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This programme contains some strong language. | 0:00:02 | 0:00:05 | |
-My sister. I think she was murdered. -She was frightened of him. -Who? | 0:00:05 | 0:00:07 | |
-Tony's a little... -Family is a complex thing. | 0:00:07 | 0:00:10 | |
-Lula? -They sometimes clashed. | 0:00:10 | 0:00:12 | |
Is anybody in the Deeby Macc flat right now? | 0:00:12 | 0:00:15 | |
Any deliveries here that day? | 0:00:15 | 0:00:17 | |
Flowers, hoodie, leather gloves, some fashion designer. | 0:00:17 | 0:00:21 | |
Guy Some. | 0:00:21 | 0:00:22 | |
So, first off, we went to Vashti. | 0:00:22 | 0:00:24 | |
It's a clothes shop on Conduit Street. | 0:00:24 | 0:00:26 | |
She met a mate in there. Rochelle. | 0:00:26 | 0:00:29 | |
Lula's best mate Ciara Porter, | 0:00:29 | 0:00:31 | |
her rock star boyfriend Evan Duffield. | 0:00:31 | 0:00:32 | |
Has anybody told you you are absolutely gorgeous? | 0:00:32 | 0:00:35 | |
It was just so...bland and corporate. | 0:00:36 | 0:00:39 | |
Like where I work, you mean? | 0:00:39 | 0:00:40 | |
SLURRED: I don't really get hangovers. | 0:00:43 | 0:00:45 | |
Well, that is lucky. | 0:00:45 | 0:00:46 | |
Bastard leg's bloody killing me. | 0:00:46 | 0:00:48 | |
It was you. | 0:00:56 | 0:00:57 | |
You killed Lula. | 0:00:57 | 0:00:59 | |
# You and me | 0:01:03 | 0:01:04 | |
# Me and you | 0:01:06 | 0:01:08 | |
# Somehow we make it through | 0:01:09 | 0:01:13 | |
# I may be gone | 0:01:15 | 0:01:16 | |
# I may be far away | 0:01:17 | 0:01:19 | |
# But I walk beside you | 0:01:21 | 0:01:25 | |
# Every step of the way | 0:01:25 | 0:01:27 | |
# When you're used | 0:01:28 | 0:01:31 | |
# Bruised | 0:01:31 | 0:01:33 | |
# Black and blue | 0:01:33 | 0:01:35 | |
# Don't think about it | 0:01:35 | 0:01:38 | |
# Never doubt it | 0:01:39 | 0:01:42 | |
# I'll walk beside you. # | 0:01:42 | 0:01:44 | |
HELICOPTER BLADES WHIR | 0:01:47 | 0:01:49 | |
-RADIO: -Road clear ahead. Maintain speed. Over. | 0:02:25 | 0:02:28 | |
Roger that. | 0:02:28 | 0:02:30 | |
The unfortunate Mrs Anstis, right? | 0:02:32 | 0:02:35 | |
Bollocks. | 0:02:35 | 0:02:36 | |
I'm a catch, mate. | 0:02:36 | 0:02:37 | |
Can't wait to get home and hold him for the first time. | 0:02:45 | 0:02:47 | |
-RADIO: -Stand by. Obstruction to the front. | 0:02:47 | 0:02:49 | |
-RADIO: -One Afghan male changing tyre. Over. | 0:02:54 | 0:02:56 | |
Oi! | 0:02:56 | 0:02:59 | |
Move the van. Move! | 0:02:59 | 0:03:00 | |
Get in the van and move it. | 0:03:00 | 0:03:02 | |
Oi! | 0:03:02 | 0:03:03 | |
Holding, holding. | 0:03:03 | 0:03:05 | |
Oi! Get in the van! | 0:03:09 | 0:03:11 | |
-RADIO: -Two Afghan children on the road. | 0:03:11 | 0:03:13 | |
Get in the van. Move the bloody van! Move! | 0:03:23 | 0:03:26 | |
-RADIO: -Beware, Afghan male moving to the front of the vehicle now. | 0:03:27 | 0:03:31 | |
Roger that. | 0:03:33 | 0:03:35 | |
-RADIO: -Push on, push on. -Roger. | 0:03:35 | 0:03:37 | |
No, brake, brake! | 0:03:39 | 0:03:40 | |
Brake! Brake! | 0:03:40 | 0:03:42 | |
SILENCE | 0:03:48 | 0:03:51 | |
HE GASPS | 0:03:57 | 0:03:59 | |
HE COUGHS | 0:03:59 | 0:04:01 | |
HE RASPS | 0:04:01 | 0:04:03 | |
HELICOPTER APPROACHES | 0:04:20 | 0:04:23 | |
Sergeant Strike? | 0:04:42 | 0:04:43 | |
Strike, can you hear me? | 0:04:43 | 0:04:45 | |
-ECHOING: -Sergeant Strike, can you me? | 0:04:46 | 0:04:48 | |
HELICOPTER BLADES WHIR | 0:04:48 | 0:04:51 | |
WHIRRING FADES INTO DRILLING | 0:04:51 | 0:04:54 | |
DRILLING INTENSIFIES | 0:04:58 | 0:05:01 | |
DRILLING FADES | 0:05:15 | 0:05:18 | |
HE GROANS | 0:05:23 | 0:05:24 | |
HE MUTTERS | 0:05:26 | 0:05:28 | |
HE VOMITS | 0:05:59 | 0:06:01 | |
PHONE BEEPS | 0:06:19 | 0:06:21 | |
PHONE BUZZES | 0:06:30 | 0:06:31 | |
SHE SIGHS | 0:06:36 | 0:06:37 | |
Thank you. | 0:06:53 | 0:06:55 | |
Can I help you? | 0:07:05 | 0:07:07 | |
Um... | 0:07:07 | 0:07:09 | |
Yes. | 0:07:09 | 0:07:10 | |
I'd like to try on some dresses. | 0:07:10 | 0:07:12 | |
Wow. It looks great on you. | 0:07:14 | 0:07:16 | |
I'm just waiting on my brother to check it out. | 0:07:18 | 0:07:21 | |
It's for his wife, actually. | 0:07:21 | 0:07:22 | |
Try the green one. I think it'll really suit your colouring. | 0:07:22 | 0:07:24 | |
Is she...? | 0:07:24 | 0:07:26 | |
-Dark. Stunning, actually. -All right. | 0:07:26 | 0:07:28 | |
-Was that somebody famous I just saw leaving? -Not sure. | 0:07:30 | 0:07:33 | |
Wasn't Ciara Porter, was it? | 0:07:33 | 0:07:35 | |
No, I didn't see her. | 0:07:35 | 0:07:36 | |
Although she does come in here sometimes. | 0:07:36 | 0:07:38 | |
Lula Landry came in here a lot, didn't she? | 0:07:38 | 0:07:40 | |
Vashti was, like, always in her lists of, | 0:07:40 | 0:07:42 | |
like, the top ten things to do in London. | 0:07:42 | 0:07:45 | |
Day she died? | 0:07:45 | 0:07:46 | |
This changing room. | 0:07:46 | 0:07:48 | |
No way! | 0:07:49 | 0:07:51 | |
That's, like, totally giving me goose bumps. | 0:07:51 | 0:07:54 | |
SHE CLEARS HER THROAT | 0:07:55 | 0:07:57 | |
You know, they say she was going to meet Deeby Macc | 0:07:57 | 0:07:59 | |
the night she died, but... | 0:07:59 | 0:08:00 | |
I don't think Lula would ever cheat on Evan. | 0:08:00 | 0:08:03 | |
What? | 0:08:04 | 0:08:06 | |
She was SO going to meet Deeby. Trust me. | 0:08:06 | 0:08:08 | |
But she loved Evan! | 0:08:08 | 0:08:10 | |
-Did you see the pictures of their commitment ceremony? -Yeah. | 0:08:10 | 0:08:13 | |
Well, how about, we heard them talking? | 0:08:13 | 0:08:16 | |
Who, Lula and Evan? | 0:08:16 | 0:08:17 | |
No. No, the skanky, rude cow she brought in with her. | 0:08:17 | 0:08:20 | |
But Mel taped them talking on her phone. | 0:08:20 | 0:08:22 | |
-No way! -Yeah. | 0:08:22 | 0:08:24 | |
A bit naughty. We were all, like, not sure that's right, really. | 0:08:24 | 0:08:26 | |
But, well, she swore it wasn't for the press, | 0:08:26 | 0:08:28 | |
just, you know, play to her mates. | 0:08:28 | 0:08:31 | |
-Wait, who's Mel? -She's not in today. Day off. | 0:08:31 | 0:08:35 | |
But trust me, Lula Landry was doing the dirty on Evan, | 0:08:35 | 0:08:38 | |
and who else was it going to be but Deeby Macc? | 0:08:38 | 0:08:40 | |
Come and have a look out there. | 0:08:42 | 0:08:44 | |
What do you think? | 0:09:21 | 0:09:22 | |
Yeah. | 0:09:24 | 0:09:25 | |
"Yeah"? | 0:09:26 | 0:09:28 | |
She looks amazing! | 0:09:28 | 0:09:29 | |
But fair play, I guess my brother would never say that to me, either. | 0:09:29 | 0:09:34 | |
Very good. | 0:09:54 | 0:09:55 | |
I'll go back for Mel later. | 0:09:55 | 0:09:57 | |
-Bit of a sore head this morning. -Ooh. | 0:09:58 | 0:10:01 | |
-Was I...? -You were fine. -Mm-hm. | 0:10:01 | 0:10:03 | |
-You were funny, actually. -Good. | 0:10:05 | 0:10:07 | |
-Is it really bad? -I've had worse. | 0:10:08 | 0:10:10 | |
But not recently. | 0:10:12 | 0:10:13 | |
Come and look at this. | 0:10:23 | 0:10:24 | |
This is the figure Bristow is so desperate to find. | 0:10:31 | 0:10:35 | |
He's walking towards then away from the flats. | 0:10:35 | 0:10:37 | |
Little bit agitated but, you know, could be a Deeby Macc fan | 0:10:37 | 0:10:40 | |
waiting for a glimpse of his hero. | 0:10:40 | 0:10:42 | |
This is ten minutes before Lula falls. | 0:10:42 | 0:10:44 | |
And then the next camera. | 0:10:45 | 0:10:48 | |
-That's after Lula fell? -Yeah. | 0:10:48 | 0:10:50 | |
Same guy, walking quickly away, less agitated, more purposeful. | 0:10:50 | 0:10:54 | |
-It's not the same guy. -Why do you say that? | 0:10:54 | 0:10:57 | |
-Because his hoodie's got a thingy, a logo on it. -Exactly. Yeah. | 0:10:57 | 0:11:00 | |
These are two different people. | 0:11:00 | 0:11:01 | |
We can't see this guy's face, but look at his hands. | 0:11:01 | 0:11:04 | |
Leather gloves. | 0:11:04 | 0:11:05 | |
Guy Some dropped a hoodie and gloves off to the Deeby Macc flat. | 0:11:05 | 0:11:08 | |
-So he could have used the clothes as a disguise. -Yeah. | 0:11:08 | 0:11:10 | |
I need to speak to Guy Some. | 0:11:10 | 0:11:12 | |
See if this second guy really is wearing his clobber. | 0:11:12 | 0:11:15 | |
Well, good luck with that. | 0:11:15 | 0:11:16 | |
You're coming with me. | 0:11:16 | 0:11:18 | |
Oh. | 0:11:18 | 0:11:20 | |
I feel like a woolly mammoth that's wandered into the gazelle enclosure. | 0:11:27 | 0:11:31 | |
Yeah. | 0:11:31 | 0:11:33 | |
I was quite happy with this handbag five minutes ago. | 0:11:33 | 0:11:35 | |
Let's go. | 0:11:35 | 0:11:37 | |
No, it's here now. | 0:11:39 | 0:11:40 | |
-Excuse me... -We're going with the feathers. | 0:11:42 | 0:11:44 | |
We're doing the Milan shoot. | 0:11:44 | 0:11:46 | |
Sorry. | 0:11:46 | 0:11:48 | |
You don't have an appointment. | 0:12:04 | 0:12:05 | |
So the mountain thought, fuck it, and came to Kevin. | 0:12:07 | 0:12:10 | |
That's your real name, right? | 0:12:10 | 0:12:12 | |
All I need you to do is identify some items of clothing. | 0:12:12 | 0:12:14 | |
Get out of my studio. | 0:12:14 | 0:12:16 | |
I believe they may be yours, | 0:12:16 | 0:12:18 | |
and it might have a bearing on Lula's death. | 0:12:18 | 0:12:20 | |
Surely you're interested in that? | 0:12:21 | 0:12:23 | |
Come on. | 0:12:25 | 0:12:26 | |
Think he likes you. | 0:12:28 | 0:12:29 | |
That is your stuff, right? | 0:12:33 | 0:12:35 | |
How did he get that? | 0:12:37 | 0:12:39 | |
Those haven't been released yet. | 0:12:39 | 0:12:41 | |
These are definitely yours? | 0:12:41 | 0:12:42 | |
Are you sure that's your nose? | 0:12:42 | 0:12:44 | |
The doorman at Lula's flat | 0:12:44 | 0:12:45 | |
said he took some stuff from you for Deeby Macc. | 0:12:45 | 0:12:47 | |
What did you send him? | 0:12:47 | 0:12:49 | |
Tricia! | 0:12:49 | 0:12:50 | |
Yes, Guy? | 0:12:50 | 0:12:51 | |
Bring me a Deeby Macc hoodie and a pair of the new gloves. | 0:12:51 | 0:12:54 | |
What did Lula make of Deeby Macc? | 0:13:06 | 0:13:08 | |
Nowhere near excited enough. | 0:13:08 | 0:13:10 | |
I kept saying to her, "Babes, if he'd written three tracks about me, | 0:13:10 | 0:13:13 | |
"I'd be waiting behind that front door naked when he got in." | 0:13:13 | 0:13:16 | |
What I don't get is why she chose Duffield, | 0:13:16 | 0:13:19 | |
with all his white boy tortured poet act | 0:13:19 | 0:13:22 | |
when she was meant to be looking for a lost black soul. | 0:13:22 | 0:13:24 | |
How far did she get with that? | 0:13:24 | 0:13:26 | |
She was looking for her dad cos he was African. | 0:13:26 | 0:13:28 | |
The mum was just some redneck from Canning Town. | 0:13:28 | 0:13:31 | |
Mrs Mephedrone, we called her. | 0:13:31 | 0:13:32 | |
HE CHUCKLES | 0:13:32 | 0:13:34 | |
For a while, Cuckoo was always in the library. | 0:13:34 | 0:13:36 | |
Got all excited cos apparently, | 0:13:36 | 0:13:38 | |
the old man was some kind of big shot academic. | 0:13:38 | 0:13:40 | |
Which library? | 0:13:40 | 0:13:41 | |
I don't know. On Russell Square somewhere? | 0:13:41 | 0:13:43 | |
KNOCKING ON DOOR | 0:13:43 | 0:13:44 | |
I wasn't really paying attention, everyone switched off. | 0:13:44 | 0:13:47 | |
-Apart from Rochelle. -Yeah, well, she knew how to play Lula. | 0:13:47 | 0:13:50 | |
I think they might be a bit tight on your big, hairy mitts. | 0:13:59 | 0:14:02 | |
Though Ciara certainly wasn't complaining about them. | 0:14:03 | 0:14:06 | |
Oh, no, you got quite the five-star review, darling. | 0:14:06 | 0:14:09 | |
And she's had plenty to compare you with. | 0:14:10 | 0:14:13 | |
HE SIGHS | 0:14:35 | 0:14:36 | |
DOORBELL RINGS | 0:14:57 | 0:14:58 | |
And they're in. | 0:15:11 | 0:15:13 | |
So the argument starts, voices rise. | 0:15:14 | 0:15:16 | |
How did they get out onto the balcony? | 0:15:16 | 0:15:17 | |
-She might have had the door open already. -Yeah, but it's snowing. | 0:15:17 | 0:15:20 | |
Well, Lula often felt trapped, she liked having them open. | 0:15:20 | 0:15:23 | |
Or, as the argument escalates, she turns around to get away from him, | 0:15:23 | 0:15:26 | |
which is what I might do if I wanted someone to just leave. | 0:15:26 | 0:15:29 | |
-Without realising Tansy Bestigui was shivering underneath. -Mm-hm. | 0:15:29 | 0:15:32 | |
I think it was very sudden and brutal. | 0:15:37 | 0:15:39 | |
Tansy heard no cries for help. | 0:15:39 | 0:15:41 | |
Well, I hope so. That it was quick, at least. | 0:15:41 | 0:15:44 | |
Now, I've very little time, so I make one big mistake. | 0:15:47 | 0:15:50 | |
-I leave the flowers here. -Mm-hm. | 0:15:50 | 0:15:52 | |
So they appear in a police shot immediately after the fall. | 0:15:52 | 0:15:55 | |
Well, I'm not leaving them here to die. | 0:15:59 | 0:16:01 | |
Walk down this road... | 0:16:07 | 0:16:09 | |
..head bowed. | 0:16:10 | 0:16:11 | |
And off I go, hoodied up and hands gloved, | 0:16:13 | 0:16:15 | |
having completely got away with it. | 0:16:15 | 0:16:17 | |
Oh, I found this, by the way. | 0:16:19 | 0:16:21 | |
-It's a library card for... -Soas. -Mm-hm. | 0:16:21 | 0:16:24 | |
Russell Square. | 0:16:24 | 0:16:25 | |
We could go there tomorrow, find out what she was looking up. | 0:16:25 | 0:16:28 | |
Yeah. I've got to meet Bristow in the morning. | 0:16:28 | 0:16:31 | |
I could go on my own. | 0:16:31 | 0:16:33 | |
OK. | 0:16:33 | 0:16:34 | |
Good work today. | 0:16:36 | 0:16:37 | |
Thanks. | 0:16:37 | 0:16:38 | |
What are they? | 0:16:51 | 0:16:53 | |
Skateboards. | 0:16:53 | 0:16:54 | |
I mean... | 0:16:54 | 0:16:56 | |
We used them in a crime re-enactment today. | 0:16:56 | 0:16:58 | |
Look, I'm sorry I was late last night. | 0:17:02 | 0:17:04 | |
-To be fair, I should have called. -That's all I was saying. | 0:17:06 | 0:17:09 | |
-I'm not a control freak. I'm just worried. -I know. | 0:17:09 | 0:17:12 | |
It's not like you. | 0:17:12 | 0:17:14 | |
Friends? | 0:17:14 | 0:17:16 | |
-Spoke to the mortgage advisor today. -Oh, yeah? | 0:17:24 | 0:17:28 | |
We do need to get a joint income if we want to get a proper | 0:17:28 | 0:17:30 | |
place near a Tube station and some decent schools. | 0:17:30 | 0:17:34 | |
Have you told them you're taking the job yet? | 0:17:38 | 0:17:40 | |
Not yet. | 0:17:40 | 0:17:42 | |
SHE CLEARS HER THROAT | 0:17:42 | 0:17:44 | |
Large whisky. | 0:17:50 | 0:17:52 | |
And a pint. | 0:17:56 | 0:17:58 | |
This is Charlie before he died. | 0:18:36 | 0:18:38 | |
-Playing cricket, he was very good. -I remember. | 0:18:38 | 0:18:42 | |
Alec said he'd bowl for England one day. | 0:18:42 | 0:18:45 | |
And this is Lula, the day she came to us. | 0:18:47 | 0:18:50 | |
She loved those red mittens. | 0:18:50 | 0:18:53 | |
I still have them. | 0:18:56 | 0:18:58 | |
John says you collected some items from her flat. | 0:18:58 | 0:19:01 | |
Keepsakes. | 0:19:01 | 0:19:03 | |
-Like what? -Some bits and pieces. | 0:19:03 | 0:19:06 | |
Do you want me to put the film on for you, Lady B? | 0:19:06 | 0:19:08 | |
Mm! | 0:19:08 | 0:19:10 | |
-Can you read me the password? -Sure. Leopard. | 0:19:13 | 0:19:17 | |
Leopard, dear old baby. | 0:19:17 | 0:19:20 | |
Underscore, 1942. | 0:19:20 | 0:19:23 | |
1942, the year I was born. | 0:19:23 | 0:19:25 | |
Good morning. | 0:19:31 | 0:19:32 | |
Oh, macaroons? | 0:19:32 | 0:19:35 | |
FILM PLAYS ON TV | 0:19:35 | 0:19:36 | |
You ARE lucky. | 0:19:36 | 0:19:38 | |
-Mr Bone bought them for me. -Really? | 0:19:38 | 0:19:41 | |
Thank you. That's...that's very kind. | 0:19:41 | 0:19:45 | |
Just a few quick things to ask. | 0:19:45 | 0:19:46 | |
Did you know Lula was looking for her biological family? | 0:19:46 | 0:19:50 | |
Yes, I knew something about it. | 0:19:50 | 0:19:53 | |
I tried to steer clear of the topic. | 0:19:55 | 0:19:57 | |
For obvious reasons. | 0:19:57 | 0:19:58 | |
You don't know who the father is? | 0:19:59 | 0:20:02 | |
Well, I still like to think | 0:20:02 | 0:20:03 | |
it was the man who actually brought her up but... | 0:20:03 | 0:20:05 | |
-I'm sorry, no. -He was an African student. | 0:20:08 | 0:20:11 | |
Nigerian, I think. | 0:20:11 | 0:20:13 | |
Alec told me. | 0:20:15 | 0:20:16 | |
He had to get another lawyer to deal with the papers | 0:20:18 | 0:20:20 | |
-because Tony refused. -How come? -Didn't want us to have her. -Why? | 0:20:20 | 0:20:26 | |
Because of Charlie. | 0:20:26 | 0:20:28 | |
Tony said something to Alec that made my husband very angry, | 0:20:28 | 0:20:31 | |
and there was a fearful row, | 0:20:31 | 0:20:33 | |
and Alec said Tony shouldn't come to the house any more. | 0:20:33 | 0:20:36 | |
But he was my brother, so... Oh, hush, this is a good bit. | 0:20:36 | 0:20:40 | |
-TV: -Well, they're in for a big surprise. | 0:20:42 | 0:20:44 | |
Last time we met, you told me Tony was here the evening Lula died. | 0:20:45 | 0:20:49 | |
You have a good memory. Sorry. Yes. | 0:20:49 | 0:20:53 | |
I was in the flat upstairs while he was down with Mum. | 0:20:53 | 0:20:57 | |
But I passed him on the stairs certainly. | 0:20:57 | 0:21:00 | |
-He didn't watch the film with you? -No, he left just before that. | 0:21:00 | 0:21:02 | |
-For Oxford. -Yeah. | 0:21:02 | 0:21:04 | |
I will see what I can find out regarding the adoption papers. | 0:21:05 | 0:21:09 | |
That would be very helpful. | 0:21:09 | 0:21:11 | |
She loved those mittens. | 0:21:11 | 0:21:13 | |
CLOCK CHIMES | 0:21:13 | 0:21:16 | |
Oh, hi! Back for the dress? | 0:22:14 | 0:22:17 | |
No. Is Mel about? | 0:22:17 | 0:22:19 | |
Down in the changing rooms. | 0:22:19 | 0:22:21 | |
-You Mel? -Mm-hm. | 0:22:26 | 0:22:28 | |
My name is Cormoran Strike, I work for Lula Landry's family. | 0:22:28 | 0:22:32 | |
I'm here to explain to you the legal hazards of recording | 0:22:32 | 0:22:34 | |
private conversations and sharing them with third parties | 0:22:34 | 0:22:37 | |
without obtaining consent. | 0:22:37 | 0:22:38 | |
But first of all, you're going to give me | 0:22:38 | 0:22:40 | |
the audio file you've got on your mobile. | 0:22:40 | 0:22:42 | |
-RECORDING: -Just sign it there. -Are you sure about this? | 0:22:52 | 0:22:55 | |
Never been surer, babe. They don't need it, do they? | 0:22:55 | 0:22:58 | |
I can't believe it, I'm going to see him tonight, Roch, | 0:22:58 | 0:23:01 | |
after all this time. | 0:23:01 | 0:23:02 | |
And that was the point she leaned out to see if anybody was listening. | 0:23:02 | 0:23:05 | |
So paranoid, these celebrities. | 0:23:05 | 0:23:07 | |
"I'm going to see him tonight." | 0:23:09 | 0:23:11 | |
-What, Deeby Macc? -Well, that's the obvious conclusion. | 0:23:11 | 0:23:15 | |
-How did you get on at Soas? -OK... -SHE CLEARS HER THROAT | 0:23:15 | 0:23:18 | |
..so, Lula's search record | 0:23:18 | 0:23:21 | |
shows that she was looking up books on Ghanaian history. | 0:23:21 | 0:23:24 | |
More specifically, though, she several times took out | 0:23:24 | 0:23:26 | |
a PhD thesis by a guy called Josiah Agyeman, | 0:23:26 | 0:23:30 | |
who was a student there. | 0:23:30 | 0:23:31 | |
Agyeman. | 0:23:31 | 0:23:33 | |
-Not Nigerian? -No, it's Ghanaian. | 0:23:33 | 0:23:36 | |
The dedication to his PhD looks interesting, though. | 0:23:36 | 0:23:39 | |
"For my beloved wife Ami and our baby Jonah | 0:23:42 | 0:23:45 | |
"with grateful thanks to Pastor Jorge Duran of | 0:23:45 | 0:23:48 | |
"the Church of Holy Light, | 0:23:48 | 0:23:49 | |
"for teaching humility and faith to one who had so often strayed." | 0:23:49 | 0:23:52 | |
"One who had so often strayed." | 0:23:54 | 0:23:56 | |
My guess would be that he might be Lula's biological father. | 0:23:56 | 0:24:00 | |
Yeah. Mm. | 0:24:00 | 0:24:02 | |
Right, I've got to go and meet a Professor Enright, | 0:24:02 | 0:24:05 | |
his PhD supervisor. | 0:24:05 | 0:24:07 | |
He's still at Soas, but he was teaching this morning. See you. | 0:24:07 | 0:24:10 | |
Ghanaian political economy. | 0:24:14 | 0:24:16 | |
Especially around the time of Nkrumah. | 0:24:16 | 0:24:17 | |
Um, actually, I was keen to talk to Josiah Agyeman. | 0:24:17 | 0:24:21 | |
I'm afraid Dr Agyeman's no longer with us. | 0:24:21 | 0:24:24 | |
Oh, well, could you, um, tell me | 0:24:24 | 0:24:26 | |
where I might be able to get in touch with him? | 0:24:26 | 0:24:28 | |
He died...just over a year ago. | 0:24:28 | 0:24:30 | |
Oh. | 0:24:32 | 0:24:33 | |
You're not the first young lady who's come asking about him. | 0:24:35 | 0:24:38 | |
-So Lula must have found out exactly the same thing as you. -Mm. | 0:24:41 | 0:24:45 | |
Professor Enright said she was very upset. | 0:24:45 | 0:24:47 | |
He didn't know who she was? | 0:24:47 | 0:24:49 | |
He's a specialist in post-colonial administrative divisions | 0:24:49 | 0:24:52 | |
in sub-Saharan Africa. | 0:24:52 | 0:24:54 | |
I think the world of celebrity fashion might have passed him by. | 0:24:54 | 0:24:57 | |
So Agyeman's a complete dead-end. | 0:24:57 | 0:24:59 | |
No. Because then I tracked down Pastor Duran, | 0:24:59 | 0:25:01 | |
the Pentecostalist he mentions in his PhD dedication. | 0:25:01 | 0:25:05 | |
The church is out in Tooting, | 0:25:05 | 0:25:07 | |
and he had a lot of pictures of the Agyeman family, including... | 0:25:07 | 0:25:10 | |
Oh, not that one. | 0:25:13 | 0:25:14 | |
-Wow. -Mm-hm. | 0:25:16 | 0:25:18 | |
That's Agyeman with his son Jonah. | 0:25:18 | 0:25:20 | |
-No doubting where she got her looks from. -Mm-hm. | 0:25:21 | 0:25:24 | |
Blue, red, blue. | 0:25:24 | 0:25:26 | |
It's TRF, it's... | 0:25:26 | 0:25:28 | |
Coldstream Guards. | 0:25:28 | 0:25:29 | |
Lula said, "I can't believe I'm going to see him tonight." | 0:25:33 | 0:25:36 | |
And in the changing room at Vashti, | 0:25:37 | 0:25:39 | |
-"I'm going to see him after all this time." -She was expecting him. | 0:25:39 | 0:25:42 | |
Not Deeby Macc. | 0:25:42 | 0:25:44 | |
She thought she was going to see her brother for the first time. | 0:25:44 | 0:25:47 | |
-You don't think that... -Make some calls. | 0:25:47 | 0:25:50 | |
Sad. | 0:26:04 | 0:26:06 | |
I was so excited about finding him and... | 0:26:06 | 0:26:09 | |
There's usually something quite sad at the back of it all. | 0:26:12 | 0:26:15 | |
Where are you going? | 0:26:17 | 0:26:18 | |
To tell John about Lula's brother. | 0:26:18 | 0:26:20 | |
A brother? | 0:26:28 | 0:26:30 | |
You know, that makes me feel really strange. | 0:26:32 | 0:26:34 | |
Of course it does. | 0:26:34 | 0:26:36 | |
I hate the term "real brother". | 0:26:36 | 0:26:39 | |
Or "real parent". | 0:26:39 | 0:26:41 | |
My real parents were the ones who raised me. | 0:26:41 | 0:26:43 | |
-Definitely go along with that. -Your-Your-Your... Your own father? | 0:26:43 | 0:26:46 | |
As far as Jonny Rokeby was concerned, | 0:26:46 | 0:26:48 | |
I was just a shudder in the loins. | 0:26:48 | 0:26:51 | |
So, this brother, | 0:26:51 | 0:26:53 | |
this soldier is the one in the CCTV footage? | 0:26:53 | 0:26:56 | |
Keeping an open mind for now. | 0:26:56 | 0:26:58 | |
So, do you think we should tell the police about Agyeman? | 0:26:58 | 0:27:00 | |
PHONE BUZZES | 0:27:00 | 0:27:02 | |
Sorry, John, I've got to go and meet somebody pretty urgently. | 0:27:04 | 0:27:07 | |
Oh, no, don't worry. | 0:27:07 | 0:27:09 | |
Morning, sir. If you'd like to follow me, please. | 0:27:28 | 0:27:31 | |
They told me you were once a suit. | 0:27:49 | 0:27:51 | |
Helmand, right? | 0:27:54 | 0:27:55 | |
HE SIGHS | 0:28:07 | 0:28:08 | |
It's my fault she killed herself. | 0:28:09 | 0:28:11 | |
All of this? It's my fault. | 0:28:11 | 0:28:14 | |
How's that? | 0:28:16 | 0:28:17 | |
She wanted to see me the night she died. | 0:28:17 | 0:28:20 | |
In the end, I couldn't. | 0:28:22 | 0:28:24 | |
That's you, right? | 0:28:29 | 0:28:30 | |
Tell me what happened. | 0:28:33 | 0:28:34 | |
Dad told me about it when he was dying, | 0:28:36 | 0:28:38 | |
said he didn't know if she had the baby. | 0:28:38 | 0:28:40 | |
The woman he lodged with in London? | 0:28:40 | 0:28:43 | |
He was a student at the time, and Mum was in Accra. | 0:28:43 | 0:28:46 | |
Then Lula calls you out of the blue. | 0:28:46 | 0:28:48 | |
-She didn't want the press to find out. -She used her mate's phone. | 0:28:48 | 0:28:51 | |
Yes, some Rochelle bird, yeah. | 0:28:51 | 0:28:53 | |
So, suddenly, you find out you've got a half-sister who's | 0:28:53 | 0:28:56 | |
a world-famous supermodel. | 0:28:56 | 0:28:58 | |
It was all too much for me, you know, doing my head in. | 0:28:58 | 0:29:02 | |
Lula, all them posh cars and flats. | 0:29:02 | 0:29:05 | |
-And Mum. -I understand. | 0:29:05 | 0:29:08 | |
HE SCOFFS | 0:29:08 | 0:29:10 | |
Do you? | 0:29:10 | 0:29:11 | |
Would have broken my mum's heart. | 0:29:15 | 0:29:17 | |
Her health's not so good. | 0:29:19 | 0:29:20 | |
I said no to Lula at first but then she...she kept on, | 0:29:22 | 0:29:25 | |
you know, kept on... | 0:29:25 | 0:29:27 | |
-Did you know her? -No. | 0:29:27 | 0:29:30 | |
She was...you know, she was full on, you know? | 0:29:30 | 0:29:34 | |
At one point, she was going on, "You can have all my money." | 0:29:34 | 0:29:38 | |
And I-I said, "I don't care about your money." | 0:29:38 | 0:29:41 | |
But she was even going on about leaving everything to me | 0:29:41 | 0:29:44 | |
in her will, just to piss her uncle off. | 0:29:44 | 0:29:46 | |
Afterwards, I felt so guilty. | 0:29:48 | 0:29:50 | |
If I'd gone in, she'd still be alive. | 0:29:54 | 0:29:57 | |
Wanting to protect your mum was a good instinct. | 0:29:57 | 0:30:00 | |
She said she understood about Mum. | 0:30:02 | 0:30:04 | |
She didn't want to hurt anyone. | 0:30:04 | 0:30:07 | |
HE LAUGHS | 0:30:07 | 0:30:08 | |
That's it. | 0:30:08 | 0:30:09 | |
I mean, she was looking for something, you know? | 0:30:11 | 0:30:14 | |
She sounded all right. | 0:30:18 | 0:30:19 | |
I think she was. | 0:30:23 | 0:30:25 | |
HE SNIFFS | 0:30:31 | 0:30:33 | |
HE CLEARS HIS THROAT | 0:30:33 | 0:30:34 | |
-I'll call. -OK. | 0:31:10 | 0:31:11 | |
I think I'll add stalking to harassment. | 0:31:13 | 0:31:16 | |
Your nephew said you were at your sister's house in Chelsea | 0:31:17 | 0:31:20 | |
the night of Lula's death. Is that correct? | 0:31:20 | 0:31:23 | |
It's your alibi. | 0:31:23 | 0:31:25 | |
-What on earth would I need an alibi for? -You tell me. | 0:31:25 | 0:31:28 | |
Can you prove that I wasn't there? | 0:31:28 | 0:31:29 | |
You used your credit card to pay a bar bill in your favourite hotel | 0:31:29 | 0:31:32 | |
around about the same time you were supposed to be | 0:31:32 | 0:31:35 | |
with your sick sister. | 0:31:35 | 0:31:36 | |
Why didn't you want the Bristows to adopt Lula? | 0:31:36 | 0:31:39 | |
That's not... | 0:31:41 | 0:31:42 | |
It wasn't... | 0:31:45 | 0:31:47 | |
Yvette told me you didn't want Lula around in the first place. | 0:31:47 | 0:31:50 | |
Didn't stop you becoming very interested in protecting her wealth. | 0:31:50 | 0:31:54 | |
I always had Lula's best interests at heart, always. | 0:31:54 | 0:31:59 | |
From day one. | 0:31:59 | 0:32:00 | |
Chelsea. | 0:32:04 | 0:32:05 | |
Bunsen. | 0:32:56 | 0:32:58 | |
How's it going, Shanker? | 0:32:58 | 0:33:00 | |
I put some flowers on your ma's grave the other day. | 0:33:05 | 0:33:08 | |
I appreciate it. | 0:33:08 | 0:33:10 | |
Something you want? | 0:33:10 | 0:33:12 | |
This is a car registration in its normal location. | 0:33:13 | 0:33:16 | |
-Oh, right, want us to nick it? -No. | 0:33:16 | 0:33:18 | |
-Well, come on. -Leave the car where it is, don't nick anything. | 0:33:19 | 0:33:23 | |
If you were to get inside and check something for me... | 0:33:23 | 0:33:26 | |
-Checking what? -The sat nav. | 0:33:26 | 0:33:28 | |
I want you to enter this address, | 0:33:28 | 0:33:29 | |
see if it comes up in previous destinations. | 0:33:29 | 0:33:31 | |
Hi, it's Robin Ellacott, I came in... | 0:33:35 | 0:33:37 | |
Yes, Human Resources. | 0:33:37 | 0:33:39 | |
Well, I was just calling to say that my circumstances have changed, | 0:33:39 | 0:33:42 | |
so I won't be able to accept the position, | 0:33:42 | 0:33:44 | |
but if you could pass on my appreciation. | 0:33:44 | 0:33:48 | |
Yes, thank you. Thank you. | 0:33:48 | 0:33:50 | |
SHE SIGHS | 0:33:53 | 0:33:54 | |
-We didn't even discuss it. -We DID discuss it. | 0:34:02 | 0:34:05 | |
OK, but we didn't decide anything. | 0:34:05 | 0:34:07 | |
-This affects us both. -Yeah, but primarily me. | 0:34:07 | 0:34:10 | |
Look, I... | 0:34:10 | 0:34:12 | |
I've... | 0:34:12 | 0:34:14 | |
I just...I like the work I'm doing now. | 0:34:14 | 0:34:16 | |
I've always dreamt about a career like this. | 0:34:17 | 0:34:19 | |
Like this? | 0:34:19 | 0:34:20 | |
As I recall, it was psychology, | 0:34:21 | 0:34:23 | |
not doing the filing for a one-legged investigator in Soho. | 0:34:23 | 0:34:27 | |
SHE LAUGHS | 0:34:27 | 0:34:28 | |
I like the way you've made it all sound equally sleazy there! | 0:34:28 | 0:34:32 | |
You know, he lost his leg fighting a war. | 0:34:32 | 0:34:35 | |
And what a bloody waste of time and effort that was. | 0:34:35 | 0:34:37 | |
Oh. What an awful thing to say. | 0:34:37 | 0:34:41 | |
Well... | 0:34:41 | 0:34:42 | |
Maybe if you met him. | 0:34:44 | 0:34:45 | |
-Met him. -Yeah. | 0:34:47 | 0:34:49 | |
We could...go for a drink or something after work. | 0:34:49 | 0:34:52 | |
And would I walk home on my own while you took him up in bed? | 0:34:52 | 0:34:55 | |
-Forget it, then. -I'm joking. | 0:34:58 | 0:35:00 | |
I'm joking! | 0:35:00 | 0:35:01 | |
-You think she was killed because she made a will? -No. | 0:35:18 | 0:35:21 | |
I don't, but Rochelle definitely was. | 0:35:21 | 0:35:24 | |
-I'm not with you. -I think Rochelle was blackmailing the killer | 0:35:24 | 0:35:26 | |
because she was the only other person who knew about the will. | 0:35:26 | 0:35:29 | |
-And where is it? -I don't know. | 0:35:29 | 0:35:31 | |
HE SIGHS | 0:35:33 | 0:35:34 | |
He'll kill again if he has to. | 0:35:34 | 0:35:36 | |
PHONE RINGS | 0:35:58 | 0:36:00 | |
-Cormoran Strike's office. -Did you make that call? | 0:36:00 | 0:36:02 | |
Disputed estate to Richmond. | 0:36:02 | 0:36:04 | |
-That's it. -All booked in. -Great. | 0:36:04 | 0:36:06 | |
There's...actually something I wanted to talk to you about. | 0:36:06 | 0:36:10 | |
DIAL TONE SOUNDS | 0:36:10 | 0:36:11 | |
Oh... | 0:36:11 | 0:36:13 | |
I'd never sign up to be cast away on a desert island with that one. | 0:36:16 | 0:36:20 | |
Do you remember Tony being here the night Lula died? | 0:36:20 | 0:36:23 | |
Oh, it's all so blurry now. | 0:36:25 | 0:36:29 | |
My long-term memory's good enough, | 0:36:29 | 0:36:32 | |
but the drugs make everything so muddled. | 0:36:32 | 0:36:36 | |
I understand. | 0:36:36 | 0:36:38 | |
I remember you and Charlie, though. | 0:36:38 | 0:36:41 | |
Thick as thieves. | 0:36:41 | 0:36:43 | |
Your mother was a model, or something. | 0:36:44 | 0:36:47 | |
That's right. | 0:36:47 | 0:36:49 | |
Such a glamourpuss. | 0:36:49 | 0:36:52 | |
You don't look anything like her. | 0:36:52 | 0:36:54 | |
Johnny's not much to look at, either. | 0:36:56 | 0:36:58 | |
My husband, Alec, had a lot of homosexual friends - | 0:36:58 | 0:37:03 | |
House of Lords - | 0:37:03 | 0:37:05 | |
and he used to say he didn't in the least mind them | 0:37:05 | 0:37:08 | |
being around young Johnny. | 0:37:08 | 0:37:10 | |
"Just because they're queer, Yvette, | 0:37:10 | 0:37:13 | |
"doesn't mean to say they have poor taste." | 0:37:13 | 0:37:16 | |
SHE CHUCKLES | 0:37:16 | 0:37:18 | |
Lunchtime, Lady B! | 0:37:21 | 0:37:23 | |
Mind if I use the bathroom? | 0:37:23 | 0:37:25 | |
Mm-hm. | 0:37:25 | 0:37:26 | |
There you go. | 0:37:28 | 0:37:29 | |
HE PANTS | 0:37:52 | 0:37:54 | |
DOORBELL RINGS | 0:39:12 | 0:39:14 | |
He's upstairs. | 0:39:20 | 0:39:22 | |
HANDLE SQUEAKS | 0:39:27 | 0:39:29 | |
TOILET FLUSHES | 0:40:02 | 0:40:05 | |
I wouldn't go in there for a bit. | 0:40:05 | 0:40:06 | |
HE EXHALES | 0:40:09 | 0:40:10 | |
The sat nav remembered the address. | 0:40:22 | 0:40:24 | |
-Right. -And we found this. | 0:40:28 | 0:40:30 | |
I told you not to... | 0:40:30 | 0:40:31 | |
BELL RINGS | 0:40:31 | 0:40:33 | |
HE MUTTERS | 0:40:33 | 0:40:34 | |
Now, that's free... | 0:40:42 | 0:40:43 | |
..but my boy was heartbroken once he got in the car | 0:40:45 | 0:40:47 | |
and he couldn't take it. | 0:40:47 | 0:40:49 | |
Hopefully this will soothe the pain. | 0:40:49 | 0:40:51 | |
I've got him, Wardle. | 0:41:05 | 0:41:07 | |
BELL RINGS | 0:41:09 | 0:41:10 | |
Have you heard anything? Has there been an arrest? | 0:41:17 | 0:41:20 | |
Go home. | 0:41:22 | 0:41:24 | |
Honestly, I'm not expecting anybody now. Go on. | 0:41:24 | 0:41:27 | |
Nothing's going to happen tonight. | 0:41:28 | 0:41:30 | |
I, um... | 0:41:44 | 0:41:46 | |
I didn't take the job in HR. | 0:41:46 | 0:41:48 | |
Oh. | 0:41:49 | 0:41:50 | |
I'm not going to be able to afford you much longer, once this job... | 0:41:52 | 0:41:56 | |
I know. | 0:41:56 | 0:41:57 | |
Night. | 0:42:00 | 0:42:01 | |
I'm going to be a bit late tonight. | 0:42:28 | 0:42:30 | |
FLASHBULBS CLICK | 0:42:48 | 0:42:49 | |
The chap they picked up on the CCTV. They never traced him. | 0:42:53 | 0:42:56 | |
That's you, right? | 0:42:56 | 0:42:57 | |
AMPLIFIED SOUND EFFECTS BUILD | 0:43:03 | 0:43:05 | |
She said she was frightened of him. | 0:43:10 | 0:43:13 | |
DISTORTED SLURPING | 0:43:16 | 0:43:18 | |
LEATHER CREAKS | 0:43:18 | 0:43:20 | |
Get the fuck away from me! | 0:43:20 | 0:43:22 | |
BOOMING FOOTSTEPS | 0:43:24 | 0:43:26 | |
HE SIGHS | 0:43:31 | 0:43:33 | |
UNDERWATER DISTORTION | 0:43:35 | 0:43:37 | |
BOOMING FOOTSTEPS | 0:43:43 | 0:43:45 | |
DISTORTED LAUGHTER | 0:43:48 | 0:43:49 | |
KNOCK ON DOOR | 0:44:00 | 0:44:01 | |
Uh, hello? | 0:44:04 | 0:44:05 | |
Hello? | 0:44:11 | 0:44:12 | |
Oh. It's only you, John. | 0:44:14 | 0:44:16 | |
Oh, were you expecting someone else? | 0:44:16 | 0:44:18 | |
Maybe, yeah. But I'm glad. | 0:44:18 | 0:44:21 | |
You want some pizza? There's a slice left, | 0:44:21 | 0:44:23 | |
although I picked off the pepperoni. | 0:44:23 | 0:44:25 | |
Uh, no, thank you! | 0:44:25 | 0:44:26 | |
Take a seat. | 0:44:28 | 0:44:29 | |
Just for all the hard work. | 0:44:34 | 0:44:36 | |
Tracking down Jonah Agyeman was quite a result. | 0:44:36 | 0:44:38 | |
That's really generous. | 0:44:39 | 0:44:41 | |
Um... | 0:44:44 | 0:44:45 | |
Marsha told me you visited today. | 0:44:45 | 0:44:47 | |
I was a little surprised, to be honest. | 0:44:47 | 0:44:49 | |
-More? -No, thank you. | 0:44:49 | 0:44:51 | |
Yeah, I-I got called out to visit a potential client in Richmond - | 0:44:52 | 0:44:56 | |
but it turned out they didn't exist. | 0:44:56 | 0:44:59 | |
Yeah. | 0:45:01 | 0:45:03 | |
I got my secretary to do that. | 0:45:03 | 0:45:05 | |
I'm sorry, John, I needed you out of the way for a bit. | 0:45:05 | 0:45:08 | |
JOHN SCOFFS | 0:45:08 | 0:45:09 | |
I have some distressing news regarding Tony Landry. | 0:45:09 | 0:45:13 | |
He knows you killed Lula. | 0:45:16 | 0:45:18 | |
-I'm sorry? -He knows you killed Lula. | 0:45:19 | 0:45:22 | |
He might not admit it to himself, but... | 0:45:23 | 0:45:26 | |
deep down, he knows. | 0:45:26 | 0:45:28 | |
It's impossible to know something that isn't true. | 0:45:28 | 0:45:31 | |
On the day Lula died... | 0:45:34 | 0:45:36 | |
..you visited her flat. | 0:45:38 | 0:45:40 | |
You were furious she'd found Jonah. | 0:45:41 | 0:45:43 | |
You left. | 0:45:47 | 0:45:49 | |
You went downstairs... | 0:45:49 | 0:45:51 | |
but you didn't leave the building. | 0:45:51 | 0:45:53 | |
They were preparing the flat for Deeby Macc's arrival. | 0:46:05 | 0:46:08 | |
That helped you with a few props... | 0:46:13 | 0:46:14 | |
FAINT CONVERSATION | 0:46:17 | 0:46:20 | |
..the flowers and the clothes for your getaway. | 0:46:35 | 0:46:38 | |
I don't know when you decided to kill you sister. | 0:46:45 | 0:46:48 | |
Just as I'll never know the exact moment you decided | 0:46:48 | 0:46:50 | |
to push your brother over the edge of a quarry all those years before - | 0:46:50 | 0:46:54 | |
but you did decide... | 0:46:54 | 0:46:56 | |
and then you went back. | 0:46:56 | 0:46:58 | |
SHE SIGHS | 0:47:06 | 0:47:08 | |
I-I-I'm very sorry, | 0:47:15 | 0:47:17 | |
I'm not awfully good at the kind of scornful denial | 0:47:17 | 0:47:20 | |
which I assume is my job here. I-I'm just... | 0:47:20 | 0:47:23 | |
I... I-I-I'm really disappointed. | 0:47:23 | 0:47:26 | |
Open it. | 0:47:26 | 0:47:27 | |
That's what you've been looking for, isn't it? | 0:47:30 | 0:47:33 | |
It was in the Some handbag that your mother took from Lula's flat. | 0:47:33 | 0:47:36 | |
You didn't know about the detachable linings, though, did you? | 0:47:36 | 0:47:41 | |
Been under your nose all this time. | 0:47:41 | 0:47:43 | |
Rochelle knew of its existence, obviously. | 0:47:44 | 0:47:47 | |
-That's why you killed her. -I've never met her! | 0:47:47 | 0:47:50 | |
Then why did your sat nav prompt her address when we entered it? | 0:47:50 | 0:47:53 | |
Rochelle wasn't such a good friend to Lula. | 0:47:56 | 0:47:59 | |
She decided to blackmail you over the will. | 0:47:59 | 0:48:01 | |
Of course, she had no idea what you were capable of. | 0:48:01 | 0:48:03 | |
What you'd already done. | 0:48:03 | 0:48:05 | |
FAINT ARGUING | 0:48:08 | 0:48:10 | |
Lula told you all about the will in your second argument... | 0:48:10 | 0:48:14 | |
and that sealed her fate. | 0:48:14 | 0:48:15 | |
It all went to Mum. Lula died intestate. I inherited nothing! | 0:48:22 | 0:48:26 | |
Yeah, but you will when your mother dies, which won't be long... | 0:48:26 | 0:48:30 | |
HE GASPS | 0:48:30 | 0:48:31 | |
..but I think money was always a secondary motive. | 0:48:31 | 0:48:34 | |
To envy. | 0:48:34 | 0:48:35 | |
This is the bell from Charlie's bike, isn't it? | 0:48:40 | 0:48:42 | |
The one he was riding when he fell into the quarry. | 0:48:42 | 0:48:46 | |
First your brother Charlie... | 0:48:46 | 0:48:49 | |
then Lula - | 0:48:49 | 0:48:50 | |
and you hired me to help you frame Jonah. | 0:48:50 | 0:48:53 | |
I have some sympathy for you here, | 0:48:53 | 0:48:54 | |
with your mother's... endless categorising. | 0:48:54 | 0:48:57 | |
The handsome one, the clever one, the funny one. | 0:48:57 | 0:49:01 | |
You were always just the second one. | 0:49:01 | 0:49:03 | |
-HE SCOFFS -Oh, please! | 0:49:03 | 0:49:05 | |
Anything but the cod psychology. | 0:49:05 | 0:49:07 | |
No, fine, sure. I'm not a big one for motive, actually, | 0:49:07 | 0:49:10 | |
although jurors are suckers for it. | 0:49:10 | 0:49:12 | |
Let's stick with what we actually know. | 0:49:12 | 0:49:15 | |
Tony always suspected you of involvement in Charlie's death, | 0:49:15 | 0:49:17 | |
and tried to stop your parents adopting again | 0:49:17 | 0:49:20 | |
-because he was frightened for Lula. -And he told you that, did he? | 0:49:20 | 0:49:23 | |
He was nowhere near your house that night. | 0:49:23 | 0:49:25 | |
First, that made me suspicious, | 0:49:25 | 0:49:27 | |
but then I realised that you giving him an alibi | 0:49:27 | 0:49:29 | |
meant that he was effectively giving one to you. | 0:49:29 | 0:49:32 | |
Tony Landry is a weak-willed coward... | 0:49:32 | 0:49:34 | |
..but he's not a murderer. | 0:49:36 | 0:49:38 | |
You are. | 0:49:38 | 0:49:40 | |
We're done here. | 0:49:47 | 0:49:49 | |
Your mother's a dead junkie, | 0:49:54 | 0:49:56 | |
your father doesn't even want to know you exist, | 0:49:56 | 0:49:59 | |
you're in debt up to your eyeballs, | 0:49:59 | 0:50:02 | |
and you live in your office eating junk food. | 0:50:02 | 0:50:04 | |
-Good luck taking that the police. -I already have. | 0:50:07 | 0:50:10 | |
You should know, by the way, that leather is porous. | 0:50:10 | 0:50:13 | |
It doesn't prevent the transmission of forensic evidence - | 0:50:13 | 0:50:16 | |
it's a common mistake - | 0:50:16 | 0:50:17 | |
but it actually just causes criminals to sweat, | 0:50:17 | 0:50:21 | |
especially when they're as hyped up as you were that night. | 0:50:21 | 0:50:24 | |
You're going to prison for two murders, John. | 0:50:24 | 0:50:27 | |
Should be three, of course. | 0:50:27 | 0:50:29 | |
John, you know it's over. | 0:50:35 | 0:50:38 | |
GLASS CLINKS, HE GROANS | 0:50:38 | 0:50:40 | |
HE GASPS | 0:50:40 | 0:50:42 | |
HE GROWLS | 0:50:44 | 0:50:46 | |
THUDDING | 0:50:46 | 0:50:48 | |
HE YELLS | 0:50:48 | 0:50:49 | |
THUD | 0:50:52 | 0:50:54 | |
HE GROANS | 0:50:58 | 0:50:59 | |
YELLING | 0:51:03 | 0:51:05 | |
MUFFLED FIGHTING | 0:51:09 | 0:51:11 | |
Cormoran? | 0:51:11 | 0:51:12 | |
THUD | 0:51:12 | 0:51:14 | |
-Cormoran? -Get out! | 0:51:16 | 0:51:18 | |
SHE SHRIEKS | 0:51:18 | 0:51:21 | |
HE GROANS | 0:51:24 | 0:51:26 | |
HE GROANS | 0:51:28 | 0:51:30 | |
Cormoran? | 0:51:34 | 0:51:36 | |
Cormoran, stop! Stop, stop it! Stop... | 0:51:36 | 0:51:39 | |
HE GASPS | 0:51:39 | 0:51:40 | |
-GASPING -Fuck. | 0:51:42 | 0:51:44 | |
You're really bleeding. I'll call an ambulance. | 0:51:44 | 0:51:47 | |
And a taxi. | 0:51:49 | 0:51:50 | |
I'm not travelling with that bastard. | 0:51:52 | 0:51:54 | |
I was sorry to hear about Lady Bristow. | 0:52:42 | 0:52:44 | |
It was time. | 0:52:44 | 0:52:46 | |
It was very peaceful. | 0:52:46 | 0:52:48 | |
So, why did you want to see me? | 0:52:50 | 0:52:53 | |
Before she died, my sister and I agreed that we would respect | 0:52:53 | 0:52:56 | |
-Lula's wishes with regard to Jonah Agyeman... -OK. | 0:52:56 | 0:53:00 | |
..and we'll also pay any outstanding fees or expenses due to you. | 0:53:00 | 0:53:04 | |
Thank you. | 0:53:04 | 0:53:05 | |
I fear you have a low opinion of me, Mr Strike. | 0:53:07 | 0:53:09 | |
I never knew for certain what happened with John and Charlie... | 0:53:12 | 0:53:16 | |
when they were at the quarry that day. | 0:53:16 | 0:53:18 | |
You were anxious enough to try and stop them adopting Lula. | 0:53:18 | 0:53:21 | |
So, imagine what would have happened if I'd told Yvette | 0:53:21 | 0:53:24 | |
that he might also have killed Lula. | 0:53:24 | 0:53:26 | |
Imagine what that would have done to her. | 0:53:26 | 0:53:28 | |
She never really got over Charlie's death, and... | 0:53:28 | 0:53:32 | |
she was dying herself. | 0:53:32 | 0:53:33 | |
Families. | 0:53:43 | 0:53:44 | |
-Yeah. -Yeah. | 0:53:44 | 0:53:46 | |
Yes, of course, I'll make sure I pass that on. | 0:53:59 | 0:54:01 | |
Thank you very much. Bye. | 0:54:01 | 0:54:03 | |
-SHE SIGHS -Phone hasn't stopped ringing. | 0:54:03 | 0:54:06 | |
Thank you. | 0:54:11 | 0:54:12 | |
I know what it cost, remember? | 0:54:37 | 0:54:39 | |
Think of it as a bonus. | 0:54:39 | 0:54:41 | |
I never did tell you. | 0:54:46 | 0:54:48 | |
Tell me what? | 0:54:48 | 0:54:50 | |
What it was that I wanted to say | 0:54:51 | 0:54:53 | |
the night that John Bristow attacked you. | 0:54:53 | 0:54:56 | |
I'm tired of pointless interviews. | 0:55:00 | 0:55:03 | |
I like it here. | 0:55:03 | 0:55:05 | |
Well, Tony Landry kept his promise and paid up. | 0:55:07 | 0:55:09 | |
I've cleared my debts. | 0:55:09 | 0:55:11 | |
So... | 0:55:12 | 0:55:13 | |
-Can we make this permanent? -Yeah. | 0:55:20 | 0:55:24 | |
You might be waiting a while for a pay rise. | 0:55:24 | 0:55:27 | |
That's fine! | 0:55:27 | 0:55:28 | |
All right, then. | 0:55:30 | 0:55:31 | |
PHONE RINGS | 0:55:32 | 0:55:34 | |
Ooh. | 0:55:34 | 0:55:35 | |
Cormoran Strike's office. | 0:55:35 | 0:55:37 | |
Well, we're pretty busy, at the moment, | 0:55:39 | 0:55:41 | |
but if you give me your contact details, then I'll... | 0:55:41 | 0:55:44 | |
Uh-huh. | 0:55:50 | 0:55:51 | |
HE SIGHS | 0:55:51 | 0:55:53 | |
OK, thank you very much. | 0:55:53 | 0:55:54 | |
MUSIC: Ooh La La by the Faces | 0:55:59 | 0:56:02 | |
# Poor old Grandad I laughed at all his words | 0:56:17 | 0:56:22 | |
# I thought he was a bitter man He spoke of women's ways | 0:56:22 | 0:56:29 | |
# They'll trap you and they'll use you | 0:56:29 | 0:56:33 | |
# Before you even know | 0:56:33 | 0:56:35 | |
# For love is blind and you're far too kind | 0:56:35 | 0:56:39 | |
# Don't ever let it show | 0:56:39 | 0:56:41 | |
# I wish that I knew what I know now when I was younger | 0:56:41 | 0:56:48 | |
# I wish that I knew what I know now when I was younger... # | 0:56:48 | 0:56:55 | |
Owen Quine. | 0:56:59 | 0:57:01 | |
He's a very famous and good novelist. | 0:57:01 | 0:57:03 | |
Owen has written a very thinly disguised slandering | 0:57:03 | 0:57:05 | |
of the people who've tried to help him. | 0:57:05 | 0:57:07 | |
It is a nasty little allegory that deserves nothing but burning. | 0:57:07 | 0:57:12 | |
Have you read it? | 0:57:12 | 0:57:14 | |
What do you want from me? | 0:57:14 | 0:57:15 | |
You're getting married to someone who hates you doing this. | 0:57:15 | 0:57:18 |