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This programme contains scenes which some viewers may find upsetting | 0:00:02 | 0:00:05 | |
-Alice Morgan. -What's happened? -I'm afraid she's dead, John. | 0:00:05 | 0:00:07 | |
I didn't put her down... or have her put down. | 0:00:07 | 0:00:10 | |
Why did you steal the phone I used to call Alice Morgan? | 0:00:11 | 0:00:14 | |
What did he do with the heart? | 0:00:14 | 0:00:16 | |
He ate it. | 0:00:16 | 0:00:17 | |
EXPLOSION | 0:00:18 | 0:00:20 | |
Animal like that... | 0:00:20 | 0:00:21 | |
he's always moving forward. | 0:00:21 | 0:00:24 | |
-All their computers were fixed by one man, Steven Rose. -That's him. | 0:00:24 | 0:00:28 | |
Benny! Stop this... | 0:00:30 | 0:00:32 | |
Steven. | 0:00:34 | 0:00:35 | |
-Can we salvage anything from this. -Too soon to tell, boss. | 0:00:36 | 0:00:39 | |
INDISTINCT CHATTER ON POLICE RADIO | 0:00:46 | 0:00:48 | |
Sorry, Guv. She's asked for you by name. | 0:00:48 | 0:00:50 | |
Can I help? | 0:00:56 | 0:00:58 | |
Are you DCI Luther? | 0:00:58 | 0:01:00 | |
Yeah. | 0:01:02 | 0:01:04 | |
I have a message for you. | 0:01:04 | 0:01:06 | |
A message from who? | 0:01:07 | 0:01:10 | |
Alice Morgan. | 0:01:10 | 0:01:11 | |
SIRENS WAIL | 0:01:11 | 0:01:15 | |
What kind of message? | 0:01:21 | 0:01:23 | |
She said to tell John that Stacey has the owl. | 0:01:23 | 0:01:26 | |
When did she give you this message? | 0:01:34 | 0:01:36 | |
Last night. | 0:01:36 | 0:01:38 | |
-See, that's not true, is it? Because Alice is dead. -I know. | 0:01:38 | 0:01:42 | |
I'm sorry, who are you? | 0:01:44 | 0:01:46 | |
Look, I'm just here to help. | 0:01:46 | 0:01:48 | |
-And how do you know Alice? -I don't. | 0:01:50 | 0:01:53 | |
-So, what? She just appears to you? -Yes. | 0:01:54 | 0:01:58 | |
-And did she say anything else? -Not really. | 0:01:58 | 0:02:00 | |
There was one thing. | 0:02:03 | 0:02:05 | |
Something I don't really understand, I'm sorry. | 0:02:07 | 0:02:10 | |
Something like what? | 0:02:11 | 0:02:13 | |
"Meep meep." | 0:02:15 | 0:02:17 | |
Put this woman in the car and cuff her. | 0:02:23 | 0:02:25 | |
Down there, thank you. | 0:02:25 | 0:02:27 | |
What's all this? | 0:02:27 | 0:02:29 | |
Er, don't ask. What's going on? | 0:02:29 | 0:02:32 | |
We've got another one. | 0:02:32 | 0:02:34 | |
HE INHALES SHARPLY | 0:02:46 | 0:02:47 | |
HE STRAINS WITH EFFORT | 0:02:57 | 0:02:59 | |
HE GROANS | 0:03:01 | 0:03:03 | |
HE LAUGHS | 0:03:17 | 0:03:20 | |
How much of the brain did he eat? | 0:03:39 | 0:03:41 | |
Roberta Wise. | 0:03:47 | 0:03:49 | |
She's a Professor of Economics, University of London. | 0:03:49 | 0:03:53 | |
-A government adviser and... -And then this. | 0:03:53 | 0:03:56 | |
Look at her life. | 0:03:58 | 0:04:00 | |
Look at what he took from her. | 0:04:00 | 0:04:02 | |
This wasn't murder, this was theft. | 0:04:02 | 0:04:05 | |
Come again? | 0:04:05 | 0:04:07 | |
I think he's this clever, little lonely man, slowly falling apart, | 0:04:07 | 0:04:10 | |
spending his days watching the lives of others. | 0:04:10 | 0:04:13 | |
And you know what that's like - | 0:04:13 | 0:04:15 | |
other people's lives seem so much better than ours. | 0:04:15 | 0:04:17 | |
More interesting, more attractive, more alive. | 0:04:17 | 0:04:21 | |
The way he sees it, they got something that he needs | 0:04:23 | 0:04:25 | |
so, he's just going to take it from them. | 0:04:25 | 0:04:28 | |
No, he's never going to stop, | 0:04:31 | 0:04:32 | |
he's just going to keep doing it and doing it, | 0:04:32 | 0:04:34 | |
because he'll never get back whatever he's lost. | 0:04:34 | 0:04:36 | |
None of us ever do. | 0:04:38 | 0:04:39 | |
-BOTH: -# My, my, my, Delilah... | 0:04:41 | 0:04:44 | |
THEY SING MUSICAL INTERLUDE | 0:04:44 | 0:04:47 | |
# Why, why, why, Delilah? # | 0:04:47 | 0:04:52 | |
Don't stop, love. Drive on. | 0:04:54 | 0:04:57 | |
I can't. Look at him. | 0:04:57 | 0:04:59 | |
Then let's call the police. They'll deal with it. | 0:04:59 | 0:05:01 | |
What if it was Declan? | 0:05:04 | 0:05:06 | |
-You all right, mate? -You all right, love? What's happened? | 0:05:08 | 0:05:12 | |
What have you done to yourself? | 0:05:12 | 0:05:13 | |
I'm so sorry...thank you for stopping, I'm so sorry. | 0:05:13 | 0:05:16 | |
I'm so sorry. | 0:05:16 | 0:05:18 | |
THEY BOTH SCREAM No, no. | 0:05:18 | 0:05:21 | |
CAR HORN BEEPS | 0:05:21 | 0:05:22 | |
MUSIC: Paradise Circus by Massive Attack | 0:05:24 | 0:05:28 | |
MOBILE PHONE RINGS AND VIBRATES | 0:06:16 | 0:06:20 | |
-DCI Luther. -'Back on the beat, Pete?' | 0:06:21 | 0:06:25 | |
Well, needs must, innit? | 0:06:25 | 0:06:26 | |
Thanks for the hospitality. | 0:06:26 | 0:06:29 | |
No, George... I just had to figure out who killed Alice Morgan. All right? | 0:06:29 | 0:06:32 | |
I'm sorry it ended up the way it did but... | 0:06:32 | 0:06:35 | |
-I'll put it right. -To tell you the truth, I am tempted to let it lie. | 0:06:35 | 0:06:39 | |
I mean, you are obviously a decent chap. | 0:06:39 | 0:06:41 | |
But you did what you did in front of my son. | 0:06:41 | 0:06:43 | |
'If I start showing weakness to him - well, it's nature's way, isn't it?' | 0:06:43 | 0:06:47 | |
The Lion King. Hakuna Matata. | 0:06:47 | 0:06:49 | |
Er, I think you're thinking about the wrong song. | 0:06:49 | 0:06:52 | |
'What one am I thinking of, then?' | 0:06:52 | 0:06:55 | |
Oh, "Hakuna Matata", that's the happy one, right? "No more worries." | 0:06:55 | 0:07:00 | |
-That one. -That's the one. | 0:07:00 | 0:07:02 | |
Then, I'm definitely thinking of the wrong song. | 0:07:02 | 0:07:05 | |
I've put a price on your head, John. | 0:07:06 | 0:07:09 | |
-How much? -'Out of interest, how much do you think you're worth?' | 0:07:09 | 0:07:12 | |
Well, probably not enough for a good night out and a cab ride home. | 0:07:12 | 0:07:15 | |
Well, I'm honestly down in the dumps about it. | 0:07:15 | 0:07:18 | |
But you did bring it down on yourself. | 0:07:18 | 0:07:20 | |
'So, you're a dead man walking.' | 0:07:20 | 0:07:24 | |
Toodle pip. | 0:07:24 | 0:07:26 | |
Hey. | 0:08:18 | 0:08:20 | |
We've got Steven Rose leaving the building at 21:32pm. | 0:08:20 | 0:08:25 | |
We follow him down here, down here and then...well, he's gone. | 0:08:25 | 0:08:29 | |
-Off camera. -Yeah. How many bodies we got looking for him? | 0:08:29 | 0:08:32 | |
All of them, I think. | 0:08:32 | 0:08:34 | |
-Aerial units. Ground units. Dog units. -Good. | 0:08:34 | 0:08:37 | |
They won't find him. But, er, keep looking. | 0:08:37 | 0:08:41 | |
-IN AMERICAN ACCENT: -"Cut the chatter, Red 2. | 0:08:41 | 0:08:44 | |
"Accelerate to attack speed." | 0:08:44 | 0:08:45 | |
What? What was that? | 0:08:45 | 0:08:48 | |
Sorry. Erm... | 0:08:50 | 0:08:52 | |
Theo and me - DCI Bloom - | 0:08:53 | 0:08:58 | |
He quite liked the odd Star Wars reference. | 0:08:58 | 0:09:00 | |
"Not this ship, sister." | 0:09:01 | 0:09:03 | |
Do you know any David Bowie? | 0:09:08 | 0:09:10 | |
Erm... Yeah, I liked him in, in that film. | 0:09:14 | 0:09:19 | |
The one in the maze. With the baby. | 0:09:19 | 0:09:22 | |
And the puppets... | 0:09:22 | 0:09:24 | |
We Are The Dead. | 0:09:25 | 0:09:28 | |
I'm sorry? | 0:09:28 | 0:09:30 | |
Well, there's this thing. Cotard's Syndrome. | 0:09:30 | 0:09:34 | |
OK. It's a delusional mental illness | 0:09:34 | 0:09:37 | |
and the patient thinks that he's dead and decomposing. | 0:09:37 | 0:09:41 | |
And the cannibalism? That's a symptom? | 0:09:41 | 0:09:45 | |
No, not usually. | 0:09:45 | 0:09:47 | |
I mean, I'm making a... | 0:09:47 | 0:09:49 | |
a leap. Well, it's a small leap - it's more of a hop, really. | 0:09:49 | 0:09:54 | |
So, how do we get ahead of him? | 0:09:54 | 0:09:57 | |
See, I think he's like a feral dog right now | 0:09:59 | 0:10:02 | |
trying to find a place to hide. | 0:10:02 | 0:10:04 | |
I think we lean into that. I think we go public, put his name and face | 0:10:04 | 0:10:08 | |
to the media, force him into one place. | 0:10:08 | 0:10:11 | |
Keep him still and then... | 0:10:11 | 0:10:13 | |
figure out what he does next. | 0:10:13 | 0:10:15 | |
And you think he's rational enough for us to be able do that? | 0:10:15 | 0:10:18 | |
He's delusional, but not deranged. | 0:10:18 | 0:10:21 | |
I mean, the way he sees it, he's just going to do what's necessary to... | 0:10:21 | 0:10:26 | |
to get what he needs just to keep going, you know? | 0:10:26 | 0:10:30 | |
-How you doing, Ben? -Like an anxiety dream. | 0:10:31 | 0:10:34 | |
I have to keep checking I'm still wearing trousers. | 0:10:34 | 0:10:37 | |
Well, we can't move without knowing what's on them hard drives. | 0:10:37 | 0:10:39 | |
-Guv, you got a minute? -Sure. | 0:10:39 | 0:10:42 | |
Jonathan Black - March, 1999 - is lured into a park, suffocated. | 0:10:53 | 0:10:59 | |
All right, SIO had the killer down as Brian Elder - local sex offender. | 0:10:59 | 0:11:04 | |
Next day, Brian Elder drowns himself in a canal. | 0:11:04 | 0:11:09 | |
Jonathan Black's underpants in his pocket. Slam dunk. | 0:11:09 | 0:11:12 | |
Is she in the file? | 0:11:15 | 0:11:18 | |
No, she's not. But I am. | 0:11:20 | 0:11:23 | |
See, I didn't think Brian Elder killed himself, right? | 0:11:23 | 0:11:26 | |
I don't think he did it. | 0:11:26 | 0:11:27 | |
I actually think this girl did it. | 0:11:27 | 0:11:30 | |
Stacey Bell. | 0:11:31 | 0:11:33 | |
Back then, no one was paying attention to me, | 0:11:33 | 0:11:35 | |
I was still wet behind the ears, but I was right. | 0:11:35 | 0:11:37 | |
When she was 17, she got done for manslaughter. | 0:11:37 | 0:11:39 | |
She pushed her nan down the stairs and let her die. | 0:11:39 | 0:11:43 | |
She just got out two and a half months ago. | 0:11:43 | 0:11:46 | |
You know there's nothing to it? This psychic drivel, right? | 0:11:46 | 0:11:49 | |
She knows something about Alice Morgan. | 0:11:54 | 0:11:57 | |
DOOR SLAMS | 0:11:57 | 0:11:59 | |
So, you're a partner in a Corporate PR Firm? | 0:12:08 | 0:12:11 | |
Yes. That's right. | 0:12:11 | 0:12:13 | |
So, what are you doing here? | 0:12:14 | 0:12:16 | |
You're educated, financially stable - I just don't get it. | 0:12:16 | 0:12:21 | |
-I'm not sure what you're implying. -Well, clairvoyants are... | 0:12:22 | 0:12:27 | |
confidence tricksters, aren't they? | 0:12:27 | 0:12:29 | |
-Grave robbers preying on the lonely and bereaved. -That's not what I do. | 0:12:30 | 0:12:34 | |
-No? -No. | 0:12:34 | 0:12:36 | |
I don't broadcast this, let alone profit from it. | 0:12:38 | 0:12:42 | |
In fact, most of my life I've pretended it wasn't happening to me. | 0:12:42 | 0:12:47 | |
Why? | 0:12:48 | 0:12:50 | |
Because it's horrible. | 0:12:50 | 0:12:51 | |
I don't to be here doing this. I don't want to be... | 0:12:53 | 0:12:58 | |
humiliated and frightened. | 0:12:58 | 0:13:00 | |
I don't want this to be happening. | 0:13:00 | 0:13:02 | |
I woke up in the middle of the night and she was standing there. | 0:13:05 | 0:13:11 | |
"Tell John that Stacey Bell has the owl." | 0:13:13 | 0:13:16 | |
-Who's Stacey? -I don't know. | 0:13:17 | 0:13:20 | |
-What owl are we talking about? -I'm not sure. | 0:13:21 | 0:13:24 | |
Thing is, it does actually make sense. | 0:13:29 | 0:13:31 | |
Jonathan Black had a favourite toy and, er, | 0:13:38 | 0:13:43 | |
it disappeared when he disappeared. | 0:13:43 | 0:13:45 | |
Of course, all of that was kept from the press. | 0:13:47 | 0:13:49 | |
I mean, no one actually - no one knew that. | 0:13:49 | 0:13:52 | |
So, how do you know it? | 0:13:53 | 0:13:55 | |
She's here. | 0:14:01 | 0:14:03 | |
She's standing behind you. | 0:14:03 | 0:14:05 | |
Who? | 0:14:06 | 0:14:08 | |
Her mouth is moving, but I can't hear her words. | 0:14:08 | 0:14:11 | |
-I can make out what she's saying, though. -Yeah? | 0:14:15 | 0:14:18 | |
What is she saying? | 0:14:18 | 0:14:20 | |
(Tell John, "Hell is real.") | 0:14:22 | 0:14:25 | |
HE INHALES SHARPLY | 0:14:32 | 0:14:34 | |
I can find a connection if there's one there, | 0:14:47 | 0:14:49 | |
but John, I don't think there is. | 0:14:49 | 0:14:51 | |
That poor wee lad died years ago. | 0:14:51 | 0:14:53 | |
Alice died a couple of days ago in Antwerp. There's no connection. | 0:14:54 | 0:14:59 | |
So, because you can't believe it's true, logically it's false. | 0:14:59 | 0:15:02 | |
Is that really an argument now? Ey? | 0:15:02 | 0:15:06 | |
Benny, listen to me, I told Alice Morgan about this, | 0:15:06 | 0:15:10 | |
I told her about Jonathan Black, Stacey Bell. | 0:15:10 | 0:15:13 | |
I told her how it made me feel. How I couldn't... | 0:15:13 | 0:15:16 | |
how I couldn't put it right. | 0:15:16 | 0:15:18 | |
What did she say? | 0:15:18 | 0:15:20 | |
"Let's find Stacey Bell and set her on fire." | 0:15:20 | 0:15:23 | |
But that's not the point. | 0:15:24 | 0:15:26 | |
I don't know what, I don't know what the point is. | 0:15:26 | 0:15:28 | |
The point is, I told Alice Morgan. I didn't tell anybody else. | 0:15:28 | 0:15:33 | |
The only way that Megan could know that is if Alice Morgan told her. | 0:15:33 | 0:15:37 | |
That's it. | 0:15:37 | 0:15:39 | |
Now...she knows something. | 0:15:40 | 0:15:44 | |
She knows something, I don't know what it is, but I just need to know. | 0:15:44 | 0:15:48 | |
Well, if it can be done, consider it done. | 0:15:51 | 0:15:56 | |
-You getting anywhere? -Somewhere. | 0:16:03 | 0:16:06 | |
-You all right, there? -He killed Theo, Benny. | 0:16:09 | 0:16:12 | |
I want to find him. | 0:16:13 | 0:16:15 | |
I want to rip HIS heart out and eat it. | 0:16:15 | 0:16:18 | |
So, hurry up. | 0:16:19 | 0:16:21 | |
-DS Lane? -Boss? | 0:16:25 | 0:16:27 | |
I need you to go to Steven Rose's place of work. | 0:16:27 | 0:16:29 | |
I want you to speak to his boss, his colleagues, friends, lovers, whoever. | 0:16:29 | 0:16:33 | |
Find out what there is to know about him. See what there is on him. | 0:16:33 | 0:16:36 | |
What's this, busywork? Keep me out of your hair? | 0:16:37 | 0:16:40 | |
Nope. | 0:16:40 | 0:16:42 | |
Chop, chop. | 0:16:42 | 0:16:43 | |
Morning, babe. | 0:16:57 | 0:16:59 | |
You awake? | 0:16:59 | 0:17:00 | |
No, no. | 0:17:01 | 0:17:03 | |
No, everything's fine, it's fine. I just, er... | 0:17:03 | 0:17:06 | |
Well, I'm just calling because I don't want you to worry! | 0:17:08 | 0:17:11 | |
Look, I'm going to be home the minute I can. | 0:17:11 | 0:17:14 | |
Yes, I will. | 0:17:15 | 0:17:17 | |
I promise. | 0:17:17 | 0:17:19 | |
I love you, too. | 0:17:21 | 0:17:23 | |
Sleep. | 0:17:25 | 0:17:26 | |
Sleep. | 0:17:26 | 0:17:28 | |
SHE CRIES | 0:17:35 | 0:17:38 | |
TEXT MESSAGE ALERT | 0:18:06 | 0:18:08 | |
'Leave a message after the beep.' | 0:18:15 | 0:18:17 | |
Mum? It's Declan. I just got your text. Is everything all right? | 0:18:17 | 0:18:20 | |
TEXT MESSAGE ALERT | 0:18:20 | 0:18:22 | |
-You all right? -Yeah. | 0:18:29 | 0:18:31 | |
Actually, I... I dunno. It's a bit weird, it's me mum. | 0:18:33 | 0:18:37 | |
Do you mind if I nip off for a bit? | 0:18:37 | 0:18:39 | |
-Nah. You go home, mate. -Cheers, Mohan. | 0:18:39 | 0:18:41 | |
DOG BARKS | 0:19:32 | 0:19:36 | |
Tara Black? | 0:19:40 | 0:19:42 | |
DOG CONTINUES BARKING | 0:19:44 | 0:19:47 | |
So, how've you been? | 0:19:47 | 0:19:51 | |
I remember you. Constable Luther. | 0:19:51 | 0:19:55 | |
You were very kind. | 0:19:57 | 0:19:59 | |
You seemed to care about my brother. | 0:19:59 | 0:20:02 | |
Well, thank you. | 0:20:02 | 0:20:04 | |
I did. | 0:20:04 | 0:20:07 | |
I don't want to upset you, or worry you, but when someone approaches us | 0:20:07 | 0:20:11 | |
with fresh information, we're obliged to review the case. | 0:20:11 | 0:20:14 | |
So, that's what this is? | 0:20:14 | 0:20:16 | |
Fresh information? | 0:20:16 | 0:20:17 | |
During the investigation we, erm... withheld information. | 0:20:19 | 0:20:23 | |
-George Owly. -Yeah, but... | 0:20:23 | 0:20:26 | |
have you been talking to someone about that? | 0:20:26 | 0:20:29 | |
-Not that I can think of. -Not any pushy journalist, | 0:20:29 | 0:20:32 | |
or anyone saying that they're a psychic? | 0:20:32 | 0:20:35 | |
-No? -No? -Why? | 0:20:35 | 0:20:37 | |
No, it's just, erm... | 0:20:37 | 0:20:39 | |
Sorry, can I just look at that? | 0:20:44 | 0:20:46 | |
Do you remember this girl here? | 0:21:07 | 0:21:09 | |
Sadly, yeah. | 0:21:11 | 0:21:13 | |
Stacey Bell. | 0:21:13 | 0:21:15 | |
Everyone's favourite worst nightmare. | 0:21:16 | 0:21:19 | |
She made Jonathan's life hell. | 0:21:19 | 0:21:21 | |
Wicked little cow. | 0:21:23 | 0:21:25 | |
Is this about Stacey? | 0:21:29 | 0:21:30 | |
Erm, why d'you say that? | 0:21:30 | 0:21:33 | |
Cos you know they moved her back here, yeah? | 0:21:33 | 0:21:36 | |
What, back here on the estate? | 0:21:36 | 0:21:38 | |
I saw her down the shop. | 0:21:38 | 0:21:40 | |
She asked me how I was doing. | 0:21:41 | 0:21:45 | |
I said it was fine. | 0:21:45 | 0:21:47 | |
She said it was a shame about my brother. | 0:21:49 | 0:21:52 | |
And then she laughed. | 0:21:52 | 0:21:55 | |
SHE WHIMPERS | 0:21:59 | 0:22:02 | |
-No... -Are you OK? | 0:22:02 | 0:22:05 | |
SHE SOBS | 0:22:05 | 0:22:07 | |
It's OK. | 0:22:07 | 0:22:09 | |
Stacey, is it? | 0:22:16 | 0:22:18 | |
It's not, no. | 0:22:18 | 0:22:19 | |
You sure? Because you don't half remind me of someone I knew. | 0:22:19 | 0:22:23 | |
-Who? Your mum? -Nah. | 0:22:23 | 0:22:25 | |
No, this little girl I knew a long way back. | 0:22:25 | 0:22:27 | |
-I often wonder what happened to her. -Why's that, then? | 0:22:27 | 0:22:31 | |
You like to think about her when | 0:22:31 | 0:22:32 | |
you're having a little play with yourself? | 0:22:32 | 0:22:35 | |
See, that's exactly the sort of thing she would say, if she was here. | 0:22:35 | 0:22:39 | |
-Except she's not here, is she? -Apparently not. | 0:22:39 | 0:22:42 | |
FOOTSTEPS FADE | 0:22:47 | 0:22:50 | |
HE EXHALES | 0:23:18 | 0:23:20 | |
FRONT DOOR OPENS | 0:24:24 | 0:24:28 | |
BOTTLES CLINK | 0:24:37 | 0:24:38 | |
KEYS HIT SURFACE | 0:24:38 | 0:24:40 | |
WASHING MACHINE STARTS | 0:24:46 | 0:24:49 | |
LOCK RATTLES | 0:24:52 | 0:24:54 | |
DOOR GENTLY CLOSES | 0:25:08 | 0:25:09 | |
PHONE RINGS | 0:25:23 | 0:25:26 | |
'I'm sorry, we can't get to the phone right now, | 0:25:33 | 0:25:36 | |
'so please leave a message after the beep.' | 0:25:36 | 0:25:39 | |
ANSAPHONE BEEPS | 0:25:39 | 0:25:41 | |
'Mum, it's Declan. I shouldn't be too long, | 0:25:41 | 0:25:43 | |
'I'm just stuck in a bit of traffic, all right. 'I'll see you soon. Bye.' | 0:25:43 | 0:25:47 | |
HE GASPS | 0:26:01 | 0:26:03 | |
HE HYPERVENTILATES | 0:26:06 | 0:26:10 | |
HE GROANS AND GASPS | 0:26:10 | 0:26:12 | |
MOTORBIKE APPROACHES | 0:26:42 | 0:26:45 | |
MOTORBIKE ENGINE REVS | 0:27:10 | 0:27:12 | |
GUNSHOTS | 0:27:17 | 0:27:19 | |
HE GROANS | 0:27:22 | 0:27:23 | |
MOBILE PHONE VIBRATES | 0:27:44 | 0:27:46 | |
-Wotcher. -George? | 0:27:48 | 0:27:50 | |
All right, John. You still with us, then? | 0:27:50 | 0:27:54 | |
Er, just about. One of your boys just had a pop at me. | 0:27:54 | 0:27:57 | |
Well, obviously I don't know what you're talking about, officer. | 0:27:57 | 0:28:00 | |
But if I did, I'd probably say, | 0:28:00 | 0:28:02 | |
"They wouldn't be my boys, specifically." | 0:28:02 | 0:28:05 | |
See, if you've been greenlit - allegedly - | 0:28:05 | 0:28:08 | |
every would be hit man in London would be after you. | 0:28:08 | 0:28:11 | |
-How was he, by the way? -Rubbish. | 0:28:11 | 0:28:14 | |
Whoopsie daisy. | 0:28:14 | 0:28:15 | |
-So, how can I help? -George, just lay off. | 0:28:15 | 0:28:18 | |
I've got a nutjob running around London eating people | 0:28:18 | 0:28:21 | |
-and I've got a dead kid. -What do you mean, "Dead kid"? -Yeah. | 0:28:21 | 0:28:24 | |
Now, you and me, we're old school, right? | 0:28:24 | 0:28:26 | |
We're on the same page when it comes to dead kids. | 0:28:26 | 0:28:28 | |
What's this, Billy Bacon and the soft-centered Cockney Villain? | 0:28:28 | 0:28:31 | |
Thing is, George, I think this dead kid is connected to our thing. | 0:28:31 | 0:28:36 | |
-Alice Morgan. -How? | 0:28:36 | 0:28:38 | |
Like I said, I'm not sure. But I know it's connected. | 0:28:38 | 0:28:41 | |
-What are we now - psychic? -Yeah, funny you should say that. | 0:28:41 | 0:28:45 | |
On the basis of this...funny feeling in your belly, | 0:28:45 | 0:28:48 | |
you are asking for what? A stay of execution? | 0:28:48 | 0:28:52 | |
They broke the mould after you popped out, didn't they? | 0:28:52 | 0:28:54 | |
Yeah. That's what my mum used to say. | 0:28:54 | 0:28:56 | |
Your sainted mother. | 0:28:56 | 0:28:58 | |
-Is this another appeal to my maudlin East End heart? -No. Whatever. | 0:28:58 | 0:29:02 | |
Well, I hated my mother, John. | 0:29:02 | 0:29:05 | |
And greenlit is greenlit, I'm afraid. | 0:29:05 | 0:29:08 | |
It's out of my hands. | 0:29:08 | 0:29:11 | |
I'll see you on the other side of the veil. | 0:29:11 | 0:29:14 | |
HE LAUGHS | 0:29:14 | 0:29:16 | |
Mum? Dad? | 0:29:49 | 0:29:51 | |
TEXT MESSAGE ALERT | 0:30:25 | 0:30:27 | |
Mum? Dad? | 0:30:39 | 0:30:41 | |
Mum? | 0:30:58 | 0:31:00 | |
Was it there? | 0:31:39 | 0:31:41 | |
You ever hear of the... | 0:31:48 | 0:31:49 | |
..confirmation bias? | 0:31:50 | 0:31:52 | |
-I beg your pardon? -We all do it. | 0:31:54 | 0:31:57 | |
You sort of see things in a way that support what you already believe. | 0:31:58 | 0:32:02 | |
So, you, erm... | 0:32:04 | 0:32:06 | |
we form an opinion and then you create a theory | 0:32:06 | 0:32:09 | |
-and then you work hard to prove it. -I don't follow. | 0:32:09 | 0:32:12 | |
Yeah. Well, see... | 0:32:12 | 0:32:14 | |
..here's me thinking, | 0:32:15 | 0:32:17 | |
"She must really know a lot about Alice Morgan. | 0:32:17 | 0:32:20 | |
"I mean, she must know Alice Morgan!" | 0:32:20 | 0:32:23 | |
You know? | 0:32:23 | 0:32:25 | |
"How else would she know all those details? | 0:32:25 | 0:32:27 | |
"Jonathan Black. | 0:32:28 | 0:32:30 | |
"The toy owl. | 0:32:30 | 0:32:32 | |
"Stacey Bell." | 0:32:32 | 0:32:35 | |
Right? But then the thing is - | 0:32:35 | 0:32:38 | |
no, you don't know Alice Morgan. | 0:32:38 | 0:32:41 | |
You don't know Alice Morgan, at all. | 0:32:41 | 0:32:43 | |
It's Jonathan you know, isn't it? | 0:32:45 | 0:32:48 | |
Jonathan Black and Stacey Bell. | 0:32:49 | 0:32:53 | |
You know them because you were in their class. | 0:32:56 | 0:32:58 | |
Now, which one's you? | 0:32:58 | 0:33:00 | |
Which one's Sarah Roberts? | 0:33:00 | 0:33:03 | |
So, you do remember. | 0:33:07 | 0:33:09 | |
To be fair - you've changed a lot. | 0:33:10 | 0:33:12 | |
Do you remember the promise you made me? | 0:33:15 | 0:33:17 | |
She said that she would kill me if I told anyone. | 0:33:18 | 0:33:21 | |
-And I did tell someone. Because you said that I could trust you. -I know. | 0:33:21 | 0:33:26 | |
You promised. | 0:33:26 | 0:33:28 | |
-You did nothing. -That's not true. | 0:33:29 | 0:33:31 | |
I was ten years old! Too petrified to sleep. | 0:33:31 | 0:33:34 | |
Do you know what happens to someone, when they don't sleep? | 0:33:34 | 0:33:36 | |
-To their mind? -Yeah. -You do? -Yeah. -Good. | 0:33:36 | 0:33:40 | |
Because it was your fault. | 0:33:40 | 0:33:43 | |
You lied. | 0:33:43 | 0:33:44 | |
So, that's it? | 0:33:46 | 0:33:49 | |
All this woo-woo bullshit, that's it? That's it? | 0:33:49 | 0:33:52 | |
This is way of putting all of that right, because you're petrified - | 0:33:52 | 0:33:56 | |
still petrified - of Stacey Bell. | 0:33:56 | 0:33:58 | |
Do you know what it's like to be haunted? | 0:34:01 | 0:34:03 | |
Megan, that is just your guilt talking, OK. The dead are gone. | 0:34:04 | 0:34:08 | |
No. | 0:34:08 | 0:34:10 | |
The dead aren't even dead, John. | 0:34:10 | 0:34:13 | |
I'm arresting you. | 0:34:13 | 0:34:15 | |
I'm arresting you on suspicion of perverting the course of justice. | 0:34:15 | 0:34:20 | |
No, you're not. | 0:34:20 | 0:34:21 | |
Sorry? | 0:34:21 | 0:34:22 | |
You can't arrest me for anything. | 0:34:24 | 0:34:26 | |
No? And why's that, then? | 0:34:32 | 0:34:34 | |
Because I know what you were planning. | 0:34:34 | 0:34:36 | |
-You and Alice Morgan. -What's that supposed to mean? | 0:34:37 | 0:34:40 | |
Conspiring to sell uncut diamonds. | 0:34:42 | 0:34:45 | |
Running away with a wanted killer. | 0:34:46 | 0:34:48 | |
What would happen to you, I wonder, if I were to tell? | 0:34:49 | 0:34:52 | |
Megan, did you break into my house? Did you take something from me? | 0:34:54 | 0:34:58 | |
-Like what? -A phone. | 0:34:58 | 0:35:00 | |
How long have you been listening to me and Alice? | 0:35:02 | 0:35:05 | |
Long enough. | 0:35:05 | 0:35:06 | |
Long enough to know what happened to her? | 0:35:06 | 0:35:09 | |
Was Alice talking to someone that I didn't know about? | 0:35:15 | 0:35:19 | |
Someone that, someone that could hurt her? | 0:35:19 | 0:35:22 | |
Megan...I need to know. | 0:35:23 | 0:35:26 | |
Of course you need to know. | 0:35:27 | 0:35:29 | |
It would be inhuman not to. | 0:35:29 | 0:35:31 | |
I make good on my promise - I make good on my promise to you... | 0:35:31 | 0:35:35 | |
..then you help me out. All right? | 0:35:36 | 0:35:39 | |
One step at a time, John. | 0:35:42 | 0:35:44 | |
I need to go. | 0:36:00 | 0:36:02 | |
-COMPUTER BEEPS -Boss! We're in! | 0:36:09 | 0:36:11 | |
INDISTINCT CHATTER | 0:36:17 | 0:36:19 | |
This is some guy, huh? | 0:36:20 | 0:36:22 | |
SNIPPETS OF LAUGHTER AND CONVERSATION | 0:36:25 | 0:36:28 | |
Right, what we got? | 0:36:31 | 0:36:34 | |
Steven Rose has been keeping tabs on over two hundred people. | 0:36:34 | 0:36:38 | |
We've been in contact with as many | 0:36:38 | 0:36:40 | |
as possible and advised them accordingly. | 0:36:40 | 0:36:41 | |
Anything we can use to get ahead of him? | 0:36:41 | 0:36:44 | |
No contingency plans as such, but there is a data list of bolt holes, | 0:36:44 | 0:36:48 | |
places all over London he could hide out in. | 0:36:48 | 0:36:51 | |
Abandoned homes, schools, swimming pools. | 0:36:51 | 0:36:53 | |
The problem is, that there are hundreds of them, spread over | 0:36:53 | 0:36:56 | |
six hundred square miles of Greater London. | 0:36:56 | 0:36:59 | |
-DS Lane, what did you get? -He lives alone, | 0:36:59 | 0:37:01 | |
has done for about seven or eight years. | 0:37:01 | 0:37:04 | |
A few girlfriends, nothing serious. Not since a girl called Katherine. | 0:37:04 | 0:37:08 | |
-Katherine who? -Meadows. She and Steven were students together. | 0:37:08 | 0:37:11 | |
Prototypical first love thing, back when summers | 0:37:11 | 0:37:14 | |
were endless and whatnot. | 0:37:14 | 0:37:16 | |
She's long since married, she's now Katherine Woodward. | 0:37:16 | 0:37:19 | |
Other than that, no flatmates, no hobbies, no real friends... | 0:37:19 | 0:37:24 | |
No life. This, erm, Katherine, she's definitely not on the list? | 0:37:24 | 0:37:29 | |
Not listed, sir. There is no Katherines on the list. | 0:37:29 | 0:37:32 | |
-Kates, Katies? -Nope, she's not there. | 0:37:32 | 0:37:35 | |
-Well, we need to talk to her. Has she got an address? -Er, yeah. | 0:37:35 | 0:37:38 | |
'Police warn that Steven Rose should be considered dangerous. | 0:37:43 | 0:37:45 | |
DOORBELL RINGS | 0:37:45 | 0:37:47 | |
'Members of the public should not approach him, | 0:37:47 | 0:37:49 | |
-'but should immediately contact the police. -DOORBELL RINGS AGAIN | 0:37:49 | 0:37:52 | |
'Police are also appealing for | 0:37:52 | 0:37:53 | |
'anybody who might have information...' | 0:37:53 | 0:37:55 | |
< Hannah, get the doorbell, please? | 0:37:55 | 0:37:57 | |
-Owen, get the door. -Who died and made you God? | 0:37:57 | 0:37:59 | |
Sorry, I can't. I'm too busy having a life. | 0:37:59 | 0:38:02 | |
-Can you get your arse off the sofa?! Door! -Hmm. | 0:38:02 | 0:38:07 | |
'These are live pictures coming to us now of the urgent manhunt | 0:38:07 | 0:38:11 | |
'that is ongoing across the capital for Steven Rose. | 0:38:11 | 0:38:14 | |
'We will be updating you as we get the information.' | 0:38:16 | 0:38:19 | |
INDISTINCT CHATTER AT FRONT DOOR | 0:38:19 | 0:38:21 | |
Katie, did you call this lot? | 0:38:22 | 0:38:25 | |
Steven? | 0:38:28 | 0:38:30 | |
'And I would like to repeat, police have warned | 0:38:30 | 0:38:32 | |
'Steven Rose should be considered extremely dangerous.' | 0:38:32 | 0:38:35 | |
THEY SCREAM | 0:38:35 | 0:38:37 | |
The Woodward's are gone, he's got 'em. | 0:39:32 | 0:39:34 | |
Benny, I need you to go through that list of bolt holes. | 0:39:34 | 0:39:36 | |
Isolate a two-mile radius from this point. | 0:39:36 | 0:39:39 | |
On its way, boss. Red lights are properties on the database. | 0:39:39 | 0:39:42 | |
HE EXHALES DEEPLY | 0:40:07 | 0:40:09 | |
If he wanted to kill her... | 0:40:09 | 0:40:11 | |
..he would have just killed her here. | 0:40:13 | 0:40:16 | |
The fact that he's taken her away, that tells me that he needs time. | 0:40:16 | 0:40:20 | |
To do what? | 0:40:20 | 0:40:23 | |
I think the thing of it is that he's come back to get what he's lost. | 0:40:23 | 0:40:27 | |
And the husband? The step-kids? How does that fit? | 0:40:27 | 0:40:30 | |
Katie loves THEM. All right? And that's what Steven does. | 0:40:30 | 0:40:34 | |
He takes from others what he hasn't got. | 0:40:34 | 0:40:36 | |
What is your knowledge of crime to journey stats? | 0:40:40 | 0:40:43 | |
Er, stats say that the less familiar an offender is with a given area, | 0:40:43 | 0:40:47 | |
-the closer to home he'll commit his crimes. -Exactly. | 0:40:47 | 0:40:50 | |
Which puts Steven within a mile and a half of us. | 0:40:50 | 0:40:52 | |
Yeah, yeah. MOBILE PHONE RINGS | 0:40:52 | 0:40:54 | |
-That's Benny. I told him to send you a list of those bolt holes. -OK. | 0:40:54 | 0:40:58 | |
OK. So...so, what? We isolate the properties | 0:40:58 | 0:41:01 | |
-that fall inside that radius? -No. | 0:41:01 | 0:41:04 | |
-Looking for what? Vacant houses for let or sale? -No, too risky. | 0:41:04 | 0:41:08 | |
-We know he needs time, right? -Renovations? | 0:41:08 | 0:41:11 | |
No, it's the same problem, isn't it? Erm... | 0:41:12 | 0:41:15 | |
Boss, there's the old Onslow Hospital. | 0:41:17 | 0:41:20 | |
Yeah, OK. | 0:41:21 | 0:41:23 | |
Erm, OK. So, what do we do? | 0:41:23 | 0:41:26 | |
Well, we should call in armed response. | 0:41:26 | 0:41:28 | |
Yeah. We...we should do that. | 0:41:28 | 0:41:30 | |
Except last time we did that he got away... | 0:41:31 | 0:41:34 | |
So, what do we do? | 0:41:35 | 0:41:37 | |
-We do it right. -Good answer. | 0:41:37 | 0:41:40 | |
SCRAPING OF METAL ON METAL | 0:41:44 | 0:41:49 | |
SCRAPING CONTINUES | 0:42:17 | 0:42:20 | |
Please, don't. | 0:42:28 | 0:42:29 | |
-SHE CRIES -Please. | 0:42:32 | 0:42:35 | |
SCRAPING GETS LOUDER | 0:42:35 | 0:42:38 | |
HE GROANS WITH EFFORT | 0:43:38 | 0:43:40 | |
SHE SOBS | 0:43:47 | 0:43:50 | |
SHE GASPS SHARPLY | 0:43:58 | 0:44:00 | |
Steven. Please, don't. | 0:44:00 | 0:44:01 | |
I want you back. | 0:44:01 | 0:44:03 | |
SHE WHIMPERS | 0:44:03 | 0:44:05 | |
Oh, my god. Oh, my god. | 0:44:05 | 0:44:09 | |
TYRES SCREECH | 0:44:31 | 0:44:33 | |
(Hey, wait.) | 0:44:35 | 0:44:37 | |
DISTANT SCREAMING | 0:44:39 | 0:44:41 | |
(Emma?) | 0:45:23 | 0:45:25 | |
OWEN SCREAMS | 0:45:30 | 0:45:33 | |
RUN! | 0:45:33 | 0:45:35 | |
KATIE SCREAMS | 0:45:35 | 0:45:38 | |
OWEN WAILS | 0:45:42 | 0:45:44 | |
CLATTERING | 0:45:46 | 0:45:48 | |
SHE BREATHES HEAVILY | 0:45:48 | 0:45:51 | |
SHE PANTS | 0:46:12 | 0:46:14 | |
HE GASPS | 0:46:16 | 0:46:18 | |
Are you Owen Woodward? | 0:46:21 | 0:46:23 | |
Are you hurt? | 0:46:23 | 0:46:25 | |
Where is he? | 0:46:27 | 0:46:29 | |
Who else is he with? | 0:46:29 | 0:46:30 | |
My family. | 0:46:30 | 0:46:33 | |
OK. OK. You need to get out. | 0:46:33 | 0:46:35 | |
OK. It's going to be OK. | 0:46:35 | 0:46:38 | |
(Quietly. It's going to be OK.) | 0:46:38 | 0:46:40 | |
KATIE CRIES | 0:47:49 | 0:47:52 | |
Whoa, whoa, whoa! Steven! Stop! Stop! Just stop! | 0:47:59 | 0:48:01 | |
Just stop! | 0:48:01 | 0:48:03 | |
SHE WHIMPERS (Stop. Stop.) | 0:48:03 | 0:48:06 | |
You lost her, mate. OK? She's gone. SHE CRIES | 0:48:08 | 0:48:11 | |
She's gone. All right? But this thing that you're feeling, | 0:48:11 | 0:48:15 | |
this thing, it's in your head, it's a physical thing, you know. | 0:48:15 | 0:48:19 | |
It can be put right. | 0:48:19 | 0:48:21 | |
-I died. -No, no. The dead don't come back, OK? | 0:48:21 | 0:48:26 | |
Now, we think they do, but they don't. | 0:48:27 | 0:48:31 | |
Steven! | 0:48:36 | 0:48:38 | |
Don't! Stop! Stop! | 0:48:38 | 0:48:39 | |
Emma... | 0:48:57 | 0:48:59 | |
Emma. | 0:49:01 | 0:49:03 | |
Put it down. Put it down. | 0:49:03 | 0:49:05 | |
INDISTINCT POLICE RADIO CHATTER | 0:49:14 | 0:49:17 | |
We got to talk about that gun. | 0:49:40 | 0:49:42 | |
-Yeah, I should have told you I took it. -Yeah, you should have. | 0:49:44 | 0:49:47 | |
You found it, all right? | 0:49:53 | 0:49:55 | |
It was Steven's gun and you found it. | 0:49:57 | 0:49:59 | |
It'll be all right. | 0:50:04 | 0:50:05 | |
It was a good shooting. | 0:50:07 | 0:50:09 | |
Hey, Ben. | 0:50:30 | 0:50:31 | |
Good work, Dirty Harriet. | 0:50:31 | 0:50:34 | |
Boss, can I have a word? | 0:50:34 | 0:50:36 | |
Yeah. | 0:50:36 | 0:50:38 | |
It's about that other thing. | 0:50:40 | 0:50:42 | |
I've been having a nosey around | 0:50:42 | 0:50:45 | |
Megan Cantor's financials. | 0:50:45 | 0:50:48 | |
Now, there's nothing massively out of the ordinary, | 0:50:48 | 0:50:51 | |
but there is something, it might be nothing. | 0:50:51 | 0:50:53 | |
-Not everything's something. -She does pay rental on a safe deposit box. | 0:50:53 | 0:50:57 | |
Nice hat. | 0:52:22 | 0:52:23 | |
Nice coat. Very sensible. | 0:52:25 | 0:52:27 | |
-We find ourselves in a pickle. -We are. We're in a pickle. | 0:52:30 | 0:52:34 | |
What if I found a way to fix it? | 0:52:37 | 0:52:39 | |
For you to save some face and make some money? | 0:52:40 | 0:52:43 | |
Quite a bit of money. | 0:52:43 | 0:52:45 | |
Well, as it happens, I often find | 0:52:45 | 0:52:47 | |
that money has an elevating effect on my frame of mind. | 0:52:47 | 0:52:51 | |
There. That's what you wanted. | 0:52:54 | 0:52:57 | |
That's what you tried to steal from Alice. | 0:52:57 | 0:52:59 | |
Well, it seems a bit unseemly when you put it like that - | 0:52:59 | 0:53:02 | |
but, yeah, that's the gist of it. | 0:53:02 | 0:53:04 | |
Where'd you find them, by the way? | 0:53:04 | 0:53:06 | |
Inside the body, were they? What, she swallow them? | 0:53:06 | 0:53:08 | |
Do you want them, or what? | 0:53:08 | 0:53:10 | |
Are we being serious, now? You do know what this lot is worth? | 0:53:10 | 0:53:14 | |
Yeah. | 0:53:14 | 0:53:16 | |
Enough to start a new life. | 0:53:16 | 0:53:18 | |
But that's not going to happen now, is it? | 0:53:19 | 0:53:22 | |
What am I going to buy with these? | 0:53:22 | 0:53:24 | |
Shame she died. | 0:53:39 | 0:53:41 | |
You ever find out who did it? | 0:53:41 | 0:53:43 | |
Look, you've got your money now. | 0:53:45 | 0:53:47 | |
What are the chances of you me doing a favour? | 0:53:48 | 0:53:50 | |
Here we go, then. What do you want? | 0:53:50 | 0:53:53 | |
Cocaine, heroin, pills... whatever's lying about. | 0:53:54 | 0:53:59 | |
Well, that's an unusual request. I mean, given the day job. | 0:53:59 | 0:54:02 | |
It's been an unusual couple of days, George. | 0:54:04 | 0:54:07 | |
HE SNIGGERS | 0:54:09 | 0:54:10 | |
Yeah. | 0:54:10 | 0:54:12 | |
And where did you come across this information? | 0:54:54 | 0:54:58 | |
A tip. | 0:54:58 | 0:55:00 | |
From...? | 0:55:00 | 0:55:03 | |
A source. | 0:55:03 | 0:55:05 | |
A source. | 0:55:05 | 0:55:07 | |
And this puts it to bed? | 0:55:08 | 0:55:11 | |
For good? | 0:55:11 | 0:55:13 | |
Yeah. | 0:55:13 | 0:55:14 | |
Will there be anything else? | 0:55:16 | 0:55:18 | |
No, boss. Thank you. | 0:55:19 | 0:55:22 | |
WOMAN YELLS | 0:55:28 | 0:55:30 | |
Get off of me! | 0:55:31 | 0:55:33 | |
Ow! | 0:55:35 | 0:55:37 | |
They'll do her for intent to supply and then they'll upgrade to murder | 0:55:44 | 0:55:47 | |
when they connect the toy to Jonathan. | 0:55:47 | 0:55:49 | |
HE EXHALES WEARILY | 0:55:49 | 0:55:51 | |
Do you feel better putting it right? | 0:55:56 | 0:55:58 | |
Did you hurt her? | 0:56:02 | 0:56:03 | |
Who? | 0:56:03 | 0:56:05 | |
Alice. | 0:56:07 | 0:56:09 | |
Did you? | 0:56:10 | 0:56:11 | |
Why would I? | 0:56:13 | 0:56:15 | |
Because you wanted me to keep my promise. | 0:56:15 | 0:56:18 | |
You had to stop me from leaving. | 0:56:18 | 0:56:20 | |
Hmm. | 0:56:20 | 0:56:22 | |
It could be that. | 0:56:22 | 0:56:24 | |
Or perhaps it could be that Alice Morgan... | 0:56:25 | 0:56:31 | |
was your blind spot. | 0:56:31 | 0:56:34 | |
You didn't love her, not really. | 0:56:34 | 0:56:37 | |
She frightened you and she excited you... | 0:56:39 | 0:56:42 | |
..and you mistook that for love. | 0:56:43 | 0:56:45 | |
But you would have killed her, eventually. | 0:56:49 | 0:56:52 | |
If she didn't kill you first. | 0:56:52 | 0:56:54 | |
Perhaps that's why I did it. | 0:56:57 | 0:56:59 | |
SHE LAUGHS | 0:57:06 | 0:57:08 | |
But I didn't. | 0:57:09 | 0:57:11 | |
Megan... | 0:57:11 | 0:57:14 | |
..are you scared of me? | 0:57:14 | 0:57:16 | |
Clearly not. | 0:57:18 | 0:57:20 | |
Well, you should be. | 0:57:22 | 0:57:25 | |
Because I'm coming for you. | 0:57:25 | 0:57:26 | |
MUSIC: A Few Hours After This by The Cure | 0:57:45 | 0:57:47 | |
# A few hours after this and we're apart again | 0:57:47 | 0:57:50 | |
# Like black and white checks at opposite poles in a secret game | 0:57:53 | 0:57:59 | |
# Played in a strange symmetry | 0:58:00 | 0:58:04 | |
# You really should have known by the cut of my smile | 0:58:06 | 0:58:10 | |
# That the answer will be simple | 0:58:10 | 0:58:12 | |
# It still took you a while to get it out of me | 0:58:12 | 0:58:16 | |
# I thought you'd do it easily | 0:58:17 | 0:58:20 | |
# Just put your hands around my heart and squeeze me till I'm dry | 0:58:24 | 0:58:30 | |
# I never thought you'd ever stop to ever ask me why | 0:58:31 | 0:58:38 | |
# I never saw you again | 0:58:39 | 0:58:42 | |
# I never saw you again | 0:58:42 | 0:58:45 | |
# I never saw you again | 0:58:46 | 0:58:49 | |
# I never saw you again. # | 0:58:50 | 0:58:53 |