- Do you want a lift?

- I'm okay walking.

- Haven't you heard?

There's a stranger on the prowl.

(woman screaming) - [Stella] This could be very significant for us.

- I believe he has had faith at some point in his life.

I'd like to make an appeal.

(man tumbling down stairs) - Is there any way you can stay tonight?

Baby girl Mitchell's off the life support.

I want to see it through with her mother.

- I spent years interviewing the victims of rape.

I don't think anyone ever felt worse after talking to me about their experiences - You're wanted, ma'am.

It's urgent.

(police radios chattering) - Paramedics inside?

- Yes, ma'am.

- We're going to need human scent dogs.

- Okay, can you call Control and get some human scent dogs here ASAP?

(sirens wailing in distance) (onlookers clamoring) You should call for backup, ma'am.

- What?

- There was an arrest in this area this morning.

This isn't South Belfast, this could all kick off.

I think you should order TSGs.

- Okay.

Do it.

(Paul exhales) (helicopter chuffing overhead) (dogs barking nearby) (water splashing) - [Stella] What's her condition?

- Critical.

- [Stella] Where did you find her?

- The first bedroom to the left.

(helicopter chuffing nearby) - Martin, the victim's name is Ann Brawley.

I want you to go with her.

- Right.

- Try to get a medical opinion of her condition.

- Yep.

- Arrange for forensic seizure and take any physical evidence into custody.

- [Martin] Right.

- And keep your notebook to hand in case she says anything.

- [Martin] Yes, ma'am.

(ambulance door bangs shut) - Clear a path for the ambulance there, please.

(bottle shatters) Look out, ma'am!

Get a Jeep in here, we need support!

(sirens wailing) - Is it the same guy, ma'am?

- Yes.

(bottles shattering) (crowd shouting) (tense music) (motor chokes) - Just... Just come on.

(tense music) (motor revving) (loud rock music) (car rumbling) - Blood's very fresh and there's a lot of it.

It seems he was lying here alive and bleeding for a while at least.

(camera snapping) - Joseph Brawley.

(camera snapping) But of a different address.

(mobile rings) Gibson.

- [Martin] DC Martin, ma'am.

I'm at the hospital.

Ann Brawley remains comatose.

She's been admitted into intensive care.

- She's still alive.

I'll be there as soon as I can.

(camera snaps) (sirens wailing) - [Man] Up.

Oh, hold on.

Keep him in there.

- Excuse me, ma'am.

It appears the deceased is Ann Brawley's brother.

22 years old.

(tense music) (mannequin crunching) (tense music) - [Doctor] She suffered a cardiac arrest.

There's pulmonary edema.

There's pharyngeal edema.

Even if she were conscious she would not be able to talk.

- I'm not asking for her to talk.

What I'm asking for is permission for her to be forensically examined.

- She's already undergone a large number of medical procedures.

I doubt that there's much of forensic value left on her person.

- With great respect, how would you know?

You're not a forensic scientist.

- Detective Superintendent- - There are indications that she was involved in a violent struggle with her assailant.

We need to see and record her injuries.

She might have his DNA beneath her fingernails.

She might have his DNA in her vagina.

- Can I have a word, please?

Look, this is my world.

I know how a doctor's mind works.

We need to get permission of the parents.

It's important Dr. Manson puts our request to them in the right way.

Let me handle this.

Dr. Manson?

(door thuds shut) - Oh!

Oh, you frightened me.

I wasn't expecting you back till morning.

- What are you doing here?

- Sally Ann phoned me.

She needed to stay at work with a mother whose baby died.

She said you'd be at work all night.

- I don't feel well.

- You've cut your face.

- Get dressed and go home.

- Why are you angry with me?

- I'm not angry with you.

I'm angry with Sally.

Leaving the kids in the care of a child.

- I'm not a child.

(tense music) - You're not even 16.

You're a child.

(tense music) - Do I look like a child to you?

- (quietly) Katie.

(tense music) Put on some clothes and get out of here.

(Katie whimpers) (tense music) (camera snapping) (monitors beeping) (tense music) (door slams shut) (tense music) - The MRI indicates that there is brain function.

But if she does recover there might be life-long brain damage.

(Smith sighs) - Are you okay?

- The older I get the more I have two selves.

The medical self that's confronted every day with the biological basis of existence.

You know, blood, internal organs, corpses.

And then I have another self that bathes my kids, puts them to bed.

Kisses their little cuts and bruises better.

Examining dead bodies is one thing, living victims are something else.

- There's a name for it.

It's called doubling.

I do the same.

So does the killer.

(tense music) - [Woman] Basically, I'm looking for a guy or a girl who's up for a bit of fun.

And I mean rough, kinky, no-holds-barred type fun.

- Ma'am.

Er, you should see this.

We've downloaded Annie's laptop.

She's on an adult dating site.

Now, some of the profiles are very explicit.

Not so much Annie's.

But she has posted a video clip.

- Hey, I'm Fiona.

Erm, Fifi.

I'm 26 and I'm from Belfast.

- Her middle name's Fiona and she's 32.

- Basically, I'm looking for a guy or a girl who's up for a bit of fun.

And I mean rough, kinky, no-holds-barred type fun.

Erm...

I'm looking to be dominated.

And I have erm, a high pain threshold.

I'm not that bothered about appearance so long as you're clean and you know the limits.

If so, send me a message and I'll get back to you.

Bye.

- (sighs) Now there's an invitation to the dance if ever I heard one.

- Check every message she ever sent and received.

Get the details of anyone she contacted or who contacted her.

This could be pure fantasy, webcam fun, cybersex and nothing more.

So prioritize any correspondence that even hints at a real meeting in the real world.

And, Jerry, I'm not interested in judging, just in finding the killer.

- Daddy!

(child laughing and chattering) - Hey.

- Hi.

Was everything okay when you got back?

- Everything was fine.

- Did you pay her?

- Pay her?

No.

- I'm sorry I had to call her.

Couldn't get through to you and there was no one else.

Baby girl Mitchell died.

- Oh.

- "Oh?"

- Mummy, I can't find my necklace.

- Well, it has to be somewhere.

Have the kids had their breakfast?

- Not yet, no.

- Where have you looked?

- Everywhere.

- Oh.

Come on.

- We think we've identified the individual Breedlove referred to on the phone to Aaron Monroe.

He's Serbian.

Mirko Tassich.

Runs a high-class escort agency called Elite Nights.

We're looking into the possibility that he took a contract on Olson as a result of an unpaid debt relating to drugs or prostitution.

Certainly we have payments being made into both Olson and Breedlove's bank account by Aaron Monroe's event management company.

I have a warrant for Aaron Monroe's arrest and search warrants for all of his premises.

- It's Alice Monroe's funeral today.

- Are you attending, sir?

- I am.

And I think we should let the family deal with that.

With the funeral, the wake.

Bring Monroe Junior in tomorrow.

- Is that an order, sir?

- It's something I'd strongly advise.

- And cannabis plants with an estimated street value of 20,000 pounds were recovered in searches at two separate addresses.

Police have released CCTV footage of murder victim Sarah Kay.

Miss Kay can be seen here walking through the main gates into the Botanic Gardens in Belfast towards 2:30 on the Saturday afternoon.

Police are keen to talk to anyone who was in the vicinity of the park during those hours on Saturday.

They've also released footage taken from the CCTV cameras... - Mummy!

Mummy!

I'm on television!

- [Newsreader] In their inquiries.

The incident room... - Get off the phone.

- Huh?

What you doing?

(mobile beeps) - There's been a change of plan.

- What do you mean?

- I've just received an urgent phone call.

You have to go.

- I thought you wanted me here to pay my respects.

- You have no respect.

Least of all for your ex-wife.

- Oh, Jesus, not again.

- Listen.

The only good thing you ever did in your entire life was marry that girl.

Now, of course, you couldn't keep her.

- Dad, please.

Spare me the middle age fantasies.

- What?

- Oh, you think I didn't notice the way you used to look at Alice?

It was so obvious.

(car rumbling past) - Now, you take your tears and you offer the Parkers your heartfelt condolences.

Then go to the east gate, there's a car waiting for you there.

The driver has your travel documents.

- What do you mean?

- You're going away.

- Where?

Where am I going?

- You'll find out.

(church bell tolling) Assistant Chief Constable Burns is here.

Get out of my sight!

(church bell tolling) - Sad day, Morgan.

- Sad day indeed, Jim.

- [Newsreader] They have also released footage taken from the scene... - That could be anyone.

- [Olivia] It's us!

- You need to call them.

- Why?

We didn't see anything.

We were in the Palm House.

- You still have to put yourself forward so that they can eliminate you.

- Eliminate me from what?

- Anyone might see this.

Colleagues at work, friends, Livvy's friends, parents at school.

If they identify you in this then the police are gonna come calling.

Would you prefer that?

- [Newsreader] Asking anyone recognizing themselves or anyone else they know to come forward and assist the police in their inquiries.

The incident room number will appear on your screens... - If you think the killer represents evil, as you suggest here, what do you hope to achieve by reaching out to him?

- It seems to me evil people are people of a lie.

They lie to themselves and they lie to others.

If he can take even one right step in life, it may be more difficult for him to choose evil over good.

(car door bangs shut) (cars rumbling) The more we make the wrong decisions, the more our hearts harden.

The more we make the right decisions, the more our heart softens.

It comes alive.

(line ringing) - Hello.

- Sally, it's me.

There's something I need to ask you before I go in.

- [Sally] What?

- Something I need you to do for me.

- You can't give out this personal information, Ian.

- He needs to be able to contact me.

- Trust me, if you give out your personal phone number, crazies from all over the world will call you up and say the most disgusting things to you about Sarah.

I suggest using the incident room phone number.

Anyone phoning up claiming to be the killer will have to provide further proof.

And if they can do that, then we might think about engaging them in an apparently private conversation with you, a conversation that we will monitor carefully.

- So, lie to him?

- That's the way it has to be.

(tense music) - [Detective] Why were you in the Botanic Gardens on that afternoon, Mr. Spector?

- We go there quite often.

My daughter likes the Palm House and there's a playground there.

- And that's your daughter with you in the CCTV images?

- Yes.

- What's her name?

- Olivia.

- Do you have other children?

- A son, Liam.

He's five years old.

- What do you do for a living?

- I'm a bereavement counselor.

- And where were you on that Saturday night?

- I was at home with my wife and children.

- And she'll be able to verify that?

- Yes.

(line ringing) - [Sally] Hello?

- Is this Mrs. Spector?

Mrs. Sally Ann Spector?

This is Detective Constable Martin.

- After the children were in bed, we had supper.

- What did you have to eat?

Can you remember?

- I don't think I can.

- And what did you do then?

Watch television?

- I think my wife watched some television.

- What did you do?

- I had some work to do for the following day.

I was in my study, probably with some music on.

- Did you use the internet?

- Not that I recall.

(knocking at door) - There are no records of any antecedents for you in Belfast, Mr. Spector.

Why is that?

- I spent my childhood in various care homes.

- Can you write down the names of those care homes and the dates you were there, please?

Where were you last night, Mr. Spector?

- Last night?

Why?

What happened last night?

- Just answer the question.

- My wife was working at the neonatal unit.

- And you?

- I was with the children.

- All evening and all night?

- Fed them, bathed them, put them to bed.

I had an early night myself.

(telephone ringing nearby) - Would you be prepared to allow us to take your fingerprints and a DNA sample, on a voluntary basis?

- Of course.

- [Martin] Follow me.

(tense music) Sir.

Sir.

- Ready?

- This way, please.

Come on.

(tense music) - On the day that Sarah died, a part of me and her sister Marion died with her.

Sarah's murder was an act of pure evil.

A loving, talented, innocent young woman cruelly and unexpectedly taken away from this world.

Losing a child in any circumstances is a heavy loss to bear.

Losing a child in such a barbaric act of violence without any reason or explanation compounds that grief further.

(car door bangs shut) The killer wrote to me, expressing remorse for the fact that my daughter was carrying her first child.

And that's why I want to speak directly to him today.

And offer him my forgiveness.

If...

If he will stop what he's doing, give himself up and show genuine remorse and repentance.

Sarah was a person who truly made this world a better place for everyone.

(voice breaks) (cameras snapping) - (quietly) It's all right.

(cameras snapping) - [Marion] It's okay, it's okay.

(cameras snapping) - I think it best if I continue on behalf of Mr. Kay.

(dramatic music) - [Marion] Daddy!

(tense music) (door bangs shut) - Where are the kids?

- I asked Mum to take them.

Paul.

Why did I need to lie to the police?

- Did you lie to the police?

- Yes.

- I knew they'd ask me where I was on the night that girl died.

- And?

- And I couldn't tell them I was at the suicide helpline.

- Because?

- Because I wasn't.

Because I haven't worked there for the past three months.

- So where have you been when you've been all out night?

- Sally.

I have something terrible to confess.

I've been having an affair.

- Who?

- It's over.

- Who?

Katie.

(sighs) I knew, I knew.

- [Paul] What are you doing?

- I'm calling her.

- Don't do that.

- Give me the phone.

Give me the phone!

(phone clatters) - [Paul] Sally- - You get your hands off me!

- Sally- - I'm calling the police and I'm telling them where you really were.

- You can't do that!

- Oh!

I lied for you.

I lied to the police for you.

- Sally, she's underage.

- I know.

- I'd go to prison.

- Good!

(crying) - I'd lose my job.

- Why didn't you think of that before?

Why didn't you think of that before?

- Sally, they'll put me on a sex offenders list, which will probably cost you your job.

- You self-serving bastard.

When did all of this start?

How did it start?

- Online.

I came across some videos she'd posted online.

Videos of her singing.

I posted some comments, we started chatting.

- Isn't that called grooming?

- I don't know.

Yes.

Probably it is.

- So, that night when I said, "Paul will walk you home."

Jesus, how you two must have laughed about me.

- We didn't laugh about you.

- Have you ever had sex with her here?

In my home?

- No.

- Liar.

- I'm not lying.

- Olivia saw you.

- What?

- When I left you here alone she saw you.

- That's impossible.

- She's said things before.

- What things?

- About seeing a naked lady, a naked lady on the roof.

- That's just a dream.

- Poor thing.

Poor thing having you as a father.

If it was Katie, Olivia would have said.

Said it was her.

- Were you here with her last night?

- No.

No, I was out.

I didn't get back till the early hours of the morning.

I didn't know she was going to be here.

When I got back I told her to go.

- Where were you?

What had you been doing?

- I was dealing with a problem at work.

A client of mine who beats his wife has taken against me because I've helped her get away from him and into a refuge.

- God.

- Sally, I've never been unfaithful to you before.

- A 15-year-old.

A child.

- What are you doing?

- What am I doing?

I'm leaving you.

- Sally, please don't.

(dramatic music) (door slams) (motor revving) (dramatic music) - Ian Kay broke down today at a press conference and was unable to finish his appeal.

After he left the room, supported by his daughter Marion, it fell to Detective Superintendent Gibson to continue the appeal.

- If the person responsible for the deaths of Fiona Gallagher, Alice Monroe, Sarah Kay, and Joseph Brawley contacts the incident room and is able to prove beyond a doubt that he is who he says he is, then he will be able to have a one-to-one conversation with me.

(tense music) (machine whirring) (tense music) (car door bangs shut) (tense music) (doorbell rings) (door creaks open) - I wanted to say sorry for last night.

But I had to tell you to go.

Ever since that night in my study, I've felt very, very drawn to you.

And seeing you like that on the stairs...

I couldn't cope.

I didn't feel safe being around you.

- What are you saying?

- I can't see you at the moment.

I can't be near you.

I don't trust myself.

I don't trust myself now.

- Why?

What do you want to do?

- Perhaps just hold you.

You know, if things were different, I can't think of anything I'd like to do more than make love to you right now.

That's why we can't see each other for a while.

That's why you must stay away.

- I don't want to.

- You must.

(tense music) (machine whirring) (plastic rustling) (tense music) (door creaks open) (tense music) (Stella sighs) Sally.

- I always used to come here when I was little.

When things upset me.

It's so peaceful.

- You were lucky.

- Yes, I was.

But if you're asking me to make allowances for your terrible childhood, I'm not sure I can.

- That's not what I'm asking you.

I've come to ask you, to beg you if necessary, to give me another chance.

- I look at you and I don't know who you are.

When you first meet someone, when you first get to know them, there comes a time when you get to know their friends and their family.

And you get to learn all about them through those others, through their closest relationships.

Their mother, father, brothers, sisters.

With you there's nothing.

- I know.

- And I'm really sorry for that.

But it scares me, too.

- Don't be scared.

- I never thought you'd hurt the children.

I never thought you'd hurt me.

- I'm sorry.

I was stupid, needy.

Stupid.

- What needs in you could a 15-year-old meet that I couldn't?

- It's a cliche.

- Tell me.

- Between work and the kids there seemed to be no time for me.

For us.

- Do you mean in bed?

- I don't know.

Maybe.

- I've felt the same.

- What?

(Sally moaning) - I'm pregnant.

- What?

What did you say?

- I'm pregnant.

It's okay.

It's okay.

Don't stop.

(tense music) (Sally moaning) (clock ticking) (tense music) - What do we do now?

Now we're having another baby?

- I don't know.

- You know, growing up, I never thought for a single moment that I'd have a wife, a family of my own.

And now I've ruined everything.

- God, I don't want tonight to end.

- What do you mean?

- I don't want to face tomorrow.

- What if we went away tomorrow?

- Where would we go?

- That place in Scotland, where we went when you were pregnant the first time.

We walked on the beach.

- Don't.

- You collected all those shells.

You did those drawings of me.

(thunder rumbling) - I can't do this right now.

Please go.

- Mary, can you tell me about this drawing?

- My eight-year-old.

Apparently, it's me and my husband driving away in the car and leaving him and his brother behind us.

(paper rustles) - [Stella] Child of a similar age?

- I'd say so.

- [Stella] But a girl.

- [Mary] Yes.

(kicks clamp) (van door slams shut) - You've clamped my car illegally.

- You think having Jimmy Tyler put away solves your little problem?

- I'd like you to release it, please.

Or I'll call the police.

- That's something you're keen on, isn't it?

Calling the police.

You think we won't find out where Liz is?

- Don't know what you're talking about.

- Do you think you can come between a man and his wife and get away with it?

(keys jangling) Everything Jimmy said still stands.

Watch your back.

- Your van's blocking the street.

(van revving) - [Mary] If he has children do you think he loves them?

Do you think he can love?

- Most human emotions exist on a kind of continuum.

People talk about lack of empathy.

Well, we all have limits to our empathy.

Some people are profoundly moved by children starving on the other side of the world and some people it barely touches.

For them things need to literally be closer to home.

Sure, he's way out there on the sex continuum, but we all know men who've fantasized about having a woman completely under their control.

Or initiating a young girl into sex.

- Yes, but most don't act on those fantasies.

- But he does.

- Why?

- Well, maybe... Maybe it's not that he's devoid of emotion at all.

Maybe it's the reverse.

Isn't it emotion that the sexual sadist feeds off of?

Blind panic.

Abject terror.

I think he feels their pain acutely.

It's just that he gets pleasure from it.

- We have an E-FIT from Rose Stagg.

- Peter?

- Yes, ma'am.

- [Mary] Could he really look like that?

- Even a multiple murderer can have his share of good qualities.

Or a pretty face.

(tense music) (gasoline splashing) (tense music) (lighter flicks) (flames igniting) (tense music) (car explodes) - Why?

It's so unfair!

I've only got her and now I have to say goodbye.

- Granny will take her.

She needs her jabs.

- I don't want anyone to jab her.

Daddy, Mummy made me leave Belle behind.

It's so unfair.

- Why?

- 'Cause we're going away.

- Thank you.

- What choice do I have?

Take the kids away from you?

Have a new baby on my own?

I've seen what growing up without a father did to you.

Am I supposed to do that to our kids?

- You won't regret it.

- I'm promising nothing, Paul.

Nothing.

- I need to call some clients.

(monitors beeping) (telephone ringing) - Operation Music Man.

- [Paul] I'd like to speak to Detective Superintendent Gibson.

- She's not here.

Can I take a message?

- She said to call the incident room.

- Do you have some information you want to share?

- She said she wanted the killer to call the incident room.

So that's what I'm doing.

I want to speak directly to Stella.

- I need to ask you some questions first of all to see if you are who you say you are.

What can you can tell me about the crime scene at Hinton Road?

- Annie Brawley.

Annie was tied up on the bed, ligatures still in place.

The man was left face down in the hall floor.

- Did you take anything from Sarah Kay's house?

- [Paul] Some items of jewelry.

- [Detective] Anything else?

- A lock of her hair.

(mobile ringing) - Gibson.

- Ma'am.

I think we have the killer on the line to the incident room.

He wants to talk to you.

- Are you tracing the call?

- He's talking on an unregistered mobile phone.

Cell-site triangulation is underway.

- Who's on the call?

- [Mary] DCI Brink.

- Put him through as soon as you can.

- I tried to execute the warrants on Aaron Monroe today, sir.

- And?

- And he's gone.

- What do you mean?

- Skipped.

Left the country.

Someone must have said something to Morgan Monroe or to Aaron, tipped him off.

Do you have any idea who that might have been, sir?

- No, I do not.

And if you think that I spoke out of turn to Morgan Monroe, you're mistaken.

- You're a weak man, sir.

- What did you just say?

Concentrate on finding the individual who pulled that trigger and shot down one of our police officers in the street.

Is that clear?

- Yes, sir.

It's clear.

(line ringing) - [Stella] Hello?

- [Paul] Who's that?

- [Stella] Detective Superintendent Gibson.

- [Paul] Stella.

At long last.

- You wanted to talk to me.

- [Paul] You offered a private conversation.

- Yes, I did.

- [Paul] This isn't private.

- [Stella] Isn't it?

- I need another number I can call you on.

A private number.

A really private number.

I have something to tell you.

- 0-770-090-0131.

- What number is that?

- Dani, in my briefcase there's my phone with a recorder.

- Has she just given her number to a serial killer?

(birds cawing) (mobile rings) - Hello.

- Hello again, Stella.

- Now you've got me to yourself.

What do you want to say to me?

- I liked the red nail varnish.

Was that for me?

It was a nice touch.

- I'm glad you think so.

- [Paul] I've been watching you with interest.

- Have you?

- We're very alike, you and me.

- [Stella] Oh, I don't think so.

- Both driven by a will to power.

A desire to control everything and everyone.

Obsessive, ruthless.

Living and breathing moral relativism.

It's just you're bound by conventional notions of what's right and wrong.

And I'm free.

- How are you free?

You're a slave to your desires.

You have no control at all.

You're weak, impotent.

You think you're some kind of artist, but you're not.

- Art is a lie.

Art gives the chaos of the world an order that doesn't exist.

- Is that really why you called me?

To expound some half-baked philosophy?

I'm disappointed.

- I called to say goodbye.

I called you to say it's over.

- In what sense over?

- I'm walking away.

- [Stella] You can't.

- Watch me.

- I am.

- [Paul] Watch me walk away.

- It's never over for someone like you.

It won't be over until I stop you.

- You had your chance, now it's too late.

- You think I'd let you walk away?

You try to dignify what you do.

But it's just misogyny.

Age-old male violence against women.

For Fiona Gallagher, Alice Monroe, Sarah Kay, Annie Brawley, I won't let you.

You moved against Annie too soon.

You didn't prepare properly.

You didn't do the groundwork.

And you didn't kill her.

And we're on to you.

- If you're on to me, you'll come for me.

You have no idea who I am and you never will.

- I know your name is Peter.

Or at least you called yourself Peter at one time.

I know that you studied literature at Queen's or possibly Stranmillis.

- Wrong.

- I think you have at least one child.

A girl.

How old would she be now?

Seven or eight?

Does she love her daddy?

Does she look up to him?

Does she think he's the most important thing in her whole world?

Does she dream about him?

What's going to happen when she finds out who you really are?

What you really do.

It will destroy her.

It will kill her.

(tense music) (mobile beeps) (tense music) - I've made the calls.

Sally.

I know what you say is right and I don't deserve another chance.

But I will do everything, everything I can, to make it right.

Only you can save me from myself.

Things are gonna be so different from now on.

(trunk bangs shut) (car doors bang shut) (motor revs) I called to say goodbye.

I called to say it's over.

- [Stella] In what sense over?

- [Paul] I'm walking away.

- You can't.

- Watch me.

- You moved against Annie too soon.

You didn't prepare properly.

You didn't do the groundwork.

And you didn't kill her.

♪ Ma when I get home ♪ The boys won't leave the girls alone ♪ ♪ They pull my hair and stole my comb ♪ ♪ But that's all right till I get home ♪ ♪ She is handsome she is pretty ♪ (Annie straining) ♪ She is the belle from Belfast city ♪ ♪ She is a courting one two three ♪ (Annie straining) ♪ Won't you tell me who is she (Annie screams) ♪ And the boys won't leave the girls alone ♪ ♪ They pull my hair and stole my comb ♪ ♪ But that's all right till I get home ♪ - [Stella] We're on to you.

- [Paul] If you're on to me, you'll come for me.

You have no idea.

- [Danielle] Ma'am.

Annie Brawley has regained consciousness.

(dramatic music)