All language subtitles for dci.banks.4e03e04.dvdrip.x264-ingot.HI

(THUNDER RUMBLING)

(AMBULANCE SIREN WAILING)

- You hated it.
- No, it was good.

I didn't quite get all of the plot
and it was too long.

And really noisy,
but it was quite good.

There you go, grandad.

OK, so, the babysitter's fine.

I've got, wow! Two whole hours.

- Drink?
- Bite to eat?

Come on.

(JOVIAL MUSIC PLAYING)

Excuse me. Thank you.

Not much choice
with the white wine, I'm afraid.

- Who cares? Cheers.
- Cheers.

- CROWD: Whoo!
- Aw, shit!

MATT: Must be a power cut.

Right, we need to talk about the tape.

I know all about it.
I know what's on it.

And I'm going to get hold of it.

I'm going to get to the truth

because I was brought up to believe in
truth and decency and justice

and all that stuff.

It's just the way I am.

Love makes madmen of us all.

Isn't that what they say?

(GROANS)

Ripped By mstoll

Thanks, Alan. That was nice.

Nice?

Look, maybe next time
we do go for a meal?

Yeah, I'd like that.

Night, Annie.

(KISSES)

(KEYS JANGLING)

ALAN: Annie!

Can you get the babysitter
to stay longer?

Yeah.

There's a major incident.

(SIGHS) I'll drive.

(POLICE TALKING INDISTINCTLY)

KEN: Holiday chalet.
The victim was renting it.

Body was found by the caretaker.

He came to check the victim was OK
after the power went down.

His name's Martin Soames.

He found the body but...

He'd traipsed all over the place
in the dark.

Yeah. It's a very compromised
crime scene.

Tariq, do you have an ID for us, yet?

Victim was using a hire car.

His name's Matthew Barber.
33, lives in London, journalist.

KEN: Boss. Crime scene's ready.

Well, we don't need pathology
for time of death.

The power went down at 9:15.
We were in the pub.

What time did the caretaker find him?

9:45. But how'd you know he was killed
after the power went out?

Candle on the floor.
Must've fallen in the struggle.

KEN: We'll do our best
with trace evidence, but it's messy.

TARIQ: Boss, down here.

There's a computer plug
and battery pack, but no laptop.

No sign of his phone or wallet, either.

- Robbery gone wrong?
- There's no sign of forced entry.

(CAMERA CLICKING)

Looks like we've found
the murder weapon.

OK, check it for prints,
but let's not hold our breath.

We've got a bit of a bipolar killer.

Desperate struggle, serious violence,

but still has the presence of mind
to clean the murder weapon

and ransack
the victim's personal effects.

Boss. The victim's father's outside.

Jack Barber.

What? The guy who's running
for police commissioner?

You know him?

We passed in the night, career-wise.

But everyone admired Jack Barber
from a distance.

- ALAN: Can I help you, sir?
- Well, yes, I hope so.

Er, my son is staying at that chalet.

My name's DCI Alan Banks.
This is my colleague, DS Cabbot.

- There's been a major incident.
- Major incident?

Is my son...
I can't seem to get hold of him.

His phone's gone dead.

That's all I can say for now.

I'm sure you'll understand, Mr Barber.

Why don't you go home?
We'll call you as soon as possible.

Yes, yes, of course. I... I understand.

You couldn't have done anything else.
We can't give him special treatment.

Poor man.

(ENGINE STARTING)

(TYRES SQUEALING)

- Oi! Hey! Hey, wait!
- What's that?

Stop the car! Stop! Police!

ANNIE: Come on.

(HORN BLARING)

What's he playing at?

- Number plate?
- Too much spray, I can't see.

I still can't see but
left hand tail light's broken.

Annie, careful.

Annie!

Shit!

(TYRES SQUEALING)

(CRASHES)

Annie!

What are you playing at?
You could have killed yourself.

- We've lost a suspect.
- You've got a young child.

I'm a cop. Not your girlfriend.

(POLICE SIREN WAILING)

ANNIE: Alan? Alan!

Morning.

Sorry about last night.
I got carried away.

My fault.
You were being a police officer and...

Well, I'm sorry.
I wasn't thinking straight.

Come on, then.
Do your bloke thing. Compartmentalise.

- ALAN: (CLEARS THROAT) Morning, team.
- Oh, morning, boss.

DS Cabbot.

(PHONE RINGING)

Matthew Barber.

London-based investigative journalist.

Over the last five years,
he's been running expos�s

of miscarriages of justice,
official corruption,

organised crime groups,
financial impropriety.

This is a man with a lot of enemies.

We'll need to get through
every investigation he's worked on.

ANNIE: OK, but it's probably something
he was currently working on.

His computer and phone were taken.

The killer wanted to stop
whatever he'd uncovered

getting out into the public domain.

Or maybe it was just plain robbery,
his wallet was also taken.

Hmm, that could be to misdirect us.

ALAN: Why was Matt Barber
renting a chalet in Yorkshire?

I want every minute
of every hour accounted for.

Where did he go? Who did he see?

Ken, get everyone tasked up.

Usual avenues,
friends, family, work, colleagues.

Thanks, everyone.

I understand there was
a motor vehicle incident last night?

Yeah, there was a car fleeing the scene.

Annie and I pursued,
but we didn't apprehend.

Did you get a number plate? A make?

It was a blue-black Merc.

ANNIE: Brake light broken. Left side.

I was on call, you know.

ALAN: It was a foul night, Helen,

and I thought Ken, Tariq, Annie and I
could handle the crime scene.

I notice you both logged onto the case
at exactly the same time.

You have been busy.

Yes, DI Morton. DS Cabbot and I
went to the pictures last night.

KEN: Boss.
ALAN: Ken?

There's an Elizabeth Lester
here to see you.

Who?

Owner of the chalet
Matt Barber was renting.

You asked her to come in?

Yes. Annie, can you liaise with the Met?

We need to find out
about Matt Barber's London life.

- Helen?
- DI MORTON: Yep.

Ms Lester,

thank you for agreeing
to come in and see us.

It's awful,
Mr Barber being murdered like that?

What makes you think he was murdered?

Martin... Mr Soames,
the caretaker who found the body.

He told me.

He's in a dreadful state.

We'll need a list of everyone
with access to the chalet.

And anyone who's been there
within the last three months.

Have you there yourself in that time?

Uh, yes.

Then we'll also need your prints
and a DNA sample.

Liz Forbes?

Yes.

I really enjoyed...
Your first two albums were really good.

I still listen to them.

Oh, thank you.

You haven't recorded anything since.

I suppose I've outgrown
the music business.

I'm sorry,
this might seem inappropriate,

but the last track on your first album,
Dark Eyed Boy,

just as it's fading out

and there's a sound,
an instrument that comes in,

is it a zither?

Er...

Well, yes.

We played it backwards
to get that feeling of...

Yearning? Loss?

Yes.

Ms Lester?

My business name.

I have to be discreet.

- Over-zealous fans.
- Hmm, I can imagine.

Thanks, Tariq.

Would you like to sit down
and get your breath back?

I'm sorry. It's just...
That was Liz Forbes!

DI MORTON: No, never heard of her.

Why am I not surprised?

OK, look, she was never huge.

But she made two great albums
in the '90s.

Really complex adult stuff,

folk, jazz influenced,
but more than the sum of the parts.

I don't understand.

You know that I'm passionate
about music.

Everyone's passionate
about something, Helen.

What are you passionate about?

Punctuality?

- Mr Barber.
- Alan.

- This is my colleague.
- DI Helen Morton.

It's this way, sir.

(DOOR OPENS)

(DOOR CLOSES)

OK, sir?

Sir?

It's Matthew.

I last saw Matthew on Friday afternoon.

About 4:00, at the chalet.

Er, he seemed fine.

Nothing was worrying him
and I didn't notice anything untoward.

Sir, if you went to the chalet, then...

Yes, I know, I know.

You'll need fingerprints
and a DNA sample.

I'm sorry for your loss, sir.

Thank you.

Alan, there's no need to worry.

I'll not be pressurising you
for any special treatment.

OK.

ANNIE: So far we've pulled
27 sets of prints.

We've identified some of them.

Matt Barber, the cleaning lady,
the caretaker,

- Martin Soames and Liz Forbes.
- Oh, your new girlfriend.

Um, I've got a list of people
who've stayed in the chalet

for the past six months
and I've actioned TIEs.

Helen, Jack Barber.
We'll need a full statement.

Why was his son in Yorkshire?
Also Matt Barber, his personal life.

Girlfriends, boyfriends, whatever.

As for his professional life,

Annie, you and I are booked
on the 8:00 a.m. To London.

I didn't just assign you to this
so that we could be alone.

No-one's saying you did.

Except DI Morton. I mean,
I've never seen Spock so tickled.

Respect for your
fellow police officer, please.

- She's enjoying this, you know.
- Enjoying what, exactly?

Making us squirm about something
she thinks is going on,

even though it's not actually going on.

It doesn't matter
if it's going on or not,

because people think it is going on.

Is it?

Is it what?

Going on?

It's complicated.

Us?

Or Matt Barber's life?

Both.

Mr Barber's ready for you.

JACK: Well, there was the
odd girlfriend, nothing serious.

And no-one at present
as far as I'm aware.

Course most of his friends,
well, they're in London.

And what about his professional life?

Well, I'm afraid I can't help you there.

You see, Matthew was very discreet
about his work.

In some ways,
we were in the same line of business.

Righting wrongs, serving justice.

It's the way I brought him up.

And what about his mother?
Would she be able to...

He hasn't seen his mother in 30 years.

I brought him up by myself.

You see, when he was young,
I was really quite worried about him.

He was so little and vulnerable.

Was that the last time you saw your son?

Friday, 4:00 p. M, at the chalet?

Yes, that's right. We chatted a little.

Leeds Rhinos, the state of the nation,
my campaign.

Why was he in Yorkshire?

- Well, I live here.
- Yes, but he didn't stay with you.

He came all the way from London,
for whatever reason

and he stayed in a chalet.
Not with you.

No.

Are we done here?

ANNIE: It's not so much
a brick wall as...

ALAN: Too many leads.

Matt Barber was busy
with a lot of different things.

We've got everything here.

Offshore tax evasion,
legal action against the police,

the John Gaunt case,
health service outsourcing...

John Gaunt?

- Where?
- Here.

(MURMURING) John Gaunt, John Gaunt.

John Gaunt.

Here, here we go. John Gaunt.

He was a guitarist with a band
called The Crystal Kiss.

- Never heard of them.
- He was murdered in the late '80s.

- And?
- And...

That is Liz Forbes.

JACK ON TV: ... what drives me
is the same thing that's driven me

through 30 years of front line service.

I believe in fairness,
I believe in decency.

I'm not interested in power
for power's sake.

I'm interested in the power
to protect us all from organised crime.

At the moment, we are using
a 19th-century structure

to combat what is
a 21 st-century problem.

# Slippery sweet

# And I'm tasting defeat

# The subtlety... #

The Crystal Kiss released one single,
Marginal Love, in 1988.

Got to number two in the charts.

Then, while rehearsing in this house,

this guy, the bassist Martin Harford,

had a fight with John Gaunt,
the guitarist.

Now, John took a tumble down the stairs
and died.

Martin did five years for manslaughter.

Crystal Kiss's moment had gone.
Footnote in pop history.

Sorry, but why is this relevant?

Wasn't our victim
working on lots of projects?

Yeah, but he was murdered in a chalet
that he was renting from Liz Forbes.

And the lovely, fragrant Liz Forbes
was the lead singer of The Crystal Kiss.

Right, so TIEs
on the other two band members,

Martin Harford, Ian Bassett.

ANNIE: Harford should be easy.

But after the death of John Gaunt,
Ian Bassett left the country.

An only child and his parents died
a couple of years ago.

Doesn't matter,
I still wanna talk to him.

So pull out all the stops, please, Ken.

Helen, I want you to go to regional HQ.

Seize all the files
on the John Gaunt killing.

Annie, let's go and see
what Liz Forbes has to say.

Actually, I think DS Cabbot and I
should interview Liz Forbes.

Yeah, you should stay here
and hold the fort.

With me, DS Cabbot.

ANNIE: So you still live here?
LIZ: Oh, I don't see it as morbid.

We recorded here.

We all dreamed we'd live and work here
as a band.

Well, I did OK from my solo albums,

so, when this house came up for sale,
I had to buy it.

I've always loved it here.

Marginal Love.

Album art for the Japanese release.

Quite rare, so I'm told.

Did you know Matt Barber
was an investigative journalist

working on a story on John Gaunt?

No, no, I didn't know that.

Liz, the day that John died,
what happened?

Uh, we were rehearsing,
the studio used to be up there.

I was with Ian.

Then, Martin and John had an argument,
it got out of hand.

Martin hit him,
John fell all the way to the bottom.

Died instantly. It was an accident.

- A dreadful accident.
- What were they fighting about?

Ah.

I couldn't really tell you exactly.

I was always sort of, um, semi-detached
from the band.

You know, brought in
to do the wispy ethereal vocals.

Oh, those three boys,
it was pretty intense between them.

Love, hate, testosterone.
It's a very volatile cocktail.

ALAN: Ian Bassett.
Do you know where he is?

No.

After it happened, he disappeared.

You didn't keep in touch?

No.

You see, I've been reading
a lot of background material,

I know your solo albums, obviously,

but I always thought you and Ian...

Well, Ian was my first proper boyfriend.

So, it was pretty special at the time,
but, er, it was 25 years ago.

Another life.

That's what being young's all about,
isn't it?

So since then, you've not met anyone?

No-one significant.

I think long term relationships
are too complicated.

ALAN: And Martin Harford? Where is he?

LIZ: Oh, poor Martin. He, er...

Liz, is there something
you want to tell us?

Where's Martin?

You've already met him.

- There's a lot here, isn't there?
- Huh, 1988, ancient times.

Bits of paper were your database
back then.

OK?

How come Jack Barber's got clearance
for the police archive?

LIBRARIAN: He's Jack Barber,
he can go where he wants.

(MOBILE RINGING)

Ken?

She's still a really attractive woman,
isn't she?

- Who's that, then?
- Liz Forbes.

Oh.

She's sexy, in a cool, classy way.

Mmm-hmm.

I wouldn't blame you
if you still fancied her.

I would, but when she's a suspect
in a CAT A inquiry,

kind of one of me turn-offs.

And in one leap, he was free.

(KNOCKING)

- Mrs Soames?
- Yes?

- DS Annie Cabbot.
- DCI Alan Banks. May we come in, please?

- Yeah, yeah, of course.
- Thank you.

You'll find him out back with the kids.

(CHILDREN CHATTERING)

ANNIE: Bloody hell.

Martin Soames is Martin Harford.
The caretaker.

ALAN: One and the same.

Be right back.

ALAN: Mr Soames?

Can we still call you Martin Harford?

My name's Martin Soames.

Well, we'd like to talk to you
about the death of John Gaunt.

No, I'm not talking about that.
I'm not talking without a lawyer.

I want to see a lawyer.
That's... That's the rules.

Ken.

Found in one of
Matt Barber's jacket pockets.

Receipt from here.
14:56 Tuesday afternoon,

the day he was murdered.

Latte and a pot of tea.
Who was he meeting?

- Already on it.
- Great.

Yeah. How could I forget?

Him and the other guy
had a right argument.

Practically came to blows.
I had to tell them to cool it.

So this other man?
Do you remember what he looked like?

Yeah, it was him.

ANNIE: Jack Barber?

He lied to us
about the last time he saw his son.

If he wasn't who he is,

we wouldn't hesitate
in designating him a suspect.

All right, but Jack Barber
is highly respected on this force.

Troops and senior management.

Exactly why we shouldn't give him
special treatment.

Why would he kill his own son?

I don't know. But arguing in public?
There's some kind of issue between them.

And the crime scene, no forced entry,
the victim knew his killer

and it looks like an argument
that got out of hand.

Ian Bassett,
the guy who disappeared from the band,

he got into Hull from Ostend
three days ago.

Before Matt Barber was murdered.
Right, we need to find him. Now.

OK, what we have here
are two separate lines of inquiry.

Jack Barber. And The Crystal Kiss.

Helen, go carefully
around old man Barber.

He knows the drill
and he still wields a lot of influence.

But we need answers.

What were he and Matt arguing about
and why did he lie to us?

The Crystal Kiss.

Tariq, get a few pairs of eyes
and go through that lot.

Annie, you're with me. Martin Soames.

He's on his way here with his brief.

ALAN: Listen, I've been thinking
about you and me

working together and dating.

Are we dating? I thought we were...

Sunday night, you're gonna
come round to mine for dinner.

You bring the wine, I'll cook.

Uh, OK... I think.
I mean, I'll need to get a babysitter.

Bring the baby.

- Right, I'll arrange some...
- Bring the travel cot.

"Bring the travel cot"!
And they say romance is dead.

Well, let's go and see

what the artist formerly known
as Martin Harford has to say.

Yeah, let's.

ALAN: DCI Alan Banks.

I'm heading the inquiry
into the death of Matt Barber.

- David Hornby. DS Cabbot.
- Mr Hornby.

I believe I owe you an apology.
The Olsen case?

I was a bit hard on you.

- Shall we?
- Mr Soames.

After you.

- And the Olsen case. We got the result.
- Always the last word.

DAVID: 25 years ago,
my firm represented Martin Harford

when he confessed
to the accidental killing of John Gaunt.

He's paid his debt.

When he was released from prison,

he changed his name by deed poll
to Martin Soames.

He wanted to build a new life.
All above board.

And my client
did not talk to Matt Barber

about the death of his friend,
John Gaunt.

I don't believe you, Martin.

Unless you can prove
whatever it is you believe, Mr Banks,

this conversation is a waste of time.

Matt Barber was an investigative...

- There's nothing to investigate.
- Martin.

MARTIN: I got into a fight with John
because he wanted to leave the band.

It got out of hand
and I lost my temper and I lashed out.

Sounds like the death of Matt Barber.

What's going on here, Annie?

Tuesday night, you arrived at the chalet
and found Matt Barber dead.

At about 9:45 p. M, is that correct?

- Yes.
- Look, it's all in Mr Soames' statement.

Where were you
when the power went down at 9:15 p. M?

As I said...

We need a positional statement
from your client.

Working on one of Liz's other chalets,
in Ellesby.

Working? At that time of night?

We had guests arriving, first thing.

I work for Liz as and when she needs me.

She, erm...

Well, she helped me put my life
back together,

when I came out of prison.

And this property you were working at.
How far was it from Mr Barber's chalet?

- About eight miles.
- And you drove there?

No, he took a hot air balloon.

A man is dead!
This isn't a game, you prick!

Matt Barber was a
well-known investigative journalist.

He made a lot of enemies.

You're barking up the wrong tree here.

(DOOR OPENS)

Good to see you again, Annie.

Look, I don't suppose
you fancy a drink later?

I've got to work.

(DOOR CLOSES)

Look.

You've had a run in with him in court.

It happens.
He's defence, that's his job.

- That's not the point.
- What is the point, Annie?

(SIGHS)

Nothing. I'm fine.
It won't happen again.

Ian.

Thanks.

- Martin, I have to ask you...
- I didn't kill Matt Barber.

We've still got some issues here.

Sorry, I've... I've changed my mind.
After what happened.

That's all the more reason to go ahead.

No, no.
I don't want to go through with it.

I killed John, OK. End of story.

(MOBILE RINGS)

Hi, Liz.

What?

Uh, yeah, yeah, OK. I'm on my way.

- Mr Barber.
- DI Morton.

You told us
that you last saw your son on Friday,

but we now know
that you actually met Matt

at 2:38 p.m. On Tuesday.

Now, that's the day
your son was murdered.

Now, according to the manager
at the coffee shop that you went to,

you and your son had something of a row.

In fact in his statement,
the manager says,

"They practically came to blows.
I had to physically separate."

Now, Mr Barber...

Now you see,
this is exactly what I'm up against.

Time-serving civil servants

with their colour-coded notebooks
and their head in the manual.

When I'm commissioner,
there will be certain officers

who will be find themselves
in dog training.

Do I make myself clear, DI Morton?

You diminish yourself
more than me with that, sir.

(SIGHS)

Matthew said
he wanted to find his mother.

Now, she walked out on us 30 years ago

after I won the custody battle.

She never tried to get hold of him,
contact him, not one attempt.

She just abandoned him.

So, well, I know should have been
a bit more understanding,

but when he said
he wanted to find his mother,

I lost it. I got angry.
I got really angry.

And that was the last time I saw him.

Why didn't you tell us this before?

Look, if I've broken the law,
you arrest and charge me!

If not, you stop pestering me!

Back in the '90s,
I bought a place like this in Spain.

Near Cadiz.

Same architect.

I suppose
I was trying to recapture the past too,

but it wasn't the same.

This is wonderful, Liz.

I feel like I've come home.

You can't be serious.
Reforming the band?

IAN: I feel we have unfinished business.

Do you remember that night,
May 10th, 1988?

We sold out The Forum, the four of us.
Remember, Martin?

I'll never forget that. None of us will.

I remember us looking at one another.

The world was ours.

Do you remember what it felt like?

To be that wanted?

You haven't changed, Ian.

That was our perfect moment, Liz.

And John died.

Liz.

Liz, tell him this is stupid.

I mean, you don't want to
reform the band, do you?

IAN: Come on, Martin.

There's a huge demand out there
for a reunion.

- Who told you that?
- A journalist I've been speaking to.

Matt Barber.

What?

Your journalist is dead.

He was murdered.

DI MORTON: Nearly 30 years later,

and he's still holding a grudge
against Matt's mother.

He's bitter.

And I've been asking around.

When Jack Barber was on the force,
he was not a man you wanted to cross.

He was famous for his temper.

He had very high standards

and occasionally, when people
didn't meet up to those standards...

Yeah, I know. And you think
he's a good and decent man.

But we have to go after him, Alan.

You know,
he really tried to intimidate me.

Sometimes good people do bad things.

KEN: Boss!

Matt Barber's bank accounts
and financial statements

going back two years.

- This one sticks out.
- Bertram Mellis?

Er, names of the senior partners.

Thanks, Ken.

(DIALS MOBILE)

(MOBILE RINGING)

- (MOBILE RINGING)
- (SIGHS)

- Alan.
- ALAN ON MOBILE: Where are you?

I'm just grabbing a coffee.

We need you back here
as soon as, please.

OK.

Are you OK?

Yeah, I'm on my way.

What exactly did Matt Barber
tell you, Ian?

He'd spoken to a promoter
who'd sounded out demand

and we could do really well.

(SNORTS) He was trying to lure you
back into the country.

LIZ: Why would he do that?

Martin?

The tape.

I told him about the tape.

He got me drunk. I let it slip.

I'm sorry.

It's OK, Martin.

I'll look after you.

I always have, haven't I, sweetheart?

Sarge, Matt Barber's
financial transactions.

One in particular,
from a local law firm, Bertram Mellis.

Barber received a payment of �15,000

actioned by one of the senior members,
David Hornby.

Who?

ALAN: Martin Soames' lawyer.

Boss, his prints match set of prints
found at the crime scene.

Great, another suspect.

Seems like David Hornby's
got a lot of explaining to do.

Annie, you know him. Annie?

Annie!

I need a word.

Ken, get hold of him. Bring him in.

You need to take me off this case.

Why?

David Hornby is the father of my baby.

(BABIES CRYING)

ALAN: Huh, who is this? Who is this?

I think they wanna lynch me.

- Who?
- The yummy-mummies.

- Alan, I need to talk to you.
- Right now,

her father is a suspect for
the murder of Matt Barber.

- Alan.
- So, yes, I need to keep you away

from David Hornby. But I'm not
going to take you off the inquiry.

Not unless we arrest him. Obviously.

Your homework's in my car.

I need you to go through the John Gaunt

files with a fine tooth comb,

especially Martin Harford's confession.

Alan? Tonight, me and you at yours?

What's the problem?

All right, we've got some
things to talk about but

obviously Hornby wants
nothing to do with Isla.

(ISLA CHATTERS)

He doesn't know about Isla.

When we were dating,
he always insisted on

midweek. I guessed he
was in some kind of

long-term thing.

Of course he was.

David Hornby was married all right.
Extremely married. With two young kids.

You think I should've told him?

He has a right to know.

And Isla, when she's older,
she'll want to know about her father.

Do you really think Hornby
is capable of killing someone?

All I know at the moment
is he's a liar.

Why didn't you tell us
you knew Matt Barber?

We have a bank transfer from
Bertram Mellis to Matt Barber,

for �15,000.
Authorised by you, Mr Hornby.

I don't believe I'm under
any obligation to explain that.

Matt Barber had his skull smashed in!

Where's Annie?

Her personal connection to you

means that she's compromised
on this occasion.

It was just a fling.

DAVID: Look my firm are
investigating institutional corruption.

The CPS up here in Yorkshire
and the police,

it's been going on for years.
Between you guys and the prosecutors,

evidence has gone missing,
statements have been altered.

We're talking root and branch,
embedded corruption.

Over 30 years worth of potentially

- unsafe convictions.
- How did Matt Barber fit into all this?

We needed someone to do
the investigative spadework.

Matt was trawling through
our case files.

ALAN: And was one of these
potentially unsafe convictions

Martin Harford for the killing
of John Gaunt in 1988?

Maybe, I don't know. There were
hundreds of cases to go through.

- And you met with Matt Barber?
- A few times, yes.

Once at his chalet. Thursday morning.

He was one of the good guys, unlike...

Unlike his father?

Let me put it to you this way.

If Jack Barber wins this election,

he'll be wielding a lot of power
and a lot of influence.

A criminal justice system
run by criminals?

I'd be very careful making
unsubstantiated accusations.

You're assuming I can't
substantiate them.

Now, if you want to
question me further,

you'll require a warrant,

which will take you a
minimum of six hours to get.

But whichever way you
turn it, right now, I'm free to go.

Just a moment, please.

DI Morton.

What do you think?

He's got a point about Jack Barber.

- No, I'm talking about...
- Can we hold him?

Not really.

A defence lawyer?
If we put one foot wrong

on the procedure,
no matter how trivial...

- (MOBILE RINGS)
- Get rid of him, then. Thanks.

- Annie.
- There's no confession.

- What?
- The John Gaunt files.

There's no transcript of Martin Harford
confessing to the killing.

- You're sure?
- 100%.

And the officer who took
Harford's confession,

Detective Constable Jack Barber.

Thanks, Annie.

Jack Barber? You might be right.

Let's get him in for a chat.

Matt Barber seemed to
know a lot about the band, Liz.

About John's death.

He knew there was something not right.

I don't know how but...

Please, Liz.

It was stupid. I shouldn't have told
him about the tape.

- You haven't told anyone else?
- No.

It's all buried.

And we can reform the band?

You really want to,
after what's happened?

Yes, Martin. I do.

Please,

we need you.

I'll do anything for you, Liz.
You know that.

Thank you for agreeing to
come and see us, sir.

I know you have a busy schedule.

Yes, well, I hope this won't take long.

Election day tomorrow.

The conviction of Martin Harford

for the unlawful killing of John Gaunt,
September 1988.

You were part of the inquiry team.

- Well, yes. It was a long time ago.
- 25 years.

Did Matt talk to you about that case?

Well, no, why should he?

Well, the killer...

Martin Harford.

Martin Harford. Yes.

Well, he confessed.

It was an argument that got out of hand.

- Why would Matthew...
- The man who found your son dead?

The chalet caretaker.

That was Martin Harford.

You think he killed my son?

You took his confession.

So what? I don't remember very much,

- pull out the old files.
- We did.

And the transcript of the
confession is missing.

You were at the central
records library the other day.

What the hell are you suggesting here?

That I beat some confession
out of Harford?

Or that I killed my own son?

Are you seriously suggesting...

I loved that boy.

And now I've got a couple
of amateurs sitting here

- accusing me!
- We're not accusing you of anything.

But what I am doing, and against
the advice of my fellow officers,

is giving you special treatment.

I'm giving you a chance.

Is there anything that you can tell us

that might help us identify and
convict your son's killer?

I've got nothing to say.

(DOOR SLAMS)

DI MORTON: He thinks his police
commissioner campaign

makes him untouchable.

What he actually wants is for us to
let him get away with murder?

ALAN: Helen!

DI MORTON: Matt Barber was killed after
an argument that got out of control.

A killer with a short fuse

and the presence of mind
and the expertise

to tamper with the crime scene.

I want that tape!

I don't know where it is.

Do you have any idea what
this could do?

I destroyed it. I'm sorry.

- Don't lie to me, son.
- No. It's buried.

It died with...

(DOORBELL RINGS)

Hi.

(MUSIC PLAYING)

- Alan.
- Liz, we need to speak to Martin.

DI MORTON: His wife said he was here.

I think we'd better come in.

(MUSIC STOPS PLAYING)

Lan Bassett?

- Yeah?
- You didn't tell us?

No, it was after you left that he, uh,

- appeared.
- And you didn't think to call us?

No. I'm sorry.

You've proved a difficult man to trace.

We know you arrived back in
the UK a few days ago, Mr Bassett.

But where were you on Tuesday night?

At my hotel suite.

And I haven't been hiding.
Just been abroad.

For too long.

Dark Eyed Boy.

So why have you come back now?

I came back to do an
interview with Matt Barber.

Last Sunday morning. At his chalet.

I was shocked to hear about his death.

Mr Soames.

We're actually here to talk to
you about your confession.

- Not again. How many times...
- Jack Barber,

the father of Matt Barber,

was the officer
who took your confession?

Did he apply any undue pressure on you?

Alter your statement or
threaten you in any way?

No.

Mr Bassett, we're gonna
need fingerprints

and a DNA sample.
And a full statement, OK?

No problem.

So?

Mmm-hmm.

That's right.

We're reforming The Crystal Kiss.

(ISLA COOING)

I thought you had the right to know.

What's her name?

Isla Rose.

Isla Rose.

She's a...

Look at her, she's watching me.

She looks like you.

Look,

I'm not some serial shagger.

You caught me by surprise.

That's why my marriage broke up.

Wait. I didn't want to
break up any marriage.

I know.

I just couldn't just go back
to how it was before.

I just couldn't.

I'd like to be a proper father to Isla.

And maybe,

for her sake,

we could try again.

(BAND SINGING MARGINAL LOVE)

Boss?

DS Cabbot.

Ah, Annie.

Right, listen, everyone.

This is no longer a two-strand inquiry.

There is a connection between
Jack Barber and The Crystal Kiss.

We just have to get to the bottom of it.

Annie,

Helen and I bumped into Ian Bassett
at Liz Forbes' house.

He turns up after 25 years and she
doesn't even bother to tell us?

- Annie, you get his statement.
- OK.

Right, thanks.

(SONG RESUMES)

Matt got in touch by email.

He was a fan with a laptop,

his words not mine.

And he wanted to interview me.

So you met him at the
chalet on Sunday morning?

Yeah.

Did Matt refer to the
death of John Gaunt?

No. We spoke about the music.
About reforming the band.

Why do you want to reform the band?

You know it's an idea I've had kicking
about in my head for a while. And er...

...it seems to have worked quite
well for other people.

And we know there's demand out there.

That's how I've been making
money all these years.

It's extremely lucrative.

But, you know, when I first
picked up a guitar,

I didn't start dreaming about
making elevator music.

(SOFT MUSIC PLAYING)

Maybe it's a mid-life crisis,

but I had to come back
and reform The Crystal Kiss.

I don't want my dreams
to die before I do.

So you and Liz back together again,
as a couple?

Well, I don't know about that.

Liz was a lovely looking girl and
we had a lot of fun, but

she wasn't, you know, into the music
like me and John were.

Those two solo albums of hers did well.

She must've had something.

Music for dinner parties.

(JAZZ MUSIC PLAYING)

OK.

- David Hornby.
- I've told him about Isla.

He wants to be involved with her.

That's good.

That's good? Is that all you can say?

What do you want me to say?

I wasn't expecting that!

Because Alan Banks always
says the right thing.

Always does the decent thing,
even if it means pushing me towards...

You think I would push you

towards a piece of shit like that?

At least his chat up line's
better than "bring the travel cot"!

- (KEY TURNING IN DOOR)
- What's that?

(DOOR CLOSES)

Tracy? What... What...
What are you doing here?

Nothing.

- Hi.
- Oh? Hi.

Annie, this is Tracy. My daughter.

Tracy, this is Annie.

- Nice to meet you.
- Yes.

(ISLA CRYING)

Shit.

I'm sorry. I should've phoned, but

I've packed in Uni.

Chemical engineering's not for me.

And I just thought I could,

um, stay here for a while
until I'm back on my feet.

I should go home.

- Annie I'm so sorry.
- Can't be helped.

Night, Alan.

(CAR STARTS)

Did you say that you'd left Uni?

Look, I'm sorry to spring
it on you like this, but,

(MOBILE RINGS)

Yes, Helen?

OK, thanks.

Work?

Security cameras opposite
the coffee shop.

Matt Barber and his father.

Starts off friendly enough. But then...

The younger man mentions John Gaunt.

See? John Gaunt.

Can you play it again? Go in closer?

The pop musician, yeah,
John, John Gaunt.

Jack told us Matt didn't
ask him about John Gaunt.

Told us this argument was all about Matt
wanting to find his mother.

Can you carry on playing it from here?

And what he appears to be saying
here is, "Dad there's a tape.

"And I'm going to get hold of it,

"tomorrow. First thing.

"I'm going to get to the truth, Dad.

"It's how you brought me up."

See? When Matt mentions the tape,
it's like Jack's seen a ghost.

He gets angry. Really angry.
Look at him.

So angry he kills his son?

That's a reach, Helen.

A reach? He's lied to us
every step of the way.

Makes out he can hardly remember

the John Gaunt case and yet here he is,

really arguing with his son about it.
Why? And this tape?

Does it threaten Jack?
Or maybe it threatens his campaign.

What is this tape?

I don't know. But we need
to get our hands on it.

(KNOCKS ON DOOR)

Liz!

What are you doing?

I need to talk to you.

I need to talk to all three of you.

About a tape.

A tape that Matt Barber was
trying to get his hands on

that was vital to his investigation
into the death of John Gaunt.

I don't know what you're talking about.

Jack. What are you doing here?

Social visit.

Really?

Or maybe you're looking to
get your hands on the tape

you and Matt were arguing
about the other day?

It doesn't matter.

I killed him!

- You killed Matt Barber?
- No! John! I killed John!

But it was an accident.

And it got out of hand.
That's what you say.

That's what Liz said in her statement,

it was an argument that got out hand.

That's what Ian's statement said,
it was an argument that got out of hand.

And that's what you said as well, Jack.

It was...

When four separate people
say exactly the same thing,

that's when I get very suspicious.

There's nothing to investigate.

And whatever it is you're thinking,

you don't have any proof.

Outside, Jack.

I haven't got time for this.
I've got a press conference.

And we should just let you go?

Where's the tape? Who's
got it? And what's on it?

I have done my bit.

Thirty years on the force
and now this election.

I've made a difference.

What've you two ever done, eh?

Either of you?

Have you found my son's killers?

I'm following in your
son's footsteps, Jack.

Except no-one's going to take me out

before I get my hands on the truth.

You've let me down. Sir.

KEN: Sarge, take a look at this.

Lan Bassett's financial records.

I've traced his credit history through
most of Europe and beyond.

But then there's this,

Ian Bassett is not what he seems.

Swanning around the place
dropping hints about how rich he is.

About how reforming The
Crystal Kiss isn't about money.

"Ian B, Spirit of the '80s."

I found a pawn broker's receipt
for a guitar in his hotel room.

His credit history.

Bassett is broke.

Has been for the last 20 years.

- He needs the money.
- Hmm.

And Matt Barber was about
to derail his gravy train.

Annie, um...

- What happened last night...
- Uh, Tracy?

No. I meant,

you know, what really
happened with you and...

David Hornby doesn't just
want a relationship with Isla.

He wants a relationship with me.

You're not thinking about it, are you?

I don't know. OK?

We're screwed.

We should leave.

Now. For good.

- I can't just...
- We don't have the time, Liz!

Do we, Liz?

Where is the tape? Did you
give it to that journalist?

You swore you'd destroyed that tape!

You'd better pray it never surfaces!

Martin, maybe it's time to
make a clean break with the past.

What by running off with
your first boyfriend?

This is your stupid fault, Martin.

You've done this!
You and your big mouth.

All these years,
I've been looking after you,

putting up with you fawning over me.

Well, I've had enough,
I need to get away. I'm done with you.

Following me around,
looming over me. It's disgusting.

- Martin! Martin!
- Leave him, Liz.

(DOOR SLAMS)

We really need to go.

(TALKING INAUDIBLY)

DI MORTON: Well, it's Martin Soames.
He's the weak link.

Boss?

Boss?

Martin Soames? You need go and tackle
him at his house and get him alone.

- He's the key to this.
- Yes.

Sorry, Helen.

Is everything OK?

Do you ever feel you've
missed your moment?

No.

DS Cabbot.

I've never understood
what you see in her.

I mean, she's a decent
enough police officer, I suppose,

when she controls her
more impulsive outbursts.

But I think she might be
good for you, boss.

Thanks, Helen.

You're welcome.

Martin!

(TELEVISION PLAYING)

Martin?

Martin?

ALAN: Any kind of note?

So why now? What finally pushed him?

Because we were closing in on him.

Or did he kill Matt Barber?

Nine calls to this number
in the half hour before he died.

- I've put a trace on it.
- Hold on.

Let's just see who we've got.

MAN'S VOICE: Not again, Martin,
you're not getting the tape back.

David Hornby?

- MAN'S VOICE: Who's this, please?
- Alan Banks.

Are you in your office?

- Yes.
- Well, stay where you are.

I'm on my way.

Right, I need Liz Forbes
and Ian Bassett picked up.

I'll deal with Hornby.

DCI Banks, I'm in a meeting
with another client.

I'm not prepared to discuss
Martin Soames.

Martin Soames just hanged himself.

We need to talk.

All right, but not here.

Give me a minute.

Martin? But he was here this morning.

With the tape?

The tape that he was supposed to
deliver to Matt Barber?

Yeah.

Yeah, he must've gone home
and got drunk, badly drunk.

He was phoning me ranting about
how Liz Forbes had left him

and how he had felt he'd wasted
most of his life with her,

how he felt he couldn't live without
her any more and then

how he wanted the tape back.

And you wouldn't give it back?

That's unfair.

What's on this tape?

I'm not prepared to discuss that.

Are you refusing to hand
it over officially?

I've worked long and hard for this.

One case,

one proven instance
of police malpractice

and the floodgates open.

Jack Barber's my best chance.

And I'd prefer to use the press,
not the police,

- to bring this into the public domain.
- Forget the conspiracy crap.

This is a straight up
right or wrong call.

I don't trust the police.

Does Annie know that?

Well, I've known Annie Cabbot
for three years now

and her core attribute is integrity,
wouldn't you agree?

So if I go back to her

and say that you won't
cooperate with us,

do you really think there's a
chance that you'll get to see her?

Or Isla ever again?

Thank you.

(RECORDED MUSIC PLAYING)

(STOPS MUSIC)

(MUSIC STARTS PLAYING)

You're leaving us?

I've, uh, decided against
reforming the band.

This is your car, sir?

Yes.

You almost got me killed.

(MUSIC CONTINUES PLAYING)

(THUDDING ON TAPE)

What's that?

(MUSIC STOPS)

What's the latest on Liz and Ian?

They're downstairs stewing.

Ian Bassett's car's got a
broken brake light.

So it was him fleeing
the scene that night.

He claims he was there to
do an interview with Matt.

Saw the place crawling with
police, got scared.

I bet he did.

Right, change of plan. We're not
gonna interview those two downstairs.

We're gonna put Liz and lan
back in the recording studio.

Just give me an hour to get set up

and then we hit him them with this.

(SONG PLAYING)

So we've managed to retrieve

the infamous tape.

Now maybe it was

Martin just holding onto this
for a rainy day

or maybe it was to
keep you close to him, Liz.

A sort of subtle blackmail.

"Look after me
or I go public with this."

So deeply in love with you, Liz?

Well, even back then.

Look.

Doesn't take his eyes off you.

So, he was holding onto this tape.

It was from the night that John died.

You were trying to record a follow up

to Marginal Love.

This was your moment.

A surprise hit single riding
high in the charts,

but you had nothing to back it up
with. And nothing in the can.

A Lesson for the Lonely Heart.

That was the track you were recording.

Take nine was the
one that interests me.

(PLAYING SONG)

Turned out to be a recording
of the last moments

of John Gaunt's life.

(SONG STARTS PLAYING)

So there's all four of
you, in the studio.

Liz singing, Ian on keyboard,

Martin on bass and John Gaunt on guitar.

- Listen. There.
- (FEEDBACK ON TAPE)

See, that's when John's
guitar is thrown down

and starts the feedback.

- And then there's footsteps.
- (FOOTSTEPS ON TAPE)

(THUD ON TAPE)

A studio door being opened.

Then just a few beats later,

- there.
- (KEYBOARD STOPS)

That's when the keyboard cuts out.

- More footsteps.
- (FOOTSTEPS ON TAPE)

Except it wasn't Martin
following John out.

It was you, Ian.

So now the only people
left in the studio

are Liz and Martin,
just vocals and bass.

But of course, you kept
your headphones on

but this tape picks up everything
that was going on outside the studio.

(INDISTINCT SHOUTING ON TAPE)

Bumps. Shouts.

- Someone crashing down the stairs.
- (THUDDING ON TAPE)

- (INDISTINCT SHOUTING ON TAPE)
- John.

(SHUTS TAPE OFF)

- Proves nothing.
- I don't see how this involves me.

Oh, but it does, Liz.

Martin only agreed to cover up

for John's death because you asked him.

You knew he was hopelessly and
unconditionally in love with you.

And you only asked him because you were

hopelessly and unconditionally
in love with Ian.

Martin killed John.

Ask him again. He'll tell you.

Martin hung himself
earlier this morning.

He took his own life because you
said you were leaving him, Liz.

You said you and Ian were leaving

because we were
closing in on the truth.

It's obvious. Martin committed suicide

because he killed Matt Barber.

I love you.

Come on, Liz. Ian doesn't
care about you.

That's why he left all those years ago
after you'd tidied up his mess.

Houses in Antibes? Yachts on Lake Como?

Upmarket cruise ships? Bollocks.

This, Liz, is the real Ian Bassett.

'80s revival stuff
in cheap bars and hotels.

Ian came back to reform
The Crystal Kiss

because he was desperate for money.

- Ian?
- Grow up, Liz!

The Crystal Kiss's moment has gone.

You were one-hit wonders, end of.

Twenty-five years hoping and waiting
and three people dead.

John, Martin, Matt Barber!

All to preserve a teenage dream.

- Ian is a killer.
- Not true.

Listen.

What you're going to hear now,

and what you've never heard before,

is an enhanced digital version.

(PLAYS RECORD)

The music is being faded out.

(THUMPING ON TAPE)

- (LOUD THUMP)
- There.

You hear John falling.

Then other footsteps coming
down the stairs towards him.

(FOOTSTEPS ON TAPE)

And now this!

MAN ON TAPE: lan, don't!

(MAN STRUGGLING ON TAPE)

OK. Maybe it was an argument
that got out of hand

when you knocked John down the stairs.

But he didn't die immediately.

No, he was still alive,

so Ian followed him
down and finished him off.

You suffocated him, Ian.

You were the heart and soul of the band.
You wrote all the songs,

but what was it that you told me, Liz?

Love and hate and testosterone.
It's a dangerous cocktail.

You saw a chance

to get rid of your best friend,
your main rival,

and make a grab for all the song writing

royalties and you went for it.

You wanted the money then
and you want it now!

You can't prove that.
You don't have a witness.

Oh, my God.

- It's not true, Liz.
- You told me it was an accident.

You told me and I did everything
for you and it was a lie.

- It was all a lie.
- I didn't ask you to do anything.

I gave �30,000 to that policeman,
I made poor Martin confess and...

And you did what, Liz?

Did you kill Matt Barber?

I didn't want him to destroy you, Ian.

I just lashed out because I loved you.

Can you believe it after 25 years

I'd still do anything for you?

God help me.

RETURNING OFFICER:
And I hereby declare Jack Barber

duly elected to the post
Police Commissioner.

(CHEERS AND APPLAUSE)

Sir, Liz Forbes has
admitted to killing your son.

You took a bribe of �30,000
from Liz Forbes,

25 years ago, to accept Martin's
confession at face value.

Liz will testify in court
against you, Jack.

Look, I'm going to say
this to you just once.

25 years ago, Matthew's mother

tried to take him from me to America.

I was going to lose him forever.

But I needed money,

money for lawyers, money
for private investigators.

And Liz Forbes offered it to me.

And if I could go back in time,

I'd do exactly the same thing
all over again.

I'll take myself down to the station.

No, sir.

We won't be doing things your way.

We need to make it legal
and everything but,

I want you to have regular
contact with Isla.

A proper relationship with her.

- For life, David.
- That's brilliant.

And what about you and me?

I don't have a plan. I...

I don't know. PR?

Event Management.

I'm still processing my future.

And what does your mother
have to say about all this?

Well, she's not happy.
But she understands.

So,

while you're processing your future,
what you gonna do in the meantime?

I'll get a job. Bar work or something.

(DOORBELL RINGS)

We're not finished.

I need to speak to you.

I was hoping you were free
sometime to finish our dinner?

What about David Hornby?

It didn't work out.

I'm sorry.

- Really?
- No.

I'd better get back for the babysitter.

Annie,

we could be waiting and hoping
for the rest of our lives.

Unless we create our own...

Moments.

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