![]() It’s a matter of time before Zak and Sarah carry out their attack but there’s still no indication of their target.Īs they continue their investigation, they question whether Aziz knew something about the suspects’ plans and if that was why he was stabbed. The stakes are increased when the police and pathologists realise a terrorist cell is active in London, and Waite raises the threat level to substantial. Her doubts become much more pronounced across the duration of the episode and the question of whether she has it in her is asked. This is very much Sarah’s story and the script drums up a lot of sympathy for her situation as she’s consistently torn between her ideals and her unequivocal love for her child. ‘Maybe that’s how they found me?’ Sarah asks with a hint of desperation in her voice. Sarah tells Zak that she got the money to come back through drug trafficking. Sarah’s on the run with Zak Latif and their baby as they hastily return to their hideout and the plans for their jihadism step up a gear. It’s a cruel twist for Thomas who might just have found someone at last. ‘Just,’ is Nikki’s reply and a shadow of doubt hangs over Nina’s chances of survival. ‘Is she alive?’ He asks, very obviously shattered by the sudden turn of events. It heats up in the second part of ‘Flight’ as Thomas arrives on the scene. However, there’s a shocking end to the first part when Nina is shot. There’s an immediate spark between them and they’re later shown to be getting to know one another and it comes of no surprise when they end up in bed together. DCI Michael Waite attempts to goad her, ‘you never wanted revenge for that?’ to which Alma Begovic replies, ‘what would taking revenge achieve?’ It’s a powerful scene that shows the divide between mother and daughter and how this one terrible event set them both on different paths.Įlsewhere it seems as if a happy romance may be blossoming between Thomas and, this week’s DI, Nina Ryman. Sarah’s mother is taken in for questioning and, inevitably, the discussion turns to the massacre she and her children escaped. The knock on effect of these events, including the Iraq war, shows the ease in which terrorist propaganda can spread and gain new believers. It relentlessly underpins this tale and, in the 1995 Bosnian massacre, shows a causal link between past events and the problems of the present. Graham Mitchell’s script is particularly upfront with dialogue such as, ‘he’s called Muhammad, he must be about to detonate,’ summing up how deeply the issue of race runs under current society. There’s a lot of social commentary in this episode which centres around current UK attitudes towards terrorism, race, Muslims and refugees coming into the country. ![]() It’s quickly established that Sarah has smuggled heroin into the country and she’s later suspected of being involved in terrorist activities. ![]() It’s a harrowing opening which takes its inspiration from the real life Bosnian massacre.īack in the present, an adult Sarah arrives in London with a baby in tow. It’s a politically charged outing this week as the Lyell team investigate the murder of Amir Aziz, a Muslim man with a strong connection to the community.īefore the main thread of the story begins we’re taken to Bosnia, in 1995, where a young Sarah Begovic witnesses the murder of her father.
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