ANNOUNCER: THE FOLLOWING PROGRAM CONTAINS CONTENT WHICH MAY NOT BE SUITABLE FOR ALL AUDIENCES.

VIEWER DISCRETION IS ADVISED.

He pulled that plane right out of the sky.

- Got him.

- We did for Koba.

- Koba.

- Rosa?

(beeping) - It's David.

My son's dad, the one that did the midnight flit.

- Gemma Healey.

Who told you this?

- I don't work for money, detective.

- [Man] Who do you work for?

- Everywhere I look her name comes up.

- Vanessa Hamilton, MI6.

It's bigger than us.

- Do you want to go for a drink?

- Yeah, brilliant.

(splashing) - [Man] Elise, it's not him.

- [Girl] Elise.

- [Woman] I froze, I'm sorry.

- Koba, get me out of here.

(suspenseful music) WOMAN ON TV: SO, TYLER, WHEN I GET A BATCH BROWNED AND READY TO TRANSFER... [DOORBELL RINGS] UM, I'M GONNA NEED A BIG ROASTING DISH.

[RING] WHERE'S THIS ONE FROM?

VANESSA: BRAZIL.

WOMAN ON TV: WE'RE GONNA DO 56, UM, JUST IN CASE, SO, UM, WE'LL NEED 10 CUPS OF CREAM... NOT DISPOSABLE, THOUGH, SO DON'T PLAY TOO HARD WITH HIM.

MAN ON TV: ALL RIGHT.

I THINK PROBABLY THE FIRST THING TO DO WOULD TO GET THE, UH, WATER BATHS GOING.

DIFFERENT MAN ON TV: THE PRESSURE IS ON FOR OUR QUARTER FINALISTS TO MAKE IT... WHY IS IT ALWAYS THE QUARTER FINALS IN THESE COOKING COMPETITIONS?

MMM.

DO YOU HAVE ANY MESSAGES FOR ME?

NOPE.

YOU JUST WAIT, AND WE'LL LOOK AFTER YOU.

I IMAGINE YOUR DRUGS ARE RATHER GOOD.

MM-HMM.

GENERAL STROESSNER IN PARAGUAY WAS ALWAYS VERY COMPLIMENTARY ABOUT MY BLACK COCAINE.

YOU WANT SOME?

TEMPTING, BUT THOSE DAYS ARE LONG GONE.

ENJOY.

[DOOR SHUTS] CHARLOTTE GAINSBOURG: ♪ VENEZ DANS MES BRAS ♪ ♪ CLOSER TO ME, DEAR ♪ ♪ DONNEZ-VOUS A MOI ♪ ♪ SET ASIDE ALL FEAR ♪ ♪ RESTONS ENLACES ♪ ♪ POUR L'ETERNITE ♪ ♪ YES, YOU SHALL BE MINE ♪ ♪ TILL THE END OF TIME ♪ [HEAVY MACHINERY RUNNING] [MAN SPEAKING FRENCH] HAVE THE FORENSICS FINISHED AT THE MARINA?

YEAH.

THE OLD MAN'S REALLY CUT UP ABOUT HIS WIFE.

HAPPY BIRTHDAY.

I DON'T CELEBRATE MY BIRTHDAY, ACTUALLY.

NO, I WASN'T CELEBRATING.

I WAS JUST MARKING IT FORMALLY.

WHAT ABOUT THE BOAT REGISTRATION AND THE MOORING PERMITS FOR THE YACHT?

TRACKING THEM DOWN.

I THINK IT WILL BE ANOTHER CASE OF "SINGAPORE FISCAL MANAGEMENT," THOUGH.

HOW'S THINGS AT HOME?

THINGS ARE REALLY ... AT HOME.

THANKS FOR ASKING.

YOU TALKED?

YEAH.

LAURA SAYS THE FACT THAT SHE EVEN ASKS HERSELF WHETHER IT'S TRUE MEANS OUR RELATIONSHIP IS DEAD.

THAT'S THE SORT OF LOGIC THAT WOMEN ARE VERY GOOD AT.

THERE'S REALLY NO DEFENSE.

MAYBE SHE'S RIGHT.

HERE'S ANOTHER FUNNY THING.

SOMETIMES I WONDER IF IT'S TRUE.

MAYBE I DID DO IT, JUST FORGOTTEN.

OF COURSE YOU DIDN'T.

WHY'S SHE SAYING I DID, THEN?

WHY WOULD ANYONE MAKE THAT UP?

LISTEN.

ROSA ON RECORDING: WE DID IT FOR KOBA.

YEAH?

IT'S KOBA, NOT COBRA.

ROSA ON RECORDING: WE DID IT FOR KOBA.

YOU'RE RIGHT.

DOES IT MEAN ANYTHING?

KOBA.

IT'S STALIN'S NOM DE GUERRE.

THE NAME, LIKE UNCLE JOE HIMSELF, ORIGINATES IN GEORGIA.

LIKE THE GIRL WHO JUMPED OUT OF THE WINDOW-- OR WAS PUSHED.

FROM GEORGIA, YEAH, WHICH LINKS TO VANESSA HAMILTON, WHO CRITICALLY IS THE ONE PERSON WITH SEPARATE CONNECTIONS TO THE CASE.

DID BRESSON HAVE ANY GEORGIAN ENEMIES?

WELL, THAT'S WHAT I WAS GOING TO ASK YOU.

UH... LET'S SEE.

SERGUEI, SERGUEI.

AND, UH, GREGOR BATURIN-- HE WAS GEORGIAN, RIGHT?

HE WAS BORN IN SOUTH OSSETIA ACTUALLY.

THAT MAKES HIM GEORGIAN BY BIRTH.

SOUTH OSSETIA WAS PART OF GEORGIA TILL 2008.

HE GOT 20 YEARS IN PRISON FOR ARMS DEALING.

LOUISE: AT LIÉVIN IN A HIGH-SECURITY PRISON.

IT LOOKS LIKE WE'RE GOING TO HAVE TO PAY ANOTHER VISIT TO YOUR FRIEND ERYKA KLEIN.

[DOORBELL RINGING] HI.

GOOD MORNING.

UH... WHOA.

HEY.

SORRY.

HELLO.

MORNING.

MORNING.

HMM.

I'M FLAT SITTING FOR A FRIEND.

CAN I, UH, OFFER YOU ANYTHING?

COFFEE OR A TEA?

TEA.

NO, THANK YOU.

OH.

WHAT?

WE JUST HAVE A FEW QUESTIONS.

OK.

I'LL GET YOU A TEA.

OH, THANK YOU VERY MUCH.

VERY NICE.

ERYKA: HOW CAN I HELP?

KARL: WELL... WE'RE JUST GOING OVER A FEW OF BRESSON'S CASES AND THREATS HE RECEIVED.

WE'D JUST LIKE TO RUN A FEW NAMES BY YOU IF THAT'S OK. BASDAREVIC.

FARUK BASDAREVIC?

HE FLED EUROPE AND TOOK REFUGE, BUT I DON'T REMEMBER WHERE.

SOME COUNTRY WITH NO EXTRADITION TREATY.

IT'S IN HIS INTEREST TO LIE LOW.

SERGUEI...GALATOV?

GALATOV?

HMM.

DECEASED.

HE WAS FOUND HANGING IN HIS CELL THE DAY BEFORE HIS TRIAL.

GREGOR BATURIN?

ERYKA: GREGOR BATURIN?

DON'T KNOW.

HE WAS PROSECUTED BY BRESSON 5 YEARS AGO.

OH.

I'M SORRY, BUT I WASN'T WORKING FOR HIM THEN.

THINK THE CASE FILES MIGHT STILL BE IN EXISTENCE?

POSSIBLY, BUT I DON'T KNOW WHERE.

THINK THE BEST THING TO DO IS TO ASK JUDGE POPINEAU.

HE WAS WORKING WITH BRESSON THEN.

JUDGE?

ELISE: PERFECT.

JUDGE POPINEAU.

KARL: POPINEAU.

I WILL HAVE HIS DETAILS SENT OVER TO YOU.

GREAT.

KARL: LOVELY.

THANK YOU.

THAT'S, UH... MMM.

KOBA?

I'M SORRY?

KOBA?

KOBA?

OR COBRA?

COBRA?

MEAN ANYTHING TO YOU?

UH... NO.

OH.

NO, I'M SORRY.

THAT'S ALL RIGHT.

NO.

I'D BETTER, UM-- GIVE IT TO ME.

VERY NICE.

THANK YOU.

OK. MERCI.

AU REVOIR.

[MAN SPEAKING FRENCH] MERCI, MONSIEUR.

I'M SORRY.

MY ENGLISH IS VERY BAD.

SOUTH OSSETIA?

YES.

HIS SON ARTEM BATURIN.

HE IS A GOOD LAWYER.

BATURIN HAS EVERY REASON TO WANT REVENGE ON BRESSON.

OK. HARD TO IMAGINE HIM PULLING THE STRINGS FROM A PRISON CELL, THOUGH.

SHOULD WE TRY AND FIND OUT ABOUT THE SON?

I COULD TELL YOU WERE HUNGRY REALLY.

YEAH.

NOBODY THINKS STRAIGHT ON AN EMPTY STOMACH.

HEH.

HOW IS YOUR FATHER?

HOW IS HE COPING WITH, UH, LIFE INSIDE?

HOW DO YOU THINK?

HE IS A MAN OF ACTION LIKE YOURSELF.

HEH HEH HEH.

YEAH.

ONLY ACT, RIGHT?

RIGHT.

RIGHT.

SO THEN.

JUST NOW, YOU HAVE TO STOP ACTING.

WE NEED YOU TO DROP OUT OF SIGHT FOR A BIT.

WE HAVE A GOOD PLACE LINED UP FOR YOU BACK HOME.

WHAT?

ALL OF THE SUDDEN, YOU HAVE THE FACE OF THE SUBSTITUTED PLAYER WHO DOES NOT WANT TO LEAVE THE FIELD.

WHICH PLAYER WORTHY OF HIS PLACE ON THE FIELD EVER DOES?

ROBERT, WITH DEFENCE, WE LET YOU CHOOSE.

YOU WERE FREE TO HIT ANY TARGET YOU WANTED AS LONG AS IT GAVE THEM A HEADACHE AND IT DIDN'T HURT US.

DEFENCE IS NOT FINISHED.

I CAN BUILD IT AGAIN.

IT MUST BE HARD FOR YOU.

YOU WANT TO GO DOWN IN HISTORY LIKE CHE GUEVARA OR ANDREAS BAADER, AND YOU SHOULD BECAUSE YOU HAVE DONE SOMETHING TRULY UNIQUE, BROUGHT A PLANE OUT OF THE SKY USING A COMPUTER... AND YET YOU WILL NEVER BE RECOGNIZED FOR THIS BECAUSE YOU ARE JUST A PROXY.

I--I LIKE TO THINK I WAS MORE THAN THAT-- AM--AM MORE THAN THAT.

YOU ARE A VALUABLE PART OF THE MASKIROVKA.

DO YOU KNOW WHAT THAT MEANS?

YEAH, YEAH.

DISGUISE, DECEPTION, UNIFORMS WITHOUT THE, YOU KNOW, INSIGNIA.

NO.

I MEANT DO YOU KNOW WHAT IT MEANS FOR YOU RIGHT NOW?

HEY.

I KNOW WHAT THE PLAYER WHO IS SENT OFF THE FIELD SHOULD DO.

HE SHOULD SMILE AND APPLAUD THE CROWD.

HIDE WHAT HE REALLY FEELS?

YEAH.

SHAKE HIS MANAGER'S HAND.

HEH.

I'M GOING TO GET A BEER.

CAN I GET YOU A...BEER?

YEAH.

[CELL PHONE RINGING] HELLO?

KOBA: OK. WE'RE READY TO MOVE HIM.

YOU WANT ME TO ARRANGE THE RETREAT?

YES, BUT THERE BEEN A CHANGE OF DESTINATION.

I THINK A TRIP TO THE MALDIVES WOULD SUIT HIM BETTER.

[CAR ENGINE REVVING] [LAUGHS] WHAT?

HA HA HA!

HA HA HA HA!

UNH!

AGH!

[SCREAMING] [GROANING] YOU WEREN'T THINKING OF LEAVING LIKE THAT WITHOUT SAYING GOOD-BYE?

ROBERT?

HEH HEH HEH.

OK. LET'S-- LET'S GO.

OK. 1, 2, 3.

HEY, HEY, HEY.

LEAN ON ME.

LEAN ON ME.

WHAT--WHAT-- OK. LET'S GET HIM OUT OF HERE.

[ROBERT GRUNTING] [BEEPING] BB: IS THAT THE FILE ON GREGOR BATURIN'S FAMILY?

HE'S A MONSTER WHO HATES THE WEST BUT SENDS HIS KIDS TO ENGLISH PUBLIC SCHOOLS AND IVY LEAGUE UNIVERSITIES.

IT'S A SHAME HYPOCRISY IS THE LEAST OF HIS CRIMES.

OH.

THANK YOU.

LOUISE: SORRY TO INTERRUPT, BUT SOMETHING'S COME UP.

UH, JOSEPHINE DUMONT, THE PASSENGER ON HER HONEYMOON, WAS A FRENCH INVESTIGATIVE JOURNALIST, AND SHE WAS IN THE MIDDLE OF SHOOTING A DOCUMENTARY ON ARMS DEALING IN EUROPE.

AS THAT'S ENOUGH OF A MOTIVE TO CRASH A PLANE, WE'D CLEARED HER.

YEAH.

BUT WITH BATURIN BEING AN ARMS DEALER, IT SEEMED SIGNIFICANT.

SO I CALLED HER PRODUCER AND ASKED FOR THE RUSHES OF HER DOCUMENTARY.

KARL: YEAH?

THERE'S A WHOLE FILE ON GREGOR BATURIN.

BB: SO THERE'S TWO PEOPLE ON THAT PLANE WITH LINKS TO THIS GUY?

COULD BE MORE THAN ONE TARGET ON THE PLANE.

EXCELLENT.

TRES BIEN.

OK. YOU NEED TO GET ME THESE FILES.

LIAISE WITH BB.

ALSO GET THEM TO ELISE.

I NEED TO TALK TO BOWDEN.

OK. NO PROBLEM.

KOBA IS ALSO THE NAME OF A CHIMP IN "PLANET OF THE APES."

IT'S AN ALTERED BONOBO ACTUALLY IF YOU'RE GONNA BE BE PEDANTIC.

DON'T BE.

OLENA BAKIA IS FROM GEORGIA.

THERE'S A JOURNALIST ON THE PLANE INVESTIGATING AN ARMS DEALER FROM GEORGIA WHO THREATENED PAUL BRESSON WHEN HE PUT HIM AWAY.

AND HIS FAVORITE SONG WAS "GEORGIA ON MY MIND"?

IT'S LIKE A MAGNET, AND THE FILINGS ARE FLYING TOWARDS IT.

IT ALSO INDICATES MULTIPLE TARGETS ON THE PLANE.

HEH.

OH, THAT'S QUITE A LEAP.

FUNNY ISN'T IT, HOW, UH, WHEN YOU WERE SO KEEN ON THE FAR EASTERN CONNECTION THE LINKS WERE FAR FLIMSIER THAN THIS.

YOUR JOB AS A POLICE OFFICER IS TO COLLECT EVIDENCE.

GOOD.

SO I CAN TALK TO VANESSA HAMILTON.

THIS AGAIN.

YEAH, THIS AGAIN, AND THE MORE YOU AND YOUR SPOOKY LITTLE MOB TRY TO KEEP ME AWAY FROM IT, THE MORE I'M GOING TO KNOW THERE'S SOMETHING GOING ON.

MY SPOOKY LITTLE MOB?

YOU CAN TALK ABOUT NATIONAL SECURITY ALL YOU WANT, SIR... MY SPOOKY LITTLE MOB?

BUT I AM A POLICE OFFICER, AND I AM INVESTIGATING THE MASS MURDER OF 110 PEOPLE AND THE KILLING OF MADELEINE FOURNIER, AND IF I THINK THAT THERE IS A-- WHAT WILL YOU DO?

WHAT WILL YOU DO... WHAT?

IF YOU THINK THERE'S A COVER-UP?

WHAT WILL YOU DO ABOUT IT?

WHAT WILL I DO?

WHAT HAVE YOU EVER DONE, KARL?

I'LL TELL THE WORLD, YOU'LL HAVE TO KILL ME TO SHUT ME UP.

[DOOR OPENS] HI.

EVENING.

KIDS ARE ASLEEP.

YOU'RE GOING OUT?

THAT A QUESTION?

I'M MEETING HELEN FOR A DRINK.

HELEN.

OH.

WELL--AHEM-- I IMAGINE IF MY EARS START BURNING, I CAN-- TWO WOMEN CAN GO FOR A DRINK WITHOUT DISCUSSING MEN, ACTUALLY.

OH, DON'T GIVE ME THAT ... FEMINIST BULL...!

I WAS TRYING TO MAKE A JOKE.

YEAH, I KNOW.

IT'S WHAT YOU ALWAYS DO.

WELL, I'M SORRY FOR BEING SO PREDICTABLE.

PREDICTABILITY IS PRECISELY YOUR PROBLEM, KARL.

NOT FENG SHUI ENOUGH FOR YOU?

OH, DON'T LET ME KEEP YOU FROM SAVING THE WORLD FROM THE EVIL ENERGY COMPANIES.

LET'S HOPE THERE WERE NO UNDERCOVER COPS TRYING TO PULL INTO THE BARGAIN, RIGHT?

OH, DON'T WORRY.

I DON'T THINK YOU'RE SIGNIFICANT ENOUGH FOR THAT KIND OF INVESTIGATION.

OK.

SO THAT'S MY POLITICS AND MY JOB YOU'VE BELITTLED.

DO YOU WANT TO HAVE A GO AT THE KIDS?

NO.

I LIKE THE KIDS.

YOU ARE JUST APPALLING... HMM.

AND, BEHIND THE FACADE, A LOW-RENT BULLY.

YEAH, THANKS FOR THAT.

AT LEAST I HAVEN'T HIT YOU WITH SOME KIND OF RIDICULOUS ACCUSATION AND FOUND YOU GUILTY, NOT ON THE BASIS OF ANY EVIDENCE, BUT ON THE BASIS OF MY FEELINGS.

LAST WORD AS ALWAYS.

OH.

IF YOU GET LONELY TONIGHT YOU COULD ALWAYS CALL THAT FRENCH SLUT YOU ... ONE AFTERNOON FOR WANT OF ANYTHING BETTER TO DO, BUT JUST TRY AND LEAVE VLADKA ALONE BECAUSE I REALLY DON'T WANT TO BE LOOKING FOR A NEW NANNY RIGHT NOW.

YOU JUST HAD THE ... LAST WORD!

AS ALWAYS.

[ENGINE STARTS] [CLATTER] [BANG] [KEYS HIT COUNTER] [TV TURNS ON] EVENING, VLADKA.

EVENING, MR. ROEBUCK.

NOTHING LIKE A GOOD ROW TO DEFUSE THE TENSION.

CORNERSTONE OF ANY GOOD MARRIAGE.

NEWS ANCHOR: THE MYSTERY CONTINUES TO DEEPEN AROUND FLIGHT CDT718.

ACCORDING TO A SOURCE CLOSE TO THE INVESTIGATION, TERRORISM HAS BEEN RULED OUT AS A MOTIVE.

INVESTIGATORS ARE NOW EXPLORING OTHER POTENTIAL CAUSES OF THE CRASH, INCLUDING PILOT ERROR AND FLIGHT... "SOURCE CLOSE TO THE INVESTIGATION."

MEANWHILE, CITYDART HAVE CALLED FOR CHECKS ON ALL CDT718... ON THE INTERNET, THEY'RE SAYING IT'S ALL TO DO WITH THE EARTHQUAKES AND THAT BIG MACHINE THEY'VE GOT THAT'S SPLITTING ATOMS AND STUFF.

HADRON COLLIDER?

YEAH.

WELL, IT'S ALL LINKED TO ISRAEL.

NEWS ANCHOR: REPRESENTATIVES CONFIRM THE COMPANY PLANS TO IMPLEMENT COST-CUTTING PROCEDURES.

THESE WILL INCLUDE SELLING OFF PLANES AND AXING 1/3 OF THE WORKFORCE.

DESPITE THIS, CITYDART HAS ASSURED ITS CUSTOMERS THE COMPANY...

I CAN'T RISK IT, YOU SEE?

I KNOW YOU WON'T BE ABLE TO HELP YOURSELF.

YOU WILL TRY AND CLAIM THE PLANE FOR YOURSELF, AND WE CAN'T ACCEPT THAT.

GREGOR WILL NEVER ALLOW YOU-- HE HAS ALREADY AUTHORIZED IT.

[MOANS] THEN DO IT.

DO IT NOW.

QUICKLY.

I'M AFRAID WE HAVE OTHER PLANS.

[ROBERT GROANING] [GUN FIRING IN GAME] ♪ JOYEUX ANNIVERSAIRE ♪ ♪ JOYEUX ANNIVERSAIRE ♪ ♪ JOYEUX ANNIVERSAIRE, ELISE ♪ OK. HEY.

SORRY, I'M LATE.

IT'S ALL RIGHT.

WHAT?

OH, IT'S NOTHING.

IT'S JUST THAT I'VE NEVER SEEN YOU WITH MAKEUP ON BEFORE.

OH.

I'LL GO TO THE BATHROOM, TAKE IT OFF.

NO.

NO.

STAY, STAY.

I'LL, UH, HAVE THEM BRING ANOTHER.

I DON'T DRINK.

NO?

WHY NOT?

I JUST DON'T LIKE ALCOHOL MUCH.

[CELL PHONE RINGING] SORRY.

HI.

KARL: WHERE ARE YOU?

IN A BAR.

OH, OK. YOU WITH GAEL?

YEAH.

OK. WELL, I WON'T KEEP YOU.

WHAT DID YOU WANT TO TALK ABOUT?

UH...NOTHING.

JUST, UM--JUST, YOU KNOW, CHAT, SORT OF CATCH UP.

HAVE YOU WATCHED THE FOOTAGE YET?

THE, UH--NO.

NO.

NOT YET.

NO.

IS THERE ANYTHING ELSE YOU WANT TO TALK ABOUT?

WE CAN CHAT IF YOU WANT.

NO, NO.

IT'S OK. GIVE MY REGARDS TO GAEL.

I'M NOT WITH GAEL.

I'M WITH, UH, ERYKA KLEIN.

OH.

OK.

I THOUGHT YOU SAID-- YEAH, I KNOW, BUT THAT WAS-- THAT WAS INCORRECT.

I'M ACTUALLY WITH...WITH ERYKA KLEIN.

I'M HAVING A DRINK WITH ERYKA KLEIN.

OK. BYE THEN.

SORRY.

THAT WAS MY COLLEAGUE.

IT'S MY BIRTHDAY TODAY, ACTUALLY.

REALLY?

CONGRATULATIONS.

WE SHOULD HAVE CHAMPAGNE, THEN.

WHEN I WAS A KID, MY PARENTS USED TO LET MY SISTER AND I DIP OUR FINGERS IN THEIR CHAMPAGNE AS A TREAT.

WHO WAS THE OLDEST?

UH, MANON.

BY 15 MINUTES.

WE WERE VERY DIFFERENT.

SHE... SHE MADE PEOPLE LAUGH ALL THE TIME.

YOU WERE THE SERIOUS ONE.

BUT YOU HAVE A SENSE OF HUMOR, TOO.

DO I?

HOW CAN YOU KNOW THAT?

I DON'T KNOW.

I JUST...

THINK THAT--THAT SOMETIMES-- NO, IT'S STUPID-- WHAT?

I JUST FEEL THAT THERE'S SOME KIND OF A CONNECTION JUST MAYBE BECAUSE WE BOTH-- NO.

I FELT THAT, TOO.

YOU'RE OK?

YEAH.

AHEM.

I JUST--I DON'T LIKE ALCOHOL VERY MUCH, SO...

I'M--I'M FEELING A BIT-- ARE YOU OK?

YEAH.

UM...

I LIVE THERE.

ON THE THIRD FLOOR.

MY BOYFRIEND WILL BE WAITING FOR ME.

SURE.

SO I HAVE TO GO.

BYE.

[MUSIC PLAYING ON VIDEO] WOMAN ON VIDEO: MAIS LA COLONIA DIGNIDAD N'ÉTAIT PAS SEULEMENT UN LIEU DE TORTURE ET DE DÉPRAVATION SOUS LA COUPE DU RÉGIME DU GÉNÉRAL PINOCHET.

... ME.

LES PREUVES QUE NOS AVONS RÉUNIES NOUS PERMETTENT D'AVANCER, QUE PARMI LES VISITEURS PASSÉS PAR LA SECTE DURANT LES ANNÉES QAUTRE VINGT ET QUATRE VINGT DIX, Y COMPRIS LORS DE LA TRANSITION DÉMOCRATIQUE, SE TROUVAIENT DES CRIMINELS NOTORIES COMME LE TRAFIQUANT D'ARMES GÉORGIEN GREGOR BATURIN.

KARL: AHEM.

WHAT'S GOING ON?

ACCORDING TO DUMONT'S DOCUMENTARY RUSHES, GREGOR BATURIN WAS AT COLONIA DIGNIDAD 3 TIMES BETWEEN 1986 AND 1989.

SO...

UH, AGAIN, ERYKA KLEIN'S AT THE HEART OF THE MYSTERY.

UM... DO YOU HAVE ANY EVIDENCE THAT SUGGESTS THEY'VE MET?

NO.

IT'S AN INTRIGUING COINCIDENCE, THOUGH, ISN'T IT?

WHAT ARE YOU DOING?

I AM CALLING ERYKA KLEIN TO THE CALAIS POLICE STATION.

IF YOU HAVE ANY QUESTIONS, SHE SHOULD BE ABLE TO ANSWER THEM.

DO YOU KNOW THIS MAN?

NO.

GREGOR BATURIN VISITED COLONIA DIGNIDAD SEVERAL TIMES BETWEEN 1986 AND 1989.

YOU'RE AWARE THAT AT THE TIME, I WAS AGED BETWEEN 5 AND 8?

WHY WOULD THAT PREVENT YOU FROM RECOGNIZING THIS MAN?

THERE WERE MANY VISITORS TO THE COLONY.

LOOK AGAIN.

PAUL SCHAFER, OUR LEADER...

HE DEMONSTRATED HIS HOSPITALITY BY OFFERING HIS GUESTS... CHILDREN TO RAPE, GIRLS OR BOYS, ACCORDING TO PREFERENCE.

HE SOMETIMES FILMED THIS FOR REASONS OF BLACKMAIL.

IT HELPED TO PREVENT INVESTIGATION INTO THE COLONY.

YOU DON'T FORGET THE FACES OF THOSE MEN, AND ALL I CAN TELL YOU IS THAT THIS ISN'T ONE THAT I HAVE TO CARRY IN MY MEMORY.

SO IF YOU WANT TO ARREST ME FOR HAVING THE BAD LUCK TO GROW UP IN THIS HELL, THEN PLEASE... GO ON.

DO IT.

ALL RIGHT.

GET UP.

ELISE: I'M SORRY TO HAVE PUT YOU THROUGH THIS.

ERYKA: YOU'RE JUST DOING YOUR JOB.

YOU DON'T BELIEVE HER?

IF PAUL BRESSON AND THE DOCUMENTARY MAKER WERE BOTH LINKED TO BATURIN, THERE COULD HAVE BEEN SEVERAL TARGETS ON THE PLANE, AND THERE HAD TO BE SOMEBODY, AN ACCOMPLICE, WHO KNEW THEIR DIARIES, SO, UH, NO, I DON'T...

THINK I DO BELIEVE HER.

[GRUNTS] ALWAYS THE QUARTER FINALS IN THESE PROGRAMS.

STRANGE, ISN'T IT?

NO.

YOU DON'T HAVE TO DO THIS.

SO THIS IS A LITTLE RECIPE WHICH IS BASED ON THE TRADITIONAL CRIMEAN-CONGO HEMORRHAGIC VIRUS.

HELP!

SHH, SHH, SHH.

NO.

HELP!

NO.

[GRUNTING] NO!

NO!

HELP!

[ROBERT GRUNTING] [SCREAMING] NO, NO, NO!

NO, NO, NO!

NO, NO, NO!

NO.

AAH!

UGH!

HELP ME!

[GAGGING] [COUGHS] [SPUTTERING] [GAGS] [LINE RINGING] ELISE: KARL.

ELISE.

WE GOT TO MEET.

COME TO THE HOUSE, NOT THE HANGAR.

IT'S ABSOLUTE BLOODY DYNAMITE.

DOES IT SAY WHO KOBA IS?

NO.

THE WOMEN IN THE IMMIGRATION SCAM THAT STEFAN CZYRKO WAS INVESTIGATING, THE GIRLS ARE COERCED OR TRICKED INTO PORNOGRAPHY.

EXTREME, VIOLENT PORNOGRAPHY.

SOME OF THEM WERE ACTUALLY KILLED.

THERE'S A--THERE'S A CODE-- DESTINATION CODE FOR THOSE, THE MALDIVES.

WHO DID HE TELL?

HIS HANDLER, WHO TOLD HIM TO IGNORE IT AND "FOCUS ON THE PASSPORTS".

THE FORGED PASSPORTS IN THE IMMIGRATION SCAMS?

YES.

THEY ARE NOT INTERESTED IN THE PORNOGRAPHY.

THEY'RE JUST INTERESTED IN THE NETWORK OF FORGERY AND THE RETURNING JIHADISTS.

WHO'S THEY?

MI5 OR MI6, I GUESS.

I DON'T KNOW.

MAYBE BOTH.

VANESSA HAMILTON PICKS UP MOST OF HER GIRLS FROM DIFFERENT COUNTRIES, BUT GUESS WHERE SHE RETURNS TO EVERY TIME SHE HAS TO SORT OUT HER SUPPLY CHAIN.

GEORGIA, AND ANOTHER THING-- THE HOUSE THAT STEFAN CZYRKO STAYED IN, WHERE THEY MAKE THE FILMS-- SINGAPORE FISCAL MANAGEMENT.

WHO DO YOU THINK GAVE YOU THE FILES?

I KNOW WHO GAVE ME THE FILES.

BOWDEN'S FAVORITE NICKNAME FOR ME IS CLEVER ...

HE'S HELPING US?

HE'S A COP.

OH, HE'S GONNA BE IN TROUBLE IF THEY FIND OUT, THOUGH.

MAN: YOU'RE A STRONG MAN, AREN'T YOU?

LET'S SPEED THINGS UP A BIT.

[ROBERT GRUNTING] [FOOTSTEPS] IS THERE SOMETHING YOU HAVEN'T BEEN TELLING US, VANESSA?

OF COURSE THERE IS.

DO I LOOK STUPID ENOUGH TO GIVE UP ALL MY INFORMATION FOR NOTHING?

IT'S HARDLY FOR NOTHING.

DO YOU WANT TO START TELLING US NOW?

NO.

THAT'S DISAPPOINTING.

I KEPT MY PART OF THE DEAL.

IT WAS STRICTLY ABOUT THE FORGED PASSPORTS AND STOPPING THEM GETTING INTO THE WRONG HANDS.

NOTHING ELSE.

I DON'T WORK FOR YOU.

WHO DO YOU WORK FOR, THEN?

MYSELF.

ALWAYS.

DON'T CONTACT ME AGAIN.

WE'RE DONE.

ALL RIGHT.

BUT THINK ABOUT YOUR POSITION.

YOU'RE REALLY RATHER EXPOSED RIGHT NOW.

THERE'S NO PROBLEM WE CAN'T FIX.

WE CAN LOOK AFTER YOU.

I'LL BEAR IT IN MIND.

OK. [VEHICLE APPROACHING] [VEHICLE STOPS] HI.

HI.

WE STILL FIGHTING?

UH-UH.

THEN DO YOU HAVE SOMETHING TO SAY TO ME?

YEAH.

I WENT TO SEE HER.

AND?

"AND?"

"AND?"

OH, DON'T GIVE ME THE "IF YOU HAVE TO ASK THE QUESTION, THEN YOU'RE GUILTY" NUMBER.

DO YOU KNOW WHAT I WAS DOING WHEN YOU WERE WITH THAT FRENCH WOMAN?

NO.

I THINK ABOUT IT A LOT, ACTUALLY.

I WAS BUYING A LEMON TREE FOR THE GARDEN.

I THOUGHT WE COULD HAVE HOMEMADE ... LEMONS IN A G&T AND HOW MUCH YOU WOULD LIKE THAT... AND WE NEVER DEALT WITH IT.

WE NEVER DEALT WITH IT.

WE NEVER DEALT WITH IT BECAUSE...

THANKS TO ONE OF MY PREVIOUS MISDEMEANORS, SOMEONE ATTACKED YOU AND MURDERED ADAM.

THAT'S WHAT YOU'RE NOT SAYING, ISN'T IT?

AND IF YOU THINK THAT, IF YOU REALLY THINK THAT-- AND I--I--I DON'T BLAME YOU IF YOU DO--THEN-- BUT IF YOU THINK, THAT, WELL... OH, MY GOD.

WHAT?

OH, MY ... GOD.

IT CAN'T BE.

[MEN LAUGHING] BB: SEE YOU, LADS.

SEE YOU TOMORROW.

OH, YEAH.

DON'T FORGET, WE'VE GOT ANOTHER FOOTBALL MATCH TOMORROW NIGHT, SO TELL DAVEY HE'S GOT TO PRETEND TO BE CID FOR THE EVENING.

[LAUGHTER] SEE YOU.

SLEEP WELL, LADIES.

[HUMMING] WHAT'S THAT?

JESUS.

(indistinct conversation) - Okay, okay, let's do the car crash.

(ominous music) (car engine roaring) (crashing, crying out) - The car crash came about in discussion with Tim, our director, who wanted to find a way of having Robert seem to escape from Koba, and yet at the same time, ultimately fail and get caught.

We wanted to do it in a way that was exciting and dynamic in the way that the show should be, and one of the things that we started talking about was car crashes, and staying, as close as we possibly could, with the character, which is when we came up with this idea of being inside the car at the moment of the crash.

(cars colliding, crying out) (screaming) What we came up with, in the end, was three distinct sequences that we needed to try and make look as though they are one.

The first was buying three cars.

Unfortunately, we had to buy three of the same car.

The first was used to simply have Robert driving down a road, and being followed, on a couple of other shots driving down that same road.

The second part was then the second car, which had to be pre-broken up, and pre-smashed, and have it roll over on its roof.

We had a little small rollover rig which allowed it to roll 90 degrees.

(lift humming) (crashing) (moaning) The middle sequence, the actual impact, was something that needed quite a few stages, and that had to be filmed separately outside of our schedule.

So we had a third car, our final car, where we stripped as much of the weight off the car as we possibly could, and we then put it basically on a giant rotisserie, which is a big rollover rig, which can roll the car 360 degrees so that the camera, being inside the car, would look as through it's going through the crash, and we could keep the camera trained on Robert throughout the whole experience, which is going back to the fundamental idea we had of trying to make the car crash as personal as possible to Robert.

That, though, meant that if we were rolling the car over in the studio, we would see the studio roof.

We wouldn't have any way of knowing that it was the same sequence as being on location.

So we came up with the idea of strapping a ginormous television to the window of the car so that the cameraman sitting in the passenger's seat filming Robert driving would be looking at this screen.

Of course then we needed the footage to put on the screen to make it look as though he was driving down the road.

It was shot on a camera which had a 360 rollover rig attached to it, so that we could film the spin of the car as it moved down the road.

- So I'm going to ask the camera to go around as if we'd just been hit by another car.

Obviously, we're going to do it backwards, so we're going to end up upside down, rotate round, and stop the camera when it's level with the impact car.

- The crucial bit about it all was trying to make it all look like the car was being hit and rolling over because of the car that was driving down the country road and aiming at it.

The simplest and safest way of doing that to make sure that choreography's all timed up was to do it backwards.

The truck started side-on with the side of Robert's car, and then reversed away at high speed.

As it was reversing away, the camera rolled twice on its 360 rig to make it look like the car was spinning after it had been hit.

When you play those things backwards, it looks like the car was coming towards it, it's hitting it on the side, and is rolling the car over.

(board snapping) As a sequence, I'm thrilled with it.

- Yeah, it was great, yeah.

You feel the impact, all right.

Yeah, you feel bwah.

It's like, but you're strapped so good and so secure.

- I think it takes us to a place in a car crash that I haven't seen done before, where we stay exactly with the character, square on his face, as he goes through this traumatic event, and is dazed and confused afterwards as he's dragged out of the car in order to be taken away to his death.

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