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Why's it taking so long? | 0:00:32 | 0:00:33 | |
It's only been a few minutes. We're witnesses, it'll be fine. | 0:00:35 | 0:00:38 | |
Ah. | 0:00:40 | 0:00:43 | |
Thanks for coming in. | 0:00:43 | 0:00:45 | |
It's fine. | 0:00:45 | 0:00:46 | |
So... Ruhma, what happened? | 0:00:46 | 0:00:48 | |
Well, Ruhma was visiting... | 0:00:49 | 0:00:51 | |
Naughty, Heston, I'm sure Ruhma can speak for herself. | 0:00:51 | 0:00:54 | |
Well, I was, erm, seeing a mum at the property, mum-to-be, | 0:00:55 | 0:00:59 | |
and, erm, I heard some cries for help, | 0:00:59 | 0:01:01 | |
so I went to investigate and that's when I saw that young woman. | 0:01:01 | 0:01:05 | |
That's Besa? | 0:01:05 | 0:01:07 | |
Yeah. Yeah, yeah, yeah. That's what she said. | 0:01:07 | 0:01:09 | |
Erm, I examined her, Rob, and it was really clear she needed some | 0:01:09 | 0:01:12 | |
medical attention, so I went to get my black bag from the car. | 0:01:12 | 0:01:15 | |
And that's when I saw Heston. | 0:01:15 | 0:01:17 | |
Yeah. Ruhma explained the situation. | 0:01:17 | 0:01:19 | |
The woman looked like she was suffering from sepsis, | 0:01:19 | 0:01:22 | |
-so we called an... -Ambulance. -..ambulance. | 0:01:22 | 0:01:23 | |
And, er, you know the rest. | 0:01:23 | 0:01:26 | |
And you...just happened...to be...passing? | 0:01:26 | 0:01:29 | |
Did she say anything about her circumstances? Where she was from? | 0:01:29 | 0:01:32 | |
Or next of kin? | 0:01:32 | 0:01:34 | |
Do you know, Rob, it just all happened so quickly... | 0:01:34 | 0:01:38 | |
Yeah, yeah. | 0:01:38 | 0:01:39 | |
She didn't say anything while you were waiting for the ambulance? | 0:01:39 | 0:01:42 | |
-Well, she was in a lot of pain, she was quite delirious. -Yeah. | 0:01:42 | 0:01:46 | |
Yeah. Had you been to the house before? | 0:01:46 | 0:01:49 | |
-Sorry? -Have you been to that house before? | 0:01:49 | 0:01:53 | |
Oh... PHONE RINGS | 0:01:54 | 0:01:56 | |
Excuse me... I'll just take this. | 0:01:56 | 0:01:58 | |
Yeah, Rob Hollins. What have you got? | 0:02:00 | 0:02:03 | |
Right, OK. | 0:02:03 | 0:02:05 | |
Oh, dear, that's bad timing, isn't it? First day of term. | 0:02:05 | 0:02:08 | |
Still, I'm sure your tutor will understand. | 0:02:08 | 0:02:11 | |
Chloe Canning? | 0:02:11 | 0:02:12 | |
Oh, I am so sorry, you're too late. We close at... | 0:02:17 | 0:02:20 | |
Six o'clock, I know. Will you tell Jimmi I'm here, please? | 0:02:20 | 0:02:24 | |
Charlie Ashwell. He's expecting me. | 0:02:24 | 0:02:26 | |
Oh, right. Well, he's with a patient | 0:02:26 | 0:02:28 | |
so if you'd like to take a seat? He shouldn't be long. | 0:02:28 | 0:02:31 | |
SHUTTER CLICKS | 0:02:38 | 0:02:40 | |
Sorry, what are you doing? | 0:02:40 | 0:02:42 | |
Taking photographs. I'm... I'm a photographer. | 0:02:43 | 0:02:46 | |
Right. Well, you can't just come in here and start snapping away. | 0:02:46 | 0:02:49 | |
Sorry. I... I should have asked permission. | 0:02:49 | 0:02:51 | |
Yes, you should. | 0:02:51 | 0:02:53 | |
Would it be OK if I took some photographs? | 0:02:53 | 0:02:55 | |
There are some really interesting shapes in here | 0:02:55 | 0:02:57 | |
and I'm working on an assignment prioritising scale, form and focus. | 0:02:57 | 0:03:01 | |
Please, may I? | 0:03:01 | 0:03:03 | |
I suppose so. No patients, though. | 0:03:03 | 0:03:06 | |
Sorry about that. OK... Where were we? | 0:03:10 | 0:03:15 | |
Ruhma, you were at that property to see a patient, er, I assume. | 0:03:17 | 0:03:21 | |
-Obviously a pregnant female? -Yeah. -What can you tell me about her? | 0:03:21 | 0:03:24 | |
Oh...well, I can't really. | 0:03:24 | 0:03:26 | |
I'm sorry, it's just... It's confidentiality. | 0:03:26 | 0:03:30 | |
BOTH CHUCKLE | 0:03:30 | 0:03:31 | |
Yes. It is. Although you are helping with a police enquiry. | 0:03:31 | 0:03:36 | |
OK, never mind. | 0:03:37 | 0:03:38 | |
Did you see or hear anyone else while you were at the house? | 0:03:38 | 0:03:42 | |
I don't... I don't think I did, no. | 0:03:42 | 0:03:44 | |
Heston? | 0:03:44 | 0:03:45 | |
Ah, well, we were focused on the patient and her wellbeing, | 0:03:46 | 0:03:49 | |
not whether there was anyone else in the building. | 0:03:49 | 0:03:53 | |
Right. | 0:03:53 | 0:03:55 | |
You see, they have neighbours who said that they saw several | 0:03:55 | 0:03:58 | |
people leaving the house before the ambulance arrived. | 0:03:58 | 0:04:01 | |
Are you sure that you...? You didn't see or hear anything at all? | 0:04:01 | 0:04:04 | |
Sorry. | 0:04:05 | 0:04:06 | |
Right, here's the thing. | 0:04:08 | 0:04:09 | |
We suspect that that property is housing illegal immigrants. | 0:04:09 | 0:04:12 | |
And the young woman that you attended, Besa Kotti, | 0:04:12 | 0:04:16 | |
we think that she could also be in the country illegally. | 0:04:16 | 0:04:19 | |
Are you sure you can't remember anything that would throw | 0:04:19 | 0:04:22 | |
some light on what's going on? | 0:04:22 | 0:04:24 | |
Where's the baby? | 0:04:27 | 0:04:28 | |
Wow. Who'd have thought a door handle was so interesting? | 0:04:33 | 0:04:36 | |
It's not about the door handle, per-se. | 0:04:36 | 0:04:38 | |
By adjusting depth of field, angle, contrast, | 0:04:38 | 0:04:41 | |
you can downplay the function and elevate the form. | 0:04:41 | 0:04:44 | |
Ahh... Would you like to take a photograph of me? | 0:04:44 | 0:04:47 | |
No. But thanks for the offer, though. | 0:04:47 | 0:04:50 | |
So you prefer inanimate objects. | 0:04:50 | 0:04:52 | |
You're a bit dull, visually, even for a portrait study. | 0:04:52 | 0:04:55 | |
And that shade of green doesn't work with your complexion. | 0:04:55 | 0:04:59 | |
Oh! | 0:05:00 | 0:05:02 | |
Problem? | 0:05:02 | 0:05:04 | |
Well, if the students will insist on putting their feet on the benches. | 0:05:04 | 0:05:07 | |
Not very hygienic for a doctors' surgery. | 0:05:07 | 0:05:10 | |
Contaminated surfaces are a leading cause of indirect | 0:05:10 | 0:05:12 | |
transmission of pathogens - adenovirus, influenza virus, | 0:05:12 | 0:05:16 | |
rotavirus, norovirus, staphylococcus, salmonella... | 0:05:16 | 0:05:19 | |
Well, perhaps you'd better wash your hands. | 0:05:19 | 0:05:22 | |
HE GROANS | 0:05:24 | 0:05:25 | |
Thank you. | 0:05:25 | 0:05:27 | |
Better? | 0:05:28 | 0:05:29 | |
Yeah. Yeah, thanks. | 0:05:29 | 0:05:31 | |
Ruhma, the woman you were attending is post-partum. | 0:05:31 | 0:05:35 | |
You examined her - did you not notice that? | 0:05:35 | 0:05:37 | |
Did you know that the woman had recently given birth? | 0:05:39 | 0:05:42 | |
Yes. | 0:05:42 | 0:05:43 | |
So why didn't you tell me? | 0:05:43 | 0:05:45 | |
Because you didn't ask. | 0:05:45 | 0:05:47 | |
HE SIGHS | 0:05:49 | 0:05:50 | |
Would either of you like to tell me what is going on? | 0:05:50 | 0:05:53 | |
Nothing's going on. | 0:05:53 | 0:05:55 | |
Right. I am now talking to you as Rob, your friend. | 0:05:55 | 0:05:59 | |
Generally speaking, it is never a good idea to lie to the police - | 0:05:59 | 0:06:02 | |
particularly when you're both rubbish at it. | 0:06:02 | 0:06:05 | |
So I suggest that you go home and think it over. | 0:06:05 | 0:06:09 | |
Give me a call when you're ready to talk. | 0:06:09 | 0:06:12 | |
-Your friend's here. -Charlie? | 0:06:21 | 0:06:23 | |
Yeah, he's in the loo. | 0:06:23 | 0:06:24 | |
What's he done? Valerie? | 0:06:26 | 0:06:29 | |
Well, apparently, I'm boring and the surgery's a death trap. | 0:06:29 | 0:06:32 | |
All right, well, I'm sure he didn't mean to upset you. | 0:06:32 | 0:06:34 | |
Charlie's social skills are a work in progress. | 0:06:34 | 0:06:37 | |
It's tricky for people on the spectrum. | 0:06:37 | 0:06:40 | |
-Autism? -Asperger's. | 0:06:40 | 0:06:43 | |
Oh, OK, well that explains a lot... His in-depth | 0:06:43 | 0:06:45 | |
knowledge of micro-organisms and his fascination with office furniture. | 0:06:45 | 0:06:50 | |
Do you know, he was photographing the legs of the benches? | 0:06:50 | 0:06:52 | |
Why would you do that? | 0:06:52 | 0:06:54 | |
Ah, well, Charlie's very talented. | 0:06:54 | 0:06:56 | |
Yeah, he's been shortlisted for the | 0:06:56 | 0:06:57 | |
-Arkwright Amateur Photographer of the Year. -Oh. | 0:06:57 | 0:07:00 | |
So how do you two know each other? | 0:07:00 | 0:07:02 | |
Well, we met at a photography course and just stayed in touch. | 0:07:02 | 0:07:04 | |
Do you know, I wouldn't have put you two together. | 0:07:04 | 0:07:06 | |
Are you some sort of a mentor? | 0:07:06 | 0:07:08 | |
Ha-ha-ha, I wish. No, Charlie is much better than me. | 0:07:08 | 0:07:11 | |
But he's great company, once you get past the bluntness. | 0:07:11 | 0:07:13 | |
Jimmi! | 0:07:13 | 0:07:15 | |
-Hey! -I've got a new camera. | 0:07:15 | 0:07:17 | |
It's got an APS-C sensor with a no low-pass filter, | 0:07:17 | 0:07:20 | |
a hybrid viewfinder... | 0:07:20 | 0:07:22 | |
All right, just...tell me about on the way, yeah. | 0:07:22 | 0:07:24 | |
OK, well, I'll lock up, then? | 0:07:24 | 0:07:25 | |
That's a very good idea. | 0:07:25 | 0:07:27 | |
Medical centres are a prime target for drug addicts and criminals. | 0:07:27 | 0:07:31 | |
-Come on, Jimmi. -All right. | 0:07:31 | 0:07:33 | |
Oh! Good luck with your move! | 0:07:42 | 0:07:44 | |
Cheers. | 0:07:44 | 0:07:46 | |
Oh, oh-oh-ho! | 0:07:50 | 0:07:52 | |
Security's still lax, then. | 0:07:52 | 0:07:54 | |
What are you doing back here? | 0:07:54 | 0:07:56 | |
Well, you can't be too careful after what happened to Valerie and Al. | 0:07:56 | 0:07:59 | |
Aw, are you looking out for me? | 0:07:59 | 0:08:01 | |
I've had a word with Mrs Tembe about a controlled-entry option | 0:08:01 | 0:08:04 | |
and a panic alarm. That should be sorted soon. | 0:08:04 | 0:08:06 | |
Great. So, did you catch your man, earlier? | 0:08:06 | 0:08:09 | |
He was packing his bags as we arrived. | 0:08:09 | 0:08:11 | |
Oh. Hey, why don't you stick the kettle on? | 0:08:11 | 0:08:14 | |
And we will talk about it over a cuppa. | 0:08:14 | 0:08:16 | |
Yeah, OK. | 0:08:16 | 0:08:18 | |
Oh, hey. I've just had Heston and Ruhma down the station. | 0:08:19 | 0:08:24 | |
Tea? | 0:08:25 | 0:08:26 | |
The winner? | 0:08:30 | 0:08:31 | |
Well, it's a great shot. Depends, doesn't it? | 0:08:31 | 0:08:34 | |
Depends on the competition, depends on the judge... | 0:08:34 | 0:08:37 | |
Brad Masterson... He's amazing. I've got all of his books. | 0:08:37 | 0:08:41 | |
I know. | 0:08:41 | 0:08:43 | |
Jimmi Clay. | 0:08:43 | 0:08:45 | |
-Oh! -Oh. | 0:08:45 | 0:08:48 | |
It's been absolutely forever. How are you? | 0:08:48 | 0:08:51 | |
I'm good. | 0:08:51 | 0:08:53 | |
I thought you might have showed your face at the De Barros retrospective. | 0:08:53 | 0:08:56 | |
-When was that? -November. | 0:08:56 | 0:08:59 | |
Just had to pull out all the stops to bring it to Letherbridge. | 0:08:59 | 0:09:02 | |
Ah, Charlie, this is Aimee. She manages the gallery. | 0:09:02 | 0:09:06 | |
-Hi. -Nice to meet you. So, what brings you out tonight? | 0:09:06 | 0:09:10 | |
Moral support. Charlie's been shortlisted. | 0:09:10 | 0:09:13 | |
Oh, you're THAT Charlie! How marvellous. | 0:09:14 | 0:09:18 | |
It really is an excellent piece of work. And you're so young. | 0:09:18 | 0:09:22 | |
Have you seen my entry? | 0:09:22 | 0:09:23 | |
I'm amazed I made the last ten. | 0:09:25 | 0:09:28 | |
I mean, it was such a last-minute effort. | 0:09:28 | 0:09:30 | |
I'm liking what you've done with the light there. | 0:09:30 | 0:09:33 | |
-Oh... -It's reminiscent of Maisel's work. | 0:09:33 | 0:09:36 | |
Thank you. | 0:09:36 | 0:09:37 | |
But without his finesse. | 0:09:37 | 0:09:38 | |
The ear is a distraction - if that's what it is. | 0:09:40 | 0:09:43 | |
And your colour balance is out. | 0:09:43 | 0:09:45 | |
If you shoot it raw you can correct that in post-processing. | 0:09:45 | 0:09:49 | |
Hmm. Oh, there's Tabitha... | 0:09:49 | 0:09:52 | |
Excuse me. | 0:09:54 | 0:09:55 | |
That was a little harsh. | 0:09:57 | 0:09:59 | |
No, it wasn't. | 0:09:59 | 0:10:00 | |
Look, I'm not disputing your critical judgment...just, | 0:10:00 | 0:10:04 | |
you know, does it have to be so blunt? | 0:10:04 | 0:10:07 | |
I'm supposed to lie about art too? | 0:10:07 | 0:10:09 | |
No, not "lie", not lie. Just apply the filters. | 0:10:09 | 0:10:13 | |
Say something positive. | 0:10:15 | 0:10:16 | |
Brad Masterson. | 0:10:17 | 0:10:19 | |
Hey, erm... | 0:10:30 | 0:10:32 | |
..I'm going to the hospital. | 0:10:32 | 0:10:34 | |
Ruhma...not tonight. | 0:10:34 | 0:10:36 | |
What are we going to say to Rob? | 0:10:38 | 0:10:41 | |
I don't really care what we say to Rob, because Besa needs me. | 0:10:41 | 0:10:45 | |
You've risked your career, mine... | 0:10:45 | 0:10:48 | |
..and everyone else you've dragged into this! | 0:10:48 | 0:10:51 | |
There's nothing more you can do. | 0:10:52 | 0:10:54 | |
Heston, she is scared and she's alone, | 0:10:54 | 0:10:57 | |
and she doesn't even know where her baby is. | 0:10:57 | 0:10:59 | |
Her friends will look after the baby until they are reunited. | 0:10:59 | 0:11:02 | |
Reunited! What? | 0:11:02 | 0:11:04 | |
Until they stick her on a flight back to Albania, | 0:11:04 | 0:11:06 | |
the moment that she's well enough to travel? | 0:11:06 | 0:11:08 | |
She's terrified of being deported. | 0:11:08 | 0:11:11 | |
That is not going to happen. | 0:11:11 | 0:11:13 | |
The authorities won't send her home to be murdered. | 0:11:13 | 0:11:16 | |
Right. Well, I... I hope, I hope that you're right there. | 0:11:16 | 0:11:20 | |
I'll ring Martin. He'll give me some advice. | 0:11:22 | 0:11:25 | |
-Tonight? -Oh, Ruhma... | 0:11:25 | 0:11:27 | |
Look, I'm... I'm going to go, OK. | 0:11:27 | 0:11:30 | |
Just call me if you've got anything positive to tell her. | 0:11:30 | 0:11:35 | |
Thank you. | 0:11:38 | 0:11:39 | |
So, I looked into his eyes, and I realised, | 0:11:47 | 0:11:49 | |
if I didn't get out of there... he was going to kill me. | 0:11:49 | 0:11:52 | |
Don't be shy, there's more champagne. | 0:11:53 | 0:11:55 | |
-Thank you. -Cheers. -Help yourself. | 0:11:55 | 0:11:57 | |
My heart was racing. My breath burned in my throat... | 0:11:58 | 0:12:00 | |
Darling, you look amazing. The single life obviously suits you. | 0:12:00 | 0:12:06 | |
-Thank you! -You're well rid! | 0:12:06 | 0:12:07 | |
Help yourself to champagne. | 0:12:07 | 0:12:09 | |
When I finally found the courage to turn round and look, | 0:12:12 | 0:12:15 | |
he was gone... Melted into the bush. | 0:12:15 | 0:12:18 | |
Your little friend thinks rather a lot of himself. | 0:12:20 | 0:12:23 | |
I wouldn't say that. | 0:12:25 | 0:12:26 | |
Because you haven't lived, | 0:12:26 | 0:12:28 | |
unless you've been charged by a bull elephant, am I right? | 0:12:28 | 0:12:31 | |
LAUGHTER | 0:12:31 | 0:12:32 | |
Excuse me. | 0:12:32 | 0:12:34 | |
-Yeah? -Can I have your autograph? | 0:12:34 | 0:12:36 | |
Er...yeah, you got a pen? | 0:12:36 | 0:12:37 | |
-What's your name? -Charlie. | 0:12:39 | 0:12:41 | |
Oh, evening, all. Social call? | 0:12:42 | 0:12:46 | |
Just keeping an eye out. | 0:12:46 | 0:12:49 | |
So how do YOU feel about the late working hours? | 0:12:49 | 0:12:52 | |
Oh, a little exposed, if I'm honest. | 0:12:52 | 0:12:54 | |
But I expect I'll get used to it. | 0:12:54 | 0:12:57 | |
What about everybody else? | 0:12:57 | 0:12:59 | |
Well, it's hardly universally popular. | 0:12:59 | 0:13:02 | |
But, er, well, rotas are definitely an issue. | 0:13:02 | 0:13:06 | |
I'm covering for Sid tonight. | 0:13:06 | 0:13:08 | |
Well, yes. Well, Friday night is party night. | 0:13:08 | 0:13:10 | |
Actually, not in this case. He's moving out. | 0:13:10 | 0:13:15 | |
So, it looks like my landlady days are over. For the foreseeable. | 0:13:15 | 0:13:19 | |
Glad to get your place back? | 0:13:19 | 0:13:21 | |
Not really. You get used to the company, don't you? | 0:13:21 | 0:13:25 | |
Karen! Your tea is ready, my love. | 0:13:31 | 0:13:35 | |
Erm, I'll be right with you. | 0:13:35 | 0:13:37 | |
-Look, look, look! -That was quite a chat. | 0:13:44 | 0:13:47 | |
He's got 15 cameras! | 0:13:47 | 0:13:49 | |
Oh, he was always OTT. | 0:13:49 | 0:13:51 | |
15 cameras, half a dozen houses, cars galore. | 0:13:51 | 0:13:55 | |
Multiple...everything. | 0:13:55 | 0:13:58 | |
Do you think I'm in with a chance? | 0:13:59 | 0:14:01 | |
Whatever happens, I reckon top ten. | 0:14:01 | 0:14:04 | |
I have to win. I don't even care about the money. | 0:14:04 | 0:14:07 | |
I want the masterclass. | 0:14:07 | 0:14:09 | |
Oh...I'm sorry to be the bearer of bad news, | 0:14:09 | 0:14:11 | |
but you're not going to win. | 0:14:11 | 0:14:14 | |
But...Brad hasn't announced the result yet. | 0:14:14 | 0:14:17 | |
See the blonde in the red...? | 0:14:17 | 0:14:20 | |
-SHE WHISPERS: -She's the winner. -Aimee... | 0:14:20 | 0:14:23 | |
Charlie, let me give you a lesson in the ways of the world. | 0:14:23 | 0:14:27 | |
Brad Masterson has the hots for the delectable Etta. | 0:14:27 | 0:14:31 | |
He's been trying to get her into bed for months. | 0:14:31 | 0:14:34 | |
This is his big opportunity. | 0:14:34 | 0:14:37 | |
You mean, he wants to have sex with her? | 0:14:38 | 0:14:40 | |
Let's just say the one-to-one masterclass will involve | 0:14:40 | 0:14:43 | |
a lot of "hands on." | 0:14:43 | 0:14:45 | |
I don't believe you. Brad would never do something like that. | 0:14:46 | 0:14:51 | |
-Oh, wouldn't he? -Come on, that's enough. | 0:14:51 | 0:14:54 | |
Everyone knows that Brad Masterson is an old goat | 0:14:54 | 0:14:56 | |
who uses his status to seduce women. | 0:14:56 | 0:15:00 | |
Etta's just next on his "to do" list. | 0:15:00 | 0:15:03 | |
Night, night. | 0:15:09 | 0:15:10 | |
That's you, Mr Ross. Do you want to go through? | 0:15:12 | 0:15:15 | |
Thank you. | 0:15:15 | 0:15:17 | |
Karen? | 0:15:23 | 0:15:25 | |
Karen...? | 0:15:26 | 0:15:28 | |
Thank you. | 0:15:34 | 0:15:35 | |
What you doing? I've got list this long of patients to call! | 0:15:35 | 0:15:38 | |
So, why do you think that Heston and Ruhma were down at the station? | 0:15:38 | 0:15:42 | |
-I promised Mrs Tembe that I... -Guess. | 0:15:42 | 0:15:45 | |
-I haven't got time for this. -You know, don't you? | 0:15:46 | 0:15:51 | |
The question is - how much do you know? | 0:15:51 | 0:15:54 | |
-I know you're playing silly beggars. -No, I'm not. | 0:15:54 | 0:15:56 | |
I tell you that Heston and Ruhma have been down the station, | 0:15:56 | 0:15:59 | |
and in the time it's taken me to have two cups of tea, | 0:15:59 | 0:16:01 | |
you haven't asked me why? | 0:16:01 | 0:16:03 | |
I know you too well, Karen. You're avoiding me. | 0:16:03 | 0:16:06 | |
You're jumpier than a flea on a trampoline. What's going on? | 0:16:06 | 0:16:09 | |
So, after fleeing the Favela, I hitched a ride with | 0:16:11 | 0:16:13 | |
a friendly soldado and I got the first flight out of there. | 0:16:13 | 0:16:16 | |
SHE LAUGHS | 0:16:16 | 0:16:18 | |
But enough about me and my glittering career... It's time to | 0:16:18 | 0:16:21 | |
announce the winner of the Arkwright Amateur Photographer of the Year... | 0:16:21 | 0:16:25 | |
-Woo! -Yes. | 0:16:25 | 0:16:27 | |
And the prize goes to... | 0:16:27 | 0:16:29 | |
..Etta Lerner for her stunning image of a... | 0:16:32 | 0:16:35 | |
No! | 0:16:35 | 0:16:36 | |
That's wrong. | 0:16:38 | 0:16:40 | |
-Oh, we have a dissenter! -HE LAUGHS | 0:16:40 | 0:16:42 | |
-That's not the best photograph, not by a mile. -Charlie... | 0:16:42 | 0:16:45 | |
Well, somebody's disappointed not to have won. | 0:16:45 | 0:16:47 | |
Never mind, son, maybe next year. | 0:16:47 | 0:16:49 | |
But you've made a mistake. Can't you see? | 0:16:49 | 0:16:52 | |
Don't be a sore loser. | 0:16:52 | 0:16:53 | |
I'm not a sore loser. Look, look, look - | 0:16:53 | 0:16:56 | |
the reflection's poorly framed, | 0:16:56 | 0:16:58 | |
there's nothing of interest here | 0:16:58 | 0:16:59 | |
and this is just clutter. | 0:16:59 | 0:17:02 | |
Listen, I've been taking photographs for 30 years. | 0:17:02 | 0:17:05 | |
-Yeah! -All right? I've had 14 Time magazine covers. Shush. | 0:17:05 | 0:17:09 | |
What are your qualifications? | 0:17:09 | 0:17:11 | |
So, that's what I thought. | 0:17:11 | 0:17:13 | |
So, if you don't mind, I'd like to present the winner with her award. | 0:17:13 | 0:17:16 | |
Is that all right? Thank you. | 0:17:16 | 0:17:18 | |
You just want to have sex with her! That's why she won. | 0:17:19 | 0:17:22 | |
That's why... | 0:17:22 | 0:17:24 | |
Charlie, not one more word, please. This way... | 0:17:24 | 0:17:26 | |
Ladies and gentleman, Etta Lerner. | 0:17:26 | 0:17:28 | |
SCATTERED APPLAUSE | 0:17:28 | 0:17:30 | |
Really beautiful shot. | 0:17:35 | 0:17:36 | |
And you've known this how long? | 0:17:36 | 0:17:38 | |
Karen, how long? | 0:17:40 | 0:17:41 | |
A couple of weeks. I don't, I don't approve... | 0:17:42 | 0:17:46 | |
I know the NHS is stretched as it is. | 0:17:46 | 0:17:50 | |
I wasn't going to dob her in, either. | 0:17:50 | 0:17:52 | |
Have you done something that you shouldn't have? | 0:17:52 | 0:17:55 | |
No! I... I looked the other way, that's all. | 0:17:55 | 0:17:57 | |
That's all! | 0:17:57 | 0:17:59 | |
And what exactly was Ruhma doing while you were | 0:17:59 | 0:18:01 | |
"looking the other way"? | 0:18:01 | 0:18:02 | |
The... The girl's from Albania, she's pregnant. | 0:18:04 | 0:18:08 | |
-And Ruhma asked me to arrange a scan at St Phil's. -Right. | 0:18:08 | 0:18:13 | |
And how does one arrange a scan at St Phil's for an illegal | 0:18:13 | 0:18:16 | |
immigrant without the authorities finding out? | 0:18:16 | 0:18:19 | |
-You need an NHS number. -Right. And Ruhma had an NHS number? | 0:18:19 | 0:18:23 | |
Yeah. | 0:18:23 | 0:18:25 | |
Was it a dodgy number? Was it fake? Was it stolen? | 0:18:25 | 0:18:27 | |
I don't know, I don't know. | 0:18:27 | 0:18:28 | |
Is she in a lot of trouble? | 0:18:29 | 0:18:31 | |
What do you think? | 0:18:32 | 0:18:34 | |
He can't do this... He can't... | 0:18:38 | 0:18:40 | |
Charlie, please, calm down. | 0:18:40 | 0:18:43 | |
But it's not fair! He didn't even care about the photographs. | 0:18:43 | 0:18:46 | |
Yeah, well, whatever his reasons, you shouldn't have interrupted. | 0:18:46 | 0:18:48 | |
She shouldn't have won. | 0:18:48 | 0:18:50 | |
Well, she has won, so you'll just have to accept it. | 0:18:51 | 0:18:55 | |
But it's wrong. | 0:18:55 | 0:18:57 | |
So we can arrange your masterclass. You'll call me, yeah? | 0:18:59 | 0:19:02 | |
-Thank you. I definitely will. -Good. | 0:19:02 | 0:19:04 | |
-Congratulations, Etta. -Thank you. | 0:19:04 | 0:19:06 | |
Very well-deserved. | 0:19:06 | 0:19:08 | |
I hope the little interruption didn't take the shine off it. | 0:19:09 | 0:19:12 | |
It's fine. | 0:19:12 | 0:19:13 | |
-How awful. -Hmm. | 0:19:13 | 0:19:15 | |
Such a silly, jealous teenager should put such | 0:19:15 | 0:19:20 | |
a damper on proceedings and make such scandalous assertions. | 0:19:20 | 0:19:24 | |
-Yeah. Excuse me. -Hmm. | 0:19:24 | 0:19:27 | |
If you just want to go through. | 0:19:30 | 0:19:33 | |
So, what happens next? | 0:19:34 | 0:19:36 | |
Well, that depends on... That depends on the investigation. | 0:19:36 | 0:19:41 | |
What are you investigating, exactly? | 0:19:41 | 0:19:43 | |
Can't talk about it. | 0:19:43 | 0:19:45 | |
Oh, you can come in here and give me the third degree | 0:19:45 | 0:19:47 | |
but when I need some answers you "can't talk about it"? | 0:19:47 | 0:19:50 | |
-Correct. -What am I going to tell Ruhma when I see her? | 0:19:50 | 0:19:54 | |
You need to tell her that she needs to come clean. | 0:19:54 | 0:19:57 | |
And then you keep your mouth shut. | 0:19:57 | 0:19:59 | |
Because it's starting to look like she's broken the law, doesn't it? | 0:19:59 | 0:20:02 | |
And the chances are, she's not the only one. | 0:20:02 | 0:20:05 | |
Charlie, these things happen. I know it's unfair, | 0:20:07 | 0:20:10 | |
-but getting upset - it's not going to change anything. -You. | 0:20:10 | 0:20:13 | |
Get back in there. I want a full public apology. | 0:20:13 | 0:20:15 | |
You made a completely scurrilous allegation. | 0:20:15 | 0:20:17 | |
Let's just calm down, shall we? | 0:20:17 | 0:20:20 | |
-I didn't. -Yeah. You slandered my reputation. | 0:20:20 | 0:20:23 | |
-No. -Yes! You defamed me in front of witnesses. Now, that is actionable! | 0:20:23 | 0:20:27 | |
Now, listen. What was said was said in the heat of the moment. | 0:20:27 | 0:20:30 | |
-So, let's just forget it. -Oh, forget it! No, no, no. | 0:20:30 | 0:20:32 | |
Because they're not going to forget that little sideshow in there. No. | 0:20:32 | 0:20:35 | |
You get back in there and you take back every single word. | 0:20:35 | 0:20:38 | |
-I'm not taking it back. It's true! -Charlie, you don't know that. | 0:20:38 | 0:20:41 | |
Yes, I do. Everybody knows that | 0:20:41 | 0:20:43 | |
"Brad Masterson is an old goat who uses his status to seduce women." | 0:20:43 | 0:20:48 | |
If you don't believe me, ask her. | 0:20:48 | 0:20:51 | |
He's making it up, obviously. | 0:20:52 | 0:20:55 | |
She said it! "Brad Masterson..." | 0:20:55 | 0:20:56 | |
Charlie! | 0:20:56 | 0:20:58 | |
-She did! -That's a lie. | 0:20:58 | 0:21:01 | |
I have absolutely no idea why he's pointing the finger at me. | 0:21:01 | 0:21:03 | |
So, so... You're going to make vile allegations | 0:21:03 | 0:21:06 | |
and then you are going to blame someone else? | 0:21:06 | 0:21:08 | |
-That is despicable. -Despicable. | 0:21:08 | 0:21:10 | |
You know what you are? You know what you are - | 0:21:10 | 0:21:13 | |
you are a vile little wannabe who can't handle losing. | 0:21:13 | 0:21:16 | |
He's telling the truth. Because I was there. | 0:21:16 | 0:21:18 | |
And Aimee told us that Etta was going to win before you made | 0:21:18 | 0:21:20 | |
the announcement. And she told us why. | 0:21:20 | 0:21:22 | |
So he could have sex with her. | 0:21:22 | 0:21:23 | |
-I never said that. -Well, it seems plausible. | 0:21:23 | 0:21:25 | |
I mean, her work really wasn't up to the standard of some of the others. | 0:21:25 | 0:21:28 | |
Oh, what do you know? You're just an amateur. | 0:21:28 | 0:21:30 | |
I know enough. I know Charlie's critique was spot on. | 0:21:30 | 0:21:33 | |
Listen, I hope you have got a very good legal team | 0:21:33 | 0:21:36 | |
-because you are going to need it. -Don't be ridiculous! | 0:21:36 | 0:21:38 | |
I think the damage to my reputation's worth, what, | 0:21:38 | 0:21:41 | |
-probably a couple of million? -HE LAUGHS | 0:21:41 | 0:21:42 | |
Oh, listen, don't think you're off the hook either, blabbermouth. | 0:21:42 | 0:21:45 | |
And if you don't get back in there and apologise, you're going | 0:21:45 | 0:21:49 | |
to be paying for this for the rest of your sad little life. | 0:21:49 | 0:21:51 | |
Oh, come one! Really? You silly little man. | 0:21:51 | 0:21:54 | |
You're going to pick on a kid because he dares to tell the truth? | 0:21:54 | 0:21:57 | |
If your love-life is anything like the rumours, you'll have | 0:21:57 | 0:21:59 | |
a string of exes queuing round the block, waiting to stick the boot in. | 0:21:59 | 0:22:03 | |
Brad has a devoted female fan base... | 0:22:03 | 0:22:05 | |
Really? Well, any talk of action is bull and you know it. So... | 0:22:05 | 0:22:09 | |
Come, on Charlie. It's time to go. | 0:22:10 | 0:22:12 | |
Charlie, Charlie...? | 0:22:12 | 0:22:14 | |
In my defence, can I just say that he took my words out of context? | 0:22:17 | 0:22:23 | |
Listen, I'll be e-mailing you my invoice. | 0:22:23 | 0:22:25 | |
-Invoice? -Mmm. | 0:22:25 | 0:22:26 | |
But we agreed that you'd waive the fee. | 0:22:26 | 0:22:29 | |
Yeah, that was before you let your festering bitterness out of the box. | 0:22:29 | 0:22:32 | |
I'm not bitter. | 0:22:32 | 0:22:34 | |
You taught me so much. | 0:22:34 | 0:22:38 | |
Please, reconsider. | 0:22:38 | 0:22:40 | |
Hmm. | 0:22:40 | 0:22:41 | |
For old times' sake? | 0:22:41 | 0:22:42 | |
Come to my office, maybe we could work something out. | 0:22:44 | 0:22:48 | |
No, thank you. I'm mounting my elephant collection. | 0:22:48 | 0:22:51 | |
-WHISPERING: -Right. | 0:22:56 | 0:22:57 | |
I'm sorry. It's hard when our heroes let us down. | 0:23:05 | 0:23:07 | |
He was a horrible man. | 0:23:10 | 0:23:12 | |
He wanted to sue me for telling the truth. | 0:23:12 | 0:23:14 | |
Just because someone's talented, doesn't make them a nice person. | 0:23:16 | 0:23:20 | |
-You're a nice person. And you're talented. -Hmm. | 0:23:22 | 0:23:24 | |
-You shouted at him. -Ah, yeah! | 0:23:27 | 0:23:29 | |
Yeah, I, erm...might have raised my voice just a little, yeah. | 0:23:29 | 0:23:33 | |
You made him change his mind. | 0:23:33 | 0:23:35 | |
He didn't have much of a case, really, did he? Not really. | 0:23:35 | 0:23:37 | |
I was scared. | 0:23:37 | 0:23:39 | |
What if the court decided I lied? | 0:23:39 | 0:23:41 | |
It's over now. You don't have to worry about it. | 0:23:41 | 0:23:44 | |
But what if it happens again? | 0:23:44 | 0:23:46 | |
I thought I understood the rules. | 0:23:46 | 0:23:48 | |
I can tell a little lie so I don't hurt somebody's feelings. | 0:23:48 | 0:23:52 | |
Sometimes it's better to say nothing, | 0:23:53 | 0:23:55 | |
if it's not important. | 0:23:55 | 0:23:57 | |
But what if it is important? | 0:23:57 | 0:23:59 | |
And how do I know if it's important or not? | 0:23:59 | 0:24:02 | |
I'm so confused. | 0:24:02 | 0:24:03 | |
Well, relationships are one thing, | 0:24:03 | 0:24:05 | |
the law is another matter altogether, | 0:24:05 | 0:24:07 | |
even for people who aren't on the spectrum. | 0:24:07 | 0:24:09 | |
So, what should I do if something is unfair... | 0:24:09 | 0:24:12 | |
..but I might get into trouble for it? | 0:24:13 | 0:24:15 | |
Well... Well, you have to make a judgment. You know... | 0:24:17 | 0:24:21 | |
What course of action is the least harmful to you and to others? | 0:24:21 | 0:24:24 | |
Uh... What damage will telling the truth cause, | 0:24:24 | 0:24:26 | |
and can you live by the consequences? | 0:24:26 | 0:24:28 | |
-Thank you. -Uh...! | 0:24:35 | 0:24:36 | |
Are you sure? | 0:24:36 | 0:24:38 | |
For being on my side. I'm sure. | 0:24:38 | 0:24:40 | |
Thank you. | 0:24:42 | 0:24:43 | |
You know I can print a copy of that any time, right? | 0:24:47 | 0:24:49 | |
Yeah, I do know that, Charlie! | 0:24:49 | 0:24:51 | |
Hey, Besa. | 0:25:09 | 0:25:11 | |
I'm here for you. | 0:25:12 | 0:25:14 | |
We're doing everything we can. | 0:25:16 | 0:25:18 | |
Erm... | 0:25:18 | 0:25:20 | |
Heston...Heston knows a solicitor. | 0:25:20 | 0:25:22 | |
And everything's going to be all right. | 0:25:23 | 0:25:25 | |
I promise. | 0:25:26 | 0:25:28 | |
Well, once her legal status is sorted, | 0:25:30 | 0:25:32 | |
I assume she'll be able to live and work here. | 0:25:32 | 0:25:35 | |
Well, she must have a strong case, given her history. | 0:25:35 | 0:25:38 | |
Well, surely she's entitled to representation. | 0:25:40 | 0:25:44 | |
Sorry, Martin, I'm obviously not making myself very clear - | 0:25:44 | 0:25:47 | |
she's very likely to be murdered if she's forced to return. | 0:25:47 | 0:25:51 | |
Well, I can't believe our government would send her home | 0:25:54 | 0:25:56 | |
to a near certain death! | 0:25:56 | 0:25:58 | |
Oh, I see. | 0:26:02 | 0:26:03 | |
SHE SIGHS | 0:26:13 | 0:26:14 | |
SHE SIGHS | 0:27:05 | 0:27:06 | |
Mum? Are you, erm, Mum? | 0:27:13 | 0:27:15 | |
Did you think about what might happen to the rest of us? | 0:27:15 | 0:27:17 | |
-You'll have to tell Mrs Tembe. -If she does that, we'll all get sacked! | 0:27:17 | 0:27:20 | |
No-one's going to get sacked. | 0:27:20 | 0:27:22 | |
Do you...hurt anywhere? | 0:27:22 | 0:27:24 | |
HE FLINCHES | 0:27:24 | 0:27:25 | |
It's all right, it's all right. | 0:27:25 | 0:27:27 | |
This could ruin their careers and mine. | 0:27:27 | 0:27:29 | |
What do you want me to do, Karen? I'm a police officer. | 0:27:29 | 0:27:32 |