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This programme contains some violent scenes | 0:00:03 | 0:00:08 | |
# Plain gold ring on his finger he wore | 0:00:56 | 0:01:02 | |
# It was where everyone could see | 0:01:04 | 0:01:11 | |
# He belonged to someone | 0:01:12 | 0:01:15 | |
# But not me | 0:01:17 | 0:01:20 | |
# On his hand was a plain... | 0:01:20 | 0:01:26 | |
# Gold band | 0:01:26 | 0:01:32 | |
# Plain gold ring had a story to tell | 0:01:34 | 0:01:40 | |
# It was one | 0:01:44 | 0:01:50 | |
# That I knew too well | 0:01:50 | 0:01:55 | |
# Plain gold ring on his finger he wore... # | 0:01:57 | 0:02:03 | |
PHONE VIBRATES | 0:02:03 | 0:02:04 | |
Mum? What do you want? | 0:02:11 | 0:02:13 | |
I didn't think you'd pick up. | 0:02:13 | 0:02:15 | |
Listen, you know the deal. | 0:02:16 | 0:02:17 | |
I call you. You don't call me here. | 0:02:17 | 0:02:20 | |
You're ashamed to talk to me? | 0:02:20 | 0:02:21 | |
Listen, I don't have time to talk to you. I'm going out. | 0:02:24 | 0:02:26 | |
-Where you going? -It doesn't matter. | 0:02:26 | 0:02:29 | |
Some... Somewhere on the island. | 0:02:29 | 0:02:31 | |
How's the weather there? Just fine? | 0:02:31 | 0:02:33 | |
How's Billy? | 0:02:37 | 0:02:38 | |
As if you care. | 0:02:38 | 0:02:39 | |
They say he doesn't even ask about you any more. | 0:02:41 | 0:02:44 | |
There's more money coming at the end of the month. | 0:02:46 | 0:02:48 | |
That's why you called me, right? | 0:02:49 | 0:02:51 | |
I'm putting the phone down. | 0:02:51 | 0:02:53 | |
Just remember one thing, honey. | 0:02:53 | 0:02:54 | |
You're nothing but a dirty whore. | 0:02:56 | 0:02:58 | |
KNOCK AT DOOR | 0:03:00 | 0:03:02 | |
Just a minute... | 0:03:02 | 0:03:03 | |
Come in. | 0:03:14 | 0:03:16 | |
Oh! | 0:03:18 | 0:03:20 | |
Danny. I thought you were your father. | 0:03:20 | 0:03:22 | |
Dad says we need to go. | 0:03:22 | 0:03:23 | |
I know, I'm coming. | 0:03:23 | 0:03:25 | |
You just wait outside. | 0:03:25 | 0:03:27 | |
OK. | 0:03:27 | 0:03:28 | |
-How do I look? -You look very pretty. | 0:03:44 | 0:03:47 | |
Come on... | 0:03:49 | 0:03:50 | |
Go! | 0:03:50 | 0:03:52 | |
I misunderstood him. | 0:03:54 | 0:03:56 | |
The fact remains, you and paella do not get on, | 0:03:56 | 0:03:59 | |
to the point where basically we're out seven million, | 0:03:59 | 0:04:02 | |
because Corky doesn't like paella. | 0:04:02 | 0:04:04 | |
That's one version, Chief. | 0:04:04 | 0:04:05 | |
What do you mean that's one version? That is THE version! | 0:04:05 | 0:04:08 | |
It's a matter of record. | 0:04:08 | 0:04:09 | |
You chaps better go on ahead, I think. | 0:04:09 | 0:04:11 | |
-Truly is some of the most exquisite food... -There you are! | 0:04:11 | 0:04:14 | |
Starting to think you'd drowned in the bath. | 0:04:14 | 0:04:16 | |
Baby, I have terrible news. | 0:04:16 | 0:04:18 | |
I have a new date for tonight. | 0:04:18 | 0:04:20 | |
He's young, and he's seriously hot. | 0:04:20 | 0:04:23 | |
Well, I wouldn't put it past him. | 0:04:23 | 0:04:25 | |
All right, come on. Let's go, I'm starving. | 0:04:26 | 0:04:27 | |
-You going to come with me, Dans? -OK. Are we taking the boats? | 0:04:27 | 0:04:30 | |
Yes, we are, sir. You might even drive if you're lucky. | 0:04:30 | 0:04:33 | |
Yes, you lot. Follow me. | 0:04:33 | 0:04:35 | |
Whee! | 0:05:19 | 0:05:20 | |
-Hello. -Nice to see you! | 0:05:24 | 0:05:26 | |
-For me too. -Hi. | 0:05:26 | 0:05:27 | |
-Jorge, how are you? Good to see you. -Mr Roper, how are you? | 0:05:27 | 0:05:30 | |
Very well, thank you. Are you still doing the shellfish soup? | 0:05:30 | 0:05:33 | |
Yes, of course! | 0:05:33 | 0:05:34 | |
The recipe lives on. | 0:05:34 | 0:05:36 | |
We'll have that to start. | 0:05:36 | 0:05:37 | |
All except for Major Corkoran, who will have the paella. | 0:05:37 | 0:05:40 | |
Hi there, how are you? | 0:05:40 | 0:05:41 | |
Very good to see you. Hi, darling, how are you? | 0:05:41 | 0:05:45 | |
-Good to see you, are you well? -Good to see you again. | 0:05:45 | 0:05:48 | |
I think it is mad, no, I think it's actually hypocritical | 0:05:48 | 0:05:51 | |
that if you like eating venison, you ought to be able to kill a stag. | 0:05:51 | 0:05:54 | |
-I think if you're willing to kill a stag... -Danny, want some of this? | 0:05:54 | 0:05:57 | |
..you have to be willing to admit you just like killing stags. | 0:05:57 | 0:06:00 | |
Thank you Jed, I now officially love you. | 0:06:00 | 0:06:02 | |
Chief, is it OK to baptise the princeling in the ways of the grape? | 0:06:02 | 0:06:07 | |
I think that's a yes. Isn't it? | 0:06:10 | 0:06:12 | |
Dicky, will you please tell Jed I don't have blood lust? I don't! | 0:06:12 | 0:06:15 | |
Beautiful, beautiful fizzy liquid. You've got so many lusts, Sandy. | 0:06:15 | 0:06:18 | |
That's why we love you. Isn't it? | 0:06:18 | 0:06:19 | |
-ROPER: -Give the stag an M16, Sandy, then I'm interested. | 0:06:19 | 0:06:22 | |
GIVE him an M16? Bollocks! | 0:06:22 | 0:06:24 | |
Christ, SELL him. | 0:06:24 | 0:06:26 | |
Oh, he likes it. | 0:06:26 | 0:06:28 | |
What do you think, Daniel? | 0:06:28 | 0:06:29 | |
He likes it. | 0:06:30 | 0:06:31 | |
ROPER CHUCKLES | 0:06:31 | 0:06:32 | |
-Oh, dear! -See what you've done! | 0:06:32 | 0:06:34 | |
What if he turns out like me, boss? | 0:06:34 | 0:06:36 | |
I can see this as a... | 0:06:36 | 0:06:37 | |
This is a dark, dark road you've embarked upon. | 0:06:37 | 0:06:39 | |
Thank you, Corky(!) | 0:06:39 | 0:06:41 | |
Yes. What do you want to do? | 0:06:41 | 0:06:42 | |
-You want to... -What do you think? | 0:06:42 | 0:06:44 | |
-That is really good. -Get on! | 0:06:44 | 0:06:46 | |
All right, all right, all right. | 0:06:46 | 0:06:48 | |
Go on, then. | 0:06:48 | 0:06:49 | |
-Come on. -Did you like the wine? | 0:06:50 | 0:06:52 | |
Where we going? | 0:06:52 | 0:06:53 | |
-It's a secret. -Where are you going? | 0:06:53 | 0:06:55 | |
You drink my wine, you steal my woman. | 0:06:57 | 0:06:59 | |
Proud of you, Danny. | 0:07:01 | 0:07:03 | |
Bring her back in one piece will you? | 0:07:04 | 0:07:06 | |
-Lord Langbourne is a snob, basically. -What? | 0:07:06 | 0:07:09 | |
Three generations of Eton or you're not on the map. | 0:07:09 | 0:07:11 | |
I'm only one generation, Sandy. So what does that make me? | 0:07:11 | 0:07:14 | |
You're paying the bill, Dicky. Which means... | 0:07:15 | 0:07:17 | |
you are the map. | 0:07:17 | 0:07:18 | |
To Ricardo! | 0:07:20 | 0:07:22 | |
Cheers. Good health. | 0:07:22 | 0:07:23 | |
Slimy bloody arse-licking creep(!) | 0:07:23 | 0:07:26 | |
MODERN FLAMENCO PLAYS | 0:07:26 | 0:07:28 | |
Excuse me, small person, out of my way. | 0:07:54 | 0:07:57 | |
May I have this dance? | 0:07:57 | 0:08:00 | |
-Thank you so much. -Of course. | 0:08:00 | 0:08:03 | |
Right, let's see what you've got. OK, OK, that's fine, | 0:08:03 | 0:08:06 | |
that's fine. And again, and round... Very good. | 0:08:06 | 0:08:09 | |
Chief, I think she wants to dance. | 0:08:12 | 0:08:14 | |
Go on, then, Corkoran. | 0:08:14 | 0:08:16 | |
Right, come on, I'll do it. | 0:08:16 | 0:08:18 | |
Tear it up, tear it up! | 0:08:18 | 0:08:20 | |
Oh, yeah. Come on, baby! | 0:08:21 | 0:08:23 | |
..and right, and left, that's it! | 0:08:24 | 0:08:28 | |
It's time to put the children to bed. | 0:08:28 | 0:08:29 | |
Oh, no, I hate children(!) | 0:08:29 | 0:08:31 | |
Thank you, great dancing. Guys, goodnight, sleep well. | 0:08:31 | 0:08:34 | |
Come on, ignore it. | 0:08:34 | 0:08:35 | |
Dance with me! | 0:08:37 | 0:08:38 | |
DRIVING GAME WHINES FAINTLY | 0:08:38 | 0:08:39 | |
..if you had Chateaubriand every single day, there'd no point at which you'd go, | 0:08:39 | 0:08:43 | |
"Oh, for God's sake..." I give up, were you born on sirloin? | 0:08:43 | 0:08:46 | |
No. | 0:08:46 | 0:08:47 | |
-Corky has smelt the... -Nobody move! Nobody move! | 0:08:48 | 0:08:51 | |
-SCREAMS -This is a robbery. | 0:08:51 | 0:08:52 | |
GUNS DOWN! GUNS DOWN! | 0:08:52 | 0:08:54 | |
ON THE FLOOR! GUNS DOWN! | 0:08:54 | 0:08:55 | |
Why do you got guns? You police? | 0:08:55 | 0:08:57 | |
-You police? -No, no, no, they're with me. | 0:08:57 | 0:09:00 | |
Put the guns on the floor! On the floor. | 0:09:00 | 0:09:02 | |
Roper, please, Goddamn it, Roper. | 0:09:02 | 0:09:03 | |
Frisky, Tabby, | 0:09:03 | 0:09:05 | |
do what he says. | 0:09:05 | 0:09:06 | |
(On the floor!) | 0:09:08 | 0:09:09 | |
And everyone stay very, very calm. | 0:09:12 | 0:09:13 | |
We're going to do exactly what this gentleman wants us to do. | 0:09:15 | 0:09:17 | |
And everything is going to be fine. | 0:09:17 | 0:09:19 | |
You are a rich man. | 0:09:19 | 0:09:20 | |
Yes, I am a rich man. | 0:09:21 | 0:09:23 | |
I'm going to give you all the money we have, | 0:09:23 | 0:09:24 | |
I'm going to give you wallets, jewellery. | 0:09:24 | 0:09:26 | |
We'll give you anything in the restaurant till. | 0:09:26 | 0:09:28 | |
And then, you're going to leave. Right? | 0:09:28 | 0:09:30 | |
Jorge, will you check the till, please? | 0:09:30 | 0:09:32 | |
Tell him no alarms. | 0:09:32 | 0:09:33 | |
No alarms, Jorge. | 0:09:33 | 0:09:34 | |
And slowly! | 0:09:34 | 0:09:36 | |
Everybody stay very, very calm. | 0:09:37 | 0:09:39 | |
-Dad! -It's all right, just keep looking at me. | 0:09:39 | 0:09:41 | |
Back off. Back off. | 0:09:41 | 0:09:43 | |
Tabby, Tabby, Tabby, step back... | 0:09:43 | 0:09:45 | |
He's your boy? | 0:09:45 | 0:09:46 | |
Yes. He's my boy. | 0:09:47 | 0:09:49 | |
Danny, it's fine, just keep looking at me. It's fine. | 0:09:50 | 0:09:53 | |
Jewellery. | 0:09:53 | 0:09:55 | |
-Wallets. -Just give him everything we have. -OK. | 0:09:55 | 0:09:57 | |
In the bag! | 0:09:58 | 0:09:59 | |
It's all right, Danny. | 0:09:59 | 0:10:01 | |
That's all? Where is the real money? | 0:10:03 | 0:10:05 | |
That's shit, man! | 0:10:05 | 0:10:07 | |
Where is the rest?! | 0:10:07 | 0:10:08 | |
We can send for some money. | 0:10:09 | 0:10:10 | |
-How much do we have, Corks? -About 100. | 0:10:10 | 0:10:13 | |
There you are, 100,000. | 0:10:13 | 0:10:14 | |
We can have it here in 15 minutes. | 0:10:14 | 0:10:16 | |
All you have to do is let the boy go. | 0:10:16 | 0:10:19 | |
It's all right, Danny. It's all right. | 0:10:19 | 0:10:21 | |
HE SPEAKS OWN LANGUAGE | 0:10:21 | 0:10:22 | |
We contact you. We contact you. | 0:10:22 | 0:10:25 | |
You bring the money to us. | 0:10:25 | 0:10:26 | |
We give you back the boy. | 0:10:26 | 0:10:28 | |
-No, no, no, we will give you money. -No, no, no! | 0:10:28 | 0:10:29 | |
We will give you money! But you have to leave the boy here. | 0:10:29 | 0:10:32 | |
-We contact you! -No, no, no. | 0:10:32 | 0:10:33 | |
On the floor, on the ground! | 0:10:33 | 0:10:35 | |
-No. You take me instead! -You don't have to do that! -Back off! | 0:10:35 | 0:10:37 | |
SHOUTING AND SCREAMING | 0:10:37 | 0:10:38 | |
Down on the ground! Everybody on the ground! | 0:10:38 | 0:10:41 | |
-Everybody on the ground! -Daaaad! | 0:10:42 | 0:10:44 | |
We contact you. | 0:10:44 | 0:10:45 | |
ROBBER SPEAKS OWN LANGUAGE | 0:10:45 | 0:10:47 | |
DANNY WAILS OTHERS SHOUT | 0:10:47 | 0:10:49 | |
All right, all right, all right.. | 0:10:49 | 0:10:51 | |
Stay there or the boy dies. | 0:10:51 | 0:10:52 | |
Dad! Daaaad! | 0:10:52 | 0:10:56 | |
On the ground. On the ground. | 0:10:56 | 0:10:58 | |
On the ground. | 0:10:58 | 0:10:59 | |
Get down! Shut up! | 0:10:59 | 0:11:00 | |
METAL CLANGING | 0:11:05 | 0:11:07 | |
Who's in there? Who's in there? | 0:11:07 | 0:11:08 | |
Good boy. Good boy. | 0:11:08 | 0:11:10 | |
Good boy. | 0:11:10 | 0:11:11 | |
Mr Burr always wanted to come to the Swiss Alps. | 0:11:50 | 0:11:52 | |
He likes the peace and quiet, does Mr Burr. | 0:11:53 | 0:11:55 | |
You don't? | 0:11:58 | 0:11:59 | |
All this snow and silence makes me want to scream. | 0:11:59 | 0:12:01 | |
HE CHUCKLES Don't worry, I'm not going to. | 0:12:01 | 0:12:03 | |
OK. | 0:12:03 | 0:12:05 | |
How long have you been together? | 0:12:05 | 0:12:06 | |
20 years, come November. | 0:12:08 | 0:12:09 | |
Wow! Congratulations. | 0:12:09 | 0:12:11 | |
It's marriage, Jonathan. It's not a state of bliss. | 0:12:11 | 0:12:13 | |
Any children? | 0:12:15 | 0:12:17 | |
First and last. | 0:12:17 | 0:12:18 | |
So there's no mention of Cairo on your professional CV. I checked. | 0:12:22 | 0:12:26 | |
Yeah. I took it off after I left. | 0:12:27 | 0:12:29 | |
Why? | 0:12:29 | 0:12:30 | |
I had to. | 0:12:33 | 0:12:35 | |
So if Roper checked with Meisters for a biography, | 0:12:36 | 0:12:38 | |
Cairo wouldn't come up. | 0:12:38 | 0:12:40 | |
No. | 0:12:40 | 0:12:41 | |
What about Freddie Hamid? | 0:12:41 | 0:12:43 | |
To him I was just a man in a uniform. | 0:12:44 | 0:12:46 | |
He never knew my name. | 0:12:47 | 0:12:48 | |
So just a little bit of airbrushing and you'd be clean? | 0:12:49 | 0:12:52 | |
Clean. | 0:12:54 | 0:12:55 | |
Do you handle cash in that hotel of yours? | 0:12:56 | 0:12:58 | |
Yeah... | 0:12:58 | 0:12:59 | |
Sometimes. | 0:12:59 | 0:13:01 | |
Suppose you stole some of it? Or all of it? | 0:13:01 | 0:13:03 | |
Would anyone notice straight away? | 0:13:03 | 0:13:05 | |
Not if I was clever about it. | 0:13:06 | 0:13:08 | |
Ah, well, luckily you are clever, Jonathan. Cos I checked. | 0:13:08 | 0:13:11 | |
Did you? | 0:13:11 | 0:13:12 | |
Course you did. | 0:13:12 | 0:13:14 | |
Don't get many visitors here, do you? | 0:13:25 | 0:13:26 | |
No. | 0:13:27 | 0:13:29 | |
Oh, TE Lawrence... | 0:13:33 | 0:13:35 | |
of Arabia. | 0:13:35 | 0:13:36 | |
The lonely genius who wished only to be a number. | 0:13:38 | 0:13:41 | |
Would you put that back, please? | 0:13:42 | 0:13:43 | |
Whose initials are these? | 0:13:43 | 0:13:44 | |
They're my father's. It's private. | 0:13:46 | 0:13:48 | |
Oh, sorry. I didn't realise it meant that much to you. | 0:13:48 | 0:13:50 | |
Yes, you did. | 0:13:52 | 0:13:54 | |
He was undercover in Belfast, wasn't he, your father? | 0:13:57 | 0:14:00 | |
Yes, he was. | 0:14:00 | 0:14:01 | |
Same regiment as you. | 0:14:01 | 0:14:03 | |
Yeah. | 0:14:03 | 0:14:05 | |
I read that they had to put his uniform back on | 0:14:05 | 0:14:07 | |
before they buried him. | 0:14:07 | 0:14:08 | |
What do you want, Ms Burr? | 0:14:10 | 0:14:12 | |
I want to make you an offer. | 0:14:14 | 0:14:15 | |
Come and work for me... | 0:14:16 | 0:14:18 | |
and afterwards when it's all over, I will look after you. | 0:14:18 | 0:14:21 | |
Resettlement, new name, new identity, | 0:14:21 | 0:14:23 | |
new life. | 0:14:23 | 0:14:25 | |
An offer to do what? | 0:14:29 | 0:14:32 | |
To bring down Richard Roper. | 0:14:33 | 0:14:34 | |
I've spent ten years of my life going after that man. | 0:14:37 | 0:14:40 | |
I've had microphones up his arse, | 0:14:41 | 0:14:43 | |
I've had GCHQ tapping every bloody e-mail. | 0:14:43 | 0:14:45 | |
I've had a thousand satellites overflying him | 0:14:45 | 0:14:48 | |
and I can't get close to him. | 0:14:48 | 0:14:50 | |
Do you know why? | 0:14:50 | 0:14:52 | |
Because he's too smart. | 0:14:52 | 0:14:53 | |
But that'll change. | 0:14:53 | 0:14:54 | |
I want to put you inside his operation. | 0:14:55 | 0:14:58 | |
I will give you a legend as thick as your arm. | 0:14:58 | 0:15:00 | |
You will be in so deep, you'll worry that you'll never get out of it. | 0:15:02 | 0:15:05 | |
There's not a scrap of you that won't get used, | 0:15:05 | 0:15:07 | |
there's not an hour that will go by that you won't be scared. | 0:15:07 | 0:15:10 | |
But you will nail him. | 0:15:10 | 0:15:11 | |
You will nail him for Sophie Alekan. | 0:15:12 | 0:15:14 | |
You will nail him for your country. | 0:15:16 | 0:15:17 | |
And you will nail him for the man that owned that book. | 0:15:17 | 0:15:20 | |
Or you can go back to the hotel of non-existence. | 0:15:26 | 0:15:28 | |
It's up to you. | 0:15:28 | 0:15:29 | |
I think he's going to do it. | 0:15:41 | 0:15:42 | |
-What do you need? -I need to give him a criminal history, | 0:15:44 | 0:15:46 | |
something for Roper to find. | 0:15:46 | 0:15:48 | |
It's got to be West Country and it needs to be real. | 0:15:48 | 0:15:50 | |
I need the Home Office on board. | 0:15:50 | 0:15:51 | |
And I need you to take out at least three Devon police officers, | 0:15:51 | 0:15:54 | |
take them to lunch, get them to play the game. | 0:15:54 | 0:15:56 | |
No half measures, then, eh? | 0:15:56 | 0:15:58 | |
And not a word to the River House, Rex. | 0:15:58 | 0:16:00 | |
Do you understand me? Not...a...word. | 0:16:00 | 0:16:02 | |
I do hope I'm not about to regret the soft spot | 0:16:04 | 0:16:06 | |
that I have for you, Angela. | 0:16:06 | 0:16:08 | |
DISTANT CLUNK | 0:16:28 | 0:16:30 | |
KNOCKING | 0:17:06 | 0:17:08 | |
All right. | 0:17:14 | 0:17:15 | |
This is Rob Singhal, my deputy. | 0:17:16 | 0:17:19 | |
Hello. | 0:17:19 | 0:17:20 | |
You up for it? | 0:17:24 | 0:17:26 | |
You're sure, are you? | 0:17:26 | 0:17:27 | |
Yeah. | 0:17:29 | 0:17:30 | |
Right, well, sit down, have a cup of tea, for God's sake. | 0:17:33 | 0:17:35 | |
You're making me feel nervous. | 0:17:35 | 0:17:36 | |
Thanks. | 0:17:40 | 0:17:42 | |
No. | 0:17:44 | 0:17:45 | |
All you've said so far is yes. | 0:17:50 | 0:17:51 | |
Do you want me to say no? | 0:17:53 | 0:17:54 | |
Well, now would be the moment. | 0:17:54 | 0:17:55 | |
Now, or forever hold your peace. | 0:17:55 | 0:17:57 | |
Oh, you're too bloody perfect, Jonathan Pine, that's your trouble. | 0:18:00 | 0:18:03 | |
I don't want you perfect. Go on, have a biscuit. Eat it. | 0:18:03 | 0:18:05 | |
You are going to put on the performance of your life. | 0:18:10 | 0:18:13 | |
There is half a psychopath lurking in there, Jonathan. | 0:18:16 | 0:18:18 | |
I want you to find him and stick to him. | 0:18:19 | 0:18:21 | |
Once you get down to Devon, you are the world's second worst man, | 0:18:21 | 0:18:25 | |
first place already taken. | 0:18:25 | 0:18:26 | |
There is no right or wrong for you down there. | 0:18:26 | 0:18:29 | |
Do you hear me? It's all me, me, me. | 0:18:29 | 0:18:30 | |
Don't give anyone an inch. | 0:18:30 | 0:18:33 | |
Anyone pisses you off, you smack them. | 0:18:33 | 0:18:34 | |
Anyone crosses you, God help them. | 0:18:34 | 0:18:36 | |
I want you to scare the shit out of everyone, | 0:18:36 | 0:18:39 | |
and that includes me! | 0:18:39 | 0:18:40 | |
Richard Roper must know that you're in the same league as him. | 0:18:40 | 0:18:43 | |
Laws don't apply to him, and they don't apply to you, either. | 0:18:43 | 0:18:46 | |
He sees that, we get him, | 0:18:46 | 0:18:47 | |
he comes to the table, we get him over a barrel, we skewer him! | 0:18:47 | 0:18:50 | |
Are you comfortable with that? | 0:18:53 | 0:18:54 | |
Yes. | 0:18:57 | 0:18:58 | |
Right, this is our insurance. | 0:18:59 | 0:19:01 | |
To say that you jumped, we didn't push you. | 0:19:04 | 0:19:06 | |
WATER DRIPS, ECHOING | 0:19:28 | 0:19:30 | |
Tell me what you saw when you got to the cottage. | 0:19:32 | 0:19:34 | |
Er, the, the kitchen was a mess... | 0:19:35 | 0:19:40 | |
..and there is blood on the...on the floor. | 0:19:41 | 0:19:44 | |
Did he kill him? | 0:19:46 | 0:19:47 | |
SHOP BELL TINKLES | 0:20:08 | 0:20:09 | |
Hi. | 0:20:15 | 0:20:16 | |
You all right? | 0:20:16 | 0:20:18 | |
I've, erm... | 0:20:18 | 0:20:19 | |
taken Rosum's cottage. | 0:20:19 | 0:20:20 | |
I was told to leave the rent here. | 0:20:20 | 0:20:22 | |
I'll be here for a while. | 0:20:27 | 0:20:29 | |
Is this your place? | 0:20:30 | 0:20:31 | |
-Oh, no, it's my mum's. I'm just looking after it. -Right. | 0:20:31 | 0:20:34 | |
You're from up country? | 0:20:35 | 0:20:37 | |
Yeah, that's right. | 0:20:37 | 0:20:38 | |
What you doing down here? | 0:20:39 | 0:20:41 | |
BABY GURGLES | 0:20:41 | 0:20:43 | |
-He's a big lad. -SHE CHUCKLES | 0:20:43 | 0:20:45 | |
Is he yours? | 0:20:46 | 0:20:48 | |
Yeah. | 0:20:48 | 0:20:49 | |
Well... | 0:20:51 | 0:20:52 | |
What was the name? | 0:20:54 | 0:20:55 | |
Jack Linden. | 0:20:58 | 0:20:59 | |
MOTORBIKE REVS THEN DRIVES OFF | 0:21:05 | 0:21:08 | |
A WOMAN GROANS | 0:21:32 | 0:21:33 | |
SHE MOANS | 0:21:36 | 0:21:37 | |
MOANING GROWS LOUDER | 0:21:41 | 0:21:43 | |
-Who are you? -Get out. | 0:21:54 | 0:21:55 | |
Nobody even lives here! | 0:22:00 | 0:22:01 | |
Well, I do now. | 0:22:01 | 0:22:03 | |
What do you want? | 0:22:52 | 0:22:54 | |
Police, right? | 0:22:56 | 0:22:57 | |
No. | 0:22:57 | 0:22:58 | |
Whatever you are, get lost. | 0:22:58 | 0:23:00 | |
-I've got an offer for you. -Yeah, well, I'm not interested. | 0:23:01 | 0:23:04 | |
You deaf? I told you to get lost. | 0:23:08 | 0:23:10 | |
Now listen to me, OK. | 0:23:16 | 0:23:17 | |
I don't know who you're buying off, but things have changed. | 0:23:17 | 0:23:21 | |
I have a delivery coming in a few weeks' time. | 0:23:21 | 0:23:23 | |
You're buying off me now, OK? | 0:23:23 | 0:23:25 | |
Piss off. | 0:23:25 | 0:23:26 | |
HE GROANS | 0:23:26 | 0:23:28 | |
I would advise a different business language from now on. | 0:23:28 | 0:23:32 | |
HE GRUNTS | 0:23:34 | 0:23:36 | |
HE GASPS FOR BREATH | 0:23:38 | 0:23:39 | |
Try it. | 0:23:39 | 0:23:41 | |
Try it. | 0:23:43 | 0:23:44 | |
No! | 0:23:45 | 0:23:46 | |
Sh-sh-sh-sh. | 0:23:48 | 0:23:50 | |
Sh-sh-sh-sh. | 0:23:50 | 0:23:52 | |
HE PANTS AND GROANS | 0:23:53 | 0:23:55 | |
HE COUGHS AND SPLUTTERS | 0:24:04 | 0:24:06 | |
Who was that? | 0:24:08 | 0:24:09 | |
You OK? | 0:24:10 | 0:24:12 | |
ROPER: Let's try a little thought experiment here. | 0:24:22 | 0:24:24 | |
Take all the things you own, clothes, house, car, | 0:24:26 | 0:24:29 | |
and ask yourself what part of all that | 0:24:29 | 0:24:31 | |
did not depend on commerce and the free of movement of capital. | 0:24:31 | 0:24:34 | |
For the benefit of the hard of thinking in the room, | 0:24:37 | 0:24:39 | |
I'll give you the answer. The answer is none. | 0:24:39 | 0:24:41 | |
None! | 0:24:41 | 0:24:43 | |
My Safe Haven project for refugees | 0:24:45 | 0:24:47 | |
is not funded out of love, or a bleeding heart. | 0:24:47 | 0:24:50 | |
I do it because it benefits me | 0:24:50 | 0:24:51 | |
to have the communities in which I wish to operate | 0:24:51 | 0:24:54 | |
sympathetic to my interests. | 0:24:54 | 0:24:56 | |
And the truth, which no-one dares admit these days... | 0:24:58 | 0:25:01 | |
..is that only by freeing capital | 0:25:02 | 0:25:05 | |
do you free the world. | 0:25:05 | 0:25:07 | |
QUIET CHATTER | 0:25:11 | 0:25:13 | |
Hey. | 0:25:19 | 0:25:21 | |
Pint of Blue Anchor, please. | 0:25:21 | 0:25:22 | |
That's him. | 0:25:23 | 0:25:24 | |
Cheers. | 0:25:26 | 0:25:27 | |
-Hey. -You all right? | 0:26:08 | 0:26:09 | |
Yeah. | 0:26:10 | 0:26:11 | |
My mother says you want mineral water. | 0:26:11 | 0:26:13 | |
I don't think so. | 0:26:14 | 0:26:15 | |
Oh. | 0:26:17 | 0:26:18 | |
Well, I've brought them now. | 0:26:20 | 0:26:21 | |
Coffee? | 0:26:26 | 0:26:27 | |
I wouldn't say no. | 0:26:27 | 0:26:28 | |
I googled you, Jack Linden. | 0:26:35 | 0:26:39 | |
HE CHUCKLES | 0:26:39 | 0:26:40 | |
And what did you find? | 0:26:42 | 0:26:44 | |
Bugger all. | 0:26:44 | 0:26:46 | |
So you like it here, do you, all on your own? | 0:26:51 | 0:26:54 | |
What do you do here all day? | 0:26:56 | 0:26:58 | |
Bit of cooking. | 0:26:58 | 0:26:59 | |
I can cook. | 0:27:03 | 0:27:04 | |
-Oh, yeah? -Mmm. | 0:27:04 | 0:27:05 | |
I was good. | 0:27:05 | 0:27:07 | |
I won prizes. I was going to be a famous chef. | 0:27:07 | 0:27:09 | |
-Well, what happened? -I stopped. | 0:27:09 | 0:27:11 | |
Why? | 0:27:12 | 0:27:13 | |
Cos I married a loser, had a brat, and screwed up my life. | 0:27:13 | 0:27:16 | |
Right... | 0:27:18 | 0:27:19 | |
Erm... | 0:27:19 | 0:27:20 | |
-And the father is...? -No, he isn't. | 0:27:20 | 0:27:22 | |
He ain't been Charlie's father since he was three days old. | 0:27:22 | 0:27:25 | |
He came to the hospital with a box of Cadbury's milk chocolates | 0:27:25 | 0:27:28 | |
and tuckered all the nice ones. | 0:27:28 | 0:27:29 | |
He couldn't wait to flee. | 0:27:29 | 0:27:31 | |
Where to? | 0:27:31 | 0:27:32 | |
Don't ask me. | 0:27:32 | 0:27:33 | |
Is he abroad or...? | 0:27:35 | 0:27:37 | |
Tom Quince?! | 0:27:37 | 0:27:38 | |
Sorry, say again? | 0:27:38 | 0:27:40 | |
Tom Quince, it's Charlie's father's name. | 0:27:40 | 0:27:43 | |
Nah, he's never had a passport in his life. | 0:27:44 | 0:27:46 | |
He's probably somewhere round Bude, | 0:27:47 | 0:27:49 | |
smoking a ton of pot and trying to sleep with the weekend talent. | 0:27:49 | 0:27:52 | |
THEY CHUCKLE | 0:27:52 | 0:27:53 | |
It's... It's a great pleasure to introduce the Chief Officer | 0:28:46 | 0:28:51 | |
at the US Directorate of Defence Trade Controls, | 0:28:51 | 0:28:55 | |
Joel Steadman. | 0:28:55 | 0:28:56 | |
Firstly, gentlemen... | 0:28:57 | 0:28:58 | |
and lady... | 0:28:58 | 0:29:00 | |
-Sorry. -..I want to thank you all for inviting me to London | 0:29:00 | 0:29:03 | |
to share a little of what I know about the global arms trade | 0:29:03 | 0:29:05 | |
in the 21st century and how to confront it. | 0:29:05 | 0:29:07 | |
Now, there's about 3,000 years of wisdom in this room | 0:29:08 | 0:29:11 | |
and I represent about six weeks of it. | 0:29:11 | 0:29:12 | |
CHUCKLING | 0:29:12 | 0:29:13 | |
But hell, those odds never stopped an American before. | 0:29:13 | 0:29:16 | |
Now there's two philosophies on how to confront | 0:29:16 | 0:29:18 | |
international arms smuggling. | 0:29:18 | 0:29:20 | |
You can exploit or you can enforce. | 0:29:20 | 0:29:22 | |
Now, I'm an enforcer, and I'll tell you why. | 0:29:22 | 0:29:24 | |
You go down the exploitation path, this is what happens. | 0:29:24 | 0:29:26 | |
You identify a bad guy, | 0:29:26 | 0:29:28 | |
you watch him, | 0:29:28 | 0:29:29 | |
get all kinds of dirt on him, and you approach him. | 0:29:29 | 0:29:32 | |
And then what do you do? | 0:29:32 | 0:29:33 | |
Well, then you recruit him. | 0:29:33 | 0:29:35 | |
You recruit him to get to the next guy, then you watch him, | 0:29:35 | 0:29:38 | |
and you recruit him, and so on, and so forth. | 0:29:38 | 0:29:41 | |
And pretty soon the lines get blurred, | 0:29:41 | 0:29:42 | |
your enemy becomes your friend, | 0:29:42 | 0:29:44 | |
and hey...the devil has all the best lines, right? | 0:29:44 | 0:29:47 | |
Now I'm an enforcer. | 0:29:47 | 0:29:50 | |
I go after someone... | 0:29:50 | 0:29:51 | |
and I bring 'em down, | 0:29:51 | 0:29:53 | |
and the reason why I'm here today | 0:29:53 | 0:29:55 | |
is to ask you folks for a little help. | 0:29:55 | 0:29:58 | |
-Joel. -Mr Dromgoole. | 0:30:02 | 0:30:04 | |
-Excellent to see you. -Thank you. | 0:30:04 | 0:30:05 | |
You know these guys? | 0:30:05 | 0:30:07 | |
-Palfrey. -Nice to meet you. Nice to meet you. | 0:30:07 | 0:30:09 | |
I enjoyed your speech. | 0:30:09 | 0:30:11 | |
Well, let's keep the channels open at all times. | 0:30:11 | 0:30:13 | |
Absolutely. Particularly when it comes to the Middle East. | 0:30:13 | 0:30:15 | |
Anything you have at all. | 0:30:15 | 0:30:17 | |
I have money and people ready to work with you. | 0:30:17 | 0:30:19 | |
Sure will, Geoffrey. | 0:30:19 | 0:30:20 | |
-Speak to you later. -Thank you. | 0:30:20 | 0:30:22 | |
-Joel. -Ah! | 0:30:35 | 0:30:37 | |
-Good to have you with us. -Nice to see you. | 0:30:37 | 0:30:39 | |
Angela. | 0:30:41 | 0:30:42 | |
Hello, Joel. | 0:30:42 | 0:30:44 | |
HE LAUGHS | 0:30:47 | 0:30:48 | |
What do you think of the ale? | 0:30:53 | 0:30:55 | |
Jury's out. | 0:30:55 | 0:30:57 | |
I see, erm, you're not drinking. | 0:30:57 | 0:30:59 | |
You didn't tell me you were flying in. | 0:31:01 | 0:31:03 | |
You didn't tell me something a lot more important than that. | 0:31:03 | 0:31:05 | |
Why were you in Madrid two weeks ago? | 0:31:10 | 0:31:12 | |
It's an operation called Limpet. | 0:31:13 | 0:31:16 | |
We're going after Richard Onslow Roper. | 0:31:16 | 0:31:17 | |
His people are meeting with a Spanish lawyer in Madrid. | 0:31:17 | 0:31:20 | |
-Juan Apostol. -Yeah. Also known as Apo. | 0:31:21 | 0:31:23 | |
We think there's a new deal in the pipeline. | 0:31:25 | 0:31:27 | |
But you can't get close. | 0:31:27 | 0:31:29 | |
Can anyone? | 0:31:29 | 0:31:31 | |
They're phone records from the mobile phone of Lance Corkoran. | 0:31:34 | 0:31:37 | |
Roper's front man. | 0:31:37 | 0:31:38 | |
They show calls to London, Beirut and Madrid. | 0:31:38 | 0:31:40 | |
How the hell did you get this? | 0:31:43 | 0:31:44 | |
I've got a new asset. | 0:31:45 | 0:31:48 | |
I want to get him on the inside of Roper's set-up. | 0:31:48 | 0:31:50 | |
You got any idea how dangerous that is? | 0:31:50 | 0:31:52 | |
Does River House know about this? | 0:31:54 | 0:31:55 | |
It's got to be a church mouse operation. | 0:31:56 | 0:31:58 | |
Why did you call ME? | 0:31:59 | 0:32:00 | |
Cos I need your money. | 0:32:02 | 0:32:03 | |
Look... | 0:32:05 | 0:32:07 | |
Joel, I'm on my own in this, and I don't like it. | 0:32:07 | 0:32:09 | |
I'm doing something no-one else has done before and I'm scared shitless. | 0:32:10 | 0:32:14 | |
I need a friend. | 0:32:14 | 0:32:15 | |
I've got some more stuff coming on Tuesday night. | 0:32:33 | 0:32:36 | |
You got the money? | 0:32:36 | 0:32:37 | |
Good. | 0:32:38 | 0:32:39 | |
Hi. | 0:33:08 | 0:33:09 | |
Harlow. | 0:33:09 | 0:33:10 | |
Right. | 0:33:11 | 0:33:13 | |
From London. | 0:33:15 | 0:33:16 | |
Is that what you wanted? | 0:33:21 | 0:33:23 | |
Well... | 0:33:24 | 0:33:25 | |
..yeah. | 0:33:30 | 0:33:31 | |
It's a funny old gig, this one. | 0:33:33 | 0:33:35 | |
I shall expect a lavish funeral. | 0:33:37 | 0:33:38 | |
I'm sure they'll do what they can. | 0:33:40 | 0:33:43 | |
Well, then... | 0:33:43 | 0:33:44 | |
Tom Quince. | 0:33:44 | 0:33:45 | |
Are you ready? | 0:33:47 | 0:33:48 | |
We need to wait for the stuff. | 0:34:03 | 0:34:04 | |
It'll come and it'll all be OK. | 0:34:04 | 0:34:06 | |
Yeah. | 0:34:09 | 0:34:10 | |
-It'll be OK. -It'll be OK. | 0:34:10 | 0:34:11 | |
It's going to be OK. | 0:34:14 | 0:34:15 | |
GLASS SMASHES | 0:34:15 | 0:34:17 | |
-Now get out! -OK! OK! OK! OK! | 0:34:31 | 0:34:33 | |
MOTORBIKE REVS AND ZOOMS OFF | 0:34:36 | 0:34:37 | |
WHAT? | 0:34:39 | 0:34:40 | |
WATER DRIPS, ECHOING | 0:35:15 | 0:35:17 | |
Jack? | 0:35:33 | 0:35:34 | |
Jack? | 0:35:39 | 0:35:40 | |
Tell me what you saw when you got to the cottage. | 0:35:58 | 0:36:00 | |
The kitchen was a mess... | 0:36:02 | 0:36:04 | |
..and there is blood on the floor. | 0:36:06 | 0:36:09 | |
There you go. | 0:36:09 | 0:36:10 | |
Did he kill him? | 0:36:12 | 0:36:13 | |
The man he attacked in the pub? | 0:36:18 | 0:36:20 | |
Yes. | 0:36:20 | 0:36:22 | |
Why did you go to the cottage? | 0:36:22 | 0:36:23 | |
I was fetching empties. | 0:36:23 | 0:36:25 | |
Have you been there before? | 0:36:25 | 0:36:27 | |
Yeah. Once or twice. | 0:36:27 | 0:36:29 | |
-Why? -To deliver for my mother. That's all. | 0:36:30 | 0:36:32 | |
Did he ever mention his previous life? | 0:36:34 | 0:36:36 | |
-No. -Ever mention Switzerland? | 0:36:37 | 0:36:39 | |
No, why? | 0:36:39 | 0:36:41 | |
Did he say he was leaving? | 0:36:41 | 0:36:43 | |
-No. -Name Jonathan Pine mean anything to you? | 0:36:43 | 0:36:46 | |
No! | 0:36:46 | 0:36:47 | |
So he never told you his real name? | 0:36:47 | 0:36:49 | |
No. He said his name was Linden. | 0:36:49 | 0:36:51 | |
Jack Linden. | 0:36:52 | 0:36:53 | |
He never told you who he was. | 0:36:54 | 0:36:55 | |
No, he never said who he was. | 0:36:57 | 0:36:58 | |
Who's in there? Who's in there? | 0:37:15 | 0:37:17 | |
Go. Go back to your mother. | 0:37:36 | 0:37:38 | |
Go. | 0:37:40 | 0:37:41 | |
Go! | 0:37:42 | 0:37:43 | |
LOUD SNAP, MAN GROANS | 0:37:43 | 0:37:44 | |
You bastard. | 0:37:46 | 0:37:48 | |
You were supposed not to hurt him! | 0:37:48 | 0:37:50 | |
It needed to look real. | 0:37:50 | 0:37:51 | |
HE GRUNTS | 0:37:52 | 0:37:54 | |
You want it real? | 0:37:55 | 0:37:56 | |
I'll show you real! | 0:37:56 | 0:37:58 | |
CLATTERING AND SHOUTS | 0:37:58 | 0:38:00 | |
We'll show you real! | 0:38:08 | 0:38:10 | |
-Oh, Jesus, Danny, Danny. -Just one second. Just wait here. | 0:38:19 | 0:38:21 | |
-Let me just see what's going on. -Come on, big man. | 0:38:21 | 0:38:23 | |
-Danny. -He's all right. -Oh, God, Danny! | 0:38:23 | 0:38:26 | |
DANNY CRIES | 0:38:26 | 0:38:27 | |
Are you all right? | 0:38:28 | 0:38:30 | |
What hap...what happened? | 0:38:30 | 0:38:32 | |
They ran off. | 0:38:32 | 0:38:34 | |
He scared them. | 0:38:34 | 0:38:36 | |
He saved me. | 0:38:36 | 0:38:37 | |
Who saved you? What... | 0:38:37 | 0:38:38 | |
Who is he? Where the hell's he come from? | 0:38:38 | 0:38:40 | |
He's our seasonal sous-chef from England. | 0:38:40 | 0:38:42 | |
He was working in that kitchen. | 0:38:42 | 0:38:44 | |
DANNY WHINES | 0:38:44 | 0:38:45 | |
We need to call the police. | 0:38:46 | 0:38:47 | |
Chief, we doing medical attention? | 0:38:47 | 0:38:49 | |
I know him. | 0:38:52 | 0:38:53 | |
What's his name? | 0:38:54 | 0:38:56 | |
Thomas Quince. | 0:38:56 | 0:38:57 | |
He is from Devon in England. | 0:38:57 | 0:38:59 | |
No, he's bloody not! | 0:39:01 | 0:39:02 | |
You're Pine, from Switzerland. | 0:39:03 | 0:39:05 | |
-What are you doing here? -Sandy, we need to call the police. | 0:39:07 | 0:39:09 | |
No police. | 0:39:09 | 0:39:10 | |
No police. | 0:39:13 | 0:39:14 | |
No. Hold on, Jorge. Just hold on a second. | 0:39:14 | 0:39:17 | |
How's his pulse, Frisky? | 0:39:20 | 0:39:21 | |
Yeah, it's quite sporting, Chief, all things considered. | 0:39:21 | 0:39:23 | |
You hearing me, Pine? | 0:39:25 | 0:39:26 | |
We're going to get you out of here. | 0:39:28 | 0:39:30 | |
Corky, get the boats ready, will you? | 0:39:30 | 0:39:33 | |
-And call the hospital. -Which one? | 0:39:33 | 0:39:35 | |
Well, our one, not the death trap on the main drag. | 0:39:35 | 0:39:38 | |
Tell them to get ready to operate, | 0:39:38 | 0:39:40 | |
-and get a hold of that Israeli fellow. What's... -Dr Shimon? | 0:39:40 | 0:39:42 | |
Drag him away from whatever Russian party he's currently at. | 0:39:42 | 0:39:45 | |
You must have given them the fright of their lives. | 0:39:47 | 0:39:49 | |
No police. | 0:39:50 | 0:39:51 | |
No police. | 0:39:52 | 0:39:53 | |
Right, Jorge, I think we can keep this between us, can't we? | 0:39:55 | 0:39:58 | |
I'll pay for any damage done. Corky can sort the bill. | 0:39:59 | 0:40:02 | |
Anyone you want us to call? | 0:40:03 | 0:40:04 | |
A girlfriend? Family? | 0:40:05 | 0:40:06 | |
Still alone, are we? | 0:40:11 | 0:40:13 | |
Well... | 0:40:14 | 0:40:15 | |
..we're going to take care of you. | 0:40:16 | 0:40:18 | |
Thank you. | 0:40:37 | 0:40:39 | |
-Hey. -Hey! | 0:40:39 | 0:40:40 | |
Any sign of him? | 0:40:42 | 0:40:44 | |
-What went wrong? -Let me get this. | 0:40:44 | 0:40:46 | |
He went off script. | 0:40:46 | 0:40:47 | |
WAY off script. | 0:40:47 | 0:40:49 | |
Broke an agent's arm in three places. | 0:40:49 | 0:40:51 | |
What's he playing at? | 0:40:51 | 0:40:53 | |
He said he wanted it real. So they made it real. | 0:40:53 | 0:40:55 | |
They think they might have killed him. | 0:40:55 | 0:40:57 | |
What do you mean killed him? | 0:40:57 | 0:40:58 | |
Well, Roper didn't call the cops, so...we don't know where he is. | 0:40:58 | 0:41:01 | |
Goddamn it, Angela. | 0:41:01 | 0:41:03 | |
This thing was perfectly choreographed. | 0:41:03 | 0:41:05 | |
He knew exactly what we had to do. | 0:41:05 | 0:41:07 | |
Hector, do you remember Angela Burr from Baghdad? | 0:41:14 | 0:41:17 | |
Sure do. Welcome, ma'am. | 0:41:17 | 0:41:18 | |
You two still working together? | 0:41:18 | 0:41:20 | |
Yeah. No-one is more mystified by that than me. | 0:41:20 | 0:41:22 | |
Sir. You should hear this. | 0:41:22 | 0:41:24 | |
-Come on, sit down. -Corkoran is calling a number in Gloucestershire | 0:41:24 | 0:41:27 | |
from his mobile phone. | 0:41:27 | 0:41:28 | |
Tony? Lance Corkoran here. | 0:41:29 | 0:41:32 | |
Pressing matter, I'm afraid. | 0:41:32 | 0:41:34 | |
Chief needs your good offices. | 0:41:34 | 0:41:35 | |
Got a pen? | 0:41:36 | 0:41:37 | |
The name is Pine, like the tree. | 0:41:39 | 0:41:42 | |
First name Jonathan. | 0:41:43 | 0:41:45 | |
Goes under the name of Thomas Quince, | 0:41:47 | 0:41:49 | |
like the fruit. | 0:41:49 | 0:41:50 | |
Head-to-toe background check, all avenues. All perfectly mum. | 0:41:50 | 0:41:54 | |
360 degrees. | 0:41:54 | 0:41:56 | |
Ta. | 0:41:56 | 0:41:57 | |
Well, he's alive. They wouldn't check on a dead man. | 0:41:57 | 0:41:59 | |
PHONE RINGS | 0:42:11 | 0:42:13 | |
Rob Singhal. IEA. | 0:42:15 | 0:42:16 | |
Rob. I want you to put his name out. Splash it large. | 0:42:16 | 0:42:19 | |
I want an international warrant for the arrest of Thomas Quince, | 0:42:19 | 0:42:22 | |
Jonathan Pine, Jack Linden. | 0:42:22 | 0:42:24 | |
Er... Murder, multiple theft, dope-running, | 0:42:24 | 0:42:27 | |
obtaining a false passport, and identity theft, | 0:42:27 | 0:42:29 | |
and whatever else you can think of. | 0:42:29 | 0:42:31 | |
All right? Do it now. | 0:42:31 | 0:42:32 | |
-He's crossed the bridge. -Yeah. | 0:42:33 | 0:42:35 | |
Now we're burning it. | 0:42:36 | 0:42:37 | |
HAZY REGULAR BLEEPS | 0:42:38 | 0:42:40 | |
Thomas. | 0:44:23 | 0:44:24 | |
Thomas, I'm not sure if you can hear me. | 0:44:26 | 0:44:28 | |
They say your face is mending well. | 0:44:29 | 0:44:32 | |
You've also cracked several ribs. | 0:44:32 | 0:44:34 | |
You're so brave, but you're going to be fine. | 0:44:34 | 0:44:37 | |
Dr Shimon's the very best, otherwise Roper wouldn't use him. | 0:44:37 | 0:44:40 | |
Listen. Is there anyone you want us to call? | 0:44:43 | 0:44:45 | |
A loved one? | 0:44:45 | 0:44:48 | |
When you were sleeping, you mentioned someone called Sophie. | 0:44:48 | 0:44:50 | |
Should we call her? | 0:44:50 | 0:44:51 | |
Just raise your finger if you can't speak. | 0:44:53 | 0:44:56 | |
Roper is away on business, | 0:44:59 | 0:45:01 | |
but he'll be back soon and he can't wait to see you. | 0:45:01 | 0:45:03 | |
Where...am...I? | 0:45:10 | 0:45:12 | |
(Are you awake?) | 0:45:15 | 0:45:16 | |
(My father says I'm to thank you for saving my life.) | 0:45:18 | 0:45:21 | |
(I'm sorry I ran away from the table. I won't do it again.) | 0:45:22 | 0:45:27 | |
Do you want me to read to you about squid? | 0:45:43 | 0:45:45 | |
This slow-moving, alien-like squid | 0:45:50 | 0:45:53 | |
lives at depths of up to 200... | 0:45:53 | 0:45:56 | |
DOOR OPENS | 0:46:04 | 0:46:05 | |
Piss off, would you, Frisky, old love? | 0:46:17 | 0:46:18 | |
Well, that's a better colour. | 0:46:24 | 0:46:25 | |
Lovely deep purple. | 0:46:25 | 0:46:28 | |
Better than the blue baboon look of last week. | 0:46:28 | 0:46:31 | |
And sitting up! | 0:46:31 | 0:46:32 | |
Dare one hope we're on the mend? | 0:46:32 | 0:46:34 | |
Actually, I'd like to go soon, please. | 0:46:35 | 0:46:37 | |
Absolutely, old boy, soon as the Chief gets back. | 0:46:37 | 0:46:40 | |
What do I call you, by the way? | 0:46:43 | 0:46:44 | |
When I was doing the forms at the hospital, I had a conundrum. | 0:46:46 | 0:46:49 | |
"Well," I thought, "this is a bit rum. | 0:46:49 | 0:46:51 | |
"Is he a Thomas Quince, | 0:46:51 | 0:46:54 | |
"or is he a Jonathan Pine?" | 0:46:54 | 0:46:56 | |
So I put Mordechai Phillips. | 0:46:57 | 0:46:58 | |
-LAUGHING: -To this day, I've no idea why. | 0:46:58 | 0:47:01 | |
Mind if I smoke? | 0:47:01 | 0:47:02 | |
Smoke ourselves, do we? In better times? | 0:47:06 | 0:47:08 | |
A bit. | 0:47:08 | 0:47:10 | |
Nothing like a fag when you're cooking. | 0:47:13 | 0:47:16 | |
Do you want one now? | 0:47:17 | 0:47:19 | |
No, thanks. | 0:47:20 | 0:47:22 | |
Bloody good grub at that place you were working. | 0:47:23 | 0:47:25 | |
Were those saucy mussels all your work? | 0:47:25 | 0:47:29 | |
Mmm? | 0:47:29 | 0:47:31 | |
Well, I am blown away. | 0:47:31 | 0:47:33 | |
And did you cook at that Swiss hotel? Or... | 0:47:33 | 0:47:37 | |
merely rob the place? | 0:47:37 | 0:47:38 | |
It's a tricky one, you see. | 0:47:41 | 0:47:42 | |
The Chief is a stickler for details, | 0:47:42 | 0:47:45 | |
so we called the Meisters Hotel to ask for a reference, | 0:47:45 | 0:47:49 | |
and it turns out you are nothing more than a common thief. | 0:47:49 | 0:47:53 | |
40,000 euros swiped from the safe, | 0:47:53 | 0:47:56 | |
the police called, | 0:47:56 | 0:47:58 | |
Herr Meister's positively seething. | 0:47:58 | 0:48:01 | |
No wonder the Chief has a few questions to ask. | 0:48:02 | 0:48:05 | |
But he says they can wait until you're better. | 0:48:05 | 0:48:08 | |
Although I'm not so sure we're quite as poorly as we're making out. | 0:48:08 | 0:48:14 | |
In fact, | 0:48:16 | 0:48:17 | |
I'm not sure at all about you, Pine. | 0:48:17 | 0:48:20 | |
I think you might be stringing us along. | 0:48:23 | 0:48:25 | |
Hmmm? | 0:48:27 | 0:48:28 | |
And if that's the case, when you're better, | 0:48:29 | 0:48:32 | |
I will hood you, | 0:48:32 | 0:48:35 | |
and hang you up by those lovely ankles | 0:48:35 | 0:48:38 | |
until the truth falls out of you | 0:48:38 | 0:48:41 | |
by gravity. | 0:48:41 | 0:48:42 | |
Toodle-oo. | 0:48:46 | 0:48:48 | |
Frisky, piss off back in again, would you? | 0:48:48 | 0:48:51 | |
Make sure our valued guest doesn't try and make a run for it. | 0:48:51 | 0:48:55 | |
You know the best way to make a bloke talk? | 0:49:00 | 0:49:02 | |
Fizzy drink treatment. | 0:49:04 | 0:49:05 | |
Up the nose. | 0:49:06 | 0:49:08 | |
Bung the mouth. | 0:49:08 | 0:49:09 | |
And if you've got a funnel handy... | 0:49:10 | 0:49:12 | |
Oh, it's even better. | 0:49:12 | 0:49:13 | |
Hits you right in the switchboard. | 0:49:15 | 0:49:16 | |
It's bloody diabolical. | 0:49:17 | 0:49:19 | |
Apo, how are you? | 0:49:38 | 0:49:39 | |
-Good to see you. -Very good to see you. | 0:49:39 | 0:49:41 | |
-Have a seat. -Thank you very much. | 0:49:41 | 0:49:43 | |
So have you eaten? | 0:49:43 | 0:49:45 | |
CAMERA CLICKS | 0:49:45 | 0:49:46 | |
You sure you know your lines? | 0:50:13 | 0:50:15 | |
HE LAUGHS | 0:50:15 | 0:50:16 | |
I'll do my best. | 0:50:16 | 0:50:18 | |
So, tell us about Limpet. | 0:50:18 | 0:50:21 | |
Well, Limpet's an ongoing anti-arms operation based in Washington. | 0:50:21 | 0:50:24 | |
Standard tracer op. It's been running about a year. | 0:50:24 | 0:50:27 | |
Who are you going after? | 0:50:27 | 0:50:28 | |
Richard Onslow Roper. | 0:50:28 | 0:50:29 | |
Director of Iron Last, and we think a lot more on the side. | 0:50:29 | 0:50:32 | |
That wouldn't surprise me. | 0:50:32 | 0:50:34 | |
I came here to see if there were opportunities | 0:50:34 | 0:50:36 | |
for mutual collaboration and intelligence sharing. | 0:50:36 | 0:50:38 | |
Angela was happy to come on board, | 0:50:38 | 0:50:40 | |
and I was hoping you folks would kind of do the same. | 0:50:40 | 0:50:43 | |
All right. Where are you at at the moment? | 0:50:43 | 0:50:46 | |
Well, it's been going pretty well, | 0:50:46 | 0:50:48 | |
-wouldn't you say? -Yeah. | 0:50:48 | 0:50:49 | |
Erm, we have some photographs here of a meeting | 0:50:49 | 0:50:51 | |
that took place in Madrid, between an Alexander Langbourne, | 0:50:51 | 0:50:54 | |
Roper's money man, and a Spanish lawyer, Juan Apostol. | 0:50:54 | 0:50:58 | |
It's possible they were discussing a future arms deal. | 0:50:58 | 0:51:00 | |
Did you get any audio on that? | 0:51:00 | 0:51:02 | |
Unfortunately not, no. | 0:51:02 | 0:51:03 | |
So it's possible they were discussing | 0:51:03 | 0:51:06 | |
their children's Christmas parties! | 0:51:06 | 0:51:08 | |
What about on the ground? | 0:51:10 | 0:51:12 | |
Got anyone close to Roper? | 0:51:12 | 0:51:14 | |
Er, not right now, no... | 0:51:14 | 0:51:16 | |
In development? | 0:51:16 | 0:51:18 | |
You know, getting someone on the inside, Harry, that's a long game. | 0:51:18 | 0:51:21 | |
-What I want from you guys... -Let me stop you there, Joel. | 0:51:21 | 0:51:24 | |
Angela runs her own modest enforcement agency | 0:51:24 | 0:51:27 | |
and she can do what she likes. | 0:51:27 | 0:51:28 | |
Roper is an obsession of hers, | 0:51:28 | 0:51:30 | |
he was when she was with us here at the River, | 0:51:30 | 0:51:32 | |
I suspect that he always will be, | 0:51:32 | 0:51:34 | |
but I hope you understand | 0:51:34 | 0:51:35 | |
that I can't spend the nation's intelligence budget | 0:51:35 | 0:51:37 | |
on an operation whose current status appears to be somewhat catatonic. | 0:51:37 | 0:51:42 | |
I would need a little more. | 0:51:44 | 0:51:45 | |
Right, that's, er, | 0:51:45 | 0:51:46 | |
that's disappointing. | 0:51:46 | 0:51:48 | |
Life's disappointing, Joel. | 0:51:48 | 0:51:49 | |
Just ask Angela. | 0:51:50 | 0:51:52 | |
Please, come back when you have something. | 0:51:54 | 0:51:57 | |
OK? Our door is always open. | 0:51:57 | 0:51:59 | |
-Was that dull enough for you? -Oh, are you kidding me? | 0:52:07 | 0:52:10 | |
I never knew an American could sound so much like a total bloody loser. | 0:52:10 | 0:52:13 | |
LAUGHTER | 0:52:13 | 0:52:15 | |
How do you stand it, Angela? "Modest enforcement agency." God! | 0:52:15 | 0:52:19 | |
Well, he's not wrong, is he? | 0:52:19 | 0:52:20 | |
But they must never know about our boy, Joel. | 0:52:20 | 0:52:23 | |
No mention of him in comms, nothing written down, nothing at all, yeah? | 0:52:23 | 0:52:26 | |
We keep River House on the outside. | 0:52:27 | 0:52:29 | |
It's too dangerous. | 0:52:29 | 0:52:30 | |
DISTANT WHIRRING | 0:52:49 | 0:52:51 | |
-Oh, my goodness! -Daddy! I caught a lobster! | 0:53:12 | 0:53:15 | |
-You caught that? -Oh, yeah! | 0:53:15 | 0:53:16 | |
Javier helped me. | 0:53:16 | 0:53:18 | |
-Did he? Good for him. -Yeah. -Good for you. | 0:53:18 | 0:53:20 | |
-Hello, darling. How are you? Well done, Danny. Well done. -Hi! | 0:53:20 | 0:53:23 | |
How is the patient? | 0:53:26 | 0:53:27 | |
You sleep now. | 0:53:59 | 0:54:01 | |
Tomorrow, we'll find out who you REALLY are. | 0:54:01 | 0:54:03 |