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This programme contains some scenes which some viewers may find upsetting, | 0:00:02 | 0:00:05 | |
and some scenes of a sexual nature. | 0:00:05 | 0:00:08 | |
Want to know how the trick is done? | 0:00:50 | 0:00:53 | |
Du bist ein strohmann. | 0:00:53 | 0:00:55 | |
It's a straw man operation. You are the straw man. | 0:00:55 | 0:00:58 | |
No offence. | 0:00:58 | 0:00:59 | |
Your name is Andrew Birch. | 0:01:02 | 0:01:03 | |
You are a merchant venturer, | 0:01:05 | 0:01:07 | |
decent history in commerce, | 0:01:07 | 0:01:09 | |
no skeletons, no murky deals. | 0:01:09 | 0:01:11 | |
Maybe you and I have done deals together, maybe we haven't. | 0:01:11 | 0:01:14 | |
let them guess. | 0:01:14 | 0:01:15 | |
So, I go to the clowns, | 0:01:15 | 0:01:18 | |
the brokers, venture boys, | 0:01:18 | 0:01:20 | |
flexible banks and I say, "This fellow Birch, | 0:01:20 | 0:01:22 | |
"he's a very smart cookie, | 0:01:22 | 0:01:24 | |
"brilliant plan. | 0:01:24 | 0:01:26 | |
"Just needs backing. | 0:01:26 | 0:01:28 | |
"Something to do with agricultural hardware. | 0:01:28 | 0:01:31 | |
"Quick profits. He's my gift to you. | 0:01:31 | 0:01:34 | |
"He's clever. He's handsome. | 0:01:34 | 0:01:37 | |
"He's good with all the right people. | 0:01:37 | 0:01:40 | |
"Didn't want you missing out. | 0:01:40 | 0:01:42 | |
"The Company is called Tradepass. | 0:01:42 | 0:01:44 | |
"Double your money in four months, max." | 0:01:46 | 0:01:49 | |
It's trust Dicky time. | 0:01:50 | 0:01:51 | |
And they do. | 0:01:52 | 0:01:55 | |
Well... | 0:01:55 | 0:01:56 | |
We register the company in Cyprus. You have a bank in Geneva. | 0:01:57 | 0:02:00 | |
No questions asked, no accounts to be filed. You... | 0:02:00 | 0:02:03 | |
..are my lead actor. | 0:02:04 | 0:02:05 | |
You're my main man, my star. | 0:02:07 | 0:02:09 | |
We make the deal. No-one really knows what we're selling. | 0:02:11 | 0:02:13 | |
No-one wants to know. They don't care, | 0:02:13 | 0:02:15 | |
All they care about is the money. | 0:02:15 | 0:02:16 | |
They don't want to know what's really at stake, because if they did | 0:02:16 | 0:02:20 | |
they wouldn't sleep at night. | 0:02:20 | 0:02:22 | |
No-one can know where the money comes from | 0:02:23 | 0:02:26 | |
except you and me, Andrew. | 0:02:26 | 0:02:28 | |
We know. | 0:02:30 | 0:02:31 | |
KNOCK ON DOOR | 0:02:33 | 0:02:35 | |
It's 11 o'clock. | 0:02:35 | 0:02:37 | |
We're having a business meeting, darling. I thought I told you. | 0:02:37 | 0:02:40 | |
A business meeting with Thomas? | 0:02:40 | 0:02:43 | |
Not Thomas. | 0:02:43 | 0:02:45 | |
Andrew. | 0:02:45 | 0:02:47 | |
Andrew is coming aboard. | 0:02:47 | 0:02:49 | |
Well, I'm not part of your little venture, so what do I call you? | 0:02:49 | 0:02:53 | |
Your son is leaving, | 0:02:54 | 0:02:55 | |
if you'd like to take him to the airport. | 0:02:55 | 0:02:57 | |
Oh, bloody hell. | 0:02:57 | 0:02:58 | |
Come here. | 0:03:02 | 0:03:04 | |
Hello, what's this? | 0:03:04 | 0:03:05 | |
It's a goodbye present. | 0:03:07 | 0:03:09 | |
My, God! Boy's got talent. | 0:03:12 | 0:03:14 | |
My son, the painter. | 0:03:16 | 0:03:17 | |
Very good, Danny. | 0:03:19 | 0:03:20 | |
It certainly is. That's terrific, Dans, thank you. | 0:03:20 | 0:03:23 | |
Now, better get a move on. | 0:03:23 | 0:03:25 | |
Aren't you coming? | 0:03:25 | 0:03:26 | |
Can't, I'm afraid. Work. | 0:03:26 | 0:03:28 | |
Give your old man a hug. | 0:03:29 | 0:03:30 | |
Jed'll take you to the airport | 0:03:33 | 0:03:34 | |
and your mother will be at the other end. | 0:03:34 | 0:03:37 | |
Come on now, | 0:03:37 | 0:03:38 | |
chin up. | 0:03:38 | 0:03:39 | |
Goodbye, Thomas. | 0:03:41 | 0:03:42 | |
-Bye, Danny. -He's not Thomas any more. | 0:03:44 | 0:03:47 | |
He's Andrew. | 0:03:47 | 0:03:48 | |
-Jed, darling... -But I'm still Jed | 0:03:48 | 0:03:51 | |
and your dad's still your dad so... | 0:03:51 | 0:03:52 | |
Is that right? | 0:03:54 | 0:03:55 | |
Come on, baby. | 0:03:56 | 0:03:58 | |
Gracias. | 0:04:26 | 0:04:27 | |
What do you want? | 0:04:32 | 0:04:34 | |
Please sit down. | 0:04:34 | 0:04:35 | |
Your girlfriend tells me you're going to take her to Istanbul. | 0:04:42 | 0:04:44 | |
-Very romantic. -I did what you asked. | 0:04:44 | 0:04:46 | |
And how's the sleeping? | 0:04:48 | 0:04:49 | |
Still bad. You are not good as a confessor at all. | 0:04:51 | 0:04:55 | |
One good deed at a time. | 0:04:55 | 0:04:56 | |
Isn't that what the good Lord says? | 0:04:56 | 0:04:58 | |
Where did you get this? | 0:05:02 | 0:05:04 | |
-Lucky dip. -Don't bullshit me. | 0:05:04 | 0:05:05 | |
Who got you this? | 0:05:12 | 0:05:13 | |
Someone on the inside? | 0:05:14 | 0:05:16 | |
Don't make trouble with me Juan. | 0:05:16 | 0:05:18 | |
I'd much prefer to be your friend. | 0:05:18 | 0:05:21 | |
I think you would prefer it, too. | 0:05:21 | 0:05:23 | |
Now look here. I've got code names and I've got numbers | 0:05:24 | 0:05:26 | |
and I've got pages to cross-reference, | 0:05:26 | 0:05:28 | |
but what I don't have is someone to join the dots for me | 0:05:28 | 0:05:31 | |
and tell me what the bloody hell is going on. | 0:05:31 | 0:05:34 | |
Will you leave me alone? | 0:05:38 | 0:05:40 | |
You have my word. | 0:05:41 | 0:05:42 | |
BUSHES RUSTLE, FOOTSTEP OUTSIDE | 0:05:55 | 0:05:57 | |
HE BREATHES HEAVILY | 0:06:01 | 0:06:03 | |
Jesus Christ. | 0:06:36 | 0:06:38 | |
-What is wrong with you? -What the hell do you think you're doing? | 0:06:40 | 0:06:43 | |
No-one saw me. | 0:06:44 | 0:06:45 | |
You saw no-one see you. It's not the same thing. | 0:06:46 | 0:06:49 | |
Where's Roper? | 0:06:49 | 0:06:50 | |
He left last night for a meeting in Geneva. | 0:06:51 | 0:06:54 | |
Jesus. | 0:06:57 | 0:06:58 | |
I really don't think this was a good idea. | 0:07:16 | 0:07:18 | |
I'm sorry if my recklessness upsets you. | 0:07:18 | 0:07:20 | |
Just tell me what you were doing in his private study. | 0:07:20 | 0:07:24 | |
Same as you. | 0:07:24 | 0:07:25 | |
I just wanted to find out more about the man who's employing me. | 0:07:27 | 0:07:30 | |
I'm not employed by anyone. | 0:07:30 | 0:07:31 | |
No? | 0:07:31 | 0:07:32 | |
I'm in a relationship, Andrew. | 0:07:32 | 0:07:34 | |
Business or pleasure. | 0:07:34 | 0:07:36 | |
Love. | 0:07:38 | 0:07:39 | |
Right. | 0:07:40 | 0:07:42 | |
Is this your son? | 0:07:59 | 0:08:00 | |
Why do you have that? | 0:08:03 | 0:08:04 | |
Is it your son? | 0:08:04 | 0:08:05 | |
Yes. | 0:08:06 | 0:08:08 | |
Where is he? | 0:08:08 | 0:08:09 | |
He lives with my sister. She takes care of him. | 0:08:11 | 0:08:14 | |
Well, why isn't he here with you? | 0:08:14 | 0:08:16 | |
Because I left him. | 0:08:16 | 0:08:17 | |
I was 17, I couldn't be a mother. | 0:08:20 | 0:08:23 | |
My sister had a kid already and her husband's a really nice guy. | 0:08:23 | 0:08:26 | |
He doesn't do meth for breakfast, so I think I made the right call. | 0:08:26 | 0:08:29 | |
Does Roper know? | 0:08:32 | 0:08:33 | |
He wasn't supposed to know. | 0:08:35 | 0:08:37 | |
Why? | 0:08:37 | 0:08:38 | |
Because that's not what he bought on the Upper East Side. | 0:08:38 | 0:08:41 | |
I'm young and beautiful. | 0:08:43 | 0:08:46 | |
Remember? | 0:08:46 | 0:08:47 | |
So why are you here? Why'd you come and see me? | 0:08:51 | 0:08:54 | |
You know, I actually have no idea. | 0:08:55 | 0:08:57 | |
What do you want from us? | 0:09:05 | 0:09:07 | |
Jed, I'm not your way out of this. | 0:09:07 | 0:09:09 | |
That's not what I'm asking. | 0:09:09 | 0:09:11 | |
I think you should go. | 0:09:13 | 0:09:15 | |
Go home along the beach. | 0:09:17 | 0:09:18 | |
Make sure... | 0:09:20 | 0:09:21 | |
If anyone asks, | 0:09:42 | 0:09:44 | |
say you couldn't sleep and you went for a night-time stroll. | 0:09:44 | 0:09:48 | |
Make sure they see you. | 0:09:49 | 0:09:51 | |
Be nice to Roper. | 0:09:56 | 0:09:57 | |
Make him happy. | 0:10:00 | 0:10:01 | |
Make him believe it. | 0:10:03 | 0:10:04 | |
Why the hell would I listen to you? | 0:10:09 | 0:10:11 | |
HE SIGHS | 0:10:30 | 0:10:31 | |
HE SIGHS | 0:10:34 | 0:10:35 | |
Come on, mate. | 0:10:46 | 0:10:47 | |
Unbelievable! | 0:10:50 | 0:10:52 | |
What are you...? | 0:10:55 | 0:10:57 | |
TYRES SCREECH | 0:11:01 | 0:11:02 | |
Jesus! | 0:11:02 | 0:11:03 | |
TYRES SCREECH | 0:11:08 | 0:11:09 | |
HE PANTS | 0:11:13 | 0:11:15 | |
Right, look. | 0:11:16 | 0:11:18 | |
Investors in Trade Pass, translated by the Spaniard. | 0:11:18 | 0:11:20 | |
Names on the left, numbers on the right. | 0:11:20 | 0:11:23 | |
So Roper buys MOD-certified weapons for 300 million, | 0:11:23 | 0:11:28 | |
is cash-flowed by people who know nothing about what they're trading in, | 0:11:28 | 0:11:31 | |
but the investors are guaranteed 20% profit at the end of 12 months. | 0:11:31 | 0:11:35 | |
So Roper pays back 360 million at the end of the deal, | 0:11:35 | 0:11:39 | |
but look what he sells it for. | 0:11:39 | 0:11:41 | |
What's that? | 0:11:41 | 0:11:42 | |
Estimated sale price. His dad was an auctioneer. | 0:11:42 | 0:11:45 | |
-That's a profit of 240 million. -Yeah. | 0:11:45 | 0:11:47 | |
It's not bad for a year's work. And look at this. | 0:11:47 | 0:11:50 | |
Who are Halo and Felix? | 0:11:55 | 0:11:56 | |
PHONE RINGS | 0:11:58 | 0:11:59 | |
-There we are. -Rob Singhal, IEA. | 0:11:59 | 0:12:02 | |
'Course. | 0:12:03 | 0:12:04 | |
It's Mayhew. | 0:12:05 | 0:12:07 | |
I think he's on the warpath. | 0:12:07 | 0:12:09 | |
An unmarked van forcing me off the Mall. | 0:12:09 | 0:12:12 | |
DOOR SLAMS Is this what it's come to? | 0:12:12 | 0:12:14 | |
This is London, for Christ's sake! | 0:12:14 | 0:12:16 | |
-They were probably trying to scare you. -They picked the wrong man. | 0:12:16 | 0:12:19 | |
They'll get a Whitehall knife-fight like they've never seen. Your budget is tripled. | 0:12:19 | 0:12:22 | |
-Don't ask me where I got it from - best you don't know. How many more people do you want? -Erm... | 0:12:22 | 0:12:26 | |
Intelligence-gathering, analysis, six minimum. People I can trust. | 0:12:26 | 0:12:29 | |
You choose them. You choose everything. And get Steadman back here. Tell him we're joining forces. | 0:12:29 | 0:12:33 | |
-You get a new kit. New everything. -OK. Rex, you need to sit down. Can I show you something? | 0:12:33 | 0:12:37 | |
Where did you get this? | 0:12:48 | 0:12:49 | |
Rex, who are Halo and Felix? | 0:12:49 | 0:12:51 | |
I don't know. | 0:12:55 | 0:12:57 | |
Could you make a guess? | 0:12:58 | 0:12:59 | |
Good trip? | 0:13:34 | 0:13:35 | |
It was all right. | 0:13:35 | 0:13:36 | |
It was all right? | 0:13:39 | 0:13:40 | |
Two days of meetings with Swiss bankers, Corky. | 0:13:40 | 0:13:43 | |
Wasn't exactly Babylonian. | 0:13:43 | 0:13:44 | |
Andrew! | 0:13:46 | 0:13:47 | |
I didn't get you a snowglobe, if that's what you're wondering. | 0:13:47 | 0:13:50 | |
How's the homework coming? | 0:13:50 | 0:13:52 | |
Uh...it's pretty good, I think. | 0:13:52 | 0:13:54 | |
-Oh. Better be. I'm going to be testing you. -JONATHAN CHUCKLES | 0:13:54 | 0:13:57 | |
Where's Jed? | 0:13:57 | 0:13:58 | |
I'm don't know, actually. | 0:13:58 | 0:14:00 | |
I haven't seen much of her, to be honest. | 0:14:00 | 0:14:02 | |
Ah. Thar she blows... | 0:14:02 | 0:14:04 | |
Jed, darling. | 0:14:08 | 0:14:09 | |
I'm sorry. | 0:14:17 | 0:14:19 | |
I'm sorry, too. | 0:14:21 | 0:14:22 | |
Come on, I want to show you how much I missed you. | 0:14:30 | 0:14:33 | |
Andrew... | 0:14:33 | 0:14:35 | |
Top floor. One hour. | 0:14:35 | 0:14:36 | |
So you're joining up. | 0:14:48 | 0:14:49 | |
Send the kid back to Mummy, and then it's off to work we go. | 0:14:50 | 0:14:54 | |
Right. | 0:14:56 | 0:14:57 | |
Thanks to some very clever footwork | 0:14:57 | 0:14:59 | |
by some queens unfriendly to the cause, | 0:14:59 | 0:15:02 | |
you're going in my place. | 0:15:02 | 0:15:04 | |
-Corky, I have no idea what you're talking about. -You see, | 0:15:04 | 0:15:07 | |
the chief, though he'll deny it, is an incurable romantic, | 0:15:07 | 0:15:10 | |
whereas Corky here is a sceptic. | 0:15:10 | 0:15:13 | |
And my professional and personal view is, | 0:15:14 | 0:15:18 | |
you are poison. | 0:15:18 | 0:15:19 | |
But you saved his little boy's life, so you're Mr Untouchable. | 0:15:21 | 0:15:25 | |
I think one's becoming a tad deranged, Corky. | 0:15:25 | 0:15:28 | |
And then of course there's the case of the night-time naughties | 0:15:28 | 0:15:30 | |
while Roper was away. | 0:15:30 | 0:15:32 | |
"Barefoot she walked | 0:15:33 | 0:15:35 | |
"along the beach, | 0:15:35 | 0:15:37 | |
"to the old cottage where the hero awaits." | 0:15:37 | 0:15:39 | |
Now if that isn't an airport novel waiting to be written... | 0:15:40 | 0:15:43 | |
She came for advice, that's all. | 0:15:45 | 0:15:47 | |
Do you have any idea what he'd do to her... | 0:15:47 | 0:15:49 | |
if he knew? | 0:15:49 | 0:15:50 | |
The damage he would do to that beautiful, sweet face? | 0:15:52 | 0:15:55 | |
Even Dr Shimon, Mr Plastic Fantastic | 0:15:57 | 0:16:00 | |
might find that a bit of a challenge. | 0:16:00 | 0:16:02 | |
That's the fire you're dealing with. | 0:16:02 | 0:16:04 | |
Or don't you care? | 0:16:05 | 0:16:07 | |
Huh? | 0:16:07 | 0:16:09 | |
Of course I care. | 0:16:09 | 0:16:10 | |
Well, good. | 0:16:11 | 0:16:13 | |
Well, then, don't ever go near that girl... | 0:16:13 | 0:16:17 | |
..again. | 0:16:18 | 0:16:19 | |
Waist to floor, 45. | 0:16:34 | 0:16:35 | |
Please turn around, sir. | 0:16:35 | 0:16:37 | |
Thigh, 23. | 0:16:43 | 0:16:45 | |
Please turn around, sir. | 0:16:45 | 0:16:46 | |
JONATHAN CHUCKLES | 0:16:50 | 0:16:51 | |
Chest, 41. | 0:16:53 | 0:16:55 | |
Waist, 32 and a half. | 0:16:56 | 0:16:58 | |
Please turn around, sir. | 0:16:58 | 0:17:00 | |
I do believe the tree-trunk has filled out a little. | 0:17:00 | 0:17:02 | |
You been raiding the fridge while I was gone? | 0:17:02 | 0:17:04 | |
Well, er...I was laying in supplies. | 0:17:04 | 0:17:07 | |
All right, so we'll take two of those, | 0:17:08 | 0:17:10 | |
one of the birdseye, | 0:17:10 | 0:17:12 | |
Prince of Wales, and then one in the grey - what was that called? | 0:17:12 | 0:17:14 | |
Er, Super 100, sir | 0:17:14 | 0:17:16 | |
Super 100. | 0:17:16 | 0:17:17 | |
Yes. Now, can you do all that by Wednesday, | 0:17:17 | 0:17:19 | |
because Mr Birch is embarking on a very important trip. | 0:17:19 | 0:17:23 | |
Of course, Mr Roper. | 0:17:23 | 0:17:24 | |
Ah, Jed, darling. Come and see our boy. | 0:17:27 | 0:17:29 | |
Doesn't he look grown-up? | 0:17:30 | 0:17:31 | |
Very nice. | 0:17:33 | 0:17:35 | |
Thank you. | 0:17:35 | 0:17:36 | |
All right. | 0:17:36 | 0:17:37 | |
Time to pay the man, Andrew. | 0:17:37 | 0:17:39 | |
Er...we can charge all this to your account, Mr Roper. | 0:17:39 | 0:17:41 | |
No, no, no, no - Mr Birch will pay for his own clothes, | 0:17:41 | 0:17:44 | |
won't you, Mr Birch? | 0:17:44 | 0:17:45 | |
Voila. | 0:17:46 | 0:17:47 | |
HE GASPS | 0:17:56 | 0:17:57 | |
This is a farewell to my love, | 0:18:19 | 0:18:22 | |
who after a night of wine, song, and assorted pleasures of the flesh, | 0:18:22 | 0:18:27 | |
will be returning to the villa with Corky here | 0:18:27 | 0:18:30 | |
while we continue with our journey with our new friend and colleague, | 0:18:30 | 0:18:33 | |
Andrew Birch. | 0:18:33 | 0:18:34 | |
-Andrew Birch. -Thank you very much. | 0:18:34 | 0:18:36 | |
Andrew Birch. | 0:18:36 | 0:18:37 | |
Who's hungry? | 0:18:37 | 0:18:39 | |
-TABBY: -I am, Boss. -I can see that, yes! | 0:18:39 | 0:18:41 | |
LAUGHTER | 0:18:41 | 0:18:42 | |
Where are you going tomorrow? | 0:18:44 | 0:18:45 | |
I don't know. | 0:18:45 | 0:18:47 | |
WAITER: Sir, would you like to order? | 0:18:47 | 0:18:49 | |
Er...why don't you just bring us a mass of seafood? | 0:18:49 | 0:18:53 | |
Er...clams, squid, oysters et cetera. | 0:18:53 | 0:18:56 | |
Get rid of these bloody flowers, will you? | 0:18:56 | 0:18:59 | |
Yes, of course. | 0:18:59 | 0:19:00 | |
Las flores, por favor. | 0:19:00 | 0:19:02 | |
I'd like a lobster salad, please. | 0:19:02 | 0:19:04 | |
Oh, I'm afraid we don't have any more lobster, madam. | 0:19:04 | 0:19:07 | |
MIMICS WAITER'S SPEECH | 0:19:07 | 0:19:10 | |
-CORKY: -What do you mean there's no lobster? -It's fine. -Sir, I'm sorry. | 0:19:10 | 0:19:13 | |
-MIMICS ACCENT: -I'm sorry - so you so should be. | 0:19:13 | 0:19:16 | |
What is this out here? | 0:19:16 | 0:19:18 | |
This is the sea. | 0:19:18 | 0:19:19 | |
This is a seafood restaurant. | 0:19:19 | 0:19:22 | |
There are many lobster living out here, | 0:19:22 | 0:19:24 | |
very happy, laughing at your three Michelin stars. | 0:19:24 | 0:19:29 | |
Corky, do shut up. | 0:19:29 | 0:19:31 | |
It's fine - I'll have the fish, thanks. | 0:19:31 | 0:19:32 | |
Do you have fish in your fish seafood restaurant? | 0:19:32 | 0:19:35 | |
Yes, we do, sir. | 0:19:35 | 0:19:36 | |
LAUGHTER | 0:19:36 | 0:19:37 | |
Oh, I would like to make a toast. | 0:19:46 | 0:19:50 | |
To the lovers. | 0:19:50 | 0:19:51 | |
The perfect pairing. | 0:19:53 | 0:19:54 | |
Beauty and elegance entwined. | 0:19:55 | 0:19:58 | |
To the lovers! | 0:20:00 | 0:20:02 | |
ALL: The lovers! | 0:20:02 | 0:20:04 | |
Let no man tear them asunder. | 0:20:05 | 0:20:08 | |
What's wrong, baby? | 0:20:14 | 0:20:15 | |
Nothing. | 0:20:15 | 0:20:16 | |
Business? | 0:20:16 | 0:20:17 | |
Of course it's bloody business. | 0:20:17 | 0:20:19 | |
Will you miss me? | 0:20:19 | 0:20:21 | |
Yes, I will miss you. | 0:20:22 | 0:20:23 | |
Why don't you take me with you? | 0:20:23 | 0:20:25 | |
What the hell's that? | 0:20:25 | 0:20:26 | |
What is this? What is this? | 0:20:26 | 0:20:28 | |
Corky, sit down. | 0:20:28 | 0:20:29 | |
It is for another table, sir. | 0:20:29 | 0:20:30 | |
I'll tell you what it is, my naughty little greaseball. | 0:20:30 | 0:20:33 | |
This is a lobster sodding salad! | 0:20:33 | 0:20:35 | |
-Yes, sir. -So why did your ugly friend over there just tell me | 0:20:35 | 0:20:38 | |
that this beautiful lady couldn't have a lobster-sodding-salad? | 0:20:38 | 0:20:42 | |
They pre-ordered this morning. | 0:20:42 | 0:20:44 | |
MIMICS WAITER'S SPEECH | 0:20:44 | 0:20:45 | |
Only the lobster salad for pre-orders. | 0:20:45 | 0:20:47 | |
-CORKY MIMICS SPEECH -Take your hand off my lobster. | 0:20:47 | 0:20:50 | |
Oh! | 0:20:52 | 0:20:53 | |
Jesus, Corky! | 0:20:53 | 0:20:54 | |
JONATHAN: Come on, come on, come on, come on... | 0:20:54 | 0:20:57 | |
-Andrew Birch to the rescue? -Come on... Come on... | 0:20:57 | 0:21:01 | |
-Come on... -Where you taking me? Where you taking me? -Corky... | 0:21:01 | 0:21:04 | |
-Come on. -Sit down, sit down. | 0:21:04 | 0:21:05 | |
Sit down. | 0:21:05 | 0:21:08 | |
OK? | 0:21:08 | 0:21:09 | |
It's OK... Shhh... | 0:21:10 | 0:21:12 | |
I am so sorry. | 0:21:13 | 0:21:16 | |
-CUSTOMER: -What the hell's going on? -Andrew Birch. | 0:21:17 | 0:21:19 | |
-I must apologise for my friend's misbehaviour. -I think you bloody well should. | 0:21:19 | 0:21:22 | |
Allow me to buy you lunch. | 0:21:22 | 0:21:24 | |
-Perhaps I could re-order the entire meal, another bottle of champagne... -What about your friend there? | 0:21:24 | 0:21:28 | |
You'll have no trouble from him, sir. | 0:21:28 | 0:21:31 | |
Would that be all right? | 0:21:31 | 0:21:33 | |
-Thank you so much. -I'll take your word for it. | 0:21:33 | 0:21:35 | |
-Yes, sir, thank you. -OK. | 0:21:35 | 0:21:37 | |
All right. | 0:21:37 | 0:21:38 | |
Isn't he a charmer? | 0:21:41 | 0:21:43 | |
So smooth. | 0:21:46 | 0:21:48 | |
To the victor! | 0:21:48 | 0:21:50 | |
And to the blind man... | 0:21:50 | 0:21:51 | |
..who cannot see the human bloody hand grenade | 0:21:53 | 0:21:56 | |
in front of his bloody eyes. | 0:21:56 | 0:21:59 | |
CHAIR SCRAPES | 0:22:07 | 0:22:08 | |
PHONE RINGS | 0:22:20 | 0:22:21 | |
Thank you. | 0:22:24 | 0:22:25 | |
Nice and prompt, Harry. | 0:23:08 | 0:23:10 | |
What are you doing, contacting me like that? | 0:23:10 | 0:23:12 | |
I was in a hurry. | 0:23:12 | 0:23:14 | |
Do you want to see why? | 0:23:14 | 0:23:15 | |
Where did you get these? | 0:23:28 | 0:23:29 | |
Who are Halo and Felix? | 0:23:29 | 0:23:31 | |
It's all right, I'm on my own. | 0:23:32 | 0:23:34 | |
Richard Roper is buying arms under the counter | 0:23:35 | 0:23:38 | |
from British and American arms companies. | 0:23:38 | 0:23:40 | |
And people on the inside are aiding and abetting. | 0:23:40 | 0:23:43 | |
And getting paid to do so. | 0:23:43 | 0:23:45 | |
5 million. | 0:23:45 | 0:23:47 | |
I shouldn't be here. | 0:23:47 | 0:23:48 | |
Sit down, Harry. | 0:23:48 | 0:23:49 | |
Listen to me, Harry. | 0:23:54 | 0:23:55 | |
I like you. I've always liked you. | 0:23:57 | 0:23:59 | |
Ever since I was in the River House. | 0:24:00 | 0:24:02 | |
You're a decent man. | 0:24:03 | 0:24:05 | |
You're just too easily led. | 0:24:06 | 0:24:08 | |
I didn't want to be part of it, I swear. | 0:24:08 | 0:24:11 | |
Who is Halo? | 0:24:12 | 0:24:13 | |
Dromgoole. | 0:24:16 | 0:24:17 | |
So it's, er... | 0:24:20 | 0:24:21 | |
money to cover all the River House expenses, yeah? | 0:24:21 | 0:24:24 | |
Including you? | 0:24:25 | 0:24:27 | |
And who's Felix? | 0:24:31 | 0:24:32 | |
Langley in London. | 0:24:33 | 0:24:35 | |
Barbara Vandon. | 0:24:37 | 0:24:38 | |
So what's Dromgoole doing for his money? | 0:24:40 | 0:24:42 | |
Falsifying MOD end-user certificates. | 0:24:43 | 0:24:45 | |
And are you helping him to do that? | 0:24:48 | 0:24:49 | |
Oh, Harry! | 0:24:51 | 0:24:52 | |
That's corruption, it's... | 0:24:54 | 0:24:55 | |
serious fraud, and it's a gross abuse of government. | 0:24:55 | 0:24:59 | |
And it's a very long custodial sentence, | 0:25:00 | 0:25:03 | |
and a humiliating end to a decent career. | 0:25:03 | 0:25:05 | |
Is that what you really want? | 0:25:05 | 0:25:06 | |
Unless... | 0:25:10 | 0:25:11 | |
King's College library. | 0:25:15 | 0:25:16 | |
Pick them up tomorrow, 10am. | 0:25:16 | 0:25:18 | |
Looking forward to it? | 0:25:24 | 0:25:25 | |
Very much. | 0:25:26 | 0:25:27 | |
Although I'm not quite sure what "it" is yet. | 0:25:27 | 0:25:29 | |
That's half the fun. | 0:25:29 | 0:25:31 | |
-All of the fun, come to think of it. -PHONE RINGS | 0:25:32 | 0:25:35 | |
Yeah? | 0:25:35 | 0:25:36 | |
Nicely dealt with at lunch, by the way. | 0:25:37 | 0:25:40 | |
Thank you. | 0:25:41 | 0:25:42 | |
I suppose drunken guests were meat and drink to you in the hotel trade. | 0:25:42 | 0:25:46 | |
JONATHAN CHUCKLES | 0:25:46 | 0:25:47 | |
Yes, er... | 0:25:47 | 0:25:49 | |
Among other things. | 0:25:50 | 0:25:52 | |
I'm sure. | 0:25:52 | 0:25:53 | |
The mind positively boggles. | 0:25:53 | 0:25:55 | |
SANDY CHUCKLES | 0:25:55 | 0:25:56 | |
SANDY SIGHS | 0:25:59 | 0:26:00 | |
Everything all right? | 0:26:02 | 0:26:03 | |
Never better. | 0:26:04 | 0:26:05 | |
We fly tomorrow at ten. | 0:26:06 | 0:26:08 | |
Listen, I need to talk to Sandy. | 0:26:08 | 0:26:10 | |
Can you entertain Jed? | 0:26:10 | 0:26:11 | |
We might be a while. | 0:26:11 | 0:26:13 | |
Jed, darling, the old codgers need to talk. | 0:26:13 | 0:26:16 | |
Andrew's going to buy you a drink | 0:26:16 | 0:26:17 | |
in that beautiful bar up on the terrace. | 0:26:17 | 0:26:20 | |
And if I were you, I would accept quick. | 0:26:20 | 0:26:23 | |
Looks like there might be a lot of takers. | 0:26:23 | 0:26:25 | |
When are you back? | 0:26:33 | 0:26:34 | |
I don't know. | 0:26:36 | 0:26:37 | |
Who are you? | 0:26:42 | 0:26:43 | |
You come into our lives... | 0:26:47 | 0:26:48 | |
..disrupt our balance... | 0:26:49 | 0:26:51 | |
..everyone's attracted to you. | 0:26:53 | 0:26:55 | |
Who are you? | 0:26:56 | 0:26:57 | |
Are you Andrew Birch? | 0:27:00 | 0:27:02 | |
Are you Thomas Quince? | 0:27:03 | 0:27:04 | |
Are you Jonathan Pine? | 0:27:09 | 0:27:10 | |
Tell me. | 0:27:11 | 0:27:12 | |
I can't. | 0:27:15 | 0:27:17 | |
How long do we have? | 0:27:23 | 0:27:24 | |
He said a while. | 0:27:26 | 0:27:27 | |
Where's your room? | 0:27:30 | 0:27:31 | |
LOCK BLEEPS | 0:27:35 | 0:27:36 | |
THEY MOAN | 0:28:03 | 0:28:05 | |
THEY PANT | 0:28:08 | 0:28:11 | |
HE GROANS | 0:28:18 | 0:28:19 | |
THEY PANT | 0:28:22 | 0:28:25 | |
No way. I don't think they can have a damn thing. | 0:28:31 | 0:28:34 | |
Doesn't matter what he has - it matters what he THINKS he has. | 0:28:34 | 0:28:36 | |
"He"? | 0:28:36 | 0:28:37 | |
Who "he"? | 0:28:37 | 0:28:38 | |
Fellow called Mayhew. | 0:28:38 | 0:28:40 | |
Tight-arsed Foreign Office creep trying to make a name for himself. | 0:28:40 | 0:28:43 | |
River boys got him pegged as a nuisance - | 0:28:43 | 0:28:46 | |
I don't know what he already has, but they're definitely spooked. | 0:28:46 | 0:28:48 | |
What do you want to do? | 0:28:48 | 0:28:50 | |
Call the Haven, bring the whole thing forward. | 0:28:53 | 0:28:55 | |
Will do. | 0:28:55 | 0:28:56 | |
So what do you make of our new frontman? | 0:29:00 | 0:29:02 | |
Oh, I like him. | 0:29:02 | 0:29:04 | |
He drinks less than Corky, | 0:29:04 | 0:29:05 | |
but doesn't have the same elan. | 0:29:05 | 0:29:08 | |
Still, swings and roundabouts. | 0:29:08 | 0:29:10 | |
You are such a bloody snob, Lord Langbourne. | 0:29:10 | 0:29:13 | |
Yeah it's me. | 0:29:15 | 0:29:17 | |
-Just a small change of plan... -Ah, there you are! | 0:29:17 | 0:29:19 | |
..it's a timing issue and it's... | 0:29:19 | 0:29:20 | |
Thought you might have eloped. | 0:29:20 | 0:29:22 | |
I had a little headache. | 0:29:22 | 0:29:24 | |
My gallant found me a Nurofen, though. | 0:29:24 | 0:29:26 | |
-Did he really? -Mmm. -Well, that is very decent of him. | 0:29:26 | 0:29:29 | |
No, no, no. No... | 0:29:31 | 0:29:33 | |
I am for my bed, and you are for my bed, too. | 0:29:33 | 0:29:35 | |
Just in case you'd forgotten, | 0:29:37 | 0:29:38 | |
you and I are not going to see each other for quite a while. | 0:29:38 | 0:29:42 | |
See you in the morning, Andrew. | 0:29:42 | 0:29:44 | |
I won't wake to see you off, so best of luck. | 0:29:44 | 0:29:46 | |
Thank you. | 0:29:47 | 0:29:49 | |
'Night. | 0:29:49 | 0:29:50 | |
OK, so we're looking at seven arms deals, all in the last six months. | 0:30:21 | 0:30:25 | |
Fake MOD end-user certificates, fast-tracked by the River. | 0:30:26 | 0:30:29 | |
You can see on the certificates the end users are the governments of Italy and Bulgaria. | 0:30:29 | 0:30:32 | |
We now know that not to be the case. They're being exported by a company called Farrago Holdings. | 0:30:32 | 0:30:36 | |
Export licenses granted - they can ship when ever they want. | 0:30:36 | 0:30:39 | |
Where did you get these? | 0:30:39 | 0:30:41 | |
A boatman gave them to me. | 0:30:41 | 0:30:42 | |
OK, so the toys are in transit. | 0:30:43 | 0:30:45 | |
The question is - where are they really going? And how the hell are they getting there? | 0:30:45 | 0:30:48 | |
We're focusing on three ships - the Nemesis, the Marquis, | 0:30:48 | 0:30:52 | |
the Leila Jane. | 0:30:52 | 0:30:54 | |
All three were registered in Cyprus to Farrago Holdings. | 0:30:54 | 0:30:57 | |
Farrago's a front company - it's impossible to trace the directors. | 0:30:57 | 0:31:02 | |
What's the cargo? | 0:31:02 | 0:31:04 | |
Crops and farm machinery. | 0:31:04 | 0:31:05 | |
All three ships have already gone off their bearings | 0:31:05 | 0:31:08 | |
in the Atlantic Ocean. | 0:31:08 | 0:31:09 | |
I'd say two are a smokescreen and one's the real thing. | 0:31:09 | 0:31:12 | |
And what about Roper, Grace? | 0:31:12 | 0:31:13 | |
Well, he was in Palma. He left on a private jet this morning. | 0:31:13 | 0:31:16 | |
Plane's registered to Trade Pass Holdings. | 0:31:16 | 0:31:19 | |
Director is Andrew Birch. | 0:31:19 | 0:31:20 | |
Birch? Who's that? | 0:31:20 | 0:31:22 | |
We've run searches on him - nothing's come back. | 0:31:22 | 0:31:25 | |
Who's on the plane? | 0:31:25 | 0:31:27 | |
Birch, Langbourne and Richard Roper. | 0:31:27 | 0:31:30 | |
-Where's it going? -Istanbul. | 0:31:30 | 0:31:32 | |
That's where Apostol's going, the Spanish lawyer. | 0:31:34 | 0:31:37 | |
We need to split units. You need to get to Istanbul now. | 0:31:37 | 0:31:39 | |
Take Pearl and a team with you. | 0:31:39 | 0:31:41 | |
What am I looking for? | 0:31:41 | 0:31:42 | |
A familiar face. | 0:31:42 | 0:31:43 | |
I think Andrew Birch is someone closer than we think. | 0:31:43 | 0:31:45 | |
Sir, we'll be approaching Istanbul in around ten minutes. | 0:31:50 | 0:31:52 | |
Thank you, Mags. | 0:31:52 | 0:31:53 | |
You ready to shine? | 0:31:57 | 0:31:58 | |
JONATHAN CHUCKLES | 0:31:58 | 0:31:59 | |
KNOCK AT DOOR | 0:32:09 | 0:32:10 | |
Come! | 0:32:10 | 0:32:11 | |
-Rex, how are you? -Emma? | 0:32:14 | 0:32:15 | |
What are you...? | 0:32:15 | 0:32:16 | |
I'm fine. | 0:32:18 | 0:32:19 | |
Good. | 0:32:19 | 0:32:20 | |
Angela Burr from the IEA. | 0:32:21 | 0:32:23 | |
You know her personally? | 0:32:24 | 0:32:25 | |
Er... | 0:32:26 | 0:32:27 | |
A little, yes. | 0:32:27 | 0:32:29 | |
And do you know what she's up to? | 0:32:29 | 0:32:30 | |
Erm...aside from the fact that she's working on Limpet, not really. Erm... | 0:32:32 | 0:32:36 | |
Micro-management isn't my style. | 0:32:37 | 0:32:39 | |
Well, she's been ruffling an awful lot of feathers. | 0:32:39 | 0:32:42 | |
I think we should appoint a new head of the IEA. | 0:32:43 | 0:32:47 | |
I have some suitable candidates. | 0:32:47 | 0:32:49 | |
I particularly like this one. | 0:32:49 | 0:32:50 | |
-Are you serious? -Yes. | 0:32:51 | 0:32:53 | |
Angela Burr is closer than anyone's ever been to cracking Richard Roper's offshore operation. | 0:32:53 | 0:32:57 | |
You really believe that? | 0:32:57 | 0:32:58 | |
I know it, I know it. | 0:32:58 | 0:33:00 | |
I've seen it with my own eyes. | 0:33:01 | 0:33:03 | |
What is it you're not telling me, Rex? | 0:33:07 | 0:33:09 | |
HE SIGHS GENTLY | 0:33:13 | 0:33:14 | |
Pamela, if I show you this, it has to be for your eyes only. | 0:33:17 | 0:33:20 | |
This is operational material. | 0:33:21 | 0:33:23 | |
You know, there are lives at stake. | 0:33:23 | 0:33:25 | |
SHE GASPS | 0:33:32 | 0:33:33 | |
God. | 0:33:34 | 0:33:35 | |
We know who Halo and Felix are. | 0:33:36 | 0:33:39 | |
All right, then. | 0:33:41 | 0:33:42 | |
Keep Angela Burr where she is. | 0:33:44 | 0:33:46 | |
Yes, Geoffrey, it's Pamela. | 0:34:11 | 0:34:13 | |
MUSLIM CALL TO PRAYER | 0:34:15 | 0:34:17 | |
Dicky, remind me of the name of that bellydancer. | 0:34:40 | 0:34:43 | |
-Never knew it. -Bedia? | 0:34:43 | 0:34:45 | |
No. | 0:34:45 | 0:34:46 | |
Andrew Birch. | 0:34:48 | 0:34:49 | |
I have three suites and two rooms booked in my name. | 0:34:49 | 0:34:52 | |
Of course, sir. | 0:34:52 | 0:34:53 | |
-Ahem! -Thank you. -Excellent. | 0:34:53 | 0:34:55 | |
-Here we are, ready for you, sir. -Thank you. | 0:35:01 | 0:35:04 | |
-All done? -All done. | 0:35:04 | 0:35:06 | |
PHONE RINGS | 0:35:09 | 0:35:11 | |
Boss's office. | 0:35:16 | 0:35:18 | |
Now. | 0:35:18 | 0:35:19 | |
HE SIGHS | 0:35:28 | 0:35:29 | |
Angela Burr has got hold of these. | 0:35:35 | 0:35:37 | |
HARRY SIGHS | 0:35:39 | 0:35:41 | |
-How the hell...? -We suspect a Spanish involvement. | 0:35:41 | 0:35:44 | |
Which means... | 0:35:44 | 0:35:45 | |
THAT WE HAVE A PROBLEM! | 0:35:45 | 0:35:47 | |
What's the matter, Harry? Why the flare? | 0:36:08 | 0:36:10 | |
Dromgoole's got the Trade Pass papers. | 0:36:10 | 0:36:12 | |
He knows they came from you. | 0:36:12 | 0:36:14 | |
How does he think I got them? | 0:36:14 | 0:36:15 | |
He thinks the Spanish lawyer helped you. | 0:36:15 | 0:36:18 | |
Is that what he said? | 0:36:18 | 0:36:19 | |
PHONE RINGS | 0:36:22 | 0:36:24 | |
-Steadman. -'Joel?' | 0:36:25 | 0:36:26 | |
Need to get a message to the Spanish lawyer in Madrid. Tell him to re-divert to London now. | 0:36:26 | 0:36:30 | |
Sure. | 0:36:30 | 0:36:31 | |
I can't do this, Angela. I'm not sleeping. | 0:36:32 | 0:36:35 | |
Shut up and listen to me. | 0:36:35 | 0:36:36 | |
How did he get them - did they come from Galt? | 0:36:36 | 0:36:37 | |
They came direct to Dromgoole. | 0:36:37 | 0:36:40 | |
-I got the feeling they came from above. -From above? Is that what he said? | 0:36:40 | 0:36:43 | |
HE SIGHS | 0:36:47 | 0:36:48 | |
Are you sure it was her? | 0:36:49 | 0:36:52 | |
Who else could it have been? | 0:36:52 | 0:36:53 | |
I said no-one, Rex. I said not a bloody soul to see those papers. | 0:36:53 | 0:36:56 | |
I was defending you. She was going to get rid of you, Angela. | 0:36:56 | 0:36:59 | |
What happens now? | 0:37:02 | 0:37:03 | |
I get Apo out, quick-time. | 0:37:03 | 0:37:05 | |
Give him a new ID, new life. | 0:37:05 | 0:37:06 | |
Put it all on him to save Pine - | 0:37:06 | 0:37:08 | |
if it looks like Apo was the only mole in the operation, we might just be OK. | 0:37:08 | 0:37:11 | |
PHONE RINGS | 0:37:11 | 0:37:12 | |
-Yeah, Joel, What is it? -'The Spanish lawyer booked a flight to Istanbul but never made it.' | 0:37:15 | 0:37:19 | |
He's not answering his cell and nobody in his office knows where he is. | 0:37:19 | 0:37:22 | |
-I'm heading to Madrid right now. -OK, call me when you get there. | 0:37:23 | 0:37:27 | |
HE SIGHS | 0:37:37 | 0:37:38 | |
MUSLIM CALL TO PRAYER | 0:37:41 | 0:37:43 | |
HE SIGHS | 0:37:51 | 0:37:53 | |
PHONE RINGS | 0:37:53 | 0:37:55 | |
HE SIGHS | 0:37:56 | 0:37:58 | |
Hello? | 0:38:06 | 0:38:07 | |
Jonathan. | 0:38:13 | 0:38:14 | |
What's wrong? | 0:38:22 | 0:38:23 | |
I just need to know that you're there. | 0:38:33 | 0:38:35 | |
Jed, we have to get off the line. | 0:38:41 | 0:38:42 | |
HE HANGS UP | 0:38:43 | 0:38:44 | |
Where's, er...Apostol? | 0:39:11 | 0:39:13 | |
Is he meeting us there? | 0:39:13 | 0:39:15 | |
Apo's crocked, I'm afraid. | 0:39:15 | 0:39:17 | |
Looks like he's screwing his tart somewhere. | 0:39:17 | 0:39:19 | |
We have a Turkish substitute. | 0:39:19 | 0:39:21 | |
But we don't need Apo. | 0:39:22 | 0:39:23 | |
We don't need anyone. | 0:39:23 | 0:39:24 | |
We just need you and me. | 0:39:25 | 0:39:28 | |
BANKER: Mr Ertun will sign as representative | 0:39:28 | 0:39:30 | |
of Farrago Holdings' full jurisdiction. | 0:39:30 | 0:39:32 | |
I will sign as witness from the private members' bank. | 0:39:32 | 0:39:35 | |
Mr Langbourne informs me that Mr Birch will sign for himself as director of Trade Pass Limited. | 0:39:35 | 0:39:39 | |
That's correct, sir. | 0:39:39 | 0:39:40 | |
When would you like to sign? | 0:39:40 | 0:39:43 | |
-What's wrong with now? -ERTUN LAUGHS | 0:39:43 | 0:39:44 | |
I have not had time to review these documents properly. | 0:39:46 | 0:39:49 | |
It is a very complicated process of sale. | 0:39:49 | 0:39:51 | |
The origin of the machinery is unclear. | 0:39:51 | 0:39:53 | |
I'm not even sure when the transfer of goods is going to take place. | 0:39:53 | 0:39:56 | |
-Oh, you don't need to concern yourself with that now. -Mr Langbourne... | 0:39:56 | 0:39:59 | |
Please. | 0:39:59 | 0:40:00 | |
I was brought on at very late notice. | 0:40:00 | 0:40:02 | |
I need time to study the documents. | 0:40:02 | 0:40:05 | |
Could you ask Mr Apostol to give me a call on the phone, | 0:40:05 | 0:40:08 | |
explain to me the nature of the deal, | 0:40:08 | 0:40:09 | |
and I'll be happy to proceed. | 0:40:09 | 0:40:11 | |
Mr Apostol is indisposed, | 0:40:11 | 0:40:13 | |
which is why we're here, and why you're being paid so well. | 0:40:13 | 0:40:16 | |
I'm sorry. | 0:40:16 | 0:40:17 | |
I cannot sign a blank document. | 0:40:17 | 0:40:19 | |
They're not blank. | 0:40:21 | 0:40:22 | |
There are words all over the place. | 0:40:22 | 0:40:24 | |
Look, Mr... | 0:40:24 | 0:40:25 | |
Collins. | 0:40:25 | 0:40:27 | |
Mr Collins, | 0:40:27 | 0:40:28 | |
it's blank to me. | 0:40:28 | 0:40:30 | |
JONATHAN: Mr Ertun, let me explain. | 0:40:32 | 0:40:33 | |
To be completely honest, I haven't read the documents either, and I'm supposed to be signing them. | 0:40:33 | 0:40:38 | |
The choice we have is not to do the deal today or next week - | 0:40:38 | 0:40:41 | |
the choice we have is to do the deal today, now, this minute... | 0:40:41 | 0:40:44 | |
..or we don't do the deal at all. | 0:40:46 | 0:40:47 | |
All you need to know | 0:40:48 | 0:40:50 | |
is that Trade Pass is buying farm machinery from Farrago Holdings. | 0:40:50 | 0:40:54 | |
Er...Frisky? | 0:40:55 | 0:40:56 | |
You see, ultimately, Mr Ertun... | 0:41:01 | 0:41:03 | |
..this is about trust. | 0:41:04 | 0:41:05 | |
I trust you... | 0:41:07 | 0:41:08 | |
and, er... | 0:41:08 | 0:41:09 | |
LOCK CLICKS ..I'm asking you to trust me. | 0:41:09 | 0:41:12 | |
It really is that simple. | 0:41:14 | 0:41:15 | |
We were told you were the right man for the job. | 0:41:17 | 0:41:20 | |
Perhaps we were wrong. | 0:41:22 | 0:41:23 | |
No, no, no, no. | 0:41:23 | 0:41:24 | |
Wait, wait. | 0:41:24 | 0:41:25 | |
You can trust me. | 0:41:27 | 0:41:28 | |
Good! | 0:41:29 | 0:41:30 | |
Well, let's get those documents signed, shall we? | 0:41:30 | 0:41:33 | |
Mr Birch is a busy man. | 0:41:33 | 0:41:35 | |
-BANKER: -Just before we get to sign those papers... | 0:41:36 | 0:41:38 | |
To authorise the transfer of funds from the Trade Pass account, | 0:41:38 | 0:41:41 | |
Mr Birch will be subject to a biometric verification. | 0:41:41 | 0:41:45 | |
It'll take a minute to extract your iris scan. | 0:41:45 | 0:41:48 | |
-APP BLEEPS -You'll be able to use this later on | 0:41:57 | 0:41:59 | |
on your smartphone and your computer. | 0:41:59 | 0:42:02 | |
-Thank you very much. -Thank you. | 0:42:02 | 0:42:04 | |
If you sign here... | 0:42:06 | 0:42:08 | |
PEN SCRATCHES ON PAPER | 0:42:10 | 0:42:12 | |
Do you think I might, er... | 0:42:12 | 0:42:14 | |
take a look at the current bank statement? | 0:42:14 | 0:42:16 | |
Don't see why not. It's his company. | 0:42:18 | 0:42:20 | |
HE SIGHS | 0:42:29 | 0:42:30 | |
Thank you. | 0:42:30 | 0:42:31 | |
THUNDER ROLLS | 0:42:37 | 0:42:40 | |
-FRISKY: -Ciao. | 0:43:13 | 0:43:14 | |
Ka tev iet. | 0:43:14 | 0:43:15 | |
OK. | 0:43:31 | 0:43:33 | |
We go single file. | 0:43:33 | 0:43:34 | |
Yeah? Keep your hands clear and visible at all times. | 0:43:34 | 0:43:37 | |
Unbutton your jacket, Sandy - they want to see we're not carrying. | 0:43:37 | 0:43:40 | |
OK? Right, Sandy, come on. | 0:43:40 | 0:43:42 | |
Lord Langbourne. | 0:43:53 | 0:43:55 | |
Welcome. | 0:43:55 | 0:43:57 | |
Long trip on the high seas, sailor boy? | 0:43:57 | 0:44:00 | |
Yes. | 0:44:00 | 0:44:01 | |
THEY CHUCKLE | 0:44:01 | 0:44:03 | |
Er...we got a little lost in the ocean. | 0:44:04 | 0:44:07 | |
-But we got here in the end. -You did. | 0:44:07 | 0:44:09 | |
Who is Mr Birch? | 0:44:09 | 0:44:10 | |
This is Mr Andrew Birch. | 0:44:12 | 0:44:13 | |
You are a great enthusiast for tractors and agricultural materials? | 0:44:16 | 0:44:20 | |
That's right, yes. | 0:44:20 | 0:44:21 | |
Want to feed the world. | 0:44:21 | 0:44:23 | |
Like Bono. | 0:44:23 | 0:44:24 | |
THEY LAUGH | 0:44:24 | 0:44:27 | |
Let's get on with it, shall we? | 0:44:28 | 0:44:30 | |
This way. | 0:44:32 | 0:44:33 | |
Could we open this one, please? | 0:44:53 | 0:44:54 | |
Yeah, OK. | 0:44:54 | 0:44:55 | |
JAN GIVES ORDERS IN LATVIAN | 0:44:55 | 0:44:58 | |
-ROPER: -Frisky and Tabby, you want to pick a couple each - make sure they're bona fide? | 0:44:58 | 0:45:02 | |
Likey? | 0:45:27 | 0:45:28 | |
Very much. | 0:45:29 | 0:45:30 | |
Wait till you see the rest. | 0:45:30 | 0:45:32 | |
Everything all right with you two? | 0:45:32 | 0:45:34 | |
-FRISKY: -Yeah, it's all good. | 0:45:34 | 0:45:35 | |
Right... | 0:45:35 | 0:45:37 | |
I think it's signing time. | 0:45:37 | 0:45:38 | |
-SANDY: -Yes, good evening, this is Sandy Langbourne, Trade Pass, for authorisation. | 0:45:42 | 0:45:46 | |
I'm handing the phone to Mr Andrew Birch. | 0:45:46 | 0:45:48 | |
APP BLEEPS | 0:46:02 | 0:46:04 | |
-Thank you. -'Please put Jan on the line.' | 0:46:08 | 0:46:10 | |
-'The purchase has been authorised - it's all gone through.' -JAN CHUCKLES | 0:46:18 | 0:46:21 | |
-JAN: -It's all yours, my friends. -JAN SPEAKS LATVIAN | 0:46:24 | 0:46:28 | |
And this is for you, Mr Birch. | 0:46:29 | 0:46:32 | |
To seal the deal. | 0:46:32 | 0:46:34 | |
This is the best vodka from my home town, Daugavpils in Latvia. | 0:46:34 | 0:46:37 | |
-Is it? -Yeah! But, shh... | 0:46:37 | 0:46:39 | |
This is contraband. | 0:46:39 | 0:46:41 | |
THEY LAUGH | 0:46:41 | 0:46:43 | |
-Thank you very much. -Thank you! | 0:46:43 | 0:46:44 | |
-I appreciate it. -Thank you. | 0:46:44 | 0:46:46 | |
THEY SPEAK LATVIAN | 0:46:46 | 0:46:48 | |
Right, let's get this stuff ashore and onto the trucks, shall we? | 0:46:48 | 0:46:52 | |
LAUGHTER | 0:46:56 | 0:46:58 | |
So how does it feel knowing that for the next 24 hours, | 0:46:58 | 0:47:03 | |
you own enough weaponry to start a war? | 0:47:03 | 0:47:05 | |
It feels good. | 0:47:07 | 0:47:08 | |
Sure you won't join me? | 0:47:10 | 0:47:12 | |
No, I'm fine, thank you. | 0:47:12 | 0:47:13 | |
Where are they going? | 0:47:15 | 0:47:16 | |
To the Haven. | 0:47:17 | 0:47:19 | |
We'll fly out there tomorrow. Buyer will meet us there. | 0:47:19 | 0:47:22 | |
You know, I had my suspicions about you. | 0:47:24 | 0:47:26 | |
Suspicion is, unfortunately, a tool of my trade. | 0:47:27 | 0:47:30 | |
Corky's jealousy is very infectious. | 0:47:30 | 0:47:32 | |
Though it's not really jealousy - it's lust. | 0:47:34 | 0:47:36 | |
What he'd give for a night with you. | 0:47:36 | 0:47:38 | |
Actually, I know exactly what he'd give. | 0:47:40 | 0:47:42 | |
Cos he claims it on expenses. "Uncorking," he calls it. | 0:47:42 | 0:47:45 | |
-JONATHAN LAUGHS -Hundred bucks a time. | 0:47:45 | 0:47:47 | |
Probably get it for less here, | 0:47:47 | 0:47:49 | |
seeing as they more or less invented it. | 0:47:49 | 0:47:50 | |
So what's your tipple? | 0:47:51 | 0:47:53 | |
Men? Women? | 0:47:53 | 0:47:54 | |
Young? Old? | 0:47:54 | 0:47:55 | |
Get you anything. | 0:47:55 | 0:47:56 | |
I'm fine, er... | 0:47:57 | 0:47:58 | |
thank you, though. | 0:47:58 | 0:48:00 | |
So you don't drink, and you don't screw. | 0:48:00 | 0:48:02 | |
Not sure I can trust a man with no appetites. | 0:48:04 | 0:48:07 | |
Well, er... | 0:48:08 | 0:48:09 | |
..you'll have to trust this one. | 0:48:11 | 0:48:13 | |
Don't have to. | 0:48:13 | 0:48:14 | |
I choose to. | 0:48:16 | 0:48:17 | |
-GRACE: -It's gone midnight. You should really go home. | 0:48:23 | 0:48:26 | |
ANGELA: I'd rather be here, thank you. | 0:48:26 | 0:48:27 | |
Doesn't your husband mind? | 0:48:27 | 0:48:29 | |
Mind what? | 0:48:29 | 0:48:30 | |
You always being here. I mean, I know mine would. | 0:48:30 | 0:48:33 | |
My husband knows why I do this. | 0:48:33 | 0:48:36 | |
He knows about the school sports day. | 0:48:36 | 0:48:38 | |
I mean, he shouldn't. | 0:48:39 | 0:48:40 | |
Mr Burr's not cleared for anything more than... | 0:48:40 | 0:48:43 | |
cooking risotto and taking the bins out. | 0:48:43 | 0:48:45 | |
But I had to tell him about the school sports day. | 0:48:45 | 0:48:48 | |
Er... | 0:48:50 | 0:48:51 | |
I was in Baghdad in 2003, | 0:48:51 | 0:48:54 | |
and, erm... | 0:48:54 | 0:48:55 | |
I was attached to... | 0:48:55 | 0:48:57 | |
..the United Nations Monitoring, | 0:48:58 | 0:48:59 | |
Verification and Inspection Commission. | 0:48:59 | 0:49:02 | |
Catchy title. | 0:49:02 | 0:49:03 | |
And, erm... | 0:49:03 | 0:49:05 | |
we'd had reports of | 0:49:05 | 0:49:07 | |
an incident in Rayat, on the Iranian border. | 0:49:07 | 0:49:11 | |
Kurdistan. And the satellites couldn't make anything of it. So... | 0:49:11 | 0:49:15 | |
the Head of Station sent me. | 0:49:15 | 0:49:17 | |
That's not entirely true - I volunteered, actually. | 0:49:18 | 0:49:21 | |
Mr Burr was absolutely furious when he found out. | 0:49:21 | 0:49:25 | |
But, you know, what's the point otherwise? | 0:49:25 | 0:49:27 | |
And, erm... | 0:49:30 | 0:49:32 | |
when we got there, it was a sports day, well, it had been a sports day. | 0:49:32 | 0:49:35 | |
You know, running races, long jump, picnics. | 0:49:35 | 0:49:38 | |
It looked like it had been a really lovely day. | 0:49:38 | 0:49:40 | |
Until someone had dropped two... | 0:49:41 | 0:49:43 | |
..gas shells on the playing field. | 0:49:44 | 0:49:46 | |
One was sulphur mustard... | 0:49:48 | 0:49:50 | |
..and one was methylphosphonofluoridate. | 0:49:51 | 0:49:55 | |
I don't know how your organic chemistry is. | 0:49:55 | 0:49:58 | |
Sarin. | 0:49:58 | 0:50:00 | |
Yeah, so... | 0:50:00 | 0:50:01 | |
the idea of the mixture was, erm... | 0:50:01 | 0:50:03 | |
to stop people from getting masks on. | 0:50:03 | 0:50:05 | |
The, er, mustard gas burnt the hands and faces of the children... | 0:50:07 | 0:50:11 | |
(Sorry.) | 0:50:13 | 0:50:15 | |
..melted the skin, and erm... | 0:50:15 | 0:50:17 | |
SHE CLEARS HER THROAT | 0:50:17 | 0:50:18 | |
Which allowed the sarin... | 0:50:21 | 0:50:23 | |
..to attack the breathing muscles. | 0:50:24 | 0:50:26 | |
And a lot of the kids had... | 0:50:28 | 0:50:29 | |
..lung tissue around their mouths and on their faces. | 0:50:30 | 0:50:33 | |
SHE SIGHS | 0:50:33 | 0:50:35 | |
And that was the first time I saw Richard Roper. | 0:50:35 | 0:50:39 | |
Roper... | 0:50:41 | 0:50:42 | |
supplied the gas. | 0:50:42 | 0:50:44 | |
No. | 0:50:44 | 0:50:45 | |
SHE SNIFFS No, sorry. | 0:50:45 | 0:50:47 | |
Erm, no, he had nothing to do with it. | 0:50:47 | 0:50:48 | |
Er... No, that's not the point at all. | 0:50:48 | 0:50:51 | |
He... | 0:50:52 | 0:50:53 | |
..started selling... | 0:50:54 | 0:50:55 | |
..sarin... | 0:50:56 | 0:50:58 | |
after that event. | 0:50:58 | 0:50:59 | |
Because of it. | 0:51:01 | 0:51:02 | |
He saw what I saw. He saw... | 0:51:05 | 0:51:08 | |
112 children... | 0:51:08 | 0:51:10 | |
and 58 adults, and he thought, "Business." | 0:51:10 | 0:51:14 | |
That's the Richard Roper I know. | 0:51:16 | 0:51:19 | |
Yeah. So Mr Burr knows I'm married to him and I will have his child. | 0:51:22 | 0:51:25 | |
But I have to be here. | 0:51:25 | 0:51:27 | |
PHONE RINGS | 0:51:32 | 0:51:33 | |
Grace speaking. | 0:51:36 | 0:51:37 | |
Yes. | 0:51:38 | 0:51:39 | |
It's Singhal. There's a problem in Istanbul. | 0:51:40 | 0:51:43 | |
PHONE RINGS | 0:51:47 | 0:51:49 | |
HE GROANS PHONE CONTINUES RINGING | 0:51:50 | 0:51:53 | |
HE PICKS UP RECEIVER HE SIGHS | 0:51:57 | 0:51:59 | |
Yeah. | 0:52:00 | 0:52:01 | |
KNOCKS AT DOOR | 0:52:19 | 0:52:20 | |
Get in. What the hell do you think you're playing at? | 0:52:22 | 0:52:24 | |
-RECORDING: -'Jonathan.' | 0:52:27 | 0:52:28 | |
'What's wrong? | 0:52:31 | 0:52:32 | |
'I just need to know that you're there.' | 0:52:34 | 0:52:36 | |
'Jed, we have to get off the line.' | 0:52:39 | 0:52:41 | |
Well? | 0:52:43 | 0:52:44 | |
Well, what? | 0:52:44 | 0:52:46 | |
Well, are you conducting a relationship with that girl? | 0:52:46 | 0:52:48 | |
What business is that of yours? | 0:52:48 | 0:52:50 | |
(Oh, God.) | 0:52:50 | 0:52:51 | |
Yes, he's here. | 0:52:53 | 0:52:54 | |
Yes, it's what we suspect. | 0:52:54 | 0:52:56 | |
Pine. | 0:52:59 | 0:53:00 | |
-ANGELA: -Now, you listen to me, Jonathan. This is what you are going to do. | 0:53:00 | 0:53:04 | |
You are going to go back to your room, | 0:53:04 | 0:53:05 | |
'and you collect your money and your passport,' | 0:53:05 | 0:53:08 | |
and that is it. Do you hear me? | 0:53:08 | 0:53:09 | |
Then you're going to down to the foyer, where you'll meet Rob and Pearl. | 0:53:09 | 0:53:12 | |
-'They will put you in a taxi which will take you back to the airport.' -Why would I do that? | 0:53:12 | 0:53:16 | |
-We're pulling you out because you've blown it. -I don't think so. | 0:53:16 | 0:53:19 | |
'His girlfriend calls you from Roper's house phone in the middle of the night,' | 0:53:19 | 0:53:22 | |
-and you think you're safe? -'If I leave now,' | 0:53:22 | 0:53:24 | |
you have nothing. | 0:53:24 | 0:53:25 | |
I will have you not screwing up my operation - that's what I'll have. | 0:53:25 | 0:53:28 | |
Without me, you don't have an operation. | 0:53:28 | 0:53:30 | |
'The arms were taken off a boat called the Leila Jane' | 0:53:30 | 0:53:33 | |
in Istanbul Harbour late last night. | 0:53:33 | 0:53:35 | |
They're now being taken by road to a place called the Haven. | 0:53:35 | 0:53:37 | |
'If I stay on the inside, I can take you directly to the arms,' | 0:53:37 | 0:53:41 | |
and deliver you Roper and whoever's buying them, caught in the act. | 0:53:41 | 0:53:43 | |
Without me, you've got nothing. You don't have Roper in possession of chemical weapons, | 0:53:43 | 0:53:47 | |
you can't arrest him for corporate fraud, his name's not connected to Trade Pass. | 0:53:47 | 0:53:51 | |
You have no phone taps, no witnesses. His deal will go ahead, and you'll be powerless to stop it. | 0:53:51 | 0:53:55 | |
'Am I wrong?' | 0:53:57 | 0:53:59 | |
Just leave. That's an order. | 0:53:59 | 0:54:01 | |
RECEIVER SLAMS DOWN | 0:54:02 | 0:54:03 | |
The foyer. Five minutes. | 0:54:07 | 0:54:09 | |
DOOR SLAMS | 0:54:09 | 0:54:10 | |
HE SIGHS | 0:54:44 | 0:54:45 | |
BANGS ON DOOR | 0:54:45 | 0:54:47 | |
What the hell are you doing? | 0:54:47 | 0:54:48 | |
I need to speak to the chief. Now. | 0:54:48 | 0:54:50 | |
-He's asleep. -Then get him up. | 0:54:50 | 0:54:52 | |
I'm sorry, boss. | 0:55:06 | 0:55:08 | |
This better be good. | 0:55:08 | 0:55:09 | |
JONATHAN SIGHS | 0:55:10 | 0:55:11 | |
We're being watched. | 0:55:13 | 0:55:14 | |
-What do you mean? -There is a British man and woman in the foyer. | 0:55:16 | 0:55:19 | |
He's Asian, mid 30s, she's 40s, I'd say, but they're English. | 0:55:19 | 0:55:23 | |
And I'd lay good money they're law enforcement. | 0:55:23 | 0:55:25 | |
How can you be so sure? | 0:55:25 | 0:55:27 | |
You've been on the run, you notice these things. Trust me. | 0:55:27 | 0:55:29 | |
-Tabby, check 'em out. -Yes, sir. | 0:55:31 | 0:55:33 | |
-ROB: -Still waiting. | 0:55:52 | 0:55:54 | |
-Yeah? -'They're police, all right.' | 0:55:57 | 0:55:59 | |
Right. I want a full evacuation. | 0:55:59 | 0:56:01 | |
I want all of us all on the road in ten minutes. | 0:56:01 | 0:56:04 | |
Anybody home? | 0:56:08 | 0:56:09 | |
HE GASPS | 0:56:12 | 0:56:13 | |
Guys, you take the front car with Tabby. Sandy, you get in with me. | 0:56:42 | 0:56:44 | |
Dicky, what the hell's going on? | 0:56:44 | 0:56:46 | |
Coppers. Let's go. | 0:56:46 | 0:56:48 | |
That's the backup. | 0:56:48 | 0:56:49 | |
Get in the car! | 0:56:49 | 0:56:50 | |
CAR ENGINE STARTS | 0:56:52 | 0:56:53 | |
Go, go, go, go! | 0:56:54 | 0:56:55 | |
TYRES SCREECH | 0:56:55 | 0:56:56 | |
TYRES SCREECH | 0:57:00 | 0:57:01 | |
-You all right? -I'm fine. | 0:57:04 | 0:57:06 | |
-GARDNER COUGHS -I'm fine. | 0:57:13 | 0:57:15 | |
He's gone. | 0:57:15 | 0:57:16 | |
SHE SIGHS | 0:57:18 | 0:57:19 | |
BANGS DESK | 0:57:24 | 0:57:25 | |
SHE SIGHS | 0:57:26 | 0:57:27 |