(Wishing Well by Free) Captioned by Media Access Group at WGBH. www.able.co.nz Captions were made with the support of NZ On Air. Able 2017 # Take off your hat # Kick off your shoes # I know you ain't goin' anywhere # Run 'round the town # Singin' your blues # I know you ain't goin' anywhere # You've always been # A good friend of mine # But you're always sayin' # Farewell # And the only time # That you're satisfied # Is with your feet in the wishing well - (siren wailing) - # Oh... You all right? You saw it, bastard went for me, I had to defend meself. Best if you keep quiet. OFFICER: Get on! Right, in. - PHOTOGRAPHER: Profiles first. - (camera winds) Turn to the right. Look at the camera, son. - (camera shutter clicks) - Instead of staring, why don't one of youse get my solicitor? SERGEANT: We'll call him tomorrow. - Get him out there. - Move it. Come on. I know my rights. Bloody hell, Len. Looks like he went ten rounds with Henry Cooper. Spence saw red. You know how he gets. I can delay this, but it won't go away. Just make sure Gibbs gets his story straight. (jackhammering in the distance) (jackhammering continues) (jackhammer slows to a stop) What's going on? - What are you playing at? - SILAS (whispers): Police. There's a policeman outside. Shh. - (radio crackles) - Eagle's Nest, come in. Eagle's Nest, come in. (pounding on door) Eagle's Nest, come in. - (radio crackles) - Come in, Eagle's Nest. (low, unsettled music) Good evening, Officer. - Everything all right? - Evening, sir. We had a complaint from one of your neighbours about the noise. Uh, we're carrying out a refurbishment of the kitchen. Uh, please, let me show you. I have a permit. I told the council there will be some out-of-hours work. So, uh... who made the complaint? I'm not at liberty to say, sir. (low, unsettled music) - Are you finished for the night? - Of course. (radio crackling) - (door opens) - OFFICER: Good night. SILAS: Good night. Jane. You got a minute? Not really, sir. I'm late as it is. - Oh. Well, I just wanted to check if... - (door opens) Excuse me, sir. ...if everything's all right. Yes, sir. Absolutely. - You're sure? - Positive. (door opens) Tennison, a word. (sighs) Well done for last night. I hear you stayed calm in a tough situation. Thanks, Sergeant. Yeah, but that's no excuse for being late again. Go on, shift it to comms. Is it me, or are WPCs getting younger and more attractive? Wish I could say the same for solicitors. I understand you're holding one of my clients here, Mr O'Duncie? Did he call you? I'll take that as a 'yes'. Would someone kindly show me to my client? Thank you, Sergeant Harris. (low, unsettled music) (music continues) (boat engine clacking) (sinister music) (intriguing music) It's Eddie Philips. Divers just fished him out. (camera winding) The uniforms found this on the towpath. And this broken syringe. We can safely say it wasn't a midnight swim. Someone's given him a good crack on the head. BRADFIELD: So he was hit first, then thrown in? Can't clarify that till after the PM. ASHTON: Judging by the state of him, he's been here a while. LAWRENCE: I'd say 24 hours, at least. Right, I'll try and find the professor, let him know he's got another post-mortem to attend to. Thanks, Paul. (intriguing music resumes) What were you mixed up in, Eddie? (door opens, closes) What are you doing? (grunts) Look at him. - Eyes like pinpricks. - What's going on? We had a copper turn up, didn't we? Because you were high. I wasn't. I-I wasn't. Went up to look for you and I found this. And this. We flushed the rest of it. Let the rats get high on it. You got any more stashed away? - No. - Hmm? You've got to sort yourself out. I'm not going back to prison cos you're too high to do your job. Who's going back to prison? - David? - No one, Mum. - (door opens) - What's that? - (door closes) - No, don't worry. It's sorted. (intriguing music) (officers speaking indistinctly) Sir, is the Gestapo really necessary? BRADFIELD: It's nothing personal, Morgan. We're all under the microscope today. O'Duncie might try and put us on the back foot. Hold on, these notes are fresh from the bank. They're in the same sequence. Look. That can't be right. O'Duncie's a drug dealer. Call the bank. Get the serial numbers for the 500 quid George Collins withdrew, cross-reference those. (grunts softly) It's all right, Mrs Philips. (softly): OK. GIBBS: If you could just nod for us. Is this your grandson Eddie Philips? (low, unsettled music) (crying): You bastards! You done this to him! - Oi! Oi! Oi! - Bastards! - GIBBS: Hey! Calm down, Mrs Philips, please. - (panting) (sobbing) Mrs Philips? Mrs Philips? The last time we saw Eddie was when we took him to the hospital. But he escaped from there. We need your help to try and find the person who did this to him. Did Eddie ever mention a Dwayne Clarke or a Terrence O'Duncie to you? No. This is her fault, that Julie Ann. Eddie fell for her, hook, line and sinker. (sobbing): Look where it got him. (sobbing) (pensive music) Where were you on the evening of Sunday the 13th of May? I was at home all night. Do you know Julie Ann Collins? When we searched your squat, we found a large quantity of drugs and 235 pounds in cash. Was that connected to the deal you were doing with Julie Ann Collins and Eddie Philips? - We know Eddie was there, we found his fingerprints on your door. - STONE: And might I suggest this Eddie chap broke in, planted the drugs and money and then informed you? This morning, this Eddie chap was pulled from the Regents Canal. We believe he was murdered. Did you know that Eddie spoke to us? And that's why you had to shut him up? Speculation. You, Eddie... and Julie Ann Collins. I'd say that proves something. And now they're both dead. (whispers indistinctly) My client would like to discuss the events that occurred during his arrest. What occurred is Mr O'Duncie attacked my officer. My client doesn't see it like that, and we will be making a formal complaint. Well, it's his word against ours. Except we have a witness. Miss...? Flowers. She only has one name. We're going to need your full name. Miss Flowers, we are speaking to Terrence O'Duncie in connection with two murders. You were not there when Mr O'Duncie attacked my officer. Yes, I was. And I'll swear to it and all. I saw Terrence get punched and head-butted by your mate. STONE: Miss Flowers appears to have seen everything, DI Bradfield. (unsettling music) You wanted to see me? A10 have requested an interview with you about the alleged assault on O'Duncie. Tomorrow morning. What should I tell them? Just tell them what happened. I heard you were downstairs when it all kicked off. (intriguing music) (footsteps recede) Yes, Sarge. BREEZY SONG: # Wake up, it's a beautiful morning # Wake up # Sun is shining bright for your eyes # Wake up, it's so beautiful # Wake up. # MARTIN: Some bruising on his ribs and hip. Old. Best guess... 14 days. Uh, lateral fracture on the left ankle, recently healed. He's been in the water at least 24 hours. Recent injection site in the groin. Blood analysis will confirm, but we can assume he was under the influence. What about the head wound? A blunt force injury. Impact site is consistent with a large, blunt object,... and from the wound,... most likely post-mortem. A barge, maybe. But the barge didn't kill him? MARTIN: We'll know more later. (chatter, phones ringing) BRADFIELD: So what have we got? 25, in fives,... each matching the serial numbers from the cash withdrawn by George Collins. There's one, two, three fives that match the list. 15. Right, and you sent the top and bottom notes from the stack for fingerprints. That's fifty quid. George Collins lent Julie Ann 50 quid to pay back Eddie's debt, and now those same notes end up with O'Duncie. We're closing in on him. Eddie's debt was with O'Duncie. (pensive music) All right, Tennison? Listen, I'm, I'm sorry about bringing all this to your door. Can I buy you a drink? I need to go home. A10 should have better things to do. Just doing their job. - What are you gonna tell them? - I-I'm not sure. I... Listen. If this complaint gets upheld, I could get suspended. I-If, if you just tell them you were downstairs with the girlfriend... But I wasn't. I came back up for her shoes and I saw the whole thing, I... I have to go. (Block Buster! by Sweet plays) (laughter, whooping) # Ah # Ah... Come on, it's a party. Yeah. I'm all right. You enjoy yourself. Oh, OK. Did Mum and Dad make you the responsible adult? # He'll come from behind, you'll go out of your mind... Oh, Jesus, Pam! Don't make a mess. I'll clean it up in a minute. So are you bring any men? Hmm? Do you need your baby sister to set you up on a date? Ugh. No, I'm OK. # Can't look into his eyes, you'll be surprised... There is someone,... but he won't be coming to your wedding. Is he imaginary? - (chuckles) No, he's bloody not. He's just... # He'll steal your woman out from under your nose... - So you've really met someone? - # Does anyone know the way, did we hear someone say... - You looking forward to getting married? - Don't change the subject. What's this bloke like, then? (chuckles) I... I don't know. Don't you? - He's tricky. - Jesus Christ, Jane, they're all tricky. WOMAN: Come on, Pam! Come on. Let's dance. (crying) (pensive music) (music continues) (knocking) (knocking continues) (knocking) DAVID (over radio): Eagle's Nest to Eagle One. Look out, you got a visitor. (jackhammering in the distance) When you said there'd be noise in the evenings, I didn't expect this. Sorry, but we'll be finished soon. What's the hurry? Can't you finish earlier and just take longer? Not really. - Who are you? - Was it you who called the police? (unsettled music) I'm sorry about that, Silas. It's all right. You got yourself a boyfriend? I'm not short of offers. One of them could put you up for a couple of days, until we're finished. Right. Oh, I'm sure they would. Thank you. (door opens) (clattering) You go to bed, love. - No. - I'll do this. I'm fine, I'm nearly finished. You all drank a lot. Did you stick your head in and check on Pam? She's, uh, passed out,... fully clothed. So I guess it was a good night. (doorbell ringing) (knocking on door) Did Dad forget his keys? Uh, he went straight to bed. (knocking on door) - Mrs Tennison? - Yes. Um, I'm sorry about the late visit. I'm, I'm DI Bradfield, I work with Jane. I wondered if I could have a word with her. Nearly midnight. It's all right, Mum. Evening, sir. Come in. (softly): He's been drinking, I can smell it on him. You go to bed, it's just work. (sighs) Sorry, Jane. Did Gibbs send you over here? Not as such. I just popped by his gaff to check in on him. And now you're checking on me. Jane. Go on. Just say what you came here to say. It's... been a long day, and I need to go to bed. Sir. (sighs) O'Duncie's girlfriend is backing his version of the story, so, I need you to tell A10 what you saw. And what you saw was O'Duncie make a swing at DS Gibbs and DS Gibbs defend himself with a single punch. O'Duncie fell, and hit his head on the radiator. Saying I was downstairs was a white lie, but this... Spencer Gibbs is a hothead. All right, but he's also the best detective I've got on my team, and I would prefer to deal with him in my own way. By lying. That lowlife O'Duncie is in the frame for Julie Ann's murder. Maybe Eddie's, too. It's things like this that derail an entire investigation. Terrence O'Duncie will use this to get off. Do you want that on your conscience? What if they catch me out? I'll be the one who's disciplined. Who'll stand by me? Don't you get it, Jane? If you do this, the whole station will stand by you. It's the way the game works. We all look out for each other. We are on the same side. (intriguing music) Please think about it. I'm really sorry about this. I wish we were talking under different circumstances. Good night. Night. - What in heaven's name are you playing at? - (gasps) (unsettled note) Well, your mum's worried sick again. I told you, nothing's going on. Oh, don't lie to me. I haven't said anything. I am concerned that my daughter is... having relations with her senior officer. (laughing): 'Having relations'? (exhales) Chime in any time, Andrew. Well, this is very much your area. It doesn't bother you that this is going on under our roof? (sighs) This... this Bradford chap. (chuckles) Bradfield. How... how well do you know him? How well did you know Mum? You got married a month after you met. Your father did not turn up in the dead of night asking me to lie for him. You were spying on me? - Oh, Jane, don't be so naive. - JANE: I'm sick of this. (sighs) Once he's got whatever he needs, he'll cast you aside. And for what? So his friend can save face? He's a colleague. Oh, whatever he is, it's not your business. What happens at the station IS my business. But it's not yours. (scoffs) (door opens, closes) (intriguing music) (foreboding music) (indistinct conversations) (speaks indistinctly) (low, indistinct chatter) What'd you tell them? He went for me. I landed a punch. He fell against the radiator, hit his head. And did they go for that? (sighs) I hope so. Well, go home. - Try and forget about it. - (Gibbs sighs) LAWRENCE: Autopsy report on Eddie Philips. Cause of death was internal bleeding. We found heroin in his blood, along with high traces of strychnine. Strychnine? Commonly found in rat poison. (distant typing, phone ringing) OFFICER: Wakey, wakey. (lock clunks) She's all yours. (hinges creaking, lock clicks) I just need to confirm your name and age and then we can get you some help. I don't need help. I need to get out of here. I've done nothing wrong. I spoke to our missing persons index. The Girls Village Home in Ilford reported you missing on August 25 last year, Sarah. (Flowers sighs) I just need you to confirm it and then you can go back to being Flowers. I don't need your permission. - I know. - (breathes heavily) My skin is burning. (sighs) Julie Ann Collins was an associate - of your boyfriend, Terrence. - Oh... On May 13, she was murdered... and dumped in an unused underground car park. Did you know her? I don't feel well. You said you'd get me help. We will do everything we can. He's not my boyfriend. I let him screw me when I need to get high. (tearfully): And I really need something now. (exhales sharply) But you saw him with Julie Ann? I don't know what happened to her, but... What is it? Eddie... I saw Eddie. Where? We have a witness who says Julie Ann Collins visited your squat on the day she died, May 13. Julie Ann came to see you to pay off the 50 quid that Eddie Philips owed. We had the notes chemically treated for prints. Both yours and hers were on them. ASHTON: What did you do with the rest of Julie Ann's money? Three weeks before, you ordered some thugs to beat up Eddie Philips over that debt. Says who? BRADFIELD: We have witnesses. From the squat? Reliable witnesses then? Did Julie Ann ask you about a drug deal? Wanted to make a few quid? Vulnerable young girl with a couple of hundred quid in her pocket. You, a notorious drug dealer with a thing for vulnerable young girls. When we tear your place apart, are we gonna find the rest of her money? My client denies any involvement in Julie Ann Collins' death. (knock on door) (door opens) Sir? (pensive music) Can you tell DI Bradfield what you just told me? I saw Eddie Philips at the squat. I watched him die in front of me. - Go on. - I walked in on 'em having an argument. Terry was pissed off that Eddie spoke to you lot. Then, he calmed down and gave him a hit on the house. But that don't make no sense cos Terry never lets anyone shoot up in his room, but he let Eddie do it. - And you saw all this? - Eddie just collapsed. Terry said he'd be fine, but his whole body started shaking, like, really shaking, and then... Oh, God! She needs treatment. Get her to the hospital. (cries): Can you help me? (crying continues) (sombre music) It's OK. Two nights ago, Eddie Philips,... he came to visit you, you had an argument. My officers found drug paraphernalia in his belongings. We pulled your prints from his bag and also from a box of rat poison we found in your squat. You let him inject this, to kill him, and then carried him to the canal and threw him in. Did Eddie find out you killed Julie Ann? Was he blackmailing you? BRADFIELD: More likely, Eddie was liability. He grassed you up, didn't he? You couldn't have that. I didn't kill Julie Ann Collins or Eddie Philips! BRADFIELD: We're charging you for both. Get him in a cell. - ASHTON: Come on. - Do something, for fuck's sake. - ASHTON: Come on! BREEZY SONG: # Wake up, it's a beautiful morning # Sun is shining bright for your eyes # Wake up, it's so beautiful # Wake up # Wake up, it's a beautiful morning # Wake up # Sun is shining bright for your eyes # Wake up, it's so beautiful # Wake up. # VOICEOVER: Hey, Auckland, which of the Youi 40 ways to save would work best for where you live? Grey Lynn, close to the city, is where Ava lives, so number 1 of 40 - "Don't drive to work" - could be best for her. Do a car insurance quote at youi.co.nz. Please state your name for the record. Probationary WPC 517G, Jane Tennison, sir. And can I confirm that you were present during the arrest of Terrence O'Duncie? I was. Yes, sir. WILLIS: In your own words, describe what happened during that arrest. JANE: Detective Inspector Bradfield and Detective Sergeant Gibbs broke down the door to Mr O'Duncie's dwelling. At the time, Mr O'Duncie was, um... Why the hesitation? Sorry, sir. At the time, Mr O'Duncie was in bed with Miss Flowers. I was tasked with assisting her out of the room and I... So, I... D-Downstairs... WILLIS: Just tell us exactly what you saw. Can I request that we interview WPC Tennison alone? WPC Tennison, would that be OK? Um, I believe an officer is entitled to be represented by a more experienced colleague. May I continue? I saw Mr O'Duncie lash out at DS Gibbs. DS Gibbs defended himself, landing one punch, causing Mr O'Duncie to fall and hit his head on the radiator. - (paper rustling) - And Miss Flowers? Where was she during this altercation? Downstairs, on the second floor landing. (low, intriguing music) Sorry you had to go through that, but... you handled yourself admirably. Thank you, Sarge. Tennison? That's another obstacle cleared so we can take this bastard down. That's all this was ever about. Just told them what I saw. (chatter) And I had you down as a Goody-Two-Shoes. I'll be all right, won't I? You kidding? You're one of the team now. JOYCE: We're not trying to control your life. JANE: Well, that's what it feels like! But you don't have to go straightaway. (sighs) There might not be another vacancy for months. Oh, and that would be the worst thing, to wait? Jane, you are not thinking this through. Oh, for God's sake! Oh... Don't raise your voice at me. Then help me pack, instead of interrogating me! (softly): Oh. (sighs) (sighs) (low, intriguing music) TURNER: How old are you? Twenty-two. - Any boyfriends? - No. Let me remind you of the golden rule: men are not allowed on the women's floor and vice versa. Anyone caught breaking that rule will be barred immediately. Of course, Sergeant. (low, intriguing music continues) (music builds) Jane, you made it. What do you fancy to drink? I'm OK, thank you. No, don't be silly. Can we get a G and T? So, we got the bastard. - Cheers. - Cheers. - Cheers. - Cheers. - Yes. - (door opens) BARTENDER: Sorry, lads, I'll be with you in a minute. Bloody hell. - (wolf whistles) - Look at the state of that. EDWARDS: You all right, Spence? - Did you get hit by a Woolworth's truck on the way in? - (laughing) It's fashion, mate. Did you hear? I'm in the clear. I owe you one, Jane. Don't mention it. Lots to celebrate tonight, eh? Two murders wiped off the boards! (excited shouting) One mystery remains, though. Why are you dressed like a pirate? (laughs) When I'm done I'll buy you a drink, yeah? - Not you though. Cow. - (laughter) - (door opens) - EDWARDS: Whay. (laughter, shouts, clapping) (plays You Really Got Me by The Kinks) # Girl, you really got me goin' # You got me so I don't know what I'm doin' now # Yeah, you really got me now # You got me so I can't sleep at night... You took one for the team. They all bloody love ya. I love ya. (chuckles) - You're drunk. - And you're not. Come on. - Get that down you. - Morgan, Tennison, come on. - Come on. - No, I'm all right. # You really got me, you really got me # You really got me # See, don't ever set me free # I always wanna be by your side # Girl, you really got me now # You got me so I can't sleep at night # Yeah, you really got me now # You got me so I don't know what... # (knocks) So, it's true. You moved in. I saw the vacancy on the notice board. Well, it's great here. It's very convenient. (chuckles) I'm a bit too old to be getting under my mum's feet, so... (door opens nearby) U, I've just had the 'no boys on this floor' pep talk by Sergeant Turner. I don't want to be getting into trouble on my first day. He'll be fine. (chuckles) Look, um, I wanted to talk to you in the pub, but you disappeared. I wanted to thank you for what you did. I know that can't have been easy. It wasn't. I'm just glad it's over so now we can... I mean, so you can get on with the case. Right. If that'll be all... Good night, then. Good night. Jane. What I said... the other night... (low, intriguing music) ...that I admire you... I really meant it. (intriguing music builds) (music continues) (music continues) (clicking rapidly) Morning. Afternoon. What time do you call this? Here you go, this'll wake you up. - It's your turn to visit Ashley Brennan. - Who's he? One of our most... vigilant citizens. (chuckles) MORGAN: He lives on the Pembridge, place where Julie Ann was found. (static crackles, indistinct radio transmission) (tape rewinding) (static crackles) (intriguing music) (knocks) Oh, we've already had the landlord round about the aerials. A-Ashley's gonna take them down. I'm not here about that, madam. Your son called the station? Ashley. (indistinct radio transmission) Ashley. Ashley. (knocks on door) There's a policewoman here to see you. - About bloody time. - (indistinct radio transmission) Thank you, Mother. Shut the door. Identification, please. (tape continues playing indistinctly) Can't be too careful. What's this all about? CLIFFORD: ...Eagle One, come in. I was intrigued by their call name. - Eagle's Nest to Eagle One, come in. - Eagle One. Not that I thought for a moment that the RCA 88 can pick up NASA transmissions. - CLIFFORD: Come in, over. - (distorted, indistinct talking) They've been active since Monday. CLIFFORD: Keep going, mate, we'll get there. Isn't this snooping? I record all suspected criminal activity. 'Eagle's Nest' refers to a lookout. And who uses lookouts? (whispering): Criminals. JOHN: Eagles One to Eagle's Nest. We're coming out in two. David, are you awake up there? Can you play that bit again? (tape rewinds) CLIFFORD: You better keep trying cos this thing only works when we're at the top of the steps. We can check the range of Mr Brennan's radio equipment and see if we can track down the officer who attended the cafe. We follow that one, every tip-off from Ashley Brennan, we'd get nothing else done. MORGAN: You've been Brennan'd. It's a station joke. But it was worth a try, Tennison. (intriguing music) JOHN: Is David up? Up and out. We need to get on. Yeah, well, I told him to get himself sorted. He was shaking like a bloody leaf, wandering about the flat, muttering to himself. Where is he? I can't bear to see him like that anymore. Ma, where is he? (sirens wailing) JANE: Which room is Sarah in? RECEPTIONIST: Let me just check. - Room 12. - Thank you very much. You're welcome. Thank you, Sarah. Have you somewhere to go when you leave here? They found me a room at a home in Richmond. You won't tell Terrence where I am, will you? No. Thank you. It's OK. (low, indistinct conversations) David. What the hell are you doing? - (gasps) - Here, give me this. (intriguing music) Oh. We're fine, thanks, love. We'll deal with this at home. Come on. Don't need any form filling and chitchat with doctors. (intriguing music builds) Did you get it? Social worker present? Sarge, I think I know that man. The other day on the Pembridge, he slammed his door on me. (vehicle door shuts) Sarge, do you know them? SERGEANT: Clifford Bentley's lads. Yeah, I know them. The voice on the recording, I-I think it was him, the one driving. SERGEANT: John Bentley? Are you sure? Yes, Sarge. (vehicle drives away) (unsettled music) (music continues) Get whatever you need and let's go. (unsettled music continues) (music builds) (engine starts, revs) (honking) (horn honks) (honks) Oi, stop pissing about... and get in the van. (ominous music) (solemn music) Captioned by Media Access Group at WGBH. www.able.co.nz Captions were made with the support of NZ On Air.