Look, we're going to make this right, like we did before. Come on. | 0:00:40 | 0:00:43 | |
And we're going to sort it now. | 0:00:43 | 0:00:44 | |
I need you to do something for me, yeah? | 0:00:44 | 0:00:46 | |
Aaron Logan. | 0:00:48 | 0:00:50 | |
Is that who they're after? | 0:00:50 | 0:00:52 | |
You didn't tell her, did you? | 0:00:52 | 0:00:54 | |
No, but I didn't say that it wasn't him, either, | 0:00:54 | 0:00:56 | |
so I'm worried that it's kind of like I've confirmed it, isn't it? | 0:00:56 | 0:01:00 | |
# Testator silens | 0:01:06 | 0:01:14 | |
# Costestes e spiritu | 0:01:14 | 0:01:21 | |
# Silentium. # | 0:01:21 | 0:01:28 | |
We're going to need everything, I'm afraid. | 0:01:43 | 0:01:46 | |
She's not well enough to be interviewed. | 0:02:11 | 0:02:13 | |
Well, she's been seen by the psychs and they've OK'd it. | 0:02:13 | 0:02:16 | |
Well, that's absurd. | 0:02:16 | 0:02:17 | |
Is that a qualified opinion? | 0:02:17 | 0:02:18 | |
After what's just happened? | 0:02:18 | 0:02:19 | |
Well, someone told her that Aaron Logan was a suspect. | 0:02:19 | 0:02:22 | |
She'll have known that anyway, won't she? She's always known it. | 0:02:22 | 0:02:25 | |
What, for Lorna Katz and Kieran Vale? No. | 0:02:25 | 0:02:28 | |
There's no leak here, not with my team, so it has to be with yours. | 0:02:28 | 0:02:31 | |
He's a lucky boy. | 0:03:16 | 0:03:17 | |
Another inch and she'd have punctured his lung. | 0:03:18 | 0:03:20 | |
Something that doesn't make sense to me, | 0:03:22 | 0:03:24 | |
for an innocent man, | 0:03:24 | 0:03:26 | |
how come he was running? | 0:03:26 | 0:03:27 | |
He wasn't running. | 0:03:27 | 0:03:29 | |
He had his passport with him! | 0:03:29 | 0:03:30 | |
I'll tell you what's happened here. | 0:03:30 | 0:03:32 | |
You couldn't pin anything on him, so you tell a lot of shit to some | 0:03:32 | 0:03:34 | |
-psycho bitch hoping that she'll take care of things! -Stop it, Ben! | 0:03:34 | 0:03:37 | |
Innocent people don't run, Ben. | 0:03:37 | 0:03:39 | |
-What kind of world do you live in? -Ben... | 0:03:39 | 0:03:41 | |
No, he was being targeted again. | 0:03:41 | 0:03:43 | |
You people have never let him alone! | 0:03:43 | 0:03:45 | |
You did this! | 0:03:47 | 0:03:48 | |
Look at him! Go on, look at him! | 0:03:48 | 0:03:50 | |
'I don't want to fight this. | 0:03:56 | 0:03:58 | |
'You want to talk this through with me before you go on? | 0:03:58 | 0:04:00 | |
'No. | 0:04:00 | 0:04:01 | |
'I know what I did. I was of sound mind when I did it, | 0:04:01 | 0:04:04 | |
'and I'd do it again. | 0:04:04 | 0:04:06 | |
'Did you know Aaron Logan was a suspect | 0:04:06 | 0:04:08 | |
'for Lorna and Kieran's deaths? | 0:04:08 | 0:04:10 | |
'Ali?' | 0:04:13 | 0:04:14 | |
How did you know where he'd be? | 0:04:16 | 0:04:18 | |
I knew where he worked. | 0:04:18 | 0:04:20 | |
He got a job there when he left school. | 0:04:20 | 0:04:22 | |
What, so you've stayed in touch, have you, over the years? | 0:04:22 | 0:04:25 | |
Not since Ruth, no. | 0:04:25 | 0:04:27 | |
So, you went to the restaurant, what, more in hope than expectation? | 0:04:28 | 0:04:32 | |
'And he wasn't there. | 0:04:32 | 0:04:34 | |
'No, but his brother was. | 0:04:34 | 0:04:35 | |
'Someone told you Aaron was a suspect, didn't they? | 0:04:37 | 0:04:40 | |
'The pathologist. | 0:04:40 | 0:04:41 | |
'Dr Alexander? | 0:04:44 | 0:04:45 | |
'I called at her house and I asked her to confirm it | 0:04:45 | 0:04:49 | |
'and she met me a few days later and I asked her again. | 0:04:49 | 0:04:53 | |
'And did she? | 0:04:53 | 0:04:54 | |
'Did she confirm it? | 0:04:57 | 0:04:58 | |
'Not in words, no, but she told me in other ways. | 0:04:59 | 0:05:02 | |
-'What do you mean? -Her reaction. | 0:05:03 | 0:05:05 | |
'I don't understand. | 0:05:06 | 0:05:08 | |
'I read her face.' | 0:05:08 | 0:05:11 | |
She didn't need to actually say anything. | 0:05:11 | 0:05:13 | |
And I read Aaron Logan, too, didn't I? | 0:05:15 | 0:05:18 | |
Eventually. | 0:05:18 | 0:05:19 | |
Can I just check, you're not actually next of kin any more, | 0:05:20 | 0:05:23 | |
are you, Mr Tresize? | 0:05:23 | 0:05:24 | |
We're still married, legally. | 0:05:24 | 0:05:26 | |
Look, what she did is so out of character... | 0:05:26 | 0:05:28 | |
Well, there have been mental health issues in the past, I believe? | 0:05:28 | 0:05:31 | |
Relatively minor issues, yes. | 0:05:31 | 0:05:33 | |
Depression, understandably. | 0:05:33 | 0:05:35 | |
What's going to happen to her? Will she be charged? | 0:05:36 | 0:05:39 | |
Yeah. | 0:05:39 | 0:05:40 | |
And her state of mind, will that be taken into account? | 0:05:40 | 0:05:42 | |
Well, that's for the courts and the DPP to decide. | 0:05:42 | 0:05:44 | |
Why don't you go home? | 0:05:47 | 0:05:49 | |
I'm OK. | 0:05:49 | 0:05:50 | |
You, you shouldn't have to deal with all this stress. | 0:05:51 | 0:05:53 | |
I'm fine. | 0:05:55 | 0:05:56 | |
Hey, come on. | 0:05:57 | 0:05:58 | |
We let him down. | 0:06:00 | 0:06:01 | |
I don't mean now. | 0:06:03 | 0:06:04 | |
I mean, after your mum died. | 0:06:06 | 0:06:07 | |
He was just a kid. | 0:06:09 | 0:06:11 | |
There was never anybody more loyal than you. | 0:06:11 | 0:06:13 | |
Yeah, to you. | 0:06:13 | 0:06:14 | |
He should've come to live with us after he left the care home. | 0:06:16 | 0:06:20 | |
I was so stupid. | 0:06:22 | 0:06:23 | |
I wanted you without any baggage. | 0:06:24 | 0:06:27 | |
Don't do this. | 0:06:27 | 0:06:28 | |
Do you know what's worse? | 0:06:28 | 0:06:29 | |
The more they went after him, | 0:06:30 | 0:06:32 | |
the more I thought maybe he had done all this. | 0:06:32 | 0:06:33 | |
Loner, can't hold on to a woman or find anything in his life. | 0:06:35 | 0:06:40 | |
Well, it fits, doesn't it? | 0:06:41 | 0:06:43 | |
Except...except it doesn't. | 0:06:45 | 0:06:48 | |
Hey, hey. Come on. | 0:06:48 | 0:06:50 | |
Sh, sh. | 0:06:51 | 0:06:52 | |
Allowing a victim's mother access into your home. Was that ethical? | 0:06:58 | 0:07:02 | |
I didn't let her in. | 0:07:02 | 0:07:03 | |
But you talked to her. | 0:07:03 | 0:07:05 | |
Look, she turned up on my doorstep, OK? We talked. | 0:07:05 | 0:07:08 | |
She was struggling. All I did was empathise. | 0:07:08 | 0:07:10 | |
No, what you did was overstep your role. | 0:07:10 | 0:07:13 | |
Do you have any idea how it must feel to lose a child | 0:07:13 | 0:07:16 | |
and have no closure? | 0:07:16 | 0:07:17 | |
Do you? | 0:07:17 | 0:07:18 | |
-No wonder the woman's falling apart. -Nikki, leave it... | 0:07:18 | 0:07:21 | |
OK, yes, she put me on the spot, but she pretty much knew | 0:07:21 | 0:07:23 | |
everything already - or suspected it. | 0:07:23 | 0:07:25 | |
How? | 0:07:25 | 0:07:26 | |
How should I know? | 0:07:26 | 0:07:28 | |
No-one ever told her that Aaron Logan was a suspect, | 0:07:28 | 0:07:30 | |
not now, not even... | 0:07:30 | 0:07:31 | |
Not even when Ruth disappeared. So, how? | 0:07:35 | 0:07:38 | |
It's a community. The people know one another. | 0:07:38 | 0:07:40 | |
The kids went to the same school. | 0:07:40 | 0:07:41 | |
I mean, you honestly think that things stay secret? | 0:07:41 | 0:07:44 | |
And you...you mention ethics, you know. | 0:07:44 | 0:07:45 | |
What's unethical about trying to help someone with their loss? | 0:07:45 | 0:07:48 | |
Yes, showing them their loved ones in the chapel of rest, | 0:07:48 | 0:07:51 | |
THAT is what you're supposed to do - not invite them into your | 0:07:51 | 0:07:53 | |
home and let them cry into your gin. | 0:07:53 | 0:07:55 | |
I've told you, I didn't let her in! | 0:07:55 | 0:07:57 | |
Look, mistakes may have been made on both sides here. | 0:07:57 | 0:07:59 | |
Oh, ever the diplomat, Thomas. | 0:07:59 | 0:08:01 | |
Kieran Vale's calls went unanswered, your officers didn't even | 0:08:01 | 0:08:03 | |
notice Ben Logan leaving the restaurant. | 0:08:03 | 0:08:05 | |
Because they were looking for Aaron, not Ben. | 0:08:05 | 0:08:07 | |
Nonetheless, I suggest if we want to take out our frustrations on | 0:08:07 | 0:08:10 | |
something, then let's take them out on finding the killer. | 0:08:10 | 0:08:14 | |
Hey...hey! | 0:08:21 | 0:08:23 | |
The police are watching me. | 0:08:23 | 0:08:24 | |
No, they're not, man. They've got nothing on you. | 0:08:24 | 0:08:26 | |
You're the victim in all this. | 0:08:26 | 0:08:28 | |
Whatever, I'm out of here. | 0:08:28 | 0:08:30 | |
Hey, Aaron... | 0:08:30 | 0:08:31 | |
Can we rerun the fish debris? Only, this time, focus on | 0:08:52 | 0:08:55 | |
Chris Tresize rather than Aaron Logan? | 0:08:55 | 0:08:57 | |
Just because the debris doesn't match Logan's clothing | 0:08:57 | 0:08:59 | |
doesn't make him innocent. | 0:08:59 | 0:09:00 | |
It simply means THAT evidence doesn't incriminate him. | 0:09:00 | 0:09:03 | |
I'm aware of that. | 0:09:03 | 0:09:04 | |
Erm, it'd be worth checking out Ben Logan, too, Aaron's brother. | 0:09:06 | 0:09:09 | |
He would've known the Tresizes a little. | 0:09:09 | 0:09:10 | |
They were living together, were they, the brothers? | 0:09:10 | 0:09:13 | |
-No, Ben was living with Sarah, but... -So there's no evidence against him? | 0:09:13 | 0:09:16 | |
No, but belt and braces. | 0:09:16 | 0:09:17 | |
What else have we got? | 0:09:17 | 0:09:19 | |
Anyway, this, er, this potential witness. | 0:09:21 | 0:09:24 | |
Have we managed to trace the call? | 0:09:25 | 0:09:27 | |
Pre-pay mobile. | 0:09:27 | 0:09:28 | |
Shit. It has to be her. | 0:09:28 | 0:09:30 | |
OK, so where's the camera? | 0:09:39 | 0:09:41 | |
There. | 0:09:43 | 0:09:45 | |
Uh-huh. | 0:09:46 | 0:09:47 | |
OK... | 0:09:54 | 0:09:55 | |
..she was standing somewhere around here. | 0:09:57 | 0:09:59 | |
This is the only place she could see the assault from. | 0:09:59 | 0:10:02 | |
OK. | 0:10:02 | 0:10:03 | |
Jack... | 0:10:04 | 0:10:05 | |
..I just have to say that | 0:10:09 | 0:10:11 | |
Nikki Alexander's really dropped me and my team in it. | 0:10:11 | 0:10:14 | |
No, I know you don't like me saying that. | 0:10:15 | 0:10:18 | |
I don't think it's Nikki that your bosses are going | 0:10:21 | 0:10:23 | |
to be interested in. | 0:10:23 | 0:10:25 | |
Your boys staking out that restaurant were napping on the job. | 0:10:25 | 0:10:29 | |
Put me in my place. | 0:10:30 | 0:10:31 | |
She was eating something, wasn't she? | 0:10:57 | 0:10:59 | |
Yeah. | 0:10:59 | 0:11:00 | |
Why don't you go get your head down for a bit? | 0:11:07 | 0:11:08 | |
I've gotta go. | 0:11:10 | 0:11:11 | |
Where? | 0:11:11 | 0:11:13 | |
Aaron? | 0:11:13 | 0:11:15 | |
Aaron! | 0:11:15 | 0:11:16 | |
'A few moments after she left, | 0:11:30 | 0:11:31 | |
'I went out to look for her, | 0:11:31 | 0:11:36 | |
'but I didn't see which way she went.' | 0:11:36 | 0:11:37 | |
'Chris went after her, | 0:11:48 | 0:11:51 | |
'but he couldn't find her... | 0:11:51 | 0:11:55 | |
'..and he came back about half an hour later, | 0:11:57 | 0:12:02 | |
'soaking wet. | 0:12:02 | 0:12:04 | |
'It had started raining. | 0:12:04 | 0:12:05 | |
SHE CRIES | 0:12:05 | 0:12:06 | |
'And he came back about half an hour later, | 0:12:11 | 0:12:15 | |
'soaking wet. | 0:12:15 | 0:12:17 | |
'It had started raining.' | 0:12:17 | 0:12:19 | |
Ali, I want to ask you something about that New Year. | 0:12:57 | 0:13:00 | |
You said that Chris went out on his own soon after Ruth had gone. | 0:13:00 | 0:13:04 | |
He went looking for her. | 0:13:04 | 0:13:06 | |
Yeah. | 0:13:06 | 0:13:07 | |
You said in your statement that he came back around half an hour | 0:13:09 | 0:13:13 | |
later and he was soaking wet. | 0:13:13 | 0:13:17 | |
And the forensic report says that his clothes were still damp | 0:13:17 | 0:13:20 | |
the next morning. | 0:13:20 | 0:13:21 | |
Yeah. | 0:13:21 | 0:13:22 | |
It had started raining. | 0:13:22 | 0:13:23 | |
What if he wasn't wet from the rain? | 0:13:25 | 0:13:28 | |
What if it was river water? | 0:13:28 | 0:13:29 | |
He was angry with her. | 0:13:30 | 0:13:31 | |
He went after her... | 0:13:31 | 0:13:33 | |
Ali. | 0:13:34 | 0:13:35 | |
OK. | 0:13:35 | 0:13:36 | |
Ali, why are you running away? | 0:13:36 | 0:13:37 | |
HE SNORTS | 0:13:49 | 0:13:50 | |
Are you hungry? | 0:14:27 | 0:14:28 | |
Let's get inside and eat. | 0:14:32 | 0:14:33 | |
Come on, inside. | 0:14:39 | 0:14:40 | |
Come on, Josh. | 0:14:49 | 0:14:51 | |
Let's get you something to eat. | 0:14:51 | 0:14:52 | |
Go on, wash up. And no TV, OK? | 0:15:01 | 0:15:03 | |
DOORBELL RINGS | 0:15:12 | 0:15:14 | |
SHE GASPS | 0:15:40 | 0:15:41 | |
-'Hi.' -Hi, I had a call from you? | 0:15:46 | 0:15:49 | |
Yeah, we've processed the prints on the sandwich wrapper. | 0:15:49 | 0:15:52 | |
No match with anything on the PNC - but we've got | 0:15:52 | 0:15:55 | |
a hit with the Immigration database. | 0:15:55 | 0:15:57 | |
'A woman called Stella Tuffour, a Ghanaian.' | 0:15:57 | 0:16:00 | |
She's outstayed her visa, | 0:16:00 | 0:16:02 | |
which is maybe why she didn't want to give her name. | 0:16:02 | 0:16:04 | |
'OK. Have you got a current address for her?' | 0:16:04 | 0:16:06 | |
Ms Tuffour? | 0:16:17 | 0:16:18 | |
Stella? | 0:16:19 | 0:16:20 | |
Police. | 0:16:23 | 0:16:25 | |
Police? Can we get Jack here? | 0:16:26 | 0:16:28 | |
I've got a solicitor working on the case. | 0:16:40 | 0:16:43 | |
You need to speak to her. | 0:16:43 | 0:16:44 | |
This isn't an immigration matter. | 0:16:44 | 0:16:46 | |
Someone made a 999 call, and we believe it was you. | 0:16:47 | 0:16:50 | |
You have the wrong person. | 0:16:52 | 0:16:53 | |
Well, we have you on CCTV the day before yesterday, | 0:16:55 | 0:16:58 | |
walking along the river, and, er, your fingerprints are on | 0:16:58 | 0:17:01 | |
a sandwich wrapper we found there. | 0:17:01 | 0:17:02 | |
So? | 0:17:03 | 0:17:05 | |
So, I walked there. | 0:17:05 | 0:17:06 | |
Doesn't mean I made any calls. | 0:17:06 | 0:17:08 | |
Did you witness something, Stella? | 0:17:08 | 0:17:10 | |
See something you just felt you had to report? | 0:17:11 | 0:17:14 | |
No. | 0:17:14 | 0:17:15 | |
PHONE BEEPS | 0:17:15 | 0:17:17 | |
-STELLA ON RECORDING: -'There was a man. He had like a dark hoodie. | 0:17:17 | 0:17:20 | |
'He was hitting somebody. Another man. | 0:17:20 | 0:17:22 | |
'He, he was dragging him down to the river.' | 0:17:22 | 0:17:24 | |
That's you. | 0:17:27 | 0:17:28 | |
No. | 0:17:28 | 0:17:30 | |
That's your voice, isn't it? | 0:17:30 | 0:17:31 | |
No! | 0:17:31 | 0:17:33 | |
Hi. | 0:17:33 | 0:17:34 | |
Hi, Jack. | 0:17:34 | 0:17:35 | |
So, what happened to your front door? | 0:17:45 | 0:17:46 | |
The lock broke. I haven't had time to fix it. | 0:17:48 | 0:17:51 | |
You got kids? | 0:17:54 | 0:17:55 | |
A son. He's at a neighbour's. | 0:17:56 | 0:17:58 | |
How come you're shaking, Stella? | 0:18:00 | 0:18:02 | |
Has someone been here? Have they frightened you? | 0:18:04 | 0:18:06 | |
No-one's been here. | 0:18:08 | 0:18:09 | |
Was it this man? | 0:18:12 | 0:18:14 | |
Has he been to your flat? | 0:18:14 | 0:18:16 | |
Or has he spoken to you? | 0:18:16 | 0:18:17 | |
Did he threaten you? Did he threaten your son? | 0:18:19 | 0:18:21 | |
He did, didn't he? | 0:18:23 | 0:18:25 | |
What did he say? | 0:18:25 | 0:18:26 | |
Did he say he was watching you? | 0:18:26 | 0:18:28 | |
Did he tell you not to speak to us? | 0:18:30 | 0:18:32 | |
Stella... | 0:18:32 | 0:18:33 | |
..look, we can protect you, OK? | 0:18:35 | 0:18:37 | |
No-one is going to get to you. | 0:18:37 | 0:18:38 | |
And, erm, we can help you with your immigration status, as well. | 0:18:43 | 0:18:48 | |
Or we can make things more difficult there. | 0:18:48 | 0:18:50 | |
We just need you to help us. | 0:18:51 | 0:18:53 | |
I've never seen this man before in my life. | 0:18:57 | 0:18:59 | |
Come through. | 0:19:10 | 0:19:11 | |
Any luck? | 0:19:15 | 0:19:16 | |
No. We'll let her stew on it. | 0:19:16 | 0:19:18 | |
If we have to, we'll get Immigration on to her. | 0:19:18 | 0:19:20 | |
She'll open up then. | 0:19:20 | 0:19:22 | |
Well, Jack's found something. | 0:19:22 | 0:19:23 | |
Boot print. | 0:19:23 | 0:19:25 | |
We can discount Aaron Logan, can't we? He's in hospital. | 0:19:25 | 0:19:28 | |
No, he just discharged himself a couple of hours ago. | 0:19:28 | 0:19:31 | |
Did he now? | 0:19:31 | 0:19:32 | |
There you go. | 0:19:35 | 0:19:36 | |
CLANKING | 0:20:02 | 0:20:04 | |
TRAIN RATTLES | 0:20:31 | 0:20:32 | |
OK, so let's say Aaron Logan discharges himself from hospital, | 0:20:38 | 0:20:42 | |
he heads straight for Stella, | 0:20:42 | 0:20:44 | |
because he knows she's seen him attacking Kieran. | 0:20:44 | 0:20:46 | |
PHONE RINGS But why not kill her, too? | 0:20:46 | 0:20:48 | |
He found another way to shut her up? | 0:20:48 | 0:20:50 | |
What about Chris Tresize? | 0:20:50 | 0:20:52 | |
There's just no evidence there. | 0:20:52 | 0:20:53 | |
What have we got on Aaron that's concrete, though? | 0:20:53 | 0:20:56 | |
Either way, people have been targeted because | 0:20:56 | 0:20:58 | |
they knew something. | 0:20:58 | 0:20:59 | |
Except, maybe, Kieran Vale. | 0:20:59 | 0:21:02 | |
Well, surely, if he knew something, he would've told me. | 0:21:02 | 0:21:04 | |
He tried to. He called you. | 0:21:04 | 0:21:05 | |
I know, I mean within the interview. | 0:21:05 | 0:21:07 | |
Maybe he was hiding what evidence he had for some reason. | 0:21:07 | 0:21:10 | |
Or he didn't realise that he had it then. | 0:21:10 | 0:21:13 | |
How would the killer know that Kieran was on to something, hm? | 0:21:13 | 0:21:17 | |
Well, Kieran used to go out with Lorna, so maybe the killer | 0:21:17 | 0:21:20 | |
thought that she'd told Kieran something. | 0:21:20 | 0:21:23 | |
What, so you think Lorna was on to him, got frightened and, what? | 0:21:23 | 0:21:28 | |
Sent that through to Kieran, | 0:21:28 | 0:21:29 | |
intending to meet him in the morning, tell him what was on her mind? | 0:21:29 | 0:21:32 | |
Two witnesses, Aaron stops them both from talking. | 0:21:32 | 0:21:35 | |
So, where was this taken? | 0:21:35 | 0:21:36 | |
Yeah, what the hell is it? | 0:21:36 | 0:21:38 | |
-CARL: -Er, update on Ben Logan. | 0:21:38 | 0:21:40 | |
He had alibis for Ruth, Lorna and Kieran. | 0:21:40 | 0:21:43 | |
He was working at the bar on each occasion. | 0:21:43 | 0:21:46 | |
OK. | 0:21:46 | 0:21:47 | |
So, Aaron loses his mother. | 0:21:47 | 0:21:49 | |
He finds solace in Ruth Tresize. | 0:21:49 | 0:21:51 | |
Maybe she threatens to leave him. | 0:21:51 | 0:21:53 | |
Mmm... | 0:21:53 | 0:21:54 | |
Supposition. | 0:21:54 | 0:21:55 | |
Well, she was underage. | 0:21:55 | 0:21:57 | |
Maybe she threatened to go to the police about their relationship. | 0:21:57 | 0:22:00 | |
She spooked him, he snapped. | 0:22:00 | 0:22:02 | |
-CLARISSA: -This is the partial print from Stella's door, | 0:22:02 | 0:22:05 | |
and this is from Kieran's crime scene. | 0:22:05 | 0:22:08 | |
Different boots, but the same size range as Aaron Logan. | 0:22:08 | 0:22:13 | |
Didn't we look for a match before with Aaron's boots | 0:22:13 | 0:22:15 | |
and there was nothing? | 0:22:15 | 0:22:16 | |
So, he's got more than one pair of boots. | 0:22:16 | 0:22:18 | |
Aaron? | 0:22:26 | 0:22:27 | |
Aaron! | 0:22:30 | 0:22:32 | |
Aaron! | 0:22:35 | 0:22:36 | |
Oh. | 0:22:38 | 0:22:39 | |
SIREN BLARES | 0:22:51 | 0:22:53 | |
TRAIN RATTLES | 0:23:01 | 0:23:03 | |
-BEN'S VOICE: -'You don't give a shit about us. | 0:23:21 | 0:23:23 | |
'All you care about is sticking that needle in your arm. | 0:23:24 | 0:23:26 | |
'Don't you?' | 0:23:27 | 0:23:28 | |
Yeah, I like that. | 0:23:49 | 0:23:50 | |
Keep that on the menu. | 0:23:50 | 0:23:51 | |
Yeah, that's great. All good. | 0:23:51 | 0:23:53 | |
Take over for us, will you? | 0:23:55 | 0:23:56 | |
Er, the police have been round again looking for Aaron. | 0:23:59 | 0:24:01 | |
They're down at his boat as well. He's not there. | 0:24:01 | 0:24:04 | |
Where is he? | 0:24:04 | 0:24:05 | |
He's scared. | 0:24:07 | 0:24:09 | |
Every time he puts his head up they're after him. | 0:24:09 | 0:24:11 | |
What? | 0:24:15 | 0:24:16 | |
What? | 0:24:18 | 0:24:20 | |
Look, I know him, OK? | 0:24:20 | 0:24:21 | |
And I know that... | 0:24:23 | 0:24:24 | |
You know what? | 0:24:24 | 0:24:25 | |
Well, I don't know anything, actually! | 0:24:25 | 0:24:27 | |
Neither of us do. | 0:24:27 | 0:24:29 | |
That's the problem. | 0:24:29 | 0:24:30 | |
Right, think about it. | 0:24:31 | 0:24:33 | |
He knew Ruth Tresize, | 0:24:34 | 0:24:36 | |
he was sleeping with Lorna, | 0:24:36 | 0:24:37 | |
and he must've met that guy, her friend. | 0:24:37 | 0:24:39 | |
-Maybe this is... -No, absolutely not. No way! | 0:24:39 | 0:24:42 | |
He isn't capable of something like this. | 0:24:46 | 0:24:48 | |
He hasn't got it in him. | 0:24:48 | 0:24:50 | |
Me and Chris didn't have much of a marriage, and that was | 0:26:14 | 0:26:18 | |
kind of in contrast to what was going on with Ruth. | 0:26:18 | 0:26:22 | |
How do you mean? | 0:26:22 | 0:26:23 | |
We were dead from the waist down, | 0:26:25 | 0:26:29 | |
but with Ruth... | 0:26:29 | 0:26:30 | |
Alison was saying to me previously that Ruth was becoming sexualised. | 0:26:35 | 0:26:39 | |
Oh. | 0:26:40 | 0:26:42 | |
And how were you with that? | 0:26:42 | 0:26:44 | |
-Fine. -And Chris? | 0:26:44 | 0:26:46 | |
He found it difficult. | 0:26:48 | 0:26:49 | |
He thought she was sleeping around. | 0:26:50 | 0:26:53 | |
Hence his anger with her that night. | 0:26:53 | 0:26:55 | |
I've been thinking about Aaron. | 0:26:59 | 0:27:01 | |
Did I get that so wrong? | 0:27:03 | 0:27:05 | |
I had a dream. | 0:27:08 | 0:27:10 | |
Chris's face that morning. | 0:27:10 | 0:27:12 | |
He had her scarf in his hands... | 0:27:12 | 0:27:16 | |
What, in the dream or in reality? | 0:27:16 | 0:27:18 | |
Both. | 0:27:18 | 0:27:19 | |
He said he'd found it in the river and I believed him. | 0:27:20 | 0:27:23 | |
He, he was in the water with it. | 0:27:23 | 0:27:25 | |
But, none of us know for sure, do we? | 0:27:28 | 0:27:32 | |
Not really. | 0:27:32 | 0:27:33 | |
He could've planted it. | 0:27:35 | 0:27:37 | |
Why would he do that? | 0:27:37 | 0:27:38 | |
When he went to look for her, he was angry. | 0:27:38 | 0:27:41 | |
What if you're right... | 0:27:44 | 0:27:45 | |
..and he caught her and... | 0:27:48 | 0:27:49 | |
..she ended up in the river? | 0:27:54 | 0:27:57 | |
OK. | 0:27:57 | 0:27:58 | |
Now listen, | 0:28:00 | 0:28:02 | |
unless you have evidence or something concrete | 0:28:02 | 0:28:06 | |
to back this up... | 0:28:06 | 0:28:07 | |
If you go to the house, | 0:28:07 | 0:28:11 | |
he used to have all sorts of her stuff there. | 0:28:11 | 0:28:14 | |
You might find something. | 0:28:14 | 0:28:15 | |
Ah, maybe I'm wrong about everything I think and say, but... | 0:28:17 | 0:28:22 | |
..but you're right, he had the opportunity to hurt her. | 0:28:25 | 0:28:28 | |
Yes. | 0:28:30 | 0:28:31 | |
What are you people on? | 0:28:32 | 0:28:33 | |
She's had an idea out of nowhere and convinced herself it's the truth. | 0:28:35 | 0:28:39 | |
You really need to calm down. | 0:28:39 | 0:28:41 | |
Look, our lives ended the night Ruth walked out of here. | 0:28:41 | 0:28:45 | |
We're both of us stuck in our own private hell, | 0:28:45 | 0:28:47 | |
but have you any idea how any...? | 0:28:47 | 0:28:49 | |
Boss? Got a sec? | 0:28:49 | 0:28:51 | |
These, er, photographs on your wall. | 0:29:44 | 0:29:47 | |
This one, for instance. What were you doing there? | 0:29:47 | 0:29:49 | |
Looking for things you might have missed | 0:29:52 | 0:29:54 | |
that would lead me to my daughter. | 0:29:54 | 0:29:55 | |
How would you know where to look? | 0:29:55 | 0:29:57 | |
Why this sewer? | 0:29:57 | 0:29:58 | |
Because it was online, everywhere. | 0:30:00 | 0:30:02 | |
Pictures of it and of police all over it. | 0:30:04 | 0:30:07 | |
It wasn't difficult to find. | 0:30:07 | 0:30:09 | |
-Where were you the night Lorna was murdered? -I've already told you. | 0:30:09 | 0:30:12 | |
Well, tell me again. | 0:30:12 | 0:30:13 | |
Whatever I say, you won't believe me, so no comment. | 0:30:13 | 0:30:16 | |
The maps in your study. What were they for? | 0:30:16 | 0:30:18 | |
You'd dropped the case. | 0:30:24 | 0:30:26 | |
In your eyes, in DCI Ross's eyes, she was just a missing person. | 0:30:26 | 0:30:30 | |
If I wanted to find out what happened, | 0:30:30 | 0:30:32 | |
I've had to do my own digging. | 0:30:32 | 0:30:33 | |
So, you followed river courses? | 0:30:33 | 0:30:36 | |
After Lorna, yes. | 0:30:36 | 0:30:37 | |
But wasn't that to do with trying to find Ruth? | 0:30:37 | 0:30:39 | |
It was about trying to find evidence. | 0:30:39 | 0:30:42 | |
Any evidence of any kind. | 0:30:42 | 0:30:43 | |
After Lorna died, it was plain to me, even if it wasn't to you, | 0:30:45 | 0:30:49 | |
that her murder may have been related to Ruth's disappearance. | 0:30:49 | 0:30:52 | |
And if you weren't going to take that seriously and act on it, | 0:30:53 | 0:30:57 | |
then somebody else had to. | 0:30:57 | 0:30:59 | |
Did you kill Lorna? | 0:30:59 | 0:31:00 | |
-For God's sake. -Did you kill Ruth? | 0:31:00 | 0:31:02 | |
Jesus Christ, are you seriously asking me that?! | 0:31:02 | 0:31:05 | |
My own daughter! | 0:31:05 | 0:31:06 | |
It is reasonable, isn't it, that he'd be searching for Ruth? | 0:31:11 | 0:31:15 | |
-What, by trawling rivers and sewers three years after she disappeared? -PHONE RINGS | 0:31:15 | 0:31:19 | |
Hi? | 0:31:21 | 0:31:22 | |
'Hello. That photo...' | 0:31:22 | 0:31:24 | |
That photo? What photo? | 0:31:24 | 0:31:27 | |
The one Lorna sent Kieran. | 0:31:27 | 0:31:29 | |
So, we've played with the image, got a 3-D version of it. | 0:31:29 | 0:31:32 | |
You can just about make out something. Water and a gradient. | 0:31:32 | 0:31:37 | |
And something that looks like a steel rope. | 0:31:37 | 0:31:40 | |
'What kind of steel rope?' | 0:31:40 | 0:31:41 | |
The kind you find in boatyards. | 0:31:41 | 0:31:43 | |
We found boatyards not far from where Kieran died. | 0:31:43 | 0:31:45 | |
We think the photo Lorna sent Kieran might have sent him there. | 0:31:45 | 0:31:48 | |
Maybe he recognised it or remembered where it was taken. | 0:31:48 | 0:31:51 | |
What, so you think he was there looking for something | 0:31:51 | 0:31:53 | |
-to do with Ruth's death? -Yeah. | 0:31:53 | 0:31:55 | |
And he found it. | 0:31:55 | 0:31:56 | |
This is it. This is the place. | 0:32:48 | 0:32:50 | |
Teenage hang-out? | 0:32:50 | 0:32:52 | |
-Here. -What are we looking at? | 0:33:15 | 0:33:17 | |
This has got to be it. | 0:33:17 | 0:33:18 | |
Ruth? | 0:33:20 | 0:33:21 | |
CAMERA SHUTTER CLICKS | 0:33:30 | 0:33:32 | |
There was a body here. | 0:33:42 | 0:33:43 | |
Definitely? | 0:33:43 | 0:33:45 | |
This discolouration here looks like tissue fat from decomposition. | 0:33:46 | 0:33:51 | |
Hair clip. | 0:33:55 | 0:33:56 | |
Here. | 0:34:06 | 0:34:07 | |
We've found what we believe to be a grave of sorts. | 0:34:12 | 0:34:16 | |
There's no body, | 0:34:19 | 0:34:21 | |
but we think it may be where Ruth's body was stored | 0:34:21 | 0:34:24 | |
until fairly recently. | 0:34:24 | 0:34:26 | |
Does Ali know? | 0:34:29 | 0:34:30 | |
No, not yet. | 0:34:31 | 0:34:32 | |
Do you know this place? | 0:34:36 | 0:34:37 | |
No. | 0:34:37 | 0:34:38 | |
Never been there? | 0:34:38 | 0:34:39 | |
No. | 0:34:41 | 0:34:42 | |
Is this it? | 0:34:44 | 0:34:45 | |
Yes. | 0:34:46 | 0:34:47 | |
Are you sure you've found the right place? | 0:34:49 | 0:34:51 | |
Are you sure it's Ruth? | 0:34:54 | 0:34:56 | |
We're confirming that right now. | 0:34:56 | 0:34:58 | |
Can I ask you about Aaron Logan and Ruth? | 0:34:59 | 0:35:03 | |
Did they spend a lot of time together when they were kids? | 0:35:05 | 0:35:08 | |
It was Ali's thing to have him at the house, not Ruth's. | 0:35:09 | 0:35:13 | |
He was in care, right? | 0:35:13 | 0:35:15 | |
What was that? What, did she feel sorry for him? | 0:35:15 | 0:35:17 | |
Yeah. | 0:35:20 | 0:35:21 | |
He visited occasionally, at weekends or whatever. | 0:35:22 | 0:35:25 | |
His brother used to drop him off and then Ali would take him | 0:35:28 | 0:35:32 | |
back to the home. | 0:35:32 | 0:35:33 | |
Can I ask, | 0:35:40 | 0:35:42 | |
isn't it possible you're barking up the wrong tree | 0:35:42 | 0:35:45 | |
here with Aaron... | 0:35:45 | 0:35:46 | |
..like you are with me? | 0:35:48 | 0:35:50 | |
Nikki, that inspection pit, there's soil from another source in it. | 0:35:55 | 0:35:59 | |
We're doing a mineral analysis. | 0:35:59 | 0:36:01 | |
Great. | 0:36:01 | 0:36:02 | |
And the hair clip we found... | 0:36:02 | 0:36:03 | |
Do we know if Ruth was wearing one like that when she went missing? | 0:36:03 | 0:36:06 | |
Yes, we do. Think it wise to update Ashton? | 0:36:06 | 0:36:09 | |
And don't forget to tell her | 0:36:09 | 0:36:10 | |
we've got loads of prints - fingers this time - from the red sofa. | 0:36:10 | 0:36:13 | |
Remind her I'm running them. | 0:36:13 | 0:36:15 | |
I know. | 0:36:15 | 0:36:16 | |
You're letting him go? | 0:36:29 | 0:36:31 | |
What can we hold him on, some photos and maps? | 0:36:31 | 0:36:35 | |
Everything he said checks out. | 0:36:35 | 0:36:36 | |
These are the fingermarks from the red sofa at the boathouse. | 0:37:22 | 0:37:25 | |
I mean, there are loads over the years. | 0:37:25 | 0:37:27 | |
We've got old marks from Ruth and Kieran. | 0:37:27 | 0:37:29 | |
And she was there, too? | 0:37:31 | 0:37:32 | |
And look who else. | 0:37:35 | 0:37:36 | |
Whoa. What was she doing there? | 0:37:37 | 0:37:39 | |
PHONE RINGS | 0:37:50 | 0:37:51 | |
Hello? | 0:37:54 | 0:37:55 | |
'I've got nowhere to go, Ben.' | 0:37:55 | 0:37:56 | |
I can't talk right now. | 0:37:56 | 0:37:58 | |
Have you seen the papers? | 0:37:58 | 0:38:00 | |
They've found a grave. | 0:38:00 | 0:38:01 | |
Hang on. | 0:38:06 | 0:38:07 | |
Where are you? | 0:38:07 | 0:38:08 | |
OK. All right, all right. | 0:38:12 | 0:38:14 | |
ENGINE STARTS | 0:38:32 | 0:38:33 | |
I don't know. | 0:38:39 | 0:38:40 | |
I don't know how it got there! | 0:38:40 | 0:38:42 | |
You have clearly been to that boatyard. | 0:38:42 | 0:38:44 | |
No. | 0:38:44 | 0:38:45 | |
You've been on that sofa. | 0:38:45 | 0:38:46 | |
-No. -So how did your fingerprint get there? | 0:38:46 | 0:38:49 | |
I've done nothing wrong. | 0:38:49 | 0:38:52 | |
It's where your daughter's body was hidden. | 0:38:52 | 0:38:53 | |
No. | 0:38:56 | 0:38:57 | |
No. | 0:38:58 | 0:38:59 | |
What were you doing there, Ali? | 0:38:59 | 0:39:01 | |
No! | 0:39:01 | 0:39:02 | |
No! No! | 0:39:02 | 0:39:04 | |
No! | 0:39:04 | 0:39:06 | |
Get them out! | 0:39:09 | 0:39:10 | |
CAR LOCK BEEPS | 0:39:44 | 0:39:45 | |
Turn your phone off. The police will trace it. | 0:39:58 | 0:40:00 | |
I've got another one. | 0:40:00 | 0:40:01 | |
What is this place? | 0:40:03 | 0:40:04 | |
Sarah was going to buy it for us to do up. | 0:40:06 | 0:40:09 | |
Somewhere to live when the baby arrives. | 0:40:09 | 0:40:11 | |
You'll be OK here for a while. | 0:40:12 | 0:40:13 | |
Does Sarah know we're here? | 0:40:15 | 0:40:16 | |
No! We...we have to keep her away from all this. | 0:40:16 | 0:40:19 | |
It's too much for her. | 0:40:20 | 0:40:21 | |
Yeah. | 0:40:22 | 0:40:23 | |
Listen... | 0:40:27 | 0:40:28 | |
..what if you went to the police, right now? | 0:40:32 | 0:40:35 | |
You think I'm guilty? | 0:40:35 | 0:40:37 | |
No, God no. Course not. | 0:40:37 | 0:40:38 | |
But how long can this go on for? | 0:40:40 | 0:40:42 | |
Sooner or later, they'll find you or you'll have to give yourself up. | 0:40:42 | 0:40:45 | |
-I've done nothing wrong. -I know. That's what I'm saying... | 0:40:45 | 0:40:47 | |
They'll never believe that, Ben. They'll just keep coming for me! | 0:40:47 | 0:40:50 | |
Look, I... | 0:41:01 | 0:41:02 | |
I've never really been there for you, have I? | 0:41:02 | 0:41:04 | |
Not even when Mum died. | 0:41:06 | 0:41:07 | |
But we're going to put that right. | 0:41:09 | 0:41:11 | |
Now, OK? | 0:41:11 | 0:41:13 | |
Come here. | 0:41:20 | 0:41:21 | |
PHONE RINGS | 0:41:45 | 0:41:47 | |
Chris Tresize. | 0:41:59 | 0:42:00 | |
'Yeah, it's DI Ashton.' | 0:42:00 | 0:42:02 | |
I need you to come into the station. | 0:42:02 | 0:42:04 | |
I'm not coming anywhere. | 0:42:05 | 0:42:07 | |
Well, we have found Ali's fingerprint near where | 0:42:07 | 0:42:10 | |
we think Ruth's body was buried. | 0:42:10 | 0:42:11 | |
What are you saying? | 0:42:13 | 0:42:14 | |
What were Ali's fingerprints doing there? | 0:42:16 | 0:42:18 | |
'I'm hoping you can help me with that.' | 0:42:18 | 0:42:20 | |
CALL DISCONNECTS | 0:42:23 | 0:42:24 | |
I'm not here to hurt anybody. | 0:42:40 | 0:42:42 | |
You compromise me and I'll kill you. | 0:42:42 | 0:42:44 | |
I know you, Aaron. | 0:42:44 | 0:42:46 | |
You don't have it in you. | 0:42:46 | 0:42:47 | |
How did you know where I was? | 0:42:52 | 0:42:54 | |
They've found where they think Ruth's body was kept. | 0:42:54 | 0:42:57 | |
Ali's fingerprints were there, too. | 0:42:59 | 0:43:01 | |
Her prints...? | 0:43:02 | 0:43:03 | |
Why? She had something to do with Ruth's death? | 0:43:03 | 0:43:06 | |
No. No way. | 0:43:06 | 0:43:07 | |
But you know something, right? | 0:43:07 | 0:43:08 | |
-You must know. -What are you talking about? | 0:43:11 | 0:43:13 | |
I thought Ali might've been sleeping with other men, | 0:43:15 | 0:43:18 | |
but I didn't know who or where she went to do that. | 0:43:18 | 0:43:21 | |
Here. | 0:43:21 | 0:43:23 | |
Look at that. | 0:43:23 | 0:43:25 | |
She was sleeping with your brother. | 0:43:30 | 0:43:31 | |
I think maybe I knew. | 0:43:31 | 0:43:33 | |
I just didn't want to believe it. | 0:43:33 | 0:43:34 | |
No. | 0:43:36 | 0:43:37 | |
We have a warrant to search the premises. | 0:44:27 | 0:44:30 | |
Where's Aaron? Hm? | 0:44:30 | 0:44:31 | |
PHONE RINGS | 0:44:33 | 0:44:35 | |
Hello. | 0:44:44 | 0:44:46 | |
I'm going to the police. | 0:44:46 | 0:44:47 | |
I can't run away from this for ever, can I? | 0:44:48 | 0:44:50 | |
'Will you meet me and come with me?' | 0:44:51 | 0:44:53 | |
Yeah. | 0:44:53 | 0:44:55 | |
We don't need her. | 0:45:24 | 0:45:25 | |
We've found a place where we think Ruth Tresize's body's been kept. | 0:45:33 | 0:45:37 | |
So, I need to ask you, the alibi you gave Aaron for Ruth's murder, | 0:45:37 | 0:45:41 | |
was it accurate? | 0:45:41 | 0:45:42 | |
Cos you said that he was with you at that time. | 0:45:42 | 0:45:44 | |
Yes. | 0:45:44 | 0:45:46 | |
Likewise with Lorna Katz? | 0:45:46 | 0:45:47 | |
On both occasions, he was with you? | 0:45:47 | 0:45:49 | |
Yes. I've said yes. What more do you want me to say?! | 0:45:49 | 0:45:52 | |
Clarissa, how long before we get the DNA on the grave site? | 0:45:52 | 0:45:55 | |
Couple of days, if we're lucky. | 0:45:55 | 0:45:57 | |
These prints, I think there's more wear on the inner sole. | 0:45:58 | 0:46:02 | |
Can you see? | 0:46:02 | 0:46:03 | |
Obviously, I have an unorthodox gait myself, so maybe I'm more sensitive | 0:46:06 | 0:46:10 | |
to this, but I think this guy walks with a bias towards his inner foot. | 0:46:10 | 0:46:16 | |
So, you think the foot rolls in? | 0:46:16 | 0:46:18 | |
Yeah. | 0:46:18 | 0:46:20 | |
Can we access some medical records? | 0:46:21 | 0:46:23 | |
Can I have a word? | 0:46:41 | 0:46:42 | |
I've just spoken with Thomas and Clarissa. | 0:46:47 | 0:46:49 | |
It looks like the killer had talipes. | 0:46:49 | 0:46:51 | |
These are the bootprints from the Lorna scene and Stella's, | 0:46:51 | 0:46:54 | |
and this is them amalgamated. | 0:46:54 | 0:46:55 | |
They match up, pretty much, to make one print from one individual. | 0:46:55 | 0:46:59 | |
So, sorry, talipes? | 0:46:59 | 0:47:00 | |
Club foot. | 0:47:00 | 0:47:01 | |
Surgery in children can pretty much correct it. | 0:47:01 | 0:47:04 | |
You wouldn't necessarily notice it in the way that somebody walked, | 0:47:04 | 0:47:06 | |
but it would still leave a bias. | 0:47:06 | 0:47:08 | |
Which is what there is here. The foot's turned inwards. | 0:47:08 | 0:47:10 | |
So, this is the killer's bootprint? You're sure of that? | 0:47:10 | 0:47:13 | |
Two matching prints left at two scenes? | 0:47:13 | 0:47:16 | |
They checked Aaron's medical records and it's not him. | 0:47:16 | 0:47:18 | |
He has no history of this. | 0:47:18 | 0:47:20 | |
So, who does? | 0:47:20 | 0:47:21 | |
-BEN'S VOICE: -'You think you're going to go, do you? | 0:47:36 | 0:47:38 | |
'Nobody ever leaves me.' | 0:47:40 | 0:47:43 | |
Sarah, those alibis you gave Aaron. | 0:47:59 | 0:48:02 | |
Was Ben with you then, too? | 0:48:04 | 0:48:06 | |
Yes. I already said this. | 0:48:06 | 0:48:08 | |
On both occasions? | 0:48:08 | 0:48:09 | |
Sorry, what is this? | 0:48:12 | 0:48:13 | |
When Lorna Katz died, was he with you all of the time? | 0:48:13 | 0:48:16 | |
Er, he had to go out late that night to meet some people who wanted... | 0:48:21 | 0:48:26 | |
People from the brewery. | 0:48:28 | 0:48:30 | |
Why didn't you mention that before? | 0:48:30 | 0:48:32 | |
Well, I didn't think it mattered. | 0:48:32 | 0:48:34 | |
Like, you know, you asked was I with Ben that night - yes, I was. | 0:48:34 | 0:48:39 | |
What time did he get back? | 0:48:39 | 0:48:40 | |
I'm sorry, why are you asking me questions about Ben? | 0:48:41 | 0:48:43 | |
Please, it's important. | 0:48:43 | 0:48:45 | |
I don't know. | 0:48:47 | 0:48:49 | |
Er, I was asleep. | 0:48:49 | 0:48:51 | |
Late. | 0:48:51 | 0:48:53 | |
And what about the night when Ruth went missing? | 0:48:53 | 0:48:57 | |
That was years ago. | 0:48:57 | 0:48:58 | |
It's in the file. You were here watching New Year fireworks | 0:48:58 | 0:49:02 | |
and Aaron was with you. | 0:49:02 | 0:49:03 | |
And was Ben there, too? | 0:49:03 | 0:49:05 | |
Was he? Was he there all night? | 0:49:05 | 0:49:07 | |
Sarah? | 0:49:08 | 0:49:09 | |
And at the time of Kieran's death, was he here, like you said? | 0:49:11 | 0:49:14 | |
Talipes. | 0:49:17 | 0:49:18 | |
-JACK: -You know what that is, don't you? | 0:49:20 | 0:49:22 | |
The killer may have that condition. | 0:49:22 | 0:49:24 | |
They might have had an operation to put it right, | 0:49:24 | 0:49:26 | |
but they probably still have aches and pains because of it. | 0:49:26 | 0:49:28 | |
Do you know anyone like that? | 0:49:31 | 0:49:33 | |
Sarah? | 0:49:35 | 0:49:36 | |
Hey. | 0:49:47 | 0:49:48 | |
You're making the right decision, giving yourself up. | 0:49:50 | 0:49:53 | |
What happened with you and Ali? Were you sleeping with her? | 0:49:53 | 0:49:55 | |
Who told you this shit? | 0:49:55 | 0:49:56 | |
Just tell me what happened, man! | 0:49:56 | 0:49:58 | |
Did Ruth know about you and Ali? | 0:49:58 | 0:50:00 | |
Did you kill Ruth? | 0:50:00 | 0:50:01 | |
What did you do? | 0:50:06 | 0:50:07 | |
-Ben's mobile? -Yes, we've still got a trace. This way! | 0:50:27 | 0:50:30 | |
You ruined my life, Aaron! | 0:50:39 | 0:50:41 | |
You don't understand, Aaron. | 0:50:41 | 0:50:43 | |
Why did you do it? | 0:50:43 | 0:50:45 | |
Tell me! | 0:50:45 | 0:50:46 | |
Tell me! | 0:50:50 | 0:50:52 | |
Tell me! | 0:50:52 | 0:50:53 | |
Ruth was going to tell Sarah, man. | 0:50:53 | 0:50:55 | |
All she had to do was to promise to say nothing. | 0:50:55 | 0:50:57 | |
What, Lorna and Kieran, you killed them, too? | 0:50:58 | 0:51:01 | |
All this about protecting me was bullshit. | 0:51:01 | 0:51:04 | |
It's always been about you! | 0:51:04 | 0:51:05 | |
I would have fixed this. | 0:51:07 | 0:51:08 | |
What, like you did with Mum? | 0:51:08 | 0:51:09 | |
-She never cared about you, man. -No. | 0:51:09 | 0:51:11 | |
-Mum was going to abandon us both, just like Sarah would've done. -No. | 0:51:11 | 0:51:14 | |
Like Lorna did to you. | 0:51:14 | 0:51:16 | |
Take him. | 0:51:22 | 0:51:24 | |
Aaron, stop. | 0:51:24 | 0:51:26 | |
Stop. Stop. | 0:51:26 | 0:51:27 | |
Stop. | 0:51:31 | 0:51:32 | |
Where is she? | 0:51:33 | 0:51:34 | |
Where's Ruth? | 0:51:34 | 0:51:36 | |
Where have you buried her? | 0:51:36 | 0:51:37 | |
What I don't get is why he moved the body. | 0:51:40 | 0:51:43 | |
Well, the owners of the boatyard had sold the place. | 0:51:43 | 0:51:45 | |
Maybe he got spooked it would've been found. | 0:51:45 | 0:51:48 | |
What about Lorna? | 0:51:48 | 0:51:50 | |
Did she find him in the act of moving the body? | 0:51:50 | 0:51:52 | |
Ashton says Ben's not talking. | 0:51:52 | 0:51:54 | |
Guess we'll never know. | 0:51:55 | 0:51:56 | |
Remember me saying there were soil samples on the side of | 0:51:56 | 0:51:59 | |
-the inspection pit that didn't originate from there? -Yeah. | 0:51:59 | 0:52:02 | |
So, what if...he takes care of Lorna, then he goes, | 0:52:02 | 0:52:06 | |
digs the new grave and comes back to the boatyard to get Ruth's body? | 0:52:06 | 0:52:11 | |
But he uses the same tool, whatever it was, to lift the grill. | 0:52:12 | 0:52:16 | |
So the soil in the pit could've come from that tool, from where | 0:52:16 | 0:52:18 | |
-the body's been moved to? -Yeah. | 0:52:18 | 0:52:19 | |
Is soil analysis back? | 0:52:19 | 0:52:21 | |
Yeah. And it's got diatoms in it, so it's from a flood plain. | 0:52:21 | 0:52:25 | |
There's fly ash in it, too, and other pollution hydrocarbons. | 0:52:26 | 0:52:30 | |
Which suggests what? | 0:52:30 | 0:52:32 | |
That it's near a railway line and a road. | 0:52:32 | 0:52:34 | |
And pollen content... | 0:52:34 | 0:52:36 | |
Classic wet grass meadow. | 0:52:36 | 0:52:38 | |
So, where do we find an area near the River Lea | 0:52:42 | 0:52:45 | |
that fits that profile? | 0:52:45 | 0:52:47 | |
OK, OK. | 0:52:49 | 0:52:52 | |
How about this? | 0:52:52 | 0:52:53 | |
Here's the road. | 0:52:54 | 0:52:56 | |
Here's the railway line. | 0:52:56 | 0:52:57 | |
-Isn't that where Chris Tresize lives? -Mm-hm. | 0:52:57 | 0:53:00 | |
Would he really be that perverse? | 0:53:01 | 0:53:03 | |
Burying her there? | 0:53:03 | 0:53:04 | |
Her father would look out on her, wouldn't he? | 0:53:04 | 0:53:07 | |
Without even realising it. | 0:53:08 | 0:53:09 | |
Something here. | 0:53:58 | 0:53:59 | |
This has been recently dug over. | 0:54:06 | 0:54:08 | |
You've found her? | 0:54:57 | 0:54:58 | |
Yeah. | 0:55:00 | 0:55:01 | |
Ah... | 0:55:06 | 0:55:07 | |
SHE STARTS TO WAIL | 0:55:09 | 0:55:11 | |
HER WAILING INTENSIFIES | 0:55:12 | 0:55:14 | |
This geezer's right up my arse! | 0:55:35 | 0:55:36 | |
Arrrrgh! | 0:55:39 | 0:55:40 | |
So, you think this was a professional job? | 0:55:40 | 0:55:42 | |
If it was, he was having a bad day. | 0:55:42 | 0:55:43 | |
GUNSHOTS | 0:55:43 | 0:55:44 | |
Ricky's dead. He was murdered this morning, and he's after me, too. | 0:55:44 | 0:55:48 | |
I think he's done what he said he was going to do, Paul. | 0:55:48 | 0:55:50 | |
And now it's all going to come out. | 0:55:50 | 0:55:51 | |
I need to speak to Becky and she's blocked me. | 0:55:51 | 0:55:53 | |
It's about her dad. | 0:55:53 | 0:55:54 | |
I know what I did was wrong. | 0:55:54 | 0:55:56 | |
I do. | 0:55:56 | 0:55:57 | |
But I don't deserve to die for it. | 0:55:57 | 0:55:59 | |
Becky, please. Come on, wake up. | 0:55:59 | 0:56:01 | |
Becky, what have you done? | 0:56:01 | 0:56:02 | |
# Testator silens | 0:56:02 | 0:56:09 | |
# Costestes e spiritu | 0:56:09 | 0:56:17 | |
# Silentium. # | 0:56:17 | 0:56:25 |