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This programme contains strong language | 0:00:02 | 0:00:09 | |
and some violent scenes | 0:00:09 | 0:00:14 | |
Come on! Whoo! | 0:00:51 | 0:00:55 | |
Come on! Come on! | 0:00:55 | 0:00:59 | |
Yeah! Whoo! | 0:00:59 | 0:01:01 | |
Keep an eye out. | 0:01:16 | 0:01:18 | |
Come on. | 0:01:37 | 0:01:39 | |
I can't remember when I first noticed the change. | 0:01:59 | 0:02:02 | |
It's not that I didn't see it coming. | 0:02:02 | 0:02:05 | |
I just didn't want to believe it. | 0:02:06 | 0:02:08 | |
I guess that's not much of an excuse, but it's the truth. | 0:02:08 | 0:02:12 | |
You're an evil little fucker. | 0:02:12 | 0:02:15 | |
I guess it didn't look good. | 0:02:28 | 0:02:30 | |
But he had to die. | 0:02:36 | 0:02:38 | |
It was a necessary means to an end. | 0:02:38 | 0:02:41 | |
All I can tell you is that the heavens were falling. | 0:02:43 | 0:02:47 | |
The sound, oh... | 0:02:48 | 0:02:50 | |
The sound, it was incredible. | 0:02:50 | 0:02:52 | |
It was...it was like the gods were rejoicing for what was done. | 0:02:52 | 0:02:58 | |
Sorry, guys. | 0:03:27 | 0:03:29 | |
Glad you could make it. | 0:03:37 | 0:03:39 | |
Mmm. Good things come to those who wait. | 0:03:39 | 0:03:41 | |
And hello to you, too, Martin. | 0:03:41 | 0:03:43 | |
He's a 17-year-old, smart-arse little rich kid. | 0:03:43 | 0:03:46 | |
I'm under pressure to let him go | 0:03:46 | 0:03:48 | |
because the evidence is circumstantial. | 0:03:48 | 0:03:50 | |
So I charged him. | 0:03:50 | 0:03:51 | |
I need you to find him culpable. | 0:03:51 | 0:03:55 | |
Anything else? | 0:03:55 | 0:03:56 | |
Good luck. | 0:03:56 | 0:03:58 | |
Luck's for the Irish, McKenzie. | 0:03:58 | 0:04:01 | |
Hello, Alex. My name's Sally Rowe. | 0:04:09 | 0:04:12 | |
I'm a forensic psychologist. | 0:04:12 | 0:04:14 | |
I've been asked to talk with you to find out what happened. | 0:04:14 | 0:04:17 | |
Would you like someone present during this interview? | 0:04:17 | 0:04:19 | |
Would you? | 0:04:20 | 0:04:22 | |
Do you mind if I record? | 0:04:24 | 0:04:25 | |
Tell me about your friend Nigel. | 0:04:34 | 0:04:36 | |
Oh, he wasn't my friend. | 0:04:36 | 0:04:38 | |
What did you mean when you said | 0:04:38 | 0:04:40 | |
his death was a "necessary means to an end"? | 0:04:40 | 0:04:43 | |
So do you think that I did this? | 0:04:43 | 0:04:45 | |
I'm here to listen to you, Alex. | 0:04:46 | 0:04:48 | |
During the 13th century, | 0:04:51 | 0:04:54 | |
there were these people known as Cathars. | 0:04:54 | 0:04:57 | |
And they insisted that God could only be experienced first hand, | 0:04:57 | 0:05:01 | |
so they banished all the priests and the bishops. | 0:05:01 | 0:05:03 | |
Now, this undermined the power of the Vatican, | 0:05:03 | 0:05:06 | |
which caused the Pope to lose precious revenues in the region. | 0:05:06 | 0:05:09 | |
You like history, Alex? | 0:05:11 | 0:05:13 | |
In 1209, a Vatican army descended upon Cathar villages | 0:05:15 | 0:05:21 | |
and every man, woman and child was slaughtered. | 0:05:21 | 0:05:24 | |
And when an officer inquired to the Pope | 0:05:24 | 0:05:27 | |
how to distinguish between the heretics and the true believers, | 0:05:27 | 0:05:29 | |
you know what his response was? | 0:05:29 | 0:05:31 | |
"Kill them all. God will recognise his own." | 0:05:31 | 0:05:34 | |
And why are you telling me this? | 0:05:36 | 0:05:38 | |
Are you a religious woman, Miss Rowe? | 0:05:40 | 0:05:42 | |
Is that important to you? | 0:05:42 | 0:05:45 | |
Do you want to know what I believe in? | 0:05:45 | 0:05:47 | |
It'd be a good place to start. | 0:05:47 | 0:05:49 | |
Gestalt. | 0:05:49 | 0:05:51 | |
Gestalt? | 0:05:51 | 0:05:52 | |
An organised whole in which each individual part affects every other, | 0:05:52 | 0:05:57 | |
but the whole being more important than the sum of its parts. | 0:05:57 | 0:05:59 | |
Yeah, I'm familiar with first-year psychology theory. | 0:05:59 | 0:06:02 | |
-Should I be impressed? -It's not what it is. | 0:06:02 | 0:06:05 | |
It's how you use it. | 0:06:07 | 0:06:09 | |
And how's that? | 0:06:09 | 0:06:11 | |
Well, you're the psychologist. | 0:06:11 | 0:06:12 | |
Nigel's dead. | 0:06:19 | 0:06:21 | |
I've been charged with murder. | 0:06:21 | 0:06:23 | |
It doesn't really matter what I believe in, now, does it? | 0:06:23 | 0:06:26 | |
You're not one for making good first impressions, are you, Alex? | 0:06:28 | 0:06:31 | |
BAGPIPES PLAY DISTANTLY | 0:06:34 | 0:06:38 | |
DISTANT VOICES SPEAK IN UNISON | 0:06:40 | 0:06:43 | |
ALL: Through Jesus Christ, our lord and saviour. Amen. | 0:06:43 | 0:06:48 | |
Who's the new guy? | 0:06:53 | 0:06:55 | |
I don't know. | 0:06:59 | 0:07:00 | |
Shame you'll have to share your room. | 0:07:00 | 0:07:02 | |
Sorry? | 0:07:02 | 0:07:03 | |
I saw them put an extra bed in your room before. | 0:07:03 | 0:07:05 | |
-That's bollocks. -Well, they did. | 0:07:05 | 0:07:08 | |
Sir? Sir? | 0:07:14 | 0:07:16 | |
Sir, can I have permission to leave, please? | 0:07:16 | 0:07:18 | |
-Where do you need to go, Mr Forbes? -To the bathroom. | 0:07:18 | 0:07:21 | |
Can't it wait, boy? | 0:07:21 | 0:07:23 | |
It's hard to say, sir. It's quite urgent business. | 0:07:23 | 0:07:26 | |
Do you mind? | 0:08:23 | 0:08:24 | |
Don't get too comfortable. | 0:08:33 | 0:08:35 | |
-What's he like? -Weird. | 0:08:44 | 0:08:48 | |
He's got this collection of stuffed animals. | 0:08:48 | 0:08:50 | |
Isn't he a bit old for that? | 0:08:50 | 0:08:52 | |
Real animals, you dick. | 0:08:52 | 0:08:54 | |
Cool. | 0:08:54 | 0:08:56 | |
Have you heard anything about him? | 0:08:56 | 0:08:57 | |
Well, it's been hard to get any dirt on him. | 0:08:57 | 0:09:00 | |
I heard some guys at dinner | 0:09:00 | 0:09:01 | |
saying that he used to be a day-boy at St Edwards. | 0:09:01 | 0:09:04 | |
-Really? -Yeah. | 0:09:04 | 0:09:06 | |
But apparently he had some kind of family issues. | 0:09:06 | 0:09:08 | |
So they sent him here? That'll fix him. | 0:09:08 | 0:09:11 | |
ALEX: Josh was pretty crazy. | 0:09:12 | 0:09:14 | |
His dad wanted him to be a politician. | 0:09:14 | 0:09:17 | |
Christ, what a lot of shite to put on your own child. | 0:09:17 | 0:09:20 | |
-Whoa! -(Laughs) | 0:09:21 | 0:09:23 | |
For fuck's sake, guys! What the fuck are you guys doing? | 0:09:23 | 0:09:25 | |
Raj was Josh's roommate. | 0:09:25 | 0:09:28 | |
He just kind of hung out with us, never liked pushing the limits. | 0:09:28 | 0:09:31 | |
Just as well, I guess. | 0:09:31 | 0:09:33 | |
Ooh. | 0:09:33 | 0:09:34 | |
He was different. Yeah, I'll give him that. | 0:09:45 | 0:09:48 | |
I guess that's why I found him interesting at first. | 0:09:48 | 0:09:52 | |
And he had this morbid fascination with all things dead. | 0:09:53 | 0:09:57 | |
SALLY: And what about you, Alex? | 0:10:04 | 0:10:06 | |
I told the police everything. Why don't you ask them? | 0:10:06 | 0:10:09 | |
I'm asking you, Alex. | 0:10:09 | 0:10:11 | |
Do you have any children? | 0:10:13 | 0:10:14 | |
Well, you're not bad-looking. | 0:10:14 | 0:10:17 | |
I think you're running out of time, you know. | 0:10:17 | 0:10:19 | |
No, you're the one running out of time. | 0:10:19 | 0:10:21 | |
I read once that a third of women study psychology | 0:10:21 | 0:10:23 | |
to work out their own personal problems. | 0:10:23 | 0:10:25 | |
-What do you think? -Tell me about Nigel. | 0:10:25 | 0:10:28 | |
Nigel got what he wanted. | 0:10:28 | 0:10:30 | |
-And what was that? -Eternity. | 0:10:30 | 0:10:34 | |
So you don't get it, do you? | 0:10:37 | 0:10:40 | |
But you will. | 0:10:43 | 0:10:45 | |
You will. | 0:10:46 | 0:10:48 | |
DOOR BUZZES | 0:10:54 | 0:10:56 | |
What's going on? | 0:11:19 | 0:11:21 | |
Nothing I can't handle. How did you get on? | 0:11:21 | 0:11:24 | |
Well, this case is bullshit, McKenzie. | 0:11:24 | 0:11:26 | |
What do you mean? | 0:11:26 | 0:11:28 | |
You can afford me just a little intelligence. | 0:11:28 | 0:11:30 | |
This kid's guilty, Sally. Trust me on this. | 0:11:30 | 0:11:32 | |
(Sighs) You can't hold him on a hunch. | 0:11:32 | 0:11:34 | |
He's a fucked up, remorseless little psycho. | 0:11:34 | 0:11:37 | |
So? He'll make a great merchant banker. | 0:11:37 | 0:11:40 | |
And what about all this religious shit? | 0:11:40 | 0:11:42 | |
None of what I've heard makes him a murderer. | 0:11:42 | 0:11:44 | |
You've charged him without any hard evidence. | 0:11:44 | 0:11:46 | |
You've dug yourself a hole and now you want me to get you out of it. | 0:11:46 | 0:11:50 | |
Could be good for the old career, Sal. | 0:11:50 | 0:11:51 | |
Get your name on the door, you could be kicking around with the big boys. | 0:11:51 | 0:11:55 | |
There'll be lots of publicity - guarantee it. | 0:11:55 | 0:11:58 | |
I'm out. | 0:11:58 | 0:12:00 | |
How about some Italian, then? For old time's sake? | 0:12:00 | 0:12:03 | |
Take that as a no. | 0:12:04 | 0:12:06 | |
Shit. | 0:12:27 | 0:12:29 | |
(Plays tape recorder) | 0:13:05 | 0:13:06 | |
ALEX ON TAPE: Do you want to know what I believe in? | 0:13:06 | 0:13:09 | |
SALLY ON TAPE: It'd be a good place to start. | 0:13:09 | 0:13:11 | |
-Gestalt. -Gestalt? | 0:13:11 | 0:13:13 | |
An organised whole in which each individual part affects every other, | 0:13:13 | 0:13:17 | |
but the whole being more important than the sum of its parts. | 0:13:17 | 0:13:20 | |
Yeah, I'm familiar with first-year psychology theory. | 0:13:20 | 0:13:22 | |
-Should I be impressed? -It's not what it is. | 0:13:22 | 0:13:25 | |
It's how you use it. | 0:13:25 | 0:13:28 | |
(Rewinds tape) | 0:13:28 | 0:13:30 | |
-Should I be impressed? -It's not what it is. | 0:13:30 | 0:13:33 | |
It's how you use it. | 0:13:33 | 0:13:36 | |
(Stops tape) | 0:13:36 | 0:13:37 | |
ALEX: What is that smell? | 0:14:01 | 0:14:02 | |
Oh. No, you've gotta be kidding. | 0:14:09 | 0:14:12 | |
Where did you get that? | 0:14:15 | 0:14:17 | |
I asked you a question. Where did you get it? | 0:14:18 | 0:14:21 | |
OK, let's make this nice and clear. I don't like you very much. | 0:14:23 | 0:14:27 | |
In fact, I'm really beginning to dislike you. | 0:14:27 | 0:14:28 | |
But if I have to spend time in the same room with you, | 0:14:28 | 0:14:31 | |
you can at least show me some common courtesy. | 0:14:31 | 0:14:33 | |
Is there anything else? | 0:14:33 | 0:14:36 | |
DOOR SLAMS | 0:14:44 | 0:14:45 | |
ALEX: They must be quite desperate, sending you in again. | 0:14:48 | 0:14:51 | |
They don't have a case, do they? | 0:14:54 | 0:14:56 | |
What makes you say that, Alex? | 0:14:56 | 0:14:58 | |
Well, if they had any evidence, I wouldn't be talking to you, would I? | 0:14:58 | 0:15:03 | |
Would I? | 0:15:05 | 0:15:06 | |
How long can you keep me here? | 0:15:09 | 0:15:11 | |
Well, that depends on how soon you're willing to talk to me. | 0:15:13 | 0:15:15 | |
You know nothing. (Chuckles) | 0:15:15 | 0:15:18 | |
You know absolutely nothing. | 0:15:19 | 0:15:22 | |
That goes for you, too. | 0:15:22 | 0:15:24 | |
DOOR BUZZES | 0:15:26 | 0:15:27 | |
This just came in from Forensics. | 0:15:31 | 0:15:33 | |
Gunshot residue patterns indicate that you were holding the gun | 0:15:33 | 0:15:37 | |
when it was discharged. | 0:15:37 | 0:15:39 | |
Your clothes were covered in the stuff. | 0:15:39 | 0:15:41 | |
I want to see my father. | 0:15:41 | 0:15:43 | |
I don't think he's gonna be able to help you with this. | 0:15:43 | 0:15:46 | |
No, no. I did not do this! Nigel pulled that fucking trigger! | 0:15:46 | 0:15:48 | |
Get your fucking hands off her! | 0:15:48 | 0:15:50 | |
Enough! | 0:15:50 | 0:15:52 | |
-You are fucking insane! -Get him in a lock-up. | 0:15:53 | 0:15:58 | |
-Come on! -You know I did not do this! | 0:15:58 | 0:16:00 | |
You KNOW I did not do...! | 0:16:00 | 0:16:02 | |
Get off me, please! Where are you taking me? | 0:16:02 | 0:16:04 | |
Will you get off me? Get your fucking hands off me! | 0:16:04 | 0:16:06 | |
Where do you think you're taking me? | 0:16:06 | 0:16:09 | |
Get off me! Get your fucking hands off me! | 0:16:09 | 0:16:12 | |
(Sighs) | 0:16:12 | 0:16:14 | |
SALLY: We are meant to be working together on this. | 0:16:14 | 0:16:17 | |
Don't you ever interrupt me when I'm in session with a patient. | 0:16:19 | 0:16:22 | |
Just hold on a minute. | 0:16:22 | 0:16:23 | |
You just assaulted a 17-year-old child. | 0:16:23 | 0:16:25 | |
-I could have your job for that. -I was trying to protect you. | 0:16:25 | 0:16:28 | |
Oh, don't bullshit me. | 0:16:28 | 0:16:30 | |
Did Nigel Colbie have gunshot residue on his hands? | 0:16:30 | 0:16:32 | |
Look, Sal, there are some things I don't tend to be wrong, | 0:16:32 | 0:16:36 | |
and this is one of them! | 0:16:36 | 0:16:37 | |
-Yes, he did. -So he could've fired that gun. | 0:16:37 | 0:16:40 | |
Look, he was taking the piss. I just wanted to speed things up a little. | 0:16:40 | 0:16:44 | |
What makes you think you have the intelligence | 0:16:44 | 0:16:46 | |
to determine whether or not that boy was fucking with me? | 0:16:46 | 0:16:48 | |
Well, as long as he confesses it doesn't matter, does it? | 0:16:48 | 0:16:51 | |
If Alex confesses MY way, it'll stand up in court. | 0:16:51 | 0:16:55 | |
All right. | 0:16:56 | 0:16:58 | |
-(Sighs) -All right. | 0:16:58 | 0:17:00 | |
Just... I need time, so butt out. | 0:17:00 | 0:17:03 | |
Your strong-arm stuff won't cut it with this boy. | 0:17:03 | 0:17:05 | |
He's too smart for that. | 0:17:05 | 0:17:06 | |
Sal? | 0:17:06 | 0:17:07 | |
You're not gonna report this, are you? | 0:17:09 | 0:17:12 | |
Dr Rowe, I think you'd better come. | 0:17:12 | 0:17:14 | |
Just let me out there. No, come on, just out there. | 0:17:18 | 0:17:21 | |
That's all I'm asking. Just let me out. | 0:17:21 | 0:17:22 | |
No, don't you even think about that! | 0:17:22 | 0:17:24 | |
-(All shout) -Get off me! Get off me! | 0:17:24 | 0:17:27 | |
Ohh! | 0:17:28 | 0:17:29 | |
Get the fuck off me! | 0:17:32 | 0:17:34 | |
You stay back. | 0:17:35 | 0:17:37 | |
Fine. He's all yours. | 0:17:37 | 0:17:40 | |
Ow! | 0:17:40 | 0:17:42 | |
Oh, God! Let him up! | 0:17:45 | 0:17:47 | |
They say you want to talk. | 0:17:53 | 0:17:55 | |
Leave us. I'll be fine. | 0:17:58 | 0:18:02 | |
Nigel set me up. | 0:18:15 | 0:18:18 | |
-How do you figure that? -You have to believe me. | 0:18:19 | 0:18:22 | |
He set the whole thing up to make it look like I did it. | 0:18:22 | 0:18:25 | |
Nigel set it up to make it look like you killed him? | 0:18:26 | 0:18:30 | |
-I think you can do better than that. -I didn't kill him. | 0:18:31 | 0:18:35 | |
You don't exactly come across as the victim here, Alex. | 0:18:38 | 0:18:41 | |
Feel that? | 0:18:43 | 0:18:45 | |
Can you feel it? | 0:18:45 | 0:18:48 | |
He's here. He's listening. He's watching. | 0:18:50 | 0:18:55 | |
-Who, Alex? -Shh. | 0:18:55 | 0:18:57 | |
Listening... | 0:18:57 | 0:18:58 | |
Listen. | 0:19:03 | 0:19:05 | |
MAN: All rise. | 0:19:10 | 0:19:12 | |
ORGAN PLAYS "ONWARD, CHRISTIAN SOLDIERS" | 0:19:12 | 0:19:14 | |
(All sing) # Onward, Christian soldiers | 0:19:34 | 0:19:39 | |
# Marching as to war | 0:19:39 | 0:19:42 | |
# With the cross of Jesus | 0:19:42 | 0:19:46 | |
# Going on before | 0:19:46 | 0:19:50 | |
# Christ, the royal master... # | 0:19:50 | 0:19:52 | |
ALEX: Have you ever had that feeling | 0:19:52 | 0:19:54 | |
that there was someone inside your head, listening to your thoughts? | 0:19:54 | 0:19:57 | |
I wrote this article on twinning, | 0:19:58 | 0:20:00 | |
about how two people could communicate across countries | 0:20:00 | 0:20:03 | |
through the mind. | 0:20:03 | 0:20:04 | |
Now, just imagine if that were true? | 0:20:04 | 0:20:06 | |
Your darkest secrets floating out there like radio waves, | 0:20:06 | 0:20:11 | |
just waiting to be picked up on. | 0:20:11 | 0:20:12 | |
There was something about this guy. | 0:20:17 | 0:20:19 | |
(All sing) # Going on before. # | 0:20:20 | 0:20:25 | |
(Speaks Latin) | 0:20:26 | 0:20:29 | |
(All speak Latin) | 0:20:29 | 0:20:33 | |
Be seated. | 0:20:33 | 0:20:35 | |
Now, it's come to my attention that some boys from... | 0:20:39 | 0:20:45 | |
What? | 0:20:45 | 0:20:46 | |
Do you two have something important to contribute? | 0:20:50 | 0:20:52 | |
Hmm? Campbell? Forbes? | 0:20:52 | 0:20:56 | |
Stand up and share with us whatever it is | 0:20:56 | 0:20:58 | |
that obviously can't wait until after this assembly. | 0:20:58 | 0:21:01 | |
Campbell, do your tie up properly. | 0:21:02 | 0:21:04 | |
Well? Campbell? | 0:21:06 | 0:21:08 | |
Nothing, sir. | 0:21:08 | 0:21:09 | |
-Forbes? -No, nothing important to say, sir. | 0:21:09 | 0:21:13 | |
Both of you outside my office after assembly. | 0:21:15 | 0:21:17 | |
Be seated. | 0:21:17 | 0:21:19 | |
Now, it's come to my attention that some of the boys from Year 12 drama | 0:21:19 | 0:21:23 | |
will be performing the Tennyson play Becket this term, | 0:21:23 | 0:21:25 | |
and they're looking for volunteers for props and stage-building. | 0:21:25 | 0:21:29 | |
Will you calm down? | 0:21:29 | 0:21:31 | |
Nobody on the train could've possibly known where we were from. | 0:21:31 | 0:21:34 | |
Will you just relax, please? | 0:21:34 | 0:21:36 | |
FOOTSTEPS APPROACH | 0:21:36 | 0:21:38 | |
Inside. | 0:21:38 | 0:21:40 | |
I do recognise your academic achievements this year, both of you, | 0:21:45 | 0:21:48 | |
but why do you insist on bucking the system? | 0:21:48 | 0:21:50 | |
Hmm? | 0:21:50 | 0:21:52 | |
Be seated. | 0:21:53 | 0:21:54 | |
Until recently, I've always been able to rely on both of you | 0:22:01 | 0:22:04 | |
to set a good example. | 0:22:04 | 0:22:05 | |
-(Mutters) Come on. -I beg your pardon? | 0:22:05 | 0:22:08 | |
If that was the case, | 0:22:08 | 0:22:10 | |
then I wouldn't be having a freak in my room, would I? | 0:22:10 | 0:22:12 | |
Most of your fellow students have three boys to a room. | 0:22:12 | 0:22:14 | |
I don't think you're too hard done by, Forbes. | 0:22:14 | 0:22:17 | |
Most of my fellow students have a real home away from this hell hole. | 0:22:17 | 0:22:20 | |
I'm putting your names down to help with this Year 12 play. | 0:22:23 | 0:22:27 | |
No, I don't have time for this bullshit. | 0:22:27 | 0:22:29 | |
Would you wait outside, Campbell, please? | 0:22:31 | 0:22:33 | |
What's all this about? | 0:22:44 | 0:22:46 | |
I told you before. I'm not sharing with anyone. | 0:22:46 | 0:22:49 | |
Nigel Colbie is a brilliant young man. | 0:22:49 | 0:22:52 | |
You may find his company rewarding. | 0:22:52 | 0:22:54 | |
Like how? | 0:22:54 | 0:22:55 | |
"Like how?" | 0:22:55 | 0:22:58 | |
Because collaboration is an important part of learning, | 0:22:58 | 0:23:00 | |
I've put you with a young man | 0:23:00 | 0:23:02 | |
who I believe you will find academically challenging. | 0:23:02 | 0:23:05 | |
This is such bollocks. | 0:23:05 | 0:23:06 | |
Your future is what is at stake here. | 0:23:06 | 0:23:09 | |
Don't lose sight of your obligations, Alex. | 0:23:11 | 0:23:14 | |
That'll be all. | 0:23:17 | 0:23:19 | |
I said that'll be all. | 0:23:26 | 0:23:28 | |
What happened? Did you say anything? | 0:23:44 | 0:23:47 | |
Well, did you? | 0:23:48 | 0:23:50 | |
Your father can be such an arsehole sometimes. | 0:23:51 | 0:23:54 | |
Throughout history, men have sacrificed themselves | 0:24:08 | 0:24:11 | |
for their fundamental beliefs. | 0:24:11 | 0:24:13 | |
It may not be wise to pit the force of God against mere human desires... | 0:24:13 | 0:24:17 | |
ZAP! | 0:24:17 | 0:24:18 | |
Are you all right, Mr Simms? | 0:24:20 | 0:24:22 | |
Um, I'm fine, sir. I just fell off my chair, sir. | 0:24:22 | 0:24:25 | |
Well, be more careful next time. | 0:24:25 | 0:24:28 | |
Yes, sir. | 0:24:28 | 0:24:30 | |
Some of you are working on Becket. | 0:24:31 | 0:24:33 | |
Who can tell me about its subject, Thomas a Becket? | 0:24:33 | 0:24:36 | |
Yes, Mr Welland. | 0:24:36 | 0:24:38 | |
Thomas Becket was the Lord Archbishop of Canterbury | 0:24:38 | 0:24:40 | |
in the early 12th century, sir. | 0:24:40 | 0:24:42 | |
In 1170, he was murdered in front of the high altar at his cathedral. | 0:24:42 | 0:24:46 | |
Exactly. | 0:24:46 | 0:24:47 | |
He knew that the knights were coming to slay him. | 0:24:47 | 0:24:49 | |
But he chose to wait for them under the sight of God. | 0:24:49 | 0:24:52 | |
His murder was a sacrilegious act of gross profanity. | 0:24:52 | 0:24:57 | |
However, almost immediately after his death, | 0:24:57 | 0:24:59 | |
there were whispers of miracles being performed at his grave. | 0:24:59 | 0:25:02 | |
Believers from all over the country | 0:25:02 | 0:25:05 | |
travelled day and night on foot, in order... | 0:25:05 | 0:25:07 | |
Yes, Mr Forbes? | 0:25:09 | 0:25:11 | |
His murder was simply political. | 0:25:11 | 0:25:12 | |
Becket got in the way, so the Church had him put down. | 0:25:12 | 0:25:15 | |
Trust Mr Forbes to come up with such an interesting slant on history. | 0:25:15 | 0:25:19 | |
Well, you can't change history. | 0:25:20 | 0:25:22 | |
No, if you look at it, | 0:25:22 | 0:25:23 | |
you'll see it's exactly like all the other atrocities | 0:25:23 | 0:25:25 | |
committed against the people by the Church. | 0:25:25 | 0:25:27 | |
Oh, and exactly what atrocities are you referring to? | 0:25:27 | 0:25:30 | |
-The Cathars. -The Cathars? | 0:25:30 | 0:25:33 | |
They were a bunch of heathens | 0:25:33 | 0:25:35 | |
who created their own rules to suit themselves. | 0:25:35 | 0:25:37 | |
The Church was simply trying to retain order in a volatile land. | 0:25:37 | 0:25:39 | |
What about the Knight Templars, then? | 0:25:39 | 0:25:41 | |
I fail to see how this has anything to do with what we're talking about. | 0:25:41 | 0:25:44 | |
Weren't they the knights that killed Thomas Becket? | 0:25:44 | 0:25:46 | |
-This is ludicrous! -Is it? | 0:25:46 | 0:25:48 | |
So weren't the Templars known as the Knights of Christ? | 0:25:48 | 0:25:51 | |
Weren't they the Church's foot soldiers? | 0:25:51 | 0:25:53 | |
-What? -So why kill the Archbishop? | 0:25:53 | 0:25:55 | |
At least they had the foresight | 0:25:55 | 0:25:56 | |
to see the pointlessness of the Holy Crusades. | 0:25:56 | 0:25:58 | |
Now, why don't you tell the class how the Knights of Christ | 0:25:58 | 0:26:01 | |
turned their back on the Vatican and adopted the Cathars' beliefs? | 0:26:01 | 0:26:04 | |
This has got to stop now. | 0:26:04 | 0:26:06 | |
Free from the Church, the Templars took control. | 0:26:06 | 0:26:07 | |
They had more fingers in the pie than the Vatican, | 0:26:07 | 0:26:09 | |
which is a lot of fingers. | 0:26:09 | 0:26:11 | |
Sit down. | 0:26:11 | 0:26:12 | |
Isn't that why they were hunted down and burnt at the stake? | 0:26:12 | 0:26:15 | |
They had betrayed their original cause! | 0:26:15 | 0:26:17 | |
And whose cause was that? | 0:26:17 | 0:26:20 | |
Get out of my class. | 0:26:21 | 0:26:23 | |
Go on. Get out! | 0:26:25 | 0:26:27 | |
Frightful little man. | 0:26:30 | 0:26:33 | |
DOOR CLOSES | 0:26:38 | 0:26:41 | |
What are you trying to prove now, hmm? | 0:26:54 | 0:26:56 | |
You've managed to upset the Reverend Donaldson. | 0:26:56 | 0:26:59 | |
I thought that might get you up here. | 0:27:00 | 0:27:02 | |
Alex, he's a man of the cloth. | 0:27:02 | 0:27:04 | |
You must learn to show him some respect. | 0:27:04 | 0:27:06 | |
Don't walk away from me when I'm talking to you! | 0:27:06 | 0:27:10 | |
Good God. | 0:27:13 | 0:27:15 | |
He's been busy. | 0:27:15 | 0:27:17 | |
And you make me share a room with him. | 0:27:25 | 0:27:28 | |
But he was dux at St Edward's Academy last year. | 0:27:28 | 0:27:32 | |
So why bring him here? | 0:27:32 | 0:27:34 | |
Well, his father felt there would be more opportunities for him here, | 0:27:35 | 0:27:38 | |
um...away from the distractions of home. | 0:27:38 | 0:27:42 | |
We're very fortunate to have him. | 0:27:43 | 0:27:44 | |
You're fortunate, not me. | 0:27:44 | 0:27:46 | |
Alex, I have worked extremely hard to give you what you need. | 0:27:47 | 0:27:51 | |
This boy will have our hospitality. | 0:27:52 | 0:27:55 | |
Dad, please. Please. | 0:27:56 | 0:28:00 | |
Look, his father is a very important member of our society. | 0:28:02 | 0:28:05 | |
OK, so, that's more like it. So he's part of your precious club. | 0:28:05 | 0:28:08 | |
And nobody else wanted him and you're doing the brotherly thing. | 0:28:08 | 0:28:11 | |
-Does my future depend on that? -That's enough. | 0:28:11 | 0:28:14 | |
No, you don't give a fuck about me or this guy - | 0:28:14 | 0:28:16 | |
the only thing that you care about is the amount of kudos his father... | 0:28:16 | 0:28:19 | |
I said enough! | 0:28:19 | 0:28:20 | |
Well, that's fine, but just don't give me the brotherhood bullshit. | 0:28:20 | 0:28:25 | |
This boy will be made welcome. | 0:28:25 | 0:28:27 | |
He's been studying us like we're part of his bug collection. | 0:29:02 | 0:29:05 | |
What's he say about me? | 0:29:08 | 0:29:10 | |
This is weird, guys. | 0:29:12 | 0:29:13 | |
Look, let's just leave it alone. | 0:29:13 | 0:29:15 | |
(Chuckles) Hey, listen to this. | 0:29:15 | 0:29:17 | |
"Alex is an egocentric megalomaniac with delusions of grandeur." | 0:29:17 | 0:29:21 | |
Give me that. | 0:29:21 | 0:29:23 | |
OK, this little shit needs to be taught a lesson. | 0:29:26 | 0:29:28 | |
The guy's a freak, Alex. | 0:29:28 | 0:29:30 | |
Let's put the book back before he finds out it's gone. | 0:29:30 | 0:29:33 | |
(German accent) What do you propose we do, mein Fuhrer? | 0:29:33 | 0:29:36 | |
Can you give it a fucking rest, please? | 0:29:36 | 0:29:38 | |
Sorry. | 0:29:38 | 0:29:40 | |
No, no. I really am. | 0:29:40 | 0:29:42 | |
All right, I'm in. | 0:29:43 | 0:29:45 | |
I'm out of here. | 0:29:49 | 0:29:50 | |
Hello. | 0:30:50 | 0:30:52 | |
(Shouts) | 0:30:53 | 0:30:55 | |
You enjoying it? | 0:30:55 | 0:30:57 | |
I can't hear you, mate, you're gonna have to speak up. | 0:30:57 | 0:30:59 | |
Are you fucking enjoying it? | 0:31:02 | 0:31:04 | |
Isn't it a fucking rush? | 0:31:04 | 0:31:06 | |
(Shouts) | 0:31:06 | 0:31:09 | |
(Shouts and swears indistinctly) | 0:31:13 | 0:31:15 | |
Quick, Alex, get out of the way! | 0:31:15 | 0:31:17 | |
Where the fuck do you think you're going? | 0:31:22 | 0:31:24 | |
-You're a little shit! -That's enough! Let him go. | 0:31:28 | 0:31:31 | |
-You've got to learn to respect... -Stop it! | 0:31:31 | 0:31:32 | |
-No! He's to learn respect... -You've made your point! | 0:31:32 | 0:31:34 | |
Christ! | 0:31:34 | 0:31:36 | |
Alex! | 0:31:36 | 0:31:38 | |
His eyes... | 0:32:04 | 0:32:07 | |
..there was this terror in his eyes. | 0:32:09 | 0:32:11 | |
If I'm guilty, then it's for letting Nigel get too close. | 0:32:18 | 0:32:22 | |
(Sighs) | 0:32:36 | 0:32:37 | |
ENGINE SPUTTERS | 0:32:42 | 0:32:45 | |
-Can I be of any assistance? -Oh... | 0:33:24 | 0:33:26 | |
No, thanks, it's just the, uh... | 0:33:26 | 0:33:29 | |
the rotor button. | 0:33:29 | 0:33:31 | |
Well, I'll leave you to it, then. | 0:33:31 | 0:33:32 | |
No, wait. We haven't been properly introduced. | 0:33:32 | 0:33:35 | |
I'm Sally Rowe. | 0:33:35 | 0:33:36 | |
I inherited a passion for difficult cars from my dad. | 0:33:38 | 0:33:41 | |
Sorry, you're Alex's father, aren't you? | 0:33:43 | 0:33:46 | |
I don't think this is the time or the place, Miss Rowe, | 0:33:46 | 0:33:48 | |
so if you'll excuse me, you can contact me through the school. | 0:33:48 | 0:33:51 | |
Well, I've already spoken with your secretary. | 0:33:51 | 0:33:53 | |
I find it remarkable that under the circumstances | 0:33:53 | 0:33:55 | |
you can't find the time to speak with me. | 0:33:55 | 0:33:57 | |
What is it that you want, Miss Rowe? | 0:34:02 | 0:34:05 | |
I want to discuss Alex's situation with you and your wife. | 0:34:05 | 0:34:08 | |
Alex's mother died a long time ago. | 0:34:11 | 0:34:15 | |
Oh, I'm sorry, I didn't know. | 0:34:15 | 0:34:16 | |
Oh, Alex's upbringing has been...impeccable. | 0:34:16 | 0:34:20 | |
My son has one of the highest academic records in the country. | 0:34:20 | 0:34:23 | |
Boys of Alex's ability need regimented discipline. | 0:34:25 | 0:34:29 | |
We don't allow any distraction | 0:34:31 | 0:34:33 | |
which might lead these boys away from their true potential. | 0:34:33 | 0:34:37 | |
And look where he is now. | 0:34:37 | 0:34:39 | |
(Draws breath) Why can't you people help Alex | 0:34:39 | 0:34:42 | |
instead of trying to convict him of something he didn't do, | 0:34:42 | 0:34:44 | |
for the love of Christ? | 0:34:44 | 0:34:46 | |
He witnessed the death of his best friend | 0:34:46 | 0:34:48 | |
and now this boy...blows his head off in front of him. | 0:34:48 | 0:34:52 | |
Hasn't he been through enough? | 0:34:52 | 0:34:54 | |
I am trying to help your son, Dr Forbes. | 0:34:54 | 0:34:56 | |
I love my son. | 0:35:01 | 0:35:02 | |
And I'm going to make very sure | 0:35:04 | 0:35:06 | |
that the humiliation you people have subjected him to is made public. | 0:35:06 | 0:35:10 | |
SALLY: In almost every single case attributed to Gestalt psychology, | 0:35:17 | 0:35:21 | |
the psychopath's relationship with parental figures | 0:35:21 | 0:35:23 | |
has been troubled. | 0:35:23 | 0:35:25 | |
Broken homes, mental and physical abuse, | 0:35:25 | 0:35:29 | |
abandonment by or death of a parent - | 0:35:29 | 0:35:32 | |
all can be influential factors on the psychopath's make-up. | 0:35:32 | 0:35:35 | |
DOORBELL RINGS | 0:35:38 | 0:35:40 | |
(Stops recorder) | 0:35:40 | 0:35:42 | |
McKENZIE: Peace offering. | 0:35:53 | 0:35:55 | |
Your favourite. | 0:35:55 | 0:35:56 | |
Expensive... | 0:35:56 | 0:35:58 | |
Uh, I came to apologise. | 0:35:58 | 0:36:02 | |
I'm actually busy. | 0:36:02 | 0:36:04 | |
I'm sorry. OK? | 0:36:04 | 0:36:06 | |
Look, I know I shouldn't have hit the kid, | 0:36:07 | 0:36:09 | |
it was a really fucking stupid thing to do. | 0:36:09 | 0:36:13 | |
Oh, relax, Martin, I'm not gonna make a report. | 0:36:13 | 0:36:16 | |
Cheers. | 0:36:16 | 0:36:18 | |
Do you know what those kids were up to when Josh Campbell was killed? | 0:36:18 | 0:36:21 | |
-The train kid? -Yeah. | 0:36:21 | 0:36:22 | |
Another one of Alex's dead best friends. | 0:36:22 | 0:36:25 | |
The coroner said it was an accident, didn't he? | 0:36:25 | 0:36:28 | |
Why? What's the little shit telling you? | 0:36:28 | 0:36:30 | |
Do you want to work together on this or not? | 0:36:30 | 0:36:32 | |
Well, how is it related to Nigel's murder? | 0:36:32 | 0:36:34 | |
How? Everything he's been through is related, you know that. | 0:36:34 | 0:36:37 | |
I cannot believe you're falling for his bullshit. | 0:36:37 | 0:36:41 | |
He's trying to throw you off the scent, Sal. | 0:36:41 | 0:36:44 | |
Well, I want to talk to the Colbies and work up a profile on Nigel. | 0:36:44 | 0:36:47 | |
Well, that's gonna be tricky. | 0:36:47 | 0:36:49 | |
-And why's that? -Because we can't find them. | 0:36:49 | 0:36:52 | |
BAGPIPES PLAY | 0:36:53 | 0:36:56 | |
ALEX: Nigel was moved to another room. | 0:38:10 | 0:38:12 | |
It was strange - I almost missed him. | 0:38:14 | 0:38:16 | |
(Reads) "With a sudden movement she bowed his head | 0:38:17 | 0:38:20 | |
"and joined her lips to his | 0:38:20 | 0:38:22 | |
"and he read the meaning of her movements | 0:38:22 | 0:38:23 | |
"in her frank, uplifted eyes. | 0:38:23 | 0:38:27 | |
"It was too much for him..." | 0:38:27 | 0:38:28 | |
ALEX: We kept our distance. | 0:38:28 | 0:38:31 | |
But I felt that my thoughts were no longer my own. | 0:38:31 | 0:38:34 | |
"..the dark pressure of her soft, parting lips. | 0:38:34 | 0:38:38 | |
"They pressed upon his..." | 0:38:38 | 0:38:40 | |
ALEX: The further I sank, the stronger he became. | 0:38:40 | 0:38:44 | |
It was like he had taken my soul. | 0:38:44 | 0:38:46 | |
(Faintly) "..darker than the swoon of sin..." | 0:38:47 | 0:38:50 | |
ALEX: I started work on the set-building for the school play. | 0:38:55 | 0:38:58 | |
At least it kept my mind off Josh's death. | 0:38:59 | 0:39:02 | |
GIRL: ..A nightingale out of season - | 0:39:19 | 0:39:21 | |
marriage, rose or no rose, has killed the golden violet. | 0:39:21 | 0:39:25 | |
BOY: Mother, you do ill to scorn wedded love! | 0:39:25 | 0:39:29 | |
So I do. | 0:39:29 | 0:39:30 | |
Louis of France loved me, | 0:39:30 | 0:39:32 | |
and I dreamed that I loved Louis of France. | 0:39:32 | 0:39:36 | |
And I loved Henry of England, | 0:39:36 | 0:39:38 | |
and Henry of England dreamed that he loved me. | 0:39:38 | 0:39:40 | |
But the marriage garland withers even at the putting on, | 0:39:40 | 0:39:44 | |
the bright link rusts at the breath of the first after-marriage kiss. | 0:39:44 | 0:39:48 | |
I could laugh at this poor world myself, | 0:39:48 | 0:39:50 | |
that it isn't better ordered. | 0:39:50 | 0:39:51 | |
(Continues indistinctly) | 0:39:51 | 0:39:54 | |
I'm really sorry about your friend. | 0:39:57 | 0:39:59 | |
Fuck off, freak. | 0:40:01 | 0:40:03 | |
But you don't have to worry. | 0:40:03 | 0:40:05 | |
He's at peace now. | 0:40:05 | 0:40:08 | |
The harvest moon is the ripening of the harvest | 0:40:10 | 0:40:12 | |
and the honeymoon is the gall of love - | 0:40:12 | 0:40:14 | |
he dies of its honey. | 0:40:14 | 0:40:16 | |
BOY: What? I must swear nay, to the cross around my neck. | 0:40:16 | 0:40:20 | |
Does it please you? | 0:40:20 | 0:40:22 | |
Take it. | 0:40:23 | 0:40:25 | |
That girl's really something, isn't she? | 0:40:25 | 0:40:27 | |
..wear it on that hard heart of yours. | 0:40:27 | 0:40:29 | |
Would you have it - | 0:40:29 | 0:40:31 | |
the last Parthian shaft of a forlorn Cupid on the King's left breast? | 0:40:31 | 0:40:35 | |
And all left-handed... | 0:40:35 | 0:40:37 | |
(Actors continue faintly) | 0:40:37 | 0:40:40 | |
(Gags and gasps) | 0:41:20 | 0:41:22 | |
(Gags) | 0:41:22 | 0:41:24 | |
(Vomits) | 0:41:29 | 0:41:32 | |
ALEX: And then when I got back, the hand was gone. | 0:41:35 | 0:41:37 | |
And did you tell anyone? | 0:41:37 | 0:41:40 | |
What? Who was I gonna tell? | 0:41:40 | 0:41:41 | |
And why do you think it was Josh's hand? | 0:41:43 | 0:41:45 | |
I don't know. I didn't exactly study it. | 0:41:47 | 0:41:49 | |
He was everywhere. | 0:41:51 | 0:41:52 | |
Everywhere. | 0:41:54 | 0:41:55 | |
All I'm saying is that Nigel could have quite easily taken it. | 0:41:57 | 0:42:00 | |
And how do you feel about Nigel now? | 0:42:03 | 0:42:05 | |
That he got what he deserved. | 0:42:05 | 0:42:08 | |
(Sighs) | 0:42:10 | 0:42:12 | |
How do I know you're telling the truth? | 0:42:12 | 0:42:15 | |
You don't. | 0:42:16 | 0:42:18 | |
(Boys chatter) | 0:42:20 | 0:42:23 | |
You get out of my room. | 0:42:32 | 0:42:34 | |
-Have you finished your essay? -Get out. | 0:42:34 | 0:42:36 | |
It looks like you need a hand. | 0:42:38 | 0:42:40 | |
Get out! | 0:42:40 | 0:42:41 | |
You might find these helpful. | 0:42:43 | 0:42:45 | |
ALEX: How did he know I was struggling with my essay? | 0:42:56 | 0:42:58 | |
How did he know my topic? | 0:42:59 | 0:43:01 | |
I mean, he had answers to questions I hadn't even thought of yet. | 0:43:01 | 0:43:06 | |
But with only an hour left of study time, | 0:43:06 | 0:43:09 | |
I knew I didn't have a choice. | 0:43:09 | 0:43:11 | |
It was like selling my soul. | 0:43:12 | 0:43:15 | |
Poole - rubbish. Simms - rubbish. | 0:43:17 | 0:43:21 | |
-Better. -Thank you, sir. | 0:43:23 | 0:43:24 | |
Well, this is a step in the right direction, Mr Linden. Well done. | 0:43:25 | 0:43:28 | |
Excellent work, Mr Forbes. | 0:43:31 | 0:43:33 | |
I was beginning to worry about you, lad. | 0:43:35 | 0:43:37 | |
ALEX: I felt worthless. | 0:43:41 | 0:43:43 | |
(Whispers) Alex. | 0:44:06 | 0:44:08 | |
Alex, wake up. | 0:44:08 | 0:44:10 | |
I've got a night planned. | 0:44:10 | 0:44:13 | |
What are you doing here? | 0:44:17 | 0:44:19 | |
I wanna show you something. | 0:44:19 | 0:44:20 | |
(Mumbles) I'm not interested. | 0:44:22 | 0:44:23 | |
Don't forget I helped you. | 0:44:30 | 0:44:32 | |
Come on, it'll be fun. | 0:44:32 | 0:44:35 | |
Come. | 0:44:35 | 0:44:37 | |
We're nearly there. | 0:44:46 | 0:44:48 | |
You having fun? | 0:44:51 | 0:44:52 | |
Oh, come on, Alex, you've come all this way. Say something. | 0:44:55 | 0:44:58 | |
Fine. | 0:45:03 | 0:45:04 | |
Is this your house? | 0:45:20 | 0:45:22 | |
Where are your parents? | 0:45:22 | 0:45:24 | |
They're probably away. They travel a lot. | 0:45:24 | 0:45:28 | |
(Dog barks) | 0:45:52 | 0:45:54 | |
Hey, Luther. | 0:45:54 | 0:45:56 | |
-Hey. -(Dog whines) | 0:45:58 | 0:46:01 | |
-Is he yours? -He's next door's. | 0:46:01 | 0:46:03 | |
He's beautiful, isn't he? | 0:46:03 | 0:46:05 | |
-(Dogs bark distantly) -(Luther barks and growls) | 0:46:07 | 0:46:10 | |
He doesn't like you. | 0:46:10 | 0:46:12 | |
I've never brought anybody here before. | 0:46:15 | 0:46:17 | |
You're the first. | 0:46:17 | 0:46:19 | |
OK? | 0:46:19 | 0:46:21 | |
First. | 0:46:21 | 0:46:22 | |
GATE SQUEAKS | 0:46:23 | 0:46:25 | |
Come on. | 0:46:28 | 0:46:29 | |
METAL CLANGS AND CRASHES | 0:46:48 | 0:46:50 | |
Shhh! | 0:46:50 | 0:46:51 | |
MAN: Hello? | 0:46:51 | 0:46:53 | |
Turn the torch off, turn the torch off. | 0:46:53 | 0:46:54 | |
-(Man coughs) -I thought you said they were away. | 0:46:54 | 0:46:57 | |
FOOTSTEPS PASS OVER | 0:46:57 | 0:46:59 | |
He's got the gun. | 0:47:02 | 0:47:04 | |
FOOTSTEPS APPROACH | 0:47:04 | 0:47:07 | |
-OPENS DOOR -(Dog barks) | 0:47:09 | 0:47:12 | |
-Oh... Go home, stupid dog! -DOOR CLOSES | 0:47:12 | 0:47:17 | |
-(Dog barks) -FOOTSTEPS RECEDE | 0:47:17 | 0:47:22 | |
I'm getting out of here. | 0:47:25 | 0:47:27 | |
Wait! Wait, wait, wait. | 0:47:27 | 0:47:28 | |
Come here, I wanna show you something. It's just through here. | 0:47:28 | 0:47:31 | |
Come on. | 0:47:34 | 0:47:35 | |
Come on! | 0:47:51 | 0:47:53 | |
Come in. | 0:48:05 | 0:48:06 | |
Oh, my God. | 0:48:08 | 0:48:10 | |
You like it? | 0:48:17 | 0:48:19 | |
Well, if you're the expert, tell me the history of the flag. | 0:48:26 | 0:48:28 | |
What, you mean Captain Hook and Long John Silver? | 0:48:28 | 0:48:31 | |
You know so little about the things that are closest to you. | 0:48:32 | 0:48:34 | |
-Is that supposed to be a riddle? -No. | 0:48:34 | 0:48:37 | |
It's about you - your future. | 0:48:37 | 0:48:40 | |
Do you know who my father is? | 0:48:43 | 0:48:45 | |
He's the Grand Master of your father's order. | 0:48:47 | 0:48:49 | |
Yeah. And so...what? | 0:48:49 | 0:48:51 | |
-(Scoffs) -Yeah. | 0:48:51 | 0:48:54 | |
It's nothing more than puerile male bonding now. | 0:48:54 | 0:48:56 | |
But it was once something - I mean, really something. | 0:48:56 | 0:48:59 | |
These were great men, men who kings knelt before. | 0:48:59 | 0:49:03 | |
They lost their way. | 0:49:06 | 0:49:07 | |
It's up to us to take on that mantle. | 0:49:11 | 0:49:13 | |
-(Chuckles) -Alex! | 0:49:13 | 0:49:16 | |
We've been chosen. | 0:49:17 | 0:49:19 | |
What have we been chosen for, Nigel? | 0:49:19 | 0:49:21 | |
This. | 0:49:26 | 0:49:27 | |
What? | 0:49:27 | 0:49:30 | |
Do you know when playing cards first appeared? | 0:49:30 | 0:49:32 | |
The 12th century. | 0:49:35 | 0:49:37 | |
And that was the start of the REAL brotherhood - | 0:49:37 | 0:49:39 | |
I mean, imagine what it must have been like! | 0:49:39 | 0:49:41 | |
The...the loss of the Holy Land, the Templars abandoning the Church, | 0:49:41 | 0:49:46 | |
the death of Becket. | 0:49:46 | 0:49:47 | |
And out of it comes this simple, logical game. | 0:49:47 | 0:49:51 | |
I mean, it's just a game, but it's... | 0:49:51 | 0:49:53 | |
but it's a game born of injustice, hardship, suffering... | 0:49:53 | 0:49:58 | |
(Whispers) ..death. | 0:49:59 | 0:50:01 | |
Now, that is truly an age to revere. | 0:50:02 | 0:50:05 | |
You're fucked. | 0:50:05 | 0:50:07 | |
You can't deny the truths that this card has seen | 0:50:07 | 0:50:09 | |
and the truths we can show it again. | 0:50:09 | 0:50:12 | |
So why am I here, Nigel? | 0:50:12 | 0:50:14 | |
Look up "Jack". | 0:50:22 | 0:50:24 | |
-Sorry? -Look up "Jack". | 0:50:24 | 0:50:27 | |
Says "knave", doesn't it? | 0:50:43 | 0:50:45 | |
Do you know what a knave is? | 0:50:47 | 0:50:49 | |
Yes. | 0:50:49 | 0:50:51 | |
Unprincipled man. | 0:50:52 | 0:50:54 | |
Rogue. | 0:50:54 | 0:50:55 | |
That's what you are, Alex. | 0:50:56 | 0:50:58 | |
Do you know what this is? | 0:51:00 | 0:51:02 | |
It's a spade. | 0:51:02 | 0:51:04 | |
Spade represents a tip of a pike. | 0:51:04 | 0:51:06 | |
Do you know what a pike is? | 0:51:06 | 0:51:08 | |
-It's a kind of spear. -Hmm. | 0:51:08 | 0:51:11 | |
An implement for killing. | 0:51:11 | 0:51:12 | |
That's what I am. | 0:51:14 | 0:51:15 | |
This is our time, Jack. | 0:51:17 | 0:51:20 | |
We've been brought together for a reason. | 0:51:20 | 0:51:23 | |
And it's written here. | 0:51:25 | 0:51:26 | |
For eternity. | 0:51:28 | 0:51:30 | |
BELL RINGS Thank you, gentlemen. | 0:51:33 | 0:51:35 | |
That's all for today. | 0:51:35 | 0:51:36 | |
Tales of Mystery and Imagination by Edgar Allan Poe - | 0:51:36 | 0:51:38 | |
I want it read for next week. | 0:51:38 | 0:51:40 | |
Thank you. | 0:51:40 | 0:51:42 | |
Mr Poole, I want better work from you as well. | 0:51:42 | 0:51:45 | |
-Sir, can I ask you a question? -Certainly. | 0:51:47 | 0:51:49 | |
Whether or not I can answer it is another question. | 0:51:49 | 0:51:52 | |
Do you think it's possible to get inside people's minds? | 0:51:52 | 0:51:55 | |
I just need to know whether you think objectively that's possible. | 0:51:56 | 0:51:59 | |
-Objectively? -Yeah. | 0:51:59 | 0:52:00 | |
My dear boy, the power of the mind has no boundaries. | 0:52:00 | 0:52:04 | |
Understanding its capabilities is like...is like searching | 0:52:04 | 0:52:08 | |
for the end of the universe | 0:52:08 | 0:52:10 | |
or trying to find the beginning of time. | 0:52:10 | 0:52:13 | |
(Half-laughs) | 0:52:14 | 0:52:15 | |
OK. | 0:52:15 | 0:52:18 | |
Thank you. | 0:52:18 | 0:52:19 | |
LOW-LEVEL CONVERSATION | 0:52:27 | 0:52:30 | |
Hey, sorry. Excuse me. Hi. | 0:52:38 | 0:52:39 | |
I...I just wanted to say, I thought you were absolutely fantastic. | 0:52:39 | 0:52:43 | |
Thanks. | 0:52:43 | 0:52:44 | |
Come on, Sue, or we'll miss the bus. | 0:52:44 | 0:52:46 | |
Sorry, I've got to go. | 0:52:46 | 0:52:48 | |
No, will you hang on for one sec? I'm sorry. | 0:52:48 | 0:52:51 | |
You go ahead. I'll catch up. | 0:52:51 | 0:52:53 | |
Um...I'm not particularly good at this. | 0:52:54 | 0:52:57 | |
I was, uh...I was wondering if maybe you wanted to hook up or something | 0:52:57 | 0:53:02 | |
after school sometime. | 0:53:02 | 0:53:04 | |
I mean, it's completely fine if you don't. It was just... | 0:53:04 | 0:53:07 | |
Yeah. OK. | 0:53:07 | 0:53:09 | |
Cool. Um, when? | 0:53:09 | 0:53:12 | |
They're running some Hitchcock classics at the old Astra. | 0:53:14 | 0:53:16 | |
I think tonight it's Strangers on a Train. | 0:53:16 | 0:53:18 | |
-What time is that? -We're getting there about 7.30. | 0:53:18 | 0:53:21 | |
"We"? | 0:53:21 | 0:53:22 | |
Oh...well, if you'd prefer not to go with my friends... | 0:53:22 | 0:53:25 | |
-No. -..that's all right. | 0:53:25 | 0:53:27 | |
No, no, no, no. That'd...that'd be awesome. That'd be great. | 0:53:27 | 0:53:30 | |
So I'll see you there, then. | 0:53:30 | 0:53:33 | |
Yeah, you betcha. | 0:53:33 | 0:53:35 | |
Here goes the troubled traitor to the King. | 0:53:49 | 0:53:52 | |
(Laughs) | 0:53:52 | 0:53:54 | |
Do you think she's still a virgin? | 0:53:56 | 0:53:58 | |
Why don't you fuck off? | 0:53:58 | 0:53:59 | |
(Laughs) Jack. | 0:53:59 | 0:54:01 | |
Thou lovest the wench. | 0:54:02 | 0:54:04 | |
I've got something for you. | 0:54:08 | 0:54:09 | |
My name is Alex. Will you stay away from me, please? | 0:54:11 | 0:54:15 | |
I've finished, sir. Can I go, please? | 0:54:38 | 0:54:40 | |
MAN: Headmaster? | 0:54:41 | 0:54:42 | |
No, he can wait until dinner is over. | 0:54:44 | 0:54:46 | |
But I'm meant to be... | 0:54:46 | 0:54:48 | |
Please! | 0:54:49 | 0:54:51 | |
Please! | 0:54:51 | 0:54:53 | |
Can I get a ticket, please? | 0:55:14 | 0:55:16 | |
Sorry. | 0:55:16 | 0:55:17 | |
(Sighs) | 0:55:17 | 0:55:19 | |
WIND BLOWS | 0:55:49 | 0:55:51 | |
(Gasps) | 0:56:13 | 0:56:15 | |
Sorry. Can I have some more? | 0:56:40 | 0:56:42 | |
I'm starving. | 0:56:42 | 0:56:43 | |
Thanks. | 0:56:43 | 0:56:45 | |
What's with the knife? | 0:56:45 | 0:56:47 | |
I don't know what you're talking about, Jack. | 0:56:47 | 0:56:48 | |
Will you stay out of my fucking room, please? | 0:56:48 | 0:56:50 | |
Mmm. Have you read my book? | 0:56:50 | 0:56:52 | |
No, I haven't read your fucking book. | 0:56:52 | 0:56:54 | |
You should. | 0:56:55 | 0:56:57 | |
(Coughs) | 0:57:41 | 0:57:44 | |
MUFFLED POLICE RADIO COMMUNICATIONS | 0:57:48 | 0:57:51 | |
Boys, members of staff, | 0:58:08 | 0:58:13 | |
I have some very unfortunate news to report. | 0:58:13 | 0:58:17 | |
Early this morning, Susan Mueller, a young lady from Sandsley College | 0:58:17 | 0:58:25 | |
who was working with us on our final-year play, | 0:58:25 | 0:58:29 | |
was found murdered not far from here. | 0:58:29 | 0:58:34 | |
The police believe that this vile act | 0:58:35 | 0:58:41 | |
took place while she was on her way home from rehearsal last night, | 0:58:41 | 0:58:48 | |
so I'm afraid that all members of the cast and crew | 0:58:48 | 0:58:51 | |
will remain behind after assembly, | 0:58:51 | 0:58:54 | |
together with anyone who may have seen or spoken with Susan | 0:58:54 | 0:58:59 | |
during the course of yesterday afternoon. | 0:58:59 | 0:59:02 | |
That'll be all. | 0:59:04 | 0:59:06 | |
Raj? Raj? Have you seen Nigel? | 0:59:26 | 0:59:29 | |
No. | 0:59:30 | 0:59:32 | |
(Speaks indistinctly) | 0:59:41 | 0:59:43 | |
(Claps hands together) Pay attention. | 0:59:52 | 0:59:55 | |
My name is Detective Inspector McKenzie. | 0:59:55 | 0:59:58 | |
I'd like to talk to all of you individually, please, | 0:59:58 | 1:00:01 | |
so could you give your names to Constable Murray here? | 1:00:01 | 1:00:05 | |
Uh, we're going to try and get through this as quickly as possible, | 1:00:05 | 1:00:08 | |
but please be patient. | 1:00:08 | 1:00:11 | |
-Did you see her? -Yes. | 1:00:26 | 1:00:28 | |
What time did you see her? | 1:00:28 | 1:00:30 | |
Around noon. | 1:00:30 | 1:00:32 | |
And where was she at that time? | 1:00:33 | 1:00:35 | |
Passing by in the corridor. | 1:00:35 | 1:00:37 | |
Which corridor? | 1:00:37 | 1:00:38 | |
The west side. | 1:00:38 | 1:00:40 | |
-And that was it? -Yes. | 1:00:40 | 1:00:41 | |
-OK. All right. Thank you. -Thank you. | 1:00:41 | 1:00:44 | |
Alex Forbes. | 1:00:47 | 1:00:48 | |
Did you talk to Susan yesterday? | 1:01:08 | 1:01:10 | |
Yes. | 1:01:10 | 1:01:12 | |
What time? | 1:01:12 | 1:01:14 | |
I can't remember. | 1:01:14 | 1:01:16 | |
Try. | 1:01:16 | 1:01:19 | |
It was about 5.00. | 1:01:21 | 1:01:22 | |
I was just packing up. | 1:01:24 | 1:01:26 | |
What did you talk about? | 1:01:27 | 1:01:29 | |
I thought that she was really good, so I told her she was really good. | 1:01:31 | 1:01:34 | |
-Really good? -In the play. | 1:01:34 | 1:01:36 | |
She was really good in the play. | 1:01:37 | 1:01:39 | |
What else? | 1:01:39 | 1:01:42 | |
That was it. | 1:01:43 | 1:01:45 | |
That's it? | 1:01:46 | 1:01:47 | |
I think that was it. | 1:01:47 | 1:01:50 | |
That's weird. | 1:01:52 | 1:01:53 | |
I have here that you were due to meet her at about 7.30 at the Astra. | 1:01:56 | 1:02:01 | |
Because, according to her friends, she kind of fancied you. | 1:02:01 | 1:02:06 | |
What do you think about that? | 1:02:09 | 1:02:12 | |
Well... (Sighs) | 1:02:17 | 1:02:18 | |
..looks like you both missed the film. | 1:02:20 | 1:02:23 | |
(McKenzie writes) | 1:02:23 | 1:02:25 | |
-Was that fun? -What did you do with the knife? | 1:02:42 | 1:02:44 | |
Oooh, is that some hostility? | 1:02:44 | 1:02:46 | |
What do you reckon? | 1:02:46 | 1:02:48 | |
Let's just call it fingerprint insurance. | 1:02:48 | 1:02:50 | |
I'm gonna be late. | 1:02:52 | 1:02:54 | |
Do you think I should tell them? | 1:02:54 | 1:02:55 | |
I mean, you were the last person to see her, Jack. | 1:02:55 | 1:02:58 | |
Poor, fair maiden. | 1:02:58 | 1:03:00 | |
I can't believe what's happened. | 1:03:02 | 1:03:04 | |
You did it, didn't you? | 1:03:05 | 1:03:07 | |
No, Jack. You did it. | 1:03:08 | 1:03:11 | |
How could you do this? You fucking killed her. | 1:03:15 | 1:03:18 | |
It feels good to vent one's anger, doesn't it, Jack? | 1:03:20 | 1:03:22 | |
I don't want any part of this. | 1:03:29 | 1:03:30 | |
Will you stop fucking calling me Jack? | 1:03:30 | 1:03:33 | |
Well, I'm sorry, Jack, but you were the one who got inside my head. | 1:03:34 | 1:03:37 | |
Well, get out of mine. | 1:03:37 | 1:03:39 | |
It's too late for that. It's too late for a lot of things. | 1:03:39 | 1:03:43 | |
I mean, before we met, | 1:03:43 | 1:03:44 | |
we were incapable of reaching our true potentials, | 1:03:44 | 1:03:47 | |
but...but now... | 1:03:47 | 1:03:49 | |
I know you feel it. | 1:03:50 | 1:03:52 | |
It's so invigorating. | 1:03:54 | 1:03:56 | |
We make such a wonderful team. | 1:03:59 | 1:04:02 | |
Inspector McKenzie? | 1:04:30 | 1:04:32 | |
I'd like a word with you. | 1:04:34 | 1:04:35 | |
You shouldn't be here, Dr Forbes. | 1:04:35 | 1:04:37 | |
If you want to discuss Alex's case, you can come to my office. | 1:04:37 | 1:04:40 | |
I want you to release my son. | 1:04:40 | 1:04:42 | |
Sir, you son's been charged with murder. | 1:04:42 | 1:04:44 | |
My son is innocent. | 1:04:44 | 1:04:46 | |
We might have expected you to take that for granted, Martin. | 1:04:49 | 1:04:52 | |
He's implicated in the deaths of Josh Campbell, Susan Mueller | 1:04:52 | 1:04:57 | |
and Nigel Colbie. | 1:04:57 | 1:04:59 | |
I have a job to do. | 1:04:59 | 1:05:01 | |
Your father would've expected you to help us. | 1:05:02 | 1:05:04 | |
My father would've expected me to uphold the law. | 1:05:10 | 1:05:14 | |
Don't presume to know me just because we belong to the same club. | 1:05:15 | 1:05:19 | |
Good night, Dr Forbes. | 1:05:20 | 1:05:22 | |
MAN ON PHONE: The car's locked in the garage | 1:05:31 | 1:05:33 | |
and we've searched the house. | 1:05:33 | 1:05:35 | |
(Knocks) | 1:05:35 | 1:05:37 | |
Have they used their credit cards or bank accounts? | 1:05:37 | 1:05:39 | |
-No, sir. -All right. Keep me informed. | 1:05:39 | 1:05:41 | |
Still no sign of Nigel's parents, huh? | 1:05:43 | 1:05:46 | |
(Sighs) | 1:05:46 | 1:05:48 | |
Was Nigel Colbie a suspect in the Susan Mueller killing? | 1:05:48 | 1:05:51 | |
We're investigating the DEATH of Nigel Colbie. | 1:05:51 | 1:05:55 | |
Don't you think it's worth looking at in light of what's happening? | 1:05:55 | 1:05:57 | |
I've already been down that road. | 1:05:57 | 1:05:59 | |
No fingerprints, no murder weapon. | 1:05:59 | 1:06:01 | |
No probable cause. | 1:06:01 | 1:06:04 | |
End of story. | 1:06:04 | 1:06:06 | |
There's no proof of what you're telling me | 1:06:11 | 1:06:13 | |
and the evidence indicates | 1:06:13 | 1:06:14 | |
you shot the head off the boy you're incriminating, | 1:06:14 | 1:06:16 | |
so just what do you want anyone to believe? | 1:06:16 | 1:06:18 | |
Well, if it wasn't for me messing with Nigel's head, | 1:06:18 | 1:06:20 | |
then both Susan and Josh would still be alive. | 1:06:20 | 1:06:22 | |
Don't think you'll get some kind of redemption by taking the blame... | 1:06:22 | 1:06:25 | |
What makes you think I want any kind of redemption? | 1:06:25 | 1:06:27 | |
I told you I didn't do it. | 1:06:27 | 1:06:29 | |
Alex, I want to believe you. | 1:06:32 | 1:06:34 | |
But come on, look at the facts. | 1:06:34 | 1:06:36 | |
-Facts? -I want to help you. | 1:06:36 | 1:06:38 | |
But you've got to help me. | 1:06:38 | 1:06:40 | |
Give me something to go on, something concrete, | 1:06:40 | 1:06:42 | |
before it's too fucking late. | 1:06:42 | 1:06:44 | |
Find Nigel's red book. | 1:06:45 | 1:06:47 | |
-The book Nigel gave you? -Yeah, his bible. | 1:06:49 | 1:06:52 | |
And what would I expect to find in this bible? | 1:06:52 | 1:06:54 | |
Most things. | 1:06:54 | 1:06:55 | |
Alex... | 1:06:55 | 1:06:57 | |
Last time I saw it was in my room. | 1:06:57 | 1:06:59 | |
-Your room was stripped. -They must've taken it. | 1:06:59 | 1:07:01 | |
Who might "they" be? | 1:07:01 | 1:07:02 | |
They who don't wish to have their secrets betrayed. | 1:07:02 | 1:07:05 | |
Oh! Secrets! They, them, us, we! | 1:07:05 | 1:07:08 | |
Listen to you! What are you talking about? | 1:07:08 | 1:07:09 | |
You've no intention of telling me what really happened. | 1:07:12 | 1:07:15 | |
I'm just...wasting my time, aren't I? | 1:07:15 | 1:07:19 | |
Don't you think it's a little odd | 1:07:19 | 1:07:21 | |
that your Detective McKenzie hasn't spoke to Nigel's parents yet? | 1:07:21 | 1:07:24 | |
How do you know he hasn't? | 1:07:24 | 1:07:26 | |
Have a look at the room underneath Nigel's house... | 1:07:26 | 1:07:30 | |
..before anything else goes missing. | 1:07:32 | 1:07:34 | |
(Sighs) | 1:07:41 | 1:07:43 | |
PHONE RINGS | 1:08:10 | 1:08:13 | |
(Hangs up) | 1:08:23 | 1:08:25 | |
GATE SQUEAKS | 1:08:39 | 1:08:41 | |
Oh, God. | 1:09:20 | 1:09:22 | |
-LIGHT CLINKING -(Gasps) | 1:09:33 | 1:09:35 | |
SHUFFLING | 1:11:09 | 1:11:10 | |
Oh, just scared the crap... (Clears throat) | 1:11:30 | 1:11:32 | |
(Places torch on the ground) | 1:11:37 | 1:11:39 | |
GROWLING | 1:12:53 | 1:12:55 | |
(Gasps) | 1:13:02 | 1:13:04 | |
-GROWLING -Oh, fuck. | 1:13:04 | 1:13:06 | |
-(Barks) -(Yelps) | 1:13:09 | 1:13:11 | |
-Oh! -(Barks) | 1:13:16 | 1:13:18 | |
(Pants) | 1:13:18 | 1:13:21 | |
BARKING CONTINUES | 1:13:21 | 1:13:23 | |
THUMPING | 1:13:23 | 1:13:25 | |
Oh, fuck. | 1:13:32 | 1:13:34 | |
(Groans) | 1:13:34 | 1:13:37 | |
MAN: They were both embalmed. | 1:13:51 | 1:13:52 | |
Quite an elaborate job, really. | 1:13:52 | 1:13:55 | |
Whoever did this went to a lot of trouble - | 1:13:55 | 1:13:57 | |
blood drained, all the main organs removed, including the brain. | 1:13:57 | 1:14:01 | |
Like taxidermy. | 1:14:02 | 1:14:04 | |
That's a novel way to look at it, | 1:14:04 | 1:14:06 | |
but I guess it's a similar procedure. | 1:14:06 | 1:14:08 | |
-How did they die? -Both shotgun deaths. | 1:14:08 | 1:14:12 | |
Excuse me. | 1:14:12 | 1:14:13 | |
-I don't know why she was there. -You should have been looking. | 1:14:15 | 1:14:18 | |
Or didn't you want them found? | 1:14:18 | 1:14:20 | |
(Sighs) We were searching via normal channels. | 1:14:25 | 1:14:29 | |
Or should I go around digging up vegetable patches | 1:14:29 | 1:14:31 | |
every time someone goes missing? | 1:14:31 | 1:14:33 | |
Well, that depends on the circumstances, doesn't it? | 1:14:33 | 1:14:35 | |
And what the fuck were you doing down here? | 1:14:35 | 1:14:39 | |
Your dirty work. | 1:14:39 | 1:14:41 | |
What's this? | 1:14:44 | 1:14:45 | |
What? It's nothing. | 1:14:47 | 1:14:50 | |
And I suppose this is nothing as well. | 1:14:51 | 1:14:54 | |
Is there something you want to tell me? | 1:14:54 | 1:14:56 | |
Yes, I'm a member. My father was a member. | 1:14:57 | 1:15:01 | |
It was passed on to me. It's a business network. | 1:15:01 | 1:15:03 | |
The last thing they need is to be connected to something like this. | 1:15:03 | 1:15:06 | |
So you're saying they are connected? | 1:15:06 | 1:15:07 | |
Don't put fucking words in my mouth. | 1:15:07 | 1:15:09 | |
There's no conspiracy here. | 1:15:09 | 1:15:11 | |
The order is about as insidious as the Lions Club. | 1:15:11 | 1:15:14 | |
Alex Forbes is fucking with your mind, and you're letting him. | 1:15:14 | 1:15:17 | |
-And you're the psychologist! -All right, all right. | 1:15:17 | 1:15:19 | |
I'm sorry. I'm just... looking at all the angles. | 1:15:19 | 1:15:23 | |
Look, Sal, | 1:15:23 | 1:15:26 | |
I'm running out of time here. | 1:15:26 | 1:15:28 | |
I really need to know if the charges I've laid are going to stick. | 1:15:28 | 1:15:32 | |
In your opinion, | 1:15:32 | 1:15:35 | |
did Alex Forbes murder Nigel Colbie? | 1:15:35 | 1:15:38 | |
So did you find the bible? | 1:15:40 | 1:15:42 | |
Do you know who this is? | 1:15:50 | 1:15:53 | |
Hi. I'm sorry. You've got to go round to the front of the church. | 1:16:09 | 1:16:12 | |
-You'll see the entrance... -Jack. | 1:16:12 | 1:16:14 | |
These are my parents, Helen and John. | 1:16:14 | 1:16:16 | |
This is my best friend, Jack. He's working on the play. | 1:16:16 | 1:16:20 | |
Hi. | 1:16:21 | 1:16:23 | |
I've heard lots about you, Jack. It's lovely to meet you. | 1:16:23 | 1:16:26 | |
Um... I'm sorry. I've actually got to head up with this to the stage. | 1:16:26 | 1:16:30 | |
But, uh... | 1:16:30 | 1:16:33 | |
..well, I...I hope you enjoy the play. | 1:16:33 | 1:16:35 | |
Nice to see you've made a friend so easily. | 1:16:38 | 1:16:40 | |
MAN: Ladies and gentlemen, | 1:16:45 | 1:16:46 | |
welcome to tonight's performance of Lord Tennyson's play Becket. | 1:16:46 | 1:16:50 | |
Um... | 1:16:50 | 1:16:53 | |
The presentation of this play has seen its own vicissitude, | 1:16:53 | 1:16:56 | |
with the tragic death last month of Susan Mueller. | 1:16:56 | 1:17:00 | |
As a gesture to her memory, | 1:17:00 | 1:17:02 | |
her parents asked that the play should proceed. | 1:17:02 | 1:17:05 | |
So we dedicate tonight's performance to the memory of Susan. | 1:17:05 | 1:17:08 | |
-Thank you. -(Audience applauds) | 1:17:08 | 1:17:13 | |
MUTED ORGAN MUSIC | 1:17:13 | 1:17:16 | |
So then our good Archbishop Theobald lies dying. | 1:17:18 | 1:17:21 | |
I'm grieved to know as much. | 1:17:21 | 1:17:23 | |
But we must have a mightier man than he for his successor. | 1:17:23 | 1:17:27 | |
Have you thought of one? | 1:17:27 | 1:17:28 | |
A cleric lately poisoned his own mother | 1:17:28 | 1:17:31 | |
and being brought before the courts of the Church, | 1:17:31 | 1:17:33 | |
they but degraded him. | 1:17:33 | 1:17:35 | |
(Voices fade) | 1:17:35 | 1:17:37 | |
Damn it, Nigel. | 1:17:55 | 1:17:57 | |
(Inhales deeply) | 1:17:57 | 1:17:59 | |
ALEX: And the more I read, the deeper I sank into the pages. | 1:18:18 | 1:18:22 | |
It was all there - the slaughter of the Cathars, | 1:18:22 | 1:18:25 | |
the Templars' assassination of Thomas Becket | 1:18:25 | 1:18:27 | |
and the holy Inquisition, | 1:18:27 | 1:18:29 | |
resulting in the Templars' excommunication as heretics. | 1:18:29 | 1:18:32 | |
It all made startling sense, | 1:18:45 | 1:18:47 | |
like I'd just seen the other side of Escher's staircase. | 1:18:47 | 1:18:51 | |
I'd woken up. | 1:18:51 | 1:18:53 | |
Nigel believed that he was a direct descendant | 1:18:57 | 1:18:59 | |
from the Templar bloodline. | 1:18:59 | 1:19:03 | |
He was some fucked-up individual. | 1:19:03 | 1:19:05 | |
He thought that the medieval insignia of the brotherhood | 1:19:07 | 1:19:10 | |
foretold the power that our union would bring. | 1:19:10 | 1:19:13 | |
The pike, being a weapon, | 1:19:13 | 1:19:15 | |
harnessed by the interlinking loops - | 1:19:15 | 1:19:18 | |
the two of us. | 1:19:18 | 1:19:20 | |
When I was a child, my father used to stand me in front of that painting. | 1:19:36 | 1:19:40 | |
He told me stories of courage and bravery, | 1:19:40 | 1:19:44 | |
how my ancestors had fought to protect their free right. | 1:19:44 | 1:19:47 | |
It was only then that I realised what Nigel believed. | 1:19:54 | 1:19:58 | |
I was of the same Templar bloodline. | 1:19:58 | 1:20:02 | |
Alex, I want the truth. | 1:20:06 | 1:20:08 | |
Did you do this? | 1:20:08 | 1:20:11 | |
Is that what you want to hear? | 1:20:11 | 1:20:13 | |
Alex, we've got people who can help you. You must let them. | 1:20:13 | 1:20:16 | |
The only thing that you care about is the brotherhood, isn't it? | 1:20:16 | 1:20:19 | |
Nigel said it, and he was right. | 1:20:21 | 1:20:22 | |
It's nothing more than puerile male bonding. | 1:20:22 | 1:20:24 | |
-I know what's best for you. -No. | 1:20:24 | 1:20:26 | |
Your friends must be shitting themselves. | 1:20:26 | 1:20:28 | |
Oh, what are they going to do about their golf club membership? | 1:20:28 | 1:20:30 | |
Listen. Listen, please. Look at me. | 1:20:30 | 1:20:33 | |
What was my mother like? | 1:20:47 | 1:20:49 | |
Do you regret her sacrifice? Was I worth it? | 1:20:53 | 1:20:55 | |
Alex, your mother's death was not your fault. | 1:20:55 | 1:20:58 | |
No. | 1:20:58 | 1:21:00 | |
No, no, no. | 1:21:00 | 1:21:03 | |
You got her pregnant. | 1:21:03 | 1:21:04 | |
DOOR BUZZES | 1:21:06 | 1:21:08 | |
It's time. | 1:21:08 | 1:21:10 | |
Alex, all I ever wanted was the best for you, | 1:21:20 | 1:21:23 | |
for the sake of your mother. | 1:21:23 | 1:21:25 | |
Well, that went well. | 1:21:42 | 1:21:43 | |
Do you ever get the feeling you might be responsible for all this? | 1:21:43 | 1:21:48 | |
Don't think I'll need that anymore. | 1:21:52 | 1:21:53 | |
BUZZER, DOOR OPENS | 1:22:12 | 1:22:15 | |
You all right? | 1:22:25 | 1:22:26 | |
Who's Maraclea, Alex? | 1:22:42 | 1:22:44 | |
ALEX: She was the instrument of Nigel's obsession. | 1:22:50 | 1:22:53 | |
Jack. | 1:22:54 | 1:22:56 | |
I knew you couldn't resist a secret rendezvous. | 1:22:57 | 1:22:59 | |
-What do you want? -This way. | 1:22:59 | 1:23:02 | |
ALEX: Maraclea was the lost love of a 13th century Templar. | 1:23:04 | 1:23:08 | |
As the story goes, | 1:23:08 | 1:23:10 | |
Maraclea was betrothed to a Knight Templar, | 1:23:10 | 1:23:13 | |
but died before they could wed. | 1:23:13 | 1:23:16 | |
And the knight was so tormented by his loss | 1:23:16 | 1:23:18 | |
that he opened her grave and made love to her body. | 1:23:18 | 1:23:22 | |
Come on. | 1:23:27 | 1:23:29 | |
ALEX: Exactly nine months later, | 1:23:39 | 1:23:41 | |
he was summoned to her grave. | 1:23:41 | 1:23:43 | |
On opening her coffin, | 1:23:43 | 1:23:44 | |
he found that her remains had been moved. | 1:23:44 | 1:23:47 | |
Her head had been placed below her pelvis, | 1:23:47 | 1:23:50 | |
sitting on top of her thigh bones, which had been crossed. | 1:23:50 | 1:23:53 | |
Where the hell are we? | 1:23:55 | 1:23:57 | |
ALEX: A voice told him to guard the skull, | 1:24:01 | 1:24:03 | |
as it would be the bringer of all power. | 1:24:03 | 1:24:06 | |
She's yours, Jack. | 1:24:41 | 1:24:43 | |
She was lying there... | 1:24:49 | 1:24:51 | |
..and he said since I was her only love, | 1:24:54 | 1:24:56 | |
it was up to me to d...to do the deed. | 1:24:56 | 1:25:00 | |
And when I refused, | 1:25:02 | 1:25:04 | |
he went on about letting down the bloodline, | 1:25:04 | 1:25:07 | |
and that with the skull we would be complete. | 1:25:07 | 1:25:10 | |
You didn't know Nigel. | 1:25:14 | 1:25:16 | |
You didn't know him. | 1:25:18 | 1:25:20 | |
Do you honestly think that you can help me? | 1:25:23 | 1:25:25 | |
Did you pull the trigger? | 1:25:28 | 1:25:31 | |
DOOR OPENS | 1:25:31 | 1:25:34 | |
MAN ON RADIO: Visibility moderate, or good occasionally, poor later. | 1:26:12 | 1:26:16 | |
Now on Radio Six, it's time for the evening prayer... | 1:26:16 | 1:26:20 | |
(Man shouts) What... What's happening? What is happening? | 1:26:20 | 1:26:22 | |
Good evening. | 1:26:22 | 1:26:24 | |
An angel said unto Zachariah, | 1:26:24 | 1:26:27 | |
"Your prayers have been heard. | 1:26:27 | 1:26:29 | |
"Your wife will bear you a son, | 1:26:29 | 1:26:32 | |
"and you are to christen him John..." | 1:26:32 | 1:26:34 | |
-(Woman sobs) -What is this? | 1:26:34 | 1:26:37 | |
"..spirit and power of Elijah, turn the hearts of the fathers..." | 1:26:37 | 1:26:40 | |
Hey? Hmm? | 1:26:40 | 1:26:42 | |
John. John... | 1:26:42 | 1:26:45 | |
Will someone tell me what's going on? | 1:26:45 | 1:26:49 | |
Look at them. LOOK at them. | 1:26:49 | 1:26:52 | |
I don't know about these. I didn't do this. | 1:26:54 | 1:26:57 | |
Well, you can imagine my surprise | 1:26:57 | 1:26:59 | |
when they handed these to me at the lodge. | 1:26:59 | 1:27:01 | |
And then I come home and find this. | 1:27:01 | 1:27:03 | |
That is disgusting. | 1:27:03 | 1:27:05 | |
He can't talk to you. | 1:27:05 | 1:27:07 | |
-Who's he supposed to talk to? -Talk? Talk?! | 1:27:07 | 1:27:08 | |
You call this talk? | 1:27:08 | 1:27:10 | |
What are you implying? | 1:27:10 | 1:27:12 | |
-Who took the photos? -I have never seen them before. | 1:27:12 | 1:27:16 | |
-Oh. -Nigel. | 1:27:16 | 1:27:18 | |
Nigel! | 1:27:18 | 1:27:20 | |
(Haltingly) They felt it would be best if I left for a while | 1:27:23 | 1:27:28 | |
to get my family back on track. | 1:27:28 | 1:27:30 | |
Well, sure, I understand. | 1:27:30 | 1:27:32 | |
We can't have this sort of thing | 1:27:32 | 1:27:33 | |
happening in the master's own bedroom, can we? | 1:27:33 | 1:27:35 | |
-Can we?! -(Gasps and screams) | 1:27:35 | 1:27:37 | |
Can we?! | 1:27:37 | 1:27:38 | |
I'm so very sorry. | 1:27:38 | 1:27:41 | |
-Tell me why. -(Sobs) | 1:27:41 | 1:27:43 | |
Tell me why! | 1:27:43 | 1:27:45 | |
-(Cries) -Tell me! | 1:27:45 | 1:27:47 | |
-Tell me! Tell me! -I don't know! | 1:27:47 | 1:27:49 | |
GUNSHOT | 1:27:49 | 1:27:51 | |
God. | 1:27:54 | 1:27:57 | |
Oh, God. Oh, God. | 1:27:57 | 1:27:59 | |
(Sobs) No. | 1:28:08 | 1:28:10 | |
Jack. You made it. | 1:28:11 | 1:28:13 | |
-What have you done? -(Sobs) | 1:28:18 | 1:28:19 | |
She was chosen. | 1:28:19 | 1:28:21 | |
Please just put the gun down. | 1:28:23 | 1:28:26 | |
-Give it to me. -Don't come near. No! | 1:28:26 | 1:28:27 | |
Don't come near me! Stay where you are! | 1:28:27 | 1:28:29 | |
-No! -GUNSHOT | 1:28:29 | 1:28:31 | |
Killing is such an extraordinary feeling, isn't it? | 1:29:18 | 1:29:21 | |
Well, I have my Maraclea. | 1:29:28 | 1:29:31 | |
How do you feel? | 1:29:31 | 1:29:33 | |
Jack? | 1:29:35 | 1:29:38 | |
How do you feel? | 1:29:38 | 1:29:40 | |
Set the whole thing up, didn't you? | 1:29:45 | 1:29:47 | |
Come on. We've got work to do. | 1:29:52 | 1:29:54 | |
(Sighs) | 1:30:09 | 1:30:10 | |
They're gone. | 1:30:39 | 1:30:42 | |
I hated him. | 1:30:42 | 1:30:43 | |
Don't you think they're going to be missed? | 1:30:45 | 1:30:47 | |
Well, as long as they don't find her for nine months, | 1:30:47 | 1:30:50 | |
it doesn't really matter, does it? | 1:30:50 | 1:30:52 | |
You didn't. | 1:30:54 | 1:30:57 | |
No, you didn't. | 1:30:57 | 1:30:59 | |
What do you think we're here for? | 1:30:59 | 1:31:01 | |
You're fucked. | 1:31:03 | 1:31:06 | |
You're absolutely fucked. | 1:31:06 | 1:31:08 | |
-And what about you and Susan? -I didn't do it. | 1:31:08 | 1:31:10 | |
Oh, come on. I left you with her. | 1:31:10 | 1:31:13 | |
-I could smell you on her. -No. | 1:31:13 | 1:31:16 | |
Did you touch her? I know you felt her. | 1:31:16 | 1:31:19 | |
-No, no, no. -It doesn't make any difference now. | 1:31:19 | 1:31:21 | |
-You can have your Maraclea. -No. No. | 1:31:21 | 1:31:23 | |
I'll harvest what awaits me here. | 1:31:23 | 1:31:25 | |
We will be united! | 1:31:25 | 1:31:28 | |
It's fated. | 1:31:33 | 1:31:35 | |
(Nigel shouts) Jack! | 1:31:55 | 1:31:57 | |
It's over, Nigel. | 1:32:03 | 1:32:05 | |
It'll never be over. You know that. | 1:32:05 | 1:32:09 | |
Do it. | 1:32:10 | 1:32:12 | |
Come on. Do it. | 1:32:12 | 1:32:14 | |
-Stop it, Jack. -Do it. | 1:32:15 | 1:32:19 | |
-Stop walking away, Jack. -Do it! | 1:32:19 | 1:32:22 | |
Get off the track. | 1:32:23 | 1:32:25 | |
-DO IT! -I showed you the card, remember? | 1:32:26 | 1:32:29 | |
It's written for eternity. | 1:32:29 | 1:32:31 | |
Shoot, you fuck! | 1:32:31 | 1:32:34 | |
Don't move. | 1:32:38 | 1:32:39 | |
We are not Templars with God-given rights. | 1:32:39 | 1:32:42 | |
There are no holy wars to fight, Nigel. | 1:32:42 | 1:32:44 | |
Who's the enemy now? | 1:32:44 | 1:32:46 | |
We are. Because... | 1:32:46 | 1:32:49 | |
Because we wanted more from life than it has to offer. | 1:32:49 | 1:32:53 | |
-You're deluded. -Why? | 1:32:53 | 1:32:55 | |
Why am I deluded? This is our fate. | 1:32:55 | 1:32:58 | |
Right, just shut the fuck up. | 1:32:58 | 1:33:01 | |
-Pray for me. -What are you doing? | 1:33:02 | 1:33:04 | |
Pray for yourself. We're one now. | 1:33:04 | 1:33:07 | |
GUNSHOT | 1:33:07 | 1:33:09 | |
What follows, through a system of either intimidation, | 1:34:44 | 1:34:47 | |
manipulation or coercion, | 1:34:47 | 1:34:49 | |
is the dominant individual | 1:34:49 | 1:34:50 | |
begins to focus and influence the thoughts of the subordinate partner. | 1:34:50 | 1:34:54 | |
This process nurtures a subjective Gestalt, | 1:34:54 | 1:34:57 | |
where similar thoughts, fantasies and other interlocking elements | 1:34:57 | 1:35:00 | |
conspire to form a greater and more volatile whole - | 1:35:00 | 1:35:04 | |
therefore, a merging of like minds. | 1:35:04 | 1:35:07 | |
Thank you. | 1:35:07 | 1:35:08 | |
(All applaud) | 1:35:08 | 1:35:11 | |
PHONE RINGS | 1:35:55 | 1:35:58 | |
Hello. | 1:36:00 | 1:36:02 | |
The head's missing. | 1:36:37 | 1:36:39 | |
-ALEX: Nigel got what he wanted. -What was that? | 1:36:57 | 1:37:01 | |
Eternity. | 1:37:01 | 1:37:03 | |
No, you don't get it, do you? | 1:37:07 | 1:37:09 | |
But you will. | 1:37:12 | 1:37:15 | |
You will. | 1:37:15 | 1:37:17 | |
A necessary means to an end. | 1:37:17 | 1:37:20 | |
Evil little fucker. | 1:37:23 | 1:37:25 | |
Do you like history? | 1:38:22 | 1:38:24 | |
Supertext Captions by Red Bee Media Australia | 1:38:37 | 1:38:42 |