The role of a special adviser in British politics is complicated — but Roadkill star Iain de Caestecker does quick work of explaining the job, and his character, Duncan Knock, in a charming interview. As to whether or not viewers should trust Duncan? Well, that’s still a secret.
Jace Lacob: I’m Jace Lacob, and you’re listening to MASTERPIECE Studio.
Peter Laurence has ascended to the role of Justice Minister, and he’s made it clear to the British public that he intends to enact major reforms in the country’s prison system.
Journalist Don’t you believe in locking people up?
Peter Someone should be asking the question, why are we wasting so much public money, on a policy that’s not working? Of putting so much people in prison, in particular so many women in prison.
Jace But if any change is possible in the Ministry of Justice, it will first have to get past the desk of Laurence’s trusted special adviser, Duncan Knock.
Vanessa Am I butting into something non-governmental? Is that what you’re saying?
Duncan No. Not at all.
Vanessa I know he trusts you.
Vanessa Then carry on.
Jace Like most special advisers, Knock knows everything about Laurence — what he did and where he went and most importantly, what he’s hiding — and he lets some crumbs slip to the Prime Minister’s own special adviser, too.
Duncan Peter was a bit spooked. One day a prisoner comes forward to say he has a daughter, and then the next day he’s made minister of justice.
Julia Oh I see. Are you asking –
Duncan I suppose I’m asking whether she knew.
Julia Well of course she knew. I told her.
Jace Iain de Caestecker is perfectly oily in the role of Knock, and he joins us here to discuss special advisers, political realities, and prosthetic noses on the MASTERPIECE horizon.
Jace This week we are joined by Roadkill star Iain de Caestecker. Welcome.
Iain Hello! Thanks for having me.
Jace You were coming off of a seven year run as Leopold Fitz on Marvel’s Agents of S.H.I.E.L.D. What attracted you initially to the role of Duncan Knock in Roadkill?
Iain Yes, actually that’s a good question, because actually that’s what that was one of the things is it’s such that character specifically is very different from that character I’ve been playing for six years, however long it was. I loved playing that. I loved playing Leopold Fitz. And he had a lot of probably qualities that I would hope to have in myself, but don’t probably. He’s an admirable, moral person. Whereas this character, Duncan Knock, in Roadkill, is perhaps somebody less admirable. He, as of kind of a lot of players in this, he’s he’s kind of self-motivated, a lot of his, what he does and how he conducts himself and the moves that he makes in the kind of political chess game are self-motivated. He’s kind of looking., he’s got one eye on the future.
Jace He’s definitely not as altruistic, I’ll say, as a character, I mean, you did play a villainous version of Fitz in the framework, but Duncan definitely falls into more of a potentially villainous category. I mean, coming off of Fitz, was that a conscious decision that you were looking to sort of play a role that was maybe more morally flexible?
Iain I think those things are subconsciously in you…I think that I’m very lucky, I think on the one hand, I have my agent-managers and things who always seem to just send me things. They seem to be ten steps ahead of me and seem to know what I would like to do next before I know. But I think subconsciously there is that for whatever reason, you might not actively go out searching for it. But when it comes and when you see in front of you something about it instantly strikes a chord with you. This one’s a little bit different as well because you kind of go, you know, the character was, for instance, for the sake of argument we’re having, if he was very similar to Fitz and and that was a sort character I had played before, that, you know, but I was looking for something different. This is different because you couldn’t turn this project down, it’s David Hare and Hugh Laurie. Just to be a part of that in any context is a very exciting prospect.
Jace There’s not a lot of detail given about Duncan in Sir David Hare’s script for the first episode. He writes, ‘He’s 30s, slim, obsessive. Once you were brought in, where did the decision to make Duncan Scottish come from?
Iain Yeah, you know weirdly enough, I originally I think I auditioned in an English accent, and luckily we were at the read-through before it, and I just asked, because Michael, our director, is Scottish as well, and I just asked right before I was like, ‘So I’m doing an English accent then?’ and they were like, ‘No, no — Scottish.’ So it was almost kind of a decision that was made a tiny bit without me. I guess Michael had a conversation with David, I think, before to go that route. And I think it’s just emblematic of, you know, in government, you know, there’s people from all over the U.K. and different kind of regions and accents from all over different areas. So I think it’s there’s probably to exemplify that.
Jace I mean, I love the fact that he is Scottish, surrounded by these these very English politicians. It makes Duncan a bit of an outlier. And I think it sort of colors his dynamic with Peter Lawrence, who’s also an outsider of a sort.
Duncan Whups! We’ve been sumonsed to Downing Street.
Peter Sumsoned? Is that the same as summoned? Or is it better or worse?
Jace What do you make of the Duncan-Peter Lawrence relationship, which feels somewhat familial at times?
Iain Yes, it is. It’s interesting you say that as well, because that was something, saying before, there’s a weird kind of at some points, there’s a weird kind of married couple thing with them. But he’s got a very close working relationship with Peter Laurence. There is a loyalty between them because I think on the one hand, he truly admires the type of the politician Peter is. But also there’s a loyalty there because he knows where the metaphorical bodies are buried as well. He’s kind of come up through the ranks with Peter. But at the same time, like I say, that with the idea in mind, again, of being self-motivated, I do think he constantly has his sights set on climbing the political ladder. And I think he quite cleverly sees as his ticket to the top. So there’s you know, within that loyalty, like I say, there is a degree of self-motivation. Yeah, he’s bound to Peter by secrets they share, I think. It gives him a degree of security and that. Yeah, it gives him a degree of security but I suppose it might ultimately end up being his downfall. In that he gets, I think he gets too kind of comfortable in the fact that he’s safe.
Jace A lot of your scenes in Roadkill are with Hugh Laurie, which then sort of begs the question, what was it like working so closely with Hugh Laurie on this?
Iain Oh, it was really fantastic. I really cherished my time with him. I mean, he’s kind of just everything you want him to be. I guess. He’s very, very funny, quick-witted, very smart, likes to get kind of into conversations about wide-ranging of topics. And just very personable and welcoming. And also, I just found for me on set, he was, he would always be very professional, set Wannstedt when, you know, when the cameras start rolling, he’s on it. I never saw him ever forget a line, you know, he was always kind of on point. And he would also just come up with great ideas, you know, and kind of hand them over to me for a little bit, which were always very often better than mine. And he would kind of give them over to me. So, yeah, I really loved working with him.
Jace There is an oiliness to Duncan that I love, he seems very at home within the world of politics, I’ll say. What is your take on the character, and more importantly, do you feel that David Hare’s script reserves judgment on him?
Iain So Duncan is as the special adviser to Hugh Laurie’s character, Peter Laurence, who’s the politician at the center of the story. And Duncan, a special adviser as well. I should also mention for anybody unfamiliar with that, which I have to say with me, when we started, but a special adviser, it’s quite a controversial role within government because they are able to be politically motivated and yet they are not voted in by the public. They are essentially employed by the government. So it’s just quite a contentious role, I think already and I think Duncan kind of almost enjoys the power of that a little bit. And, yeah, he’s very ambitious. He’s very young. He’s really intelligent. But like I said, I think sometimes he’s a bit too smart for his own good. And yeah, I think he’s quite happy to indulge in all the political chess games, if it means that will further his ascent up the ladder.
Jace Does does the script reserve judgment on Duncan or does it sort of issue a rebuke about his behavior?
Iain Yeah, I mean, one thing I really like about David Hare’s writing, and in particular in this, is that his writing is kind of circumstantial, there’s no story in the characters, and he kind of puts the facts and the story in front of you, and he leaves up the audience to make up your mind, which especially for something which is a political drama, I just think that’s a great angle to come out it on. And you know, what I always found interesting about this is, you get to see all the inner workings of a of a governing party in power, but yet, it’s not, I don’t think David’s writing it with an agenda in mind and coming out at a, ‘This is why this is the opinion I want to make,’ he kind of just tells the story and puts it out there. So I think that with Duncan, I think it’s hard to say too much without giving too much away. But I think it’s the same thing with Duncan. I think he just, he puts, he shows you all the different players and he shows you the power struggles between them.
Jace You mentioned the fact that they’re bound by secrets. What can you tease about the skeletons that appear to be in Duncan and Peter’s closet? What are they hiding?
Iain Yes, they are hiding something. I think that we see that Duncan has, is that he’s in bed with the enemy, essentially. We find out at the end of episode one, I believe, that he is having a having a relationship with Julia, who is the Prime Minister’s, Dawn’s, special adviser. And he’s obviously, actually what happens there is that he thinks there’s a level of trust between the two of them. That it’s a safe space. And effectively, he’s telling her things or talking about work with her, things about Peter. And that’s being passed on to Dawn.
Duncan Look, you and I, we tell each other stuff. But we also ringfence stuff, don’t we? And this whole thing with the illegitimate daughter, I actually, I remember ringfencing. I’m sure I did.
Julia I don’t remember that.
Duncan I’m wondering what this relationship means to you.
Julia Are you saying you don’t want to see me any more?
Jace Duncan is is romantically or at least sexually involved with Julia. He thinks that by, quote, ringfencing certain aspects of the job or Peter’s life, they’re hands-off for Julia, which clearly isn’t the case. Do these two conspirators have their own agendas?
Iain Absolutely. I think they’re slightly different in that, I think Duncan, with her, I think he is truly just absolutely infatuated with Julia. I think actually it’s I think that’s what I found quite fun with those scenes, with her, portraying a, showing a side of Duncan where we see him in the work space, and then those power struggle moments where he feels like he’s in his element and he’s cocksure and he’s arrogant and and with Julia, we see all those layers just wiped away. He’s a big sap in front of her. And actually, there’s a very, very real possibility that she could be his downfall, but she’s his blind spot, I guess. And so the dynamics of that relationship, I think, in reality are very different than what he has made himself to believe.
Jace I love the scene in bed between the two of them because it points to just how fraught their affair is. It’s Julia who told Dawn about Peter’s daughter. They’re passing information between each other. But to whose benefit ultimately is that, is it Peter’s? Is it Dawn’s? How much is Duncan underestimating Julia here, failing to see her own thirst for power?
Iain Oh, big time. He completely underestimates her. But and also, like I say, it comes from a place of her being his blindspot. He thinks that the relationship they are in is legitimate. I think he thinks that she as into him as he is to her. And I think actually she, we learn from a scene like that that we get a taste of the fact that she is a lot more, she’s a lot smarter and cunning than Duncan is giving her credit for.
Jace I mean, do you think it is blindness, or is it some even unconscious misogyny operating here on Duncan’s part, that he, he sees her as a woman and therefore she couldn’t be as clever and manipulative as he is?
Iain Absolutely. Yeah. Yeah, that’s that’s I would reckon that would be a big part of it as well. But I think that at the same time, if he, if he was outside of that looking in that moment when they were in bed and they had that conversation where she basically confesses that she passed info on to Dawn, and it wasn’t, you know, the conversation of him talking about ringfencing when they talk about work, she has just broken that code. And from the outside, he would see someone and probably say, get out of there now. But his infatuation for her seems to override his natural instincts, which would be usually in most situations be like, oh, I need to get out of this situation.
Jace Peter Laurence projects this salt of the earth confidence, but there’s a fastidiousness to him that’s really surprising him complaining about how dirty the car is or getting angry because Duncan is eating an apple while talking to him. How do you see this element of Peter’s character? Is that the true Peter behind this sort of projection of the common working man?
Iain Yeah, yeah. He’s a really I mean, he’s such a fascinating character, I think, because on the one hand, he is that, he’s a man of the people. He’s unconventional and he’s not from the, you’d say, a typical political background. And I think that’s why there’s a there’s a degree of popularity around him. And yet, on the other hand, there are all these unanswered questions surrounding his private and past life. You know, there’s always kind of, there’s just murky things in his past that it doesn’t seem to be, he kind of portrays himself as being very honest and saying what he thinks. And yet there’s this there’s a secretive about side of him. So he has an interesting character there.
Jace You touched upon the sort of secrets emerging. It’s Duncan, not Peter, who learns of the existence of a potential third daughter. How coincidental does Duncan see this revelation being on the heels of Peter’s defamation trial?
Iain Yeah, that’s exactly it, I mean, he does he sees it being a big problem. I also think, what’s happened after that defamation trial is, ‘He’s kind of gone. Oh, I, I helped fix this. And so here’s another one. I know the best thing to do here. I’m going to get on top of this before it becomes an issue,’ I think he thinks here that, ‘Peter doesn’t know how to handle this, I do.’ And actually, you know, that to be where his big downfall comes as well as he goes behind Peter’s back, essentially, he pursues investigations into Peter’s supposed daughter against Peter’s wishes. And even if he’s ultimately correct in his analysis, he is going behind Peter’s back, which could be a big mistake,.
Jace Which is so interesting, because he does meet with Steff before Peter’s meeting with her. He doesn’t tell Peter that he’s already met with her. What does Duncan make of Steff, who’s acting as a proxy for Peter’s alleged daughter?
Iain Yeah, I think with Duncan, he just all is as the as the political chess game of it, like scandals and how to fix them. I think he almost personally kind of revels in it. He feels like he’s in that element in it. And that’s also one of the geniuses of David’s writing, of setting the story of his. Yeah. From the start it’s unsure where exactly Duncan’s intentions lie, whether how much he’s doing this for Peter, for Peter’s own good in the long run or whether he’s doing it to better himself, it’s quite unclear. Or whether he’s made a mistake in chasing down investigations into Peter’s daughter.
Jace I mean, his whole M.O. seems to be that he’s a problem solver, not a problem maker, and so he’s going to sort of deal with this. But in dealing with it, he actually creates a bigger problem, shining a light on something sort of makes it more apparent. And the fact that Peter then goes to visit Shephill prison and then there’s a riot at that same prison. It’s a very curious chain of events. Within 24 hours of his visit, there is a prison riot. Guards are injured. How related are these events, and how much of this is coincidence, or to put a kind of conspiracy theory hat on, I mean, is someone pulling strings here?
Iain Well, yeah, that’s kind of a side to it that you can’t help when you watch. As you look at it, I think there’s an element to both of them. And for that point of view, with Duncan and Peter, when that comes up, I think from Duncan’s point of view, I think he’s so cocksure. And after what’s happened, obviously with the libel case, I think he just has an air of feeling like he’s invincible a little bit that this can get done. And everyone’s on the up, Dawn’s calling him, she’s doing a reshuffle where he’s going to be getting a big new role. It looks like he’s being a foreign secretary, I think. And so with Duncan, I think he just thinks he’s the smartest person in the room, but in reality, there are a lot of players that are a lot smarter than him, and also things are much bigger than he probably gives them credit for.
Jace Before this next question, let’s take a quick break to hear a word from our sponsors…
Jace Peter Laurence’s line, quote,
Peter I have always been a rule breaker. People like me because I break the rules, that’s my appeal, that’s my USP.
Duncan I hope you’re right, Minister.
Peter Voters think I’m a character and they’d rather be ruled by characters than by zombies.
Jace Gave me the shivers. What’s your take on that line of dialog? And is there an inherent truth to what David here is saying in 2020?
Iain Yes, I think you’re right, I think there are, of course, that there are there are obvious comparisons you could point to. But I also think that that opinion is of Peter Lawrence, that character, who has formed. He has that opinion and that’s it that’s got to go back to saying, that’s the kind of the hypocrisy of him sometimes, is, on the one hand, he portrays himself as a man of the people and being different from most politicians and being straight talking and being honest with people, and yet at the same time, he’s aware of how being like that is playing a political chess game, if that makes sense. So it’s kind of a there’s a there’s a hypocrisy between the two things, I think.
Jace There is a sense that with all of this, Duncan is playing with fire — he’s going behind Peter’s back, he’s trying to minimize damage, but also engineering a DNA link between Peter and an incarcerated prisoner. Is there a sense at all in the next two episodes that this might lead to Duncan becoming, well, political road kill himself?
Iain Yes, totally. He’s going down a very dangerous path. It seems like. And it’s and it seems to be it seems to be gaining. It seems to be gaining traction faster and faster. You know, one problem leads to another problem. And I think he, because of his, because in some ways arrogance, he thinks that I can fix this. And I know, and I’m the person who’s going to do it. And actually, if he was to just hav ecome to Peter the right way with it, he probably would have himself in a much better position.
Jace Peter tells Duncan,
Peter Justice is not a nation, Duncan. It’s a department of state, and a badly run one at that. What’s the one thing you and I have learned? You get away with anything if you just brazen it out.
Jace Does Duncan actually believe this himself? Isn’t there this fear that whatever it is that they did will eventually come out?
Iain Yes, and that’s totally what it is. No, I don’t think he does believe that. I think in that scene as well. It’s at a point where Duncan wants to go one way with it and Peter wants to go the other way. And this is where this is probably the moment, really, that scene where, quite a big turning point, because Peter essentially says, I don’t, my wish to not as to as to not pursue the investigation into my alleged daughter and Duncan, he does he goes against Peter’s wishes behind his back from a place of going, ‘I think I know what I’m doing is right. I think I’m you’ll thank me for this.’ But actually, he’s broken a code, he’s broken a code between the two of them and that unspoken code that, you know, you don’t go against Peter, you know, you don’t underestimate him.
Jace I mean, Peter is in many ways Teflon, everything slides off of him. That is not the case for Duncan. Are we seeing in some fashion the the education of Duncan Knock here in these four episodes?
Iain Yeah, yeah. I think that’s a really good way to put it, is that is exact thing. I think there’s an element to the he is a point where you see him like he’s a little bit of a lamb to a slaughter. Though at certain points you can, on the one hand you’ve got a lot of his problems are of his own making, but at the same time, he’s a victim of the political chess games that go on in that world.
Jace I mean, along those lines, Peter’s statement seems to be a shorthand for the series itself, that it doesn’t matter what politicians do today, so long as they don’t apologize and stick it out. Is it a statement that apologies themselves can be seen as weakness?
Iain Gosh, yeah, I don’t know, it’s a good question, I mean. I think like, again, like I’d say with Peter, it kind of goes back to that same thing of he has two, that’s what makes him such an interesting character, are those two opposing forces in them. Of the one of saying, well, how much does he really believe about being honest and being, you know, not being the typical politician and actually being someone that can relate to public and voters in a very genuine way, and how much of it is he doing that because he knows that that’s that’s a tactic? I just find that quite an interesting thing, the kind of opposing opposing thing within him
Jace Duncan believes justice will always win because classical literature says it will. Is that notion challenged, if not by Roadkill, then also by recent events in the real world? Is our insistent belief that good always triumphs over again? Is our insistent belief that good always triumphs over evil based more in literature than in life?
Iain Yeah, I think that’s a really good question. I’d say probably yeah. I think that’s what you know, as the series goes on, I think that’s a really good point. I think that’s kind of one of the themes in it, you see. And and how as well like in politics, it’s not always enough just to it seems like it’s not always enough just to to come in with strong sets of morals and want to do the right thing. There’s a whole game involved with a whole system set up, mechanisms that that don’t cater to that. So yeah, I think that’s a really good point.
Jace Obviously, no spoilers, but what can you tease about what’s coming up in these final two episodes of Roadlkill?
Iain Yeah, I mean, there’s going to be as has happened, I think with the first two episodes, there’s lots of twists and turns to come. Your opinions probably will change if people readily as more information or secrets get revealed. Yeah, there’s definitely some surprises coming up.
Jace I read that you came home to Scotland for your grandmother’s 90th birthday, and then the lockdown happened. Are you still in Scotland?
Iain No, I’m not Scotland anymore. I’m in London. But I was in Scotland for a while. Yeah, I came back, my gran’s 90th birthday. I was in America and I just came back for a week. And obviously we canceled my gran’s birthday because obviously a room full of 90-year olds dancing around would not be a good idea. But it all happened so quickly. So I ended up being when that initial lockdown happened for two months or so, I was my mum and her fiance, Brian, and it was great, actually. I have to say, like, weirdly enough, I just mean having, weirdly enough, to spend that time. My mum, my mum was working. She works for the NHS. She works in public health. So I was happy to be there and be around family at that time and be of any support to her whenever she needs it. Yeah.
Jace You’ve been acting since you were nine. Both your parents are doctors. What did they make of your decision to pursue acting professionally? And where did that desire come from?
Iain The desire came from my brother Callum, who he and I don’t know, I suppose I don’t really know exactly where he got it from, but I was just always everything he would do, I would just copy. So I think he decided one day he wanted to be an actor. And, I mean, he would he would basically find out about all these amazing movies, Martin Scorsese movies. And I mean, this is when we’re like eight. And he would get my mum to, it’d be well past our bedtime. So we’d either stay up, without my mum knowing, or we’d get my mum to record it. So when we were eight, we would watch like Goodfellas and stuff like that. And have the most outrageous nightmares afterwards. But it was when I look back on it now, I’m so thankful for that was kind of my introduction to cinema in that world. And yeah. And then Callum took a lot of drama classes. So of course, I’ll go too, and I got a part from something and then it just kind of snowballed from there. It was always just something I knew I wanted to do, which I feel very fortunate for. And yes, my mum was always very supportive. But she I think basically when I got to 16, I think she basically said, look, ‘Spend a year,’ because I was acting at that point and she said, ‘Spend a year. Please concentrate hard in school and try and get the grades to do medicine. And if you do and you still want to do it, I’ll support you all the way.’ And so I did. And I got the grades to do medicine. And still after that I said, look, I’d really like to pursue acting. And she was she was very just always been incredibly supportive of me.
Jace I love that. Your big break came in 2013 when you were cast supposedly on your first trip to L.A. as an actor, as Leopold Fitz in ABC’s Marvel’s Agents of S.H.I.E.L.D. What did you feel at the time being cast? And did you have any thoughts at the time that it would lead to a seven season stint on a broadcast network show in America?
Iain No, I had no idea. I think sometimes, it’s so long ago, and you create these stories, but as far as I remember, it was I arrived and they sent round pages for a scene that night and it said ‘Shield.’ And I thought I’d never seen it, but I knew there was a show called Shield. There is, isn’t it? Like it’s like a police show, right. Meant to be really good.
Jace Yes, a very brutal, brutal show.
Iain But I need to watch it. I’ve actually heard such good things about it. But I just thought this was an episode for this show. And then I went with the cast and then they phoned pretty quickly afterwards, ‘Joss Whedon wants to meet you.’ And I was like, ‘Why?’ So I didn’t really know what it was. You know, with Marvel, and all that stuff is so secretive. So it was all just a bit of a blur, really. Yeah. And it’s a very different model from being over here. Over here, you’ll shoot six episodes and, you know, you maybe sign up for one other series on top of that. Whereas this, you know, you kind of before you went in the and the last when you go in your screen test, essentially the last round, they just put like a book in front of you and say, sign this. And you don’t go in the room unless you unless you sign it.
Jace It’s crazy.
Iain Yeah it’s mad.
Jace Hugh Laurie has said about playing Gregory House for as long as he did on House that he felt like he was on a conveyor belt. Did you feel that the constantly shifting narrative on Agents of S.H.I.E.L.D. afforded you a different type of experience than you had in American television?
Iain Yeah, I mean, I had a great experience on it. Ultimately, when you do those things, I think the, I’m just going to say, like with this network TV, there is an element that, like there’s boundaries, there are a lot more visible there that you there’s just certain boundaries you’re not going to break. So the nature of the challenge changes, I think, in the perspective of it changes. And I mean, I feel very, very fortunate. It’s difficult too, I still don’t think I have enough hindsight over it to be completely objective. But I do think that one thing that just grows and grows is how in awe I am of the writers and all the crew on that show, I kind of can’t believe that we did it. Twenty-two episodes in nine months, we did that like five times five or six times, which is just crazy when I look back at. And how is that possible? And also the you know, the the really the one thing I will say about that show is like it grew from strength to strength every year, in my opinion. And they really took the characters in new directions and to the show in new directions every year. They didn’t they didn’t play it safe or rest on their laurels, you know, and I really respect that, and the writers and everyone on the production.
Jace You’ll appear next on MASTERPIECE in 2021 in the four-part drama, Us, where you don a prosthetic nose to play the younger version of Tom Hollander’s Douglas. What can you tell us about Us?
Iain Us is based on a David Nicholls’ book of the same name and yeah. So it follows a married couple, Douglas and Connie Peterson, and they have an 18-year old son. And at the beginning of the story, I’m not giving any way. It’s kind of the first intro to the story is Connie confesses to Douglas that she thinks the marriage is over and they’re arranged this last family trip around Europe before their son, Albey, flies the coop. And so Douglas sees it as a last opportunity to save his marriage. And and I Douglas in his younger years. So it cuts back between the two of them. And it’s interesting because you get to see whereas Douglas and Colony in the present, they are struggling with the idea of the end of their marriage, the flashbacks to the younger Douglas and Connie show how they first met and the origins in the context of their relationship and and ultimately how they got to the place where they are and where we find them at the start of the story in the present day.
Jace Iain de Caestecker, thank you so much.
Iain Thank you. Thank you very much. Thanks for having me.
Jace With two episodes of Roadkill left, Peter Laurence’s pathway to power seems more clear than ever. The only question is: will he get in his own way?
De Banzie Look, you once told me your motto, Peter.
Peter Did I? What was my motto?
De Banzie “Always put the past behind you.” That’s what you said. You’ve lived by that.
Sila Yes of course her death is tragic. But for you, it may be a stroke of luck. That’s all you need to know.
Jace Series creator Sir David Hare unpacks the final episode of Roadkill with us here, November 22.
MASTERPIECE Studio is hosted by me, Jace Lacob, and produced by Nick Andersen. Elisheba Ittoop is our editor. Rebecca Eaton is executive producer at large for MASTERPIECE. The executive producer of MASTERPIECE is Susanne Simpson.
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