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The Fall (TV Series)

British-Irish crime drama television

The Fall (2013-2016) is a BBC crime drama television series filmed and set in Northern Ireland about a Detective Superintendent from England who investigates a politically-sensitive murder in Belfast.

Series 1

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Dark Descent [1.01]

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Sarah Kay: You don't need his approval, you just want it.
Kevin McSwain: What's the difference?
Sarah Kay: Well, most of what we call "needs" are desires. We need air to breathe, water, warmth, food to eat.
Kevin McSwain: Speaking of which... [reaching for menu]
Sarah Kay: But the rest - love, approval, recognition, praise, whatever - they're desires.
Kevin McSwain: So, what's sex? Is that a need or a desire?
Sarah Kay: Hmm... Well, both if you're doing it right!
Paul Spector: Men and women express grief differently, Liz. Try not to make comparisons.
Jimmy Tyler: My wife says it comforts her to think of our dead son giving life to others.
Paul Spector: And how does it make you feel?
Jimmy Tyler: How does it make me feel? His heart beating in some else's chest? It makes me feel sick!
Jimmy Tyler: [with a threatening tone] I've done things bad things, in the past. Really bad things. And my son has paid the price.
Paul Spector: [calmly] Your son had bacterial meningitis, Jimmy. An illness. That's all.
Jimmy Tyler: [with a disgusted tone] You don't believe a son has to pay for the sins of his father?
Paul Spector: No, I don't.
Sally Ann Spector: [about their daughter] I just wish I knew what was going on in her mind when she's like that.
Paul Spector: No-one knows what's going on in someone else's mind. And life would be intolerable if we did.
Ned Callan: [fishing for a news story] So why bring someone in from the outside? That looks remarkably like a vote of no confidence in the PSNI and its ability to run an internal murder investigative review, don't you think? What have you found so far? Staggering levels of incompetence?
Stella Gibson: Mister Callan, no one knows better than me how important the media is as an investigative resource. But really and truly, you should fuck off. Now.

Darkness Visible [1.02]

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Attorney: After advice, my client will not be answering any questions.
[Terry gives a tough mocking stare]
James Olson: Don't give me that look, Terry. That bullshit only works on intelligent people.

Insolence & Wine [1.03]

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Stella Gibson: What if he kills a prostitute next? Or a woman walking home drunk? Late at night in a short skirt? Will they be in some way less innocent therefore less deserving? Culpable. The media loves to divide women into virgins or vamps, angels or whores. Let's not encourage them.
Stella Gibson: [morning briefing] Think of it as an addiction. There's a law of diminishing returns. The serialist, like the heroin addict, is always seeking that elusive first high, and he's doomed to fail. That's why the cooling off periods get shorter, and the crimes become more elaborate. And he will carry on feeding that killing habit. unless we stop him.
Stella Gibson: There is only one of him. You'd think that gives us the advantage. But it doesn't. He moves around on his own, in darkness. And we operate under the glare of media lights. Now let's make sure that we don't let anything slip through the cracks. The Devil, quite literally, ladies and gentlemen. is in the detail. Detail, detail, and detail again.
Angelica: I don't think I'll ever be able to accept what's happened.
Paul Spector: You don't have to. I don't subscribe to that model of grief. I don't see bereavement as ever being resolved or accepted. There is no closure, no recovery.
Stella Gibson: It's all part of the fantasy. The fantasy that sustains him between killings. It's about power, and control. And the thrill. It thrills him to stalk these women. To break into their houses, to take their underwear. It's about intimacy. What could be more intimate than. squeezing the life from another human being? Having their dead body at your disposal. We've all seen more degrading crime scenes. Bodies with objects left inside them. This is different. It's like an art form to him. I'm certain he takes photographs. After they're dead. They're playthings to him. He treats them like objects. He paints their nails. He uses them like dolls. He's creating his own pornography.

My Adventurous Song [1.04]

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Stella Gibson: What will you tell your daughters in the future? About how to stay safe?
Reed Smith: Pretty much what I tell them now. Don't talk to strange men.
Stella Gibson: Strange men?
Reed Smith: Any man.
Stella Gibson: And you haven't seen him since?
Rose Stagg: No.
Stella Gibson: Even glimpsed him, about town?
Rose Stagg: No.
Stella Gibson: And you know of him as Peter? Anything else?
Rose Stagg: I know it seems crazy - being in bed with a guy when you don't know anything about him. Just his first name. I learnt my lesson.

The Vast Abyss [1.05]

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Reed Smith: The older I get the more I have two selves, the medical self that's confronted every day with the biological basis for existence - blood, internal organs, corpses. And then I have another self that bathes my kids, puts them to bed, kisses their little cuts and bruises better. Examining dead bodies is one thing; living victims is something else.
Stella Gibson: There's a name for it. It's called doubling. I do the same. So does the killer.
Mary McCurdy: If he has children, do you think he loves them? Do you think he can love?
Stella Gibson: Most human emotions exist on a kind of continuum. People talk about lack of empathy, but we all have limits to our empathy. Some people are profoundly moved by children starving on the other side of the world, and some people it barely touches. For them, things need to literally be closer to home. I'm sure he is way out there on the sex continuum, but we all know men who have fantasized about having a woman completely under their control, or initiating a young girl into sex.
Mary McCurdy: Yes, but most don't act on those fantasies. But he does. Why?
Stella Gibson: Well, maybe, maybe it's not that he's devoid of emotion at all. Maybe it's the reverse. Isn't it emotion that the sexual sadist feeds off - blind panic, abject terror? I think he feels their pain acutely. It's just that he gets pleasure from it.
Ian Kay: The more we make the wrong decisions, the more our hearts harden. The more we make the right decisions, the more our heart softens, comes alive.
Paul Spector: [on the phone] We're very alike, you and me.
Stella Gibson: Oh, I don't think so.
Paul Spector: We're both driven by will to power, a desire to control everything and everyone. Obsessive, ruthless, living and breathing moral relativism. It's just you're bound by conventional notions of what's right and wrong and I'm free.
Stella Gibson: How are you free? You're a slave to your desires. You have no control at all. You're weak. Impotent. You think you're some kind of artist. But you're not.
Paul Spector: Art is a lie. Art gives the chaos of the world an order that doesn't exist.
Paul Spector: Watch me walk away.
Stella Gibson: It's never over for someone like you. It won't be over until I stop you.

Cast

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