Strike Back (2010–2018): Season 8, Episode 1 - Episode #8.1 - full transcript

‐Are you in?
‐What do you think?

My name is
Sergeant Samuel Wyatt.

THOMAS MCALLISTER:
Wyatt? McAllister.
I'm here to get you out.

You may just be okay.
You asshole!

GRACIE NOVIN: Wyatt, McAllister?

Lance Corporal Gracie Novin.
Get in.

DONOVAN:
The target... Omair Idrisi.

Intel suggests Idrisi
is purchasing weapons
for a major attack.

Did you know Lowry was
a British agent?

Donovan only got us in
to clean up her mess.

No one could ever know.



WOMAN: If you come home
empty‐handed,

that story does not have
a happy ending.

‐Today's the day you die.
‐(GUNSHOT)

Maybe this was all
for something.

Hell, maybe we even made
the world a better place.

Suspension's lifted.

‐We're being deployed?
‐Malaysia.

‐Colonel Alexander Coltrane!
‐Seems nice.

Team, this is
Lance Corporal Chetri.

I felt we could use
some support.

Russian FSB, special forces.

Zarkova!
British military intelligence.

You are the assholes who broke
into the GRU server building

and blew it up?



Yeah, we're those assholes.

You know what the Russians
are looking for?

Two‐hundred‐fifty kiloton
warhead.

You were at a dead end
and I have the way out.

ALEXANDER COLTRANE:
Isn't that technically treason?

Only if I come home
empty‐handed.

NOVIN: Terrorists, nuke,

corrupt military unit
coming after us.

‐This gonna be fun.
‐(ELEVATOR DOOR RINGS)

COLTRANE: Bravos, we need wings,

we need equipment
and we need to move.

NOVIN: And guns.

Got a feeling we're gonna need
a lot of fucking guns.

Two‐minutes‐fifty till launch.

‐Move!
‐(EXPLOSION)

MCALLISTER: Protected the whole
of British military, so...

(SCOFFS) What do you want, Mac?
A medal?

‐Could've been worse.
‐This guy's something else.

(CHUCKLES)

[engine revving]

[dramatic music]

♪ ♪

‐ I understand you don't want
to go back to the Balkans,

not after what happened,

but it's
a high‐priority mission,

and the clock is ticking.

As I've always told you,
Alexander,

they're orders.

You don't have to like them.

♪ ♪

You just have to follow them.

‐ [sighs]

♪ ♪

[suspenseful music]

♪ ♪

‐ This is Zero.

I have eyes
on two armed tangos,

Albanian mafia.

Possibly more inside.

Expect significant contact.

♪ ♪

Eyes on your approach.

♪ ♪

‐ Initiate distraction.

♪ ♪

[opera playing
over headsets]

♪ ♪

‐ Hold on.

♪ ♪

‐ Clear.

‐ Clear.
‐ Clear.

‐ Clear.

‐ Move up.

Bravos Two and Three
take the ground floor.

Bravo One and I
will take the first.

Find and extract the hostage.

‐ Any idea why this hostage
is so important?

‐ That's classified.

Moving.

[tense music]

♪ ♪

‐ Wyatt.

‐ Jesus.

♪ ♪

‐ Fuck me.
She's still warm.

♪ ♪

Matteo Ricci,
a journalist from "Reuters."

‐ Who the hell
are we rescuing?

‐ Fuck knows, man?

♪ ♪

‐ Didn't know
you spoke the language, boss.

‐ Barely.

Save the chit‐chat
for later, Sergeant.

♪ ♪

‐ Boss?

♪ ♪

‐ Eyes on asset.

♪ ♪

‐ [gasps]

‐ Dr. McCluskey,
Colonel Alexander Coltrane.

‐ We're here to get you out.

‐ Is that what he told you?

♪ ♪

You should be more honest
with your men, Colonel.

‐ What's she talking about?

‐ Move the asset out.

‐ [groans]
‐ Yankee secure.

Moving reciprocal.

‐ Copy that, Zero Alpha.

‐ You okay to stand?

♪ ♪

[suspenseful music]

‐ We good?

‐ Don't know, mate.

♪ ♪

‐ Bodies downstairs.

ID says they're journalists.

♪ ♪

‐ Those poor things.

They were only doing their job.

[chatter over radio]

‐ Picking up hostile chatter
on comms.

Could be backup en route.

‐ Hold it there.

♪ ♪

Is the package safe?

‐ No, it's not.

‐ Where is it?

‐ In a secure lab facility.

‐ And how secure
is "secure"?

‐ They were very persuasive.

‐ So to confirm,
you have given up

the location and access intel
concerning the package

to the Albanian mafia,
of all people?

‐ The package?

You don't even
know what it is, do you?

‐ I know I have my orders.

‐ Oh, yes.
They were sure to mention that.

Sign on the dotted line.

Protocol 12‐33
swinging above my head.

‐ What the hell's a 12‐33?

‐ It's a British
military directive

that sanctions
extrajudicial killing.

It means that you can put
a bullet through my head

without feeling bad about it.

‐ We're here to extract you,
love, not execute you.

‐ [scoffs]
Oh.

‐ Right?

‐ Secure the exfil route.

♪ ♪

‐ Boss?

‐ You have an order.

‐ You gonna shoot her here
in cold blood?

‐ I will not tell you again,
Sergeant.

‐ What did they say?

Did they say I'm a traitor
or an enemy of the state?

You have no idea
what's going on.

‐ McAllister, you're making
a very big mistake.

‐ Probably, yeah.

But I want you to think
about what we're doing.

‐ We are recovering an asset
and dealing with them,

as per our orders.

We are doing our job.

♪ ♪

‐ Your people don't want me
dead because of what I've done.

It's for what I planned to‐‐

blow the whistle.

I was gonna tell the world
the truth.

‐ Sergeant.

♪ ♪

‐ This is fucked.

♪ ♪

[The Heavy's
"Short Change Hero"]

♪ ♪

‐ ♪ I can't see
where you coming from ♪

♪ But I know just what
you runnin' from ♪

♪ And what matters
ain't the "who's baddest" ♪

♪ But the ones who stop you
falling from your ladder ♪

♪ Come on, feelin' like
you're feelin' now ♪

♪ And doin' things
just to please your crowd ♪

♪ When I love you like the way
I love you ♪

♪ And I suffer,
but I ain't gonna cut you ♪

♪ 'Cause this ain't no place
for no hero ♪

♪ This ain't no place
for no better man ♪

♪ This ain't no place
for no hero to call home ♪

♪ ♪

♪ This ain't no place
for no hero ♪

♪ This ain't no place
for no better man ♪

♪ This ain't no place
for no hero to call home ♪

[uneasy music]

♪ ♪

‐ What is the package?

‐ A few years ago,
in an abandoned Kosovo war lab,

our men found something.

♪ ♪

A strain of hemorrhagic fever.

It's a weaponized virus,
and...

rather than destroy it,
I was sent to develop it.

♪ ♪

‐ Are you trying to tell me
that the British military

has been working
on some sort of bioweapon?

‐ Oh, not some sort.

The worst sort.

Sorry, Colonel,
we're not the good guys

in this one.

♪ ♪

‐ Zero Alpha, we have inbound.

Five armed tangos,
exterior main doors.

‐ Copy.
Move to RV.

‐ Moving now.

[dramatic music]

♪ ♪

‐ Bravo Three,
secure vehicle for exfil.

♪ ♪

[bullets ricocheting]

Stay in cover!

‐ Keeping the target alive.

That's a novel approach
to a kill order.

‐ We haven't done talking yet.

‐ If you say so, Colonel.

‐ You need to tell us
the location of the package.

♪ ♪

♪ ♪

[men yelling]

♪ ♪

‐ Yankee down!

♪ ♪

[gunfire]

‐ Pop smoke!

♪ ♪

‐ On three.
Three!

♪ ♪

‐ Permission to speak, sir?
‐ Denied.

‐ There's nothing
on Dr. McCluskey.

‐ What do you mean, nothing?

‐ Well, as it was
a covert operation,

she'd have been working
under an alias,

which we don't have.

We don't have clearance
for her military records,

and there's no record
of a McCluskey

living or working in the city,
so nothing.

‐ Well, get me something,

because we need to find the lab

where this bioweapon is stored

before the Albanians
get their hands on it.

Right.

Go on, then.

You got 30 seconds.

‐ Pardon my French, sir,
but what the fuck was that?

‐ You told us
it was an extraction.

‐ Rescue a kidnapped asset
from the Albanian mafia.

‐ No mention of a hit job
or any fucking bioweapons.

‐ McAllister, nothing?

'Cause you were
quite vocal before.

[uneasy music]

‐ I've said my peace, boss,

that we should think about
what we're doing here.

‐ What we're doing, Sergeant,

is following orders.

‐ Technically,
chasing down the mafia,

stopping them getting
their hands on this weapon‐‐

that's mission creep,
not orders, sir.

♪ ♪

You did ask.

‐ I didn't ask.

♪ ♪

‐ I've just found something.

It was her birthday last month.

Her son sent her a card

addressed to McCluskey,
her real name.

It was delivered
to 75 Ruga Susamit.

It's about 15 minutes
from here.

‐ Did she use her alias
on the rental agreement?

‐ It was done
under a shell company.

‐ You two, get over there.
Find me

something that gives us
her place of work.

I'll see if Whitehall
will declassify any of this,

which they won't.

Rest assured, you're not
the only ones in the dark here.

McAllister, a word.

♪ ♪

‐ Look, sir‐‐
‐ Never...

start a conversation
with "look."

‐ I wasn't questioning
your authority right there.

‐ That's exactly
what you were doing,

and it's not the first time.

You clearly have your own ideas
of how we should be operating.

‐ Of course not.
‐ Which is why

I'm recommending you
for officer training.

‐ What, as a punishment?

‐ As an opportunity.

You've reached a ceiling here,
and you seem to have

a desire to take charge.

‐ And when would this be?

‐ Soon as we've
mission complete.

♪ ♪

‐ Uh...

I'm not sure I'm ready
to leave the field

just yet, sir.

Feels like I've got
a few good years left in me.

‐ You might be in shape
now, more or less,

but time's against you.

‐ You're doing all right.

‐ Yeah, but I
look after myself.

Think about it
before I change my mind.

Oh, and I almost forgot.

If you ever disobey
a direct order

in the field again...

‐ I'm finished.

‐ We understand each other,
then.

Good.

♪ ♪

[dramatic music]

♪ ♪

‐ Clear.

‐ Clear.

‐ Wow, I love what she's done
with the place.

‐ Albanians gave it
a thorough search, then.

‐ I'll start here, work my way
back to the kitchen.

‐ Oh, milk
and two sugars, love.

‐ Coming right up.

[uneasy music]

♪ ♪

‐ You didn't speak up

when Coltrane had the gun
on her.

‐ Not my place.

♪ ♪

You didn't speak up, either.

‐ Not my place.

[melancholy music]

♪ ♪

‐ McCluskey knew
exactly what she was doing.

♪ ♪

‐ So you're saying
she deserved it.

‐ Saying if you live
by the sword...

‐ Some people can say
the same about us.

But technically,

she was only following orders.

‐ We're nothing
like McCluskey.

♪ ♪

That's not your name.

Aletheia Labs.

Short stuff,
you owe me a drink.

Shit.
Down!

[dramatic music]

♪ ♪

‐ Hey!
Hey!

You're soldiers, right?

♪ ♪

I have a lot of time
for soldiers.

‐ Oh, well, great.
Let's have a beer sometime.

♪ ♪

‐ Some other time, maybe.

♪ ♪

‐ Oh, shit!
‐ Move!

♪ ♪

[engine turns over]

‐ Go, go, go, go!

‐ We got what we came for.
Let's get the fuck out of here.

‐ Zero, we got an ID badge.

Aletheia Labs.

Engaged hostile.
We can't confirm his identity,

but he's a big bastard.

‐ [laughs]

‐ Aletheia Labs.
Plotting course for you now.

‐ Take point.
Get eyes on the place.

Rendezvous with Bravos Two
and Three when they arrive.

Lance Corporal Chetri and I
will secure a perimeter.

‐ Copy that, boss.
‐ And yes,

we are a little outside
our remit here,

so don't go
blowing anything up.

‐ When do we ever
blow anything up?

[dramatic music]

♪ ♪

[elevator bell dings]

[indistinct chatter]

♪ ♪

[people yelling and screaming]

♪ ♪

Open it up.

My men have your colleagues.

Hesitation
is not a good idea.

♪ ♪

[woman sobbing]

♪ ♪

‐ Hey.
What do we got?

‐ 15 hostages,
five armed tangos.

‐ How we gonna handle this?

‐ Go in through the front,
hit them hard and fast,

give them no time to react.

‐ Risky.

‐ Hey, you saw those bodies
hanging up at the factory.

These guys
aren't fucking around.

‐ We secure the hostages,
sweep the levels,

find that bioweapon.

‐ Copy that.

‐ Any questions?
‐ No.

‐ Yeah, I got one.

How badly did Coltrane
kick your ass?

♪ ♪

‐ He's making me an officer.

♪ ♪

Get up.
Let's do this.

‐ [scoffs]
Son of a bitch.

♪ ♪

[gunshot]

[hostages screaming]

♪ ♪

‐ Got a runner!

♪ ♪

[loud clang]

[door clicks open]
[gunshot]

[disquieting music]

‐ You good?

♪ ♪

‐ Yeah.

♪ ♪

‐ Ah, shit.

Mac's moving upstairs.
We gotta go.

♪ ♪

Novin!

‐ Coming.

♪ ♪

[dramatic music]

♪ ♪

‐ Hey!

♪ ♪

Hey!

♪ ♪

Rooftop.
Checking possible.

♪ ♪

‐ Go.

♪ ♪

‐ Mac, he's on the move,
headed southwest!

♪ ♪

‐ Geez!
I'm hit.

[screams]
Oh, fuck!

[yelps]

♪ ♪

[groaning]

[uneasy music]

♪ ♪

[dramatic music]

♪ ♪

‐ Doctors say
he won't be awake

for another few hours
at least.

‐ Keep me updated.

He's our one link
to what's going on.

‐ Sir, about earlier...

‐ We'll talk later.

‐ I imagine you have
some questions, Alexander.

‐ Well, I'd start with
why the hell the British

are developing bioweapons.

‐ Short answer: I don't know.

Long answer...

way above my pay grade.

‐ [scoffs]
Come on, James.

You're deputy head
of the SIS, for Christ's sake.

‐ So you know how far up
this goes.

Now, some fucking idiot
in command

will have justified it
as a bio‐defense deterrent.

Do you know
what the Marburg virus is?

‐ Viral hemorrhagic fever
similar to Ebola.

‐ Hmm.
You always were smart.

So the Serbs were developing
a weaponized strain

during the Balkans conflict,

and our good Doctor McCluskey

completed that work...

Better, stronger, faster.

‐ In which case,
I don't blame her

for developing a conscience.

‐ No?

You can imagine the shitstorm
that would've created.

Anyway, ethics aside,

just as well
we were monitoring her.

Unfortunately,
so were the Albanians.

‐ Do we know
why they want it?

‐ The only thing we know
for sure is,

if this disappears

down those black river
Balkan trade routes,

and then the next time
we'll hear about it

will be on the 6:00 news.

Biological weapon
with Her Majesty's fingerprints

all over it,
and that's the sort

of international
fucking nightmare

that we can do without.

‐ So you want us
to chase down a weapon

that shouldn't
officially exist.

‐ I created 20
for times like these,

Alexander.

‐ There is one more thing.

The driver that we captured‐‐

I think it could be
Branko Hajroviç.

‐ Hajroviç was marked dead
at the end of the war.

‐ Presumed dead.
Missing in action.

‐ And what does
facial recognition say?

‐ Says I'm wrong.

[disquieting music]

‐ I know it's not easy
being here,

but stay focused.

It's a bloody mess.

And get the bastards

before there are
piles of bodies

and questions
that we can't answer.

♪ ♪

[dramatic music]

‐ [laughing]

Come on.

♪ ♪

[laughs]

‐ You speak English
in front of the staff,

and if you want to learn
how to fight, ask me,

not your...bodyguard.

♪ ♪

And stop giving your mother
shit about the wedding.

‐ Can't go through with it.

Barely know the girl,
let alone love her.

‐ She's Veroni.
It's business.

♪ ♪

‐ What's this?

♪ ♪

‐ That's your grandfather.

He should be buried
in the family plot,

but that is all he deserves.

He caused the blood feud
with the Veronis.

But now, you're going to
marry one of them,

and our family
will finally be free.

And please,

smile,
for fuck's sake.

One day, all of this
is gonna be yours.

♪ ♪

[door slams]

♪ ♪

‐ The driver's name
is Jovan Nishani.

He primarily works as a fixer
for the Demachi crime family.

This is the head of the family,
Edon Demachi.

His son, wife.

‐ That's the guy
that was at the lab.

‐ That's pretty hands‐on
for a mafioso boss.

‐ Well, the Albanian mafia
split into family clans,

and the Demachis
are quite low down that ladder.

That being said,
a weaponized virus

would be worth millions
on the black market.

‐ Are you sure
about the driver's ID?

‐ Well, I've got files
going back 20 years.

Petty criminal.
Nothing stands out.

‐ Dig in.
Make sure.

We brought him
across the border

from Kosovo
for a reason.

He may be our best link
to recovering that virus.

‐ Yes, sir.

‐ Wait, how dangerous
is this thing?

You know, on a scale of, like,

[laughing]
"Holy shit"

to, like,
[teeth gritted] "Holy shit"?

‐ Oof.
Marburg's

one of the most virulent
pathogens out there.

There's no treatment,
no vaccine.

Body goes into shock.

Your internal organs
bleed out.

And if this one's
been modified‐‐

‐ Yeah, all right,
we get the picture.

It's bad fucking news.
We need to get it back.

♪ ♪

‐ Sir, the driver's
cell phone's cracked.

There's a meet tomorrow

in the San Marco district
of Venice.

There's no definite location
yet,

but I'm running traces
on all possible Demachi comms.

‐ What we thinking?
Trying to sell it?

‐ Stake out the area.
Let's try and find out.

‐ We're going to Venice.
Nice.

‐ Beautiful city
to get shot in.

‐ ID the players.

Locate the virus.

I'll remain here
in case the driver wakes up

and we get better intelligence.

Now move out.
‐ Copy that.

[suspenseful music]

♪ ♪

‐ Lance Corporal,
is everything okay?

‐ Yes, boss.

Staying focused on the mission.

You?

‐ Same, but if ever
you need to talk...

‐ Thank you, sir.

[disquieting music]

♪ ♪

[flies buzzing]

♪ ♪

[suspenseful music]

♪ ♪

‐ Yeah, I'd say
the facial recognition's

gonna be a bit of a problem.

♪ ♪

‐ Probably why they
arranged the meet here.

Needles and fucking haystacks.

‐ All right, standard recon.
Look out for bags, packages,

any suspicious behavior.

‐ Yeah, well, I'm looking
at a guy in a goddamn fox mask,

which would normally pass
as suspicious.

[laughter and applause]

Isn't that him?

Edon Demachi.

♪ ♪

It's not him.

‐ Sorry, mate.

He thought you were
someone else.

‐ Zero Alpha, could really use
some intel from that driver.

‐ I was hoping
to avoid this.

Give me a moment.

[heart monitor beeping]

♪ ♪

[heart monitor beeps rapidly]

Good morning.

Tell me about Venice,

about the meet.

Do you know who I am?

‐ You're the one
who shot me.

‐ No, before that.

♪ ♪

I served in the Balkans.

I was a lieutenant,

first with the UNPROFOR,

later with the NATO KFOR
peacekeeping forces.

‐ Sorry.

I do not know.

‐ How does a Serbian end up
working for the Albanian mafia?

‐ Ah, how does anyone
end up anywhere?

Life happens.

‐ Tell me
about the Venice meet.

‐ I've not heard anything
about that.

‐ It was marked on your phone.

San Marco, today.

‐ Then maybe
I choose to forget.

[uneasy music]

‐ Do you choose to forget
Branko Hajroviç as well?

♪ ♪

‐ I don't know who that is.

♪ ♪

[yells in native language]

I'm not the person
you think I am!

Please!
[yelling]

Please! Please!
Ah! Ah!

[groaning]

[cries out, winces]

‐ Bosnia, 1992.

You were
a captured Serbian officer.

We made a deal.

I'd have you released
in return for key information.

We both wanted to find a way

to stop the atrocities
that were unfolding.

And then two weeks later,

in the Drina Valley,

you were involved
in a massacre.

‐ No.

‐ An entire village.
Every man, every boy.

They were just children.

‐ No, that was not me.

♪ ♪

‐ This scar behind your ear

is consistent with
facial reconstruction surgery.

‐ [laughs]

You clearly want me
to be this man, don't you?

For what reason, huh?

Revenge?
Peace of mind?

Huh?

Wanting it will not make it so.

But Venice, yes.

Maybe I can help you there

if you let me go.

♪ ♪

‐ Not an option.

‐ It's the only option.
Look.

Police outside.

Spend the rest of my days
in jail?

No thank you.

So come on.

How much does this information

really matter to you,
Colonel, huh?

♪ ♪

[groaning]

♪ ♪

‐ Now talk.

♪ ♪

[suspenseful music]

Presidenziale Hotel,
third floor,

1500 hours.

‐ Shit.
It's happening now.

‐ Presidenziale's
on Calle de la Corvi, due west.

‐ All right, this way.

We're en route.

‐ Right, move into position,
observe,

and ID the principals.

‐ [yells]
‐ Oh!

Fuck.

♪ ♪

[choking sounds]

♪ ♪

‐ [speaking native language]

♪ ♪

‐ [groans]

♪ ♪

[gunshots]

♪ ♪

‐ Wait.

♪ ♪

[neck snaps]

♪ ♪

[gunshot]

‐ [yells]

‐ Help me!
Please.

[groans]
I did not tell you everything.

You have no idea
what he's planned for today.

♪ ♪

‐ Vantage point.
Let's go.

‐ Move.
Move.

‐ Still a few minutes away.

♪ ♪

‐ Get anything?

‐ Hold on.

Yes.
2:00.

I have eyes on alpha.

[disquieting music]

Buyer appears
to be male, late 20s,

has a limp.

♪ ♪

‐ I had hoped to meet
the organ grinder,

not the monkey.

‐ I speak for Zayef.

‐ It's a little insulting

that he can't speak
for himself.

‐ I've got a name:
Zayef.

‐ I think maybe he's
the big enchilada

behind all this.

‐ The advance
has been transferred.

♪ ♪

And the sample?

♪ ♪

‐ Looks like a deal's
going down.

Some sort of package
being handed over.

I'm trying to find out more,
but the audio feed is down.

[static over microphone]

‐ Bravo, I can get a shot
from here.

Just say the word.

‐ Zero Alpha told us
to observe and ID.

Hold for now.

Zero Alpha,
are we good to go?

Zero Alpha?

[gunshots]

[pistol clicks]

[suspenseful music]

♪ ♪

[neck snaps]

♪ ♪

[device hisses]
‐ Whoa, whoa, whoa.

Like they say:
handle with care.

‐ Something's up.

He's not responding.

So what's it gonna be, Mac?

We gonna go loud or what?

‐ He said to observe only;

next time I pulled anything,
it's my career.

‐ So?

♪ ♪

‐ Fuck it.
Let's do it.

Bravo Two, we're moving in.
Go loud.

I'll take the front.
You take the back.

‐ Copy that, Bravo One.

‐ What is it
you didn't tell me?

I can save you,
but you need to help me.

‐ The buyers.

They want to know
it's legitimate.

We have a strain
of the virus,

a taste.

♪ ♪

‐ Bravo One,
do you copy?

They're going to release
a sample of the weapon

at the festival.

‐ Already made the call.
We're going loud.

Cheers, boss.

‐ I'm taking the shot.

♪ ♪

[gunshot]

♪ ♪

‐ Stay!
[speaking native language]

‐ The glass is bulletproof.

I'm going mobile.

♪ ♪

‐ Stop playing
fucking games with me.

‐ No, this is not our doing.

This deal is as important
to us

as it is to you.

♪ ♪

‐ We'll stay in touch.

‐ Alphas alerted
and on the move.

Principals scattering
both directions.

♪ ♪

‐ Edon!
[indistinct speech]

[bystanders yelling
and screaming]

♪ ♪

‐ Move!
‐ [speaking native language]

[screaming]

♪ ♪

‐ Let's go!

‐ [speaking native language]

‐ Fuck off.

‐ [quavers]

♪ ♪

‐ Move, move!

♪ ♪

‐ [speaking native language]

♪ ♪

‐ Package heading east.

♪ ♪

‐ Alpha One on the run.

No eyes.

♪ ♪

‐ Move!
Move.

Move!
‐ Okay, move!

♪ ♪

‐ Move!
Move!

‐ Package last seen
entering Saint Peter's Square.

We've lost eyes.
Repeat, we have lost eyes.

Right, Wyatt.

Anyone who doesn't run,
that's the target.

‐ Right.

[gunshots, screaming]

♪ ♪

‐ There he is!
There, white mask!

Don't move!
Don't move!

♪ ♪

‐ Move!
Move!

♪ ♪

Move! Move!
Get back!

♪ ♪

[gunshots]

‐ Get it?
Get it?

‐ Got it.
Got it.

‐ Secure?

‐ I don't know.

[uneasy music]

Yeah.

♪ ♪

You fucking shot him.

‐ Well, he was gonna throw it.
I figured it was 50/50.

‐ [groans]

60/40 at best.

‐ Hey, it worked,
didn't it?

[ominous music]

‐ I might have eyes
on the buyer.

Moving to intercept.

♪ ♪

‐ Hey!
[speaking native language]

[motor revs]

♪ ♪

[gunshot]

‐ Package secure.
One tango down.

Remaining has exfilled.

No friendly casualties.

‐ Copy that, Bravo One.

‐ You're not going to help me,
are you?

I'm not who you think I am.

You're going to
let an innocent man die,

bleeding out like a pig?

‐ Hardly that innocent.

‐ Oh, please.

‐ What's your name?

‐ Jovan.

Jovan Nishani.

‐ [emphatically]
What is your name?

[desolate music]

♪ ♪

‐ What we did

was for survival:

exterminate an enemy

before they get a chance
to do the same to us.

It was a war.

‐ No.

It wasn't a war.

‐ You're no different.

Your people stood aside.
You let it happen.

‐ There were lines
that we couldn't cross,

a mistake
I will not be making again.

♪ ♪

‐ Whether I am Jovan
or Branko,

what difference
does it make now, huh?

We cannot change the past.

Where has it gotten you,

Alexander, my old friend?

‐ Right here,

sitting across from you,

my old friend.

‐ [laughs weakly]

♪ ♪

[The Heavy's
"Short Change Hero"]

♪ ♪

‐ ♪ I can't see
where you coming from ♪

♪ But I know just what
you runnin' from ♪

♪ And what matters
ain't the "who's baddest" ♪

♪ But the ones who stop you
falling from your ladder ♪

♪ 'Cause this ain't no place
for no hero ♪

♪ This ain't no place
for no better man ♪

♪ This ain't no place
for no hero to call home ♪

♪ ♪

[ringing musical tones]

[engine revving]

So, we go after the people
selling the bio‐weapon,

and that means
the Demachi family.

You make the deal happen,
you say you work for me.

ALEXANDER COLTRANE:
We locate the son
and see if he'll work with us.

Nobody gets hurt,
nobody gets harmed.

‐We just want the weapon.
‐(GROANS)

MAN: Your friend said
if I helped,

my father wouldn't be harmed.

What if I wanted him hurt?

Trains on the move,
Zero Alpha on board.

Package is the priority.
Shoot to kill.

‐GRACIE NOVIN: I've got this!
‐(EXPLOSION)

♪ (TENSE MUSIC PLAYS) ♪

Zero, I have eyes
on two armed tangos.

Expect significant contact.

In true Strike Back style,
we start the season

driving a massive,
armored vehicle

straight through a brick wall.

And straight into a fire fight.

Shit kicks off with explosions
and fights and guns.

So, it's a great opener
for the new season.

Don't go blowing anything up.

When do we ever
blow anything up?

This season, one of the things
we were looking at

is what is the next stage
for terrorism?

There's a whole trade route
in the Balkans

and every single gun ever used
in a terror attack in Europe

has come down the same route.

And it's where arms, drugs,
trades people

go from Middle East to Europe,
back and forth.

And that was quite
an interesting place
to put the team.

I understand you don't want
to go back to the Balkans.

But there's
a high priority mission

and the clock is ticking.

JAMIE BAMBER:
Episode one, for Coltrane,

was a real opportunity

for Jack and I
to explore a little bit

about what Coltrane's past is
and the ghosts that lie there.

ALEXANDER COLTRANE:
Bosnia, 1992.

We both wanted to find a way

to stop the atrocities
that were unfolding.

To revisit his past
through the prism

of what British Army Officers
had to do

in the Balkans,
working for the UN,

it was something I wanted
to honor, and to do justice to.

‐It was a war.
‐It wasn't a war.

Your people stood aside.
You let it happen.

There were lines
that we couldn't cross.

DANIEL MACPHERSON:
Very early on in the shoot,

we decided to have a gun fight
in the middle of Venice

on a Saturday afternoon.

When I read it on the page,
I was like,

"How the hell
are we gonna do this?"

To turn up on set
and see the scale of it...

Hundreds of extras
in these freaky‐deaky masks,

and hundreds of tourists.

We turned a few heads.

There were just
people everywhere,

and they were going along
with it,

happily taking photos
and like,

"You're on Strike Back,
yeah." (CHUCKLES)

Anyone who doesn't run,
that's the target.

‐(GUNSHOTS)
‐(CROWD SCREAMS)

It all kicked off in the center
that was a bit like

doing Strike Back the live play,

in the middle of the street,
which was cool.

Move! Get back!

We'd be running past them
and they're all cheering.

I think we made the papers
and everything.

So, that was pretty funny.

‐It worked, didn't it?
‐Yeah.

MACPHERSON: Novin and I go
and do a pretty routine,

check around the house,
and looking for clues,

and trying to find a trail,
and work out where to head next.

And a massive dude
with a massive machine gun

comes kicking in the door

and we had a fire fight
in a two‐bedroom apartment.

We've got a great
special‐effects department.

One of the most valuable parts
of this department

are the guys with paintball guns
firing pellets of spikes at you.

Shit!

So, I had all of the shelving
of glasses and things like that,

and Kiki, on the paintball gun,
firing paintballs at my head,

smashing glass everywhere.

We'll explode anything,
while trying to have a gun fight

with this guy who decided
just to...

throw a grenade in at the end,
and we blew all the windows out.

Then I did a quick getaway.

We scared the neighbors
here in Zagreb,

but it's just another day
on Strike Back.

♪ (MUSIC CONCLUDES) ♪

For a covert team,
we blow a lot of shit up.

(CHUCKLES)