For weeks, the distance between Faith Cadogan and Iain Dean has felt wider than any hospital corridor. What began as emotional fallout has hardened into silence, avoidance, and unfinished conversations — the kind that linger and hurt more the longer they’re left untouched. Faith has been keeping her space, choosing independence over vulnerability, even after the life-changing discovery that she’s carrying Iain’s child.

Their relationship has been stuck in limbo all boxset long. When Iain suggests they try again, Faith turns him down — not because the feelings are gone, but because the fear is louder. Too much has been said. Too much has been broken. Getting back together feels less like a romantic reunion and more like stepping back onto ground that already gave way once.

But Faith isn’t as certain as she pretends.

Enter Stevie Nash, whose well-timed honesty cuts straight through Faith’s emotional armour. In a conversation that lands harder than any argument, Stevie forces Faith to confront what she’s really doing: protecting herself at the cost of the one relationship she still cares about. It isn’t just about pride or pain anymore. It’s about the future — her future, Iain’s, and the child that connects them whether they like it or not.

Something shifts.

For the first time in weeks, Faith stops running from the mess and decides to fight for what she wants. Not in a grand, dramatic gesture, but in the quiet, terrifying choice to be honest. To admit that she’s scared. That she’s hurt. And that despite everything, she still wants Iain.

But timing, as Casualty so often proves, can be cruel.

Just as Faith finds her resolve, Iain is somewhere else — literally and emotionally. At a bar, trying to breathe, trying to remember what it feels like not to carry the weight of constant disappointment, he catches the eye of another woman. It’s nothing serious. Not yet. Just a spark of possibility. A moment of being seen without history attached.

And that’s what makes it dangerous.

Because for Iain, this isn’t about moving on — it’s about escaping. Escaping the guilt, the confusion, the emotional tug-of-war with Faith that never seems to end. For a split second, the idea of something uncomplicated is tempting. No arguments. No expectations. No past.

Meanwhile, Faith is finally walking toward the very conversation she’s been avoiding.

The question isn’t just whether she’s too late. It’s whether the damage between them can still be undone at all.

Their story has never been simple. Love, resentment, responsibility, and regret are all tangled together, and the pregnancy only raises the stakes. Whatever happens next won’t just define their relationship — it will shape the family they’re about to become, together or apart.

In Holby, some emergencies are loud and obvious. Others happen quietly, in bars, in corridors, in moments where one decision changes everything.

And for Faith and Iain, that moment is closer than either of them realises.