Browse content similar to The Battle of the Mothers. Check below for episodes and series from the same categories and more!
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This programme contains strong language | 0:00:02 | 0:00:05 | |
This programme contains some scenes of a sexual nature | 0:00:05 | 0:00:09 | |
Can you positively identify the body? | 0:00:09 | 0:00:12 | |
Perhaps our baby will be born and we'll never see her, never care for her. | 0:00:12 | 0:00:15 | |
-We're going to find your baby. -Your mummy, has she been asking questions? | 0:00:15 | 0:00:20 | |
-I want you to leave Mary alone. -Like you did for 18 years? -I am her mother. Not "too". | 0:00:20 | 0:00:23 | |
No, we don't have guns in here, so you...put the gun down. | 0:00:23 | 0:00:27 | |
SCREAMING | 0:00:27 | 0:00:28 | |
GUNSHOT | 0:00:28 | 0:00:30 | |
DEEP BREATHING | 0:01:04 | 0:01:06 | |
PHONE RINGING | 0:01:06 | 0:01:09 | |
PHONE CONTINUES RINGING | 0:01:17 | 0:01:19 | |
Who is it? | 0:01:25 | 0:01:27 | |
-ON PHONE: -Please, let us out. -Hello, Mary. | 0:01:27 | 0:01:29 | |
-ON PHONE: -You'd better not query this fare... | 0:01:29 | 0:01:31 | |
What does she want? | 0:01:31 | 0:01:34 | |
Hello? | 0:01:34 | 0:01:35 | |
MUFFLED VOICES ARGUING | 0:01:35 | 0:01:38 | |
-Don't open the doors until we get some money. -Sir, please unlock... | 0:01:38 | 0:01:41 | |
-Hello? -No, it's not unlocked | 0:01:41 | 0:01:42 | |
and it won't be unlocked until you pay the fare. | 0:01:42 | 0:01:44 | |
-He has a gun. -A gun? | 0:01:44 | 0:01:46 | |
-Who are you calling? Hang up the phone. -Just let us out. | 0:01:46 | 0:01:48 | |
SHE SCREAMS | 0:01:48 | 0:01:50 | |
DIAL TONE | 0:01:50 | 0:01:52 | |
Mary? | 0:01:52 | 0:01:53 | |
Mary? | 0:01:56 | 0:01:57 | |
-Shit. -What is it? | 0:01:59 | 0:02:01 | |
Did she hang up? | 0:02:01 | 0:02:03 | |
Oh, I can't think. | 0:02:03 | 0:02:06 | |
-I'm drunk. -BEEPING | 0:02:06 | 0:02:07 | |
-Shit. -She's turned it off. | 0:02:07 | 0:02:09 | |
PHONE RINGING | 0:02:09 | 0:02:11 | |
-Hilmarson? ON PHONE: -You awake? | 0:02:17 | 0:02:19 | |
Yeah. | 0:02:19 | 0:02:21 | |
There's been a shooting at Silk 41. They say Brett Iles, OK? | 0:02:21 | 0:02:25 | |
Robin, he took Mary hostage. | 0:02:26 | 0:02:29 | |
-Oh, shit. -Where is she? | 0:02:29 | 0:02:31 | |
We don't know. She and the shooter left in a taxi. | 0:02:31 | 0:02:34 | |
-She called a moment ago. -Really? | 0:02:34 | 0:02:37 | |
It's just coming through. | 0:02:37 | 0:02:39 | |
-The taxi's at Bondi Beach. -Bondi? | 0:02:39 | 0:02:41 | |
-I'll come and get you now. -I'm not at home. | 0:02:41 | 0:02:44 | |
Where are you? Do you need a lift? | 0:02:44 | 0:02:46 | |
-No, I'll leave now. -Are you OK? | 0:02:46 | 0:02:48 | |
SHE RETCHES OK, shit. Here. | 0:02:48 | 0:02:49 | |
-I can drive. -No. | 0:02:56 | 0:02:58 | |
-I can drive! -No, you're drunk. | 0:02:58 | 0:03:00 | |
PHONE RINGS | 0:03:03 | 0:03:05 | |
Where is it? | 0:03:07 | 0:03:08 | |
Here. | 0:03:08 | 0:03:10 | |
Thank you. | 0:03:10 | 0:03:11 | |
Yes, are you there? | 0:03:11 | 0:03:14 | |
Yeah, ah, no-one saw what happened. | 0:03:14 | 0:03:16 | |
There are three police units, maybe four, and an ambulance. | 0:03:16 | 0:03:20 | |
The shooter's gone. | 0:03:20 | 0:03:22 | |
Who was hurt? | 0:03:22 | 0:03:24 | |
Who is in the ambulance? | 0:03:25 | 0:03:27 | |
Miranda, hello? | 0:03:29 | 0:03:31 | |
-Hello? -Is it flat? | 0:03:31 | 0:03:33 | |
Fuck. | 0:03:33 | 0:03:35 | |
Oh, come on. Fuck, fuck. | 0:03:35 | 0:03:37 | |
Who's hurt? | 0:03:49 | 0:03:51 | |
They're not releasing information. I can't get in. | 0:03:51 | 0:03:53 | |
Hey, hey, out, out. | 0:04:08 | 0:04:10 | |
Don't touch me! | 0:04:10 | 0:04:11 | |
HE SIGHS | 0:04:27 | 0:04:29 | |
HELICOPTER BLADES WHIR | 0:04:31 | 0:04:33 | |
-SHE RETCHES -Oh! | 0:04:33 | 0:04:36 | |
It's not Mary. It's not Mary. | 0:04:39 | 0:04:42 | |
Hey. | 0:04:42 | 0:04:44 | |
CLATTERING, MAN GIVES ORDERS | 0:04:53 | 0:04:55 | |
HELICOPTER BLADES WHIR | 0:05:02 | 0:05:05 | |
That guy Pyke? | 0:05:14 | 0:05:16 | |
Yes. The father. | 0:05:16 | 0:05:18 | |
He's gone to tell Mary's mother. | 0:05:18 | 0:05:20 | |
Her mother? | 0:05:21 | 0:05:23 | |
Yeah, I don't know her name. | 0:05:23 | 0:05:24 | |
I'm her mother. | 0:05:26 | 0:05:28 | |
She called me. | 0:05:31 | 0:05:32 | |
I know. | 0:05:32 | 0:05:34 | |
I gave birth to her. | 0:05:34 | 0:05:35 | |
Where is he? | 0:05:37 | 0:05:40 | |
He's gone. | 0:05:40 | 0:05:41 | |
He wanted to tell her before she heard about it on the news. | 0:05:41 | 0:05:44 | |
I'm drunk! | 0:05:45 | 0:05:47 | |
BREATHALYSER BEEPS | 0:05:57 | 0:05:58 | |
Well? | 0:05:58 | 0:06:00 | |
Yeah. | 0:06:00 | 0:06:02 | |
I told you. | 0:06:02 | 0:06:04 | |
CAMERA SHUTTER CLICKS | 0:06:32 | 0:06:34 | |
Come on, ladies, you're making this very difficult. | 0:06:36 | 0:06:38 | |
Let's just get a simple and clear explanation | 0:06:38 | 0:06:41 | |
as to what happened, all right? | 0:06:41 | 0:06:43 | |
The boy. He come. He... he want Puss. He have a gun. | 0:06:43 | 0:06:47 | |
He... He tried to shoot. | 0:06:47 | 0:06:49 | |
-Puss go and Mary here and... And then... -He crazy! | 0:06:49 | 0:06:53 | |
-Maybe one hour, he... He crazy! -We didn't ask you ... | 0:06:53 | 0:06:57 | |
We didn't ask you what time. | 0:06:57 | 0:06:59 | |
-We asked you who saw the gunman shooting. -He's so crazy! | 0:06:59 | 0:07:03 | |
We all saw the girl, they working. Normal, normal day here. | 0:07:03 | 0:07:06 | |
-I see on the monitor. I come in... -Has Adrian left? | 0:07:06 | 0:07:09 | |
No, he's out the back with the security cam. | 0:07:09 | 0:07:11 | |
-You're confusing me, ladies. -Yeah, slow it down a little. | 0:07:11 | 0:07:13 | |
Just simple. | 0:07:13 | 0:07:14 | |
I can't figure it out. There's like 30 minutes missing. | 0:07:14 | 0:07:17 | |
They've deleted the footage and it's from all of the cameras. | 0:07:17 | 0:07:20 | |
Did you turn it off? | 0:07:20 | 0:07:21 | |
The camera. Did you turn it off? | 0:07:22 | 0:07:24 | |
No. Not me. I call the police. | 0:07:24 | 0:07:27 | |
That call came in 30 minutes after the shooting. | 0:07:27 | 0:07:30 | |
We've got it covered here, do you see that? That's the time. | 0:07:30 | 0:07:33 | |
Hey. | 0:07:34 | 0:07:36 | |
Babe, let me charge your phone. | 0:07:36 | 0:07:38 | |
I'll play back the shooting for you, Robin. | 0:07:40 | 0:07:42 | |
There's Mary. | 0:07:42 | 0:07:44 | |
OK, this. | 0:07:49 | 0:07:51 | |
This guy. | 0:07:51 | 0:07:52 | |
Where is he? | 0:07:52 | 0:07:54 | |
Oh, it's Bootie. | 0:07:54 | 0:07:56 | |
Yeah, where? Where is he? | 0:07:56 | 0:07:57 | |
Maybe in hospital. | 0:07:57 | 0:07:59 | |
Hey, he's not in a hospital, OK? So you moved him. | 0:07:59 | 0:08:03 | |
Did you move him? Put him in a bed somewhere? | 0:08:03 | 0:08:06 | |
-No. Not here. -Great. | 0:08:06 | 0:08:08 | |
Well, then, we've got a problem. We don't have a victim. | 0:08:08 | 0:08:11 | |
Hey, boss, it looks like somebody's woken up. | 0:08:11 | 0:08:14 | |
It's Mahlee! | 0:08:16 | 0:08:18 | |
Ah, she can't sleep. | 0:08:20 | 0:08:22 | |
Oh, my darling. | 0:08:25 | 0:08:27 | |
Where is it? | 0:08:28 | 0:08:29 | |
Joy, where's the room? | 0:08:29 | 0:08:31 | |
Joy, where is it? | 0:08:31 | 0:08:33 | |
Joy, what is the address? | 0:08:33 | 0:08:35 | |
In Sydney somewhere. | 0:08:35 | 0:08:37 | |
-Puss knows street number. -Where did Puss go? | 0:08:37 | 0:08:40 | |
He just left. He was the real target. | 0:08:40 | 0:08:43 | |
He take two best cat and gone, very quick. | 0:08:43 | 0:08:46 | |
-We've got the footage of Alexander. Do you want to see that? -Yes. | 0:08:46 | 0:08:49 | |
OK, we got a time on that? | 0:08:54 | 0:08:57 | |
Yeah, just up there. | 0:08:57 | 0:08:58 | |
So that places it five minutes after the gunman left with Mary. | 0:08:58 | 0:09:01 | |
God, she must be so scared. | 0:09:11 | 0:09:14 | |
Look at her. She looks so calm. | 0:09:16 | 0:09:18 | |
Can I play that back again? The end, please. | 0:09:24 | 0:09:27 | |
Sure. | 0:09:27 | 0:09:28 | |
Stop. | 0:09:33 | 0:09:34 | |
SIRENS WAILING | 0:09:46 | 0:09:48 | |
Jesus Christ, what's he doing here? | 0:10:03 | 0:10:05 | |
OK, Moynaugh, let's expand the crime scene | 0:10:06 | 0:10:08 | |
-right back from where we've come, OK? -That's a lot of tape. | 0:10:08 | 0:10:11 | |
Yeah, it is. Let's get some photos happening. | 0:10:11 | 0:10:13 | |
Oi, that creepy little shit. What was his name? | 0:10:15 | 0:10:18 | |
Brett. Iles. | 0:10:18 | 0:10:19 | |
We got a home address? | 0:10:19 | 0:10:21 | |
Yes. Ah, Hilmarson tried his mobile. | 0:10:21 | 0:10:23 | |
He's gone off-grid. | 0:10:23 | 0:10:24 | |
CAMERA CLICKS | 0:10:24 | 0:10:26 | |
Real fuckin' mess, this is. | 0:10:26 | 0:10:28 | |
WOMAN WHIMPERS | 0:10:30 | 0:10:31 | |
Sorry, ma'am. We need to preserve this for evidence. | 0:10:31 | 0:10:33 | |
Sorry, ma'am. Sorry. | 0:10:33 | 0:10:35 | |
WOMAN WAILS | 0:10:35 | 0:10:37 | |
-Bernard. -Evening, Ray. | 0:10:44 | 0:10:47 | |
WHISTLING | 0:10:47 | 0:10:49 | |
New customer? | 0:10:50 | 0:10:51 | |
Yeah, brothel shooting. | 0:10:51 | 0:10:53 | |
OK, let's put him straight into Op 1. | 0:10:53 | 0:10:55 | |
Robbie? | 0:10:56 | 0:10:58 | |
Ray. | 0:10:59 | 0:11:01 | |
I came in with the contractor. | 0:11:01 | 0:11:03 | |
I didn't think you'd still be here. | 0:11:05 | 0:11:07 | |
Well, I was awake. I was Skyping, so I came in. | 0:11:07 | 0:11:10 | |
What have you got? | 0:11:10 | 0:11:11 | |
Corpse. | 0:11:12 | 0:11:14 | |
Gun wound. | 0:11:16 | 0:11:17 | |
You all right? | 0:11:18 | 0:11:20 | |
Drunk. | 0:11:24 | 0:11:25 | |
Think I'm still drunk. | 0:11:26 | 0:11:28 | |
Actually, Ray, can... Can you just hold me? | 0:11:30 | 0:11:34 | |
Hey, Bernard, just fuck off for a minute, will you, mate? | 0:11:34 | 0:11:37 | |
Thanks. | 0:11:37 | 0:11:39 | |
All right, all right, all right. Love troubles? | 0:11:39 | 0:11:43 | |
Well, you've been having sex. | 0:11:46 | 0:11:48 | |
Are you asking or do you know? | 0:11:50 | 0:11:53 | |
HE SNIFFS | 0:11:53 | 0:11:55 | |
-You can't smell it! -HE CHUCKLES | 0:11:55 | 0:11:58 | |
No, really? | 0:11:58 | 0:12:00 | |
It's embarrassing. | 0:12:01 | 0:12:03 | |
Is it? No, no, no, it's lovely. | 0:12:03 | 0:12:07 | |
-It is. -Mm. | 0:12:07 | 0:12:10 | |
So it must be something else. | 0:12:10 | 0:12:13 | |
It'll be your daughter, eh? | 0:12:15 | 0:12:17 | |
Your beautiful girl. | 0:12:17 | 0:12:19 | |
She got to you, eh? Told you she would. | 0:12:20 | 0:12:23 | |
Oh, she's lovely, Ray. | 0:12:25 | 0:12:26 | |
I'm just crazy about her. | 0:12:29 | 0:12:31 | |
I'm her biggest fan. | 0:12:31 | 0:12:33 | |
Is she all right? | 0:12:34 | 0:12:36 | |
Hey! Hey, hey, hey, hey, hey! | 0:12:39 | 0:12:41 | |
Hey. | 0:12:41 | 0:12:43 | |
Now listen, bottom line... | 0:12:43 | 0:12:45 | |
she's not here, so she's alive. | 0:12:45 | 0:12:48 | |
As you are my queen, I am your servant. | 0:12:49 | 0:12:52 | |
I tell you, she is not going to die. | 0:12:52 | 0:12:55 | |
OK. | 0:12:58 | 0:13:00 | |
OK. I just need to look on the... the bright side. | 0:13:01 | 0:13:06 | |
Yeah. Yeah, yeah. Yeah, you do. | 0:13:06 | 0:13:08 | |
Ray, can I sleep here? | 0:13:11 | 0:13:13 | |
Just for an hour? | 0:13:14 | 0:13:16 | |
I'll sleep on the floor, OK? | 0:13:18 | 0:13:20 | |
KNOCKING AT DOOR | 0:13:35 | 0:13:37 | |
-Shit, you gave me a fright. -Has Mary rung? | 0:13:44 | 0:13:47 | |
No, nobody has. | 0:13:47 | 0:13:49 | |
She's asleep. Can you tell me what's up? | 0:13:49 | 0:13:51 | |
We don't do the hysteria parenting thing here. | 0:13:51 | 0:13:54 | |
I need to speak to Julia. | 0:13:54 | 0:13:55 | |
If you don't want me in the bedroom, wake her up. | 0:13:55 | 0:13:57 | |
-Hey, Julia? -Mm? | 0:14:08 | 0:14:10 | |
-Hey, Jules. -What is it? What happened? | 0:14:14 | 0:14:18 | |
Pyke, are you OK? | 0:14:20 | 0:14:21 | |
Pyke! | 0:14:23 | 0:14:26 | |
It's Mary? | 0:14:26 | 0:14:28 | |
What? What? | 0:14:28 | 0:14:30 | |
Apparently she's been taken hostage by some young guy with a gun. | 0:14:30 | 0:14:34 | |
Oh, God! So she's alive. | 0:14:34 | 0:14:37 | |
-Is she alive? -I don't know. I don't know. | 0:14:37 | 0:14:40 | |
-Oh, no. Oh, Pyke. -They're missing. | 0:14:40 | 0:14:44 | |
Hold on, let me check. Let me check if she called me. | 0:14:46 | 0:14:49 | |
Let me... | 0:14:49 | 0:14:51 | |
No, nothing. Um... | 0:14:51 | 0:14:55 | |
All right, someone needs to be at home in case she calls. | 0:14:55 | 0:15:00 | |
Ah, she, um, she tried to ring Robin. | 0:15:00 | 0:15:02 | |
She rang her? OK. OK, that's smart. That's good. | 0:15:04 | 0:15:07 | |
-She's, um, she's a detective. -Yeah. | 0:15:08 | 0:15:10 | |
-TELEVISION: -Overnight, a shooting at a brothel in the eastern suburbs | 0:15:10 | 0:15:13 | |
has left one man dead and another in a critical condition. | 0:15:13 | 0:15:17 | |
The young gunman, who it's believed has taken a sex worker hostage, | 0:15:18 | 0:15:22 | |
later shot a taxi driver at a Bondi Beach car park. | 0:15:22 | 0:15:25 | |
Police are warning people not to approach him... | 0:15:25 | 0:15:27 | |
Is that Mary? They're calling Mary a sex worker? | 0:15:27 | 0:15:31 | |
What the...? | 0:15:31 | 0:15:32 | |
-..joins us now. Matt? -Yes, hi, Georgie... | 0:15:32 | 0:15:34 | |
I'll call the school. You can't work today. | 0:15:34 | 0:15:37 | |
-Ah, yes. -..putting together the details of a night | 0:15:37 | 0:15:39 | |
gone horribly wrong. | 0:15:39 | 0:15:40 | |
I'm your driver. | 0:16:03 | 0:16:04 | |
Adrian got Puss's number from Dang. | 0:16:21 | 0:16:24 | |
It's switched off - it's an old Nokia, no GPS. | 0:16:24 | 0:16:27 | |
BEEPING | 0:16:31 | 0:16:34 | |
You're sober. You look sober. | 0:16:34 | 0:16:37 | |
0.03. | 0:16:37 | 0:16:38 | |
I feel like shit. | 0:16:40 | 0:16:41 | |
Three buses will take us down to Bondi. | 0:16:58 | 0:17:00 | |
There, we'll off-load at Campbell Parade, taking up positions | 0:17:00 | 0:17:03 | |
and keeping as low a profile as possible. | 0:17:03 | 0:17:05 | |
At the moment, this is an observational exercise only. | 0:17:05 | 0:17:08 | |
He's around, guys. We have knowledge now that he has gun experience. | 0:17:08 | 0:17:12 | |
Apparently he was placed in the New South Wales under-21s | 0:17:12 | 0:17:15 | |
pistol shooting event. | 0:17:15 | 0:17:17 | |
Uh, does that mean he's carrying a pistol? | 0:17:17 | 0:17:19 | |
He may be. What we do know is he's used a sawn-off automatic shotgun, | 0:17:19 | 0:17:22 | |
most probably a Remington 870 Express Magnum cut down, | 0:17:22 | 0:17:26 | |
so look out for that. | 0:17:26 | 0:17:27 | |
He's also holding an 18-year-old female hostage. | 0:17:27 | 0:17:30 | |
Do we have a name? | 0:17:30 | 0:17:31 | |
Mary Edwards. | 0:17:31 | 0:17:33 | |
Has he made contact? | 0:17:33 | 0:17:35 | |
No. If he feels like me, he's sleeping, which is the point. | 0:17:35 | 0:17:38 | |
Now, the uniforms will sweep back from the beach towards | 0:17:38 | 0:17:41 | |
Old South Head Road. | 0:17:41 | 0:17:42 | |
So the beach is open? | 0:17:42 | 0:17:43 | |
Yes, Geoff, as you can see. | 0:17:43 | 0:17:45 | |
Oh, nice time-lapse, Sophie. | 0:17:45 | 0:17:47 | |
So, we've checked the north and southern rocks by helicopter | 0:17:47 | 0:17:50 | |
and sight swept the beach last night. So far, nothing. | 0:17:50 | 0:17:53 | |
It's going to be 35 degrees, so there's going to be a crowd. | 0:17:53 | 0:17:56 | |
We don't want to panic anyone, so here's the fun part. | 0:17:56 | 0:17:59 | |
20 of you are going uncovered, in beachwear, | 0:17:59 | 0:18:02 | |
watching all the access ramps. | 0:18:02 | 0:18:04 | |
Thommo, take us through the teams. | 0:18:04 | 0:18:05 | |
OK, Chief. | 0:18:05 | 0:18:06 | |
OK, guys, deployment teams are... | 0:18:06 | 0:18:08 | |
-What are we looking at? -..Sizzla, you're with Badger... | 0:18:08 | 0:18:10 | |
-This. Here. -Mm-hmm. | 0:18:10 | 0:18:13 | |
Can you zoom in there? See this box? | 0:18:13 | 0:18:15 | |
-Yep. -On the right. -OK. -..Got that? | 0:18:15 | 0:18:17 | |
Yeah, we had it cleared, not cleaned. | 0:18:17 | 0:18:19 | |
Is that a shoe? | 0:18:23 | 0:18:25 | |
OK, Amanda's in the TOU bus, which is just down by the lifeguard tower. | 0:18:25 | 0:18:28 | |
OK, people, if you're not one of the 20 on the list, | 0:18:28 | 0:18:31 | |
you're moving over to your right, pairing up. Please, be smart. | 0:18:31 | 0:18:34 | |
KNOCKING | 0:18:38 | 0:18:40 | |
Have a look at this. | 0:18:42 | 0:18:43 | |
Sophie's hacked into the live stream. | 0:18:43 | 0:18:46 | |
Give me a sec. | 0:18:46 | 0:18:48 | |
Oh, good girl, eating cereal. | 0:18:49 | 0:18:52 | |
OK, I've got control of the camera. | 0:18:52 | 0:18:55 | |
We still don't know where that fucking room is. | 0:18:58 | 0:19:01 | |
Dang said she's never been, but Puss knows. | 0:19:01 | 0:19:04 | |
Guys...I think they can see the camera moving. | 0:19:04 | 0:19:07 | |
Mahlee, it's Miranda. | 0:19:25 | 0:19:27 | |
Who? | 0:19:27 | 0:19:28 | |
Miranda. | 0:19:28 | 0:19:30 | |
Where are you? What's your address? | 0:19:30 | 0:19:32 | |
I've got a... | 0:19:32 | 0:19:33 | |
I've got a gift for you. | 0:19:33 | 0:19:35 | |
Shit! | 0:19:39 | 0:19:41 | |
I'm sorry, we've got to go. | 0:19:43 | 0:19:46 | |
We'll find her. We've got to go. | 0:19:46 | 0:19:47 | |
Has anybody heard from her? | 0:19:51 | 0:19:53 | |
No? Nobody's heard from her? No? | 0:19:55 | 0:19:58 | |
I'm sorry. | 0:20:00 | 0:20:02 | |
Can I give it a try? | 0:20:02 | 0:20:06 | |
I'm, um, Julia, Mary's mother. | 0:20:06 | 0:20:09 | |
This is difficult. | 0:20:11 | 0:20:14 | |
Um, I love Mary very much, but right now, I'm ... | 0:20:14 | 0:20:19 | |
I'm certain that you know her better than I do. | 0:20:19 | 0:20:24 | |
I know loyalty is very important to Mary, as I'm sure it is to you. | 0:20:24 | 0:20:28 | |
If you have secrets, you depend on each other to keep them, yes? | 0:20:29 | 0:20:34 | |
ASSEMBLY: Yes. | 0:20:34 | 0:20:36 | |
So I'm going to begin by sharing a secret with you. | 0:20:36 | 0:20:39 | |
Something very frightening has happened to Mary. | 0:20:42 | 0:20:45 | |
She is being held hostage by a gunman. | 0:20:47 | 0:20:50 | |
Is that the shooter at Bondi Beach? On the news? | 0:20:51 | 0:20:54 | |
It is. | 0:20:56 | 0:20:57 | |
Have you heard anything from her? | 0:21:00 | 0:21:03 | |
Have you received a text? Any of you? | 0:21:03 | 0:21:04 | |
ASSEMBLY: No. | 0:21:04 | 0:21:06 | |
Do you know a favourite place she might be? | 0:21:06 | 0:21:08 | |
A friend, that we might not know about? Anything? Anything at all. | 0:21:10 | 0:21:16 | |
OK, girls, back to class. | 0:21:21 | 0:21:23 | |
Julia... | 0:21:23 | 0:21:25 | |
I'm sorry. | 0:21:25 | 0:21:26 | |
-Come on. -Thank you. | 0:21:26 | 0:21:28 | |
Let's go. | 0:21:28 | 0:21:29 | |
OK, let's go from the F, OK? So we'll go after four. | 0:21:31 | 0:21:35 | |
One, two, three, four. | 0:21:35 | 0:21:37 | |
GENTLE GUITAR MUSIC | 0:21:37 | 0:21:40 | |
Up to the G. | 0:21:40 | 0:21:42 | |
Mrs Edwards! Mrs Edwards! | 0:21:45 | 0:21:47 | |
Cafe Stasi. | 0:21:49 | 0:21:51 | |
We used to go there after school. It's really weird. | 0:21:51 | 0:21:54 | |
That's where she met Puss. | 0:21:54 | 0:21:56 | |
Maybe he even works there, I don't know. | 0:21:56 | 0:21:57 | |
We could never figure it out. | 0:21:57 | 0:21:59 | |
But Mary would play chess with him. | 0:21:59 | 0:22:01 | |
Thank you. Thank you. | 0:22:01 | 0:22:03 | |
Uh, Cafe... | 0:22:03 | 0:22:05 | |
Stasi. It's on Liverpool Street. | 0:22:05 | 0:22:06 | |
Liverpool. | 0:22:06 | 0:22:08 | |
We will find her. | 0:22:08 | 0:22:10 | |
OK. | 0:22:10 | 0:22:11 | |
I had sex with her dad. | 0:22:37 | 0:22:39 | |
We got drunk and... | 0:22:45 | 0:22:47 | |
Am I crazy? | 0:22:52 | 0:22:54 | |
No. | 0:22:55 | 0:22:56 | |
No, you're pulling it together. | 0:22:56 | 0:22:58 | |
Right. | 0:23:08 | 0:23:09 | |
Where's Wally? | 0:23:10 | 0:23:12 | |
Rob. Hey. | 0:23:40 | 0:23:42 | |
Liam, hi. | 0:23:42 | 0:23:43 | |
Hey, I've been looking for you all morning. | 0:23:43 | 0:23:45 | |
Why haven't you answered my calls? | 0:23:45 | 0:23:46 | |
Sorry, I've been busy. | 0:23:46 | 0:23:48 | |
It's Mary they're talking about, isn't it? | 0:23:48 | 0:23:51 | |
Yeah, it is. | 0:23:51 | 0:23:53 | |
-Any news? -No, nothing yet. | 0:23:54 | 0:23:57 | |
Uh, Detective Sergeant? | 0:23:59 | 0:24:00 | |
Boss is asking for you. | 0:24:00 | 0:24:02 | |
OK, call you later. | 0:24:02 | 0:24:03 | |
-Got to go. -See ya. | 0:24:03 | 0:24:05 | |
Contact me, yeah? | 0:24:05 | 0:24:07 | |
Like, you have to. | 0:24:07 | 0:24:09 | |
No, I want you to hold that position. Now, we've searched | 0:24:09 | 0:24:12 | |
from the beach all the way back to Old South Head Road and | 0:24:12 | 0:24:14 | |
we've checked the garages and the laneways there | 0:24:14 | 0:24:16 | |
and the result was negative. | 0:24:16 | 0:24:18 | |
OK, copy that. | 0:24:18 | 0:24:20 | |
I think he's here. On the beach. | 0:24:20 | 0:24:23 | |
It's the perfect hiding place. | 0:24:23 | 0:24:25 | |
All he needs is a T-shirt, a pair of shorts. | 0:24:27 | 0:24:29 | |
Sophie, get me the box. | 0:24:54 | 0:24:56 | |
The time-lapse footage, yeah? | 0:24:56 | 0:24:57 | |
Yes. I want to locate it. | 0:24:57 | 0:24:58 | |
Oh, yeah, the box again. | 0:24:58 | 0:25:00 | |
OK, listen up, all units. I'm moving the alert rating to high. | 0:25:00 | 0:25:03 | |
Get in as close as you can and get me a printout. | 0:25:03 | 0:25:05 | |
OK, will do. | 0:25:05 | 0:25:07 | |
Right, well, I'm either pissed or I need glasses. | 0:25:10 | 0:25:12 | |
What is that, a beer carton? Craft beer? | 0:25:12 | 0:25:14 | |
I'm going out. | 0:25:14 | 0:25:16 | |
Not in uniform you're not. | 0:25:16 | 0:25:17 | |
KNOCKING | 0:25:19 | 0:25:21 | |
He says he's here to see Griffin. | 0:25:25 | 0:25:26 | |
He's all right. Let him in. | 0:25:26 | 0:25:29 | |
Hey, Rob. Brought you these. | 0:25:29 | 0:25:32 | |
Uh, anyone else? | 0:25:36 | 0:25:37 | |
No, mate. | 0:25:37 | 0:25:39 | |
Actually I need a change of clothes. | 0:25:39 | 0:25:40 | |
Um, I'll need your shirt and, um... | 0:25:40 | 0:25:43 | |
-Righto. -Yeah, and I'm going to need your shorts. | 0:25:43 | 0:25:45 | |
No worries. | 0:25:48 | 0:25:50 | |
Chill out, mate. | 0:25:50 | 0:25:52 | |
I'm not getting my dick out. | 0:25:52 | 0:25:53 | |
-Thank you. -Uh... | 0:25:57 | 0:25:59 | |
I'll call you, as soon as I hear anything. | 0:26:01 | 0:26:03 | |
Yeah, yeah. Uh...appreciate that. | 0:26:03 | 0:26:07 | |
It should be down there. | 0:26:16 | 0:26:18 | |
Stally to Griffin. | 0:26:22 | 0:26:24 | |
-It's Griffin. -Yeah, g'day Robin. | 0:26:24 | 0:26:26 | |
Hey, if you do find that case of beer of yours, | 0:26:26 | 0:26:28 | |
make sure you bring us up a six pack. | 0:26:28 | 0:26:31 | |
They're yours, Stally. | 0:26:32 | 0:26:34 | |
Thank you. | 0:26:34 | 0:26:36 | |
Base, sending you a pic. Person of interest near the flagged area. | 0:26:44 | 0:26:48 | |
Got eyes on me? | 0:26:48 | 0:26:50 | |
The suspect's flat out on his back, wearing boxer shorts. | 0:26:50 | 0:26:53 | |
T-shirt covering his face. | 0:26:53 | 0:26:55 | |
Do I have permission to approach? | 0:26:55 | 0:26:57 | |
No, no, no, you'll need assistance. | 0:26:57 | 0:27:00 | |
Griffin, Hilmarson, are you in that sector? | 0:27:00 | 0:27:02 | |
Got eyes on him. One minute. | 0:27:02 | 0:27:04 | |
Yeah, that's the image there, sir. | 0:27:04 | 0:27:06 | |
Can you zoom in a little on that? | 0:27:06 | 0:27:07 | |
Permission to approach? | 0:27:18 | 0:27:19 | |
-Do you have assistance? -Check. | 0:27:19 | 0:27:21 | |
All right, go ahead. | 0:27:21 | 0:27:22 | |
We're police, stay down. | 0:27:25 | 0:27:26 | |
-Hey, what's going on? -Negative. No match. | 0:27:26 | 0:27:28 | |
Continuing to sweep south. | 0:27:31 | 0:27:33 | |
Heading north, Sizzla. You got anything? | 0:27:40 | 0:27:41 | |
No, nothing here. | 0:27:43 | 0:27:44 | |
Robin. Robin. | 0:27:58 | 0:28:01 | |
Adrian, we've located what could be the box. | 0:28:09 | 0:28:12 | |
I'm going out there. | 0:28:12 | 0:28:14 | |
Hold your hands up. I can't see you. | 0:28:19 | 0:28:22 | |
Yeah, yeah, I've got you. All right, clear it, but take it easy. | 0:28:25 | 0:28:29 | |
Griffin, we've got backup coming. | 0:28:36 | 0:28:38 | |
Hello, Eastern Coast Police. | 0:28:51 | 0:28:52 | |
I need you to clear the area, please, immediately. | 0:28:52 | 0:28:54 | |
Immediately, thanks so much. | 0:28:54 | 0:28:56 | |
Clear the area, please. Thank you very much. | 0:28:58 | 0:29:00 | |
Clear the area, please. | 0:29:00 | 0:29:01 | |
Thank you. | 0:29:01 | 0:29:03 | |
Please clear the area immediately, thank you very much. | 0:29:03 | 0:29:05 | |
Eastern Coast Police. | 0:29:05 | 0:29:06 | |
We need you to clear the area, thank you. | 0:29:06 | 0:29:08 | |
Morning, Eastern Coast Police. | 0:29:09 | 0:29:11 | |
Where's backup? | 0:29:12 | 0:29:14 | |
-Wait for the backup. -En route, Sarge. | 0:29:14 | 0:29:18 | |
Eastern Coast Police. | 0:29:18 | 0:29:19 | |
Clear the area immediately, thank you. | 0:29:19 | 0:29:21 | |
Why, what's going on? | 0:29:21 | 0:29:22 | |
Please clear the area immediately. Thank you. | 0:29:24 | 0:29:28 | |
Going to need you to pack your things up now. Now. | 0:29:37 | 0:29:40 | |
No, no. We just got here. | 0:29:40 | 0:29:42 | |
Please clear the area. Thank you so much. | 0:29:42 | 0:29:44 | |
-Robin? -Oh. -Hey... | 0:30:00 | 0:30:02 | |
-Robin! -Hey. What's going on here? | 0:30:02 | 0:30:04 | |
Draw your weapon. | 0:30:05 | 0:30:06 | |
Constable, draw your weapon! | 0:30:06 | 0:30:08 | |
GUNSHOT | 0:30:10 | 0:30:12 | |
SCREAMING | 0:30:12 | 0:30:14 | |
Drop it! Drop your weapon now! | 0:30:14 | 0:30:16 | |
Is she OK? | 0:30:16 | 0:30:18 | |
Where is she? | 0:30:18 | 0:30:20 | |
Tell me. Where's Mary? | 0:30:20 | 0:30:23 | |
Brett, where is she? Where is she? | 0:30:24 | 0:30:27 | |
VOICES IN DISTANCE | 0:30:49 | 0:30:52 | |
FRIDGE DOOR BANGS | 0:31:04 | 0:31:06 | |
Oh, my God. You're all right. | 0:31:21 | 0:31:25 | |
Oh! Are you all right? I ... | 0:31:25 | 0:31:27 | |
-Is the gunman here? -No. I'm alone. | 0:31:30 | 0:31:33 | |
I can't stay. | 0:31:37 | 0:31:38 | |
Why? | 0:31:41 | 0:31:43 | |
-I don't trust you to tell you. -Please don't go. Just... Just... | 0:31:45 | 0:31:48 | |
I mean, this is your home. I'll go. | 0:31:48 | 0:31:50 | |
You don't want me here, I'll go. I... | 0:31:50 | 0:31:54 | |
-What are you doing? -Ah, just calling your dad. | 0:31:55 | 0:31:58 | |
Don't, Mum. Don't. Put it down. | 0:31:58 | 0:32:00 | |
I have to, please. I have to call the police, Mary. | 0:32:00 | 0:32:02 | |
Put it down. | 0:32:02 | 0:32:03 | |
Can we sit down and you tell me what happened? | 0:32:10 | 0:32:13 | |
No, if I told you what happened, you wouldn't listen. | 0:32:13 | 0:32:15 | |
You'd get hysterical. | 0:32:15 | 0:32:18 | |
I want to learn. I'll learn. | 0:32:20 | 0:32:23 | |
I can learn. | 0:32:23 | 0:32:25 | |
I mean, I want to know how to speak to you. | 0:32:25 | 0:32:28 | |
I'm... That's blood. | 0:32:28 | 0:32:32 | |
It's blood, isn't it? Are you cut? | 0:32:32 | 0:32:34 | |
No, it's the taxi driver's blood. | 0:32:34 | 0:32:37 | |
-Oh, what? -What, what? -Nothing. | 0:32:37 | 0:32:40 | |
-What? -Nothing, I just... -What?! | 0:32:40 | 0:32:43 | |
-What you've been through and I... -No, I'm going to change. | 0:32:43 | 0:32:47 | |
-I'm going to change and wash before I go out... -OK, OK. | 0:32:47 | 0:32:50 | |
I don't care what you do. Please, please, just don't leave. | 0:32:50 | 0:32:53 | |
No! I already told you. | 0:32:53 | 0:32:54 | |
I already told you that I can't stay. | 0:32:54 | 0:32:57 | |
It's true, you did. Yeah, it's true, it's true. | 0:32:57 | 0:33:00 | |
SHE SIGHS | 0:33:01 | 0:33:02 | |
Can I hug you? | 0:33:07 | 0:33:09 | |
Can I hug you, please? | 0:33:09 | 0:33:11 | |
SHE SOBS | 0:33:11 | 0:33:13 | |
-TV: -Two people are dead and two left critically injured as a day | 0:33:18 | 0:33:22 | |
of tragedy unfolded across the city and onto Bondi Beach. | 0:33:22 | 0:33:25 | |
In a dramatic end to a police pursuit, a gunman shot | 0:33:25 | 0:33:29 | |
a female police officer before being subdued and taken into custody. | 0:33:29 | 0:33:33 | |
A schoolgirl hostage is safe and unharmed. In other news... | 0:33:33 | 0:33:38 | |
Adrian, what? | 0:33:52 | 0:33:54 | |
Not good. | 0:33:56 | 0:33:57 | |
Not really good. | 0:33:58 | 0:34:00 | |
HE SNIFFS | 0:34:01 | 0:34:03 | |
So Mary turned up? | 0:34:10 | 0:34:11 | |
Yeah. It's great. I just... I wish she'd call. | 0:34:13 | 0:34:17 | |
Do you want to see her? | 0:34:17 | 0:34:20 | |
Yeah. | 0:34:20 | 0:34:22 | |
MONITORS BEEP | 0:34:24 | 0:34:27 | |
Hey, beautiful. | 0:34:50 | 0:34:51 | |
I'm telling everyone. | 0:34:56 | 0:34:58 | |
I want our families to know that we love each other, | 0:34:58 | 0:35:01 | |
and I'll take whatever comes. | 0:35:01 | 0:35:03 | |
HE SNIFFS | 0:35:03 | 0:35:05 | |
Will you cover for me? | 0:35:05 | 0:35:07 | |
Phone Mahlee and offer her whatever she wants. | 0:35:08 | 0:35:12 | |
This baby means everything. Call me and I'll come. | 0:35:12 | 0:35:17 | |
-I've just got to get her through tonight. -Yes, of course. | 0:35:17 | 0:35:21 | |
Shit. | 0:35:40 | 0:35:43 | |
Shit, shit, shit. | 0:35:43 | 0:35:45 | |
Please. Please live. | 0:35:58 | 0:36:01 | |
Please. | 0:36:04 | 0:36:05 | |
DOOR CLOSES Julia, you there? | 0:36:57 | 0:36:59 | |
Her passport's gone. | 0:37:19 | 0:37:20 | |
-Mary's? -Yes, Mary's. I should have stopped her. | 0:37:20 | 0:37:25 | |
Why didn't I stop her leaving? | 0:37:25 | 0:37:28 | |
Because you trusted her. | 0:37:28 | 0:37:30 | |
Look, she needs your confidence to step outside the family home | 0:37:30 | 0:37:35 | |
and into her independent life. | 0:37:35 | 0:37:37 | |
Where's my phone? | 0:37:37 | 0:37:38 | |
It's the beginning of every hero myth. | 0:37:38 | 0:37:40 | |
Find me my phone! | 0:37:40 | 0:37:41 | |
Leaving home, the village. Of course she faces obstacles, we all do. | 0:37:41 | 0:37:47 | |
God. | 0:37:47 | 0:37:48 | |
She just let her leave? Where is she now? | 0:37:52 | 0:37:56 | |
With Puss? | 0:37:56 | 0:37:57 | |
So this is where they met? | 0:38:18 | 0:38:20 | |
Yeah. | 0:38:20 | 0:38:21 | |
No sign of him? | 0:38:23 | 0:38:25 | |
No, but she's OK. That's the main thing. | 0:38:26 | 0:38:29 | |
How's your partner? | 0:38:30 | 0:38:32 | |
Critical. She was shot in the abdomen. | 0:38:32 | 0:38:35 | |
It's a good sign. | 0:38:45 | 0:38:46 | |
TEXT ALERT | 0:39:08 | 0:39:09 | |
Oh, shit, I've gotta go. | 0:39:16 | 0:39:18 | |
What? | 0:39:18 | 0:39:20 | |
Mary's passport's missing. | 0:39:20 | 0:39:23 | |
Julia's at home. She's frantic. | 0:39:23 | 0:39:25 | |
Shit. | 0:39:27 | 0:39:28 | |
Has Mary got money? | 0:39:28 | 0:39:30 | |
Um, no. | 0:39:30 | 0:39:32 | |
I... I don't... Maybe he does. I'll call you, OK? | 0:39:32 | 0:39:36 | |
Do you have to go? | 0:39:36 | 0:39:38 | |
I think so. I'm sorry. | 0:39:38 | 0:39:40 | |
Where's Mary? | 0:40:28 | 0:40:29 | |
Where the fuck is she going?! | 0:40:31 | 0:40:33 | |
I'll take that, thank you. Go to your mum. | 0:40:41 | 0:40:45 | |
Look, Mary is 18 years old and in love. | 0:40:49 | 0:40:53 | |
She does whatever she likes. | 0:40:53 | 0:40:55 | |
So do I. | 0:40:55 | 0:40:56 | |
Argh! Argh! | 0:40:56 | 0:40:57 | |
You pimped my daughter! | 0:40:57 | 0:40:59 | |
Argh! Argh! | 0:40:59 | 0:41:00 | |
Oh, you crazy bitch! | 0:41:00 | 0:41:02 | |
You almost got her shot! | 0:41:02 | 0:41:04 | |
That idiot, he was trying to shoot me. I was the target. | 0:41:04 | 0:41:08 | |
He thought I killed his prostitute. | 0:41:08 | 0:41:10 | |
Argh! | 0:41:10 | 0:41:11 | |
No, what did he ever do for her? Fuck her, that's all. | 0:41:11 | 0:41:15 | |
I am the one that tried to help Cinnamon. | 0:41:15 | 0:41:17 | |
Day after day I try to talk sense into her and then one day I gave up. | 0:41:17 | 0:41:23 | |
I told her, work it out for herself. Stop wasting my time. | 0:41:23 | 0:41:27 | |
Live, die, do what you like. | 0:41:27 | 0:41:29 | |
Silly bitch go hung herself. | 0:41:29 | 0:41:31 | |
And put herself in a suitcase? | 0:41:34 | 0:41:36 | |
Yes, well, no, they did that. | 0:41:36 | 0:41:37 | |
It's clumsy but now look what happened. | 0:41:37 | 0:41:40 | |
I'm arresting you. | 0:41:40 | 0:41:41 | |
I tried to help the girl. Don't you hear me? | 0:41:42 | 0:41:44 | |
Where's the apartment with the surrogates? | 0:41:44 | 0:41:47 | |
The one with the security screen. I want Mahlee. | 0:41:47 | 0:41:51 | |
I want Mahlee with the panda. | 0:41:51 | 0:41:53 | |
Yes, well, no, they are all together. | 0:41:55 | 0:41:57 | |
Are you their boss? | 0:41:59 | 0:42:01 | |
Boss? Come on, no, I'm not their boss. | 0:42:01 | 0:42:03 | |
I try to help them. Here, you go. | 0:42:03 | 0:42:05 | |
Go take a look. | 0:42:05 | 0:42:06 | |
Has it not ever occurred to you? | 0:42:08 | 0:42:11 | |
What? | 0:42:11 | 0:42:12 | |
That you are a surrogate, too. | 0:42:14 | 0:42:15 | |
Wait. Come on. Come on. | 0:42:21 | 0:42:23 | |
Come on, wait. | 0:42:23 | 0:42:25 | |
Wait. | 0:42:26 | 0:42:28 | |
Here, East Wind Apartments. It's in Darlinghurst. | 0:42:29 | 0:42:33 | |
You're wrong...about Mary. | 0:42:40 | 0:42:42 | |
She's not in love. | 0:42:45 | 0:42:47 | |
She's scared of you. | 0:42:50 | 0:42:52 | |
I think she hates you. | 0:42:55 | 0:42:57 | |
SIREN WAILS | 0:43:17 | 0:43:18 | |
What the fuck? | 0:43:26 | 0:43:28 | |
The surrogates called their parent couples to meet 'em here. | 0:43:35 | 0:43:38 | |
Looking for the manager cos apparently he's got the keys. | 0:43:38 | 0:43:41 | |
I need you guys to hang back, please. | 0:43:58 | 0:44:00 | |
They're not here, Mike. They're not here. | 0:44:43 | 0:44:46 | |
-PA SYSTEM: -Last boarding call for Temple Airways flight 416, | 0:45:26 | 0:45:29 | |
-rows 50 to 85... -Puss! Puss! | 0:45:29 | 0:45:32 | |
..travellers may board at any time. | 0:45:32 | 0:45:35 | |
No, not the fucking panda. | 0:45:37 | 0:45:40 | |
No, no. Not for you. | 0:45:56 | 0:45:59 | |
Worrying me like that all day, huh? | 0:45:59 | 0:46:01 | |
What is it, you hate me now. Is that correct? | 0:46:05 | 0:46:07 | |
What's the matter? Are you scared of me? | 0:46:12 | 0:46:14 | |
I could have been shot. | 0:46:16 | 0:46:17 | |
No, I was the target. | 0:46:19 | 0:46:21 | |
You haven't been hurt, huh? Not a single hair. | 0:46:21 | 0:46:24 | |
You shut the lift on me. | 0:46:24 | 0:46:26 | |
Oh, come on. | 0:46:26 | 0:46:28 | |
It closed, OK? The door closed. | 0:46:28 | 0:46:30 | |
Come on, you spoiled bitch. | 0:46:30 | 0:46:32 | |
-Get on the plane! -What about the babies? | 0:46:32 | 0:46:35 | |
-What? -Who's going to love them? | 0:46:35 | 0:46:38 | |
They are - the people who pay for them, you know? | 0:46:38 | 0:46:41 | |
The people who made them. They will... | 0:46:41 | 0:46:43 | |
-SHE YELLS -Hey! Oww! | 0:46:47 | 0:46:50 | |
Mary, relax! | 0:46:50 | 0:46:52 | |
-CARAMEL: -Mary! | 0:47:00 | 0:47:02 | |
Get in the plane! | 0:47:07 | 0:47:09 | |
Good evening. Please sit down, be comfortable. | 0:47:21 | 0:47:24 | |
I will be your host. | 0:47:24 | 0:47:26 | |
My name is not important, and neither, of course, is yours. | 0:47:26 | 0:47:31 | |
Every second, 4.3 babies arrive | 0:47:31 | 0:47:35 | |
through a vagina onto this planet. | 0:47:35 | 0:47:39 | |
Soon, your babies will be arriving, | 0:47:39 | 0:47:42 | |
but not through your vaginas. | 0:47:42 | 0:47:45 | |
For too long, the West has exploited the poor | 0:47:45 | 0:47:49 | |
and improvised women of Asia. | 0:47:49 | 0:47:52 | |
Girls as young as 12 years old | 0:47:52 | 0:47:54 | |
are sold as virgins to gratify the appetite of the wealthy. | 0:47:54 | 0:47:58 | |
-I'm going to the airport. -But what sort of life is that, huh? | 0:47:58 | 0:48:02 | |
Fucked to feed? Come on. | 0:48:02 | 0:48:06 | |
And now you all want to grow your vile DNAs, | 0:48:06 | 0:48:10 | |
your precious little babies inside | 0:48:10 | 0:48:14 | |
the slave wombs of enslaved women, | 0:48:14 | 0:48:18 | |
too poor to choose. But... | 0:48:18 | 0:48:20 | |
..just one of these little bundles of happiness | 0:48:22 | 0:48:26 | |
will bring enough money | 0:48:26 | 0:48:29 | |
to support a whole village in the Third World | 0:48:29 | 0:48:33 | |
for years and years to come. | 0:48:33 | 0:48:35 | |
Now the shoe is on the other foot. | 0:48:37 | 0:48:40 | |
The tide has turned. | 0:48:42 | 0:48:44 | |
Your babies have flown away, | 0:48:46 | 0:48:49 | |
and now it's your turn to cry. | 0:48:49 | 0:48:52 | |
Is he saying they've left? | 0:48:58 | 0:49:00 | |
Mate, stop this. This is theft. | 0:49:00 | 0:49:03 | |
These are our babies. | 0:49:03 | 0:49:04 | |
-Dan, what's the legal situation with a surrogate gone Awol? -It's our DNA. | 0:49:04 | 0:49:08 | |
You're the police, call the airport and detain them. | 0:49:08 | 0:49:12 | |
This is kidnapping. They're our babies. | 0:49:12 | 0:49:15 | |
No. | 0:49:15 | 0:49:17 | |
No, actually, legally, the babies belong to them. | 0:49:17 | 0:49:19 | |
How? How is that possible?! | 0:49:20 | 0:49:23 | |
Their bodies, their wombs. | 0:49:25 | 0:49:28 | |
What's inside them belongs to them. | 0:49:28 | 0:49:30 | |
It's the law. | 0:49:30 | 0:49:31 | |
-FELICITY CRIES -I can't... | 0:49:31 | 0:49:35 | |
PHONE RINGS | 0:50:11 | 0:50:13 | |
Robin Griffin. | 0:50:17 | 0:50:19 | |
Hey, it's me. Good news. | 0:50:19 | 0:50:22 | |
I have Mary. | 0:50:22 | 0:50:24 | |
-Really? -Yeah. | 0:50:27 | 0:50:29 | |
We're just driving back from the airport now. | 0:50:29 | 0:50:31 | |
Why don't you drop on by? | 0:50:31 | 0:50:34 | |
-May I? -Yeah. -WHISPERS: -Is that OK? | 0:50:34 | 0:50:37 | |
She's very tired, Pyke. | 0:50:37 | 0:50:39 | |
Yeah, yeah, we'll be there in ten minutes. Just come on by. | 0:50:40 | 0:50:44 | |
OK. OK, thanks, bye. | 0:50:45 | 0:50:48 | |
So, you did come. She's asleep. | 0:51:42 | 0:51:45 | |
-She actually just nodded off. -Hey. | 0:51:48 | 0:51:51 | |
Come in. | 0:51:54 | 0:51:56 | |
-You want a drink or something? -No, thanks. | 0:51:56 | 0:51:59 | |
You sure? Water? Tea? | 0:51:59 | 0:52:01 | |
I want to see Mary, but if I'm disturbing her... | 0:52:03 | 0:52:06 | |
No, no. No. Come on. Come on, have a look in. | 0:52:06 | 0:52:09 | |
Yeah, I'll take you through. | 0:52:09 | 0:52:13 | |
Get her some water, Pyke. | 0:52:13 | 0:52:15 | |
She gave me the biggest hug at the airport. | 0:52:31 | 0:52:34 | |
She said, um... | 0:52:34 | 0:52:36 | |
"You're my mum... | 0:52:36 | 0:52:39 | |
"and I really need you." | 0:52:39 | 0:52:42 | |
I think it's unlocked something in me, you know? | 0:52:46 | 0:52:50 | |
In us. | 0:52:50 | 0:52:51 | |
Now I'm crying again. | 0:52:56 | 0:52:59 | |
Um... You, um... | 0:53:16 | 0:53:18 | |
You really stepped up during our troubles, and I want to thank you. | 0:53:18 | 0:53:21 | |
Thank you. | 0:53:23 | 0:53:25 | |
Really, thank you. | 0:53:25 | 0:53:28 | |
You, ah... | 0:53:28 | 0:53:29 | |
You helped us get some balance back again into our family. | 0:53:29 | 0:53:32 | |
Um, I've... | 0:53:37 | 0:53:40 | |
I've asked Pyke to give me two months. | 0:53:40 | 0:53:44 | |
We've been through hell this last year, | 0:53:46 | 0:53:48 | |
and I think we owe it to ourselves. | 0:53:48 | 0:53:50 | |
Oh, no, thanks. I have an appointment. | 0:53:54 | 0:53:58 | |
There is one thing. | 0:54:00 | 0:54:01 | |
I wanted to borrow the birthday DVD of little Mary. | 0:54:01 | 0:54:04 | |
-Yeah. -OK. | 0:54:04 | 0:54:06 | |
Ah, that's our only copy, isn't it? | 0:54:09 | 0:54:12 | |
You know what, I'll pick it up as soon as she's finished. | 0:54:14 | 0:54:18 | |
When are you watching it? | 0:54:19 | 0:54:22 | |
Tonight. | 0:54:24 | 0:54:25 | |
YOUNG MARY SINGS AND HUMS | 0:55:26 | 0:55:28 | |
ROBIN LAUGHS | 0:55:35 | 0:55:37 | |
# Father says she has to have a name | 0:55:37 | 0:55:41 | |
# Not the same as her mum's | 0:55:41 | 0:55:44 | |
# But a name just the same | 0:55:44 | 0:55:47 | |
# A little ray of sunshine | 0:55:49 | 0:55:52 | |
# Has come into the world | 0:55:53 | 0:55:56 | |
# A little ray of sunshine | 0:55:58 | 0:56:02 | |
# In the shape of a girl... # | 0:56:02 | 0:56:05 | |
KNOCK ON DOOR | 0:56:05 | 0:56:08 | |
# We'll show her the dress | 0:56:10 | 0:56:13 | |
# That she'll wear with the gold flowing hair | 0:56:13 | 0:56:17 | |
# That nature provided | 0:56:17 | 0:56:20 | |
# A little ray of sunshine | 0:56:22 | 0:56:27 | |
# Has come into the world | 0:56:27 | 0:56:31 | |
# A little ray of sunshine | 0:56:32 | 0:56:36 | |
# In the shape of a girl. # | 0:56:36 | 0:56:39 |