01x04 - It's Your Kidnapping

[bunniefuu]

GEORGIA: I found this book at
Tolliver's house yesterday.

What did he say about it?

He said it had happened before.

Farah, I need your help.
Check the archives.

Look for mass killings,
mutilations on bodies.

Frankie, if you don't get out of
there in the next three seconds,

I will break this door down.

DAMIEN: She was
dangerously unhinged.

-Oh!
-She shot two people.

What's this about?

CALLUM: You're Mick Thorne,

the cop from the business
out at Moorland.

[ROBOT WHIRRS]

How many people know that story

to be complete bullshit?

Owen Faine, you met him today,

and I think he wants to hurt me.

And I need you to
set him straight.

MICHAEL: You wanted to
tell me something?

Do you know what
Ray Tolliver was doing?

Ray Tolliver is dead.

How do you think this ends?

I think you take the money.

CALLUM: You've seen this before.

When you get better,
you can find your way to me.

[BLADE RINGS]

[UNEASY MUSIC]

-Millie, it's Elle. Do you copy?
-[GASPS]

MILLIE: I'm here. What's up?

ELLE: We've got another body.
It's the missing podcaster.

GEORGIA: Crime scene tape's
been disturbed.

-[UNEASY MUSIC]
-[WAILS]

[GASPS]

[GROANS]

OLDER GEORGIA:
Have a good night.

[GASPS]

-Mick?
-Get in the car.

[UNEASY MUSIC]

[BIRDSONG]

CALLUM: Would you like another?

-Brandy, would you, uh...
-MICHAEL: I told you.

We're done.

[GLASS THUDS]

[UNEASY MUSIC]

Bridie, Michael's
finished his drink.

Perhaps he'd like another.

[GLASSWARE CLINKS]

[DECANTER LID CLINKS]

[BRANDY POURS]

[DRAWER SLIDES OPEN]

CALLUM: While I have you,
could you...

Thanks.

[MICHAEL EXHALES]

CALLUM: You drink too much.

[KEYS CLINK]

[DOOR CLICKS]

Well, there's a reporter
working up a feature

on contamination
at the basin reef.

[SNATCHES PAPER]

CALLUM: Pay her a visit,
would you?

Explain to her the realities
of her situation.

Not something
you haven't done before.

[DOOR CLOSES]

[LOCK TURNS]

[KEYS CLINK]

[DRAWER SLIDES OPEN]

[KEYS CLINK]

[DRAWER SLIDES SHUT]

CALLUM: Michael?

Do I still have you?

You do.

Alright, uh...

may I leave now?

No. You haven't said it.

Michael?

[TENSE MUSIC]

I'm grateful, Callum,
to be of service...

to have a purpose beyond myself.

Thank you for letting me serve.

[SNATCHES PAPER]

[TENSE MUSIC CONTINUES]

CALLUM: Michael.

Have a shower.
You smell like sh*t.

[CALLUM SHUFFLES PAPERS]

[MYSTERIOUS MUSIC]

[MICHAEL SIGHS]

Mick, can I ask you a question?

You've gotta promise
not to get cross.

Of course.

Alright, here it is.
Are you gonna k*ll me?

-What the f*ck, George?
-Oh, see you've gotten cross.

Why would you think
I was gonna k*ll you?

Oh, I don't know, mate.

You grab me
from the side of the road...

-Oh.
-In the dead of night.

-And you drive me out...
-Listen.

-To God knows where.
-Now, listen.

And you look weird. And you
smell something terrible.

Most of that's the car.

And you've been following me,
haven't you?

-I was protecting you.
-Protecting me?

Who the f*ck are you
trying to protect me from?

Have you noticed there's someone
out there k*lling people?

Yes, I have,
and Millie reckons it's you.

It's not.

Look, can we start over?

What, you want me to get out
so you can kidnap me again?

I didn't f*cking kid...

Let's get some food. You hungry?

Yeah, I could eat.

[PATRONS CHATTER]

So why'd you go see
Callum Parrish today?

How long you been stalking me?

Why'd you see Callum?

OK, how about this?

Why did you work for him
for 30 years?

[WRAPPER CRINKLES]

You don't want to talk?
That's fine.

It's your kidnapping.

It's not a f*ck'...

It wasn't my choice
to work for Callum.

-Sure.
-It wasn't.

And maybe you can't
understand that, but...

It was Moorland.

What did...

What did you say?

It was Moorland.

He knew you shot that kid
and he blackmailed you.

How did you know about that?

I was your friend,
you dumb f*ck.

I was your friend.

And after Moorland, you changed.

I knew something had happened.

So you know
I didn't have a choice.

Of course you had a choice.

There's always a choice.

And now you're living with it.

How did that work for you?

Hmm?

What did you do for him that
kept you with him for so long?

How's it going with Millie?

These are copycat killings?
Is that the thinking?

What do you know about that?

I need to show you something.

I know who's been
committing these murders.

No. I'm not talking about...

No, I am.

Is it Callum? Is that it?

It's not just Callum.

OK.

If you understood what
this guy was really into...

Is it piss stuff, Mick?

Because if it is, you've got to
be open-minded about that...

Take me seriously.

Take this seriously.

Now, Kate Reynolds is alive.

Everything
that's been happening,

these murders,

it's all Callum and Reynolds.

All of it.

Kate Reynolds is dead.
I shot her.

Yeah.

I'm going to show you something.

[DOOR OPENS]

[MYSTERIOUS MUSIC]

[DOOR CLOSES]

[GEORGIA SIGHS]

[DOOR OPENS]

-[POLICE RADIO CHATTER]
-[SPEAKS INDISTINCTLY]

Oh, OK.

[CONTINUES INDISTINCTLY]

Cheers.

ELLE: Oh.

Looks like our k*ller's
speeding up.

One month between
the first two victims

and a week till this one.

What does that tell you?

Could be getting nervous.
Or more confident.

So it could be one thing,
or the complete opposite.

f*ck, you're good.
Did you put sugar in this?

I just called
Georgia's daughter.

She's been dropped back
at yours.

Good. Because we're gonna
be here all night.

So, is she finished with us now?

Is she done with the case?

Yeah, she's done.

I'll take her back to Havenbrook
tomorrow morning.

You can say it if you want.
You can say it exactly once.

Say what?

That you were right
about Georgia.

I know you want to say it,
so just say it.

-I was right.
-There you go.

Now go speak to the pathologist.

Tell her to check
the stomach for fingers.

They'll belong to Todd Finch.

[UNEASY MUSIC]

[UNEASY MUSIC CONTINUES]

[ENGINE STOPS]

[HANDBRAKE ENGAGES]

GEORGIA: What is this place?

-MICHAEL: This is my office.
-Oh, of course, right.

Well, Callum can look,
and I know he has.

-But he'll never find me here.
-[KEYS CLINK]

You reckon he's looking, do you?

[LOCK TURNS]

Oh, yeah.

'Cause I got something on him.

[SWITCH CLICKS]

[DOOR SQUEAKS]

[LOCK TURNS, KEYS JANGLE]

[UNEASY MUSIC]

[DOOR CLOSES]

-[LOCK TURNS]
-Mick, what the f*ck is this?

[KEYS CLINK]

You remember 'The Bone Gospel'?

That's it.

[UNEASY MUSIC]

You want a drink?

No.

[GLASSWARE CLINKS]

[LIQUID POURS]

[UNEASY MUSIC INTENSIFIES]

And every day we're not
charging Kate Reynolds,

we are looking like
the world's biggest dickheads.

With Georgia in hospital,

it's your job to get all
our ducks in a row, alright?

-MICHAEL: Mm.
-I mean, no f*cking loose ducks.

MICHAEL: OK.

CHARLIE: So, I guess
this is a kind of

'speak now or forever hold
your peace' kind of deal.

You got any doubts?
Any doubts at all?

Well, Georgia has...

No, no, no,
I'm not asking about Georgia.

I'm asking you.
This is your show now.

And that fella
from the university,

he came back yesterday.

Anything there?

Nah.

No?

No, he just wants to
cover his arse, I think.

So we're good?

No loose ducks.

Farah!

That stuff, cut it out.

What? Uh...

This sh*t
you're doing for Cooke.

The archive. Stop it.

Did you seriously think
you could requisition

a whole ton of
old homicide case files

and not have me
notified about it?

Stop it.

I think, sir,

there are things about this case
that don't make sense.

Oh, no, no, don't do that.
Don't do that.

-Do what?
-Try and make sense.

People do insane
and violent things

because the world
is an insane and violent place.

That's it, right?
No sense to me.

And if you try, right, if you
can't accept that, you're toast.

[TENSE MUSIC]

[TENSE MUSIC CONTINUES]

You know, love,
head injuries are things

people tend to avoid,
not collect.

Hi, Dad. Where's Frankie?

She's out in the hall.
You spooked her a bit yesterday.

Bring her in.

Yeah, righto.
We'll have a chat, OK?

Come on, poss, in you come.

GEORGIA: Hi, love.

Are you OK?

I'm fine. I'm fine. Come on.

Go on, in you go. I've got this.

GEORGIA: Come on.

Give me a cuddle.

Hey.

I've just got this big bump
on the back of my head. See?

Big old egg back there.

FRANKIE: Mm.

Alright, pop up here.

Give me your hands. Sorry if I
scared you yesterday, darling.

-Yeah?
-I think I'll just...

I'll pop home, get some clothes
for you, eh?

But I'm about to be discharged.

No, no, the docs,

they want you to stay
for a little while.

Hey, congrats, by the way.

On what?

Oh, they're gonna
charge Reynolds.

You got your guy.

What? No, I need to talk to her.

Might be a bit late
for that, love.

[DRAMATIC MUSIC]

Kate Reynolds, it is alleged

that on or around
the 25th of December 1987,

you did m*rder Paul Edgars,

contrary to section 279
of the Crimes Act.

You have the right
to remain silent,

but anything you do say

can be taken as evidence
and used in a court of law.

You also have the right to
legal representation.

Do you understand the charge
as it has been stated to you?

Miss Reynolds?

Yes.

Righto.

As soon as you are deemed
physically and mentally fit,

you will be taken to
a remand centre.

Thank you.

Someone's got to tell Georgia.

-I'll do it.
-Yeah, better you than me.

Tell her to head home, rest up.

I'm serious, mate.
I don't want her around.

You protect your face.
Just let her work the torso.

[DRAMATIC MUSIC]

[SIGHS]

-GEORGIA: Can I have a go?
-You don't solve it.

What do you do with it, then?

[KNOCK AT DOOR]

Not interrupting, am I?

FRANKIE: Hi, Millie.

Farah, you reckon
you could take Frankie here

for a bag of chips?

I, uh...

-MICHAEL: Go on.
-need to...

Let's go.

[COINS CLINK]

I think that might be
frowned upon in here.

You here to tell me
they're gonna charge Reynolds?

Thought you might like
to hear it from me.

Like it? I love it, Mick.
It's a f*cking delight.

Look, we know she k*lled Edgars.

I need to talk to Charlie.

I think he might be done
with you for now.

Then you need to talk to him.

[UNEASY MUSIC]

What?

There's nothing to tell him.

Evidence was taken from
the scene. That book is gone.

Some tech left it off
the manifest.

GEORGIA: We know
it wasn't Reynolds.

It's probably sitting
in evidence right now.

Yeah, but it's not.

What is up with you?

-What kind of chips?
-Chicken.

Mmm. Good choice. Classic.

[COINS DROP]

[BUTTON BEEPS]

[MACHINE WHIRRS]

[CHIPS DROP]

[DRAMATIC MUSIC]

Frankie?

Look, I'm here
as a courtesy, so...

Here as a courtesy?

What the f*ck are you talking
about, here as a courtesy?

-We work this together.
-Yeah.

And part of that is telling you
when you're wrong.

What am I wrong about?

You're wrong about
Kate Reynolds.

She k*lled Edgars.

If we pin all of this
on Reynolds,

then it's done, it's finished.

It is finished.

[PAGER BEEPS]

Who's that?

It's just...

What?

It's my pager.

Who's paging you?

George...

Who the f*ck is paging you,
Mick? It's a simple question.

At what point
did you stop trusting me?

About two minutes ago.
Who's paging you?

It's Charlie.
You sound f*cking insane.

Do you realise that?

[TENSE MUSIC]

It's over.

Take Frankie, go home.

Get some rest.
Sort your head out.

-[PAGER BEEPS]
-You're gonna want to get that.

[DOOR OPENS]

[DOOR CLOSES]

[BREATHES SHAKILY]

Frankie?

Frankie?

[UNEASY MUSIC]

Frankie?

[UNSETTLING MUSIC]

[DOOR SQUEAKS]

Don't talk to my mum anymore.

She wants to talk to you,
but she shouldn't.

There's something in you.

I know.

It's something bad.

I'm getting better.

It's still inside of you.

It's just hiding.

He's going to fix me.

He's going to make me better.

How did you know
there was something inside me?

I saw it. I can...

Sometimes I can see things.

Since I died.
I died for four minutes.

Did you know that?

What does the thing
inside me look like?

[DISTURBING MUSIC]

It's dead, and it's hungry.

You should get it out.

It'll come out.

He showed me.

He showed me in a book.

[DISTURBING MUSIC INTENSIFIES]

OLDER MICHAEL: It's real.

It's Callum's.
Kept it in a safe.

Sat there for a long time.

Then he started taking it out
in plain sight.

See, that's the advantage
of being me.

People think I'm stupid.

But I notice things.

So I made a copy
and photographed it.

It's Middle English. You get
the hang of it after a while.

You taught yourself
Middle English?

Well, God forbid a man should
have a hobby in his retirement.

So what's it say?

It's a ritual.
That's all this is, George.

This whole thing describes
the steps to a ritual.

It's cyclical.

"From sevene and thrice"

"ten winters worn"

"the heven-Signe
dawneth from slepe."

Every 37 years.

Every 37 years,
there's a celestial convergence.

And if you're so inclined,
you can perform a ritual.

"To wrest from nowt
the slumbrynge God."

You have to stop talking
like that or I'm gonna leave.

[CHUCKLES]

[TENSE MUSIC]

MILLIE: Frankie! Come away!

Come on.

You can't go in there.

Do you hear me?
Don't go in there again.

Did she hurt you?

She's sick,
but she's gonna get better.

Coffee? Are you f*cking...
Are you f*cking kidding me?

GEORGIA: So what's the ritual?

Well, there's a lot
of bits and bobs.

Uh...

There's the markers.

That's the conduit.

And there's the vessel.

It's all laid out
in 'The Bone Gospel'.

Don't f*cking look at me
like that.

I'm just telling you
what Callum believes.

How do you know
he believes any of this?

Because he tried before.

Parrish Station. 1987.

The marker.

Conduit.

Vessel - Kate Reynolds.

What?

I remember something
I was told at Havenbrook.

The human brain is basically
a pattern-recognition machine.

That's what it does
to the point, Mick,

where it tries to
find connections...

Are you patronising me, George?

I'm trying not to.

Well, you could try
a little harder.

Don't tell Mummy you went
into that lady's room, OK?

FRANKIE: OK.

[CHIP CRUNCHES]

[MILLIE KNOCKS]

Hey, poss. [PATS BED]
You ready to go?

Poppy's gonna be here soon.

Before you do that...

[SUSPENSEFUL MUSIC]

You said you wanted me to
look through the archives?

For anything that looks similar?

We're done.

Just have a look.

MILLIE: December 1950.

Is that a radio receiver?

MILLIE: I don't know.

There's nothing in the case file
about it.

GEORGIA: Who were they?

They're described as members
of a fringe religious movement.

Frenzied attack.
Some beaten, some slashed.

She k*lled them

and then herself.

Who was she?

Harriet Clay. 30s.

MICHAEL: Let's talk about
pattern recognition.

You remember Harriet Clay?

What about her?

She's his mother.

It's always about the mother,
isn't it?

Whose mother?

Callum's mother.

Clay was his dad's
secret mistress.

You were onto something in '87.

Marker.

Conduit.

Vessel.

Same sh*t as '87, 1950.

Harriet Clay. His mother.
His f*cking mother.

He didn't know about any of this
until his dad died.

Then he found all of her
old sh*t, including that.

YOUNGER GEORGIA:
'The Bone Gospel'.

It's the same f*cking book.

Sorry, sweetie.

Millie, do you mind?

I'm not your babysitter.

I took a risk bringing you this.

Tell me what you're thinking.

You're sure
this is the whole file?

MILLIE: Mm-hm.

In that case,
there's no evidence log.

Nothing was fingerprinted.

One of the victims
remains unidentified.

This whole thing was shunted.

Why?

Well, why has our case
been shunted?

[INTRIGUING MUSIC]

Hang on. Who worked this?

I've got it from here.

[CLOSES FOLDER]

-Hey, don't leave me out of...
-I've got it from here.

OLDER GEORGIA: What's that got
to do with Kate Reynolds?

MICHAEL: I told you.
Reynolds isn't dead.

Oh, that's ridiculous.
I shot her.

-You've known that for years.
-Did you, though?

I'm telling you there's
no evidence that she ever died.

There's no death certificate,
no autopsy report,

no burial, cremation record,
no record of an inquest.

It's almost like
she never existed.

You sure?

I'm a hundred percent sure.

Callum held on to her
for 37 years

for the next time
the cycle came around.

YOUNGER MICHAEL:
I can't just leave.

We've just charged
Kate Reynolds.

There'll be a press conference.
My absence will be noticed.

Why does Owen Faine
want to talk to me?

We've spoken. It's done.

I don't think it is.

Man wants to talk.

Well, you talk to him.

Are you hearing me, Michael?

He doesn't want to talk to me.

He wants to talk to you.

And one way or another,

you are gonna solve
this problem.

Do I still have you, Michael?

Michael?

Yes.

Give me the address.

[TENSE MUSIC]

-Oh!
-You worked this case.

Yeah, but, love,
it was 40 years ago.

But you didn't think
to mention it to me?

Mention what?

The similarities, Dad.

Weird skin. Ritual killings.

This investigation is
incomplete. Why was it dropped?

I don't know.

But there was pressure
to drop it?

Yes.

From who?

Well, I don't...

I don't know.

What, you've never had
an envelope just on your desk,

full of cash, no note, no name?

That's...
That never happened to you?

This was a triple homicide, Dad.

I know.

I never found out where
the push was coming from.

I never asked.

That's the truth.

That is the truth.

Callum took a shine
to Reynolds in '87.

And when Callum
takes a shine to someone,

he doesn't let go.

OLDER GEORGIA:
We should tell Farah.

-She'll be wondering where I am.
-Yeah.

It's been a long night.
You drink that.

I just need to know
that you're on board

with everything I've told you.

'Cause we need to fix this.

You and me.

[DOG BARKS IN DISTANCE]

[UNEASY MUSIC]

[DOOR CLOSES]

MILLIE: Georgia?

f*ck!

sh*t.

[UNEASY MUSIC CONTINUES]

[DOOR UNLOCKS]

MILLIE: Where is she?

Where's Georgia?

Margaret dropped her
at your house.

Yeah.

Well, she's not there.

You lost her?

I didn't f*cking...

You lost her.

Millie, she is unwell.
Didn't I say...

Didn't I say something like this
would happen?

Oh, shut the f*ck up!
Can you just shut the f*ck up?

This Margaret woman?
Get me her number.

FRANKIE: Ugh, my goodness.

[PHONE RINGS]

You, uh, you didn't have to
come in. We could have...

But I wanted to. I wanted
to see if I could help.

Well, just to ask again, did
you see her go into the house?

Well...

It's actually not all
that complicated.

I definitely saw her
go through the gate,

if that answers your question.

Well, obviously it doesn't.

Francesca said she were rude.

MILLIE: Oh, did she?
Well, I apologise for that.

And I'll apologise to her.

Did Georgia say anything
during the drive that...

Those men on the board
over there, the dead ones,

is that the case
Georgia was helping you with?

MILLIE: I'm sorry, I'm sorry.
I can't discuss that.

What is it?

It's just all so horrible,
isn't it?

No wonder
you're all so stressed.

You never know
what people are going through.

[UNEASY MUSIC]

When we take this to Millie,
let me do the talking, yeah?

Why?

Well, you don't,
um, present as, um...

[CLEARS THROAT] ..entirely sane.

You know how much work
I've done on this?

You know how thorough I've been?

Yeah, but you did that work
in a weird shed, Mick.

I mean, it sort of undercuts
a lot of credibility.

I went to ground.

Oh, see, it's sh*t like that.

"Went to ground."
That's how mental people talk.

Listen, you're gonna be
fighting an uphill battle

with Millie anyway
on this Reynolds stuff.

You know, Millie was
into me for a time.

Oh, God, help me.
No, she wasn't.

What, you think she was g*y?

Those the only two options,
Mick?

No, she was into me.
Maybe she still is.

No, I-I was, uh, just checking
to... to see whether...

No, no. No, I'm not concerned.

No, no. Well, you know what?

I-I don't think
we should, you know,

escalate things too... too soon.

Call the police?
Oh, that's a terrific idea.

Have you got their number?

-[BUTTON BEEPS]
-You f*cking idiot!

No luck?

No. She hasn't gone
back to Havenbrook.

What happens
if you can't find her?

If I can't find a mental patient

that I signed out
of a secure facility

and into my care, I don't know.

Well, maybe they'll give me
a huge f*cking cake.

I told you I didn't think
it was a good idea.

MILLIE: Once.

I said you got to say that once.

-Where are we on the bodies?
-Nothing connects them.

-Well, something will.
-Well, I'm not seeing it.

Then look f*cking harder, OK?

Do your job, or we're gonna have
a fourth victim.

Sorry. I'm...

I'm... I'm...

-I'm... I'm sorry.
-It's OK.

No, it's not OK.

[MILLIE SIGHS]

Listen, do you think maybe
being back

in this parish world
is throwing up some trauma?

No, I don't think it could be
throwing up some trauma.

I think we've got three bodies,
one more on the way,

and no leads,
and now Georgia's missing.

[MILLIE SIGHS]

She's smart, she's resourceful.

She could be anywhere by now.

She's over there.

Sorry, Inspector. This woman
insisted on speaking with you.

"This woman"!? I worked here
longer than you've been alive.

It's OK, Simmo.
I've got it from here.

GEORGIA: Yeah, thanks.

Where the f*ck have you been?

Well, since you asked so nicely,

I've been in a weird shed,
and I have information.

Yeah? So do I.

You run off again, I'll break
both your f*cking legs.

How's that information?

She's probably joking.

OK, what have you got?

She's solid.

Let's meet at the Fox and Lion
later. We'll explain then.

Sorry, who's 'we'?

[INTRIGUING MUSIC]

[ENGINE STOPS]

[SUSPENSEFUL MUSIC]

[VEHICLE PASSES]

[SUSPENSEFUL MUSIC FADES]

[SOFT PIANO MUSIC PLAYS]

So?

Why'd you want to see me?

You want more money?
Because you're not gonna get it.

Better not.

I don't think I'm a bad man.

No-one's saying
you're a bad man.

I think I'm a weak man.

And at what point, I wonder,

does that amount to
the same thing?

[SCOFFS]

Take the money, Owen.

There's no other way
out of this.

Not with Callum.

I knew, of course,
when he came to me

with the funding that he was
looking for something.

-And do you know what?
-What's that?

I think he's found it.

You're right, I don't
want to know about it.

No.

I expect you don't.

[CHUCKLES SOFTLY]

It's funny, isn't it,
how knowing something

can be dangerous.

[QUIETLY]
You're not in danger...

if you take the money.

But that's not true.

You can't un-know something.

Once it gets in here,
it can't get out.

[UNSETTLING MUSIC]

Alright. Owen...

And what does
taking the money change?

It changes nothing.

It's just another thing
I will have done for him.

Another thing to live with.

[RADIO STATIONS CHANGE]

[RADIO STATIC]

Do you know what that is?

That's static.

The noise is background
cosmic radiation.

An afterglow of the big bang.

[STATIC TRILLS]

What you're hearing

is the sound of the universe
being born.

That must change
your perspective on things.

It does for me.

Why do you want me here, Owen?

Because I wanted you to know.

About the static? Well...

That's very interesting,
thank you.

I wanted you to know what
Callum Parrish does to weak men.

And what he'll do to you.

Won't be a thing left.

You said it yourself.

There's no way out of here.

Not with him.

[TENSE MUSIC BUILDS]

No, no! No!

[BREATHES HEAVILY]

MILLIE:
So, what you were saying...

[POOL ba*ls CLINK]

-What you're both saying...
-MICHAEL: I don't...

is not only insane...

I know you don't want
to believe it.

No, it's not that
I don't wanna believe it,

you old freak.

It's just that it's impossible.

I'm sorry, are we just
gonna ignore this?

What the f*ck is that?

I didn't realise it had
come with an umbrella.

Take it out.

MICHAEL: Why is it impossible?

Because Kate Reynolds
died in 1987.

I disagree.

What do you mean you disagree?

It's a statement of fact.

Yeah, um, I apologise
if this sounds rude,

but who the f*ck is she?

Oh, f*ck off.

Detective Senior Constable
Elle Hardy.

Well, uh, Detective
Senior Constable Elle Hardy,

and you stop me if I'm telling
you something you already know,

but when a person dies,

they tend to leave
a body behind.

Technical jargon,
it's called a corpse.

Was he always this much
of an arsehole?

Hard to say.

Point is, grasshopper,

there is no body,
no record of interment,

or autopsy or death certificate.

I've checked.

Sorry, what...
what am I missing here?

-Georgia saw her die.
-I didn't.

What do you mean?

What... what...
what does she mean?

You... you said... You...

You said in a sworn statement...

Is there anything else
you wanna tell me?

There was a lot about
that week in '87

that you don't understand,
and I get it.

Oh, you get it.
You get it, do you?

What's that supposed to mean?

I gotta go to the bathroom.

No, you don't. You get it.

What is it exactly that you get?

I'm sorry that you got hurt.

You... you think
this is what it's about?

You think this is the damage?

MICHAEL: Look, nobody got out
of '87 exactly thriving,

but we have a chance.

I don't know what else
I could have done.

You could have cared!

You could have given a fraction
of a sh*t about me.

And you still can't see it.

I idolised you.

GEORGIA: I didn't ask for that.

I needed help.

I had sh*t on.

Well, I think we can all agree

that compassion
in a professional setting is...

Shut up, Hardy,

I'm going for a smoke.

[SIGHS]

[DOOR CLOSES]

KATE: Hello?

[SUSPENSEFUL MUSIC]

Is some... someone there?

Hello?

[KEYS JANGLE]

Do you need something?

If I tell you what happened,
will that be better for me?

Oh, excuse me, mate,
have you got a smoke?

-[ELLE CLICKS TONGUE]
-[PATRONS CHATTER]

[POOL ba*ls CLACK]

[UNEASY MUSIC]

You ever heard the expression,
'hurt people hurt people'?

[LAIDBACK MUSIC PLAYS FAINTLY]

What?

It's just...

Well, it's kind of interesting,
isn't it?

You know, you hurt Millie
all those years ago.

Now she takes it out on me.

I-I can see she's trying,

but it's a pattern
she's stuck in.

Don't you see how it's a cycle?

Could be.

But have you considered
that she's rude to you

because you're quite annoying?

How many of those things
is she having?

[CHUCKLES]

E-everything at the station
just went really strange

very quickly.

Um...

[EERIE MUSIC]

[QUIETLY] I... I didn't know
what to do, and it was, um...

And it was, um...

I, um...

Sorry, what was that?

[QUIETLY] I, um...

I didn't know
what the hell I was...

[KATE MUTTERS INDISTINCTLY]

[MUTTERS INDISTINCTLY]

[UNEASY MUSIC]

[CAR DOORS UNLOCK]

[GASPS]

[GROANS]

-[DISTURBING MUSIC]
-[KNIFE SLICES]

[KNIFE CLANGS ON FLOOR]

[KATE GRUNTS]

[GROANS]

[GASPS]

[GRUNTS]

-[MILLIE GASPS]
-[KATE GRUNTS]

[KATE GRUNTS] Oh!

[PANTS]

Oh, God.

-[DRAMATIC MUSIC]
-[KATE GRUNTS]

[KATE GROANS]

[CRIES]

[KATE GRUNTS]

[KATE GROANS]

[KATE GRUNTS]

Argh!

[KATE GROANS]

[GASPS]

[TENSE MUSIC CONTINUES]

[DRAMATIC MUSIC]

[KATE BREATHES HEAVILY]

[GROANS]

I'm sorry,
but I'm going to live.

Do you understand?

I'm gonna live.

[HARROWING MUSIC]

[ENIGMATIC MUSIC]