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This programme contains some scenes which some viewers may find upsetting. | 0:00:02 | 0:00:06 | |
-'Do you know the name Alice Webster?' -'She was abducted in spring 2003.' | 0:00:06 | 0:00:09 | |
'Yesterday, she came back. Walked into the town square.' | 0:00:09 | 0:00:11 | |
What's happened to her, Sam? Where the hell has she been? | 0:00:11 | 0:00:14 | |
There's a name she mentioned when the paramedics asked who they could call. | 0:00:14 | 0:00:17 | |
She said the name Sophie Giroux. | 0:00:17 | 0:00:19 | |
Sophie Giroux? | 0:00:19 | 0:00:22 | |
This is a Photofit of the man who took Alice and Sophie. | 0:00:22 | 0:00:25 | |
It will be in every newspaper by the evening edition. | 0:00:25 | 0:00:28 | |
I have over 5,000 men and women in this garrison ready to help. | 0:00:28 | 0:00:32 | |
'I need to find someone to drive me to Azwya.' | 0:00:33 | 0:00:36 | |
Across an active warzone. That's a pretty good way to get yourself killed. | 0:00:36 | 0:00:39 | |
I must find this man - Daniel Reed. | 0:00:39 | 0:00:41 | |
Henry Reed was a soldier, but a father first. | 0:00:43 | 0:00:48 | |
He leaves behind his son Daniel. | 0:00:48 | 0:00:50 | |
Do you ever feel like your family is slipping away from you? | 0:00:51 | 0:00:54 | |
I believe that girl was not Alice Webster. | 0:00:57 | 0:01:03 | |
SIRENS BELOW | 0:01:16 | 0:01:21 | |
IN FRENCH: | 0:01:43 | 0:01:44 | |
Mrs Giroux. | 0:02:03 | 0:02:04 | |
Julien, leave me alone. | 0:02:05 | 0:02:08 | |
I promise you, I haven't given up on Sophie. | 0:02:08 | 0:02:11 | |
I won't give up until I find your daughter. | 0:02:11 | 0:02:14 | |
Do you believe that? | 0:02:14 | 0:02:15 | |
Mrs Giroux, however bad things seem now...it will get better. | 0:02:17 | 0:02:22 | |
-I... NO! -WOMAN SCREAMS | 0:02:22 | 0:02:25 | |
CRASH | 0:02:25 | 0:02:26 | |
SCREAMING | 0:02:26 | 0:02:29 | |
SHOUTING | 0:02:35 | 0:02:37 | |
# Oh, my love, we pray each day | 0:03:00 | 0:03:07 | |
# May you come home and be OK | 0:03:07 | 0:03:15 | |
# For now we wait for you | 0:03:22 | 0:03:27 | |
# For you to come home. # | 0:03:27 | 0:03:31 | |
-You OK? -Yeah. | 0:04:08 | 0:04:11 | |
Did you sleep? | 0:04:12 | 0:04:13 | |
Not really. | 0:04:16 | 0:04:18 | |
It's strange, isn't it? | 0:04:19 | 0:04:21 | |
Having another set of footsteps in the house after all this time. | 0:04:22 | 0:04:25 | |
Yeah. We used to be able to tell, didn't we, | 0:04:25 | 0:04:29 | |
who was going past the bedroom, just by their footsteps. | 0:04:29 | 0:04:32 | |
She'd always take them two at a time, wouldn't she? | 0:04:32 | 0:04:35 | |
Always in such a rush. | 0:04:35 | 0:04:37 | |
I've thought about it so many times. | 0:04:46 | 0:04:48 | |
What it would be like, if she ever came back. | 0:04:48 | 0:04:51 | |
I suppose somehow I expected it would just be the same as before. | 0:04:52 | 0:04:57 | |
It's going to take a while before she's back to herself. | 0:04:58 | 0:05:00 | |
Before any of us are. | 0:05:03 | 0:05:05 | |
But, in time, we'll recognise those footsteps again. | 0:05:08 | 0:05:15 | |
I promise you. | 0:05:16 | 0:05:18 | |
Are you all right, my love? | 0:05:39 | 0:05:41 | |
Do you want me to...? | 0:05:43 | 0:05:45 | |
Would you like a cup of tea? | 0:05:45 | 0:05:47 | |
No. | 0:05:47 | 0:05:48 | |
No, thank you. | 0:05:48 | 0:05:51 | |
I just need to... | 0:05:55 | 0:05:57 | |
TAP WATER RUNS | 0:06:03 | 0:06:05 | |
I've just got so many questions I want to ask, | 0:06:19 | 0:06:21 | |
but I keep stopping myself. | 0:06:21 | 0:06:23 | |
You can ask me things, you know. | 0:06:24 | 0:06:27 | |
Well, I was... I was just going to ask you how you slept, that's all. | 0:06:30 | 0:06:35 | |
I didn't. | 0:06:35 | 0:06:36 | |
Yeah. I'm sorry. | 0:06:42 | 0:06:43 | |
DOORBELL | 0:06:50 | 0:06:53 | |
-Good morning. -What's going on? | 0:06:58 | 0:07:00 | |
My name is Julien Baptiste. | 0:07:00 | 0:07:02 | |
In 2002, a girl called Sophie Giroux was abducted in Paris | 0:07:02 | 0:07:06 | |
and I investigated her case. | 0:07:06 | 0:07:08 | |
I have been informed your daughter Alice was held captive with her. | 0:07:08 | 0:07:13 | |
If I could speak with Alice... | 0:07:13 | 0:07:15 | |
We've only just got our daughter back. She needs some time alone. | 0:07:15 | 0:07:18 | |
She's got people coming round today that she needs to talk to, | 0:07:18 | 0:07:20 | |
-so that's what's important. I hope you understand... -Yes, of course, | 0:07:20 | 0:07:23 | |
but there is a man just like you, whose daughter was taken from him. | 0:07:23 | 0:07:26 | |
Only this man continues to live | 0:07:26 | 0:07:28 | |
with the uncertainty you must know so well. | 0:07:28 | 0:07:31 | |
That ever-present hope that today might be the day the telephone rings. | 0:07:31 | 0:07:35 | |
That somebody has called to say, "We've found her". | 0:07:35 | 0:07:38 | |
The man's name is Remy Giroux. | 0:07:38 | 0:07:40 | |
He's Sophie's father. | 0:07:40 | 0:07:42 | |
Please, let me talk to Alice. | 0:07:43 | 0:07:46 | |
You must be tired. | 0:07:50 | 0:07:52 | |
I know the last thing you feel like is answering more questions. | 0:07:54 | 0:07:58 | |
I'm just here to ask about Sophie Giroux. | 0:07:58 | 0:08:01 | |
I don't know what more I can say about her. | 0:08:03 | 0:08:06 | |
Why didn't she escape with you? | 0:08:06 | 0:08:09 | |
When I got ill, it happened so fast. | 0:08:20 | 0:08:23 | |
But Sophie... | 0:08:23 | 0:08:25 | |
She'd been ill for a while. | 0:08:26 | 0:08:29 | |
He kept her away from me, mostly. In the dark. | 0:08:29 | 0:08:34 | |
Sometimes he wouldn't feed her for days on end | 0:08:34 | 0:08:38 | |
because she'd talk back. | 0:08:38 | 0:08:40 | |
She argued with him and he hated that. | 0:08:40 | 0:08:44 | |
She could hardly talk or stand. | 0:08:45 | 0:08:49 | |
Then when I found the lock was open... | 0:08:50 | 0:08:53 | |
..I tried to help her to her feet, but she couldn't. | 0:08:56 | 0:08:59 | |
I promised that I would get help. | 0:09:01 | 0:09:03 | |
She didn't even have the energy to move when I left. | 0:09:03 | 0:09:07 | |
And the place you escaped from? | 0:09:08 | 0:09:10 | |
It was underground, I think. | 0:09:10 | 0:09:12 | |
But the light was so bright when I got out so I just ran. | 0:09:12 | 0:09:19 | |
Well, perhaps if you were to return to the woods, you might recall. | 0:09:22 | 0:09:28 | |
You might find the place you ran from. | 0:09:28 | 0:09:30 | |
In her state? She's only just come out of the hospital | 0:09:30 | 0:09:34 | |
and we have spoken to the police about this. | 0:09:34 | 0:09:36 | |
Sophie was your friend. If she's still alive... | 0:09:36 | 0:09:39 | |
Look, I hate to say this, but whoever did this, he'd know | 0:09:39 | 0:09:41 | |
that Alice is gone, so he would have moved the other girl already. | 0:09:41 | 0:09:43 | |
Now, what's important is for my daughter to get better, so... | 0:09:43 | 0:09:46 | |
Of course. | 0:09:46 | 0:09:48 | |
But if your abductor was in a hurry, perhaps he left something. | 0:09:48 | 0:09:51 | |
I don't know. | 0:09:51 | 0:09:52 | |
You must realise, Alice, you are the only one who can help us find your friend. | 0:09:52 | 0:09:57 | |
I don't know. | 0:09:57 | 0:09:59 | |
How long before you reached the road? | 0:09:59 | 0:10:01 | |
I've already been through this | 0:10:01 | 0:10:02 | |
All right, Mr Baptiste. That's enough, now. | 0:10:02 | 0:10:04 | |
And I don't remember, OK? | 0:10:04 | 0:10:07 | |
It's time for you to leave, OK? | 0:10:07 | 0:10:09 | |
Oi, do you hear me? | 0:10:12 | 0:10:15 | |
Are you listening? | 0:10:15 | 0:10:17 | |
Yes. | 0:10:19 | 0:10:21 | |
Forgive me. | 0:10:21 | 0:10:22 | |
Thank you... | 0:10:25 | 0:10:26 | |
Alice. | 0:10:26 | 0:10:28 | |
THEY SPEAK GERMAN | 0:10:47 | 0:10:50 | |
Ja, ja. Danke. | 0:10:57 | 0:10:58 | |
Danke. Wiedersehen. | 0:10:58 | 0:11:02 | |
DOOR OPENS AND CLOSES | 0:11:02 | 0:11:03 | |
-Poor Agata. -Mm. | 0:11:03 | 0:11:06 | |
There is something going round. That's all. | 0:11:06 | 0:11:09 | |
She'll be fine. | 0:11:09 | 0:11:11 | |
I mean having to put up with that man as a husband. | 0:11:11 | 0:11:15 | |
You have to put up with me. | 0:11:15 | 0:11:16 | |
Size of a bloody auroch, that thing. | 0:11:19 | 0:11:22 | |
Ah! Something you don't know! | 0:11:25 | 0:11:28 | |
They were a large breed of cattle, | 0:11:29 | 0:11:32 | |
went extinct back in the 1600s, apparently. | 0:11:32 | 0:11:35 | |
Horns up to a metre long. | 0:11:35 | 0:11:36 | |
Aggressive bastards. | 0:11:38 | 0:11:39 | |
Goering tried to genetically engineer them | 0:11:39 | 0:11:42 | |
back into existence during World War II. | 0:11:42 | 0:11:45 | |
Tried to turn them into a symbol of the party, apparently. | 0:11:45 | 0:11:48 | |
People do the strangest things. | 0:11:48 | 0:11:50 | |
You always surprise me. | 0:11:51 | 0:11:54 | |
Well, I... | 0:11:54 | 0:11:55 | |
fell in love with a butcher. | 0:11:55 | 0:11:58 | |
I had to do my research. | 0:11:58 | 0:12:00 | |
Find some common ground before I came over and talked to him... | 0:12:00 | 0:12:05 | |
So...you were stalking me, hmm? | 0:12:05 | 0:12:08 | |
Trying to seduce me. | 0:12:08 | 0:12:10 | |
Maybe...a little bit. | 0:12:11 | 0:12:13 | |
So, what did you find? | 0:12:18 | 0:12:20 | |
I haven't figured it out yet. | 0:12:23 | 0:12:25 | |
Andreas? | 0:12:29 | 0:12:30 | |
PHONE RINGS | 0:12:47 | 0:12:49 | |
Hello? | 0:12:54 | 0:12:56 | |
It's me, your loving husband. | 0:12:56 | 0:12:57 | |
-SHE CHUCKLES -How are you? | 0:12:57 | 0:12:59 | |
THEY SPEAK FRENCH | 0:12:59 | 0:13:02 | |
Do you remember when Sophie Giroux went missing? | 0:13:05 | 0:13:08 | |
Yeah. How could I not? | 0:13:08 | 0:13:09 | |
There was this video... | 0:13:09 | 0:13:11 | |
Every time there was a report on the news, they would play this clip. | 0:13:11 | 0:13:14 | |
I had a copy of that video in with my case files, in the attic. | 0:13:14 | 0:13:19 | |
Would you send it to me? | 0:13:19 | 0:13:22 | |
Well, I could... If I could find it... | 0:13:22 | 0:13:25 | |
But I'm sure it's online. | 0:13:25 | 0:13:26 | |
OK. | 0:13:29 | 0:13:30 | |
For your next birthday, I'm going to buy you a computer course. | 0:13:30 | 0:13:34 | |
SHE SIGHS | 0:13:34 | 0:13:36 | |
Right... | 0:13:36 | 0:13:37 | |
There's bound to be some news reports from the time | 0:13:37 | 0:13:40 | |
knocking around somewhere, it's going to be a lot easier | 0:13:40 | 0:13:43 | |
than me trawling through that mess in the attic... Ah! | 0:13:43 | 0:13:47 | |
Voila. | 0:13:47 | 0:13:48 | |
Voila quoi? | 0:13:48 | 0:13:50 | |
Here... | 0:13:50 | 0:13:51 | |
Check your e-mail. Then click on the link. | 0:13:51 | 0:13:53 | |
So, how's it going out there? | 0:14:07 | 0:14:09 | |
We are just at the beginning. | 0:14:10 | 0:14:13 | |
REPORTER SPEAKS FRENCH | 0:14:13 | 0:14:16 | |
I love you. | 0:14:16 | 0:14:18 | |
HE REPLIES IN KIND IN FRENCH | 0:14:18 | 0:14:20 | |
THE VIDEO CONTINUES IN FRENCH | 0:14:22 | 0:14:23 | |
INSECTS BUZZ | 0:14:48 | 0:14:51 | |
We're all set. | 0:15:05 | 0:15:07 | |
For only 500, you too can enter a warzone. | 0:15:07 | 0:15:10 | |
So the officer says there was a lot of fighting | 0:15:11 | 0:15:13 | |
around al-Mazwaa yesterday. | 0:15:13 | 0:15:14 | |
He says if we stick to the north and follow this road, | 0:15:14 | 0:15:17 | |
then we should be within areas controlled by the Peshmerga. | 0:15:17 | 0:15:20 | |
But right now, the larger villages to the south - Hawija, Abbasi - | 0:15:20 | 0:15:24 | |
are all being held by Isil. | 0:15:24 | 0:15:26 | |
It changes every second, | 0:15:26 | 0:15:28 | |
Isil are pushing north for more territory. | 0:15:28 | 0:15:31 | |
Look, I say we head straight for Azwya, | 0:15:31 | 0:15:33 | |
no stopping, and if there's anything at all, anything that | 0:15:33 | 0:15:36 | |
has us second-guessing ourselves, we turn back. | 0:15:36 | 0:15:38 | |
I wouldn't have it any other way. | 0:15:38 | 0:15:42 | |
-And you're sure this guy... -Daniel Reed? | 0:15:42 | 0:15:44 | |
Yeah, Daniel Reed. Is he worth it? | 0:15:44 | 0:15:47 | |
If we find Daniel Reed, we will find who took those girls. | 0:15:47 | 0:15:50 | |
It's a long story. | 0:15:51 | 0:15:53 | |
We have plenty of time. | 0:15:53 | 0:15:55 | |
But first...and foremost... | 0:15:59 | 0:16:02 | |
BHANGRA PLAYS LOUDLY | 0:16:04 | 0:16:05 | |
What is this? | 0:16:05 | 0:16:07 | |
Bhangra. My wife got me into it, She's Punjabi. | 0:16:07 | 0:16:10 | |
It is very loud. | 0:16:10 | 0:16:12 | |
I'm sorry. It's non-negotiable. | 0:16:12 | 0:16:14 | |
HE TOOTS HORN | 0:16:20 | 0:16:22 | |
CHURCH BELLS TOLL | 0:16:26 | 0:16:29 | |
Do you have to rush off? I've got the room all day. | 0:16:35 | 0:16:38 | |
And what a room(!) | 0:16:38 | 0:16:40 | |
I'll let you book it next time. | 0:16:40 | 0:16:41 | |
We could come back tomorrow morning. Gemma's at school... | 0:16:44 | 0:16:47 | |
Not that she asks where I'm going these days... | 0:16:47 | 0:16:49 | |
I know. I don't want to talk about your family, Sam. | 0:16:49 | 0:16:51 | |
Any more than you want to hear me talk about the baby. | 0:16:51 | 0:16:54 | |
OK? | 0:16:57 | 0:16:59 | |
DOOR OPENS AND CLOSES | 0:17:03 | 0:17:06 | |
Thanks. | 0:17:14 | 0:17:16 | |
You write. Please? | 0:17:16 | 0:17:18 | |
The guest book. We insist... | 0:17:18 | 0:17:20 | |
Well, I haven't got a pen, so... | 0:17:20 | 0:17:22 | |
Ah, here. | 0:17:22 | 0:17:23 | |
Thank you... | 0:17:32 | 0:17:33 | |
..Mr Jones. | 0:17:34 | 0:17:35 | |
BHANGRA PLAYS | 0:17:41 | 0:17:44 | |
BHANGRA CONTINUES LOUDLY | 0:17:58 | 0:18:00 | |
This is Azwya? | 0:18:10 | 0:18:12 | |
Should be. | 0:18:12 | 0:18:14 | |
MUSIC STOPS | 0:18:17 | 0:18:18 | |
It's quiet. | 0:18:54 | 0:18:55 | |
Yeah. | 0:18:55 | 0:18:58 | |
I saw a few of these last time I was in these parts. | 0:18:58 | 0:19:01 | |
Ghost villages. | 0:19:02 | 0:19:03 | |
Caught in the crossfire. | 0:19:04 | 0:19:06 | |
Wherever your boy Daniel Reed is, | 0:19:08 | 0:19:10 | |
I don't think he's here. Not any more. | 0:19:10 | 0:19:13 | |
We have come this far. We must look. | 0:19:13 | 0:19:15 | |
So if this girl wasn't Alice Webster, | 0:19:26 | 0:19:27 | |
who was she? | 0:19:27 | 0:19:29 | |
I studied Sophie Giroux, for years and years. | 0:19:31 | 0:19:34 | |
There is a gesture she makes - a nervous habit. | 0:19:35 | 0:19:38 | |
This girl, Alice, made the same gesture. | 0:19:39 | 0:19:42 | |
So you think Alice was really Sophie? | 0:19:42 | 0:19:45 | |
Because of a gesture? | 0:19:46 | 0:19:47 | |
Such things are unconscious habits. | 0:19:49 | 0:19:52 | |
We do not know we do them. | 0:19:52 | 0:19:54 | |
When I saw this, I thought of photographs of the girls | 0:19:55 | 0:19:58 | |
when they were taken. | 0:19:58 | 0:20:01 | |
Even at that age, they could have been sisters. | 0:20:01 | 0:20:04 | |
The abductor was looking for a specific physical type. | 0:20:06 | 0:20:09 | |
What about the accent? | 0:20:11 | 0:20:12 | |
Sophie's mother was English. | 0:20:14 | 0:20:17 | |
The girls spent almost half their lives | 0:20:17 | 0:20:20 | |
with only each other for company. | 0:20:20 | 0:20:22 | |
Is it impossible they should become like one another? | 0:20:23 | 0:20:26 | |
And what? Alice's parents, they... | 0:20:30 | 0:20:33 | |
They just accept it? | 0:20:33 | 0:20:35 | |
Have you never fooled yourself into believing something, | 0:20:36 | 0:20:39 | |
just because you wanted it so much to be true? | 0:20:39 | 0:20:42 | |
Yeah, but I don't understand. Why would anyone... | 0:20:44 | 0:20:48 | |
Why would anyone... | 0:20:48 | 0:20:49 | |
Shit! That's an Isil flag. | 0:20:53 | 0:20:55 | |
Miss Stone, please... | 0:21:11 | 0:21:14 | |
I am sorry. It is too hard. | 0:21:18 | 0:21:21 | |
He pushed me. I cannot. | 0:21:22 | 0:21:25 | |
I understand. | 0:21:26 | 0:21:28 | |
Can you stay until I find another nurse? | 0:21:29 | 0:21:32 | |
-Two weeks. -Thank you. | 0:21:34 | 0:21:36 | |
Dad? | 0:21:41 | 0:21:43 | |
GUNFIRE AND EXPLOSIONS ON TV | 0:21:45 | 0:21:47 | |
Morning. | 0:22:05 | 0:22:06 | |
Watching this again? | 0:22:08 | 0:22:10 | |
This is the first film I ever saw. | 0:22:10 | 0:22:13 | |
I was just a boy. My father took me to the cinema. | 0:22:13 | 0:22:17 | |
He had his arm in a sling at the time. | 0:22:17 | 0:22:20 | |
He'd broken it, so he took the day off work. | 0:22:20 | 0:22:23 | |
I remember when it started. These figures, larger than life, appeared | 0:22:23 | 0:22:29 | |
doing impossible, heroic things. | 0:22:29 | 0:22:31 | |
I couldn't take my eyes off that screen. | 0:22:34 | 0:22:36 | |
And when we left the cinema, I talked a thousand miles an hour | 0:22:38 | 0:22:41 | |
about how brave the people were. | 0:22:41 | 0:22:44 | |
And he looked at me, at how entranced I was by it all, | 0:22:44 | 0:22:48 | |
and he said, | 0:22:48 | 0:22:50 | |
"Son, how do you think I broke my arm?" | 0:22:50 | 0:22:54 | |
He told me he was there, in the movie | 0:22:54 | 0:22:59 | |
and that I'd missed him in the background | 0:22:59 | 0:23:01 | |
fighting alongside the others. | 0:23:01 | 0:23:03 | |
I made my daughter, Eve, watch it when she was a girl... | 0:23:08 | 0:23:11 | |
Dad... | 0:23:16 | 0:23:17 | |
It's me. It's Eve. | 0:23:20 | 0:23:21 | |
Yes. Yes, of course. I know. | 0:23:24 | 0:23:27 | |
-Engel. -Brigadier Stone... | 0:23:39 | 0:23:40 | |
Any luck with the Photofit? | 0:23:40 | 0:23:42 | |
It is with every major news outlet, in all the papers, | 0:23:42 | 0:23:44 | |
and with every police department. | 0:23:44 | 0:23:46 | |
The media might be more interested if we could tell them | 0:23:46 | 0:23:49 | |
what this man was wanted in connection with. | 0:23:49 | 0:23:51 | |
Miss Webster needs her privacy right now. | 0:23:51 | 0:23:53 | |
-Where are we with the search? -The area is significant. | 0:23:53 | 0:23:56 | |
We have covered only a small part of the woods around the town. | 0:23:56 | 0:23:59 | |
Based on the girl's description, we are estimating at least... | 0:23:59 | 0:24:03 | |
-PHONE BUZZES -Mrs Webster...? | 0:24:03 | 0:24:06 | |
Yes, of course. But... You're sure? | 0:24:10 | 0:24:13 | |
Right. | 0:24:16 | 0:24:18 | |
Thank you. I'll call right back. | 0:24:18 | 0:24:20 | |
-..into the forest... -That was Gemma Webster. | 0:24:20 | 0:24:23 | |
Alice says she's ready to help us find the place she was kept. | 0:24:23 | 0:24:26 | |
Right, then, let's go. | 0:24:27 | 0:24:28 | |
HE SPEAKS GERMAN | 0:24:28 | 0:24:32 | |
Thank you for bringing me, Sergeant. | 0:24:52 | 0:24:55 | |
DOOR OPENS | 0:24:57 | 0:24:59 | |
You don't have to do this, you know? | 0:25:03 | 0:25:05 | |
I mean, the psychologists are coming, you just need to get better. | 0:25:05 | 0:25:08 | |
Or take me or your mum with you. | 0:25:08 | 0:25:10 | |
You're going to need someone... | 0:25:10 | 0:25:11 | |
I don't want you to... | 0:25:11 | 0:25:14 | |
be there. | 0:25:14 | 0:25:15 | |
Alice! Alice, look what I found. | 0:25:25 | 0:25:28 | |
Right. Yeah. | 0:25:32 | 0:25:33 | |
Don't you recognise it? | 0:25:37 | 0:25:38 | |
You made it for me. Just before your 10th birthday. | 0:25:41 | 0:25:45 | |
Oh. Yeah. | 0:25:46 | 0:25:48 | |
With your art teacher. | 0:25:50 | 0:25:51 | |
Miss Hammond. | 0:25:51 | 0:25:52 | |
Don't you mean Mrs Barker? | 0:25:55 | 0:25:56 | |
Oh, yeah. | 0:25:58 | 0:26:01 | |
My mistake. | 0:26:01 | 0:26:02 | |
Alice, are you ready? We'll take good care of her. | 0:26:04 | 0:26:09 | |
It's quite some way from Eckhausen. | 0:27:06 | 0:27:08 | |
To walk that journey in the state she was in... | 0:27:08 | 0:27:11 | |
..it's not an easy task. | 0:27:13 | 0:27:15 | |
It's amazing what people can do when they're trying to just stay alive. | 0:27:17 | 0:27:21 | |
-You OK? -It's from an old case. | 0:27:43 | 0:27:45 | |
There are good days and bad, you know. And you? | 0:27:45 | 0:27:49 | |
I'm pregnant, not disabled. | 0:27:51 | 0:27:54 | |
I hear you went to see Alice, right before she called us. | 0:27:59 | 0:28:03 | |
What is it with you and the Giroux case? | 0:28:03 | 0:28:05 | |
I wonder - has anybody performed a DNA test on Alice Webster? | 0:28:05 | 0:28:10 | |
There was no need. Her own parents identified her. | 0:28:10 | 0:28:13 | |
It's only standard procedure if you can't get an ID. | 0:28:13 | 0:28:16 | |
Perhaps if you asked her parents for something - a lock of hair maybe. | 0:28:16 | 0:28:19 | |
Just to be sure... | 0:28:19 | 0:28:21 | |
What's going on, Baptiste? | 0:28:21 | 0:28:22 | |
I spoke with Alice Webster. | 0:28:22 | 0:28:25 | |
There was something about her. | 0:28:25 | 0:28:27 | |
The girl is lying. | 0:28:27 | 0:28:28 | |
What would she have to lie about? | 0:28:28 | 0:28:30 | |
I can't be sure. But... | 0:28:30 | 0:28:32 | |
It doesn't make sense. | 0:28:32 | 0:28:33 | |
She's picking up the pace. | 0:28:40 | 0:28:42 | |
Sam... | 0:29:20 | 0:29:21 | |
..does she seem... | 0:29:23 | 0:29:25 | |
..different to you? | 0:29:26 | 0:29:28 | |
Of course. How could she not be after what she's been through? | 0:29:28 | 0:29:31 | |
But she'll get better. | 0:29:31 | 0:29:33 | |
Yeah, it's just... When I gave her the scarf, she was... | 0:29:33 | 0:29:36 | |
What? | 0:29:40 | 0:29:41 | |
Nothing. | 0:29:46 | 0:29:47 | |
I thought when we had her back... | 0:29:52 | 0:29:54 | |
Well, it's all we've ever wanted, isn't it? | 0:29:56 | 0:29:59 | |
But now she's back... | 0:30:02 | 0:30:04 | |
..and the way she is now... | 0:30:07 | 0:30:08 | |
But she is back. | 0:30:10 | 0:30:11 | |
And that's all that matters, isn't it? | 0:30:14 | 0:30:16 | |
Pass auf, wir gehen gleich zusammen da runter. | 0:30:27 | 0:30:30 | |
What is this? | 0:30:30 | 0:30:31 | |
Looks like an old World War II bunker. They're all over Germany. | 0:30:31 | 0:30:35 | |
No-one ever bothered to seal them off. | 0:30:35 | 0:30:38 | |
They must have missed it in the original search. | 0:30:38 | 0:30:41 | |
METAL CLATTERS | 0:31:31 | 0:31:33 | |
Must be hard. | 0:32:18 | 0:32:19 | |
It was brave of you to come back. | 0:32:21 | 0:32:23 | |
Sophie... | 0:32:30 | 0:32:31 | |
I knew her parents when she was taken. | 0:32:37 | 0:32:40 | |
It was a tragedy, what happened to her mother. | 0:32:41 | 0:32:44 | |
-EVE: -Julien! Julien, they're coming up. | 0:32:51 | 0:32:54 | |
Excuse me. | 0:32:58 | 0:32:59 | |
GERMAN SPEECH AND LAUGHTER | 0:33:22 | 0:33:26 | |
There's somebody here. I'll go. | 0:33:27 | 0:33:29 | |
Hello. | 0:33:33 | 0:33:35 | |
You're Henry Reed's son. | 0:33:35 | 0:33:37 | |
I'm sorry about your dad. | 0:33:38 | 0:33:39 | |
I saw you at the funeral. | 0:33:39 | 0:33:42 | |
That's why I'm here. | 0:33:42 | 0:33:43 | |
I'm speaking to everyone that knew him. | 0:33:44 | 0:33:47 | |
I didn't know him all that well. | 0:33:47 | 0:33:49 | |
They say he killed himself. | 0:33:49 | 0:33:51 | |
Only, he didn't have any reason to. | 0:33:51 | 0:33:53 | |
Me, if I was collecting my armed forces pension, | 0:33:53 | 0:33:57 | |
that shitty amount for risking my life on behalf of some shirt in Whitehall... | 0:33:57 | 0:34:02 | |
me, I'd be tempted. | 0:34:02 | 0:34:03 | |
But not my dad. He was happy. | 0:34:05 | 0:34:08 | |
So I've been going through his stuff, | 0:34:10 | 0:34:13 | |
trying to find something. | 0:34:13 | 0:34:15 | |
And...he kept a diary. | 0:34:18 | 0:34:20 | |
And you're in it. | 0:34:20 | 0:34:22 | |
Probably not the nicest account of me, I would imagine. I... | 0:34:25 | 0:34:29 | |
I had a reputation. | 0:34:29 | 0:34:30 | |
Every day on ops, he'd write in this diary. | 0:34:32 | 0:34:36 | |
Every day, no exception. | 0:34:36 | 0:34:38 | |
Except when he fought in Iraq in 1991. | 0:34:38 | 0:34:41 | |
It just stops. | 0:34:44 | 0:34:45 | |
So, what happened? | 0:34:45 | 0:34:47 | |
Being in combat changes you. You'll learn soon enough. | 0:34:49 | 0:34:53 | |
Don't patronise me. | 0:34:53 | 0:34:55 | |
You're all the same. | 0:34:59 | 0:35:00 | |
Officers. | 0:35:02 | 0:35:04 | |
You're a bunch of idiots. | 0:35:05 | 0:35:06 | |
You're in pain. I understand. | 0:35:06 | 0:35:09 | |
But you can't talk to me like that, trooper. | 0:35:10 | 0:35:13 | |
You're not in the Army any more. | 0:35:16 | 0:35:18 | |
You don't give me orders. | 0:35:20 | 0:35:22 | |
Who was that? | 0:35:37 | 0:35:38 | |
DOG BARKS | 0:35:44 | 0:35:46 | |
It looks like no-one's been down here since it was built. | 0:36:08 | 0:36:11 | |
The girl says they were moved here, yes? | 0:36:13 | 0:36:18 | |
She says they were moved a few times over the years. | 0:36:18 | 0:36:21 | |
Basements, cellars... | 0:36:21 | 0:36:23 | |
And then, most recently, here, for...several months? | 0:36:24 | 0:36:29 | |
As best as she can remember. | 0:36:29 | 0:36:31 | |
It's not like she had any way of telling the time. | 0:36:31 | 0:36:33 | |
This abductor - he takes Sophie. The following year, Alice Webster. | 0:36:33 | 0:36:39 | |
For 11 years he keeps them hidden from the world, and then... | 0:36:39 | 0:36:43 | |
..takes them to this place in the middle of a forest. | 0:36:44 | 0:36:47 | |
Why? | 0:36:48 | 0:36:49 | |
We'll find out when we catch the bastard. | 0:36:49 | 0:36:52 | |
We should turn back. Julien. Julien! | 0:37:06 | 0:37:09 | |
Julien. Julien, we can turn back! | 0:37:09 | 0:37:12 | |
Julien! Julien! | 0:37:13 | 0:37:15 | |
We are looking for someone. We are not seeking trouble. | 0:37:17 | 0:37:21 | |
THEY SPEAK THEIR OWN LANGUAGE | 0:37:21 | 0:37:24 | |
English? You speak English? | 0:37:24 | 0:37:26 | |
The jihadists are gone. Isil has fled for now. | 0:37:26 | 0:37:29 | |
The Peshmerga came and drove them out. | 0:37:29 | 0:37:31 | |
Who is it you are looking for? | 0:37:31 | 0:37:33 | |
His name is Daniel Reed. | 0:37:36 | 0:37:38 | |
The information I have says he was here a month or so ago. | 0:37:38 | 0:37:41 | |
I do not recognise him. | 0:37:41 | 0:37:43 | |
But perhaps someone else will. | 0:37:43 | 0:37:45 | |
Follow me. | 0:37:45 | 0:37:47 | |
I will show this photo around. Isil did not scare us all away. | 0:37:47 | 0:37:50 | |
Thank you. | 0:37:50 | 0:37:52 | |
Because of the surface area of the burns, | 0:37:52 | 0:37:55 | |
I would suggest a split thickness skin graft. | 0:37:55 | 0:37:59 | |
It allows us to cover larger areas. | 0:37:59 | 0:38:04 | |
And because the same site can be harvested after six weeks, | 0:38:05 | 0:38:09 | |
it's possible to do the surgery in stages. | 0:38:09 | 0:38:12 | |
How much is it? | 0:38:12 | 0:38:14 | |
Because of your situation, Mr Webster, | 0:38:14 | 0:38:17 | |
I would do the work for free. | 0:38:17 | 0:38:19 | |
The scarring would be minimal at first. | 0:38:19 | 0:38:23 | |
And, then, in time, you will not even be able to see it. | 0:38:23 | 0:38:26 | |
Back to the old me, then, eh? | 0:38:29 | 0:38:31 | |
DOOR OPENS | 0:38:42 | 0:38:44 | |
-Hey. -Hey. | 0:38:47 | 0:38:49 | |
What did the plastic surgeon say? | 0:38:49 | 0:38:51 | |
-Yeah, he said he can do it. -Oh, great. | 0:38:51 | 0:38:53 | |
But we can't afford it. I looked into it. | 0:38:53 | 0:38:57 | |
Just scars. I'll live with it. | 0:38:57 | 0:38:59 | |
FOOTSTEPS ON STAIRS | 0:39:01 | 0:39:04 | |
Matthew! | 0:39:04 | 0:39:06 | |
Matthew, I want to talk to you. | 0:39:06 | 0:39:08 | |
Matthew! | 0:39:09 | 0:39:11 | |
SHE SIGHS | 0:39:12 | 0:39:14 | |
Well, no change there, then. | 0:39:15 | 0:39:17 | |
-Can't you talk to him? -Me? | 0:39:17 | 0:39:19 | |
HE CHUCKLES | 0:39:19 | 0:39:20 | |
We can't just stop trying, Sam. | 0:39:20 | 0:39:22 | |
I haven't stopped trying. He just doesn't care, does he? | 0:39:22 | 0:39:24 | |
I nearly lost my job because of him. | 0:39:24 | 0:39:26 | |
Now I'm stuck pushing papers around. And for what? | 0:39:26 | 0:39:29 | |
So he can still hate me. | 0:39:29 | 0:39:30 | |
I'm going to go and work on the car. | 0:39:35 | 0:39:37 | |
You'll never get it going again. | 0:39:37 | 0:39:39 | |
Or is that the point? | 0:39:39 | 0:39:40 | |
Oh, don't get oil on your shirt again. | 0:39:41 | 0:39:43 | |
PLASTIC CLICKS | 0:40:37 | 0:40:39 | |
So, what do you think, then? | 0:40:59 | 0:41:00 | |
We should get back. We'll be late. | 0:41:03 | 0:41:05 | |
Dad, you need to look around. See if you like the place. | 0:41:05 | 0:41:09 | |
I...I've seen it. Now let's go home. | 0:41:09 | 0:41:11 | |
Dad, you're not even looking. | 0:41:11 | 0:41:13 | |
I know where I am, for Christ's sake. | 0:41:13 | 0:41:16 | |
I know what we're doing. | 0:41:16 | 0:41:17 | |
This is a place where you'll be looked after, Dad. | 0:41:20 | 0:41:23 | |
They'll be able to help you much better than I can. | 0:41:23 | 0:41:26 | |
These people gave their lives for their country | 0:41:30 | 0:41:33 | |
and this is how we repay them? | 0:41:33 | 0:41:34 | |
Scrabble sets with half the pieces missing and a shared toilet? | 0:41:34 | 0:41:38 | |
This is what passes for the state taking care of those who took care of them? | 0:41:38 | 0:41:42 | |
Stopped them talking bloody Arabic? It's not good enough! | 0:41:42 | 0:41:46 | |
Dad, this isn't a military hospital. This is a place where... | 0:41:46 | 0:41:49 | |
Henry knows what I'm talking about. Good old Henry Reed. | 0:41:49 | 0:41:53 | |
He's got his head screwed on. He'll tell you. | 0:41:53 | 0:41:56 | |
Dad. Come on. | 0:41:58 | 0:42:00 | |
BOYS SHOUT | 0:42:08 | 0:42:10 | |
Remarkable, is it not? | 0:42:13 | 0:42:15 | |
In front of all this, people still go about their business. | 0:42:16 | 0:42:20 | |
They adapt. | 0:42:20 | 0:42:22 | |
I guess it's the only way of taking control of your life, I suppose. | 0:42:22 | 0:42:26 | |
Feeling like your fate is in your own hands for a change. | 0:42:27 | 0:42:30 | |
I miss that feeling. | 0:42:32 | 0:42:33 | |
Is there really nothing they can do? | 0:42:35 | 0:42:38 | |
Well, they say... | 0:42:38 | 0:42:39 | |
..if I don't have it operated on, there is a chance I will die. | 0:42:40 | 0:42:44 | |
But if I have it operated on... | 0:42:44 | 0:42:48 | |
..there is a chance I will die. So... | 0:42:49 | 0:42:52 | |
You see my problem. | 0:42:52 | 0:42:53 | |
But with all that going on, why here, now? | 0:42:54 | 0:42:58 | |
Many years ago, I was given a case - a missing girl. Sophie Giroux. | 0:42:59 | 0:43:03 | |
I made a mistake. The mother died. | 0:43:04 | 0:43:07 | |
The father, Remy Giroux, lost his entire family | 0:43:08 | 0:43:11 | |
and I carry that guilt with me. | 0:43:11 | 0:43:16 | |
Always. | 0:43:16 | 0:43:17 | |
I once heard someone say that guilt is like a cancer - | 0:43:23 | 0:43:26 | |
you can treat the symptoms, but never the cause. | 0:43:26 | 0:43:30 | |
Perhaps that's all I am doing. | 0:43:30 | 0:43:31 | |
Nah. | 0:43:35 | 0:43:36 | |
HE LAUGHS | 0:43:36 | 0:43:38 | |
You're doing it for yourself. Right? | 0:43:38 | 0:43:40 | |
I mean... | 0:43:41 | 0:43:43 | |
Detectives are just a bunch of nosy bastards with badges, right? | 0:43:43 | 0:43:47 | |
And journalists are the same, non? Only, no badges... | 0:43:49 | 0:43:52 | |
We must leave. | 0:43:58 | 0:44:00 | |
-Wait, what? -Right now. | 0:44:00 | 0:44:02 | |
What just happened? What did you see? | 0:44:13 | 0:44:16 | |
There's something you're not telling me, isn't there? | 0:44:17 | 0:44:19 | |
I think somebody is following me. Twice, I have seen the same man - | 0:44:19 | 0:44:24 | |
once in Kirkuk, at the bank, do you remember? | 0:44:24 | 0:44:27 | |
-And now again in the village. -You're sure? | 0:44:27 | 0:44:29 | |
The same person followed you from Kirkuk all the way out here? | 0:44:29 | 0:44:32 | |
Well, maybe this explains why our hosts were so keen to keep us there. | 0:44:32 | 0:44:36 | |
Maybe they know exactly where Daniel Reed is. | 0:44:36 | 0:44:38 | |
Julien, you need to be honest with me. Why are you being followed? | 0:44:38 | 0:44:41 | |
And what's all this got to do with Alice Webster and Sophie Giroux? | 0:44:41 | 0:44:44 | |
HORN BEEPS | 0:44:44 | 0:44:46 | |
Look, look! | 0:44:46 | 0:44:47 | |
MEN SHOUT IN THEIR OWN LANGUAGE | 0:44:55 | 0:44:57 | |
HORN BLARES | 0:44:59 | 0:45:02 | |
What's happening? | 0:45:10 | 0:45:11 | |
It's fine, they're Peshmerga. | 0:45:11 | 0:45:13 | |
HE SPEAKS IN ARABIC | 0:45:15 | 0:45:17 | |
SOLDIER SHOUTS IN ARABIC | 0:45:22 | 0:45:24 | |
What is he saying? | 0:45:25 | 0:45:26 | |
He wants to know how you know that man. | 0:45:26 | 0:45:29 | |
-SOLDIER SHOUTS -OK, OK. | 0:45:29 | 0:45:31 | |
What is going on? | 0:45:42 | 0:45:44 | |
I have no idea. | 0:45:44 | 0:45:45 | |
But that photo means something to them. | 0:45:46 | 0:45:48 | |
SOLDIER SPEAKS What? | 0:45:51 | 0:45:53 | |
Whoa, whoa! | 0:45:54 | 0:45:56 | |
ENGINE STARTS | 0:46:07 | 0:46:09 | |
MUSIC PLAYS QUIETLY | 0:46:57 | 0:47:02 | |
SHE KNOCKS | 0:47:12 | 0:47:14 | |
MUSIC GETS LOUDER | 0:47:19 | 0:47:21 | |
-MATTHEW: -Hey. | 0:47:21 | 0:47:22 | |
SHE WINDS A CLOCKWORK DEVICE | 0:47:36 | 0:47:37 | |
Do you remember this? TINGING | 0:47:40 | 0:47:43 | |
Yeah. We had the biggest fight over that. | 0:47:43 | 0:47:46 | |
Here you go, Midget. | 0:47:48 | 0:47:50 | |
Mine at last. | 0:47:51 | 0:47:52 | |
I want to ask you something. | 0:47:55 | 0:47:58 | |
I want you to... | 0:47:58 | 0:47:59 | |
I want you to do something for me. | 0:48:01 | 0:48:03 | |
OK. | 0:48:04 | 0:48:05 | |
I can't sleep. | 0:48:07 | 0:48:08 | |
I just feel like anyone could get in. | 0:48:09 | 0:48:13 | |
No-one's going to hurt you now, Alice. | 0:48:13 | 0:48:16 | |
What's in the shed? | 0:48:22 | 0:48:24 | |
I don't know. Nothing much. | 0:48:24 | 0:48:26 | |
I want to sleep in the shed. | 0:48:27 | 0:48:29 | |
The floors here, they're... They're too soft. | 0:48:31 | 0:48:34 | |
It's cold out there. | 0:48:34 | 0:48:35 | |
I want to sleep in the shed. | 0:48:39 | 0:48:42 | |
And I need you... | 0:48:42 | 0:48:45 | |
to lock me in. | 0:48:45 | 0:48:46 | |
Is that what he did to you? | 0:48:49 | 0:48:51 | |
I haven't slept since I got here. | 0:48:52 | 0:48:55 | |
No, not like that. | 0:49:01 | 0:49:02 | |
I'm not locking you in like an animal. | 0:49:02 | 0:49:04 | |
I'm asking you to help me. | 0:49:04 | 0:49:07 | |
It's what I want. | 0:49:09 | 0:49:11 | |
Please. | 0:49:13 | 0:49:14 | |
I'll come and get you in the morning. First thing. | 0:49:25 | 0:49:28 | |
Thanks, Midget. | 0:49:28 | 0:49:29 | |
DOOR CLOSES | 0:49:45 | 0:49:46 | |
SHE SIGHS | 0:50:03 | 0:50:05 | |
PHONE RINGS | 0:50:29 | 0:50:31 | |
Hello. | 0:50:36 | 0:50:37 | |
'Sergeant, it's Jorn. I'm sorry for calling so early.' | 0:50:37 | 0:50:41 | |
But we've been combing through everything the search parties | 0:50:41 | 0:50:43 | |
found at the bunker and I think we have something. | 0:50:43 | 0:50:46 | |
Or rather Detective Baptiste found something. | 0:50:46 | 0:50:49 | |
A receipt, dated from a week ago. | 0:50:49 | 0:50:52 | |
'There was no other human debris down there. | 0:50:52 | 0:50:54 | |
'And, as far as we know, no persons were aware of these tunnels.' | 0:50:54 | 0:50:56 | |
Where's it from? | 0:50:56 | 0:50:58 | |
'A clothes store here in Eckhausen.' | 0:50:58 | 0:51:00 | |
The receipt shows only the last few digits of the card, | 0:51:00 | 0:51:03 | |
but we've called them, and we have a name. | 0:51:03 | 0:51:05 | |
THEY SPEAK IN GERMAN | 0:51:26 | 0:51:30 | |
-Kristian?! -Argh! | 0:51:44 | 0:51:45 | |
Argh! | 0:51:48 | 0:51:49 | |
What the hell's going on, Sergeant? | 0:51:53 | 0:51:54 | |
We need to question your husband | 0:51:54 | 0:51:56 | |
about the abduction of two little girls. | 0:51:56 | 0:51:58 | |
ENGINE STARTS | 0:52:00 | 0:52:01 | |
PADLOCK RATTLES | 0:52:06 | 0:52:08 | |
SHE BREATHES RAPIDLY | 0:52:11 | 0:52:13 | |
I'm sorry. | 0:52:13 | 0:52:15 | |
Please don't... Don't blame Matthew. I-I begged him to do it. | 0:52:16 | 0:52:19 | |
Ssh-ssh. Hey, hey, hey. | 0:52:19 | 0:52:21 | |
It's all right. | 0:52:21 | 0:52:22 | |
-I don't like the light coming in to wake me up... -Ssh. | 0:52:22 | 0:52:24 | |
-..it burns my eyes. -It'll get better. | 0:52:24 | 0:52:27 | |
I promise you, it'll get better. | 0:52:27 | 0:52:29 | |
You should come inside. It's freezing. | 0:52:29 | 0:52:31 | |
And... | 0:52:31 | 0:52:33 | |
Well, something's happened. | 0:52:33 | 0:52:34 | |
There's been an arrest. | 0:52:34 | 0:52:36 | |
And the army police, they want you to identify him. | 0:52:36 | 0:52:38 | |
You know, the man that took you. | 0:52:38 | 0:52:40 | |
It's just a photograph. | 0:52:40 | 0:52:42 | |
All you have to do is look at a photograph and say if it's him. | 0:52:42 | 0:52:45 | |
Can you do that, my love? | 0:52:45 | 0:52:47 | |
Good girl. | 0:52:53 | 0:52:55 | |
DOOR SLAMS | 0:53:02 | 0:53:03 | |
Alice. | 0:53:21 | 0:53:23 | |
I'm going to show you some pictures, and I need you to tell me | 0:53:23 | 0:53:26 | |
if you recognise any of the men in these photos. | 0:53:26 | 0:53:29 | |
SHE GASPS | 0:54:09 | 0:54:10 | |
SHE GASPS FOR BREATH | 0:54:21 | 0:54:22 | |
That's him. Must be. | 0:54:28 | 0:54:30 | |
The way she looked at it - this is him, isn't it? | 0:54:30 | 0:54:32 | |
We need a positive identification. | 0:54:32 | 0:54:34 | |
-ADRIAN: -Let me try talking to her. | 0:54:38 | 0:54:39 | |
It might be less overwhelming. | 0:54:40 | 0:54:42 | |
Do you mind? | 0:55:02 | 0:55:04 | |
So, the man in the photo. | 0:55:15 | 0:55:17 | |
Yes, that's him. | 0:55:19 | 0:55:20 | |
Must be something, all this. | 0:55:28 | 0:55:30 | |
Like being able to see again. | 0:55:31 | 0:55:33 | |
I can see just fine. | 0:55:33 | 0:55:36 | |
I always have. | 0:55:36 | 0:55:37 | |
Do you ever hear that fable about the turtle? | 0:55:44 | 0:55:47 | |
He lived in a tiny pond at the foot of a mountain, | 0:55:49 | 0:55:52 | |
swimming in circles and playing with frogs. | 0:55:52 | 0:55:54 | |
The thing he loved most was when his friends, the birds, came to visit. | 0:55:56 | 0:56:02 | |
They'd tell him about their adventures, | 0:56:02 | 0:56:04 | |
up snowy mountain peaks, lush green valleys. | 0:56:04 | 0:56:08 | |
He desperately wanted to go with them. | 0:56:10 | 0:56:12 | |
But he couldn't - they said - he didn't have any wings. | 0:56:12 | 0:56:15 | |
He replied... | 0:56:15 | 0:56:17 | |
.."You could be my wings." | 0:56:18 | 0:56:20 | |
And the birds came up with this idea. | 0:56:22 | 0:56:25 | |
They got hold of a long stick - | 0:56:25 | 0:56:27 | |
they clasped either end of it in their claws. | 0:56:27 | 0:56:31 | |
The turtle would be in the middle of them, | 0:56:31 | 0:56:34 | |
and he'd clench his jaw around the stick. | 0:56:34 | 0:56:37 | |
Then they'd be able to take him up into the sky. | 0:56:38 | 0:56:41 | |
Up he went, higher and higher. | 0:56:44 | 0:56:46 | |
And when he looked down and saw | 0:56:47 | 0:56:49 | |
the tiny place he used to call his home... | 0:56:49 | 0:56:51 | |
..he said, "Wow." | 0:56:53 | 0:56:54 | |
Opening his mouth. | 0:56:56 | 0:56:58 | |
And he fell back down to earth, | 0:56:59 | 0:57:01 | |
cracking his shell into a million pieces. | 0:57:01 | 0:57:03 | |
I've heard that story. | 0:57:06 | 0:57:08 | |
I thought he fell into the ocean. | 0:57:10 | 0:57:13 | |
That's the fairy-tale version. | 0:57:13 | 0:57:15 | |
The one for children. | 0:57:15 | 0:57:16 | |
And you're not a child any more. | 0:57:18 | 0:57:20 | |
Are you? | 0:57:23 | 0:57:24 | |
You don't want to end up like that, Alice. | 0:57:27 | 0:57:30 | |
Hold on to that stick. | 0:57:33 | 0:57:34 | |
How can you live with yourself... | 0:57:39 | 0:57:41 | |
..after what you've done? | 0:57:43 | 0:57:45 | |
Don't stay out here too long. | 0:57:58 | 0:58:00 | |
It's cold. | 0:58:01 | 0:58:02 |