Season 3 Episode 5 | 54m 20s | Video has closed captioning.
An increasingly isolated Karl makes a major breakthrough in the search for Saban – but his sense of triumph is short-lived when he discovers that someone close to him is in mortal danger.
Aired: 07/29/18
Expired: 08/12/18
[SPEAKING FRENCH] KAYLA HAS BEEN A STUPID GIRL.
WHY ELSE WOULD SHE SEND NAKED PICTURES TO BOYS?
SABAN DIED IN 1994.
KARL: THINK WE'LL BE ABLE TO DIG OUT THE DEATH CERTIFICATE?
I'M SURE PHILIPPE CAN.
I WOULD NEVER INTERFERE WITH YOUR LIFE.
WHAT'S THAT SUPPOSED TO MEAN?
ASK MAYA.
WHAT?
ELISE?
OOH!
PLEASE COME HERE.
LOOK.
[CHUCKLES] WE'RE GONNA SOON DO THE SLIDE.
BOO!
HEE HEE!
I LOVE YOU.
I KNOW.
"I KNOW."
AH.
BOO.
HEE HEE!
AH.
BOO.
HEE HEE!
CAN YOU FIND MUMMY?
BOO!
HEE HEE!
♪ HERE SHE COMES ♪ M--M--MAMA.
MAMA?
PEEK-A-BOO.
ALICE, COME ON.
COME ON.
MAMA.
MAMA.
MM--MOM--MOM.
MAMA.
MAMA.
MAMA.
MOM.
[BABY TALK] 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 ♪ MAYA.
WAKEY-WAKEY.
MM.
I GOT TO GO TO FRANCE.
NOW?
MM-HMM.
I MAY NOT BE BACK TONIGHT, SO YOU NEED TO STAY WITH YOUR MUM, OK?
I'M GONNA CALL HER, LET HER KNOW.
IT'S FINE.
I'LL DO IT.
AND THEN WE NEED TO HAVE A CHAT WHEN I GET BACK.
ABOUT WHAT?
ABOUT YOU, WHAT'S GOING ON WITH YOU.
NOTHING'S GOING ON WITH ME.
MM-HMM.
WELL, ELISE SEEMS TO THINK THERE IS, AND YOU WEREN'T VERY NICE TO YOUR NAN YESTERDAY, WERE YOU?
SHE'S DECIDED TO MOVE BACK HOME.
I SAID SORRY TO NANA C. HMM.
MAYBE ELISE SHOULD KEEP HER NOSE OUT OF OTHER PEOPLE'S BUSINESS.
I HAVE TO GET READY.
WHY?
I'M MEETING SOMEONE BEFORE SCHOOL.
WHO?
KAYLA.
SHE'S QUITE A LOT OLDER THAN YOU, ISN'T SHE?
SHE'S GONNA BE INTO STUFF THAT YOU'RE NOT REALLY READY FOR.
MAYBE YOU'RE NOT READY FOR ME TO GROW UP.
PHONE YOUR MOTHER.
HELLO.
[GROANS] ARE YOU OK?
SHALL I CALL THE NURSE?
NO.
DO YOU WANT SOME PAINKILLERS OR SOMETHING?
I'VE NEVER FELT BETTER.
THERE'S NO POINT IN US BOTH BEING HERE.
I'M SURE CHAPUT NEEDS YOU MORE THAN I DO.
[MACHINE BEEPS] ELISE, IT'S ME AGAIN.
UH, I REALLY SCREWED UP.
I'M SORRY YOU'RE SUSPENDED.
I'M SORRY I CALLED OLIVIER.
I DIDN'T THINK FOR A SECOND THAT HE'D BE SUCH A ... AS TO TELL ... CHAPUT, BUT THERE WE ARE.
WE BOTH GET ... OF THE YEAR.
I, UH, HA HA--I FEEL LIKE RONNIE CORBETT MUST'VE FELT AFTER RONNIE BARKER LEFT.
UM, DON'T KNOW WHO THAT IS, DO YOU?
WHAT I'M TRYING TO SAY IS THAT I...I...
I NEED YOU, UH, WITH... [MACHINE BEEPS] IS THAT IT?
IS THAT ALL I GET?
POLICE WOMAN: DID YOU BOYS NOTICE ANYBODY ELSE HANGING AROUND?
BOY: NAH.
THERE WAS NO ONE ELSE.
JUST A GIRL ON HER OWN.
SHE WAS CRYING.
POLICE WOMAN: WAS SHE IN HERE?
BOY: NO, SHE WAS OVER THERE...
DIFFERENT BOY: WE DIDN'T REALLY KNOW WHAT TO DO.
IS SHE ALL RIGHT?
HELLO.
HELLO.
BONJOUR.
HOW ARE WE GETTING ON?
[OLIVIER SPEAKING FRENCH] YOU'RE TOO FAST FOR ME.
NO.
OH, MY GOD.
THIS IS SO GROTTY.
OH, MY GOSH.
YOU'RE SO GOOD AT THIS.
I KNOW.
OK. OK. 1... 2.
I'M REALLY GOOD AT THIS.
NOT THIS.
SO WHAT DO YOU SEE?
YOU'VE HAD MORE THAN I HAVE.
PLEASE!
MM-MM.
I'M GONNA PUSH YOU OFF, THEN.
[SCREAMS] [SCREAMS] [INDISTINCT CHATTER] SABAN DOESN'T HAVE A GRAVE.
WE CHECKED.
DEATH RECORDS, BURIALS, CREMATIONS.
HE'S NOT DEAD, IS HE?
I'VE TOLD YOU ALL I KNOW.
MUST'VE BEEN VERY DIFFICULT...
WORKING WITH THOSE CHILDREN, DEALING WITH ALL THAT DAMAGE.
HUH.
YOU HAVE NO IDEA WHAT IT WAS LIKE WITH CHILDREN LIKE SABAN.
WATCHING THEIR OWN FAMILY SLAUGHTERED IN THE STREETS.
NO ONE CARED.
NO ONE DID A THING TO HELP UNTIL WE CAME ALONG.
WE REUNITED FAMILIES.
WE GAVE THOSE WHO HAD BEEN ORPHANED A FUTURE.
BUT YOU DIDN'T REUNITE SABAN WITH HIS FAMILY, DID YOU?
THEY DIED IN BOSNIA.
THE THING IS... SABAN'S MOTHER IS STILL ALIVE.
AND SHE'S BEEN SEARCHING FOR HER SON ALL THESE YEARS.
CAN YOU TELL ME WHERE HE IS?
I'VE TOLD YOU.
THAT BOY IS DEAD.
EDITH'S VISITORS.
TO GET TO HER AGE AND STILL HAVE SO MANY FRIENDS.
JEAN-MARC SARGENT.
HE'S HER MOST REGULAR VISITOR.
SHE MUST BE VERY GOOD LIAR.
WHAT?
WHATEVER YOU THINK, I'VE GOT ELISE'S BACK.
I MAY HAVE DONE THE WRONG THING, BUT I DID IT FOR THE RIGHT REASONS.
[CELL PHONE CHIMES] BRING THE BOOK.
OK.
I BRING THE BOOK.
[OPERATIC MUSIC PLAYING] [CHIMES CLINKING] BONJOUR.
BONJOUR.
AH.
UM, OUI.
UM... POLICE.
OK. JEAN-MARC SARGENT.
YES.
HE'S MY FATHER.
CAN I HELP YOU?
UH, UM... YEAH.
SHOULD I CALL HIM?
BONJOUR.
I'M JEAN-MARC SARGENT.
FRANCOIS: OK. UM... ...CALAIS EVERY MONTH.
UM... WHAT'S THE-- WHAT'S THE CONNECTION?
SHOULD WE SIT DOWN?
HE DOESN'T KNOW.
NO.
IT'S, UM... UM, YOUR SON, WE NEED HIS HELP.
UM...
IT'S IMPORTANT THAT YOU TELL HIM THE TRUTH NOW, THE, UH...THE VERITE.
MY WIFE DIED, AND...
I PROMISED TO HER TO...NEV-- N--NEVER TELL HIM.
PLEASE.
PLEASE.
I PROMISE TO HER TO NOT SAY TO FRANCOIS.
I CAN'T.
IT'S MY SON.
YOU UNDERSTAND?
I KNOW YOU LOVE HIM, RIGHT?
IT'S VERY CLEAR.
THIS IS VERY DIFFICULT.
PLEASE.
PLEASE.
[SNIFFLES] [BELL TOLLING] [RECORDING OF INSTRUCTIONS FOR ANSWERING MACHINE IN FRENCH] [BEEP] ELISE, I FOUND HIM.
I FOUND SABAN.
HE'S ALIVE.
[SIGHS] I DON'T KNOW WHAT TO DO.
UH...
I NEED YOUR HELP.
OH, GOD.
IS THIS CRAZY?
CALL ME, WILL YOU?
[EXHALES] [SEAGULLS CALLING] [ELECTRONIC DOORBELL RINGING] BONJOUR.
BONJOUR.
[RECORDING OF INSTRUCTIONS IN FRENCH] [RINGS DOORBELL] ELISE?
[CELL PHONE RINGING] KARL ON ANSWERING MACHINE: ELISE, IT'S ME AGAIN... KARL: OH.
OK. CONTINUE.
KARL ON ANSWERING MACHINE: I'M SORRY I CALLED OLIVIER.
I DIDN'T THINK FOR A SECOND THAT HE'D BE SUCH A ... AS TO TELL ... CHAPUT, BUT...WE BOTH GET ... OF THE YEAR.
I, UH, HA HA--I FEEL LIKE RONNIE CORBETT MUST'VE FELT AFTER RONNIE BARKER LEFT.
DO WE HAVE TO LISTEN TO THIS?
YES, WE DO.
KARL ON ANSWERING MACHINE: UM, DON'T KNOW WHO THAT IS, DO YOU?
WHAT I'M TRYING TO SAY IS THAT I...I...
I NEED YOU, UH, WITH... [MACHINE BEEPS] IT SOUNDS LIKE IT WAS QUITE AN ARGUMENT YOU HAD.
[ANSWERING MACHINE BEEPS] WHAT'S HE SAYING?
HE'S THREATENING HER.
COME ON!
OLIVIER: WAIT.
WOMAN ON RECORDING: NOUVEAU MESSAGE.
KARL: COME ON.
LET'S BRING HIM IN.
OLIVIER: WAIT.
WAIT.
WAIT.
OK. LET'S GO.
LET'S GO.
HIYA.
HERE YOU ARE.
[WATER RUNNING] OH, THANK YOU.
THAT'S IT.
THERE YOU ARE.
SEE YOU LATER, EH?
THANK YOU VERY MUCH.
SEE YOU.
TAKE CARE.
[CELL PHONE RINGS] HELLO.
HEY.
WHAT TIME WILL YOU BE HOME?
ABOUT 6:00-ISH.
YOU OK?
YEAH, I'M GOOD.
TALK TO YOU LATER, YEAH?
[LAUGHTER, INDISTINCT CHATTER] [PIANO MUSIC] [RINGS DOORBELL] [CLICKS TONGUE, EXHALES] EXCUSEZ-MOI.
[SCOFFS] [DOOR OPENS] HOW ARE YOU?
ALL RIGHT.
HEALTH AND SAFETY MIGHT BORE THE ... OFF YOU-- IT CERTAINLY BORES THE ... OFF ME-- BUT YOU KEEL OVER IN THIS OFFICE, AND I'M RESPONSIBLE.
I'M FINE.
[SIGHS] WELL, YOU LOOK LIKE ... YOU SHOULD CLEARLY STILL BE IN HOSPITAL, BUT I CAN SEE YOU WON'T BE PERSUADED TO GO BACK.
I'M RESPONSIBLE FOR WHY LANA GOT AWAY, AND NOW ELISE IS MISSING, SO KARL NEEDS MY HELP.
KEEP YOUR ASS IN THAT CHAIR UNTIL I'VE HAD OCCUPATIONAL HEALTH LIAISE WITH THE HOSPITAL.
THEY SAY YOU'RE FIT TO WORK, YOU DO IT FROM THIS DESK.
UNDERSTOOD?
UNDERSTOOD.
[GROANS] WHAT ABOUT THE FISH FACTORY WHERE HE WORKED?
WHERE'S THAT?
OLIVIER?
YEAH.
SORRY.
UH, IT'S ON THE DOCK.
RIGHT.
[CELL PHONE RINGS] TAKE THE FIRST ON THE RIGHT.
[MEN SHOUTING IN FRENCH] JACQUES?
KARL, DON'T!
DON'T... WHERE IS SHE?!
WHAT HAVE YOU DONE TO HER?
KARL, COME ON.
GET OFF.
WHERE IS SHE?
EXCUSE ME.
OH, YES, SIR.
WOULD YOU MIND IF I USED YOUR TELEPHONE?
[TELEPHONE RINGING] [JACQUES RECORDED ON ANSWERING MACHINE] HMM?
WHAT HAVE YOU DONE TO HER?!
I'D LIKE TO REPORT A MISSING PERSON, PLEASE.
MY WIFE, LILIAN.
OK, WE'LL JUST TAKE SOME INFORMATION FROM YOU, AND THEN I'LL PASS IT ON TO ONE OF OUR SERGEANTS.
I CAN'T BE WITHOUT HER, YOU SEE?
I CAN'T.
[SOBBING SOFTLY] [SIGHS] MEN: ♪ STOOD BENEATH THE LAMP LIKE ♪ ♪ A STRANGER ♪ HELLO?
[RECORDING OF WOMAN SINGING INDISTINCTLY] HELLO?
DELIVERY.
HELLO?
JADE?
JADE, CAN YOU HEAR ME?
JADE: HELLO?
JADE!
AAH!
JADE?!
HI.
THIS IS JADE.
PLEASE LEAVE A MESSAGE AFTER THE TONE.
[BEEP] JADE!
JADE!
I REALLY THOUGHT HE LOVED ME.
WELL...
HE DIDN'T.
BUT YOU STILL GOT ME.
[SCOFFS] LEZZER.
[CHUCKLES] [BOTH LAUGHING] HERE WE GO.
[BOYS SPEAKING INDISTINCTLY] HMM?
OI.
IT'S NOT WORTH THE STRESS.
WHO DO YOU THINK YOU ARE POSTING ALL OF THIS ... ONLINE?
DON'T KNOW WHAT YOU'RE ON ABOUT.
I'VE GOT PICTURES, TOO, YOU KNOW?
WHAT IS WRONG WITH YOU?
MAYA: THERE'S NOTHING WRONG WITH HER.
YOU'RE THE ONE THAT SHOULD BE ASHAMED.
BACK OFF, LITTLE GIRL.
KAYLA, I AIN'T DONE THIS.
AND THE ONLY OTHER PERSON WITH THOSE PICTURES IS YOU.
IF YOU WANTED MY ATTENTION, THERE ARE OTHER WAYS.
LET'S GO.
[BOY LAUGHING] NOW I NEED TO GET REALLY ... ... OFF HOME, BOROWSKI.
YOU'RE MAKING THE PLACE LOOK UNTIDY.
YEAH, I WOULD DO, BOSS, BUT I THINK YOU SHOULD HAVE A LOOK AT THIS.
WELL, THEY'RE MISSING PERSON REPORTS.
MM-HMM.
THREE PEOPLE HAVE GONE MISSING IN A 5-MILE RADIUS SINCE THIS MORNING.
KAYLA.
KAYLA?
KAYLA?
KAYLA?
KAYLA?
KAY--KAYLA?
KAYLA--OH, MY GOSH.
KAYLA?
KAYLA?
KAYLA?
KAYLA?
OH, MY GOD.
KAYLA, PLEASE!
KAYLA, PLEASE!
SOMEONE PLEASE HELP!
MERCI.
DON'T YOU THINK IT MIGHT BE THEM, ANTON AND LANA?
[CELL PHONE RINGING] HELLO?
YES?
WHICH HOSPITAL?
THANK YOU.
I HAVE TO GO.
MY DAUGHTER.
HELLO, DARLING.
DADDY!
HELLO, HELLO, HELLO.
WHERE'S MAYA?
SHE'S IN WITH KAYLA.
[CHILD COUGHING] UM...KAYLA'S HAD A SEIZURE.
YEAH, SHE NEARLY DIED.
WHAT?!
WHAT HAPPENED?
IT COULD'VE BEEN MAYA IN THERE.
WHY DID YOU LEAVE HER OVERNIGHT?
I DIDN'T.
SHE WAS WITH YOU.
SHE WAS GONNA CALL YOU.
NO, SHE DIDN'T.
SHE DIDN'T CALL ME.
SHE TOLD ME SHE HAD.
SO SHE LIED TO US, BASICALLY.
WOW.
KIDS LIE.
THAT'S WHAT THEY DO.
LAURA: MAYA DOESN'T.
I MEAN, WHAT THE ... IS GOING ON IN THAT HEAD OF HERS?
YOU LOOK KNACKERED.
ELISE HAS GONE MISSING.
... [EXHALES] WELL, AT LEAST SHE TOOK CARE OF HER FRIEND.
DO YOU THINK WE SHOULD GET HER SOME PROFESSIONAL HELP?
HELLO, DARLING.
HERE YOU ARE.
THANKS.
DAD.
HELLO, LOVE.
I NEED TO TELL YOU SOMETHING.
ALL RIGHT.
SHE LEFT HER PHONE ON MY BED.
ARE YOU SAYING YOU STOLE THOSE PHOTOS?
BOYS LOOK AT KAYLA.
BUT ME, I'M INVISIBLE.
OH, FOR CRYING OUT LOUD.
MAYA.
I JUST WANTED SOMEONE TO NEED ME.
OH, JESUS.
WE NEED YOU.
SOMETIMES...
IT DOESN'T FEEL LIKE YOU DO.
SO YOU GET YOUR HAIR DYED OR YOU GET A PIERCING OR YOU LASH OUT AT US OR SOMETHING.
YOU DON'T STEAL YOUR BEST FRIEND'S PHOTOS AND PUT THEM OUT FOR EVERY-- PEOPLE SAW THOSE PHOTOS WHO SHOULD NEVER SEE-- KAYLA'S FATHER SAW THOSE PICTURES.
I'M SORRY.
WE CAN'T JUST WAVE A MAGIC WAND TO MAKE THIS ALL RIGHT FOR YOU.
I JUST--I JUST WANT YOU NOT TO HATE ME.
MOM, BILLY WANTS SOME CRISPS.
YEAH, OK. UM, WHY DON'T YOU READ THEM A STORY AND I'LL BE IN IN A MINUTE, ALL RIGHT?
KARL: WHERE'D THAT COME FROM?
WHERE DID THIS COME FROM?
FROM THE SCHOOL.
IT'S ALL RIGHT.
IT'S ALL RIGHT.
IT'S ALL RIGHT, DARLING.
JUST TAKE THAT AND START READING TO THEM.
AND WHY DON'T YOU GO BACK TO WORK AND LOOK FOR ELISE?
I'LL DEAL WITH THIS, AND THEN WE CAN TALK TOMORROW, ALL RIGHT?
OK?
[HEAVY SIGH] COME ON.
[CELL PHONE RINGS] [RING] YEAH?
SOMETHING WEIRD'S GOING ON.
BB?
I GOT 11 MISSING PERSON REPORTS IN THE LAST 24 HOURS ALL FROM FOLKESTONE.
PEOPLE JUST VANISHING.
ANY LINK BETWEEN THEM?
WELL, THEY--THEY'RE TOTALLY RANDOM.
SOME MALE, FEMALE, YOUNG, OLD-- ALL VANISHED OFF THE STREET.
THE LAST ONE IS A DELIVERY DRIVER.
HE DIDN'T TURN UP FOR HIS LAST DELIVERIES, AND THE TRACKER ON HIS TRUCK'S BEEN DISABLED, BUT HERE'S THE THING THAT'S GOT ME REALLY WORRIED.
HE WAS DRIVING A MEAT TRUCK.
LAURA: "ONCE MORE HE STEPPED INTO THE STREET; "AND TO HIS LIPS AGAIN LAID "HIS LONG PIPE OF SMOOTH, STRAIGHT CANE.
"WHEN, LO, AS THEY REACHED THE MOUNTAIN-SIDE, A WONDROUS PORTAL OPENED WIDE..." "AS IF A CAVERN WERE SUDDENLY HOLLOWED; "AND THE PIPER ADVANCED AND THE CHILDREN FOLLOWED, "AND WHEN ALL WERE IN TO THE VERY LAST, THE DOOR IN THE MOUNTAIN-SIDE SHUT FAST."
[PEOPLE SNORING] [RESPIRATOR HISSING] - 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.
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