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The police discover that Jennifer and Roy were involved in a prostitution ring. Roy was importing women through his travel agency, although business partner Lambert claims ignorance. Because he is related to a victim, Banks is taken off the case but D.I. Morton agrees to let him help in an advisory role, warning him he may be in danger. He seeks out Carmen, the face of the escort agency fronting the prostitution racket and finds that she is pregnant. That pregnancy, linked to a baby-selling arrangement, holds the key to the double murders.

Banks is called in to investigate the death of a mild-mannered accountant who appears to be the victim of a contract killing.

Banks defies orders by informally speaking to Martin Fleming on his own, though he gets no results. Tom Rothwell returns from America for his father's funeral and tells the police he fell out with his father after seeing him with another woman. Pamela identifies her attacker as a rough-looking Irishman named by police records as Arthur Jameson, an arms fan and former client of Norcliffe, but Jameson kills himself before he can be questioned. Following Tom's information, Banks discovers that the woman in question was not Pamela. The trail leads to a house where all is revealed - including a money laundering scheme which justifies Banks' suspicions. The case closed, Helen at last begins to integrate with the rest of the team.

Harry Friberg photographs a mysterious lightning in the water outside of Blockhusudden. The light turns out to flow over a murder.

After losing his job as a priest, Gösta Berling is included among the noblemen at Ekeby.

1918-1932, the great rebel filmmakers around the world. Novel and remarkable experiments in silent cinema; French impressionism and surrealism, German expressionism, Soviet, Japanese and Chinese cinematic innovation.

The Story of Film looks at the films of the 1930s and the development of "talking pictures". Sound requires the use of sound stages and this effects lighting and cinematography. It looks at Rouben Mamoulian's musical Love Me Tonight. It looks at the development of film genres in Hollywood: horror films, gangster films, musicals, westerns, comedies, and animated cartoons. It then looks overseas to look at the work of French filmmakers (Jean Cocteau, Jean Vigo, Marcel Carne, Jean Renoir), South American filmmakers (Mário Peixoto), Poland (Stefan and Franciszka Themerson), Germany (Leni Riefenstahl), and England (Hitchcock).

A military deserter finds love and trouble (and a small dog) in a foggy, French port city.

The dramatized account of the war crime trials following the defeat of Nazi Germany in World War II.

The life of Jesus Christ according to the Gospel of Matthew. Film shows Christ as a Marxist avant-la-lettre and therefore uses half of the text of Matthew.

A newspaper salesman at the train station in Cairo develops an unhealthy obsession with a woman who sells refreshments.

Former soldier and policeman Jackson Brodie becomes a private investigator.

A guide leads two men through an area known as the Zone to find a room that grants wishes.

The Story of Film looks at world cinema in the period of 1990-1998 the waning days of the celluloid era and the birth of the digital age. It first looks at the cinema of Asia and filmmakers in Iran (Samira Makhmalbaf, Mohsen Makhmalbaf, and Abbas Kiarostami), China (Wong Kar-wai), Taiwan (Tsai Ming-liang and Hou Hsiao-Hsien), Japan (Shinya Tsukamoto, Hideo Nakata, and Takashi Miike), Denmark (Lars von Trier), France (Mathieu Kassovitz, Bruno Dumont, and Claire Denis), Belgium (Jean-Pierre Dardenne and Luc Dardenne), Poland (Dorota Kedzierzawska), Russia (Viktor Kossakovsky), and Austria (Michael Haneke).

The Story of Film looks at cinema of the 1980s and examines how directors used movies to protest and speak truth to those in power. It first looks at film-makers in Communist China (Tian Zhuangzhuang, Chen Kaige, and Zhang Yimou) and examines Eastern Europran directors in Georgia (Tengiz Abuladze), the Soviet Union (Elem Klimov, Kira Muratova), and Poland (Krzysztof Kieslowski). It, then, discusses Africa cinema in Burkina Faso (Gaston Kabore) and Mali (Souleymane Cisse). In the United States, films are influenced by music video and the Cold War. It looks at the films of David Lynch, Spike Lee, John Sayles, and Maggie Renzi. In European protest filmmakers thrive in France (Luc Besson and Leos Carax), Spain (Pedro Almodovar and Víctor Erice), England (Stephen Frears, Terence Davies, Peter Greenaway, and Derek Jarman), Scotland (Bill Douglas and Bill Forsyth), Wales (Peter Greenaway), and Canada (David Cronenberg, Norman McLaren, and Denys Arcand).

The Story of Film: An Odyssey looks at the development of mainstream film in the 1970s and examines how such films were innovative. It first looks at the mainstream films of Hong Kong produced by Shaw Brothers Studio. It looks at the work of actor Bruce Lee and directors King Hu, John Woo, Yuen Woo-ping, and Tsui Hark. It then looks at the mainstream Bollywood films of India. It looks at the mega-hit Sholay (1975) and examines work of actress Sharmila Tagore, actor Amitabh Bachchan, and directors K. Asif, and Gulzar. It examines film in the Middle East. It discusses Moustapha Akkad's The Message (1976) and talks to Egyptian director Youssef Chahine. Finally, it looks at the blockbusters that transformed movie-making in the United States like Steven Spielberg's Jaws (1975), William Friedkin's The Exorcist (1973), and George Lucas's Star Wars: Episode IV - A New Hope (1977).

The Story of Film examines world cinema in the period of 1969-1979. It looks at the work of filmmakers in Germany (Wim Wenders, R. W. Fassbinder, Margarethe von Trotta, and Werner Herzog), Italy (Pier Paolo Pasolini and Bernardo Bertolucci), Britain (Ken Russell, Donald Cammell, and Nicolas Roeg), Australia (Peter Weir and Gillian Armstrong), and Japan (Noriaki Tsuchimoto and Kazuo Hara). It also looks at the development of Third Cinema which criticizes the commoditization of film and sees film as a way to fight social injustice. It looks at filmmakers from Algeria (Assia Djebar), Senegal (Ousmane Sembene, Djibril Diop Mambety, and Safi Faye), and Ethiopia (Haile Gerima). It also looks at Kurdish filmmaker Yilmaz Guney and Chilean directors Patricio Guzman and A lejandro Jodorowsky.

The Story of Film examines American cinema in the period of 1967-1979 also known as New American Cinema. Films of this time generally fell into three types: satirical films that mocked society and the times, dissident films that challenged the conventional style of cinema, and assimilationist films that rework old studio genres with new techniques. Satirical films include the work of Frank Tashlin, Buck Henry, Mike Nichols, Robert Altman, and Milos Forman. Dissident films include the work of Dennis Hopper, Robert Altman, Francis Ford Coppola, Martin Scorsese, Paul Schrader, Charles Burnett, and Woody Allen. Assimilationist films include the work of Peter Bogdanovich, Sam Peckinpah, and Terrence Malick. It also looks at the assimilationist classics Cabaret (1972), The Godfather (1972), and Chinatown (1974).

The Story of Film examines world cinema in the period of 1965-1969 when New Wave Cinema swept the world and gave rise to a whole new generation of filmmakers. It first looks at the work of director Roman Polanski before turning to Czech filmmakers Jiri Trnka, Milos Forman, and Vera Chytilova, It then looks at directors in Hungary (Miklos Jancso), the Soviet Union (Andrei Tarkovsky and Sergei Parajanov), Japan (Nagisa Oshima and Shohei Imamura), India (Ritwik Ghatak), Brazil (Glauber Rocha), Iran (Forugh Farrokhzad), and Senegal (Ousmane Sembene). It also examines director in England including Karel Reisz, Ken Loach, and Richard Lester. Finally it turns to America and a growing movement of innovative film-makers in the late 60s including Robert Drew, John Cassavetes, Alfred Hitchcock, Andy Warhol, Haskell Wexler, Dennis Hopper, and Stanley Kubrick.

Loretta Castorini, a bookkeeper from Brooklyn, New York, finds herself in a difficult situation when she falls for the brother of the man she has agreed to marry.

The film switches back and forth between the adventures of Pu on a summer holiday in Norrland in Sweden and and the adult Pu visiting his father who lives in an old people's home. Little Pu spends a summer in Norrland in the 1920s with all his relatives. He and his brother get to hear the story about the watchmaker who hung himself, learns to shoot with a bow and follow his father on a bicycle trip.

Young Krishna struggles to survive among the drug dealers, pimps, and prostitutes in the back alleys and gutters of India.

An angel comes to Earth to help a preacher save his church and his family.

A tanker is heading towards the bridge. When it is boarded by the coastguard the crew are discovered to be missing. The only people on board are five youths, drugged and chained. Saga and Martin are assigned to investigate the case.