JOHN: Justin.

MARY: Police!

( siren approaching ) GEORGE: Mary.

What did John say to you, exactly?

He said--he said he was busy.

And that I should meet him here, at his place.

No.

GEORGE: Erin?

Man down.

Justin Ripley.

So what is it with John Luther and the people he loves?

John, I don’t know what to say.

I don’t have the words.

Where is Mary?

John Luther, you’re under arrest for the murder of Detective Sargent Justin Ripley and the attempted murder of Mary Day.

( theme music playing ) ♪ Love is like ♪ ♪ A sin ♪ ♪ My love ♪ ♪ For the ones ♪ ♪ That feel it ♪ ♪ The most ♪ ♪ Look at her ♪ ♪ With the eyes ♪ ♪ Like a flame ♪ ♪ She will love you ♪ ♪ Like a fly ♪ ♪ Will never love you ♪ ♪ Again ♪ GEORGE: Okay.

From this side of the table it looks like there’s two people who could incriminate you.

One of which is now dead by the hand of Tom Marwood.

And Mary Day, would be had I not intervened.

And you’re welcome, by the way.

You told her where to go, John.

I think you did that because you wanted Marwood to kill her for you.

ERIN: Yesterday, a few hours before he shot and killed Justin Ripley, you spoke for some time to Mr.

Marwood.

Your report notes that during this conversation, Tom Marwood asked for "more time".

"Give me two days."

And then you let him go.

Which makes me wonder: what was the quid pro quo?

JOHN: Shut your mouth.

GEORGE: You let Marwood run free to kill his pedophiles and his... scumbags.

That’s no skin off your nose.

No humans involved.

But then in exchange... does you a favor.

It cleans out your mess.

I loved him.

( music playing ) ( engines revving ) ( tire hisses ) ( music playing ) What is this John?

JOHN: I don’t know George.

Stay here.

( music playing ) ( explosion ) ( grunts ) ( coughs ) ( yells ) ( Erin screams ) Erin!

Wotcher.

MAN: Detective Ripley has been hailed a hero by his colleagues after he was shot point blank in the chest by vigilante Thomas Marwood, who has been branded a coward... JOHN: This is a nice place.

Is it yours?

Don’t be silly.

Alice, what are you doing here?

I saw the news.

Where have you been?

Berlin.

I don’t believe you.

Oh, you should.

I assumed you’d need it, eventually.

Not yet.

After Marwood, then I’m done.

Why?

Because he killed your puppy?

Oh, that’s why you’re here?

To rub my nose in it?

ALICE: No.

I came to help the people you love.

I’m sorry?

You assert this fabulous moral conscience, John.

This adherence to unwritten law.

Yet, time and again, it devastates the people you claim to hold dear, but you don’t stop.

It seems to me your conscience has killed more people than I have.

( music playing ) MARTIN: Well, you know, you say "escape", George.

But to me, this looks more like the scene of a violent abduction.

By Marwood?

Presumably.

Why not pop him here?

The way he did Ripley?

Well, we won’t know that until we ask him, will we?

Well, either way Martin... we both want DCI Luther returned to us at the earliest opportunity.

A search is underway.

Then widen it.

You know George, the Tom Marwood investigation is under my command.

And God help you if you interfere with it or question my allocation of resources.

DCI Luther does have some loyal friends, doesn’t he?

Oh, yes, he does.

( music playing ) MAN: One officer was shot dead and another badly injured in what the police say may be a related incident.

Milan Knizac has been attacked in Mortlake Prison.

Knizac is serving a life sentence for the murder of Caitlin Marwood, Tom Marwood’s late wife.

Caitlin Marwood was raped and murdered by Milan Knizac four years ago after he was released from prison less than halfway through a nine-year sentence... What do you want?

TOM: Don’t move!

( music playing ) MARY: So where are we going?

ERIN: We’re taking you somewhere safe.

Just to be sure.

MARY: But you can’t honestly think John would ever hurt me?

( music playing ) JOHN: So where did you go?

ALICE: Oh, here and there.

Got married.

You got what?

ALICE: Married.

Why?

Does it add a tingle of the illicit to the conversation?

JOHN: It’s adds a tingle of disbelief, is what it does.

Erm, where did you and... ALICE: Bertrand.

A conference in Sao Paolo.

Oh, he was intensely intellectual.

He "was"?

Sadly, he passed away.

Some little girls grow up wanting ponies.

I always wanted to be a widow.

So, what about you?

Have you found someone, hmm?

Yeah.

Kind of.

And is she interesting?

To whom?

ALICE: Me!

JOHN: I don’t know.

So she’s a pixie.

JOHN: A what?

ALICE: A pixie.

Sprite.

A daydream of the life you imagine you want to live.

Oh, dear, I feel a bit sorry for her.

You don’t feel sorry for anyone.

Well, quite.

But in principle, I pity her.

She’s not what you want.

She’s what you want to want.

What is it I want exactly?

We’re not talking about that.

We’re talking about Pixie.

JOHN: Pix... Her name is Mary.

ALICE: I know.

MAN: The officer shot dead last night has been named as Detective Sargent Justin Ripley.

Detective Sargent Ripley is believed to have been killed by Tom Marwood, who first appealed to the public in this video yesterday.

TOM: Four years ago, she was raped and murdered by a man named... ALICE: This him?

This is him.

ALICE: Hmm, goodness gracious me.

What a needy little fishy.

JOHN: Oh, he’s got hero complex.

He needs public opinions to justify his own actions to himself.

So what’s the plan, Stan?

I take away everything he wants.

What does he want?

JOHN: To avenge his wife.

To be admired.

To become a martyr.

All to make his wife’s death mean something.

You’d take all that away from him?

Yeah.

That’s cruel.

It’s the cruelest thing I could think of.

Okay.

But if any police aren’t out there looking for him, they’re out there looking for you.

So... how do we even begin?

Well.

First step... ALICE: Mmm.

...you’re Thomas Marwood-- ALICE: Mmm.

...you want to kill the man that killed your wife.

Mmm.

JOHN: But Milan Knizac is in prison.

Mmm.

So how would you do it?

With leverage.

Give me a lever long enough and a fulcrum on which to place it, and... I can move the world.

( birds chirping ) Nat?

Nat?!

( cell phone ringing ) Hello?

TOM: It’s not an easy thing, is it?When your wife is taken from you?

Well, do as I tell you and you’ll get her back.

( sobbing ) ( screaming ) MARY: What is this place?

ERIN: Nobody knows we’re here, Mary.

Not John, none of his friends.

So as long as we stay here, we’re safe, okay?

Just... try and make yourself comfortable.

( music playing ) ( phone rings ) BENNY: Benny.

Schenk.

Well, never let it be said that you are less than audacious, Miss Morgan.

Well, I’ve got an issue with impulse control, Martin.

It’s... in the genes, apparently.

MARTIN: You know Miss Morgan, I must remind you that I’m a police officer and you are a fugitive from justice, and that by walking in here you have, by default, surrendered your liberty.

Well, you’re entitled to send me back.

I wouldn’t take it personally.

Besides, I’d only escape.

I have no doubt.

ALICE: Meanwhile, John will be in prison.

Or dead at the hands of Tom Marwood.

Now, me, I’m as guilty as sin.

Name it, I’ve done it.

But John’s as innocent as I am culpable.

So I suppose the question I’m here to ask is: which matters more?

Punishing my guilt?

Or proving John’s innocence?

Now, John... has asked me to tell you that Tom Marwood won’t allow himself to be arrested.

He intends to commit suicide by cop, to die a martyr to his own cause.

Now, John... knows how to bring him in alive.

But, he’s going to need... your support.

What exactly does he need?

For starters, anything you have on Milan Knizac.

Oh, and I’m going to need a personnel file.

Thank you, boys.

JOHN: Why’d you come back?

ALICE: I beg your pardon?

You heard.

I told you.

I saw the news.

Alice.

Come on.

None of this Berlin bull[...].

You’ve been in London for weeks.

ALICE: What makes you say that?

JOHN: I saw the receipt for those boots.

ALICE: Ah.

Ah.

I wanted something.

JOHN: What?

You.

Alice, Mary and I... Oh, do be serious.

You’ll be bored silly by the end of the week.

You and I are... What?

Well... ( engine revving ) ( sirens blaring ) ( cell phone rings ) MARY: What do I do?

Let me have it please.

GEORGE: Erin, no.

Leave it, it’s fine.

If it’s him, it’s important we know what he says.

Okay.

Answer.

MARY: Hello?

JOHN: Mary!

Where are you?

MARY: I can’t tell you that, John.

They, they won’t let me tell you.

JOHN: Alright.

Okay, of course they won’t.

Look, I won’t be Long, okay?

I just want to tell you something and I want you to hear me say it, alright... I haven’t done any of the things they’re saying Idid.

Are you okay?

MARY: Yeah, I’m fine.

Hi, yeah, we’ve got a trace on DCI Luther.

JOHN: Well, don’t be scared.

George Stark’s a bit of a dick, but he means well, I guess.

And Erin Gray-- well, she’s just, she’s got me all wrong, alright?

But she’s a good woman, and when push comes to shove, you can, well, you can trust her.

MARY: Okay.

JOHN: Are they with you now?

MARY: What about you?

Are you, um... okay?

Yeah.

Yeah.

( music playing ) ( sighs ) How is she?

Safe.

( cell phone vibrates ) D’you find anyone?

It’ll be in one of these.

JOHN: Okay.

Okay.

Oh, I’m bored of this already.

Okay, Milan Knizac is in the prison hospital because someone cut his throat.

Joe Green has got access to him: he’s the prison doctor.

He’s also married to Natalie Green, who’s pregnant.

So... that’s who I’d go for if I wanted Milan Knizac dead and... I needed leverage.

( starts engine ) ( music playing ) JOE: Who are you?

JOHN: Police.

JOE: He Said No Police!

No police!

JOHN: Just stay there, just stay there.

Alice, Marwood’s gone.

We missed him, all right.

He’s long gone.

( sobbing ) NATALIE: Please.

Please.

JOHN: All right, so what did he say exactly?

That I should report to work tomorrow and kill Milan Knizac with a lethal injection.

And if you don’t?

He’ll make sure that what Knizac did to his wife is done to mine.

He said that if I called the police... JOHN: I’m not the police.

I was the police.

But I’m not anymore.

Who the hell are you then?

I’m the man that’s gonna bring Natalie back.

JOE: What about him, Tom Marwood?

What about him?

JOHN: He won’t know what hit him.

Benny, small change of plans.

I need you to get a trace on the last number to call this phone.

Yeah.

TOM: Hello.

This is... Ryan Clark.

He was over the limit, high on meth, he was banned from driving and behind... the wheel of a stolen car when he ran over and killed... a 12-year-old boy.

Mr.

Clark then... fled the scene.

He was in prison for less than five years.

This is not about Mr.

Clark’s rights, this is about our responsibilities.

This is about us doing for ourselves what the state refuses to do for us.

People like me have tried to be reasonable, we have tried to be reasonable, but nobody’s listened.

Oh, boy.

He really does need the world to love him, doesn’t he.

TOM: I have made a list of people like... Ryan Clark.

And I will execute them at a rate of one a day, every day, until the Prime Minister agrees to hold a referendum... on the death penalty.

Now that’s all I’m asking for, is for the people of this country to be given a choice.

JOHN: It’s not like you gave Justin Ripley a choice, is it?

( cocks shotgun ) That man’s death is on your head.

Well, I don’t see how that can be right.

I didn’t ask you to kill him.

TOM: I warned you to stay away.

You can’t hold me accountable if you choose not to listen.

JOHN: See, the thing is, I can hold you accountable.

Me being a copper and all that.

What?

Give me the camera.

Oh, I don’t think so.

Give me that camera or I will shoot him!

No you won’t, Thomas.

Not on camera, because people do hate a cop killer.

And you so very much want to be admired.

Which is a defect, really, in a multiple murderer but... TOM: Do not move another step.

She’s got a point there, Tom.

I mean you’re not going to shoot an innocent man, a cop.

Not for the world to see.

Turn off the camera!

Turn off that camera now!

JOHN: Why don’t you just... stop this, all right?

And tell us where you’re keeping Natalie Green.

Who has she ever hurt in her life?

No one.

Not to mention the fact that she’s pregnant.

Shut up!

Shut Up!

JOHN: Come on, Tom, come on!

Just let her go.

You being the defender of the innocent.

You both stop!

Turn it off!

All right, whoever the hell you are, turn off that camera.

Tell her to turn it off.

JOHN: Look, look, just put it down, put it down.

TOM: Put it down and turn it off.

Do as the man says.

You hear me, do it, do it, do it.

Now move away, move away.

Oh, what are you gonna do now DCI Luther?

JOHN: What are you going to do now Tom?

She’s not going to come back you know.

I don’t care if she does.

I’ve got the camera.

JOHN: Problem is the world is going to see that you’re not actually a hero.

You’re just a cop killer that would kidnap a pregnant woman.

I mean come on that’s nasty!

She’s gone Tom.

There’s no point running after her.

She gone.

Bingo.

TOM: You, you!

Bring her back!

Bring her back!

JOHN: Tom, it’s not like I can actually show the tape to anyone, really.

Eh?

Why not?

Why not?

JOHN: Let’s say I did.

What do you stand to lose?

You still can kill Natalie Green?

I don’t have her, you do.

So, uh, I’ve got what you want.

And you’ve got what I want.

So what do we do now?

You take me to Natalie.

All right, we let her go.

What and then you--then you give me back the tape?

Give it right back.

Liar.

Oh, ah!

See, you forgot, that I had stolen-- I stole your phone, remember?

So I have heard all those lovely, intimate messages from... Mary Day, was it?

So, you get me that tape, and I give you back your Mary.

Okay?

( music playing ) ( grunting ) ( music playing ) JOHN: I’m a police officer, give me that phone.

Give me that phone.

What are you doing?

Stay there.

What?

My phone... I just need this phone.

( phone ringing ) Hello?

Put George on the phone now, on speaker.

Just do it!

Okay.

Okay.

You’re on speaker.

JOHN: You have to get Mary out of there.

Right now!

Do you understand me?

I think we’ve had enough of that.

Oi!

What are you doing?

George?

STARK: He’s trying to lure us out of here.

Please, trust me.

Boss, you need to get C019 down to Paragon.

Paragon Towers right now, get them there.

( music playing ) ( engine stops ) ( music playing ) ( gasps ) It’s John.

There’s nothing to worry about.

We need you to stay here, okay?

( music playing ) Who the hell are you?

Shh.

MARY: What’s that?

Proof you shouldn’t need of the kind of man John Luther actually is.

( music playing ) When Stark and the lesbian get back, you show them this.

Oh, and if you ever betray him like this again, I’ll kill you and eat you.

How does that sound?

( gunshots ) What’s your name?

GRAY: What?

TOM: What’s your name?

Are you Mary?

Are you Mary?

Yes.

Yes, yes, I’m Mary.

Did John send you to do this?

To do what?

I don’t know what you’re talking about?

John Luther.

I know what Mary sounds like, I’ve heard her voice, you don’t sound like Mary.

I am Mary.

I’m Mary.

I’m Mary.

Give me your wallet.

Now!

MARY: What are you doing?

So, I’ve got bullets.

But no gun.

That’s quite zen.

( music playing ) Your Erin Gray.

Don’t.

Don’t.

( gunshot ) Find me a nail.

What kind of nail?

A nail, nail.

As in "hammer and..." Okay.

( music playing ) Oh.

Come on.

ALICE: Mary?

Yeah?

Is the door locked?

( gunshot ) ( music playing ) Give me the nail.

( panting ) Shh.

Breathe, Tinkerbell.

I don’t know who you are.

ALICE: Shh.

Open the door.

What?

ALICE: Gently.

Close.

Lean all your weight on the door.

Shh.

( gasps ) ALICE: Shh.

( gunshot ) ( grunts ) ( music playing ) TOM: Whoa, whoa, whoa, whoa, whoa, whoa, whoa.

Nice try, nice try, Mary.

Tom.

Isn’t it time we knocked this on the head.

Both of you.

Move.

Move!

Move!

JOHN: Hey!

Come on!

TOM: Keep moving, come on.

Move it!

Move it!

( music playing ) ( grunts ) JOHN: Mary, it’s going to be all right, okay.

Tom?

Where’s Natalie Green?

( sirens approaching ) ( indistinct radio chatter ) Well, I’m going to be dead in a moment.

So I suppose you’re going to have to live with the never knowing.

JOHN: No don’t punish me by hurting Natalie okay.

She’s done nothing.

Who the hell do you think you are?

To walk in here, after what you’ve done to me, and dictate what I can and can’t do?

( gunshots ) JOHN: Stop, Tom, don’t.

Stop, don’t.

TOM: You can choose, you can have one.

Sorry?

I said, pick one.

Why?

So you know what it feels like.

Time’s running out.

Please don’t do this.

It’s your last chance.

JOHN: I can’t.

I can’t pick one.

Then you’ll walk out of here alone.

Tom.

Please.

Please.

TOM: It’s ugly, isn’t it?

Being impotent, being degraded by a violent man that you’ll never get to punish.

( music playing ) Now pick.

No.

Fine.

JOHN: Stop!

Just stop pointing that gun at her head.

Stop.

Then choose!

JOHN: I can’t choose one!

TOM: Five.

Four.

Please!

TOM: Three.

Two.

One!

All right!

All right!

Have you chosen?

Yes.

TOM: Then say it.

Say her name.

Say it now!

( Mary sobs ) Alice.

Say it again.

Shoot Alice!

Say it again!

Alice.

MARY: No!

( gunshots ) ALICE: Oops.

Sorry, I couldn’t resist.

JOHN: Run.

Run.

Run.

Get out of here.

Run!

Go on.

Go.

Now.

If I let this go, you’ll die.

Which is what you want, isn’t it?

Eh?

But if I apply pressure just here... No.

JOHN: ...there’s a good chance that you’ll live.

No!

Please.

Please.

Don’t.

Please.

What?

Why?

Beg me.

TOM: Please.

Beg me!

I’m begging you.

JOHN: Yes.

Where is Natalie?

Where is she?

Please.

Come on Tom, come on Tom.

The medics are coming, they’re gonna save your life.

TOM: No.

She’s in-- she’s in Cathal Street.

How do I know you’re not lying?

TOM: No.

It’s true.

It’s true.

How do I know?

How do I know?

Is it true?

Please.

Just let go.

Please.

You’re ready to go?

TOM: Yeah.

I’m ready.

I’m ready.

I’m ready.

Please let go.

Not on your nelly.

Medic!

TOM: No.

Medic!

TOM: No.

No.

JOHN: I need him alive, put pressure right here, here!

( music playing ) JOHN: All right, upstairs.

Sir.

( sirens blaring ) Natalie?

( music playing ) MARTIN: We’re the police.

( music playing ) You’re safe now.

( indistinct radio chatter ) Hold on, hold on.

( music playing ) ( indistinct radio chattering ) BENNY: Boss.

What’s happening?

They arrested Alice Morgan.

Where is she?

And Mary?

She sent you a message.

She gave you this?

She put it in my hand herself.

Benny, I appreciate it, pal.

Where you going, boss?

She went that way.

I just want to say sorry to Alice.

MARY: There’s been a mix-up over who’s who.

I expect they’ll, uh, they’ll work it out in a couple of hours.

I don’t care what... she’s done, John.

She saved my life.

So you should probably... go.

Yeah.

Yeah.

I should do that.

I... I know.

Me too.

Go on.

Go.

( helicopter hovering ) ( music playing ) ♪ Girl, you treat me bad ♪ ♪ And I know why ♪ ♪ I’ve seen you runnin’ around ♪ ♪ With another guy ♪ ♪ And you think if you hurt me ♪ ♪ Then I’ll go away ♪ ♪ But I made up my mind ♪ ♪ You know I’m-- I’m here to stay ♪ ♪ Never gonna give you up, no matter... ♪ ♪...no matter how you treat me, never gonna give you up ♪ ♪ So don’t you think I’m leaving ♪ ♪ Baby, don’t you understand ♪ ♪ What you’re doing to the man?

♪ ♪ Do you see these tears... ♪ It was clever, the choice you made.

♪...in my eyes, ain’t no use in lying... ♪ ALICE: Marword?

Alive, suffering.

Good.

♪...and put me on a shelf ♪ ♪ I’d rather die ♪ ♪ Than see you with somebody else... ♪ You really do need to lose the coat.

♪...no matter how you treat me ♪ ♪ Never gonna give you up ♪ ♪ So don’t you think of leaving ♪ ♪ Baby, don’t you understand ♪ ♪ What you’re doing to the man ♪ ( music playing ) ALICE: So, now what?

♪...that I’m your fool ♪ ♪ And you’re using me ♪ ♪ Like a carpenter that uses a tool ♪ ♪ I know their intentions ♪ ♪ They’re all very clear ♪ ♪ Some of them would help me ♪ ♪ If they could ♪ ♪ But I’ll never gonna give you up ♪ ♪ No matter how you treat me ♪ ♪ Never gonna give you up ♪ ♪ So don’t you think of leaving ♪ ♪ Baby, don’t you understand ♪ ♪ What you’re doing to the man?

♪