0:02

You are all alumni of the University of

0:04

East Anglia. It's where dreams go to die

0:06

but I just need the cash. And then

0:08

you met David. I still want to hear

0:10

what David said. David and the oxock were

0:12

about truth. I may be awkward but

0:14

I'm not complete moron. Oxock. It's all

0:16

a bit sensitive. Ramon. Ramon. Alicia Yuikko.

0:18

It's pronounced Alicia. One of my most

0:20

valuable finances is based in Norwich. I

0:22

run an antique shop in Lower Stoft.

0:25

I currently am living in a campervan.

0:27

Starpoint Games have moved down to Norwich.

0:29

David invited to take part in a

0:31

great happening. Have a run. And that

0:33

was when you cut your hand. To

0:35

a bit of yoga. Could you hook

0:38

me up today? You did not expect

0:40

Sarah Moore to be the one who

0:42

would bring you all together. I do

0:44

believe in foresight. Alicia, how do you

0:46

think Gary dies? He said, he said

0:49

he killed my Gary. Give her a minute. Let's

0:51

try and keep our voices down. Take a

0:53

breath. He heard about your poor Gary's death

0:55

and he used that as part of his

0:57

mind games that he's playing. Raise right, raise

1:00

right. Tell us calmly what this is all

1:02

about. That's the shit that dreams are made

1:04

of. You see for a moment, it's almost

1:06

like she looks a bit absent. I did

1:08

feel my palm itching slightly. And you see

1:10

someone step away from behind

1:12

Eric Wilson in the reflection of her

1:14

eyes. If I whip around, is there

1:16

anyone there? Eric, you've not been well.

1:19

I can see that. No, I'm fine.

1:21

What's wrong with him, sir? He's got cancer, hasn't

1:23

he? Fuck. I didn't know. I might drop my

1:25

gin and tonic glasses. Smash. He's

1:27

used the bathroom. Emotic on.

1:30

You pull the other eyelid down

1:32

and it just starts to slightly

1:34

pull away. Anything

1:38

to get you on side? Stacey,

1:42

I mean, they basically locked her up in a ward. I

1:44

mean, oh my

1:46

God, you think this is about money. I'm an

1:49

accountant, an independent financial advisor. Everything comes down to

1:51

money in the end. This is about love, Eric.

1:53

Big deep breaths. Let's get some fresh air and

1:56

we're going to help you. We're

1:58

going to help you, sir. And

2:00

you push the arm of the cardigan

2:02

up and you see a track mark.

2:04

When they told me Gary died, they

2:06

never told me how the accident happened.

2:09

Her head just lulls slightly further forward again.

2:11

What reflections am I seeing in the windows?

2:13

I'm gonna wait for them. I am unwell.

2:15

I put my hand on his hand. How

2:18

would she know? How would

2:20

she know? This

2:22

motorbike crashes into a van. Bridget doesn't

2:24

know about anything. You see stepping out

2:26

from behind the van. I think he's

2:28

alright. There's enough people there. A man

2:30

in a tweed suit. Do I recognise him?

2:32

With gold rimmed glasses. Have I ever seen

2:34

him before? And then he looks

2:36

straight at you. We have to help. We have

2:39

to see if we can help. Gold circles. Two

2:41

gold circles. Let me

2:43

look for someone to pull over. Just drive.

2:46

We've got to drive. I put my hand over

2:48

Sarah's mouth. The guy on the bike turns round.

2:51

With my other arm trying to hold her still.

2:53

And it's Gary. Gary! Gary!

2:57

Gary! Gary! The

3:24

apocalypse players present The

3:26

Mean Child by

3:28

Paul Fricker. The

3:31

7th edition Call of Cthulhu scenario

3:35

from the Nameless Horrors collection. Starring

3:40

Dominic Allen as Alicia

3:42

Jewett. Danann

3:45

Macalier as Ray

3:47

West. Jeanie

3:50

Spark as

3:52

Melinda Moody. Dan

3:55

Wheeler as Eric Wilson. and

4:00

use the chance as your keeper

4:03

of the arcane lore.

4:30

By the time you get to the

4:32

old Catan estate, it's

4:35

4.30pm. Sarah Moors. Rather

4:41

run down looking apartment. Ground

4:43

floor, entrance,

4:45

two floors, a stack

4:48

of blocked apartment

4:51

buildings. Not

4:53

apartments I suppose. It's like a kind of house

4:55

but it's almost like a box. I

4:58

just go straight back. There's

5:01

a sequence of four of them and then a gap with

5:04

an alleyway that runs between them and then another sequence of four

5:06

of them and then a gap. There's

5:10

pebble dash marking

5:12

the alleyway entrances and

5:15

pebble dash on the walls. Where

5:18

dreams go to die. But

5:21

you've reached 84 Herschel Crescent

5:24

in Catan. And

5:26

I think it's fair to say that you've

5:28

arrived with a slightly

5:31

new perspective on things. 84

5:34

was that Herschel Crescent? 84 Herschel

5:36

Crescent. And it's still about half

5:38

past four? It

5:41

was half past four when

5:44

you arrived. Nice. Still

5:46

light of course. It's before

5:48

the clocks go back. Or

5:53

is it? Hang on. 28th

5:55

of October. June?

5:58

June? No. Don't haven't. We

6:02

renew it sort over here before

6:04

they go back to emerge as

6:07

if nothing's going about and. Like

6:09

a fool it may. The

6:12

Spring for which books and some of

6:14

the you're bad a bunch of remember

6:17

Jaeger back in November but she was

6:19

having some fun with. It's a lovely

6:21

evening so still like regardless of of

6:24

Britain's summertime. Oh who are your own

6:26

of emphasis as a fan of at

6:28

one time on account of. I

6:33

think about and along the way to see so it's kicking around

6:35

and your mind and I just want to sort of. Rewind.

6:39

For a moment for each of you

6:41

as you travel towards Sarah's flat. Eric

6:46

the sort of the confidence trick is is

6:48

bothering you do. This just

6:51

too many the two things not adding up

6:53

and as you're driving in a you will

6:55

post the ocean Road moving through more sense

6:57

for an urban district of nor it's in

7:00

mind is is well versed in this kind

7:02

of thing where you're sort of trying to

7:04

work out the mess of it must signal

7:07

adding up for you if his confidence trick

7:09

is not going very well either as the

7:11

for the Stephanie since the a missing. Mel.

7:16

To Nemo. Melinda. Com

7:18

and are far more I think

7:20

those mountains of absence system coming

7:22

Linda down here now only and

7:24

was on under those moments of

7:26

absence he you think about the

7:28

weird guy in the tweet Easington

7:30

minimises been a weird going to

7:33

him that his nord old part

7:35

com a this solicitors. To

7:38

do made it worse in front of. The historical

7:40

buildings and he's one of those weird

7:42

guys like kind of. he likes to

7:45

some emergency thirties forties climate thirty two

7:47

inches in mans. oh really old fashioned

7:49

where the schools skyn him some out

7:52

monsieur. One thing that really sticks. new

7:54

modes go to frames and the more

7:56

you think about it just comes. Have

7:59

to go. I'm

8:02

assuming. He

8:06

what you did in two

8:08

golden disks and it seems.

8:13

He will hold it was. A

8:16

little. Research:

8:18

Your submission has been increased and

8:20

one assumes that. I

8:23

don't know if you're chatting to Eric

8:25

or not, let alone the way he

8:28

you remember feeling the thinness says Sarah's

8:30

arm. And I'm

8:32

still strong. makes you strong. And like there

8:34

was a definitely of the there was a

8:36

resistance to use. it was surprised as to

8:39

how strong she was in that second. But

8:43

also your hands slipped down because you're trying

8:45

not to be too hard. You try to

8:47

do it. Kindly. As well

8:49

as family. And. Which you know he did

8:51

well. it really well to do that but as

8:53

your hand went into has you felt the roughness

8:55

and the scar in her palm. Beach

9:00

is the same that if you to

9:02

help us on the right handed. Yes,

9:06

Dear. So so he was is

9:09

on your left hand teeth and have to

9:11

you you call her with your right hand

9:13

and her left hand was trading classic and

9:15

felt the scar and had left her. Who.

9:20

Raise you driving and you make sure

9:22

romans okay. And because she's been a

9:25

bit overexcited about stuff like broken glasses

9:27

and people shouting and then is called

9:29

as yeah face it. Is

9:32

you know this as as a dog. Is

9:36

right generally isn't enough Train them all

9:38

failed you know is is cloud going

9:40

lox people but he's is an aggressive

9:42

so it could be you know it

9:44

will have shaken up a bit of

9:46

you know I've gotten their next to

9:48

me on the passenger seat and. Police.

9:52

officer that that involves you and driving laws

9:54

as well as you don't know the i

9:56

thought well that you i'm from he starting

9:58

some direct assault I think I knew the

10:01

way to captain, but I'm going to ask.

10:03

Yeah, it gives you direction there. And on

10:06

the way, I think one of the things that's praying on your

10:08

mind is that you were struck

10:11

as well by how

10:13

Eric was asking about Bridget.

10:16

And Eric's words ring in your mind

10:19

where he said directly, you

10:22

know, what time does David get back? I mean, should we

10:24

go and talk to Bridget? Or maybe

10:26

I could call her. Yeah. And

10:29

that's when things started to go a bit weird, like at

10:31

the cafe. And you

10:35

always liked Bridget. There

10:37

was always a bit of a chemistry there. In all

10:39

truth, there's a bit of chemistry there between you. She

10:43

was really lovely at university. I mean, she's a

10:45

lovely woman, but I mean, you haven't seen her

10:47

since. But she

10:49

and David always had a

10:51

special bond. And

10:55

you know, it's no secret that they definitely

10:58

slept together around there. But David slept with

11:00

quite a few people. You're particularly aware. You

11:02

might even know a few people that he

11:05

slept with that the others don't. Because

11:08

you always had that sort of slight inside line to

11:10

his, you were one of

11:12

his, hey, Ray, you get things done. That's

11:15

true. Yeah. And you were

11:17

the one who sat in

11:20

the bar with him. He was saying, I

11:22

feel like we need to elevate some special

11:24

people. And you were the one who

11:26

said, why don't we use a magical number? And

11:31

how many did you suggest? Well,

11:33

it wasn't the 13, was it? How

11:38

drunk were you? I think

11:40

maybe I've gone back to that moment in

11:43

my memory a few times, especially now I'm

11:45

going through it because the pangs of guilt

11:47

over if he has become this sort of

11:50

quite monstrous figure and all

11:52

the damage that has sort of crept out like

11:54

a vine from that

11:56

moment. I realize I was under a spell

11:58

to a certain extent. I

12:01

can't remember. Was it just us? The

12:03

sort of... the

12:05

main... Was it just the two of you? Well

12:11

maybe that's what I suggested in a moment of

12:13

sort of selfishness and ego, perhaps. I did think

12:15

I could be the right hand man. Did you

12:17

say... was it your idea? Did you

12:19

say thirteen? I think I did. I

12:23

think I did. And I think you were

12:25

sort of debating about this until at one point you knew me

12:27

and you make a mistake driving. And... Yeah.

12:30

Oh fuck. Sorry. Sorry. We'll

12:33

be returning to that one. Yeah. So

12:36

you're there outside eighty-four. Sarah

12:40

says... Oh... Look,

12:42

guys, would you mind... It's a

12:44

bit of a mess inside. I wasn't really expecting

12:47

you to come back. I didn't really think that through. Would

12:49

you mind if I... You could

12:51

come in and just... I

12:56

think Sean would probably be in the front room but... Could

12:58

you just give me like one minute and I'll just

13:00

tidy it up. Yeah. Of

13:02

course. I'm saying that

13:04

Ray still got there first in the car and

13:07

Eric's pulled up just a few seconds afterwards. So

13:09

I think Eric and Alicia, you see her

13:11

getting... Sarah getting out. Maybe all of you

13:14

getting out? I don't know. Melinda,

13:16

do you think this is something that you would go with? Can

13:19

I give you a hand Sarah? Do you want an extra pair

13:21

of hands to... You know, you won't shock me.

13:25

Oh... Yeah,

13:27

alright. Yeah. Okay, I'll

13:29

come in with you. I suppose so, yeah. And...

13:32

I suppose so. Come on, come on here. And I think I'll

13:35

put my arm around her and... Help

13:37

her up from... Up to the front door. Mm. So

13:42

while you're going up there... Okay,

13:44

in which case I will give... Can I have a

13:46

spot hidden from... Alicia,

13:48

Ray and Eric. But I'm afraid to

13:50

say Melinda, you were engaged. So

13:53

I think that's with a penalty die for you, so... It's

13:56

a very smooth drive, Eric. Okay.

14:01

Is that a one? The

14:03

mileage on this thing... I

14:07

am completely distracted by

14:10

Alicia saying it's a very smooth drive and I have bumbled

14:12

a rod in 98 in my 35-spot hidden. I've

14:16

also failed at 93 on my

14:19

55 because I'm just so

14:21

interested in the car. Yeah. Thanks,

14:25

thanks. It's quite a new one.

14:28

I have it on higher purchase. I

14:31

would prefer to have bought it outright. I know it's not

14:33

good value, but whoa! Sorry.

14:36

You want to be careful when if you've

14:38

got it on higher purchase, you want to

14:41

make sure you don't get a ding. Well,

14:44

quite. I'm

14:46

a normally very careful driver. I

14:48

know, Eric. You're a very good

14:50

driver. Very conscientious. I've noticed that.

14:53

I don't think we even slipped above 20 there. I

14:56

mean, as much as I hate to

14:58

interrupt this most scintillating of conversations... No,

15:01

but... So two

15:03

fails, one extreme. Yeah,

15:05

I think because I've got ramen on his leash

15:08

and I'm sort of looking... Because it's a bit

15:10

of a rough area, I'm probably really scanning the

15:12

grass for any broken glass. Anything

15:14

like that, and sort of looking up at the buildings in

15:16

that protective sense. So I'm sort of hyped

15:18

at both ways. It's

15:21

a useful moment. Mine was a fumble, so presumably

15:23

I have seen something. Oh, sorry, I misheard that.

15:25

Yeah, yeah, yeah. No, that's perfect. That is perfect.

15:27

Oh, yeah. And just to check with

15:30

Melinda Moody... Extreme failure.

15:33

With her... Oh, an extreme

15:35

failure as a fumble. Catastrophic. A

15:37

fumble. Again,

15:39

a night... also a 98. Oh,

15:42

wow, two fumbles. You've managed to get the

15:44

heater to the exact temperature of human blood.

15:47

It's very comfortable. It's your second fumble.

15:51

It's the second fumble on Spot Hidden,

15:53

Jeanine. Wow, ridiculous. It's quite remarkable.

15:55

It's all right, thank you. No,

15:58

I mean, it's just really unlucky. This

16:00

is amazing. This is the first room of the session.

16:02

It's really good. So Eric,

16:05

with your fumble, I'm gonna go with you first. It's

16:10

sort of four blocks, four block

16:12

houses, ground floor, first floor, square

16:15

roof, nothing, so flat roof. Probably

16:19

built in the late 70s. Really

16:24

ugly buildings. And

16:27

just on the right hand side, four houses,

16:29

sorry, three houses down, you're in the second

16:32

house alone. So

16:35

three houses down to your right. In

16:37

the alleyway, you see a hooded figure

16:39

standing and his pale face ducks

16:42

back. But you know that move.

16:46

That's a dealer. Yeah.

16:51

Do you do anything or same thing in that moment or? Yeah,

16:55

as we pull up, and

16:58

I catch a glimpse of that, I

17:02

sort of park up, say, oh,

17:04

it looks like this is it. There

17:08

appears to be just sort of standing outside

17:10

and I open the car door and say,

17:12

oh, we're not going in. Are we

17:15

waiting for something? I think you say that, and

17:17

obviously it makes absolutely no sense because the two

17:19

of them are walking away and they just ignore

17:21

you completely. And I think

17:23

you are totally distracted and it doesn't make any

17:25

sense, but you're outside of the car. But Ray

17:27

is not going in, right? No, Ray just was

17:30

just getting out. Oh, I see. Okay, so

17:32

we're not that far behind. I wasn't standing

17:34

still. I don't know. No, you were pretty

17:36

close. Fine. Yeah, but you

17:39

got out of the car. I just wanted to do that. Alicia, have you

17:41

got out of the car as well? Yes.

17:44

Yes, I slowly get out of the

17:46

car. Yeah, you're on the roadside, obviously.

17:48

So you're a little bit further away from the house. Ray

17:51

and Eric are on the other side on

17:53

the pavement. I think Melinda is

17:55

already halfway up the path. You

17:58

see this figure leaning round. Her

18:01

Melinda media such teenager the kids

18:03

like of for his wearing a

18:05

hoodie any source snarls a bit

18:07

and a whoops up of the

18:09

anyway. And you feel

18:11

very exposed to in that moment.

18:14

Wasn't even thinking about this guy is

18:16

weird guy was watching them and of

18:18

this of weird figure in it anyway

18:21

and as a you worked really hard

18:23

to find some in a com aside

18:25

from the bottom of bottle and and

18:28

down on your mind out and. And

18:31

losing a marriage so. This

18:35

is this is a real bad psychological

18:37

my M P D U. D

18:40

Do you have the heart on the. Syria

18:44

is the only person was in your

18:46

bag. Ah, it's in my back but

18:48

I've got my back off my shoulders

18:50

and. When you were

18:53

fired. Stealing the hog

18:55

and. They else for it.

18:57

Back to me he has this setup

18:59

than set a new to flight. But

19:03

I think huge very clearly remember in

19:05

that moment. When.

19:09

One of your friends previous

19:11

President Spurs use a friend.

19:14

Mean if he was a little bit of a soft

19:16

spot for me or stay a. Student

19:19

Steve that researchers a mad because

19:22

across he was stuff and. Yeah,

19:25

what about a d Stuff

19:27

are losing it. Suspects and

19:29

Dusty: Yeah, sixty had asked

19:31

you for coffee. He lost

19:33

his coffee. And

19:35

you'd have that conversation with

19:37

him. And then but

19:40

moving from that consistent which we will go back to.

19:42

This. I'm I'm from the conversation where he

19:44

risked his hand across the table and said.

19:48

I just don't want you to leave. And

19:50

into not like this If you if you

19:53

give me the heart I will take it

19:55

back. and

19:57

we can make the school with And

20:01

what was it you said? I

20:04

said, I don't have it Steve. I

20:09

don't have it, it's gone. I haven't got a heart to give you.

20:15

And then you were at the front door and she

20:17

turns to you and says, look I'm serious,

20:20

do you mind just checking in

20:22

with Sean while I go in? Please

20:25

don't come into my bedroom, it's just such a mess.

20:28

Alright, yeah, I'll stay in the front room

20:30

and sit with Sean, that's alright. Thanks, thanks,

20:33

I knew you'd understand. Just

20:36

make sure the others understand. No, it's

20:38

alright, don't worry. And

20:41

she fumbles around with her keys and she looks,

20:43

you think you maybe see

20:45

her glancing up at the alleyway as well, but

20:48

there's no sign of that guy anymore.

20:52

And she's opening the front door. Ray,

20:57

you were a

20:59

good few metres down the

21:01

path, but you've

21:03

let them have five,

21:06

ten yards. Space. And

21:08

you see this drug-dealing kid on the

21:10

corner and he ducks away

21:12

like he's guilty as fuck. You

21:15

rolled a one, right? Yeah. And

21:18

as you're looking, you have the

21:20

reaction. Yeah, I mean,

21:23

I think he's relatively liberal-minded, he

21:25

knows it's a pretty downtrodden area, he's not

21:28

going to be, he's not going to sort

21:30

to immediately graph anyone else. You

21:32

look down and have you got some multiple

21:36

companion ramen? I've got some bags.

21:38

I've got ramen on the lead. You

21:42

see it in a sequence of astonishing

21:44

connections. There's a slight dampness

21:46

to the grass and a glimpse

21:48

and you see the heroin needle and you

21:50

see the dog going towards it and you pull the dog back and

21:53

you look up and you realise that is a drug

21:55

dealer, that is a heroin needle and

21:59

it almost certainly is. is to do with the fact

22:01

that maybe he was waiting for Sarah.

22:05

Yeah, because I saw the tracks,

22:07

right? No, no, but you just

22:09

get this strong. Oh, okay, but

22:11

I make the connection anyway. Strong

22:13

connection. Yeah. Like she's lost loads

22:16

of weight, she's got this tired look. Which

22:18

of us was it who saw the track, Mark? He was

22:20

me. Alicia. Yeah, of course.

22:22

Alicia. Which I think she's implied

22:24

to you, Eric, strongly in

22:26

the car. There might be.

22:29

Yeah. I'm like, she did say, Sarah said, I've

22:31

been having a tough time with it. On

22:33

the heroine. She's not been honest, but

22:36

it's pretty obvious that, obviously,

22:38

she also importantly psychically said that

22:41

she understood your cancer, Eric. And

22:44

of course, Alicia, you had been talking to Alicia

22:46

about that in the car in slightly more detail,

22:48

but the other two of you do know that

22:51

she considers it's been a psychic gift that

22:53

she's been able to work out that Eric's

22:55

got stomach cancer. Yeah. We

22:58

strove Eric into the bathroom. Yeah,

23:00

yeah. In that moment, I think, Raman's

23:03

done his business. So I've got the bags out, I've

23:05

picked that up. And as I'm tying it, I look

23:07

down and I'm scanning around, I see the needle. And

23:09

I think I yank him away on

23:11

the lead, rougher than I usually

23:14

would, just out of necessity. And

23:16

maybe he sort of whimpers and I pick him up.

23:19

I'm glancing down where I saw the guy head. I

23:22

put him in the papoose immediately, I'm not fucking

23:24

about. And

23:26

suddenly I'm quite angry because, you

23:29

know, it's not just a little weed dealer, this

23:32

serious shit. And I realize the connection, he

23:34

must have been waiting for her to come

23:36

home. And he's leaving,

23:38

they're leaving needles about, and I'm not sure who

23:40

I'm more angry at, her or him. Because

23:43

I don't know who's left that there, but it's either

23:46

way, I'm not a vigilante. I'm

23:48

not going to chase after this guy.

23:50

But it's certainly, I think

23:52

back to the cafe conversation. And I

23:54

know the others have discussed this con

23:57

artist, this confidence trick angle. And I

23:59

was trying. to ignore it. But

24:01

there was something she said in

24:03

the cafe that caught my eye, caught my attention

24:05

rather, which was when she was sort of blurting

24:07

out all sorts of stuff in this panic of

24:09

whether to leave or not. And she said, really

24:12

anything to get you all on board or

24:15

something to that effect. And it suddenly seemed

24:17

quite disingenuous. It seemed like she'd maybe slipped

24:19

up. And she also

24:21

reacted very badly when Eric tried to

24:23

give us some financial advice out of

24:26

kindness, almost like the lady

24:28

that protested much. And it was

24:30

pretty good thinking. Yeah,

24:33

and it was. And it was clearly from a good place.

24:35

And her reaction being that vitriolic mixed

24:38

with the fact that now I realize she's probably on

24:40

heroin, she's probably down in her luck. She

24:42

doesn't want to admit that. It's

24:44

all lining up. And maybe this the end game

24:46

here is she needs money. But

24:49

she's too ashamed to sort of come out and

24:51

say it. So she's trying to trick

24:53

us into giving it somehow. Maybe she's made all this up

24:55

about David. Maybe I don't know, but

24:57

my mind's just filled with this. And

24:59

I'm worried about her because, you know, it's a

25:01

serious diction, but I'm just mulling all that over,

25:03

I think. And suddenly I'm. And I think it's

25:06

fair to say that you also with the extreme

25:08

zero one, you'd see Alicia.

25:10

Yeah. Are you approaching the path of the issue

25:12

or are you sort of hanging with Eric? I.

25:15

Oh, because Eric is

25:17

stuck still staring off at

25:21

an alleyway right now. I mean, if I notice

25:23

you sort of said he said something to them,

25:25

but it doesn't really make any sense. I noticed

25:27

that I probably talked to him over the roof

25:29

of the car and say, is everything all right,

25:31

Eric? Oh, yeah, of course. I was just I

25:33

was just thinking maybe, you know, it

25:35

looks like they're taking their time

25:37

going in. Maybe I should just do

25:40

a circuit of the block and see

25:42

if, you know, size the

25:44

place up, see if she's any type

25:46

of anyone hanging around watching

25:48

the place. You know, do you mean in the

25:50

car? Then I thought on foot maybe

25:54

David might be hanging around, keeping

25:56

an eye on the place. I should I should come with

25:58

you. You shouldn't go alone. No, no, no, absolutely I

26:00

should go on, I should go on my own. I'll

26:02

come with you, that's a good idea. No, no, no,

26:04

no, because I think you

26:07

could say that I had another funny turn

26:09

like in the cafe and

26:11

I just needed a bit of air

26:13

and actually I know you can look

26:15

after yourself of course Alicia but I just wonder whether it

26:20

might be safer in case, you know, this isn't

26:22

a very, I don't know how well you remember

26:24

this bit of Norwich but I'll catch on this.

26:27

That's what I'm saying Eric, you shouldn't be going around

26:30

on your own. Oh no, no, no, look

26:32

Alicia, I do know how to look after

26:34

myself, I know. You've got cancer Eric. Could

26:37

you give me a power roll Eric? I

26:39

think just shut them up. To fail,

26:42

not quite a fumble

26:44

but it's a fail. Yeah,

26:47

you just, you need to follow him right now. That's

26:50

a physical compulsion to follow that guy. Listen,

26:55

you do what you want to do Alicia,

26:57

you do what you want to do but

26:59

I'm going to go. He starts walking away

27:01

whilst talking. I follow him. Trotting to keep

27:03

up with him. So Alicia starts following, she's

27:05

trotting. I think I'll shout over my shoulder

27:07

if I see them leave, I just say

27:09

careful on the grass, there's needles. Well

27:12

Ray, I think you watched this, you watched

27:14

this, you're saying careful but also you were

27:16

just watching this madness. They're like, what are

27:18

they doing? He's backing away, she's trotting after

27:20

him, they're not even trying to come up

27:22

the path now. You look back

27:24

at the last bastion of sanity. Oh Christ.

27:27

As Melinda, could you give me a power

27:29

roll as well? Wow,

27:36

that is a four on a sixty. Hello.

27:40

Right, well in which case I'll give you

27:42

a choice. So

27:44

obviously this woman's lying to you right? But

27:46

there's something going on. The last time

27:48

you thought about the heart without being

27:50

prompted, some bad things happened to you.

27:56

You've never made that connection until now. There's

28:00

either a story here, which you could

28:02

write, or

28:05

maybe there's something hidden in this house. Okay.

28:10

You choose which one of those two you're gonna go for, but boy oh

28:12

boy, you're gonna go for it. Something

28:15

hidden in this house. Right. And

28:19

the door is open for you, as she sort of sneaks

28:21

in, and she goes straight into the front room. Of course.

28:24

There is a nine

28:26

year old boy on the

28:29

sofa, playing a computer game. Joystick

28:32

and his hands, and there's quite a

28:35

large plasma screen in the corner. It's

28:37

one of those small houses where there's

28:39

just nowhere to, and the shoes

28:41

scattered along the side. And that's it. You

28:44

see girl's shoes, sort of 16 year old, 15, 16,

28:46

17 year old, quite

28:49

fashionable trainers. And then you see some women's shoes

28:51

scattered. That'd be Angelica. That's one of the shoes.

28:53

And then you see the boys shoes just sort

28:55

of kicked off. The place is

28:57

covered in signs of snacking. Kids

29:00

obviously been snacking. He

29:03

barely breaks his stride,

29:06

looks up at you, kind of goes, oh,

29:08

new person, looks back at the screen, has

29:11

an explosion of riot, of pixels,

29:14

annihilates something's brain.

29:16

Watch out, Jeannie. He's nine. He's probably

29:19

a cunt. Almost

29:22

certainly. Of all the ages. Of

29:25

all the fucking ages. All I

29:27

gotta say is, I'm changing nothing.

29:31

Usually Joseph changes shit,

29:33

Tom. He's written as a nun.

29:36

He's written as a nun. What are the chances?

29:38

Good. Fricker, Fricker wrote it,

29:41

got me. There

29:43

was a fireplace on the right hand side. There's a door

29:45

dead ahead, and she heads straight for

29:47

it. And she says, Sean, this is my friend.

29:49

This is my friend, Melinda. You've been nice to

29:51

her, okay? She's gonna stay with you just for

29:53

a moment. And he just goes,

29:56

sure, Mum, doesn't even look at her. Okay.

29:59

She kind of... cast a sort of her

30:02

face back as if kids but

30:05

you barely buy it and there's something about the

30:07

speed with which she's moving you

30:13

know if you haven't had a fumble outside I'd let

30:15

you have a psychology role but you're just a bit

30:17

too distracted anyway you are

30:19

inside the door closes and you're in there

30:22

with Sean yeah cut back

30:24

to Ray who is on

30:26

the path and overheard a little

30:29

just whispered of like would you tell her would you tell

30:31

them yeah yeah and

30:33

obviously she didn't she just went straight in she

30:36

just got straight in with them so but I think

30:38

you overheard enough to know the

30:40

whole picture yeah and

30:44

I feel like but also these two

30:46

they're off the other two appear

30:48

to be on some kind of weird mission on the alleyway I

30:51

mean they're adults on you obviously you saw you

30:53

saw the guy you know I think I do shout

30:55

over quite like maybe louder

30:57

than I need to careful there's needles

31:00

on the grass you

31:03

know in a way sort of admonishing

31:05

any drug dealers that might be nearby

31:07

but also trying to warn them a

31:10

curse under my breath the

31:14

sound bounces off the pebble dash of the

31:16

houses of the identical houses offices the

31:20

sky is quite gray ever since ever since

31:22

that conversation in the car park yeah

31:26

it was quite bright earlier today forecast

31:28

supposed to be nice for the weekend yeah

31:31

how far away are they could I jog over and

31:33

catch up with them yeah you definitely could because I've

31:35

got one eye on the door which I assume is

31:37

still sort of half well not half open but I'm

31:40

assuming they're just give me a minute I mean she

31:42

said yeah so there was no sound

31:44

of locking but it could be that I'm like Melinda's in

31:46

there so you've got a woman on the inside and I

31:48

know Melinda can take care of herself oh

31:51

yeah definitely so I think I do

31:53

jog off them just because in that last moment

31:55

I think maybe they didn't see that

31:57

guy and he

32:00

could be danger I mean if he's a heroin dealer I

32:03

mean who I don't want them getting mugged so

32:05

I checked Raman's in his produce and I say

32:07

guys wait wait a second and

32:10

I sort of jog after them now

32:12

Alicia I feel like there was a fumble by

32:14

you so I feel like you do have the

32:16

agency to catch up to Eric if you want

32:18

to run up to him but how fast are

32:21

you going I'm I'm yeah I'm

32:23

keeping pace of him okay

32:26

so he's just like a little bit ahead of you

32:28

but you're not sort of gonna wait up next no

32:30

no no yeah in which case I'm gonna say that

32:32

the three of you essentially are heading towards the alleyway

32:35

and Ray if you want to catch up you're gonna

32:37

have to properly move Ray is only sick yeah I

32:40

think I will okay I mean

32:42

no no harm I'm afraid I'm

32:45

afraid to say Eric you've got

32:47

company three

32:49

the three others not including Melinda

32:51

but including Raman yeah

32:54

are with you at the alleyway entrance

32:56

and if I get a chance I do just

32:58

whisper when I catch up just go listen I

33:01

saw a bloke oh do you look

33:03

like it I think he's probably a dealer or something

33:05

I just wanted to give you a heads-up no because

33:07

I don't want you getting mugged or anything Jesus oh

33:11

oh shit a dealer do

33:15

you do it like that I might have to

33:17

do a cycle of school can you leave you

33:19

in a way do a psychology role I do

33:21

I do actually I know

33:24

fucking deal Eric could you give me an acting role

33:26

you got 1% acting like nothing

33:33

to the base no

33:36

almost a fumble no 94 this

33:38

is going well annoyingly I hold

33:41

15 on my 10 psychology the

33:43

base I

33:46

don't think it's worth having a look on some other overall

33:49

the 43 my psychology is not

33:51

gonna be amazingly amazingly he got away with

33:54

it he's acting he's acting a

33:56

bit really but yeah also

33:58

I think that's the moment Ray where

34:00

you sort of look around and this

34:03

is quite squalid and you see the alleyway behind I think

34:05

all three of you see this obviously there's

34:07

bin liners and a couple

34:10

of classic old black

34:13

really nondescript bins not even the kind of classy

34:15

ones that you put on but not even the

34:18

modern ones that you open the thing and put

34:20

it's just like old circular almost

34:23

like they're made of old tires,

34:25

dustbin and they sort of

34:27

scattered down and then you get a bit of

34:29

vegetation at the other end and definitely a fence

34:31

that's overgrown with stuff and it gets a bit

34:33

blurry at the far end and

34:35

the absolute reality of it, Ray,

34:38

gives you

34:41

the opportunity to increase your sanity because

34:43

you rolled a 1. Oh. I am

34:45

in the real. So could

34:48

you give me a santi roll? Yeah

34:51

lovely, lovely. I got a 13

34:53

of my 60 so no but I'm in the real. I

34:58

think I get that. You're very much in the real. I

35:01

know I'm lucid which is a

35:03

good thing. I think I interpret my failure on psychology

35:05

as Eric's

35:08

awkwardness there to Ray. I

35:10

interpret as Eric's class consciousness and so I

35:12

turn to Ray and say just

35:15

because it's a young man in a hoodie doesn't

35:17

mean it's a drug dealer, Ray. It

35:19

could just be a local teenager. They

35:21

probably don't have much to do around here. Oh

35:23

there's probably no youth club. I know Alicia. I'm

35:26

not one to judge. No I'm just saying but

35:28

there's needles all over the grass around there. Oh

35:30

well and he looked very very much on edge.

35:32

He looked like it. I'll be honest with you

35:35

too. I think he was waiting. I

35:37

think he was waiting for Sarah. Well do

35:39

you want me to go and have a word with him? I'll ask

35:41

him you know. We'll just find out. I don't think that's a good

35:43

idea. I mean he might have a knife or something. Wait a minute.

35:46

If he is a drug dealer or a

35:48

user. Yeah. I think he might be the...

35:55

Did you just have a moment? I just had a moment. I

35:57

just had a moment. I Just had

35:59

a moment. Abolish this big like swampy

36:01

for sound like to be a case

36:03

as as specific as a normal for

36:06

know some of them I'm says nothing

36:08

like my hand furnace. One more know

36:10

they're lying eyes it has taken and

36:12

thirty. Am

36:14

Since and. Let.

36:17

To be fair, Ace

36:19

A Season. If

36:22

he's a drug dealer or use us. Because

36:25

it's not and the rare if you're

36:27

saying he looks anx and nervous he

36:29

might have been a user. He might

36:31

be fairer, he's dealing and nothing is

36:33

impossible says Labour Party Conference and Lisa

36:35

and I know this stuff as well.

36:37

I for what I'm saying is he

36:39

might be good to talk to because

36:41

he probably hangs around. He might have

36:43

some the he might know who the

36:46

man he is. He comes round and

36:48

he says in out beat em if

36:50

if he does come round what's his

36:52

face The man who brought some skill

36:54

has. David Bowie David David started not agree

36:56

Elisa is all sorts of things with the

36:58

phone out for this guards think you should

37:00

let me go on Speed Sigma article think

37:03

we are together is very dangerous. He isn't

37:05

a visa harden drug dealer as and rise

37:07

rather on son. why with confronting the spurs

37:09

were not go There is a harbinger of

37:12

the liberal. Know we're not confronting him for

37:14

where we salute be. So that are we

37:16

buying drugs was a fuck your thoughts it

37:18

now. Support now Francisco Bi Se Success Why

37:20

don't we pretend to buy drugs? Why don't

37:23

we do that? Because then all. what? so

37:25

we do a lot of into his mental.

37:28

If we confront him he'll get defensive

37:30

far if we go in and size

37:32

hello we're not from the police. We.

37:35

Got a friend who's in trouble. On

37:38

I'm sure you've got phones in simple

37:40

terms as fantastical the and ah at

37:42

the next in audio don't think? probably

37:44

I should dumb Isis has a on

37:46

that we shouldn't regarding togetherness know was

37:48

going to blink the three of us

37:50

against by sunshine of what some some

37:52

arts class a drugs of whatever broad

37:54

city south I'm but if I go

37:56

on my own I'd I'm happy to

37:58

negotiate are I often have. negotiations

38:00

on the antique fairs listen Eric if you

38:02

want to go chat to him I've

38:04

got to be honest you're both acting

38:06

like fucking nutcases but if you really

38:09

want to go and talk to a

38:11

drug dealer for some reason I'm sweat

38:13

pouring down my face I'm

38:15

not gonna stop you but I'm not going down

38:17

there cases keep your phones on yeah Eric could

38:20

you give me a spot hidden? I'm not gonna

38:22

put poos. The

38:24

other two you could give me a spot hidden with a penalty

38:26

die fuck it you

38:28

know it's got its own length I've

38:32

failed but oh that's a 96

38:35

feel like I am looking for this guy so I'm

38:37

tempted to push it yeah yeah yeah I definitely love

38:40

that with you sorry Josie was that with a penalty

38:42

die? With a penalty die I'm afraid yes 96

38:45

for me though. No it's good I still succeeded 52

38:47

on my 55 spot hidden right? yeah

38:50

spot hidden. Fucking yes finally

38:54

finally my life's turning around with a penalty

38:56

die nice 96 was that

38:58

a fumble? and what has Dan and

39:00

got a fumble? well my

39:03

spot hidden is 45 and he rolled a 96 is a

39:05

fender 96 yeah okay oh it is just

39:10

yeah I think I am gonna push it I

39:13

think I think

39:15

I push it by just saying look what's the

39:17

point hanging around here I'll just go and have a look and I

39:21

just sort of dart a little

39:23

way down the alleyway I kind

39:25

of push past them quite rudely

39:27

easy oh well

39:30

that's fun isn't it

39:33

push roll I rolled a

39:35

hundred oh fucking

39:38

doodle doo. What is going

39:40

on? Very high rolling guys.

39:42

That's the full fucking gamma

39:45

of disasters. So well you gave me the gift

39:47

so if it's all right with you as you

39:49

step past you feel this intense pain in your

39:51

foot and you and you lean on Ray and

39:54

you push Ray over.

39:57

Fucking hell now what did you

39:59

do with the needle Ray? could you hurt me off?

40:01

No. Oh right. I

40:03

didn't pick it up because I was a Brahmin. I

40:05

kept an eye on that area of... You

40:08

can pick up that needle. Yeah.

40:11

So, Ray, you

40:13

get pushed over. Oh fuck,

40:15

sorry. Alicia also gets pushed back.

40:18

And as Alicia gets pushed back, weirdly that just gives

40:20

her just a tiny extra little angle down at the

40:22

alleyway. And you see this face. It's

40:25

got long dark hair. Pale face. Long dark hair and

40:27

it looks round the alleyway. It looks quite

40:29

young. I mean, like a teenager. You realise

40:31

now. Wait a minute. And you first saw it. And

40:33

then it just disappears down the alleyway. It's a goth.

40:36

Does it look like the face I saw

40:38

in the cinema bar? Does

40:40

it? Long dark hair. I'm taking your

40:43

real face. Could he have been wearing...

40:45

He would... That's beauty. I

40:47

think the hair on your arms pricks up

40:49

and that's why you don't notice as Eric

40:53

pulls away and he's got this

40:55

needle stuck through his shoe. And

40:57

he holds his foot up and he goes... Eric's

41:00

got this needle on his shoe. Ray's

41:02

gone straight down on his coccyx.

41:05

And you just hit something hard. Ah!

41:07

Oh, fuck! And it really

41:10

hurts. And

41:13

this sort of Keystone Cops classic

41:16

from the Apocryphal players in slow motion

41:18

occurs where you've hurt your

41:20

back for a hit point of damage, Ray West.

41:23

Yeah. Yeah. It makes sense.

41:26

I was protecting Raman so I had to go

41:28

straight down on the coccyx. Eric Wilson, a freakish

41:30

hypodermic needle is in your foot. Is it in

41:32

the foot? Yeah. It's not

41:34

just in his shoe. Oh no! Oh no!

41:36

That was the intense pain. It sort

41:38

of slipped in through the nice

41:41

Italian leather somehow. Somehow. Truly

41:43

impossibly. Oh shit! And

41:47

Alicia, you've seen this figure and we'll cut back to...

41:50

Chomp chomp chomp chomp chomp chomp chomp chomp chomp chomp

41:52

chomp chomp chomp chomp chomp chomp chomp He's got very

41:54

short hair at the sides. done

42:00

something with gel in the top but it's a bit of a

42:02

mess. Possibly a

42:04

little bit overweight you'd say, maybe too many

42:06

snacks running off the unit, I mean it's

42:08

430. Well I know that, yeah I know

42:10

that. What? I'm

42:14

gonna have to be on her. You're right Sean,

42:16

what are you playing? Call of

42:19

duty. Oh no. Like

42:22

you're interested? She doesn't look at you.

42:27

How's your evening, mate? You're making

42:29

that insectoid noise. That's weird as

42:31

hell, isn't it? You've been

42:33

playing this since you got off school. Okay

42:36

now he does look at you. Are

42:39

you a friend of my mum's? No, yeah. We went

42:41

to uni the other day. Yeah,

42:45

I knew your mum was just about 20. Mmm,

42:47

okay. You see him

42:49

studying you and if you... I mean,

42:52

you're pretty sure he's probably trying a psychology test

42:54

on you. Mmm. And

42:57

his face creases up and goes, no you

43:00

weren't. Yeah I was. No

43:03

you weren't. He was talking about ox sock, to

43:06

you. His whole focus was going back but that

43:08

way in which children do, the

43:10

weirdness of what you said draws to his... It's

43:13

not that he recognises it but you've drawn his attention.

43:16

What's an ox sock? Ox

43:20

sock? Mmm, well... What

43:23

do you know about magic, Sean? I'm not

43:25

talking about rabbits out of hats, I'm not

43:27

talking about getting handkerchiefs

43:29

out of your pocket, rainbow doves flying.

43:31

He rolls his eyes, looks back at

43:33

things and says, you're a friend of

43:36

David's. Yeah, yeah

43:38

I am, yeah. Do you see much of

43:40

him? Sometimes.

43:44

Yeah, have you seen him this week? Have you

43:46

seen him today? No, no, no,

43:48

no, no, no, no, no! Argh!

43:52

Are you alright? Sorry, yeah,

43:54

I just missed that loot case.

43:57

Oh sorry, didn't mean to... to

44:00

make you miss it. Now

44:02

we're talking about David, have you seen him this

44:04

week? What

44:07

are you a journalist? I

44:10

am as a massive fact but this isn't for a

44:12

story, I'm just interested. David was the

44:14

mate of mine from Mac and the Day as well. I'm

44:18

catching up with my friends, I just wanted his

44:20

face to be drowned. He

44:22

pauses the game. That's

44:24

a breakthrough. And looks at

44:26

you and goes, going to my room. And

44:31

goes out through the door. He

44:36

turns, I think, you

44:38

know, your journalistic senses, he

44:41

turns right immediately out the door.

44:46

And you hear someone running

44:48

down the stairs. He's

44:52

going upstairs, you realise. And

44:54

you're pretty sure the person running is Sarah. So

44:59

they're crossing on the stairs. By the sound

45:01

of it. Yeah. You're right, are you all right, darling? Go

45:04

to my room. Are you not enjoying your game? She

45:07

stops on the stairs, you can hear all this, the door's open. He

45:10

goes, I don't care. You hear

45:12

a door slam. And

45:17

you hear her going back up the stairs

45:19

for a few brief moments. As

45:23

if she might be stopping on the stairs. And

45:26

then says, what do you want for dinner?

45:29

Nothing. No

45:31

reply. Are you going

45:33

to do anything? Or are you just going to wait

45:36

there? Yeah, I'm

45:40

going to have a look around the room quickly. If

45:43

there's a bookcase, I'll scan it. If there's stuff

45:45

on the table. Yeah, you give me

45:48

a... You

45:52

can either do a spot hidden or you could do a psychology. Oh.

45:56

Spot hidden would be you sort of leaping in

45:58

and out. and then just

46:00

searching and just like going. I'm

46:06

gonna be spot-heading because I think that's more, a

46:09

small journalistic isn't it? Where psychology would be like

46:11

sort of taking stock and kind of being like

46:13

a detective and like, you know. So

46:15

like, hmm, what do I see in this room? What do

46:17

I really see? Your choice. Psychology.

46:23

22 on a 30. Oh, my

46:25

ass. Horsting. No

46:28

pictures on the walls. Only thing

46:30

of value in the room is the TV. There's

46:33

a rug down, that's it for

46:35

decoration. Okay. Fireplace, you can see some

46:38

dust around some things that could have

46:40

once been there that have all gone.

46:45

There's a cardboard box, which is

46:47

unopened. Looks

46:49

like a moving cardboard box, which is next

46:51

to the three-seater sofa that the

46:53

kid was lying on. There's a chair as

46:56

well, and the curtains are drawn. Cool.

47:01

You see a school

47:03

bag over by the corner

47:05

by the shoes that

47:07

you missed on entry. Just

47:09

a little fetch on. Mm-hmm. And

47:13

then there's some post tucked behind it. Yeah,

47:17

I'm gonna go for the post, the bag and the post,

47:19

please. So you do a

47:21

kind of rifling search through that as

47:24

you hear her coming downstairs. The thing

47:27

that you see is bill payments. Unopened.

47:31

Red ink on the envelopes. Some

47:34

red ink. Yeah, okay. In the school

47:36

bag, you see a warning notice regarding

47:39

attendance. Oh, shit.

47:44

Oh, depressing, depressing, depressing, depressing. Okay,

47:46

got it. Cool,

47:48

and then push it all back again, quickly. And

47:50

just in time as the door opens and Sarah

47:52

comes in and her eyes are so bright. And

47:55

she goes, oh, thanks, thanks. I feel a bit

47:57

better that I've cleared up a bit now. Don't

47:59

you wanna? Do you want to come through? I think

48:01

the kitchen's okay. I'll meet you at Brew if you like. Okay,

48:04

yeah. A

48:07

Brew of what? A witch's brew? Possibly

48:11

not. Iron mutant leg of

48:13

toad. Iron brew. Iron

48:16

brew. Iron

48:18

brew and vodka. Jelly shots. Let's go. Yeah,

48:23

great. Couple would be great. Let's go through. I'm

48:25

sorry about Sean. I didn't mean to scare him off

48:27

his game. I think he's just, you know, grown-ups. Oh,

48:29

kids. Kids. They're just so difficult, aren't they? Yeah. He's

48:32

lovely, though. And you go through to

48:34

the kitchen, as you say. He's lovely, though. Which

48:37

we cut back to the alleyway. I'm running

48:39

after the man I saw. Yeah. While

48:43

there's all this disarray, I have to

48:45

know if he's the man from the cinema. Yeah.

48:47

So, I sprint down the

48:49

gully. Yeah. Uh,

48:52

good. Well, in which case? Probably careening off the fences

48:54

as I go. It's, uh, well, so this is walls

48:56

all the way up. These are two houses on the

48:58

side. Yeah, lovely. And then, so, as you're going through,

49:00

you haven't to negotiate a few. So, if you're sprinting...

49:02

Knocking pebble back. I am going to

49:05

ask for a... Acrobatics.

49:08

I'm going to ask for a

49:10

dexterity. Just

49:13

on the off chance, since everyone else is rolling 100. Let's

49:17

see. Let

49:19

us say... Who? No,

49:21

no. Who is you? Next step. You're

49:24

hurt. It's so unfair. It

49:26

rained at that moment. Brilliant

49:28

observation is what the wood is. Okay.

49:31

It's going a bit wrong, um,

49:34

so I'm going to push the roll. Oh,

49:36

my goodness. Okay. I'm excited. Here we go.

49:39

I feel my ankles sort of start to

49:41

roll, and I think, no,

49:43

no. No, no. No, no. So, I

49:45

steady myself on a bin, but in so

49:47

doing... Throw the bin out of the

49:49

way. I like it. Keep sprinting as

49:51

hard as I can. Almost using it to propel

49:54

yourself forward. Exactly. I don't

49:56

have a full-on... Yeah. Yeah.

49:58

Beautiful like a good... in full

50:00

flight. Fantastic. That's

50:03

an eight, that's an extreme success. Oh

50:05

perfect. Eight-legged. You pick the right bin,

50:07

there's something really weighty in it, it

50:09

really holds and you sort of push

50:11

off. Chops up kids. Body. Fox. Fox,

50:14

body, spiled up. And you really, you

50:16

sprint to the end and you see

50:18

this, you see this figure moving

50:21

much less quickly. I mean it's really

50:23

underestimated, he's really underestimated you. He's

50:26

sort of loafing, jogging along.

50:28

He might be 16 maybe,

50:33

maybe a little bit older, he's

50:35

skinny and he sort of looks

50:38

around in horror. It's just about

50:40

distance, you just can't quite make out

50:42

the facial features. Very pale, sharp-nosed, dark

50:45

eyes, a pretty long dark hair,

50:47

this hood up. It's got

50:49

quite dark clothes. There's a kind of, some

50:51

kind of logo on his t-shirt, some kind

50:54

of, I don't know, these kids

50:56

today they all have sort of weird icons.

50:59

It looks a bit like tentacles maybe coming down

51:01

out of clouds or something, you're

51:03

not sure. Or maybe someone

51:06

vomiting, or maybe a tongue coming

51:08

out of a mouth, you're not sure. Anyway,

51:12

he turns and runs and then ducks

51:15

into the house, the third house on the

51:17

left. Excuse me, I'm

51:19

not from the police. Rings

51:21

off the pebble dash. And

51:24

the other two of you hear this as you're

51:26

getting up. Ray

51:28

you can see there's this hyperdemic needle with

51:30

a broken off end. Oh,

51:34

right. Sticking out of

51:36

his foot. Stay

51:41

still. Get it out, get it

51:43

out. Yeah, give me two

51:45

seconds. Calm down, run. It's all right, it's

51:47

all right. Just hold still, hold your foot

51:50

up. Is

51:52

it gonna be like a... I do, kind of lean against

51:54

the wall and hold my foot up. That's

51:56

the cancerous asepsis. I take another... doggy

52:00

back out of my hand and sort of wrap it

52:02

in my hand in the doggy back as if it's

52:04

a surgical glove and I sort of... Nice and slippy

52:06

though. Wanna grab... But yeah, yeah. Yeah,

52:08

but I don't want to grab the needle end

52:10

obviously. Is it pointing which direction is

52:12

it going through the... So it's sort of... It's

52:15

gone in through the leather somehow. It's just

52:17

like a tiny break in the leather there.

52:19

Yeah, in the side of my shoe basically.

52:21

Yeah, in the side of the shoes. Freakish.

52:24

It's really freakish. Yeah. Right, hold still.

52:26

I want to try and... Pull

52:29

it out. You don't

52:31

have to run. Is that first aid or is

52:33

it just... Okay. I

52:35

mean it's... Yeah, I pull it out of the break and I chuck it

52:37

to the side. Oh, fuck these

52:39

are great sim loafers. Yeah, there's a nerve-wracking

52:41

moment and you see just this that... And

52:45

you see just this that... You know the

52:47

point where the toes of the foot have bent and

52:49

bent and bent and there's just a tiny crack in

52:52

the leather. And it must have

52:54

just been sat very oddly and you just sort of

52:56

swept into it as you pushed them over. We'll

52:59

push them over. Ah, bollocks. Oh, shit. Well that

53:01

was... What is she doing? We're going to have

53:03

to get you to A&E mate because we've got

53:06

to get that checked out. You

53:08

can't... I mean it could have HIV, it

53:10

could be... I don't want to panic you but we should

53:12

just be on the safe side. What is she doing down

53:14

there? We're going to have the whole estate after her. Look,

53:16

we don't... It can wait. We don't have to... Tonight, I'll

53:18

go tonight. That'll be fine a couple of hours. Well, the

53:20

sooner the better. I mean with these things but... Fucking...

53:24

Can we still see Alicia down the alleyway

53:26

as I sort of get... I don't know,

53:28

Alicia, did you stop dramatically in the T-junction

53:30

or did you run immediately?

53:33

If I saw the house, I'm going to go knock on

53:35

the door. I think as you look, you see her go.

53:38

So we see which direction? She just see her... So she's

53:40

turned left. She's turned left, yeah. From your

53:42

perspective. Jesus Christ. What

53:45

was all that about? I mean... She's

53:47

a drug dealer. Why are we chasing drug

53:49

dealers? Doesn't make any sense. What

53:52

were we hoping for? What's she doing? I

53:55

was hoping for fucking drugs to be honest. Right.

54:00

Okay, well... There you go, now you

54:02

know, now you know. Okay, good, good. I'm

54:04

not gonna judge you, but I mean, surely

54:06

you can get them from somewhere more reputable.

54:09

What is it you're on, like painkillers? Well, I was gonna

54:11

stop at Mecha Bingo on the way. Does

54:15

that help ease the pain? More

54:18

reputable? No, that's weird. Apparently

54:22

that's where you can score around here, but... Right.

54:24

With the accident, everyone just got carried away and

54:26

we ended up here and just... I

54:28

saw that guy. Mate, I didn't know. Oh, Ray, fuck,

54:30

fuck, fuck, fuck, I fucked it, I fucked it. Mate,

54:32

I'm sorry, I didn't know. I fucked, I fucked it,

54:34

I fucked my whole fucking life. What is it? What

54:37

is it that you're on? Well, I've

54:39

not... Fucking... Fucking nothing for nine years,

54:41

I've been clean nine years. Well,

54:43

don't fuck that up now, mate. Jesus Christ.

54:46

So I think you hear yourself say that, Ray,

54:48

and you hear John Vinicore's head in your...

54:51

Head in your mind? Voice

54:55

in your head. We're

54:57

all sad. He's got an enormous head as well. The

55:00

sniper's dream we used to call it. You

55:02

hear John Vinicore's voice in your head, who

55:04

you haven't really thought about that much, but

55:06

you were friends. Yeah. Yeah. We

55:09

were. Sometimes you wonder if

55:11

he might have wanted it to be something

55:13

more than that? Yeah. We

55:16

never talked about it, I don't think, but you

55:18

get that vibe. But you remember how

55:21

good he is at talking

55:23

to people who have compulsive issues.

55:26

Yeah. And you hear what you've

55:28

just said, and you go, ah. And

55:31

you see this sort of glazed

55:34

expression on Eric's sweating, pale face.

55:37

And you just see... One

55:39

of his eyes looks

55:42

a little loose, slightly, in

55:44

that moment. Oh, for fuck's sake.

55:48

In his face. Well, I think, God,

55:50

if only I'd chosen to be John this morning. Oh, well. That

55:57

means I don't know. Are

56:00

you alright mate? They're all hanging about it. Mate,

56:02

we'll get you to A&E, okay? Like, we don't

56:04

have to talk about this. I'm not

56:06

very good with this stuff, but I'm not judging you. I

56:09

didn't know. Yeah, I know. Just sometimes

56:11

I wish I was Maggie or something. Yeah,

56:14

I know the feeling weirdly. Listen,

56:16

we need to get Alicia... Where the fuck has she

56:18

run off to? Why is she chasing a 16 year

56:21

old who's probably got a shiv down his

56:24

pants? Don't make any sense. I don't know.

56:27

We should catch up with her. Well, we should, but

56:29

we've left Melinda in... Yeah, I suppose that's the main

56:31

thing. Are you alright? Can you walk? Yeah,

56:33

yeah, it does. Okay, but... It doesn't

56:35

hurt too much. We're going to A&E after this, and

56:37

I'm not going to hear any words about it. Alright.

56:39

Alright, let's go. Yeah, yeah, you're right. So there's gates

56:42

along the back alleyway, Don, and

56:44

you're pretty sure that this kid has gone

56:46

into the third gate along. Do

56:49

you want to... Well, I'll certainly go

56:51

and put my head over the gate. Oh,

56:54

it's tall. You'd have to climb it. Oh,

56:56

in that case, is the gate open?

56:58

Right, so you try the gate, yeah? Does

57:01

it go into someone's back garden? It looks like they

57:03

will go into back gardens. Oh, okay.

57:05

That's a bit invasive, isn't it? Well,

57:08

I'll tell you what. Give me an idea. No,

57:10

I'll tell you what. What's your intelligence? Well,

57:13

I might knock. What's your intelligence? Yeah,

57:17

that's good enough. You're

57:19

pretty sure this is Sarah's place.

57:21

Oh. Oh.

57:27

I sort of do a double take and go, what

57:31

the fuck? And

57:34

then I try the gate. Yeah, it's locked. Or appears

57:36

to be. Fuck.

57:40

I'll bang on the gate. Sarah?

57:44

So, Melinda, you

57:46

are... Lads, you're going down

57:49

the alleyway, obviously, and carefully. May I ask

57:51

a question? Please do.

57:54

You don't have to answer it because it's a

57:56

bit meta because obviously I am not experiencing what

57:58

Dom's experiencing. Just

58:01

to be clear about this, because

58:03

it's exciting as a player, has

58:06

he just got turned, has he, she,

58:08

sort of got just turned around and

58:10

it could quite literally be Sarah's place

58:12

or has suddenly space and time? No,

58:14

no, it's the back of Sarah's place.

58:16

He's done a rectangle. He's

58:18

done a little loop. There's

58:21

no test required, it's just like, if

58:23

you'd had under 50 intelligence I would

58:25

have made you make a test. No,

58:28

like he's going in a straight line. He's fine, he's smart

58:30

enough to go, oh hang on a second, I think I

58:32

might just be at the back of the same building that

58:34

I was just sort of outside the front door. But

58:37

you know, in this mad world

58:40

it is a very bad question.

58:43

And definitely a boy,

58:45

teenager. He's just saying 16,

58:47

Angelica is about that right

58:49

age, she would be going back to the house. Long

58:53

hair. I think the keeper never said

58:55

a boy. I think the keeper never said a boy.

58:57

He said they, didn't he? Yeah,

59:00

and I think Alicia may have said he, the

59:02

boy. At least they got a hood

59:04

up. Yeah, because that's what I assumed.

59:07

That's what I remember hearing. Definitely

59:10

a dealer, right. There's that contrast contrast to

59:12

the Wheeler dealer. So, Melinda, you go into

59:14

a kitchen which is pretty sparse and it

59:17

meets the same breakdown as,

59:19

except without the cardboard box actually, there's no

59:21

cardboard box in this room. You

59:24

get this definite sense of there's only the

59:26

basics in here. Yeah,

59:29

nothing decorative. Nothing decorative. Okay.

59:33

Maybe the witch's broom? I like

59:35

it, yeah. Yorkshire golden pig's

59:37

blood. Every

59:39

time she offers me a cup of tea and the music comes

59:41

on, it's very sinister. Would you

59:43

like a cup of tea? No, actually no. I'm

59:46

all right. How does that happen at home? Melinda

59:49

Moody. Hello. So,

59:51

she's going around the kitchen

59:53

at a thousand miles an hour going, I'll just

59:55

get you this cup of tea. Do

59:59

you take meals? And was it sugar? Sarah,

1:00:01

what have you taken? What? You've just

1:00:04

taken something, haven't you? What?

1:00:06

When we got to the house, you were in

1:00:08

a bad way. You were in

1:00:10

a bad way. You were sweating. You were all

1:00:12

over the place. And now you're all bright-eyed and up, up,

1:00:14

up. There's no judgement here. I've

1:00:17

taken stuff in my time, but what are you taking?

1:00:20

Are you all right? I just... She...

1:00:24

She... It's a classic four-miker-covered

1:00:27

table in the sense of four chairs around.

1:00:29

And she just sort of sits down on

1:00:31

one of the chairs and starts crying. And

1:00:35

says, I'm sorry, I just... I

1:00:37

really need something to pick me up, you know? I just... I

1:00:40

get into a cycle of up and down and then... OK,

1:00:42

no, I understand. I've been there. I

1:00:44

thought Angelica's supposed to be here and she's not here.

1:00:47

And I just... I get worried about

1:00:49

Sean if she's... OK. She's

1:00:52

supposed to be back from school already and she hasn't been and I

1:00:54

just... You know... Why

1:00:56

don't I make you a cup of tea? No,

1:00:58

no, no, I've got to do that. I've got to do that.

1:01:00

I've got to make it for you in my home. You

1:01:03

know, you don't need to, my love. I can make that

1:01:05

for you. I mean, she gets up and she sort of

1:01:08

gives you a half-hearted attempt at... Are

1:01:10

you going to push the point or are you? Er...

1:01:14

No, I think if she really wants to, then, you

1:01:16

know... She sort of turns her back and sort of

1:01:19

wipes tears away and sniffs loudly. Oh,

1:01:22

dear. Was

1:01:24

it sugar? Yeah,

1:01:28

two please. She

1:01:31

gets some sugar and she

1:01:33

sort of goes into the

1:01:35

pantry to get that. She obviously doesn't have sugar

1:01:37

in her tea. The pantry is just on

1:01:39

the right-hand side of the kitchen. There's

1:01:41

another door that leads out into what looks like

1:01:43

a scruffy yard. This is the last

1:01:46

dying dregs. There's some grass

1:01:48

around one corner and some pretty sorry-looking garden furniture. It's

1:01:51

like an old pub table, outdoor

1:01:54

beer garden table and

1:01:56

a few chairs. And this is the back

1:01:58

garden that I can see. Yeah. Could

1:02:00

you give me a spot hidden? I

1:02:04

could! I'll

1:02:06

tell you what, I'm gonna give you a bonus down. Ooh!

1:02:09

Another fumble. Don't

1:02:11

even push a leg. Because I

1:02:14

feel like you're looking... You've drawn

1:02:16

some conclusions. So

1:02:18

you're looking for micro details. Yes,

1:02:23

thank you. It's a 15 on a

1:02:25

30. Nice. Nice. Very

1:02:28

good roll. Okay,

1:02:32

there's a few pictures on the fridge, held

1:02:34

up with magnets, and

1:02:36

there's a place where a photo once was, and

1:02:40

another photo once was, but they're not there

1:02:42

anymore. Okay. I

1:02:46

mean, the truth is, you can see them because of the dust, and

1:02:49

the dirt. I mean, it doesn't look

1:02:51

out of place in the context of the rest of

1:02:53

them. You know, it's just... And

1:02:55

obviously, you know, it's not filthy in here. It's just not that

1:02:57

clean. Yeah, yeah. By the way,

1:03:00

you're also getting the slightly strange sickly sweet smell.

1:03:03

Oh, where's that coming from? It's

1:03:06

just general. Okay. Yeah,

1:03:08

in the kitchen, you're getting general

1:03:10

sickly sweet smell. Not

1:03:13

many. I mean, like... Does

1:03:16

it smell like rotting? No. Rotting? More

1:03:18

like... Dead pox? More

1:03:22

like rich petals. Which

1:03:24

paintings? Condensed

1:03:26

into a paste. Okay.

1:03:29

And then potentially, that could

1:03:31

be burnt and reduced down to

1:03:33

a resin, maybe. Oh,

1:03:36

for God's sake. Gosh. If

1:03:40

you like. I hate... That's the sort of image that

1:03:42

we're gonna play with here. Mm. Okay.

1:03:44

But you're just thinking about those photos. When you

1:03:46

see down inside between the classic

1:03:49

space between fridge, freezer, from

1:03:51

those tower ones, and the

1:03:54

work surface cupboard, you

1:03:56

just see the glint of a classic, edge

1:03:59

of a photograph. down

1:04:01

by the side but obviously she's she's

1:04:03

like she's gonna bat you in the pantry

1:04:06

and she's saying I'm really sorry I should

1:04:09

have said that that's what I needed I'm

1:04:12

out of the habit of being honest I'm not

1:04:14

like you and Alicia you're so strong

1:04:16

I guess that's why David always anyway

1:04:22

and she's she really she comes away

1:04:24

and she sort of looks at you but looks

1:04:26

away immediately and goes I've got some biscuits in here I

1:04:28

think Angelica likes them

1:04:31

okay David always

1:04:33

what David always what come on finish that sentence

1:04:37

well he always trusted the two of

1:04:39

you for other things

1:04:41

didn't he not not

1:04:43

like me and Bridget other things

1:04:46

it's alright he's gone it's alright so

1:04:48

she direct trails off she just sort of shakes her

1:04:51

head she's still got

1:04:53

a bat to you I'm

1:04:55

going to reach for that photo please what's

1:04:57

your right hand like or

1:05:01

are you gonna do this publicly

1:05:04

oh no slice of hand yeah I shouldn't I shouldn't be

1:05:06

so leading but I got the big impression that maybe it's

1:05:10

a 30 mare roll you may 30 not

1:05:12

too shabby oh it's a six

1:05:18

on a week it's a

1:05:20

nine hey good good good

1:05:22

so a hard success very hard

1:05:24

so she turns away and well

1:05:26

you tell me she's

1:05:28

turning away she can't look at you she's making

1:05:30

these cups of tea yeah

1:05:32

she's got one of those big multi

1:05:35

packs of biscuits as family boxes you

1:05:38

know you open it and then instantly all the

1:05:40

biscuits go off and go soft straight oh yeah

1:05:42

so you don't eat the whole thing like a

1:05:44

day they're horrible especially

1:05:47

in this kitchen the

1:05:49

nan's she was in cysts and you

1:05:52

have a biscuit as well but

1:05:54

I reached that I reached down to

1:05:56

the shiny edge of the photo that I can see poking

1:05:58

out from between the sideboard

1:06:00

and the edge of the fridge and

1:06:03

I get it and I actually get hold of

1:06:05

it and I pull

1:06:08

it up and sort of

1:06:10

tuck it onto the inside of my

1:06:13

cardiganed arm, my capacious cardigan

1:06:16

sleeve which can more than

1:06:18

hide the width and breadth of a single

1:06:21

photo. Oh yeah, oh yeah. And

1:06:24

I look at it and I see... Oh you're going

1:06:26

to look? Yeah. What

1:06:29

do I see? What

1:06:32

do I see? Brace yourself.

1:06:35

Brace yourself? I know what she sees. Wait, wait,

1:06:37

don't I? I'm

1:06:40

teasing, that's not fair. So

1:06:46

it's a picture of Sarah looking

1:06:49

much, much fuller of face and figure. She

1:06:51

looks rather pretty. Do

1:06:53

you remember how lovely looking she was when

1:06:55

she was younger? She's

1:06:57

always, yeah, she's a good looking girl, good looking.

1:07:00

And there's a picture of Sean smiling,

1:07:04

maybe a year ago maybe, I'm not sure, maybe a couple

1:07:06

of years ago maybe. Less

1:07:11

silly hair, less dark

1:07:13

t-shirts, less

1:07:15

pasty face, less weight on him. Happier

1:07:18

days. But

1:07:20

there's a picture also there of the two

1:07:22

other people, Angelica. As

1:07:25

she knows, this isn't two years ago, sorry,

1:07:27

my bad, this is like maybe six months.

1:07:31

37 years ago. A

1:07:34

hundred and five years ago. And

1:07:37

there's a picture of David.

1:07:41

Oh God. Oof,

1:07:44

I knew it, I knew it. The

1:07:46

hairs are standing off my arms. Could you give

1:07:49

me a... Well

1:07:51

that was a hard spot hidden right? You did.

1:07:53

Oh yeah. To find this paper, this

1:07:56

thing. Yeah, yeah, yeah. Give me a... Oh.

1:08:00

Oh, you are a

1:08:02

hard task master. I

1:08:05

think I'll give it to you for the hard spot

1:08:07

hidden there. What's your psychology? Thanks. Psychology

1:08:13

is 30. I

1:08:16

just expressed a theory to Dom in the

1:08:18

chat seven minutes ago, and you might be

1:08:20

about to prove me right. It's exciting. Oh,

1:08:24

it's quite a theory. You're

1:08:27

trying to do a theory. No. I

1:08:29

haven't. Yeah,

1:08:32

it's partly because of what

1:08:34

you've experienced. There's

1:08:37

something about the angles and

1:08:39

lines of David's and Angelica's

1:08:41

bodies. It

1:08:45

suggests attraction. What

1:08:49

the fuck? That's

1:08:51

not nice. Oh, no. That's

1:08:54

blown my theory out of the set or has it? I

1:08:58

hope it has. That's horrible. Oh, no. So

1:09:03

you're looking at this and then you hear this this

1:09:07

knocking on the gate in the garden. Oh,

1:09:13

God. You hear a voice,

1:09:17

a deep, aggressive voice saying,

1:09:19

what was it you said, Alicia? Sarah?

1:09:26

Yeah, Sarah. And

1:09:29

it's such a shock. Could

1:09:32

you give me a dexterity check? Yes,

1:09:35

I can give you a dexterity check. Are

1:09:38

you taking a piss? No, darling. It's

1:09:42

a zero. Zero

1:09:45

is zero. Zero is zero. Zero, zero, zero.

1:09:48

Zero, zero, zero. We call that

1:09:50

a hundred. One more. Yeah. I've

1:09:53

never had one before. This is so exciting for me. Yeah.

1:09:56

So it's popped my cherry. Yes. You

1:10:00

just pop the photo

1:10:02

up and it flies out and it lands on the table

1:10:05

and Sarah turns around at the

1:10:08

sound and sees this photo come up, land on the

1:10:10

table from out of your capacious cardigan.

1:10:12

She looks at it and then she looks at you with

1:10:14

hate. And

1:10:16

then it splits like a bridge. OK. And

1:10:19

we'll have to take a break there. Oh,

1:10:22

man, I'm at the gate. Sorry about the fumble. It's

1:10:25

all right. Really sorry about... Like, how many hundreds

1:10:28

have we had today, too? About

1:10:30

496es. Yeah,

1:10:34

weird. Astonishing. And

1:10:36

a couple of really juicy low rolls. One. Yeah.

1:10:39

Nine and an eight. Yeah. And we

1:10:41

are all using the dice that Joseph

1:10:43

sent us, right? Yeah. That's

1:10:46

a heavy one. Yeah, yeah. I'm using

1:10:48

the official Paul Fricker dice. Yeah. You

1:10:50

can start to just whisper, as you say, you can just

1:10:52

start to whisper the following. And

1:12:03

that creak is your back, it's not

1:12:05

my stupid fucking chair! It's

1:12:08

my stupid fucking back! I

1:12:11

tried oiling it today guys and that didn't work. I hate

1:12:13

it. Sat in a pile of oil. I love

1:12:15

it, Jeanie, because you got it for me, but I'm stupid,

1:12:18

I should get anyone. And

1:12:21

this sort of Keystone Cops classic

1:12:23

from the Apocalypse players in slow

1:12:26

motion occurred.