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This programme contains some violent scenes and some strong language | 0:00:02 | 0:00:08 | |
Something's up. | 0:00:11 | 0:00:14 | |
BIRDS CALL UNCEASINGLY | 0:00:16 | 0:00:17 | |
We can't do this. | 0:00:48 | 0:00:50 | |
Tie it up. | 0:00:50 | 0:00:52 | |
I can't, this isn't right. | 0:01:01 | 0:01:03 | |
Just do it. | 0:01:03 | 0:01:05 | |
I'm not doing it. | 0:01:05 | 0:01:06 | |
-Jacobsen! -Get off! | 0:01:09 | 0:01:11 | |
# Tram wires | 0:01:32 | 0:01:35 | |
# Across northern skies | 0:01:35 | 0:01:40 | |
# Cut my blue heart in two | 0:01:40 | 0:01:44 | |
# My knuckles bleed | 0:01:46 | 0:01:48 | |
# Down the tattered street | 0:01:48 | 0:01:53 | |
# On a door that shouldn't be | 0:01:53 | 0:01:57 | |
# In front of me. # | 0:01:57 | 0:02:01 | |
TROLLEY APPROACHES | 0:02:43 | 0:02:46 | |
-Morning. -Excuse me. | 0:02:46 | 0:02:47 | |
PHONE RINGS | 0:02:54 | 0:02:55 | |
(Sorry, sorry.) | 0:02:56 | 0:02:59 | |
(Wallander.) | 0:03:02 | 0:03:05 | |
No, I was awake. | 0:03:05 | 0:03:06 | |
CHILDREN CHATTER | 0:03:24 | 0:03:26 | |
-Sir. -Thanks. | 0:03:32 | 0:03:34 | |
Whoever shot them did them a kindness. | 0:03:46 | 0:03:50 | |
The mouths were burnt out with chemicals. | 0:03:50 | 0:03:52 | |
Destroyed the tongue and the gums. | 0:03:52 | 0:03:54 | |
And their fingers have been broken. | 0:03:54 | 0:03:57 | |
When did they die? | 0:03:57 | 0:03:58 | |
Well, it's hard to tell, with the sun and the gulls. | 0:03:58 | 0:04:01 | |
A few days. | 0:04:01 | 0:04:03 | |
They're mafia tattoos, aren't they? | 0:04:43 | 0:04:46 | |
-Russian. -Yeah. | 0:04:46 | 0:04:48 | |
The buildings are from the town where they'll be based. | 0:04:48 | 0:04:52 | |
You recognise any of them? | 0:04:52 | 0:04:54 | |
I don't know. Could be anywhere east of the Baltic. | 0:04:54 | 0:04:57 | |
All OK? Other than this? | 0:05:00 | 0:05:04 | |
Fine. Fine. | 0:05:04 | 0:05:05 | |
Don't give yourself a hard time about what happened. | 0:05:05 | 0:05:08 | |
How is she? Ann-Britt? | 0:05:12 | 0:05:14 | |
Fine. You... you should speak to her consultant. | 0:05:14 | 0:05:18 | |
Um... | 0:05:19 | 0:05:20 | |
She's not awake. | 0:05:22 | 0:05:26 | |
She's alive. | 0:05:30 | 0:05:31 | |
So, I sent the tattoo photos out through Europol. | 0:05:34 | 0:05:37 | |
Didn't want to scare them with the faces. | 0:05:37 | 0:05:39 | |
They're Russian tattoos. | 0:05:39 | 0:05:41 | |
Yeah, Russian tattoos, but the bodies are from Latvia. | 0:05:41 | 0:05:44 | |
That's where Riga is, right? | 0:05:44 | 0:05:46 | |
Yeah, let me see. | 0:05:46 | 0:05:47 | |
Let's get everyone together, then. | 0:05:47 | 0:05:51 | |
So is there a detective from Riga on his way? | 0:05:51 | 0:05:54 | |
Kurt Wallander? | 0:06:35 | 0:06:37 | |
Yeah. | 0:06:37 | 0:06:38 | |
Karlis Liepa. | 0:06:38 | 0:06:40 | |
We're this way. | 0:06:40 | 0:06:42 | |
The roses are initiation symbols for the gang. | 0:06:48 | 0:06:51 | |
Gravestones are the time they've spent in prison. | 0:06:52 | 0:06:55 | |
They mourn for the lost time. | 0:06:58 | 0:07:00 | |
Do you know who they are? | 0:07:00 | 0:07:02 | |
I couldn't read the dates on the gravestones. | 0:07:02 | 0:07:05 | |
It was '06 to '08, the first body. | 0:07:05 | 0:07:09 | |
'02 to '08, the other one. | 0:07:09 | 0:07:11 | |
Who are they? | 0:07:11 | 0:07:13 | |
You didn't send me photos of the faces. | 0:07:21 | 0:07:23 | |
No. | 0:07:26 | 0:07:27 | |
It was sulphuric acid. Concentrated. It's industrial. | 0:08:10 | 0:08:14 | |
They dilute it to fill up car batteries. | 0:08:14 | 0:08:17 | |
This one is called Kalns. | 0:08:38 | 0:08:40 | |
That's Leja. | 0:08:41 | 0:08:43 | |
They were captains in a gang called Radnieciba. | 0:08:46 | 0:08:50 | |
Ethnic Russians. | 0:08:50 | 0:08:51 | |
They both left Ventspils in a boat seven nights ago. | 0:08:51 | 0:08:54 | |
How do you know them? | 0:08:54 | 0:08:56 | |
Where's the raft? Can I see that? | 0:09:06 | 0:09:07 | |
Sure. | 0:09:09 | 0:09:10 | |
Thank you. | 0:09:20 | 0:09:21 | |
The raft itself is about 25 years old. | 0:09:27 | 0:09:31 | |
Made in Yugoslavia, they were exported mainly in Eastern Europe. | 0:09:31 | 0:09:35 | |
We took photos obviously. | 0:09:36 | 0:09:38 | |
Good. | 0:09:39 | 0:09:41 | |
Then you can give me copies. | 0:09:43 | 0:09:45 | |
What do you make of it? | 0:09:48 | 0:09:50 | |
Did you talk to the newspapers about this? | 0:09:53 | 0:09:55 | |
-No, we didn't. -OK. | 0:09:55 | 0:09:57 | |
Why d'you want to know? | 0:09:57 | 0:09:59 | |
Do you have a fax machine? | 0:10:02 | 0:10:04 | |
Yeah. | 0:10:04 | 0:10:06 | |
I'd like to use it. | 0:10:06 | 0:10:08 | |
It's just back down the corridor. | 0:10:09 | 0:10:11 | |
Did this go? | 0:10:24 | 0:10:26 | |
Who did you send it to? | 0:10:26 | 0:10:28 | |
My superiors. Did this go? | 0:10:28 | 0:10:32 | |
Yes, yes, it went. | 0:10:32 | 0:10:35 | |
Good. Very good. | 0:10:35 | 0:10:38 | |
I could drink a beer now, do you want to come? | 0:10:38 | 0:10:42 | |
No, I want you to tell me what you know. | 0:10:42 | 0:10:44 | |
I think it was an accident it landed here. | 0:10:46 | 0:10:48 | |
Your job is finished, Kurt. Let's go for a beer. | 0:10:48 | 0:10:50 | |
I'm not sending those bodies back | 0:10:50 | 0:10:52 | |
until we know what we're dealing with here in Sweden. | 0:10:52 | 0:10:54 | |
Understood? | 0:10:54 | 0:10:56 | |
Fine. Keep the bodies. Nobody mourns these men. | 0:10:57 | 0:11:02 | |
-PHONE RINGS -Excuse me. ..Yeah, Wallander. | 0:11:02 | 0:11:06 | |
'I've got some information on the dead men in the life raft. | 0:11:06 | 0:11:09 | |
'I'll be on the east quay at Simirishamn. | 0:11:09 | 0:11:11 | |
'An hour and a half. Keep it quiet.' | 0:11:11 | 0:11:13 | |
Who...? | 0:11:13 | 0:11:15 | |
Enjoy your beer. | 0:11:19 | 0:11:21 | |
I saw the raft. It's marked. 2.25pm, the 12th. Drifting south. | 0:12:19 | 0:12:24 | |
So why didn't you tow it in? | 0:12:24 | 0:12:27 | |
I saw what was inside it. | 0:12:28 | 0:12:30 | |
And you'd be a fisherman? | 0:12:32 | 0:12:35 | |
Yeah. | 0:12:35 | 0:12:36 | |
So why all this intrigue, then? | 0:12:36 | 0:12:38 | |
What are you doing? | 0:12:40 | 0:12:42 | |
POLICE SIRENS | 0:12:42 | 0:12:44 | |
Er, hey... | 0:12:44 | 0:12:45 | |
OK, OK, just... | 0:12:50 | 0:12:52 | |
POLICE SIRENS WAIL | 0:12:53 | 0:12:55 | |
MOTOR STARTS | 0:13:01 | 0:13:02 | |
PHONE RINGS | 0:13:06 | 0:13:08 | |
-Yeah? -'Kurt, we've been broken into. | 0:13:10 | 0:13:12 | |
'The raft had cocaine' | 0:13:12 | 0:13:15 | |
hidden in the base. It was shredded. | 0:13:15 | 0:13:18 | |
'We were set up.' | 0:13:18 | 0:13:20 | |
It was a diversion. | 0:13:20 | 0:13:22 | |
Right, thanks. | 0:13:22 | 0:13:24 | |
Major! | 0:13:36 | 0:13:37 | |
Oh, come... | 0:13:40 | 0:13:42 | |
Hello. | 0:13:52 | 0:13:54 | |
Who took the drugs from the raft? | 0:14:16 | 0:14:19 | |
They're gone? | 0:14:21 | 0:14:23 | |
Yeah, and I think that you knew that they were there | 0:14:23 | 0:14:26 | |
and I think you knew that they'd go. | 0:14:26 | 0:14:27 | |
So please tell me what's happening, because I'm not beyond arresting you. | 0:14:27 | 0:14:31 | |
Fine, go ahead. Arrest me. | 0:14:31 | 0:14:34 | |
Please. Ten years in a nice Swedish prison. | 0:14:34 | 0:14:39 | |
That would be just great for me. | 0:14:39 | 0:14:41 | |
This is the last time I'm going to ask. | 0:14:41 | 0:14:43 | |
These men, these boys, they had their mouths burnt, | 0:14:43 | 0:14:50 | |
burnt like that, because they'd been talking - | 0:14:50 | 0:14:55 | |
to me, my informants. It's, er... | 0:14:55 | 0:14:57 | |
..it's my fault, Kurt, | 0:15:00 | 0:15:03 | |
my fault. | 0:15:03 | 0:15:06 | |
You can't.... You can't start thinking like that. | 0:15:06 | 0:15:10 | |
It's the fault of whoever poured acid on them. | 0:15:10 | 0:15:14 | |
Come on. Come on. I'll make you something to eat. | 0:15:22 | 0:15:25 | |
That was a nice dinner. | 0:15:57 | 0:15:59 | |
Thanks, you're welcome. | 0:15:59 | 0:16:00 | |
Are you sure you want another one of those? | 0:16:02 | 0:16:05 | |
Yeah. | 0:16:05 | 0:16:06 | |
-Cheers. -Cheers. | 0:16:11 | 0:16:13 | |
Your wife won't mind me smoking? | 0:16:13 | 0:16:16 | |
I think it's pretty obvious by now, Karlis, that I don't have a wife. | 0:16:16 | 0:16:20 | |
It's not easy to be a policeman and be married. | 0:16:22 | 0:16:24 | |
It's not easy to be anybody and be married. | 0:16:24 | 0:16:27 | |
Not easy to be anybody and be...whatever. | 0:16:27 | 0:16:29 | |
Will you tell me who that fax you sent actually went to? | 0:16:29 | 0:16:32 | |
I sent it, I hoped it wouldn't get into the wrong hands. | 0:16:41 | 0:16:44 | |
But obviously, it did. | 0:16:44 | 0:16:45 | |
And whose hands were the wrong hands? | 0:16:45 | 0:16:49 | |
The man who tortured them...maybe. | 0:16:51 | 0:16:55 | |
You think you know who that is? | 0:16:55 | 0:16:58 | |
No, not really. | 0:16:58 | 0:17:00 | |
No, not really until I go back. | 0:17:00 | 0:17:04 | |
Is he with the same gang? | 0:17:04 | 0:17:05 | |
You ever been responsible for someone else's pain, like that? | 0:17:07 | 0:17:11 | |
You ever been the man to blame for something like that | 0:17:13 | 0:17:16 | |
happening to someone? | 0:17:16 | 0:17:17 | |
I have to know about it, Karlis. This is a drugs route into Sweden. | 0:17:19 | 0:17:22 | |
The bodies washed up on our territory. | 0:17:22 | 0:17:25 | |
I can't let this go. | 0:17:25 | 0:17:26 | |
I don't know anything for definite until I go back. | 0:17:26 | 0:17:29 | |
But you have a theory. | 0:17:29 | 0:17:31 | |
I have a theory. | 0:17:31 | 0:17:32 | |
Yeah. We work on theories. We share them. | 0:17:32 | 0:17:35 | |
This is my theory. | 0:17:39 | 0:17:41 | |
I think I got myself too involved. | 0:17:41 | 0:17:44 | |
Yeah, but you have protection, yeah? The police have protection? | 0:17:44 | 0:17:48 | |
In Latvia? | 0:17:50 | 0:17:52 | |
No, Kurt. | 0:17:52 | 0:17:54 | |
Well, now, I mean, we can try to help on our side, | 0:17:54 | 0:17:58 | |
even if you're in trouble, you should know that. | 0:17:58 | 0:18:01 | |
Hey, enough. You should stay here tonight. | 0:18:07 | 0:18:11 | |
We'll talk about it in the morning. I'll get some bedclothes for you. | 0:18:11 | 0:18:15 | |
Nice place to hide the drugs, Kurt, wasn't it? | 0:18:17 | 0:18:22 | |
If I was hiding something, I would hide it in plain sight. | 0:18:22 | 0:18:28 | |
Is this OK for you? | 0:18:32 | 0:18:33 | |
Oh, there you go, present for you. | 0:18:35 | 0:18:37 | |
We give them to all official visitors. I've got stacks of them. | 0:18:37 | 0:18:41 | |
Enjoy. All right? | 0:18:41 | 0:18:43 | |
-Yeah. -Right. | 0:18:43 | 0:18:45 | |
Thanks, Kurt. | 0:18:47 | 0:18:49 | |
-Yeah. Night-night. -Night. | 0:18:49 | 0:18:51 | |
HE CLEARS HIS THROAT | 0:18:58 | 0:19:01 | |
CAMERA BEEPS | 0:19:07 | 0:19:09 | |
Karlis? | 0:19:49 | 0:19:50 | |
HE LAUGHS | 0:20:07 | 0:20:09 | |
THE SELTZER FIZZES | 0:20:16 | 0:20:18 | |
DOG PANTS | 0:20:40 | 0:20:42 | |
So let's assume the drugs were meant to come here, | 0:20:53 | 0:20:56 | |
presumably from Latvia, or from Ventspils the Major said, | 0:20:56 | 0:20:59 | |
there was somebody in Sweden on the receiving end, | 0:20:59 | 0:21:02 | |
who knew enough and had enough personnel ruthless enough, | 0:21:02 | 0:21:06 | |
determined enough just to come and take them. | 0:21:06 | 0:21:09 | |
Who do you think that man on the causeway was? | 0:21:09 | 0:21:11 | |
Do you know, I think...my instinct is that he was just a fisherman. | 0:21:11 | 0:21:15 | |
He was in way over his head. He looked scared. | 0:21:15 | 0:21:19 | |
D'you mind if Kurt and I just...? | 0:21:19 | 0:21:20 | |
-We'll do this later. -Sure. | 0:21:22 | 0:21:24 | |
I've just had a call from Riga. | 0:21:29 | 0:21:33 | |
I'm sorry. Major Liepa is dead. | 0:21:33 | 0:21:35 | |
He was murdered there last night. | 0:21:35 | 0:21:38 | |
The Riga Police, they'd like you to go out to help with the... | 0:21:38 | 0:21:42 | |
-Right. Yes. -We can handle it over the phone you don't have to go... | 0:21:42 | 0:21:45 | |
No, I'll go. I'll go. It's important. | 0:21:45 | 0:21:50 | |
-I'd like to help. -OK, good. | 0:21:50 | 0:21:52 | |
AIRPORT ANNOUNCEMENTS ON PA SYSTEM | 0:22:07 | 0:22:09 | |
Colonel Wallander. | 0:22:20 | 0:22:23 | |
I'm Sergeant Zids. Welcome to Riga. | 0:22:28 | 0:22:31 | |
Where are we going? | 0:22:51 | 0:22:54 | |
-Major Leipa's funeral. -Now? | 0:22:54 | 0:22:57 | |
Here we are, Colonel. | 0:23:12 | 0:23:14 | |
Down there. | 0:23:19 | 0:23:22 | |
FUNERAL SERMON IN LATVIAN | 0:23:41 | 0:23:43 | |
-Thanks for coming. -I'm very sorry about the Major. | 0:24:39 | 0:24:43 | |
This is Colonel Murnieks. We were Karlis' superiors. | 0:24:43 | 0:24:46 | |
Myself and Colonel Putnis need to interrogate you | 0:24:46 | 0:24:49 | |
-as quickly as possible, if you can. -Sure. | 0:24:49 | 0:24:52 | |
I never lost one officer, in 27 years of duty, | 0:24:52 | 0:24:55 | |
not even during independence. | 0:24:55 | 0:24:57 | |
Mrs Liepa. This is the Colonel from Sweden. | 0:24:58 | 0:25:02 | |
He's going to help us. | 0:25:02 | 0:25:04 | |
Baiba. | 0:25:04 | 0:25:05 | |
Kurt. I'm very, very sorry about your husband. | 0:25:05 | 0:25:09 | |
HE SPEAKS IN LATVIAN | 0:25:09 | 0:25:10 | |
You gave him a book... about Sweden. | 0:25:11 | 0:25:14 | |
Yes, that's right. | 0:25:14 | 0:25:16 | |
He liked it very much. | 0:25:16 | 0:25:18 | |
Widows are very beautiful. | 0:25:23 | 0:25:26 | |
Shall we go? | 0:25:27 | 0:25:28 | |
Just after 11pm, the Major got a phone call on his landline. | 0:25:44 | 0:25:48 | |
He told his wife he'd been called in to police headquarters. | 0:25:48 | 0:25:52 | |
The call didn't come from us. | 0:25:52 | 0:25:54 | |
He was investigating gangs? | 0:25:54 | 0:25:56 | |
He was undercover drugs squad, | 0:25:56 | 0:25:59 | |
mostly the new heroin and cocaine routes. | 0:25:59 | 0:26:02 | |
He was very experienced. We didn't stand over his shoulder. | 0:26:02 | 0:26:06 | |
I wonder if you had the feeling | 0:26:06 | 0:26:08 | |
that the Major was holding something back from you? | 0:26:08 | 0:26:10 | |
I'm sad to say he didn't tell us he was going to Sweden | 0:26:10 | 0:26:14 | |
until he got there. | 0:26:14 | 0:26:15 | |
No, I didn't feel he was holding anything back. | 0:26:15 | 0:26:19 | |
Some children found him here. | 0:26:20 | 0:26:22 | |
His body was still warm. | 0:26:25 | 0:26:28 | |
He'd been shot through the back of the head, around 6am. | 0:26:31 | 0:26:33 | |
Had he been tortured? | 0:26:37 | 0:26:40 | |
Does his wife know? | 0:26:45 | 0:26:47 | |
She didn't see the corpse. | 0:26:48 | 0:26:51 | |
We assume there's a connection | 0:27:12 | 0:27:14 | |
between whatever Karlis was working on and his killing. | 0:27:14 | 0:27:17 | |
But, as I said, he'd been keeping us at arm's length. It's hard to know. | 0:27:17 | 0:27:20 | |
Did he have the same injuries as the men who were killed on the raft? | 0:27:20 | 0:27:25 | |
We don't know about their injuries. We haven't seen their bodies. | 0:27:25 | 0:27:29 | |
But you've seen the initial report? | 0:27:29 | 0:27:31 | |
All Major Liepa's case notes are gone. | 0:27:31 | 0:27:33 | |
No, I'm not talking about his case notes. | 0:27:33 | 0:27:35 | |
I mean his initial report, the fax he sent you from Sweden. | 0:27:35 | 0:27:37 | |
What fax? Did you get a fax? | 0:27:37 | 0:27:40 | |
I didn't get anything from him. | 0:27:40 | 0:27:41 | |
Well, I saw him send it on Friday afternoon | 0:27:41 | 0:27:45 | |
to his superiors, he said. | 0:27:45 | 0:27:47 | |
OK. We'll check our call register. | 0:27:48 | 0:27:52 | |
Here is where he worked. | 0:27:53 | 0:27:55 | |
This has been searched, yes? | 0:28:00 | 0:28:02 | |
For his case notes. Yes. | 0:28:02 | 0:28:05 | |
And you're certain that he actually had case notes on paper? | 0:28:06 | 0:28:10 | |
Yes. He did all his reports longhand. | 0:28:10 | 0:28:13 | |
He didn't like computers. He was suspicious of them. | 0:28:13 | 0:28:15 | |
And his wife has said he often brought his case notes home | 0:28:15 | 0:28:19 | |
to work on there, which is completely against our protocols. | 0:28:19 | 0:28:22 | |
I just have the Swedish file, just our notes, that's all. | 0:28:22 | 0:28:28 | |
Here. | 0:28:28 | 0:28:29 | |
These are the same killers. | 0:28:38 | 0:28:41 | |
They are the same injuries. | 0:28:41 | 0:28:42 | |
They are gang captains. Radnieciba. | 0:28:44 | 0:28:48 | |
THEY SPEAK IN LATVIAN | 0:28:48 | 0:28:49 | |
Thanks. | 0:28:52 | 0:28:54 | |
This is great, Colonel. Thanks. | 0:28:54 | 0:28:56 | |
So, Sergeant Zids can take you to the hotel. We'll call you. | 0:28:56 | 0:29:00 | |
OK. | 0:29:00 | 0:29:01 | |
BELLS CHIME | 0:29:04 | 0:29:05 | |
They were the Major's superiors? | 0:29:11 | 0:29:12 | |
Yeah. Putnis is an asshole. He has rules. | 0:29:12 | 0:29:17 | |
You can't tell jokes about sex or black people. | 0:29:17 | 0:29:21 | |
And Murnieks? | 0:29:21 | 0:29:23 | |
Murnieks is my boss. Ethnic Russian. | 0:29:23 | 0:29:27 | |
Pretty much the only ex-KGB left. | 0:29:27 | 0:29:30 | |
Different kind of asshole. | 0:29:30 | 0:29:33 | |
You heard of the Radnieciba gang? | 0:29:37 | 0:29:40 | |
No, Colonel. | 0:29:40 | 0:29:42 | |
Thank you. | 0:29:50 | 0:29:52 | |
Yeah, Stefan, | 0:29:56 | 0:29:57 | |
could you chase down some faxes that went from us to Latvia | 0:29:57 | 0:30:01 | |
on Friday afternoon, around three, er, three-thirty? | 0:30:01 | 0:30:04 | |
What I'm after is the names and addresses of the recipients. | 0:30:04 | 0:30:08 | |
Can we trace that just from the fax numbers? | 0:30:08 | 0:30:11 | |
'Yeah, if I go through Europol. | 0:30:11 | 0:30:14 | |
'It always takes at least a day. | 0:30:14 | 0:30:17 | |
'I've just been to visit Ann-Britt. She looks much better.' | 0:30:17 | 0:30:21 | |
And how we doing on the men who took the drugs out of the raft? | 0:30:23 | 0:30:29 | |
'Um, looking through boatyards. Around Lomma.' | 0:30:29 | 0:30:33 | |
OK. Soon as you can with the faxes, yeah? Thanks. | 0:30:33 | 0:30:37 | |
Mr Eckers? | 0:30:57 | 0:30:59 | |
Me? No, not me. Sorry. | 0:30:59 | 0:31:01 | |
Who are you ? | 0:31:03 | 0:31:06 | |
Kurt. | 0:31:06 | 0:31:08 | |
German? | 0:31:08 | 0:31:09 | |
Swedish. | 0:31:09 | 0:31:11 | |
Married, Kurt? | 0:31:11 | 0:31:12 | |
No, but I've got a daughter about your age. | 0:31:15 | 0:31:17 | |
Do you have anything planned for tonight? | 0:31:20 | 0:31:22 | |
It never gets dark here this time of year. | 0:31:27 | 0:31:31 | |
I wouldn't want to deprive Mr Eckers. | 0:31:34 | 0:31:37 | |
Thank you. | 0:31:50 | 0:31:52 | |
BELLS CHIME | 0:32:16 | 0:32:17 | |
KNOCK ON DOOR | 0:33:06 | 0:33:08 | |
POUNDING ON DOOR | 0:33:11 | 0:33:13 | |
POUNDING CONTINUES | 0:33:18 | 0:33:20 | |
They're making an arrest. | 0:33:24 | 0:33:25 | |
Right. | 0:33:27 | 0:33:29 | |
MUSIC PLAYS: Musu Soli by Gustavo | 0:33:32 | 0:33:35 | |
-This way? -Yes, Colonel. | 0:33:50 | 0:33:52 | |
SHOUTING IN LATVIAN | 0:33:54 | 0:33:57 | |
DOGS BARK | 0:33:58 | 0:34:00 | |
MAN SHOUTS | 0:34:00 | 0:34:01 | |
-Sorry for the early start this morning. You sleep OK? -Er, fine, yeah. | 0:34:01 | 0:34:05 | |
MEN SHOUT | 0:34:05 | 0:34:06 | |
THEY BATTER IN THE DOOR | 0:34:06 | 0:34:08 | |
SHOUTING AND CHILDREN CRYING | 0:34:10 | 0:34:12 | |
SHOUTING AND CRYING CONTINUES | 0:34:25 | 0:34:28 | |
We can go in. | 0:34:35 | 0:34:37 | |
-Are they the same gang? -Yes. | 0:34:43 | 0:34:46 | |
Do you think they killed Kalns and Leja? | 0:34:46 | 0:34:49 | |
If they didn't, then they certainly know who did. | 0:34:49 | 0:34:51 | |
You think they killed the Major too? | 0:34:51 | 0:34:53 | |
Torturers have signatures. | 0:34:53 | 0:34:55 | |
These people aren't children. | 0:34:58 | 0:34:59 | |
No, but that child was a child - | 0:34:59 | 0:35:01 | |
the one that was crying its eyes out. | 0:35:01 | 0:35:03 | |
How do you do it in Sweden? | 0:35:03 | 0:35:05 | |
You wake them up with a cup of coffee and a piece of cake? | 0:35:05 | 0:35:08 | |
This is salted cabbage juice. | 0:35:08 | 0:35:11 | |
It's extremely good if you've had a drink too many. | 0:35:11 | 0:35:14 | |
-Did they have the Major's case notes, the men at the flat? -No. | 0:35:14 | 0:35:18 | |
Was one of those guns the weapon that killed him? | 0:35:18 | 0:35:20 | |
Karlis was shot with a handgun, not an assault rifle. | 0:35:20 | 0:35:23 | |
It's ongoing, Kurt. | 0:35:23 | 0:35:26 | |
We're rounding up every member of the gang we can find. | 0:35:26 | 0:35:29 | |
-So what about the fax? -I'm still waiting to hear about that. | 0:35:29 | 0:35:32 | |
I want to interrogate Karlis' wife again. | 0:35:32 | 0:35:34 | |
We've spoken to her before. She's holding something back. | 0:35:34 | 0:35:37 | |
Like what? | 0:35:37 | 0:35:38 | |
I think she knows where the papers are. We should go and see her. | 0:35:38 | 0:35:42 | |
-Er... -Come with me. | 0:35:42 | 0:35:44 | |
You might think of something that I had forgotten. Let's go. | 0:35:44 | 0:35:48 | |
DOORBELL RINGS | 0:35:58 | 0:36:00 | |
HE SPEAKS IN LATVIAN | 0:36:04 | 0:36:07 | |
I asked her if there was anywhere where the case notes might be | 0:36:24 | 0:36:28 | |
-that she might have forgotten. -And I said that there isn't. | 0:36:28 | 0:36:32 | |
I think the Colonel might have some other questions for you. | 0:36:32 | 0:36:34 | |
I'm not a Colonel. | 0:36:34 | 0:36:36 | |
I didn't know he'd gone to Sweden. He came home. | 0:36:36 | 0:36:40 | |
We talked. | 0:36:40 | 0:36:41 | |
He said nothing about his work or what happened there. | 0:36:41 | 0:36:44 | |
I was going to bed when he had a call. | 0:36:45 | 0:36:47 | |
He told me he had to go to the station. | 0:36:47 | 0:36:50 | |
I didn't see any of his papers. | 0:36:50 | 0:36:51 | |
Fine. I understand. | 0:36:51 | 0:36:54 | |
The last I heard of my husband | 0:36:54 | 0:36:56 | |
was him calling through the bathroom door, | 0:36:56 | 0:36:58 | |
"See you later." | 0:36:58 | 0:37:00 | |
That was the last thing! | 0:37:00 | 0:37:03 | |
Good. Thank you, we'll talk again. | 0:37:20 | 0:37:22 | |
MOBILE PHONE RINGS | 0:37:53 | 0:37:56 | |
Yeah? | 0:37:56 | 0:37:58 | |
'So, there are three fax numbers. The first two are Latvian police. | 0:37:58 | 0:38:01 | |
'Two Colonels, Putnis and Murnieks. | 0:38:01 | 0:38:03 | |
'And the last fax went to a man called Upitis. | 0:38:06 | 0:38:09 | |
'He's a journalist.' | 0:38:09 | 0:38:11 | |
Right. Thanks, Stefan. | 0:38:11 | 0:38:13 | |
'I'll speak to you soon.' | 0:38:13 | 0:38:15 | |
Colonel. You need a ride to the hotel? | 0:38:16 | 0:38:20 | |
No, I need some fresh air, so I'm going to walk, thanks. | 0:38:20 | 0:38:23 | |
Excuse me, do you remember the woman I was speaking to last night? | 0:38:42 | 0:38:46 | |
-Grey, silk dress... -No, sorry, sorry. | 0:38:46 | 0:38:49 | |
..butterflies on it. She was a well-presented, attractive woman. | 0:38:49 | 0:38:52 | |
Mr Eckers? | 0:38:52 | 0:38:54 | |
We need to be quick. My name is Inese. | 0:39:01 | 0:39:03 | |
You haven't got long, OK? | 0:39:23 | 0:39:25 | |
Get in the car, please. | 0:39:29 | 0:39:31 | |
I thought I was coming to meet with Baiba Liepa. | 0:39:31 | 0:39:34 | |
She's being watched. Get in the car. | 0:39:34 | 0:39:36 | |
Listen. I'd just like to see her, OK? | 0:39:36 | 0:39:38 | |
-My name's Sergei Upitis. Please. -The journalist? | 0:39:38 | 0:39:41 | |
Yeah. | 0:39:41 | 0:39:43 | |
The Major sent you a fax the day before he died. | 0:39:43 | 0:39:45 | |
Look, I write about political corruption, OK, | 0:39:45 | 0:39:48 | |
between gangs, police, politicians. | 0:39:48 | 0:39:51 | |
Karlis used to talk to me, he gave me information. | 0:39:51 | 0:39:54 | |
Then he broke off. | 0:39:54 | 0:39:56 | |
Last week, I got this fax with two dead bodies | 0:39:57 | 0:40:00 | |
and a life raft in Sweden, | 0:40:00 | 0:40:01 | |
and then two days after, Baiba calls me to say he's dead. | 0:40:01 | 0:40:03 | |
-Why was I sent that fax? -You tell me. | 0:40:03 | 0:40:06 | |
He thought somebody high up in his department | 0:40:06 | 0:40:09 | |
might be involved with Radnieciba. | 0:40:09 | 0:40:12 | |
Did you see his case notes? | 0:40:12 | 0:40:14 | |
Do you know where they are? | 0:40:14 | 0:40:16 | |
People are asking me a lot of questions, | 0:40:16 | 0:40:18 | |
and people are lying to me, so I'll talk to the Major's wife. | 0:40:18 | 0:40:21 | |
No, they've killed three men in the last ten days. | 0:40:21 | 0:40:26 | |
They're asking questions | 0:40:26 | 0:40:28 | |
because they think you know something, Colonel. | 0:40:28 | 0:40:30 | |
They'll be watching you too, listening to your calls. | 0:40:30 | 0:40:32 | |
Let's talk. We've got ten more minutes. | 0:40:32 | 0:40:34 | |
You get the girl for ten more minutes. | 0:40:34 | 0:40:36 | |
I'm an old man in a hurry. | 0:40:36 | 0:40:37 | |
Inese, Baiba sent me that note. She must want to speak to me. | 0:40:48 | 0:40:52 | |
Go to the St Francis Church tomorrow night at eight. | 0:40:56 | 0:40:59 | |
I'll see what I can do. | 0:40:59 | 0:41:01 | |
SPEAKER INTERFERENCE | 0:41:09 | 0:41:12 | |
INTERFERENCE CONTINUES | 0:41:13 | 0:41:15 | |
No, sorry I just need one minute with him. | 0:42:40 | 0:42:43 | |
Colonel Murnieks, there's a microphone in my alarm clock at the hotel. | 0:42:43 | 0:42:46 | |
There's also a man in a grey suit who's been watching me | 0:42:46 | 0:42:49 | |
the last two nights. I will not accept this. | 0:42:49 | 0:42:51 | |
You think this is us? It's against the law. | 0:42:51 | 0:42:55 | |
Why in hell would I spy on you? | 0:42:55 | 0:42:57 | |
-What's the problem? -My hotel room's being bugged. | 0:42:57 | 0:42:59 | |
HE SNIGGERS | 0:42:59 | 0:43:01 | |
Oh, it's funny, is it? You two got the faxes. I checked. | 0:43:01 | 0:43:04 | |
So, what's happening with the two men you arrested? | 0:43:04 | 0:43:06 | |
And I would appreciate the truth. What's going on? | 0:43:06 | 0:43:09 | |
The inquiry's continuing, Colonel. | 0:43:09 | 0:43:12 | |
Tell me your room number, I'll retrieve the microphone, | 0:43:13 | 0:43:16 | |
give it to the forensics department. | 0:43:16 | 0:43:18 | |
The gangs have that kind of talent, to spy. | 0:43:18 | 0:43:22 | |
A lot of ex-KGB went into the gangs. | 0:43:22 | 0:43:24 | |
I stayed in law enforcement. | 0:43:26 | 0:43:29 | |
Colonel! | 0:43:36 | 0:43:38 | |
DOG BARKS | 0:44:44 | 0:44:45 | |
DOG BARKS | 0:44:51 | 0:44:53 | |
A CAN RATTLES | 0:45:03 | 0:45:05 | |
A SPEEDING VEHICLE APPROACHES | 0:45:43 | 0:45:45 | |
A PIANO PLAYS | 0:46:22 | 0:46:26 | |
MUSIC: "Melanholiskais Valsis" | 0:46:26 | 0:46:29 | |
-Hi. -Hello. I think we should keep walking. | 0:47:23 | 0:47:26 | |
Somebody thinks one of us knows something. | 0:47:33 | 0:47:35 | |
All I know is that Karlis and me, | 0:47:35 | 0:47:38 | |
we'd stopped talking | 0:47:38 | 0:47:40 | |
about anything important, | 0:47:40 | 0:47:42 | |
not for a long time. | 0:47:42 | 0:47:44 | |
Do you know what he was doing? | 0:47:44 | 0:47:46 | |
No, not really. | 0:47:46 | 0:47:48 | |
Do you have any theory? | 0:47:48 | 0:47:49 | |
I know he sent a fax to three people when he was in Sweden. | 0:47:51 | 0:47:54 | |
That's about the only piece of information I can keep track of. | 0:47:54 | 0:47:57 | |
I think that he sent it deliberately to...to provoke something, | 0:47:57 | 0:48:01 | |
to nudge someone into showing himself. | 0:48:01 | 0:48:04 | |
Murnieks and Putnis both say they didn't get any fax, | 0:48:04 | 0:48:07 | |
but somebody in the police department definitely did, | 0:48:07 | 0:48:09 | |
and someone called Sergei Upitis. | 0:48:09 | 0:48:10 | |
No, Sergei's a friend of us both. | 0:48:10 | 0:48:14 | |
Putnis and Murnieks have interrogated me, over and over. | 0:48:14 | 0:48:18 | |
They wanted to know where Karlis' notes are. Why? | 0:48:18 | 0:48:23 | |
I... | 0:48:23 | 0:48:24 | |
If you think that he would have hidden his notes, | 0:48:24 | 0:48:28 | |
I can help you try and find them. | 0:48:28 | 0:48:31 | |
Come back with me, then, but we'd better go separately. | 0:48:31 | 0:48:37 | |
CLASSICAL MUSIC PLAYS | 0:49:55 | 0:49:57 | |
We can talk here. | 0:51:00 | 0:51:03 | |
It's this one. | 0:51:07 | 0:51:09 | |
Skol? | 0:51:25 | 0:51:27 | |
Skol. | 0:51:27 | 0:51:29 | |
He said you were good at your job. | 0:51:39 | 0:51:41 | |
Sometimes I am not very good at anything else. | 0:51:44 | 0:51:48 | |
Why is he dead? | 0:51:51 | 0:51:54 | |
Why does that mean I'm being followed? | 0:51:55 | 0:51:57 | |
Why did he keep secrets? | 0:52:01 | 0:52:03 | |
He was probably just trying to protect you. | 0:52:06 | 0:52:09 | |
He stopped speaking to me. | 0:52:09 | 0:52:12 | |
I don't know if he was with a woman, if he was with criminals! | 0:52:12 | 0:52:17 | |
You think he gave me so much grief, just to protect me? | 0:52:19 | 0:52:23 | |
It's bred in us, I'm afraid - policemen. | 0:52:25 | 0:52:28 | |
Skol. | 0:52:30 | 0:52:31 | |
MOBILE PHONE RINGS | 0:52:32 | 0:52:35 | |
Wallander. | 0:52:37 | 0:52:40 | |
'This is Colonel Putnis. Where are you?' | 0:52:40 | 0:52:42 | |
I'm just walking. | 0:52:43 | 0:52:46 | |
We have the man who killed Karlis. It's a journalist. | 0:52:46 | 0:52:50 | |
'He tricked the Major out of his apartment. | 0:52:50 | 0:52:53 | |
'He tortured and shot him. His name is Upitis.' | 0:52:53 | 0:52:59 | |
HE HANGS UP PHONE | 0:52:59 | 0:53:00 | |
Kurt? | 0:53:00 | 0:53:01 | |
They've just arrested Upitis. | 0:53:01 | 0:53:03 | |
For what? | 0:53:03 | 0:53:05 | |
Killing Karlis. | 0:53:05 | 0:53:07 | |
He didn't do it. He didn't. | 0:53:07 | 0:53:11 | |
The gun was hidden behind the toilet in his house. | 0:53:11 | 0:53:14 | |
The Major's blood was in his car. | 0:53:14 | 0:53:16 | |
It's the gun that killed the Major. | 0:53:16 | 0:53:18 | |
And it is the phone that he used to call the Major out of the house. | 0:53:18 | 0:53:22 | |
So how did you get to him? | 0:53:22 | 0:53:24 | |
His name came up in an interrogation. | 0:53:24 | 0:53:26 | |
Of who? The men you arrested at that flat? | 0:53:26 | 0:53:28 | |
Some of their associates. It's been a long night. | 0:53:28 | 0:53:32 | |
But we've done well. Let's go for a drink. | 0:53:32 | 0:53:35 | |
Come on. He was a journalist. He wasn't a gang member. | 0:53:35 | 0:53:37 | |
With links to the gangs. Contacts. | 0:53:37 | 0:53:39 | |
We've been suspicious of him before now. | 0:53:39 | 0:53:42 | |
Yeah, but now he starts torturing people, starts killing people? | 0:53:42 | 0:53:46 | |
He was having an affair with Liepa's wife. | 0:53:46 | 0:53:50 | |
So did he have the Major's case notes? | 0:53:52 | 0:53:54 | |
I mean, that's what everyone's after, isn't it? | 0:53:54 | 0:53:57 | |
It's no longer relevant. We have the man who killed him. | 0:53:57 | 0:54:00 | |
This case is closed. | 0:54:00 | 0:54:02 | |
ALARM RINGS | 0:54:05 | 0:54:06 | |
MEN SHOUT | 0:54:14 | 0:54:15 | |
You left a suspect in there with his belt! | 0:54:41 | 0:54:44 | |
Colonel. | 0:54:44 | 0:54:45 | |
I'm not a Colonel! | 0:54:45 | 0:54:48 | |
We don't have Colonels. | 0:54:50 | 0:54:52 | |
Upitis is dead. | 0:55:19 | 0:55:21 | |
SHE GASPS | 0:55:21 | 0:55:23 | |
They say that he shot Karlis. | 0:55:24 | 0:55:29 | |
They say that he killed himself. They've closed the case. | 0:55:29 | 0:55:34 | |
Would he kill himself? | 0:55:37 | 0:55:39 | |
No. | 0:55:39 | 0:55:41 | |
Do you think there's any possibility he killed Karlis? | 0:55:41 | 0:55:47 | |
-No. -He was your lover. | 0:55:47 | 0:55:48 | |
Yes, at one time. | 0:55:48 | 0:55:51 | |
Yeah, and you should have told me. | 0:55:51 | 0:55:53 | |
-Why is it your business? Is it any of your business at all? -Well... | 0:55:53 | 0:55:56 | |
They're not going to be looking for any papers now. They closed the case. | 0:55:56 | 0:56:00 | |
-If I... -Don't tell me my lover is dead | 0:56:00 | 0:56:02 | |
and then interrogate me about it! | 0:56:02 | 0:56:03 | |
-You don't know any... -I'm sorry. | 0:56:03 | 0:56:06 | |
-I can't... Look, I could stay here. -No. | 0:56:06 | 0:56:09 | |
You can go. I want you to leave. | 0:56:09 | 0:56:12 | |
-We both know there's something. They're lying. -It's over. | 0:56:12 | 0:56:15 | |
Thank you so very much. | 0:56:15 | 0:56:17 | |
I don't need your help. | 0:56:17 | 0:56:19 | |
DOOR SLAMS SHUT | 0:56:25 | 0:56:26 | |
MOBILE PHONE BUZZES | 0:56:45 | 0:56:47 | |
'You have one new message.' | 0:56:52 | 0:56:55 | |
'Kurt. This is Stefan. | 0:56:55 | 0:56:56 | |
'Um, you've had a call from a girl called Inese in Riga. | 0:56:56 | 0:57:00 | |
'She says it's important, can you call her back? | 0:57:00 | 0:57:03 | |
'I've texted you her number.' | 0:57:03 | 0:57:05 | |
Come on. | 0:57:21 | 0:57:23 | |
Go on, then, in you go. Go on! Go on! Go on! | 0:57:30 | 0:57:34 | |
HE SIGHS | 0:57:38 | 0:57:40 | |
-Hello. -Inese? It's Kurt. I've founds Karlis's case notes. | 0:58:29 | 0:58:34 | |
Baiba's gone missing. | 0:58:34 | 0:58:36 | |
Has...has she been arrested? | 0:58:36 | 0:58:41 | |
'I can't find out. Her flat's been searched.' | 0:58:41 | 0:58:45 | |
Kurt, please, can you come back? | 0:58:45 | 0:58:47 | |
Yes, I will. | 0:58:47 | 0:58:49 | |
I can't believe this is happening. | 0:59:09 | 0:59:12 | |
I didn't grow up with this kind of thing, not like Baiba. | 0:59:12 | 0:59:16 | |
-This isn't part of my life. -How do you know her? | 0:59:16 | 0:59:19 | |
She's my cousin. | 0:59:19 | 0:59:21 | |
She used to look after me when I was little. | 0:59:21 | 0:59:24 | |
The family didn't like it that she married a policeman. | 0:59:24 | 0:59:26 | |
I liked Karlis. Do you think she's dead? | 0:59:26 | 0:59:31 | |
No, and I'm going to make sure whoever wants this gets it. | 0:59:31 | 0:59:34 | |
Stop this madness. | 0:59:34 | 0:59:36 | |
Excuse me. My old room, please. 207. | 0:59:40 | 0:59:44 | |
SHE SPEAKS IN LATVIAN | 0:59:44 | 0:59:45 | |
-Good. -Thank you. | 0:59:47 | 0:59:49 | |
This is Kurt Wallander. I have Major Liepa's case notes. | 0:59:55 | 1:00:00 | |
CLOCK SMASHES | 1:00:00 | 1:00:02 | |
PHONE RINGS | 1:00:06 | 1:00:08 | |
Wallander. | 1:00:08 | 1:00:10 | |
We'll pick you up in the hotel lobby. Bring the file. | 1:00:10 | 1:00:13 | |
Not until I've seen Baiba Liepa, not till I've seen she's OK. | 1:00:13 | 1:00:17 | |
20 minutes. | 1:00:17 | 1:00:18 | |
HE SIGHS | 1:00:31 | 1:00:33 | |
DOOR OPENS | 1:00:49 | 1:00:51 | |
THEY SPEAK IN RUSSIAN | 1:01:09 | 1:01:12 | |
DOOR SLAMS SHUT | 1:01:39 | 1:01:42 | |
BANGING | 1:01:42 | 1:01:43 | |
Who's there? | 1:01:43 | 1:01:45 | |
Baiba! | 1:01:47 | 1:01:48 | |
-Kurt? -Are you OK? | 1:01:51 | 1:01:54 | |
-Oh, God, Kurt! -You're OK? -I'm OK. -I got the case notes. | 1:01:54 | 1:01:57 | |
Why didn't you go back? I wanted you to leave. | 1:01:57 | 1:01:59 | |
I went. I found the case notes at home. Karlis left them for me. | 1:01:59 | 1:02:02 | |
He left them on purpose in case something happened. | 1:02:02 | 1:02:04 | |
You're an idiot, Kurt. You'd been safe... DOOR SHUTS | 1:02:04 | 1:02:07 | |
Where is it? | 1:02:14 | 1:02:16 | |
We both walk out safe, then you can have your file. | 1:02:16 | 1:02:19 | |
Where are Liepa's papers? | 1:02:19 | 1:02:22 | |
Look, I don't know. I don't know. | 1:02:22 | 1:02:24 | |
Listen, I didn't come here knowing anything. They're with someone else. | 1:02:24 | 1:02:27 | |
They know where they are. | 1:02:27 | 1:02:29 | |
No! Look, we go to Latdale Market. | 1:02:29 | 1:02:31 | |
They'll call my phone at four o'clock, they'll give you more details. | 1:02:31 | 1:02:34 | |
Anyone else answers it, those papers will go straight to the press, | 1:02:34 | 1:02:37 | |
to Europol, to the President's office. | 1:02:37 | 1:02:41 | |
-ACID HISSES, SHE SCREAMS -No! Leave her! | 1:02:41 | 1:02:43 | |
Get them out! Get them out! | 1:02:46 | 1:02:47 | |
Where is it? | 1:03:12 | 1:03:13 | |
They call my phone. You let us go, I hand you the phone, | 1:03:13 | 1:03:16 | |
and they tell you exactly where Liepa's papers are. | 1:03:16 | 1:03:18 | |
Then I have no guarantee. You stay here. Both of you. | 1:03:18 | 1:03:20 | |
You can go if you like. She stays here. | 1:03:20 | 1:03:22 | |
Look, who are you working for? | 1:03:22 | 1:03:24 | |
-PEOPLE SCREAM -Please. | 1:03:24 | 1:03:27 | |
-MOBILE PHONE RINGS -Answer your phone. | 1:03:28 | 1:03:30 | |
-Yeah? -'It's Inese, I left it on the old camera stall.' -Yeah. | 1:03:33 | 1:03:36 | |
'Third aisle on the left.' | 1:03:36 | 1:03:38 | |
-OK. -'Next to the one that sells locks and old phones.' -OK. | 1:03:38 | 1:03:40 | |
-Where is it? -OK. It's there, it's there. | 1:03:40 | 1:03:44 | |
There! | 1:03:46 | 1:03:49 | |
-This? -Yeah. | 1:03:50 | 1:03:51 | |
What the hell is this? | 1:03:57 | 1:03:58 | |
-You can send this out to millions of people. -I can't. | 1:03:58 | 1:04:01 | |
-I don't know how to do it. -There are copies! -He didn't have a computer! | 1:04:01 | 1:04:05 | |
-Whoever left this here has read it! -No. Nobody knows what's on there. | 1:04:05 | 1:04:08 | |
-Where's the original?! -I-II... | 1:04:08 | 1:04:09 | |
HE CRUSHES THE CAMERA | 1:04:09 | 1:04:11 | |
Get down, get down, get down. Down, Baiba, down! | 1:04:13 | 1:04:18 | |
Baiba. Go, go, go! Careful. | 1:04:25 | 1:04:29 | |
Go right! Go right! | 1:04:31 | 1:04:34 | |
Let's try the Swedish Embassy, we'll be safe there. | 1:04:49 | 1:04:53 | |
Oh, quick, here, here. | 1:05:14 | 1:05:16 | |
Murnieks. | 1:05:16 | 1:05:17 | |
We need to get out of Riga. | 1:05:21 | 1:05:23 | |
HE LOCKS THE DOOR | 1:06:53 | 1:06:54 | |
We should talk. | 1:07:23 | 1:07:25 | |
I don't know how big this is. | 1:07:26 | 1:07:29 | |
I don't know if it was just Zids and the gang, or... | 1:07:29 | 1:07:33 | |
Who was it that your husband trusted, | 1:07:35 | 1:07:37 | |
out of the Colonels? | 1:07:37 | 1:07:39 | |
Murnieks. | 1:07:39 | 1:07:41 | |
Well, whoever called him the night that he died, | 1:07:43 | 1:07:45 | |
and got him out of the house without making him suspicious, | 1:07:45 | 1:07:49 | |
he must have trusted the voice. | 1:07:49 | 1:07:52 | |
Did you have anywhere else you used to go? You and Karlis? | 1:07:56 | 1:07:59 | |
Somewhere special? | 1:07:59 | 1:08:00 | |
My father's house in Ventspils. Then we just had our flat. | 1:08:00 | 1:08:06 | |
Otherwise, I was at the music academy, | 1:08:06 | 1:08:08 | |
he was at the police headquarters. | 1:08:08 | 1:08:10 | |
Could he have hidden it inside police HQ? | 1:08:11 | 1:08:15 | |
Yes. | 1:08:15 | 1:08:17 | |
Really? | 1:08:17 | 1:08:18 | |
He would do that. He would find it funny. Make him laugh. | 1:08:20 | 1:08:25 | |
Hide it in plain sight. He said that. | 1:08:25 | 1:08:28 | |
That was pretty much the last thing he said to me. | 1:08:28 | 1:08:32 | |
Where would you hide it there in plain sight? | 1:08:33 | 1:08:36 | |
Where would you hide case notes? | 1:08:36 | 1:08:38 | |
The archive. | 1:08:39 | 1:08:40 | |
There is an archive in the basement. | 1:08:42 | 1:08:44 | |
It goes back to the KGB days. | 1:08:44 | 1:08:46 | |
He used to say it was a record of every atrocity committed in Latvia. | 1:08:46 | 1:08:50 | |
He used to tease me there was a file...about me. | 1:08:50 | 1:08:53 | |
About you? | 1:08:53 | 1:08:55 | |
I was in the freedom movement before the revolution. | 1:08:55 | 1:08:58 | |
I was arrested a few times. | 1:08:58 | 1:09:00 | |
If we ever used to have an argument, he would say, | 1:09:00 | 1:09:02 | |
"It's all going in the file." | 1:09:02 | 1:09:05 | |
It's there. It's in my file. | 1:09:08 | 1:09:12 | |
We have to go back. | 1:09:19 | 1:09:21 | |
This thing isn't going to end until someone gets hold of those papers. | 1:09:22 | 1:09:25 | |
You're not going to be safe. We need to go back. | 1:09:28 | 1:09:31 | |
I'm sorry. | 1:09:33 | 1:09:36 | |
He said that you'd seen what that stuff did. | 1:09:44 | 1:09:48 | |
Zids said that you had seen what the acid did to whom? | 1:09:50 | 1:09:55 | |
To Karlis? | 1:09:58 | 1:10:00 | |
It's him. | 1:11:25 | 1:11:27 | |
Leo. Leo. | 1:11:30 | 1:11:33 | |
Baiba. | 1:11:33 | 1:11:34 | |
We have to get into police headquarters. | 1:11:34 | 1:11:36 | |
Well, go. | 1:11:38 | 1:11:40 | |
No, it's the archive. Karlis left some papers there. | 1:11:41 | 1:11:45 | |
Leo, please! | 1:11:45 | 1:11:47 | |
Him? | 1:11:50 | 1:11:52 | |
Yes. | 1:11:52 | 1:11:53 | |
OK. | 1:11:53 | 1:11:55 | |
Thank you. I'll come back here in an hour. | 1:11:55 | 1:11:58 | |
-What if you don't? -Call Putnis. | 1:11:58 | 1:12:01 | |
Sir, you are under arrest. | 1:12:01 | 1:12:04 | |
Karlis was my best friend. Do you know who killed him? | 1:12:30 | 1:12:34 | |
I think so. | 1:12:34 | 1:12:36 | |
-Someone here? -Maybe. | 1:12:36 | 1:12:38 | |
I'll take you through the drunk tank. | 1:12:41 | 1:12:43 | |
HE SPEAKS IN LATVIAN | 1:12:47 | 1:12:48 | |
The archive is two levels down in the basement. | 1:12:58 | 1:13:02 | |
How's it organised? | 1:13:02 | 1:13:04 | |
-DOG BARKS -It's OK, it's OK. | 1:13:04 | 1:13:06 | |
Every row is a letter. | 1:13:06 | 1:13:08 | |
Six sections - crimes, suspects, politicals, and some others. | 1:13:08 | 1:13:14 | |
It's in Russian. | 1:13:14 | 1:13:16 | |
You need to get through the door at the end of the corridor. | 1:13:16 | 1:13:23 | |
You won't have long. | 1:13:23 | 1:13:25 | |
I need you to write Baiba Liepa. | 1:13:25 | 1:13:28 | |
GROANING | 1:13:33 | 1:13:35 | |
Thank you. | 1:13:38 | 1:13:41 | |
I should have looked out for my friend better. | 1:13:45 | 1:13:48 | |
THEY SPEAK IN LATVIAN | 1:14:04 | 1:14:06 | |
DOG GROWLS | 1:14:19 | 1:14:21 | |
CONVERSATION FADES | 1:14:33 | 1:14:36 | |
TROLLEY APPROACHES | 1:17:50 | 1:17:52 | |
DOOR OPENS | 1:19:18 | 1:19:20 | |
TROLLEY APPROACHES | 1:19:20 | 1:19:21 | |
HE CRIES OUT | 1:19:39 | 1:19:42 | |
FIRE ALARM RINGS | 1:19:46 | 1:19:48 | |
Kurt. | 1:20:24 | 1:20:26 | |
I've got it. I got it. | 1:20:26 | 1:20:28 | |
I called Putnis. | 1:20:28 | 1:20:30 | |
POLICE SIRENS WAIL | 1:20:35 | 1:20:37 | |
Kurt. I must say, you're a very difficult person to protect. | 1:20:49 | 1:20:55 | |
I wish you'd talked to me before. Are those the Major's papers? | 1:20:55 | 1:20:59 | |
Yes. | 1:20:59 | 1:21:02 | |
It would have been a lot easier if you'd trusted me. | 1:21:02 | 1:21:04 | |
Murnieks? | 1:21:04 | 1:21:06 | |
And Sergeant Zids. I never got the fax the Major sent. | 1:21:06 | 1:21:11 | |
They made sure. | 1:21:11 | 1:21:13 | |
Then they put Upitis out of the way, | 1:21:13 | 1:21:16 | |
then there would have only been you, her, and me, in time. | 1:21:16 | 1:21:20 | |
Where are they? | 1:21:20 | 1:21:22 | |
Well, Zids is in hospital. | 1:21:22 | 1:21:24 | |
I think when I have the Major's papers, I... | 1:21:26 | 1:21:29 | |
It's enough to arrest Murnieks. | 1:21:29 | 1:21:31 | |
-It is the original? -Yeah. | 1:21:35 | 1:21:38 | |
What do you mean the original? | 1:21:43 | 1:21:44 | |
You mean, rather than a copy on a digital camera? | 1:21:44 | 1:21:48 | |
I didn't tell you about that. | 1:21:48 | 1:21:49 | |
Don't! Don't! | 1:21:56 | 1:21:58 | |
GUNSHOT | 1:22:05 | 1:22:07 | |
SCREAMING | 1:22:07 | 1:22:09 | |
Baiba! | 1:22:18 | 1:22:20 | |
Baiba. | 1:22:20 | 1:22:22 | |
Baiba. | 1:22:26 | 1:22:29 | |
(Put the gun down.) | 1:22:29 | 1:22:30 | |
I was born in Riga, my parents were Russian. | 1:23:45 | 1:23:49 | |
But I served Latvia my whole life. | 1:23:50 | 1:23:55 | |
Since freedom, I can't vote. I get an alien's passport. | 1:23:57 | 1:24:02 | |
That's how they treat the Russians in Latvia. | 1:24:05 | 1:24:08 | |
What did the case notes say? | 1:24:08 | 1:24:10 | |
Someone in my department was in charge with Radnieciba, | 1:24:10 | 1:24:15 | |
organising drugs, | 1:24:15 | 1:24:17 | |
probably Zids. | 1:24:17 | 1:24:19 | |
But as Major Liepa goes along, | 1:24:19 | 1:24:22 | |
he seems to find it harder and harder to believe | 1:24:22 | 1:24:25 | |
there's not someone higher up. | 1:24:25 | 1:24:27 | |
Putnis did receive the fax. | 1:24:31 | 1:24:35 | |
He and Zids put Upitis in suspicion, and killed him. | 1:24:38 | 1:24:43 | |
I couldn't have moved on either of them without evidence. | 1:24:45 | 1:24:51 | |
How long were you following us? | 1:24:53 | 1:24:56 | |
Some time. | 1:24:57 | 1:24:59 | |
His suit fits you well. | 1:25:42 | 1:25:45 | |
Yeah. | 1:25:45 | 1:25:46 | |
Karlis was so nice when he came back from you. | 1:25:49 | 1:25:55 | |
It was like I had him home again. | 1:25:56 | 1:25:59 | |
I don't know which, er... Thanks. | 1:26:10 | 1:26:13 | |
-Here. -Thank you. | 1:26:14 | 1:26:18 | |
Why don't you come to Sweden sometime? | 1:26:19 | 1:26:23 | |
Is it as nice as it looks in the book? | 1:26:25 | 1:26:28 | |
Yeah, it can be, midsummer. | 1:26:28 | 1:26:30 | |
I'm not going to be coming back, am I? | 1:26:33 | 1:26:35 | |
I mean, I could come back, if... | 1:26:35 | 1:26:37 | |
Today's been nice. | 1:26:38 | 1:26:41 | |
We've been to a cemetery. | 1:26:41 | 1:26:44 | |
When is your flight? | 1:26:51 | 1:26:53 | |
It's tomorrow. | 1:26:54 | 1:26:56 | |
WATER RUNS | 1:27:52 | 1:27:55 | |
# Oh, whisper me words | 1:28:11 | 1:28:16 | |
# In the shape of a bay | 1:28:16 | 1:28:21 | |
# Shelter my love | 1:28:21 | 1:28:25 | |
# From the wind and the waves | 1:28:25 | 1:28:31 | |
Subtitles by Red Bee Media Ltd | 1:29:03 | 1:29:06 | |
# Oh, whisper me words... # | 1:29:19 | 1:29:22 |