The Sweeney. S01 E08. Cover Story. (uncut)

deaddogsdam

First broadcast 20th February 1975.  It's unclear whether a beautiful crime reporter is involved with a criminal gang or just a catspaw.  John Thaw - Regan Dennis Waterman - Carter Garfield Morgan - Haskins Prunella Gee - Sandy Williams Bernadette Milnes - Maureen Whittle Michael McStay - Eric, Nightclub Manager Timothy Carlton - Justin Mike Savage - Ward James Marcus - Myles Thalia Kouri - The Maid Los Gitanos - Flamenco Artistes Tony Allen - Bill the Driver Andrew Andreas - Waiter Bill Hemmings - Crook Bill Hibbert - Detective Steve Ismay - Policeman Helen Keating - Busty Barmaid in Cafe Maureen Nelson - WPC Fred Wood - Bin Man

Transcript

00:00I love him, can't you understand?

00:13You're not going to see your husband in this house for the next 15 years

00:16unless you help us locate that money and get the rest of the gang.

00:20Look, you cooperate with us and we may be able to bring his parole forward.

00:23Are you trying to tell me you'll help?

00:25Mrs Whittle, your husband's going to spend the last good years of his life

00:28in prison while Miles and Ward and the rest of the gang are outside laughing.

00:33I mean, that love, your old man is still controlling that money they stole

00:36and he's giving it away to the rest of his gang.

00:39Money that you'll never be able to spend.

00:42Look, all you've got to do is find out where the money's now hidden.

00:46Your husband will never know you told us.

00:50Or does he love his fellow thieves more than you?

00:52More even than the kids?

00:58I'd do it, if only he'd let me.

01:02Well, he's not going to tell you to tip us off, is he?

01:05Look, love, we understand his code of honour.

01:07We're not asking him to shop his mates.

01:10We're asking you to do it for him.

01:12For his own sake.

01:14For his sake?

01:15I thought you said you loved him.

01:17You were a bit hard on her, Gov.

01:22She knew he was a villain.

01:24She was quite happy to share the jollies as long as he was free.

01:26Don't give me any of that crap about suffering wives, George.

01:29You'll have me in tears.

01:30Yeah, but she's too scared of Whittle ever to open her mouth.

01:32Look, as long as we knew where that money was,

01:35all we had to do was sit back and wait for Miles and Ward to collect it, right?

01:38Now, it's been nicked from under our noses.

01:40We're back to square one.

01:42But terrorising her isn't going to help, is it?

01:45Look, she needs money.

01:46What happens if she goes to the press?

01:48Stuff the press.

02:16Doreen Whittle talks to Sandy Williams.

02:18Doreen Whittle talks to Sandy Williams.

02:23That photograph of me, when was it taken?

02:42Yeah, and where?

02:45Bastards.

02:47Who the bleeding hells this Sandy Williams think he is?

02:50Scotch-welsch git.

02:54When'd that rag come out?

02:57Yesterday.

02:59But today, you're a star.

03:02George, tell C-11 to subscribe to the Beano in future.

03:05Makes heavier reading.

03:06Dear Governor, this must have been at the printer's weeks ago.

03:11So?

03:12Well, there's a reference here about the money being taken from Mrs Whittle's house to Reading.

03:18Well, this was written before even we knew that.

03:20No, you stay here, George.

03:31Find out all you can on Mr Sandy Williams.

03:44Sandy Williams' place.

03:46Who are you?

03:47Detective Inspector Regan, Flying Squad.

03:50I want to ask you some questions about an article in this magazine.

03:53I'm not Sandy.

03:55Well, is he here?

03:56Yes, he is.

04:04This is Sandy.

04:05Of course, we all hate suffering.

04:15I personally cannot bear it.

04:18You see this one here?

04:19I think this is possibly one of Sandy's best.

04:22We couldn't use it in the magazine because of printing difficulties.

04:26That bit there round the eye would have come out all smudgy and black.

04:30Now, look at that face.

04:31You, of course, Inspector, would know far more about this than either Sandy or myself.

04:37But apparently, these women can survive quite adequately for several years before they suddenly crack.

04:43Yes, Justin's right.

04:58There was a strange expression she had.

05:01I could never quite capture it.

05:03But it was there, all right.

05:04The ex-husband is Roman Matheson, the press baron.

05:21She was married to him.

05:23Bloody hell.

05:28Scotch, all right?

05:30Yeah, fine.

05:30The beauty of a deep freeze is that the ice gets cold enough to crackle when the scotch is poured over it.

05:49When did you write the article, Miss Williams?

05:51It's this month's issue.

05:54When did you write the article?

05:57Oh, a bit before.

05:57I can hardly remember exactly when.

05:59Well, I can find out exactly when.

06:01I want to know roughly now.

06:03What difference does it make?

06:04It makes this difference, Miss Williams.

06:06That issue went to the printers containing information that nobody, not even the police, knew about at the time.

06:12Nobody, that is, except you and the villains.

06:15Then if you know that, why bother to ask me when I wrote it?

06:19All right.

06:20How did you know?

06:25I forget.

06:26Well, don't start being clever with me, Miss Williams.

06:29I don't think you realise what deep water you and your literary sidekick are in.

06:34I could arrest you right now for conspiring to pervert the course of justice.

06:38If you're going to raise your voice, Inspector, would you mind calling me by my first name?

06:42Something tells me that prison would not appeal to you, Miss Williams.

06:48You puffed a friend might have the time of his life flitting from cell to cell, but not you.

06:54Where did you get your information?

06:55I don't know why I'm drinking scotch.

07:00I'm a bloody merry-gold, really.

07:03Where did you get your information?

07:05Oh, come on, Inspector.

07:07Name my sources.

07:08So you have sources?

07:10You weren't guessing.

07:12I thought this was going to be so exciting.

07:16Our all-police enquiry is so boring.

07:19The other half?

07:20No, thanks.

07:21I mean, I've heard of the machinery of justice.

07:28But, God, try having a conversation with a machine.

07:32Try having a drink with a machine.

07:36Miss Williams.

07:38Sandy.

07:40I'm going to have to take you in for questioning.

07:43Out of the kindness of my mechanical heart, I'll give you ten minutes to get dressed.

07:48I'll be waiting in the car outside.

07:51I'll give you ten minutes to get dressed.

07:52I'll give you ten minutes to get dressed.

07:57Sandy Williams is a lady.

08:01Yeah, I know.

08:02We need mink handcuffs and a bottle of velcro seltzer.

08:04I'm bringing her in.

08:06You get anything on her?

08:07Well, no details.

08:09Except a bleeding big problem.

08:12Her ex-husband owns a chunk of flea street.

08:14And she's still dancing on his lungs.

08:18Go back to the yard.

08:19Get everything on her.

08:20I'll see you later.

08:35I'm sorry.

08:36I'm not ready.

08:36Look.

08:37Yes.

08:38Let's keep this as pleasant as possible.

08:40Why don't I take you out to dinner tonight instead?

08:42You mean I'm no longer under arrest?

08:46I'm bailing you out.

08:48I'll try and loosen your tongue with champagne.

08:50Champagne won't loosen my tongue.

08:52How about Bloody Mary?

08:53Mm-hmm.

08:55With limes, not lemons.

08:56Oh, that's all the background on her so far.

09:01It's not much.

09:02There's Jack Regan here.

09:03There's Bill down there.

09:05Listen, Governor.

09:06What happens if we need her as a prosecution witness and the defence find out she went out

09:11with you?

09:11In the line of duty.

09:13Yeah, well, there's another thing that worries me.

09:15Look, it's not as if she's just a member of the public.

09:17She's a journalist.

09:18Now, you've given her something to write about.

09:20She could do a big story on you.

09:23Now, what's to stop her?

09:24Oh, Bill.

09:25Listen, would you do us a favour?

09:26I want you to get me some limes.

09:29You could even be walking into a trap.

09:32Limes.

09:33Little green things eaten at half-time on the equator.

09:56Sandy?

09:57Here we go.

09:57Okay.

09:58So, let's go.

10:28Let's go.

10:58Let's go.

11:28Let's go.

11:58Let's go.

12:28Let's go.

12:30God, I felt ridiculous lying here.

12:33Let's go.

12:41Where are you taking me for dinner?

12:43Who told you about that stolen money being moved?

12:48Can we go in your police car?

12:50No.

12:52Did you really smash that mirror as part of the whole effect?

12:56You make excellent Bloody Marys.

13:00You're a nutter.

13:02No, I'm not.

13:04I'm starving.

13:05Where are you taking me for dinner?

13:16I'm hungry.

13:51Go!

13:52All right!

14:05Sandy!

14:06Eric!

14:07Welcome to La Valle Bonne.

14:10I thought you were in Los Angeles.

14:15I was, but the police were after me.

14:17I'm on the run.

14:19It's great to see you.

14:24You said you'd write.

14:26I did.

14:27I sent you a postcard.

14:28I don't believe you.

14:31Have we missed all the flamenco?

14:33No, they're on again later.

14:34Oh, terrific.

14:35Eric?

14:36Jack?

14:37Jack?

14:38Eric?

14:39Hi.

14:40Hello.

14:41Would you like a seat next to Fred?

14:43Oh, lovely.

14:44Hello, Fred.

14:45Ah, isn't he sweet?

14:46Yeah.

14:47Knock up.

14:49Knock up.

14:50Have fun.

14:51Nice to see you again, Sandy.

14:52See you.

14:53Very old friend.

14:54How'd that be?

14:55How'd that be?

14:56Good bye.

14:57Good bye.

14:58Good bye.

14:59You are very good, Sandy.

15:01Hey.

15:02Good bye.

15:04Good bye.

15:07Good bye.

15:11How'd that be?

15:12I'm doing good.

15:14Good bye.

15:16Good bye.

15:17Hi.

15:18Bye.

15:19Good bye.

15:20Would you like a conversation?

15:21There's a party somewhere, Sandy?

15:23You were saying?

15:32And when you came, when you finally came,

15:35I thought, I mean, what kind of a detective?

15:38He's never going to follow the clues.

15:40Clues?

15:41Door unlatched.

15:43You couldn't find a red carpet.

15:45Telephone off the hook?

15:47You didn't want us to be disturbed.

15:50Books scattered all over the stairs.

15:52You hate reading.

15:54No, you prefer other forms of amusement.

16:00And when you finally reached the bedroom,

16:03I thought, I mean, what if he doesn't touch me

16:06and calls for an ambulance instead?

16:09You'd have got someone in a uniform.

16:11And there was another clue.

16:13The untouched drink.

16:15Except I sip just a little bit too much from it.

16:18Why all that?

16:19Well, how else do you get a detective into your bedroom?

16:22Perhaps I should have left a note

16:24saying, look under the bed.

16:30I think that fish fancies me.

16:34Let us leave.

16:35Mm-mm.

16:36I haven't seen any flamenco yet.

16:38I haven't danced any flamenco yet.

16:40No more!

16:41I haven't seen any flamenco yet.

16:50We've been shot.

16:51We've been shot only as soon as I miss the bedroom there.

16:55I'm sorry, George.

17:25It's just as well we didn't arrest her.

17:27There's no prison in the country that could hold her.

17:29I don't often say this, but that girl, Sandy, is something special.

17:35Yeah, well, I hope you can handle her.

17:37She's my kind of girl, son.

17:39Oh, sorry.

17:43How was last night?

17:45Well, from a legal point of view, we both committed a breach of the peace,

17:49were drunk and disorderly, used offensive language to three pedestrians,

17:53littered the Queen's Highway to the extent of one empty champagne bottle,

17:57and damaged the dustbin while reversing to park.

18:00From a human point of view, we had a bloody good night, Your Worship.

18:03Find out a lot about her?

18:05Yeah.

18:07Listen, Governor, someone's been ferrying information

18:10from Geoff Whittle in jail to Miles and Ward outside.

18:14She's our number one suspect.

18:16You're probably a hundred.

18:17You're probably a hundred.

18:18You're probably a thousand.

18:19You're probably a hundred.

18:20You're probably a hundred.

18:22I'm really concerned about it.

18:23Me too.

18:25You're probably a hundred.

18:26I'mquick.

18:27I'm very excited to be the next day.

18:28Sunday papers.

18:29Orange juice?

18:30Sunday papers, orange juice, and some coffee when you're ready, and the croissants just

18:53come out of the oven, so they're nice and soft and warm.

19:00Sandy, you're a monster.

19:02You think I'm a monster?

19:20When did you write the article, Miss Williamson?

19:22This month, this year.

19:24When did you write the article?

19:27You're a media monster.

19:29That's what you are.

19:30I don't know exactly when.

19:32I want to know roughly.

19:33Now.

19:34What does it make?

19:35What makes this difference, Miss Williams?

19:37That is, she went to the printers containing information of nobody, not even the police,

19:41nearby at the time.

19:42Nobody, that is, except you and the villain.

19:45Then if you know, why bother to ask me when I wrote it?

19:48You bitch.

19:49What a butch policeman.

19:51He's throwing it down outside.

19:52Where are you going?

19:53Little assignment.

19:54Nothing I can't tell you about.

19:55Later.

19:56I'll be back in a couple of hours.

19:57There's only chance you're not still being about.

19:59I certainly won't be under it.

20:01If you're going to raise your voice, would you mind calling me by my first name?

20:10Something tells me that prison would not appeal to you, Miss Williams.

20:14To be a quiet living night.

20:15What a butch policeman is coming in with her.

20:16I'll be back in a while.

20:17Come on.

20:18You've to get in one moment.

20:19Just to be back in a row.

20:20I'll be back in a while.

20:21I'll be back in a row.

20:22You've to be back in an hour, house, tomorrow.

20:23That's not a good train.

20:24You've to be a little girl.

20:25I'll be back in a row, so you've got an hour, right?

20:26Good.

20:27You've to be back in the road.

20:28You've to be out of the yard.

20:29I'll be back in an hour.

20:30You've got to be back in my bed.

20:31How are you going to get in the yard?

20:33I'll be back in the yard, I'll be back in the yard.

20:34And you'll be back in the yard.

20:35Mm-hmm.

20:46Turning into Old Brompton Road, over.

20:49OK, follow in now. Over.

21:05So, she's visiting Mrs Whittle again.

21:26Yeah.

21:28Jeff Whittle only has one visitor a fortnight, right?

21:31His wife.

21:33She's the only way he can get messages to the outside world.

21:36Whittle's still controlling the whereabouts of the money.

21:38Why would he let his wife take visits from her?

21:41Well, if he knows about them, no reason at all.

21:45Unless, of course, she's part of the operation.

21:46Oh, my God.

21:58I don't know.

22:28I don't know.

22:58I don't know.

23:28I don't know.

23:58She's a photographer.

24:01Yeah, you said she was special, Gav.

24:04She must think she's Jacques Cousteau filming in this weather.

24:06Who the hell's that?

24:15How do I know?

24:22Follow him.

24:22I'll stay with her.

24:23OK, Gav.

24:24OK, Gav.

24:30Bye.

24:32Oh, I was hoping you'd still be in bed.

25:02Hello? Yes. It's for you, Inspector.

25:17Regan. Governor, can I talk?

25:20Yeah, well, he was one of Whittle's firm.

25:23Yeah, we traced him all the way back to Miles and Ward.

25:26No, no question.

25:29Hello.

25:43Oh, Governor, we've located the money again. I've been trying to contact you.

25:47Well, where is it now?

25:48Well, it's been taken back to Mrs Whittle's flat.

25:50How do we know?

25:51Well, same tip as before, out of the scrubs. I've set up observation again.

25:55Another thing, Governor. Whittle had a lady visitor yesterday. Guess who?

26:01Sandy Williams.

26:09I've been in touch with the editor.

26:11They're prepared to defend journalistic silence in the courts.

26:15Did anyone interrogate this Sandy Williams?

26:17Yeah.

26:18Well, she refused to cooperate?

26:20Right.

26:21Well, who did it? Is it logged?

26:24I did, and it isn't... yet.

26:29Look, let's not beat about the bush, Jack.

26:32She may be a well-known journalist, and we all know how the press feel when one of their own comes under fire.

26:37But if she is involved in any way with this Whittle affair, we won't use kid gloves on her.

26:42And that goes for anyone who's involved with her.

26:45Do you follow me?

26:48Now, about this money back at Mrs Whittle's place.

26:51We can't have that taken from under our nooses again.

26:53I think we should pick it up and deal with Miles and Ward in some other way.

26:57It's been paid off by the insurance. It's dead money.

27:01Even if we do lose it, all it can do is add to inflation.

27:05Its value to us is as bait.

27:08All right.

27:10But be very careful, Jack.

27:13If that's the bait, every fish it hooks will have to be reeled in.

27:18Governor, tips are coming in from very funny places.

27:21Now, the latest one is that Miles and Ward are gonna move it tomorrow night.

27:25We're standing by, aren't we?

27:27Listen, when we nail them, this thing's gonna blow wide open, right?

27:31Now, you've gotta clear yourself in advance.

27:33Knicker now. It's the only thing you can do.

27:35You followed me?

27:36Yes.

27:38You didn't trust me?

27:39Wasn't I right?

27:40I'm allowed to do my job.

27:42You were breaking the law. You were passing on information.

27:45Miles and Ward are criminals.

27:47They're not. They haven't been tried yet. They're still innocent.

27:50They've both got records as long as your arm.

27:57Sandy, what did you tell them?

27:59What did you pass on?

28:04I saw my governor this afternoon.

28:07He knows about us.

28:09These goods told me he's given me breathing space.

28:12Sandy, if you don't come clean with me now, I've got no alternative but to arrest you.

28:16When we nail Miles and Ward, you'll go too for a long stretch.

28:20And your only defence in court will implicate me, and my career's finished.

28:25What about my career?

28:27Your career?

28:28Well, I make more money than you.

28:30You don't have to be a policeman all your life.

28:32Why does it have to be my career instead of yours?

28:35I could work for both of us.

28:37Well, your career's not at stake. Not if you come clean with me now.

28:40Look, I have to have some sort of code as a journalist.

28:43If I broke it, I couldn't work with myself again.

28:45Code?

28:46Yes.

28:47Well, what's the matter?

28:48Don't you bloody policemen have any personal code?

28:53Well, that seems to be it, though.

29:03Cop meets journalist.

29:05The end.

29:10I'll tell you everything I know.

29:13On one condition.

29:14No condition, Sandy.

29:17We know the money's in Mrs Whittle's place, or we're assuming it is.

29:20Now, we've had several whispers that it's due to be moved.

29:23The hardest and latest information we've got is this.

29:26Miles and Ward won't be seen dead anywhere near that place,

29:30so the money's going to be taken from the Whittle's place as rubbish

29:33in a normal dust cart to the normal rubbish dump,

29:36where it's going to be dumped to be picked up later.

29:39Now, the queue for the transfer is going to be the end of the dustman's strike,

29:44which will be early in the morning.

29:46Now, the word is that that strike's going to be called off tonight.

29:49So, just in case it is, and a bit of fancy overtime is called for,

29:53we'll be there as from the moment the strike is officially ended.

29:57When Miles and Ward come by with a mouse watering, we'll nick them red-handed.

30:02Right, any questions before the briefing detail?

30:05Yeah.

30:06Anybody got any deodorant?

30:08I'm bloody frozen. How are you?

30:15Oh, I'm all right.

30:17There's enough pen and ink down here.

30:20Check with the others.

30:26Jim, it's George. Are you all right?

30:29I'd rather be tucked up in bed, though.

30:31Sorry, dearie, I can't help you.

30:33I can't help you.

31:03I can't help you.

31:21Oh wow.

31:25T-L-B-2-6-6-M, that's the one.

31:55T-L-B-2-6-M, that's the one.

32:25Good girl.

32:55Good girl.

33:25Good girl.

33:55Good girl.

33:57Good girl.

34:05Good girl.

34:07Good girl.

34:17Good girl.

34:19Good girl.

34:21Good girl.

34:23Good girl.

34:25Good girl.

34:27Good girl.

34:29We know the money was kept at your house.

34:43That's ridiculous.

34:44Would I have turned up if I knew it was a hoax?

34:47Those visits to Mrs Whittle.

34:50You were transferring it in small amounts, weren't you?

34:54No.

34:54Miss Williams, we have every one of your visits logged by our surveillance team.

35:01Oh, grow up. I've told you everything I know.

35:03Mrs Whittle's flat was completely searched six weeks ago and it was clean.

35:08Empty.

35:09You start making regular visits and eventually all the money's transferred there.

35:14Ah, so you need an alibi because you forgot to search the rubbish.

35:17Naughty boys.

35:18You lie in court and you'll get seven years for perjury.

35:21Believe me, I'm not lying. Why should I lie?

35:24Look, we had a tale on Miles and Ward and we had a watch on the money.

35:32Now, all we had to do was get the two together, right?

35:34If you say so.

35:36Now, all they needed was a nice little scheme so that we were out of the way just long enough

35:41for them to disappear with it in the other direction.

35:45You were their decoy.

35:47You fed us false information.

35:49You even came along to make sure we ate it.

35:51Do you really believe what you're saying?

35:53How old are you, Miss Williams?

35:58Twenty-six.

35:59You'll be a lot older when you get out, sweetheart.

36:02And not half as tasty.

36:05Get stuffed.

36:09I don't know, Gov.

36:11This could be a tough one.

36:12Oh, I know I was the one who first suspected her, but I'm beginning to get me doubts now.

36:21She could be clean.

36:26Try Whittle.

36:27How come you were the trusted go-between for Miles and Mrs Whittle?

36:40I was nothing of the sort.

36:44What was it again you said to that bloke by the embankment?

36:46Oh, I've told you already.

36:49Oh, forget.

36:49Tell me again.

36:52I told him that Mrs Whittle didn't want to see them.

36:55It was probably a code that I didn't understand, meaning the money was still in the same place.

37:03Nah.

37:03You'll have to do better than that for the judge, love.

37:05Can't I have a coffee, too?

37:10I must tell you, though, you don't look the type.

37:14Yeah.

37:16Still, he always had taste.

37:18A lot of them go soft when they come up against a bit of class.

37:21Can I speak to a solicitor, please?

37:23I know I have a right.

37:25You're Whittle's girl, aren't you?

37:28What?

37:29You're Whittle's girlfriend.

37:30He set you up in that house before he went inside, didn't he?

37:33You're around the twist.

37:34The only time I ever saw him was behind bars.

37:37Oh, so you visited him?

37:39Yes.

37:40You must have used a false name, then.

37:41No, I didn't.

37:43Well, I might have used my married name.

37:45I sometimes do.

37:46And that is when you and Jeff Whittle schemed the whole thing?

37:50No, that is when I went to see him to try to get an article about him for a magazine.

37:55Sit down, Miss Williams.

37:59Oh, I'm sorry, sorry, sorry for shouting.

38:03Let me talk to Jack.

38:11Jack who?

38:13Detective Inspector Regan.

38:16He's not here, love.

38:18What do you want to speak to him for, anyway?

38:20Got loads of other inspectors.

38:23So what do we do?

38:25Hold her or let her go?

38:26Look, Governor, we've got nothing.

38:31There's no proof the money was ever at Mrs Whittle's.

38:33There's no proof it was taken away while we were watching that bleeding dust cart.

38:37And there's no proof she's trying to set us up.

38:41We blew it.

38:44We both blew it.

38:47Look, we lost out.

38:48Whittle made us look idiots.

38:49It's one case we really messed up.

38:52But while we hang on to her, it's going to stick in our throats.

38:56And she's pressed, Gov.

38:58This could all go twice as rotten.

39:01Do you want to talk to her?

39:04Throw her out.

39:05Take a seat, Jack.

39:18I'll stand.

39:22Well, you were a bit unfortunate.

39:24Bit of bad info.

39:26And once again, we lose the money from under our noses.

39:30Look, Gov, I've been up to my back teeth in garbage all night.

39:34I'm a bit tired.

39:35What did you want to see me about?

39:37Yes, you look tired, Jack.

39:39This case has made a lot of us tired.

39:42You came unstuck, Jack.

39:44You ran into something you couldn't handle.

39:46As of this moment, you're off the case.

39:49Take a holiday, Jack.

39:52There, Whittle gang.

39:53There was no Whittle gang.

39:56Geoff Whittle's been doing porridge for two years.

39:59I mean, don't believe all that press rubbish just because you like reading it.

40:03Listen, mate, if you knew one bleeding thing about anything, you would know that we have wiped

40:11out a major crime in this country.

40:14And in fact, we've been so successful, we've ended up giving ourselves nothing to do.

40:18All the big villains are inside.

40:21In fact, we're going to have to invent some villains to give ourselves something to do.

40:24You see that bird he come in with the other night?

40:28Of him?

40:29You what?

40:30No, the bird you come in the other night with.

40:32The photographer.

40:33She down a pint in five seconds flat.

40:35A journalist.

40:39A vulture.

40:41A trendy crime sniffer.

40:44Now that all the boys are inside, they're kind of going to be out of work.

40:48In fact, they're so hard up, they're hanging around the wives and families.

40:52A vulture.

41:10Governor, there's a call for you.

41:11On one of the hotlines.

41:12I'll take it here.

41:15Regan.

41:16Hello?

41:17Inspector Regan?

41:18Jack.

41:19I have to tell you something.

41:20Can you get over here quickly?

41:22Where are you?

41:24I'll be right round.

41:28I think there's something going on.

41:35Get another car.

41:49Sandy, are you all right?

41:56Well?

41:58You're cool.

42:04Sandy, I've got two cars outside and men round the back.

42:08And what was the urgency?

42:10I just desperately wanted you.

42:19I was thinking about it.

42:20I don't want to know.

42:22I was thinking about what happened before.

42:27False alarm.

42:32Stop!

42:35George, what are you having?

42:37Uh, half a bit.

42:39Uh, half a bit.

42:40Are you all right?

42:42George, how's your wife?

42:43She all right?

42:44It's terrific.

42:44Hey, you. This is the bloke I was selling you about.

42:47I'm gonna recommend him for a promotion.

42:50You got what it takes to be a DI. Self-control.

43:14Miles?

43:24Oi, Miles.

43:27Yeah? I want to work with you.

43:32You're a terrible smell in here all of a sudden.

43:38That bird Sandy, did you set her up?

43:41Don't think where it comes from.

43:44Is somebody there talking to you somewhere?

43:47This isn't business. I just want to know, did you set her up?

43:51I suppose something like...

43:53...filth.

43:55Had your bins empty lately.

43:59It's funny here, isn't it?

44:03Just tell me, Miles.

44:05What is it you want me to say, eh, young man?

44:12Something nice or something nasty?

44:15The thing about filth is...

44:18...if you touch it...

44:20...or if you want to let it touch you...

44:23...you can't get it off.

44:26Nice girl that Sandy, hmm?

44:28...until she got the filth on her.

44:30Yeah.

44:31Look!

44:32Look!

44:37Look!

44:38I told the lady I broke!

44:39They do set her up!

44:46We didn't know who he was.

44:49He just came in here and attacked us.

44:52Me and my friend.

44:53Come on up.

44:59Of course we set her up!

45:04Dad!

45:05Leave it out!

45:06I'll kill him!

45:08Hold your feet, eh?

45:23Wait, did I do not even know who he is?

45:24It's very funny too.

45:26Not, I don't know.

45:29I don't know.

45:30Just do it, man.

45:33I'm sorry.

45:35I'm sorry, too.

45:37That's not bad.

45:39I think he was all right.

45:41Not bad.

45:42I don't know what he said that I can do.

45:44I was so happy.

45:45I was so happy to do...

45:47I can't wait, man.

45:49But I said...

45:50what happened to you I had a drink with Mars and Wall didn't I she's clean gov they told me they

46:09just used her all she knew was to hang around that dump if she wanted a good photograph

46:14she's clean let's use your car

46:44you

47:14It's all right. It's all right. It's all right.

47:31Sandy?

47:38Is she not here? Is she gone?

47:40Gone?

47:41New York. New York.

47:44New York.

48:14A job! Job! Job in New York. Understand?

48:31In a way, I hope you miss this clue as well.

48:35But then, in another way, I hope you don't.

48:39I think I do love you, Jack.

48:41But for some reason, I could never really say it to your face.

48:46I'm leaving, not because I know you don't really love me,

48:51but because, given the jobs we do, it could never really work out.

48:56I don't think you can love unless you put your love before your work.

49:01I was prepared to do that for you.

49:04But would you have done it for me?

49:11I don't know.

49:25Is she all right?

49:33She's fine.

49:41I don't think you can love unless you put your love before your work.

49:50I was prepared to do that for you.

49:53But would you have done it for me?

49:55Would you have done it for me?

50:25If I am going to look forward to seeing it asfta perhaps asbc goddamn?

50:26You don't like a mom or a friend.

50:27Where can you go.

50:28Yes, I'm gonna go.

50:29See you soon.

50:30Even you know you don't love me.

50:31I was just a couple of four hours and a half eighty-vanцine for a couple of years.

50:34I stilllingen.

50:35I'm watching a couple of videos, fine, investigate.

50:37So that happened after that I observed it all as well.

50:39At this point, keep going.

50:40There are you still sleeping and I expressed the whole truth in several ways.

50:43I hope you don't know a mother's entire life.

50:45I want to וz Sinnoh, but I hope to speak to my mother.

50:46I hope you don't know an adult listening I didn't Champions hope now.

50:49When were you today,

50:52we have caused aẽ.

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