All language subtitles for DCI.Banks.S03E04.Piece.of.My.Heart.Part.2.1080p.WEB-DL.DD2.0.H.264-squalor_Track03

(BABIES CRYING)

ALAN: Huh, who is this?
Who is this?

I think they
wanna lynch me.

-Who?
-The yummy-mummies.

-Alan, I need to talk to
you.
-Right now,

her father is a suspect
for the murder
of Matt Barber.

-Alan.
-So, yes, I need to
keep you away

from David Hornby.
But I'm not going to
take you off the inquiry.

Not unless we arrest him.
Obviously.

Your homework's in my car.

I need you to go through
the John Gaunt files
with a fine tooth comb,

especially
Martin Harford's
confession.

Alan?
Tonight, me and you
at yours?

What's the problem?

All right, we've got some
things to talk about but

obviously Hornby wants
nothing to do with Isla.

(ISLA CHATTERS)

He doesn't know about Isla.

When we were dating,
he always insisted
on midweek.

I guessed he
was in some kind of

long-term thing.

Of course he was.

David Hornby was
married all right.

Extremely married.
With two young kids.

You think I
should've told him?

He has a right to know.

And Isla, when she's older,
she'll want to
know about her father.

Do you really think
Hornby is capable
of killing someone?

All I know at the moment
is he's a liar.

DI MORTON:
Why didn't you tell us
you knew Matt Barber?

We have a bank transfer
from Bertram Mellis
to Matt Barber,

for £15,000.
Authorised by you,
Mr Hornby.

I don't believe I'm
under any obligation
to explain that.

Matt Barber had
his skull smashed in!

Where's Annie?

Her personal
connection to you

means that she's compromised
on this occasion.

It was just a fling.

DAVID: Look my firm are
investigating
institutional corruption.

The CPS up here in Yorkshire
and the police,

it's been going on
for years.

Between you guys
and the prosecutors,

evidence has gone missing,
statements have been altered.

We're talking root and branch,
embedded corruption.

Over 30 years
worth of potentially
unsafe convictions.

How did Matt Barber
fit into all this?

We needed someone to do
the investigative spadework.

Matt was trawling through
our case files.

ALAN: And was one of these
potentially unsafe
convictions

Martin Harford for the
killing
of John Gaunt in 1988?

Maybe, I don't know.
There were hundreds of
cases to go through.

-DI MORTON: And you met
with Matt Barber?
-A few times, yes.

Once at his chalet.
Thursday morning.

He was one of
the good guys, unlike...

Unlike his father?

Let me put it to you this way.

If Jack Barber
wins this election,

he'll be
wielding a lot of power
and a lot of influence.

A criminal justice system
run by criminals?

I'd be very careful making
unsubstantiated accusations.

You're assuming I can't
substantiate them.

Now, if you want to
question me further,

you'll require a warrant,

which will take you
a minimum of six hours
to get.

But whichever way
you turn it,
right now, I'm free to go.

Just a moment, please.

DI Morton.

What do you think?

He's got a point
about Jack Barber.

-No, I'm talking about...
-Can we hold him?

Not really.

A defence lawyer?
If we put one foot wrong

on the procedure,
no matter how trivial...

-(MOBILE RINGS)
-Get rid of him, then.
Thanks.

-Annie.
-There's no confession.

-What?
-The John Gaunt files.

There's no
transcript of Martin Harford
confessing to the killing.

-You're sure?
-100%.

And the officer who took
Harford's confession,

Detective
Constable Jack Barber.

Thanks, Annie.

Jack Barber?
You might be right.

Let's get him in for a chat.

MARTIN: Matt Barber seemed
to know a lot
about the band, Liz.

About John's death.

He knew there was
something not right.

I don't know how but...

Please, Liz.

It was stupid.
I shouldn't have told
him about the tape.

-You haven't told anyone else?
-No.

It's all buried.

And we can reform the band?

You really want to,
after what's happened?

Yes, Martin. I do.

Please,

we need you.

I'll do anything for you,
Liz.
You know that.

Thank you for agreeing
to come and see us, sir.

I know you have
a busy schedule.

Yes, well,
I hope this won't take long.

Election day tomorrow.

The conviction
of Martin Harford

for the unlawful
killing of John Gaunt,
September 1988.

You were part of
the inquiry team.

-Well, yes.
It was a long time ago.
-25 years.

Did Matt talk to
you about that case?

Well, no, why should he?

Well, the killer...

Martin Harford.

Martin Harford. Yes.

Well, he confessed.

It was an argument
that got out of hand.

-Why would Matthew...
-DI MORTON: The man who
found your son dead?

The chalet caretaker.

That was Martin Harford.

You think he killed my son?

You took his confession.

So what?
I don't remember very much,

-pull out the old files.
-DI MORTON: We did.

And the transcript of
the confession is missing.

You were at
the central records library
the other day.

What the hell are
you suggesting here?

That I beat some confession
out of Harford?

Or that I killed my own son?

Are you
seriously suggesting...

I loved that boy.

And now I've got
a couple of amateurs
sitting here accusing me!

We're not
accusing you of anything.

But what I am doing,
and against the advice
of my fellow officers,

is giving you
special treatment.

I'm giving you a chance.

Is there anything
that you can tell us

that might help us
identify and convict
your son's killer?

I've got nothing to say.

(DOOR SLAMS)

DI MORTON: He thinks
his police commissioner
campaign

makes him untouchable.

What he actually
wants is for us to
let him get away with murder?

ALAN: Helen!

DI MORTON: Matt Barber was
killed after an argument
that got out of control.

A killer with a short fuse

and the presence of mind
and the expertise

to tamper with
the crime scene.

I want that tape!

I don't know where it is.

Do you have any idea what
this could do?

I destroyed it. I'm sorry.

-Don't lie to me, son.
-No. It's buried.

It died with...

(DOORBELL RINGS)

Hi.

(MUSIC PLAYING)

-Alan.
-Liz, we need to
speak to Martin.

DI MORTON:
His wife said he was here.

I think we'd better come in.

(MUSIC STOPS PLAYING)

Ian Bassett?

-Yeah?
-You didn't tell us?

No, it was after
you left that he, uh,

-appeared.
-And you didn't
think to call us?

No. I'm sorry.

You've proved
a difficult man to trace.

We know you arrived back in
the UK a few days ago,
Mr Bassett.

But where were you
on Tuesday night?

At my hotel suite.

And I haven't been hiding.
Just been abroad.

For too long.

Dark Eyed Boy.

So why have you come back now?

I came back to do an
interview with Matt Barber.

Last Sunday morning.
At his chalet.

I was shocked to
hear about his death.

Mr Soames.

We're actually here to talk
to
you about your confession.

-Not again. How many times...
-Jack Barber,
the father of Matt Barber,

was the officer
who took your confession?

Did he apply any
undue pressure on you?

Alter your statement or
threaten you in any way?

No.

Mr Bassett, we're gonna
need fingerprints

and a DNA sample.
And a full statement, OK?

No problem.

So?

Mmm-hmm.

That's right.

We're reforming
The Crystal Kiss.

(ISLA COOING)

I thought you had
the right to know.

What's her name?

Isla Rose.

Isla Rose.

She's a...

Look at her,
she's watching me.

She looks like you.

Look,

I'm not some serial shagger.

You caught me by surprise.

That's why my
marriage broke up.

Wait. I didn't want to
break up any marriage.

I know.

I just couldn't just go back
to how it was before.

I just couldn't.

I'd like to be
a proper father to Isla.

And maybe,

for her sake,

we could try again.

(BAND SINGINGMARGINAL LOVE)

Boss?

DS Cabbot.

Ah, Annie.

Right, listen, everyone.

This is no longer
a two-strand inquiry.

There is a connection between
Jack Barber and
The Crystal Kiss.

We just have to get
to the bottom of it.

Annie,

Helen and I
bumped into Ian Bassett
at Liz Forbes' house.

He turns up after 25 years
and she doesn't even
bother to tell us?

-Annie, you get his statement.
-OK.

Right, thanks.

(SONG RESUMES)

Matt got in touch by email.

He was a fan with a laptop,

his words not mine.

And he wanted to interview me.

So you met him
at the chalet
on Sunday morning?

Yeah.

Did Matt refer to
the death of John Gaunt?

No. We spoke about the music.
About reforming the band.

Why do you want
to reform the band?

You know it's an idea I've
had
kicking about in my head
for a while. And er...

...it seems to
have worked quite
well for other people.

And we know
there's demand out there.

That's how I've been making
money all these years.

It's extremely lucrative.

But, you know, when I first
picked up a guitar,

I didn't start dreaming about
making elevator music.

(SOFT MUSIC PLAYING)

Maybe it's a mid-life crisis,
but I had to come back
and reform The Crystal Kiss.

I don't want my dreams
to die before I do.

So you and Liz
back together again,
as a couple?

Well, I don't know about that.

Liz was
a lovely looking girl and
we had a lot of fun, but

she wasn't,
you know, into the music
like me and John were.

Those two solo albums of hers
did well.

She must've had something.

Music for dinner parties.

(JAZZ MUSIC PLAYING)

OK.

-David Hornby.
-I've told him about Isla.

He wants to be
involved with her.

That's good.

That's good?
Is that all you can say?

What do you want me to say?

I wasn't expecting that!

Because Alan Banks always
says the right thing.

Always does the decent thing,
even if it means
pushing me towards...

You think I would push you

towards a piece
of shit like that?

At least his chat up line's
better than
"bring the travel cot"!

-(KEY TURNING IN DOOR)
-What's that?

(DOOR CLOSES)

Tracy? What... What...
What are you doing here?

Nothing.

-Hi.
-Oh? Hi.

Annie, this is Tracy.
My daughter.

Tracy, this is Annie.

-Nice to meet you.
-Yes.

(ISLA CRYING)

Shit.

I'm sorry.
I should've phoned, but

I've packed in Uni.

Chemical
engineering's not for me.

And I just thought I could,

um, stay here for a while
until I'm back on my feet.

I should go home.

-Annie, I'm so sorry.
-Can't be helped.

Night, Alan.

(CAR STARTS)

Did you say that
you'd left Uni?

Look, I'm sorry to spring
it on you like this, but...

(MOBILE RINGS)

Yes, Helen?

OK, thanks.

Work?

Security cameras opposite
the coffee shop.

Matt Barber and his father.

Starts off friendly enough.
But then...

The younger man
mentions John Gaunt.

See? John Gaunt.

Can you play it again?
Go in closer?

The pop musician, yeah,
John, John Gaunt.

Jack told us Matt didn't
ask him about John Gaunt.

Told us this
argument was all about Matt
wanting to find his mother.

Can you carry on
playing it from here?

And what he
appears to be saying
here is, "Dad there's a tape.

"And I'm going
to get hold of it,

"tomorrow. First thing.

"I'm going to get
to the truth, Dad.

"It's how you brought me up."

See?
When Matt mentions the tape,
it's like Jack's seen a ghost.

He gets angry. Really angry.
Look at him.

So angry he kills his son?

That's a reach, Helen.

A reach? He's lied to us
every step of the way.

Makes out he can
hardly remember

the John Gaunt case
and yet here he is,

really arguing
with his son about it.
Why? And this tape?

Does it threaten Jack?
Or maybe it
threatens his campaign.

What is this tape?

I don't know. But we need
to get our hands on it.

(KNOCKS ON DOOR)

Liz!

What are you doing?

I need to talk to you.

I need to talk to
all three of you.

About a tape.

A tape that Matt Barber was
trying to get his hands on

that was vital to
his investigation
into the death of John Gaunt.

I don't know what
you're talking about.

Jack. What are you doing here?

Social visit.

Really?

Or maybe you're looking to
get your hands on the tape

you and Matt were arguing
about the other day?

It doesn't matter.

I killed him!

-You killed Matt Barber?
-No! John! I killed John!

But it was an accident.

And it got out of hand.
That's what you say.

That's what Liz
said in her statement,

it was an argument
that got out hand.

That's what
Ian's statement said,

it was an argument
that got out of hand.

And that's what you
said as well, Jack.

It was...

When four separate people
say exactly the same thing,

that's when I get
very suspicious.

There's nothing
to investigate.

And whatever it
is you're thinking,

you don't have any proof.

Outside, Jack.

I haven't got time for this.
I've got a press conference.

And we should just let you go?

Where's the tape?
Who's got it?
And what's on it?

I have done my bit.

Thirty years on the force
and now this election.

I've made a difference.

What've you two ever done, eh?

Either of you?

Have you found
my son's killers?

I'm following in your
son's footsteps, Jack.

Except no-one's
going to take me out

before I get my
hands on the truth.

You've let me down. Sir.

KEN:
Sarge, take a look at this.

Ian Bassett's
financial records.

I've traced his
credit history through
most of Europe and beyond.

But then there's this,

Ian Bassett is
not what he seems.

Swanning around the place
dropping hints
about how rich he is.

About how reforming
The Crystal Kiss
isn't about money.

"Ian B, Spirit of the '80s."

I found a pawn broker's
receipt for a guitar
in his hotel room.

His credit history.

Bassett is broke.

Has been for
the last 20 years.

-He needs the money.
-Hmm.

And Matt Barber was about
to derail his gravy train.

Annie, um...

-What happened last night...
-Uh, Tracy?

No. I meant,

you know, what really
happened with you and...

David Hornby doesn't just
want a relationship with
Isla.

He wants
a relationship with me.

You're not thinking
about it, are you?

I don't know. OK?

We're screwed.

We should leave.

Now. For good.

-I can't just...
-We don't have the time, Liz!

Do we, Liz?

Where is the tape? Did you
give it to that journalist?

You swore you'd
destroyed that tape!

You'd better pray
it never surfaces!

Martin, maybe it's time
to make a clean break
with the past.

What by running off with
your first boyfriend?

This is your
stupid fault, Martin.

You've done this!
You and your big mouth.

All these years,
I've been looking after you,

putting up with
you fawning over me.

Well, I've had enough,
I need to get away.
I'm done with you.

Following me around,
looming over me.
It's disgusting.

-Martin! Martin!
-Leave him, Liz.

(DOOR SLAMS)

We really need to go.

(TALKING INAUDIBLY)

DI MORTON:
Well, it's Martin Soames.
He's the weak link.

Boss?

Boss?

Martin Soames? You need go
and tackle him at his house
and get him alone.

-He's the key to this.
-Yes.

Sorry, Helen.

Is everything OK?

Do you ever feel you've
missed your moment?

No.

DS Cabbot.

I've never understood
what you see in her.

I mean, she's a decent
enough police officer,
I suppose,

when she controls her
more impulsive outbursts.

But I think she might be
good for you, boss.

Thanks, Helen.

You're welcome.

Martin!

(TELEVISION PLAYING)

Martin?

Martin?

ALAN: Any kind of note?

So why now?
What finally pushed him?

Because we were
closing in on him.

Or did he kill Matt Barber?

Nine calls to this number
in the half hour
before he died.

-I've put a trace on it.
-Hold on.

Let's just see who we've got.

MAN'S VOICE:Not again,
Martin, you're not
getting the tape back.

David Hornby?

-MAN'S VOICE:
Who's this, please?
-Alan Banks.

Are you in your office?

-Yes.
-Well, stay where you are.

I'm on my way.

Right, I need Liz Forbes
and Ian Bassett picked up.

I'll deal with Hornby.

DCI Banks, I'm in a meeting
with another client.

I'm not prepared to discuss
Martin Soames.

Martin Soames
just hanged himself.

We need to talk.

All right, but not here.

Give me a minute.

Martin?
But he was here this morning.

With the tape?

The tape that he
was supposed to
deliver to Matt Barber?

Yeah.

Yeah, he must've gone home
and got drunk, badly drunk.

He was phoning
me ranting about
how Liz Forbes had left him

and how he had
felt he'd wasted
most of his life with her,

how he felt he
couldn't live without
her any more and then

how he wanted the tape back.

And you wouldn't give it back?

That's unfair.

What's on this tape?

I'm not prepared
to discuss that.

Are you refusing to hand
it over officially?

I've worked long
and hard for this.

One case,

one proven instance
of police malpractice

and the floodgates open.

Jack Barber's my best chance.

And I'd prefer
to use the press,
not the police,

-to bring this into
the public domain.
-Forget the conspiracy crap.

This is a straight up
right or wrong call.

I don't trust the police.

Does Annie know that?

Well, I've known Annie Cabbot
for three years now

and her core
attribute is integrity,
wouldn't you agree?

So if I go back to her

and say that you won't
cooperate with us,

do you really think there's
a chance that
you'll get to see her?

Or Isla ever again?

Thank you.

(RECORDED MUSIC PLAYING)

(STOPS MUSIC)

(MUSIC STARTS PLAYING)

You're leaving us?

I've, uh, decided against
reforming the band.

This is your car, sir?

Yes.

You almost got me killed.

(MUSIC CONTINUES PLAYING)

(THUDDING ON TAPE)

What's that?

(MUSIC STOPS)

What's
the latest on Liz and Ian?

They're downstairs stewing.

Ian Bassett's car's got a
broken brake light.

So it was him fleeing
the scene that night.

He claims he was there to
do an interview with Matt.

Saw the place
crawling with police,
got scared.

I bet he did.

Right, change of plan.
We're not gonna interview
those two downstairs.

We're gonna put Liz and Ian
back in the recording studio.

Just give me
an hour to get set up

and then we hit them
with this.

(SONG PLAYING)

So we've managed to retrieve

the infamous tape.

Now maybe it was
Martin just holding onto this
for a rainy day

or maybe it was to
keep you close to him, Liz.

A sort of subtle blackmail.

"Look after me
or I go public with this."

So deeply in
love with you, Liz?

Well, even back then.

Look.

Doesn't take his eyes off you.

So, he was
holding onto this tape.

It was from
the night that John died.

You were trying to
record a follow up

toMarginal Love.

This was your moment.

A surprise hit single
riding high in the charts,

but you had
nothing to back it up with.
And nothing in the can.

A Lesson for the Lonely Heart.

That was the track
you were recording.

Take nine was the one
that interests me.

(PLAYING SONG)

Turned out to be a recording
of the last moments

of John Gaunt's life.

(SONG STARTS PLAYING)

So there's all four of you,
in the studio.

Liz singing, Ian on keyboard,

Martin on bass and
John Gaunt on guitar.

-Listen. There.
-(FEEDBACK ON TAPE)

See, that's when John's
guitar is thrown down
and starts the feedback.

-And then there's footsteps.
-(FOOTSTEPS ON TAPE)

(THUD ON TAPE)

A studio door being opened.

Then just a few beats later,

-there.
-(KEYBOARD STOPS)

That's when
the keyboard cuts out.

-More footsteps.
-(FOOTSTEPS ON TAPE)

Except it wasn't Martin
following John out.

It was you, Ian.

So now the only people
left in the studio

are Liz and Martin,
just vocals and bass.

But of course, you kept
your headphones on

but this tape picks up
everything that was going on
outside the studio.

(INDISTINCT SHOUTING ON TAPE)

Bumps. Shouts.

-Someone crashing
down the stairs.
-(THUDDING ON TAPE)

-(INDISTINCT SHOUTING ON
TAPE)
-John.

(SHUTS TAPE OFF)

-Proves nothing.
-I don't see how
this involves me.

Oh, but it does, Liz.

Martin only agreed to cover up
for John's death
because you asked him.

You knew he was hopelessly
and unconditionally
in love with you.

And you only asked
him because you were

hopelessly and unconditionally
in love with Ian.

Martin killed John.

Ask him again. He'll tell you.

Martin hung himself
earlier this morning.

He took his own life
because you said
you were leaving him, Liz.

You said you and Ian
were leaving

because we were
closing in on the truth.

It's obvious.
Martin committed suicide

because he killed Matt Barber.

I love you.

ALAN: Come on, Liz.
Ian doesn't care about you.

That's why he left
all those years ago after
you'd tidied up his mess.

ANNIE: Houses in Antibes?
Yachts on Lake Como?

Upmarket cruise ships?
Bollocks.

This, Liz,
is the real Ian Bassett.

'80s revival stuff
in cheap bars and hotels.

Ian came back to reform
The Crystal Kiss

because he was
desperate for money.

-Ian?
-Grow up, Liz!

The Crystal Kiss's moment
has gone.

You were one-hit wonders,
end of.

Twenty-five years
hoping and waiting
and three people dead.

John, Martin, Matt Barber!

All to preserve
a teenage dream.

-Ian is a killer.
-Not true.

Listen.

What you're going to hear now,

and what you've
never heard before,

is an enhanced
digital version.

(PLAYS RECORD)

The music is being faded out.

(THUMPING ON TAPE)

-(LOUD THUMP)
-There.

You hear John falling.

Then other footsteps coming
down the stairs towards him.

(FOOTSTEPS ON TAPE)

And now this!

MAN ON TAPE:Ian, don't!

(MAN STRUGGLING ON TAPE)

OK. Maybe it was an argument
that got out of hand

when you knocked
John down the stairs.

But he didn't die immediately.

No, he was still alive,

so Ian followed him down
and finished him off.

You suffocated him, Ian.

You were the heart
and soul of the band.
You wrote all the songs,

but what was it
that you told me, Liz?

Love and hate
and testosterone.
It's a dangerous cocktail.

You saw a chance

to get rid of
your best friend,
your main rival,

and make a grab for
all the song writing
royalties
and you went for it.

You wanted the money then
and you want it now!

You can't prove that.
You don't have a witness.

Oh, my God.

-It's not true, Liz.
-You told me
it was an accident.

You told me
and I did everything for you
and it was a lie.

-It was all a lie.
-I didn't ask
you to do anything.

I gave £30,000
to that policeman,

I made poor Martin
confess and...

And you did what, Liz?

Did you kill Matt Barber?

I didn't want him
to destroy you, Ian.

I just lashed out
because I loved you.

Can you believe
it after 25 years

I'd still do anything for you?

God help me.

RETURNING OFFICER:
And I hereby
declare Jack Barber

duly elected to the post
Police Commissioner.

(CHEERS AND APPLAUSE)

Sir, Liz Forbes has
admitted to killing your
son.

You took a bribe of £30,000
from Liz Forbes,
25 years ago,

to accept Martin's
confession at face value.

Liz will testify in court
against you, Jack.

Look, I'm going to say
this to you just once.

25 years ago, Matthew's mother

tried to take him
from me to America.

I was going to
lose him forever.

But I needed money,

money for lawyers,
money for
private investigators.

And Liz Forbes
offered it to me.

And if I could
go back in time,

I'd do exactly the same thing
all over again.

I'll take myself
down to the station.

No, sir.

We won't be doing
things your way.

We need to make it legal
and everything but,

I want you to have regular
contact with Isla.

A proper
relationship with her.

-For life, David.
-That's brilliant.

And what about you and me?

I don't have a plan. I...

I don't know. PR?

Event Management.

I'm still
processing my future.

And what does your mother
have to say about all this?

Well, she's not happy.
But she understands.

So,

while you're
processing your future,

what you gonna do
in the meantime?

I'll get a job.
Bar work or something.

(DOORBELL RINGS)

We're not finished.

I need to speak to you.

I was hoping
you were free sometime
to finish our dinner?

What about David Hornby?

It didn't work out.

I'm sorry.

-Really?
-No.

I'd better get back
for the babysitter.

Annie,

we could be waiting and hoping
for the rest of our lives.

Unless we create our own...

Moments.