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This programme contains some violent scenes and scenes which some viewers may find upsetting | 0:00:02 | 0:00:06 | |
You're about the only person I trust to figure the whole thing out. | 0:00:06 | 0:00:08 | |
-You need a warrant for Sarah Manning. -They can tell us apart by our DNA. -Dig faster. | 0:00:08 | 0:00:12 | |
Well, she's not only researching her own biology, | 0:00:12 | 0:00:14 | |
but she is aware of eight others. | 0:00:14 | 0:00:16 | |
You know, I've never been with a woman before. | 0:00:16 | 0:00:18 | |
-Yeah, it showed. -Maybe it's not just Aynsley. Maybe they're all monitors. | 0:00:18 | 0:00:21 | |
You want to mess with my life? I'm going to mess with yours. | 0:00:21 | 0:00:24 | |
-SARAH: -I'm about to give Helena to Leekie. | 0:00:24 | 0:00:25 | |
Sorry. She said she'd be here. | 0:00:25 | 0:00:27 | |
I grew up pure in a convent in Ukraine. | 0:00:27 | 0:00:30 | |
No! | 0:00:30 | 0:00:31 | |
-Where's Helena? -I tied her up in the trunk. | 0:00:31 | 0:00:33 | |
-HELENA: -Sarah! | 0:00:33 | 0:00:35 | |
Sarah, this is Amelia. | 0:00:35 | 0:00:37 | |
I'm your birth mother. | 0:00:37 | 0:00:38 | |
I had twins. One to the state | 0:00:38 | 0:00:40 | |
and one to the church. | 0:00:40 | 0:00:41 | |
Helena. | 0:00:41 | 0:00:43 | |
Ready? | 0:01:09 | 0:01:10 | |
Yes. | 0:01:10 | 0:01:11 | |
I carried you both. I need to see her. | 0:01:11 | 0:01:13 | |
I don't think that nine months of gestation | 0:01:13 | 0:01:15 | |
entitles her to risk us all. | 0:01:15 | 0:01:17 | |
Hey, look, Helena's my twin sister. | 0:01:17 | 0:01:20 | |
She has a right to know. | 0:01:20 | 0:01:21 | |
Because you shared a womb? | 0:01:21 | 0:01:23 | |
Helena. Is. Dangerous. | 0:01:23 | 0:01:25 | |
She's had her whole world turned inside out, | 0:01:25 | 0:01:27 | |
just like I have. | 0:01:27 | 0:01:30 | |
How Helena takes this | 0:01:30 | 0:01:31 | |
determines what we do with her. | 0:01:31 | 0:01:33 | |
I need to see you privately, | 0:01:47 | 0:01:49 | |
away from here. | 0:01:49 | 0:01:50 | |
What for? | 0:01:50 | 0:01:52 | |
I have something for you. | 0:01:52 | 0:01:53 | |
From back then, | 0:01:53 | 0:01:54 | |
about my in-vitro treatments. | 0:01:54 | 0:01:56 | |
OK, I've got a place | 0:01:56 | 0:01:59 | |
we can meet. | 0:01:59 | 0:02:01 | |
Helena, | 0:02:01 | 0:02:03 | |
this is Amelia, your birth mum. | 0:02:03 | 0:02:05 | |
SHE LAUGHS | 0:02:09 | 0:02:10 | |
Eh, look. Hey! | 0:02:10 | 0:02:13 | |
You listen to what she has to say, | 0:02:13 | 0:02:15 | |
or I'll put you right back in the trunk | 0:02:15 | 0:02:16 | |
and I'll take you straight to Leekie. | 0:02:16 | 0:02:19 | |
How can you be my birth mother? | 0:02:26 | 0:02:29 | |
Helena, | 0:02:29 | 0:02:30 | |
I am birth mother to you both. | 0:02:30 | 0:02:32 | |
Who's here? | 0:02:58 | 0:03:00 | |
Ah... monkey, you're not supposed to be up! | 0:03:00 | 0:03:04 | |
What's the matter, love? | 0:03:04 | 0:03:06 | |
I think something bad | 0:03:06 | 0:03:07 | |
is going to happen again. | 0:03:07 | 0:03:09 | |
Yeah, that's what this is, | 0:03:09 | 0:03:12 | |
our connection. | 0:03:12 | 0:03:13 | |
We were implanted by doctors, | 0:03:13 | 0:03:15 | |
all of us. | 0:03:15 | 0:03:16 | |
You split inside me, into two baby girls | 0:03:16 | 0:03:19 | |
and I hid you because | 0:03:19 | 0:03:21 | |
I felt you were in danger. | 0:03:21 | 0:03:24 | |
Sestra... | 0:03:24 | 0:03:26 | |
You're my twin sister. | 0:03:28 | 0:03:30 | |
I don't want to be your sister, meathead. | 0:03:30 | 0:03:34 | |
Look, I just want you to know | 0:03:34 | 0:03:36 | |
you're not the original. | 0:03:36 | 0:03:37 | |
Got it? You were born of science, | 0:03:37 | 0:03:40 | |
not of some immaculate womb, | 0:03:40 | 0:03:43 | |
or whatever bullshit Tomas fed you. | 0:03:43 | 0:03:44 | |
POUNDING ON DOOR | 0:03:44 | 0:03:46 | |
POUNDING | 0:03:46 | 0:03:49 | |
POUNDING | 0:03:49 | 0:03:52 | |
POUNDING | 0:03:52 | 0:03:53 | |
GRUNTING | 0:03:53 | 0:03:55 | |
ART: This is the police! | 0:03:55 | 0:03:57 | |
-Shit. Sarah! -DEANGELIS: We have a warrant! | 0:03:57 | 0:03:59 | |
ART: This is your last warning! | 0:04:02 | 0:04:04 | |
Sit down. You're just visiting. | 0:04:04 | 0:04:06 | |
ART: Sarah Manning! | 0:04:11 | 0:04:12 | |
Come out with your hands up! - Come out now! | 0:04:12 | 0:04:14 | |
Put your hands on your head! | 0:04:20 | 0:04:22 | |
Turn around! MAN: Hands up, now! | 0:04:22 | 0:04:24 | |
Sarah Manning, you're under arrest. | 0:04:27 | 0:04:30 | |
HANDCUFFS RATCHET | 0:04:37 | 0:04:40 | |
Let's go. | 0:04:40 | 0:04:41 | |
Sarah. | 0:05:28 | 0:05:29 | |
I still see Beth. | 0:05:31 | 0:05:32 | |
I didn't kill her, Art. | 0:05:32 | 0:05:35 | |
No. | 0:05:35 | 0:05:37 | |
You watched her commit suicide | 0:05:37 | 0:05:39 | |
and then you went straight for her wallet. | 0:05:39 | 0:05:42 | |
Beckwith finished | 0:05:46 | 0:05:47 | |
Jane Doe's facial reconstruction. | 0:05:47 | 0:05:49 | |
Who's this one? | 0:05:49 | 0:05:52 | |
You've been obstructing this investigation | 0:05:52 | 0:05:55 | |
from the minute you took over Beth's life. | 0:05:55 | 0:05:57 | |
You're the prime suspect, Sarah. | 0:05:57 | 0:05:58 | |
I didn't kill her, Art! | 0:05:58 | 0:06:00 | |
You know who did? | 0:06:00 | 0:06:03 | |
We've got your foster brother Felix | 0:06:03 | 0:06:05 | |
in custody for abetting and your daughter? | 0:06:05 | 0:06:07 | |
She's going to be one lonely little girl, | 0:06:07 | 0:06:09 | |
unless you start talking! | 0:06:09 | 0:06:10 | |
You wouldn't believe it. | 0:06:10 | 0:06:12 | |
Yeah? | 0:06:12 | 0:06:15 | |
Try me. | 0:06:15 | 0:06:18 | |
Good, slide it out again, go. | 0:06:18 | 0:06:20 | |
Go, come on, feel it work. Go. | 0:06:20 | 0:06:23 | |
Mnh! Push it up. | 0:06:23 | 0:06:24 | |
You got it. Clap it high. | 0:06:24 | 0:06:26 | |
You know what? | 0:06:26 | 0:06:27 | |
Slide it out for 2. Here's 2. | 0:06:27 | 0:06:29 | |
DOORBELL RINGS | 0:06:29 | 0:06:31 | |
Slide it to the right again. Go... | 0:06:31 | 0:06:33 | |
Mnh! | 0:06:33 | 0:06:34 | |
HUMMING | 0:06:34 | 0:06:36 | |
Yes? | 0:06:46 | 0:06:47 | |
Alison! | 0:06:47 | 0:06:50 | |
Dr Aldous Leekie. | 0:06:50 | 0:06:51 | |
It's a lovely home. | 0:06:51 | 0:06:53 | |
I'm warning you... | 0:06:53 | 0:06:54 | |
I'm armed. | 0:06:54 | 0:06:56 | |
What do you want? | 0:06:56 | 0:06:58 | |
To make amends. | 0:06:58 | 0:06:59 | |
So, you want me to sign a contract. | 0:07:02 | 0:07:05 | |
No, more like a treaty... | 0:07:05 | 0:07:07 | |
Rules both sides will abide by. | 0:07:07 | 0:07:09 | |
Even though everything you've done is illegal. | 0:07:09 | 0:07:11 | |
You must think I'm so stupid. | 0:07:11 | 0:07:13 | |
Stupid, suburban Alison. | 0:07:13 | 0:07:15 | |
Quite the opposite. | 0:07:15 | 0:07:16 | |
You're a pragmatic and decisive individual | 0:07:16 | 0:07:19 | |
and, now that you're self-aware, | 0:07:19 | 0:07:21 | |
we can start to answer some of your questions. | 0:07:21 | 0:07:23 | |
I don't want answers any more. | 0:07:23 | 0:07:25 | |
I want my life back. | 0:07:25 | 0:07:27 | |
I want my family back, I want my privacy back, | 0:07:27 | 0:07:30 | |
I want you out of my life! | 0:07:30 | 0:07:32 | |
And I want things to be normal again. | 0:07:32 | 0:07:34 | |
I'm so glad you said so. | 0:07:35 | 0:07:37 | |
This enshrines your family's freedom, | 0:07:39 | 0:07:43 | |
guarantees protection | 0:07:43 | 0:07:44 | |
from the likes of Helena, | 0:07:44 | 0:07:46 | |
and ensures you'll be unmonitored. | 0:07:46 | 0:07:49 | |
Unmonitored? | 0:07:49 | 0:07:50 | |
Yes. | 0:07:50 | 0:07:52 | |
But in return, you agree | 0:07:52 | 0:07:54 | |
to twice-yearly medical testing, | 0:07:54 | 0:07:56 | |
private and non-invasive. | 0:07:56 | 0:07:58 | |
I don't want to scare you, but, | 0:07:58 | 0:08:01 | |
there are health concerns... | 0:08:01 | 0:08:03 | |
Katja's respiratory disorder, | 0:08:03 | 0:08:06 | |
Helena's mental illness. | 0:08:06 | 0:08:08 | |
Regular testing is | 0:08:08 | 0:08:09 | |
in everyone's best interest. | 0:08:09 | 0:08:11 | |
So... | 0:08:11 | 0:08:13 | |
read it over, | 0:08:13 | 0:08:16 | |
discuss it with Sarah and Cosima. | 0:08:16 | 0:08:18 | |
And, as a gesture of good faith, | 0:08:18 | 0:08:20 | |
your monitor has been lifted. | 0:08:20 | 0:08:22 | |
She has? | 0:08:22 | 0:08:24 | |
Mm-hmm. | 0:08:24 | 0:08:25 | |
Don't get up. | 0:08:25 | 0:08:28 | |
You purposely misidentified the body of a police officer. | 0:08:38 | 0:08:41 | |
It was a terrible case of mistaken identity. | 0:08:41 | 0:08:44 | |
You know it's fraud by false representation. | 0:08:44 | 0:08:47 | |
That's two to five with your priors. | 0:08:47 | 0:08:48 | |
I thought it was my sister. | 0:08:48 | 0:08:50 | |
You know, | 0:08:50 | 0:08:52 | |
Angela Deangelis, | 0:08:52 | 0:08:53 | |
I'm actually quite a fan. | 0:08:53 | 0:08:54 | |
Hmm. | 0:08:54 | 0:08:57 | |
But you really need to get laid. | 0:08:57 | 0:08:59 | |
BOTH CHUCKLE | 0:08:59 | 0:09:00 | |
Yeah, tell me about it. | 0:09:00 | 0:09:02 | |
But all I seem to meet are gay men. | 0:09:02 | 0:09:04 | |
So, | 0:09:04 | 0:09:06 | |
public defender, then, is it? | 0:09:06 | 0:09:08 | |
We'll get you a real shitty one. | 0:09:08 | 0:09:10 | |
Thank you. | 0:09:18 | 0:09:19 | |
SHE COUGHS | 0:09:23 | 0:09:24 | |
Cosima! | 0:09:40 | 0:09:41 | |
Please, | 0:09:41 | 0:09:43 | |
don't be alarmed. | 0:09:43 | 0:09:45 | |
I'm beyond alarmed. I'm pissed. | 0:09:45 | 0:09:47 | |
Let me give you a lift to your hotel. | 0:09:47 | 0:09:49 | |
I have an offer you may find interesting. | 0:09:49 | 0:09:52 | |
It's your phone. | 0:09:57 | 0:09:58 | |
Well, it's Beth's phone, actually. | 0:09:58 | 0:10:02 | |
So help me wrap my head | 0:10:04 | 0:10:06 | |
around this. | 0:10:06 | 0:10:07 | |
-SARAH: -Art, if you're hearing this, | 0:10:07 | 0:10:09 | |
you found the body. | 0:10:09 | 0:10:11 | |
It's not Beth. It's me. | 0:10:11 | 0:10:14 | |
My name is Sarah Manning and... | 0:10:14 | 0:10:16 | |
you're about the only person I trust | 0:10:16 | 0:10:18 | |
to figure the whole thing out. | 0:10:18 | 0:10:19 | |
DISCONNECTS | 0:10:19 | 0:10:21 | |
Sarah, my partner killed herself. | 0:10:26 | 0:10:28 | |
And I didn't see it coming. | 0:10:28 | 0:10:30 | |
Help me. | 0:10:30 | 0:10:33 | |
Help Beth. | 0:10:33 | 0:10:35 | |
I know you care. | 0:10:35 | 0:10:38 | |
There's a reason | 0:10:38 | 0:10:39 | |
we look exactly the same, Art. | 0:10:39 | 0:10:42 | |
OK. | 0:10:43 | 0:10:46 | |
Why the prints match, | 0:10:46 | 0:10:50 | |
and the DNA's all screwed up. | 0:10:50 | 0:10:55 | |
But you have to promise | 0:10:55 | 0:10:58 | |
to protect me and my daughter. | 0:10:58 | 0:11:00 | |
I will. If that's what you need, | 0:11:00 | 0:11:03 | |
I promise. | 0:11:03 | 0:11:05 | |
SHE SNIFFLES | 0:11:10 | 0:11:11 | |
Detective, this interview is over. | 0:11:11 | 0:11:13 | |
-What is this? -Sorry, Art. | 0:11:13 | 0:11:15 | |
Miss Manning, I'm your lawyer, | 0:11:15 | 0:11:17 | |
Daniel Rosen. | 0:11:17 | 0:11:19 | |
Unshackle her, please. | 0:11:19 | 0:11:21 | |
Miss Manning will be leaving with me. | 0:11:21 | 0:11:24 | |
Thank you, gentlemen. Miss Manning... | 0:11:27 | 0:11:30 | |
This is an employment contract | 0:11:38 | 0:11:40 | |
for the Dyad Institute. | 0:11:40 | 0:11:41 | |
Very generous compensation. | 0:11:41 | 0:11:44 | |
We want to work with you, Cosima. | 0:11:44 | 0:11:45 | |
-SCOFFING: -You've got to be kidding me. | 0:11:45 | 0:11:48 | |
This is your complete sequenced genome. | 0:11:48 | 0:11:51 | |
3.2 billion base pairs. | 0:11:51 | 0:11:55 | |
My offer | 0:11:55 | 0:11:56 | |
is the freedom to study yourself | 0:11:56 | 0:11:59 | |
and your sisters. | 0:11:59 | 0:12:01 | |
Unfettered research. | 0:12:01 | 0:12:04 | |
We share the same concerns, | 0:12:05 | 0:12:08 | |
the same questions about organism stability, | 0:12:08 | 0:12:10 | |
but nobody... nobody... | 0:12:10 | 0:12:12 | |
is more invested in your own biology than you! | 0:12:12 | 0:12:15 | |
It's yours. | 0:12:15 | 0:12:17 | |
Just think about it. | 0:12:17 | 0:12:20 | |
Where are you taking me? | 0:12:25 | 0:12:26 | |
We had your brother released as well. | 0:12:26 | 0:12:28 | |
Who's "we"? You work for Dr Leekie? | 0:12:28 | 0:12:30 | |
Indirectly. | 0:12:30 | 0:12:32 | |
Great, should've known. | 0:12:39 | 0:12:41 | |
Can we have a minute? | 0:12:41 | 0:12:43 | |
You left me hanging with Leekie | 0:12:48 | 0:12:49 | |
when you didn't show up with Helena. | 0:12:49 | 0:12:51 | |
Do you work for Leekie now? | 0:12:51 | 0:12:52 | |
They still have Afghanistan on me, | 0:12:52 | 0:12:54 | |
understand? | 0:12:54 | 0:12:55 | |
What is that? | 0:12:55 | 0:12:58 | |
You changed the game for everyone, Sarah. | 0:12:58 | 0:13:01 | |
Now, I can only help you from here. | 0:13:01 | 0:13:02 | |
Listen to what they have to say. | 0:13:02 | 0:13:06 | |
Do I have a choice? | 0:13:07 | 0:13:09 | |
Right. | 0:13:28 | 0:13:29 | |
Sarah Manning. | 0:13:29 | 0:13:31 | |
So, | 0:13:31 | 0:13:32 | |
my name is Rachel Duncan | 0:13:32 | 0:13:34 | |
and we are going to come to terms. | 0:13:34 | 0:13:36 | |
The agreement defines | 0:13:40 | 0:13:42 | |
mutual disclosure and formalises contact | 0:13:42 | 0:13:45 | |
with what I call "Top Side". | 0:13:45 | 0:13:47 | |
"Top Side"? | 0:13:47 | 0:13:49 | |
So is this the part where 20 more | 0:13:49 | 0:13:51 | |
of you robot bitches walk in for effect? | 0:13:51 | 0:13:53 | |
You're not an orphan any more, Sarah. | 0:13:53 | 0:13:56 | |
We found you | 0:13:56 | 0:13:58 | |
and my role is to transition you | 0:13:58 | 0:14:00 | |
to self-awareness. | 0:14:00 | 0:14:02 | |
A clone fixer. Brilliant. | 0:14:02 | 0:14:06 | |
You know, | 0:14:06 | 0:14:08 | |
maybe it's time I just embraced my clonage, | 0:14:08 | 0:14:10 | |
went on Oprah. | 0:14:10 | 0:14:12 | |
We could be famous, you and me. | 0:14:14 | 0:14:16 | |
We're not the enemy. | 0:14:16 | 0:14:18 | |
Helena and her ilk are | 0:14:18 | 0:14:20 | |
and we are going to help with that. | 0:14:20 | 0:14:22 | |
You want to help? Why don't you tell me why? | 0:14:22 | 0:14:25 | |
What am I doing, sat here, looking at you? What are we for? | 0:14:25 | 0:14:28 | |
Disclosure | 0:14:28 | 0:14:30 | |
is defined herein. | 0:14:30 | 0:14:32 | |
We want your trust. You want precious answers | 0:14:32 | 0:14:36 | |
that cut to the core of who you are. | 0:14:36 | 0:14:38 | |
But, above all, | 0:14:38 | 0:14:40 | |
I know you want to make the right choice for Kira. | 0:14:40 | 0:14:44 | |
You're very lucky. | 0:14:44 | 0:14:47 | |
Motherhood is wonderful. | 0:14:47 | 0:14:49 | |
The forces behind Helena will never stop, Sarah. | 0:14:54 | 0:14:58 | |
The most important thing in this for you | 0:14:58 | 0:15:00 | |
is protection | 0:15:00 | 0:15:02 | |
for you and your daughter. | 0:15:02 | 0:15:04 | |
-SHE SIGHS -Yeah, no, thanks. | 0:15:05 | 0:15:08 | |
-I'll get by on my own. -Scrambling to stay alive? | 0:15:08 | 0:15:11 | |
You'll remain free to live as you wish with Kira, | 0:15:11 | 0:15:15 | |
provided for - unmonitored, but available. | 0:15:15 | 0:15:18 | |
Call it "sovereignty association." | 0:15:18 | 0:15:21 | |
Yeah, like I said, | 0:15:21 | 0:15:23 | |
I'm not interested. | 0:15:23 | 0:15:26 | |
Take 24 hours to think about it. | 0:15:26 | 0:15:31 | |
Midnight tomorrow. | 0:15:31 | 0:15:33 | |
They're offering us security, a truce. | 0:15:36 | 0:15:40 | |
Rachel didn't feel like a truce. | 0:15:40 | 0:15:42 | |
She felt like a gun to the head. | 0:15:42 | 0:15:44 | |
OK, little reminder? | 0:15:44 | 0:15:45 | |
While you and I were being arrested, Helena escaped. | 0:15:45 | 0:15:48 | |
POUNDING ON DOOR | 0:15:48 | 0:15:49 | |
Yeah, thank you, Fe. Would you also like to remind me | 0:15:49 | 0:15:52 | |
my birth mum popped round | 0:15:52 | 0:15:53 | |
and Helena's my twin sister? | 0:15:53 | 0:15:55 | |
Ah, Jesus Murphy. | 0:15:55 | 0:16:00 | |
Hey. | 0:16:00 | 0:16:01 | |
Hi. | 0:16:01 | 0:16:04 | |
Hi. | 0:16:04 | 0:16:05 | |
Uh, Sarah, I | 0:16:07 | 0:16:10 | |
so should've listened to you | 0:16:10 | 0:16:12 | |
-about Delphine. -I... | 0:16:12 | 0:16:16 | |
You're all right. | 0:16:16 | 0:16:17 | |
A career at the Dyad Institute. | 0:16:26 | 0:16:28 | |
Yeah, studying us. | 0:16:28 | 0:16:30 | |
What are you going to do, Cosima? | 0:16:30 | 0:16:32 | |
Well, | 0:16:32 | 0:16:33 | |
we have to know our own biology. | 0:16:33 | 0:16:35 | |
That's what this is all about, right? | 0:16:35 | 0:16:38 | |
Maybe I can help us best | 0:16:38 | 0:16:40 | |
from the inside? | 0:16:40 | 0:16:43 | |
I want to know what you're going to do. | 0:16:43 | 0:16:45 | |
Well, I can't trust this Rachel bitch, can I? | 0:16:45 | 0:16:47 | |
Not if Kira's the first child of a clone, | 0:16:47 | 0:16:49 | |
scientifically unclassified. | 0:16:49 | 0:16:51 | |
She could be what Rachel's actually after. | 0:16:51 | 0:16:54 | |
Who is Rachel? Can someone tell me? | 0:16:54 | 0:16:56 | |
So she doesn't just show up at my door | 0:16:56 | 0:16:57 | |
and I have no idea who she is. | 0:16:57 | 0:16:59 | |
Amelia said | 0:16:59 | 0:17:00 | |
she heard her doctors, back in the day, | 0:17:00 | 0:17:02 | |
discussing a child raised by neolution. | 0:17:02 | 0:17:04 | |
She's a proclone? | 0:17:04 | 0:17:06 | |
God, you three are weird enough. | 0:17:06 | 0:17:09 | |
Well, if there won't be any more spies | 0:17:09 | 0:17:12 | |
in my life, if my kids are safe, | 0:17:12 | 0:17:14 | |
I'm sorry, | 0:17:14 | 0:17:15 | |
but I have to tell you I'm inclined to take the offer. | 0:17:15 | 0:17:19 | |
Yeah, that's OK. | 0:17:21 | 0:17:24 | |
That's totally your choice. | 0:17:24 | 0:17:26 | |
Yeah, no judgment. | 0:17:26 | 0:17:27 | |
MOBILE ALERT | 0:17:27 | 0:17:30 | |
Oh, shit. | 0:17:30 | 0:17:32 | |
Delphine just got off a plane. | 0:17:32 | 0:17:34 | |
Here? Stupid, needy bitch. | 0:17:34 | 0:17:37 | |
Right. | 0:17:37 | 0:17:39 | |
She wants to help, right? | 0:17:39 | 0:17:41 | |
Just like Art, Paul, and Rachel. | 0:17:41 | 0:17:43 | |
Everybody wants to help. | 0:17:43 | 0:17:45 | |
I'm going to Mrs S's. | 0:17:45 | 0:17:47 | |
I want to be there when Kira wakes up. | 0:17:47 | 0:17:49 | |
I'll catch up. | 0:17:49 | 0:17:50 | |
Yeah, I mean, we make our own decisions, but I wouldn't trust anybody. | 0:17:50 | 0:17:56 | |
DEANGELIS: Katja Obinger. | 0:17:56 | 0:17:57 | |
-German? -Yeah. | 0:17:57 | 0:18:00 | |
We finally ID'ed our Jane Doe | 0:18:00 | 0:18:01 | |
and she falls under Federal jurisdiction. | 0:18:01 | 0:18:04 | |
This whole thing reeks. | 0:18:04 | 0:18:06 | |
Hey, you still want to get to the bottom | 0:18:08 | 0:18:10 | |
of Sarah Manning? | 0:18:10 | 0:18:12 | |
I found a known associate. | 0:18:15 | 0:18:17 | |
I guess my turning point was | 0:18:20 | 0:18:22 | |
when the love of my life... | 0:18:22 | 0:18:23 | |
Let's just call her "Sarah"... | 0:18:23 | 0:18:25 | |
Sarah broke up with me by faking her own death, | 0:18:25 | 0:18:29 | |
initiating events which began | 0:18:31 | 0:18:33 | |
with the loss of my finger, | 0:18:33 | 0:18:35 | |
led to various other humiliations, | 0:18:35 | 0:18:38 | |
and, ultimately, | 0:18:38 | 0:18:40 | |
to the business end of a nail gun. | 0:18:40 | 0:18:43 | |
That's when I just said to myself | 0:18:43 | 0:18:45 | |
"I need help. I need help." | 0:18:45 | 0:18:50 | |
So... | 0:18:50 | 0:18:51 | |
HE LAUGHS | 0:18:51 | 0:18:53 | |
Like I said before, my name's Victor. | 0:18:53 | 0:18:55 | |
I'm an addict, maybe, you know, so... | 0:18:55 | 0:19:01 | |
Peace out. | 0:19:02 | 0:19:04 | |
You're moving. | 0:19:41 | 0:19:43 | |
Yes. Chad got his own place with the dog | 0:19:43 | 0:19:46 | |
and I got a very handsome offer on the house. | 0:19:46 | 0:19:48 | |
It's the perfect opportunity to get the kids out of this toxic environment. | 0:19:48 | 0:19:52 | |
Mm, that's priceless. | 0:19:52 | 0:19:55 | |
Goodbye, Alison. I'm packing. | 0:19:55 | 0:19:57 | |
Oh, Alison, get out! | 0:20:02 | 0:20:04 | |
Admit it! | 0:20:04 | 0:20:05 | |
Admit what?! | 0:20:05 | 0:20:07 | |
That I organized your intervention? | 0:20:07 | 0:20:09 | |
My bad. Sorry I care. | 0:20:09 | 0:20:12 | |
Dr Leekie came to see me. | 0:20:12 | 0:20:14 | |
Who? | 0:20:14 | 0:20:15 | |
Cray-cray! If it's professional help, | 0:20:15 | 0:20:17 | |
I'm all for it. | 0:20:17 | 0:20:19 | |
I want the truth, Aynsley! | 0:20:19 | 0:20:23 | |
-The truth?! -Mm-hmm. | 0:20:23 | 0:20:25 | |
Is that you screwed my husband | 0:20:25 | 0:20:27 | |
and I'm moving because of you! | 0:20:27 | 0:20:29 | |
Look at this! Yours! | 0:20:29 | 0:20:32 | |
Gifts from my best friend! | 0:20:32 | 0:20:35 | |
A felt Christmas angel. | 0:20:35 | 0:20:37 | |
-I made that! -Yeah? -Yes! | 0:20:37 | 0:20:40 | |
Well, to hell with you | 0:20:40 | 0:20:42 | |
and your Christmas angel. | 0:20:42 | 0:20:43 | |
You know, you, | 0:20:46 | 0:20:48 | |
you turned this whole thing around on me | 0:20:48 | 0:20:50 | |
because you're jealous. | 0:20:50 | 0:20:52 | |
You're barren and you can't have | 0:20:52 | 0:20:54 | |
your own children! | 0:20:54 | 0:20:55 | |
Oh! | 0:20:55 | 0:20:57 | |
Oh. | 0:20:57 | 0:20:59 | |
Oh, my God! | 0:20:59 | 0:21:00 | |
Alison, help! | 0:21:00 | 0:21:02 | |
Uggh! | 0:21:02 | 0:21:03 | |
Ohh! | 0:21:03 | 0:21:05 | |
Alison, help me! | 0:21:05 | 0:21:07 | |
Ow! | 0:21:07 | 0:21:09 | |
SHE GASPS | 0:21:09 | 0:21:11 | |
Ahh! Alison! | 0:21:11 | 0:21:14 | |
ASPHYXIATING | 0:21:14 | 0:21:15 | |
Alison! | 0:21:17 | 0:21:19 | |
WHEEZING | 0:21:19 | 0:21:20 | |
GASPING | 0:21:20 | 0:21:21 | |
Aynsley. | 0:21:31 | 0:21:32 | |
Aynsley...? | 0:21:34 | 0:21:36 | |
Aynsley...? | 0:21:40 | 0:21:43 | |
Nice speech. | 0:22:21 | 0:22:22 | |
Yeah, I'm moved, personally. | 0:22:22 | 0:22:23 | |
Isn't this place off- limits to you guys? | 0:22:23 | 0:22:25 | |
You know, sacred ground or something? | 0:22:25 | 0:22:27 | |
Not if you got an outstanding warrant for selling stolen meat? | 0:22:27 | 0:22:30 | |
No, smoked pork. | 0:22:30 | 0:22:32 | |
I didn't know it was stolen. | 0:22:33 | 0:22:35 | |
You know, that's lame, | 0:22:35 | 0:22:37 | |
-but I'll take the collar. -Eh, c'mon, c'mon, c'mon, man! | 0:22:37 | 0:22:39 | |
I'm trying to turn my life around. | 0:22:39 | 0:22:41 | |
All right, OK, so then give us something useful | 0:22:41 | 0:22:43 | |
on your femme fatale Sarah Manning. | 0:22:43 | 0:22:46 | |
Of course, Sarah. | 0:22:46 | 0:22:48 | |
Step 9 of the programme, | 0:22:48 | 0:22:50 | |
I got to suck it up and apologise | 0:22:50 | 0:22:51 | |
for shit that I did to her. You believe that? | 0:22:51 | 0:22:53 | |
But, since she's not going to apologise back... | 0:22:53 | 0:22:56 | |
Last time I saw Sarah, she was playing housewife | 0:22:56 | 0:22:58 | |
in the suburbs. | 0:22:58 | 0:23:00 | |
Husband, kids, minivan, the whole shebang. | 0:23:00 | 0:23:02 | |
That... | 0:23:38 | 0:23:40 | |
That isn't Sarah Manning, is it? | 0:23:40 | 0:23:42 | |
No. | 0:23:42 | 0:23:43 | |
That is another person, entirely. | 0:23:46 | 0:23:48 | |
You got to be friggin' kidding me. | 0:23:48 | 0:23:50 | |
When police come, mummy goes away. | 0:23:57 | 0:24:01 | |
No, darling, not this time. | 0:24:01 | 0:24:03 | |
She's back. | 0:24:03 | 0:24:05 | |
To keep us safe from Helena. | 0:24:05 | 0:24:08 | |
Don't worry about Helena, | 0:24:08 | 0:24:10 | |
Kira, OK? | 0:24:10 | 0:24:12 | |
I don't. She's not a real monster. | 0:24:12 | 0:24:16 | |
OK, | 0:24:16 | 0:24:18 | |
we're going to have to hide this bag. | 0:24:18 | 0:24:21 | |
We might have to go on a trip, but you can't tell anybody. | 0:24:21 | 0:24:24 | |
Eh. | 0:24:24 | 0:24:26 | |
Not even Mrs S. | 0:24:26 | 0:24:28 | |
It's a secret. Yeah? Promise? | 0:24:28 | 0:24:31 | |
OK. | 0:24:31 | 0:24:33 | |
Do you have a spare toothbrush? | 0:24:33 | 0:24:34 | |
Go get it. | 0:24:34 | 0:24:35 | |
-Go. -OK. | 0:24:35 | 0:24:38 | |
Where are you off to? | 0:24:46 | 0:24:47 | |
Meeting Amelia. | 0:24:47 | 0:24:50 | |
You all right? | 0:24:50 | 0:24:52 | |
Just edgy, with Helena in the wind. | 0:24:52 | 0:24:55 | |
Yeah. | 0:24:55 | 0:24:56 | |
Sarah, mind Amelia. | 0:24:56 | 0:24:59 | |
Why? | 0:24:59 | 0:25:00 | |
It's true, right, that she's my birth mum? | 0:25:00 | 0:25:02 | |
Yeah, it all seems to track, just... | 0:25:02 | 0:25:04 | |
She didn't raise you. | 0:25:04 | 0:25:06 | |
Yeah, I know. | 0:25:06 | 0:25:07 | |
You did. | 0:25:07 | 0:25:09 | |
It was all a long time ago. | 0:25:09 | 0:25:12 | |
DOOR OPENS AND CLOSES | 0:25:27 | 0:25:29 | |
COUGHING | 0:25:30 | 0:25:32 | |
You all right? | 0:25:41 | 0:25:42 | |
Yeah. Yeah, sorry. | 0:25:42 | 0:25:45 | |
POUNDING ON DOOR | 0:25:45 | 0:25:46 | |
Oh. | 0:25:57 | 0:25:58 | |
Well, now, I get it. | 0:25:58 | 0:26:01 | |
Um, is Cosima...? is sh... | 0:26:01 | 0:26:04 | |
It's Delphine! | 0:26:04 | 0:26:06 | |
She's got baggage! | 0:26:06 | 0:26:08 | |
FRENCH SONG PLAYS | 0:26:08 | 0:26:10 | |
You know, if Sarah were here, | 0:26:16 | 0:26:20 | |
she'd kick your willowy arse. | 0:26:20 | 0:26:22 | |
I promise you... | 0:26:27 | 0:26:29 | |
I did not tell Leekie about Sarah's child. | 0:26:29 | 0:26:31 | |
What difference does it make? | 0:26:31 | 0:26:33 | |
Why are you here? | 0:26:33 | 0:26:35 | |
Because I... | 0:26:35 | 0:26:37 | |
Because Leekie is a liar | 0:26:37 | 0:26:39 | |
and I think you can prove it scientifically | 0:26:39 | 0:26:41 | |
with that, your synthetic sequence. | 0:26:41 | 0:26:43 | |
He gave me my whole genome. It's... | 0:26:43 | 0:26:45 | |
But you can't find | 0:26:45 | 0:26:48 | |
that sequence any more, can you? | 0:26:48 | 0:26:51 | |
He would've scrubbed it. | 0:26:51 | 0:26:53 | |
Don't. | 0:27:00 | 0:27:01 | |
I'm on your side now. | 0:27:02 | 0:27:06 | |
(Please believe me.) | 0:27:06 | 0:27:08 | |
You need to trust someone. | 0:27:10 | 0:27:12 | |
I think the sequence is | 0:27:17 | 0:27:20 | |
a message. Um... | 0:27:20 | 0:27:22 | |
..like | 0:27:23 | 0:27:24 | |
Dr Craig Venter | 0:27:24 | 0:27:27 | |
watermarked his synthetic DNA. | 0:27:27 | 0:27:30 | |
It's a key to our origins. | 0:27:30 | 0:27:33 | |
May I? | 0:27:33 | 0:27:35 | |
Mm-hmm. | 0:27:37 | 0:27:38 | |
OK. | 0:27:38 | 0:27:40 | |
DOOR CREAKS | 0:27:43 | 0:27:44 | |
Thank you for meeting me, Sarah. | 0:27:44 | 0:27:46 | |
-Drink? -Just water. | 0:27:57 | 0:28:00 | |
That poor child, Helena. | 0:28:00 | 0:28:02 | |
How can two fates be so different? | 0:28:04 | 0:28:06 | |
You two are like night and day. | 0:28:06 | 0:28:09 | |
Thank you. | 0:28:14 | 0:28:15 | |
I'm sorry to bring you such burdens, | 0:28:17 | 0:28:19 | |
but I must warn you, Sarah. | 0:28:19 | 0:28:21 | |
Your foster mother, Mrs S, | 0:28:21 | 0:28:23 | |
she's not who she says she is. | 0:28:23 | 0:28:25 | |
I have something you should see. | 0:28:25 | 0:28:27 | |
How did scientists | 0:28:28 | 0:28:30 | |
put babies inside you? | 0:28:30 | 0:28:32 | |
What? | 0:28:32 | 0:28:34 | |
KNIVE UNSHEATHES | 0:28:34 | 0:28:35 | |
MOANING | 0:28:37 | 0:28:39 | |
-UKRAINIAN ACCENT: -You gave me to them. | 0:28:46 | 0:28:48 | |
You let them make me this way. | 0:28:48 | 0:28:50 | |
CRYING | 0:28:50 | 0:28:52 | |
MOANS AND GASPS | 0:28:52 | 0:28:55 | |
No! | 0:28:55 | 0:28:58 | |
Oh! | 0:29:14 | 0:29:16 | |
PHONE RINGS | 0:29:26 | 0:29:29 | |
BEEPS | 0:29:30 | 0:29:32 | |
-CRYING: -Helena, what have you done? | 0:29:32 | 0:29:34 | |
We missed you, sister. Come join us. | 0:29:34 | 0:29:36 | |
GASPING | 0:29:39 | 0:29:41 | |
Alison? | 0:29:45 | 0:29:46 | |
Donnie... | 0:29:46 | 0:29:48 | |
Ally. Ally, you're shaking. | 0:29:48 | 0:29:51 | |
-CRYING: -I'm a horrible person. | 0:29:53 | 0:29:55 | |
No. No, honey. I am. | 0:29:55 | 0:29:58 | |
I let those people in our home. They had no right | 0:29:58 | 0:30:01 | |
to intervention you like that. | 0:30:01 | 0:30:03 | |
They don't know the real you. | 0:30:03 | 0:30:05 | |
Oh, Judas priest. What have I done?! | 0:30:05 | 0:30:08 | |
No, no, no, no, no. | 0:30:08 | 0:30:09 | |
It doesn't matter. | 0:30:09 | 0:30:11 | |
We can put it all behind us, | 0:30:11 | 0:30:14 | |
-every little bit of it. -Really? | 0:30:14 | 0:30:16 | |
Yeah. | 0:30:16 | 0:30:17 | |
Really?! | 0:30:17 | 0:30:19 | |
OK, here's the synthetic sequence. | 0:30:28 | 0:30:30 | |
And this is the differentiated portion. | 0:30:30 | 0:30:32 | |
Yes, this is an encrypted ID tag. | 0:30:32 | 0:30:35 | |
It's how they tell you apart. | 0:30:35 | 0:30:36 | |
OK. But how to decode it? | 0:30:36 | 0:30:39 | |
I have four nucleotides to work with... | 0:30:39 | 0:30:41 | |
G, C, T, and A... | 0:30:41 | 0:30:43 | |
And no idea how they're encrypted. I mean, | 0:30:43 | 0:30:46 | |
there's thousands of permutations | 0:30:46 | 0:30:47 | |
and we're running out of time. | 0:30:47 | 0:30:49 | |
Yes, but I know your tag number. | 0:30:49 | 0:30:50 | |
You do? | 0:30:50 | 0:30:52 | |
Yes, I saw it many times. | 0:30:52 | 0:30:53 | |
It's numeric, so, | 0:30:53 | 0:30:55 | |
if we know how that translates, | 0:30:55 | 0:30:57 | |
then we can figure out the rest. | 0:30:57 | 0:30:58 | |
OK. What is it? | 0:30:58 | 0:31:00 | |
It's 324b21. | 0:31:00 | 0:31:02 | |
324b21. | 0:31:02 | 0:31:06 | |
Right. I'm 324b21. | 0:31:06 | 0:31:09 | |
I'm sorry. | 0:31:11 | 0:31:12 | |
Well, let's run these letters through a decryption programme. | 0:31:12 | 0:31:15 | |
Yeah. | 0:31:15 | 0:31:17 | |
BEEPS | 0:31:17 | 0:31:20 | |
Helena! | 0:31:24 | 0:31:26 | |
Helena! | 0:31:49 | 0:31:50 | |
CLATTERING | 0:31:57 | 0:31:59 | |
CLANGING | 0:31:59 | 0:32:01 | |
Ugh! None of these results | 0:32:07 | 0:32:09 | |
match the ID tag. | 0:32:09 | 0:32:11 | |
OK. OK, think. | 0:32:11 | 0:32:13 | |
We're molecular- encoding, | 0:32:13 | 0:32:15 | |
from 30 years ago. | 0:32:15 | 0:32:17 | |
Yes, but we're looking at it from now. | 0:32:17 | 0:32:21 | |
Of course. | 0:32:21 | 0:32:22 | |
They weren't coding nucleotides. | 0:32:22 | 0:32:24 | |
It was whole base pairs? | 0:32:24 | 0:32:25 | |
Not four letters, but two, AT and GC. | 0:32:25 | 0:32:29 | |
Ones and zeros. | 0:32:30 | 0:32:32 | |
Binary. | 0:32:32 | 0:32:34 | |
They were coding in ASCII! | 0:32:34 | 0:32:36 | |
Shit! | 0:32:47 | 0:32:49 | |
Amelia! | 0:32:49 | 0:32:50 | |
Amelia. | 0:32:51 | 0:32:54 | |
Amelia... | 0:32:54 | 0:32:55 | |
Keep pressure. I'm going to get you help. | 0:32:57 | 0:33:00 | |
What's this? | 0:33:03 | 0:33:04 | |
Your foster mother. | 0:33:04 | 0:33:07 | |
She what? She what? | 0:33:07 | 0:33:09 | |
Foster mother. | 0:33:09 | 0:33:11 | |
Shh, shh, shh. | 0:33:14 | 0:33:16 | |
She...what? | 0:33:21 | 0:33:22 | |
Sister... | 0:33:24 | 0:33:25 | |
Moja, sestra. | 0:33:27 | 0:33:30 | |
My twin. | 0:33:30 | 0:33:31 | |
Amelia... | 0:33:36 | 0:33:38 | |
I'm sorry, Mother isn't very well. | 0:33:46 | 0:33:48 | |
She's dead, | 0:33:49 | 0:33:50 | |
you psycho. | 0:33:50 | 0:33:52 | |
You killed someone I've been dreaming about | 0:33:52 | 0:33:54 | |
my whole life. | 0:33:54 | 0:33:55 | |
She separated us. | 0:34:01 | 0:34:02 | |
SHE SPITS | 0:34:06 | 0:34:07 | |
She tore us apart. | 0:34:07 | 0:34:09 | |
But... | 0:34:11 | 0:34:12 | |
now, we're together. | 0:34:12 | 0:34:14 | |
No, we're not. | 0:34:14 | 0:34:15 | |
You're nothing to me, | 0:34:15 | 0:34:17 | |
just some crazy bitch | 0:34:17 | 0:34:19 | |
wearing my T-shirt. | 0:34:19 | 0:34:20 | |
"London Calling". | 0:34:23 | 0:34:25 | |
SARAH GASPS | 0:34:27 | 0:34:29 | |
SHE COUGHS | 0:34:32 | 0:34:34 | |
ASPHYXIATING | 0:34:38 | 0:34:39 | |
Scientists made one little baby | 0:34:45 | 0:34:48 | |
and then we split in two. | 0:34:48 | 0:34:49 | |
GASPING | 0:34:54 | 0:34:56 | |
So I cannot kill you, | 0:34:56 | 0:34:58 | |
sister. | 0:34:58 | 0:34:59 | |
Like you could not kill me. | 0:35:02 | 0:35:03 | |
Sarah. | 0:35:10 | 0:35:12 | |
We make a family, yes? | 0:35:12 | 0:35:15 | |
I've already got a family. | 0:35:15 | 0:35:17 | |
-COSIMA: -OK, moment of truth. | 0:35:53 | 0:35:56 | |
324b21. | 0:36:01 | 0:36:03 | |
It's your ID. tag. You cracked it. | 0:36:03 | 0:36:05 | |
Let's see what else there is. | 0:36:05 | 0:36:08 | |
OK, | 0:36:08 | 0:36:09 | |
CAGT... | 0:36:09 | 0:36:10 | |
GT... | 0:36:10 | 0:36:12 | |
PHONE RINGS | 0:36:12 | 0:36:13 | |
Rachel Duncan. | 0:36:16 | 0:36:18 | |
It's Sarah. | 0:36:18 | 0:36:19 | |
Yes, Sarah? | 0:36:20 | 0:36:22 | |
I want to know my daughter | 0:36:22 | 0:36:24 | |
won't have to live like this. | 0:36:24 | 0:36:27 | |
We can do that. | 0:36:27 | 0:36:29 | |
I'm coming in. | 0:36:29 | 0:36:31 | |
SHE SNIFFLES | 0:36:39 | 0:36:40 | |
SIREN WAILS | 0:37:00 | 0:37:01 | |
BEEP | 0:37:06 | 0:37:08 | |
One down, two to go. | 0:37:16 | 0:37:18 | |
What's going on over there? | 0:37:22 | 0:37:24 | |
Oh! | 0:37:24 | 0:37:27 | |
None of our business. | 0:37:27 | 0:37:30 | |
SHE CHUCKLES | 0:37:30 | 0:37:31 | |
Your tracksuit! | 0:37:31 | 0:37:32 | |
Mm-hmm. | 0:37:32 | 0:37:34 | |
I'm going for a jog. | 0:37:34 | 0:37:36 | |
I've been a lump. You deserve better. | 0:37:36 | 0:37:38 | |
Hmm. | 0:37:38 | 0:37:39 | |
I feel like a weight has been lifted. | 0:37:39 | 0:37:41 | |
-All right. -OK. | 0:37:49 | 0:37:50 | |
-Here we go. -Bye. Have fun. | 0:37:50 | 0:37:52 | |
-See you in a bit. -Be safe. | 0:37:52 | 0:37:53 | |
I will! | 0:37:53 | 0:37:55 | |
Going up. | 0:38:11 | 0:38:12 | |
-Sarah. -Don't! | 0:38:20 | 0:38:23 | |
You asked me what happened in Afghanistan. | 0:38:26 | 0:38:30 | |
I was a private contractor. | 0:38:30 | 0:38:32 | |
I killed six marines. | 0:38:32 | 0:38:34 | |
Friendly fire. | 0:38:34 | 0:38:36 | |
They covered it up. | 0:38:36 | 0:38:39 | |
That's what they have on me. | 0:38:39 | 0:38:41 | |
If you were born outside their control, | 0:38:41 | 0:38:44 | |
what do they really have on you? | 0:38:44 | 0:38:46 | |
PHONE RINGS | 0:38:58 | 0:39:01 | |
Yeah? | 0:39:01 | 0:39:02 | |
-SOBBING: -Sarah, you can't make a deal. | 0:39:02 | 0:39:04 | |
Why not? | 0:39:04 | 0:39:05 | |
Any freedom they promise is bullshit. | 0:39:05 | 0:39:08 | |
They're liars. | 0:39:08 | 0:39:10 | |
That synthetic sequence, | 0:39:10 | 0:39:11 | |
the barcode I told you about? | 0:39:11 | 0:39:12 | |
It's a patent. | 0:39:12 | 0:39:14 | |
A patent? | 0:39:14 | 0:39:16 | |
We're property. | 0:39:16 | 0:39:18 | |
Our bodies, our biology, | 0:39:18 | 0:39:21 | |
everything we are, everything we become, | 0:39:21 | 0:39:24 | |
belongs to them. | 0:39:24 | 0:39:26 | |
Sarah, they could claim Kira. | 0:39:26 | 0:39:28 | |
They patented us. | 0:39:31 | 0:39:33 | |
Back on track, I think. | 0:40:00 | 0:40:04 | |
It's the seven-year itch. | 0:40:04 | 0:40:05 | |
It's not easy. | 0:40:05 | 0:40:08 | |
She's not easy. | 0:40:08 | 0:40:10 | |
RINGTONE | 0:40:10 | 0:40:12 | |
You know what to do. | 0:40:41 | 0:40:44 | |
"This organism | 0:40:45 | 0:40:47 | |
and derivative genetic material | 0:40:47 | 0:40:49 | |
is restricted intellectual property". | 0:40:49 | 0:40:51 | |
-CRYING: -I'm sick, Delphine. | 0:40:58 | 0:41:01 | |
Siobhan! | 0:41:26 | 0:41:28 | |
Kira! | 0:41:31 | 0:41:33 | |
Kira-a-a! | 0:41:46 | 0:41:49 |