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This programme contains some strong language. | 0:00:02 | 0:00:04 | |
-I was just a boy when they came to my village. -Who? -Henry Reed. | 0:00:04 | 0:00:07 | |
-With his army friend, a man called Stone. -It's Brigadier now, Nadia. | 0:00:07 | 0:00:10 | |
Sorry - force of habit. | 0:00:10 | 0:00:12 | |
Do you know Mrs Herz? | 0:00:12 | 0:00:13 | |
I have had the pleasure. Back in Iraq, she was a mess. | 0:00:13 | 0:00:17 | |
Who was with you? Who was it, Mr Stone? | 0:00:17 | 0:00:19 | |
Give me the name! | 0:00:19 | 0:00:21 | |
IN GERMAN: | 0:00:21 | 0:00:23 | |
He attacked me. He hurt me. | 0:00:23 | 0:00:26 | |
He was confused. | 0:00:26 | 0:00:28 | |
I found pictures, Kristian. Pictures of the girl. | 0:00:28 | 0:00:33 | |
People need to know who you are. | 0:00:33 | 0:00:36 | |
No-one here believes a word you say. What are you doing? | 0:00:36 | 0:00:39 | |
I couldn't lie in a hospital, waiting for the devil to take me. | 0:00:39 | 0:00:42 | |
What did you do to my sister? Go on! | 0:00:44 | 0:00:48 | |
You got hurt. You have fractured ribs. Don't try and move. | 0:00:49 | 0:00:52 | |
You should come down to the station and turn yourself in. | 0:00:52 | 0:00:56 | |
For what you did to my dad. | 0:00:56 | 0:00:57 | |
'You're lost.' | 0:00:57 | 0:00:59 | |
I am not lost, Miss Stone. I know exactly where I am. | 0:00:59 | 0:01:02 | |
I believe that finding out the truth of what happened all those years ago | 0:01:02 | 0:01:05 | |
in Iraq, will help explain why Alice Webster was taken. | 0:01:05 | 0:01:10 | |
And, more importantly, who it was that took her. | 0:01:10 | 0:01:12 | |
I'll tell you what I know. | 0:01:13 | 0:01:15 | |
This was us back then. Me, Henry Reed, Adrian Stone. | 0:01:20 | 0:01:25 | |
Christ. | 0:01:27 | 0:01:28 | |
I don't even remember this photo being taken. | 0:01:30 | 0:01:33 | |
Why do you keep looking out there? | 0:01:38 | 0:01:40 | |
Please. Keep talking. | 0:01:40 | 0:01:42 | |
Tell me what happened with Adrian Stone and Henry Reed. | 0:01:56 | 0:01:59 | |
Stone talked about "the three of us". Who did he mean? | 0:02:00 | 0:02:03 | |
You know what I'm talking about. Don't you, Mrs Herz? | 0:02:06 | 0:02:10 | |
I have a witness. Still in Iraq. Mirza Barzani. | 0:02:11 | 0:02:14 | |
I can take this to the military courts. | 0:02:14 | 0:02:16 | |
I can take it to the press. | 0:02:16 | 0:02:18 | |
But...time is not on my side. And I want the truth. | 0:02:18 | 0:02:22 | |
I've never told anyone this. | 0:02:38 | 0:02:40 | |
Then, is it not time that you did? | 0:02:41 | 0:02:44 | |
My time in the Gulf was...difficult. | 0:02:54 | 0:02:56 | |
I was promoted too soon, younger than most people I was commanding. | 0:02:59 | 0:03:03 | |
Drinking the days away, not sleeping, wired. | 0:03:04 | 0:03:08 | |
Years later, I was diagnosed with Gulf War Syndrome. | 0:03:09 | 0:03:14 | |
But at the time... | 0:03:14 | 0:03:15 | |
At the time, I just shut my mouth, like a good soldier. | 0:03:16 | 0:03:21 | |
Ma'am. | 0:03:23 | 0:03:24 | |
-Captains Stone and Reed to see you, ma'am. -Wait! | 0:03:24 | 0:03:27 | |
Send them in. | 0:03:33 | 0:03:35 | |
Captain Stone, the major will see you now. | 0:03:35 | 0:03:38 | |
Yeah? | 0:03:43 | 0:03:44 | |
Lieutenant Gettrick's been outside the wire four days now. | 0:03:44 | 0:03:46 | |
We need to take some troops and look for him. | 0:03:46 | 0:03:49 | |
He's gone walkabout. | 0:03:49 | 0:03:50 | |
Isn't that what you're all doing? Going out and banging the locals | 0:03:50 | 0:03:52 | |
before going home to your wives and girlfriends? | 0:03:52 | 0:03:54 | |
-With respect... -With respect, Adrian, he's a big boy. | 0:03:54 | 0:03:58 | |
He knows we're being relieved in two days. | 0:03:58 | 0:04:00 | |
He'll come back when he remembers that and realises | 0:04:00 | 0:04:02 | |
just how many STDs he's racked up. | 0:04:02 | 0:04:03 | |
Last thing I need is even more of you buggering off | 0:04:03 | 0:04:05 | |
to indulge yourselves. | 0:04:05 | 0:04:07 | |
Stay put. That's a bloody order, OK? | 0:04:07 | 0:04:09 | |
But, ma'am... | 0:04:09 | 0:04:10 | |
I don't remember asking for your opinion, Captain Stone. | 0:04:10 | 0:04:13 | |
Get out. | 0:04:13 | 0:04:14 | |
Reed and Stone came to me for help, | 0:04:24 | 0:04:25 | |
looking for Adam, and I... | 0:04:25 | 0:04:27 | |
..I told them no. | 0:04:28 | 0:04:29 | |
I thought he was out having fun like the rest of them. | 0:04:32 | 0:04:35 | |
If I'd had any idea... | 0:04:38 | 0:04:39 | |
The war was over, but it was far from safe. | 0:04:49 | 0:04:52 | |
But Adrian was always a reckless bastard. | 0:04:54 | 0:04:56 | |
He took Henry Reed and went out to find Adam Gettrick, | 0:04:56 | 0:05:00 | |
against my orders, with no back up and only each other for protection. | 0:05:00 | 0:05:06 | |
Relax. | 0:05:06 | 0:05:07 | |
Why? | 0:05:07 | 0:05:08 | |
First we jump the wire, then we nick a translator's car to do it. | 0:05:08 | 0:05:11 | |
-You medics worry too much. -You don't worry enough. | 0:05:11 | 0:05:14 | |
Do you even know where he went? | 0:05:22 | 0:05:23 | |
It was a house he showed me on patrol. | 0:05:23 | 0:05:25 | |
Girl he was seeing. We start there, find out what the girl knows. | 0:05:25 | 0:05:29 | |
American? British? | 0:06:25 | 0:06:27 | |
I'm Captain Stone. I'm looking for my friend of mine. | 0:06:27 | 0:06:29 | |
Adam Gettrick. | 0:06:29 | 0:06:30 | |
Leave it. | 0:06:33 | 0:06:34 | |
I found him in bed with my daughter. | 0:06:34 | 0:06:36 | |
You know how old my daughter? | 0:06:36 | 0:06:38 | |
13. And I tell him get out. Just like I tell you. | 0:06:38 | 0:06:41 | |
And he ran off. | 0:06:43 | 0:06:45 | |
I tell him never come back. | 0:06:45 | 0:06:47 | |
OK, then. | 0:06:52 | 0:06:54 | |
Jesus. | 0:07:05 | 0:07:07 | |
Did you see that tattoo on his hand? | 0:07:07 | 0:07:08 | |
Republican Guard. | 0:07:08 | 0:07:10 | |
So? The war's over. | 0:07:10 | 0:07:12 | |
I'm just wondering. | 0:07:13 | 0:07:15 | |
A guy like that finds Adam with his 13-year-old daughter | 0:07:15 | 0:07:18 | |
and he just lets him go? | 0:07:18 | 0:07:20 | |
13. Christ. Did you have any idea she was that young? | 0:07:20 | 0:07:22 | |
-Of course I didn't! -13's not much older than Eve. | 0:07:22 | 0:07:25 | |
We can't take his word for it. Not someone like that. | 0:07:25 | 0:07:28 | |
We need to get a look inside that house. | 0:07:29 | 0:07:31 | |
For all we know, Adam could be shacked up with someone else. | 0:07:31 | 0:07:33 | |
You saw how he acted back there. Do you really believe that? | 0:07:33 | 0:07:37 | |
Look, if you're right, | 0:07:38 | 0:07:40 | |
if that guy's done something with Adam, | 0:07:40 | 0:07:43 | |
then...we're out on our own. | 0:07:43 | 0:07:44 | |
Adam's one of us, Henry. If he's in trouble, he needs our help. | 0:07:44 | 0:07:47 | |
I say we wait. | 0:07:49 | 0:07:51 | |
Wait for our chance to get in. | 0:07:51 | 0:07:53 | |
-How long? -As long as it takes. | 0:07:53 | 0:07:56 | |
# Oh, my love | 0:08:00 | 0:08:03 | |
# We pray each day | 0:08:03 | 0:08:07 | |
# May you come home | 0:08:07 | 0:08:11 | |
# And be OK | 0:08:11 | 0:08:15 | |
# For now we'll wait | 0:08:21 | 0:08:24 | |
# For you, for you | 0:08:24 | 0:08:28 | |
# To come home. # | 0:08:28 | 0:08:31 | |
DOOR OPENS | 0:08:56 | 0:08:59 | |
THEY ARGUE | 0:08:59 | 0:09:02 | |
Maybe we should go after her. Ask her about Adam. | 0:09:14 | 0:09:18 | |
(Hold on.) | 0:09:18 | 0:09:19 | |
I say now's our chance to get in there. | 0:09:28 | 0:09:30 | |
While he's still inside? | 0:09:33 | 0:09:34 | |
Well, he's not going anywhere and we need to get in! | 0:09:36 | 0:09:38 | |
If Adam had really been turned away, | 0:09:38 | 0:09:40 | |
he would have come back to camp by now. | 0:09:40 | 0:09:42 | |
This is wrong. This is all wrong. | 0:09:44 | 0:09:47 | |
That's why we're here. To make whatever this is right. | 0:09:47 | 0:09:50 | |
(Come on!) | 0:10:42 | 0:10:44 | |
Reed. | 0:11:28 | 0:11:29 | |
Get the hell out! | 0:11:53 | 0:11:55 | |
Back off, Stone. | 0:11:55 | 0:11:56 | |
(Reed. Here.) | 0:12:44 | 0:12:46 | |
Jesus. | 0:13:28 | 0:13:30 | |
Oh, Jesus. | 0:13:43 | 0:13:45 | |
Bloody hell, Gettrick. Let's get you out of here, eh? | 0:13:45 | 0:13:48 | |
He's barely breathing. We need to check the extent of his injuries. | 0:13:59 | 0:14:02 | |
-Help me put him on his side. -HE MOANS | 0:14:02 | 0:14:05 | |
Can you hear me, Adam? | 0:14:06 | 0:14:08 | |
-Stone? -I'm here. Me and Reed. You're going to be OK. | 0:14:08 | 0:14:12 | |
CLANGING | 0:14:12 | 0:14:16 | |
-FOOTSTEPS -Jesus Christ! | 0:14:27 | 0:14:30 | |
MUMBLES: The key, he has it. | 0:14:35 | 0:14:38 | |
He has it. | 0:14:38 | 0:14:39 | |
-We need to get out of here. -I know! | 0:14:54 | 0:14:55 | |
Get him on his feet. | 0:14:57 | 0:14:58 | |
No-one can know we were here. | 0:15:10 | 0:15:11 | |
ADAM GROANS AND YELLS | 0:15:43 | 0:15:45 | |
She was 13! What the hell was he thinking?! | 0:15:45 | 0:15:48 | |
Leave off! | 0:15:48 | 0:15:49 | |
SOBS: Where...where is the rest of the unit? | 0:15:49 | 0:15:53 | |
We went to Nadia. She ordered us to stay put. | 0:15:53 | 0:15:56 | |
Come on. We've got to go! | 0:15:56 | 0:15:58 | |
I've been gone four days! | 0:15:58 | 0:15:59 | |
That bitch has slept through the last week, why... | 0:15:59 | 0:16:01 | |
why would she give an order like that? | 0:16:01 | 0:16:03 | |
Did she want me to die out here? Four fucking days! | 0:16:03 | 0:16:06 | |
She should have had people looking for me. | 0:16:06 | 0:16:08 | |
-She was supposed to protect us! -We have to get out of here! | 0:16:08 | 0:16:10 | |
We decided it would be best | 0:16:19 | 0:16:21 | |
not to let Command know what had happened to Adam. | 0:16:21 | 0:16:24 | |
If they learned how I'd been running the camp, | 0:16:27 | 0:16:28 | |
what a shit-show I'd made of it... | 0:16:28 | 0:16:30 | |
I let them all run riot. | 0:16:34 | 0:16:36 | |
And then when Adam Gettrick needed me, I didn't send help. | 0:16:37 | 0:16:40 | |
Adam Gettrick. | 0:16:42 | 0:16:43 | |
The third person Stone spoke of is Adam Gettrick. | 0:16:48 | 0:16:51 | |
He got taken on my watch. | 0:16:54 | 0:16:55 | |
That's all you know? | 0:17:00 | 0:17:02 | |
What do you mean? | 0:17:06 | 0:17:07 | |
Mirza, the boy they let escape, from Iraq. | 0:17:09 | 0:17:12 | |
He told us everything he saw. | 0:17:14 | 0:17:16 | |
The events that followed, after what happened in that house. | 0:17:18 | 0:17:22 | |
And you should know the truth. | 0:17:24 | 0:17:25 | |
BOY YELLS | 0:17:29 | 0:17:32 | |
It's OK, it's OK. | 0:17:34 | 0:17:36 | |
Stone, there's another girl in the house! | 0:17:46 | 0:17:49 | |
-HE SOBS -I'm sorry. I'm sorry. | 0:18:27 | 0:18:31 | |
I'm so, so sorry. | 0:18:31 | 0:18:33 | |
EXPLOSION | 0:18:34 | 0:18:37 | |
We have to go. Now! | 0:18:37 | 0:18:38 | |
What is your name? Your full name? | 0:18:42 | 0:18:44 | |
-Mirza Barzani. -Reed! | 0:18:46 | 0:18:48 | |
HE YELLS | 0:18:51 | 0:18:55 | |
How old was the little girl? | 0:19:04 | 0:19:06 | |
Nine years old. | 0:19:07 | 0:19:09 | |
But nobody believed it was done by English soldiers | 0:19:11 | 0:19:14 | |
in the middle of the night. | 0:19:14 | 0:19:15 | |
He was an imaginative child. The father, a drunk. | 0:19:15 | 0:19:19 | |
It was thought to be an accident. | 0:19:19 | 0:19:21 | |
They told me what had happened to Adam. | 0:19:27 | 0:19:29 | |
They told me what they did to the man who hurt him. | 0:19:31 | 0:19:34 | |
And I kept quiet. | 0:19:37 | 0:19:39 | |
You knew they killed a man and you said nothing? | 0:19:39 | 0:19:41 | |
Men had died. | 0:19:41 | 0:19:43 | |
Better men than the one they killed - one of Saddam's. | 0:19:43 | 0:19:46 | |
And like I say, I wasn't there. | 0:19:50 | 0:19:52 | |
I mean, I was, but I was... | 0:19:52 | 0:19:55 | |
I was in pain and I was numbing it with drink and pills. | 0:19:55 | 0:20:00 | |
My mind had gone AWOL. | 0:20:00 | 0:20:01 | |
If it got out, it'd undo everything we did out there. | 0:20:04 | 0:20:06 | |
I gave them an alibi. | 0:20:06 | 0:20:08 | |
But I... | 0:20:12 | 0:20:14 | |
I had no idea... | 0:20:15 | 0:20:17 | |
No idea about the girl. I swear. | 0:20:20 | 0:20:23 | |
Tell me about Adam. | 0:20:25 | 0:20:27 | |
He...he got injured in Afghanistan in 2001. | 0:20:27 | 0:20:32 | |
They offered him a medical discharge, | 0:20:33 | 0:20:36 | |
but he chose to stay with the Army. | 0:20:36 | 0:20:38 | |
They moved him sideways. Ended up as press liaison. | 0:20:38 | 0:20:42 | |
Have you ever had any sense of... | 0:20:42 | 0:20:45 | |
..another side to him? | 0:20:47 | 0:20:49 | |
His life? | 0:20:49 | 0:20:51 | |
That he might be capable of taking someone? | 0:20:51 | 0:20:54 | |
I don't understand. | 0:20:55 | 0:20:57 | |
Taking who? | 0:20:57 | 0:20:59 | |
Alice Webster and Sophie Giroux. | 0:20:59 | 0:21:02 | |
But my husband... | 0:21:02 | 0:21:03 | |
They found him guilty. It was... | 0:21:07 | 0:21:09 | |
There were pictures on the camera. It was my husband. | 0:21:13 | 0:21:16 | |
Your husband was a prominent figure in the community, yes? | 0:21:16 | 0:21:20 | |
Did Adam Gettrick ever come to the shop? | 0:21:21 | 0:21:23 | |
Er, yes. Sometimes, I suppose. | 0:21:23 | 0:21:28 | |
He would have known your husband's hobby. Bird-watching. | 0:21:28 | 0:21:31 | |
Most people did. | 0:21:31 | 0:21:32 | |
So he knew your husband was often away. | 0:21:32 | 0:21:35 | |
And it seems likely he bore a grudge against you, | 0:21:35 | 0:21:38 | |
that he blamed you for what happened to him. | 0:21:38 | 0:21:41 | |
You're saying he framed my husband? | 0:21:41 | 0:21:43 | |
Well, that can't... That's impossible. It can't be true. | 0:21:46 | 0:21:49 | |
Just because you're tortured, it doesn't mean... | 0:21:51 | 0:21:54 | |
you abduct two little girls and keep them prisoner in your house. | 0:21:54 | 0:21:58 | |
Of course not. | 0:21:58 | 0:21:59 | |
Adam Gettrick was a monster long before he entered that basement. | 0:21:59 | 0:22:03 | |
I've told you everything I know. | 0:22:07 | 0:22:09 | |
Now get out of my house! | 0:22:11 | 0:22:13 | |
I'm sorry to have upset you, Mrs Herz. | 0:22:14 | 0:22:17 | |
You should know only that I believe your husband. | 0:22:17 | 0:22:21 | |
And perhaps with luck, | 0:22:21 | 0:22:23 | |
he will one day be a free man. | 0:22:23 | 0:22:26 | |
I said get out! | 0:22:26 | 0:22:27 | |
DOOR CLOSES | 0:22:41 | 0:22:43 | |
SHE SOBS | 0:22:50 | 0:22:53 | |
FOOTSTEPS | 0:23:01 | 0:23:04 | |
I'm just going down the shops. Do you want anything? | 0:23:13 | 0:23:16 | |
No. | 0:23:16 | 0:23:18 | |
So, do you want me to leave the house or, you know...? | 0:23:20 | 0:23:23 | |
I meant to show you this the other day, but... | 0:23:31 | 0:23:34 | |
Well... | 0:23:35 | 0:23:36 | |
Now look at that... | 0:23:40 | 0:23:41 | |
..and tell me that I'm crazy. | 0:23:42 | 0:23:44 | |
Where did you get this? | 0:23:50 | 0:23:52 | |
Julien Baptiste and Jorn Lenhart... | 0:23:52 | 0:23:53 | |
But it doesn't matter where it came from. | 0:23:53 | 0:23:57 | |
Look at it. | 0:23:57 | 0:23:59 | |
Look at that and tell me that that's not our daughter. | 0:23:59 | 0:24:02 | |
That's our girl. | 0:24:04 | 0:24:05 | |
-This girl sitting next to her, that could be anybody. -No. | 0:24:05 | 0:24:08 | |
No, Sam. That is Alice. | 0:24:08 | 0:24:10 | |
And that girl came back to live here, in our house. | 0:24:10 | 0:24:14 | |
That's an impostor. | 0:24:14 | 0:24:15 | |
-You're just seeing what you want to see. -And you're not? | 0:24:15 | 0:24:18 | |
You know I'm right. | 0:24:18 | 0:24:22 | |
You know I am, deep down you must do. | 0:24:22 | 0:24:25 | |
And even if you didn't in the beginning, | 0:24:25 | 0:24:26 | |
by the time she set fire to that shed, you knew. | 0:24:26 | 0:24:29 | |
Why are you doing this to yourself? | 0:24:31 | 0:24:33 | |
It's destroying you. | 0:24:34 | 0:24:36 | |
I told Eve to keep the baby. | 0:24:39 | 0:24:41 | |
Why? | 0:24:43 | 0:24:44 | |
I don't understand. This is her decision. | 0:24:47 | 0:24:49 | |
Why would you do that? | 0:24:49 | 0:24:50 | |
This is your mess. | 0:24:51 | 0:24:52 | |
It was an accident. | 0:24:52 | 0:24:53 | |
Yeah. You didn't mean to get her pregnant. | 0:24:53 | 0:24:56 | |
Sure. I know that. | 0:24:56 | 0:24:59 | |
You didn't mean to have an affair right under my nose. | 0:25:00 | 0:25:03 | |
But it happened. | 0:25:03 | 0:25:05 | |
And there are consequences. | 0:25:05 | 0:25:07 | |
You know how much I wanted another baby. | 0:25:12 | 0:25:14 | |
Maybe if we'd got out of this place... | 0:25:39 | 0:25:41 | |
I wasn't ready to leave. | 0:25:42 | 0:25:44 | |
I don't know if we can come back from this... | 0:25:49 | 0:25:51 | |
..but I want to try. | 0:25:53 | 0:25:54 | |
I'm sorry. | 0:26:06 | 0:26:07 | |
But it's too late. | 0:26:10 | 0:26:11 | |
DOOR OPENS, SLAMS SHUT | 0:26:21 | 0:26:23 | |
Matthew! | 0:26:25 | 0:26:26 | |
What's wrong? | 0:26:36 | 0:26:38 | |
I'm just tired. That's all. | 0:26:38 | 0:26:40 | |
Who were you out with last night? | 0:26:40 | 0:26:41 | |
-A friend. -Yeah, but which friend? | 0:26:41 | 0:26:44 | |
All of a sudden you give a shit? | 0:26:44 | 0:26:46 | |
Hey. Hey! | 0:26:46 | 0:26:48 | |
What's that? What happened? | 0:26:51 | 0:26:54 | |
You done? Cos I'm tired. | 0:26:54 | 0:26:57 | |
FOOTSTEPS | 0:27:15 | 0:27:18 | |
Mr Baptiste. | 0:27:30 | 0:27:32 | |
Please. Sit. We don't have long. | 0:27:32 | 0:27:36 | |
-What? -Take a seat, Mr Gettrick. | 0:27:37 | 0:27:39 | |
You are not a stupid man, so I will not treat you as such. | 0:27:50 | 0:27:54 | |
To do what you have done all these years - to pull the wool over | 0:27:56 | 0:27:59 | |
the eyes of the world is no small feat. | 0:27:59 | 0:28:01 | |
Why did you tell Sophie to pretend she was Alice Webster? | 0:28:04 | 0:28:07 | |
-I'm sorry. I'm not sure... -We do not have time for this. | 0:28:10 | 0:28:13 | |
I need to know if the real Alice Webster is still alive. | 0:28:13 | 0:28:16 | |
You've made a mistake, Mr Baptiste. | 0:28:17 | 0:28:19 | |
Now...I only came down here as a courtesy... | 0:28:19 | 0:28:22 | |
I know what happened back in 1991, in Iraq. | 0:28:22 | 0:28:24 | |
I know your taste in women. | 0:28:28 | 0:28:29 | |
Or girls, I should say. | 0:28:31 | 0:28:32 | |
I know you had access to everything we did during this investigation. | 0:28:36 | 0:28:39 | |
They arrived sooner than I'd anticipated. | 0:28:50 | 0:28:52 | |
With respect, it sounds like you don't have a damn clue, Detective. | 0:28:58 | 0:29:03 | |
Aren't you seeing things? | 0:29:03 | 0:29:06 | |
Hallucinating. | 0:29:07 | 0:29:08 | |
I heard what you did at the cookhouse. | 0:29:10 | 0:29:12 | |
HE LAUGHS Yes! | 0:29:12 | 0:29:14 | |
I am seeing things - clearly - for the first time in a long time. | 0:29:14 | 0:29:17 | |
Your mind is more diseased than my own. | 0:29:17 | 0:29:20 | |
Tell me, what have you done with Alice? | 0:29:23 | 0:29:25 | |
Why would you say such an awful thing to me? | 0:29:27 | 0:29:31 | |
What gives you the right to accuse me? | 0:29:31 | 0:29:33 | |
I know it was you. | 0:29:35 | 0:29:36 | |
I'm coming, but I ask that you take this man into custody also. | 0:29:36 | 0:29:40 | |
-On what grounds? -On the grounds that he abducted Sophie Giroux | 0:29:40 | 0:29:44 | |
and Alice Webster. | 0:29:44 | 0:29:45 | |
I honestly have no idea what he's going on about. | 0:29:46 | 0:29:49 | |
He asked to see me and then he's just started accusing me. | 0:29:49 | 0:29:52 | |
Started calling me Kristian Herz, | 0:29:52 | 0:29:54 | |
like he thinks I'm him or something. | 0:29:54 | 0:29:56 | |
You need to come with us. We need to ask you some questions. | 0:29:58 | 0:30:00 | |
You're making a big mistake, Sergeant! | 0:30:00 | 0:30:02 | |
It's not a request. | 0:30:02 | 0:30:04 | |
I'm coming. | 0:30:05 | 0:30:07 | |
Don't touch me! | 0:30:10 | 0:30:11 | |
Staff Sergeant Stone has informed me you are not well, | 0:30:27 | 0:30:30 | |
that you are seeing things that are not there, | 0:30:30 | 0:30:33 | |
that there have been aggressive outbursts. | 0:30:33 | 0:30:36 | |
I am of sound mind. Believe me. | 0:30:36 | 0:30:37 | |
But this is a matter of some urgency. | 0:30:37 | 0:30:40 | |
The abduction of Alice Webster - I don't believe Kristian Herz | 0:30:40 | 0:30:44 | |
to be responsible. | 0:30:44 | 0:30:45 | |
I believe it was another man - Adam Gettrick. | 0:30:45 | 0:30:48 | |
He is the press liaison for the garrison. | 0:30:48 | 0:30:50 | |
Mr Baptiste, you went to speak with Adrian Stone last night? | 0:30:50 | 0:30:53 | |
Listen, whatever it is you think... | 0:30:53 | 0:30:55 | |
And you were ejected for aggravating him. He is in hospital now. | 0:30:55 | 0:30:59 | |
His injuries are severe. | 0:30:59 | 0:31:01 | |
-You cannot think me responsible... -You are a detective. | 0:31:01 | 0:31:04 | |
You tell me how this looks. | 0:31:04 | 0:31:06 | |
You were the last to see him. | 0:31:06 | 0:31:07 | |
You were found physically harassing him... | 0:31:07 | 0:31:09 | |
He attacked me! I was defending myself. | 0:31:09 | 0:31:12 | |
So that is your position, you were defending yourself? | 0:31:12 | 0:31:14 | |
I didn't put him in the hospital. | 0:31:14 | 0:31:16 | |
-He says you did. -He is confused! | 0:31:16 | 0:31:18 | |
With respect, Mr Baptiste, so are you. Confused and angry. | 0:31:18 | 0:31:23 | |
You need to bring in Adam Gettrick. | 0:31:23 | 0:31:25 | |
Alice herself identified Herr Kristian Herz. | 0:31:25 | 0:31:28 | |
It wouldn't be the first thing that girl lied about. | 0:31:28 | 0:31:32 | |
Mr Baptiste, I have great respect | 0:31:32 | 0:31:33 | |
for all the work you have done in your life. | 0:31:33 | 0:31:35 | |
And what happened last night, I do not believe it was intended. | 0:31:35 | 0:31:38 | |
But you are ill. | 0:31:38 | 0:31:39 | |
The courts will understand that. | 0:31:41 | 0:31:43 | |
But first you have to confess to what you have done. | 0:31:43 | 0:31:45 | |
Arrest me, or bring me a lawyer. Everything else is wasting time. | 0:31:47 | 0:31:51 | |
Very well, Mr Baptiste. Then you will be our guest this evening. | 0:31:51 | 0:31:55 | |
Vous faites perdre le temps de tout le monde, vous etes tout incapable! | 0:31:55 | 0:32:00 | |
Alter, kranker spinner. | 0:32:00 | 0:32:02 | |
Imbeciles! | 0:32:02 | 0:32:03 | |
DOOR CLOSES | 0:32:05 | 0:32:07 | |
RINGING TONE | 0:32:20 | 0:32:22 | |
Yeah, I need you to get me a number. | 0:32:23 | 0:32:26 | |
Celia Baptiste. | 0:32:26 | 0:32:28 | |
We don't have to do this. | 0:32:42 | 0:32:44 | |
They're being re-deployed tomorrow, Sam. | 0:32:44 | 0:32:46 | |
They're your men. You know we have to do this. | 0:32:46 | 0:32:48 | |
All right, then, we go in and we show our faces and then we leave. | 0:32:48 | 0:32:51 | |
No-one needs to know about us. All right? | 0:32:51 | 0:32:54 | |
Oi-oi! | 0:32:57 | 0:32:58 | |
Picked a great day for it, eh? | 0:32:58 | 0:33:01 | |
MUSIC PLAYING: Rock The Casbah by The Clash | 0:33:01 | 0:33:03 | |
MURMUR OF CONVERSATION | 0:33:03 | 0:33:05 | |
Sorry. | 0:33:27 | 0:33:29 | |
I didn't know you were going to be here. | 0:33:48 | 0:33:50 | |
Melissa and I are old friends. | 0:33:50 | 0:33:52 | |
-We were at Aldershot together. -Right. | 0:33:52 | 0:33:55 | |
Yeah. So... I should probably just... | 0:33:55 | 0:33:59 | |
We're going to have to learn how to deal with each other, aren't we? | 0:33:59 | 0:34:02 | |
Especially when you start showing. | 0:34:02 | 0:34:04 | |
It shouldn't be too complicated, though, cos... | 0:34:05 | 0:34:08 | |
it's over between me and Sam, so... | 0:34:08 | 0:34:13 | |
Just so you know - that doesn't mean that me and Sam will... | 0:34:15 | 0:34:18 | |
I really don't care if it does, Eve. | 0:34:18 | 0:34:21 | |
Well, I do. And I'm sorry. | 0:34:21 | 0:34:23 | |
It sounds... | 0:34:23 | 0:34:25 | |
But... | 0:34:27 | 0:34:28 | |
I shouldn't have come. | 0:34:35 | 0:34:38 | |
My dad's lying in a hospital bed because a couple of nights ago, | 0:34:38 | 0:34:41 | |
someone came and beat him half to death at the care home. | 0:34:41 | 0:34:44 | |
Christ. | 0:34:47 | 0:34:48 | |
Do they know who did it? | 0:34:52 | 0:34:53 | |
I'm sorry. | 0:34:57 | 0:34:58 | |
Excuse me. | 0:35:00 | 0:35:01 | |
What's wrong, Lucy? | 0:35:30 | 0:35:31 | |
I left Mr Squibbles at home. | 0:35:32 | 0:35:34 | |
Because you made us leave so quickly. | 0:35:34 | 0:35:37 | |
Well, we can't go back. | 0:35:37 | 0:35:39 | |
We're going to the new house sooner than we thought. | 0:35:39 | 0:35:41 | |
-You'll like it there. -I like Mr Squibbles. | 0:35:41 | 0:35:45 | |
-Well, we'll find you a new toy. -It won't be the same. | 0:35:45 | 0:35:48 | |
It's the same if I say it's the same! OK? | 0:35:48 | 0:35:51 | |
Do you think she's OK? | 0:35:55 | 0:35:57 | |
She's fine. | 0:36:01 | 0:36:02 | |
MURMUR OF CONVERSATION | 0:36:05 | 0:36:08 | |
Sorry. Sam. Sam, can I have a word? | 0:36:10 | 0:36:12 | |
Yeah, sure. | 0:36:12 | 0:36:14 | |
What is it? | 0:36:15 | 0:36:16 | |
Brigadier Stone was attacked. | 0:36:18 | 0:36:20 | |
-Is he all right? -Well, he's in hospital. | 0:36:20 | 0:36:22 | |
But on the same day, Julien Baptiste came by and told me that... | 0:36:22 | 0:36:25 | |
Well, he told me that he thought that Stone was involved | 0:36:25 | 0:36:27 | |
in Alice's abduction. | 0:36:27 | 0:36:29 | |
Why would he say that? | 0:36:29 | 0:36:30 | |
Matthew was there. He heard the whole thing, | 0:36:30 | 0:36:32 | |
and then he went storming off to go and see those Adler boys. | 0:36:32 | 0:36:35 | |
What, you think..? | 0:36:35 | 0:36:37 | |
(What are you saying?) | 0:36:39 | 0:36:41 | |
You know the reputation those Adler twins have got. | 0:36:41 | 0:36:44 | |
There are rumours that they put Nadia Herz in hospital. | 0:36:44 | 0:36:46 | |
You think Matthew assaulted him? | 0:36:46 | 0:36:47 | |
You think he could do something like that? | 0:36:47 | 0:36:49 | |
You know what he's like these days. You saw his hands. | 0:36:49 | 0:36:51 | |
And the way he went off, honestly, Sam, it does, it makes sense. | 0:36:51 | 0:36:54 | |
MUSIC PLAYS LOUDLY | 0:36:58 | 0:37:00 | |
Matthew! | 0:37:19 | 0:37:21 | |
Matthew! | 0:37:22 | 0:37:24 | |
MUSIC GETS QUIETER | 0:37:24 | 0:37:25 | |
What? | 0:37:25 | 0:37:27 | |
Can you come downstairs, please? | 0:37:27 | 0:37:29 | |
Now. | 0:37:30 | 0:37:31 | |
FOOTSTEPS DESCEND STAIRS | 0:37:40 | 0:37:42 | |
-Sit down. -I'm fine here. | 0:37:49 | 0:37:51 | |
Sit down. | 0:37:51 | 0:37:53 | |
What's happened to you, Matthew? | 0:37:55 | 0:37:57 | |
What's happened to ME? Take a look at you both. | 0:37:57 | 0:38:01 | |
Those men you're hanging around with, the Adler twins... | 0:38:01 | 0:38:04 | |
They're my friends. And anyway, I'm an adult, I can... | 0:38:04 | 0:38:06 | |
You're an adult who lives in our house. And you're our son. | 0:38:06 | 0:38:09 | |
We're trying to help you and if you can't see that... | 0:38:09 | 0:38:11 | |
-All you're trying to do is find problems somewhere else... -Stop it! | 0:38:11 | 0:38:14 | |
Christ. | 0:38:15 | 0:38:16 | |
Now what happened to your hand? | 0:38:18 | 0:38:20 | |
I cut it. Broke a pint glass. | 0:38:22 | 0:38:25 | |
Is that how you got the bruising on there? | 0:38:25 | 0:38:27 | |
You overheard Baptiste telling me that he thought Stone was involved | 0:38:27 | 0:38:31 | |
in Alice's disappearance. And then you stormed out, | 0:38:31 | 0:38:34 | |
and you went to the only place that you ever go to. | 0:38:34 | 0:38:36 | |
To see those Adler boys. | 0:38:36 | 0:38:37 | |
-So? -So Brigadier Stone is in hospital now. | 0:38:37 | 0:38:40 | |
-What, and you think I had something to do with it? -Well, did you? | 0:38:42 | 0:38:45 | |
This is it, isn't it? | 0:38:47 | 0:38:49 | |
This is who I am to you. | 0:38:49 | 0:38:51 | |
I'm just the monster that locked his sister in the shed to you, aren't I? | 0:38:51 | 0:38:54 | |
The one that goes around putting old men in hospital... | 0:38:54 | 0:38:57 | |
-Matthew... -And what if what you said was right? Huh? | 0:38:57 | 0:39:00 | |
What if he did have something to do with Alice being taken? | 0:39:00 | 0:39:03 | |
And you're all sitting around doing nothing. What then? | 0:39:03 | 0:39:07 | |
I'm a hero, aren't I? | 0:39:07 | 0:39:08 | |
-So you admit it? -You've been following orders all your life - | 0:39:08 | 0:39:11 | |
from the headmaster, from your superiors, walking the line, | 0:39:11 | 0:39:15 | |
ticking the boxes, and where has that got you? | 0:39:15 | 0:39:18 | |
-That's enough... -You're miserable. | 0:39:18 | 0:39:19 | |
You're lying to each other. | 0:39:21 | 0:39:23 | |
You know he's screwing someone else, right? | 0:39:27 | 0:39:30 | |
So before you go round asking what's happened to me, | 0:39:38 | 0:39:42 | |
why don't you take a look at yourselves? | 0:39:42 | 0:39:44 | |
DOOR SLAMS | 0:39:49 | 0:39:51 | |
DOOR OPENS | 0:39:59 | 0:40:01 | |
Mr Baptiste. | 0:40:01 | 0:40:03 | |
Mr Baptiste! | 0:40:04 | 0:40:05 | |
You're free to leave. | 0:40:07 | 0:40:09 | |
You've kept me for...what? | 0:40:09 | 0:40:11 | |
So you might find evidence that does not exist? | 0:40:12 | 0:40:16 | |
Before you leave, there is somebody to see you. | 0:40:16 | 0:40:19 | |
If it's all the same to you... | 0:40:19 | 0:40:20 | |
Eve Stone called you. | 0:40:51 | 0:40:52 | |
Mm-hm. | 0:40:52 | 0:40:54 | |
She's worried about you. | 0:40:55 | 0:40:57 | |
IN FRENCH: | 0:41:02 | 0:41:04 | |
Don't. | 0:41:04 | 0:41:05 | |
If there is something you can solve, there is no use in worrying. | 0:41:05 | 0:41:11 | |
And if there is something you cannot fix, | 0:41:11 | 0:41:13 | |
there is still no use in worrying. | 0:41:13 | 0:41:15 | |
It won't help you. | 0:41:17 | 0:41:18 | |
How could you do this to us? | 0:41:23 | 0:41:25 | |
How could you walk away from that operation? | 0:41:28 | 0:41:31 | |
I wasn't walking away from anything. | 0:41:31 | 0:41:34 | |
I was walking towards something else. | 0:41:34 | 0:41:37 | |
Towards some kind of resolution for two little girls | 0:41:37 | 0:41:40 | |
whose lives were stolen from them. | 0:41:40 | 0:41:43 | |
I was walking towards something... I thought was bigger than myself. | 0:41:43 | 0:41:49 | |
You're a brilliant, loving man, | 0:41:50 | 0:41:54 | |
and an amazing detective | 0:41:54 | 0:41:56 | |
and you've achieved incredible things. | 0:41:56 | 0:41:59 | |
But right now? | 0:42:00 | 0:42:02 | |
You're a child, Julien. | 0:42:02 | 0:42:04 | |
A selfish child. | 0:42:06 | 0:42:08 | |
You'll storm into a building armed with a loaded gun, | 0:42:09 | 0:42:14 | |
risking your life to make an arrest, | 0:42:14 | 0:42:16 | |
but you won't take the same risk for the people who love you. | 0:42:16 | 0:42:19 | |
This...job. | 0:42:21 | 0:42:23 | |
This obsession. | 0:42:23 | 0:42:24 | |
This addiction. | 0:42:26 | 0:42:27 | |
You're no better than, than... Tony Hughes. | 0:42:29 | 0:42:33 | |
Getting lost in all the darkness that surrounds you. | 0:42:34 | 0:42:38 | |
Thinking you can fix everything and find the light switch. | 0:42:38 | 0:42:41 | |
It has to end. | 0:42:45 | 0:42:47 | |
You have to come home. | 0:42:48 | 0:42:49 | |
I am so close. | 0:42:52 | 0:42:54 | |
You're always so close. | 0:42:54 | 0:42:56 | |
But right now? | 0:42:59 | 0:43:01 | |
You're dying. | 0:43:03 | 0:43:04 | |
You're lost, my love, | 0:43:06 | 0:43:09 | |
and the tide is coming in. | 0:43:09 | 0:43:11 | |
Wait. Wait, come on. He's our son. | 0:43:40 | 0:43:42 | |
-This isn't right... -You think I want to do this? | 0:43:42 | 0:43:45 | |
I've lost you. I've lost my daughter... | 0:43:45 | 0:43:47 | |
If I do this then I lose my son as well. | 0:43:47 | 0:43:48 | |
And if we do nothing, isn't he lost anyway? | 0:43:48 | 0:43:50 | |
If there's a chance this will save him... | 0:43:52 | 0:43:54 | |
By locking him up? | 0:43:54 | 0:43:56 | |
SIRENS | 0:43:56 | 0:43:58 | |
Do you know what I think? | 0:43:58 | 0:44:00 | |
Sometimes - and it's awful... | 0:44:00 | 0:44:03 | |
..but we were happier before she came back. | 0:44:04 | 0:44:07 | |
You know, we were grieving... | 0:44:07 | 0:44:11 | |
but we had her in common. | 0:44:11 | 0:44:12 | |
The three of us. | 0:44:14 | 0:44:15 | |
We have to save Matthew from himself. | 0:44:22 | 0:44:24 | |
Before he does something even worse. | 0:44:26 | 0:44:29 | |
Mr and Mrs Webster, I must talk with you. | 0:44:41 | 0:44:43 | |
-Get out of my way. -Listen, I have found something. | 0:44:43 | 0:44:45 | |
This is on you, this is. | 0:44:45 | 0:44:47 | |
Coming here, filling our family's heads with crap, | 0:44:47 | 0:44:49 | |
telling us Alice is still alive. | 0:44:49 | 0:44:51 | |
Matthew has done what he's done because he overheard you | 0:44:51 | 0:44:53 | |
-with your stupid accusations. -He's trying to help you! | 0:44:53 | 0:44:56 | |
Well, he hasn't. Cos ever since he turned up, bad things are happening. | 0:44:56 | 0:44:58 | |
Listen, there's nothing more in the world that I want | 0:44:58 | 0:45:01 | |
than for my husband to come home. | 0:45:01 | 0:45:02 | |
He's walked away from an operation that could help save his life | 0:45:02 | 0:45:05 | |
to come out here and find out what happened to your girl. | 0:45:05 | 0:45:08 | |
He's walked away from me, from his daughter. | 0:45:08 | 0:45:11 | |
And I'm telling you, there is no way he would have done all that | 0:45:11 | 0:45:14 | |
unless he thought it was worth it. | 0:45:14 | 0:45:15 | |
I have no problem with you. | 0:45:15 | 0:45:17 | |
But this - this is about my life and my family. | 0:45:18 | 0:45:20 | |
Listen, I have never lost hope that we might learn the truth | 0:45:20 | 0:45:23 | |
about your daughter and Sophie Giroux. | 0:45:23 | 0:45:26 | |
And now I have finally found the truth. | 0:45:26 | 0:45:28 | |
The man who abducted Sophie and Alice works right here in Eckhausen. | 0:45:28 | 0:45:33 | |
His name is Adam Gettrick. | 0:45:34 | 0:45:36 | |
Gettrick? | 0:45:36 | 0:45:38 | |
-You're serious? -I spoke with him, before I was arrested. | 0:45:40 | 0:45:43 | |
I saw it. | 0:45:43 | 0:45:45 | |
In his eyes. | 0:45:45 | 0:45:46 | |
You saw it in his eyes?! | 0:45:46 | 0:45:48 | |
Jesus. Do you believe this? | 0:45:48 | 0:45:51 | |
HE SIGHS | 0:45:52 | 0:45:54 | |
-QUIETLY: -What are we going to do about Matthew? | 0:45:54 | 0:45:57 | |
-He's what matters now. -What if he's right? | 0:45:57 | 0:45:59 | |
My daughter died. | 0:45:59 | 0:46:01 | |
How many times do you want me to bury her? | 0:46:02 | 0:46:04 | |
I won't do this. | 0:46:06 | 0:46:08 | |
I can't do this. | 0:46:09 | 0:46:11 | |
So what do we do now? | 0:46:31 | 0:46:33 | |
Gettrick knows I suspect him. | 0:46:33 | 0:46:35 | |
We will have to move quickly. | 0:46:36 | 0:46:38 | |
-Did you tell the police? -They don't believe me. | 0:46:39 | 0:46:41 | |
Jorn Lenhart would be an ally, but he is not answering. | 0:46:41 | 0:46:44 | |
As I see it, there is one option still open to us. | 0:46:44 | 0:46:48 | |
Gettrick's house. | 0:46:49 | 0:46:50 | |
No. If he's as dangerous as you say he is... | 0:46:50 | 0:46:54 | |
If I am right, he knows I have seen him for who he is | 0:46:54 | 0:46:56 | |
and he'll already be gone. | 0:46:56 | 0:46:58 | |
IN FRENCH: | 0:46:59 | 0:47:00 | |
Listen, that thing in your head? | 0:47:00 | 0:47:04 | |
You can't run away from it, Julien. | 0:47:04 | 0:47:06 | |
I know. | 0:47:06 | 0:47:08 | |
OK. | 0:47:09 | 0:47:10 | |
IN FRENCH: | 0:47:10 | 0:47:12 | |
CAR APPROACHES | 0:48:02 | 0:48:04 | |
DOORBELL RINGS | 0:48:59 | 0:49:01 | |
Are you sure you wish to do this? | 0:49:33 | 0:49:36 | |
Well, I'm here, aren't I? | 0:49:36 | 0:49:37 | |
Lucy. Lucy, wake up, darling. | 0:53:06 | 0:53:10 | |
There you go. | 0:53:10 | 0:53:12 | |
We'll find you something here, won't we? | 0:53:13 | 0:53:16 | |
Something to replace Mr Squibbles. | 0:53:16 | 0:53:18 | |
-What's wrong? -It's just I've... | 0:53:24 | 0:53:28 | |
I must've left some cash at home. But it's fine. | 0:53:28 | 0:53:30 | |
It's fine. It doesn't matter. | 0:53:30 | 0:53:31 | |
Look at him. He's nice, isn't he? | 0:53:36 | 0:53:39 | |
DOOR OPENS, BELL TINKLES | 0:53:45 | 0:53:47 | |
-Mummy! -Lucy! | 0:53:57 | 0:53:59 | |
I've missed you. | 0:54:01 | 0:54:03 | |
It's amazing. Us all here together. | 0:54:10 | 0:54:13 | |
It was worth it, wasn't it? | 0:54:27 | 0:54:29 | |
Every second. | 0:54:29 | 0:54:30 | |
Come on. You need to help me with everything in the car. | 0:54:31 | 0:54:35 | |
TAPS FOOT ON TILES | 0:55:01 | 0:55:02 | |
What is it? | 0:55:12 | 0:55:14 | |
Look at that. | 0:55:15 | 0:55:16 | |
Will you help me move these boxes, Mrs Webster? | 0:55:19 | 0:55:22 | |
Right. | 0:55:47 | 0:55:49 | |
That's the last of it. | 0:55:49 | 0:55:51 | |
Feels good, doesn't it? | 0:55:54 | 0:55:56 | |
-The air here... -Shh. | 0:55:56 | 0:55:58 | |
She must be tired from the long journey. | 0:56:01 | 0:56:03 | |
What's in the bag? | 0:56:03 | 0:56:04 | |
She'll love it. | 0:56:15 | 0:56:18 | |
No, it's not for her. | 0:56:18 | 0:56:19 | |
She used to talk about one of these. Remember? | 0:56:27 | 0:56:29 | |
The one her brother used to keep trying to steal from her. | 0:56:29 | 0:56:33 | |
KEYS JANGLE | 0:56:33 | 0:56:34 | |
Back in the day. | 0:56:34 | 0:56:37 | |
Back when she behaved. | 0:56:37 | 0:56:39 | |
She was very good in the car, though. | 0:56:41 | 0:56:43 | |
I didn't hear a sound from the boot the entire journey. | 0:56:43 | 0:56:46 | |
So I thought I'd give her a present... | 0:56:46 | 0:56:49 | |
for being such a good girl. | 0:56:49 | 0:56:51 | |
You can have this... | 0:56:58 | 0:57:00 | |
if you're good. | 0:57:00 | 0:57:02 | |
Stay. | 0:57:10 | 0:57:11 | |
You will be good, | 0:57:15 | 0:57:18 | |
won't you, Alice? | 0:57:18 | 0:57:19 | |
I'll be good. | 0:57:21 | 0:57:23 |