Browse content similar to Monsters and Gods. Check below for episodes and series from the same categories and more!
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"Her skin was that of the first pure dawn, | 0:00:25 | 0:00:28 | |
"her hair the flames of the burning tree of yore, | 0:00:28 | 0:00:31 | |
"her mien was beauteous. | 0:00:31 | 0:00:33 | |
"But set with the purpose of her destiny. | 0:00:33 | 0:00:37 | |
"Her destiny, to find the man of true heart, | 0:00:37 | 0:00:42 | |
"he who would hold the key to her desire, | 0:00:42 | 0:00:45 | |
"he who would know..." | 0:00:45 | 0:00:47 | |
What's up, bud? | 0:00:47 | 0:00:49 | |
Er, no, thanks. | 0:00:51 | 0:00:52 | |
What you reading? | 0:00:52 | 0:00:54 | |
Just the latest magnum opus from Blake Calverly. | 0:00:54 | 0:00:57 | |
Who? | 0:00:57 | 0:00:59 | |
He is the, er, self-appointed doyen of future world romances. | 0:00:59 | 0:01:03 | |
Barbara Cartland does Blade Runner? | 0:01:03 | 0:01:05 | |
That's a pretty fair assessment. | 0:01:05 | 0:01:08 | |
Why are you reading it? | 0:01:08 | 0:01:09 | |
He's the guest speaker at this conference I'm going to. | 0:01:09 | 0:01:12 | |
And I just needed to see | 0:01:12 | 0:01:13 | |
-if his writing is as tawdry as they say it is. -And? | 0:01:13 | 0:01:15 | |
-Oh, it's very tawdry. -Thought it was your day off? | 0:01:15 | 0:01:18 | |
Oh, I came in for some free coffee. | 0:01:18 | 0:01:19 | |
Monsters and Gods! | 0:01:19 | 0:01:21 | |
And good morning to you too. | 0:01:21 | 0:01:22 | |
No, it's a conference at the university. | 0:01:22 | 0:01:24 | |
They need us to provide a doctor for medical cover. | 0:01:24 | 0:01:26 | |
What's wrong with St John's Ambulance? | 0:01:26 | 0:01:28 | |
-I made an offer to the vice-chancellor. -Politics? | 0:01:28 | 0:01:31 | |
So any offers? | 0:01:31 | 0:01:33 | |
Al's already going. | 0:01:33 | 0:01:34 | |
In my capacity as a private citizen and enthusiast. | 0:01:34 | 0:01:37 | |
Well, good, you can double up. | 0:01:37 | 0:01:39 | |
Let me just consult my Avatar. | 0:01:39 | 0:01:42 | |
Avatar says no. | 0:01:42 | 0:01:44 | |
Kevin? | 0:01:44 | 0:01:45 | |
No, no, no, I'm not hanging around | 0:01:45 | 0:01:46 | |
waiting for a load of freaks to get sick. | 0:01:46 | 0:01:48 | |
Why, thank you! | 0:01:48 | 0:01:49 | |
Well, someone's got to do it. | 0:01:49 | 0:01:51 | |
Or I can get Karen to check the rota. | 0:01:51 | 0:01:53 | |
Good idea, thank you. | 0:01:53 | 0:01:54 | |
Although I must express my disappointment | 0:01:54 | 0:01:56 | |
at the lack of cooperation. | 0:01:56 | 0:01:58 | |
Do Androids Dream Of Electric Sheep? | 0:02:00 | 0:02:03 | |
I often wonder that. | 0:02:03 | 0:02:05 | |
No, it's the novel they adapted Blade Runner from. | 0:02:05 | 0:02:08 | |
People in the know consider it to be a masterpiece. | 0:02:08 | 0:02:11 | |
And they are correct. | 0:02:11 | 0:02:12 | |
CROWD MURMURS | 0:02:17 | 0:02:18 | |
Good afternoon, ladies and gentlemen. | 0:02:18 | 0:02:20 | |
CROWD CLAMOURS | 0:02:20 | 0:02:22 | |
Thank you for coming, an absolute pleasure. | 0:02:22 | 0:02:25 | |
Thank you so much for coming. | 0:02:25 | 0:02:27 | |
A load of freaky people, talking about comics? | 0:02:29 | 0:02:32 | |
Erm, graphic novels. And it's a big conference, world-famous authors. | 0:02:32 | 0:02:36 | |
Yeah, but it's still about aliens and spacemen and stuff. | 0:02:36 | 0:02:40 | |
Niamh is going to hate it. | 0:02:40 | 0:02:42 | |
It's a good opportunity. | 0:02:42 | 0:02:43 | |
To be bored to death. | 0:02:43 | 0:02:45 | |
Howard wants to make a good impression with the vice-chancellor | 0:02:45 | 0:02:49 | |
and Niamh is really good with people. | 0:02:49 | 0:02:51 | |
Especially Oliver. | 0:02:51 | 0:02:52 | |
How do you mean? | 0:02:52 | 0:02:54 | |
I've seen the way he looks at her. | 0:02:54 | 0:02:56 | |
Yeah, right, look, can you just ask her? | 0:02:56 | 0:02:58 | |
What if she doesn't want to? | 0:02:58 | 0:03:00 | |
Well, then tell her Howard asked for her especially. | 0:03:00 | 0:03:04 | |
-So, who are you looking forward to seeing? -What? | 0:03:07 | 0:03:10 | |
Sheila Duggan on Night Stalkers Of Gar | 0:03:10 | 0:03:12 | |
or Niles Malone on The Molecular Wars? | 0:03:12 | 0:03:14 | |
Weirdo. | 0:03:14 | 0:03:16 | |
It's the last time I come in costume. | 0:03:16 | 0:03:19 | |
Ladies, how are you? | 0:03:19 | 0:03:21 | |
Great to see you, looking fantastic, | 0:03:22 | 0:03:24 | |
you looking forward to the lecture today? | 0:03:24 | 0:03:25 | |
Yeah, but Howard thinks you're the best for the job. | 0:03:25 | 0:03:28 | |
'Really?' | 0:03:28 | 0:03:29 | |
Yeah, and he really wants to impress the vice-chancellor | 0:03:29 | 0:03:31 | |
so he's promised we're going to be on our A game. | 0:03:31 | 0:03:33 | |
-'So, he's sending me?' -Absolutely. | 0:03:33 | 0:03:35 | |
And if it was me, I would jump at the chance. | 0:03:35 | 0:03:38 | |
'You would?' | 0:03:38 | 0:03:39 | |
Yeah, well, of course. | 0:03:39 | 0:03:41 | |
Yeah, you build relations with the university, | 0:03:41 | 0:03:43 | |
you score points with Howard. It's a win-win, really, isn't it? | 0:03:43 | 0:03:45 | |
-'OK, I suppose.' -Brilliant. | 0:03:45 | 0:03:48 | |
-'When do I have to be there?' -Er, now. | 0:03:48 | 0:03:50 | |
'I'll get going then.' | 0:03:50 | 0:03:52 | |
This conference with anorak-y people into sci-fi, | 0:03:54 | 0:03:57 | |
would Al happen to be going? | 0:03:57 | 0:03:59 | |
Jimmi Clay! | 0:04:00 | 0:04:02 | |
Up for the conference? | 0:04:05 | 0:04:07 | |
I'm not really here, you're talking to a hologram. | 0:04:07 | 0:04:10 | |
SHE LAUGHS | 0:04:10 | 0:04:11 | |
You're a card! Mind, my fault for asking. | 0:04:11 | 0:04:15 | |
Oh, I've been looking forward to this for months. | 0:04:15 | 0:04:18 | |
-Have you? -Yeah, you bet your bottom dollar. | 0:04:18 | 0:04:20 | |
Course, right before we were leaving now, | 0:04:20 | 0:04:22 | |
Brenda went and broke an axle! | 0:04:22 | 0:04:24 | |
Ankle? | 0:04:24 | 0:04:26 | |
No, Brenda is my mate Teresa's transit, 1986. | 0:04:26 | 0:04:30 | |
If you ignore the rust, she's immaculate. | 0:04:30 | 0:04:32 | |
She hit a blummin' pothole on the way home | 0:04:32 | 0:04:33 | |
from a Native American pow-wow. | 0:04:33 | 0:04:35 | |
-In America? -Talybont. | 0:04:35 | 0:04:37 | |
Annual thing, like a spiritual knowledge exchange, | 0:04:37 | 0:04:41 | |
we get tips on dream catching, they get bardic inspiration. | 0:04:41 | 0:04:44 | |
They're mostly from the Black Hills of South Dakota, | 0:04:44 | 0:04:47 | |
serious ancestral vibes, but they've found similar in the Brecon Beacons. | 0:04:47 | 0:04:51 | |
-Really? -Yeah, I've had many an epiphany while ascending Pen y Fan. | 0:04:51 | 0:04:55 | |
The funny thing is though, right, back home they mostly earn their | 0:04:55 | 0:04:59 | |
living from casinos, but I think fair play, chwarae teg, | 0:04:59 | 0:05:03 | |
we've all got to earn a crust. I get mine from making jewellery. | 0:05:03 | 0:05:07 | |
I'm not really an expert. | 0:05:08 | 0:05:10 | |
I try to get an ancestral connection when I'm making 'em. | 0:05:10 | 0:05:14 | |
From the materials? | 0:05:14 | 0:05:15 | |
Well, they're actually made from parts | 0:05:15 | 0:05:18 | |
from scrapped South Korean scooters. | 0:05:18 | 0:05:20 | |
So somebody else's scooter-driving ancestors? | 0:05:20 | 0:05:25 | |
Maybe. | 0:05:25 | 0:05:26 | |
Maybe, you might be on to something there. | 0:05:26 | 0:05:28 | |
Anyway cut a long one short. | 0:05:28 | 0:05:30 | |
Luckily, Teresa's cousin Rocky was coming up here | 0:05:30 | 0:05:33 | |
to a gig by a Motorhead tribute band. | 0:05:33 | 0:05:35 | |
I have got a little bit of backache after riding pillion for four hours, | 0:05:35 | 0:05:38 | |
but needs must. | 0:05:38 | 0:05:40 | |
So, what is it you do? | 0:05:40 | 0:05:44 | |
What? | 0:05:44 | 0:05:45 | |
Oh, I'm a doctor, GP. | 0:05:45 | 0:05:48 | |
Never. | 0:05:48 | 0:05:49 | |
-Yeah. -Never. | 0:05:49 | 0:05:50 | |
No, I am. | 0:05:50 | 0:05:52 | |
It's really funny you should say that, | 0:05:52 | 0:05:54 | |
because I had my palm read by Teresa's partner's auntie, | 0:05:54 | 0:05:57 | |
while Rocky was putting oil in the chopper and she said | 0:05:57 | 0:06:00 | |
I was going to have a very important encounter with a healer. | 0:06:00 | 0:06:03 | |
-Never. -Yeah, those very words. | 0:06:03 | 0:06:06 | |
Did she say he'd be tall, dark and handsome? | 0:06:06 | 0:06:09 | |
She's more of an interpretive reader | 0:06:09 | 0:06:11 | |
than one who's into specifics, you know. | 0:06:11 | 0:06:14 | |
But, hey! Fate! | 0:06:14 | 0:06:16 | |
ALARM RINGS | 0:06:16 | 0:06:18 | |
Oh, I'm just going... | 0:06:18 | 0:06:19 | |
Yeah, you carry on, I'm just off to the loo. | 0:06:19 | 0:06:21 | |
Oh, hi, I'm looking for the medical room. | 0:06:23 | 0:06:26 | |
Oh, thank you so much. | 0:06:26 | 0:06:27 | |
I want a word with you. | 0:06:29 | 0:06:31 | |
Patients to see, places to go, all the usual stuff. | 0:06:31 | 0:06:36 | |
You're trying to get them together. | 0:06:37 | 0:06:39 | |
Who? | 0:06:39 | 0:06:40 | |
It wasn't Howard who asked for Niamh to be at the conference. | 0:06:40 | 0:06:44 | |
You saw a chance to get her and Al together in the same room. | 0:06:44 | 0:06:49 | |
Look, Karen, | 0:06:49 | 0:06:50 | |
it's like when you put two things in a Petri dish | 0:06:50 | 0:06:55 | |
and then over time, something will grow. | 0:06:55 | 0:06:58 | |
I'm not sure that was the image I needed. | 0:06:58 | 0:07:01 | |
Al and Niamh are mad for each other, but left to their own devices, | 0:07:01 | 0:07:03 | |
they'll never get it on. | 0:07:03 | 0:07:05 | |
There's a slight inconvenience of a third party. | 0:07:05 | 0:07:08 | |
Oliver! | 0:07:08 | 0:07:10 | |
All's fair in love and... | 0:07:10 | 0:07:11 | |
War. | 0:07:11 | 0:07:12 | |
The work of opposites, the contest of polarities. | 0:07:14 | 0:07:18 | |
Light and dark, sun and shade, | 0:07:18 | 0:07:21 | |
the eternal battle of good and evil, | 0:07:21 | 0:07:24 | |
fought over worlds and galaxies | 0:07:24 | 0:07:26 | |
and within the heart of man. | 0:07:26 | 0:07:28 | |
Monsters and gods. | 0:07:29 | 0:07:32 | |
From the advent of storytelling... | 0:07:33 | 0:07:36 | |
Sorry. | 0:07:36 | 0:07:38 | |
From the advent of storytelling, the pull of these opposites... | 0:07:38 | 0:07:43 | |
-BREATHLESS: -Sorry. | 0:07:43 | 0:07:45 | |
..has been a driving dynamic. | 0:07:45 | 0:07:49 | |
'Sorry.' | 0:07:49 | 0:07:50 | |
This is the theme of our conference. | 0:07:50 | 0:07:52 | |
Oh, sorry, was that your foot? | 0:07:52 | 0:07:54 | |
The theme of our conference is the exploration of what that | 0:07:54 | 0:07:58 | |
dynamic creates - | 0:07:58 | 0:08:00 | |
change from conflict, | 0:08:00 | 0:08:03 | |
transformation from opposing forces... | 0:08:03 | 0:08:06 | |
Oh, he is brilliant. I've read everything he's ever done! | 0:08:06 | 0:08:10 | |
..men of high purpose, | 0:08:10 | 0:08:12 | |
seduced into evil. | 0:08:12 | 0:08:14 | |
But, to whom do we ascribe the term "monster" | 0:08:17 | 0:08:21 | |
and by what transcription is this suggestion of evil? | 0:08:21 | 0:08:23 | |
(Monster, monster, monster.) | 0:08:23 | 0:08:25 | |
(Monster, monster, monster.) | 0:08:25 | 0:08:27 | |
Or as Mary Shelley says, "No man chooses evil because it is evil, | 0:08:27 | 0:08:31 | |
"he only confuses it for happiness, the good he seeks." | 0:08:31 | 0:08:34 | |
Monster! | 0:08:34 | 0:08:36 | |
Leaves us in no doubt, that impulses rise up from within. | 0:08:41 | 0:08:45 | |
HE CHUCKLES | 0:08:45 | 0:08:47 | |
To illustrate the point, a film compilation - From The Shadows. | 0:08:47 | 0:08:53 | |
Doesn't seem to be a bad sprain. | 0:08:55 | 0:08:57 | |
But if it gets any worse, make an appointment at the Campus surgery | 0:08:57 | 0:09:00 | |
with one of my colleagues. They'll look after you. | 0:09:00 | 0:09:02 | |
OK? Take care of it, bye. | 0:09:02 | 0:09:04 | |
MOBILE PHONE CHIMES | 0:09:04 | 0:09:06 | |
They say he's slept with 1,000 women. | 0:09:27 | 0:09:30 | |
Who? | 0:09:31 | 0:09:32 | |
Blake Calverly. | 0:09:32 | 0:09:34 | |
No wonder they used to call him the "Rock God of Steampunk." | 0:09:34 | 0:09:37 | |
Though "Rock God" makes me think more of Robert Plant | 0:09:37 | 0:09:40 | |
with his shirt off. | 0:09:40 | 0:09:41 | |
There's something about a man with a bare torso | 0:09:41 | 0:09:43 | |
and tight leather trousers. | 0:09:43 | 0:09:46 | |
Yeah, I was going to wear mine, but it looked like it might rain. | 0:09:46 | 0:09:50 | |
Hey, I wasn't saying there was anything wrong with men | 0:09:50 | 0:09:53 | |
of more generous dimensions. | 0:09:53 | 0:09:55 | |
Au contraire, as they say in France. | 0:09:55 | 0:09:58 | |
Mostly. | 0:09:58 | 0:10:00 | |
I suppose you'd be more into biopunk? | 0:10:01 | 0:10:04 | |
What? | 0:10:04 | 0:10:05 | |
Being a doctor, I suppose you'd be more into biopunk than steampunk. | 0:10:05 | 0:10:08 | |
Genetic malpractices, apocalyptic virus outbreaks. | 0:10:08 | 0:10:12 | |
Actually, I'm more into hard sci-fi - | 0:10:12 | 0:10:15 | |
Asimov, Lem, Kim Stanley Robinson. | 0:10:15 | 0:10:18 | |
So, you're very scientifically-minded then? | 0:10:18 | 0:10:21 | |
Mm. | 0:10:21 | 0:10:22 | |
Fantastic. | 0:10:22 | 0:10:24 | |
There's something brilliant about a man who knows | 0:10:24 | 0:10:26 | |
the difference between warp speed and parsecs. | 0:10:26 | 0:10:29 | |
GIRL SOBS | 0:10:33 | 0:10:36 | |
Are you OK in there? | 0:10:39 | 0:10:41 | |
I just wanted to see if you need any help with anything. | 0:10:43 | 0:10:46 | |
Atopic dermatitis. | 0:11:14 | 0:11:17 | |
Yeah, that's what my GP says. | 0:11:17 | 0:11:19 | |
Hazard of using industrial strippers on ferrous metals. | 0:11:19 | 0:11:24 | |
What have they prescribed you? Hydrocortisone or similar? | 0:11:25 | 0:11:28 | |
Think so. | 0:11:28 | 0:11:29 | |
-You shouldn't wear long sleeves. -No? | 0:11:30 | 0:11:33 | |
It gets dust and bacteria into the wounds. Infects it more. | 0:11:33 | 0:11:37 | |
Destined for the caring professions, weren't you? | 0:11:39 | 0:11:42 | |
Actually, I was destined for scientific greatness. | 0:11:42 | 0:11:45 | |
And still you might. | 0:11:45 | 0:11:48 | |
-You reckon? -Yeah. | 0:11:48 | 0:11:50 | |
I'm good with auras. | 0:11:50 | 0:11:51 | |
You have a glowing penumbra of intellectual assurance. | 0:11:51 | 0:11:55 | |
As you've just seen, monsters and gods clash within us | 0:11:57 | 0:12:03 | |
and the effect is on the world without. | 0:12:03 | 0:12:06 | |
To return to Mary Shelley's greatest creation | 0:12:06 | 0:12:08 | |
and in the words of her creation's own creation, | 0:12:08 | 0:12:12 | |
"I have love in me, the like of which you can scarcely imagine." | 0:12:12 | 0:12:18 | |
"And rage the like of which you can not imagine. | 0:12:18 | 0:12:21 | |
"If I cannot indulge one, I will satisfy the other." | 0:12:21 | 0:12:25 | |
Thank you. | 0:12:25 | 0:12:27 | |
Look, Mr Calverly! | 0:12:38 | 0:12:40 | |
Mr Calverly. | 0:12:40 | 0:12:42 | |
Just really interested. | 0:12:44 | 0:12:46 | |
Why do you think that Frankenstein is Mary Shelley's greatest work? | 0:12:46 | 0:12:50 | |
Its subversion of the Prometheus story, erm, | 0:12:50 | 0:12:54 | |
themes of Faustian overreach | 0:12:54 | 0:12:56 | |
and it was the first science-fiction novel. | 0:12:56 | 0:12:59 | |
Well, not if you include Voltaire's Micromegas | 0:12:59 | 0:13:02 | |
or Kepler's Somnium. | 0:13:02 | 0:13:04 | |
Yes, but according to Aldiss... | 0:13:04 | 0:13:08 | |
Well, according to Sagan and Asimov, it's Somnium. | 0:13:08 | 0:13:12 | |
And that's not even including The Blazing World | 0:13:12 | 0:13:14 | |
or Underground Tales. | 0:13:14 | 0:13:16 | |
Right, well, you can't deny the influence of Frankenstein. | 0:13:16 | 0:13:18 | |
Yes, it is a seminal, seminal piece of work, | 0:13:18 | 0:13:21 | |
but it's not Shelley's greatest work. | 0:13:21 | 0:13:24 | |
-That's The Last Man. -The Last Man? | 0:13:24 | 0:13:26 | |
Oh, you don't know it? | 0:13:26 | 0:13:28 | |
I think you'll like it, I'll get you a copy. | 0:13:28 | 0:13:30 | |
Plague has devastated the world, and one man is left alive. | 0:13:30 | 0:13:33 | |
It's a devastating critique on the timidities of medicine | 0:13:33 | 0:13:36 | |
and an absolute refusal to put man at the centre of creation. | 0:13:36 | 0:13:40 | |
Right, well, it does sound just a little nihilistic. | 0:13:40 | 0:13:45 | |
How so? | 0:13:45 | 0:13:46 | |
Well, do you really think the human condition is one of isolation? | 0:13:46 | 0:13:51 | |
Al? | 0:13:51 | 0:13:53 | |
Niamh? | 0:13:53 | 0:13:54 | |
Why? | 0:13:54 | 0:13:55 | |
Howard drafted me in for medical cover. | 0:13:55 | 0:13:58 | |
"A beauty come cresting across the Emerald Sea." | 0:13:58 | 0:14:01 | |
-Blake Calverly. -Niamh Donoghue. | 0:14:01 | 0:14:05 | |
-Doctor. -Beauty and intellect. | 0:14:05 | 0:14:07 | |
That's a rare combination. | 0:14:07 | 0:14:09 | |
I need to show you something. | 0:14:11 | 0:14:13 | |
Oh, my word, sorry! | 0:14:16 | 0:14:18 | |
No, no, no, no. | 0:14:18 | 0:14:20 | |
Trying... | 0:14:20 | 0:14:21 | |
Oh, well, that's easy. | 0:14:24 | 0:14:26 | |
-Yeah? -Yeah! | 0:14:26 | 0:14:27 | |
"Blake Calverly", self-explanatory, | 0:14:27 | 0:14:30 | |
unless it's on about another Blake Calverly, which it might be, | 0:14:30 | 0:14:33 | |
but I doubt, as he's actually within the building. | 0:14:33 | 0:14:35 | |
Wow, that's a deduction of Sherlockian dimensions. | 0:14:35 | 0:14:38 | |
Actually, common misconception. | 0:14:38 | 0:14:41 | |
Sherlock gets to his conclusions by a process of inductive reasoning, | 0:14:41 | 0:14:44 | |
not deductive. | 0:14:44 | 0:14:46 | |
"12:00", does what it says on the tin. | 0:14:46 | 0:14:49 | |
"Hour of the Rock." | 0:14:49 | 0:14:51 | |
"Hour of the Rock" is from the Tiberius Cycle. | 0:14:52 | 0:14:56 | |
Blake's earliest novels. | 0:14:56 | 0:14:57 | |
On Lothar, one of the moons of Tiberius, | 0:14:57 | 0:15:01 | |
the People of the Plains are committed to the truth, right, | 0:15:01 | 0:15:04 | |
and if one of them is found to be telling an untruth, | 0:15:04 | 0:15:06 | |
they're taken to the mile-high Rock of Igtur, | 0:15:06 | 0:15:09 | |
their arms are bound and then... | 0:15:09 | 0:15:11 | |
My word. | 0:15:13 | 0:15:14 | |
Someone's going to do him in. | 0:15:15 | 0:15:17 | |
-Alyson. -The truth. | 0:15:19 | 0:15:21 | |
-I... -You didn't tell the truth. | 0:15:22 | 0:15:25 | |
..be afraid, Alyson... | 0:15:25 | 0:15:26 | |
Don't be... | 0:15:27 | 0:15:29 | |
What's she going to do? | 0:15:31 | 0:15:32 | |
Drag him to the top of the building and throw him to his doom? | 0:15:32 | 0:15:34 | |
I think we should take it seriously. | 0:15:34 | 0:15:36 | |
I'm not saying we shouldn't, but we don't know who she is. | 0:15:36 | 0:15:38 | |
We don't even know if this is a real threat. | 0:15:38 | 0:15:40 | |
A friend of mine once had a message scrawled on the windscreen | 0:15:40 | 0:15:43 | |
-of his car. -What was it? | 0:15:43 | 0:15:44 | |
Vauxhall Astra. | 0:15:44 | 0:15:46 | |
Oh, "Evil will visit you." | 0:15:46 | 0:15:49 | |
Did it? | 0:15:49 | 0:15:50 | |
-It was a punk band from Lampeter. -Oh. | 0:15:50 | 0:15:53 | |
They couldn't afford advertising | 0:15:53 | 0:15:54 | |
so they went round spraying their name on random vehicles. | 0:15:54 | 0:15:57 | |
I don't think this is a case of artistic promotion. | 0:15:57 | 0:16:00 | |
Maybe it's revenge. | 0:16:00 | 0:16:01 | |
Someone's offended by really bad prose. | 0:16:01 | 0:16:04 | |
Well, she did seem really troubled. | 0:16:04 | 0:16:06 | |
Perhaps we should call the cops. | 0:16:06 | 0:16:08 | |
What, and tell them we've found a message in the ladies' loos? | 0:16:08 | 0:16:10 | |
Well, I think we should just try and find her. | 0:16:10 | 0:16:12 | |
Er, no pressure like, | 0:16:12 | 0:16:14 | |
but there's less than ten minutes before the Hour of the Rock. | 0:16:14 | 0:16:17 | |
Come on. | 0:16:19 | 0:16:20 | |
A Petri dish? | 0:16:20 | 0:16:22 | |
Welcome to the Dr Clay matchmaking service. | 0:16:22 | 0:16:25 | |
It was just an analogy. | 0:16:25 | 0:16:27 | |
We just need to get them in the same room together. | 0:16:27 | 0:16:29 | |
-And the magic will happen. -Cynical. | 0:16:29 | 0:16:32 | |
It's right, though, those two could be stuck together | 0:16:32 | 0:16:34 | |
in a room for years and nothing would happen. | 0:16:34 | 0:16:36 | |
Bet you a fiver. | 0:16:36 | 0:16:37 | |
It'll have to be more than a fiver, big boy. | 0:16:37 | 0:16:39 | |
OK, then, one of those Ferrari track days. | 0:16:39 | 0:16:41 | |
Whoever loses buys the other one a day at the track. | 0:16:41 | 0:16:44 | |
All right, you're on. | 0:16:44 | 0:16:46 | |
You say they'll get together, | 0:16:46 | 0:16:47 | |
I say that Al will bore her to death, | 0:16:47 | 0:16:49 | |
talking about spaceships fuelled by real ale. | 0:16:49 | 0:16:51 | |
We could check it out. | 0:16:53 | 0:16:54 | |
What? The sci-fi conference? | 0:16:54 | 0:16:56 | |
Mm-hm. | 0:16:56 | 0:16:58 | |
Well, you'd fit right in | 0:16:58 | 0:16:59 | |
but I'll have to borrow something a bit spammy. | 0:16:59 | 0:17:01 | |
How's anything going to happen with you two lurking around? | 0:17:01 | 0:17:05 | |
Maybe we go in disguise. | 0:17:05 | 0:17:07 | |
-You lied. -I didn't. | 0:17:09 | 0:17:11 | |
It was summer. | 0:17:11 | 0:17:12 | |
'Alyson.' | 0:17:12 | 0:17:13 | |
I was off school, remember? | 0:17:13 | 0:17:15 | |
-Alyson, it was... -You came into my room. | 0:17:15 | 0:17:17 | |
'There's no need to be afraid.' | 0:17:17 | 0:17:19 | |
"Don't be afraid." That's what you said. | 0:17:19 | 0:17:21 | |
-PANTING: -Please, please. -But it wasn't OK. Things weren't OK. | 0:17:21 | 0:17:25 | |
-BREATHLESS: -Pass me my briefcase. My briefcase. -Your fault. | 0:17:25 | 0:17:29 | |
'Don't be afraid.' | 0:17:29 | 0:17:30 | |
-It was your fault! -Please, the case! | 0:17:30 | 0:17:32 | |
She's kinda cyber-punk, Goth, er, black clothes, eye liner. | 0:17:33 | 0:17:39 | |
Well, it's not the easiest place | 0:17:39 | 0:17:40 | |
to look for someone kind of funny looking. | 0:17:40 | 0:17:42 | |
There! There! | 0:17:42 | 0:17:44 | |
Excuse me. | 0:17:46 | 0:17:48 | |
Never mind, sorry. | 0:17:48 | 0:17:50 | |
I think this is the moment when one of us says split up. | 0:17:50 | 0:17:53 | |
Right, we should go and search in different directions. | 0:17:53 | 0:17:56 | |
Top idea. | 0:17:56 | 0:17:57 | |
Hello? | 0:18:02 | 0:18:03 | |
Anyone? | 0:18:05 | 0:18:06 | |
Hey! Can you hear me? | 0:18:14 | 0:18:16 | |
I'm going to look after you. | 0:18:16 | 0:18:18 | |
Right, now, take nice, easy breaths. | 0:18:27 | 0:18:30 | |
There you go. | 0:18:30 | 0:18:32 | |
Now, I could call an ambulance. | 0:18:32 | 0:18:34 | |
-If you have had an episode, then I would advise it. -I'm OK. | 0:18:34 | 0:18:37 | |
"Hour of the Rock." | 0:18:39 | 0:18:41 | |
That's what she wrote, on the bathroom mirror. | 0:18:41 | 0:18:43 | |
"Blake Calverly, 12:00, Hour of the Rock." | 0:18:43 | 0:18:47 | |
She wasn't trying to kill me. | 0:18:47 | 0:18:49 | |
Is she just some kind of deranged fan, is she? | 0:18:49 | 0:18:52 | |
She's my daughter. | 0:18:54 | 0:18:55 | |
We used to spend our time between London and LA. | 0:18:56 | 0:18:59 | |
My mum was English and we lived mostly over here. | 0:19:00 | 0:19:03 | |
But he had one of his stories optioned by the studios. | 0:19:05 | 0:19:08 | |
It was the summer I turned 15. | 0:19:08 | 0:19:11 | |
I knew it was wrong. | 0:19:11 | 0:19:14 | |
I knew what I did was wrong. | 0:19:14 | 0:19:16 | |
It was the Pacific Coast Highway. | 0:19:19 | 0:19:22 | |
We were driving back from a party in Malibu. | 0:19:22 | 0:19:24 | |
My wife, Maria, wanted to drive. | 0:19:24 | 0:19:27 | |
I said, "Let's call a cab," and she said no. | 0:19:28 | 0:19:31 | |
I called one anyway and they said there'd be a wait of an hour. | 0:19:31 | 0:19:36 | |
She had a meeting the next morning, a big client, | 0:19:36 | 0:19:39 | |
and was insistent that she got home. | 0:19:39 | 0:19:41 | |
So, I gave in. | 0:19:42 | 0:19:45 | |
It was just north of Santa Monica | 0:19:46 | 0:19:48 | |
when we were blindsided by the truck, | 0:19:48 | 0:19:50 | |
put the car into a spin, Maria couldn't hold it, | 0:19:50 | 0:19:53 | |
there was a concrete wall and... | 0:19:53 | 0:19:55 | |
He walked away. | 0:19:55 | 0:19:57 | |
My mother was killed... | 0:19:58 | 0:20:00 | |
..and he wasn't touched. | 0:20:01 | 0:20:03 | |
12:00. | 0:20:04 | 0:20:05 | |
That's when he told me my mother died. | 0:20:07 | 0:20:10 | |
That's when everything...stopped. | 0:20:10 | 0:20:14 | |
-But, if it was an accident... -He made her drive. | 0:20:15 | 0:20:18 | |
He's always lied about it, always said it was her. | 0:20:18 | 0:20:20 | |
She had a meeting, some big contract. | 0:20:20 | 0:20:23 | |
But he drank. | 0:20:23 | 0:20:25 | |
He was alcoholic and he was mean when he drank. | 0:20:25 | 0:20:28 | |
I know he made her drive. | 0:20:28 | 0:20:31 | |
He'd done it before. | 0:20:31 | 0:20:32 | |
She didn't like driving in the States, she was nervous, | 0:20:32 | 0:20:35 | |
it was the wrong side of the road for her and... | 0:20:35 | 0:20:37 | |
..she swerved out in front of the truck. | 0:20:37 | 0:20:40 | |
Police said maybe it was a reflex | 0:20:41 | 0:20:44 | |
or maybe she just pulled to the wrong side. | 0:20:44 | 0:20:46 | |
I should have been stronger. | 0:20:47 | 0:20:50 | |
More insistent, taken the keys. | 0:20:50 | 0:20:53 | |
-But... -So, what's with all the messages? | 0:20:54 | 0:20:57 | |
Well, Alyson, she's always held me responsible. | 0:20:57 | 0:21:00 | |
She was diagnosed bi-polar, as a child. | 0:21:01 | 0:21:04 | |
And she'd already had a couple of episodes before she was 15. | 0:21:04 | 0:21:10 | |
And I got her treatment, the best, but... | 0:21:10 | 0:21:13 | |
..she moved back here to go to university. | 0:21:14 | 0:21:17 | |
Soon as she was alone, I became a figure of hate. | 0:21:18 | 0:21:22 | |
The calls...the e-mails. | 0:21:23 | 0:21:26 | |
And, whenever I'm over here, she turns up and... | 0:21:26 | 0:21:31 | |
Asks you to tell the truth. | 0:21:31 | 0:21:33 | |
-Honey, I've always... -What do you want to try? | 0:21:33 | 0:21:36 | |
A polygraph? | 0:21:36 | 0:21:37 | |
Or maybe a Voight-Kampff test, see if you've got any humanity at all? | 0:21:37 | 0:21:40 | |
-No, that's not fair. -You killed my mother. | 0:21:40 | 0:21:42 | |
I didn't. | 0:21:42 | 0:21:43 | |
You made her drive. | 0:21:43 | 0:21:45 | |
-She wanted to drive! -You were drunk. | 0:21:45 | 0:21:48 | |
You wanted to get back. | 0:21:49 | 0:21:51 | |
The taxi couldn't come, mum didn't want to drive, | 0:21:51 | 0:21:54 | |
but you insisted. | 0:21:54 | 0:21:56 | |
You made a scene, you made her feel so humiliated, she said yes. | 0:21:56 | 0:22:00 | |
Alyson, maybe... | 0:22:00 | 0:22:01 | |
You know he hasn't drunk since? | 0:22:01 | 0:22:03 | |
That's guilt. | 0:22:03 | 0:22:05 | |
He can write about The Hour of the Rock. | 0:22:05 | 0:22:08 | |
He can write about liars being purged on the page. | 0:22:08 | 0:22:11 | |
He just can't admit it to himself, | 0:22:11 | 0:22:13 | |
can't admit that she died because of him. | 0:22:13 | 0:22:16 | |
BLAKE SOBS | 0:22:16 | 0:22:19 | |
She helped him when she gave him the nitro spray. | 0:22:24 | 0:22:26 | |
She couldn't let him die. | 0:22:26 | 0:22:28 | |
She could have. | 0:22:28 | 0:22:29 | |
No, she knew the truth. She just wanted him to admit it. | 0:22:29 | 0:22:32 | |
What was that test that she was talking about earlier? | 0:22:32 | 0:22:35 | |
The Voight-Kampff Test? | 0:22:35 | 0:22:37 | |
It's from Do Androids Dream Of Electric Sheep, | 0:22:37 | 0:22:39 | |
Which they made into an excellent film in 1982, called Blade Runner. | 0:22:39 | 0:22:42 | |
Now, the test is to see whether humans are humans, | 0:22:42 | 0:22:44 | |
or whether humans are actually replicants, | 0:22:44 | 0:22:46 | |
because replicants, they can't feel anything. | 0:22:46 | 0:22:48 | |
And you two are very empathetic. | 0:22:48 | 0:22:51 | |
-What? -I told you, I'm good with auras. | 0:22:51 | 0:22:54 | |
Yours are burning really brightly, | 0:22:54 | 0:22:56 | |
they're almost phasing into each other. | 0:22:56 | 0:22:58 | |
I don't believe in auras. | 0:22:58 | 0:23:00 | |
Just because you don't believe doesn't mean they don't exist. | 0:23:00 | 0:23:03 | |
MAN SPEAKS WELSH | 0:23:03 | 0:23:05 | |
Dim problem! | 0:23:05 | 0:23:08 | |
Hang on. | 0:23:08 | 0:23:10 | |
-Was that Welsh? -Yeah. | 0:23:10 | 0:23:11 | |
And you said Howard sent you here? | 0:23:12 | 0:23:15 | |
Well, it was actually Jimmi suggested it. | 0:23:15 | 0:23:17 | |
Of course it was. | 0:23:17 | 0:23:18 | |
Well, this must have taken quite a bit of planning. | 0:23:18 | 0:23:21 | |
You were excellent. | 0:23:21 | 0:23:22 | |
They look just like two ordinary werewolves | 0:23:22 | 0:23:25 | |
hanging out at a sci-fi convention | 0:23:25 | 0:23:27 | |
when in fact we know them better as Dr Jimmi Clay and Dr Kevin Tyler. | 0:23:27 | 0:23:32 | |
It's not them. | 0:23:33 | 0:23:35 | |
THEY LAUGH | 0:23:35 | 0:23:38 | |
You thought that was Jimmi? What? | 0:23:38 | 0:23:41 | |
They're my mates, from Aber. | 0:23:41 | 0:23:44 | |
So, this Jimmi bloke, he's Welsh, is he? | 0:23:45 | 0:23:47 | |
Yeah, he's very Welsh. | 0:23:47 | 0:23:48 | |
And you thought he'd roped me into...? | 0:23:48 | 0:23:50 | |
THEY LAUGH | 0:23:50 | 0:23:53 | |
Oh, that's brilliant. | 0:23:53 | 0:23:55 | |
Jimmi, it's Al. | 0:23:59 | 0:24:00 | |
Yeah, I uncovered your rather pathetic attempt at playing cupid, | 0:24:00 | 0:24:03 | |
I had expected better of you. | 0:24:03 | 0:24:06 | |
SHE GASPS | 0:24:06 | 0:24:08 | |
OK, OK, it's OK. | 0:24:08 | 0:24:09 | |
I'll help you dislodge it, OK? OK, just wait, wait. | 0:24:09 | 0:24:12 | |
OK, don't worry. | 0:24:12 | 0:24:15 | |
OK, up, up, up, up. | 0:24:15 | 0:24:16 | |
I've got you, I've got you. | 0:24:16 | 0:24:19 | |
Oh! | 0:24:20 | 0:24:23 | |
Al! | 0:24:23 | 0:24:24 | |
-She just started choking! -The Heimlich didn't work? -No! | 0:24:28 | 0:24:32 | |
Right, I need you to help me. | 0:24:33 | 0:24:34 | |
-We need a pen, a hollow pen. -A biro, I need a biro! | 0:24:34 | 0:24:37 | |
Tracheotomy? | 0:24:37 | 0:24:39 | |
No. | 0:24:44 | 0:24:45 | |
Al? | 0:24:45 | 0:24:47 | |
Cricothyroidotomy. | 0:24:47 | 0:24:49 | |
Pen, please. | 0:24:52 | 0:24:54 | |
AIR HISSES SHE GASPS | 0:24:58 | 0:25:01 | |
It's OK, it's OK. | 0:25:09 | 0:25:11 | |
Mate, we heard what happened! | 0:25:17 | 0:25:20 | |
Everything OK? | 0:25:20 | 0:25:22 | |
You decided on a cricothyroidotomy, then? | 0:25:22 | 0:25:25 | |
Well, it was 50-50 so I thought I'd go for it. | 0:25:25 | 0:25:28 | |
I know what it is, | 0:25:28 | 0:25:29 | |
but why did you decide on that as opposed to a tracheotomy? | 0:25:29 | 0:25:31 | |
That's because the carotid and the arteries | 0:25:31 | 0:25:33 | |
and jugular veins are either side of the trachea | 0:25:33 | 0:25:35 | |
so if you make your incision in the wrong place then... | 0:25:35 | 0:25:37 | |
-Well, Al made the right choice. -Dr Ice. | 0:25:37 | 0:25:40 | |
To be fair, I couldn't have done it without Dr Donoghue. | 0:25:40 | 0:25:42 | |
-Oh, no. -No, seriously, we were all really lucky you were here. | 0:25:42 | 0:25:45 | |
Beers after work, then? | 0:25:45 | 0:25:47 | |
Yeah, we'll get em. | 0:25:47 | 0:25:49 | |
So, Jimmi set us up. | 0:25:55 | 0:25:56 | |
Yeah, yeah, and without any assistance from the Taffia. | 0:25:56 | 0:26:00 | |
We should go on a date. | 0:26:00 | 0:26:01 | |
A date? What, what, me and...? | 0:26:03 | 0:26:05 | |
Who else would I want to go on a date with? | 0:26:05 | 0:26:07 | |
I don't know, someone with more pros than cons? | 0:26:07 | 0:26:11 | |
OK, that was Emma's idea, and I would never have... | 0:26:11 | 0:26:14 | |
-Look, it's fine. -It's not. | 0:26:14 | 0:26:17 | |
And it didn't mean anything, I'm really sorry. | 0:26:17 | 0:26:20 | |
I'm going to talk to Oliver. | 0:26:20 | 0:26:22 | |
Oh, right. | 0:26:23 | 0:26:26 | |
-I just need to check... -Yeah, Friday. | 0:26:28 | 0:26:31 | |
Friday. | 0:26:31 | 0:26:33 | |
Actually... | 0:26:33 | 0:26:35 | |
SHE LAUGHS | 0:26:37 | 0:26:41 | |
OK. | 0:26:41 | 0:26:42 | |
BOTH: Friday! | 0:26:42 | 0:26:44 | |
-Depression? -Yes. | 0:26:51 | 0:26:53 | |
HESTON CHUCKLES | 0:26:53 | 0:26:54 | |
Because of you, my son's a wreck. | 0:26:54 | 0:26:57 | |
Because of your son, my daughter's dead! | 0:26:57 | 0:27:00 | |
You're not going off to have a baby, are you? | 0:27:00 | 0:27:02 | |
No, locuming, I don't want to do it any more. | 0:27:02 | 0:27:05 | |
Oliver, it isn't you, it's... | 0:27:05 | 0:27:08 | |
Sorry, I've got a meeting with a colleague. | 0:27:08 | 0:27:10 | |
-Oh, I'll go. -No, no, please don't. I'll be as quick as I can. | 0:27:10 | 0:27:14 |