Original subtitles

GIRL: The ancient Celts believed

that Osea was the soul of the world.

- (DISTANTLY) Dad! - Things are out of balance.

Bad things have happened.

♪ (SUSPENSEFUL MUSIC PLAYS) ♪

HELEN: Nine months ago, Sam walked out the door.

He took our cash.

- He got involved in all kinds of crazy, illegal stuff. - No, no, no!

What makes you think he might be here?

Sam was near here that day. Osea Island.

MR. MARTIN: He was with another woman.

- This baby is so special. - (SCREAMS)

So, will Jason be pleased he has a daughter?

The father's name is Sam.

He's here?

JESS: Oh yeah, he's in the big house.

Would you mind getting him for me?

Where's the big house?

GIRL 2: Stay here and make sure she's okay.

If there's any problems, call Mom.

I'm gonna need you to sit down now.

♪ (MUSIC CONCLUDES) ♪

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♪ ♪

(jetty rattling)

Sam?

What are you doing here?

Where've you been?

There.

Why didn't you come home?!

Y-you just...

You didn't come home, Sam! Why didn't you come home?

- He's here, Cas. - Who's here?

Nathan.

- Our son, he's here. - Don't, Sam.

- Don't do this, alright? - No, I know how it sounds.

He's alive.

He's been here this whole time.

Nathan's dead, Sam.

No.

No.

They took him.

The people here, they took him.

- Why would they do that? - Because he's my son.

My grandfather was born on Osea. I didn't know.

I'm the direct descendant of the man who built this place.

They needed Nathan because he is, too,

but now they have me.

I'm the Father.

The leader of Osea.

You're saying they took our son?

I understand why now.

This place...

Cas...

This place is incredible.

And he's here?

On the island?

Mrs. Martin: Oh.

Fuckin' shit.

(birds chirping)

(sighs)

I told you not to let him outside.

I'm not his fucking nanny!

Have you sobered up yet?

- Are you actually gonna be any use this day? - (Janny sighs)

Listen.

Things are happening quickly.

Jess has given birth to a girl.

A girl?

Mrs. Martin: That child is now a direct challenge

- to your authority... - He said you took my son.

- Now is not a good time. - Where is he?

Where's Nathan?

- Sam: He's in there. - (Mrs. Martin sighs)

- I'll show you to him. - Please, Sam...

She has to see him.

Mrs. Martin: Oh Christ.

♪ ♪

(door creaks, shuts)

Come.

(sighs)

Come on.

(door opens)

(intense music playing)

♪ ♪

(pencil scratching)

- Sam: Nathan. - (stops drawing)

Do you know who this is?

Yeah. It's my mom.

Have you come here to see me?

♪ ♪

Yeah.

Yes, I'm here to see you.

Nathan: You look older.

I am older.

Who looks after you?

- And before that? - Lots of people.

What? People from here, from the island?

Nathan: A-are you disappointed?

No.

No, not at all.

It's very good to see you.

I've been doing pictures. Do you want to see?

Yeah, I would. I really would.

Nathan: What do you think?

♪ ♪

Helen: I think they're so good.

Nathan: Are you going to stay?

Well, we need to talk first.

Jesus Christ...

Jesus.

- (sighs) - (door shuts)

Sam: You see?

- Cas? Do you see? - (gasps) What...

What is wrong with you?

What the fuck is wrong with you, you fucking...

Sam: Cas...

That is not our son!

What? No, that's Nathan.

That is not Nathan, Sam!

That is... What the f...

That's another boy altogether!

How can you tell me that boy is our son?

It is, Cas.

- It is. - Nathan...

was taken 10 years ago.

He was 6. He would be 16 now.

How is that boy our son, Sam? He's the wrong fucking age!

Jesus Christ, he's not even the right color!

How can you tell me that boy is our son?

Have you been here the whole time?

- Here with that child? - Sam: No.

You have to understand that this place is not like...

It's special.

-It's special. Things happen here. -Oh, do they?

Things that bend the laws of time and fucking space?

Like a child not aging,

like his skin color changing, like his eye...

No, his hair. What about his hair?

What?

- His hair? - You saw those drawings. I know...

- His fucking hair? - I know this sounds crazy.

But I've spent time with him,

and that is our son.

(sighs) You know,

when this used to happen, I used to feel sympathy.

I used to think, "His pain.

Look at his pain."

When you accused the police of a cover-up,

when you swore Nathan was alive

and picked up on any crackpot theories

from those stupid fucking crank letters.

When you attacked that guy!

That poor Roma man who had nothing to do with anything,

even when you accused

my dad, I defended you.

I would say, "Look at his pain."

But you know what, Sam?

This isn't about pain,

or grief, or even Nathan.

It's about you.

It's about your guilt.

It's about you wanting to exonerate yourself

- from what you did. - What?

What did I do?

You lost my son.

He...

♪ ♪

- He went missing, Cas. - No.

You lost him!

You were on the phone for

23 minutes and 17 seconds, they said.

For 23 minutes and 17 seconds,

you forgot our 6-year-old son was there!

And why?

Because you were talking to one of your flings!

I... no. Cas, I told you.

- I was breaking it off. - What did you just say?

- What, you think that's what I care about? - I messed up.

I want... I want you.

Our kids.

I want us to be a family.

No... (mouthing)

We're not a family!

We're three people and a fucking parasite!

I want you gone.

I want you out of our lives, you poison!

The only reason we're still married is 'cause you won't sign

the fucking papers!

Then why... Then why are you here?

I'm here for the money, Sam!

The money you took to bribe that man and then ran off with!

You took loans out on the business,

I couldn't repay them.

Your stupid scheme to expand

when all I wanted to do was sell and get the fuck out!

Well now we're gonna lose our home

because you took money we didn't have.

That's my girls' future.

That's why I'm here.

I want the money, Sam.

Just that.

Cas, I still love you.

♪ ♪

(mouthing)

(mumbling)

(sighs)

(waves washing ashore)

(door creaks)

- It's a girl? - Yes.

(baby fussing)

She's going to lead us.

Her name is Epona.

(sighs)

Things are going to be different now.

So, so different.

♪ ♪

I need your help, Jason.

Osea can only have one leader.

She won't be safe until we make sure of things.

Close the causeway.

No one leaves Osea.

- (birds squawking) - (waves washing ashore)

Ellie: Why did you show me inside?

Kail: Didn't you like it?

Ellie: No, I did.

This whole place is just...

I just...

feel good here.

It's because you get it, Ellie.

You can see how much it matters.

That woman, the one with the baby...

she's my mom.

She's forgotten we exist.

(wind blowing)

(quietly): I sent the email.

- What email? - To your mother,

telling her your dad's here.

Mom changed when he came.

You should take him away.

I think if you take him away, she'll go back

to the way she was.

♪ ♪

My dad... is here?

She didn't tell you that?

(footsteps)

It's starting.

You need to come with me.

Come on.

(bird chirping)

(panting)

- (car approaching) - Mom?

(car stops)

Man: Hurry up, Tomo!

♪ ♪

- Mom? - (car door opens)

(car door shuts)

(lighter clicking)

(wind blowing)

- (explosions) - Margaret: Christ.

- (gasps) - (explosions continue)

(flames crackling)

- Tell him, Alan. - Alan: Listen, you have a word with Jess,

and you tell her we're no bother.

'Cause, honest, we ain't! We're no bother.

Will you do that, please?

Just let me and Mom go back home.

Margaret: Yeah, we're going home.

Yeah, we can do that. Alright?

- (knife squelches) - (gasps)

Tomo: Jesus Christ, Dan.

(gasping)

Dan: Cunt's always looked down on me.

- Tomo: Well... - Margaret: No!

- Tomo: It's started now. - (crying)

What've you done? What've you done?

- (thud) - (gasps)

♪ ♪

(panting)

(panting)

- (panting) - (door creaking)

Mom? Where are you?

(sighs)

(knife slices)

♪ ♪

(panting)

(continues panting)

(knife clicking)

Jess: Larry says you're very special.

- (baby fussing) - Kail did as well.

They believe in you.

I think I do, too.

Do you wanna hold her?

(baby fussing)

She's beautiful.

Jess: Hm.

- She's your sister, Ellie. - (gasps)

♪ ♪

Your mother hasn't been honest with you.

Try not to be too hard on her.

Everything she's been through, it's...

confusing.

Where's Talulah?

Lu's fine. She's at my house.

Would you like to see her?

Okay. It's no problem.

Do you mind if we find your mom first?

I just wanna talk to her about everything.

About your dad.

Can I see him?

Yes. God, I want that.

I want us all to get in the same room and talk this out.

♪ ♪

Look, Ellie,

you felt the tension here on this island, yes.

Well, that's all down to something

between me and your dad.

You see, they made him leader

of this island, but it has not worked out.

Not at all.

God knows he never wanted it.

I just wanna tell him

it's okay to give it all up

and just...

Go home? With us?

Well, would you like that?

Jess: Oh.

It's okay.

It's okay.

I need your help, Ellie.

Osea matters so much.

♪ ♪

The things that happen here,

they impact the whole world. I swear to God,

I've seen it with my own eyes.

But this island,

it's become sick.

I wanna save it.

And I wanna save your dad.

Save him from what?

I wanna save him from the darkness inside himself.

(shallow breathing)

(door opens)

- (gasps) - (footsteps)

(clicking noises)

(items being put on bed)

(footsteps)

♪ ♪

(grunts)

(gasps)

(quiet chatter)

(footsteps)

(knife slices)

(chatter continues)

(door creaks open)

(panting)

♪ ♪

Mrs. Martin: It wasn't like we just told him

that that boy was his son. He...

he was in a state and he jumped to conclusions.

Which you let him believe.

We told him the truth.

At first.

At first.

Me and my husband sat him down and we told him

exactly what happened.

But he didn't wanna believe.

We just let him believe what he wanted to.

Who is that boy in there?

(sighs) Sam's great uncle

was Father here before Sam.

A few years back, he...

fathered a child with a girl who was

barely old enough not to be called one herself,

so that boy is...

- Sam's blood. - But not his son.

Say that, and you will wreck him.

Why does he think you took Nathan?

Because we did.

(sighs)

The boy you buried was Jason's son.

We...

took his life...

to make you think that your lad was gone.

See, Mimir was the coroner and he needed a body.

We did these things, these, these...

these terrible things so that...

- Osea could have a father... - You...

You took my son?

Yes, we did.

W-we, um,

we asked someone else to do it.

The man's name was... was Goltan.

He-he-he was only supposed to...

take him and hide out on the mainland for a few weeks...

wait till everything had calmed down.

When we got there...

What?

What when you got there?

Your son was dead.

♪ ♪

(sighs) We think he...

he tried to escape,

and Goltan panicked.

And he just sat there for days

with your son's body,

weeping. (sniffles)

That's when we knew.

We knew that Goltan had cursed us.

Where's Nathan's body?

I'm telling you all this

because I wanna be right with you...

but don't take Sam, please.

- He needs to stay... - What did you do

with my son's body?

We...

We laid him in the sea out there

near the causeway.

♪ ♪

You...

You... (inhales)

You dumped my son in the sea?

(door opens)

Right, we gotta go. We gotta get somewhere safe.

Especially him. They're coming here now.

We've gotta get to the old marquee.

Come on! The others are waiting for us. Now!

- We gotta go. Come on! Up you get. - (soft crying)

That's it. Come on. Come on.

- Cowboy: Did you get to the village, Janny? - Janny: No.

They blocked the roads.

Cowboy: What? They blocked the roads?

Janny: I was followed here, I think. There were men behind me.

- I think one of them had a gun on him. - Mr. Martin: A gun?

You sure they have a gun?

Of course, I'm not sure. I was fucking running!

I told you. We need to leave.

- No one is leaving this house. - Cowboy: She wants Sam.

She's seizing power and it ain't pretty.

- We're not safe here. - Mr. Martin: Love,

she has a child that was conceived here.

Born in water and pain, a girl.

She's changing everything. We have to run.

No one is leaving this house.

♪ ♪

When are you gonna do something?

You just sit there, doing nothing with that boy,

while the island rots! She is tearing Osea apart!

Helen: Jess?

You're talking about Jess?

She just had a baby. I've just come from her.

She's no danger to anyone.

She very much is, dear.

Right. That's it, that's enough.

I'm calling the police.

Cowboy: They pulled the cell mast down. There's no signal on Osea.

They've cut the phone lines. All of them.

(dialing)

And your car now sits burned out, blocking the causeway.

(hangs up)

My-my daughters are with her.

What?

Ellie and Lu are here?

What, you brought the girls here?

(loud banging)

(tense music playing)

♪ ♪

Get ready to fuckin' run.

- (loud bang) - No one leaves this place.

I'll talk to them. You're right, love.

This place matters.

I'll talk. It'll be fine.

- What are you gonna say? - Well, I don't know.

I'll improvise.

Well, don't fuck this up, shithead.

(chuckles)

(sighs)

(door opens)

- Alright. - (wind blowing)

We're ready...

(gasps) Oh my God.

- Cowboy: Go. Run! - (footsteps)

♪ ♪

(panting)

(grunting)

(squelch)

(gasps)

(panting)

(gasping)

(grunts)

- (blade squelches) - (gasps)

(sighs)

Cowboy: Let's go!

(dramatic music playing)

♪ ♪

- Nathan: Dad? - We have to go.

Hurry!

(fire crackling)

(panting)

Stop! We need to stop!

(panting)

Cowboy: You're alright, love. Keep breathing, okay.

(Mrs. Martin wailing)

(sobbing)

Sam. Sam, we need to get Ellie and Lu.

We need, what, um, uh, weapons...

No, Cas, we're not going back.

No, I know that, but we need to get our girls.

We need to go and get them.

- They're safe with Jess. - No, they're not!

They just killed that man! How can you say that?

'Cause I'm who she wants.

We need to get help.

♪ ♪

(fire crackling)

(indistinct chatter)

(car door opens)

Ellie: Is everything okay?

- Jess: Yeah. The house is empty. - (car door shuts)

I don't understand all this.

(Jess sighs)

This place, it just can't be open anymore.

You get that, right? I mean,

isn't this the one place where you felt belonging?

Here, you aren't the sister of a murdered boy,

the daughter of a man who ran away,

or a girl who did something crazy at school.

Here, you're just someone who

gets how much this place matters.

And we love that about you.

I'd love your mother to see that, too.

♪ ♪

My mom?

Oh God, Ellie, she is so lost.

She's so lost in her grief

that she cannot see you.

She sees Lu, yeah.

Lu doesn't remember Nathan.

Lu is a fresh start.

But with you...

She's like stone.

I mean, I'm not wrong, am I?

Hon, I was thinking...

And no, I'm not gonna ask you

to do anything you don't wanna do,

- but I'd love you to stay here for a while. - (baby fussing)

I think it'd be really good for you.

What about Dad and...

and Lu?

Oh, them, too. Of course.

And your mom as well.

Look, this little girl

makes us a part of the same family.

She bonds us.

I just need to speak to your mom first.

And I need you to help me to do that.

♪ ♪

(indistinct chatter)

(dies down)

(quiet murmuring)

They need you.

Jesus, is this all we have?

Cowboy: The rest have gone to Jess.

- (gunshot) - (gasps)

Larry: Go on, get in there, you squirrelly cunt!

(laughing)

♪ ♪

I'm here to deliver a message.

Jess says she wants to solve this

without any more violence.

- It is time to talk. - Mrs. Martin: If Jess wants to talk to us,

she can come in here herself.

No, no, no, not Jess.

Ellie.

She wants to talk to you.

Jess won't know where.

(wind blowing)

- (birds cawing) - (thunder rumbling)

(plastic rattling)

Ellie.

Oh my God. Ellie, Ellie, Ellie.

(heavy breathing, muttering)

(sighs)

- Hello, Els. - Ellie: Dad?

Where've you been?

Sam: I've been here, my love.

I'm sorry.

Got complicated, I couldn't...

(sighs)

So sorry, Ellie.

Helen: Where's Lu, baby?

- Where's Lu? - What?

- She's at Jess' house. - Have you seen her?

Is she okay?

No. No, I've not seen her.

We need to leave this place, Ellie.

We need to find your sister and go.

When were you gonna tell us he was here?

He's our dad.

You lied to us.

Helen: Uh, uh... wait a minute, Ellie.

- What else are you lying about? Why did you come to Osea? - I...

- I came to find, um... - What?

What did you come to find?

The money? That's what Jess said.

- Els, baby... - Is that true?

We could lose our home because of what he did.

So you don't even want him back?

You don't get this place, Mom.

It's so... (sighs)

It's so special.

- You can't even see that. - You're right, Ellie.

It is.

It is so special.

- Nathan's here. - Helen: Jesus Christ, Sam!

- Don't! - Your brother.

- Y... he's alive, Ellie. - Mom?

Your brother, he's alive.

- Nathan's here? - No, no, he's not. Don't!

Listen to me, baby. I know that you're in a difficult position

at the moment, and you're searching

for something, but this is not it.

- We can go and see him. - This is...

- No, we fucking can't, Sam! - We can go and see him.

He's dead! Jesus Christ, will you stop?!

Will you just... Nathan is not here!

This is all part of your insane,

operatic grief that's been

sucking the life out of this family for years!

This carcinogenic grief that's only...

Ellie: Well, at least he felt something.

♪ ♪

- Excuse me? - You never even mention his name!

You hate Dad for being over the top,

but you're the exact opposite!

You let out nothing, nothing!

(ragged breathing)

You've just been like...

stone.

Stone?

I was looking after you, Ellie.

I was looking after Lu. I was holding everything together.

Someone had to do that.

Someone had to...

I don't think we should go.

- Ellie, please... - I think this place can be good for us.

You don't know what's happening here.

You really don't know what's happening.

No.

You don't know what's happening.

♪ ♪

What have you done, Ellie?

Ellie: They're not gonna hurt you.

Jess said no one's gonna get hurt.

This place is incredible, Mom.

We have to stay.

(plastic crinkling)

(wind blowing)

(footsteps)

(dog barking)

♪ ♪

(bird chirping)

Jess: I want you all to say hello to someone special.

This is Epona.

One day, she's going to lead us.

She will be the Mother of Osea.

What happened here...

that's done. It had to happen.

I hope you see that.

This little girl...

is going to make Osea right.

And when Osea is right,

the world is right.

Till that day comes,

I'm going to take care of you.

I promise.

♪ ♪

You are all safe.

No matter whose side you took.

(clapping)

(applause)

(scattered cheering)

We're a community again, and I...

I want us to live happily together.

Okay.

(dog barking)

(scattered murmuring)

You know this doesn't apply to you, right?

Do it, cunt.

- (knife slices) - No...

♪ ♪

Ellie: No. No!

(baby fussing)

- Ellie: Don't! - (splash)

- (gurgling) - No, no, please!

- Please, no! Please! - I'll explain everything.

It's okay. It's okay, it's all over now.

- You are safe. You are totally safe. - (dripping)

- Jason, take her inside. - Ellie.

- Ellie. (sniffles) Ellie. - Helen: Ellie! Ellie!

(Helen gasps)

- Ellie! - Sam: If you hurt her...

Where's Lu? Can I see her?

Jess: I'm grateful for what you did.

I won't hurt you, or your girls.

But you can't leave. Not now.

Sam, you're this girl's father, but...

I don't care to see you or talk to you or be anywhere near you.

Just come out every so often, and...

comb your goddamn hair, okay?

♪ ♪

Put them in the Oyster for now. The Oyster's empty.

(heavy breathing)

(sighs)

Larry: If these walls could talk, eh?

Eh?

(door shuts)

- Sam: I'm sorry, Helen. - (sighs)

I'm sorry.

I was trying to help some...

girl.

She was Ellie's age.

That's why I came to this place.

Helen: (sighing) You know...

Ellie has so much of you in her.

If I could reach in and rip that out

with my bare hands,

I would.

(rustling)

- Lu? - Dad?

Talulah: I knew you'd come back. I knew you would.

♪ ♪

(crying)

Can we go home now? Can we go?

Yes, baby, we can. We can.

But, Lu... (panting)

I need you to untie me. Can you do that?

Talulah: Yeah. Yeah, I'll try.

(panting)

I can't. (grunts)

(knife slices)

But I've got a knife.

(dog barking)

(indistinct)

♪ ♪

(quietly): Okay, stay here.

Wait there.

- (sighs) - (knife clicking)

I'm not losing her.

I am not losing her as well, do you hear me?

- I can't. - You lost Nathan.

You did that.

♪ ♪

(gasps)

(sighs)

(Jason sighs)

- (glass clinking) - What do you want?

♪ ♪

- (knife stabs, Jason grunts) - (gasps)

The dark...

is here.

(gasps)

(knife clinking)

- (stabbing) - (grunting)

(gasps)

(chokes)

Oh!

- (stabbing) - (grunting, yelling)

- (stabbing) - (grunting)

- (stabbing) - (grunting)

(panting)

(panting)

♪ ♪

(gasps)

(heavy breathing)

Sam: I know what to do now.

Come on.

(heavy breathing)

(bird chirping)

(leaves rustling)

Okay.

(heavy breathing)

You hide behind there, alright?

And don't come out unless it's me.

Just me, yeah?

Go on.

- (panting) - (door opens)

(crickets chirping)

(chirping intensifies)

♪ ♪

(heavy breathing)

Sam: What are you doing with my son?

- What are you doing... - On the floor now.

(gasps)

Sam: Arms wide.

This is stupid.

- (gunshot) - Tomo: Oh, Jesus!

- Jesus Christ. - Helen: Sam, no! No!

(gunshot)

(panting)

♪ ♪

(plastic bag crinkling)

(heavy breathing)

(plastic bag crinkling)

Sam: This is what you came for.

(deep inhale)

Causeway opens at dawn.

Find somewhere to hide till then.

(plastic bag crinkling)

You're staying?

Why did you do it?

Why did you take this?

What if he'd come home?

Nathan.

What if he'd come home and we weren't there?

♪ ♪

(sighs)

I know you didn't mean it.

Mean what?

What you said that day.

I knew you always wanted me.

(gasps)

(heavy breathing)

♪ ♪

(door creaks, shuts)

(sighs)

(plastic bag crinkling)

(heavy breathing)

(all panting)

(waves washing ashore)

(panting)

- (sighs) - Talulah: What do we do?

Okay, so, uh, the tide's going out.

So, we just need to hide somewhere until then.

(crowd chatter)

Ellie: Mom.

(heavy breathing)

Okay, wait... wait here. Ellie?

Hold that.

(heavy breathing)

♪ ♪

(waves washing ashore)

(heavy breathing)

- (slices, gasps) - (air escaping)

(splashing)

(shivering)

(heavy breathing)

(crowd chatter)

(gasps)

- (cutting rope) - (gasping)

- (splashing) - Come on!

Come on, come on, come on!

Come on, girls!

- Alright. Get in, Talulah. - (Talulah whimpering)

- Get in. - Talulah: I'm scared!

I know, I know, darling, I know.

Can you be brave for me, darling?

- Talulah: Yeah. Yeah. - Okay.

- (whimpering) -Listen to me. If anything happens to me,

you shout for help, alright? You shout and you keep shouting

- until someone hears you. Do you understand me? - No, Mom, no.

- Ellie: No, Mom, it's too cold! - (panting)

♪ ♪

(chatter growing louder)

- (panting) - (unzipping)

Hold that, Ellie. Hold that.

Ellie: Mom, you'll freeze!

Talulah: Mom! (crying)

(panting)

(splashing)

(wheezing)

- (splashing) - Talulah: Mom!

(splashing)

(panting)

Mom! Is she gonna die?

(panting)

(gasps)

♪ ♪

(gasps)

(splashing)

- Talulah: Mom! - (gasping)

- Mom! - (gasping)

Mom! (shouting)

Boy: Mom!

(panting)

Mom!

(panting)

I'm cold!

(panting)

♪ ♪

Talulah: Mom!

Mom!

(panting)

(weak breathing)

(gasps)

(gasping)

(gasping)

(splashing)

(gravel crunching)

- (gasping) - Ellie: Mom.

- It's okay. It's okay. Come on. - (hyperventilating)

(indistinct muttering)

♪ ♪

- (panting) - (indistinct)

(opens door)

(panting)

- (hyperventilating) - Talulah: Is Mom gonna die?

- Ellie: No, she'll be fine. - (shivering)

Ellie: Get blankets.

(continues shivering)

- Go and get a pillow. - (hyperventilating)

It's okay. It's gonna be okay.

Okay, Lu.

Come on, lie down.

(shivering)

(shivering)

♪ ♪

(quiet breathing)

(shivering)

(hyperventilating)

(shivering continues)

(plastic bag crinkling)

(panting)

♪ ♪

(shivering)

♪ ♪

♪ ♪

♪ (MUSIC PLAYS) ♪

JUDE LAW: Looking back, I don't know that

I was attracted to playing the character

more than the people in the project,

because I love the whole crew.

From the top down, there were just such extraordinary people.

To me, it was all of that, it was all the pieces

that really made me want to be a part of it,

and looking back I realize why, because after the first week,

when I'd had a sort of breakdown,

I'd been in the freezing cold sea,

I'd been running through brambles,

and that was just the end of week one.

I suddenly thought, "What have I got myself involved in?" (LAUGHS)

DIRECTOR: And, action!

♪ (TENSE MUSIC PLAYS) ♪

DENNIS KELLY: It's been a really long

sort of gestation.

And it's partly because it's such a weird idea to do this.

It's such a difficult idea for people to get their heads round,

and it wasn't really until we started talking to Sky

and HBO, that we found partners that were just willing

to give it a go.

(MUFFLED SCREAM)

FELIX BARRETT: The Oseans have their own form of Christianity

and in fact it's called The Third Day,

because on the first day, God created the heavens.

On the second day, God created the Earth.

On the third day, God separated the land and the sea.

And so this particular form, where they believe that

there is a sort of Christ figure,

but he comes from the water.

Felix had this idea of, like, a stranger comes to town

sort of thought, you know.

So I began to think of this guy Sam, and the more I began

to think about him, the more there was something

that was going on in his past that he needed to resolve.

So that's sort of where it came from.

Looks like you're staying.

No, I can't stay.

You can't leave.

So always with The Third Day we knew that we wanted to have

two very distinct halves to the story.

So, we wanted to imbue that with

both the two different seasons.

So, summer is a very rich and vivid palette of color.

And it's got a real sort of bucolic, lucid, light,

and very sort of pervasive sense

of powerful summer feelings,

both kind of in the temperature, but also the crickets

in the soundtrack.

And down to the way that the camera moves, as well.

There's such a strong following of Sam's character

with... Jude Law's in nearly every frame of this piece,

which is really unusual.

And then for winter,

wonderful director Philippa Lowthorpe

created a very different aesthetic

but within the same world, you know,

so we used grays and blues and deep greens.

When I first read it, I was immediately engrossed,

intrigued, constantly surprised,

and I just loved this character of Helen.

Um, kind of loved Sam as well as really despised him,

and was just really intrigued about this amazing world

that was created.

And then, when I discovered that Osea actually exists as an island,

that blew my mind, and I was like, "I'm in."

ELLIE: Are we driving on that?

Yeah, it's a causeway.

It was built by the Romans.

See that island over there? Can you see it?

It's called Osea. Isn't it incredible?

We're gonna have so much fun, aren't we?

Yeah?

I think this is one of the hardest logistic operations

that I've ever filmed.

It was a huge, massive great, like, machine

trying to get us all on and off the island

across the causeway.

It was like an absolute military operation,

planned down to the last centimeter.

The causeway is open for four hours a day or something,

and, you know, when that's closed

then everything has to come in by boat.

PADDY CONSIDINE: When I read the script... (CHUCKLES)

...there was a part of me thinking,

"Y... you'd get off the island."

You know, you wouldn't be that stuck there, surely,

from Sam's point of view.

You'd find a way off there.

And when you actually stay on the island,

I started to feel that bit of, like, restriction

like, "I can't get out of here." (LAUGHS)

The whole thing has been the most challenging job I've ever done.

Hands down.

You know, when you start thinking

and delving in your heart and your soul,

the pits of grief that you must go through

when you lose not just someone you love

but your child,

it's not a very pleasant place to be

and I've been there for four months every day

and it's not been easy.

But there have been lots of days that have been joyful.

Working with this incredible cast,

trying to keep a straight face in front of the Martins

with Emily and Paddy who are just hilarious and brilliant,

without being over the top.

Jude is an acting machine.

I mean, he is working incredibly hard.

He's very precise, he's very focused,

he's really, really on top of the material,

full of ideas, very creative,

just a real actor's actor, you know,

and really a trooper.

I just found her. I... I didn't... I didn't know.

Come with me now, love.

Playing, was it? A little game?

(JESS SOBS)

Just messing, was it, love? A little game?

Shut up, you fucking idiot.

(SNICKERS)

We shot the scene where Sam and I are trying to get on to Tomo's boat,

and as the day wore on, the tide started to go out.

There was only like two inches of water,

so we were kind of in the muck pretending to swim,

and then pretending to reach up for the ladder

and hoist ourselves on,

and it was just so absurd.

I love those moments always.

The scenes where I have to get in the water,

it is absolutely bloody freezing.

I'm freezing not even anywhere near the water,

and I have to swim!

(CLOCK TICKING)

I haven't worked in television much

so it's a fascinating and strange experience

to make one show with two different directors.

FELIX: I think what's so great about it is that everyone knows

what we're trying to do with this is push form,

and they're both so open.

And slipping from one to another,

both with very particular approaches and styles.

But playing the same character has been really extraordinary,

and I think a lot of the actors have felt that,

a lot of the team, the crew, have felt that.

I honestly can say it's been amazing.

♪ (TENSE MUSIC PLAYS) ♪

♪ (MUSIC STOPS) ♪

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