Original subtitles

DISCLAIMER: The following programme contains

strong language and violent scenes.

(TENSE MUSIC) HARRISON: (VO) 'Nina Dragus.'

(GUNSHOTS) 'She was caught with a firearm.'

Pretty young girl, your daughter.

Get Nina out. And she will handle the rest.

AMBER: I need to get this man back to London. And to get back to my daughter.

If something feels off, anything at all, don't hesitate.

TIBOR: I never had a son. I needed you to trust me.

Was mummy a serial killer? This is fun.

OLLY: Tibor sent us. We're here to see Sebastian.

'Sorry, how do you know him?' CARLA: 'We go way back.

But I haven't seen him in years.' (GUNSHOTS)

Come on! Sebastian...

You found him then. Tibor and I killed him, together.

Give me the address of the safe house first.

(ALARM WAILING) No! No! No! No! No! No! Tibor?

(TENSE, DRAMATIC MUSIC)

(ALARM CONTINUES WAILING)

(FOOTSTEPS) (BREATHING HEAVILY)

(OMINOUS MUSIC)

(DISTANT ENGINE RUMBLING) (VEHICLE APPROACHING)

(CONTINUES BREATHING HEAVILY) (ENGINE STOPS)

PHARMACIST: Hello? Police. Yes, my pharmacy.

It's been broken into. (GROANS)

(PANTING)

(GROANING, PANTING)

(CAR DOOR CLOSES) (CENTRAL LOCKING CLICKS)

(PANTING)

(BREATHLESSLY) G... L3... 8...

(LOUD THUD)(GASPS) What are you doing? That's my car!

I'm sorry. (DOOR HANDLE RATTLES) Open the door!

- Open the door! - I can't. I can't. I'm sorry, I need it.

No, wait! Hey! Hey!

For fuck's sake! (MUSIC BUILDS)

Hey, hey, you're not dying on me, you piece of shit.

? AURORA: The Blade ? (DARK, ELECTRONIC BEAT)

(HAUNTING, PULSATING SYNTHS SWELL)

? Mm, mm, mm, mm Mm, mm, mm, mm

? Mm, mm, mm, mm-mm

? Mm, mm, mm, mm

? Mm, mm, mm, mm

? Mm, mm-mm, mm

? Mm, mm-mm, mm

? Fall into my arms

? Like you trust me

? And keep my blood-stained hands

? Off your body...

(INTENSE, RHYTHMIC MUSIC)

? I feel ra-a-a-age

? I feel ra-a-a-age

? I feel ra-a-a-age

? Feel the rage ?

(BED CREAKING)

(PENSIVE MUSIC) (OLLY SIGHS)

Mia?!

Mia! (PANTING FEARFULLY)

(FOOTSTEPS THUDDING) Where are you? Where are you?

(DOOR CLUNKS, CREAKS OPEN)

Oh, no, no!?

(PANTING)

(SINGING LULLABY FAINTLY) ? ..M'en allant promener

? J'ai trouve l'eau si belle

? Que je m'y suis baigne

? Je me suis fait secher

? Sur la plus haute branche

? Un rossignol chantait... What are you doing?

? Jamais je ne t'oublierai ?

I was showing her my tomato plants.

Why did you take her?

Oh, she was hungry.

You were fast asleep.

I was trying to help.

(GENTLY, BUT URGENTLY) OK. (HUMMING MELODY)

OK. (MIA WHINES SOFTLY)

Can I have her?

You won't have a vegetable patch in London.

So little space for children there.

(RESUMES HUMMING LULLABY'S MELODY) Carla...

...please.

(TENSE MUSIC)

(SIGHS SOFTLY IN RELIEF)

(LIGHT SWITCH CLICKS) (DOOR CLOSES)

It's OK. It's OK. It's OK.

Keys. Where are my keys?

(PANTING SHAKILY) (OMINOUS MUSIC)

Where are my car keys?

Where did you leave them?

I left them right there.

Are you sure? (SCOFFS SOFTLY)

(TENSE MUSIC) We'll walk.

Excuse me.

(DOOR CLOSES)

(SUSPENSEFUL MUSIC)

(DOOR RATTLES)

(SIGHS FRUSTRATEDLY) Come on!

(DOOR RATTLES) (GRUNTING) (LIGHT SWITCH CLICKS)

(GROANED PANTING)

I can't let you leave until Tibor gets here.

(SOFT, TENSE MUSIC) We are going to leave.

And you... (PANTING NERVOUSLY)

...you are going to let us.

It's not loaded, Olly.

Pull the trigger if you don't believe me.

(DOG BARKING OUTSIDE) (VEHICLE APPROACHING OUTSIDE)

Take her upstairs. Hide. What?

Go. Go.

(GRAVEL CRUNCHING OUTSIDE)

(ENGINE STOPS)

(TENSE, SUSPENSEFUL MUSIC) (DOOR CREAKS OPEN)

(DOG CONTINUES BARKING) (CAR DOOR OPENS)

(GUN COCKS) (PANTING, STRAINED GRUNTING)

(DOG SNARLING)

Show me your fucking hands.

(BREATHLESSLY) I need help! (DOOR OPENS)

It's OK. It's OK. It's OK. It's OK.

(GRUNTING, PANTING)

(ALARMED) Etienne!

Please! Help me.

(GROANS, SIGHS) Etienne!

We need to get him inside.

(TIBOR GROANS) (GRUNTS)

(SOFTLY) Amber!

(SIGHED GASP)

(MIA WHINING SOFTLY)

(ALL GRUNTING)

(ALL EXHALE DEEPLY)

(PANTING)

Olly...

(TENDER, LOVING MUSIC)

(SIGHING WITH RELIEF)

Oh, my God.

(GASPS, SIGHS IN RELIEF)

You OK?Where's Mia? She's upstairs.

She's safe. She's safe. OK.She's safe.

It's OK. - I am so sorry. - It's OK.

Do you have anything to cut them with?

There are bolt cutters in the storeroom.

Yeah. Go. It's OK. Go.

When was his last insulin shot?

Um... A couple of hours ago.

But, uh... he... he wasn't responding, so I gave him more.

You gave him too much. He's in hypoglycaemic shock.

(LIGHT SWITCH CLICKS)

(OBJECTS CLATTERING AND RATTLING LOUDLY)

(OBJECTS CLATTERING)

(OBJECTS CLATTERING)

(FAST, HEAVY FOOTSTEPS APPROACHING)

(PANTING)

(GIVES INSTRUCTIONS SOFTLY IN FRENCH)

(GAGS) (GASPS SHAKILY)

(SPEAKS FRENCH)

La, la, la. (SIGHS)

(WHISPERS IN FRENCH)

(TENDER, SOLEMN MUSIC)

(RASPY BREATHING)

(GROANING SOFTLY)

(MUFFLED, FAST, HEAVY FOOTSTEPS ARROACHING)

(HOARSELY) No. - You alright? - No.

Don't cut them.

(PANTING) Fucking do it. No.

(GRUNTING) Try again.

(HANDCUFFS CLINK) (GRUNTS)

(HIGH-PITCHED RINGING)

(SOFT, SOMBRE MUSIC)

(HEAVY FOOTSTEPS RETREATING) (SIGHS)

Oh, my God, there you are.

(MIA WHINING SOFTLY)

(CHUCKLES) Hi. Hi.

Hi. (CHUCKLES) Hi.

(SOBBING CHEERFULLY) Hi...

Are you smiling? Love...

Love... we need to go.

Love...

...we need to leave. We need to go.

(GROANS) He's not in a fit state to travel.

No. No. No. I don't mean him.

OK? I mean us.

(SIGHS) Look, Amber, you need to listen to me.

That old woman, she's not well. She took Mia.

And I... I don't know if she's lonely,

or... or what it is, but... but she nearly didn't give her back.

And "Sebastian." Do you remember the code word "Sebastian"?

If you wanna meet Sebastian, you can't

cos he's in a fucking urn on the mantelpiece.

Love, they killed him together.

Tibor's her son.

Say something, please.

(SIGHS) Come on, we need to fucking leave!

Say something!

(PANTING)

I... (SIGHS) Look, I'm sorry.

I'm sorry.

Let's get you cleaned up. We can go in the morning.

(BATH TAP CREAKS) (WATER FLOWING)

(THUDS FOOT ON FLOOR, SIGHS)

(MIA GIGGLING) Ah-boo.

Ah-woo-woo-woo. (LAUGHS) (MIA CHUCKLES)

(MIA WHINES HAPPILY) (GASPS, KISSING PLAYFULLY)

(SOFT, TENDER, PENSIVE MUSIC) (MIA SQUEALING SOFTLY)

(PENSIVE MUSIC CONTINUES)

(FIRE CRACKLING) (CLOCK TICKING)

(DISTANT GUNSHOT) (GASPS SOFTLY)

(SIGHS)

(SIGHS)

(GASPS) (WHISPERS) Hey.

(SIGHS IN RELIEF)

(WHISPERS) It's just me. You nearly gave me a heart attack.

(KISSES, WHISPERS) Sorry.

Are you OK? Yeah.

Baby OK? Yeah, she's sleeping.

(EXHALES)

We should leave.

Listen to me.

If the three of us leave right now... without him...

our lives will still be in danger. No, no, no. They're in danger here.

She has a fucking shotgun- No, if she was going to kill you, you'd be dead already.

Why would you say something like that?

Sorry...

Amber, when you left home three days ago...

...there was nothing more important to you than the three of us together. Nothing has changed.

So why're you putting this guy first? I would never do that.

No, you're doing... (MIA WHINES SOFTLY)

...you're doing it right now.

Olly... everything in my body...

is telling me to just take you and Mia and run.

But we can't. Then, don't fight it. I don't...

I don't understand.

I've been face-to-face with these people.

Hey, and I have seen them...

(WELLING UP, FULL OF PAIN) ...I've seen...

(SOLEMN MUSIC)

They're never going to stop unless I get him to court.

OK? So he's coming with us.

He's coming with us.

I need some air.

OK. (DOOR OPENS)

(DOOR CLOSES)

(SPLASHING SOFTLY) (DISTANT BIRDS CAWING)

(FIRE CRACKLING) (FOOTSTEPS)

(SPEAKS FRENCH)

Mm.

(SOFT CREAKING) (CLATTERING)

(FOOTSTEPS RETREATING)

(QUIVERING BREATH)

(SOFT, INQUISITIVE MUSIC WITH UNEASY UNDERTONES)

(PHONE LINE RINGING) WILL: (ON PHONE) 'O'Neill.'

Will? Uh... This is, uh...

This is Olly. Amber's husband.

Olly.

WOMAN: Olly's phone is back up.

'Sorry, what was that.' It's nothing.

Thank God. I was worried. Are you OK? How's Mia?

She's fine, um... for now.

But... listen, Amber and I are in danger.

We're getting a signal, but there's interference. Is Amber with you?

Where are you? 'We're with Tibor's mother.'

Is Tibor Stone there? 'Yes.'

Locking GPS markers. (COMPUTER BLEEPING)

Olly, listen to me. Pegasus could be tracking you.

'We need your address now. Then, you need to pull the SIM from the phone.'

Another 30 seconds, - and we'll have him. - Olly?!

(SUSPENSEFUL, PULSATING MUSIC)

Locating the cell site now.

'Olly!'

It's GL3 8XY.

Yeah. Got it. Now, pull the SIM.

Do it now. We're coming. 'Thank you. Thank you.'

Do we have him? The SIM's been deactivated.

Fifteen-mile radius. Half of Gloucestershire.

Impossible to search. (SIGHS)

But I need to update Campbell. Stay on it in case he comes back online.

(CUNNING MUSIC)

(PHONES RINGING)

(SIGHS)

(KEYS CLICKING ON MOBILE)

(PHONE LINE RINGING FAINTLY)

I've got an address for you. MAN: (ON PHONE) 'Fire away.'

Who is this? Where's Miles?

You will be dealing with me from now on.

(SOFT, UNEASY TONES) 'Tell me you found Stone.'

Todd and her family, too. We just had confirmation.

Perfect. Well, we'll take it from here.

What's the post code?

(PENSIVE, TICKING MUSIC)

'Will?

Give it to me.'

(CUTLERY CLACKING SOFTLY)

(SIGHS SOFTLY)

TIBOR: You seem anxious, Olly.

CARLA: We had a disagreement.

He thinks I took his car keys. But I didn't.

Right. Sure.

If she says she didn't take your keys,

she didn't take your keys. AMBER: Don't.

What?

Don't!

So Etienne is your real name?

Olly told me about your father. The ashes in the urn.

Sebastian. Amber, what are you doing?

She's been trying to crack me the whole time we've been on the road.

She's exhausting.

But you'd know that. You're married to her.

Is it true?

You two killed him together.

How old were you?

Six. She held him down. I slit his throat.

My husband used to beat us.

I knew one day he'd kill us if we didn't do it to him first.

Etienne understood that.

Even as a boy.

No. He wasn't old enough to make that kind of decision.

"Give me the first six years of a child's life,

and you can keep the rest."

What does that mean? It's a Kipling quote.

As in Rudyard. Yes, I know -

the Jungle Book guy - but what does it mean?

The early years of a child's life are

the most formative in shaping their character.

These foundational experiences have a profound and lasting impact.

Oh, so then, you know what he's done?

You know how many people he's killed?

I'm sure every single one of them deserved it.

Just like his father.

Etienne bought me this house.

So I'd be safe. Hidden.

And he'd know where to find me.

But he never comes. (SPEAKS FRENCH)

Fucking gratitude? I made you a survivor.

That's what it takes to live in this world.

By the time I was sixteen...

I'd killed three men.

THAT'S what you made me.

You see... you were right about me.

And what about you, Amber? Hm? (TENSE BUT INQUISITIVE MUSIC)

My guess was that her father had done some serious time.

You must know.

Her black-and-white view of the world has to come from somewhere.

I don't think it's anything to do with her father.

Your mother then?

(EERIE, CHILLING TONES)

Do you see her?

Treat her with respect?

Are you close? No, not really.

Was that always the case?

She let you down, didn't she? That's enough.

You internalise that much more personally as a woman.

You're probably terrified of turning out just like her.

We're leaving.

(DOG BARKING OUTSIDE)

(TENSE MUSIC) What is it?

It's alright. It's the NCU.

- What? - I called O'Neill. We're gonna get the fuck out of here. We're safe.

Olly. Go and get Mia now.

Why? What- Go and get Mia, now!

Etienne... (SPEAKS FRENCH) Amber come!

(DRAMATIC, PULSATING MUSIC) (DOG CONTINUES BARKING)

(GUN CLICKS, COCKS)

(LOUD CLATTERING)

Lock the door. Amber.

The three of you need to hide till it's over.(MIA MURMURING)

Come on. Faster!

(MUSIC INTENSIFIES)

Give her to me.

It leads to the stable.

Go. Wait for me there.

(WINDOW SHUTTERS CLATTER)

(VEHICLE DOORS OPEN, CLOSE) (GUN CLICKING)

(GASPS SOFTLY)

(GUNSHOTS) (DOG SQUEALS) (BODY THUDS)

(FOOTSTEPS APPROACHING) (GRAVEL CRUNCHING)

(FOOTSTEPS STOP)

(RAPID GUNFIRE) (OBJECTS SHATTERING)

(BULLETS CLATTERING)

(SOFT, SUSPENSEFUL MUSIC) (BREATHING SHAKILY)

(RAPID GUNFIRE CONTINUES, STOPS) (BULLET CASES CLINK ON FLOOR)

(GUNFIRE RESUMES) (BULLETS RICOCHETING)

(OBJECTS SHATTERING) (PANTING FEARFULLY)

(RAPID GUNFIRE RESUMES) (OBJECTS SHATTERING)

(LOUD GUNSHOTS) (MAN GRUNTS)

(RAPID GUNFIRE CONTINUES IN DISTANCE)

What the fuck are we gonna do?! We just wait.

He'll come. - Fucking wait? - He'll come.

Just breath. OK?

(RAPID GUNFIRE CONTINUES) (BULLET CASES CLINKING)

(LOUD GUNSHOTS FOLLOWED BY RAPID GUNFIRE)

PEGASUS OPERATIVE: They're reloading. Go. (TIBOR PANTING)

(LOUD GUNSHOTS) (MEN GRUNTING)

(RAPID GUNFIRE) (OBJECTS SHATTERING)

(SHOUTS IN FRENCH)

(RAPID GUNFIRE CONTINUES) (OBJECTS SHATTERING)

(LOUD GUNSHOTS FOLLOWED BY RAPID GUNFIRE)

(GUNSHOT)(MAN GRUNTS) (GLASS SHATTERING)

(GUN CLICKING) (TIBOR GRUNTING)

(RAPID GUNFIRE)

(SIGHS SHAKILY)

(PANTING SHAKILY)

(PANTING) (FOOTSTEPS OUTSIDE)

(FLOORBOARDS CREAKING)

(UNEASY, SUSPENSEFUL MUSIC)

(BREATHING DEEPLY, NERVOUSLY)

(MUSIC BUILDS GRADUALLY)

(GUNSHOT) (BULLET WHISTLES) (SCREEN HISSES, POPS)

(GLASS SHATTERING) (PANTING)

(FOOTSTEPS RUNNING BY OUTSIDE) (WHISPERS) Etienne...

(SLOW, SINISTER, UNEASY MUSIC) (PANTING SOFTLY)

Keep back.

(DISTANT CLATTERING)

(DOOR HANDLE CREAKS, RATTLES)

(FLOORBOARD CREAKING SOFTLY)

(TAPS FOOT) (GUNSHOT)

(TENSE, UNEASY MUSIC CONTINUES)

(GUNSHOT)(MAN GRUNTS) (BODY THUDS)

(PANTING SOFTLY, NERVOUSLY)

(SPEAKS FRENCH)

(SOMBRE MUSIC) (BREATHING SHAKILY)

(GUNSHOT) (WOMAN GRUNTS)

(PANTING SOFTLY) (SOFT THUDDING)

(DISTANT FOOTSTEPS RUNNING)

(SOFT THUD)

(FOOTSTEPS CRUNCHING ON GRAVEL) (BREATHING SHAKILY)

(UNEASY, SUSPENSEFUL MUSIC)

(DOOR OPENS) (CREAKING)

(MUSIC CONTINUES)

(FLOORBOARD CREAKS) (GASPS)

(LOUD GUNSHOT) (MUSIC INTENSIFIES)

(LOUD GUNSHOT) (SHATTERING)

(MIA SQUEALS SOFTLY) Eight dead.

That leaves one more. And Nina.

(PANTING SOFTLY) How do you know she hit them all?

Mum doesn't miss. (MIA CRYING)

Shh, OK. Please don't.

Shh, shh-shh-shh.

(MIA CRYING MORE LOUDLY) No. No.

Shh. Please be quiet. - Please be quiet. - Make her stop.

Shh. Shh. I know. Shh.

I've got you. Shh, shh, shh. (MIA CRYING SOFTLY)

Do something!

Look at me. I'm fucking trying! (TENDERLY) Hi...

Hi. Look at me.

Hey. Hey. - Come on. - Hey.

We need to move. If we run, they will hear her. Hi.

Not them. You and me.

Have you lost your fucking mind?

(MIA WAILS SLIGHTLY MORE LOUDLY)

(SUSPENSEFUL MUSIC)

(GUN CLICKING)

(FLOORBOARDS CREAKING)

(MUSIC FADES, ENDS)

(FOOTSTEPS THUD SOFTLY)

(BULLETS JANGLE SOFTLY) (SLOW, TENSE MUSIC RESUMES)

(GUN CLICKS) (GUNSHOTS) (GASPS IN PAIN)

(GASPED BREATHING)

(SOMBRE MUSIC)

(CHUCKLES SMUGLY)

You must be Carla.

(BREATHING WITH DIFFICULTY)

Where is he?

(SCOFFS, CHUCKLES)

Long gone.

Now I see where he gets it.

(LAUGHS)

Go to hell.

You, too. I'm sure.

(FOOTSTEPS RETREATING) (SINISTER MUSIC)

(GASPING)

OLLY: Hey, gorgeous. Can you be quiet for us? (MIA CRYING)

Aw. (CHUCKLES) We have a deal.

I'm not leaving my family.

(PANTING)

(SOFTLY) Tibor, wait. Amber...

Tibor... I can still get you to court,

but they're coming, too.

We can still make it. All of us together.

(PENSIVE, UNDERSTANDING MUSIC) (MIA CONTINUES CRYING)

(SIGHS) Just let him go.

Fuck him.

(PANTING)

(SINISTER MUSIC) Jee!

(MIA CRYING SOFTLY)

Amber. (BRICK THUDS, CLATTERS)

(TENSE, UNEASY MUSIC)

Amber, don't... No. Stay.

I can't let them find us. Amber.

No. No, don't... No, stop it. You stay here, OK?

I'll be right back. Just get ready to run.

(TENSE, PULSATING MUSIC)

(MIA WHINING SOFTLY)

(MUSIC CONTINUES)

(MIA CRYING IN DISTANCE)

(MUSIC BUILDS)

(PANTING)

(MIA CRYING IN DISTANCE)

(TENSE, SUSPENSEFUL MUSIC)

(MIA CRYING LOUDLY) It's OK.

It's OK. It's OK.

(TENSE, UNEASY, PULSATING MUSIC)

(EXHALES SHAKILY)

(NAIL GUN THUNKS) (MAN GRUNTS, GROANS IN PAIN)

(GASPED PANTING)

(NAIL GUN THUNKS) (EXCLAIMS IN PAIN)

(CARLA BREATHING WITH DIFFICULTY AND PAIN)

(GROANING)

(GRUNTS)

(PANTING)

Etienne.

(TIBOR PANTING) (SOFT, ETHEREAL STRING TONES)

(VOICE ECHOES SOFTLY) 'Etienne!'

(GRUNTING IN DISTANCE) (OBJECTS CLATTERING, SHATTERING)

(MUSIC FADES, ENDS) (SHALLOW BREATHING)

(SPEAKS FRENCH)

(SOFT JINGLING)

(TENDER, SOLEMN MUSIC)

(BREATHING MORE SHALLOWLY WITH SOME SADNESS)

(BREATHING SLOWS)

(GASPS, SIGHS SOFTLY, CONTINUES SHALLOW BREATHING)

(GUNSHOT) (SOFT, SOMBRE MUSIC)

(SIGHS SOFTLY, PENSIVELY)

Where's Nina?

(TENSE, RHYTHMIC, DETERMINED MUSIC)

(MIA CRYING SOFTLY) OLLY: It's OK. It's OK, love.

(FOOTSTEPS APPROACHING)

(PANTING SHAKILY, NERVOUSLY) (TENSE MUSIC)

(MUSIC BUILDS)

(GUN CLICKS) (MUSIC STOPS)

(SIGHS IN RELIEF, GRUNTS) (DRAMATIC MUSIC)

(GRUNTING, GASPING) (MIA CRYING MORE LOUDLY)

(CHUCKLING PROUDLY)

(GRUNTING)

(MIA CRYING MORE LOUDLY)

(CRYING DISTORTS, CONTINUES) (HEARTBROKEN, BEREFT MUSIC)

(TENSE, DRAMATIC, PULSATING MUSIC)

(FOOTSTEPS THUDDING) (MIA CRYING)

(PANTING)

(MIA CRYING SOFTLY)

(GASPED PANTING)

(ENGINE REVVING)

(DRAMATIC, DETERMINED MUSIC) (ENGINE REVVING LOUDLY)

(TYRES SCREECHING)

(PANTING HEAVILY)

(BREATHING HEAVILY)

(WAILS) NO-O-O-O!

(LOW, TENSE, RHYTHMICALLY PULSATING SYNTH AND STRING MUSIC)

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