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This programme contains some strong language and some scenes of a sexual nature | 0:00:07 | 0:00:13 | |
All the great philanthropists of our time are businessmen. | 0:00:51 | 0:00:54 | |
They're entrepreneurs, innovators. | 0:00:56 | 0:00:59 | |
My save haven project for refugees, which we began in '98, | 0:00:59 | 0:01:04 | |
is the true expression of my belief | 0:01:04 | 0:01:07 | |
in a commitment to the wider world. | 0:01:07 | 0:01:09 | |
Because my good fortune means nothing | 0:01:09 | 0:01:13 | |
unless it also lifts up my fellow man. | 0:01:13 | 0:01:16 | |
I thank you all for your time. Thank you. | 0:01:18 | 0:01:21 | |
APPLAUSE | 0:01:21 | 0:01:24 | |
CROWD SHOUTING | 0:01:29 | 0:01:33 | |
RAPID GUNFIRE | 0:01:53 | 0:01:55 | |
PEOPLE SCREAMING | 0:01:55 | 0:01:57 | |
GUNFIRE CONTINUES | 0:02:00 | 0:02:02 | |
CROWD CHANTING | 0:02:06 | 0:02:10 | |
TRANSLATION FROM FRENCH: | 0:02:35 | 0:02:37 | |
-I thought you might need some help. -How did you get here? | 0:02:38 | 0:02:41 | |
-I walked. -You walked? -Yes. -Through that? -Yes. | 0:02:41 | 0:02:43 | |
-I've seen worse. -OK, you are crazy. | 0:02:43 | 0:02:46 | |
PROTESTS CONTINUE LOUDLY OUTSIDE | 0:02:46 | 0:02:49 | |
I can assure you, madam, we're doing everything we can. | 0:02:50 | 0:02:53 | |
-The British government has chartered a plane... -Hey! | 0:02:53 | 0:02:55 | |
-..which will arrive in three days' time. -Hello. Hello! | 0:02:55 | 0:02:58 | |
One moment, please. Excuse me, ma'am, I'm just dealing with this lady. | 0:02:58 | 0:03:01 | |
You have to get us out now. Do you hear? | 0:03:01 | 0:03:02 | |
Madam, I can assure you, the hotel is absolutely the safest place | 0:03:02 | 0:03:05 | |
for you to be at the moment, trust me... | 0:03:05 | 0:03:07 | |
EXPLOSION MAN YELLS | 0:03:07 | 0:03:09 | |
Madam...perhaps you would like to wait in the bar? | 0:03:11 | 0:03:14 | |
-The cocktails, they're complimentary. -Thank you. | 0:03:14 | 0:03:18 | |
Get them away from the windows. Away! | 0:03:19 | 0:03:22 | |
Yes, this is Pine of the Nefertiti Hotel in the Corniche. | 0:03:22 | 0:03:25 | |
We have tear gas grenades going off in the street 50 yards | 0:03:25 | 0:03:28 | |
west of here and I have several guests extremely keen to leave. | 0:03:28 | 0:03:32 | |
As soon as you can, please. Thank you. | 0:03:32 | 0:03:34 | |
CROWD CHANTING | 0:03:34 | 0:03:38 | |
CHANTING CONTINUES OUTSIDE | 0:03:48 | 0:03:51 | |
CROWD CHANTING | 0:04:31 | 0:04:34 | |
To the airport, as fast as you can, please. Thank you. | 0:04:39 | 0:04:42 | |
Busy day for you. | 0:04:52 | 0:04:54 | |
Well, we're doing the best that we can. | 0:04:54 | 0:04:56 | |
Is there anything I can do for you, madam? | 0:04:58 | 0:05:02 | |
Make me a coffee, would you, Mr Pine? | 0:05:02 | 0:05:05 | |
Sit with me. | 0:05:17 | 0:05:18 | |
I'm afraid I can't, madam. | 0:05:18 | 0:05:20 | |
I have to arrange taxis for various guests. | 0:05:20 | 0:05:22 | |
Oh... Of course. Everyone must escape. | 0:05:22 | 0:05:27 | |
Run, run, run. | 0:05:27 | 0:05:28 | |
When are you leaving, Mr Pine? | 0:05:30 | 0:05:32 | |
I'm not. | 0:05:33 | 0:05:34 | |
You don't want to escape? | 0:05:34 | 0:05:36 | |
Then sit. | 0:05:39 | 0:05:41 | |
Please, sit. | 0:05:41 | 0:05:42 | |
What do you know of me? | 0:05:47 | 0:05:50 | |
I know that your name is Ms Sophie Alekan. | 0:05:50 | 0:05:53 | |
I know that you're staying in the Hatshepsut suite. | 0:05:53 | 0:05:57 | |
And do you know who is footing my bill? | 0:05:58 | 0:06:01 | |
Freddie Hamid is everything the protestors hate. | 0:06:07 | 0:06:10 | |
Incredibly wealthy, corrupt to the core. | 0:06:10 | 0:06:13 | |
The Hamid family owns half the city and... | 0:06:15 | 0:06:19 | |
Freddie Hamid owns me. | 0:06:19 | 0:06:21 | |
Before this all started, I saw you sailing at the Cairo Yacht Club. | 0:06:23 | 0:06:28 | |
Did you? | 0:06:28 | 0:06:29 | |
Well, that's only when I'm invited. | 0:06:31 | 0:06:33 | |
Which isn't often, to be honest. | 0:06:33 | 0:06:35 | |
Who invites you? | 0:06:35 | 0:06:37 | |
The second man at the British Embassy. | 0:06:37 | 0:06:39 | |
Name? | 0:06:39 | 0:06:41 | |
His name is Ogilvey. Simon Ogilvey. | 0:06:41 | 0:06:44 | |
And he's a friend of yours? | 0:06:44 | 0:06:45 | |
Well, I know him from my army days. | 0:06:47 | 0:06:49 | |
But you trust him? | 0:06:49 | 0:06:51 | |
I trust him not to capsize a boat. | 0:06:51 | 0:06:53 | |
I'd like you to copy some personal documents for me, please. | 0:06:56 | 0:07:00 | |
We-We have an executive services bureau just across the lobby. | 0:07:01 | 0:07:04 | |
The documents are confidential. | 0:07:04 | 0:07:07 | |
I can assure you Mr Ahmadi is perfectly dependable. | 0:07:07 | 0:07:10 | |
I would prefer to use your office. | 0:07:10 | 0:07:13 | |
-Do it for me, please. -Yes, ma'am. | 0:07:31 | 0:07:34 | |
BEEPING | 0:07:38 | 0:07:40 | |
Just one copy, madam? | 0:08:03 | 0:08:05 | |
Yes. | 0:08:06 | 0:08:08 | |
Will that be all, madam? | 0:08:36 | 0:08:37 | |
-Do you have an envelope? -Yes. | 0:08:40 | 0:08:42 | |
Seal it and put it in your safe. | 0:08:42 | 0:08:45 | |
And, Mr Pine... | 0:08:45 | 0:08:46 | |
..if an accident was to happen to me, | 0:08:47 | 0:08:50 | |
as accidents do happen more and more these days, | 0:08:50 | 0:08:53 | |
you should feel free to take it to your friend, Mr Ogilvey. | 0:08:53 | 0:08:57 | |
Why should an accident happen, madam? | 0:08:57 | 0:09:00 | |
-Are you concerned for your safety? -No. | 0:09:00 | 0:09:03 | |
But I see that you are. Thank you. | 0:09:05 | 0:09:08 | |
Have you always been the night manager? | 0:09:13 | 0:09:16 | |
It's my profession, yes. | 0:09:16 | 0:09:18 | |
You chose it? | 0:09:18 | 0:09:19 | |
I think it chose me. | 0:09:19 | 0:09:21 | |
It's a shame. | 0:09:21 | 0:09:22 | |
You look fine by daylight. | 0:09:22 | 0:09:24 | |
CROWD CHANTING ON TV | 0:09:33 | 0:09:36 | |
Youssef... | 0:09:43 | 0:09:44 | |
TRANSLATION: | 0:09:44 | 0:09:46 | |
How are you? | 0:09:46 | 0:09:47 | |
-Perfect. -OK! | 0:09:52 | 0:09:54 | |
Listen, Youssef, do you know a man called Freddie Hamid? | 0:09:54 | 0:09:57 | |
He's a playboy and a gambler. | 0:09:57 | 0:10:00 | |
There's some kind of deal going on and Freddie Hamid is involved | 0:10:00 | 0:10:04 | |
and I have to find out when it's happening and where. | 0:10:04 | 0:10:07 | |
Is there anyone you know, | 0:10:07 | 0:10:08 | |
-friends in local kitchens, where he's staying...? -OK. | 0:10:08 | 0:10:11 | |
But be careful, Jonathan. | 0:10:11 | 0:10:13 | |
You don't want to get the wrong side of the Hamids. | 0:10:13 | 0:10:15 | |
Youssef, Youssef... | 0:10:15 | 0:10:18 | |
THEY SPEAK OWN LANGUAGE | 0:10:18 | 0:10:22 | |
-President Mubarak resigned. -No, I think I understood that. | 0:10:22 | 0:10:25 | |
He's gone. He's bloody gone! | 0:10:30 | 0:10:31 | |
CHEERING | 0:10:31 | 0:10:34 | |
THEY CHANT JOYFULLY | 0:10:36 | 0:10:40 | |
-NEWS REPORTER: -'Across Egypt, millions were on the streets erupting in excitement. | 0:10:45 | 0:10:49 | |
'He'd gone. After 30 years, gone. | 0:10:49 | 0:10:53 | |
'Cars honked their horns, | 0:10:54 | 0:10:55 | |
'it was a moment like no other in their lives.' | 0:10:55 | 0:10:59 | |
'In Tahrir Square, the protestors were beside themselves. | 0:10:59 | 0:11:02 | |
'They'd done it. They'd won. They'd brought down President Mubarak.' | 0:11:02 | 0:11:06 | |
'Ramses Hilton.' | 0:11:13 | 0:11:15 | |
Er, yes, Corniche Bar, please. | 0:11:15 | 0:11:17 | |
-'Corniche Bar. Hello?' -Oh, hi. | 0:11:19 | 0:11:21 | |
Erm... Yeah, this is George Watts, I'm a mate of Freddie Hamid's. | 0:11:21 | 0:11:26 | |
I was supposed to meet him for cocktails in the bar tonight, | 0:11:26 | 0:11:29 | |
but I've got held up. Do you happen to know where he is? | 0:11:29 | 0:11:32 | |
'They've already left, sir.' | 0:11:32 | 0:11:34 | |
Oh, what a shame. Er... Do you know where they've gone? | 0:11:34 | 0:11:37 | |
FIREWORKS BLAST NEARBY | 0:11:37 | 0:11:38 | |
'I believe Mr Roper took Mr Hamid to dinner on his yacht, sir.' | 0:11:38 | 0:11:41 | |
I'm sorry, there's a bit of a big party going on here. | 0:11:41 | 0:11:44 | |
I couldn't quite hear you, could you repeat that, please? | 0:11:44 | 0:11:46 | |
'Mr Hamid is with Mr Roper.' | 0:11:46 | 0:11:48 | |
-Mr Roper? -'Yes, sir.' | 0:11:48 | 0:11:51 | |
Thank you so much. | 0:11:51 | 0:11:53 | |
HE SIGHS | 0:12:01 | 0:12:03 | |
'My safe haven project for refugees, which we began in '98, | 0:12:36 | 0:12:40 | |
'is the true expression of my belief in a commitment to the wider world. | 0:12:40 | 0:12:45 | |
'Because my good fortune means nothing | 0:12:47 | 0:12:50 | |
'unless it also lifts up my fellow man. | 0:12:50 | 0:12:53 | |
'I thank you all for your time. Thank you.' | 0:12:55 | 0:12:59 | |
APPLAUSE | 0:12:59 | 0:13:01 | |
LOUD CHEERING | 0:13:03 | 0:13:06 | |
CELEBRATIONS CONTINUE NOISILY OUTSIDE | 0:13:08 | 0:13:12 | |
Good morning, Jonathan. | 0:13:34 | 0:13:36 | |
Simon, I know it's early... Look, I, er... | 0:13:36 | 0:13:39 | |
I need to talk to you about something. | 0:13:39 | 0:13:41 | |
I've been calling the embassy all morning. | 0:13:41 | 0:13:43 | |
Come through. What is this? | 0:13:43 | 0:13:45 | |
-HE EXHALES SHARPLY -Bloody hell. | 0:13:57 | 0:13:59 | |
There are enough toys here to start a war. | 0:14:02 | 0:14:04 | |
Or crush a popular uprising. | 0:14:05 | 0:14:07 | |
-Where did you get this? -I found it. | 0:14:14 | 0:14:16 | |
"You found it"? | 0:14:21 | 0:14:22 | |
Say they arrived by post. Don't mention me. Anonymous sender. | 0:14:22 | 0:14:27 | |
Jesus Christ, Jonathan, there's bloody napalm on here. | 0:14:27 | 0:14:30 | |
Send it today. | 0:14:30 | 0:14:32 | |
These people aren't wasting any time. | 0:14:33 | 0:14:36 | |
Yes. | 0:14:37 | 0:14:39 | |
-Thank you. -OK. | 0:14:40 | 0:14:43 | |
BUZZER | 0:15:00 | 0:15:01 | |
Three flights up. Lift's broken but it keeps you fit. | 0:15:04 | 0:15:07 | |
Yeah, chicken sounds great, love. | 0:15:14 | 0:15:16 | |
A couple of days out of date is fine, as long as you cook it well. | 0:15:16 | 0:15:20 | |
Yeah. | 0:15:20 | 0:15:21 | |
All right. Yeah, see you later, bye. | 0:15:23 | 0:15:25 | |
METALLIC CLANGING ROB SIGHS | 0:15:28 | 0:15:31 | |
HE GRUNTS | 0:15:31 | 0:15:32 | |
They were supposed to come yesterday to fix this. | 0:15:34 | 0:15:37 | |
CLANGING RESUMES | 0:15:44 | 0:15:45 | |
-Rob? -Yes? | 0:15:45 | 0:15:46 | |
Rob, come here... | 0:15:49 | 0:15:51 | |
HE GROANS | 0:15:51 | 0:15:53 | |
Rex Mayhew just sent that. Cairo station, anonymous sender. | 0:15:56 | 0:16:00 | |
Ironlast. | 0:16:01 | 0:16:02 | |
Yeah. He's back. | 0:16:02 | 0:16:04 | |
Get me all the files you can on Richard Roper. | 0:16:04 | 0:16:06 | |
Defence, FCO, Bank of England, Treasury, HMRC... | 0:16:06 | 0:16:09 | |
And we'll need the River files too. | 0:16:09 | 0:16:11 | |
Red flags will fly. | 0:16:11 | 0:16:12 | |
So bury the requests in a pile of slurry. | 0:16:12 | 0:16:14 | |
Do a random sweep on all Brits living offshore. | 0:16:14 | 0:16:17 | |
Throw River House off the scent. Make us look like | 0:16:17 | 0:16:19 | |
a bunch of amateurs looking for a needle in a haystack. | 0:16:19 | 0:16:21 | |
-Do you think you can do that? -Yes. | 0:16:21 | 0:16:23 | |
Go on, then. | 0:16:24 | 0:16:26 | |
PHONE RINGS | 0:16:46 | 0:16:50 | |
Good evening, Ms Alekan. | 0:16:55 | 0:16:57 | |
Mr Pine. | 0:16:57 | 0:16:58 | |
I would like you to bring a Scotch and soda to my room please. | 0:16:59 | 0:17:03 | |
I can ask room service, | 0:17:03 | 0:17:05 | |
'or there should be a minibar just under the main wardrobe.' | 0:17:05 | 0:17:08 | |
I know where the minibar is. | 0:17:08 | 0:17:10 | |
I want you. | 0:17:11 | 0:17:12 | |
Madam, your Scotch and soda. | 0:17:41 | 0:17:44 | |
Just here on the table, madam? | 0:17:50 | 0:17:51 | |
Who did you show the papers to? | 0:17:54 | 0:17:56 | |
Please, just tell me. I would understand. | 0:17:59 | 0:18:02 | |
I just need to know. | 0:18:02 | 0:18:04 | |
Freddie Hamid was just here. | 0:18:07 | 0:18:10 | |
He said he had just spoken to the man from Ironlast. | 0:18:10 | 0:18:13 | |
Which man? | 0:18:15 | 0:18:16 | |
Richard Roper. The worst man in the world. | 0:18:17 | 0:18:21 | |
Roper told Freddie that their deal was off. | 0:18:21 | 0:18:23 | |
Apparently, Roper had been warned. | 0:18:23 | 0:18:26 | |
Who by? | 0:18:28 | 0:18:29 | |
You tell me, Mr Pine. | 0:18:36 | 0:18:39 | |
I've left your dog with the concierge, she'll be fine. | 0:18:57 | 0:19:00 | |
Ms Alekan, I'm so sorry. | 0:19:15 | 0:19:18 | |
I had no idea this would happen. | 0:19:20 | 0:19:22 | |
Don't apologise. You were right to do what you did. | 0:19:22 | 0:19:26 | |
If I'd been brave enough, I would have done it myself. | 0:19:26 | 0:19:29 | |
But Freddie has a temper, as you can see. | 0:19:31 | 0:19:34 | |
And he may come back. | 0:19:34 | 0:19:36 | |
Don't worry. We'll take care of you. | 0:19:38 | 0:19:40 | |
Would that be you and the Queen, Mr Pine? | 0:19:40 | 0:19:43 | |
Madam. | 0:19:45 | 0:19:47 | |
Simon, this is Jonathan Pine. | 0:19:57 | 0:19:59 | |
Could you give me a ring as soon as you get this, please? | 0:19:59 | 0:20:02 | |
It's urgent. Thank you. | 0:20:02 | 0:20:04 | |
APPROACHING FOOTSTEPS | 0:20:04 | 0:20:05 | |
Hey, you. | 0:20:05 | 0:20:07 | |
I have a friend in the Hatshepsut suite, she's not answering. | 0:20:07 | 0:20:09 | |
Can you try the room? | 0:20:09 | 0:20:11 | |
Certainly, sir. | 0:20:13 | 0:20:15 | |
I'm afraid there's no answer, sir. | 0:20:23 | 0:20:24 | |
-Just give me the key. -I can't do that, sir. | 0:20:24 | 0:20:26 | |
-Just give me the damn key. -I'm afraid it's not hotel policy... | 0:20:26 | 0:20:29 | |
-Do you know who I am?! -Yes, sir. I do. | 0:20:29 | 0:20:30 | |
Then you know who my family are. Open the room. Open the room. | 0:20:30 | 0:20:33 | |
-Which one? -Sir... -It's this one? -It is this one, yes. -Open the room. | 0:20:33 | 0:20:36 | |
Go. We go. Open the room. | 0:20:36 | 0:20:39 | |
Sir... | 0:20:42 | 0:20:43 | |
Where is she? When did you last see her? | 0:20:47 | 0:20:49 | |
Er, last night. I can ask the day staff. | 0:20:49 | 0:20:51 | |
Shit! | 0:20:53 | 0:20:54 | |
MOBILE PHONE RINGS | 0:20:54 | 0:20:56 | |
TRANSLATION FROM ARABIC: | 0:20:56 | 0:20:58 | |
Excuse me, sir? | 0:21:10 | 0:21:12 | |
MOBILE PHONE RINGS | 0:21:12 | 0:21:14 | |
It's me... | 0:21:14 | 0:21:16 | |
Ah... | 0:21:16 | 0:21:17 | |
Mr Roper. | 0:21:17 | 0:21:19 | |
Yes, sir. I am dealing with it. | 0:21:20 | 0:21:22 | |
I have it all in hand. Yes, sir. | 0:21:23 | 0:21:27 | |
The minute she appears, you call this number. | 0:21:34 | 0:21:37 | |
-You hear me? -Yes, sir. Certainly, sir. | 0:21:37 | 0:21:41 | |
It belongs to an archaeologist friend of mine. | 0:22:07 | 0:22:10 | |
It's an hour outside the city. | 0:22:10 | 0:22:11 | |
He's gone back to London tonight and it'll be empty for two weeks, | 0:22:11 | 0:22:14 | |
and I really think it's the safest option. | 0:22:14 | 0:22:17 | |
Come with me. | 0:22:17 | 0:22:18 | |
Please. | 0:22:21 | 0:22:23 | |
HE SIGHS | 0:22:23 | 0:22:24 | |
-Youssef, tell no-one we're here. Not even your family. -OK. | 0:23:16 | 0:23:20 | |
Thank you, brother. | 0:23:20 | 0:23:21 | |
-No worries. Let me know if you need anything else, OK? -OK. | 0:23:21 | 0:23:24 | |
All right. | 0:23:24 | 0:23:26 | |
It's not much, but...it'll do. | 0:23:35 | 0:23:39 | |
Why do you sit so far away? | 0:24:05 | 0:24:07 | |
Out of respect, I suppose. | 0:24:10 | 0:24:12 | |
Is that why you came all the way here? To respect me? | 0:24:12 | 0:24:16 | |
You have many different voices, Mr Pine. | 0:24:18 | 0:24:21 | |
You say one thing and... | 0:24:21 | 0:24:24 | |
that person touches me. | 0:24:24 | 0:24:26 | |
Then that person is called away | 0:24:27 | 0:24:29 | |
and somebody quite different takes his place. | 0:24:29 | 0:24:32 | |
We have a changing of the guard. | 0:24:33 | 0:24:35 | |
Are you like this with all your women? | 0:24:38 | 0:24:40 | |
You are not one of my women, Miss Sophie. | 0:24:42 | 0:24:44 | |
So why are you here? | 0:24:46 | 0:24:47 | |
I want one of your many selves to sleep with me tonight. | 0:24:56 | 0:25:02 | |
You can choose which one. | 0:25:04 | 0:25:06 | |
Sophie's a name you gave yourself, isn't it? | 0:25:48 | 0:25:51 | |
Yes. | 0:25:53 | 0:25:55 | |
In Paris. | 0:25:55 | 0:25:57 | |
I wanted to be more Western. | 0:25:57 | 0:25:59 | |
What's your real name? | 0:26:04 | 0:26:05 | |
Samira. | 0:26:08 | 0:26:10 | |
Samira. | 0:26:12 | 0:26:14 | |
-What more do you want? -Angela... | 0:26:25 | 0:26:26 | |
You sent me those papers. | 0:26:26 | 0:26:28 | |
There isn't another "RM" in the Foreign Office | 0:26:28 | 0:26:30 | |
sending me top-secret files by private courier. | 0:26:30 | 0:26:32 | |
I sent them to you as information, | 0:26:32 | 0:26:34 | |
as I did to everyone in Arms Intelligence. I was transparent. | 0:26:34 | 0:26:38 | |
Yeah. And while you were at it, you set me up in a transparent shoebox | 0:26:38 | 0:26:41 | |
in Victoria with no cash and no heating. | 0:26:41 | 0:26:44 | |
-Angela... -Rex. | 0:26:44 | 0:26:46 | |
Richard Roper is selling arms to the youngest Hamid brother | 0:26:46 | 0:26:49 | |
in the heart of Cairo in the middle of what we hope is the Arab Spring. | 0:26:49 | 0:26:52 | |
-Isn't that exactly what we've been looking for?! -Keep your voice down. | 0:26:52 | 0:26:55 | |
The Permanent Secretary has a view, which I share, | 0:26:55 | 0:26:58 | |
that if you are allowed to continue unchecked, | 0:26:58 | 0:27:01 | |
in your usual headstrong fashion, against Richard Onslow Roper | 0:27:01 | 0:27:05 | |
without so much as a nod to our friends across the river... | 0:27:05 | 0:27:07 | |
Yeah, something might actually get done. That's it, isn't it? | 0:27:07 | 0:27:10 | |
-There is another point of view on all this. -Which is what? | 0:27:10 | 0:27:12 | |
That arming certain key players whose mobile phone numbers we | 0:27:12 | 0:27:15 | |
happen to have in our address book might be preferable to indulging | 0:27:15 | 0:27:19 | |
a whole new bunch of religious lunatics about whom we know nothing. | 0:27:19 | 0:27:22 | |
Oh, yeah... So instead of putting handcuffs on him, | 0:27:22 | 0:27:24 | |
we can give him a seat in the House of Lords(!) | 0:27:24 | 0:27:26 | |
The Joint Intelligence Committee will meet next week. | 0:27:28 | 0:27:31 | |
We will have a full and frank discussion, | 0:27:31 | 0:27:34 | |
we will share our intelligence like brothers and sisters and we will | 0:27:34 | 0:27:38 | |
pursue, not our hopes and dreams, alas, but the art of the possible. | 0:27:38 | 0:27:45 | |
Now, I have to be at my club in 15 minutes. | 0:27:45 | 0:27:47 | |
I would invite you but, er... I am obliged to observe club rules. | 0:27:47 | 0:27:52 | |
I urge you to do the same. | 0:27:52 | 0:27:53 | |
I can't believe you're still a member of a club that won't allow women. | 0:27:53 | 0:27:56 | |
Have a lovely time. Apparently, the food's shit! | 0:27:56 | 0:27:59 | |
DOOR SLAMS SHUT | 0:27:59 | 0:28:01 | |
Did you ever meet Richard Roper? | 0:28:06 | 0:28:08 | |
I saw him at a few parties. Why? | 0:28:10 | 0:28:12 | |
What's he like? | 0:28:14 | 0:28:16 | |
Very charming. | 0:28:16 | 0:28:18 | |
Why do you call him the worst man in the world? | 0:28:20 | 0:28:22 | |
Because he sells destruction, pain and death. And he laughs. | 0:28:26 | 0:28:31 | |
TEXT ALERT | 0:28:33 | 0:28:35 | |
What is it? | 0:28:50 | 0:28:51 | |
Erm... I think you have to leave the country. | 0:28:53 | 0:28:56 | |
I have nowhere to go. | 0:28:58 | 0:28:59 | |
You could go to England. | 0:29:03 | 0:29:05 | |
Will you help me? | 0:29:07 | 0:29:09 | |
Of course I will. | 0:29:11 | 0:29:12 | |
-There you are. -Thanks for coming. -Drink? | 0:29:56 | 0:29:59 | |
-Not here. -OK. | 0:29:59 | 0:30:02 | |
You know, Jonathan, they're very pleased with what you found. | 0:30:02 | 0:30:08 | |
Well, if they're so pleased, how come they tipped off Richard Roper? | 0:30:08 | 0:30:11 | |
-What are you talking about? -Someone in London tipped off Roper. | 0:30:11 | 0:30:14 | |
My source had her face smashed up in her hotel room by Freddie Hamid. | 0:30:14 | 0:30:19 | |
Are you telling me your source is Freddie Hamid's whore? | 0:30:19 | 0:30:22 | |
Where is she now? | 0:30:27 | 0:30:28 | |
-She's somewhere safe. -OK. | 0:30:30 | 0:30:31 | |
Well, wherever you've hidden her, that's a temporary solution. Yes? | 0:30:31 | 0:30:34 | |
-Yes, of course. -So what are you planning? | 0:30:34 | 0:30:37 | |
-I'm planning to get her out of the country. -Aha... Where to? | 0:30:37 | 0:30:40 | |
-Where do you think, Simon? -Jonathan, if you think the British Government | 0:30:40 | 0:30:43 | |
is going to give safe haven to Hamid's tart, think again. | 0:30:43 | 0:30:46 | |
Excuse me? | 0:30:46 | 0:30:47 | |
The British Government have a responsibility... | 0:30:47 | 0:30:49 | |
The Hamid family have invested over a billion dollars in Britain in the last five years. | 0:30:49 | 0:30:53 | |
They're having hotels built in London, Manchester... | 0:30:53 | 0:30:56 | |
They fund political parties, they're at every top table you can name. | 0:30:56 | 0:30:59 | |
You think your girl is safe in London? | 0:30:59 | 0:31:02 | |
Freddie Hamid has more friends in London than you and I put together. | 0:31:02 | 0:31:05 | |
-She has none. -She gave us vital intelligence that can save lives. | 0:31:05 | 0:31:10 | |
This wasn't a business transaction. | 0:31:10 | 0:31:11 | |
This was a humanitarian act, we have a duty of care. | 0:31:11 | 0:31:15 | |
I'm advising you Jonathan. | 0:31:15 | 0:31:17 | |
You fly that girl out, it's a confession of her guilt. | 0:31:17 | 0:31:22 | |
Freddie Hamid will know it was her, so will Richard Roper. | 0:31:22 | 0:31:26 | |
And no-one will lift a finger to stop them. | 0:31:26 | 0:31:29 | |
She needs to convince Hamid she knows nothing. | 0:31:29 | 0:31:32 | |
That is her only chance. | 0:31:32 | 0:31:34 | |
HE SIGHS | 0:31:41 | 0:31:42 | |
PHONE RINGS | 0:31:48 | 0:31:51 | |
Yes? | 0:32:00 | 0:32:02 | |
'Sophie, it's me.' | 0:32:03 | 0:32:05 | |
Oh, Jonathan... | 0:32:06 | 0:32:09 | |
I miss you so much. | 0:32:09 | 0:32:11 | |
'Jonathan...?' | 0:32:13 | 0:32:14 | |
Yes, erm... | 0:32:18 | 0:32:19 | |
Look, er... | 0:32:21 | 0:32:23 | |
Yes? | 0:32:24 | 0:32:26 | |
London is not an option. | 0:32:26 | 0:32:29 | |
'It's all going to be fine. | 0:32:31 | 0:32:32 | |
'You just have to give me more time, that's all.' | 0:32:32 | 0:32:35 | |
There we have it. The changing of the guards. | 0:32:36 | 0:32:40 | |
No, no, no, nothing has changed. It's all still the same. | 0:32:40 | 0:32:43 | |
It's going to... I'll find a way. I promise. | 0:32:43 | 0:32:45 | |
Thank you. | 0:33:11 | 0:33:12 | |
My key, please. | 0:33:28 | 0:33:30 | |
-Ms Alekan, if Mr Hamid... -Just my key, thank you. | 0:33:32 | 0:33:35 | |
And tell the concierge to bring my dog to my room. | 0:33:41 | 0:33:44 | |
-What have you got? -Not a lot. | 0:34:01 | 0:34:03 | |
Roper's careful who he talks to. GCHQ have nothing but dross. | 0:34:03 | 0:34:06 | |
It's always the same - his name's not on a single thing. | 0:34:06 | 0:34:09 | |
There's not a single register at Companies House, | 0:34:09 | 0:34:11 | |
not one e-mail, not even a text. | 0:34:11 | 0:34:13 | |
I bet his fingers don't have prints. | 0:34:13 | 0:34:15 | |
PHONE RINGS | 0:34:15 | 0:34:18 | |
Rob Singhal, IEA. | 0:34:18 | 0:34:19 | |
I see. Do you want to speak to her yourself? Yep, yeah. | 0:34:23 | 0:34:28 | |
I can tell her. | 0:34:28 | 0:34:29 | |
The JIC meeting's been cancelled. | 0:34:33 | 0:34:36 | |
Cancelled? What do you mean, cancelled? | 0:34:36 | 0:34:38 | |
Apparently, there are political reasons why an enquiry | 0:34:38 | 0:34:40 | |
into the Cairo papers would not be "productive" at this time. | 0:34:40 | 0:34:44 | |
-Get Mayhew's office on the phone. -That was Mayhew's office. | 0:34:44 | 0:34:47 | |
Roper. | 0:34:49 | 0:34:50 | |
Who sent the Cairo papers? | 0:34:53 | 0:34:54 | |
Station officer, name of Ogilvey. | 0:34:54 | 0:34:58 | |
-Simon Ogilvey? -Yes. | 0:34:58 | 0:35:00 | |
He was my leg man in Kiev, 2004. Get him on the phone. | 0:35:00 | 0:35:03 | |
PHONE RINGS | 0:35:08 | 0:35:10 | |
Nefertiti Hotel, Cairo. | 0:35:17 | 0:35:19 | |
'Is that the night manager?' | 0:35:19 | 0:35:21 | |
Yes. Who's speaking, please? | 0:35:21 | 0:35:23 | |
'You have a guest in the Hatshepsut Suite. | 0:35:23 | 0:35:25 | |
'She needs to leave the hotel immediately. | 0:35:25 | 0:35:27 | |
'Call me when she's safe - 44700 707070.' | 0:35:27 | 0:35:32 | |
-Who is this, please? -'My name's Angela Burr. I'm a friend.' | 0:35:32 | 0:35:35 | |
What do you mean, "a friend"? | 0:35:35 | 0:35:36 | |
Just get her out, Mr Pine. Her life is at risk. | 0:35:36 | 0:35:39 | |
HE BREATHES HEAVILY | 0:35:57 | 0:36:00 | |
Oh, God! | 0:36:16 | 0:36:17 | |
Sophie? | 0:36:24 | 0:36:25 | |
No! | 0:36:28 | 0:36:29 | |
HE BREATHES HEAVILY | 0:36:46 | 0:36:49 | |
She was a guest at the hotel. | 0:37:21 | 0:37:23 | |
I think she was connected to Freddie Hamid. | 0:37:23 | 0:37:26 | |
Who? | 0:37:26 | 0:37:27 | |
Freddie Hamid. | 0:37:27 | 0:37:30 | |
Freddie Hamid? | 0:37:30 | 0:37:32 | |
You must know him, the Hamids? | 0:37:32 | 0:37:34 | |
-I don't know him. -How can you not know him? | 0:37:34 | 0:37:36 | |
They're one of the most famous families in the city. | 0:37:36 | 0:37:38 | |
No. Was burglar. Crazy burglar. | 0:37:38 | 0:37:41 | |
What are you talking about? Why would a burglar do that? | 0:37:41 | 0:37:44 | |
What do you care? | 0:37:44 | 0:37:46 | |
Maybe you know her better than you say? | 0:37:46 | 0:37:48 | |
Maybe you kill her? | 0:37:49 | 0:37:50 | |
Good evening, Herr Strippli. | 0:39:09 | 0:39:11 | |
Mr Pine. | 0:39:11 | 0:39:12 | |
Good evening, Fraulein Vipp. | 0:39:16 | 0:39:17 | |
Guten abend, Herr Pine. | 0:39:17 | 0:39:19 | |
Herr Strippli, you should have gone by now. | 0:39:46 | 0:39:48 | |
A late booking came in. I had to arrange their requirements. | 0:39:48 | 0:39:52 | |
Private jet, landing in Dubendorf. | 0:39:52 | 0:39:54 | |
-I am sending a helicopter to pick them up. -Hm. | 0:39:54 | 0:39:57 | |
You know of him? | 0:39:59 | 0:40:01 | |
He used to come every year, but that was long before your time. | 0:40:03 | 0:40:06 | |
And this parcel came for them. | 0:40:08 | 0:40:10 | |
Please give it to them when they arrive. | 0:40:10 | 0:40:12 | |
Goodnight, Mr Pine. | 0:40:12 | 0:40:15 | |
Gute nacht. | 0:40:15 | 0:40:17 | |
DISTANT HELICOPTER | 0:40:24 | 0:40:26 | |
Thank you. | 0:40:45 | 0:40:46 | |
-Very nicely done, may I say? -Thank you. | 0:40:51 | 0:40:54 | |
That was very elegant. | 0:40:54 | 0:40:55 | |
It is so pleasing to wake up the fucking Germans. | 0:40:58 | 0:41:00 | |
Welcome to Zermatt, sir. | 0:41:15 | 0:41:16 | |
I'm Dicky Roper. My chaps have booked some rooms here. | 0:41:18 | 0:41:22 | |
Quite a lot of them, actually. | 0:41:22 | 0:41:23 | |
How very good to see you, Mr Roper. My name's Pine. | 0:41:23 | 0:41:26 | |
I'm the night manager. I do hope your journey wasn't too ghastly. | 0:41:26 | 0:41:31 | |
So, where's old Meister? | 0:41:31 | 0:41:34 | |
Tucked up in bed, is he, with an Ovaltine? Or German porn? | 0:41:34 | 0:41:38 | |
How you getting on with those magazines, Jed, darling? | 0:41:40 | 0:41:43 | |
Just fine, darling. | 0:41:43 | 0:41:45 | |
Herr Meister is unavoidably tied up tonight, I'm afraid. | 0:41:45 | 0:41:48 | |
He asked me to show you the rooms. | 0:41:48 | 0:41:50 | |
But he does enormously look forward to seeing you in the morning | 0:41:50 | 0:41:53 | |
when you're rested from the journey. | 0:41:53 | 0:41:56 | |
-You English, Pine? -To the core, sir. | 0:41:56 | 0:41:59 | |
Wise man. | 0:41:59 | 0:42:01 | |
Corky! Are you proposing marriage to the young lady? | 0:42:01 | 0:42:04 | |
Highly bloody unlikely. | 0:42:04 | 0:42:06 | |
Nearly there, Chief. | 0:42:06 | 0:42:07 | |
I'm terribly sorry about that, it's the new security, I'm afraid. | 0:42:07 | 0:42:10 | |
The Swiss police insist. There seems to be nothing we can do. | 0:42:10 | 0:42:14 | |
You been here long? | 0:42:14 | 0:42:15 | |
Weren't here last time we came, was he, Frisky? | 0:42:15 | 0:42:18 | |
No, he wasn't. | 0:42:18 | 0:42:19 | |
I've been here for two and a half years, sir. | 0:42:19 | 0:42:22 | |
Before that? | 0:42:22 | 0:42:23 | |
I was in Italy and, before that, Tangier. | 0:42:25 | 0:42:28 | |
All done! | 0:42:30 | 0:42:31 | |
About bloody time! Whatever happened to your signing hand? | 0:42:31 | 0:42:35 | |
Wanker's colic, Chief. | 0:42:35 | 0:42:36 | |
-Limp wrist, more like. -Your key, sir. | 0:42:36 | 0:42:39 | |
This is one of Herr Meister's new innovations. | 0:42:39 | 0:42:42 | |
It's a little outre, I confess, | 0:42:42 | 0:42:44 | |
but our less sophisticated guests adore it. | 0:42:44 | 0:42:46 | |
Well, I adore it and I'm bloody sophisticated! | 0:42:46 | 0:42:50 | |
Taiwan. | 0:42:50 | 0:42:51 | |
Tabby. | 0:42:51 | 0:42:53 | |
-How was the ride in, sir? -Noisy. | 0:42:57 | 0:43:00 | |
It can be terribly bumpy up there, even on a clear night. | 0:43:00 | 0:43:03 | |
Heroic of you to venture aloft at all, if you ask me. | 0:43:04 | 0:43:07 | |
MUTED CONVERSATION | 0:43:07 | 0:43:10 | |
CORKORAN SPEAKS FRENCH | 0:43:21 | 0:43:23 | |
-Champagne, sir? -Yes, thank you. | 0:43:23 | 0:43:25 | |
HE CONTINUES SPEAKING FRENCH | 0:43:25 | 0:43:29 | |
Gregory, listen to me. All we need is delivery by Tuesday. | 0:43:30 | 0:43:33 | |
So tell your friends by the Vltava that they need you to start | 0:43:33 | 0:43:36 | |
driving tomorrow morning. | 0:43:36 | 0:43:38 | |
This room is probably exactly as you remember it, sir, | 0:43:38 | 0:43:41 | |
although the bathrooms have been completely refurbished. | 0:43:41 | 0:43:44 | |
There's a new free-standing tub, mini spa facilities and a Jacuzzi. | 0:43:44 | 0:43:48 | |
-I'm going to take a bath, baby. -All right. | 0:43:48 | 0:43:51 | |
Pretty, isn't she? | 0:44:08 | 0:44:10 | |
I went to New York to buy a painting and came back with her. | 0:44:12 | 0:44:14 | |
Liar. You said you were buying a horse. | 0:44:14 | 0:44:17 | |
It was a painting of a horse. | 0:44:17 | 0:44:18 | |
Sandy, are you coming to bed? | 0:44:26 | 0:44:28 | |
This is Lady Langbourne, best skier within 100 miles, I guarantee it. | 0:44:28 | 0:44:32 | |
Once upon a time. | 0:44:32 | 0:44:33 | |
Knees gone, poor old thing. Completely worn out. | 0:44:33 | 0:44:37 | |
Goodnight, my beloved. | 0:44:37 | 0:44:39 | |
TEXT ALERT | 0:44:39 | 0:44:41 | |
Soldier Boris says OK, Monday lunchtime. OK, Monday lunchtime? | 0:44:41 | 0:44:44 | |
Fix. | 0:44:44 | 0:44:46 | |
Aren't we getting rid of these? | 0:44:46 | 0:44:47 | |
They were supposed to be here by six o'clock. | 0:44:47 | 0:44:49 | |
Anything come, Pine? A package for us? | 0:44:49 | 0:44:51 | |
Nothing that I've seen, sir. | 0:44:51 | 0:44:53 | |
I'll chase it for you. | 0:44:53 | 0:44:55 | |
Your friend Apostol says he can meet you in town tomorrow night. | 0:44:55 | 0:44:58 | |
Too public. Make it here. | 0:44:58 | 0:45:00 | |
Play golf, do we, sweetheart? | 0:45:03 | 0:45:05 | |
No, sir, I don't. | 0:45:05 | 0:45:07 | |
Me neither. Just the nineteenth hole. | 0:45:07 | 0:45:09 | |
Darling, some more shampoo, please. | 0:45:11 | 0:45:13 | |
She means the... | 0:45:13 | 0:45:16 | |
Ah. Take it into her, would you, old boy? | 0:45:16 | 0:45:19 | |
-Certainly, sir. -Only joking. | 0:45:27 | 0:45:29 | |
Although I think we might need | 0:45:32 | 0:45:34 | |
another couple of bottles of this stuff. | 0:45:34 | 0:45:37 | |
Of course, sir. Absolutely, right away. | 0:45:37 | 0:45:39 | |
Find out what happened to the bloody parcel, will you? | 0:45:39 | 0:45:42 | |
Yes, sir. I'll have it sent up as soon as it arrives. | 0:45:42 | 0:45:45 | |
-Can I see tonight's late arrivals, please? -Yes. | 0:46:07 | 0:46:11 | |
Just a second. | 0:46:11 | 0:46:13 | |
-Here they are. -Thank you. | 0:46:13 | 0:46:15 | |
Could you do photocopies of these for me, please, Fraulein? | 0:46:23 | 0:46:26 | |
We're doing a marketing survey of Tower Suite guests. | 0:46:26 | 0:46:29 | |
-Yes, of course, Mr Pine. -Thank you. | 0:46:29 | 0:46:31 | |
DOOR CLICKS SHUT | 0:46:33 | 0:46:35 | |
Ah, Alfred. Could you deliver this to Mr Roper? | 0:47:13 | 0:47:15 | |
Also, one more thing - please don't forget to empty the rubbish | 0:47:15 | 0:47:18 | |
-from their bins right away. Mr Roper hates mess. -Of course. -Thanks. | 0:47:18 | 0:47:22 | |
Can I help you, madam? | 0:47:43 | 0:47:44 | |
Do you really stay awake all night? | 0:47:46 | 0:47:48 | |
Yes, madam... | 0:47:50 | 0:47:51 | |
..it's my job. | 0:47:52 | 0:47:54 | |
Is the pool open? | 0:47:57 | 0:47:59 | |
Give me one moment, please. | 0:47:59 | 0:48:01 | |
METALLIC JANGLING | 0:48:55 | 0:48:57 | |
Can I help you, gentlemen? | 0:49:11 | 0:49:13 | |
Is the bar still open? | 0:49:13 | 0:49:15 | |
-Yes, of course, sir. -Perfect. | 0:49:15 | 0:49:17 | |
Allow me to escort you. | 0:49:17 | 0:49:19 | |
Thank you. | 0:49:24 | 0:49:26 | |
Yes, hello. Could I speak to an Angela Burr, please? | 0:51:04 | 0:51:08 | |
My name is Jonathan Pine. | 0:51:09 | 0:51:11 | |
LOW CONVERSATION | 0:51:21 | 0:51:25 | |
-Hi! How are you? -Good evening. | 0:51:30 | 0:51:32 | |
-Good to see you. -You, too. | 0:51:32 | 0:51:33 | |
Are you well? | 0:51:33 | 0:51:35 | |
Hi, I am Jed, so nice to meet you. | 0:51:35 | 0:51:37 | |
-Apo, how are you? You look well. -You, too. -Thank you. | 0:51:37 | 0:51:40 | |
This is Mercedes. | 0:51:40 | 0:51:41 | |
Hello. Nice to meet you. | 0:51:41 | 0:51:43 | |
She has never been to Zermatt before. | 0:51:43 | 0:51:45 | |
-And I said, "You have to come!" -But of course. | 0:51:45 | 0:51:48 | |
HE WHISTLES | 0:51:54 | 0:51:55 | |
I know what you're thinking. | 0:52:00 | 0:52:02 | |
Which is the daughter and which is the mistress? | 0:52:02 | 0:52:04 | |
The young beauties will be leaving us in a moment. | 0:52:04 | 0:52:07 | |
Make sure they're well serviced in the lounge. | 0:52:07 | 0:52:09 | |
I trust that won't be too painful for you. | 0:52:09 | 0:52:11 | |
Ladies. | 0:52:14 | 0:52:15 | |
Come. | 0:52:17 | 0:52:18 | |
-Apo... -Yes? | 0:52:24 | 0:52:25 | |
I've received an offer. Combine harvesters. | 0:52:25 | 0:52:30 | |
Some time in the next six months. Looking for interested buyers. | 0:52:30 | 0:52:33 | |
Glimpse of the infinite. | 0:52:48 | 0:52:49 | |
Yes. It's reassuring. | 0:52:57 | 0:52:58 | |
Up to a point. | 0:52:58 | 0:53:00 | |
-You work here all year? -Indeed, sir. | 0:53:01 | 0:53:04 | |
I don't think I could do that. Too bloody quiet for me. | 0:53:06 | 0:53:08 | |
Get used to it eventually. | 0:53:09 | 0:53:11 | |
Keeping away from the world, are we? Got a girl? | 0:53:12 | 0:53:15 | |
-No, sir. -All alone. | 0:53:16 | 0:53:18 | |
Well, I suppose we all are, in the end, aren't we? | 0:53:20 | 0:53:22 | |
You know, a lot of people would have tossed that cigarette away | 0:53:26 | 0:53:29 | |
when the paying customer turned up. | 0:53:29 | 0:53:31 | |
Good for you. | 0:53:32 | 0:53:33 | |
We leave tomorrow, so until the next time... | 0:53:35 | 0:53:39 | |
-adios! -Goodnight, sir. | 0:53:39 | 0:53:41 | |
HE BREATHES OUT SHAKILY | 0:53:45 | 0:53:47 | |
STATION TANNOY MAKES ANNOUNCEMENTS | 0:53:59 | 0:54:01 | |
-Angela Burr? -Yes. | 0:54:33 | 0:54:35 | |
-Jonathan Pine. -Nice to meet you. | 0:54:35 | 0:54:38 | |
THEY SPEAK GERMAN | 0:54:38 | 0:54:40 | |
-Thank you for coming all this way. I appreciate it. -Pleasure. | 0:54:43 | 0:54:47 | |
These are for you. | 0:54:54 | 0:54:56 | |
Richard Roper was recently a guest at the Meisters Hotel. | 0:55:03 | 0:55:06 | |
Do whatever you want with those. I don't want to be involved. | 0:55:07 | 0:55:11 | |
Thank you. | 0:55:17 | 0:55:18 | |
So, why did you do it? | 0:55:21 | 0:55:22 | |
Why does Jonathan Pine, respected hotelier, | 0:55:24 | 0:55:26 | |
risk his career by snitching on his guests? | 0:55:26 | 0:55:29 | |
First in Cairo and then here. | 0:55:29 | 0:55:31 | |
I don't know. | 0:55:31 | 0:55:33 | |
Yes, you do. | 0:55:34 | 0:55:35 | |
-Something stirred, I suppose. -What stirred? | 0:55:39 | 0:55:41 | |
Listen, if there is a man selling a private arsenal to an Egyptian crook | 0:55:41 | 0:55:46 | |
and he's English and you're English | 0:55:46 | 0:55:49 | |
and those weapons could cause a lot of pain to a lot of people, | 0:55:49 | 0:55:53 | |
then you just do it. | 0:55:53 | 0:55:55 | |
Anyone would do it. | 0:55:57 | 0:55:59 | |
Plenty wouldn't. | 0:56:00 | 0:56:02 | |
You were a soldier yourself, of course. | 0:56:04 | 0:56:06 | |
Yes, I was. | 0:56:07 | 0:56:09 | |
Iraq. Two tours. | 0:56:09 | 0:56:11 | |
You know what those weapons can do to a body. | 0:56:13 | 0:56:15 | |
I saw things in Iraq that didn't line up with my idea | 0:56:17 | 0:56:20 | |
of what it means to be a soldier. | 0:56:20 | 0:56:21 | |
And then there's Sophie Alekan. Your Sophie. | 0:56:24 | 0:56:27 | |
She wasn't my Sophie. | 0:56:27 | 0:56:29 | |
Mr Pine... | 0:56:32 | 0:56:34 | |
what happened to Sophie Alekan makes us all involved. | 0:56:34 | 0:56:37 | |
What happened in Cairo... | 0:56:42 | 0:56:44 | |
shames me to the bottom of my soul. | 0:56:44 | 0:56:46 | |
I know you can't forgive the man who did that. | 0:56:47 | 0:56:50 | |
The question is, what are you prepared to do about it? | 0:56:50 | 0:56:53 |