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This programme contains graphic violent scenes | 0:00:00 | 0:00:02 | |
-Keel says there's a mole on the team. -It's got to be Aidan. | 0:00:02 | 0:00:04 | |
Goebel hasn't been seen since the Turner House. | 0:00:04 | 0:00:06 | |
Go to Amsterdam and find out what was in that case. | 0:00:06 | 0:00:07 | |
The Russians were spying on an MI6 officer, | 0:00:07 | 0:00:10 | |
called George Ballard. | 0:00:10 | 0:00:11 | |
He kept a case file on something called Hourglass. | 0:00:11 | 0:00:14 | |
-You have to do this. -No, I don't. | 0:00:14 | 0:00:17 | |
Oh, God. What have you done. | 0:00:17 | 0:00:19 | |
Someone's there. | 0:00:19 | 0:00:21 | |
Why were you following Jack Turner? | 0:00:22 | 0:00:24 | |
-Following him? -Do you know what he would do if he found out? | 0:00:24 | 0:00:27 | |
-Is Miss Kent still with you? -You're being paranoid. -Am I? | 0:00:27 | 0:00:30 | |
We'll need a list of all the women in your office who might have | 0:00:30 | 0:00:33 | |
been followed last night. | 0:00:33 | 0:00:34 | |
Dad, we're short 30 million quid. | 0:00:34 | 0:00:36 | |
Kismet capitalises almost | 0:00:36 | 0:00:38 | |
instantaneously on accidents, disasters. | 0:00:38 | 0:00:40 | |
He's going to blow up a building. | 0:00:42 | 0:00:43 | |
Get out of there now, that's an order. | 0:00:43 | 0:00:46 | |
Are you all right? Can you hear me, mate? | 0:02:06 | 0:02:09 | |
TV: '...the full extent of the damage caused by what appears | 0:02:19 | 0:02:22 | |
'to have been a large explosion. We are getting reports of one fatality. | 0:02:22 | 0:02:27 | |
'We can cross live now to our reporter...' | 0:02:27 | 0:02:30 | |
Good news? | 0:02:30 | 0:02:31 | |
Our utility holdings jumped 32 million. | 0:02:32 | 0:02:36 | |
Should be enough to satisfy the Pakistanis. | 0:02:36 | 0:02:39 | |
Then everything's in hand. | 0:02:39 | 0:02:40 | |
Everything except, Alex Kent. | 0:02:42 | 0:02:44 | |
-Sam? -Still no sign of her. | 0:02:49 | 0:02:51 | |
Turner's made his millions from this. | 0:02:54 | 0:02:56 | |
Yep, and no-one will ever suspect how. | 0:02:56 | 0:02:58 | |
They're reporting a fatality at the scene. They're saying it's a woman, | 0:02:58 | 0:03:01 | |
but Aidan still hasn't reported in. | 0:03:01 | 0:03:04 | |
KNOCK AT DOOR | 0:03:04 | 0:03:06 | |
-You wanted to see me? -Come in. Sit down. | 0:03:06 | 0:03:08 | |
No need to be frightened. | 0:03:12 | 0:03:14 | |
Am I in some kind of trouble? | 0:03:14 | 0:03:16 | |
We just want to ask you a few questions about the work | 0:03:18 | 0:03:20 | |
you've been doing with Aidan Marsh. | 0:03:20 | 0:03:22 | |
Miss Kent. | 0:04:05 | 0:04:06 | |
How are you feeling? | 0:04:08 | 0:04:10 | |
Like someone stepped on my head. | 0:04:12 | 0:04:15 | |
How did I get here? | 0:04:15 | 0:04:17 | |
You were found unconscious on the pavement. | 0:04:17 | 0:04:19 | |
Were you drinking last night? | 0:04:19 | 0:04:20 | |
Just a little wine. | 0:04:23 | 0:04:25 | |
Any history of fainting, dizziness? | 0:04:25 | 0:04:27 | |
No. | 0:04:27 | 0:04:29 | |
Tell you what, | 0:04:31 | 0:04:32 | |
I think you're fine, | 0:04:32 | 0:04:34 | |
but we'd like to keep you under observation a bit longer. All right? | 0:04:34 | 0:04:37 | |
-OK. -The nurse will be along in a minute. Do you need anything? | 0:04:37 | 0:04:41 | |
Could you call my boss? | 0:04:42 | 0:04:43 | |
He might be wondering where I am. | 0:04:44 | 0:04:46 | |
Give the number to the nurse when she comes in. | 0:04:46 | 0:04:49 | |
-Dad...? -Morning. | 0:05:10 | 0:05:13 | |
What time is it? | 0:05:15 | 0:05:16 | |
Time to get up. I'll see you downstairs. | 0:05:16 | 0:05:19 | |
Where's Alex? | 0:05:19 | 0:05:21 | |
She went out. She'll be back soon. | 0:05:23 | 0:05:25 | |
How's Granddad's little soldier? | 0:05:29 | 0:05:31 | |
-Good. -That's my boy. You go and get your breakfast. | 0:05:31 | 0:05:34 | |
I need to have a word with your dad. | 0:05:34 | 0:05:36 | |
I'll call the Pakistanis, explain to them we don't have the funds. | 0:05:36 | 0:05:39 | |
No, no, no there's no need for that. | 0:05:39 | 0:05:40 | |
What do you mean? | 0:05:40 | 0:05:42 | |
I told you I'd take care of it, and I have. | 0:05:44 | 0:05:46 | |
We have the 30 million? | 0:05:48 | 0:05:50 | |
Of course. | 0:05:50 | 0:05:51 | |
TELEPHONE RINGS | 0:05:53 | 0:05:55 | |
Stevie...I wanted to ask you about Alex Kent. | 0:05:55 | 0:06:00 | |
What about her? | 0:06:01 | 0:06:02 | |
I understand she's been gone all night. She called you at all? | 0:06:02 | 0:06:07 | |
Mr Stephen, it's for you. | 0:06:07 | 0:06:10 | |
Hello... | 0:06:13 | 0:06:14 | |
Where is it? | 0:06:19 | 0:06:21 | |
There a problem? | 0:06:26 | 0:06:27 | |
Yeah, Stephen Turner's on a call in the library. I can't get the bloody volume. | 0:06:27 | 0:06:32 | |
-FROM SPEAKER: -'All right, I see.' | 0:06:33 | 0:06:36 | |
Well, sure. If you'd shown me that before. | 0:06:36 | 0:06:38 | |
'Yeah, OK. Yeah, that's right, can you give me the address.' | 0:06:38 | 0:06:42 | |
No, no I understand. Thank you. | 0:06:42 | 0:06:44 | |
That was the Royal Hospital. Alex collapsed last night | 0:06:46 | 0:06:50 | |
on her way back to the house. | 0:06:50 | 0:06:52 | |
What's happened? | 0:06:55 | 0:06:56 | |
I can't reach Aidan. And Sam never returned from Conroy's last night. | 0:06:56 | 0:07:00 | |
I gathered that much. | 0:07:00 | 0:07:01 | |
What about the cheese then? | 0:07:06 | 0:07:07 | |
-Zoe. -Sam's in the Royal Hospital. -She all right? | 0:07:10 | 0:07:12 | |
I'm guessing its cover for her late return, but Fowkes still can't reach Aidan. | 0:07:12 | 0:07:16 | |
If he shows up, send him to us. | 0:07:16 | 0:07:18 | |
What for? | 0:07:18 | 0:07:20 | |
We got a situation. | 0:07:21 | 0:07:23 | |
Good morning, Miss Kent. Or should I say, Miss Hunter? | 0:07:50 | 0:07:54 | |
It's all right. I'm not here to hurt you. | 0:07:54 | 0:07:57 | |
You injected me with something. | 0:07:57 | 0:07:59 | |
A sedative. | 0:07:59 | 0:08:00 | |
Why? | 0:08:00 | 0:08:02 | |
I need to talk to you. | 0:08:03 | 0:08:04 | |
You jab me in the eye just so you can talk to me? | 0:08:04 | 0:08:07 | |
And to demonstrate my good will. | 0:08:07 | 0:08:09 | |
If I wanted to kill you, you'd be dead, obviously. | 0:08:09 | 0:08:13 | |
You didn't need to put me in a hospital bed for that. | 0:08:13 | 0:08:16 | |
The hospital explains your absence, both to the Turners and Byzantium. | 0:08:16 | 0:08:22 | |
So, talk. | 0:08:22 | 0:08:23 | |
I'll just put these in water. | 0:08:28 | 0:08:30 | |
Your life is in danger. | 0:08:51 | 0:08:52 | |
No shit. | 0:08:52 | 0:08:54 | |
Unfortunately, I arrived in Tangier too late. | 0:08:54 | 0:08:56 | |
I spent the past year searching for you. | 0:08:56 | 0:08:59 | |
By the time I found you, you were already in the Turner house. | 0:09:00 | 0:09:03 | |
You impersonated Horst Goebel, just to get to me. | 0:09:05 | 0:09:08 | |
-I could hardly enter that house as myself. -And the real Horst Goebel? | 0:09:09 | 0:09:13 | |
Sedated, like you. Though, he never woke up. | 0:09:13 | 0:09:18 | |
I need to take you somewhere safe. Beyond their reach. | 0:09:20 | 0:09:24 | |
You mean Hourglass. | 0:09:25 | 0:09:26 | |
I'm not authorised to discuss that. | 0:09:28 | 0:09:30 | |
I'm not going anywhere with you. | 0:09:30 | 0:09:31 | |
Your absence now would raise too many questions. | 0:09:33 | 0:09:37 | |
But time is running out. Byzantium will soon realise the danger you are in. | 0:09:39 | 0:09:42 | |
You mustn't trust anyone. | 0:09:42 | 0:09:44 | |
Especially, if they say they're trying to help you. | 0:09:44 | 0:09:47 | |
You mean like you. | 0:09:47 | 0:09:49 | |
Oh, you can put back the knife now. | 0:09:51 | 0:09:54 | |
How did they know I was at that cafe? | 0:09:57 | 0:10:00 | |
It was intemperate of you to have an affair with a colleague. | 0:10:01 | 0:10:05 | |
Aidan. | 0:10:09 | 0:10:11 | |
You, OK? | 0:10:22 | 0:10:23 | |
Something wrong, Deacon? You don't seem your usual, jolly self. | 0:10:23 | 0:10:27 | |
I need to ask you some questions. | 0:10:29 | 0:10:31 | |
Let's talk later. I want to go check on Sam. | 0:10:32 | 0:10:34 | |
Let's talk now. | 0:10:36 | 0:10:38 | |
Of course. | 0:10:41 | 0:10:42 | |
SHE MOUTHS | 0:10:43 | 0:10:45 | |
Hello, Mr Ballard, Mr Keel is waiting for you. | 0:10:55 | 0:10:59 | |
Hello, George. | 0:11:07 | 0:11:09 | |
You're looking very well. | 0:11:10 | 0:11:12 | |
I look like shit. So do you. | 0:11:12 | 0:11:14 | |
-Tea. Earl Grey with lemon. -Right away. | 0:11:16 | 0:11:18 | |
It's good to see you again. | 0:11:22 | 0:11:25 | |
Nostalgia's the last thing I'd expect from you, Rupert. | 0:11:25 | 0:11:28 | |
You were an excellent analyst, the best MI6 had. | 0:11:28 | 0:11:32 | |
And you were a brilliant strategist. Always two steps ahead. | 0:11:32 | 0:11:37 | |
I suppose that's why you're sitting here in a bespoke suit, | 0:11:38 | 0:11:41 | |
while I'm living in Croydon on a government wage. | 0:11:41 | 0:11:44 | |
Well, you were an idealist. | 0:11:45 | 0:11:47 | |
You make it sound like a dirty word. | 0:11:47 | 0:11:49 | |
I like to think there are still certain causes worth fighting for. | 0:11:51 | 0:11:55 | |
That's a pretty thought. | 0:11:55 | 0:11:56 | |
So, why did you ask to see me again after all these years? | 0:11:58 | 0:12:03 | |
An operative of ours, Sam Hunter. | 0:12:03 | 0:12:06 | |
Don't pretend you don't know who she is. | 0:12:07 | 0:12:09 | |
Or that she disappeared for the past year. | 0:12:12 | 0:12:14 | |
You can believe...anything you like. | 0:12:16 | 0:12:21 | |
She's mixed up in something. | 0:12:25 | 0:12:27 | |
I'm not sure what... | 0:12:27 | 0:12:29 | |
..but I'm beginning to get an idea. | 0:12:31 | 0:12:33 | |
How's this for a blank face? | 0:12:36 | 0:12:38 | |
Hourglass. | 0:12:40 | 0:12:41 | |
I thought as much. | 0:12:47 | 0:12:48 | |
I don't know what Hourglass is, Rupert. | 0:12:48 | 0:12:53 | |
Of course you don't. | 0:12:53 | 0:12:54 | |
Enjoy your tea, George. | 0:12:57 | 0:12:59 | |
Alex. | 0:13:07 | 0:13:09 | |
How you feeling? | 0:13:13 | 0:13:15 | |
I'm fine. | 0:13:15 | 0:13:16 | |
-She had us worried, didn't she, Eddie? -Yeah. | 0:13:16 | 0:13:20 | |
Are you all right? | 0:13:20 | 0:13:21 | |
I am, if you are. | 0:13:21 | 0:13:23 | |
So, can we take you home now or...? | 0:13:27 | 0:13:28 | |
The doctor wants me to stay for a few hours of observation. Just to be sure. | 0:13:28 | 0:13:32 | |
Will you be home when I get back from school? | 0:13:32 | 0:13:35 | |
I hope so. | 0:13:35 | 0:13:38 | |
You know what this is about, don't you? | 0:13:45 | 0:13:47 | |
Surprise party? | 0:13:47 | 0:13:49 | |
We've got a mole on the team. | 0:13:50 | 0:13:52 | |
Run by MI6 officer Natalie Thorpe. | 0:13:55 | 0:13:58 | |
Is that so? | 0:13:58 | 0:14:00 | |
You know it is. You're the mole. | 0:14:04 | 0:14:07 | |
That kind of hurts my feelings, Deacon. | 0:14:08 | 0:14:10 | |
After all the ops we've worked together. | 0:14:10 | 0:14:12 | |
Imagine how I feel? | 0:14:15 | 0:14:17 | |
Losing Hasan... | 0:14:18 | 0:14:20 | |
..because someone on my team was spying for six. | 0:14:24 | 0:14:28 | |
What makes you think it was me? | 0:14:31 | 0:14:32 | |
Do you want to leave this room in a body bag? | 0:14:39 | 0:14:41 | |
That wouldn't be my preference, no. | 0:14:41 | 0:14:43 | |
Then here's how it works. I ask the questions, you answer. | 0:14:43 | 0:14:46 | |
Or you don't leave this room. Ever. | 0:14:46 | 0:14:49 | |
PHONE RINGS | 0:14:49 | 0:14:50 | |
-Sam. -What have I missed? -'That building exploded...' | 0:14:52 | 0:14:56 | |
Turner secured his 30 million quid, thanks to Lewis Conroy. | 0:14:56 | 0:14:59 | |
What about Aidan? | 0:14:59 | 0:15:00 | |
He's being held at Byzantium. Crane thinks he's the mole. | 0:15:01 | 0:15:05 | |
I'll be in touch. | 0:15:05 | 0:15:07 | |
Yesterday you instructed Simran Bains to make unauthorised | 0:15:07 | 0:15:12 | |
inquiries into something called Hourglass. | 0:15:12 | 0:15:16 | |
Why? | 0:15:16 | 0:15:18 | |
I'd love to tell you Deacon, I really would. | 0:15:18 | 0:15:20 | |
Then do it. | 0:15:20 | 0:15:21 | |
Once you've proved to me that you're not the mole. | 0:15:21 | 0:15:24 | |
Me? | 0:15:38 | 0:15:39 | |
I'd hardly make "authorised" inquiries, would I? | 0:15:39 | 0:15:42 | |
When anyone on my team might be the one who got Hasan killed? | 0:15:42 | 0:15:45 | |
You're pulling this out of your ass. | 0:15:47 | 0:15:49 | |
I'm not the mole, Deacon. And I'm not going to answer | 0:15:49 | 0:15:51 | |
any more questions until I know you not, either. | 0:15:51 | 0:15:54 | |
Look who's pulling up to the Big Brother house now. | 0:15:56 | 0:15:59 | |
What did you do to her, Lewis? | 0:16:09 | 0:16:11 | |
Alex Kent. She's in hospital. | 0:16:11 | 0:16:13 | |
In hospital? What for? | 0:16:13 | 0:16:16 | |
Well, she fainted on the pavement. You must have been too much for her. | 0:16:16 | 0:16:20 | |
I came here to tell you, I'm done, Jack. | 0:16:21 | 0:16:25 | |
Done? What do you mean, done? | 0:16:26 | 0:16:31 | |
This whole business. I've made enough money, so have you. | 0:16:31 | 0:16:35 | |
Since when has anyone ever made "enough" money? | 0:16:35 | 0:16:38 | |
A woman was killed in that explosion, and Vince... | 0:16:39 | 0:16:44 | |
You don't seem to understand, Lewis. | 0:16:46 | 0:16:48 | |
You don't stop until I tell you to stop. | 0:16:48 | 0:16:50 | |
Did you bring the list I asked you for? | 0:16:50 | 0:16:53 | |
No, I didn't bring the bloody list. | 0:16:53 | 0:16:56 | |
I'm not having you investigate my friends, the people I work with. | 0:16:56 | 0:17:00 | |
The woman you saw at the university might be the same woman who | 0:17:00 | 0:17:03 | |
-broke into your office last night. -You think I don't know that? | 0:17:03 | 0:17:06 | |
I keep expecting the police to bust in my door at any second. | 0:17:08 | 0:17:10 | |
Whoever she is, she's not the police. | 0:17:10 | 0:17:13 | |
Then who is she? | 0:17:13 | 0:17:15 | |
You let us worry about that. | 0:17:15 | 0:17:17 | |
Go home, you've done well for us today. | 0:17:17 | 0:17:19 | |
-I'll see you out. -I can see myself out. | 0:17:21 | 0:17:24 | |
He's become a problem, hasn't he? | 0:17:34 | 0:17:36 | |
Let's get our ducks in a row first. | 0:17:42 | 0:17:45 | |
You dig up what you can about that break-in last night. | 0:17:45 | 0:17:47 | |
Where are you going, sir? | 0:17:52 | 0:17:54 | |
Me? I fancy a drink down my local. | 0:17:54 | 0:17:56 | |
-Should I follow them? -Yeah, you'd better. I'll tell Crane. | 0:18:00 | 0:18:04 | |
Where you going? | 0:18:04 | 0:18:05 | |
-Conroy's flat. -What for? | 0:18:05 | 0:18:07 | |
Turner's going to be looking for the woman that | 0:18:07 | 0:18:09 | |
saw him murder the professor, then broke into Conroy's office. | 0:18:09 | 0:18:12 | |
We have to make sure he finds her. | 0:18:12 | 0:18:14 | |
He suspects you. | 0:18:22 | 0:18:24 | |
He's playing for time. | 0:18:26 | 0:18:27 | |
Come with me. | 0:18:27 | 0:18:29 | |
AIDAN COUGHS | 0:18:32 | 0:18:33 | |
Get it open! | 0:18:33 | 0:18:34 | |
-Aidan's escaped. -Is he still in the building? | 0:18:51 | 0:18:53 | |
All exits are sealed. | 0:18:53 | 0:18:54 | |
Mr Marsh, raise your hands. | 0:18:54 | 0:18:57 | |
Two more guards down. | 0:19:16 | 0:19:18 | |
Let's split up. | 0:19:18 | 0:19:19 | |
Aidan, you're not going to shoot me. | 0:19:38 | 0:19:41 | |
I didn't betray you. | 0:19:41 | 0:19:43 | |
Anything? | 0:20:53 | 0:20:55 | |
We have all eyes on the airports and train stations. | 0:20:55 | 0:20:58 | |
Not that he'd be that stupid. | 0:20:58 | 0:20:59 | |
He said "I didn't betray you." | 0:20:59 | 0:21:01 | |
And you believe him? | 0:21:01 | 0:21:02 | |
He could've killed us both, and didn't. | 0:21:02 | 0:21:04 | |
I thought you wanted this to be over? | 0:21:31 | 0:21:35 | |
It is over now. Byzantium found me out. | 0:21:35 | 0:21:37 | |
When? | 0:21:37 | 0:21:39 | |
This morning. I managed to escape the building. | 0:21:39 | 0:21:42 | |
We'll relocate you. | 0:21:44 | 0:21:45 | |
I need to fix this. | 0:21:46 | 0:21:48 | |
This can't be fixed. | 0:21:48 | 0:21:50 | |
I need to have a meeting with your boss. I want to meet George Ballard. | 0:21:58 | 0:22:02 | |
Ballard? | 0:22:02 | 0:22:04 | |
He's got a case file on something called Hourglass. | 0:22:04 | 0:22:06 | |
How do you know who I report to? | 0:22:06 | 0:22:07 | |
-Or what case files he has? -Natalie... | 0:22:07 | 0:22:11 | |
I need answers. | 0:22:11 | 0:22:12 | |
I don't have them. I've never heard of Hourglass. | 0:22:12 | 0:22:15 | |
Neither had I. | 0:22:15 | 0:22:17 | |
But whatever it is, it has something to do with who tried to kill Sam in Tangier. | 0:22:17 | 0:22:21 | |
I see how talking to Ballard | 0:22:23 | 0:22:24 | |
might help her. I don't see how it helps you. | 0:22:24 | 0:22:26 | |
Those gunmen nearly killed Sam because of intel that I gave you. | 0:22:26 | 0:22:30 | |
You should want to know how and why they got that information, just as much as her. | 0:22:32 | 0:22:36 | |
I know you'll just tell me what you think I need to hear... | 0:22:38 | 0:22:41 | |
..but when you were with me... | 0:22:43 | 0:22:45 | |
..was it all just an act? | 0:22:46 | 0:22:48 | |
At least when you don't talk, I know you're not lying. | 0:22:54 | 0:22:56 | |
GUN COCKS | 0:23:04 | 0:23:05 | |
Thanks for not shooting. | 0:23:25 | 0:23:27 | |
I won't hurt you, Sam. | 0:23:33 | 0:23:34 | |
Go ahead, pull the trigger. But I'm on your side. | 0:23:43 | 0:23:48 | |
You're the mole. | 0:23:48 | 0:23:51 | |
I didn't have any choice, but I couldn't tell you that without compromising you, too. | 0:23:51 | 0:23:55 | |
You told MI6 where I'd be. | 0:23:55 | 0:23:58 | |
I didn't know anyone would try to kill you. Neither did she. | 0:23:58 | 0:24:03 | |
You're lying. | 0:24:03 | 0:24:04 | |
I did lie. I had to. But I'm not lying now. | 0:24:07 | 0:24:12 | |
Sam, I know about Hourglass. | 0:24:15 | 0:24:17 | |
How do you know? | 0:24:21 | 0:24:22 | |
I found your hidden room. | 0:24:25 | 0:24:27 | |
I know everything. | 0:24:29 | 0:24:30 | |
That's how I got caught. Trying to help you. | 0:24:32 | 0:24:34 | |
And I can't go back to Byzantium. | 0:24:36 | 0:24:38 | |
I need answers. | 0:24:38 | 0:24:40 | |
Just like you. | 0:24:41 | 0:24:42 | |
What brings you to this dump, Jack? | 0:25:06 | 0:25:09 | |
Come on in, son. | 0:25:11 | 0:25:12 | |
I want you to meet an old friend of mine. | 0:25:12 | 0:25:14 | |
All right. | 0:25:14 | 0:25:16 | |
Brilliant. | 0:25:16 | 0:25:17 | |
Jack Turner, I never expected to see you back in these parts again. | 0:25:27 | 0:25:32 | |
Well, you need a passport these days. | 0:25:32 | 0:25:34 | |
But we're still holding the fort, ain't we? | 0:25:34 | 0:25:36 | |
Long time since we raised glasses in here, eh, Dave? | 0:25:36 | 0:25:39 | |
Too long, Jack. | 0:25:39 | 0:25:40 | |
I want you to meet a friend of mine, Gary. | 0:25:40 | 0:25:43 | |
Gary. | 0:25:48 | 0:25:49 | |
Gary's a useful lad. He helped Tyrone with those jobs. | 0:25:59 | 0:26:02 | |
I don't know what jobs you're talking about, Dave. | 0:26:02 | 0:26:04 | |
Oh, of course, yeah. Sorry. | 0:26:05 | 0:26:08 | |
Why don't you show me that little item you're holding for me? | 0:26:08 | 0:26:10 | |
Yeah. Of course, Jack. | 0:26:10 | 0:26:11 | |
It's down here, I think. | 0:26:22 | 0:26:23 | |
Here we are. Safe and sound. | 0:26:29 | 0:26:32 | |
Everything in order? | 0:26:44 | 0:26:45 | |
Now put it somewhere else. | 0:26:47 | 0:26:48 | |
-No-one comes in here, Jack. -Just do it. | 0:26:49 | 0:26:51 | |
All right. | 0:26:51 | 0:26:52 | |
Now, who's this Gary? | 0:26:54 | 0:26:55 | |
OK. | 0:26:58 | 0:26:59 | |
She talked to Ballard. | 0:27:00 | 0:27:03 | |
He won't meet with me. | 0:27:03 | 0:27:04 | |
Just you, alone. | 0:27:04 | 0:27:06 | |
-Where? -West wing of the National Gallery. | 0:27:09 | 0:27:11 | |
In front of a painting called "The Ambassadors." | 0:27:11 | 0:27:13 | |
If there's trouble meet me at the back? | 0:27:15 | 0:27:17 | |
DOORBELL BUZZES | 0:27:40 | 0:27:42 | |
Trudy, what are you doing here? | 0:27:47 | 0:27:49 | |
Why aren't you at work? | 0:27:49 | 0:27:50 | |
I haven't been feeling well. | 0:27:51 | 0:27:52 | |
Well, you could at least pick up the phone. | 0:27:53 | 0:27:56 | |
-There's a man called Bingham at the office. -Bingham... | 0:27:58 | 0:28:01 | |
He works for Jack Turner. | 0:28:01 | 0:28:04 | |
I know who he is. | 0:28:04 | 0:28:06 | |
Well, he said that you authorised him to look through your files. | 0:28:06 | 0:28:09 | |
I told him he couldn't touch a thing until I spoke to you. | 0:28:09 | 0:28:11 | |
Go ahead. | 0:28:13 | 0:28:14 | |
Let him look. | 0:28:16 | 0:28:17 | |
Why? What's he looking for? | 0:28:18 | 0:28:21 | |
Is this about the break-in last night? | 0:28:25 | 0:28:27 | |
Lewis, if you're in some kind of trouble, please, just tell me. | 0:28:29 | 0:28:33 | |
Trudy... | 0:28:36 | 0:28:37 | |
I didn't treat you very well, did I? | 0:28:39 | 0:28:41 | |
I don't have any hard feelings. | 0:28:44 | 0:28:46 | |
Mark and I... We're very happy. | 0:28:48 | 0:28:51 | |
I'd really like to help you, if I can. | 0:28:52 | 0:28:55 | |
-Could you hold that for me, please? -Sure. | 0:29:06 | 0:29:09 | |
Trudy Barnes. | 0:29:17 | 0:29:19 | |
Conroy's secretary of four years. They had an affair last summer, | 0:29:19 | 0:29:22 | |
while she was engaged to be married to this man, Mark Rothman. | 0:29:22 | 0:29:25 | |
He was away serving a third tour of Afghanistan. | 0:29:25 | 0:29:27 | |
-What happened? -From their text messages it appears Conroy just got tired of her. | 0:29:27 | 0:29:32 | |
And her fiance? | 0:29:32 | 0:29:33 | |
Now her husband. | 0:29:33 | 0:29:35 | |
That works for us. You make sure Turner gets their names. | 0:29:37 | 0:29:41 | |
You know what he'll do. | 0:29:43 | 0:29:44 | |
That's the point, isn't it? | 0:29:45 | 0:29:47 | |
These are innocents. There must be another way. | 0:29:48 | 0:29:50 | |
I'm open to suggestions. | 0:29:50 | 0:29:52 | |
Zoe found something in Amsterdam. | 0:29:56 | 0:29:59 | |
Er, yes, Horst Goebel. | 0:30:00 | 0:30:02 | |
His body was found floating in the Keizersgracht canal three weeks ago. | 0:30:03 | 0:30:06 | |
I identified him from prints I lifted at his lab. | 0:30:06 | 0:30:09 | |
Murdered. | 0:30:09 | 0:30:10 | |
Slipped and drowned, officially. | 0:30:10 | 0:30:11 | |
After he left the Turner house? | 0:30:11 | 0:30:13 | |
He was never at the Turner house. | 0:30:13 | 0:30:15 | |
Whoever our imposter was, I believe he murdered Goebel | 0:30:19 | 0:30:22 | |
and then took his place. | 0:30:22 | 0:30:23 | |
After nearly five hundred years, its meaning remains obscure, | 0:30:54 | 0:30:59 | |
even to scholars. | 0:30:59 | 0:31:01 | |
You ask me here to talk about art, Mr Ballard? | 0:31:01 | 0:31:03 | |
A subject which bores me to tears. Except for this particular picture. | 0:31:04 | 0:31:09 | |
It was painted in 1533. | 0:31:09 | 0:31:11 | |
A period of intense economic unrest in Europe, not unlike today. | 0:31:11 | 0:31:15 | |
Some think it was commissioned by a French ambassador, | 0:31:16 | 0:31:19 | |
but I believe it was British merchants. | 0:31:19 | 0:31:22 | |
Is this supposed to interest me? | 0:31:22 | 0:31:24 | |
It should. | 0:31:24 | 0:31:26 | |
These merchants felt constrained by their governments who wrote | 0:31:26 | 0:31:29 | |
the laws and levied the taxes, so they formed a secret pact. | 0:31:29 | 0:31:32 | |
They called it Hourglass. | 0:31:34 | 0:31:36 | |
You see the skull. | 0:31:38 | 0:31:40 | |
It's distorted, the artist's way of telling us, | 0:31:40 | 0:31:43 | |
"Things are not what they seem." | 0:31:43 | 0:31:44 | |
Everything in this painting is a clue. | 0:31:44 | 0:31:47 | |
A clue to what? | 0:31:47 | 0:31:49 | |
Their plot. | 0:31:49 | 0:31:50 | |
To concentrate the world's wealth, power | 0:31:50 | 0:31:53 | |
and influence into private hands. | 0:31:53 | 0:31:55 | |
To undermine the power of governments, | 0:31:55 | 0:31:57 | |
without arousing the ire of the people. | 0:31:57 | 0:31:59 | |
Over the years, these conspirators | 0:31:59 | 0:32:01 | |
evolved into five major multinational corporations. | 0:32:01 | 0:32:06 | |
It took them five centuries, but they've finally succeeded. | 0:32:06 | 0:32:10 | |
Even if all of this is true, I don't see what it has to do with me. | 0:32:15 | 0:32:18 | |
They've spent so much time trying to find you. | 0:32:18 | 0:32:21 | |
You obviously pose some kind of a threat. | 0:32:21 | 0:32:23 | |
I don't see how. | 0:32:23 | 0:32:25 | |
Then you have no idea why they've tried to kill you? | 0:32:25 | 0:32:27 | |
I had been hoping that you might be | 0:32:34 | 0:32:36 | |
what I've been looking for all these years. | 0:32:36 | 0:32:38 | |
A way to expose them for what they are. | 0:32:39 | 0:32:41 | |
A plague on civilisation, bent on destroying it to enrich themselves. | 0:32:42 | 0:32:46 | |
You've got the wrong girl, Mr Ballard. | 0:32:48 | 0:32:50 | |
You're going to have to be even more careful, now. | 0:32:52 | 0:32:54 | |
Rupert Keel knows that Hourglass is interested in you. | 0:32:56 | 0:32:58 | |
What's Keel's connection? | 0:33:00 | 0:33:02 | |
Three members of the Byzantium board of directors are CEOs | 0:33:02 | 0:33:06 | |
of Hourglass corporations. | 0:33:06 | 0:33:09 | |
Whichever corporation wants you dead doesn't want anyone to know. | 0:33:09 | 0:33:13 | |
-What is it? -Come with me. | 0:33:14 | 0:33:16 | |
He's right behind us. | 0:33:33 | 0:33:35 | |
-You didn't lose him, did you? -Not a chance. | 0:33:43 | 0:33:46 | |
Stop them... | 0:34:08 | 0:34:10 | |
You must stop them... | 0:34:11 | 0:34:15 | |
What's on your mind? | 0:35:18 | 0:35:19 | |
You think God sees everything? | 0:35:22 | 0:35:23 | |
If there is a God. | 0:35:25 | 0:35:26 | |
A question for which I've seen precious little evidence lately. | 0:35:26 | 0:35:30 | |
Be careful, Father. You'll lose your job. | 0:35:30 | 0:35:33 | |
You didn't come here to talk about me. | 0:35:33 | 0:35:35 | |
I've done a lot of bad things in my life. | 0:35:43 | 0:35:45 | |
What is it? | 0:35:49 | 0:35:51 | |
Two people are going to die. | 0:35:55 | 0:35:57 | |
People I've never met. | 0:35:59 | 0:36:02 | |
-Haven't done anything wrong. -You can't stop it? | 0:36:02 | 0:36:04 | |
I'm the cause of it. | 0:36:09 | 0:36:10 | |
It's something my job compels me to do. | 0:36:12 | 0:36:15 | |
Whoever you work for, I don't think they pay you enough for that. | 0:36:16 | 0:36:19 | |
If I don't let them die, then one of my colleagues will. | 0:36:20 | 0:36:24 | |
The church allows for killing in self-defence. | 0:36:26 | 0:36:29 | |
Or a "just" war, whatever that is. | 0:36:31 | 0:36:34 | |
This is neither. | 0:36:35 | 0:36:37 | |
Then you have to stop it. | 0:36:37 | 0:36:39 | |
It won't stop blood being spilled. | 0:36:44 | 0:36:47 | |
I'm not going to pretend I know if there's an all-seeing God. | 0:36:50 | 0:36:53 | |
But I do know, if you commit a mortal sin | 0:36:54 | 0:36:58 | |
it kills the soul, as surely as a fatal disease kills the body. | 0:36:58 | 0:37:03 | |
Do you have any idea who that was? | 0:37:08 | 0:37:10 | |
He killed Emma Freeman. And tried to kill me. | 0:37:10 | 0:37:13 | |
Those steps you fell down, that was him. | 0:37:14 | 0:37:15 | |
He offered Hasan money to kill me. | 0:37:15 | 0:37:17 | |
-What...? -I killed him in self-defence. | 0:37:17 | 0:37:20 | |
Well, that's a relief. | 0:37:22 | 0:37:23 | |
A relief...? | 0:37:28 | 0:37:29 | |
What? | 0:37:32 | 0:37:33 | |
I betrayed Hasan. | 0:37:36 | 0:37:37 | |
-Why? -You told me Keel was looking for a mole. | 0:37:41 | 0:37:43 | |
So, you got Hasan captured... | 0:37:48 | 0:37:49 | |
..to protect yourself. | 0:37:51 | 0:37:52 | |
Sam, it was him or me. | 0:37:54 | 0:37:55 | |
You put me in danger. | 0:37:57 | 0:37:58 | |
I knew you'd be ordered to kill him. And you did. | 0:37:59 | 0:38:02 | |
-Dave tells me you were in the Army. -Yeah, that's right. | 0:38:34 | 0:38:36 | |
Did my four years. | 0:38:36 | 0:38:37 | |
Four years? Good lad. | 0:38:37 | 0:38:40 | |
Queen and country. What were you then? | 0:38:40 | 0:38:43 | |
SAS? | 0:38:43 | 0:38:45 | |
Nah, just a squaddie. Essex boy. | 0:38:45 | 0:38:48 | |
In the Anglians. | 0:38:50 | 0:38:52 | |
So what are you doing messing about in this dump? | 0:38:55 | 0:38:57 | |
Be fair, Jack. He's a good bloke. | 0:38:57 | 0:39:00 | |
I tell you what, he reminds me a bit of young Jack Jr. | 0:39:00 | 0:39:03 | |
Does he, Dave? | 0:39:05 | 0:39:06 | |
Does he? | 0:39:08 | 0:39:10 | |
Dave is referring to my eldest, John. | 0:39:15 | 0:39:17 | |
Perhaps you do look alike. | 0:39:20 | 0:39:22 | |
Can't see it myself. | 0:39:22 | 0:39:23 | |
Are you brave, Gary? Are you loyal? | 0:39:25 | 0:39:29 | |
Are you the sort of son to make your father proud? | 0:39:31 | 0:39:33 | |
Well, I hope so. For your sake... | 0:39:34 | 0:39:36 | |
For your Dad's sake. | 0:39:36 | 0:39:38 | |
But I tell you what, Gary... | 0:39:40 | 0:39:41 | |
I hope you don't end up dead, | 0:39:43 | 0:39:46 | |
cut to pieces with your dick stuffed in your mouth. | 0:39:46 | 0:39:49 | |
-I'm sorry, Jack, I didn't mean... -Just turn up the telly, Dave. | 0:39:49 | 0:39:53 | |
What? | 0:39:53 | 0:39:54 | |
I said turn up the sodding telly. | 0:39:56 | 0:39:58 | |
Yeah. Sorry. Of course. | 0:39:58 | 0:40:00 | |
TELEVISION: '...the threat these economic hit men pose to the developing world.' | 0:40:00 | 0:40:04 | |
'Forgive me, Madam Zahir, | 0:40:04 | 0:40:05 | |
'but it seems you are making very strong accusations.' | 0:40:05 | 0:40:07 | |
'I am. | 0:40:07 | 0:40:09 | |
'I want people to become angry | 0:40:09 | 0:40:11 | |
'and inflamed about the corrupt elements in our country.' | 0:40:11 | 0:40:14 | |
'You're referring to the privatisation of the Khyber Dam.' | 0:40:14 | 0:40:17 | |
'It's a scandal. | 0:40:17 | 0:40:18 | |
'And I intend to expose and stop it, if I'm elected president.' | 0:40:18 | 0:40:24 | |
Mr Keel. | 0:41:28 | 0:41:29 | |
I told you Aidan was looking into an MI6 case file. | 0:41:34 | 0:41:37 | |
-Belonging to a section chief named George Ballard. -Yes? | 0:41:37 | 0:41:40 | |
Ballard was just found dead, outside the National Gallery. | 0:41:40 | 0:41:44 | |
There are seven members of the Byzantium board of directors. | 0:41:51 | 0:41:54 | |
Ballard said three of them are Hourglass conspirators. | 0:41:54 | 0:41:57 | |
-So where do we start? -Hector Stokes, CEO of Polyhedrus, | 0:41:57 | 0:42:00 | |
the third largest privately held corporation in the world. | 0:42:00 | 0:42:03 | |
Polyhedrus built the dam in Pakistan the Turners are bidding on. | 0:42:03 | 0:42:06 | |
-Do you think there's a connection? -I'm guessing there is. | 0:42:06 | 0:42:09 | |
When did you start spying for MI6? | 0:42:15 | 0:42:17 | |
Two years, seven months, eight days ago. | 0:42:18 | 0:42:20 | |
Why did you do it? | 0:42:23 | 0:42:25 | |
-The lovely Miss Thorpe was blackmailing me. -For what? | 0:42:27 | 0:42:32 | |
Aidan Marsh isn't my real name. | 0:42:48 | 0:42:50 | |
It's an identity I assumed a long time ago. | 0:42:51 | 0:42:54 | |
If you're not Aidan Marsh, then who are you? | 0:42:59 | 0:43:01 | |
Better you don't know. | 0:43:03 | 0:43:05 | |
I said, who are you? | 0:43:05 | 0:43:07 | |
I don't know where you grew up, | 0:43:10 | 0:43:12 | |
whether your mum had a temper, your dad drank too much before dinner. | 0:43:12 | 0:43:16 | |
I don't know anything about your past. | 0:43:16 | 0:43:18 | |
But I know how you think. I know how you feel. | 0:43:18 | 0:43:22 | |
I know you, Sam. | 0:43:25 | 0:43:26 | |
Better than anyone else in the world. | 0:43:27 | 0:43:29 | |
If that's supposed to make me trust you, it doesn't. | 0:43:29 | 0:43:31 | |
I'm trusting you. | 0:43:34 | 0:43:35 | |
Until now, Natalie Thorpe was the only person in the world that | 0:43:35 | 0:43:39 | |
knew I'd lied about my identity. | 0:43:39 | 0:43:40 | |
Now you know it, too. | 0:43:42 | 0:43:44 | |
Keep walking, Natalie, if you don't want to be seen with me. | 0:43:50 | 0:43:53 | |
What is it you want, Mr Keel? | 0:43:53 | 0:43:55 | |
To offer my condolences for the murdered George Ballard. | 0:43:55 | 0:43:58 | |
He was a good man. | 0:43:58 | 0:43:59 | |
Thank you, but he wasn't murdered. He died of a heart attack. | 0:43:59 | 0:44:01 | |
Is that the story you're peddling? | 0:44:01 | 0:44:04 | |
You've infiltrated my organisation with a mole, | 0:44:05 | 0:44:07 | |
and now your direct superior is dead. | 0:44:07 | 0:44:09 | |
I need to know why. | 0:44:09 | 0:44:11 | |
I've told you before, Mr Keel. | 0:44:11 | 0:44:12 | |
I'm not one of your lackeys, I work for Her Majesty's Government. | 0:44:12 | 0:44:16 | |
Well, that's where you're wrong. | 0:44:16 | 0:44:17 | |
You've already collected £80,000 in unreported income. | 0:44:17 | 0:44:20 | |
I started making payments into a Swiss bank account | 0:44:20 | 0:44:23 | |
I opened in your name after our last meeting. | 0:44:23 | 0:44:25 | |
You're setting me up. | 0:44:25 | 0:44:26 | |
You won't be able to make it stick. | 0:44:27 | 0:44:28 | |
How many years will it take to prove your innocence? | 0:44:28 | 0:44:32 | |
And what kind of career will you have by that point? | 0:44:32 | 0:44:34 | |
What do you want? | 0:44:34 | 0:44:36 | |
Everything. Everything you know. | 0:44:36 | 0:44:38 | |
Eddie, how was your day? | 0:44:42 | 0:44:45 | |
It was fine, thanks. Where's Alex? | 0:44:45 | 0:44:47 | |
She's not back from hospital, yet. | 0:44:47 | 0:44:50 | |
What's this? | 0:44:50 | 0:44:52 | |
Do you think she'll like it? | 0:44:56 | 0:44:57 | |
Mr Bingham...find your way all right? | 0:45:07 | 0:45:11 | |
Excuse me. | 0:45:16 | 0:45:17 | |
-I found her. -Who is it? | 0:45:23 | 0:45:26 | |
Conroy's secretary, Trudy Barnes. | 0:45:26 | 0:45:29 | |
What makes you think it's her? | 0:45:29 | 0:45:30 | |
A got a little bit of information from Conroy's e-mail account. | 0:45:30 | 0:45:34 | |
He was sleeping with her until last July. | 0:45:34 | 0:45:36 | |
-So...? -Two months later she marries another man. | 0:45:36 | 0:45:40 | |
Ex-military. They're already having financial problems. | 0:45:40 | 0:45:44 | |
What, you think she intends to blackmail Lewis? | 0:45:44 | 0:45:48 | |
You saw a man and woman at the university that night. | 0:45:48 | 0:45:50 | |
Last night there was a man and a woman at Conroy's office. | 0:45:50 | 0:45:54 | |
Check it out. | 0:45:59 | 0:46:01 | |
Let's find another way in. | 0:46:25 | 0:46:27 | |
Let me out! Let me out! Let me out! | 0:46:47 | 0:46:49 | |
What is it? | 0:46:49 | 0:46:51 | |
Sam? | 0:46:52 | 0:46:54 | |
Let me out! Let me out! | 0:48:13 | 0:48:17 | |
I've been here before. | 0:48:17 | 0:48:19 | |
What is this place? | 0:48:40 | 0:48:42 | |
I was taken here... | 0:48:48 | 0:48:50 | |
..as a child. | 0:48:52 | 0:48:53 | |
Let me out! Let me out! | 0:49:10 | 0:49:13 | |
CAR APPROACHES | 0:49:19 | 0:49:21 | |
Sam, we need to go. | 0:49:26 | 0:49:28 | |
You off, Jack? | 0:52:04 | 0:52:05 | |
I've got something for Tyrone. Everett will need to clean up after. | 0:52:06 | 0:52:10 | |
Tyrone's got his hands full at the moment. | 0:52:11 | 0:52:14 | |
Why not use Gary over there? | 0:52:14 | 0:52:16 | |
I don't like the smell of your friend Gary. | 0:52:17 | 0:52:20 | |
He's a good bloke, Jack. You ought to give him a chance. | 0:52:20 | 0:52:24 | |
You telling me what to do now, Dave? | 0:52:24 | 0:52:25 | |
You know me better than that. | 0:52:25 | 0:52:28 | |
Yeah. | 0:53:12 | 0:53:14 | |
-'Are you back in London yet?' -Yeah, did you clean up? | 0:53:14 | 0:53:17 | |
That was quite a mess you left. | 0:53:17 | 0:53:18 | |
What about Byzantium? | 0:53:18 | 0:53:20 | |
-I cleaned that up, too. -How? | 0:53:20 | 0:53:22 | |
Listen to me. Very carefully. | 0:53:22 | 0:53:25 | |
Alex, you're back! | 0:54:12 | 0:54:15 | |
-Will you read The Snow Maiden to me? -You know I will. | 0:54:16 | 0:54:19 | |
-Come see me after you put Edward to bed, will you? -Sure. | 0:54:19 | 0:54:21 | |
Who are you? | 0:55:02 | 0:55:03 | |
All right, thanks. | 0:55:17 | 0:55:18 | |
The police have arrived. They found the bodies. | 0:55:21 | 0:55:24 | |
Well, look what the cat dragged in. | 0:55:33 | 0:55:34 | |
Dragged myself in, actually. | 0:55:34 | 0:55:37 | |
I knew you'd catch up with me in the end. As I told you before... | 0:55:37 | 0:55:39 | |
Right. You're innocent. | 0:55:39 | 0:55:42 | |
So I hear. | 0:55:44 | 0:55:45 | |
Hasan was the mole. | 0:55:47 | 0:55:49 | |
Hasan...? | 0:55:49 | 0:55:50 | |
We think someone at six tripped him up, got him caught by the Turners. | 0:55:52 | 0:55:55 | |
Well, that explains a lot. | 0:55:55 | 0:55:58 | |
-What do you mean? -I overheard Hasan talking to someone on the phone the afternoon he got captured. | 0:55:58 | 0:56:02 | |
That's where I heard the word Hourglass. | 0:56:02 | 0:56:04 | |
And you don't know what that means? | 0:56:04 | 0:56:07 | |
Just what Simran said. | 0:56:07 | 0:56:09 | |
Anything else you haven't told me? | 0:56:18 | 0:56:19 | |
Just that I'm sorry I ever suspected you. | 0:56:20 | 0:56:23 | |
You wanted to see me? | 0:56:51 | 0:56:53 | |
Yeah, Eddie made you this. | 0:56:53 | 0:56:54 | |
-It's so sweet. -Yeah. | 0:57:07 | 0:57:08 | |
I went to the hospital this afternoon to give it to you. | 0:57:10 | 0:57:13 | |
You weren't there. | 0:57:16 | 0:57:17 | |
They said you checked yourself out, right after we left. | 0:57:19 | 0:57:23 | |
I did... | 0:57:26 | 0:57:27 | |
I needed to go for a walk and think. | 0:57:29 | 0:57:31 | |
About what? | 0:57:34 | 0:57:36 | |
It's OK. | 0:57:51 | 0:57:52 | |
I saw another name I recognised, | 0:58:16 | 0:58:18 | |
-Arthur Hill. -The doctor Faroux tortured in Tangier. | 0:58:18 | 0:58:20 | |
-I don't know anything about this. -You're a poor liar, doctor. | 0:58:20 | 0:58:23 | |
I'm afraid I have to ask you to leave. | 0:58:23 | 0:58:25 | |
Are you threatening me, Bingham? | 0:58:25 | 0:58:26 | |
And you're crying because you want respect? | 0:58:26 | 0:58:27 | |
I'm not looking for your respect! | 0:58:27 | 0:58:29 | |
We're being lied to. | 0:58:29 | 0:58:30 | |
We've known that since the day Sam returned. | 0:58:31 | 0:58:34 | |
You watch yourself, do you understand? | 0:58:34 | 0:58:36 | |
Get in the car. | 0:58:36 | 0:58:37 | |
Get down! | 0:58:39 | 0:58:40 | |
Subtitles by Red Bee Media Ltd | 0:59:04 | 0:59:08 |