Original subtitles

This place is my life.

Don't you sell us out, you greedy bastard.

MICHAEL TRENTER: Mr. Schwartzman is interested in the brand.

Have you seen my offer?

Jack Hodgson.

Forensics?

The victim is John Briggs, yes.

Already on the web.

You need to sign the handover agreement right away.

He's put his daughter in charge.

JACK HODGSON: His daughter.

There's a photo of a girl coming into the hotel lobby.

Apparently, she was going to visit him.

They told me that the Lyell Centre needed to change or die.

Harry must have known.

That's probably why he left.

She contacted your father.

Deana?

It's your mother.

You could find her.

This company belongs to me.

He's a nasty, mean old man--

KENNY BARBER: --lurking behind the family brand.

GERALDINE BRIGGS: Did he like her?

ANNETTE KELLY: Very much.

She had fun with him?

ANNETTE KELLY: Yeah.

Did they laugh?

Yeah.

I used to laugh with my father.

How long had you worked for him?

10 years.

You loved him.

He could do unspeakable things

and still be loved, a talent.

SEETHA GOLD: The network is saying that her phone is

on somewhere in that area.

It's been in same spot since 10:47 on the night she died.

That's got to help with time of death.

It's accurate to 100 metres.

Technology is amazing.

LEO DALTON: I've given this a great deal of thought.

I know I'm not going to be here forever, but well, now

that Harry is gone--

NIKKI ALEXANDER: Leo, no eulogies.

No, no, no, I'm just--

just saying.

I like to think that I'm more effective investigating

in the cutting room, doing the science

rather than sitting in my office administrating.

But when I look ahead, I have to think about how the Lyell

Centre can be competitive.

So I've been thinking how we might

amalgamate forensic pathology with other forensic sciences.

We're changing.

LEO DALTON: Yep.

I've made the decision.

I thought I was going to interview the short list.

You have.

I've asked Jack to be our senior forensic scientist.

Congratulations.

Thank you.

Thank you, Professor Dalton.

You don't have to call me "Professor."

What?

Oh.

LEO DALTON: What is it?

DNA results for Deana Collier.

She's not Geraldine's daughter.

She deceived John Briggs for five months

and presumably was intending to continue with this charade.

We ran the DNA through the database.

She's been cautioned twice, once for theft--

She lifted the wallet of a man who hired her as an escort.

She looks so sweet.

SEETHA GOLD: You can't rule out her involvement in his death.

Really?

NIKKI ALEXANDER: She was conning John Briggs, right?

How did she know that Geraldine had a child?

How did she know that the baby had been given away?

NIKKI ALEXANDER: Yeah, wasn't it a dark family secret?

Not anymore.

Who would have known?

EMMETT SCHWARTZMAN: I'm losing my appetite

for buying the company.

It's a business deal.

There's too much noise around this now.

I have to ask myself, do I really need it?

I have delivered this to you.

There are no more obstacles.

Phillip Briggs wants to get this done.

There are problems with the union.

That's going to be sorted.

The price is still too high.

Name recognition for Briggs has never been higher.

Do you tell the truth about anything, Michael?

Only when it doesn't matter.

How much are you going to earn from this, fees?

Trade your fees for equity.

You need something to live for, Michael.

LEO DALTON: CAT scan shows a transverse fracture

to her right leg.

SEETHA GOLD: She could have broken her leg

if she'd jumped from a bridge.

This injury is consistent with an RTA.

How did she end up in the Thames?

We checked the logs for callouts in Bermansy

that night.

There are no reported RTAs, not with a pedestrian.

Did the accident kill her?

I'll have a preliminary report on cause of death

by the end of today.

Briggs?

Allergen still unknown.

Nobody here believes this is a coincidence, do they?

A printout of every entry into John Briggs' hotel room

while he was there.

I'll need the fingerprints of every member of Housekeeping

that's been in the room.

We'll need them.

Can we get DNA as well?

I mean, you know, can we afford it?

Detective?

Oh, send me an invoice.

When's her post-mortem?

She can't sleep.

I've asked the doctor to bring her some pills.

Geraldine?

GERALDINE BRIGGS: My mother, just before she died,

told me I was put on this earth to endure pain.

It must be God's purpose for me.

She had no other explanation.

I have two bodies to bury now.

Wasn't she wise?

I need to speak to you about Deana.

There's nothing more you can take from me now.

She's not your daughter.

The DNA is conclusive.

What?

No mistake.

Phillip, we are the kind of people who act, right, who do?

We're masters of our own fate, aren't we?

Nothing to be scared of.

Of course not.

I've been listening to my life team my whole life.

It's not right, what's happened.

Uh-uh.

You take what belongs to you, Phillip.

Don't let yourself be held hostage.

SEETHA GOLD: You had dinner with Deana

on the night she died at Il Pagliaccio in Knightsbridge?

That's right.

Just the two of you?

Uh, yes.

We wanted to get to know each other.

I didn't know anything about her, did I?

SEETHA GOLD: What sort of mood was Deana in when she left you?

Loving.

Did you argue?

GERALDINE BRIGGS: No.

No, we kissed each other goodnight.

And then we promised to see each other the next day.

Then we went our separate ways.

What's this about?

Sorry to have to ask.

You're sorry?

SEETHA GOLD: Did anyone see you go your separate ways?

GERALDINE BRIGGS: I don't know.

How would I know?

Is there someone who can verify what time you got home?

No.

You think that I--

Is this some kind of a joke?

And you came back here--

Yes.

SEETHA GOLD: --to this house?

It's a nice house.

You landed on your feet.

I don't think that--

SEETHA GOLD: In that resentment towards your father,

did you shed a tear when you heard he was dead?

That's enough.

Was there somebody else staying in the house

when you arrived home?

No.

SEETHA GOLD: It was raining hard that night.

So why didn't you offer her a ride home?

She didn't want one.

You've just been reunited.

It's raining out.

She said she had an Oyster card.

Of course.

You were the last person to see her alive.

You don't have to answer any more questions.

You-- you think that I killed her?

I killed my mother with disappointment.

She told me I was someone she didn't know.

I was 16 and pregnant.

That couldn't happen to their child.

I was raped.

Phillip raped me.

I wanted an abortion.

My father wouldn't allow it.

He waited until the baby was born.

And then-- then just when I was able to love it,

he took her away from me.

Don't try and tell me what is appropriate

during an interview.

She just told us she'd been raped by her uncle.

That might have been what she told us.

Or it may have been a confession.

She was in pain.

You went too far.

She's a possible suspect.

Well, now she knows she's a possible suspect, doesn't she?

Annette Kelly used her credit card

to book Briggs' hotel room.

She knew about Geraldine's baby.

She was the one Deana said first contacted her.

Three good reasons to suspect Annette Kelly,

and she doesn't realise she's a suspect, does she?

Because the light is shining on someone else.

How'd it go?

CLARISSA MULLERY: This is ridiculous.

My name is down.

Security should have been informed.

I'm not lost.

Do I look lost?

No.

I know what I look like, and it isn't lost.

If you want to see lost, look in the mirror.

Can I help you?

I hope so.

He doesn't seem capable of it.

I'm trying to find the lab.

The lab?

CLARISSA MULLERY: The lab.

I'm sorry, am I not enunciating?

The lab.

Who are you?

Clarissa Mullery.

LEO DALTON: That means nothing.

Perhaps it means something to the person in charge?

Well, I am the person in charge.

Do you have an appointment?

Could you escort Ms. Mullery from the building, please?

CLARISSA MULLERY: You're Leo Dalton?

Jack always talks about you.

He's a shocking judge of character.

How do you know Jack Hodgson?

I work with him.

LEO DALTON: And what do you do?

I make him look clever.

Sorry I'm late.

Did I forget to mention Clarissa?

I don't always succeed.

Ladies.

All right, Dave.

Are you doing your--

What are you playing at?

Stealing union funds?

But your members don't, Kenny.

That's a lie.

You know that's a lie.

It's all over the internet.

It gets repeated.

Soon, it becomes true because you can't stop it.

They've all seen it.

Someone sent it to their email addresses.

It went viral.

Some of the lads want to start talking to another union,

see if they might look after them.

That's not going to happen.

PHILLIP BRIGGS: We need stability

after what's happened.

We need a union we can work with.

Sometimes a rumour is as bad as the truth.

Now I'm sure I can help you stop this spreading any further.

SEETHA GOLD: Why were you at the hotel the night

your brother died?

There was supposed to be a meeting.

With?

Mr. Schwartzman.

I thought he was having dinner with your brother.

They wanted a meeting after the dinner.

Obviously, they'd reached the decision

and wanted to make me chief executive.

But you won't.

No, there was no meeting.

So you went home?

No.

I went in a bar, look for some hookers.

Yeah, I went home.

Did you know Deana Collier?

PHILLIP BRIGGS: Not really.

My brother said she was the product

of a one-night stand he had, some woman he

rented for the evening.

You didn't know your niece had a child?

No.

But it's hardly surprising.

I mean, she was a slut, couldn't keep her legs together.

His little princess was shagging anything that moved.

Including you?

Don't be ridiculous.

Where'd you get that idea from?

So you work in the family business.

She's pregnant for nine months, has a child,

and you didn't know?

PHILLIP BRIGGS: It wasn't something my brother was

going to broadcast, was it?

Who might have known?

It was a secret.

He wanted it to disappear.

That's what happened.

Deana Collier wasn't Geraldine's daughter.

Well, who was she?

How could she have known that Geraldine's daughter existed?

Nothing?

Nothing.

I'm sure the phone will point us in the right direction.

They said it was there.

Computer can see it transmitting,

that's what they said.

Technology is shit.

GUS COOK: Port of London Authority?

Time of the next low water in Bermansy?

The combination of injuries make it difficult,

but the cause of death did ultimately reveal itself.

Now this injury is consistent with her being hit by a car.

Indentation of tissue and the large contusion

and the transverse fracture are at a height of 708

to 712 millimetres, which is consistent

with the upper bumper reference sign of an SUV.

JACK HODGSON: Bumper height should narrow the possible SUV

models.

Yeah.

And the tissue had signs of oil and tar, which

suggested, on impact, rather than being thrown up

into the air, she was dragged down under the car

and then pulled across the tarmac.

Now there were a number of other fractures on the body.

Whether they were caused by the car or not, or--

Or what.

Well, they might have occurred while she was in the river.

I initially thought that she'd drowned.

But then the content of her lungs doesn't support that.

But she was dead by the time she reached the river.

So the body was dumped there?

I also found rat faeces in her hair.

And I extracted debris that was blocking her trachea

and oesophagus.

What kind of debris?

It was solidified fat, human excrement, paper.

Then she drowned in human excrement in the Thames?

The Thames is pretty clean.

LEO DALTON: Asphyxiated-- her air pipe was obstructed.

I think I can keep Schwartzman interested.

But we have to move quickly.

Phillip needs to be put in charge of the company.

So can you please just find a legal way to do it?

Can you get that done?

You told me she was his granddaughter.

Well, that's what John told me.

He came to me, didn't know what to do,

didn't know how it was going to play out in the papers.

I mean, a rich man gives his daughter's baby

up for adoption?

Briggs is a family brand.

Well, you introduced Schwartzman to John.

You brought Deana to John.

You knew he was looking for Geraldine's baby.

Yes, he confided in me, and I was helping him.

I'm going to the police.

Wait, Annette, calm down.

How's your husband?

How's the kid?

We all live in glass houses, Annette.

It's what modern technology has done for us.

JACK HODGSON: The root of the River Neckinger's tributary

takes a dog leg as it moves towards the Thames.

What is it?

What are you doing tonight?

You're not--

Oh, no.

No, no, no, no, no, no, god, no.

Then what do you have in mind?

Her body was found here, wasn't it?

Yeah.

And we know that she wasn't thrown into the river alive,

because her lungs would've been filled with water.

So-- what is it?

Combined sewer overflow, the outlet

of the Neckinger's tributary, one

of London's underground rivers.

When it rains too heavily, it takes the sewage overflow.

Rat faeces in her hair, asphyxiated by sewage.

It's raining hard.

The water rises.

Deana's body is pushed into the combined sewer.

The force of the water pushed her along.

Smashes her body against the chain ropes and metal

bars and the outfield pipe till it reaches the Thames.

So her body was found here, but she died in--

In there.

This is where they were picking up her mobile signal from.

OK.

Manhole, and another here.

We need a key to open these.

Ah.

Here we go.

Did you hear that?

What?

NIKKI ALEXANDER: What do we do if it floods?

Run.

Ha, ha, funny.

I'm serious.

NIKKI ALEXANDER: Jack?

Huh?

No, it's the River Neckinger.

It must be just above us.

All the sewage converges here.

If there's too much water, it rises to the overflow.

NIKKI ALEXANDER: Shut up.

I'm wrong.

Shit, I'm wrong.

What are you wrong about?

If she's just been murdered, her body won't float.

It doesn't work.

How could I be so stupid?

Dead bodies don't float!

If it won't float, it can't rise to the overflow.

NIKKI ALEXANDER: I've got a signal.

Turn your light off.

She was killed, and the murderer

threw her gear into the sewer.

But where was she killed?

Here, she died in here.

It takes 48 to 72 hours for a body

to decompose enough to trap gases so it'll float.

How did her body rise to the overflow?

When she was hit by the car, her leg was broken.

She was knocked unconscious, yes?

Yes.

But when she regains consciousness,

she's in the tunnel in the dark, in terrible pain.

She has trouble breathing, so she uses her inhaler.

She hears the water rushing, sees the tunnel filling.

But there is no escape.

The water is filling fast, so she tries to stay afloat.

But as she rises in the chamber, she desperately gasps

for air.

She takes in a mouthful of scum floating

to the top, human detritus.

And her airways are blocked.

The water buffets her, smashing her skull, breaking her bones,

and then disposes of her in the Thames.

There is no water in her lungs, because her oesophagus

and trachea are obstructed.

The steroids in the inhaler allow her lungs

to fill to capacity.

Gas is trapped in the lungs, making them buoyant.

She's dead.

She floats.

Who is it, pet?

SEETHA GOLD: Morning.

Uh, it's for me.

Um, can you look after her?

Yes, of course.

We can do this here or at the police station, if you prefer.

Come in.

SEETHA GOLD: The last time you saw Mr. Briggs?

The business dinner.

I went straight home after.

Deana Collier said that you contacted her.

After his 60th birthday--

--five years ago, Mr. Briggs started

looking for his granddaughter.

He felt remorse.

And five months ago, out of the blue,

he received a letter from Deana.

He asked me to look into it.

What made you think she was his granddaughter?

ANNETTE KELLY: Well, it wasn't my judgement to make.

Briggs was satisfied?

Obviously.

So before you got the letter from Deana, how many people

knew a granddaughter existed?

It was a very private matter.

You, Briggs, anyone else?

Geraldine, obviously, Michael Trenter.

Who is--

Mr. Briggs' media advisor.

How long had Mr. Briggs been thinking

of selling the company?

He didn't want to.

He was being forced into it.

The bank had put him under pressure.

They didn't want to loan.

How long ago was that?

Four or five months.

OK.

We're done for now.

Thank you.

Is that your husband?

Yes.

Lovely little girl.

Thanks.

Just one more thing, what kind of car do you drive?

A Lexus.

GUS COOK: SUV?

Yes.

Why does anyone drive an SUV in the city?

It makes you feel safe.

We're going to need to take it away, have a look at it.

I received it this morning.

Look at it.

They're threatening to send these to the newspapers.

They want money.

MICHAEL TRENTER: You've seen it, Annette?

GERALDINE BRIGGS: Who would want to destroy

my father's reputation?

Your father?

GERALDINE BRIGGS: It's hardly about you, is it?

It's not about your father anymore.

It's about the company.

You have to do what's right for the company,

doesn't she, Annette?

Yes.

MICHAEL TRENTER: And what do you think she should do,

as her solicitor representing her best interests?

I think you should try and make a deal with Schwartzman

today, before the value drops any further.

Why does Deana Collier have--

What?

Why does Deana Collier have Michael Trenter's number

in her address book?

"Having dinner with Mum, smiley face.

If silence is golden, where is the gold, mate?"

Michael Trenter?

May I speak to Detective Gold,

please?

My resignation.

I want our conversation to be private.

ANNETTE KELLY: Of course.

GERALDINE BRIGGS: This morning must've been horrible for you.

ANNETTE KELLY: I'd be grateful if you could leave me

with a little dignity.

GERALDINE BRIGGS: I had my dignity stolen when I was 16.

I have no intention of taking yours.

It wasn't me in the photograph with your father.

Why didn't you say something?

Because it could have been.

I see.

I mean, you can't fight them.

They make up stories.

If they can't find a newspaper, they put it on the internet.

They ruin reputations.

It doesn't matter to them.

Sell the company.

Take the money and go and live your life.

My life will never be what I expected it to be.

Let Phillip take over.

Let them get on with it.

It would be in your interest to do that, wouldn't it?

It's me today.

It will be you tomorrow.

He gave the responsibility to me.

I wondered why he would do that.

He wanted me to know he believed me.

Finally, he believed me.

I'm not going to sell the company.

I don't accept it.

I don't care what you put in your mouth.

I have two days.

Now don't tell me what I should be scared of.

Tell me what I can do.

Jack, here's a list of the SUVs with bumper heights

that are matches.

Thanks, Clarissa.

I've done a breakdown of the swipe card entries.

At 11:37, a secondary guest card was used.

Both cards were issued to Annette Kelly.

The second one is not on the evidence inventory.

I'll get this over to the detectives.

Thanks.

NIKKI ALEXANDER: That's impressive.

Have you met?

No.

Nikki, Clarissa, Clarissa, Nikki.

Hi.

Is she the one you said is a genius?

I didn't actually say that.

CLARISSA MULLERY: Yes, you did.

OK, you didn't, whatever.

It's nice to meet you, Nikki.

Don't know what you're worried about.

From the way you describe her, she is a genius.

Can I have a quick word?

Ah, thank you for meeting with me.

Well, don't thank me yet.

Annette should be joining us.

Yeah, the traffic is bad.

She tells me I should work with you.

Well, I'm a good listener.

I don't trust many people.

We've got a lot in common.

JACK HODGSON: Professor.

Leo, just call me Leo.

I'm sorry.

Clarissa, you didn't actually say that I

wouldn't get to interview her.

She's my technician.

I need her.

There's a problem here with the "my" and the "I."

Ah, god, of course, you're right.

There's no "I" in Team.

And I didn't expect that--

I told you I would only come if I could bring my technician.

If she goes, I go--

LEO DALTON: Oh.

JACK HODGSON: --'cause we're a team, without an "I."

I like her.

Yeah?

Wait till you get to know her.

Jack Hodgson.

Gus.

It's her husband.

We usually give it 48 hours before we

treat it as suspicious.

But Detective Sergeant Gold thinks

we should view it as a possible crime scene straightaway,

in light of prior events.

Mhm.

What'd you find?

In the bottom drawer of Annette Kelly's desk,

residue of talcum powder.

It doesn't belong to Annette Kelly.

Go on and look inside, the pocket at the back.

Hotel swipe card.

NIKKI ALEXANDER: Mhm.

Hm, the whip marks.

Yeah.

Somebody likes punishment.

And you're different?

Ouch.

It's S cut here on the side.

Mhm.

We can swab it for DNA.

Clarissa will look for fibres.

Latex, the allergen.

Yeah.

JACK HODGSON: And I find this.

Is it some sort of extortion plot?

Maybe he got a kick out of it.

Maybe you look at too much porn.

And I thought my secret was safe.

That's not real.

JACK HODGSON: What do you mean?

Briggs' neck, look at it.

His face is smooth from the lift.

But his neck shows every one of his 65 years.

JACK HODGSON: Wasn't that on the CCTV?

Well, I'm looking for it.

Do you have the hard drive?

Yeah, original and the copy.

Well, look again.

OK.

Woody.

Come on, Woody.

Chow is.

What have you got there?

Come here sweetheart...

Woody.

Woody, Woody, drop, drop.

NIKKI ALEXANDER: It looks like it was done post-mortem,

no coagulation visible.

Was it meant to look like suicide?

LEO DALTON: Hm.

NIKKI ALEXANDER: Female, Annette Kelly.

LEO DALTON: Let's see what comes back with the DNA results.

There's a large splinter in the hand,

a dark substance on the wood.

Creosote.

It's not been cut.

Teeth marks?

Why is she leaving the hotel?

She doesn't have the bag with her.

Go to Real Time.

Just a second.

Hello?

Yeah, I may have something, but I can't talk now.

Later on, yeah.

She went back up.

When she comes back in, she finds him dead.

He's wearing the gear.

The latex caused the anaphylaxis.

She knew what the papers would say.

She's in Briggs' room late at night.

It's not good.

People will talk.

She panics.

She doesn't know what to do.

She wants to leave, but she's afraid.

She cuts him out of the outfit.

She tries the best she can to clean up.

Wipes the flat surfaces, the telephone jack.

Why did she walk out in the first place?

He's asked her to do something she doesn't want to.

The whip.

Why didn't she call the police, though?

She was afraid they might leak it to the press.

Have they found the rest of the body?

You know, Cook leaks stories to the press?

You're telling me that just like that, like it's a fact.

JACK HODGSON: It seemed the best way.

I heard him on the phone.

Can you prove it?

SEETHA GOLD: Good on the accusations,

not so much on the proof.

Because it's breaking the law, I

thought I'd give you a heads up.

Let me give you a heads up, don't touch this.

People are sensitive about it.

If you can't prove it, keep your mouth shut.

Even if you can prove it, keep your mouth shut, because we all

have to work together.

LEO DALTON: Fox--

I called the Royal Veterinary College just

to get them to confirm.

It was creosote.

The surface of the skin has traces

of Bacillus thuringiensis, a pesticide.

Here, these marks, they aren't teeth.

They're some sort of rash only.

What kind of insects is Bacillus thuringiensis

meant to control?

Jack wanted me to find out about poisonous caterpillars.

I didn't know caterpillars could be poisonous.

Did you?

LEO DALTON: Yep.

Oak processionary moth, they're

not indigenous to Britain.

Did you know that?

Yes, came from Northern France.

Did you know we've had an infestation recently?

Yes.

You did?

LEO DALTON: I just read it.

Where are the locations

of the infestations in London?

You don't know?

Hi.

OK, there are three sections of the park which are closed.

This section is closest to the residential street

where the arm was found.

NIKKI ALEXANDER: OK.

The oak processionary moth caterpillar.

Nikki, Jack, over here.

I tried to reach her this morning

to tell her we were returning her car.

LEO DALTON: Blow to the head.

Creosote?

DNA?

Prints?

DNA, prints, anything you need, you can have.

That will catch every car, bicycle, or person

that comes in here.

Think it actually works?

JACK HODGSON: Hair?

Hm.

Well, she certainly didn't kill herself.

Single blow blunt trauma injury, side of the head,

cerebral bleeding--

she had to die pretty quickly.

And there were two creosote-covered wood

splinters.

But the killer was trying to make it look like suicide?

Not very successfully.

But why, if you were a stranger,

would you try to make it look like a suicide,

if it's a random assault?

No, you do that if you know her.

DNA is back on the arm.

We've got the rest of the victim now.

CLARISSA MULLERY: Progress.

The arm belongs to Annette Kelly.

We know.

She's also your unknown DNA--

Briggs' hotel room, the carpet.

Mr. Barber and I are going to try

to look at ways to cut costs.

I think we might be past the point

where we can be looking at ways to cut costs.

Mr. Hornsby, let us try and work our way out of this.

We can't loan you any more money, Miss Briggs.

You have no experience in running a business.

KENNY BARBER: Come on, can't the bank show a little goodwill?

PETER HORNSBY: I've had this conversation

for months with your father.

Didn't know there was a meeting this morning.

You didn't know because you weren't invited.

Don't you think we should wait for Annette?

I'm sorry.

This is not an option I can consider

unless we have a concrete plan.

GERALDINE BRIGGS: Mr. Trenter, could you leave?

MICHAEL TRENTER: Yeah, there's a meeting going on.

I think--

I've got a concrete plan.

GERALDINE BRIGGS: Look, I'm not going

to pretend that I know how to do anything.

But Mr. Barber is willing to work with us.

We'll hire the people we need.

And if you could just show us some support--

SEETHA GOLD: I'm sorry to interrupt.

Geraldine Briggs, I'm arresting you

on the suspicion of the murder of Annette Kelly.

You do not have to say anything.

But it may harm your defence if you do not mention,

when questioned, something which you later rely on in court.

Anything you do say may be given in evidence.

Your arrest is necessary for the prompt and effective

investigation of the offence.

I'm in charge now.

The clock runs out tomorrow.

I'll be contacting Mr. Schwartzman to close the deal.

Of course.

He's done due diligence.

It's only a matter of a signature.

Well, that's your business, not mine.

Yes, it is.

Of course it is, yeah.

We'll get a signing immediately and put the whole thing to bed.

SEETHA GOLD: CCTV places Geraldine

at the park with Annette.

She admits she was there.

Geraldine leaves.

She drives away.

Annette doesn't.

Geraldine was the last person to be seen with Deana Collier.

So we're working from an operating theory

that Geraldine discovers Deana is an impostor hoping

to get money.

And Annette?

She thinks Annette is having an affair with Briggs in order

to extort money, probably killed him.

And the photograph is part of it.

She was a partner in her own extortion plot.

NIKKI ALEXANDER: The photographs are fraud.

It's been Photoshopped.

Are you sure?

JACK HODGSON: Light moves in straight lines

everywhere in the universe, except this photograph.

They've put Briggs' head on someone else's body.

And they've done the same to Mrs. Kelly.

But it's true.

No, I just told you it's not true.

But the DNA in the hotel room--

Well, what point you trying to make?

That they were having a sexual relationship.

NIKKI ALEXANDER: Why is that important?

They're both dead.

You're bent.

What?

Jack.

You've already sold it.

Enough, enough.

We need to visit the Kelly home, routine search.

And we need more evidence if we're

going to hold Geraldine Briggs.

LEO DALTON: CCTV places her in the car park?

Yeah, not the scene of the murder.

SEETHA GOLD: No.

Well, if she killed Annette, she

will possibly have been exposed to oak

processionary moths larvae.

She could have the red marks on her arms, her legs.

And those marks would place her at the scene, so look for them.

Can we do that right away?

Of course.

They paid you over the odds for a sex scandal.

Shut up.

JACK HODGSON: And now you're worried

you may have sold the newspaper a lie.

Are you OK?

Yeah, good.

Sorry.

Do you want to make a complaint?

LEO DALTON: I do.

No.

We all have to work together.

You don't do yourself any favours.

I need to work on that.

Gold's saying you provoked him.

She's always going to close ranks.

Do you close ranks?

Leo is doing that right now.

The professor I admire the most

having to make excuses for me.

Get over the hero worship.

Could I see your arms, please?

Why should anyone believe me?

OK, you could put your clothes on.

Your father believed you.

I believe you.

Mr. Kelly?

Hi, Nikki Alexander.

I'm so sorry. Are you ready for this?

Are you trying to intimidate me?

No, just wondering how hard it is to become a detective.

It can't be that hard.

Shut up.

Silence is golden.

Deana's text message, does Michael Trenter have an SUV?

KENNY BARBER: I thought you got paid to keep

that shite out the papers.

Now it's actually studied in advertising courses.

What time did Mr. Schwartzman say he'd be here?

He's not coming.

About 5 o'clock, no.

He's going to let the ship sink

and then buy it for salvage, or is it Michael?

He'll wait until the very last minute,

pull out, and let the company go under.

Be quiet.

KENNY BARBER: Schwartzman is not interested in you

or me or Hornsby.

He'll probably buy it for 30p on the pound

and turn it into a nonunion shop--

results.

I said, shut up.

1,000 people out of work.

And people say he's clever.

I said, shut it.

KENNY BARBER: Politicians want to be his friend,

have a drink with him.

He'll set up an academy and sleep with an actress.

Hello?

KENNY BARBER: He'll be in Tony Blair's address book

now and give money to some spin doctor's charity

for alcoholic depressives.

Mr. Schwartzman has withdrawn his interest.

KENNY BARBER: Oh.

PETER HORNSBY: He won't be coming today.

KENNY BARBER: Bunch of mugs.

Yous are all a bunch of mugs.

So am I.

You need to put yourself into administration immediately.

He's having body work done.

Detective Sergeant Gold.

Is this Michael Trenter's car?

This is it.

PHILLIP BRIGGS: I thought you knew everything, Michael,

everything about everyone.

MICHAEL TRENTER: Do we want to sell the company, Phillip Let's

just stay focused on that.

I've spoken to the administrator.

They're desperate.

We think we can do a deal of 30 pence on the pound,

because of you, Michael.

Thank you.

Don't mention it.

What is it?

Deana Collier.

MICHAEL TRENTER:

Pathologist.

Forensics.

NIKKI ALEXANDER: Jack?

JACK HODGSON: Mhm?

NIKKI ALEXANDER: Oak processionary moth.

Detective Gold, in particular, praised your work.

I don't know why.

It's a mystery.

And it is very gracious of you to invite Detective Cook to do

the follow-up on Deana with you, magnanimous.

Two words I don't normally hear.

I imagine he'll like the sewer.

Thank you.

Thank you both for giving me the chance.

Hello, Professor.

Hello.

Hello, Dr. Alexander.

Hi.

The information you wanted, I've confirmed it.

Oh, thank you.

No worries.

It's a beautiful day today, isn't it?

Very upbeat.

Change is good.

Change is good.

I ran your DNA against the database,

and that's when I discovered something.

That's Joanna, by the window.

The couple that adopted her sent her back.

Turned out she wasn't perfect.

No one's perfect.

JACK HODGSON: You OK?

Yeah, good.

Man, I'm going to film a bit of this.

JACK HODGSON: That's where we found the film, further

along there.

GUS COOK: Oh, my god.

JACK HODGSON: Huh?

What are you doing, man?

I'm going to kick your ass.