01x04 - The Revenge of the Chronology Protection Hypothesis

[bunniefuu]

We cannot change the past.

There are deterministic webs that stitch
up the past and the present.

The most obvious example is the man who

travels back in time
and kills his grandmother.

If he did so, he wouldn't have existed in
the first place.

This, of course, is a paradox.

Time, therefore, has to protect the past.

This is what Stephen Hawking described in
his chronology protection hypothesis.

Past events must happen as they have
happened.

We may not always like it, but unless we
learn to accept it, the very notion of

time travel will remain forever out of our
reach.

Thank you.

Miss Turner.

Professor Bernstein.

Yes, yes.

I must say I greatly enjoyed
your lecture with reservations,

and I agree with you about
the immutability of time.

-Thank you.
-Of course, it's all hypothetical.

Despite your father's remarkable work, time
travel will never actually be achieved.

If you say so, Professor Bernstein.

Yes, yes.

…sh**ting in the Albemarle arcade.
We go live to our reporter, Chris Wimble.

-The man who is…
-Miss Turner.

Excuse me, can you turn that up?

…Slade. And behind me I can see
paramedics rushing him to intensive care.

Slade is currently at St. David's where he
is awaiting major surgery.

His assailant has been identified as John
Crowley, a known criminal with several

convictions for violent as*ault and armed
robbery.

Police have not yet
issued a statement, but we

anticipate receiving one
within the next few hours.

Excuse me.

There's a detective, Slade.

He was shot by a man called Crowley.

He's been brought here.

Are you a relative?

No, I'm a friend. How is he?

What's his name again?

Slade. Jeff Slade.

He's still in trauma, I'm afraid.

-When was he shot?
-I'm sorry?

When did Crowley sh**t
him? What was the exact time?

-It was six o'clock.
-Exactly six o'clock?

Yes, madam.

-Holly?
-I can't talk to you now, Danny. I'm sorry.

What do you mean you
can't talk to me? You just did.

-Did I?
-Yeah, you came in just now.

Hey, how did you do that?

Nice carpet, Danny.

Eight o'clock.

Would DS Sharp come to
the interview room please?

-DS Sharp to interview room…
-Frank, have you seen Slade?

You just missed him. Here, I
thought you had the day off today.

Where did they go?

Clifton Street.

Some artist was m*rder*d last night.

Stabbed in the back or shot or something.

I don't know.

The chief went down with a whole bunch of
them.

-Including Slade?
-No, he was late. As usual.

He followed on.

His name's Ken Jabara. He's inside.

So is the chief.

Found the dead body yet, Morris?

I'll give you a clue.

-It's the one that isn't breathing.
-Nice of you to show up, Slade.

-Morning, chief.
-You're late.

Not as late as him. What's happened?

Time of death was about ten o'clock last
night.

Shot in the back of the head while he was
working.

Probably didn't hear anything.

Any signs of forced entry?

Nope. Nope, front door was locked.

Garden door was open.

Through there.

So whoever it was could
have come in from there and…

Exactly.

Any of these actually sell?

We're talking about Ken Jabara, Slade.
Don't you ever read the newspapers?

I only do the crossword.

He was probably the most exciting new
artist of his generation.

Certainly the most expensive.

These pictures are worth thousands.

Well, tens of thousands now that he's dead.

-Any of them missing?
-Morris?

They're all here, chief.

How do you know?

Jabara kept a catalogue.

They're all in here.

What about this one?

Oh, that's an empty frame, Slade.

Yeah, very observant.

But it might have had a painting in it
last night.

-There's a brush in his hand.
-All right, that one isn't in here.

Yet.

It doesn't look like
there's going to be, either.

No title, no description.

If you've been in a good painting,
wouldn't that be the one to choose?

Hmm. You'd better
move fast on this, Slade.

If this gets out, it's going to be front
page news.

Above the crossword.

Morris?

Who reported the death?

Erm, the guy who lives next door.

He heard the shot and called us.

His name's Kelly. He keeps cats.

Mr. Kelly, how long have you
lived next door to Mr. Jabara?

Oh, well, I've been here 30 years.

He only come, what, ten years ago?

Ooh, you are getting heavy, Kenneth.

What exactly did you hear last night?

Well, I've already said.

I was just seeing to Hattie.

She's got an ear infection.

And I heard a shot.

Must have been about… quarter to ten.

And you're sure it was a g*nsh*t?

I mean, how do you know it wasn't a car
backfiring?

I know the sound of a shot.

Ten years in the army.

Came from next door.

And what did you do?

Well, I went in there, because
that's where the phone is.

And, er, called you lot.

And I came back in here, lit a f*g.

And that's when I saw her.

-Who?
-She was coming out of Jabara's.

She was carrying something.

About, er, well, about as big as that.

Then she hurried down the road,
and that was it.

The police arrived a few minutes later.

Thanks.

So what do we know about Ken Jabara, then?

Ah, I think I can help you there, Slade.

He was very much part of the
school of abstract expressionism,

influenced by the Russian
artist Kazimir Melovich.

His works are characterised by a formal
simplicity and a bimorphic form language,

which some people think he borrowed from
Yves Tanguy.

Nicky, can we have some personal details,
please?

I doubt very much whether
he was m*rder*d because

someone didn't appreciate
his bimorphic form language.

He was married and divorced acrimoniously,
by all accounts.

He was stinking rich, but mean with it.

Right.

What about the ex-Mrs Jabara?

Er, oh, she owns a shop on the Westmore
Road.

Oh, it was a woman Kelly saw.

Good work, Nicky.

Hang on a minute.

-Hi.
-Hi.

-What are you doing down here?
-I heard about the murders.

I though you had the day off today.
Some sort of conference, wasn't it?

Mad scientists anonymous.

No, it was cancelled.

Was it?

Professor Bernstein, the organiser?
He couldn't make it, so, um…

…I came back to work.

Well, you didn't need to come down here.
We'd have sent any evidence up to the lab.

-Is there any evidence?
-No, not yet.

Well, I'm not needed down there,
then, am I?

Do you want to help?

-Yeah.
-You sure?

Yeah, of course.

Why don't you say so in
the first place? Come on.

His name was Jabara.

-Do you know him?
-No.

Oh, you surprise me.

He was probably the most exciting artist
of his generation.

Where are you going?

Where do you think we're
going? We're going to your flat.

N-No. No, stop the car.

-What do you mean?
-Just do it.

Holly.

I didn't mean time travel.
That's not what I meant.

Well, what did you mean?

How else can you help me?

We go back in time, we see who pulled the
trigger, and we solve the m*rder.

-No.
-Hang on. You cancelled your day off.

You turn up at the scene
of the crime before you've

been assigned to the case,
and you come looking for me.

If you don't want to use the machine,
why are you here?

I can't use the machine,
even if I did want to.

Why not?

It's the gravity simulator.

There's a malfunction in the booster
circuits.

How long will it take to fix it?

It'll take me a month just to pay for the
parts.

OK, fine. I'll drop you at the office.

No.

What?

Well, I thought I'd stick with you.

Why not?

It's my day off.

You want to stick with me?

Yeah.

Fine.

We're going to go and see Jabara's wife.

So he's dead.

What's that got to do with me?

I didn't k*ll him.

When did you last see him?

I don't know.

A week ago? A month ago?

Maybe a couple of weeks.

These days I only get to talk to Ken
through his solicitor.

Oh, you're trying to come to a settlement?

I'm trying to get what's rightfully mine.

Ken had perfected a
system of non-cooperation.

I'd have got what I wanted in the end.

I hadn't starved to death in the process.

So you weren't at your husband's studio
last night?

Ex-husband.

-Sorry.
-I told you.

No.

Do you have a key?

To the studio?

I may still have it.

I don't know.

Anyway, he's probably
changed all the locks.

Did your ex-husband have
any enemies, Mrs. Jabara?

He certainly didn't have any friends.

Was there anyone close to him?

The only people close to Ken were the
people who bought his work.

You should talk to Brett Levinson.

Who's that?

Just a dealer. He was
always in and out of the place.

Bought everything he
could lay his hands on.

Do you know where we can find him?

Sure. The Yellow Pages. He's got a gallery.

Did your ex-husband know a man named
Crowley?

-Who?
-Crowley.

No. I never heard that name.

Crowley?

It's just a name I heard.

So, what now?

Erm…

Wait in the car. I'm just
going to make a phone call.

Yes, good morning.

I wonder if you can help me.

Can I speak to Professor Bernstein,
please?

Yes, sir. He's right here.

Professor Bernstein?

-Yes, yes.
-You have a call.

-Yes.
-Professor Bernstein.

This is he. Who is this speaking?

Ah, I'm glad you're there. I
was told you might not make it.

No, I have no plans to miss the conference.

What about Holly Turner? Is she there?

Yes.

I-I believe she's our next speaker.

Do you wish to speak to her?

No, that's fine. I-I'll
call back. Thank you.

Extraordinary.

What was that about?

There's been a development.

Anything serious?

No.

Certainly a surprise, though.

Pleasure.

So, what was that about?

-What was what about?
-Then.

Oh, that.

Nothing.

Just Professor Bernstein telling me that
you're at the conference.

Oh, hang on a minute. You're also here.

Must have got it wrong.

You spoke to Bernstein?

Yeah. He didn't cancel and
your machine isn't broken.

You've time travelled, haven't you?

How did you guess?

You didn't exactly make
it difficult. I saw the watch.

What's going on?

I can't tell you.

You told me you weren't going to use
the machine again. Not to solve crimes.

Yes.

So, what's different about the death of
Ken Jabara?

It's not Jabara.

It's you.

Me?

Something's going to happen to me?

Yes.

Well, would you mind telling me what,
exactly?

I take it I'm not about to win the
lottery.

I can't tell you. Look, I wish I could.

But I have to think of the consequences.

What consequences?

All right.

I tell you to cross that street.

And you do as I say, then a car swerves to

avoid you, and everyone
in the car is k*lled.

Now, that is my fault. I have k*lled them.

We're not alone, Slade.

Everyone's destiny is tied up together.

I mean, I shouldn't even
be here talking to you.

So why are you here?

-Yeah, you're right. I shouldn't be here.
-Woah, woah, wait a minute.

I'm not going to let
you out of my sight now.

-Please.
-Who is Crowley?

Has he got something to do with Ken
Jabara?

-Who?
-The artist.

-I'm investigating his m*rder.
-I don't know.

Well, Jabara's wife didn't know who he
was.

So maybe his dealer will.

Is it a heart attack?

Car crash?

Do I get attacked by a berserk jeweller?

Because if so, I don't think
we should be waiting out here.

-I don't know who he is.
-I don't understand you, Holly.

If you're not going to tell me anything,
why did you bother travelling back?

-Because I have to.
-Serious, isn't it?

Yes, Slade. It's serious.

Now, let's go and find this dealer.

I heard it on the news.

I have to say it's a great loss to the art
world, an incalculable loss.

Jabara was at the peak of his powers.

How do you feel about him
personally, Mr. Levenson?

-Personally?
-Did you know him?

Not at all.

But you have been to his studio.

I bought from him, yes.

According to his wife, you were in and out
all the time.

Out rather faster than I was in.

He wasn't a sociable man, Mr. Slade.

I'm sure Louise will be the first to tell
you that.

There was a lot of animosity between them.

What will his death do to his prices?

Well, of course, they'll rise.

By how much?

It's impossible to say.

According to Jabara's
catalogue, you recently

paid him £90,000 for
a set of three paintings.

The Red Circles?

Oh, yes. That was a couple of months ago.

Do you still have them?

I wish I did.

As you can see, I have nothing by Jabara
now.

So where are they?

I sold them.

It was a Saudi Arabian gentleman at a cash
purchase.

-Is that usual?
-Entirely so.

These days, art has itself
become a form of currency and

rather more reliable than
the standard financial market.

So you've no idea how much his paintings
will be worth now?

It depends on how the markets
react and news of his death.

What about Crowley?

-I'm sorry?
-Do you know a man called Crowley?

I think he's hiding something.

Why should I be worried
about Jabara when I'm

worrying about what's
going to happen to me?

-Please tell me what you know.
-I can't.

OK, I'm out of here.

What's to stop me jumping on the next
plane to South America?

Well, that's great.

And what happens if Crowley
turns out to be the pilot?

I don't know who he is, Slade,
and by me trying to help you, I could push

you right into his hands. I
mean, he could be anyone.

-There!
-What?

The guy in black, that's Crowley.

No! Come on!

We mustn't lose him!

Argh! He's gone!

We'll have to find him, Slade.

Why?

Holly, come on, tell me.

-Who is he?
-He's the man who's going to sh**t you.

What?

He's the man who's going to sh**t you.

Six o'clock today, you're going to get shot
and there's nothing we can do about it.

What do you mean you can't find him?

I mean, I-I don't know where he is, Chief.

I know what you mean, Robson. I didn't
mean that. It was a rhetorical question.

-Oh, right.
-Right. Slade ought to be here.

Morris?

We may have got something, Chief.

Louise Jabara, the ex-wife.

What about her?

We found these letters searching through
Jabara's studio.

They're from her.

They make interesting reading.

Go on.

Ken,

I have written to you.

I have rung you a dozen times but you
still refuse to even acknowledge I exist.

You ignore my solicitor.

Not the entire letter,
Morris. Get to the point!

Well, she threatens to k*ll him.

Look, here and here.

So why isn't she in here being questioned?

Well, that's down to Slade.

Well, I-I'm sure he knows what he's doing,
Chief.

Oh really, Robson?

And what exactly do you think that is?

Well, I… I don't know, actually.

Right.

Well, I want you both to go out and search

Louise Jabara's home
and then her place of work.

There is still one canvas
to be accounted for.

-Yes, Chief.
-And find Slade.

Yes, Chief.

So you got it?

Nice guy, nasty guy.

You want me to be the nasty guy?

What are you so worried about?

I'm not meant to be here.

At the moment I am here and at the
conference.

How do you think I explain that?

What about me? I'm
investigating my own sh**ting.

I don't think that would be too easy to
explain.

Are you sure it was a mug shot you saw?

Yeah, I saw it on the news.

It should be on here then.

Crowley with an O.

There we are.

John Crowley, aged thirty-five.

Burglary, armed robbery, aggravated
as*ault, GBH.

He's been in and out
of prison all his life.

More in than out.

Yeah, but he's out now.

Hmm.

Let's go and say hello.

Look, maybe this is exactly the wrong
thing to be doing.

Maybe you should be trying to avoid him,
not trying to meet him.

I don't want to meet him. I
just want to find out who he is.

-And then what?
-And then I'll avoid him.

No, he's not in.

-So what now? You can't break in.
-Not with six locks on the door.

Hang on a minute.

Slade?

Might be able to get
in through the window.

You can't climb up there.

Why not?

It's too far. You're
going to break your neck.

Just keep your eye on the front door.

Oh, to hell with me.

You could have got yourself k*lled.

I'm going to be shot at six o'clock
tonight, you know.

If I'd have fallen, it couldn't have
happened, could it?

Not necessarily.

But very probably.

Let's see what's in here.

What are you looking for?

Something to tie him in with Ken Jabara.

Jabara?

I'm investigating his m*rder.

According to you, Crowley
had a particular interest in me,

so why else would he sh**t me?

I'm not sure it's that easy.

Meaning?

What was your first
connection with Crowley?

When was the first time
you heard his name?

It was me. I told you.

I'm trespassing on the past.

I should never have come.

Well, then, let's split up.

-No.
-Why not?

Because I'm worried about you.

OK?

Is that what you want to hear?

Oh, well, it'll make a great subject for a

thesis when you get back
to your own time zone.

I wish I knew what I was looking for.

Something to do with Jabara.

Something to do with art.

Oh, look at this.

Kemble and Moore, Sutherlands, Star, James.

-Just a list of names.
-Yeah, but he circled one.

Sutherland.

-Sutherland.
-I'm sure that means something.

I've seen it somewhere.

John Crowley?

Who are you? What are you?

We're the police.

You're under arrest, Crowley.

What for?

What for?

For the m*rder of Ken Jabara.

Do you deny writing these
letters to your husband?

-You threatened to k*ll him?
-Twice.

They're just words!

I still think it's quite a coincidence.

You send these letters on the fourteenth,
and just two days later…

Look, if I was going to m*rder him, do
you think I'd have written to advertise it?

Sir, found this around the back.

Can you explain this, Mrs Jabara?

My ex-husband gave it to me.

Then why hide it?

This shirt?

What's this on the sleeve?

This isn't paint.

It's blood.

So, what were you doing at Levenson's
place?

Hmm? Levenson's Fine Art?

Do you ever hear of Ken Jabara?

Were you anywhere near his
studio at ten o'clock last night?

Have you got something against me?

Have we met before?

OK, fine.

You don't wanna talk. That's OK.

There we are, Frank. That's the charge
sheet. I'll talk to him again in the morning.

-OK, Slick.
-Did he say anything?

He didn't need to.

I can keep him here for twenty-four hours.

It's two forty now, so he's not going to be
sh**ting anyone at six o'clock.

I don't know.

Do you think he had a twin brother?
I think his dad needs to sh**t him.

No, it was him.

Well, then we've got nothing
to worry about, have we?

What time have you got
to be back at the machine?

I travelled at quarter past seven.

Right, plenty of time to celebrate.

You've done it. Changed the past. I'm safe.

All right, I'll tell you the truth.

I went to the studio at about quarter to
ten.

That's when your husband was shot.

I heard something. I thought it was a car.

I still had the keys to the front door,
so I let myself in.

I don't know what I was going to do,
argue with him, shout at him.

But when I got in, he was already dead.

So what did you do then?

I went over to him.

That must have been
when I got blood on my shirt.

You didn't call the police?

I was going to.

But then I saw the painting and I thought,
why not?

I wasn't in the will.

I knew I wasn't going to get anything from
him.

And so…

I only took what was rightfully mine.

Morris?

She did it, Chief.

For once, I'm inclined to agree with you.

Right, Frank!

I need a charge sheet.

Louise Jabara.

The Jabara case, Chief?

-Mmm-hmm.
-That's not possible.

Why not?

Well, Mr. Slade made an arrest a short
while ago.

John Crowley.

I've got his charge sheet here.

Let me see that.

Where is Slade?

He left a while ago.

This is all nonsense.

There's nothing to link Jabara with this
man, Crowley.

How did Slade get this?

as*ault? ill*gal entry?
Has he gone out of his mind?

I want this man released immediately.

And find Slade!

Have a safe journey home, Mr Crowley.

And don't worry about the fare. We've paid.

'Ascending Arrow' by the late Ken Jabara.

The price is now at three
hundred thousand pounds.

Do I hear three-fifty?

Thank you, sir. Three and
hundred and fifty thousand pounds.

Four hundred.

Four twenty-five.

Thank you, sir.

Four-fifty.

Slade, there's Levenson.

Selling at four hundred and fifty thousand.

Thank you.

Reserve price was only
forty thousand pounds.

Four hundred thousand
pounds. That's quite a price rise.

I'm afraid it's inevitable, really.

Mr Jabara wasn't the most prolific of
painters and with his unexpected death.

Are you a collector?

No. No, I came with someone
who is - uh, Brett Levenson.

Oh, yes. Mr Levenson used
to do a lot of business with us.

Used to?

Well, it's fairly common knowledge.

Mr Levenson made some unwise investments.

I understood he was no longer dealing.

Are we going back to the arcade?

I want to talk to Levenson about those
paintings.

Red circles?

If he paid thirty thousand pounds each
for them then, it's probably worth about…

Nine hundred thousand pounds.

I'd like to find out a little bit more
about the guy who bought them.

What's the time?

It's five o'clock.

Why? What are you thinking?

One hour until Crowley doesn't sh**t me.

Good afternoon, sir.

No alarms. Don't even move.

The whole one.

The diamonds.

Now.

-What about Louise Jabbar?
-What about her?

She had every reason to hate her
ex-husband.

And there's still that missing picture.

You think she k*lled him?

Well…

Slade?

The jewellery shop.

We haven't got time to go shopping.

No, the name.

-Sutherland.
-Sutherland.

That was in Crowley's books.

Kempel and Moore.

-Sutherland.
-Sutherland.

Star.

They must all be jewellers.

And this must have been
the one he decided to rob.

What's so funny?

Well don't you see?

When we saw him before here, he was
obviously casing the joint.

Slade.

Crowley!

You!

Crowley!

Argh!

Get down!

Get down!

Drop the g*n, Crowley!

I mean it!

Nobody move!

-What are you doing here? What do you want?
-Shut up! Shut up!

Get back! Get back!

Alright, what's happened?

It's a jewel robbery, chief. Or it was.

The target was cornered and now he's taken
hostages in there.

Anyone know who he is?

Yes, Chief.

-Well?
-It's Crowley.

-Crowley?
-Yes, Chief.

The guy Slade arrested.
The… one you released.

Slade's here too.

Would you mind telling me what's going on?

Why did you let Crowley go?

Because he'd done nothing wrong.

-Well, he's done something wrong now.
-Yes, Slade.

But usually we wait for someone to commit
a crime before we arrest them.

It's normal police procedure!

We've got the phone link, Chief.

Call him.

Mummy, I want to go home.

Please, my sons are frightened.

You don't need to hold them.

Be quiet.

I'm a wealthy man.

The police aren't going to do anything
while I'm here. Let my wife and sons go.

Be quiet.

Please, don't antagonize him.

May I answer it?

I rather think it will be the police.

Go.

Hello?

Yes, this is Brett Levenson.

Yes, we are. There are five of us.

Yes, he is.

They want to talk to you.

All right, Crowley, this is Kate Grisham,
and I'm in charge.

You've nowhere to go, so you might
as well put down your g*n before I'm

forced to open fire.

That's right, don't alarm him.

What?

Why?

Yes, he is here.

He says he'll negotiate, but only with
you.

-What?
-He wants you in the shop.

Look, I'd love to help, Chief, but
I'm not trained in hostage negotiation.

Well, I'm not sure that's relevant.

Wait a minute. You've got a
dozen men here. You don't need me.

Send in Nicky. Or Morris.

You're the one who arrested him.
You're the one he wants to see.

Well, tough.

He can talk to someone else.

He says if he doesn't talk to you,
he's going to start sh**ting.

Now, there's a woman and two kids in
there.

Are you really going
to walk away from this?

You can't go in there.
He's going to sh**t you.

-He won't talk to anyone else.
-Well, he'll have to.

No.

No. For once, Grisham's right.

This is my fault.

Crowley was on the edge.

I pushed him over.

I'm coming in with you.

You can't risk it.

You've got to get back to the machine.
Besides, anything could happen in there.

No, we know exactly what is going to
happen in there.

Well, you should be pleased with yourself.
At least you've proved your point.

Can't change the past.

First law of time, right?

Do you think that matters now?

Go back to the machine, Holly.

Go back to your own time zone.

There's nothing you can do here.

I can't just walk out in here.

It's all you can do.

-Ready?
-Yes, Chief.

Now, don't try and do anything clever.
Just see if you can talk him out of there.

-That's exactly what I wanted to hear.
-Good.

Are you going to be OK, Slade?

Sure.

What time is it?

Quarter to six.

It would be.

In!

Let the family go first, Crowley.

You've got me, you've got
Levenson. Let them go first.

OK.

Go.

In!

They're moving inside.

I arrest you and now
you've got me, Crowley.

I'd say that makes us even.

Shut up!

Why did you tell him just to
release the family? Why not me?

Women and children first, Brett.
Where's your sense of adventure?

What are they doing?

Window shopping?

What's in there?

Nothing, just storage.

Open it.

It doesn't go anywhere.

Open it.

There's no point.

Open it.

What's this, Levenson?
Your bargain basement?

It's storage.

So what now?

I don't know.

I don't know. I need time to think.

I thought you said there
was no way out of here.

There isn't!

What about that window?

Crowley!

Levenson!

Drop it!

There's been a g*nsh*t!
Repeat, a single g*nsh*t!

Who is it? Robson! Is it Slade?

I don't believe it. She got it wrong.

Argh!

I'm sorry, Mr Slade.

Ken Jabara.

The pictures.

That's right, Mr Slade.

Red circles.

Robson! Robson, take this!

Robson, get an ambulance!
Go on, quick! Quick!

The man who's been shot has been
identified as Detective Jeffrey Slade.

And behind me, I can see paramedics
rushing him to intensive care.

I see they're bringing out a second body.

According to first reports, he's been
identified as a known criminal, John Crowley.

I shot Crowley. I didn't mean to, but…

What exactly happened, Mr. Levenson?

The police officer.

Slade managed to grab hold of Crowley.

There was a fight. There
was nothing I could do.

The g*n went off.

So Crowley shot Slade?

Yes.

Then Crowley dropped the g*n and I
snatched it.

I didn't know what I was doing. I
aimed the g*n at Crowley and I fired it.

Holly.

How'd it go?

What?

Well, that big talk of yours
you said you were giving today.

Oh, yes.

What was it all about?

I was outlining a theory, a scientific
theory.

All my work, everything I
believe in is based on it.

So… how'd it go?

I was proved right.

I'm ringing about the police
officer they just brought in.

Is he going to be all right?

I'm his brother.

He's still very unstable, I'm afraid.

-We're waiting to operate.
-Thank you.

Excuse me, where can I find Slade?

I'm sorry, didn't you just leave?

What?

You asked about
Mr. Slade, then you ran out.

W-Well, I've come back.

Levenson?

You!?

Levenson!

In here! Slade!

OK boys. He's all yours.

You're right.

Slade?

Where's the raves then?

Levenson had to k*ll me.

When I saw the three
red circles down in his

basement, he knew
that I'd realized he'd lied.

And after that, everything would make
sense.

So Levenson k*lled Jabara
because of the paintings?

Mmm. He was going out of business.

All he had was the three red circles.

He paid ninety thousand for
them, and with Jabara dead…

They'd be worth almost a million.

He came in the back
way, into Jabara's studio.

He shot him.

And then a few moments later, Louise
Jabara came in through the front door.

And the rest we know.

Do we?

Think about it, Morris.

So… why the elaborate pretense,
the hospital and all of that?

Because I didn't have anything on him.

Not for Jabara's m*rder,
and certainly not for my own.

And so, when I came to…

I set a little trap.

You pretended to be hurt
so that Levenson would

be forced to come back and finish you off.

-Mmm.
-Then why weren't you k*lled?

Yeah, that's a good question.

Levenson must have
fired at point blank range.

He did.

But I had this in my pocket.

It's Crowley's notebook.

A couple of inches of leather and paper.

It's funny.

I had a feeling he was going to try and
k*ll me.

In the end, he saved my life.

It's all very well and good, Slade.

But why did you arrest
Crowley in the first place?

Intuition.

I owe you.

No, you don't.

Yes, I do.

You saved my life.

You and the machine. If
you hadn't travelled back…

No, I didn't save your
life. I nearly got you k*lled.

No, that's not true.

Because I wouldn't have had that book in
my pocket if it wasn't for you.

You don't understand. If it wasn't
for me, you wouldn't have got shot.

Oh, yeah.

Yeah, you're right.

Because if it wasn't for you, I would
never have heard of Crowley.

-And if I hadn't gone after him…
-You wouldn't have been shot.

Looks like you owe me.

-Wait a minute.
-That's OK.

If a case comes up and I think
you and the machine can help…

-Forget it, Slade.
-I'll be in touch.