"FIND SABAN KHASANOVIC OR I WILL PIPE ANOTHER TUNE."

THAT'S LIKE THE PIED PIPER.

MARCO KHASANOVIC WAS KILLED IN A SNIPER ATTACK IN AUGUST 1994.

WHOEVER WANTS US TO FIND SABAN, IT'S NOT HIS FATHER.

WELL, WE HAVEN'T FOUND HIS MOTHER AMONGST THE DEAD YET.

MAN: I LOVE YOU.

KARL: IF YOU WANT TO ROB SOMEONE, YOU JUST BLOW A BIT OF SCOPOLAMINE AROUND IN THE AIR, AND THE TOURISTS RUN TO THE ATM AND HAND OVER THEIR MONEY.

IT'S AN URBAN MYTH.

[PANTING] [BIRDS CHIRPING] [PANTING] [DOOR UNLOCKS] [WAVES BREAKING] [SOBBING] [WOMAN SINGING IN FRENCH] YEAH?

YEAH.

[PANTS UNZIP] [GRUNTING] CHARLOTTE GAINSBOROUGH: ♪ VENEZ DANS MES BRAS ♪ ♪ CLOSER TO ME, DEAR ♪ ♪ DONNEZ-VOUZ MOI ♪ ♪ SET ASIDE ALL FEAR ♪ ♪ RESTONS ENLACES ♪ ♪ POUR L'ETERNITE ♪ ♪ YES, YOU SHALL BE MINE ♪ ♪ TILL THE END OF TIME ♪ THEY'VE TAKEN EVERYTHING, MY CLOTHES, MY SHOES, MY WALLET.

I DON'T KNOW.

LISTEN, I NEED YOU TO COME AND PICK ME UP RIGHT AWAY.

YOU CAN, AND YOU WILL.

[TIRES SCREECH] [HORN HONKS, MAN LAUGHS] COLD.

[MAN SPEAKING INDISTINCTLY ON TV] [HUMMING] MORNING.

I GOT UP AT 3:30 TO USE THE BATHROOM AND YOU STILL WEREN'T HOME.

WHAT TIME DID YOU GET IN?

JUST AFTER 4:00, I THINK.

YOU WANT ME TO MAKE BREAKFAST SO YOU CAN GET A LIE-IN?

NO, NO, I'VE DONE IT.

I DON'T KNOW HOW YOU FUNCTION.

IT'S INCREDIBLE.

I KNOW.

ME AND MAGGIE THATCHER, EH?

TWO PEAS IN A POD.

KARL: MAYA!

BREAKFAST.

[LAUGHTER] MAYA?

HELLO.

MAYA'S DAD.

DAD, THIS IS MY FRIEND KAYLA.

HELLO, KAYLA.

IT'S, UM, BREAKFAST TIME.

ARE YOU TWO NOT GONNA SEE EACH OTHER IN ABOUT HALF AN HOUR?

DAD.

HEY, MR. R., ME AND MAYA WERE THINKING ABOUT GOING TO THE CINEMA TONIGHT.

YOU'RE COOL WITH THAT, RIGHT?

SHE'LL BE HOME BY 9:00.

UM, YEAH.

OK. YEAH.

BREAKFAST.

OH.

[URINATING] [TAPPING] [ROLLS WINDOW DOWN] GOOD MORNING.

CAN I SEE YOUR HANGER, PLEASE?

THANK YOU VERY MUCH.

[BEEP] LOVELY.

WINNIE: SO WHAT HAVE WE GOT?

KARL: WE'VE GOT PEOPLE TRAWLING THROUGH BIRTH RECORDS, LOOKING FOR ANY KHASANOVIC LINK TO SABAN AND MARCO.

THE MOTHER SEEMS LIKE THE BEST BET, BUT IF SHE'S ILLEGAL, SHE'S GONNA BE HARD TO FIND.

ELISE: WE'RE LOOKING AT HOW THE RAT MONGER MAN OR THE GUY WHO NEARLY KILLED US WITH A BOAT CAN BE CONNECTED TO HER.

WINNIE: WELL, BET YOU A BAG OF BONBONS THEY'RE IN IT TOGETHER.

[GASPS] AAH!

GET IT OUT.

JESUS!

WINNIE: GET OUT!

[STOMP] IT'S SABAN KHASANOVIC.

IT'S THE PHOTO THAT WAS USED FOR THE CALLIGRAM.

BB: WHAT'S GOING ON?

WINNIE: RIGHT.

I WANT A TEAM HERE TO DEAL WITH IT RIGHT NOW.

I WANT TO KNOW HOW THE ...

IT GOT THROUGH SECURITY.

WHOEVER WE'RE DEALING WITH IS A CERTIFIED LUNATIC.

KARL: WHAT DOES IT SAY?

"THIS WILL ESCALATE.

NO TRIFLING."

AND THERE'S COORDINATES.

WHY WOULD SHE HELP US?

[CAR DOOR CLOSES] MAN: WHERE DO I GO TO REPORT A CRIME?

YOU CAN'T PARK THERE, SIR?

I DIDN'T ASK WHERE I COULD PARK.

I ASKED WHERE I COULD REPORT A CRIME.

JUST THROUGH THOSE DOORS.

ASK FOR THE CONCIERGE.

IS THIS STAYING?

WHAT?

THIS.

YES.

STOP.

IT'S AN ANTI-THEFT DEVICE.

GENERATES COMPASSION.

WELL, IF YOU FIND A NEW PARTNER, SHE WON'T BE AROUSED BY THIS.

NOT EVERYONE'S RELATIONSHIPS ARE QUITE AS BINARY AS YOURS, ELISE.

YOU KNOW, IT'S ACTUALLY QUITE COMPLICATED.

JUST, YOU KNOW, TAKING A BIT OF SPACE.

THIS IS IT.

THIS SHOULD BE THE EXACT SPOT.

WELL, THERE'S NOTHING HERE.

MAYBE THEY WEREN'T COORDINATES.

KARL.

KARL: WHAT IS THIS PLACE?

ELISE: WHAT IS IT?

KARL: KING OF SOMETHING, JUDGING BY THE CROWN.

RECOGNIZE HIM?

NO.

WHAT'S THAT?

SWORD, LONGBOW.

SOLDIER?

ELISE: WHAT IS THAT SUPPOSED TO BE, A BISHOP?

KARL: IT'S A POPE.

AND, LOOK, SKELETONS.

I THINK I KNOW WHAT THIS IS.

IT'S DANSE MACABRE.

DANSE MACABRE?

IT'S A MEDIEVAL THING.

THEY REPRESENT ALL WALKS OF LIFE.

THE KING'S AUTHORITY.

THE POPE'S RELIGION.

A CHILD.

SABAN.

THEY'RE DANCING TO THEIR GRAVES.

IT'S A REMINDER OF THE FRAGILITY OF LIFE AND THE INEVITABILITY OF A GRUESOME DEATH.

SOME VERSIONS OF THE PIED PIPER SEE HIM AS A FIGURE OF DEATH.

THE LABORER.

I KNOW HIM.

WHO IS THAT?

IT'S THE GUY YOU WERE RUDE TO IN THE CAR PARK.

THIS ONE IS MISSING A MUG SHOT.

"GARY GREEN.

DANCE TO MY TUNE."

RATS.

[GRINDING, LOUD CLANK] HE WASN'T KILLED HERE.

"THE DEADLIEST POISON IS ONE WITHOUT SICKNESS."

"FIND SABAN."

[RUSTLING NOISE] [KARL EXHALES] SO WHERE'S THE REST OF HIM?

[SEAGULL CALLING] KARL: "IT HAD BEEN A LONG DAY, "SO I HAD A FEW PINTS AT THE HORSE AND GROOM PUB ON THE HIGH STREET."

BUT YOU DIDN'T, DID YOU, WESLEY?

BUT, LIKE I SAID, MY DRINK WAS SPIKED, SO I DON'T REMEMBER ANYTHING.

YOU KNOW, THE PROBLEM WITH LIVING IN A SURVEILLANCE STATE IS IT'S A REAL BUGGER TO TRY AND TELL A GOOD LIE.

DO YOU MIND LEAVING US ALONE FOR A MOMENT?

[PANTS UNZIP] I NEED YOU TO FIND OUT WHO DID THIS TO ME.

IN 1284, THE GERMAN TOWN OF HAMELIN SUFFERED A MASSIVE RAT INFESTATION.

I'M SORRY, WHAT?

DOES THE NAME KHASANOVIC MEAN ANYTHING TO YOU?

DO YOU HAVE ANY IDEA HOW MANY ILLEGAL IMMIGRANTS WALK THROUGH THAT DOOR?

WHO ARE THESE MEN?

NEVER SEEN ANY OF THEM BEFORE IN MY LIFE.

YOUR PHOTO WAS FOUND IN A ROGUES' GALLERY WITHIN SPITTING DISTANCE OF WHERE A MAN WAS HACKED TO PIECES.

I'VE TOLD YOU ALL THAT I CAN.

[WOMAN SINGING IN BOSNIAN] I DON'T KNOW IF IT'S A GOOD THING OR A BAD THING WE MET EACH OTHER.

WINNIE: WESLEY POLLINGER.

WHY IS HE THE LABORER?

SARCASM, I'M GUESSING.

LET'S GET HIM TESTED FOR SCOPOLAMINE.

BB: THERE ARE 562 GARY GREENS IN BRITAIN.

GREAT.

YEAH, I'M WORKING ON IT.

THAT'S AN ADDRESS FOR THE VICTIM.

LAWRENCE TAYLOR, THE DONUT NUT.

HE WAS A VIRAL SENSATION FOR A DAY OR TWO BEFORE BEING VILIFIED AS A TROLL.

OH, STAND BY YOUR BEDS.

HERE COMES TROUBLE.

BONJOUR, TOUT LE MONDE.

KARL: LET'S GET OUT OF HERE.

ASTOR.

HEH.

I HEARD ABOUT THE RAT.

I DIDN'T TELL HIM.

OH, THEY HEARD THE SCREAM IN CALAIS.

[WHISTLES] AS THEY SAY IN THE MOVIES, ... JUST GOT REAL.

HALF THIS STUFF HE NEVER EVEN USED.

TOTAL WASTE OF MONEY, JUST LIKE I SAID IT WOULD BE.

GOLF CLUBS.

GIVE ME ...

STRENGTH.

THIS TROLLING YOU'RE TALKING ABOUT IS NOT THE MAN I KNEW.

HE WOULD NEVER ABUSE SOMEONE LIKE THAT.

ELISE: MRS. TAYLOR-- LEAVE IT.

LEAVE IT.

SHALL WE JUST HAVE A CUP OF TEA?

[VIDEO GAME CHIMES] HELLO.

I'M GONNA NEED YOUR PHONE.

MY KIDS ARE THE SAME.

THE MILLENNIAL'S PANACEA.

IT'LL HELP YOUR SOCIAL DEVELOPMENT.

WAIT.

KARL.

[INDISTINCT CHATTER] ELISE: MILLENNIALS ARE THOSE WHO REACHED ADULTHOOD AT THE TURN OF THE CENTURY.

THAT KID WAS POST-MILLENNIAL, GENERATION "Z."

KARL: HOW WOULD I COPE WITHOUT YOU?

UM, AHEM.

SUPERVISOR: THANKS FOR COMING.

SO I DOUBLE CHECKED, AND THEY DEFINITELY DIDN'T TAKE ANYTHING.

YOU'RE HERE ABOUT THE BREAK-IN, YEAH?

ELISE: YOU'RE GARY GREEN.

WHAT BREAK-IN?

SORRY.

SOME ...

CHOPPED THROUGH THE CHAIN ON THE FRONT GATE.

I THOUGHT-- DOES THE NAME KHASANOVIC MEAN ANYTHING TO YOU?

UM, THERE WAS A LANA KHASANOVIC HERE FOR A FEW MONTHS LAST YEAR.

KARL: HOW OLD IS SHE?

UM, LATE THIRTIES, EARLY FORTIES.

WHAT DID SHE LOOK LIKE?

HEIGHT, BUILD.

HAIR COLOR, EYE COLOR.

DARK HAIR, DARK EYES, I THINK.

I'M SORRY.

IT WAS A LONG TIME AGO.

WE NEED CONTACT DETAILS.

ADDRESS, NUMBER, THE NAME OF THE AGENCY THAT SUPPLIED HER.

WELL, SOME OF THE WORKERS, THEY'RE, UM, THEY'RE CASH IN HAND.

IT'S JUST THE WAY.

YEAH.

BUT I'LL GO AND CHECK IN MY OFFICE.

WHAT WERE YOU DOING LAST NIGHT, GARY?

I WAS AT HOME.

WHY?

WE FOUND THIS NEAR A MAN WHO HAD BEEN BUTCHERED ALIVE.

ANY IDEAS?

YOU SURE YOU WERE AT HOME?

I SWEAR.

YOU SHOULD HAVE A LOOK AT THIS, THOUGH.

UH...

THIS ARRIVED A COUPLE OF DAYS AGO.

CAN WE SEE YOUR BACKSIDE?

WHAT THE ... ARE YOU TALKING ABOUT?

IF YOU DIDN'T GO TO THAT, YOU WON'T HAVE ANY BRANDING MARKS.

YOU NEED TO STOP PRODUCTION IMMEDIATELY.

THE DEADLIEST POISON IS ONE WITHOUT SICKNESS.

KARL: WE THINK THEY'RE TRYING TO TIGHTEN THE SCREWS ON US FINDING SABAN BY PUTTING HUMAN MEAT INTO THE FOOD CHAIN.

[WINNIE SCOFFS] RIGHT.

CALL THE LAB.

GET THE PIES TESTED FOR HUMAN DNA.

THIS TAKES PRIORITY OVER EVERYTHING.

I NEED GARY GREEN'S FACTORY SHUT DOWN.

I NEED TO BE SURE THERE ARE NO LINKS TO THE MEDIA.

AND I NEED A FULL LIST OF HIS CUSTOMERS.

DOES HE SUPPLY TO FRANCE?

YES.

HEY.

IT'S NOT HARMFUL.

CANNIBALISM IS AN IRRATIONAL TABOO.

ARE YOU ACTUALLY INSANE?

CAN YOU SPARE SOME OF YOUR TEAM?

BB: YES, BRILLIANT.

THANK YOU.

YOU WERE RIGHT ABOUT WESLEY POLLINGER.

THE SCOPOLAMINE TESTS CAME BACK POSITIVE.

KARL: IS THIS THE STUFF FROM LAWRENCE TAYLOR'S HARD DRIVE?

YEAH.

WE'RE TALKING HUNDREDS OF TROLLING VICTIMS.

LANA KHASANOVIC?

NO, THERE'S NO TRACE OF HER ANYWHERE.

IT DOESN'T MEAN SHE'S NOT THERE.

BUT IF SHE IS, SHE'S CONCEALED HER IDENTITY.

KARL: SOMEONE LAWRENCE TAYLOR TROLLED HATED HIM ENOUGH TO KILL HIM.

IT'S NOT LANA KHASANOVIC.

IT'S THE RAT MAN.

KEEP LOOKING.

BB: HANG ON.

IN BETTER NEWS, WE THINK WE FOUND THE POPE.

GOOD.

[KNOCKS] OH, CHRIST.

[SIGHS] [SIRENS IN DISTANCE] [P.A.

ANNOUNCEMENTS] MADAME.

MONSIEUR.

[MAN CHUCKLING] [GRUNTING] [COUGHS] [MUFFLED LAUGHTER] [CHEERS AND APPLAUSE] [KNOCKING] THIS IS WHERE YOU WENT, ISN'T IT?

I DON'T REMEMBER WHERE I WENT.

IT CERTAINLY WASN'T THERE.

WE JUST NEED YOUR HELP.

OUR OTHER LEAD JUST HANGED HIMSELF.

KARL: TELL US WHAT YOU DO REMEMBER.

WHOEVER DID THIS IS CAPABLE OF MUCH WORSE.

I HAVE A VAGUE RECOLLECTION OF LEAVING THE OFFICE, AND THEN I WOKE UP ON THE BEACH.

WHATEVER HAPPENED TO ME, IT LITERALLY WIPED MY MEMORY.

DO YOU HAVE ANY IDEA HOW ... TERRIFYING THAT IS?

YEAH.

POLLINGER: PLEASE.

I'M TELLING THE TRUTH.

[DOOR OPENS] I SWEAR.

I MIGHT BE GONE FOR A COUPLE OF NIGHTS.

WHY ARE YOU BEING SO CAGEY?

COME ON.

YOU KNOW NOTHING GETS PAST MY TWIN-TUITION.

HAS BLAKE TOLD YOU WHERE HE WAS LAST NIGHT?

WELL, HE WAS OUT WITH HIS MATES.

WHY ARE YOU ASKING ME?

CAN'T TRUST HIM, KIKI.

WHAT'S GOING ON?

I'M GOING OUT.

BYE, SIS.

LOVE YOU.

KIKI: LOVE YOU, TOO.

YOU DON'T THINK HE'S ACTING WEIRD?

HEY.

HEY.

IT'S OK.

IT'S NOT, THOUGH, IS IT?

SOMETHING'S HAPPENED TO HIM, AND I DON'T KNOW WHAT.

WOMAN ON TV: THE OLD PAIRS OF SHOES THEY FOUND IN...SHOP AND YOU COULD ONLY HAVE ONE, WHAT WOULD YOU PICK?

THE LOUBOUTINS, DEFINITELY.

YEAH, I LIKE... [LAUGHTER] I THOUGHT YOU WERE GOING TO THE MOVIES.

SHE WENT WITH LEO INSTEAD.

IT'S FINE.

YOU'RE HATING THIS, AREN'T YOU?

NO, NO, IT'S... YEAH.

LET'S WATCH A FILM INSTEAD.

YOUR CHOICE.

YEAH?

MM-HMM.

CELESTE?

[SIGHS] THIS IS GONNA BE LONG, SLOW, AND SUBTITLED.

YOU BETTER GET ME A TOP UP.

THERE'S ALWAYS A CONSOLATION.

HMM.

WHOA.

THIS FRIDGE IS SPOTLESS.

DID YOU SEE YOANA TODAY?

WAS SHE ON SPEED?

CELESTE: I FIRED HER.

KARL: YOU DID WHAT?

CELESTE: IT'S A WASTE OF MONEY WHEN I CAN DO A BETTER JOB.

ANYWAY, I DON'T TRUST THEM.

WHO'S "THEM"?

THEY'RE ALL ON THE TAKE, KARL.

[PHONE VIBRATING] IT'S ELISE.

TA.

BONJOUR.

BONSOIR.

WHAT, NOW?

[KNOCK ON DOOR] WHAT'S UP?

SCOPOLAMINE'S EASY TO FIND.

WESLEY'S OUR ONLY LEAD.

AND I'VE READ EVERYTHING I CAN FIND.

THERE'S NO CONSENSUS.

SOME PEOPLE SAY IT CREATES COMPLETE AMNESIA.

SOME SAY PARTIAL.

I THINK HE'S LYING TO US.

SO THIS IS THE ONLY WAY TO FIND OUT.

NO.

YOU DO THAT, YOU'RE ON YOUR OWN.

WELL, IT'S TOO LATE.

I'VE ALREADY TAKEN SOME.

I KNEW YOU'D TRY AND STOP ME.

I TOOK SOME THE MINUTE YOU BUZZED UP.

YOU DRAGGED ME AWAY FROM MY DAUGHTER SO YOU CAN EXPERIMENT WITH SCOPOLAMINE.

YOU'RE THE ONLY PERSON I TRUST.

NO.

THAT SHOULD DO IT.

OH, I'M NOT SCARED OF SPIDERS.

YEAH, THAT DOESN'T MATTER, DOES IT?

IT JUST MATTERS WHETHER YOU REMEMBER IT IN THE MORNING.

NO?

[CLOSES LAPTOP] OK.

UH... CAN YOU PLEASE SING "HAPPY BIRTHDAY"?

HAPPY BIRTHDAY TO YOU.

HAPPY BIRTHDAY TO YOU.

HAPPY BIRTHDAY, DEAR KARL.

HAPPY BIRTHDAY TO YOU.

IT'S NOT TODAY, IS IT?

NO.

I JUST THOUGHT I'D TAKE ADVANTAGE OF IT WHILE I COULD.

DON'T THINK THAT'S GONNA HAPPEN AGAIN.

WHY ARE YOU DOING SO MUCH ON THIS MOREAU CASE WHEN YOU'RE NOT SUPPOSED TO GO NEAR IT?

ELISE?

HELLO?

I'M NOT LIKE EVERYONE ELSE.

I KNOW THAT.

I KNOW THAT.

I ... UP RELATIONSHIPS.

I HURT PEOPLE.

BUT I DON'T ... UP AT WORK.

NO.

THERE'S A FLAW IN THAT CASE, AND I HAVE TO FIND IT.

ELISE, YOU'VE GOT TO UNDERSTAND.

THE WORK WE HAVE, KARL, IT'S ALL I'VE GOT.

IF I CAN'T FIX IT... WHAT'S LEFT FOR ME?

NOTHING.

EVERYBODY MAKES MISTAKES, ELISE.

HE'S LIVING IN SQUALOR, JACQUES MOREAU.

HE'S GOT ... ALL OVER HIS WALL.

SO I ASKED HIM TO COME STAY WITH ME, AND HE SAID NO.

OF COURSE HE SAID NO BECAUSE WHAT AM I DOING FOR HIM?

ELISE, YOU DON'T HAVE TO ATONE-- NO, I CAN RATIONALIZE EVERY FAILURE.

NOT WHAT I DID TO THAT FAMILY.

ALL I'M SAYING IS IT'S NOT YOUR RESPONSIBILITY TO TAKE CARE OF HIM.

WHY SHOULDN'T I?

YOU LOOK AFTER ME ALL THE TIME.

[SCOFFS] PFFT.

[LAUGHS] I'M GONNA GET YOU SOME WATER.

IT'S ALL RIGHT.

YOU ALL RIGHT?

ELISE?

DO YOU THINK THERE'S A SOUL?

IF ENERGY CAN'T BE...

DESTROYED, ONLY TRANSFERRED, THEN WHERE DOES IT GO?

'CAUSE LAWRENCE TAYLOR, HE WAS ALIVE, AND THEN HE WAS DEAD.

HERE.

HAVE SOME WATER.

I DIDN'T KNOW THAT AFFECTED YOU SO MUCH.

YOU SHOULD HAVE SAID.

YOU KNOW ME BETTER THAN THAT.

DRINK.

DO YOU WANT THE MUSIC ON?

DO YOU WANT THE LIGHTS ON?

YOU COLD?

[SEAGULLS CALLING] [KEYS JINGLING] OHH.

EAT.

WHY?

'CAUSE IT'LL MAKE YOU FEEL BETTER.

RIGHT.

LET'S GET THIS OVER WITH, AND THEN YOU CAN TELL ME THE FRENCH FOR "I TOLD YOU SO."

HOW DID YOU FEEL WHEN WE DISCOVERED LAWRENCE TAYLOR'S BODY?

I DON'T KNOW.

IT'S PART OF THE JOB.

MM-HMM.

DO YOU REMEMBER TALKING ABOUT HIM LAST NIGHT?

NO.

DID I SHOUT AT YOU?

I DID.

WHAT ABOUT THE SONG?

DO YOU REMEMBER SINGING A SONG?

UM...

UH, YEAH, I SANG A SONG.

DON'T REMEMBER WHAT SONG.

WHAT ABOUT THE VIDEO?

SPIDERS.

SPIDER.

A SPIDER.

AND THEN IT'S ALL DISTORTED, LIKE IN A DREAM.

I DO REMEMBER BITS, BEFORE AND AFTER I TOOK IT.

SO IT'S NOT A RETRO-AMNESIAC.

[SPEAKS FRENCH] PARDON?

THAT'S FRENCH FOR "I TOLD YOU SO."

HEH!

AND YOU THINK ONE OF THESE 5 MEN MIGHT BE THE OTHER HALF OF THE PIED PIPER?

WELL, THEY'RE ALL WITHIN OUR ZONE.

THEY'VE ALL GOT GOOD REASON TO WANT TO KILL THE DONUT NUT.

READING SOME OF HIS TROLLING, I MIGHT HAVE DONE IT MESELF.

BETTER BE NICE TO YOU, THEN.

AND DON'T YOU FORGET IT.

ALL RIGHT.

SHALL WE DO THIS?

YEAH.

SORRY IF I SAID THINGS I SHOULDN'T HAVE.

HOW MUCH FURTHER DOWN HERE?

I DON'T KNOW.

COME ON.

A MILE OR SO.

I KNOW I WAS A DICK TO YOU YESTERDAY.

HUH.

I WAS JUST SCARED.

I THOUGHT MAYBE IF I COULD GET A CRIME NUMBER-- WHAT'S THIS, CONFESSION?

[BIRDS CALLING] SOON AS I LOGGED ON, A CHAT WINDOW OPENED UP.

AND SHE KNEW STUFF ABOUT ME.

KARL: MM-HMM.

INTIMATE STUFF.

AND THEN YOU GOT HERE?

YES.

THERE WAS FIRE... AND MUSIC.

I DON'T REMEMBER ANY MORE.

WHY DID SHE CHOOSE ME?

KARL: WE THINK YOU MAY HAVE REFUSED HER LEGAL ADVICE AT SOME POINT.

WHAT DID SHE LOOK LIKE?

ELISE: KARL.

[FLIES BUZZING] OHH, JESUS.

KARL: WHAT HAPPENED HERE, WESLEY?

WE NEED A DESCRIPTION.

SHE WAS WHITE.

AVERAGE HEIGHT.

DARK HAIR, I THINK.

SHE WAS WEARING A GAS MASK.

CAN YOU TELL US EVERYTHING THAT HAPPENED HERE FROM THE BEGINNING?

THERE WAS SOME KIND OF DUST THAT CAME DOWN FROM THE CEILING.

THEN SHE TOLD US TO TAKE OUR CLOTHES OFF.

AND FOR SOME REASON, WE DID.

OHH.

AND SHE MADE US WATCH.

OH, JESUS.

DID SHE CUT HIM UP?

DID LANA KHASANOVIC BUTCHER A MAN ALIVE?

SHE DIDN'T DO THE CUTTING HERSELF.

A MAN DID IT.

MAN: ♪ WHAT EVER HAPPENED TO THE HEROES ♪ [RADIO TURNS OFF] LOUISE: THANK GOD FOR THAT.

BB: YOU DON'T LIKE MY TASTE IN MUSIC?

WELL, THAT'S A SHAME.

YOU MIGHT HAVE SEVERAL MORE HOURS OF IT YET.

ARE THERE ANY SONGS THAT YOU DON'T KNOW THE WORDS TO?

TELL YOU WHAT, I'LL BUY A COPY OF "JOE LE TAXI" AT THE NEXT SERVICE STATION.

OR THE BEST OF EDITH PIAF, MAYBE.

OH, YOU'RE REALLY UP TO DATE WITH YOUR FRENCH MUSIC, HUH?

SO WHICH ONE IS THIS?

THE DONUT NUT TRICKED HIM INTO THINKING HIS LONG LOST MUM WAS STILL ALIVE.

IT'S DONE HIM UP LIKE A KIPPER.

[DOORBELL BUZZES] KIPPER?

YOU ANTON STOKES?

NO.

HE'S NOT HERE.

WHAT'S YOUR NAME?

WHAT?

YOUR NAME.

AND COULD YOU TELL ME WHERE YOU WERE LAST NIGHT?

THEY MUST REALLY HATE YOU IF THEY MADE YOU THE KING.

I BET YOU'VE GOT A BIG RED BRANDING ON YOUR ARSE AND ALL.

NOTHING OUT THE BACK.

WHERE'S WESLEY?

HE WENT OUTSIDE TO VOMIT.

DON'T LOOK TOO GOOD YOURSELF.

SO SHE DRUGS THE PUNTERS WITH SCOPOLAMINE, THEN, WHOOSH, DROPS THE CURTAIN TO REVEAL SWEENEY TODD.

I'M GUESSING THAT'S USED TO HOLD THEM STILL WHILE SHE BRANDS THEIR ASSES.

WHAT'S THAT?

DON'T KNOW.

BUT THERE'S ANOTHER ONE HERE.

SOME SORT OF RESTRAINING THING?

DID THEY RESTRAIN LAWRENCE TAYLOR WITH IT?

YEAH, BUT WHAT IS IT USUALLY FOR?

GOOD QUESTION.

DO YOU KNOW SOMEONE CALLED LANA KHASANOVIC?

KNOW WHERE SHE LIVES?

NO.

THIS WAS AT THE FLESH SHOW.

DO YOU KNOW WHAT IT IS?

NO.

BB: THAT LOOKS LIKE A CARAVAN TETHER.

YEAH, MY UNCLE'S GOT ONE.

SPECIFIC TO CARAVANS?

YEAH.

YOU USE IT TO ANCHOR YOUR CARAVAN TO THE GROUND.

IT STOPS IT BLOWING OVER.

KARL: BB.

RIGHT.

UM...

SO THERE'S 4, 5 SITES.

BUT BETWEEN THE CATTLE BARN AND THE CAVES, THERE'S ONLY TWO, SO...

RIGHT.

WE'LL TAKE THE ONE BELOW THE RAILWAY.

YOU TAKE THE OTHER ONE.

OK. GOOD AFTERNOON.

[SEAGULLS CALLING] YOU GOT A LICENSE FOR THAT LOT, SOLDIER?

MAN: SHALL I FETCH THE PAPERWORK FOR YOU?

WE'RE LOOKING FOR SOMEONE CALLED LANA KHASANOVIC.

I THINK YOU MIGHT KNOW HER.

OF COURSE.

FOLLOW ME.

IT'S THAT ONE THERE.

ALL RIGHT.

YOU WAIT THERE.

WE'LL TAKE IT FROM HERE.

BOSS, GET YOURSELF DOWN HERE QUICK.

WE FOUND HER.

I'LL GO TO THE BACK.

[METAL OBJECTS CLANK] BB!

[HORN HONKS] YOU GO AROUND, SEE IF YOU CAN CUT HER OFF.

[PANTING] DID YOU FIND HIM?

DID YOU FIND MY BOY?

PUT THE GUN DOWN.

YOU DIDN'T, DID YOU?

JUST PUT THE GUN DOWN.

AND WE-- [GROANS] BUGGER.

[GASPING] PLEASE, PLEASE.

[GASPING] - I'M NOT SURE I'VE REALIZED THIS IS THE END, REALLY.

I THINK IT IS A FITTING END.

- IT'S THE MOST EXPLOSIVE OUTING YET, FOR KARL AND ELISE.

(DRAMATIC ORCHESTRAL MUSIC) - YOU'RE NOT EVEN GONNA SAY BONJOUR?

- BONJOUR.

- WHAT HAVE I DONE, I VOTED IN.

- SERIES THREE WE JOIN KARL AND ELISE SEPARATE, AGAIN.

IT'S BEEN A FEW MONTHS SINCE THEY LAST SAW EACH OTHER AND SINCE WE LAST SAW THEM.

- I'VE LEFT LAURA.

- WE PICK THEM UP WITH KARL IN A DIFFICULT PLACE AND ELISE IN A REALLY UNUSUAL PLACE FOR HER BECAUSE SHE HAS ALLOWED HER, SHE FEELS, HER PERSONAL LIFE TO AFFECT HER PROFESSIONAL LIFE.

- CONTROVERSIALLY NOBODY DIES IN EPISODE ONE, SO WE HAVE OTHER BIG SET PIECES, AND EXTRAORDINARY THINGS HAPPENING BUT NO ONE ACTUALLY DIES.

THAT CAME FROM EMILIA'S FEELING THAT SHE WANTED TO SHOW THAT THERE WERE OTHER WAYS OF DOING CRIME DRAMA, THAT IT DOESN'T HAVE TO BE ABOUT VIOLENT MURDER LEFT RIGHT AND CENTER.

- COULD WE DO A FIRST EPISODE OF THE TUNNEL THAT WAS BIG AND BAROQUE BUT DIDN'T HAVE ANY DEATHS?

AND WE DID, WE MANAGED TO PULL THAT OFF.

- EMILIA HAS THIS ABILITY TO COME UP WITH INCREDIBLY MACABRE AND BAROQUE IMAGES AND SORT OF MIX THEM INTO A SHOW THAT IS VERY CONTEMPORARY AND MODERN.

AND THE BEST EXAMPLE OF THAT IS PUTTING TENS OF THOUSANDS OF RATS INSIDE THE CHANNEL TUNNEL.

(FAST BREATHING) (SCREAMING) - WE HAD ONE DAY WHERE WE TRIED TO DO A CLOSE-UP WITH REAL RATS, AND THE REAL RATS WE NOW CALL THE CUDDLY RAT SHOT, BECAUSE IT'S COMPLETELY UNUSABLE, BECAUSE THE REAL RATS JUST TUCKED INTO HER BIG PADDED COAT AND CUDDLED UP TO HER AND LOOK ABSOLUTELY ADORABLE AND REFUSED TO RUN OVER HER.

- THEY'RE QUITE NICE CREATURES, THEY WERE INCREDIBLY CUDDLY.

AND THEY, MOST OF THE TIME, THEY WANTED TO GET INSIDE HER COAT RATHER THAN SCRAMBLE ACROSS HER IN A THREATENING MANNER.

SO THAT WAS GOING TO BE OUR LIVE RAT FOOTAGE, BUT IT BECAME, IT HAD TO BE VFX.

WE COULD TAKE DEAD RATS INTO THE TUNNEL, AND YOU'LL SEE THEM IN EPISODE ONE, AND IT WAS A VERY STRANGE PROCESS OF HAVING TO COUNT IN 200 DEAD RATS, AND THEN, YOU KNOW, TOP OF THE AGREEMENT FROM WONDERFUL JOHN KEEFE AT THE EUROTUNNEL, WAS THAT THOSE ALL HAD TO BE COUNTED OUT WITH HIM WITNESSING EVERY RAT THAT HAD BEEN TAKEN OUT OF THE BOX BEING PUT BACK IN.

BUT THEY'RE INCREDIBLY ACCOMMODATING.

- WORKING WITH THE EUROTUNNEL HAS BEEN NOTHING SHORT OF BRILLIANT.

THEY WERE NERVOUS ABOUT WORKING WITH US, IN THE BEGINNING.

BUT I WOULD SAY THE SHOW WOULDN'T BE THE SERIES IT IS WITHOUT THEIR INPUT.

JOHN AND HIS TEAM ARE, NOT JUST AMENABLE TO OUR FILMING DEMANDS, BUT HAVE ACTUALLY COME UP WITH ALTERNATIVE, CREATIVE SUGGESTIONS.

- IT'S A HUGE COMMERCIAL ENTERPRISE AND FOR THEM TO BE SO FLEXIBLE AND SAY, WE CAN DO, YOU KNOW, TAKING RATS, DEAD OR ALIVE INTO THAT SPACE IS A HUGE ASK AND TO FILM ON TRAINS, ON THE PLATFORM WHEN THEY HAVE TO RESPOND TO TRAINS BREAKING DOWN, PAYING PASSENGERS OBVIOUSLY NEED TO GET FROM A TO B, IT'S A MASSIVE ENTERPRISE.

- GOT A PHONE CALL FROM THE PRODUCERS, ASKING WHETHER EUROTUNNEL WOULD BE ABLE TO PROVIDE SOME TECHNICAL EXPERTISE IN BUILDING A SET FOR A SHOW THAT WAS ABOUT THE TUNNEL.

QUICKLY REALIZED THAT THEY WOULDN'T BE ABLE TO BUILD ANYTHING LIKE WHAT WE HAVE HERE, SO WE SUGGESTED THAT MAYBE THEY'D LIKE TO USE THE REAL TUNNELS, IT WAS A GREAT OPPORTUNITY TO SHOW PEOPLE, NOT JUST WHAT THE SERVICE IS, BUT ALSO A LOT OF THE BEHIND THE SCENES OF THE TUNNEL, SO THE UNDERGROUND PARTS, THE SERVICE TUNNEL ITSELF HAS BEEN FEATURED HEAVILY.

- ON THE DAY IN THE TUNNEL IS ALWAYS ITS OWN CHALLENGE, BECAUSE IT'S NOT A USUAL LOCATION TO BE FILMING IN, AND IT'S NOT A BUILD, IT'S A REAL LIVE LIVING LOCATION, SO THERE HAD TO BE A DEGREE OF FLEXIBILITY WITHIN THAT.

- PRETTY MUCH EVERYTHING'S BEEN A SURPRISE TO BE HONEST.

FROM THE FIRST SCRIPT I READ, WHERE THEY KIND OF HANDED IT TO ME A LITTLE BIT SHEEPISHLY AND SAID, WE'RE NOT SURE YOU'RE GONNA LIKE THIS, BUT IT WOULD BE A REALLY GOOD START.

WHICH ENDED UP WITH THE FILMING OF A DEAD BODY IN THE MIDDLE OF THE SERVICE TUNNEL.

I THINK FROM THAT POINT ONWARDS, WE KINDA KNEW WHAT WE WERE IN FOR, THAT WAS THE LEVEL THAT WE WERE WORKING TO.

AND IT'S CHALLENGED US ALL THE WAY.

- WE COULDN'T HAVE MANAGED WITHOUT THEIR INPUT AND HELP AND GUIDANCE.

- I LOVE SHOOTING THERE, I LOVE S SOTING IN THE TUNNEL, I LOVE SHOOTING IN THOSE TRAINS.

PEOPLE HERE HAVE BEEN SO WELCOMING SINCE THE BEGINNING.

(CALM PIANO MUSIC) - [NARRATOR] THIS PROGRAM IS AVAILABLE ON DVD.

TO ORDER, VISIT SHOP.PBS.ORG, OR CALL 1-800-PLAY-PBS.