English to Spanish and Portuguese to Spanish translator and interpreter specializing in Tourism, Sports, Media and Arts.

Idiomas de trabajo:

inglés al español
portugués al español
español al inglés

Más

Jeniffer Lugo Estrada

Translators mediate between cultures

Barquisimeto, Lara, Venezuela

Hora local: 02:20 EDT (GMT-4)

Idioma materno: español

Send email

No client feedback collected

Rate service provider

1 follower

Traductor o intérprete autónomo,

Identidad verificada

This person has a SecurePRO™ card. Because this person is not a ProZ.com Plus subscriber, to view his or her SecurePRO™ card you must be a ProZ.com Business member or Plus subscriber.

This person is not affiliated with any business or Blue Board record at ProZ.com.

Translation, Interpreting, Editing/proofreading, Voiceover (dubbing), Subtitling, MT post-editing, Transcription, Project management

Se especializa en
Gobierno / Política	Negocios / Comercio (general)
Medicina (general)	Medioambiente y ecología
Medios / Multimedia	Informática (general)
Mercadeo / Estudios de mercado	Imprenta y publicación

General rate: 0.09 USD per word / 26 USD per hour

Rates per language pair:
portugués al inglés - Tarifas: 0.09 - 0.11 USD por palabra

U. S. dollars (usd)

0 comentarios

Transferencia electrónica, Giro, PayPal

Muestras de traducción: 1

inglés al español: Trial and Retribution (Dubbing Script) Detailed field: Cine, películas, TV, teatro
Texto de origen - inglés "TRIAL & RETRIBUTION IV" - EP. 2 - POST PRODUCTION SCRIPT SEPTEMBER 2000 PRE-TITLE SEQUENCE MONTAGE OF SCENES FROM EPISODE 1 CS. NORTH CHANGE TO SPLIT SCREEN - NORTH IN R. FRAME DOCUMENT IN L. FRAME L. FRAME - MCCREADY WALKING TOWARDS CAM. WITH PRISON OFFICER R. FRAME - PAN UP TO ALLARD ADDRESSING HIS TEAM R. FRAME - MEADOWS, FIONA AND MCCREADY CHANGE BACK TO SINGLE SCREEN - PAN DOWN FROM BIG BEN TO PICK UP RYLANDS WALKING ALONG PAVEMENT - THEN CUT TO MS. BRADLEY CUT TO MCS. NORTH AND WALKER IN CHINESE RESTAURANT CUT TO CS. MCCREADY CUT TO CS. NORTH LISTENING TO MCCREADY CS. THE PREGNANCY PREDICTOR AS WALKER FINDS IT IN BIN CUT TO CS. NORTH CUT TO CS. ALLARD CUT TO MCS. WALKER AND NORTH SIT IN THEIR FLAT CUT TO MCS. ZITA QUESTIONING SATCHELL CUT TO MCS. SATCHELL CUT TO INSERT CRIME SCENE PHOTOGRAPH CUT TO MCS. EVA IN HER MOBILE HOME CUT TO INSERT EVA'S DRAWING OF THE FIREPLACE CUT TO CS. BARBARA THEN TO CS. WALKER IN BAR CUT TO MS. ZITA AND STANLEY (BACK TO CAM.) CUT TO CS. WALKER SPEAKING TO NORTH FADE TO BLACK SCREEN BRADLEY (OS.) Right - page one. BRADLEY (OS.) James McCready aged 44. Presently serving life. (INTO SHOT) At the time of the murder in 1992 he was living with Gary Meadows and Meadows' daughter, Fiona, in a mobile home on an estate just outside Croydon. BRADLEY (contd. OS.) McCready's also managed to get MP and barrister Robert Rylands on his side, he wants to push the case as a gay rights issue. NORTH George Allard's heading this re-investigation and doesn't see why my working on it should be a problem. WALKER Why should it be? I did nothing wrong. MCCREADY Walker wouldn't listen to me. He kept saying "you've killed him" - kept on, "you killed him, you killed him". WALKER So -- so what was the result? NORTH Well it was positive. ALLARD I've just been informed the Police Complaints Authority have taken over the investigation. NORTH They used me and our relationship as one of the main reasons why the enquiry should now be handled externally. ZITA Do you recall seeing a brandy glass or not? SATCHELL I wasn't scene of crime officer, I don't know. ZITA It's there, in the crime scene photograph. EVA It was a brandy glass, and I got a very clear picture from it. It was a fireplace. BARBARA I warned you it could all blow up in your face. WALKER Yeah well you could be right there. I've got a funny feeling it's just about to. STANLEY (OS.) I hate to see such a good cop go down. ZITA Well not if he tampered with evidence to ensure a guilty verdict of an innocent man. WALKER You want to know how I know McCready's a killer? I've got the scar to prove it, I see the evidence every day. He did this to me. And I got off lightly. The officer with me died. McCready got away with murder once, and I wasn't going to let him get away with it again. TITLE SEQUENCE STARTS INT. NORTH & WALKDUB[0 N 01:00:52:10>01:00:54:16] ZITA ER'S FLAT/ BEDROOM. DAY. MS. WALKER - PAN DOWN TO SEE HIM PASTING WALLPAPER WALKER MOVES OVER TO STEPS CARRYING PASTED WALLPAPER - STUMBLES ON STEPS - CALLS TO PAT NORTH ENTERS R. WALKER CLIMBS DOWN STEPS MED. TWO SHOT WALKER AND NORTH NORTH CHECKS HER WATCH CS. NORTH INSPECTS WALLPAPER - TURNS TO FACE WALKER WALKER CONTINUES PASTING WALLPAPER - NORTH IN BG. NORTH EXITS - WALKER CONTINUES PASTING - PAN DOWN ONTO SHEET OF WALLPAPER BEING PASTED - FADE TO BLACK TITLE IN: DAVID HAYMAN KATE BUFFERY JAMES WILBY WALKER Yeah -- Okay -- okay -- whoops -- Oh shit! Pat! NORTH (OS.) Yeah? WALKER Pat - can you come here a minute? TITLE IN: with CORIN REDGRAVE NORTH Yeah -- what is it? WALKER Oh just pull the bottom of that, it's all stuck. TITLE IN: DORIAN LOUGH RICHARD McCABE CHRISTOPHER NEAME NORTH Hang on, I don't want to get stuff all over me. WALKER Oh shit! Never mind, I'll do a fresh one. TITLE IN: PHILLIP VOSS DON WARRINGTON BELLA ENAHORA LINDY WHITEFORD NORTH Um - I think what you're supposed to do is fold each end over and then just - just hang a bit at a time. WALKER Yeah, alright, alright. TITLE IN: Written by LYNDA LA PLANTE WALKER (contd.) What's the time? NORTH Um - you're alright, you've got another half an hour before it starts. (PAUSE) And aren't they supposed to match on the join? You - you've got a teddy bear here with two heads and one with no arms. TITLE IN: Executive Producer PETER RICHARDSON WALKER Ah, that's alright, he won't notice. Oh look, get the hell out of here, will you. TITLE IN: Producer LYNDA LA PLANTE WALKER (contd.) There you are, I could finish this tonight. NORTH Mmm. TITLE IN: Director MICHAEL WHYTE TITLE IN: TRIAL & RETRIBUTION IV INT. NORTH & WALKER'S FLAT/ SITTING ROOM. NIGHT. MS. WALKER AND NORTH WATCHING TV. WE HEAR THE TV PRESENTER SPEAKING MCS. TV SCREEN - PHOTO OF JAMES MCCREADY - THEN PICTURE OF GARY MEADOWS - CHANGE TO SPLIT SCREEN L. FRAME - MCCREADY GOING INTO COURT FOLLOWED BY BARKER INTRODUCING THE PROGRAMME UPPER R. FRAME - WALKER AND NORTH WATCHING PROGRAMME ON TV. LOWER R. FRAME - SATCHELL AND CATRINA WATCHING PROGRAMME CS. TV SCREEN AS FRONT TITLES FOR 'MISCARRIAGE OF JUSTICE' ROLL CUT TO MCS. WALKER AND NORTH ON SOFA WATCHING TV. CUT BACK TO TV. SCREEN - MAIN TITLE 'MISCARRIAGE OF JUSTICE' THEN CAM PANS L. OVER MOBILE HOME ESTATE TITLE IN ON TV SCREEN: Introduced by ROGER BARKER CAM PANS DOWN AND INTO CS BARKER - CHANGE TO SPLIT SCREEN BARKER IN L. FRAME - CS. WALKER IN R. CHANGE BACK TO SINGLE SCREEN CS. TV SCREEN - REPORTERS AND POLICE AT MOBILE HOME ESTATE CAPTION: January 19th 1992 CUT BACK TO MCS. NORTH AND WALKER WATCHING TV CUT BACK TO CS. TV PROGRAMME AT MOBILE HOME ESTATE CS. TV. SCREEN - MCS BARKER - CAM PANS FORWARD AND PAST BARKER INTO CS. WINDOW OF MOBILE HOME CS. TV SCREEN ON INTERIOR MOBILE HOME WINDOW - CAPTION Emergency Services Recording AS MCCREADY SPEAKS CUT TO CS. WALKER WATCHING TV PROGRAMME - HE LEANS FORWARD CS. NORTH WATCHING TV. CS. TV SCREEN - CS. BARKER CONTINUING DIALOGUE - CAM TRACKS L. TO R. AS HE WALKS ALONG CHANGE BACK TO SPLIT SCREEN: L. FRAME - BARKER SPEAKING - CHANGE TO EARLY PHOTO OF WALKER (WITH HAIR) UPPER R. FRAME WALKER AND NORTH LOWER R. FRAME SATCHELL AND CATRINA L. FRAME CHANGE TO MS. MEADOWS AND MCCREADY - CAPTION Reconstruction MEADOWS AND MCCREADY TALK TO VERA L. FRAME - CHANGE TO MS. VERA BEING INTERVIEWED BY BARKER CHANGE BACK TO SINGLE SCREEN - MCS. VERA ON TV. CUT BACK TO MS. WALKER AND NORTH ON SOFA CUT TO CS. BARKER THEN BACK TO MS. WALKER AND NORTH - THE TELEPHONE RINGS ZOOM IN TO CLOSER SHOT VERA AND THEN BARKER - PHONE STILL RINGING O/S MS. WALKER GETS TO HIS FEET AND MOVES ROUND TO ANSWER PHONE CS. BARKER ON TV. CS. VERA ON TV. - CUT TO MS. WALKER PICKS UP PHONE AND MOVES L. AND EXITS TV PRESENTER But now, in the first of a new series, Roger Barker investigates another "Miscarriage of Justice" BARKER In September 1992, James McCready was convicted of the murder of his lover, Gary Meadows. At the trial, McCready's defence team argued that Gary's wound was in fact self-inflicted, the result of a bizarre and tragic accident. To this day, eight years on, McCready maintains his innocence and continues to fight for an appeal. On tonight's programme we examine evidence never brought to trial and identify manifest irregularities in the police investigation which may just point to another "Miscarriage of Justice". BARKER (contd.) Croydon mobile home estate, once home to James McCready, his partner of four years, Gary Meadows and Meadows' seven-year old daughter, Fiona. This was to become the setting for an extra- ordinary investigation. NEWS REPORTER (VO.) Did you see what happened? NEWS REPORTER 2. McCready lived on the estate with his gay lover -- NEWS REPORTER 3. -- bled to death during the night. NEWS REPORTER 4. -- died from a fatal stab wound in the centre of his back. NEWS REPORTER 5. -- police were alerted to the scene by a hysterical 999 call from McCready who told the operator "I've killed him, he's dead". BARKER This is the telephone call recorded by emergency services on the morning James McCready discovered his partner was dead. MCCREADY (VO.) Please help me. I've killed him, He's dead, I think he's dead. Come quickly, I need an ambulance. I've killed him, he's dead, somebody help me please. BARKER (VO.) That was the voice of James McCready - (IN SHOT) - who awoke to find the man he loved lying dead beside him. He was evidently in deep shock. That telephone call proved to be an important piece of evidence in McCready's conviction. The police enquiry was led by the then Detective Inspector Michael Walker. He declined to be interviewed for this programme. NORTH (OVER END BARKER'S DIAL.) Oh my God! It's you with hair, Mike. WALKER I've got hair. NORTH Proper hair. CATRINA Do you want some ice cream? MEADOWS Hello Vera -- hello love. VERA She's been ever so good --- SATCHELL No thanks. I'll have another beer in a minute. This is all bullshit, making them out to be so angelic. According to her statement they were pissed as news, legless, the pair of them. This is totally biased crap. CATRINA Well now you're the ones being scrutinised, so you're bound to be on the defensive, aren't you? SATCHELL Oh forget it. Shush. CATRINA Shush yourself. SATCHELL I can't wait to see how they set the murder, probably a bunch of wind chimes and choral music! VERA Well, we had a nice conversation, just about Fiona you know, but I could tell that they were a bit merry. They liked a drink, not any more than any of the other young chaps around here, and then I heard loud pop music, but I don't like to complain, so I went about my business for a while. BARKER And what happened then? [PHONE RINGS] VERA Well then I heard some shouting. NORTH It's yours, Mike. VERA It was quite loud, and I looked over but by then they seemed to be drinking and chatting in the bedroom. NORTH (OVER END OF VERA'S DIAL.) Mike, it's your phone! VERA Then it all settled down, and so I went back to bed. BARKER And why didn't you mention all this in your original statement to the police? VERA Oh I did. I don't know why they didn't take it down, but I told them everything I saw. WALKER (OVER END VERA'S DIAL.) Yeah - hi. INT. WALKER & NORTH'S FLAT /BATHROOM. MS. WALKER SITS ON LOO AS HE SPEAKS TO SATCHELL ON TELEPHONE WALKER Of course it's crap, but if that stuff comes out with the clairvoyant tonight, I am in deep shit. (PAUSE) Satch -- Satch, will you quit panicking and get off the telephone. I'm missing it. INT. WALKER & NORTH'S SITTING ROOM. CS. TV SCREEN SHOWING MCCREADY AND FIONA CAPTION: Home Video CHANGE TO SPLIT SCREEN: PHOTO OF MEADOWS AND MCCREADY IN L. FRAME - CS. NORTH IN R. FRAME L. FRAME - CHANGE TO MS. BARKER L. FRAME - TITLE 'MISCARRIAGE OF JUSTICE' R. FRAME - WALKER REJOINS NORTH ON THE SOFA CHANGE BACK TO SINGLE SCREEN - MS. WALKER AND NORTH AS THEY TALK WE HEAR TV COMMERCIAL IN BG. (DIALOGUE INDISTINCT) BARKER Who has the answers? Was an innocent man, so consumed by grief and guilt, mis- interpreted, making it look like an admission to a murder that had not taken place? [contd.] BARKER (contd.) Was this a terrible miscarriage of justice or a domestic argument that got tragically out of hand? After the break we'll disclose details of a past connection between Detective Superintendent Walker and James McCready of which the defence at trial were unaware. NORTH They are more than pointing the finger at police mis-conduct. They've already brought up the missing brandy glass, crime scene photos, plus forensic logs. Are you listening? WALKER Hmm. NORTH Who was that on the phone? WALKER Oh, Satch getting his knickers in a twist. This is crap, they've got nothing, they've got nothing. INT. SATCHELL'S FLAT/ LOUNGE MCS. CATRINA CALLS O/S TO SATCHELL - SATCHELL ENTERS R. AND SITS BESIDE HER ON THE SOFA CUT TO CS. TV SCREEN SHOWING NEWSPAPER ARTICLE CHANGE TO SPLIT SCREEN: L. FRAME TV SCREEN WITH NEWSPAPER ARTICLE - THEN CHANGE TO MS. BARKER TOP R. FRAME - CS. WALKER LOWER R. FRAME - CS. CATRINA AND SATCHELL L. FRAME - CHANGE TO CS. WALKER AS A YOUNGER MAN - THEN SHOT OF BROWN TAVERN BACK TO MCS BARKER L. FRAME - MS LIZ CAPTION: ELISABETH HOOD Colin's Sister L. FRAME - BACK TO MCS BARKER L. FRAME - CUT TO B/W PHOTO CONNELLY CHANGE TO SINGLE SCREEN: CS TV SCREEN MS BARKER CS. TV SCREEN - MCS WALKER AND SATCHELL AT THE MURDER SCENE - CHANGE TO SPLIT SCREEN - L. FRAME WALKER AND SATCHELL - TOP R. FRAME CS. WALKER - LOWER R. FRAME CATRINA AND SATCHELL L. FRAME - CHANGE TO CS. BARKER BACK TO SINGLE SCREEN - LOWER R. FRAME CS. SATCHELL FILLS THE SCREEN CATRINA Dave! It's started again. BARKER Our research department recently unearthed a dramatic new twist to this tragic story. A newspaper article, dated 16th June 1977, reports an incident in Glasgow fifteen years prior to the murder of Gary Meadows, which proves that Detective Superintendent Michael Walker and James McCready had met before. Walker, then a PC, had been called in to break up a brawl at the Brown [contd.] BARKER (contd.) Tavern along with colleague and friend, PC Colin Hood. In the ensuing fracas, Hood was stabbed and later died in hospital from his wounds. We talked to Colin's sister, Elizabeth Hood. WALKER That's Liz! Colin's sister. LIZ My brother was only nineteen when he died. He was the sweetest, kindest person, totally dedicated to his job. James McCready often stayed with a relative on the estate we lived on. He seemed like a pleasant young man -- WALKER Look at that! They've cut it! They've gone and cut it! NORTH Shush shush -- please shut up, I'm listening! BARKER McCready was in the pub at the time and was arrested, but later released following a statement from local drug addict, George Connelly, who was involved in the brawl. At his trial, George Connelly admitted that he, and he alone, had killed PC Hood and vehemently denied suggestions of McCready's involvement. But could it be that fifteen years later, Michael Walker still had a grudge against McCready and held him in some way responsible for the murder of Colin Hood? If this is the case, could this have influenced the way in which the Meadows case was handled? Was James McCready framed for a murder he did not commit? SATCHELL And we were worried about a sodding brandy glass! EXT. CARPARK/ POLICE STATION. DAY. PICK UP LS. WALKER AND SATCHELL AS THEY ROUND CORNER - TRACK R. TO L. AS THEY WALK CUT AS THEY PASS CAM. AND TRACK BEHIND THEM AS THEY WALK AWAY PAST PARKED CARS THEY STOP WALKING CUT TO CS. WALKER CS. WALKER PUTS CIGARETTE IN HIS MOUTH AND LIGHTS IT CS. SATCHELL END ON CS. WALKER WALKER The bastard's have just suspended me from duty. SATCHELL Awe shit! I'm sorry. WALKER Yeah, so am I Satch. I'm sick of the sodding media dictating police procedure. McCready must be creaming himself. Shit! I'm gonna be pushing paper for the next six months because of him and that bullshit documentary. How the hell did they dig up all that stuff about Glasgow any way? SATCHELL Well, researchers, at a guess. WALKER Yeah, well I'm gonna do some research of my own, thank you very much. I'm gonna find George Connelly and get at the truth once and for all. SATCHELL Connelly's the guy that took the rap for McCready for the Glasgow murders, right? WALKER Yeah. He must be out of prison by now. SATCHELL Well how the hell are you going to find him? The TV lot obviously couldn't otherwise they'd have had him on the bloody documentary as well. WALKER Yeah, I've got friends up there, his dad Jock for starters. Connelly and I lived near each other on the same housing scheme in Glasgow growing up. (PAUSE) Yeah, think I might take Pat up with me, meet my Mum at the same time. (LAUGHS) Kill two birds with one stone. SATCHELL I thought you had an interview with the PCA woman? WALKER Yeah, I do. (PAUSE) Bastards! INT. POLICE STATION/ INTERVIEW ROOM. DAY. START ON CS. CASSETTES IN TAPE RECORDER - CUT TO MS. WALKER BEING INTERVIEWED BY ZITA AND STANLEY CUT TO MCS. STANLEY CUT BACK TO MCS. WALKER - PUTS HAND TO HIS FOREHEAD CUT TO MCS. ZITA LISTENING TO WALKER MCS. WALKER FLICKS ASH FROM HIS CIGARETTE INTO ASH TRAY CUT TO MCS. STANLEY THEN BACK TO MS. WALKER MS. WALKER LOOSENS HIS TIE WALKER DRAWS ON CIGARETTE MCS. STANLEY ZITA MOVES FORWARD AND PUTS REPORT ONTO TABLE BY STANLEY WALKER LAUGHS - CUT TO ZITA AS SHE SITS BESIDE STANLEY CUT TO VCS. WALKER CUT TO CS. ZITA THEN BACK TO CS. WALKER END ON MS. WALKER - STUBS OUT CIGARETTE AND SITS BACK IN HIS SEAT WALKER Look er - I saw no reason to mention the Glasgow case because McCready had been released without charge. (PAUSE) Well, McCready may have implied I had something personal against him but I don't. If I had, at any time, given him reason to believe that I or my investigation was prejudiced, why didn't be mention it at the time, hmm? STANLEY How close were you to Colin Hood? WALKER Not very, as they said on the documentary, we er - we worked together now and again. About the only bloody thing they did get right, apart from that it was a pack of lies. [contd.] WALKER (contd.) Eight years later and people start recalling facts they didn't mention before, uh? It's all very convenient, isn't it? But I suppose back then there wasn't a documentary being paid -- made. STANLEY Why did Fiona Meadows not give evidence at McCready's trial? WALKER She was only a seven-year old kid, for God's sake, so traumatised she couldn't speak. We er - we did have a video-taped interview with a Child Protection Officer but I was advised by the prosecution barrister at the time that it was inadmissible evidence because she couldn't be cross-examined. STANLEY And what did she say on this video? WALKER It wasn't exactly what she said - she barely spoke. She was dumb with terror, but she made it clear McCready stabbed her father. STANLEY So where is this video now? WALKER Disappeared without trace. It was eight years ago after all. ZITA Well, we'll definitely look into that. Now, McCready's allegations that you're homophobic and bullied him whilst he was in police custody? WALKER (LAUGHS) Oh, please - please! Er - look, I work with gay people, I've got gay friends. Their sexual preference is none of my bloody business. You know, perhaps if McCready had had a gay MP championing his cause at the time of his trial he might have tried it on with these accusations, but he didn't. It's all fabrication. ZITA So these accusations of police misconduct -- WALKER (INTERRUPTS) Are completely unfounded. The jury concluded McCready killed his partner in cold blood. I am certain any appeal will produce the same verdict. ZITA Well we just have a few more questions. We won't keep you much longer. WALKER Oh you can take all the time you want, sweetheart. As you know, I've been suspended from duty. INT. PRISON/ VISITING ROOM. DAY. MCS. RYLANDS HOLDING REPORT, DUFFIELD IN BG. AS THEY SPEAK WITH MCCREADY CUT TO MS. MCCREADY LEANING AGAINST DOORWAY CUT BACK TO MCS. RYLANDS - DUFFIELD MOVES R. TO L. BEHIND HIM RYLANDS LEANS BACK ON DESK CUT TO MCS. DUFFIELD CUT BACK TO MCS. RYLANDS READING REPORT - DUFFIELD IN BG. CUT BACK TO MCS. RYLANDS - HE STANDS UP AND TURNS TO FACE MCCREADY O/S CUT BACK TO MCS. MCCREADY MCS. RYLANDS AS HE SITS BACK ON DESK AND REMOVES SPECTACLES MCS. MCCREADY MOVES INTO CLOSER SHOT AND SITS FACING RYLANDS THREE-SHOT RYLANDS AND MCCREADY SIT FACING EACH OTHER - DUFFIELD STANDS IN BG. RYLANDS SMILES AND PATS MCCREADY'S HAND RYLANDS There has been a tremendous reaction to the television documentary. DUFFIELD All positive feedback. MCCREADY Yeah, I've had loads of letters - like fan mail! RYLANDS Apparently Fiona Meadows was video interviewed by a Child Protection Officer shortly after your arrest. Did you know anything about this? MCCREADY But she could hardly speak. DUFFIELD No-one ever mentioned anything about a video. That's impossible, Fiona was in a complete state of shock after her father died. If they had made a video, surely they would have used it at the trial. RYLANDS Well I don't know, but apparently a video interview was done. MCCREADY That can't be true. What, you mean there's a tape? RYLANDS Well the police don't actually have a copy of it. Apparently all CPT interviews are sent to a property store in Chalk Farm and kept there until the child turns eighteen. But there's no record of Fiona's interview ever being sent. MCCREADY Oh, I see. Are they likely to find it? RYLANDS Eight years after your trial, well I seriously doubt it. But um - could there be anything - contradictory on it? I mean, could Fiona have said anything that might incriminate you, anything that differs from her present statement? MCCREADY No, no of course not. I just want Fiona to tell the court the truth. RYLANDS Okay, okay, if you're sure? Only I was hesitating calling her. MCCREADY Call her, she's my most valuable witness, and I want Fiona called. I have nothing to hide. END OF PART ONE PART TWO INT. CONCOURSE/ GLASGOW STATION. DAY. AS NORTH AND WALKER ENTER L. - TRACK L. TO R. WITH THEM AS THEY WALK ACROSS CONCOURSE NORTH HANDS THE BAG TO WALKER AND WALKS AWAY TOWARDS FLOWER STALL - WALKER PUTS DOWN BAG TAKES OUT MOBILE PHONE AND TAPS IN NUMBER - TRACK SLOWLY L. TO R. AS HE TALKS ON PHONE WALKER STOPS WALKING - HOLD ON HIM IN MS. AS HE CONTINUES CONVERSATION ON PHONE IN BG. NORTH WALKS BACK TOWARDS WALKER CARRYING FLOWERS WALKER HANGS UP - NORTH RETURNS CARRYING FLOWERS WALKER LOOKS ROUND AND RUNS OVER TO RETRIEVE THE BAG CHANGE TO SPLIT SCREEN : R. FRAME WALKER AND NORTH WALKING ACROSS STATION CONCOURSE L. FRAME - INT. PRISON MCCREADY MAKES TELEPHONE CALL REVERT TO SINGLE SCREEN - MCCREADY ON TELEPHONE MCCREADY TURNS AND LOOKS AROUND BEHIND HIM CHANGE BACK TO SPLIT SCREEN R. FRAME - MCCREADY ON TELEPHONE L. FRAME - WALKER AND NORTH GET OUT OF TAXI AND WALK UP TO FRONT DOOR OF HOUSE REVERT TO SINGLE SCREEN: NORTH I think I'll get some flowers for your Mum, yeah? WALKER Good idea. Give me the bag. NORTH I'm fine. WALKER Hey, you're not supposed to carry anything. I'll call her. WALKER (INTO TELEPHONE) Hello? Hello - yeah, yeah - it's Mike -- your son! Yeah, yeah. Now can you hear me? We're at the station. Yes, no Glasgow, yeah we just got here. Yes, she's with me. Yeah? Pat. Yes, Pat. Now listen, I don't want any nonsense from you, okay? [contd.] WALKER (contd.) (INTO PHONE) Do you hear me? I want you to be nice to her. Promise me? Okay. Um - listen Ma, has anybody called and left any messages for me? (PAUSE) Okay, if they do, take their name and number and tell them I'll call them back. Yeah. ? Okay. No, we're just leaving the station now, we're just going to get a taxi and we'll be with you in er - be with you in about half an hour. Okay darling. Take care. 'Bye. (TO NORTH) Well she's really pleased she's at last going to meet you. NORTH Where's the bag? WALKER Don't panic! MCCREADY Sean? It's me, Jimmy. (LAUGHS) Did you see it? (LAUGHS) Yeah, but the guy they used to play me wasn't as good looking. (LAUGHS) No, no, it's looking good. (PAUSE) Hmm? No, course you can, mate. I'll sort it for you when I'm out. Now listen, George Connelly, have you found him yet? Hmm? Well when you do the going price? Double it. EXT. GLASGOW STREET. DAY. WALKER AND NORTH CLIMB STEPS TO FRONT DOOR - WALKER RINGS THE BELL WE HEAR VIOLET'S VOICE ON THE INTERCOM - THE BUZZER SOUNDS BUT THE DOOR DOESN'T OPEN WALKER SPEAKS TO VIOLET ON THE INTERCOM WALKER TRIES TO OPEN THE DOOR BUT CAN'T GET INSIDE - HE SPEAKS TO VIOLET ON INTERCOM AGAIN VIOLET BUZZES AGAIN - THE DOOR OPENS AND WALKER AND NORTH GO INSIDE NORTH Did you tell her what time we'd be arriving? WALKER Yes, yes. She's expecting us. VIOLET (VO. ON INTERCOM) Hello? WALKER (INTO INTERCOM) Hi Mum, it's Mike. Would you buzz us in please. WALKER (INTO INTERCOM) Ma, would you keep your finger on the buzzer a little bit longer, we're still outside. INT. VIOLET'S FLAT. DAY. MS. THE DOOR - THERE IS A KNOCK AND VIOLET GOES TO OPEN IT INT. PASSAGE OUTSIDE VIOLET'S FLAT. DAY. CS. THE DOOR AS VIOLET OPENS IT A CRACK AND PEERS OUT WALKER Hello there. Can you manage? INT. VIOLET'S FLAT. DAY. VIOLET UNDOES THE CHAIN ON THE DOOR INT. PASSAGE OUTSIDE VIOLET'S FLAT. DAY. AS VIOLET OPENS THE DOOR WIDE AND WALKER AND NORTH MOVE INSIDE - WALKER KISSES HER CHEEK THEN INTRODUCES HER TO NORTH NORTH GIVES THE FLOWERS TO VIOLET WALKER AND NORTH MOVE INSIDE AND VIOLET CLOSES THE DOOR VIOLET MOVES OFF FOLLOWED BY NORTH AND WALKER INT. VIOLET'S FLAT. SITTING ROOM. DAY. VIOLET HANDS CUP OF TEA TO WALKER TO GIVE TO PAT WALKER TAKES CUP OF TEA AND BISCUITS OVER TO NORTH THEN WALKS BACK TO VIOLET AND KISSES HER CHEEK WALKER TAKES HIS CUP OF TEA AND MOVES BACK TO THE SOFA AND SITS BESIDE NORTH - VIOLET FOLLOWS AND SITS OPPOSITE THEM THE TELEPHONE RINGS - WALKER GETS UP AND EXITS L. VIOLET INDICATES THE BISCUITS CS. NORTH - SHE LOOKS AROUND THE ROOM ANGLE: THE WALL WHERE THE PHOTOS ARE HANGING - CUT BACK TO MCS. VIOLET ANGLE: THE DOOR AS IT OPENS AND WALKER RETURNS - PAN L. TO R. AS HE MOVES ACROSS TO NORTH WALKER SITS ON THE ARM OF THE SOFA BESIDE NORTH CUT TO MCS. VIOLET LOOKING WORRIED - SHE PUTS DOWN HER TEA CUP VIOLET GETS TO HER FEET - WALKER STANDS THEN TURNS TO NORTH WALKER KISSES NORTH ON THE CHEEK AND EXITS L. VIOLET Be in trouble if I couldn't. I've been on my own long enough! WALKER Hello Ma, good to see you. Mum, this is Pat. Pat, this is my Mum, Violet. NORTH Hi Violet, it's really great to meet you. These are for you. VIOLET Thank you. You'd better come in. It was such short notice I've not had time to do any housework and my help only comes in once a week. VIOLET Will you be staying overnight or is this like your usual, ten minutes and off again? WALKER We'll stay. VIOLET I am flattered, so it'll be more than a cup of tea then? Makes a change. (PAUSE) Will you be sharing the spare room? WALKER We will. Now don't you start. VIOLET Give that to your friend. And there's biscuits too. NORTH Oh. WALKER It's nice to see you. VIOLET How are my grandchildren? WALKER They're fine. VIOLET And Lynn? Is she well? WALKER Yes she's fine, they're all fine. VIOLET I sent your birthday card to your home. WALKER Yes, Lynn sent it on to me, to my new home. VIOLET I might go and stay with Lynn. She's asked, and it'll be nice to see the grandchildren. [PHONE RINGS] WALKER I'll get that. VIOLET Now is might be Jock Connelly, he rang earlier. NORTH Have you lived here long, Violet? VIOLET It's part of a re-housing scheme for the elderly. They moved me in with a lot of old women I don't know. I hate it. Biscuit? NORTH No, I won't, thanks. These are lovely photos. VIOLET Yes, those are my grand- children. Lynn's such a wonderful mother. WALKER Er - listen, I've got to go out for a bit. NORTH Okay. Okay. I'll come with you. WALKER No, it's George Connelly's father. He's going to show me where George is. Apparently he's dossing down with some drunks in a squat somewhere. NORTH Why don't you just leave this alone, Mike? WALKER Mum, we've er - we've got some news for you. NORTH It's not really the right -- WALKER We're going to have a baby. You're having another grand- child. VIOLET It'll be illegitimate. Oh, you should both be ashamed of yourselves, at your age. And you've already got two children. WALKER But not by the woman I'm in love with and intend to marry. VIOLET You'd better get a divorce first. WALKER Look, let's talk about this later, Ma, okay? Um - I've got to nip out for a bit. Will you take care of Pat for me? (TO NORTH) I'm sorry about this, but I really don't think it's wise for you to come. It's a pretty rough area. NORTH Okay, I'll stay here. I'll be fine. WALKER I'll be back as soon as I can, I promise. (TO VIOLET) 'Bye Ma. NORTH Take care. INT. VIOLET'S FLAT. KITCHEN. DAY. NORTH APPROACHES VIOLET WHO IS IN THE KITCHEN CUT TO CS. NORTH CUT TO CS. VIOLET - SHE TURNS TO SPEAK TO NORTH VIOLET CONTINUES WASHING UP CS. VIOLET - SHE TURNS TO NORTH AGAIN NORTH EXITS R. VIOLET I have every right to feel the way I do. He should never have left his wife, worse his two children. He was aye a one for the ladies. NORTH Could I help wash up? VIOLET No thank you. NORTH Look, Violet, it's pretty obvious that I'm not welcome here. I'm sorry, er - Mike led me to believe -- VIOLET (INTERRUPTS) What has he told you? Never believe a word he says, he always was a liar. His father was the same. [more..] VIOLET (contd.) Never told the truth about a thing. I was always surprised he left Lynn. When his Da left us he was broken-hearted. He knows what divorce can do to a family. VIOLET So what work do you do? NORTH Has he not told you? VIOLET He hasn't, but then he keeps everything to himself. NORTH I'm a police officer. VIOLET I see, you work for him, do you? And did you not know he was married when you started up with him? Married and with two wains. Then I suppose when you get to your age and you're not married, you make do with what you can. NORTH Violet, I had absolutely nothing to do with their separation. Now if you'll excuse me I think I'm going to wait in the bedroom. INT. VIOLET'S FLAT. SPARE BEDROOM. NORTH SITS IN THE DARKENED ROOM EXT. RUNDOWN HOUSING ESTATE. GLASGOW. NIGHT. (RAINING) MS. WALKER STANDS TALKING TO JOCK CONNELLY IN THE POURING RAIN - TRACK SLOWLY IN AS THEY ARE SPEAKING CUT TO MCS. WALKER O/S JOCK CUT BACK TO MED. TWO-SHOT - CAM TRACKING SLOWLY IN CUT TO MCS. WALKER O/S JOCK MCS. WALKER HANDS SOME MONEY TO JOCK JOCK EXITS L. - WALKER DRAWS ON CIGARETTE WALKER And how are George's kids? JOCK Oh doing well, they're living in America now. Sheila took them over there after he was sent down. Sometimes I get postcards. Once I even got a home video, oh - the grandwains in Disneyland. Oh great. Real wee Americans they are. WALKER That's good. Poor Sheila. Getting out was probably the best move to make. JOCK Aye! You know he's been in and out of rehab like a yo-yo, he canna keep off the drugs. Huh - He was always saying he was gonna go over and see her, but he couldna get himself straight enough to get as far as the airport. Aye, he's still a crazy bastard, he always was, now he's even worse. He thinks somebody's trying to kill him. Huh, drink and drugs, that's been the bane of his life, and mine. Well look, I'm going to love you and leave you, 'cos I've had too many run-ins with him. I know I'm his father, but I canna take no more. WALKER I appreciate it, Jock. Here's a few bob. Get yourself a pint. JOCK There's nothing you can do for him. It's too late. EXT. HOUSING ESTATE. GLASGOW. NIGHT. (RAINING) WALKER RUNS THROUGH RAIN - PAN R. AS HE EXITS FRAME DOWN STEPS AND HOLD ON PARKED CAR WITH TWO MEN INSIDE INT. DERELICT BLOCK/ GLASGOW WALKER CLIMBS INTO BASEMENT LOOKING AROUND - GIRL PUSHES PAST HIM L. TO R. AND THROWS UP AGAINST THE WALL - CUT BACK TO MCS. WALKER WATCHING THE GIRL - A GUITAR STARTS TO PAY O/S CUT TO A GROUP OF DOWN AND OUTS SEATED AROUND A FIRE - CONNELLY IS PLAYING A GUITAR AND SINGING CUT TO CS. WALKER AS HE LISTENS TO CONNELLY SINGING CONNELLY STOPS PLAYING AND PUTS DOWN HIS GUITAR AND PICKS UP A BOTTLE OF DRINK CS. CONNELLY AS HE GETS TO HIS FEET CONNELLY SWINGS THE BOTTLE AT WALKER, IT FALLS TO THE FLOOR AND THEY START TO FIGHT - EVENTUALLY WALKER PULLS CONNELLY TO HIS FEET AND PUSHES HIM AWAY CONNELLY SWINGS ANOTHER PUNCH AT WALKER - WALKER DODGES IT CONNELLY LUNGES AT WALKER AND WALKER PUSHES HIM DOWN MCS. CONNELLY SWIGS FROM THE BOTTLE OF DRINK CS. WALKER AS HE LEANS FORWARD TO CONNELLY CONNELLY GETS TO HIS FEET WALKER TAKES THE BOTTLE AND DRINKS FROM IT WALKER GIVES CONNELLY A CIGARETTE AND LIGHTS IT FOR HIM EMMA APPROACHES THEM FROM THE L. - CONNELLY PUTS AN ARM AROUND HER - SHE LEANS AGAINST HIM CONNELLY PUSHES EMMA TOWARDS WALKER - SHE BACKS AWAY AND EXITS L. CONNELLY GETS UPSET AND BREAKS DOWN CONNELLY FALLS OVER UNCONSCIOUS CUT TO MS. WALKER WALKING AWAY - EMMA APPROACHES FROM R. - WALKER TURNS AND LOOKS AT HER WALKER TURNS AND EXITS - CUT TO MCS. EMMA SHOUTING AFTER HIM CUT TO MCS. A SHADOWY FIGURE IS WATCHING CUT TO MLS. CONNELLY - THE BOTTLE OF DRINK SPILLS OUT OF HIS HAND CUT BACK TO SHADOWY FIGURE MOVING AWAY CONNELLY (SINGING) Speed bonny boat, like a bird on the wing Onward the sailors cry Carry the lad that is born to be king Over the sea to Skye Burned are our homes Exile and death Scatter the loyal men -- WALKER Long time no see, Georgie. CONNELLY Who are you? WALKER Mike Walker. CONNELLY Do I know you? WALKER Aye, you did a long time ago. You were always gonna join a band, back in the old days. CONNELLY What did you say your name was? WALKER Mike Walker. I need to talk to you. CONNELLY Oh yeah? What about? Come on you, what is it? WALKER It's about Jimmy McCready. CONNELLY You don't scare me. CONNELLY You don't scare me - I'll smash your son-of-a-bitch's face in. Come on McCready, fight me. Come on. You owe me, you bastard! You don't scare me none. I'll kill yer -- WALKER I'm not McCready. He didn't send me. CONNELLY Get in with the kicks! You can't hurt me, I feel no pain. WALKER I'd call twelve years a lot of pain for something you didn't do, George. You alright? It's Mike - Mike Walker. Look at me George. Do you no remember me? CONNELLY The wee policeman. There you go. WALKER You offering me a drink? CONNELLY You got a fag on you? WALKER Aye. CONNELLY So you know McCready? WALKER Awe come on Georgie, I was there. That stabbing - you were so drugged up you could nae walk, let alone kill anybody. But who used the knife, George? 'Cos I know it wasn't you. CONNELLY You had blood all down your face, right? That's right, you got cut. WALKER Aye, I got cut. But who had Colin Hood's blood on his hands? Not you, not you Georgie, tell me it wasn't you. EMMA I'm sick, George, I feel real sick. Can I have a smoke? CONNELLY Do you want to know why I took the rap for that murder? It wasn't for McCready's sake. I didn't give a shit about that bastard. I did it so my wee girls wouldn't end up dripping at the nose by the age of fourteen. Is that good enough for you? I did some bad things but the moments I'll die happy with are my wee girls being born, coming home to them. Dada -- the sweetest sound on earth. Dada, Dada - WALKER Poor George. CONNELLY I did it for my kids. They hung my wee girl over the railings, they'd have let her drop. But I got them out, far away from here. You wanna fight me, you bastard? McCready can send who he wants. Come on yer bastard! EMMA D'you wanna have some fun? Give us a tenner. Give us a fiver then. Oi! Sod off you shite! INT. VIOLET'S FLAT/ SPARE BEDROOM. NIGHT. MLS. NORTH SITTING UP IN BED - WALKER PACES R. AND L. IN FG. WALKER SITS ON SIDE OF BED MS. WALKER GETS UP AND EXITS L. WALKER Connelly and Mccready were drugged up right? And I know McCready had the knife because he was the one who cut me and even though I didn't see it, I know McCready then stabbed Hood and then persuaded Connelly to say he'd done it. NORTH But why would Connelly do that? WALKER Oh God knows, sweetheart. I mean Connelly was only nineteen but already had two kids. He married Sheila when he was sixteen 'cos she was pregnant and no sooner was one born than another was on the way. I mean by that time she was as drugged up as he was. So George gets a life sentence and McCready walks free. NORTH I still don't see why Connelly would agree to that. WALKER He said they'd threatened his kids, held one of them over some railings or something. [more ..] WALKER (contd.) Also he was up to his eyes in debt to half the drug barons of Glasgow, as well as McCready. NORTH Okay, so you think that McCready agreed to pay off Connelly's debts and that's why he went along with it, yeah? WALKER Yeah, probably. NORTH No, I don't believe it. How long has Connelly been out of jail? WALKER For the murder? He was released after twelve years on license, but he was in and out of various rehabs and institutions for drugs ever since. Look, sweetheart, he may be a drug addict, but he's not a killer. NORTH And what if you're wrong? WALKER I'm not. He thought McCready had sent me. That's why he was so paranoid he attacked me. NORTH So you think that whilst McCready's in prison -- WALKER (INTERRUPTS) - his punks aren't. That's why he's so paranoid. I'm going back. INT. DERELICT BLOCK. NIGHT. FIREMEN AND POLICE ARE THERE - WALKER ENTERS BG. SHOWS HIS ID. CARD - THE POLICEMAN WALKS FORWARD WITH WALKER WALKER AND THE POLICE OFFICER STOP MS. WALKER REACHES OVER AND TAKES THE POLICE OFFICER'S TORCH AND MOVES AWAY R. CUT TO ANOTHER PART OF THE BUILDING - SHOOTING DOWN AT WALKER'S FEET AS HE ENTERS SHINING THE TORCH - HE MOVES R. TO WHERE EMMA IS BEING QUESTIONED - TRACK L. TO R. WITH WALKER AS HE PASSES EMMA AND POLICEWOMAN WALKER MOVES TO WHERE BODY COVERED IN PLASTIC - HE LIFTS THE COVER - CUT TO MCS. CONNELLY'S BURNED BODY - WALKER REPLACES PLASTIC COVER AND TRACK R. TO L. AS HE MOVES BACK TO EMMA AND THE POLICEWOMAN END ON MCS. WALKER - HE EXITS L. WALKER What happened, officer? UNIFORMED OFFICER There's been a fire at the back of the building. It's under control now. You should stay back, sir. WALKER Yeah. Do you know how it started? UNIFORMED OFFICER One of the kids said something about petrol being poured over someone. Drug related, I imagine. WALKER Okay. I'll take your torch. Thanks. EMMA (OS.) One of them pointed at him and said "Is that George Connelly?" (IN SHOT) I nodded -- and then they dragged him over and started pouring petrol over him. (PAUSE) I was in my sleeping bag. I yelled at them but they threw a match. He never did nothing to stop them. He was lying there, all his clothes on fire and -- and -- I ran over, shouting for help, but they just walked away, laughing. He called out for his kids. He was calling for his little girls. EXT. CAR. NIGHT. LS. DUFFIELD IN CAR SPEAKING ON MOBILE PHONE - WE CANNOT HEAR HIM SPEAKING - CUT TO MCS. AS HE ANGRILY HITS THE STEERING WHEEL WITH HIS HANDS INT. VIOLET'S FLAT. SPARE BEDROOM. NIGHT. WALKER ENTERS THE DARKENED ROOM L. - PAN L. TO R. AS HE MOVES ACROSS ROOM AND SWITCHES ON LAMP - HE DRINKS FROM A HIP FLASK AND LOOKS AT PHOTOS OF HIM WITH HIS KIDS - HE SITS DOWN AND DRINKS FROM FLASK AGAIN - HE BREAKS DOWN END OF PART TWO PART THREE EXT. TRAIN STATION. PLATFORM. DAY. NORTH GETS ON TO THE TRAIN - WALKER STAYS ON PLATFORM NORTH LEANS DOWN AND KISSES WALKER - HIS MOBILE RINGS NORTH WAVES AND WALKER CLOSES TRAIN DOOR THEN ANSWERS HIS PHONE WALKER Hey, I'll be back just after the funeral. NORTH Okay. You don't mind me leaving now do you? It's just I don't think I can take much more of -- WALKER My dear little Mum, no. Hey, she takes a lot of getting used to. NORTH Sure. Okay. [PHONE RINGS] NORTH See ya. WALKER See you soon. 'Bye 'bye. WALKER (INTO MOBILE PHONE) Hello? LIZ (ON PHONE VO.) Mike? WALKER (INTO MOBILE PHONE) Yeah. INT. SOLICITOR'S OFFICE. DAY. LS. LIZ HOOD ON UPPER WALKWAY ON PHONE TO WALKER CUT TO CS. LIZ SPEAKING ON TELEPHONE - SHE PACES BACK AND FORTH END ON LS. LIZ ON WALKWAY LIZ It's Liz. Liz Hood. WALKER Liz. Oh thanks for getting back to me. LIZ I wasn't surprised to get your message. I saw 'Miscarriage of Justice'. What was a miscarriage of justice was the way they cut my interview to shreds. I agreed to go on the show to talk about Colin, and they made it look like I was supporting McCready. WALKER (OS. ON PHONE) I knew it! I knew it must have been something like that. LIZ I was so angry about it I decided to do a bit of digging of my own. I think you might be interested in what I found out. EXT. BUSY STREET. DAY. TAXI PARKED AT SIDE OF ROAD - RYLANDS GETS OUT AND PAYS THE DRIVER - TRACK BACK WITH HIM AS HE WALKS TOWARDS COURTHOUSE INT. COURTHOUSE. CELL. DAY. LS. MCCREADY SITS WAITING IN CELL - HE GETS TO HIS FEET AS WE HEAR FOOTSTEPS APPROACHING - PRISON OFFICER OPENS THE CELL DOOR AND RYLANDS ENTERS PRISON OFFICER CLOSES THE CELL DOOR RYLANDS SITS DOWN - MCCREADY REMAINS STANDING - INTERCUT BETWEEN RYLANDS AND MCCREADY AS THEY TALK RYLANDS GETS TO HIS FEET - MOVES ACROSS AND SITS FACING MCCREADY CHANGE TO SPLIT SCREEN : L. FRAME RYLANDS CONTINUES SPEAKING R. FRAME PEMBROKE AND ANOTHER BARRISTER WALKING AND TALKING REVERT TO SINGLE SCREEN MCCREADY MOVES TOWARDS RYLANDS - RYLANDS GETS TO HIS FEET RYLANDS EXITS L. LEAVING MCCREADY IN CS. STARING AFTER HIM RYLANDS Good morning, James. How are we feeling today? MCCREADY Nervous. RYLANDS Yes, quite. Well, I thought I'd come by to tell you what's on the menu for today. We've got a goodish court. MCCREADY I don't like the sound of the 'ish' bit. RYLANDS Well we've avoided the obvious ogres, at least. We've got Lord Justice Bradpiece sitting in the middle. Very courteous, very unstuffy, a top civil barrister in his time - he'll give us a fair hearing. Mr Justice Winfield on the right. He's a little trickier, and if he doesn't like your case he'll let you know pretty quickly. He was a good solid criminal man at the Bar, seen it all before. At least he knows that criminal trials can and do go wrong sometimes. MCCREADY So what's tricky about him? RYLANDS Well, he tends to growl at counsel a little bit, but that's my worry not yours. On the left is Mrs Justice Piggott - Caroline to her friends. Fairly new at the court of appeal, generally regarded as pretty clever. MCCREADY How do I address them? RYLANDS You don't. You say absolutely nothing. You just sit there and keep your head down, let me do the talking. It's not like a trial, you see. [more ..] RYLANDS (contd.) We only have leave to bring our fresh evidence, and call Vera and Fiona. Apart from that, they'll have read all the papers before they come into court, they'll have sorted out which bits they're interested in. MCCREADY What, you mean made their minds up before the off? That doesn't sound too encouraging. RYLANDS No, no, not at all, no. Having red the skeleton arguments on both side, they won't need to go through the details of every point in open court. MCCREADY What's the prosecuting barrister like? RYLANDS Pembroke? Quite a florid style, a deadly cross-examiner. He'll have to be careful of a fifteen-year-old witness like Fiona though. The court won't get impressed if he starts bullying her. MCCREADY Oh, Fiona can take care of herself. You'll see. RYLANDS Well I'd better get up to court, see that all our witnesses have pitched up. They should have, it's twenty past. MCCREADY I'm sure they'll be there. RYLANDS Fingers crossed, hey? MCCREADY No, I don't need to. I have every faith in you. EXT. GLASGOW STREET. DAY. PAN DOWN FROM CHURCH CLOCK TO PICK UP WALKER AND LIZ WALKING TOWARDS CAM. ALONG PAVEMENT CUT TO MS. (SIDE VIEW) WALKER AND LIZ - TRACK L. TO R. AS THEY WALK WALKER AND LIZ STOP WALKING LIZ HANDS FOLDER TO WALKER WALKER KISSES LIZ ON THE CHEEK LIZ HANDS WALKER HER BUSINESS CARD LIZ EXITS R. - WALKER OPENS THE FILE AND STUDIES IT LIZ Watching that documentary brought it all back. WALKER Connelly didn't kill your brother, Liz, I'm sure of it. LIZ I know. A friend of mine works in the same firm of solicitors as a guy called Ben Duffield. Recognise the name? WALKER That piece of scum. LIZ Yeah, the very same. Well you know that back in the seventies and eighties it was a well-known fact that Duffield was bent. Took back-handers left, right and centre. All the druggies used him. WALKER Oh yeah, if there was a bust, he would get there before the bloody cops! LIZ Yeah, exactly. Well supposedly he's cleaned up his act, very respectable now, no whisper of his past. But when I found out he was executor of Gary Meadows' estate as well as representing McCready -- WALKER Yeah, whoah whoah whoah, you're going too fast. What estate are you talking about? LIZ It's one hell of a conflict of interests, Mike. Duffield is handling Fiona Meadows' inheritance and representing the man convicted of killing her father. WALKER Oh, is that legal? LIZ I'm afraid so. I got so angry that he was up for an appeal that I got my friend to do some digging. Now this is totally off the record, Mike, because she could lose her job over this. WALKER Okay, I hear you. What have you got? LIZ Well apparently Gary Meadows was completely broke when he died, hardly left a thing to Fiona. But, a year ago, Gary's sister died very suddenly of a brain tumour. She had a life insurance policy of one hundred and fifty thousand pounds, plus about fifty thousand in cash. WALKER Yeah. Who gets it? LIZ Ah, that's the tricky bit. She hadn't changed her will since Gary's death. She left everything to her brother and his heirs, Fiona that is, with the money to go into a trust fund for her if she died before Fiona was 21. WALKER And dirty Duffield is handling the trust fund! LIZ You got it. Two hundred grand's a lot of money. I'd like to know if it's all still there. WALKER Thanks, I appreciate this, Liz. LIZ Look, if there's anything else, give me a call. WALKER Take care. LIZ See ya. INT. COURT. DAY. THE THREE JUDGES ENTER THE COURT - CHANGE TO SPLIT SCREEN UPPER FRAME: THE 3 JUDGES ENTER AND STAND BEFORE THE COURT - THEY BOW TO THE COURT LOWER FRAME - CLOSER SHOT OF BRADPIECE TAKING HIS PLACE TOP FRAME: THE CLERK ANNOUNCES THE CASE LOWER FRAME: MS PEMBROKE UPPER FRAME: MCCREADY ENTERS THE COURT LOWER FRAME: PEMBROKE WHISPERS TO FREEMAN UPPER FRAME: THE CLERK ADDRESSES MCCREADY LOWER FRAME: BRADPIECE UPPER FRAME: CHANGE TO MCCREADY TAKING HIS SEAT UPPER FRAME: RYLANDS LOWER FRAME: BRADPIECE ASKS RYLANDS TO PROCEED - CUT TO PEMBROKE AND FREEMAN REVERT TO SINGLE SCREEN - MS. RYLANDS ADDRESSING THE COURT - ZOOM SLOWLY INTO CLOSER SHOT AS HE IS SPEAKING RYLANDS CONSULTS HIS NOTES CUT TO MCS. BRADPIECE AND INTERCUT WITH CS. RYLANDS CUT TO MCS. RYLANDS CUT TO CS. PEMBROKE WHISPERS TO FREEMAN FEMALE USHER All rise. CLERK The Queen against James McCready. PEMBROKE (WHISPERS) Altogether too many queens in this case. Going to get very confusing. FREEMAN Now, now! CLERK Are you James McCready? MCCREADY I am. CLERK Please be seated. BRADPIECE Yes, Mr Rylands? FREEMAN Oh, here's another one! RYLANDS My Lords, my Lady, I represent this appellant, together with my friend Mr Bunn. The Crown are represented by my learned friend Mr Pembroke and Mr Freeman. This case comes before the Court, the single judge having granted leave to [contd] RYLANDS (contd.) appeal in February of this year. The appellant was convicted of murder at the Central Criminal Court on September the - on September 26th 1992. The single judge granted an extension of time of some eight years. BRADPIECE Mr Rylands, you may take it that we have read the trans-scripts, and your grounds, and the skeleton submissions and are familiar with most, if not all, of the papers in this case. It comes to this, does it not? The appellant was convicted of the murder of his partner, Gary Meadows, who died from a single stab wound to his back, penetrating up into the heart. No one else other than the appellant was in any way involved in the incident that led up that injury being sustained. You now, with the leave of the single judge, wish to call fresh evidence particularly from the deceased's daughter Fiona, who was present in the caravan at the time, and also from a neighbour, Vera Collingwood. The evidence is said to support the defence given at trial but rejected [more ..] BRADPIECE (contd.) by the jury, that the injury was, or may have been, the result of an accident, pure and simply. That the deceased's injury was, in short, self-inflicted? RYLANDS My Lord, as ever, puts it much more succinctly than I could possibly have hoped to. PEMBROKE That is why he sits up there and you, Rylands, are down her with us lesser mortals. EXT. STREETS. LONDON. DAY. LS. SATCHELL WALKING TOWARDS CAM. HIS PHONE RINGS - HE ANSWERS IT - CHANGE TO SPLIT SCREEN L. FRAME: SATCHELL TALKING ON PHONE TO WALKER R. FRAME: WALKER, WALKING R. TO L. ALONG STREET, SPEAKING ON PHONE TALKING TO SATCHELL L. FRAME: SATCHELL STOPS WALKING L. FRAME: SATCHELL STARTS WALKING L. FRAME: FADE OUT SATCHELL AND REVERT TO SINGLE SCREEN ON MCS. WALKER SATCHELL Yes? WALKER Hi Satch, it's me. Can you talk? SATCHELL Yeah, I'm just on my way to work. Are you back? WALKER No, I've got to stay for a funeral. Listen, George Connelly's been murdered. SATCHELL What? WALKER Yeah, I don't want to go into it right now, but I need you to do me a big favour. SATCHELL Yes? WALKER Yeah, look, you know I wouldn't ask if I wasn't desperate, but I need information about trans-actions from a certain bank account. SATCHELL Yeah, and how am I supposed to do that then? WALKER I thought you could use that woman who's after your body to help. Mad Mel isn't it? I thought you said she could hack into MI5? SATCHELL That was a joke, Mike. WALKER Are you saying she couldn't hack into a simple bank account? SATCHELL No, I'm just saying I'm not sure I'm prepared to risk my manhood finding out! WALKER Manhood? What manhood?! Listen, just offer up the body, I need that information fast. INT. COURT. DAY. RESUME AS BEFORE: CS. WINFIELD CONTINUES WITH HIS ADDRESS CUT TO MCS. RYLANDS, NODDING CUT TO MCS. PEMBROKE AND FREEMAN - THEY LOOK UP - PEMBROKE GETS TO HIS FEET - CUT TO MS. PIGGOTT CUT TO MS. PEMBROKE STANDS FACING THE BENCH CUT TO MCS. MCCREADY LISTENING CUT BACK TO MS. PEMBROKE CUT TO MS. SATCHELL SITS LISTENING CUT BACK TO MS. PIGGOTT MCS. RYLANDS GETS TO HIS FEET CUT BACK TO MS. SATCHELL LISTENING CUT TO MS. WINFIELD CUT BACK TO CS. RYLANDS CUT TO MED. CLOSE TWO SHOT BRADPIECE AND WINFIELD CUT BACK TO CS. RYLANDS CUT TO MS. ZITA IN COURTROOM, LISTENING CUT BACK TO CS. RYLANDS CUT TO MCS. MCCREADY CUT BACK TO CS. RYLANDS CUT BACK TO MCS. WINFIELD CUT TO CS. PEMBROKE AND FREEMAN CUT BACK TO CS. RYLANDS CUT BACK TO MCS. WINFIELD BRADPIECE You further complain that evidence relating to a brandy glass was not disclosed at trial, and that its disclosure would have been of material assistance to the defence. RYLANDS That is correct, my Lord. PIGGOTT Mr Pembroke -- could you help us? What is the Crown's position in relation to the brandy glass? You do concede, do you, that it was clearly disclosable? PEMBROKE We do, of course. But we go on to say it could not have contributed in any significant way to the defence case, nor in any sense could it have weakened the Crown's case. Our position is therefore : "disclosable but immaterial". PIGGOTT Yes, thank you. At this stage we simply wish to know whether we may consider it as evidence. What weight it has will be of a different matter. PEMBROKE My Lady, yes. PIGGOTT Mr Rylands, are you content with that? RYLANDS Well the - the - the appellant would contend that its non-production was - yes, as a result of bad faith on the part of the officer in charge of the investigation. WINFIELD For my part, you will have an uphill task to establish that any officer in this case has deliberately withheld this piece of evidence knowing it might affect the outcome of the case. RYLANDS Me Lord, we say it is a possibility. It clearly was withheld and - and - and clearly shouldn't have been. BRADPIECE Shall we proceed for the moment on that basis, and leave to one side any issue of bad faith, which we can return to if it becomes necessary. RYLANDS Of course. The glass could well have confirmed the defendant's account given in interview, that Meadows' injury was received entirely by accident. Having made up, McCready told officers that he and his partner surveyed their respective wounds and then went to bed where they shared a glass of brandy. Now, had the glass been examined for saliva and blood, and had it shown that both had drunk from it at a time after there was blood on both men, the jury might well have been reluctant to conclude that one man had stabbed the other to death. A drink shared together after the accident would be surely quite inconsistent with the Crown's case, of one man stabbing another to death. WINFIELD Mr Rylands, are you really on solid ground here? Supposing the glass had appeared at trial, and it did indeed have fingerprints, lip marks, saliva, blood or whatever from both parties, I imagine the Crown would say that the appellant, after stabbing his friend, tried to revive him with a medicinal brandy. What is there to prevent such a scenario, hmmm? RYLANDS As my Lord pleases, but surely an attempt to revive would have been consistent with an accident? WINFIELD I am not overly impressed by the potential of the brandy glass. As I see it, the terms of this appeal is limited to the fresh evidence. RYLANDS Yes, my Lord. EXT. MAD MEL'S HOUSE. NIGHT. LS. SATCHELL GETS OUT OF HIS CAR AND WALKS TOWARDS CAM. - PAN L. TO R. AS HE PASSES AND CONTINUES TO FRONT DOOR CUT TO CS. THE DOOR AS HE RINGS THE BELL - MELANIE OPENS THE DOOR SATCHELL MOVES INSIDE AND HANDS THE FLOWERS AND WINE TO MELANIE MELANIE CLOSES THE DOOR SATCHELL Melanie. You look er -- fantastic. MELANIE Hmm-mmm. Not quite the formal me you're used to, eh? Come in. SATCHELL These are for you. MELANIE Oh David, you shouldn't have. INT. MAD MEL'S HOUSE. NIGHT. CS. MELANIE - PICKS UP BOTTLE OPENER MELANIE WALKS OVER TO SATCHELL AND HANDS HIM THE BOTTLE OF WINE AND OPENER - SHE SITS CLOSE TO HIM MCS. MELANIE PULLS HER ZIPPER DOWN CS. SATCHELL UNNERVED BY THIS CS. MELANIE LEANS CLOSER TO SATCHELL - CUT TO CS. SATCHELL O/S MELANIE CS. MELANIE SPRINGS BACK AND GETS TO HER FEET CS. SATCHELL - HE OPENS THE BOTTLE OF WINE AND POURS A GLASS AND HANDS IT TO MELANIE CS. MELANIE TAKES THE WINE AND MOVES OVER TO THE COMPUTER CUT TO CS. SATCHELL POURS HIMSELF A GLASS OF WINE AND TAKES A SLUG THEN GETS TO HIS FEET AND JOINS MELANIE AT THE COMPUTER MELANIE So -- if you want to stay one step ahead of the game, you've got to get your head around this new software. SATCHELL Yeah, well like I said on the phone, er I've been having real trouble working through some of this course work, you know. MELANIE So you want some private tuition do you? Of have you got an ulterior motive for coming here? SATCHELL Well, kind of er -- I have a girlfriend, we um -- MELANIE I've got a cat, but I don't brag about my pussy. What is it that you want? SATCHELL Bank account -- I need you to hack into a bank account. MELANIE Bank account!? That's illegal and for an inferior Merlot and a bunch of flowers from the corner shop, I am not prepared to take the risk. SATCHELL There - there's no risk. You know, it's not like we're breaking into the er - Bank of England. It's just a question me sorting out a personal matter. I'd er - I would really, really appreciate it, Melanie. MELANIE Hmm -- (PAUSE) - you sit your tight little arse down next to mine. Breaking into someone's bank account is a risk, personal or not. Of course I've spent years net-working my contacts. Let me explain the intricate art of hacking to you. EXT. CINEMA. NIGHT. NORTH AND VIVIEN EXIT CINEMA TRACK BACK AS WALK ALONG PAVEMENT CHATTING PAN DOWN AS NORTH THROWS AWAY CARTON INTO TRASH BIN NORTH PUTS A HAND ON HER TUMMY THEY MOVE OFF AND EXIT R. NORTH I've still got so much to do. I'm never going to be ready for this baby. VIVIEN If you go back to work after - what, three, six months, you'll be knackered and you'll probably feel guilty. You've got to be organised, maximize the time with the baby. NORTH Mike'll help. VIVIEN Oh, trust me, you think he will, but the responsibility will all come down on your shoulders. It'll be you that has to think ahead. Are you going to find out what it'll be? Boy or girl? NORTH I don't know. I don't know what I'm doing. All this eating doesn't help either. I must be out of my mind. VIVIEN No you're not. But it'll be a change in your life alright. Lucky you. NORTH It's moving around again. I still can't believe this is happening. INT. CREMATORIUM/GLASGOW. DAY. MS. COFFIN - CUT TO SHOT OF WOMAN WEARING SUNGLASSES - TRACK R. TO L. AS DOOR OPENS BG. AND WALKER ENTERS - CUT TO CS. AS HE STOPS AND LOOKS AROUND VICAR ASKS CONGREGATION TO STAND VICAR All rise please. INT. COURTROOM. DAY. LS. RYLANDS ON HIS FEET ADDRESSING THE COURT CUT TO CS. RYLANDS CUT TO MS. MCCREADY LISTENING CUT TO MCS. DUFFIELD LISTENING TO RYLANDS CUT BACK TO MS. PIGGOTT MCS. RYLANDS TURNS TO ASSOCIATE, BUNN CHANGE TO SPLIT SCREEN - R. FRAME PIGGOTT LOOKING THROUGH PHOTOS L. FRAME - CRIME SCENE PHOTOS R. FRAME - CHANGE TO CS. RYLANDS REVERT TO SINGLE SCREEN - MCS. RYLANDS CUT BACK TO MCS. PIGGOTT CUT TO MCS. WINFIELD CUT TO MCS. RYLANDS RYLANDS As we see it there are three important facts in this case. Firstly, the account given at trial was precisely the account given by the appellant at a time when he couldn't possibly have known [more ..] RYLANDS (contd.) what investigators would find. Secondly , there isn't single piece of forensic evidence available to contradict his account. So much was confirmed by the exhibits officer in a highly complex scene, as he characterised it. It was replete with what one might describe as clues in the form of smears and drops of blood originating from both parties but chiefly from the appellant, distributed about the mobile home in a pattern that confirmed the appellant's account. PIGGOTT I'm sorry, Mr Rylands, um - can you tell me which are the relevant photographs of the scene? RYLANDS Er yes, my Lady. Um - ? BUNN Seventeen to thirty. RYLANDS Seventeen to thirty. Of course, the - the photographs can't tell you the sequence in which the blood was distributed around the mobile home. What they can confirm, however, is that the appellant's account of his movements and, to a lesser extent, of Meadows' movements, were consistent with the pattern of blood staining found by the exhibits officer. PIGGOTT And of course your point is that when he gave this account he'd not seen any photographs. WINFIELD And reasonably the DNA testing was not done until some time later. RYLANDS Precisely. EXT. CREMATORIUM. DAY. MCS. THE DOOR AS WALKER COMES OUT - PUTS ON SUNGLASSES AND TAKES OUT MOBILE PHONE AND CALLS SATCHELL CHANGE TO SPLIT SCREEN: R. FRAME WALKER WITH PHONE TO HIS EAR WALKING IN CREMATORIUM GROUNDS L. FRAME - SATCHELL ANSWERS HIS PHONE L. FRAME - SATCHELL WALKS THROUGH INTO KITCHEN L. FRAME - SATCHELL FILLS KETTLE R. FRAME - WOMAN WALKS PAST WALKER R. TO L. REVERT TO SINGLE SCREEN ON MS. WALKER OUTSIDE CREMATORIUM CHAPEL DOOR - WALKER TURNS AND LOOKS O/S WALKER'S POV MCS. BACK OF SHEILA CONNELLY WALKING AWAY MCS. SHEILA CONNELLY TALKS TO OLDER WOMAN (UNABLE TO HEAR WHAT THEY ARE SAYING) CUT BACK TO MCS. WALKER - TRACK L. TO R. AS HE MOVES TOWARDS SHEILA CONNELLY MS. SHEILA CONNELLY WALKS AWAY TOWARDS PARKED TAXI - WALKER CHASES AFTER HER WALKER GRABS SHEILA CONNELLY'S ARM SHEILA OPENS THE TAXI DOOR - WALKER PUSHES IT SHUT SHEILA PULLS THE TAXI DOOR OPEN AGAIN - WALKER SLAMS IT SHUT SHEILA OPENS THE TAXI DOOR AND GETS INSIDE THE TAXI DRIVES OFF L. LEAVING WALKER STANDING - HE TURNS - PULL BACK AND PAN L. AS HE RUNS TO FUNERAL LIMO - SHOWS DRIVER HIS ID CARD WALKER AND THE LIMO DRIVER GET INTO THE CAR CUT TO MS. AS THE LIMO DRIVES OFF AND EXITS L. [MOBILE PHONE RINGS] WALKER (INTO PHONE) Aw, come on, come on, come on! SATCHELL You owe me big time! I was with Mad Mel till two o'clock this morning. She never drew breath then practically raped me. WALKER Yeah. Did you get anything? SATCHELL Yeah. Suit full of cat hairs and -- right, are you ready for this? WALKER Yeah. SATCHELL Duffield has power of attorney over both McCready's money and Fiona's inheritance, right? WALKER Right. SATCHELL So, Mel hacked into Fiona's trust account and we found one very large, very interesting pay-out. WALKER Yeah - what? Hello? Go on. SATCHELL Right, hold on to your hat. Fifteen grand to a Vera Collingwood! WALKER Yes! I knew it. The bastard's trying to bribe her to change her statement. SATCHELL Yeah, well look, you're gonna have to go really carefully on this one, Mike. If you want to use this, because you are gonna have to get a Section 8 under PACE other- wise it won't be admissible as evidence in court, yeah? WALKER Yeah, yeah, yeah, yeah. Right. Anything else? SATCHELL Yeah. We also hacked into McCready's account and went back to when records began. Right up until he was sent down there was a large regular payment going out to an account in Florida. WALKER Florida? Did you get a name? SATCHELL Yeah, um - Connelly. Sheila Connelly. You know her? WALKER Yeah, I think I'm looking at her. Thanks Satch. Later. WALKER Sheila. Sheila! It's Mike. Do you remember me? Mike Walker. I spoke to George just before he died. SHEILA What do you think you're doing?	Traducción - español DUB[0 N 01:00:00:25>01:00:01:25] BRADLEY Bien, página uno. DUB[0 N 01:00:02:21>01:00:15:12] BRADLEY James McCready, 44 años de edad, cumple cadena perpetua. En 1992, en el momento del homicidio, estaba viviendo con Gary Meadows y la hija de este, Fiona; en un tráiler en una urbanización a las afueras de Croydon. DUB[0 N 01:00:15:27>01:00:23:07] BRADLEY McCready, logró obtener el apoyo del miembro del parlamento y abogado Robert Rylands para su defensa. Él quiere exponer el caso como un problema de derechos homosexuales. DUB[0 N 01:00:23:17>01:00:28:28] PAT NORTH George Allard está al mando de esta nueva investigación y no le parece que sea un problema que yo trabaje en ella. DUB[0 N 01:00:29:01>01:00:29:21] WALKER ¿Por qué debería serlo? DUB[0 N 01:00:30:16>01:00:31:11] WALKER No hice nada malo. DUB[0 N 01:00:31:18>01:00:36:27] MC CREADY Walker no quería oírme. Él seguía diciendo, “tú lo mataste” y repetía ¡“tú lo mataste”! ¡“tú lo mataste”! DUB[0 N 01:00:37:22>01:00:38:25] WALKER ¿Cuál fue el resultado? DUB[0 N 01:00:39:09>01:00:41:02] PAT NORTH Fue positivo. DUB[0 N 01:00:41:08>01:00:45:04] BRADLEY Me acaban de informar que el departamento de denuncias policiales asumirá la investigación. DUB[0 N 01:00:45:13>01:00:51:26] PAT NORTH Dijeron que nuestra relación era una de las razones principales por las cuales la investigación sería manejada externamente. DUB[0 N 01:00:52:11>01:00:54:09] ZITA ¿Usted recuerda haber visto una copa de brandy o no? DUB[0 N 01:00:54:14>01:00:56:08] SATCHELL No era oficial de escenas del crimen, no lo sé. DUB[0 N 01:00:56:10>01:00:58:01] ZITA Está ahí, en la fotografía de la escena. DUB[0 N 01:00:58:04>01:01:03:08] EVA Era una copa de brandy y tengo un recuerdo muy claro de ella. DUB[0 N 01:01:04:04>01:01:05:20] EVA Era una chimenea. DUB[0 N 01:01:06:08>01:01:08:08] BARBARA Te advertí que podría explotarte en la cara. DUB[0 N 01:01:08:28>01:01:12:10] WALKER Creo que estás en lo cierto. Tengo la sensación de que está a punto de pasar. DUB[0 N 01:01:12:23>01:01:15:16] STANLEY Detesto ver a un policía tan bueno hundirse. DUB[0 N 01:01:15:23>01:01:19:14] ZITA Bueno, no lo es si falsificó pruebas para asegurar un veredicto de culpabilidad contra un hombre inocente. DUB[0 N 01:01:19:24>01:01:21:13] WALKER ¿Quieres saber cómo sé que McCready es un asesino? DUB[0 N 01:01:22:09>01:01:25:14] WALKER Tengo esta cicatriz para probarlo. Veía las pruebas todos los días. Él me hizo esto. DUB[0 N 01:01:26:12>01:01:27:13] WALKER Yo salí casi ileso. DUB[0 N 01:01:28:25>01:01:30:10] WALKER El oficial que estaba conmigo murió. DUB[0 N 01:01:32:08>01:01:35:21] WALKER McCready se salió con la suya una vez y yo no iba a permitir que lo hiciera de nuevo. DUB[0 N 01:01:39:00>01:01:45:11] WALKER (GESTO) Sí. DUB[0 N 01:01:47:06>01:01:51:24] WALKER Bien, Bien. (GESTO) ¡Rayos! DUB[0 N 01:01:52:25>01:01:54:10] WALKER ¡Rayos! ¡¿Pat?! DUB[0 N 01:01:54:22>01:01:55:13] PAT NORTH ¿Sí? DUB[0 N 01:01:55:18>01:01:56:17] WALKER Pat, ¿puedes venir un momento? DUB[0 N 01:01:56:28>01:01:58:18] PAT NORTH Sí, ¿qué pasa? DUB[0 N 01:01:58:20>01:02:00:22] WALKER Estira la parte de abajo, está todo pegado. DUB[0 N 01:02:00:21>01:02:02:26] PAT NORTH (GESTO) Espera, no quiero llenarme de cola. DUB[0 N 01:02:02:28>01:02:04:29] WALKER (GESTO) ¡Rayos! Olvídalo. DUB[0 N 01:02:06:19>01:02:09:17] WALKER Haré... Haré una nueva. DUB[0 N 01:02:10:11>01:02:16:11] PAT NORTH (GESTO) Creo que lo que debes hacer es... plegar cada lado y pegar uno por uno. DUB[0 N 01:02:16:16>01:02:17:17] WALKER Sí, está bien. DUB[0 N 01:02:18:19>01:02:19:10] WALKER ¿Qué hora tienes? DUB[0 N 01:02:20:06>01:02:23:05] PAT NORTH (GESTO) Está bien, aún falta otra media hora para que el programa comience. DUB[0 N 01:02:25:11>01:02:32:25] PAT NORTH Y... ¿No se supone que estos deberían coincidir? Aquí tienes un osito teddy con dos cabezas y uno sin brazos. DUB[0 N 01:02:33:04>01:02:35:09] WALKER (GESTO) Así está bien. Ni lo notarás. DUB[0 N 01:02:38:24>01:02:40:13] WALKER Mira, vete de aquí, ¿quieres? DUB[0 N 01:02:41:06>01:02:43:11] WALKER Creo que puedo terminar esto hoy. DUB[0 N 01:02:44:22>01:02:45:07] PAT NORTH (GESTO). DUB[0 N 01:03:02:07>01:03:07:21] PRESENTADOR DE TELEVISIÓN Hoy, en un nuevo episodio, Roger Barker investiga otro...“Error judicial”. DUB[0 N 01:03:08:13>01:03:24:22] BARKER En septiembre de 1992, James McCready fue condenado por el homicidio de su amante, Gary Meadows. En el juicio, la defensa de McCready alegó que la herida de Gary fue autoinfligida; consecuencia de un accidente trágico y extraño. DUB[0 N 01:03:25:09>01:03:31:04] BARKER Hasta el día de hoy, 8 años después, McCready mantiene que es inocente y continúa luchando por una apelación. DUB[0 N 01:03:32:01>01:03:43:17] BARKER En el programa de esta noche, examinaremos pruebas que nunca fueron llevadas al juicio y que demuestran irregularidades manifiestas en la investigación policial que podrían apuntar a otro... DUB[0 N 01:03:43:25>01:03:46:01] BARKER “Error judicial”. DUB[0 N 01:03:47:14>01:03:49:20] TÍTULO JUSTICIA DUB[0 N 01:03:49:22>01:03:51:10] TÍTULO LEY DUB[0 N 01:03:58:15>01:04:03:15] TÍTULO ERROR JUDICIAL DUB[0 N 01:04:07:21>01:04:18:13] BARKER Esta es la urbanización de tráilers de Croydon. Alguna vez fue el hogar de James Mc Cready, su compañero durante 4 años Gary Meadows y la hija de 7 años de Meadows, Fiona. DUB[0 N 01:04:18:29>01:04:23:12] BARKER Este lugar se convertiría en el escenario de una investigación extraordinaria. DUB[0 N 01:04:23:16>01:04:25:21] REPORTERA1 Mc Cready vivía en la urbanización con su amante gay. DUB[0 N 01:04:25:23>01:04:26:25] REPORTERO 1 Se desangró hasta morir. DUB[0 N 01:04:26:27>01:04:29:26] REPORTERA 2 Murió por una puñalada en el centro de su espalda. DUB[0 N 01:04:29:25>01:04:36:15] REPORTERO 2 La policía llegó a la escena tras recibir una histérica llamada de Mc Cready al 999. Él le dijo a la operadora: “lo maté, está muerto”. DUB[0 N 01:04:36:18>01:04:40:02] REPORTERA 3 La niña irá a un hogar temporal. DUB[0 N 01:04:39:29>01:04:41:24] REPORTERO 3 La policía no tiene otros sospechosos. DUB[0 N 01:04:42:05>01:04:49:29] BARKER Esta es la llamada telefónica grabada por los servicios de emergencia la mañana en que James Mc Cready descubrió que su compañero estaba muerto. DUB[0 N 01:04:51:19>01:04:53:29] MC CREADY ¡Por favor, ayúdenme! ¡Lo maté, está muerto! DUB[0 N 01:04:54:08>01:04:56:21] OPERADORA Señor, cálmese por favor. Podría decirme... DUB[0 N 01:04:56:24>01:05:00:12] MC CREADY ¡Vengan rápido, necesito una ambulancia! ¡Lo maté, está muerto! DUB[0 N 01:05:00:18>01:05:02:04] OPERADORA ¿Me puede decir su nombre? DUB[0 N 01:05:02:06>01:05:03:04] MC CREADY ¡Ayúdeme, por favor! DUB[0 N 01:05:04:03>01:05:18:08] BARKER Esa era la voz de James Mc Cready, quien se despertó para descubrir que el hombre que amaba, yacía muerto al lado de él. Él evidentemente estaba muy conmocionado. Esa llamada telefónica resultó ser una prueba importante para condenar a Mc Cready. DUB[0 N 01:05:19:04>01:05:23:29] BARKER La investigación policial fue dirigida por el entonces inspector Michael Walker... DUB[0 N 01:05:24:01>01:05:26:27] PAT NORTH ¡Por Dios! Eres tú con cabello, Mike (GESTO). DUB[0 N 01:05:26:23>01:05:27:24] WALKER Yo tengo cabello. DUB[0 N 01:05:28:02>01:05:29:24] PAT NORTH (GESTO) Cabello de verdad. DUB[0 N 01:05:29:26>01:05:32:19] BARKER Antes de la tragedia, Mc Cready y Meadows compartían una casa... DUB[0 N 01:05:32:21>01:05:33:14] CATRINA ¿Quieres un poco de helado? DUB[0 N 01:05:34:03>01:05:37:17] SATCHELL No, beberé otra cerveza. DUB[0 N 01:05:40:02>01:05:42:21] SATCHELL Esto es una estupidez, hacerlos ver tan angelicales. DUB[0 N 01:05:44:09>01:05:47:18] SATCHELL Según su declaración ellos estaban muy borrachos y estaban discutiendo. DUB[0 N 01:05:48:22>01:05:50:18] SATCHELL Esto es una basura parcializada. DUB[0 N 01:05:51:03>01:05:55:22] CATRINA Bueno, ahora es a ustedes a quienes juzgan. Así que debes estar a la defensiva, ¿no? DUB[0 N 01:05:56:10>01:05:57:15] SATCHELL (GESTO) Olvídalo. (GESTO). DUB[0 N 01:05:58:25>01:06:00:00] CATRINA (GESTO) Tú. DUB[0 N 01:06:00:03>01:06:03:07] BARKER Usted fue la última persona... DUB[0 N 01:06:03:10>01:06:08:14] SATCHELL No puedo esperar a ver cómo escenificaron el homicidio, probablemente le colocaron campanadas y música coral. DUB[0 N 01:06:08:28>01:06:28:01] VERA ...Sobre Fiona ya sabe, pero debo decir que estaban algo animados. A ellos les gustaba beber, no más que a cualquier joven de por aquí. Y luego oí una música que estaba muy alta, pero no me gusta quejarme, así que me ocupé de mis asuntos. DUB[0 N 01:06:28:05>01:06:29:27] BARKER ¿Y luego qué pasó? DUB[0 N 01:06:31:26>01:06:34:18] VERA Bueno, luego escuché algunos gritos. DUB[0 N 01:06:34:20>01:06:35:16] PAT NORTH Es el tuyo, Mike. DUB[0 N 01:06:35:21>01:06:41:08] VERA Gritaban muy alto y eché un vistazo pero parecía que ya estaban... DUB[0 N 01:06:41:10>01:06:43:06] PAT NORTH ¡Mike, tu teléfono! DUB[0 N 01:06:43:08>01:06:43:20] WALKER (GESTO). DUB[0 N 01:06:45:26>01:06:49:29] VERA Y después todo se calmó, así que volví a la cama. DUB[0 N 01:06:50:16>01:06:54:21] BARKER ¿Por qué no mencionó todo esto en su primera declaración a la policía? DUB[0 N 01:06:55:01>01:06:59:07] VERA (GESTO) Lo hice. No sé por qué no lo tomaron en cuenta. Pero... DUB[0 N 01:06:59:17>01:07:00:02] WALKER Sí. Hola. DUB[0 N 01:07:00:04>01:07:01:25] VERA Les conté todo lo que había visto. DUB[0 N 01:07:02:07>01:07:07:17] WALKER Claro que es basura, pero si todo sale a la luz esta noche, estaré en un problema serio. DUB[0 N 01:07:08:18>01:07:09:12] WALKER ¡Satch! DUB[0 N 01:07:09:28>01:07:13:11] WALKER ¡Satch! ¿Puedes dejar el pánico y el teléfono? Me lo estoy perdiendo. DUB[0 N 01:07:13:16>01:07:24:09] BARKER ¿Quién tiene las respuestas? ¿Acaso un hombre inocente, consumido por el luto y la culpa, fue malinterpretado? ¿Lo hicieron ver como la confesión de un asesinato que no ocurrió? DUB[0 N 01:07:25:21>01:07:44:07] BARKER ¿Fue este un terrible error judicial o una pelea doméstica que trágicamente se salió de control? Después de la pausa, revelaremos detalles de la antigua conexión entre el Comisario Walker y James Mc Cready, sobre la cual la defensa no tenía conocimiento. DUB[0 N 01:07:44:10>01:07:52:18] PAT NORTH Están haciendo más que hablar de mala conducta policial. Ya hablaron de la copa de brandy perdida, las fotos de la escena del crimen, además de los reportes forenses. DUB[0 N 01:07:54:15>01:07:55:05] PAT NORTH ¿Estás escuchándome? DUB[0 N 01:07:55:12>01:07:56:03] WALKER (GESTO). DUB[0 N 01:07:57:19>01:07:58:14] PAT NORTH ¿Quién te llamó? DUB[0 N 01:07:59:09>01:08:05:02] WALKER (GESTO) Satch, está muy nervioso. Esto es basura, no tienen nada, nada. DUB[0 N 01:08:07:19>01:08:09:15] CATRINA Dave, ya comenzó. DUB[0 N 01:08:09:15>01:08:33:10] BARKER Nuestro departamento de investigación recientemente desenterró un objeto que da un giro dramático a esta trágica historia. Un artículo de prensa del 16 de junio de 1977, reseñaba un incidente en Glasgow, 15 años antes del asesinato de Gary Meadows. Este artículo demuestra que el Comisario Michael Walker y James Mc Cready se conocían de antes. DUB[0 N 01:08:34:02>01:08:54:04] BARKER Walker, quien era oficial de policía, fue llamado junto con su compañero y amigo, el oficial Colin Hood, para detener una riña en una taberna. En el altercado, Hood fue apuñalado y luego murió en un hospital debido a las heridas. Pudimos conversar con la hermana de Colin, Elizabeth Hood. DUB[0 N 01:08:54:06>01:08:54:23] WALKER ¡Es Liz! DUB[0 N 01:08:55:02>01:08:56:04] ELIZABETH HOOD Mi hermano... DUB[0 N 01:08:56:06>01:08:56:28] WALKER La hermana de Colin. DUB[0 N 01:08:57:17>01:08:58:16] ELIZABETH HOOD ...cuando murió. DUB[0 N 01:09:00:04>01:09:16:19] ELIZABETH HOOD Él era la persona más dulce y bondadosa, totalmente dedicado a su trabajo. James Mc Cready se quedaba frecuentemente con un familiar en la urbanización donde vivíamos. Él parecía un joven agradable. DUB[0 N 01:09:16:23>01:09:18:16] BARKER Mc Cready estaba en ese bar... DUB[0 N 01:09:18:18>01:09:19:23] WALKER Mira eso, lo cortaron. DUB[0 N 01:09:19:25>01:09:21:17] PAT NORTH (GESTO) Cállate, por favor. Estoy escuchando. DUB[0 N 01:09:21:15>01:09:38:02] BARKER ...Fue liberado tras la declaración de un adicto local, George Connelly, quien estuvo involucrado en la riña. En su juicio, George Connelly admitió que él, y sólo él, había asesinado al oficial Hood y reiteradamente negó la participación de Mc Cready. DUB[0 N 01:09:39:02>01:10:01:22] BARKER Pero, ¿podría ser que 15 años después, Michael Walker todavía tuviera rencor hacia Mc Cready y pensara que de alguna forma era responsable por la muerte de Colin Hood? Si este fuera el caso, ¿podría esto haber influenciado la manera en que el caso de Meadows fue conducido? ¿Acaso James Mc Cready fue acusado de un crimen que no cometió? DUB[0 N 01:10:04:22>01:10:07:20] SATCHELL Y nosotros estábamos preocupados por una simple copa de brandy. DUB[0 N 01:10:09:22>01:10:11:20] WALKER Los desgraciados me suspendieron de mi cargo. DUB[0 N 01:10:11:22>01:10:12:29] SATCHELL (GESTO) ¡Rayos! DUB[0 N 01:10:13:18>01:10:14:07] SATCHELL Lo siento. DUB[0 N 01:10:14:13>01:10:19:15] WALKER Sí, yo también, Satch. Estoy cansado de que los estúpidos medios dicten los procedimientos policiales. Mc Cready debe estar celebrando. DUB[0 N 01:10:19:25>01:10:27:04] WALKER ¡Rayos! ¡Voy a estar ordenando documentos durante los próximos 6 meses por su culpa y por ese estúpido documental! ¡¿Cómo diablos descubrieron todo eso de Glasgow?! DUB[0 N 01:10:27:12>01:10:28:21] SATCHELL Investigaron a ver si atinaban. DUB[0 N 01:10:28:23>01:10:33:22] WALKER Bueno, yo también haré mi propia investigación, gracias. Voy a buscar a George Connelly y a obtener la verdad de una vez por todas. DUB[0 N 01:10:34:08>01:10:37:00] SATCHELL Connelly es el tipo que asumió toda la culpa por Mc Cready en ese asesinato en Glasgow, ¿cierto? DUB[0 N 01:10:37:02>01:10:38:20] WALKER Sí, ya debe estar fuera de prisión. DUB[0 N 01:10:38:25>01:10:43:11] SATCHELL ¿Cómo rayos vas a encontrarlo? La televisión obviamente no pudo, si no también lo hubiesen entrevistado en el documental. DUB[0 N 01:10:43:17>01:10:50:05] WALKER Tengo amigos por allá, su padre Jock, por ejemplo. Connelly y yo vivíamos cerca, en el mismo conjunto de viviendas en Glasgow, cuando éramos chicos. DUB[0 N 01:10:51:24>01:10:57:15] WALKER (GESTO) Sí, podría llevar a Pat conmigo y que al mismo tiempo conozca a mi mamá. (GESTO) Matar dos pájaros de un solo tiro. DUB[0 N 01:10:57:20>01:10:59:12] SATCHELL Pensé que tenías una entrevista con esa mujer de denuncias. DUB[0 N 01:10:59:16>01:11:02:11] WALKER Sí, la tengo. (GESTO)¡Idiotas! (GESTO). DUB[0 N 01:11:02:28>01:11:07:27] WALKER Miren, (GESTO) No vi ninguna razón para mencionar el caso de Glasgow porque Mc Cready había sido liberado sin cargos. DUB[0 N 01:11:13:27>01:11:17:20] WALKER Mc Cready pudo haber insinuado que yo tenía algo personal en su contra pero no fue así. DUB[0 N 01:11:19:16>01:11:25:29] WALKER Si en algún momento le di razones para pensar que mi investigación o yo estábamos viciados, ¿por qué no lo mencionaron entonces? (GESTO). DUB[0 N 01:11:26:18>01:11:28:09] STANLEY ¿Era usted muy amigo de Colin Hood? DUB[0 N 01:11:29:03>01:11:37:04] WALKER No tanto como señalaron en el documental. Nosotros (GESTO) trabajamos juntos de vez en cuando. Fue lo único cierto, aparte de eso todo fue un montón de mentiras. DUB[0 N 01:11:39:03>01:11:51:08] WALKER (GESTO) Ocho años después y las personas empiezan a recordar hechos que no mencionaron antes, (GESTO). Todo es muy oportuno, ¿no es así? Pero supongo que entonces no estaban pagando, digo, realizando un documental. DUB[0 N 01:11:51:29>01:11:54:18] STANLEY ¿Por qué Fiona Meadows no prestó declaración en el juicio de Mc Cready? DUB[0 N 01:11:55:12>01:11:58:27] WALKER Por Dios, sólo era una niña de 7 años, tan traumatizada que no podía ni hablar. DUB[0 N 01:12:03:03>01:12:13:19] WALKER Nosotros (GESTO) grabamos en video una entrevista, el oficial de protección infantil estaba presente. Pero, el abogado acusador me advirtió que esa declaración era inadmisible porque ella no podía ser llamada para testificar. DUB[0 N 01:12:14:05>01:12:15:16] STANLEY ¿Y qué dijo en ese video? DUB[0 N 01:12:15:21>01:12:18:07] WALKER No fue exactamente lo que dijo, ella casi ni habló. DUB[0 N 01:12:19:10>01:12:22:07] WALKER Estaba aterrorizada, pero dejó claro que Mc Cready había acuchillado a su padre. DUB[0 N 01:12:23:01>01:12:24:04] STANLEY ¿Dónde está ese video ahora? DUB[0 N 01:12:27:19>01:12:28:29] WALKER Desapareció sin dejar rastro. DUB[0 N 01:12:29:29>01:12:31:08] WALKER Después de todo eso fue hace 8 años. DUB[0 N 01:12:31:16>01:12:38:05] ZITA Definitivamente investigaremos eso. Ahora bien, ¿qué nos dice sobre las acusaciones de Mc Cready de que usted es homofóbico? DUB[0 N 01:12:38:04>01:12:39:12] WALKER (GESTO). DUB[0 N 01:12:40:21>01:12:42:15] ZITA Y que usted lo intimidó mientras estuvo detenido por la policía. DUB[0 N 01:12:42:14>01:12:49:29] WALKER (GESTO) Por favor, por favor. (GESTO) Miren, yo trabajo con personas homosexuales, tengo amigos homosexuales. Sus preferencias sexuales no son mi problema. DUB[0 N 01:12:51:00>01:13:01:04] WALKER Tal vez si Mc Cready hubiese tenido a un parlamentario gay apoyando su causa en el momento de su juicio, él podría haber utilizado estas acusaciones, pero no lo tenía. Todo es una invención. DUB[0 N 01:13:01:07>01:13:03:03] ZITA Así que estas acusaciones de mala conducta policial... DUB[0 N 01:13:03:05>01:13:12:19] WALKER Son totalmente infundadas. El jurado concluyó que Mc Cready asesinó a su compañero a sangre fría. Estoy seguro de que cualquier apelación concluirá en el mismo veredicto. DUB[0 N 01:13:13:15>01:13:17:11] ZITA Le haremos unas preguntas más. No le quitaremos mucho tiempo. DUB[0 N 01:13:17:21>01:13:22:20] WALKER (GESTO) Pueden tomarse todo el tiempo que quieran, cariño. Como usted sabe, fui suspendido de mi cargo. DUB[0 N 01:13:27:23>01:13:31:16] RYLANDS (GESTO) Hemos recibido buenas reacciones al documental. DUB[0 N 01:13:31:21>01:13:32:28] DUFFIELD Todas han sido positivas. DUB[0 N 01:13:33:00>01:13:35:20] MC CREADY Sí, he recibido muchas cartas. Muchas cartas de admiradores. DUB[0 N 01:13:36:03>01:13:38:20] RYLANDS (GESTO) Al parecer... DUB[0 N 01:13:40:15>01:13:45:01] RYLANDS Fiona Meadows fue entrevistada en un video por un oficial de protección infantil poco después de tu arresto. DUB[0 N 01:13:45:26>01:13:46:21] RYLANDS ¿Sabías algo sobre esto? DUB[0 N 01:13:47:12>01:13:48:23] MC CREADY Pero ella apenas podía hablar. DUB[0 N 01:13:49:26>01:14:01:26] DUFFIELD Nunca nadie mencionó nada sobre un video. Eso es imposible, Fiona estaba en un estado total de conmoción luego de que su padre murió. Si ellos hubiesen hecho un video, seguramente lo hubiesen utilizado en el juicio. DUB[0 N 01:14:02:11>01:14:05:15] RYLANDS Bueno, no lo sé. Pero aparentemente realizaron una entrevista en video. DUB[0 N 01:14:05:26>01:14:08:28] MC CREADY Eso no puede ser verdad. ¿Quiere decir que hay una cinta? DUB[0 N 01:14:10:08>01:14:21:12] RYLANDS De hecho la policía no tiene la copia. Según parece todas las entrevistas del departamento de protección infantil son enviadas a un depósito en Chalk Farm y las mantienen allí hasta que el niño cumple 18 años. Pero no hay registros sobre la entrevista de Fiona. DUB[0 N 01:14:21:13>01:14:24:29] MC CREADY (GESTO) Entiendo. ¿Es probable que la encuentren? DUB[0 N 01:14:27:01>01:14:30:08] RYLANDS ¿Ocho años después de tu juicio? Realmente lo dudo. DUB[0 N 01:14:32:09>01:14:47:08] RYLANDS Pero, (GESTO) ¿podría haber algo contradictorio en ella? Quiero decir, ¿podría Fiona haber dicho alguna cosa que te incriminara, algo distinto a su declaración actual? DUB[0 N 01:14:47:10>01:14:50:28] MC CREADY No, claro que no. Sólo quiero que Fiona diga la verdad ante el tribunal. DUB[0 N 01:14:52:00>01:14:58:27] RYLANDS Está bien, si estás tan seguro. Yo no estaba muy convencido de llamarla o no. DUB[0 N 01:14:59:06>01:15:04:25] MC CREADY Llámala. Ella es mi testigo más importante, quiero que llamen a Fiona. No tengo nada que esconder. DUB[0 N 01:15:06:02>01:15:07:29] RYLANDS (GESTO). DUB[0 N 01:17:07:04>01:17:08:22] PAT NORTH Le compraré unas flores a tu mamá, ¿está bien? DUB[0 N 01:17:08:27>01:17:09:19] WALKER Buena idea. Dame tu bolso. DUB[0 N 01:17:09:25>01:17:10:15] PAT NORTH Estoy bien. DUB[0 N 01:17:10:17>01:17:13:22] WALKER Oye, se supone que no debes cargar nada. Voy a llamarla. DUB[0 N 01:17:25:22>01:17:28:01] WALKER ¿Hola? ¡Hola! Sí, soy Mike. DUB[0 N 01:17:29:13>01:17:30:09] WALKER ¡Tu hijo! DUB[0 N 01:17:30:24>01:17:34:04] WALKER Sí, ¿puedes oírme? Estamos en la estación. DUB[0 N 01:17:35:09>01:17:37:07] WALKER Sí, en Glasgow, acabamos de llegar. DUB[0 N 01:17:38:20>01:17:39:23] WALKER Sí, ella está conmigo. DUB[0 N 01:17:40:17>01:17:47:25] WALKER Se llama Pat. Sí, Pat. Ahora escúchame, (GESTO) no quiero que hagas ninguna estupidez, ¿está bien? ¿Oíste? Quiero que seas amable con ella. DUB[0 N 01:17:48:16>01:17:51:00] WALKER ¿Lo prometes? Está bien. DUB[0 N 01:17:51:24>01:17:55:12] WALKER (GESTO) Escucha, mamá, ¿alguien ha llamado o dejado algún mensaje para mí? DUB[0 N 01:17:56:17>01:18:08:10] WALKER Si alguien llama, anota su nombre y su número, dile que le devolveré la llamada, ¿está bien? No, apenas estamos saliendo de la estación, tomaremos un taxi y estaremos ahí en... (GESTO) más o menos media hora. DUB[0 N 01:18:09:07>01:18:11:21] WALKER Está bien, mamá. Cuídate, adiós. DUB[0 N 01:18:13:10>01:18:15:09] WALKER Bueno, está muy feliz porque finalmente te conocerá. DUB[0 N 01:18:15:24>01:18:16:18] PAT NORTH ¿Dónde está el bolso? DUB[0 N 01:18:16:28>01:18:18:06] WALKER No te preocupes. DUB[0 N 01:18:29:17>01:18:30:06] MC CREADY ¿Sean? DUB[0 N 01:18:31:09>01:18:32:01] MC CREADY Soy yo, Jimmy. DUB[0 N 01:18:33:08>01:18:35:02] MC CREADY (GESTO) ¿Lo viste? DUB[0 N 01:18:36:06>01:18:39:23] MC CREADY (GESTO) Sí, pero el hombre que me representaba no era tan guapo. DUB[0 N 01:18:40:03>01:18:44:04] MC CREADY (GESTO) No, no, está saliendo bien. DUB[0 N 01:18:45:01>01:18:46:04] MC CREADY (GESTO) DUB[0 N 01:18:48:11>01:18:49:10] MC CREADY Claro que puedes, amigo. DUB[0 N 01:18:49:29>01:18:51:07] MC CREADY Lo resolveré cuando salga de aquí. DUB[0 N 01:18:51:24>01:18:56:09] MC CREADY Ahora escucha, ¿ya encontraron a George Conelly? DUB[0 N 01:18:57:24>01:18:58:18] MC CREADY (GESTO). DUB[0 N 01:19:00:03>01:19:04:09] MC CREADY Bueno, cuando le pongas el precio... DUB[0 N 01:19:04:27>01:19:05:16] MC CREADY Duplícalo. DUB[0 N 01:19:11:08>01:19:12:23] WALKER (GESTO). DUB[0 N 01:19:14:25>01:19:16:05] PAT NORTH ¿Le dijiste a qué hora llegaríamos? DUB[0 N 01:19:16:09>01:19:18:07] WALKER Sí, ella nos está esperando. DUB[0 N 01:19:19:17>01:19:20:08] VIOLET ¿Hola? DUB[0 N 01:19:20:06>01:19:23:03] WALKER Hola, mamá. Soy Mike, por favor, ¿puedes abrir? DUB[0 N 01:19:26:29>01:19:30:06] WALKER Mamá, debes presionar un poco más el botón. Todavía estamos afuera. DUB[0 N 01:19:42:18>01:19:43:21] WALKER ¡Hola! DUB[0 N 01:19:47:04>01:19:47:25] WALKER ¿Puedes abrirla? DUB[0 N 01:19:47:27>01:19:51:26] VIOLET Estaría en problemas si no pudiese. He estado sola mucho tiempo. DUB[0 N 01:19:51:29>01:19:54:25] WALKER (GESTO) Hola, mamá. Me encanta verte. DUB[0 N 01:19:57:12>01:19:59:27] WALKER Mamá, ella es Pat. Pat, ella es mi mamá, Violet. DUB[0 N 01:20:00:03>01:20:02:17] PAT NORTH Hola, Violet. Es un placer conocerla. Estas son para usted. DUB[0 N 01:20:03:08>01:20:03:26] VIOLET Gracias. DUB[0 N 01:20:04:29>01:20:06:02] VIOLET Será mejor que entren. DUB[0 N 01:20:07:29>01:20:14:12] VIOLET Esta visita es tan repentina que no tuve tiempo de acomodar la casa y mi ayudante sólo viene una vez por semana. DUB[0 N 01:20:15:01>01:20:21:01] VIOLET ¿Van a quedarse esta noche o esta es tu usual visita de 10 minutos para luego irte? DUB[0 N 01:20:21:11>01:20:22:13] WALKER Nos quedaremos. DUB[0 N 01:20:22:18>01:20:28:19] VIOLET Me siento halagada. ¿Entonces tomaremos más de una taza de té? Eso es algo fuera de lo común. DUB[0 N 01:20:30:06>01:20:32:09] VIOLET ¿Compartirán la habitación? DUB[0 N 01:20:32:11>01:20:34:17] WALKER Lo haremos. No empieces. DUB[0 N 01:20:37:20>01:20:39:13] VIOLET Llévale esto a tu amiga. DUB[0 N 01:20:40:18>01:20:41:28] VIOLET Aquí hay galletas también. DUB[0 N 01:20:46:23>01:20:47:14] PAT NORTH Gracias. DUB[0 N 01:20:53:01>01:20:55:20] WALKER Qué bueno que te veo. (GESTO). DUB[0 N 01:20:57:01>01:20:58:20] VIOLET ¿Cómo están mis nietos? DUB[0 N 01:20:58:29>01:20:59:24] WALKER Están bien. DUB[0 N 01:21:00:28>01:21:01:28] VIOLET ¿Y Lynn? DUB[0 N 01:21:02:10>01:21:02:23] WALKER Ella... DUB[0 N 01:21:02:26>01:21:03:10] VIOLET ¿Está bien? DUB[0 N 01:21:03:12>01:21:04:25] WALKER Ella está bien. Todos están bien. DUB[0 N 01:21:11:21>01:21:14:24] VIOLET Envié una tarjeta de cumpleaños a tu casa. DUB[0 N 01:21:15:12>01:21:17:25] WALKER Sí, Lynn me la envió a mi nueva casa. DUB[0 N 01:21:18:24>01:21:24:03] VIOLET Tal vez vaya y me quede con Lynn. Me lo pidió y sería agradable ver a mis nietos. DUB[0 N 01:21:25:16>01:21:26:11] WALKER Yo contesto. DUB[0 N 01:21:27:08>01:21:30:15] VIOLET Debe ser Jock Connelly, llamó más temprano. DUB[0 N 01:21:37:09>01:21:39:07] PAT NORTH ¿Lleva mucho tiempo viviendo aquí, Violet? DUB[0 N 01:21:40:25>01:21:45:01] VIOLET Es parte de un nuevo plan de viviendas para ancianos. DUB[0 N 01:21:46:16>01:21:50:21] VIOLET Me reubicaron con muchas mujeres ancianas que no conozco. Lo detesto. DUB[0 N 01:21:52:11>01:21:53:16] WALKER ¿Galleta? DUB[0 N 01:21:54:14>01:21:55:19] PAT NORTH No, gracias. DUB[0 N 01:22:02:05>01:22:03:27] PAT NORTH Esas fotos son hermosas. DUB[0 N 01:22:05:07>01:22:09:19] VIOLET Sí, esos son mis nietos. DUB[0 N 01:22:11:21>01:22:14:14] VIOLET Lynn es una madre maravillosa. DUB[0 N 01:22:18:26>01:22:22:03] WALKER (GESTO) Oye, debo salir un momento. DUB[0 N 01:22:23:14>01:22:25:17] PAT NORTH (GESTO) Está bien. Iré contigo. DUB[0 N 01:22:25:22>01:22:31:04] WALKER No, era el padre de George Connelly, él me va a mostrar dónde está George. Al parecer está viviendo con unos borrachos en una casa no sé en dónde. DUB[0 N 01:22:31:21>01:22:33:12] PAT NORTH ¿Por qué no dejas eso así, Mike? DUB[0 N 01:22:35:04>01:22:36:13] WALKER (GESTO). DUB[0 N 01:22:36:19>01:22:39:24] WALKER Mamá, tenemos (GESTO) una noticia para ti. DUB[0 N 01:22:40:06>01:22:40:27] PAT NORTH No es el... DUB[0 N 01:22:40:29>01:22:42:05] WALKER Vamos a tener un bebé. DUB[0 N 01:22:42:24>01:22:44:02] WALKER Tendrás otro nieto. DUB[0 N 01:22:45:09>01:22:53:22] VIOLET ¡Será ilegítimo! (GESTO) ¡A su edad ambos deberían estar avergonzados! ¡Tú ya tienes dos niños! DUB[0 N 01:22:53:24>01:22:55:21] WALKER ¡Pero no con la mujer que amo y con la que pienso casarme! DUB[0 N 01:22:55:25>01:22:58:02] VIOLET ¡Será mejor que te divorcies primero! DUB[0 N 01:23:00:07>01:23:05:17] WALKER Hablemos de esto después, mamá, ¿sí? Debo salir un momento, ¿podrías ocuparte e Pat? DUB[0 N 01:23:07:02>01:23:10:25] WALKER Lo siento, pero realmente no creo que sea conveniente que vengas. Es un área muy difícil. DUB[0 N 01:23:11:20>01:23:13:21] PAT NORTH Está bien, me quedaré aquí. Estaré bien. DUB[0 N 01:23:14:14>01:23:15:26] WALKER Regresaré tan rápido como pueda, lo prometo. DUB[0 N 01:23:18:16>01:23:19:07] WALKER Adiós, mamá. DUB[0 N 01:23:20:01>01:23:20:22] PAT NORTH Ten cuidado. DUB[0 N 01:23:28:26>01:23:31:22] VIOLET ¡Tengo todo el derecho a sentirme así! DUB[0 N 01:23:32:13>01:23:36:08] VIOLET ¡Él nunca debió dejar a su esposa, peor aún, a sus dos hijos! DUB[0 N 01:23:37:10>01:23:39:19] VIOLET ¡Él siempre fue atractivo para las mujeres! DUB[0 N 01:23:42:13>01:23:43:09] PAT NORTH ¿Puedo ayudarle a limpiar? DUB[0 N 01:23:43:15>01:23:44:22] VIOLET No, gracias. DUB[0 N 01:23:46:17>01:23:52:14] PAT NORTH Mire, Violet. Es muy obvio que no soy bienvenida aquí. Lo siento, (GESTO) Mike me hizo pensar que... DUB[0 N 01:23:52:16>01:23:59:19] VIOLET ¿Qué te ha dicho? Nunca creas ni una palabra de lo que dice. Es un mentiroso. Su padre también era así. DUB[0 N 01:24:00:13>01:24:15:17] VIOLET Nunca dijo la verdad sobre nada. Siempre me sorprendió que dejara a Lynn. Cuando su padre nos dejó se le rompió el corazón. Él sabe lo que el divorcio le puede hacer a una familia. DUB[0 N 01:24:23:29>01:24:25:29] VIOLET ¿En qué trabajas? DUB[0 N 01:24:27:10>01:24:28:04] PAT NORTH ¿Él no se lo ha dicho? DUB[0 N 01:24:28:17>01:24:31:09] VIOLET No lo ha hecho. Siempre se guarda las cosas. DUB[0 N 01:24:32:12>01:24:33:27] PAT NORTH Soy oficial de policía. DUB[0 N 01:24:35:04>01:24:36:07] VIOLET Entiendo. DUB[0 N 01:24:37:01>01:24:45:05] VIOLET Así que trabajas para él, ¿no es así? ¿Y no sabías que estaba casado cuando comenzaron? ¿Casado y con dos niños? DUB[0 N 01:24:46:01>01:24:51:29] VIOLET Supongo que como llegaste a esta edad y no te casaste, debes conformarte con lo que sea. DUB[0 N 01:24:52:01>01:24:55:08] PAT NORTH ¡Violet, yo no tuve absolutamente nada que ver con la separación! DUB[0 N 01:24:57:14>01:24:59:23] PAT NORTH Ahora si me disculpa, voy a esperar en la habitación. DUB[0 N 01:25:16:22>01:25:18:00] WALKER ¿Cómo están los hijos de George? DUB[0 N 01:25:18:04>01:25:36:22] JOCK (GESTO) Les va muy bien. Ahora viven en los Estados Unidos. Sheila los llevó para allá después de que lo encarcelaran. A veces me envían postales. Una vez incluso me enviaron un video, (GESTO) mis nietos en Disneylandia. (GESTO) Maravilloso. Son unos verdaderos estadounidenses. DUB[0 N 01:25:37:06>01:25:42:11] WALKER Qué bien. Pobre Sheila. Salir de aquí fue lo mejor que pudo hacer. DUB[0 N 01:25:43:01>01:25:48:02] JOCK Sí. ¿Sabes? él ha estado entrando y saliendo de rehabilitación. DUB[0 N 01:25:49:01>01:25:59:06] JOCK No puede alejarse de las drogas. (GESTO) Siempre decía que iría a verla, pero él no podía estar lo suficientemente sobrio como para llegar al aeropuerto. DUB[0 N 01:26:00:08>01:26:06:13] JOCK Sí, todavía es un loco desgraciado, siempre lo fue, ahora es aún peor. DUB[0 N 01:26:07:20>01:26:13:16] JOCK Él cree que alguien está tratando de matarlo. (GESTO) El alcohol y las drogas, esa ha sido la pesadilla de su vida...y de la mía. DUB[0 N 01:26:14:22>01:26:20:22] JOCK Bien, te dejaré aquí y me iré. Ya he tenido muchos roces con él. Sé que soy su padre, pero no puedo soportarlo más. DUB[0 N 01:26:20:25>01:26:24:25] WALKER Te lo agradezco, Jock. Aquí tienes unas monedas. Cómprate una cerveza. DUB[0 N 01:26:25:13>01:26:28:27] JOCK No hay nada que puedas hacer por él, ya es demasiado tarde. DUB[0 N 01:27:08:17>01:27:10:08] EMMA (GESTO). DUB[0 N 01:27:10:24>01:27:12:26] EMMA (GESTO). DUB[0 N 01:27:19:24>01:27:21:19] EMMA (GESTO). DUB[0 N 01:27:24:24>01:27:45:08] CONNELLY Barco veloz y bonito, como un pájaro en el mar...afuera los navegantes lloran...llevan al niño que nació para ser rey. Desde el mar hasta el cielo... destruidas nuestras casas están. Exilio y muerte...marcan al hombre... DUB[0 N 01:27:45:10>01:27:46:18] WALKER Tiempo sin vernos, Georgie. DUB[0 N 01:27:52:07>01:27:52:25] CONNELLY ¿Quién eres? DUB[0 N 01:27:53:13>01:27:54:03] WALKER Mike Walker. DUB[0 N 01:27:56:28>01:27:57:21] CONNELLY ¿Te conozco? DUB[0 N 01:27:58:03>01:28:04:26] WALKER Sí, hace mucho tiempo. En aquellos días, siempre decías que te unirías a una banda. DUB[0 N 01:28:06:16>01:28:07:17] CONNELLY ¿Cuál dijiste que era tu nombre? DUB[0 N 01:28:07:22>01:28:09:25] WALKER Mike Walker. Necesito hablar contigo. DUB[0 N 01:28:10:07>01:28:12:10] CONNELLY (GESTO) ¿Sí? ¿Sobre qué? Vamos, ¿qué quieres? DUB[0 N 01:28:12:16>01:28:13:18] WALKER Es sobre Jimmy Mc Cready. DUB[0 N 01:28:18:04>01:28:19:06] CONNELLY No me asustas. DUB[0 N 01:28:19:25>01:28:21:24] WALKER (GESTO). DUB[0 N 01:28:27:00>01:28:29:24] CONNELLY (GESTO). DUB[0 N 01:28:40:26>01:28:41:27] CONNELLY ¡No te tengo miedo! DUB[0 N 01:28:42:27>01:28:45:03] CONNELLY ¡Voy a romper tu cara, hijo de perra! DUB[0 N 01:28:45:20>01:28:46:24] CONNELLY ¡Vamos, McCready! DUB[0 N 01:28:47:19>01:28:48:12] CONNELLY ¡Pelea! DUB[0 N 01:28:49:13>01:28:50:07] CONNELLY ¡Vamos! DUB[0 N 01:28:50:27>01:28:52:14] CONNELLY ¡Me la debes, desgraciado! DUB[0 N 01:28:53:20>01:28:55:28] CONNELLY (GESTO) No me asustas. No. DUB[0 N 01:28:56:26>01:28:57:23] CONNELLY ¡Te mataré! DUB[0 N 01:29:00:13>01:29:03:04] WALKER ¡No soy McCready! ¡Él no me envió! DUB[0 N 01:29:05:17>01:29:10:06] CONNELLY ¡Puedes seguir pateándome! ¡No puedes hacerme daño, no siento el dolor! DUB[0 N 01:29:11:20>01:29:14:13] WALKER Yo diría que doce años es mucho dolor por algo que no hiciste, George. DUB[0 N 01:29:16:01>01:29:17:00] WALKER ¿Estás bien? DUB[0 N 01:29:19:20>01:29:21:26] WALKER ¡Soy Mike! ¡Mike Walker! DUB[0 N 01:29:22:25>01:29:25:14] WALKER ¡Mírame, George! ¡¿No te acuerdas de mí?! DUB[0 N 01:29:26:29>01:29:30:01] CONNELLY ¡El joven policía! Toma. DUB[0 N 01:29:32:01>01:29:32:23] WALKER ¿Me estás ofreciendo un trago? DUB[0 N 01:29:36:21>01:29:37:18] CONNELLY ¿Acaso eres afeminado? DUB[0 N 01:29:37:20>01:29:39:22] WALKER (GESTO). DUB[0 N 01:29:46:10>01:29:47:13] WALKER (GESTO). DUB[0 N 01:29:49:11>01:29:50:23] CONNELLY (GESTO). DUB[0 N 01:29:52:06>01:29:53:03] CONNELLY ¿Así que conoces a McCready? DUB[0 N 01:29:53:06>01:29:56:02] WALKER (GESTO) Vamos, Georgie. Yo estuve ahí. Esa puñalada... DUB[0 N 01:29:56:22>01:30:01:02] WALKER (GESTO) Tú estabas tan drogado que no podías ni caminar, mucho menos matar a alguien. DUB[0 N 01:30:01:23>01:30:04:11] WALKER ¿Pero quién utilizó el cuchillo, George? Porque sé que no fuiste tú. DUB[0 N 01:30:05:06>01:30:09:11] CONNELLY Tenías sangre en todo tu rostro, ¿cierto? Así fue, te cortaste. DUB[0 N 01:30:09:17>01:30:17:02] WALKER Sí, me corté. ¿Pero quién tenía la sangre de Colin Hood en sus manos? No eras tú, tú no Georgie. Dime que no fuiste tú. DUB[0 N 01:30:17:23>01:30:21:12] EMMA Estoy enferma, George. Me siento muy enferma, ¿me das un cigarrillo? DUB[0 N 01:30:23:15>01:30:26:12] CONNELLY ¿Quiere saber por qué asumí la culpa por ese asesinato? DUB[0 N 01:30:27:01>01:30:30:09] CONNELLY No fue por el bien de Mc Cready. Ese desgraciado no me importaba un bledo. DUB[0 N 01:30:31:05>01:30:35:02] CONNELLY Lo hice para que mis hijas no terminaran aspirando cosas por sus narices cuando tuvieran 14 años. DUB[0 N 01:30:39:20>01:30:40:19] CONNELLY ¿Es eso suficiente para ti? DUB[0 N 01:30:42:23>01:30:44:04] CONNELLY Hice cosas malas. DUB[0 N 01:30:45:04>01:30:48:06] CONNELLY Pero los momentos por los que moriré feliz fue cuando mis niñas nacieron. DUB[0 N 01:30:49:12>01:30:50:16] CONNELLY Llegar a casa. DUB[0 N 01:30:52:17>01:31:00:08] CONNELLY Papá (GESTO), es la mejor palabra del mundo. Papá (GESTO), papá (GESTO). DUB[0 N 01:31:00:14>01:31:01:06] WALKER Pobre de ti, George. DUB[0 N 01:31:01:10>01:31:02:11] CONNELLY Lo hice por mis hijas. DUB[0 N 01:31:03:06>01:31:06:17] CONNELLY Ellos sostuvieron a mi hija sobre los rieles, la pudieron haber dejado caer. DUB[0 N 01:31:07:08>01:31:09:03] CONNELLY Pero hice que se fueran muy lejos de aquí. DUB[0 N 01:31:10:29>01:31:15:22] CONNELLY ¡¿Quieres pelear conmigo, desgraciado?! ¡Mc Cready puede enviar a quién quiera! ¡Vamos, desgraciado! DUB[0 N 01:31:29:24>01:31:30:26] EMMA ¿Quieres divertirte? DUB[0 N 01:31:32:21>01:31:33:22] EMMA ¡Dame un billete de diez! DUB[0 N 01:31:35:24>01:31:36:29] EMMA ¡Uno de cinco, entonces! DUB[0 N 01:31:37:24>01:31:38:14] EMMA ¡Oye! DUB[0 N 01:31:39:05>01:31:40:18] EMMA ¡Vete al demonio, idiota! DUB[0 N 01:31:50:09>01:31:52:19] WALKER Connelly y Mc Cready estaban drogados, ¿cierto? DUB[0 N 01:31:53:06>01:31:55:28] WALKER Yo sé que Mc Cready tenía el cuchillo porque él fue quien me cortó. DUB[0 N 01:31:57:05>01:32:02:29] WALKER Aunque pensó que yo no lo había visto, luego Mc Cready acuchilló a Hood y persuadió a Connelly para que dijera que él lo hizo. DUB[0 N 01:32:03:04>01:32:04:06] PAT NORTH ¿Pero por qué Connelly haría eso? DUB[0 N 01:32:04:22>01:32:09:03] WALKER (GESTO) Sólo Dios sabe, cariño. Connelly tan sólo tenía diecinueve años pero ya tenía dos niñas. DUB[0 N 01:32:09:23>01:32:16:20] WALKER Él se casó con Sheila cuando tenía dieciséis años porque ella estaba embarazada. Tan pronto como nació una, ya la otra venía en camino. En aquel entonces ella estaba tan drogada como él. DUB[0 N 01:32:18:07>01:32:20:24] WALKER Así que George obtuvo una condena de por vida y Mc Cready salió libre. DUB[0 N 01:32:21:05>01:32:23:09] PAT NORTH Aún no entiendo por qué Connelly haría eso. DUB[0 N 01:32:23:08>01:32:31:09] WALKER Él dijo que habían amenazado a sus hijas, que colgaron a una sobre los rieles del tren o algo así. También tenía deudas con la mitad de los barones de la droga de Glasgow, al igual que Mc Cready. DUB[0 N 01:32:31:10>01:32:37:14] PAT NORTH Bien. Entonces tú crees que Mc Cready aceptó pagar las deudas de Connelly y por eso fue que siguió ese plan, ¿cierto? DUB[0 N 01:32:37:16>01:32:38:07] WALKER Sí, probablemente. DUB[0 N 01:32:38:17>01:32:42:28] PAT NORTH No, yo no lo creo. ¿Cuánto tiempo ha estado Connelly fuera de la cárcel? DUB[0 N 01:32:42:28>01:32:53:10] WALKER ¿Por el asesinato? Fue liberado doce años después, le dieron un permiso. Pero él ha estado entrando y saliendo de varias instituciones de rehabilitación desde ese entonces. Mira, cariño, él puede ser un adicto a las drogas, pero no es un asesino. DUB[0 N 01:32:53:14>01:32:54:11] PAT NORTH ¿Y si estás equivocado? DUB[0 N 01:32:54:12>01:32:59:09] WALKER No lo estoy. Él pensó que Mc Cready me había enviado. Estaba tan paranoico que me atacó. DUB[0 N 01:33:01:06>01:33:04:11] PAT NORTH Así que tú piensas que mientras Mc Cready está en prisión... DUB[0 N 01:33:04:15>01:33:06:24] WALKER Sus matones no lo están. Por eso está tan paranoico. DUB[0 N 01:33:08:05>01:33:08:26] WALKER Iré de nuevo. DUB[0 N 01:33:12:05>01:33:13:17] PAT NORTH (GESTO). DUB[0 N 01:33:17:13>01:33:18:06] WALKER ¿Qué sucedió, oficial? DUB[0 N 01:33:18:11>01:33:23:00] OFICIAL DE POLICÍA Hubo un incendio en la parte trasera del edificio. Ya está bajo control. Debería alejarse, señor. DUB[0 N 01:33:23:10>01:33:24:11] WALKER ¿Saben cómo comenzó? DUB[0 N 01:33:24:26>01:33:29:09] OFICIAL DE POLICÍA Un niño dijo que rociaron gasolina sobre alguien. Supongo que está relacionado con drogas. DUB[0 N 01:33:29:10>01:33:31:06] WALKER Bien, me llevaré su linterna. Gracias. DUB[0 N 01:33:32:17>01:33:37:20] EMMA Uno de ellos lo señaló y preguntó: “¿Es ese George Connelly?” DUB[0 N 01:33:39:25>01:33:40:17] EMMA Yo dije que sí. DUB[0 N 01:33:42:24>01:33:46:11] EMMA Luego lo arrastraron y comenzaron a rociar gasolina sobre él. DUB[0 N 01:33:56:13>01:33:57:08] EMMA Yo les grité. DUB[0 N 01:33:59:07>01:34:00:14] EMMA Pero lanzaron un fósforo. DUB[0 N 01:34:05:28>01:34:07:02] EMMA (GESTO). DUB[0 N 01:34:09:15>01:34:10:29] EMMA Él no hizo nada para detenerlos. DUB[0 N 01:34:12:27>01:34:13:28] EMMA Él estaba allí tirado. DUB[0 N 01:34:15:06>01:34:16:27] EMMA Toda su ropa estaba en llamas. DUB[0 N 01:34:18:28>01:34:21:19] EMMA (GESTO) Yo salí corriendo. DUB[0 N 01:34:22:29>01:34:24:07] EMMA Estaba pidiendo ayuda. DUB[0 N 01:34:25:26>01:34:27:19] EMMA (GESTO) Pero ellos simplemente se fueron. DUB[0 N 01:34:28:29>01:34:29:26] EMMA Riéndose. DUB[0 N 01:34:31:29>01:34:33:14] EMMA Él estaba llamando a sus hijas. DUB[0 N 01:34:34:04>01:34:37:20] EMMA (GESTO) Estaba llamando a sus niñas. DUB[0 N 01:34:39:03>01:34:40:19] EMMA (GESTO). DUB[0 N 01:35:51:03>01:35:57:16] WALKER (GESTO). DUB[0 N 01:37:05:13>01:37:07:13] WALKER Regresaré después del funeral. DUB[0 N 01:37:07:26>01:37:12:24] PAT NORTH Está bien. ¿No te importa que me vaya, verdad? Es que no creo poder soportar más a... DUB[0 N 01:37:12:28>01:37:16:17] WALKER Mi querida y dulce madre. No, le cuesta mucho acostumbrarse. DUB[0 N 01:37:16:15>01:37:17:00] PAT NORTH Claro. DUB[0 N 01:37:17:03>01:37:17:17] WALKER Cuídate. DUB[0 N 01:37:17:19>01:37:18:08] PAT NORTH Está bien. DUB[0 N 01:37:20:07>01:37:20:27] WALKER Disculpa. DUB[0 N 01:37:21:02>01:37:21:22] PAT NORTH Nos vemos. DUB[0 N 01:37:21:22>01:37:22:09] WALKER Te veo pronto. DUB[0 N 01:37:23:16>01:37:24:01] WALKER Adiós. DUB[0 N 01:37:26:12>01:37:26:27] WALKER ¿Hola? DUB[0 N 01:37:27:02>01:37:27:28] ELIZABETH HOOD ¿Mike? DUB[0 N 01:37:28:07>01:37:28:29] WALKER Sí. DUB[0 N 01:37:29:04>01:37:30:28] ELIZABETH HOOD Soy Liz. Liz Hood. DUB[0 N 01:37:31:06>01:37:32:27] WALKER Liz, gracias por llamarme. DUB[0 N 01:37:32:29>01:37:34:16] ELIZABETH HOOD No me sorprendió recibir tu mensaje. DUB[0 N 01:37:35:25>01:37:37:07] ELIZABETH HOOD Vi “error judicial”. DUB[0 N 01:37:37:27>01:37:46:03] ELIZABETH HOOD El error judicial fue la manera en que cortaron mi entrevista en pedazos. Acepté hacer el programa para hablar sobre Colin y ellos lo hicieron ver como que apoyaba a Mc Cready. DUB[0 N 01:37:46:29>01:37:49:13] WALKER Lo sabía. Sabía que algo estaba mal. DUB[0 N 01:37:50:08>01:37:53:09] ELIZABETH HOOD Estaba tan enfadada que yo misma decidí investigar. DUB[0 N 01:37:54:18>01:37:58:05] ELIZABETH HOOD Pienso que podría interesarte lo que descubrí. DUB[0 N 01:38:19:15>01:38:21:12] RYLANDS Buenos días, James. ¿Cómo te sientes hoy? DUB[0 N 01:38:22:06>01:38:22:26] MC CREADY Nervioso. DUB[0 N 01:38:23:20>01:38:24:24] RYLANDS Me imagino. DUB[0 N 01:38:25:20>01:38:30:14] RYLANDS Pensé en venir para decirte qué tenemos hoy en el menú. Tenemos un tribunal relativamente bueno. DUB[0 N 01:38:30:23>01:38:32:13] MC CREADY No me gusta cómo suena eso. DUB[0 N 01:38:32:19>01:38:43:00] RYLANDS Por lo menos logramos evadir a los ogros de siempre. Tenemos al juez Lord Bradpiece sentado en el medio. Él es muy cortés, muy accesible. Fue un gran abogado civil en su momento. Él nos dará un punto de vista imparcial. DUB[0 N 01:38:43:18>01:38:56:13] RYLANDS El señor juez Winfield, a la derecha. Él es un poco difícil, si no le gusta tu caso te lo hará saber inmediatamente. Fue un buen criminalista cuando ejercía, ya lo ha visto todo. Por lo menos sabe que los juicios criminales pueden y de hecho terminan mal algunas veces. DUB[0 N 01:38:56:18>01:38:58:11] MC CREADY ¿Y qué es lo difícil en él? DUB[0 N 01:38:58:21>01:39:10:19] RYLANDS Él tiene la costumbre de gruñirle un poco a los abogados, pero yo debo preocuparme, no tú. En el lado izquierdo está la señora jueza Piggott, Caroline para sus amigos. Es relativamente nueva en el tribunal de apelaciones, generalmente es considerada una persona muy inteligente. DUB[0 N 01:39:10:28>01:39:12:11] MC CREADY ¿Cómo debo dirigirme a ellos? DUB[0 N 01:39:12:15>01:39:23:25] RYLANDS No lo haces. No dices absolutamente nada. Sólo debes sentarte y mantener tu cabeza baja, deja que yo hable. No es como un juicio, ¿entiendes? Sólo tenemos tiempo para mostrar nuestras nuevas pruebas y para llamar a Vera y a Fiona. DUB[0 N 01:39:24:29>01:39:29:04] RYLANDS Además de eso, cuando entren en la sala ya habrán leído todos los documentos, ya sabrán qué fragmentos les interesan. DUB[0 N 01:39:30:02>01:39:33:18] MC CREADY ¿Quiere decir que ya tendrán una decisión antes de la audiencia? Eso no suena muy alentador. DUB[0 N 01:39:33:20>01:39:40:17] RYLANDS No, en lo absoluto. Ya después de haber leído los argumentos de ambas partes, no necesitarán revisar los detalles de cada alegato en el tribunal público. DUB[0 N 01:39:40:26>01:39:42:14] MC CREADY ¿Cómo es el abogado acusador? DUB[0 N 01:39:42:22>01:39:53:08] RYLANDS ¿Pembroke? Usa un lenguaje exuberante, es un verdugo al momento de interrogar. Deberá tener cuidado con una testigo de quince años como Fiona. El tribunal no quedará impresionado si comienza a intimidarla. DUB[0 N 01:39:53:12>01:39:55:24] MC CREADY (GESTO) Fiona puede cuidarse ella sola. Ya lo verás. DUB[0 N 01:39:57:19>01:40:03:16] RYLANDS Será mejor que me vaya al tribunal, veré si ya se presentaron todos nuestros testigos. Ya es la hora, deberían estar ahí. DUB[0 N 01:40:03:20>01:40:04:16] MC CREADY Estoy seguro de que estarán ahí. DUB[0 N 01:40:06:24>01:40:07:29] RYLANDS Estás cruzando los dedos, ¿no? DUB[0 N 01:40:08:04>01:40:08:29] MC CREADY No necesito hacerlo. DUB[0 N 01:40:10:16>01:40:11:24] MC CREADY Tengo fe en ti. DUB[0 N 01:40:22:06>01:40:24:22] MC CREADY (GESTO). DUB[0 N 01:40:26:20>01:40:28:13] ELIZABETH HOOD Ver ese documental me hizo recordar todo. DUB[0 N 01:40:28:29>01:40:31:06] WALKER Connely no mató a tu hermano, Liz. Estoy seguro. DUB[0 N 01:40:31:09>01:40:31:28] ELIZABETH HOOD Lo sé. DUB[0 N 01:40:32:18>01:40:36:18] ELIZABETH HOOD Una amiga trabaja en un bufete de abogados junto a un hombre llamado Ben Duffield. DUB[0 N 01:40:36:29>01:40:37:28] ELIZABETH HOOD ¿Reconoces el nombre? DUB[0 N 01:40:38:04>01:40:39:06] WALKER Es una basura. DUB[0 N 01:40:39:12>01:40:47:27] ELIZABETH HOOD Sí, él mismo. En los años setenta y ochenta era bien conocido por todos que Duffield era homosexual. Él aceptaba todo lo que viniera. Todos los adictos se acostaban con él. DUB[0 N 01:40:48:08>01:40:51:01] WALKER (GESTO) Sí, en caso de una redada él llegaría primero que la policía. DUB[0 N 01:40:51:10>01:41:02:07] ELIZABETH HOOD Sí, exactamente. Pero ahora ya corrigió sus errores, es una persona muy respetable, no hay ni un murmullo sobre su pasado. Pero cuando descubrí que él es el albacea de la herencia de Gary Meadows y que también representó a Mc Cready... DUB[0 N 01:41:02:13>01:41:04:29] WALKER Espera, espera, espera, vas muy rápido. ¿De qué herencia me estás hablando? DUB[0 N 01:41:05:05>01:41:13:20] ELIZABETH HOOD Es un gran conflicto de intereses, Mike. Duffield está administrando la herencia de Fiona Meadows y también está representando al hombre acusado de matar a su padre. DUB[0 N 01:41:14:01>01:41:14:25] WALKER (GESTO) ¿Es eso legal? DUB[0 N 01:41:14:27>01:41:22:06] ELIZABETH HOOD (GESTO) Me temo que sí. Me enfadé tanto que solicitara una apelación que le pedí a mi amiga que investigara un poco. Ahora bien, Mike, esto es totalmente confidencial, porque ella podría perder su trabajo por esto. DUB[0 N 01:41:22:08>01:41:23:19] WALKER Está bien, te entiendo. ¿Qué descubrió? DUB[0 N 01:41:24:06>01:41:42:03] ELIZABETH HOOD (GESTO) Bueno, al parecer Gary Meadows estaba en bancarrota cuando murió, casi no le dejó nada a Fiona. Pero hace un año, la hermana de Gary murió repentinamente por un tumor cerebral. Ella tenía una póliza de vida por 150 mil libras, además tenía otras 50 mil en efectivo. DUB[0 N 01:41:42:05>01:41:43:01] WALKER ¿Quién lo recibe? DUB[0 N 01:41:42:20>01:41:54:27] ELIZABETH HOOD (GESTO) Esa es la parte engañosa. Ella no cambió su testamento después de que Gary murió. Le dejó todo a su hermano y a sus herederos, en este caso a Fiona. El dinero iría a un fondo si ella fallecía antes de que Fiona cumpliera los 21 años. DUB[0 N 01:41:55:17>01:41:57:18] WALKER ¡Y el sucio de Duffield está manejando el fondo! DUB[0 N 01:41:57:14>01:42:02:20] ELIZABETH HOOD Así es, 200 mil libras es mucho dinero. Me gustaría saber si todo está ahí todavía. DUB[0 N 01:42:03:22>01:42:05:11] WALKER Gracias, Liz. Te lo agradezco. DUB[0 N 01:42:06:04>01:42:08:15] ELIZABETH HOOD Escucha, si surge algo más, llámame. DUB[0 N 01:42:09:13>01:42:09:27] WALKER Cuídate. DUB[0 N 01:42:09:23>01:42:10:07] ELIZABETH HOOD Sí. DUB[0 N 01:42:15:08>01:42:16:03] MUJER AJIER Todos de pie. DUB[0 N 01:42:34:15>01:42:36:25] JUEZ AUXILIAR La Reina contra James Mc Cready. DUB[0 N 01:42:38:16>01:42:42:23] PEMBROKE Hay demasiadas reinas juntas en este caso. Esto se pondrá muy confuso. DUB[0 N 01:42:42:25>01:42:43:19] FREEMAN Compórtese. DUB[0 N 01:42:46:23>01:42:47:23] JUEZ AUXILIAR ¿Es usted James Mc Cready? DUB[0 N 01:42:48:01>01:42:48:14] MC CREADY Así es. DUB[0 N 01:42:49:07>01:42:50:04] JUEZ AUXILIAR Por favor, tome asiento. DUB[0 N 01:42:51:03>01:42:52:08] BRADPIECE (GESTO). DUB[0 N 01:42:54:19>01:42:55:29] BRADPIECE ¿Señor Rylands? DUB[0 N 01:42:56:21>01:42:58:10] FREEMAN (GESTO) Aquí viene otra. DUB[0 N 01:43:00:12>01:43:17:06] RYLANDS Mis Señores, mi Señora. Yo represento al apelante junto con mi colega el señor Bunn. La Corona está representada por mis ilustres colegas, el señor Pembroke y el señor Freeman. Este caso es presentado ante el tribunal ya que un juez otorgó el permiso para solicitar la apelación en febrero de este año. DUB[0 N 01:43:18:13>01:43:22:15] RYLANDS El apelante fue condenado por asesinato en el Juzgado Central de lo Penal, en septiembre... DUB[0 N 01:43:23:15>01:43:27:01] RYLANDS El 26 de septiembre de 1992. DUB[0 N 01:43:27:25>01:43:31:29] RYLANDS El juez otorgó una extensión de tiempo de unos ocho años. DUB[0 N 01:43:32:11>01:43:33:02] BRADPIECE Señor Rylands. DUB[0 N 01:43:34:18>01:43:43:25] BRADPIECE Sepa usted que ya hemos leído las transcripciones, los fundamentos, los antiguos alegatos y estamos familiarizados con la mayoría o todos los documentos de este caso. DUB[0 N 01:43:45:06>01:44:03:06] BRADPIECE Todo se resume en lo siguiente. El apelante fue condenado por el asesinato de su pareja, Gary Meadows, quien falleció a causa de una puñalada en la espalda que penetró su corazón. Nadie más aparte del apelante estuvo involucrado en el incidente que produjo esa lesión. DUB[0 N 01:44:03:27>01:44:17:06] BRADPIECE Ahora usted, con el permiso otorgado por el juez, desea presentar nuevos testimonios. Específicamente por parte de la hija del fallecido, Fiona, quien estaba presente en la casa en aquel momento y también por parte de una vecina, Vera Collingwood. DUB[0 N 01:44:17:29>01:44:33:15] BRADPIECE Se explica que los testimonios servirían para apoyar la defensa pero que fueron rechazados por el jurado y que la lesión fue, o pudo ser, el resultado de un accidente. Que simple y llanamente la lesión del fallecido fue, para resumir, autoinfligida. DUB[0 N 01:44:34:07>01:44:40:03] RYLANDS Su Señoría, como siempre, usted lo explicó más sucintamente de lo que yo pudiese haber deseado. DUB[0 N 01:44:40:20>01:44:46:14] PEMBROKE Por eso es que él se sienta allá arriba y tú, Rylands, estás aquí abajo con nosotros los mortales. DUB[0 N 01:44:51:03>01:44:52:08] SATCHELL ¿Sí? DUB[0 N 01:44:51:28>01:44:53:27] WALKER Hola, Satch. Soy yo. ¿Puedes hablar? DUB[0 N 01:44:53:29>01:44:56:14] SATCHELL Sí, voy camino al tribunal, ¿ya volviste? DUB[0 N 01:44:57:07>01:45:01:09] WALKER No, debo quedarme para un funeral. Escucha, George Connelly fue asesinado. DUB[0 N 01:45:01:13>01:45:01:27] SATCHELL ¿Qué? DUB[0 N 01:45:02:11>01:45:05:20] WALKER No quiero hablar de eso ahora, pero necesito que me hagas un gran favor. DUB[0 N 01:45:06:11>01:45:06:28] SATCHELL ¿Sí? DUB[0 N 01:45:07:11>01:45:13:14] WALKER Mira, sabes que no te lo pediría si no estuviese desesperado, pero necesito información sobre unas transacciones de cierta cuenta bancaria. DUB[0 N 01:45:13:22>01:45:15:07] SATCHELL Bien, ¿y cómo se supone que haré eso? DUB[0 N 01:45:15:25>01:45:21:21] WALKER Pensé que podrías utilizar la ayuda de esa mujer que está persiguiéndote. La demente Mel, ¿no es así? Escuché decirte que ella podía irrumpir en los archivos de inteligencia. DUB[0 N 01:45:22:00>01:45:22:28] SATCHELL Eso fue una broma, Mike. DUB[0 N 01:45:23:07>01:45:26:09] WALKER (GESTO) ¿Me estás diciendo que no puede piratear una simple cuenta bancaria? DUB[0 N 01:45:26:24>01:45:30:01] SATCHELL No, estoy diciendo que no estoy preparado para arriesgar mi hombría descubriéndolo. DUB[0 N 01:45:30:03>01:45:35:03] WALKER (GESTO) ¿Hombría? ¿Cuál hombría? Escucha, ofrécele sexo, necesito esa información y rápido. DUB[0 N 01:45:35:28>01:45:47:05] WINFIELD Usted también reclama que hay una prueba relacionada con una copa de brandy que no fue presentada en el juicio y que su presentación pudo haber sido de ayuda sustancial para la defensa. DUB[0 N 01:45:47:23>01:45:49:08] RYLANDS Eso es correcto, su Señoría (GESTO). DUB[0 N 01:45:49:25>01:46:01:21] PIGGOTT Señor Pembroke, ¿podría ayudarnos? ¿Cuál es la posición de la Corona con respecto a la copa de brandy? ¿Usted admite que era presentable? DUB[0 N 01:46:02:02>01:46:17:04] PEMBROKE Sí, claro que lo admitimos. Pero afirmamos que no pudo haber contribuido de manera significativa con el la defensa del caso, así como de ninguna forma pudo haber debilitado el caso de la Corona. Por lo tanto, nuestra posición es: “presentable pero insustancial”. DUB[0 N 01:46:17:17>01:46:26:11] PIGGOTT Bien, gracias. En este momento simplemente queremos saber si podríamos considerarla una prueba. Qué importancia tiene y si contribuirá en algo. DUB[0 N 01:46:26:15>01:46:28:20] PEMBROKE Su Señoría, ¡Sí! DUB[0 N 01:46:29:01>01:46:31:18] PIGGOTT Señor Rylands, ¿está usted de acuerdo? DUB[0 N 01:46:33:21>01:46:43:27] RYLANDS Bueno, el...el apelante va a argüir que la no presentación fue, de hecho, resultado de la mala fe del oficial a cargo de la investigación. DUB[0 N 01:46:44:07>01:46:54:15] WINFIELD Por mi parte puedo decir que usted tendrá una difícil tarea para establecer que cualquier oficial pudo haber retenido deliberadamente esta prueba, sabiendo que podría afectar el resultado del caso. DUB[0 N 01:46:55:01>01:47:02:13] RYLANDS Su Señoría, decimos que es una posibilidad. Está claro que fue retenida y...y...obviamente no debió serlo. DUB[0 N 01:47:03:02>01:47:11:09] BRADPIECE Por el momento, procederemos sobre esa base y dejaremos a un lado cualquier asunto de mala fe, al cual podremos retornar de ser necesario. DUB[0 N 01:47:11:23>01:47:13:07] RYLANDS Por supuesto (GESTO). DUB[0 N 01:47:14:07>01:47:33:22] RYLANDS La copa, (GESTO) pudo haber confirmado la versión suministrada por el defendido en su declaración de que la herida de Meadows fue recibida accidentalmente. De haberla inventado, Mc Cready le hubiese dicho a los oficiales que él y su compañero revisaron sus respectivas heridas y luego fueron a la cama donde compartieron una copa de brandy. DUB[0 N 01:47:33:24>01:47:50:22] RYLANDS Ahora bien, de haber examinado los rastros de saliva y sangre de la copa, se hubiese demostrado que ambos habían bebido de ella un momento después de que ambos hombres estaban llenos de sangre. El jurado pudo haberse negado a concluir que un hombre había apuñalado al otro hasta matarlo. DUB[0 N 01:47:50:29>01:48:00:02] RYLANDS (GESTO) Un trago compartido por ambos luego del accidente sería inconsistente con el caso de la Corona de que un hombre apuñaló al otro para matarlo. DUB[0 N 01:48:00:14>01:48:05:12] WINFIELD Señor Rylands, ¿cree usted que está pisando sobre terreno firme? DUB[0 N 01:48:07:02>01:48:29:14] WINFIELD Suponiendo que la copa haya aparecido en el juicio y que de hecho haya tenido huellas digitales, marcas de labios, saliva, sangre o lo que sea, de ambas partes. Yo presumo que la Corona dirá que el apelante, luego de apuñalar a su amigo, trató de revivirlo con un brandy medicinal. ¿Qué impide que pensemos en ese escenario? (GESTO). DUB[0 N 01:48:29:22>01:48:36:13] RYLANDS Como usted diga, su Señoría. Pero, ¿está seguro de que un intento de reanimación hubiese sido consistente con el accidente? DUB[0 N 01:48:37:19>01:48:46:15] WINFIELD No estoy totalmente impresionado con el potencial de una copa de brandy. Como lo veo, los términos de esta apelación están limitados a los nuevos testimonios. DUB[0 N 01:48:47:01>01:48:47:25] RYLANDS Sí, su Señoría. DUB[0 N 01:49:14:10>01:49:15:14] SATCHELL (GESTO). DUB[0 N 01:49:19:28>01:49:20:14] SATCHELL ¡Melanie! DUB[0 N 01:49:21:14>01:49:23:20] SATCHELL ¡Te ves... (GESTO) fantástica! DUB[0 N 01:49:23:13>01:49:27:01] MELANIE (GESTO) Nada que ver con la persona formal a la que estás acostumbrado (GESTO). DUB[0 N 01:49:27:25>01:49:28:08] MELANIE Pasa. DUB[0 N 01:49:29:17>01:49:29:29] SATCHELL (GESTO). DUB[0 N 01:49:31:08>01:49:31:26] SATCHELL Esto es para ti. DUB[0 N 01:49:31:25>01:49:33:10] MELANIE (GESTO) ¡David! DUB[0 N 01:49:34:00>01:49:34:27] MELANIE ¡No era necesario! DUB[0 N 01:49:35:15>01:49:36:15] SATCHELL (GESTO). DUB[0 N 01:49:39:27>01:49:47:27] MELANIE Así que si quieres estar un paso adelante en el juego, debes meterte de cabeza en este nuevo programa... (GESTO). DUB[0 N 01:49:47:24>01:49:54:03] SATCHELL Bien, como te dije por teléfono, he tenido muchos problemas solucionando las asignaciones del curso. DUB[0 N 01:49:54:08>01:49:56:17] MELANIE Así que quieres lecciones privadas, ¿no es así? DUB[0 N 01:49:57:13>01:50:00:09] MELANIE ¿O tu visita tiene otras intenciones? DUB[0 N 01:50:00:13>01:50:02:04] WALKER Bueno, mas o menos (GESTO)... DUB[0 N 01:50:04:12>01:50:06:24] WALKER Yo...yo...yo tengo novia, nosotros (GESTO)... DUB[0 N 01:50:06:29>01:50:09:29] MELANIE Yo tengo un gato, pero no alardeo sobre mi gatita. DUB[0 N 01:50:13:00>01:50:16:02] MELANIE ¿Qué es lo que quieres? DUB[0 N 01:50:19:18>01:50:23:25] SATCHELL Una cuenta bancaria...necesito que entres en una cuenta bancaria. DUB[0 N 01:50:25:02>01:50:26:05] MELANIE ¡¿Una cuenta bancaria?! DUB[0 N 01:50:26:19>01:50:27:14] MELANIE ¡Eso es ilegal! DUB[0 N 01:50:28:01>01:50:32:16] MELANIE ¡No voy a correr ese riesgo por un Merlot de mala calidad y unas flores de la tienda de la esquina! DUB[0 N 01:50:32:08>01:50:50:25] SATCHELL No hay riesgo, sabes (GESTO), no es como si estuviésemos entrando en el (GESTO) Banco de Inglaterra. Es sólo que yo (GESTO) debo resolver (GESTO) un asunto personal. (GESTO) Yo (GESTO), yo realmente...realmente, lo agradecería, Melanie. DUB[0 N 01:50:53:24>01:50:54:11] MELANIE (GESTO). DUB[0 N 01:50:56:20>01:50:57:15] MELANIE (GESTO). DUB[0 N 01:50:59:08>01:51:00:22] MELANIE (GESTO). DUB[0 N 01:51:01:26>01:51:03:22] MELANIE (GESTO). DUB[0 N 01:51:05:05>01:51:08:21] MELANIE Sienta tu firme y pequeño trasero al lado del mío. DUB[0 N 01:51:10:24>01:51:14:22] MELANIE Irrumpir en la cuenta bancaria de alguien es un riesgo, personal o no. DUB[0 N 01:51:14:29>01:51:15:24] SATCHELL (GESTO). DUB[0 N 01:51:18:09>01:51:21:12] MELANIE Por supuesto, he pasado años espiando a mis contactos. DUB[0 N 01:51:25:22>01:51:29:07] MELANIE Permíteme explicarte el intrincado arte de jaquear. DUB[0 N 01:51:32:11>01:51:33:29] PAT NORTH Todavía tengo mucho qué hacer. DUB[0 N 01:51:34:27>01:51:36:16] PAT NORTH Nunca voy a estar preparada para este bebé. DUB[0 N 01:51:37:16>01:51:43:12] VIVIEN Si regresas al trabajo luego de...tres o seis meses, estarás hecha polvo y probablemente te sentirás culpable. DUB[0 N 01:51:44:18>01:51:47:07] VIVIEN Tienes que ser organizada, maximizar el tiempo con el bebé. DUB[0 N 01:51:47:18>01:51:48:18] PAT NORTH Mike me ayudará. DUB[0 N 01:51:48:29>01:51:54:19] VIVIEN Confía en mí, tú crees que lo hará, pero toda la responsabilidad caerá sobre tus hombros. Serás tú la que debas pensar en todo. DUB[0 N 01:51:55:19>01:51:57:17] VIVIEN ¿Averiguarán qué será? ¿Si niño o niña? DUB[0 N 01:51:57:25>01:51:58:22] PAT NORTH No lo sé. DUB[0 N 01:52:00:06>01:52:01:07] PAT NORTH No sé qué estoy haciendo. DUB[0 N 01:52:02:01>01:52:03:18] PAT NORTH Comer tanto tampoco me ayuda. DUB[0 N 01:52:04:09>01:52:05:26] PAT NORTH Debo estar volviéndome loca. DUB[0 N 01:52:05:26>01:52:07:06] VIVIEN No, no lo estás. DUB[0 N 01:52:08:00>01:52:09:26] VIVIEN Pero será un cambio en tu vida. DUB[0 N 01:52:10:18>01:52:11:18] VIVIEN Eres afortunada. DUB[0 N 01:52:12:24>01:52:13:29] PAT NORTH Se está moviendo otra vez. DUB[0 N 01:52:17:13>01:52:18:26] PAT NORTH Todavía no puedo creer que esto esté pasando. DUB[0 N 01:52:19:04>01:52:20:20] VIVIEN (GESTO). DUB[0 N 01:52:52:01>01:52:53:06] VICARIO Por favor, todos de pie. DUB[0 N 01:52:59:17>01:53:17:04] RYLANDS (GESTO) Como podemos ver, hay tres factores importantes en este caso. Primero, la declaración prestada por el apelante en el juicio, fue exactamente la misma que prestó en el momento en que él de ninguna manera podía saber lo que los investigadores encontrarían. DUB[0 N 01:53:17:26>01:53:30:16] RYLANDS Segundo, no hay ni una prueba forense disponible que contradiga su declaración. Mucho fue confirmado por el oficial de pruebas en lo que fue un “escenario altamente complejo”, como él mismo lo describió. DUB[0 N 01:53:31:08>01:53:46:29] RYLANDS Estaba repleto de lo que podríamos describir como pistas, en la forma de manchas y gotas de sangre provenientes de ambas partes, pero que principalmente eran del apelante y que estaban distribuidas a lo largo de la casa en un patrón que, confirmaba su declaración. DUB[0 N 01:53:47:19>01:53:52:02] PIGGOTT Disculpe, señor Rylands. (GESTO) ¿Puede decirme cuáles son las fotografías relevantes de la escena? DUB[0 N 01:53:52:09>01:53:54:06] RYLANDS (GESTO) Sí, su Señoría. (GESTO). DUB[0 N 01:53:54:19>01:53:55:23] BUNN De la diecisiete a la treinta. DUB[0 N 01:53:55:27>01:53:58:22] RYLANDS De la diecisiete a la treinta. DUB[0 N 01:53:58:27>01:54:15:20] RYLANDS Por supuesto, las fotografías no pueden indicarles la secuencia en la cual la sangre estaba distribuida a lo largo de la casa. Sin embargo, pueden confirmar que la declaración del apelante con respecto a sus movimientos y en menor medida, los movimientos de Meadows, fueron consistentes con el patrón de manchas de sangre encontrado por el oficial de pruebas. DUB[0 N 01:54:15:29>01:54:20:16] PIGGOTT Por supuesto, usted quiere decir que cuando él prestó esa declaración, él no había visto las fotografías. DUB[0 N 01:54:20:21>01:54:23:29] WINFIELD Y también, que la prueba de ADN no fue realizada sino hasta un tiempo después. DUB[0 N 01:54:24:07>01:54:24:28] RYLANDS Precisamente. DUB[0 N 01:54:39:03>01:54:40:15] WALKER ¡Vamos, contesta! DUB[0 N 01:54:42:19>01:54:48:29] SATCHELL ¡Me debes mucho! Estuve con la demente Mel hasta las dos de la madrugada. No dejó de acosarme, prácticamente abusó de mí. DUB[0 N 01:54:49:02>01:54:51:07] WALKER (GESTO) Bien, ¿Obtuviste algo? DUB[0 N 01:54:51:17>01:54:53:28] SATCHELL Sí, un traje lleno de pelos de gato. DUB[0 N 01:54:55:02>01:54:56:05] SATCHELL Bien, ¿estás listo? DUB[0 N 01:54:56:12>01:54:56:25] WALKER Sí. DUB[0 N 01:54:56:29>01:55:01:03] SATCHELL Como abogado, Duffield tiene poder sobre el dinero de Mc Cready y la herencia de Fiona, ¿cierto? DUB[0 N 01:55:01:13>01:55:02:01] WALKER Cierto. DUB[0 N 01:55:02:24>01:55:11:11] SATCHELL Así que...Mel entró en la cuenta de Fiona y conseguimos un pago muy interesante por una suma muy alta. DUB[0 N 01:55:12:22>01:55:16:02] WALKER ¡¿Sí?! ¡¿Qué?! ¡¿Hola?! ¡Continúa...Sa...! DUB[0 N 01:55:16:10>01:55:20:20] SATCHELL Sujétate bien, 15 mil libras para Vera Collingwood. DUB[0 N 01:55:20:12>01:55:24:07] WALKER ¡Sí, lo sabía! El desgraciado está tratando de sobornarla para que cambie su declaración. DUB[0 N 01:55:24:05>01:55:31:16] SATCHELL Mira, tendrás que ser muy cauteloso con esto, Mike. Si quieres usar esto, tendrás que obtener un permiso de la sección 8 del código de evidencia criminal. De otra manera, no será admisible como prueba en la corte, ¿entiendes? DUB[0 N 01:55:32:22>01:55:34:00] WALKER Sí, sí, sí, está bien. ¿Algo más? DUB[0 N 01:55:34:13>01:55:45:06] SATCHELL Sí, también entramos en la cuenta de Mc Cready y llegamos hasta donde los registros comenzaban. Hasta que fue enviado a prisión, con regularidad se hacían transferencias hacia una cuenta en Florida. DUB[0 N 01:55:45:18>01:55:46:24] WALKER ¿Florida? ¿Obtuviste el nombre? DUB[0 N 01:55:46:27>01:55:51:13] SATCHELL Sí. (GESTO) Connelly. Sheila Connelly, ¿la conoces? DUB[0 N 01:55:51:12>01:55:55:05] WALKER Sí, creo que la estoy viendo. Gracias, Satch. Hasta luego. DUB[0 N 01:55:57:28>01:55:58:24] WALKER ¡Sheila! DUB[0 N 01:55:59:21>01:56:00:20] WALKER ¡Sheila! Soy Mike. DUB[0 N 01:56:01:02>01:56:02:24] WALKER ¿Me recuerdas? Mike Walker. DUB[0 N 01:56:03:19>01:56:05:04] WALKER Hablé con George justo antes de su muerte. DUB[0 N 01:56:05:06>01:56:06:07] SHEILA ¿Qué cree que hace?

Bachelor's degree - Universidad Central de Venezuela

Años de experiencia: 21 Registrado en ProZ.com: Jul 2008

N/A

inglés al español (Universidad Central de Venezuela)
portugués al español (Universidad Central de Venezuela)
español al inglés (Universidad Central de Venezuela)
español al portugués (Universidad Central de Venezuela)
portugués al inglés (Universidad Central de Venezuela)

N/A

Adobe Acrobat, Adobe Photoshop, Microsoft Excel, Microsoft Word, OmegaT, Powerpoint, Trados Studio, Wordfast

http://www.lingotrad.com

inglés (PDF)

Bio

I'm a 33 year old translator and interpreter who is eager to improve the services I provide everyday in order to guarantee my customers the best solution for their language needs.

Palabras clave: English, Spanish, Portuguese, Tourism, Sports, Media, Arts, Interpreting, Dubbing, Subtitling.

Última actualización del perfil
Mar 6, 2025

More translators and interpreters: inglés al español - portugués al español - español al inglés More language pairs

Your current localization setting

Select a language

You have native languages that can be verified

Your current localization setting

Select a language