Original subtitles

[tense music]

[gasping]

[speaking foreign language]

- Read the message.

[whimpering]

Read it.

Read the message.

[speaking foreign language]

[door clunking]

[she whimpers]

Make her read it.

- No.

[screams]

Ah!

- Read the message.

[tense music continues]

[speaking foreign language]

[blade swishes]

[sobbing] You fucking bastard!

[speaking foreign language]

[tense music continues]

[Jason sobbing]

[Man] Now you will read it.

[dramatic music]

[gunfire]

[explosion booms]

[dramatic music continues]

- I thought Beth was into medicine and science.

- Well, she is, but Bevan helped her quit smoking

after, like, three sessions, so.

- Why do you think she believes in all that stuff?

- Well, she does now. Mm.

How do I look?

- Amazing.

I really wouldn't have gotten through these past few years

without you.

I love you.

And you. [kisses]

[Claira laughs] Mhm.

[siren wailing in the distance]

- I've got something I need to tell you.

They've asked me to, um,

go back to Syria.

- After what happened?

And you think that's a good idea?

- That's almost six years ago now.

- Yeah, six years of therapy and putting yourself back together.

- Look, um,

I know it's been tough,

but I can't spend the rest of my life working behind a desk.

I'll go crazy.

[horn honking]

[traffic rumbling]

Look, I...

I feel good, Claira.

I feel ready to get back on the horse.

- That won't ever heal.

[Jason scoffs]

I'm fine Claira.

Besides...

Well, Joan, she signed me off months ago.

[Claira sighs]

- How long would you be away for?

A month initially,

but don't worry,

I'll be back for the big day.

- Great.

[gentle music]

[Claira sighs]

[bell rings] - Finished checks.

Pick up where we left off.

We are recording in 3-2-1.

- Now, Timothy,

some cynics would say hypnotism is purely a form

of mental manipulation.

Is it easier to influence someone who is vulnerable?

- Well, contrary to popular belief,

um, hypnotism does not work on the weak-minded.

In fact,

it's those with a higher IQ that make the best subjects.

- That rules me out then.

[audience laughs]

- Actually, it does take quite a bit of concentration

on behalf of the chosen subject and the hypnotist.

It's kind of a meeting of the minds, if you will.

- Okay. And you explore this process

in detail in your shiny new book.

- Yes. - Look at this.

- Timothy Bevan, past lives, the regression tapes.

It was a fascinating read, I have to say.

- Well, you're a man of taste.

[laughs]

- And it charts a series of control sessions that you did

with many different people.

Can you explain, though, how you used hypnosis?

- Yeah, well, each and every one of us

have memories of previous incarnations

that have been suppressed in our subconscious.

Okay? And through hypnotism,

we're able to access those memories.

And they can be as real as the world around us right now.

- Okay. Now, what would you say to some of our studio audience

and perhaps people at home

that might find that pretty far fetched?

- Well, I would have to say that past life regression is real.

And if you allow me,

I'll show you and the audience and everyone at home.

- Shall we? That would be amazing.

Let's do it.

[upbeat band music]

- Absolute bollocks.

He's just a showman.

Makes his fortune off the back of gullible, sad people like...

- Hello, sorry I'm late.

Traffic was awful.

You look fabulous.

- Huh? You say that with such a surprise.

- Maybe it's because you're up the duff.

How's it going, Big Daddy?

- Well, I don't want to boast.

Fatherhood not manhood, you fool.

We've got backstage passes for after the show

so you can both meet him.

- Ooh. - What a joy.

[Director] Please, everyone, let's finish checks.

And we are recording in 3-2-1.

[upbeat band music]

[audience applauds]

- Shall we see what Sarah has to say?

[Audience] Yes!

Sarah, I want you to take a very deep breath.

In through your nose.

Out through your mouth.

[tense music]

Tell us what you see.

- Flowers.

I'm in a garden.

Stood before a palace.

A big white palace.

- Ah.

And who's in the palace?

- Me?

I'm a

princess and this is some kind of royal wedding.

- Princess, my ass!

- Shut up!

- Okay, Sarah.

I'm going to count down from five,

and then you will be back in the studio with us in real time.

Are you ready?

Five. Four.

Three. Two.

One.

Welcome back.

How are you feeling?

- Great. - Great.

- Ladies and gentlemen, Sarah.

[upbeat band music]

- All right.

All right.

How about another volunteer from the audience?

Anyone?

- What are you doing?

- Okay, gentleman in the second row.

Come on up.

- Please don't embarrass me.

- Let's see what he's got.

- Hello. What's your name? - Jason.

- Jason. Nice to see you. Have a seat.

Right here, Jason.

[audience applauds]

All right.

Jason, I want you to focus right here on the crystal.

- Uh, this is not going to work.

[Timothy laughs]

- I've experienced many cynics over the years.

[audience laughs]

Some people fear what they don't understand.

- Who's afraid?

- And ironically, those who are reluctant

are the most malleable.

[suspenseful music]

- Well, give me your best.

- Freeze!

I'm going to count down from ten, Jason.

The world around you will fade,

and you will be in a deep, dark place.

[suspenseful music continues]

Ten.

Nine.

Eight.

Seven.

Six.

Five. Four.

Three.

Two.

One.

[heart beating]

[Jason] I can't see anything.

[Timothy] Imagine a long, dark hallway

with doors on either side.

[lights flickering]

[heart beating]

[eerie music]

Are you with me, Jason?

- Yeah.

- Each one of those doors holds a memory.

I want you to approach one of the doors

and open it.

[door creaks]

[eerie music continues]

Jason?

Jason, can you hear me?

- This was a bad idea.

[Timothy] Can you hear me?

I'm gonna count down from ten,

and then you'll be back in the studio.

With each number, you'll see the light.

Ten. Nine.

Eight. Seven.

Six. Five.

Four.

Three. Two.

One!

[Jason gasping]

[Audience exclaims]

- Okay. It's okay.

It's me, it's me.

You all right?

[Jason gasping]

It's fine. I'm here, I'm here.

Okay, let's get you home now, come on.

[bell rings]

[door opens]

- Excuse me, I really think you should come back inside.

- I think you've done enough, don't you?

- Let me check him.

- He's got enough problems

without you messing with his head.

Just leave it.

- I can help him.

- It's fine, I'm medically trained.

I will look after him, thank you.

- All right, but Beth has my number in case...

- [Claira] Oh, piss off!

[eerie music]

[Timothy] Are you with me, Jason?

Each one of those doors holds a memory.

I want you to open that door

and open it.

[eerie music continues]

What do you see, Jason?

[Jason panting]

- You're alright?

- Yeah, yeah. I'm fine.

Go back to sleep.

- Okay.

[Jason yawns]

Are you okay?

You look tired.

- Yeah, I didn't sleep too good.

I'm fine.

Claira, um, I've got to tell the paper this morning about Syria.

- Are you sure?

- Mhm.

- Okay.

[door closes]

[blues music in background]

♪ In the quiet ♪

♪ You followed me to the lake ♪

♪ In the quiet ♪

♪ You followed me through the night ♪

♪ It sees things hidden ♪

♪ Just beyond the light ♪

♪ Words drift off ♪

♪ Like smoke into the air ♪

[eerie music]

[Jason exclaims]

[alarm blares]

- What happened?

[Jason sighs]

- This morning, after you left.

I saw her again.

Like a

fucking, waking nightmare.

And it's all his fault.

- Who?

- That hypno guy, Bevan.

He's done something,

and now he's just brought everything back to the surface.

- But you volunteered.

You put your hand up.

- So?

[liquid sloshing]

- Have you been taking your meds?

- Of course I have.

- I'm worried about you, Jason.

Look,

can we go and see Joan again, please?

- Jesus Christ, Claira.

No more therapy.

- Okay, well, what about Bevan, then?

- Are you serious?

- Well, you could still be under hypnosis for all we know.

[Jason sighs]

[car door closes]

[tense music]

- Oh.

Sorry to keep you waiting.

There you go.

On the house.

- Thanks.

Look, um, I don't know what happened, but your party trick,

it backfired.

- Well, I can assure you it wasn't a party trick.

- Well, call it what you like,

but whatever you did, I need it reversed.

- Reversed?

Yeah, the door you opened.

It's letting a bad draught in.

- Well, technically, you're the one that opened the door,

but I, I'm not one for semantics,

so if you want it closed.

We'll do as you wish.

You know, I read about your experiences in Syria, and

It's a miracle that you're here.

- Yeah, well.

- What happened to your hand?

- [sighs] Left me with arthritis,

amongst other things.

- I'm sorry to hear that.

It takes a long time

for the brain to heal from that sort of trauma,

as well as the body.

- Yeah, well, it was a long time ago, and I'm fine now.

- Are you sure?

Because you seem...

You seem angry and scared.

- Look, I was fine until your intervention

brought it all back, look, I just...

I just want it gone, all right?

- Okay.

Well, I'm going to need to put you under again, then.

- Can we just get this over with?

- It's not an exact science.

We may end up dredging up all kinds of memories.

- Well, I'll take my chances.

- Very well.

[metronome ticking]

Do you remember the corridor?

- Yes.

- I want you to focus on that light

and just listen to my voice.

[tense music]

I'm going to count down from ten.

The rest of the world will fade.

And your eyes will become heavy.

Ten.

Nine.

Eight.

Seven.

Six.

Five. Four.

Three.

Two.

One.

[eerie music]

You're in a long corridor.

Each one of these doors conceals a memory.

- Is it safe?

- As long as you do what I say.

Some of these doors hold memories from your past life.

I want you to find the door that you left open.

Close the door.

Lock that unpleasant memory inside the room.

Can you hear me?

[Jason] I see it.

I've found it.

- Okay, close it.

Close that door.

[eerie music continues]

Stop!

Jason, what are you doing?

- Where am I?

This isn't Syria.

[Timothy] No, this is a past life.

What can you see?

- It's night time.

There's two girls.

I'm following them.

It's just one now.

[eerie music continues]

Where am I now?

No.

I'm watching her.

This isn't right.

I don't like this.

[eerie music continues]

- Jason. Listen to...

What are you doing?

What are you doing, Jason?

[suspenseful music]

- No, no, no, Fuck!

This is awful.

[woman groans]

[woman screams]

- Jason, listen to me, listen to me.

I'm gonna count down now.

Ten.

Nine.

Eight.

Seven.

Six. Five.

Four. Three.

Two.

- No, no. - One.

Get me out of here!

- One.

You're gonna come out of this now.

[flatline beeping]

You're all right.

Okay.

I lost you there for a second.

You were deep.

I've never known anyone to go that deep.

- It was so...

real.

This is...

so awful, I...

I...

- Hold on.

Just wait.

Take... Jason.

Just...

hold on a second, we're not done yet.

- No, I've got to get out of here.

- No, no, wait a minute.

Wait. Hold on a second.

[tense music]

[phone vibrating]

[tense music continues]

[door opens]

- Did you have a good day?

- Mm.

- Yeah? - Mm.

- So seeing Bevan helped, then?

- Uh.

In some ways.

- What do you mean?

- What I saw, um,

it wasn't Syria.

- What?

- It was something completely different.

- I don't know what you're telling me, Jason.

- What I saw, the visions,

it's like an echo from the past.

Like that princess at the TV show.

- That you didn't believe a word of.

- Look.

The woman I saw, it wasn't Jane.

And this doesn't have anything to do with trauma.

Her name was Kim Ellis, and she was killed in 1987,

Right here in this town.

Claira, I have to explore that more.

- Where does this come from all of a sudden?

- I know it sounds like I'm losing my mind, but I'm not.

I promise you.

- Well what about Syria?

- You said maybe I'm not ready to go back yet.

- What about us?

[tense music]

What if I stay? Then...

I can help out more, can't I?

You have to trust me.

[traffic rumbling]

[tense music continues]

[engine starts]

Help me revisit this person's memories.

- There is a long list of reasons

why that's a terrible idea.

Not the least of which is your incredibly fragile state.

- Well, let me deal with that.

Look at it this way.

If we solved the murder from the past

with past life regression.

Your critics,

well, they would be silenced.

It would be huge.

Help me to open more of those doors.

- It's...

It's incredibly unorthodox.

- You're the master.

I'm simply the student.

And I need you to guide me.

I'm not going to be able to solve this without you.

- Well, if we do this, you have to do everything I say.

Safety is key.

All right, I lost you last time.

That can't happen again.

[metronome ticking]

Keep talking.

Don't go anywhere without my agreement.

All right?

And if it becomes too much,

you just yell out, I'll pull you out.

Do you understand?

- Mhm.

[tense music]

Five, four.

Three.

Two.

One.

[eerie music]

What can you see?

[Jason] A bloody handprint.

[Timothy] Interesting.

Shall I go in?

- With extreme caution.

[eerie music continues]

Describe everything.

Any detail can help us.

- This is a different girl.

[keys jangling]

She's dressed pretty smart.

I don't think she's a student.

[eerie music continues]

[Timothy] Keep an eye out

for anything that might identify her.

[Jason] He's watching her every move.

It seems like she's alone now.

She should get out of there.

[eerie music continues]

[ Voicemail] You have one new message.

- [on phone] Hi, Emily, It's Sue from the agency.

Just catching you before...

- Who the hell are you?

[Sue on phone] Now they've confirmed the 10th...

[Jason] Oh, God, no!

- No, no!

[woman groaning]

- He's fucking strangling her.

- Stay focused.

You're looking for clues, remember?

[Sue on phone] Especially since they want a few subtle changes.

[combatants grunting]

[Sue's voice on phone indistinct]

[woman gagging]

[ Sue on phone] Bring your A-game, as I always say.

Oh, the other thing was,

apparently the creative director

thinks he’s the next Helmut Newton.

So brace yourself for artistic vision.

Anyway, call me back tonight if you've got any questions.

Otherwise, I'll see you on set tomorrow.

Oh, and don't forget your portfolio,

because they've got a new stylist.

[Jason] She's still alive.

Go on, go on.

Get away! Please.

Oh, shit. He's got her.

Get me the fuck out of here now!

[Timothy] Five.

Four.

Three. Two.

One.

[Jason groans]

- That was...

That was insane, man.

- Let's record these details while still fresh in your mind.

- I think her name was, um.

- Emily.

- That's good, what else?

- Um.

Uh,

he was taking mementos, like jewellery.

- Okay, that's useful.

- There was a street sign.

Jeffrey Street, I think.

Hold on.

[suspenseful music]

[keyboard clacking]

Come take a look at this.

- Shit, that's her.

- Yeah, we're dealing with a serial killer.

- Is it me or am I this psychopath?

Is there blood on my hands?

- No, no, no, no, you formed a connection with a previous life.

It doesn't mean that you're the same person.

- Yeah, but it felt like I was killing her.

No, but... but you have to separate yourself from that.

That's a past life.

All right, that's not you.

Do you understand?

[traffic rumbling]

- Mr. Frey.

You want me to investigate these deaths

based on something you experienced under hypnosis?

- I saw those murders.

I was there like I am here right now with you.

- I'm guessing you weren't even born then.

- Yes, well, look, I...

I know how it sounds, but, you know,

I could be a real help here.

What harm is it going to do for you to look into this?

- I am showing my age here, but

I actually remember these murders.

- You do?

- Very disturbing.

Especially to a newbie like I was.

But no one was ever convicted

and the investigation pretty much ran dry.

- Well,

was there ever any evidence suggesting

that both murders were committed by the same person?

- I'd have to look into it,

but I'm not going to. Mr. Frey.

- What?

Why? What, are you just going to ignore new evidence?

- New evidence?

- Yes, it's right here. I'm your witness.

- Thank you for coming in.

- What, so you're not going to do anything?

[sighs]

- Come back when you have something substantial

and I'll happily look at the case.

[answer machine clicks and beeps]

- Jason, Stan here.

Are you okay?

I phoned a number of times.

Uh, we need a decision about Syria.

Call me please.

[beeps]

- So you went to the police on your own?

- Yeah. I'm a big boy.

- Anyway, it's my case, my story.

- Well, that may be,

but you're going to need my help.

And we're in this together.

- Sure. - Yeah.

So, I mean, it's my story, too.

- Yeah, but I'm the journalist.

- And I'm the author, and I already started the book.

- Jesus Christ.

Oh God.

[tense music]

[Elliot] This week, we take a step back in time.

A deep dive into a case...

- Wow, look at this guy.

He's become a true crime expert.

- Is there a contact for him?

- Um.

[tense music continues]

Hey, um, let me do the talking.

He might not believe the whole hypnotism thing.

- Okay.

- Your words, Mr. Reid.

You wrote about the murders in the 1980s.

- Yes.

And I revisited them a while back on my true crime podcast.

Never solved.

- We might be able to shed some light on that.

- Really?

- Yeah.

- It was decades ago.

You're going to what?

Google your way into solving such an old crime.

Believe me, I've tried.

- No, no, no, there are different ways

to revisit the past.

- I recognise you now, Mr Bevan.

I'm afraid I'm not a believer.

- It's interesting you say that.

- Kim Ellis, Emily Phillips.

I saw them die.

- You look well for your age, Mr Frey.

What are you now, 70 odd?

- Have you ever heard of past life regressions?

- It's really not for me, I'm afraid.

- Just hear me out.

I thought the same at first.

- I wish you the best of luck.

But I've got to get on.

- Emily Phillips.

He followed her home, and he strangled her.

- Yeah, sure.

That was public knowledge.

- Kim Ellis.

He tied her to the bed and he slit her throat.

- Yeah, I covered that on the podcast.

- The killer wore black gloves.

He kept trophies of each victim.

Jewellery.

- Would you gentlemen like a drink?

- Quite a collection you got there.

- Jazz and blues, mostly.

So tell me,

how did you know about the jewellery?

Didn't think the police ever released any details about that.

- Within each and every one of us is as a previous incarnation,

suppressed deep within our subconscious.

- Tim. Please.

Do you have, um, anything you think might help us?

- Sounds like you're doing perfectly well on your own.

- Yes, we connected two of the girls

you mentioned in your article you think there might be more?

- Yes. I've often suspected

there may have been more victims.

Other seemingly unrelated murders

that could be attributed to the same killer.

I've covered a lot of cases in my time.

[drawer rattling]

[suspenseful music]

I've never talked about this publicly.

She was a university student

murdered around the same time as the others.

The police never made the connection,

but to me, it just seemed too close for comfort.

- A third victim.

- And almost certainly the last.

It seems they stopped in 88.

- Well, I mean, you're the expert, Mr. Reid.

I mean, who do you think killed all these girls?

- I think whoever killed Cheryl

was associated with the university.

I think she knew her killer.

- Why?

- Because he managed to slip in and out

of a very large hall of residence

without anyone noticing.

- Hmm.

Can we keep this?

- I don't know, it's just all speculation really.

- Yes, I understand, but, you know, just roll with us.

What have you got to lose?

- Okay, if you find anything, you let me know.

[engine rumbling]

- Whatever Bevan has done to his head has really messed him up.

- I feel awful now.

I invited you both.

- No, no, it's not your fault.

It's Jason.

He's, um.

He's obsessed with this past life thing now.

- I thought he was dead against it.

- He thinks that it's going to help him solve

some mystery from the past now.

I'm really worried about him.

You know how obsessive he can get.

- Why don't you have a chat with a therapist?

See what she thinks.

Hey.

- I thought the whole Syrian thing was over

but it's not.

I just want everything to be good

for when the baby gets here.

He's so distant.

We haven't even spoken.

- Get him to speak to his therapist, okay?

- Yeah.

Yeah, yeah.

Well, we've got our antenatal class later,

so I'll talk to him then.

If I can get him to leave his damn office.

[gentle music]

- You do realise that you're never going to be able

to bring him to justice, right?

- Yeah. I'm just thinking about the victims, you know?

What about their families?

Surely they want closure.

- The killer who you have this, uh,

[clears throat]

intimate connection with.

That was all in the distant past.

[metronome ticking]

I was in my early 20s and you weren't even born yet.

- You were here in the 80s?

- Yeah,

I was going back and forth between here and the States.

Remember,

our man must have died before you were born.

Okay. Your eyes are feeling very heavy,

[metronome ticking]

and they're starting to close.

Just imagine you're in a long hallway

with doors on either side.

[tense music]

What can you see?

[Jason] A final door.

[Timothy] Okay, try the handle.

[Jason] It's locked.

What the hell do I do now?

[Timothy] I've seen this before.

For the most significant memories.

A key is required.

It won't open.

The killer has hidden memory here,

one he doesn't want to share.

- What's next?

- We're gonna have to change the rules a little bit

if we're going to come up with this particular memory.

[tense music continues]

Okay.

This time I want you to imagine

there is a number on every door.

Can you do that?

I need you to find door number 16.

[tense music continues]

[door creaks]

[Jason] He's inside.

[Timothy] Okay.

Any details worth mentioning?

Tell me anything you see.

[tense music continues]

[Jason] There's a pan on the stove.

There's a mind control book.

He's taking her earrings.

He's going towards the bathroom.

[water running]

He's watching her shower.

[telephone rings]

Somebody ringing her.

[tense music]

She's seen him.

[dramatic music]

[flesh hisses] [killer groans]

She's just burnt his arm bad.

She's trying to get out.

He's got her.

[dramatic music continues]

He just stabbed her!

[flesh squelching]

Oh, fuck.

[knocking on door]

- [Woman] Hey, is everything okay in there?

[Jason] Somebody else is there.

[music intensifies]

[Woman sobbing]

[Jason] He's getting away.

[Timothy] Okay, okay, look,

we know where this happened and when.

Keep a look out for anything personal to the killer.

[suspenseful music]

[Jason] There's a car.

Yeah. There's a car.

[Timothy] What type of car is it?

[Jason] I don't know. I can't see it.

It's a Ford, I think. Something sporty.

He's driven off.

[engine revving]

[suspenseful music continues]

[siren blaring]

It looks like he's got away.

Fuck!

[glass breaking]

[grunts] Get me out of here!

[Timothy] I'm gonna count down from five,

Four,

Three,

Two,

One.

[flatline beep]

[Jason grunts]

- How do you feel?

- It's like I can feel his pain.

- He got away?

- No. [stammers]

Something happened.

It's like he smashed up his car.

He must have died.

- Yeah.

Take a deep breath, alright?

It'll be all right, here.

- Thank you.

Huh?

- Yeah. She was a first year student

studying cognitive sciences

and she lived right there.

[sombre music]

- Kim Ellis.

She lived a few streets away,

and she, Emily Phillips, look,

she's just around the corner.

She graduated a year before.

I mean, maybe, maybe Elliot was right.

It's the university.

That's the connection.

[phone vibrating]

Oh, shit!

I'm in trouble.

[sighs]

[gentle music]

[phone rings]

I'm so sorry, love, I...

I completely lost track of time.

Uh, have you gone in yet?

I might still be able to get there...

[gentle music continues]

- How could you forget something so important?

- I didn't forget, I just lost track of time.

- Do you know what it was like for me sitting there on my own?

I've already said that I'm sorry.

- Maybe I'd be a bit more convinced if you could actually

look at me in the eye when you said that.

[gentle music]

Why won't you talk to me?

- I just need to finish what I've started.

- And what if what you've started ends up finishing you?

- What do you mean?

- Look at you.

You're not sleeping, you're not eating,

and you look exactly like you did

when you came back from Syria.

- I am not ill, Claira.

I am just tired.

- Well, then pack it in.

No more looking back.

For all of us.

- Look, it'll all be over soon, okay?

Promise.

[blues music plays]

♪ Little heart ♪

♪ Troubles me good at night ♪

♪ Yeah, they're quiet ♪

♪ Follow me through the night ♪

♪ It sees things hidden ♪

♪ Just beyond the light ♪

[lights crackling]

♪ Where's the door? ♪

[Woman] Help us!

[tense music]

[eerie music]

- God.

[eerie music fades]

Honestly, man, this is screwing with my head.

You know, this blues song all the time.

You know, I looked it up?

Wild Billy Burton, you know it?

- No.

- These visions, man, I just can't take it anymore.

- If you want to ease your mind of this horrible burden,

all you have to do is open that door.

- I'm a journalist, okay?

I'm not just some fucking lab rat.

I need facts.

Can't you see what this is doing to me?

I am losing my mind here.

- You were the one that came to me first.

Alright?

- Holy shit.

Why didn't I see this before?

Look.

- What am I looking for?

- 20th of July, 1988.

The date that Cheryl was killed, that's the date I was born.

[tense music]

- What time?

- Around 11 p.m., why?

- Cheryl was killed sometime around 9.30.

Now, if I'm right,

if the killer is your past life.

He died that night shortly after killing her,

but before you were born.

We're getting close.

We need to find a Hall of records.

[suspenseful music]

- What's troubling you?

- I'm just worried about him.

- You know, I can't divulge any confidential information

about my patients.

- I thought he was over Syria.

He's not sleeping.

He's having nightmares again.

[suspenseful music continues]

- Five men died that night in the local area.

Okay, first, gentlemen, we have

Tom spelling.

- He looks the right age.

- Yeah, well, unfortunately, he died in a hit and run accident

about three miles away from the murder scene.

- Well, any connections to university?

- None that I know of.

Okay. Number two, Alex Pickford.

He was killed in a botched grocery store robbery.

- Uni connections?

- None that I know of.

- Okay. Next.

- Toby Kildare.

He lost a finger in a fishing accident.

That may explain the black gloves.

- No, no, the killer definitely had all his fingers.

- Right. That leaves two.

John Caffery and Eric Thomas.

- Well.

These men were elderly and pushing their 70s.

It's clearly not them.

- Doesn't make any sense.

- You think he's having a relapse?

- Well he's got himself hooked on solving murders

that he reckons happened in the 80s.

[suspenseful music continues]

- You got something?

- I persuaded the university to give me some information.

- Persuaded or hypnotised?

- He's working with a hypnotist, Timothy Bevan?

Do you know him?

- We know the three girls

Kim, Emily and Cheryl

attended the university in the 80's, right?

But guess what?

- What?

- They all studied psychology,

and I looked in to all the staff that was there

between 85 and 88.

This guy right here,

Sebastian Drake, was their tutor.

- Can't find a death certificate in here.

- That's cause he's still alive.

He's still a practising psychiatrist.

- I know what he practices has no medical grounding.

I wouldn't recommend Jason getting involved with that.

[suspenseful music continues]

- That's what I thought.

[knocking on door]

I've got way too much food here.

Maybe Mr Bevan would like to join us.

- Oh, thank you, that'd be nice.

- Okay, I'll set another place then.

- Timothy is helping me explore the past.

- Like he did on the TV show.

That worked out well, didn't it?

- Well, Jason is a natural.

- Oh, is that right?

- Yeah.

- Mhm.

- You have a beautiful home here by the way.

And soon it will be filled with the sounds of a new life.

Congratulations.

- Thank you.

So how long have you been interested in hypnosis?

- Uh,

just since my wife passed.

- I'm sorry. - No, it's all right.

She, uh, she died very, very young.

She... she had cancer.

And, uh, it just led me to explore and to wonder.

I guess maybe I'll see her

in another life.

[jazzy music]

[Timothy laughs]

I have a picture of her.

Yeah.

[clears throat]

- She was very pretty.

- Yeah. Clever.

- Would you like another glass of wine?

- That is very kind of you.

I would love that, thank you.

- I'll go and get another bottle.

- Yeah.

[Timothy clears throat]

[jazzy music continues]

You know, he still has nightmares about Syria.

- Yeah. PTSD is real.

And, uh, you know, I've treated a lot of patients with it.

- What? Using hypnosis?

- Yeah, it can really help.

- Just promise me you won't stand by

and watch him fall apart.

I can't lose him again.

- I'll do my best.

You know he's stronger than you think.

- Well, let's not push that theory too hard, okay?

- Absolutely. But I have to tell you that we're very, very close.

- To what?

- To finding a killer.

Proving my past life theory to be real.

- Hmm.

- Did I miss anything? - No.

- No. I'll, um, I'll let you two clear up.

[door slams]

- He's got to be our man.

- How?

The killer is dead.

- No, I know it's him.

- Have you not been listening

or believing in anything we've been doing?

Past life regression.

Past life.

- When you've eliminated all that's possible,

then whatever's left, however improbable...

- Then that must be the truth. - You're just going to quote

- Sherlock Holmes to me right now.

- Yeah, that's how desperate I am.

- Okay, look, let me regress you again,

put you under, get some clues.

This is not our man.

- Just fuck you and your fucking regression.

- All right.

- On the killer here,

he had a burnt arm.

It was bad, remember?

Cheryl burnt him.

- So what, you're just gonna go roll up this guy's sleeve?

- Yeah, if I have to.

- You're gonna regret this.

- Yeah, well just go.

Go on get the fuck out of here.

[door slams]

- Typical attributes of a serial killer,

hiding in plain sight.

Often very conventional on the surface,

sometimes even charming, like Ted Bundy.

More often than not, they blame the murders

on the other person inside them,

as if they're somehow not responsible for their crime.

[tense music]

- Drake!

I know what you are, you sick bastard.

I know what you did.

- Well, I don't know what you're talking about.

- I know what you did.

[tense music continues]

- Are you out of your fucking mind?

I'm going to call the police.

[tense music continues]

[tires screeching]

[phone camera snaps]

[doorbell rings]

- Good evening.

- Hello, are you Mrs. Frey?

[siren wailing]

- I'm here to pick up my husband.

Claira Frey? I'm detective Sage.

Please come with me.

Doctor Drake isn't going to press charges,

so your husband is free to go.

Did you know he came to see me a while back?

Had some very interesting theories about murders

committed way back in the 80s.

[Claira sighs]

- I should have stopped you.

I should have fucking grabbed you by the scruff of the neck

and made you get help.

You need to stop this crazy thing with Bevan.

Do you hear me?

It's gone too far.

[door opens]

- How much of this is about guilt?

[tense music]

- Guilt?

[blade swishes]

Well, it, um.

It should have been me.

- You are not responsible.

It's time to put the past behind you.

[tense music continues]

- I saw those murders with my own eyes.

- You saw what Bevan wanted you to see.

You were vulnerable.

Susceptible to suggestion.

He knew what you'd been through in Syria.

- Are you with me, Jason?

The brain takes a long time to heal from trauma like that.

- Have you heard of false memory syndrome?

[Jason grunts]

Some say hypnotists are able to embed false memories

through suggestion.

- We're dealing with a serial killer.

- Why would he do that?

- Maybe he had ulterior motives.

[tense music continues]

- On the house.

- What about the evidence?

- You made connections that weren't really there

because you so desperately wanted to believe them.

[music intensifies]

[gentle music]

The visions of the girls.

Have they gone now?

- Mhm, touch wood.

- Good.

When's the baby due?

- A couple of weeks.

- It's a new start, Jason.

Enjoy fatherhood.

- Oh, fuck me!

You've got some nerve.

Now you listen to me, Tim, you better back off.

- Okay, okay, just, just hear me out for one minute.

- What, so you can put some more crazy shit in my head?

- It wasn't like that.

- No? - No.

- What, you just click your fingers

and make me see what you want me to see?

- See?

Nothing, I...

I went to Elliot's, alright?

I have some important information for you.

- What car were you driving in the 80s, Tim?

- The killer isn't alive.

Past life.

Can't you understand that?

- I'm done with all this past life bullshit, man.

- Look, look, I get, I get that you don't trust me.

Use... use this to find the killer.

That's all I'm saying.

- How do I know that I'm not looking at him right now, huh?

Just stay away, man.

Do you understand?

- Just use this, all right?

- Fucks' sake.

[engine starts]

[engine revving] [tires screech]

- What are you doing with that?

- Well, you were right about Tim.

I was stupid to be taken in by him.

But now I am done with him.

- I'm very happy to hear it.

And I'm off to work.

Mm. See you in a bit.

- Bye.

Love?

- Yeah?

- Well, don't you think you should ease up with work?

With the due date being so close?

- It's fine.

Honestly, it helps me to keep busy.

Alright?

- I love you. - Love you.

- Bye. - Bye.

[door closes]

[blues music plays]

♪ There's a quiet ♪

♪ Follow me through the night ♪

- What the fuck?

Stop! For fuck's sake! Stop!

Fucking stop!

[eerie music]

[Timothy] Hi, this is Tim Bevan.

Leave a message after the beep.

[beeps]

- I know what you did yesterday.

You hypnotised me again, you piece of shit.

I need this to stop

because the visions have started again, okay?

I want you to stop this, alright?

Do you understand?

[eerie music continues]

[engine starts]

Emily.

Jesus Christ.

[sombre music]

[tires screech]

[knocking on door]

Come on, man.

I know you're in there.

[knocking on door]

Tim?

Are you there?

[tense music]

[suspenseful music]

[suspenseful music continues]

[tense music]

[metronome ticking]

[sighs]

I hope this works.

One last time.

[breathing heavily]

Ten.

Nine.

Eight.

Seven.

Six.

Five.

Four.

Three.

Two.

One.

[eerie music]

[cars crashing]

[monitor buzzing]

[laboured breathing]

- Can you hear me?

- Sense of impact injuries. Possible trauma.

[eerie music continues]

Jesus, give me a chest tube!

[laboured breathing]

[machines beeping]

We're losing him. We're losing him!

[defibrillator charging]

Stand clear.

[electric shocks]

[machines beeping]

Stand clear.

[electricity shocks]

We lost him.

[flatline beeps]

[eerie music]

- [Nurse] Come on, one more push, Mrs. Frey.

[Claira groaning]

Congratulations, Mr. and Mrs. Frey.

It's a boy.

[baby crying]

[machine flatlining]

[electricity shocks]

- We've got a pulse.

He flatlined for over five minutes.

We got him back.

[monitor beeping]

[tense music]

[eerie music]

[Jason breathing heavily]

- Claira!

[panting]

[Jason groaning]

[suspenseful music]

[tires screech]

Oh, come on, babe.

Pick up.

[engine racing]

[phone rings]

[suspenseful music continues]

[phone rings]

[Jason groans]

[Claira breathing heavily]

[suspenseful music continues]

- [Claira on voicemail] Hi, it's Claira,

Leave a message and I'll get back to you.

- Claira, you need to get out of the house now.

It's not safe!

[suspenseful music continues]

[engine revving]

There is someone in the house.

You need to get out now.

[Claira breathing heavily]

[Claira groans]

[engine revving]

[tires screech]

[suspenseful music]

[Claira] Hi, it's Claira.

Leave a message and I'll get back to you.

- Hold on, Claira, okay? I'm nearly there.

Yeah. Hold on.

[suspenseful music continues]

- Okay.

[horn beeping]

- Fuck. Fuck it!

[Claira] Leave a message.

[suspenseful music continues]

- Jason?

Jason, the baby's coming.

Claira!

[thunder cracks]

[Claira whimpering]

- She doesn't know anything about this.

Let her go.

- I suggest you lock the door and give me the keys.

Do it, please.

Don't want to draw any unwanted attention, do we?

[thunder rumbles]

[Claira whimpering]

- Let her go, please.

- I believe you have an item that belongs to me.

I don't know what you mean.

[Claira whimpering]

All right. Okay, okay.

Is this what are you looking for?

- Hand it over and I'll let it go.

- All right. All right.

There you go.

[Claira whimpering]

Okay, you've got what you wanted.

Now let it go.

- I can't do that.

You know too much.

[tense music]

[Elliot grunting]

- Okay, let's get to the bedroom.

Okay?

[thunder cracks]

I know. Okay.

Now listen, wedge something against the door, okay?

Yeah, lock yourself in the ensuite and call the police.

Yeah? Call the police.

I'll hold him off.

You should go now.

- Not before I tie up some loose ends.

[combatants grunting]

[Claira groaning]

[tense music continues]

[thunder cracks]

[tense music continues]

[phone ringing]

[Operator] Which service please?

- Send the police.

Someone's trying to kill us.

[Claira sobbing]

[knocking on door]

[foot thudding]

- Enough.

Step away from the door.

Now!

Look, you're not going anywhere.

We're just gonna wait here for the police.

- Jason,

you've got this all wrong.

- No more fucking talking.

- I didn't kill those girls.

- Bullshit, you're a killer.

A cold blooded fucking psycho.

- You sure about that?

- I saw it all with my own eyes.

- Somebody else killed them.

In 87 and 88, it was like I was under a spell.

It was like...

Like I was watching what was happening

and powerless to stop it.

- Like your podcast?

Yeah, it was another part of you

that did the murders, not you.

- No, no, no, please.

- Classic serial killer tropes.

- Now, this, this was very different.

- You were simply describing yourself, weren't you?

Admit it.

- I've never told anyone.

I couldn't.

But I know

someone else was in control.

- You can tell that to the police.

- Look, just, just let me go.

You'll never see me again.

- What did you do with Tim?

Tell me.

- He turned up at my house, looking for more answers.

He was my psychiatrist back in 88.

I remember him having a thing for the female students.

Never quite trusted him.

I went to get some old files.

Like an idiot, I left my safe key on the desk.

It didn't take him long to figure out where it went.

♪ There's a quiet ♪

♪ Follow me through the night ♪

I felt compelled to keep the jewellery,

but I never knew why.

Jesus Christ.

- Did you kill him?

I saw the bloodstains, Elliot.

[tense music]

- You can't prove a thing.

- I saw your car accident.

The burns on your arm.

The boiling fat.

- How could you possibly know that?

- Show me your arm.

Show me your arm!

[tense music continues]

That's my proof.

[Claira screams]

[combatants grunting]

[Claira screams]

- I'm sorry, Jason.

[tense music continues]

[blood gurgling]

- You first.

[Jason groaning]

[monitor beeping]

[Jason groaning]

[monitor flatlining]

[eerie music]

[Claira screams]

[baby crying]

[gentle music]

[baby cooing]

[Claira] It's a girl.

[gentle music continues]

[Sage] Sergeant, with me, please.

[Sergeant] Yes, ma'am.

- Mr. Frey,

we found Timothy Bevan in the boot of his car.

He's lost a lot of blood.

- Is he okay? Is he conscious?

- Not yet.

- Oh, you need this.

Emily Phillips?

- Yeah.

And you'll find more stuff at Eliot's house.

And you'll need this to open his safe.

- This is a real mess, Mr. Frey.

- Yeah, well, I'm a fool, and I'm easily led.

- Take Mr. Frey's statement at the hospital, Sergeant.

- Yes, ma'am.

- Thank you.

[gentle music]

- Do you want to hold her?

[baby cooing]

[Jason shushes]

- She's beautiful.

- Jason?

No more looking back.

[gentle music continues]

- Yeah.

No more looking back.

Come on, let's get you inside.

- Yeah? - Yeah.

- Be careful.

Careful. All right.

- Thank you.

- I hope I get a mention.

[laughs] Of course.

Who should I make it out to?

- Oh, just me.

[pen scribbling]

I'm sure the irony is not lost on you, Jason.

Gullible hack obsessed with killer.

Gullible hack is killer.

- Sorry? - Ask yourself,

are we always in control of everything we see and do?

[tense music]

Elliot certainly wasn't.

- You do realise that you're never going to be able

to bring him to justice, right?

- I didn't kill those girls.

[Jason] It's the university, that's the connection.

[Timothy] This guy right here, he was their tutor.

- [Elliot] He was my psychiatrist.

I remember him having a thing for the female students.

- You got to be on there.

- What are you now, 70?

It was like I was under a spell.

- Those who are reluctant are the most malleable.

- Watching what was happening and powerless to stop it.

- You just click your fingers

and make me see what you want me to see?

- Are you out of your fucking mind?

- Someone else was in control.

I think she knew her killer.

- Those girls deserve to die.

Mind control, Jason.

Mind control.

[tense music]

Oh.

You might need to rewrite the epilogue.

[tense music continues]

[suspenseful music]

[gentle music]

[soft electric piano music]

♪ I'm a daydreamer ♪

♪ I'm a deep thinker ♪

♪ I get caught in the worlds in my head ♪

♪ I get a sense of memories ♪

♪ Like a song sends me ♪

♪ And I'm right back where we never left ♪

♪ Somewhere down a secret road ♪

♪ Broken but still beautiful ♪

♪ Somewhere they will never know ♪

♪ Where you and I can make the same mistakes ♪

♪ The same mistakes forever ♪

♪ You and I can make the same mistakes ♪

♪ The same mistakes ♪

♪ Forever ♪

♪ Oh ♪

♪ We were heartbreakers ♪

♪ Just two hurt creatures ♪

♪ But we were too much in love to survive ♪

♪ We are rose coloured ♪

Just like no other

♪ I see only the beauty ♪

♪ Of you and I ♪

♪ Somewhere in a secret place ♪

♪ Messy little run away ♪

♪ Somewhere we can hide in ♪

♪ Yesterday ♪

♪ And you and I can't make the same mistake ♪

♪ The same mistake ♪

♪ Forever ♪

♪ You and I can make the same mistake ♪

♪ The same mistakes ♪

♪ Forever ♪

♪ Yeah, you and I can make the same mistake ♪

♪ The same mistake ♪

♪ Forever ♪

♪ Ooh ♪