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This programme contains some strong language. | 0:00:02 | 0:00:09 | |
CAMERA SHUTTERS CLICK | 0:00:23 | 0:00:28 | |
CAMERA SHUTTERS CLICK | 0:00:33 | 0:00:35 | |
You look lovely, Lula. | 0:00:38 | 0:00:40 | |
CAMERA SHUTTERS CLICK | 0:00:40 | 0:00:41 | |
Lula, over here. Lula, just turn around! | 0:00:41 | 0:00:44 | |
PHONE RINGS | 0:01:47 | 0:01:51 | |
Look, I don't want to see you, OK? | 0:01:51 | 0:01:53 | |
DOORBELL RINGS | 0:02:07 | 0:02:08 | |
PHONE RINGS | 0:02:42 | 0:02:45 | |
SIRENS WAIL | 0:03:31 | 0:03:34 | |
CAMERA SHUTTERS CLICK | 0:03:54 | 0:03:56 | |
SIRENS GROW LOUDER | 0:03:56 | 0:03:58 | |
# You and me | 0:04:02 | 0:04:03 | |
# Me and you | 0:04:05 | 0:04:06 | |
# Somehow, we made it through | 0:04:08 | 0:04:12 | |
# I may be gone, I may be far away | 0:04:14 | 0:04:18 | |
# But I walk beside you every step of the way | 0:04:20 | 0:04:25 | |
# When you're used, bruised, black and blued | 0:04:27 | 0:04:34 | |
# I'll think about it | 0:04:34 | 0:04:37 | |
# Never doubt it | 0:04:38 | 0:04:41 | |
# I'll walk beside you. # | 0:04:41 | 0:04:44 | |
Doors will open on the left-hand side. | 0:04:46 | 0:04:49 | |
Change for the Northern Line. | 0:04:49 | 0:04:51 | |
-SHOUTING FROM UPSTAIRS: -Why are you doing this? | 0:05:31 | 0:05:33 | |
Because I can't live with you any more! | 0:05:33 | 0:05:35 | |
For a chance of being happy without some psycho making my life a misery. | 0:05:35 | 0:05:38 | |
Oh, a psycho now, as well as a liar. | 0:05:38 | 0:05:40 | |
Yeah, among other things. | 0:05:40 | 0:05:42 | |
And where are you going to sleep next? | 0:05:42 | 0:05:43 | |
I don't know, but anywhere will be better than... | 0:05:43 | 0:05:45 | |
CLUNK Argh! You mad bitch! | 0:05:45 | 0:05:48 | |
You need me, you just watch! | 0:05:48 | 0:05:49 | |
THUDDING | 0:05:49 | 0:05:51 | |
Walk away! | 0:05:52 | 0:05:54 | |
You'll come running back. You always do! | 0:05:57 | 0:06:00 | |
Charlotte! | 0:06:10 | 0:06:11 | |
SHE GASPS | 0:06:11 | 0:06:13 | |
Sit down. | 0:06:22 | 0:06:23 | |
-You OK? -Yeah, sorry. | 0:06:25 | 0:06:26 | |
Sorry about that. | 0:06:26 | 0:06:28 | |
Oh, it's fine. Um... | 0:06:28 | 0:06:30 | |
Um... | 0:06:34 | 0:06:35 | |
How can I help you? | 0:06:36 | 0:06:38 | |
Oh, um...er...I'm the new temp. | 0:06:38 | 0:06:41 | |
I'm here for the week. | 0:06:41 | 0:06:42 | |
No, I cancelled that. | 0:06:42 | 0:06:43 | |
-Um... -Definitely. | 0:06:43 | 0:06:45 | |
They're pretty strict on refunds. | 0:06:47 | 0:06:48 | |
OK. | 0:06:53 | 0:06:55 | |
I'll just, er, clear this. | 0:06:55 | 0:06:57 | |
So do you want me to...? | 0:06:58 | 0:07:00 | |
Yeah, just, you know... | 0:07:01 | 0:07:03 | |
I'll be in my office. | 0:07:07 | 0:07:08 | |
OK. | 0:07:10 | 0:07:11 | |
SHE SIGHS | 0:07:33 | 0:07:34 | |
KNOCK AT DOOR | 0:07:58 | 0:08:00 | |
Hello, can I help you? | 0:08:02 | 0:08:03 | |
Oh, hi. Um, my name's John Bristow. | 0:08:03 | 0:08:06 | |
I'd like to speak to Mr Strike, if possible. | 0:08:06 | 0:08:08 | |
Do you have an appointment? | 0:08:08 | 0:08:10 | |
Ah, er, no. Um... | 0:08:10 | 0:08:13 | |
We know each other. | 0:08:13 | 0:08:14 | |
-Well, take a seat, Mr Bristow. -Thank you. | 0:08:14 | 0:08:17 | |
SHE KNOCKS Yeah? | 0:08:23 | 0:08:24 | |
There's a ... | 0:08:24 | 0:08:26 | |
new client. Mr John Bristow. | 0:08:26 | 0:08:29 | |
Doesn't have an appointment, but he says he knows you. | 0:08:29 | 0:08:31 | |
I don't know a John Bristow. | 0:08:33 | 0:08:35 | |
Right. | 0:08:35 | 0:08:37 | |
Well, he says he does. | 0:08:37 | 0:08:38 | |
Two minutes. | 0:08:40 | 0:08:41 | |
-Could you shut the door, please? -Mm-hm. | 0:08:41 | 0:08:43 | |
Would you like anything to drink? | 0:08:48 | 0:08:50 | |
Oh, er, yeah. White coffee, no sugar, please. | 0:08:50 | 0:08:54 | |
-WHISPERS: -OK. | 0:09:10 | 0:09:12 | |
Um...shall we go through? | 0:09:21 | 0:09:23 | |
Agh! | 0:09:25 | 0:09:26 | |
Remember me? | 0:09:29 | 0:09:31 | |
Charlie's brother. Your friend, Charlie Bristow, from... | 0:09:31 | 0:09:34 | |
John. It's been... | 0:09:34 | 0:09:36 | |
Take a seat. | 0:09:37 | 0:09:38 | |
How's your mother? After Charlie's accident, I never really... | 0:09:40 | 0:09:43 | |
Not so good, I'm afraid. | 0:09:43 | 0:09:45 | |
She has stage four cancer, which has spread to the lymph nodes. | 0:09:45 | 0:09:48 | |
I'm sorry to hear that. | 0:09:48 | 0:09:50 | |
She was always very kind to me. | 0:09:50 | 0:09:51 | |
I remembered that when I saw your name. | 0:09:51 | 0:09:53 | |
-There aren't so many Cormoran Strikes around! -Yeah. | 0:09:55 | 0:09:57 | |
-How can I help you, John? -It's about my sister. | 0:09:59 | 0:10:02 | |
Oh. Er, of course, you wouldn't have met. | 0:10:04 | 0:10:07 | |
Mum and Dad adopted again about a year after Charlie's death. | 0:10:07 | 0:10:11 | |
My sister used our mother's maiden name for her professional career. | 0:10:11 | 0:10:15 | |
The world knew her as Lula Landry. | 0:10:15 | 0:10:18 | |
Thanks, Sandra. | 0:10:18 | 0:10:20 | |
THE Lula Landry? | 0:10:22 | 0:10:24 | |
I was with her earlier that day to discuss contracts. | 0:10:24 | 0:10:27 | |
She had an upcoming shoot in Morocco, she was excited about it, | 0:10:28 | 0:10:31 | |
she was happy. | 0:10:31 | 0:10:32 | |
Now, the inquest verdict said suicide... | 0:10:34 | 0:10:37 | |
..but I think she was murdered. | 0:10:40 | 0:10:41 | |
DOOR CLOSES PHONE RINGS | 0:10:45 | 0:10:49 | |
Hello, Cormoran Strike's office. | 0:10:53 | 0:10:55 | |
Er, I'm afraid he's with a client at the moment. | 0:10:56 | 0:10:59 | |
Yes, of course. Who shall I say called? | 0:10:59 | 0:11:02 | |
Now, a chap they picked up on CCTV - | 0:11:08 | 0:11:12 | |
they never traced him. | 0:11:12 | 0:11:14 | |
He was outside, watching the flat. | 0:11:14 | 0:11:16 | |
Looks like a black chap. | 0:11:16 | 0:11:18 | |
Not that...you know...just... | 0:11:18 | 0:11:20 | |
We haven't got the actual footage? | 0:11:22 | 0:11:24 | |
No, just those stills. | 0:11:24 | 0:11:26 | |
But it is my priority to find out who he is. | 0:11:26 | 0:11:28 | |
It's all set out in there. | 0:11:30 | 0:11:32 | |
My own analysis, plus a lot of the police evidence | 0:11:32 | 0:11:35 | |
which I obtained during the inquest. | 0:11:35 | 0:11:37 | |
The inquest that returned a verdict of suicide? | 0:11:37 | 0:11:40 | |
Because the coroner couldn't see past a girl | 0:11:40 | 0:11:42 | |
-with a poor history of mental health. -Mm. | 0:11:42 | 0:11:45 | |
Look... | 0:11:45 | 0:11:46 | |
..review the information in the file. Ask some questions. | 0:11:47 | 0:11:51 | |
Then we can discuss any further involvement. | 0:11:51 | 0:11:53 | |
There's £1,000, just to do that. | 0:11:57 | 0:11:59 | |
Look, even if it's just to put our minds at rest | 0:12:00 | 0:12:03 | |
while Mum's still alive, | 0:12:03 | 0:12:04 | |
and stop this horrible anxiety that justice has not been done. | 0:12:04 | 0:12:08 | |
Charlie never wanted to let me play football with you guys. | 0:12:12 | 0:12:14 | |
Do you remember? | 0:12:14 | 0:12:16 | |
And you always said, "Oh, let him tag along, he can be ball boy." | 0:12:16 | 0:12:19 | |
As a friend of our family... | 0:12:21 | 0:12:22 | |
..you're exactly the right person. | 0:12:24 | 0:12:26 | |
Please don't say no. | 0:12:26 | 0:12:27 | |
I can only promise to review the file at this stage. | 0:12:33 | 0:12:36 | |
Of course. | 0:12:36 | 0:12:37 | |
We'll, er, speak later, then. | 0:12:37 | 0:12:39 | |
See you, John. | 0:12:39 | 0:12:40 | |
DOOR CLOSES | 0:12:42 | 0:12:43 | |
Thanks for sorting the coffee, Sandra. | 0:12:48 | 0:12:49 | |
That's all right. A Mr Gillespie called. He said it was important. | 0:12:49 | 0:12:53 | |
Why do you keep calling me Sandra? | 0:12:56 | 0:12:58 | |
-That isn't your name. -No. | 0:13:00 | 0:13:01 | |
-The last girl was called Sandra. -Ah. | 0:13:03 | 0:13:05 | |
I accept that isn't a brilliant reason for me | 0:13:06 | 0:13:08 | |
calling you by her name. | 0:13:08 | 0:13:10 | |
I'm Robin. Robin Ellacott. | 0:13:10 | 0:13:12 | |
Cormoran. | 0:13:12 | 0:13:13 | |
Just popping out. | 0:13:13 | 0:13:15 | |
Where shall I say you are if anyone important calls? | 0:13:15 | 0:13:17 | |
Down the boozer. | 0:13:17 | 0:13:19 | |
Don't worry, they won't. | 0:13:19 | 0:13:21 | |
So is there anything in particular you'd like me to do | 0:13:22 | 0:13:25 | |
while you're gone? | 0:13:25 | 0:13:26 | |
Er, could you look up Landry, May and Patterson? | 0:13:26 | 0:13:28 | |
They're a law firm. Print out their partner biogs. | 0:13:28 | 0:13:30 | |
And, er, anything you can get on Lula Landry's family background. | 0:13:30 | 0:13:33 | |
Mm-hm. | 0:13:33 | 0:13:35 | |
Er, computer password's Hatherill123. Two Ls. | 0:13:35 | 0:13:39 | |
Sorry about nearly killing you earlier. | 0:13:44 | 0:13:47 | |
It's OK. | 0:13:47 | 0:13:48 | |
Hiya, Corm. | 0:13:59 | 0:14:01 | |
Is that a new girl in your office? | 0:14:01 | 0:14:03 | |
She came down to borrow some coffee stuff. | 0:14:03 | 0:14:06 | |
Roger was all over her like a cheap suit. | 0:14:06 | 0:14:08 | |
Tell Roger she has a massive engagement ring. | 0:14:08 | 0:14:10 | |
-Yeah, like that'll stop him from trying. -Ha! | 0:14:10 | 0:14:12 | |
What happened to your...? | 0:14:13 | 0:14:15 | |
Got smacked with an ashtray. | 0:14:15 | 0:14:17 | |
-Ouch! -Yeah. | 0:14:17 | 0:14:18 | |
Pint. | 0:14:54 | 0:14:56 | |
Yeah, the Lula Landry case. | 0:15:48 | 0:15:50 | |
Who was the investigating officer? | 0:15:50 | 0:15:52 | |
Can I help you? | 0:16:53 | 0:16:55 | |
You the concierge? | 0:16:55 | 0:16:56 | |
What do you want? | 0:16:57 | 0:16:58 | |
My name is Cormoran Strike. | 0:16:58 | 0:17:00 | |
Wondered if we could have a quick chat. | 0:17:00 | 0:17:02 | |
Even when she's dead, you lot don't give up. | 0:17:02 | 0:17:04 | |
I'm not a journalist. | 0:17:04 | 0:17:05 | |
Yeah? So what are you, then? You're not a cop. | 0:17:05 | 0:17:07 | |
I was. Royal Military Police. Now a private investigator. | 0:17:07 | 0:17:12 | |
Right! Hacking phones for a living? | 0:17:12 | 0:17:15 | |
Dishonourable discharge, was it? | 0:17:15 | 0:17:17 | |
Medical. My leg. | 0:17:17 | 0:17:20 | |
Want to see it? | 0:17:20 | 0:17:22 | |
No. | 0:17:22 | 0:17:24 | |
Lula's family have hired me | 0:17:24 | 0:17:25 | |
to investigate the efficiency of the police investigation. | 0:17:25 | 0:17:29 | |
Were you working the night she died? | 0:17:30 | 0:17:31 | |
First to the body. | 0:17:33 | 0:17:35 | |
What happened? | 0:17:35 | 0:17:36 | |
Mrs Bestigui - she's on the first floor - she runs down screaming. | 0:17:36 | 0:17:40 | |
Somebody had just fallen past their window. I run out, and... | 0:17:40 | 0:17:43 | |
-Horrible. -You called the police? | 0:17:45 | 0:17:47 | |
-I went straight up to Lula's flat. -Why did you do that? | 0:17:49 | 0:17:51 | |
Cos of what Mrs Bestigui was saying. | 0:17:51 | 0:17:53 | |
She thought there was somebody there, so.... | 0:17:53 | 0:17:55 | |
You'd know if anybody had gone up, presumably? | 0:17:55 | 0:17:58 | |
Yeah. | 0:18:00 | 0:18:01 | |
Ah. Excuse me. | 0:18:01 | 0:18:03 | |
Ah, Dennis, I need to show you that lift door, come in. | 0:18:11 | 0:18:14 | |
-WHISPERS: -Derrick. | 0:18:14 | 0:18:15 | |
Derrick, sorry. | 0:18:15 | 0:18:17 | |
Certainly, Mr Bestigui. | 0:18:17 | 0:18:19 | |
Actually, you should talk to Nico. He was Lula's favourite driver. | 0:18:21 | 0:18:26 | |
PHONE BUZZES | 0:18:29 | 0:18:31 | |
I got a pick up in Greek Street. | 0:18:31 | 0:18:33 | |
Well, I'm going that way. | 0:18:33 | 0:18:34 | |
Half a fare? | 0:18:34 | 0:18:36 | |
Yeah, OK. Hop in. | 0:18:37 | 0:18:38 | |
Delivery from Charlotte Campbell. | 0:18:46 | 0:18:48 | |
Oh! Careful! | 0:18:48 | 0:18:49 | |
I'm on a double yellow, love. | 0:18:49 | 0:18:51 | |
DOOR SLAMS | 0:18:51 | 0:18:52 | |
It's sad. | 0:19:05 | 0:19:07 | |
Lula, she was all right, you know? She had a big heart. | 0:19:07 | 0:19:10 | |
She lived in a world that's really fucking hard. | 0:19:12 | 0:19:15 | |
-We had a lot in common. -Such as? | 0:19:15 | 0:19:17 | |
Both mixed race, for one thing. | 0:19:17 | 0:19:19 | |
My dad's a Cypriot from Swansea, and my mum's a West Indian Scouser. | 0:19:19 | 0:19:23 | |
Must have been a nice, quiet wedding. | 0:19:23 | 0:19:25 | |
NICO CHUCKLES | 0:19:25 | 0:19:26 | |
-HORN BEEPS -Whoa, whoa. | 0:19:26 | 0:19:28 | |
You've still got to follow the rules of the road, | 0:19:28 | 0:19:30 | |
even if you are on a bike, love. | 0:19:30 | 0:19:32 | |
Where did you take her that day? | 0:19:32 | 0:19:33 | |
Er, OK. So first off, we went to Vashti. | 0:19:33 | 0:19:36 | |
-It's a clothes shop on Conduit Street. -Vashti? | 0:19:36 | 0:19:39 | |
They was in there for a little bit, and then I took them back to Lula's. | 0:19:39 | 0:19:42 | |
-They? -Yeah, she met a mate in there. Rochelle. | 0:19:42 | 0:19:45 | |
-Another model? -Rochelle Onifade? | 0:19:45 | 0:19:47 | |
Lula met her in a nuthouse. | 0:19:47 | 0:19:49 | |
I used to pick her up from her hostel on, er, Hallum Street, | 0:19:49 | 0:19:52 | |
and bring her out to play. | 0:19:52 | 0:19:54 | |
Can you remember what they were talking about? | 0:19:54 | 0:19:56 | |
-Like what? -Like anything. | 0:19:56 | 0:19:57 | |
Er, was looking at something for a bit. Some piece of paper. | 0:19:59 | 0:20:03 | |
You don't remember what it was? | 0:20:03 | 0:20:05 | |
All I remember is Lula laughing, | 0:20:05 | 0:20:07 | |
and saying it was going to piss people off big time. | 0:20:07 | 0:20:10 | |
Anstis? | 0:21:13 | 0:21:15 | |
Any luck with DI Wardle, mate? | 0:21:15 | 0:21:17 | |
Yeah, if you could. | 0:21:21 | 0:21:23 | |
Yeah, that would be great. | 0:21:23 | 0:21:24 | |
Yeah, sure. Yeah, bye. | 0:21:26 | 0:21:29 | |
BLUESY GUITAR MUSIC | 0:21:45 | 0:21:49 | |
People have been coming all day to pay tribute to Lula Landry... | 0:23:01 | 0:23:04 | |
DOOR OPENS | 0:23:04 | 0:23:05 | |
..who fell to her death from one of the flats behind... | 0:23:05 | 0:23:08 | |
ROBIN STOPS VIDEO | 0:23:08 | 0:23:09 | |
-How'd it go today, then? -Well, when I got there, | 0:23:11 | 0:23:13 | |
the boss had obviously been in a massive fight with some woman. | 0:23:13 | 0:23:17 | |
The office is all smashed up. | 0:23:17 | 0:23:18 | |
And he doesn't want me there at all, | 0:23:18 | 0:23:20 | |
and then he buggers off to the pub, leaves me on my own all afternoon, | 0:23:20 | 0:23:24 | |
with this really rude guy calling every half hour, demanding money. | 0:23:24 | 0:23:27 | |
-So it's just him, then? -Yeah, he's a private detective. | 0:23:27 | 0:23:30 | |
HE SCOFFS | 0:23:30 | 0:23:31 | |
Private detective. That's a bit Roger Rabbit. | 0:23:31 | 0:23:34 | |
It not, actually. He's, um... | 0:23:37 | 0:23:40 | |
His dad's Jonny Rokeby. | 0:23:42 | 0:23:44 | |
-What? -Mm. | 0:23:45 | 0:23:46 | |
-Then how come he owes money? -I don't know. | 0:23:46 | 0:23:49 | |
From what I read online, they don't have much of a relationship. | 0:23:49 | 0:23:52 | |
Isn't that the model who jumped out of a window? | 0:23:55 | 0:23:57 | |
Gosh. | 0:23:59 | 0:24:01 | |
She was so young and beautiful. | 0:24:01 | 0:24:03 | |
Girls always get other girls wrong. | 0:24:03 | 0:24:06 | |
You are miles fitter. | 0:24:06 | 0:24:08 | |
She's way too skinny. | 0:24:08 | 0:24:10 | |
FOOTBALL COMMENTARY ON TV | 0:24:13 | 0:24:15 | |
That'll be an Arsenal throw, down this left-hand side. | 0:24:21 | 0:24:24 | |
Night. | 0:24:49 | 0:24:50 | |
-Matt! -They... | 0:24:55 | 0:24:57 | |
destroy communication... | 0:24:57 | 0:24:59 | |
..and intimacy. | 0:25:01 | 0:25:03 | |
ROBIN LAUGHS | 0:25:08 | 0:25:11 | |
PHONE RINGS | 0:25:18 | 0:25:20 | |
CONSTRUCTION NOISE IN STREET | 0:25:23 | 0:25:27 | |
Yeah? | 0:25:33 | 0:25:34 | |
It's DI Wardle here. I've just come off my shift. | 0:25:34 | 0:25:37 | |
You can have half an hour, if you get your skates on. | 0:25:39 | 0:25:41 | |
Great. | 0:25:41 | 0:25:43 | |
So you think Lula Landry was murdered, | 0:25:45 | 0:25:48 | |
-and we messed up the investigation? -Not at all. | 0:25:48 | 0:25:50 | |
I just want to have a better picture of Lula's last hours. | 0:25:50 | 0:25:53 | |
Well, we know she was in a state, | 0:25:55 | 0:25:56 | |
because of the latest bust-up with her boyfriend. | 0:25:56 | 0:25:59 | |
Evan Duffield - he was seen outside the bar where... | 0:25:59 | 0:26:01 | |
He was seen all over the place, with that stupid wolf head. | 0:26:01 | 0:26:04 | |
But he has a cast-iron alibi for time of death. | 0:26:05 | 0:26:08 | |
Let's make this nice and clear - | 0:26:08 | 0:26:11 | |
Lula enters the lobby alone, says goodnight to the concierge, | 0:26:11 | 0:26:14 | |
and heads upstairs. | 0:26:14 | 0:26:15 | |
-Nobody followed her, and there's no other way up to her flat. -Mm. | 0:26:15 | 0:26:19 | |
Underneath Lula's, there's flat two, a rental property, empty. | 0:26:19 | 0:26:23 | |
Deeby Macc was meant to arrive that night, | 0:26:23 | 0:26:25 | |
but diverted to Claridge's from the airport. | 0:26:25 | 0:26:27 | |
Who is Deeby Macc? | 0:26:27 | 0:26:29 | |
-WARDLE CHUCKLES -He's a pretty famous rapper. | 0:26:29 | 0:26:31 | |
And believe me, his entourage and credit card limit | 0:26:31 | 0:26:34 | |
are big enough to make tracking him fairly easy. | 0:26:34 | 0:26:37 | |
On the first floor, flat one, the Bestiguis', Freddie and Tansy. | 0:26:37 | 0:26:42 | |
He's in a conference call, | 0:26:42 | 0:26:43 | |
and there's six witnesses to that effect. | 0:26:43 | 0:26:46 | |
She's in a nightie, and sees a body fall past the window, | 0:26:46 | 0:26:48 | |
and raises the alarm. | 0:26:48 | 0:26:49 | |
With the concierge. He told me Tansy said she heard an argument upstairs. | 0:26:49 | 0:26:53 | |
That's why he ran up to check it out. | 0:26:53 | 0:26:55 | |
By the time it came to her official statement, | 0:26:55 | 0:26:57 | |
Tansy Bestigui had reverted to the facts. | 0:26:57 | 0:27:00 | |
She was coked up. Might have altered her perceptions a bit. | 0:27:01 | 0:27:04 | |
You think I wouldn't have liked | 0:27:07 | 0:27:09 | |
to head up the Lula Landry murder investigation? | 0:27:09 | 0:27:12 | |
Well, sometimes the truth is boring - | 0:27:13 | 0:27:15 | |
a girl with mental health issues, a pressure job, | 0:27:15 | 0:27:18 | |
and boyfriend trouble topped herself. | 0:27:18 | 0:27:20 | |
My advice would be, take whatever that arse head brother's | 0:27:23 | 0:27:26 | |
already given you, and get back to sniffing sheets. | 0:27:26 | 0:27:29 | |
DOOR OPENS | 0:27:56 | 0:27:58 | |
Morning. | 0:27:58 | 0:27:59 | |
Morning. | 0:28:00 | 0:28:02 | |
I need you to prepare some terms and conditions for John Bristow, | 0:28:02 | 0:28:04 | |
and create a client account, please. | 0:28:04 | 0:28:06 | |
-You're taking the case, then? -Yeah. | 0:28:06 | 0:28:08 | |
The woman who raised the alarm said she heard a fight upstairs, | 0:28:08 | 0:28:11 | |
and then she changed her statement. | 0:28:11 | 0:28:13 | |
Hmm. Why would she do that? | 0:28:13 | 0:28:15 | |
Well, that's a good question, | 0:28:15 | 0:28:17 | |
and one DI Wardle was all too happy to dismiss. | 0:28:17 | 0:28:20 | |
I suspect he suffers from acute confirmation bias, which means... | 0:28:20 | 0:28:24 | |
Preferring evidence that supports a pre-existing theory, | 0:28:24 | 0:28:26 | |
and ignoring that which doesn't. | 0:28:26 | 0:28:28 | |
I did it at uni. | 0:28:31 | 0:28:32 | |
-You've got a degree? -No. Dropped out. | 0:28:33 | 0:28:36 | |
Me too. | 0:28:37 | 0:28:38 | |
What's all this? | 0:28:39 | 0:28:41 | |
So, the last photos of Lula. | 0:28:41 | 0:28:43 | |
These are all picture taken at the funeral. This is the family. | 0:28:43 | 0:28:46 | |
That's Lady Yvette Bristow with her brother, Tony Landry. | 0:28:46 | 0:28:49 | |
John and Lula's uncle. | 0:28:49 | 0:28:50 | |
Who is also a partner at the law firm, | 0:28:50 | 0:28:53 | |
so I've printed off his biog for you as well. | 0:28:53 | 0:28:55 | |
These are industry people and friends. | 0:28:57 | 0:28:59 | |
This is Guy Some, the designer, with Lula's best mate, Ciara Porter, | 0:28:59 | 0:29:03 | |
-Evan Duffield... -Rock star boyfriend. | 0:29:03 | 0:29:05 | |
..and this is the big film producer, Freddie Bestigui, | 0:29:05 | 0:29:07 | |
who lives on the first floor of Lula's building. | 0:29:07 | 0:29:10 | |
I'm guessing that's his wife. | 0:29:10 | 0:29:12 | |
That's Tansy. The neighbour who changed her statement. | 0:29:12 | 0:29:15 | |
I'm heading to Lula's now. Do you want to look around with me? | 0:29:18 | 0:29:22 | |
Sure. | 0:29:23 | 0:29:24 | |
Have you ever heard of Deeby Macc? | 0:29:26 | 0:29:28 | |
-Yeah. -Well, I hadn't. | 0:29:29 | 0:29:31 | |
Actually, he had a big thing for Lula Landry. | 0:29:33 | 0:29:35 | |
Wrote a couple of tracks about how he was going to | 0:29:35 | 0:29:38 | |
take her off Evan Duffield. | 0:29:38 | 0:29:40 | |
Did she get any say in this? | 0:29:40 | 0:29:41 | |
No. Obviously, it was a matter to be sorted out between the boys. | 0:29:41 | 0:29:44 | |
Why? | 0:29:46 | 0:29:47 | |
He was going to rent the flat underneath Lula's for his UK tour. | 0:29:47 | 0:29:51 | |
DOOR BUZZES | 0:29:55 | 0:29:58 | |
Did John Bristow call you about the key? | 0:30:01 | 0:30:03 | |
-So this is where you were the night of Lula's death? -Yeah. | 0:30:05 | 0:30:08 | |
-Nobody comes or goes without you seeing them, right? -Yeah. | 0:30:08 | 0:30:11 | |
I mean, they'd have to report to you? | 0:30:11 | 0:30:14 | |
Yeah, I tell them what flat to go up to. | 0:30:14 | 0:30:16 | |
Unless Lula's told me not to let them up. | 0:30:16 | 0:30:18 | |
She do that often? | 0:30:18 | 0:30:20 | |
Well, a couple of times. | 0:30:20 | 0:30:21 | |
Who? | 0:30:21 | 0:30:23 | |
Evan Duffield mostly. | 0:30:23 | 0:30:24 | |
And her uncle, Tony Landry, IF they'd had one of their rows. | 0:30:26 | 0:30:29 | |
LIFT BELL PINGS OK. | 0:30:30 | 0:30:33 | |
So tell me about the building's layout. | 0:30:34 | 0:30:37 | |
Well, the Bestiguis are on the first floor | 0:30:37 | 0:30:40 | |
and the second floor is currently vacant. | 0:30:40 | 0:30:43 | |
The penthouse was Lula's. | 0:30:43 | 0:30:46 | |
And this is the only entrance? | 0:30:46 | 0:30:48 | |
Only one way in and out. | 0:30:48 | 0:30:50 | |
-Why do you think she got changed when she got home? -Comfort? | 0:31:25 | 0:31:29 | |
CAMERA CLICKS | 0:31:29 | 0:31:30 | |
Funny thing to do when you're about to kill yourself. | 0:31:30 | 0:31:33 | |
In the Army, I knew this lieutenant. | 0:31:33 | 0:31:35 | |
Life and soul of his own birthday party, | 0:31:35 | 0:31:38 | |
shot himself two hours later. CAMERA CLICKS | 0:31:38 | 0:31:40 | |
DISTANT SIREN WAILS | 0:32:44 | 0:32:46 | |
Locks as soon as it's shut. | 0:32:49 | 0:32:51 | |
INAUDIBLE | 0:32:54 | 0:32:56 | |
HE TAPS | 0:32:56 | 0:32:57 | |
Don't think he can hear me. | 0:32:57 | 0:32:59 | |
INAUDIBLE | 0:33:01 | 0:33:02 | |
You can't hear a single thing from these flats with the door shut. | 0:33:07 | 0:33:11 | |
They could have a Trenchtown sound system playing downstairs... | 0:33:11 | 0:33:15 | |
-and you'd never know. -What's Tansy Bestigui like? | 0:33:15 | 0:33:18 | |
-Better than her husband. -You believed her when she said | 0:33:18 | 0:33:21 | |
she thought there was somebody up here with Lula? | 0:33:21 | 0:33:23 | |
She was scared. | 0:33:24 | 0:33:26 | |
OK. | 0:33:26 | 0:33:28 | |
What about Rochelle Onifade? | 0:33:28 | 0:33:30 | |
Nico said he dropped them both back here during the day. | 0:33:30 | 0:33:33 | |
-I told Lula about that girl. -What did you tell her? | 0:33:33 | 0:33:36 | |
She was trash. Only after her money. | 0:33:36 | 0:33:38 | |
What did Lula say? | 0:33:38 | 0:33:40 | |
Just laughed, told me not to be horrible, | 0:33:40 | 0:33:43 | |
she didn't care about money. | 0:33:43 | 0:33:44 | |
Only people who with a lot of it ever say that. | 0:33:44 | 0:33:47 | |
Do you mind showing me the rest of the building? | 0:33:47 | 0:33:49 | |
Oh, there's only the swimming pool, really, so... | 0:33:49 | 0:33:51 | |
I don't know why you'd want to... | 0:33:51 | 0:33:53 | |
Mrs Bestigui? | 0:34:21 | 0:34:22 | |
My name is Cormoran Strike. | 0:34:24 | 0:34:26 | |
I'm an investigator. | 0:34:26 | 0:34:27 | |
-A what? -A private investigator. | 0:34:28 | 0:34:31 | |
Sorry to bother you, | 0:34:31 | 0:34:33 | |
but I've been hired to look into the death of Lula Landry. | 0:34:33 | 0:34:36 | |
I just need to ask you a few questions | 0:34:36 | 0:34:38 | |
about the night of Lula's death. | 0:34:38 | 0:34:39 | |
Yes? | 0:34:41 | 0:34:42 | |
-How did you know Lula fell? -I saw her. | 0:34:42 | 0:34:45 | |
-You saw her? -That's what I said. | 0:34:45 | 0:34:47 | |
So you were close to the window. | 0:34:49 | 0:34:52 | |
I'm sorry, this really isn't a great time for this kind of conversation. | 0:34:55 | 0:34:59 | |
Please, er... | 0:35:02 | 0:35:03 | |
..call my office and fix a meeting. | 0:35:06 | 0:35:09 | |
I just want to ensure we've got all the facts. | 0:35:09 | 0:35:12 | |
Who's paying you? | 0:35:13 | 0:35:14 | |
John Bristow, Lula's brother. | 0:35:14 | 0:35:17 | |
OK. | 0:35:19 | 0:35:20 | |
I'll call you. | 0:35:21 | 0:35:22 | |
-She's lying. -Why? -When you start an investigation, Robin, | 0:35:31 | 0:35:35 | |
it's like looking into an aquarium for the first time. | 0:35:35 | 0:35:39 | |
Walk around, check how many fish there are, | 0:35:39 | 0:35:41 | |
see what happens when you tap the glass. | 0:35:41 | 0:35:43 | |
And, right now, Tansy's the most interesting fish? | 0:35:43 | 0:35:46 | |
And Rochelle Onifade. | 0:35:46 | 0:35:48 | |
# If you keep dancin' on me | 0:35:50 | 0:35:52 | |
# Girl, I'll be tempted to touch | 0:35:52 | 0:35:54 | |
# Tempted to touch Tempted to touch | 0:35:54 | 0:35:56 | |
-ON CLIP: -# Feel like I can't get enough, can't get enough | 0:35:56 | 0:35:59 | |
# If you keep dancin' on me Girl, I'll be tempted to touch... # | 0:35:59 | 0:36:02 | |
So this is Deeby Macc. | 0:36:02 | 0:36:03 | |
# Tempted to touch Tempted to touch | 0:36:03 | 0:36:06 | |
# If you keep hitting on me... # | 0:36:08 | 0:36:10 | |
Right. | 0:36:10 | 0:36:11 | |
And I also found out that Ciara Porter has a web channel | 0:36:11 | 0:36:14 | |
of video clips she made with Lula and her mates. | 0:36:14 | 0:36:17 | |
-ON CLIP: -Oh, we should call her Beulah! | 0:36:17 | 0:36:19 | |
Oh, my God, it's a she and I am not... | 0:36:19 | 0:36:20 | |
-Ciara's just got a new dog. -Oh, look... | 0:36:20 | 0:36:23 | |
With stupid ears. | 0:36:23 | 0:36:24 | |
Expensive ears. | 0:36:24 | 0:36:26 | |
Rochelle! | 0:36:26 | 0:36:27 | |
They shouldn't breed them flat faced like that, poor things. | 0:36:27 | 0:36:31 | |
Pause it there. | 0:36:33 | 0:36:34 | |
Oh, my Little Rock! | 0:36:34 | 0:36:36 | |
Where are those funeral photos you showed me? | 0:36:38 | 0:36:41 | |
Um... | 0:36:43 | 0:36:44 | |
Is that Rochelle? | 0:36:52 | 0:36:53 | |
Yeah. | 0:36:55 | 0:36:56 | |
Think that could be Rochelle? | 0:37:07 | 0:37:09 | |
PHONE RINGS | 0:37:09 | 0:37:10 | |
Oh, it's hard to say. | 0:37:10 | 0:37:12 | |
Could be. | 0:37:12 | 0:37:13 | |
Cormoran Strike's office? | 0:37:16 | 0:37:18 | |
Yes, of course. I'll pass that on immediately. | 0:37:19 | 0:37:22 | |
SHE HANGS UP | 0:37:22 | 0:37:23 | |
Tansy Bestigui wants to meet you tonight. | 0:37:23 | 0:37:25 | |
Hm! | 0:37:26 | 0:37:28 | |
I'll go and iron a shirt. | 0:37:30 | 0:37:31 | |
Here's my Little Rock. | 0:37:35 | 0:37:37 | |
My Little Rock knows more about me than you lot ever will. | 0:37:37 | 0:37:41 | |
THEY CHUCKLE | 0:37:41 | 0:37:42 | |
CAR HORN HONKS | 0:37:43 | 0:37:46 | |
-Good evening. -I'm meeting Tansy Bestigui? | 0:38:06 | 0:38:09 | |
Sure. May we take your coat, sir? | 0:38:09 | 0:38:11 | |
This isn't... | 0:38:29 | 0:38:31 | |
My name is Tony Landry. | 0:38:31 | 0:38:32 | |
I'm Lula and John's uncle. | 0:38:32 | 0:38:34 | |
Please sit down. | 0:38:35 | 0:38:36 | |
Coincidentally, our law firm also represents Mr and Mrs Bestigui. | 0:38:41 | 0:38:46 | |
So now...I've been looking you up. All very interesting. | 0:38:47 | 0:38:51 | |
Afghanistan. | 0:38:51 | 0:38:52 | |
-Jonny Rokeby. -HE CHUCKLES | 0:38:52 | 0:38:55 | |
And your mother. | 0:38:55 | 0:38:57 | |
Leda Strike, wasn't it? | 0:38:58 | 0:39:00 | |
They don't make them like her any more, unfortunately. | 0:39:00 | 0:39:04 | |
And now my delusional nephew has hired you | 0:39:05 | 0:39:08 | |
to cause more pain to the family. | 0:39:08 | 0:39:11 | |
My aim is to lessen his pain by providing him with the truth. | 0:39:11 | 0:39:14 | |
I can't interfere with my nephew's madness. | 0:39:14 | 0:39:18 | |
-Or his love for his sister. -Very true. | 0:39:18 | 0:39:21 | |
Family is a complex thing. | 0:39:21 | 0:39:24 | |
You, of all people, are surely aware of that. | 0:39:24 | 0:39:26 | |
Lula's death was tragic, | 0:39:26 | 0:39:29 | |
but I must advise you to stay away from the Bestiguis. | 0:39:29 | 0:39:35 | |
-WAITER: -How is everything? | 0:39:36 | 0:39:38 | |
Delicious, thank you. | 0:39:39 | 0:39:40 | |
I would like a bottle of Puligny-Montrachet | 0:39:40 | 0:39:43 | |
-and, PLEASE, not too cold. -Of course, sir. | 0:39:43 | 0:39:46 | |
The thing is, Tony, I take my instructions from your nephew so... | 0:39:46 | 0:39:50 | |
They say that we are all just two mistakes from being homeless | 0:39:50 | 0:39:56 | |
and I know that currently my nephew's money | 0:39:56 | 0:39:59 | |
is all that is keeping you from displaying that stump | 0:39:59 | 0:40:03 | |
for loose change on Waterloo Bridge. | 0:40:03 | 0:40:06 | |
Put John's mind at rest, | 0:40:07 | 0:40:09 | |
ease his pain if you like, | 0:40:09 | 0:40:12 | |
take your money and we'll all be happy. | 0:40:12 | 0:40:15 | |
Don't be greedy, though, and take advantage of his grief | 0:40:15 | 0:40:19 | |
by prolonging this tragedy or I will tie you in so many legal knots | 0:40:19 | 0:40:24 | |
you won't be able to get out of bed in the morning. | 0:40:24 | 0:40:27 | |
Definitely give that some thought. | 0:40:29 | 0:40:31 | |
Let me give you a little bit of advice. | 0:40:32 | 0:40:35 | |
You can insult my financial status, | 0:40:35 | 0:40:37 | |
my disability, anything you like. | 0:40:37 | 0:40:39 | |
Mention my mother again, | 0:40:40 | 0:40:42 | |
I'll introduce you to an experience | 0:40:42 | 0:40:44 | |
far worse than an over-chilled burgundy. | 0:40:44 | 0:40:47 | |
Got it? | 0:40:47 | 0:40:48 | |
Enjoy the rest of your dinner. | 0:40:50 | 0:40:51 | |
MATCH FLARES | 0:40:56 | 0:40:58 | |
PHONE RINGS | 0:41:08 | 0:41:10 | |
ANSWERPHONE: You've reached the offices of Cormoran Strike. | 0:41:27 | 0:41:30 | |
Please leave a message. | 0:41:30 | 0:41:32 | |
MACHINE BEEPS | 0:41:32 | 0:41:33 | |
-CHARLOTTE: -I know you're there. Just pick up the phone. | 0:41:33 | 0:41:37 | |
I can't cope. | 0:41:40 | 0:41:41 | |
I need you, Bluey. | 0:41:43 | 0:41:44 | |
Please. | 0:41:45 | 0:41:47 | |
MACHINE BEEPS | 0:41:47 | 0:41:48 | |
Bollocks. | 0:42:07 | 0:42:08 | |
Why do I always take you off before I remember to have a piss? | 0:42:10 | 0:42:13 | |
TRICKLING | 0:42:31 | 0:42:34 | |
HE GRUNTS | 0:42:44 | 0:42:46 | |
MOBILE RINGS | 0:42:46 | 0:42:49 | |
HE SIGHS | 0:44:06 | 0:44:09 | |
KNOCK ON DOOR Yeah. | 0:44:10 | 0:44:12 | |
The, um, the stuff for John Bristow you asked for. | 0:44:13 | 0:44:15 | |
Would you like me to get rid of that cup? | 0:44:17 | 0:44:19 | |
NO! | 0:44:19 | 0:44:21 | |
No. You're not a cleaner. | 0:44:21 | 0:44:23 | |
OK... | 0:44:24 | 0:44:26 | |
DOOR CLOSES | 0:44:29 | 0:44:30 | |
LIQUID POURS | 0:44:40 | 0:44:41 | |
-Tashakor. -Nooshe jan. | 0:44:59 | 0:45:02 | |
Sorry I'm a bit late, | 0:45:12 | 0:45:14 | |
couldn't find anywhere to park, | 0:45:14 | 0:45:16 | |
had to use the, er, Chinatown car park. | 0:45:16 | 0:45:19 | |
Look, um, I am so relieved you've agreed to take this on. | 0:45:22 | 0:45:28 | |
Here are my terms of business. | 0:45:28 | 0:45:30 | |
Daily rate includes money for informants and incidentals, and... | 0:45:30 | 0:45:33 | |
..here's some issues and questions. | 0:45:38 | 0:45:40 | |
Yeah. Lula did have a computer but we wiped it | 0:45:44 | 0:45:47 | |
and gave it to charity once the police had returned it. | 0:45:47 | 0:45:50 | |
Was there anything else taken from her flat? | 0:45:51 | 0:45:53 | |
Er, Tony took Mum round there - | 0:45:53 | 0:45:56 | |
just to pick up a few personal things... | 0:45:56 | 0:45:57 | |
Tony Landry, your uncle? | 0:45:57 | 0:45:59 | |
-Yeah. -Hm. | 0:45:59 | 0:46:00 | |
Why? | 0:46:02 | 0:46:03 | |
I bumped into him. Or rather he bumped into me. | 0:46:03 | 0:46:06 | |
BRISTOW LAUGHS NERVOUSLY | 0:46:06 | 0:46:09 | |
How do you get on with him? | 0:46:09 | 0:46:11 | |
Tony's a little, er... | 0:46:11 | 0:46:13 | |
-HE SIGHS -Yeah... | 0:46:13 | 0:46:14 | |
Lula? | 0:46:15 | 0:46:17 | |
They sometimes clashed. | 0:46:17 | 0:46:20 | |
The doorman told me she asked him not to let Tony up. | 0:46:20 | 0:46:23 | |
Yeah, I-I can believe that. | 0:46:23 | 0:46:25 | |
Did Lula ever mention Rochelle Onifade? | 0:46:26 | 0:46:29 | |
-Er...is she a model? -No. | 0:46:29 | 0:46:32 | |
So, I'm afraid, er... | 0:46:34 | 0:46:36 | |
No, I'm sorry, I can't put a face to her. | 0:46:37 | 0:46:40 | |
Fiver for a hand job. | 0:46:48 | 0:46:49 | |
Rochelle's not here any more. She was asked to leave, actually. | 0:46:53 | 0:46:56 | |
-Any idea where she's gone? -No, sorry. | 0:46:56 | 0:46:59 | |
You don't have any contact details? | 0:46:59 | 0:47:01 | |
Yeah, but I can't just give them out to strangers, obviously. | 0:47:01 | 0:47:04 | |
PHONE RINGS | 0:47:04 | 0:47:05 | |
Hallum Street Hostel. | 0:47:06 | 0:47:09 | |
Yep. | 0:47:09 | 0:47:10 | |
No, we haven't got any places. | 0:47:12 | 0:47:13 | |
You have to be resident in the borough for B&B. | 0:47:13 | 0:47:17 | |
-Yes, it is a disgrace. -SARCASTICALLY: -Welcome to London! | 0:47:17 | 0:47:20 | |
OK, thanks. Sorry to bother you. | 0:47:21 | 0:47:24 | |
Could you do me a big favour? | 0:47:47 | 0:47:49 | |
No. | 0:47:49 | 0:47:50 | |
Could you do me a big favour for 50 quid? | 0:47:50 | 0:47:52 | |
Thought you wouldn't be able to resist. You got a car? | 0:47:54 | 0:47:58 | |
It's not that kind of a favour. | 0:47:58 | 0:47:59 | |
WOMAN SCREAMS | 0:48:03 | 0:48:06 | |
CAMERA CLICKS | 0:48:29 | 0:48:31 | |
INDISTINCT RAISED VOICES NEARBY | 0:48:34 | 0:48:37 | |
Might not be a big deal to you, but I'm proper phobic! | 0:48:44 | 0:48:46 | |
It was an enormous big, hairy monster... Nearly as bad as him. | 0:48:46 | 0:48:49 | |
-Everything OK? -It was a bloody spider in her room. | 0:48:49 | 0:48:52 | |
I need you to call Rochelle, tell her a friend of Lula's needs to meet | 0:48:55 | 0:48:58 | |
to give her an important message. | 0:48:58 | 0:49:00 | |
You ain't going to hurt her, are you? | 0:49:04 | 0:49:07 | |
No. | 0:49:07 | 0:49:08 | |
Why can't you call? | 0:49:09 | 0:49:10 | |
It'll come better from you. | 0:49:10 | 0:49:12 | |
Tell her Lula said I needed to speak to "Little Rock". | 0:49:14 | 0:49:17 | |
"Little Rock". | 0:49:18 | 0:49:19 | |
Rochelle? | 0:49:33 | 0:49:35 | |
-You ain't no friend of Lula. -Sit down. -What do want with me, man? | 0:49:35 | 0:49:38 | |
I just want to ask you a few questions. I'm not police. OK? | 0:49:38 | 0:49:41 | |
Really not the police. | 0:49:41 | 0:49:42 | |
SHE SIGHS | 0:49:45 | 0:49:46 | |
You want something to eat? | 0:49:57 | 0:49:58 | |
Yeah, get me a burger and chips. | 0:50:00 | 0:50:02 | |
Burger and chips. | 0:50:06 | 0:50:07 | |
You want...? | 0:50:08 | 0:50:10 | |
Bastard, bastard leg. | 0:50:41 | 0:50:43 | |
-ROCHELLE: -I don't know. He said he was a mate. | 0:50:45 | 0:50:48 | |
Yeah, well, Lula never had any mates who looked like him, so I bounced. | 0:50:48 | 0:50:53 | |
Course not! | 0:50:54 | 0:50:55 | |
But you need to sort me out again. | 0:50:57 | 0:50:59 | |
Rochelle... | 0:51:01 | 0:51:02 | |
-SHOUTING: -Leave me alone! | 0:51:03 | 0:51:05 | |
-Who were you talking to? -This guy is bothering me. Please! | 0:51:06 | 0:51:09 | |
-Hey, leave her alone! -CROWD MURMURS | 0:51:09 | 0:51:11 | |
-How'd it go? -Er... | 0:51:22 | 0:51:25 | |
Badly. | 0:51:25 | 0:51:26 | |
How do you feel about identity theft? | 0:51:30 | 0:51:32 | |
SHE CLEARS HER THROAT | 0:51:47 | 0:51:49 | |
Yeah, it's Rochelle Onifade, I've lost my appointment card. | 0:51:49 | 0:51:52 | |
It is... | 0:51:54 | 0:51:56 | |
It's, er, 13th of November, 1994. | 0:51:56 | 0:52:00 | |
-SARCASTICALLY: -Do you want to know the time as well? | 0:52:00 | 0:52:03 | |
What address you got for me there? | 0:52:03 | 0:52:05 | |
Cos I've been movin' about a bit since I last saw ya. | 0:52:06 | 0:52:09 | |
Yeah. | 0:52:09 | 0:52:11 | |
Just tell me what address you got for me there! | 0:52:11 | 0:52:13 | |
Thank you. | 0:52:16 | 0:52:17 | |
-How was that? -Not bad. | 0:52:22 | 0:52:24 | |
-I'll head down there. -Oh, can you fill in my time sheet, | 0:52:25 | 0:52:28 | |
-in case I'm not here when you get back? -I'll do it tomorrow. | 0:52:28 | 0:52:31 | |
Today's my last day. | 0:52:31 | 0:52:33 | |
Oh! | 0:52:34 | 0:52:35 | |
Good luck with the job hunting. | 0:52:42 | 0:52:44 | |
Thanks. | 0:52:44 | 0:52:46 | |
Er... | 0:52:46 | 0:52:48 | |
I could come back next week and we could cut the agency out. | 0:52:48 | 0:52:52 | |
Yeah! | 0:52:55 | 0:52:56 | |
If...? | 0:52:56 | 0:52:57 | |
That could work. | 0:52:57 | 0:52:58 | |
Great. | 0:53:05 | 0:53:06 | |
DOOR CLOSES | 0:53:09 | 0:53:11 | |
The lift is broken again. | 0:53:46 | 0:53:48 | |
HE GRUNTS AND PANTS | 0:53:56 | 0:53:59 | |
HE GROANS | 0:54:12 | 0:54:14 | |
HE PANTS | 0:54:23 | 0:54:25 | |
DOG BARKS NEARBY | 0:54:28 | 0:54:31 | |
HE KNOCKS | 0:54:35 | 0:54:37 | |
HE KNOCKS AGAIN | 0:54:41 | 0:54:42 | |
WATER TRICKLES | 0:54:46 | 0:54:48 | |
Rochelle? | 0:54:52 | 0:54:53 | |
Rochelle! | 0:54:56 | 0:54:57 | |
HE KNOCKS | 0:54:57 | 0:54:58 | |
LOCK CLUNKS | 0:55:09 | 0:55:11 | |
Rochelle? | 0:55:16 | 0:55:18 | |
THUDDING, HE GROANS | 0:55:21 | 0:55:23 | |
WATER GUSHES | 0:55:23 | 0:55:25 | |
HE WINCES | 0:55:25 | 0:55:27 | |
HE GROANS | 0:55:31 | 0:55:33 | |
Come on, Rochelle... | 0:55:45 | 0:55:47 | |
Come on, Rochelle. | 0:55:48 | 0:55:49 | |
Rochelle! | 0:55:51 | 0:55:53 | |
You got a cause of death yet? | 0:56:22 | 0:56:23 | |
A drug-dealer maybe on a rented number? | 0:56:23 | 0:56:25 | |
Listen, I'm quite busy with real cases so... | 0:56:25 | 0:56:27 | |
You have no idea. | 0:56:29 | 0:56:31 | |
About what? | 0:56:31 | 0:56:33 | |
She was frightened of him... | 0:56:33 | 0:56:35 | |
Who? | 0:56:35 | 0:56:36 | |
REPORTERS CLAMOUR | 0:56:37 | 0:56:39 | |
Get the fuck away from me! | 0:56:39 | 0:56:41 | |
He's harassing me! | 0:56:41 | 0:56:42 | |
-Some fashion designer. -Which one? | 0:56:42 | 0:56:44 | |
-They call him Guy Some. -"Gee Sommay". | 0:56:44 | 0:56:47 | |
Lights! | 0:56:47 | 0:56:48 | |
I'm Ciara. | 0:56:50 | 0:56:52 | |
I know. | 0:56:52 | 0:56:53 | |
-I won't be around early afternoon anyway! -Why not? | 0:56:54 | 0:56:57 | |
Job interview. | 0:56:57 | 0:56:58 |