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OK. So, this is what you missed. | 0:00:02 | 0:00:04 | |
The dead are walking the Earth and they're trapped here. | 0:00:04 | 0:00:07 | |
And some of them are pissed and trying to fight back. | 0:00:07 | 0:00:09 | |
Yeah, I know, and then there's this tribe, gang, posse of people called the Angelics, | 0:00:09 | 0:00:14 | |
who have special powers, yeah, | 0:00:14 | 0:00:15 | |
and they're thinking they need to stop these dead people, | 0:00:15 | 0:00:18 | |
and they're being killed off by the dead guy, | 0:00:18 | 0:00:19 | |
first this Sarah woman and then this Helen woman, and that's scary. | 0:00:19 | 0:00:23 | |
Oh, and there's Paul, who's my best friend, | 0:00:23 | 0:00:24 | |
and who can see dead people. | 0:00:24 | 0:00:26 | |
We used to think he was mad, but now we think he's...you know, | 0:00:26 | 0:00:30 | |
special. And then there's some stuff about Mark, | 0:00:30 | 0:00:32 | |
my history teacher, whose wife is one of the murdered ones. | 0:00:32 | 0:00:36 | |
Yeah, there's even more. | 0:00:36 | 0:00:39 | |
Yeah. | 0:00:40 | 0:00:42 | |
GROANING | 0:00:44 | 0:00:45 | |
Now, where's my Star Wars box set? | 0:00:47 | 0:00:49 | |
Na-Nu Na-Nu! | 0:00:49 | 0:00:52 | |
Oh, shit. | 0:01:33 | 0:01:35 | |
So, that's it, then? He killed me and now Helen? | 0:01:37 | 0:01:41 | |
Yeah. | 0:01:41 | 0:01:44 | |
That's us gone, then? | 0:01:44 | 0:01:46 | |
Yeah. | 0:01:46 | 0:01:47 | |
HE GRUNTS | 0:01:55 | 0:01:57 | |
Mum? Mum! | 0:02:03 | 0:02:06 | |
I'm done in here! | 0:02:06 | 0:02:08 | |
J-Jay? | 0:02:16 | 0:02:17 | |
I need you to talk to Mark. | 0:02:23 | 0:02:25 | |
And I need you to help me make sense of what's going on. | 0:02:25 | 0:02:28 | |
It's inevitable. You know that, Neil. The world's coming to an end. | 0:02:28 | 0:02:33 | |
There's nothing you can do. | 0:02:33 | 0:02:35 | |
There's always something we can do. | 0:02:41 | 0:02:44 | |
I always loved this place. | 0:03:05 | 0:03:07 | |
Anna? | 0:03:33 | 0:03:34 | |
THROATY GURGLING | 0:03:40 | 0:03:41 | |
THROATY GURGLING | 0:03:42 | 0:03:45 | |
Mum. | 0:03:49 | 0:03:51 | |
MUM! | 0:03:55 | 0:03:57 | |
CLOCK TICKS | 0:03:59 | 0:04:01 | |
CHATTER | 0:04:03 | 0:04:05 | |
Your sister was naked? | 0:04:06 | 0:04:08 | |
Yeah, well, the important thing was that she was dead. | 0:04:08 | 0:04:11 | |
Dead, naked and in your bed. | 0:04:11 | 0:04:14 | |
She was... It was only partial nudity. | 0:04:14 | 0:04:18 | |
Maybe you're not special. Maybe you're just sick. | 0:04:18 | 0:04:20 | |
Hear me out. | 0:04:23 | 0:04:24 | |
Dreams represent subconscious urges, | 0:04:24 | 0:04:27 | |
which means part of you wants to see your sister dead, | 0:04:27 | 0:04:30 | |
naked and in your bed. | 0:04:30 | 0:04:32 | |
BIKE BELL RINGS | 0:04:32 | 0:04:33 | |
Hi, yes. We need volunteers to sign up | 0:04:33 | 0:04:36 | |
for the school ball committee cos we don't have enough people. | 0:04:36 | 0:04:38 | |
-It wasn't a dream, it was a vision. -"It wasn't a dream, it was a vision." | 0:04:38 | 0:04:41 | |
Sick. You're sick. | 0:04:41 | 0:04:43 | |
So, who wants a sign-up sheet? | 0:04:47 | 0:04:49 | |
Thank you. | 0:04:49 | 0:04:51 | |
-No. -The average man spends two weeks of his life kissing. | 0:04:51 | 0:04:54 | |
-No. -There are between six and nine billion condoms produced a year. | 0:04:54 | 0:04:57 | |
It's my sister's ball committee. No way. | 0:04:57 | 0:05:00 | |
Men with more active sex lives are more likely to live past 80 years. | 0:05:00 | 0:05:04 | |
We wouldn't live past 18. She would kill us. | 0:05:04 | 0:05:06 | |
And knowing she was naked in your dream wouldn't push her to homicide? | 0:05:06 | 0:05:10 | |
Ha(!) | 0:05:10 | 0:05:11 | |
Two weeks? I haven't even got past five seconds. | 0:05:11 | 0:05:13 | |
Nine billion. Well, if you discount the one I wore on my head for that bet... | 0:05:13 | 0:05:16 | |
And 80 years. | 0:05:16 | 0:05:18 | |
This ball committee is the golden ticket to sex. | 0:05:18 | 0:05:20 | |
And as Willy Wonka told us all, sex is life. | 0:05:20 | 0:05:25 | |
Mate, please. For our health, if nothing else, we need to get it on with someone. | 0:05:25 | 0:05:29 | |
Sometime. Somewhere. | 0:05:29 | 0:05:32 | |
-This is important to me. -Everything's important to you. | 0:05:34 | 0:05:38 | |
-It should be important to you too. -Why? | 0:05:38 | 0:05:40 | |
Cos ever since you started seeing things, you... | 0:05:40 | 0:05:43 | |
-Seeing things?! -Thanks, Mac(!) | 0:05:43 | 0:05:45 | |
-Sure. -Am I a rabbit? Am I rabbit? | 0:05:45 | 0:05:47 | |
Am I, though? Am I, though? | 0:05:47 | 0:05:49 | |
Don't worry about them. They're 12. | 0:05:49 | 0:05:51 | |
Yeah, and we'll get older, but you'll still be freaks. | 0:05:51 | 0:05:54 | |
Sam Griegson and Greg Taylor, come back here! | 0:05:54 | 0:05:57 | |
I know you did that to Mr Newman's car. | 0:05:57 | 0:05:59 | |
Just a scratch! | 0:05:59 | 0:06:01 | |
It was a very offensive sentence! Wait! | 0:06:01 | 0:06:03 | |
Oi! Wait. You two! | 0:06:04 | 0:06:06 | |
It's a new low. | 0:06:08 | 0:06:10 | |
Being bullied by prepubescents. A new low. | 0:06:10 | 0:06:13 | |
Or high, depending on how you look at the world. | 0:06:13 | 0:06:16 | |
We're the lowest of the low. No-one is as despised as us. | 0:06:16 | 0:06:20 | |
That's quite an achievement. | 0:06:22 | 0:06:24 | |
And you really think joining Anna's committee's going to make any of that better? | 0:06:24 | 0:06:27 | |
You saw your sister dead, naked and in your bed. | 0:06:27 | 0:06:30 | |
A little normality, a little normality, | 0:06:30 | 0:06:33 | |
and maybe a bit of golden-ticket sex with someone other than your sister | 0:06:33 | 0:06:36 | |
would be good for... | 0:06:36 | 0:06:38 | |
-Hi. -Hi. | 0:06:39 | 0:06:41 | |
I was...wondering when I'd see you again. | 0:06:41 | 0:06:46 | |
We need a minute. | 0:06:46 | 0:06:47 | |
-Do you now? -Mac. | 0:06:47 | 0:06:50 | |
-Did you listen to anything I said? -I do. I... I need to talk to him. | 0:06:50 | 0:06:55 | |
Your friend is quite the mercenary. | 0:06:56 | 0:06:58 | |
I wonder if he really cares about anything...or anybody. | 0:06:58 | 0:07:02 | |
What? | 0:07:02 | 0:07:03 | |
He's quoting Star Wars. Ignore him. | 0:07:03 | 0:07:05 | |
I'm not quoting Star Wars! I'm quoting Leia! | 0:07:05 | 0:07:07 | |
-Come on. Let's get out of here. -You can't quote a film! | 0:07:07 | 0:07:09 | |
You can only quote a character in a film! | 0:07:09 | 0:07:12 | |
KNOCK AT DOOR | 0:07:14 | 0:07:16 | |
Mark. Great. Come in. | 0:07:16 | 0:07:19 | |
So, how's it, er... | 0:07:20 | 0:07:23 | |
going? | 0:07:23 | 0:07:25 | |
I'm fine. | 0:07:25 | 0:07:27 | |
Sit down for a minute, would you? | 0:07:28 | 0:07:30 | |
When Kathy left me... | 0:07:39 | 0:07:40 | |
Sarah and I separated months ago. | 0:07:40 | 0:07:43 | |
Now she's missing. It's a different thing, Dave. | 0:07:43 | 0:07:46 | |
And time off wouldn't allow you to be more help to the police? | 0:07:46 | 0:07:48 | |
Help with what? They're barely talking to me. I mean, | 0:07:48 | 0:07:51 | |
what do you want me to do? Walk down the road shouting her name? | 0:07:51 | 0:07:55 | |
Dave, I need to keep busy. | 0:07:55 | 0:07:58 | |
Mark, I've just had Sam Griegson's mum on the phone | 0:07:58 | 0:08:00 | |
making some pretty serious threats. | 0:08:00 | 0:08:02 | |
The kid is a little shit. He scratched "Newman's a cocksucker" on Vince's car. | 0:08:02 | 0:08:06 | |
But that's no excuse to drag him halfway round the school. | 0:08:06 | 0:08:09 | |
The boy's got bruises on his arm! | 0:08:09 | 0:08:11 | |
Now, I have responsibilities to the school governors, legal... | 0:08:13 | 0:08:19 | |
It won't happen again, OK? You have my word. | 0:08:19 | 0:08:23 | |
Hmm. | 0:08:23 | 0:08:25 | |
Consider this an official warning. | 0:08:27 | 0:08:30 | |
And then... And then Jay is lying dead on the staircase. | 0:08:33 | 0:08:38 | |
And then Anna's lying dead on my bed, | 0:08:38 | 0:08:41 | |
which Mac thinks is...weird cos she's semi-naked. | 0:08:41 | 0:08:44 | |
Whoa, whoa. Who's Mac? | 0:08:44 | 0:08:45 | |
Well, the guy you just met. | 0:08:45 | 0:08:48 | |
What, the mouthy one? | 0:08:48 | 0:08:49 | |
So, what, you're telling your visions to him? | 0:08:51 | 0:08:53 | |
I wouldn't call him mouthy. | 0:08:56 | 0:08:57 | |
Anyway, no, and then... then my mum...my mum is... | 0:08:59 | 0:09:03 | |
My point is, what does it mean? | 0:09:03 | 0:09:06 | |
What does it all mean? What am I? | 0:09:06 | 0:09:09 | |
Well, I'm not the person to ask. | 0:09:09 | 0:09:11 | |
Well, then, who is? And...where are we? | 0:09:11 | 0:09:14 | |
The Monica Bryant County Care Home, | 0:09:14 | 0:09:18 | |
or what used to be the Monica Bryant County Care Home. | 0:09:18 | 0:09:21 | |
Come on. | 0:09:21 | 0:09:23 | |
DRIPPING WATER | 0:09:27 | 0:09:29 | |
You go left, I'll go right. | 0:09:38 | 0:09:41 | |
-You want us to split up? -It's the quickest way to find him. | 0:09:43 | 0:09:47 | |
-Find who? -You'll see. | 0:09:47 | 0:09:50 | |
I'll see...what? | 0:09:53 | 0:09:55 | |
Er...yeah. Has anyone ever told you you talk like Gollum sometimes? | 0:09:55 | 0:10:00 | |
DOOR CREAKS | 0:10:15 | 0:10:17 | |
DOOR SLAMS SHUT | 0:10:28 | 0:10:29 | |
Hello? | 0:10:34 | 0:10:36 | |
Hello? | 0:10:39 | 0:10:41 | |
I know you. | 0:10:49 | 0:10:51 | |
I'm looking for... | 0:10:58 | 0:11:00 | |
for someone. | 0:11:00 | 0:11:03 | |
Are you the person I'm looking for? | 0:11:05 | 0:11:07 | |
Wait. | 0:11:12 | 0:11:13 | |
HE SNEEZES SHE MAKES NO SOUND | 0:11:44 | 0:11:46 | |
I think I need to speak to you. | 0:11:51 | 0:11:52 | |
Neil. | 0:12:07 | 0:12:09 | |
Then... No, don't. Why do you keep running? | 0:12:14 | 0:12:17 | |
Who are you? | 0:12:34 | 0:12:35 | |
What? What? | 0:12:40 | 0:12:42 | |
Oh! | 0:12:44 | 0:12:46 | |
Natalie? Natalie! | 0:12:54 | 0:12:56 | |
-You know her? -What are you doing? | 0:12:57 | 0:12:59 | |
-Are you trying to get yourself killed? -She turned on that fuse. | 0:12:59 | 0:13:03 | |
No, she didn't. | 0:13:04 | 0:13:05 | |
Was she the person you were looking for? | 0:13:08 | 0:13:10 | |
Natalie? No. I want you to meet Eric. I found him. | 0:13:10 | 0:13:14 | |
This was your school? | 0:13:14 | 0:13:16 | |
There's no precise date on when it started. | 0:13:16 | 0:13:19 | |
Some of the dead just stopped ascending. They became trapped here. | 0:13:19 | 0:13:22 | |
Eric's one of the earliest I've ever met. | 0:13:22 | 0:13:24 | |
May even have been one of the first. Died in 1946. | 0:13:24 | 0:13:29 | |
-This was your school? -1946. | 0:13:29 | 0:13:32 | |
He was 70 when he died. | 0:13:32 | 0:13:34 | |
The body's kept aging ever since, so he's pretty old. | 0:13:34 | 0:13:38 | |
He also used to be one of us. | 0:13:38 | 0:13:40 | |
Eric was an Angelic? | 0:13:41 | 0:13:42 | |
-Did she really turn that fuse on? -Yeah. | 0:13:47 | 0:13:51 | |
So she can touch, yeah? | 0:13:51 | 0:13:53 | |
That's not good. | 0:13:53 | 0:13:54 | |
This wasn't my school. It was my home. | 0:13:56 | 0:13:58 | |
DOOR CREAKS | 0:14:05 | 0:14:07 | |
No sudden movements. | 0:14:21 | 0:14:24 | |
Don't scare him. | 0:14:24 | 0:14:25 | |
Partially blind, mostly deaf. | 0:14:25 | 0:14:28 | |
And he jumps easily. | 0:14:30 | 0:14:33 | |
CREAKING | 0:14:35 | 0:14:37 | |
He wants to meet you. | 0:15:07 | 0:15:09 | |
Come and sit where I am. | 0:15:09 | 0:15:11 | |
-How... How do I...? -Ssh! | 0:15:20 | 0:15:24 | |
PAUL GASPS | 0:15:32 | 0:15:34 | |
HE PANTS | 0:15:54 | 0:15:56 | |
What? | 0:16:06 | 0:16:08 | |
-Really - what? -He thinks you're important. | 0:16:14 | 0:16:17 | |
-I-Important? -Helen was right. | 0:16:17 | 0:16:21 | |
It's all linked. You, | 0:16:21 | 0:16:24 | |
the Fades, the murders, them touching. | 0:16:24 | 0:16:27 | |
The shit has hit the fan | 0:16:29 | 0:16:31 | |
and you're standing right in front of it. | 0:16:31 | 0:16:34 | |
I don't... I don't understand. | 0:16:34 | 0:16:37 | |
I didn't... | 0:16:37 | 0:16:38 | |
..ask f-for any of...this. | 0:16:40 | 0:16:44 | |
I... I don't... I can't... Paul. | 0:16:44 | 0:16:46 | |
Paul! Wait! | 0:16:46 | 0:16:47 | |
LOW CHATTER | 0:16:52 | 0:16:55 | |
HE PANTS | 0:16:55 | 0:16:57 | |
CHATTER CONTINUES | 0:16:57 | 0:16:59 | |
BIRD TWEETS | 0:17:26 | 0:17:28 | |
BIRDSONG | 0:17:30 | 0:17:33 | |
-Paul. You been ditching? -No. | 0:17:38 | 0:17:42 | |
-Yeah, probably. -Me too. | 0:17:42 | 0:17:45 | |
Good. Snap. Jinx. | 0:17:45 | 0:17:47 | |
-Are you going to the ball? -Probably. Definitely. | 0:17:48 | 0:17:52 | |
Probably definitely? | 0:17:52 | 0:17:54 | |
Technically, that is the way I feel about it, yeah. | 0:17:54 | 0:17:58 | |
Everyone else is going. | 0:17:59 | 0:18:01 | |
Yeah. | 0:18:01 | 0:18:02 | |
That's sort of the problem. | 0:18:03 | 0:18:05 | |
-I'm going. -Yeah. | 0:18:06 | 0:18:09 | |
Yeah. No, that does make it...better. | 0:18:09 | 0:18:13 | |
I should be getting to class. | 0:18:14 | 0:18:17 | |
Are you OK, Paul? | 0:18:19 | 0:18:21 | |
Yeah. I'm OK. | 0:18:23 | 0:18:25 | |
OK. And if you were a pacifist, what would you argue? | 0:18:27 | 0:18:31 | |
I'm not a pacifist. | 0:18:31 | 0:18:32 | |
Yeah, but if you were a pacifist... | 0:18:32 | 0:18:36 | |
what would you argue? | 0:18:36 | 0:18:37 | |
I'm not a pacifist. I'd kill them all. | 0:18:39 | 0:18:41 | |
MARK SIGHS | 0:18:41 | 0:18:42 | |
If you were a pacifist, you'd argue that the Nazi Party was born out of violence. | 0:18:42 | 0:18:46 | |
Now, get rid of that initial violence - World War One - | 0:18:48 | 0:18:50 | |
-there'd be no need for the Nazis. -But I'm not a pacifist. | 0:18:50 | 0:18:54 | |
I'd kill them all. I'd kill the Nazis. | 0:18:54 | 0:18:55 | |
-Fuck them up! -Thank you, Steve. Good. Great. | 0:18:55 | 0:18:58 | |
Thank you. Really good contribution. | 0:18:58 | 0:19:00 | |
I'm going to sign up for the committee. | 0:19:00 | 0:19:01 | |
-Really? -Yeah. | 0:19:01 | 0:19:05 | |
The Nazi Party was born out of violence, | 0:19:05 | 0:19:08 | |
so in a situation of true pacifism, they never would have existed. | 0:19:08 | 0:19:11 | |
That's the sort of reasoning that goes down well with the examiners. | 0:19:11 | 0:19:14 | |
(WHISPERS) What changed your mind? | 0:19:14 | 0:19:16 | |
Oh, you know, stuff. | 0:19:18 | 0:19:21 | |
-What does that mean? -It means I've got my reasons. | 0:19:21 | 0:19:23 | |
-BANG -Fuck's sake! -Paul! | 0:19:23 | 0:19:26 | |
You come in late, then you chat. Is that appropriate? | 0:19:26 | 0:19:29 | |
Go on, sir, hit him. | 0:19:29 | 0:19:31 | |
LAUGHTER | 0:19:31 | 0:19:34 | |
So, theme. I was thinking Prohibition America. | 0:19:34 | 0:19:37 | |
Seconded. | 0:19:37 | 0:19:39 | |
Yeah, there's arse-licking and then there's arse-licking, Trace. | 0:19:39 | 0:19:44 | |
Hi. Can we just sit anywhere? We'll just sit anywhere. | 0:19:44 | 0:19:47 | |
Not on any of you, clearly. On a...free seat. | 0:19:47 | 0:19:51 | |
Though if any of you were offering, it has been claimed my bum is nimble. | 0:19:51 | 0:19:55 | |
-What are you doing here? -You needed volunteers. | 0:19:55 | 0:19:56 | |
-I didn't mean you. -Good to know. | 0:19:56 | 0:19:58 | |
Anna? Maybe... | 0:19:58 | 0:20:02 | |
they can do the...shit jobs. | 0:20:02 | 0:20:04 | |
What? | 0:20:04 | 0:20:05 | |
Happily! We're a dab hand with shit. | 0:20:05 | 0:20:07 | |
In fact, ironically, I was born in a toilet, | 0:20:07 | 0:20:09 | |
so there was a period of time when my middle name was going to be...Shit. | 0:20:09 | 0:20:13 | |
-Paul, please fuck off. -This is important. | 0:20:13 | 0:20:17 | |
Really? | 0:20:17 | 0:20:18 | |
Yeah. | 0:20:18 | 0:20:20 | |
Fine. Sit down. | 0:20:21 | 0:20:25 | |
OK, so, theme. Where were we? | 0:20:26 | 0:20:30 | |
-Oh, fuck it. Costumes are faggy. -Costumes are not faggy! | 0:20:30 | 0:20:33 | |
If we're brainstorming, have you considered a Star Wars theme? | 0:20:33 | 0:20:37 | |
Good point. Well made. I know my place. | 0:20:39 | 0:20:42 | |
I am the shit. | 0:20:42 | 0:20:44 | |
You look like a wet flannel. | 0:20:49 | 0:20:51 | |
Good, that's the look I was going for. | 0:20:53 | 0:20:57 | |
Come on, hombre, spill all. | 0:20:57 | 0:20:59 | |
-There's this girl. -Fit? | 0:20:59 | 0:21:01 | |
-Dead. -Dead fit? | 0:21:01 | 0:21:02 | |
-You getting into necrophilia now? -I've been considering it for a while. | 0:21:02 | 0:21:06 | |
I've always thought I appealed to the dead. | 0:21:06 | 0:21:08 | |
Good teeth, you see? | 0:21:08 | 0:21:09 | |
-Dead people like teeth? -Dead people love good teeth. | 0:21:13 | 0:21:16 | |
-That's why I floss daily. -You're a bad person. | 0:21:16 | 0:21:19 | |
No, you're badder. So, this dead girl, what was she wearing? | 0:21:19 | 0:21:23 | |
-I think she tried to kill me. -Details. | 0:21:23 | 0:21:26 | |
-By the way, just so you know... -What was she wearing? | 0:21:26 | 0:21:28 | |
-..Natalie... -Natalie. | 0:21:28 | 0:21:30 | |
-..wears... -Natalie. Well, hello, Natalie. | 0:21:30 | 0:21:33 | |
"Oh, hello, Matthew. You look so strong." | 0:21:33 | 0:21:35 | |
Oh, it's going to be amazing. | 0:21:35 | 0:21:37 | |
And if she died in the 80s, she'll get all my movie references. | 0:21:37 | 0:21:40 | |
-Thing is, though, Mac... -Yeah? | 0:21:40 | 0:21:43 | |
(...she's here,) | 0:21:44 | 0:21:45 | |
(she's sitting right behind you.) | 0:21:45 | 0:21:48 | |
(No, no, no, no, no, no, no, no. Don't look!) | 0:21:48 | 0:21:50 | |
Oh, she can't take her eyes off you. I... Bye, Mac. | 0:21:53 | 0:21:56 | |
Natalie. | 0:21:56 | 0:21:58 | |
Paul. Are... Are you joking? | 0:21:59 | 0:22:02 | |
You're joking, aren't you? | 0:22:02 | 0:22:04 | |
Are you joking? | 0:22:04 | 0:22:05 | |
Yeah. | 0:22:06 | 0:22:08 | |
Pure ivory, baby. | 0:22:15 | 0:22:17 | |
Hi. | 0:22:32 | 0:22:33 | |
-I read about your wife. -Yeah. | 0:22:37 | 0:22:39 | |
-I felt sorry for you. -Yeah? | 0:22:39 | 0:22:44 | |
So... | 0:22:44 | 0:22:46 | |
-Can I come in? -Yeah. | 0:22:47 | 0:22:51 | |
SHE CLEARS HER THROAT | 0:22:54 | 0:22:56 | |
Why are we in her room again? | 0:23:14 | 0:23:16 | |
I don't know. I just... I feel safe in here now. | 0:23:16 | 0:23:19 | |
GASPING AND MOANING | 0:23:30 | 0:23:32 | |
# Run, rabbit, run, rabbit Run, run, run! # | 0:23:43 | 0:23:46 | |
-Am I running? -Am I a rabbit? | 0:23:46 | 0:23:50 | |
ANIMAL HOWLS IN DISTANCE | 0:23:58 | 0:24:01 | |
SNARLING | 0:24:06 | 0:24:10 | |
HE GASPS AND SHIVERS | 0:24:12 | 0:24:15 | |
CRUNCH | 0:24:15 | 0:24:17 | |
ELECTRICAL CRACKLING | 0:24:17 | 0:24:18 | |
HE HOWLS | 0:24:21 | 0:24:23 | |
TYRES SCREECH | 0:24:23 | 0:24:24 | |
GUNSHOTS | 0:24:24 | 0:24:25 | |
On! Now! | 0:24:28 | 0:24:30 | |
HE RETCHES | 0:24:58 | 0:25:01 | |
HE GASPS | 0:25:01 | 0:25:03 | |
Are you OK? | 0:25:03 | 0:25:05 | |
All right, kid, deep breaths. | 0:25:05 | 0:25:06 | |
-I can't do this. -Hey, bollocks. Come here. | 0:25:08 | 0:25:11 | |
Hey, of course you can. Hey. | 0:25:11 | 0:25:13 | |
Now, you ask yourself this, all right? Do you remember the first time you saw me? | 0:25:13 | 0:25:17 | |
Eh? Do you remember the first time I told you to run? | 0:25:17 | 0:25:20 | |
Mm? Well, you could have run two ways, kid - away from me or towards me. | 0:25:20 | 0:25:23 | |
All right? I had a dying girl in my arms and I had a gun on me. But you... | 0:25:23 | 0:25:27 | |
You, you followed me. Why? | 0:25:27 | 0:25:30 | |
Eh, Paul? Do you remember the first time we met? | 0:25:30 | 0:25:34 | |
Yeah, you shot at me. | 0:25:36 | 0:25:38 | |
OK, so...so maybe you remember it slightly less fondly than I do, eh? | 0:25:42 | 0:25:46 | |
-Have I got vomit around my mouth? -Look, don't worry. | 0:25:48 | 0:25:51 | |
When you first saw Sarah at the ascension point, you followed her. | 0:25:51 | 0:25:54 | |
Then, when you saw Natalie at the orphanage, what did you do? | 0:25:54 | 0:25:57 | |
Followed her. | 0:25:57 | 0:25:59 | |
-Why? -I don't know! | 0:25:59 | 0:26:00 | |
Because you wanted to know. Because you wanted to see. | 0:26:00 | 0:26:02 | |
You wanted to know what I was, | 0:26:02 | 0:26:04 | |
what Sarah is, what Natalie is, because you feel it. | 0:26:04 | 0:26:07 | |
There's a connection between all of us because you know who you are. | 0:26:07 | 0:26:10 | |
Eric, he thinks you're more special than any of us, that you've got a destiny. | 0:26:12 | 0:26:17 | |
I'm sorry, kid, but that matters. | 0:26:17 | 0:26:19 | |
Look, if it makes it any easier, | 0:26:24 | 0:26:26 | |
I don't know why destiny's chosen a 15-year-old boy either. | 0:26:26 | 0:26:28 | |
-17. I'm 17. -OK, you're still young... | 0:26:28 | 0:26:31 | |
for what's coming. | 0:26:31 | 0:26:33 | |
It's still far, far too young. | 0:26:33 | 0:26:35 | |
What's coming? | 0:26:36 | 0:26:38 | |
Man. | 0:26:46 | 0:26:48 | |
Ha-ha-ha! Sucker! | 0:26:48 | 0:26:50 | |
HE SNIFFS | 0:26:53 | 0:26:54 | |
ELECTRICAL BUZZING | 0:26:54 | 0:26:56 | |
HE EXHALES | 0:26:56 | 0:26:58 | |
ELECTRICAL CRACKLING | 0:26:58 | 0:27:00 | |
Fred? | 0:27:02 | 0:27:04 | |
Fred? | 0:27:11 | 0:27:12 | |
What? | 0:27:27 | 0:27:29 | |
BIRDSONG | 0:27:29 | 0:27:31 | |
CRACK | 0:27:38 | 0:27:39 | |
-CROWS CAWING -Mum, I'm fine. I stayed at Mac's. | 0:27:39 | 0:27:42 | |
-Yeah. -INDISTINCT SPEECH ON PHONE | 0:27:42 | 0:27:45 | |
OK. | 0:27:45 | 0:27:47 | |
Yeah, look, I'd better go cos Mac's dad's making us breakfast. | 0:27:52 | 0:27:56 | |
All right. | 0:27:56 | 0:27:59 | |
'Well, I...I love you.' | 0:27:59 | 0:28:01 | |
-I love you too, Mum. Bye. -'Bye.' | 0:28:01 | 0:28:05 | |
CROWS CAWING | 0:28:06 | 0:28:08 | |
You know, you reach an age when sleeping in a car is not an easy thing. | 0:28:15 | 0:28:21 | |
Yeah, I can imagine. | 0:28:21 | 0:28:22 | |
Do you know any yoga, kid? | 0:28:25 | 0:28:27 | |
Huh. No. | 0:28:28 | 0:28:30 | |
Learn yoga. | 0:28:30 | 0:28:32 | |
So... | 0:28:35 | 0:28:37 | |
-Yeah? -..What's the plans for the day? | 0:28:37 | 0:28:41 | |
We get active. Come on. | 0:28:41 | 0:28:43 | |
HE SHIVERS | 0:29:11 | 0:29:13 | |
Do we...know what we're looking for? | 0:29:17 | 0:29:19 | |
We're heading for the ascension point. | 0:29:21 | 0:29:23 | |
I always look for them up there. | 0:29:23 | 0:29:25 | |
-Don't they leave tracks or...? -No. | 0:29:25 | 0:29:27 | |
Look, they're weightless. Ascension, that's the place to go to. | 0:29:27 | 0:29:31 | |
I don't really know what it means, being one of you. | 0:29:31 | 0:29:34 | |
Well, it depends on the person. | 0:29:34 | 0:29:37 | |
Well, you. What did it mean to you? | 0:29:37 | 0:29:40 | |
It was hard at first... but I got used to it pretty quickly. | 0:29:42 | 0:29:46 | |
But, of course, I had no-one to say goodbye to. | 0:29:48 | 0:29:51 | |
What? Hang on. | 0:29:53 | 0:29:55 | |
Well, who do I have to say goodbye to? | 0:29:55 | 0:29:58 | |
WOMAN: You don't understand. My son is missing. | 0:29:59 | 0:30:01 | |
-OK, come and sit down with me. -My son is missing! | 0:30:01 | 0:30:04 | |
I need to speak with Detective Chief Inspector Armstrong. | 0:30:04 | 0:30:06 | |
Two missing boys. Two. | 0:30:06 | 0:30:08 | |
We're going to organise teams. It suggests... | 0:30:08 | 0:30:09 | |
Well, keep me in the loop. | 0:30:09 | 0:30:11 | |
Sir, just with the gun and the blood and the bodies mounting up, | 0:30:11 | 0:30:14 | |
I think I'm going to need more resources. | 0:30:14 | 0:30:17 | |
You mean, you're fucking it up and you need a larger team to blame! | 0:30:17 | 0:30:22 | |
No. That isn't what I mean at all. | 0:30:22 | 0:30:25 | |
Plenty have tried to keep on with their lives - Sarah for one. | 0:30:31 | 0:30:35 | |
It doesn't work, never. | 0:30:35 | 0:30:37 | |
It doesn't work? | 0:30:37 | 0:30:39 | |
You can't be one thing and another. You can't be pulled two ways. | 0:30:39 | 0:30:42 | |
Just trust me on that. | 0:30:42 | 0:30:43 | |
So, I say goodbye to...? | 0:30:43 | 0:30:46 | |
Everyone. | 0:30:49 | 0:30:50 | |
Write 'em a note, make a phone call, | 0:30:50 | 0:30:53 | |
tell 'em face to face, but say goodbye. | 0:30:53 | 0:30:55 | |
And then you come underground with me. | 0:30:55 | 0:30:58 | |
-Even my mum? -I'm not saying it will be easy. | 0:30:58 | 0:31:01 | |
We're getting closer. | 0:31:04 | 0:31:07 | |
OK, Mrs Griegson, we just need to take some details. | 0:31:12 | 0:31:14 | |
-Detective Chief Inspector... -Mark? The DCI's busy. Can I help? | 0:31:14 | 0:31:19 | |
That was just him... with Maggie Griegson. | 0:31:19 | 0:31:22 | |
-You know her? -Yeah, I teach her son. | 0:31:22 | 0:31:25 | |
Or try to. What's going on? | 0:31:25 | 0:31:27 | |
How can I help? | 0:31:28 | 0:31:29 | |
-Great. What's this? -Look! | 0:31:31 | 0:31:35 | |
Come and sit down. | 0:31:36 | 0:31:38 | |
These... These photographs, | 0:31:38 | 0:31:41 | |
they show my wife...my wife in some kind of mental institute. | 0:31:41 | 0:31:44 | |
-This is something... -So, you teach Sam Griegson? | 0:31:44 | 0:31:45 | |
-What about Fred Taylor? -I teach both of them. | 0:31:47 | 0:31:49 | |
Look... Look at the bandages on her wrist. | 0:31:49 | 0:31:51 | |
She clearly attempted suicide. | 0:31:51 | 0:31:54 | |
I should have known about that. | 0:31:54 | 0:31:55 | |
She's got a past that I didn't know about. | 0:31:55 | 0:31:58 | |
Look, no offence, | 0:31:58 | 0:31:59 | |
but I need to speak to the officer in charge of the case. | 0:31:59 | 0:32:01 | |
I'll... I'll pass it up. | 0:32:01 | 0:32:03 | |
Mark, these aren't evidence. | 0:32:03 | 0:32:05 | |
They're interesting, but they're not evidence. | 0:32:05 | 0:32:07 | |
The chances are these aren't even connected | 0:32:07 | 0:32:09 | |
with what happened to Sarah. | 0:32:09 | 0:32:10 | |
-This is important! -No-one's doubting your importance, Mark. | 0:32:10 | 0:32:13 | |
That is exactly what you're doing. | 0:32:15 | 0:32:17 | |
Now, he's got my number. | 0:32:19 | 0:32:21 | |
Now it's dark, things might get easier. | 0:32:26 | 0:32:28 | |
Brilliant, yeah, cos we can see in the dark(!) | 0:32:29 | 0:32:32 | |
CHEWING | 0:32:39 | 0:32:41 | |
-QUIETLY: -Get down. Get down! | 0:32:41 | 0:32:43 | |
-NEIL: -That's what they're doing. -PAUL: -They're killing. | 0:32:54 | 0:32:58 | |
That's what's allowing them to touch. | 0:32:58 | 0:33:01 | |
They're eating flesh. | 0:33:02 | 0:33:03 | |
HE SNARLS | 0:33:05 | 0:33:07 | |
-HE BREATHES DEEPLY -What? | 0:33:07 | 0:33:09 | |
And Natalie's one of them. | 0:33:09 | 0:33:11 | |
-I don't... I don't understand. -Look! You see? | 0:33:14 | 0:33:19 | |
All you need to know is there is a war coming here. | 0:33:19 | 0:33:22 | |
And it's coming fast. That's why you need to be ready. | 0:33:22 | 0:33:25 | |
Look. | 0:33:26 | 0:33:28 | |
And that... | 0:33:28 | 0:33:30 | |
..that means saying goodbye to my old life. | 0:33:32 | 0:33:34 | |
Yeah. Yes, it does. | 0:33:36 | 0:33:38 | |
DISTANT BARKING | 0:33:42 | 0:33:44 | |
LOW CHATTER AND LAUGHTER | 0:33:48 | 0:33:50 | |
LOW CHATTER | 0:33:54 | 0:33:56 | |
LAUGHTER AND CHATTER | 0:33:57 | 0:34:00 | |
RINGING | 0:34:06 | 0:34:09 | |
-MAC: 'Boomtown!' -It's me. | 0:34:09 | 0:34:11 | |
-'Hello...dick.' -Er... | 0:34:11 | 0:34:15 | |
I can't go home tonight. | 0:34:17 | 0:34:19 | |
'Check my diary...' HE SNORTS | 0:34:19 | 0:34:21 | |
-'I think there's a window for you.' -I was hoping you'd say that. | 0:34:21 | 0:34:26 | |
# It's going to get, it's going to get, it's going to get louder | 0:34:26 | 0:34:29 | |
# We're going to get, we're going to get... # | 0:34:29 | 0:34:31 | |
SHOUTS OVER MUSIC: It's all in the hips. | 0:34:31 | 0:34:32 | |
No, it's not all in the hips. | 0:34:34 | 0:34:36 | |
One. Two. One, two, three. | 0:34:36 | 0:34:40 | |
# ...We got to reach, we got to reach We got to reach higher | 0:34:40 | 0:34:42 | |
# I want to burn, I want to burn I want to get higher | 0:34:42 | 0:34:46 | |
# We've got to move, we've got to move... # | 0:34:46 | 0:34:49 | |
I'm trying to train you here. It's a big night tomorrow night. | 0:34:49 | 0:34:51 | |
Well, I need your help like a leper needs anti-aging cream! | 0:34:51 | 0:34:55 | |
May I remind you, best Michael Jackson impersonation, | 0:34:55 | 0:34:57 | |
Heatherwoods Primary, 2002? | 0:34:57 | 0:34:59 | |
May I remind you, you were nine? | 0:34:59 | 0:35:00 | |
Yeah, and people still found you funny then. | 0:35:02 | 0:35:04 | |
OK. After me. One, two! One, two, three. | 0:35:04 | 0:35:06 | |
BANG, MUSIC STOPS | 0:35:06 | 0:35:09 | |
It's 2am! You know that, Michael? It's 2am! | 0:35:09 | 0:35:13 | |
Sorry, we were... | 0:35:13 | 0:35:15 | |
-We were trying to be quiet. -Look, some of us have work, | 0:35:15 | 0:35:17 | |
important work, in the morning! We don't need kids keeping us awake! | 0:35:17 | 0:35:19 | |
Dad. Don't get... You've been drinking. | 0:35:19 | 0:35:22 | |
Don't you accuse me of... | 0:35:22 | 0:35:24 | |
Look, grow up, the pair of you! You're too old for sleepovers. | 0:35:27 | 0:35:31 | |
-DOOR SLAMS PAUL: -He's under a lot of stress. | 0:35:36 | 0:35:40 | |
I mean, it...it must be hard for... | 0:35:40 | 0:35:42 | |
I think Mum's left him. | 0:35:47 | 0:35:49 | |
Us. | 0:35:52 | 0:35:53 | |
Him. | 0:35:55 | 0:35:57 | |
-Yeah? -Yeah, they're probably | 0:35:59 | 0:36:01 | |
fighting right now over who doesn't get custody. | 0:36:01 | 0:36:03 | |
No, they're not. | 0:36:06 | 0:36:07 | |
Did you know, in Inuit culture, if you don't like your parent, | 0:36:07 | 0:36:10 | |
you just crawl into another igloo and find a new family? | 0:36:10 | 0:36:12 | |
You're cut. | 0:36:19 | 0:36:20 | |
Oh, fuck. | 0:36:22 | 0:36:25 | |
Fuck. | 0:36:25 | 0:36:26 | |
-It's OK, Mac. Come on. -No, no, no. Don't... Don't look at me. | 0:36:26 | 0:36:30 | |
You see? | 0:36:35 | 0:36:36 | |
WHOOSHING | 0:36:38 | 0:36:40 | |
-PAUL: -It's all... | 0:36:40 | 0:36:41 | |
It's all gone. | 0:36:43 | 0:36:45 | |
Paul. Look at your hand. | 0:36:49 | 0:36:50 | |
HE RETCHES | 0:37:06 | 0:37:08 | |
HE RETCHES | 0:37:12 | 0:37:13 | |
What are you? | 0:37:31 | 0:37:32 | |
Your best friend. | 0:37:35 | 0:37:37 | |
I mean, you... you thought it was good, I was... | 0:37:39 | 0:37:43 | |
..special. | 0:37:44 | 0:37:46 | |
Yeah. It's great. | 0:37:49 | 0:37:50 | |
Just don't leave me behind, OK? | 0:37:53 | 0:37:55 | |
Your car. We need your car. We've found the kids. | 0:38:01 | 0:38:05 | |
Thank you. | 0:38:14 | 0:38:15 | |
OK, we'll need to arrange a press conference. | 0:38:15 | 0:38:18 | |
Yeah. | 0:38:18 | 0:38:19 | |
I'll need to cordon off the surrounding areas, | 0:38:19 | 0:38:21 | |
and a budget done of how much to clear. | 0:38:21 | 0:38:23 | |
INSECTS BUZZING | 0:38:24 | 0:38:26 | |
He's 12 years old. | 0:38:51 | 0:38:52 | |
PHONE KEYPAD BEEPS | 0:39:00 | 0:39:01 | |
RINGING | 0:39:02 | 0:39:05 | |
I can't mess this up. | 0:39:05 | 0:39:07 | |
-This is totally unfair! -Anna... | 0:39:07 | 0:39:09 | |
But this is exactly the time when we should be having a party, | 0:39:09 | 0:39:12 | |
to make us feel all better. | 0:39:12 | 0:39:13 | |
-Anna... -OK, look, compromise. | 0:39:13 | 0:39:15 | |
We'll do a minute's silence remembrance. It'll be moving. | 0:39:15 | 0:39:19 | |
Anna, two boys have died! | 0:39:19 | 0:39:21 | |
The dance is cancelled. | 0:39:22 | 0:39:24 | |
-What a total wanker! -He's cancelled it, then? | 0:39:27 | 0:39:30 | |
-Totally. A total wanker! -Yeah. | 0:39:30 | 0:39:32 | |
He's probably in there now, door locked, thrumming away, | 0:39:32 | 0:39:34 | |
thinking about the two of you in just your knickers. | 0:39:34 | 0:39:36 | |
-Why are you here? -Moral support. | 0:39:36 | 0:39:38 | |
Moral support listens at the door, does it? Stalker. | 0:39:38 | 0:39:42 | |
Stalker? I'm vice president of Ball Club. | 0:39:42 | 0:39:44 | |
Ball Club? Jesus! | 0:39:44 | 0:39:46 | |
So that's it? You're just going to give up? | 0:39:46 | 0:39:48 | |
No, I'm going to find a room, lock it, | 0:39:48 | 0:39:52 | |
and thrum myself off thinking about just you and my brother | 0:39:52 | 0:39:55 | |
in your Y-fronts. | 0:39:55 | 0:39:56 | |
At the end of A New Hope, they attack the Death Star. The Death Star. | 0:39:56 | 0:39:59 | |
I mean they were in flimsy crafts, X-wings. | 0:39:59 | 0:40:01 | |
X-wings fighting the Death Star. | 0:40:01 | 0:40:02 | |
I mean, the name itself implies that you shouldn't attack. | 0:40:02 | 0:40:04 | |
It's called the Death Star. | 0:40:04 | 0:40:06 | |
Really, please, stop talking. | 0:40:06 | 0:40:07 | |
You're actually making me want to kill myself. | 0:40:07 | 0:40:09 | |
They were losing the battle badly | 0:40:09 | 0:40:11 | |
and then Luke Skywalker found the exhaust port, | 0:40:11 | 0:40:13 | |
an exhaust port which shouldn't have existed | 0:40:13 | 0:40:15 | |
because the Empire shouldn't have made such a mistake, but it did. | 0:40:15 | 0:40:17 | |
-It did exist. Think about it. -Think about it? | 0:40:17 | 0:40:19 | |
All I'm thinking is, "Paracetamol, slit my wrists or hanging?" | 0:40:19 | 0:40:24 | |
No, the moral is... the moral of my anecdote is, | 0:40:24 | 0:40:26 | |
you should always keep fighting in case you find an exhaust port. | 0:40:26 | 0:40:30 | |
-An exhaust port? -And there always is. | 0:40:31 | 0:40:34 | |
There's always an exhaust port. | 0:40:34 | 0:40:36 | |
Well, generally. | 0:40:38 | 0:40:40 | |
Probably. Sometimes. I just... Yeah. | 0:40:40 | 0:40:43 | |
We're not cancelling. | 0:40:43 | 0:40:44 | |
No? | 0:40:44 | 0:40:46 | |
Your dad's converting that old church, right? | 0:40:46 | 0:40:48 | |
-Er...I'm not sure that... -You can sort it, right? | 0:40:48 | 0:40:52 | |
-Well, not at this... -Great. Exhaust port sorted. | 0:40:52 | 0:40:55 | |
Anna. Anna! | 0:40:56 | 0:40:59 | |
Exhaust port sorted. | 0:41:00 | 0:41:01 | |
He shoots. He scores. And the crowd roar. | 0:41:02 | 0:41:05 | |
HE ROARS QUIETLY | 0:41:05 | 0:41:06 | |
CLOCK TICKS | 0:41:06 | 0:41:08 | |
TICKING | 0:41:10 | 0:41:13 | |
If you had to walk away from everything... | 0:41:14 | 0:41:16 | |
That's a good question. | 0:41:16 | 0:41:19 | |
-What would you take with you? -No. | 0:41:19 | 0:41:21 | |
If you couldn't take anything... | 0:41:21 | 0:41:24 | |
What, nothing at all? | 0:41:24 | 0:41:26 | |
Er...a time of war, is it? | 0:41:26 | 0:41:29 | |
Yeah. Yeah, time of war. I mean, could you walk away? | 0:41:29 | 0:41:33 | |
-Hypothetically? -Hypothetically, time of war. | 0:41:33 | 0:41:36 | |
Could you walk away from everything? | 0:41:36 | 0:41:38 | |
Er...I think I would do my duty | 0:41:38 | 0:41:41 | |
and I would leave behind that which I had to and then I would try... | 0:41:41 | 0:41:44 | |
No, you're not listening to my question! | 0:41:44 | 0:41:46 | |
Am I not? | 0:41:46 | 0:41:49 | |
Maybe, Paul, I think that's because | 0:41:49 | 0:41:51 | |
I'm supposed to be asking you the questions. | 0:41:51 | 0:41:53 | |
No. | 0:41:53 | 0:41:55 | |
No, I need... | 0:41:55 | 0:41:58 | |
I need you to answer this. | 0:41:58 | 0:42:00 | |
OK. OK. | 0:42:00 | 0:42:03 | |
Well, try framing it, your... your question, in a different way. | 0:42:03 | 0:42:08 | |
Well... | 0:42:09 | 0:42:11 | |
the war, it would last for ever. | 0:42:11 | 0:42:14 | |
The people that you leave behind... | 0:42:14 | 0:42:16 | |
..you wouldn't be able to get back to them. | 0:42:19 | 0:42:21 | |
I guess... | 0:42:26 | 0:42:27 | |
I suppose the question I'm asking is... | 0:42:31 | 0:42:33 | |
..how do you say goodbye? | 0:42:35 | 0:42:38 | |
Neil. | 0:42:51 | 0:42:52 | |
Ow. | 0:42:57 | 0:42:59 | |
Aah. | 0:43:01 | 0:43:03 | |
-WHISPERS: -Come on. | 0:43:04 | 0:43:05 | |
Oh, work! Come on. | 0:43:08 | 0:43:11 | |
KNOCK AT DOOR | 0:43:13 | 0:43:14 | |
SHE GASPS | 0:43:14 | 0:43:16 | |
-This...is so not what it looks like. -OK. | 0:43:18 | 0:43:23 | |
This was an experiment. | 0:43:23 | 0:43:25 | |
Well, into what? | 0:43:27 | 0:43:28 | |
-Self-harm? -Into...something I can't explain. | 0:43:29 | 0:43:34 | |
-Paul, if you're... -Mum, it's nothing, I promise. I'm fine. | 0:43:34 | 0:43:38 | |
Promise? | 0:43:41 | 0:43:43 | |
Promise. | 0:43:46 | 0:43:47 | |
Mum? | 0:43:52 | 0:43:54 | |
If I had to go away for a bit... | 0:43:54 | 0:43:56 | |
-Where? -I don't know. Somewhere. | 0:43:56 | 0:43:59 | |
You'd be OK, wouldn't you? | 0:43:59 | 0:44:01 | |
Well, you're not going anywhere until you've finished your A levels, | 0:44:01 | 0:44:05 | |
and then we've got to work out which university is best for you, | 0:44:05 | 0:44:08 | |
and then you can do what you like. | 0:44:08 | 0:44:09 | |
Yeah, putting all that aside... | 0:44:11 | 0:44:13 | |
..you'd be OK, right? | 0:44:16 | 0:44:17 | |
You do know... | 0:44:17 | 0:44:20 | |
..if anything happened to you, it would destroy me. | 0:44:22 | 0:44:26 | |
Mum. | 0:44:26 | 0:44:28 | |
It wouldn't be OK. | 0:44:28 | 0:44:30 | |
Not by any degree. | 0:44:30 | 0:44:33 | |
You're my son. | 0:44:33 | 0:44:35 | |
BOTTLES CLINK | 0:44:42 | 0:44:44 | |
This is such a bad idea. | 0:44:46 | 0:44:48 | |
I'm dressed all wrong. My hair looks like my mum cut it. | 0:44:48 | 0:44:51 | |
And I definitely smell of something and it isn't Lynx. | 0:44:51 | 0:44:54 | |
I smell of candle wax. How can I smell of candle wax? | 0:44:54 | 0:44:59 | |
What kind of freak smells of candle wax? | 0:44:59 | 0:45:00 | |
I've never smelt like candle wax before. | 0:45:00 | 0:45:02 | |
It'll be fine, Mac, honestly. | 0:45:02 | 0:45:04 | |
You're totally going to rock this. | 0:45:04 | 0:45:06 | |
I'm going to be your wingman tonight. | 0:45:06 | 0:45:07 | |
-You're going tobe my wingman? -Mm-hm. | 0:45:07 | 0:45:09 | |
The best wingman ever. | 0:45:09 | 0:45:11 | |
You don't even know what that word means. | 0:45:11 | 0:45:13 | |
Is there any point trying to stop you? | 0:45:17 | 0:45:19 | |
I'm busy. | 0:45:20 | 0:45:22 | |
So you're going to a party in the middle of nowhere? | 0:45:22 | 0:45:24 | |
-How do you...? -It's hardly safety-conscious. | 0:45:24 | 0:45:27 | |
Don't worry. I've got a first-aid kit. | 0:45:30 | 0:45:32 | |
Paul. | 0:45:33 | 0:45:35 | |
I know what you want. | 0:45:38 | 0:45:40 | |
I just... | 0:45:40 | 0:45:42 | |
I need time to do it. | 0:45:43 | 0:45:45 | |
OK. | 0:45:48 | 0:45:50 | |
This night is going to be the best night. | 0:45:56 | 0:45:58 | |
I want us to treat it like it's our last. | 0:46:00 | 0:46:03 | |
Then we definitely need to have sex. | 0:46:04 | 0:46:06 | |
With girls. | 0:46:06 | 0:46:08 | |
THEY SLURP | 0:46:08 | 0:46:10 | |
MUSIC PLAYING | 0:46:12 | 0:46:14 | |
LOUD CHATTER | 0:46:20 | 0:46:23 | |
Hello, Jay. | 0:46:30 | 0:46:32 | |
Bye, Jay. | 0:46:35 | 0:46:36 | |
Hello, Mac. | 0:46:43 | 0:46:45 | |
Goodbye, Mac. | 0:46:47 | 0:46:50 | |
Hello, retard. | 0:46:50 | 0:46:52 | |
Goodbye, retard. | 0:46:52 | 0:46:54 | |
There's vomit that needs clearing up. | 0:46:54 | 0:46:57 | |
Did you know that bats have sex whilst flying? | 0:47:07 | 0:47:09 | |
What? | 0:47:09 | 0:47:11 | |
Or that pigs have corkscrew-shaped penises? | 0:47:12 | 0:47:15 | |
Did you know someone spat on your back? | 0:47:15 | 0:47:17 | |
I did not. | 0:47:19 | 0:47:20 | |
MUSIC PLAYING | 0:47:30 | 0:47:32 | |
CHATTER | 0:47:32 | 0:47:33 | |
GIRL WHOOPS | 0:47:33 | 0:47:34 | |
-Hi. -Hi. | 0:47:36 | 0:47:39 | |
Isn't your dad going to be mad about all this? | 0:47:39 | 0:47:41 | |
Oh, I'll tell him it was for a school project. | 0:47:41 | 0:47:43 | |
Oh, yeah. Me and Mac discussed who our ideal girl was the other day. | 0:47:43 | 0:47:48 | |
We decided Queen Amidala, | 0:47:48 | 0:47:49 | |
crossed with Marion Ravenwood, Princess Arwen, | 0:47:49 | 0:47:52 | |
Ororo Munroe - or Storm as she's commonly known - and George Lucas. | 0:47:52 | 0:47:56 | |
George Lucas? | 0:47:56 | 0:47:57 | |
Yeah, well, the sex wouldn't be up to much, | 0:47:57 | 0:47:59 | |
but the pillow talk would be amazing. | 0:47:59 | 0:48:01 | |
-SHE LAUGHS -We also had | 0:48:01 | 0:48:03 | |
Alan Moore on the list but we decided his beard was too big. | 0:48:03 | 0:48:06 | |
Anyway, my point is...was...is... | 0:48:06 | 0:48:10 | |
when we were discussing our female mash-up... | 0:48:10 | 0:48:12 | |
..there was only one girl on... | 0:48:14 | 0:48:16 | |
on my mind. | 0:48:16 | 0:48:18 | |
You. | 0:48:19 | 0:48:20 | |
I'm quite drunk. | 0:48:23 | 0:48:25 | |
And I...I say this because... should I ever disappear... | 0:48:26 | 0:48:31 | |
..I'd want you to know. | 0:48:33 | 0:48:34 | |
I'd want you to know, and now you do. | 0:48:37 | 0:48:38 | |
Come on. Let's go find somewhere private. | 0:48:38 | 0:48:42 | |
Private... Why? | 0:48:44 | 0:48:47 | |
"Private" is a euphemism. I'm making a euphemism. | 0:48:47 | 0:48:50 | |
I don't know who Alan Moore is. | 0:48:50 | 0:48:53 | |
You don't know what going somewhere private means. | 0:48:53 | 0:48:55 | |
I guess that makes us evens. | 0:48:55 | 0:48:58 | |
You don't know who Alan Moore is? | 0:48:58 | 0:49:01 | |
MUSIC PLAYING | 0:49:01 | 0:49:03 | |
Are you the designated adult? | 0:49:03 | 0:49:04 | |
No. | 0:49:07 | 0:49:08 | |
-You work for Jay's dad? -No. | 0:49:08 | 0:49:11 | |
-Someone's vomited. -I don't care. | 0:49:13 | 0:49:15 | |
Why are you here? | 0:49:17 | 0:49:18 | |
I'm trying to keep a boy I care about safe | 0:49:19 | 0:49:21 | |
from the forces of darkness. | 0:49:21 | 0:49:23 | |
Is that what they call Anna now? | 0:49:23 | 0:49:25 | |
Couldn't crash us a fag, could you? | 0:49:25 | 0:49:28 | |
I've got to go. | 0:49:30 | 0:49:32 | |
You'd better not be a paedophile! | 0:49:38 | 0:49:41 | |
MUSIC PLAYING INSIDE | 0:49:41 | 0:49:43 | |
Natalie. | 0:49:50 | 0:49:51 | |
DISTANT PARTY MUSIC | 0:49:55 | 0:49:57 | |
Natalie! Stop! | 0:49:58 | 0:50:00 | |
What are you doing here? | 0:50:04 | 0:50:05 | |
I saw you eating, Natalie. | 0:50:07 | 0:50:09 | |
I need to know what you're up to. | 0:50:11 | 0:50:13 | |
Natalie. | 0:50:29 | 0:50:30 | |
HE PANTS | 0:50:34 | 0:50:36 | |
SNARLING | 0:50:39 | 0:50:40 | |
GUNSHOT FIRES | 0:50:44 | 0:50:46 | |
Aah! Aah! | 0:50:52 | 0:50:55 | |
NEIL SCREAMS | 0:50:55 | 0:50:56 | |
MUSIC PLAYS | 0:50:56 | 0:50:58 | |
Have you seen my brother? | 0:51:02 | 0:51:04 | |
Average height, funny face, strange eyebrows. No, haven't seen the guy. | 0:51:04 | 0:51:08 | |
Well, he's meant to be cleaning and he's gone AWOL. | 0:51:08 | 0:51:11 | |
Well, he's not on a beeper and he doesn't run when I whistle, | 0:51:11 | 0:51:14 | |
so sometimes I don't know where he is for a full 30 minutes. | 0:51:14 | 0:51:18 | |
Almost like he's getting a life, isn't it? | 0:51:18 | 0:51:21 | |
Yeah. | 0:51:22 | 0:51:23 | |
You don't just like Paul, love Paul, depend on Paul. | 0:51:25 | 0:51:29 | |
You need him, don't you? | 0:51:29 | 0:51:32 | |
There is nothing more pathetic than needing someone. | 0:51:33 | 0:51:37 | |
You really are a pathetic freak, | 0:51:37 | 0:51:39 | |
you know that? | 0:51:39 | 0:51:41 | |
Yeah, I know that. | 0:51:45 | 0:51:46 | |
Aah! Yaah! | 0:51:52 | 0:51:54 | |
Aah! | 0:51:54 | 0:51:56 | |
-Aah! -SNARLING | 0:52:00 | 0:52:02 | |
Aah! Oh! Aah! | 0:52:02 | 0:52:04 | |
Aah! Aah! | 0:52:05 | 0:52:08 | |
SNARLING | 0:52:08 | 0:52:10 | |
HE SCREAMS | 0:52:10 | 0:52:12 | |
MUSIC PLAYS | 0:52:12 | 0:52:14 | |
Wigwam, wingman. | 0:52:24 | 0:52:25 | |
Knew you'd be shit. | 0:52:27 | 0:52:29 | |
Um... | 0:52:33 | 0:52:35 | |
Um? | 0:52:35 | 0:52:38 | |
That's what you're going with for your post-kiss conversation opener. | 0:52:38 | 0:52:42 | |
Um? | 0:52:42 | 0:52:44 | |
Well, yeah, only cos I'm guessing "thank you" is inappropriate. | 0:52:44 | 0:52:49 | |
I can't say goodbye to this, can I? | 0:52:54 | 0:52:56 | |
Say goodbye to what? | 0:52:58 | 0:53:00 | |
I... I came here tonight to... | 0:53:03 | 0:53:06 | |
I... I think... What... What are you doing?! | 0:53:08 | 0:53:10 | |
Hey. You OK? | 0:53:10 | 0:53:13 | |
Yeah, great. Steve asked me if I'd be interested in a threesome. | 0:53:13 | 0:53:17 | |
But, otherwise, quids in. | 0:53:17 | 0:53:19 | |
He doesn't even know what to do with one vagina. | 0:53:20 | 0:53:23 | |
Two, and he'd be totally lost. | 0:53:23 | 0:53:24 | |
What are you doing here anyway? | 0:53:24 | 0:53:27 | |
Er...just needed a bit of space. Feeling a bit rank. | 0:53:27 | 0:53:32 | |
Bad pill? Lightweight. | 0:53:32 | 0:53:35 | |
Hey, Anna! Anna! | 0:53:37 | 0:53:38 | |
Alicia's locked herself in the toilets again | 0:53:38 | 0:53:41 | |
and she's crying like a bitch. | 0:53:41 | 0:53:43 | |
-JAY: -Sorry. | 0:53:43 | 0:53:45 | |
Don't worry. I get it. | 0:53:46 | 0:53:48 | |
You're afraid of my sister. A lot of people are. | 0:53:50 | 0:53:53 | |
Apparently, my first response when I came out of the womb was to cower. | 0:53:54 | 0:53:57 | |
It's just... | 0:53:57 | 0:53:59 | |
..there are two versions of me, you know? | 0:54:01 | 0:54:06 | |
One that hangs out with Anna and enjoys being popular | 0:54:07 | 0:54:10 | |
and one that... | 0:54:10 | 0:54:13 | |
..I don't know, likes you. | 0:54:14 | 0:54:17 | |
You're brilliant. | 0:54:20 | 0:54:21 | |
What? | 0:54:22 | 0:54:24 | |
Of course - Clark Kent, Peter Parker. | 0:54:24 | 0:54:27 | |
That... That was... | 0:54:27 | 0:54:30 | |
That was just what I needed to hear. | 0:54:30 | 0:54:32 | |
Two versions of you. You're brilliant. | 0:54:33 | 0:54:36 | |
And you're fucking weird. | 0:54:38 | 0:54:41 | |
DOG BARKS | 0:54:43 | 0:54:45 | |
'Neil's phone. Leave me a message. I'll call you back.' | 0:54:46 | 0:54:50 | |
Neil, it's Paul. | 0:54:50 | 0:54:53 | |
I just wanted to say... | 0:54:55 | 0:54:58 | |
..that I think it's possible. | 0:55:00 | 0:55:02 | |
It has to be possible for me to have two lives | 0:55:02 | 0:55:05 | |
by being two different people, | 0:55:05 | 0:55:06 | |
because... | 0:55:06 | 0:55:09 | |
I can't say goodbye to what I have. | 0:55:09 | 0:55:11 | |
And because if I do, then I don't really know what we're fighting for. | 0:55:11 | 0:55:16 | |
Yeah, from now on... | 0:55:19 | 0:55:21 | |
..there are two of me. | 0:55:22 | 0:55:23 | |
DOG BARKS | 0:55:25 | 0:55:27 | |
HEAVY BREATHING | 0:55:35 | 0:55:38 | |
HE GASPS | 0:55:44 | 0:55:46 | |
-You took your time. -Yeah. | 0:55:50 | 0:55:54 | |
How fucked up am I? | 0:55:54 | 0:55:56 | |
Quite. | 0:55:56 | 0:55:58 | |
Now tell me all you can about this boy. | 0:55:58 | 0:56:00 | |
OK, then. | 0:56:26 | 0:56:28 | |
MUSIC: "I Know What I Am" by Band Of Skulls | 0:56:28 | 0:56:32 | |
# Hi ho, triple salchow | 0:56:33 | 0:56:35 | |
# I've got a feeling like I'm tired of the flow | 0:56:35 | 0:56:37 | |
# But I know what I am They know what they are, so let me be | 0:56:37 | 0:56:41 | |
# Gasoline, saccharine | 0:56:41 | 0:56:44 | |
# I've got no reason for the state I'm in | 0:56:44 | 0:56:46 | |
# But I know what I am They know what they are, so let me be | 0:56:46 | 0:56:50 | |
# Hotel, Taco Bell... # | 0:56:52 | 0:56:53 | |
Subtitles by Red Bee Media Ltd | 0:56:53 | 0:56:55 | |
E-mail [email protected] | 0:56:55 | 0:56:57 |