01x02 - Episode 2

[bunniefuu]

She made it look like a break-in.
It's the oldest trick in the book.

She was a bit of a raver at Cambridge.

She hooks up with a rich older dude

who conveniently winds up m*rder*d.

There is no way Natalie Varga
is going to talk to the likes of us.

Ms Varga will be with you shortly.

[NATALIE]:
The police made up their mind

I k*lled my husband or had him k*lled.

In your earlier career,
you made yourself extremely unpopular.

I'll give you the interview,
the one everyone wants.

I want you to find the person
who k*lled my husband.

She can't expect you
to actually find the k*ller.

She did it.
She definitely did it.

[BARBARA]:
What about her alibi?

She was with me. All night. That's it.

Were you sleeping together?

You should come round for dinner.

[JAMES]:
It's just not very professional.

[NATALIE]: Let's not kid ourselves
there's any real rapport going on here.

[JAMES]:
She told me about the painting.

I know what you're thinking.
This looks like blood.

If I had m*rder*d my husband

it'd be pretty mad
to commission a painting about it.

You think I did it.

Yeah. She's a bloody good actress.

I loved my husband.
- Did you k*ll him?

[NATALIE]:
I know who k*lled him.

My brother.

I heard someone trying to get in

and I thought, Christ,
what if it was the pap?

Just got through the gate, you know?
So I went to look and...

It was Oliver,
just trying to use his old key.

I... I freaked out at first. I...

I slammed the door in his face.

By the time I'd got it together,
he'd gone.

So, I...

So I ran out to that scumbag, that pap

and asked if he'd seen him,
and he just kept taking pictures.

You told me...

he k*lled himself.

He's been dead for four and a half years.

Are you sure it was him?

What makes you think
he k*lled your husband?

Stop interviewing me!

He was trying to set himself up as a dealer.

He borrowed money from some...

terrible people and...

George was helping him at first,
but then he cut him off, and then...

That's when he...

[SHE SIGHS]
What's the point?

You're just like everyone else.

It doesn't make any difference what I think.

Have you reported it?

The police?

Where do you think those stories
come from in the press?

Well, there must have been a body
when he k*lled himself.

Who identified that?

Our mother.

Our mother.

What do I do with this?
I don't know what to do.

Let me ask some questions.

Thank you.

Thank you.

How's your investigation coming?

Look, I know you're my biggest fan,
but there is only one of me.

This is in Hungarian.

I'm sure you can source
your own translation.

How'd you get it?

Same way you do.

Well, if the bent lawyer thing doesn't
work out, you can always be my sidekick.

Strange habit. Is this an English thing?

Making jokes whenever
the situation least calls for it?

Even if he is alive,
and that is a pretty big if

being a junkie or a dealer
doesn't make him a k*ller.

Read it, Mr Alden.

[CAMERA CLICKS]

George Varga's diary.
Everyone he saw the day he died.

Sorry, Pete, I'll have to call you back.

Hello. Since when have you had
access to Varga's diary?

Since Natalie gave me the password.

Well, Bonds and Rancour are
a bunch of money launderers.

Well, they all check out apart from one guy.
I can't find him. Elliot Strand.

And you think the k*ller
made an appointment?

"Your five o'clock m*rder*r's here, sir"?

Natalie...

thinks her brother k*lled George.

The dead brother who's dead?

She says she saw him yesterday.

That's desperate.

[JAMES]: I mean, it's mainly
petty drugs stuff except...



This guy, Lukacs Novak,
Natalie's then boyfriend

fell from a rooftop at a party.

Oliver was charged,
none of the witnesses would testify

and the charges were dropped.

He threw someone off a roof, Jesus.

Then he ran up a massive drugs debt,
scuttles back to London and...

conveniently took an overdose.

Wasn't there a body?

Yep, but the mother identified that,
and we need to check her out.

Well, why? You can't lie.

There's fingerprints, DNA, dental records...

I've just been on to the coroner.

The mother said she hadn't seen him
for a couple of days.

They did a welfare check. They broke in.

The mother identified the handwriting
on his suicide note and the body.

So no call for secondary evidence.

You see, it turns out if you've got
a relative willing to help you out

it's actually pretty easy
to be declared dead.

Assuming you have a dead body lying around.

Yeah, well, you need to find some homeless
addict, someone no one's going to miss.

Or...

Hear me out.
- Natalie's a crazy nut job?

Who likes f*cking with you.

[BARBARA]: "Mary hasn't
spoken to her daughter for ten years.

I'll do anything to see
my little Natalie again.'"

[SHE CHUCKLES]

Not sure selling your story
is a way to wangle a reunion.

[BARBARA]: Mrs Sewell?
- Mm-hmm.

We're from Umbrella Pictures.

I'm not doing any more interviews.
I've got an exclusive with Take A Break.

We're actually a TV production company.

We're making a documentary
about your daughter.

With her permission.

Yeah. You wouldn't be here
if she had anything to do with it.

[HE SCOFFS]
Busted.

No one's pulling the wool over your eyes.
You're dead right. We don't have permission.

She's a pretty tricky customer,
your daughter.

Well, they're going to write
what they want about me anyway

so I may as well
make something out of it. Come in.

I think your piece really helped the public
to see Natalie as a real person

and not just some icy k*ller.

What are you, then? The muscle?

No, I'm James. I'm the presenter.

Mm. I've seen you.

What's the deal, then?
Take A Break paid five grand.

Wow. Have you got a press agent?

No, I... I did it myself.

Well done.
The ladies' mags are usually pretty tight.

What are you offering?

Well, we want to delve
into Natalie's personality.

Her life, the situations that led to this...

I... I've already said all of that.

Look, Mary...
Do you mind if I call you Mary?

No, it's fine.

Let's be frank. We really want you.
We'll pay whatever it takes.

We'll get you a car to and from the studio,
make-up, new clothes, all on your terms.

I don't know.
We're going to have to find a new angle.

We can't just rehash
the same old "sad mum" story.

No offense.
- No, I... I disagree, Barbara.

I think the public will be fascinated

with whatever Mary wants to say.

Maybe.

You get to decide what stays in or not.

We'll put it in a contract.
It's routine with celebrities.

No, I... I'm serious. You'll be a face.

You already are.

Hold on. Mrs Sewell hasn't said yes.

Yeah, but she hasn't said no.

Well, let's start with a list of topics,
shall we?

[JAMES]:
Is that your son?

Yeah.

I'm so sorry for your loss.

You can put that on the list.
I don't want to talk about it.

No, understood.
But it's too awful, losing a child.

You blame yourself.

No.

I blame her. She could have
bailed him out a hundred times over.

Natalie could have paid off his debts?

Is that why he k*lled himself?

Barbara, she said
she doesn't want to talk about it.

How would you feel,
having to identify your own son's body?

I'd struggle. I don't know if I could.

Well, who else was going to do it?

Natalie?

She won't talk about it either
in our interviews.

She does talk about you, though.

Oh. All bad, I suppose.

She's looked down on me
from the day she and Olly arrived.

From birth?

Are you recording this?

No. No, no. Nope.

Do you mind
if I just go to the loo quickly?

[BARBARA]:
I'm sorry you've had such a bad experience.

There's a lot of cowboys out there.

[MARY]: So you've never done that,
recorded people without telling them?

[BARBARA]:
Honestly, we're not that sort of journalist.

We're doing a documentary.
We're not a newspaper.

[MARY]:
Well, you still want the gossip.

[BARBARA]: We want to tell a story
people haven't heard before.

[CONVERSATION CONTINUES FAINTLY]

Have you ever been on camera before?

Yeah.

Not just a home video.
I mean professional, in a studio.

[MARY]:
You lot sticking cameras in my face...

[BARBARA]: It's all very different
with a celeb. There's no pressure.

No one's looking to catch you out.

[CONVERSATION CONTINUES FAINTLY]

So, um... what else can we cover?

George Varga?

Never met him.
You think she'd bring him here?

That's why you should use
this opportunity to tell your side.

[CONVERSATION CONTINUES FAINTLY]

James, I think we need to make a move.

Mrs Sewell's going to think about it.

[TOILET FLUSHES]

Have you been in here?

Is Oliver here?
- Get out.

It's a simple question. Is Oliver here?
- Do you want me to phone the police?

Natalie says that Oliver k*lled her husband.
- James...

Oliver's dead. Out.

Because if you know where he is and you're
hiding him

that makes you an accessory to m*rder.

They're adopted.

[MARY ON TAPE]: She's looked down on me
from the day she and Olly arrived.

[BARBARA ON TAPE]:
From birth?

[MARY]: Are you recording this?
- [MARY]: No.

Can we find out
who the birth parents are?

Adoption services don't share records.

What about your mate?
She's passed you stuff before.

Kemi? Once, as a massive favour.

OK.

It's not that easy.

I mean, why do you think
kids are taken into care?

Abuse, violence.

Yeah? What if they're not kids anymore?

At least ask.

I'll see what I can do.

[PHONE RINGS]

[JAMES]: Vera. Look, thanks for calling
me back. I just have a couple

of very quick follow up--
- [VERA]: Yeah, I'm calling to say I'm going

to have to block your number
if you don't stop leaving messages.

I'm really sorry.
It's kind of an emergency.

[VERA]:
Your investigation is not my problem.

I thought you might want to know
Oliver Sewell is in town.

Natalie's brother?

You must have met him in Budapest.

[VERA]:
That's crazy. He's dead.

[JAMES]:
How well did you know him?

[PHONE LINE CUTS OUT]

I met your mother.

Yes?

Well, you know she sold her story.

She got five grand.

Five thousand pounds. Is that right?

You don't seem surprised.

I imagine it's hard to say no when you're
being harassed by the press, so...

At least she got something out of it.

[HE SCOFFS]
That's funny. That's exactly what she said.

She showed me your childhood home

which she said
you were ashamed of growing up in.

Mary and I have very different world views.

Let's leave it at that.

OK. Um...

Changing the subject, I am...
I... I'm curious about your brother Oliver.

How you and he
could turn out so differently.

I mean, you're twins.

[NATALIE]:
Yes, we...

We shared a womb, a life.

Wherever I went, Oliver went.

Cambridge, Budapest.

When it was just us, it was fine.

But with others, he was...

Maybe the more I tried to succeed,
the more he wanted to f*ck it up.

I don't know.

Can I say "f*ck"?

Yeah.

I was scared of him.

He wanted to control every move I made.

I couldn't have friends,
boyfriends, growing up.

It was like...

It was like I couldn't breathe.

But then I was so scared of losing him.

He was all I had.

Because you were adopted.

Sorry, is that a secret?
- She told you?

No.

So how?

Is it a secret?

Excuse me.

I'm surprised Mary hasn't sold
that little nugget yet.

I mean, you can say what stays in or not.

I'm tired of talking about me.

Let's hear about your family.

That's a short conversation.

Is that why you became a journalist?

Dishing out other people's dirt
because you don't have any.

No.

I'm just a nosy f*ck.

What went wrong?

When did it all go
"Top Ten Serial K*llers"

and "Who Remembers Spangles"?

I just wanted an easier life.

Must have been exhausting...

all that stalking and hacking.

What do you want from me?
- Something.

I'm spilling my guts
and you're just watching.

Well, that's the job.

Sorry, I thought we got a bit beyond that.

It was a missing girl.

Lucy Gallagher.

The man who took her...

I found out he had access to a lock-up.

I wanted to be first on the scene,
so I broke in.

I found her body.

I contaminated evidence
that would have had him convicted of m*rder.

Is he still out there?

He k*lled himself.

Did he hurt anyone else
because of what you did?

But if he hadn't k*lled himself,
he might have.

Thank you...

for coming out of retirement.

I hadn't realised
how stressful this might be for you.

It's fine.

Maybe it's not about me.

Maybe you just missed the rush.

Working on a story that matters.

When someone could spend
the rest of their life in prison

based on how you do your job.

[OLIVER]:
f*cking idiot.

[BARMAN]:
Very clever. Go f*ck yourself.

You're not getting a drink.

[OLIVER]:
Get me another drink.

[BARMAN]:
Like I said. The bar is closed.

I said piss off, mate.

Come on.

[HE GRUNTS]

[MAN]:
Whoa, whoa! What are you doing?

[BARBARA]: Is that Oliver Sewell
kicking off at a wedding?

Yep.

Where'd you get all this?

Found them.
- And you have permission to use it?

Is that Vera Dorati?

Yeah, with the Oliver
that she claims she doesn't know.

Who's this guy?

Lukacs. Roof guy.

You nicked all this, didn't you?

And used me as your decoy.

What?

If he's dead, he won't miss them.
If he's alive... I'll give 'em back.

Decent of you.
- Aren't you just a little bit excited?

Oliver's got form. He pushed
his sister's boyfriend off a roof.

If we can prove that he k*lled George Varga,
that's, that's a big deal for us.

We can't use this.

I know that!
- You are a journalist, not a f*cking thief!

We are investigating a m*rder.

And if it turns out Natalie did it,
will you still be this excited?

[MAN]:
Cool down, mate.

[OLIVER]:
I'll see you outside, you prick.

I'll shove that camera up your arse!

[BUZZER SOUNDS]

[BUZZER SOUNDS]

[ANSWERPHONE]:
This is Vera, leave a message.

Vera? This is James Alden.

I know what happened
with Lukacs in Budapest.

I need to talk to you about Oliver.

I need to know if you've seen him.
Please call me back.

[HE GRUNTS]

When you read an obituary

do you feel a compulsion to check

that the dead person is actually dead?

Or is it only Oliver Sewell?

I want very much for you
to stop looking for him now, James.

I am asking politely.

What do you say?

f*ck off!
- [HE GRUNTS]

[HE YELLS]

This is glucose solution.

Next time, it will be pentobarbital.

[PHONE RINGS]

Hey.
- [NATALIE]: My God, are you OK?

Have you called the police?

Look, it's not the first time I've been
beaten up for sticking my beak in.

It's a good sign.
Means we're on to something.

[INAUDIBLE CONVERSATION]

Hey, how quick
can you get to Southwark Park?

[BARBARA]:
What?

I need you to make me look a little less
dodgy around a mother and a kid.

[BARBARA]:
Oh, for God's sake, James.

Quick as you can.
I think it's Oliver's family.

Whose ball is this?
- It's mine!

Are you sure?
- Yes.

Are you sure?
- Yes!

OK. My name's James.
What's your name?

My name is Leila.
- Leila, that's a pretty name.

What's your last name?
Let me guess, um...

Leila Smith?

No. Leila Biff.

No! Leila Oobleydoobley.

No. Leila Sewell?

Leila Strand.

Leila Strand, that's a pretty name.

Do you know a man called Elliot?

He's my daddy.

And does he live with you, your daddy?

Yes.

What do you want?
What did he say to you?

He knows my daddy.

What?
- No, it's, it's... Look, it's...

No, look, I-I'm a friend.
- What friend?

He said that he needed to lie low, so...
You're right to be careful.

Let me give you my number and...

And then you just call me
if you need anything.

Or if Oliver wants to get in touch.

I don't know any Oliver.

I mean Elliot.

I don't know any Oliver.

I'm on your side.

Reporting for duty.

You're too late.
I've got another job for you.

What? Harassing small children?

God-bothering.

[PASTOR]:
"We have this treasure in jars of clay

to show that this surpassing power
belongs to God and not to us.

We are afflicted in every way,
but not crushed

perplexed, but not driven to despair."
- Is that a love bite?

[PASTOR]:
"Persecuted, but not forsaken

struck down, but not destroyed."
- Mosquito.

"Always carrying in the body
the death of Jesus."

These things can go on for hours.
I've got a staff meeting.

Do you think it's bad form to talk to people
when the service is in full swing?

They're having a good old natter.

Yeah. OK, go on then.

[PASTOR]: "So death is at work in us,
but life in You.

Though I walk in the shadow
of the valley of death

I have no fear
because You are with me, Lord. Amen."

[CONGREGATION]:
Amen.

Our Lord can only deliver us from evil

if we open our hearts to Him.

Are your hearts open?

[CONGREGATION]: Yes.
- Is your heart open?

[CONGREGATION]: Yes.
- I say again

is your heart open?
- [CONGREGATION]: Yes.

[PASTOR]:
That's right, my brothers and sisters.

Oh, no, you're OK.

[PASTOR]:
The righteous heart has no fear...

OK.
- [PASTOR]: ...for it burns with light.

Only, only the sinner walks in darkness...

his heart heavy, heavy like a millstone.

The heaviness you bear, brother, is fear.

A sinner's fear of the Lord's judgment.

The Lord sees your sins.
He knows what you have done.

You will not rest
till you open your heart, brother.

Let the Lord unburden you.

You are walking into the valley
of the shadow of death...

alone.

Shona lives at 12 Amber House, Bermondsey.

You're welcome.

What's wrong?
- OK, let's go.

We're not going there,
we're giving this to the police.

Fine. I'll drop you at work.

If she's Oliver's partner
and he lives there

and from what we know, he's violent...

You do know you can't just turn up
at his house and expose him?

I'm fine. I'll be fine.

I'm thinking about
Shona and the little girl

and what if it puts them in danger?

Why would it?

Frustrated little men
who have no control over their lives

who do you think they take it out on?

Promise me you won't just show up there.

Fine. I won't. I won't. Just get in the car.
- You will.

You see, this is what happens.
You and your bloody ego.

You get a b*ner for a story

and you cease to give
the remotest sh*t about people.

Oh, really? Really?
You're going to leave me here?

You utter, utter f*ck.

[INDISTINCT CHATTER]

[SHONA]:
OK.

Oh, come on.
Take that off your face.

It's super-hot there,
so you don't have to bring any clothes.

Well, what about money?
I... I didn't bring any Euros.

Forints. Forints.
They'll give you some. Come on.

[SHONA]:
Come on, darling. OK.

Oh, here we go.
- Yeah.

Why can't I just talk to him?

You have no options here, Shona.
You have no f*cking choice, OK?

[CAMERA FLASH CHARGES]

Oi!

What are you doing?

I got stuck.
I was just taking a piss.

I'm press, mate.

You're not press,
you're a f*cking pap.

You f*cking scum!

[HE YELLS]
- This is my house!

You piece of sh*t!
- [JAMES]: Jesus, Natalie!

Do you have any idea...
- [PAP]: f*cking hell!

...what it's like being scared

every second of every day

for a f*cking photograph?

Get off me!
- OK, OK.

He's gone.
- [PAP]: Crazy f*cking b*tch.

He's gone.
- [SHE PANTS]

They're never gone.
You should know, you're one of them.

Why are you here?

Client report.

What happened to the power?

How else do you think he got inside?

You think the pap did it? No.

You're not a detective.
You're barely a journalist.

I don't know why I hired you.
I'll find Oliver another way.

He has a daughter.

Leila.

She's about three or four years old.

Your mother met her mother,
Shona, this afternoon

and then your friend Vera drove
Shona and the kid to the airport.

They're going to Hungary,
presumably, to meet Oliver

who's living under an alias,
Elliot Strand.

The same Elliot Strand
who met your husband the day he died.

Should I invoice you...

or Mrs Molnar?

Does she look like me?

You found all of this out since yesterday.

You must've cut quite a few corners.
- That's why you hired me.

Yes, it is.

And keep you out of prison.

You still think I'm involved?

Or you don't care either way.

I'm a journalist.

[SHE SCOFFS]
I keep forgetting I'm just a story.

You could get a private detective.

No, I'm pretty sure
I need someone like you.

Good, then we can discuss it
tomorrow in an interview.

You've just established the person
who k*lled my husband is in Hungary.

I have established
that he faked his own death.

I've got the tapes.

If I don't cooperate,
you walk away with nothing.

And you walk straight into jail.

You're a scumbag
just like that pap.

Do you want to give me a kicking?
- Keep pushing.

When's the last time
you lost control like that?

When I k*lled my husband.

No, no.
[SHE PANTS]

Bad idea.

[NATALIE]:
What now?

[JAMES]:
Hungary.

No, I meant will you be
covering this in the interview?

Probably not.

How will you find them?

I'll let you know.

[PHONE RINGS]

Hey.

Does this mean you've stopped
playing Poirot with Natalie Varga?

You got my flowers.

Yeah. Did someone die?

I'm sorry. I was a sh*t.

Have you gone AA?
Are you making amends?

Something like that.
- What did the police say about Oliver?

Barbara, I have to call you back.

[ANNOUNCEMENT IN HUNGARIAN]

[MAN]:
Excuse me. Can I get there?

[PILOT]:
Cabin crew, prepare for take-off.

Sir, you need to take your seat.
- I need to get off.

You need to take a seat.
- I need to get off the plane right now.

The door is closed.
Sir, please take your seat.

The feeling will pass, I promise you.

It's more common than you think.

I'll get you a glass of water.
No coffee for you.

[MAN]:
Maybe you need to consider

how important this trip is.

He's trying to k*ll me.

We're out of here.

[JAMES]:
You're saying Vera knows Oliver's dealers?

[BARBARA]:
You're going to wander round Budapest

asking drug dealers
if they've seen a dead man?

I know he's here.

This whole idea that Oliver's alive.

If this is something based on
what Natalie said

she's unstable.

[JAMES]: I'm just trying
to find out who k*lled her husband.

I think she did.
Watch your back.

[HE YELLS]
- [HE GRUNTS]