The paths of the lead characters might not quite be crossing yet – at least until the very end of the episode – but we’re starting to get a better understanding of how Qui Revertis are working, even if the “revelations”, such as they are, about ghost machines and the properties of sound throw up yet more questions.
The episode title is derived from the Mozart piece that Madison claimed to have played in the premiere of back in the eighteenth century – a piece that is marked to be played adagio (slowly), not at the rather pell-mell pace it’s given in Madison’s various renditions – but that itself comes from a prayer hailing the true body of Christ. In this episode, we begin to realise just how much the idea of a “true body” for those in Qui Revertis has a very different meaning – and get a few ideas about who is connected to Amy.
We also understand more about what’s going on with Madison, and just how much the little girl’s consciousness is still present. We don’t need the effect of the widening pupil eyeball to know who’s in charge: Millie Brown’s whole body language and demeanour changes so considerably.
Verdict: The truth is still out there – but it’s starting to get nearer… 8/10