Browse content similar to Episode 1. Check below for episodes and series from the same categories and more!
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SHE SPRAYS, WATER FLOWS | 0:00:06 | 0:00:09 | |
WATER SPLASHES | 0:00:26 | 0:00:28 | |
LATCH RATTLES | 0:01:40 | 0:01:43 | |
DOOR CLOSES | 0:02:15 | 0:02:16 | |
QUIET CREAKING | 0:02:19 | 0:02:23 | |
DOOR HINGES CREAK SOFTLY | 0:02:45 | 0:02:47 | |
QUIET BREATHING | 0:02:50 | 0:02:52 | |
PHONE BEEPS | 0:03:19 | 0:03:20 | |
'You don't need his approval,' | 0:03:48 | 0:03:50 | |
-you just want it. -What's the difference? | 0:03:50 | 0:03:53 | |
Well, most of what we call "needs" are desires. | 0:03:53 | 0:03:56 | |
We need air to breathe, water, warmth, food to eat. | 0:03:56 | 0:04:01 | |
And speaking of which... | 0:04:01 | 0:04:03 | |
The rest - love, approval, recognition, praise, | 0:04:03 | 0:04:07 | |
whatever - they're desires. | 0:04:07 | 0:04:09 | |
So, what's sex? Is that a need or a desire? | 0:04:09 | 0:04:12 | |
Hmm... Well, both if you're doing it right! | 0:04:12 | 0:04:15 | |
SHE CHUCKLES | 0:04:15 | 0:04:16 | |
'But don't you want children?' | 0:04:41 | 0:04:43 | |
Of course I do. | 0:04:43 | 0:04:45 | |
So, then you do want marriage in the end? | 0:04:45 | 0:04:47 | |
I didn't know you were so conventional! | 0:04:47 | 0:04:49 | |
There's a province somewhere in China where the Mosuo people live. | 0:04:51 | 0:04:55 | |
The head of the family is a mother or grandmother | 0:04:55 | 0:04:57 | |
and she controls the family's finances. Marriage doesn't exist. | 0:04:57 | 0:05:01 | |
Instead they practise "walking marriage" - | 0:05:01 | 0:05:03 | |
a woman can invite a man into her hut to spend a "sweet night", | 0:05:03 | 0:05:07 | |
but he has to be gone by daybreak. | 0:05:07 | 0:05:09 | |
I'm up for that. | 0:05:09 | 0:05:12 | |
The Mosuo language has no words for "war", "murder" or "rape" | 0:05:12 | 0:05:16 | |
and there are no jails. Think about it. | 0:05:16 | 0:05:18 | |
I'd be out of a job. | 0:05:18 | 0:05:20 | |
MOBILE RINGS | 0:05:20 | 0:05:21 | |
Hmm, as would I. | 0:05:21 | 0:05:23 | |
I have to take this. | 0:05:23 | 0:05:24 | |
'We don't want this to turn into an international custody battle.' | 0:05:38 | 0:05:41 | |
We have to consider the emotional wellbeing | 0:05:41 | 0:05:43 | |
of your children, we can't just... | 0:05:43 | 0:05:45 | |
INDISTINCT MALE VOICE ON PHONE | 0:05:45 | 0:05:47 | |
-Look... -'..What the hell am I paying you for?' | 0:05:47 | 0:05:49 | |
I will go into the office tomorrow. | 0:05:49 | 0:05:51 | |
'We can talk it through then. | 0:05:52 | 0:05:54 | |
'I will ring you first thing. CAMERA CLICKS | 0:05:54 | 0:05:56 | |
'OK. Bye.' | 0:05:56 | 0:05:57 | |
-I should go. -It's Friday night. | 0:06:03 | 0:06:06 | |
Seems I have work to do. | 0:06:06 | 0:06:08 | |
POUNDING MUSIC PLAYS | 0:06:26 | 0:06:29 | |
What are you doing? I've just got you a drink. | 0:06:33 | 0:06:36 | |
I've had two already, that's my limit. Three and I'm anyone's. | 0:06:36 | 0:06:39 | |
-That's the plan. -SHE GIGGLES | 0:06:39 | 0:06:41 | |
Oh, I know. That's why I'm going home! | 0:06:41 | 0:06:43 | |
HE EATS NOISILY | 0:06:46 | 0:06:48 | |
CAR APPROACHES | 0:06:54 | 0:06:56 | |
BRAKES SQUEAK | 0:06:56 | 0:06:58 | |
TAXI ENGINE IDLES | 0:07:01 | 0:07:03 | |
KEYS JANGLE | 0:07:07 | 0:07:09 | |
KEYS CLINK | 0:07:14 | 0:07:16 | |
TAXI REVS | 0:07:27 | 0:07:29 | |
CAT MIAOWS | 0:07:29 | 0:07:31 | |
WATER SPLASHES | 0:07:46 | 0:07:48 | |
I'm calling the police! If you're still here, you should go! | 0:08:19 | 0:08:22 | |
KEYPAD TONES I'm calling the police! | 0:08:22 | 0:08:24 | |
RINGING TONE | 0:08:24 | 0:08:26 | |
DOG BARKS IN DISTANCE | 0:08:26 | 0:08:28 | |
MUFFLED FOOTSTEPS, TWO-WAY RADIO BEEPS | 0:08:30 | 0:08:33 | |
Police officers! | 0:08:38 | 0:08:39 | |
We're entering with weapons drawn! | 0:08:41 | 0:08:43 | |
If anyone is in the house, make your presence known immediately. | 0:08:43 | 0:08:46 | |
Alpha-Papa-1-0 to Uniform. Checking the rear area now. | 0:08:57 | 0:08:59 | |
DOOR RATTLES | 0:09:09 | 0:09:11 | |
-SHE KNOCKS -Police officer. | 0:09:36 | 0:09:38 | |
It's OK. There's no-one here. | 0:09:40 | 0:09:42 | |
OK. | 0:09:42 | 0:09:44 | |
PEOPLE TALKING, SIREN IN DISTANCE | 0:09:44 | 0:09:47 | |
CANS OPENING | 0:09:47 | 0:09:49 | |
GATE SQUEAKS, LATCH CLICKS | 0:09:55 | 0:09:57 | |
Daddy? | 0:10:05 | 0:10:07 | |
Where have you been? | 0:10:07 | 0:10:09 | |
What are you doing out of bed? | 0:10:15 | 0:10:17 | |
I was frightened. I woke up and you weren't here. | 0:10:17 | 0:10:20 | |
I just popped out. Just to the all-night shop. | 0:10:20 | 0:10:23 | |
-Why? -To get some headache pills. | 0:10:23 | 0:10:26 | |
We have headache pills. Mummy keeps them up in the bathroom. | 0:10:26 | 0:10:30 | |
I've just been five minutes. | 0:10:30 | 0:10:32 | |
No, you haven't, you've been ages. I called your phone. | 0:10:32 | 0:10:35 | |
I didn't take it with me. | 0:10:35 | 0:10:38 | |
Come here. | 0:10:38 | 0:10:39 | |
What's in your bag? | 0:10:48 | 0:10:50 | |
Just some stuff from the shop. | 0:10:50 | 0:10:52 | |
I tried to ring Mummy, but I got her number wrong. | 0:10:52 | 0:10:56 | |
I'm sorry. | 0:10:59 | 0:11:01 | |
I promise I won't go and leave you again, OK? | 0:11:01 | 0:11:04 | |
Cross my heart and hope to die. | 0:11:04 | 0:11:06 | |
Only don't tell Mummy. She'll be cross. | 0:11:06 | 0:11:09 | |
-With me? -No, no, with me. | 0:11:09 | 0:11:12 | |
Kiss Mac. | 0:11:15 | 0:11:17 | |
Is this your underwear? | 0:11:26 | 0:11:28 | |
Yes. | 0:11:28 | 0:11:29 | |
Oh, my God! | 0:11:33 | 0:11:34 | |
Is that yours too? | 0:11:35 | 0:11:37 | |
Yes. | 0:11:37 | 0:11:38 | |
And you didn't just leave these things on the bed yourself? | 0:11:41 | 0:11:44 | |
No, I ... | 0:11:44 | 0:11:45 | |
No. | 0:11:47 | 0:11:48 | |
Where have you been this evening, Sarah? | 0:11:49 | 0:11:52 | |
Out with some colleagues in the city centre. | 0:11:52 | 0:11:55 | |
And what do you do for a living? | 0:11:55 | 0:11:56 | |
I'm a solicitor. | 0:11:56 | 0:11:58 | |
And you've been drinking? | 0:11:58 | 0:11:59 | |
Just some wine. | 0:11:59 | 0:12:01 | |
How much wine, Sarah? | 0:12:02 | 0:12:04 | |
INDISTINCT TWO-WAY RADIO CONVERSATION | 0:12:04 | 0:12:06 | |
No sign of forced entry. | 0:12:54 | 0:12:56 | |
Who else has keys to the house? | 0:12:57 | 0:12:59 | |
My sister, she has keys. | 0:12:59 | 0:13:01 | |
And she wouldn't have done this? As a joke? | 0:13:01 | 0:13:04 | |
What? No. | 0:13:04 | 0:13:06 | |
No boyfriend who has keys? | 0:13:06 | 0:13:08 | |
No. | 0:13:08 | 0:13:09 | |
An ex? Could have kept keys? | 0:13:09 | 0:13:12 | |
Um, I don't know. | 0:13:12 | 0:13:15 | |
I see you have a cat? | 0:13:15 | 0:13:17 | |
Yeah. | 0:13:17 | 0:13:18 | |
The cat couldn't have, I don't know, been on the bed? | 0:13:18 | 0:13:21 | |
Have you checked the loft? Can you check the loft? | 0:13:23 | 0:13:25 | |
Is anything missing? | 0:13:29 | 0:13:31 | |
Where was the underwear kept? | 0:13:32 | 0:13:34 | |
Er, the underwear is here in these top two drawers. | 0:13:35 | 0:13:39 | |
The other thing is in the bedside cabinet drawer. | 0:13:39 | 0:13:41 | |
I think... | 0:13:46 | 0:13:47 | |
Maybe some underwear's gone. | 0:13:48 | 0:13:50 | |
'Loft is clear.' | 0:14:08 | 0:14:10 | |
MOBILE RINGS | 0:14:10 | 0:14:12 | |
It's a client. | 0:14:16 | 0:14:17 | |
Isn't it rather late for that? | 0:14:17 | 0:14:18 | |
Yeah, it is. | 0:14:18 | 0:14:20 | |
I think maybe you should just go. | 0:14:20 | 0:14:23 | |
I have to be up in the morning to deal with this. | 0:14:23 | 0:14:25 | |
I really appreciate you coming, but I need to sleep. | 0:14:27 | 0:14:30 | |
If you're worried you should stay with a family member, a friend. | 0:14:31 | 0:14:35 | |
Yeah, yeah, I'll call my sister. | 0:14:35 | 0:14:37 | |
-Just make sure you don't drive anywhere. -I won't. | 0:14:37 | 0:14:40 | |
If you're not sure who might have keys, you should change the locks. | 0:14:40 | 0:14:43 | |
I will. Thank you. | 0:14:43 | 0:14:44 | |
Sorry. I just want to go to bed. | 0:14:46 | 0:14:48 | |
We've checked the premises and surrounding area. | 0:14:51 | 0:14:53 | |
No intruder located. | 0:14:53 | 0:14:55 | |
We've given assurances we'll pay passing attention throughout the night. | 0:14:55 | 0:14:59 | |
What? | 0:14:59 | 0:15:01 | |
-Could it have been the cat? -She's drunk. | 0:15:01 | 0:15:04 | |
That's her excuse, what's yours? | 0:15:04 | 0:15:08 | |
You could have warmed my side for me. | 0:15:34 | 0:15:36 | |
Why would I do that? | 0:15:38 | 0:15:40 | |
You horrible man. | 0:15:40 | 0:15:42 | |
-That be Detective Superintendent Gibson? -Yes, ma'am. | 0:16:26 | 0:16:30 | |
Then that would be me. | 0:16:30 | 0:16:31 | |
Stella. | 0:16:41 | 0:16:42 | |
Nice to see you. | 0:16:44 | 0:16:45 | |
Armoured car, Jim? | 0:16:46 | 0:16:49 | |
Welcome to Belfast. | 0:16:49 | 0:16:50 | |
He's a good man. Very experienced. | 0:16:54 | 0:16:57 | |
First and foremost, we want to progress the investigation. | 0:16:57 | 0:17:00 | |
-We don't want a trial by audit. -I've done 28-day reviews before. | 0:17:00 | 0:17:04 | |
-Sir. -Not here, you haven't. Things are different here. | 0:17:04 | 0:17:07 | |
What? | 0:17:07 | 0:17:09 | |
All that "My Jesus is better than your Jesus" stuff? | 0:17:09 | 0:17:12 | |
Policing is political here, Stella. | 0:17:12 | 0:17:14 | |
And it isn't at the Met? | 0:17:14 | 0:17:17 | |
The victim's ex-father-in-law is a Unionist MP. | 0:17:17 | 0:17:21 | |
Morgan Monroe. Unionist MP, ex-lawyer, | 0:17:21 | 0:17:23 | |
chair of the Independent Policing Executive. | 0:17:23 | 0:17:26 | |
-I haven't walked in here totally unprepared. -Good. | 0:17:26 | 0:17:30 | |
We have nothing, Stella. | 0:17:32 | 0:17:33 | |
The killer is out there somewhere and we have nothing at all. | 0:17:36 | 0:17:39 | |
DOORS GROAN AND CLANK | 0:18:32 | 0:18:34 | |
This is Detective Superintendent Gibson. | 0:18:47 | 0:18:50 | |
She's seen your file, so I'll let you make your own introductions. | 0:18:50 | 0:18:54 | |
Garrett Brink. Pleased to meet you. | 0:18:54 | 0:18:55 | |
-Is there anything you need? -Is that coffee? | 0:18:57 | 0:18:59 | |
-It's actually hard to tell. -I'll risk a cup. | 0:18:59 | 0:19:03 | |
-I'll have your case taken to your hotel. -Thank you, sir. | 0:19:06 | 0:19:09 | |
COFFEE SPLASHES | 0:19:12 | 0:19:15 | |
It's been three months. | 0:19:21 | 0:19:23 | |
And I haven't even stepped into his room. | 0:19:25 | 0:19:27 | |
Can of Coke he had the day before is still sitting there. | 0:19:30 | 0:19:34 | |
You know at first they thought it was a virus? | 0:19:37 | 0:19:40 | |
You've told him before. | 0:19:40 | 0:19:42 | |
Gave him paracetamol. | 0:19:43 | 0:19:45 | |
By the time they put him on antibiotics, it was too late. | 0:19:48 | 0:19:50 | |
The boy told the doctors he felt better. | 0:19:50 | 0:19:52 | |
He'd have said anything to be allowed to go home! | 0:19:52 | 0:19:55 | |
Are you eating? | 0:20:02 | 0:20:04 | |
Not really. | 0:20:04 | 0:20:05 | |
How are things in the bedroom? | 0:20:07 | 0:20:09 | |
Before they took him away... | 0:20:23 | 0:20:26 | |
I painted his hands and his feet. | 0:20:26 | 0:20:28 | |
And made prints. | 0:20:32 | 0:20:33 | |
Three other people are living because of him. | 0:20:39 | 0:20:42 | |
A little boy regained his sight because of our Daniel. | 0:20:44 | 0:20:48 | |
That's something. | 0:20:51 | 0:20:52 | |
It's almost like he's still living. | 0:20:56 | 0:20:58 | |
Somewhere his heart is beating. | 0:20:59 | 0:21:03 | |
'KNOCK AT DOOR' | 0:21:05 | 0:21:07 | |
Come in. | 0:21:07 | 0:21:08 | |
Er, Jerry McElroy. You asked to see me? | 0:21:10 | 0:21:13 | |
Come in, Jerry. | 0:21:13 | 0:21:14 | |
-I'm Detective Superintendent Gibson. -Ma'am. | 0:21:16 | 0:21:19 | |
This is DCI Brink, who I think you know. | 0:21:19 | 0:21:22 | |
Jerry and I go way back. | 0:21:22 | 0:21:24 | |
Have a seat. | 0:21:24 | 0:21:25 | |
I've been brought in from the Metropolitan Police to lead a review | 0:21:27 | 0:21:30 | |
into the investigation of the murder of Alice Monroe. | 0:21:30 | 0:21:33 | |
Yes, ma'am. | 0:21:33 | 0:21:35 | |
As the Senior Investigating Officer on that case, Jerry, | 0:21:35 | 0:21:37 | |
we want to work closely with you to advance | 0:21:37 | 0:21:40 | |
the investigation if we can, not to find fault. | 0:21:40 | 0:21:43 | |
If any problems are identified through review, | 0:21:45 | 0:21:48 | |
you will be notified immediately so that remedial action | 0:21:48 | 0:21:51 | |
-can be taken if possible. -I see. | 0:21:51 | 0:21:54 | |
I will be looking at the investigative response, | 0:21:54 | 0:21:57 | |
the initial actions at the scene, information gathering, | 0:21:57 | 0:22:01 | |
witness and suspect management, together with forensic issues, | 0:22:01 | 0:22:04 | |
exhibit management and submission. | 0:22:04 | 0:22:05 | |
And, I'm going to be looking at record-keeping. | 0:22:05 | 0:22:07 | |
document management, action administration, | 0:22:07 | 0:22:10 | |
together with communications, | 0:22:10 | 0:22:11 | |
internal, external and with the victim's family. | 0:22:11 | 0:22:14 | |
We will, in time, read all documentation | 0:22:14 | 0:22:17 | |
relating to the inquiry. | 0:22:17 | 0:22:19 | |
To that end, I will need your policy book and your action book. | 0:22:20 | 0:22:24 | |
Er, yeah. Have them here. | 0:22:24 | 0:22:28 | |
Any questions? | 0:22:28 | 0:22:30 | |
I feel so alone. | 0:22:33 | 0:22:34 | |
Have you anything to say, Jimmy? | 0:22:42 | 0:22:45 | |
Of course he doesn't! Sitting there. | 0:22:45 | 0:22:48 | |
The hard man. | 0:22:48 | 0:22:49 | |
Useless waste of space. | 0:22:52 | 0:22:54 | |
Men and women express grief differently, Liz. | 0:22:58 | 0:23:01 | |
Try not to make comparisons. | 0:23:02 | 0:23:03 | |
How long am I going to feel like this, Paul? | 0:23:07 | 0:23:10 | |
How things are in the bedroom is none of your fucking business! | 0:23:27 | 0:23:31 | |
I'm sorry if you're uncomfortable with the question. | 0:23:31 | 0:23:33 | |
"Uncomfortable" doesn't even begin to cover it! | 0:23:33 | 0:23:36 | |
My wife says it comforts her | 0:23:36 | 0:23:38 | |
to think of our dead son giving life to others?! | 0:23:38 | 0:23:41 | |
-How does it make you feel? -How does it make me feel? | 0:23:42 | 0:23:45 | |
His heart beating in some Taig's chest? It makes me feel sick. | 0:23:45 | 0:23:51 | |
I've done things. | 0:23:51 | 0:23:54 | |
Bad things. In the past. | 0:23:54 | 0:23:57 | |
Really bad things. | 0:23:57 | 0:23:58 | |
And my son has paid the price. | 0:23:58 | 0:24:02 | |
Your son had bacterial meningitis, Jimmy. | 0:24:03 | 0:24:06 | |
An illness, that's all. | 0:24:06 | 0:24:08 | |
You don't believe a son has to pay for the sins of his father? | 0:24:14 | 0:24:17 | |
No, I don't. | 0:24:18 | 0:24:20 | |
Don't you believe in God? | 0:24:22 | 0:24:23 | |
Jimmy, let me go. | 0:24:24 | 0:24:26 | |
Answer me. | 0:24:26 | 0:24:27 | |
Of course, I believe in God. And Jesus Christ too. | 0:24:29 | 0:24:34 | |
I have seen angels ascending and descending Jacob's Ladder. | 0:24:34 | 0:24:38 | |
Is that what you want to hear? | 0:24:40 | 0:24:42 | |
It makes no odds what I believe, Jimmy. | 0:24:42 | 0:24:45 | |
It's what you believe that matters. | 0:24:45 | 0:24:47 | |
Now, let me go. | 0:24:48 | 0:24:50 | |
What kind of name is Spector, anyway? | 0:24:56 | 0:24:59 | |
It's Russian. Jewish. | 0:24:59 | 0:25:01 | |
That explains a lot. | 0:25:03 | 0:25:04 | |
Daddy, look what I found! | 0:26:43 | 0:26:45 | |
Where did you get that? | 0:26:45 | 0:26:47 | |
-You're not supposed to pick things. -It was on the floor. | 0:26:47 | 0:26:50 | |
I'm not lying. | 0:26:50 | 0:26:52 | |
Give it to me. | 0:26:53 | 0:26:54 | |
Come on. | 0:26:56 | 0:26:58 | |
-Hey. -Hey. You all right? -Shall we sit? | 0:27:03 | 0:27:08 | |
How much do I grow every night? | 0:27:15 | 0:27:17 | |
I don't know. A little bit probably. | 0:27:17 | 0:27:20 | |
But, you know, you only grow if you go to sleep straightaway at bedtime | 0:27:20 | 0:27:23 | |
-and you stay asleep all night long. -You should have called me. | 0:27:23 | 0:27:27 | |
I didn't want to wake you. I didn't want to wake Lucy. | 0:27:27 | 0:27:30 | |
I'm your sister for Christ's sake. You should have come over. | 0:27:30 | 0:27:33 | |
-I was tired. I'd had a couple of glasses of wine. -Even so. | 0:27:33 | 0:27:38 | |
I've been thinking, who might still have keys? | 0:27:40 | 0:27:43 | |
Nobody now. I got the locks changed. | 0:27:43 | 0:27:45 | |
The front anyway. The back door needs to be replaced apparently. | 0:27:45 | 0:27:50 | |
I'm glad I'm eight. It's the oldest I've been in my entire life. | 0:27:52 | 0:27:57 | |
Why don't you stay with us, at least until the back door's done? | 0:27:57 | 0:28:01 | |
I can't. I have too much work to do. | 0:28:01 | 0:28:03 | |
Shall we go? Come on. | 0:28:04 | 0:28:07 | |
Oh, gosh, you're heavy! | 0:28:08 | 0:28:11 | |
-Tell me about the three billy goats. -Once upon a time... | 0:28:11 | 0:28:15 | |
Oh, it's the best smell in the world. | 0:28:15 | 0:28:18 | |
-GIBSON: -There's no evidence of any defensive wounds. | 0:28:19 | 0:28:22 | |
Maybe, she was... | 0:28:22 | 0:28:24 | |
..too fearful, or thought cooperation would make things better, | 0:28:26 | 0:28:29 | |
or he overpowered her so she didn't have a chance to fight back. | 0:28:29 | 0:28:32 | |
But whatever, he had things entirely under his control. | 0:28:32 | 0:28:37 | |
Which leads me to think that this was not his first murder. | 0:28:39 | 0:28:42 | |
The pathologist reports extensive petechial haemorrhages | 0:28:43 | 0:28:49 | |
that suggest that the killer tightened and loosened his grip | 0:28:49 | 0:28:54 | |
around her throat over a period of 45 minutes to an hour. | 0:28:54 | 0:28:58 | |
I was part of a review team. Now, this was actually | 0:29:02 | 0:29:04 | |
a seven-day review, and I remember the pathologist on that case | 0:29:04 | 0:29:07 | |
making the same observation. | 0:29:07 | 0:29:09 | |
-When was this? -Three months ago? | 0:29:09 | 0:29:12 | |
It was felt at the time, still is, as far as I know, | 0:29:12 | 0:29:15 | |
that the killer was known to the victim. | 0:29:15 | 0:29:18 | |
She had, at the time of her death, more than one boyfriend. | 0:29:18 | 0:29:20 | |
Boyfriend One was quickly eliminated. | 0:29:20 | 0:29:22 | |
Boyfriend Two left the country, fled, disappeared. | 0:29:22 | 0:29:26 | |
He remains the prime suspect, I believe. | 0:29:26 | 0:29:30 | |
-White professional woman? -A teacher at the university. | 0:29:30 | 0:29:33 | |
In her early thirties? | 0:29:33 | 0:29:35 | |
Posed after death? | 0:29:40 | 0:29:44 | |
Only if you call being stuffed in the bedroom closet "posed". | 0:29:44 | 0:29:48 | |
-What was her name? -Fiona Gallagher. | 0:29:56 | 0:29:59 | |
The essence to a committed relationship is exclusivity. | 0:30:06 | 0:30:10 | |
Physical and emotional. | 0:30:10 | 0:30:11 | |
Anything that impinges on that is cheating and harmful. | 0:30:11 | 0:30:15 | |
Jesus, you should have your own daytime TV show. | 0:30:15 | 0:30:18 | |
I mean what is it, £20 a dance? | 0:30:18 | 0:30:20 | |
That's money you could have spent on your kids, or me, even! | 0:30:20 | 0:30:23 | |
Well, maybe you shouldn't go through my pockets! | 0:30:23 | 0:30:27 | |
Seven years of marriage. Seven years of marriage and now this. | 0:30:27 | 0:30:30 | |
-Jesus. Nothing happens in those places. It's just flirting. -Oh? | 0:30:30 | 0:30:35 | |
-That's the name you give to somebody pushing their silicone tits in your face? -It is! It's flirting! | 0:30:35 | 0:30:40 | |
The promise of something that will never, ever happen. | 0:30:40 | 0:30:42 | |
Yeah, only because no laptop-dancer would ever have you. | 0:30:42 | 0:30:45 | |
-Lap-dancer! -What? | 0:30:45 | 0:30:47 | |
Not laptop. Lap-dancer. Looking isn't cheating. | 0:30:49 | 0:30:53 | |
It's just fantasy. | 0:30:53 | 0:30:54 | |
It's your fault for getting caught - | 0:30:54 | 0:30:56 | |
-you should have destroyed the evidence. -Not helpful! | 0:30:56 | 0:30:58 | |
Same again? | 0:30:58 | 0:30:59 | |
Excuse me? Is this your purse? | 0:31:56 | 0:32:00 | |
Yeah, it is. | 0:32:01 | 0:32:02 | |
It was on the floor. | 0:32:02 | 0:32:04 | |
Oh, um, thank you so much. | 0:32:04 | 0:32:07 | |
Hi. How were they? | 0:32:33 | 0:32:36 | |
Fine. Did you have a nice evening? | 0:32:36 | 0:32:39 | |
Very nice. | 0:32:39 | 0:32:40 | |
-Four hours? -Thank you. | 0:32:42 | 0:32:44 | |
Paul will walk you home. | 0:32:58 | 0:32:59 | |
English, I like. | 0:33:10 | 0:33:12 | |
Art. | 0:33:13 | 0:33:15 | |
I love Music. I'm a singer. | 0:33:15 | 0:33:19 | |
What sort of singer? | 0:33:21 | 0:33:22 | |
I posted a couple of clips online. | 0:33:23 | 0:33:26 | |
Really? | 0:33:26 | 0:33:28 | |
You should take a look. | 0:33:28 | 0:33:30 | |
Maybe I will. Where can I find you? | 0:33:30 | 0:33:32 | |
Oh, no, I'm not telling YOU that. | 0:33:33 | 0:33:37 | |
If you want to see them, you're going to have to work at it. | 0:33:37 | 0:33:41 | |
Track me down. I'm worth it! | 0:33:41 | 0:33:45 | |
SHE LAUGHS | 0:33:45 | 0:33:47 | |
You look different. From when you last baby-sat. | 0:33:50 | 0:33:53 | |
That was months ago. | 0:33:53 | 0:33:55 | |
Yes. | 0:33:55 | 0:33:57 | |
I've had my braces removed. | 0:33:57 | 0:33:59 | |
Thank you for walking me home. | 0:34:03 | 0:34:05 | |
GATE CREAKS AND CLOSES | 0:34:08 | 0:34:13 | |
KEYS JINGLE | 0:34:13 | 0:34:15 | |
CAT FLAP CLATTERS | 0:35:48 | 0:35:50 | |
What's the matter with you? Hmm? You been fighting? | 0:35:59 | 0:36:02 | |
GIRL SCREAMS LOUDLY | 0:36:16 | 0:36:19 | |
GIRL SCREAMS AGAIN | 0:36:19 | 0:36:21 | |
It's OK. Olivia. | 0:36:21 | 0:36:23 | |
-It's OK, darling. -Mummy! | 0:36:23 | 0:36:26 | |
GIRL CONTINUES SCREAMING | 0:36:26 | 0:36:29 | |
Shhh, it's OK. It's all right. Just another bad dream. It's OK. | 0:36:38 | 0:36:44 | |
It's OK. Shhh. | 0:36:45 | 0:36:48 | |
GIRL SOBS | 0:36:48 | 0:36:50 | |
Shhh. | 0:36:50 | 0:36:53 | |
Mummy? | 0:36:53 | 0:36:55 | |
It's OK, Mummy's here. It's all right, come here. | 0:36:55 | 0:36:58 | |
It's all right. It's just a bad dream, it's OK, shhhhh... | 0:36:58 | 0:37:02 | |
It's OK. Shh. It's all right, Mummy's here. | 0:37:02 | 0:37:07 | |
Shhh. | 0:37:07 | 0:37:09 | |
It's OK. Shhh. | 0:37:09 | 0:37:13 | |
Shhh. | 0:37:13 | 0:37:16 | |
How is she? | 0:38:06 | 0:38:08 | |
SHE SIGHS | 0:39:10 | 0:39:11 | |
DOOR HINGES CREAK | 0:40:00 | 0:40:01 | |
Hey, are you asleep? | 0:40:06 | 0:40:09 | |
No. | 0:40:09 | 0:40:10 | |
How is she? | 0:40:11 | 0:40:12 | |
Did you tell her that she wouldn't grow | 0:40:14 | 0:40:16 | |
if she didn't sleep all night through? | 0:40:16 | 0:40:19 | |
You need to be careful what you say to her. | 0:40:19 | 0:40:21 | |
She's been having night terrors for months. | 0:40:23 | 0:40:25 | |
What I said has nothing to do with it. | 0:40:25 | 0:40:27 | |
She doesn't like being teased. Especially not by her daddy. | 0:40:29 | 0:40:32 | |
I just wish I knew what was going on in her mind when she's like that. | 0:40:44 | 0:40:48 | |
No-one knows what's going on in someone else's mind. | 0:40:51 | 0:40:54 | |
And life would be intolerable if we did. | 0:40:55 | 0:40:57 | |
CHURCH BELL RINGS IN DISTANCE | 0:41:47 | 0:41:50 | |
I hope I'm not keeping you from church. | 0:41:53 | 0:41:55 | |
Already been. | 0:41:55 | 0:41:56 | |
'I brought you in to progress the Monroe investigation.' | 0:42:14 | 0:42:17 | |
You need a new and substantial line of inquiry | 0:42:17 | 0:42:21 | |
and linking these two murders would give you one. | 0:42:21 | 0:42:24 | |
We already have a prime suspect in the Gallagher case. Patrick Warwick. | 0:42:24 | 0:42:29 | |
His brother provided DNA which is a familial match to the DNA | 0:42:29 | 0:42:33 | |
-gathered at the crime scene. -That doesn't mean it was the killer's DNA. | 0:42:33 | 0:42:37 | |
She was in a relationship with Warwick. | 0:42:37 | 0:42:38 | |
So, there's no real surprise his sperm was found in her oesophagus. | 0:42:38 | 0:42:41 | |
If he didn't kill her then why has he fled? | 0:42:41 | 0:42:44 | |
I don't know. There was no sign of forced entry, | 0:42:44 | 0:42:46 | |
so it was assumed that she knew the killer and let him in. | 0:42:46 | 0:42:48 | |
But I think that assumption is false. | 0:42:48 | 0:42:51 | |
It was treated as a self-solver from the off and I think that's wrong. | 0:42:51 | 0:42:54 | |
Alice Monroe was found posed in her bed, | 0:42:54 | 0:42:57 | |
Gallagher stuffed into a cupboard. | 0:42:57 | 0:43:00 | |
The postmortem interval puts the time of death at an hour | 0:43:00 | 0:43:03 | |
before she was discovered. | 0:43:03 | 0:43:04 | |
She called her boyfriend and told him she was going out with friends. | 0:43:04 | 0:43:07 | |
He came home after work at 1.30 in the morning, | 0:43:07 | 0:43:11 | |
assumed that she was still out and called her. | 0:43:11 | 0:43:13 | |
Her phone rang in the closet. | 0:43:13 | 0:43:15 | |
He went to look and found her stuffed inside, dead. | 0:43:15 | 0:43:19 | |
Now one possibility is that the killer was still with her | 0:43:19 | 0:43:21 | |
when the boyfriend came home and disturbed him. | 0:43:21 | 0:43:24 | |
So he shoved her in the cupboard and fled. | 0:43:24 | 0:43:26 | |
I just don't buy it. | 0:43:27 | 0:43:29 | |
This would account for the three months between this murder | 0:43:29 | 0:43:32 | |
and the killing of Alice Monroe. | 0:43:32 | 0:43:34 | |
It didn't go as planned with...with Gallagher and it spooked him. | 0:43:35 | 0:43:39 | |
And so when he struck again he made sure that he did it right. | 0:43:39 | 0:43:42 | |
Two professional women in their early 30s, | 0:43:47 | 0:43:50 | |
killed in their own homes by strangulation. | 0:43:50 | 0:43:54 | |
I mean, look, they could be sisters. | 0:43:54 | 0:43:56 | |
The strangulation marks are different. | 0:44:00 | 0:44:02 | |
Yes, the marks might be different but both of them | 0:44:02 | 0:44:04 | |
have extensive petechial haemorrhages which indicates that | 0:44:04 | 0:44:07 | |
he strangled them, released and then strangled again, over and over. | 0:44:07 | 0:44:11 | |
So now you're adding torture into the mix? | 0:44:11 | 0:44:13 | |
Well, it might be sadism or it might just be | 0:44:13 | 0:44:15 | |
that his hand lacks strength. | 0:44:15 | 0:44:17 | |
I mean, you try it. | 0:44:17 | 0:44:18 | |
Go on, grab my wrist. See how long you can grip it. | 0:44:18 | 0:44:21 | |
No, thank you. | 0:44:25 | 0:44:27 | |
It's amazing how quickly your hand tires. | 0:44:29 | 0:44:32 | |
Stop for God's sake. | 0:44:45 | 0:44:47 | |
I mean, how long was that? 30 seconds? | 0:44:52 | 0:44:54 | |
Go back to your review, Stella. | 0:44:57 | 0:44:59 | |
I don't want the two murders linked. | 0:45:01 | 0:45:03 | |
HE PANTS | 0:45:08 | 0:45:11 | |
# Rainclouds are moving across an empty sky | 0:45:30 | 0:45:34 | |
# Leaving their shadow on the sleepless eye | 0:45:35 | 0:45:40 | |
# Dying and hoping that soon will be our day... # | 0:45:41 | 0:45:47 | |
Paul? > | 0:45:47 | 0:45:49 | |
Yes? | 0:45:51 | 0:45:52 | |
We need you down here. > | 0:45:52 | 0:45:54 | |
# Now that I love you | 0:45:54 | 0:45:57 | |
# Do you think that it will end? | 0:45:58 | 0:46:03 | |
# I was above you | 0:46:06 | 0:46:09 | |
# We were just friends | 0:46:11 | 0:46:14 | |
# Now that I've found you, darling... # | 0:46:17 | 0:46:20 | |
Daddy! > | 0:46:20 | 0:46:21 | |
# It won't take long. # | 0:46:23 | 0:46:26 | |
MUFFLED DANCE MUSIC | 0:46:26 | 0:46:28 | |
MUSIC: "We Found Love" by Rihanna | 0:46:29 | 0:46:32 | |
What's up? | 0:46:32 | 0:46:34 | |
Ready when you are. | 0:46:34 | 0:46:36 | |
# Shine a light through an open door | 0:46:58 | 0:47:03 | |
# Love a life I will divide | 0:47:03 | 0:47:06 | |
# Turn away cos I need you more | 0:47:06 | 0:47:09 | |
# Feel the heartbeat in my mind... # | 0:47:09 | 0:47:13 | |
Daddy, look. | 0:47:13 | 0:47:14 | |
Look, Daddy, look! | 0:47:18 | 0:47:20 | |
# I just can't deny | 0:47:20 | 0:47:23 | |
# But I've gotta let it go | 0:47:23 | 0:47:26 | |
# We found love in a hopeless place. # | 0:47:29 | 0:47:32 | |
FOOTSTEPS APPROACH | 0:47:37 | 0:47:40 | |
How did it go with Burns? | 0:47:45 | 0:47:46 | |
He didn't buy it. | 0:47:47 | 0:47:48 | |
Maybe just as well. | 0:47:50 | 0:47:52 | |
There's no way this team could cope | 0:47:52 | 0:47:53 | |
with the increased workload of linked inquiries. | 0:47:53 | 0:47:56 | |
There are probably 200 statements, documents, officers' reports | 0:47:56 | 0:47:59 | |
waiting to be read and actioned. | 0:47:59 | 0:48:01 | |
Recommend increasing technical support staff. | 0:48:02 | 0:48:05 | |
Failure to see that crimes are linked - linkage blindness, | 0:48:09 | 0:48:12 | |
it's the thing that will allow the killer to strike again. | 0:48:12 | 0:48:16 | |
We refuse to recognise the series and he carries on regardless. | 0:48:16 | 0:48:20 | |
I didn't sell it hard enough, Garrett. | 0:48:24 | 0:48:26 | |
'I'm off.' | 0:48:28 | 0:48:30 | |
-Hey! -SPLASHING IN BATHROOM > | 0:48:30 | 0:48:32 | |
How you manage to listen to people whining all week in your day job | 0:48:32 | 0:48:36 | |
and then volunteer to listen to them | 0:48:36 | 0:48:38 | |
whining all night on the phone, I'll never know. | 0:48:38 | 0:48:41 | |
This from a neonatal nurse? All those crying babies. | 0:48:41 | 0:48:44 | |
The babies I look after are too small to cry. | 0:48:44 | 0:48:47 | |
Crying would be great, crying means they're getting better. | 0:48:47 | 0:48:51 | |
Maybe you should visit me at work sometime. | 0:48:52 | 0:48:55 | |
Maybe I should. | 0:48:55 | 0:48:57 | |
Say goodnight to the kids. | 0:48:57 | 0:48:59 | |
Good night, you two. | 0:48:59 | 0:49:00 | |
-Night, Daddy! -> I'll see you in the morning. | 0:49:00 | 0:49:04 | |
-< -Mummy, I need you! | 0:49:21 | 0:49:23 | |
-Yes. See? Told you. Finally. -Mary. | 0:49:59 | 0:50:02 | |
I wonder if I can book you | 0:50:04 | 0:50:06 | |
-to look at the exhibits store tomorrow morning. -Yes, ma'am. | 0:50:06 | 0:50:10 | |
And I'm going to need a lift back to the hotel. | 0:50:10 | 0:50:13 | |
-We're free, ma'am. -Good. | 0:50:13 | 0:50:15 | |
Finish your food. I'll wait in reception. | 0:50:15 | 0:50:18 | |
Is it Glen? | 0:50:21 | 0:50:24 | |
Yes, ma'am. | 0:50:24 | 0:50:25 | |
Um, DCI McElroy is doing | 0:50:25 | 0:50:27 | |
a violent crime analysis of the last five years. | 0:50:27 | 0:50:30 | |
Could you ask him to also include break-ins | 0:50:30 | 0:50:33 | |
where valuables were ignored | 0:50:33 | 0:50:34 | |
but items of clothing, underwear, clean or soiled, were taken? | 0:50:34 | 0:50:39 | |
Underwear. Yes, ma'am. | 0:50:39 | 0:50:40 | |
MUFFLED POLICE RADIO | 0:51:53 | 0:51:55 | |
Who's that? | 0:52:09 | 0:52:10 | |
James Olson. Detective Sergeant. | 0:52:10 | 0:52:13 | |
Introduce us. | 0:52:16 | 0:52:18 | |
What's going on, Sergeant? | 0:52:32 | 0:52:34 | |
There's been a shooting in a house about a mile away. | 0:52:34 | 0:52:37 | |
A car was stopped just up along there. | 0:52:37 | 0:52:39 | |
We found guns and arrested three men. | 0:52:39 | 0:52:41 | |
Just waiting on the dogs. | 0:52:41 | 0:52:42 | |
Explosives? | 0:52:42 | 0:52:43 | |
This is Detective Superintendent Gibson. | 0:52:43 | 0:52:46 | |
She's here to review the Monroe investigation. | 0:52:46 | 0:52:48 | |
Oh, right. DS Olson. Nice to meet you. | 0:52:48 | 0:52:50 | |
It's drugs. The deceased was well-known to us. | 0:52:50 | 0:52:53 | |
Will the review take long? | 0:52:55 | 0:52:56 | |
A week, maybe more. | 0:52:56 | 0:52:59 | |
I'm staying at the Hilton. | 0:52:59 | 0:53:00 | |
Very nice. | 0:53:00 | 0:53:02 | |
Room 203. | 0:53:02 | 0:53:03 | |
James! Oi! | 0:53:05 | 0:53:07 | |
Good luck with your arrests. | 0:53:09 | 0:53:12 | |
SIRENS APPROACH | 0:53:12 | 0:53:16 | |
I think we might have fucked up. | 0:53:29 | 0:53:31 | |
What? How? | 0:53:32 | 0:53:34 | |
Did you not hear her? | 0:53:34 | 0:53:36 | |
What? | 0:53:36 | 0:53:37 | |
Robberies where items of underwear were taken? | 0:53:37 | 0:53:40 | |
Sarah Kay. | 0:53:41 | 0:53:43 | |
We should have moved her out of there, | 0:53:43 | 0:53:45 | |
put her in a hotel, called in CSIs. | 0:53:45 | 0:53:47 | |
Jesus, the woman more or less told us to go. | 0:53:47 | 0:53:49 | |
I think we should take a look. | 0:53:49 | 0:53:51 | |
ENGINE STARTS AND REVS | 0:53:55 | 0:53:58 | |
Detective Superintendent Stella Gibson? | 0:54:12 | 0:54:14 | |
Ned Callan, Belfast Chronicle. Can I have a word? | 0:54:14 | 0:54:18 | |
Not at the moment, no. | 0:54:18 | 0:54:19 | |
-Not even off the record? -There's no such thing, as you well know. | 0:54:20 | 0:54:24 | |
Did I invite you to sit down? | 0:54:29 | 0:54:31 | |
-I don't think so. -So, call the police. | 0:54:31 | 0:54:35 | |
-How did you find me here? -It's a small city, Stella. | 0:54:35 | 0:54:38 | |
It's not easy to hide. Unless, of course, | 0:54:38 | 0:54:41 | |
you're the murderer of Alice Monroe. | 0:54:41 | 0:54:42 | |
Oh, gosh, you really are a journalist, aren't you? | 0:54:42 | 0:54:46 | |
So, why bring someone in from the outside? | 0:54:49 | 0:54:52 | |
That looks remarkably like a vote of no confidence in the PSNI | 0:54:52 | 0:54:55 | |
and its ability to run an internal murder investigation review, | 0:54:55 | 0:54:58 | |
don't you think? | 0:54:58 | 0:54:59 | |
What have you found so far? Staggering levels of incompetence? | 0:54:59 | 0:55:03 | |
Mr Callan, no-one knows better than me | 0:55:03 | 0:55:06 | |
how important the media is as an investigative resource. | 0:55:06 | 0:55:10 | |
But really and truly, you should fuck off. Now. | 0:55:10 | 0:55:14 | |
You have my card. | 0:55:17 | 0:55:18 | |
-Thank you. -Enjoy. | 0:55:22 | 0:55:25 | |
SHE KNOCKS | 0:56:05 | 0:56:07 | |
DOORBELL RINGS | 0:56:16 | 0:56:17 | |
DOORBELL RINGS | 0:56:24 | 0:56:27 | |
Nothing. | 0:56:43 | 0:56:44 | |
RINGING TONE | 0:56:52 | 0:56:54 | |
ANSWERPHONE BEEPS | 0:56:55 | 0:56:58 | |
This is a message for Sarah Kay. Sarah, this is PC Dani Ferrington. | 0:56:58 | 0:57:01 | |
MUFFLED SCREAMS 'I'm calling from outside your house. | 0:57:01 | 0:57:04 | |
'If you're there, it is the police at the door. | 0:57:04 | 0:57:06 | |
'I was hoping to speak with you to follow up on the incident | 0:57:06 | 0:57:08 | |
'that occurred on Friday. | 0:57:08 | 0:57:10 | |
'Please, ring the number I gave you when you get this message.' | 0:57:10 | 0:57:12 | |
ANSWERPHONE BEEPS, SHE MOANS | 0:57:12 | 0:57:14 | |
TWO-WAY RADIO CHATTER | 0:57:22 | 0:57:25 | |
Perhaps she did go stay with her sister. | 0:57:28 | 0:57:30 | |
ENGINE STARTS AND REVS | 0:57:36 | 0:57:39 | |
MUFFLED SCREAMS | 0:57:43 | 0:57:46 | |
MUFFLED WHIMPERS | 0:57:54 | 0:57:57 | |
Subtitles by Red Bee Media Ltd | 0:58:35 | 0:58:38 |