All language subtitles for Prime Suspect ( Tennison ) 1973 S01 E05_track3_[eng]

("I Put a Spell on You" by
Creedence Clearwater Revival)

* I put a spell on you

* Because you're mine

* You better stop

* The thing that you're doin'

* I said, "Watch out,

* I ain't lyin'"

* Yeah

* I ain't gonna take
none of your *

* Foolin' around

* I ain't gonna take

* None of your

* Puttin' me down

* I put a spell on you

* Because you're mine

* All right!

EDWARDS:
Ah, John Bentley.

Nasty piece of work.

You sure it was his voice
on the tape?

I think so.

And that's his brother?
Mm.

Why is he on crutches?

It was years ago,

him and John were breaking
into a bookie's,

going in
through the roof.

Old Bill turned up,
they legged it.

Only David lost
his footing and fell,

broke both his legs.

If they're up
to something,

you can bet their
old man's behind it.

Tennison,

what are you doing? Why aren't
you at the front desk?

Ashley Brennan's recording,
Sarge.

D.C. Edwards was just filling me
in on the Bentleys.

I'm sure D.C. Edwards
has better things to do.

I also suggested
that D.I. Bradfield

should listen
to the tapes.

(tape rewinding)

Sarge, that's backwards,
you're meant to go forward.
SERGEANT: Yeah...

Thank you, Tennison.

Sergeant Harris doesn't like
women telling him what to do.

Especially probationers.

CLIFFORD:
Eagle's Nest, come in.

We need an eyeball. Over.
(radio crackling)

It's Clifford Bentley.

JOHN:
Eagle's Nest, come in. Over.

Eagle's Nest come in.

When was this recorded?

Three nights ago.

JOHN:
David? David!

Want to tell me why we've got
the Old Bill snooping about?

They're clearly rattled.

It's the only time
on the recording

where they use
their real names.

Let's find out
what they're up to.

We're putting them
under surveillance.

Can you spare
the men?

Course.

What, with a double
murder investigation?

We have a suspect
in the cells.

Listen, are we on firmer ground
with the Julie Ann Collins case?

Got some leads and we
will make them stick.

When was the last time you
heard Clifford Bentley speak?

Recent, was it?

No. That's why
I need to be sure.

Okay then.

Jane.

No one's ever listened
to Ashley Brennan before.

We always thought he was just
a nosy prat with a CB radio.

So, it's your
sister's wedding?

Thought I'd kept that quiet.

Will you be accompanied
by an eligible bachelor?

I really don't think that's
any of your business, sir.

CLAY: Just wondered how things
were going, Clifford?

CLIFFORD:
Um, well, the thing is,

the police have been
sniffing around,

so we might have to postpone
a few days.

You what?

A couple of days at most.

I'll get it done
as agreed, but...

If the rozzers are giving
you a headache,

buy yourself some aspirin, yeah?

Your wife has that asthma,
doesn't she?

I bet she can't run very far.

You get it done. Tonight.

(phone hangs up)

(hangs up phone)

(dog barking in distance)

Either of you
got any ciggies?

Always thought
you'd suit a pipe, Sarge.

Big one, like Sherlock Holmes.

Piss off.

BRADFIELD:
Right, we've got movement.

Hudson, when it's clear, I want
you to follow David Bentley,

see where those crutches
take him.

We'll follow the van.

*

What you doing?
What are you trying
to do, kill us?

Oh, for crying out loud.

Come on then, let's do this.

Could be a legit job
through Bentley's business.

Since when do you need
blowtorches to rewire a plug?

They've got enough fuel to cut
through the hull of a ship.

(chuckles)

Can't argue
with that.
(engine starting)

(breathing heavily)

MAN (distantly):
It's here!

(inhales sharply)

MAN:
I told you it was in here.

JOHN:
Silas.

BRADFIELD: Still think
what they're doing is legit?

GIBBS:
This is definitely not legit.

I want a layout plan
of those row of shops.

GIBBS: Thinking they're gonna
go in through the roof,

drop down in.
(door opens)

HUDSON:
Better shift the van, sir.

David Bentley's
keeping lookout

from the multistory
up there.

Up there in his
eagle's nest, is he?

Looks like it.

Hmm.
What do you reckon
they're up to then?

(engine in the distance starts)

GIBBS:
Looks like we've struck gold.

HUDSON: What,
they're turning over the cafe?

GIBBS:
Next door, you pillock.

Oh, bloody hell.

(drilling and hammering)

(groans)

Mr. Bentley.

What's that for?

You a superstitious man, Silas?

I believe only in God's will.

(laughs)
CLIFFORD:
I wish I did.

Now, I trust
me, uh...

me water,
if you want to call it that.

We shouldn't
be doing this.

Wha-What do you mean?

Already had the filth
poking their snouts in.

JOHN:
Through to the steel.

Oh, come on,
you're meant to be

setting up the tanks,
not gassing like women.

Danny, give us a hand,
will you?

Ready for later.
Right.

Hurry up.

And you.

Stop scaring the troops, eh?

JANE:
Sorry.

At last.

Bloody hell, Pam,
you look gorgeous.

Doesn't she?

I love this dress.

So do I.
(Jane chuckles)

Mum said she made
all of Alma Cogan's.

JOYCE:
Your dress is in your room.

Your old room.

Please hurry up,

the car's going to
be here any minute.

Morning, Mum.

*

(sighs)

GIBBS: Between the bank's old
cellar and the cafe's basement

is a dividing wall.

Bank's basement is then
separated into two areas.

Between the accessible part here
and the sealed-off section here,

is an alarmed mesh,
and then concrete and steel

between this
second basement area

and the vault above.

EDWARDS: Got to be mad to
try something like this.

No, with the right
equipment, it's doable.

We saw them carry in tanks
and hoses for blowtorches.

Heavy duty.

Sir, I tracked
down the plod

who responded to
the noise complaint.

Said he was shown a permit
for the refurbishment,

but I spoke to the council
and they didn't issue one.

(chuckles)

(sniffs)
Right.

I want 'round the clock
surveillance of the Bentleys.

Who else is involved,
and how far along they are.

Go on, get to it.

(murmuring)

Looks like Tennison
was right.

Yeah, I should congratulate her.

Is she in comms?

Oh, no, she's in church, sir.

It's her sister's wedding.
Yeah, well,

of course she is.
(organ music playing)

(organ music continues)

(sniffs):
Oh...

You look so pretty
in that dress.

Honestly...

you nearly upstaged
your sister.

Oh, thanks, Mum.

(sighs):
Although,

something not quite
right around the bust.

(sighs): I think
you all look smashing.

Oh...

The photographer wants
one of the family

just in front of the church.

Come on.

Oh, put those
in front of you

for the photos.

Okay?

(camera shutter clicks,
cheering)

(indistinct conversations
nearby)

What are you playing at?

Okay, I'll tidy up.

I'm not talking
about the room.

The state of you.

That girl on the Kingsmead...

What about her?

Julie Ann.

You were close, weren't you?

Not really.

Stop lying, David.

You can talk to me
about anything.

(knock on door)
Enter.

Hello, sir.

This O'Duncie downstairs,
have you charged him yet?

Yes, for both murders.

And you've all
the evidence we need?

If I could just show you...

Help me to understand,
Bradfield,

why you have
diverted your team

from finishing off this case.

Hand the bank job
to Flying Squad.

Let them make a judgment
on whether to proceed with it

while you concentrate
on closing

the Julie Ann Collins case.

It's all in hand, sir.

That's not a suggestion,
Bradfield.

Yes, sir.
Good.

* It's all too beautiful

* It's all too beautiful

* It's all too beautiful

* It's all too beautiful

* I feel inclined
to blow my mind *

* Get hung up,
feed the ducks with a bun *

(cheers and applause)

* They all come out
to groove about *

* Be nice and have fun
in the sun *

You're the next.

(laughter)

(cabinet slams loudly)

(static crackling)

Again, sir,
can you do that quieter?

I would make less noise
if your aerial transmitter

was as powerful
as the RCA 88.

But we can't have
everything, can we?

(phone ringing)

WPC Kath Morgan,
Hackney police station.

JANE: Kath, it's me, Jane.

Oh, right.

Just checking in.

See what the latest is
on the Bentleys.

Apparently, they're going
to rob a bank.

Seriously?

Should I come in?

Are you mad?
You're at your sister's wedding.

Get off the phone and go
and get some Babycham down you.

Go on.

Kath?
(dial tone)

(hangs up phone)

(buzzing)

(sighs):
Clearance for security.

(phone rings)

Dunsford.
MAN: Passcode, please.

276.

MAN (on phone):
Thank you.

(metallic squeaking)

What's the contents
of these boxes in this safe?

You would need
a court order

for me to show you
what's inside.

Or a bloody big blowtorch
and some jemmies.

(phone ringing)

Dunsford.

(speaks indistinctly)

I shouldn't think any
longer than ten minutes.

We've got their
van and lockup.

I say we go in now.
No.

No, we let them
go through with it.

DUNSFORD: 825.
You what?

I'm not giving
Clifford Bentley any excuse.

But surely we should...

I said we let them
go through with it.

DUNSFORD:
Great.

How's it feel,
Mrs. Bailey?

Still waiting for it
to sink in.

You seen him, or has he
fled for the hills already?

He's in the kitchen.

Uncle Roy's boring him
about motorways.

We should go save him.
Come on.

There's something
going on at the station.

Yeah? And?

(Elton John's "Daniel" playing)

Oh.
* I can see Daniel

* Waving good-bye
You'd rather be there.

Oh, no, of course not.

* God, it looks like Daniel...

When you first said you wanted
to be a policewoman,

I thought you'd gone cuckoo.

But it suits you.

Unlike being a bridesmaid.

(both laugh)

God, I know, I haven't
breathed out since noon.

You can leave.

I mean, if you have to.

No, I can't.
You'd be mad at me.

I would be.

(scoffs):
I'll get over it.

Really, Jane, go.

* Lord, I miss Daniel
Yes.

* Oh, I miss him so much

I'm proud of you.

* Oh, Daniel, my brother

* You are older than me

* Do you still feel the pain

How are you?
Hello.

Have a drink.
Thank you.

Jane?

I know, I know,
I'm a crap sister

and an even worse daughter.

It must be very important.

That man who killed
the girl--

the newspaper said
that they caught him.

And...

you played a part.

I was part of the team
that arrested him.

Well, it's good that's over.
Yes.

I hope so.

Mum, if you want me to stay...

(sighs):
Mm.

If you've got to go...

But they do have telephones
at the section house,

so you could call.

* Of the scars
that won't heal *

* Your eyes have died...

Come on.

Right this way.
(woman sighs)

There we go.

Afternoon, sir.

Tennison.
Nice dress.

You drop your glass slipper
on the way in?

Very funny, Sarge.
(chuckles)

(opens bottle)

(gulping)

(sighs)

What's wrong?

(sighs roughly)

It's this job.
It's making me nervous.

Is there trouble?

Anything I need to know?

The less you know,
the better.

Cliff?

What is it, love?

Look, you don't need
to worry about this.

This is my business.
I'll deal with it.

I think David's
mixed up in something.

Like what? Drugs?

Something worse.

That girl they found

in the Kingsmead.

David?

Aw, come on.
(sputters)

(chuckles)

This bloody job's
getting to us all.

After this, we're
hanging up our boots.

Somewhere warm.
Fresh start.

I thought you were
at your sister's wedding.

I was.

I wanted to be here
when you arrest the Bentleys.

That much?

And there weren't any
eligible bachelors.

Pity.

I'm glad you came.

BRADFIELD:
Jane, there's something...
JANE: Yes?

(gasps)

Sir, someone wants to
see you, says it's urgent.

Morgan said there's
someone here to see me.

Yeah, I think you're
gonna like this.

Gentleman's come in,
says he's got a problem

with vermin in his basement.

Sir?

It was John Bentley
who approached you?

Initially.

He offered me 5,000 pounds for
access to my cafe's basement.

Under the condition
that I keep my mouth shut

and that my family
and I disappear

once the job is complete.

Five grand's a lot of notes.
Why are you here now?

I have been naive.

Do you know what kind of man

Clifford Bentley is?

He's losing his grip
on this job.

He's getting very nervous.

And this job?

They're cutting a hole
in the basement wall,

through to the bank

and then, up
into the vault?

Yes.

BRADFIELD:
Can you give us an idea

on the state of
their progress?

Have they started?

Yes. It's underway.

When are they planning
on accessing the vault?

Tonight.

What you doing here?

Silas,
he's disappeared.

I woke up and that Greek
wasn't in his flat.

The cafe's still closed.
There's no sign of him.

Did you say something to him?

Like what?

Well, I don't know.

He's a nervous sort,
maybe you spooked him.

You're meant to be
keeping an eye on him.

What's going on?

Silas has gone missing.

Go back to the cafe,
in case he turns up.

Well, come on!

(Danny sighs)

This is all we need.

This is all we bloody need.

My written English
is not so good.

What's this?

It's to register you
as an informant.

An informant?

I don't understand.

We need you to go back and
go through with the job.

I can't.

If you're absent
or they suspect

you've spoken to us,
they'll call it off.

(scoffs)
Wh-What... what is it called

when y-you can't be arrested
for something?

Immunity.

Will I get that?

SERGEANT:
No.

But providing you

admit your part in the bank job

and stand
as a prosecution witness,

we can put you into
protective custody.

And all I have to do
is let them into the cafe?

Yes.
BRADFIELD:
No. We need them

to complete work
on accessing the vault.

Once they're
inside, you will

give us a signal
and we'll move in.

D.I. Bradfield,

a word, please.
Silas?

Are you in?

(door opens)

(door closes)

SERGEANT: I've bitten my tongue
long enough.

In Terrence O'Duncie,

we have a prime suspect
in the Julie Ann Collins case

that we should be questioning.

BRADFIELD: And miss our chance
to arrest Clifford Bentley?

You heard him, it's
happening tonight.

SERGEANT:
The super's orders were

hand this to Flying Squad.

Thank you for
that intervention.

SERGEANT:
This is reckless.

You're placing that
man's safety at risk.

BRADFIELD:
He came to us.

I didn't pluck him
out of the streets.

This isn't like you, Len.
Take a deep breath.

Think about
what you're doing.

If we catch Clifford Bentley
on the plot,

he'll get another ten,
maybe 20 years.

The moment they enter the cafe,
make the arrests.

No, all that gives me is
a conspiracy to steal charge,

he'll be out in two.

I'm not having that
on my conscience.

(sighs)

Kath?

What if O'Duncie had nothing
to do with Julie Ann's death?

What?

If we didn't
have him downstairs,

would all the evidence
still point to him?

Jane, it's not always clear-cut.

I just think...

if Bradfield didn't have
Clifford Bentley in his sights,

he would consider that,
wouldn't he?

I don't know what goes on
inside his head.

You know,
I saw you both earlier.

It's okay. I'm not mad.

You're both grown-ups.

Maybe I would be mad
on any other day.

I was gonna tell you.

They've offered me the TDC role.

(chuckles)
You're joining CID?

Oh, that's great news,
Kath.

Well, not till
next month,

but, you know, I'll get
out of this uniform.

Who's gonna look after me now?

Oh, like I'm doing
such a good job

of keeping you out of trouble.

But seriously...

you should speak to him.

If you're serious.

About what?

He's got cold feet.

We never should've
trusted him.

Oh, shut up.
He'll show.

CLIFFORD:
Nobody's seen him.

Maybe he's laying low
somewhere.

CLIFFORD:
No.

Something's wrong.

We can still go?

Tonight. Catch the ferry?

What?

We can't not do this.

Why not?

CLIFFORD:
Well, for a start,

Clay Whitely.

He'd come after us.

It's happening.

We can't pull out now.

I knew you'd only piss it
up the wall, so I hid it.

What, is this mine?

From the airing cupboard?

How much is left?

RENEE:
Just over a grand.

That's enough, isn't it?

Get us away from here.

And then what?

If we see this through,
we'll walk away with at least

a hundred times that.

Yeah, we don't
know that.

Then let's take everything,
keep it all for ourselves.

You what?
JOHN:
We'll have enough money.

By the time Whitely hears
about it, we'll be long gone.

Oh, for God's sake. Before,
you weren't afraid of no one.

I thought he'd be
the liability, not you.

Am I the only one prepared
to make sacrifices

to keep this job
on track?

What sacrifices have you made?

CLIFFORD:
All right! All right!

John's right.

We ain't got a choice.

Let's just get it done.

BRADFIELD:
Everyone here? Right.

We've secured the use of a flat
near the bank as a command post.

Gibbs, you'll be
with OP One there.

(chuckles)
I'm in the obo van.

Mm. Make sure
you have a pee before you go.

And take a clothes peg,
you'll need it.

Edwards, you'll be with OP Two,
around the corner,

on Marlowe Place,
waiting for the green light.

Now, once the targets
are inside the vault,

our cafe owner will give us
a signal and we'll move in.

Any questions?

Good.

Get ready.

MAN:
Yes, governor.

Sir?

I know
it's not my place.

What is it?

It was Clifford Bentley who
ran down that P.C., wasn't it?

Yes.

Shouldn't you be in the obo van?

What do I do
the next time you push me

to be a better
police officer?

Do I remind you of this?

The time you let
a murder suspect

slip through
your fingers?

Julie Ann Collins doesn't care
about your score

with Clifford Bentley.
Score?

Every August for
the past eight years,

I've attended P.C. Hopkins'
memorial service

and I've had to look into
the eyes of his widow

and tell her I'm sorry
we couldn't do any more.

Well, now we can.

And I owe it
to Mrs. Hopkins.

We owe
Julie Ann's parents.

We've got O'Duncie.
He's going nowhere.

Just wait
another 24 hours.

(static crackles)

SERGEANT: Is this equipment
of yours even working?

(sighs)

DANNY: Hey, where the
bloody hell you been?

I had to run some errands.

DANNY:
Whoa, whoa, whoa.

What errands?

I went to see
a travel agent.

(paper rustles)

JANE:
Here they come.

JOHN:
David, come back here.

DAVID: You stay away.
JOHN: Don't wave those bloody
things at me.

(grunting)

DAVID:
Pushing your luck.

JANE: There's something going
on between those brothers.

4-5 to OP One.

We have movement
at the Pembridge.

BRADFIELD: Right, get ready.
They'll be here any minute.

JANE:
Three targets heading out. Over.

EDWARDS:
Received.

ASHTON:
Let's go over there.

All right, here they come.

(brakes squeaking)

(radio crackling)

(distorted voices)

CLIFFORD (over radio):
Eagle One...

Hey, hey, Sergeant, Sergeant!

DAVID:
Eagle's Nest to Eagle One.

Eagle's Nest to Eagle One,
I'm in place.

Over.

Golf Hotel to all units,

we have radio activity.

Operation is active. Over.

ASHTON:
This is it, Jane.

(whirring, cracking)

*

(crying quietly)

(grunting)

We're in.

(panting)

We're bloody in.

We did it.
Pass the gas tanks
and the blowtorch.

This safe's not
gonna open itself.

(grunts)

(radio crackling)

Silas, what are you doing?

Silas!

What are you doing?

I needed some air.

Yeah, we all do.

Come on, we're in.

It's all hands on deck.

(crackling)

(bells chime)

Shit.

Who's that?

(tapping on glass)

Silas!

I've had enough of this.

I can't sleep!

Come on, open up.

I know you're in there.

Go on, love, piss off.

Do you want me
to pop down there?

Ashton, get that woman
out of there.

ASHTON:
Yes, sir.

(knocking)
Silas, please!

Come on!

(knocking)

Excuse me, madam,
can you stop that please?

Excuse me?

I'm gonna need you to stop that.
Who are you?

I'm a police officer.

I'm gonna need you stop that
and step back inside.

I've called you lot
before about this.

(bell jingles)

Good work.

Now don't go back
to the obo van.

(van door closes)

OP Three to OP One.

David Bentley's left his post
and is on the move.

Maybe headed back to the bank.

BRADFIELD:
Don't let him out of your sight.

I'll do it.

He's already seen you.

(door opens)

*

*

*

Silas.

Yes, yes, I-I'm here.

HUDSON:
OP two to OP one.

Dunsford is now in place. Over.

KATH:
Confirmation is through, sir.

The bank manager's in place,
ready to let us in.

Right, we're going in.

Get everyone ready.

GIBBS:
All units stand by,

we're going into the bank.

Right, you heard the man.

Look lively, boys.

*

*

(knocks on door)

BRADFIELD:
Come on man, open the door.

(knocks)
Come on, come on.

How you doing, John?

Nearly there.

(beeps)

I have to wait for the...

(muffled banging)

They're in there.

(phone ringing)

Dunsford.

MAN: Passcode, please.
276.

JOHN:
Nearly there.

Hold up, wait!

What's that noise?

Shh!
Just give me a minute.

No, turn it off!

(dial clicking)

(dial clicking)

(groans)

Oh, come on, man.

Jane.

Thank goodness.
Um, he's this way.

All right.

I'll have to reset.

John, we got to go!

I'm almost there!
Come on!

John, leave it.

Just go, I'll catch you up!

Is everything all right?

No. Come on, let's go.

Move it.

He's gone.

(dial clicking faintly)

There's nothing like catching
them on the plot.

Mate, we've got to fly.

John, police!
I'm not leaving this!

I'll catch you up.

Oh, my God.

*

(explosion)

(alarm ringing)

Captioned by
Media Access Group at WGBH
access.wgbh.org