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Mosca. | 0:00:53 | 0:00:54 | |
Mosca, a word. Now. Out here. | 0:00:55 | 0:00:59 | |
We have had it. | 0:00:59 | 0:01:01 | |
INAUDIBLE CONVERSATION | 0:01:01 | 0:01:05 | |
I need help here! | 0:01:41 | 0:01:42 | |
Over here. | 0:01:47 | 0:01:49 | |
Giulio Mosca... | 0:03:23 | 0:03:25 | |
or what's left of him. | 0:03:25 | 0:03:26 | |
Well... | 0:03:50 | 0:03:52 | |
cause of death: blood loss from accidental contact with industrial machinery. | 0:03:52 | 0:03:57 | |
-I want this place shut down. -What? | 0:03:57 | 0:03:59 | |
Perhaps you've been breaching acceptable noise levels as well. | 0:03:59 | 0:04:02 | |
-I'll say it in sign language if you like. -You don't talk to me like that! | 0:04:02 | 0:04:05 | |
Were these machines fitted with safety switches? | 0:04:05 | 0:04:07 | |
Of course not, that was just the Police Surgeon's recommendation in the previous two reports. | 0:04:07 | 0:04:11 | |
Those reports aren't legally binding. | 0:04:11 | 0:04:13 | |
No, that's right. They're just migrants, who cares? They're just factory fodder to you. | 0:04:13 | 0:04:17 | |
-Listen, you bloody communist... -Gentlemen. | 0:04:17 | 0:04:20 | |
You see that blood there? That's arterial, from when your machine ripped his hand off | 0:04:20 | 0:04:25 | |
and he died there in a pool of his own blood, | 0:04:25 | 0:04:27 | |
and all because you're too bloody cheap to install safety switches! | 0:04:27 | 0:04:31 | |
Auditioning won't make any difference. | 0:04:33 | 0:04:36 | |
Susan Tyneman always gets the leading role. | 0:04:36 | 0:04:38 | |
Well, shouldn't it be the best person for the part? | 0:04:38 | 0:04:41 | |
You didn't grow up in Ballarat, did you? | 0:04:41 | 0:04:43 | |
-Do you want a lift? -No, Robert's picking me up. -Robert? | 0:04:45 | 0:04:49 | |
Yeah. Evening. | 0:04:49 | 0:04:51 | |
Evening. I've been helping Danny pick pieces of a man's hand out of a bloody machine. | 0:04:51 | 0:04:56 | |
Tyneman's factory. | 0:04:56 | 0:04:59 | |
That bastard has more money than anyone could ever conceivably need, | 0:04:59 | 0:05:02 | |
yet on a daily basis his workers are forced to labour in conditions that could probably kill them. | 0:05:02 | 0:05:07 | |
Before you say anything, Jean, this isn't a personal feud. A man has died. | 0:05:07 | 0:05:14 | |
-I'm going to be going out for a couple of hours. If there's anything you need... -No. | 0:05:14 | 0:05:19 | |
Sorry I asked. | 0:05:19 | 0:05:21 | |
I've often wished that you'd been more demonstrative. | 0:06:03 | 0:06:05 | |
For me, you have always been... | 0:06:06 | 0:06:09 | |
irresistibly fascinating. | 0:06:09 | 0:06:11 | |
-You really love me, Gwendolen? -Passionately. | 0:06:11 | 0:06:15 | |
-Darling, you don't know how happy you've made me. -My own Earnest. | 0:06:15 | 0:06:19 | |
Jean. | 0:06:21 | 0:06:23 | |
Robert, I understand how things work around here | 0:06:23 | 0:06:26 | |
and I'm sure Susan Tyneman will make a perfectly fine Gwendolen. | 0:06:26 | 0:06:31 | |
-I am sorry. -No, don't apologise. | 0:06:31 | 0:06:33 | |
Her husband's sponsoring the players this season. | 0:06:33 | 0:06:36 | |
-The committee thinks it's only fair... -Hello! | 0:06:36 | 0:06:39 | |
Hello. | 0:06:39 | 0:06:40 | |
-And here she is. -Sorry I'm late. | 0:06:40 | 0:06:43 | |
There was an accident at Patrick's factory. | 0:06:43 | 0:06:46 | |
Most unfortunate really. Still, no-one's fault. | 0:06:46 | 0:06:49 | |
Well, maybe it should be somebody's fault. | 0:06:49 | 0:06:51 | |
Shall we start with the audition scene, Susan? | 0:06:51 | 0:06:54 | |
Patrick's so busy he barely sets foot in the place. | 0:06:54 | 0:06:58 | |
If there's a problem, I'd be blaming the manager. | 0:06:58 | 0:07:03 | |
Well, that's very convenient for him. | 0:07:03 | 0:07:04 | |
Ladies. Shall we start? | 0:07:04 | 0:07:07 | |
Joy. | 0:07:29 | 0:07:31 | |
Lucien. How are you? | 0:07:31 | 0:07:35 | |
Good. | 0:07:35 | 0:07:37 | |
Yes, I've been... | 0:07:37 | 0:07:39 | |
I've been meaning to call. | 0:07:39 | 0:07:41 | |
I think I might have a story for you. | 0:07:41 | 0:07:43 | |
Oh, exploited migrants, evil boss, that sort of thing. | 0:07:43 | 0:07:47 | |
Good. | 0:07:50 | 0:07:51 | |
That would be terrific. | 0:07:51 | 0:07:53 | |
Ah, it was horrible, Auntie Jean. | 0:08:01 | 0:08:02 | |
You should have seen it, fingers, blood... | 0:08:02 | 0:08:04 | |
-Danny! -Sorry. | 0:08:04 | 0:08:07 | |
-The bloke was one of your migrants. -My migrants? | 0:08:07 | 0:08:10 | |
Well, you run the clinic at the hostel, don't you? | 0:08:10 | 0:08:14 | |
No? Nothing? That's fine. | 0:08:14 | 0:08:15 | |
I'm sure you'll get everything you need to know about life from a book. | 0:08:15 | 0:08:18 | |
-It's a play and it's mine. -Eh? | 0:08:18 | 0:08:22 | |
Which part are you playing, Jean? | 0:08:22 | 0:08:23 | |
-I'm playing Lane. -But he's the manservant. | 0:08:23 | 0:08:26 | |
The church dramatic society doesn't have enough men to go around. | 0:08:26 | 0:08:30 | |
-Morning. -Morning. | 0:08:30 | 0:08:31 | |
I see your friend Joy McDonald's | 0:08:31 | 0:08:33 | |
written another article for the Herald. | 0:08:33 | 0:08:36 | |
'Inside sources tell us...' | 0:08:36 | 0:08:37 | |
Do you think it was wise giving her that much detail? | 0:08:37 | 0:08:40 | |
So many accidents at that factory. | 0:08:40 | 0:08:43 | |
Oscar's death was absolutely preventable. | 0:08:43 | 0:08:45 | |
-I agree. -And Tyneman couldn't give a damn. | 0:08:45 | 0:08:48 | |
What is that, Mattie? | 0:08:48 | 0:08:51 | |
Oh, The Importance Of Being Earnest. | 0:08:51 | 0:08:53 | |
-Jean's playing the manservant. -Oh. | 0:08:53 | 0:08:57 | |
Heaven help the man. | 0:08:57 | 0:08:59 | |
This rash isn't going away. | 0:09:13 | 0:09:15 | |
It's been a few weeks now, hasn't it? | 0:09:15 | 0:09:17 | |
Yes. | 0:09:17 | 0:09:19 | |
-Have you touched something, anything that might give you a reaction? -No. | 0:09:19 | 0:09:23 | |
-I want you to see a doctor. -No. | 0:09:24 | 0:09:27 | |
All right. | 0:09:27 | 0:09:30 | |
Mattie! | 0:09:30 | 0:09:32 | |
Sorry. Have you seen this? | 0:09:32 | 0:09:35 | |
Is this the doctor's doing? | 0:09:35 | 0:09:37 | |
Yes. | 0:09:37 | 0:09:39 | |
Wonderful. | 0:09:39 | 0:09:40 | |
Finally, someone might take some notice. | 0:09:40 | 0:09:44 | |
Lucien sticking his head out for us. He's a good man. | 0:09:44 | 0:09:48 | |
Yes, he has his moments. | 0:09:49 | 0:09:52 | |
Gus. | 0:09:58 | 0:09:59 | |
Blake. | 0:10:00 | 0:10:01 | |
Hope I'm not interrupting your breakfast. | 0:10:03 | 0:10:05 | |
-Giulio Mosca. -Dead. | 0:10:05 | 0:10:08 | |
Very observant of you, Gus. | 0:10:09 | 0:10:12 | |
I'll do the blood test later, but I'm not expecting anything there. | 0:10:12 | 0:10:16 | |
Catastrophic blood loss due to severing of the right hand just below the wrist. | 0:10:16 | 0:10:21 | |
Whoever pushed him into the machine must have really hated him. | 0:10:21 | 0:10:24 | |
I'm sorry? | 0:10:24 | 0:10:26 | |
I said whoever pushed him into the machine... | 0:10:26 | 0:10:28 | |
You don't know? | 0:10:31 | 0:10:33 | |
Sorry, it's... | 0:10:33 | 0:10:35 | |
See here? | 0:10:36 | 0:10:38 | |
There's an unusual contusion, like a V shape, | 0:10:38 | 0:10:41 | |
only very shallow. You see it? | 0:10:41 | 0:10:43 | |
Yes. | 0:10:43 | 0:10:45 | |
Someone sconned him, then he fell into the machine. | 0:10:45 | 0:10:49 | |
Right. | 0:10:51 | 0:10:52 | |
So, now you're telling me Mosca was murdered. | 0:10:54 | 0:10:56 | |
-Apparently. -Hit with something and pushed into the machine? | 0:10:56 | 0:10:59 | |
Yes, a tool of some kind. There was detail in the bruising. | 0:10:59 | 0:11:02 | |
-Meaning what? -Meaning he had a head wound. | 0:11:02 | 0:11:05 | |
Which you missed until someone pointed it out to you. | 0:11:05 | 0:11:07 | |
Yes, Gus had a field day with that one. | 0:11:07 | 0:11:10 | |
So, some reffo comes up behind him and hits him, is that right? | 0:11:10 | 0:11:13 | |
What happened to Tyneman's unsafe factory? | 0:11:15 | 0:11:18 | |
Well, if those machines had been fitted with safety switches, his death would have been prevented. | 0:11:18 | 0:11:23 | |
-Like you threatened Tyneman with criminal charges. -Oh, I was angry. | 0:11:23 | 0:11:27 | |
Your bias coloured your judgment, and you rode in on your high horse | 0:11:27 | 0:11:30 | |
-and missed evidence of wrongdoing. -So did you! | 0:11:30 | 0:11:33 | |
You're the Police Surgeon. It's your job to notice these things. | 0:11:33 | 0:11:36 | |
Then you ring up your journo friend and tell her details of the case. | 0:11:36 | 0:11:40 | |
Now, hang on! As I understand it... | 0:11:40 | 0:11:43 | |
she spoke to an unnamed source. | 0:11:43 | 0:11:45 | |
Parks, have you spoken to a journo recently about the Mosca death? | 0:11:46 | 0:11:50 | |
No, sir. | 0:11:50 | 0:11:52 | |
Narrows the field a bit, doesn't it? | 0:11:53 | 0:11:55 | |
VOICES | 0:11:58 | 0:12:00 | |
-Lucien! -Miroslav! | 0:12:02 | 0:12:04 | |
-Come through. -Thank you. Congratulations. | 0:12:06 | 0:12:10 | |
"An unnamed source". | 0:12:10 | 0:12:12 | |
-Ah. -Thank you. | 0:12:12 | 0:12:14 | |
Today you are a hero of the entire working class. | 0:12:14 | 0:12:17 | |
Now Tyneman will have to fix that bloody factory. | 0:12:17 | 0:12:19 | |
Well, I may have jumped the gun a little on the whole Mosca thing. | 0:12:19 | 0:12:23 | |
He was bashed. It was no accident. | 0:12:24 | 0:12:27 | |
-He was murdered? -So it seems. | 0:12:27 | 0:12:30 | |
That factory is still bloody unsafe. | 0:12:30 | 0:12:32 | |
So this article...? | 0:12:32 | 0:12:34 | |
Probably won't do anyone any favours. | 0:12:34 | 0:12:36 | |
Listen, who found the body? | 0:12:36 | 0:12:39 | |
Egan, Tyneman's manager. | 0:12:39 | 0:12:41 | |
Then I helped him. | 0:12:41 | 0:12:43 | |
Which puts you there as well. | 0:12:43 | 0:12:45 | |
Mosca was a nasty man. I would have gladly killed him myself. | 0:12:46 | 0:12:50 | |
And did you? | 0:12:52 | 0:12:53 | |
Clever doctor, working it out straightaway. | 0:12:55 | 0:12:59 | |
What was Egan doing when he found the body? | 0:13:02 | 0:13:06 | |
Who knows? | 0:13:06 | 0:13:08 | |
He and Mosca had a great fight at knock-off time. | 0:13:08 | 0:13:12 | |
-Half an hour later Mosca was dead. -What was that fight about? | 0:13:12 | 0:13:17 | |
Maybe money. | 0:13:17 | 0:13:21 | |
Mosca has been taking 10% of all our wages for months. | 0:13:21 | 0:13:25 | |
-What? -Yeah. | 0:13:25 | 0:13:28 | |
Pay up or no job. So you pay. | 0:13:28 | 0:13:31 | |
Why didn't you report this? | 0:13:31 | 0:13:34 | |
To who? Tyneman! | 0:13:34 | 0:13:36 | |
To the police? | 0:13:36 | 0:13:38 | |
Who cares about some migrants making... | 0:13:38 | 0:13:41 | |
SHOUTING | 0:13:41 | 0:13:42 | |
This is defamatory, Blake. I could sue. | 0:13:42 | 0:13:45 | |
Yes, you could, but you won't. Because if you did, | 0:13:45 | 0:13:48 | |
your appalling safety record would be revealed to everyone... | 0:13:48 | 0:13:50 | |
Lawson told me it was murder. | 0:13:50 | 0:13:53 | |
Your factory is still unsafe. | 0:13:53 | 0:13:56 | |
Unless your report allows that factory to reopen, | 0:13:56 | 0:13:58 | |
none of these workers will get paid. And THAT will be on your head. | 0:13:58 | 0:14:02 | |
Didn't expect to see you so soon. | 0:14:07 | 0:14:09 | |
Ah, probably thought I should lay low for a while, | 0:14:09 | 0:14:12 | |
is that the general thrust? | 0:14:12 | 0:14:14 | |
The word embarrassment comes to mind. | 0:14:14 | 0:14:17 | |
Yes. | 0:14:17 | 0:14:19 | |
Mosca and Egan had an argument... Egan's the manager of the factory. | 0:14:19 | 0:14:22 | |
He found the body about half an hour later. | 0:14:22 | 0:14:25 | |
So, we've gone from dodgy factory | 0:14:25 | 0:14:27 | |
to dodgy factory manager killing the foreman. | 0:14:27 | 0:14:29 | |
Mosca was extorting money from the workers. | 0:14:29 | 0:14:31 | |
-Who told you? -Miroslav Gorski. | 0:14:31 | 0:14:34 | |
He was there too when it all happened. | 0:14:34 | 0:14:35 | |
So, talking to potential suspects now, are we? | 0:14:35 | 0:14:38 | |
No, he came to me and now I'm telling you. | 0:14:38 | 0:14:40 | |
How's the report going? Write it. | 0:14:40 | 0:14:44 | |
So Tyneman can reopen his bloody factory and get off my back. | 0:14:44 | 0:14:48 | |
Ugh! | 0:14:48 | 0:14:49 | |
RUSTLING AND CLUNKING | 0:15:13 | 0:15:16 | |
-All right, Danny? -Aargh! | 0:15:31 | 0:15:34 | |
Doc! | 0:15:34 | 0:15:35 | |
I trust you're not going to hit me with that? | 0:15:35 | 0:15:37 | |
HE SIGHS | 0:15:37 | 0:15:39 | |
Find it here? | 0:15:39 | 0:15:41 | |
Yeah, on the floor. | 0:15:41 | 0:15:43 | |
-You said Mosca was hit from behind by something reasonably heavy. -Yes. | 0:15:43 | 0:15:49 | |
Could be any of these. | 0:15:49 | 0:15:50 | |
Well, we're looking for something slightly curved | 0:15:50 | 0:15:54 | |
with a blunt D-shaped edge. | 0:15:54 | 0:15:57 | |
-Is there blood on any of these? -Nah. | 0:15:57 | 0:16:00 | |
I just can't stop seeing his fingers. | 0:16:00 | 0:16:04 | |
Best not to dwell on that, Danny. | 0:16:04 | 0:16:05 | |
-Oh, yeah? And how do you do that? -Try whiskey. | 0:16:05 | 0:16:08 | |
Now, Mosca fell, | 0:16:09 | 0:16:12 | |
his hand went in the machine. | 0:16:12 | 0:16:15 | |
Hand is severed, he reels back, collapses on the floor... | 0:16:15 | 0:16:20 | |
and dies. | 0:16:20 | 0:16:22 | |
Danny, come round behind me for a moment. | 0:16:23 | 0:16:25 | |
Just go through the motions of hitting me in the back of the head | 0:16:25 | 0:16:28 | |
with a spanner, would you? | 0:16:28 | 0:16:30 | |
Reckon the boss would put his hand up for this one. | 0:16:30 | 0:16:32 | |
Yes, I think he probably would. | 0:16:32 | 0:16:33 | |
Now, Mosca would have been quite close to the machine. | 0:16:33 | 0:16:37 | |
Right. | 0:16:37 | 0:16:38 | |
He was hit. | 0:16:38 | 0:16:40 | |
He stumbles forward, he puts his hand out to break his fall, | 0:16:40 | 0:16:43 | |
the momentum carried him on to the machine... | 0:16:43 | 0:16:46 | |
..and it's all over. | 0:16:48 | 0:16:49 | |
-What do you think? -Sounds pretty good to me. | 0:16:52 | 0:16:55 | |
So, it takes someone to die for a doctor to finally do his job. | 0:16:57 | 0:17:01 | |
I've spoken to the owner about safety, Mrs Krol. | 0:17:01 | 0:17:04 | |
Wonderful, keep talking. | 0:17:04 | 0:17:07 | |
Look, everyone's laid off today. Why are you here? | 0:17:07 | 0:17:10 | |
They pay me extra to clean. What about you? | 0:17:10 | 0:17:13 | |
Most of the workforce had gone home when Mosca died. | 0:17:13 | 0:17:15 | |
-Mm. -Who was still here? | 0:17:15 | 0:17:18 | |
-You want to see the timecards? -Yes. | 0:17:18 | 0:17:21 | |
Thank you. | 0:17:24 | 0:17:26 | |
Mrs Krol, I can see... | 0:17:27 | 0:17:29 | |
Look, three people haven't clocked off. | 0:17:29 | 0:17:32 | |
Most people had gone. | 0:17:32 | 0:17:34 | |
Once you walk out, you can't come back in. | 0:17:34 | 0:17:36 | |
I see you were still here. How did you get on with Mosca? | 0:17:36 | 0:17:39 | |
I hated him and I'm glad he's dead. | 0:17:39 | 0:17:42 | |
-Next question. -Right. | 0:17:42 | 0:17:44 | |
Miroslav Gorski. | 0:17:46 | 0:17:48 | |
Miroslav, he's a gentleman. | 0:17:48 | 0:17:51 | |
And what was he doing when Mr Egan found Mosca's body? | 0:17:51 | 0:17:54 | |
-He was fixing things. -What was he fixing? | 0:17:54 | 0:17:57 | |
-He fixes everything. -Course he does. | 0:17:57 | 0:18:00 | |
And Mr Egan, who argued with Mosca yesterday, didn't he? | 0:18:00 | 0:18:04 | |
Do you know what that was about? | 0:18:04 | 0:18:05 | |
Who cares? When two spiders fight, you hope both of them die. | 0:18:05 | 0:18:09 | |
You can't argue with that, Danny. | 0:18:13 | 0:18:16 | |
I'm the manager, he was the foreman. | 0:18:16 | 0:18:18 | |
You have your disagreements and then you get on with it. | 0:18:18 | 0:18:20 | |
This was more than just a disagreement, wasn't it? | 0:18:20 | 0:18:23 | |
You know what it's like with these migrants. | 0:18:23 | 0:18:26 | |
Half an hour later, Mosca was dead. | 0:18:26 | 0:18:28 | |
I saw you and the boss going at each other yesterday. | 0:18:28 | 0:18:30 | |
Doesn't mean you're going to turn around and kill him, does it? | 0:18:30 | 0:18:33 | |
What are you doing? | 0:18:33 | 0:18:34 | |
Mosca was extorting money from these people, did you know that? | 0:18:36 | 0:18:40 | |
-Who told you that? -Did you know? | 0:18:40 | 0:18:42 | |
I disagreed with the way Mosca was running his workers. | 0:18:42 | 0:18:44 | |
So I had a go at him, that's it. | 0:18:44 | 0:18:46 | |
Right. | 0:18:46 | 0:18:48 | |
Thanks for your time, Mr Egan. Danny. | 0:18:48 | 0:18:50 | |
What a bloody awful place. | 0:18:56 | 0:18:58 | |
I'd have to agree with you there, Danny. | 0:18:58 | 0:18:59 | |
-What do you reckon? -No! She yours? BSA? | 0:18:59 | 0:19:03 | |
1941, ex-military. Can get her up to about 80. | 0:19:03 | 0:19:06 | |
She's an absolute beaut. | 0:19:06 | 0:19:08 | |
Isn't she? She beats that bloody push-bike for dead. | 0:19:08 | 0:19:11 | |
Yes. | 0:19:11 | 0:19:13 | |
Hey, doc, that Egan's dodgy. | 0:19:13 | 0:19:16 | |
You're not wrong there, Danny. | 0:19:18 | 0:19:20 | |
Oh! I don't normally tenderise the roast quite like that. | 0:19:40 | 0:19:44 | |
-Really? -Mm. | 0:19:44 | 0:19:46 | |
That's a very different indentation. | 0:19:46 | 0:19:48 | |
That and the bruising would be all along. | 0:19:48 | 0:19:51 | |
That's a perfectly good side of pork. | 0:19:51 | 0:19:53 | |
Yes, it is. | 0:19:53 | 0:19:55 | |
What are doing? | 0:19:55 | 0:19:56 | |
Whoever killed Mosca hit him | 0:19:56 | 0:19:58 | |
in the back of the head with a blunt object, | 0:19:58 | 0:20:00 | |
probably a tool, and it left a very particular wound, | 0:20:00 | 0:20:04 | |
sort of a shallow V-shaped... | 0:20:04 | 0:20:06 | |
I'm not sure about the hygiene of all this, Lucien. | 0:20:06 | 0:20:08 | |
Oh, of course. | 0:20:08 | 0:20:09 | |
A last! It's a footwear factory. They're everywhere. | 0:20:12 | 0:20:17 | |
Er, yes, roast would be lovely. | 0:20:17 | 0:20:19 | |
Right, I'll pop it on when I get home from rehearsal. | 0:20:19 | 0:20:22 | |
Very good. | 0:20:22 | 0:20:23 | |
KNOCKING I'll get it. | 0:20:23 | 0:20:25 | |
Jean. | 0:20:31 | 0:20:33 | |
-Mrs McDonald. -How are you? | 0:20:33 | 0:20:35 | |
I'm very well, and you? | 0:20:35 | 0:20:37 | |
Fine, thank you. | 0:20:37 | 0:20:38 | |
Is the doctor in? | 0:20:38 | 0:20:40 | |
Joy! | 0:20:45 | 0:20:46 | |
I wish I'd known you were coming. How are you? | 0:20:46 | 0:20:49 | |
I'm absolutely bloody furious, if you don't mind my saying so. | 0:20:49 | 0:20:52 | |
Right. Why don't you come through? | 0:20:52 | 0:20:55 | |
You ring me with a tip-off on a workplace accident | 0:20:57 | 0:21:00 | |
only now we find out it was murder. | 0:21:00 | 0:21:02 | |
-My editor had kittens! -Yes, and...and so did I. | 0:21:02 | 0:21:05 | |
At least you've still got a job. | 0:21:05 | 0:21:07 | |
Oh, Joy, I'm sorry. | 0:21:07 | 0:21:09 | |
Tyneman's a personal friend of several Herald board members. | 0:21:09 | 0:21:12 | |
They carpeted my editor, who carpeted me. | 0:21:12 | 0:21:14 | |
Listen, do you think they'd forgive you | 0:21:14 | 0:21:17 | |
if you came up with something really juicy? | 0:21:17 | 0:21:20 | |
Like what? | 0:21:20 | 0:21:21 | |
There's more to this murder than I first thought. | 0:21:21 | 0:21:24 | |
-Seriously? -Yes. | 0:21:24 | 0:21:27 | |
It could make for a very interesting story. | 0:21:27 | 0:21:29 | |
This is still your oppressed migrants? | 0:21:29 | 0:21:31 | |
Yes, it is. | 0:21:31 | 0:21:32 | |
You're incorrigible. | 0:21:37 | 0:21:39 | |
LOW CHATTER | 0:21:43 | 0:21:45 | |
Patrick. | 0:21:50 | 0:21:52 | |
Blake. | 0:21:53 | 0:21:55 | |
Mrs Tyneman. | 0:21:56 | 0:21:57 | |
-That's right. -Dr Lucien Blake. | 0:21:57 | 0:22:00 | |
Your reputation as a thespian precedes you. | 0:22:00 | 0:22:03 | |
Thank you. | 0:22:03 | 0:22:04 | |
Patrick, look, um... | 0:22:05 | 0:22:07 | |
I said some things yesterday in haste. | 0:22:07 | 0:22:11 | |
I take full responsibility. My fault entirely. | 0:22:11 | 0:22:13 | |
I'm revising my report, and it will show that Mr Mosca's death | 0:22:13 | 0:22:16 | |
was, in fact, murder and not an industrial accident. | 0:22:16 | 0:22:21 | |
I'm also recommending that the factory reopen immediately. | 0:22:21 | 0:22:26 | |
-The other accidents? -Were your fault. Don't push it. | 0:22:26 | 0:22:30 | |
Are you sleeping with this journalist? | 0:22:30 | 0:22:32 | |
-Patrick. -It's quite all right, Mrs Tyneman. | 0:22:32 | 0:22:35 | |
No. But I'd like to. | 0:22:35 | 0:22:37 | |
Give my regards to Mrs Beazley. | 0:22:41 | 0:22:44 | |
She's a very fine supporting player. | 0:22:44 | 0:22:46 | |
Oh, Mrs Beazley's a star. | 0:22:46 | 0:22:48 | |
Cec. | 0:22:51 | 0:22:53 | |
Your strategy needs work, Doctor. | 0:22:54 | 0:22:56 | |
Check. | 0:22:59 | 0:23:01 | |
Yes. | 0:23:02 | 0:23:04 | |
So everyone keeps telling me. | 0:23:04 | 0:23:05 | |
This argument you witnessed before Mosca died, | 0:23:08 | 0:23:12 | |
you thought it was about money? | 0:23:12 | 0:23:14 | |
Well, I couldn't really hear it. | 0:23:14 | 0:23:17 | |
Did Egan know about the extortion? | 0:23:20 | 0:23:23 | |
He's the manager, he's all over everything. | 0:23:23 | 0:23:27 | |
So the fight was probably about his share, yes? | 0:23:27 | 0:23:31 | |
The jackal drives off the vulture. | 0:23:31 | 0:23:33 | |
Klara Krol calls them spiders. | 0:23:33 | 0:23:35 | |
HE CHUCKLES Klara. | 0:23:36 | 0:23:39 | |
Klara, Romana, me... | 0:23:41 | 0:23:43 | |
..we arrived with nothing so we take care of each other. | 0:23:45 | 0:23:48 | |
They're your family now. | 0:23:51 | 0:23:54 | |
We do what we can. | 0:23:56 | 0:23:57 | |
Check and mate. | 0:24:01 | 0:24:03 | |
Ah, Mire. | 0:24:03 | 0:24:05 | |
Oh. | 0:24:05 | 0:24:07 | |
Yes, cheers. | 0:24:07 | 0:24:09 | |
Next time, Mire, next time. | 0:24:12 | 0:24:14 | |
Yes, yes. | 0:24:14 | 0:24:16 | |
There's always the next time. | 0:24:16 | 0:24:17 | |
-Thank you, Lucien. -Ah. | 0:24:19 | 0:24:21 | |
My friend, | 0:24:24 | 0:24:27 | |
do you think Egan could have killed Mosca? | 0:24:27 | 0:24:29 | |
Well, he was at the right place at the right time. | 0:24:34 | 0:24:37 | |
-Mattie, what are you up to? -I'm so sorry. | 0:24:50 | 0:24:53 | |
I...was doing some research... | 0:24:53 | 0:24:56 | |
-..on syphilis. -Oh, goodness, I am sorry. | 0:24:57 | 0:25:01 | |
No, not for me. | 0:25:01 | 0:25:03 | |
For Romana Novak. | 0:25:03 | 0:25:04 | |
Yes. Yes, of course. | 0:25:05 | 0:25:07 | |
She has a rash I can't seem to treat. | 0:25:08 | 0:25:11 | |
And other symptoms. | 0:25:11 | 0:25:12 | |
Chancres? | 0:25:13 | 0:25:16 | |
-Flu-like symptoms? -Yes. | 0:25:17 | 0:25:19 | |
And you suspect syphilis? | 0:25:20 | 0:25:22 | |
I think so. | 0:25:22 | 0:25:23 | |
Yes. | 0:25:26 | 0:25:27 | |
-No. -Look, I know you're embarrassed but... | 0:25:29 | 0:25:31 | |
-You know nothing! -Romana, you could have syphilis. | 0:25:31 | 0:25:35 | |
It's nothing to be ashamed of. | 0:25:35 | 0:25:37 | |
What would you know about shame? You and your pretty little uniform. | 0:25:37 | 0:25:40 | |
Oh, come on, this is serious. | 0:25:40 | 0:25:42 | |
I come to you, and then you go and say I am sleeping around. | 0:25:42 | 0:25:46 | |
What would you know about my life? | 0:25:46 | 0:25:48 | |
Well, I know that you need treatment, OK? | 0:25:48 | 0:25:51 | |
Leave me alone, both of you! | 0:25:51 | 0:25:53 | |
I made a mess of that. | 0:25:59 | 0:26:01 | |
Oh. | 0:26:01 | 0:26:04 | |
You could have said anything, Mattie. | 0:26:04 | 0:26:06 | |
It wouldn't have made any difference. | 0:26:06 | 0:26:08 | |
HE MUTTERS | 0:26:27 | 0:26:28 | |
You want to explain to me why there's a motorbike | 0:26:34 | 0:26:36 | |
-parked out the front of the station? -Ah, yeah, that's mine. | 0:26:36 | 0:26:39 | |
You'll be pushing it home tonight | 0:26:40 | 0:26:42 | |
-unless you brought a change of clothes. -Sorry? | 0:26:42 | 0:26:45 | |
Well, it's not police issue. | 0:26:45 | 0:26:46 | |
So you don't ride it while in uniform. | 0:26:46 | 0:26:48 | |
Oh, I thought I could use it instead of my pushie. | 0:26:48 | 0:26:50 | |
-See, it goes a hell of a lot faster... -Think again. | 0:26:50 | 0:26:52 | |
But sir, I've only just picked... | 0:26:52 | 0:26:54 | |
Uniform, push-bike. Civvies, motorbike. Got it? | 0:26:54 | 0:26:58 | |
-Yes, sir. -Sorry? -Yes, sir! | 0:26:58 | 0:27:00 | |
DOOR SLAMS | 0:27:12 | 0:27:13 | |
What kind of a doctor are you? | 0:27:19 | 0:27:21 | |
-Mrs Krol. -You, and that child of a nurse | 0:27:21 | 0:27:24 | |
accused Romana of having a sexual disease! | 0:27:24 | 0:27:27 | |
-You leave her alone! -Romana has syphilis. | 0:27:27 | 0:27:29 | |
Romana has a rash on her hands. That's it! | 0:27:29 | 0:27:32 | |
-Like half the women in the factory! -How many? | 0:27:32 | 0:27:35 | |
I don't know! Two, three, five. | 0:27:35 | 0:27:38 | |
Mrs Krol. Mrs Krol, please, may I see your hands? | 0:27:38 | 0:27:43 | |
Masz zobacz! | 0:27:43 | 0:27:44 | |
Look, the rash on Romana's hands is typical... | 0:27:45 | 0:27:48 | |
typical of second-stage syphilis. Now, is it possible...is it possible | 0:27:48 | 0:27:53 | |
that someone is forcing himself on the girls at the factory? | 0:27:53 | 0:27:56 | |
I don't know. | 0:27:56 | 0:27:57 | |
What's going on with that factory? | 0:28:01 | 0:28:03 | |
Murder? Extortion? Now syphilis? | 0:28:03 | 0:28:07 | |
Potential sexual assault. | 0:28:07 | 0:28:09 | |
Well, one case of syphilis doesn't make a sexual assault. | 0:28:09 | 0:28:12 | |
Well, it was quite a reaction from Romana Novak, I can tell you. | 0:28:12 | 0:28:15 | |
Well, that's not evidence. | 0:28:15 | 0:28:17 | |
There's a number of women presenting with the same symptoms. | 0:28:17 | 0:28:19 | |
So, you're trying to tell me | 0:28:21 | 0:28:23 | |
there's a connection between an epidemic of venereal disease | 0:28:23 | 0:28:26 | |
and Mosca's death? | 0:28:26 | 0:28:27 | |
It's a possibility, and you're looking for motives, aren't you? | 0:28:27 | 0:28:30 | |
Tyneman's going to have a fit. | 0:28:30 | 0:28:32 | |
Yes. | 0:28:32 | 0:28:33 | |
I'll run another test on Mosca's blood. | 0:28:35 | 0:28:37 | |
What for? | 0:28:37 | 0:28:38 | |
Syphilis. | 0:28:38 | 0:28:40 | |
Syphilis. | 0:28:40 | 0:28:41 | |
DOOR CLOSES | 0:28:47 | 0:28:48 | |
KEY JANGLES IN LOCK | 0:29:03 | 0:29:04 | |
Jean? | 0:29:15 | 0:29:18 | |
Mattie? | 0:29:18 | 0:29:20 | |
Oh. I'll get the dinner on, then. | 0:29:20 | 0:29:22 | |
Is this your way of making it up to me? | 0:29:33 | 0:29:36 | |
-You still owe me a story. -It's coming. It's coming. | 0:29:36 | 0:29:39 | |
I thought I might arrange something | 0:29:41 | 0:29:43 | |
that could get your editor off your back. | 0:29:43 | 0:29:46 | |
Really? | 0:29:46 | 0:29:48 | |
Yes, and here he is now. | 0:29:48 | 0:29:50 | |
-Patrick. -Blake. | 0:29:52 | 0:29:55 | |
This is Joy McDonald. I believe you're familiar with her work. | 0:29:55 | 0:29:59 | |
-Mrs McDonald. -Mr Tyneman. | 0:29:59 | 0:30:02 | |
Patrick, please, join us. | 0:30:02 | 0:30:04 | |
I, um... | 0:30:05 | 0:30:08 | |
I think you have something that might be called | 0:30:08 | 0:30:11 | |
a perception problem. | 0:30:11 | 0:30:12 | |
Now, what happened at the factory was terrible, | 0:30:12 | 0:30:15 | |
and it is going to affect the way people perceive you. | 0:30:15 | 0:30:18 | |
And Joy here has an editor who wants to sack her. | 0:30:18 | 0:30:22 | |
So, what if Joy wrote an article about you? | 0:30:22 | 0:30:27 | |
I'm a businessman, not a monster. | 0:30:27 | 0:30:29 | |
It's not how Lucien describes you. | 0:30:29 | 0:30:31 | |
-Ah. -Perhaps in the interests of unbiased reporting, | 0:30:31 | 0:30:35 | |
I could describe him in return. | 0:30:35 | 0:30:37 | |
I'd love to hear it! | 0:30:37 | 0:30:39 | |
What was going on in my factory was a disgrace | 0:30:39 | 0:30:42 | |
and it reflects badly on me. | 0:30:42 | 0:30:45 | |
-Mr Tyneman... -Patrick. | 0:30:45 | 0:30:48 | |
Patrick. Joy. | 0:30:48 | 0:30:50 | |
Joy. | 0:30:50 | 0:30:51 | |
Perhaps I could start off with a few biographical questions. | 0:30:51 | 0:30:56 | |
Fire away. | 0:30:56 | 0:30:57 | |
Right. About two CCs, Mattie. | 0:30:59 | 0:31:02 | |
-Good. -It's like a puzzle, isn't it? | 0:31:09 | 0:31:13 | |
We know it's all horrible, it's also... | 0:31:13 | 0:31:16 | |
Quite fascinating, yes. Just give it a gentle stir. | 0:31:16 | 0:31:19 | |
That was good diagnostic work with Romana, by the way. | 0:31:19 | 0:31:22 | |
Even though I scared her away? | 0:31:22 | 0:31:24 | |
That happens sometimes. | 0:31:24 | 0:31:25 | |
I tend to be a bit obsessed. | 0:31:25 | 0:31:27 | |
You know what, Mattie, that's a good thing. | 0:31:27 | 0:31:29 | |
That's why we get it right. | 0:31:29 | 0:31:31 | |
-Jean? -Mm? | 0:31:50 | 0:31:52 | |
How much sherry have you had? | 0:31:54 | 0:31:56 | |
There's another glass there if you'd like some. | 0:31:56 | 0:31:58 | |
Mattie, I think Robert's going to ask me to marry him. | 0:32:12 | 0:32:16 | |
Has he said something? | 0:32:16 | 0:32:19 | |
No, but... | 0:32:19 | 0:32:21 | |
I can hear him thinking it. | 0:32:21 | 0:32:23 | |
And how do you feel? | 0:32:23 | 0:32:25 | |
I may never have another chance like this again. | 0:32:25 | 0:32:28 | |
Oh, come on, you could have 100 chances if you wanted to. | 0:32:28 | 0:32:32 | |
Of course you think that way, Mattie, you're... | 0:32:32 | 0:32:35 | |
you're young and you're lovely and... | 0:32:35 | 0:32:41 | |
you still think that life is kind. | 0:32:41 | 0:32:43 | |
So, what are you going to do about it? | 0:32:50 | 0:32:52 | |
I'm going to drink all of Lucien's sherry | 0:32:52 | 0:32:55 | |
and then I'm going to raid the bottom drawer of his desk | 0:32:55 | 0:32:58 | |
and drink all his Scotch. | 0:32:58 | 0:32:59 | |
Oh, Mattie, there you are. | 0:33:01 | 0:33:03 | |
Jean. Are you drinking? | 0:33:05 | 0:33:07 | |
Yes! Thank you for asking. | 0:33:07 | 0:33:09 | |
And now I'm going to bed. | 0:33:10 | 0:33:12 | |
Oh! | 0:33:13 | 0:33:15 | |
You need to be very nice to her. | 0:33:20 | 0:33:22 | |
Yes. | 0:33:25 | 0:33:26 | |
Yes. Um. | 0:33:28 | 0:33:30 | |
Mosca. Mosca, yes. | 0:33:30 | 0:33:32 | |
We got a result on the blood. | 0:33:32 | 0:33:35 | |
-Is it syphilis? -Tertiary stage. | 0:33:35 | 0:33:39 | |
My bet, he's infected half the women in that factory. | 0:33:39 | 0:33:42 | |
He couldn't keep it in his pants. | 0:33:47 | 0:33:49 | |
You knew he was molesting the women? | 0:33:49 | 0:33:51 | |
-I didn't know he had the pox. -And what did you do to stop him? | 0:33:51 | 0:33:55 | |
Doctor asked you a question. | 0:33:55 | 0:33:57 | |
I told him to cut it out. He wouldn't listen. | 0:33:57 | 0:33:59 | |
-So why didn't you go to the police or your boss? -Wasn't my business. | 0:34:01 | 0:34:05 | |
Did he go after anyone in particular? | 0:34:05 | 0:34:07 | |
Mostly that Novak girl. I saw him eyeballing her that afternoon. | 0:34:07 | 0:34:12 | |
Romana Novak clocked out at 5:10. | 0:34:12 | 0:34:14 | |
She was in the factory after that. | 0:34:14 | 0:34:16 | |
-But she'd clocked off! -I know, but she was there. | 0:34:20 | 0:34:23 | |
Could Mosca have let her back in? | 0:34:23 | 0:34:26 | |
I suppose he must've. | 0:34:26 | 0:34:27 | |
So, you find the body, you call out and... | 0:34:29 | 0:34:31 | |
Gorski came over to help. | 0:34:31 | 0:34:34 | |
-Why was he there? -Repairs. He fixes things. | 0:34:34 | 0:34:37 | |
Mosca was extorting money from the workers. Did you know about this? | 0:34:37 | 0:34:40 | |
Answer the question. | 0:34:42 | 0:34:43 | |
You were in on it with him, weren't you? | 0:34:46 | 0:34:48 | |
You tell me everything or I'll have you as an accessory after the fact. | 0:34:50 | 0:34:53 | |
You got that? | 0:34:53 | 0:34:54 | |
Yeah, me and Mosca had an agreement. | 0:34:58 | 0:35:00 | |
10% of the wages split down the middle. | 0:35:00 | 0:35:03 | |
But I never said he could molest the girls. | 0:35:06 | 0:35:08 | |
-You believe him? -Well, the man is scum. | 0:35:11 | 0:35:15 | |
Bloody good reason for knocking off Mosca. | 0:35:15 | 0:35:17 | |
Yes, that predatory libido | 0:35:17 | 0:35:19 | |
was getting in the way of a nice little earner. | 0:35:19 | 0:35:22 | |
It'd help if we had whatever it was that hit him. | 0:35:22 | 0:35:24 | |
Probably a shoe last. | 0:35:24 | 0:35:26 | |
Certainly the shape of the head wound would suggest as much. | 0:35:26 | 0:35:29 | |
There must've been something like that lying around. | 0:35:29 | 0:35:31 | |
Well, yes, it's a shoe factory, | 0:35:31 | 0:35:33 | |
there are things like that everywhere. | 0:35:33 | 0:35:35 | |
Mosca was after Novak. | 0:35:35 | 0:35:37 | |
He probably gave her the pox and he approached her that afternoon. | 0:35:37 | 0:35:41 | |
According to Egan. | 0:35:41 | 0:35:42 | |
Well, she was in the factory at the time of Mosca's death. | 0:35:43 | 0:35:47 | |
If Egan's telling the truth... | 0:35:47 | 0:35:50 | |
I think he is. | 0:35:50 | 0:35:53 | |
So do I. | 0:35:53 | 0:35:54 | |
Romana Novak? | 0:36:11 | 0:36:13 | |
Is there a problem? | 0:36:13 | 0:36:15 | |
We have some questions for you about the death of Giulio Mosca. | 0:36:15 | 0:36:18 | |
I'll need you to come to the station with me. | 0:36:18 | 0:36:20 | |
-Is there a problem? -Just stand back. | 0:36:20 | 0:36:22 | |
Take it easy there, sir. Step aside, please, sir! | 0:36:22 | 0:36:24 | |
ALL SHOUT AT ONCE | 0:36:24 | 0:36:25 | |
SHE SHOUTS IN OWN LANGUAGE | 0:36:29 | 0:36:31 | |
Stupid doctor! | 0:36:38 | 0:36:40 | |
What lies did that nurse tell you? | 0:36:46 | 0:36:48 | |
-You're not answering the question. -No, I refuse. | 0:36:48 | 0:36:51 | |
Was Giulio Mosca forcing you to have sexual intercourse with him? | 0:36:55 | 0:36:58 | |
Miss Novak, did Giulio Mosca force you to have sexual intercourse... | 0:37:02 | 0:37:05 | |
Yes. | 0:37:05 | 0:37:06 | |
That swine of a man infected her as well? | 0:37:13 | 0:37:15 | |
-Yes. -I wish I'd killed him. | 0:37:17 | 0:37:20 | |
I wish I pushed him into that machine! | 0:37:20 | 0:37:23 | |
Did you know anything about this? | 0:37:23 | 0:37:26 | |
The man was a pig. | 0:37:27 | 0:37:29 | |
On the day of Mosca's murder, | 0:37:30 | 0:37:32 | |
you punched out of the factory at 5:10, is this correct? | 0:37:32 | 0:37:35 | |
Is this yours? | 0:37:38 | 0:37:39 | |
Yes. | 0:37:39 | 0:37:41 | |
What time did you leave the factory? | 0:37:41 | 0:37:43 | |
5:10. | 0:37:43 | 0:37:44 | |
You were seen in there after that time. | 0:37:49 | 0:37:52 | |
Who said that? | 0:37:52 | 0:37:54 | |
-Was it Egan? -Were you in the factory after knock-off time? | 0:37:54 | 0:37:56 | |
He's lying. | 0:37:56 | 0:37:59 | |
The police are going to charge her with murder. | 0:37:59 | 0:38:01 | |
But she's innocent. | 0:38:01 | 0:38:03 | |
Well, if in fact she is, | 0:38:03 | 0:38:04 | |
and Mosca was forcing her to have sex with him, | 0:38:04 | 0:38:07 | |
then there opens up a defence for her. She could very eas... | 0:38:07 | 0:38:09 | |
But she would never testify in court. You don't understand. | 0:38:09 | 0:38:13 | |
She would never shame herself by speaking publicly about it. | 0:38:13 | 0:38:17 | |
Was Giulio Mosca forcing himself on you? | 0:38:17 | 0:38:19 | |
I already told you, but you keep asking me the same question. | 0:38:19 | 0:38:23 | |
Did you try and defend yourself? | 0:38:23 | 0:38:25 | |
Miss Novak, it'll make things a lot easier | 0:38:25 | 0:38:27 | |
if you just answer the questions. | 0:38:27 | 0:38:29 | |
Did you push Giulio Mosca into the leather press? | 0:38:29 | 0:38:32 | |
-Police. -SHE SCOFFS | 0:38:32 | 0:38:34 | |
Where were you when he was putting his hands all over me, huh? | 0:38:34 | 0:38:38 | |
Make a note. The suspect refuses to answer the questions. | 0:38:38 | 0:38:41 | |
SHE WHISPERS IN OWN LANGUAGE | 0:38:41 | 0:38:43 | |
-In English, please. -I wasn't talking to you. | 0:38:43 | 0:38:47 | |
This all comes down to the evidence now. | 0:38:47 | 0:38:50 | |
She was seen in the factory | 0:38:50 | 0:38:53 | |
when everyone else had left. | 0:38:53 | 0:38:54 | |
By whom? By Egan? | 0:38:54 | 0:38:57 | |
I can't disclose that. | 0:38:57 | 0:38:58 | |
That man was stealing her money, | 0:38:58 | 0:39:01 | |
he let Mosca abuse her | 0:39:01 | 0:39:03 | |
and now his word is going to put her in jail. | 0:39:03 | 0:39:07 | |
Romana's going to be charged with murder, | 0:39:07 | 0:39:09 | |
-and you're not going to do anything!? -I can't! | 0:39:09 | 0:39:12 | |
So you're letting Egan go. | 0:39:27 | 0:39:29 | |
He got bail. He's not going anywhere. | 0:39:29 | 0:39:31 | |
Will Romana Novak get bail? | 0:39:31 | 0:39:33 | |
She's not cooperating. | 0:39:33 | 0:39:34 | |
He extorts money out of them. | 0:39:37 | 0:39:39 | |
He does nothing, nothing, while his foreman | 0:39:39 | 0:39:42 | |
systematically forces himself on Romana and God knows who else, | 0:39:42 | 0:39:45 | |
and he gets to walk out of here and she doesn't. | 0:39:45 | 0:39:47 | |
I don't like it either, but as long as Egan's evidence holds up, | 0:39:47 | 0:39:51 | |
she'll get convicted. | 0:39:51 | 0:39:52 | |
Egan's evidence? He couldn't lie straight in bed. | 0:39:52 | 0:39:56 | |
My old boss used to take blokes like Egan down to the cell | 0:39:56 | 0:39:59 | |
and beat the hell out of him. | 0:39:59 | 0:40:01 | |
Get your dad to come in two days later and patch him up. | 0:40:01 | 0:40:04 | |
Dad must've been thrilled about that. | 0:40:04 | 0:40:08 | |
He understood. | 0:40:08 | 0:40:09 | |
Robert, after this production, | 0:40:22 | 0:40:24 | |
I may need someone to take my place in the plays. | 0:40:24 | 0:40:27 | |
That would be a real shame. | 0:40:30 | 0:40:32 | |
I'm needed here. | 0:40:35 | 0:40:36 | |
That's a no, is it? | 0:40:39 | 0:40:41 | |
For me? | 0:40:41 | 0:40:42 | |
I understand. | 0:40:46 | 0:40:47 | |
But I'm sorry. | 0:40:49 | 0:40:50 | |
So am I. | 0:40:54 | 0:40:55 | |
Oh, goodness. I do beg your pardon. | 0:40:59 | 0:41:01 | |
-How are you? Lucien Blake. -Robert Manifold. | 0:41:03 | 0:41:06 | |
Ah, yes, of course! How are the rehearsals going? | 0:41:06 | 0:41:09 | |
-Fine. -Good, good. | 0:41:09 | 0:41:12 | |
Don't mind me. I'll make a cup of tea and pop through to the study. | 0:41:12 | 0:41:15 | |
No, that's all right. I was leaving. | 0:41:15 | 0:41:17 | |
Thanks for the tea, Jean. | 0:41:18 | 0:41:19 | |
It was lovely. | 0:41:22 | 0:41:23 | |
DOOR OPENS | 0:41:32 | 0:41:33 | |
DOOR CLOSES | 0:41:35 | 0:41:36 | |
PHONE RINGS | 0:41:36 | 0:41:38 | |
RINGING CONTINUES | 0:41:42 | 0:41:45 | |
Jean. | 0:41:46 | 0:41:47 | |
Jean! | 0:41:49 | 0:41:50 | |
Are you all right? | 0:41:54 | 0:41:56 | |
I'll get that. | 0:41:57 | 0:41:59 | |
Dr Blake's surgery. | 0:42:04 | 0:42:05 | |
One moment, please. | 0:42:05 | 0:42:06 | |
Mr Gorski. | 0:42:08 | 0:42:09 | |
Miroslav, how are you? | 0:42:21 | 0:42:24 | |
What? | 0:42:24 | 0:42:26 | |
Miroslav, ca...calm down. | 0:42:26 | 0:42:29 | |
Miroslav! | 0:42:37 | 0:42:38 | |
Mire! | 0:42:39 | 0:42:40 | |
What happened? | 0:42:56 | 0:42:58 | |
I killed him, Lucien. | 0:42:59 | 0:43:01 | |
'I went to the factory. | 0:43:11 | 0:43:13 | |
-'Anyone see you? -No. | 0:43:13 | 0:43:16 | |
'Then what happened?' | 0:43:16 | 0:43:17 | |
I let myself in... | 0:43:20 | 0:43:21 | |
..went to Egan's office, waited for him... | 0:43:24 | 0:43:26 | |
..and I stabbed him. | 0:43:29 | 0:43:31 | |
Why? | 0:43:35 | 0:43:36 | |
-He and Mosca were stealing our pay. -What, that's it? | 0:43:38 | 0:43:42 | |
This wouldn't have anything to do with the fact | 0:43:48 | 0:43:50 | |
that Romana Novak has been charged with the murder of Giulio Mosca? | 0:43:50 | 0:43:54 | |
-With the greatest respect, Inspector... -Superintendent. | 0:43:55 | 0:43:59 | |
You've arrested the wrong person for Mosca's murder. | 0:44:01 | 0:44:04 | |
There were three people in the factory that afternoon. | 0:44:05 | 0:44:08 | |
You were one of them. | 0:44:09 | 0:44:11 | |
But I didn't kill Mosca. | 0:44:11 | 0:44:12 | |
And neither did Romana. | 0:44:14 | 0:44:15 | |
This guy kills his boss out of some perverted sense of justice. | 0:44:19 | 0:44:22 | |
-It's Romana. -What do you mean? | 0:44:22 | 0:44:24 | |
After you arrested her, Gorski started asking me questions. | 0:44:24 | 0:44:27 | |
What did you tell him? | 0:44:27 | 0:44:29 | |
That Mosca had syphilis and that he'd probably given it to Romana. | 0:44:29 | 0:44:32 | |
What's this got to do with Egan? | 0:44:32 | 0:44:33 | |
I also told him that someone had seen her in the factory | 0:44:33 | 0:44:36 | |
after she'd supposedly clocked off. | 0:44:36 | 0:44:38 | |
-Did you tell him who? -No, but he worked it out. | 0:44:38 | 0:44:40 | |
So after talking to you, Gorski knew Egan would testify against her. | 0:44:40 | 0:44:43 | |
-Yes. -You discussed police evidence | 0:44:43 | 0:44:45 | |
with someone clearly not in a state to think clearly. | 0:44:45 | 0:44:47 | |
As a consequence, they've taken the law into their own hands. | 0:44:47 | 0:44:50 | |
He's a friend, and she's like a daughter to him. | 0:44:50 | 0:44:53 | |
You're an intelligent man, but sometimes you don't use that brain. | 0:44:53 | 0:44:57 | |
So what are you going to do? | 0:44:57 | 0:44:59 | |
I'm going to charge Gorski with Egan's murder. | 0:44:59 | 0:45:02 | |
-Oh, sir. -What? | 0:45:03 | 0:45:05 | |
Found this hidden in the bottom of Egan's desk. | 0:45:05 | 0:45:08 | |
Is this what killed Mosca? | 0:45:08 | 0:45:10 | |
Even if it has got his blood on it, it's still no bloody use to us. | 0:45:10 | 0:45:14 | |
We've got nothing on Romana Novak. | 0:45:14 | 0:45:16 | |
Well, look at you. | 0:45:29 | 0:45:31 | |
You're becoming quite good at this. | 0:45:31 | 0:45:33 | |
I'm enjoying it. | 0:45:33 | 0:45:34 | |
What happens now? | 0:45:35 | 0:45:37 | |
Now we see if that blood is a match for Mosca's. | 0:45:37 | 0:45:41 | |
And if it is? | 0:45:41 | 0:45:44 | |
A scientist tries not to second-guess | 0:45:44 | 0:45:46 | |
the results of his experiments, | 0:45:46 | 0:45:48 | |
but on this occasion, I'll make a prediction | 0:45:48 | 0:45:50 | |
that that last, the curved edge, | 0:45:50 | 0:45:54 | |
will match Mosca's head wound exactly | 0:45:54 | 0:45:56 | |
and the blood we found on it, that'll match too. | 0:45:56 | 0:45:59 | |
And what if you're wrong? | 0:45:59 | 0:46:01 | |
Won't be the first time. | 0:46:01 | 0:46:04 | |
Come on. Chop chop. | 0:46:04 | 0:46:05 | |
So this injection is going to make everything all right, is it? | 0:46:14 | 0:46:18 | |
All of this? | 0:46:18 | 0:46:21 | |
No. | 0:46:21 | 0:46:22 | |
But it will fix this. | 0:46:24 | 0:46:26 | |
Do what you want. | 0:46:34 | 0:46:36 | |
-Is this what Mosca had? -Yes. | 0:46:43 | 0:46:46 | |
I hope he suffered. | 0:46:51 | 0:46:52 | |
-Mattie, you almost finished here? -Almost. | 0:46:54 | 0:46:57 | |
Romana, you're in luck. Boss wants to see you. | 0:46:57 | 0:47:00 | |
Done. | 0:47:07 | 0:47:08 | |
Thank you. | 0:47:15 | 0:47:16 | |
-Mire. -Lucien. | 0:47:29 | 0:47:34 | |
Don't suppose you have time for a game? | 0:47:34 | 0:47:36 | |
Yep. | 0:47:39 | 0:47:40 | |
Thank you. | 0:47:53 | 0:47:54 | |
Police found a last in Egan's desk. | 0:48:00 | 0:48:02 | |
Had blood on it. | 0:48:05 | 0:48:07 | |
No fingerprints, though. | 0:48:10 | 0:48:11 | |
Not a trace. | 0:48:14 | 0:48:15 | |
Perhaps Egan wore gloves. | 0:48:26 | 0:48:29 | |
I don't think so. | 0:48:35 | 0:48:37 | |
When Romana came to you... | 0:48:45 | 0:48:47 | |
..after Mosca died, she must have been very upset. | 0:48:49 | 0:48:51 | |
Of course she didn't mean to kill him. | 0:48:55 | 0:48:59 | |
She just wanted him to stop. | 0:48:59 | 0:49:00 | |
She took a chance. | 0:49:03 | 0:49:04 | |
She picked up the closest thing she could find and she hit him. | 0:49:08 | 0:49:11 | |
Very interesting. | 0:49:20 | 0:49:21 | |
Is that what happened? | 0:49:27 | 0:49:28 | |
It's your story, Lucien. | 0:49:32 | 0:49:34 | |
Of course, with Egan dead... | 0:49:41 | 0:49:43 | |
..there's no-one left to claim | 0:49:45 | 0:49:47 | |
whether or not Romana was in the factory when Mosca died. | 0:49:47 | 0:49:52 | |
Except me. | 0:49:56 | 0:49:57 | |
Yes. | 0:49:59 | 0:50:00 | |
Without Egan... | 0:50:03 | 0:50:04 | |
..there's simply not enough evidence. | 0:50:07 | 0:50:10 | |
A jury would never convict her. | 0:50:13 | 0:50:15 | |
Good. | 0:50:20 | 0:50:21 | |
Why, Mire? | 0:50:28 | 0:50:29 | |
Egan knew everything. | 0:50:34 | 0:50:36 | |
And he did nothing. | 0:50:39 | 0:50:41 | |
I'm letting the Novak girl go. | 0:50:48 | 0:50:50 | |
No case against her, unless Gorski's got something to add. | 0:50:50 | 0:50:53 | |
Absolutely nothing. | 0:50:53 | 0:50:56 | |
Then Mosca's murder stays unsolved. | 0:50:56 | 0:50:58 | |
I might have a quick word. | 0:51:03 | 0:51:04 | |
Romana. | 0:51:08 | 0:51:09 | |
Thank you, Danny. | 0:51:10 | 0:51:11 | |
Um... | 0:51:12 | 0:51:14 | |
I've spoken to Mirek | 0:51:14 | 0:51:17 | |
and he has a message for you. | 0:51:17 | 0:51:20 | |
He says this is a new country... | 0:51:20 | 0:51:23 | |
..and you have your whole life ahead of you so...go and live it. | 0:51:25 | 0:51:31 | |
What will happen to him? | 0:51:31 | 0:51:33 | |
He's made his choice. | 0:51:35 | 0:51:37 | |
He sends you his love. | 0:51:39 | 0:51:40 | |
When's the big night? | 0:52:06 | 0:52:08 | |
-Hmm? -The play. | 0:52:08 | 0:52:10 | |
-Oh, in about three weeks. -Oh. | 0:52:10 | 0:52:13 | |
Good. | 0:52:13 | 0:52:15 | |
Good. | 0:52:16 | 0:52:17 | |
That chap who was here... Roger? Richard? | 0:52:20 | 0:52:23 | |
-Robert. -Robert, yes. | 0:52:23 | 0:52:24 | |
-He's the director of the play. -Ah, that's right. | 0:52:24 | 0:52:27 | |
Will we be seeing more of him? | 0:52:31 | 0:52:34 | |
No, I don't think so. | 0:52:34 | 0:52:36 | |
Right. | 0:52:36 | 0:52:38 | |
-Get me a ticket, will you? -Oh, I'm only in a couple of scenes! | 0:52:41 | 0:52:43 | |
Doesn't matter. Opening night, front row. | 0:52:43 | 0:52:45 | |
-Will do. -Bravo. | 0:52:49 | 0:52:51 | |
Subtitles by Red Bee Media Ltd | 0:53:05 | 0:53:08 |