♪ ♪ So what happened with Jake?

We've decided to take it slow.

My wee sister stayed over at yours the other night.

But I didn't know that they'd started seeing each other.

Morgan's dad isn't involved.

Could've done with the help when she was a baby.

It's a choice I made.

♪ ♪ ♪ ♪ (thunder claps) (whimpers) (click) ♪ ♪ ♪ ♪ (sipping drink) (cup clinking) MORGAN: This arrived.

Can I open it?

Not till your birthday.

Are you pining for Jake?

What?

No.

This is my face for profound thought, often results in poetry, actually.

Here's hoping.

Mm.

Plus, a case came in last night.

If I split up with Erin, I'd definitely be pining.

It's an old Norse word meaning suffering torment and agonizing pain.

And I'm sure it's that kind of sparkly chat that keeps it fresh.

Get in the car, I'll give you a lift.

♪ ♪ (door opens) "There was a detective called Annika "whose daughter was always ahead of her, "she called her a word, the origin heard from the Encyclopedia Britannica."

See?

I was thinking of poetry.

♪ Throw a line ♪ ♪ Into the darkness ♪ ♪ We are shadows, blaze inside ♪ ♪ This light will shine ♪ ♪ Unbroken tonight ♪ ♪ Shine ♪ ♪ ♪ (water churning, birds squawking) ANNIKA: In "Twelfth Night," Viola sails into a storm so violent that her brother, who's clinging to a mast, is swept out to sea.

Viola herself washes up alive on the shore, but she has to ask one of her fellow survivors... "What country, friend, is this?"

In our case, it's Scotland on the Glasgow Docks.

(indistinct radio chatter) And this Viola was dead long before she could even ask the question.

(tape crinkling) Thank you.

(sighs) Discovered by the captain of a tugboat.

He stopped it drifting further.

So we just have a name, right?

BLAIR: Viola McCaskill.

Yeah.

And this is who she's got as her next of kin.

Oh no.

(birds squawking) (doorbell ringing) Is this where you tell me to make friends with Jesus?

Mmm.

Can I come in for a minute?

You do this kind of thing every morning?

Aye.

I keep it simple in the week.

(water running) (exhales) I need to talk to you about the victim last night.

(quietly): Hang on a sec.

Mum says stop fiddling with the taps.

She's in the shower.

(water stops) Hi.

Hi.

Bye.

Bye.

(receding footsteps) She's the youngest one.

I forget her name.

(object clattering) Viola McCaskill was pulled out of the water at the docks.

Oh no!

What happened to her?

A big cut in her head.

She's got your brother down as next of kin.

He'll be ripped up.

I'm really sorry.

She was so perfect for him, kept him level.

That's her on the board there with Adie.

♪ ♪ Can I go over there with you?

I'll just be there as a brother.

Okay.

Be a good one, though.

♪ ♪ Um... (mumbling) (indistinct chatter) MICHAEL (voiceover): Why didn't you tell me you'd broken up?

Ah, you'd have taken me hiking or something.

Did she give a reason?

She decided that it'd run its course.

Had she started seeing someone else?

I dunno.

Jeez, Mike, kick a man!

You know I have to ask this...

I was here last night, I was asleep on the sofa.

You didn't leave the house at all?

I mean, the pub is just up the road.

I don't go every night.

ANNIKA: Mm.

You used to be the last one standing.

Yeah, till a fight broke out.

(scoffs) Wait, that was me back in the day, I, I'm not that guy now.

No one's saying you are.

Well, what was that then?

ANNIKA: Well, it's what gets brought up when a woman is murdered, Adie.

(clears throat) Can I have a word, Michael?

So you'll need to step off the case.

You know him as well, why don't you step off the case?

Oh, see.

You're already letting it get in the way.

Letting what get in the way?

He couldn't have put a cut in her like that.

Okay, he's an ex-partner, uh, his alibi's weak, and we'll need to look at him, and I don't want you anywhere near that.

Or me, while I'm doing it.

♪ ♪ I can tell when you're lying, and there's no way you were on that sofa last night.

♪ ♪ (distant birds squawking) TYRONE: Viola McCaskill, 42 years old.

The cut to her head killed her, caused by a large blade, either a hatchet or a cleaver.

She was in the water for about two hours, so she'd have been killed at around 8:00 p.m.

Possibly earlier.

SOCO can't find any evidence she was killed at the water's edge, so they're searching the wider area.

What else do we know about her?

Born and bred in Glasgow.

She's got a sister overseas.

She was a nurse, until about two years ago when she started up her own business.

It's a wee upcycling vintage shop.

After she split up with Adie, she moved into the flat above.

Yeah, and we've got a report of a domestic disturbance about three weeks ago.

A neighbor heard Adie trying to get into the flat.

No action was taken, just words, but not very nice ones.

Oh, he didn't mention that.

He works at the docks, he'd know all the blind spots.

And, he's got a PC for assault.

Michael must be tearing his hair out.

I've asked him to step down for a day or so.

He can still work cases, but don't get him involved with this one.

Let's just follow the evidence.

So, docks for you, I'll see if SOCO are any further with finding the crime scene, and we'll take Viola's shop.

It's on St. Jude's Street, Patron Saint of Lost Causes.

Well, she did hook up with Adie.

(phone ringing in background) ♪ ♪ BLAIR: The theory is the body was brought here in a car.

TYRONE (on phone): Body in a boot?

Looks that way.

Tore a bit of her dress as she was taken out.

No sign of her shoe.

Got a wheel-locking nut as well.

From a VW (on phone): ...or a Vauxhall.

You've got locking nut patterns in your head.

BLAIR (on phone): Hasn't everybody?

(phone chiming) Gotta go, Michael's calling.

Yeah, hey, careful with that.

(chiming continues) I know.

(beeping) Michael?

MICHAEL (on phone): Adie's offered up an alibi.

Can I pass it on to you?

That was quick.

I just rang you.

TYRONE: Really?

Annoying little break-in.

Not sure we need detectives.

Hardly anything missing.

TYRONE: How did they get in?

Forced the door at the side.

I think a medal might've gone.

Viola could tell you, I'm just part time.

(soft chuckle) I've called her twice.

What's your name?

Kate.

Gotta say, this is the most excitement I've had in this shop.

Viola's dead, Kate.

(softly): Oh, my God, like, killed?

Did you see her yesterday?

God, I hope it wasn't her ex.

Why do you say that?

Only time she got me to lock the door was when he turned up.

Some people don't know when it's over, do they?

No.

No, they, they don't.

TYRONE: Might have the scene.

It's outside the back door.

Could you dig out a bit more information on that medal?

Yeah, sure.

Um... TYRONE: Some splashes of blood.

Maybe she disturbed the burglar.

8:00 p.m. is kind of early for a break-in.

Yeah, but it's pretty quiet here, though.

Mm.

And not much blood for a machete attack.

Unless he got her away quickly.

I'll get SOCO out.

Let's try and get her laptop, too.

Sorry, could you keep back?

Um, the medal was a Military Cross, Second World War.

Viola bought it in a house clearance, but owner wasn't happy about it.

Mm-hmm.

Have you got a name there?

Hm... Gurpreet Mattu.

(music playing on radio) Excuse me.

Yeah.

Gurpreet Mattu?

Through there.

(metallic clinking) TYRONE: Stop!

Police!

♪ ♪ Why do they run?

♪ ♪ ANNIKA: He's heading for the car park!

Lift!

That way, you go that way!

(sighs) (car starts, engine revving) (tires squealing) ♪ ♪ (tires squealing) ♪ ♪ (tires squealing, screeching) (tires squealing) ♪ ♪ (panting) TYRONE: Hey, okay, okay.

Whoa, whoa, whoa.

Whoa, whoa, whoa.

Take it easy.

I'm not giving up the medal, so I need you to leave.

Like, drive away and I'll get down!

That's how we're doing this!

(shudders) Well, that's excellent.

Oh, so high.

(breathless): Oh.

Yeah.

(grunting): Here.

I'm listening.

(gasps) Go ahead.

It was my granddad's medal.

He went into a home and it got caught up in a house clearance.

That woman said she'd paid for it.

And would only hand it over if I bought it off her.

So I took it.

Call it theft if you want.

But I don't see it like that.

(groaning) Okay, that woman... (deep breath) ...was murdered the night you broke in.

Yeah, well, I... Hey!

I don't know anything about that.

There was blood at the scene.

Yeah.

Well, it's mine.

I cut my hand smashing the glass.

And you've also got a lot of cleavers in your kitchen.

I went over at midnight.

I was in and out, I didn't see her.

I didn't hurt anyone.

So, uh... why don't, uh... let's get down.

Both of us, yeah, to, to, um... ...to sea level, and, um... we, you know, we just talk about it.

Nah.

(laughing): Nah.

Nah.

What was it for?

The medal.

He went back for an officer.

Carried him off the field, even though he never knew the body on his back was alive or not.

Ah.

Explosions everywhere.

Kept him sheltered till help arrived.

That's very brave.

You don't want a tourist buying that.

Hm?

(exhales) Okay.

I'm coming voluntarily.

(murmuring): Oh, I'm so glad.

(breathing shakily) I'm not having anyone accuse me of murder.

Mm-hmm.

Mm.

(wind blowing) (sniffs) (sighs) Come on, mate.

(under breath): Just... Oh.

Yeah, just give me a sec.

TYRONE: I'll take you back with us.

(groaning): Yeah.

I'm coming.

Whoa... (birds squawking, distant sirens wailing) (ball thumping) Are you Taylor Mathie?

Pick up the pace, you wasters!

I'm not seeing any sweat!

Michael said you'd be shouting at kids.

Rapunzel sent you, did he?

Just want to know if you were with Adie McAndrews last night.

Has he got himself into some trouble?

It's a simple yes or no question, Taylor.

Is that why Mikey's not here flashing his badge himself?

His wee brother's been a naughty boy?

Adie said, uh, he was working from about 7:00.

Took some coke.

Well, doesn't Adie say a lot.

Is it true?

No.

Haven't seen him for months.

You're right, that was a simple question.

So now I've got two different stories about last night.

I was with my mother.

You can check.

She's got shingles.

Poor dear.

Are we done?

Okay!

Time up!

That was pathetic!

(sighs) (kids playing) ♪ ♪ (motor rumbling) I feel bad, I mean, not like it was the Empire State Building.

I... it's an evolved navigation instinct.

Vertigo?

Yeah, it's where your brain exaggerates height to minimize the risk of a dangerous fall.

It's self-preservation, you should feel glad you've got it.

Right.

So I'm, I'm going to need you constantly available to put that kind of spin on my neuroses.

Good.

The restaurant manager says your man Gurpreet was in the kitchen till midnight, which checks out, but he had a break around 6:00-ish.

For how long?

An hour.

It could just about work with the timeline.

We'll see if his blood matches the blood found at the shop.

ANNIKA: Well, if the only blood is his, then we still haven't got the crime scene.

(exhales) Uh, did you get anywhere at the docks?

Wheel nut along with the track suggest it's a Vauxhall that drove the body there.

Adie's the registered owner of one, but he offered up his old mate Taylor Mathie as an alibi.

Did you get that from Michael?

Yes, but it's no help.

Taylor was with her mother all night.

Mother confirms.

So either they're lying or Adie's lying.

Well, he's already lied to us once.

TYRONE: Anything on the victim's computer?

She was lively on social media, and doing some online dating.

Quite active.

Playing a few at the same time.

Men and women.

Well, Adie would've struggled with that, if he knew she was moving on.

But he said he didn't know.

Which... might be another lie.

ANNIKA: Okay.

Let's bring him in.

(distant phones ringing) And how's Michael about it?

Split in two.

Well, he likes things clearly defined.

You seen his house?

It's like a magazine feature for stable families.

(chuckles) Well, it's what he needs.

How are you handling it?

All right, I think.

'Cause when a case gets close and you're the one leading, sometimes your legs go.

Has that ever happened to you?

Yeah.

But I just bottled it up and pushed harder.

(sighs) Have you got someone to talk to?

Yeah.

Yeah, don't worry.

(phones ringing, indistinct chatter) TYRONE (voiceover): We think he's jumped ship.

His flat's empty and his car's not there.

What, you think Adie's here?

Do you wanna search the place?

BLAIR: Don't be like that.

Taylor didn't give him an alibi.

She's a liar, she always lies and she'll have got her mum to do the same thing.

You need to know how to talk to her.

She does know and we're checking, but if Adie calls, then...

I've left him 20 messages.

What do you want from me?

Okay, keep your hair on, Rapunzel.

Sorry I snapped at you, mate.

Who told you about that?

Hm.

About... Rapunzel?

Mm.

Got it from Taylor.

That cannot get out.

Okay?

Then let's see how nice you are to us.

We'll see ourselves out.

And we didn't get any eggs, I noticed.

♪ ♪ (door opening) (door closing) ♪ ♪ (birds chittering) (humming) (gasps) ♪ Hurra for deg som fyller ditt år ♪ ♪ Ja, deg vil vi gratulere ♪ Okay remember that time I let you sing it to the end and you burst into tears?

Yeah, it's an emotional moment, and this one's more than ever.

16!

Brink of adulthood.

I know.

I can join the army.

Yeah, it doesn't necessarily mean you have to.

And I can fly a glider.

I can change my name and I can get a passport without your consent.

Yeah, I think you might be 15 actually, just let me check.

That's lovely.

And some money?

Mm-hmm.

Thanks, Mum.

(singing, humming) (sniffs) Sorry.

Bank transfers make me really emotional.

Mm, I bet.

So, I'm picking up the cake today, and we'll open gifts later.

Meantime, we can enjoy delicious eggs on crackers!

Actually, I was gonna meet Erin later.

Do you mind?

God no, not at all.

♪ ♪ (birds squawking) TYRONE (voiceover): So we're still looking for Adie's car, and we're tracking his credit card, but nothing yet.

(sighs) Look at old contacts, and places he knows.

He acts emotionally, so, he won't have a thought-out plan.

And Gurpreet's in the clear.

There's only traces of his blood at the shop, and he spent his hour off seeing his grandfather.

So we still don't have the crime scene?

Okay, the tech guys have dug out a dating site chat between Viola and a woman called Leila.

The victim arranged to meet her at 8:00 p.m. at Finn's Bar the night she was murdered.

(clicking mouse) She has a connection with this place.

ANNIKA: Okay.

Tyrone, let's get some ink.

(keyboard keys clacking) Just coming to see you.

Here.

I'll be there in a sec.

Feel free to play the Nordic folk tapes.

I will definitely do that.

You bearing up?

Aye, thanks mate.

(keys jingling) So, Adie's hiding 'cause he's scared.

Straight in.

Straight in with the thing we can't talk about.

I'm just trying to help you here.

Do you know where he is?

Well, I'd tell you if I did.

So how are you helping?

(car door closing) All you've done is send us to his football mate who, who's just made it even worse.

Oh, come on, you know Adie.

You've drunk with him, you've done bloody karaoke with him.

Mm, well that's a different criminal investigation.

It's a murder charge he's facing, and you just dance away with it like you always do.

No, I do not dance away from things; things, they dance away from me.

And I'm trying to keep our family together, which might seem an alien concept to you.

I'm trying to be a good detective, which might also be, oh, an alien concept to you.

Oh, so have you found the killer?

No, because someone keeps getting in my bloody way!

Right, well not anymore.

Go on.

Go on and catch the killer with your complete works of Chaucer or whatever it is this time.

We need Adie to come in.

(car starting) Do you know, and, and it's "Twelfth Night" this time, actually.

(birds squawking) ♪ ♪ (bell rings loudly) (muffles bell) (whispering): It's really loud.

(music playing on radio) Have you got any?

I've got this.

It looks like a leaf.

Yeah.

Is it for luck?

Well, if it is, I want my money back.

You don't need luck, anyway.

Just need the right people around you.

Including Michael.

(scoffs) Mm.

You heard that, did you?

I don't like it when mum and dad fight.

(chuckles) It's all right.

It's not your fault.

Then is this a good time to tell you I broke your tape player?

(laughs) Wait, what, really?

(door opening) TYRONE: Are you Leila?

Oh, hell.

Not again.

Again?

(car horns honking) So you came.

You on your own or have you got snipers on the rooftops?

Well, I know how many showed up by the number of red dots I can see on your head.

Look, I shouted at Annika today defending you and I didn't have anything.

No evidence, no argument, just that you were my brother.

Wasn't that enough?

Well for me, once, maybe.

But for a murder enquiry, no chance.

Taylor never backed you up.

Aye, I know.

The weasel.

Whatever happened to loyalty?

It gets stretched to the limit, Adie.

Well?

Why didn't she?

Listen, okay, okay, okay.

You don't wanna tell me, fine.

But tell my team.

'Cause you're in a whole load of trouble.

And if you didn't do it, they'll need to clear it up.

I can't.

I mean, meeting by mum's bench was a pretty low move.

(dogs barking distantly) (sighs) So what is your name, then, if it's not Leila?

Freddie.

And I've never been on a dating site.

It's a scam.

I told your cyber boys about it, what, six months ago?

But it was a dead end.

How did you know it was happening?

Poor bugger who got fleeced did what you did and image searched me.

Told me I'd ruined their life.

Taking money, arranging meetings and bailing on them.

I thought it stopped.

Guess it's back on.

Why do you think you got picked?

Look at me.

I mean you would, wouldn't you?

(music playing on radio) So where were you two nights ago?

I wasn't even in Scotland.

(tattoo pen buzzing) Got a client down in London, work on her every week.

I don't know, Viola, was it?

The victim?

Never met her.

ANNIKA: Okay.

Well, we'll leave you alone.

Hope you stop her this time.

Hm.

BLAIR: We've got the murder scene, Finn's Bar.

Forensics are on site.

Someone was waiting for her, or had followed her.

Picked their spot well.

No CCTV, but we've got two on the approach.

Not far from Adie's house.

And handy for the docks.

If he pops up on those cameras, that's him done.

What about Leila, the victim's fake date?

Well, cybercrime had a few possibles, but with this recent activity, they think it might be this woman.

She stays on dating sites for a few weeks, switches to private messages, and then disappears.

From the site's archive, we know that she'd initiated contact with these people-- a cab driver in Australia, a mother in South Africa, a banker in the U.S. All English speaking, so she can call them.

TYRONE: There's also this guy in Glasgow, he's got a place by the river.

Lee Tanner.

And, of course, there's Viola.

Also Glasgow.

Yeah, well, she's dead, so do we know if the others are okay?

We'll check the overseas ones but, it's worth starting with him.

You get on to the CCTV at the crime scene, I'll visit Lee.

Mm, via the bakery.

Is she getting us pastries?

Morgan's birthday cake.

Oh.

(phone rings) DS Clarke.

Thank you.

Adie's just walked in.

(birds squawking) ANNIKA: So, meanwhile, in Illyria, Viola pretends to be a boy, so she can get close to a duke who's in love with another woman, who then falls in love with Viola's twin brother, because, well, he looks like the boy his sister is pretending to be.

I mean it's supposed to be funny, and I think at some point I would find it funny.

Just not today.

Hi-- D.I.

Strandhed.

Happy to find you alive.

Can I have a word?

BLAIR: She was killed near your house, dumped near your workplace, you did a runner, and you can't account for any of it.

I was with Taylor, like I said.

BLAIR: Taylor denies it.

Aye, well she'll get what's coming to her.

What, you gonna dump her in the dock too?

I didnae mean that.

BLAIR: Didn't you?

You've got a temper, done time for it.

Just need the right trigger.

TYRONE: Yeah, and Viola leaving you and dating someone else would be it.

We've got SOCO all over Finn's Bar.

We've got the locking nut from the docks, which fits the wheel on your car, and we've got forensics looking in your boot.

They won't find anything.

And I've gotta say, all the other stuff is pretty bloody circumstantial and all.

Which is what you should be saying.

Are we done here?

'Cause I shouldn't have come in.

You came in because you did something that night.

I don't think it was killing your ex-partner.

Your loyalties are split, we get it.

We're just saying, Adie, you don't have to be accountable for anything you didn't do.

So what do you do here?

Repairs.

Trade a bit of metal.

There's a lot of salvage in at the moment.

Even things like that?

Decommissioned, I use it as a paperweight.

Hm.

What's this about?

Leila.

Is she all right, has something happened?

She's not real, Lee, I'm sorry.

What do you mean?

She's a fraudster.

Her profile picture is actually of a tattooist in the city.

Of course she's real, we talk, we talk about everything.

It's a romance fraud.

She has a few people on the go, including a woman who was murdered two nights ago.

I'm here because we need help finding her, Lee.

I know this is hard.

Have you given her money?

Some.

Ah, how much?

Well, she needed it.

How much, Lee?

Six, maybe seven grand.

Oh.

(exhales) So maybe we could take those payment details?

(sighs) How did she communicate with you?

Through the dating site.

And we spoke, too-- how could we do that if she's not real?

Have you met her?

We were arranging to meet, but she's got responsibilities, she's looking after her mother.

She agrees to meet lots of people, Lee, she never shows.

We were arranging it today.

Hm.

Would, would you be willing to take that call?

We could track where she is.

♪ ♪ You've got authorization for that trace Annika wanted.

BLAIR: Great.

Leila calls Lee through the dating site, so it'll be an IP address, but that's enough to trace her location.

Mm-hm.

What about the Adie interview?

TYRONE: Oh, him and Taylor were off their heads and drove to an off-license where Taylor pulled out a knife and robbed the place.

I mean, it took Adie by surprise, but he didn't stop it from happening, and he drove them home.

He'll get done for that, but he's clear for murder.

So, does it mean this trace is our only lead?

TYRONE: At the moment, yes she is.

(phone buzzes) Let's hope it's a good one.

Standing by, boss.

It's called a, uh, petard in Shakespeare, interesting word.

Comes from the, uh, Latin, meaning "to break wind."

May have got that wrong.

Are you talking to me?

ANNIKA (over phone): No, no, I'm commenting on Lee's paperweight.

(phone ringing) LEE: It's her.

Oh, thank God for that.

So you wait till I give the signal.

(phone chimes) Ready on this end.

ANNIKA (on phone): Okay.

(phone rings, clicks) Hey, Leila.

LEILA (on phone): Hey, that's a relief, I was worried my big man wasn't going to pick up.

LEE (on phone): Well, why wouldn't I?

LEILA: 'Cause I always worry that you might get bored of me.

Especially after the mess-up the other day.

I sorted that, I told you.

LEILA: Oh, you're such a rock, Lee!

I don't know what I'd do without you.

Have you fixed that hull you were working on?

Today.

So maybe we can meet up?

LEILA: I would love that.

When?

LEILA: I really want to do it this week, but mum's taken another turn.

I'll need some home care to make it happen.

Right.

LEILA: You okay, Lee?

I know it's been difficult.

How about I try and get some help, then it will ease the pressure here and I can see you?

What kind of help?

LEILA: Well, there's an agency who can come in and do care and some cleaning, but it's quite expensive.

I'll need to find another grand.

And you want me to help?

(beeping) LEILA: I know it sounds... BLAIR: Address coming through.

ANNIKA (on phone): Writing it now.

Mm-hm... LEILA (on phone): You want the best for us, right, Lee?

Got it.

No.

I want you to die in a ditch!

Oh for...!

(groans) Okay, Lee.

Look what she did to me!

You did really well.

(kicks toolbox) Sick mother, for Christ's sake!

What, what was the mess-up that you sorted?

(kicks tools) The things I did for us, for her!

(kicks box) Whoa, okay, I, I know, I know, I... And none of it was real!

(tools clattering) Blair, are you still there?

BLAIR (on phone): What's going on?

(sighs) Listen, I'm gonna need, (loud thud) OBAN: Call her back!

There's no answer.

OBAN: I'll get Force Control to coordinate the response.

MORGAN: Is Mum about?

What's happened?

Get Michael back.

♪ ♪ (sighs) (groans) Hello?

(car rumbling) Can anyone hear me?

Hello?

(banging on trunk) Hey!

Uh, oh, ow.

(groaning) Oh, right.

(clicks) Oh, ow.

Oh, it's, it's a car.

Heh, it's just a car.

(car creaking) It's, it's my car, in fact.

(grunts) Hey!

Shut up!

Just shut up!

♪ ♪ I'm not stupid.

I know you're not.

So what's going on?

Okay, I'm gonna tell you what we do know, because we don't know it all yet.

Your mum is with a suspect, and we lost communication with her.

We're trying to find her.

A murder suspect?

Yeah, but we've got officers at the scene, we've got Force Control sending up helicopters.

(knock on door) I've just been briefed, are you okay?

No.

Just sit tight, we'll find her.

MICHAEL: Can I grab you?

I'll be back to sit tight with you.

OBAN: Okay, what have we got?

So Lee's our killer, we've got his dating profile and managed to pull his messages to Leila, who found that she made a mistake.

She sent him a message that was meant for Viola, who wanted to meet her in a bar.

Now, she had no intention of going, that's not how it works, but Lee sees the message and he kicks off.

♪ ♪ Leila explains it to Lee by saying that Viola's hassling her and that she wishes she was gone.

Lee takes her for her word and intercepts Viola at the bar?

Kills her, tells Leila that he's sorted it, and they smooth it over online, then Annika rocks up a few days after, and tells him that his lover isn't real.

So what's he doing now?

Well, he will have flipped like he did last time.

Taken Annika and gone after Leila now he knows where she is.

The unit's on their way.

ANNIKA (muffled): Officer in the boot!

No one can hear ya!

It's very difficult to talk like this, Lee.

(thuds) Ow.

Everything that happened was her fault, it's not mine!

There's, uh, there's this duke, in "Twelfth Night."

Threatens to kill his love Shut up!

rather than let her be with someone else.

Shut up!

People should just be who they say they are.

(car engine starts) Yeah, but he, he doesn't in the end, though.

And you don't have to either!

Don't tell me what I have to do!

(shuts door) ♪ ♪ ♪ ♪ TYRONE: Team to Control, team to Control.

Lee got here before us.

ANNIKA: Worst comes to worst, Morgan's dad... will have to look after her.

Or rather, he'll have to become aware of her and then look after her.

He'll be fine.

Once he gets over the shock.

It's my daughter's birthday today, Lee.

16.

She's got a lot on her plate, but she's a lovely girl.

Got some chocolate cake, so, you know, just help yourself!

(warped distorted music playing) Yeah, sorry, the tape player might be broken.

(turns stereo off) ♪ ♪ BLAIR (over radio): We've got officers with the body.

But we missed Lee.

BLAIR: Confirm murder weapon is still at the scene.

The helicopter's in the air, Force Control will confirm, but it looks like the car's on the coast road.

MICHAEL: I'll take the rib.

TYRONE: We're in the vicinity of the coast road.

He's already killed twice, he's raging and he's got a grenade, God knows what else.

But you were about to say something positive, right?

(sirens blaring) There's the bit at the end of "Twelfth Night" where all works out, you know?

(electronic beep) OFFICER: Car approaching dock area.

(sirens blaring) BLAIR (over radio): All units, suspect spotted heading towards the dry dock.

(sirens blaring) We're on his tail.

♪ ♪ Everyone gets what they want and it's... (sighs) it's happy ever after.

OFFICER (over radio): All units, cordon in progress, suspect approaching.

No, no, no!

(screams) OFFICER (over radio): Driver failed to stop.

Car now approaching dock while at speed.

(sirens blaring) (helicopter rotors beating) ♪ ♪ (groans) (tires skidding) (grunts) (sirens blaring, helicopter overhead) ANNIKA (muffled): Getting a bit frantic, isn't it, Lee?

How about we calm it down?

Stop talking!

You're always talking!

LEE: Why do you have to talk all the time?!

MICHAEL: Advise all units, D.I.

Strandhed is in the boot of the car.

(radio squawking) OFFICER (over radio): Be advised, officer in the boot.

DI Strandhed has been located in the vehicle.

MICHAEL: Hello!

My name's Michael.

(unbuckles lifejacket) I'm not armed.

I'm just gonnae approach, okay?

Stay where you are.

Just relax, it's fine.

MICHAEL: Okay, why don't we, why don't we put that down?

Every day I ask myself, "Shall I pull out this pin today?"

(indistinct radio chatter) LEE: You've gotta have a good reason not to.

I did for a bit.

I get it, I do.

(helicopter flies overheard) No, you don't.

You all couldn't wait to tell me.

Coming to my place, laughing about it.

I promise you no one was laughing.

Especially not the officer that's in the boot of the car.

So why don't you just let her go, and you and I can talk?

So that's it, is it?

It's her you care about?

Yeah, I do.

We all do.

So if we see her walk away, there'll be a lot of happy people out here.

Nah.

(chuckles) I'm doing you a favor, mate!

(pulls pin) (grenade thuds) (explosion echoes) (worried indistinct chatter) (glass shattering) (fire crackling) ♪ ♪ ♪ ♪ ♪ ♪ (bird squawking) Thanks, mate.

Oh, you can't have a drink.

Uh, not with concussion, apparently.

(sighs) Look, go home, if you want to, it's been... you don't have to stay.

Rather be here.

My family will ask me how my day's been, and I wanna put that off a bit.

Yeah.

Ah.

Just letting Erin know everything's okay.

And it is.

It is.

So let's get a table.

I've sorted out a cake for her.

(music playing over stereo system) It would've been easier for you if my brother had done it.

Mm.

I'm glad he didn't, though.

I'm sorry I got into a fight with you about it.

Well, we've fought before.

We knew how to get past it.

But we can't get past it that way now though, can we?

No, best not.

(chuckles) Scariest thing in that boot?

Thinking she'd be alone.

Does she ever talk to her dad?

(lights candle) No.

Pork pie, nice.

(chuckles) Take it to her.

Okay.

Hey, happy birthday!

Happy birthday.

(laughs) Okay, one try.

(blows out candle, applause, cheers) MICHAEL: Happy birthday!

BLAIR AND TYRONE: Cheers!

Although she's talking to him now.

(indistinct chatter) (sighs) ♪ ♪ (click) ♪ ♪ (woman vocalizing) ANNOUNCER: Go to our website, listen to our podcast, watch video, and more.

"Masterpiece" is available with PBS Passport, and on Amazon Prime Video.

♪ ♪ ♪ ♪ Why don't we put that down?

NIC LAWSON: One of the interesting elements of shooting the series has been that it's a very varied approach to a script.

So, it's, it's a really nice mix of the personal and the very dynamic.

So we go from being something that focuses on one camera with one character, into something-- there's multiple cameras, cameras on quad bikes, cameras on boats.

We've used all sorts of different techniques, ways of getting as many shots as possible to cut together these very dynamic action sequences.

(soft impact) (explosion) We've had some great explosions in this season as well.

(explosion) And then we've been lucky enough to have a drone with us for the duration of production.

But it wasn't just about the idea of using the drone as a flying element to be high and wide, but to also try and bring it in and make it a little bit more personal, and give us this sense that the camera, although high, would often drop down into the actors' space as the scenes were beginning in particular.

It also gives us this flexibility to get out over the water, which is also something that's very, very difficult to do in any traditional sense.

KIERAN PARKER: I think of the top five hardest films ever made.

I think at least two of them have been shot on the water, that being "Jaws" and "Waterworld."

And they all cite working on water being an utter nightmare.

I think at least on "Waterworld" they had the sense to shoot that in the Caribbean or somewhere like that, but to shoot boats in the west coast of Scotland in winter, I, I hope it's one of the toughest things that we'll ever do on camera, because just the nature of the sea, and how she works, and I remember seeing at one point we had five boats on the water, so I was looking at the boats, and they were all going in separate directions.

Yeah, and that kind of sums it up, really.

(chuckles) ARABELLA PAGE CROFT: Nicola Walker's learnt how to drive a powerboat, Jamie has learnt how to drive a powerboat as well, I think Ukweli's going to do his license, and that's, that's really fun to see, the actors enjoying that very much.

Round and round us.

NICOLA WALKER: You have to learn to drive things when you're an actor, you have to jump in and out of cars and stuff, but I've never driven a boat, I ha... never.

So, a complete novice.

It's all very well when you're sitting at home reading that you jump in the rib, and fly out the Clyde.

(laughs) Then of course you've got to learn how to jump in the rib, and not only to drive the rib, but how to drive bigger boats.

JAMIE SIVES: So I'm now the proud owner of a level two powerboat license.

So which is recognized all over the world, so I can go anywhere in the world whatsoever and say, "I'm commandeering that boat, thanks."

WALKER: You know, it's like you've got to fake it to look as, as though you've been doing it forever, and when you're a, you know, a beginner you tend to be very careful, and I was really, I was really nervous about it.

It just, sometimes, I think, (laughs) you can see the terror around my mouth.

I'm trying very hard to cover it.

It's either terror or just like, um, just, absolute joy.

It sort of veers between the two.

SIVES: Piloting a rib at 30 knots down the Clyde has been just great fun; I mean, who gets to do that?

It's wonderful, can't get enough.

So to just do more stuff, and I'm looking forward to seeing more stuff in scripts about me... maybe even, maybe like that Bond chase along the Thames, something like that.

WALKER: When we do scenes of Annika arriving into harbor or pulling up to a pontoon, I am...

I'm smiling and acting, but inside, the internal monologue is just me swearing in terror.

Because when you're trying, when you're trying to act and you're trying to neatly, essentially, park a very expensive boat, um, it's quite, it's, it's really frightening.

If you make a mistake, it's going, it's going to be expensive.

And they talk to you like you're the captain.

I mean that's the rule, you know, I am, it's my boat, I am the captain of the boat.

(laughs) And I think they've got a lot of faith in me, probably more than I have in my skills.

CROFT: We have had a great boat team, and we've had very willing actors, and that's really fun to see the actors enjoying that very much.

And our crew are, you know, they're really good at dealing with the challenges of, of taking on the water.

Oh, it's been, it's been a fantastic show to, to make, and we're really, really proud of everything that we've achieved here.

♪ ♪