Episode 4

[GRINDING, LOUD CLANK] KARL: "FIND SABAN."

I DON'T KNOW IF IT'S A GOOD THING OR A BAD THING WE MET EACH OTHER.

WHAT'S GOING ON?

I'M GOING OUT.

BYE, SIS.

LOVE YOU.

KIKI: LOVE YOU, TOO.

YOU DON'T THINK HE'S ACTING WEIRD?

LOUISE: BB!

[BIRDS CALLING] BB?

[LINE CONNECTING] [CELL PHONE RINGING] [GROANING] BB?

LOUISE... NO, NO.

JUST--UHH.

[BB GROANING] BB: NO.

DON'T.

[GROANING] LOUISE, NO.

TELL ME, WHERE IS IT?

NO.

BB... WHERE IS IT?

OK, HELP IS COMING.

DON'T TELL ME THAT YOU'RE SCARED OF BLOOD, TOO.

HEIGHTS.

[PANTING] NO, COME ON.

STAY WITH ME.

BB?

BB, STAY WITH ME.

CHARLOTTE GAINSBOURG: ♪ 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 ♪ MAN: ♪ GEE, IT'S GREAT ♪ ♪ AFTER BEING OUT LATE ♪ ♪ WALKING MY BABY BACK HOME ♪ ♪ ARM IN ARM ♪ ♪ OVER MEADOW AND FARM ♪ ♪ WALKING MY BABY BACK HOME ♪ ♪ WE GO ALONG ♪ ♪ HARMONIZING A SONG ♪ ♪ OR I'M RECITING A POEM ♪ ♪ OWLS GO BY, AND THEY GIVE ME THE EYE... ♪ [DOOR OPENS] ♪ WALKING MY BABY BACK HOME ♪ ♪ WE STOP FOR A WHILE ♪ ♪ SHE GIVES ME A SMILE ♪ ♪ AND SNUGGLES HER HEAD ON MY CHEST ♪ ♪ WE STARTED TO PET AND THAT'S WHEN I GET... ♪ HELLO?

♪ HER TALCUM ALL OVER MY VEST ♪ ♪ AFTER I ♪ ♪ KIND OF STRAIGHTEN MY TIE ♪ ♪ SHE HAS TO BORROW... ♪ WHO'S THERE?

SO THIS IS ALL LANA'S BELONGINGS.

YEAH.

NOT MUCH OF A LIFE, IS IT?

WELL, AT LEAST WE KNOW EVERYTHING HERE MATTERS.

GIVEN HIS AGE AND RELATIVE FITNESS, BB HAS A BETTER-THAN-AVERAGE CHANCE OF SURVIVAL.

YEAH.

I KNOW.

THANK YOU.

WHAT'S THAT?

"I SEE MY PAIN IN YOURS.

"WE'RE LIKE TWO BROKEN BONES, FUSED TOGETHER, STRONGER."

KARL: "SOMETIMES I THINK OF US FALLING, "CLINGING TO EACH OTHER WHILE THE WORLD WATCHES, "EXPLODING WHEN WE HIT THE GROUND, BLINDING THEM ALL."

THEY'RE ALL SIGNED "ANTON."

ANTON STOKES.

IT'S A FOLIE A DEUX.

IS BLAKE STILL HERE?

HAVEN'T SEEN YOU FOR SO LONG.

IMMIGRATION.

THEY CAME TO WHERE I WAS STAYING.

OH, GOD.

FIRST YOUR JOB AND NOW YOUR HOME.

THE AGENCY DIDN'T SEND ANYONE ELSE FOR YOU?

NO.

I'M SORRY TO ASK, BUT I WAS WONDERING IF I COULD STAY A COUPLE OF DAYS.

OOH, THAT'D BE LOVELY.

JUST UNTIL I ORGANIZE MY VISA.

OF COURSE, OF COURSE YOU MAY.

OH, IT'S LOVELY TO SEE-- YOU'RE SHAKING.

WHAT'S HAPPENED?

OH, GIVE NANAKINS A HUG.

COME ON.

OHH!

GOD.

YOU FEEL SO TIRED.

[SIGHS] [SIGHS] [DOOR OPENS] BLAKE, WHERE HAVE YOU BEEN?

HI.

ELISE: HE'S BEEN SEEING A WOMAN CALLED LANA KHASANOVIC.

IS THERE ANYTHING YOU CAN TELL US ABOUT HER?

KIKI: HE'S NEVER BROUGHT HER ROUND.

WE'VE NOT BEEN TALKING MUCH RECENTLY.

I GUESS I'VE JUST BEEN BUSY WITH THE BABY AND EVERYTHING.

WAS HE JEALOUS?

KIKI: NO.

BEFORE I MET BLAKE, BEFORE I GOT PREGNANT, IT WAS... [HEAVY SIGH] IT'S HARD TO EXPLAIN IF YOU'RE NOT A TWIN.

IT'S LIKE YOU BELONG TO EACH OTHER.

SO MAYBE HE DIDN'T WANT TO SHARE YOU WITH ANYONE ELSE.

KIKI: I DIDN'T WANT HIM TO FEEL LIKE THAT.

WE WEREN'T ASKING HIM TO MOVE OUT OR ANYTHING.

NOT TILL HE WAS READY.

WHAT HAPPENED TO YOUR MOTHER?

[CLEARS THROAT] SHE'S PROBABLY DEAD.

YOU'RE NOT SURE?

WE WERE 8.

SHE DROVE US ON A CLIFF TOP, LOCKED US IN THE CAR, AND NEVER CAME BACK.

WHAT DO YOU THINK?

HOW DID ANTON REACT?

HE WAS ECSTATIC.

KARL: HOW DID HE REACT?

WHAT, IS THIS WHAT YOU'RE ASKING?

IS IT?

IF HE WENT PSYCHO?

BLAKE: KIKI.

WELL, HE DIDN'T, BUT I DID.

6 YEARS LATER, I DIDN'T CARE.

I PUT ON MY FAVORITE CLOTHES, I GOT IN THE BATH, AND I SLASHED MY ARM.

OK, OK, DO YOU WANT TO SIT ON THE BALL?

ANTON FOUND ME.

HE WRAPPED MY ARM IN A TOWEL, AND HE CALLED AN AMBULANCE.

HE WOULDN'T HURT ANYONE.

HE WANTS TO HELP PEOPLE.

LOOK AT HIS WEBSITE.

WHAT WEBSITE?

SO, MOM, WHATEVER'S HAPPENED, IT'S NEVER TOO LATE.

WE LOVE YOU.

WE MISS YOU.

YOU ARE THE CENTER OF OUR WORLD.

KARL: THAT WAS PUT UP IN 2014.

SOMEWHERE ALONG THE WAY, HE GOES FROM SENTIMENTAL WEB APPEALS TO SUICIDAL LOVE LETTERS AND MURDER.

WINNIE: WHO ARE THE OTHERS?

KARL: WE HAVEN'T SEEN ALL OF THEM YET, BUT MAINLY PARENTS OF RUNAWAYS, WIVES OF HUSBANDS WHO HAVE DISAPPEARED.

HOW IS HE?

HE'S STILL IN SURGERY.

HE'S LOST A LOT OF BLOOD, BUT HE'S OUT OF DANGER.

ASTOR: YEAH.

YOU SHOULD REST.

YOU FOUND LANA KHASANOVIC.

HERE.

MY NAME IS LANA KHASANOVIC, AND I'M LOOKING FOR MY SON SABAN.

THE LAST TIME I SAW HIM WAS IN SARAJEVO, SEPTEMBER 17, 1994.

I GAVE HIM TO A TRAFFICKER NAMED DIMITRI.

I DON'T KNOW HIS SECOND NAME.

THERE WAS NO TIME.

WE HAD TO DO IT DURING THE ONE-HOUR CEASE-FIRE.

HE HAS A SCAR ON THE BACK OF HIS LEFT HAND.

SABAN, MAYBE YOU'VE CHANGED.

BUT I WILL KNOW YOU, AND YOU WILL KNOW ME, WON'T YOU?

KARL: HE'S LOOKING FOR HIS MUM, SHE'S LOOKING FOR HER SON.

THEY FIND EACH OTHER.

FREUDIAN TINDER.

CAN WE SEE WHO'S ACCESSING THE SITE, READ ANY MESSAGES?

ELISE: NO, IT'S ENCRYPTED.

IT'S ONLY ADMIN AND USERS.

WE CAN ONLY SEE THE VIDEOS FOR NOW, BUT MAYBE IN A BIT OF TIME... KARL: I THINK WE SHOULD APPEAL FOR SABAN PUBLICLY.

WINNIE: WE CANNOT BE SEEN TO GIVE THESE PEOPLE WHAT THEY WANT.

AT LAST, WE HAVE A LEAD THAT THEY DON'T WANT US TO KNOW ABOUT.

TWO CLEAR IDS.

SHE'S BEEN HERE ILLEGALLY FOR YEARS, HE'S BEEN HOLED UP IN HIS BEDROOM.

THEY KNOW HOW TO DISAPPEAR-- THESE PEOPLE.

THE ONE WAY WE'VE GOT TO FLUSH THEM OUT MIGHT BE TO GET SOMETHING ON SABAN.

WE DON'T NEGOTIATE WITH TERRORISTS.

ASTOR: ESPECIALLY THE WAY YOU BRITS NEGOTIATE.

OH.

[CHUCKLES] BUT I AGREE.

WELL... THAT'S ALL THE VALIDATION I NEED.

LET ME HAVE THE COMB, PLEASE.

THANK YOU.

WHAT COLOR IS IT?

BLONDE.

OOH LA LA.

[CELL PHONE BUZZES] [RINGTONE PLAYING] UH, WOULD YOU LIKE ME TO... NO, NO.

EXCUSE ME.

OK. OK.

I'M BACK.

OK... [MUFFLED RINGTONE] WHERE ARE YOU?

I SAW POLICE AT THE CARAVAN PARK.

DID THEY GET YOU?

HMM?

I LOVE YOU.

[DOOR OPENS] HELLO.

OH, HELLO.

MAYA, ELISE IS HERE.

COPS AND CARBS.

HI.

OH.

KAYLA HAS BEEN A STUPID GIRL.

NANA C. CELESTE: WHY ELSE WOULD SHE SEND NAKED PICTURES TO BOYS?

NOT BOYS.

JUST LEO.

A BOY WHO SHARED IT WITH OTHER BOYS AND HEAVEN KNOWS WHO ELSE ON THE WORLDWIDE WEB.

HE PROBABLY DIDN'T MEAN FOR IT TO GO VIRAL.

I MIGHT AS WELL HAVE GONE TO SCHOOL NAKED.

MY LIFE IS BASICALLY OVER.

CAN YOU GET THEM TAKEN DOWN?

I THINK ONCE THESE THINGS ARE OUT THERE, THEY'RE OUT THERE, AREN'T THEY?

CELESTE: FOREVER.

WHY ARE YOU ASHAMED?

THE PERSON WHO STOLE YOUR PICTURES AND MADE THEM PUBLIC WITHOUT YOUR CONSENT COMMITTED AN ACT OF THEFT.

THE SHAME IS THEIRS.

I'M GONNA GO HOME.

THIS ISN'T CONDUCIVE TO A WORKING ENVIRONMENT.

[SOBBING SOFTLY] [DOG BARKING] KIKI, PLEASE LISTEN TO ME.

ANTON INVITED ME TO THIS THING.

I DIDN'T KNOW IT WAS HIM.

IT'S JUST, UM, IT WAS IN MY PIGEONHOLE AT WORK.

WHAT KIND OF THING?

UH...

IT WAS, UM...

IT WAS LIKE A, UH, SEX SHOW.

I KNOW.

I KNOW.

WHAT IS WRONG WITH YOU?

WHAT'S WRONG WITH ME?

AM I THAT FAT AND DISGUSTING?

NO, NO, NO, NO.

YOU--YOU'RE PERFECT.

I DON'T WANT TO DO THAT STUFF WITH YOU.

WHAT STUFF?

CHOKING?

SPANKING?

WE'RE GONNA BE A FAMILY.

I KNOW HOW IMPORTANT THAT IS TO YOU.

IT'S ALL IMPORTANT.

THE RELATIONSHIP, THE SEX.

WHY CAN'T YOU SEE I WANT IT, TOO?

HE BURNED ME, KIKI.

WHAT ARE YOU TALKING ABOUT?

HE BRANDED ME LIKE A PIG.

WELL, MAYBE YOU DESERVED IT.

MAYBE YOU ARE A PIG.

I KNOW.

I KNOW.

AND--AND I'M SORRY, BUT, PLEASE, I'LL DO WHATEVER YOU WANT, BUT--BUT LET ME SEE THE BABY.

LET ME HELP YOU WITH IT.

KEEKS...

PLEASE.

OH, SHUT UP YOU BLOODY-- OH, THANK YOU.

[KISS] THANK YOU.

I'M SO SORRY.

I LOVE YOU.

ANTON: YOU'RE NOT SERIOUSLY GONNA PUT UP WITH THAT, ARE YOU?

[ELECTRONIC MUSIC PLAYING] [CONVERSATIONS IN FRENCH] [WOMAN SINGING IN FRENCH] OK. AHEM.

THE POLICE WERE HERE, AND, UH, I WANT TO KNOW WHAT THEY SAID.

KIKI: THAT YOU HURT OTHER PEOPLE, THAT YOU KILLED.

NOBODY WORTH ANYTHING.

[INHALES DEEPLY] I DEFENDED YOU.

WHERE'S LANA?

BLAKE: SHE'S RUN OUT ON YOU.

WELL, SHE WOULDN'T DO THAT.

SHE'S NOT YOU... OR MUM.

LOOKS LIKE IT.

ANTON, ANTON, I WILL COME WITH YOU TO THE POLICE.

AND--AND WE CAN DEAL WITH THIS TOGETHER AS A FAMILY.

[SOBBING SOFTLY] COMPUTER: BROWSER.

COMPUTER: LOG IN.

ONE NEW MESSAGE.

"HI.

MY NAME IS KARL ROEBUCK.

I AM ONE OF THE DETECTIVES WORKING ON YOUR CASE..." LANA, YOU ALL RIGHT?

COMPUTER: "...NOT TOO LATE TO COME IN AND SPEAK TO US.

"I'M WORKING ON FINDING SABAN.

CALL ME ON 077009008."

LANA: I'M SORRY.

I DIDN'T WANT TO DISTURB YOU.

IT'S OK.

THEY STILL HAVEN'T FOUND YOUR SON YET?

NO.

WELL, USE IT AS MUCH AS YOU LIKE.

I'VE GOT UNLIMITED BROADBAND, OK?

NIGHT-NIGHT.

NIGHT-NIGHT.

NIGHT-NIGHT.

CHARLIE?

IS THAT CHARLIE?

[CHAMBER MUSIC PLAYING] OUI?

IT'S ONLY FOR A FEW DAYS UNTIL I FIND HIM SOMEWHERE BETTER.

DOES CHAPUT KNOW?

COULD BE SEEN TO INFLUENCE THE CASE WITH YOU.

YOU THINK?

WHERE ARE WE GOING?

THE ONE-HOUR CEASE-FIRE WAS BETWEEN 3:00 AND 4 P.M., WHICH CORRELATES WITH THE TIME STAMP ON THE PHOTOGRAPH, BUT THE GUY'S WATCH READS A QUARTER PAST 5:00.

SO HE'S FROM A DIFFERENT TIME ZONE.

SHE'S BACK IN THE ROOM.

EASTERN EUROPEAN SUMMERTIME.

GIVEN THE PROXIMITY, I CHECKED OUT KNOWN TRAFFICKERS FROM BULGARIA AND ROMANIA, FIRST NAME--DIMITRI.

GOT A MATCH ON THIS GUY BUSTED IN CALAIS, 6 DAYS AFTER SABAN LEFT SARAJEVO, DRIVING A MEAT TRUCK.

BORDER CONTROL FOUND KIDS IN THE BACK.

HANDED THEM OVER TO A FRENCH NGO, NOW DEFUNCT.

LAST SURVIVING BOARD MEMBER, EDITH DUTHEIL.

WE COULD HIGH-FIVE IF I WASN'T SO WORRIED ABOUT YOU.

SABAN.

SABAN KHASANOVIC.

YES!

I REMEMBER THEM ALL.

DO YOU KNOW WHAT HAPPENED TO HIM?

HE DIED.

HE WAS BROUGHT HERE ON A MEAT TRUCK.

AND IT WAS SO CRUEL.

THEY LEFT THE REFRIGERATORS ON.

PROBABLY TRYING TO BYPASS THE HEAT SENSORS IN CALAIS.

THERE WERE 5 CHILDREN ON THERE.

4 OF THEM HAD HYPOTHERMIA WHEN THEY CAME TO US.

SABAN NEVER RECOVERED.

[CELL PHONE RINGING] ELISE: DID YOU KEEP RECORDS?

OF COURSE.

WE WANTED THEIR FAMILIES TO BE ABLE TO FIND THEM.

MAY I ASK WHY YOU ARE LOOKING FOR HIM NOW?

[RINGING] JUST... JUST EXCUSE ME FOR ONE MOMENT.

HELLO?

LANA... IS THAT YOU?

HAVE YOU FOUND HIM?

LOOK, UH, I CAN'T GIVE YOU ANYTHING UNLESS... HOW'S YOUR COLLEAGUE?

I DIDN'T WANT TO HURT HIM.

I DIDN'T WANT TO HURT ANYONE.

I JUST NEEDED TO GET AWAY.

HE'S OK. GOOD.

LOOK, IF YOU WANT TO FINISH THIS, YOU HAVE TO HAND YOURSELF IN.

YOU HAVE TO GET AWAY FROM ANTON.

WE COULD MEET IF YOU LIKE, JUST THE TWO OF US.

I'LL GIVE YOU EVERYTHING WE'VE GOT ON SABAN.

HOW CAN I TRUST YOU?

I CAN ONLY PROMISE NO ONE ELSE NEEDS TO KNOW.

[BAG FALLS TO FLOOR] WE FINISHED?

UH, I THINK.

MERCI BEAUCOUP.

THANK YOU FOR YOUR HELP.

IT'S MUCH APPRECIATED.

ALL RIGHT.

ALL: AU REVOIR.

FERME LA PORTE, S'IL VOUS PLAIT.

CLOSE THE DOOR.

YOU THINK WE'LL BE ABLE TO DIG OUT A DEATH CERTIFICATE?

I'M SURE PHILIPPE CAN.

I HAVE TO GO BACK ANYWAY.

WHY?

WHAT--WHAT ARE YOU DOING?

DO YOU NEED ME FOR ANYTHING ON THE PIED PIPER CASE?

NO.

THEN IT DOESN'T CONCERN YOU.

NO, NO.

JACQUES: CHARLIE!

CHARLIE!

[CHEERS] WHOA... [CHARLIE CHEERS] [LAUGHTER] DETECTIVE.

[DOOR BUZZES] HI, GUYS.

[INDISTINCT CHATTER] MMM.

[CHUCKLES] [FRANCOIS SPEAKING FRENCH] MMM!

NO.

HA HA!

[CHUCKLES] [TELEPHONE RINGS] HELLO?

HELLO?

[EDITH SPEAKING FRENCH] [PLACES RECEIVER ON CRADLE] [SEAGULLS CALLING] [DING] [SNIFFING] OHH.

BONJOUR.

[VEHICLE HORNS HONKING] KARL: OLIVIER, THANKS FOR CALLING BACK.

WHAT'S GOING ON?

ARE YOU DEFECTING BACK TO EUROPE?

HA!

I WISH.

UH, NO.

UH...HOW--HOW ARE YOU?

HONESTLY, BORED.

ARE YOU?

I'M SORRY I CAN'T HELP YOU WITH THAT.

LISTEN, I'M RIGHT IN THE MIDDLE OF SOMETHING.

I JUST WONDERED IF YOU'VE SPOKEN TO ELISE RECENTLY.

WHY?

UH...

I DON'T LIKE DOING THIS.

I'M CONCERNED THAT SHE'S GETTING TOO CLOSE TO THE MOREAU CASE.

SHE PROMISED ME SHE'D KEEP AWAY FROM IT AND LET THE COLD CASE TEAM DO THEIR JOB.

KARL?

DO YOU KNOW SHE'S MOVED JACQUES MOREAU INTO HER APARTMENT?

MR. MOREAU.

[SLOW INSTRUMENTAL MUSIC PLAYING] HI.

CHRIST.

HI.

INTERESTING PLACE TO PICK FOR A MEETING.

I USED TO WORK HERE.

I THOUGHT IT WAS VERY GRAND AT FIRST.

UH-HUH.

I'M SORRY ABOUT YOUR SON.

I LOOKED YOU UP.

SABAN DIED IN 1994.

I'M SO SORRY TO HAVE TO TELL YOU THAT.

HOW?

[CELL PHONE RINGING] I HAVE A COLLEAGUE LOOKING FOR HIS DEATH CERTIFICATE.

HOW DID HE DIE?

IF IT'S TRUE, THEN TELL ME.

TELL ME.

YOU'RE TRYING TO TRICK ME.

NO.

YES.

I JUST HAVE TO TAKE THIS CALL.

PLEASE EXCUSE ME.

YES?

WE'VE HAD AN ANONYMOUS TIP-OFF, A SIGHTING OF LANA KHASANOVIC.

WHAT?!

WHERE?

WINNIE: THE GRAND BURSTIN.

UNIT'S ON ITS WAY.

NO, NO.

THIS IS FROM THE GENTLEMAN OVER THERE.

WINNIE: LANA KHASANOVIC HAS BEEN SIGHTED AT THE GRAND BURSTIN.

KARL: I KNOW.

WINNIE: KARL?

KARL, WHERE ARE YOU?

YOU HAVE TO TRUST ME ON THIS.

WINNIE: PLEASE DON'T TELL ME YOU'VE DONE SOMETHING STUPID.

[ALARM] NO.

LANA, PLEASE.

[PEOPLE SPEAKING EXCITEDLY] LANA... LANA, LANA, LANA?

SORRY.

LANA?

EXCUSE ME.

LANA.

UH!

COME ON.

ANTON: MOVE.

[WOMEN SCREAM] - Each season has a really different identity.

So first season, obviously, is in the musculature of its parent show, The Bridge.

The second season is very much Ben Richards version of The Tunnel, with his passions, his political obsessions, the things he's interested in really beautifully realized.

And for the third season, when we knew Ben couldn't come back because of other commitments, we needed a writer who would similarly bring a whole vision to the show, and make it feel utterly their own.

And we were very lucky to find Emilia di Girolamo, who comes at it from a very different place to Ben, but was utterly respectful of what The Tunnel was.

- It's a writer's dream to write on a show like this.

- She brings a very different kind of energy to the story.

- I mean, well, fasten your seat belts, cause it's a, it's a real, yeah that sounds real cliché to say it's a rollercoaster, but it really is.

- Emilia came up with a brilliant notion, which was about children, parents and children, lost children, the refugee crisis was something we were all really aware of and wanted to explore.

- What I love about The Tunnel is, that kind of mixing of politics, and what's going on politically with the crime genre.

So I was reading those articles that came out about the ten thousand missing refugee children, and just really struggling believing that that could happen, and that kinda no one cared.

That was kind of a moment that made me go, I have to write about this.

I have to tell this story.

I have to tell the story of one of those children or, you know, where are they?

What's happened to them?

Those are the questions we need to be asking.

And, and so, very quickly, I kind of realized that's what I wanted to write about.

- It's a story this time about lost children, and what ultimately is a human life worth.

- A toy car?

Why aren't forensics here?

- [Man] You'll have to ask the Governor.

The boat's going back to France later today.

- What starts as potentially a child smuggling operation, or at least an investigation into child trafficking, it becomes clear that somebody has done this for a very specific purpose, and to deliver a very specific message.

(eerie music) - It's real kind of topical and political edge that runs right the way through it.

But what kind of marries it with, with a, a thriller element as well.

- To know right up front, that I would be writing the last series was great.

Because you don't have that situation where you're thinking about hooks for next season and not knowing, that kind of uncertainty.

So having that really clear idea that this is the last season was actually liberating as a writer and quite inspiring.

Because then you think, how do I end this story for these amazing characters?

- You know your trouble is, you're meant to fail.

You should take a lesson from me.

I've got a PhD in ....... up.

- Not a work though, when you're passing a life.

- I'm in love with Karl and Elisa's relationship.

- I think Karl and Elisa's friendship is quite a special one I think for me it's unusual and refreshing watching a male and female partnership that is purely platonic.

- Thank you for coming.

- I think it's quite rare to talk about relationships between a man and a woman without turning it into some kind of romance somehow.

- Hello.

- Watching their friendship develop, how they pick it up again each season in a slightly different place, but finding that connection that only they share, is one that I really love watching.

- People have so much to watch on television, and if they don't love your character, and want to come back and spend more time with them and hang out with them, and for them to be part of their lives, they're not gonna come back.

- I've watched it since it came out religiously, and it's a real pleasure to go work on something that you've enjoyed watching, particularly when you've set out to tell the final chapter of the story.

- I hope there is something uplifting about the show.

I really, really hope it achieves something in terms of giving the audience a sense of everyday human heroism of wonderful flawed human beings being marvelous.

- I think will be emotional.

That's our aim.

- [Announcer] This program is available on DVD.

To order, visit shop.pbs.org or call 1-800-PLAY-PBS.