Episode 1

[BELL RINGING IN DISTANCE] [BREATHING HEAVILY] [MEN SPEAKING INDISTINCTLY] [MAN GROANING] [BREATHING HEAVILY] 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 [SEAGULLS CALLING] [SHIP HORN BLOWS] YOU ALL RIGHT?

YEAH.

THE BOAT'S REGISTERED TO A FRENCH FISHERMAN.

HERE.

IT'S A MESS, ISN'T IT?

[PRONOUNCES DEZ-PREZ] ERIC DESPREZ.

[PRONOUNCES DEH-PRAY] I EXPECT MONSIEUR DESPREZ HAD ENOUGH OF THE QUOTAS AND FANCIED THE INSURANCE, NO?

I'M SURE THAT WHAT'S-HIS-FACE IS SAFELY TUCKED UP IN BED.

THE BOAT WAS STOLEN YESTERDAY.

SO?

IF IT HADN'T BEEN FOR AN ANONYMOUS THREE 9S CALL, THERE'D BE NOTHING LEFT OF THE BOAT.

SO WHY WOULD SOMEONE DO THAT?

NICK A BOAT AND THEN... [SNAPS FINGERS] TORCH IT IN THE MIDDLE OF THE ENGLISH CHANNEL AND THEN PHONE IT IN.

A TOY CAR.

WHY AREN'T FORENSICS HERE?

YOU'LL HAVE TO ASK THE GUV'NOR.

THE BOAT'S GOING BACK TO FRANCE LATER TODAY.

[THUDDING] BOY, THE THING'S HEAVY.

KARL: IT'S ALL RIGHT.

[MAN GROANING] BRING HIM UP.

THERE WE GO.

AND LET'S GET THIS OFF.

[DUCT TAPE RIPPING] CHRIST ALIVE.

SOMEONE'S CUT OUT HIS TONGUE.

[WOMAN AND CHILDREN LAUGHING] WOMAN: I'M GONNA GET YOU.

[GIRL SQUEALS] FIRST ONE TO FIND A PERFECT SHELL FOR DADDY!

GO!

[GIRLS CHUCKLE] GO ON.

IS THEO PLAYING?

THEO'S TRYING TO READ.

GO ON.

OFF YOU GO.

I CAN SEE ONE!

I CAN SEE ONE!

I CAN FIND ONE.

I CAN FIND ONE.

THERE'S ONE!

BOO!

AAH!

MOM!

I'M GOING TO GET YOU!

I'M GOING TO GET YOU!

HA HA!

MOTHER: WHAT ARE YOU TWO... WHERE DID YOU GET THAT?

TAKE THAT OFF.

TAKE THAT OFF.

[CHUCKLING] WHERE DID YOU FIND THAT?

OVER THERE.

YOU CAN'T KEEP THAT, DARLING.

COME ON.

WHAT'S YOUR NAME?

YOU UNDERSTAND?

YOU'RE NOT IN TROUBLE FOR GETTING ON THE BOAT.

I JUST WANT TO FIND WHOEVER IT IS THAT HURT YOU.

WHAT HAPPENED TO THE CHILDREN?

BOSS.

ALL RIGHT.

YOU HEARD OF KNOCKING?

JUST WAIT.

I DON'T THINK WE'RE GETTING ANYTHING OUT OF HIM.

HE'S TERRIFIED.

YEAH?

KARL: YEAH.

WELL, HE SHOULD BE.

INTERPOL FOUND A MATCH ON HIS FINGERPRINTS.

HE'S WANTED IN FRANCE.

HE'S NOT A MIGRANT.

HE'S A TRAFFICKER.

KARL: YEAH, BUT THERE WERE CHILDREN ON BOARD.

YOU'VE GOT NO PROOF OF THAT.

THERE'S A TOY, AND THERE'S A CHILD'S SHOE.

I DON'T THINK A KNOWN TRAFFICKER WOULD MAKE THAT TRIP WITHOUT SOME SORT OF CARGO.

HE'S CALAIS' PROBLEM, NOT OURS.

EITHER THEY SWAM FOR THEIR LIVES OR SOMEONE TOOK THEM.

FRENCH BOAT, FRENCH TRAFFICKER.

THEY'RE BOTH GOING BACK TO FRANCE.

LET'S HOPE THEY'RE WASHED UP ON A FRENCH BEACH, THEN.

I AM SICK OF DEALING WITH THE SHOWER WE GET TO WADE THROUGH BECAUSE THOSE IDIOTS CAN'T POLICE THEIR BORDERS.

HE'S ON A SHUTTLE THE SECOND HE'S WELL ENOUGH.

OUT OF SIGHT, OUT OF MIND.

BONJOUR.

BONJOUR.

[SIREN IN DISTANCE] [TELEPHONES RINGING, INDISTINCT CHATTER] HEY, STRANGER, MON VIEUX AMI.

LONG TIME, NO SEE.

HOW ARE YOU?

DCI ROEBUCK.

FINE.

BACK AGAIN.

COMMANDER ASTOR CHAPUT.

I HEARD YOU WERE COMING.

AH!

BONJOUR.

PLEASE.

OK. CATCH YOU LATER.

MERCI.

CAN I GET YOU SOMETHING TO DRINK, COFFEE?

NO, NO.

NO?

THANK YOU.

THIS IS ABOUT DIBRA, NO?

OUI.

CHAPUT: YOU WANT THE ORGAN GRINDER, SURELY, NOT THE MONKEY.

HEH!

I AM COMMANDER NOW, SO HOW CAN I HELP?

YEAH, WHOEVER DIBRA WAS TRAFFICKING, THEY'VE NOT YET BEEN FOUND.

I WASN'T AWARE THERE WAS PROOF HE WAS TRAFFICKING ANY-- NOT PROOF, BUT PLENTY OF SUSPICION.

I'D LIKE TO INTERVIEW HIM.

WELL, ONCE WE'VE CHARGED HIM WITH THE THEFT OF THE BOAT, HE'S BEING SENT TO PARIS.

CAN I HAVE A COUPLE OF HOURS WITH HIM BEFORE HE GOES?

IT'S FOR OFFENSES COMMITTED ON BRITISH WATERS.

NO PROBLEM.

THANK YOU.

THOUGH, I WARN YOU, GETTING HIM TO TELL THE TRUTH WHEN HE HAD A TONGUE WAS HARD ENOUGH.

HUH.

CAN I BORROW ELISE?

OH, YEAH, OF COURSE.

SURE.

YEAH.

OK.

THANK YOU.

KARL: SERIOUSLY?

YOU'RE NOT EVEN GONNA SAY BONJOUR?

BONJOUR.

WHAT HAVE I DONE?

I VOTED "IN."

WHAT ARE YOU DOING HERE?

I BROUGHT YOU A CROISSANT, AND I NEED YOUR HELP.

WELL, I'VE GOT WORK TO DO.

WE HAVE A BOATLOAD OF MISSING PEOPLE AND A MUTILATED CHILD TRAFFICKER.

HOW ABOUT A POUND OF CHOCOLAT?

TILL I'VE HAD MY TOOTH FIXED, IT'S BEST TO AVOID EATING ANYTHING SWEET.

WELL, WHAT HAPPENED TO YOUR TOOTH?

DID YOU BITE SOMEONE?

YOUR BOSS SAID YOU COULD WORK WITH ME.

HE DOESN'T SEEM TO BE THAT CONCERNED ABOUT HUMAN TRAFFICKING.

HE'S VERY CONCERNED, ACTUALLY.

HE GOT RID OF THE DEDICATED TRAFFICKING TEAM, SO THERE'S LESS TRAFFICKING ARRESTS, AND THE STATISTICS SHOW THAT THE PROBLEM HAS DECREASED.

THE TRAFFICKERS ARE STILL THERE, THERE'S LESS POLICE OFFICERS TO ARREST THEM, BUT ON PAPER, IT LOOKS LIKE HE'S TWICE AS EFFICIENT AS I EVER WOULD.

ELISE, WHAT'S HE DOING WITH YOUR JOB?

I KNEW YOU'D DO THIS.

EVERYONE ELSE HAS MANAGED TO RESPECT MY DECISION.

[AUTOMATIC DOOR LOCK CLICKS] KARL: WE BOTH KNOW YOU WERE TRAFFICKING PEOPLE ON THAT BOAT.

WHO WERE THEY?

[SPEAKING FRENCH] WHAT WERE THEIR NAMES?

[ELISE TRANSLATING INTO FRENCH] KARL: DID YOU EVEN KNOW THEIR NAMES, OR WERE THEY JUST FINANCIAL TRANSACTIONS TO YOU?

KARL: WHAT HAPPENED TO THE PEOPLE ON THE BOAT?

WERE THERE CHILDREN ON BOARD?

FEEL FREE TO CHIP IN AT ANY TIME.

"NO COMMENT."

[SLIDES TABLET ACROSS TABLE] WHAT'S GOING ON, ELISE?

IF I'D WANTED A TRANSLATOR, I'D HAVE ASKED FOR ONE.

WELL, EVEN IF THOSE KIDS ARE DEAD, THEY BELONG TO SOMEONE, AND THAT SOMEONE DESERVES TO KNOW WHAT'S HAPPENED TO THEM.

[CAR DOOR SHUTS] [ENGINE STARTS] LIGHTS OUT FOR 8:30, BOOKWORM.

OK. GOOD NIGHT.

[TURNS OFF LAMP] [DOOR OPENS] MAYA, I'M HOME.

HI.

NOW?

OK. [DOOR OPENS AND CLOSES] LAURA: SHE WANTS TO STAY WITH YOU?

DON'T KNOW.

AND EVERY PART OF ME WANTS TO HOLD ON TO HER AS TIGHT AS I CAN, BUT I'M SCARED IF I DO THAT, I'LL FRIGHTEN HER OFF FOREVER, YOU KNOW?

WHAT MAKES YOU THINK I'LL DO ANY BETTER?

WELL, YOU CAN'T DO ANY WORSE.

[BOTH CHUCKLE] I THINK SHE NEEDS YOU, REALLY.

YOU MOVED OUT, AND THEN HER GRANDPA GOT SICK, AND IT WAS JUST TOO MUCH LOSS, REALLY.

HOW ARE YOU DOING?

HMM... YOU KNOW.

AND YOU?

YEAH.

YOU KNOW.

LITTLE MIX: ♪ ONE TASTE, AND YOU'LL BE MINE ♪ ♪ IT'S A SPELL THAT CAN'T BE BROKEN ♪ ♪ IT'LL KEEP YOU UP ALL NIGHT ♪ BOY, YOU BELONG TO ME ♪ I GOT THE RECIPE ♪ AND IT'S CALLED BLACK MAGIC ♪ AND IT'S CALLED BLACK MAGIC ♪ [SONG CONTINUES, INDISTINCT] OOF.

♪ FOR A SPELL ♪ FOR A SPELL THAT CAN'T BE BROKEN ♪ [STRAINING] [HUMMING "BLACK MAGIC"] ♪ BOY, YOU BELONG TO ME ♪ I GOT THE RECIPE ♪ AND IT'S CALLED BLACK MAGIC [HAZARD LIGHT INDICATOR CLICKING] [CHUCKLES SOFTLY] ♪ AND IT'S CALLED BLACK MAGIC ♪ AND IT'S CALLED BLACK MAGIC ♪ [HUMMING] [PITTER-PATTER] AGH!

[RATS SQUEAKING] [SCREAMING] [LABORED BREATHING] [SOFT THUDDING] [LOUDER THUDDING] [LOUDER THUDDING, CLANKING] [DOOR OPENS] [SQUEAKING] JESUS.

ISLA, HOW MANY TIMES?

THAT LEAVES MARKS ON THE GLASS MARINKA ONLY CLEANED TODAY.

WHY AREN'T YOU ASLEEP?

IS DADDY HOME?

NOT YET.

BACK TO BED.

OFF.

[KNOCK ON DOOR] SO WHAT'S THE EMERGENCY?

FINISH ALL YOUR PAPERWORK?

COMMANDER CHAPUT PROBABLY HAS SOME FILING FOR YOU IF YOU FEEL YOU'RE UP TO IT.

I THINK I KNOW WHO ONE OF THE TRAFFICKED KIDS IS.

FARID MALEH.

IT'S A SYRIAN NAME.

IT'S SCRATCHED INTO THIS TOY CAR.

I FOUND A RECORD OF A FARID AND YARA MALEH REGISTERING AT A CAMP IN CALAIS 18 MONTHS AGO.

THEIR PARENTS WERE KILLED IN AIR STRIKES IN ALEPPO.

WHEN THE CAMP THEY WERE STAYING IN WAS TORN DOWN, THEY DISAPPEARED.

FARID'S TOY CAR WAS ON DIBRA'S BOAT.

MAYBE HE WAS THERE, TOO.

THERE'S A REFUGEE HOSTEL NEAR WHERE THE FISHING BOAT WAS STOLEN.

DIBRA'S TARGETED IT BEFORE.

I THINK WE SHOULD CHECK IT OUT.

KARL: A PLAGUE OF RATS.

IT SOUNDS LIKE A JAMES HERBERT NOVEL.

JAMES HERBERT?

JAMES HERBERT WAS A BRITISH HORROR WRITER FROM THE 1970S, A HEADY MIXTURE OF SOFT PORN AND GIANT RATS.

[DOGS BARKING] WHY DIDN'T CHAPUT JUST SEND PEST CONTROL?

YOU'LL GET TO KNOW HIM SOON ENOUGH.

[DOOR UNLOCKS, BUZZER SOUNDS] KARL: ASK HER IF SHE KEEPS RECORDS OF WHERE THE CHILDREN GO WHEN THEY LEAVE.

IF WE KNOW.

MANY JUST DISAPPEAR.

DRUG DEALERS, TRAFFICKERS.

[SPEAKING FRENCH] PIMPS.

PIMPS.

THERE IS VERY LITTLE WE CAN DO TO STOP THEM.

THE CHILDREN ARE EASY TARGETS, AND THERE ARE ALWAYS MORE CHILDREN THAN PLACES.

DO YOU KNOW A TRAFFICKER-- BEHAR DIBRA?

I DON'T ASK FOR NAMES.

I'M HERE TO LOOK AFTER THE CHILDREN.

BUT YOU REPORT THEM IF THEY GO MISSING.

OF COURSE.

MOST OF THE TIME, THE POLICE DON'T EVEN BOTHER TO TAKE A STATEMENT.

[TV PROGRAM RUNNING] RIGHT.

COME ON, NOW.

BREAKFAST'S READY!

WAKEY-WAKEYS, LAZY BONES.

BREAKFAST ON THE TABLE.

COME ON.

I'VE GOT TO BE AT WORK IN 5 MINUTES.

RICHARD?

RICHARD!

[CELL PHONE RINGING] UH-OH.

HELLO.

BONJOUR.

YOU WERE RIGHT.

DIBRA WAS TRAFFICKING KIDS.

WE'VE GOT THEM.

HANG ON.

THEY'VE FOUND THE KIDS FROM THE BOAT.

YEAH, A BOY CALLED FARID AND TWO YOUNGER ONES.

ARE THEY ALIVE?

THEY ARE.

BUT IT'S A BIT MORE COMPLICATED THAN THAT.

WE NOW HAVE ANOTHER SEARCH ON OUR HANDS.

GET YOUR ARSE BACK TO KENT.

OK. THOSE CHILDREN HAVE BEEN MISSING FOR 3 DAYS NOW, AND NO ONE COULD HAVE CARED LESS.

THE CARVER KIDS HAVE BEEN GONE, WHAT, 2 HOURS, AND IT'S A CIRCUS.

SUPERINTENDENT: AT LEAST WE'RE NOT FISHING DEAD BODIES OUT OF THE SEA.

KARL: WHEN CAN WE SPEAK TO THEM?

FULL MEDICAL CHECKS FIRST.

LOOKS LIKE THEY'VE BEEN DRUGGED.

GOD KNOWS WHERE THEY'VE BEEN OR WHAT'S HAPPENED TO THEM.

DO WE KNOW WHO THEY BELONG TO?

NOT A CLUE.

RIGHT NOW, FINDING THE CARVER KIDS IS THE PRIORITY.

THERE WAS SOMEONE IN THE HOUSE.

THEY WERE ALREADY INSIDE, WEREN'T THEY?

I THOUGHT I SAW SOMETHING, BUT IT WAS ISLA.

SHE COULDN'T SLEEP.

YOU DIDN'T HEAR ANYTHING?

NO, NOTHING.

THEN RICHARD CAME HOME, AND WE WENT TO BED LIKE NORMAL.

KARL: ARE THEY-- THE CHILDREN--GOOD SLEEPERS?

THE OLDER TWO ARE.

BEA ALWAYS WAKES UP AND GETS IN OUR BED AND... MS.

CARVER: LAST NIGHT'S THE FIRST TIME I'VE SLEPT A WHOLE NIGHT SINCE SHE WAS BORN.

KARL: DOES ANYONE ELSE HAVE A KEY?

RICHARD: OUR NANNY.

UH, CLEANING AGENCY.

THE BUILDERS HAD A KEY.

WHAT'S THAT?

ISLA FOUND IT ON THE BEACH.

I WOULDN'T LET HER BRING IT IN THE HOUSE.

WE SHOULD'VE CHANGED THE LOCKS AFTER THE BUILDERS.

RICHARD: THEY GAVE THE KEY BACK.

MS.

CARVER: THEY COULD HAVE MADE A DIFFERENT COPY.

THIS IS OUR FAULT, ISN'T IT?

WELL, YOU SHOULD BE A BIT MORE CAREFUL WITH YOUR KEYS IN THE FUTURE.

FORENSICS?

KARL: WHAT DO YOU GAIN BY TAKING 3 REFUGEE KIDS AND SWAPPING THEM FOR 3 WEALTHY ONES?

ELISE: DEPENDS WHAT YOU DO WITH THE WEALTHY ONES.

WHY DON'T YOU COME BACK WITH ME?

I'LL FEED YOU.

I WAS GONNA GET SOME SKATE WINGS OFF THE FRONT.

I DON'T EAT SKATE.

ENGLISH FISHERMEN.

YOU KNOW.

WHAT?

I DON'T KNOW.

WHAT?

WELL, IT'S THAT SAYING, ISN'T IT?

IT'S LIKE YOUR PLUMBERS AND SHEEP.

A SKATE'S VAGINA IS ANATOMICALLY SIMILAR TO A WOMAN'S, SO... THAT'S PROBABLY WHY WE JUST EAT THE WINGS.

MAYBE.

BON APPETIT.

[CONVERSATIONS IN FRENCH] [WOMAN SINGING IN FRENCH ON RECORDING] [CELL PHONE VIBRATING] HELLO.

[CHUCKLES] I PAID DIBRA £3,000.

HE WAS SUPPOSED TO BRING FARID TO ME.

KARL: WHAT WE NEED TO KNOW NOW, YARA, IS WHERE FARID WAS FROM THE TIME HE CAME OFF THE FRENCH FISHING BOAT TO WHEN HE WAS FOUND IN THE CARVER HOUSE IN KENT.

WHAT HAPPENED IN BETWEEN?

CAN YOU ASK HIM THAT?

IS OK.

I'M ENGLISH NOW, LIKE MY COAT.

NICE COAT.

FARID: WE ARE ON A WHITE AND BLUE BOAT.

[CHUCKLES] [CHUCKLING] WHAT?

FARID: A MAN CAME ON OUR BOAT.

[CONTINUES IN NATIVE LANGUAGE] THEY HEARD DIBRA SCREAMING.

UH-HUH.

AFTER THAT, HE ONLY REMEMBERS LITTLE THINGS.

WHAT SORT OF LITTLE THINGS DOES HE REMEMBER?

FARID: SMALL ROOM MADE OF WOOD.

[CONTINUES IN NATIVE LANGUAGE] SEAGULLS AND BELLS.

BELLS?

FARID: YES, BELLS, LIKE THE SONG.

♪ DING-DONG, DING-DONG ELISE: DID YOU SEE THE MAN'S FACE?

FARID: NO.

[CONTINUES IN NATIVE LANGUAGE] MASK.

GAS MASK.

FARID: YES, LIKE IN WAR.

THE BEST LEAD WE HAVE IS FARID'S DESCRIPTION OF WHERE THEY WERE HELD.

SEAGULLS AND A SMALL ROOM MADE OF WOOD.

BEACH HUT?

FISHING HUT?

SO THE BOAT'S BURNT OUT HERE.

THE CARVER HOUSE IS THERE.

THE, UH...

THEY'RE ON YOUR HEAD.

THANK YOU.

THE GAS MASK WAS FOUND BY ISLA CARVER ON THIS BEACH HERE.

KARL: WHAT'S THAT?

MISSING CHILDREN AND A PLAGUE OF RATS.

THAT DIDN'T END VERY WELL, DID IT, FOR THE CHILDREN.

YOU THINK THE CARVER KIDS ARE DEAD?

IF HE'S KILLED 3 BLONDE BRITISH CHILDREN, THE WHOLE WORLD'S GONNA BE WATCHING.

CAPTIVE AUDIENCE.

KARL: THERE'S ONLY 2 OR 3 PLACES ALONG HERE WHERE THEY COULD HEAR A CHURCH BELL.

WHY DON'T WE START AT THE TOP OF THE ESTUARY AND WORK DOWN?

ARE THE BRITISH PEOPLE WHO LIVE BY THE SEA LESS RELIGIOUS?

YEAH, THERE'S MORE OXYGEN, SO THEIR BRAINS WORK BETTER.

[SEAGULLS CALLING] [BELL RINGING] YOU HEAR THAT?

YUP.

[ELISE COUGHS] BLEACH.

YUP.

[STIFLED COUGH] [BOTH COUGHING] [MOTOR STARTS] KARL: HEY!

HEY!

POLICE!

I'VE GOT IT.

ELISE.

[GROANING] YOU ALL RIGHT?

YEAH.

BEA CARVER'S ELEPHANT.

WHAT ELSE IS IN THERE?

I'VE SEEN THIS BEFORE.

A CREST.

IT'S FROM BETTI BAUDIN'S HOSTEL.

KARL: SHE LIED ABOUT FARID.

WHAT ELSE HAS SHE BEEN LYING ABOUT?

[INDISTINCT P.A.

ANNOUNCEMENTS] [DOOR UNLOCKS AS BUZZER SOUNDS] [MAN BREATHING HEAVILY] [INDISTINCT CHATTER] HELLO?

HI.

OK.

I THINK THERE'S SOME CASH IN THE DRAWER BY MY BED.

SO GET YOURSELF A PIZZA, AND THERE'S SOME SALAD IN THE FRIDGE.

EAT SOME GREENS, WILL YOU?

NEVER YOU MIND.

LATER.

OK. ALL RIGHT.

BYE.

WHAT ARE YOU DOING WITH YOUR TEETH?

UM, IT'S BRUXISM.

MY DENTIST SAYS I'VE GOT SUBCONSCIOUS ANXIETY.

SHE THINKS I SHOULD SEE A THERAPIST.

HMM.

I'VE LEFT LAURA.

YEAH, I WAS WONDERING WHEN YOU'D TELL ME.

AH, IS IT OBVIOUS?

[CHUCKLES SOFTLY] WELL.

I WENT BACK TO MY OLD JOB TO PROVE I COULD BE TRUSTED NOT TO ... UP AGAIN.

I TRUST MYSELF, OF COURSE, BUT IT'S IMPORTANT THAT MY COLLEAGUES SEE ME WORK MY WAY BACK UP.

EVEN IF THAT MEANS PUTTING UP WITH AN ... LIKE CHAPUT.

YUP.

ELISE, EVERYBODY ... UP ALL THE TIME-- PROFESSIONALLY, PERSONALLY.

THE MAIN THING ABOUT BEING A BOSS IS OWNING YOUR MISTAKES.

ISN'T THAT PART OF MAKING A MARRIAGE WORK, TOO?

KARL: WHAT'D SHE SAY?

WE HEARD KIDS.

IN HERE.

[KNOCK ON DOOR] [KNOCK ON DOOR] POLICE!

WHOA.

HELLO.

HEY.

ALL RIGHT.

STAND.

.....BIEN.

[SPEAKING FRENCH] ELISE?

CHARLIE?

[DOG BARKING] HOLD UP!

HIS NAME IS CHARLIE MOREAU.

EIGHT YEARS AGO, OLIVIER AND I ARRESTED HIS FATHER JACQUES FOR HIS MURDER.

IT TOOK THE JURY 14 MINUTES TO CONVICT HIM.

WE ALL WENT OUT AFTERWARDS TO CELEBRATE.

[SOBBING] [WOMAN SINGING INDISTINCTLY, HUSHED VOCALS] THEO, WAKE UP.

- 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 SHOOTING 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.