("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 gassin' 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) 9 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. (all 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. Oh, put those in front of you for the photos. Okay? (camera shutter clicks, cheering) (indistinct conversations nearby) What are you playing at? It's 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. 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? - (knocking) - (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 �5000 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. (exhales) 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? 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 10, 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? 9 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. I thought 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. BRADFIELD: 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. 9 (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) 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 need you stop that and step back inside. I've called you lot before about this. (doorbell 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. May be 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) (tense music) (banging) 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. (tense music) (knock on door) BRADFIELD: Come on man, open the door. - (knocks) - Come on, come on. - How you doing, John? - Nearly there. (beeping) 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. (door clunks) (music drowns out speech) (explosion, alarm ringing) Captioned by Media Access Group at WGBH access.wgbh.org www.able.co.nz Captions were made with the support of NZ On Air.