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This programme contains some strong language. | 0:00:02 | 0:00:06 | |
A dead child, Nick, with the same date of birth as you, | 0:00:06 | 0:00:08 | |
the same place of birth on his death certificate. | 0:00:08 | 0:00:10 | |
You were spying on me the first time you said you loved me? | 0:00:12 | 0:00:15 | |
When Michael told me there was drugs in his shoe, | 0:00:15 | 0:00:18 | |
I nearly took him right back to Customs! | 0:00:18 | 0:00:20 | |
Abigail Strickland was found dead two minutes away | 0:00:23 | 0:00:25 | |
from where I was supposed to talk to her about Michael Antwi. | 0:00:25 | 0:00:28 | |
She was coming to see me! | 0:00:28 | 0:00:30 | |
It's big. Nick is into something very dark. | 0:00:30 | 0:00:34 | |
So my question is, when it comes down to it, | 0:00:34 | 0:00:36 | |
which will you put first? | 0:00:36 | 0:00:38 | |
The story or Maya Cobbina? | 0:00:38 | 0:00:40 | |
I'm not going quietly. You have to go big. | 0:00:43 | 0:00:46 | |
Wasn't Rudy killed Mayor Anderson. | 0:00:46 | 0:00:48 | |
He was with me, fixing up a truck. | 0:00:48 | 0:00:49 | |
But now they've found a man who can prove Rudy didn't do it. | 0:00:49 | 0:00:52 | |
What's the name of the man? | 0:00:52 | 0:00:53 | |
Vernon Early. | 0:00:53 | 0:00:55 | |
When they pulled me out the cell and took me away... | 0:00:58 | 0:01:00 | |
..your boy wasn't dead. | 0:01:01 | 0:01:03 | |
She's not joining up any of the dots. | 0:01:03 | 0:01:05 | |
Much bigger. Much more dangerous. | 0:01:05 | 0:01:07 | |
Those are the people that should pay for Michael's death. | 0:01:07 | 0:01:10 | |
We've taken out an insurance policy. | 0:01:13 | 0:01:15 | |
On the whole family. | 0:01:15 | 0:01:17 | |
I don't know your name. | 0:01:17 | 0:01:18 | |
No. My name is Lola. | 0:01:18 | 0:01:20 | |
Vernon Early is dead. | 0:01:23 | 0:01:24 | |
He died of a heart attack in a police station. | 0:01:24 | 0:01:27 | |
You did this. | 0:01:27 | 0:01:28 | |
Who's next, Nick? | 0:01:29 | 0:01:30 | |
Maya. | 0:01:39 | 0:01:40 | |
Maya, please. | 0:01:43 | 0:01:44 | |
Again and again, men die in police custody. | 0:01:48 | 0:01:51 | |
There is a small fuss, | 0:01:51 | 0:01:52 | |
but the house doesn't come tumbling down like it should. | 0:01:52 | 0:01:55 | |
But this time they are frightened. This time they are behaving | 0:01:55 | 0:01:58 | |
like the world might just fall apart if they're not careful. | 0:01:58 | 0:02:01 | |
Why? Why Michael? | 0:02:01 | 0:02:04 | |
Why me? | 0:02:05 | 0:02:06 | |
I... I don't know. | 0:02:08 | 0:02:10 | |
Then there's no way back for us. | 0:02:17 | 0:02:19 | |
But I can find out. DOOR SLAMS SHUT | 0:02:19 | 0:02:21 | |
KNOCKING | 0:02:52 | 0:02:53 | |
Yes? | 0:02:53 | 0:02:54 | |
How did it go? | 0:02:54 | 0:02:55 | |
There won't be any prosecutions | 0:02:55 | 0:02:57 | |
of any police officers in the Antwi case. | 0:02:57 | 0:03:00 | |
It's not in the public interest. | 0:03:00 | 0:03:02 | |
DOOR OPENS | 0:03:38 | 0:03:39 | |
So that's it? | 0:03:39 | 0:03:41 | |
What? | 0:03:41 | 0:03:42 | |
It's over? | 0:03:42 | 0:03:43 | |
None of the coppers? | 0:03:45 | 0:03:47 | |
Where do you live? | 0:04:10 | 0:04:12 | |
Muswell Hill. | 0:04:12 | 0:04:13 | |
And how old are you? | 0:04:15 | 0:04:16 | |
22. | 0:04:17 | 0:04:18 | |
Are you happy? | 0:04:23 | 0:04:24 | |
No. | 0:04:27 | 0:04:28 | |
Do you want to have a wrestle with me? | 0:04:33 | 0:04:35 | |
Sure. But maybe we should go somewhere. | 0:04:35 | 0:04:39 | |
My house is nice. | 0:04:40 | 0:04:42 | |
OK. | 0:04:42 | 0:04:43 | |
OK. | 0:04:43 | 0:04:44 | |
Hello? | 0:04:51 | 0:04:51 | |
Hello? | 0:04:53 | 0:04:54 | |
Can we do it? Yeah. | 0:05:05 | 0:05:07 | |
GIGGLING | 0:05:10 | 0:05:12 | |
Take this off. | 0:05:25 | 0:05:27 | |
GIGGLING | 0:05:44 | 0:05:47 | |
# When I am with you There's no place I'd rather be | 0:05:54 | 0:05:57 | |
# No, no, no, no, no No place I'd rather be | 0:05:57 | 0:06:01 | |
# No, no, no, no, no No place I'd rather be... # | 0:06:01 | 0:06:05 | |
Dad? | 0:06:30 | 0:06:31 | |
This is Lola. | 0:06:31 | 0:06:32 | |
She's my best friend. | 0:06:33 | 0:06:34 | |
Oh! | 0:06:34 | 0:06:36 | |
Well, hello, Lola. | 0:06:42 | 0:06:44 | |
Hello. | 0:06:44 | 0:06:46 | |
You're doing the right thing. You think? | 0:06:48 | 0:06:51 | |
My father had a friend, a German Jew called Conrad. | 0:06:51 | 0:06:55 | |
He discovered after Conrad died that he'd been | 0:06:55 | 0:06:58 | |
a Sonderkommando at Auschwitz. Do you know what that is? | 0:06:58 | 0:07:01 | |
Yes, um, Jews who worked as guards. | 0:07:01 | 0:07:03 | |
Jews with a choice. Suicide or do what you're told. | 0:07:03 | 0:07:07 | |
They escorted people selected to die to the gas chambers, | 0:07:07 | 0:07:10 | |
and they didn't tell them. | 0:07:10 | 0:07:12 | |
They didn't say, "This is not a shower you're going to." | 0:07:12 | 0:07:15 | |
Why are you telling me this? | 0:07:15 | 0:07:17 | |
Telling the truth can be the opposite of a good idea. | 0:07:17 | 0:07:20 | |
John Halliday. | 0:07:22 | 0:07:24 | |
The CPS lawyer who was at the police station | 0:07:24 | 0:07:27 | |
the night that Michael Antwi died. | 0:07:27 | 0:07:29 | |
Mm-hmm? What's the issue? | 0:07:29 | 0:07:32 | |
He took a very early decision to charge Peter Mackie, | 0:07:32 | 0:07:36 | |
even though the evidence was unclear and there were some obvious holes. | 0:07:36 | 0:07:39 | |
Why are you asking me about this? | 0:07:39 | 0:07:42 | |
Well, I was wondering if it would be embarrassing to you | 0:07:42 | 0:07:45 | |
if we took a better look at him. | 0:07:45 | 0:07:47 | |
Why would it be? | 0:07:47 | 0:07:48 | |
He's a very senior CPS lawyer on your watch. | 0:07:49 | 0:07:52 | |
Are you embarrassed? | 0:07:52 | 0:07:54 | |
No. | 0:07:54 | 0:07:55 | |
Then neither am I. | 0:07:55 | 0:07:57 | |
What do you think of him? | 0:07:59 | 0:08:00 | |
We've never met. | 0:08:02 | 0:08:03 | |
Tea? Coffee? | 0:08:05 | 0:08:06 | |
Is there something you want to say? | 0:08:25 | 0:08:28 | |
Michael Antwi was a drugs mule. | 0:08:37 | 0:08:40 | |
He came through Heathrow with a stash. | 0:08:42 | 0:08:44 | |
Personal use? | 0:08:48 | 0:08:49 | |
Intent to supply. | 0:08:51 | 0:08:52 | |
There's more, isn't there? | 0:08:56 | 0:08:57 | |
Yes. | 0:09:01 | 0:09:02 | |
Mrs Antwi, she knew. | 0:09:07 | 0:09:08 | |
Later? | 0:09:10 | 0:09:11 | |
No, at the time. She knew that her son was importing. | 0:09:11 | 0:09:15 | |
The saintly Mrs A. | 0:09:19 | 0:09:20 | |
Not so saintly after all. | 0:09:23 | 0:09:24 | |
Thank you. | 0:09:28 | 0:09:29 | |
That wasn't easy, was it? | 0:09:31 | 0:09:33 | |
What's, er, what's happening with the Abigail murder? | 0:09:36 | 0:09:39 | |
How do you mean? | 0:09:41 | 0:09:42 | |
Where's the investigation going? | 0:09:43 | 0:09:45 | |
I don't know. Why not? | 0:09:47 | 0:09:49 | |
Oh, Jesus Christ. | 0:09:51 | 0:09:53 | |
Jesus Christ. You know what this is like, | 0:09:54 | 0:09:57 | |
you know how vulnerable I am, and, and what? Silence. | 0:09:57 | 0:10:00 | |
Oh, you know what? Forget it. Forget it. | 0:10:03 | 0:10:06 | |
I am done with this shit, I'm out. | 0:10:06 | 0:10:09 | |
Wait. | 0:10:14 | 0:10:16 | |
I was a paedophile. | 0:10:23 | 0:10:24 | |
They all came to me and I set them up with what they wanted. | 0:10:25 | 0:10:29 | |
Girls. | 0:10:31 | 0:10:33 | |
Boys. | 0:10:33 | 0:10:34 | |
Pick and mix. | 0:10:35 | 0:10:36 | |
I was the Woolworths of depravity. | 0:10:38 | 0:10:40 | |
And they were arrested when they went to the rendezvous? | 0:10:41 | 0:10:44 | |
Yeah. | 0:10:45 | 0:10:46 | |
So you were locking up monsters. | 0:10:46 | 0:10:48 | |
Two things about paedophiles... | 0:10:48 | 0:10:50 | |
They really feel they're offering love. | 0:10:53 | 0:10:55 | |
And they feel really sorry for themselves when they're caught. | 0:10:57 | 0:11:00 | |
What happened? | 0:11:08 | 0:11:09 | |
My whole life became the paedo unit. | 0:11:14 | 0:11:16 | |
"Just be home for bath time," my wife said, "that's all I want. | 0:11:19 | 0:11:23 | |
"Bath and bed, then the children will feel like they have a father." | 0:11:23 | 0:11:27 | |
I couldn't go home without crying. | 0:11:29 | 0:11:30 | |
And I couldn't cry, because... | 0:11:32 | 0:11:34 | |
Because we don't do that, do we? | 0:11:37 | 0:11:38 | |
And I couldn't explain it, so I stopped coming home. | 0:11:40 | 0:11:45 | |
Do you see your children now? | 0:11:49 | 0:11:51 | |
I know you much, much better than I know my children. | 0:11:54 | 0:11:58 | |
I need to know what I'm doing. | 0:12:01 | 0:12:03 | |
I can't go on without knowing why I am spying on my own wife. | 0:12:05 | 0:12:08 | |
My job is to keep you happy. | 0:12:13 | 0:12:14 | |
If you're unhappy, then I have failed. | 0:12:17 | 0:12:20 | |
So help me. | 0:12:20 | 0:12:22 | |
Why do I matter so much? | 0:12:23 | 0:12:25 | |
The Fever Club. One o'clock, tomorrow afternoon. | 0:12:29 | 0:12:34 | |
Knowingly importing cannabis with her son. | 0:12:41 | 0:12:45 | |
This came from Corrigan? | 0:12:46 | 0:12:47 | |
Indirectly. | 0:12:47 | 0:12:49 | |
It has to have come from Nick. | 0:12:49 | 0:12:50 | |
Why are you so sure? | 0:12:50 | 0:12:52 | |
Mrs Antwi lived with them after Michael died. | 0:12:52 | 0:12:55 | |
They were like a surrogate family to her. She must have told him. | 0:12:55 | 0:12:58 | |
What are you thinking? | 0:12:58 | 0:13:00 | |
How many coppers do you know? | 0:13:00 | 0:13:01 | |
Dozens. Why? | 0:13:01 | 0:13:03 | |
I pay them for stories. Or the newspaper does, or did. | 0:13:03 | 0:13:07 | |
Back-scratching. | 0:13:07 | 0:13:08 | |
Oh, yeah. | 0:13:08 | 0:13:10 | |
You scratch mine, I'll scratch yours. | 0:13:10 | 0:13:12 | |
Yeah, yeah. | 0:13:12 | 0:13:13 | |
The press and the police. Corrigan. | 0:13:13 | 0:13:16 | |
And Nick. | 0:13:16 | 0:13:18 | |
He's a copper? | 0:13:19 | 0:13:20 | |
Nick's a copper. | 0:13:21 | 0:13:23 | |
Oh, God. | 0:13:24 | 0:13:25 | |
Oh, God. He's an undercover police officer, isn't he? | 0:13:25 | 0:13:29 | |
Fuck. | 0:13:30 | 0:13:32 | |
DOOR OPENS AND CLOSES | 0:13:32 | 0:13:35 | |
Where have you been? | 0:13:43 | 0:13:45 | |
Um... | 0:13:47 | 0:13:49 | |
I've been to see my handler. | 0:13:49 | 0:13:51 | |
What did you tell him? | 0:13:59 | 0:14:00 | |
That Michael Antwi was a drug importer, | 0:14:02 | 0:14:04 | |
and that Mrs Antwi knew what he was doing. | 0:14:04 | 0:14:07 | |
Oh, God. | 0:14:11 | 0:14:13 | |
Ohh... | 0:14:13 | 0:14:15 | |
It was the biggest thing I had to give. | 0:14:16 | 0:14:18 | |
There's nothing I won't do for them. | 0:14:20 | 0:14:22 | |
I'm their man. | 0:14:26 | 0:14:27 | |
They believe in me. | 0:14:28 | 0:14:30 | |
They... They BELIEVE they can trust me completely. | 0:14:30 | 0:14:34 | |
What are you... What are you saying? | 0:14:36 | 0:14:41 | |
You need someone at the heart of the story, on the inside, | 0:14:42 | 0:14:45 | |
gathering all the evidence. | 0:14:45 | 0:14:47 | |
You. | 0:14:51 | 0:14:52 | |
I am on your side. | 0:14:53 | 0:14:54 | |
I can work for you now. | 0:14:57 | 0:14:59 | |
They trust you. | 0:15:03 | 0:15:04 | |
All you have to do is...trust me. | 0:15:10 | 0:15:15 | |
We're being fed. | 0:15:19 | 0:15:21 | |
Why would they do that? What? | 0:15:21 | 0:15:22 | |
Because this isn't the real thing. | 0:15:22 | 0:15:24 | |
The real story is bigger and they can kill it with this. | 0:15:24 | 0:15:28 | |
The Director of Public Prosecutions | 0:15:29 | 0:15:32 | |
is married to an undercover police officer. | 0:15:32 | 0:15:34 | |
That's our big, that's our story. | 0:15:34 | 0:15:36 | |
What does it tell you if Corrigan is giving us something this big? | 0:15:36 | 0:15:39 | |
How big does that make the story he doesn't want us to have? | 0:15:39 | 0:15:42 | |
I can't find the Scotsman. I've never had this before. | 0:15:49 | 0:15:52 | |
Who the hell is he? | 0:15:52 | 0:15:53 | |
Keep following Nick. He's going to take us up the ladder. | 0:15:54 | 0:15:57 | |
Aargh! | 0:16:35 | 0:16:39 | |
What happened? | 0:17:04 | 0:17:06 | |
I was running and I didn't see the kerb, I tripped, you know, | 0:17:06 | 0:17:11 | |
went down. I put my hand out to break my fall and... | 0:17:11 | 0:17:13 | |
Like some stupid cartoon, innit? | 0:17:16 | 0:17:17 | |
Get it seen to. | 0:17:19 | 0:17:21 | |
Yeah. | 0:17:22 | 0:17:23 | |
I know why you're here. | 0:17:26 | 0:17:27 | |
You going to tell me, or...? | 0:17:34 | 0:17:35 | |
It's written all over you. | 0:17:35 | 0:17:36 | |
There was a UC inside the Richardson family. | 0:17:41 | 0:17:44 | |
Did you know that? | 0:17:45 | 0:17:46 | |
Yeah. Charlie had a personal pilot for his private jet, | 0:17:46 | 0:17:51 | |
he was Old Bill. | 0:17:51 | 0:17:52 | |
The stress was unbelievable. | 0:17:54 | 0:17:55 | |
Inside the IRA, very tough. | 0:17:57 | 0:17:59 | |
None of them came out emotionally intact. | 0:18:01 | 0:18:04 | |
But spying on your own wife? | 0:18:06 | 0:18:08 | |
Probably the hardest of the lot. | 0:18:10 | 0:18:12 | |
We are very grateful. | 0:18:15 | 0:18:17 | |
Is that it? | 0:18:18 | 0:18:19 | |
Is that it? "Thank you"? | 0:18:20 | 0:18:22 | |
"Thank you for all you've been doing"? | 0:18:22 | 0:18:25 | |
I am betraying my wife every day, and what do you give me in return? | 0:18:25 | 0:18:30 | |
Loud and clear, you don't trust me. | 0:18:30 | 0:18:32 | |
Has she ever suspected? | 0:18:35 | 0:18:36 | |
No. | 0:18:36 | 0:18:38 | |
Are you sure about that? I'm sure. | 0:18:38 | 0:18:40 | |
I did think about what would happen if she did find out. | 0:18:43 | 0:18:46 | |
And... | 0:18:49 | 0:18:50 | |
..I would die. | 0:18:53 | 0:18:54 | |
Do you know that? | 0:18:54 | 0:18:55 | |
It would feel like dying, anyway. | 0:18:59 | 0:19:01 | |
That's the risk I run for you. | 0:19:03 | 0:19:04 | |
Your man in the, the Richardson family, he knew what he was doing. | 0:19:07 | 0:19:14 | |
That bloke in the IRA, same thing. | 0:19:15 | 0:19:17 | |
I don't know what I'm FOR. | 0:19:19 | 0:19:21 | |
I gave you Abi. | 0:19:26 | 0:19:27 | |
I gave up one of our own for you. | 0:19:28 | 0:19:30 | |
You've made me part of a conspiracy to murder. | 0:19:30 | 0:19:33 | |
I gave you Michael's mum, man. | 0:19:34 | 0:19:36 | |
Michael's mum, who is probably... | 0:19:37 | 0:19:39 | |
..probably the best human being I have ever met. | 0:19:41 | 0:19:44 | |
How much more of me do you want without telling me | 0:19:47 | 0:19:49 | |
what this is all for? | 0:19:49 | 0:19:51 | |
You tell your Scotch guv'nor I don't need his protection, | 0:20:52 | 0:20:55 | |
especially from a total amateur like you. I'm not... | 0:20:55 | 0:20:59 | |
What? You're not what? | 0:20:59 | 0:21:01 | |
Who are you? | 0:21:05 | 0:21:07 | |
You're press. | 0:21:11 | 0:21:13 | |
He's wobbling. | 0:21:19 | 0:21:21 | |
Christ. | 0:21:21 | 0:21:22 | |
Now? Just when... | 0:21:23 | 0:21:25 | |
He's right on the edge. | 0:21:26 | 0:21:28 | |
Is it, is it time? | 0:21:33 | 0:21:34 | |
Let me hear you say it, Halliday. | 0:21:36 | 0:21:38 | |
You know... | 0:21:41 | 0:21:42 | |
What? | 0:21:42 | 0:21:44 | |
Not yet. | 0:21:48 | 0:21:49 | |
That's plan B. | 0:21:49 | 0:21:50 | |
Plan A? | 0:21:50 | 0:21:51 | |
Let him know how much we need him, | 0:21:51 | 0:21:53 | |
and a little bit of why. | 0:21:53 | 0:21:55 | |
Meaning? | 0:21:55 | 0:21:56 | |
Get him Greenlaw. | 0:21:56 | 0:21:57 | |
Sure. | 0:22:04 | 0:22:05 | |
HE GROANS | 0:22:22 | 0:22:24 | |
Why does he need to see me? | 0:22:30 | 0:22:31 | |
Because you're impressive. | 0:22:31 | 0:22:34 | |
What's that supposed to mean? | 0:22:34 | 0:22:35 | |
You sleep with all sorts of women half your age | 0:22:35 | 0:22:37 | |
who are not your wife, for example. | 0:22:37 | 0:22:40 | |
I don't think they're doing that just because of your looks. | 0:22:40 | 0:22:43 | |
Power impresses. | 0:22:43 | 0:22:44 | |
"Call me Minister, bitch." One of your lines, I'm told. | 0:22:46 | 0:22:49 | |
I'm not frightened of you, spook. | 0:22:49 | 0:22:50 | |
You should be. You're all bluff. | 0:22:50 | 0:22:52 | |
It's a long way down your nose to me. | 0:22:52 | 0:22:54 | |
I'm not seeing him. I won't risk it. | 0:22:54 | 0:22:56 | |
I'm only going to say this once. | 0:22:56 | 0:22:58 | |
You do what I say or I will cut your smaller-than-average penis off, | 0:22:59 | 0:23:04 | |
chop it up and send slices of spotted dick | 0:23:04 | 0:23:07 | |
to all the women in your life. | 0:23:07 | 0:23:08 | |
METAL DETECTOR BEEPS | 0:23:36 | 0:23:38 | |
Oh, sorry. | 0:23:38 | 0:23:40 | |
I forgot. | 0:23:42 | 0:23:43 | |
Mr Johnson? | 0:23:59 | 0:24:00 | |
Here's your pass. Thanks. | 0:24:01 | 0:24:03 | |
Please, follow me. | 0:24:03 | 0:24:04 | |
KNOCKING | 0:24:17 | 0:24:19 | |
Yeah. | 0:24:19 | 0:24:20 | |
Mr Johnson to see you, Minister. | 0:24:20 | 0:24:22 | |
So it must stop you from swimming. | 0:24:27 | 0:24:30 | |
Er, yeah. | 0:24:31 | 0:24:33 | |
Running. | 0:24:33 | 0:24:34 | |
How do you know? | 0:24:36 | 0:24:38 | |
The plaster. | 0:24:38 | 0:24:39 | |
Yeah, right. But I mean, how do you know I'm a triathlete? | 0:24:39 | 0:24:44 | |
I'm well-briefed. | 0:24:44 | 0:24:45 | |
By who? | 0:24:45 | 0:24:47 | |
You all talk to each other? | 0:24:50 | 0:24:51 | |
We are very grateful for what you do. | 0:24:52 | 0:24:55 | |
Now, I know it's impossible for any public recognition to come your way, | 0:24:55 | 0:24:59 | |
so this is the best we can do, I'm afraid. | 0:24:59 | 0:25:03 | |
But what have I done? | 0:25:03 | 0:25:05 | |
What am I for? | 0:25:07 | 0:25:09 | |
We've been working for this moment. | 0:25:10 | 0:25:13 | |
Together we've been making sure that police officers | 0:25:13 | 0:25:16 | |
who made a small mistake a very long time ago are not put on trial. | 0:25:16 | 0:25:22 | |
Why not? | 0:25:24 | 0:25:25 | |
We live in a tolerant society, and none of us want to disturb that. | 0:25:26 | 0:25:31 | |
And after 20 years, we are so glad that the DPP | 0:25:31 | 0:25:34 | |
understands how right we've been. | 0:25:34 | 0:25:36 | |
So I give information to my handler, | 0:25:37 | 0:25:41 | |
and it works its way all the way up to you. | 0:25:41 | 0:25:46 | |
And the world is a safer place. | 0:25:47 | 0:25:49 | |
Yes. | 0:25:53 | 0:25:54 | |
I got it. | 0:25:58 | 0:26:00 | |
I got it. | 0:26:01 | 0:26:03 | |
DOOR OPENS | 0:26:06 | 0:26:07 | |
There's something else. | 0:26:15 | 0:26:17 | |
It's time you knew... | 0:26:22 | 0:26:24 | |
about Michael Antwi. | 0:26:24 | 0:26:25 | |
Aaah! | 0:27:10 | 0:27:11 | |
'Maya, it's me. Uh...' | 0:27:33 | 0:27:35 | |
'I didn't get it. | 0:27:37 | 0:27:38 | |
'The listening device didn't work. I'm, I'm sorry.' | 0:27:38 | 0:27:41 | |
I don't believe you. | 0:27:43 | 0:27:44 | |
Maya? No, Maya, Maya! | 0:27:44 | 0:27:46 | |
You didn't bring the daughter this time. | 0:28:25 | 0:28:27 | |
Maya. | 0:28:27 | 0:28:28 | |
Pity. | 0:28:30 | 0:28:31 | |
I'm really sorry she didn't get to know Vernon Early | 0:28:31 | 0:28:34 | |
better before he passed. | 0:28:34 | 0:28:35 | |
You know, I, I just wonder what gets you up in the morning? | 0:28:35 | 0:28:38 | |
Well, this morning I'm thinking, | 0:28:40 | 0:28:42 | |
"Well, here I am in Washington and I'm going to the highest | 0:28:42 | 0:28:46 | |
"court in the land. But God only knows what we're doing here. | 0:28:46 | 0:28:50 | |
Because, rest his soul, Mr Early isn't with us any more | 0:28:50 | 0:28:54 | |
So what? | 0:28:54 | 0:28:56 | |
We here to watch Maya Cobbina beg for mercy? | 0:28:56 | 0:28:59 | |
Come on. | 0:29:05 | 0:29:06 | |
Right. We don't have Vernon, so we don't have the truth. | 0:29:19 | 0:29:23 | |
So what are we doing? | 0:29:24 | 0:29:26 | |
We're going big. | 0:29:29 | 0:29:30 | |
Miss Cobbina? | 0:29:49 | 0:29:50 | |
Yes. 20 minutes at the podium. Not a second more. | 0:29:50 | 0:29:53 | |
We'll cut you off if you go over. | 0:29:53 | 0:29:55 | |
Do you want a light? | 0:29:55 | 0:29:56 | |
Er, yes, please, um, two minutes, then one. | 0:29:56 | 0:29:58 | |
OK. Red light means your time's up. I'll get them in. | 0:29:58 | 0:30:01 | |
All rise. | 0:30:05 | 0:30:07 | |
Please be seated. | 0:30:18 | 0:30:19 | |
Miss Cobbina. | 0:30:22 | 0:30:23 | |
SHE CLEARS HER THROAT | 0:30:29 | 0:30:31 | |
The death penalty is unconstitutional, | 0:30:38 | 0:30:41 | |
because it is in breach of the Eighth Amendment, | 0:30:41 | 0:30:43 | |
forbidding cruel and unusual punishments. | 0:30:43 | 0:30:46 | |
Something that the Constitution contemplates | 0:30:46 | 0:30:49 | |
can't be unconstitutional, Ms Cobbina. | 0:30:49 | 0:30:51 | |
Like slavery? | 0:30:51 | 0:30:53 | |
I'm sorry, what's the connection? | 0:30:53 | 0:30:56 | |
The original text of the Constitution | 0:30:56 | 0:30:58 | |
contemplates that a slave was valued at three-fifths of a person. | 0:30:58 | 0:31:02 | |
So...? So the Constitution has amendments | 0:31:02 | 0:31:06 | |
because the world changes. | 0:31:06 | 0:31:08 | |
Slavery was wrong, but our founding fathers | 0:31:08 | 0:31:11 | |
didn't realise quite how wrong back then. | 0:31:11 | 0:31:13 | |
The Constitution was written on paper by ordinary mortals, | 0:31:15 | 0:31:18 | |
not in stone by supermen, which is why it evolves, | 0:31:18 | 0:31:22 | |
which is why it has amendments, including the eighth. | 0:31:22 | 0:31:24 | |
I don't need a lecture on constitutional theory from you. | 0:31:24 | 0:31:27 | |
Every American has the right and obligation | 0:31:27 | 0:31:31 | |
to read and interpret the Constitution for himself. | 0:31:31 | 0:31:34 | |
That's pompous. And patronising. | 0:31:34 | 0:31:37 | |
It's Thomas Jefferson. | 0:31:37 | 0:31:38 | |
I'm an Englishwoman, | 0:31:39 | 0:31:41 | |
and I know the Constitution of the United States backwards. | 0:31:41 | 0:31:44 | |
Not because I'm a lawyer, | 0:31:44 | 0:31:46 | |
but because I love the language it contains. | 0:31:46 | 0:31:49 | |
Its genius is that its, its words are unrestricted by history, | 0:31:49 | 0:31:56 | |
tradition, precedent. | 0:31:56 | 0:31:58 | |
Their genius is that they leave all of us - | 0:31:58 | 0:32:01 | |
people, lawyers, Justices - | 0:32:01 | 0:32:02 | |
free to take meaning not from reading the Constitution | 0:32:02 | 0:32:05 | |
but from reading life. | 0:32:05 | 0:32:07 | |
Why don't you get to the substance of your argument? | 0:32:07 | 0:32:09 | |
The fact of being on death row is cruel and unconstitutional. | 0:32:09 | 0:32:14 | |
Prisoners on death row, | 0:32:15 | 0:32:16 | |
including those who say they are innocent, are, are abandoning | 0:32:16 | 0:32:20 | |
appeals against execution because they can't take it any more. | 0:32:20 | 0:32:22 | |
Um, Javier Suarez Medina in Texas was asked on 11 occasions | 0:32:22 | 0:32:28 | |
how he'd like his bodily remains disposed of. | 0:32:28 | 0:32:30 | |
Larry Lonchar in Georgia was 58 seconds away from execution | 0:32:30 | 0:32:34 | |
when it was stayed. | 0:32:34 | 0:32:35 | |
This evidence is anecdotal. | 0:32:35 | 0:32:37 | |
The last ten executions in Florida, the condemned men | 0:32:37 | 0:32:40 | |
have spent an average of 25 years on death row. | 0:32:40 | 0:32:44 | |
That's 25 years living in, | 0:32:44 | 0:32:45 | |
in terrible conditions with terrible thoughts for company. | 0:32:45 | 0:32:48 | |
The solution to which would be modifying the environment | 0:32:48 | 0:32:51 | |
rather than abolishing the death penalty. | 0:32:51 | 0:32:54 | |
Move on, Miss Cobbina. | 0:32:54 | 0:32:55 | |
It's racist. | 0:32:55 | 0:32:56 | |
Black people are more likely to be given the death sentence | 0:32:56 | 0:33:00 | |
than white people, and that is hugely increased | 0:33:00 | 0:33:02 | |
if the accused is black and the victim is white. | 0:33:02 | 0:33:05 | |
Men and women are on death row not because of the egregiousness | 0:33:05 | 0:33:07 | |
of their crimes, but because of the colour of their skin. | 0:33:07 | 0:33:10 | |
Plus, the chances of being given the death sentence depend on | 0:33:10 | 0:33:13 | |
on which state and in which county the crime is committed. | 0:33:13 | 0:33:16 | |
I mean, don't live in Waterbury County, Connecticut, | 0:33:16 | 0:33:18 | |
if you're being tried for murder because, if you are, | 0:33:18 | 0:33:20 | |
if you are convicted, you're near certain to die. | 0:33:20 | 0:33:23 | |
Geography was never what our founding fathers had in mind | 0:33:23 | 0:33:26 | |
when determining who should die and who should be spared. | 0:33:26 | 0:33:30 | |
Bottom line, Ms Cobbina. The people decide. Not lawyers. | 0:33:30 | 0:33:35 | |
Not you and me with our data and statistics, | 0:33:35 | 0:33:37 | |
but real people sitting as juries. | 0:33:37 | 0:33:40 | |
I know of no argument for reassigning | 0:33:40 | 0:33:43 | |
the sacred duty of 12 jurors to lawyers. | 0:33:43 | 0:33:46 | |
Are you done? | 0:33:48 | 0:33:49 | |
No, no, I have one more argument. | 0:33:51 | 0:33:53 | |
Make it in the next two minutes. | 0:33:53 | 0:33:56 | |
Pain. | 0:33:56 | 0:33:58 | |
Excuse me? | 0:33:58 | 0:34:00 | |
The lethal injection is cruel and unconstitutional | 0:34:01 | 0:34:04 | |
because of the pain it causes. You have to show that | 0:34:04 | 0:34:08 | |
the execution - I'm quoting from Baze here - | 0:34:08 | 0:34:12 | |
"..is sure or very likely to cause needless suffering." | 0:34:12 | 0:34:16 | |
Lethal injection is far and away the most humane | 0:34:16 | 0:34:20 | |
and dignified method of execution. | 0:34:20 | 0:34:23 | |
North Korea uses anti-aircraft guns to execute enemies of the state. | 0:34:24 | 0:34:30 | |
Instant death. Saudi Arabia beheads people | 0:34:30 | 0:34:33 | |
with razor-sharp swords - one swipe and you're headless. | 0:34:33 | 0:34:36 | |
Albert Pierrepoint in dark old 1950s England | 0:34:36 | 0:34:39 | |
could hang a man in eight seconds flat. | 0:34:39 | 0:34:42 | |
And we look down on them all for being brutal and inhumane, | 0:34:42 | 0:34:46 | |
but none cause the kind of suffering that I saw Rudy Jones go through. | 0:34:46 | 0:34:51 | |
There's no conclusive evidence of pain in lethal injection procedure. | 0:34:51 | 0:34:55 | |
There's clear and profound disagreement | 0:34:55 | 0:34:58 | |
amongst the experts on this. | 0:34:58 | 0:35:00 | |
The burden is on you to prove it. | 0:35:00 | 0:35:02 | |
You haven't discharged that burden on the evidence. | 0:35:02 | 0:35:05 | |
Justice Scarrow is right. You can't prove the pain. | 0:35:05 | 0:35:08 | |
That's because the medication hides everything. | 0:35:08 | 0:35:11 | |
That is the point of the three-drug cocktail. | 0:35:11 | 0:35:13 | |
So everything looks nice and clean and, | 0:35:13 | 0:35:16 | |
and nobody is offended by what they're actually seeing. | 0:35:16 | 0:35:19 | |
You show us the evidence, fine. | 0:35:19 | 0:35:21 | |
But you can't, can you? | 0:35:21 | 0:35:23 | |
You can't do that. | 0:35:23 | 0:35:24 | |
MAN: I can. | 0:35:28 | 0:35:30 | |
The petitioner has had her 20 minutes | 0:35:34 | 0:35:36 | |
and there's no provision for a live witness in the Supreme Court. | 0:35:36 | 0:35:40 | |
He's right. | 0:35:40 | 0:35:41 | |
You don't want to hear evidence | 0:35:46 | 0:35:48 | |
from a man who is unique in American history | 0:35:48 | 0:35:52 | |
in having experienced the lethal injection and survived it? | 0:35:52 | 0:35:58 | |
The rules here matter more than justice? | 0:35:59 | 0:36:01 | |
What, the highest court in the land doesn't have time for him? | 0:36:01 | 0:36:05 | |
He...he's waited 20 years for this. | 0:36:06 | 0:36:09 | |
The first three words of the Constitution | 0:36:09 | 0:36:12 | |
of the United States - "We the people." | 0:36:12 | 0:36:15 | |
Is Rudy Jones of the people or not? | 0:36:18 | 0:36:21 | |
I didn't want to make it easy because I didn't want to die. | 0:36:53 | 0:36:56 | |
I didn't want to die because I didn't do the crime | 0:36:58 | 0:37:00 | |
I was being executed for. | 0:37:00 | 0:37:02 | |
I fought them because they were murdering me. | 0:37:07 | 0:37:09 | |
From the holding cell to the death cell | 0:37:12 | 0:37:15 | |
to the strap-down in the death chamber, | 0:37:15 | 0:37:19 | |
I was fighting for my life. | 0:37:19 | 0:37:21 | |
I didn't make a last statement, because that's a part of it, | 0:37:21 | 0:37:23 | |
the sham that this is normal human behaviour. | 0:37:23 | 0:37:27 | |
That it isn't just profoundly shameful | 0:37:29 | 0:37:33 | |
for the state to put men to death like dogs. | 0:37:33 | 0:37:38 | |
I was fighting and fighting, but then it started. | 0:37:39 | 0:37:44 | |
The pain was so bad, so intense. | 0:37:46 | 0:37:51 | |
I felt my dignity leave like a soul departing. | 0:37:53 | 0:37:58 | |
And then it got worse. | 0:38:00 | 0:38:01 | |
I-I couldn't move. | 0:38:03 | 0:38:06 | |
I couldn't speak. | 0:38:06 | 0:38:07 | |
I was entombed with the agony. | 0:38:09 | 0:38:11 | |
And then I couldn't breathe. | 0:38:15 | 0:38:17 | |
I went in fighting for my life... | 0:38:20 | 0:38:22 | |
..and spent the next 90 minutes... | 0:38:26 | 0:38:29 | |
..hoping to die. | 0:38:35 | 0:38:37 | |
You put a gun to the head of the elected mayor of Baton Rouge. | 0:38:39 | 0:38:45 | |
Oh, I wish I had. | 0:38:45 | 0:38:46 | |
I wish I had the courage. | 0:38:47 | 0:38:50 | |
But, no, sir. I did not. | 0:38:50 | 0:38:52 | |
Then who did? | 0:38:52 | 0:38:54 | |
You expect me to entrust the name of another human being to you, | 0:38:54 | 0:38:58 | |
to this, knowing what I know about justice in this country? | 0:38:58 | 0:39:02 | |
I won't do it. | 0:39:06 | 0:39:07 | |
That's a contempt of court. | 0:39:09 | 0:39:10 | |
I think we've heard enough from you, Mr Livermore. | 0:39:10 | 0:39:12 | |
This was cruel and this was unusual, and anyone on this bench | 0:39:15 | 0:39:20 | |
or in this courtroom who says it wasn't is inhuman and un-American. | 0:39:20 | 0:39:28 | |
Tell him I want to meet. | 0:40:04 | 0:40:06 | |
Who? | 0:40:06 | 0:40:07 | |
Brady. | 0:40:07 | 0:40:08 | |
You just missed him. | 0:40:08 | 0:40:10 | |
Oh. | 0:40:10 | 0:40:11 | |
Why? | 0:40:13 | 0:40:14 | |
To give him the full story. | 0:40:14 | 0:40:16 | |
Why would you do that? | 0:40:16 | 0:40:18 | |
Cos there's nothing left. | 0:40:18 | 0:40:20 | |
Well, it won't be the truth. It'll be self-serving. Can't imagine... | 0:40:21 | 0:40:25 | |
Only the truth. That's all it can be. | 0:40:25 | 0:40:28 | |
So why not here with me, now? | 0:40:30 | 0:40:32 | |
Because he's a hard-nosed bastard and you are Maya's best friend. | 0:40:32 | 0:40:37 | |
Meaning...? | 0:40:37 | 0:40:39 | |
Meaning I don't trust you to do it. | 0:40:39 | 0:40:41 | |
That's a compliment, by the way. | 0:40:42 | 0:40:45 | |
11 o'clock tomorrow morning. Tell him to be there. | 0:40:49 | 0:40:54 | |
And tell him to keep himself hidden | 0:40:54 | 0:40:57 | |
until I let him know it's clear to talk. | 0:40:57 | 0:40:59 | |
Tomorrow. | 0:41:00 | 0:41:01 | |
Tomorrow. | 0:41:01 | 0:41:03 | |
Dad? | 0:42:38 | 0:42:40 | |
I, er, I wanted to tell you something myself | 0:42:41 | 0:42:44 | |
before you read about it in the paper. | 0:42:44 | 0:42:46 | |
OK. | 0:42:46 | 0:42:48 | |
You found your voice. | 0:43:10 | 0:43:12 | |
I guess. | 0:43:13 | 0:43:14 | |
Why didn't you tell me? | 0:43:15 | 0:43:17 | |
I wanted to save it for here, | 0:43:18 | 0:43:20 | |
so the Justices could hear it straight from me, | 0:43:20 | 0:43:23 | |
straight from the pain. | 0:43:23 | 0:43:24 | |
You forgive me? | 0:43:25 | 0:43:27 | |
He deserved to die. | 0:43:39 | 0:43:41 | |
Are you still my dad? | 0:43:50 | 0:43:52 | |
Well, then it's OK. | 0:43:58 | 0:44:00 | |
It's OK. | 0:44:02 | 0:44:04 | |
Um, do you remember that, er, clearing in the woods...? | 0:44:08 | 0:44:12 | |
Where Rocco caught that pigeon? | 0:44:12 | 0:44:14 | |
Yeah, that's it. | 0:44:14 | 0:44:16 | |
Um, tomorrow morning at 11 o'clock | 0:44:17 | 0:44:20 | |
I'm going to meet a reporter there called Alex Brady, | 0:44:20 | 0:44:24 | |
and I'm going to tell him exactly what I've just told you. | 0:44:24 | 0:44:29 | |
And then what? | 0:44:31 | 0:44:32 | |
Well, er, then life can go on. | 0:44:37 | 0:44:39 | |
We can all go and live in Cornwall together? | 0:44:41 | 0:44:43 | |
And you and me, we could, we could go running? | 0:44:43 | 0:44:46 | |
Um, you mustn't tell anybody. | 0:44:57 | 0:45:01 | |
Now, I understand that might be hard. | 0:45:02 | 0:45:05 | |
No-one? | 0:45:05 | 0:45:06 | |
Would you like to tell someone? | 0:45:06 | 0:45:09 | |
Would, would that make it easier? | 0:45:10 | 0:45:12 | |
Yeah. | 0:45:12 | 0:45:13 | |
Er, what about your best friend? | 0:45:18 | 0:45:20 | |
Lola? | 0:45:20 | 0:45:21 | |
Yeah. | 0:45:21 | 0:45:23 | |
I promised her I'd tell her everything. | 0:45:23 | 0:45:25 | |
Oh, well, good. | 0:45:25 | 0:45:28 | |
OK. Thank you. | 0:45:29 | 0:45:31 | |
All right. Come on now. Time to get some sleep. | 0:45:31 | 0:45:35 | |
OK. | 0:45:35 | 0:45:37 | |
OK. | 0:45:37 | 0:45:38 | |
See you tomorrow. | 0:45:40 | 0:45:41 | |
See you tomorrow. | 0:45:41 | 0:45:42 | |
Lola. It's Dan. | 0:46:12 | 0:46:15 | |
There's something I want to tell you. | 0:46:16 | 0:46:18 | |
It's very important. | 0:46:19 | 0:46:21 | |
I'm back! | 0:46:38 | 0:46:40 | |
Hey. | 0:46:41 | 0:46:43 | |
What are you doing? | 0:46:43 | 0:46:44 | |
Hello! | 0:46:48 | 0:46:49 | |
Dad's not here. He hasn't been here all morning. | 0:46:51 | 0:46:54 | |
Well, we saved Rudy. | 0:46:56 | 0:46:59 | |
Well done, Mummy. I knew you'd do it. | 0:47:01 | 0:47:03 | |
Dad should be here. Why is he not here? | 0:47:07 | 0:47:10 | |
I'm going to, I'm going to put my stuff upstairs. | 0:47:12 | 0:47:14 | |
I'll be down in a minute. | 0:47:14 | 0:47:16 | |
Mum? | 0:47:19 | 0:47:20 | |
'This is my story.' | 0:47:40 | 0:47:42 | |
'Story, I think, | 0:47:43 | 0:47:45 | |
'is the best word for anything autobiographical, | 0:47:45 | 0:47:47 | |
'because few of us can resist the temptation to make the rag-bag | 0:47:47 | 0:47:52 | |
'of incoherent happenings that make up a life | 0:47:52 | 0:47:55 | |
'into something meaningful, | 0:47:55 | 0:47:57 | |
'and before we know it and without us intending it, | 0:47:57 | 0:48:01 | |
'truth becomes fiction. | 0:48:01 | 0:48:04 | |
'We're all writers, really.' | 0:48:05 | 0:48:07 | |
'Remembering, for me, anyway, is not easy, | 0:48:08 | 0:48:11 | |
'because one life has become confused with another, | 0:48:11 | 0:48:15 | |
'and the second life, as you now know, | 0:48:15 | 0:48:18 | |
'had more than one life inside it.' | 0:48:18 | 0:48:20 | |
'Nevertheless, this is my best shot at the truth.' | 0:48:21 | 0:48:25 | |
'When you read this, your life will have become much more complicated, | 0:48:27 | 0:48:31 | |
'in order that it should become simpler sooner. | 0:48:31 | 0:48:35 | |
'I hope you will come to see | 0:48:35 | 0:48:36 | |
'that what I am about to do is an act of love. | 0:48:36 | 0:48:39 | |
'Look after Dan. His girlfriend is not what she seems.' | 0:48:39 | 0:48:43 | |
Police, please. There's going to be a murder. | 0:48:53 | 0:48:56 | |
Mum, is everything all right? | 0:48:59 | 0:49:00 | |
I have to tell you about Dad. | 0:49:06 | 0:49:08 | |
I have to tell you about me and Dad. | 0:49:10 | 0:49:13 | |
I don't understand. How could he? | 0:49:36 | 0:49:40 | |
You should ask him. | 0:49:40 | 0:49:42 | |
I can't. We can't, because he's gone. | 0:49:42 | 0:49:46 | |
I know where he is. | 0:49:46 | 0:49:47 | |
Where is he? | 0:49:48 | 0:49:50 | |
He told me not to tell anyone. | 0:49:50 | 0:49:52 | |
Where is he, Dan? | 0:49:52 | 0:49:54 | |
He's gone to tell a reporter the truth. | 0:49:57 | 0:49:59 | |
When? In 15 minutes. | 0:49:59 | 0:50:02 | |
No. 14 minutes and 30 seconds. | 0:50:02 | 0:50:04 | |
He told you that? | 0:50:04 | 0:50:06 | |
And he told you not to tell anyone? | 0:50:08 | 0:50:10 | |
He says I can tell my best friend. | 0:50:10 | 0:50:13 | |
Who's your best friend? | 0:50:13 | 0:50:15 | |
My girlfriend. Lola. | 0:50:15 | 0:50:18 | |
I love her. | 0:50:18 | 0:50:19 | |
Dan...you have to tell me where Dad is. | 0:50:23 | 0:50:28 | |
It's very important. | 0:50:29 | 0:50:31 | |
You have to tell me. | 0:50:31 | 0:50:32 | |
He's in the forest. | 0:50:35 | 0:50:36 | |
Where Rocco caught the pigeon. | 0:50:38 | 0:50:39 | |
He said, when he's done, life can go on. | 0:50:41 | 0:50:45 | |
I'll take the front. | 0:50:52 | 0:50:53 | |
That's Dad's bike. Come on! | 0:51:24 | 0:51:26 | |
Oh, my God, Mum! Are you OK? Dan, run! | 0:51:54 | 0:51:57 | |
Hold on to me. Are you all right? | 0:51:57 | 0:52:00 | |
NO! | 0:52:43 | 0:52:44 | |
GUNSHOT | 0:52:54 | 0:52:55 | |
NO! | 0:52:55 | 0:52:57 | |
No! No! | 0:52:57 | 0:52:59 | |
No! | 0:52:59 | 0:53:00 | |
SIRENS | 0:53:00 | 0:53:01 | |
Oh, Dan! | 0:53:01 | 0:53:03 | |
Armed police! Put the weapon down! Put the weapon down now! | 0:53:03 | 0:53:06 | |
Over here! | 0:53:06 | 0:53:08 | |
Step back from the weapon! | 0:53:08 | 0:53:10 | |
On your knees, on your knees. | 0:53:10 | 0:53:12 | |
You're going to be all right. You're going to be all right. | 0:53:12 | 0:53:15 | |
Hands on your head. | 0:53:17 | 0:53:19 | |
Keep your eyes open! Danny! Danny! No! | 0:53:22 | 0:53:26 | |
# Amazing Grace | 0:53:26 | 0:53:31 | |
# How sweet the sound | 0:53:31 | 0:53:35 | |
# That saved a wretch like me | 0:53:35 | 0:53:46 | |
# I once was lost | 0:53:47 | 0:53:52 | |
# But now I'm found | 0:53:52 | 0:53:57 | |
# Was blind, but now I see | 0:53:59 | 0:54:07 | |
# T'was grace that taught | 0:54:09 | 0:54:15 | |
# My heart to fear | 0:54:15 | 0:54:19 | |
# And Grace my fears relieved... # | 0:54:21 | 0:54:28 | |
You were arrested. How? | 0:54:47 | 0:54:50 | |
My freedom is unrestricted. | 0:54:50 | 0:54:52 | |
What do you want? | 0:54:52 | 0:54:53 | |
Look at what you've done. What? | 0:54:55 | 0:54:57 | |
All these people, and now your own son. Because of you. | 0:54:57 | 0:55:02 | |
Me?! | 0:55:02 | 0:55:03 | |
What's it all been for? | 0:55:04 | 0:55:06 | |
Justice. | 0:55:08 | 0:55:09 | |
Do you remember? Justice? | 0:55:10 | 0:55:13 | |
I will never stop pursuing it. | 0:55:14 | 0:55:16 | |
I think you should. | 0:55:18 | 0:55:19 | |
Why? | 0:55:22 | 0:55:23 | |
Ask your husband. | 0:55:28 | 0:55:30 | |
What is it? | 0:55:44 | 0:55:45 | |
What does he want you to tell me? | 0:55:45 | 0:55:47 | |
Maya, I can't. | 0:55:50 | 0:55:51 | |
Nick, the truth, just the truth. | 0:55:51 | 0:55:53 | |
He deserved to die. | 0:55:57 | 0:55:58 | |
Mayor Anderson. | 0:56:00 | 0:56:01 | |
Rudy? | 0:56:08 | 0:56:09 | |
Michael. | 0:56:11 | 0:56:13 | |
It was Michael?! | 0:56:20 | 0:56:22 | |
Maya! Mum? | 0:56:26 | 0:56:28 | |
Rudy told me to go big, and I tried, | 0:57:05 | 0:57:08 | |
I really, really tried. | 0:57:08 | 0:57:09 | |
Yes, you did, yes, you did, my child. | 0:57:09 | 0:57:12 | |
But it wasn't enough. | 0:57:12 | 0:57:13 | |
Mum... | 0:57:13 | 0:57:14 | |
Maya... | 0:57:14 | 0:57:16 | |
Your help, your patience and your love. | 0:57:16 | 0:57:18 | |
I'm going to go bigger. | 0:57:20 | 0:57:21 | |
You can say it. | 0:57:37 | 0:57:38 | |
I'm here. | 0:57:41 | 0:57:42 | |
We're all here. | 0:57:43 | 0:57:45 | |
Say it now, and it will be a start. | 0:57:47 | 0:57:49 | |
Your name. | 0:57:56 | 0:57:57 |