01x05 - Sos

[bunniefuu]

OLDER GEORGIA:
Have a good night.

OLDER MILLIE: This is someone
who was very close...

-[GEORGIA GASPS] Mick.
-to the '87 investigation.

How long you been stalking me?

Kate Reynolds is alive.

I believe you've met
Deputy Commissioner Carrick.

Did you as*ault Callum Parrish
this morning?

He was about to enter
a crime scene.

MICHAEL: You remember
'The Bone Gospel'?

Evidence was taken
from the scene.

That book is gone.

It's real. It's Callum's.

CALLUM: You've seen this before?

It's very precious,
and now you're precious.

I spoke to the hospital.

I was clear Reynolds
was off-limits

until we got
the psych report back.

How did you know
there was something inside me?

FRANKIE: I saw it.
Sometimes I can see things.

Farah, that stuff, cut it out.

YOUNGER GEORGIA: December 1950.

She k*lled them, then herself.

Harriet Clay, his mother.

GEORGIA: What's that got to do
with Kate Reynolds?

I'm telling you, there's no
evidence that she ever died.

-[BLADE SLASHES]
-[GURGLES]

[MILLIE GASPS]

I'm gonna live.

We need to fix this, you and me.

[FOREIGN LANGUAGE OVER RADIO]

[RADIO STATIC]

[SACRED SONG OVER RADIO]

[RADIO STATIC]

-[FOREIGN LANGUAGE OVER RADIO]
-[SACRED SONG OVER RADIO]

[FOREIGN LANGUAGE OVER RADIO]

[MANHATTAN TRANSFER SINGS]
♪ Long

♪ Distance

♪ Long distance

♪ Give me

♪ Hea...

♪ ..ven - ♪ Two, three

♪ Oh, operator - ♪ Operator

♪ Information - ♪ Information

-♪ Give me Jesus.
-♪ Give me Jesus

♪ On the line

♪ Oh, operator - ♪ Operator

♪ Information - ♪ Information

-♪ I'd like to speak to.
-♪ Let me speak to

-♪ A friend of mine.
-♪ A friend of mine

♪ Oh, prayer is the number

♪ Faith is the exchange

♪ Heaven is the street

♪ And Jesus is his name

♪ Oh, operator - ♪ Operator

♪ Information - ♪ Information

-♪ Please give me Jesus.
-♪ Give me Jesus on the line

-♪ Whoa, whoa, operator.
-♪ Operator

♪ Information - ♪ Information

-♪ Ooh! Tell my why.
-♪ Tell me why

♪ Whoa, yeah
♪ This is taking so long

♪ Operator - ♪ Operator

♪ Information - ♪ Information

♪ Don't try to tell me
what number to call

-♪ What number to call... ♪
-[POOL ba*ls CLACK]

♪ My mother used this number

♪ When I was really small

♪ And every time
she dialled... ♪

[POOL ba*ls CLACK]

Anything? Anything at all?

-Mm-mm.
-Nothing?

Well, not nothing,

Found a lovely broadband signal

from a quasar in Virgo, 3C.

It's in the report.
Faine will get a kick out of it.

Well, he's not gonna get 'em
'cause all the comms are down.

-All of them?
-Yeah.

Telefax, radio,

nothing's getting out
and nothing is getting in.

I've checked the gear, there's
nothing mechanically wrong.

Besides the fact
they don't work.

Piss off. I'm f*ck'...

No. No-one's doubting
your expertise.

This prick is,
and I'm serious...

-No, no, no, come on.
-It's annoying me now.

-Paul...
-No, no, I'm done with it.

Can we please turn
the air conditioning up?

The heat is a f*cking k*ller.

How did the comms
just stop working?

-How does that happen?
-Solar storm?

SIMON: Happened in '72.

Wiped out radio comms
in northern Canada.

GARY: No, no, it's Tolliver,
can't you see?

He's done something.

Everything was fine
until he arrived.

He gets dropped here
a month ago,

no warning, no explanation.

Who is this guy?

And why is he stacking rocks?

There's something wrong
with him.

-RAY: I apologise.
-Ah!

[UNSETTLING MUSIC]

Ray, we were, um, just...

It's alright. I understand
the imposition. It's not ideal.

I'm grateful to all of you.

-I'll be done soon.
-Yep. [CLEARS THROAT]

And then I'll be gone.

[UNSETTLING MUSIC]

[RADIO STATIC]

KATE: Radio check, radio check.

This is Parrish
Research Station. Over.

[STATIC HISSES]

Radio check, radio check.

This is Parrish Research
Station. Over.

[STATIC STUTTERS]

Oh, this f*ck' piece of sh*t!

-[ANTON SPEAKS RUSSIAN]
-[KATE REPEATS RUSSIAN PHRASE]

Good, Katyushka.

Now you know how to say
"this f*ck' piece of sh*t".

Hmm. Handy.

[RADIO STATIC]

[LAUGHS] Do you want a beer?

-Spasibo.
-[ANTON GRUNTS]

-[ANTON GRUNTS]
-[BOTTLES CLINK]

This is not a solar storm.

Yeah, I know.

ANTON: Then why did you say
it might be?

What happens if they panic,
Anton?

We're completely cut off.

What happens if Boyd loses it?

Is Edgars gonna
keep him in line?

Are you...? Me? [SCOFFS]

[UNSETTLING MUSIC]

[DOOR SQUEAKS AND SLAMS]

ANTON: You know the case
Tolliver carries around?

There's a book in it.

You've seen inside that case?

I didn't mean to snoop.
I'm not a snooper.

But yes, yes, I... I saw it.

Why does he have
a book locked up?

-[SWITCHES CLICK]
-[EQUIPMENT POWERS UP]

[WHITE NOISE HISSES SOFTLY]

ANTON: And those rocks
he stacks.

I think they are markers.

Tolliver is marking something.

-[UNSETTLING MUSIC]
-[KEYS JANGLE]

KATE: Well, he's creeping
everyone out.

Someone should talk to him.

It's got to be me, hasn't it?

-Anton.
-Huh?

You know, Boyd is right,
Katyushka.

Tolliver has done something.

There is something wrong
with this place.

[UNSETTLING MUSIC]

KATE:
Get out of the heat, Anton.

I'll talk to Tolliver.

[DOOR SQUEAKS]

[DOOR SLAMS]

-[EQUIPMENT HUMS]
-[FOOTSTEPS APPROACH]

Thought you might want a drink.

Pretty hot.

I mean, the beer's hot too,
but it's beer, so...

Radio's still down.

Think Boyd might lose it

if he can't listen to
the cricket after Christmas.

[KATE CHUCKLES]

Hey, um, listen, Ray...

I know you haven't
been here long,

but it gets easier.

The isolation.

-This place.
-There isn't a place anymore.

-What's that?
-No place.

No time.

You feel it.

Right.

RAY: It's true.

The barrier between this
and the other

is paper-thin here now.

There is no here.

There is no now.

It's coming back.

It's happened before
and now it's coming back.

W-What's coming back?

"It sleepeth
in the darkness, dead,"

"with hunger of unended years."

OK.

Listen, um, I think you should
probably get some sleep.

[UNSETTLING MUSIC]

[UNEARTHLY SIGHING]

[UNEARTHLY SIGHING]

[UNSETTLING MUSIC]

[HIGH-PITCHED TONE]

[DEEP PULSING]

-[MYSTERIOUS MUSIC]
-[OBJECTS CLINK]

[KATE SIGHS]

[SOFTLY] Oh, come on, come on.

Come on.

[SIGHS]

[UNEARTHLY SIGHING]

[LIGHTS TINKLE]

[THUDDING]

[UNEARTHLY SIGHING]

Anton?

[UNEARTHLY SIGHING]

-[UNEARTHLY SIGHING]
-[THUDDING]

Boyd?

[UNSETTLING MUSIC]

[BREATHES SHARPLY]

[STATIC CRACKLES, LIGHTS TINKLE]

[SUSPENSEFUL MUSIC]

[GASPS]

YOUNGER GEORGIA: Kate?

[DISTURBING MUSIC]

KATE: I...

Uh...

[BREATHES HEAVILY]

[DISTURBING MUSIC]

[BREATHES SHAKILY]

[WRENCH THUDS]

-[LIGHTER FLICKS]
-[INSECTS CHIRP]

[RADIO BEEPS]

[STATIONS SWITCH RAPIDLY]

[INDISTINCT SPEECH AND MUSIC
CRACKLE]

[METAL CLUNKS AND CREAKS]

[MECHANISM WHIRRS]

[STATIC CRACKLES]

[ELECTRONIC BEEPING]

[DEEP ELECTRONIC HUMMING
AND PULSING]

[UNSETTLING MUSIC]

Ray, did you catch whatever
the f*ck that...

[TAPE TICKS]

Ray. Ray!

Ray... Oh, my...

Oh, uh, um, Ray.

Ray, can you hear me?

[BREATHES HEAVILY]

[UNSETTLING MUSIC]

-KATE: Put him on the couch.
-SIMON: Was it heat stroke?

-He was out there for two hours.
-Just put him down here.

ANTON: Oh, this is not
a heat stroke.

We need to take him to a doctor.

KATE: I'll drive him.

-Jeep doesn't work.
-What's wrong with it?

[SIGHS] As of a week ago,
it won't start.

Uh, and you knew this?

Yeah, look, I thought it was
best not to concern anyone.

-Gee.
-Concerned?

Well, we're pretty f*cking
concerned now, Paul.

-Boyd, stand back.
-He's awake.

KATE: Hey, mate.
Ray, are you OK?

-What's wrong?
-It hurts...

-What hurts?
-It hurts.

-OK, yeah, just stay calm.
-It hurts. You need to...

-Alright, what's wrong?
-help me.

-Yep. Just stay calm.
-You really need to help me.

-Hey, hey.
-Get it out.

-[ALL TALK AT ONCE]
-RAY: Get it out!

-Ray!
-You need to get it out of me!

You need to get it out...

[ANTON GRUNTS]

[SPITS]

[SPITS]

[MUTTERS]

[SNIFFS]

[INTRIGUING MUSIC]

[SCRAPING]

[FOOTSTEPS APPROACH]

It's not the battery,
it's not the fuel line.

-So what is it?
-ANTON: I don't know.

It could be anything.

It'll take me a while
to work it out.

GARY: f*ck that. Is there
any way we could just walk?

Like, we get all the water
we can and we just go.

Yeah, we just go and walk?
Walk?! Walk for 300km?

GARY: I know for a fact
there's an old mining station

about 60km south of here.

It might have,
I don't know, radios

or vehicles or something,
like, 60 kays...

Gary, listen to me.
It will k*ll you. You will die.

Do you understand how f*cking
dangerous this situation is?

PAUL: There's no danger.

We're fine. We've got
a man who's exhausted.

We'll deal with it
in the morning.

Someone needs to
stay up with him.

Ah. I'll do it.

-You need sleep.
-We all need sleep.

PAUL: Alright. We alright?

[UNSETTLING MUSIC]

[ENIGMATIC SYNTH MUSIC]

[DISTURBING MUSIC]

[DISTURBING MUSIC INTENSIFIES]

[DISTANT WHIRRING]

Where's Tolliver?

-Ray?
-ANTON: Huh?

Ray!

[ANTON GRUNTS]

[ANTON AND KATE GRUNT
WITH EXERTION]

Hey! Hey!

Hey!

They took him.

It was a Parrish chopper.

You were supposed to
stay up with him.

OK, OK, they're coming back
for us. They must be.

Maybe they couldn't get a plane

so they're choppering us out
one by one.

ANTON: How did they know
that Tolliver was sick?

It's two days to Christmas, alright?

We've got radio calls
with our families scheduled.

When we miss those, they'll
contact the police in Barrawin.

Someone will come.

Have faith.
We just need to stay calm.

[CHOIR SINGS] ♪ Ding dong,
merrily on high

♪ In heav'n the bells
are ringing

♪ Ding dong, verily the sky

♪ Is riv'n with angel singing

♪ Gloria

♪ Hosanna in excelsis

♪ Gloria... ♪

[UNSETTLING MUSIC]

[FADES] ♪ Hosanna
in excelsis... ♪

[GRUNTS]

[UNSETTLING MUSIC CONTINUES]

[GRUNTS]

[MUTTERS IN RUSSIAN]

-[STARTER MOTOR LABOURS]
-[ANTON GRUNTS]

-[MOTOR STOPS]
-Oh!

[GARY GRUNTS]

[UNSETTLING MUSIC]

[ANTON SIGHS AND GRUNTS]

[GARY GRUNTS]

[MOTOR STARTS AND STOPS]

[MUTTERS IN RUSSIAN]

f*ck you!

[YELLS IN RUSSIAN]

Whew. [BREATHES HEAVILY]

[KNOCK AT DOOR]

Come in.

It must be the starter motor.

I've tried everything else.

-If it's not...
-KATE: So...

can we fix it?

Maybe we can pull it apart,

clean it out, then try.

Well, that's what we do.

Paul, what the hell
are we gonna do?

-They're coming back for us.
-SIMON: They're not!

We need to leave.

PAUL: What we need
is to keep working.

These are the reports
from Tolliver's last shift.

PAUL: Uh-huh.

What's this?

Some sort of spike.

Have you seen it? It's enormous.

Weird.

PAUL: Maybe he recorded it.

SIMON: Maybe.

[SWITCHES CLICK]

[TAPE WHIRRS]

[STATIC PULSES]

[ENIGMATIC SOUNDSCAPE]

[UNEARTHLY MOANING]

[UNEARTHLY MOANING]

[UNEARTHLY GROWLING]

-[STATIC INTENSIFIES]
-[ENIGMATIC SOUNDSCAPE]

[STATIC DISTORTS]

[ANTON SIGHS]

There's so much sand and crap
in this thing.

This f*cking place.

Pass me that.

[OMINOUS PULSING]

[ANTON GRUNTS]

[STATIC HOWLS]

[UNEARTHLY SHRIEKING]

[UNEARTHLY SHRIEKING]

[INTENSE MUSIC]

[SACRED SONG]

[ROARS]

[GRUNTS]

[GRUNTS AND MUTTERS]

Arggh! You...

Oh!

[UNSETTLING MUSIC]

[GRUNTS AND MUTTERS IN RUSSIAN]

-The wrong f*cking wrench!
-Hey, hey, hey.

Ooh.

[GRUNTS AND BREATHES HEAVILY]

[GULPS NOISILY]

[PAUL MURMURS INDISTINCTLY
NEARBY]

[PAUL CONTINUES INDISTINCTLY]

[PAUL MURMURS INDISTINCTLY]

Of the whole world.

[FOOTSTEPS SHUFFLE]

Paul?

Paul!

We think we know
how to fix the jeep.

PAUL: Take it apart,
it becomes clearer.

Yeah, that's true.

Parts pretending to be whole,
that's all it is.

[SUSPENSEFUL MUSIC]

PAUL: It feels better
to see it clearly.

-Paul?
-As it is.

-[BONES CRUNCH]
-[ANTON GASPS]

-[KATE EXCLAIMS]
-[SACRED SONG]

[CALMLY] May I show you?

You have to see.
You have to understand.

Your... your room, now.

[DISTURBING MUSIC]

-GARY: Edgars!
-[DOOR SLAMS]

I'm done, man. I'm out!

We're done!

I'm done. I'm gone. I'm gone.

Where's Edgars?

[DISTURBING MUSIC]

[LOCKS DOOR]

The bed.
The bed, the bed, the bed.

[BOTH GRUNT]

[METAL THUDS]

[BOTH BREATHE HEAVILY]

[LOUD THUD]

[DOOR RATTLES]

[SUSPENSEFUL MUSIC]

[DOOR RATTLES]

[PAUL INTONES INDISTINCTLY]

-[LOUD THUD]
-[KATE SHRIEKS]

[PAUL YELLS
AND POUNDS ON THE DOOR]

[PAUL YELLS]

[INTENSE MUSIC]

[BREATHES HEAVILY]

[STATIC DISTORTS]

[SACRED SONG ECHOES]

[CLOTHES HOIST CREAKS]

[CROW CAWS IN DISTANCE]

[DISTANT THUD]

What's he doing out there?

-Anton?
-He...

He's shut
the air conditioning off.

We're getting out of here.

[SPEAKS RUSSIAN]

Frying pans and fires,
Katyushka.

[GRUNTS] OK.

Will this work?

[ANTON GASPS]

Anton.

Anton?

ANTON: Uh...

I-I need my pills.

-Where are they?
-[CHUCKLES]

-In the... in the kitchen.
-[KATE CHUCKLES BLEAKLY]

[UNEASY MUSIC]

[KATE WHISPERS] No, no.

[HIGH-PITCHED TONE]

[DISTURBING MUSIC]

[SACRED SONG]

Run!

[INTENSE MUSIC]

[ANTON BREATHES HEAVILY]

-Arggh! God!
-[ANTON BREATHES HEAVILY]

KATE: Go, go, go, go, go!

[ANTON BREATHES HEAVILY]

[KATE GRUNTS]

-[KATE CRIES OUT IN PAIN]
-ANTON: Come on, get in!

Get in!

[KATE GROANS]

-Anton!
-Almost! Almost!

-Now!
-[KATE WHIMPERS]

[STARTER MOTOR LABOURS]

Oh!

[STARTER MOTOR LABOURS]

-[ENGINE RUNS]
-Ah!

Ahhh! [LAUGHS]

-[ENGINE REVS]
-[LAUGHS]

[ANTON LAUGHS]

[KATE LAUGHS]

-GARY: Ahhh!
-[ANTON GASPS]

[KATE SCREAMS]

-[ELECTRICAL BUZZING]
-[KATE SCREAMS]

-[KATE WHIMPERS]
-ANTON: Gary. Gary.

-You need to help me.
-ANTON: Gary...

-Gary.
-GARY: You have to see.

-Look. Look.
-ANTON: Gary.

Oh, Jesus!

Gary, what are you doing?

Don't leave me with this!

-Don't leave me with this.
-What are you doing?

Gary.

[GARY SOBS]

You... [LAUGHS]

You have to hear.

You have to hear this.
You have to hear this.

-[KATE WHIMPERS]
-I can't be here!

I can't! I can't!

-[KATE GASPS]
-[GARY GURGLES]

[HORRIFYING MUSIC]

[LAUGHS]

-[KATE GASPS]
-[BODY THUDS]

[GARY GURGLES]

-[KATE WHIMPERS]
-[GARY GURGLES]

Ohhh!

[KATE WHIMPERS]

-What the...
-ANTON: L-listen.

He said there's a...
a mining camp to the south.

Can you walk?

No.

OK, go find a place to hide.

-No.
-I'll go and look for help.

Wait! Here.

No, no, no, no, please, please!

-You'll be alright, yes.
-Please, no.

-Yes. Take it!
-Please! [WHIMPERS]

ANTON: I'll be back.

I'll be back!

[KATE SOBS]

[INTENSE MUSIC]

Oh, my God!

[CRIES AND GROANS]

[GROANS]

[INTENSE MUSIC]

[MUSIC FADES]

-[INSECTS CHIRP]
-[ANTON BREATHES HEAVILY]

[UNSETTLING MUSIC]

[GROANS]

[GROANS]

[ANTON GRUNTS]

[ELECTRICAL PULSING]

PAUL: I know why now.

Why it was built.

[SWITCH CLICKS]

Why we're here.

Genesis -
"Come, let us build a city"

"with a tower that reaches
for the heavens..."

"That we make a name
for ourselves."

[HIGH-PITCHED TONES]

You'll see.

You'll hear.

And once you've heard...

[UNEARTHLY VOCALISATIONS]

[SOFTLY] It is in me.

[UNEARTHLY SIGHING]

[SACRED SONG]

It is in me.

Do you understand?
I can feel it.

For that is the sacrifice
to see God.

[UNSETTLING MUSIC]

To know God.

[SACRED SONG]

Judges 13:22.

"'We must surely die, '"

"said Manoah to his wife,"

"'for we have seen GOD!'"

[TERRIFYING MUSIC]

[KATE GRUNTS REPEATEDLY]

-[SACRED SONG]
-[KATE GRUNTS]

-[SACRED SONG CONTINUES]
-[STATIC THRUMS]

[INTENSE MUSIC]

[MUSIC FADES]

[DISORIENTING SOUNDSCAPE]

[KATE CRIES OUT]

[MILLIE CHOKES]

[FRIGHTENING MUSIC]

[KATE BREATHES HEAVILY]

[LAUGHS] I'm sorry.

[MILLIE CHOKES]

[KATE LAUGHS] Do you understand?

I'm gonna live.

[BREATHES HEAVILY]

[CRIES OUT]

I didn't want any of this.

Sorry. I'm sorry.

[WHIMPERS AND CHOKES]

[WHIMPERS AND CHOKES]

Ready to go home, sweetie?

-Mm-hm.
-[ALARM BEEPS]

ANNOUNCEMENT: Code orange.
All trauma staff to room 301.

What... what's going on?

Dad, stay with her.

This is a code orange.

MAN: Let's clear the hallways,
ladies and gentlemen.

-It's a code orange.
-[ALARM BEEPS]

MAN: Out of the way, everybody.
This is an emergency.

It's a code orange.
Clear the hallways.

-Excuse me, coming through.
-MAN: Yep, Michelle, let's go.

Yeah, let's keep moving.

[GEORGIA GASPS]

[MILLIE CHOKES]

[BUTTONS BEEP]

ELLE: Uh-huh, she's missing.

My boss. Detective Inspector
Millie Farah.

Yes, that one.

She went for a smoke outside
the Fox and Lion pub.

Copier's busted.

You need a code.

No, listen,
she hasn't gone home.

We've checked.

I need a f*ck' what?

We need as many units
as you can manage.

Did you know about this?

Photocopiers need codes now.

I do appreciate
it's a difficult time of year,

but can you just send some
uniforms to do a canvass?

Better than nothing. Thanks.

-We need to circulate this.
-She'll be older.

Oh, that's very astute of you.
It's a reference.

Just, OK, listen, cool it on the
Kate Reynolds stuff for a sec.

Why?

ELLE: Because it's slim.

It's a hunch.

And because I'm trying to get
people to take this seriously,

and claiming
that Millie's been taken

by a woman everyone knows
is dead is not gonna help.

Kate Reynolds is alive.

With the utmost of respect

to both of
your disgraced careers,

you were institutionalised
and you should be.

There's no evidence
that she's dead.

Just because you can't prove
that someone is dead

doesn't make them alive.

[ELLE SIGHS]

[ELLE SIGHS]

Hey, you can't f*cking smoke
in here!

-GEORGIA: Oh, my God.
-MAN: This just came through.

ELLE: Thanks.

I'm gonna look at
the CCTV footage.

God. It's like babysitting
enormous toddlers.

[FOOTSTEPS APPROACH]

You OK, sweetie?

-Where have you been?
-How is she?

She's in theatre.
We haven't heard anything yet.

Listen,
I need to tell you something.

In 1950, there was
a ritual m*rder-suicide.

CHARLIE: Uh, it's... not pretty.

We'll know more soon.

Right now,
we've got all resources

out looking for Kate Reynolds.

She's covered in blood.
She's alone.

So, you know,
we'll... uh, we'll find her.

I just wanna know
how the f*ck this happened.

Reynolds had help.

This isn't one person,
this is a group.

-What are you talking about?
-This is a occult group.

In 1950, there was a woman
named Harriet Clay,

a ritual m*rder-suicide.

It was the same thing
as out at Parrish Station.

The piles of stone.

-'The Bone Gospel'.
-'The Bone Gospel'?!

I don't know what the connection
is, but there will be one.

[CHARLIE YELLS] f*ck' hell!

Farah might die.
Do you understand that?!

The kid might die and you're
still on about this sh*t.

And she's been slit
from ear to ear

by the woman you were so sure

was just a victim
of circumstance.

And only you could see that, right?

'Cause everyone else around you,
all of us, we were too stupid.

Is that right?

Oh, the f*ck' arrogance
on you.

-If you want to find her...
-What I want!

I want you gone.

Tony?

I want you gone.

Alright, you take Frankie

and f*ck off.

[FOOTSTEPS RECEDE]

TONY: Come on, love. Come on.

So she takes the podcaster

because he's spouting
all this sh*t about her.

ELLE: Bit of an overreaction,
don't you think?

He spouts sh*t about you
on that podcast.

Do you see yourself gutting him
for that?

No, but I'm not insane.

Nine out of 10 doctors disagree.

But why Finch and Wallace?

I mean, why does she take
a uni student

and a 50-year-old con man?

It's not her.

Maybe there's some connection
from her new life.

She's gotta be doing something
the last 37 years, right?

GEORGIA: Yeah.

Oh. You're over here now.

Nice.

Ooh. Wait there.

-Just rewind that.
-[MOUSE CLICKS]

-Stop.
-[MOUSE CLICKS]

That van.

You think Reynolds
could have been using a van

to move those people round?

The time's correct.

What's that on the side
of the van?

[UNSETTLING MUSIC]

That's a street kitchen van
from the church.

I've been in it.

I know who Kate Reynolds became.

[SUSPENSEFUL MUSIC]

[SUSPENSEFUL MUSIC CONTINUES]

[FOOTSTEPS APPROACH]

TONY: She's just gonna read
one last chapter, love,

but she's nearly down.

Hey, I thought I might, uh,
pop over to June's tonight.

I don't have to if you need help
with Frank or company...

It's fine, go.

Alright, well, just make sure
you get some rest, eh?

-Yeah.
-Yeah?

'Cause you're looking
pretty wrecked, love.

Hey, what Lockwood said
at the hospital, I mean...

-Dad. Dad!
-He was angry.

I'm fine.

Yeah, righto, OK.

[WHISPERS] Love you.

[DOOR OPENS]

GEORGIA: Hey.

I'm sorry, Mum.

Baby, what are you sorry about?

Hey, you know that nothing
that happened today -

absolutely nothing of that -

was your fault.

I spoke to her.

You spoke to who?

The lady in the hospital.

The lady...
The lady that hurt Millie?

[UNSETTLING MUSIC]

Frankie?

-Was it that lady?
-I'm sorry.

No, no, no, it's OK,
you're not in trouble, but...

Hey, this is important.

What did you speak about?

Frankie, what did you
speak about?

FRANKIE: She said she was
going to be OK.

Why was she gonna be OK?

'Cause it... he was going to
make her OK.

He was going to fix her.
She just had to get it out.

Who was gonna fix her?

The man with the special book.

[SUSPENSEFUL MUSIC]

Where are we going?

Are we going to see the lady?

I don't want to see the lady.

She's wrong.

Yeah, why is that, poss?

[ENGINE STOPS]

[HANDBRAKE ENGAGES]

[KEYS JANGLE]

You're gonna stay in the car,
OK?

Promise me.

OK, I've got 11:29
and 34, 35, 36.

You got that? OK.

[CAR DOOR THUDS]

[UNSETTLING MUSIC]

[DOORBELL CHIMES]

[KNOCKS]

[UNSETTLING MUSIC]

[INDISTINCT VOICES IN DISTANCE]

[WOMAN WAILS]

[MAN INTONES]

-[OTHERS JOIN IN CHANT]
-[WOMAN SOBS]

-[CHANT CONTINUES]
-[WOMAN WAILS]

-[CHANT CONTINUES]
-[WOMAN WAILS]

[KATE WAILS]

-[CHANT CONTINUES]
-[KATE WAILS]

Let her go!

[CHANT CONTINUES]

Let her go!

KATE: k*ll me!

[SOBS] You have to k*ll me!

-[KATE WAILS]
-Let her go!

[CHANT CONTINUES]

-[KATE SCREAMS]
-[CHANT CONTINUES]

-[g*nsh*t]
-[CHANTS STOP]

[KATE WAILS]

[KATE SCREAMS]

[CALLUM INTONES]

Go home, Cooke.

This is not for you.

Go home.

Arggh!

[FIRES TWO SHOTS]

[CALLUM GROANS]

[KATE WAILS]

FRANKIE: Mum?

[GEORGIA GASPS]

[DISTURBING MUSIC]

-Ugh!
-Mum!

Get the child!

Bring me the child!

[DISTURBING MUSIC]

[ANTON GASPS AND GROANS]

[CHOKES]

[GRUNTS]

[GRUNTS]

[GASPS]

[UNSETTLING MUSIC]

[COUGHS WEAKLY]

[DISTURBING MUSIC]

[GRUNTS]

Arggh!

[CRIES OUT]

[MILLIE WHEEZES AND GROANS]

[GROANS]

[YELLS]

[MILLIE'S YELL ECHOES]

[ENIGMATIC MUSIC]

[UNSETTLING MUSIC]

[DISTURBING MUSIC]