02x03 - Episode 3

[bunniefuu]

[drumming on car door]

You seem a bit frazzled, William.

Yeah, it's the weekend, isn't it?

We always get invaded at the weekends.

House is too small, kids are too big--

and their friends.

How's the new place coming on?

Aye, well.

[gate buzzer]

Here we go.

[car starting]

PRISON GUARD: IDs.

Open up please.

Never even heard of McKinnon and Spalding.

Yeah, we only took over from Critchley and Son

two months ago--

two and a half months.

Well, wouldn't be the first time one of these

has been used to try something.

Just follow Jim.

He'll take you through.

Mr. Shawcross.

Yeah, thanks.

Mr. McKinnon.

Good.

[shouting]

MAN WALKING PAST: No, you can't listen just to the end.

[inaudible] ourselves first.

MAN WALKING PAST: He got solitary, didn't he?

PRISONER IN BACKGROUND: [SHOUTING] Hey, Brian.

Hasn't changed much in 30 years.

Who were you collecting then?

Oh, no, no.

I was here as a guest of Her Majesty.

What for?



bombs here, bombs there--

and one of my neighbors tells the police

that I'm out and about in the middle of the night.

Well, when I opened my mouth to explain that people

die when they die, that's it.

I'm in here for two weeks while they check me out.

Well, I was 15 in 1976.

I don't remember this.

Ah, your dad woulda said I was on my holidays.

Very good, he was.

I know plenty of pals lost their jobs that year,

but your dad stuck by me.

Mind you, I wasn't allowed to speak

to the customers for a while.

Oy!

In your own time, you know.

Don't wanna rush you.

James Patrick McManaman, down from Durham for his appeal

next week.

Had a coronary in front of his solicitor.

Doing life-- life, the boy.

Or didn't.

Well, if he was on appeal.

[heavy door opening]

[interposing voices]

Oh, look at you.

You're big.

Oy! Careful.

Aye, there's quite a few coming, I'm afraid.

That's all right. The more the merrier.

[interposing voices]

MRS. BALL: You're animals!

Animals!

You're worse than animals--

you're pigs!

William is gonna go mad if he comes back to this.

Oh, we'll round them up.

Can I have a piece of that?

RICK STRAUD: OK, everyone in the van now.

Well, I'm hungry.

RICK STRAUD: Come on.

Eat in the van. Go, go, go.

- --is the music. - Come on.

BOY IN JACKET: But look-- RICK STRAUD: We're going.

We're going.

Excuse me.

The van is not upstairs. TEENAGE GIRL: All right.

I'll come to the football.

I'll come with Kate.

MARY GILCREST: Mrs. Ball, I did a wash.

Do you know where it is?

MRS. BALL: There it is.

[MUSIC - THE STRANGLERS, "NO MORE HEROES"]

[SINGING] No more heroes anymore.

No more heroes--

That's my Stranglers bootleg.

William.

- Just give it a listen, man. - Just give it a listen?

It's shite, man.

No one listens-- [record scratch]

WILLIAM SHAWCROSS: No!

That's-- that's irreplaceable!

Out!

I said out!

TEENAGE BOY: What is it?

TEENAGE GIRL: I think it should--

Sorry, William.

WILLIAM SHAWCROSS: These are my things.

This is my room, and you should know better.

And so should you.

MARY GILCREST: Come on, everyone down to the van.

Brendan, apologize later.

[MUSIC - THE STRANGLERS, "NO MORE HEROES"]

[SINGING] He got an ice pick.

He got an ice pick.

He got an ice pick.

He got an ice pick.

I should have copied it.

I meant to copy it.

I should have bloody copied it.

[stammers] We'll put a lock on the door.

I don't want a lock on the door.

I don't want a lock on a door in my own house.

RICK STRAUD: Bye, Mary!

MOLLY GILCREST STRAUD: Bye, William.

Yeah, OK. Thanks.

RICK STRAUD: No worries! - Bye.

MOLLY GILCREST STRAUD: Bye everybody.

Good night.

I'll-- I'll scour the world for another one.

Come on.

We got rid of everyone.

Got the place to ourselves.

I'm not in the mood, am I?

I'm gonna clean up. - Oh, what?

Why do you have to do it now?

'Cause the place is a tip, Mary.

You obviously don't mind living in a mess, but I do.

All right.

I'll tell you what-- let's go out.

All right.

Let's go to the new house.

Ugh, William.

WILLIAM SHAWCROSS: Let's go and see

exactly how much work hasn't been done,

'cause I'm in the mood for that.

MARY GILCREST: William, we do not need this.

[music playing]

Oh great.

Just the man.

What's your hat size?

What's my what?

Your hat size.

I've got us a great gig-- an Elvis night

for a slimmers club.

It's 400 quid.

Now look, I know you don't need it, but I do.

Sunday night.

And your large, aren't you, not extra large?

I've left the band.

He'll be there.

William, my car.

Come on, you'll make a great Elvis.

I don't know why we had to go in yours.

Mine's cleaner.

Because I want you leaning back,

eyes closed, breathing deep, listening to this.

What is it?

One of my women had it for a birth.

Wind your seat back.

Oh, Doris?

Oh yeah.

Yeah, and I'm glad she did actually,

because she doesn't disapprove of independent midwives.

- Yes, she does. - No, she doesn't.

She just thinks that on your holiday

you should have a holiday, and I agree.

Doris is just scared that I'm gonna be off.

Well, you might become an independent.

I might, I might not, but I'm looking

forward to these two weeks.

So anyway, just close your eyes, relax, and breathe.

And I want you to forget all about bootleg albums.

I had.

Oh, sorry.

OK.

I want to forget about them again.

Forget all about marauding teenagers.

[classical music playing]

And we'll be at the new house in no time.

[classical music playing]

William, we're here.

It's lovely music.

Let's not go in please.

Look, it's a building site.

You know it is, and you're just gonna get mad again.

No, I won't. I won't.

I promise.

[classical music playing]

Oh, for God's sake.

What are we paying them for?

Where are the floorboards?

And where are the doors?

William.

WILLIAM SHAWCROSS: No, this is never gonna be ready.

Look, I've got some time.

I'll get onto them.

I expected some progress.

What-- what do we do, delay the wedding?

How long for? [phone ringing]

And to be honest, I don't know how much longer we

can all go living in my house.

Just leave it with me.

I will get onto it.

Answer your phone.

They told me they'd done the floor.

There is no bloody floor.

Hello.

Yep, speaking.

Sorry, who's this?

I beg your pardon.

[music playing]

Thanks very much.

Good evening.

I'm William Shawcross.

It's my business.

Do you have any ID?

Uh, yeah.

Does that do?

OK, this way.

Thank you.

I'm sorry, William.

No, no, Jane, take your time.

So this system you have of fielding calls out of hours?

Yeah, they get diverted to either Jane

or Arnold or myself.

We do a rota.

No answer phones?

No, sorry.

If people need us, they need to speak to us, not a machine.

I'm sorry.

What did they say, Jane?

It was a man.

A rather odd sounding phone, I think.

I think he said, I hear you doing the McManaman funeral.

And I said, that's right.

And he said--

I think he said something like that, well,

it'll be the last one before your own if you do.

ARNOLD: Oh, that's awful.

Look, don't worry, Jane.

We'll look after you.

Come on.

POLICE OFFICER: Yeah, listen, we're gonna

keep a presence here tonight.

Why don't you all take yourselves off home,

and we'll reconvene tomorrow, OK?

- Jane's coming back with me. - All right.

That's a good idea.

Um, Mr. Shawcross, I think you ought to know that we've had

cause to intervene in a long line of disputes

between the McManamans and a family

called the Barraboutis whose son was m*rder*d five years ago--

the same young man that McManaman

was convicted of k*lling--

disputes which came back way before then.

Wouldn't you think this family might have made that call?

Let's just say we'll be paying them a visit.

But I mention this because both families

live on the same estate.

Yeah.

We really do want a low profile for this funeral,

as discreet as possible, if we can get the McManamans to agree

and if, of course, you're still willing to conduct proceedings.

Of course we are.

Yeah, you don't pick and choose in this job.

[music playing]

Hiya!

I've come for Kate and Brendan.

We're going to the football. - Oh, right.

Well, I don't think they're up yet.

Oh, it's OK. I know where they are.

Oh, OK.

Hiya.

Hiya.

[knocking on door]

TEENAGE GIRL: Hellooo. - Hellooo.

TEENAGE GIRL: Come on, you. Up--

Don't know why I don't just take the door.

[knocking on door] - Well, yes.

Knock, why don't you?

That's nice.

William, could I have a word.

Ah, yes.

I've got some meetings and some calls to make,

but I'll be back around 4:00.

Thank you.

[phone ringing]

Hey, Doris.

DORIS: Yeah, Mary, these independent midwives

you're meeting, I wanna run a check on them.

What are their names?

[laughing]

What is this, a police state?

Well, some midwives go independent because they're

not very good, you know?

MARY GILCREST: Doris--

And independents aren't insured to practice anymore.

I mean, you do know that, don't you?

And if something goes wrong--

I'm just seeing how they work, OK?

All I'm doing is looking after one of them whose

nine months pregnant herself.

What are their names?

MARY GILCREST: Doris--

Look, Mary, I'm your friend, and I'm worried about this.

What are their names?

OK.

The one I'm looking after is Hannah Krishnamurti.

DORIS: Oh no.

What?

Hannah Krishna-- what is--

Indian, mid-30s, beautiful?

Yeah.

Why, what's wrong with her?

No, nothing.

I've worked with her.

Yeah, she's good.

Yeah, she's very good.

All the women love her.

She's into no pain relief and empowering everyone.

Oh. - What?

We're gonna lose you.

I'm just checking it out.

Yeah.

Yeah, I know.

But you ask about being uninsured, yeah?

I will, I promise. DORIS: Do.

And phone me.

And good luck.

And-- I hope you don't like 'em.

[music playing]

Look, I'm never gonna be happy about people paying

a midwife to be there for them.

I mean, don't get me wrong, you'll never get rich

being an independent, but the one-to-one care is fab.

MARY GILCREST: Can I ask a question?

Thanks.

WAITRESS: Check is on the table.

Insurance-- you practice uninsured?

Not just us, all independents.

So how do you deal with that?

I mean, what do you say to your women?

Well, bottom line is we get them to sign to say

they understand the situation.

Except it's not legally binding.

Listen, don't worry.

You're looking after my pregnancy

for the next two weeks.

I thought-- I mean, I know it's good to meet

and everything-- but I thought today

it might be, well, good to show you some of our ambition.

I do a swimming class with babies.

I have an extra costume if you're interested.

Yeah.

Brilliant.

Shut him down. [inaudible]

CELIA: Woo!

SOCCER PLAYER: Drive through.

Drive through.

[shouting]

SOCCER PLAYER: Come on, Brendan.

SOCCER PLAYER: Brendan!

CELIA: Go, Baz!

[shouting]

BRENDAN GILCREST: This way, guys.

Come on!

[shouting]

SOCCER PLAYER: Go, Brendan.

SOCCER PLAYER: Brendan!

CELIA: Go, Baz! Woo!

SOCCER PLAYER: Brendan!

Brendan!

SOCCER PLAYER: Look out, Kate!

Kate!

Oh!

CELIA: Kate?

SOCCER PLAYER: Later, Kate!

No ball skills?

Or are you better with two?

SOCCER PLAYER: Pass it!

SOCCER PLAYER: Control it!

Control it!

ROBBIE MCMANAMAN: A suggestion?

A suggestion?

WILLIAM SHAWCROSS: Mr. McManaman, nobody--

but nobody, police included, is gonna

stop you having the funeral that you want for your father.

I just would ask you to consider what

sort of a funeral you'll get if we

exacerbate existing tensions.

ROBBIE MCMANAMAN: I want a funeral for an innocent man

wrongfully convicted.

I want to walk my father from the home he's been kept

from for the past five years to the church where he worshipped

and on to the cemetery.

Robbie, McKinnon and Spalding received

an anonymous threat in relation to your father's funeral.

Have you been to the papers?

Get onto the papers.

Well, the-- the local press called.

Good.

I didn't speak to them.

I didn't think it'd be helpful.

Wouldn't be-- it would help me.

It would help my father.

Just who are you trying to help, the Barraboutis

b*stards who fettered him up?

Of course not.

You've heard what we want.

Come on, Ma.

[dramatic music playing]

Thank you.

Right.

I'll be in touch.

[upbeat music playing]

[SINGING] Let's twist around the stars just

like a satellite.

Now that the time is here, we're gonna twist into the night.

But your love is like a dance you know that I can't resist.

Know that you drive me wild.

Now, let's twist.

Baby, I'm really mystified.

Now, baby--

--know, I haven't seen one of these before.

Oy! BRENDAN GILCREST: Hey, Steve.

Hey, Steve. - Oh, look at that.

BRENDAN GILCREST: It's a phone!

KATE SHAWCROSS: Steve, give it back!

BRENDAN GILCREST: Don't mess about.

Steve, just pass her phone.

Why you messing a--

--7762.

Can I have my phone back please?

Yeah, yeah, sure. There you go.

[music playing]

HANNAH KRISHNAMURTI: Nice to see you.

See you next time.

Well done.

All right then.

Bye bye.

Bye bye.

WOMAN IN CLASS: Good luck with your baby.

HANNAH KRISHNAMURTI: Thanks.

[baby crying]

Penny for your thoughts?

Oh, well, I was just thinking, I wonder

if this one will do that.

Yeah.

Why not? - I don't know.

It's that moment of letting go.

I-- I don't know if I could do that.

It's a trust thing, isn't it?

HANNAH KRISHNAMURTI: Yeah.

Look, I just try to make my women feel

good about themselves, good about their birth,

and good about their baby.

It's about feeling content.

CELIA: No, no.

BRENDAN GILCREST: Hey, Baz, how many did you score today, man?

How many did you score?

[interposing voices]

BAZ: Where's-- where is that coming from?

CELIA: What's that smell?

What smell?

Liniment, isn't it?

[phone ringing]

I like it.

KATE SHAWCROSS: Hello.

Who's this?

It's me--

Steve.

What do you want?

You-- now.

Well, I'm walking towards my house.

Then-- turn those lovely, beautiful

legs around and walk away.

And go where?

[music playing]

[car door opening]

What are you doing?

[indistinct growl]

Oh, William.

I need that tape on again.

Oh no.

MARY GILCREST: What?

WILLIAM SHAWCROSS: Mrs. Ball wants a word.

She's obsessed with the boys putting their underpants

in the laundry basket.

She keeps bringing them to me like a dog.

My God, you've grown again.

MARY GILCREST: Yeah, well, we've been feeling a little ignored.

Sorry.

What a beauty.

[police radio chatter]

Oh, really.

It's affection.

It's not sex.

We're not gonna scare the horses.

Sorry, sir?

You were tapping on the window.

Yes, I'm looking for a Mr. Shawcross.

[dramatic music playing]

[interposing voices]

Jane, Arnold.

POLICE OFFICER: Mr. Shawcross.

Are you all right?

We're OK, but look at my house.

Mr. Shawcross, they're OK.

Medic seems to think they're fine,

but they both had a bit of a shock.

[dramatic music playing]

Well, whoever it was laced the front door with petrol,

lit it, and then put the empty can through the window.

Very nasty.

What?

It's pretty serious.

And we took a call at your office-- a threatening call.

PRESS PHOTOGRAPHER: Over here, sir.

POLICE OFFICER: Yeah, I wouldn't speak to them if I were you.

No.

Sorry, you said there was a-- a call?

Well I haven't told Mr. McKinnon or Mrs. Spalding this,

but basically, they've threatened to burn you out

if you proceed with the funeral.

They?

Who's they?

I'm sure we won't be too long finding out,

but the immediate problem is where you and your family

are gonna stay till after the funeral.

We'll have a car placed outside each of your homes, but--

But why-- why here?

Why Arnold's place?

As I say, we'll have a car outside each of your homes,

but for peace of mind--

No, um, I know where we can go.

Jane, Arnold.

CELIA: Steve?

Which one was Steve?

Was that the one that took your mobile?

Yeah, but I don't know if I should--

--my God. He was so fit.

Did you see the car that he drives?

Celia!

JULIA SHAWCROSS: Hey.

KATE SHAWCROSS: Hey.

How was the game?

Out please, Jules.

Were talking.

Yeah, I just wondered if you wanted anything.

CELIA: Yeah, we want you out, and shut the door on your way.

[music playing]

[phone alert]

Is that him?

It's him, isn't it? Let me see.

Let me see.

Oh my god.

OK. Let me tell you something.

This-- this is about--

BRENDAN GILCREST: Kate!

What?

Baz is in my room. Do you wanna come for a smoke?

CELIA: No. And shut the door.

[music playing]

That's what this is about, OK?

You can either do it with a boy or a man.

I mean, it couldn't be any better.

I'm your alibi.

You've just gotta make out that you're, like, 22 or something.

I don't know. I--

CELIA: Yeah, but I do.

OK, where are you meeting him?

Come on.

Forget about the floor.

Well, no, no, don't forget about it.

Just fix it.

Yes.

Right.

Well, look, how soon can you do that?

I've have been trying to phone you.

All right.

Call me first thing in the morning.

Oh sh*t.

Boys, take your duvets off, and put them in the car.

I'm sorry, I didn't know your name, but home.

Thank you.

Duvets-- and get the girls to do the same.

What's going to him?

What'd he say?

What's happened?

William, there are police outside again.

Yeah, I know. Mary, come with me.

What?

What?

- Duvets for what, mom? - Where we going?

What is this?

--so just get in the car.

Yeah, good.

Where's Kate? Julia, where's Kate?

She's gone round to Celia's.

She's gone where?

Celia's.

Who's Celia?

[boat motor]

[car door opens and closes]

Come on.

You come all this way.

You know what?

Everyone comes here.

Oh, great.

Come on.

Get in the car.

Look, I don't ask much, OK, but I would rather

my first time wasn't in a car.

I don't want hotels and all that, just

somewhere without windows--

and maybe with a bit of leg room.

[phone ringing]

[dramatic music playing]

What?

Change your mind?

WILLIAM SHAWCROSS: Look, you go ahead.

You've got a key, haven't you? MARY GILCREST: Yeah.

I'll see you there.

[phone ringing]

Switch it off.

Switch the engine off.

Hi, Dad.

Kate, where the bloody hell are you?

Where are you?

At Celia's.

WILLIAM SHAWCROSS: And where's that?

Why?

Because I'm coming to pick you up, all right?

Pick me up?

Just-- just give me the address.

Just give me Celia's address.

Dad, I'm 16 now.

If you need me, I'll come back, but I won't have

you shouting at me like this.

I'm going now. Bye.

Kate!

RICK STRAUD: We afford enough here, don't we?

I mean, having your own home is everything, isn't it?

You think Mary'll let us stay on?

[knocking on door]

[music playing]

I'll go.

Oy!

Mum, the phone's been disconnected.

No, I-- I didn't pay the bill.

Sorry.

But I'll get it put back on.

Oh-- ooh.

Hi.

RICK STRAUD: Oh, sorry.

Gran, we came in a police car.

Don't call me Gran.

Oh.

All right, mate. BRENDAN GILCREST: All right.

MOLLY GILCREST STRAUD: Terence, did you say the police?

TERENCE GILCREST: Yeah, and they're

staying outside because someone firebombed Arnold.

Hello, Arnold.

[indistinct groan]

[music playing]

KATE SHAWCROSS: Celia, just get your mum

to say I was there if my dad calls, which he won't.

But if he does--

I don't know-- blackmail her.

Yeah, thanks.

Bye.

This where you live?

No.

You don't need to know where I live.

You just need to know where we'll be meeting next time.

I'll wait for that call.

[music playing]

Dad, if you're gonna shout at me again,

I'm going back to Celia's.

[music playing]

Sorry.

[music playing]

Jules, get off.

[music playing]

JULIA SHAWCROSS: Ow.

MARY GILCREST: Mum, what you doing?

WILLIAM SHAWCROSS: Oh, this is ridiculous.

Somebody use the bedroom.

Well, we didn't want to be left out.

You use it. - Yeah.

It's like the blitz, isn't it?

Well, without the bombs, obviously.

Yeah-- spirit of the blitz.

RICK STRAUD: Yeah. Without the threat.

Yeah.

We've got out own policeman outside.

Yeah, the spirit of the blitz.

Yes, all right with the blitz.

[laughter]

Uh, speaking of spirits, I managed

to bring a little sustenance from the house.

Oh, I'll get the glasses.

This isn't a party.

I'm jump over.

We'll have a slap up Sunday roast.

[laughter]

Please, please, please, Molly.

[groans]

ARNOLD: You know how the McManamans-- that's--

that's the dead man's family.

TERENCE GILCREST: He's the m*rder*r, right?

McManaman's the m*rder*r?

Well-- well, he-- he was convicted, yes.

[phone ringing]

And as I understand it, the Barraboutis lad was k*lled

in a pub in front of witnesses.

KATE SHAWCROSS: How are you?

ARNOLD: And the appeal that was-- well,

this is what I gather from the police.

The appeal that was coming up was

going to say that the Barraboutis paid

those witnesses to say it was McManaman.

Sorry. Kate--

What?

WILLIAM SHAWCROSS: It's really rude to take a phone call

when we're all eating.

Can we make a rule please to switch

off our phones at meal times?

Same speech to her please.

[phone ringing] MARY GILCREST: Hello.

KATE SHAWCROSS: I'll talk to you later.

Bye.

MARY GILCREST: Oh, hi.

Oh, sorry, can't you ring Karen or Zoe?

Oh, oh. OK.

I see.

Right, where are you?

OK, I'm coming right over.

The private sector calls, eh?

Don't start.

DORIS: Well, I will start.

You're meant to be on a holiday.

When you get back to us, you'll be knackered.

Right.

See you later.

Oh yes, and William is playing at a slimmers club tonight,

so why don't we all go?

No, no, no. MARY GILCREST: Ah, ah, no, no.

You're going, and we're all coming.

Billy needs the money. - What?

Oh, yes. An Elvis night.

[music playing]

MARY GILCREST: Right.

So I'll meet you there, OK?

Uh, but-- yeah.

Can I just have a look at that?

Oh, Elvis.

Yeah.

Well, yeah.

HANNAH'S HUSBAND: I'm really sorry about this.

MARY GILCREST: It's OK.

Where is she?

[loud crying]

Hannah-- just calm down.

Hannah, Hannah.

It's going.

It's going.

It's going.

It's going.

I can't bear it, Mary, I can't. I can't take it.

It's all right. It's OK.

Just remember your breathing, OK?

No.

No, 'cause it'll come back.

You call an ambulance.

I have, sorry.

MARY GILCREST: Oh no, that's good.

Can you pass me my things?

Don't tell Karen and Zoe.

Please don't.

I won't do anything you don't want me to, all right?

Now, just try and relax.

Which hospital have you nominated?

Queen Anne-- private.

Sorry.

OK, that's your last sorry for today.

Sorry. MARY GILCREST: All right.

Hannah, when your next contraction comes,

I'm gonna give you some gas and air.

OK?

Oh, thank god.

[music playing]

Your dad wants you to put your coat on.

OK.

[music playing]

That should start to kick in soon.

It doesn't work on some women though, does it?

What do you get?

A window of pain, isn't it?

Tell me when the next one's coming.

You're having it now.

Thank you.

No worries.

Oh, I feel like such a fraud.

I spout on about breathing, and yoga, and natural birth,

and how pain relief isn't necessary.

Hannah, I had epidurals with both my boys.

Epidurals are good.

Pethidine is good.

Gas and air is good.

They're only bad when they're pushed onto women to make

life easier for others, OK?

You needed this.

This epidural is the best.

I'm here to deliver this baby for you,

and you'll have all the help you want.

KATE SHAWCROSS: It's just here on the right, the green door.

WILLIAM SHAWCROSS: Oh yeah.

CELIA: Hiya!

Celia's house, Celia at the door.

Yeah, why don't I wait?

Because we have other things to do besides watching you.

We know where to come, and her mum will

bring us to the Elvis night.

Bye.

[engine starts]

Hellooo.

Hellooo.

[music playing]

[interposing voices]

You look good.

[laughter]

I just need one more person to laugh, and I'm walking out.

Not like that, I hope.

[inaudible]

Oh, yo, yo, yo, yo.

Get your a*s in there, boy.

Come on.

Curl that lip at me.

CELIA: Right, Kate, just remember what I said.

Act like a woman.

STEVE: [laughter] Hello.

KATE SHAWCROSS: Don't get excited.

It's not a threesome.

She's my alibi, and we need to get a taxi afterwards.

Can she wait in your car?

Sure.

[music - "you're so square"]

[SINGING] You don't like crazy music.

You don't like rocking bands.

You just wanna go to a movie show

and sit there holding hands.

Oh my god.

[music - "you're so square"] --square.

Baby, I don't care.

You don't like hot rod racing or driving late at night.

You just--

Is William all right?

It's just he looks a bit--

MARY GILCREST: Ridiculous?

DORIS: Well, yeah.

But a bit fed up.

A bit?

Everyone living in his house is a nightmare.

He hates it.

Well, we all hate it.

TERENCE GILCREST: Oy, Brendan, you all right?

Go off with that, man.

[music - "you're so square"] --it does.

I wonder why I love you--

What's your problem, man?

[music - "you're so square"] --because you're so square.

Baby, I don't care.

Baby, I--

Where are the kids?

I can see Terence.

Brendan's-- Brendan's over there.

Julie is somewhere, and Kate's coming later on.

Ow.

STEVE: Oh yeah. Hang on a minute.

There you go.

Thanks.

So are we gonna do this again sometime?

I mean, you, uh, seemed to enjoy it.

Don't know.

Maybe. [music - "all shook up"]

[SINGING] --in love.

I'm all shook up.

Ooh, ooh, ooh.

Ooh.

Yeah.

Yeah.

Yeah.

Ooh, ooh, ooh.

Ooh.

Yeah.

I'm all shook up.

CELIA: So then, marks out of 10?

That good, eh? Come on.

Yeah, it was all right.

CELIA: Kate, you've just been with a bloke who is fit--

yeah, he's fit-- and who straight

after wants to see you again.

Well, he does want to see you again, doesn't he?

Didn't you just say-- - Celia.

He likes you.

Yeah, just shut up for a bit now, will you?

CELIA: Hang on a minute.

Where are we going?

The Elvis night.

Elvis, I thought we were going round my house.

No.

[MUSIC - "ARE YOU LONESOME TONIGHT?"]

[SINGING] Are you lonesome tonight?

Do you miss me tonight?

Are you sorry we drifted apart?

MARY GILCREST: Hey, you.

What you doing out here in the rain?

What is it?

What?

Nothing.

I'm just--

Oh, come on.

Come on, babe. What is it?

Tell me.

Come on.

Tell me.

I miss Kate.

Oh, darling. It's OK.

She's gonna be here soon.

No, I mean I miss her all the time 'cause, like, she's not

interested in me anymore.

And I miss dad 'cause, well, he's got you now.

Oh, Julia.

Oh, come on, darling.

It's OK.

And I like you.

I more than like you, and I like the boys.

And I want us all to be together, but the three of us--

me, dad, and Kate-- it's like that's over now.

And no one told me it was gonna end, but it has.

No.

No, it hasn't.

No, it hasn't, darling.

Listen, it's just-- it's just gonna be different.

That's all.

You know, and you're right this has--

this has all happened way, way too fast, but it's not over.

OK?

I'm gonna make sure of that.

How?

Well, I don't know yet.

I'm gonna have to have a think about it.

All right?

So don't you worry. Come on.

[car door closing]

TAXI DRIVER: Cheers, love.

Hey, Jules.

What's up?

JULIA SHAWCROSS: Kate!

[music playing]

[music - "heartbreak hotel"]

Oh my god.

[SINGING] Although it's always crowded, you still can find--

Ma-- Mum, can I have a word outside?

I've got an offer for you and Rick.

[music - "heartbreak hotel"] --heartbreak so, heartbreak

so lonely, baby, heartbreak so lonely, heartbreak

so lonely you could die.

POLICE OFFICER: And we've hidden some extra officers

along the route.

We'll see you at the funeral. WILLIAM SHAWCROSS: Thank you.

POLICE OFFICER: Mr. Arnold. ARNOLD: Thank you.

POLICE OFFICER: Mr. Shawcross.

Thanks.

ARNOLD: We'd better go and get ready then.

[dramatic music playing]

MARY GILCREST: Yeah, yeah-- just hang-- just hang on a sec.

Right, I'll see you all later, and get some homework done.

TERENCE GILCREST: Yeah, sure.

I don't see why we can't go to school.

Because your father said.

Better safe than sorry.

POLICE OFFICER: Mr. Shawcross--

[dramatic music playing]

--we're pretty sure the Barraboutis are all in one

flat, and I've just had word we know who's behind this now,

so--

I'll tell you later.

Excuse me.

[dramatic music playing]

ROBBIE MCMANAMAN: Where are they all?

Where is everyone?

Easy there.

They're staying away.

--it easy.

'Cause they warned them off.

Paid the whole estate off, did you?

Come on!

Easy, Robbie.

Come on, you Barraboutis b*stards!

[music playing]

What?

What?

He's married, you know?

Steve.

Married with a kid.

Oh, grow up.

TRACY: Hello.

MARY GILCREST: Hi, Tracy.

Haven't seen you for a while.

Hi, Josie.

Look, uh, there you go.

MARY GILCREST: Oh.

Here, a few more.

I've been looking for you, but you

haven't been around, have you?

MARY GILCREST: No, no.

I know.

I've moved.

Let me see this little one.

Hello.

Hello.

So-- you're not at the hospital anymore?

MARY GILCREST: Yeah.

Well, I mean, I'm on holiday, but--

Oh.

I'll see you there then.

They're all good, those.

I've read them all.

Come on, Josie.

She's called quite a few times.

You should see the pile of books she's left you.

MARY GILCREST: Mom, if she's been calling round,

you shoulda told me.

MOLLY GILCREST STRAUD: Sorry.

She's just a bit--

She's a troubled girl.

Yeah, and she's on her own.

[sad music playing]

[church bells ringing]

Where's all the press?

I called them.

They said they'd be here.

A Barraboutis piece of sh*t comes to my dad's funeral.

You dare to stand there?

Robbie!

Robbie!

You dare to stand there at my father's funeral?

POLICE OFFICER: All right! All right!

ROBBIE MCMANAMAN: Get off me! What are you doing?

Leave me alone.

POLICE OFFICER: Stop [inaudible]..

ROBBIE MCMANAMAN: Get off me.

POLICE OFFICER: All right.

POLICE OFFICER: Caution him.

POLICE OFFICER: I'm arresting you on suspicion

of criminal damage.

You don't--

Are you all right?

I'm here to pray for Mr. McManaman's soul,

to pray for my son, to pray for them both.

Mr-- sir, please.

He's angry, I understand, but please, please

let him be at his father's funeral.

Yes?

I'll see what I can do.

Arrested for what?

Robbie, you told us you were with your family

when the petrol can went through Mr. McKinnon's window.

Yeah, right.

No, Robbie.

I've got witnesses, not just my family,

but witnesses from all over who swear to that.

Robbie, your mother called us.

We know it was you.

Excuse me.

Mrs. Barraboutis has asked that Mr. McManaman be allowed

to attend his father's funeral.

[crying]

A mother always knows best, yeah?

[sad music playing]

Yeah, OK.

Let him go.

Mary, Mary, he's here.

MARY GILCREST: All right, Mum, come on, quick.

RICK STRAUD: Come on, Molly, get a move on.

MOLLY GILCREST STRAUD: OK. OK.

RICK STRAUD: Come on. Hurry up.

He's here.

OK, thanks, Mary.

MOLLY GILCREST STRAUD: --in a week's time.

WILLIAM SHAWCROSS: Hello.

Hello.

Hi.

Oh, that was close.

Hello.

Hello.

Look at this.

Wow.

Oh, be careful-- just had it sealed.

And that's hot too, the central heat.

Have they gone through here?

Yay!

It looks fantastic, doesn't it?

So, William.

Mary.

Now that everybody can go back home,

I've asked Rick and Molly if they'll do

some decorating for us, and--

I was gonna suggest that.

Oh, good.

Well-- well, I've given them an advance,

and they've gone off on honeymoon.

Oh.

Yeah, but-- but when they come back, I've--

I've asked them if they'll move in here while they're doing it.

So me and the boys, well, we're-- we're not

gonna come back to the house.

We're gonna to stay in the flat.

You were right all along.

It's too small.

And-- and, you know, once we're all here we'll--

well, look at this place, it's huge.

And-- and we'll all be starting out together.

It'll be all of ours, this house, but-- but--

but yours is yours.

I mean, we'll still come and stay the night, and--

and we'll be here, and we'll be married with a baby

before you can blink.

But trust me, the girls need a little bit more

of just being with you before then.

I think we were jumping the g*n.

Yeah?

Oh, come on.

Admit it.

You hated it.

Admit it.

Yes.

Let's just buy ourselves some time to get this right, OK?

So-- trust me, I'm a midwife.

Right.

The floor is nothing.

Wait till you see this.

[classical music playing]

WILLIAM SHAWCROSS: Do you know Arnold did two weeks in prison

once?

MARY GILCREST: Arnold did?

WILLIAM SHAWCROSS: They thought he was in the IRA.

Arnold?

Yeah, in 1976.

I was 16.

How old were you?

Young enough for you to have been in prison with Arnold

if you'd done this to me then.

Oh, go on, let me have another look.

Go on.

I'll show you mine if you show me yours.

Yeah, all right.

[classical music playing]

[theme music]