Strike Back (2010–2018): Season 8, Episode 7 - Episode #8.7 - full transcript
(SCOFFS)
You can walk away from this.
No can do.
You went after my family.
Yeah, and you went after mine.
ARIANNA DEMACHI:
We shall not rest
until each and every single one
of them is dead.
(GUNSHOT)
- (GROANS)
- What did they promise you?
- I did everything to help you.
- I don't think so.
- Everyone, get back!
- MAN: Help me, please.
The team is inbound.
Hold on, Mac, hold on.
Here he is!
Hey, you need to stay with us,
bro.
Don't you leave me.
‐(SOBBING) ‐He's gone.
[engine revving]
[tapping]
‐ [grunting softly]
[blades whirring]
[dramatic music]
♪ ♪
‐ As you know,
there has been a reluctance
to sanction
any military intervention
against insurgent groups
in Bosnia.
Parliament, Congress,
the Bundestag‐‐
nobody has wanted to be drawn
into another war in the region.
Post‐Munich, however,
attitudes have changed.
Operation Black Mountain,
a series of coordinated strikes
on insurgent outposts.
This is the one
that concerns us.
It's reportedly
one of Zayef Hajdari's
main training camps.
Colonel Coltrane.
[tense music]
‐ This is our Alpha One
for this operation.
Riad Sharif.
He's a low‐level moneyman
in Zayef's organization.
He's to be captured
and extracted.
‐ What about Zayef...
sir?
When do we get a shot at him?
‐ Military intelligence
has earmarked Sharif
as the link that will lead us
to Zayef.
‐ I understand
that for some of you,
this is personal.
I promise you,
Zayef Hajdari will not
get away with what he's done.
20 years of the mujahideen
and Saudis
backing insurgents
in the region,
the heart of terror in Europe.
But you don't need the speech.
You've all seen Munich.
We hit hard and we hit fast.
Kit up.
Move out.
All: Yes, sir.
♪ ♪
‐ Rendezvous with Bravo One
as soon as we approach.
‐ Bravo One?
Sergeant Wyatt.
Sorry, it's just‐‐
‐ Yes, I know.
McAllister's call sign.
We move on.
‐ Yes, sir.
Good luck.
♪ ♪
[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 ♪
[tense music]
♪ ♪
[distant shouting]
♪ ♪
‐ Bravo One.
Sitrep.
‐ I have a current count
of 30 Tangos.
They're armed.
There's a possible ops room
over to the east.
♪ ♪
I have no eyes on Alpha.
♪ ♪
Although...
‐ Although?
♪ ♪
Bravo One.
♪ ♪
Bravo One, do you copy?
♪ ♪
‐ It's nothing.
‐ Shield team inbound,
five klicks.
- Prep for arrival.
- Copy that.
[dramatic music]
‐ Bravo One, distract now.
‐ Copy.
♪ ♪
[shrapnel whooshes]
[men shouting
in foreign language]
♪ ♪
[gunshot]
♪ ♪
[gunfire]
[screaming]
[shouting in foreign language]
♪ ♪
[gunfire]
[shouting in foreign language]
‐ Moving.
[gunfire]
♪ ♪
‐ [shouts]
♪ ♪
‐ Move out.
Go.
Rendezvous with Bravo One.
[distant gunfire]
[gunfire]
- You okay?
- Never better.
I had eyes
on a suspected ops room.
It's on the far east side
of the compound.
‐ Proceed.
- Moving!
- Go!
♪ ♪
[gunfire, shouting]
‐ [shouts]
- Take us down!
- I'll take left!
‐ Contact left and right.
Watch your flanks.
‐ Got it!
[gunfire, shouting]
‐ Just like old times.
- Moving!
- Stay on my shoulder.
‐ Hold!
[gunfire]
‐ They're over right.
‐ Move up.
♪ ♪
‐ Go!
‐ Move! Go!
‐ Move!
♪ ♪
‐ Ops room right there.
50 yards.
‐ Okay.
Cover.
[distant shouting, gunfire]
♪ ♪
- Got a runner.
- Eh?
‐ Could be Zayef.
‐ Wyatt!
♪ ♪
Damn it.
Get out there!
[gunfire]
[grunts]
Wyatt!
♪ ♪
[gunfire, shouting]
♪ ♪
Taking heavy fire here!
[gunfire]
♪ ♪
[gunfire]
‐ [cries out]
♪ ♪
[gunfire]
[intense ambient music]
‐ Don't move!
Don't you fucking move.
♪ ♪
‐ [panting]
[distant gunfire]
♪ ♪
‐ [cries out]
[dark music]
♪ ♪
‐ Go.
‐ Don't move.
♪ ♪
‐ Second room clear.
‐ Hold your fire.
‐ We're not here for you.
‐ Riad Sharif, where is he?
‐ He left.
This morning.
He has a cabin to the north.
‐ Here's a map.
Mark it on the map.
[distant gunfire]
‐ Th‐‐this place.
♪ ♪
‐ Zayef, where is he?
- I don't know Zayef.
- Where is he?
‐ I don't know!
‐ James, I suggest
we take a step back.
‐ It's okay.
He knows it's not worth it.
Close the lighter.
‐ I promise I don't know.
♪ ♪
‐ Okay.
I believe you.
This what you want?
‐ No.
‐ Know what?
I'll even give you a chance.
- [gunshots]
- [grunts]
‐ Bravo, where the fuck are you?
‐ I'm out the back.
Southeast side of the compound.
[gunshots]
[both men grunt]
‐ Wyatt, come in.
Wyatt, come in!
‐ Close the lighter.
[music building]
♪ ♪
- [gunshot]
- Move, move, move!
[booming]
‐ [coughing]
[grunts]
[coughing]
‐ [coughing]
‐ Sorry.
[dramatic music]
‐ [grunting]
♪ ♪
Oh, fuck.
You son of a bitch.
‐ Wyatt!
- Wyatt.
- [groans]
I'm fine.
Vest took it.
‐ Fucking arsehole!
‐ Well, yeah, I'm okay.
Thank you for your concern.
‐ You left me exposed.
‐ Bullshit.
I told you I was moving.
‐ Tell me I'm bullshit
one more time.
Go on, I fucking dare you!
‐ I apologize
for any miscommunication,
Lance Corporal.
♪ ♪
So you wanna talk about it?
Like, really talk about it?
[somber music]
♪ ♪
‐ Got any leads
on this Sharif guy?
♪ ♪
‐ Got a location.
Get that to Chetri.
Hit it while it's hot.
♪ ♪
‐ No matches for Sharif
amongst the captives.
One of my team
does have a possible lead
on a location, though.
Here, let me have
a look at that.
‐ [grunts] It's nothing.
I've had worse in Glasgow
on a Saturday night.
‐ You've been commanding a desk
for 20 years.
Now all of a sudden,
here you are,
active on a mission,
dust on your boots.
Come on, James.
Tell me what's really
going on here.
‐ You know what it's like.
You've been deskbound.
Everything comes down
a phone line,
and you feel so bloody helpless.
‐ I didn't mind it so much.
It curbed
some of my worst instincts.
‐ I can't change
what happened in Munich,
but I can change
whatever's coming next.
‐ You're a bloody liability.
Go home.
‐ Get me something on Sharif.
Something for the analysts
to comb over.
Do that, and you'll get
your shot at Zayef.
‐ I'm not here for revenge.
[tense music]
♪ ♪
‐ Apologies, boss.
A certain dickhead blew up
all the decent vehicles.
‐ This dickhead's driving.
Get in.
Let's go.
♪ ♪
‐ There's a corresponding
structure
to the one marked
on Bravo One's map.
Highlighting it
on your GPSs now.
‐ All right, take a left here.
[brakes squeak]
‐ Think I saw movement.
[distant music playing]
The hell is that?
‐ Music.
- Right. Let's keep going.
- Huh.
[soft music playing on radio]
♪ ♪
‐ Hold.
- Smell that?
- Checking perimeter.
‐ Yeah, that's gasoline.
I'm guessing he's rigged.
‐ They were cleaning up
the compound.
Petrol, burning paper trails,
evidence, that sort of thing.
‐ Yeah, sure.
Could be that too.
♪ ♪
Visual ID matches Sharif.
Checking the body.
[dramatic music]
Death is recent.
Looking for wires.
♪ ♪
Clear.
♪ ♪
Got something here.
‐ What have you got?
‐ Could just be
winning lottery numbers.
♪ ♪
[gunfire,
men shouting in language]
‐ Contact for us!
‐ Come on, move!
Exfil to vehicle.
[gunfire]
[dramatic music]
♪ ♪
‐ Incoming vehicle.
[gunfire]
‐ Shit!
Contact, rear.
♪ ♪
‐ Fuck, he's moving to the left!
♪ ♪
‐ Hold on!
‐ [grunts]
[engine revs]
‐ Come on.
♪ ♪
‐ Hostiles still incoming!
[gunfire]
‐ Shit.
‐ Shit, they're gonna ram us!
‐ [cries out]
[gunfire]
‐ Target down!
Fuck, Wyatt, that's a cliff!
‐ Hold on!
[tires squealing]
[all shout]
[all screaming]
- [van creaks]
- Oh, Jesus.
‐ All right.
Nobody move.
‐ Copy that.
‐ I am gonna try and back us up.
Real slow.
‐ Yep.
Really slow.
‐ [grunts]
‐ Fuck.
[engine revving]
‐ Come on, come on, come on.
[engine revving]
[van creaks]
Whoa!
‐ Stop!
Stop!
‐ Okay, okay!
I've stopped!
- It's okay.
- I've stopped.
[van creaking]
‐ New plan.
Very, very gently, everyone,
shift some body weight
towards the rear of the van.
‐ Copy.
‐ Let's just try and move
this center of gravity.
Here we go.
[van creaking]
[all screaming]
‐ Shit!
Can we please just stop moving
and let's think
this fucking thing through.
[van creaking]
‐ [laughs]
‐ What the fuck
are you laughing at?
‐ Mac used to hate when I drive.
He always said I was...
[as Mac]
"A fucking terrible driver."
[laughs]
‐ You're not a terrible driver.
A terrible driver
would've taken us
all the way over the edge.
‐ [laughing] Bloody hell, boss.
‐ Shh.
Easy, easy.
‐ It's a compliment.
‐ [laughing quietly] Stop...
Stop making me laugh.
‐ Sergeant McAllister
was very opinionated.
‐ Oh, yeah.
Yeah, he certainly was.
‐ Okay, then.
New plan.
[tense music]
♪ ♪
Coordinated exit strategy.
Novin.
Give me your hand.
♪ ♪
[music building]
‐ Come on, short stuff.
Easy, easy.
‐ On three,
we all move.
One, two...
[gunshot]
‐ Shit!
[gunfire]
- Move!
- Go, go, go!
‐ Go, go!
[van creaks]
[gunfire]
[booming]
[gunshots]
[distant explosion]
‐ Anyone mind if I drive?
‐ Zero, I'm about to send you
some numbers.
See what you make of them.
‐ Copy that.
[engine turns over]
‐ Well?
What have we got?
‐ They're phone numbers
for now‐defunct burner phones.
Some of them are from Bosnia,
a few from Munich.
‐ Sharif guy had 'em
written down for a reason.
What's his record like?
‐ Exactly like you'd expect.
‐ What does that mean?
‐ It's almost too generic,
as if he wasn't supposed
to stand out.
I don't know.
Maybe I'm just being paranoid.
‐ Maybe.
You could also be right,
Spacebar.
‐ These final three numbers
are linked to Albania.
‐ That could be back
from when Zayef and his brother
were working with the Demachis,
right?
‐ What if it's more recent?
Hold on.
Facial recognition's
been running
on CCTV feeds from around
the Schwarzer Tempel estate.
Obviously, they cut off
when Imperiya is deployed
and before Sergeant McAllister
arrives.
[dramatic music]
‐ It's okay.
Go on.
‐ Um... so currently,
the search parameters are based
on the terror database,
but we could expand them
to include organized crime
as well.
It's worth a shot, isn't it?
‐ Well,
that's definitely paranoid.
♪ ♪
But also right.
♪ ♪
‐ Loric Demachi.
Fuck off.
‐ How long was that
before the cameras went down?
‐ 43 minutes.
‐ So the son of the mafia boss
that Mac killed
just happened to be in the area?
‐ I agree.
That's too much
of a coincidence.
Zayef, the Demachis,
we have our lead.
Loric Demachi is our new Alpha.
‐ I like the old house better.
Arianna, the Four Uncles
have come to a decision
regarding your family's future.
Your family will be absorbed
into the others.
Your assets
will be divided equally
amongst the Uncles
and their kin.
Of course, you will be
financially compensated.
‐ You're ending my family?
‐ Think of it as evolution.
Survival of the fittest.
‐ The elders of the pack
eaten by the young.
Maybe he should watch his back.
‐ Maybe you should watch
your fucking tone.
Your father was ashamed of you.
You are nothing
compared to the Four Uncles.
[phone buzzes]
‐ Three.
It's Three Uncles now.
[phone buzzes]
Two.
What do you think
we've been doing all this time
since my husband's death?
[gunshots]
While you sit there
telling us
how the world is going to be,
we have been changing it
for ourselves.
[dramatic music]
♪ ♪
‐ You should've
paid your men more.
‐ My men are loyal.
Arjan has been my bodyguard
for many years.
Arjan.
Arjan!
You don't have money
to sustain it, huh?
‐ Oh, but we will.
‐ Arianna, please.
You can't wipe us all out.
‐ Of course not.
We need one of you alive.
‐ Hmm.
‐ Just not you.
‐ [grunting]
♪ ♪
[neck snaps]
♪ ♪
‐ [speaking foreign language]
‐ [speaks foreign language]
‐ Hello, Daniel.
How are you?
‐ I'm in a bathrobe
with my own people
holding me at gunpoint,
but I'm still alive,
which means you want something.
- You know what I want.
- [laughs]
Come on.
Do you think you are
the first person to try this?
‐ I'm the first person
to get this far.
‐ We are not New York
or London, Arianna.
Our families are small,
and this war of yours will
be very short and very ugly.
‐ Which is why I'm giving you
the chance to cooperate.
‐ At first, I'll retreat,
regroup,
and then wipe you and your spawn
off the face of the planet.
So thank you for your offer,
but no.
‐ Ah.
Oh.
Oof.
[gunshots]
[both cry out]
‐ [coughing]
[gunshot]
♪ ♪
‐ His name is Daniel Kalmedi.
Arms dealer.
Reportedly has one
of the largest stockpiles
of guns in the Balkans.
My contacts
in the Albanian police say
that he's the only family head
connected to Arianna
that was spared.
- Where is he now?
- He's on the run.
‐ So maybe the weapons
are Arianna's goal.
In fact, maybe,
she's securing 'em for Zayef.
So why don't we skip
the bullshit
and just go straight for her?
‐ Well, the Demachis went
to ground after Edon's death,
so we don't have
a current location for her.
We may have one
for Kalmedi, though.
These are all of his
known aliases,
and this one here
just got flagged
requesting clearance
for a private jet
to leave Tepelene Airfield
in Albania.
‐ I don't know.
A lot of ifs
and a lot of big buts.
‐ Well, the link is solid.
So come on, let's get a plan
of extraction in order.
‐ But you're not sure.
‐ I think it has potential,
and I think the team need this.
‐ The team.
Of course.
‐ Look, I made it clear
to Sergeant McAllister
that should anything go wrong
back in Munich,
then it would be his fault.
‐ Because he let Mahir go
at the gas station.
‐ Something like that, yes.
You get to know your soldiers.
What buttons to press,
push, pull.
I was hard on him,
made him take
responsibility for it...
and as good as drove him
to his death.
‐ Alexander, this
is what happened last time.
This is how you fell apart.
You lost some men,
personalized the guilt.
‐ Because it is
fucking personal.
I'm their commanding officer,
for fuck's sake.
‐ Then act like one,
because the Americans have
shared some breaking intel.
Whispers from jihadist cells
in Europe
talk of Zayef promising
to arm and unite them.
‐ And if this arms cache
of Kalmedi's
factors into that, then...
‐ We've been worried
about lone‐wolf attacks,
knives and trucks,
but if these arms
slip through the Balkan routes,
we'll have terror cells
with military‐grade weapons
in every single city in Europe.
Munich will seem like nothing
compared to what happens next.
So pull your team together.
Make Sergeant McAllister's
death count for something.
What?
‐ You've been doing that
a lot lately.
A little nudge here,
a nudge there.
It's not necessary.
‐ Well, maybe there's
a bloody flag on a coffin,
and I'm thinking
of the poor boy inside.
‐ Yeah.
Sorry.
All right.
20.
Prep to move out.
We have our target.
[dramatic music]
[radio chatter]
[solemn music]
♪ ♪
‐ It must be nice.
All those groups around Europe,
bowing before you,
one by one.
The great Zayef.
You've come a long way.
You remember
when we were children?
Hiding in the crawlspace
under the house...
as the soldiers' boots
walked past.
I kept you alive.
I'm in hell, brother.
♪ ♪
I'm in hell,
and you put me here.
[glass shatters]
[dramatic music]
♪ ♪
‐ Do we have your attention?
[car whooshes past]
‐ Yes.
Of course.
You were saying
there is a delay.
‐ Kalmedi is being difficult.
‐ Do we need him?
‐ We need the container codes
for the arms cache.
‐ But you have another way.
‐ I do, but it's noisier.
‐ I don't mind noise.
‐ That's not a good thing.
‐ I don't think your boy here
trusts me.
‐ Maybe because your brother
tried to kill his father.
‐ I'm not my brother,
and he's not his father.
I need these weapons,
and you need the millions
Mahir kindly left me.
There are Western soldiers
in the Balkans.
This may be our last time
to get the things we want.
‐ And I want
the other British soldiers.
The ones who were part
of my husband's death.
♪ ♪
‐ How the hell
are they doing this?
‐ They're promoting
the top lieutenants
of each family
into positions of power.
The greater control,
the greater profits.
Think of this
as a very hostile takeover.
‐ Ah.
What's New York saying?
‐ Ah, New York's not interested.
They see this
as a local dispute.
- A dispute?
- Yeah.
‐ [laughs] Jesus Christ.
‐ Well, uh, you could
give the Demachis
access to your arms supplies.
I mean, you would still have
the casinos, the bookmakers‐‐
‐ No.
‐ I'm telling you this
as your lawyer.
It is the only option
you've got.
Just give them
the container codes, Daniel.
‐ [chuckles]
Oh, great.
They got to you too.
‐ It's all business.
‐ I thought we were friends,
Marianna.
‐ It's Maria.
‐ Whatever.
[ominous music]
Those people out there,
they're meant
to take me alive, hmm?
‐ Initially, yes,
but that wasn't my point.
‐ I'm not sure I'm requiring
your legal services anymore,
Maria.
[gunshot]
[men speaking indistinctly]
[gunfire, shouting]
[intense music]
♪ ♪
[tires squeal]
[shouting in language]
[gunfire]
♪ ♪
- Who the fuck are you?
- Down, down!
‐ Fuck!
[gunfire]
[dramatic music]
♪ ♪
‐ Fall back
to the extraction point.
‐ Chetri!
[gunfire]
[grunts]
‐ Move out!
‐ Go!
[gunfire]
♪ ♪
‐ Our vehicle's
two minutes away.
Cooperate, and we'll get you
medical care.
[gunfire]
‐ Couldn't you have parked
closer?
[gunfire]
‐ Couldn't you have been shot
later?
♪ ♪
‐ Where is your arms cache?
‐ These Demachi fucks
are trying to shoot me,
and I won't tell them,
so what makes you think
I'll talk to you?
‐ Self‐preservation.
You're badly wounded.
You won't last.
‐ You've got about 15 minutes
until exsanguination.
‐ [chuckling] Exsanguination?
Did you fuck a dictionary
on the way to work this morning?
‐ It's the technical term
for bleeding to death.
‐ You are too late.
This was the easy way,
and as I didn't cooperate,
they'll do it the hard way.
‐ And what exactly is that?
‐ They want my cache codes...
by any means necessary.
[foreboding music]
♪ ♪
‐ [shouting in foreign language]
[people screaming]
♪ ♪
[man speaking foreign language]
[man speaking foreign language]
♪ ♪
[suspenseful music]
♪ ♪
‐ [grunting]
No, no, no.
I can't.
I'm fucking dying, here.
‐ Boss, this asshole's
going nowhere.
‐ I'll bring the vehicle around.
‐ All right, I've got your six.
- [grunting]
- You'll die without our help.
‐ Okay, okay.
The guns are kept
in shipping containers,
but you need the codes
to locate them.
‐ Which you are going to give
to my soldier here
if you wanna live.
♪ ♪
‐ So what do you need
the guns for?
‐ It will be 25 years
since the massacres
in my village,
so maybe I just want the West
to understand
how that feels, you know?
Every major city,
same day, same hour.
Firearms
in their familiar streets.
Bodies of their loved ones
just lying in the roads.
Or maybe I just like guns,
you know?
[buzzing]
- You see anything?
- Nah.
Nah.
Got a clear run.
Wait.
Incoming hostiles,
northeast corner.
♪ ♪
Two Tangos.
Three more.
Oh, fuck.
Call it a shitload.
[distant shouting]
♪ ♪
‐ All right, I say we got
about 20 seconds
to hit them before they hit us.
- Moving.
- Moving.
Go.
[gunfire]
‐ Lance Corporal,
we're moving out.
Quick.
[gunfire]
‐ [grunting]
[gunfire and shouting]
‐ Move!
[dramatic music]
♪ ♪
‐ Changing.
‐ Codes, now.
♪ ♪
‐ What do you got?
‐ Ten more incoming.
‐ Loric.
[tense music]
I know.
‐ Know what?
‐ About your father.
♪ ♪
Before my brother died,
he told me many things,
like how the people
he was working for
gave him money, information,
anything that could help.
Like the fact that you betrayed
your father for the British.
‐ That's a fucking lie.
[dramatic music]
‐ Don't hide from‐‐ ‐ I mean it!
Not another word.
♪ ♪
‐ We both killed
the ones we loved‐‐
your father,
my brother‐‐
and it's...
it's a gift.
Once you lose
the things you love...
♪ ♪
As they're ripped
from your life,
there's nothing they can take
from you anymore,
and you become invincible.
You become the destroyer
of all around you.
♪ ♪
‐ I can't see it as a gift.
‐ Are we good?
- [siren wailing]
- We got the container codes.
Yeah, we're good.
[screaming, shouting]
[gunfire]
[people screaming]
♪ ♪
[siren blaring]
‐ This is all for nothing.
You'll be too late.
[device beeping]
‐ Boss, we're clear.
Heading your way.
‐ Copy that.
Well done.
‐ Codes check out.
Perbindesh Container Port
in Durres.
Verifying the information now.
‐ Come on.
Help me up.
[grunts]
Help me.
We had a deal.
‐ You sold guns and arms
all over Europe.
France, Slovenia,
Germany.
Now, I'm not saying
that your guns
killed my sergeant,
because that would make it
a very small world...
But I'm not discounting it.
‐ So what?
Are you going to kill me?
‐ No.
We said we'd help you.
So here's help.
One gun, one bullet.
‐ [laughs weakly]
Hey, listen.
Arianna could send more men.
[grunts]
This is murder.
‐ You're still alive.
[dramatic music]
♪ ♪
‐ We'll have the arms shipped
to your people in Marseilles.
Upon payment,
we'll release them to you.
‐ No.
I don't want them
out of my sight.
‐ Mr. Hajdari,
it's almost as if
you don't trust me.
‐ I pay you half now, 6 million,
and the rest on receipt.
Unless you have something
you want taken care of.
Another Uncle?
Or a family member?
‐ The money's all we want.
♪ ♪
‐ [breathing heavily]
♪ ♪
‐ Who taught you
to handle a gun like that, huh?
‐ Edon.
‐ [laughs]
You are a terrible liar.
‐ No, Daniel.
I'm a wonderful liar.
♪ ♪
‐ The soldiers will come
for you.
‐ I know.
I'm counting on it.
[dramatic music]
♪ ♪
‐ Wyatt, Novin, recce the port.
Find out what level
of security there is.
‐ We'll need to access
the database
in the shipping office
to locate the containers
that match Kalmedi's codes.
‐ Those containers are huge.
There's gonna be
a shitload of guns.
‐ Yeah, which is why
we need to secure them.
‐ Or we use 'em as bait.
We keep tracking
those shipments,
they lead us all the way
to Zayef.
‐ What, and then lose them
and inadvertently help
one of the world's most
prominent terrorists
arm hundreds of cells
across Europe?
‐ I don't remember
asking you a question.
There's a chain of command here.
‐ Yes, there is.
I didn't ask for a discussion.
I asked for a recce.
[ominous music]
♪ ♪
‐ Checking left.
‐ Checking right.
‐ Very smooth, by the way.
"There's a chain of command."
‐ I have workers
and general security.
I have no visible threats.
And I wasn't being an asshole.
‐ I wasn't saying you were.
Although if you have
to qualify it...
There are offices at the back.
They're exposed,
but nothing we can't handle.
‐ Boss is wrong, by the way.
We should be using
these shipments
to draw Zayef out.
♪ ♪
'Cause until we get him,
there's a part of me that's
stuck in those fucking towers.
And I just go over it all,
again and again.
What if we'd driven faster?
What if we'd got up
those stairs quicker?
What if‐‐ ‐ Stop it!
Fucking stop.
I was the one
that let him go off alone,
and to hear you talk shit
like this‐‐
you are Bravo One now!
♪ ♪
‐ We have zero threats in sight.
Do you confirm?
♪ ♪
Lance Corporal, do you confirm?
‐ Confirmed.
♪ ♪
‐ Let's go.
[suspenseful music]
♪ ♪
[phone chimes]
‐ Sir?
Kalmedi's phone.
There's a message.
It says for you to call.
‐ Me?
♪ ♪
Yes?
‐ Alexander Coltrane.
My name is Arianna Demachi.
I wanted to explain myself.
‐ That's not necessary.
‐ You're English.
My husband did not like
the English.
‐ Very sorry to hear that,
but that's his loss.
‐ I never wanted to marry Edon.
It was business.
So to find it turning
into something true
was wonderful.
Are you familiar
with our customs?
The Hakmarrja.
‐ What, the blood feud
vendetta thing?
Yeah.
‐ And it's not a choice.
It is an obligation to the dead.
With the passing
of your sergeant,
I'm sure you understand.
I just wanted you to know
exactly why you deserve
all that is coming to you.
‐ We need to get out of here
now.
[tires squeal]
Back up, come on.
Go, go, go!
[dramatic music]
‐ Shit!
‐ Go, go!
[engine revving]
‐ Oh, God.
[tires squeal]
- Get down!
- Down!
- [gunfire]
- Down, Chetri, quick!
‐ Not good!
[glass shattering]
[gunfire]
♪ ♪
‐ Fuck, it's a kill box!
[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 ♪
♪ ♪
[engine revving]
♪ (DRAMATIC MUSIC PLAYS) ♪
ALEXANDER COLTRANE:
You want a war?
I will give you a war.
We will take you down.
We've just been handed
a kill order on Zayef.
We're not gonna follow it.
We take Zayef alive.
The CIA set me up as an excuse
for military action.
WOMAN: You told me Zayef Hijari
was dead.
Was that you lying to me?
Or your people lying to you?
MANISHA CHETRI:
We're on the black list.
They can do anything they want
to us.
♪ (MUSIC CONCLUDES) ♪
Military intelligence
has earmarked Sharif
as the link that will lead us
to Zayef.
Rendezvous with Bravo One
as soon as we approach.
Bravo One?
VERADA SETHU:
It's a punch in the gut.
There's only a three or four day
difference between
Munich when Mac dies
and then, you know,
they're moving straight on
to the next mission.
Sorry, it's just‐‐
Yes, I know,
McAllister's call sign.
We move on.
WOMAN: (OVER RADIO)
Bravo One, sitrep.
DANIEL MACPHERSON:
Yeah, we first see Wyatt
as a sniper doing recon
on these guys.
And you can see from
the first time we see him
that there's a rage burning
in those eyes.
Well, I hope you can see that
anyway. (CHUCKLES)
- MAN: Bravo One, distract now.
- Copy.
(GUNFIRE)
JACK LOTHIAN: I think the thing
with this section is
they've never really had
to deal with grief like this
before losing one of their own.
Hold on!
LOTHIAN: So, it's very much
a family who are in denial
about death and kind of push on
and deal with it
in their own ways.
Ways which usually involve,
sort of gunfire,
explosions and violence.
Which is why
when they finally end up
hanging over the edge
of a cliff...
- (TIRES SCREECHING)
- (GRUNTING)
it's the one time they can
sort of take a breath
and discuss what's happened.
(SCREAMING)
That was really cool.
I remember the actual cliff
being like, 20 meters high.
John Strickland,
the director at the time,
didn't dissuade us from going
to the humorous place
for some, you know,
eccentric body language
as we're dangling off
the edge of this thing.
I am gonna try and back us up.
So, I think at one point
Coltrane had like, his leg up
on the roof and Novin was like,
with her face on the windscreen.
I think the director,
John Strickland, was like,
"Ah, maybe not that steep."
- Real slow.
- Yeah, really slow.
Secretly, I've discovered
Novin has a fear of heights.
It's really what cracks me up
about this job
because sometimes it's so big
that people say,
"Ah, that's CGI."
There was nothing green‐screened
about that.
(CHUCKLING)
And also, talking about Mac
in the most inopportune moment.
What the fuck
are you laughing at?
Mac used to hate when I'd drive.
(CHUCKLES)
He always said I was
a fucking terrible driver.
ALEXANDER COLTRANE:
You're not a terrible driver.
A terrible driver would've
taken us all the way
over the edge.
(CHUCKLES) Bloody hell.
And again, I love Jack's writing
of going,
"This is the moment where you're
gonna choose to talk about it,"
which is the most
precarious moment you can find.
It's where you've got
a van stuck,
teetering on the edge
of a cliff.
"Well, let's talk about
our lost buddy."
And then, bang!
The side mirror gets shot out.
And we're back on mission
and we're off.
♪ (GRUNGE MUSIC PLAYS) ♪
You can walk away from this.
No can do.
You went after my family.
Yeah, and you went after mine.
ARIANNA DEMACHI:
We shall not rest
until each and every single one
of them is dead.
(GUNSHOT)
- (GROANS)
- What did they promise you?
- I did everything to help you.
- I don't think so.
- Everyone, get back!
- MAN: Help me, please.
The team is inbound.
Hold on, Mac, hold on.
Here he is!
Hey, you need to stay with us,
bro.
Don't you leave me.
‐(SOBBING) ‐He's gone.
[engine revving]
[tapping]
‐ [grunting softly]
[blades whirring]
[dramatic music]
♪ ♪
‐ As you know,
there has been a reluctance
to sanction
any military intervention
against insurgent groups
in Bosnia.
Parliament, Congress,
the Bundestag‐‐
nobody has wanted to be drawn
into another war in the region.
Post‐Munich, however,
attitudes have changed.
Operation Black Mountain,
a series of coordinated strikes
on insurgent outposts.
This is the one
that concerns us.
It's reportedly
one of Zayef Hajdari's
main training camps.
Colonel Coltrane.
[tense music]
‐ This is our Alpha One
for this operation.
Riad Sharif.
He's a low‐level moneyman
in Zayef's organization.
He's to be captured
and extracted.
‐ What about Zayef...
sir?
When do we get a shot at him?
‐ Military intelligence
has earmarked Sharif
as the link that will lead us
to Zayef.
‐ I understand
that for some of you,
this is personal.
I promise you,
Zayef Hajdari will not
get away with what he's done.
20 years of the mujahideen
and Saudis
backing insurgents
in the region,
the heart of terror in Europe.
But you don't need the speech.
You've all seen Munich.
We hit hard and we hit fast.
Kit up.
Move out.
All: Yes, sir.
♪ ♪
‐ Rendezvous with Bravo One
as soon as we approach.
‐ Bravo One?
Sergeant Wyatt.
Sorry, it's just‐‐
‐ Yes, I know.
McAllister's call sign.
We move on.
‐ Yes, sir.
Good luck.
♪ ♪
[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 ♪
[tense music]
♪ ♪
[distant shouting]
♪ ♪
‐ Bravo One.
Sitrep.
‐ I have a current count
of 30 Tangos.
They're armed.
There's a possible ops room
over to the east.
♪ ♪
I have no eyes on Alpha.
♪ ♪
Although...
‐ Although?
♪ ♪
Bravo One.
♪ ♪
Bravo One, do you copy?
♪ ♪
‐ It's nothing.
‐ Shield team inbound,
five klicks.
- Prep for arrival.
- Copy that.
[dramatic music]
‐ Bravo One, distract now.
‐ Copy.
♪ ♪
[shrapnel whooshes]
[men shouting
in foreign language]
♪ ♪
[gunshot]
♪ ♪
[gunfire]
[screaming]
[shouting in foreign language]
♪ ♪
[gunfire]
[shouting in foreign language]
‐ Moving.
[gunfire]
♪ ♪
‐ [shouts]
♪ ♪
‐ Move out.
Go.
Rendezvous with Bravo One.
[distant gunfire]
[gunfire]
- You okay?
- Never better.
I had eyes
on a suspected ops room.
It's on the far east side
of the compound.
‐ Proceed.
- Moving!
- Go!
♪ ♪
[gunfire, shouting]
‐ [shouts]
- Take us down!
- I'll take left!
‐ Contact left and right.
Watch your flanks.
‐ Got it!
[gunfire, shouting]
‐ Just like old times.
- Moving!
- Stay on my shoulder.
‐ Hold!
[gunfire]
‐ They're over right.
‐ Move up.
♪ ♪
‐ Go!
‐ Move! Go!
‐ Move!
♪ ♪
‐ Ops room right there.
50 yards.
‐ Okay.
Cover.
[distant shouting, gunfire]
♪ ♪
- Got a runner.
- Eh?
‐ Could be Zayef.
‐ Wyatt!
♪ ♪
Damn it.
Get out there!
[gunfire]
[grunts]
Wyatt!
♪ ♪
[gunfire, shouting]
♪ ♪
Taking heavy fire here!
[gunfire]
♪ ♪
[gunfire]
‐ [cries out]
♪ ♪
[gunfire]
[intense ambient music]
‐ Don't move!
Don't you fucking move.
♪ ♪
‐ [panting]
[distant gunfire]
♪ ♪
‐ [cries out]
[dark music]
♪ ♪
‐ Go.
‐ Don't move.
♪ ♪
‐ Second room clear.
‐ Hold your fire.
‐ We're not here for you.
‐ Riad Sharif, where is he?
‐ He left.
This morning.
He has a cabin to the north.
‐ Here's a map.
Mark it on the map.
[distant gunfire]
‐ Th‐‐this place.
♪ ♪
‐ Zayef, where is he?
- I don't know Zayef.
- Where is he?
‐ I don't know!
‐ James, I suggest
we take a step back.
‐ It's okay.
He knows it's not worth it.
Close the lighter.
‐ I promise I don't know.
♪ ♪
‐ Okay.
I believe you.
This what you want?
‐ No.
‐ Know what?
I'll even give you a chance.
- [gunshots]
- [grunts]
‐ Bravo, where the fuck are you?
‐ I'm out the back.
Southeast side of the compound.
[gunshots]
[both men grunt]
‐ Wyatt, come in.
Wyatt, come in!
‐ Close the lighter.
[music building]
♪ ♪
- [gunshot]
- Move, move, move!
[booming]
‐ [coughing]
[grunts]
[coughing]
‐ [coughing]
‐ Sorry.
[dramatic music]
‐ [grunting]
♪ ♪
Oh, fuck.
You son of a bitch.
‐ Wyatt!
- Wyatt.
- [groans]
I'm fine.
Vest took it.
‐ Fucking arsehole!
‐ Well, yeah, I'm okay.
Thank you for your concern.
‐ You left me exposed.
‐ Bullshit.
I told you I was moving.
‐ Tell me I'm bullshit
one more time.
Go on, I fucking dare you!
‐ I apologize
for any miscommunication,
Lance Corporal.
♪ ♪
So you wanna talk about it?
Like, really talk about it?
[somber music]
♪ ♪
‐ Got any leads
on this Sharif guy?
♪ ♪
‐ Got a location.
Get that to Chetri.
Hit it while it's hot.
♪ ♪
‐ No matches for Sharif
amongst the captives.
One of my team
does have a possible lead
on a location, though.
Here, let me have
a look at that.
‐ [grunts] It's nothing.
I've had worse in Glasgow
on a Saturday night.
‐ You've been commanding a desk
for 20 years.
Now all of a sudden,
here you are,
active on a mission,
dust on your boots.
Come on, James.
Tell me what's really
going on here.
‐ You know what it's like.
You've been deskbound.
Everything comes down
a phone line,
and you feel so bloody helpless.
‐ I didn't mind it so much.
It curbed
some of my worst instincts.
‐ I can't change
what happened in Munich,
but I can change
whatever's coming next.
‐ You're a bloody liability.
Go home.
‐ Get me something on Sharif.
Something for the analysts
to comb over.
Do that, and you'll get
your shot at Zayef.
‐ I'm not here for revenge.
[tense music]
♪ ♪
‐ Apologies, boss.
A certain dickhead blew up
all the decent vehicles.
‐ This dickhead's driving.
Get in.
Let's go.
♪ ♪
‐ There's a corresponding
structure
to the one marked
on Bravo One's map.
Highlighting it
on your GPSs now.
‐ All right, take a left here.
[brakes squeak]
‐ Think I saw movement.
[distant music playing]
The hell is that?
‐ Music.
- Right. Let's keep going.
- Huh.
[soft music playing on radio]
♪ ♪
‐ Hold.
- Smell that?
- Checking perimeter.
‐ Yeah, that's gasoline.
I'm guessing he's rigged.
‐ They were cleaning up
the compound.
Petrol, burning paper trails,
evidence, that sort of thing.
‐ Yeah, sure.
Could be that too.
♪ ♪
Visual ID matches Sharif.
Checking the body.
[dramatic music]
Death is recent.
Looking for wires.
♪ ♪
Clear.
♪ ♪
Got something here.
‐ What have you got?
‐ Could just be
winning lottery numbers.
♪ ♪
[gunfire,
men shouting in language]
‐ Contact for us!
‐ Come on, move!
Exfil to vehicle.
[gunfire]
[dramatic music]
♪ ♪
‐ Incoming vehicle.
[gunfire]
‐ Shit!
Contact, rear.
♪ ♪
‐ Fuck, he's moving to the left!
♪ ♪
‐ Hold on!
‐ [grunts]
[engine revs]
‐ Come on.
♪ ♪
‐ Hostiles still incoming!
[gunfire]
‐ Shit.
‐ Shit, they're gonna ram us!
‐ [cries out]
[gunfire]
‐ Target down!
Fuck, Wyatt, that's a cliff!
‐ Hold on!
[tires squealing]
[all shout]
[all screaming]
- [van creaks]
- Oh, Jesus.
‐ All right.
Nobody move.
‐ Copy that.
‐ I am gonna try and back us up.
Real slow.
‐ Yep.
Really slow.
‐ [grunts]
‐ Fuck.
[engine revving]
‐ Come on, come on, come on.
[engine revving]
[van creaks]
Whoa!
‐ Stop!
Stop!
‐ Okay, okay!
I've stopped!
- It's okay.
- I've stopped.
[van creaking]
‐ New plan.
Very, very gently, everyone,
shift some body weight
towards the rear of the van.
‐ Copy.
‐ Let's just try and move
this center of gravity.
Here we go.
[van creaking]
[all screaming]
‐ Shit!
Can we please just stop moving
and let's think
this fucking thing through.
[van creaking]
‐ [laughs]
‐ What the fuck
are you laughing at?
‐ Mac used to hate when I drive.
He always said I was...
[as Mac]
"A fucking terrible driver."
[laughs]
‐ You're not a terrible driver.
A terrible driver
would've taken us
all the way over the edge.
‐ [laughing] Bloody hell, boss.
‐ Shh.
Easy, easy.
‐ It's a compliment.
‐ [laughing quietly] Stop...
Stop making me laugh.
‐ Sergeant McAllister
was very opinionated.
‐ Oh, yeah.
Yeah, he certainly was.
‐ Okay, then.
New plan.
[tense music]
♪ ♪
Coordinated exit strategy.
Novin.
Give me your hand.
♪ ♪
[music building]
‐ Come on, short stuff.
Easy, easy.
‐ On three,
we all move.
One, two...
[gunshot]
‐ Shit!
[gunfire]
- Move!
- Go, go, go!
‐ Go, go!
[van creaks]
[gunfire]
[booming]
[gunshots]
[distant explosion]
‐ Anyone mind if I drive?
‐ Zero, I'm about to send you
some numbers.
See what you make of them.
‐ Copy that.
[engine turns over]
‐ Well?
What have we got?
‐ They're phone numbers
for now‐defunct burner phones.
Some of them are from Bosnia,
a few from Munich.
‐ Sharif guy had 'em
written down for a reason.
What's his record like?
‐ Exactly like you'd expect.
‐ What does that mean?
‐ It's almost too generic,
as if he wasn't supposed
to stand out.
I don't know.
Maybe I'm just being paranoid.
‐ Maybe.
You could also be right,
Spacebar.
‐ These final three numbers
are linked to Albania.
‐ That could be back
from when Zayef and his brother
were working with the Demachis,
right?
‐ What if it's more recent?
Hold on.
Facial recognition's
been running
on CCTV feeds from around
the Schwarzer Tempel estate.
Obviously, they cut off
when Imperiya is deployed
and before Sergeant McAllister
arrives.
[dramatic music]
‐ It's okay.
Go on.
‐ Um... so currently,
the search parameters are based
on the terror database,
but we could expand them
to include organized crime
as well.
It's worth a shot, isn't it?
‐ Well,
that's definitely paranoid.
♪ ♪
But also right.
♪ ♪
‐ Loric Demachi.
Fuck off.
‐ How long was that
before the cameras went down?
‐ 43 minutes.
‐ So the son of the mafia boss
that Mac killed
just happened to be in the area?
‐ I agree.
That's too much
of a coincidence.
Zayef, the Demachis,
we have our lead.
Loric Demachi is our new Alpha.
‐ I like the old house better.
Arianna, the Four Uncles
have come to a decision
regarding your family's future.
Your family will be absorbed
into the others.
Your assets
will be divided equally
amongst the Uncles
and their kin.
Of course, you will be
financially compensated.
‐ You're ending my family?
‐ Think of it as evolution.
Survival of the fittest.
‐ The elders of the pack
eaten by the young.
Maybe he should watch his back.
‐ Maybe you should watch
your fucking tone.
Your father was ashamed of you.
You are nothing
compared to the Four Uncles.
[phone buzzes]
‐ Three.
It's Three Uncles now.
[phone buzzes]
Two.
What do you think
we've been doing all this time
since my husband's death?
[gunshots]
While you sit there
telling us
how the world is going to be,
we have been changing it
for ourselves.
[dramatic music]
♪ ♪
‐ You should've
paid your men more.
‐ My men are loyal.
Arjan has been my bodyguard
for many years.
Arjan.
Arjan!
You don't have money
to sustain it, huh?
‐ Oh, but we will.
‐ Arianna, please.
You can't wipe us all out.
‐ Of course not.
We need one of you alive.
‐ Hmm.
‐ Just not you.
‐ [grunting]
♪ ♪
[neck snaps]
♪ ♪
‐ [speaking foreign language]
‐ [speaks foreign language]
‐ Hello, Daniel.
How are you?
‐ I'm in a bathrobe
with my own people
holding me at gunpoint,
but I'm still alive,
which means you want something.
- You know what I want.
- [laughs]
Come on.
Do you think you are
the first person to try this?
‐ I'm the first person
to get this far.
‐ We are not New York
or London, Arianna.
Our families are small,
and this war of yours will
be very short and very ugly.
‐ Which is why I'm giving you
the chance to cooperate.
‐ At first, I'll retreat,
regroup,
and then wipe you and your spawn
off the face of the planet.
So thank you for your offer,
but no.
‐ Ah.
Oh.
Oof.
[gunshots]
[both cry out]
‐ [coughing]
[gunshot]
♪ ♪
‐ His name is Daniel Kalmedi.
Arms dealer.
Reportedly has one
of the largest stockpiles
of guns in the Balkans.
My contacts
in the Albanian police say
that he's the only family head
connected to Arianna
that was spared.
- Where is he now?
- He's on the run.
‐ So maybe the weapons
are Arianna's goal.
In fact, maybe,
she's securing 'em for Zayef.
So why don't we skip
the bullshit
and just go straight for her?
‐ Well, the Demachis went
to ground after Edon's death,
so we don't have
a current location for her.
We may have one
for Kalmedi, though.
These are all of his
known aliases,
and this one here
just got flagged
requesting clearance
for a private jet
to leave Tepelene Airfield
in Albania.
‐ I don't know.
A lot of ifs
and a lot of big buts.
‐ Well, the link is solid.
So come on, let's get a plan
of extraction in order.
‐ But you're not sure.
‐ I think it has potential,
and I think the team need this.
‐ The team.
Of course.
‐ Look, I made it clear
to Sergeant McAllister
that should anything go wrong
back in Munich,
then it would be his fault.
‐ Because he let Mahir go
at the gas station.
‐ Something like that, yes.
You get to know your soldiers.
What buttons to press,
push, pull.
I was hard on him,
made him take
responsibility for it...
and as good as drove him
to his death.
‐ Alexander, this
is what happened last time.
This is how you fell apart.
You lost some men,
personalized the guilt.
‐ Because it is
fucking personal.
I'm their commanding officer,
for fuck's sake.
‐ Then act like one,
because the Americans have
shared some breaking intel.
Whispers from jihadist cells
in Europe
talk of Zayef promising
to arm and unite them.
‐ And if this arms cache
of Kalmedi's
factors into that, then...
‐ We've been worried
about lone‐wolf attacks,
knives and trucks,
but if these arms
slip through the Balkan routes,
we'll have terror cells
with military‐grade weapons
in every single city in Europe.
Munich will seem like nothing
compared to what happens next.
So pull your team together.
Make Sergeant McAllister's
death count for something.
What?
‐ You've been doing that
a lot lately.
A little nudge here,
a nudge there.
It's not necessary.
‐ Well, maybe there's
a bloody flag on a coffin,
and I'm thinking
of the poor boy inside.
‐ Yeah.
Sorry.
All right.
20.
Prep to move out.
We have our target.
[dramatic music]
[radio chatter]
[solemn music]
♪ ♪
‐ It must be nice.
All those groups around Europe,
bowing before you,
one by one.
The great Zayef.
You've come a long way.
You remember
when we were children?
Hiding in the crawlspace
under the house...
as the soldiers' boots
walked past.
I kept you alive.
I'm in hell, brother.
♪ ♪
I'm in hell,
and you put me here.
[glass shatters]
[dramatic music]
♪ ♪
‐ Do we have your attention?
[car whooshes past]
‐ Yes.
Of course.
You were saying
there is a delay.
‐ Kalmedi is being difficult.
‐ Do we need him?
‐ We need the container codes
for the arms cache.
‐ But you have another way.
‐ I do, but it's noisier.
‐ I don't mind noise.
‐ That's not a good thing.
‐ I don't think your boy here
trusts me.
‐ Maybe because your brother
tried to kill his father.
‐ I'm not my brother,
and he's not his father.
I need these weapons,
and you need the millions
Mahir kindly left me.
There are Western soldiers
in the Balkans.
This may be our last time
to get the things we want.
‐ And I want
the other British soldiers.
The ones who were part
of my husband's death.
♪ ♪
‐ How the hell
are they doing this?
‐ They're promoting
the top lieutenants
of each family
into positions of power.
The greater control,
the greater profits.
Think of this
as a very hostile takeover.
‐ Ah.
What's New York saying?
‐ Ah, New York's not interested.
They see this
as a local dispute.
- A dispute?
- Yeah.
‐ [laughs] Jesus Christ.
‐ Well, uh, you could
give the Demachis
access to your arms supplies.
I mean, you would still have
the casinos, the bookmakers‐‐
‐ No.
‐ I'm telling you this
as your lawyer.
It is the only option
you've got.
Just give them
the container codes, Daniel.
‐ [chuckles]
Oh, great.
They got to you too.
‐ It's all business.
‐ I thought we were friends,
Marianna.
‐ It's Maria.
‐ Whatever.
[ominous music]
Those people out there,
they're meant
to take me alive, hmm?
‐ Initially, yes,
but that wasn't my point.
‐ I'm not sure I'm requiring
your legal services anymore,
Maria.
[gunshot]
[men speaking indistinctly]
[gunfire, shouting]
[intense music]
♪ ♪
[tires squeal]
[shouting in language]
[gunfire]
♪ ♪
- Who the fuck are you?
- Down, down!
‐ Fuck!
[gunfire]
[dramatic music]
♪ ♪
‐ Fall back
to the extraction point.
‐ Chetri!
[gunfire]
[grunts]
‐ Move out!
‐ Go!
[gunfire]
♪ ♪
‐ Our vehicle's
two minutes away.
Cooperate, and we'll get you
medical care.
[gunfire]
‐ Couldn't you have parked
closer?
[gunfire]
‐ Couldn't you have been shot
later?
♪ ♪
‐ Where is your arms cache?
‐ These Demachi fucks
are trying to shoot me,
and I won't tell them,
so what makes you think
I'll talk to you?
‐ Self‐preservation.
You're badly wounded.
You won't last.
‐ You've got about 15 minutes
until exsanguination.
‐ [chuckling] Exsanguination?
Did you fuck a dictionary
on the way to work this morning?
‐ It's the technical term
for bleeding to death.
‐ You are too late.
This was the easy way,
and as I didn't cooperate,
they'll do it the hard way.
‐ And what exactly is that?
‐ They want my cache codes...
by any means necessary.
[foreboding music]
♪ ♪
‐ [shouting in foreign language]
[people screaming]
♪ ♪
[man speaking foreign language]
[man speaking foreign language]
♪ ♪
[suspenseful music]
♪ ♪
‐ [grunting]
No, no, no.
I can't.
I'm fucking dying, here.
‐ Boss, this asshole's
going nowhere.
‐ I'll bring the vehicle around.
‐ All right, I've got your six.
- [grunting]
- You'll die without our help.
‐ Okay, okay.
The guns are kept
in shipping containers,
but you need the codes
to locate them.
‐ Which you are going to give
to my soldier here
if you wanna live.
♪ ♪
‐ So what do you need
the guns for?
‐ It will be 25 years
since the massacres
in my village,
so maybe I just want the West
to understand
how that feels, you know?
Every major city,
same day, same hour.
Firearms
in their familiar streets.
Bodies of their loved ones
just lying in the roads.
Or maybe I just like guns,
you know?
[buzzing]
- You see anything?
- Nah.
Nah.
Got a clear run.
Wait.
Incoming hostiles,
northeast corner.
♪ ♪
Two Tangos.
Three more.
Oh, fuck.
Call it a shitload.
[distant shouting]
♪ ♪
‐ All right, I say we got
about 20 seconds
to hit them before they hit us.
- Moving.
- Moving.
Go.
[gunfire]
‐ Lance Corporal,
we're moving out.
Quick.
[gunfire]
‐ [grunting]
[gunfire and shouting]
‐ Move!
[dramatic music]
♪ ♪
‐ Changing.
‐ Codes, now.
♪ ♪
‐ What do you got?
‐ Ten more incoming.
‐ Loric.
[tense music]
I know.
‐ Know what?
‐ About your father.
♪ ♪
Before my brother died,
he told me many things,
like how the people
he was working for
gave him money, information,
anything that could help.
Like the fact that you betrayed
your father for the British.
‐ That's a fucking lie.
[dramatic music]
‐ Don't hide from‐‐ ‐ I mean it!
Not another word.
♪ ♪
‐ We both killed
the ones we loved‐‐
your father,
my brother‐‐
and it's...
it's a gift.
Once you lose
the things you love...
♪ ♪
As they're ripped
from your life,
there's nothing they can take
from you anymore,
and you become invincible.
You become the destroyer
of all around you.
♪ ♪
‐ I can't see it as a gift.
‐ Are we good?
- [siren wailing]
- We got the container codes.
Yeah, we're good.
[screaming, shouting]
[gunfire]
[people screaming]
♪ ♪
[siren blaring]
‐ This is all for nothing.
You'll be too late.
[device beeping]
‐ Boss, we're clear.
Heading your way.
‐ Copy that.
Well done.
‐ Codes check out.
Perbindesh Container Port
in Durres.
Verifying the information now.
‐ Come on.
Help me up.
[grunts]
Help me.
We had a deal.
‐ You sold guns and arms
all over Europe.
France, Slovenia,
Germany.
Now, I'm not saying
that your guns
killed my sergeant,
because that would make it
a very small world...
But I'm not discounting it.
‐ So what?
Are you going to kill me?
‐ No.
We said we'd help you.
So here's help.
One gun, one bullet.
‐ [laughs weakly]
Hey, listen.
Arianna could send more men.
[grunts]
This is murder.
‐ You're still alive.
[dramatic music]
♪ ♪
‐ We'll have the arms shipped
to your people in Marseilles.
Upon payment,
we'll release them to you.
‐ No.
I don't want them
out of my sight.
‐ Mr. Hajdari,
it's almost as if
you don't trust me.
‐ I pay you half now, 6 million,
and the rest on receipt.
Unless you have something
you want taken care of.
Another Uncle?
Or a family member?
‐ The money's all we want.
♪ ♪
‐ [breathing heavily]
♪ ♪
‐ Who taught you
to handle a gun like that, huh?
‐ Edon.
‐ [laughs]
You are a terrible liar.
‐ No, Daniel.
I'm a wonderful liar.
♪ ♪
‐ The soldiers will come
for you.
‐ I know.
I'm counting on it.
[dramatic music]
♪ ♪
‐ Wyatt, Novin, recce the port.
Find out what level
of security there is.
‐ We'll need to access
the database
in the shipping office
to locate the containers
that match Kalmedi's codes.
‐ Those containers are huge.
There's gonna be
a shitload of guns.
‐ Yeah, which is why
we need to secure them.
‐ Or we use 'em as bait.
We keep tracking
those shipments,
they lead us all the way
to Zayef.
‐ What, and then lose them
and inadvertently help
one of the world's most
prominent terrorists
arm hundreds of cells
across Europe?
‐ I don't remember
asking you a question.
There's a chain of command here.
‐ Yes, there is.
I didn't ask for a discussion.
I asked for a recce.
[ominous music]
♪ ♪
‐ Checking left.
‐ Checking right.
‐ Very smooth, by the way.
"There's a chain of command."
‐ I have workers
and general security.
I have no visible threats.
And I wasn't being an asshole.
‐ I wasn't saying you were.
Although if you have
to qualify it...
There are offices at the back.
They're exposed,
but nothing we can't handle.
‐ Boss is wrong, by the way.
We should be using
these shipments
to draw Zayef out.
♪ ♪
'Cause until we get him,
there's a part of me that's
stuck in those fucking towers.
And I just go over it all,
again and again.
What if we'd driven faster?
What if we'd got up
those stairs quicker?
What if‐‐ ‐ Stop it!
Fucking stop.
I was the one
that let him go off alone,
and to hear you talk shit
like this‐‐
you are Bravo One now!
♪ ♪
‐ We have zero threats in sight.
Do you confirm?
♪ ♪
Lance Corporal, do you confirm?
‐ Confirmed.
♪ ♪
‐ Let's go.
[suspenseful music]
♪ ♪
[phone chimes]
‐ Sir?
Kalmedi's phone.
There's a message.
It says for you to call.
‐ Me?
♪ ♪
Yes?
‐ Alexander Coltrane.
My name is Arianna Demachi.
I wanted to explain myself.
‐ That's not necessary.
‐ You're English.
My husband did not like
the English.
‐ Very sorry to hear that,
but that's his loss.
‐ I never wanted to marry Edon.
It was business.
So to find it turning
into something true
was wonderful.
Are you familiar
with our customs?
The Hakmarrja.
‐ What, the blood feud
vendetta thing?
Yeah.
‐ And it's not a choice.
It is an obligation to the dead.
With the passing
of your sergeant,
I'm sure you understand.
I just wanted you to know
exactly why you deserve
all that is coming to you.
‐ We need to get out of here
now.
[tires squeal]
Back up, come on.
Go, go, go!
[dramatic music]
‐ Shit!
‐ Go, go!
[engine revving]
‐ Oh, God.
[tires squeal]
- Get down!
- Down!
- [gunfire]
- Down, Chetri, quick!
‐ Not good!
[glass shattering]
[gunfire]
♪ ♪
‐ Fuck, it's a kill box!
[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 ♪
♪ ♪
[engine revving]
♪ (DRAMATIC MUSIC PLAYS) ♪
ALEXANDER COLTRANE:
You want a war?
I will give you a war.
We will take you down.
We've just been handed
a kill order on Zayef.
We're not gonna follow it.
We take Zayef alive.
The CIA set me up as an excuse
for military action.
WOMAN: You told me Zayef Hijari
was dead.
Was that you lying to me?
Or your people lying to you?
MANISHA CHETRI:
We're on the black list.
They can do anything they want
to us.
♪ (MUSIC CONCLUDES) ♪
Military intelligence
has earmarked Sharif
as the link that will lead us
to Zayef.
Rendezvous with Bravo One
as soon as we approach.
Bravo One?
VERADA SETHU:
It's a punch in the gut.
There's only a three or four day
difference between
Munich when Mac dies
and then, you know,
they're moving straight on
to the next mission.
Sorry, it's just‐‐
Yes, I know,
McAllister's call sign.
We move on.
WOMAN: (OVER RADIO)
Bravo One, sitrep.
DANIEL MACPHERSON:
Yeah, we first see Wyatt
as a sniper doing recon
on these guys.
And you can see from
the first time we see him
that there's a rage burning
in those eyes.
Well, I hope you can see that
anyway. (CHUCKLES)
- MAN: Bravo One, distract now.
- Copy.
(GUNFIRE)
JACK LOTHIAN: I think the thing
with this section is
they've never really had
to deal with grief like this
before losing one of their own.
Hold on!
LOTHIAN: So, it's very much
a family who are in denial
about death and kind of push on
and deal with it
in their own ways.
Ways which usually involve,
sort of gunfire,
explosions and violence.
Which is why
when they finally end up
hanging over the edge
of a cliff...
- (TIRES SCREECHING)
- (GRUNTING)
it's the one time they can
sort of take a breath
and discuss what's happened.
(SCREAMING)
That was really cool.
I remember the actual cliff
being like, 20 meters high.
John Strickland,
the director at the time,
didn't dissuade us from going
to the humorous place
for some, you know,
eccentric body language
as we're dangling off
the edge of this thing.
I am gonna try and back us up.
So, I think at one point
Coltrane had like, his leg up
on the roof and Novin was like,
with her face on the windscreen.
I think the director,
John Strickland, was like,
"Ah, maybe not that steep."
- Real slow.
- Yeah, really slow.
Secretly, I've discovered
Novin has a fear of heights.
It's really what cracks me up
about this job
because sometimes it's so big
that people say,
"Ah, that's CGI."
There was nothing green‐screened
about that.
(CHUCKLING)
And also, talking about Mac
in the most inopportune moment.
What the fuck
are you laughing at?
Mac used to hate when I'd drive.
(CHUCKLES)
He always said I was
a fucking terrible driver.
ALEXANDER COLTRANE:
You're not a terrible driver.
A terrible driver would've
taken us all the way
over the edge.
(CHUCKLES) Bloody hell.
And again, I love Jack's writing
of going,
"This is the moment where you're
gonna choose to talk about it,"
which is the most
precarious moment you can find.
It's where you've got
a van stuck,
teetering on the edge
of a cliff.
"Well, let's talk about
our lost buddy."
And then, bang!
The side mirror gets shot out.
And we're back on mission
and we're off.
♪ (GRUNGE MUSIC PLAYS) ♪