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DISCLAIMER:
The following programme contains

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strong language and violent scenes.

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(TENSE MUSIC)
HARRISON: (VO) 'Nina Dragus.'

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(GUNSHOTS)
'She was caught with a firearm.'

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Pretty young girl, your daughter.

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Get Nina out.
And she will handle the rest.

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AMBER: I need to get
this man back to London.
And to get back to my daughter.

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If something feels off,
anything at all, don't hesitate.

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TIBOR: I never had a son.
I needed you to trust me.

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Was mummy a serial killer?
This is fun.

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OLLY: Tibor sent us.
We're here to see Sebastian.

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'Sorry, how do you know him?'
CARLA: 'We go way back.

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But I haven't seen him in years.'
(GUNSHOTS)

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Come on!
Sebastian...

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You found him then.
Tibor and I killed him, together.

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Give me the address
of the safe house first.

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(ALARM WAILING)
No! No! No! No! No! No! Tibor?

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(TENSE, DRAMATIC MUSIC)

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(ALARM CONTINUES WAILING)

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(FOOTSTEPS)
(BREATHING HEAVILY)

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(OMINOUS MUSIC)

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(DISTANT ENGINE RUMBLING)
(VEHICLE APPROACHING)

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(CONTINUES BREATHING HEAVILY)
(ENGINE STOPS)

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PHARMACIST: Hello? Police.
Yes, my pharmacy.

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It's been broken into.
(GROANS)

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(PANTING)

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(GROANING, PANTING)

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(CAR DOOR CLOSES)
(CENTRAL LOCKING CLICKS)

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(PANTING)

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(BREATHLESSLY) G... L3... 8...

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(LOUD THUD)(GASPS)
What are you doing? That's my car!

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I'm sorry.
(DOOR HANDLE RATTLES)
Open the door!

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- Open the door!
- I can't.
I can't. I'm sorry, I need it.

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No, wait! Hey! Hey!

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For fuck's sake!
(MUSIC BUILDS)

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Hey, hey, you're not dying on me,
you piece of shit.

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♪ AURORA: The Blade ♪
(DARK, ELECTRONIC BEAT)

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(HAUNTING, PULSATING SYNTHS SWELL)

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♪ Mm, mm, mm, mm
Mm, mm, mm, mm

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♪ Mm, mm, mm, mm-mm

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♪ Mm, mm, mm, mm

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♪ Mm, mm, mm, mm

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♪ Mm, mm-mm, mm

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♪ Mm, mm-mm, mm

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♪ Fall into my arms

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♪ Like you trust me

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♪ And keep my blood-stained hands

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♪ Off your body...

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(INTENSE, RHYTHMIC MUSIC)

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♪ I feel ra-a-a-age

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♪ I feel ra-a-a-age

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♪ I feel ra-a-a-age

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♪ Feel the rage ♪

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(BED CREAKING)

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(PENSIVE MUSIC)
(OLLY SIGHS)

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Mia?!

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Mia! (PANTING FEARFULLY)

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(FOOTSTEPS THUDDING)
Where are you? Where are you?

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(DOOR CLUNKS, CREAKS OPEN)

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Oh, no, no!?

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(PANTING)

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(SINGING LULLABY FAINTLY)
♪ ..M'en allant promener

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♪ J'ai trouve l'eau si belle

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♪ Que je m'y suis baigne

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♪ Je me suis fait secher

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♪ Sur la plus haute branche

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♪ Un rossignol chantait...
What are you doing?

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♪ Jamais je ne t'oublierai ♪

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I was showing her my tomato plants.

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Why did you take her?

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Oh, she was hungry.

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You were fast asleep.

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I was trying to help.

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(GENTLY, BUT URGENTLY) OK.
(HUMMING MELODY)

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OK.
(MIA WHINES SOFTLY)

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Can I have her?

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You won't have
a vegetable patch in London.

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So little space for children there.

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(RESUMES HUMMING LULLABY'S MELODY)
Carla...

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...please.

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(TENSE MUSIC)

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(SIGHS SOFTLY IN RELIEF)

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(LIGHT SWITCH CLICKS)
(DOOR CLOSES)

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It's OK. It's OK. It's OK.

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Keys. Where are my keys?

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(PANTING SHAKILY)
(OMINOUS MUSIC)

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Where are my car keys?

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Where did you leave them?

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I left them right there.

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Are you sure?
(SCOFFS SOFTLY)

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(TENSE MUSIC)
We'll walk.

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Excuse me.

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(DOOR CLOSES)

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(SUSPENSEFUL MUSIC)

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(DOOR RATTLES)

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(SIGHS FRUSTRATEDLY) Come on!

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(DOOR RATTLES)
(GRUNTING) (LIGHT SWITCH CLICKS)

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(GROANED PANTING)

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I can't let you leave
until Tibor gets here.

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(SOFT, TENSE MUSIC)
We are going to leave.

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And you... (PANTING NERVOUSLY)

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...you are going to let us.

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It's not loaded, Olly.

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Pull the trigger
if you don't believe me.

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(DOG BARKING OUTSIDE)
(VEHICLE APPROACHING OUTSIDE)

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Take her upstairs. Hide.
What?

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Go. Go.

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(GRAVEL CRUNCHING OUTSIDE)

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(ENGINE STOPS)

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(TENSE, SUSPENSEFUL MUSIC)
(DOOR CREAKS OPEN)

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(DOG CONTINUES BARKING)
(CAR DOOR OPENS)

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(GUN COCKS)
(PANTING, STRAINED GRUNTING)

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(DOG SNARLING)

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Show me your fucking hands.

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(BREATHLESSLY) I need help!
(DOOR OPENS)

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It's OK. It's OK. It's OK. It's OK.

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(GRUNTING, PANTING)

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(ALARMED) Etienne!

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Please! Help me.

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(GROANS, SIGHS)
Etienne!

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We need to get him inside.

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(TIBOR GROANS)
(GRUNTS)

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(SOFTLY) Amber!

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(SIGHED GASP)

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(MIA WHINING SOFTLY)

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(ALL GRUNTING)

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(ALL EXHALE DEEPLY)

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(PANTING)

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Olly...

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(TENDER, LOVING MUSIC)

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(SIGHING WITH RELIEF)

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Oh, my God.

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(GASPS, SIGHS IN RELIEF)

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You OK?Where's Mia?
She's upstairs.

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She's safe. She's safe.
OK.She's safe.

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It's OK.
- I am so sorry.
- It's OK.

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Do you have anything
to cut them with?

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There are bolt cutters
in the storeroom.

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Yeah. Go. It's OK. Go.

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When was his last insulin shot?

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Um... A couple of hours ago.

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But, uh... he... he wasn't
responding, so I gave him more.

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You gave him too much.
He's in hypoglycaemic shock.

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(LIGHT SWITCH CLICKS)

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(OBJECTS CLATTERING
AND RATTLING LOUDLY)

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(OBJECTS CLATTERING)

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(OBJECTS CLATTERING)

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(FAST, HEAVY FOOTSTEPS APPROACHING)

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(PANTING)

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(GIVES INSTRUCTIONS
SOFTLY IN FRENCH)

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(GAGS)
(GASPS SHAKILY)

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(SPEAKS FRENCH)

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La, la, la. (SIGHS)

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(WHISPERS IN FRENCH)

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(TENDER, SOLEMN MUSIC)

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(RASPY BREATHING)

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(GROANING SOFTLY)

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(MUFFLED, FAST,
HEAVY FOOTSTEPS ARROACHING)

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(HOARSELY) No.
- You alright?
- No.

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Don't cut them.

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(PANTING) Fucking do it.
No.

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(GRUNTING)
Try again.

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(HANDCUFFS CLINK)
(GRUNTS)

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(HIGH-PITCHED RINGING)

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(SOFT, SOMBRE MUSIC)

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(HEAVY FOOTSTEPS RETREATING)
(SIGHS)

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Oh, my God, there you are.

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(MIA WHINING SOFTLY)

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(CHUCKLES) Hi. Hi.

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Hi.
(CHUCKLES) Hi.

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(SOBBING CHEERFULLY) Hi...

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Are you smiling?
Love...

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Love... we need to go.

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Love...

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...we need to leave.
We need to go.

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(GROANS) He's not
in a fit state to travel.

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No. No. No. I don't mean him.

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OK? I mean us.

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(SIGHS)
Look, Amber,
you need to listen to me.

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That old woman, she's not well.
She took Mia.

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And I... I don't know
if she's lonely,

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or... or what it is, but...
but she nearly didn't give her back.

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And "Sebastian." Do you remember
the code word "Sebastian"?

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If you wanna meet Sebastian,
you can't

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cos he's in a fucking urn
on the mantelpiece.

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Love, they killed him together.

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Tibor's her son.

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Say something, please.

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(SIGHS)
Come on,
we need to fucking leave!

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Say something!

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(PANTING)

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I... (SIGHS)
Look, I'm sorry.

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I'm sorry.

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Let's get you cleaned up.
We can go in the morning.

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(BATH TAP CREAKS)
(WATER FLOWING)

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00:13:20,240 --> 00:13:22,240
(THUDS FOOT ON FLOOR, SIGHS)

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00:13:31,760 --> 00:13:34,320
(MIA GIGGLING)
Ah-boo.

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00:13:35,520 --> 00:13:39,319
Ah-woo-woo-woo. (LAUGHS)
(MIA CHUCKLES)

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00:13:39,320 --> 00:13:42,759
(MIA WHINES HAPPILY)
(GASPS, KISSING PLAYFULLY)

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00:13:42,760 --> 00:13:45,400
(SOFT, TENDER, PENSIVE MUSIC)
(MIA SQUEALING SOFTLY)

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00:13:54,120 --> 00:13:56,120
(PENSIVE MUSIC CONTINUES)

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(FIRE CRACKLING)
(CLOCK TICKING)

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00:14:16,960 --> 00:14:18,960
(DISTANT GUNSHOT)
(GASPS SOFTLY)

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00:14:40,400 --> 00:14:42,400
(SIGHS)

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00:14:59,520 --> 00:15:01,520
(SIGHS)

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00:15:18,120 --> 00:15:20,719
(GASPS)
(WHISPERS) Hey.

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00:15:20,720 --> 00:15:22,799
(SIGHS IN RELIEF)

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(WHISPERS) It's just me.
You nearly gave me a heart attack.

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00:15:25,480 --> 00:15:27,480
(KISSES, WHISPERS) Sorry.

210
00:15:28,960 --> 00:15:30,960
Are you OK?
Yeah.

211
00:15:31,920 --> 00:15:34,160
Baby OK?
Yeah, she's sleeping.

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00:15:35,400 --> 00:15:37,400
(EXHALES)

213
00:15:39,880 --> 00:15:41,880
We should leave.

214
00:15:44,360 --> 00:15:46,360
Listen to me.

215
00:15:47,160 --> 00:15:50,999
If the three of us leave
right now... without him...

216
00:15:51,000 --> 00:15:54,800
our lives will still be in danger.
No, no, no. They're in danger here.

217
00:15:55,600 --> 00:15:59,360
She has a fucking shotgun-
No, if she was going to kill you,
you'd be dead already.

218
00:16:02,560 --> 00:16:04,680
Why would you say
something like that?

219
00:16:06,040 --> 00:16:08,079
Sorry...

220
00:16:08,080 --> 00:16:11,760
Amber,
when you left home three days ago...

221
00:16:12,600 --> 00:16:16,399
...there was nothing more important
to you than the three of us together.
Nothing has changed.

222
00:16:16,400 --> 00:16:19,199
So why're you putting this guy first?
I would never do that.

223
00:16:19,200 --> 00:16:21,520
No, you're doing...
(MIA WHINES SOFTLY)

224
00:16:23,920 --> 00:16:25,960
...you're doing it right now.

225
00:16:27,320 --> 00:16:30,839
Olly... everything in my body...

226
00:16:30,840 --> 00:16:33,479
is telling me
to just take you and Mia and run.

227
00:16:33,480 --> 00:16:35,959
But we can't.
Then, don't fight it. I don't...

228
00:16:35,960 --> 00:16:37,960
I don't understand.

229
00:16:40,040 --> 00:16:42,640
I've been face-to-face
with these people.

230
00:16:44,400 --> 00:16:46,400
Hey, and I have seen them...

231
00:16:47,920 --> 00:16:50,399
(WELLING UP, FULL OF PAIN)
...I've seen...

232
00:16:50,400 --> 00:16:52,400
(SOLEMN MUSIC)

233
00:16:56,440 --> 00:16:59,360
They're never going to stop
unless I get him to court.

234
00:17:00,160 --> 00:17:02,240
OK? So he's coming with us.

235
00:17:04,560 --> 00:17:06,560
He's coming with us.

236
00:17:19,640 --> 00:17:22,039
I need some air.

237
00:17:22,040 --> 00:17:24,040
OK.
(DOOR OPENS)

238
00:17:26,200 --> 00:17:28,200
(DOOR CLOSES)

239
00:17:31,000 --> 00:17:34,160
(SPLASHING SOFTLY)
(DISTANT BIRDS CAWING)

240
00:17:40,680 --> 00:17:42,960
(FIRE CRACKLING)
(FOOTSTEPS)

241
00:17:44,560 --> 00:17:46,040
(SPEAKS FRENCH)

242
00:17:52,640 --> 00:17:53,920
Mm.

243
00:18:03,920 --> 00:18:06,280
(SOFT CREAKING)
(CLATTERING)

244
00:18:42,240 --> 00:18:44,240
(FOOTSTEPS RETREATING)

245
00:18:57,440 --> 00:18:59,880
(QUIVERING BREATH)

246
00:19:06,920 --> 00:19:09,760
(SOFT, INQUISITIVE MUSIC
WITH UNEASY UNDERTONES)

247
00:19:36,080 --> 00:19:38,239
(PHONE LINE RINGING)
WILL: (ON PHONE) 'O'Neill.'

248
00:19:38,240 --> 00:19:40,839
Will? Uh... This is, uh...

249
00:19:40,840 --> 00:19:42,839
This is Olly. Amber's husband.

250
00:19:42,840 --> 00:19:44,879
Olly.

251
00:19:44,880 --> 00:19:46,959
WOMAN: Olly's phone is back up.

252
00:19:46,960 --> 00:19:50,079
'Sorry, what was that.'
It's nothing.

253
00:19:50,080 --> 00:19:53,119
Thank God. I was worried.
Are you OK? How's Mia?

254
00:19:53,120 --> 00:19:55,679
She's fine, um... for now.

255
00:19:55,680 --> 00:19:59,079
But... listen,
Amber and I are in danger.

256
00:19:59,080 --> 00:20:01,919
We're getting a signal,
but there's interference.
Is Amber with you?

257
00:20:01,920 --> 00:20:04,719
Where are you?
'We're with Tibor's mother.'

258
00:20:04,720 --> 00:20:07,359
Is Tibor Stone there?
'Yes.'

259
00:20:07,360 --> 00:20:09,120
Locking GPS markers.
(COMPUTER BLEEPING)

260
00:20:11,040 --> 00:20:13,719
Olly, listen to me.
Pegasus could be tracking you.

261
00:20:13,720 --> 00:20:16,920
'We need your address now.
Then, you need to pull
the SIM from the phone.'

262
00:20:18,040 --> 00:20:21,159
Another 30 seconds,
- and we'll have him.
- Olly?!

263
00:20:21,160 --> 00:20:23,160
(SUSPENSEFUL, PULSATING MUSIC)

264
00:20:24,760 --> 00:20:26,920
Locating the cell site now.

265
00:20:27,720 --> 00:20:29,720
'Olly!'

266
00:20:30,960 --> 00:20:34,919
It's GL3 8XY.

267
00:20:34,920 --> 00:20:37,759
Yeah. Got it. Now, pull the SIM.

268
00:20:37,760 --> 00:20:40,400
Do it now. We're coming.
'Thank you. Thank you.'

269
00:20:46,600 --> 00:20:49,039
Do we have him?
The SIM's been deactivated.

270
00:20:49,040 --> 00:20:51,079
Fifteen-mile radius.
Half of Gloucestershire.

271
00:20:51,080 --> 00:20:53,119
Impossible to search.
(SIGHS)

272
00:20:53,120 --> 00:20:57,199
But I need to update Campbell. Stay
on it in case he comes back online.

273
00:20:57,200 --> 00:20:59,200
(CUNNING MUSIC)

274
00:21:01,480 --> 00:21:03,480
(PHONES RINGING)

275
00:21:08,480 --> 00:21:10,480
(SIGHS)

276
00:21:12,680 --> 00:21:14,680
(KEYS CLICKING ON MOBILE)

277
00:21:16,200 --> 00:21:18,200
(PHONE LINE RINGING FAINTLY)

278
00:21:21,920 --> 00:21:24,600
I've got an address for you.
MAN: (ON PHONE) 'Fire away.'

279
00:21:26,440 --> 00:21:29,239
Who is this? Where's Miles?

280
00:21:29,240 --> 00:21:31,679
You will be dealing with me
from now on.

281
00:21:31,680 --> 00:21:35,159
(SOFT, UNEASY TONES)
'Tell me you found Stone.'

282
00:21:35,160 --> 00:21:38,920
Todd and her family, too.
We just had confirmation.

283
00:21:40,320 --> 00:21:42,319
Perfect.
Well, we'll take it from here.

284
00:21:42,320 --> 00:21:44,239
What's the post code?

285
00:21:44,240 --> 00:21:46,240
(PENSIVE, TICKING MUSIC)

286
00:21:48,120 --> 00:21:50,199
'Will?

287
00:21:50,200 --> 00:21:52,200
Give it to me.'

288
00:21:57,803 --> 00:21:59,800
(CUTLERY CLACKING SOFTLY)

289
00:22:10,120 --> 00:22:12,040
(SIGHS SOFTLY)

290
00:22:16,400 --> 00:22:19,119
TIBOR: You seem anxious, Olly.

291
00:22:19,120 --> 00:22:21,479
CARLA: We had a disagreement.

292
00:22:21,480 --> 00:22:24,280
He thinks I took his car keys.
But I didn't.

293
00:22:25,120 --> 00:22:28,079
Right. Sure.

294
00:22:28,080 --> 00:22:30,439
If she says
she didn't take your keys,

295
00:22:30,440 --> 00:22:33,319
she didn't take your keys.
AMBER: Don't.

296
00:22:33,320 --> 00:22:35,279
What?

297
00:22:35,280 --> 00:22:37,200
Don't!

298
00:22:44,840 --> 00:22:46,920
So Etienne is your real name?

299
00:22:50,320 --> 00:22:54,079
Olly told me about your father.
The ashes in the urn.

300
00:22:54,080 --> 00:22:56,159
Sebastian.
Amber, what are you doing?

301
00:22:56,160 --> 00:22:59,199
She's been trying to crack me the
whole time we've been on the road.

302
00:22:59,200 --> 00:23:01,200
She's exhausting.

303
00:23:02,400 --> 00:23:05,280
But you'd know that.
You're married to her.

304
00:23:07,120 --> 00:23:09,120
Is it true?

305
00:23:10,080 --> 00:23:12,080
You two killed him together.

306
00:23:16,440 --> 00:23:18,479
How old were you?

307
00:23:18,480 --> 00:23:21,720
Six. She held him down.
I slit his throat.

308
00:23:23,760 --> 00:23:26,319
My husband used to beat us.

309
00:23:26,320 --> 00:23:29,959
I knew one day he'd kill us
if we didn't do it to him first.

310
00:23:29,960 --> 00:23:32,240
Etienne understood that.

311
00:23:33,080 --> 00:23:34,800
Even as a boy.

312
00:23:35,800 --> 00:23:38,919
No. He wasn't old enough to make
that kind of decision.

313
00:23:38,920 --> 00:23:41,919
"Give me the first six years
of a child's life,

314
00:23:41,920 --> 00:23:44,039
and you can keep the rest."

315
00:23:44,040 --> 00:23:46,439
What does that mean?
It's a Kipling quote.

316
00:23:46,440 --> 00:23:48,159
As in Rudyard.
Yes, I know -

317
00:23:48,160 --> 00:23:50,599
the Jungle Book guy -
but what does it mean?

318
00:23:50,600 --> 00:23:53,039
The early years
of a child's life are

319
00:23:53,040 --> 00:23:55,599
the most formative
in shaping their character.

320
00:23:55,600 --> 00:24:00,159
These foundational experiences have
a profound and lasting impact.

321
00:24:00,160 --> 00:24:02,039
Oh, so then,
you know what he's done?

322
00:24:02,040 --> 00:24:03,839
You know how many people
he's killed?

323
00:24:03,840 --> 00:24:06,440
I'm sure every single
one of them deserved it.

324
00:24:07,320 --> 00:24:09,320
Just like his father.

325
00:24:12,080 --> 00:24:14,119
Etienne bought me this house.

326
00:24:14,120 --> 00:24:15,999
So I'd be safe. Hidden.

327
00:24:16,000 --> 00:24:18,039
And he'd know where to find me.

328
00:24:18,040 --> 00:24:21,360
But he never comes. (SPEAKS FRENCH)

329
00:24:22,320 --> 00:24:24,599
Fucking gratitude?
I made you a survivor.

330
00:24:24,600 --> 00:24:26,360
That's what it takes
to live in this world.

331
00:24:28,600 --> 00:24:31,479
By the time I was sixteen...

332
00:24:31,480 --> 00:24:33,480
I'd killed three men.

333
00:24:34,920 --> 00:24:37,360
THAT'S what you made me.

334
00:24:41,680 --> 00:24:44,080
You see... you were right about me.

335
00:24:46,320 --> 00:24:49,519
And what about you, Amber? Hm?
(TENSE BUT INQUISITIVE MUSIC)

336
00:24:49,520 --> 00:24:52,759
My guess was that her father
had done some serious time.

337
00:24:52,760 --> 00:24:54,799
You must know.

338
00:24:54,800 --> 00:24:57,839
Her black-and-white view of the
world has to come from somewhere.

339
00:24:57,840 --> 00:25:01,040
I don't think it's anything
to do with her father.

340
00:25:01,880 --> 00:25:03,879
Your mother then?

341
00:25:03,880 --> 00:25:05,800
(EERIE, CHILLING TONES)

342
00:25:07,000 --> 00:25:08,919
Do you see her?

343
00:25:08,920 --> 00:25:11,799
Treat her with respect?

344
00:25:11,800 --> 00:25:15,119
Are you close?
No, not really.

345
00:25:15,120 --> 00:25:17,240
Was that always the case?

346
00:25:19,920 --> 00:25:22,400
She let you down, didn't she?
That's enough.

347
00:25:23,600 --> 00:25:26,800
You internalise that
much more personally as a woman.

348
00:25:27,680 --> 00:25:30,760
You're probably terrified
of turning out just like her.

349
00:25:33,920 --> 00:25:35,920
We're leaving.

350
00:25:36,760 --> 00:25:38,800
(DOG BARKING OUTSIDE)

351
00:25:40,000 --> 00:25:42,920
(TENSE MUSIC)
What is it?

352
00:25:50,040 --> 00:25:52,280
It's alright. It's the NCU.

353
00:25:53,200 --> 00:25:56,520
- What?
- I called O'Neill. We're gonna
get the fuck out of here. We're safe.

354
00:25:59,240 --> 00:26:01,799
Olly. Go and get Mia now.

355
00:26:01,800 --> 00:26:03,639
Why? What-
Go and get Mia, now!

356
00:26:03,640 --> 00:26:05,880
Etienne... (SPEAKS FRENCH)
Amber come!

357
00:26:06,880 --> 00:26:10,040
(DRAMATIC, PULSATING MUSIC)
(DOG CONTINUES BARKING)

358
00:26:12,440 --> 00:26:14,399
(GUN CLICKS, COCKS)

359
00:26:14,400 --> 00:26:16,919
(LOUD CLATTERING)

360
00:26:16,920 --> 00:26:19,120
Lock the door.
Amber.

361
00:26:20,480 --> 00:26:23,639
The three of you need to hide
till it's over.(MIA MURMURING)

362
00:26:23,640 --> 00:26:26,480
Come on. Faster!

363
00:26:30,640 --> 00:26:32,880
(MUSIC INTENSIFIES)

364
00:26:34,240 --> 00:26:36,240
Give her to me.

365
00:26:45,560 --> 00:26:47,639
It leads to the stable.

366
00:26:47,640 --> 00:26:49,960
Go. Wait for me there.

367
00:26:59,520 --> 00:27:02,240
(WINDOW SHUTTERS CLATTER)

368
00:27:06,480 --> 00:27:08,640
(VEHICLE DOORS OPEN, CLOSE)
(GUN CLICKING)

369
00:27:15,880 --> 00:27:17,720
(GASPS SOFTLY)

370
00:27:21,080 --> 00:27:23,799
(GUNSHOTS)
(DOG SQUEALS) (BODY THUDS)

371
00:27:23,800 --> 00:27:26,400
(FOOTSTEPS APPROACHING)
(GRAVEL CRUNCHING)

372
00:27:27,680 --> 00:27:29,680
(FOOTSTEPS STOP)

373
00:27:37,320 --> 00:27:39,760
(RAPID GUNFIRE)
(OBJECTS SHATTERING)

374
00:27:43,640 --> 00:27:45,720
(BULLETS CLATTERING)

375
00:27:50,080 --> 00:27:52,960
(SOFT, SUSPENSEFUL MUSIC)
(BREATHING SHAKILY)

376
00:28:00,360 --> 00:28:03,800
(RAPID GUNFIRE CONTINUES, STOPS)
(BULLET CASES CLINK ON FLOOR)

377
00:28:05,080 --> 00:28:06,959
(GUNFIRE RESUMES)
(BULLETS RICOCHETING)

378
00:28:06,960 --> 00:28:09,080
(OBJECTS SHATTERING)
(PANTING FEARFULLY)

379
00:28:11,120 --> 00:28:14,520
(RAPID GUNFIRE RESUMES)
(OBJECTS SHATTERING)

380
00:28:15,640 --> 00:28:17,400
(LOUD GUNSHOTS)
(MAN GRUNTS)

381
00:28:24,080 --> 00:28:26,600
(RAPID GUNFIRE CONTINUES IN DISTANCE)

382
00:28:31,000 --> 00:28:33,119
What the fuck are we gonna do?!
We just wait.

383
00:28:33,120 --> 00:28:34,839
He'll come.
- Fucking wait?
- He'll come.

384
00:28:34,840 --> 00:28:36,840
Just breath. OK?

385
00:28:38,040 --> 00:28:40,400
(RAPID GUNFIRE CONTINUES)
(BULLET CASES CLINKING)

386
00:28:43,920 --> 00:28:47,160
(LOUD GUNSHOTS
FOLLOWED BY RAPID GUNFIRE)

387
00:28:48,240 --> 00:28:50,720
PEGASUS OPERATIVE:
They're reloading. Go.
(TIBOR PANTING)

388
00:28:54,680 --> 00:28:56,560
(LOUD GUNSHOTS)
(MEN GRUNTING)

389
00:28:57,440 --> 00:28:59,600
(RAPID GUNFIRE)
(OBJECTS SHATTERING)

390
00:29:00,600 --> 00:29:02,679
(SHOUTS IN FRENCH)

391
00:29:02,680 --> 00:29:05,040
(RAPID GUNFIRE CONTINUES)
(OBJECTS SHATTERING)

392
00:29:09,520 --> 00:29:12,320
(LOUD GUNSHOTS
FOLLOWED BY RAPID GUNFIRE)

393
00:29:16,040 --> 00:29:18,800
(GUNSHOT)(MAN GRUNTS)
(GLASS SHATTERING)

394
00:29:20,360 --> 00:29:22,279
(GUN CLICKING)
(TIBOR GRUNTING)

395
00:29:22,280 --> 00:29:23,760
(RAPID GUNFIRE)

396
00:29:25,320 --> 00:29:27,199
(SIGHS SHAKILY)

397
00:29:27,200 --> 00:29:28,999
(PANTING SHAKILY)

398
00:29:29,000 --> 00:29:31,000
(PANTING)
(FOOTSTEPS OUTSIDE)

399
00:29:38,440 --> 00:29:40,880
(FLOORBOARDS CREAKING)

400
00:29:42,320 --> 00:29:44,760
(UNEASY, SUSPENSEFUL MUSIC)

401
00:29:47,320 --> 00:29:50,240
(BREATHING DEEPLY, NERVOUSLY)

402
00:29:54,840 --> 00:29:57,560
(MUSIC BUILDS GRADUALLY)

403
00:30:02,920 --> 00:30:05,159
(GUNSHOT) (BULLET WHISTLES)
(SCREEN HISSES, POPS)

404
00:30:05,160 --> 00:30:07,560
(GLASS SHATTERING)
(PANTING)

405
00:30:10,840 --> 00:30:14,440
(FOOTSTEPS RUNNING BY OUTSIDE)
(WHISPERS) Etienne...

406
00:30:24,200 --> 00:30:26,519
(SLOW, SINISTER, UNEASY MUSIC)
(PANTING SOFTLY)

407
00:30:26,520 --> 00:30:28,520
Keep back.

408
00:30:36,640 --> 00:30:39,239
(DISTANT CLATTERING)

409
00:30:39,240 --> 00:30:41,240
(DOOR HANDLE CREAKS, RATTLES)

410
00:30:46,520 --> 00:30:48,520
(FLOORBOARD CREAKING SOFTLY)

411
00:30:52,400 --> 00:30:55,439
(TAPS FOOT)
(GUNSHOT)

412
00:30:55,440 --> 00:30:57,880
(TENSE, UNEASY MUSIC CONTINUES)

413
00:31:08,360 --> 00:31:11,120
(GUNSHOT)(MAN GRUNTS)
(BODY THUDS)

414
00:31:28,880 --> 00:31:30,880
(PANTING SOFTLY, NERVOUSLY)

415
00:31:37,560 --> 00:31:39,560
(SPEAKS FRENCH)

416
00:31:44,560 --> 00:31:46,880
(SOMBRE MUSIC)
(BREATHING SHAKILY)

417
00:31:56,000 --> 00:31:58,320
(GUNSHOT)
(WOMAN GRUNTS)

418
00:32:03,200 --> 00:32:06,239
(PANTING SOFTLY)
(SOFT THUDDING)

419
00:32:06,240 --> 00:32:08,240
(DISTANT FOOTSTEPS RUNNING)

420
00:32:11,120 --> 00:32:12,800
(SOFT THUD)

421
00:32:16,920 --> 00:32:20,000
(FOOTSTEPS CRUNCHING ON GRAVEL)
(BREATHING SHAKILY)

422
00:32:25,000 --> 00:32:27,000
(UNEASY, SUSPENSEFUL MUSIC)

423
00:32:33,240 --> 00:32:35,240
(DOOR OPENS)
(CREAKING)

424
00:32:36,920 --> 00:32:38,920
(MUSIC CONTINUES)

425
00:33:00,400 --> 00:33:02,639
(FLOORBOARD CREAKS)
(GASPS)

426
00:33:02,640 --> 00:33:04,839
(LOUD GUNSHOT)
(MUSIC INTENSIFIES)

427
00:33:04,840 --> 00:33:06,520
(LOUD GUNSHOT)
(SHATTERING)

428
00:33:11,400 --> 00:33:14,320
(MIA SQUEALS SOFTLY)
Eight dead.

429
00:33:15,120 --> 00:33:17,399
That leaves one more. And Nina.

430
00:33:17,400 --> 00:33:19,520
(PANTING SOFTLY)
How do you know she hit them all?

431
00:33:20,680 --> 00:33:23,119
Mum doesn't miss.
(MIA CRYING)

432
00:33:23,120 --> 00:33:25,159
Shh, OK.
Please don't.

433
00:33:25,160 --> 00:33:27,119
Shh, shh-shh-shh.

434
00:33:27,120 --> 00:33:29,439
(MIA CRYING MORE LOUDLY)
No. No.

435
00:33:29,440 --> 00:33:32,159
Shh. Please be quiet.
- Please be quiet.
- Make her stop.

436
00:33:32,160 --> 00:33:34,079
Shh.
Shh. I know. Shh.

437
00:33:34,080 --> 00:33:36,279
I've got you. Shh, shh, shh.
(MIA CRYING SOFTLY)

438
00:33:36,280 --> 00:33:38,119
Do something!

439
00:33:38,120 --> 00:33:40,159
Look at me. I'm fucking trying!
(TENDERLY) Hi...

440
00:33:40,160 --> 00:33:41,879
Hi. Look at me.

441
00:33:41,880 --> 00:33:44,040
Hey. Hey.
- Come on.
- Hey.

442
00:33:45,040 --> 00:33:48,199
We need to move.
If we run, they will hear her. Hi.

443
00:33:48,200 --> 00:33:51,519
Not them. You and me.

444
00:33:51,520 --> 00:33:54,319
Have you lost your fucking mind?

445
00:33:54,320 --> 00:33:57,359
(MIA WAILS SLIGHTLY MORE LOUDLY)

446
00:33:57,360 --> 00:33:59,360
(SUSPENSEFUL MUSIC)

447
00:34:04,240 --> 00:34:06,240
(GUN CLICKING)

448
00:34:07,080 --> 00:34:09,080
(FLOORBOARDS CREAKING)

449
00:34:14,240 --> 00:34:16,240
(MUSIC FADES, ENDS)

450
00:34:19,120 --> 00:34:21,120
(FOOTSTEPS THUD SOFTLY)

451
00:34:31,080 --> 00:34:33,600
(BULLETS JANGLE SOFTLY)
(SLOW, TENSE MUSIC RESUMES)

452
00:35:01,600 --> 00:35:04,680
(GUN CLICKS) (GUNSHOTS)
(GASPS IN PAIN)

453
00:35:10,040 --> 00:35:12,079
(GASPED BREATHING)

454
00:35:12,080 --> 00:35:14,080
(SOMBRE MUSIC)

455
00:35:18,240 --> 00:35:20,279
(CHUCKLES SMUGLY)

456
00:35:20,280 --> 00:35:22,319
You must be Carla.

457
00:35:22,320 --> 00:35:24,320
(BREATHING WITH DIFFICULTY)

458
00:35:27,760 --> 00:35:29,760
Where is he?

459
00:35:30,880 --> 00:35:32,839
(SCOFFS, CHUCKLES)

460
00:35:32,840 --> 00:35:34,600
Long gone.

461
00:35:36,360 --> 00:35:38,359
Now I see where he gets it.

462
00:35:38,360 --> 00:35:40,159
(LAUGHS)

463
00:35:40,160 --> 00:35:41,920
Go to hell.

464
00:35:46,360 --> 00:35:48,679
You, too. I'm sure.

465
00:35:48,680 --> 00:35:51,120
(FOOTSTEPS RETREATING)
(SINISTER MUSIC)

466
00:35:52,760 --> 00:35:54,760
(GASPING)

467
00:35:57,360 --> 00:36:00,479
OLLY: Hey, gorgeous.
Can you be quiet for us?
(MIA CRYING)
Hey. Hey.

468
00:36:00,480 --> 00:36:02,719
Aw. (CHUCKLES)
We have a deal.

469
00:36:02,720 --> 00:36:04,799
I'm not leaving my family.

470
00:36:04,800 --> 00:36:06,720
(PANTING)

471
00:36:11,000 --> 00:36:13,680
(SOFTLY) Tibor, wait.
Amber...

472
00:36:14,720 --> 00:36:17,399
Tibor...
I can still get you to court,

473
00:36:17,400 --> 00:36:19,239
but they're coming, too.

474
00:36:19,240 --> 00:36:21,039
We can still make it.
All of us together.

475
00:36:21,040 --> 00:36:23,520
(PENSIVE, UNDERSTANDING MUSIC)
(MIA CONTINUES CRYING)

476
00:36:44,840 --> 00:36:47,160
(SIGHS)
Just let him go.

477
00:36:48,560 --> 00:36:50,599
Fuck him.

478
00:36:50,600 --> 00:36:52,600
(PANTING)

479
00:36:54,960 --> 00:36:57,799
(SINISTER MUSIC)
Jee!

480
00:36:57,800 --> 00:36:59,800
(MIA CRYING SOFTLY)

481
00:37:07,240 --> 00:37:09,520
Amber.
(BRICK THUDS, CLATTERS)

482
00:37:12,880 --> 00:37:14,880
(TENSE, UNEASY MUSIC)

483
00:37:28,440 --> 00:37:30,759
Amber, don't...
No. Stay.

484
00:37:30,760 --> 00:37:32,759
I can't let them find us.
Amber.

485
00:37:32,760 --> 00:37:35,079
No. No, don't...
No, stop it. You stay here, OK?

486
00:37:35,080 --> 00:37:36,999
I'll be right back.
Just get ready to run.

487
00:37:37,000 --> 00:37:39,000
(TENSE, PULSATING MUSIC)

488
00:37:40,360 --> 00:37:42,719
(MIA WHINING SOFTLY)

489
00:37:42,720 --> 00:37:44,720
(MUSIC CONTINUES)

490
00:37:50,320 --> 00:37:52,320
(MIA CRYING IN DISTANCE)

491
00:37:57,560 --> 00:37:59,560
(MUSIC BUILDS)

492
00:38:04,365 --> 00:38:06,360
(PANTING)

493
00:38:18,360 --> 00:38:20,760
(MIA CRYING IN DISTANCE)

494
00:38:21,800 --> 00:38:23,800
(TENSE, SUSPENSEFUL MUSIC)

495
00:38:30,640 --> 00:38:32,879
(MIA CRYING LOUDLY)
It's OK.

496
00:38:32,880 --> 00:38:37,439
It's OK. It's OK.

497
00:38:37,440 --> 00:38:39,440
(TENSE, UNEASY, PULSATING MUSIC)

498
00:38:45,320 --> 00:38:47,200
(EXHALES SHAKILY)

499
00:38:54,080 --> 00:38:57,239
(NAIL GUN THUNKS)
(MAN GRUNTS, GROANS IN PAIN)

500
00:38:57,240 --> 00:38:59,639
(GASPED PANTING)

501
00:38:59,640 --> 00:39:01,439
(NAIL GUN THUNKS)
(EXCLAIMS IN PAIN)

502
00:39:01,440 --> 00:39:03,840
(CARLA BREATHING
WITH DIFFICULTY AND PAIN)

503
00:39:09,560 --> 00:39:11,599
(GROANING)

504
00:39:11,600 --> 00:39:13,719
(GRUNTS)

505
00:39:13,720 --> 00:39:15,800
(PANTING)

506
00:39:20,800 --> 00:39:22,800
Etienne.

507
00:39:23,720 --> 00:39:26,520
(TIBOR PANTING)
(SOFT, ETHEREAL STRING TONES)

508
00:39:35,200 --> 00:39:37,400
(VOICE ECHOES SOFTLY)
'Etienne!'

509
00:39:46,320 --> 00:39:49,640
(GRUNTING IN DISTANCE)
(OBJECTS CLATTERING, SHATTERING)

510
00:39:54,040 --> 00:39:56,360
(MUSIC FADES, ENDS)
(SHALLOW BREATHING)

511
00:40:12,560 --> 00:40:14,480
(SPEAKS FRENCH)

512
00:40:37,600 --> 00:40:39,600
(SOFT JINGLING)

513
00:40:47,680 --> 00:40:49,680
(TENDER, SOLEMN MUSIC)

514
00:40:52,400 --> 00:40:55,000
(BREATHING MORE SHALLOWLY
WITH SOME SADNESS)

515
00:41:08,680 --> 00:41:10,680
(BREATHING SLOWS)

516
00:41:46,640 --> 00:41:49,640
(GASPS, SIGHS SOFTLY,
CONTINUES SHALLOW BREATHING)

517
00:42:05,720 --> 00:42:08,160
(GUNSHOT)
(SOFT, SOMBRE MUSIC)

518
00:42:29,640 --> 00:42:31,640
(SIGHS SOFTLY, PENSIVELY)

519
00:42:46,240 --> 00:42:48,240
Where's Nina?

520
00:42:49,800 --> 00:42:52,239
(TENSE, RHYTHMIC, DETERMINED MUSIC)

521
00:42:52,240 --> 00:42:55,519
(MIA CRYING SOFTLY)
OLLY: It's OK. It's OK, love.

522
00:42:55,520 --> 00:42:58,119
(FOOTSTEPS APPROACHING)

523
00:42:58,120 --> 00:43:00,640
(PANTING SHAKILY, NERVOUSLY)
(TENSE MUSIC)

524
00:43:02,600 --> 00:43:04,920
(MUSIC BUILDS)

525
00:43:05,840 --> 00:43:07,719
(GUN CLICKS)
(MUSIC STOPS)

526
00:43:07,720 --> 00:43:10,440
(SIGHS IN RELIEF, GRUNTS)
(DRAMATIC MUSIC)

527
00:43:14,280 --> 00:43:17,319
(GRUNTING, GASPING)
(MIA CRYING MORE LOUDLY)

528
00:43:17,320 --> 00:43:19,599
(CHUCKLING PROUDLY)

529
00:43:19,600 --> 00:43:22,039
(GRUNTING)

530
00:43:22,040 --> 00:43:24,040
(MIA CRYING MORE LOUDLY)

531
00:43:28,720 --> 00:43:31,760
(CRYING DISTORTS, CONTINUES)
(HEARTBROKEN, BEREFT MUSIC)

532
00:43:37,880 --> 00:43:40,159
(TENSE, DRAMATIC, PULSATING MUSIC)

533
00:43:40,160 --> 00:43:42,240
(FOOTSTEPS THUDDING)
(MIA CRYING)

534
00:43:43,560 --> 00:43:45,240
(PANTING)

535
00:43:46,520 --> 00:43:48,320
(MIA CRYING SOFTLY)

536
00:43:49,720 --> 00:43:52,599
(GASPED PANTING)

537
00:43:52,600 --> 00:43:54,599
(ENGINE REVVING)

538
00:43:54,600 --> 00:43:57,360
(DRAMATIC, DETERMINED MUSIC)
(ENGINE REVVING LOUDLY)

539
00:43:58,680 --> 00:44:00,719
(TYRES SCREECHING)

540
00:44:00,720 --> 00:44:02,720
(PANTING HEAVILY)

541
00:44:17,240 --> 00:44:19,240
(BREATHING HEAVILY)

542
00:44:20,400 --> 00:44:24,400
(WAILS) NO-O-O-O!

543
00:44:27,040 --> 00:44:30,760
(LOW, TENSE, RHYTHMICALLY PULSATING
SYNTH AND STRING MUSIC)

544
00:44:55,040 --> 00:44:59,040
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