[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 f*cking b*stard!
[speaking foreign language]
[tense music continues]
[Jason sobbing]
[Man] Now you will read it.
[dramatic music]
[g*nf*re]
[expl*si*n 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 a*s!
- 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
f*cking, 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, f*ck!
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 k*lled 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
m*rder 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 f*cking 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, sh*t. He's got her.
Get me the f*ck 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.
- sh*t, that's her.
- Yeah, we're dealing
with a serial k*ller.
- 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 k*lling 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 k*ller 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 k*ller.
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
m*rder*d 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
k*lled all these girls?
- I think whoever k*lled Cheryl
was associated with
the university.
I think she knew her k*ller.
- 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 k*ller 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 k*ller 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]
[k*ller 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, f*ck.
[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 k*ller.
[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.
f*ck!
[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, sh*t!
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
f*cking 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 sh*t.
Why didn't I see this before?
Look.
- What am I looking for?
- 20th of July, 1988.
The date that Cheryl was k*lled,
that's the date I was born.
[tense music]
- What time?
- Around 11 p.m., why?
- Cheryl was k*lled
sometime around 9.30.
Now, if I'm right,
if the k*ller is your past life.
He died that night
shortly after k*lling 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 m*rder scene.
- Well, any connections
to university?
- None that I know of.
Okay. Number two, Alex Pickford.
He was k*lled 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 k*ller
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 k*ller.
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 k*ller 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 f*ck you and your
f*cking regression.
- All right.
- On the k*ller 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 f*ck out of here.
[door slams]
- Typical attributes
of a serial k*ller,
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 b*stard.
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 f*cking 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 f*cking 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 k*ller.
- 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, f*ck 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 sh*t 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 k*ller 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 k*ller.
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?
- f*ck' 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 f*ck?
Stop! For f*ck's sake! Stop!
f*cking 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 sh*t.
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]
- f*ck. f*ck 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 k*ll 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 f*cking talking.
- I didn't k*ll those girls.
- Bullshit, you're a k*ller.
A cold blooded f*cking psycho.
- You sure about that?
- I saw it all with my own eyes.
- Somebody else k*lled 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 k*ller 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 k*ll 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 k*ller.
Gullible hack is k*ller.
- 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 k*ll 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 f*cking mind?
- Someone else was in control.
I think she knew her k*ller.
- 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
Welcome to our World! Where we serve you cookies to ensure you get the best viewing experience on our site.
Did you know that you can remove censorship board-wide, use our advanced search functions, be notified when new content is posted, join our memberships, set episodes to show in any order you want & more if you are logged into your account?
Register or sign in here: ucp.php?mode=register
Did you know that you can remove censorship board-wide, use our advanced search functions, be notified when new content is posted, join our memberships, set episodes to show in any order you want & more if you are logged into your account?
Register or sign in here: ucp.php?mode=register
Past Life (2025)
Moderators: Maskath3, sidolanters, GabrielAlejo2341