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This programme contains some scenes which some viewers may find upsetting, from the start. | 0:00:02 | 0:00:07 | |
-KHAN: -But the killer dragged him over and sat him up on the bench with his arm in his jacket pocket. | 0:00:07 | 0:00:11 | |
Matt Garcia, Deputy Chief of Mission. | 0:00:11 | 0:00:12 | |
I've got blood on my clothes. | 0:00:12 | 0:00:14 | |
Well, I'll put them in the wash. | 0:00:14 | 0:00:15 | |
Dr Nikki Alexander, Dr Helen Vine. | 0:00:15 | 0:00:17 | |
Hi. | 0:00:17 | 0:00:18 | |
The MO's similar to Ryan Reed | 0:00:18 | 0:00:20 | |
and the way she's been placed in the chair. | 0:00:20 | 0:00:21 | |
Rosie. | 0:00:21 | 0:00:22 | |
So what's the story there, is she living with you now? | 0:00:22 | 0:00:25 | |
Just until, um... Oh, uh, Julia had the baby. | 0:00:25 | 0:00:27 | |
We've picked up traces of explosives on a package addressed to you. | 0:00:27 | 0:00:31 | |
Police! Don't move! Hands on your heads! | 0:00:31 | 0:00:35 | |
I killed them. | 0:00:35 | 0:00:36 | |
So, Fergus Weir's been charged, has he? | 0:00:36 | 0:00:37 | |
We're remanding him to a secure psychiatric unit. | 0:00:37 | 0:00:40 | |
SHE SPEAKS IN HER OWN LANGUAGE | 0:00:40 | 0:00:42 | |
-Can I take you out? -Really? | 0:00:42 | 0:00:43 | |
Matt? | 0:00:56 | 0:00:58 | |
SIREN WHOOPS | 0:01:08 | 0:01:10 | |
DOG PANTS | 0:01:13 | 0:01:15 | |
HELICOPTER HOVERS OVERHEAD | 0:01:23 | 0:01:26 | |
RADIO CHATTER | 0:01:28 | 0:01:30 | |
-MALE OFFICER: -Yep, understood. -FEMALE OFFICER: -Off you go. | 0:01:30 | 0:01:33 | |
HELICOPTER JUDDERS ABOVE | 0:01:41 | 0:01:44 | |
-Here. -The Assistant Commissioner's on his way, sir. | 0:01:45 | 0:01:47 | |
-Good. Get a decision log in place. -OK. | 0:01:47 | 0:01:49 | |
Where the hell was security? | 0:01:49 | 0:01:51 | |
It's just the one US diplomatic security officer on the gate - unarmed. | 0:01:51 | 0:01:54 | |
-He's in hospital. -Witnesses? Please, God! | 0:01:54 | 0:01:56 | |
Dr Alexander didn't actually see anything. | 0:01:56 | 0:01:58 | |
A neighbour's housekeeper caught a glimpse of what she thinks | 0:01:58 | 0:02:01 | |
was a Transit or Toyota Hiace, dark green or black. | 0:02:01 | 0:02:04 | |
-Good. -No index. | 0:02:04 | 0:02:05 | |
Good. Good, Moss. | 0:02:05 | 0:02:07 | |
QUIET CHATTER OF OFFICERS | 0:02:08 | 0:02:11 | |
Hey. | 0:02:17 | 0:02:18 | |
Hey. | 0:02:20 | 0:02:21 | |
We're not just looking at Weir as a lone agent now. | 0:02:24 | 0:02:27 | |
There are more people involved in this. | 0:02:27 | 0:02:29 | |
Nikki. | 0:02:32 | 0:02:33 | |
Nikki, listen to me now, we need to move on this, OK? | 0:02:34 | 0:02:36 | |
OK. | 0:02:36 | 0:02:38 | |
OK. So... | 0:02:38 | 0:02:40 | |
Uh... | 0:02:41 | 0:02:43 | |
Y-You said you sat in the kitchen while Matt cooked... | 0:02:43 | 0:02:46 | |
then what? | 0:02:46 | 0:02:47 | |
We ate in there. | 0:02:52 | 0:02:53 | |
And then... | 0:02:55 | 0:02:56 | |
Then we spent some time together in here. | 0:02:57 | 0:03:00 | |
And then...we went upstairs. | 0:03:00 | 0:03:04 | |
To Matt's bedroom? | 0:03:04 | 0:03:05 | |
You told the attending officers that you woke up in the night | 0:03:08 | 0:03:10 | |
to use the bathroom. | 0:03:10 | 0:03:12 | |
-Yes. -Could you, uh...show us? | 0:03:12 | 0:03:16 | |
I think it was some time before five, I don't remember exactly. | 0:03:18 | 0:03:22 | |
Do you remember hearing anything outside or inside the house? | 0:03:22 | 0:03:25 | |
Uh... | 0:03:25 | 0:03:27 | |
This bathroom? | 0:03:28 | 0:03:30 | |
Uh... Yes. Um, has it been dusted here? | 0:03:30 | 0:03:33 | |
Not yet. | 0:03:33 | 0:03:35 | |
Right, OK. So you go inside, uh, and the door jams? | 0:03:35 | 0:03:39 | |
-Yes. -And? -Um... | 0:03:39 | 0:03:41 | |
I tried to shift it and when it wouldn't I called out to Matt. | 0:03:43 | 0:03:45 | |
And you're sure you didn't lock it? You know, it-it's early, you're-you're half-asleep. | 0:03:45 | 0:03:49 | |
TOILET FLUSHES | 0:03:51 | 0:03:54 | |
NIKKI: 'Matt?' | 0:03:56 | 0:03:57 | |
No, I-I never do. I live alone, so... | 0:03:57 | 0:04:00 | |
Actually, there was a sound, I think. | 0:04:03 | 0:04:05 | |
INDISTINCT RATTLING | 0:04:05 | 0:04:07 | |
What sound? | 0:04:10 | 0:04:11 | |
INDISTINCT RATTLING | 0:04:11 | 0:04:14 | |
DOOR HANDLE CLICKS | 0:04:14 | 0:04:15 | |
Maybe when he jammed the chair under the door handle. | 0:04:15 | 0:04:18 | |
So, he watched you go into the bathroom, | 0:04:18 | 0:04:21 | |
jammed the chair against the door | 0:04:21 | 0:04:22 | |
and then went into the bedroom where Matt was still asleep? | 0:04:22 | 0:04:25 | |
Yeah, I guess so. | 0:04:26 | 0:04:28 | |
So he moves the victims... | 0:04:35 | 0:04:36 | |
..either before or after he shoots them | 0:04:38 | 0:04:40 | |
and then poses their bodies for some reason. | 0:04:40 | 0:04:43 | |
He's already dead, isn't he? | 0:04:46 | 0:04:48 | |
# Testator silens | 0:04:49 | 0:04:56 | |
# Costestes e spiritu | 0:04:58 | 0:05:05 | |
# Silentium | 0:05:05 | 0:05:20 | |
# Testator silens... # | 0:05:20 | 0:05:29 | |
He was sent a letter bomb - he was clearly on their list. | 0:05:29 | 0:05:33 | |
-We should've foregrounded that. -Yeah, absolutely. | 0:05:33 | 0:05:35 | |
SIGHING: OK, so question number one... | 0:05:37 | 0:05:38 | |
So far the victims were shot near to where their bodies were found... | 0:05:38 | 0:05:41 | |
-Nikki. -..so why've they taken Matt elsewhere? | 0:05:41 | 0:05:43 | |
-Nikki! -What? | 0:05:43 | 0:05:44 | |
What are you doing? | 0:05:46 | 0:05:47 | |
Being objective. | 0:05:48 | 0:05:49 | |
That's not your role here. | 0:05:49 | 0:05:51 | |
You're a witness. You CANNOT be part of the investigation. | 0:05:51 | 0:05:54 | |
Sorry. | 0:05:55 | 0:05:57 | |
Have you got to hand over the case to another lab? | 0:05:58 | 0:06:00 | |
No, no, they want continuity, but for YOU... | 0:06:00 | 0:06:03 | |
..you have to step aside. | 0:06:03 | 0:06:05 | |
Obviously. | 0:06:05 | 0:06:06 | |
-SIGHING: -It'll be all right. | 0:06:16 | 0:06:18 | |
-KHAN: -Now, this guy. | 0:06:22 | 0:06:23 | |
It's a... It's a Hiace, I mean, we've... | 0:06:34 | 0:06:36 | |
We've got a call out on it. | 0:06:36 | 0:06:37 | |
Simple as that. Security was useless. | 0:06:38 | 0:06:41 | |
It's not a public building. And we had our one guy. | 0:06:41 | 0:06:43 | |
Then who the hell is this then? | 0:06:45 | 0:06:46 | |
Run me through the evidence against Fergus Weir again. | 0:07:10 | 0:07:12 | |
-Uh, we've got the fingerprints on... -No, no. What the FBI has on him. | 0:07:12 | 0:07:16 | |
We think he was responsible for a homicide in Miami earlier this year. | 0:07:18 | 0:07:22 | |
The victim was an ex-marine called Niall Schwartz, | 0:07:22 | 0:07:25 | |
who was stationed at the embassy in Mali at the same time | 0:07:25 | 0:07:28 | |
as Ryan Reed and Helen Vine were in the country. | 0:07:28 | 0:07:31 | |
-So what's the connection? -We don't know. | 0:07:31 | 0:07:33 | |
You do know what psychosis is, DCI Solomon? | 0:07:36 | 0:07:39 | |
I do, and his psychiatrist said he's OK to answer questions. | 0:07:39 | 0:07:41 | |
Not that'll stand up in court. | 0:07:41 | 0:07:43 | |
He doesn't know what day of the week it is! | 0:07:43 | 0:07:46 | |
Yeah, well, neither do I. Maybe I'm mad too. | 0:07:46 | 0:07:48 | |
Where's Matt Garcia? | 0:07:48 | 0:07:49 | |
Where've they taken him? | 0:07:51 | 0:07:52 | |
I don't know... I don't know any Matt Garcia. | 0:07:53 | 0:07:57 | |
-You sent him a letter bomb, for Christ's sake! -Hey. | 0:07:57 | 0:07:59 | |
F-Fergus! | 0:07:59 | 0:08:00 | |
We know there are other people involved here, OK? So... | 0:08:03 | 0:08:06 | |
Why's...? Why's he saying that? | 0:08:07 | 0:08:09 | |
Oh, please, Fergus... Fergus, please. Just tell me. | 0:08:09 | 0:08:13 | |
Yeah? Tell me where he is. | 0:08:13 | 0:08:15 | |
Could we go back to when you were shut in that bathroom? | 0:08:19 | 0:08:22 | |
What could you hear outside in the corridor? | 0:08:22 | 0:08:25 | |
Footsteps, um... | 0:08:27 | 0:08:29 | |
on the wooden floor, heading towards the bedroom. | 0:08:29 | 0:08:33 | |
One person? | 0:08:35 | 0:08:37 | |
To begin with. | 0:08:39 | 0:08:41 | |
Then they stopped and... the pattern, the rhythm changed. | 0:08:43 | 0:08:48 | |
So, was there a scuffle, or running, or...? | 0:08:50 | 0:08:54 | |
No, it was like whoever it was stopped close to the bedroom, | 0:08:55 | 0:09:01 | |
or maybe just inside. | 0:09:01 | 0:09:02 | |
And then he moved again... | 0:09:05 | 0:09:07 | |
..but this time there were two of them. | 0:09:09 | 0:09:11 | |
So maybe he was moving Matt back past where I was... | 0:09:12 | 0:09:17 | |
Towards the main stairs. | 0:09:17 | 0:09:19 | |
Did Matt say anything? Did he shout out to you? | 0:09:21 | 0:09:24 | |
MUFFLED VOICES | 0:09:24 | 0:09:27 | |
Not that I heard. | 0:09:32 | 0:09:33 | |
SHE INHALES DEEPLY | 0:09:35 | 0:09:37 | |
CAMERA BEEPS | 0:09:37 | 0:09:39 | |
CAR DOORS OPEN AND SHUT | 0:10:08 | 0:10:10 | |
-Yeah? -Ah, sir... So, they've got alibis for last night, | 0:10:15 | 0:10:18 | |
but the Niall Schwartz killing - are you aware they were both in the States when that happened? | 0:10:18 | 0:10:22 | |
-No. -PHONE RINGS | 0:10:22 | 0:10:24 | |
-Did the FBI know that? -Not that I've been told. | 0:10:24 | 0:10:27 | |
HE SIGHS | 0:10:27 | 0:10:29 | |
Thanks. | 0:10:32 | 0:10:33 | |
So... | 0:10:34 | 0:10:36 | |
This trip to the States, where d'you go, Miami? | 0:10:37 | 0:10:40 | |
Uh, well, Peter was on business in Tampa, | 0:10:40 | 0:10:42 | |
so he paid for us to come over. | 0:10:42 | 0:10:43 | |
-What, you and Fergus? -Yeah. | 0:10:43 | 0:10:44 | |
-And he-he was well enough to go? -Well, he was then, um... | 0:10:44 | 0:10:47 | |
He'd been discharged from the RAF sick, but he got some treatment | 0:10:47 | 0:10:50 | |
and he was OK for a while. | 0:10:50 | 0:10:52 | |
-But he relapsed. That's what they do. -Right. | 0:10:52 | 0:10:56 | |
Right. | 0:10:56 | 0:10:57 | |
You said Peter was in Tampa, | 0:10:58 | 0:11:00 | |
so-so how come you and Fergus flew to Miami? | 0:11:00 | 0:11:02 | |
Oh, we got a deal on the flights. | 0:11:02 | 0:11:04 | |
OK. So did you go down to Miami to meet them? | 0:11:04 | 0:11:07 | |
-And then we... -No, we went up to, um... | 0:11:07 | 0:11:09 | |
-Sorry. We went up to Tampa to Peter... -Uh, sorry. | 0:11:09 | 0:11:11 | |
You should take this. It's Clarissa Mullery. | 0:11:11 | 0:11:13 | |
Excuse me. | 0:11:13 | 0:11:15 | |
-Sorry about that. -No, no... | 0:11:16 | 0:11:17 | |
Ben Solomon. | 0:11:17 | 0:11:19 | |
There's a book amongst Fergus Weir's possessions | 0:11:19 | 0:11:21 | |
that's got a barcode in it. | 0:11:21 | 0:11:23 | |
I've checked it out and it's from Clapton Library in Hackney. | 0:11:23 | 0:11:27 | |
It was borrowed by a guy called Leon Novak. | 0:11:27 | 0:11:30 | |
OK. Thank you. | 0:11:30 | 0:11:32 | |
Do you know Leon Novak? | 0:11:37 | 0:11:40 | |
Yeah, he was in Afghanistan with Fergus. | 0:11:40 | 0:11:43 | |
-What, in the RAF? -Yeah. | 0:11:43 | 0:11:44 | |
D-D'you know if he's still enlisted? | 0:11:44 | 0:11:46 | |
No, no, he's been out a while. | 0:11:46 | 0:11:48 | |
He should be in your files, he's been in trouble with you lot | 0:11:48 | 0:11:51 | |
for thieving and stuff since he's been discharged. | 0:11:51 | 0:11:53 | |
Why you asking? | 0:11:53 | 0:11:55 | |
-Let's get a trace on this guy Novak. Get them down the station. -Yep. | 0:11:59 | 0:12:02 | |
FAINT SIREN WAILS | 0:12:05 | 0:12:08 | |
QUIET CHATTER BETWEEN OFFICERS | 0:12:09 | 0:12:12 | |
Right, if you hang on here a second, I'll get a car to take you home. | 0:12:25 | 0:12:28 | |
-PETER: -They just want what we said on tape and then they'll leave us be. | 0:12:41 | 0:12:44 | |
-ELLA: -Sorry you're caught up in all of this. | 0:12:44 | 0:12:46 | |
-It's OK, it's fine. -Are you going to run for the hills? | 0:12:46 | 0:12:49 | |
-No! -You sure? | 0:12:49 | 0:12:50 | |
Yeah, of course I'm sure. | 0:12:50 | 0:12:52 | |
Dr Alexander? Ready? | 0:12:59 | 0:13:01 | |
LOCK RATTLES | 0:13:05 | 0:13:07 | |
SHE EXHALES DEEPLY | 0:13:12 | 0:13:15 | |
LOW RATTLING | 0:13:41 | 0:13:42 | |
MUFFLED VOICES | 0:13:42 | 0:13:44 | |
NIKKI: 'Matt?' | 0:13:44 | 0:13:45 | |
PHONE RINGS | 0:14:39 | 0:14:42 | |
Hi, bunny, you on your way? | 0:14:49 | 0:14:51 | |
Oh... Where are you then, Janine's? | 0:14:53 | 0:14:55 | |
Right... And her mum's going to feed you, is she? | 0:14:57 | 0:15:00 | |
-HE SIGHS DEEPLY -OK. No, no, no, it's fine, fine. | 0:15:03 | 0:15:06 | |
Just give me a call when you want picking up, yeah? | 0:15:06 | 0:15:08 | |
DOOR BEEPS | 0:15:18 | 0:15:20 | |
Hey! We didn't expect to see you here today. | 0:15:24 | 0:15:27 | |
Well, I just couldn't sit at home staring at walls. | 0:15:27 | 0:15:29 | |
-Still no news? -No. You? | 0:15:29 | 0:15:32 | |
Nothing, sorry. | 0:15:32 | 0:15:34 | |
Hiya. Did you sleep? | 0:15:34 | 0:15:36 | |
What you going to do? | 0:15:38 | 0:15:39 | |
I don't know. Work? | 0:15:40 | 0:15:43 | |
HE SCOFFS LIGHTLY | 0:15:43 | 0:15:45 | |
-We've got a meeting. See you in a bit. -See you in a minute. | 0:15:45 | 0:15:48 | |
We've had the explosive report back on the letter bomb. | 0:15:52 | 0:15:55 | |
Gunshot residue only. No explosive. | 0:15:55 | 0:15:58 | |
These are X-rays of the contents of the letter bomb that wasn't. | 0:15:59 | 0:16:03 | |
We have the memory stick which we assume to be the explosive device. | 0:16:03 | 0:16:07 | |
What is it then, what...? What's on it? | 0:16:07 | 0:16:08 | |
Uh, probably files, documents, photos, information. | 0:16:08 | 0:16:12 | |
What, so they're trying to contact Matt for some reason? | 0:16:12 | 0:16:15 | |
Where does that leave us? | 0:16:15 | 0:16:16 | |
Actually, we do have some additional material now | 0:16:28 | 0:16:31 | |
on the Niall Schwartz homicide. | 0:16:31 | 0:16:32 | |
The killing the FBI have linked to Fergus Weir. | 0:16:32 | 0:16:35 | |
-Can I...? -Do it. | 0:16:35 | 0:16:38 | |
Bear with me. | 0:16:38 | 0:16:39 | |
So, ballistics... Schwartz was shot in Miami in the back of the head, | 0:16:39 | 0:16:44 | |
obviously using a gun that wasn't used in the UK killings. | 0:16:44 | 0:16:47 | |
What, so apart from being in the vicinity, | 0:16:47 | 0:16:49 | |
nothing actually links Fergus to the US killing? | 0:16:49 | 0:16:51 | |
The FBI are still being cagey as to what they'll give us. | 0:16:51 | 0:16:54 | |
-A couple of crime scene photos, the basics. -Why? | 0:16:54 | 0:16:57 | |
Well, Schwartz was a Marine, | 0:16:57 | 0:16:58 | |
it's possible that there were operational matters they don't want to discuss. | 0:16:58 | 0:17:02 | |
To do with Mali? | 0:17:02 | 0:17:03 | |
The body was posed again. | 0:17:05 | 0:17:07 | |
Why, though? Why the hell...? | 0:17:14 | 0:17:17 | |
What is it? Look at the body shape. | 0:17:17 | 0:17:19 | |
It's like he's in control, it's his world, he's the man. | 0:17:19 | 0:17:23 | |
It's Lincoln. | 0:17:25 | 0:17:26 | |
Nikki, you cannot... | 0:17:28 | 0:17:30 | |
Sorry. I know I'm not meant to be involved. | 0:17:30 | 0:17:32 | |
Can I borrow this? I was looking at the other scene-of-crime shots | 0:17:32 | 0:17:35 | |
and I couldn't figure it out, but... | 0:17:35 | 0:17:37 | |
Look at this. | 0:17:40 | 0:17:41 | |
See? | 0:17:43 | 0:17:44 | |
Lincoln was the first president assassinated, right? | 0:17:46 | 0:17:49 | |
Yeah. | 0:17:49 | 0:17:50 | |
How many other presidents were assassinated? | 0:17:50 | 0:17:53 | |
Lincoln, Garfield... | 0:17:53 | 0:17:56 | |
-And then? -McKinley. | 0:17:56 | 0:17:58 | |
And Kennedy, of course. | 0:17:58 | 0:18:00 | |
Garfield was after Lincoln, yeah? | 0:18:00 | 0:18:02 | |
Get him up. | 0:18:02 | 0:18:03 | |
Shot twice - once in the shoulder, once in the back. | 0:18:05 | 0:18:08 | |
Garfield. | 0:18:09 | 0:18:10 | |
NIKKI: Ryan Reed. THOMAS: Oh, God. | 0:18:13 | 0:18:16 | |
Then McKinley. | 0:18:16 | 0:18:17 | |
Two bullets - one in the abdomen, the other ricocheted | 0:18:21 | 0:18:25 | |
and landed on his sleeve. | 0:18:25 | 0:18:26 | |
Which explains why the bullet was placed on Helen Vine's arm. | 0:18:26 | 0:18:29 | |
McKinley - Helen Vine. | 0:18:29 | 0:18:31 | |
PHONE VIBRATES | 0:18:32 | 0:18:33 | |
What are they trying to say with all this? | 0:18:33 | 0:18:35 | |
Excuse me... | 0:18:35 | 0:18:36 | |
These are political killings, aimed at the US establishment? | 0:18:36 | 0:18:41 | |
That they hold the President responsible for...something. | 0:18:41 | 0:18:44 | |
What? And the victims are just proxies? | 0:18:44 | 0:18:46 | |
Four presidents assassinated. Three victims. | 0:18:46 | 0:18:48 | |
So far. | 0:18:48 | 0:18:51 | |
Kennedy. | 0:18:51 | 0:18:52 | |
Shot twice - once to the neck, once to the head. | 0:18:56 | 0:19:01 | |
-INGA: -We found the HiAce. | 0:19:01 | 0:19:02 | |
Waiting to see what it says. | 0:19:30 | 0:19:32 | |
Yeah. | 0:19:34 | 0:19:35 | |
We've had sightings of Leon Novak, Sir. | 0:19:37 | 0:19:39 | |
Following up on that now. | 0:19:39 | 0:19:41 | |
OK. We'll need to do it as soon as possible. | 0:19:41 | 0:19:44 | |
One of your patrol cars found it. They think it's wired. | 0:19:44 | 0:19:47 | |
-Just the van? -No, there's someone inside it. | 0:19:47 | 0:19:50 | |
PHONE VIBRATES | 0:19:50 | 0:19:53 | |
Is it Matt? | 0:19:57 | 0:19:59 | |
OFFICER ON RADIO: 'OK, got the go-ahead. Proceed. | 0:20:08 | 0:20:11 | |
'I'm on my way. Walking towards the vehicle. Stand by.' | 0:20:11 | 0:20:14 | |
I'm 40 metres away | 0:20:19 | 0:20:21 | |
-OVER RADIO: -'30.' -30, did he say? | 0:20:28 | 0:20:30 | |
What's going on? | 0:20:30 | 0:20:31 | |
20. | 0:20:36 | 0:20:38 | |
Ten. | 0:20:41 | 0:20:42 | |
I'm at the vehicle. | 0:20:50 | 0:20:51 | |
No movement from the subject. | 0:20:54 | 0:20:56 | |
'Stand by.' | 0:20:56 | 0:20:58 | |
I've got wiring here. | 0:21:08 | 0:21:09 | |
He's maybe wired the device to the rear doors. | 0:21:09 | 0:21:12 | |
Side door's clear. | 0:21:15 | 0:21:16 | |
'It's clear.' | 0:21:18 | 0:21:20 | |
I'm going to open the door. | 0:21:20 | 0:21:21 | |
I'm in. | 0:21:29 | 0:21:30 | |
He's alive. | 0:21:30 | 0:21:32 | |
'But he's chained to the van.' | 0:21:32 | 0:21:34 | |
I haven't got anything on me that'll cut through those chains. | 0:21:36 | 0:21:39 | |
OK, it's a device attached to the wheel hub. | 0:21:39 | 0:21:44 | |
Six cross-head screws keeping the casing in place. | 0:21:44 | 0:21:49 | |
SCREWDRIVER WHIRS | 0:21:49 | 0:21:51 | |
It's a small device. | 0:21:58 | 0:21:59 | |
Two charges, two detonators... | 0:21:59 | 0:22:02 | |
'..with a primary power source. | 0:22:04 | 0:22:06 | |
'All wiring leads back to the central unit.' | 0:22:06 | 0:22:09 | |
Suspect possible collapsing circuit. | 0:22:09 | 0:22:11 | |
It's on a clock! | 0:22:15 | 0:22:16 | |
Nine, eight... | 0:22:16 | 0:22:17 | |
-OVER RADIO: 'Get out of there!' -I wouldn't make it anyway. -'You've got to try.' | 0:22:17 | 0:22:20 | |
It's a dummy. | 0:22:36 | 0:22:38 | |
There's no explosive. | 0:22:38 | 0:22:39 | |
'We're OK. | 0:22:40 | 0:22:42 | |
'There's no explosive.' | 0:22:42 | 0:22:44 | |
-We're OK. Yeah, we're OK. -HE SIGHS AND EXHALES | 0:22:47 | 0:22:52 | |
-Armed police! -Get down! Down on the floor! -Get down! Get down! | 0:23:00 | 0:23:05 | |
Leon Novak, I am arresting you under the Prevention Of Terrorism Act. | 0:23:07 | 0:23:11 | |
You do not have to say anything, but it may harm your defence if you do not mention when questioned | 0:23:11 | 0:23:15 | |
something you later rely on in court. | 0:23:15 | 0:23:16 | |
What's that? | 0:23:56 | 0:23:58 | |
Uh... A book. | 0:23:58 | 0:24:00 | |
Clever. | 0:24:00 | 0:24:02 | |
It's a load of bollocks. Conspiracy theories. | 0:24:02 | 0:24:04 | |
-Fergus is into that shit. -Did you give it to him? | 0:24:04 | 0:24:08 | |
What, so, you put it in the library, and whoever borrows it gets sent to Gitmo? | 0:24:08 | 0:24:11 | |
-Where were you four nights ago? -I've already told you. | 0:24:11 | 0:24:14 | |
For the recording. | 0:24:14 | 0:24:15 | |
At the John Radcliffe hospital in Oxford, | 0:24:18 | 0:24:19 | |
sitting up all night with my sick father. | 0:24:19 | 0:24:22 | |
All right. 9.36pm, night before last? | 0:24:22 | 0:24:25 | |
How should I know? Why you asking? | 0:24:25 | 0:24:27 | |
Oh? What? Go on - what? | 0:24:29 | 0:24:32 | |
There was a football match that night, right? | 0:24:32 | 0:24:35 | |
There's football most nights, isn't there? | 0:24:35 | 0:24:37 | |
Man U-Leicester. I was in The Lord Bassett in Mile End. | 0:24:37 | 0:24:41 | |
They had it on in there. | 0:24:42 | 0:24:44 | |
But I wasn't really watching it. I was talking to Fergus. | 0:24:44 | 0:24:48 | |
-Fergus was with you? -Yeah. -9.36? | 0:24:49 | 0:24:52 | |
Well, we were together earlier in the day helping | 0:24:52 | 0:24:55 | |
a mate of mine move some granite blocks. Then he went off. | 0:24:55 | 0:24:58 | |
-Where? -He didn't say. | 0:24:58 | 0:25:00 | |
And you met up with him later in The Lord Bassett? | 0:25:00 | 0:25:04 | |
-Yeah. -Did you leave together? | 0:25:04 | 0:25:06 | |
No, he went before me. Would've been about 9.30. | 0:25:06 | 0:25:10 | |
It was a 7.45 kick off, right, | 0:25:10 | 0:25:13 | |
so the match hadn't long finished. | 0:25:13 | 0:25:15 | |
Shit! | 0:25:15 | 0:25:17 | |
Thomas? Can you take a look at this a second? | 0:25:44 | 0:25:47 | |
I think it's pollen. | 0:25:51 | 0:25:52 | |
-Where'd you find it? -It's from the detonator. | 0:25:52 | 0:25:55 | |
Any idea what plant it's from? | 0:25:55 | 0:25:57 | |
I'm getting it analysed. | 0:25:57 | 0:25:59 | |
What I don't get is - why the fake bomb? | 0:25:59 | 0:26:02 | |
-Why go to all that trouble? -Yeah. | 0:26:02 | 0:26:05 | |
Leon's alibi for Fergus Weir checks out. | 0:26:10 | 0:26:13 | |
Pub CCTV's got him leaving at 9.27. | 0:26:13 | 0:26:17 | |
There's no way he could've been at the hotel ten minutes later - | 0:26:17 | 0:26:20 | |
it's way across town. | 0:26:20 | 0:26:23 | |
Right. | 0:26:23 | 0:26:24 | |
Right. Hi. | 0:26:26 | 0:26:27 | |
We've had some information which we think might help Fergus. | 0:26:27 | 0:26:30 | |
What kind of information? | 0:26:30 | 0:26:33 | |
We're thinking maybe he didn't actually pull any trigger - | 0:26:33 | 0:26:36 | |
maybe he's being used in some way. I don't know. | 0:26:36 | 0:26:40 | |
Thing is, he's... He's not really going to talk to me, is he? So... | 0:26:40 | 0:26:43 | |
He can help you, Fergus. | 0:26:45 | 0:26:47 | |
I don't have permission. | 0:26:50 | 0:26:52 | |
Permission for what, Fergus? | 0:26:52 | 0:26:54 | |
-From who? -I can't say any more. | 0:26:54 | 0:26:56 | |
Can I speak to Peter? Alone? | 0:27:02 | 0:27:04 | |
Er... O-OK... | 0:27:04 | 0:27:07 | |
HE SIGHS | 0:27:24 | 0:27:27 | |
She'd hate me if I told her now. | 0:27:32 | 0:27:34 | |
Not for what I've done, but... | 0:27:36 | 0:27:38 | |
..for lying to her. | 0:27:41 | 0:27:42 | |
You know how your illness works. | 0:27:44 | 0:27:46 | |
Things seem worse than they are, you lose perspective. | 0:27:46 | 0:27:50 | |
I mean, she's going to love you whatever, man. | 0:27:51 | 0:27:55 | |
So, if it's going to get you out of here, you know, then tell me. | 0:27:55 | 0:28:01 | |
DOOR LOCK BUZZES | 0:28:05 | 0:28:07 | |
He wants to go home. | 0:28:11 | 0:28:13 | |
And he'll be able to now, won't he? | 0:28:13 | 0:28:17 | |
Because he's innocent. | 0:28:17 | 0:28:19 | |
What do you mean? | 0:28:19 | 0:28:20 | |
The night that woman was murdered, | 0:28:20 | 0:28:23 | |
he didn't go straight home from the pub. | 0:28:23 | 0:28:26 | |
He was...with somebody else. | 0:28:26 | 0:28:30 | |
-He paid for sex. -Why the hell didn't he say before? | 0:28:33 | 0:28:36 | |
With a guy. | 0:28:38 | 0:28:39 | |
That's the man's name and address. | 0:28:43 | 0:28:45 | |
Great. | 0:28:49 | 0:28:50 | |
Did you want me? | 0:29:03 | 0:29:04 | |
Kew Gardens got back with results on the pollen. | 0:29:04 | 0:29:07 | |
It's from a plant called Pitcarnia feliciana which, guess what, | 0:29:07 | 0:29:12 | |
grows in West Africa. | 0:29:12 | 0:29:13 | |
It's not like you can get it in any old garden centre. | 0:29:13 | 0:29:17 | |
It's from outside the EU, | 0:29:17 | 0:29:18 | |
so, you need a phytosanitary certificate to import it. | 0:29:18 | 0:29:22 | |
So, what, we get a list of businesses registered | 0:29:22 | 0:29:24 | |
-that have the certificate, check their addresses? -Yeah. | 0:29:24 | 0:29:27 | |
Can you remember anything about where he took you? | 0:29:28 | 0:29:30 | |
No. He covered my eyes. | 0:29:30 | 0:29:33 | |
He said that what was on the memory stick explained everything. | 0:29:33 | 0:29:37 | |
I told him that it got incinerated before I'd seen it, | 0:29:37 | 0:29:40 | |
but he wouldn't have that. | 0:29:40 | 0:29:42 | |
-He didn't believe me. -Why'd he send it to you? | 0:29:42 | 0:29:45 | |
Because he saw an interview I did here a couple of months ago - | 0:29:45 | 0:29:47 | |
I was banging on about US covert ops. | 0:29:47 | 0:29:51 | |
What about them? | 0:29:51 | 0:29:52 | |
Well, I said that more often than not they end up losing us | 0:29:52 | 0:29:56 | |
the support of the local populations. | 0:29:56 | 0:29:59 | |
What happens is the Pentagon try and boss a situation on the ground | 0:29:59 | 0:30:02 | |
without consulting local communities, | 0:30:02 | 0:30:05 | |
and we diplomats have to go in and smooth things over. | 0:30:05 | 0:30:08 | |
There's a place for secrecy, of course there is, | 0:30:08 | 0:30:11 | |
but it's all becoming habitual. | 0:30:11 | 0:30:13 | |
So, he put information on a memory stick, hoping to get me on his side. | 0:30:13 | 0:30:16 | |
But when I didn't respond, now I'm the great Satan. | 0:30:16 | 0:30:19 | |
11.08.16... 11.08.16... | 0:30:21 | 0:30:24 | |
Central numbers, here. | 0:30:24 | 0:30:26 | |
11.08.16. | 0:30:26 | 0:30:28 | |
To us, that's 11th August 2016. To an American.... | 0:30:28 | 0:30:31 | |
that's 8th November. | 0:30:31 | 0:30:34 | |
I'm wondering if all the victims were in Mali on that date. | 0:30:34 | 0:30:37 | |
Well, if you take the date out, use the numbers that are left, | 0:30:37 | 0:30:41 | |
-what have you got? -Co-ordinates. | 0:30:41 | 0:30:43 | |
Dire. Mali. | 0:30:48 | 0:30:50 | |
-Genius. -Thank you. -Well... | 0:30:52 | 0:30:56 | |
There's got to be something specific, | 0:30:56 | 0:30:57 | |
I mean, he must have asked you... | 0:30:57 | 0:30:59 | |
Like I said, he thought I'd read what he'd sent me. | 0:30:59 | 0:31:03 | |
He beat the shit out of me because he thought I sat on that stuff, too. | 0:31:03 | 0:31:06 | |
Sat on what stuff? | 0:31:06 | 0:31:07 | |
Sat on what stuff, Matt? | 0:31:09 | 0:31:11 | |
There was an incident in Mali involving the US military. | 0:31:14 | 0:31:18 | |
The Pentagon did an internal inquiry, but the report has been suppressed. | 0:31:19 | 0:31:24 | |
So, this is the 8th of November. | 0:31:28 | 0:31:31 | |
And this is the 9th of November. | 0:31:33 | 0:31:36 | |
As you can see, the streets have been wiped out. | 0:31:37 | 0:31:40 | |
He wants that report released to the press. Or somebody else is going to die. | 0:31:42 | 0:31:45 | |
Right. | 0:31:47 | 0:31:49 | |
And the dummy bomb? | 0:31:49 | 0:31:50 | |
Something to make a show, to get the world press there. | 0:31:50 | 0:31:53 | |
And to let somebody else know that he was coming for them, too. | 0:31:53 | 0:31:57 | |
OK, OK, I'm going to ask you what I asked Nikki. | 0:31:57 | 0:32:01 | |
Your eyes were covered throughout, yeah? So, what about sounds? | 0:32:01 | 0:32:05 | |
Maybe a road, but not close. | 0:32:07 | 0:32:09 | |
What about his voice? Did he have an accent? | 0:32:09 | 0:32:11 | |
I mean, I'm not an expert in British accents, | 0:32:13 | 0:32:17 | |
but I think if I were to guess, maybe upper... | 0:32:17 | 0:32:21 | |
Upper class English? You know. Traces of that. | 0:32:21 | 0:32:24 | |
What makes you think that? | 0:32:24 | 0:32:26 | |
Because he didn't say, "yes" or, "yeah", | 0:32:26 | 0:32:29 | |
he said, "yah". | 0:32:29 | 0:32:32 | |
SHE RECALS FAINT, MUFFLED VOICES | 0:32:35 | 0:32:38 | |
Like, very, very English. I don't know. | 0:32:40 | 0:32:43 | |
I don't know, Maybe it's the opposite. | 0:32:43 | 0:32:45 | |
Maybe it wasn't even English at all. | 0:32:45 | 0:32:48 | |
SHE RECALS FAINT, MUFFLED VOICES | 0:32:48 | 0:32:51 | |
-WOMAN: -You sure? -MAN: -Yah, of course I'm sure. | 0:32:51 | 0:32:55 | |
If you heard it again, do you think you'd recognise it? | 0:32:55 | 0:32:58 | |
-It's not upper-class. -Huh? | 0:32:58 | 0:33:00 | |
I heard his voice at Matt's, too. | 0:33:01 | 0:33:03 | |
His accent, it's barely there, | 0:33:04 | 0:33:08 | |
but it's South African. | 0:33:08 | 0:33:10 | |
Is there any other information you can give me? | 0:33:31 | 0:33:34 | |
No? | 0:33:36 | 0:33:38 | |
Sorry. | 0:33:40 | 0:33:42 | |
You sure? | 0:33:42 | 0:33:43 | |
OK. | 0:33:45 | 0:33:47 | |
Right. | 0:33:53 | 0:33:55 | |
We OK? | 0:33:55 | 0:33:57 | |
She met Peter Cilliers in a bar last Christmas. | 0:33:57 | 0:34:00 | |
Did he know Fergus beforehand? | 0:34:00 | 0:34:01 | |
-No. -Not even with the RAF connection? | 0:34:01 | 0:34:03 | |
-Different unit, different times. -Is there a Mali connection? | 0:34:03 | 0:34:06 | |
She's never been, nor has her brother or Cilliers, not to her knowledge. | 0:34:06 | 0:34:09 | |
The records bear that out. | 0:34:09 | 0:34:10 | |
Cilliers was born in the UK but brought up in South Africa. | 0:34:10 | 0:34:12 | |
So, UK passport? | 0:34:12 | 0:34:14 | |
Yeah. Been back here living since 18. | 0:34:14 | 0:34:16 | |
He's been working in the water industry since leaving the RAF. | 0:34:16 | 0:34:19 | |
And Fergus Weir's alibi for Helen Vine? | 0:34:19 | 0:34:22 | |
That checked out. | 0:34:22 | 0:34:24 | |
We traced his movements and he was with him | 0:34:24 | 0:34:26 | |
on the night that Ryan Reed was killed also. | 0:34:26 | 0:34:28 | |
Seriously? You've confirmed that? | 0:34:28 | 0:34:31 | |
-That's absolutely confirmed? -Yeah. | 0:34:31 | 0:34:33 | |
So, we've been looking at the wrong guy all this time. | 0:34:33 | 0:34:35 | |
And Fergus's fingerprint on the envelope? | 0:34:35 | 0:34:37 | |
They were both staying here. | 0:34:37 | 0:34:39 | |
It wouldn't've been difficult for Cilliers to engineer that. | 0:34:39 | 0:34:42 | |
He'd just have to ask Fergus to handle it for some reason. | 0:34:42 | 0:34:45 | |
Right. Right. So he used him as a decoy. Right. Excuse me! | 0:34:45 | 0:34:49 | |
Excuse me! | 0:34:51 | 0:34:52 | |
What's that? | 0:35:25 | 0:35:27 | |
That is an anchovy. | 0:35:27 | 0:35:28 | |
They're for grown ups. You wouldn't like them. | 0:35:28 | 0:35:32 | |
Rosie! | 0:35:32 | 0:35:34 | |
Look at your face. | 0:35:37 | 0:35:38 | |
You'd rather sit there and pretend to enjoy that | 0:35:38 | 0:35:40 | |
than admit your dad was right, wouldn't you? | 0:35:40 | 0:35:43 | |
They're delicious. | 0:35:43 | 0:35:44 | |
-Really? -Mm-hmm. -Would you like some more? | 0:35:44 | 0:35:46 | |
-I'm full. -Really? | 0:35:47 | 0:35:48 | |
SHE LAUGHS | 0:35:48 | 0:35:50 | |
DOORBELL CHIMES | 0:35:50 | 0:35:52 | |
Oh. Hiya. How are you? | 0:35:53 | 0:35:57 | |
Great. Thanks. | 0:35:57 | 0:35:59 | |
Sorry. Come on in. | 0:35:59 | 0:36:02 | |
For five minutes. I've just come for Rosie. | 0:36:02 | 0:36:05 | |
Thanks for having her for so long. | 0:36:05 | 0:36:07 | |
-Mum! -Hey! | 0:36:07 | 0:36:09 | |
Oh... Oh, my love. | 0:36:09 | 0:36:12 | |
There's a little girl at home who wants to see you. | 0:36:13 | 0:36:16 | |
Rosie, will you just go and get your stuff? | 0:36:16 | 0:36:19 | |
All right. | 0:36:19 | 0:36:20 | |
Did you call Rosie before you came round? | 0:36:24 | 0:36:28 | |
No. But you knew as soon as I came home that I'd come for her. | 0:36:28 | 0:36:31 | |
That was the arrangement, wasn't it? | 0:36:31 | 0:36:33 | |
Yes. Yeah, yeah. | 0:36:33 | 0:36:35 | |
-I thought you'd want her out of your hair. -No! No, God, no. | 0:36:35 | 0:36:39 | |
I just thought you might call, you know. Give us a bit of warning. | 0:36:39 | 0:36:44 | |
She been OK? | 0:36:44 | 0:36:45 | |
Yeah. Yeah, we've had a great time. | 0:36:47 | 0:36:49 | |
Bye. | 0:36:54 | 0:36:55 | |
Here you are. | 0:37:08 | 0:37:09 | |
There you are. Where've you been? | 0:37:09 | 0:37:11 | |
I was ringing the service bell and everything. | 0:37:11 | 0:37:13 | |
Your Lordship. HE CHUCKLES | 0:37:13 | 0:37:15 | |
Hot. | 0:37:15 | 0:37:16 | |
I'm going to tell you something, OK? | 0:37:33 | 0:37:34 | |
When you were missing, I made a promise. | 0:37:40 | 0:37:43 | |
What kind of promise? | 0:37:45 | 0:37:47 | |
If I'm going to carry on working like I do, then... | 0:37:50 | 0:37:53 | |
You see... | 0:37:56 | 0:37:57 | |
..something happened to me in Mexico. | 0:37:59 | 0:38:01 | |
It was tough. | 0:38:03 | 0:38:05 | |
It's taken time to get through. | 0:38:05 | 0:38:07 | |
But it's really tough, in a different way, when it's happening to someone that you're close to. | 0:38:09 | 0:38:15 | |
And I want good things in my life. | 0:38:17 | 0:38:19 | |
As many good things as I can find. | 0:38:21 | 0:38:23 | |
And... | 0:38:25 | 0:38:27 | |
..I think I do want to share all that with someone. | 0:38:28 | 0:38:32 | |
Someone? | 0:38:35 | 0:38:36 | |
Yeah, someone. | 0:38:37 | 0:38:39 | |
No, you. I want to share it with you. | 0:38:43 | 0:38:45 | |
Yeah? | 0:38:45 | 0:38:46 | |
-I can't move... -HE WINCES | 0:38:55 | 0:38:59 | |
Wait, wait, wait, wait. Hold on a sec. | 0:39:01 | 0:39:03 | |
-What are you doing? -Just... | 0:39:03 | 0:39:05 | |
Matt? | 0:39:06 | 0:39:08 | |
-What? -Come on! | 0:39:11 | 0:39:14 | |
Absolutely not! Matt, I didn't mean... | 0:39:14 | 0:39:16 | |
VOICES OUTSIDE | 0:39:22 | 0:39:26 | |
You are absolutely bloody crazy. | 0:39:26 | 0:39:28 | |
-Hi. -Hi. How is he? | 0:39:43 | 0:39:46 | |
Is he up and about? | 0:39:46 | 0:39:48 | |
Er, yeah. Sort of. Come in. | 0:39:48 | 0:39:51 | |
Can I get you a coffee or...? | 0:39:54 | 0:39:56 | |
Er, no. Thank you. | 0:39:56 | 0:39:58 | |
Sir? | 0:40:00 | 0:40:02 | |
So... Fergus Weir is innocent. | 0:40:02 | 0:40:06 | |
We think he knows more, but we've had to let him go. | 0:40:06 | 0:40:09 | |
Yeah, we've been updated. | 0:40:09 | 0:40:10 | |
And do you know about Dire? | 0:40:10 | 0:40:12 | |
It's a town in Mali. | 0:40:14 | 0:40:16 | |
8th of November, 2016, an area to the west of it | 0:40:16 | 0:40:18 | |
wiped out in a military action of some kind. | 0:40:18 | 0:40:21 | |
The Malian government blamed Islamists, but... | 0:40:21 | 0:40:24 | |
..we're increasingly convinced that Washington's been keeping | 0:40:24 | 0:40:27 | |
information to themselves about this, and we don't know why. | 0:40:27 | 0:40:31 | |
Cilliers said something like that, more or less. | 0:40:31 | 0:40:33 | |
Did you talk to the State Department directly? | 0:40:34 | 0:40:37 | |
I've tried, the Commissioner's tried, | 0:40:37 | 0:40:39 | |
the Home Office has tried, but we're getting stalled. | 0:40:39 | 0:40:41 | |
And we've got an armed man out there threatening another killing, | 0:40:41 | 0:40:44 | |
and we've no idea who he's after. | 0:40:44 | 0:40:46 | |
All right. Leave it with me, I'll get Kim to chase Washington. | 0:40:46 | 0:40:50 | |
Thank you. | 0:40:51 | 0:40:53 | |
-After you, Sir. -Thank you. | 0:40:55 | 0:40:57 | |
Why did you think I'd care about who you had sex with? | 0:41:18 | 0:41:22 | |
You don't approve. | 0:41:22 | 0:41:23 | |
No, that's you - you don't approve. | 0:41:23 | 0:41:25 | |
You're the only one with a problem with it, nobody else. | 0:41:25 | 0:41:28 | |
Just help them, Fergus. | 0:41:30 | 0:41:31 | |
What are you frightened of? What do you think is going to happen? | 0:41:31 | 0:41:35 | |
They will extradite me to the US, and they will lock me up | 0:41:35 | 0:41:39 | |
and they will throw away the key. And that's what's will happen. | 0:41:39 | 0:41:43 | |
Who told you that? | 0:41:43 | 0:41:45 | |
Who told you that! | 0:41:46 | 0:41:48 | |
They terrorised me, and they'll do it again. | 0:41:50 | 0:41:55 | |
No question. | 0:41:55 | 0:41:56 | |
PHONE RINGS | 0:42:07 | 0:42:08 | |
Hello? | 0:42:12 | 0:42:14 | |
-PETER: -'Ella?' | 0:42:14 | 0:42:15 | |
I'm here. | 0:42:17 | 0:42:18 | |
'I want to explain. | 0:42:18 | 0:42:20 | |
'Please. I'm in a call box by the park gates. | 0:42:20 | 0:42:23 | |
'Can you come and meet me? Please.' | 0:42:23 | 0:42:26 | |
-Now? -LINE GOES DEAD | 0:42:26 | 0:42:29 | |
INAUDIBLE CONVERSATION | 0:42:33 | 0:42:37 | |
ENGINE STARTS | 0:42:43 | 0:42:45 | |
TYRES SCREECH | 0:42:45 | 0:42:46 | |
Hey. You never got back to me. Did you chase up Washington? | 0:42:53 | 0:42:56 | |
I did. And the information's classified. | 0:42:56 | 0:43:00 | |
Sorry. | 0:43:00 | 0:43:01 | |
But you've read it? | 0:43:01 | 0:43:03 | |
No, no, this guy had a gun to my head, Kim. | 0:43:05 | 0:43:08 | |
Now's not the time to stall on me. | 0:43:08 | 0:43:10 | |
What's going on here? | 0:43:12 | 0:43:14 | |
Have Washington misled this investigation? | 0:43:14 | 0:43:17 | |
Look, I just came across the files today, OK? | 0:43:17 | 0:43:19 | |
Nothing's been hidden, nobody's been misled. | 0:43:19 | 0:43:23 | |
Wait, w-what is it, then? Huh? What? They withhold information? | 0:43:23 | 0:43:26 | |
Is that what they did? | 0:43:26 | 0:43:27 | |
A man's going to die, no doubt about it. | 0:43:29 | 0:43:32 | |
Now, I don't think you've completely bought into the shit you're supposed to. | 0:43:32 | 0:43:35 | |
There's still some common decency in there. | 0:43:35 | 0:43:38 | |
But you toe the line now, you're going to regret this when it all comes down on your head. | 0:43:40 | 0:43:44 | |
There was a cover-up. All the victims were involved in it. | 0:43:46 | 0:43:51 | |
Ryan Reed was running the Malian Embassy, | 0:43:52 | 0:43:56 | |
Niall Schwartz was heading up security and | 0:43:56 | 0:43:58 | |
Helen Vine was running charity programmes which were given | 0:43:58 | 0:44:02 | |
preferential treatment for Foreign Assistance funding, as a thank you. | 0:44:02 | 0:44:06 | |
She was paid off? For what, the strike on Dire? | 0:44:08 | 0:44:12 | |
Yeah. | 0:44:12 | 0:44:13 | |
The targets were Islamist insurgents, | 0:44:13 | 0:44:15 | |
but the intelligence was flawed and it wiped out several families. | 0:44:15 | 0:44:20 | |
Fergus Weir was recruited to Africom in Djibouti. | 0:44:20 | 0:44:25 | |
He was working for us, but not in logistics. | 0:44:25 | 0:44:29 | |
We trained him to fly drones. | 0:44:29 | 0:44:31 | |
Are you telling me he piloted that attack? | 0:44:34 | 0:44:36 | |
Is that what you're telling me? | 0:44:37 | 0:44:39 | |
He's the next victim, Kim. | 0:44:39 | 0:44:41 | |
-You OK? -Yeah. -Good. | 0:44:45 | 0:44:48 | |
PHONE RINGS | 0:44:48 | 0:44:52 | |
'We're at the call box. There's no-one there.' | 0:44:52 | 0:44:54 | |
Fergus? | 0:44:55 | 0:44:56 | |
Fergus? | 0:44:59 | 0:45:01 | |
OK. I need back up. | 0:45:07 | 0:45:08 | |
I'm not going to hurt you. I'm not going to hurt you. | 0:45:21 | 0:45:24 | |
I can't lie to you. | 0:45:27 | 0:45:30 | |
That's what I'm fighting against. | 0:45:30 | 0:45:32 | |
I've never loved you. | 0:45:32 | 0:45:35 | |
There's somebody else. | 0:45:35 | 0:45:36 | |
And everything I do, I do for her. | 0:45:38 | 0:45:40 | |
I got into your life for Fergus. | 0:45:42 | 0:45:44 | |
He's seen the report, he knows who the guilty are. | 0:45:45 | 0:45:50 | |
And one by one he met with them wanting closure. | 0:45:50 | 0:45:52 | |
And all I had to do was follow him and he led me to them. | 0:45:52 | 0:45:56 | |
-Now you know. -Please. Please don't hurt me! | 0:45:56 | 0:45:59 | |
-SHE SCREAMS -Please don't hurt me! | 0:45:59 | 0:46:01 | |
Let me out! Let me out! | 0:46:03 | 0:46:06 | |
SHE WAILS AND BANGS ON DOOR | 0:46:06 | 0:46:10 | |
Help me! Help me! | 0:46:10 | 0:46:12 | |
Help! Help! | 0:46:14 | 0:46:17 | |
-Get up. -Wait... | 0:46:29 | 0:46:31 | |
-Get up! -Wait, wait. | 0:46:31 | 0:46:34 | |
Where the hell's he taken him, then? | 0:46:52 | 0:46:54 | |
Jack found plant debris from the matting at Ella Weir's. | 0:46:54 | 0:46:57 | |
You need something called a phytosanitary certificate to | 0:46:57 | 0:47:00 | |
bring Pitcarnia Feliciana into this country. | 0:47:00 | 0:47:02 | |
Here's a list of everyone who's got one - and their addresses. | 0:47:02 | 0:47:05 | |
No Peter Cilliers? | 0:47:05 | 0:47:07 | |
Not on the list. | 0:47:07 | 0:47:08 | |
-PHONE RINGS -We've identified some other species. | 0:47:08 | 0:47:11 | |
We've got Cape forget-me-not, | 0:47:11 | 0:47:12 | |
protea, corn lily. | 0:47:12 | 0:47:14 | |
-All African plants. -Yes. | 0:47:14 | 0:47:15 | |
So, obviously he's somewhere, or he's been somewhere, to pick that up. | 0:47:15 | 0:47:18 | |
Right. We got a sighting of him in a stolen car heading west on Tower Hill. | 0:47:18 | 0:47:23 | |
Right, check garden centres and plant nurseries in that direction. Yep. | 0:47:23 | 0:47:27 | |
Got something here, too, from Kim Price. | 0:47:27 | 0:47:29 | |
US Defence Department files. | 0:47:30 | 0:47:32 | |
People killed in the Mali attack. | 0:47:32 | 0:47:35 | |
-Prints, DNA, the works. -What a surprise. | 0:47:35 | 0:47:37 | |
23 victims, all Malian. | 0:47:55 | 0:47:58 | |
If we're looking to a connection to Cilliers, it has to be | 0:47:58 | 0:48:00 | |
someone who's been to the UK - Cilliers has never set foot in Mali. | 0:48:00 | 0:48:04 | |
-Can we check travel documents and passports? -Yeah. I'm on it. | 0:48:04 | 0:48:07 | |
Out. | 0:48:19 | 0:48:20 | |
-Get out! -FERGUS GROANS | 0:48:22 | 0:48:25 | |
Get up. | 0:48:33 | 0:48:34 | |
Wait, wait. Listen! | 0:48:38 | 0:48:40 | |
Get on the ground! | 0:48:45 | 0:48:46 | |
Do you know who I am now? | 0:48:54 | 0:48:55 | |
Huh? | 0:48:56 | 0:48:57 | |
Do you know who I am?! | 0:48:59 | 0:49:00 | |
OK. We've got three of them. Three people have visited the UK. | 0:49:01 | 0:49:05 | |
This guy, Joseph Newham. | 0:49:05 | 0:49:09 | |
And a mother and daughter. | 0:49:09 | 0:49:11 | |
We've got audio files. | 0:49:11 | 0:49:13 | |
WOMAN'S VOICE: 'He's going to take us tomorrow. | 0:49:13 | 0:49:16 | |
-'Call me again, yeah? Before you board? -Oui. -I can't wait.' | 0:49:16 | 0:49:19 | |
What is this? | 0:49:20 | 0:49:22 | |
They can pick up phone conversations on the ground. | 0:49:22 | 0:49:25 | |
WOMAN: 'Je serai la. Regarde-moi. M'bi fe, mon cher.' | 0:49:25 | 0:49:29 | |
LOUD NOISE ON RECORDING | 0:49:29 | 0:49:31 | |
SCREAMS | 0:49:33 | 0:49:36 | |
RECORDING STOPS | 0:49:36 | 0:49:37 | |
Will... Will Fergus have heard this while he was flying the drone? | 0:49:43 | 0:49:47 | |
Yes. | 0:49:47 | 0:49:49 | |
Leila is Malian from Dire. | 0:49:51 | 0:49:54 | |
Been in the UK since 2014. | 0:49:54 | 0:49:56 | |
Was back in Mali with her daughter visiting family and... | 0:49:56 | 0:50:01 | |
..here it is. Exporting plants. | 0:50:01 | 0:50:03 | |
The daughter's mixed race. | 0:50:03 | 0:50:06 | |
Is it possible she's Cillliers'? | 0:50:07 | 0:50:09 | |
So, that's Cilliers' partner and that's their daughter? | 0:50:09 | 0:50:13 | |
There's your motive. | 0:50:13 | 0:50:15 | |
Absolutely. | 0:50:15 | 0:50:16 | |
Did she have an import certificate? | 0:50:16 | 0:50:17 | |
-Yes. -Are her business premises listed? | 0:50:17 | 0:50:20 | |
Coming through. | 0:50:20 | 0:50:21 | |
White Stable Gardens, Greenford Lane. | 0:50:24 | 0:50:27 | |
Peter. | 0:50:39 | 0:50:40 | |
Peter. | 0:50:40 | 0:50:42 | |
We're family. | 0:50:42 | 0:50:43 | |
-Wait. Listen, listen, listen! -Shut up! | 0:50:57 | 0:51:00 | |
The first bullet entered the back in a downward trajectory. | 0:51:09 | 0:51:14 | |
The second... | 0:51:15 | 0:51:17 | |
..hit the centre of the skull, shattering the brain. | 0:51:19 | 0:51:24 | |
Listen... | 0:51:24 | 0:51:25 | |
Before you do this... | 0:51:26 | 0:51:28 | |
Before you do this, you should know I've suffered. I've suffered. | 0:51:28 | 0:51:33 | |
I've suffered. I thought I was all right before I was. | 0:51:33 | 0:51:36 | |
You still don't get this, do you? Huh? Huh?! | 0:51:37 | 0:51:39 | |
My family... | 0:51:43 | 0:51:46 | |
..died in Dire. | 0:51:46 | 0:51:49 | |
It's OK. | 0:52:07 | 0:52:09 | |
I understand. | 0:52:10 | 0:52:12 | |
WOMAN'S VOICE: 'Tu ne peux pas m'echapper.' | 0:52:12 | 0:52:14 | |
What? | 0:52:15 | 0:52:16 | |
What! | 0:52:18 | 0:52:19 | |
-A woman. -'Regarde-moi.' | 0:52:21 | 0:52:25 | |
-She talks to me sometimes. -'Tu ne peux pas.' | 0:52:25 | 0:52:28 | |
She's French or something, I don't know. | 0:52:28 | 0:52:30 | |
-'Regarde-moi.' -Is she here now? | 0:52:30 | 0:52:32 | |
'M'bi fe, mon cher.' | 0:52:32 | 0:52:34 | |
-Yes. -'M'bi fe, mon cher.' | 0:52:34 | 0:52:36 | |
I see her. | 0:52:36 | 0:52:37 | |
'M'bi fe, mon cher.' | 0:52:37 | 0:52:39 | |
M'bi fe, mon cher. | 0:52:39 | 0:52:41 | |
-'M'bi fe, mon cher.' -M'bi fe, mon cher. -No, no, no... | 0:52:41 | 0:52:45 | |
Who told you that? | 0:52:45 | 0:52:47 | |
Mon cher... M'bi fe, mon cher. | 0:52:47 | 0:52:49 | |
-'Je t'aime.' -Je t'aime. | 0:52:49 | 0:52:51 | |
Those were her last words to me. | 0:52:51 | 0:52:54 | |
There's no way you could know that. | 0:52:54 | 0:52:57 | |
'On a assez souffert.' | 0:52:57 | 0:52:58 | |
-'On a assez souffert.' -On a assez... On a assez souffert. | 0:53:02 | 0:53:07 | |
'On a assez souffert.' | 0:53:07 | 0:53:09 | |
Souffert? Souffert. | 0:53:09 | 0:53:11 | |
-Assez souffert. -'M'bi fe, mon cher. Regarde-moi.' | 0:53:11 | 0:53:15 | |
On a assez souffert. I don't know. | 0:53:15 | 0:53:18 | |
I don't know what it means. | 0:53:18 | 0:53:20 | |
It means... | 0:53:22 | 0:53:24 | |
.."we've suffered enough". | 0:53:26 | 0:53:28 | |
-Armed Police! -Down on the ground! | 0:53:30 | 0:53:31 | |
-Put the gun down! -Peter. Peter. -Put the weapon down, now! | 0:53:31 | 0:53:35 | |
-Peter... -Down on the ground! -Peter... | 0:53:35 | 0:53:38 | |
Put it down. | 0:53:38 | 0:53:40 | |
Down. | 0:53:40 | 0:53:41 | |
Peter, put it down. | 0:53:43 | 0:53:45 | |
That's right. | 0:53:51 | 0:53:52 | |
Peter... | 0:53:55 | 0:53:57 | |
-No! -GUNSHOT | 0:54:06 | 0:54:08 | |
PETER GASPS | 0:54:13 | 0:54:15 | |
Whatever you think of me for holding on to that information, | 0:54:37 | 0:54:40 | |
I was doing my job. | 0:54:40 | 0:54:41 | |
Good luck with that. | 0:54:43 | 0:54:44 | |
Great news about Matt. | 0:54:46 | 0:54:47 | |
His chance to run for Congress? | 0:54:49 | 0:54:51 | |
What he's always wanted. | 0:54:51 | 0:54:52 | |
Yeah. | 0:54:55 | 0:54:56 | |
So, they've appointed somebody to take my place. | 0:55:02 | 0:55:05 | |
What are you going to do? | 0:55:06 | 0:55:08 | |
I'm going to apply for a work permit here. | 0:55:08 | 0:55:10 | |
And what about Congress? | 0:55:15 | 0:55:16 | |
-Who told you about that? -Doesn't matter. | 0:55:19 | 0:55:22 | |
That would mean moving back to Washington, and... | 0:55:22 | 0:55:28 | |
..I'd rather be here with you. If you'll have me. | 0:55:28 | 0:55:33 | |
And the wider world? | 0:55:33 | 0:55:35 | |
The wider world? | 0:55:35 | 0:55:37 | |
Isn't that what this is about for you? | 0:55:37 | 0:55:40 | |
Making some kind of difference? | 0:55:40 | 0:55:42 | |
You can't do that by going on TV | 0:55:42 | 0:55:45 | |
and trying to promote a more equitable foreign policy. | 0:55:45 | 0:55:49 | |
Who's going to listen to that? | 0:55:49 | 0:55:51 | |
If you want to make changes, then you need to be where people | 0:55:51 | 0:55:55 | |
who make decisions are. And that's Washington. | 0:55:55 | 0:55:59 | |
Are you... Are you getting cold feet? | 0:55:59 | 0:56:03 | |
You don't want me stay? | 0:56:03 | 0:56:05 | |
No. I want you to be here more than anything. | 0:56:05 | 0:56:08 | |
But not if it's this big sacrifice. | 0:56:09 | 0:56:12 | |
This is a once-in-a-lifetime offer, right? | 0:56:14 | 0:56:17 | |
And you have to go. | 0:56:22 | 0:56:23 | |
I know it... | 0:56:26 | 0:56:28 | |
..and so do you. | 0:56:28 | 0:56:29 | |
It's a six-hour flight. | 0:56:52 | 0:56:54 | |
It's 3,668 miles, I think. | 0:56:54 | 0:56:58 | |
Wow. I guess it is. | 0:56:59 | 0:57:02 | |
That's OK. It's fine. I'll come see you. | 0:57:02 | 0:57:04 | |
Go on. | 0:57:08 | 0:57:09 | |
No, don't go. Come back. | 0:57:13 | 0:57:15 | |
Oh, Matt? | 0:57:28 | 0:57:30 | |
I've got one for you, too. | 0:57:30 | 0:57:32 | |
Kevin! Kevin! | 0:58:04 | 0:58:07 | |
Let me go! | 0:58:07 | 0:58:09 | |
This is Kevin McDowd. | 0:58:09 | 0:58:11 | |
Don't touch him. He doesn't like being touched. It sets him off. | 0:58:11 | 0:58:13 | |
Why did she lose control of her car? | 0:58:13 | 0:58:15 | |
Any drugs at the house or in her car? | 0:58:15 | 0:58:18 | |
Serena? | 0:58:18 | 0:58:19 | |
It's time to take your medication. | 0:58:19 | 0:58:21 | |
-I don't want to go in. -OK. | 0:58:21 | 0:58:24 | |
I hate her. I hate Mum. | 0:58:24 | 0:58:27 | |
I think Jacqueline McDowd was unlawfully killed. | 0:58:27 | 0:58:30 | |
Why isn't the McDowd boy in custody? | 0:58:30 | 0:58:32 | |
If you don't leave, I'll get my gun and shoot you! | 0:58:32 | 0:58:34 | |
# Testator silens | 0:58:37 | 0:58:45 | |
# Costestes e spiritu | 0:58:46 | 0:58:53 | |
# Silentium. # | 0:58:53 | 0:59:01 |