Original subtitles

DAMIEN: So it's been 37 years since the Parrish killings.

GEORGIA: Mick?

This happened while he was alive.

KAYLA: The more time you spend with it

and the deeper you go,

the weirder it becomes.

And you have these two cops at the centre of it,

Georgia Cooke and Michael Thorne.

GEORGIA: Four dead, one survivor found. Kate Reynolds.

-(DRAMATIC MUSIC) -Mum, don't.

It sleepeth in the darkness dead,

with hunger of unended years.

MICHAEL: What's Callum Parrish doing funding a radio telescope?

This is my facility.

This is my crime scene.

She's in a mental asylum, guys.

She went fuckin' crazy

and she's been in a mental asylum for 37 years.

Someone's re-creating the murders out at the station,

here in the city.

How about you help me and I help you?

Hey, I wasn't too harsh about

Georgia Cooke and Kate Reynolds, was I?

KAYLA: You were fine.

(DARK SYNTH MUSIC)

(GASPS)

(DARK MUSIC)

(EERIE SOUNDSCAPE)

(INTRIGUING MUSIC)

He's not, um...

(WHISPERS) He's not gonna take notes or anything.

And he's not gonna speak.

-FRANKIE: What happened, Mum? -GEORGIA: Hmm?

FRANKIE: Why is he here?

GEORGIA: Oh, he's observing.

Because there was another incident?

I wanted to access some files.

About the Parrish case?

Yes, about the Parrish case.

But there's no reason they should be denying me.

You seemed to be doing better the last time I came.

I am. I still am, Frank.

How are you? Are you still going to your meetings with, um...

-NA? -Mm-hm.

Yes. It's good.

Do you have a sponsor? I hear it's good to have a sponsor.

Not yet. I'm looking.

I spoke to a social worker the other day.

And, uh, there's an option.

(HOPEFUL MUSIC)

If you look at this.

Petition for Transfer of Custody? What is this?

A magistrate would have to agree,

but there's a chance they would,

and then I could be,

like the form says, transferred

into your custody.

What? What is it?

(SCOFFS)

I just thought we were gonna, you know,

celebrate my birthday.

Not this.

We are. We are, Frank.

I just thought that while you were here,

I might just mention it.

It's just...

I mean, we don't have to make any decisions now. We...

This is not great timing.

I'm getting so close. I know I am.

What are you talking about, Mum?

There was more than one killer.

I'm sure of it.

And if I can just get access to...

Mum.

I...

I can't.

I just can't do this.

Not anymore.

(CHAIR SCRAPES)

Frankie.

Frank!

(BUZZER BEEPS, DOOR OPENS)

GEORGIA: Frank.

(DRAMATIC MUSIC)

(DOOR CREAKS)

(DOOR CLOSES, LOCKS AND BEEPS)

(DARK MUSIC)

GEORGIA: Have you seen Frankie? Where did Frankie go?

Is she over... here?

-Oh! -(GEORGIA LAUGHS)

Is she... here?

No.

-Hey, Poppy? -Yeah?

Have you seen Frankie?

No. No idea.

You know you've got a possum on your back, though.

GEORGIA: What? A possum? Get it off!

You still OK to mind her today?

Yeah.

June and I are going out to lunch,

but she can come with us.

You know she gets anxious

with people she doesn't know very well.

Well, she's met June.

(TV PLAYS QUIETLY NEARBY)

OK, righto. I'll cancel.

Hey, have you ever had anything to do with Peter Carrick?

(CHUCKLES) Yeah.

Piss-Your-Pants Pete.

Worked with him in the '60s. Pissed his pants once.

-Mum. -Oh, one second.

I had a conversation with him yesterday.

God, how he got to be Deputy Commissioner, God only knows.

Can we build my Christmas present?

Yes, but not right now. I'm on my way out.

TONY: Hey, what were you talking to him about, love?

Oh, I had an... altercation with Callum Parrish.

-Callum Parrish? -When, though?

-TONY: The son? -Maybe tonight, sweetie.

Yeah, the son.

Not doing anything stupid, are you, love?

I mean, these people, they don't muck around.

Why can't we do it now?

Because I've got to go to work, sweetie.

You ever dealt with the Parrishes?

No.

No, but, hey, just be careful whose nose you're getting up.

-Always. -FRANKIE: Mum.

Frankie, we're going to make that tonight.

Are you going to talk to the lady today?

Maybe. Is that OK?

There's something wrong with her.

What's wrong with her?

-(MYSTERIOUS MUSIC) -She's got a dead thing in her.

It's dead, but it's growing.

(DARK MUSIC)

Kate, I'm Dr Machen.

If you prefer, you can call me Bob.

Can I call you Kate,

or... or would you prefer Dr Reynolds?

K... Kate's fine.

This belonged to my father. Would you like to see it?

The police think I killed them, don't they?

I'm not from the police.

I'm a clinical psychologist.

You're here to assess me?

I'm here to talk to you.

(PULSATING ENIGMATIC MUSIC)

Georgia, that thing that sleeps in the darkness,

what Kate Reynolds said, you thought it was a quote?

I found it. I called some booksellers.

A lot of booksellers. About 20 booksellers.

-It's from a book? -Yeah. Old.

'Llangnall Tower'. About 1880s or so. This guy has it.

I'm on the task force. Did you know that?

GEORGIA: Yeah, I put you up for it.

Really? Thank you.

That means a lot, both professionally and personally.

GEORGIA: Don't make it weird.

Until we know more,

I don't want anyone talking to the press, yeah?

And when I say that,

I do worry that you haven't heard me correctly,

so let me rephrase it - don't talk to the fucking press.

(WHISPERS) It's from a book.

CHARLIE: I've had already four of the major news outlets

from around the country call me this morning.

It's been a real who's who of who's a cock.

What the fuck are you talking about?

Something you want to share with the class?

We can press on? Alright.

Time for good news, bad news with Forensics.

Over to you, Wendy.

OK. Um... (CLEARS THROAT)

So we're doing some tox screens

to see if there's any evidence of poisoning

from the old uranium mine tailings.

No results yet.

But we have located Paul Edgars's fingers.

So that is all body parts

of all victims accounted for.

No applause?

Alright. (LAUGHS)

They were in the stomach of Simon Lim,

our autopsied man.

Kate Reynolds made him eat Paul Edgars's fingers?

GEORGIA: I'm sorry, are we ruling out any other suspects?

I mean, are we entirely convinced it was Reynolds?

We remain suspicious of the blood-covered woman

that attacked you with a hammer yesterday, yeah.

Call it an old copper's hunch.

She's with the shrink now.

Until we get that psych report back,

Reynolds is off-limits.

So, meantime, I want background.

Both parents are dead, no siblings.

So that leaves ex-boyfriends,

uni mates, third cousins.

I don't care. We're building a picture of this woman.

Now, Cooke, Mick,

I've got the fella from the university coming out today.

I want you two to talk to him about Reynolds.

Just see what you can see.

-Wend, you done? -Yep.

Alright, you've got a lot to get on with.

(TENSE MUSIC)

That's me telling you to fuck off and do it.

So yesterday, you... you had what we call a panic attack.

-Is that right? -It wasn't a panic attack.

Y-yes, I was panicked, but that's because I...

I feel better now.

Hmm.

I'm gonna say something that might sound obvious. Um...

Our brains are very good at alerting us to danger.

What they're not so great at is

knowing when the danger has passed.

(STAMMERS) It lingers, that feeling.

So what I want to say to you is, you're safe now.

This place is safe.

It's just you and me,

four walls and a door.

No, it's not safe here?

It's not just you and me here.

(DARK MUSIC)

(DARK MUSIC INTENSIFIES)

So what I want to know is

if there's an order to these deaths.

We've got Clayton Wallace,

throat gouged, teeth removed.

That's our Gary Boyd.

And then Todd Finch, face smashed, fingers cut off.

That's our Paul Edgars.

But do these new murders match the order of deaths in '87?

I mean, there's nothing in the Parrish case files

about the time of death.

I just realised I haven't prepared a meal for myself

in 37 years.

Hmm.

Would you like me to make you some toast?

No, that's OK. Sorry, what were you saying?

The order of deaths in '87.

Oh, I don't know. I don't think Forensics ever nailed it down.

You know this is, um, quite important for me, yeah?

We've got an active serial killer.

I want to see Frankie.

I know.

Now.

(SCOFFS) You don't want to maybe work up to that?

Why?

Oh, I don't know.

You haven't seen each other in nearly two decades.

Have you... you worked out what you're gonna say?

Have you found her or not?

Yes, I know where she is.

You're going to love this.

(BIRDSONG)

"For now we see through a glass darkly, but then face to face."

"Now I know in part, but then shall I know."

"Even as also I am known."

I don't mind telling you that

I have always struggled with this one.

The Apostle Paul is saying here,

we can never really know God.

And there are days where I feel that divine distance.

And to be honest with you, it terrifies me.

MARGARET: It's a free service, not a free-for-all.

-MAN: Can I take one of these? -Oh, yes, here.

There you are.

Now, one dessert.

You get one dessert, then there's enough for everyone.

ROSIE: You're the devil. The devil!

You've come to me as a scarecrow in the night,

but I know who you are, you're the devil.

It's very good to know, Rosie.

Would you like the pasta salad or the potato?

ROSIE: Give us a bit of both.

-MARGARET: Put that back. -ROSIE: Oh...

You waiting for something?

Oh, this is a fucking terrible idea.

Georgia, we're here.

-No, I'm going. -MARGARET: Excuse me?

Excuse me. The line starts over here.

Mum?

(TENDER MUSIC)

Hey, poss.

Millie?

Mum, what are you doing here?

(WHISPERS) Give me the keys. Give me the fucking keys now!

G'day, Frankie.

Millie, what is she doing here?

She's helping me with something.

What do you mean helping you with something?

What can she be helping you with?

It's a case. Don't worry about it. It'll be good for her.

Good for her?

Millie, she can't cope with this.

I don't know about that.

I guess we'll find out.

Hey. Oi!

(POTATO CHIPS CRUNCH)

Would you say that went to plan or no?

So, listen.

We're still looking for connections

between the victims.

And something will connect them.

I'm done. Take me back.

No. No, no.

That... that's not what we agreed.

I don't care what we agreed. Take me back to Havenbrook now.

I pulled your record.

You've petitioned to get out of that place

six times in the past decade.

The board has knocked you back every time.

I worked my arse off to get you out of there.

Now you're telling me you wanna go back. Is that right?

-Can I see those for a minute? -No.

Just give me a day. One day, then decide.

There's something I haven't told you about.

-Something I think... -Oh, well...

Something I think you should know.

Go on. Tell me now.

Look, it's much better with slides and all that.

-Oh! -Just come to the station.

Hear me out.

Then you can go back to licking the windows at the funny farm.

You used to be nice.

Yeah?

You never were.

(DARK MUSIC)

-(SOFT CREAKING) -(SNIFFS)

What the fuck?

Hello?

(DARK MUSIC)

(WHISPERS) Fucking hell.

(SNIFFS) Oh.

Hello?

What the hell?

(CLEARS THROAT)

Hey. (BANGS ON DOOR)

Hey!

Why am I here?

(POUNDS ON DOOR)

Hey!

Fuck!

I'm not anybody. I'm nobody.

I am a fucking podcaster.

That's one rung below cruise ship magician.

I'm nothing.

(PANTS)

What the fuck is...

(DARK MUSIC)

Your colleague called ahead.

May I ask why the police are interested

in a Welsh novel from the 1880s?

No.

Hmm. (CHUCKLES)

(DESK DRAWER OPENS)

'Llangnall Tower'.

(DESK DRAWER CLOSES)

The quote she mentioned.

"Blackthorne read it himself,

"and I was reminded of a man

"preparing to leap into a frozen lake.

"Then, eyes still fixed on the fire, he began to quote.

"'It sleepeth in the darkness, dead.

"'With hunger of unended years,"

"'it bideth those who dare to hear,"

"'and in this world be born as flesh.'"

Does that sound right?

Yes.

Now, Blackthorne, in this section,

is of course quoting from another book.

'The Bone Gospel'.

'The Bone Gospel'?

Maybe you've heard of it?

No. Do you have a copy?

It doesn't exist.

But it's quoted in this book.

Writers like to pretend it exists.

A mythic artefact,

scribed by a mad monk in the 15th century.

He prayed to God for divine inspiration.

Something else answers.

(OMINOUS MUSIC)

Spooky. (CHUCKLES)

It's a literary game.

Poe, Chambers, Bierce.

They all ascribe quotes to it.

They make them up.

But it is interesting where the idea sticks around.

Every now and again, a rumour crops up that it's surfaced.

Found in a farmhouse in Lyon. Bottom of a well in Baghdad.

It's all a fiction.

I'd like to take that.

Do you have $800?

It is a first edition.

I can come back with an order from a magistrate.

You're welcome to do that.

Thank you for your time.

Judges 13:22. What's that all about?

Excuse me?

You have an Old Testament verse

written in your notebook.

(GASPS)

"We are doomed to die," Manoah said to his wife.

"For we have seen God."

(DARK MUSIC)

Can you explain what you mentioned earlier

when you said that we're not alone here?

No.

Can't explain it.

DR MACHEN: Mm.

What are you writing?

(CHUCKLES)

You think I'm crazy.

What would that look like? What would that...

(TENSE MUSIC)

What would you know?

(PEN CLICKS)

I don't think you're crazy, Kate.

I think you're a very intelligent woman,

who's experienced something traumatic.

And not for the first time.

I saw in your files that you had a near-death experience

when... when you were younger.

So you'll know already that when we suffer trauma,

uh, things can feel, um...

(PEN CLICKS)

Inexplicable.

(PEN CLICKS)

This is inexplicable.

Why don't you try to explain?

There are things beneath.

Beneath what?

Everything.

And that's how you feel?

That's what I know.

I know that now.

Alright.

And I'm changing.

I can feel it.

Sorry, sorry, I know. The uni guy, he still here?

-MICHAEL: Yeah, but listen. -(DOOR CLOSES)

Just got back from the book dealer.

Fucking kook.

Did you find the quote?

I don't know, maybe. It's complicated.

But this is a Bible verse about dying because you saw God?

What the fuck is that doing in a logbook at a research station?

MICHAEL: Listen,

there's something that's gonna piss you right off.

I just wanna get ahead of it.

Callum Parrish is here.

(GEORGIA HUFFS)

(DOOR OPENS AND CLOSES)

Owen here is utterly brilliant,

but I thought I might be able to fill in some gaps.

(SWITCH CLICKS)

(TAPE RECORDER CLICKS)

Thank you for coming in today, Dr Faine.

We understand that you run the research project

from here in the city.

We wanted to get a better understanding

of the personnel out there.

Specifically Kate Reynolds.

And we wanted to get an understanding

of what it was they were researching.

Do you have a scientific background, Miss Cooke?

I don't.

Do you have a law enforcement background, Mr Parrish?

OWEN: Pulsars.

And what are they?

Uh, they're rotating neutron stars.

Sort of, if you like, cosmic lighthouses.

(ENIGMATIC MUSIC)

Does this symbol mean something to you, Callum?

CALLUM: I beg your pardon?

I saw you looking at it just now

and I was wondering if it means something to you.

(KNOCK AT DOOR)

(DOOR OPENS)

Can it wait, Farah?

What is it?

I think I found something.

CALLUM: I've placed you.

You're Mick Thorne.

The cop from the business out at Moorland.

Yeah, that's right.

Well... Well, how about that, Owen?

We're in the presence of a celebrity.

(CHUCKLES QUIETLY)

Listen.

I understand that I've upset your partner,

but this doesn't feel particularly productive,

does it?

Seems to me like we're not really getting anywhere.

(SIGHS)

I think she's...

We're in early stages, just...

getting a lay of the land.

CALLUM: Mm.

Do you like Scotch?

Good Scotch, I mean.

Uh...

-Sure. -Well, we should have a drink.

And a chat. About Kate Reynolds.

Why don't you come to the house tonight?

How about we just talk about it now?

(DOOR OPENS)

Show them what you showed me.

MILLIE: So these are, um...

OWEN: Reports from the station.

MILLIE: That's right. The ones you sent over yesterday.

There's a lot of, you know, science stuff

that I don't understand.

But you see here, in this column?

That's the transmission code.

And the letters are the initials.

See? KR, PE, AS.

Kate Reynolds, Paul Edgars, Anton Surkov.

But then there's 'RT' on about a half a dozen of these

that doesn't match any of the names.

So who's RT?

(TENSE MUSIC)

That would be Ray Tolliver.

Who's Ray Tolliver?

He's, uh...

He's... Uh...

I'm asking him.

Ray Tolliver is an independent researcher in the field.

He reached out to the Trust,

asking if he could use the telescope, just for a month.

We assessed him as a serious person and made arrangements.

And when was that?

Oh, it has no bearing on this case.

He was extracted a week ago.

Why was he extracted?

Reading between the lines... (SIGHS)

I'd say he wasn't handling the isolation very well.

It's not for everyone, is it?

Evidently.

Can you prove that he wasn't there?

CALLUM: Oh, yeah.

We'd have flight logs, wouldn't we, Owen?

Yes.

Of course.

Well, there we are.

There we are.

(TENSE MUSIC)

GEORGIA: This is bullshit, is what it is.

They covered it up.

They didn't mention it. It's not the same thing.

There was a sixth scientist out there, Mick.

-Does that mean nothing? -(DOOR OPENS)

It's not nothing, but we don't even have an address

for this Tolliver guy, George.

MILLIE: That's not true.

What's not true?

We have an address. He's in the system.

Possession of a controlled substance in 1981.

Can't be too many Raymond Tollivers.

Then we go and see Tolliver. Now.

(SCOFFS)

You got somewhere else to be?

I do, actually, yeah.

I've gotta follow up a lead on Kate Reynolds.

Remember her? The woman who almost killed you?

Our prime suspect?

GEORGIA: Your prime suspect.

You coming?

(TENSE MUSIC)

DR MACHEN: Why do you do that? Uh, with the pen.

I... I noticed you also did that with your breakfast.

You pull things apart. Is that new?

Makes a kind of sense.

To see things this way. In parts.

It's all anything really is.

Just parts.

Pretending to be whole.

Look, I... I... I don't know if you can appreciate...

I am trying, uh, to help you,

but I can't do that if I don't understand.

Here. I think I can show you.

(MYSTERIOUS MUSIC)

Can you see?

(DARK MUSIC BUILDS)

(ELECTRICAL CLINKING)

(DARK MUSIC INTENSIFIES)

(ELECTRICAL FIZZING)

Oh!

(PANTS)

(WHEEZES, BREATHES HEAVILY)

(DAMIEN BREATHES HEAVILY)

I've got money. I've got, um...

I've got c... I've got cash.

(SUSPENSEFUL MUSIC)

I can get you money.

I can get you, um,

a hundred... a hundred grand.

Fuck.

200...

$200,000.

I can get you $200,000.

I just, um...

I just need a computer and 24 hours

and I can crowdfund for you $200,000

any bank account you want, huh?

(SNIFFS) 250 as a stretch goal. What do you think?

(LIGHT GLOBE BUZZES)

Please. Just let me out.

(BANGS DOOR) Just... let me... out!

Please!

Oh, fuck.

(CHILLING MUSIC)

Oh, fuck. Oh, fuck. Oh, fuck!

Oh, fuck.

No, no, no, no. Hey, listen!

(SUSPENSEFUL MUSIC)

(SENSOR BEEPS, LATCH CLICKS)

(DOOR OPENS)

-MILLIE: Alright, so, uh... -(DOOR CLOSES)

MILLIE: layout's basically the same.

Break room's through there. Toilet's that way.

I mean, they still clog up if you punish them.

Word to the wise.

Anyway, through here.

Ahh!

Georgia, this is Detective Senior Constable Elle Hardy.

Elle, this is Georgia Cooke.

ELLE: For the record,

I don't think you should be here.

Hey, we both agree on that.

Off you go.

Alright. Tox screens came back on Clayton Wallace.

Same as the first victim - Propofol and siloxane.

Propofol?

-Propofol is an... -Anaesthetic.

Siloxane's a paralytic.

Why both?

Why paralysed and numbed?

Easier. Simpler.

The fingers, the teeth,

you wouldn't need to restrain the victims.

Well, just paralyse them. Why numb them as well?

It takes a bit of the fun out of it, doesn't it?

No. Feels rote. Feels ritual.

Reluctant, maybe.

What were you gonna show me?

You want to do the honours?

MILLIE: Right, this is Gary Boyd's mouth, 1987.

One tooth left.

(CLICKS KEY) And this is Clayton Wallace.

Three days ago.

All teeth removed, except a third upper-right-hand molar.

Same as '87.

Yeah, well, I know what this is.

It's a copycat. That's what copycats do.

You know how much publicly available information...

Go on.

This wasn't made public, was it?

The one tooth.

Never made it to press.

-GEORGIA: Are you sure? -Yeah.

So it's only in our internal docs, yeah?

Which is why I wanted to show you.

This isn't just anyone.

This is someone who was very close to the '87 investigation.

(SUSPENSEFUL MUSIC)

-(OBJECT THUDS) -DAMIEN: What?

(TENSE MUSIC)

(DAMIEN PANTS)

What?

What?! (PANTS)

You want me to open this box?

OK.

(BREATHES HEAVILY)

Just...

(DARK MUSIC)

Uh...

(SNIFFLES) Oh.

(GAGS) Oh.

(DARK MUSIC INTENSIFIES)

(INTRIGUING MUSIC)

(BIRDSONG)

(HANDBRAKE ENGAGES)

(ENGINE STOPS)

(INTRIGUING MUSIC CONTINUES)

(LATCH CLICKS)

(DOOR CREAKS)

Uh, Mick Thorne to see Callum...

Parrish.

Michael Thorne.

Is he, uh...

(INTRIGUING MUSIC)

(PEOPLE HUM)

(WOMAN KNOCKS)

MILLIE: OK, we keep going for another 30 k's and take a left.

(PACKET CRINKLES)

I brought snacks.

You brought snacks?

Well, yeah. Do you want a chip?

No, thanks, Farah.

(CHIP CRUNCHES)

Actually, can I see those for a sec?

(WINDOW WINDER SQUEAKS)

(CLEARS THROAT)

I, uh, thought if we went through one bottle,

couldn't hurt to have another.

I don't drink.

But I'm sure Brandy can find you a glass.

Nah, all good.

All good.

So, Brandy...

can she speak or what?

You know, it's never come up.

Don't sit down.

You wanted to tell me something about Kate Reynolds?

(PEN THUDS)

No.

I'm troubled, Michael.

This whole thing, this horrible business.

I think Owen is troubled as well.

Owen Faine. You met him today.

OK.

The fact of it is he's got a grudge.

(INTRIGUING MUSIC)

And I think he wants to hurt me.

I've offered him money for a research grant,

but I got the sense today that he's unsteady.

Unstable, maybe.

And I need you to set him straight.

(CROW CAWS)

Frankie's a cute kid.

You know, if Charlie does end up getting the shits about this,

you can always say I made you come, yeah?

I wanted to come.

Yeah, well, you've got more stones than Mick.

What the fuck was he playing at?

(MILLIE CHUCKLES)

My private line is on here.

Do you have a pager?

I'll need the number.

(CHUCKLES)

(INHALES SHARPLY)

You know...

I gotta admit, Callum,

this is all a little strange.

You invite me out here for a Scotch,

then you tell me you don't drink.

Now you're talking to me like I work for you.

I think what we may have here, as they say in the pictures,

is a failure to communicate.

(CHUCKLES SOFTLY)

I don't work for you.

Now,

I don't know how you got that impression...

You know, I have a confession to make.

(UNEASY MUSIC)

I told a fib earlier today

when I said I'd only just recognised you from Moorland.

Uh-huh?

Truth is I knew who you were before that.

I mean, it's such an incredible story,

I expect you're sick of telling it.

So do you mind if I do?

(MURMURS)

Go ahead.

A domestic abuse situation

escalates into a hostage crisis.

Michael Thorne, the only one on the scene.

The man has a rifle. Things go sour.

You charge in under fire and shoot him.

But not before he shoots you.

Did you have a question?

Well, I do, Michael.

I do.

How many people, besides you and I,

know that story to be complete bullshit?

(TENSE MUSIC)

(UNEASY MUSIC)

(FROGS AND INSECTS CHIRP)

-(ENGINE STOPS) -(HANDBRAKE ENGAGES)

(ANIMAL SCREECHES IN DISTANCE)

(UNEASY MUSIC CONTINUES)

(GEORGIA KNOCKS)

(DOOR CREAKS)

MILLIE: Shouldn't we call for backup?

Mr Tolliver?

Ray?

It's the police.

(ELECTRONIC BUZZING)

CALLUM: All I'm asking you to do is speak to Owen Faine.

The offer I made him is generous.

What's he got on you?

I don't see how that's any of your concern.

Is it to do with the killings?

He just needs to take the money.

Or you'll ruin my career.

Michael...

I won't ruin your career.

I'll ruin your entire life.

Do you understand how small you are?

Can you even comprehend your place in all this?

I don't think you can.

'Cause if you could, you'd go insane.

What I'm asking is not a lot.

But if even that's too much for you to do, just let me know.

And I'll get on with

the business of burning your life to the ground.

(DARK MUSIC)

(TENSE MUSIC)

(FAINT SPEECH)

Mr Tolliver?

(FAINT RADIO STATIC)

(MAN SPEAKS DIFFERENT LANGUAGE OVER RADIO)

(MUSIC PLAYS BRIEFLY OVER RADIO)

(RADIO STATIC)

(DISTORTED SPEECH OVER RADIO)

(BURSTS OF STATIC, INDISTINCT SPEECH AND MUSIC OVER RADIO)

-(RADIO STATIC WHINES) -(INDISTINCT SPEECH)

-(MUSIC PLAYS BRIEFLY) -(ELECTRICITY CRACKLES)

(PEOPLE SPEAK DIFFERENT LANGUAGES OVER RADIO)

(ELECTRICITY CRACKLES)

(PEOPLE SPEAK DIFFERENT LANGUAGES OVER RADIO)

(OMINOUS MUSIC)

(TV STATIC)

(ELECTRONIC CHIRPING)

(UNEASY MUSIC)

(HYPNOTIC MUSIC)

(ELECTRICAL CRACKLING)

(ELECTRICAL CRACKLING STOPS)

Dr Machen, I thought you were gone.

(HYPNOTIC MUSIC CONTINUES)

(FROGS AND INSECTS CHIRP)

(INDISTINCT SPEECH OVER RADIO)

-(RADIO STATIC) -(MUSIC PLAYS BRIEFLY)

(INTENSE PULSATING MUSIC)

(MUSIC STOPS)

(RADIO STATIC)

(PEOPLE SPEAK DIFFERENT LANGUAGES OVER RADIO)

GEORGIA: You've got to be shitting me. 'Llangnall Tower'.

(UNEASY MUSIC)

Georgia?

(RADIO STATIC)

(ELECTRICAL CRACKLING)

(SUSPENSEFUL MUSIC)

(DOOR CREAKS)

(SUSPENSEFUL MUSIC CONTINUES)

Millie?

(SUSPENSEFUL MUSIC)

(TRAFFIC DRONES)

(SUSPENSEFUL MUSIC)

(HORNS HONK)

-(TYRES SCREECH) -(LOUD THUDDING)

(SUSPENSEFUL MUSIC)

(TV STATIC)

(MAN MOANS)

-MILLIE: Let her go! -Fuck!

-MILLIE: Let her go! -(MAN GROANS)

-Millie, don't! -(MAN WAILS)

MILLIE: Let her go!

(WAILS)

(SCREAMS)

(CRIES OUT)

(SCREAMS)

(SCREAM ECHOES)

(ENIGMATIC MUSIC)