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-I love you. -Go now! -SHE SCREAMS | 0:00:02 | 0:00:03 | |
400 kilos, that's a heavy weight. Flowers won't cover it. | 0:00:03 | 0:00:06 | |
-I don't expect them to. -What do you expect? | 0:00:06 | 0:00:09 | |
-A change of plan. -Why are you doing this? | 0:00:09 | 0:00:11 | |
Ours is a dog-eat-dog world, and this dog's getting too tired to run. | 0:00:11 | 0:00:15 | |
-I might have a shadow on a line. Are you interested? -I'll need a name. | 0:00:22 | 0:00:25 | |
-Joseph Bede. -Never heard of him. -Isn't that the point? | 0:00:25 | 0:00:29 | |
It's a police code, Laura. | 0:00:29 | 0:00:30 | |
This money is from our side. | 0:00:30 | 0:00:33 | |
That's five million. I'll need 48 hours to get you the rest. | 0:00:33 | 0:00:36 | |
For that kind of a turnover, it's only polite to wait. | 0:00:36 | 0:00:40 | |
Maybe it's what you don't know that's keeping you alive. | 0:00:40 | 0:00:43 | |
Counterpoint. | 0:00:43 | 0:00:44 | |
Oh, my baby! | 0:00:45 | 0:00:47 | |
-Be sure to take your ashtray with you when you go. -What? | 0:00:50 | 0:00:53 | |
Richard, you've no-one to blame... | 0:00:53 | 0:00:55 | |
but yourself. | 0:00:55 | 0:00:57 | |
Beep! | 0:00:57 | 0:00:58 | |
This programme contains some strong language | 0:01:07 | 0:01:15 | |
This programme contains scenes which some viewers may find disturbing | 0:01:15 | 0:01:23 | |
# I'm a featherless bird | 0:01:35 | 0:01:41 | |
# In a sky so absurd | 0:01:41 | 0:01:47 | |
# Why, oh why | 0:01:49 | 0:01:55 | |
# Is there so much movement? | 0:01:55 | 0:02:02 | |
# Oh, hide me deeper | 0:02:07 | 0:02:15 | |
# In your peace further. # | 0:02:15 | 0:02:22 | |
STEADY BEEPING | 0:02:22 | 0:02:25 | |
It was designed to keep you breathing but you never wake up again. | 0:02:25 | 0:02:28 | |
Having fizzed your brain, it clears your system in minutes. | 0:02:28 | 0:02:30 | |
So if things had gone to plan, we would never have even known | 0:02:30 | 0:02:33 | |
to look because we would never have known it had happened. | 0:02:33 | 0:02:36 | |
She was going to piggyback his heartbeat while it took effect, then rig him back up once it had. | 0:02:36 | 0:02:41 | |
Clever plan, except sadly for her, it turned out to be a game of two halves. | 0:02:41 | 0:02:45 | |
-And her identity? -We were hoping that you might be able to help us with that. | 0:02:45 | 0:02:48 | |
Me? How? | 0:02:48 | 0:02:52 | |
There were no guards at the door. | 0:02:52 | 0:02:54 | |
Now, again, if nobody had known anything had happened, | 0:02:54 | 0:02:57 | |
no-one would have any reason to ask why the guards weren't there. | 0:02:57 | 0:03:01 | |
But that's not how it worked out, is it? | 0:03:01 | 0:03:03 | |
And now we have. | 0:03:03 | 0:03:05 | |
It was you, sir. | 0:03:06 | 0:03:08 | |
And what do you intend to do with that information? | 0:03:09 | 0:03:12 | |
I think more importantly, what is it that YOU intend to do? | 0:03:12 | 0:03:15 | |
Because one of the cleverest killers since the Borgias knows that you just tried to kill him. | 0:03:15 | 0:03:20 | |
So what do you think he's going to do next? | 0:03:20 | 0:03:23 | |
It's time to call the cops, sir! | 0:03:23 | 0:03:26 | |
Be careful who you call. Around here, no-one's who they seem. | 0:03:26 | 0:03:29 | |
Be with you in a second, Gabriel. | 0:03:32 | 0:03:34 | |
-Who is she? In the hospital. -One of mine. | 0:04:11 | 0:04:15 | |
The one you had on Glickman? | 0:04:15 | 0:04:17 | |
A little extra tab. And looking for him when he disappeared? | 0:04:17 | 0:04:22 | |
And I presume she's the one who "found" him? | 0:04:25 | 0:04:29 | |
Why'd you try to kill Gatehouse? | 0:04:38 | 0:04:40 | |
Things are getting messy. | 0:04:40 | 0:04:42 | |
Was it going to be me next? | 0:04:42 | 0:04:45 | |
You should never have let him get so close. | 0:04:47 | 0:04:49 | |
Wanted to see where he led. And here we are... | 0:04:49 | 0:04:53 | |
..sitting in your office. | 0:04:54 | 0:04:56 | |
Time to put your pictures in a box, don't you think? | 0:05:00 | 0:05:03 | |
Oh, and, er, whatever you do... | 0:05:10 | 0:05:11 | |
..don't make a fuss before you leave. | 0:05:13 | 0:05:15 | |
I could certainly make a noise about you. | 0:05:18 | 0:05:20 | |
But then it will just be me giving the eulogy at your funeral, | 0:05:20 | 0:05:24 | |
and I only want to be thinking nice thoughts. | 0:05:24 | 0:05:27 | |
See, that's the trouble with you and your "fast track". | 0:05:28 | 0:05:31 | |
When you hit a dead end, it's too late to brake. | 0:05:31 | 0:05:35 | |
You're out, David. | 0:05:42 | 0:05:43 | |
And if you want to start enjoying the benefits of your efforts | 0:05:43 | 0:05:47 | |
in your charming little cottage in the Dales... | 0:05:47 | 0:05:49 | |
..stay in line. | 0:05:51 | 0:05:53 | |
Or start running. | 0:05:53 | 0:05:54 | |
You've got no-one to blame but yourself. | 0:05:56 | 0:06:01 | |
What did you tell him? | 0:06:05 | 0:06:07 | |
Take an early bath. His pay scale, he can afford it. | 0:06:07 | 0:06:11 | |
-You going to throw another blanket on this? -No. No. | 0:06:11 | 0:06:13 | |
You can pick him up, give him a couple of days to collect his thoughts. | 0:06:13 | 0:06:17 | |
-I sense a promotion. -For you? | 0:06:17 | 0:06:19 | |
For both of us. You've got your man, Gabriel. | 0:06:19 | 0:06:22 | |
What if it doesn't end here? | 0:06:22 | 0:06:24 | |
Oh, but it does. | 0:06:25 | 0:06:28 | |
It ends. Here. | 0:06:28 | 0:06:30 | |
I've supported you up to now because I knew he was a bad fucker. | 0:06:33 | 0:06:36 | |
But go any further, you'll start fucking with me. | 0:06:36 | 0:06:39 | |
You've done brilliantly. Brilliantly. | 0:06:43 | 0:06:47 | |
Just like I knew you would. | 0:06:47 | 0:06:50 | |
But you should also know when to quit. | 0:06:50 | 0:06:52 | |
So quit now. | 0:06:53 | 0:06:55 | |
I think you're going to look pretty good in my suit. | 0:06:59 | 0:07:02 | |
What the fuck happened to you? | 0:07:10 | 0:07:12 | |
Well, I need the next payment, yeah? | 0:07:15 | 0:07:17 | |
-When? -Wednesday. | 0:07:17 | 0:07:20 | |
You'll have it. | 0:07:20 | 0:07:21 | |
So are we back in business? | 0:07:24 | 0:07:26 | |
I was never out. | 0:07:28 | 0:07:29 | |
You sitting this one out? | 0:07:39 | 0:07:41 | |
Yeah. Just like you told me. Do you remember? | 0:07:41 | 0:07:45 | |
It's interesting, though, isn't it? | 0:07:45 | 0:07:48 | |
Harris's death, Ratallack's deal, you taking over. | 0:07:48 | 0:07:54 | |
-It's almost like you planned the whole thing. -Shh, don't be so noisy. | 0:07:54 | 0:08:00 | |
What's your plan for me, Jay? | 0:08:03 | 0:08:05 | |
I ain't got one, Joe. | 0:08:05 | 0:08:08 | |
Just as long as you stick to yours. | 0:08:08 | 0:08:10 | |
Do you remember that rowing fella | 0:08:16 | 0:08:17 | |
who won all them Olympic medals, and he said that if he ever got back in a boat again, | 0:08:17 | 0:08:24 | |
then we should shoot him. | 0:08:24 | 0:08:26 | |
JOSEPH SIGHS Yeah. | 0:08:26 | 0:08:29 | |
He did though, didn't he? | 0:08:29 | 0:08:30 | |
Just so you know, | 0:08:35 | 0:08:36 | |
if he'd had said that to me, | 0:08:36 | 0:08:39 | |
I would've. | 0:08:39 | 0:08:42 | |
PHONE RINGS | 0:08:56 | 0:08:59 | |
Yeah? | 0:09:01 | 0:09:03 | |
We're on. | 0:09:03 | 0:09:05 | |
She didn't fall, Joseph. | 0:09:26 | 0:09:27 | |
Yes, she did. The nurse said she fell down the stairs. | 0:09:27 | 0:09:30 | |
She said she threw herself. | 0:09:30 | 0:09:32 | |
-No. -It does happen. | 0:09:34 | 0:09:35 | |
-I've seen it before. -But when I left her this morning she wasn't confused. She was quite calm. | 0:09:35 | 0:09:41 | |
Sometimes at this stage of the illness, the mist is kinder than when it clears. | 0:09:41 | 0:09:45 | |
But I'm not sure this is the right place for her any more. | 0:09:45 | 0:09:50 | |
You want to take her away. | 0:09:50 | 0:09:52 | |
This time it's a fall, next time it could be worse. | 0:09:54 | 0:10:00 | |
I think we should put her in care now, yes. | 0:10:00 | 0:10:02 | |
-I'm so sorry. -But I'm nearly there. | 0:10:02 | 0:10:05 | |
Nearly where? | 0:10:05 | 0:10:06 | |
I've got a plan. | 0:10:06 | 0:10:08 | |
-You can't beat this, Joseph. -We've got a plan. | 0:10:08 | 0:10:13 | |
Change it. | 0:10:15 | 0:10:18 | |
Change it now. | 0:10:18 | 0:10:20 | |
You know that journalist, McGovern? | 0:10:33 | 0:10:36 | |
He got killed. Motorbike. | 0:10:36 | 0:10:40 | |
Yeah. | 0:10:40 | 0:10:42 | |
Makes you think, though, doesn't it? | 0:10:44 | 0:10:46 | |
What of? | 0:10:50 | 0:10:51 | |
PHONE RINGS | 0:10:51 | 0:10:55 | |
Gabriel. | 0:10:55 | 0:10:56 | |
Oh. | 0:11:00 | 0:11:01 | |
Yeah, I'll be there. | 0:11:03 | 0:11:05 | |
I've got to go. | 0:11:09 | 0:11:11 | |
-Alone. -Why? | 0:11:12 | 0:11:15 | |
-It's Laura. -Oh. | 0:11:15 | 0:11:17 | |
-Commander Penney. -Are you alone? -Out here? | 0:11:42 | 0:11:44 | |
PENNEY SIGHS | 0:11:59 | 0:12:01 | |
It was me who gave Gatehouse the money. | 0:12:03 | 0:12:06 | |
Why? | 0:12:06 | 0:12:07 | |
-Because he worked for us. -Us? | 0:12:07 | 0:12:10 | |
Counterpoint. | 0:12:10 | 0:12:12 | |
I thought you worked for the police. | 0:12:12 | 0:12:14 | |
A secret cell. | 0:12:16 | 0:12:17 | |
Who set it up? | 0:12:20 | 0:12:21 | |
Paul Travis. | 0:12:24 | 0:12:25 | |
When he was Commissioner? | 0:12:25 | 0:12:26 | |
Head of Special Branch. | 0:12:26 | 0:12:29 | |
-Nineteen-seventy... -Nine. | 0:12:29 | 0:12:32 | |
-Oh. -No, it's not what you think. | 0:12:32 | 0:12:34 | |
We used the change of government to cover it, but they weren't involved. | 0:12:34 | 0:12:38 | |
-Although we did turn to Section Five. -What for? | 0:12:42 | 0:12:45 | |
-People. -Gatehouse. | 0:12:46 | 0:12:49 | |
-He's Secret Service. -Was. | 0:12:49 | 0:12:52 | |
He's Counterpoint. He has been for 30 years. | 0:12:54 | 0:12:57 | |
He runs it? | 0:12:57 | 0:12:59 | |
The field, yes. We run the money. | 0:12:59 | 0:13:02 | |
I thought you were retired. | 0:13:02 | 0:13:04 | |
I am now. | 0:13:05 | 0:13:07 | |
Khokar. | 0:13:07 | 0:13:09 | |
-And a man named Halton. -From Five? | 0:13:09 | 0:13:12 | |
-Moonlit. -And Paul Travis? | 0:13:13 | 0:13:17 | |
Dead. Years ago. | 0:13:17 | 0:13:20 | |
Cancer. | 0:13:20 | 0:13:22 | |
So just Khokar and this Halton. | 0:13:22 | 0:13:24 | |
No-one else? | 0:13:24 | 0:13:27 | |
What did it do? | 0:13:27 | 0:13:28 | |
Counterpoint? | 0:13:28 | 0:13:30 | |
-Initially, money laundering. -Who for? | 0:13:30 | 0:13:33 | |
It was set up to be a sting. | 0:13:36 | 0:13:38 | |
Gatehouse started with small dealers, | 0:13:38 | 0:13:41 | |
no idea who we were, but he'd gain their trust, turn their money. | 0:13:41 | 0:13:44 | |
Word spread, it grew. | 0:13:44 | 0:13:46 | |
Like a card game, as it got bigger, so did the players. | 0:13:46 | 0:13:51 | |
Finally we got to a deal of 70 million and with that... | 0:13:51 | 0:13:55 | |
we thought we could bring the house down. | 0:13:55 | 0:13:58 | |
So we went to the DPP, like good cops should. | 0:13:58 | 0:14:00 | |
For a strategy of arrest. | 0:14:00 | 0:14:03 | |
-What did he do? -He shut you down. -He said it would never stick in court. | 0:14:03 | 0:14:07 | |
Well, it's entrapment. | 0:14:07 | 0:14:08 | |
And as we'd shown him our hand, he told us to fold it with immediate effect. | 0:14:08 | 0:14:13 | |
So officially, we did as we were told. | 0:14:13 | 0:14:17 | |
-We shut it down. -Unofficially? | 0:14:17 | 0:14:20 | |
We made the deal. | 0:14:22 | 0:14:23 | |
70 million. | 0:14:25 | 0:14:26 | |
Into an account that didn't exist. And then what? | 0:14:28 | 0:14:32 | |
We decided to play again. | 0:14:35 | 0:14:37 | |
-But this time we decided to stack the deck in our favour. -How? | 0:14:37 | 0:14:41 | |
By buying the players in the first place. | 0:14:41 | 0:14:43 | |
-Harvey Wratten. -Actually, it was his money man, Peter Glickman. | 0:14:45 | 0:14:49 | |
Gatehouse found him. | 0:14:49 | 0:14:50 | |
We gave him the cash flow, he linked up with Wratten, | 0:14:50 | 0:14:54 | |
didn't tell him about us, and away they went. | 0:14:54 | 0:14:57 | |
200 million, turnover. | 0:14:57 | 0:15:00 | |
-Per annum? -Mostly. | 0:15:00 | 0:15:02 | |
40 million net. | 0:15:02 | 0:15:03 | |
Of which you took? | 0:15:03 | 0:15:05 | |
10% of all sales. | 0:15:06 | 0:15:08 | |
-Into Counterpoint. -Correct. It became completely self-financing. | 0:15:10 | 0:15:14 | |
-You still had to clean the money. -Oh, yes, and we did that too. | 0:15:14 | 0:15:18 | |
How? | 0:15:18 | 0:15:20 | |
Trust me, one day you're going to thank me for this. | 0:15:21 | 0:15:24 | |
Pensions. Insurance schemes. | 0:15:24 | 0:15:26 | |
Yours. Mine. | 0:15:26 | 0:15:29 | |
Everyone's who worked for the force. | 0:15:29 | 0:15:31 | |
This whole thing is about pensions? | 0:15:31 | 0:15:33 | |
For the benefit of all. | 0:15:33 | 0:15:35 | |
Really? | 0:15:36 | 0:15:38 | |
So does everyone get a boat like this, or did you tell yourself that when you bought it? | 0:15:38 | 0:15:42 | |
Without us to plug the gap, | 0:15:42 | 0:15:44 | |
the whole fund collapses. | 0:15:44 | 0:15:46 | |
It's government backed. | 0:15:46 | 0:15:47 | |
How many schemes need to fail before it isn't? | 0:15:47 | 0:15:50 | |
We look to the future, son, | 0:15:50 | 0:15:53 | |
which nobody else does. | 0:15:53 | 0:15:54 | |
You're dressing this up as altruism. How sick is that? | 0:15:54 | 0:15:57 | |
We provide. For the future. | 0:15:57 | 0:15:58 | |
-Your future. -Harvey Wratten didn't get one and he was one of yours. | 0:15:58 | 0:16:02 | |
Gatehouse gave him an opportunity to retire. He didn't take it. | 0:16:02 | 0:16:05 | |
So you made him by putting him in jail. | 0:16:05 | 0:16:08 | |
But then Glickman had this crisis of loyalty | 0:16:08 | 0:16:11 | |
and told him about us. | 0:16:11 | 0:16:13 | |
And Harvey threatened to tell everybody else unless we got him out, so get him out we did. | 0:16:13 | 0:16:18 | |
So then you gave the money to Gatehouse. | 0:16:18 | 0:16:20 | |
To buy drugs to give to Customs to get Harvey a royal pardon. | 0:16:20 | 0:16:23 | |
And when he got it, | 0:16:23 | 0:16:25 | |
I think we might have left it at that. | 0:16:25 | 0:16:28 | |
Everybody was so compromised, but Gatehouse... | 0:16:28 | 0:16:31 | |
decided to close Harvey's book. | 0:16:31 | 0:16:34 | |
So that's what he did. | 0:16:34 | 0:16:36 | |
And we've been cleaning up ever since. | 0:16:36 | 0:16:38 | |
So who had the money marked? | 0:16:54 | 0:16:55 | |
I did. | 0:16:59 | 0:17:00 | |
-Why? -Gatehouse. He was starting to behave like he was his own boss. | 0:17:00 | 0:17:04 | |
I thought he might be setting the whole thing up just to run away with it. | 0:17:04 | 0:17:08 | |
Turns out money wasn't his primary concern. | 0:17:08 | 0:17:11 | |
For him, it's all about control. | 0:17:11 | 0:17:14 | |
Isn't it ironic? | 0:17:16 | 0:17:18 | |
One bit of police work I actually did, | 0:17:18 | 0:17:20 | |
it's the bit that catches me out. | 0:17:20 | 0:17:22 | |
Because if you hadn't marked the money... | 0:17:22 | 0:17:24 | |
-Delaney wouldn't have spotted it. -And he wouldn't have told me. | 0:17:24 | 0:17:28 | |
And we wouldn't be here. | 0:17:29 | 0:17:30 | |
He's starting it again, you know. | 0:17:39 | 0:17:41 | |
Who? | 0:17:43 | 0:17:44 | |
Gatehouse. A whole new set of players. | 0:17:44 | 0:17:47 | |
Who are they? | 0:17:47 | 0:17:49 | |
You think you can stop this? He'll kill you. | 0:17:49 | 0:17:52 | |
-He hasn't yet. -You can't stop this. | 0:17:52 | 0:17:55 | |
That's what we were trying to do. | 0:17:55 | 0:17:56 | |
Look what's happened to me. | 0:17:56 | 0:17:59 | |
I can protect you. | 0:17:59 | 0:18:00 | |
It was foolish of me to think you'd even try. | 0:18:00 | 0:18:06 | |
I didn't want a cup of tea anyway. | 0:18:17 | 0:18:19 | |
No! NO! | 0:18:25 | 0:18:26 | |
GUN SHOT | 0:18:26 | 0:18:28 | |
KETTLE WHISTLES | 0:18:30 | 0:18:33 | |
That was pretty low, Gabriel. | 0:18:45 | 0:18:47 | |
I had to go alone. | 0:18:47 | 0:18:48 | |
You wouldn't have taken any other excuses. | 0:18:48 | 0:18:52 | |
-Don't you trust me? -Should I? Round here, no-one's who they seem. | 0:18:52 | 0:18:56 | |
-I'm a police officer. -Oh, yeah, that card thing. | 0:18:56 | 0:18:59 | |
-It doesn't really rub, though, does it? -Does with me. | 0:18:59 | 0:19:02 | |
Yeah? | 0:19:02 | 0:19:04 | |
-Me too. -Then we're together on this? | 0:19:06 | 0:19:09 | |
I thought, for you, this was just a job. | 0:19:10 | 0:19:12 | |
It is. With you. | 0:19:12 | 0:19:15 | |
Every step of the way. | 0:19:15 | 0:19:17 | |
Sir Richard Halton. | 0:19:30 | 0:19:33 | |
-Who are they? -I'm handing over. | 0:19:33 | 0:19:35 | |
What? Why? | 0:19:35 | 0:19:37 | |
Section Five. He was, they are. | 0:19:37 | 0:19:42 | |
So what have you got? | 0:19:42 | 0:19:44 | |
Well, it's been over 24 hours. | 0:19:44 | 0:19:46 | |
-He's suffered a blow to the rear left side of his head. -What kind of blow? | 0:19:46 | 0:19:50 | |
What kind? | 0:19:54 | 0:19:55 | |
It may well be consistent with a fall. | 0:19:55 | 0:19:58 | |
Consistent but not conclusive. | 0:19:58 | 0:20:00 | |
After they've finished there won't even be blood. | 0:20:00 | 0:20:03 | |
You know how they are with their own. | 0:20:03 | 0:20:05 | |
-What the fuck?! Where's Khokar? -He's disappeared. | 0:20:15 | 0:20:17 | |
-Put a CAW out on him. -I already have. | 0:20:17 | 0:20:19 | |
If we don't find him, that fucking lunatic-looking vicar will. | 0:20:19 | 0:20:23 | |
-Honey's your gun girl, right? -Yes. | 0:20:23 | 0:20:25 | |
-Have her stick to you like tassels to a stripper's nipples. -Sir, we should go to the press. | 0:20:25 | 0:20:29 | |
What with? A suicide and a domestic accident? | 0:20:29 | 0:20:32 | |
Find that fucking Gatehouse... | 0:20:32 | 0:20:33 | |
..before he buries us all. | 0:20:35 | 0:20:36 | |
What's going on here? | 0:20:48 | 0:20:50 | |
He's got a potential shadow on a line. | 0:20:54 | 0:20:57 | |
-Whose? -Harvey Wratten's successor. | 0:20:57 | 0:21:00 | |
His name's Joseph Bede. He runs a flower import business. | 0:21:00 | 0:21:03 | |
-He's clean, but he would be. -He'll bring it in in the flowers. | 0:21:03 | 0:21:07 | |
The trick is knowing which shipment. Get it wrong, you'll never get it right. | 0:21:07 | 0:21:11 | |
So who's the shadow? | 0:21:11 | 0:21:12 | |
-He's right at the centre, so he has to disappear for good. -How much is he looking for? | 0:21:12 | 0:21:16 | |
A quarter of a million. | 0:21:16 | 0:21:18 | |
I'm looking to shag Barack Obama, but some things we'll never get. | 0:21:18 | 0:21:21 | |
I thought we could get together - cops, customs - like the happy family we're supposed to be. | 0:21:21 | 0:21:26 | |
-If it's any consolation, I also hate my brother. -What's he bringing in? | 0:21:26 | 0:21:30 | |
400 kilos of heroin. Single shipment. | 0:21:30 | 0:21:32 | |
Street value, 22 million. | 0:21:32 | 0:21:34 | |
-He's starting it again... -Who? | 0:21:37 | 0:21:40 | |
What if I could get you the money? | 0:21:41 | 0:21:43 | |
All of it? | 0:21:45 | 0:21:46 | |
What if I could? | 0:21:46 | 0:21:49 | |
Then we get ourselves a shadow. | 0:21:49 | 0:21:51 | |
Mmm. Come, please sit down. | 0:21:54 | 0:21:58 | |
-You want some food? -No. | 0:22:02 | 0:22:04 | |
-You need to eat. -You sound like my dad. | 0:22:05 | 0:22:08 | |
THEY LAUGH | 0:22:08 | 0:22:10 | |
-Do I know your dad? -He was an arsehole. | 0:22:10 | 0:22:15 | |
An arsehole who wanted to see his son eat. | 0:22:15 | 0:22:18 | |
The thing is, I'm not much with family. | 0:22:20 | 0:22:23 | |
-No? -No. | 0:22:23 | 0:22:25 | |
Because with me it's either business or family. It can't be both. | 0:22:25 | 0:22:30 | |
Then you and I, I think, will have little in common. | 0:22:30 | 0:22:33 | |
Because you inherited your business from your father? | 0:22:33 | 0:22:37 | |
But the thing is, you didn't, though, did you? | 0:22:39 | 0:22:41 | |
You know, I've known you since I was like... | 0:22:51 | 0:22:53 | |
..like that big. | 0:22:55 | 0:22:56 | |
-And the truth is you've always been a bit of a hero of mine. -Hmmm. | 0:22:56 | 0:23:01 | |
If I could window my house with flattery, I wouldn't need the glass. | 0:23:01 | 0:23:04 | |
And I remember... | 0:23:07 | 0:23:09 | |
you had an elder brother. | 0:23:09 | 0:23:11 | |
Didn't you? | 0:23:11 | 0:23:14 | |
That's who your father left the business to. | 0:23:14 | 0:23:16 | |
But he was noisy, wasn't he? | 0:23:20 | 0:23:21 | |
Everywhere he went, everyone knew he was coming. | 0:23:21 | 0:23:25 | |
Until one day... | 0:23:25 | 0:23:27 | |
he just didn't turn up... ever again. | 0:23:27 | 0:23:31 | |
And then there you were. Shhh. | 0:23:31 | 0:23:33 | |
(Quietly taking control. | 0:23:33 | 0:23:38 | |
(Just like your family should have given it to you in the first place. | 0:23:40 | 0:23:45 | |
(It's hard though, isn't it? | 0:23:46 | 0:23:49 | |
(Waiting for that moment to come. | 0:23:50 | 0:23:52 | |
(I mean, that is strength. | 0:23:54 | 0:23:56 | |
(Real strength.) | 0:23:58 | 0:24:01 | |
Maybe you should have taken a little strength for yourself | 0:24:08 | 0:24:11 | |
before you went clucking back to your uncle with the cops in tow. | 0:24:11 | 0:24:14 | |
The thing is though, Mr Babur... Mr Babur... | 0:24:14 | 0:24:18 | |
..maybe I'd taken it already. | 0:24:20 | 0:24:23 | |
Maybe that's what I was doing all along. | 0:24:23 | 0:24:27 | |
Taking your lead. | 0:24:27 | 0:24:29 | |
It's never nice to watch an old man refusing to leave a disco, is it? | 0:24:32 | 0:24:38 | |
And I cannot tell you how many times Harvey had been asked to call it a night. | 0:24:38 | 0:24:44 | |
But he just kept on wiggling. | 0:24:44 | 0:24:47 | |
Silly old sod. | 0:24:47 | 0:24:49 | |
Until in the end, | 0:24:51 | 0:24:52 | |
someone had to bundle him off the dance floor. | 0:24:52 | 0:24:55 | |
You. | 0:24:59 | 0:25:01 | |
By leading the cops to him. | 0:25:03 | 0:25:06 | |
You understand, though, don't you? | 0:25:06 | 0:25:08 | |
Hmmm. | 0:25:08 | 0:25:10 | |
Family OR business. | 0:25:10 | 0:25:15 | |
So... | 0:25:19 | 0:25:21 | |
let's talk business. | 0:25:21 | 0:25:23 | |
You're giving it in. | 0:25:47 | 0:25:49 | |
I'm taking it back. | 0:25:49 | 0:25:51 | |
Where to? | 0:25:51 | 0:25:53 | |
Where it came from in the first place. | 0:25:53 | 0:25:55 | |
Jonah... | 0:25:55 | 0:25:57 | |
Laura, I still don't know who I am... | 0:26:06 | 0:26:08 | |
..or what I am. | 0:26:11 | 0:26:13 | |
What I've done to you is... | 0:26:15 | 0:26:17 | |
..unforgivable. I know that. | 0:26:19 | 0:26:21 | |
I want to start to make it better. | 0:26:24 | 0:26:26 | |
I want to make it all better for you. | 0:26:28 | 0:26:30 | |
And the baby. | 0:26:33 | 0:26:34 | |
Doing this | 0:26:39 | 0:26:42 | |
is the way I can. | 0:26:42 | 0:26:44 | |
I love you. | 0:26:49 | 0:26:50 | |
I thank you. | 0:27:29 | 0:27:31 | |
There's 230 there. | 0:27:34 | 0:27:35 | |
He can whistle for the rest. | 0:27:36 | 0:27:38 | |
Where did you get it from? | 0:27:39 | 0:27:41 | |
From where this all began. | 0:27:41 | 0:27:42 | |
But as far as you're concerned it doesn't exist. Do you understand? | 0:27:42 | 0:27:46 | |
Ooh. Are you offline on this then, Detective Inspector? | 0:27:46 | 0:27:50 | |
No, I'm right back on it. | 0:27:52 | 0:27:54 | |
ENGINE STARTS | 0:27:54 | 0:27:55 | |
200 minus my 10%. | 0:28:11 | 0:28:13 | |
What? | 0:28:14 | 0:28:16 | |
And if Julie Christie offered you one, would you still pull that face? | 0:28:19 | 0:28:23 | |
-OK. -Ah, ah, ah! | 0:28:25 | 0:28:28 | |
There's someone else you've got to kiss first. | 0:28:28 | 0:28:31 | |
So what's the story? | 0:28:46 | 0:28:47 | |
It's whatever you want it to be. | 0:28:49 | 0:28:51 | |
'Clear! | 0:29:12 | 0:29:13 | |
'Clear! | 0:29:19 | 0:29:22 | |
'Clear!' | 0:29:25 | 0:29:27 | |
Ohhh... I could arrest you for that. | 0:29:45 | 0:29:48 | |
You arrest someone? Now that is a laugh! | 0:29:48 | 0:29:52 | |
You knew it was a set-up! | 0:29:52 | 0:29:53 | |
No! How could I have known? | 0:29:53 | 0:29:54 | |
He's been working me for months. I'd have put my life on it. | 0:29:54 | 0:29:57 | |
Yeah. Well, maybe you just have! | 0:29:57 | 0:30:00 | |
Where is he? | 0:30:01 | 0:30:03 | |
You seriously expect me to know that? | 0:30:03 | 0:30:07 | |
Move on! Move on! | 0:30:09 | 0:30:11 | |
Yes, move on. | 0:30:15 | 0:30:16 | |
-I'm going to bust your arse! -FOLEY GROANS | 0:30:21 | 0:30:24 | |
You've been stung. | 0:30:26 | 0:30:28 | |
I have. | 0:30:28 | 0:30:29 | |
We all have. | 0:30:29 | 0:30:31 | |
It hurts, | 0:30:32 | 0:30:33 | |
but it happens. | 0:30:33 | 0:30:36 | |
You must know something. People like you always do! | 0:30:36 | 0:30:39 | |
Ooh, I think you've bust a rib. | 0:30:43 | 0:30:48 | |
Have you got a wife? | 0:30:53 | 0:30:55 | |
What? | 0:30:57 | 0:30:59 | |
Kids? | 0:30:59 | 0:31:01 | |
Are you threatening them? | 0:31:01 | 0:31:03 | |
No, but you are. | 0:31:03 | 0:31:06 | |
It's just a job, Beatty, it's just a job. | 0:31:06 | 0:31:10 | |
Yeah, and this is me doing it. | 0:31:10 | 0:31:13 | |
You just don't get it, do you, boy? | 0:31:16 | 0:31:19 | |
Do you know how long I've been in this business? | 0:31:22 | 0:31:24 | |
Almost 30 years now. And do you know how I get to survive this long? | 0:31:26 | 0:31:33 | |
It's by not knowing. | 0:31:33 | 0:31:35 | |
It's knowing gets you killed. | 0:31:38 | 0:31:40 | |
So do you know what I think you should do now? | 0:31:40 | 0:31:44 | |
You should go home. | 0:31:44 | 0:31:46 | |
Just go home in that car you're always checking, | 0:31:46 | 0:31:50 | |
but this time don't even bother to look. | 0:31:50 | 0:31:53 | |
When you get there, tell them you love them and that you're the luckiest man alive. | 0:31:53 | 0:31:57 | |
And it'll be true. Do you know why? | 0:31:57 | 0:32:00 | |
Because you never even got close. | 0:32:06 | 0:32:09 | |
FOLEY SPITS | 0:32:16 | 0:32:18 | |
Shit. | 0:32:21 | 0:32:22 | |
Magic. | 0:32:41 | 0:32:42 | |
It's all about getting them to look elsewhere. | 0:32:42 | 0:32:45 | |
-And never telling anyone how the trick was done. -Never. | 0:32:45 | 0:32:49 | |
Good. | 0:32:50 | 0:32:52 | |
And finally we are done. | 0:32:54 | 0:32:56 | |
We are. | 0:32:56 | 0:32:58 | |
What about your end buyer? | 0:33:00 | 0:33:02 | |
-Have you exchanged yet? -I do that next. | 0:33:02 | 0:33:04 | |
Five million. | 0:33:04 | 0:33:06 | |
Five million. | 0:33:06 | 0:33:07 | |
You don't want to go again? | 0:33:07 | 0:33:09 | |
No. | 0:33:09 | 0:33:11 | |
-Stick to the plan. -Yes. | 0:33:13 | 0:33:15 | |
It was a clever one. | 0:33:15 | 0:33:17 | |
Thank you. | 0:33:21 | 0:33:23 | |
How is your wife? | 0:33:33 | 0:33:34 | |
These are the ties to bind. | 0:33:38 | 0:33:41 | |
My daughter makes them. | 0:33:41 | 0:33:43 | |
Give one to your wife. Keep one yourself. | 0:33:43 | 0:33:45 | |
Then when you are alone, you will never be apart. | 0:33:45 | 0:33:49 | |
Remember I warned you if there is a human in a plan there will always be a flaw? | 0:33:51 | 0:33:56 | |
Yours is Jay Wratten | 0:33:56 | 0:33:58 | |
and he knows how your trick worked, so watch out. | 0:33:58 | 0:34:00 | |
I think he means to play one on you before you go. | 0:34:00 | 0:34:03 | |
Why? | 0:34:03 | 0:34:04 | |
Was it your Johnny Cash who said I'm giving up right before he came back? | 0:34:04 | 0:34:09 | |
It certainly wasn't me. | 0:34:09 | 0:34:10 | |
Isn't that what they all say? | 0:34:10 | 0:34:12 | |
Good luck, Joseph Bede. | 0:34:15 | 0:34:18 | |
-What you going to do with it? -Jay. | 0:34:34 | 0:34:37 | |
You're not... | 0:34:38 | 0:34:40 | |
No, but he's likely to try it on me. | 0:34:40 | 0:34:43 | |
I always knew he would. | 0:34:45 | 0:34:47 | |
You know you can't use that. | 0:34:50 | 0:34:52 | |
-It's marked. -So what are you going to do with it? | 0:34:54 | 0:34:56 | |
-You know, I was born near here. -Yeah? | 0:34:59 | 0:35:02 | |
Yeah. | 0:35:02 | 0:35:04 | |
Not like this. | 0:35:05 | 0:35:08 | |
It's a shithole. | 0:35:08 | 0:35:10 | |
I'm sorry I got too old. | 0:35:16 | 0:35:19 | |
At least you got there. | 0:35:19 | 0:35:21 | |
What am I going to do when you're gone? | 0:35:24 | 0:35:26 | |
Stick to the flowers. | 0:35:26 | 0:35:28 | |
No, it's a cut-throat business, that one. | 0:35:31 | 0:35:33 | |
Hello? | 0:35:57 | 0:35:59 | |
INAUDIBLE | 0:36:03 | 0:36:06 | |
ENTRY SYSTEM BUZZES | 0:36:06 | 0:36:08 | |
JOSEPH SOBS | 0:36:16 | 0:36:18 | |
She's in our care now. | 0:36:18 | 0:36:20 | |
-I'm sorry, Joseph. -I-I-It's not over. | 0:36:20 | 0:36:24 | |
It's not. | 0:36:25 | 0:36:27 | |
(It's all right, darling. I'm here. | 0:36:49 | 0:36:51 | |
(Let go of me. | 0:36:53 | 0:36:55 | |
(Let go. | 0:36:57 | 0:37:00 | |
(Please. | 0:37:12 | 0:37:13 | |
(Please. | 0:37:14 | 0:37:15 | |
(Let me go.) | 0:37:16 | 0:37:18 | |
JOSEPH DROPS THE KNIFE | 0:38:08 | 0:38:10 | |
JOSEPH SOBS | 0:38:15 | 0:38:17 | |
BANGING ON DOOR | 0:38:29 | 0:38:30 | |
Have you lost something? | 0:38:47 | 0:38:49 | |
Well? | 0:38:54 | 0:38:55 | |
With all the money you're about to collect, there is nothing you won't be able to buy. | 0:38:55 | 0:39:02 | |
Nothing. | 0:39:02 | 0:39:04 | |
Ready when you are...Joseph Bede. | 0:39:08 | 0:39:11 | |
Just a minute. | 0:39:13 | 0:39:14 | |
(I love you.) | 0:40:51 | 0:40:53 | |
You should go home. | 0:41:08 | 0:41:10 | |
This is my home. | 0:41:13 | 0:41:14 | |
PHONE RINGS | 0:41:16 | 0:41:18 | |
PHONE CONTINUES TO RING | 0:41:25 | 0:41:28 | |
Gabriel. | 0:41:38 | 0:41:39 | |
Working late, detective inspector? | 0:41:39 | 0:41:42 | |
It's you that keeps me up. | 0:41:45 | 0:41:46 | |
I can tell you where Khokar is, if that'll help you sleep. | 0:41:48 | 0:41:52 | |
If you can it means he's already dead. | 0:41:52 | 0:41:55 | |
There's more where he came from. | 0:41:56 | 0:41:58 | |
Like who? | 0:41:58 | 0:42:00 | |
We should meet. | 0:42:01 | 0:42:02 | |
You really think? | 0:42:02 | 0:42:04 | |
Yes, I really do. | 0:42:04 | 0:42:06 | |
The lines have changed, Gabriel. | 0:42:08 | 0:42:13 | |
Penney and Khokar, they tried to have me killed. | 0:42:13 | 0:42:16 | |
So now, my enemy's enemy... | 0:42:17 | 0:42:21 | |
Isn't that ironic... | 0:42:23 | 0:42:25 | |
..me calling you? | 0:42:26 | 0:42:29 | |
Where? | 0:42:29 | 0:42:30 | |
People don't do bad things just because they want to stroke a white cat. | 0:43:46 | 0:43:52 | |
All they thought they were doing was protecting their family. | 0:43:54 | 0:43:59 | |
And if you'd stayed within it, they would have protected you. | 0:43:59 | 0:44:02 | |
With a pension. | 0:44:04 | 0:44:06 | |
No-one else is going to pay it. | 0:44:07 | 0:44:09 | |
That's why they had to start it again. | 0:44:09 | 0:44:12 | |
To make sure it would continue. | 0:44:12 | 0:44:13 | |
You shot Harvey Wratten. | 0:44:19 | 0:44:20 | |
I shot Harvey Wratten. | 0:44:23 | 0:44:25 | |
And who did you get to take his place? | 0:44:26 | 0:44:28 | |
The one that got Harvey busted in the first place. | 0:44:28 | 0:44:32 | |
Jay Wratten. | 0:44:34 | 0:44:35 | |
Hidden depths, that one. | 0:44:35 | 0:44:40 | |
Plus a kid over on Bob Harris's side, quite a whizz with numbers. | 0:44:40 | 0:44:44 | |
The new Wratten and Glickman. And who's going to run them? | 0:44:46 | 0:44:50 | |
Why didn't you kill me when I was in hospital? | 0:44:57 | 0:44:59 | |
-You seem so good at it. -I would have. | 0:44:59 | 0:45:04 | |
-Khokar told me not to. -Why? | 0:45:04 | 0:45:07 | |
He'd been urged to change his mind. | 0:45:07 | 0:45:10 | |
By who? | 0:45:10 | 0:45:12 | |
Patterson. | 0:45:18 | 0:45:19 | |
Most people, they just see the surface. | 0:45:22 | 0:45:24 | |
Him, he looks to the bottom of the pond. | 0:45:24 | 0:45:30 | |
He certainly saw inside of you. | 0:45:30 | 0:45:32 | |
You work for him. | 0:45:34 | 0:45:36 | |
We've come to share the same sense of order. | 0:45:36 | 0:45:39 | |
By putting him up there? | 0:45:42 | 0:45:45 | |
And you beneath. | 0:45:45 | 0:45:47 | |
And how are you going to do that? | 0:45:53 | 0:45:54 | |
How are you going to stop me? | 0:45:56 | 0:45:57 | |
A gun. | 0:46:00 | 0:46:01 | |
Trained on you. | 0:46:04 | 0:46:07 | |
Now. | 0:46:07 | 0:46:08 | |
And all I have to do... | 0:46:08 | 0:46:11 | |
..is wave my hand... | 0:46:13 | 0:46:15 | |
..and she will shoot you. | 0:46:17 | 0:46:19 | |
Why are you doing this? | 0:46:33 | 0:46:35 | |
Because it matters. | 0:46:36 | 0:46:38 | |
For other people to see you? | 0:46:38 | 0:46:41 | |
Standing out there in all that bright, white light. | 0:46:43 | 0:46:46 | |
I'm sure it does matter. | 0:46:48 | 0:46:51 | |
The problem is, Jonah Gabriel, | 0:46:51 | 0:46:55 | |
that kind of glare... | 0:46:55 | 0:46:57 | |
..it just turns you blind. | 0:46:59 | 0:47:01 | |
Because all I have to do is this... | 0:47:04 | 0:47:08 | |
..and your light goes out. | 0:47:13 | 0:47:16 | |
No! | 0:47:27 | 0:47:29 | |
You'll get over it. | 0:48:37 | 0:48:38 | |
I'll live with that for the rest of my life. | 0:48:40 | 0:48:43 | |
Well, at least now when you hit 55, you'll be able to do it in style. | 0:48:43 | 0:48:47 | |
Leave the gun at Khokar's feet. Then come back here and get in the car. | 0:48:49 | 0:48:53 | |
Why? | 0:48:53 | 0:48:55 | |
It doesn't belong here. | 0:48:55 | 0:48:56 | |
Questions, questions... | 0:51:21 | 0:51:23 | |
which I'm sure Detective Inspector Honey can answer. | 0:51:23 | 0:51:26 | |
We are not looking for anyone else in pursuit of this inquiry. | 0:51:26 | 0:51:29 | |
So you believe Commander Khokar shot Detective Inspector Gabriel before hanging himself? | 0:51:29 | 0:51:34 | |
Yes. We do. | 0:51:34 | 0:51:37 | |
Because? | 0:51:37 | 0:51:38 | |
Because, Detective Inspector? | 0:51:41 | 0:51:43 | |
-You're really trying to rub it in, aren't you, Michelle? -It would be nice. | 0:51:43 | 0:51:47 | |
Because, as you have read in our statement, it appears DI Gabriel discovered | 0:51:47 | 0:51:51 | |
-that Commander Khokar had stolen a considerable sum of money from the department. -How much? | 0:51:51 | 0:51:56 | |
£250,000. | 0:51:56 | 0:51:58 | |
All in bent coppers? | 0:51:58 | 0:52:00 | |
TITTERING | 0:52:00 | 0:52:02 | |
We found Gabriel's car outside a remote cottage owned by Khokar | 0:52:02 | 0:52:06 | |
and the casings from the bullets used to kill him near a pathway leading up to it. | 0:52:06 | 0:52:10 | |
So whatever way YOU want to add it up, Michelle, it still cost one of my best officers his life. | 0:52:10 | 0:52:15 | |
And where is this money now? | 0:52:15 | 0:52:18 | |
We believe it was thrown from a rooftop in Central London, so where it is now... | 0:52:18 | 0:52:22 | |
Well, quite frankly, it could be in any one of our pockets. | 0:52:22 | 0:52:25 | |
So, you know, feel free to have a whip round! | 0:52:25 | 0:52:28 | |
Do you have any comment on the murder of Joseph Bede? | 0:52:28 | 0:52:31 | |
-The, er... The flower man? No. -But it is true that Customs | 0:52:32 | 0:52:35 | |
conducted an unsuccessful raid on his premises? | 0:52:35 | 0:52:38 | |
You'll have to ask them. They can give you a much fuller answer. | 0:52:38 | 0:52:41 | |
-Wasn't Bede murdered in the same way as Harvey Wratten? -When you're shot, you're shot. | 0:52:41 | 0:52:46 | |
-You don't think there's a connection? -Between what? -Between Bede's murder | 0:52:46 | 0:52:50 | |
and DI Gabriel's, given it was Harvey Wratten's murder Gabriel was investigating at the time? | 0:52:50 | 0:52:55 | |
We'd long since turned that particular page. | 0:52:55 | 0:52:57 | |
-I believe I was reading your newspaper when we did so. -So you don't see there's a connection? | 0:52:57 | 0:53:02 | |
Are you meaning all this in a Jungian sense? | 0:53:02 | 0:53:05 | |
You know what I mean, Commander. | 0:53:05 | 0:53:07 | |
Then for the record, there is absolutely no connection between Jonah Gabriel and Joseph Bede. | 0:53:09 | 0:53:15 | |
So now it's our turn. | 0:53:24 | 0:53:26 | |
Yeah. | 0:53:26 | 0:53:28 | |
How long's that going to last? | 0:53:28 | 0:53:31 | |
I think you know the answer to that already. | 0:53:31 | 0:53:34 | |
And if you don't, you should. | 0:53:34 | 0:53:36 | |
Twenty years, | 0:53:36 | 0:53:39 | |
then a head shot in the back of a car? | 0:53:39 | 0:53:42 | |
Not if you remember the rule. | 0:53:42 | 0:53:44 | |
Yeah... | 0:53:44 | 0:53:45 | |
..and what exactly is that? | 0:53:47 | 0:53:49 | |
Simple. | 0:53:49 | 0:53:51 | |
You, you're the threads. | 0:53:51 | 0:53:55 | |
But me... | 0:53:55 | 0:53:57 | |
..I'm the rope. | 0:53:59 | 0:54:00 | |
OK, Laura, you're doing really well. It's almost here. | 0:54:04 | 0:54:07 | |
I need one more big push from you. | 0:54:07 | 0:54:09 | |
Give me a push now. | 0:54:09 | 0:54:11 | |
LAURA SCREAMS | 0:54:11 | 0:54:15 | |
BABY CRIES | 0:54:15 | 0:54:17 | |
It's out. | 0:54:17 | 0:54:18 | |
Here's your boy. | 0:54:23 | 0:54:25 | |
Hello. | 0:54:29 | 0:54:31 | |
Hello. | 0:54:32 | 0:54:34 | |
LAURA SOBS | 0:54:38 | 0:54:41 | |
It's funny, but in my business you can't ever wash them enough! | 0:54:53 | 0:54:56 | |
Now then... | 0:54:58 | 0:55:01 | |
Let's take a look at you, little fella. | 0:55:01 | 0:55:03 | |
PATTERSON CHUCKLES | 0:55:11 | 0:55:13 | |
There you go. | 0:55:22 | 0:55:23 | |
Now, I look forward to welcoming you, little man. | 0:55:28 | 0:55:33 | |
You can't have him now. | 0:55:33 | 0:55:34 | |
No, well, let's wait a few years, at least until we can buy him a playsuit. | 0:55:34 | 0:55:39 | |
Jonah. | 0:55:39 | 0:55:40 | |
Mmm? | 0:55:40 | 0:55:42 | |
You can't have him now. | 0:55:42 | 0:55:44 | |
I don't follow. | 0:55:44 | 0:55:46 | |
He's mine. | 0:55:46 | 0:55:48 | |
In here. | 0:55:48 | 0:55:50 | |
In my memory. | 0:55:51 | 0:55:52 | |
And all I choose to remember | 0:55:52 | 0:55:56 | |
is the best of him. | 0:55:56 | 0:55:58 | |
And you can't take that from me. | 0:55:58 | 0:56:01 | |
Ever. | 0:56:01 | 0:56:04 | |
And you will never take my son. | 0:56:04 | 0:56:06 | |
I didn't kill your husband. | 0:56:13 | 0:56:15 | |
But it's what you represent that did. | 0:56:15 | 0:56:17 | |
And is that how you're going to bring him up? | 0:56:17 | 0:56:20 | |
-With Jonah on one side and us on the other? -He'll know right from wrong, yes. | 0:56:20 | 0:56:24 | |
And is it really that simple? | 0:56:24 | 0:56:26 | |
Yes, it is. | 0:56:28 | 0:56:30 | |
Do you know what, Mrs Gabriel, I don't think there's anyone - | 0:56:35 | 0:56:39 | |
you, me, your husband, even this little fellow here when he grows up - who can absolutely say, | 0:56:39 | 0:56:43 | |
without any shadow of a doubt, what side of the line they stand. | 0:56:43 | 0:56:48 | |
No, I think the best that any of us can ever hope for is... | 0:56:53 | 0:56:56 | |
..just to walk it. | 0:56:59 | 0:57:00 | |
I hope you like the room. | 0:57:14 | 0:57:16 | |
Jonah paid for it. | 0:57:18 | 0:57:19 | |
Yes, yes, he did. Of course, he did. | 0:57:19 | 0:57:22 | |
That's what insurance is for. | 0:57:22 | 0:57:24 | |
And it doesn't stop here, as you know. | 0:57:26 | 0:57:29 | |
So whatever you choose to tell him, we'll still make sure his every need is catered for. | 0:57:29 | 0:57:34 | |
Because if there's one thing you can be absolutely assured of, Mrs Gabriel... | 0:57:34 | 0:57:39 | |
..we always look after our own. | 0:57:41 | 0:57:44 | |
# I'm a featherless bird | 0:57:48 | 0:57:53 | |
# In a sky so absurd | 0:57:57 | 0:58:03 | |
# Why, oh, why | 0:58:07 | 0:58:13 | |
# Is there so much movement? | 0:58:13 | 0:58:23 | |
# Oh, hide me deeper | 0:58:24 | 0:58:31 | |
# In your peace further. # | 0:58:32 | 0:58:39 | |
Subtitles by Red Bee Media Ltd | 0:58:46 | 0:58:49 | |
E-mail [email protected] | 0:58:49 | 0:58:52 |