Browse content similar to Jackson and the Women. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Our job was to collect the child from the location and deliver her. | 0:00:02 | 0:00:04 | |
I did not sign up to take a child from her mother. | 0:00:04 | 0:00:07 | |
You did the job. | 0:00:07 | 0:00:08 | |
I did the job. | 0:00:08 | 0:00:10 | |
We move on. | 0:00:10 | 0:00:11 | |
How much did I win? | 0:00:11 | 0:00:13 | |
61,500. | 0:00:13 | 0:00:16 | |
Excuse me? | 0:00:16 | 0:00:17 | |
Oh, thank you. Wouldn't want to leave that behind. | 0:00:17 | 0:00:19 | |
So, what can I do for you? | 0:00:19 | 0:00:20 | |
I need a favour. Two new identities, passports, the lot. | 0:00:20 | 0:00:24 | |
You owe me. | 0:00:24 | 0:00:25 | |
And one day, I'll give you a call. | 0:00:25 | 0:00:27 | |
"And as the azure water laps at your feet, | 0:01:01 | 0:01:04 | |
"you'll truly believe you're in heaven." | 0:01:04 | 0:01:08 | |
We are still talking about North Berwick? | 0:01:08 | 0:01:10 | |
I should go for a run. | 0:01:14 | 0:01:17 | |
Now, I like the ones when you have your own cabana. | 0:01:17 | 0:01:23 | |
This way to your cabana, senora. | 0:01:23 | 0:01:25 | |
And a private plunge pool. | 0:01:25 | 0:01:27 | |
That would be for all the private plunging. | 0:01:27 | 0:01:30 | |
Hm. Now there's something you don't get in North Berwick. | 0:01:30 | 0:01:34 | |
You want to bet? | 0:01:34 | 0:01:36 | |
SHE GIGGLES | 0:01:36 | 0:01:38 | |
Let's just jump on a plane somewhere hot. | 0:02:18 | 0:02:20 | |
The money's coming through any day. | 0:02:20 | 0:02:22 | |
I'm not a kept woman, you know. | 0:02:22 | 0:02:25 | |
Anyway, it won't be a holiday if I don't have a job to come back to. | 0:02:26 | 0:02:30 | |
Ah, come on. There's a cabana somewhere with your name on it. | 0:02:30 | 0:02:32 | |
Meanwhile, there's an exhibit | 0:02:32 | 0:02:34 | |
stuck somewhere between Frankfurt and Glasgow. | 0:02:34 | 0:02:37 | |
Here, will you zip me up? | 0:02:37 | 0:02:39 | |
Think it's going to be another late night. Sorry. | 0:02:43 | 0:02:46 | |
-Well, you can make up for it now. -SHE GIGGLES | 0:02:46 | 0:02:48 | |
I have to go. | 0:02:49 | 0:02:51 | |
Guess I'll swing by the office. | 0:02:55 | 0:02:57 | |
See why Deborah called five times yesterday. | 0:02:57 | 0:03:00 | |
Sure you still know where it is? | 0:03:00 | 0:03:02 | |
Just about. | 0:03:02 | 0:03:04 | |
-Mr Brodie? -That's right. | 0:03:23 | 0:03:25 | |
I wasn't sure if you were open or not. | 0:03:25 | 0:03:28 | |
Apparently not. | 0:03:32 | 0:03:34 | |
Er...just give us a minute, will you? | 0:03:39 | 0:03:42 | |
Right. Wait right there. | 0:03:56 | 0:03:58 | |
-"Hello?" -It's me. -Hi. | 0:04:01 | 0:04:05 | |
What the bloody hell's going on? | 0:04:05 | 0:04:06 | |
You've decided to run your business into the ground | 0:04:06 | 0:04:09 | |
for the sake of a few shags and 60 grand. | 0:04:09 | 0:04:10 | |
-All right, you've made your point. -My point is | 0:04:10 | 0:04:13 | |
I'm sick and tired of apologising for your midlife crises. | 0:04:13 | 0:04:16 | |
And I have a new job, which you'd know if you answered your phone. | 0:04:16 | 0:04:19 | |
Bye, Jackson. | 0:04:19 | 0:04:20 | |
Can't get the staff, eh? | 0:04:22 | 0:04:24 | |
Hm. | 0:04:25 | 0:04:27 | |
Er...look, now's probably not the best time. | 0:04:27 | 0:04:30 | |
I wanted to talk to you about my mum. | 0:04:30 | 0:04:32 | |
-Why don't you come back later? -Her name was Isla Kelso. | 0:04:32 | 0:04:34 | |
-Right. -The Christmas Shopping Killer. | 0:04:41 | 0:04:45 | |
It's not the best name in the world, but there you go. | 0:04:45 | 0:04:47 | |
I remember it. | 0:04:47 | 0:04:49 | |
My mum was his third victim, | 0:04:49 | 0:04:51 | |
except now it turns out that she wasn't. | 0:04:51 | 0:04:53 | |
-What do you mean? -Philip McRory died last week. | 0:04:55 | 0:04:57 | |
Of lung cancer. I saw that. | 0:04:57 | 0:04:59 | |
He always said he was innocent, but before he died, | 0:04:59 | 0:05:01 | |
he confessed to the first two murders, Ailsa Dunn and Maura Lynch. | 0:05:01 | 0:05:04 | |
-Mm-hm. -He took keepsakes. Told the police where he buried them. | 0:05:04 | 0:05:08 | |
A brooch of Maura's, and Ailsa's hairclip. | 0:05:08 | 0:05:10 | |
-They dug them up. -But nothing of your mum's? | 0:05:10 | 0:05:13 | |
He still said it wasn't him. | 0:05:13 | 0:05:14 | |
They kept that out of the papers. What did they say, the police? | 0:05:14 | 0:05:18 | |
That he couldn't be trusted, | 0:05:18 | 0:05:19 | |
that we should take what he said with a pinch of salt. | 0:05:19 | 0:05:22 | |
But he was dying. | 0:05:22 | 0:05:24 | |
He'd already confessed to everything else, so, why lie now? | 0:05:24 | 0:05:28 | |
I don't know. He might have just wanted to... | 0:05:28 | 0:05:30 | |
To muck us around? | 0:05:30 | 0:05:32 | |
It happens a lot in cases like this. | 0:05:33 | 0:05:35 | |
-Look, er... -Aidan. -Aidan. | 0:05:35 | 0:05:37 | |
Look, I can see you're very determined. | 0:05:39 | 0:05:41 | |
I've brought clippings. | 0:05:41 | 0:05:43 | |
Everything my dad kept from when she went missing. | 0:05:43 | 0:05:46 | |
If you just...if you just have a look at them. | 0:05:46 | 0:05:48 | |
I just...need to know what happened to my mum. | 0:06:03 | 0:06:06 | |
LAUGHTER | 0:06:06 | 0:06:07 | |
Oh, that is lovely! Look at that. | 0:06:08 | 0:06:11 | |
SHE LAUGHS | 0:06:11 | 0:06:13 | |
Oh! | 0:06:14 | 0:06:16 | |
Mwah! | 0:06:17 | 0:06:19 | |
Well, I'd have to talk to your dad. | 0:06:23 | 0:06:25 | |
I'll give you our address. | 0:06:25 | 0:06:27 | |
Any time's good. | 0:06:31 | 0:06:32 | |
So... | 0:06:35 | 0:06:37 | |
thanks. | 0:06:37 | 0:06:38 | |
HE SIGHS | 0:06:45 | 0:06:46 | |
PHONE RINGS | 0:06:47 | 0:06:49 | |
TYRES SCREECH | 0:06:55 | 0:06:58 | |
SCREAMING | 0:06:58 | 0:07:00 | |
Jackson Brodie. | 0:07:08 | 0:07:09 | |
Mr Brodie. | 0:07:35 | 0:07:37 | |
Thank you for coming. | 0:07:37 | 0:07:38 | |
My daughter, Samira, was born in this country. | 0:07:41 | 0:07:45 | |
She went to an expensive private school here, | 0:07:47 | 0:07:49 | |
but then after her A-levels, | 0:07:49 | 0:07:51 | |
I sent her to Cairo to continue her studies. | 0:07:51 | 0:07:54 | |
It's been hard. | 0:07:54 | 0:07:56 | |
She grew up a British girl. | 0:07:56 | 0:07:58 | |
She had difficulty adjusting to the life there. | 0:07:58 | 0:08:01 | |
There were problems with her personal conduct. | 0:08:01 | 0:08:04 | |
When term ended, we expected she would come home. | 0:08:04 | 0:08:08 | |
She never arrived. | 0:08:08 | 0:08:10 | |
Then we received a message from Samira, | 0:08:10 | 0:08:12 | |
telling us that we shouldn't try to find her. | 0:08:12 | 0:08:14 | |
But you did. | 0:08:15 | 0:08:17 | |
I found out that she used her credit card here in Edinburgh, | 0:08:17 | 0:08:20 | |
so I stopped it, thinking it would bring her home. | 0:08:20 | 0:08:23 | |
But it's been weeks now. | 0:08:23 | 0:08:25 | |
We are worried. | 0:08:25 | 0:08:27 | |
From what my husband says, | 0:08:27 | 0:08:28 | |
you seem to take a different approach from his other...employees. | 0:08:28 | 0:08:32 | |
Samira is a good girl. | 0:08:32 | 0:08:34 | |
But...she acts without thinking. | 0:08:34 | 0:08:37 | |
-She needs to be treated carefully. -Well, how old is Samira? | 0:08:37 | 0:08:40 | |
She's 19. | 0:08:40 | 0:08:42 | |
-She's an adult. -She's still a child. | 0:08:42 | 0:08:44 | |
She should be with her family. | 0:08:44 | 0:08:46 | |
Not if she doesn't want to be. | 0:08:46 | 0:08:48 | |
Mr Brodie, are you saying you refuse to help us? | 0:08:48 | 0:08:51 | |
If you could just find her and talk to her. | 0:08:52 | 0:08:56 | |
-Everything you need should be in there. -All right. | 0:08:57 | 0:09:00 | |
She must be scared. | 0:09:02 | 0:09:04 | |
I'll see what I can do. | 0:09:05 | 0:09:06 | |
Thank you. | 0:09:08 | 0:09:10 | |
PHONE RINGS | 0:09:35 | 0:09:36 | |
Hello? | 0:09:43 | 0:09:44 | |
(Mr Brodie?) | 0:09:44 | 0:09:46 | |
Mrs Minyawi? | 0:09:47 | 0:09:50 | |
I have spoken to my daughter. | 0:09:50 | 0:09:52 | |
She wouldn't say where she was living, | 0:09:52 | 0:09:54 | |
but she found a job working in a bar | 0:09:54 | 0:09:57 | |
and there was a boy she talked about. | 0:09:57 | 0:10:00 | |
So, she's OK? | 0:10:00 | 0:10:02 | |
No. I... | 0:10:02 | 0:10:03 | |
RATTLING | 0:10:03 | 0:10:05 | |
She said not to worry, that she was happy, | 0:10:07 | 0:10:08 | |
but she wasn't, Mr Brodie, she was scared. | 0:10:08 | 0:10:11 | |
-Right. -She never told me the name of the bar, where it was, anything. | 0:10:11 | 0:10:14 | |
Who's Abi? | 0:10:14 | 0:10:15 | |
Abigail Montgomery. | 0:10:15 | 0:10:18 | |
She was Samira's only friend. | 0:10:18 | 0:10:20 | |
I just want my daughter safe at home, Mr Brodie. | 0:10:21 | 0:10:24 | |
I know. I'll do my best. | 0:10:25 | 0:10:27 | |
PHONE RINGS OUT | 0:10:52 | 0:10:53 | |
-"Hello?" -Is that Abigail? | 0:10:56 | 0:10:57 | |
-"Yes." -My name's Jackson Brodie. I'm a private detective. | 0:10:57 | 0:11:00 | |
I'm working for the Minyawi family, looking for Samira. | 0:11:00 | 0:11:03 | |
You haven't seen her since you got back to Edinburgh, have you? | 0:11:03 | 0:11:06 | |
"No, I haven't seen her. Sorry, I can't help you." | 0:11:06 | 0:11:08 | |
No, no, that's all right. | 0:11:08 | 0:11:10 | |
I've got a couple of other leads, I'm sure I'll find her. | 0:11:10 | 0:11:13 | |
-"I'm sorry, I've got to go." -Thanks for your help. | 0:11:13 | 0:11:15 | |
SIRENS WAIL | 0:11:48 | 0:11:50 | |
LOW CHATTER | 0:11:54 | 0:11:56 | |
FAINT MUSIC | 0:11:56 | 0:11:58 | |
Sami? | 0:12:08 | 0:12:10 | |
See you later. | 0:12:13 | 0:12:14 | |
Hi. | 0:12:19 | 0:12:20 | |
Bottle of lager, please. Something...normal. | 0:12:20 | 0:12:23 | |
That's 3.80, please. | 0:12:27 | 0:12:30 | |
You're joking? | 0:12:30 | 0:12:31 | |
-It's quiet in here. -It'll get louder. | 0:12:34 | 0:12:36 | |
Rhys. How's it going? | 0:12:36 | 0:12:38 | |
All's well, pal, all's well. | 0:12:38 | 0:12:40 | |
Right, I'll be out the back, sweetheart. | 0:12:41 | 0:12:42 | |
Are you going to be gone long? | 0:12:42 | 0:12:44 | |
-Why, will you miss me? -Yeah. | 0:12:44 | 0:12:47 | |
Shall I come and get you if it gets busy? | 0:12:48 | 0:12:50 | |
No. You'll be fine. You'll cope. | 0:12:50 | 0:12:52 | |
Don't do anything I wouldn't do. Come on. | 0:12:54 | 0:12:57 | |
-Keep it, don't worry. -Thanks. | 0:13:00 | 0:13:03 | |
It's good to come and go as you please. | 0:13:05 | 0:13:07 | |
Yeah, all right for some. | 0:13:07 | 0:13:09 | |
-Get us a couple of beers back here. -Sure. | 0:13:09 | 0:13:12 | |
INDISTINCT SHOUTING | 0:13:20 | 0:13:22 | |
You OK, Samira? Is he always like that? | 0:13:34 | 0:13:37 | |
Oi, you lot! Get back to work! | 0:13:40 | 0:13:42 | |
Have you been smoking again?! I told you! | 0:13:44 | 0:13:46 | |
It's just one. | 0:13:46 | 0:13:47 | |
Who's minding the bar while you're out doing that?! | 0:13:47 | 0:13:50 | |
Eh? Eh?! | 0:13:50 | 0:13:52 | |
-There's no-one there! -I'm sorry. | 0:13:52 | 0:13:54 | |
What is wrong with you? | 0:13:54 | 0:13:56 | |
Rhys! | 0:13:56 | 0:13:58 | |
INDISTINCT SHOUTING | 0:13:58 | 0:13:59 | |
HORN SOUNDS | 0:14:01 | 0:14:03 | |
SHE SOBS | 0:14:14 | 0:14:15 | |
Samira, isn't it? | 0:14:27 | 0:14:29 | |
My dad sent you. | 0:14:31 | 0:14:32 | |
Your mum, actually. | 0:14:32 | 0:14:35 | |
I'm not going home. | 0:14:42 | 0:14:44 | |
It's up to you. | 0:14:44 | 0:14:45 | |
Look, your mum just wanted me to find you, | 0:14:47 | 0:14:49 | |
make sure you're all right. | 0:14:49 | 0:14:51 | |
But she wants you to know that nobody's going to make you do | 0:14:51 | 0:14:54 | |
anything you don't want to do. | 0:14:54 | 0:14:56 | |
-Guess you don't know my dad. -I do, actually. | 0:14:56 | 0:14:58 | |
That's why I didn't tell him where you are. | 0:14:58 | 0:15:00 | |
Has he done that before? | 0:15:04 | 0:15:06 | |
We had a row. I gave as good as I got. | 0:15:06 | 0:15:08 | |
Well, he's not walking around with a black eye and a split lip, is he? | 0:15:08 | 0:15:11 | |
What can I say? We've got a passionate relationship. | 0:15:11 | 0:15:14 | |
Samira, let me take you home. Have a chat with your mum. | 0:15:14 | 0:15:17 | |
If you don't want to stay there, you don't like it, | 0:15:17 | 0:15:19 | |
you call me and I will come and get you | 0:15:19 | 0:15:22 | |
and drive you anywhere you want to go. | 0:15:22 | 0:15:25 | |
What are you? Some kind of Good Samaritan taxi service? | 0:15:25 | 0:15:28 | |
Just someone who wouldn't want his daughter | 0:15:28 | 0:15:30 | |
mixed up with a...git like that. | 0:15:30 | 0:15:32 | |
You know, Rhys cares about me. | 0:15:32 | 0:15:34 | |
He was there for me when I needed him. | 0:15:34 | 0:15:37 | |
He got me a job, a place to stay. | 0:15:37 | 0:15:39 | |
And then smacked you in the face. | 0:15:39 | 0:15:40 | |
My dad wants to control everything. | 0:15:42 | 0:15:44 | |
Who I see and where I go and... | 0:15:46 | 0:15:49 | |
You know, I was only allowed to go to uni if I went to Cairo. | 0:15:49 | 0:15:52 | |
Have you been there lately? | 0:15:52 | 0:15:54 | |
No, not lately(!) | 0:15:54 | 0:15:56 | |
-It's not much fun. -I'm sure. | 0:15:56 | 0:15:59 | |
He said he was sorry. | 0:16:01 | 0:16:03 | |
And I'm sure he is. | 0:16:03 | 0:16:04 | |
He'll be sorry every time. | 0:16:04 | 0:16:07 | |
Just come home and give it a try. | 0:16:07 | 0:16:10 | |
That's all I'm asking. | 0:16:10 | 0:16:11 | |
Go and see your mum. | 0:16:13 | 0:16:15 | |
Hey. | 0:17:14 | 0:17:16 | |
Hey. Sorry. | 0:17:16 | 0:17:19 | |
That's OK. | 0:17:19 | 0:17:21 | |
Where have you been? | 0:17:21 | 0:17:22 | |
Er...missing person. | 0:17:23 | 0:17:25 | |
And did you find her? | 0:17:26 | 0:17:28 | |
How did you know it was a girl? | 0:17:28 | 0:17:30 | |
Well, it usually is. | 0:17:30 | 0:17:32 | |
Yeah. I found her. | 0:17:32 | 0:17:34 | |
You OK? | 0:17:36 | 0:17:37 | |
HE SIGHS | 0:17:38 | 0:17:40 | |
Some jobs... | 0:17:42 | 0:17:44 | |
..they just don't feel right. | 0:17:48 | 0:17:50 | |
-Did she not want to be found? -Not really. | 0:17:50 | 0:17:52 | |
Anyway, at least she's safe now. | 0:17:56 | 0:17:59 | |
You... | 0:17:59 | 0:18:00 | |
..Jackson Brodie... | 0:18:01 | 0:18:03 | |
are a good man. Do you know that? | 0:18:03 | 0:18:05 | |
Hm! I'm not so sure. | 0:18:06 | 0:18:08 | |
Well, you are. | 0:18:08 | 0:18:10 | |
There's not many out there like you, I can tell you that. | 0:18:10 | 0:18:13 | |
A one-off, eh? That's me. | 0:18:16 | 0:18:18 | |
I just got lucky. | 0:18:18 | 0:18:20 | |
Come here. | 0:18:22 | 0:18:23 | |
Mr Brodie, no offence, | 0:18:51 | 0:18:53 | |
but, er...I don't see what you can do that the police can't. | 0:18:53 | 0:18:57 | |
Maybe nothing. | 0:18:58 | 0:18:59 | |
Well, at least you're honest. | 0:19:01 | 0:19:03 | |
The point is, Dad, the police aren't doing anything. | 0:19:03 | 0:19:06 | |
Look, I'm here because Aidan asked me. | 0:19:07 | 0:19:09 | |
I'm very happy to walk away, | 0:19:10 | 0:19:13 | |
or I'll stay and do what I can do. | 0:19:13 | 0:19:15 | |
It's up to you. | 0:19:15 | 0:19:17 | |
Go ahead. | 0:19:20 | 0:19:21 | |
Let's talk about the night your wife went missing. | 0:19:21 | 0:19:24 | |
You were...at home, right? | 0:19:24 | 0:19:27 | |
Yep. It was Christmas Eve, so I'd knocked off early. | 0:19:27 | 0:19:30 | |
I was giving Aidan his bath. | 0:19:32 | 0:19:34 | |
And, er...Isla was wrapping presents. | 0:19:34 | 0:19:37 | |
We'd given him his first bike and she didn't have enough paper, | 0:19:37 | 0:19:40 | |
so she said she'd nip round to the newsagents. | 0:19:40 | 0:19:45 | |
I put Aidan to bed. | 0:19:45 | 0:19:47 | |
But she still wasn't back. | 0:19:47 | 0:19:49 | |
I thought at first | 0:19:50 | 0:19:53 | |
that maybe the newsagents had shut early | 0:19:53 | 0:19:55 | |
and she'd had to go into town. | 0:19:55 | 0:19:57 | |
And then I started ringing round her friends | 0:19:59 | 0:20:01 | |
in case she'd bumped into somebody. | 0:20:01 | 0:20:04 | |
In the end, I called the police. | 0:20:05 | 0:20:07 | |
'Daddy? Daddy, what's the matter?' | 0:20:16 | 0:20:20 | |
They found her body the day after Boxing Day. | 0:20:20 | 0:20:24 | |
She was strangled and dumped in the river. | 0:20:24 | 0:20:27 | |
It would be helpful to get a picture of her. | 0:20:27 | 0:20:29 | |
Her lifestyle, her routine, | 0:20:29 | 0:20:31 | |
where she went, who she spent time with. | 0:20:31 | 0:20:34 | |
She just stayed at home, mainly with Aidan. | 0:20:34 | 0:20:36 | |
They went to the supermarket and the park, but that was about it. | 0:20:36 | 0:20:40 | |
GIGGLING | 0:20:41 | 0:20:43 | |
LAUGHTER | 0:20:44 | 0:20:46 | |
-Oh! -Mummy! Mummy! | 0:20:50 | 0:20:52 | |
Mwah! | 0:20:52 | 0:20:53 | |
She said she loved it when it was just the two of them together. | 0:20:57 | 0:21:00 | |
Mr Brodie? | 0:21:09 | 0:21:10 | |
I thought these might help. Some photos and stuff. | 0:21:11 | 0:21:14 | |
Great. Thanks. | 0:21:14 | 0:21:15 | |
My dad, he, um...he doesn't find it easy, talking about her. | 0:21:15 | 0:21:19 | |
But he kept her things. I don't know if they'll be of any use. | 0:21:19 | 0:21:23 | |
The ruby one was an engagement ring. It was my gran's. | 0:21:23 | 0:21:26 | |
That and the wedding band. | 0:21:26 | 0:21:28 | |
I sort of wonder if I'd be less crap talking to girls | 0:21:30 | 0:21:32 | |
if I'd had my mum around. | 0:21:32 | 0:21:36 | |
We're all crap at talking to girls. | 0:21:36 | 0:21:38 | |
-Best thing's to say nothing. -Yeah? | 0:21:38 | 0:21:41 | |
Gives them less ammunition. | 0:21:41 | 0:21:43 | |
See ya. | 0:21:45 | 0:21:46 | |
Could you just tell me where she's working so I can pop in? | 0:21:57 | 0:21:59 | |
Did she? Well, I'm a lot more appealing in person, I promise. | 0:22:01 | 0:22:04 | |
Thanks very much. | 0:22:06 | 0:22:07 | |
Yeah, I will. Cheers. | 0:22:07 | 0:22:09 | |
SIRENS WAIL | 0:22:09 | 0:22:11 | |
Freeze! | 0:22:14 | 0:22:16 | |
INDISTINCT SHOUTING | 0:22:16 | 0:22:18 | |
Cut! Cut! | 0:22:20 | 0:22:23 | |
Reset! | 0:22:23 | 0:22:24 | |
(Julia, that was lovely. Thank you very much.) | 0:22:25 | 0:22:28 | |
OK. | 0:22:28 | 0:22:29 | |
Julia! | 0:22:31 | 0:22:33 | |
Jackson Brodie...as I live and breathe. | 0:22:35 | 0:22:40 | |
So, what did you think of my new role? | 0:22:48 | 0:22:50 | |
Did you see much of the filming? | 0:22:51 | 0:22:53 | |
Er...no. What are you doing? | 0:22:53 | 0:22:56 | |
That's the best part. I play a detective. | 0:22:56 | 0:22:59 | |
Not the lead, of course. That's some brooding, maverick bloke | 0:22:59 | 0:23:01 | |
with a dysfunctional private life. | 0:23:01 | 0:23:03 | |
No, I'm his straight-talking, by-the-book partner | 0:23:03 | 0:23:06 | |
who's secretly in love with him and has a diabetic father. | 0:23:06 | 0:23:10 | |
He was going to have Alzheimer's, but everyone's done Alzheimer's. | 0:23:10 | 0:23:14 | |
I'll have a lemon drizzle, please, Mikey. | 0:23:14 | 0:23:17 | |
So, it wasn't a problem that you're, er... | 0:23:17 | 0:23:20 | |
I was a teensy bit dishonest at the first audition, | 0:23:20 | 0:23:22 | |
but it's fine, they wrote it in. | 0:23:22 | 0:23:24 | |
I'm only in three episodes. This is the last one. | 0:23:24 | 0:23:27 | |
Then I get targeted by the serial killer | 0:23:27 | 0:23:29 | |
and have to go into witness protection. | 0:23:29 | 0:23:31 | |
Thank you. I'm not usually a fan of lemon drizzle, | 0:23:31 | 0:23:34 | |
but I've got an urge. | 0:23:34 | 0:23:35 | |
Baby must be trying to get me to eat more fruit. | 0:23:35 | 0:23:37 | |
I'm seven months gone. | 0:23:41 | 0:23:44 | |
So...it's not ours? | 0:23:44 | 0:23:46 | |
Seven months? Hold on a second. We only broke up... | 0:23:48 | 0:23:51 | |
You remember why we broke up? | 0:23:51 | 0:23:52 | |
You were never there. | 0:23:52 | 0:23:54 | |
-I was there sometimes. -And I slept with someone else. | 0:23:54 | 0:23:57 | |
After you, there was a brief relationship with another chap. | 0:23:57 | 0:24:01 | |
And it should have been a belt and braces sort of scenario, | 0:24:01 | 0:24:06 | |
but it turned out neither of us happened to have a belt. | 0:24:06 | 0:24:08 | |
At it like rabbits, were you? | 0:24:10 | 0:24:11 | |
Yeah. | 0:24:11 | 0:24:13 | |
This bloke, he, er...he knows? | 0:24:14 | 0:24:16 | |
Mm. Of course. | 0:24:16 | 0:24:18 | |
But he's not going to be involved. | 0:24:18 | 0:24:20 | |
We agreed to keep it simple. | 0:24:20 | 0:24:22 | |
Right. You OK? | 0:24:22 | 0:24:24 | |
Marvellous! People make such a song and dance about pregnancy, | 0:24:24 | 0:24:28 | |
but it's the most gloriously natural process. | 0:24:28 | 0:24:33 | |
And I'm really interested in newborn development. | 0:24:33 | 0:24:36 | |
You know, there's fascinating stuff about imprinting, | 0:24:36 | 0:24:39 | |
how the first connection you make has to be a really strong one. | 0:24:39 | 0:24:43 | |
The first physical contact, the first face they see. | 0:24:43 | 0:24:46 | |
Otherwise, you end up with ducklings | 0:24:46 | 0:24:48 | |
-following pigs around, that sort of thing. -Wouldn't want that. | 0:24:48 | 0:24:51 | |
Gosh, it's so lucky your turning up like this | 0:24:51 | 0:24:54 | |
because I'm desperate to spend time | 0:24:54 | 0:24:55 | |
with a real-life detective, do some research. | 0:24:55 | 0:24:58 | |
If this goes to a second series, | 0:24:58 | 0:25:00 | |
I think they're going to bring my character back. | 0:25:00 | 0:25:02 | |
Er...I don't... | 0:25:02 | 0:25:05 | |
I'm not sure that it's going to work out. I'm going away. | 0:25:05 | 0:25:08 | |
Oh, no, I didn't mean you. | 0:25:08 | 0:25:10 | |
I was thinking you could put me in touch | 0:25:10 | 0:25:11 | |
with that really dynamic woman in CID. DI Munroe, wasn't it? | 0:25:11 | 0:25:15 | |
No, I...I can't see her going for it. | 0:25:15 | 0:25:17 | |
Oh, I'm sure you could persuade her. | 0:25:17 | 0:25:20 | |
You can talk a girl into almost anything. | 0:25:20 | 0:25:22 | |
I said you'd say no, which you can, whatever you want. | 0:25:25 | 0:25:28 | |
She made me come down and ask you in person. The thing is... | 0:25:28 | 0:25:31 | |
I'm looking at the thing now. | 0:25:31 | 0:25:33 | |
Yeah. So, what do you say? | 0:25:33 | 0:25:36 | |
Show her an interview room, wave a pair of handcuffs at her? | 0:25:36 | 0:25:38 | |
-Oh, all right. -Thanks. | 0:25:40 | 0:25:42 | |
But if she gives birth on the premises, then I will not be happy. | 0:25:42 | 0:25:45 | |
She's not due for another couple of months. | 0:25:45 | 0:25:47 | |
-You sure about that? -Yeah, yeah. | 0:25:47 | 0:25:49 | |
-Julia, you remember Louise. Louise... -Of course! | 0:25:49 | 0:25:51 | |
..I'm sure you remember Julia. | 0:25:51 | 0:25:53 | |
Thank you so much for this. This place, fascinating! | 0:25:53 | 0:25:56 | |
I've noticed a lot of the women are wearing beige. | 0:25:56 | 0:26:00 | |
-Oh. -What's that all about? | 0:26:00 | 0:26:02 | |
-Er...I'll leave you girls alone. -Thanks. | 0:26:02 | 0:26:06 | |
-Wow! Such an atmosphere of paperwork. -Aye. | 0:26:06 | 0:26:10 | |
-What are you doing here? -What are you doing here? | 0:26:27 | 0:26:29 | |
I'm working. Remember the concept? | 0:26:29 | 0:26:31 | |
All right, I've been a bit crap for a few weeks. | 0:26:31 | 0:26:33 | |
Yeah. Yeah, you have. | 0:26:33 | 0:26:34 | |
Things will be back to normal now. Come on. | 0:26:34 | 0:26:37 | |
Oh, right. You phoning it in because you despise what we do | 0:26:37 | 0:26:40 | |
and me nagging you about money like a broken record. | 0:26:40 | 0:26:43 | |
-It's not always like that. -No, it didn't used to be. | 0:26:43 | 0:26:45 | |
You actually used to care. | 0:26:45 | 0:26:47 | |
I foolishly thought we were doing something that made a difference. | 0:26:47 | 0:26:50 | |
-But, hey, things change. -We were. We are. We will be again. | 0:26:50 | 0:26:54 | |
-I need you. Come on. -Well, it's too late. | 0:26:54 | 0:26:55 | |
I've moved on to somewhere with real prospects. | 0:26:55 | 0:26:57 | |
Prospects? They haven't even given you a chair. | 0:26:57 | 0:27:00 | |
Apogee Advertising. Devil's in the detail. | 0:27:00 | 0:27:02 | |
Seriously? Receptionist? You'll go mental. | 0:27:02 | 0:27:05 | |
Putting you through. | 0:27:05 | 0:27:07 | |
On the contrary. I've never felt more stimulated. | 0:27:07 | 0:27:10 | |
You look like a dental assistant. | 0:27:10 | 0:27:12 | |
It's a Japanese airport. | 0:27:17 | 0:27:18 | |
Get lost, Jackson! | 0:27:18 | 0:27:20 | |
'It would be helpful to get a picture of her. | 0:27:46 | 0:27:48 | |
'Her lifestyle, where she went, who her friends were.' | 0:27:48 | 0:27:50 | |
'She just stayed at home, mainly with Aidan. | 0:27:50 | 0:27:53 | |
'That was about it.' | 0:27:53 | 0:27:54 | |
PHONE RINGS OUT | 0:28:02 | 0:28:03 | |
-"Hello, Ed Services?" -Lothian Adult Education Services? | 0:28:03 | 0:28:06 | |
-"Yes." -How long do your records go back? | 0:28:06 | 0:28:08 | |
Excuse the mess. | 0:28:10 | 0:28:12 | |
I keep meaning to get around to it. | 0:28:12 | 0:28:14 | |
After dealing with psychotic little shits all day, | 0:28:15 | 0:28:17 | |
I'm never really in the mood. Have a seat. | 0:28:17 | 0:28:20 | |
Thanks. | 0:28:20 | 0:28:22 | |
So, you teach full time, then? | 0:28:22 | 0:28:25 | |
Afraid so. You know how it is. | 0:28:25 | 0:28:27 | |
Those who can, do, those who tried | 0:28:27 | 0:28:31 | |
and found out they couldn't afford to feed themselves, teach. | 0:28:31 | 0:28:33 | |
Well, none of us end up where we planned, do we? | 0:28:33 | 0:28:36 | |
So...you said this was about Isla Kelso. | 0:28:38 | 0:28:41 | |
Yeah. I'm looking into her death on behalf of the family. | 0:28:41 | 0:28:44 | |
I saw in the paper that they'd re-opened the case. | 0:28:44 | 0:28:46 | |
-That was a hell of a thing. -Hm. | 0:28:48 | 0:28:50 | |
I came across her old art school student card in her belongings. | 0:28:50 | 0:28:54 | |
Called them up and it turned out you were her teacher back in the day. | 0:28:54 | 0:28:58 | |
Well, hardly. No, Isla didn't need teaching. She was the real deal. | 0:28:58 | 0:29:02 | |
Some of her work was just incredible. | 0:29:02 | 0:29:05 | |
Oh. So...she was serious about it, it wasn't a hobby? | 0:29:05 | 0:29:09 | |
Oh, no, no. She could have done it, you know. | 0:29:09 | 0:29:12 | |
But she'd married young, she'd had a kid. | 0:29:12 | 0:29:14 | |
Classic frustrated housewife. | 0:29:14 | 0:29:16 | |
-I guess painting would have been an escape. -Exactly. | 0:29:16 | 0:29:19 | |
There was this whole sequence of paintings that she did. | 0:29:19 | 0:29:22 | |
It was after she'd been in a car crash. | 0:29:22 | 0:29:24 | |
Oh! It was really powerful stuff. | 0:29:24 | 0:29:27 | |
Really visceral. | 0:29:27 | 0:29:29 | |
Full of anger and guilt. It completely blew me away. | 0:29:29 | 0:29:33 | |
What car crash? | 0:29:33 | 0:29:35 | |
It was a few months before she was killed. | 0:29:35 | 0:29:37 | |
I was running the gallery at that time. | 0:29:37 | 0:29:41 | |
You see, that was the game plan. | 0:29:42 | 0:29:44 | |
Artist, gallery owner, all-round '90s entrepreneur. | 0:29:44 | 0:29:50 | |
So, um... | 0:29:50 | 0:29:51 | |
..the night Isla died, you'd have been where? | 0:29:53 | 0:29:56 | |
Well, I was at a Christmas party at a friend's studio. | 0:29:56 | 0:30:00 | |
-All night? -No. I went home with a girl. | 0:30:00 | 0:30:04 | |
You remember her name? | 0:30:05 | 0:30:07 | |
Mandy. Mandy Styles. | 0:30:07 | 0:30:10 | |
She was an installation artist. | 0:30:10 | 0:30:11 | |
She used to roll around naked in paint. | 0:30:11 | 0:30:13 | |
HE CHUCKLES | 0:30:13 | 0:30:15 | |
Those were the days, eh? | 0:30:15 | 0:30:17 | |
Not for all of us. | 0:30:17 | 0:30:18 | |
HE CHUCKLES NERVOUSLY | 0:30:18 | 0:30:20 | |
Mr Brodie? | 0:30:31 | 0:30:33 | |
-Aidan. -Have you found something? | 0:30:33 | 0:30:35 | |
Er...no. | 0:30:35 | 0:30:37 | |
Er...I just want to ask you something about your mum. | 0:30:37 | 0:30:39 | |
She had a crash a couple of months before she died. | 0:30:39 | 0:30:42 | |
-I didn't know she'd had one. -Shall we ask your dad? | 0:30:42 | 0:30:44 | |
Yeah. He's just on the phone about tomorrow's job. He'll be done in a minute. | 0:30:44 | 0:30:47 | |
Dad? | 0:30:47 | 0:30:48 | |
How long have you been working together? | 0:30:51 | 0:30:53 | |
Oh, a couple of months. | 0:30:53 | 0:30:55 | |
Want to save some cash for uni next year. | 0:30:55 | 0:30:56 | |
-I'm going to Dundee to do computer science. -Great city, Dundee. | 0:30:56 | 0:30:59 | |
So is Dusseldorf. | 0:30:59 | 0:31:01 | |
Dad? | 0:31:01 | 0:31:03 | |
He was offered an internship with a software company. | 0:31:03 | 0:31:06 | |
Yeah, an unpaid internship in the middle of bloody Germany. | 0:31:06 | 0:31:09 | |
Instead he's hanging about here, lugging carpets around. | 0:31:09 | 0:31:11 | |
It's not too late to call him back, Gunter... whatever his name is. | 0:31:11 | 0:31:14 | |
I'm not calling him back. | 0:31:14 | 0:31:16 | |
Mr Brodie was asking about a car accident. | 0:31:17 | 0:31:20 | |
-What accident? -The crash that Isla had. | 0:31:23 | 0:31:26 | |
A couple of months before she was killed. | 0:31:26 | 0:31:28 | |
Oh, that! That was just a prang. It was nothing major. | 0:31:28 | 0:31:31 | |
No-one got hurt? | 0:31:31 | 0:31:33 | |
No, no, nothing like that. | 0:31:33 | 0:31:35 | |
Like I say, it was just a prang. | 0:31:36 | 0:31:37 | |
Must've got my wires crossed. | 0:31:37 | 0:31:39 | |
Come on, we'd better go. | 0:31:39 | 0:31:41 | |
KNOCK AT DOOR | 0:32:39 | 0:32:41 | |
-Julia! -Jackson. | 0:32:46 | 0:32:48 | |
-Come in. -Thanks. | 0:32:49 | 0:32:50 | |
Nice to see you. | 0:32:53 | 0:32:54 | |
Oh, don't worry, I'm not staying. | 0:32:54 | 0:32:58 | |
And I'll make myself scarce if your significant other appears. | 0:32:58 | 0:33:02 | |
It's all right. | 0:33:02 | 0:33:04 | |
-Does she have a name? -Charlotte. | 0:33:04 | 0:33:06 | |
Charlie for short, or is she a Lotta? | 0:33:06 | 0:33:08 | |
She's a Charlotte. | 0:33:08 | 0:33:10 | |
Anyway, I just wanted to thank you | 0:33:10 | 0:33:12 | |
for putting me in touch with DI Munroe. | 0:33:12 | 0:33:15 | |
-Really? -Yes. She was very helpful. | 0:33:15 | 0:33:18 | |
Possibly spent longer in a cell than was absolutely necessary. | 0:33:18 | 0:33:21 | |
-Locked in? -Yes. -I'm sorry. | 0:33:21 | 0:33:24 | |
But that kind of experience is really great | 0:33:24 | 0:33:26 | |
for getting you in the right frame of mind. | 0:33:26 | 0:33:28 | |
Could I possibly have a glass of water? | 0:33:30 | 0:33:33 | |
Yeah, yeah, of course, I'm sorry. | 0:33:33 | 0:33:35 | |
Sit down. | 0:33:35 | 0:33:37 | |
Of course, I'll only have to pee again. | 0:33:37 | 0:33:39 | |
You'd think with all this urinating, | 0:33:39 | 0:33:41 | |
it would cancel out the water retention. | 0:33:41 | 0:33:44 | |
But my fingers are still like sausages at the end of the day. | 0:33:44 | 0:33:47 | |
-Are you sure you should be working? -Thanks. | 0:33:52 | 0:33:55 | |
I mean, it's not like you're sitting behind a desk. | 0:33:55 | 0:33:57 | |
Jackson, this is the biggest break I've had in years. | 0:33:57 | 0:34:00 | |
I'm not about to let a one-night stand derail my career. | 0:34:00 | 0:34:04 | |
Not when I'm finally about to have one. | 0:34:04 | 0:34:06 | |
A one-night stand? | 0:34:06 | 0:34:07 | |
Well, no, I mean... | 0:34:07 | 0:34:10 | |
I didn't mean literally one night. | 0:34:10 | 0:34:11 | |
Goodness! Off duty, Detective Brodie. | 0:34:11 | 0:34:15 | |
Big for seven months, isn't it? | 0:34:15 | 0:34:16 | |
Honestly, do you have any idea how offensive it is | 0:34:16 | 0:34:19 | |
-when men make those comments? -I was just asking. | 0:34:19 | 0:34:21 | |
I've had every bus and cab driver in London | 0:34:21 | 0:34:24 | |
-volunteering opinions on the size of my bump. -Sorry. | 0:34:24 | 0:34:27 | |
For your information, I'm measuring large for dates, | 0:34:27 | 0:34:31 | |
whatever that means. | 0:34:31 | 0:34:33 | |
So they say I might need an extra scan. | 0:34:33 | 0:34:36 | |
KNOCK AT DOOR | 0:34:36 | 0:34:37 | |
-Louise. -Er...two things. | 0:34:42 | 0:34:44 | |
OK. | 0:34:44 | 0:34:46 | |
If you ever bring that woman to the station again, | 0:34:46 | 0:34:48 | |
-I will not be held accountable for my actions. -Fair enough. | 0:34:48 | 0:34:50 | |
Hello, DI Munroe. | 0:34:50 | 0:34:52 | |
Oh, It's Julia...again! | 0:34:52 | 0:34:55 | |
-And...? You said there were two things. -Ah, yes. | 0:34:56 | 0:34:59 | |
I have also been asked to inform you | 0:34:59 | 0:35:01 | |
that they've signed off the Mackie case, | 0:35:01 | 0:35:03 | |
so all the frozen funds have been released, | 0:35:03 | 0:35:05 | |
and apologies from the Lothian Police Force | 0:35:05 | 0:35:08 | |
for any inconvenience they may have caused. | 0:35:08 | 0:35:09 | |
Looks like we're rich. | 0:35:09 | 0:35:11 | |
Nice. Hi...again. | 0:35:11 | 0:35:13 | |
Hello, again. | 0:35:13 | 0:35:14 | |
Hi! You must be Charlotte. | 0:35:14 | 0:35:17 | |
I'm Julia, Jackson's ex. | 0:35:17 | 0:35:19 | |
Well... | 0:35:23 | 0:35:24 | |
Gosh, it's all getting rather Private Lives! | 0:35:28 | 0:35:31 | |
Shall I put the kettle on and we'll all have some tea? | 0:35:32 | 0:35:35 | |
Oh, sure. | 0:35:35 | 0:35:37 | |
Hey. | 0:35:39 | 0:35:41 | |
Er...right. | 0:35:48 | 0:35:52 | |
You can't smoke near a pregnant woman. | 0:35:52 | 0:35:54 | |
Right. | 0:35:55 | 0:35:58 | |
Want to come in for a nice cup of tea? | 0:35:58 | 0:35:59 | |
Ha-ha-ha. No, thank you. | 0:35:59 | 0:36:01 | |
(Good luck with all that.) | 0:36:01 | 0:36:02 | |
BIRDSONG | 0:36:15 | 0:36:18 | |
BELLS TOLL | 0:36:18 | 0:36:20 | |
PHONE RINGS OUT | 0:36:50 | 0:36:52 | |
-"Hello." -Kenny. Jackson Brodie. I need a favour. | 0:36:55 | 0:36:58 | |
Can you get me an accident report from 1998? | 0:36:58 | 0:37:00 | |
Aidan's gone to get fish and chips. | 0:37:11 | 0:37:13 | |
-I didn't feel much like cooking. -Good. | 0:37:13 | 0:37:15 | |
I wanted to talk to you first. | 0:37:15 | 0:37:17 | |
Yeah? | 0:37:17 | 0:37:18 | |
Ian, if I'm to do my job properly, | 0:37:19 | 0:37:21 | |
you've got to start being straight with me. | 0:37:21 | 0:37:23 | |
What's that supposed to mean? | 0:37:25 | 0:37:27 | |
It means I get it. | 0:37:27 | 0:37:28 | |
I know that all of Aidan's memories of his mum come from you | 0:37:28 | 0:37:31 | |
and you want them all to be good. | 0:37:31 | 0:37:33 | |
But you can't keep editing things out of the picture. | 0:37:33 | 0:37:36 | |
-Like what? -Like all of the art stuff. | 0:37:36 | 0:37:39 | |
Like the prang that wasn't a prang. It was a crash. | 0:37:41 | 0:37:44 | |
With Aidan in the front seat and no seatbelt. | 0:37:44 | 0:37:48 | |
It was an accident. He was fine. | 0:37:48 | 0:37:50 | |
It was an accident that happened because she was over the limit. | 0:37:50 | 0:37:52 | |
She'd been out the night before, she'd had a few drinks. | 0:37:54 | 0:37:56 | |
What, so she was still drunk the morning after? Come on, Ian. | 0:37:56 | 0:37:59 | |
What do you want me to say? | 0:37:59 | 0:38:02 | |
OK, Isla had her problems, we had our problems. | 0:38:02 | 0:38:04 | |
OK? What couple doesn't? | 0:38:04 | 0:38:06 | |
Big enough problems to make her want to leave? | 0:38:07 | 0:38:09 | |
I saw the rings. | 0:38:13 | 0:38:15 | |
Aidan gave them to me. | 0:38:15 | 0:38:17 | |
At first I thought they might have come back from the morgue, but... | 0:38:17 | 0:38:20 | |
when a body's been in the water that long, | 0:38:20 | 0:38:22 | |
they have to cut them off. And they weren't cut. | 0:38:22 | 0:38:24 | |
She wasn't wearing them. | 0:38:24 | 0:38:26 | |
Well, she was in every picture I saw. | 0:38:26 | 0:38:28 | |
In the kitchen, on the beach, swimming, everywhere. She never took them off. | 0:38:28 | 0:38:31 | |
In my experience, if a woman takes her rings off | 0:38:31 | 0:38:34 | |
and walks out into the night... she's not coming back. | 0:38:34 | 0:38:37 | |
Right? | 0:38:38 | 0:38:40 | |
Ian? | 0:38:40 | 0:38:42 | |
-Why didn't you tell the police? -I didn't know. | 0:38:43 | 0:38:46 | |
Not at first. | 0:38:47 | 0:38:48 | |
I didn't find the rings until the next day. | 0:38:50 | 0:38:52 | |
She'd left them in front of the clock. | 0:38:52 | 0:38:55 | |
It might have affected the investigation. | 0:38:55 | 0:38:57 | |
As soon as the police found her body, they knew who'd done it. | 0:38:58 | 0:39:02 | |
So, why tell everyone she was walking out on me | 0:39:03 | 0:39:06 | |
and her three-year-old son when it happened? | 0:39:06 | 0:39:08 | |
Why does anyone need to know that? Least of all Aidan. | 0:39:08 | 0:39:11 | |
Because they might have got it wrong. | 0:39:11 | 0:39:14 | |
It might have made a difference. | 0:39:14 | 0:39:16 | |
Do you think I don't realise that? | 0:39:16 | 0:39:17 | |
You think I don't know that her killer | 0:39:17 | 0:39:19 | |
might be out there somewhere now because of me?! | 0:39:19 | 0:39:22 | |
Because I didn't want everyone to think my son's mother was a... | 0:39:22 | 0:39:24 | |
selfish slapper?! | 0:39:24 | 0:39:27 | |
Oh! Aidan, I'm, I'm sorry. | 0:39:33 | 0:39:36 | |
What did you do? | 0:39:38 | 0:39:39 | |
I blamed that bloody art class. | 0:39:42 | 0:39:44 | |
Her smarmy ponce of a teacher putting ideas into her head. | 0:39:44 | 0:39:47 | |
But it wasn't about that. | 0:39:47 | 0:39:48 | |
It was about her. | 0:39:50 | 0:39:51 | |
The truth is...we just weren't enough for her. | 0:39:52 | 0:39:56 | |
And the more she tried to pretend, the unhappier she got. | 0:39:56 | 0:39:59 | |
But she wasn't the only one who wanted more out of life. | 0:39:59 | 0:40:02 | |
I had plans, too. | 0:40:02 | 0:40:04 | |
I had a mate set up in the States, | 0:40:04 | 0:40:06 | |
fitting out big penthouses, | 0:40:06 | 0:40:08 | |
big corporate accounts, that kind of thing. | 0:40:08 | 0:40:10 | |
And I wanted us to go out there and make a fresh start. | 0:40:10 | 0:40:13 | |
She didn't want to go? | 0:40:13 | 0:40:15 | |
No. | 0:40:15 | 0:40:17 | |
She said it would be the same shit in a different place. | 0:40:17 | 0:40:20 | |
And that's when she started drinking, | 0:40:20 | 0:40:22 | |
staying out all hours at these openings and exhibitions, | 0:40:22 | 0:40:26 | |
saying she was finally getting to meet other artists, | 0:40:26 | 0:40:29 | |
as if that made it all right. | 0:40:29 | 0:40:30 | |
But it doesn't mean she didn't love you. | 0:40:30 | 0:40:33 | |
No, you, you were the only good thing to come out of all this. | 0:40:33 | 0:40:36 | |
She nearly killed me. | 0:40:36 | 0:40:37 | |
Ach, she was beside herself after the accident. | 0:40:37 | 0:40:40 | |
She knew things couldn't carry on the way they were. | 0:40:40 | 0:40:42 | |
So she was leaving to get away from me. | 0:40:42 | 0:40:44 | |
No, no, I'm not saying that. | 0:40:44 | 0:40:45 | |
No, you're saying you've done nothing but lie to me | 0:40:45 | 0:40:48 | |
for the past 15 years, that everything I thought I knew | 0:40:48 | 0:40:50 | |
about my mum is total bollocks. | 0:40:50 | 0:40:52 | |
Well, thanks for that, Dad. Thanks a lot. | 0:40:52 | 0:40:54 | |
67, take 4. Action! | 0:41:22 | 0:41:23 | |
And cut! | 0:41:27 | 0:41:29 | |
Oh, thank you so much. | 0:41:29 | 0:41:31 | |
Get off! I told you he's an old friend. | 0:41:32 | 0:41:37 | |
I shouldn't need an appointment, it's completely unnecessary. | 0:41:37 | 0:41:40 | |
This one's declined, mate. Have you got another? | 0:42:08 | 0:42:11 | |
Huh, I've got cash. | 0:42:11 | 0:42:13 | |
-That's weird. Ta. -Thank you. | 0:42:15 | 0:42:18 | |
MUSIC: "Blue" by Lucinda Williams | 0:42:18 | 0:42:24 | |
"This is a courtesy call for Mr Jackson Brodie | 0:42:38 | 0:42:40 | |
"'from the Central Allied Bank. | 0:42:40 | 0:42:42 | |
"'My name's Patricia Lee of the personal banking team." | 0:42:42 | 0:42:44 | |
Bonsoir, Patricia. | 0:42:44 | 0:42:45 | |
"We're aware that a sizeable deposit was made into your account today | 0:42:45 | 0:42:49 | |
"and if you would like to call us at your earliest convenience | 0:42:49 | 0:42:52 | |
"we'd be delighted to discuss investment options." | 0:42:52 | 0:42:54 | |
I bet you would. | 0:42:54 | 0:42:56 | |
"Please call 0131 332 4962. | 0:42:56 | 0:42:59 | |
"We look forward to hearing from you." | 0:42:59 | 0:43:01 | |
Now, why can't I buy a packet of fags? | 0:43:12 | 0:43:16 | |
PHONE RINGS | 0:44:21 | 0:44:23 | |
Hello? | 0:44:43 | 0:44:45 | |
He kept calling her, | 0:45:13 | 0:45:15 | |
telling her he loved her, that he wanted her back. | 0:45:15 | 0:45:20 | |
I begged her not to listen to him. | 0:45:20 | 0:45:23 | |
When did she go? | 0:45:23 | 0:45:24 | |
Last night. My husband betrayed me, Mr Brodie. | 0:45:24 | 0:45:27 | |
He told Samira she was to fly to Cairo at the weekend, | 0:45:29 | 0:45:32 | |
that she would be living with his brother, | 0:45:32 | 0:45:35 | |
that her every move would be supervised from now on. | 0:45:35 | 0:45:39 | |
They were screaming at each other. | 0:45:39 | 0:45:41 | |
She told him that she was going to be with a man who loved her, | 0:45:41 | 0:45:44 | |
-and she ran. -Shit. | 0:45:44 | 0:45:46 | |
This boy, Rhys, does he love her at all? | 0:45:46 | 0:45:51 | |
Will he take care of her? | 0:45:52 | 0:45:54 | |
No, I don't think so. He's a... | 0:45:54 | 0:45:57 | |
He's not a good person. | 0:45:57 | 0:46:00 | |
You have to go and get her. | 0:46:00 | 0:46:02 | |
I can't just grab her. | 0:46:02 | 0:46:04 | |
We have to do something. | 0:46:04 | 0:46:05 | |
What's important is she understands that she has options, | 0:46:08 | 0:46:11 | |
that she can walk away. | 0:46:11 | 0:46:13 | |
I should have stood up to my husband | 0:46:17 | 0:46:21 | |
when he first wanted to send her back. | 0:46:21 | 0:46:23 | |
I should have fought, I should have walked away. | 0:46:26 | 0:46:30 | |
Please go to her. | 0:46:33 | 0:46:34 | |
Tell her I just want her to be safe. | 0:46:36 | 0:46:38 | |
Tell her to be strong, tell her... | 0:46:38 | 0:46:42 | |
Tell her I'm sorry. | 0:46:42 | 0:46:44 | |
Hey... | 0:46:47 | 0:46:48 | |
I'll see what I can do. | 0:46:48 | 0:46:51 | |
He'll want to know where I was. We didn't meet, OK? | 0:46:55 | 0:46:58 | |
Sure. | 0:46:58 | 0:47:00 | |
PHONE RINGS | 0:47:16 | 0:47:18 | |
Hey. | 0:47:20 | 0:47:22 | |
Well, if it's any consolation, you're not the first. | 0:47:22 | 0:47:24 | |
Great. | 0:47:24 | 0:47:25 | |
Charlotte, or Carina as she's also known, is quite the multi-tasker. | 0:47:25 | 0:47:29 | |
When she wasn't with you, she was fleecing some banker in Glasgow | 0:47:29 | 0:47:32 | |
out of nearly 200 grand. I'm so sorry. | 0:47:32 | 0:47:35 | |
She's a pro, so she knows how to cover her tracks, | 0:47:35 | 0:47:37 | |
but I can give you her file if you want. | 0:47:37 | 0:47:39 | |
No, you're all right. Forget it. | 0:47:39 | 0:47:41 | |
What, you not going to try and find her? | 0:47:41 | 0:47:44 | |
Serves me right, doesn't it? | 0:47:44 | 0:47:45 | |
Sorry. | 0:47:46 | 0:47:48 | |
Thanks. | 0:47:48 | 0:47:50 | |
You keep saying it's this other bloke's. | 0:48:38 | 0:48:40 | |
Because it is. | 0:48:40 | 0:48:41 | |
Well, maybe, but then you say you're big for dates or whatever. | 0:48:41 | 0:48:45 | |
-So? -So maybe you're not, maybe you got it wrong. | 0:48:45 | 0:48:47 | |
This is ridiculous. | 0:48:47 | 0:48:49 | |
Julia, we need to get you ready. | 0:48:49 | 0:48:51 | |
Sorry, Ollie, just give us a minute? | 0:48:51 | 0:48:53 | |
I don't think it is. | 0:48:53 | 0:48:54 | |
This is exactly why I didn't tell you. | 0:48:54 | 0:48:56 | |
Tell me what? Tell me it could be my baby? | 0:48:56 | 0:48:58 | |
No, why I didn't tell you I was pregnant, | 0:48:58 | 0:49:00 | |
because I knew you'd leap to all the wrong conclusions | 0:49:00 | 0:49:02 | |
and insist on sweeping in and doing the decent thing. | 0:49:02 | 0:49:05 | |
Even though it's not your problem. | 0:49:05 | 0:49:07 | |
-Let's take a test. -What? | 0:49:07 | 0:49:09 | |
Let's take a paternity test and find out, once and for all. | 0:49:09 | 0:49:12 | |
Right, so I should stick a needle into my unborn baby, | 0:49:12 | 0:49:16 | |
quite possibly risk aborting it, just to satisfy your ego? | 0:49:16 | 0:49:19 | |
That's not what this is. | 0:49:19 | 0:49:21 | |
You know, I am so glad you are not the father because the thought | 0:49:21 | 0:49:24 | |
of raising a child with you is becoming more hideous by the second. | 0:49:24 | 0:49:28 | |
Julia, look, I have a right to know... | 0:49:28 | 0:49:31 | |
No, you don't. | 0:49:31 | 0:49:32 | |
Ready now, darling. | 0:49:34 | 0:49:36 | |
This is my baby and my body | 0:49:36 | 0:49:38 | |
and it has absolutely nothing to do with you. | 0:49:38 | 0:49:41 | |
So why don't you go and find something else to obsess about? | 0:49:41 | 0:49:45 | |
I need to get back to work. | 0:49:45 | 0:49:47 | |
PHONE RINGS | 0:50:17 | 0:50:18 | |
Hello? Hey, hi. | 0:50:18 | 0:50:23 | |
No, that's fine, I can come and collect the rest at the weekend. | 0:50:23 | 0:50:27 | |
Well, no, I've got my keys, so don't... | 0:50:27 | 0:50:30 | |
No, Patrick, I'm not saying that | 0:50:31 | 0:50:33 | |
because I don't want you to be there. | 0:50:33 | 0:50:36 | |
Look, I've got to go. | 0:50:36 | 0:50:37 | |
Do you think this is where he's meeting his new supplier? | 0:50:44 | 0:50:47 | |
Well, if he isn't, this is another day down the pan. | 0:50:47 | 0:50:50 | |
Yeah, but if he is and we can start to piece together a whole network... | 0:50:50 | 0:50:53 | |
Oh, I know, it'll be just like The Wire(!) | 0:50:53 | 0:50:57 | |
What the hell is he doing here? | 0:51:05 | 0:51:06 | |
Is Samira about? Back there? Ta. | 0:51:12 | 0:51:16 | |
Hi. | 0:51:19 | 0:51:21 | |
What are you doing here? I'm not going back. | 0:51:21 | 0:51:24 | |
Ah, I wouldn't try to take you. | 0:51:24 | 0:51:25 | |
Just come to see if you're all right. | 0:51:25 | 0:51:28 | |
What's your problem? You can't be here. | 0:51:28 | 0:51:30 | |
What's the matter? You can't talk to friends? | 0:51:30 | 0:51:32 | |
You're not my friend and I don't want to talk to you. | 0:51:32 | 0:51:34 | |
-Yeah, but Rhys wouldn't like it if you did, would he? -So what, just go. | 0:51:34 | 0:51:37 | |
So, doesn't that remind you of someone else? | 0:51:37 | 0:51:39 | |
At least he cares enough to be jealous. | 0:51:39 | 0:51:41 | |
Look at yourself, having to hide away. | 0:51:42 | 0:51:44 | |
I'm not stupid. | 0:51:44 | 0:51:46 | |
I know you're not. | 0:51:46 | 0:51:47 | |
Look, your mum wanted you to know she was sorry how it went. | 0:51:48 | 0:51:52 | |
Is she all right? | 0:51:52 | 0:51:53 | |
No, not really. She's worried about you, she loves you. | 0:51:53 | 0:51:56 | |
I just wanted you to know that when you've had enough, you call me | 0:51:56 | 0:51:59 | |
and I'll help you, all right? | 0:51:59 | 0:52:00 | |
All right. Just go, yeah? | 0:52:00 | 0:52:03 | |
Ah, who do we have here? | 0:52:13 | 0:52:16 | |
Who are all these people? | 0:52:16 | 0:52:17 | |
What the hell are you doing here? I'm handling this. | 0:52:24 | 0:52:26 | |
You're not going in there and starting a war, right? | 0:52:26 | 0:52:29 | |
-She doesn't... -Of course not. | 0:52:29 | 0:52:31 | |
Mr Marshall is the sort of man who understands transactions. | 0:52:31 | 0:52:34 | |
I am treating this as a transaction. | 0:52:34 | 0:52:36 | |
You're not serious. You're not going to pay him. | 0:52:36 | 0:52:38 | |
She's your daughter. You can't buy and sell her. | 0:52:38 | 0:52:41 | |
I will pay him once. | 0:52:41 | 0:52:42 | |
My daughter will see him for the man he really is | 0:52:42 | 0:52:44 | |
and that will be the end of it. | 0:52:44 | 0:52:46 | |
And then what? You'll just ship her off somewhere? | 0:52:46 | 0:52:48 | |
She's my child, Mr Brodie. | 0:52:50 | 0:52:53 | |
I will decide what is best for her. | 0:52:53 | 0:52:55 | |
Just as you did for your friends when you needed my help. | 0:52:55 | 0:52:58 | |
Help which can easily be undone. | 0:53:00 | 0:53:02 | |
Do you understand? | 0:53:02 | 0:53:03 | |
So, do I put him in the surveillance log? | 0:53:26 | 0:53:30 | |
Well, leave it with me. I'll have a chat with him. | 0:53:30 | 0:53:34 | |
-Just find out what's going on. -OK. | 0:53:34 | 0:53:37 | |
Good for you, Brian Steele. | 0:54:03 | 0:54:05 | |
First sign of madness, you know. | 0:54:08 | 0:54:11 | |
Hey. | 0:54:11 | 0:54:13 | |
I really don't want to fight anymore. | 0:54:13 | 0:54:15 | |
Me neither. | 0:54:17 | 0:54:18 | |
Can we just not talk about it? At least for a bit. | 0:54:18 | 0:54:22 | |
Come in. Here, I'll get you a chair. | 0:54:22 | 0:54:24 | |
-Thanks. -Can I get you something? | 0:54:26 | 0:54:28 | |
-No. -Cup of tea or a glass of water? | 0:54:28 | 0:54:30 | |
No, thanks. | 0:54:30 | 0:54:32 | |
Finished for the day? | 0:54:33 | 0:54:35 | |
Yes, two more days and I'll be back in London this time next week. | 0:54:35 | 0:54:39 | |
Actually, I've just been for my scan. Baby's healthy. | 0:54:39 | 0:54:43 | |
-Good. -I even heard the heartbeat. | 0:54:43 | 0:54:46 | |
Came out and realised I had no-one to tell. | 0:54:46 | 0:54:51 | |
-Hey... -Sorry. | 0:54:51 | 0:54:52 | |
-It's all right... -Silly... | 0:54:52 | 0:54:54 | |
No, it's not. | 0:54:54 | 0:54:55 | |
There's no reason why you should be interested... | 0:54:55 | 0:54:58 | |
-I had some tissues round here somewhere. -No, I'm fine, I'm fine. | 0:54:58 | 0:55:03 | |
Listen, you don't have to go through this alone. | 0:55:05 | 0:55:08 | |
Oh, Jackson, please... | 0:55:08 | 0:55:09 | |
I'm not starting up. I'm just saying that I'm here. | 0:55:09 | 0:55:12 | |
So what are you beavering away at? | 0:55:16 | 0:55:19 | |
The usual, you know, murder and mayhem. | 0:55:21 | 0:55:24 | |
How exciting. | 0:55:24 | 0:55:26 | |
Oh, I know him. | 0:55:27 | 0:55:29 | |
You know Fergus Banks? | 0:55:29 | 0:55:31 | |
Well, if that's his name. I saw him yesterday. | 0:55:31 | 0:55:34 | |
He was being thrown out of an office building, all very dramatic. | 0:55:34 | 0:55:37 | |
Oh, I don't think it was him, that's an old picture. | 0:55:37 | 0:55:40 | |
I'm positive. He was still wearing those ridiculous love beads. | 0:55:40 | 0:55:44 | |
I remember thinking it was all rather sad at his age. | 0:55:44 | 0:55:47 | |
And he had these horrible boots. | 0:55:47 | 0:55:50 | |
Which building, where was it? | 0:55:51 | 0:55:53 | |
By that big pointy thing. | 0:55:53 | 0:55:56 | |
The Scott Monument. | 0:55:56 | 0:55:57 | |
Yes. | 0:55:57 | 0:55:58 | |
East or West of there, North or South, up or down? | 0:55:59 | 0:56:02 | |
Oh Jackson, I'm not a satnav. | 0:56:02 | 0:56:04 | |
All right, show me on a map here. | 0:56:04 | 0:56:06 | |
There's Princes Street, there's the S... pointy building. | 0:56:08 | 0:56:12 | |
Right here. | 0:56:12 | 0:56:13 | |
Have I cracked the case? | 0:56:17 | 0:56:19 | |
Mr Brodie, isn't it? | 0:56:44 | 0:56:45 | |
That's me. | 0:56:45 | 0:56:47 | |
Brian Steele. MSP for West Edinburgh. | 0:56:47 | 0:56:49 | |
Thanks for seeing me at such short notice. | 0:56:49 | 0:56:52 | |
Not at all. I'm intrigued. Please, come in. | 0:56:52 | 0:56:55 | |
-Wow. -It's quite a view, isn't it? | 0:56:55 | 0:56:58 | |
Please, take a seat. | 0:56:58 | 0:56:59 | |
So, how can I help you? | 0:57:01 | 0:57:04 | |
Er, I'm looking into the murder of Isla Kelso. | 0:57:04 | 0:57:07 | |
Seems like the police may have got the wrong man all those years ago. | 0:57:07 | 0:57:10 | |
Oh, right, yes, I remember reading about that. | 0:57:10 | 0:57:14 | |
So I'm talking to anyone who might have had contact with her | 0:57:14 | 0:57:17 | |
in the run-up to her death. | 0:57:17 | 0:57:18 | |
I knew that you moved in some of the same circles, | 0:57:18 | 0:57:20 | |
went to the same parties. | 0:57:20 | 0:57:22 | |
Well, if I did, that's news to me. | 0:57:22 | 0:57:24 | |
Oh, at Fergus Banks's gallery. | 0:57:24 | 0:57:27 | |
Fergus Banks? Well, there's a blast from the past. | 0:57:27 | 0:57:32 | |
I did go to a few of his parties, along with a hundred other people. | 0:57:32 | 0:57:35 | |
But I'm afraid I have no memory of ever meeting Isla Kelso. | 0:57:35 | 0:57:39 | |
Lots of attractive ladies though. | 0:57:40 | 0:57:43 | |
Fergus always had a way with women. Poor old Fergus. | 0:57:43 | 0:57:47 | |
Had such high hopes for that gallery. Terrible, isn't it? | 0:57:47 | 0:57:51 | |
We were good friends at university. | 0:57:51 | 0:57:53 | |
The truth is, I haven't thought about him in years. | 0:57:53 | 0:57:56 | |
Strange, he's thought about you. | 0:57:56 | 0:57:58 | |
He was thrown out this building yesterday, trying to see you. | 0:57:58 | 0:58:00 | |
What? Fergus was? | 0:58:00 | 0:58:02 | |
Mm-hm. | 0:58:02 | 0:58:03 | |
Well, I was in meetings, they should have interrupted me. | 0:58:03 | 0:58:06 | |
Why didn't they? | 0:58:06 | 0:58:09 | |
Very protective. I'm sorry, I'm a little confused here. | 0:58:09 | 0:58:13 | |
You said you were a private investigator. | 0:58:13 | 0:58:15 | |
Are you working with the police on this? | 0:58:15 | 0:58:17 | |
I'm working with Isla's son. | 0:58:17 | 0:58:19 | |
God, poor boy. | 0:58:19 | 0:58:21 | |
Can't imagine growing up with the trauma of something like that. | 0:58:21 | 0:58:24 | |
Listen, would you tell him to contact me? | 0:58:24 | 0:58:27 | |
If there is anything that I can do to help. | 0:58:28 | 0:58:31 | |
Here is my personal mobile. | 0:58:33 | 0:58:35 | |
He can get me on that at any time. | 0:58:35 | 0:58:38 | |
That's very kind of you. | 0:58:39 | 0:58:41 | |
Well, it's been a pleasure to meet you. | 0:58:43 | 0:58:45 | |
-Thank you. -Good luck with the investigation. | 0:58:48 | 0:58:50 | |
Thanks. | 0:58:50 | 0:58:51 | |
I need to talk to you. | 0:59:05 | 0:59:06 | |
What were you doing at Rhys Marshall's bar this afternoon? | 0:59:07 | 0:59:11 | |
Sorry? | 0:59:12 | 0:59:13 | |
Well, you went in, came out again, had a little something | 0:59:13 | 0:59:16 | |
with some Middle Eastern guy and his bodyguard... | 0:59:16 | 0:59:18 | |
-Are you following me? -No, not you. | 0:59:18 | 0:59:20 | |
Well I was just trying to help someone out. | 0:59:21 | 0:59:24 | |
Who's the man? | 0:59:24 | 0:59:25 | |
He's, er, some dickhead I shouldn't have got involved with. Drink? | 0:59:28 | 0:59:32 | |
No, thank you. | 0:59:32 | 0:59:34 | |
What's been going on with you? You've not been yourself. | 0:59:36 | 0:59:39 | |
I made a bad decision. | 0:59:44 | 0:59:45 | |
Ooh, just the one? | 0:59:45 | 0:59:46 | |
No, a whole series. | 0:59:48 | 0:59:51 | |
So, Rhys Marshall is part of that? | 0:59:51 | 0:59:53 | |
He is a consequence, yeah. | 0:59:53 | 0:59:55 | |
Look, if you're in some sort of trouble, | 0:59:56 | 0:59:58 | |
you know I can help you, don't you? | 0:59:58 | 1:00:00 | |
You're the last person I'd come to. | 1:00:00 | 1:00:02 | |
Oh, thank you. | 1:00:02 | 1:00:03 | |
I meant, you know... | 1:00:03 | 1:00:06 | |
after everything... | 1:00:06 | 1:00:08 | |
After everything? | 1:00:08 | 1:00:10 | |
After, the, you know, I think I've done enough...damage, don't you? | 1:00:10 | 1:00:17 | |
I thought I was the one that moved on too quickly. | 1:00:19 | 1:00:21 | |
Didn't give you a fighting chance. | 1:00:21 | 1:00:23 | |
I think we both know that was bollocks. | 1:00:23 | 1:00:27 | |
I got scared. | 1:00:27 | 1:00:29 | |
Ran away. I'm sorry. | 1:00:31 | 1:00:34 | |
I was frightened. | 1:00:38 | 1:00:41 | |
Everything I touch gets... | 1:00:41 | 1:00:44 | |
gets messed up and rather than face it, | 1:00:44 | 1:00:49 | |
I just thought I'd take a job to get away. | 1:00:49 | 1:00:53 | |
I didn't look at the full picture. | 1:00:53 | 1:00:55 | |
I see. | 1:00:58 | 1:01:00 | |
I am sorry. | 1:01:00 | 1:01:02 | |
It's all worked out though, hasn't it? | 1:01:05 | 1:01:09 | |
I mean, you've got your nice, big house, Dr Patrick on your arm. | 1:01:09 | 1:01:13 | |
Oh, we split up. | 1:01:13 | 1:01:14 | |
Did you? | 1:01:16 | 1:01:17 | |
Mm-hm. | 1:01:17 | 1:01:20 | |
Well, that was quick. | 1:01:22 | 1:01:23 | |
Aye, I know. | 1:01:23 | 1:01:25 | |
You all right? | 1:01:29 | 1:01:31 | |
Well, I'll survive. | 1:01:31 | 1:01:34 | |
Yeah, you will. | 1:01:35 | 1:01:38 | |
Well... | 1:01:43 | 1:01:45 | |
I've got, I've got to go. | 1:01:45 | 1:01:47 | |
Morning. | 1:02:10 | 1:02:11 | |
I need copies of my payslips for tax purposes. | 1:02:11 | 1:02:13 | |
Whatever you need. It's nice to see you. | 1:02:13 | 1:02:16 | |
And I took a call. | 1:02:17 | 1:02:18 | |
A woman called Mandy said she got your message about Fergus Banks. | 1:02:18 | 1:02:21 | |
Give her a call after six. | 1:02:21 | 1:02:24 | |
Who's Fergus Banks? | 1:02:26 | 1:02:28 | |
He is a teacher. Tragic. Might be a murderer. | 1:02:28 | 1:02:33 | |
That's what I'm trying to find out. | 1:02:34 | 1:02:37 | |
What are you doing? | 1:02:37 | 1:02:38 | |
Don't worry, I'll sort it. | 1:02:38 | 1:02:40 | |
I thought we had the same password for everything. | 1:02:40 | 1:02:42 | |
What kind of idiot would do that? | 1:02:42 | 1:02:44 | |
Look here, you're not even inside the entry box. | 1:02:48 | 1:02:51 | |
Cup of tea? | 1:02:57 | 1:02:58 | |
Uh! | 1:02:58 | 1:02:59 | |
I'm offering to make a cup of tea. | 1:02:59 | 1:03:01 | |
Oh. Have you got milk? | 1:03:01 | 1:03:05 | |
Clean mugs too. | 1:03:05 | 1:03:07 | |
By my standards or yours? | 1:03:07 | 1:03:09 | |
Just so you know, I'm not staying. | 1:03:10 | 1:03:13 | |
I know. | 1:03:13 | 1:03:15 | |
Right. | 1:03:19 | 1:03:20 | |
What now? | 1:03:28 | 1:03:30 | |
Do you want a cup of tea or something? | 1:03:30 | 1:03:33 | |
What's up? You seem quite jumpy. | 1:03:38 | 1:03:40 | |
Nothing, really, what can I do for you? | 1:03:40 | 1:03:43 | |
Well, I'm here because you didn't tell me the whole truth about Isla. | 1:03:45 | 1:03:48 | |
What are you talking about? | 1:03:48 | 1:03:51 | |
The night she died, she was walking out on her family. | 1:03:51 | 1:03:54 | |
Was she? | 1:03:55 | 1:03:56 | |
She was coming to be with you, wasn't she? | 1:03:56 | 1:03:58 | |
That... why do you say that? | 1:03:58 | 1:04:02 | |
Are you saying you weren't having an affair with her? | 1:04:02 | 1:04:05 | |
OK, right, we were seeing each other for a while but it was | 1:04:05 | 1:04:09 | |
all over long before, anyway, I told you I was with someone that night. | 1:04:09 | 1:04:13 | |
Yeah, the installation artist, Mandy Styles? | 1:04:13 | 1:04:16 | |
-That's right. -I spoke to her. | 1:04:16 | 1:04:18 | |
She was quite evasive, | 1:04:18 | 1:04:20 | |
but I am sure the police will get to the bottom of it. | 1:04:20 | 1:04:22 | |
Police? Why will the police be interested? | 1:04:22 | 1:04:26 | |
Come on, Fergus. | 1:04:26 | 1:04:27 | |
A woman walks out on her husband and son to go and see her lover, | 1:04:27 | 1:04:30 | |
her ex-lover, who's now with someone else. | 1:04:30 | 1:04:32 | |
Who do you think's going to be the next suspect? | 1:04:32 | 1:04:34 | |
Well, they'd be wasting their time. | 1:04:36 | 1:04:39 | |
They'll talk to her, Mandy. | 1:04:39 | 1:04:40 | |
They'll take her through every second of that night. | 1:04:40 | 1:04:42 | |
I hope she's got a story that backs you up after all these years. | 1:04:42 | 1:04:46 | |
They'll talk to her and they'll talk to Brian Steele. | 1:04:47 | 1:04:50 | |
Brian Steele? | 1:04:50 | 1:04:52 | |
What does he have to do with this? | 1:04:54 | 1:04:56 | |
Nothing. That's what he'll say. | 1:04:56 | 1:04:58 | |
He said he had no idea you were at his office. | 1:04:58 | 1:05:00 | |
I know you're lying about something. I know Brian's lying. | 1:05:03 | 1:05:06 | |
But he's much better at it, he'll get away with it. | 1:05:06 | 1:05:09 | |
He'll walk away squeaky clean. He's like that, don't you think? | 1:05:09 | 1:05:12 | |
They'll believe him when he says he's never met Isla | 1:05:12 | 1:05:15 | |
and you'll be left all alone in the frame. | 1:05:15 | 1:05:17 | |
Is that what you want? Just you. | 1:05:17 | 1:05:19 | |
Never met her? | 1:05:20 | 1:05:22 | |
He's sure of it. | 1:05:22 | 1:05:23 | |
This was one of hers. | 1:05:26 | 1:05:28 | |
She was bloody good. | 1:05:30 | 1:05:31 | |
Everyone knew everyone. | 1:05:34 | 1:05:36 | |
It was the opening night of my gallery. Everyone was there. | 1:05:44 | 1:05:48 | |
I was the first to introduce Isla to Brian. | 1:05:49 | 1:05:51 | |
It was obvious that he really liked her. | 1:05:57 | 1:06:00 | |
What happened the night Isla died? | 1:06:00 | 1:06:02 | |
Brian called me at three in the morning. | 1:06:04 | 1:06:07 | |
Told me that there'd been an accident. | 1:06:07 | 1:06:11 | |
-Where? -At the gallery. | 1:06:11 | 1:06:12 | |
He said that she'd gone there looking for me. | 1:06:12 | 1:06:15 | |
It was Christmas Eve. | 1:06:15 | 1:06:17 | |
I was at a friend's party, but Brian was at the gallery. | 1:06:17 | 1:06:21 | |
He said she was in a state. | 1:06:21 | 1:06:23 | |
I had some coke in the back office. | 1:06:23 | 1:06:25 | |
He said that she was drunk, that he'd tried to comfort her | 1:06:25 | 1:06:28 | |
but she'd fallen asleep and choked. | 1:06:28 | 1:06:30 | |
He rang me like I told you, saying it was urgent. | 1:06:30 | 1:06:33 | |
He said that he was worried about me, that, you know, | 1:06:34 | 1:06:37 | |
she'd died on my premises, my drugs in her. | 1:06:37 | 1:06:40 | |
It made sense at the time. | 1:06:41 | 1:06:43 | |
-We have to call the police! -I know that! | 1:06:43 | 1:06:45 | |
We've just got to think, just think for a minute. | 1:06:45 | 1:06:50 | |
And then what? When it didn't make sense? | 1:06:52 | 1:06:55 | |
What did you think then? | 1:06:55 | 1:06:56 | |
Brian had unusual tastes. | 1:06:58 | 1:07:00 | |
What does that mean? | 1:07:02 | 1:07:03 | |
He was into some pretty violent stuff. With women. | 1:07:03 | 1:07:06 | |
You think that that's what happened to her? | 1:07:09 | 1:07:10 | |
Yeah. And I didn't want to believe that. | 1:07:10 | 1:07:14 | |
I wanted to keep my gallery. | 1:07:15 | 1:07:17 | |
I lost my gallery anyway. | 1:07:20 | 1:07:22 | |
I just didn't have the heart for it after that. | 1:07:24 | 1:07:26 | |
She deserved better. | 1:07:28 | 1:07:30 | |
Yes, she did. | 1:07:31 | 1:07:32 | |
PHONE RINGS | 1:07:39 | 1:07:42 | |
-Hello. -You know the MSP Brian Steele? The people's champion? | 1:07:44 | 1:07:47 | |
Yes, I know who Brian Steele is. | 1:07:47 | 1:07:49 | |
You might want to arrest him for the murder of Isla Kelso. | 1:07:49 | 1:07:51 | |
Do you have any evidence for that, Jackson? | 1:07:51 | 1:07:54 | |
Well, here's a full confession by the man who helped him | 1:07:54 | 1:07:57 | |
bury the body, Fergus Banks. | 1:07:57 | 1:07:59 | |
How's that for starters? | 1:07:59 | 1:08:01 | |
Is there anything else I can do for you? | 1:08:01 | 1:08:03 | |
No, you're all right. | 1:08:03 | 1:08:06 | |
Well, yeah, um... | 1:08:06 | 1:08:07 | |
Do you want to go for dinner? | 1:08:11 | 1:08:13 | |
What? | 1:08:13 | 1:08:15 | |
Dinner, as in a sort of restaurant, sort of dinner thing? | 1:08:15 | 1:08:19 | |
As in a date. | 1:08:22 | 1:08:23 | |
In a restaurant. | 1:08:26 | 1:08:27 | |
A date? | 1:08:27 | 1:08:29 | |
Tomorrow? | 1:08:29 | 1:08:31 | |
Yeah. | 1:08:31 | 1:08:32 | |
-All right. -OK. | 1:08:34 | 1:08:35 | |
OK. | 1:08:37 | 1:08:39 | |
Bye. | 1:08:39 | 1:08:40 | |
Bye. | 1:08:40 | 1:08:43 | |
Jackson Brodie. | 1:09:58 | 1:10:00 | |
Hold on, calm down, where are you? | 1:10:00 | 1:10:04 | |
All right, I'll be right there. | 1:10:05 | 1:10:07 | |
I think he's killed her. | 1:10:23 | 1:10:25 | |
-Called an ambulance? Who did this? Rhys? -Yes. | 1:10:25 | 1:10:28 | |
She's alive. Get us a rag, a clean rag. | 1:10:31 | 1:10:34 | |
Right, what happened? | 1:10:39 | 1:10:42 | |
Come on, what happened? | 1:10:42 | 1:10:44 | |
I came back and she was lying there. | 1:10:44 | 1:10:46 | |
It's my fault. | 1:10:47 | 1:10:49 | |
What did you do? | 1:10:49 | 1:10:50 | |
He paid him. My dad paid him to send me home. | 1:10:50 | 1:10:55 | |
They bought and sold me like I was nothing, like I was an animal. | 1:10:55 | 1:10:59 | |
Rhys laughed when he told me. I was so angry... | 1:10:59 | 1:11:04 | |
Samira, what did you do? | 1:11:04 | 1:11:06 | |
I stole his gear. | 1:11:06 | 1:11:08 | |
Oh, Jesus. And he came here, did he, looking for it? | 1:11:08 | 1:11:13 | |
I wasn't here. | 1:11:13 | 1:11:15 | |
Abi had done nothing, it was me he was angry with. | 1:11:15 | 1:11:18 | |
Abi hadn't done anything. | 1:11:19 | 1:11:21 | |
Samira! Wait! | 1:11:21 | 1:11:22 | |
You shit! | 1:12:12 | 1:12:13 | |
I guess you're over me then. That was quick. | 1:12:18 | 1:12:21 | |
You think you're something special? You're nothing. | 1:12:23 | 1:12:26 | |
You are a bug. | 1:12:27 | 1:12:31 | |
Where's my gear? Where is my gear? | 1:12:31 | 1:12:35 | |
You want one of these? To the face, is that what you want? | 1:12:35 | 1:12:39 | |
Just leave it. | 1:12:52 | 1:12:54 | |
No! | 1:13:08 | 1:13:09 | |
Samira, no! | 1:13:17 | 1:13:19 | |
All right, you can go. I'll take care of this. | 1:13:34 | 1:13:38 | |
How's Abi doing? | 1:14:49 | 1:14:51 | |
She'll be OK. | 1:14:51 | 1:14:53 | |
What about you? | 1:14:53 | 1:14:54 | |
I didn't know I could feel like that. | 1:14:56 | 1:14:58 | |
That I could have killed him. | 1:15:00 | 1:15:02 | |
Well, you didn't, so don't worry about it. | 1:15:06 | 1:15:09 | |
Got the rest of your life to lead now, haven't you? | 1:15:13 | 1:15:16 | |
Ooh, nice dress. Going somewhere special? | 1:15:27 | 1:15:30 | |
Yeah. | 1:15:30 | 1:15:32 | |
Thanks. | 1:16:05 | 1:16:07 | |
I was thinking of maybe giving that bloke a call, about the internship. | 1:16:08 | 1:16:12 | |
-Yeah? -What do you reckon? | 1:16:12 | 1:16:14 | |
Well, I think that would be great. | 1:16:14 | 1:16:17 | |
You would come and visit, though, won't you? | 1:16:17 | 1:16:19 | |
Of course. | 1:16:19 | 1:16:20 | |
Well, here we are. Bit weird, no? | 1:16:36 | 1:16:39 | |
Can't get used to seeing you dressed like that, | 1:16:42 | 1:16:45 | |
you look almost respectable. | 1:16:45 | 1:16:46 | |
Apart from your face, that's the same. | 1:16:46 | 1:16:48 | |
God, that's good. | 1:16:50 | 1:16:51 | |
Are you going to be speaking at all during the evening? | 1:16:55 | 1:16:58 | |
Because I'm going to have to stop occasionally to, you know, chew... | 1:16:58 | 1:17:02 | |
Sorry... | 1:17:02 | 1:17:03 | |
I'm a bit lost for words. | 1:17:06 | 1:17:08 | |
Is it because I'm dressed like an actual woman? | 1:17:08 | 1:17:11 | |
You see, I'm surprised it's that effective. | 1:17:11 | 1:17:14 | |
You have that effect on me whatever you're wearing. | 1:17:16 | 1:17:20 | |
You always have had. | 1:17:20 | 1:17:21 | |
From the first time I saw you. | 1:17:23 | 1:17:25 | |
Every time I look at you. | 1:17:26 | 1:17:28 | |
I just want to kiss you. | 1:17:30 | 1:17:31 | |
Wow. | 1:17:33 | 1:17:34 | |
OK. | 1:17:36 | 1:17:37 | |
And we haven't even ordered yet. | 1:17:38 | 1:17:41 | |
But I can't do this. | 1:17:41 | 1:17:43 | |
Oh, Jesus, Jackson, look, OK, just don't panic, OK? | 1:17:45 | 1:17:48 | |
We're just having dinner, you know, we're not naming our children. | 1:17:48 | 1:17:52 | |
Everything's going to be OK. | 1:17:52 | 1:17:55 | |
It's not. | 1:17:55 | 1:17:57 | |
It's never going to work. | 1:17:57 | 1:18:00 | |
You, what you do, | 1:18:00 | 1:18:04 | |
things happen around me that you can't be a part of. | 1:18:04 | 1:18:08 | |
What's happened? What's happened to you? | 1:18:09 | 1:18:11 | |
Something has happened. | 1:18:14 | 1:18:16 | |
Something's happened since yesterday, I can see it. | 1:18:16 | 1:18:19 | |
No. | 1:18:19 | 1:18:20 | |
Or what, did you just bring me here to humiliate me, is that it? | 1:18:20 | 1:18:22 | |
Of course not. I wouldn't do that. | 1:18:22 | 1:18:25 | |
What's changed? | 1:18:25 | 1:18:26 | |
I just, I realised... | 1:18:33 | 1:18:36 | |
I realised that... | 1:18:42 | 1:18:44 | |
..I'm never going to love you. | 1:18:49 | 1:18:51 | |
Even though when you look at me, you want to kiss me? | 1:18:55 | 1:18:59 | |
Yeah. | 1:19:05 | 1:19:06 | |
PHONE RINGS | 1:19:40 | 1:19:42 | |
Menus, sir? | 1:19:52 | 1:19:54 | |
Oh, I'm not... Thanks. | 1:19:54 | 1:19:56 | |
PHONE RINGS | 1:19:59 | 1:20:01 | |
Yes, Julia, what? | 1:20:04 | 1:20:06 | |
What, now? | 1:20:08 | 1:20:10 | |
Can't you get some...? | 1:20:10 | 1:20:12 | |
OK, OK, OK, calm down. | 1:20:12 | 1:20:14 | |
Sort of.... | 1:20:17 | 1:20:19 | |
Where are you? | 1:20:20 | 1:20:22 | |
This is not supposed to be happening. I've wrapped. | 1:20:22 | 1:20:25 | |
I'm supposed to be on a train to London. | 1:20:25 | 1:20:27 | |
Why didn't you go to the hospital earlier? | 1:20:27 | 1:20:30 | |
I was fine. The midwife said to wait | 1:20:30 | 1:20:32 | |
until there was at least seven or eight minutes in between contra... | 1:20:32 | 1:20:36 | |
Is that another one now? | 1:20:36 | 1:20:37 | |
You see, that's a minute and a half. That's not good. | 1:20:39 | 1:20:43 | |
How did you let things get so far? All right, I'm sorry. | 1:20:43 | 1:20:47 | |
Can you get in? | 1:20:47 | 1:20:49 | |
All right, all right. Change of plan. Come on. | 1:20:49 | 1:20:52 | |
Watch your back, watch your back. | 1:20:52 | 1:20:53 | |
OK. Here we go, here we go. Come on... | 1:20:53 | 1:20:58 | |
I should be in London. In a birthing pool with candles. | 1:20:58 | 1:21:03 | |
-I've got a playlist! -Come on... | 1:21:03 | 1:21:05 | |
Jackson Brodie. B-R-O-D-I-E. | 1:21:05 | 1:21:09 | |
I-E, yeah. | 1:21:09 | 1:21:12 | |
Pregnant woman, giving birth. | 1:21:12 | 1:21:14 | |
SHE SCREAMS | 1:21:14 | 1:21:16 | |
Yeah, that's, er, that's what I'm saying, there's no gaps any more. | 1:21:16 | 1:21:18 | |
Yes, all right, hold on. Address and postcode? | 1:21:18 | 1:21:22 | |
I don't know. They just send a driver. | 1:21:22 | 1:21:24 | |
She doesn't know this. She doesn't know. | 1:21:24 | 1:21:26 | |
I got here by landmarks. She talked me through. | 1:21:28 | 1:21:31 | |
Murrayfield, you've got the zoo on the left, | 1:21:31 | 1:21:33 | |
-and then you take the second... -Here. | 1:21:33 | 1:21:35 | |
-At the second set of lights you take a left. -Here! | 1:21:35 | 1:21:37 | |
And there's an old building... | 1:21:37 | 1:21:39 | |
HERE! | 1:21:39 | 1:21:40 | |
Oh, I've got it, got it. | 1:21:40 | 1:21:41 | |
136 Rose Cottages, EH11 9CT. | 1:21:41 | 1:21:46 | |
Nine Charlie Tango. | 1:21:46 | 1:21:48 | |
It's coming, it's coming! | 1:21:48 | 1:21:49 | |
No, you'll be all right, you've got a few minutes, | 1:21:49 | 1:21:51 | |
-they're on their way. -Feel that, there! | 1:21:51 | 1:21:54 | |
What's that? Bloody hell, is that the head? | 1:21:54 | 1:21:57 | |
Oh, shit, all right, all right, listen. | 1:21:57 | 1:22:00 | |
Come and sit here, you're going to be fine. | 1:22:00 | 1:22:04 | |
It's going to be all right. Now stay still. | 1:22:04 | 1:22:07 | |
OK. It's going to be all right. Let's, er... | 1:22:07 | 1:22:12 | |
Jackson! | 1:22:13 | 1:22:15 | |
Oh, Jesus. It's all right. | 1:22:15 | 1:22:18 | |
OK. Listen, I'm going to get some towels and.. | 1:22:18 | 1:22:23 | |
NO! No. | 1:22:23 | 1:22:24 | |
Oh, OK, OK, good, good, gather yourself. | 1:22:24 | 1:22:29 | |
You're going to have to push. | 1:22:29 | 1:22:30 | |
OK, take a breath, get yourself ready. | 1:22:30 | 1:22:33 | |
Come on then, here we go, let's do it, come on. | 1:22:33 | 1:22:35 | |
Come on, take a breath and push, come on then. | 1:22:35 | 1:22:39 | |
Go on! | 1:22:39 | 1:22:41 | |
Good, good, good. Breathe! | 1:22:41 | 1:22:43 | |
Julia, breathe. OK? | 1:22:43 | 1:22:46 | |
All right, all right, I'm coming but don't forget to breathe, breathe. | 1:22:46 | 1:22:49 | |
YOU BLOODY BREATHE! | 1:22:49 | 1:22:51 | |
SHE SCREAMS | 1:22:51 | 1:22:53 | |
Come on, here we go, here we go, push it out, come on! | 1:22:53 | 1:22:57 | |
BABY CRIES | 1:22:57 | 1:22:59 | |
It's, it's, it's a boy. | 1:22:59 | 1:23:02 | |
It's a beautiful little boy. | 1:23:04 | 1:23:08 | |
Hello, you. | 1:23:08 | 1:23:10 | |
Yours was the first face he saw. | 1:23:24 | 1:23:26 | |
If your husband's staying the night, I can get a camp bed for you, | 1:23:46 | 1:23:50 | |
-if you'd like? -Oh, he's not my husband. | 1:23:50 | 1:23:52 | |
Well, if Daddy stays.... | 1:23:52 | 1:23:54 | |
He's not. He's not staying. | 1:23:56 | 1:23:59 | |
He's just a lovely friend who helped me with the baby. | 1:24:01 | 1:24:04 | |
Well, then I am so sorry, but visiting hours are actually over. | 1:24:06 | 1:24:10 | |
Shhhh, shhhh. | 1:24:13 | 1:24:17 | |
Here you go. | 1:24:29 | 1:24:31 | |
Well, I'll see you. | 1:24:41 | 1:24:43 | |
# Cut my heart wide open | 1:24:51 | 1:24:54 | |
# And I spilled all my blood | 1:24:54 | 1:24:58 | |
# Spent my money in my youth | 1:24:58 | 1:25:04 | |
# And I jumped into the well | 1:25:05 | 1:25:09 | |
# And I made my own hell | 1:25:09 | 1:25:12 | |
# I was looking for three chords and the truth | 1:25:12 | 1:25:17 | |
# I found the door to my freedom | 1:25:19 | 1:25:23 | |
# In a house filled with flames | 1:25:23 | 1:25:26 | |
# Found the key to my restless blues | 1:25:26 | 1:25:32 | |
# I lost my innocence and verve | 1:25:34 | 1:25:37 | |
# I found my courage and my nerve | 1:25:37 | 1:25:40 | |
# I was looking for three chords and the truth | 1:25:40 | 1:25:47 | |
# I couldn't buy a laugh | 1:25:48 | 1:25:51 | |
# I couldn't pay my bills | 1:25:51 | 1:25:55 | |
# But I was willing to pay my dues | 1:25:55 | 1:26:01 | |
# I learned my limitations | 1:26:03 | 1:26:06 | |
# My lessons in frustrations | 1:26:06 | 1:26:09 | |
# But I was looking for three chords and the truth... # | 1:26:09 | 1:26:16 | |
PHONE RINGS | 1:26:44 | 1:26:46 | |
# I made the sacrifices | 1:26:46 | 1:26:48 | |
# And I played the games | 1:26:48 | 1:26:52 | |
# And I believed every lie without you... # | 1:26:52 | 1:26:57 | |
Jackson Brodie, how can I help you? | 1:26:57 | 1:26:59 | |
# I sang my songs | 1:26:59 | 1:27:01 | |
# I strummed my strings | 1:27:01 | 1:27:03 | |
# Lost and found everything | 1:27:03 | 1:27:07 | |
# But I was looking for three chords and the truth | 1:27:07 | 1:27:12 | |
# I looked from every angle | 1:27:22 | 1:27:25 | |
# Every mountain and every valley | 1:27:25 | 1:27:28 | |
# Every city... # | 1:27:28 | 1:27:30 | |
Subtitles by Red Bee Media Ltd | 1:27:30 | 1:27:33 |