Original subtitles

- ♪ Taking it slow, saving up, she ♪

♪ Before she knows it ♪

♪ All I ask before she goes home ♪

♪ She's tired of crying ♪

- [laughs]

- ♪ Sick of his lies ♪

♪ She's suffered him for ♪

♪ Far too many years of her life ♪

♪ Feeling low and scared that he'll say ♪

♪ Do you know how over time you drove her away? ♪

♪ Saving up for the day when she goes ♪

- [harsh sobbing]

♪ ♪

[crying]

♪ ♪

[dramatic music]

♪ ♪

- He said what?

- He said he only does relationships

unencumbered by convention, something like that.

- Otherwise known as a casual hookup.

[both chuckle]

- Would that be such a bad thing?

- No.

No.

- [sighs] - If you're ready for one.

- Well, I don't think he does hookups.

In fact, I don't think he does anything casually.

- Hmm.

And flower man, any more from him?

- No.

But Edward did tell me what happened to his girlfriend.

It was an accident, apparently.

She fell down the stairs.

- And he still didn't put up a handrail

even after someone died?

♪ ♪

[birds chirping and cawing]

- I'm so sorry.

- There's nothing to apologize for, Emma.

You needed to tell me when the time was right for you.

Any type of sexual assault

is incredibly difficult to talk about.

- I just thought if I didn't talk about--

[sighs]

It's just so confusing.

- Most important thing to understand

is that you did nothing wrong.

- So then why do I feel so ashamed?

I used to enjoy

having sex.

What if I never feel like myself again?

- We can begin by doing some exercises

to remember how you felt before the assault.

- Well, how do you mean?

- Well, your flat, for example,

was a place of safety, which changed with the attack.

- Would--would you stop going on about the flat?

[tense music]

♪ ♪

Sorry.

- I'm giving you my mobile number...

In case you need to talk before our next appointment.

We're on this journey together, okay?

♪ ♪

- [shrieks]

- [gasps]

[eerie music]

♪ ♪

- Well, that's your first inspection done,

and I'm pleased to say there are absolutely no issues.

How are you finding it here?

Not too demanding, sticking to all the rules?

- No.

I love it.

- Good.

- Camilla.

Do you know anything about the young woman

who lived here before?

The one who died?

- I don't.

That happened with the previous agent.

We took over when they lost the contract.

[footsteps tapping]

[dramatic music]

- [speaking Japanese]

- Give me that. Just give me that.

Sorry.

It's personal.

Is there anything else?

- All done.

♪ ♪

- Hey, who messed with my brilliant slogan?

- Leona.

- So, um...

I heard you and Si broke up.

- Okay, and, what,

he's asked you to put in a word, has he?

- You could do a lot worse than Si.

Given that I'm taken, of course.

- Fuck of, Saul.

- Easy. Just the messenger.

But if it is really over,

which I can kind of understand,

just let him down gently.

♪ ♪

- Edward, so that tenancy Simon and I signed,

what would happen if one of us moved out

but the other one wanted to stay?

- It would depend on which one of you wanted to stay.

- Me. I wanna stay.

Simon has moved out.

- What are you doing at lunchtime?

I wondered if you want to look at a building with me.

- Is that architect speak for,

"Would you like to go on a date?"

- Is that a yes?

♪ ♪

Thanks for coming.

- Thanks for asking.

I've never been invited to see a building before.

I'm intrigued. - Good.

- So is one of these by you?

- If I designed any of these,

I'd feel compelled to take the lift

to the top floor and throw myself off.

- [laughs]

- The place I want to show you is right here.

Shall we?

♪ ♪

Tourists flock to St. Paul's,

but this is Wren's masterpiece.

- I'm not really into churches.

They're all pomp and ceremony.

Nothing to do with the actual religion.

[dark music]

What?

- It's all about architectural legacy for me.

- On the face of it,

it's totally different from your work.

But then you start to see the similarities.

Restraint, simplicity,

like Folgate Street.

To have let go of that house,

you must've moved somewhere incredible.

- I'm on-site mostly.

Muddy caravans or hotels.

It's bearable so long as you put the cushions

in the wardrobe.

- [laughs]

Really?

- No.

Yes.

Sometimes. - [chuckles]

- The original building burned to the ground

in the Great Fire of London.

- Do you know what the best thing about a church is?

The acoustics.

[echoing] ♪ La-la-la-la, la-la-la-la ♪

♪ Amazing grace ♪

♪ How sweet the sound ♪

- Church girl after all.

- I love that about churches.

How the living and dead rub shoulders.

[dramatic music]

And the altar?

That's modern, presumably.

- Yes. Henry Moore.

Beautiful, isn't it?

- Mm. - So simple.

♪ ♪

- I wonder how many couples have stood

in this exact same spot...

pledging their lives to each other.

So why did you bring me here?

♪ ♪

- It's a very special building.

[eerie music]

- So about the tenancy.

- You'll both need to sign a deed of variation,

and that's something any solicitor can take care of.

- Sorry for messing you about.

I didn't mean for this to be such a problem.

- Not at all.

I actually wanted to have lunch with you.

- As in a date?

- Well, I wouldn't know, since I don't do dates.

- So what do you do?

- I'd like to have a relationship with you.

But before you give me an answer,

there's something you should know.

I don't do conventional relationships.

- What do you mean?

[dramatic music]

- People aren't so different than buildings, it seems to me.

It's all too easy to accumulate the unnecessary.

Romantic gestures, meaningless endearments.

What if you strip all that away?

What if you were to have a relationship

unencumbered by expectation?

- So a relationship without the pressure?

- I sometimes think all marriages would be better

if divorce was obligatory after a certain amount of time.

Three years, say?

People would appreciate each other so much more

knowing it wasn't going to last forever.

- But wouldn't that then require a lifetime

of finding the right person over and over

instead of one fulfilling relationship

where you grow old together and work through problems?

- Oh, that's what one hopes for,

but it doesn't always work out that way.

- Oh, God. Sorry, that was insensitive.

- No apology necessary.

[soft lounge music playing over speakers]

♪ ♪

- How did it happen,

if you don't mind me asking?

- An accident on a building site.

- I'm so sorry.

- Thank you.

♪ ♪

Do you always tie your hair back?

- No. Just for work.

It's easier like this.

It's considered more professional.

- I'm sure it looks lovely when you wear it down.

- And how does Edward Monkford let his hair down,

so to speak? - [laughs]

Can you honestly see me doing anything of the sort?

- Maybe I'll find out one day.

[dramatic music]

[siren wailing]

♪ ♪

- So?

- I'd like to cook for you

at Folgate Street this weekend.

No other obligation.

- Okay, then.

♪ ♪

- Okay, then.

♪ ♪

- Thank you for a lovely afternoon.

And thank you for accepting me

at Folgate Street.

- Well, you seem like a perfect fit...

Which is rare.

- I'm flattered.

Do you mind if I ask you about Emma Matthews?

How well did you know her?

- Not very well.

I had a lovely afternoon too.

[suspenseful music]

♪ ♪

[indistinct chatter]

- Ooh, nice. Simon?

- No, someone I just had lunch with.

- That was quick. - Yeah.

He's like that.

- Hmm.

- Andrew, you're a hotshot lawyer.

Would you know how to sort out

a deed of variation on a tenancy?

- You can get them off the internet.

Pretty straightforward.

- Or if I gave you the details?

- Fine. Give me your tenancy. I'll take a look.

All tenants will need to sign.

Then you give it to the landlord.

- You're the best.

[cell phone buzzing]

[tense music]

♪ ♪

Hello.

- Hello, Emma. It's DS Willan here.

Would you be able to come and see us on Monday?

We've got an update on your case.

- What sort of an update?

- It's best if we talk in person.

Can you make, say, 9:00 a.m.?

- Yeah, sure.

- Great. We'll see you then.

♪ ♪

- Jane, this came for you.

- Thanks.

[indistinct chatter]

- Oh, hi.

- Hi, Elaine.

Lovely to see you. Sorry, can't stop.

[baby crying]

[dramatic music]

♪ ♪

[somber music]

♪ ♪

- Fuck.

[dramatic music]

♪ ♪

- Do you like it?

I hope you don't mind.

- What happened to no romantic gestures?

- Well, this is more of a practical gesture.

- Practical? I see.

- Because I want something in return.

- Oh, really? And what might that be?

- To cook for you

this weekend at Folgate Street.

No other obligation.

♪ ♪

- I'd like that.

♪ ♪

[somber string music]

♪ ♪

- Hey.

♪ ♪

- What the fuck, Simon?

How did you get in? - This.

- Well, you can leave it over there.

Those are the papers you need to sign.

- Come on.

How am I supposed to persuade you to take me back

if we don't at least have a drink?

- Oh, it looks like you've been drinking enough already.

We're not getting back together, Si.

♪ ♪

- But I am back, aren't I?

Here I am.

So that's the first step.

And there's my teapot.

So you still like my teapot.

Did you get my flowers?

[soft music]

Oh, Em--

- Simon, you need to go.

- I love you.

- [sighs]

- I don't want to lose you.

And I think you need me right now.

[cell phone buzzing]

Em, not now. - Get off.

- Emma? Emma.

It's Edward. Are you okay?

- Yeah. Simon's here to sign the papers.

At least, I hope he is. - Put him on, would you?

♪ ♪

Simon, I need you to sign those papers,

and then I need you to get out of my house.

I'm coming to collect them over dinner,

and it would be awkward for you if you were still there.

[dramatic music]

♪ ♪

- Him?

Of all people?

How could you do this to me?

- I didn't mean-- - Ah.

♪ ♪

Oh.

♪ ♪

[ominous music]

♪ ♪

[bell dings]

[bell dinging]

[bell dings]

[bell chimes]

♪ ♪

[intercom ringing]

[bell chimes]

[buzzer blares, lock clicks]

♪ ♪

- You look perfect.

- Thank you.

♪ ♪

[dramatic music]

♪ ♪

♪ ♪

- I thought you were supposed to be cooking for me.

- I like looking at you.

- Don't.

- You don't have to hide anything from me.

Would you rather not have them?

Rather none of it had happened?

- No.

I'm glad she existed.

- Then it was worth it.

- I just...

I just feel like I'm permanently marked,

like a tattoo or something.

- You're beautiful. All of you.

Although I did split up with someone once

because she got a tattoo.

I tried to ignore it, but every time,

it was just, "Nah."

- [chuckles]

- Well, that was her choice to make.

- Of course.

And mine to stop seeing her.

I'm not very tolerant of people whose...

standards I don't agree with.

♪ ♪

- Bed feast.

Biscuits and wine.

What do you say?

- I'll make us some proper food.

♪ ♪

[ceramic shatters]

[tense music]

- I'm sorry. It slipped.

I imagine that had sentimental value?

- No.

Not anymore.

- I'll get you another one.

A better one.

♪ ♪

[eerie music]

[cell phone buzzing]

- Edward?

[cell phone buzzes]

[sighs]

[bell dings]

[scoffs]

[bell dinging]

"A carefully considered gesture of affection is more romantic

than a spontaneous one." What?

[bell chimes]

"House facilities disabled. Question 1 of 50"?

No, no, no, no, no, no, not today.

Agree.

[tense music]

♪ ♪

[siren wailing]

- Thank you for coming, Emma. - Take a seat there.

- So we can confirm that the CPS

are gonna charge Ray Nelson with aggravated burglary

and trespassing with intent to commit a sexual offense

and with rape.

- What? No, no, no, you--

I don't want--

Well, will there be a trial?

Because you said when there's no DNA--

- I know this is daunting,

but we're here to support you.

We've been trying to put Ray Nelson away now

for some time.

And this, your case,

I believe will finally get him off the streets.

Now, you want that, don't you?

[dramatic music]

Good.

Nelson's made a bail application,

but we're hoping he'll plead guilty at the hearing

and then this will all be over.

- Sir. - One moment, please.

Do you understand, Emma?

♪ ♪

- He pleads guilty, and then this is over.

- Correct. Now, there is one more thing.

Have you heard of a victim statement?

It's your chance to tell the court exactly how you feel.

More importantly, the impact this experience has had

on your life.

You write it all down, and it's read out in court.

It's your chance.

It's a powerful chance to influence the sentencing.

- I'm not sure I--

- Many survivors say it's a positive experience.

It gives you a voice in the process.

- Right.

♪ ♪

- But there must be a reason.

- I'm afraid, Ms. Cavendish, most stillbirths

are classified officially as unexplained.

As you'll see from the postmortem report, this was.

- And there's nothing that could have been done?

That I could've done differently?

I--

I noticed she hadn't moved for a while.

Did I--should I have kept counting Isabel's movements?

- You came in with abdominal pain?

- No, not really.

A--a few Braxton-Hicks, but those are normal at 39 weeks,

I was told.

- An examination of your placenta

showed it was on the small side.

Umbilical cord slightly thinner.

However, these reasons alone aren't enough

to explain the death.

I'm very sorry.

♪ ♪

- I should have gone in earlier.

- We can refer you to a bereavement counselor

if you wish.

- No. Thank you.

- All the other information's in here.

♪ ♪

[somber music]

♪ ♪

- I'm sorry.

♪ ♪

I'm so sorry.

♪ ♪

- Hey, Emma, was that tenancy stuff all okay?

- Oh, yeah. Yeah, all sorted. Thanks.

- You know someone's buried there, at your house?

- Sorry?

- Two people, actually, right under the building.

I noticed it when I checked the deeds on the planning portal.

It's perfectly legal so long as you tell the council

and mark it on the plans.

And that tenancy, no pictures, no cushions.

It's pretty freaky, right?

- No.

It's amazing.

And--and I love it there.

- Right.

Right.

[eerie music]

♪ ♪

[tense music]

♪ ♪

- [groans angrily]

♪ ♪

[smooth music playing over speakers]

♪ ♪

- Are you going to stay the night?

The whole night, not do your moonlight flit.

- I like to start work early.

♪ ♪

- When you left, the house made me redo the questionnaire.

Not sure I like being an experiment.

- All buildings are designed to have an effect on people.

Castles to intimidate, churches to inspire.

Why shouldn't the house

be designed to give you a framework to live by?

- Most people would say a house should serve its occupants,

not the other way around.

- We are not most people.

- [sighs]

- The questionnaire was a condition of you moving in.

- It's not just the questionnaire.

It's been a rough day.

- Do you want to talk about it?

- No.

♪ ♪

- ♪ Do you want me ♪

♪ ♪

♪ Does she want me ♪

♪ ♪

[whisk clattering]

- So are all your relationships like this?

Semidetached?

- They are now.

- What was she like,

your wife?

- I actually have a question for you.

Why don't you like being kissed?

It's okay. You don't have to tell me.

[whisk clattering]

- I was raped.

[dramatic music]

- What?

- Partly why Simon and I broke up.

- Emma...

I am so s--

Well...

then this is too soon, surely.

- No.

No, this--

You--

Being here, somehow, I--I feel...

closed in.

Safe.

- You sure?

- It's like, when I'm with you...

I'm not the person it happened to.

I'm someone else.

And if you like me, then maybe I'm not so--

I'm being stupid.

♪ ♪

Maybe I could be more like

the person you imagined living here with.

- What do you mean?

- She's buried here, isn't she?

Elizabeth.

♪ ♪

- Yes.

It sounds stranger than it is.

It's...

it's an old Japanese custom.

Hitobashira.

They believe it brings good luck.

She always said she wanted to be buried

near one of our buildings, so...

- I think it's romantic.

♪ ♪

I guess we've both got shit to deal with.

♪ ♪

But, you know,

every day I wake up here...

All traces of the day before are gone.

Like a clean slate.

- I've never thought of it like that before.

♪ ♪

- As you come through that claustrophobic front lobby

into this void,

you experience what architects call compression and release,

the small space making the bigger one

feel even bigger.

It's a good example of how Monkford's buildings,

although they seem to break with the past,

use classical techniques.

The RIBA judges described it as a house of many moods,

but it's also a test bed for new technologies.

Effectively, the house has its own AI

that interacts with the occupants,

monitoring their well-being,

adjusting to their mental state,

and subtly encouraging them to live up to the standards

set by their surroundings.

It's strongly influenced by the Japanese concept

of wabi, an austere, disciplined serenity.

Effortless perfection.

The house is so energy-efficient,

it actually returns power to the national grid.

♪ ♪

Subtle, almost invisible...

♪ ♪

- What the hell are you doing?

- I'm seeing how you store your things.

- Can you please stop? That's private.

- No one who lives here should expect privacy.

You signed that away, remember?

Here's a question.

What else are you prepared to do

to live in a house you clearly can't afford?

- Excuse me?

- He's been sleeping here, hasn't he, Edward?

- Get out.

- He certainly knows his way around the bedroom.

But I'll give it to you, you are better dressed

than the one before.

Let's see how long you last.

♪ ♪

- He said you knew your way around the bedroom.

- Peter has an unfortunate manner,

but he's a brilliant technologist--

- He was suggesting that you and I--

if sex is some sort of payment

or part of the monitoring. - I'll speak to him.

- And what was he even doing here?

I thought the open day was supposed to be

for architecture nerds.

- Well, you wouldn't want him

dropping by unannounced, would you?

He was probably here checking something technical

and wanted to-- - He said "the one before."

What did he mean by that?

- Jane, I'm sorry he unnerved you.

Peter is utterly harmless, I promise.

I think, after 15 years, I'd know.

But as I say, I'll speak to him.

♪ ♪

[bell dinging]

- [sighs] Please.

Please.

[sighs] Seriously?

[bell chimes]

Not now. Not fucking today.

Agree, agree, agree, agree, agree, agree, agree,

agree, agree, agree.

[tense music]

♪ ♪

[indistinct chatter]

I am so sorry I'm late.

- Emma, this is John Broome, your prosecution barrister.

There've been a few developments

we need to speak to you about.

♪ ♪

- Have a seat, Emma.

Ray Nelson has pleaded not guilty to all charges,

and he has challenged the evidence.

- What does that mean? I don't understand.

- His solicitor claims that the video footage from your phone

is not enough to charge him with rape.

It seems the judge thinks they have a point.

- What?

- The defense have applied to have your evidence excluded,

and the judge is gonna hear them.

Seems there's sufficient reason for a section 78 application.

- What?

- It means that the judge

is gonna cross-examine you herself today

to determine if there is indeed a case to be put before a jury.

- No, I was--I was just--

I was meant to give in my victim statement,

and someone else was meant to read it.

- Yeah, that's-- that's changed now, I'm afraid.

You will be in front of a judge.

- On the back of this development,

Nelson's solicitor has put in

a no case to answer application.

Nelson's just been granted bail.

- He's out?

- Just for now, Emma. But you're a strong witness.

We've both seen your initial video interview.

And once the judge hears your account,

I'm sure she'll come to the same conclusions we have.

- Oh, God. I can't--I don't--

I--I need the bathroom. Can I use the bathroom, please?

- Of course.

♪ ♪

- This is an utter shit show.

I think you're about to lose your star witness.

♪ ♪

- Are you okay, Emma?

I know this is a lot to take in.

- If I talk to a judge,

will he go to prison?

- That's definitely our best chance, yeah.

We're almost there, Emma.

♪ ♪

[object thumps] - [gasps]

[bell chiming]

[air whistling]

[machines whirring]

♪ ♪

♪ ♪

[gasps]

It looked like she'd been sleeping up there,

as if she were hiding.

- Why would anyone do that?

Do we know her name?

- Emma Matthews.

- You're kidding.

Her?

- Yeah.

- She looks just like you.

- [scoffs] Brown skin, brown hair, brown eyes

doesn't exactly make us twins.

- I'm not saying you look like every

curly Afro-haired girl in London.

I'm saying you look like her.

Same eyes, same jawline.

What was his wife's name?

- Elizabeth.

- "Elizabeth Monkford."

♪ ♪

- What?

♪ ♪

- Not quite so unencumbered after all.

♪ ♪

[intercom rings]

- Good morning.

Uh, Jane, isn't it? Please come in.

- So I was hoping you'd be able to tell me a little about her.

- And you're Emma's sister, I presume.

- No, no relation, although I know we look alike.

- You mentioned on the phone

you'd suffered a bereavement.

- I lost a baby.

But I'd prefer to talk about Emma for now, if that's okay.

- Well, I'm afraid I'm not allowed to speak about clients.

Confidentiality doesn't end with their death.

I hope you understand.

Why don't you tell me why you wish to speak about Emma?

- I guess I'm a little curious.

I know she died in the house I'm living in, and...

I found her things in a service cupboard,

as though she were living or hiding in there.

Your card was among them.

I thought of asking Edward. - Edward?

- Edward Monkford, the architect and landlord.

- And what's the nature of your relationship with him,

if you don't mind me asking?

- We're seeing each other.

It's been a couple of months now.

- Jane, I'm going to stop you there.

As a therapist, I am bound by confidentiality...

Except when breaking this confidentiality

may prevent serious harm to another.

- What? I don't understand.

- You're living in the same house as she did.

And you're having a relationship

with the same man.

- Edward and Emma were together?

- Yes.

Do you understand what I'm saying to you, Jane?

You're in danger.

[dramatic music]

♪ ♪