All language subtitles for Case Histories (2011) - S02E03 - Jackson and the Women (1080p AMZN WEB-DL x265 r00t)_track3_[eng]

[music playing]

CHARLOTTE: And as these yourwater laps at your feet,

you'll truly believe
you are in heaven.

JACKSON BRODIE:
Why are you still

talking about North Berwick?

I should go for a run.

I like the ones whenyou have your own cabana.

This way to your
cabana, senora.

And a private plunge pill.

Can't be all the
private plunging.

Now there's something youdon't get in North Berwick.

Want to bet?

[laughing]

[music playing]

JACKSON BRODIE: Let's justjump on a plane somewhere hot.

Money is coming through any day.

CHARLOTTE: I'm not a
kept woman, you know.

Anyway, can't be a
holiday if I don't

have a job to come back to.

Ah, come on!

There's a cabana somewherewith your name on it.

Meanwhile, there's an
exhibit stuck somewhere

between Frankfurt and Glasgow.

Here, zip me up.

I think it's going to beanother late night, sorry.

I can make it right now.

No.

[laughing]

I have to go.

I guess I'll
swing by the office.

The [inaudible] five
times yesterday.

CHARLOTTE: Sure you
still where it ends?

JACKSON BRODIE: Just a moment.

[music playing]

YOUNG MAN: Mister Brodie!

JACKSON BRODIE: That's right.

YOUNG MAN: I wasn't sure
if you were open or not.

JACKSON BRODIE: Apparently not.

Ah, just give us a minute.

Will you?

Where are they?

DEBORAH ARNOLD
[ON PHONE]: Hello.

JACKSON BRODIE: It's me.

DEBORAH ARNOLD: Hi.

JACKSON BRODIE: What the
bloody hell is going on?

You've decided to
run your business

into the ground for the sakeof a few shags and 60 grand.

All right, you've
made your point.

DEBORAH ARNOLD [ON
PHONE]: My point

is I'm sick and
tired of apologizing

for your midlife crisis.

And I have a new job,
which you'd know,

if you ever answered your phone.Bye, Jackson.

YOUNG MAN: Can't
get the staff, eh?

Hm.

Ah.

Look, now is probably
not the best time.

YOUNG MAN: I want totalk to you about my mom.

JACKSON BRODIE: Why don't
you come back later?

YOUNG MAN: Her name
was Isla Kelso.

[dramatic music]

JACKSON BRODIE: Aye.

AIDAN KELSO: TheChristmas shopping killer.

It's not the best
name in the world.

But very good.

JACKSON BRODIE: I remember it.

My mom was his third
victim except now

it turns out that she wasn't.

What do you mean?

Phillip McCrory
died last week.

JACKSON BRODIE:
Yeah, lung cancer.

I saw that.

He'd always said he wasinnocent but before he died,

he confessed to the
first two murders,

Ilsa Dunn and Maura Lynch.

We took keepsakes, toldthe police where he buried

them, a broach of Maura's
and Ilsa's hair clip.

They dug them up.

JACKSON BRODIE: And
nothing of your mom's.

AIDAN KELSO: They still
said it wasn't him.

Better get out of the papers.

What did they say, the police?

That he couldn't be trusted.

That we should take what hesaid with a pinch of salt.

But he was dying.

He'd already confessed
to everything else.

So why lie now?

I don't know.

He might have just wanted to--

To muck us around?

It happens a lot
in cases like this.

Look, uh--

Aidan.

JACKSON BRODIE: Aidan, OK.

I can see you're
very determined.

I've brought clippings!

Everything that Dad keptfrom when she went missing.

It you just-- if youjust have a look at them.

[music playing]

I just need to know
what happened to my mom.

[mother laughing]

JACKSON BRODIE: I'd have
to talk to your dad.

I'll give you our address.

Any time's good.

So thanks.

[cell phone rings]

[dramatic music]

[gunshot]

[screaming]

JACKSON BRODIE: Jackson Brodie.

[music playing]

MR. MINYAWI: Mr. Brodie,
thank you for coming.

My daughter Samira was
born in this country.

She went to an expensive
private school here

but then after her [inaudible],,I sent her to Cairo

to continue her studies.

MRS. MINYAWI: It's been hard.

She grew up a British girl.

MR. MINYAWI: She had difficultyadjusting to the life there.

There were problems with
her personal conduct.

When term ended, we expectedshe would come home.

She never arrived.

Then we received a messagefrom Samira telling us that we

shouldn't try to find her.

JACKSON BRODIE: But you did.

MR. MINYAWI: I found out
that she used her credit

card here in Edinburgh.

So I stopped it, thinkingit would bring her home.

But it's been weeks now.

We are worried.

MRS. MINYAWI: From
what my husband says,

you seem to take a
different approach

from his other employees.

Samira is a good girl butshe acts without thinking.

She's to be treated carefully.

But how old is Samira?

She's 19

She's not old.

She's still a child.

She should be with her family.

And what if she
doesn't want to be--

MR. MINYAWI: Mr. Brodie, are yousaying you refuse to help us?

MRS. MINYAWI: If you couldjust find her and talk to her.

MR. MINYAWI: Everything youneed should be in there.

JACKSON BRODIE: All right.

She has must be scared.

I'll see what I can do.

MR. MINYAWI: Thank you.

[eerie music]

[phone ringing]

JACKSON BRODIE: Hello.

MRS. MINYAWI [ON
PHONE]: Mr. Brodie?

JACKSON BRODIE: Mrs. Minyawi?

MRS. MINYAWI [ON PHONE]: Ihave spoken to my daughter.

She wouldn't say
where she was living.

But she found a job
working in a bar

and that it was a
boy she talked about.

JACKSON BRODIE: So she's OK?

MRS. MINYAWI [ON PHONE]: No.

She said not to worry,
that she was happy.

But she wasn't, Mr.
Brodie, she was scared.

She hadn't told me the nameof the bar, where it was,

anything.

JACKSON BRODIE: Who's Abby?

MRS MINYAWI [ON PHONE]:
Abigail Montgomery,

she was Samira's only friend.

I just want my daughtersafe at home, Mr. Brodie.

JACKSON BRODIE: All right.

I'll do my best.

[car engine turns on]

[music playing]

GIRL [ON PHONE]: Hello.JACKSON BRODIE: Is it Abigail?

ABIGAIL MONTGOMERY
[ON PHONE]: Yes.

JACKSON BRODIE: My
name's Jackson Brodie.

I'm a private detective.

I'm working for the Minyawifamily, looking for Samira.

You haven't seen
her since she went

back to Edinburgh, have you?

ABIGAIL MONTGOMERY [ON PHONE]:No, I haven't seen her.

Sorry.
I can't help you.

JACKSON BRODIE: No, no.
That's all right.

I've got a couple
of other leads.

I'm sure I'll find
her in a day or so.

ABIGAIL MONTGOMERY
[ON PHONE]: I'm sorry.

I've got to go.

JACKSON BRODIE:
Thanks for your help.

[mysterious music]

[loud club music]

MAN: Sammy!

ABIGAIL MONTGOMERY:
See you later.

SAMIRA: Hi.

JACKSON BRODIE: [inaudible]please, something normal.

SAMIRA: That's 3.88.

JACKSON BRODIE: You're joking.

It's quiet in here.

SAMIRA: It'll get louder.

MAN 2: Rhys, how's it going?

MAN: All's well,
Paul, all's well.

I'll be out the
back, sweetheart.

SAMIRA: Are you going
to be gone long?

MAN: Why?

Are you going to miss me?

SAMIRA: Shall I come and
get you if it gets busy?

MAN: No.

You'll be fine.

Don't do anything I wouldn't do.

Come on.

JACKSON BRODIE: Keep it.

Don't worry.

It's good to come
to a noisy place.

SAMIRA: Yeah, all
right for some.

MAN: There's a couple
of beers back here.

[shouting]

[train passing by]

Get back to work!

[sirens]

Don't be smoking again!

I told you!

[inaudible] There's
no one there!

[arguing]

[car horn]

[shrill noise]

[music playing]

[crying]

JACKSON BRODIE:
Samira, isn't it?

SAMIRA: My dad sent you.

JACKSON BRODIE: Your
mother actually.

SAMIRA: I'm not going home.

JACKSON BRODIE: It's up to you.

Look, your mom just
wanted me to find you

and make sure you are right.

What she wants you to know isnobody's going to make you do

anything you don't want to do.

SAMIRA: Guess you
didn't know my dad.

JACKSON BRODIE: I do actually.

But I didn't tell
him where you are.

Has he done that before?

We had a row.

I gave as good as I got.

Yeah, well he's not walkingaround with a black eye

and a split lip.

What can I say?

We've got a passionate
relationship.

Samira, let me take you home.

Have a chat with your mom.

If you don't want to staythere, if you don't like it,

you call me and I will come andget you and drive you anywhere

you want to go.

SAMIRA: What are you?

Some kind of [inaudible]
taxi service?

JACKSON BRODIE: I'm just someonewho wouldn't want his daughter

mixed up with a git like that.

SAMIRA: You know,
Rhys cares about me.

He was there for me
when I needed him.

He got me a job,
a place to stay.

JACKSON BRODIE: And then
smacked you in the face.

My dad wants to control
everything, who I see,

where I go, and you know
I was only allowed to go

to Uni if I went to Cairo.

Have you been there lately?

No, not lately.

It was not much fun.

He said he was sorry.

And I'm sure he is.

He'll be sorry every time.

Just come on.

Give it a try.

It's all I'm asking.

See your mom.

[music playing]

CHARLOTTE: Hey.

JACKSON BRODIE: Hey.

Sorry.

It's OK.

Where have you been?

JACKSON BRODIE:
Ah, missing person.

And did you find her?

How did you know
it was a girl?

Well, it usually is.

Yeah.

I found her.

CHARLOTTE: Are you OK?

Some jobs, I just
don't feel right.

Did she not want to be found?

Not really.

Anyway, at least she's safe now.

You, Jackson Brodie,
are a good man.

Did you know that?

Hm.

I'm not so sure.

Well, you are.

There's not many
out there like you.

I can tell you that.

I want off.

That's me.

Nah, just got lucky.

Come here.

[music playing]

[car engine]

IAN KELSO: Mr.
Brodie, no offense,

but I don't see what you cando that the police can't.

JACKSON BRODIE: Maybe nothing.

IAN KELSO: Ah, at
least you're honest.

AIDAN KELSO: The point
is, Dad, the police

aren't doing anything.

Look.

I'm here because Aidan asked me.

I'm very happy to walk away orI'll stay and do what I can do.

It's up to you.

Go ahead.

Let's talk about the nightyour wife went missing.

You were home, right?

Yup.

It was Christmas Eve so Ihad knocked off heavily.

I was given Aidan his bath.

And while I was
wrapping presents,

we'd given him his
first bike and she

didn't have enough paper.

So she said she'd end uprunning to the news agents.

I put Aidan to bed but
she still wasn't back.

Now I thought at
first that maybe

the news agents had shot earlyand she'd had to go into town.

And then I started ringingaround her friends in case

she bumped into someone.

In the end, I called the police.

[mournful music]

YOUNG AIDAN: Daddy, daddy.

What's the matter?

AIDAN KELSO: They found herbody the day after Boxing Day.

She was strangled and
dumped in the river.

It would helpful to geta picture of her lifestyle,

her routine, you know, where shewent, who she spent time with.

She just stayed athome, mainly, with Aidan.

They went to thesupermarket and the park,

but that was about it.

[music playing]

[laughing]

She said she loved it whenit was just the two of them

together.

AIDAN KELSO: Mr. Brodie.

I thought these might help,some photos and stuff.

JACKSON BRODIE: Great, thanks.

My dad, he doesn't findit easy talking about her.

But he kept her things.

I don't know if
they'll be of any use.

The ruby one was
an engagement ring.

It was my gran's, that
and the wedding band.

I've sort of wondered if I wouldbe less crappy talking to girls

if I'd had my mom around.

We're all crappy
talking to girls.

The best thing is
to say nothing.

Guess [inaudible].

See you.

[train passes by]

[music playing]

JACKSON BRODIE: Could
you just tell me which

is working so I can pop in?

Is she?

Well, I'm a lot more
appealing in person.

I promise.

Thanks very much.

Yeah, I will.

[sirens]

POLICE OFFICER 1: Freeze!

[inaudible]

POLICE OFFICER 2: Don't move!

WOMAN 2: Go on!

Go on!

DIRECTOR: Julia, thatwas [inaudible] Could you

be just a little bit quieter?

OK.

JACKSON BRODIE: Julia!

Jackson Brodie.

As I live and breath.

[music playing]

JULIA: So, what do you
think of my new role?

Did you see much of the filming?

JACKSON BRODIE: No.

What are you doing?

JULIA: That's the best part.

I play a detective.

Not the lead, of course,
that's some brooding

maverick bloke with adysfunctional private life.

No, I'm his straight-talking
by-the-book partner

who's secretly in love withhim and has a diabetic father.

He was going to haveAlzheimer's but everyone's done

Alzheimer's.

I'll have the lemon
drizzle, please, Mikey.

So it wasn't a
problem that you're--

I was a teensy bit dishonestat the first audition.

But it's fine.
They worked it in.

I'm only in three episodes.

This is the last one.

That I get targeted
by the serial killer.

I have to go into
witness protection.

I'm not usually a
fan of lemon drizzle.

But I've got an urge.

Baby must be trying toget me to eat more fruit.

I'm seven months gone.

So it's not ours?

Seventh months,
hold on a second.

We only broke up--

You remember why we broke up?

You were never there.

I was there sometimes.

And I slept with someone else.

After you there was a briefrelationship with another chap.

And it should have been a beltand braces sort of scenario

but it turned out neither ofus happened to have a belt.

JACKSON BRODIE: At it
like rubbage, were you?

Yeah.

This bloke, he's, he knows?

Of course.

But he's not going
to be involved.

We agreed to keep it simple.

All right.

You OK?

Marvelous.

People make such a songand dance about pregnancy

but it's the mostgloriously natural process.

And I'm really interested
in newborn development.

You know this fascinatingstuff about imprinting.

How the first
connection you make

has to be a really strong one,the first physical contact,

the first face
they see, otherwise

you end up with ducklingsfollowing pigs around,

that sort of thing.

Gosh, it's so lucky you'returning up like this

because I'm desperate tospend time with a real life

detective, do some research.

If this goes to a secondseries, I think they're going

to bring my character back.

JACKSON BRODIE: Uh, I'm not surethat it's going to work out.

I'm going away.

JULIA: Oh, no.

I don't mean you.

I was thinking you
could put me in touch

with that really dynamic inCID, DI Munroe, wasn't it?

No, I can't see
her going for it.

Oh, I'm sure you
could persuade her.

You could talk a girl
into almost anything.

JACKSON BRODIE: I saidyou'd say no, which you can.

You know, whatever you want.

It's just she made me comedown and ask you in person.

The thing is--

LOUISE MUNROE: I'mlooking at the thing now.

Yeah.

So what do you say?

Five minutes, show
her an interview room,

wave a pair of handcuffs at her?

LOUISE MUNROE: Uh, all right.

JACKSON BRODIE: Thanks.

But seriously, if she givesbirth on the premises, then

I will not be happy.
- You'll be all right.

She's not due foranother couple of months.

Are you sure about that?

Yeah, yeah.

Julia, you remember Louise?Louise--

JULIA: Of course.

JACKSON BRODIE: I'm
sure you remember Julia.

JULIA: Thank you
so much for this.

This place, fascinating.

Now I've noticed a lot ofthe women are wearing beige.

What's that all about?

JACKSON BRODIE: I'll
leave you girls alone.

JULIA: Thanks.

Wow, such atmosphere
of paperwork.

LOUISE MUNROE: My--

[music playing]

DEBORAH ARNOLD: What
are you doing here?

JACKSON BRODIE:
What you doing here?

DEBORAH ARNOLD: I'm working.

Remember the concept?

All right.

I've been a bit crap
for a few weeks.

Yeah, yeah you have.

Well things will be
back to normal now.

Come on.

Oh, right!

You phoning it in becauseyou despise what we do

and me nagging you aboutmoney like a broken record.

It's not always like that.

No, it didn't used to be.

You actually used to
care and I foolishly

thought that we
were doing something

that made a difference.
But hey!

Things change.
- We were.

We are.

We will be again.

I need you.
Come on.

Oh, it's too late.

I've moved on to somewherewith real prospects.

Prospects?

They haven't even
given you a chair.

Abergee advertising,
devil's in the detail.

Seriously, receptionist?

Have you gone mental?

Putting you through.

On the contrary.

I've never felt more stimulated.

JACKSON BRODIE: You look
like a dental assistant

at a Japanese airport.

DEBORAH ARNOLD:
Get lost, Jackson!

JACKSON BRODIE: It'd
be helpful to get

a picture of herlifestyle, where she went,

who her friends were.

IAN KELSO: She just stayedat home mainly with Aidan.

And that was about it.

[phone tone]

MAN 3 [ON PHONE]:
Hello, ed services.

JACKSON BRODIE: [inaudible]adult education services?

MAN 3 [ON PHONE]: Yes.

JACKSON BRODIE: How long
do your records go back?

TEACHER: Excuse the mess.

I keep meaning to
get around to it.

After dealing with psychoticlittle shits all day,

I'm never really in the mood.

Have a seat.

JACKSON BRODIE: Thanks.

You teach full time then?

And so, you know how it is.

Those who can, do.

Those who tried and foundthat they couldn't afford

to feed themselves, teach.

JACKSON BRODIE: Well, none of usend up where we planned, do we?

So, you said this
was about Isla Kelso?

Yeah, I'm looking into herdeath on behalf of the family.

I saw in the paper thatthey'd reopened the case.

That was a hell of a thing.

JACKSON BRODIE: I came acrossher old art school student card

in her belongings
and called them up.

It turned out you were herteacher back in the day.

Oh, hardly.

Isla didn't need a teacher.

She was the real deal.

Some of her work
was just incredible.

So she was serious about it?

It wasn't a hobby.
- Oh no.

She could have--
could have done it.

You know, but she married young.

She'd had a kid.

It's a classic
frustrated housewife.

I guess painting would
have been an escape?

Exactly.

There was this whole sequenceof paintings that she did.

It was after she had
been in a car crash.

Ah, it was really
powerful stuff.

Really visceral, full
of anger and guilt,

you know just
completely blew me away.

In what car crash?

It was a few months
before she was killed.

I was running the
gallery at that time.

You see that was the game plan.

Artist, gallery artist, allaround '90s [inaudible]..

So the night Isla died,
you'd have been where?

I was at a Christmasparty, a friend's studio.

All night?

No, I went home with a girl.

JACKSON BRODIE: You
remember her name?

Mandy, Mandy Styles.

She was an installation
artist, used

to roll around naked in paint.

Those were the days, eh?

Not for all of us.

[car engine]

AIDAN KELSO: Mr. Brodie.
JACKSON BRODIE: Aidan.

AIDAN KELSO: Have
you found something?

JACKSON BRODIE: Ah, no.

I just wanted to ask yousomething about your mom.

She had a crash a couple
months before she died.

I didn't know she'd had one.

We should ask your dad.

Yeah, he's just on thephone about tomorrow's job.

He'll be done in the minute.

Dad?

JACKSON BRODIE: How long haveyou been working together?

AIDAN KELSO: Oh, a
couple of months.

I want to save some
cash for uni next year.

I'm going to Dundee to
do computer science.

Great city, Dundee.

IAN KELSO: All right,
so is Dusseldorf.

Dad?

He's offered an internshipwith a software company.

Yeah, a paid internship inthe middle of bloody Germany.

Instead he's hanging abouthere lugging carpets around.

It's not too late
to call him back,

you know, couldn't tell
whatever his name is.

I'm not calling him back.

Mr. Brody was asking
about a car accident.

What accident?

The crash that Isla
had a couple of months

before she was killed.

Oh, that was just a prank.

Nothing major.

No one got hurt.

No, nothing like that.

Like I said, it
was just a prank.

Guess we got
our wires crossed.

Hold on, we'd better go.

[car door shuts]

[music playing]

[dogs barking]

[bottles clinking]

[pensive music]

[knocking on door]

JACKSON BRODIE: Julia.

JULIA: Jackson.

Come in.

JULIA: Thanks.

JACKSON BRODIE: Nice to see you.

JULIA: Oh don't-- don't worry.

I'm not staying.

And I'll make myself scarce ifyour significant other appears.

JACKSON BRODIE: It's all right.

JULIA: Does she have a name?

Charlotte.

Charlie for short
or is she a Lotta?

She's a Charlotte.

Anyway, I just wanted
to thank you for putting

me in touch with DI Munroe.

JACKSON BRODIE: Really?

Yes, she was very helpful.

Possibly spent longer in a cellthat was absolutely necessary.

Locked in?
JULIA: Yes.

I'm sorry.

But that kind of experienceis really great for getting

you in the right frame of mind.

Could I possibly have
a glass of water?

JACKSON BRODIE: Yeah, yeah.Of course.

I'm sorry.

Sit down.

JULIA: Of course I'll
only have to pee again.

You'd think with
all this urinating,

it would cancel out
the water retention.

But my fingers are
still like sausages

are the end of the day.

JACKSON BRODIE: Are yousure you should be working?

Thanks.

I mean, you're running around.

It's not like you're
sitting behind a desk.

Jackson, this is the biggestbreak I've had in years.

I'm not about to let
a one-night stand

derail my career, not whenI'm finally about to have one.

A one-night stand?

Well, no, I mean--

I didn't mean
literally one night.

Goodness.

Off-duty detective Brodie.

Big for seventh
months, so I hear.

Do you have any idea
how offensive it is when

men make comments like that?

I was just asking.

I've had every bus and cabdriver in London volunteering

opinions on the size of my bum.

Sorry.

For your information, I'mmeasuring large for dates.

Whatever that means.

So they say I might
need an extra scan.

[knocking on door]

JACKSON BRODIE: Louise.

LOUISE MUNROE: Two things.

OK.

If you ever bring thatwoman to the station again,

I will not be heldaccountable for my actions.

Fair enough.

JULIA: Hello DI Munroe.

Oh, it's Julia again.

JACKSON BRODIE: And yousaid there were two things?

Ah, yes.

I have also been asked
to inform you that they

signed off the Mackie case.

So all the frozen funds havebeen released and apologies

from the [inaudible]
police force

for any inconvenience
they may have caused.

JACKSON BRODIE: Looks
like we're rich.

CHARLOTTE: Nice!

Hi, again.

LOUISE MUNROE: Hello, again.

JULIA: Hi!

You must be Charlotte.

I'm Julia, Jackson's ex.

Well--

JULIA: Gosh, it's allgetting rather private lives.

Shall I put the kettle on
and we'll have some tea?

CHARLOTTE: Sure.

JACKSON BRODIE: All right.

You can't smoke near
the pregnant woman.

All right.

Want to come in for
a nice cup of tea?

LOUISE MUNROE: No, thank you.

Good luck with all that.

[music playing]

[birds chirping]

[bells ringing]

[pensive music]

KENNY [ON PHONE]: Hello.

JACKSON BRODIE:
Kenny, Jackson Brodie.

I need a favor.

Can you get me anaccident report from 1998?

IAN KELSO: Aidan is going
to get fish and chips.

I didn't feel much like cooking.

JACKSON BRODIE: Good, I wantedto to talk to you first.

Yeah.

Ian, if I'm to
do my job properly,

you've got to start
being straight with me?

What's that supposed to mean?

It means I get it.

I know that all of Aidan'smemories of his mom

come from you and youwant them all to be good.

But you can't keep editingthings out of the picture.

Like what?

Like all of the art stuff.

Like the prank
that wasn't a prank.

It was a crash with Aidan inthe front seat and no seat belt.

It was an accident.

He was fine.

It was an accident
that happened

because she was over the limit.

She'd been out
the night before.

She'd had a few drinks.

JACKSON BRODIE: So she wasstill drunk the morning after?

Come on, Ian.
IAN KELSO: All right.

What do you want me to say?OK.

Isla had her problems.

We had our problems.

OK, what couple doesn't?

Big enough problems to
make her want to leave?

I saw the rings.

Aidan gave them to me.

First I thought they mightcome back from the morgue.

But when her body's been
in the water that long,

they have cut them off.

And they weren't cut.

She just wasn't wearing them.

Well, she was in
every picture I saw.

In the kitchen, on
the beach, swimming,

everywhere, she
never took them off.

My experience if a
woman takes her rings

off and walks off into thenight, she's not coming back.

Right?

Ian?

Why didn't you tell the police?

I didn't know.

Not at first.

I didn't find the rings
until the next day.

She'd left them in
front of the clock

It might have affected
the investigation.

As soon as the
police found her body,

they knew who'd done it.

So why tell everyone
she was walking

out on me and her 3-year-oldson when it happens?

You know, why does
anyone need to know

that, least of all Aidan?

Because they might
have got it wrong.

It might make a difference.

IAN KELSO
[EMOTIONALLY]: What, do

you think I don't realize that?

Hey, do you think I don'tknow that her killer might

be out there somewhere
because of me?

Because I didn't want everyoneto think my son's mother

was a selfish slapper?

[dramatic music]

Oh, Aidan.

I'm sorry.

AIDAN KELSO: What did you do?

IAN KELSO: I blamed
her bloody art

class, her smarmy
ponce of a teacher

putting ideas into my head.

But it wasn't about that.

It was about her.

The truth is we just
weren't enough for her.

And the more she tried topretend, the unhappier she got.

But she wasn't the only onewho wanted more out of life.

I had plans too.

I had a mate set
up in the States,

feting out big penthouses,big corporate accounts,

that kind of thing.

And I wanted us to go outthere and make a fresh start.

JACKSON BRODIE: She
didn't want to go.

IAN KELSO: No.

She said it would be the sameshit in a different place.

And that's when she starteddrinking and staying

to all hours at theseopenings and exhibitions,

saying she was finallygetting to meet other artists

as if that made it all right.

But it doesn't mean
she didn't love you.

You, you were the only goodthing to come out of all this.

AIDAN KELSO: She
nearly killed me.

She was beside herself
after the accident.

She knew things couldn'tcarry on the way they were.

So she was leaving
to get away from me.

No, no.

I'm not saying that.

No, you're saying
you've done nothing

but lie to me for
the past 15 years,

that everything I thought I knewabout my mom is total bollocks.

Well, thanks for that, Dad.

Thanks a lot.

[mournful music]

SET WORKER: This is 764 Action.

And cut!

JULIA: Oh, thank you so much.

TEACHER [ANGRILY]: Get off!

I told you!

He's an old friend.

I shouldn't need to
make an appointment.

It's completely unnecessary.

JULIA: Hm.

[MUSIC - QUIET LIGHTS, "BORROWED TIME"]

CLERK: This one's declining me.

Have you got another?

JACKSON BRODIE: Hm.

I've got cash.

[MUSIC - QUIET LIGHTS, "BORROWED TIME"]

BANK CLERK [ON PHONE]:
This is a courtesy

call for Mr. Jackson Brodiefrom the Central LA Bank.

My name's Patricia Lee
of the personal banking.

JACKSON BRODIE: Don't
start, Patricia.

BANK CLERK [ON
PHONE]: We were made

aware that a sizable depositwas made into your bank today.

And if you would like to callus at your earliest convenience,

we'd be delighted todiscuss investment options.

JACKSON BRODIE: I be you would.

BANK CLERK [ON PHONE]:
Please call 0181524962.

We look forward to
hearing from you.

MUSIC: How long did I play thefool loving on borrowed time.

JACKSON BRODIE: Now whycan't I buy a packet of fags?

[music playing]

Never was a heart
so hard and empty

as this hollow heart of mine.

It was another way
to keep me blind.

How long did I play the fool,smiling as the world unspooled,

Lord knows life can
be so cruel when

you're loving on borrowed time.

[snoring]

[phone rings]

JACKSON BRODIE: Hello.

Hm.

[music playing]

MRS. MINYAWI: He
kept calling her,

telling her he loved her,that he wanted her back.

I begged her not
to listen to him.

JACKSON BRODIE: When did she go?

Last night.

My husband betrayed
me, Mr. Brody.

He told Samira she was tofly to Cairo at the weekend,

that she would be
living with his brother,

that her every move wouldbe supervised from now on.

They were screaming
at each other.

She told him that she wasgoing to be with a man who

loved her and she ran.

Shit.

This boy Rhys, does
he love her at all?

Will he take care of her?

No.

I don't think so.

He's-- not a good person.

You have to go and get her.

I can't just grab her.

We have to do something.

What's important is sheunderstands she has options

and that she can walk away.

I should have stood
up to my husband

when he first wanted
to send her back.

I should have fought.

I should have walked away.

Please go to her.

Tell her I just
want her to be safe.

Tell her to be strong.

Tell her-- tell her I'm sorry.

JACKSON BRODIE: I'll
see what I can do.

He'll want to
know where I was.

We didn't meet.

OK?

Sure.

[eerie music]

[phone rings]

LOUISE MUNROE [ON PHONE]:Well, if it's any consolation

you're not the first.

Charlotte, or Karina
as she's also known,

is quite the multi-tasker.

When she wasn't with youshe was fleecing some banker

in Glasgow of nearly 200 grand.

I'm so sorry.

She's a pro so she knows
how to cover her tracks.

But I can give you
her files if you want.

JACKSON BRODIE: No
you're all right.

Forget it.

LOUISE MUNROE: What, you'renot going to try and find her?

JACKSON BRODIE: Certainly right.

LOUISE MUNROE: Sorry.

JACKSON BRODIE: Thanks.

[mournful music]

You keep saying it's
these other blokes.

JULIA: Because it is.

Well, maybe but
then you say you're

big for dates or whatever.

So?

So, maybe you're not.

Maybe you got it wrong.

This is ridiculous.

OLLIE: Julia, we need
to get you ready.

JULIA: Sorry, Ollie.

Just give us a minute.

JACKSON BRODIE: I
don't think it is.

This is exactly why
I didn't tell you.

Tell me what?

Tell me it could be my baby?

No, why I didn't
tell you I was pregnant

because I knew you'd leapto all the wrong conclusions

and insist on sweeping in anddoing the decent thing even

though it's not your problem.

Let's take a test.

Let's take a paternity testand find out once and for all.

Right.

So I should stick aneedle into my unborn baby

quite possibly risk abortingit just to satisfy your ego?

That's not what this is.

You know, I am so glad
you're not the father

because the thought of
raising a child with you

is becoming more
hideous by the second.

JACKSON BRODIE: Julia, look.

I have a right to know.

JULIA: No.

You don't.

Ready now, darling.

This is my baby and my body.

And it has absolutely
nothing to do with you.

So why don't you go and findsomething else to obsess about?

I need to get back to work.

[music playing]

[phone buzzes]
LOUISE MUNROE: Hello.

Hey, hi.

No, that's fine if
you come and collect

the rest at the weekend.

Well, no but I've got my keys.

No, Pat, I'm not
saying that because I

don't need to be there.
But I've got to go.

OFFICER: Do you
think this is where

he's meeting his new supplier?

LOUISE MUNROE: Well,
if he isn't, there's

another dude on the plan.

Yes, but if he is?

Then we can start to piecetogether the whole network.

Oh, I know!It'll be just like "The Wire."

What the hell is he doing here?

JACKSON BRODIE: Is Samira about?

Back there?

SAMIRA: What are you doing here?

I'm not going back.

JACKSON BRODIE: Iwouldn't try and take you.

I've just come to see
if you're all right.

SAMIRA: What's your problem?And you can't be here.

JACKSON BRODIE:
What's the matter?

You can't talk to friends?

You're not my friend andI don't want to talk to you.

Rhys wouldn't like it
if you did, would he?

So what?

Just go.

So doesn't that remind
you of someone else?

At least he cares
enough to be jealous.

Look at yourself,
having to hide away.

I'm not stupid.

I know you're not.

Look, your mom
wanted you to know

that she was sorry how it went.

Is she all right?

No, not really.

She is worried about you.

She loves you.

I just want you to knowthat when you've had enough,

you call me.

And I'll help you.

All right?

All right.

Just go, yeah?

LOUISE MUNROE: Ah,
who do we have here?

OFFICER: Who are
all these people?

MR. MINYAWI: What the
hell are you doing here?

I'm handling this.

JACKSON BRODIE: You're
not going in there

and starting the war, right?

She does--

MR. MINYAWI: Of course not.

Mr. Marshall is the sort of manwho understands transactions.

I am treating this
as a transaction.

You're not serious.

You're not going to pay him?

She's your daughter.

You cannot buy and sell her.

I will pay him once.

My daughter will see himfor the man he really is.

And that will be the end of it.

And then what?

Ship her off somewhere?

She is my child, Mr. Brodie.

I will decide what
is best for her.

Just as you did for yourfriends when you needed my help,

help which can easily be undone.

Do you understand?

[music playing]

OFFICER: So do I put himin the surveillance line?

LOUISE MUNROE: What--
leave it with me.

I'll have a chat with him.

Just find out what's going on.

OK?

[printer sounds]

JACKSON BRODIE: Good
for you, Brian Steele.

JULIA: First sign of
madness, you know?

JACKSON BRODIE: Hey.

JULIA: I really don't
want to fight anymore.

JACKSON BRODIE: Me neither.

JULIA: Could we just not talkabout it, at least for a bit?

Come in.

Here, I'll get you a chair.

JULIA: Thanks.

JACKSON BRODIE: Can
I get you something?

A cup of tea or
a glass of water?

JULIA: No, thanks.

JACKSON BRODIE:
Finished for the day?

Yes, two more days and I'llbe back in London this time

next week.

Actually, I've just
been from my scan.

The baby's healthy.
JACKSON BRODIE: Good.

I even heard the heartbeat,came out and realized

I don't know what to tell--

JACKSON BRODIE: Hey.

JULIA: Sorry.JACKSON BRODIE: It's all right.

JULIA: Silly.

JACKSON BRODIE: No, it's not.

JULIA [CRYING]: It's no reasonwhy you should be interested.

JACKSON BRODIE: I used tohide some tissues around

here somewhere.

JULIA [CRYING]: No, I'm fine.

I'm fine.

Sorry.

JACKSON BRODIE:
Listen, you don't

have to go through this alone.

Oh, Jackson, please.

I'm not starting that.

I'm just saying that I'm here.

So what are you
beavering away at?

The usual, you know.

Murder and mayhem.

JULIA: Exciting.

Oh, I know him.

Fergus Banks?

If that's his name.

I saw him yesterday.

He was being thrown
from an office building.

All very dramatic.

I don't think it's him.

That's an old picture.

I'm positive.

He was still wearing thoseridiculous love beads.

I remember thinking it wasall rather sad at his age.

And he had these horrible boots.

Which building there was it?

By that big pointy thing?

The Scalp monument?

Yes.

[inaudible] East
or west of there?

Jackson.

I'm not a sat nav.

All right, yep.

I'll show you a map here.

There's Princess Street.

There's this pointy building.

Right here.

Have I cracked the case?

[music playing]

BRIAN STEELE: Mr. Brody, is it?JACKSON BRODIE: That's me.

Brian Steele, MSP for
Westside [inaudible]..

JACKSON BRODIE: Thanks forseeing me on such short notice.

BRIAN STEELE: Not
at all, my treat.

Please, come in.

Wow.

It's quite a view, isn't it?

Please, take a seat.

So, how can I help you?

JACKSON BRODIE: I'm lookinginto the murder of Isla Kelso.

It seems like the police
may have got the wrong

man all those years ago.

All right.

Yes.

I remember reading about that.

So I'm talking to any one whomight have had contact with her

leading up to her death.

And I know that you movedin some of the same circles,

went to the same parties.

Well, if I did,
that's news to me.

But Fergus Banks's gallery?

Fergus Banks?

Well, there's a
blast from the past.

I did go to a few of hisparties along with a hundred

other people.

But I'm afraid I have no memoryof ever meeting Isla Kelso.

Now lots of attractive
ladies though,

Fergus always had
a way with women.

Poor old Fergus had suchhigh hopes for that gallery.

It's terrible, isn't it?

We were good friends
at university.

But the truth is, I haven'tthought about him in years.

Strange.

He's though about you.

He was thrown out
of this building

yesterday trying to see you.

Fergus was?

I was in meetings.

They should have interrupted me.

JACKSON BRODIE: Why didn't they?

BRIAN STEELE: They're
very protective.

I'm sorry, I'm a
little confused here.

You said you were a
private investigator.

Are you working with
the police on this?

I'm working with Isla's son.

God, poor boy.

I can't imagine growing upwith the trauma of something

like that.

Listen, would you tell himto contact me if there's

anything that I can do to help?

Here's my personal mobile.

He can get me on
that at any time.

That's very kind of you.

BRIAN STEELE: It has beena pleasure to meet you.

JACKSON BRODIE: Thank you.

BRIAN STEELE: Good luck
with the investigation.

JACKSON BRODIE: Thanks.

[music playing]

LOUISE MUNROE: I
need to talk to you.

What were you doing at RhysMarshall's bar this afternoon?

JACKSON BRODIE: I'm sorry?

LOUISE MUNROE: Well, you
went in, came out again,

had a little something
with some Middle

Eastern guy and his bodyguard.

You followed me?

No, not you.

I was just, you know,trying to help someone out.

Who's the man?

He's-- he's some
dick I should have

never gotten involved with.

Drink?

LOUISE MUNROE: No, thank you.

What's been going on with you?

You've not been yourself.

I made a bad decision.

Oh, just the one?

No, a whole series.

So Rhys Marshall
is part of that?

JACKSON BRODIE: He
is a consequence.

Look, if you're in
some sort of trouble,

you know I can help
you, don't you?

You're the last
person I come to.

Oh, thank you.

I mean, you know,
after everything.

LOUISE MUNROE: After everything?

After that-- you know, I thinkI've done enough damage on you.

LOUISE MUNROE: I
thought I was the one

that moved on too
quickly, didn't

give you a fighting chance.

I think we both know
that was bollocks.

I got scared.

Runaway.

I'm sorry.

I was frightened.

Everything I touch gets--

gets messed up.

And I didn't-- rather thanface it, I just thought I'd--

took a joke to get away.

I didn't look at
the full picture.

I see.

Well, I'm sorry.

So it worked out, hasn't it?

I mean, you've got
your nice big house,

Dr. Patchett on your own.

Oh, we split up.

Did you?

LOUISE MUNROE: Mm-hm.

That was quick.

I know.

You all right?

I'll survive.

Yeah, you will.

I've got to go.

[music playing]

JACKSON BRODIE: Good morning.

DEBORAH ARNOLD: I need
copies of my pay scripts

for tax purposes.

JACKSON BRODIE:
Whatever you need.

It's nice to see you.

DEBORAH ARNOLD:
And I took a call.

A woman called
Mandy said she got

your message about Fergus Banks,give her a call after six.

Who's Fergus Banks?

He is a teacher, tragic,might be a murderer.

So I'm trying to find out.

What are you doing?

Don't worry.

I'll sort it.

I thought we had the samepassword for everything.

What kind of
idiot would do that?

But here.

You're not even
inside the entry box.

Cup of tea?

DEBORAH ARNOLD: Uh.

I'm offering to
make a cup of tea.

Oh.

Have you got milk?

Clean mugs, too.

DEBORAH ARNOLD: By my
standards or yours?

Just so you know,
I'm not staying.

JACKSON BRODIE: I know.

DEBORAH ARNOLD: Right.

[door opening]

FERGUS BANKS: What now?

Do you want a cup
of tea or something?

JACKSON BRODIE: What's up?

Because you seem quite jumpy.

Nothing.

What can I do for you?

JACKSON BRODIE: Well, Imean because you didn't tell

me the whole truth about Isla.

What are you talking about?

The night she died, she waswalking out on her family.

FERGUS BANKS: Was she?

JACKSON BRODIE: She was comingto be with you, wasn't she?

That-- why did you say that?

Are you saying you weren'thaving an affair with her?

OK, right.

We were seeing each
other for a while.

But it was all over long before.

Anyway, I told you I was
with someone that night.

Yeah, the installation artist.

Mandy Styles.

That's right.

JACKSON BRODIE: I spoke to her.

She was quite evasive.

But I'm sure the police willget to the bottom of it.

Police, why would the
police be interested?

Come on, Fergus.

A woman walks out on
her husband and son

to go and see her
lover-- ex-lover

who's now with someone else.

Who do you think is goingto be the main suspect?

FERGUS BANKS: Well, they'llbe wasting their time.

JACKSON BRODIE: They'll
talk to her, Mandy.

They'll take her throughevery second of that night.

And better off, she's
got a story that backs

you up after all these years.

They'll talk to her andthey'll talk to Brian Steele.

Brian Steele?

What does he have
to do with this?

Nothing, that's
what he will say.

He said he had no idea
you were at his office.

I know you're lying
about something.

I know Brian's lying.

But he's much better at it.

He'll get away with it.

He'll walk away squeaky clean.

He's like that.

Don't you think?

They'll believe him when hesays he's never met Isla?

You'll be left all
alone in the frame.

Is that what you want?

Just you?

FERGUS BANKS: Never met her.

JACKSON BRODIE: He's sure of it.

FERGUS BANKS: This
was one of hers.

She's bloody good.

Everyone knew everyone.

[dramatic music]

It was the opening night of mygallery and everyone was there.

That was when I firstintroduced Isla to Brian Steele.

It was obvious that
he really liked her.

What happened on
the night Isla died?

Brian called me at
3:00 in the morning

and told me that there
had been an accident.

Where?

FERGUS BANKS: At the gallery.

He said that she'd gone
there looking for me.

It was Christmas Eve.

I was at that friend's partybut Brian was at the gallery.

He said she was in a state.

I had some coke in
the back office.

He said that she was drunk.

He tried to comfort her, thatshe'd fallen asleep and choked.

He rang me like I toldyou saying it was urgent.

He said that he was
worried about me.

And that you know, that
she died on my premises.

She had my drugs in her.

It made sense at the time.

FERGUS BANKS [FLASHBACK]:We should call the police!

BRIAN STEELE[FLASHBACK]: I know that!

We were just-- we've
just got to think.

Just think for a minute.

JACKSON BRODIE: And then what?

When it didn't make sense.

What did you think then?

Brian had unusual tastes.

JACKSON BRODIE:
What does that mean?

He was into some prettyviolent stuff with women.

You think that's
happened to her?

Yeah.

And I didn't want
to believe that.

I wanted to keep my gallery.

I lost my gallery anyway.

I just did not have the
heart for it after that.

She deserved better.
- Yes.

She did.

FERGUS BANKS: [CRYING]

[phone buzzes]

LOUISE MUNROE: Hello?

JACKSON BRODIE [ON PHONE]:You know the MSP Brian Steele?

The people's champion?

FERGUS BANKS: Yeah, Iknow who Brian Steele is.

Then you'll arrest forthe murder of Isla Kelso.

Do you have any evidence
for that, Jackson?

Well, there's
a full confession

for the man who helped himbury the body, Fergus Banks.

Quite the player.

[inaudible]

Is there anything
else I can do for you?

No, you're all right.

Well, yeah.

Do you want to go for dinner?

What?

A dinner as in a sort of
restaurant dinner thing?

As in a date at a restaurant.

A date?

Tomorrow.

Yeah.

JACKSON BRODIE: All right.

LOUISE MUNROE: OK.

OK.

Good.

Bye.

[music playing]

[car engine]

[emotional music]

[phone rings]

JACKSON BRODIE: Jackson Brodie.Hold on.

Calm down.
Yeah.

Where are you?

I'll be right there.

[car engine]

[music playing]

SAMIRA: I think he's killed her.

JACKSON BRODIE: I
caught wind of this.

Who did this?
Rhys?

SAMIRA: Yes.

JACKSON BRODIE: She's alive.Get us a rag.

Clean rag.

[dramatic music]

Come on, what happened?

SAMIRA: I came back and
she was lying there.

It's my fault.

JACKSON BRODIE: What did you do?

SAMIRA: He paid him.

My dad paid him to send me home.

He bought and sold me
like I was nothing.

Like I was an animal.

Rhys laughed when he told me.

I was so--

JACKSON BRODIE: Samira,
what did you do?

I stole his gear.

Ah, Jesus.

And he came here, did he?

Looking for it?

SAMIRA [CRYING]: It wasn't here.

Abby had done nothing.

It was me he was angry with.

Abby hadn't done anything.

JACKSON BRODIE: Samira, wait!

[sirens]

[car engine]

[dramatic music]

SAMIRA: You shit.

[crying]

RHYS: So I guess
you're over me then.

That was quick.

You're think you're
something special?

You're nothing You are a thug.

Where is my gear?

Where is my gear?

You want one of these?

To the face?

Is that what you want?

[both grunting]

[glass shatters]

JACKSON BRODIE: Just leave it.

[both grunting]

[samira screaming]

[both yelling]

Samira!

No!

[rhys screaming]

[gasping]

All right.

You go.

I take care of this.

[music playing]

[curtain ripping]

[eerie music]

How is Abby doing?

SAMIRA: She'll be OK.

JACKSON BRODIE: What about you?

I didn't know I
could feel like that--

that I could have killed.

Well, you didn't So
don't worry about it.

Got the rest of your lifeto lead now, haven't you?

[hopeful music]

OFFICER: Mm, nice dress.

Going somewhere special?

LOUISE MUNROE: Yeah.

[music playing]

IAN KELSO: Thanks.

AIDAN KELSO: I was thinkingof maybe giving that bloke

a call about the internship?- Yeah?

How would you reckon?

Well, I think
that would be great.

You'll come visit
though, wouldn't you?

IAN KELSO: Of course.

[music playing]

LOUISE MUNROE:
Well, here we are.

Bit weird, no?

I can't get used to seeingyou dressed like that.

You look almost respectableapart from your face.

That's the same.

God, that's good.

Are you going to be speakingat all during the evening?

It's just I'll have to stopoccasionally to you know,

just chew.

JACKSON BRODIE: I'm sorry.

I'm a bit lost for words.

Is it because I'm dressedlike an actual woman?

See, I'm surprised
it's that effective.

You have that effect onme, whatever you're wearing.

You always have had
from the first time

I saw you, every time I look atyou, I just want to kiss you.

OK.

And we haven't even ordered yet.

I can't do this.

Oh, Jesus.

Jackson, no, OK.

Just don't panic.

OK, this-- we're
just having dinner.

You know, we're not
naming our children.

Everything is going to be OK.

JACKSON BRODIE: It's not.

It's never going to work.

Who you are, what you do, is--

things happen around methat you can't be a part of.

What's happened?

What's happened to you?

No.

Something has happened.

Something has happened
since yesterday.

I can see it.

- No.
- Oh, what?

Did you just bring me
here to humiliate me?

Is that it?

Of course not.

I wouldn't do that.

What's changed?

I just--

I realized-- I realized that I--

I'm never going to love you.

Even though when you lookat me, you want to kiss me?

[dramatic music]

JACKSON BRODIE
[WHISPERING]: Yeah.

Oh.

[dramatic music]

[phone rings]

WAITER: Menu, sir?

JACKSON BRODIE: No.

I'm not-- thanks.

[phone rings]

Yes, Julia, what?

Right now?

Well, can't you get some--

OK, OK.

Calm down.

I'm sort of--

Where-- where are you?

JULIA: This is notsupposed to be happening.

I've wrapped.

I'm supposed to be
on a train to London.

JACKSON BRODIE: You called me?

Why didn't you go to
the hospital earlier?

JULIA: It's fine.

The midwife said
to wait until there

was at least seven
or eight minutes

in between contractions.

Ah-ah-ah

JACKSON BRODIE: Is
that one right now?

See, that's a minute and a half.

That's not good.

JULIA: Ah-ah

JACKSON BRODIE: How did
you let this get so far?

All right, I'm sorry.

Can you get in?

JULIA: Ow, oh.

JACKSON BRODIE: All
right, all right.

Change of plans.

Come on.

Watch your back,
watch your back.

OK.

Here we go.

There we go.

Come on.

JULIA: I should be in London ina birthing pool with candles.

I've got a playlist.

JACKSON BRODIE: Come on.

Jackson Brodie.

B-R-O-D-I-E. I-E. Yeah.

Pregnant woman
who's giving birth.

JULIA: [moaning]

JACKSON BRODIE:
Yeah, that's her.

That's what I'm saying isthere are no gaps anymore.

Yes.

But all right, hold on.

Address of the house?

JULIA [CRYING]: I don't know.

They just send a driver!

JACKSON BRODIE: She
doesn't know this.

She doesn't know.

I got here by a landmark.

She taught me through it.

Morayfield.

You've got the zero on theleft and then you take a--

JULIA: Here!
Here!

JACKSON BRODIE: Secondtraffic light you take a left.

JULIA: Here!

JACKSON BRODIE: And thenthere was an old building.

JULIA [ANGRILY]: HERE!

JACKSON BRODIE:
136 Rose Cottages,

EH 11, 9 CT, 9 Charlie Tango.

JULIA [IN PAIN]: Oh
god, he's coming!

He's coming!

No, you'll be all right.

You've got a few minutes!

Listen, they're on the way.

They'll be--

JULIA: He's right there!

What's that?

Bloody hell.

Oh, shit.

All right.

Listen, come sit--
come sit back here.

You're going to be fine.

Have a seat now.

JULIA: [crying]

JACKSON BRODIE: OK, it's
going to be all right.

It's--

JULIA: Jackson!

JACKSON BRODIE: For Jesus' sake.

OK.

OK, listen.

I'll go and get some
towels or something.

JULIA: No!

JACKSON BRODIE: OK.

OK.

OK.

Good, good, good.

All right, gather yourself.

You're going to have to push.

OK, take a breath.

Get yourself ready.

Come on, then, here we go.Let's do it.

Come on.

Take a breath and push!

Come on then!

JULIA: [moaning and yelling]

JACKSON BRODIE: Go on!

Good, good, good!

Breathe!

Julia, breathe!

OK?

All right, all right.

Don't forget to breathe.

JULIA [HYSTERICALLY]:
You bloody breathe!

[screaming]

JACKSON BRODIE: There we go!

Come on, push it out!

Oh, ho ho ho!

Mercy, it's a boy!

It's a beautiful
little boy, aren't you?

Look what you did.

[baby crying]

JULIA: Yours was the
first face he saw.

[music playing]

JACKSON BRODIE [SINGINGQUIETLY]: Hush little baby,

don't say a word.

Mama's going to buy
you a mockingbird.

And if that
mockingbird don't sing,

Mama's going to buy
you a diamond ring.

NURSE: If your husband's
staying the night,

I can get a camp bed
for you if you like.

JULIA: Oh, he's not my husband.

NURSE: Well, if Daddy stays.

He's not.

He's not staying.

He's just a lovely friendwho helped me with the baby.

NURSE: Well, then, I'm so sorry.

But visiting hours
are actually over.

[baby crying]

JACKSON BRODIE: Sh-sh Sh-sh.

Here you go.

Sh-sh-sh Sh.

I'll see you.

[MUSIC - QUIET LIGHTS, "TROUBLED MAN"]

Troubled man in the
supermarket aisle

in the only place he feelshe's still worthwhile.

Reading labels on the
things he'll never own.

Never quite sure how
to find his only home.

Troubled woman wearingsilver in her hair hanging

mirrors over every
hall and stair.

Hoping when her husband
entered in a blur,

He might recognize
himself as well as her.

In the twilight
hour, our dreams--

they unravel at the seams.

Troubled daughter in
her academic years

[phone rings] Sitting outsideof the lecture hall in tears.

Troubled son selling
everything he owns.

JACKSON BRODIE: JacksonBrodie, how can I help you?

Save a picture of his
father by the phone.

In the twilight
hour, our dreams--

they unravel at the seams.

As our days turn to
night, [inaudible]..

We remember how--