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Your wife is ill. In three months, if your plan fails she will be dead. | 0:00:02 | 0:00:05 | |
But this is not something you will hear about because I would have killed you first. | 0:00:05 | 0:00:09 | |
-This...amnesia. -You think I'm faking it, sir? | 0:00:09 | 0:00:12 | |
Are you? | 0:00:12 | 0:00:13 | |
I know who shot you. | 0:00:14 | 0:00:16 | |
-Who is this? -'My name's Peter Glickman.' | 0:00:16 | 0:00:18 | |
Follow the drugs, Detective Inspector, and then we'll meet. | 0:00:18 | 0:00:23 | |
I was Peter Glickman's...girlfriend. | 0:00:23 | 0:00:27 | |
I am his girlfriend. | 0:00:27 | 0:00:28 | |
I just want to know what's happened. | 0:00:28 | 0:00:30 | |
That's the first code. Our code. It means this brick has been here before. | 0:00:35 | 0:00:39 | |
-Someone took it out. -You offered to cut Delaney a deal, | 0:00:39 | 0:00:42 | |
strip him a rank and give him to me to put back in line. | 0:00:42 | 0:00:44 | |
But that's not how it worked out, is it? | 0:00:44 | 0:00:47 | |
It was 30 kilos in total. 30. Guess where the last 4 were found? | 0:00:47 | 0:00:50 | |
In the back of the car in which you both got shot. | 0:00:50 | 0:00:52 | |
You may have started out getting Delaney to walk the line, | 0:00:52 | 0:00:55 | |
but looks like he pulled you into the shadows. | 0:00:55 | 0:00:58 | |
You think I'm a bad cop. | 0:00:58 | 0:00:59 | |
I think you're a good one. It comes with the card. | 0:00:59 | 0:01:02 | |
God! | 0:01:02 | 0:01:03 | |
It's daddy. | 0:01:06 | 0:01:08 | |
You have to tell your wife. | 0:01:08 | 0:01:11 | |
-I'm in hell. -No, we are in limbo | 0:01:11 | 0:01:14 | |
and you need to get us out. | 0:01:14 | 0:01:17 | |
This programme contains some strong language and scenes which some viewers may find disturbing. | 0:01:17 | 0:01:25 | |
You can read my mind. | 0:01:53 | 0:01:54 | |
Not quite. At least, not yet. | 0:01:54 | 0:01:57 | |
But we can evaluate your reaction to the photos and that gives us an insight into brain function. | 0:01:57 | 0:02:02 | |
-Or lack of. -Hmm... | 0:02:04 | 0:02:06 | |
Well, it's interesting. | 0:02:06 | 0:02:08 | |
The scan images above the pictures are from three months ago, beneath the pictures are now. | 0:02:08 | 0:02:13 | |
What's interesting is that most of them have remained consistent. | 0:02:13 | 0:02:17 | |
So your response to your childhood... | 0:02:17 | 0:02:20 | |
..schooling, etc. | 0:02:23 | 0:02:26 | |
All these have remained the same. | 0:02:27 | 0:02:30 | |
There's been a change in response to your wife. | 0:02:30 | 0:02:32 | |
There's more orange in it now. | 0:02:35 | 0:02:37 | |
Hmm... | 0:02:37 | 0:02:39 | |
-Meaning? -We don't know what the change means yet, just that there's been one. | 0:02:40 | 0:02:44 | |
Your response to your colleague who was killed... | 0:02:44 | 0:02:49 | |
also remains unchanged. | 0:02:49 | 0:02:51 | |
However, and this is what's particularly interesting, | 0:02:53 | 0:02:57 | |
your response to the scene of the killing and where you were shot, | 0:02:57 | 0:03:00 | |
that has changed considerably. | 0:03:00 | 0:03:02 | |
If you look at the scan from three months ago, | 0:03:06 | 0:03:09 | |
there's hardly any reaction at all. | 0:03:09 | 0:03:12 | |
Because of the injury? | 0:03:12 | 0:03:14 | |
This is what interests us. Whereas, today's scan... | 0:03:14 | 0:03:20 | |
shows distinctly more activity. | 0:03:20 | 0:03:22 | |
You think my memory's coming back? | 0:03:22 | 0:03:25 | |
Starting to, maybe. | 0:03:25 | 0:03:28 | |
Through a glass, darkly. | 0:03:36 | 0:03:38 | |
Ah, yes. | 0:03:38 | 0:03:40 | |
-But later... -Yeah. | 0:03:40 | 0:03:44 | |
Later. | 0:03:44 | 0:03:46 | |
# I'm a featherless bird | 0:03:50 | 0:03:57 | |
# In a sky so absurd | 0:03:57 | 0:04:05 | |
# Why oh why | 0:04:05 | 0:04:11 | |
# Is there so much movement? | 0:04:11 | 0:04:21 | |
# Oh, hide me deeper | 0:04:22 | 0:04:30 | |
# In your peace further... # | 0:04:31 | 0:04:38 | |
PHONE RINGS | 0:04:39 | 0:04:41 | |
It's all right. Go back to sleep. | 0:04:49 | 0:04:53 | |
Everything's fine. | 0:04:53 | 0:04:55 | |
Laura, there's something I have to tell you. | 0:05:34 | 0:05:36 | |
Don't worry. | 0:06:11 | 0:06:12 | |
Whatever happens, it'll be all right. | 0:06:12 | 0:06:14 | |
Why do you say that? | 0:06:14 | 0:06:17 | |
Why do you always say that? | 0:06:17 | 0:06:20 | |
It will not be all right to lose this baby. It will not be! | 0:06:20 | 0:06:24 | |
-I didn't... -Stop it, Jonah! | 0:06:24 | 0:06:26 | |
Stop always hedging your fucking bets! | 0:06:26 | 0:06:29 | |
When are you going to want something?! | 0:06:29 | 0:06:31 | |
Want something so much, you can't bear to lose it? Say it! | 0:06:31 | 0:06:34 | |
Say you want this! | 0:06:34 | 0:06:36 | |
-Of course I do. -Good! | 0:06:37 | 0:06:39 | |
Because sometimes wanting something so much that you can't live... | 0:06:39 | 0:06:43 | |
you can't even see a future if you lose it... | 0:06:43 | 0:06:46 | |
is the only reason you get it! | 0:06:46 | 0:06:48 | |
So, for once, want it! | 0:06:48 | 0:06:51 | |
Like you have never wanted anything else! | 0:06:52 | 0:06:55 | |
It's all right! It's there! HEART BEATS ON MONITOR | 0:07:04 | 0:07:08 | |
See! | 0:07:18 | 0:07:20 | |
Want it! | 0:07:20 | 0:07:22 | |
I do. | 0:07:25 | 0:07:27 | |
(I do.) | 0:07:34 | 0:07:36 | |
Jonah Gabriel. | 0:07:43 | 0:07:47 | |
Peter Glickman. | 0:07:51 | 0:07:53 | |
So where did the drugs lead you? | 0:07:53 | 0:07:56 | |
To me. | 0:08:00 | 0:08:02 | |
So does that mean you've stopped looking? | 0:08:02 | 0:08:06 | |
-What else is there to find? -You think this is all about you - good cop, bad cop? | 0:08:09 | 0:08:14 | |
You think that's what this is all about? | 0:08:14 | 0:08:17 | |
You, drugs, dead cops, royal pardons, Harvey Wratten... | 0:08:17 | 0:08:23 | |
It's not about you, it's not about any of you. | 0:08:23 | 0:08:26 | |
You're all just threads, | 0:08:26 | 0:08:29 | |
little tiny threads. | 0:08:29 | 0:08:32 | |
But if you want to find the rope, there's only one line for you to follow. | 0:08:32 | 0:08:37 | |
The money. | 0:08:38 | 0:08:39 | |
What money? | 0:08:40 | 0:08:41 | |
Talk to Commissioner Penney. | 0:08:41 | 0:08:44 | |
Ask him about...Counterpoint. | 0:08:44 | 0:08:47 | |
-What's Counterpoint? -Say you're looking for answers | 0:08:49 | 0:08:51 | |
and you won't stop till you've found them. | 0:08:51 | 0:08:54 | |
He won't give you any, | 0:08:54 | 0:08:55 | |
but then he'll get in contact with someone who can. | 0:08:55 | 0:08:58 | |
Who? | 0:09:00 | 0:09:01 | |
Gatehouse. | 0:09:01 | 0:09:03 | |
How do I find him? | 0:09:03 | 0:09:06 | |
Oh, you won't need to. | 0:09:06 | 0:09:09 | |
Once he knows you're looking, he'll find you. | 0:09:09 | 0:09:11 | |
So... | 0:09:15 | 0:09:17 | |
tell me your secret. | 0:09:17 | 0:09:19 | |
-I don't have one. -Everyone has a secret. Everyone. | 0:09:22 | 0:09:25 | |
And that's what he will find. | 0:09:25 | 0:09:27 | |
And that's where he will find you - | 0:09:27 | 0:09:29 | |
at your most vulnerable. | 0:09:29 | 0:09:31 | |
I don't... | 0:09:31 | 0:09:33 | |
have a secret. | 0:09:33 | 0:09:35 | |
You want to know who you are, Gabriel? | 0:09:35 | 0:09:38 | |
You want to know what side of the line you really stand? | 0:09:38 | 0:09:43 | |
Then tell me your secret, | 0:09:43 | 0:09:46 | |
because once he finds it, I'm the only one who can save you. | 0:09:46 | 0:09:51 | |
Good boy. | 0:09:55 | 0:09:57 | |
-I'm not doing it. -You have to trust me on this. | 0:10:21 | 0:10:25 | |
A new hotel every night?! | 0:10:25 | 0:10:26 | |
-It's just for a short time. -What's a short time? | 0:10:26 | 0:10:29 | |
-It's not long! -Shhh! | 0:10:29 | 0:10:30 | |
-Is that what she is doing? -No. -Why not? | 0:10:32 | 0:10:36 | |
-Because she's your wife, because she's pregnant? -Because she's not the one in danger. | 0:10:36 | 0:10:41 | |
-And we are?! -You may be, yes. | 0:10:41 | 0:10:43 | |
If you stay here. | 0:10:43 | 0:10:45 | |
Why? | 0:10:45 | 0:10:47 | |
Because if this man comes looking for me, he may well come here. | 0:10:47 | 0:10:51 | |
I'll just tell him where to go! | 0:10:51 | 0:10:53 | |
Why would he come here? | 0:11:03 | 0:11:05 | |
Because... | 0:11:05 | 0:11:08 | |
-Because...we are your weakness. -Yes. | 0:11:11 | 0:11:18 | |
-Is he trying to blackmail you? -No. | 0:11:19 | 0:11:24 | |
Threaten us? | 0:11:26 | 0:11:27 | |
-Call her! Tell her! Tell everyone! -I will. | 0:11:34 | 0:11:38 | |
Not will! Do it now! Then he'll have nothing because everything will be out in the open. | 0:11:38 | 0:11:42 | |
-That won't work. -It'll work for me! | 0:11:42 | 0:11:44 | |
It'll work for him! | 0:11:44 | 0:11:47 | |
It's what I've been asking you for a long time! | 0:11:47 | 0:11:50 | |
It looks like this guy's doing me a favour! | 0:11:52 | 0:11:54 | |
-It will make it worse. -Worse for who? For you? For your wife?! | 0:11:54 | 0:11:58 | |
Yes! For Laura, for you, for me, for Conrad, | 0:11:58 | 0:12:01 | |
-for everyone! -Why? | 0:12:01 | 0:12:03 | |
Because if this man thinks my secret is here, this is where he'll come. | 0:12:03 | 0:12:08 | |
So you're using us as bait?! | 0:12:08 | 0:12:10 | |
No, because you won't be here! | 0:12:10 | 0:12:14 | |
You'll be safe! | 0:12:14 | 0:12:17 | |
And all he'll find... | 0:12:17 | 0:12:20 | |
All he'll find...is me. | 0:12:20 | 0:12:24 | |
Who is this man? | 0:12:26 | 0:12:27 | |
I don't know. | 0:12:30 | 0:12:32 | |
That's what I'm going to find out. | 0:12:32 | 0:12:36 | |
That's five million. I'll need 48 hours to get you the rest. | 0:12:50 | 0:12:54 | |
For that kind of a turnover, it's only polite to wait. | 0:12:54 | 0:12:58 | |
You're in the game now. | 0:13:01 | 0:13:02 | |
Better than being on it. | 0:13:02 | 0:13:05 | |
You want the next two shipments in one go? | 0:13:19 | 0:13:22 | |
400 kilos at 15 grand a kilo. | 0:13:22 | 0:13:24 | |
-Then I need three million up front. -It's in the bag... | 0:13:24 | 0:13:27 | |
along with the four I already owe you. | 0:13:27 | 0:13:30 | |
Seven. | 0:13:34 | 0:13:36 | |
-Seven million. -Plus three on delivery, | 0:13:40 | 0:13:42 | |
gives you your ten, as I promised. | 0:13:42 | 0:13:44 | |
400 kilos, that's a heavy weight. Flowers won't cover it. | 0:13:45 | 0:13:49 | |
-I don't expect them to. -Then what do you expect? | 0:13:49 | 0:13:51 | |
A change of plan. | 0:13:51 | 0:13:54 | |
Hmmm. | 0:13:54 | 0:13:55 | |
So what have you got? | 0:13:58 | 0:14:00 | |
400 kilograms, brown, | 0:14:00 | 0:14:02 | |
at least 70%, import. | 0:14:02 | 0:14:06 | |
-When? -Within three weeks. | 0:14:06 | 0:14:08 | |
Who? | 0:14:08 | 0:14:09 | |
Joseph Bede. | 0:14:09 | 0:14:11 | |
How much do you want? | 0:14:11 | 0:14:13 | |
250,000. | 0:14:13 | 0:14:14 | |
What? | 0:14:14 | 0:14:16 | |
With a street value of 20-odd million, I reckon your people will wear it. | 0:14:16 | 0:14:20 | |
Why are you doing this? | 0:14:20 | 0:14:23 | |
Ours is a dog-eat-dog world... | 0:14:23 | 0:14:25 | |
..and this dog's getting too tired to run. | 0:14:27 | 0:14:29 | |
You didn't come. | 0:14:57 | 0:14:58 | |
It was good... | 0:15:07 | 0:15:08 | |
..but it would have been better with you. | 0:15:11 | 0:15:13 | |
I'm sorry. | 0:15:14 | 0:15:17 | |
You ought to tell me. | 0:15:36 | 0:15:38 | |
About what? | 0:15:38 | 0:15:40 | |
Whatever it is you want to say. | 0:15:40 | 0:15:43 | |
Tell me. | 0:16:06 | 0:16:07 | |
I wish I could, but I can't. | 0:16:07 | 0:16:11 | |
Is there something you know? | 0:16:11 | 0:16:12 | |
-About Peter? -Yes. | 0:16:12 | 0:16:15 | |
No. | 0:16:15 | 0:16:17 | |
I meant about you and me. I wish... | 0:16:18 | 0:16:22 | |
But I can't. | 0:16:24 | 0:16:26 | |
-Because of your wife. -Because of everything. | 0:16:30 | 0:16:32 | |
It would be a shame to lose you completely. | 0:16:53 | 0:16:57 | |
I mean, we've only just met. | 0:17:00 | 0:17:02 | |
Then next time I'll come. | 0:17:06 | 0:17:08 | |
-Next time it's Bach. -I like Bach. | 0:17:08 | 0:17:11 | |
Yes, I think I saw that about you. | 0:17:13 | 0:17:16 | |
SHE CHUCKLES | 0:17:16 | 0:17:18 | |
Then Bach it shall be. | 0:17:29 | 0:17:31 | |
As friends. | 0:17:34 | 0:17:35 | |
As friends. | 0:17:38 | 0:17:39 | |
Where's the harm in that? | 0:17:44 | 0:17:46 | |
No harm... | 0:17:46 | 0:17:49 | |
..at all. | 0:17:52 | 0:17:53 | |
-Jonah. -Commander. | 0:18:07 | 0:18:09 | |
Not any more. | 0:18:09 | 0:18:12 | |
Just plain mister. | 0:18:12 | 0:18:15 | |
And why was that, exactly? | 0:18:15 | 0:18:17 | |
You still lost your memory, Detective Inspector? | 0:18:20 | 0:18:22 | |
I'm yet to get the full picture, if that's what you mean, sir. | 0:18:22 | 0:18:26 | |
How convenient. | 0:18:26 | 0:18:28 | |
It hasn't been. | 0:18:28 | 0:18:29 | |
But I'm starting to pull some threads together. | 0:18:31 | 0:18:34 | |
Well, be careful they don't form into a noose. | 0:18:34 | 0:18:37 | |
For whose neck? | 0:18:37 | 0:18:39 | |
-You're not the first, you know. -To do what? | 0:18:41 | 0:18:44 | |
Stand there. | 0:18:44 | 0:18:47 | |
Who else is there? | 0:18:47 | 0:18:49 | |
Was. | 0:18:49 | 0:18:51 | |
That journalist. | 0:18:51 | 0:18:52 | |
-McGovern. -Asking questions. | 0:18:54 | 0:18:56 | |
-About you? -About you, actually. | 0:18:56 | 0:18:58 | |
Look what happened to him. | 0:18:58 | 0:19:00 | |
I don't ride bikes. | 0:19:04 | 0:19:05 | |
No. It's too dangerous. | 0:19:06 | 0:19:10 | |
It's not worth the risk. | 0:19:10 | 0:19:14 | |
But what is? | 0:19:14 | 0:19:16 | |
-The truth. -Because you're a policeman? | 0:19:16 | 0:19:20 | |
It's who I am. | 0:19:25 | 0:19:26 | |
You don't know who you are. | 0:19:26 | 0:19:29 | |
I think I might be about to find out. | 0:19:31 | 0:19:32 | |
Be careful what you wish for. | 0:19:32 | 0:19:36 | |
Maybe it's what you don't know that's keeping you alive. | 0:19:36 | 0:19:40 | |
Counterpoint. | 0:19:48 | 0:19:49 | |
What's Counterpoint? | 0:19:53 | 0:19:55 | |
It's music, isn't it? It's... | 0:19:55 | 0:19:57 | |
It's by Bach. | 0:19:57 | 0:19:59 | |
Gatehouse. | 0:20:01 | 0:20:03 | |
Who's Gatehouse? | 0:20:03 | 0:20:05 | |
And what about the money? | 0:20:06 | 0:20:08 | |
-Safe journey, Detective Inspector. -See you when I get there, Mr Penney. | 0:20:14 | 0:20:18 | |
MUSIC: "Toccata And Fugue In D Minor" by JS Bach | 0:20:20 | 0:20:25 | |
HE SWEARS UNDER HIS BREATH | 0:20:34 | 0:20:37 | |
Well, that's great men for you. | 0:20:37 | 0:20:40 | |
In my world, Commander, when everyone knows who you are, you haven't done your fucking job. | 0:20:40 | 0:20:45 | |
So? | 0:21:02 | 0:21:03 | |
Gabriel. | 0:21:03 | 0:21:05 | |
Well, he wasn't faking it. | 0:21:05 | 0:21:08 | |
And if he doesn't know, he hasn't told anyone else. | 0:21:08 | 0:21:10 | |
Except now he wants to find out for himself. | 0:21:10 | 0:21:13 | |
Well, if you're walking around with a bullet in your head, it's all just a matter of time. | 0:21:13 | 0:21:19 | |
-Sir Richard... -I know, I know. | 0:21:19 | 0:21:22 | |
Very moving. | 0:21:22 | 0:21:24 | |
How? | 0:21:27 | 0:21:28 | |
He has an ex-mistress | 0:21:29 | 0:21:33 | |
and a love child he wants to keep secret. | 0:21:33 | 0:21:36 | |
They argue...often. | 0:21:36 | 0:21:39 | |
Neighbours have heard them. | 0:21:39 | 0:21:42 | |
So when your people finally break in, because she's missed an appointment or whatever, | 0:21:42 | 0:21:47 | |
and find two bodies... | 0:21:47 | 0:21:49 | |
..hers will be murdered, | 0:21:51 | 0:21:52 | |
and his will have turned the gun on himself - silenced, of course - | 0:21:52 | 0:21:56 | |
and, incidentally, stolen from his department a few days previously. | 0:21:56 | 0:22:00 | |
But, when asked, it will be the arguments the neighbours remember | 0:22:06 | 0:22:10 | |
and not the unnoticed visit from a stranger the night before. | 0:22:10 | 0:22:14 | |
-And the child? -Hmmm. | 0:22:14 | 0:22:17 | |
Lucky to be alive. | 0:22:17 | 0:22:19 | |
Like the rest of us, | 0:22:21 | 0:22:24 | |
don't you think? | 0:22:24 | 0:22:25 | |
When it's your time... | 0:22:45 | 0:22:48 | |
It's your time. | 0:22:50 | 0:22:52 | |
No matter where you look. | 0:22:52 | 0:22:54 | |
-I might have a shadow on a line. Are you interested? -Whose? | 0:22:58 | 0:23:01 | |
Where Harvey Wratten left off. | 0:23:01 | 0:23:04 | |
-How much for it? -Quarter of a million. | 0:23:05 | 0:23:08 | |
HE TUTS | 0:23:08 | 0:23:09 | |
400 kilos Turkish Brown, 70% pure. | 0:23:09 | 0:23:12 | |
-When? -I need a quick decision. -I'll need a name. | 0:23:12 | 0:23:15 | |
Without a target there's nothing to aim at. | 0:23:17 | 0:23:19 | |
-Bede. Joseph Bede. -Never heard of him. | 0:23:23 | 0:23:25 | |
Isn't that the point? | 0:23:25 | 0:23:28 | |
HE WHISTLES A TUNE | 0:23:35 | 0:23:38 | |
DANCE MUSIC THUMPS WITHIN ROOM | 0:23:41 | 0:23:44 | |
-Mama... -Come on, darling, we're going. | 0:23:44 | 0:23:48 | |
DOOR OPENS | 0:24:06 | 0:24:08 | |
DOOR OPENS | 0:24:27 | 0:24:29 | |
DOOR CLOSES | 0:24:30 | 0:24:33 | |
-What are you doing here?! -What are YOU doing here?! | 0:24:49 | 0:24:52 | |
This is my home! | 0:24:52 | 0:24:53 | |
You have to go. | 0:24:53 | 0:24:55 | |
Alison! You have to go! BABY CRIES | 0:24:56 | 0:24:59 | |
Oh, go on! Just you try it. | 0:24:59 | 0:25:02 | |
Don't go in there. | 0:25:05 | 0:25:07 | |
Alison! | 0:25:07 | 0:25:08 | |
Too late. | 0:25:08 | 0:25:10 | |
Here we are. | 0:25:10 | 0:25:11 | |
Here we are, my darling. | 0:25:11 | 0:25:13 | |
SHE KISSES HIM | 0:25:13 | 0:25:15 | |
Safe and sound. | 0:25:15 | 0:25:17 | |
Yes, now it's time to go to sleep. | 0:25:17 | 0:25:21 | |
Mummy's going to go out and I'll come back and give you a kiss, OK? | 0:25:21 | 0:25:25 | |
Shhh... | 0:25:32 | 0:25:35 | |
CAT MEOWS | 0:25:35 | 0:25:39 | |
FOOTSTEPS | 0:25:56 | 0:25:57 | |
DOOR CLOSES Shhh... | 0:26:00 | 0:26:01 | |
-(He's here? -Go in the kitchen. | 0:26:01 | 0:26:04 | |
-(Don't open the door! -It's too late.) | 0:26:04 | 0:26:07 | |
Don't call anyone. | 0:26:07 | 0:26:08 | |
-I'm not... -Go in the kitchen. | 0:26:09 | 0:26:12 | |
Don't come out. | 0:26:12 | 0:26:13 | |
Jonah Gabriel. | 0:26:58 | 0:27:00 | |
Who are you? | 0:27:01 | 0:27:02 | |
-We need to talk. -What about? | 0:27:02 | 0:27:06 | |
-May I come in? -No. | 0:27:07 | 0:27:10 | |
I have something very important to tell you. | 0:27:10 | 0:27:13 | |
Then say it here. | 0:27:13 | 0:27:14 | |
I can't do that. | 0:27:14 | 0:27:16 | |
-Why not? -It's a secret. | 0:27:16 | 0:27:17 | |
Then whisper. | 0:27:17 | 0:27:19 | |
You want to protect your family. | 0:27:19 | 0:27:22 | |
I understand. | 0:27:24 | 0:27:25 | |
Good. | 0:27:27 | 0:27:28 | |
But then, you see, if I'd wanted to kill them, | 0:27:28 | 0:27:31 | |
I could have done it at the hotel. | 0:27:31 | 0:27:34 | |
And if I'd needed to kill you... | 0:27:39 | 0:27:41 | |
..I could have done it long before now. | 0:27:44 | 0:27:46 | |
You... | 0:27:57 | 0:27:59 | |
GUNSHOT | 0:28:44 | 0:28:46 | |
Where are they? | 0:28:54 | 0:28:55 | |
Why do you need to know? | 0:28:55 | 0:28:58 | |
It would be best if they didn't see me. | 0:28:58 | 0:29:01 | |
He's in his room, she's in the kitchen. | 0:29:02 | 0:29:04 | |
-Tell her to stay there. -I have. | 0:29:04 | 0:29:07 | |
-When? -Before I came to the door. | 0:29:07 | 0:29:12 | |
Why? | 0:29:12 | 0:29:13 | |
It's my job. | 0:29:15 | 0:29:16 | |
Do you call it a living room or a lounge? | 0:29:20 | 0:29:23 | |
Neither. | 0:29:26 | 0:29:27 | |
Then let's go there. | 0:29:27 | 0:29:30 | |
Come in. | 0:29:40 | 0:29:42 | |
Sit down. | 0:29:59 | 0:30:01 | |
That's your choice. This is mine. | 0:30:03 | 0:30:07 | |
-Will she come in? -No. | 0:30:11 | 0:30:15 | |
So you want to know why I shot you. | 0:30:20 | 0:30:22 | |
I want to know why I was there. | 0:30:24 | 0:30:26 | |
Because you're afraid you'd come to sell me drugs | 0:30:28 | 0:30:30 | |
like Delaney had before. | 0:30:30 | 0:30:32 | |
That somehow he'd... | 0:30:35 | 0:30:37 | |
..corrupted you. | 0:30:39 | 0:30:40 | |
Had he? | 0:30:41 | 0:30:43 | |
You really don't know? | 0:30:46 | 0:30:48 | |
But what do you think? | 0:30:52 | 0:30:53 | |
-I don't. -Because you can't remember? | 0:30:55 | 0:31:00 | |
That's what your bullet did to me. | 0:31:02 | 0:31:04 | |
But people just know. | 0:31:08 | 0:31:11 | |
Don't they? | 0:31:12 | 0:31:14 | |
Instinctively. | 0:31:14 | 0:31:17 | |
Whether they're good or bad. | 0:31:17 | 0:31:19 | |
Why don't you? | 0:31:21 | 0:31:23 | |
Is it here? | 0:31:25 | 0:31:28 | |
Is it her? | 0:31:28 | 0:31:30 | |
Is it your son? | 0:31:30 | 0:31:32 | |
Is it the lies you tell your wife? | 0:31:36 | 0:31:39 | |
What is it that makes you so unsure? | 0:31:44 | 0:31:48 | |
Because whatever it is, it's not just the bullet in your head | 0:31:50 | 0:31:54 | |
that makes you need to ask. | 0:31:54 | 0:31:56 | |
May I? | 0:32:03 | 0:32:05 | |
What? | 0:32:05 | 0:32:06 | |
I have something to give you. | 0:32:06 | 0:32:09 | |
What? | 0:32:10 | 0:32:12 | |
It's what you want to know. | 0:32:14 | 0:32:15 | |
It's in my breast pocket. May I? | 0:32:18 | 0:32:20 | |
It's all right. Finger and thumb. | 0:32:23 | 0:32:26 | |
Finger and thumb. | 0:32:26 | 0:32:28 | |
It's Delaney's notebook, | 0:32:41 | 0:32:42 | |
the one I took from him after he'd been shot. | 0:32:42 | 0:32:46 | |
It's all written down. | 0:32:47 | 0:32:49 | |
Like what? | 0:32:52 | 0:32:53 | |
You weren't selling drugs. | 0:32:55 | 0:32:57 | |
The line you walked was straight. | 0:32:59 | 0:33:02 | |
You even got Delaney to walk it with you, | 0:33:02 | 0:33:05 | |
right to its very end. | 0:33:05 | 0:33:09 | |
It's all right. | 0:33:15 | 0:33:17 | |
You were a good cop. | 0:33:19 | 0:33:20 | |
But whether you're a good person... | 0:33:23 | 0:33:25 | |
Well, that's not for me to say. | 0:33:27 | 0:33:31 | |
But here. | 0:33:35 | 0:33:37 | |
Find out for yourself. | 0:33:41 | 0:33:43 | |
No, I don't think I'll be doing that. | 0:33:51 | 0:33:53 | |
No? Why not? | 0:33:56 | 0:34:00 | |
Because you're wearing gloves. | 0:34:03 | 0:34:04 | |
ALISON SCREAMS | 0:34:22 | 0:34:26 | |
-No! -My baby! | 0:34:26 | 0:34:31 | |
GUNSHOT No! | 0:34:31 | 0:34:32 | |
ALISON AND JONAH SCREAM | 0:34:34 | 0:34:38 | |
SCREAMING CONTINUES | 0:34:38 | 0:34:40 | |
ALISON SHOUTS INCOHERENTLY | 0:34:47 | 0:34:50 | |
SCREAMING CONTINUES | 0:34:57 | 0:34:59 | |
PHONE RINGS | 0:35:33 | 0:35:35 | |
Hello? | 0:35:40 | 0:35:42 | |
ENGINE STARTS | 0:35:42 | 0:35:44 | |
Petra? | 0:36:21 | 0:36:22 | |
-HE SOBS -It's all right. It's all right. | 0:36:30 | 0:36:32 | |
It's all right, it's all right. | 0:36:32 | 0:36:34 | |
Shhh... | 0:36:35 | 0:36:36 | |
Shhhh, it's all right. It's all right. | 0:36:39 | 0:36:42 | |
It's all right. | 0:36:45 | 0:36:46 | |
It'll be all right. | 0:36:46 | 0:36:48 | |
It'll be all right. | 0:36:50 | 0:36:51 | |
It'll be all right. | 0:36:52 | 0:36:54 | |
Thank you for coming. | 0:39:33 | 0:39:35 | |
I didn't think I should. | 0:39:36 | 0:39:38 | |
I wanted you to. | 0:39:39 | 0:39:41 | |
I needed you to. | 0:39:43 | 0:39:46 | |
I have to tell you something. | 0:39:50 | 0:39:51 | |
These past three years I have been living a lie. | 0:39:58 | 0:40:02 | |
And there came a point I decided that I would do anything... | 0:40:04 | 0:40:08 | |
..anything to make it stop. | 0:40:09 | 0:40:11 | |
Two weeks ago I told Jonah | 0:40:18 | 0:40:20 | |
that if he didn't tell you about Connie then I would. | 0:40:20 | 0:40:25 | |
This week. | 0:40:27 | 0:40:29 | |
Maybe even today, who knows? | 0:40:30 | 0:40:34 | |
And if I had done that... | 0:40:37 | 0:40:39 | |
..I would have ruined your life. | 0:40:40 | 0:40:42 | |
But I would have done it willingly. | 0:40:44 | 0:40:46 | |
Willingly, you know... | 0:40:48 | 0:40:50 | |
..because that's how we feel about truth, isn't it? | 0:40:52 | 0:40:56 | |
It has to be known, no matter what. | 0:40:56 | 0:41:00 | |
Even if it means wrecking an innocent woman's life... | 0:41:01 | 0:41:05 | |
..or opening the door to a man he should never have let in. | 0:41:08 | 0:41:15 | |
But standing here today, | 0:41:20 | 0:41:26 | |
I can tell you | 0:41:26 | 0:41:28 | |
I would rather live with an eternity of lies | 0:41:28 | 0:41:33 | |
than a second | 0:41:33 | 0:41:36 | |
without my son. | 0:41:36 | 0:41:38 | |
You must tell your husband to do the same, | 0:41:42 | 0:41:45 | |
because if he doesn't, | 0:41:45 | 0:41:47 | |
I'm very afraid the next person to be standing here | 0:41:47 | 0:41:52 | |
will be you. | 0:41:52 | 0:41:54 | |
CAMERA SHUTTERS CLICK Detective, this way. | 0:42:16 | 0:42:18 | |
Detective, look this way a moment? | 0:42:18 | 0:42:20 | |
Detective Inspector. Just one more. | 0:42:20 | 0:42:22 | |
This way. | 0:42:22 | 0:42:24 | |
How much do they know? | 0:42:25 | 0:42:27 | |
They certainly smell a story. | 0:42:29 | 0:42:31 | |
A corrupt police officer selling drugs to criminals. | 0:42:31 | 0:42:34 | |
-They don't know that. -Not yet. | 0:42:34 | 0:42:37 | |
What other choice have I got? | 0:42:41 | 0:42:43 | |
That's going to make things very difficult for me. | 0:42:43 | 0:42:47 | |
You should have thought of that | 0:42:47 | 0:42:49 | |
before you insisted on bringing him back in. | 0:42:49 | 0:42:51 | |
I'll need time...to tidy up. | 0:42:55 | 0:42:59 | |
Be sure to take your ashtray with you when you go. | 0:43:02 | 0:43:04 | |
What? | 0:43:04 | 0:43:06 | |
Richard, you've no-one to blame... but yourself. | 0:43:06 | 0:43:10 | |
Inspector. | 0:43:18 | 0:43:20 | |
This way. | 0:43:20 | 0:43:21 | |
We are ready to deliver. | 0:43:50 | 0:43:52 | |
My end buyer needs notice. | 0:43:52 | 0:43:54 | |
I can give you up to one week. | 0:43:54 | 0:43:56 | |
-I'll take that. -Three million. | 0:43:56 | 0:43:58 | |
You'll have it. | 0:43:58 | 0:44:00 | |
How's your wife? | 0:44:00 | 0:44:01 | |
Don't speak about my wife! | 0:44:02 | 0:44:04 | |
It was you who put her in the deal. | 0:44:06 | 0:44:09 | |
What did he mean by that? | 0:44:16 | 0:44:17 | |
Jesus, Joseph! What have you done? | 0:44:25 | 0:44:28 | |
Tell the boy we need that money. | 0:44:30 | 0:44:32 | |
Yeah, that's fine. | 0:44:39 | 0:44:41 | |
Fine? Is that like OK? Because it's got to be more than that. | 0:44:41 | 0:44:44 | |
It's got to be definite. | 0:44:44 | 0:44:46 | |
Don't worry, I'll get you the money. | 0:44:46 | 0:44:49 | |
We're not talking about a visit to the sweet shop. | 0:44:49 | 0:44:52 | |
You going to watch me make the call? | 0:44:52 | 0:44:53 | |
You know what? | 0:44:53 | 0:44:55 | |
When both the cops AND the criminals begin to look like kids, it really is time to leave the game. | 0:44:55 | 0:45:01 | |
Well, that's a call only you can make, Granddad. | 0:45:02 | 0:45:05 | |
Just get that money. | 0:45:05 | 0:45:07 | |
(Shit!) | 0:45:18 | 0:45:19 | |
HEART MONITOR BEEPS | 0:45:19 | 0:45:22 | |
Apparently he's got the heartbeat of a 20-year-old. | 0:45:29 | 0:45:32 | |
That's Benecol for you. | 0:45:32 | 0:45:35 | |
Can I have a word? | 0:45:35 | 0:45:36 | |
So what did he have to tell you that was so important you let him in? | 0:45:45 | 0:45:49 | |
You were a good cop? | 0:45:51 | 0:45:53 | |
Hmmm. At least I'm not alone. | 0:45:56 | 0:45:58 | |
Doesn't make it true. | 0:46:00 | 0:46:02 | |
Judge yourself by your actions, Jonah. | 0:46:02 | 0:46:04 | |
If you weren't, you'd have given up long before now. | 0:46:04 | 0:46:07 | |
That's why Khokar wants to have you thrown to the wolves. | 0:46:07 | 0:46:11 | |
And if I let the press rip you to bits, pretty soon they're going to start licking their chops at me. | 0:46:13 | 0:46:19 | |
Then maybe you and your boss should think that through more carefully. | 0:46:19 | 0:46:23 | |
And maybe HE already has. | 0:46:23 | 0:46:26 | |
You know how to survive? | 0:46:28 | 0:46:30 | |
It's not just the first blow you've got to look out for, it's knowing where the next one will come. | 0:46:30 | 0:46:36 | |
So if Khokar's happy enough to have my arse stripped out, | 0:46:37 | 0:46:40 | |
whatever he's got to hide must look like a whole fucking abattoir. | 0:46:40 | 0:46:44 | |
And that's the stench he obviously thinks you've caught a whiff of. | 0:46:47 | 0:46:51 | |
You talked to the wrong guy, Jonah. | 0:46:56 | 0:46:59 | |
So if there's anything you know, now's the time to tell me, | 0:47:01 | 0:47:04 | |
because then we can beat this together. | 0:47:04 | 0:47:07 | |
I met with Peter Glickman. | 0:47:17 | 0:47:18 | |
Ah. When? | 0:47:18 | 0:47:22 | |
Before he was killed, sir. | 0:47:23 | 0:47:25 | |
What did he tell you? | 0:47:25 | 0:47:27 | |
Where did you get it from? | 0:47:37 | 0:47:39 | |
DS Delaney. | 0:47:40 | 0:47:43 | |
When? | 0:47:43 | 0:47:44 | |
Just before he died, must've been. | 0:47:44 | 0:47:47 | |
Is it your share? | 0:47:48 | 0:47:49 | |
What of? | 0:47:51 | 0:47:52 | |
A drug's deal. | 0:47:52 | 0:47:55 | |
I think it was his share. | 0:47:56 | 0:47:59 | |
Of the drugs that got him busted. | 0:47:59 | 0:48:01 | |
So why's it in OUR wardrobe? | 0:48:01 | 0:48:03 | |
Because I wanted to know why... | 0:48:11 | 0:48:12 | |
Seems pretty obvious, doesn't it? | 0:48:16 | 0:48:18 | |
What have you done, Jonah? | 0:48:29 | 0:48:30 | |
No, Laura, it's them. | 0:48:33 | 0:48:37 | |
What have they done? | 0:48:38 | 0:48:40 | |
Who? | 0:48:40 | 0:48:41 | |
Look. | 0:48:43 | 0:48:44 | |
What is it? | 0:48:48 | 0:48:51 | |
-It's a code. -Whose? | 0:48:52 | 0:48:55 | |
Ours. | 0:48:55 | 0:48:57 | |
I've been looking in the wrong direction. | 0:48:58 | 0:49:00 | |
It's not the drugs, it's the money - the money used to buy them! | 0:49:00 | 0:49:05 | |
-Jonah, I... -It's a police code, Laura. | 0:49:05 | 0:49:08 | |
What? | 0:49:09 | 0:49:11 | |
This money...is from our side. | 0:49:11 | 0:49:15 | |
-So give it back. -But that's not how it got here. | 0:49:17 | 0:49:19 | |
If Delaney got this from selling drugs, then who was buying? | 0:49:20 | 0:49:23 | |
-I don't know... -The police, Laura. | 0:49:25 | 0:49:28 | |
He was selling it to us. | 0:49:28 | 0:49:33 | |
So whose side are we on? | 0:49:41 | 0:49:43 | |
Can I have a private word? | 0:49:50 | 0:49:52 | |
I've been offered a shadow on a line. | 0:50:01 | 0:50:03 | |
-Whose line? -A guy called Joseph Bede. | 0:50:05 | 0:50:08 | |
-Never heard of him. -Isn't that the point? | 0:50:10 | 0:50:12 | |
What's he looking to bring in? | 0:50:15 | 0:50:16 | |
400 kilos of heroin, 70% pure. | 0:50:16 | 0:50:20 | |
Who's the shadow? | 0:50:23 | 0:50:24 | |
-How much does he want? -A quarter of a million. | 0:50:27 | 0:50:31 | |
Baked beans? | 0:50:32 | 0:50:33 | |
Pounds. | 0:50:33 | 0:50:35 | |
Hang on, there's a phrase people use for this. | 0:50:35 | 0:50:39 | |
It's funny, it's, em... | 0:50:39 | 0:50:41 | |
"Fuck you!" Yeah, that's it. | 0:50:41 | 0:50:43 | |
Fuck you! | 0:50:44 | 0:50:45 | |
COMPUTER KEYS CLICK | 0:51:02 | 0:51:05 | |
-Yes, that's one of our codes. -When? | 0:51:07 | 0:51:09 | |
-May the 5th last year. -How much was marked? | 0:51:09 | 0:51:12 | |
-I can't tell you that. -What can you tell me? | 0:51:13 | 0:51:15 | |
Whatever's not classified. | 0:51:15 | 0:51:17 | |
Is this operation still ongoing? | 0:51:17 | 0:51:19 | |
-We were never asked to locate the money. -Why not? | 0:51:23 | 0:51:27 | |
It was never initiated. | 0:51:27 | 0:51:29 | |
What does that mean? | 0:51:29 | 0:51:30 | |
Well, whoever had it smudged never asked us to trace them. | 0:51:32 | 0:51:35 | |
And who was that? | 0:51:35 | 0:51:36 | |
You lost a son. | 0:51:41 | 0:51:43 | |
(Yes, I did.) | 0:51:47 | 0:51:49 | |
That's terrible. | 0:51:49 | 0:51:52 | |
You log every access request? | 0:51:56 | 0:51:58 | |
-Yes. -Can you tell me the last person to ask to access that file? | 0:51:58 | 0:52:01 | |
Well, you were... | 0:52:05 | 0:52:07 | |
-..and a... -BOTH: Detective Sergeant Delaney. | 0:52:09 | 0:52:12 | |
See? They're geeks. | 0:52:12 | 0:52:14 | |
The reason no-one's here is cos they can talk to each other without even speaking. | 0:52:14 | 0:52:18 | |
I know why I got shot. | 0:52:29 | 0:52:32 | |
Harvey Wratten needed to get himself out of jail. | 0:52:36 | 0:52:38 | |
To do that, he got Gatehouse to buy up a huge amount of drugs and pass them on to Customs. | 0:52:38 | 0:52:43 | |
Delaney found out and wanted to get in on the act, | 0:52:43 | 0:52:45 | |
so he stole 30 kilos of heroin from a leaky property room and sold them on to Gatehouse | 0:52:45 | 0:52:49 | |
and when Customs got them, they gave them back to you. | 0:52:49 | 0:52:53 | |
How'd you know it was Delaney? | 0:52:53 | 0:52:56 | |
Silly boy tried to do it again. | 0:52:56 | 0:52:59 | |
One should always know when to quit. | 0:52:59 | 0:53:01 | |
So you decided to throw a blanket over it, | 0:53:01 | 0:53:04 | |
and that's where the story should have ended, and it would have | 0:53:04 | 0:53:08 | |
if Delaney hadn't decided to take a second chance to heart, | 0:53:08 | 0:53:11 | |
because that's when he showed me this. | 0:53:11 | 0:53:13 | |
The cash he got for the drugs was marked. | 0:53:18 | 0:53:20 | |
Gatehouse had been buying it all with police money. | 0:53:20 | 0:53:22 | |
So if Gatehouse was working for Harvey Wratten, | 0:53:22 | 0:53:26 | |
then Harvey Wratten was working for us. | 0:53:26 | 0:53:29 | |
And that's why I didn't log the operation the night we went out. | 0:53:32 | 0:53:35 | |
I didn't want anyone from our side to know we were looking, | 0:53:35 | 0:53:39 | |
but, as it turned out... | 0:53:39 | 0:53:41 | |
Someone already did. | 0:53:41 | 0:53:43 | |
And that's what got me shot. | 0:53:48 | 0:53:50 | |
Whoever it was had the money marked. | 0:53:50 | 0:53:52 | |
And his name will be on that file. | 0:53:52 | 0:53:55 | |
You pull the cord on that | 0:53:55 | 0:53:56 | |
and by the time you get to see it, it won't even exist. | 0:53:56 | 0:53:59 | |
No, your judgement was right in the first place. | 0:54:00 | 0:54:05 | |
The key to this... | 0:54:05 | 0:54:06 | |
..is Gatehouse. | 0:54:10 | 0:54:12 | |
HEART MONITOR BEEPS | 0:54:12 | 0:54:15 | |
Don't worry. | 0:54:46 | 0:54:48 | |
It'll be over in a heartbeat. | 0:54:50 | 0:54:52 | |
Beep... | 0:56:07 | 0:56:09 | |
Beep... | 0:56:12 | 0:56:13 | |
Beep... | 0:56:15 | 0:56:16 | |
Beep! | 0:56:16 | 0:56:18 | |
BONES CRUNCH | 0:56:21 | 0:56:22 | |
BONES CRACK | 0:56:24 | 0:56:25 | |
# Oh, hide me deeper | 0:58:25 | 0:58:33 | |
# In your peace further... # | 0:58:33 | 0:58:42 | |
Subtitles by Red Bee Media Ltd | 0:58:48 | 0:58:51 | |
E-mail [email protected] | 0:58:51 | 0:58:54 |