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-CORONER LEN TORRES: -Some of this was frenzy violence | 0:00:02 | 0:00:03 | |
but some of it was purposeful. | 0:00:03 | 0:00:04 | |
He was experimenting. | 0:00:04 | 0:00:07 | |
Audio tape. | 0:00:07 | 0:00:08 | |
-DELORME: -If you were taking off for good, | 0:00:08 | 0:00:10 | |
you'd bring your laptop. | 0:00:10 | 0:00:11 | |
I'm telling you this kid didn't run away. | 0:00:11 | 0:00:13 | |
He went to do something. | 0:00:13 | 0:00:15 | |
CARDINAL: Or meet someone. | 0:00:15 | 0:00:16 | |
'My wife has bipolar disorder.' | 0:00:16 | 0:00:19 | |
I'm sorry. I had no idea that... | 0:00:19 | 0:00:21 | |
Yeah, why did my mom bring us a teddy bear? | 0:00:22 | 0:00:24 | |
JOSH: I might have let it slip, we're trying. | 0:00:24 | 0:00:26 | |
This isn't your thing, Josh. You don't make the decisions on your own. | 0:00:26 | 0:00:30 | |
-MUSGRAVE: -'Find the link between Cardinal and Corbett.' | 0:00:30 | 0:00:33 | |
CARDINAL: What happened to your truck? | 0:00:33 | 0:00:34 | |
-FRANCIS: -I hit a squirrel. | 0:00:34 | 0:00:36 | |
Why so much this time? | 0:00:36 | 0:00:38 | |
-DELORME: -He buys black market chips, cashes them in. | 0:00:38 | 0:00:40 | |
It shows how Cardinal launders his rat money. | 0:00:40 | 0:00:43 | |
CARDINAL: He won't stop, not until we stop him. | 0:00:43 | 0:00:47 | |
Nothing else matters. | 0:00:47 | 0:00:48 | |
Could you walk me home? | 0:00:48 | 0:00:50 | |
ERIC: We can still drive away. | 0:00:50 | 0:00:52 | |
We're doing this. | 0:00:53 | 0:00:56 | |
MUSIC: Familiar by Agnes Obel | 0:00:56 | 0:00:58 | |
This programme contains prolonged violent scenes | 0:00:58 | 0:01:00 | |
and scenes which some viewers may find upsetting. | 0:01:00 | 0:01:02 | |
# Took a walk to the summit at night | 0:01:02 | 0:01:05 | |
# You and I | 0:01:05 | 0:01:08 | |
# To burn a hole in the old grip of the familiar | 0:01:08 | 0:01:12 | |
# You and I | 0:01:12 | 0:01:15 | |
# And the dark was opening wide | 0:01:15 | 0:01:18 | |
# Do or die. # | 0:01:18 | 0:01:22 | |
ETHEREAL MUSIC | 0:01:31 | 0:01:35 | |
DEEP BREATHING | 0:01:38 | 0:01:42 | |
ERIC: "This journey has taught me more than I could imagine' | 0:01:47 | 0:01:49 | |
"but why must we travel so far to find what's within." | 0:01:49 | 0:01:53 | |
It's not that bad. | 0:01:53 | 0:01:55 | |
It's terrible. | 0:01:55 | 0:01:56 | |
It's fake. | 0:01:56 | 0:01:57 | |
Bend your knees. | 0:01:59 | 0:02:00 | |
-Keep loose. -I am. | 0:02:00 | 0:02:03 | |
BANG | 0:02:03 | 0:02:04 | |
You're still looking at the bottles. Just look at the sight. | 0:02:05 | 0:02:08 | |
Focus on the sight. | 0:02:09 | 0:02:10 | |
BANG | 0:02:11 | 0:02:12 | |
He's thinking, | 0:02:12 | 0:02:14 | |
"I'm a guy in love so I better act like a guy in love." | 0:02:14 | 0:02:18 | |
"And guys in love | 0:02:18 | 0:02:19 | |
"ask questions about what's within". | 0:02:19 | 0:02:21 | |
BANG | 0:02:24 | 0:02:26 | |
It's just all a big show. | 0:02:26 | 0:02:27 | |
What does she say back? | 0:02:27 | 0:02:29 | |
A picture of a heart. | 0:02:29 | 0:02:30 | |
-EDIE: -He's making an effort. | 0:02:32 | 0:02:34 | |
I think it's sweet. | 0:02:34 | 0:02:35 | |
TINKLING AND CLICKING | 0:02:38 | 0:02:40 | |
-EDIE: -Are you sending that to her? | 0:02:40 | 0:02:42 | |
ERIC: Huh? | 0:02:42 | 0:02:43 | |
Eric, why would you do that? | 0:02:43 | 0:02:45 | |
I don't know, sometimes I surprise myself. | 0:02:45 | 0:02:48 | |
TRAIN WHISTLE | 0:02:48 | 0:02:53 | |
CLANGING | 0:02:53 | 0:02:54 | |
All right. Time to go. | 0:02:54 | 0:02:56 | |
BANG | 0:02:59 | 0:03:01 | |
CLANGING | 0:03:01 | 0:03:16 | |
-WOMAN'S VOICE ON TV: -'One moment of peace | 0:03:19 | 0:03:22 | |
'you have with her. | 0:03:22 | 0:03:22 | |
'She said, "I was never in peace. I hated". | 0:03:22 | 0:03:26 | |
'She said, "I was driven by hate".' | 0:03:26 | 0:03:28 | |
-EDIE: -Gran? | 0:03:28 | 0:03:29 | |
-TV: -'Not towards you but towards other people.' | 0:03:29 | 0:03:31 | |
-EDIE: -Gran? | 0:03:31 | 0:03:33 | |
-TV: -'Yeah... That's why she silenced you. | 0:03:33 | 0:03:35 | |
'That's why she-she was like...' | 0:03:35 | 0:03:36 | |
If you're sleeping let's turn this off. | 0:03:36 | 0:03:38 | |
-TV: -'She too had been through abuse.' | 0:03:38 | 0:03:41 | |
Did you go to Pozzies? | 0:03:41 | 0:03:43 | |
Eric and I had something to do. | 0:03:45 | 0:03:47 | |
-Uh, is he here? -Hello, you old yam. | 0:03:47 | 0:03:50 | |
Oh, he should pay rent, | 0:03:50 | 0:03:53 | |
he's here so much. | 0:03:53 | 0:03:54 | |
God, you smell disgusting. | 0:03:55 | 0:03:57 | |
I made a list. | 0:03:59 | 0:04:00 | |
-SHE COUGHS -Sooner rather than later, Edie, huh? | 0:04:00 | 0:04:03 | |
PULSING MUSIC | 0:04:03 | 0:04:06 | |
CREAKING AND FOOTSTEPS | 0:04:14 | 0:04:18 | |
LOCK CLICKING | 0:04:22 | 0:04:26 | |
OMINOUS MUSIC | 0:04:28 | 0:04:32 | |
Keith? | 0:04:43 | 0:04:44 | |
Wake up, Keith. | 0:04:45 | 0:04:46 | |
He's still out. | 0:04:50 | 0:04:51 | |
-DELORME: -What time did you get home? | 0:04:57 | 0:04:58 | |
GROANS | 0:04:58 | 0:05:00 | |
Maybe midnight. | 0:05:00 | 0:05:01 | |
I didn't want to wake you. | 0:05:01 | 0:05:03 | |
Hm. | 0:05:03 | 0:05:04 | |
Everybody was asking about you. | 0:05:06 | 0:05:09 | |
I thought you were gonna join us. | 0:05:09 | 0:05:10 | |
I was beat. | 0:05:10 | 0:05:11 | |
Hey, are you smoking again? | 0:05:14 | 0:05:16 | |
No, why? | 0:05:16 | 0:05:17 | |
Uh, I just thought I smelled it in the car. | 0:05:18 | 0:05:21 | |
I shouldn't have told your mom that we're trying to have a baby. | 0:05:25 | 0:05:27 | |
I'm sorry. | 0:05:30 | 0:05:31 | |
It's OK. | 0:05:32 | 0:05:33 | |
RHYTHMIC MUSIC | 0:05:34 | 0:05:37 | |
SNORING | 0:06:11 | 0:06:18 | |
CARDINAL: 'The techs have uncovered' | 0:06:23 | 0:06:25 | |
an encrypted e-mail exchange on Todd Curry's computer, | 0:06:25 | 0:06:29 | |
something either Curry or the person Curry was communicating with | 0:06:29 | 0:06:31 | |
didn't want seen. | 0:06:31 | 0:06:33 | |
They're working to crack it. So, did Curry meet the killer online? | 0:06:33 | 0:06:37 | |
Let's be open to that idea. | 0:06:37 | 0:06:39 | |
We do know he photographed Katie Pine. | 0:06:39 | 0:06:41 | |
We can hear it on the audiotape. | 0:06:41 | 0:06:43 | |
So, does he share them? Does he post them? | 0:06:43 | 0:06:45 | |
CES is scouring the internet but, | 0:06:45 | 0:06:48 | |
if you hear of any snuff photos, bondage, underage stuff, | 0:06:48 | 0:06:51 | |
run it down. | 0:06:51 | 0:06:52 | |
Cellphone trace? | 0:06:52 | 0:06:53 | |
Sarge? | 0:06:53 | 0:06:54 | |
A couple of days after Curry arrived here | 0:06:54 | 0:06:57 | |
he travelled due south about 80 kilometres | 0:06:57 | 0:06:59 | |
and spent several hours just outside of Dorset. | 0:06:59 | 0:07:03 | |
McLeod, I want you down there to have a look around. | 0:07:03 | 0:07:05 | |
Hannam, the seeing impaired traffic signals are mapped. | 0:07:05 | 0:07:10 | |
You'll run that canvass. | 0:07:10 | 0:07:11 | |
Take ah, Fox and Leddy with ya, knock on every door. | 0:07:11 | 0:07:14 | |
Any questions? | 0:07:14 | 0:07:15 | |
Good. Go. | 0:07:15 | 0:07:16 | |
So am I with you today? | 0:07:18 | 0:07:20 | |
Oh, one last thing. | 0:07:20 | 0:07:22 | |
Ah, tips are coming in from the public by the truckload. | 0:07:22 | 0:07:24 | |
Anything comes your way, | 0:07:24 | 0:07:25 | |
pass it along to Detective Delorme. | 0:07:25 | 0:07:28 | |
I want a written tip sheet on every one. | 0:07:28 | 0:07:29 | |
Yes, sir. | 0:07:35 | 0:07:36 | |
-DYSON: -Does he know? | 0:07:39 | 0:07:40 | |
Yesterday he was your biggest fan, | 0:07:42 | 0:07:44 | |
today he's burying you in sups. | 0:07:44 | 0:07:46 | |
Is that so you don't have enough time | 0:07:46 | 0:07:47 | |
to follow your own investigation? | 0:07:47 | 0:07:49 | |
Can I run something by you? | 0:07:51 | 0:07:53 | |
I was going over the dates and... | 0:07:53 | 0:07:54 | |
Yep. Hello? Hello? | 0:07:54 | 0:07:57 | |
Uh, the dates. | 0:07:59 | 0:08:01 | |
Yeah. | 0:08:01 | 0:08:02 | |
Billy LaBelle to Katie Pine was five months. | 0:08:02 | 0:08:05 | |
Katie Pine to Todd Curry, three months. | 0:08:05 | 0:08:07 | |
Todd Curry to now... | 0:08:07 | 0:08:08 | |
The answer is yes. | 0:08:08 | 0:08:10 | |
He might have already struck again. | 0:08:10 | 0:08:11 | |
CREAKING | 0:08:13 | 0:08:16 | |
EERIE MUSIC | 0:08:16 | 0:08:19 | |
Maybe I gave him too much. | 0:08:22 | 0:08:23 | |
I know how we can wake him. | 0:08:36 | 0:08:37 | |
Should I? | 0:08:49 | 0:08:50 | |
The thing about the pinky | 0:08:51 | 0:08:53 | |
is that there's a nerve | 0:08:53 | 0:08:54 | |
that runs all the way up the arm. | 0:08:54 | 0:08:55 | |
It's called the ulnar nerve. | 0:08:55 | 0:08:57 | |
If I cut it, he'll jolt up like he's on fire. | 0:08:58 | 0:09:01 | |
What do you say? | 0:09:04 | 0:09:05 | |
Edie, | 0:09:11 | 0:09:13 | |
talk. | 0:09:13 | 0:09:14 | |
I have to go to work. | 0:09:14 | 0:09:16 | |
HE SIGHS | 0:09:17 | 0:09:18 | |
SCRAPING | 0:09:20 | 0:09:21 | |
I thought we were waiting. | 0:09:24 | 0:09:25 | |
I thought that's what you wanted. | 0:09:26 | 0:09:28 | |
So you just stand there like a dumb animal? | 0:09:28 | 0:09:30 | |
I thought we were waiting. | 0:09:30 | 0:09:32 | |
Go to work. | 0:09:38 | 0:09:39 | |
Eric. | 0:09:42 | 0:09:43 | |
It's not enough, | 0:09:43 | 0:09:44 | |
you know, | 0:09:44 | 0:09:46 | |
to get a little thrill out of this? | 0:09:46 | 0:09:47 | |
A little | 0:09:49 | 0:09:51 | |
tingle in your loins. | 0:09:51 | 0:09:52 | |
Cos guess what? Anybody does. | 0:09:55 | 0:09:57 | |
You put this in front of anybody | 0:09:57 | 0:09:59 | |
and they'll watch. | 0:09:59 | 0:10:00 | |
So don't think that makes you special. | 0:10:01 | 0:10:03 | |
-Why are you being like this? -Because. | 0:10:07 | 0:10:10 | |
Ha... Because... | 0:10:10 | 0:10:13 | |
it's not enough to be a spectator. | 0:10:13 | 0:10:16 | |
It's boring. | 0:10:17 | 0:10:18 | |
I thought you were more. | 0:10:20 | 0:10:22 | |
I am. | 0:10:22 | 0:10:23 | |
Go to work. | 0:10:25 | 0:10:26 | |
EERIE MUSIC | 0:10:26 | 0:10:29 | |
-DETECTIVE HANNAM: -Know where you're going? | 0:10:41 | 0:10:43 | |
OK, so just get 'em talking, see how they feel about having a cop at their door. | 0:10:43 | 0:10:47 | |
Anyone seem especially nervous, make a note. | 0:10:47 | 0:10:49 | |
Too confident, make a note. | 0:10:49 | 0:10:50 | |
SEEING IMPAIRED TRAFFIC SIGNAL BEEPING | 0:10:50 | 0:10:53 | |
-HANNAM: -Questions? -No. | 0:10:53 | 0:10:55 | |
-HANNAM: -Report back to me. Move out. | 0:10:55 | 0:10:57 | |
PHONE RINGING | 0:10:58 | 0:10:59 | |
Cardinal. | 0:10:59 | 0:11:01 | |
-MCLEOD: -'Hey, John,' | 0:11:01 | 0:11:02 | |
that location where Todd Curry travelled, | 0:11:02 | 0:11:04 | |
there's nothing here. | 0:11:04 | 0:11:06 | |
What do you mean nothing? Describe it to me. | 0:11:06 | 0:11:08 | |
I'm telling ya - road, lake, | 0:11:08 | 0:11:10 | |
trees, pipe, | 0:11:10 | 0:11:12 | |
railroad tracks and power lines to the west. | 0:11:12 | 0:11:14 | |
He spent five hours there. | 0:11:14 | 0:11:16 | |
There has to be something. A shed? | 0:11:16 | 0:11:17 | |
Something. | 0:11:17 | 0:11:18 | |
Maybe he was hitchhiking. | 0:11:18 | 0:11:19 | |
Got this far, ran out of luck | 0:11:19 | 0:11:21 | |
so he headed back to town. | 0:11:21 | 0:11:22 | |
All right. Uh, you went all that way, | 0:11:22 | 0:11:24 | |
just do me a favour and dig around a bit, will ya? | 0:11:24 | 0:11:27 | |
Will do. | 0:11:27 | 0:11:28 | |
And I'm done. | 0:11:31 | 0:11:32 | |
ETHEREAL MUSIC | 0:11:37 | 0:11:41 | |
CARDINAL: You recognize this. | 0:11:52 | 0:11:53 | |
It was Katie's. Where did you find it? | 0:11:54 | 0:11:58 | |
On Windigo Island, | 0:11:58 | 0:12:00 | |
near the mineshaft. | 0:12:00 | 0:12:01 | |
-DOROTHY: -Is that helpful? | 0:12:01 | 0:12:02 | |
Sometimes a predator will use gifts | 0:12:03 | 0:12:05 | |
to lure a victim. | 0:12:05 | 0:12:07 | |
If that were the case, | 0:12:07 | 0:12:08 | |
then this might point us in his direction. | 0:12:08 | 0:12:11 | |
No. It was Katie's. | 0:12:11 | 0:12:13 | |
She bought it over a year ago. | 0:12:13 | 0:12:15 | |
That boy they found, | 0:12:16 | 0:12:18 | |
was he killed by the same man? | 0:12:18 | 0:12:20 | |
We have reason to believe so, yes. | 0:12:20 | 0:12:22 | |
Katie have a... | 0:12:22 | 0:12:24 | |
an online friend? | 0:12:24 | 0:12:25 | |
Someone she might have | 0:12:25 | 0:12:26 | |
met on the Internet? | 0:12:26 | 0:12:27 | |
You checked her computer. | 0:12:29 | 0:12:30 | |
Maybe she used one at school? | 0:12:30 | 0:12:32 | |
Like a secret friend? | 0:12:34 | 0:12:35 | |
I knew her friends. | 0:12:37 | 0:12:38 | |
She would have told me. | 0:12:38 | 0:12:39 | |
So, | 0:12:41 | 0:12:43 | |
the killer maybe used a bracelet. | 0:12:43 | 0:12:45 | |
Or maybe a computer. | 0:12:46 | 0:12:47 | |
Or maybe none of those things? | 0:12:48 | 0:12:50 | |
We are making progress, Dorothy. | 0:12:54 | 0:12:57 | |
So is he. | 0:12:57 | 0:12:58 | |
EERIE MUSIC AND GUITAR STRUMMING | 0:13:06 | 0:13:10 | |
ERIC: My goodness. | 0:13:15 | 0:13:17 | |
It lives. | 0:13:17 | 0:13:18 | |
ERIC CHUCKLES | 0:13:21 | 0:13:22 | |
Hey. | 0:13:25 | 0:13:26 | |
I'm so sorry about last night. | 0:13:27 | 0:13:29 | |
That's on me. | 0:13:29 | 0:13:30 | |
I'm sorry. | 0:13:30 | 0:13:31 | |
I get a little... | 0:13:31 | 0:13:33 | |
chippy when I drink. | 0:13:33 | 0:13:34 | |
No hard feelings? | 0:13:35 | 0:13:37 | |
DEEP BREATHING | 0:13:38 | 0:13:40 | |
Where am I? | 0:13:40 | 0:13:41 | |
You're at Edie's house. HE SIGHS | 0:13:41 | 0:13:44 | |
You remember Edie, with the face? | 0:13:44 | 0:13:46 | |
HE SIGHS | 0:13:46 | 0:13:49 | |
You must have had a few too many | 0:13:49 | 0:13:50 | |
because you got pretty sick. | 0:13:50 | 0:13:52 | |
They were gonna bounce you to the curb, | 0:13:52 | 0:13:54 | |
so we brought you here. | 0:13:54 | 0:13:55 | |
-HE SIGHS -What time is it? | 0:13:58 | 0:14:00 | |
It's, um, eczema by the way. | 0:14:00 | 0:14:03 | |
Uh, you were too polite to ask, but I'm | 0:14:03 | 0:14:06 | |
pretty sure that you were wondering. | 0:14:06 | 0:14:08 | |
Where are my clothes? | 0:14:09 | 0:14:11 | |
Uh, you puked all over them, so | 0:14:11 | 0:14:13 | |
I put them in the wash. | 0:14:13 | 0:14:14 | |
I should probably make a call. Do you know where my phone is? | 0:14:15 | 0:14:17 | |
Uh, no sorry, I didn't find a phone, | 0:14:17 | 0:14:19 | |
but you can use the one upstairs if you want. | 0:14:19 | 0:14:22 | |
Ugh. | 0:14:22 | 0:14:23 | |
Ah. Yeah. | 0:14:23 | 0:14:24 | |
You're probably pretty dehydrated. | 0:14:24 | 0:14:27 | |
You puked up a lot of fluids. | 0:14:27 | 0:14:29 | |
Here. | 0:14:30 | 0:14:31 | |
Take your time. | 0:14:35 | 0:14:36 | |
There you go. | 0:14:37 | 0:14:39 | |
I'd bring you the phone but it's mounted to the wall. | 0:14:40 | 0:14:43 | |
It's old school. | 0:14:43 | 0:14:44 | |
Is it, uh... | 0:14:46 | 0:14:47 | |
..Claire you wanted to speak to? | 0:14:48 | 0:14:50 | |
Girlfriend? | 0:14:50 | 0:14:52 | |
Did I tell you about her? | 0:14:52 | 0:14:53 | |
You told me a lot of things. | 0:14:55 | 0:14:56 | |
DEEP BREATHING | 0:14:56 | 0:14:59 | |
Oh. Oh. | 0:14:59 | 0:15:01 | |
Looks like we're gonna lose you again. | 0:15:01 | 0:15:03 | |
Wait, before you go, | 0:15:03 | 0:15:05 | |
I do want to show you something. | 0:15:05 | 0:15:06 | |
SCRAPING | 0:15:08 | 0:15:11 | |
Hey. | 0:15:13 | 0:15:14 | |
A little preparation in this area | 0:15:14 | 0:15:16 | |
saves everyone a lot of trouble. | 0:15:16 | 0:15:18 | |
I learnt that the hard way. | 0:15:18 | 0:15:19 | |
Do you know what this is? | 0:15:21 | 0:15:22 | |
It's for you, Keith. | 0:15:24 | 0:15:25 | |
So you don't make a mess. | 0:15:27 | 0:15:28 | |
SOLEMN MUSIC | 0:15:30 | 0:15:34 | |
ELEVATOR MUSIC | 0:16:06 | 0:16:10 | |
BACKGROUND CHATTER | 0:16:13 | 0:16:19 | |
It's twenty past, Margo. | 0:16:21 | 0:16:22 | |
I know. I'm sorry. My ride fell through. | 0:16:22 | 0:16:24 | |
Happens way too much. | 0:16:24 | 0:16:26 | |
Last time. Promise. | 0:16:26 | 0:16:28 | |
Thanks a lot for punching me in. | 0:16:30 | 0:16:33 | |
You didn't ask. | 0:16:33 | 0:16:34 | |
I asked last week. | 0:16:34 | 0:16:36 | |
Consider it a standing request, Edie. | 0:16:36 | 0:16:39 | |
I'll do the same for you. | 0:16:39 | 0:16:41 | |
I'm never late. | 0:16:41 | 0:16:42 | |
Well, that is part of a larger conversation. | 0:16:42 | 0:16:45 | |
Do you have any gum? | 0:16:45 | 0:16:46 | |
You work a shit job, in a shit mall. | 0:16:49 | 0:16:52 | |
All you ever do is, | 0:16:52 | 0:16:53 | |
do what you're told. | 0:16:53 | 0:16:54 | |
Time to reassess, son. | 0:16:54 | 0:16:56 | |
Do you want one? | 0:17:03 | 0:17:05 | |
No, thanks. | 0:17:05 | 0:17:06 | |
It looks really red today. | 0:17:10 | 0:17:11 | |
Does it hurt? | 0:17:12 | 0:17:13 | |
It's just the cold. | 0:17:18 | 0:17:19 | |
Yes, but let me just back up, Mrs Talbot. | 0:17:20 | 0:17:23 | |
So you're 100% sure | 0:17:23 | 0:17:24 | |
that what your neighbour was carrying was a machete. | 0:17:24 | 0:17:27 | |
Yes, but you could tell from that distance? | 0:17:28 | 0:17:30 | |
Yes. OK. Well, I have your number so | 0:17:31 | 0:17:33 | |
I'll call you if we need to follow up. | 0:17:33 | 0:17:36 | |
Thank you. | 0:17:36 | 0:17:37 | |
So? | 0:17:38 | 0:17:40 | |
What do the good people of Algonquin Bay have to say? | 0:17:40 | 0:17:42 | |
Not all tips are useless. | 0:17:43 | 0:17:45 | |
Some are useless and racist. | 0:17:45 | 0:17:47 | |
I thought you were number two on this. | 0:17:48 | 0:17:50 | |
I'm paying my dues. | 0:17:51 | 0:17:53 | |
Well, don't take it personally. | 0:17:53 | 0:17:55 | |
We're lucky to have a Toronto UC big shot | 0:17:55 | 0:17:57 | |
showing us how it's done. | 0:17:57 | 0:17:58 | |
Cardinal worked UC? | 0:18:00 | 0:18:01 | |
I didn't see that in his history. | 0:18:03 | 0:18:05 | |
Uh, deep cover. | 0:18:05 | 0:18:07 | |
I mean, the kind of stuff | 0:18:07 | 0:18:08 | |
that doesn't end up on your CV. | 0:18:08 | 0:18:09 | |
Hey, Paul, it's Lise, how are you? | 0:18:15 | 0:18:17 | |
Good. Uh, listen, | 0:18:17 | 0:18:19 | |
my new Sergeant's got me organizing a roast for this, uh, | 0:18:19 | 0:18:21 | |
detective who's coming up on 20 years. | 0:18:21 | 0:18:24 | |
I want to track down his old partners | 0:18:24 | 0:18:26 | |
but his case history seems to be buried. | 0:18:26 | 0:18:28 | |
You think you could get that for me? | 0:18:28 | 0:18:31 | |
Great. | 0:18:31 | 0:18:32 | |
Yeah, his name is John Cardinal. | 0:18:32 | 0:18:34 | |
EERIE MUSIC | 0:18:37 | 0:18:40 | |
Hello beautiful. | 0:18:49 | 0:18:50 | |
I saw Kelly. | 0:18:58 | 0:18:59 | |
She sends her love. | 0:19:03 | 0:19:04 | |
Oh. | 0:19:05 | 0:19:06 | |
Hey, listen, | 0:19:11 | 0:19:13 | |
what do you need these days to | 0:19:13 | 0:19:15 | |
process 35 mil film? | 0:19:15 | 0:19:16 | |
To do it all yourself? | 0:19:18 | 0:19:20 | |
Yeah. Say you're taking pictures that are private. | 0:19:20 | 0:19:22 | |
Well, you need some space, for starters. | 0:19:24 | 0:19:27 | |
For a darkroom. | 0:19:27 | 0:19:29 | |
I haven't done it in years. | 0:19:29 | 0:19:31 | |
Chemicals, papers, trays. | 0:19:31 | 0:19:33 | |
Huh. | 0:19:33 | 0:19:34 | |
Who carries that stuff? | 0:19:34 | 0:19:36 | |
Are you working right now? | 0:19:36 | 0:19:38 | |
It could help me. | 0:19:40 | 0:19:41 | |
SHE CHUCKLES | 0:19:42 | 0:19:43 | |
I'm tired. | 0:19:46 | 0:19:47 | |
SOLEMN PIANO CHORDS | 0:19:50 | 0:19:54 | |
LENS SHUTTER CLICKING | 0:20:07 | 0:20:14 | |
HE GROANS | 0:20:14 | 0:20:16 | |
ERIC: Keith. | 0:20:16 | 0:20:17 | |
Keith. | 0:20:17 | 0:20:18 | |
GRUNTING | 0:20:18 | 0:20:20 | |
It's a long exposure, | 0:20:20 | 0:20:21 | |
if you move it's gonna be blurry. | 0:20:21 | 0:20:23 | |
DEEP BREATHING | 0:20:23 | 0:20:26 | |
Oh, Jesus. | 0:20:26 | 0:20:27 | |
GRUNTING | 0:20:27 | 0:20:29 | |
Not that I want you to be still, | 0:20:29 | 0:20:31 | |
I just want you to do what's natural. | 0:20:31 | 0:20:33 | |
GRUNTING | 0:20:33 | 0:20:37 | |
OK. Look. | 0:20:37 | 0:20:39 | |
HEAVY BREATHING | 0:20:39 | 0:20:42 | |
What did you say your name was? | 0:20:42 | 0:20:43 | |
I didn't say. | 0:20:43 | 0:20:44 | |
HEAVY BREATHING | 0:20:44 | 0:20:48 | |
OK. | 0:20:48 | 0:20:49 | |
OK, I don't know if you got the wrong impression, | 0:20:49 | 0:20:51 | |
but this is not my sort of thing. | 0:20:51 | 0:20:53 | |
Oh, no? | 0:20:53 | 0:20:54 | |
DEEP BREATHING | 0:20:54 | 0:20:56 | |
I don't know if I did something to piss you off. | 0:20:56 | 0:21:00 | |
Like what? | 0:21:00 | 0:21:01 | |
CRYING | 0:21:01 | 0:21:03 | |
I don't know if I said something. | 0:21:03 | 0:21:04 | |
If we got into it. | 0:21:04 | 0:21:05 | |
Does this feel like a spat to you? | 0:21:05 | 0:21:07 | |
Is this how spats are settled in your house? | 0:21:07 | 0:21:10 | |
I just don't know what you want from me. | 0:21:10 | 0:21:12 | |
LENS SHUTTER CLICKS | 0:21:12 | 0:21:13 | |
Hey, hey. | 0:21:15 | 0:21:16 | |
You might. | 0:21:18 | 0:21:19 | |
Look at me. Look at me. | 0:21:19 | 0:21:20 | |
Hey, hey, shh, shh. | 0:21:22 | 0:21:24 | |
You might know. | 0:21:24 | 0:21:25 | |
If you're honest with yourself, | 0:21:25 | 0:21:28 | |
you might actually know. | 0:21:28 | 0:21:30 | |
Ah! | 0:21:31 | 0:21:32 | |
HEAVY BREATHING | 0:21:33 | 0:21:36 | |
LENS SHUTTER CLICKS | 0:21:36 | 0:21:37 | |
KNOCKING | 0:21:38 | 0:21:39 | |
-MAN: -Hello! Anybody home? | 0:21:39 | 0:21:41 | |
SUSPENSEFUL MUSIC | 0:21:41 | 0:21:44 | |
-FOX: -Hi, ma'am. | 0:21:55 | 0:21:56 | |
I'm Constable Fox. | 0:21:56 | 0:21:57 | |
How are ya this afternoon? | 0:21:57 | 0:21:59 | |
What's this about? | 0:21:59 | 0:22:00 | |
Well, we're just out canvassing the area, | 0:22:00 | 0:22:02 | |
making sure everybody's feeling safe | 0:22:02 | 0:22:03 | |
with everything going on in the news these days. | 0:22:03 | 0:22:06 | |
Down here! | 0:22:06 | 0:22:07 | |
Down here! | 0:22:07 | 0:22:09 | |
Your husband, uh... | 0:22:09 | 0:22:10 | |
My husband? | 0:22:10 | 0:22:11 | |
What? | 0:22:11 | 0:22:12 | |
Is your husband here? | 0:22:12 | 0:22:14 | |
My husband is dead. | 0:22:14 | 0:22:15 | |
GASPING | 0:22:18 | 0:22:20 | |
I will slice you wide open. | 0:22:20 | 0:22:22 | |
Just you, then, in the house? | 0:22:22 | 0:22:24 | |
Oh, with my granddaughter. | 0:22:24 | 0:22:25 | |
-Oh, OK. -Oh, she's not in trouble? | 0:22:25 | 0:22:28 | |
HE GRUNTS | 0:22:28 | 0:22:29 | |
Shh. | 0:22:29 | 0:22:30 | |
What is it you want? | 0:22:31 | 0:22:32 | |
Ah, thanks for your time, ma'am. | 0:22:37 | 0:22:38 | |
Sorry to bother you. | 0:22:42 | 0:22:43 | |
Please. Please. | 0:22:55 | 0:22:56 | |
Hey, you're wasting your energy. | 0:22:56 | 0:22:58 | |
WHIMPERING | 0:22:58 | 0:23:01 | |
It's out of my hands. | 0:23:01 | 0:23:02 | |
GRUNTING | 0:23:02 | 0:23:11 | |
This is Edie's show now. | 0:23:11 | 0:23:12 | |
I know she doesn't look like much, | 0:23:16 | 0:23:18 | |
but she's ready. | 0:23:18 | 0:23:19 | |
You'll see. | 0:23:20 | 0:23:21 | |
She just needs a little nudge. | 0:23:31 | 0:23:32 | |
CREAKING | 0:23:43 | 0:23:44 | |
WHIMPERING | 0:23:44 | 0:23:47 | |
TINKLING | 0:23:47 | 0:23:55 | |
AIRY MUSIC | 0:23:55 | 0:23:58 | |
-TIM: -See that? | 0:24:03 | 0:24:04 | |
Do you see the impact? | 0:24:04 | 0:24:06 | |
The whole side there is caved in. | 0:24:06 | 0:24:08 | |
Direct hit. | 0:24:08 | 0:24:09 | |
That's a sturdy animal. | 0:24:09 | 0:24:11 | |
Would have blown their airbags for sure. | 0:24:11 | 0:24:13 | |
Then off they went. Didn't call it in. | 0:24:13 | 0:24:16 | |
Just let her die in the cold. | 0:24:16 | 0:24:18 | |
I'll look into it. | 0:24:19 | 0:24:20 | |
PULSING MUSIC | 0:24:33 | 0:24:37 | |
MUSGRAVE: What the hell are you doing here? | 0:24:57 | 0:24:58 | |
-DELORME: -A raid on Corbett's operation. | 0:24:58 | 0:25:00 | |
An officer died. | 0:25:00 | 0:25:01 | |
You and Cardinal worked it. | 0:25:01 | 0:25:03 | |
Look, what am I missing here? | 0:25:06 | 0:25:07 | |
I can't do my job if you keep me in the dark. | 0:25:07 | 0:25:09 | |
The raid went bad | 0:25:20 | 0:25:21 | |
because of Cardinal. | 0:25:21 | 0:25:23 | |
How? | 0:25:24 | 0:25:25 | |
Corbett was setting up a new supply line in Toronto. | 0:25:27 | 0:25:30 | |
My team covered this side. | 0:25:30 | 0:25:31 | |
Cardinal was part of a | 0:25:31 | 0:25:32 | |
crew down there, undercover. | 0:25:32 | 0:25:34 | |
We worked it for months. Set up a | 0:25:34 | 0:25:36 | |
sting based on what Cardinal was feeding us. | 0:25:36 | 0:25:38 | |
We were gonna get Corbett, | 0:25:38 | 0:25:39 | |
his new supplier, | 0:25:39 | 0:25:41 | |
a big shipment, all in one go. | 0:25:41 | 0:25:43 | |
Cardinal's intel was bad? | 0:25:46 | 0:25:47 | |
Yeah. I guess you could say that. | 0:25:47 | 0:25:49 | |
When we arrived, | 0:25:50 | 0:25:51 | |
no Corbett, | 0:25:51 | 0:25:52 | |
no drugs, | 0:25:52 | 0:25:53 | |
nothing, | 0:25:53 | 0:25:55 | |
except a half pound of C-4 rigged to a wire. | 0:25:55 | 0:25:58 | |
Officer's name was Julian Burwell, | 0:26:00 | 0:26:02 | |
27 years old. | 0:26:02 | 0:26:03 | |
He died instantly. | 0:26:03 | 0:26:05 | |
-So Cardinal got burned. -No. -It happens. | 0:26:05 | 0:26:07 | |
No. He warned them we were coming. | 0:26:07 | 0:26:09 | |
Cardinal was using disposable phones. | 0:26:11 | 0:26:13 | |
We couldn't get the wires up fast enough so he was | 0:26:13 | 0:26:15 | |
taping them with a portable. | 0:26:15 | 0:26:16 | |
You know him now, you know how thorough he is, | 0:26:16 | 0:26:18 | |
he had a file for every call, except one. | 0:26:18 | 0:26:23 | |
Day before the raid he talks to his inside guy | 0:26:23 | 0:26:24 | |
for six minutes. | 0:26:24 | 0:26:26 | |
Phone records show it. | 0:26:26 | 0:26:27 | |
There's no tape of the call. | 0:26:29 | 0:26:30 | |
He tipped them off, Delorme, | 0:26:33 | 0:26:35 | |
and he erased the evidence. | 0:26:35 | 0:26:37 | |
And what did SIU say? | 0:26:40 | 0:26:41 | |
Oh, Cardinal said the recorder malfunctioned. | 0:26:41 | 0:26:44 | |
They couldn't prove otherwise so they dropped it. | 0:26:45 | 0:26:47 | |
He was living a double life, Delorme. | 0:26:51 | 0:26:53 | |
Sick wife at home, kid at a fancy school, | 0:26:54 | 0:26:56 | |
bills piling up, OK? | 0:26:56 | 0:26:57 | |
He lost his way. | 0:26:57 | 0:26:58 | |
He took a payoff. | 0:27:00 | 0:27:02 | |
SUSPENSEFUL MUSIC | 0:27:02 | 0:27:05 | |
You're not authorized to go after him. | 0:27:14 | 0:27:16 | |
I have broad discretion. | 0:27:18 | 0:27:20 | |
Yeah, to get Corbett. | 0:27:20 | 0:27:22 | |
-Cardinal was cleared. -He did it. | 0:27:22 | 0:27:23 | |
-No, he was cleared. -He did it. | 0:27:23 | 0:27:25 | |
You can't just re-open it. | 0:27:27 | 0:27:29 | |
Not without cause. | 0:27:29 | 0:27:30 | |
Then find me some. | 0:27:32 | 0:27:33 | |
That's why there is no paper on this. | 0:27:35 | 0:27:38 | |
It's not even supposed to be happening. | 0:27:38 | 0:27:39 | |
Well, I was told you had good instincts. | 0:27:41 | 0:27:42 | |
It's why I brought you on. | 0:27:45 | 0:27:46 | |
If you think | 0:27:48 | 0:27:49 | |
Cardinal is clean then you should just... | 0:27:49 | 0:27:51 | |
walk away. | 0:27:51 | 0:27:53 | |
Go back to Financial. | 0:27:53 | 0:27:55 | |
No hard feelings, I promise. | 0:27:56 | 0:27:58 | |
'But I am telling you, | 0:28:00 | 0:28:01 | |
'he is in the middle of all this | 0:28:01 | 0:28:03 | |
'and I think you know it.' | 0:28:03 | 0:28:05 | |
HAUNTING INSTRUMENTAL | 0:28:05 | 0:28:10 | |
DOOR CLOSES | 0:28:33 | 0:28:34 | |
Francis Kestejoo? | 0:28:39 | 0:28:40 | |
Aw, come on, man. | 0:28:43 | 0:28:44 | |
Where you gonna run to? | 0:28:44 | 0:28:45 | |
THUMP | 0:28:45 | 0:28:46 | |
Idiot. | 0:28:48 | 0:28:49 | |
SOFT GRUNTING | 0:28:53 | 0:28:57 | |
Ugh. | 0:28:59 | 0:29:00 | |
What's the story here, Francis? | 0:29:02 | 0:29:04 | |
None of your business. | 0:29:04 | 0:29:05 | |
I'm unconvinced. | 0:29:06 | 0:29:08 | |
-MARGO: -An SLR and a guitar. | 0:29:12 | 0:29:13 | |
You're like, | 0:29:13 | 0:29:14 | |
the coolest guy from 1993. | 0:29:14 | 0:29:17 | |
ERIC: I think the '90s are a really | 0:29:17 | 0:29:19 | |
underrated decade. | 0:29:19 | 0:29:20 | |
The last analogue era. | 0:29:21 | 0:29:22 | |
-MARGO: -So do you play that thing or | 0:29:24 | 0:29:26 | |
is it just a prop? | 0:29:26 | 0:29:27 | |
LAUGHS | 0:29:27 | 0:29:28 | |
That's a mean question. | 0:29:28 | 0:29:29 | |
Oh, so you don't play. | 0:29:29 | 0:29:30 | |
HE CHUCKLES | 0:29:30 | 0:29:31 | |
I didn't say that. | 0:29:31 | 0:29:32 | |
I'm all right but, uh, | 0:29:32 | 0:29:33 | |
this is my instrument. | 0:29:33 | 0:29:36 | |
I play people. | 0:29:36 | 0:29:37 | |
You really didn't just say that. | 0:29:38 | 0:29:39 | |
I did. | 0:29:39 | 0:29:41 | |
I capture people at their most honest. | 0:29:41 | 0:29:43 | |
That's rare today. | 0:29:45 | 0:29:47 | |
Don't you think? | 0:29:47 | 0:29:48 | |
People living in the moment, | 0:29:49 | 0:29:51 | |
being raw, | 0:29:51 | 0:29:52 | |
not performing. | 0:29:52 | 0:29:53 | |
I capture that. | 0:29:54 | 0:29:55 | |
-MARGO: -So is this the part | 0:29:56 | 0:29:58 | |
when you ask to take pictures of me? | 0:29:58 | 0:30:00 | |
Would you like that? | 0:30:02 | 0:30:03 | |
You work at the music store, right? | 0:30:08 | 0:30:10 | |
You should come by sometime and bring your pictures. | 0:30:10 | 0:30:13 | |
I'll take a look. | 0:30:13 | 0:30:14 | |
Never mind. | 0:30:18 | 0:30:20 | |
You wouldn't like them. | 0:30:20 | 0:30:21 | |
CLACKING | 0:30:23 | 0:30:29 | |
I wasn't freezing you out today, Delorme. | 0:30:29 | 0:30:30 | |
If this case breaks, | 0:30:32 | 0:30:33 | |
it'll be something out of left field, | 0:30:33 | 0:30:34 | |
some fragment that tumbles off the pile. | 0:30:34 | 0:30:38 | |
That first wave of tips is key. | 0:30:38 | 0:30:40 | |
Yeah, well, nothing came of it. | 0:30:41 | 0:30:42 | |
Maybe not. | 0:30:42 | 0:30:43 | |
But because it's you, I didn't have to double-check. | 0:30:43 | 0:30:46 | |
-HANNAM: -Detectives, uh, | 0:30:46 | 0:30:47 | |
I just got a call from Major Crimes in Toronto. | 0:30:47 | 0:30:49 | |
Melissa and Douglas London. | 0:30:49 | 0:30:51 | |
Their son, Keith, | 0:30:51 | 0:30:52 | |
was supposed to arrive home last night, | 0:30:52 | 0:30:53 | |
never turned up. | 0:30:53 | 0:30:55 | |
Coming from here? | 0:30:55 | 0:30:56 | |
No. Uh, well, yeah, | 0:30:56 | 0:30:57 | |
he passed through but, | 0:30:57 | 0:30:58 | |
he's not here now. | 0:30:58 | 0:30:59 | |
-He passed through? -Coming from out west. | 0:30:59 | 0:31:01 | |
Ah, they ran his cell. | 0:31:01 | 0:31:02 | |
He got here last night, | 0:31:02 | 0:31:04 | |
left this morning and he went east | 0:31:04 | 0:31:05 | |
to a spot outside Deux Rivieres, | 0:31:05 | 0:31:07 | |
then his signal died and nothing since. | 0:31:07 | 0:31:10 | |
Who did you talk to in Toronto? Get them back on the line. | 0:31:11 | 0:31:13 | |
McLeod, that place Curry went, | 0:31:13 | 0:31:16 | |
there were train tracks, right? | 0:31:16 | 0:31:17 | |
Yeah, there's a little spur line there off the 11. | 0:31:17 | 0:31:19 | |
-Lise. Lise. -Yeah? | 0:31:19 | 0:31:21 | |
Curry's phone... | 0:31:23 | 0:31:24 | |
..went out in the middle of nowhere | 0:31:26 | 0:31:28 | |
and there it sat for five hours until it died. | 0:31:30 | 0:31:33 | |
Keith London's phone | 0:31:33 | 0:31:34 | |
went east also | 0:31:34 | 0:31:36 | |
along the rail line | 0:31:36 | 0:31:38 | |
until it died. | 0:31:38 | 0:31:40 | |
But then Curry turns up back here. | 0:31:40 | 0:31:43 | |
No, he never left. His phone did. | 0:31:43 | 0:31:46 | |
The killer puts phones | 0:31:46 | 0:31:47 | |
on trains to throw us off. | 0:31:47 | 0:31:49 | |
MUTED CLANGING | 0:31:49 | 0:31:52 | |
He has his next victim. | 0:31:52 | 0:31:53 | |
UNLOCKING | 0:32:13 | 0:32:19 | |
PANTING | 0:32:23 | 0:32:38 | |
CREAKING | 0:32:40 | 0:32:42 | |
MUFFLED GARBLING | 0:32:47 | 0:32:52 | |
-Be quiet. -MUFFLED GARBLING | 0:32:52 | 0:32:54 | |
Be quiet! | 0:32:54 | 0:32:55 | |
PANTING | 0:33:03 | 0:33:11 | |
DEEP BREATHING | 0:33:12 | 0:33:18 | |
Thank you. | 0:33:18 | 0:33:19 | |
DEEP BREATHING | 0:33:19 | 0:33:26 | |
It's Edie, right? | 0:33:26 | 0:33:28 | |
DEEP BREATHING | 0:33:28 | 0:33:34 | |
Why am I here? | 0:33:34 | 0:33:35 | |
Bad luck. | 0:33:38 | 0:33:39 | |
The cops were here before, | 0:33:41 | 0:33:43 | |
at the door. | 0:33:43 | 0:33:44 | |
Your friend heard them too. | 0:33:44 | 0:33:45 | |
-How? -I don't know. | 0:33:47 | 0:33:49 | |
But they were here. | 0:33:49 | 0:33:50 | |
That means they're watching. They'll be back. | 0:33:51 | 0:33:53 | |
Look, you can let me go, OK? | 0:33:57 | 0:34:00 | |
We can put all of this behind us. | 0:34:00 | 0:34:03 | |
You think I'm stupid? | 0:34:03 | 0:34:04 | |
No. But sometimes | 0:34:06 | 0:34:09 | |
people get into things and they don't know how to get out. | 0:34:09 | 0:34:11 | |
Is he making you do this? | 0:34:14 | 0:34:15 | |
Cos if he is, it's not your fault. | 0:34:17 | 0:34:19 | |
You'll be forgiven. | 0:34:20 | 0:34:21 | |
PANTING | 0:34:21 | 0:34:27 | |
All you had to do | 0:34:41 | 0:34:43 | |
was walk me home. | 0:34:44 | 0:34:45 | |
None of this would be happening. | 0:34:49 | 0:34:51 | |
Please. | 0:35:01 | 0:35:03 | |
Please. | 0:35:05 | 0:35:06 | |
Please, Edie, please. | 0:35:06 | 0:35:08 | |
I can't help you. | 0:35:08 | 0:35:09 | |
PANTING | 0:35:10 | 0:35:22 | |
I'm gonna make you some food. | 0:35:22 | 0:35:24 | |
You have to eat. | 0:35:24 | 0:35:25 | |
House rules. | 0:35:26 | 0:35:27 | |
PANTING | 0:35:29 | 0:35:35 | |
CLICKING | 0:35:35 | 0:35:38 | |
John? | 0:35:40 | 0:35:41 | |
Todd Curry's e-mail. We got it. | 0:35:41 | 0:35:43 | |
IP says west side. | 0:35:43 | 0:35:45 | |
Warrant's in process for the address. | 0:35:45 | 0:35:46 | |
She's 19. | 0:35:48 | 0:35:49 | |
First correspondence, | 0:35:49 | 0:35:51 | |
was this summer and last correspondence | 0:35:51 | 0:35:54 | |
was January 6th. | 0:35:54 | 0:35:56 | |
Hm. Three days before he was killed. | 0:35:56 | 0:35:58 | |
Too many I's. Too many me's. | 0:36:00 | 0:36:03 | |
What? | 0:36:03 | 0:36:05 | |
In Financial, | 0:36:05 | 0:36:06 | |
we see honey trap fraud like this all the time. | 0:36:06 | 0:36:08 | |
Guys pretending to be girls. | 0:36:09 | 0:36:11 | |
Should I run a gender analysis? | 0:36:13 | 0:36:15 | |
So the program is looking for certain words, | 0:36:15 | 0:36:17 | |
punctuation styles. | 0:36:17 | 0:36:18 | |
And, how long does this take? | 0:36:18 | 0:36:21 | |
Sometimes upwards of five seconds. | 0:36:21 | 0:36:23 | |
It's a guy. | 0:36:25 | 0:36:26 | |
Todd Curry was corresponding with a guy. | 0:36:26 | 0:36:28 | |
-HANNAM: -Sarge? Got the address. 42 Copeland Drive. | 0:36:28 | 0:36:32 | |
OK. Go. | 0:36:32 | 0:36:34 | |
TINKLING | 0:36:34 | 0:36:36 | |
GRUNTING | 0:36:41 | 0:36:47 | |
CLOCK TICKING | 0:36:47 | 0:36:50 | |
CARDINAL: He's smart. The guy is smart. | 0:36:50 | 0:36:52 | |
He knew if he kept hunting locally we'd spot his pattern. | 0:36:52 | 0:36:55 | |
So he starts picking guys from out of town. | 0:36:55 | 0:36:57 | |
First Todd Curry, | 0:36:57 | 0:36:58 | |
now Keith London. | 0:36:58 | 0:36:59 | |
CREAKING | 0:37:01 | 0:37:02 | |
GRUNTING | 0:37:04 | 0:37:07 | |
BANG | 0:37:07 | 0:37:08 | |
SUSPENSEFUL MUSIC | 0:37:08 | 0:37:09 | |
HEAVY BREATHING | 0:37:37 | 0:37:40 | |
DRAMATIC MUSIC | 0:37:40 | 0:37:44 | |
BANGING | 0:37:58 | 0:38:00 | |
BANGING | 0:38:03 | 0:38:04 | |
SUSPENSEFUL MUSIC | 0:38:04 | 0:38:07 | |
Yes? | 0:38:10 | 0:38:11 | |
Ugh! | 0:38:13 | 0:38:15 | |
Idiot! | 0:38:15 | 0:38:16 | |
SPITS | 0:38:19 | 0:38:20 | |
SPITS | 0:38:22 | 0:38:23 | |
MOANING | 0:38:23 | 0:38:28 | |
CARDINAL: He's not our guy. | 0:38:32 | 0:38:33 | |
You're absolutely sure? | 0:38:33 | 0:38:35 | |
Yeah, he pretends to be a woman online, | 0:38:35 | 0:38:36 | |
strikes up relationships with young men. | 0:38:36 | 0:38:39 | |
And this one blew up on him | 0:38:39 | 0:38:40 | |
when Curry came to meet in person. | 0:38:40 | 0:38:42 | |
And he went. What was he expecting? | 0:38:42 | 0:38:44 | |
They had been chatting for months. | 0:38:44 | 0:38:46 | |
He'd convinced himself that Curry knew that they were | 0:38:46 | 0:38:49 | |
role-playing together. | 0:38:49 | 0:38:51 | |
Yeah, imagine Curry's reaction. | 0:38:51 | 0:38:53 | |
Expects a 19-year-old girl. | 0:38:53 | 0:38:55 | |
Finds that guy instead. | 0:38:55 | 0:38:57 | |
Well, maybe he went after Curry | 0:38:57 | 0:38:59 | |
out of shame or | 0:38:59 | 0:39:00 | |
fear that he might be exposed. | 0:39:00 | 0:39:02 | |
No. He and his wife left for Bangor, Maine, | 0:39:02 | 0:39:04 | |
the next day. | 0:39:04 | 0:39:05 | |
He wasn't here when Curry died. | 0:39:05 | 0:39:08 | |
So this is the guy who lured him to town, | 0:39:08 | 0:39:09 | |
but not the one who killed him. | 0:39:09 | 0:39:11 | |
Looks like it. | 0:39:11 | 0:39:12 | |
EERIE MUSIC | 0:39:12 | 0:39:16 | |
GUITAR CHORDS STRUMMING | 0:39:45 | 0:39:59 | |
You know not to come here. | 0:40:03 | 0:40:05 | |
I have to talk to you. | 0:40:05 | 0:40:06 | |
We shouldn't be seen together. | 0:40:08 | 0:40:09 | |
Are you embarrassed by me? | 0:40:10 | 0:40:12 | |
No. | 0:40:12 | 0:40:13 | |
Edie. | 0:40:14 | 0:40:15 | |
No. | 0:40:16 | 0:40:17 | |
We just have to be cautious, OK? | 0:40:19 | 0:40:21 | |
Now, come on, let's go. | 0:40:22 | 0:40:23 | |
CREEPY MUSIC | 0:40:25 | 0:40:29 | |
I made him bleed. | 0:40:42 | 0:40:43 | |
For you. | 0:40:44 | 0:40:45 |