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MUEZZIN CHANTS | 0:00:58 | 0:01:00 | |
IN FRENCH: | 0:02:07 | 0:02:10 | |
Non. | 0:03:05 | 0:03:06 | |
THEY SPEAK FRENCH | 0:03:38 | 0:03:40 | |
Oui. | 0:04:04 | 0:04:05 | |
SHOUTING AND BANGING | 0:04:18 | 0:04:22 | |
SIREN | 0:05:40 | 0:05:41 | |
SIREN | 0:05:51 | 0:05:53 | |
Saw you breathing. | 0:06:12 | 0:06:13 | |
Did not. | 0:06:13 | 0:06:15 | |
Hurry up. | 0:06:16 | 0:06:17 | |
IN FRENCH: | 0:06:21 | 0:06:23 | |
Ah, oui, d'accord. | 0:06:28 | 0:06:30 | |
Merci, merci. | 0:06:30 | 0:06:31 | |
Let's go. | 0:07:08 | 0:07:09 | |
Dr Hill? | 0:07:28 | 0:07:29 | |
-Yes...? -I'm going to get you out of here. | 0:07:29 | 0:07:32 | |
I know you're in pain, but you have to move quickly and do exactly what I say. | 0:07:32 | 0:07:35 | |
-Do you understand? -Yes. -OK. | 0:07:35 | 0:07:37 | |
-Where are we going? -Somewhere safe. | 0:07:39 | 0:07:40 | |
You're not Government, are you? Who hired you? | 0:07:48 | 0:07:50 | |
Do you want to get out of here or not? | 0:07:50 | 0:07:52 | |
You're on time. | 0:08:09 | 0:08:10 | |
Well, I thought I'd make the effort, seeing as it's a special occasion. | 0:08:10 | 0:08:14 | |
How's that head? | 0:08:26 | 0:08:28 | |
Where are you taking me? What going on? | 0:08:29 | 0:08:31 | |
Yeah. | 0:08:34 | 0:08:35 | |
You need a rest, Doc. | 0:08:35 | 0:08:37 | |
-You're good to go. -See you at base. | 0:08:39 | 0:08:41 | |
Let's go. | 0:08:41 | 0:08:42 | |
Vite! Vite! | 0:08:45 | 0:08:47 | |
HUBBUB OF VOICES | 0:09:28 | 0:09:30 | |
You shouldn't be here. | 0:09:44 | 0:09:45 | |
I missed you. | 0:09:45 | 0:09:47 | |
So how much longer are we going to keep doing this? | 0:09:49 | 0:09:51 | |
-We should go. -Keel's going to catch on to us, sooner or later. | 0:09:52 | 0:09:55 | |
He might. | 0:09:55 | 0:09:56 | |
Let's leave on our own terms while we still can. | 0:09:56 | 0:09:59 | |
What is it? | 0:10:04 | 0:10:06 | |
-There's something I have to tell you. -OK. -Not now. | 0:10:10 | 0:10:12 | |
-Well, when? -Cafe Khalil, four o'clock. Don't be late. | 0:10:12 | 0:10:16 | |
-I won't. -Right. | 0:10:16 | 0:10:18 | |
IN ARABIC: | 0:11:06 | 0:11:07 | |
IN ARABIC: | 0:11:29 | 0:11:31 | |
IN ARABIC: | 0:11:38 | 0:11:40 | |
SCREAMING | 0:12:01 | 0:12:03 | |
COCK CROWS | 0:12:15 | 0:12:17 | |
Thanks. | 0:15:42 | 0:15:42 | |
-BABY GURGLES -Hello, you. | 0:15:45 | 0:15:47 | |
'Let's leave on our own terms while we still can. | 0:18:00 | 0:18:03 | |
'There's something I have to tell you. | 0:18:03 | 0:18:05 | |
-'Not now... -Well, when? -Café Khalil, four o'clock. | 0:18:05 | 0:18:08 | |
'Don't be late.' | 0:18:08 | 0:18:10 | |
Let's read it again. | 0:18:53 | 0:18:54 | |
This is the story of the Snow Maiden. | 0:18:55 | 0:18:58 | |
Once upon a time... | 0:18:58 | 0:19:00 | |
-He looks funny. -He looks very handsome. | 0:19:00 | 0:19:02 | |
I did it! | 0:19:07 | 0:19:08 | |
Come on, in you get. | 0:19:11 | 0:19:12 | |
Goodbye, house. | 0:19:15 | 0:19:16 | |
You stay nice and dry. | 0:19:20 | 0:19:22 | |
I'll take it. | 0:22:37 | 0:22:38 | |
The very second I open my eyes each morning, | 0:23:37 | 0:23:39 | |
I consider the infinite variables of chaos that can occur during a working day, | 0:23:39 | 0:23:43 | |
because I like to be one step ahead. I don't like to be on the back foot. | 0:23:43 | 0:23:47 | |
I don't like it at all. | 0:23:47 | 0:23:48 | |
But I'm on the back foot now, | 0:23:48 | 0:23:50 | |
because of all the infinite variables of chaos I pondered this morning, | 0:23:50 | 0:23:54 | |
the one that never crossed my mind was that you'd be standing in front of me. | 0:23:54 | 0:23:57 | |
An explanation would be good. | 0:24:00 | 0:24:02 | |
I decided to retire. | 0:24:02 | 0:24:04 | |
That decision's not yours to make. | 0:24:04 | 0:24:06 | |
Good thing I changed my mind, then. | 0:24:06 | 0:24:08 | |
What's up? | 0:24:09 | 0:24:11 | |
Sam? | 0:24:13 | 0:24:14 | |
Deacon. | 0:24:14 | 0:24:14 | |
I thought you were dead. | 0:24:14 | 0:24:17 | |
Guess not. | 0:24:18 | 0:24:19 | |
You disappeared without trace for over a year. | 0:24:21 | 0:24:24 | |
I've had daily signals placed in 24 newspapers for the last six months. | 0:24:24 | 0:24:28 | |
I haven't been reading the papers. | 0:24:28 | 0:24:30 | |
-Where did you go? -Sightseeing. | 0:24:31 | 0:24:34 | |
"Sightseeing"? | 0:24:34 | 0:24:35 | |
Mmm, I was tired. | 0:24:35 | 0:24:38 | |
I needed a change of scenery. | 0:24:38 | 0:24:40 | |
-I'd be happy to take a polygraph. -You can beat a polygraph. | 0:24:42 | 0:24:46 | |
-We need to know where you've been, Sam. -And I don't want to tell you. | 0:24:46 | 0:24:50 | |
But if the question is whether you can still trust me, you can. | 0:24:50 | 0:24:53 | |
Do you expect to come back to work? | 0:24:53 | 0:24:54 | |
-I'm your best operative. -I put my neck on the block for you. | 0:24:54 | 0:24:58 | |
I still have to report up, you know. | 0:24:58 | 0:25:00 | |
I still have to deal with the questions, did you think about that? | 0:25:00 | 0:25:03 | |
-Did you think about the chaos you unleashed? -Do I get my job back? | 0:25:03 | 0:25:07 | |
There's the door. | 0:25:08 | 0:25:10 | |
DOOR CLOSES We need her back. | 0:25:30 | 0:25:33 | |
You know that. | 0:25:33 | 0:25:34 | |
So does she. | 0:25:35 | 0:25:37 | |
PHONE RINGS | 0:25:51 | 0:25:53 | |
Yes? | 0:25:57 | 0:25:58 | |
Be here tomorrow. 0800. | 0:25:58 | 0:26:00 | |
Well, well! Look who dragged her ass back in the door. | 0:26:19 | 0:26:23 | |
Hasan. Good to see you too. | 0:26:23 | 0:26:24 | |
Nice boots. | 0:26:26 | 0:26:28 | |
Thanks. | 0:26:29 | 0:26:30 | |
Put your tongue back in your head. | 0:26:30 | 0:26:32 | |
Sam, right? | 0:26:32 | 0:26:33 | |
Ian Fowkes. | 0:26:33 | 0:26:34 | |
Fowkes is ex-Special Forces. | 0:26:34 | 0:26:36 | |
He's new to the private sector. | 0:26:36 | 0:26:38 | |
My first op, actually. | 0:26:38 | 0:26:40 | |
Really looking forward to working with you. | 0:26:40 | 0:26:42 | |
Uh-huh. | 0:26:42 | 0:26:44 | |
-Morning. -Morning. | 0:26:48 | 0:26:50 | |
-Morning. -Morning. | 0:26:50 | 0:26:52 | |
Let's start. | 0:26:53 | 0:26:55 | |
OK, target is Jack Turner, he worked the Docks mid- to late... | 0:26:55 | 0:27:00 | |
Sorry I'm late. | 0:27:00 | 0:27:01 | |
You're back. | 0:27:04 | 0:27:06 | |
Looks like it. | 0:27:07 | 0:27:09 | |
I'd have brought a cake if I'd known. | 0:27:09 | 0:27:11 | |
Zoe. | 0:27:12 | 0:27:14 | |
As I was saying, Jack Turner, he worked the docks in the mid- to late-'70s. | 0:27:14 | 0:27:19 | |
Extortion, blackmail... | 0:27:19 | 0:27:21 | |
you name it. | 0:27:21 | 0:27:22 | |
Then, after they shut down, he went into property. | 0:27:22 | 0:27:24 | |
He made a killing on the Docklands. | 0:27:24 | 0:27:26 | |
He obviously upset a few people because in 1996 his eldest son, John, was found murdered and mutilated. | 0:27:27 | 0:27:33 | |
Jack played the markets shrewdly and now runs his investments out of a townhouse off Regent's Park. | 0:27:34 | 0:27:38 | |
Personal wealth in excess of £300 million. | 0:27:38 | 0:27:40 | |
-WHISTLES -Blimey! | 0:27:40 | 0:27:42 | |
There are questions regarding how Mr Turner accumulated his wealth. | 0:27:42 | 0:27:45 | |
Some of his business associates have disappeared or turned up dead. | 0:27:45 | 0:27:49 | |
Mr Turner is currently bidding to acquire the Upper Khyber Dam, | 0:27:49 | 0:27:53 | |
it's a billion-pound hydroelectric facility. | 0:27:53 | 0:27:55 | |
The Pakistani Minister for Privatisation is auctioning it off to the highest bidder, | 0:27:55 | 0:27:59 | |
against fierce political opposition. | 0:27:59 | 0:28:01 | |
There's a presidential candidate, Fatima Zahir, | 0:28:01 | 0:28:03 | |
she's vowed to block the sale if she wins the election next month. | 0:28:03 | 0:28:08 | |
A billion-pound utility seems a bit out of Mr Turner's league. | 0:28:08 | 0:28:10 | |
He's staking his entire fortune on it. | 0:28:10 | 0:28:12 | |
So he'll use all his old tricks to ensure he wins. | 0:28:12 | 0:28:16 | |
-And our client wants us to ensure that he loses? -Yeah. | 0:28:16 | 0:28:18 | |
But not until we find out what Mr Turner's game really is. | 0:28:18 | 0:28:22 | |
The agenda behind the agenda. | 0:28:22 | 0:28:25 | |
What's our play? | 0:28:25 | 0:28:26 | |
Sam will be the draw. | 0:28:26 | 0:28:28 | |
And the target? | 0:28:28 | 0:28:29 | |
Stephen Turner, Jack's surviving son. | 0:28:29 | 0:28:31 | |
Stephen's public-school educated, he's a lawyer, widowed with a young son, Edward, aged ten. | 0:28:31 | 0:28:39 | |
They live in the Regent's Park house with Jack. | 0:28:39 | 0:28:42 | |
-What happened to the mother? -Suicide, last year. | 0:28:44 | 0:28:47 | |
Jack Turner is controlling and aggressive. It won't be easy getting to Stephen, | 0:28:47 | 0:28:51 | |
-or giving him a reason to trust you. -I assume you have a plan. | 0:28:51 | 0:28:54 | |
Study the files. We have a lot of prep and not a lot of time. | 0:28:54 | 0:28:57 | |
- Good job, Zoe. - Thanks. | 0:29:07 | 0:29:09 | |
You good? | 0:29:09 | 0:29:10 | |
What did you expect? I'm a spy. | 0:30:16 | 0:30:18 | |
Nice place. | 0:30:25 | 0:30:26 | |
You've seen it. You can go now. | 0:30:27 | 0:30:29 | |
I knew you'd come back, Sam. | 0:30:29 | 0:30:31 | |
You couldn't stay away, even if it meant they'd try killing you again. | 0:30:31 | 0:30:34 | |
How did you know anyone did? | 0:30:34 | 0:30:35 | |
Sam, that cafe was a bloodbath. | 0:30:35 | 0:30:37 | |
-Is that what you told Keel? -Keel doesn't know. | 0:30:37 | 0:30:39 | |
Or at least I didn't tell him. | 0:30:39 | 0:30:41 | |
-Why not? -I figured if you didn't report in, you must have your reasons. | 0:30:41 | 0:30:46 | |
How did you know I wasn't dead? | 0:30:46 | 0:30:47 | |
HE SHOUTS IN ARABIC | 0:30:57 | 0:30:59 | |
I saw your footprint. | 0:30:59 | 0:31:01 | |
Not a pulse in the place. | 0:31:01 | 0:31:03 | |
-Sam, what happened? -I was set up. -By who? | 0:31:04 | 0:31:07 | |
You think it was me. | 0:31:11 | 0:31:13 | |
No-one knew else knew where I'd be. | 0:31:13 | 0:31:15 | |
-Only you. -OK. | 0:31:15 | 0:31:17 | |
I can see that. | 0:31:17 | 0:31:19 | |
I might even think the same thing. | 0:31:19 | 0:31:21 | |
Except that it's me you're talking about, Sam. | 0:31:22 | 0:31:25 | |
-Right. So someone else found out where I'd be... -That's right. They must have. | 0:31:25 | 0:31:29 | |
-How? -I don't know. | 0:31:29 | 0:31:30 | |
Not a pulse in the place... | 0:31:35 | 0:31:37 | |
The bartender was alive when I left. | 0:31:39 | 0:31:41 | |
Oh, he was most definitely dead. | 0:31:45 | 0:31:47 | |
Someone was sent to clean up. | 0:31:49 | 0:31:51 | |
Sort of thing you're good at. | 0:31:51 | 0:31:53 | |
OK, since you've got it all worked out, let's say, yes, I did order a hit on you, | 0:31:53 | 0:31:59 | |
I couldn't go the normal route of "It's not working out between us, | 0:31:59 | 0:32:02 | |
"we both want different things, it's not you, it's me." No, let's go for an assassination instead. | 0:32:02 | 0:32:07 | |
But why would I want to kill my own child? | 0:32:10 | 0:32:12 | |
I knew what you wanted to talk to me about, Sam. | 0:32:15 | 0:32:18 | |
I knew every tiny little inch of you. | 0:32:18 | 0:32:21 | |
You think I hadn't noticed? | 0:32:22 | 0:32:24 | |
I knew. | 0:32:25 | 0:32:26 | |
Did, er, did you...? | 0:32:31 | 0:32:34 | |
That answer your question? | 0:32:41 | 0:32:43 | |
For God's sake, Sam... | 0:32:47 | 0:32:48 | |
you can't think that this was down to me. | 0:32:48 | 0:32:51 | |
Why would I want to do that to you? | 0:32:51 | 0:32:54 | |
We were in love. | 0:32:54 | 0:32:55 | |
We were. | 0:32:55 | 0:32:57 | |
So you want to find out who tried to kill you and why. | 0:33:03 | 0:33:06 | |
And you think the best way of doing that is to let them try again. | 0:33:06 | 0:33:10 | |
So you come back. | 0:33:11 | 0:33:12 | |
I mean, you had to, sooner or later. | 0:33:12 | 0:33:15 | |
But ask yourself this... | 0:33:16 | 0:33:17 | |
why won't you trust me? | 0:33:17 | 0:33:20 | |
Is it because you don't love me any more? | 0:33:21 | 0:33:23 | |
Or is it because you're afraid you still do? | 0:33:25 | 0:33:27 | |
'You have one new message.' BEEP | 0:34:46 | 0:34:50 | |
WOMAN: I'm here, you're late. | 0:34:50 | 0:34:52 | |
I'm here, you're late. | 0:34:52 | 0:34:54 | |
I'm here, you're late. | 0:34:54 | 0:34:57 | |
I'm here, you're late. | 0:34:57 | 0:34:59 | |
I'm here, you're late. | 0:34:59 | 0:35:01 | |
Doors closing. | 0:35:25 | 0:35:27 | |
PHONE PINGS | 0:35:49 | 0:35:51 | |
IN ARABIC: | 0:36:01 | 0:36:03 | |
Sam, hide, get down! | 0:36:28 | 0:36:31 | |
Get off me. | 0:36:35 | 0:36:37 | |
Get off me, I'm calling the police. | 0:36:37 | 0:36:39 | |
No! | 0:36:39 | 0:36:40 | |
Nooo! | 0:36:40 | 0:36:41 | |
ROCK MUSIC BLARES | 0:37:17 | 0:37:19 | |
Eddie... | 0:37:21 | 0:37:23 | |
Eddie, stick with me. | 0:37:24 | 0:37:26 | |
Eddie! | 0:38:15 | 0:38:16 | |
Eddie! | 0:38:19 | 0:38:20 | |
Move! Get out of here! | 0:38:25 | 0:38:26 | |
Hey! | 0:38:27 | 0:38:28 | |
SHOUTING | 0:38:28 | 0:38:30 | |
Eddie! | 0:38:39 | 0:38:40 | |
Eddie, are you ok? | 0:38:44 | 0:38:45 | |
Miss Kent. | 0:39:05 | 0:39:07 | |
You all right? You OK? | 0:39:16 | 0:39:19 | |
You're OK. | 0:39:19 | 0:39:20 | |
All in one piece. | 0:39:20 | 0:39:22 | |
Granddad's little soldier, aren't you, eh, Eddie, eh? | 0:39:22 | 0:39:25 | |
Course you are. | 0:39:25 | 0:39:27 | |
Course you are. Now you go with Mrs S. | 0:39:27 | 0:39:28 | |
She'll give you some ice-cream. Everything'll be all right. Grandad'll sort it. Good boy. | 0:39:28 | 0:39:33 | |
-What happened? -Dad, it was quick, it was so quick, professional... | 0:39:33 | 0:39:35 | |
-What did he look like? -I don't know, he was Middle Eastern, I think, I don't know, it was quick. | 0:39:35 | 0:39:39 | |
-Who's this? -Dad, this is Alex Kent. She saved Eddie. | 0:39:39 | 0:39:42 | |
Got any ID? | 0:39:42 | 0:39:44 | |
-For Christ's sake! -ID. | 0:39:44 | 0:39:47 | |
-AMERICAN ACCENT: -Yes... | 0:39:47 | 0:39:48 | |
Yank. | 0:39:52 | 0:39:54 | |
-What are you, a tourist? -Not exactly. | 0:39:54 | 0:39:56 | |
< Mr Turner? | 0:39:56 | 0:39:57 | |
Be with you in one sec, gents. Thank you. | 0:39:57 | 0:39:59 | |
What, then? If not a tourist, what are you? | 0:40:00 | 0:40:03 | |
I'm here for a few months, looking for work. | 0:40:03 | 0:40:05 | |
Do you want to stop this? She saved Eddie. | 0:40:05 | 0:40:07 | |
-Saved him. -And we're very grateful. | 0:40:07 | 0:40:09 | |
Stephen, a word. | 0:40:10 | 0:40:12 | |
-I'm sorry, Miss Kent. -Oh, it's OK, really. | 0:40:14 | 0:40:17 | |
No, it isn't. | 0:40:17 | 0:40:18 | |
Thank you so much. | 0:40:18 | 0:40:20 | |
Thank you. | 0:40:21 | 0:40:22 | |
Would you like me to make a statement for the police? | 0:40:25 | 0:40:27 | |
-That won't be necessary, Miss Kent. -OK. | 0:40:27 | 0:40:29 | |
You wanted to see me? | 0:40:38 | 0:40:39 | |
Crane tells me it all went according to plan. | 0:40:39 | 0:40:42 | |
If you call terrifying a ten-year-old boy a plan. | 0:40:42 | 0:40:45 | |
It's for the greater good. | 0:40:45 | 0:40:46 | |
Since when was one of our clients interested in the greater good? | 0:40:46 | 0:40:49 | |
You wanted to come back, and I took you on. | 0:40:49 | 0:40:52 | |
Despite the fact that you lied to me, and you're still lying to me. | 0:40:53 | 0:40:57 | |
-I've said all I have to say. -I brought you to this company. | 0:40:57 | 0:41:01 | |
I gave you a career. | 0:41:01 | 0:41:02 | |
And I'm not ungrateful. | 0:41:02 | 0:41:03 | |
You have a strange way of expressing your gratitude. | 0:41:03 | 0:41:06 | |
Why did you want to see me, Mr Keel? | 0:41:06 | 0:41:08 | |
We have a breach. | 0:41:08 | 0:41:10 | |
Bit of a coincidence, don't you think? Springing a leak just as you come back. | 0:41:13 | 0:41:17 | |
Are you accusing me? | 0:41:17 | 0:41:18 | |
I don't make accusations until I have the evidence to back them up, | 0:41:18 | 0:41:20 | |
but when I have it, I will be remorseless, obviously. | 0:41:20 | 0:41:24 | |
You look drained. It suits Alex Kent, it doesn't suit Sam Hunter. | 0:41:24 | 0:41:28 | |
When you're ready to talk, I'm here. | 0:41:29 | 0:41:32 | |
Principal give you a spanking? | 0:41:43 | 0:41:44 | |
-Keel never leaves marks. -He just don't like secrets, unless of course they're his. | 0:41:44 | 0:41:49 | |
So you're not going to tell him, but you're going to tell me, right? | 0:41:49 | 0:41:53 | |
Oh, you know me better than that. | 0:41:53 | 0:41:55 | |
Are these the men you saw? | 0:41:57 | 0:41:59 | |
-That's them. -Yeah. | 0:41:59 | 0:42:01 | |
These are Turner's partners. | 0:42:01 | 0:42:03 | |
From KPEK, the Norwegian firm that would manage the dam. | 0:42:03 | 0:42:05 | |
-No surprise, then. -Yeah. | 0:42:05 | 0:42:07 | |
-Stephen call you yet? -Not yet, but he will. | 0:42:07 | 0:42:10 | |
Let me know when he does. PHONE RINGS | 0:42:10 | 0:42:12 | |
Like I said! | 0:42:12 | 0:42:14 | |
-AMERICAN ACCENT: -Hello? | 0:42:15 | 0:42:16 | |
Oh, hi, Alex, it's Stephen here, Stephen Turner. | 0:42:16 | 0:42:19 | |
-How's your little boy? -Eddie, yeah, he's fine, he's OK. | 0:42:19 | 0:42:22 | |
He's, er... | 0:42:22 | 0:42:23 | |
He's still a bit shocked, actually. | 0:42:23 | 0:42:25 | |
A lot's happened to him recently. | 0:42:25 | 0:42:27 | |
Er, I just wanted to thank you again for what you did. | 0:42:27 | 0:42:31 | |
I really... I don't know how to repay you. | 0:42:31 | 0:42:34 | |
That's really not necessary. Anyone would've done the same. | 0:42:34 | 0:42:37 | |
Yeah, but they didn't. You did. | 0:42:37 | 0:42:39 | |
I wondered... | 0:42:40 | 0:42:42 | |
if I could meet you for a coffee tomorrow, if you have time. | 0:42:42 | 0:42:44 | |
Sure. My schedule's wide open, actually. | 0:42:44 | 0:42:46 | |
Great. Good. Let's say the Boat House, Regent's Park, three o'clock? | 0:42:46 | 0:42:50 | |
Three o'clock. I'll be there. | 0:42:53 | 0:42:54 | |
Game on. | 0:42:57 | 0:42:59 | |
-AMERICAN ACCENT: -Mr Turner? -Stephen, please. | 0:43:12 | 0:43:14 | |
It's a remote-control car. | 0:43:15 | 0:43:17 | |
I hope you don't mind, but I saw that Eddie lost his yesterday. | 0:43:17 | 0:43:20 | |
Wow, thank you. | 0:43:20 | 0:43:22 | |
That's very sweet of you. | 0:43:22 | 0:43:24 | |
He was asking after you this morning. | 0:43:24 | 0:43:27 | |
-He wanted to know if you were all right. -That's so sweet. | 0:43:27 | 0:43:29 | |
-You tell him I'm fine. -Hi, can I take your order? | 0:43:29 | 0:43:32 | |
Hi, tea, please. | 0:43:32 | 0:43:34 | |
-English breakfast with milk. | 0:43:34 | 0:43:36 | |
I never really drank tea, but I've been in London three months now and I can't live without it. | 0:43:37 | 0:43:41 | |
-You're from Indiana. -That's right, Bloomington. I grew up there. | 0:43:41 | 0:43:43 | |
Right. | 0:43:43 | 0:43:45 | |
Who do you know in London? | 0:43:45 | 0:43:47 | |
Er... | 0:43:47 | 0:43:48 | |
no-one, really. | 0:43:48 | 0:43:50 | |
I wanted to make a new start, I guess. | 0:43:50 | 0:43:52 | |
My life has...taken a few unexpected turns of late. | 0:43:52 | 0:43:56 | |
Yeah. | 0:43:56 | 0:43:57 | |
I'm sorry. | 0:43:58 | 0:43:59 | |
You're sorry? | 0:44:00 | 0:44:01 | |
-I know about your car crash last December. -How do you know about that? | 0:44:01 | 0:44:05 | |
I know your husband and daughter were killed. I'm sorry for your loss. | 0:44:05 | 0:44:07 | |
-Are you checking up on me? -I don't mean to scare you. | 0:44:07 | 0:44:09 | |
It's just that our lives, mine and Eddie's, they're not usual. | 0:44:09 | 0:44:12 | |
-Everyone gets checked, everyone. -I didn't ask for this! | 0:44:12 | 0:44:15 | |
I know you came here to London to leave the past behind. | 0:44:15 | 0:44:18 | |
I understand that. Really, I do. | 0:44:18 | 0:44:20 | |
I lost my wife... | 0:44:20 | 0:44:22 | |
I didn't lose her, that's a stupid phrase. | 0:44:24 | 0:44:27 | |
She died. | 0:44:27 | 0:44:29 | |
But I'd go somewhere, I'd go anywhere different, with Eddie, if I could, to start again. | 0:44:29 | 0:44:35 | |
What you did was so completely selfless... | 0:44:37 | 0:44:40 | |
and in my world, no-one's selfless. | 0:44:40 | 0:44:42 | |
I just want to help you. | 0:44:42 | 0:44:44 | |
Help me? | 0:44:47 | 0:44:48 | |
So he wants you to move in? | 0:44:51 | 0:44:53 | |
When? | 0:44:55 | 0:44:56 | |
Now. At once. | 0:44:56 | 0:44:58 | |
His son missed six months of school and needs tutoring. | 0:44:58 | 0:45:01 | |
Alex Kent is an unemployed third-grade teacher who loves children. | 0:45:01 | 0:45:04 | |
-He thought he was doing us both a favour. -But you declined the offer. | 0:45:04 | 0:45:06 | |
I'm supposed to screw him, not screw over his kid. | 0:45:06 | 0:45:09 | |
But we've been presented with a better opportunity. | 0:45:09 | 0:45:11 | |
If I'm in that house, my movements will be restricted. | 0:45:11 | 0:45:14 | |
-I'll be watched every moment. -And you can watch them. | 0:45:14 | 0:45:17 | |
You can see and hear everything that goes on in that house. | 0:45:17 | 0:45:19 | |
That's far more useful to us. | 0:45:21 | 0:45:23 | |
Deacon? | 0:45:23 | 0:45:24 | |
Aidan will be point, Zoe will provide intel and run surveillance with Fowkes. | 0:45:28 | 0:45:32 | |
Good. | 0:45:32 | 0:45:34 | |
By the way, no wires. | 0:45:34 | 0:45:36 | |
Why not? | 0:45:36 | 0:45:37 | |
A Chinese agent posing as an investor | 0:45:37 | 0:45:39 | |
wore a wire to a meeting with Jack Turner two weeks ago. | 0:45:39 | 0:45:41 | |
A few days later, his body was found floating in the Thames. | 0:45:41 | 0:45:44 | |
We'll get you out of there as quickly as we can, Sam. | 0:45:45 | 0:45:48 | |
SHE SCREAMS | 0:46:30 | 0:46:32 | |
Get off! | 0:46:32 | 0:46:33 | |
Get off! | 0:46:37 | 0:46:39 | |
Let me out! | 0:46:41 | 0:46:43 | |
Let me out! | 0:46:43 | 0:46:44 | |
I want another handler. | 0:46:58 | 0:46:59 | |
Good morning to you too. Sorry, but you're stuck with me. | 0:46:59 | 0:47:02 | |
Well, get on it with it, then. | 0:47:02 | 0:47:04 | |
A Dutch engineer, Horst Goebel. | 0:47:05 | 0:47:07 | |
He's arriving tonight from City airport to meet the Turners. | 0:47:07 | 0:47:10 | |
What do we know about him? | 0:47:10 | 0:47:11 | |
He appears to be a bit of a cipher. No photos, | 0:47:11 | 0:47:13 | |
just a brief bio online. | 0:47:13 | 0:47:15 | |
He specializes in water contamination. | 0:47:15 | 0:47:17 | |
Do we know the nature of Goebel's business with Turner? | 0:47:17 | 0:47:19 | |
That's what we need you to find out. | 0:47:19 | 0:47:20 | |
Engage him in conversation, copy any documents that he brings with him. | 0:47:20 | 0:47:24 | |
That's going to be a little tough with a ten-year-old on my arm. | 0:47:24 | 0:47:26 | |
Crane figured that. | 0:47:26 | 0:47:28 | |
Video eyes. Plant them in the library. | 0:47:28 | 0:47:30 | |
Keel says there's a mole on the team. | 0:47:33 | 0:47:36 | |
Who? | 0:47:38 | 0:47:39 | |
-He doesn't know. -Then, why did he tell you? | 0:47:40 | 0:47:42 | |
Did it occur to you that there is no mole? | 0:47:42 | 0:47:45 | |
That he's just trying to rattle you because he can't bare not knowing where you've been? | 0:47:45 | 0:47:48 | |
So why tell me? | 0:47:51 | 0:47:53 | |
Because if you're the mole, you'll run. | 0:47:53 | 0:47:55 | |
THEY SPEAK DUTCH | 0:48:01 | 0:48:04 | |
IN DUTCH: | 0:48:56 | 0:48:58 | |
Dad! | 0:49:41 | 0:49:42 | |
Yeah? | 0:49:43 | 0:49:44 | |
Ah, Miss Kent, I'm so glad you decided to come. | 0:49:44 | 0:49:47 | |
Hello, Eddie. | 0:49:47 | 0:49:48 | |
-Have you come to stay for a bit? -For a bit. | 0:49:48 | 0:49:51 | |
Your room's on the second floor. It's just across from Eddie's. | 0:49:51 | 0:49:54 | |
-Mrs Sidwa will show you up. -Perfect. | 0:49:54 | 0:49:56 | |
-You wanted to see me? -What's the matter with you? | 0:50:25 | 0:50:27 | |
-You lost your marbles or something? -Dad, if she hadn't done what she did... | 0:50:27 | 0:50:30 | |
Drop her a couple of grand, thank her very much, end of story. | 0:50:30 | 0:50:33 | |
He asked after her, Dad. | 0:50:33 | 0:50:34 | |
He actually asked after her, you know? | 0:50:34 | 0:50:35 | |
She's the first person Eddie's shown any interest in since Becky died. | 0:50:35 | 0:50:40 | |
A stranger, in this house... | 0:50:40 | 0:50:42 | |
Bingham checked her out. | 0:50:42 | 0:50:44 | |
It'll be good for Eddie having her here. | 0:50:44 | 0:50:45 | |
What do you know about bringing up a kid? | 0:50:45 | 0:50:48 | |
About as much as you. | 0:50:48 | 0:50:50 | |
I did my best. | 0:50:52 | 0:50:54 | |
Well, I'm going to do better. | 0:50:54 | 0:50:55 | |
My firstborn's not going to end up gutted with his dick cut off. | 0:50:55 | 0:50:59 | |
Just get rid of her, Stevie. | 0:51:01 | 0:51:03 | |
Not even biscuits. | 0:51:25 | 0:51:28 | |
And UHT! | 0:51:29 | 0:51:31 | |
I hate UHT. It's got that chalky aftertaste. Makes me gag. | 0:51:31 | 0:51:35 | |
"Ultra-pasteurized". | 0:51:36 | 0:51:38 | |
Is it just me that's bothered? | 0:51:41 | 0:51:42 | |
We could be here weeks drinking this, all of us getting that chalky aftertaste. | 0:51:42 | 0:51:46 | |
-Shut up, Fowkes. -The reason I left the Forces was so I didn't have to keep drinking this shit. | 0:51:46 | 0:51:50 | |
-I thought it was because they threw you out. -Yeah, bring that up, why don't you? | 0:51:50 | 0:51:54 | |
That's very painful to me, you know. You're causing me pain. | 0:51:54 | 0:51:57 | |
Why's Hasan on this? | 0:52:00 | 0:52:02 | |
Keel wanted him. | 0:52:02 | 0:52:04 | |
You trust him? | 0:52:04 | 0:52:05 | |
Hell, I don't trust you. | 0:52:05 | 0:52:07 | |
Hasan. | 0:52:07 | 0:52:08 | |
-Urgh! Can I go and get some proper milk? -No. | 0:52:08 | 0:52:11 | |
Nobody leaves unless specifically ordered. | 0:52:11 | 0:52:14 | |
Fine. | 0:52:14 | 0:52:15 | |
So did you talk to her? | 0:52:17 | 0:52:19 | |
Did she tell you anything? About where she'd been? Anything at all? | 0:52:19 | 0:52:22 | |
Why would she talk to me? | 0:52:22 | 0:52:23 | |
Well, you're a woman. You tell each other things. | 0:52:23 | 0:52:26 | |
I'm a woman? | 0:52:26 | 0:52:28 | |
Shit, man! I wondered what these were doing here! | 0:52:28 | 0:52:30 | |
Funny. Mm-hm. | 0:52:31 | 0:52:33 | |
So once round, thorough check, and I want you phoning in no later than four, all right. | 0:52:40 | 0:52:44 | |
DOOR OPENS | 0:53:20 | 0:53:21 | |
Sir? | 0:53:31 | 0:53:32 | |
The KPEK documents have just arrived. | 0:53:32 | 0:53:34 | |
-Your father would like you to review them. -OK. | 0:53:34 | 0:53:37 | |
And we're up. | 0:53:49 | 0:53:50 | |
- She's good, all right. - Yeah. | 0:53:54 | 0:53:56 | |
Goebel's arriving on a Lufthansa flight into City in 45 minutes. | 0:53:58 | 0:54:01 | |
All right. Hasan, I want you to go to City Airport and watch for Goebel. | 0:54:01 | 0:54:04 | |
Why can't Fowkes go? | 0:54:04 | 0:54:05 | |
Cos I'm ordering you. | 0:54:05 | 0:54:06 | |
How am I supposed to recognise him? | 0:54:09 | 0:54:12 | |
I'll send you his SIM data. Just track him when he comes online. | 0:54:12 | 0:54:14 | |
Hasan, nip in the shop for us and pick up a few things. | 0:54:16 | 0:54:19 | |
Good lad. | 0:54:20 | 0:54:21 | |
Yes? | 0:54:31 | 0:54:33 | |
That's right. | 0:54:33 | 0:54:35 | |
Where? | 0:54:37 | 0:54:38 | |
Who is this? | 0:54:40 | 0:54:42 | |
KNOCKING | 0:54:44 | 0:54:46 | |
Sir? | 0:54:46 | 0:54:48 | |
What is it, Bingham? | 0:54:48 | 0:54:49 | |
I have some good news. | 0:54:49 | 0:54:51 | |
Shit, scramblers are killing the audio... | 0:54:55 | 0:54:57 | |
SOUND IS BROKEN UP | 0:54:57 | 0:55:00 | |
Something's going on. | 0:55:00 | 0:55:02 | |
Ready for bed? | 0:55:10 | 0:55:12 | |
Would you like me to read you a story? | 0:55:14 | 0:55:16 | |
My mummy read them all to me. | 0:55:16 | 0:55:18 | |
She's not alive any more. | 0:55:19 | 0:55:20 | |
I know. I'm sorry. | 0:55:22 | 0:55:23 | |
Dad said you had a family. | 0:55:26 | 0:55:28 | |
I did. | 0:55:30 | 0:55:31 | |
And...they died, too. | 0:55:31 | 0:55:34 | |
They did. | 0:55:36 | 0:55:37 | |
You know tomorrow... | 0:55:46 | 0:55:48 | |
for your breakfast, we have every cereal, | 0:55:48 | 0:55:50 | |
and whatever's your favourite, we probably have it. | 0:55:50 | 0:55:53 | |
And if we don't, Mrs Sidwa could go get it for you. | 0:55:53 | 0:55:56 | |
I like most things. | 0:55:57 | 0:55:59 | |
But I tell you what, I'll have the same thing as you. | 0:55:59 | 0:56:02 | |
OK. | 0:56:03 | 0:56:04 | |
See you tomorrow morning. | 0:56:04 | 0:56:06 | |
Good night, Eddie. | 0:56:09 | 0:56:10 | |
-Sleep tight... -Don't let the bed bugs bite. | 0:56:15 | 0:56:18 | |
Come on! | 0:56:45 | 0:56:46 | |
-Eddie sleeping? -Yeah. | 0:56:59 | 0:57:01 | |
Good. | 0:57:01 | 0:57:02 | |
Thank you again. | 0:57:02 | 0:57:03 | |
Here's to you, Miss Kent. | 0:57:07 | 0:57:08 | |
Call me Alex. | 0:57:08 | 0:57:10 | |
Alex. | 0:57:12 | 0:57:13 | |
-Mr Turner? He's arrived. -Thank you. ..I won't be a second. | 0:57:14 | 0:57:18 | |
Doctor, I'm so pleased you could make it. | 0:57:22 | 0:57:24 | |
-How was your trip? -Oh, it was fine, thank you. | 0:57:25 | 0:57:28 | |
Miss Kent, this is Dr Horst Goebel. | 0:57:28 | 0:57:31 | |
Miss Kent. | 0:57:35 | 0:57:36 | |
We're looking for this woman. | 0:57:37 | 0:57:39 | |
You served in the Special Reconnaissance Regiment together. | 0:57:39 | 0:57:41 | |
You're late. | 0:57:41 | 0:57:42 | |
What's your impression of Sam? | 0:57:46 | 0:57:48 | |
Don't speculate on who the client is. Speculation leads to assumption... | 0:57:48 | 0:57:51 | |
Assumption leads to mistakes and mistakes will get you killed! | 0:57:51 | 0:57:53 | |
Sir... | 0:57:55 | 0:57:55 | |
Do you perceive her capabilities to have diminished in any way? | 0:57:55 | 0:57:58 | |
No, I don't perceive that. | 0:58:00 | 0:58:01 | |
A man is down, we rescue him. | 0:58:03 | 0:58:04 | |
I won't need you for this one, Stevie. | 0:58:05 | 0:58:07 | |
Someone betrayed me, someone on the team. | 0:58:07 | 0:58:09 | |
Look, I will help you if you'll let me. | 0:58:10 | 0:58:12 | |
And I'd let you if I could trust you. | 0:58:12 | 0:58:15 | |
Subtitles by Red Bee Media Ltd | 0:58:25 | 0:58:29 |