New Blood (2016–…): Season 1, Episode 4 - Episode #1.4 - full transcript
- You were out late last night.
- Yes.
- I was at the club. Did I disturb you?
- I heard you come in, but that's OK.
Is this yours?
- Yes.
- When did you get it?
- Yesterday.
- Out partying, new phone.
- Did you get a pay rise?
- Yes...something like that.
- I have to go.
- See you.
Oh! Your phone!
Not on the building site. Security.
- (DOOR OPENS)
- Bye, Adam.
(FRONT DOOR CLOSES)
RASH: It's a charity event. 54 miles.
You've gotta get sponsors.
- That's easy.
- Getting sponsors?
54 miles.
- So, wilI you do it?
- Is it a race?
- No, it's not. It's for charity.
- It's boring.
Why has everything
gotta be competitive with you?
It doesn't. Race you to the river.
(LAUGHS)
Come on, old man!
- MAN: Czesc, Adam!
- ADAM: Roman.
Excuse me, excuse me.
Sorry. Excuse me, fellas.
- Bede z toba.
- Bardzo cie widziec.
(RAG'N'BONE MAN: Wolves)
# Don't wanna drown no more
# Sick of the same old people
# The kind that'lI selI your soul
# Trade it for a shinin' stone
# Ain't nothin' in this life for free
# Running from the greatest evil
# It finally dawned on me
# A man's gotta fight temptation
# Keep the wolves from the door
# I hear them scratching
like I don't know better
# Won't you keep
the wolves from the door?
# It won't be long before I cave in
and open up the door. #
(SIREN WAILS IN DISTANCE)
No!
What's wrong?
I'm not going to share your bottle!
I don't know where it's been!
OK.
- What's the charity?
- You're not interested.
I might be.
Streatham Hospital.
It's where Leila works.
- Hi.
- Hi.
Leila?
Is she going to be there?
Of course.
Well, it is for a good...cause,
a hospital.
- Yeah, I'lI do it.
- You said you were busy.
- I can move things around.
- Is this about helping the hospital
- or is this about Leila?
- Oh...alI right, calm down.
AlI right?
- I might give her a call.
- Why?
- To enrol.
- She's not organising it!
- She's just taking part!
- I might give her a calI anyway.
What's her number?
07779...
- 325774.
- What?
077793257...44.
- You made that up.
- Well, I don't know her number.
I've forgotten it.
- I've gotta get to work.
- See ya.
See you tomorrow at the gym.
- ELEANOR: This is quite a view.
- MAYHEW: Thank you.
- You've done very welI for yourself.
- I could say the same for you, Eleanor.
- Government intelligence, Serious Fraud.
- Why have you asked me here?
(LAUGHS) And always straight to the point.
I've asked you to come to my home...
Because you're up to something you don't
want anyone at Westminster to know.
I'd have invited you to lunch.
I wouldn't have accepted.
You know very well
- we don't do lunch at the SFO.
- Hm.
I do sometimes think
you take probity a little too far.
- I'm busy, Peter, so...
- Charles Matherson.
- The minister?
- Mm.
Under Secretary of State for Planning.
(BIG BEN STRIKES)
MAYHEW: Very much a high-flyer.
- Hello, Charles!
- Peter!
Spoken of as future PM.
- ELEANOR: Go on.
- It's not my place
to telI the SFO its business,
but he's corrupt
and I'd like you to naiI him.
ELEANOR: In the past three years,
Matherson has greenlit two skyscrapers -
the Iron and the Fridge.
This is the third. It's the biggest yet.
It's called the Scimitar.
ALISON: So, where's the problem?
The problem is...
his wife.
She has connections
in the construction industry.
Her father owns a quarry in Yorkshire
supplying high-quality ragstone
to each of the buildings
Matherson has approved.
- The Iron, the Fridge, the Scimitar.
- STEFAN: Wait a minute.
He's a minister for planning.
How can he do that?
It's not him, it's not his wife,
it's his father-in-law.
It's all...very transparent, but...
MAYHEW: Everyone
was against the Scimitar -
English Heritage,
the RoyaI Parks Foundation,
the Commission for Architecture.
Half a million Londoners even signed
a petition to stop it being built.
But he stilI managed to steer it through.
You think he's being bribed?
Well, that's what
I'm hoping you can telI me.
If he's being bribed,
the money's gotta show up somewhere.
Exactly.
Are we taking this on?
I don't know. What do you think?
I hate these buildings.
London doesn't need 'em.
80% of them are owned
by foreign investors.
They buy 'em off plan in Singapore
and they never live in them.
- The whole thing's a racket.
- That's not exactly the point.
Well, that's just how I feel.
Well, it's certainly worth
some initiaI scoping.
We'lI need to look into his private life.
I'lI find a way in.
(HEAVY HAMMERING)
(VEHICLE REVERSING ALARM)
MAN: Whoa!
(SPEAKS POLISH)
Hey, you two. You know what the rule is
on this site, yeah?
English only.
- I told him about you.
- What, my name?
- No, nothing.
- Good.
But Gulliver, he's OK.
He'lI pay you the same.
- 1,000?
- Yeah.
If he gave you that, it was worth more.
AlI right?
(DRILLING DROWNS OUT SPEECH)
"We should hang soon. When's good?
Can't wait to see you, babe."
Look, I know going through hundreds
of phones isn't the most exciting job,
but have you found anything yet?
No, Sarge.
There could be some usefuI inteI on these,
you never know.
Listen, er, I might have something a bit
different for you, if you're up for it?
- What's that?
- It's an undercover job.
I need something collected.
OK, it's hot, there's money involved
and it'lI affect the whole squad.
What do you think?
Yes, Sarge.
Two cappuccinos, two flat whites,
three breakfast teas and a hot chocolate.
I want the change,
and bring back a receipt, alI right?
- (LAUGHTER)
- Go on, then, get on with it.
(# MOZART: Le Nozze DI Figaro)
(MOZART CONTINUES ON STEREO)
- I'm off.
- Where are you going?
- The Wesleys.
- Oh, God!
- I know.
- What is it this time?
The launch of the Scimitar
dressed up as some sort of charity do.
Art in prisons or something.
- Which is where they'lI probably end up.
- (BOTH LAUGH)
- (DOORBELL)
- There's my driver. Are you in tonight?
I'm not moving. Dinner in front of the TV.
Oh, God! Lucky you.
Mwah! I'lI see you later.
You're not my usuaI driver.
What's happened to Ivan?
- Ivan's not well, sir. They sent me.
- Hm. I'm very sorry to hear that.
- What's the matter with him?
- They did not say, sir.
- They said he'd be away for two weeks.
- It's a nuisance!
What's your name?
Stefan, sir.
How long have you been
with the car service?
- Um, six months.
- Hm. I hope you know your way around.
I'm going to ParlI ament now,
then to the City Garden Space.
- Do you know it?
- It's in the satnav, sir.
Yes, of course.
I, er, take it you know who I am?
- Yes, sir.
- Right.
You never speed, you never go through
a yellow light and if you keep me waiting,
even for a minute, I'lI ask for
a new driver. Is that understood?
- Yes, sir.
- Good.
Let's go.
Oh.
(DRILLING)
(MAN WHISTLES)
KEANE: Adam?
- See you tonight.
- The Golabki.
- You're buying.
- (LAUGHS)
Listen, er, the lights have gone down
in Section One.
It's going to get dark pretty soon.
I need you to go and check the generator.
- Now?
- Yeah, now.
I mean, the rig's about to arrive. Yeah,
we're going to be drilling alI night.
- Well, crack on. Get on with it.
- OK.
(BUZZING)
(BUZZING GETS LOUDER)
(ENGINE STUTTERS, THEN STOPS)
(CLICKING)
(PEOPLE SHOUT)
MALE NARRATOR: The Scimitar.
A stunning new development
set to transform the London skyline.
State-of-the-art offices,
a luxurious five-star hotel,
and breathtaking apartments,
brought to life by visionary developers
the Wesley Brothers.
This complex
is already destined to become...
London's most exciting landmark.
The City Garden Space, sir.
AlI right, wait for me here.
I shouldn't be more than an hour.
I'lI let myself out.
Rising 250 metres above the city,
no building can compare,
in terms of ambition, scale and prestige.
This incredible investment opportunity
has complete government backing.
Be part of the future,
be part of the name,
be part of...the Scimitar.
(APPLAUSE)
Ladies and gentlemen, thank you very much.
We want to thank you all
for being here tonight,
in particular
our wonderfuI architect, Paolo.
And, of course, the Under Secretary
of State, Charles Matherson.
Thanks to the agreement reached
with the minister,
the Scimitar wilI be making
a Section 106 contribution of £16 million
going to the locaI community.
Louis and I are determined that
the Scimitar should benefit alI London
and, working with the government,
that's what we intend to achieve.
(APPLAUSE)
I'm sorry, sir,
I'm afraid this venue's closed
- for a private function this evening.
- MAN: I'd like to see the Wesleys.
PA: I'm sorry, I can't let you in
if you're not on the list.
Listen, darling,
telI them john Gulliver is here.
They'lI see me.
- Just between you and me...
- Ah!
...I don't like your snotty attitude, OK?
So why don't you shove it,
along with your clipboard,
and telI them that I'm here?
STEFAN: Let her go.
Who are you?
I'm a driver.
Well, get back in your car...
and mind your own business.
I'm OK. I don't want any trouble.
You heard her, she's OK.
There won't be any trouble.
I just need to speak to him.
ELIAS WESLEY: But tonight
isn't just about the Scimitar.
Downstairs,
and alI around us,
you'lI find originaI artwork
created by young offenders
under our artistic licence scheme.
It's alI for sale.
So, please, dig deep and enjoy yourselves.
Thanks for coming.
(BUZZ OF CONVERSATION)
PA: Mr Wesley.
What are you doing here?
I gave you two days.
- I stilI haven't heard from you.
- I needed to think about it.
I wouldn't say there was much
to think about, unless you want alI this
- to come crashing down.
- Look...
I'lI pay.
It wilI just take me time
to raise the money.
TelI me where I can find you.
(SIRENS WAII IN THE DISTANCE)
(HE SIGHS)
(SPEAKS POLISH)
Adam's dead.
What?!
He was killed on the site today.
It was an accident.
An accident?
That's what they say.
- Does anyone know?
- What?
You know what I'm talking about.
Did you telI them?
- No.
- You mustn't.
Eva...Adam is dead.
He sold it to them and they killed him.
I have to go to the police.
No!
Yeah.
No, it's not a problem.
Bye.
Accident on a building site.
Happened yesterday.
Builder was killed
when a generator exploded in his face.
Adam Jannsen? What's that? German?
Polish, I think.
Does it make any difference?
- Not to him any more.
- Anyway, it's a big deal.
It's the Scimitar.
You know, maybe you should
read the papers a bit more, Derek.
It's a £500 million development.
It's controversiaI -
it's got government backing, anyway.
Press are alI over it.
That's why it's been passed up to us.
- What about Health and Safety?
- No, they've been told to wait.
I want you to go down there
and make a preliminary report.
- And take Sayyad with you.
- Why?
Cos he's a TDC, Derek.
"T" stands for trainee.
Not something
you send him out to buy, alI right?
Right, come on.
Get your coat!
The new build, known as the Scimitar,
has been controversial
since it was given the go-ahead
earlier this year.
Police and Health and Safety officials
have closed down the entire project
following the death of an unnamed
construction worker yesterday.
- Where's the foreman?
- WORKER: In the office.
SANDS: Well, well, well!
Raymond Keane!
- I've not seen you in a while.
- RAYMOND: Hi, Derek.
- You work here, do ya?
- Yeah. Site foreman.
Wonders wilI never cease.
So, what happened?
It was an accident.
Checked the generator and, um...
...the thing just blew.
His bad luck, eh?
Let's have a look, shalI we?
KEANE: We had a power short, so I sent
Jannsen to look at the generator.
- You sent him?
- He was the first person I saw.
- I hardly knew him.
- From Adam, yeah.
So, what happened?
I dunno.
I think there was a leak in the tank.
No-one had been near it for days.
- I haven't a clue.
- just like old times, eh?
Was anyone else here?
No, he was on his own.
Sarge.
There's chewing gum.
KEANE: That could've been left there
a week ago.
Looks fresh. And there's boot prints
around the fueI tanker.
Right. Some of the lads came over,
you know, after it happened.
It was probably one of them.
CHARLES MATHERSON: There will,
I'm sure, be a fulI investigation
by the police
and the Health and Safety Executive.
But we cannot allow an accident like this,
albeit a tragic one, to distract us.
WOMAN: Minister, how do you feeI about
the opposition to the Scimitar,
both locaI and national?
- ELIAS: Louis, have you seen this?
- LOUIS: Shh!
My thoughts are with the family and
friends of the man who was sadly killed.
But I would like to say this. We need...
ELIAS: We're alI over the news.
Yes, I've seen.
It's terrible!
I'lI telI you what's terrible, Elias -
we've just been shut down.
There'lI be a fulI investigation by HSE,
prohibition notices, God knows!
(SIGHS)
Why did he have to die
on the bloody building site?
He could've...fallen under a bus!
He could've been knocked down by a train.
Louis!
It's just a bloody shame, that's all.
(KNOCK AT DOOR)
WOMAN: Yes?
I understand you have
an Adam Jannsen living here?
- That's right.
- Your name is?
Karen Andrews.
I'm Detective Sergeant Sands,
this is Detective Constable Sayyad.
- Can we come in?
- It's not a good time.
Not for Adam, not for us,
not for anybody, really,
but we'd stilI like to come in.
It's my house. Adam's been renting a room
from me for the last three months.
- So how did the two of you meet?
- Internet. There's a renting agency.
But he just walked through the door.
SANDS: So what can you telI us about Adam?
He was very quiet, very hard-working,
he didn't go out much.
So, nothing unusual's happened
over the last few days, weeks?
Er, apart from Adam
getting himself killed, I mean.
He didn't say or do anything
that made you think twice?
No. Are you suggesting...?
I'm not suggesting anything, Ms Andrews,
I'm just asking you some questions,
and if you could answer them,
that'd be a reaI help.
I didn't see that much of him.
He seemed completely normal.
In fact, he was very cheerful.
He'd made some money.
That's his. He'd just bought it.
Er, did he telI you
how he made the money?
No. He must've done another job.
Moonlighting. He never stopped.
It was an accident. A piece of kit
that should have been inspected.
Poor bastard turned it on
and it blew him apart.
- Let's leave it to Health and Safety.
- I don't agree.
Er, excuse me, who asked you?
Adam Jannsen was a casuaI labourer,
no record here or abroad.
Wife, daughter, no enemies, nothing.
- You ran into Raymond Keane?
- Yes.
He was your informant, wasn't he?
On and off, back in the '90s,
then he disappeared.
- Are you going to talk to him?
- I might.
But he doesn't know anything. He wasn't
near the generator when it happened.
Adam Jannsen made money the week
- before he died.
- Moonlighting.
And there may have been someone there
when it happened.
I found chewing gum.
I know it's not much,
but when I mentioned it,
- Keane looked nervous.
- AlI right. Talk to Keane again.
But I think you're right, let's leave this
to HSE unless something else comes up.
And you...
don't argue with your senior officer,
especially not in front of me.
- Why am I doing this?
- Muay Thai.
- ThaI boxing.
- Yeah, I know what it is.
Why am I doing it?
Well, it's good for leg strength,
core muscles, cardiovascular,
and it helps you de-stress.
He was a builder, a generaI labourer.
His name was Adam Jannsen.
They're saying it was an accident,
but I'm not so sure.
- Where was he from?
- Er, Biz...goz...ca?
- Mm. Bydgoszcz?
- AlI right, somewhere with two Zs in it.
- Bydgoszcz.
- What, you been there?
No, I just know how to pronounce it.
- Five.
- Six!
- Six.
- That was seven!
- Seven.
- Eight!
- RASH: So, what you doing?
- STEFAN: Can't telI ya.
You always say that.
It is really annoying.
- Look, it's SFO business.
- You can telI me, because we're mates.
I'm not interested anyway.
RASH: Look, I need your help.
Adam was Polish. He has a mate
who's Polish. You know these people.
What, because I'm...Polish?
That's racist.
- No, it's not.
- Yes, it is.
How is that possibly racist?
STEFAN: I'm amazed
you've never done this before.
I didn't want to do it before.
I don't think I want to do it now.
- Charles Matherson.
- Who's Charles Matherson?
What's the point of telling you
if you don't even know who he is?
- Just telI me!
- He's a big shot. He's in government.
I'm his driver.
- You're driving him?
- It's what I do.
Well, that's cool.
Do you have to, er, wear a cap?
- Yeah, just...keep going.
- (RASH LAUGHS)
STEFAN: Relax.
You ready?
- Yeah.
- OK.
We can do something fairly basic
just to start with.
AlI right.
Ha!
(GROANS)
STEFAN: I'm sorry.
You kicked me...in the balls.
It wasn't a kick, it was "te chang:
You should learn it.
- You don't know when you might need it.
- I don't need it, in any sense.
- I've got to get home.
- Me, too.
- I've got an early start.
- Are you seeing any...more flats?
Perhaps.
- Yeah?
- Yeah.
Actually, I saw one today.
I wasn't looking,
but I stumbled on a room to rent.
Nice house. Owned by a girl.
Are you...going to take it?
It's complicated.
I haven't asked.
STEFAN: You shouldn't rent.
- You should buy.
- I can't afford to buy, not in London.
- We could go halves.
- We stilI couldn't afford it.
Besides, I'm not sure it's a good idea.
- Why not?
- Well, I hardly even know you.
Anyway...
- What?!
- You just kicked me!
Oh! I said I was sorry.
Yeah.
Well, it's not exactly a recommendation.
Oh, erm...
...see you, then.
- See ya.
- Say hello to Leila for me!
SANDS: So...you live here, do you?
I have a bedsit on the top floor.
You don't drink?
I gave it up. Booze is what got me
into trouble in the first place.
You were a...alcoholic?
Shoplifting in an off-licence.
That was the first time I got nicked.
I thought I was your first time?
No, you were the first one put me inside.
(LAUGHS)
So where have you been alI these years?
Back up north.
You know, Manchester, Leeds.
I needed to work.
- I gave you work.
- Yeah, but I moved on.
How's Eda? How's the kids?
They moved on, too.
I'm sorry.
So, this business with Jannsen?
What happened, Raymond,
at the building site?
It was an accident.
Why would I lie to ya?
I didn't even know the guy.
You sent him over there.
He was in the wrong place, wrong time.
It was just bad luck.
(DISTANT SIREN WAILS)
KAREN: Oh, I was just about
to leave for work.
RASH: Can I just talk to you?
It'lI only be a few minutes.
- This really is a nice place.
- Thank you.
WilI you be renting the room again?
I haven't really thought about it.
Why do you ask?
Oh, I just wondered.
I suppose I'lI have to.
I mean, I can't afford not to.
Anyway, what do you want to know?
Is there anything else
you can telI me about Adam?
Um...
Did you know any of his friends?
They were mainly Eastern European. Polish.
If you want to talk to them,
they'lI be at the Golabki.
- What's that?
- It's a club.
They're having drinks in his memory
tonight at nine.
Look, you said he earned extra cash
moonlighting?
That's right.
Do you know how much cash?
Well, he'd paid two months rent
in advance.
- How much was that?
- £800.
That's good value.
- I might put it up.
- No.
Er, that's...
Yeah, that's about right. Yeah.
I know I said he was moonlighting,
but now that I think about it,
I don't think he had the time.
Er, well, did he gamble?
Or could he have sold something
or borrowed the money?
There's one thing.
A few days before he died,
he went to see someone.
An antiques dealer.
His name was Gulliver.
- How do you know that?
- He asked me about the spelling.
He googled the address.
This was his?
I'll... I'lI need to take it as evidence.
Stefan, would you do me a favour?
There's a box in the boot that weighs
a ton. Do you think you could bring it in?
(POLISH ACCENT) Yes, sir, is pleasure.
I'm just going to be ten minutes,
and then straight to Westminster.
And this afternoon, my wife needs to go to
King's Cross station. Have you met her?
No, sir.
I'lI introduce you.
Just put it down there.
CalI the boss. We've got company.
- (BOX THUDS)
- MATHERSON: Helen?
I wasn't expecting you.
Just looking in on my way to B&Q's
and dropped off those samples.
Thank you.
Ha!
Can I help you?
Would you mind putting that down?
It's not a toy and it's expensive.
Were you looking for anything
in particular?
Actually...I'm a police officer.
I'm making enquiries
about a man called Adam Jannsen.
Do you remember him?
Why would I remember him
when I've never met him?
He had your address on his phone.
So what?
When he left here,
he had money in his pocket.
I think he sold something to you.
I don't buy from the public,
only from people I know.
So why are you wasting my time?
Three days later he was dead.
My heart bleeds.
People die alI the time,
even policemen.
Are you threatening me?
- Everything alI right, john?
- I don't know, jC.
Maybe.
Maybe not.
You were just leaving, weren't you?
AlI right.
You weren't worried last night, were you?
- What?
- The Wesleys.
- What, you think they've got problems?
- Well, they've borrowed through the roof
at the worst possible time.
And now they've put alI their eggs
in one very rickety basket.
You're not telling me they're going under?
I very much hope not, Charles.
I never wanted to do business
with them in the first place.
(DOG GROWLS)
- OK...
- (DOG GROWLS)
Good dog. Good dog.
Good dog.
(DOG STILI GROWLING)
Good dog. Shh-shh. Good dog.
Good dog.
(DOG PANTS)
(DOG BARKS)
(YELLS)
(DOG SNARLS)
- (DOG BARKS)
- What was that?
The driver!
Oi, you!
Stop!
(TYRES SCREECH)
Stop!
Stop! Stop it right there.
We're police officers.
Max! Max, get off him!
Get out!
- Are you alI right?
- No, sir, I'm hurt.
- Can you get up?
- No, the dog bite me.
Well, what are you doing in here?
I look for Mrs Matherson, you say.
Oh... Helen. Helen!
Listen, don't move.
I'lI calI an ambulance.
Helen!
- Did Max bite him?
- Yes.
He was in the office.
- What was he doing in there?
- I've no idea.
I mean, he said he was looking for you.
(SIGHS) Listen,
I'm going to calI an ambulance.
And...put the dog outside.
Good news from the doctors...
The dog's going to be fine.
What, you think that's funny? It bit me.
- Leila?
- How are you feeling?
- Better.
- You two know each other?
Well, I'd better leave.
You did really well, Stefan.
This is amazing. It could give us
everything we need to know.
So...
You're pretending to be a chauffeur.
Get bitten by a dog.
You steaI a memory stick.
1 won't ask.
You want to go out tonight?
- I'm working tonight.
- Well, tomorrow, then.
- How did you know I was here?
- The doctor told me.
- Actually, I've got something for you.
- What's that?
This.
MILTON: We've had john Gulliver
under 24-hour surveillance
for the last three weeks,
and alI was going very nicely
untiI your boy walked in.
How did you know he was with us?
I was in the building a couple of days
ago, saw him by the stairs.
And then you decided to pick him up
before he did any more damage,
- was that the idea?
- I wanted to know
- what he was doing there.
- I think we're alI of that persuasion.
If you don't mind my asking,
what's your interest in Gulliver?
MILTON: Public sculptures.
Three of them have been stolen
from different London parks
in the past three months.
We've been getting nowhere,
untiI last week.
There was a witness.
Excuse me,
can I ask what you're doing?
HEYWOOD: Did he see the van?
MILTON: Yeah, and he got the registration.
And that didn't help?
Well, it helped us trace the vehicle
back to the company that rented it.
4 Boys Van Hire.
As far as it went.
It's a cowboy operation -
cash on the counter and off you go.
They gave us descriptions
of the two men who hired it.
Could have been anyone.
- So, where's the van?
- Forensics. Nothing so far.
And Gulliver?
Gulliver's a handler.
He's welI known to us.
A lot of stuff
goes in and out of that place.
And you're waiting
for your statues to turn up.
That was the idea.
He doesn't know anything
about your investigation, alI right?
That... That wasn't why I was there.
So, why were you there?
Adam Jannsen visited Gulliver
three days before he died.
Oh, come on!
Jannsen, the construction worker?
His death is officially an accident.
I think he sold something to Gulliver.
He was paid money, then he died.
So, how did you find Gulliver?
It was in Adam's phone.
He googled the address.
Why did you run?
Someone came chasing after me.
I thought he was with Gulliver.
Yeah, that was my DC. Now
he's out of action with a concussion.
He was meant to have
an observation post tonight
watching Gulliver midnight tilI six.
Well, you've got cameras, haven't you?
Yeah.
But they've been unreliable.
I need someone there.
And thanks to him, I've got no-one.
Maybe I can help.
ALISON: We're stilI processing
the documents
Stefan recovered from the Mathersons',
but, so far, everything is in
the wife's name, including the house.
She paid £3.5 million for it
nine years ago.
But it's worth at least twice that now.
So, she's the wealthy one, not him.
What else?
Crichton Quarries is very successful.
That's the family business
run by her father. The ragstone
is a premium product
and it costs a fortune.
What have you got on Matherson?
He has his ministeriaI salary,
£134,565 a year, but that's it.
One bank account,
no unusuaI transactions.
ELEANOR: So, there's no evidence
of anything untoward?
I'm beginning to wonder
if this is worth pursuing.
The corrupt minister?
Well, only according to Peter Mayhew.
- This came from Mayhew?
- Why so surprised?
Well, he's in government. Why would he
brief against one of his own ministers?
That's a good point.
I've been asking myself
the exact same question.
Is he using us?
And if so, why?
Alison.
What an unexpected pleasure.
(SIGHS)
Would you care to join me?
I want to ask you
about Charles Matherson.
What do you want to know?
Why are you so interested in him?
Do you really think he's corrupt?
Do you think I would have gone
to the SFO if I didn't?
- How are you getting on?
- What were your sources?
Well, common sense.
He's selling large quantities of ragstone
to the very developers he's helping.
That's his father-in-law.
I think you'lI find the business
is now run by his wife.
Since when?
Since the father-in-law got dementia.
I hadn't seen that.
Well...glad to help.
Why are you really giving this
to us, Uncle Peter?
What is it that you want?
Justice.
The same as you.
ELIAS: He's a Polish labourer.
How it happened
is stilI a complete mystery.
HELEN: I feeI so sorry for you,
it must be the last thing
you want on your plate right now.
LOUIS: We've got HSE alI over us.
It could set us back
two, maybe three weeks.
Which may slightly affect
our business with you.
There can't be any question
of a delay, Louis.
The order's already been confirmed.
I'm afraid the boat's already left.
It was just a thought. As they say,
you might have cut us a little slack.
Actually, now that I've taken over,
that's exactly the sort of
business practice we're trying to avoid.
Yeah, I'm going to be late tonight.
Ooh, sorry.
Hey, um, this is Karen.
Hello?
Yeah, I've got an OP.
Rash said some of Adam's friends
don't speak English,
so he brought me with him.
- You're Polish?
- Yeah, I was born there.
Hey, I've got to telI you,
I can't stay long.
- Why not?
- I'm working.
- Well, just a quick drink.
- No, no, no. No drink.
Well, you want these people
to talk to you, you drink with them.
He's right.
(LIVELY CHATTER AND MUSIC)
RASH: Over there.
I saw him at the building site.
He worked with Adam.
STEFAN: Great. I'lI get the beers.
RASH: Didn't you hear me?
just sit down and translate.
(SPEAKS POLISH)
Er, he didn't know him.
They just worked together.
Oh, well, then...
why have you come here tonight? Hm?
(STEFAN SPEAKS POLISH)
They don't want to talk to you.
Well, do they want to be arrested
for obstruction?
(SPEAKS POLISH)
He wants to be arrested?
He wants to talk.
AlI right.
(RASH CLEARS HIS THROAT)
STEFAN: He wants a drink first, though.
No, I can't drink.
- I've got to keep a clear head.
- Why?
Cos I'm working. I've got an OP.
When do you start?
Midnight.
Well, you've stilI got time.
You don't want to offend these guys.
AlI right, just the one.
Za Adama.
Za Adama.
(LOUD MUSIC)
- What was that stuff?
- SLURRING: Recti...spirit.
What does that mean?
95%.
- Did you know that?
- I didn't know.
Coffee !
(CAR HORN TOOTS)
I want to come with you.
- (SIGHS)
- I'm your mate.
I'm going to be there with you. AlI night.
I don't want you there.
(STEFAN SIGHS) This is boring.
Nothing's happening.
RASH: We've only been here five minutes.
STEFAN: Your job is rubbish.
Then just...go.
If I go,
you'lI falI asleep.
Mm. Thanks to you.
You didn't have to drink it.
(SIGHS)
If Heywood finds out about this...
I'm finished.
(STEFAN SNORES)
Wake up!
- I wasn't asleep.
- You were asleep.
- No, I was resting my eyes.
- Then what was I saying?
I wasn't listening.
You go first.
You have the first sleep.
I'm not...going...to sleep.
(THEY SNORE)
Evening.
You're late.
Yeah, sorry.
- This your place, then?
- Yes, it's my name above the door.
How much would something like this
set me back?
4,000.
4,000?
Quid?
- You're not serious.
- It's neoclassical.
I don't suppose
you know what that means.
No, you're right.
I don't.
So, why don't you give me what I want,
and you can get out of here?
Well, I've got to see it first.
- That's it?
- Yes.
Great.
Neoclassical...
(SNORING)
(RASH MURMURS)
(CLOCK TICKING FAINTLY)
(GASPS)
AlI right, you bastard.
You've made your point.
You can have it for nothing
and piss off.
'Fraid not, mate.
They're not my instructions.
- No-one likes being blackmailed.
- I wasn't blackmailing anyone.
Well, that's not how they see it.
I told people about what I was doing.
People know.
Your word against ours, innit? And
you're not going to be talking to anyone.
Wait!
You're making a mistake.
There are two of them.
What?
What you came for. Jannsen had two.
So, where's the other one?
I won't telI you.
Not untiI you've let me go.
Let me make a phone call.
Ten minutes, you'lI have it.
No.
I'm not going to do that.
I'm going to make you telI me.
Like this.
(SNIFFS)
- No!
- Where is it?
I don't know! I don't know!
But I can help you find it!
The builder had it.
He asked rne if I could use it.
He didn't say where it was.
- The builder? Jannsen?
- Yes!
- He's dead.
- He's got it somewhere!
- I swear to you!
- Shh!
I believe you.
AlI right, listen to me...
You're not stupid.
You know who I am. Whatever
you're being paid, I can double it.
I can triple it.
I can find it for you. I can help you.
I know what it looks like!
- (LIGHTER CLICKS)
- Thanks.
But, you know...
...I can do that myself.
(YAWNS)
(FIRE ALARM RINGS)
Rash.
Are you asleep?
(RASH MURMURS)
- (STEFAN TAPS RASH)
- Wake up.
Mm?
Wake up!
- Wake up!
- Uh! Huh?
- What's happened?
- I don't know.
Jesus!
- Is Gulliver stilI in there?
- I don't know. We have to go in!
If you go in there,
you're going to get killed!
I'm going to get killed anyway!
- No! No, no, no. No, no.
- Get off!
How did this happen?
How could it happen?
- (SIREN BLARES)
- It wasn't your fault.
I know it's not my fault.
It's your fault!
Whoa, whoa, whoa, whoa! Whoa, whoa, whoa.
(STEFAN WHIMPERS)
Somebody tied Gulliver to a chair
and then set him on fire.
Jesus.
Eleanor shut down the investigation.
She sent me home.
Then she won't know what you're up to.
Let me see if I can talk myself
out of firing you.
Why do you let these people
walk alI over you?
Because they're bastards!
This has gone on long enough.
Close it down.
Stop!
- Yes.
- I was at the club. Did I disturb you?
- I heard you come in, but that's OK.
Is this yours?
- Yes.
- When did you get it?
- Yesterday.
- Out partying, new phone.
- Did you get a pay rise?
- Yes...something like that.
- I have to go.
- See you.
Oh! Your phone!
Not on the building site. Security.
- (DOOR OPENS)
- Bye, Adam.
(FRONT DOOR CLOSES)
RASH: It's a charity event. 54 miles.
You've gotta get sponsors.
- That's easy.
- Getting sponsors?
54 miles.
- So, wilI you do it?
- Is it a race?
- No, it's not. It's for charity.
- It's boring.
Why has everything
gotta be competitive with you?
It doesn't. Race you to the river.
(LAUGHS)
Come on, old man!
- MAN: Czesc, Adam!
- ADAM: Roman.
Excuse me, excuse me.
Sorry. Excuse me, fellas.
- Bede z toba.
- Bardzo cie widziec.
(RAG'N'BONE MAN: Wolves)
# Don't wanna drown no more
# Sick of the same old people
# The kind that'lI selI your soul
# Trade it for a shinin' stone
# Ain't nothin' in this life for free
# Running from the greatest evil
# It finally dawned on me
# A man's gotta fight temptation
# Keep the wolves from the door
# I hear them scratching
like I don't know better
# Won't you keep
the wolves from the door?
# It won't be long before I cave in
and open up the door. #
(SIREN WAILS IN DISTANCE)
No!
What's wrong?
I'm not going to share your bottle!
I don't know where it's been!
OK.
- What's the charity?
- You're not interested.
I might be.
Streatham Hospital.
It's where Leila works.
- Hi.
- Hi.
Leila?
Is she going to be there?
Of course.
Well, it is for a good...cause,
a hospital.
- Yeah, I'lI do it.
- You said you were busy.
- I can move things around.
- Is this about helping the hospital
- or is this about Leila?
- Oh...alI right, calm down.
AlI right?
- I might give her a call.
- Why?
- To enrol.
- She's not organising it!
- She's just taking part!
- I might give her a calI anyway.
What's her number?
07779...
- 325774.
- What?
077793257...44.
- You made that up.
- Well, I don't know her number.
I've forgotten it.
- I've gotta get to work.
- See ya.
See you tomorrow at the gym.
- ELEANOR: This is quite a view.
- MAYHEW: Thank you.
- You've done very welI for yourself.
- I could say the same for you, Eleanor.
- Government intelligence, Serious Fraud.
- Why have you asked me here?
(LAUGHS) And always straight to the point.
I've asked you to come to my home...
Because you're up to something you don't
want anyone at Westminster to know.
I'd have invited you to lunch.
I wouldn't have accepted.
You know very well
- we don't do lunch at the SFO.
- Hm.
I do sometimes think
you take probity a little too far.
- I'm busy, Peter, so...
- Charles Matherson.
- The minister?
- Mm.
Under Secretary of State for Planning.
(BIG BEN STRIKES)
MAYHEW: Very much a high-flyer.
- Hello, Charles!
- Peter!
Spoken of as future PM.
- ELEANOR: Go on.
- It's not my place
to telI the SFO its business,
but he's corrupt
and I'd like you to naiI him.
ELEANOR: In the past three years,
Matherson has greenlit two skyscrapers -
the Iron and the Fridge.
This is the third. It's the biggest yet.
It's called the Scimitar.
ALISON: So, where's the problem?
The problem is...
his wife.
She has connections
in the construction industry.
Her father owns a quarry in Yorkshire
supplying high-quality ragstone
to each of the buildings
Matherson has approved.
- The Iron, the Fridge, the Scimitar.
- STEFAN: Wait a minute.
He's a minister for planning.
How can he do that?
It's not him, it's not his wife,
it's his father-in-law.
It's all...very transparent, but...
MAYHEW: Everyone
was against the Scimitar -
English Heritage,
the RoyaI Parks Foundation,
the Commission for Architecture.
Half a million Londoners even signed
a petition to stop it being built.
But he stilI managed to steer it through.
You think he's being bribed?
Well, that's what
I'm hoping you can telI me.
If he's being bribed,
the money's gotta show up somewhere.
Exactly.
Are we taking this on?
I don't know. What do you think?
I hate these buildings.
London doesn't need 'em.
80% of them are owned
by foreign investors.
They buy 'em off plan in Singapore
and they never live in them.
- The whole thing's a racket.
- That's not exactly the point.
Well, that's just how I feel.
Well, it's certainly worth
some initiaI scoping.
We'lI need to look into his private life.
I'lI find a way in.
(HEAVY HAMMERING)
(VEHICLE REVERSING ALARM)
MAN: Whoa!
(SPEAKS POLISH)
Hey, you two. You know what the rule is
on this site, yeah?
English only.
- I told him about you.
- What, my name?
- No, nothing.
- Good.
But Gulliver, he's OK.
He'lI pay you the same.
- 1,000?
- Yeah.
If he gave you that, it was worth more.
AlI right?
(DRILLING DROWNS OUT SPEECH)
"We should hang soon. When's good?
Can't wait to see you, babe."
Look, I know going through hundreds
of phones isn't the most exciting job,
but have you found anything yet?
No, Sarge.
There could be some usefuI inteI on these,
you never know.
Listen, er, I might have something a bit
different for you, if you're up for it?
- What's that?
- It's an undercover job.
I need something collected.
OK, it's hot, there's money involved
and it'lI affect the whole squad.
What do you think?
Yes, Sarge.
Two cappuccinos, two flat whites,
three breakfast teas and a hot chocolate.
I want the change,
and bring back a receipt, alI right?
- (LAUGHTER)
- Go on, then, get on with it.
(# MOZART: Le Nozze DI Figaro)
(MOZART CONTINUES ON STEREO)
- I'm off.
- Where are you going?
- The Wesleys.
- Oh, God!
- I know.
- What is it this time?
The launch of the Scimitar
dressed up as some sort of charity do.
Art in prisons or something.
- Which is where they'lI probably end up.
- (BOTH LAUGH)
- (DOORBELL)
- There's my driver. Are you in tonight?
I'm not moving. Dinner in front of the TV.
Oh, God! Lucky you.
Mwah! I'lI see you later.
You're not my usuaI driver.
What's happened to Ivan?
- Ivan's not well, sir. They sent me.
- Hm. I'm very sorry to hear that.
- What's the matter with him?
- They did not say, sir.
- They said he'd be away for two weeks.
- It's a nuisance!
What's your name?
Stefan, sir.
How long have you been
with the car service?
- Um, six months.
- Hm. I hope you know your way around.
I'm going to ParlI ament now,
then to the City Garden Space.
- Do you know it?
- It's in the satnav, sir.
Yes, of course.
I, er, take it you know who I am?
- Yes, sir.
- Right.
You never speed, you never go through
a yellow light and if you keep me waiting,
even for a minute, I'lI ask for
a new driver. Is that understood?
- Yes, sir.
- Good.
Let's go.
Oh.
(DRILLING)
(MAN WHISTLES)
KEANE: Adam?
- See you tonight.
- The Golabki.
- You're buying.
- (LAUGHS)
Listen, er, the lights have gone down
in Section One.
It's going to get dark pretty soon.
I need you to go and check the generator.
- Now?
- Yeah, now.
I mean, the rig's about to arrive. Yeah,
we're going to be drilling alI night.
- Well, crack on. Get on with it.
- OK.
(BUZZING)
(BUZZING GETS LOUDER)
(ENGINE STUTTERS, THEN STOPS)
(CLICKING)
(PEOPLE SHOUT)
MALE NARRATOR: The Scimitar.
A stunning new development
set to transform the London skyline.
State-of-the-art offices,
a luxurious five-star hotel,
and breathtaking apartments,
brought to life by visionary developers
the Wesley Brothers.
This complex
is already destined to become...
London's most exciting landmark.
The City Garden Space, sir.
AlI right, wait for me here.
I shouldn't be more than an hour.
I'lI let myself out.
Rising 250 metres above the city,
no building can compare,
in terms of ambition, scale and prestige.
This incredible investment opportunity
has complete government backing.
Be part of the future,
be part of the name,
be part of...the Scimitar.
(APPLAUSE)
Ladies and gentlemen, thank you very much.
We want to thank you all
for being here tonight,
in particular
our wonderfuI architect, Paolo.
And, of course, the Under Secretary
of State, Charles Matherson.
Thanks to the agreement reached
with the minister,
the Scimitar wilI be making
a Section 106 contribution of £16 million
going to the locaI community.
Louis and I are determined that
the Scimitar should benefit alI London
and, working with the government,
that's what we intend to achieve.
(APPLAUSE)
I'm sorry, sir,
I'm afraid this venue's closed
- for a private function this evening.
- MAN: I'd like to see the Wesleys.
PA: I'm sorry, I can't let you in
if you're not on the list.
Listen, darling,
telI them john Gulliver is here.
They'lI see me.
- Just between you and me...
- Ah!
...I don't like your snotty attitude, OK?
So why don't you shove it,
along with your clipboard,
and telI them that I'm here?
STEFAN: Let her go.
Who are you?
I'm a driver.
Well, get back in your car...
and mind your own business.
I'm OK. I don't want any trouble.
You heard her, she's OK.
There won't be any trouble.
I just need to speak to him.
ELIAS WESLEY: But tonight
isn't just about the Scimitar.
Downstairs,
and alI around us,
you'lI find originaI artwork
created by young offenders
under our artistic licence scheme.
It's alI for sale.
So, please, dig deep and enjoy yourselves.
Thanks for coming.
(BUZZ OF CONVERSATION)
PA: Mr Wesley.
What are you doing here?
I gave you two days.
- I stilI haven't heard from you.
- I needed to think about it.
I wouldn't say there was much
to think about, unless you want alI this
- to come crashing down.
- Look...
I'lI pay.
It wilI just take me time
to raise the money.
TelI me where I can find you.
(SIRENS WAII IN THE DISTANCE)
(HE SIGHS)
(SPEAKS POLISH)
Adam's dead.
What?!
He was killed on the site today.
It was an accident.
An accident?
That's what they say.
- Does anyone know?
- What?
You know what I'm talking about.
Did you telI them?
- No.
- You mustn't.
Eva...Adam is dead.
He sold it to them and they killed him.
I have to go to the police.
No!
Yeah.
No, it's not a problem.
Bye.
Accident on a building site.
Happened yesterday.
Builder was killed
when a generator exploded in his face.
Adam Jannsen? What's that? German?
Polish, I think.
Does it make any difference?
- Not to him any more.
- Anyway, it's a big deal.
It's the Scimitar.
You know, maybe you should
read the papers a bit more, Derek.
It's a £500 million development.
It's controversiaI -
it's got government backing, anyway.
Press are alI over it.
That's why it's been passed up to us.
- What about Health and Safety?
- No, they've been told to wait.
I want you to go down there
and make a preliminary report.
- And take Sayyad with you.
- Why?
Cos he's a TDC, Derek.
"T" stands for trainee.
Not something
you send him out to buy, alI right?
Right, come on.
Get your coat!
The new build, known as the Scimitar,
has been controversial
since it was given the go-ahead
earlier this year.
Police and Health and Safety officials
have closed down the entire project
following the death of an unnamed
construction worker yesterday.
- Where's the foreman?
- WORKER: In the office.
SANDS: Well, well, well!
Raymond Keane!
- I've not seen you in a while.
- RAYMOND: Hi, Derek.
- You work here, do ya?
- Yeah. Site foreman.
Wonders wilI never cease.
So, what happened?
It was an accident.
Checked the generator and, um...
...the thing just blew.
His bad luck, eh?
Let's have a look, shalI we?
KEANE: We had a power short, so I sent
Jannsen to look at the generator.
- You sent him?
- He was the first person I saw.
- I hardly knew him.
- From Adam, yeah.
So, what happened?
I dunno.
I think there was a leak in the tank.
No-one had been near it for days.
- I haven't a clue.
- just like old times, eh?
Was anyone else here?
No, he was on his own.
Sarge.
There's chewing gum.
KEANE: That could've been left there
a week ago.
Looks fresh. And there's boot prints
around the fueI tanker.
Right. Some of the lads came over,
you know, after it happened.
It was probably one of them.
CHARLES MATHERSON: There will,
I'm sure, be a fulI investigation
by the police
and the Health and Safety Executive.
But we cannot allow an accident like this,
albeit a tragic one, to distract us.
WOMAN: Minister, how do you feeI about
the opposition to the Scimitar,
both locaI and national?
- ELIAS: Louis, have you seen this?
- LOUIS: Shh!
My thoughts are with the family and
friends of the man who was sadly killed.
But I would like to say this. We need...
ELIAS: We're alI over the news.
Yes, I've seen.
It's terrible!
I'lI telI you what's terrible, Elias -
we've just been shut down.
There'lI be a fulI investigation by HSE,
prohibition notices, God knows!
(SIGHS)
Why did he have to die
on the bloody building site?
He could've...fallen under a bus!
He could've been knocked down by a train.
Louis!
It's just a bloody shame, that's all.
(KNOCK AT DOOR)
WOMAN: Yes?
I understand you have
an Adam Jannsen living here?
- That's right.
- Your name is?
Karen Andrews.
I'm Detective Sergeant Sands,
this is Detective Constable Sayyad.
- Can we come in?
- It's not a good time.
Not for Adam, not for us,
not for anybody, really,
but we'd stilI like to come in.
It's my house. Adam's been renting a room
from me for the last three months.
- So how did the two of you meet?
- Internet. There's a renting agency.
But he just walked through the door.
SANDS: So what can you telI us about Adam?
He was very quiet, very hard-working,
he didn't go out much.
So, nothing unusual's happened
over the last few days, weeks?
Er, apart from Adam
getting himself killed, I mean.
He didn't say or do anything
that made you think twice?
No. Are you suggesting...?
I'm not suggesting anything, Ms Andrews,
I'm just asking you some questions,
and if you could answer them,
that'd be a reaI help.
I didn't see that much of him.
He seemed completely normal.
In fact, he was very cheerful.
He'd made some money.
That's his. He'd just bought it.
Er, did he telI you
how he made the money?
No. He must've done another job.
Moonlighting. He never stopped.
It was an accident. A piece of kit
that should have been inspected.
Poor bastard turned it on
and it blew him apart.
- Let's leave it to Health and Safety.
- I don't agree.
Er, excuse me, who asked you?
Adam Jannsen was a casuaI labourer,
no record here or abroad.
Wife, daughter, no enemies, nothing.
- You ran into Raymond Keane?
- Yes.
He was your informant, wasn't he?
On and off, back in the '90s,
then he disappeared.
- Are you going to talk to him?
- I might.
But he doesn't know anything. He wasn't
near the generator when it happened.
Adam Jannsen made money the week
- before he died.
- Moonlighting.
And there may have been someone there
when it happened.
I found chewing gum.
I know it's not much,
but when I mentioned it,
- Keane looked nervous.
- AlI right. Talk to Keane again.
But I think you're right, let's leave this
to HSE unless something else comes up.
And you...
don't argue with your senior officer,
especially not in front of me.
- Why am I doing this?
- Muay Thai.
- ThaI boxing.
- Yeah, I know what it is.
Why am I doing it?
Well, it's good for leg strength,
core muscles, cardiovascular,
and it helps you de-stress.
He was a builder, a generaI labourer.
His name was Adam Jannsen.
They're saying it was an accident,
but I'm not so sure.
- Where was he from?
- Er, Biz...goz...ca?
- Mm. Bydgoszcz?
- AlI right, somewhere with two Zs in it.
- Bydgoszcz.
- What, you been there?
No, I just know how to pronounce it.
- Five.
- Six!
- Six.
- That was seven!
- Seven.
- Eight!
- RASH: So, what you doing?
- STEFAN: Can't telI ya.
You always say that.
It is really annoying.
- Look, it's SFO business.
- You can telI me, because we're mates.
I'm not interested anyway.
RASH: Look, I need your help.
Adam was Polish. He has a mate
who's Polish. You know these people.
What, because I'm...Polish?
That's racist.
- No, it's not.
- Yes, it is.
How is that possibly racist?
STEFAN: I'm amazed
you've never done this before.
I didn't want to do it before.
I don't think I want to do it now.
- Charles Matherson.
- Who's Charles Matherson?
What's the point of telling you
if you don't even know who he is?
- Just telI me!
- He's a big shot. He's in government.
I'm his driver.
- You're driving him?
- It's what I do.
Well, that's cool.
Do you have to, er, wear a cap?
- Yeah, just...keep going.
- (RASH LAUGHS)
STEFAN: Relax.
You ready?
- Yeah.
- OK.
We can do something fairly basic
just to start with.
AlI right.
Ha!
(GROANS)
STEFAN: I'm sorry.
You kicked me...in the balls.
It wasn't a kick, it was "te chang:
You should learn it.
- You don't know when you might need it.
- I don't need it, in any sense.
- I've got to get home.
- Me, too.
- I've got an early start.
- Are you seeing any...more flats?
Perhaps.
- Yeah?
- Yeah.
Actually, I saw one today.
I wasn't looking,
but I stumbled on a room to rent.
Nice house. Owned by a girl.
Are you...going to take it?
It's complicated.
I haven't asked.
STEFAN: You shouldn't rent.
- You should buy.
- I can't afford to buy, not in London.
- We could go halves.
- We stilI couldn't afford it.
Besides, I'm not sure it's a good idea.
- Why not?
- Well, I hardly even know you.
Anyway...
- What?!
- You just kicked me!
Oh! I said I was sorry.
Yeah.
Well, it's not exactly a recommendation.
Oh, erm...
...see you, then.
- See ya.
- Say hello to Leila for me!
SANDS: So...you live here, do you?
I have a bedsit on the top floor.
You don't drink?
I gave it up. Booze is what got me
into trouble in the first place.
You were a...alcoholic?
Shoplifting in an off-licence.
That was the first time I got nicked.
I thought I was your first time?
No, you were the first one put me inside.
(LAUGHS)
So where have you been alI these years?
Back up north.
You know, Manchester, Leeds.
I needed to work.
- I gave you work.
- Yeah, but I moved on.
How's Eda? How's the kids?
They moved on, too.
I'm sorry.
So, this business with Jannsen?
What happened, Raymond,
at the building site?
It was an accident.
Why would I lie to ya?
I didn't even know the guy.
You sent him over there.
He was in the wrong place, wrong time.
It was just bad luck.
(DISTANT SIREN WAILS)
KAREN: Oh, I was just about
to leave for work.
RASH: Can I just talk to you?
It'lI only be a few minutes.
- This really is a nice place.
- Thank you.
WilI you be renting the room again?
I haven't really thought about it.
Why do you ask?
Oh, I just wondered.
I suppose I'lI have to.
I mean, I can't afford not to.
Anyway, what do you want to know?
Is there anything else
you can telI me about Adam?
Um...
Did you know any of his friends?
They were mainly Eastern European. Polish.
If you want to talk to them,
they'lI be at the Golabki.
- What's that?
- It's a club.
They're having drinks in his memory
tonight at nine.
Look, you said he earned extra cash
moonlighting?
That's right.
Do you know how much cash?
Well, he'd paid two months rent
in advance.
- How much was that?
- £800.
That's good value.
- I might put it up.
- No.
Er, that's...
Yeah, that's about right. Yeah.
I know I said he was moonlighting,
but now that I think about it,
I don't think he had the time.
Er, well, did he gamble?
Or could he have sold something
or borrowed the money?
There's one thing.
A few days before he died,
he went to see someone.
An antiques dealer.
His name was Gulliver.
- How do you know that?
- He asked me about the spelling.
He googled the address.
This was his?
I'll... I'lI need to take it as evidence.
Stefan, would you do me a favour?
There's a box in the boot that weighs
a ton. Do you think you could bring it in?
(POLISH ACCENT) Yes, sir, is pleasure.
I'm just going to be ten minutes,
and then straight to Westminster.
And this afternoon, my wife needs to go to
King's Cross station. Have you met her?
No, sir.
I'lI introduce you.
Just put it down there.
CalI the boss. We've got company.
- (BOX THUDS)
- MATHERSON: Helen?
I wasn't expecting you.
Just looking in on my way to B&Q's
and dropped off those samples.
Thank you.
Ha!
Can I help you?
Would you mind putting that down?
It's not a toy and it's expensive.
Were you looking for anything
in particular?
Actually...I'm a police officer.
I'm making enquiries
about a man called Adam Jannsen.
Do you remember him?
Why would I remember him
when I've never met him?
He had your address on his phone.
So what?
When he left here,
he had money in his pocket.
I think he sold something to you.
I don't buy from the public,
only from people I know.
So why are you wasting my time?
Three days later he was dead.
My heart bleeds.
People die alI the time,
even policemen.
Are you threatening me?
- Everything alI right, john?
- I don't know, jC.
Maybe.
Maybe not.
You were just leaving, weren't you?
AlI right.
You weren't worried last night, were you?
- What?
- The Wesleys.
- What, you think they've got problems?
- Well, they've borrowed through the roof
at the worst possible time.
And now they've put alI their eggs
in one very rickety basket.
You're not telling me they're going under?
I very much hope not, Charles.
I never wanted to do business
with them in the first place.
(DOG GROWLS)
- OK...
- (DOG GROWLS)
Good dog. Good dog.
Good dog.
(DOG STILI GROWLING)
Good dog. Shh-shh. Good dog.
Good dog.
(DOG PANTS)
(DOG BARKS)
(YELLS)
(DOG SNARLS)
- (DOG BARKS)
- What was that?
The driver!
Oi, you!
Stop!
(TYRES SCREECH)
Stop!
Stop! Stop it right there.
We're police officers.
Max! Max, get off him!
Get out!
- Are you alI right?
- No, sir, I'm hurt.
- Can you get up?
- No, the dog bite me.
Well, what are you doing in here?
I look for Mrs Matherson, you say.
Oh... Helen. Helen!
Listen, don't move.
I'lI calI an ambulance.
Helen!
- Did Max bite him?
- Yes.
He was in the office.
- What was he doing in there?
- I've no idea.
I mean, he said he was looking for you.
(SIGHS) Listen,
I'm going to calI an ambulance.
And...put the dog outside.
Good news from the doctors...
The dog's going to be fine.
What, you think that's funny? It bit me.
- Leila?
- How are you feeling?
- Better.
- You two know each other?
Well, I'd better leave.
You did really well, Stefan.
This is amazing. It could give us
everything we need to know.
So...
You're pretending to be a chauffeur.
Get bitten by a dog.
You steaI a memory stick.
1 won't ask.
You want to go out tonight?
- I'm working tonight.
- Well, tomorrow, then.
- How did you know I was here?
- The doctor told me.
- Actually, I've got something for you.
- What's that?
This.
MILTON: We've had john Gulliver
under 24-hour surveillance
for the last three weeks,
and alI was going very nicely
untiI your boy walked in.
How did you know he was with us?
I was in the building a couple of days
ago, saw him by the stairs.
And then you decided to pick him up
before he did any more damage,
- was that the idea?
- I wanted to know
- what he was doing there.
- I think we're alI of that persuasion.
If you don't mind my asking,
what's your interest in Gulliver?
MILTON: Public sculptures.
Three of them have been stolen
from different London parks
in the past three months.
We've been getting nowhere,
untiI last week.
There was a witness.
Excuse me,
can I ask what you're doing?
HEYWOOD: Did he see the van?
MILTON: Yeah, and he got the registration.
And that didn't help?
Well, it helped us trace the vehicle
back to the company that rented it.
4 Boys Van Hire.
As far as it went.
It's a cowboy operation -
cash on the counter and off you go.
They gave us descriptions
of the two men who hired it.
Could have been anyone.
- So, where's the van?
- Forensics. Nothing so far.
And Gulliver?
Gulliver's a handler.
He's welI known to us.
A lot of stuff
goes in and out of that place.
And you're waiting
for your statues to turn up.
That was the idea.
He doesn't know anything
about your investigation, alI right?
That... That wasn't why I was there.
So, why were you there?
Adam Jannsen visited Gulliver
three days before he died.
Oh, come on!
Jannsen, the construction worker?
His death is officially an accident.
I think he sold something to Gulliver.
He was paid money, then he died.
So, how did you find Gulliver?
It was in Adam's phone.
He googled the address.
Why did you run?
Someone came chasing after me.
I thought he was with Gulliver.
Yeah, that was my DC. Now
he's out of action with a concussion.
He was meant to have
an observation post tonight
watching Gulliver midnight tilI six.
Well, you've got cameras, haven't you?
Yeah.
But they've been unreliable.
I need someone there.
And thanks to him, I've got no-one.
Maybe I can help.
ALISON: We're stilI processing
the documents
Stefan recovered from the Mathersons',
but, so far, everything is in
the wife's name, including the house.
She paid £3.5 million for it
nine years ago.
But it's worth at least twice that now.
So, she's the wealthy one, not him.
What else?
Crichton Quarries is very successful.
That's the family business
run by her father. The ragstone
is a premium product
and it costs a fortune.
What have you got on Matherson?
He has his ministeriaI salary,
£134,565 a year, but that's it.
One bank account,
no unusuaI transactions.
ELEANOR: So, there's no evidence
of anything untoward?
I'm beginning to wonder
if this is worth pursuing.
The corrupt minister?
Well, only according to Peter Mayhew.
- This came from Mayhew?
- Why so surprised?
Well, he's in government. Why would he
brief against one of his own ministers?
That's a good point.
I've been asking myself
the exact same question.
Is he using us?
And if so, why?
Alison.
What an unexpected pleasure.
(SIGHS)
Would you care to join me?
I want to ask you
about Charles Matherson.
What do you want to know?
Why are you so interested in him?
Do you really think he's corrupt?
Do you think I would have gone
to the SFO if I didn't?
- How are you getting on?
- What were your sources?
Well, common sense.
He's selling large quantities of ragstone
to the very developers he's helping.
That's his father-in-law.
I think you'lI find the business
is now run by his wife.
Since when?
Since the father-in-law got dementia.
I hadn't seen that.
Well...glad to help.
Why are you really giving this
to us, Uncle Peter?
What is it that you want?
Justice.
The same as you.
ELIAS: He's a Polish labourer.
How it happened
is stilI a complete mystery.
HELEN: I feeI so sorry for you,
it must be the last thing
you want on your plate right now.
LOUIS: We've got HSE alI over us.
It could set us back
two, maybe three weeks.
Which may slightly affect
our business with you.
There can't be any question
of a delay, Louis.
The order's already been confirmed.
I'm afraid the boat's already left.
It was just a thought. As they say,
you might have cut us a little slack.
Actually, now that I've taken over,
that's exactly the sort of
business practice we're trying to avoid.
Yeah, I'm going to be late tonight.
Ooh, sorry.
Hey, um, this is Karen.
Hello?
Yeah, I've got an OP.
Rash said some of Adam's friends
don't speak English,
so he brought me with him.
- You're Polish?
- Yeah, I was born there.
Hey, I've got to telI you,
I can't stay long.
- Why not?
- I'm working.
- Well, just a quick drink.
- No, no, no. No drink.
Well, you want these people
to talk to you, you drink with them.
He's right.
(LIVELY CHATTER AND MUSIC)
RASH: Over there.
I saw him at the building site.
He worked with Adam.
STEFAN: Great. I'lI get the beers.
RASH: Didn't you hear me?
just sit down and translate.
(SPEAKS POLISH)
Er, he didn't know him.
They just worked together.
Oh, well, then...
why have you come here tonight? Hm?
(STEFAN SPEAKS POLISH)
They don't want to talk to you.
Well, do they want to be arrested
for obstruction?
(SPEAKS POLISH)
He wants to be arrested?
He wants to talk.
AlI right.
(RASH CLEARS HIS THROAT)
STEFAN: He wants a drink first, though.
No, I can't drink.
- I've got to keep a clear head.
- Why?
Cos I'm working. I've got an OP.
When do you start?
Midnight.
Well, you've stilI got time.
You don't want to offend these guys.
AlI right, just the one.
Za Adama.
Za Adama.
(LOUD MUSIC)
- What was that stuff?
- SLURRING: Recti...spirit.
What does that mean?
95%.
- Did you know that?
- I didn't know.
Coffee !
(CAR HORN TOOTS)
I want to come with you.
- (SIGHS)
- I'm your mate.
I'm going to be there with you. AlI night.
I don't want you there.
(STEFAN SIGHS) This is boring.
Nothing's happening.
RASH: We've only been here five minutes.
STEFAN: Your job is rubbish.
Then just...go.
If I go,
you'lI falI asleep.
Mm. Thanks to you.
You didn't have to drink it.
(SIGHS)
If Heywood finds out about this...
I'm finished.
(STEFAN SNORES)
Wake up!
- I wasn't asleep.
- You were asleep.
- No, I was resting my eyes.
- Then what was I saying?
I wasn't listening.
You go first.
You have the first sleep.
I'm not...going...to sleep.
(THEY SNORE)
Evening.
You're late.
Yeah, sorry.
- This your place, then?
- Yes, it's my name above the door.
How much would something like this
set me back?
4,000.
4,000?
Quid?
- You're not serious.
- It's neoclassical.
I don't suppose
you know what that means.
No, you're right.
I don't.
So, why don't you give me what I want,
and you can get out of here?
Well, I've got to see it first.
- That's it?
- Yes.
Great.
Neoclassical...
(SNORING)
(RASH MURMURS)
(CLOCK TICKING FAINTLY)
(GASPS)
AlI right, you bastard.
You've made your point.
You can have it for nothing
and piss off.
'Fraid not, mate.
They're not my instructions.
- No-one likes being blackmailed.
- I wasn't blackmailing anyone.
Well, that's not how they see it.
I told people about what I was doing.
People know.
Your word against ours, innit? And
you're not going to be talking to anyone.
Wait!
You're making a mistake.
There are two of them.
What?
What you came for. Jannsen had two.
So, where's the other one?
I won't telI you.
Not untiI you've let me go.
Let me make a phone call.
Ten minutes, you'lI have it.
No.
I'm not going to do that.
I'm going to make you telI me.
Like this.
(SNIFFS)
- No!
- Where is it?
I don't know! I don't know!
But I can help you find it!
The builder had it.
He asked rne if I could use it.
He didn't say where it was.
- The builder? Jannsen?
- Yes!
- He's dead.
- He's got it somewhere!
- I swear to you!
- Shh!
I believe you.
AlI right, listen to me...
You're not stupid.
You know who I am. Whatever
you're being paid, I can double it.
I can triple it.
I can find it for you. I can help you.
I know what it looks like!
- (LIGHTER CLICKS)
- Thanks.
But, you know...
...I can do that myself.
(YAWNS)
(FIRE ALARM RINGS)
Rash.
Are you asleep?
(RASH MURMURS)
- (STEFAN TAPS RASH)
- Wake up.
Mm?
Wake up!
- Wake up!
- Uh! Huh?
- What's happened?
- I don't know.
Jesus!
- Is Gulliver stilI in there?
- I don't know. We have to go in!
If you go in there,
you're going to get killed!
I'm going to get killed anyway!
- No! No, no, no. No, no.
- Get off!
How did this happen?
How could it happen?
- (SIREN BLARES)
- It wasn't your fault.
I know it's not my fault.
It's your fault!
Whoa, whoa, whoa, whoa! Whoa, whoa, whoa.
(STEFAN WHIMPERS)
Somebody tied Gulliver to a chair
and then set him on fire.
Jesus.
Eleanor shut down the investigation.
She sent me home.
Then she won't know what you're up to.
Let me see if I can talk myself
out of firing you.
Why do you let these people
walk alI over you?
Because they're bastards!
This has gone on long enough.
Close it down.
Stop!