The Tunnel: Sabotage

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CO NTE NTS
I N T R O D U C T I O N 4
INTERVIEWS:
STEPHEN DILLANE AND
C L É M E N C E P O É S Y 8
E M I L I A F O X 1 2
B E N R I C H A R D S , W R I T E R 14
C H A R A C T E R G U I D E 20
E P I S O D E G U I D E 28
S K Y O R I G I N A L D R A M A 32
C O N T A C T 3 5 2
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Clémence Poésy, Stephen Dillane and Emilia Fox
star in the gripping second series of Sky Atlantic’s
award-winning Anglo-French crime drama.
With a fresh new case to solve, French investigator Elise
Wassermann (Poésy) and British detective Karl Roebuck
(International Emmy® Award winner Dillane) are reunited
after a couple are abducted from the Channel Tunnel and
their traumatised young daughter is left behind. When a
plane carrying British and French passengers crashes
into the Channel killing everyone on board, Karl and Elise
find themselves with even bigger questions to answer.
As they embark on a cross-Channel pursuit for the truth,
the tension quickly mounts. However, the closer they get to
4
their assailants, the more elusive justice seems.
Fox stars as Vanessa Hamilton, whose sinister business
dealings fall under investigation, while Clarke Peters
(The Wire), Paul Schneider (Parks and Recreation) and
William Ash (Shameless) also join the cast.
too, including Harlan Coben’s roller-coaster crime thriller
The Five, The Young Pope, starring Jude Law and Diane
Keaton, an unmissable second series of Fortitude and
edge-of-your-seat action adventure Hooten & the Lady.
(For more on Sky’s upcoming dramas, see page 32.)
Penned by Ben Richards (Spooks, Party Animals) and
from Kudos (the makers of Broadchurch and River) and
Shine France Films, this second instalment continues
Sky’s commitment to showing top-quality new drama
all year round. An original British drama made by Sky,
co-produced with CANAL+, The Tunnel: Sabotage follows on
from the recent success of Stan Lee’s Lucky Man. And, there
are plenty more original dramas to look forward to this year,
The Tunnel: Sabotage begins
on Tuesday 5 April at 21.00
on Sky Atlantic
And, for those unable to wait for further
helpings of this thrilling new drama,
all eight episodes will be available to view
on Sky Box Sets the same day.
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6
7
INTERVIEW
Set the scene for Elise as we begin the new series…
Clémence Poésy: We are one year on from the events of
the last series and three main things have changed for
her. She has had to take her old boss’s job, so she is in a
slightly different professional position I guess this time;
she’s taking managerial courses to try to manage her team
differently; and she’s been in a relationship all this time,
ever since the last series ended.
And she is in a happier place?
CP: She’s in a very happy place – she’s just enjoying
spending time with someone. I think maybe her
relationship with Karl has opened her up to the possibility
of other relationships.
Who is Elise seeing?
CP: She’s living with the waiter that she met in the first
series, who sort of became her boyfriend. As unlikely as
it seemed at first! All I will say is that she might fall in love
with someone else during the series, and for Elise that’s
probably the first time she’ll have been in love. She’s very
happy with this guy [the waiter] at the outset but I think
she’s probably not really in love with him.
And how about Karl? How is he?
Stephen Dillane: He’s been through a tough year. He left
his job, moved into another part of the police force, tried to
do what he said he was going to do at the end of the first
series, but for one reason or another hasn’t managed it.
It’s partly to do with the fact that he simply has been
unable to cope. We find him, as far as he’s concerned, on
the road to recovery. And beginning to want to get back
to being a detective again. His marriage is in some kind of
ongoing decline, if not crisis.
STEPHEN DILLANE
KARL ROEBUCK
CLÉMENCE POÉSY
ELISE WASSERMANN
What’s the mechanism that brings Karl and Elise
back together?
SD: Well there’s an incident that requires Elise to come over
from France to sort it out and she happens to meet him.
8
“
AT T I M E S I T ’ S
ON THE SCALE
OF GAME OF THRONES.
EXCEPT WE’RE NOT
ALL IN ARMOUR
STEPHEN DILLANE
CP: A child has been found alone in a vehicle in the tunnel.
Her parents have disappeared. Elise comes over because
it’s a French family. And because of a number of factors,
Elise is asked to go to check what’s happening. She happens
to find Karl, who is now working in victim protection and is
dealing with that little girl. I don’t think she’s expecting to
see him. They haven’t seen each other for a year.
SD: And he’s not expecting to see her. When they meet
up again he’s working in the PPU, the Public Protection
Unit, which is involved, as he says to her, with dealing with
immigration issues, domestic violence, child abuse, all that
sort of stuff where he’s got to be on the front line with the
public. It’s regarded by some in the police force, pejoratively,
as social work. Karl would regard social work not as
something lesser but something to be valued. So that’s
what he’s been doing. That’s the area that he’s in when
she finds him.
And is it his call to return to being a
front-line detective?
SD: He’s asked back but he’s also kind of wanting to go back
as well. It’s got to the point where he’s a bit itchy.
What are their feelings on being reunited?
SD: It’s quite complicated really. There’s pleasure but
there’s also the renewal of pain and a reminder about the
loss of Adam [Karl’s son; murdered by the villain in series
one], so it’s both things going on. Hopefully we play it in a
very interesting, complicated way!
CP: Yes, she feels guilt and all sorts of things, but also real
happiness. I think she’s been missing him, more than the
process of working with him.
How distraught is Karl after the events of series one?
SD: Well I think he’s been extremely messed up. This is all
in my imagination, but my guess is that for maybe three
months he didn’t realise quite how bad it was, and then
for three months it was just awful and probably quite
destructive to the marriage and to himself, with all those
sorts of terrible, terrible thoughts. But then my sense is
that he’s started to get himself together – whatever it
means to ‘get yourself together.’ A tragedy like that, the
death of a son, it never goes. I think you probably see the
fact that he’s not quite as sorted as he thinks he is.
What made you both want to come back and do
another series?
CP: I have really fond memories of working last series
and working with Stephen. It is a different relationship
to the one you have on a film, where everyone’s sort of
following the person who usually wrote it and is directing
it. It’s quite nice to find a character again that you’ve
grown to really, really like.
SD: I enjoy the character. I like his sense of humour. And
I like the whole milieu of the thing – I enjoy Ben Richards’
political aspect and I’m pleased that somebody’s writing
about that stuff. Especially as so many of the issues it
touches upon to do with Europe are so current right now.
Ben’s very engaged with what’s going on and suitably
horrified and indignant about everything. And that comes
across in his writing and I quite enjoy that. For the viewer,
if you want to think about what’s being said then you can:
you know it’s not without attitude. And the attitude that it
takes isn’t necessarily the kind of conventional Hollywood
9
SD: Yes, we’re like Hansel
and Gretel. Walking through
the woods. I suppose there
comes a point where you
don’t really know where your
character begins and you
end, doesn’t there? You have
to be careful not to get in to
a false sense of ownership,
not get too comfortable.
attitude, you know? There’s something quite particular
about the voice – it’s European.
How has it been for both of you to return to the Kent
coast to film?
SD: You come in full of optimism and glowing memories…
and then you remember how cold it is by the sea!
CP: It’s lovely but it is cold. You can always tell the new
members of the cast because they’re not wearing as
many layers!
How has your working method together evolved?
SD: I think we have a shorthand now in how we work out
what scenes are about. She doesn’t mind telling me what
to do and I don’t mind telling her what to do, which is quite
all right.
What have been some of
the highlights from filming?
CP: The biggest thing was
there’s this massive hangar
near Margate where there
was a plane almost entirely
recreated out of parts from
a crash. One day I came in early ready for rehearsal and it
was just really weird to see this enormous, creepy thing
they’d built.
SD: Extras in body bags pretending to be dead. They’re lying
in bags that have got water in, the director calls cut and
they sit up. That’s weird. No, the main thing is just the scope
of it all. At times this is on the scale of Game of Thrones.
Except we’re not all in armour.
CP: Shame. I could be coming in on my horse.
Who is most often right?
SD: She is.
What were your thoughts on the first series?
CP: I didn’t watch it all because I thought if I saw the first
series I might be critical about what I had done and change
things for the second series, which would be wrong. I did
see the first two episodes which I really, really loved. I
loved their rhythms and how just very unique it was. My
grandmother gave me the best reaction: she told me that in
future I should try to get characters that are a bit nicer.
CP: Stephen generally is! I mean, if you’ve worked with
someone for six months with five different directors, you
get to know each other more than you would on a twomonth shoot with one director.
SD: I thought your character was lovely! I really enjoyed your
stuff last year. I did see most of it and I just thought what
you were doing was really wonderful. For me, I was pleased
with the response. I didn’t really know what was going on
“
IT’ S NICE TO
RETURN TO A
C H A R A C T E R T H AT
YOU ’ VE GROWN
T O R E A L LY L I K E
except the people that I know that saw it liked it.
That’s always the best thing.
What is at the crux of Karl and Elise’s
dynamic together?
CP: They’re complementary I guess.
SD: Yes, I mean there’s always this thing about her having a
certain relationship to life that’s different to his relationship
to life. And in the show you see two people from different
places working it out in some way.
CLÉMENCE POÉSY
CP: And at the same time having very similar qualities
or… ways of behaving. Their relationship to power is quite
similar, their relationship to authority is quite similar. Plus
they’ve spent a season studying each other and just
getting to understand each other. Now that they know
each other a bit better, I think people will be intrigued to
see if they are going to find that dynamic again.
SD: So much of the humour – and it was really funny at
times – was in that difficulty of engagement. You hope that
for this series the humour remains possible in some way.
Has Karl’s French improved?
SD: I think he’s starting to pick things up, yes. I think the
writer got a bit bored of all the lost in translation jokes. A
lot of the dialogue happens in English but certainly those
scenes where he’s asking, “What are you talking about?”
aren’t in there anymore.
CP: If Karl is going to burst out in to perfect French, I can’t
wait to see it.
What did you do between series?
CP: I did a film in France called Le Grand Jeu with Nicolas
Pariser, and one called The Ones Below written and directed
by David Farr; and a play in Paris.
SD: I just did Game of Thrones. And then just my own stuff
really, the sort of offbeat theatre things that I do that no
one knows anything about. But they’re just for fun for me
really and for whoever happens to turn up.
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11
HE ADING
INTERVIEW
HE ADING
You play Vanessa Hamilton in the series.
What is she like?
She’s a pretty enigmatic character, a lone wolf who does
terrible things. I’d expect her to be someone who could
turn up at a different time in a different guise as a different
person and no one would recognise her. You get small
glimpses of her past but she gives you very little. It’s like
she’s got a mask on all the time. With the back story that
I gave Vanessa, I took it that she just closed off from
absolutely everyone and she got on with the job that she
was meant to get on with. Because she’s doing pretty
appalling things – or certainly orchestrating some pretty
appalling things – that was her way of protecting herself
against any emotion. I imagined that she had a damaged
past herself and that this was her way of dealing with it. To
completely cut herself off. Otherwise I don’t know how you
could do such awful things.
She has a very distinctive look…
We had really good fun creating a strong look for her.
‘Stripy hair,’ is how I described it. Straight stripy hair
and lots of dark eye makeup and then very strong
clothes with a signature black coat so that she could
morph in to being quite smart if she needed to be in a
smart situation. Again, I think it’s like a costume for her.
You feel like you could be doing business with her and she
could be in the sort of slightly grimier places that you see
her in as well. She can switch between different situations
all the time.
EMILIA FOX
VA N E SS A H A M I LTO N
Is she supposed to be a slightly heightened villain or
genuinely scary?
Sadly I don’t think she is a heightened character because I
think some people do really do these outrageous, horrible
things. The true horror of her is that there probably are
lots of people doing what she is doing. I wouldn’t ever
choose to play her as a ‘panto baddie’ within the context
of The Tunnel itself because it feels so real. And in fact the
episodes that I’ve been watching are startlingly realistic.
“
IT WAS A
PRETTY
EXTRAORDINARY
EXPERIENCE –
LIKE BEING IN A
JAMES BOND FILM
Is it nice to flex a different muscle compared to
Nikki Alexander in Silent Witness, who’s an
out-and-out goodie?
It’s amazing to be asked to play someone completely
different to Nikki Alexander, at completely the opposite
end of the spectrum. It’s in that sort of crime world that I
feel like I know well from Silent Witness but, here, I’m on the
other side of it. Vanessa would definitely be up there in the
top baddies I’ve ever played. It’s great being asked to play
someone different – I think I’m mostly known for playing
the good Nikki, who’s on a permanent quest for truth
and justice and this challenges the preconceptions that
people have.
And the role has added meaning for you, does it not?
Coincidentally I’d just been asked to be a patron of the
charity Unseen, which aims to create awareness and
offer help to the victims of human trafficking and modern
slavery. Vanessa is a perpetrator in this story but I hope
that by playing her I might be able to direct some attention
to Unseen and the fantastic work that they do.
How topical is this story?
I find it a bit scary to think of flying after you’ve seen
the first episode! I mean it’s a sign that it’s been done
really, really brilliantly but it’s a contemporary story with
contemporary, horrifying things that are believable. You
wouldn’t be surprised if you saw some of the things we deal
with here in the news. It’s also a tribute to Ben, the writer,
who’s done his research and knows how to tell the story.
Why did you want this role?
Firstly, I’m a massive fan of The Bridge, so I was just
delighted to be in anything that’s in any way connected to
that show. I’m a big fan of crime drama full stop and I have
a vested interest always in seeing how people tell stories
in different ways. I was also just really excited to work with
Stephen [Dillane] who I have long admired as an actor. He
was in a play, The Real Thing, when I was in my twenties and
I just thought he was so brilliant that I kept going back to
see how he did it differently each time. And so I was really
thrilled to be working with him. I find his process of working
really exciting. Particularly with crime drama: he makes it so
un-procedural. We really sort of broke down scenes and put
them all back together again so everyone knew where they
were. It was lovely to see Clémence [Poésy] again too, who
I worked with on Gunpowder, Treason and Plot a long time
ago. Finally I’d been doing a film in Kent called The Carer just
before they asked me to do The Tunnel. And I didn’t know
Kent very well so I was glad to spend some more
time there.
Did you film in the tunnel itself?
Yes! That was a pretty extraordinary experience.
It’s bizarre. It’s like being in a James Bond film. By the
time you’ve been driven up and down and you’ve filmed
in various different directions it makes you completely
disorientated – you have no idea which way you’re facing.
I did my last day of filming in the tunnel and we all got on
this sort of tram-like thing to go back out. After a long
journey it turned out we were going the wrong direction.
We were going to France. It would be the stuff of
nightmares if you got stuck in there forever. But it was
rather amazing – we all took photos down there. That’s the
joy of acting – you get to go to places that you wouldn’t
otherwise get to go.
13
BEHIND
BEN RICHARDS
WRITER
Take us through the gestation of The Tunnel: Sabotage…
We had decided fairly quickly after series one that this
time it would be a completely original story. I haven’t seen
the second series of The Bridge, and that was a conscious
decision. I have a rough idea of some of the stuff that was
in it but I haven’t actually seen it, which I do think is a better
way of approaching a second series of The Tunnel, if you’re
going to do it as a completely new proposition.
“
WE DECIDED
F A I R LY Q U I C K LY
AF TER SERIES ONE
T H AT T H I S T I M E
IT WOULD BE A
C O M P L E T E LY
ORIGINAL STORY
What was that proposition?
The central thing that interests me is where there’s an
incident of some sort and it’s not so much an individual
crime, say the murder of one person, as an active mass
murder. Not only that but you can’t have another lunatic
loner committing crimes like in series one – not least
because it would be quite hard to replicate and surpass
that. We went for a terrorist incident that had a lot more
behind it than originally it appeared. So the first scene is
a plane being brought down between Britain and France,
which is what brings our two detectives back together
again. But then what we’re doing is looking at it using a
kind of reverse Russian doll structure – who was behind it,
and who was behind them and who was behind them, and
who was behind them, right to the top. That’s taken us into
some quite geopolitical territory, which was something that
I’ve always liked doing in thrillers.
How is the tunnel itself brought in to the story?
There is an incident in the tunnel, something that feeds into
the much bigger issue of the plane being brought down.
I was particularly interested in this because I’d
done quite a lot of research for a project that never
happened on Lockerbie – all the different theories and
swirling, competing ideas about who in the end was
behind it and why.
Is the story meant to be credible, realistic, or heightened?
It’s very much heightened obviously, in the way that
conspiracy thrillers are. I always think that the challenge is
to make that conspiracy thriller feel both heightened and
real at the same time. It’s certainly set in a recognisable
context, which is that if you look at places like the Ukraine
and Syria, those kinds of theatres of conflict, then behind
the scenes there’s always another conflict going on
between major powers.
The first series was a pioneering international coproduction written in several languages. What did you
learn during the process that you’ve been able to apply
to this series?
Actually the first series worked better than we thought it
would in that respect. There were very few problems. I mean
it was complicated and time consuming because I don’t
speak French so half my scripts would be translated into
French, and for the French writers vice versa. And in fact
all of theirs had to be translated into English because we
couldn’t understand a bilingual script. But it wasn’t as big a
headache as you might think. There is probably a little less
French in this series, not quite sure why that is, but there’s
probably a higher percentage of English dialogue.
How did you find writing Karl and Elise this time round?
One of the big things we did achieve with series one was to
create characters who were definably different from The
Bridge. It was incredibly challenging because Saga [Norén,
the Swedish detective in The Bridge], particularly, is such
an icon and almost transcends her character. But Stephen
THE
SCENES
and Clémence gave us a really good platform to create
those characters anew. Karl? His character is not the same
character at all as Martin [the male detective in The Bridge].
And in fact Elise is different, too – she’s dysfunctional and
socially awkward, but she’s not autistic [like Saga] and I
didn’t want her to be. The first thing you go to for writing
the second series is those characters: they are what gives
you the forward momentum, so that was definitely a big
strength and I felt very familiar with them and able to take
them into new territory this time around.
How does Karl and Elise’s relationship evolve?
With him you’re in a difficult situation. His son has died;
however there’s nothing more boring in a drama than
watching people cope with the repercussions of a casualty
from a previous show. You want to have him looking forward
and solving crimes, but at the same time not be cavalier
about him and show it had an impact on him, it had an
impact on his personality. What we wanted to do was give
them both big stories that made you question them; that
were a challenge to their established personality types;
and that also caused some conflict between them at the
end. And sort of forced them apart a little bit. I mean we
know that in the case of Elise part of her personality is the
trauma of losing an identical twin which is something I’m
really interested in as a phenomenon. We never had the
time to explore that in series one properly. I really wanted
to do that story and do it properly for her – what happens
when something happens to challenge the grief and
repression that she’s been carrying around with her. And so
we gave her a very big story for this series that ties in very
much to the actual action of what’s happening.
How does this series pan out?
One of the structural problems in the first series that we
inherited from the original was that the story starts really,
really big and reduces down when it turns out that the
motive is personal. It’s completely the other way around
15
E ADING
HE ADING
“
I DIDN’ T WANT
TO FALL INTO
THE SIMPLE CONCEPT
OF GOODIES
AND BADDIES
BEHIND
THE
SCENES
this time: although we start with a very big incident, it gets
bigger and bigger and the context becomes wider and
wider. So I think this time we’re pushing the story and the
tension up and we’re pushing it out into the geopolitical
rather than coming from the political inwards.
Would it actually be possible to have detectives from
different countries working together in this way?
Yes. And actually Lockerbie was a good example. When
it comes to that type of investigation police forces [not
detectives] are in fact the front-line investigative team,
so of course we have taken a few liberties – it’s not a
documentary. But actually the idea that two detectives
from the local forces in the area where the plane came
down would be the ones who investigated it is completely
plausible. In Lockerbie it was the Lothian and Borders
police who were at the front line. They travelled all around,
Scottish detectives went to Malta and picked up al-Megrahi
and were very involved in the actual investigative side.
In fact in this story, in any case, the security services do
become involved, so we’re not trying to pretend there isn’t
another dimension that exists. Particularly with the security
services, one of the things I wanted to do was not fall
into simple concepts of whether they’re either goodies or
baddies. Even if there are conspiracies, sometimes they’re
not necessarily conspiracies for bad reasons. In this case
what we tried to do was to show that the security services
may well just have a different agenda from the police. The
police have one simple mode of investigating which is to
establish if a crime had been committed and then who did
it, and then bring them to justice. Obviously the agenda of
the security services may be completely different.
And that’s the big tension within this show.
17
18
CHAR AC TER
GUIDE
KARL ROEBUCK
STEPHEN DILLANE
Born to a working-class family in Kent, Detective
Chief Inspector Karl Roebuck rose quickly through
the ranks of the police thanks to his combination
of sharp intellect and easy charm. However, last
year, his life was torn apart when his eldest son was
murdered by the Truth Terrorist. Too traumatised to
return to his role, Karl moved into the victim support
department. But a shocking new case pulls him back
into his old position. This time, with a renewed thirst
for justice.
ELISE WASSERMANN
CLÉMENCE POÉSY
A fast-food aficionado and a rapacious reader,
by-the-book investigator Elise has recently been
promoted from capitaine to commander of the
Calais police force. However, with her new role comes
an obligation to better understand and get on
with her staff, something that doesn’t come easily
to her at all. Elise has been subtly changed by her
experience with Karl and is still affected by his son
Adam’s death.
20
21
CHAR AC TER
GUIDE
VA N E S S A H A M I LTO N
EMILIA FOX
BB (BOLESLAW
BOROWOSKI)
WILLIAM ASH
Glamorous, opportunistic, amoral and unscrupulous,
Vanessa is a businesswoman specialising in all things
illegal. She doesn’t give a damn who she does business
with as long as she gets paid. It’s a pragmatic yet
perilous attitude that lands her in very hot water.
A young junior detective working under Karl,
BB loves a laugh but is also very ambitious.
He soon takes a shine to new French police
officer Louise and isn’t shy about letting
her know.
ERYKA KLEIN
LAURA DE BOER
Smart, self-assured and very clever, Eryka
grew up with her twin brother Rudi in the
Chilean community Colonia Dignidad.
There, the defining tragedy of her life
occurred… her twin brother went missing.
22
23
CHAR AC TER
ROSA PERSAUD
HANNAH JOHN-KAMEN
The highly intelligent daughter of Sonny Persaud, Rosa left school
with poor results and pursued a life of political activism in Europe.
But while she is very politically aware, she appears completely blind
to the seriousness of the situation around her.
LOUISE RENARD
JULIET TE NAVIS
SONNY PERSAUD
CLARKE PETERS
Lieutenant Louise Renard is courageous and
scrupulous yet, having only just joined Elise’s team,
she is struggling to get to grips with her new boss’s
unique management style. She soon catches the
roving eye of BB, but is the attraction mutual?
An acclaimed academic but a terrible father,
Sonny feels deep regret for the way he treated
daughter Rosa during the many years he was
pursuing his academic ambitions. But is it too late
for him to make amends?
24
GUIDE
MIKE BOWDEN
S TA N LE Y
TOWNSEND
Detective Superintendent Bowden is Karl’s
boss and is not afraid to say it like it is.
However, he also has a secretive side.
25
CHAR AC TER
GUIDE
GAEL
THIBAUT
EVRARD
In contrast to Elise, her boyfriend is
an easy-going guy who likes a laugh. He is
charmed by her quirks and accepts that
he will always be second to her work.
PHILIPPE VIOT
CÉDRIC VIEIRA
Well-versed in British and American culture,
Lieutenant Philippe Viot enjoys practising his English
during the investigation. Unlike Elise, he is incredibly
laid back. Still, he knows his stuff and is an expert in
his field.
ROBERT
FOURNIER
JOHAN
HELDENBERGH
OLIVIER PUJOL
T H I B AU LT D E
M O N TA LE M B ER T
LAURA ROEBUCK
ANGEL COULBY
Relaxed and straightforward, Karl’s wife Laura is a
working mother trying to juggle the demands of her
personal and professional life. Following recent
events, life with Karl has become particularly strained.
And their relationship is about to undergo an even
bigger test.
Olivier is a kind family man and the no-nonsense
French head of counter terrorism. Hard working yet
slightly weary from a life of police work, he has a
strong sense of composure and passion. He also has
a soft spot for Elise, whom he tries to shield from
those who don’t understand her quite as well.
26
On the surface, Robert is a company
director, a responsible family man and
loving husband who is abducted from
the Channel Tunnel with his wife
Madeleine Fournier. However, he is far
from what he seems…
27
EPISO DE
EPISODE 1
EPISODE 2
EPISODE 3
EPISODE 4
Karl and Elise reunite when a French couple are
abducted in the Channel Tunnel and their young
daughter is left behind. Now working in the
public protection unit, Karl sits on the sidelines
while newly promoted Elise starts to investigate.
However, when a plane crashes in the English
Channel, killing everyone on board, Karl is drawn
into the case and the pair start to question
whether the two tragedies could be more than
just a terrible coincidence.
Finding Madeleine Fournier becomes a
matter of international urgency when
the crashed plane’s black box reveals
a terrifying possibility. With the threat
of a second attack looming, Elise and
Karl are desperate for a break. And
that comes when young Chloe starts
to speak.
As the search for the missing couple
continues, a hunch leads Karl to
another body and a man steps
forward with intriguing links to
their missing man. Meanwhile, Elise
uncovers some disturbing facts about
Eryka, the one passenger who failed to
board the plane, and Karl is met with
surprising resistance when he tries to
interview Olena.
Karl and Elise interview a woman who
they believe knows Robert Fournier’s
whereabouts. She points them in the
direction of the next target. But can
her tip-off be trusted? Plus, a violent
chain of events reveals Karl and Elise
have a mole in their midst and Laura
Roebuck receives a disturbing package
in the post.
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GUIDE
29
EPISO DE
EPISODE 5
EPISODE 6
EPISODE 7
EPISODE 8
Rosa offers the team a cryptic clue
concerning the case. Meanwhile, an
unexpected revelation threatens
to turn Karl’s life upside down and
Eryka reaches out to Elise. Acting
on the new information from BB,
Karl tries to interview Vanessa.
And, unlike with Olena, this time, he
won’t take no for an answer.
Karl gets a strange reaction from
his boss when he deciphers Rosa’s
mysterious message. However, it’s
an anonymous package that gives
him his biggest breakthrough in
the case yet. Elsewhere, Elise starts
to mix business with pleasure and
when a dead body is dumped close
to the station, the team treat it as
a warning.
A new suspect comes to the fore,
forcing Elise and Karl to strike a
deal with Vanessa. Meanwhile,
forensic results come in on their
most recent victim, revealing an
alarming cause of death. Someone
tries to warn Karl off the case. And
Elise crosses a line that she may
quickly come to regret.
Elise and Karl’s lives are both
thrown into jeopardy as a
lethal attack is launched and
their investigation ends in a
nail-biting showdown.
GUIDE
31
S K Y ORIG I NAL DR A M A
C ATCHING UP AND COMING SOON
S TA N LEE’ S LU CK Y M A N
James Nesbitt stars in this thrilling, action-packed crime
drama co-created by comic-book legend Stan Lee and from
the makers of Downton Abbey. Compulsive gambler and
beleaguered London cop Harry Clayton (Nesbitt) is languishing
at rock bottom when an enigmatic woman (Sienna Guillory)
entrusts him with a bracelet that gives him power over his own
luck. However, it soon becomes clear that good fortune comes
at a very high price. Eve Best, Darren Boyd, Amara Karan, Steven
Mackintosh and Alex Jennings also star.
The entire series is available to watch on Catch Up TV until
Sunday 24 April
FORTITUDE
THE YOUNG POPE
Sky Atlantic’s unmissable thriller returns with
an explosive new story as Dennis Quaid (The
Day After Tomorrow) and Michelle Fairley (Game
of Thrones) join original cast members Sofie
Gråbøl, Richard Dormer and Luke Treadaway. As
the series returns, the Arctic town of Fortitude
is gripped by shock after a fresh murder plunges
the community into turmoil. Parminder Nagra
(ER), Robert Sheehan (Misfits) and Ken Stott
(The Hobbit Trilogy) also join the cast.
Coming to Sky Atlantic later in the year
Two-time Academy Award® nominee Jude
Law is joined by Academy Award® winner
Diane Keaton in this upcoming eight-part
drama about the inner struggles of fictional
American pope Pius XIII, formerly known as
Lenny Belardo. Law stars as the complex
and conflicted Head of the Catholic Church:
a man chosen to lead the world’s two billion
Catholics and who on being elected begins
to question his faith. Academy Award®
winner Paolo Sorrentino (The Great Beauty,
Youth) directs.
Coming to Sky Atlantic later in the year
HARLAN COBEN’S THE FIVE
HOOTEN & THE LADY
The first original TV series created by bestselling thriller writer Harlan Coben
(Tell No One), this addictive new crime thriller stars Tom Cullen, O-T Fagbenle,
Lee Ingleby and Sarah Solemani. From the producers of Happy Valley, directed
by Mark Tonderai, and with a story written by Danny Brocklehurst that grips
until the very end, the series follows a group of friends whose lives are turned
upside down when a tragic incident from their childhood suddenly comes back
to haunt them.
The Five is available on Sky 1 from Friday 15 April
New and original action adventure drama Hooten & the Lady follows the nail-biting
escapades of maverick adventurer Hooten, who teams up with bright and fearless
historical expert Lady Alexandra to track down fabled treasures and relics from the
past. From the makers of Death in Paradise and Dickensian, it stars Michael Landes
(CSI, Love Soup) and Ophelia Lovibond (Elementary, W1A).
Coming to Sky 1 later in the year
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CO NTAC T
SK Y
CON T EN T PR
Dominic Collett
Publicist
[email protected]
+44 (0) 20 7032 4892
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