With every chapter, Down Cemetery Road keeps us more anxious — Sarah and Zoe have stumbled into something far bigger than they realize. They already hold most of the answers, or so they think, but we watch as both women run on parallel tracks, each step taking them closer to the heart of danger.

Episode four begins exactly where the previous one ended: Sarah picks up the phone, Zoe is on the other end, and the two manage to connect key pieces of information — confirming that the man with her is Downey, officially declared dead and now identified in a photo of a missing military regiment. Sarah still believes he can help her find Dinah, but Zoe insists she must run immediately. Before the call can end, Downey grabs the phone and destroys it to prevent them from being traced. Seconds later, he collapses, his body convulsing. Sarah rushes to help him take his medication, Histropine.

Pressed for answers, Downey explains that he suffers from a rare neurological condition and that this experimental drug is his only salvation. It’s a half-truth: we know he’s one of the soldiers used in secret experiments by the Ministry of Defence, already marked for death. Sarah doesn’t know that — not yet — and trusts what he tells her. But curiosity always wins. Later, she uses the hotel computer to look up the drug, lands on an unfinished website, and unknowingly triggers a digital trap. The fake site belongs to Amos, the agent tracking Downey — and now he knows exactly where they are.

What follows is a thriller within a thriller, evoking both The Terminator and No Country for Old Men. In record time, Amos arrives at the hotel in Reading disguised as a deliveryman. Sam, the hotel receptionist, one of the funniest supporting characters so far, gets caught in the crossfire. When Sarah spots Amos, she claims he’s a stalker and begs Sam to stall him while she rushes back upstairs. But Amos knocks Sam out and storms the room. When Sam regains consciousness, he calls the police, giving Sarah and Downey just seconds to escape — though they leave the gun locked in the safe.

Amos, now operating off the books, is officially declared out of control. Under pressure from C, Hamza hires a team of hitmen to take him down. Of course, we know how that ends. Their arrogance meets a swift, brutal death: Amos kills them all and sets his own apartment ablaze, erasing any trace of his existence. Fehinti Balogun’s performance is ferocious — he turns Amos into both monster and martyr.

Meanwhile, Zoe keeps digging. With the reluctant help of Detective Varma, she discovers that Tommy, Dinah’s father, never died in a helicopter crash — he was one of eight soldiers “erased” after a military tribunal. The doctor who signed the death certificate, Dr. Isaac Wright, shouldn’t even have been involved. Yes, the same Isaac who’s been in contact with C since episode one.

Zoe breaks into Isaac’s office, creating a distraction to steal his laptop, unaware that security cameras are recording her every move. A patient casually mentions that Isaac is a “nerve specialist,” a line that lands with delicious irony. When Zoe returns home, she finds the word “STOP” painted across her curtains — a message from C, proof she’s dangerously close to the truth. But instead of scaring her, it only makes her more determined to keep digging.

Back on the road, Sarah and Downey need weapons and a new car. Sarah decides to visit Gerard and Paula’s house, assuming they’ll be away. Classic mistake: not only are they home, but Gerard tries to turn them in to the police. Paula, however, takes pity on Sarah and helps them escape.

Downey explains that he’s searching for Dinah because, with both her parents gone, he’s the only one left who can protect her. At the same time, Malik moves Dinah to an abandoned medical facility — possibly the same place where her father died.

And so, Down Cemetery Road enters its darkest phase. Every character is cornered, and the episode makes it clear that the government’s lies are just the surface of something far more sinister: an experiment designed to erase people, bodies, and memories.

By the end, as Zoe faces the threat inside her own home and Sarah disappears once again down the road, the series balances action, irony, and despair with surgical precision. The title — “My Friends Don’t Like Me” — lands as bitter irony: in this game, no one is anyone’s friend, and even the most unlikely alliances have an expiration date.