THE BLACK PHONE

US, 2022, 103 minutes, Colour.

Mason Thames, Madaleine McGraw, Ethan Hawke, Jeremy Davies, E.Roger Mitchell, James Ransone, Miguel Cazarez Mora.

Directed by Scott Derrickson.

There is an ugly masked face in the promotion for The Black Phone. It looks like a horror film. But, it is more of a terror film than a horror film. Horror as we understand it today suggests blood and gore, impossible, beyond this world situations. Terror, on the other hand, has situations that we can identify with, not such an emphasis on physical violence (though there can be some of that as here) but, rather, on the psychological.

Director, Scott Derrickson has made a number of interesting films over the decades, sometimes with religious implications (he studied theology at University): Exorcism of Emily Rose, the remake of The Day the Earth Stood Still, Sinister and the exorcism film, Deliver us from Evil. The setting for this film is Denver, 1978, focusing on a 12-year-old boy (which was where Derrickson himself was at that time). So, this is principally a story about children, seeing them play baseball, game rivalries, school classes, bullying, harsh lives at home. And, several of the children have been abducted and have disappeared, the villain nicknamed by the media The Grabber.

The focus here is on a young boy, Finney (Mason Thames), not yet able to stand up for himself against the bullies or the brutal treatment at home by his father (Jeremy Davies). However, he is strongly supported by his younger sister, Gwen (strong screen presence by Madaleine McGraw). But here is where something mysterious happens. While Gwen prays to Jesus for the children to be found (and when she is upset with Jesus she gives him quite a crass tongue lashing), she also has dreams about the children, about the abduction, visionary and fearful dreams. The police interrogate Gwen to her father’s anger.

And then Finney is abducted and, at last we see The Grabber, mainly with his monstrous mask, an ogre, and confining Finney to a harsh basement, a mattress, a toilet, little food… So, the audience has to share in his terror, a 12-year-old trying to deal with The Grabber (played by Ethan Hawke, a character with no redeemable qualities, completed evil).

And the black phone? It is in the basement, disconnected, but rings, some crackling, some silence, some voices – the voices of the children previously abducted, communicating with Finney, making suggestions to help him escape, and the film using the device of them appearing visually on screen though unseen by Finney. Which adds, of course, to the eerie atmosphere.

Gwen continues to dream, alerts the police, and the possibilities for saving Finney. But Finney has learnt from his ghostly visitors, especially a boy who had saved him from the bullies in the past, who urges Finney to stand up for himself against The Grabber.

The eerie thing about terror of films is that we can identify more readily with the victims than we do in horror films.

1. Terror film rather than a horror film? The villain is immortal? The touches of the supernatural, Gwen and her prayer, the dreams and visions, the ghostly apparitions in the basement, the ghosts appearing on the street to identify the house?
2. Denver, the suburbs, homes, school, laboratories, streets, the sinister house, the basement? Police precincts? The musical score? 1978?
3. The focus on the young characters, the opening, games, school, bullying, classes and experiments? Finney in this context, his age, name calling, being bashed? The sequence in the toilet, Robin and his bashing the boy mercilessly, coming to Finney’s rescue, urging him to stand up for himself? Finney at home, his father, gruff, cruel, memories of the mother, her dreams, Gwen and her dreams, her father beating her?
4. Gwen, supporting Finney, tough-minded, standing up for herself, the range of dreams, visualised, indicating The Grabber? The police coming to the school, interrogation, her father being upset?
5. Finney, the baseball game, his pitching, the batsman, congratulating him, and his being abducted? The black van, the further abductions and disappearances?
6. The police, investigations, interrogations, Gwen? The father?
7. Finney, his being abducted, the basement, bare, the grille and the sun shining in, the mattress, the toilet, the mats? His attempt to get to the grille, later success? Lack of food?
8. The Grabber, his personality, wearing the mask, without the mask, a grotesque monster, ogre? The screenplay not really giving indications for his motivation? His brother in the house, the drugs? Killing the children, burying them? Delaying with Finney, wanting to watch him, sitting on the steps, leaving the door open, Finney going upstairs, the Grabber and his threats?
9. The phone, central, disconnected, yet ringing, the noise, the voices, the past victims, unable to identify themselves, giving various hints and clues to Finney? His acting on them, digging the wall, the room the floor, the code for the lock? The device of having the children appear, yet Finney not seeing them, Robin as the last victim, encouraging Finney to stand up for himself, with the phone, training him to pivot on his feet and use the phone?
10. The buildup to the finale, the confrontation with The Grabber, the phone, Max coming down, The Grabber killing him with the axe? Finney and his standing up for himself, the attack, The Grabber’s death, Finney’s escape?
11. In the meantime, Gwen and her vivid dream, the code number with a scene in the diner? Advising the police, going to the house, the search, the basement, the graves? The opposite house and The Grabber?
12. Finney returning to school, the bullies subdued, the young girl wanted to sit next to him, his sense of asserting himself? The father asking forgiveness of Finney and Gwen?

Vocations promotions in Sydney – our MSC students

Our MSC students are back after their study break from the Yarra Theological Union. They went to Sydney and spent time on Vocations Promotion in some parishes with Frank Dineen.

Here are some photos of Trieu, Daniel and Hoa (who took many of the photos) and Chung in action.

Chatswood

St Patrick’s Blacktown, Sudanese Community

Dee Why Filipino community

Francis and Canada’s First Nation peoples. Contrition, Confession, Reconciliation, Atonement… and a reminder to the Australian Church and preparation for the referendum.

One picture worth 1000 words,

And we remember John Paul II's visit to Alice Springs, 1986

Campion College, new Resident Hall, in honour of Paul Stenhouse MSC

While names like Magdalen College evoke the spires and cloisters of Oxford and the academic gowns passing to and fro, Australia’s first liberal Arts college is hoping the name Stenhouse Hall becomes synonymous with academic excellence in this country. Campion College will name one of its new residential halls after the late Father Paul Stenhouse MSC, a long-time friend of the college and staunch advocate for the liberal arts.

Father Stenhouse, who died in 2019, was a passionate supporter of Campion from its earliest days, serving as a member of the Campion Foundation Board. “Father Stenhouse was a renowned scholar and had a deeply Catholic perspective of the liberal arts and of the nature of Campion as a Catholic liberal arts institution”, Campion President Dr Paul Morrisey said.

“We think it fitting to honour Father Stenhouse by naming one of our residential homes in his memory.”

Stenhouse Hall will be one of four residential houses to open at the end of 2022 as part of a large construction program to cater to Campion’s growing student body.

Father Stenhouse was not only admired by many but regarded with something approaching awe by almost everyone the notoriously humble personality encountered. He edited the influential Annals magazine for decades, was an expert on Arabic language, history and studies and was admired by many much more famous journalists as one of the finest writers in the country.

The major feature under construction at Campion is an Academic Centre which will house a new library dedicated to the liberal arts including seminar rooms, office spaces and special collections dedicated to a particular author or topic.

The new academic wing will also include a large dining hall which will double as an event space as well as lecture theatres, tutorial rooms and an underground car park.

Those interested in supporting Stenhouse Hall can find the relevant information at www.campion.edu.au.

Downlands building, coming down, going up

Bob Irwin, who has been at Downlands this year while Vince Carroll is on Bathurst Island, sent these photos.

The story with Downlands is that it is building new facilities as it prepares to begin taking in Prep to Year 3 in 2023 to join the current Years 4-12. Currently enrolment is c. 900, and that includes full boarding houses, which is unusual these days.

In order to provide for the buildings and pick up and drop off of little ones, dozens of trees have had to be removed…and replanted later… as the driveway is doubled in width etc.

Interestingly, the roundabout at the front of Tyson manner is being reduced in size…….meanwhile, the Sacred Heart Statue, which has proudly watched over the school for many years, has gone for a rest under Wagner family care, to return when construction is completed.

Just thought, so many of us have worked at Downlands they might like to see what’s happening….for the good!

Stories from around the MSC World

MSC Indonesia Ongoing Formation meeting.

Chris Chaplin joined the group

USA Mission Office

Jim Miller wwrites:  The USA MSC are now establishing our own Mission Office, which we will try to model on the Australian Office listed in this post. We are limiting our focus to Clean Water at this time, where we want to mainly get projects from the Americas. Please pray that we are able to get our MSC Mission Office off the ground so that we can continue to be an effective witness to the love that the Sacred Heart has for our world. 

Joane Sigarara  Pacific Retreat

The MSC Fiji District annual retreat began on the evening of 22nd May and ended on the Feast of Our Lady of the Sacred Heart at Wailoku Formation Centre. Fr Ioane Sigarara MSC offered daily retreat sessions and reflections and guided the members in deepening their relationship with God.

Fr Sigarara is not new to us although he is a member of the MSC US Province. He hails from Macuata in Vanua Levu, Fiji. He was a formator in Wailoku back in 1999 and the director of AAFR Centre in Nabua. He moved to the US and became a member of the MSC US Province prior to a request to the US Provincial. He served as a US Military Chaplain with the US Army until his retirement a year ago.

Misioneros del Sagrado Corazón Colombia is at Parroquia Santa Margarita María Alacoque. Soledad, Colombia 

Today in our parish Santa Margarita Maria de Alacoque our brothers Raúl Pérez Valdéz MSC and Ricardo Perdomo Arámbulo MSC were ordained deacons, by imposition of the hands of Mons. Valentine Fagundes of Months MSC. We pray for our brothers, that the Lord will grant them perseverance and faithfulness in this new ministry.

Accompanying the MSC presence in South Sudan.

For almost two years Alan Neville MSC (Ireland) has been making present the 'WHOLE' MSC congregational in this long-suffering country. Superior General, Abzalon, visited Sudan.

The mission is carried out in a wonderful and prophetic project of education and integral promotion, especially of young women. This project has been founded by the Sisters of Loreto, who together with a group of lay people struggle day by day to build and transform this challenging and complex, but at the same time, beautiful reality.

Alan Neville is also a significant presence in the diocese of Rumbek, mainly from the Catholic University of Rumbek.

This accompaniment of the Superior General included a visit to the FDNSC sisters who are in another challenging area of this diocese.

The Chevalier Family is present in South Sudan!!!

RIP, Jack Cantwell

We akcnowledge the deaths of men who have shared part of their lives with us Missionaries of the Sacred Heart.

Peter Hendriks writes: Jack Cantwell R.I.P: I received a message from Kerry Thomas, Jack’s nephew, informing us that Jack died peacefully last night. He was 92 years of age.

“Jack was an MSC brother for his early years working the missions in PNG with his brother Pat, also an ex MSC brother and deceased. Jack's other brother was Father Mick Cantwell (MSC). He was in good health, lived independently, drove his car, until the last few months when he was admitted to hospital after a fall at home. He deteriorated quickly over the last month ”.

The funeral will be held on Monday August 1^st, at St Bernard’s, Klump Road, Upper Mt Gravatt, Brisbane at 10:30am.

OUISTREHAM/ BETWEEN TWO WORLDS

France, 2021, 106 minutes, Colour.

Juliette Binoche, Helene Lambert, Lea Carne.

Directed by Emmanuel Carrere.

This film is a documentary through fiction. It is based on an actual character, a writer, interested in social issues, posing as a woman unemployed, the difficulties of getting jobs, the hard work, the encounter with the other workers, men and women.

Juliette Binoche is very effective in the central role, Marianne, credible as a professional woman stating that she had left her husband, had no work experience, needed a job, filling in the forms, creating a background story. Then there is the issue of accommodation, applications for jobs, filling in forms, interviews, demands made. And there are scenes of work, hard work in cleaning rooms in hotels, toilets, making up beds. And the action then moves to the ferry from Caen to Southhampton in the time available for the cleaning staff to remake all the berths.

Marianne finds the work demanding but also bonds with some of the fellow workers, especially an angry young woman whom she had seen making demands at the employment office. They become friends, the young woman has three children and there are happy scenes of a birthday party, on the beach. The film highlights a number of other characters, especially young woman, Marylou, and a middle-aged man, Cedric, who is attracted to Marianne and invites her out on various occasions.

Gradually, the audience is aware of Marianne set up, and aware of the difficulties when the truth is revealed and her book written and published. This is especially the case with the young woman who, by chance, his present when Marianne is exposed.

However, the book is written, published, there is a reading and signing with most of the characters present – but Marylou coming to ask Marianne to visit the young woman who has read the book but asks Marianne to join her in cleaning on the ferry. Marianne declines.

1. Documentary through fiction? The task of the author, immerse herself with the workers, share their experiences, report them? The repercussions for her personal relationships?
2. The city of Caen, Port, streets and buildings, the ferries, the wharfs? Offices, homes, hotels, rooms to be cleaned? The beach and the sea? Time off and restaurants? The musical score?
3. The introduction, the employment agency, Chrystele and her demands, abusing the official? Marianne, observing? Her own interview, job application, her story, moving to the north, leaving her husband, legal background, not having work experience? The interview with the man hiring for the company, his demands?
4. Cedric, the encounters, his friendship, his story, jobs, hitting on Marianne, her following him, at work, discussions about the relationship? The later revelation of his other friendship?
5. Jobs, applications, documents, cleaning, official names, the hotels, the hard work, the group of workers, their backgrounds? Marianne meeting the various women, the job with the ferries, the interview with the boss, her demands, the various other women, Marylou and her age, boyfriend, lack of experience? Chrystele, the initial encounter, her background, the three children? Marianne making friends, the necklace from Chrystele? The drinks together, friendship, going to the house, the children and the meals, the birthday cake and singing, the scenes on the beach?
6. The details of the work, the time limits, four minutes to remake the rooms on the ferry? The scenes of work, the consequences, the women tired? The world to the woman who had the new job (and the discussion about trends men and women)?
7. The effect on Marianne, the gradual revelation of the truth about her, audience suspicions and wariness? The woman from the office, having read her book? Keeping the secret?
8. The buildup, Marianne and her writing, the experiences? Having to keep up appearances?
9. The women trapped on the ferry, trying to get out, the ferry leaving, going upstairs, Marianne encountered her friends, exposing the truth, Chrystele and her reaction?
10. The publication of the book, the launch, most of the women being present? Marylou, the message from Chrystele? Marianne going, the encounter, Chrystele having read the book, inviting her onto the ferry to work? Marianne not going?
11. Social situation amongst the unemployed, women finding employment difficult, the heart conditions, cleaners? The effect of this kind of expose?

THE PHANTOM OF THE OPEN

UK, 2021, 16 minutes, Colour.

Michael Rylance, Sally Hawkins, Jake Davies, Christian Lees, Jonah Lees, Mark Lewis Jones, Rhys Ifans.

Directed by Craig Roberts.

No, not a misprint! The venue for this film is not a theatre – but there is a theatrical venue, and quite some performances, a golf course.

The screenplay is based on actual characters and events – although they seem to be in the category of ‘Believe it or not!’. However, as with so many contemporary films based on real characters, the final credits have quite an amount of footage and photos to verify the characters and events as real.

On the whole, this is a very lighthearted film. However, audience moods will change throughout the film, happy, hopeful, amazed, regretful, hesitant, happy again, more than happy.

This is the story of a crane operator at a shipyard in the 1970s, Maurice Flitcroft. And he is embodied on screen by one of Britain’s most versatile actors, Mark Rylance (artistic director at London’s Globe Theatre for a decade, televisions Thomas Cromwell, Oscar winner for Stephen Spielberg’s Bridge of Spies). Rylance plays Maurice Flitcroft as a complex-simple character. We meet him in middle age, threatened with Thatcher’s nationalisation of the shipyard and loss of job. He is both simple and naive. But he also has an innate intelligence, cultured in many ways. He has married the young woman of his dreams, Jean (Sally Hawkins, so versatile, so dependable). He has become a father to her son and they have twins together. They live a happy simple life.

Audiences will be wondering how on earth he became what the journalists headlined as “Phantom of the Open”. In a way, it was a simple and naive in the way that Maurice was simple and naive. Wondering about a new job, happy to dream of possibilities, is attracted by a TV program on golf. Why not? But, and here is the stretch, he decides to enter the British Open! Audiences will enjoy the jigs and the reels of the procedures, rejections, aristocratic presumptions, and Maurice’s practice which he says is the road to perfection.

The day at the British Open where he is an official entrant entertains us in our cinema seats. But, it also entertains the crowds. It attracts the attention of the media. How could he be so bad! And, he has his twin sons interchanging as caddies, they themselves with huge ambitions to be disco-dance stars, making the moves, touches of performance on the course. However, it is quite a different matter for his older son, Michael, who works at the shipyard, has moved into management and is placed in very embarrassing situations as his bosses watch his father’s performance, or lack of performance.

Audiences who don’t know the story may think that this is far-fetched but, it becomes even further-fetched as Maurice does not give up his ambitions for playing in the British open, despite the hostility and machinations of the boss of the competition, played by Rhys Ifans.

Maurice is a mixture of charm, dreams, deceptions – and loyally supported by Jean.

Actually, Maurice’s rehabilitation in the public eye is also hard to believe – but, the Americans always come up with an unexpected solution and happy ending!

So, wonderful to have dreams, wonderful to have opportunities to live the dream – but, always the question, when does a dream become a delusion and when does delusion have sad consequences?

This film reminds us of similar unbelievable British characters and situations in the recent The Duke. And, unlikely sports competitors, Eddie the Eagle.

1. The title? Phantom of the Opera? Hero, villain? Masked?
2. True story, characters, events? The British open? So many times? And the American competition?
3. The working class setting, the family, Maurice, his background, hard-working, father and the shipyard, his continuing, different possibilities when he was young, poverty, hard work, the encounter with Jean, attracted, proposing, the marriage, 42 years? His adopting Michael and bringing him up? The twins? Michael at the shipyard, the twins and their dancing ambitions? Jean and her work, at home?
4. The shipyard situation, Margaret Thatcher, 1970s, nationalisation of industries? Loss of jobs? Michael warning his father? But his job in management, with the officials, promotions? Expectations?
5. Maurice, Jean, the memories and flashbacks, single mother, neglected, theatre, the proposal, the adoption, the twins, the years passing, the twins and their dancing obsession and hopes? Maurice encouraging them?
6. Maurice and his friends, Cliff, his background, thief, getting all the clothes and equipment for Maurice from his “friend at the market”? The chats together, at the pub? At home, the television, Maurice seeing the golf program, the touch of vision?
7. Maurice naive about playing golf, the clubs, expecting to be admitted, the authorities, urging him off? The clubs, the clothes, attempts at home, practice, his not being skilled? The rejection of the local club, the idea of the British open, understanding open for anyone to enter? The documents, Jean filling the forms, claiming he was professional? His admiration for the radio and television announcer, his thinking the letter was from a child, encouraging Maurice, filling in the official form and sending it? The secretary opening it, the authorities assuming that only a professional would admit to being professional?
8. At the opening, the other competitors, their skills, the crowds, Sami Ballesteros, the commentators, Lloyd the journalist taking notes, Maurice arriving, the boys taking in interns as caddies, his performance, getting worse, and worse? Yet the crowds’ response, his perseverance, the television? The authorities, investigating him? Yet his finishing the round? Interviews, determination to play again?
9. The television, the media, press media, articles, headlines, interviews?
10. The consequences, Michael and the authorities, trying to avoid watching, his holding the antenna, his moral dilemmas concerning Maurice and his job? The scenes at home, the twins, pretending that they were on tour, not enough subscriptions, interest in disco fading? The desperate scene at home, attacking their father? His going to the shipyard, his vision of the moon, the golf club, the stars, leaping? The family going out to find him, apologising?
11. The further attempts at entering the Open, pretending to be French, the wig, the name (variation on the boss’s name)? Cliff as his caddy, always calling him by his real name? The authorities there, suspicions, his being hounded off? The irony of his further entries under three false names?
12. The letter from America, Jean bringing him down from the shipyard Heights, the invitation from Michigan, the competition in his honour, the tickets, going to America, champagne and caviar and world travel – as he had initially promised Jean? His speech, devotion to Jean? Michael arriving and sharing the celebration?
13. Michael, the deal, the ticket, the Japanese, and their delight in finding he was Maurice’s son?
14. Dreams, following the dream, possibilities for dreams? Yet delusions? Said consequences?
15. The final information, Maurice and Jean and their long life?

THE GRAY MAN

US, 2022, 126 minute, Colour.

Ryan Gosling, Chris Evans, Ana de Armas, Billy Bob Thornton, Jessica Henwood, Dhanush, Alfre Woodard, Rege-Jean Page, Wagner Moura, Julia Butters, Shea Whigham.

Directed by Anthony Russo, Joe Russo.

Yes, we have probably seen all this before. But, does this matter? If it is done well and entertainingly, why not see it all again. Which, for most audiences, will be the case with The Gray Man.

We are in the world of espionage, encounter-espionage. We are in the world of the CIA – not always a comfortable world, not always a moral world, a world of political and moral grey. Which, for dramatic purposes, as we have known for decades with James Bond and other spies, can be exciting for us as we sit comfortably in our cinema seats or home lounges.

What makes this story little different is that the central character went to prison as a teenager (and, as we meet him when young, we suspect that he does not really deserve to be there) accused of killing his father. The explanation of why and how comes only at the end of the film. And he is played by Ryan Gosling, a versatile actor but not one whom we might immediately think of as an American equivalent of a less flamboyant James Bond (but, Gosling might have made an interesting James Bond). In prison, he is recruited by the CIA chief, Roy, played by the always-effective Billy Bob Thornton. His codename is Six. Because he has been sentenced to life imprisonment, then the offer to be an agent, a hitman, does, at least, offer him more freedom of movement.

The opening is in Bangkok, 2021, elaborate sets (as is the case throughout the whole film, with settings ranging from Hong Kong, Croatia, Berlin, Vienna…). Six fulfils his mission but discovers that he is being betrayed, that he is being targeted by the ruthless CIA chief, Carmichael (a coldly ruthless performance by Bridgerton’s Rege-Jean Page).

What follows, sometimes at fairly breathless pace, abductions, hostage taking, shootouts, car chases (the usual ingredients that we might expect, hopeful) is Six using all his wits to escape but also to pursue his nemesis. He has an advantage that his Bangkok connection, Dani Miranda (Ana de Armas in yet another substantial leading role, Knives Out, Blonde, No Time to Die) believes him and not only comes to the rescue at times, is able to join in the final confrontation, Six showing some vulnerabilities and she using her strength and wits.

There is also the human element, Six having babysat Fitzroy’s niece, heart condition, pacemaker, and who is now hostage with her uncle to lure Six back. The surprise element at this stage of the proceedings is to discover the sadistically smiling psychopath torturer, Lloyd Hansen, cruel, sardonic, narcissistic, arrogantly self-confident, the villain of the film. And, surprisingly, he is played by Chris Evans, Captain America himself. Chris Evans played this role for four films by this film’s directors, Anthony Russo, Joe Russo, two Captain America films and two Avengers films.

So, you will know whether you want to see The Gray Man and enjoy this kind of spectacular, expensively-made, international, espionage action and adventure. (This reviewer saw The Gray Man in cinema release, big screen, darkened space, atmosphere (the best way!) before it moved to Netflix streaming.

1. Popular action thriller? Espionage? Counterespionage? The CIA, agents, hitmen? Orders, security, betrayal?
2. The credibility of the plot, realistic, heightened and dramatic? The CIA, organisation, power, decisions, recruiting agents, the training, long careers, assassinations?
3. The range of settings, international, the lavish party in Bangkok, setting, the home in Hong Kong, offices and sequences in Berlin, in Vienna, the Castle in Croatia, Washington DC? The musical score?
4. The introduction to Six, age, in prison, his background story, the later explanations with his cruel father and treatment of his brother, going to prison, literally, personality, recruiting, persuasive? The relationship between Six and Fitzroy over the decades, father figure, introduction to Claire, pacemaker, illness, babysitting her in Hong Kong, saving her from dangers? His sense of obligation to Fitzroy, to Claire?
5. His commission, Bangkok, the agent from DC, control, communication, the target, the detail, planning, confrontation? The target, the explanation that he was Four? The explanations, the CIA planned to a eliminate the prisoner-agents? Six killing the target, the details of the escape?
6. Six and his situation, on the run, his skill in escaping, getting to Vienna, the man with the passports, the betrayal, the pursuit, the water and the explosion, further escapes?
7. Carmichael, his role in the CIA, cold in ruthless, ambitious, the past connections with the agents, their plans, with Lloyd Hansen? The elimination of the agents?
8. Lloyd Hansen, seen as torturer, personality, psychopathic, smiling and sardonic? Relentless? The pursuit of Six? Finding him in Vienna, the taking of Fitzroy, the torture, the abduction of Claire?
9. Dani, her sense of the CIA, of Carmichael, of believing Six, coming to his help, helping with the escapes? The timing, fighting?
10. Hansen, the confrontation with Fitzroy? The plans with Claire?
11. The Castle in Croatia, Six getting the information, with Dani, the travel?
12. The siege, the attack, the heroics, the plan and shrewdness, baiting Hansen, his getting the upper hand, Dani and her contribution? Her fighting skills?
13. In the Castle, Fitzroy with the bomb, urging their escape, to protect Claire, Claire, her age, fears, devotion to her uncle? The explosion?
14. Carmichael, the pressure on his associate, her turning against him, the confrontation at the pool, her killing Hansen? The official story?
15. Six, Dani, the future?
16. A successful example of this kind of action espionage?