Season 2 Episode 1 | 53m 51s | Video has closed captioning.
Join Elise and Karl as they investigate the abduction of a French couple from the Eurotunnel, leaving behind their traumatized daughter. Days later a passenger plane crashes into the Channel. Is it a coincidence or are the two events connected?
Aired: 06/15/17
Expired: 06/29/17
ANNOUNCER: THE FOLLOWING PROGRAM CONTAINS CONTENT WHICH MAY NOT BE SUITABLE FOR ALL AUDIENCES.
VIEWER DISCRETION IS ADVISED.
HERE YOU GO, SIR.
THANK YOU.
MAN: THANK YOU.
GET A LARGE CHIPS, PLEASE?
[DOG BARKS] [INDISTINCT CHATTER] GO GET THE BALL.
GET IT, TINKS.
GOOD BOY, TINKER.
COME ON, BABY.
TINKER.
TINK!
[WHISTLES] COME ON.
GOOD BOY.
WHAT HAVE YOU GOT?
GOOD BOY.
WHERE DID THAT COME FROM?
THAT'S A PASSPORT.
WHERE DID HE FIND THIS?
THERE'S MORE.
THERE'S LOADS OF THEM.
THERE'S ANOTHER ONE HERE.
NICK!
GUYS, LOOK WHAT I'VE FOUND.
WHAT?
WHAT?
WHAT IS IT?
I DON'T KNOW.
SOME SORT OF CROSS OR...
I DON'T KNOW.
COME ON.
WAIT!
STOP!
LOOK.
WHAT?
WHAT IS IT?
CAREFUL.
CAREFUL.
CAREFUL.
READ IT, ROB.
I DON'T UNDERSTAND.
OH, NEVER MIND, COME ON, LET'S GO.
BOYS: BET YOU CAN'T CATCH US!
[LAUGHS] ♪ 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 ♪ [SPEAKING FRENCH] [BEEPING] [GIRL LAUGHS, ALL SPEAKING FRENCH] [BEEPING] [CHLOE SCREAMS] [BEEPING] [CAR HORNS HONKING] YEAH, WE'VE GOT A VEHICLE FROM THE FRENCH SIDE SEEMINGLY ABANDONED.
NO SIGN OF ITS OCCUPANTS AND BLOCKING VEHICLE EGRESS.
[OVER RADIO] VW TIGUAN, REGISTRATION BQ703FX.
MAN: THANKS, CHARLIE.
I'LL NOTIFY SECURITY.
VW, BQ703FX.
THAT'S THE FOURNIER FAMILY.
SHOULD BE 3 PASSENGERS, TWO ADULTS, ONE CHILD.
CAN YOU JUST GET A TOW TRUCK DOWN HERE, PLEASE?
THE OTHER PASSENGERS ARE STARTING TO KICK OFF.
YEAH.
[CAR HORNS HONKING] [GROANS] [SIGHS] [MAN SPEAKING FRENCH] [CELL PHONE RINGS] [RING] [RING] KARL ROEBUCK, PUBLIC PROTECTION UNIT.
HELLO, KARL ROEBUCK, PUBLIC PROTECTION UNIT.
THIS IS A REAL POLICE OFFICER SPEAKING.
AH, VERY GOOD, BB.
WHAT'S UP?
I'M OUTSIDE YOUR GAFF.
JUST DROPPED OFF THE LITTLE GIRL FROM THE TUNNEL.
SHE'S IN A BAD WAY.
WHO'S LOOKING AFTER HER?
UH, DARK CURLY HAIR.
SHE'S NOT BAD.
YOU MIGHT.
THAT SOUNDS LIKE YOLANDA, FROM THE HAIR.
SHE'S GOOD.
CHIEF INSPECTOR SAID TO GIVE YOU A CALL TO MAKE SURE YOU WERE PART OF THE LOOP.
OH, DID HE NOW?
"GET THE GIRL OVER TO THE PPU AND MAKE SURE ROEBUCK'S PART OF THE ...
LOOP."
ALL RIGHT, WHAT'S THE GIRL'S NAME?
CHLOE FOURNIER.
SHE'S IN A REALLY BAD WAY.
SHE WON'T SAY A WORD AND SHE'S HOLDING ONTO HER TOY DOG FOR DEAR LIFE.
ALL RIGHT.
I'LL GET OVER THERE.
CHEERS.
SEE YOU LATER.
[EXHALES] [LAUGHS] I NOW PRONOUNCE YOU MAN AND WIFE.
YOU MAY KISS THE BRIDE.
[CAR DOOR OPENS] GREAT.
THANKS.
CONGRATULATIONS.
YOU MAY NOW KISS THE EUROPEAN UNION.
[CAR DOOR CLOSES] [WHISTLES] [LOCK TURNING] HEY.
[DOOR RATTLES] HEY!
WHERE'S MY PASSPORT?
WHERE'S THE MONEY YOU PROMISED?
[MAN SPEAKS INDISTINCTLY THROUGH EARPHONES] MM-HMM.
THAT PROBLEM'S DEALT WITH.
HE'S ON THE FLIGHT.
I TOOK CARE OF ALL THE ARRANGEMENTS MYSELF.
MM-MMM.
[PHONE BEEPS] THE GROOM IS SATISFIED.
TIME FOR THE WEDDING VIDEO.
YOU GOT A HONEYMOON DESTINATION?
MALDIVES.
YOU SURE?
IT'S WHAT THE CLIENT WANTS.
DON'T KNOW HOW ANYBODY COULD GET A KICK OUT OF THIS, THAT'S ALL.
WHO CARES AS LONG AS WE GET PAID FOR IT?
YOU JUST WORRY ABOUT MORE BRIDES.
TICKET FOR THE FLIGHT TO PARIS.
[DOOR OPENS] HEY.
YOU.
ON THE BED.
[DOOR CLOSES] PLEASE.
DON'T HURT ME.
STOP!
NO!
NO!
[KARL CLICKING TONGUE] OH, I KNOW.
THIS WOULD BE A VERY GOOD OPPORTUNITY FOR ME TO PRACTICE MY FRENCH.
C'EST UN CHAT.
WOOF, WOOF, WOOF!
WOOF, WOOF!
AH!
OH!
CE N'EST PAS UN ELEPHANT.
BRRRING, BRRRING, BRRRING.
HELLO?
JE M'APPELLE KARL.
JE TRAVAILLE DANS LE WINNIE THE POOH SUITE.
WOULD YOU SAY WINNIE THE POOH IN FRENCH?
ON DIT WINNIE THE POOH EN FRANCAIS?
EXCUSE-MOI.
KARL ROEBUCK.
LOUISE RENARD.
AND YOU ARE?
HAS SHE SPOKEN YET?
NO.
BONJOUR.
MAYBE DON'T CROWD HER.
SHE'S IN DEEP SHOCK.
WELL, HE'S NOT CALLED WINNIE THE POOH IN FRENCH.
NO, I THOUGHT PERHAPS HE WASN'T.
I'M GUESSING IT'S NOT WINNIE LE ...
EITHER.
NO, WINNIE L'OURSON.
WINNIE THE BEAR.
PIGLET?
UH, PORCINET.
SOUNDS LIKE ONE OF THE MUSKETEERS.
SO THIS IS YOUR DEPARTMENT NOW?
YEAH.
YEAH, WE DEAL MAINLY WITH IMMIGRATION ISSUES, DOMESTIC ABUSE, SEXUAL VIOLENCE.
WINNIE THE OURS, UH... L'OURSON.
OURSON SUITE FOR KIDS.
THIS IS CERTAINLY AN UNUSUAL ONE.
BUT YOU'RE NOT INVESTIGATING IT?
NO.
I'M JUST DEALING WITH THE CHILD'S WELFARE.
I'LL TAKE YOU THROUGH TO C.I.D.
AS SOON AS LOUISE FAILS TO ESTABLISH COMMUNICATION.
CHLOE?
[APPROACHING FOOTSTEPS] ONLY ACT.
NO!
NO!
NO!
ALWAYS REMEMBER THAT.
HURRY UP, WE HAVE A LOT OF WORK TO DO.
CALL THE POLICE!
BONJOUR.
"LADIES AND GENTLEMEN, CAMPAIGNING FOR JUSTICE AND HUMAN RIGHTS HAS BROUGHT ME"-- MANY BEAUTIFUL FRIENDS.
AND A FEW BODYGUARDS.
[CHUCKLES] [SHIP HORN BLOWS] [SEAGULLS CRY] KARL: LET THE PSYCHOLOGIST DO HER EVALUATION AND TRY AGAIN LATER, LOUISE.
YOU SAID YOU WERE GOING TO LEAVE THE POLICE.
YEAH, WELL, NOT SO EASY WITH 6 KIDS.
I THOUGHT YOU DIDN'T WANT OLIVIER'S JOB.
I DIDN'T.
BUT THE OTHER GUY WHO COULD HAVE REPLACED HIM HATES ME.
POOR JUDGMENT.
YEAH, I THINK SO, TOO.
IT HAS QUITE A RING TO IT-- COMMANDER WASSERMAN.
SO WHAT ARE YOU DOING HERE THEN, COMMANDER?
AFRAID TO DELEGATE?
[DISTANT SIRENS] [TELEPHONE RINGS] AH, BB.
ELISE WASSERMAN AND LOUISE RENARD FROM THE CALAIS POLICE.
ENCHANTE.
DC BOLESLAW BOROWSKI, MORE COMMONLY KNOWN AS BB.
HELLO.
BB: OR JAMMY.
WHY?
JAM ROLL EQUALS POLE, WHICH I AM ORIGINALLY.
UH, IT'S RHYMING SLANG.
DOG AND BONE EQUALS PHONE.
BOAT, THAT'S YOUR FACE.
BOAT DOESN'T RHYME WITH FACE.
BOAT RACE.
YOU JUST SAY THE FIRST WORD THAT DOESN'T RHYME.
WOULD YOU LIKE SOME COFFEE?
OH, THANKS, KARL.
WHITE NO SUGAR FOR ME.
BLACK, RIGHT?
AND?
RIGHT.
THIS IS FOR YOU.
THANK YOU.
[INDISTINCT RADIO CHATTER] IT'S LIKE THEY VANISHED INTO THIN AIR.
CALL ROEBUCK FOR ME.
YOU KNOW, A LITTLE BIRD TELLS ME YOU MIGHT BE COMING BACK TO C.I.D., KARL.
YOU'LL BE THE LAST TO KNOW, BB.
[CELL PHONE RINGS] [RING] [RING] YES, NAT.
WHAT'S HAPPENING?
BB: WHY ARE YOU TELLING ME?
OK. YEAH.
OK. NOW.
CHECK WITH EUROTUNNEL, SEE IF IT'S ONE OF THE VEHICLES STILL UNACCOUNTED FOR.
RIGHT, WELL, I'LL LEAVE YOU WITH BB.
WE'VE GOT A BURNED-OUT VAN JUST OFF THE GRAYLING ROAD.
SIGNS OF A SHOOTING.
COME ON, WE'LL GO IN MY CAR.
YOU KNOW WHERE WE ARE.
COME AND SEE US.
SO, 6 MONTHS OFF WORK COMPASSIONATE.
I IMAGINE THAT WAS NO PICNIC.
NOT REALLY.
6 MONTHS HANDING OUT HANKIES IN THE PPU.
YEAH, WELL, IT'S A BIT MORE THAN THAT.
I'M NOT GONNA DENIGRATE THE DEPARTMENT.
YES, YES, VERY COMMENDABLE, THREE CHEERS FOR THEM.
SO, HAVE YOU THOUGHT ANY MORE ABOUT?
I'VE THOUGHT ABOUT IT.
YOU'RE AN INVESTIGATOR, KARL.
ALWAYS HAVE BEEN, ALWAYS WILL BE.
I'D LIKE YOU TO TAKE ON THIS FOURNIER CASE.
IT'S RIGHT UP YOUR BOULEVARD.
YOU ON THE HAPPY PILLS?
NO, I THINK THEIR EFFECT IS MORE PLACEBO.
YOU'RE A CLEVER ..., ROEBUCK.
THANK YOU.
IT'S WHAT YOU'RE KNOWN AS.
NOT ALWAYS IN A GOOD WAY.
WELL, CAN'T PLEASE EVERYBODY, I GUESS.
LUCKILY FOR YOU, I DO LIKE A CLEVER ...
ALWAYS HAVE DONE.
YOU'RE HALFWAY THERE YOURSELF, SIR.
COME BACK TO C.I.D., KARL.
IT'S WHERE YOU BELONG.
[SIRENS WAIL] BB: THE VAN WAS ON THE SAME TRAIN AS THE FOURNIERS.
THERE'S TWO BULLET CASINGS.
SUGGESTS EITHER A PROFESSIONAL EXECUTION OR-- TWO VICTIMS.
WE'RE HAVING THE BLOOD ANALYZED, THEN WE'LL GET IT CROSSCHECKED TO DNA FROM THE VEHICLE.
WHAT TYPE OF GUN WAS IT?
STILL NOT SURE.
BUT THE BALLISTICS GUYS SAY IT'S UNUSUAL.
POSSIBLY A NORINCO 77.
CHINESE.
YOU KNOW YOUR WEAPONRY.
I'M NOT SAYING THAT 'CAUSE YOU'RE A WOMAN OR ANYTHING.
I DIDN'T THINK YOU WERE.
I'LL KEEP YOU UPDATED.
[ELISE SPEAKING FRENCH] [LOCKS CLICK] [DOOR OPENS] [WHIMPERING] [GROANING] [SCREAMING] SSH!
SSH!
SSH!
[MUFFLED SCREAMS] I'M SORRY.
I'M SORRY.
HERE.
LEAVE TONIGHT WHEN THEY'RE SLEEPING, YES?
LEAVE, BECAUSE THEY'RE GOING TO KILL YOU.
WAIT.
PLEASE TAKE THIS.
GOD BLESS YOU.
I'M MISSING A TRAINING COURSE.
OH.
DEVELOPING MANAGERIAL AND LEADERSHIP EXCELLENCE.
TOMORROW WE WERE SUPPOSED TO BE TESTED FOR OUR PERSONALITY TYPES.
ENFJ, I'D SAY.
A GIVER.
FUN-LOVING, POPULAR, AND SENSITIVE.
OUTSTANDING PEOPLE SKILLS.
OK, YOU'RE TEASING ME NOW.
YES, I SUPPOSE I AM.
I'D PAY GOOD MONEY TO SEE THAT TEST, THOUGH.
SO WE HAVE ROAST CHICKEN.
HOPE THAT'S OK.
I THOUGHT YOU ALWAYS COOKED VEGETARIAN.
ADAM WAS THE VEGETARIAN.
WE JUST TENDED TO COOK THAT WAY.
YES.
I'M SORRY.
DON'T BE.
DO YOU WANT TO GO AND SEE THE TWINS BEFORE DINNER?
ONLY IF YOU WANT ME TO.
I DON'T FIND LOOKING AT BABIES PARTICULARLY INTERESTING.
[CHUCKLES] [INDISTINCT CHATTER] [TELEVISION PLAYING INDISTINCTLY] MAN ON TV: HEY, MAN, YOU'RE NOT GONNA KILL ME, ARE YOU?
SECOND MAN: NO, HE'S NOT.
LOOK, THE GUY'S A SCUMBAG FOR SURE, BUT HE DOESN'T DESERVE TO DIE.
[BREATHING HEAVILY] [MEN CONTINUE SPEAKING ON TELEVISION] [DOOR KNOB RATTLES] [BABY CRYING, KARL HUMMING] ELISE: KARL SEEMS TO BE SETTLED IN HIS NEW JOB.
LAURA: IT WAS OK FOR THE FIRST MONTH AFTER ADAM'S DEATH, BUT HE'S GETTING RESTLESS NOW.
MISSING THE INVESTIGATING.
I'LL WASH UP.
THIS IS HOW WE DO THINGS WHEN I EAT WITH MY BOYFRIEND.
HMM.
SORRY, I DIDN'T MEAN TO BE RUDE.
I JUST DIDN'T THINK YOU WERE THE BOYFRIEND TYPE.
I'M TRYING IT OUT.
AND?
SOMETIMES HE TALKS WHEN I DON'T WANT HIM TO.
YEAH.
YEAH, THEY DO THAT.
YOU'RE TIRED.
WELL, YOU KNOW, KIDS, TWIN BABIES, HOUSEWORK.
IT'S...
THE TWINS MUST BE TAKING A BIT OF TIME TO SETTLE.
I'LL DO THE WASHING UP.
YOU TAKE KARL'S DRINK UP TO HIM.
GO ON, GIVE THEM A WAVE AT LEAST.
KARL?
KARL: ELISE?
I WAS LOOKING FOR YOU.
I BROUGHT YOU YOUR DRINK.
THANKS.
SO YOU SLEEP IN ADAM'S ROOM.
I WAS GONNA DO ALL THAT STUFF, REMEMBER?
EXPOSE PELOTON.
AND I JUST, UH... YOU WENT BACK TO WORK INSTEAD.
YEAH.
I WENT BACK TO WORK.
CHLOE'S MOTHER, MADELEINE, SHE WORKS FOR THE FRENCH GOVERNMENT.
SHE MAINLY DEALS WITH CYBER CRIME FROM THE FAR EAST.
IT'S WHY OLIVIER SENT ME HERE.
AH.
HE NOW RUNS THE ANTI-TERROR BUREAU IN PARIS.
BB DOESN'T KNOW THIS.
NO, I'M ONLY TELLING YOU FOR NOW.
SO YOU THINK MADELINE FOURNIER COULD HAVE BEEN ABDUCTED.
WHAT ABOUT THE HUSBAND?
THERE WERE TWO BULLET CASINGS AT THE SCENE.
APPARENTLY FROM A CHINESE GUN.
IF IT WAS A HIT, WHY SPARE THE CHILD?
THEY'RE NOT SENTIMENTAL AT THAT LEVEL.
THAT'S TRUE.
WHAT DOES THE HUSBAND DO?
HE'S A BUSINESSMAN IN COMPUTER SOFTWARE.
WHAT SORT?
ADVANCED GPS DEVICES FOR LARGE TRANSPORT FLEETS.
BOTH TECHIES, EH?
THEY WEREN'T JUST ANY COUPLE.
HMM.
LAURA MISSES ADAM ALSO.
SHE APPEARS TO BE TIRED AND UNHAPPY.
WELL, SAY IT LIKE IT IS, ELISE.
[APPLAUSE] MAN: THANK YOU, LADIES AND GENTLEMEN.
WE ARE HERE TO HONOR JUDGE PAUL GRESSON, A MAN WHO'S MADE IT HIS LIFE'S WORK TO CAMPAIGN FOR JUSTICE ON THE INTERNATIONAL STAGE.
HE HAS TACKLED TYRANTS, CRIMINALS, ROGUE STATES, DRUG BARONS, AND I'M VERY PROUD ON BEHALF OF OUR UNIVERSITY TO AWARD HIM THIS DOCTORATE IN RECOGNITION OF HIS HUMAN RIGHTS WORK.
[APPLAUSE] BRESSON: THANK YOU.
THIS IS AN HONOR.
CAMPAIGNING FOR JUSTICE AND HUMAN RIGHTS BRINGS MANY BEAUTIFUL FRIENDS.
AND A FEW BODYGUARDS, OF COURSE.
[LAUGHTER] THANK YOU.
[INDISTINCT PA ANNOUNCEMENTS] HELLO.
HI.
THANK YOU.
ANY LUGGAGE TO CHECK IN, SIR?
NO.
YOU, MADAM?
NO.
JUST-- AND YOUR PASSPORT?
IT'S WITH HIS.
THERE'S ONLY ONE PASSPORT.
I'M SORRY, BUT THERE'S REALLY NOT MUCH TIME LEFT FOR CHECK-IN.
YOU REALLY MUST DECIDE NOW.
TICKET AGENT: HELLO.
THAT'S LOVELY, THANK YOU.
THANK YOU.
DID YOU SEE GAVIN BOUGHT THE WHITE EVOQUE IN THE END?
DON'T MIND THE EVOQUE.
YEAH, BUT WHITE, THOUGH.
JASON, CAN WE GET A COUPLE OF COFFEES UP HERE WHEN YOU'VE GOT A MINUTE?
OF COURSE, CAPTAIN.
THANK YOU.
[INDISTINCT CHATTER] GOOD MORNING.
GOOD MORNING, LADIES AND GENTLEMEN, THIS IS YOUR CAPTAIN PAUL SPENCER SPEAKING.
WELCOME ABOARD THIS CITY DART FLIGHT TO PARIS.
FLYING THE AIRCRAFT TODAY WILL BE MY COLLEAGUE STUART DONALDSON.
WE'RE JUST A LITTLE BIT BEHIND SCHEDULE, WAITING FOR A COUPLE OF STRAGGLERS.
AS SOON AS THEY'RE ON BOARD, WE'LL PUSH BACK FROM THE STAND.
AND PLEASE DON'T GIVE THEM TOO MANY ANGRY LOOKS FOR MAKING US LATE.
THEY ARE, IN FACT, HONEYMOONERS.
LOVE IS IN THE AIR.
OR AT LEAST IT WILL BE SHORTLY.
THANK YOU VERY MUCH.
LET'S DO IT.
[PASSENGERS CLAP] SO SORRY.
MAN: CONGRATULATIONS.
CONGRATULATIONS.
OK?
ENJOY.
THANK YOU.
CHEERS.
I CAN'T BELIEVE WE MADE IT.
5-MINUTE FLIGHT DELAY, BUT THEY'RE IN THE AIR.
LADIES AND GENTLEMEN, THIS IS YOUR CAPTAIN AGAIN.
VERY SORRY FOR THE DELAY, BUT NOT TO WORRY, THE WIND IS RIGHT BEHIND US, SO WE SHOULD HAVE YOU IN PARIS ON TIME.
SAY WHAT YOU LIKE ABOUT FARAGE, THOUGH, HE HAS A POINT.
THEY'RE BUILDING ON GREEN-FIELD SITES NEXT TO SASKIA'S SCHOOL BECAUSE WE'VE RUN OUT OF HOUSES.
WE'RE A SMALL ISLAND, WE'RE FULL UP.
I'VE LOST SPEED.
WHAT?
I...DON'T HAVE A SPEED READING ANYMORE.
WHAT'S THAT VIBRATION?
THAT'S THE AUTO-PILOT.
WHAT'S IT DOING?
YOU'D BETTER PASS ME CONTROL.
[PASSENGERS GASP] [ENGINES ROAR] WE'RE CLIMBING, CAPTAIN.
I KNOW WE'RE BLOODY WELL CLIMBING.
PUT HER IN A DIVE.
WE NEED TO REGAIN SPEED.
I KNOW THE ...
STALL PROCEDURE, STUART.
IT WON'T... KEEP PUSHING FORWARD!
DISENGAGE AUTOPILOT AND AUTO-THROTTLE.
AUTOPILOT, AUTO-THROTTLE DISENGAGED.
SYMMETRIC THRUST.
VERIFY.
BOTH ENGINES LOOKING GOOD, THROTTLES ARE TOGETHER, TOO.
[BEEPS FROM INSTRUMENT PANEL] [ENGINES QUIET] OK. [EXHALES] OK, WE'RE BACK IN CONTROL OF THE PLANE.
WHAT THE HELL JUST HAPPENED?
WHY IS IT STILL VIBRATING?
I DON'T KNOW.
SHALL WE DIVERT?
UH, YES.
WE SHOULD DIVERT TO, UH, LE TOUQUET OR BACK TO ASHFORD?
ASHFORD'S PROBABLY NEARER.
WELL DONE, PAUL.
THAT HAS NEVER HAPPENED BEFORE.
THIS IS CDT718.
WE URGENTLY NEED PERMISSION TO DIVERT TO ASHFORD.
LADIES AND GENTLEMEN, THIS IS YOUR CAPTAIN.
YOU MAY HAVE NOTICED THINGS ARE A BIT BUMPY AT THE MOMENT.
APOLOGIES FOR THAT.
WE'RE EXPERIENCING SOME MINOR TECHNICAL DIFFICULTIES.
WOMAN ON RADIO: CDT718, WE HAVE A BLOCK FOR YOU AT ASHFORD.
ANYBODY ELSE UP THERE GOT A VISUAL ON CDT718?
MAN ON RADIO: YEAH, CONTROL, THIS IS MKZ79.
WE SEE HIM.
THAT WAS SOME CRAZY STUFF HE WENT INTO THERE.
IT LOOKS LIKE HE'S BACK IN CONTROL.
WOMAN: OK, CDT718, YOU NEED TO MAINTAIN HEIGHT NOW.
CAPTAIN: SOLELY AS A PRECAUTION, I HAVE REQUESTED-- OH, NO.
NO, NO.
IT'S HAPPENING AGAIN.
WHAT THE ... IS GOING ON?
WE'RE CLIMBING.
PUT OUT A MAYDAY.
WE'RE LOSING SPEED.
DO SOMETHING.
[PASSENGERS GASP] KEEP PUSHING FORWARD WITH ME.
CAN YOU REACH THE MANUAL TRIM?
I CAN'T CONTROL IT!
MAYDAY!
MAYDAY!
MAYDAY.
CDT718.
WE'VE LOST CONTROL OF OUR INSTRUMENTS.
IT'S LIKE SOMEBODY ELSE IS FLYING THE PLANE.
NO, NO, NO, THIS CAN'T BE.
WE'RE GONNA REACH COFFIN CORNER.
OH, NO!
[GROANS] HOLD ON, HOLD ON.
[PASSENGERS SCREAMING] WE'VE STOPPED CLIMBING.
ARE WE GOING UP OR ARE WE GOING DOWN?
WE'RE GOING DOWN.
CAPTAIN: STUART, DON'T LET IT ROLL!
WE'RE REALLY GOING SO FAST.
FOR GOD SAKES.
DAD, SOMETHING JUST FELL OUT OF THE SKY INTO THE SEA.
MAYBE IT WAS A SHOOTING STAR.
WOMAN ON RADIO: WHAT'S HAPPENING, MKZ79?
DO YOU STILL HAVE A VISUAL ON CDT718?
MAN ON RADIO: CONTROL, THIS IS MKZ79.
HE'S HIT THE WATER, HARD.
THEY'RE GONE.
CALL COASTGUARD EMERGENCY RESCUE AND RECOVERY.
PLANE DOWN.
BEARING... SECOND MAN: RESCUE 512, ROGER.
REQUEST WEATHER CONDITIONS ON SCENE.
THIRD MAN: ROGER.
WEATHER IS WIND 220 AT 15 KNOTS.
VISIBILITY 8 MILES.
REQUEST YOU COMMENCE SEARCH OF IMMEDIATE AREA FOR SURVIVORS.
WE WILL UPDATE SEARCH AND RESCUE.
UK COASTGUARD RESCUE 512, LOCATED DEBRIS IN THE WATER.
RESCUE 512, ROGER.
DOES IT LOOK LIKE AIRCRAFT?
UK COAST CAN CONFIRM LOOKS LIKE AIRCRAFT.
RESCUE 512, ROGER.
RESCUE 120, PROCEED TO SCENE TO INVESTIGATE... WOMAN: THE TIDE'S DISPERSING THE DEBRIS FAST ALONG THE COAST.
THE WEATHER'S WORSENING TOO, SO WE NEED TO GET A SHIFT ON HERE.
[HELICOPTER APPROACHING] TERRORISM?
WE DON'T KNOW YET.
THE PILOTS REQUESTED A DIVERT WHICH WOULD SUGGEST IT'S NOT.
WHAT'S HE UP TO?
OI.
UHH!
GET OFF ME!
THAT HURTS.
WHAT WERE YOU DOING, EH?
WERE YOU MAKING A LITTLE FILM?
KARL, LET HIM GO.
WHAT ARE YOU, SOME KIND OF PAPARAZZI, ARE YOU?
YOU GONNA PUT IT ON LUCKY LEAKS?
KARL, LET HIM GO!
JUST GIVE EVERYONE A GOOD LAUGH, EH?
DO YOU WANT TO SEE WHAT IT'S LIKE TO BE A BODY IN THE WATER?
I'LL SHOW YOU WHAT IT'S ... LIKE TO BE A BODY IN THE ... WATER!
KARL, STOP IT!
... OFF, YOU PIECE OF ...!
KARL, YOU NEED TO STOP IT!
YOU ...
PIECE OF ...!
YOU'LL LOSE YOUR JOB.
[MAN GASPING] THAT BEAUTIFUL BOY.
IT'S SUCH A WASTE.
WE DON'T NEED THE SOUTH EUROPEAN GIRLS ANY LONGER, THEY'RE TOO EXPENSIVE.
IT'S CHEAPER TO USE THE CALAIS SUPPLY ROUTE AND PROVIDE THE PASSPORTS OURSELVES.
I'LL CALL YOU LATER.
SO, IT IS DONE.
YES, WE SAW.
EVERYTHING YOU NEED IS IN THERE.
SEND MY GREETINGS TO KOBA.
TELL HIM, UH, WE'RE JUST GETTING STARTED.
[GASPS] [TOY DOG SQUEAKING] [SQUEAKING STOPS] - One of the things that attracted me to the script, the first episode, was that it had this fantastic plane crash sequence.
The way that Ben had written it was played just as much off the passengers as it was off the pilots, who were wrestling with this machine as it was going down.
- Visualizing the plane crash has always been quite tricky.
You can throw a lot of money in and have a whole lot of effects and all of these things, but in the end, you know, it's the drama that sells it.
- I think there are two ways the plane was really important.
The first way is that it felt like a new way of integrating that idea of the midpoint and the border into the action of the story, but also the debris of a plane crash being full of stories.
- Who is on the plane, what's in that suitcase, what does that tell us, so it gives you plot way beyond the actual crash itself.
- There were three elements that we used to try and make the sequence be as gripping and thrilling and also believable as it possibly could be.
The first was that we got a real plane on the tarmac.
Having a real plane and being able to shoot from inside the cockpit, down to the tarmac and do the reverse, solidified the idea in the audiences mind that we are using a plane.
- We went to a real plane in Stansted, and we filmed passengers getting on, and we filmed the pilots talking to each other.
At that point you will cut to the passengers going onto our controllable cabin.
We can affect and do everything, because obviously in Stansted you can't touch any exterior of a plane or move it or anything like that.
- Element number two was the fuselage.
We thought originally that it would be a good idea of buying a fuselage, filming that sequence in the fuselage, and then tearing it to pieces to reassemble it.
However, there was a great company that we found who have a purpose built, ready to go, fuselage.
We wanted to make it obviously look as dynamic as it possibly could, because we were going to be using it during the crash sequence.
- We have to sort of simulate the sense of flight movement.
We're doing that by putting lights on cranes, so we see light moving in and out of the window.
- I had the sun moving and the cabin static, and that would alternate between what was actually happening inside the aircraft.
So if the aircraft is pulling up, the light would go down and you would see the effects through the cabin, you would see the light move over the faces and vice versa.
That's another big effect that we used today is the image shaker which is on the camera, and that is to recreate the actual shake of a cabin.
- [Captain Voiceover] You may have noticed things are a bit bumpy at the moment, apologies for that.
- You basically create another lens in front of your lens, which then you can shake and rotate electronically and that plus performance recreates a shaking cabin.
- The third element was the cockpit, obviously, and that's where most of the action takes place.
That was probably the hardest element.
We had to find a cockpit, we looked again we looked at building one, but they are obviously very difficult builds, very expensive builds.
What we managed to find after an exhaustive search was a company who had a flight simulator cockpit.
The next thing that we needed to do was to find images to put in front of it.
We went to have it filmed with an aerial photographer.
He went out and took his plane out over the sea.
That gave us the footage that we could then play back on the day, rather than having to use green screen to do it all in post which is obviously a lot more expensive.
- The huge big Xenon projectors, and we have another one on the crane, which is simulating the sun, so again we get that sort of movement of light.
- One of the most complex elements in the scene was how we would cue off of the visuals.
Because ordinarily, with a flight simulator, you pull back on the stick and the outside moves.
But because this was being shot with real footage, it was really quite difficult because there were all sorts of things the control columns needed to do, that they wouldn't do in reality being pulled out of one of the pilot's hands, et cetera.
Rather unusually, we would have to fly the sequence real time.
It was the only way we could coordinate it.
- The result that we found, as well as that it was truly scary for the pilots, they were really fighting as the controls were forcing it to go down in the sea.
So I think that's why we managed to, above and beyond the fact that we cast some great actors, they managed to give great performances.
- On a practical level, there are times when I wish there wasn't a plane because it took so much logistical attention, both in terms of how we realized a plane crashed in an interesting and exciting way, and how we absolutely held onto the fact that this isn't just a great big splashy, gratuitous, disaster piece.
This is about the human impact of killing that many people.
- This program is available on Blu-ray and DVD.
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