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This programme contains some scenes which some viewers may find upsetting | 0:00:02 | 0:00:06 | |
EVE: There are two key forensic moments | 0:00:06 | 0:00:08 | |
in the investigation of an act of homicide. | 0:00:08 | 0:00:11 | |
The last moment of the victim's life... | 0:00:14 | 0:00:17 | |
...and the first moment of their death. | 0:00:19 | 0:00:21 | |
(GASPING) | 0:00:22 | 0:00:24 | |
(VOICES ON POLICE RADIO) | 0:00:51 | 0:00:55 | |
I think that somebody wants us to think it's a robbery gone wrong. | 0:00:55 | 0:01:00 | |
Very wrong for the victim! | 0:01:00 | 0:01:01 | |
Oh, wow! | 0:01:01 | 0:01:02 | |
MIKE: What? | 0:01:02 | 0:01:04 | |
- Whoa, excuse me, excuse me! - Hi, sorry, I'm Mick.... | 0:01:05 | 0:01:09 | |
Flannery? | 0:01:09 | 0:01:11 | |
- Oh, right. - Yeah, I called it in. | 0:01:11 | 0:01:13 | |
Thanks. Can you wait just behind that line there? | 0:01:13 | 0:01:16 | |
- Just over there? - Yeah. | 0:01:16 | 0:01:18 | |
OK. I'll just be right over there. | 0:01:18 | 0:01:20 | |
Just behind that line, thanks. | 0:01:20 | 0:01:21 | |
No problem. | 0:01:21 | 0:01:22 | |
- (EARPIECE BEEPS) - OGGY: Rosa? | 0:01:24 | 0:01:26 | |
- Yeah? - Did you give it to him yet? | 0:01:26 | 0:01:28 | |
Not yet. | 0:01:28 | 0:01:29 | |
Don't forget. It's very important. | 0:01:29 | 0:01:31 | |
HALE: Name's Ray Quinn, night security guard. | 0:01:38 | 0:01:42 | |
- Found this morning as is. - EVE: Is he known to the police? | 0:01:42 | 0:01:44 | |
Well, I put out a call for a background check. Still waiting. | 0:01:44 | 0:01:47 | |
No rigor, so he's still within the first three hours of death. | 0:01:47 | 0:01:51 | |
Scratches to the face. | 0:01:52 | 0:01:55 | |
- Branches? - Yeah, possibly. | 0:01:55 | 0:01:57 | |
Except there are signs of haematemesis around the mouth. | 0:01:57 | 0:01:59 | |
- Haema what? - It's when you vomit up blood. | 0:01:59 | 0:02:02 | |
No sign of blood on the scene, then? | 0:02:02 | 0:02:03 | |
His clothes are covered in mud, as are his boots. | 0:02:03 | 0:02:06 | |
HALE: Yeah, there are a lot of footprints up here. | 0:02:06 | 0:02:08 | |
- Can you tell us how many, roughly? - It's hard to tell, really. | 0:02:08 | 0:02:11 | |
There's been so much traffic around here with your lot | 0:02:11 | 0:02:13 | |
and the bloke who found him. | 0:02:13 | 0:02:15 | |
we need to account for everybody who walked the scene before we arrived. | 0:02:15 | 0:02:18 | |
We'll need to get elimination samples from the owner | 0:02:18 | 0:02:20 | |
and from the employees - | 0:02:20 | 0:02:22 | |
- all right, Rosa? - OK. | 0:02:22 | 0:02:23 | |
- I'll get him prepped for removal. - Yeah, could I have my bag? | 0:02:23 | 0:02:27 | |
- What do you think happened here, Eve? - Well, I can't say yet | 0:02:27 | 0:02:31 | |
whether he was murdered, but I don't think he died here. | 0:02:31 | 0:02:33 | |
Why hasn't he been moved? | 0:02:33 | 0:02:36 | |
And you are...? | 0:02:37 | 0:02:38 | |
Martin Flannery, I own the garage. Why the hell | 0:02:38 | 0:02:40 | |
- is he still lying here? - We're just about to move him, sir. | 0:02:40 | 0:02:43 | |
Good. I don't want to seem insensitive, but we're at a standstill here. | 0:02:43 | 0:02:46 | |
- Is there somewhere we could talk? - My office. | 0:02:46 | 0:02:49 | |
I need to speak to you, as well. | 0:02:51 | 0:02:54 | |
Good. I thought you was going to leave me out. | 0:02:54 | 0:02:58 | |
- No chance of that, Mick. - ROSA: Inspector? | 0:02:59 | 0:03:01 | |
- Yeah. - This is for you. | 0:03:01 | 0:03:03 | |
- What is it? - I don't know. | 0:03:03 | 0:03:05 | |
Oggy told me to give it you. | 0:03:05 | 0:03:07 | |
(BEEPING) | 0:03:09 | 0:03:11 | |
(BLEEP) | 0:03:14 | 0:03:15 | |
I do find it easy to talk to you, Tom. | 0:03:17 | 0:03:21 | |
Maybe that's because you don't expect much. | 0:03:22 | 0:03:25 | |
I think I need to find a new friend who...gives. | 0:03:28 | 0:03:33 | |
Someone...alive. | 0:03:34 | 0:03:37 | |
I have someone in mind, actually. | 0:03:37 | 0:03:41 | |
- When did you employ Ray Quinn? - About three months ago. | 0:03:49 | 0:03:52 | |
Took him on as night watchman. | 0:03:52 | 0:03:54 | |
Yeah, against my advice. | 0:03:54 | 0:03:56 | |
Really? | 0:03:56 | 0:03:57 | |
Yeah. Just...had a feeling he was one of those bad-luck blokes, you know? | 0:03:57 | 0:04:04 | |
I guess I was right, cos you can't get worse luck than being murdered, | 0:04:04 | 0:04:07 | |
- can you? - No. | 0:04:07 | 0:04:08 | |
So did you know about his previous before you employed him? | 0:04:08 | 0:04:12 | |
Oh, yeah. Um, working here was part of his parole agreement. | 0:04:12 | 0:04:16 | |
Right, so you must have known | 0:04:16 | 0:04:18 | |
that he was coming to the end of a stretch for kidnap. | 0:04:18 | 0:04:21 | |
And that he was the only member of a gang convicted. | 0:04:22 | 0:04:25 | |
MICK: I'll translate that. | 0:04:25 | 0:04:27 | |
Are you the other gang members that Ray didn't shop and is that why | 0:04:27 | 0:04:30 | |
you gave him a job when he came out? | 0:04:30 | 0:04:32 | |
That actually is a better way of putting it. | 0:04:32 | 0:04:34 | |
- Well? - Are you telling me I'm a suspect? | 0:04:35 | 0:04:39 | |
Everyone's a suspect... until they're not a suspect. | 0:04:39 | 0:04:42 | |
Well, when you want to accuse me of murder, let me know, I'll get a lawyer. | 0:04:42 | 0:04:46 | |
In the meantime, I've got a business to run. | 0:04:46 | 0:04:49 | |
You've offended him now. | 0:04:51 | 0:04:52 | |
What about you? | 0:04:54 | 0:04:56 | |
Nah. I'm the one with the thick skin. | 0:04:57 | 0:05:01 | |
That's it? | 0:05:05 | 0:05:06 | |
For now, yeah. | 0:05:06 | 0:05:07 | |
(HEAVY BREATHING) | 0:05:14 | 0:05:17 | |
I'm not hurt. | 0:05:21 | 0:05:23 | |
You just have to stay calm, and they will contact you. | 0:05:23 | 0:05:27 | |
You just have to open up the shop and let them in. | 0:05:27 | 0:05:31 | |
They won't hurt me. | 0:05:31 | 0:05:33 | |
- Rosa, can you stay and work the scene? - Sure. | 0:05:40 | 0:05:43 | |
I want samples from the floor area, | 0:05:43 | 0:05:45 | |
doors and surfaces, and those footprints. | 0:05:45 | 0:05:47 | |
- Got it. - Hale? | 0:05:47 | 0:05:48 | |
Yeah? | 0:05:48 | 0:05:49 | |
Can you have one of your lot | 0:05:49 | 0:05:51 | |
- stay with her? - Yeah, of course I will. | 0:05:51 | 0:05:52 | |
HALE: Look, I'm going to go to the victim's home. | 0:05:52 | 0:05:55 | |
Keep me posted with the postmortem, thank you. | 0:05:55 | 0:05:58 | |
- Rosa? - Mm-hm? | 0:06:01 | 0:06:02 | |
You're aware he's a possible suspect? | 0:06:02 | 0:06:04 | |
- Yeah, of course. - Good. | 0:06:04 | 0:06:06 | |
Oggy, can you prepare the lab? | 0:06:09 | 0:06:11 | |
EVE: Oggy? | 0:06:13 | 0:06:14 | |
Oggy, can you prep the lab for an autopsy? | 0:06:15 | 0:06:17 | |
Are you on your way back? | 0:06:17 | 0:06:19 | |
Is Hale coming with you? | 0:06:19 | 0:06:21 | |
- No, why? - No reason, just... | 0:06:21 | 0:06:24 | |
thinking. | 0:06:24 | 0:06:25 | |
It's a brew, mate. It's a cup of tea. Honest. | 0:06:38 | 0:06:41 | |
Do you want a cup of tea? | 0:06:43 | 0:06:44 | |
Look, I only put a drop of cyanide in it, I promise. | 0:06:44 | 0:06:49 | |
Well, in that case... | 0:06:49 | 0:06:52 | |
go on, then. | 0:06:52 | 0:06:53 | |
- Some biscuits there as well. - Lovely. | 0:06:56 | 0:06:58 | |
- So...how much longer, do you reckon? - Sorry? | 0:07:02 | 0:07:07 | |
- Before we can get back to business. - Oh, I can't say. | 0:07:07 | 0:07:10 | |
You could, but you won't. | 0:07:10 | 0:07:12 | |
Honestly, I don't know. But...if I did... | 0:07:12 | 0:07:14 | |
- Then you wouldn't. - Yeah. | 0:07:14 | 0:07:16 | |
So, um, was he your friend? | 0:07:17 | 0:07:19 | |
Ray? No, I didn't like him. | 0:07:19 | 0:07:23 | |
- Oh. - He didn't deserve that, though. | 0:07:23 | 0:07:26 | |
You know... | 0:07:26 | 0:07:27 | |
murdered for a few car parts. | 0:07:27 | 0:07:29 | |
Anyway, enjoy your brew. | 0:07:31 | 0:07:34 | |
- Thanks. - And yourself. | 0:07:34 | 0:07:37 | |
Is that yours? | 0:07:40 | 0:07:41 | |
Yep. Restored it myself. | 0:07:43 | 0:07:45 | |
Very nice. | 0:07:46 | 0:07:48 | |
Initial examination of one Raymond Quinn, recovered from scene. | 0:07:52 | 0:07:56 | |
Scratches to his hands, face and neck, consistent with running | 0:07:56 | 0:08:00 | |
- through bushes, trees. - To be verified. | 0:08:00 | 0:08:03 | |
(PANTS) | 0:08:03 | 0:08:05 | |
Bruising to his ribs is in the initial trauma state. | 0:08:11 | 0:08:15 | |
The flare didn't get a chance to swell, | 0:08:15 | 0:08:18 | |
so he would have died during the infliction of this injury. | 0:08:18 | 0:08:21 | |
I can confirm the haematemesis. His stomach | 0:08:21 | 0:08:23 | |
- and lungs are full of blood. - From the liver? | 0:08:23 | 0:08:25 | |
No, a ruptured portal vein. However, the liver was already | 0:08:25 | 0:08:28 | |
in a state of inflammation from cirrhosis, ready to pop. | 0:08:28 | 0:08:32 | |
Time of death? | 0:08:32 | 0:08:34 | |
(FAINT HISSING) | 0:08:37 | 0:08:40 | |
(BEEPING) | 0:08:40 | 0:08:43 | |
The core temperature from the liver is... 32 degrees, so, given the conditions, | 0:08:43 | 0:08:50 | |
I'd say he's been dead somewhere between four to six hours. | 0:08:50 | 0:08:53 | |
So his time of death fits in with the robbery theory, | 0:08:57 | 0:09:01 | |
- the early hours of the morning? - Well, | 0:09:01 | 0:09:03 | |
difficult to be precise, but it's somewhere in that region. | 0:09:03 | 0:09:05 | |
(LOUDLY) He drowned in his own blood. | 0:09:05 | 0:09:07 | |
- HALE: Yeah. Thanks, Oggy. - You're welcome. | 0:09:07 | 0:09:09 | |
Eve, we know that he didn't die of natural causes? | 0:09:09 | 0:09:13 | |
- Possibly. - So it could be a murder investigation? | 0:09:13 | 0:09:16 | |
And we know that the garage is a dump site. | 0:09:16 | 0:09:20 | |
- Yeah. - Might be a Mafia message to the owners, | 0:09:20 | 0:09:23 | |
someone making them an offer they can't refuse, | 0:09:23 | 0:09:25 | |
like a horse's head in bed, | 0:09:25 | 0:09:26 | |
- but with a guy in a garage instead. - Yeah, OK, Oggy. Er, got to go, mate. | 0:09:26 | 0:09:30 | |
- When will you be back? - Er, bye! | 0:09:30 | 0:09:32 | |
Be careful out there. | 0:09:32 | 0:09:34 | |
- Are you lost, mister? - Um, I don't think so. | 0:09:41 | 0:09:45 | |
I'm looking for Eileen Quinn. | 0:09:50 | 0:09:51 | |
And which Eileen Quinn would that be, now? | 0:09:51 | 0:09:54 | |
It's the Eileen Quinn that was the mother of Ray Quinn. | 0:09:54 | 0:09:58 | |
Look, the probation records show that he lives here with her. | 0:09:58 | 0:10:02 | |
Right. So what's all this about, like? | 0:10:02 | 0:10:05 | |
It's about a police matter. | 0:10:05 | 0:10:06 | |
I can go away, I can come back with backup. | 0:10:08 | 0:10:11 | |
No, no. No need for that, now. She's over here. | 0:10:11 | 0:10:15 | |
Eileen! | 0:10:34 | 0:10:36 | |
Policeman here for you. | 0:10:37 | 0:10:38 | |
(DOG BARKS) | 0:10:38 | 0:10:41 | |
Um...are you Ray Quinn's mother? | 0:10:45 | 0:10:48 | |
I am. | 0:10:48 | 0:10:50 | |
Can I come in? | 0:10:50 | 0:10:51 | |
- No. - No, no, | 0:10:51 | 0:10:53 | |
that wouldn't be right at all, now, for you to be alone with a woman, no. | 0:10:53 | 0:10:56 | |
OK, I see. | 0:10:56 | 0:10:57 | |
Um... | 0:10:57 | 0:10:59 | |
Um, Mrs Quinn, we've found your son. | 0:11:00 | 0:11:02 | |
Oh, did you? | 0:11:02 | 0:11:04 | |
And I'm afraid he's dead. | 0:11:05 | 0:11:07 | |
(GROANS) No! | 0:11:07 | 0:11:09 | |
(GROANS) Oh, no! Oh, Jesus Christ! | 0:11:09 | 0:11:14 | |
- Jesus... - (ALL TALK AT ONCE) | 0:11:14 | 0:11:15 | |
I'm so sorry. | 0:11:15 | 0:11:17 | |
(GROANS) | 0:11:17 | 0:11:19 | |
It'd be better if we talk away here, now. | 0:11:19 | 0:11:21 | |
Yeah, I need to see where Ray lives. | 0:11:21 | 0:11:24 | |
- (VOICES MURMUR) - (EILEEN HOWLS) | 0:11:24 | 0:11:28 | |
You see, most murders occur in the kitchen, | 0:11:28 | 0:11:30 | |
or the bedroom, generally in the home of the victim. | 0:11:30 | 0:11:33 | |
- Because most murders are domestic. - Right. | 0:11:33 | 0:11:36 | |
- He might be a domestic. - Right, | 0:11:36 | 0:11:39 | |
- we need to start on secondary. - Already done it. | 0:11:39 | 0:11:41 | |
Oh, good. OK, well, we know the garage is a dump site, | 0:11:41 | 0:11:45 | |
so we're looking for any indication as to where the murder site could be... | 0:11:45 | 0:11:50 | |
trace elements carried between the two. | 0:11:50 | 0:11:51 | |
The scratches on his face come from trees embedded with pollen. | 0:11:51 | 0:11:55 | |
Good. | 0:11:55 | 0:11:56 | |
Shall I run these? | 0:11:56 | 0:11:57 | |
No, no, I'll get Rosa to do it when she gets back. | 0:11:57 | 0:11:59 | |
Yeah. | 0:12:01 | 0:12:02 | |
These two look different from the others, | 0:12:02 | 0:12:05 | |
as though they've not been made by...branches. | 0:12:05 | 0:12:10 | |
- Can you run that? - Yeah, sure. | 0:12:10 | 0:12:13 | |
Keeps a tidy home. | 0:12:23 | 0:12:25 | |
Well, I wouldn't know about that, I've never been in it. | 0:12:25 | 0:12:29 | |
- Someone cleaned this? - His mother would do that for him. | 0:12:34 | 0:12:37 | |
When will she have his body? | 0:12:37 | 0:12:40 | |
- When I've finished with it. - What are you doing with it? | 0:12:40 | 0:12:42 | |
I'm trying to find out who killed him. Or don't you care about that? | 0:12:45 | 0:12:49 | |
Oh, I care about it all right, don't you worry about that. | 0:12:49 | 0:12:52 | |
What's that supposed to mean? | 0:12:52 | 0:12:54 | |
It means we'll find him and we'll take care of it ourselves. | 0:12:54 | 0:12:57 | |
That's not a good idea, taking the law into your own hands. | 0:12:57 | 0:13:00 | |
Whose law? Yours or ours? | 0:13:00 | 0:13:01 | |
There is only one law, it's the law of the land. | 0:13:01 | 0:13:04 | |
No, no, no, no. No. You have your laws, and we have ours. | 0:13:04 | 0:13:08 | |
Yeah, but whilst you're living... Sorry, what is your name? | 0:13:08 | 0:13:10 | |
Barney. Why? | 0:13:10 | 0:13:11 | |
Barney, whilst you're living in our country, you will abide by our laws. | 0:13:11 | 0:13:15 | |
HALE: I don't want this caravan touched. | 0:13:17 | 0:13:19 | |
I'll be back. | 0:13:19 | 0:13:21 | |
- (ENGINE RUMBLES) - Oh, my gosh! This is so cool! | 0:13:26 | 0:13:31 | |
- Can I rev it? - Go on, then. | 0:13:31 | 0:13:33 | |
(REVS ENGINE) | 0:13:33 | 0:13:35 | |
What are you looking for? | 0:13:39 | 0:13:40 | |
My earring. | 0:13:42 | 0:13:43 | |
Oh, yeah, and why would your earring be in my car? | 0:13:43 | 0:13:46 | |
Out. | 0:13:47 | 0:13:49 | |
Ask your dad for a new pair - I'm sure he can afford it. | 0:13:49 | 0:13:52 | |
(ENGINE REVS) | 0:13:55 | 0:13:57 | |
Rosa, can you hear me? | 0:13:57 | 0:13:59 | |
Um, turn it off. | 0:13:59 | 0:14:01 | |
All right. What...? | 0:14:01 | 0:14:02 | |
- Turn off the engine, please. - (ENGINE OFF) | 0:14:02 | 0:14:05 | |
Eve? | 0:14:05 | 0:14:06 | |
Are you OK? | 0:14:06 | 0:14:08 | |
- Yeah. Yeah, I'm fine. - Are you coming back | 0:14:08 | 0:14:10 | |
- to the farm with the samples? - Yeah. | 0:14:10 | 0:14:12 | |
- Now. - OK. | 0:14:12 | 0:14:14 | |
- (EARPIECE BEEPS) - I've got to go. | 0:14:14 | 0:14:16 | |
Ah, your mother calling. | 0:14:16 | 0:14:17 | |
Yeah, something like that. | 0:14:17 | 0:14:18 | |
Keeps you on a short leash, eh? | 0:14:18 | 0:14:20 | |
- In her world, everyone's a suspect. - And I'm a suspect? | 0:14:20 | 0:14:23 | |
You distracted me. I need a swab. | 0:14:23 | 0:14:26 | |
For what? | 0:14:26 | 0:14:27 | |
Just to eliminate you from the crime scene. | 0:14:27 | 0:14:30 | |
- Just... - Just around your mouth. | 0:14:31 | 0:14:33 | |
OK. | 0:14:37 | 0:14:38 | |
And then your hand... | 0:14:40 | 0:14:41 | |
Cool. All done. | 0:14:47 | 0:14:49 | |
Ta. | 0:14:49 | 0:14:50 | |
The autopsy confirmed my suspicions. | 0:14:54 | 0:14:57 | |
Right, so he was beaten to death? | 0:14:57 | 0:14:59 | |
Well, to be precise, he was punched a number of times in the ribs, | 0:14:59 | 0:15:02 | |
but it was a blow to the stomach | 0:15:02 | 0:15:03 | |
that caused the liver to rupture and death to occur. | 0:15:03 | 0:15:06 | |
Yeah, I got something interesting on the swabs | 0:15:06 | 0:15:08 | |
from the scratches on Quinn's neck. | 0:15:08 | 0:15:10 | |
They were made from the nails of a female. | 0:15:10 | 0:15:13 | |
- Hm, a violent confrontation. - Can you pull a profile from that sample? | 0:15:13 | 0:15:17 | |
MIKE: Yeah, I've done it. | 0:15:17 | 0:15:19 | |
She was white European. | 0:15:19 | 0:15:20 | |
OK...I think everyone needs to be aware of the nature | 0:15:24 | 0:15:29 | |
of Raymond Quinn's previous crime. | 0:15:29 | 0:15:32 | |
It was a tiger kidnap of a wife of a postmaster. | 0:15:33 | 0:15:38 | |
That's like a normal kidnapping | 0:15:38 | 0:15:39 | |
where the hostage is held captive by the criminals, | 0:15:39 | 0:15:43 | |
but it's called a tiger kidnapping because of the level | 0:15:43 | 0:15:46 | |
- of predatory stalking involved. - Very good. | 0:15:46 | 0:15:48 | |
- Hi. - Hi. | 0:15:48 | 0:15:49 | |
I have soil and oil samples from the crime scene, | 0:15:49 | 0:15:52 | |
and elimination samples from the owner and his brother, Mick. | 0:15:52 | 0:15:57 | |
- How did it go? - Yeah, fine, thanks. | 0:15:59 | 0:16:02 | |
So, Quinn's last victim, was she harmed? | 0:16:02 | 0:16:05 | |
Er, no. | 0:16:05 | 0:16:09 | |
No, the money was never recovered. | 0:16:09 | 0:16:10 | |
How did they get Quinn? | 0:16:10 | 0:16:12 | |
DNA. Believe it or not, he blew his nose on a handkerchief | 0:16:12 | 0:16:15 | |
and then gave the handkerchief back to her. | 0:16:15 | 0:16:18 | |
Claims he was just the babysitter, | 0:16:18 | 0:16:19 | |
but he never gave up the other members of the gang. | 0:16:19 | 0:16:22 | |
Rosa, we need to find the source of that pollen, ASAP. | 0:16:22 | 0:16:25 | |
- Rosa! - Hm? | 0:16:27 | 0:16:28 | |
- Pollen, ASAP. - Yeah, OK. | 0:16:28 | 0:16:30 | |
- Oggy? - Soil samples, on it. | 0:16:30 | 0:16:32 | |
- Mike... - Yeah? | 0:16:32 | 0:16:33 | |
You need to go back and work his caravan. | 0:16:33 | 0:16:35 | |
Sure. | 0:16:35 | 0:16:37 | |
DI Hale. Would you run a profile through Missing Persons? | 0:16:37 | 0:16:40 | |
Don't tell me that's it? | 0:16:50 | 0:16:51 | |
What the...? | 0:16:53 | 0:16:55 | |
What part of "don't touch the caravan" do you lot not understand? | 0:16:56 | 0:17:00 | |
We couldn't stop her, it's tradition. | 0:17:00 | 0:17:03 | |
It's her right to fire the van when he's dead. | 0:17:03 | 0:17:06 | |
Oh, it gets even better than that. I can't even talk to the mother. | 0:17:06 | 0:17:09 | |
EVE: Why not? | 0:17:09 | 0:17:11 | |
Oh, well, you know, because women can't talk to men. | 0:17:11 | 0:17:15 | |
Well, I'm not a man. | 0:17:15 | 0:17:17 | |
So why don't you and Mike go and walk around with the other men, and I'll... | 0:17:23 | 0:17:27 | |
Are you sure about that? | 0:17:27 | 0:17:29 | |
Yeah, I'll be OK. | 0:17:29 | 0:17:30 | |
Get out of the way, will you? | 0:17:34 | 0:17:37 | |
I'm sorry about your loss. | 0:17:46 | 0:17:49 | |
What brings you here, then? | 0:17:52 | 0:17:54 | |
I want to talk to Mrs Quinn. | 0:17:54 | 0:17:56 | |
About? | 0:17:56 | 0:17:57 | |
About her son, Raymond. | 0:17:57 | 0:17:59 | |
My son, Raymond, was a good, good son. | 0:17:59 | 0:18:03 | |
We'd best talk inside, then. | 0:18:05 | 0:18:08 | |
Sorry? | 0:18:08 | 0:18:09 | |
Talk inside, Eileen. | 0:18:09 | 0:18:11 | |
All right. | 0:18:11 | 0:18:13 | |
Oh, God, look at your neck. Look at... What have you done, Raymond? | 0:18:18 | 0:18:23 | |
What in the name of God have you done? | 0:18:23 | 0:18:25 | |
Running pollen samples taken from the body of Raymond Quinn. | 0:18:26 | 0:18:30 | |
Beginning analysis of the species type in order to discover its provenance. | 0:18:30 | 0:18:35 | |
Did you do something to a woman, Raymond? | 0:18:35 | 0:18:38 | |
Have you seen me dogs, sir? Aren't they beautiful creatures? | 0:18:43 | 0:18:46 | |
- (BARKING) - Down, boys! | 0:18:46 | 0:18:49 | |
Yeah, very nice. | 0:18:51 | 0:18:52 | |
Guard dogs, yeah? | 0:18:52 | 0:18:53 | |
No, fighting dogs. | 0:18:53 | 0:18:55 | |
- Fighting dogs? - Yeah, best in the country. | 0:18:55 | 0:18:58 | |
You do know that's illegal, don't you? | 0:18:58 | 0:19:00 | |
Well, is that right, now? | 0:19:00 | 0:19:01 | |
Cross-referencing elimination samples from the garage | 0:19:06 | 0:19:09 | |
with trace elements found on the victim's body. | 0:19:09 | 0:19:12 | |
This is weird. | 0:19:17 | 0:19:19 | |
What is? | 0:19:19 | 0:19:20 | |
DNA comparison is showing that Raymond Quinn is a cousin | 0:19:20 | 0:19:24 | |
- to Mick and Martin Flannery. - What? | 0:19:24 | 0:19:26 | |
- Why didn't they tell us this? - I dunno. | 0:19:26 | 0:19:29 | |
It's strange, though, isn't it? | 0:19:29 | 0:19:30 | |
But...there were no traces of female DNA on the crime scene. | 0:19:31 | 0:19:35 | |
Female, no - why? | 0:19:35 | 0:19:38 | |
Wake up, Oggy, there were scratches from a female on Raymond Quinn. | 0:19:38 | 0:19:42 | |
Right. No, no, she's not on the scene. | 0:19:42 | 0:19:45 | |
I'd better tell Eve about the cousins link, though. | 0:19:45 | 0:19:48 | |
No, no. | 0:19:48 | 0:19:49 | |
- What? - I'll do it. | 0:19:49 | 0:19:50 | |
But I discovered it! | 0:19:50 | 0:19:52 | |
OK, thanks, Rosa. | 0:19:52 | 0:19:55 | |
We weren't aware that Raymond was a cousin of the Flannery brothers. | 0:19:55 | 0:19:59 | |
Who's been telling you things, then? | 0:20:01 | 0:20:03 | |
Raymond told us. It's in his blood. | 0:20:03 | 0:20:06 | |
You can't deny your own blood, can you? | 0:20:06 | 0:20:07 | |
How well do you know the Flannery boys? | 0:20:08 | 0:20:10 | |
They're my nephews. | 0:20:10 | 0:20:12 | |
It's just, when I met them, they didn't seem like travellers. | 0:20:12 | 0:20:16 | |
Yeah, well, they wouldn't, would they? | 0:20:16 | 0:20:18 | |
Them boys grew up in a house. | 0:20:18 | 0:20:20 | |
Their father, Lord rest him, married a country girl. | 0:20:20 | 0:20:24 | |
A country girl? | 0:20:24 | 0:20:25 | |
- One of you. - I see. | 0:20:25 | 0:20:26 | |
But she took to her heels a few year into it. | 0:20:26 | 0:20:29 | |
You see, blood is thicker than water. | 0:20:29 | 0:20:31 | |
OK, mate, stick or twist? | 0:20:40 | 0:20:41 | |
Hit me. | 0:20:44 | 0:20:45 | |
EVE: And that's why Martin gave Raymond a job when he got out of prison. | 0:20:45 | 0:20:49 | |
Look, Martin is a good boy. | 0:20:49 | 0:20:52 | |
Did Raymond have a wife or a girlfriend? | 0:20:52 | 0:20:57 | |
Er, well, you know, Raymond... He just... | 0:20:57 | 0:21:02 | |
He didn't fool around with women, anyway. | 0:21:02 | 0:21:04 | |
- Raymond was, um, different. - Different? | 0:21:04 | 0:21:07 | |
Harmless. | 0:21:07 | 0:21:09 | |
King... | 0:21:11 | 0:21:13 | |
We should find the men. | 0:21:14 | 0:21:16 | |
Yeah, please, thanks very much, Teresa. Good bless. I'll see you later. | 0:21:16 | 0:21:20 | |
How many is a king? | 0:21:20 | 0:21:23 | |
Ten. Let me see. | 0:21:23 | 0:21:25 | |
Am I bust? | 0:21:27 | 0:21:28 | |
Only by 30 this time. | 0:21:28 | 0:21:30 | |
21... See ya. | 0:21:31 | 0:21:34 | |
You'll get yourself in trouble thinking those thoughts, Ray. | 0:21:37 | 0:21:41 | |
What are you smiling at? | 0:21:41 | 0:21:43 | |
You know exactly what I mean. | 0:21:43 | 0:21:46 | |
The pollen's from apple blossom. | 0:21:48 | 0:21:51 | |
Well, there's the garage... | 0:21:51 | 0:21:54 | |
Oh. That could be an orchard there. There you go. | 0:21:54 | 0:21:58 | |
What? | 0:22:00 | 0:22:02 | |
OK, I'll pull up the Land Registry. | 0:22:06 | 0:22:08 | |
So... Hadersbury Fruit Farm, owner Martin Flannery. | 0:22:09 | 0:22:16 | |
Application for planning permission to build a halting site. | 0:22:16 | 0:22:20 | |
Pending. | 0:22:20 | 0:22:21 | |
- OGGY: Halting site? - ROSA: You know, travellers. | 0:22:21 | 0:22:24 | |
I'd better bring Hale up to speed on all this. | 0:22:24 | 0:22:26 | |
- I'll do it. - But...! | 0:22:26 | 0:22:28 | |
ROSA: And you're not too far from the orchard now. | 0:22:28 | 0:22:30 | |
OK, send me directions, can you? | 0:22:30 | 0:22:32 | |
I've sent the coordinates to your phone. | 0:22:32 | 0:22:34 | |
It'll Bluetooth to your sat nav and take you straight there. | 0:22:34 | 0:22:37 | |
Er, I don't have Bluetooth set up. | 0:22:37 | 0:22:40 | |
OGGY: Yes, you do, I installed it for you. | 0:22:40 | 0:22:42 | |
Thanks, Oggy. | 0:22:42 | 0:22:45 | |
No problem...partner. | 0:22:45 | 0:22:47 | |
Hale, can you check if Raymond Quinn had a psychological evaluation | 0:22:47 | 0:22:51 | |
- when he was in prison? - Sure, why? | 0:22:51 | 0:22:52 | |
Just a niggle. | 0:22:52 | 0:22:55 | |
(AMERICAN ACCENT) Hey, let's all be careful out there. | 0:22:55 | 0:22:57 | |
He's been watching reruns of Hill Street Blues. | 0:22:59 | 0:23:02 | |
Oh, is that what it is? | 0:23:02 | 0:23:04 | |
I wondered. | 0:23:04 | 0:23:05 | |
What? | 0:23:17 | 0:23:18 | |
You seem depressed. | 0:23:18 | 0:23:20 | |
Really? | 0:23:20 | 0:23:21 | |
I'm here for you if you ever want to talk about anything. | 0:23:21 | 0:23:24 | |
Or, there's Eve. | 0:23:24 | 0:23:25 | |
Urgh...Eve. | 0:23:25 | 0:23:28 | |
So, what is it, then? | 0:23:40 | 0:23:41 | |
Oh... | 0:23:43 | 0:23:44 | |
don't you feel like you spend your whole life just working? | 0:23:44 | 0:23:47 | |
No. | 0:23:47 | 0:23:49 | |
I just... | 0:23:49 | 0:23:51 | |
I haven't done anything, I haven't been anywhere. | 0:23:52 | 0:23:55 | |
You could become an eco-warrior - that would be an adventure. | 0:23:55 | 0:23:58 | |
You know, save the whales, the forests. | 0:23:58 | 0:24:00 | |
Maybe. | 0:24:00 | 0:24:01 | |
What about being an ice-road trucker? That'd be fun. | 0:24:01 | 0:24:05 | |
I can't drive a truck. | 0:24:05 | 0:24:06 | |
- Extreme logging? - Too hard. | 0:24:06 | 0:24:09 | |
What about working on a lobster boat in the cruel seas off the coast of Alaska? | 0:24:09 | 0:24:13 | |
Too cold. | 0:24:13 | 0:24:15 | |
OK. | 0:24:17 | 0:24:19 | |
I have to go in now. There's lots to do. | 0:24:24 | 0:24:27 | |
OK. | 0:24:27 | 0:24:28 | |
Good talking to you. Good, honest conversation. Thank you. | 0:24:29 | 0:24:35 | |
HALE: Eve, it seems like Ray isn't the sharpest tool in the box. | 0:24:42 | 0:24:47 | |
Did they quantify how sharp? | 0:24:47 | 0:24:49 | |
Er, IQ of 80. | 0:24:49 | 0:24:51 | |
OK. | 0:24:51 | 0:24:53 | |
Check these tyre marks. | 0:25:12 | 0:25:14 | |
- Oggy, are you getting this? - Yeah. | 0:25:17 | 0:25:20 | |
MIKE: We'll send you some in high-def. | 0:25:20 | 0:25:22 | |
Got it. | 0:25:23 | 0:25:24 | |
Right, let's get suited up. | 0:25:26 | 0:25:28 | |
OK. | 0:25:28 | 0:25:30 | |
(MACHINE BEEPS) | 0:25:35 | 0:25:38 | |
NRN detected. | 0:25:41 | 0:25:43 | |
Ninhydrin reactive nitrogen - | 0:25:47 | 0:25:48 | |
it's the chemical signature of a dead body. | 0:25:48 | 0:25:52 | |
Can we forensicate it? | 0:25:52 | 0:25:54 | |
You know that's not a real word, don't you? | 0:25:54 | 0:25:58 | |
Yes, it is. Well, it is now. | 0:25:58 | 0:26:00 | |
EVE: Look, handprints. | 0:26:02 | 0:26:05 | |
That one looks like it's female. | 0:26:06 | 0:26:08 | |
(MAN BREATHES HEAVILY) | 0:26:08 | 0:26:11 | |
Are you sure those marks are made by a female? | 0:26:11 | 0:26:14 | |
EVE: It's a mixture of male and female, | 0:26:14 | 0:26:16 | |
but I'm pretty certain that one is female. | 0:26:16 | 0:26:18 | |
It's smaller than the others, | 0:26:18 | 0:26:22 | |
and those are possibly from long fingernails. | 0:26:22 | 0:26:24 | |
Like the nails that made the scratches on Quinn's neck? | 0:26:28 | 0:26:30 | |
Yeah, well, we'll find out. | 0:26:30 | 0:26:32 | |
- And these big marks are...? - Well, | 0:26:32 | 0:26:36 | |
where she was flailing about. | 0:26:36 | 0:26:39 | |
So we've got the female on the body of Quinn from the scratches | 0:26:39 | 0:26:43 | |
and we may have her here as well? | 0:26:43 | 0:26:47 | |
Would she be on the MISPER? | 0:26:47 | 0:26:48 | |
No, I've already tried - there's hundreds of them. | 0:26:48 | 0:26:50 | |
I'll need something that narrows it down. | 0:26:50 | 0:26:53 | |
OGGY: Axle ratios. | 0:26:55 | 0:26:56 | |
(WHISPERS) Come on, come on, come on. | 0:27:00 | 0:27:02 | |
So, you're a Ford Transit... Eve. | 0:27:05 | 0:27:09 | |
OK, great, thanks, Oggy. | 0:27:09 | 0:27:11 | |
Ford Transit at the garage. | 0:27:11 | 0:27:13 | |
Yeah. Rosa? | 0:27:13 | 0:27:14 | |
Eve? | 0:27:14 | 0:27:15 | |
Can you get back to the garage and check out the Ford Transit van? | 0:27:15 | 0:27:19 | |
Work it for me, will you? | 0:27:19 | 0:27:20 | |
- Will do. - Oh, yeah, | 0:27:20 | 0:27:21 | |
- and be careful. - I'm not stupid. | 0:27:21 | 0:27:23 | |
No, I didn't say you were stupid - I said be careful. | 0:27:23 | 0:27:26 | |
Yeah, well, I know how to do my job. | 0:27:26 | 0:27:27 | |
Good. | 0:27:27 | 0:27:28 | |
Look at that. | 0:27:32 | 0:27:33 | |
"Amanda." | 0:27:36 | 0:27:38 | |
That really does narrow it down. | 0:27:38 | 0:27:40 | |
- I'll get onto the MISPER database. - Yeah, and it's bespoke. | 0:27:40 | 0:27:44 | |
It's got the jeweller's stamp on it. | 0:27:44 | 0:27:47 | |
Well, trace it. | 0:27:47 | 0:27:49 | |
Oggy, my camera. | 0:27:49 | 0:27:52 | |
Got it. | 0:27:52 | 0:27:53 | |
The maker's name is Edward Worrall. | 0:28:00 | 0:28:03 | |
Specialises in custom-made jewellery. I have an address. | 0:28:03 | 0:28:07 | |
- Send it to my laptop with a map. - OK. | 0:28:07 | 0:28:10 | |
Amanda! Amanda! | 0:28:10 | 0:28:12 | |
Oh, Jesus Christ, Amanda's only a child! | 0:28:12 | 0:28:16 | |
Raymond, you'll have to go now because they'll kill you. | 0:28:16 | 0:28:19 | |
Thank you. No Amanda on Missing Persons. | 0:28:19 | 0:28:22 | |
So she's not missing, then? | 0:28:22 | 0:28:23 | |
HALE: Well...it means she's not reported. | 0:28:23 | 0:28:27 | |
EVE: You'd expect a teenage girl to be reported straightaway. | 0:28:27 | 0:28:30 | |
Yeah. Let's hope this guy can give us some kind of lead. | 0:28:30 | 0:28:33 | |
- Yeah? - Edward Worrall? | 0:28:37 | 0:28:39 | |
Yes. | 0:28:39 | 0:28:41 | |
DI Hale. | 0:28:41 | 0:28:42 | |
No, no, you can't be here. | 0:28:42 | 0:28:45 | |
I'm sorry? | 0:28:45 | 0:28:46 | |
Hiya. I'm Rosa Gilbert. | 0:28:50 | 0:28:52 | |
I'm here to carry out further forensic examinations on the property. | 0:28:52 | 0:28:56 | |
- Straight through. - Thank you. | 0:28:56 | 0:28:57 | |
You just can't be here. | 0:29:15 | 0:29:18 | |
May we sit down? | 0:29:21 | 0:29:23 | |
Yeah, yeah. | 0:29:23 | 0:29:25 | |
HALE: Did you make this? | 0:29:31 | 0:29:33 | |
Oh, my God! | 0:29:33 | 0:29:35 | |
Are you all right? | 0:29:35 | 0:29:37 | |
My daughter... I made it for her, but where did you get it? | 0:29:37 | 0:29:42 | |
Mr Worrall, what's going on here? | 0:29:42 | 0:29:43 | |
Well, they told me not to contact the police. | 0:29:43 | 0:29:45 | |
Sorry, who? | 0:29:45 | 0:29:46 | |
Well, the kidnappers who took Amanda. That's why you're here, isn't it? | 0:29:46 | 0:29:52 | |
Kidnappers? | 0:29:52 | 0:29:54 | |
How did they contact you? | 0:30:01 | 0:30:02 | |
Well, they sent me this. | 0:30:02 | 0:30:04 | |
I'm not hurt. | 0:30:08 | 0:30:09 | |
You just have to open up the shop and let them in. They won't hurt me. | 0:30:09 | 0:30:16 | |
You just have to stay calm, and they will contact you. | 0:30:16 | 0:30:19 | |
Don't contact the police. | 0:30:19 | 0:30:21 | |
I love you, Dad. | 0:30:23 | 0:30:24 | |
And you received this when? | 0:30:24 | 0:30:26 | |
That was yesterday. | 0:30:26 | 0:30:28 | |
Mr Worrall, when did you last see your daughter? | 0:30:30 | 0:30:32 | |
Around lunchtime. | 0:30:32 | 0:30:34 | |
So she didn't come home last night? | 0:30:34 | 0:30:36 | |
No. | 0:30:36 | 0:30:37 | |
And what about her friends? | 0:30:37 | 0:30:40 | |
Sorry, I don't understand. | 0:30:40 | 0:30:42 | |
Well, we need to know where she may have gone. Who are her friends? | 0:30:42 | 0:30:45 | |
I... It sounds terrible, I know, but I really don't know. | 0:30:45 | 0:30:50 | |
She...she's been locking me out. | 0:30:50 | 0:30:53 | |
We've been having problems communicating, you know? | 0:30:53 | 0:30:56 | |
And what about her mum? | 0:30:56 | 0:30:58 | |
Well, we're divorced. | 0:30:58 | 0:31:00 | |
(BEEPING) | 0:31:04 | 0:31:06 | |
I have NRN in the Transit. | 0:31:06 | 0:31:09 | |
Rosa, get the police to secure the whole property, will you? | 0:31:09 | 0:31:12 | |
And just tell them I'm on my way. | 0:31:12 | 0:31:14 | |
Can I take that picture of her? | 0:31:14 | 0:31:16 | |
Yeah. | 0:31:17 | 0:31:18 | |
Does she have a computer? | 0:31:19 | 0:31:22 | |
Yes, that's it there. | 0:31:22 | 0:31:24 | |
I tried to look into it, but she has a password on it. | 0:31:24 | 0:31:29 | |
HALE: Listen, I'll need a family liaison officer round here ASAP. | 0:31:29 | 0:31:33 | |
Yeah, you know the address. | 0:31:33 | 0:31:34 | |
And also some form of surveillance, thank you. | 0:31:34 | 0:31:36 | |
Mr Worrall, I'm going to send somebody round to sit with you. | 0:31:38 | 0:31:41 | |
Also I'm going to have to take a copy of that e-mail, and I do need this. | 0:31:41 | 0:31:47 | |
Is there anything else you can tell us? | 0:31:47 | 0:31:49 | |
Oh, um, she has... sometimes she has a problem with epilepsy. | 0:31:49 | 0:31:54 | |
EVE: It would be very helpful to us if we could get an item of her clothing, | 0:31:57 | 0:32:00 | |
something that hasn't been washed, or the pillowcase from her bed. | 0:32:00 | 0:32:05 | |
I'll go and get it. | 0:32:05 | 0:32:07 | |
EVE: Mike? | 0:32:12 | 0:32:13 | |
Yeah? | 0:32:13 | 0:32:14 | |
We're looking for a 17-year-old girl, 5'4", slim build. | 0:32:14 | 0:32:17 | |
OK. | 0:32:17 | 0:32:19 | |
Oggy. | 0:32:20 | 0:32:21 | |
Mike. | 0:32:21 | 0:32:23 | |
What do we know about dump sites? | 0:32:23 | 0:32:25 | |
Well, if the murder is unplanned, there is no disposal plan. | 0:32:25 | 0:32:29 | |
Just a quick dump of the body, and then the logic becomes convenience-led. | 0:32:29 | 0:32:33 | |
So...somewhere quick and easy. | 0:32:33 | 0:32:36 | |
And usually temporary. | 0:32:36 | 0:32:39 | |
The killer will return under planned conditions | 0:32:39 | 0:32:41 | |
to move the body to a better place. | 0:32:41 | 0:32:44 | |
- Thanks, Oggy. - Cheers. | 0:32:44 | 0:32:46 | |
What? | 0:32:46 | 0:32:48 | |
You're not nicking stuff, are you? | 0:32:54 | 0:32:56 | |
No. I'm... | 0:32:56 | 0:32:59 | |
Just doing your thing? | 0:32:59 | 0:33:01 | |
Yeah. | 0:33:01 | 0:33:02 | |
Find anything? | 0:33:09 | 0:33:11 | |
I can't say. | 0:33:11 | 0:33:13 | |
HALE: Hello, Mick. | 0:33:13 | 0:33:15 | |
(SIRENS BLARE) | 0:33:15 | 0:33:17 | |
Are they all here for me? | 0:33:22 | 0:33:23 | |
I've got a warrant to search all the outbuildings, all the vehicles. | 0:33:24 | 0:33:29 | |
What are you looking for? | 0:33:29 | 0:33:30 | |
Amanda Worrall. | 0:33:30 | 0:33:32 | |
She's not here. | 0:33:32 | 0:33:33 | |
Well, I hope not. You've had a dead body in the back of that van. | 0:33:33 | 0:33:37 | |
I guess you can prove it? | 0:33:39 | 0:33:40 | |
Yeah, I think I can. | 0:33:40 | 0:33:42 | |
Sounds like I'm in trouble, then. | 0:33:42 | 0:33:44 | |
Certainly are. Oh, did I forget to mention...? You're under arrest. | 0:33:44 | 0:33:48 | |
Read him his rights. | 0:33:50 | 0:33:51 | |
OK, we've got a scent. | 0:33:51 | 0:33:52 | |
So she's here, yeah? | 0:33:52 | 0:33:54 | |
Her scent's here. | 0:33:54 | 0:33:55 | |
She's not going to the van. | 0:33:57 | 0:34:00 | |
So that's not her NRN in there, then. | 0:34:00 | 0:34:02 | |
EVE: Mike. | 0:34:05 | 0:34:06 | |
MIKE: Yeah? | 0:34:06 | 0:34:08 | |
She's not here. | 0:34:08 | 0:34:09 | |
OK. | 0:34:09 | 0:34:11 | |
So, based on what we know, where you are is her most likely location. | 0:34:11 | 0:34:14 | |
Hey. Hey! | 0:34:19 | 0:34:21 | |
What comes first? | 0:34:36 | 0:34:38 | |
(CROWS CAW) | 0:34:38 | 0:34:40 | |
Drawn to carrion? | 0:34:43 | 0:34:45 | |
Eve. | 0:35:20 | 0:35:21 | |
Mike, are you OK? | 0:35:21 | 0:35:23 | |
I've found her. | 0:35:23 | 0:35:26 | |
Um, call off the search. | 0:35:30 | 0:35:32 | |
You've found her? | 0:35:32 | 0:35:33 | |
Yeah. | 0:35:33 | 0:35:34 | |
OGGY: Eve? | 0:35:42 | 0:35:43 | |
Go ahead, Oggy. | 0:35:43 | 0:35:44 | |
I've matched the boot prints from the garage, the shack and the Transit. | 0:35:44 | 0:35:47 | |
They belong to Mick Flannery. | 0:35:47 | 0:35:49 | |
Right, thanks, Oggy. | 0:35:49 | 0:35:51 | |
Also, the soil from Raymond Quinn's clothes, | 0:35:51 | 0:35:53 | |
the garage, the Transit and Mick's boots is the same. | 0:35:53 | 0:35:56 | |
And it's contaminated with canine blood. | 0:35:56 | 0:35:58 | |
I get it, Mick. | 0:35:58 | 0:36:01 | |
You decide to kidnap Amanda, | 0:36:01 | 0:36:03 | |
get Ray to look after her like you did last time, | 0:36:03 | 0:36:06 | |
only this time things get out of hand, she ends up dead. | 0:36:06 | 0:36:10 | |
What I don't understand is why you have to go and kill Ray | 0:36:10 | 0:36:13 | |
and then stage him as a break-in. | 0:36:13 | 0:36:15 | |
Hale... | 0:36:15 | 0:36:16 | |
Ray's your brother. | 0:36:17 | 0:36:19 | |
Hale... | 0:36:19 | 0:36:20 | |
Dogfighting. | 0:36:27 | 0:36:28 | |
- What? - You mentioned dogfighting. Where? | 0:36:28 | 0:36:31 | |
On the halting site. Why? | 0:36:31 | 0:36:32 | |
Right. It's just, it's forensically linked to all of our crime scenes, | 0:36:32 | 0:36:35 | |
to Raymond Quinn and to our prime suspect. | 0:36:35 | 0:36:38 | |
Oh, really? | 0:36:38 | 0:36:40 | |
I need TSG. | 0:36:42 | 0:36:43 | |
Another search? | 0:36:43 | 0:36:45 | |
No, as backup. We're going to a halting site. | 0:36:45 | 0:36:47 | |
Oh, Rosa, can you go back to the farm and help Mike with Amanda's PM? | 0:36:50 | 0:36:54 | |
Initial examination of Amanda Worrall. | 0:37:03 | 0:37:05 | |
(BARKING AND SHOUTING) | 0:37:05 | 0:37:07 | |
Extensive bruising to the body. | 0:37:10 | 0:37:12 | |
Injuries to lower arms | 0:37:13 | 0:37:16 | |
and wrists consistent with being restrained. | 0:37:16 | 0:37:20 | |
What is the cause of death? | 0:37:20 | 0:37:22 | |
Nothing external, no visible puncture wounds. | 0:37:22 | 0:37:27 | |
No open wounds. | 0:37:29 | 0:37:31 | |
No bleeding. | 0:37:32 | 0:37:33 | |
The jaw is locked. | 0:37:35 | 0:37:37 | |
Suggesting death occurred during a severe muscle spasm. | 0:37:37 | 0:37:40 | |
And her airway is blocked by her tongue. | 0:37:40 | 0:37:43 | |
Right, thanks a lot, Mike. Can you get her back to the farm? | 0:37:43 | 0:37:46 | |
Yeah, will do. | 0:37:46 | 0:37:48 | |
(BARKING AND SHOUTING) | 0:37:48 | 0:37:50 | |
I need to know what happened here. | 0:37:50 | 0:37:52 | |
I think there was more than dogfighting here. | 0:37:52 | 0:37:54 | |
Is this the Quinn murder site? | 0:37:54 | 0:37:57 | |
Well, luckily for us, it rained very heavily last night, | 0:37:57 | 0:37:59 | |
so the blood should have washed down through the subsoil. | 0:37:59 | 0:38:03 | |
How long do you need? | 0:38:03 | 0:38:05 | |
Not long. | 0:38:05 | 0:38:06 | |
OK. | 0:38:06 | 0:38:08 | |
Oggy, are you at the test site yet? | 0:38:09 | 0:38:11 | |
Yeah. What do you need to know? | 0:38:11 | 0:38:13 | |
The saturation depth for 24 hours under heavy rain. | 0:38:13 | 0:38:17 | |
- Heavy rain without grass? - Yeah. | 0:38:17 | 0:38:19 | |
And no run-off. | 0:38:19 | 0:38:21 | |
You're looking for an accumulation of 4 to 6 inches into the topsoil. | 0:38:21 | 0:38:25 | |
(SHOUTING) | 0:38:25 | 0:38:28 | |
There's a lot of blood | 0:38:30 | 0:38:33 | |
and it's in the right area. | 0:38:33 | 0:38:35 | |
(MACHINE BEEPS) | 0:38:43 | 0:38:46 | |
Human blood, and it's a match for Raymond Quinn. | 0:38:46 | 0:38:50 | |
(SHOUTING AND JEERING) | 0:38:50 | 0:38:52 | |
So this is where Ray Quinn died. | 0:38:56 | 0:38:59 | |
This is where he bled out, | 0:38:59 | 0:39:01 | |
and in a lot of company. | 0:39:01 | 0:39:03 | |
There's a lot of cross-contact contamination | 0:39:15 | 0:39:17 | |
between her and Raymond Quinn. | 0:39:17 | 0:39:20 | |
0K. Mick Flannery definitely put her body in the tank. | 0:39:20 | 0:39:23 | |
- How did you get that? - Multiple hits. | 0:39:23 | 0:39:25 | |
His footprints are in the shack | 0:39:25 | 0:39:27 | |
and tracked along the ground to the tank base. | 0:39:27 | 0:39:30 | |
Plus cross-contamination with the ladder to the tower. | 0:39:30 | 0:39:32 | |
I'm going to keep working on Amanda's computer - | 0:39:39 | 0:39:42 | |
she had it encrypted, but it shouldn't be a problem. | 0:39:42 | 0:39:44 | |
OK. Keep me up to speed. | 0:39:44 | 0:39:46 | |
Wait. We've got positive for semen from the rape kit. | 0:39:46 | 0:39:51 | |
Ray Quinn? | 0:39:52 | 0:39:54 | |
No. Belongs to one of the Flannery brothers. | 0:39:54 | 0:39:57 | |
Mick? Martin? | 0:39:57 | 0:39:59 | |
Neither. | 0:39:59 | 0:40:00 | |
- See this? - Yeah. | 0:40:00 | 0:40:03 | |
Are you jealous? | 0:40:03 | 0:40:05 | |
No. | 0:40:07 | 0:40:09 | |
They're hiding a brother from us. | 0:40:11 | 0:40:13 | |
Well, we've got a profile from the sample. | 0:40:13 | 0:40:15 | |
And I did see a young male running from the orchard. | 0:40:15 | 0:40:19 | |
Do you love her? | 0:40:20 | 0:40:22 | |
(LAUGHS) You can't ask me that. | 0:40:22 | 0:40:24 | |
Why not? | 0:40:24 | 0:40:26 | |
Yeah, I love her. | 0:40:31 | 0:40:33 | |
What's it like? | 0:40:35 | 0:40:36 | |
What's what like? | 0:40:39 | 0:40:40 | |
Her love. | 0:40:43 | 0:40:44 | |
All right, babe? | 0:40:54 | 0:40:55 | |
Ow! | 0:41:01 | 0:41:02 | |
- All right, secure this area. - (BARKING) | 0:41:09 | 0:41:11 | |
I want them rounded up down here. | 0:41:11 | 0:41:13 | |
What in the name of God do yous want now? | 0:41:13 | 0:41:15 | |
Keep those dogs chained up or they'll be shot. | 0:41:15 | 0:41:17 | |
You're hiding a Flannery boy. Where is he? | 0:41:17 | 0:41:19 | |
All this lot for one lad? | 0:41:19 | 0:41:21 | |
Where is he? | 0:41:21 | 0:41:22 | |
Go and stuff yourself. | 0:41:22 | 0:41:24 | |
Fine. Search the place. | 0:41:24 | 0:41:26 | |
It's strange that Eileen hasn't come over here | 0:41:26 | 0:41:28 | |
with the rest of them. | 0:41:28 | 0:41:30 | |
Leave it to me. | 0:41:30 | 0:41:31 | |
Right, here's the deal. | 0:41:32 | 0:41:34 | |
A Flannery boy is wanted in connection with the kidnap | 0:41:34 | 0:41:39 | |
and the murder of a young girl. | 0:41:39 | 0:41:41 | |
Now, none of you are going anywhere until I find him, OK? | 0:41:41 | 0:41:45 | |
And I don't care if it takes all night. | 0:41:45 | 0:41:47 | |
You can't keep us all penned up here like cattle. | 0:41:47 | 0:41:49 | |
I can do what I like! | 0:41:49 | 0:41:51 | |
- (SHOUTING) - Listen to me! | 0:41:51 | 0:41:52 | |
Every single one of you are involved in the cover-up of this young girl's murder. | 0:41:52 | 0:41:58 | |
And look at you. You stand there and you say nothing. | 0:41:58 | 0:42:03 | |
And, what, you wonder why people don't trust your kind? | 0:42:03 | 0:42:07 | |
Huh? | 0:42:07 | 0:42:09 | |
I will arrest every single one of you if I have to! | 0:42:10 | 0:42:15 | |
And no-one goes anywhere. | 0:42:15 | 0:42:18 | |
You'd better get yourself down here quick. | 0:42:18 | 0:42:20 | |
I'm in. | 0:42:25 | 0:42:27 | |
Oggy to Hale - come in, partner. | 0:42:32 | 0:42:34 | |
Oggy. | 0:42:34 | 0:42:35 | |
I've cracked into Amanda's photo albums. | 0:42:35 | 0:42:37 | |
There's pictures of Amanda with a boy. | 0:42:37 | 0:42:40 | |
Could be him. | 0:42:40 | 0:42:41 | |
- Great, well done. - Thank you. | 0:42:41 | 0:42:43 | |
His name's Danny. I'm sending some photos to your phone. | 0:42:43 | 0:42:45 | |
Over and out. | 0:42:45 | 0:42:46 | |
Um, great. Over and out, Oggy. Over and out. | 0:42:46 | 0:42:49 | |
Boom! | 0:42:49 | 0:42:51 | |
Why aren't you out there with everyone else? | 0:42:53 | 0:42:56 | |
Why? | 0:42:56 | 0:42:58 | |
I've no-one to worry about out there...in the world. | 0:42:58 | 0:43:03 | |
All my troubles are waiting for me beyond the grave. | 0:43:03 | 0:43:07 | |
Of course. | 0:43:07 | 0:43:09 | |
Why are you here with me again? | 0:43:11 | 0:43:14 | |
Mrs Quinn, I know that Ray was beaten to death out there | 0:43:14 | 0:43:19 | |
in front of the whole community. | 0:43:19 | 0:43:21 | |
Did you see it? | 0:43:24 | 0:43:25 | |
No, no. | 0:43:27 | 0:43:28 | |
You smiled. | 0:43:28 | 0:43:30 | |
Mm... | 0:43:30 | 0:43:32 | |
The fact that you can think that a woman might be allowed into that - | 0:43:34 | 0:43:39 | |
that's man's business. | 0:43:39 | 0:43:41 | |
I didn't do anything bad. | 0:43:41 | 0:43:43 | |
I was trying to help her. | 0:43:43 | 0:43:45 | |
Her? Her? | 0:43:45 | 0:43:48 | |
Did you do something to a woman, Raymond? | 0:43:48 | 0:43:50 | |
Danny's Amanda. | 0:43:54 | 0:43:55 | |
Amanda? Amanda? | 0:43:55 | 0:43:57 | |
- Oh, Jesus Christ. Amanda's only a child. - I didn't... | 0:43:57 | 0:44:00 | |
Raymond, you'll have to go now, they'll kill you. | 0:44:00 | 0:44:03 | |
Raymond Quinn, come out. | 0:44:06 | 0:44:08 | |
That's Martin. | 0:44:13 | 0:44:14 | |
Listen to me, Raymond. | 0:44:14 | 0:44:15 | |
There's no running now. You've got to fight him. | 0:44:15 | 0:44:18 | |
No. | 0:44:18 | 0:44:18 | |
Listen, it's Martin who's out there, not Mick. | 0:44:18 | 0:44:21 | |
Soft, not even a proper traveller. | 0:44:21 | 0:44:24 | |
Brought up in a house. | 0:44:24 | 0:44:26 | |
You're much stronger than he is | 0:44:26 | 0:44:29 | |
and you have much better blood in you. Come on! | 0:44:29 | 0:44:31 | |
I suppose I don't know anything about your life, | 0:44:31 | 0:44:35 | |
but I do know how your son died. | 0:44:35 | 0:44:38 | |
No crime was committed. | 0:44:40 | 0:44:42 | |
He fought a fair fight with another man, and what happened happened. | 0:44:43 | 0:44:48 | |
And that's it. | 0:44:48 | 0:44:49 | |
He just... | 0:44:51 | 0:44:53 | |
didn't have it in him. | 0:44:53 | 0:44:54 | |
Raymond Quinn, come out here now, or we'll go in there and drag you out. | 0:44:54 | 0:45:00 | |
Come on! You have to face them like a man. Look at you - | 0:45:00 | 0:45:03 | |
a big, tall man like you. | 0:45:03 | 0:45:04 | |
You can do it. Come on, Raymond, you can do it. | 0:45:04 | 0:45:07 | |
Be afraid of no man. | 0:45:07 | 0:45:09 | |
I love you, Ma. | 0:45:09 | 0:45:10 | |
I love you, too, son. Oh, God! | 0:45:10 | 0:45:13 | |
I love you. | 0:45:13 | 0:45:15 | |
I want you to stay in. | 0:45:18 | 0:45:19 | |
I will, I'll stay in. And I'll pray for you. I promise I'll pray for you. | 0:45:19 | 0:45:23 | |
I think maybe you are the one who has it wrong. | 0:45:23 | 0:45:26 | |
Meaning? | 0:45:26 | 0:45:27 | |
Meaning I'm assuming it was some kind of honour fight over something Ray did, | 0:45:27 | 0:45:34 | |
something...terrible. | 0:45:34 | 0:45:36 | |
For killing Amanda Worrall. | 0:45:38 | 0:45:40 | |
But Amanda Worrall wasn't murdered. | 0:45:41 | 0:45:44 | |
What? | 0:45:45 | 0:45:46 | |
We've examined her body and we're sure that she died of an epileptic fit. | 0:45:46 | 0:45:53 | |
No, there's... No, there's...there's... | 0:45:55 | 0:45:58 | |
a man who swore on the Bible. | 0:45:58 | 0:46:01 | |
A witness. | 0:46:01 | 0:46:03 | |
Your son was innocent of murder. | 0:46:04 | 0:46:07 | |
God forgive us. | 0:46:12 | 0:46:14 | |
Now, I know that your community has rules and customs | 0:46:17 | 0:46:20 | |
that say you shouldn't help the police. | 0:46:20 | 0:46:23 | |
My poor boy... | 0:46:23 | 0:46:24 | |
But I think there's one set of rules that we all try to live by, | 0:46:24 | 0:46:27 | |
and the ninth one of those rules is, "Thou shalt not bear false witness." | 0:46:27 | 0:46:34 | |
Come on, now. Don't let your family down now. | 0:46:48 | 0:46:51 | |
I didn't do it. | 0:46:51 | 0:46:54 | |
Come on, you've not to be a coward now. Think about your poor mother. | 0:46:54 | 0:46:59 | |
Right, now, I'll be the fair-play man. | 0:47:08 | 0:47:12 | |
We'll have a fair fight. | 0:47:12 | 0:47:14 | |
No choke holds, just straight boxing, right? You got that? | 0:47:17 | 0:47:20 | |
Right, on you go. | 0:47:21 | 0:47:22 | |
I'll not throw the first punch, Martin. You've been good to me. | 0:47:26 | 0:47:29 | |
Damn you, Ray. | 0:47:29 | 0:47:31 | |
Why didn't you just hand yourself in to the police? | 0:47:31 | 0:47:34 | |
I'm not going back to prison. I can't. | 0:47:34 | 0:47:36 | |
I've got to do this, you know. | 0:47:36 | 0:47:38 | |
Start it, will you? | 0:47:38 | 0:47:41 | |
Martin, let me do this. | 0:47:41 | 0:47:42 | |
No! | 0:47:42 | 0:47:44 | |
Fight back, will you? | 0:47:55 | 0:47:57 | |
Get up out of there. | 0:48:03 | 0:48:04 | |
Get back. | 0:48:04 | 0:48:06 | |
Ray. | 0:48:08 | 0:48:10 | |
Jesus! Ray... | 0:48:20 | 0:48:23 | |
BARNEY: You can't just leave him there! | 0:48:34 | 0:48:36 | |
Do you hear me? | 0:48:36 | 0:48:38 | |
MICK: I'll look after it. | 0:48:38 | 0:48:40 | |
We'll say nothing, but you can't leave him there. | 0:48:44 | 0:48:46 | |
I said I'll deal with it. | 0:48:46 | 0:48:47 | |
Well, see you do. | 0:48:47 | 0:48:49 | |
Ray... | 0:48:51 | 0:48:53 | |
Hey, look at me. | 0:48:53 | 0:48:55 | |
He killed a girl, do you hear me? | 0:48:57 | 0:49:00 | |
He deserves this. | 0:49:01 | 0:49:02 | |
- Don't you touch me! - (SHOUTING) | 0:49:04 | 0:49:08 | |
What do you want, Eileen Quinn? | 0:49:18 | 0:49:20 | |
Danny Flannery. | 0:49:20 | 0:49:22 | |
Liar! | 0:49:22 | 0:49:23 | |
Danny Flannery bore false witness against my son. | 0:49:23 | 0:49:26 | |
My son is innocent. | 0:49:26 | 0:49:27 | |
I didn't lie, I swear it! | 0:49:27 | 0:49:28 | |
What's all this? | 0:49:28 | 0:49:29 | |
She's got the proof. | 0:49:29 | 0:49:30 | |
She can tell you he's innocent. | 0:49:30 | 0:49:32 | |
Don't listen to her! | 0:49:32 | 0:49:33 | |
Is that true? | 0:49:33 | 0:49:35 | |
Yes. | 0:49:35 | 0:49:36 | |
Look, they're taking Danny! | 0:49:36 | 0:49:38 | |
We want the truth! | 0:49:38 | 0:49:40 | |
Oh, you want the truth now, do you? | 0:49:40 | 0:49:42 | |
Calm down, all of you! | 0:49:43 | 0:49:45 | |
What the hell are you doing with him? | 0:49:45 | 0:49:47 | |
- He's under arrest. - He's 16, so I'm going with him. | 0:49:47 | 0:49:49 | |
Say nothing, Danny! | 0:49:49 | 0:49:51 | |
Enough! Enough! Enough! If this is all about what happened to Ray, | 0:49:53 | 0:49:58 | |
I can tell you now it were a fair fight between me and him | 0:49:58 | 0:50:00 | |
in front of all these witnesses. | 0:50:00 | 0:50:02 | |
Because Danny told you that he saw Ray killing Amanda? | 0:50:02 | 0:50:04 | |
Yeah. But I didn't mean to kill him. | 0:50:04 | 0:50:07 | |
You can tell that to the jury. Arrest this one as well. | 0:50:07 | 0:50:10 | |
- What the hell do you want Danny for? - Kidnap! | 0:50:10 | 0:50:13 | |
(SHOUTING) | 0:50:13 | 0:50:15 | |
HALE: Let me get this straight. | 0:50:20 | 0:50:22 | |
You fought Ray Quinn because Danny here said that he saw Raymond killing Amanda? | 0:50:22 | 0:50:28 | |
But, like I said, I was just settling it so he'd hand himself in. | 0:50:28 | 0:50:31 | |
He went down after a couple of blows. | 0:50:31 | 0:50:32 | |
Yeah, a ruptured liver would do that to you. | 0:50:32 | 0:50:35 | |
OK, Raymond's dead, and, what, you move the body to the garage? | 0:50:35 | 0:50:39 | |
I did that. | 0:50:39 | 0:50:40 | |
Why the garage? | 0:50:40 | 0:50:42 | |
Cos he was supposed to be working that night. | 0:50:42 | 0:50:44 | |
At the garage. | 0:50:44 | 0:50:45 | |
- Right. - I also moved Amanda's body | 0:50:45 | 0:50:46 | |
to the water tower, let's be clear on that. | 0:50:46 | 0:50:48 | |
- Yeah, I know that. - Good. | 0:50:48 | 0:50:51 | |
Look, if there is any part of this mess that I can't fathom | 0:50:51 | 0:50:55 | |
and I think you can help me, then I'm going to ask you. | 0:50:55 | 0:50:57 | |
Fair enough. | 0:50:57 | 0:50:58 | |
Right, Danny... | 0:50:59 | 0:51:00 | |
in fact, all of you... | 0:51:00 | 0:51:02 | |
...I want you to watch this. | 0:51:03 | 0:51:05 | |
This was downloaded off your mobile. | 0:51:05 | 0:51:07 | |
Is this OK? | 0:51:12 | 0:51:13 | |
You ready? | 0:51:13 | 0:51:14 | |
Yeah. | 0:51:14 | 0:51:16 | |
Go. | 0:51:17 | 0:51:18 | |
I'm not hurt. | 0:51:23 | 0:51:25 | |
You just have to stay calm, and they will contact you. | 0:51:25 | 0:51:29 | |
You just have to give them your bank card and the PIN number. | 0:51:29 | 0:51:33 | |
I love you, Dad. | 0:51:34 | 0:51:35 | |
Say about opening the shop. | 0:51:37 | 0:51:38 | |
Oh, right. | 0:51:38 | 0:51:39 | |
You just have to open up the shop and let them in. | 0:51:41 | 0:51:45 | |
They won't hurt me. | 0:51:45 | 0:51:48 | |
Cool. | 0:51:48 | 0:51:50 | |
That's the unedited version, of course. | 0:51:54 | 0:51:56 | |
I mean, the finished product, that's not it, the one that you sent to her dad. | 0:51:56 | 0:52:00 | |
Jesus, Danny! Why? | 0:52:00 | 0:52:02 | |
Needed the money... | 0:52:02 | 0:52:04 | |
...to run away. | 0:52:05 | 0:52:07 | |
What? | 0:52:07 | 0:52:08 | |
Are you sure about this? | 0:52:08 | 0:52:10 | |
We talked about it, you agreed. | 0:52:10 | 0:52:12 | |
Yeah, I know. | 0:52:12 | 0:52:14 | |
Her dad wouldn't let her be with me. | 0:52:16 | 0:52:17 | |
You could've just moved in with us. | 0:52:17 | 0:52:19 | |
You don't get it, do you? | 0:52:19 | 0:52:21 | |
I wanted to run away from you. | 0:52:21 | 0:52:23 | |
You wanted what? | 0:52:24 | 0:52:26 | |
I love you. | 0:52:26 | 0:52:28 | |
I love you too. | 0:52:32 | 0:52:34 | |
Come on. | 0:52:34 | 0:52:35 | |
All this traveller bullshit, it has nothing to do with me. | 0:52:39 | 0:52:43 | |
I'm not a part of it. | 0:52:43 | 0:52:44 | |
- It's your blood! - I'm not one of you. | 0:52:44 | 0:52:46 | |
- You need a smack. - Whoa, whoa... | 0:52:46 | 0:52:48 | |
Like Ray? | 0:52:48 | 0:52:50 | |
- I did that for you. - I didn't ask you to do that. | 0:52:50 | 0:52:54 | |
I expected you to go to the police. What you did's not normal. | 0:52:54 | 0:52:59 | |
Danny, this puzzle is all starting to come together now, | 0:52:59 | 0:53:01 | |
but Ray...how was he involved? | 0:53:01 | 0:53:04 | |
What? | 0:53:05 | 0:53:06 | |
The kidnap. | 0:53:06 | 0:53:07 | |
He wasn't. | 0:53:07 | 0:53:08 | |
Then why did he die, then? | 0:53:09 | 0:53:12 | |
I left Amanda in the cabin. | 0:53:20 | 0:53:22 | |
I went to the internet cafe to send a message. | 0:53:24 | 0:53:28 | |
I came back. | 0:53:29 | 0:53:31 | |
I saw Ray running from the cider house. | 0:53:31 | 0:53:34 | |
When I went inside, | 0:53:34 | 0:53:36 | |
she was dead. | 0:53:36 | 0:53:37 | |
Raymond, what are you doing here? | 0:53:42 | 0:53:45 | |
I saw you through the window. | 0:53:45 | 0:53:47 | |
You can't be here. You have to go. | 0:53:50 | 0:53:52 | |
What's wrong? | 0:53:52 | 0:53:54 | |
Amanda! | 0:53:54 | 0:53:55 | |
Aman...! | 0:53:55 | 0:53:57 | |
Stop! | 0:54:01 | 0:54:02 | |
Stop! | 0:54:02 | 0:54:04 | |
Amanda! Amanda! No! | 0:54:04 | 0:54:07 | |
No... Amanda! | 0:54:07 | 0:54:10 | |
And you thought that you would go and tell your big brother here what happened. | 0:54:24 | 0:54:29 | |
Yes. | 0:54:29 | 0:54:30 | |
But you left out the bit about the kidnap plot. | 0:54:30 | 0:54:33 | |
Yes. | 0:54:33 | 0:54:35 | |
Jesus! Ray... | 0:54:38 | 0:54:40 | |
Then Raymond was an innocent man. | 0:54:45 | 0:54:48 | |
Why didn't you tell us? | 0:54:51 | 0:54:53 | |
Danny! | 0:54:53 | 0:54:54 | |
It's not his fault. | 0:54:54 | 0:54:55 | |
It's mine. | 0:54:57 | 0:54:59 | |
Yeah, you're right - I should have gone to the police, let them deal with it. | 0:55:03 | 0:55:08 | |
Then none of this would have happened, would it? | 0:55:10 | 0:55:13 | |
Can I see her? | 0:55:19 | 0:55:21 | |
EVE: Sometimes the truth about a loved one's death won't bring us comfort. | 0:55:27 | 0:55:31 | |
Sometimes it'll leave us even more confused, in even more pain. | 0:55:31 | 0:55:36 | |
Amanda's death was tragic, but it wasn't murder. | 0:55:36 | 0:55:39 | |
Raymond Quinn's death was horrific, | 0:55:43 | 0:55:47 | |
but even that wasn't murder. | 0:55:47 | 0:55:50 | |
And as for motive - | 0:55:50 | 0:55:51 | |
a dangerous blend of fear and rage, love and desire - | 0:55:51 | 0:55:55 | |
these are emotions we all possess and which, | 0:55:55 | 0:55:59 | |
in the wrong circumstances, can erupt with no heed of the consequences. | 0:55:59 | 0:56:04 | |
- Hey. - Hi. | 0:56:14 | 0:56:16 | |
I'm sorry you had to deal with that. | 0:56:16 | 0:56:18 | |
I should have been there when you found Amanda. | 0:56:18 | 0:56:20 | |
What, to hold my hand? | 0:56:20 | 0:56:22 | |
No. You know what I mean. | 0:56:22 | 0:56:25 | |
Yeah, I know. It's OK, I'm fine. | 0:56:25 | 0:56:28 | |
The good news is we're in good financial health. | 0:56:28 | 0:56:32 | |
- We are. - So we don't need... | 0:56:32 | 0:56:34 | |
To take on so much crime scene work. | 0:56:34 | 0:56:36 | |
Yeah. | 0:56:36 | 0:56:38 | |
I think we should stick at it. | 0:56:39 | 0:56:42 | |
Really? | 0:56:42 | 0:56:44 | |
It's good for the farm. | 0:56:44 | 0:56:45 | |
Farm? | 0:56:46 | 0:56:47 | |
Yeah. | 0:56:47 | 0:56:50 | |
Go on, admit it - you love it. | 0:56:50 | 0:56:52 | |
It's, um... | 0:56:52 | 0:56:55 | |
...it's engaging. | 0:56:56 | 0:56:57 | |
It is. | 0:57:00 | 0:57:02 | |
Guys, dinner's served. | 0:57:05 | 0:57:07 | |
OK, Oggy, we're on our way. | 0:57:10 | 0:57:14 | |
Even when the truth is painful and destructive, | 0:57:22 | 0:57:25 | |
we must pursue it ceaselessly. | 0:57:25 | 0:57:28 | |
Without truth, justice is blind, the law alien. | 0:57:29 | 0:57:34 | |
Without truth, we cannot hope to give voice to the victim, | 0:57:35 | 0:57:40 | |
nor offer their loved ones closure. | 0:57:40 | 0:57:42 | |
And that's our purpose. | 0:57:42 | 0:57:45 | |
That's our promise. | 0:57:45 | 0:57:47 |