
Browse content similar to Distempers of Learning. Check below for episodes and series from the same categories and more!
| Line | From | To | |
|---|---|---|---|
I feel like the play is saving my life right now. | 0:00:02 | 0:00:04 | |
-Everybody, this is Felix, my acting coach. -Hello! | 0:00:04 | 0:00:06 | |
-I killed Aynsley! -No! | 0:00:06 | 0:00:08 | |
We just need to prove that Donnie's really your monitor. | 0:00:08 | 0:00:11 | |
-My old network. -Mummy! | 0:00:11 | 0:00:13 | |
Project Lida? I swear to you, I don't know who they are. | 0:00:13 | 0:00:16 | |
You sold us to the Proletheans. | 0:00:18 | 0:00:21 | |
Are you excited for our big adventure, monkey? | 0:00:21 | 0:00:23 | |
You did well to save her, Mark. | 0:00:23 | 0:00:25 | |
She's a mirror. See? Her internal organs are reversed. | 0:00:25 | 0:00:29 | |
It's a brand-new day. | 0:00:30 | 0:00:32 | |
This programme contains some violent scenes. | 0:00:32 | 0:00:35 | |
Hey. | 0:00:48 | 0:00:50 | |
All right, Fe? | 0:00:50 | 0:00:51 | |
Oh, yeah. I adore camping. | 0:00:51 | 0:00:53 | |
It's not really camping, is it? | 0:00:54 | 0:00:56 | |
More like sleeping in a truck. | 0:00:56 | 0:00:58 | |
I slept in the bed of a flatdeck. | 0:00:58 | 0:01:00 | |
In my world, that's considered camping. | 0:01:00 | 0:01:02 | |
Otherwise known as homeless in the country. | 0:01:02 | 0:01:04 | |
Hey... | 0:01:07 | 0:01:07 | |
..how much did Kira see | 0:01:09 | 0:01:12 | |
of Barry Birdwatcher's, you know, "pfff!"? | 0:01:12 | 0:01:15 | |
-Demise? -Yeah. -She didn't see Siobhan take the shot, thank God. | 0:01:15 | 0:01:19 | |
Jesus Christ. Our dear old mum's a dead eye with a rifle. | 0:01:19 | 0:01:23 | |
It just makes me queasy. | 0:01:23 | 0:01:26 | |
Yeah, she was cold, Fe. | 0:01:26 | 0:01:27 | |
Like she'd done it before. | 0:01:27 | 0:01:29 | |
This is insane. | 0:01:29 | 0:01:31 | |
It's S, you know? She makes tea and... And she taught me piano. | 0:01:31 | 0:01:35 | |
Oh! Bloody hell! | 0:01:38 | 0:01:40 | |
Come on! | 0:01:41 | 0:01:42 | |
Ah-ha-ha! | 0:01:42 | 0:01:44 | |
That's... Don't laugh. | 0:01:44 | 0:01:45 | |
Oh, is it bad? | 0:01:45 | 0:01:47 | |
Disgusting! No! God! | 0:01:47 | 0:01:49 | |
What's so funny? | 0:01:49 | 0:01:51 | |
Uncle Felix camping is funny. | 0:01:51 | 0:01:53 | |
No, I'm not. God, I'm going to have to wash my whole foot! | 0:01:53 | 0:01:57 | |
OK, look, we need to get to civilisation. | 0:01:57 | 0:01:59 | |
FLIES BUZZING | 0:02:18 | 0:02:19 | |
Sorry, Hank. | 0:03:09 | 0:03:11 | |
Shouldn't have put my faith in them. | 0:03:13 | 0:03:15 | |
Nah, nobody said it was going to be easy, Mark. | 0:03:15 | 0:03:17 | |
Just going to have to work | 0:03:17 | 0:03:19 | |
with what we've been given. | 0:03:19 | 0:03:21 | |
Helena. | 0:03:21 | 0:03:22 | |
Mm-hmm. | 0:03:22 | 0:03:25 | |
Light 'em up. | 0:03:26 | 0:03:27 | |
When are we going to get breakfast? | 0:04:31 | 0:04:33 | |
We'll get you something now, yeah? | 0:04:33 | 0:04:36 | |
Well, I'd have happily taken us to that last Greasy Spoon, | 0:04:36 | 0:04:40 | |
but mummy threw my Visa card out the window. | 0:04:40 | 0:04:42 | |
Because they might track us. | 0:04:42 | 0:04:44 | |
Hey, kiddo. | 0:05:00 | 0:05:01 | |
Whoa, whoa whoa! Hey, hey, little missy. | 0:05:24 | 0:05:27 | |
Did you, uh, did you forget something? | 0:05:27 | 0:05:30 | |
Cos you kind of got to pay for it, first. | 0:05:30 | 0:05:32 | |
I don't have any money. | 0:05:32 | 0:05:34 | |
Hey. There you are. | 0:05:34 | 0:05:37 | |
Yeah, um, look, somebody forgot to pay for something, so... | 0:05:37 | 0:05:41 | |
Ohh! Kira, I told you to wait till I gave you money. | 0:05:41 | 0:05:45 | |
Didn't I? | 0:05:45 | 0:05:46 | |
Sorry about that. | 0:05:46 | 0:05:48 | |
I think that should... Oh, shit! | 0:05:48 | 0:05:50 | |
Whoa, whoa! I got it. I got it. | 0:05:50 | 0:05:52 | |
-Sorry. You got it? OK, thanks. -No problem. -Is that good? -Yeah. | 0:05:52 | 0:05:55 | |
-Yeah? OK. Sorry. -Yeah. | 0:05:55 | 0:05:58 | |
-Bye. -No, yeah. Uh... | 0:05:58 | 0:06:00 | |
What are you doing here, Angie? | 0:06:04 | 0:06:05 | |
Got something that might tempt you out of obscurity. | 0:06:05 | 0:06:09 | |
Let me guess... You went to the hospital after I told you not to. | 0:06:12 | 0:06:15 | |
Eh! Still got it, Art. And guess what. | 0:06:15 | 0:06:18 | |
That Shakira-haired lookalike? Gone. | 0:06:18 | 0:06:20 | |
-Poof. Surveillance shows some guy wheeling her out. -Who? | 0:06:20 | 0:06:24 | |
No ID on either one of them. Yet. | 0:06:24 | 0:06:27 | |
Sit your ass down, Angie. | 0:06:28 | 0:06:30 | |
No, I think I'll stand, Art. | 0:06:30 | 0:06:32 | |
I told you. Let it go. | 0:06:32 | 0:06:34 | |
If you don't, I will go to Hardcastle myself | 0:06:34 | 0:06:36 | |
and tell him you're still after it. | 0:06:36 | 0:06:38 | |
You know you're letting down | 0:06:38 | 0:06:40 | |
two partners now, right? Me and Beth. | 0:06:40 | 0:06:44 | |
Well, it was just a complete disaster, | 0:06:48 | 0:06:50 | |
it was like my worst nightmare, | 0:06:50 | 0:06:51 | |
not having done my hair for picture day. | 0:06:51 | 0:06:53 | |
Hey, baby, | 0:06:59 | 0:07:00 | |
that thing we did at the store? | 0:07:00 | 0:07:02 | |
-We don't do that, unless we have to, yeah? -I know, Mum. | 0:07:02 | 0:07:06 | |
Just, uh, go get your stuff from the truck, yeah? | 0:07:06 | 0:07:09 | |
Careful. You know, I've been in this area before. | 0:07:14 | 0:07:18 | |
-When? -There's loads of cabins and summer houses. | 0:07:18 | 0:07:22 | |
We'll just find an empty one and we'll hole up for a bit. | 0:07:22 | 0:07:25 | |
She needs a proper bed, Fe. | 0:07:25 | 0:07:28 | |
OK. | 0:07:28 | 0:07:30 | |
SNORING | 0:07:36 | 0:07:38 | |
STARTS VACUUMING | 0:07:39 | 0:07:40 | |
Alison. | 0:07:44 | 0:07:46 | |
Hey, stop! Alison, come on. | 0:07:46 | 0:07:48 | |
Oh. What are you doing here? | 0:07:51 | 0:07:52 | |
Why aren't you at work? | 0:07:52 | 0:07:54 | |
I told you. Susan Teller's in Austin this week. | 0:07:54 | 0:07:56 | |
So your boss is away. That's why you're playing hooky? | 0:07:56 | 0:07:59 | |
Uh, yeah. | 0:07:59 | 0:08:00 | |
Hmm. | 0:08:00 | 0:08:01 | |
Hey, honey, the other day, with Sarah Stubbs, | 0:08:01 | 0:08:05 | |
you know, in the cemetery? | 0:08:05 | 0:08:07 | |
I'm worried, is all. | 0:08:07 | 0:08:08 | |
You've been so wound up. | 0:08:08 | 0:08:10 | |
And I know, well, you got that big | 0:08:10 | 0:08:11 | |
dress rehearsal tomorrow, right? | 0:08:11 | 0:08:14 | |
Who's my little star? | 0:08:14 | 0:08:16 | |
That is not helping. | 0:08:16 | 0:08:17 | |
Well, don't you sit down right here and let me relax you? | 0:08:19 | 0:08:22 | |
You know, morning's my best time. | 0:08:24 | 0:08:26 | |
I just showered. | 0:08:26 | 0:08:27 | |
This is nice, eh? | 0:08:35 | 0:08:37 | |
Doesn't look like anybody's around. | 0:08:37 | 0:08:39 | |
Looks well-appointed. | 0:08:39 | 0:08:41 | |
OK, let's have a look. | 0:08:49 | 0:08:51 | |
Hmm. | 0:08:54 | 0:08:56 | |
I dunno. Bachelor, maybe? | 0:08:58 | 0:09:00 | |
A photographer. | 0:09:00 | 0:09:02 | |
Mmm! Dr Cormier, | 0:09:02 | 0:09:05 | |
look at you, waltzing into Leekie's office whenever you want to. | 0:09:05 | 0:09:09 | |
Well, only when he's away. | 0:09:09 | 0:09:10 | |
But he's away a lot and I like it in here. | 0:09:10 | 0:09:13 | |
We should mess with his, like, little bio-energy hobby farm. | 0:09:13 | 0:09:17 | |
I'm going to put like an electric eel in one of these tubes. | 0:09:19 | 0:09:22 | |
He'll be like, "Great Scot, I've created life itself." | 0:09:22 | 0:09:25 | |
-Cosima. -What? | 0:09:25 | 0:09:28 | |
-Come here. -What? | 0:09:28 | 0:09:30 | |
I just found out. I think you have a right to see this. | 0:09:30 | 0:09:33 | |
-All right. -I just want to show you. | 0:09:33 | 0:09:36 | |
Oh, whoa. Who is that? | 0:09:41 | 0:09:43 | |
'Hi. I'm Jennifer Fitzsimmons. | 0:09:43 | 0:09:45 | |
'I'm a teacher and swim coach at Sheldon High. | 0:09:45 | 0:09:50 | |
'So they asked me to keep this video journal | 0:09:50 | 0:09:53 | |
'because they found polyps on my lungs. | 0:09:53 | 0:09:57 | |
'I was having trouble breathing | 0:09:57 | 0:10:00 | |
and went in for tests and... | 0:10:00 | 0:10:03 | |
'Yeah, unidentified polyps.' | 0:10:05 | 0:10:07 | |
Jennifer was the first to show symptoms, | 0:10:07 | 0:10:09 | |
six months before Katja Obinger. | 0:10:09 | 0:10:11 | |
We have hours of these tapes. | 0:10:11 | 0:10:14 | |
She all right? | 0:10:17 | 0:10:18 | |
She died. | 0:10:18 | 0:10:20 | |
Three days ago. | 0:10:21 | 0:10:22 | |
I'm sleeping here tonight. | 0:10:27 | 0:10:29 | |
Oh! Me, too! | 0:10:29 | 0:10:31 | |
Uncle Felix already called it. | 0:10:31 | 0:10:33 | |
No! He didn't. | 0:10:33 | 0:10:35 | |
-When are we going to see Mrs S again? -I don't know. | 0:10:35 | 0:10:39 | |
I was wondering the same. | 0:10:39 | 0:10:41 | |
She protected us, though. | 0:10:41 | 0:10:42 | |
Didn't she, even though she was lying? | 0:10:42 | 0:10:46 | |
I hope, but I'll protect you now. | 0:10:46 | 0:10:48 | |
I know I wasn't always around, but I'm here now. | 0:10:48 | 0:10:52 | |
Nothing bad is going to happen to you. Except for that. | 0:10:52 | 0:10:56 | |
-GIGGLING -Except for that. And this. | 0:10:56 | 0:10:59 | |
Don't. No! | 0:11:02 | 0:11:04 | |
Yeah, just out by county line, here. | 0:11:08 | 0:11:10 | |
Probably abandoned. | 0:11:10 | 0:11:11 | |
Plates have been removed. I got a vin number, though. You ready? | 0:11:11 | 0:11:14 | |
All right, India Foxtrot Alpha Nine Charlie... | 0:11:14 | 0:11:18 | |
Look at her, Gracie. | 0:11:22 | 0:11:24 | |
Men schemed for years to build her, | 0:11:24 | 0:11:26 | |
but only God could make her fertile. | 0:11:26 | 0:11:29 | |
You think far too highly of her. | 0:11:32 | 0:11:34 | |
Grace. | 0:11:50 | 0:11:52 | |
Is your name? | 0:11:52 | 0:11:53 | |
Yes. | 0:11:54 | 0:11:56 | |
Why am I here? | 0:11:58 | 0:11:59 | |
Father says he wants you to join our family. | 0:11:59 | 0:12:02 | |
I've already got a family. | 0:12:02 | 0:12:04 | |
You're barely even human. | 0:12:04 | 0:12:06 | |
I have a twin sestra. | 0:12:06 | 0:12:10 | |
And a plemyannica, | 0:12:12 | 0:12:14 | |
a niece. | 0:12:14 | 0:12:15 | |
-Where is Tomas? -Gone. | 0:12:18 | 0:12:21 | |
My dad said back to Europe, in the Dark Ages. | 0:12:21 | 0:12:24 | |
Good riddance. | 0:12:27 | 0:12:29 | |
(Hey, Sarah, wake up. | 0:12:59 | 0:13:02 | |
(Someone's here.) | 0:13:03 | 0:13:05 | |
They're coming. | 0:13:07 | 0:13:09 | |
Look, we've got to go, now! | 0:13:09 | 0:13:11 | |
Oh, God. Run! | 0:13:11 | 0:13:14 | |
-Felix. -Hey! | 0:13:14 | 0:13:15 | |
-Shit! -Hey! -Whoa! | 0:13:15 | 0:13:17 | |
Look... | 0:13:17 | 0:13:19 | |
Cal! Cal! | 0:13:19 | 0:13:20 | |
-Cal! -Sarah? | 0:13:20 | 0:13:22 | |
-You know him?! -What the hell are you doing in my house?! | 0:13:22 | 0:13:26 | |
-W...We were in a bind. We broke in. I'm sorry. I'm sorry. -A bind? | 0:13:26 | 0:13:29 | |
You got so much nerve. | 0:13:29 | 0:13:31 | |
Last time I saw you, you took ten grand and my car. | 0:13:31 | 0:13:34 | |
-You brought us to the house of one of your marks?! -Felix... | 0:13:34 | 0:13:38 | |
-Are you insane? -Hey, hey, Felix. Relax, relax. -"One of your marks". | 0:13:38 | 0:13:41 | |
Felix. Foster brother and an avowed pacifist. | 0:13:41 | 0:13:44 | |
-Sure. No offence, but get out. I don't want to know you. -Cal, please. | 0:13:44 | 0:13:47 | |
-Get out! -Cal, please! | 0:13:47 | 0:13:48 | |
-Mummy. What's going on? -Shit. | 0:13:48 | 0:13:51 | |
Oh, baby, come here. | 0:13:51 | 0:13:53 | |
You OK? | 0:13:53 | 0:13:55 | |
Did you get scared? | 0:13:55 | 0:13:57 | |
I'm sorry. It's just Cal. He's an old friend. | 0:13:57 | 0:14:00 | |
Yeah. Well, actually, I'm not. | 0:14:00 | 0:14:02 | |
You OK? | 0:14:04 | 0:14:06 | |
Are you my dad? | 0:14:06 | 0:14:07 | |
Blow me down. | 0:14:12 | 0:14:14 | |
-Is this a scam? -Right. | 0:14:21 | 0:14:23 | |
You, with the cute little girl and she goes, "Are you my daddy?" | 0:14:23 | 0:14:26 | |
-And I get fleeced again? -It's not a scam, Cal. | 0:14:26 | 0:14:29 | |
I was here with you for a month. | 0:14:29 | 0:14:30 | |
Timing's right. She's yours. | 0:14:30 | 0:14:33 | |
You're killing me. | 0:14:33 | 0:14:35 | |
Look, I didn't come here for a father figure for my kid. | 0:14:35 | 0:14:38 | |
-No? -I just needed a place to sleep. That's it. | 0:14:38 | 0:14:41 | |
-Well, what kind of shit are you into now? -We're going to leave. | 0:14:41 | 0:14:44 | |
-We're going to get our stuff. We're going to go. -Great. Walk away. -Yeah. | 0:14:44 | 0:14:47 | |
That's your speciality, isn't it? | 0:14:47 | 0:14:49 | |
Hold on! Hold... | 0:14:50 | 0:14:51 | |
I'm not going to kick this little girl out on the street. | 0:14:51 | 0:14:55 | |
You can spend another night, if it helps you out, all right? | 0:14:55 | 0:14:58 | |
-Thank you. -Just don't steal anything. | 0:14:58 | 0:15:00 | |
# Blood in the bathroom | 0:15:05 | 0:15:08 | |
# Higher than the bathroom mat | 0:15:08 | 0:15:11 | |
# And did you know the thing that's really strange | 0:15:11 | 0:15:15 | |
# The police do not arrest | 0:15:15 | 0:15:17 | |
# They take the body and the family | 0:15:17 | 0:15:19 | |
# Deal with the splatter | 0:15:19 | 0:15:22 | |
-# There's no-one you can call to help you through it... -# | 0:15:22 | 0:15:25 | |
OK, OK. OK, OK, that's great. | 0:15:25 | 0:15:28 | |
That's great. That's great. | 0:15:28 | 0:15:30 | |
-Alison. -Hmm. | 0:15:30 | 0:15:33 | |
Let's save that beautiful instrument for the audience, OK? | 0:15:33 | 0:15:36 | |
Guys, let's just do the dialogue. | 0:15:38 | 0:15:41 | |
OK? Dialogue only. | 0:15:42 | 0:15:44 | |
-Holy f-fishsticks. -Sorry. | 0:15:54 | 0:15:56 | |
I'm so sorry. I didn't mean to startle you. | 0:15:56 | 0:15:58 | |
I'm locked out of my car. My phone's inside. | 0:15:58 | 0:16:01 | |
Think I could borrow yours to call my husband? | 0:16:01 | 0:16:03 | |
Oh, yeah. Been there. | 0:16:03 | 0:16:06 | |
You're a life-saver. | 0:16:06 | 0:16:08 | |
Ooh, I love your kicks. Do you live nearby? | 0:16:08 | 0:16:11 | |
Uh, yeah. Black Oak Drive. | 0:16:11 | 0:16:13 | |
Oh. Hilldale Crescent. I'm Angie. | 0:16:13 | 0:16:15 | |
-Alison. -Hey. | 0:16:15 | 0:16:18 | |
Hey, Laura. It's me. Is he in? | 0:16:18 | 0:16:20 | |
-Did you say Hillsdale Drive? -Yeah. | 0:16:20 | 0:16:24 | |
Oh. I've never seen you before. | 0:16:24 | 0:16:25 | |
We just moved in. | 0:16:25 | 0:16:27 | |
Hey, hon, it's me. Brain cramp over at the Community Centre. | 0:16:27 | 0:16:31 | |
I locked myself out of the car. | 0:16:31 | 0:16:33 | |
Can you bring me the spare key? | 0:16:33 | 0:16:34 | |
You're the best. | 0:16:34 | 0:16:36 | |
-Half an hour. Hey, can I buy you a cup of coffee as a thank you? -No. | 0:16:38 | 0:16:43 | |
I have to pick up my kids. | 0:16:43 | 0:16:45 | |
OK. No worries. Maybe some other time. | 0:16:45 | 0:16:47 | |
I know I should've told you, but, um... | 0:17:04 | 0:17:06 | |
..I wanted you all to myself. | 0:17:07 | 0:17:10 | |
But you always left. | 0:17:10 | 0:17:12 | |
You know I never had a real mum and dad, yeah? | 0:17:14 | 0:17:16 | |
Yeah. | 0:17:16 | 0:17:19 | |
When I was your age, it made me very angry. | 0:17:22 | 0:17:25 | |
And I was... | 0:17:25 | 0:17:26 | |
so confused. | 0:17:26 | 0:17:28 | |
And I don't want that for you. | 0:17:33 | 0:17:35 | |
I guess I brought you here because | 0:17:35 | 0:17:38 | |
there's two parts of you, yeah? | 0:17:38 | 0:17:39 | |
One of them is me | 0:17:41 | 0:17:43 | |
and one is your dad. Do you get that? | 0:17:43 | 0:17:46 | |
Do you like Cal? | 0:17:48 | 0:17:51 | |
Yeah. A long time ago, I liked him very much. | 0:17:51 | 0:17:57 | |
I like his beard. | 0:17:58 | 0:18:01 | |
Make yourself at home. | 0:18:12 | 0:18:14 | |
Sorry. | 0:18:14 | 0:18:16 | |
I'm not snooping. | 0:18:16 | 0:18:17 | |
Just wondering. | 0:18:17 | 0:18:19 | |
Uh-huh. | 0:18:20 | 0:18:22 | |
Listen, I am intimately acquainted with my sister's bullshit. | 0:18:22 | 0:18:25 | |
My concern is for Kira. | 0:18:27 | 0:18:29 | |
Whatever you're angling for, man, just ask. | 0:18:29 | 0:18:33 | |
Good. OK. Who are you? | 0:18:33 | 0:18:35 | |
Sarah must've come back here for a reason, so what is this? | 0:18:37 | 0:18:39 | |
What, exactly, do you do? | 0:18:39 | 0:18:41 | |
It's what I did. | 0:18:41 | 0:18:43 | |
Pollinators. | 0:18:43 | 0:18:44 | |
-Sorry? -Minidrone pollinators, | 0:18:44 | 0:18:46 | |
for areas where bee populations have crashed. | 0:18:46 | 0:18:51 | |
I designed the micro-optics, | 0:18:51 | 0:18:52 | |
but my partners forced me out and sold the technology to the military. | 0:18:52 | 0:18:57 | |
And, now, they kill people from bases in Virginia with it. | 0:18:57 | 0:19:00 | |
But I don't. | 0:19:04 | 0:19:05 | |
Moralist with money. | 0:19:05 | 0:19:07 | |
Perfect mark. | 0:19:07 | 0:19:09 | |
For child support? | 0:19:09 | 0:19:11 | |
She already robbed me once. | 0:19:13 | 0:19:15 | |
COUGHING | 0:19:18 | 0:19:19 | |
'The bad news is the cough is getting worse. | 0:19:23 | 0:19:25 | |
'But the amazing news is Dr Aldous Leekie of the DYAD Institute | 0:19:25 | 0:19:32 | |
'says he can help, | 0:19:32 | 0:19:34 | |
'so they're going to fly me out for treatment. | 0:19:34 | 0:19:37 | |
'Thanks to this amazing guy. Come. | 0:19:37 | 0:19:40 | |
'This is Greg, | 0:19:40 | 0:19:42 | |
'my amazing boyfriend.' | 0:19:42 | 0:19:44 | |
Oh, my God. | 0:19:46 | 0:19:48 | |
'New semester starts today. Hallie sent me a picture of the new class. | 0:19:48 | 0:19:51 | |
'They look like a good group.' | 0:19:51 | 0:19:54 | |
That's enough. | 0:19:54 | 0:19:56 | |
You've seen all of it. | 0:19:56 | 0:19:58 | |
That's her monitor, right? | 0:19:59 | 0:20:01 | |
Yeah. | 0:20:01 | 0:20:02 | |
Sometimes I forget that you're mine. | 0:20:02 | 0:20:05 | |
That's good. | 0:20:05 | 0:20:06 | |
He kept her completely in the dark. | 0:20:12 | 0:20:14 | |
She had this total fake hope. | 0:20:14 | 0:20:17 | |
It's not fake, not for any of us. | 0:20:17 | 0:20:20 | |
The fact that she was naive | 0:20:20 | 0:20:21 | |
did not come from either treatment. | 0:20:21 | 0:20:23 | |
You know, | 0:20:23 | 0:20:26 | |
we are telling you everything now, | 0:20:26 | 0:20:27 | |
but if you can't handle it... | 0:20:27 | 0:20:29 | |
I can handle it. Don't be a bitch. | 0:20:29 | 0:20:32 | |
That's what I thought. | 0:20:32 | 0:20:33 | |
Better get ready. | 0:20:35 | 0:20:37 | |
'Dr Leekie couldn't even help me. He lied. | 0:20:37 | 0:20:40 | |
'How am I doing? | 0:20:42 | 0:20:44 | |
'I'm going to die here.' | 0:20:48 | 0:20:50 | |
You brought us here on purpose. | 0:20:59 | 0:21:01 | |
You wanted Kira to meet her father. | 0:21:01 | 0:21:03 | |
-I didn't even know he'd be here, Fe. -Bollocks! | 0:21:03 | 0:21:06 | |
That is bollocks, Sarah, and you know it. | 0:21:06 | 0:21:08 | |
For eight years - eight years - | 0:21:08 | 0:21:10 | |
you pretended you didn't know who he was? | 0:21:10 | 0:21:13 | |
You let me narrow it down to Ziggy the drummer | 0:21:13 | 0:21:15 | |
or that guy that you met in Orange County, at that bar? | 0:21:15 | 0:21:18 | |
You knew the whole time. | 0:21:18 | 0:21:20 | |
Look, after yesterday, | 0:21:20 | 0:21:22 | |
stealing to feed Kira, | 0:21:22 | 0:21:24 | |
we were in the area. I just... | 0:21:24 | 0:21:28 | |
-God! -I knew it was time to... -You are a bloody wrecking ball. | 0:21:28 | 0:21:31 | |
You are an exploding cigar. Do you know that? | 0:21:31 | 0:21:34 | |
Look, just let me patch things up with Cal. | 0:21:34 | 0:21:37 | |
He's a good guy, Fe. | 0:21:37 | 0:21:39 | |
-I bet he is. -He is. | 0:21:39 | 0:21:40 | |
Resourceful. Big farm biceps. | 0:21:40 | 0:21:43 | |
He's completely disconnected from all the shit we're dealing with. | 0:21:43 | 0:21:46 | |
I think Kira deserves something... | 0:21:46 | 0:21:49 | |
something nourishing, for once, | 0:21:49 | 0:21:52 | |
even just for a few days. | 0:21:52 | 0:21:54 | |
Yeah. | 0:21:57 | 0:21:59 | |
No, you're right. | 0:21:59 | 0:22:00 | |
She just met her father. | 0:22:00 | 0:22:03 | |
You can't yank her away. | 0:22:03 | 0:22:05 | |
But Uncle Felix isn't going to be baby-sitting | 0:22:05 | 0:22:08 | |
while you negotiate custody. | 0:22:08 | 0:22:09 | |
-Come on, Fe. -No. | 0:22:09 | 0:22:12 | |
I've got other drama in my life, Sarah. | 0:22:12 | 0:22:14 | |
Alison's musical opens tomorrow. She needs me. | 0:22:14 | 0:22:18 | |
There's no place for me here. | 0:22:24 | 0:22:26 | |
Nothing more to say. | 0:22:32 | 0:22:35 | |
Except goodbye to Kira. | 0:22:35 | 0:22:36 | |
You ready? | 0:22:47 | 0:22:48 | |
Hey, I take it you did a rotation in pathology, Dr Cormier. | 0:23:15 | 0:23:19 | |
I did. | 0:23:19 | 0:23:20 | |
Then... | 0:23:20 | 0:23:21 | |
COUGHING | 0:23:21 | 0:23:23 | |
A...Are you OK? | 0:23:23 | 0:23:25 | |
Mm-hmm. | 0:23:25 | 0:23:27 | |
Yeah. Yeah, I'm fine. | 0:23:29 | 0:23:31 | |
OK. Are you fine to help me with this? | 0:23:31 | 0:23:33 | |
Yeah, yeah, yeah, yeah, I'm fine. | 0:23:33 | 0:23:34 | |
So, as you can see, the intestine has been tied off, | 0:23:34 | 0:23:38 | |
so I'm going to cut it free. | 0:23:38 | 0:23:39 | |
So what are those sores, um, on her lips? | 0:23:39 | 0:23:44 | |
Oh, look, from the cyclophosphamide treatment. | 0:23:44 | 0:23:47 | |
The same reason she lost her hair. | 0:23:47 | 0:23:49 | |
So, um, it's not Wegener's granulomatosis | 0:23:49 | 0:23:53 | |
or Churg-Strauss Syndrome. | 0:23:53 | 0:23:55 | |
It's got to be autoimmune, right? | 0:23:55 | 0:23:57 | |
Yes, but unclassified. | 0:23:57 | 0:23:59 | |
And immunosuppressives had limited effect. | 0:23:59 | 0:24:02 | |
But look, on the uterine wall. | 0:24:02 | 0:24:05 | |
The growths, they're more pronounced, more mature. | 0:24:05 | 0:24:08 | |
-Right. -So this could mean that they have originated | 0:24:08 | 0:24:11 | |
in the uterus and spread from there. | 0:24:11 | 0:24:13 | |
That could be the cause of her infertility. | 0:24:13 | 0:24:15 | |
Possibly. | 0:24:15 | 0:24:17 | |
PHONE RINGS | 0:24:19 | 0:24:20 | |
No, now's not a good time. | 0:24:20 | 0:24:22 | |
Sorry, it's my mom. | 0:24:22 | 0:24:25 | |
Sorry, I'm kind of in the middle of it. | 0:24:26 | 0:24:29 | |
Red alert, Cosima. I've just been approached by another monitor, | 0:24:29 | 0:24:32 | |
which means they know I know about Donnie, | 0:24:32 | 0:24:34 | |
which means you definitely can't trust Delphine. | 0:24:34 | 0:24:37 | |
That's complicated. | 0:24:40 | 0:24:41 | |
Complicated? My play opens tomorrow. | 0:24:41 | 0:24:43 | |
Your play. | 0:24:43 | 0:24:44 | |
Don't belittle me, Cosima. | 0:24:44 | 0:24:46 | |
Felix is gone. Sarah's gone. | 0:24:46 | 0:24:49 | |
You and I are the only ones who can hold down the fort now. | 0:24:49 | 0:24:52 | |
Look, I'm having enough trouble holding down my own fort today. | 0:24:52 | 0:24:55 | |
Sorry to bother you with the very crucial information | 0:24:55 | 0:24:58 | |
that I'm being double monitored. | 0:24:58 | 0:25:00 | |
I'm sorry, OK? | 0:25:00 | 0:25:02 | |
Just go through the motions with Donnie, OK? Uh, uh... | 0:25:02 | 0:25:06 | |
Break a leg, or whatever. | 0:25:07 | 0:25:09 | |
I'll call you tomorrow, OK? | 0:25:09 | 0:25:11 | |
Unless Delphine blackbags you into the back of an SUV | 0:25:11 | 0:25:13 | |
and then puts you in a rabbit cage somewhere. | 0:25:13 | 0:25:16 | |
Then, I'll never speak to you again. | 0:25:16 | 0:25:17 | |
Hey, you. Hey. Hatha yoga today. | 0:25:47 | 0:25:50 | |
It's mostly an older crowd, but at least | 0:25:50 | 0:25:53 | |
I don't get hipster dudes staring at my ass, right? | 0:25:53 | 0:25:55 | |
So you must be in that play that starts today. | 0:25:55 | 0:25:58 | |
Look, I know what you're doing, Angie. | 0:25:58 | 0:26:00 | |
If that's even your real name. So you can just go back to your bosses | 0:26:00 | 0:26:04 | |
and tell them it didn't work. | 0:26:04 | 0:26:06 | |
OK, wait. Wait! You're right. | 0:26:06 | 0:26:09 | |
OK. I'm a police officer. | 0:26:10 | 0:26:13 | |
Yeah, like Beth. | 0:26:13 | 0:26:16 | |
So why don't you tell me about that, huh? | 0:26:16 | 0:26:19 | |
How about Sarah Manning? | 0:26:20 | 0:26:22 | |
Look, I can help you. | 0:26:22 | 0:26:23 | |
But you got to tell me what you know. | 0:26:24 | 0:26:26 | |
You stay away from me. | 0:26:28 | 0:26:30 | |
Hey. She's out like a light. | 0:26:48 | 0:26:50 | |
She wanted me to say goodnight. | 0:26:52 | 0:26:54 | |
You know, back then, when you left, | 0:26:56 | 0:26:58 | |
it took me a long time to admit to myself that I'd been played. | 0:26:58 | 0:27:02 | |
Yeah, well, | 0:27:04 | 0:27:06 | |
what you don't know is that | 0:27:06 | 0:27:09 | |
I already had all your bank codes and passwords. | 0:27:09 | 0:27:11 | |
I was going to take you for everything you had, | 0:27:11 | 0:27:15 | |
-selling your company. -Why didn't you? | 0:27:15 | 0:27:17 | |
You just made it... | 0:27:17 | 0:27:18 | |
..hard. I'm not that person any more, Cal, but, | 0:27:19 | 0:27:23 | |
I'm still just as much trouble. | 0:27:23 | 0:27:25 | |
-Get down. -What? | 0:27:25 | 0:27:27 | |
Hide. Local cop. | 0:27:28 | 0:27:30 | |
-Shit! -You want to say hi? | 0:27:30 | 0:27:32 | |
Hey, Tom! | 0:27:37 | 0:27:38 | |
Great to see you, man. | 0:27:38 | 0:27:40 | |
-Cal. -How's that spey rod working out? | 0:27:40 | 0:27:42 | |
Oh, I don't know how you cast that thing. 16 feet long. | 0:27:42 | 0:27:46 | |
I spend half the day tangled in the bushes. | 0:27:46 | 0:27:48 | |
-You know you're supposed to use it on the water, right? -Right. | 0:27:48 | 0:27:51 | |
So what's going on? | 0:27:51 | 0:27:53 | |
Oh, a bunch of nothing, probably. | 0:27:53 | 0:27:56 | |
Some shoplifters hit up the store. | 0:27:56 | 0:27:58 | |
-A mom with a little girl and another guy. -Yeah? | 0:27:58 | 0:28:00 | |
And I found a stolen truck just down the way. | 0:28:00 | 0:28:04 | |
May be connected. Not sure. | 0:28:04 | 0:28:06 | |
Huh. Well, it's been all quiet here, since I got back last night. | 0:28:06 | 0:28:09 | |
Yeah, well... | 0:28:09 | 0:28:11 | |
You know I've never asked any questions about why you moved here. | 0:28:13 | 0:28:16 | |
Or about that little weed patch you got out back. | 0:28:16 | 0:28:19 | |
Come on, man. | 0:28:19 | 0:28:21 | |
Look, all I'm saying is I'd like to think you can trust me, by now. | 0:28:21 | 0:28:24 | |
Tom, if I thought there was anything you should know, I'd tell you. | 0:28:24 | 0:28:29 | |
Good enough. | 0:28:35 | 0:28:36 | |
'Night. | 0:28:36 | 0:28:38 | |
See you later. | 0:28:38 | 0:28:40 | |
I shouldn't have put you in that position. | 0:28:56 | 0:28:58 | |
-Oh, come on, it's all right. He's a friend. -No. | 0:28:58 | 0:29:02 | |
-He's not going to say anything. He's gone. -No, no. We're gone, too, man. | 0:29:02 | 0:29:05 | |
-Now? -Yeah. -Kira's sleeping. | 0:29:05 | 0:29:07 | |
Yeah, well, she's used to it. | 0:29:07 | 0:29:09 | |
Come on, come on, just hold on. Where are you going to go? | 0:29:11 | 0:29:14 | |
-Just... I don't know, somewhere. -Tell me what's going on here. | 0:29:14 | 0:29:17 | |
-It's not your problem. -You're safe here. | 0:29:17 | 0:29:19 | |
-I can't trust that, Cal. -Trust me. | 0:29:19 | 0:29:21 | |
Can't you stop running for a minute? | 0:29:23 | 0:29:25 | |
THEY DO VOCAL EXERCISES | 0:30:10 | 0:30:12 | |
OK, troupe. | 0:30:19 | 0:30:22 | |
Troupe, let's gather. | 0:30:22 | 0:30:23 | |
Kelsey, everyone. Alison. | 0:30:23 | 0:30:26 | |
Alison. | 0:30:26 | 0:30:28 | |
Sorry. Let's gather. | 0:30:28 | 0:30:30 | |
Everyone, join hands, please. | 0:30:30 | 0:30:32 | |
OK, today's performance is dedicated | 0:30:35 | 0:30:39 | |
to our dearly departed Aynsley. | 0:30:39 | 0:30:41 | |
Aynsley, we know you're with us | 0:30:52 | 0:30:55 | |
and we are going to do you proud. | 0:30:55 | 0:30:58 | |
For Aynsley. | 0:31:14 | 0:31:15 | |
ALL: For Aynsley! | 0:31:15 | 0:31:17 | |
Oh, Sheila, why didn't you just tell me the truth? | 0:31:22 | 0:31:26 | |
You would've turned me in. | 0:31:26 | 0:31:28 | |
You... | 0:31:28 | 0:31:30 | |
You never... | 0:31:30 | 0:31:31 | |
"You would never!" | 0:31:33 | 0:31:35 | |
You would never have helped me, unless you were wrapped up in it. | 0:31:35 | 0:31:39 | |
Too. | 0:31:39 | 0:31:41 | |
I would've helped you clean up, anyway. | 0:31:41 | 0:31:44 | |
# Forgive me, forgive me | 0:31:50 | 0:31:53 | |
# Oh, God, what have I done? | 0:31:55 | 0:31:57 | |
# I should have known that this would be the ending to the story | 0:32:00 | 0:32:05 | |
# We've begun | 0:32:05 | 0:32:09 | |
# Now I'm merry | 0:32:09 | 0:32:13 | |
# Someday I knew | 0:32:13 | 0:32:14 | |
# I'd find somebody | 0:32:14 | 0:32:16 | |
# To make me complete | 0:32:16 | 0:32:19 | |
# I walk down the aisle... # | 0:32:19 | 0:32:22 | |
Alison. Someone get a doctor! Someone get a doctor. | 0:32:22 | 0:32:24 | |
Honey, are you OK? | 0:32:24 | 0:32:26 | |
Ali? Oh, my God. Don't just stand there. Go get some help! | 0:32:26 | 0:32:29 | |
You don't want to confuse Kira, huh? | 0:32:45 | 0:32:48 | |
Good intuition. | 0:32:48 | 0:32:49 | |
Guess that's where she gets it. | 0:32:51 | 0:32:53 | |
Coffee? | 0:33:02 | 0:33:03 | |
Yeah. | 0:33:03 | 0:33:05 | |
Name's Peter White. I'm a detective from Gresham. | 0:33:05 | 0:33:09 | |
Looking for a little girl in a custody case. | 0:33:09 | 0:33:11 | |
With a dark-haired woman in her 20s, British accent. | 0:33:11 | 0:33:14 | |
-They stole a truck that was up here. -Yeah They were here yesterday. | 0:33:14 | 0:33:18 | |
They distracted me while some new-waver stole a bunch of food. | 0:33:18 | 0:33:22 | |
New-waver, huh? Sounds like 'em. | 0:33:22 | 0:33:25 | |
Any idea where they might be headed? | 0:33:25 | 0:33:26 | |
I hear you're not happy with our plans for Helena. | 0:34:31 | 0:34:34 | |
She doesn't belong here. | 0:34:34 | 0:34:35 | |
No, you're scared. | 0:34:35 | 0:34:37 | |
I understand that, but what do we say about fear? | 0:34:37 | 0:34:40 | |
Doubt's first cousin, am I right? | 0:34:40 | 0:34:42 | |
You have doubts, Gracie? | 0:34:45 | 0:34:47 | |
No. | 0:34:47 | 0:34:49 | |
C'mere. | 0:34:49 | 0:34:50 | |
Close your eyes. | 0:34:53 | 0:34:55 | |
What do you hear? | 0:34:55 | 0:34:57 | |
-The wind. -Mm-hmm. | 0:35:00 | 0:35:01 | |
The men, working. | 0:35:03 | 0:35:04 | |
Him. You hear him, don't you? | 0:35:04 | 0:35:07 | |
-Yes. -Yeah. | 0:35:09 | 0:35:10 | |
Gracie, you're my first-born, but Helena does have a soul, | 0:35:14 | 0:35:17 | |
she does have a purpose, | 0:35:17 | 0:35:19 | |
and she is going to be a part of our family now. | 0:35:19 | 0:35:22 | |
That's what tomorrow's all about. | 0:35:22 | 0:35:24 | |
I'm guessing you're the detective been asking questions in town. | 0:35:36 | 0:35:40 | |
Yeah. Sorry I didn't pop by to say hello, but time is of the essence. | 0:35:40 | 0:35:44 | |
Hmm. | 0:35:44 | 0:35:47 | |
Any help you could provide would be much appreciated. | 0:35:47 | 0:35:50 | |
Well, if the folks you're looking for were still around, | 0:35:50 | 0:35:53 | |
they'd be in custody. | 0:35:53 | 0:35:54 | |
Guess I'll be on my way, then. | 0:35:54 | 0:35:56 | |
Probably best. | 0:35:56 | 0:35:58 | |
-Last card. -Uh-oh. | 0:36:09 | 0:36:11 | |
I win! | 0:36:13 | 0:36:14 | |
-Aw, no! You're a shark! -She beat you. | 0:36:14 | 0:36:17 | |
-Can I go feed the chickens again, Cal? -Sure. Go for it. | 0:36:17 | 0:36:21 | |
Those are going to be some fat chickens. | 0:36:29 | 0:36:32 | |
You going to tell me what's going on? | 0:36:34 | 0:36:37 | |
No, I'm not going to put that shit on you. | 0:36:37 | 0:36:40 | |
Mummy! | 0:36:51 | 0:36:53 | |
Uh-oh. What does that mean? | 0:36:53 | 0:36:55 | |
Mummy! | 0:36:55 | 0:36:56 | |
Mummy! | 0:36:56 | 0:36:58 | |
Shit. Kira! | 0:36:58 | 0:37:01 | |
She's fine! Just get in the car and she'll stay that way. | 0:37:01 | 0:37:04 | |
Don't...Don't hurt her! | 0:37:04 | 0:37:06 | |
You... Get back in the house, Cal. | 0:37:06 | 0:37:08 | |
He's got nothing to do with this. | 0:37:08 | 0:37:10 | |
-Yeah? He does now. -No! | 0:37:10 | 0:37:12 | |
Kira! Kira, run! | 0:37:12 | 0:37:14 | |
Mummy! | 0:37:18 | 0:37:19 | |
Take her inside, Cal! | 0:37:19 | 0:37:21 | |
-Get up! Get up! -Mummy! | 0:37:21 | 0:37:23 | |
You shot a cop. You madman! | 0:37:29 | 0:37:30 | |
1033. | 0:37:30 | 0:37:32 | |
1033. | 0:37:32 | 0:37:34 | |
Get up! Get up! | 0:37:34 | 0:37:36 | |
-POLICE RADIO: -'Tom, we're sending...' | 0:37:36 | 0:37:38 | |
No! No! | 0:37:38 | 0:37:39 | |
'They'll be there momentarily.' | 0:37:39 | 0:37:41 | |
Come on. | 0:37:41 | 0:37:43 | |
'Tom, Tom, do you copy?' | 0:37:43 | 0:37:45 | |
Cal! | 0:37:48 | 0:37:49 | |
-Send out the girl! -No! | 0:37:49 | 0:37:51 | |
Not going to happen. | 0:37:51 | 0:37:52 | |
Take me. | 0:37:52 | 0:37:55 | |
Please, just take me. Please! | 0:37:55 | 0:37:58 | |
Huh, what's this? | 0:38:06 | 0:38:08 | |
Get in. You're driving. | 0:38:10 | 0:38:11 | |
Get in! | 0:38:11 | 0:38:13 | |
Miracle on top of miracle. | 0:38:36 | 0:38:39 | |
Although we are small in rank, | 0:38:47 | 0:38:49 | |
we have broken away from the old world | 0:38:49 | 0:38:52 | |
because we know what they do not... | 0:38:52 | 0:38:54 | |
Man's work is God's work, | 0:38:54 | 0:38:57 | |
as long as you do it in God's name. | 0:38:57 | 0:39:00 | |
Helena, | 0:39:00 | 0:39:01 | |
was created by man, not in his name, | 0:39:01 | 0:39:03 | |
but God shone his light down upon her. | 0:39:03 | 0:39:07 | |
Shh-shh-shh. Shh-shh-shh! | 0:39:15 | 0:39:17 | |
You are hereby bound together before God. | 0:39:20 | 0:39:23 | |
Lord, we are asking you, as simply as we can... | 0:39:25 | 0:39:30 | |
reclaim Helena from eternal damnation. | 0:39:30 | 0:39:34 | |
Bless us with your bounty. | 0:39:34 | 0:39:36 | |
We are your instruments | 0:39:36 | 0:39:39 | |
in the war for creation. | 0:39:39 | 0:39:42 | |
Amen. | 0:39:46 | 0:39:47 | |
ALL: Amen. | 0:39:47 | 0:39:49 | |
Where'd you get this? | 0:40:20 | 0:40:22 | |
I'm not telling you shit. | 0:40:22 | 0:40:24 | |
Yeah, I have Sarah, but not the girl. | 0:40:24 | 0:40:26 | |
Look, don't worry. I know who she's with. | 0:40:26 | 0:40:28 | |
We have another problem, here. | 0:40:28 | 0:40:30 | |
She has a photo, project Lida, '77. | 0:40:30 | 0:40:33 | |
We'll be back in eight hours. | 0:40:33 | 0:40:36 | |
Look, Kira's got nothing to do with this. | 0:40:37 | 0:40:41 | |
She's your daughter. | 0:40:41 | 0:40:42 | |
You touch her, and I will bury you. | 0:40:42 | 0:40:44 | |
Just drive. | 0:40:44 | 0:40:46 | |
I demand to speak to Dr Leekie, right this second! | 0:40:50 | 0:40:53 | |
You're trespassing, Detective Bell. | 0:40:53 | 0:40:54 | |
-Dad, it's awake. -She's part of the family, now, Gracie. | 0:40:54 | 0:40:58 | |
-Henrik! -Does that mean that Mrs S knew the whole time? | 0:40:58 | 0:41:01 | |
What else is she not bloody telling us? | 0:41:01 | 0:41:03 | |
20 years ago, you brought an orphan to my door. | 0:41:03 | 0:41:06 | |
She's the key to all of this. | 0:41:06 | 0:41:08 |