- We think that Tyson followed you out, talked to you about undercutting his drug trade.

Things got out of hand, and Tyson dealt with it.

Because if Tyson wasn't there, that just leaves you.

Mrs.

Rutherford.

You didn't know he was up here?

- If a body turns up, I can't help him or you.

- You rape a 13-year-old girl, you leave her dying on the side of the road- - I didn't do it!

- We're left with six dead fellas and their six angry families all looking at us.

You get a pat on the back, don't you?

Crystal, she gets a punch in the head.

Have you thought about that, Jay?

- [Speaker] Is this Reese's blood?

- If I knew where he was, I would tell you!

(suspenseful music) (suspenseful music continues) (suspenseful music continues) (eerie music) (eerie music continues) (eerie music continues) (eerie music continues) (eerie music continues) (eerie music continues) (eerie music continues) (person sings in foreign language) (branch smacks) (eerie music continues) (person sings in foreign language) (feet stomp) (eerie music continues) (person sings in foreign language) (person continues singing in foreign language) (eerie music continues) (eerie music continues) (crowd shouts) - No one would know anything ever happened here.

(door clicks) (door thumps) (engine rumbles) (door clicks) (door slams) (door thumps) (light clicks) (no audio) - Marley didn't kill Reese.

(footsteps thump) (Emma sighs) - All the evidence says he did.

- I know.

But Reese was Marley's best mate.

I just don't believe he'd shoot him like that.

- Well, why doesn't he say that?

- Think about it.

How did the boys get from the ute out to the crossroads and to the springs?

That's 30K.

- You tell me.

- We've talked about this.

Tyson.

- Marley is on record saying it wasn't Tyson.

That's the one thing he has told us.

(door thumps) - Morning.

- Hi.

- Marley's lawyer just got here.

- Look, if you think Tyson's involved, please prove it.

You bring me the evidence, I'll back you all the way.

With what we've got now, and Marley not defending himself, he's our only suspect.

You should get some coffee.

(tense music) (tense music continues) (tense music continues) - This won't look good for you lot.

Local boy, footy hero, mother a pillar of the Christian community.

Charged with murder by a vindictive white cop.

- Vindictive?

- Just calling it like the media will run it.

Like you'll tell them to run it.

- We're not doing this for fun.

This isn't a choice we make.

There's significant evidence, as you well know.

- Yeah, still, the current political climate, you know, fears of police brutality and deaths in detention.

- You're going to play that card?

You know, I do everything I can to keep Aboriginal kids out of that lockup.

- Just want to let you know, I'll be arguing for home detention.

- He's charged with murder.

The judge will never grant home detention.

(tense music) (tense music continues) (tense music continues) (tense music continues) The detainee must be of good behavior and must not commit any offense.

The detainee must reside only at premises approved by the police.

The detainee must not consume alcohol.

- Thank you.

He can read.

- Okay, Marley.

You are now being tracked.

Now, you know you have to stay within the town boundaries at all times or- - Or we'll arrest you.

If you break any of these conditions, you'll go straight to prison.

You understand me?

- He understands.

Marley.

We win, you lose.

He got bail.

With all due respect, get stuffed and leave him alone.

(car rumbles) - Luke.

Marley and Reese.

The day they went missing, you said they came in here that morning.

Did you know where they were going that day?

- Sure.

Eastern bore run.

- Who else knew that?

- Everyone out at Ballantyne Station.

20-odd people.

Would've been on the roster.

- But how do you know where they were going?

- I don't know.

They told me?

- Who else was in here that morning?

- Heaps of people.

It was the weekend before the rodeo.

- Do you keep a record of sales?

- Of course.

- Do you mind if I have a look?

Saturday.

(tense music) So, Tyson was in here that morning?

- Yeah.

- So, he could have overheard the boys talking?

- Yeah.

You know, he used to be a bore runner before he started his security business.

- At Ballantyne Station?

- Yeah.

He knows that place better than anybody.

- Thanks.

(tense music) (tense music continues) (bag rustles) - I want to put up a memorial to my son out at that waterhole.

I don't care what it costs or who I have to pay.

- Actually, our family owns that land.

- Oh.

- I'll see what I can do.

- Thank you.

(solemn music) (suspenseful music) (belt clanks) (door buzzes) (door creaks) - So, it's you.

(Tyson sighs) - Tyson.

I know you were out there.

- Out where?

- Ballantyne Station.

The night the boys went missing.

The eastern bore run.

You knew exactly where they'd be and when.

- Nah.

- Yeah.

- You're delusional, mate.

- All I need to do is prove that you were out there and I've got you for murder.

- Nah.

'Cause this is... And I know it.

Marley did it.

He's been charged.

You think we don't hear stuff in here?

Hmm?

So, why are you trying to pin this on me?

- Is there anything you want to say to me, Tyson?

- I ain't saying nothing.

- Too late.

You just did.

(chair squeaks) (upbeat music) (singer vocalizes) (upbeat music continues) ♪ Yeah, I can't see where you comin' from ♪ ♪ But I know just what you runnin' from ♪ ♪ And what matters ain't the who's baddest ♪ ♪ But the ones who stop you fallin' from your ladder, 'cause ♪ ♪ This ain't no place for no hero ♪ ♪ This ain't no place for no better man ♪ ♪ This ain't no place for no hero to call home ♪ ♪ This ain't no place for no hero ♪ ♪ This ain't no place for no better man ♪ ♪ This ain't no place for no hero to call home ♪ (door chimes) - That'll be 90 bucks for the fuel, thanks, mate.

- I was wondering, how far back do you keep that footage?

- Well, I'm supposed to keep them for about a week.

- Okay.

- I know.

Crazy, right?

I said to them, "What if there's a big crime?

How are you supposed to solve that in a week?"

That's why I keep 'em for a month.

- Really?

- What bowsers do you want?

- All of 'em.

(eerie music) (eerie music continues) - Hello.

I knocked.

- It's alright.

So, this is a social visit or police business?

- I've come to see Shevorne.

How are you doing?

- I've got nothing to say about Marley.

- This is about Reese.

You know his mother's in town?

- Yeah.

- So, she wants to put up a memorial for him out at Black Springs.

Maybe some kind of ceremony.

(group speaks in foreign language) - They can't have a memorial for that boy out at Black Springs.

- Why not?

- Hey, bub, you want to go inside and put the kettle on?

- Is this 'cause of me?

- No.

- Then why?

- We feel for Reese and his mother, but that place has been a sorry place long before that boy died there.

- Dot, what's this about?

- You've got no idea.

- Well, I've got to talk to Shevorne.

- I don't think Shevorne wanna yarn either.

Just give her some space, eh?

- Sure.

- They can't have that thing at that place.

(solemn music) (solemn music continues) - Excuse me.

Do you work at the pub?

- Yeah.

- [Liz] Is Shevorne on tonight?

- No, she's got the night off.

- Do you know where I'd find her?

- Why do you want to see her?

(eerie music) (eerie music continues) - [Speaker] Em, I didn't know you were here.

- Hi.

- What are you doing?

- Um, just looking at the history.

Funny neither of us had kids, eh?

- We're the end of the line, yeah.

- Is that why you want to sell?

- I don't know.

Maybe.

I mean, why not sell now?

Enjoy the rest of our lives somewhere easier before we cark it.

- It'd be hard, though.

- She gave me 10 years, Em.

Linda is a town girl.

Tough for her out here.

She hates the place.

- Right.

Of course.

- Are you going to stay for tea?

- Dot says that Black Springs is a sorry place.

- What, because of that kid?

- No, she said it always was.

Reese's mother wanted to put a memorial there, but Dot vetoed it.

Do you ever remember seeing any of her mob out there?

- I certainly don't remember ever swimming with any of the Black kids.

- No, that's right.

We never did.

- Anyway, are you going to stay for tea?

- Sure.

Yeah, thanks.

- I'll tell Linda.

(tense music) (tense music continues) - This is the mother one for that boy we be losing.

- Sorry about your loss.

- Yeah.

- Sorry.

(solemn music) (pages rustle) (solemn music continues) - And this is Shevorne.

- [Liz] You made this for Jonathan?

Um, Reese.

- Yeah.

- Did he ever talk about his family, his past?

- He didn't like talking about it.

He said your mob had money, but you weren't close.

- That's not true.

What kind of man was he?

- This is the kind of man he was to me.

- [Liz] Who's the little girl?

- [Shevorne] That's my daughter.

- Jonathan looks happy.

- Yeah, he was deadly.

Out of everyone in this whole town, he didn't care who I was before.

It was just us, our future together.

- He got as far away as he could.

Good for him.

- One time he got drunk and he wanted to take me home and meet you.

- Would you like to keep this?

Thank you.

If Jonathan had brought you home, I wouldn't have approved.

- I wouldn't have liked you either.

- I'll be coming back.

I'm organizing a memorial for Reese.

I hope you'll come, and maybe your aunties as well.

I'd like to invite you and hold some kind of ceremony for my son at Black Springs.

(footsteps thump) (door clicks) - What's wrong with your room?

- Mum's gone, so I'm in with you now.

(door thumps) - Well, you could at least, like, tidy up a bit.

- It's a motel.

They have people for that.

(electronics clatter) - Um, do you know how this thing works?

- Shame!

- Can you help me, please?

- There you go.

- Oh, thanks.

- Are you getting anywhere?

- (sighs) Just going through Old Bill's diaries.

- They're great, aren't they?

- So, I started going backwards, looking for any reference to Black Springs.

There's family picnics and birthdays all up to 1907.

But then from there back, there's all these references to conflict.

(sighs) Read this.

- "A spear was thrown."

Yeah, well, it was a spearing.

Not uncommon.

- Yeah, well, all through the early 1900s, it's all about little flare-ups.

Where are my glasses?

Can I borrow yours?

Um, here.

This.

1904.

March.

"Three more cattle missing.

Need to talk to local Blacks.

July 3.

Native threatens Richards at Black Springs today.

He fired to warn them off."

I've been through all of these.

The conflicts just get bigger and more frequent.

- Well, they were pretty tough back then.

- But then he stops mentioning it.

- Well, what's the problem?

- Dinner's ready.

Everything alright?

- Yeah, yeah, yeah.

- What happened to all the old records?

There used to be boxes and boxes of them in the study.

- Got chucked.

- No, I kept them.

They're out in the shed.

- Great.

- Hey, what about dinner?

- Yeah, no.

I'll get something later.

Thanks.

(tense music) - So, what are you even looking for?

- Tyson, the security guard.

Have to prove that he passed through here the night the boys went missing.

(tense music) - Wow.

This is fun.

(tense music continues) (tense music continues) (tense music continues) (tense music continues) (tense music continues) (DVD clacks) (tense music continues) (tense music continues) (tense music continues) Is that him?

Rewind in slow-mo when they come back in.

- Tyson.

I got ya.

And he's not alone.

That guy on the bike is talking to someone in the back.

- Who's driving?

- I don't know.

But if Tyson's a passenger, he's just along for the drive.

Whoever's driving the car is the one that's in charge.

- And you've got to get them coming back too.

- Yeah, I do.

When did you get so smart?

(tense music) Crystal, I'm sorry.

- For what?

- Well, your mum told me about what's been going on back home.

You know, all that I leave behind that you have to deal with.

But I'm proud of you, Crystal.

I'm proud of your fight.

(gentle music) Hey, you've got a job now, you're a rich girl.

Why don't you go down to the shop and get us some snacks?

- (laughs) You're cracked.

(tense music) (singer vocalizes) (singer continues vocalizing) ♪ I see shadows on the hill ♪ ♪ Up beside the old sawmill ♪ ♪ Where my people were killed ♪ ♪ I see shadows on the hill ♪ ♪ I see shadows on the ground ♪ ♪ Where the bones don't make no sound ♪ ♪ Hidden so they can't be found ♪ ♪ I see shadows on the ground ♪ ♪ On the Old Glen Innes Road ♪ ♪ Where the great Mann River flows ♪ ♪ Men, women, children slain ♪ ♪ Buried up there on that range ♪ (singer vocalizes) ♪ I see shadows on the hill ♪ ♪ Up beside the old sawmill ♪ ♪ Where my people were killed ♪ ♪ I see shadows on the hill ♪ (tense music) (tense music continues) (tense music continues) (tense music continues) (photos rustle) - You haven't been up all night, have you?

- All the skirmishes, all the fighting between the local Black fellas and the whites, it all stopped in 1907.

Black Springs is the only natural permanent water source in the area.

That's right?

- Yeah.

For 200 or 300K, yeah.

- In a 10-year drought.

Look at the stock numbers.

They'd been falling, and then they jumped.

Why do you reckon that would be?

- New water access for stock?

- He ordered strychnine on the 23rd of January 1907.

- Yeah, well, that could've been for, I mean, foxes, feral dogs.

I mean, it's not significant.

- And then there's this from the Chief Protector of Aborigines to William Ballantyne, confirming the accidental death of five Natives on his property at Black Springs a month after the strychnine order.

He poisoned them.

Makes sense, doesn't it?

All the peaceful years after it.

Everything we were told when we were growing up, how the Ballantynes were fair, how they were different, everything we worked toward... (sighs) What are we going to do?

- Do?

It's already done.

- No, it's not.

Not for them.

You didn't see Dot's face yesterday.

- It was 100 years ago.

- They were killed in our name.

Five people murdered for some water.

- Well, welcome to the whole of human history.

- Yeah, I'm not talking about human history.

I'm talking about me and you and Dot.

Us.

- Look, um... We'll talk about it later, alright?

- [Emma] Tony.

- Dad.

Dad!

- Are you going to work?

- Is that them?

- Yep.

- I watched for half an hour more.

The trail bike doesn't come back and it doesn't come before them either.

(suspenseful music) (camera clicks) - That'd be the bike that was smashed at the crossroads.

- I've got to go to work.

- Okay, bub.

- See you.

- Thank you.

(animals call) - Thanks.

- You need to leave it alone, Em.

We're trying to sell the place.

You go making apologies, the papers start writing stories about massacre sites.

Now, a lot of people won't care, but a few might.

Certain parties might not want to be associated with it all, pretend they don't, and drop the price.

Either way, we lose.

- Where is this coming from, Tony?

- You want to take a million-dollar haircut because of something someone did 100 years ago?

Someone we never even met?

- I'm not selling.

Are you hearing this, Linda?

I want to stay here where I was born, and I want to find out some way of not feeling ashamed every time Dot looks at me.

- "Ashamed"?

What are you talking about, "ashamed"?

Where's the shame?

We've done nothing wrong.

- It was a crime.

It has to be answered.

- How?

What are you going to do, say sorry, hold a healing ceremony?

It won't change a bloody thing.

- I don't know.

- I want no part of it, Em.

- You are part of it, Tony.

(suspenseful music) (suspenseful music continues) (suspenseful music continues) (suspenseful music continues) (suspenseful music continues) (suspenseful music continues) (suspenseful music continues) (suspenseful music continues) (suspenseful music continues) (phone rings) (kids chatter) (solemn music) (solemn music continues) (solemn music continues) (Emma sighs) (engine rumbles) - [Dot] Emma?

- I'm sorry I didn't know.

- So, you've done your homework, then?

Do you want to sit down?

- (sighs) Obviously, there'll be no memorial.

I keep thinking of, um, what I can say to you, but nothing... I just never, you know, I, I never... I mean, I know it went on.

I mean, we all know.

But I just never thought my family, you know.

I just never, I didn't ask the question.

- Look, Emma, your mob had forgotten.

But you know now.

That shows some respect.

- Doesn't feel like enough.

Yeah.

- I'll see you around, Emma.

(door thumps) - [Marley] I think someone's watching me.

- Who?

- I don't know.

- What can I do about it?

- Well, you said all I had to do was keep quiet.

- Yeah, well, you're not in jail, are you?

- Yeah, but I'm scared.

They were outside my mum's house.

- Marley, I can't get mixed up in this.

- They've charged me with murder.

- Yeah, well, you're going to get off.

You've already got bail, and you've got a good lawyer.

Did he tell you to talk?

Did he tell you to say anything?

- No.

He said, "Don't say a word."

- Exactly.

If you tell them what actually happened out there, then we will both go to jail and I will lose Ava.

You already took Reese from me.

Don't talk.

(tense music) (tense music continues) (Marley pants) (Marley continues panting) (visitor knocks) - Cedric, I need to talk to Marley, please.

- You better talk to Mum.

- What happened?

(tense music) (birds caw) (tense music continues) - Marley!

Hey, Marley!

What's going on?

- Uncle!

You have to help me.

- We've got to get you home, boy.

- I ain't going home.

- Marley, don't joke.

- I ain't going home ever.

- Hey, come on.

Here.

Marley.

- Here, get this thing off me.

- Mate, that's not going to work, boy.

Here.

Come here.

Come here.

Here, give it here.

Give it here.

Give it to me.

- I won't make it in jail.

You understand?

They'll get me.

- Who will?

Marley, who?

- Doesn't matter.

They're outside Mum's house.

- Marley, slow down.

Who?

Who?

Who is it?

- Look, if I'm gone, then they won't be able to hurt Mum and Ced.

- Hey, no one's going to hurt anyone.

Just take a breath and we'll sort it out.

- I can't live in this town.

I'm not like you.

I can't face the shame and the hate.

I can't do it.

(siren wails) You've got to give me the knife.

You've got to help me.

- Hey.

- Please, Uncle.

Help me.

- Marley, it's too late.

(siren wails) (suspenseful music) (suspenseful music continues) - Marley!

Where is he?

- They already took him.

(engine rumbles) - Give me the key to Marley's cell.

- Sarge?

- Jay?

- You want evidence?

Take a look at this.

Tyson on his way out with three mates.

One of them doesn't come back.

Check out the tray on the dual-cab.

I reckon it's the bike from the crime scene at the crossroads.

Those three guys are the reason why Marley's not talking to us.

Tyson is in jail, but two of 'em are still out here.

Now, this is it.

This is when we tell Marley what we know and tell him that we can protect him.

- Sharma, give us five.

All the way out.

It's too late.

He broke bail.

State command's involved now.

He's got to be at the prison in three hours.

- So delay it!

- I can't.

I've got a transport order.

And even if I could, I've got no authority to interview him again.

- So you're going to send an innocent kid to jail?

Tyson's going to kill him in jail.

(tense music) (tense music continues) - It's a three-hour drive.

You're not interviewing him.

You're just having a chat.

- Okay.

- Muller, you stay here.

Detective Swan will drive him.

- Come on, Marley.

- Here's your phone.

- Thanks.

- Hang on.

Take my car.

(tense music) (tense music continues) (tense music continues) (tense music continues) (tense music continues) - I know you didn't kill Reese.

Tyson and his mates, they ambushed you, right?

They will get you in jail.

The only way that this will end well for you is for me to get those blokes that did it.

(truck rumbles) You need to tell me what happened.

(truck rumbles) Get down!

(gun fires) (gun fires) (Marley gasps) Are you okay?

- Yeah, I'm okay.

- Time to start talking!

(tense music) (tense music continues) (tense music continues) (tense music continues) (tense music continues) - Look, you shouldn't be living like this.

- I don't have a choice, boy.

Did Reese tell you who raped Shevorne?

- No.

He wouldn't tell me who.

But I'm going to find out, Uncle.

I promise.

(tense music) (tense music continues) (suspenseful music) Tell me who it was.

- It's better you don't know anyway, bruz.

Oi.

Thought you might've been the cops.

(fist smacks) - [Speaker] Reese said this wasn't about drugs.

- It has to be.

What else could it be?

- She doesn't look like her father.

- Who told you?

- [Emma] If your attacker is still out there, we have to know who he is.

- I can't tell you.

- Why not?

- Because you don't understand!

- Well, then help me.

Help me understand.

- Shevorne!

(suspenseful music) (no audio) (no audio)