Until I Kill You (2024) s01e02 Episode Script

Captions by Able.
Captions were made with
the support of NZ On Air.
Copyright Able 2024.
(PENSIVE MUSIC)
- I'm John.
- Delia.
You're a bit of a free spirit,
aren't you? I could tell that by
the way you were moving.
You care too much what people think.
(ROARS, LAUGHS)
- (LAUGHS)
Plenty of time to be a
boring conformist later.
Would you like to move in with me?
- Does he or does he
not make you happy?
- He makes me feel less alone.
You drew that?
- Yep, from me last girlfriend.
- What's her name?
- Melissa.
It's the most recent
photograph we have.
It's just not like Melissa
to vanish without a word.
Come and dance with me, John.
Sit down.
Everyone's looking at you.
I woke up,
and he was strangling me.
You were asleep,
and you were saying stuff.
- What was I saying?
(SPEAKS DUTCH)
- I mean, he was violent once, John.
- Change the locks on him.
- I want you to move out.
- Has that dyke been putting ideas
into your head?
(GASPS, CRIES)
I killed her in Amsterdam.
I chopped her up, and I put
her in a canal!
(SCREAMS, ECHOES)
(DISCORDANT MUSIC)
(MUSIC FADES)
(FOREBODING MUSIC)
(PHONE RINGS)
(MUSIC CONTINUES)
(RINGING CONTINUES)
(CLATTERING, RINGING CONTINUES)
- Hello?
- Is that John?
- Uh, yeah, this is John.
Who's this?
- It's Leah.
We met that time at Janice's party.
All right, Leah.
(TENSE MUSIC)
- (GASPS)
- Delia's not in.
- Oh. She's meant to be at work.
- Oh, yep, she's had
a family emergency. Her nan's sick.
I'm sorry to hear that. Do you
have a number for where she is?
- A number? No. No, no. I don't, no.
- You know what, John?
I don't believe you.
If I don't hear from Delia soon,
I'm calling the police.
(LINE BUZZES)
(LOW, TENSE MUSIC)
(SIGHS)
(FOREBODING MUSIC)
(BREATHES SHAKILY)
(SIGHS) She says she's gonna call
the police if she doesn't hear from
you soon. Why would shesay that?
What have you said to her?
- WHISPERS: Nothing. Nothing.
I haven't said anything.
- Then why would she say
she's phoning the police?!
- I don't know.
(SIGHS) Oh fuck. I feel sick.
What am I gonna do?
I can't cope with the police.
I, uh― I could talk to
her, uh, tell her I'm OK.
- No, because you'll
say what's gone on.
- No, I― I won't. I won't.
Mm.
Look, what I said about Melissa ―
I was just jokin', you know? I was
just trying to scare you.
- I know.
- (CHUCKLES)
(CHUCKLES WEAKLY)
(TENSE MUSIC)
OK. OK.
- (GASPS, GROANS)
- It's all right. It's OK.
(WHIMPERS)
(GASPS, PANTS)
(PENSIVE MUSIC)
That's real.
Any funny business,
and I'll kill you
and Leah too. I know where
she lives. I've looked
in your address book.
(GUN CLICKS)
(LINE BUZZES)
(DIAL SQUEAKS, WHIRRS)
(GASPS)
- (PHONE RINGS)
- ENT Outpatients Reception.
- Oh, Leah, it's
Delia.
- Where are you? Are you OK?
Yeah. I, uh― I've been sick as
a dog. I've had food poisoning.
Food poisoning. John said your
nan was sick ― family emergency.
No, no. He's just being silly.
My nana died years ago.
- Is John there now?
- No, he's out.
- Delia, is he listening?
- No.
- (GUN CLICKS)
- I'm gonna be sick again. I've―
I've gotta― I'll call you tomorrow.
(PEOPLE MURMUR)
(EXHALES)
(TRAFFIC PASSES BY IN DISTANCE)
(WATER DRIPS)
(EERIE MUSIC)
(SIGHS)
You need help, John. You need
to talk to somebody who knows
about these things.
We could go up to A & E right now.
There's always a duty psychiatrist
on call.
Maybe tomorrow.
(WATER DRIPS, SPLASHES)
You need to take all this
to the laundrette.
- (GUN CLICKS)
- Why are you being a tricky bitch?
John, you're changing again.
(GASPS) The fuck is wrong with me?
Look, why don't we?
Why don't we go to Hampstead tonight
when the sun's gone down, and we can
throw it in the ponds?
Whoa, no.
Hey, what would be the point of that?
Why? If you wanna get rid of it, why―
why don't you just sell it and
get some money for it, yeah?
- (SIGHS) Yeah.
- Yeah.
WHISPERS: I'm just not
fucking thinking clearly.
And do you know,
I need to go back to work, John,
because I― we can't afford
for me not to work.
- You'll tell Leah what's happened.
You'll say what
I said about Melissa.
- No, I won't. Why would I do that?
Because I care about you, and I don't
wanna get you into trouble.
- You care about me?
Then why did you say that you
wanted me to leave? That was―
- I was upset!
Because you treat my home
like a hotel!
You are my boyfriend, and yet you
never seem to hardly wanna spend
any time here!
- So you don't want me to leave?
- VOICE BREAKS: No.
(BREATHES SHAKILY)
I can't bear the thought of you
sleeping with anyone else.
I don't wanna sleep with
anybody else.
- Do you love me?
- WHISPERS: Yeah.
(UNSETTLING MUSIC)
What I said about Melissa was―
that was bollocks.
That was bollocks.
- I know. I know.
- You know me, don't you?
- Yeah.
You know me.
(MUSIC CONTINUES)
- I need to do
- No, no, no, no, no, no.
(GASPS) Oh God, no. I'm just so
sore, and the mattress is filthy.
WHISPERS: We can do it
on the floor like we used to.
(SIGHS, WHIMPERS)
(WHIMPERS)
(CRIES)
(TENSE MUSIC)
(MUSIC PULSATES)
(UNSETTLING MUSIC)
(PENSIVE MUSIC)
(RUSTLING)
(SUSPENSEFUL MUSIC)
(MUSIC SLOWS)
(SPOKES CLICK)
(CLICKING CONTINUES)
(TENSE MUSIC)
He threatened you with a gun.
You have to go to the police.
No. What if they don't do
anything, then John finds out?
You don't think these injuries
are enough for them to take you
seriously?
He said he killed Melissa, his
last girlfriend, the American model.
He said he killed her in Amsterdam,
then he chopped her up, and then he
chucked her body into the canal.
- What?
- He said he was saying
it just to scare me,
but I know he was telling the truth.
- You can't go back to your flat.
You can stay at mine until
we figure out what to do.
No. Put you in danger. He went
through my address book. He knows
where you live.
He said if I told you
anything, then
well, then he'd kill you too.
- (CHAIR CREAKS)
(SIGHS)
When I was going through
that shit with Patrick, um,
this lot were really good.
They'll find a place
for you to stay.
(TENSE MUSIC)
(MUSIC CONTINUES)
(MUSIC FADES)
OK.
I've found a bed-and-breakfast
for you in Kings Cross.
Kings Cross? I'm not going to
Kings Cross. Full of drug dealers
and prostitutes.
Well, it's all that's available,
I'm afraid.
Look, I'm going to phone
the domestic violence unit at
Barstock Road Police Station.
No. I said I don't want
the police involved.
If he finds out I've been to
the police, he'll kill me.
- That's not going to happen.
If your boyfriend's still at
your flat, they'll arrest him,
and you'll be safe.
(MEN CHATTER, PHONES RING)
I didn't wanna come here.
- (MEN CHATTER)
- Well, you did the right thing,
Delia. It was very brave of you.
No, it was not.
I didn't have a choice.
(MEN CHATTER, COUGH)
- (PHONES RING)
- We're ready for you, Delia.
(MEN MURMUR)
Is it OK if I call you Delia?
(SIGHS) It's my name.
OK.
I'm Detective Sergeant Andy Collins.
This is my colleague
Detective Constable Patrick Flynn.
We're from the station's
domestic violence unit.
I understand you want to report
an assault by your boyfriend?
I don't want to.
I feel I have to now.
Well, uh, in your own time,
tell us what happened.
Well, where do you
want me to start?
- What is your boyfriend's name?
- He's not my boyfriend any more.
John Sweeney.
He― He had me tied hands and feet to
that damn bed he made from Friday
evening to Tuesday morning.
(PENSIVE MUSIC)
My arms spread out,
my legs spread out.
When he wanted to have sex with me,
he untied my feet. He had sex
with me repeatedly.
When I screamed out, he threatened me
with a kitchen knife. He said
he'd cut my tongue out.
I tried to get free, but the ropes
just got tighter and tighter. I think
he tied them with a special knot.
He wouldn't even let me go to
the bathroom. When I needed to go,
he put the orange bowl I use for
cleaning the floor underneath me,
and I had to go that way, which was
very difficult and very unsanitary.
One night, I wanted to go, but I
was too scared to wake him up,
and so I went on the mattress.
(TENSE MUSIC)
(PHONE RINGS IN DISTANCE)
(MUSIC CONTINUES)
It's not very easy talking about
these things in front of strangers.
(MUSIC CONTINUES)
Would you like to take a break
now, Delia?
No. I just want this over with.
You finished?
Just, uh, bear with us
a bit longer, Delia.
Uh, Delia, just so I'm clear ―
uh, when you say John repeatedly
had sex with you, you mean
the sex was not consensual?
Of course it wasn't consensual.
I was tied to a bed. I was just a
body to him, a blow-up doll.
He had sex with me. I did not
have sex with him. I wasn't there.
My brain shut down.
So what you mean is he raped you.
If that's how you need to put it.
- How many times is repeatedly?
- I don't know.
- Three times? Four times?
I just told you ―
my brain shut down.
If your brain shut down,
how can you be sure you didn't
give John any consent?
- Cos I'm not a moron.
- Delia, we know these
are difficult questions,
but securing a rape charge is no
easy task, especially when it's
a girlfriend-boyfriend scenario.
- He's not my boyfriend.
- What I'm saying is ―
the more you can give us now,
then the stronger the case we
can make against him.
There's no shame
in admitting you were raped.
- I'm not ashamed. I'm embarrassed.
I don't like the word 'rape'.
Um, the gun he threatened you
with, Delia, do you know where
he got it?
No, how would I know? After he
untied me, he told me that it was a
toy gun, but I know that it was real,
just like I know that what he said he
did to Melissa in Amsterdam was real.
You don't think
it's at all possible
it might have been something
he just made up to scare you?
He was telling the truth,
and when you see his drawings,
you'll see that I'm right.
They prove that what he said
he did to Melissa is true.
(DISCORDANT MUSIC)
(SIRENS WAIL, OFFICERS MURMUR)
It's OK, Delia. He's not here.
Yes, I know that.
All his things are gone.
- Any idea where he might have gone?
- How would I know?
- (INDISTINCT RADIO TRANSMISSION)
Uh, can I see those, Delia?
- Why?
- Just for our records.
(SIGHS)
(MEN CHATTER)
I need those back. They are
the most precious things I have.
Here you go.
(SIGHS)
So, this is where it happened.
- Obviously. It's a bed, isn't it?
So, where are these drawings,
then, Delia?
- Well, they're in his portfolio.
He must have taken it.
- It's not this, is it?
Yes, that's it.
(SIGHS)
Ah, you see?
Melissa.
- John told you this is Melissa?
- No. It's obvious.
- Delia, there's no head.
- Of course not. It's chopped off.
Look, you see? Same, Melissa.
The same slender body.
And, look, this one, you see?
The little guys are carpenters,
like John,
and then they're―
they're sawing and chopping at her.
- (PAPER RUSTLES)
Oh, this is new. I've I've never
seen this, but this is John,
and this is Melissa, you see?
And out of his mouth, he's saying,
'Ohio. Ohio. It's off to work I go.'
Melissa was from Ohio.
You know what, Delia? You're
exhausted. I think it's time we were
getting you over to Kings Cross.
- No. What? Look at the pictures.
- Jane, help Delia pack a wash bag
and a change of clothes.
- Come on, Delia.
- Get off me.
Why won't you look at the pictures?
They― They prove he killed Melissa.
- They're just drawings, Delia.
They don't prove anything.
- What? How can you say that?
The truth is staring you
in the goddamn face.
- Delia, listen to me.
Our main priority right now
is keeping you safe.
- No, no. I'm not going.
I know my rights.
You can't force me out of my home.
- Delia.
No. Get out.
OK. Look, you're right.
We can't force you to leave.
- I know. I just said that.
We do not have the manpower
to keep a round-the-clock watch
on your house,
but I will see to it that uniform
do an occasional drive-by.
But if at any point, day or night,
John makes any attempt to contact
you or gain entry into the flat,
call 999 immediately.
We are five minutes away.
- OK.
I get it.
- (KEYS RATTLE)
Get out.
- (HEELS CLICK)
Come on.
(INDISTINCT RADIO TRANSMISSION)
(MAN SPEAKS INDISTINCTLY)
- Do you want us to take
the drawings as evidence, sir?
- Evidence of what?
- (INDISTINCT RADIO TRANSMISSION)
(EERIE MUSIC)
(MUSIC CONTINUES)
(FOREBODING MUSIC)
- I'll need copies for the others
in the building.
- No problem, ma'am.
(TENSE MUSIC)
(GASPS)
(GLASS TINKLES)
(EERIE, DISCORDANT MUSIC)
(SUSPENSEFUL MUSIC)
(MUSIC FADES)
(TENSE MUSIC)
(MUSIC SLOWS, FADES)
(PEOPLE CHATTER, CAR HORNS HONK)
(LAUGHS) To your new contract and
three more months of job security.
- Mm.
- Hmm.
- Hallelujah.
- (UPBEAT ROCK MUSIC PLAYS)
- What's this?
- Oh, it's― it's nothing much.
It's just― just a token just to
say thank you for being such
a good friend.
- Delia, you didn't have to do that.
- (MUSIC CONTINUES PLAYING,
PEOPLE CHATTER)
- Oh, it's so pretty.
- Yeah, it's― it's made in India.
It's, um― Does it―? Does it fit OK?
- It's perfect.
- Oh.
- I love it. Thank you.
- Yeah, it looks really good on you.
- (BOTH CHUCKLE)
- (MUSIC CONTINUES PLAYING)
- MAN: Yeah, cheers.
I think might spend Christmas
with my family, now I know
I can afford the ticket.
Xmas in Texas. That'll be nice.
(CHUCKLES)
Oh, well,
you don't know my parents.
And I'll probably spend most of
my time at my brother's place.
- Oh, I didn't know
you had a brother.
- Yeah, Stewart. Yeah, he's a
Well, he was a traveller like me.
Went all over, then stopped.
- How come?
- Got a regular job.
- (CAR BRAKES CREAK)
- Nice houses. I still don't know
how you kept living here, though.
- Oh, I'm not some hysterical female.
Why would I let him drive me
out of my home?
Cup of tea?
- I need to get back.
- Yeah.
Yeah, you don't wanna
miss the last tube.
Next time, you're coming to ours,
though, right?
(CHUCKLES) Thanks for my bangle.
You don't have to wait
till I'm inside.
- I'm having a fag,
if that's all right with you.
- You shouldn't smoke.
(CHUCKLES)
(DOOR CREAKS, KEYS JANGLE)
God! (GASPS)
- Come here! Come here!
- (GASPS, SHOUTS)
- Hey, I don't wanna hurt you.
I don't wanna hurt you.
I just wanna talk.
- (GASPS, MOANS)
- You changed the locks.
- (GASPS)
- Why?
- (GASPS)
- I had to climb in through
the kitchen fucking window.
- (GASPS, WHIMPERS)
Now, I know that you went to the
police. After everything you said
about loving me,
about not wanting to get me into
trouble, I know that you went to the
police, but I forgive you for that.
I just wanna know ― did you tell
them what I told you about Melissa?
Mm, mm.
(TENSE MUSIC)
I don't know whether
to believe you.
I feel like I should
just kill myself and you.
(OMINOUS MUSIC)
Or maybe I should just fix it
so that you can't say anything
to anybody ever again.
(GROANS)
- Open your mouth.
- Why?
- Open your mouth.
- (GASPS)
- Open your mouth.
- (GROANS)
(GRUNTS)
- (SCREAMS)
- (GASPS)
Oh fuck!
(OMINOUS MUSIC)
Delia, open the door.
I just wanna talk to you.
Delia, open the door.
- (PANTS)
Open the door, or I'll flatten it!
- (SPITS, GROANS)
- Delia, open the door.
Open the fucking door!
- (DOORBELL BUZZES)
(EERIE MUSIC)
(SIREN WAILS IN DISTANCE,
DOORBELL BUZZES)
(POLICE RADIO CHATTER, SIRENS WAIL)
(DOORBELL BUZZES)
(DOORBELL BUZZES)
(TENSE MUSIC)
(BREATHES SHAKILY)
(SUSPENSEFUL MUSIC)
- (DOORBELL BUZZES)
- (GASPS)
- Police.
- Police. Stay back, sir.
- (GRUNTS, SCREAMS)
- Police!
- Delia, can you open the door now?
- Delia?
- Delia, it's Jane Barker.
Can you open the door now?
- Delia?
Open the door and just tell them
that we had an argument, that
there's nothing to worry about.
If you say anything, I'll kill you.
- Delia, open the door.
(BANGS ON DOOR)
Delia. Delia, listen to me.
If you don't open the door,
we're gonna break it down.
Delia?
- WHISPERS: Here.
- (BANGING ON DOOR)
Please open the door, Delia.
(TENSE MUSIC)
Delia, thank God you're OK. Delia!
- (GROANS)
- Show me your hands.
- What's goin' on?
- Show me your hands!
- I haven't done anything.
- Turn around.
- I haven't done anything!
- Turn around and put your hands
behind your back!
- I haven't done anything.
(GASPS)
(SCREAMS)
- It's me. It's me!
It's me! It's OK. It's OK.
- (SOBS)
- It's OK.
It's OK.
- (WAILS)
(POLICE RADIO CHATTER)
(TENSE MUSIC)
MAN: Get back, please. There's
nothing to see. You'll serve
as a diversion at the end.
(UNSETTLING MUSIC)
(SPEAKS INDISTINCTLY)
We're charging him with ABH
and false imprisonment from
when he tied you to the bed.
He'll spend a night here, there'll
be a hearing in the morning,
then he'll be transferred to HMP
Pentonville, pending a bail hearing.
- Bail?
- It's just a formality.
With his offending history,
there is no way he'll get it.
He's got quite the record
on Merseyside, hasn't he?
Uh, six months in prison
for affray,
bound over to keep the peace after
his wife complained that he
threatened her with murder.
When the police came to arrest him,
he was in the wardrobe with a hammer
in one hand and an axe in the other.
Look, I know it doesn't feel like
it right now, but you've had quite
a lucky escape, Delia.
Why didn't you tell me
all this before?
The information only came
in a couple of weeks after
we took your statement.
He was long gone by then, and based
on what WPC Barker told us,
every time she came to see you,
you just wanted to get on with
your life.
Main thing is ― we know
now, don't we? That's
Uh, you're not planning on going
abroad any time soon, are you?
Yeah, I was gonna spend Christmas
with my family in Texas.
No, I'm afraid you're
gonna have to postpone that.
I don't wanna spend Christmas
here. I wanna see my family.
We need you here. You are the key
witness in a criminal investigation.
OK, well, wrapping up. The duty
doctor will examine you, and we'll
need to get some photographs.
(PENSIVE MUSIC)
(MUSIC CONTINUES)
(MUSIC SLOWS)
(UNSETTLING MUSIC)
Tom?
(MUSIC CONTINUES)
(MUSIC QUICKENS)
(MUSIC SLOWS)
(PEOPLE MURMUR)
(MUSIC PULSATES)
(TENSE MUSIC)
(MUSIC CONTINUES)
(BIRDS SQUAWK)
(PEOPLE MURMUR, PHONE RINGS)
(KNOCK AT DOOR)
(SPEAKS DUTCH)
- (SPEAKS DUTCH)
- Here.
(PENSIVE MUSIC)
(MUSIC CONTINUES)
Melissa Halstead.
(CHAIR SQUEAKS)
(MUSIC CONTINUES)
Yeah.
Yeah.
(TENSE MUSIC)
(PHONE LINE RINGS)
- (BEEP!)
- Halstead residence,
Jack Halstead speaking.
Good afternoon, Mr Halstead. This
is Agent Astrid De Vries, Amsterdam
Police.
- Yes?
- Are you the father
of Melissa Halstead,
who visited the Amsterdam Police
in July 1991?
- I― I am. Have you found Melissa?
No. We're modernising
our missing persons database,
and we're requesting that all
relatives send us blood samples
for potential DNA profiling.
(TENSE MUSIC)
Well, of course I'll send
a blood sample, then. Anything
that could help you find Melissa.
We've not forgotten your daughter,
Mr Halstead.
We won't stop looking for her.
Tell me what you need.
(PENSIVE MUSIC)
(MUSIC DARKENS)
(EERIE MUSIC)
(UNSETTLING MUSIC)
(MUSIC BUILDS)
(MUSIC SLOWS)
(VAN CLATTERS)
(PENSIVE MUSIC)
(PEOPLE MURMUR)
WOMAN: OK.
(MUSIC CONTINUES)
- You all right?
- No.
I'm a nervous wreck.
- You're gonna be fine.
(THOUGHTFUL MUSIC)
(TENSE MUSIC)
MAN: The offences of
which my client stands accused,
about which he's made no admissions
and maintains his complete
innocence, are allegations,
not facts,
allegations made by
an unstable woman.
Yet, because of them, he has spent
a month on remand in Her Majesty's
Prison Pentonville.
Your Worships, all Mr Sweeney wants
is what any of us want at this time
of year,
to spend Christmas with his family.
(OMINOUS MUSIC)
I just feel like I need some hot
weather. Do you know what I mean?
- WOMEN: Yeah.
- Um, yeah, exactly.
- Over Christmas?
- No, maybe the day after Christmas.
- MAN: Nice.
- You know?
- So New Year's?
- WOMEN: Yeah.
- Could get― Ooh.
Delia, the police are on the
phone. You can take it in my office.
- Well, she likes
- (STAFF CHATTER)
(TENSE MUSIC)
Hello?
- Hello, Delia. This is DS Collins.
Uh, I'm afraid it wasn't the
news we were hoping for.
Sweeney's been granted bail.
- What?
- Yeah, apparently,
there's an amnesty this Christmas
for prisoners to visit their
families.
They let him out at Christmas
to see his family,
and they won't let me out of
the fucking country to see mine?
Yeah. Look, look, it's only for
a couple of weeks, until his next
hearing,
and the magistrate has imposed
some very strict conditions.
He has to sleep at his parents'
house every night in Skelmersdale.
He'll be under home curfew
from 9pm to 7am every―
- No! They― No, he will―
- Delia.
- He'll come after me now.
I (STAMMERS)
- Delia.
- He'll kill me. I know it.
- He's not going to break bail.
But as a precaution, maybe it's wise
for you to spend Christmas somewhere
else.
What, some shithole in Kings Cross?
Fat chance.
(MEN CHATTER)
(SIGHS)
(FESTIVE MUSIC PLAYS IN DISTANCE,
PEOPLE CHATTER)
(STAFF LAUGH)
MAN: Certain simulations have
explored what would happen if a
tornado outbreak,
or a tornado-producing storm,
occurred at different levels
- (PHONE RINGS)
of global warming.
Projections suggest that stronger
tornado-producing storms may―
(RINGING CONTINUES)
Hello?
Hello?
- Stewart, it's me.
Oh, hey, Delia.
I was just thinking about you.
(CHUCKLES) Um, I'm watching
a documentary on tornadoes.
R― Remember, uh, when we were kids,
and that tornado hit?
Yeah, I― I remember.
Stewart, listen, the (SIGHS)
- Delia, you still there?
- Do you know what? A friend has
invited me to stay for Christmas,
so I won't be at home
when Mum and Dad call.
Let them know so they don't worry,
yeah?
- OK.
Yeah, and this will probably be the
last chance I'll get to call you,
so happy Christmas andall that,
and, uh, tell Mum and Dad
I love them.
Uh, yeah. Oh, OK.
Uh, (SIGHS) are you OK, Delia?
(STAFF LAUGH IN DISTANCE)
Oh yeah.
How are you, Stewart? You OK?
Uh, you know, still
gettin' nowhere fast.
When are you gonna visit, Delia?
Uh, I thought we could go to
Arbuckle Falls, like last time.
Oh yeah.
Oh, we had a nice time there.
We sure did.
The sun was shinin',
and the birds were chirpin'.
(TENSE MUSIC)
The water and all that
Yeah. (CHUCKLES)
Yeah.
Yeah. It was real peaceful.
(MUSIC CONTINUES)
(PHONE LINE RINGS)
(MAN SPEAKS DUTCH)
- (SPEAKS DUTCH)
(MAN SIGHS)
OK.
(TENSE MUSIC)
Yes, well, surprise, surprise.
Hope & Haven have given me a list
of B & Bs in Kings Cross,
so I'm just gonna head home
and get my stuff and then
OK. I'm sorry you're going through
all this at Christmas.
Oh, it's fine. I'll keep busy.
I've got a shift at Chelsea and
Westminster on the children'sward,
so
- I thought you didn't like
children. (CHUCKLES)
Sick ones are OK.
Right, I'm gonna head.
OK, you make sure you call me
at my mum's when you've
found somewhere.
- Yeah, yeah.
- See you in the new year.
- Yeah.
(PEOPLE CHATTER)
(PENSIVE MUSIC)
(PEOPLE CHATTER, SHOUT)
(MUSIC CONTINUES)
(MUSIC SLOWS)
(GRUNTS)
(MUSIC FADES)
(DOOR CREAKS)
Delia, I wanna talk to you.
Get inside the house.
- No, no!
- Let's go.
- No. Let go of my bike.
- Get inside the house.
- No!
- Get inside the fucking house!
- No. Get off my bike! Oh!
- (GRUNTS)
(GRUNTS, ROARS)
- (LAUGHTER ON TV MUTES)
- Josh, what are you―?
- Shh, shh.
- (METAL CLANGS)
- (GROWLS)
- (DELIA SCREAMS)
- (GROWLS)
- God, call 999!
- (ROARS)
- (SCREAMS)
- (GRUNTS)
- (SCREAMS)
- (GRUNTS)
- (SCREAMS)
- Josh!
(GRUNTS, ROARS)
(SHRIEKS)
(PANTS)
- (DOG BARKS)
- (GASPS)
- Josh, stop!
- What's happened?
- Oh my God.
(GASPS)
- Oh my God.
WOMAN: It's Delia. Is she OK?
(TENSE MUSIC)
Oh God. Don't move her.
Just leave her where she is.
- It's OK.
- (BREATHES RAGGEDLY)
- Dad's called the ambulance.
- It's OK. Try not to move.
- (BREATHES RAGGEDLY)
- Delia?
- It's OK, Delia.
It's gonna be all right.
- The ambulance is coming. It's OK.
- (BREATHES RAGGEDLY)
(SIREN WAILS)
(OMINOUS MUSIC)
- (MONITOR BEEPS)
- Come on, Delia. Come on.
Delia?
- WEAKLY: My right lung
has a haemopneumothorax,
and I have a stab wound
to my right thigh.
Look, try and stop talking. Try to
pop in and save your breath, OK?
What I'm gonna have to do is cut
your top off to look for any other
injuries.
Oh, I bought this in Mexico.
Mexico? We'll have to get another
one for you. Just breathe normally,
OK?
I'm gonna have to cut that top off.
- (MONITOR BEEPS)
OK, Delia? Just keep breathing
normally for me now, OK?
I've got a wound there.
Let's get those, uh―
- Let's get some gauze on that.
- Get gauze on that one now, yeah.
You OK, Delia? Yeah?
It's OK, love. There we are. I'm
just gonna put a dressing on now.
Delia? Delia, are you OK?
- (MONITOR BEEPS)
- There we are. Stay with us now.
- (INDISTINCT RADIO TRANSMISSION,
MONITOR BEEPS)
Delia?
Is it?
- (SPEAKS INDISTINCTLY)
Delia?
Delia? I'll get a bag.
I'll get a bag.
(OXYGEN HISSES)
ECHOES: Stay with us. Delia?
- (MONITOR BEEPS)
- Yeah. Keep― Keep goin'.
That's the way. Come on, love.
Delia? Delia?
- (MONITOR, ALARM BEEPS)
- (FLATLINE TONE)
- We need to give her― Delia?
- (FLATLINE CONTINUES)
- Delia, stay with us.
- (MONITOR BEEPS RAPIDLY)
- Delia? Stay with us now.
Stay with us.
All my flowers
rest in water.
Won't you take them away?
Won't you take me away? ♪
Captions were made with
the support of NZ On Air.