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This programme contains some violent scenes and some scenes which some viewers may find upsetting. | 0:00:02 | 0:00:07 | |
- Clones? - Nine of us. | 0:00:07 | 0:00:09 | |
COSIMA: It's an electrode. | 0:00:09 | 0:00:10 | |
It monitors electrical activity in the brain. | 0:00:10 | 0:00:13 | |
Just tell me what happens to the results. | 0:00:13 | 0:00:14 | |
They go to Olivier. | 0:00:14 | 0:00:15 | |
Olivier, what are you doing here? Is something wrong? | 0:00:15 | 0:00:17 | |
We need to talk about Beth. | 0:00:17 | 0:00:19 | |
We need to try and be honest with each other. | 0:00:19 | 0:00:21 | |
I'm not doing any of this by choice. | 0:00:21 | 0:00:23 | |
So they forced you to be Beth's monitor | 0:00:23 | 0:00:24 | |
for two years, without ever knowing why? | 0:00:24 | 0:00:26 | |
I did peek. | 0:00:26 | 0:00:27 | |
You have killer grades. | 0:00:27 | 0:00:29 | |
Delphine. Cosima. | 0:00:29 | 0:00:31 | |
Hey, Cosima, you were right. Paul doesn't even know about clones. | 0:00:31 | 0:00:35 | |
I may have a monitor dilemna of my own. | 0:00:35 | 0:00:36 | |
It's me, this time. I know. | 0:00:39 | 0:00:42 | |
Is someone trying to hurt us? | 0:00:42 | 0:00:44 | |
I need you to tell me where I came from. | 0:00:44 | 0:00:46 | |
Neolution gives us the opportunity | 0:00:46 | 0:00:49 | |
at self-directed evolution | 0:00:49 | 0:00:51 | |
and I believe that's not only a choice, | 0:00:51 | 0:00:54 | |
but a human right. | 0:00:54 | 0:00:57 | |
Olivier called Paul in hours ago, | 0:01:01 | 0:01:04 | |
and he's not picking up. | 0:01:04 | 0:01:05 | |
Well, that isn't out of the ordinary, is it? | 0:01:05 | 0:01:07 | |
How should I know? There's nothing normal | 0:01:09 | 0:01:12 | |
about any of this, is there? | 0:01:12 | 0:01:14 | |
Sarah, this is the new normal, OK? | 0:01:14 | 0:01:16 | |
So, Paul's a monitor. | 0:01:16 | 0:01:17 | |
He reports to Olivier, his handler, right? | 0:01:17 | 0:01:19 | |
As long as Paul is on our side, | 0:01:19 | 0:01:22 | |
we can start to get answers. | 0:01:22 | 0:01:23 | |
That's my point, Cosima. | 0:01:23 | 0:01:25 | |
What if he's not on our side? | 0:01:25 | 0:01:27 | |
I mean, what if he's selling us out right now? | 0:01:27 | 0:01:29 | |
Let's go back eight months, | 0:01:31 | 0:01:33 | |
before Beth's shooting. | 0:01:33 | 0:01:35 | |
We already did, Olivier. | 0:01:35 | 0:01:36 | |
When you first stated | 0:01:36 | 0:01:38 | |
"she doesn't seem to be herself." | 0:01:38 | 0:01:39 | |
Yeah, she began abusing | 0:01:39 | 0:01:41 | |
prescription drugs. | 0:01:41 | 0:01:44 | |
Why are you taping this? | 0:01:44 | 0:01:45 | |
At the time, you felt it was a typical response | 0:01:45 | 0:01:48 | |
to the stresses of police work. | 0:01:48 | 0:01:50 | |
Do you view it any differently, in hindsight? | 0:01:50 | 0:01:52 | |
No. Her decline led directly to her civilian shooting. | 0:01:52 | 0:01:55 | |
She only got worse from there. | 0:01:55 | 0:01:56 | |
This, through your lens as a former soldier. | 0:01:56 | 0:01:59 | |
If you told me what this was about, | 0:01:59 | 0:02:00 | |
perhaps I could help you. | 0:02:00 | 0:02:01 | |
Perhaps you ARE helping me. | 0:02:01 | 0:02:03 | |
'Don't do it, Cosima. | 0:02:05 | 0:02:08 | |
'Stay away from Delphine, yeah?' | 0:02:08 | 0:02:09 | |
Well, if we're going to | 0:02:09 | 0:02:11 | |
get past our monitors, we have to engage. | 0:02:11 | 0:02:13 | |
- Yeah, look where that got me. - Into bed with him? | 0:02:13 | 0:02:15 | |
OK, look where it got Alison, yeah? | 0:02:15 | 0:02:18 | |
She smoked her husband with a golf club | 0:02:18 | 0:02:20 | |
on a hunch that he was her monitor | 0:02:20 | 0:02:22 | |
and now they're at a couple's retreat, | 0:02:22 | 0:02:23 | |
trying to repair their marriage. | 0:02:23 | 0:02:25 | |
OK, I'll obviously approach Delphine | 0:02:25 | 0:02:27 | |
way more logically than that. | 0:02:27 | 0:02:28 | |
No, you won't. | 0:02:28 | 0:02:29 | |
Sarah, my situation is way different than yours is. | 0:02:29 | 0:02:31 | |
Right, cos you're such a brilliant scientist. | 0:02:31 | 0:02:34 | |
No, because she doesn't know that I know. | 0:02:34 | 0:02:36 | |
I'm the one who's monitoring HER. | 0:02:36 | 0:02:38 | |
Can you please stay away from her | 0:02:38 | 0:02:39 | |
until I find out if Paul's | 0:02:39 | 0:02:41 | |
selling us down the river? | 0:02:41 | 0:02:42 | |
Whatever. | 0:02:42 | 0:02:44 | |
SHE COUGHS | 0:02:44 | 0:02:45 | |
Got anything else we need to be paranoid about? | 0:02:45 | 0:02:47 | |
God, I hope not. | 0:02:48 | 0:02:49 | |
Tomas? | 0:03:09 | 0:03:10 | |
Shh, shh, shh. | 0:03:10 | 0:03:12 | |
Where am I? | 0:03:14 | 0:03:15 | |
You're getting stronger. | 0:03:15 | 0:03:17 | |
DANCE MUSIC PLAYS | 0:03:57 | 0:03:59 | |
Olivier told Paul to meet him | 0:04:04 | 0:04:06 | |
at an underground club he owns. | 0:04:06 | 0:04:08 | |
That's Paul's car, so... | 0:04:08 | 0:04:10 | |
What a mess. | 0:04:10 | 0:04:12 | |
You know, even if he's not | 0:04:12 | 0:04:14 | |
ratting me out, those medical tests | 0:04:14 | 0:04:15 | |
could still tell him I'm not Beth. | 0:04:15 | 0:04:17 | |
Cosima said they wouldn't. | 0:04:17 | 0:04:18 | |
Yeah, well, she's blinded by science. | 0:04:18 | 0:04:20 | |
Maybe, but, from everything | 0:04:20 | 0:04:22 | |
I found online, | 0:04:22 | 0:04:23 | |
she's right. | 0:04:23 | 0:04:25 | |
You and Beth are clones, | 0:04:25 | 0:04:27 | |
so you and Beth have identical DNA. | 0:04:27 | 0:04:30 | |
Identical? | 0:04:30 | 0:04:31 | |
Yep. | 0:04:31 | 0:04:32 | |
The DNA samples from the Jane Doe | 0:04:32 | 0:04:34 | |
in the gravel crusher | 0:04:34 | 0:04:36 | |
and the killer in the bathroom... | 0:04:36 | 0:04:39 | |
A match, same person. | 0:04:39 | 0:04:41 | |
That doesn't make any sense. | 0:04:41 | 0:04:42 | |
Someone in the lab must've messed up, | 0:04:42 | 0:04:44 | |
contaminated or mislabelled the samples. | 0:04:44 | 0:04:45 | |
Not on my watch. | 0:04:45 | 0:04:47 | |
Then what, Janice? | 0:04:47 | 0:04:49 | |
I took Jane Doe DNA | 0:04:49 | 0:04:50 | |
from a femur. | 0:04:50 | 0:04:52 | |
Our suspect killer's DNA came | 0:04:52 | 0:04:54 | |
from blood we found in the bathroom. | 0:04:54 | 0:04:55 | |
Maybe the killer planted Jane Doe's blood there. | 0:04:55 | 0:04:58 | |
So she carries around a couple pints | 0:04:58 | 0:04:59 | |
of Jane Doe's blood and just splashes it around? | 0:04:59 | 0:05:00 | |
That's more likely than she walked | 0:05:00 | 0:05:02 | |
into my lab and tampered with the samples. | 0:05:02 | 0:05:03 | |
Maybe someone with access tampered. | 0:05:03 | 0:05:06 | |
Are you trying to turn my ulcer | 0:05:06 | 0:05:08 | |
into a heart attack? | 0:05:08 | 0:05:09 | |
No, we're missing something, | 0:05:09 | 0:05:11 | |
from the very beginning, on this thing. | 0:05:11 | 0:05:14 | |
Yeah, IDs. | 0:05:14 | 0:05:15 | |
So, if the high tech's broken, | 0:05:15 | 0:05:17 | |
we do it the horse-and-carriage way. | 0:05:17 | 0:05:18 | |
Start from the beginning, | 0:05:18 | 0:05:20 | |
comb through that whole shit-pile again. | 0:05:20 | 0:05:22 | |
Oh, where's that damn Jane Doe facial reconstruction? | 0:05:22 | 0:05:26 | |
It's coming. The face went | 0:05:26 | 0:05:27 | |
through a friggin' gravel crusher. | 0:05:27 | 0:05:30 | |
"Someone with access"? | 0:05:30 | 0:05:31 | |
Beth would never tamper with evidence. | 0:05:33 | 0:05:35 | |
OK, maybe not, but you had questions | 0:05:35 | 0:05:37 | |
about her run-in with the killer, didn't you? | 0:05:37 | 0:05:40 | |
Square one, like the man said. | 0:05:41 | 0:05:44 | |
Open minds. | 0:05:44 | 0:05:46 | |
We'll see what we find. | 0:05:46 | 0:05:47 | |
Hey, hang on. | 0:05:50 | 0:05:52 | |
Oh. Cyber goths. | 0:05:54 | 0:05:57 | |
That's interesting. | 0:05:57 | 0:05:58 | |
I know those people. | 0:05:58 | 0:05:59 | |
Enough waiting. I need to know | 0:05:59 | 0:06:01 | |
what Paul's up to. I'm going in. | 0:06:01 | 0:06:03 | |
What? No! No! | 0:06:03 | 0:06:05 | |
You can't go in there, | 0:06:05 | 0:06:06 | |
with your recognisable mug. | 0:06:06 | 0:06:08 | |
Besides... | 0:06:08 | 0:06:09 | |
Club land is MY world. | 0:06:11 | 0:06:12 | |
You carry that around with you everywhere? | 0:06:12 | 0:06:16 | |
Maybe. | 0:06:16 | 0:06:17 | |
Well, hello. | 0:06:24 | 0:06:27 | |
Neolution's a private club. | 0:06:27 | 0:06:28 | |
I know, but you look so lonely. | 0:06:28 | 0:06:31 | |
Not even a little. | 0:06:32 | 0:06:34 | |
Oh, good. | 0:06:34 | 0:06:36 | |
You look a little more important. | 0:06:36 | 0:06:38 | |
I... I... I... I've come all the way from Brixton | 0:06:38 | 0:06:41 | |
to party at Neolution before I die. | 0:06:41 | 0:06:43 | |
My friends told me to mention Olivier. | 0:06:43 | 0:06:45 | |
You're dying? | 0:06:48 | 0:06:49 | |
Then you're not familiar | 0:06:49 | 0:06:51 | |
with Neolutionism? | 0:06:51 | 0:06:52 | |
Oh, there's an "ism". | 0:06:52 | 0:06:55 | |
Augmentation? | 0:06:59 | 0:07:01 | |
Self-directed evolution? | 0:07:01 | 0:07:03 | |
I'm intrigued. | 0:07:03 | 0:07:05 | |
Is everyone here a Neolutionist? | 0:07:05 | 0:07:07 | |
No, not everyone. | 0:07:07 | 0:07:09 | |
We've got technoprogressives, | 0:07:09 | 0:07:11 | |
body mods, bio-hackers. | 0:07:11 | 0:07:14 | |
Now, wait, what about your eye? | 0:07:14 | 0:07:15 | |
Is that a permanent augmentation? | 0:07:15 | 0:07:17 | |
It will be, one day. | 0:07:17 | 0:07:19 | |
I've got other enhancements. | 0:07:19 | 0:07:20 | |
Right. | 0:07:21 | 0:07:23 | |
Well, a philosophy so...physical | 0:07:23 | 0:07:26 | |
makes for a very handsome tribe. | 0:07:26 | 0:07:29 | |
What about Olivier? | 0:07:29 | 0:07:31 | |
Is he enhanced? | 0:07:31 | 0:07:33 | |
Darling, you have no idea. | 0:07:33 | 0:07:35 | |
When's the last time you and Beth | 0:07:38 | 0:07:39 | |
were sexually intimate? | 0:07:39 | 0:07:41 | |
Three days ago. | 0:07:41 | 0:07:42 | |
Who initiated it? | 0:07:42 | 0:07:44 | |
She did. | 0:07:44 | 0:07:45 | |
How would you characterize it? | 0:07:45 | 0:07:47 | |
I'm not sure I understand the question. | 0:07:51 | 0:07:54 | |
Would you describe the intercourse as intimate, | 0:07:54 | 0:07:56 | |
aggressive, | 0:07:56 | 0:07:58 | |
perfunctory, sensual? | 0:07:58 | 0:08:00 | |
I would say passionate. | 0:08:00 | 0:08:02 | |
Beth's generally a "cold fish"... | 0:08:02 | 0:08:04 | |
Your words. | 0:08:04 | 0:08:06 | |
It's hard for me to help, | 0:08:06 | 0:08:07 | |
if I don't know what's going on. | 0:08:07 | 0:08:10 | |
All of this architecture... | 0:08:13 | 0:08:15 | |
The psychological profiling, | 0:08:15 | 0:08:18 | |
physical exams, social metrics... | 0:08:18 | 0:08:20 | |
You must know it doesn't exist for Beth alone. | 0:08:20 | 0:08:23 | |
I don't assume anything. | 0:08:23 | 0:08:24 | |
Of course you do. You're trained... | 0:08:24 | 0:08:26 | |
Surveillance, intelligence, | 0:08:26 | 0:08:27 | |
security. | 0:08:27 | 0:08:29 | |
The problem with clandestine ops is that | 0:08:29 | 0:08:32 | |
information and security | 0:08:32 | 0:08:35 | |
rarely go hand-in-hand. | 0:08:35 | 0:08:36 | |
Which is why I have been told rather late | 0:08:36 | 0:08:40 | |
that someone is killing our subjects. | 0:08:40 | 0:08:43 | |
Thank you, Tomas. | 0:08:55 | 0:08:57 | |
Why did you let the imposter live? | 0:08:59 | 0:09:01 | |
She's different than the others. | 0:09:03 | 0:09:06 | |
But how could it be different? | 0:09:06 | 0:09:08 | |
I don't know. | 0:09:08 | 0:09:10 | |
We have a connection. | 0:09:10 | 0:09:13 | |
But it's nothing. | 0:09:13 | 0:09:15 | |
Just one of your fingernail clippings, | 0:09:15 | 0:09:17 | |
like the rest of them. | 0:09:17 | 0:09:19 | |
She said I am not the original, | 0:09:19 | 0:09:22 | |
that we are all the same. | 0:09:22 | 0:09:24 | |
How could you believe such a thing? | 0:09:37 | 0:09:39 | |
Forgive me, Tomas. | 0:09:39 | 0:09:41 | |
LOUD DANCE MUSIC | 0:09:46 | 0:09:48 | |
Why are you following me? | 0:10:15 | 0:10:16 | |
I'm not following you. | 0:10:16 | 0:10:18 | |
Fine. | 0:10:18 | 0:10:20 | |
I thought you might want a blowjob. | 0:10:20 | 0:10:22 | |
Shit. Shit! Hey, Paul, Paul! | 0:10:22 | 0:10:24 | |
He's with me, OK? He's my brother. | 0:10:24 | 0:10:26 | |
Jesus Christ, Sarah. | 0:10:26 | 0:10:27 | |
What are you doing here? | 0:10:27 | 0:10:29 | |
Sorry. I was worried. | 0:10:29 | 0:10:30 | |
What happened? | 0:10:30 | 0:10:31 | |
Not here. | 0:10:31 | 0:10:33 | |
Meet me at home. | 0:10:33 | 0:10:35 | |
Don't bring HIM. | 0:10:35 | 0:10:37 | |
OK. You all right? Yeah. | 0:10:37 | 0:10:40 | |
Your task is more difficult, | 0:10:40 | 0:10:43 | |
since the real Beth Childs | 0:10:43 | 0:10:44 | |
shot our friend Maggie Chen. | 0:10:44 | 0:10:46 | |
The copies, | 0:10:46 | 0:10:48 | |
they're harder to find. | 0:10:48 | 0:10:50 | |
Maybe we could use the imposter. | 0:10:50 | 0:10:52 | |
I'd like to see her again. | 0:10:52 | 0:10:54 | |
Tomas... | 0:10:54 | 0:10:55 | |
It will say anything | 0:10:57 | 0:10:59 | |
to justify itself. | 0:10:59 | 0:11:02 | |
I'll be strong. | 0:11:02 | 0:11:04 | |
The path to the shepherd | 0:11:05 | 0:11:07 | |
is through the sheep. | 0:11:07 | 0:11:08 | |
Find the impostor, | 0:11:12 | 0:11:14 | |
bleed it for what it knows, | 0:11:14 | 0:11:17 | |
then kill it. | 0:11:17 | 0:11:18 | |
You are the original. | 0:11:36 | 0:11:39 | |
You are the light. | 0:11:39 | 0:11:40 | |
I am the original. | 0:11:40 | 0:11:42 | |
I am the light. | 0:11:42 | 0:11:43 | |
PAUL: Let's go over what you know again. | 0:11:52 | 0:11:54 | |
There's nine of you. | 0:11:54 | 0:11:55 | |
No! There's only one of me, | 0:11:55 | 0:11:58 | |
just like there was one of Beth. | 0:11:58 | 0:11:59 | |
That's not what I meant. | 0:11:59 | 0:12:01 | |
Yeah, Beth figured out there were nine of us, so far. | 0:12:01 | 0:12:04 | |
I've only met Alison. | 0:12:04 | 0:12:06 | |
Who else knows, besides your brother? | 0:12:06 | 0:12:08 | |
Just me and Alison. | 0:12:08 | 0:12:10 | |
What about Alison's husband? | 0:12:10 | 0:12:11 | |
They've been together since high school. | 0:12:11 | 0:12:13 | |
- He's not her monitor. - We don't know that. | 0:12:13 | 0:12:15 | |
Don't lie to me, Sarah. What is going on? | 0:12:15 | 0:12:18 | |
Is Olivier on to us, or what? | 0:12:18 | 0:12:20 | |
Olivier told me someone is killing the subjects. | 0:12:20 | 0:12:22 | |
You know anything about that? | 0:12:22 | 0:12:23 | |
No. | 0:12:23 | 0:12:25 | |
Who? | 0:12:27 | 0:12:28 | |
He just said to watch Beth closely, | 0:12:28 | 0:12:31 | |
protect her, make sure she's not aware. | 0:12:31 | 0:12:32 | |
Aware of what? | 0:12:32 | 0:12:34 | |
Of me, of us. | 0:12:34 | 0:12:35 | |
This is high-level shit, Sarah, | 0:12:35 | 0:12:38 | |
an illegal human-cloning trial. You think I don't know that? | 0:12:38 | 0:12:41 | |
Aren't you worried that someone might be trying to kill you? | 0:12:41 | 0:12:43 | |
Yes. | 0:12:43 | 0:12:44 | |
But at least it's not you. | 0:12:46 | 0:12:49 | |
And I still need to see my daughter. | 0:12:49 | 0:12:51 | |
Take my car. | 0:12:51 | 0:12:54 | |
It's in the underground. | 0:12:54 | 0:12:56 | |
Why? | 0:12:56 | 0:12:57 | |
In case someone is tailing you, all right? | 0:12:57 | 0:12:59 | |
My job is to keep you safe. | 0:12:59 | 0:13:01 | |
At least let me do that. | 0:13:01 | 0:13:04 | |
CAR ALARM CHIRPS | 0:13:19 | 0:13:20 | |
Shit! I'm not here to hurt you. | 0:13:27 | 0:13:30 | |
I just want to talk. | 0:13:30 | 0:13:32 | |
Helena, just stay away from me! | 0:13:32 | 0:13:34 | |
Please. I have an offer for you. | 0:13:34 | 0:13:37 | |
But we must talk. | 0:13:37 | 0:13:39 | |
And eat. | 0:13:39 | 0:13:41 | |
Let's have lunch. | 0:13:42 | 0:13:44 | |
Lunch? | 0:13:44 | 0:13:46 | |
# They say we're young and we don't know... # | 0:13:46 | 0:13:48 | |
SHE SLURPS | 0:13:48 | 0:13:51 | |
I dreamed that we were friends. | 0:13:51 | 0:13:53 | |
We're not friends. | 0:13:53 | 0:13:55 | |
We will be. | 0:13:55 | 0:13:57 | |
I've seen it. | 0:13:57 | 0:13:59 | |
Don't they feed you, wherever you go? | 0:13:59 | 0:14:02 | |
This is a nice restaurant, isn't it? | 0:14:04 | 0:14:06 | |
Yeah, five stars. | 0:14:06 | 0:14:09 | |
Mmm. | 0:14:12 | 0:14:14 | |
You know my name. | 0:14:14 | 0:14:16 | |
Tell me yours. | 0:14:16 | 0:14:18 | |
This friendship isn't there yet. | 0:14:18 | 0:14:20 | |
You're Russian? | 0:14:20 | 0:14:22 | |
No. | 0:14:22 | 0:14:24 | |
I grew up pure in a convent in Ukraine. | 0:14:24 | 0:14:27 | |
Ukrainian nuns? | 0:14:29 | 0:14:30 | |
Is that who made you kill Katja Obinger | 0:14:32 | 0:14:36 | |
and the others? | 0:14:36 | 0:14:37 | |
No. | 0:14:37 | 0:14:39 | |
They saved me from abandonment. | 0:14:41 | 0:14:44 | |
SHE BELCHES | 0:14:44 | 0:14:46 | |
Excuse me. | 0:14:46 | 0:14:48 | |
I want my knife back, | 0:14:50 | 0:14:52 | |
the one you took from me. | 0:14:52 | 0:14:53 | |
Right, right, the flying-fish blade. | 0:14:53 | 0:14:57 | |
You got a thing for wings, don't you? | 0:14:57 | 0:15:00 | |
Mm. | 0:15:00 | 0:15:01 | |
I'm supposed to kill you, too. | 0:15:02 | 0:15:04 | |
But you let me live. | 0:15:07 | 0:15:08 | |
Yeah, so let's call it even, OK? | 0:15:08 | 0:15:11 | |
We'll go our separate ways. | 0:15:11 | 0:15:13 | |
We'll never be separate. | 0:15:13 | 0:15:15 | |
THUD | 0:15:15 | 0:15:17 | |
Tell me the names of the others | 0:15:17 | 0:15:19 | |
and I will spare you. | 0:15:19 | 0:15:21 | |
You move your foot, or I'll stab you again. | 0:15:21 | 0:15:24 | |
You have until midnight | 0:15:47 | 0:15:50 | |
to tell me the names. | 0:15:50 | 0:15:52 | |
Call this number, | 0:15:56 | 0:15:59 | |
or you die first. | 0:15:59 | 0:16:01 | |
Bye-bye. | 0:16:03 | 0:16:05 | |
# I got you, babe | 0:16:13 | 0:16:19 | |
# I got you, babe... # | 0:16:19 | 0:16:20 | |
Beth's paperwork's a mess, | 0:16:30 | 0:16:31 | |
like she's never done it before. Jane Doe's | 0:16:31 | 0:16:33 | |
fingerprint results aren't even filed here. | 0:16:33 | 0:16:34 | |
Yeah, I know. We ran 'em. No match. | 0:16:34 | 0:16:36 | |
Yes, Beth checked the results. | 0:16:36 | 0:16:38 | |
I remember, but even if there's no match, | 0:16:38 | 0:16:39 | |
they should still be here. | 0:16:39 | 0:16:41 | |
The man said double-check everything, | 0:16:41 | 0:16:44 | |
so let's get Forensics to pull the hand, | 0:16:44 | 0:16:46 | |
run a fresh set of prints. | 0:16:46 | 0:16:47 | |
Oh, we're hitting the morgue? | 0:16:47 | 0:16:49 | |
Thought you'd like that. Sweet. | 0:16:49 | 0:16:51 | |
PHONE RINGS | 0:16:53 | 0:16:55 | |
SOFT MUSIC PLAYS | 0:16:55 | 0:16:57 | |
Hello. | 0:16:57 | 0:16:59 | |
LEEKIE: 'You have a problem.' | 0:16:59 | 0:17:03 | |
What kind of a problem? | 0:17:03 | 0:17:04 | |
I just received the results | 0:17:04 | 0:17:06 | |
of Beth's medical exam. | 0:17:06 | 0:17:07 | |
'OK.' She's not Beth. | 0:17:07 | 0:17:09 | |
Well, which one is she, if she's not Beth? | 0:17:09 | 0:17:12 | |
That's none of your concern. Just bring her in. | 0:17:12 | 0:17:15 | |
COSIMA: 'She's back?' | 0:17:17 | 0:17:19 | |
And she wants your names by midnight, | 0:17:19 | 0:17:20 | |
or I'm first on her hitlist. | 0:17:20 | 0:17:22 | |
'Holy shit, Sarah.' | 0:17:22 | 0:17:23 | |
Don't worry. I won't give you up. | 0:17:23 | 0:17:24 | |
'You know, maybe you should.' | 0:17:24 | 0:17:26 | |
Not to Helena, but to Olivier. | 0:17:26 | 0:17:29 | |
What? | 0:17:29 | 0:17:31 | |
You were the one who said, if your blind subject | 0:17:31 | 0:17:33 | |
suddenly became aware, you'd terminate. | 0:17:33 | 0:17:35 | |
Right, well, | 0:17:35 | 0:17:36 | |
I'm beginning to rethink that. | 0:17:36 | 0:17:38 | |
Great, she's got a new hypothesis. | 0:17:38 | 0:17:40 | |
'So, our creators,' | 0:17:40 | 0:17:41 | |
whoever they are, they have | 0:17:41 | 0:17:42 | |
a tremendous investment in us, right? | 0:17:42 | 0:17:45 | |
Our conception, our whole lives. | 0:17:45 | 0:17:47 | |
Don't you think they'd try | 0:17:47 | 0:17:48 | |
to protect us from Helena? | 0:17:48 | 0:17:50 | |
They know somebody's whacking us. | 0:17:50 | 0:17:52 | |
Shit. | 0:17:52 | 0:17:54 | |
Yeah, and Paul said it's more of the same... | 0:17:54 | 0:17:55 | |
Observe your lab rat, | 0:17:55 | 0:17:57 | |
keep her stupid. | 0:17:57 | 0:17:58 | |
Do you know this futurist, Dr Aldous Leekie? | 0:17:58 | 0:18:02 | |
No. 'You know, he's the poster boy' | 0:18:02 | 0:18:04 | |
for this movement called Neolution. | 0:18:04 | 0:18:06 | |
Eh, Neolution? | 0:18:06 | 0:18:07 | |
Olivier owns a club called Neolution. | 0:18:07 | 0:18:10 | |
Oh, that's interesting. | 0:18:10 | 0:18:12 | |
'Yeah, Felix said it's a bunch of bio-hack,' | 0:18:12 | 0:18:14 | |
body-mod freaks. | 0:18:14 | 0:18:16 | |
Olivier's supposed to have a tail. | 0:18:16 | 0:18:18 | |
A tail, for real? | 0:18:18 | 0:18:20 | |
'Yeah.' | 0:18:20 | 0:18:21 | |
That's what Felix was told. | 0:18:21 | 0:18:22 | |
OK, well, tail or no tail, | 0:18:22 | 0:18:25 | |
they have a philosophy. | 0:18:25 | 0:18:27 | |
'I went with Delphine | 0:18:27 | 0:18:29 | |
'to one of Leekie's Neolution lectures.' | 0:18:29 | 0:18:30 | |
Cosima, you agreed to stay away from Delphine. | 0:18:30 | 0:18:33 | |
No, I didn't. You just told me to. | 0:18:33 | 0:18:34 | |
You're going to end up strapped to a gurney, | 0:18:34 | 0:18:37 | |
'with doctors giving you the probe.' | 0:18:37 | 0:18:39 | |
I probably already have been. | 0:18:39 | 0:18:40 | |
Can we please just get back to Helena? | 0:18:40 | 0:18:42 | |
You know what? Just stay out of my end, I'll stay out of yours. | 0:18:42 | 0:18:45 | |
Bitch. | 0:18:45 | 0:18:48 | |
KNOCK AT DOOR | 0:18:48 | 0:18:50 | |
Shit! | 0:18:50 | 0:18:52 | |
Shit. | 0:18:55 | 0:18:58 | |
Hi. Hey. | 0:19:05 | 0:19:07 | |
Sorry, I'm... Oh, I'm early? | 0:19:07 | 0:19:10 | |
- No, no, no, no, I'm late, I'm late. - OK. | 0:19:10 | 0:19:12 | |
I'm kind of always late, though, | 0:19:12 | 0:19:13 | |
so, kind of always sorry. | 0:19:13 | 0:19:15 | |
Can you give me two seconds? Just... | 0:19:15 | 0:19:17 | |
Of course. | 0:19:17 | 0:19:18 | |
Where is she? | 0:19:40 | 0:19:42 | |
How'd you get in here? | 0:19:42 | 0:19:44 | |
My key. | 0:19:44 | 0:19:46 | |
We bought this place for you, remember? | 0:19:46 | 0:19:49 | |
So that you would not only appear | 0:19:49 | 0:19:50 | |
attractive to Beth, but, | 0:19:50 | 0:19:51 | |
moderately successful. | 0:19:51 | 0:19:54 | |
Where is your subject? | 0:19:54 | 0:19:55 | |
She's visiting Christine. | 0:19:55 | 0:19:57 | |
You were to keep a close eye on her. | 0:19:57 | 0:19:59 | |
It was a girls' lunch. I couldn't force the issue. | 0:19:59 | 0:20:01 | |
Astrid? | 0:20:01 | 0:20:02 | |
Your subject isn't who we think she is. | 0:20:10 | 0:20:13 | |
She's an imposter. | 0:20:15 | 0:20:16 | |
I saw her just a few hours ago. | 0:20:18 | 0:20:20 | |
It wasn't her. | 0:20:21 | 0:20:23 | |
Is this a test of some kind? | 0:20:23 | 0:20:25 | |
The person killing our subjects | 0:20:29 | 0:20:30 | |
looks exactly like Beth. | 0:20:30 | 0:20:32 | |
You mean, like a twin? | 0:20:32 | 0:20:35 | |
Yes, Paul, like a twin. | 0:20:35 | 0:20:37 | |
Now, get dressed. | 0:20:37 | 0:20:39 | |
SHE PLAYS "Twinkle, Twinkle, Little Star" | 0:21:07 | 0:21:10 | |
Mom? | 0:21:22 | 0:21:23 | |
Sorry. | 0:21:23 | 0:21:25 | |
Sorry, Monkey. | 0:21:25 | 0:21:27 | |
That was wonderful. That was really good. | 0:21:27 | 0:21:30 | |
Well, at least | 0:21:30 | 0:21:31 | |
she didn't get your tin ear. | 0:21:31 | 0:21:32 | |
I never learned to play piano. | 0:21:32 | 0:21:34 | |
You were too bad, weren't you? | 0:21:34 | 0:21:36 | |
Your mom just didn't work hard enough at it, love. | 0:21:36 | 0:21:39 | |
All right, move over. | 0:21:39 | 0:21:42 | |
I want to teach her some Queen. | 0:21:42 | 0:21:44 | |
Uncle Felix wasn't bad. | 0:21:44 | 0:21:45 | |
He was a different kind of bad. | 0:21:45 | 0:21:48 | |
What's this? | 0:21:48 | 0:21:49 | |
Mostly me. | 0:21:49 | 0:21:50 | |
But some of you. | 0:21:50 | 0:21:52 | |
SHE SNIFFS | 0:22:08 | 0:22:09 | |
SIOBHAN: England was burning, | 0:22:18 | 0:22:20 | |
Maggie Thatcher | 0:22:20 | 0:22:22 | |
firing on all barrels at Ireland, | 0:22:22 | 0:22:24 | |
the Falklands. | 0:22:24 | 0:22:27 | |
She sacked Social Security, | 0:22:27 | 0:22:29 | |
went after the immigrants, the poor, | 0:22:29 | 0:22:31 | |
the unions. | 0:22:31 | 0:22:32 | |
What do you remember about Brixton, | 0:22:34 | 0:22:36 | |
about my people, then? | 0:22:36 | 0:22:39 | |
Not much. | 0:22:39 | 0:22:41 | |
There were always women around. | 0:22:41 | 0:22:43 | |
Kids would come and go, wards of the state. | 0:22:43 | 0:22:45 | |
They weren't ALL wards. | 0:22:45 | 0:22:47 | |
We were a... | 0:22:47 | 0:22:50 | |
a safe house. | 0:22:50 | 0:22:51 | |
Some of us worked in Social Services, | 0:22:51 | 0:22:54 | |
helping women and kids, refugees, | 0:22:54 | 0:22:56 | |
deportees, radicals on the run, | 0:22:56 | 0:22:58 | |
that kind of thing. | 0:22:58 | 0:23:00 | |
And... | 0:23:00 | 0:23:02 | |
This boy, Carlton. | 0:23:02 | 0:23:04 | |
Yeah, Carlton. I remember him. | 0:23:04 | 0:23:07 | |
He was a fine boy. | 0:23:07 | 0:23:08 | |
Fine man. | 0:23:08 | 0:23:10 | |
Sometimes his pipeline would bring in | 0:23:10 | 0:23:14 | |
a child in the black, a child to hide. | 0:23:14 | 0:23:17 | |
You were one of them. | 0:23:18 | 0:23:20 | |
Why'd he have to hide me? | 0:23:20 | 0:23:22 | |
We didn't ask what we didn't need to know. | 0:23:22 | 0:23:26 | |
I had the chance to legitimize a child, | 0:23:26 | 0:23:28 | |
so I became your legal guardian. | 0:23:28 | 0:23:31 | |
The last time I heard from Carlton, | 0:23:33 | 0:23:35 | |
he was about to be arrested | 0:23:35 | 0:23:36 | |
and he warned me, | 0:23:36 | 0:23:38 | |
he begged me, to move you away, | 0:23:38 | 0:23:40 | |
to hide you deeper. | 0:23:40 | 0:23:43 | |
So, | 0:23:44 | 0:23:46 | |
I left everyone I knew... | 0:23:46 | 0:23:48 | |
..and I brought you and Felix here. | 0:23:51 | 0:23:55 | |
I should've left him when I left Paris. | 0:24:05 | 0:24:08 | |
Mm, yeah, cold turkey, it's the only way to go. | 0:24:08 | 0:24:11 | |
THEY LAUGH "Cold turkey" - what is that? | 0:24:11 | 0:24:13 | |
Oh, it means "abruptly". | 0:24:13 | 0:24:15 | |
Oh, yes, that's what I should've... | 0:24:15 | 0:24:17 | |
You know, he was supposed to follow | 0:24:17 | 0:24:19 | |
next month, but I changed my mind. | 0:24:19 | 0:24:22 | |
Oh, my God. You're the asshole? | 0:24:22 | 0:24:25 | |
Mm-hm, I am the cold-turkey asshole. | 0:24:25 | 0:24:28 | |
THEY LAUGH | 0:24:28 | 0:24:30 | |
WOMAN: Dr Leekie! So nice to see you. | 0:24:30 | 0:24:34 | |
It's Dr Leekie. | 0:24:36 | 0:24:37 | |
Should we invite him? | 0:24:37 | 0:24:40 | |
You're single now. | 0:24:42 | 0:24:43 | |
Oh, no, no, no. He's too old. | 0:24:43 | 0:24:46 | |
But his mind is sexy. | 0:24:46 | 0:24:47 | |
Oui, c'est vrai. I will go get him. | 0:24:47 | 0:24:50 | |
You know you guys already checked the prints, right? Oh, yeah. | 0:25:01 | 0:25:04 | |
We're looking at the whole chain again. | 0:25:04 | 0:25:06 | |
Check THAT shit out - finger straightener! | 0:25:10 | 0:25:12 | |
You are in the wrong department, Angie. | 0:25:12 | 0:25:14 | |
You want her? | 0:25:14 | 0:25:15 | |
Ha-ha. | 0:25:15 | 0:25:17 | |
Hey, you ever seen a postmortem spasm? | 0:25:17 | 0:25:20 | |
'Well, I'm still trying to work it out' | 0:25:31 | 0:25:33 | |
with my advisors, but my dissertation is | 0:25:33 | 0:25:36 | |
on epigenetic influence on clone cells. | 0:25:36 | 0:25:38 | |
Oh, it's a fascinating field. | 0:25:38 | 0:25:39 | |
Yeah. THEY LAUGH | 0:25:39 | 0:25:42 | |
Are either of you familiar with our work at the Dyad Institute? | 0:25:42 | 0:25:45 | |
Oh, your immunology papers, yes. | 0:25:45 | 0:25:47 | |
Then you'll be interested in this too, Delphine... | 0:25:47 | 0:25:49 | |
We've created a pluripotent | 0:25:49 | 0:25:52 | |
stemcell line from human baby teeth. | 0:25:52 | 0:25:54 | |
Dr Leekie, you've perfected a number of proprietary | 0:25:54 | 0:25:57 | |
cloning techniques... in bacteria, | 0:25:57 | 0:26:00 | |
amphibians, insects, human skin grafts. | 0:26:00 | 0:26:02 | |
Correct. | 0:26:02 | 0:26:03 | |
And you're patenting | 0:26:03 | 0:26:04 | |
transgenic embryonic stem cells? | 0:26:04 | 0:26:06 | |
We hope to, once we get the necessary approvals, | 0:26:06 | 0:26:09 | |
but that is not public knowledge. | 0:26:09 | 0:26:11 | |
Yeah, I did some digging, | 0:26:11 | 0:26:14 | |
and then just guessed. | 0:26:14 | 0:26:16 | |
THEY LAUGH | 0:26:16 | 0:26:18 | |
She...she is very, very... what's the word? | 0:26:18 | 0:26:20 | |
"Cheeky", I think is the word you're after - "cheeky". | 0:26:20 | 0:26:23 | |
She is very cheeky, this girl. | 0:26:23 | 0:26:26 | |
But that's why I like her. | 0:26:26 | 0:26:28 | |
Beth's dead? | 0:26:34 | 0:26:35 | |
Why? | 0:26:38 | 0:26:39 | |
I can't tell you that. | 0:26:39 | 0:26:42 | |
Who is she? | 0:26:42 | 0:26:43 | |
All I can tell you is | 0:26:43 | 0:26:44 | |
that she comes from Europe. | 0:26:44 | 0:26:46 | |
So, did this imposter kill Beth? | 0:26:48 | 0:26:49 | |
We suspect so. | 0:26:49 | 0:26:51 | |
And she's killed other subjects. | 0:26:51 | 0:26:53 | |
Yet, Paul, she still seems | 0:26:53 | 0:26:54 | |
to share your bed. | 0:26:54 | 0:26:56 | |
I don't know what to say, Olivier. | 0:26:56 | 0:26:57 | |
To me, she's still Beth. | 0:26:57 | 0:26:59 | |
Regardless of what you think, | 0:26:59 | 0:27:00 | |
I need you to bring her to me. | 0:27:00 | 0:27:01 | |
Where in Europe? | 0:27:03 | 0:27:05 | |
Does that matter? | 0:27:05 | 0:27:06 | |
Yeah. | 0:27:08 | 0:27:10 | |
It's a big place. | 0:27:10 | 0:27:11 | |
England, Spain, what? | 0:27:11 | 0:27:14 | |
Whether I believe you or not, | 0:27:14 | 0:27:16 | |
loyalty is proven in the moment, | 0:27:16 | 0:27:20 | |
after all. | 0:27:20 | 0:27:22 | |
And loyalty has its rewards. | 0:27:24 | 0:27:27 | |
I know what I did, Olivier. | 0:27:29 | 0:27:32 | |
Help make this right, Afghanistan goes away, | 0:27:32 | 0:27:35 | |
you're free of your debt to us. | 0:27:35 | 0:27:37 | |
You get your life back, Paul. | 0:27:37 | 0:27:39 | |
OK. Can I have my phone back? | 0:27:39 | 0:27:42 | |
What do you think, the both of you, | 0:27:44 | 0:27:46 | |
of applying to the institute? | 0:27:46 | 0:27:47 | |
DELPHINE: Who, us? | 0:27:47 | 0:27:50 | |
Well, why not? You could be the next Watson and Crick! | 0:27:50 | 0:27:52 | |
I'm just a geek girl from Berkeley. | 0:27:52 | 0:27:54 | |
SHE LAUGHS | 0:27:54 | 0:27:56 | |
I can tell you have | 0:27:56 | 0:27:57 | |
a very unique | 0:27:57 | 0:27:59 | |
perspective, Cosima. | 0:27:59 | 0:28:01 | |
Please, you could be | 0:28:01 | 0:28:03 | |
on the cover of Scientific American. | 0:28:03 | 0:28:05 | |
Scientific American | 0:28:05 | 0:28:07 | |
doesn't put scientists on the cover. | 0:28:07 | 0:28:08 | |
Well, | 0:28:08 | 0:28:09 | |
every rule needs to be broken. | 0:28:09 | 0:28:11 | |
KIRA: Here. | 0:28:17 | 0:28:18 | |
If you... if you have to go back | 0:28:24 | 0:28:27 | |
to go forward, I understand, but, | 0:28:27 | 0:28:29 | |
just tell me, OK? | 0:28:29 | 0:28:30 | |
It might still be dangerous. | 0:28:30 | 0:28:32 | |
Yeah, I think so, too. | 0:28:32 | 0:28:34 | |
I can keep Kira safe, just like I kept you. | 0:28:36 | 0:28:40 | |
KIRA GIGGLES | 0:28:53 | 0:28:55 | |
Put it on speaker. | 0:29:04 | 0:29:07 | |
One more story, Mummy? | 0:29:07 | 0:29:09 | |
Ah! You already had a story, didn't you? | 0:29:09 | 0:29:11 | |
PHONE RINGS It's time for bed. Oh. | 0:29:11 | 0:29:14 | |
Monkey-swing to Felix. | 0:29:14 | 0:29:16 | |
OK. Oh, my gosh! | 0:29:16 | 0:29:17 | |
Come on, I'll squeeze you to sleep. I'll be right up, OK? | 0:29:17 | 0:29:21 | |
Hello? | 0:29:24 | 0:29:25 | |
Hi, Beth. | 0:29:25 | 0:29:26 | |
What's up? | 0:29:26 | 0:29:29 | |
Not much. I need you to do something for me. | 0:29:29 | 0:29:31 | |
OK. | 0:29:31 | 0:29:32 | |
They know you're not Beth. | 0:29:32 | 0:29:34 | |
Run! | 0:29:34 | 0:29:35 | |
OK, I get it, I do. | 0:29:51 | 0:29:52 | |
Black-ops Paul just proved | 0:29:52 | 0:29:54 | |
he's down with you for real, | 0:29:54 | 0:29:55 | |
but he also said, "Run." | 0:29:55 | 0:29:57 | |
I can't just leave him in there, Fe. | 0:29:57 | 0:29:59 | |
It's probably my fault | 0:29:59 | 0:30:00 | |
he's in there in the first place. | 0:30:00 | 0:30:02 | |
Well, how do you even know he's still here? | 0:30:02 | 0:30:04 | |
I don't, but I've got to try. | 0:30:04 | 0:30:05 | |
So, then, what are you going to do? | 0:30:05 | 0:30:07 | |
Are you going to take Cosima's bad advice, | 0:30:07 | 0:30:08 | |
fess up to Olivier? | 0:30:08 | 0:30:10 | |
I've got an even worse idea. | 0:30:11 | 0:30:13 | |
How was your day, Paul? | 0:30:14 | 0:30:16 | |
Yes, I also had a pleasant day. | 0:30:16 | 0:30:20 | |
I went working and shopping. | 0:30:21 | 0:30:24 | |
MOBILE RINGTONE | 0:30:24 | 0:30:25 | |
Pardon me. It's work. | 0:30:29 | 0:30:31 | |
It's almost midnight. | 0:30:32 | 0:30:34 | |
Do you have names for me? 'I do.' | 0:30:34 | 0:30:37 | |
Olivier. | 0:30:37 | 0:30:39 | |
That's not the name | 0:30:39 | 0:30:40 | |
of a sheep. | 0:30:40 | 0:30:42 | |
A sheep? | 0:30:42 | 0:30:43 | |
Baa! | 0:30:44 | 0:30:46 | |
'Look, Helena,' | 0:30:46 | 0:30:47 | |
he's more important than a sheep, OK? | 0:30:47 | 0:30:50 | |
He's a shepherd. | 0:30:50 | 0:30:52 | |
'I need you to come meet me.' | 0:30:52 | 0:30:55 | |
I saw Paul come up from the basement. | 0:31:03 | 0:31:04 | |
I know that Olivier's office | 0:31:04 | 0:31:06 | |
has got to be down there. | 0:31:06 | 0:31:07 | |
DOOR OPENS | 0:31:07 | 0:31:08 | |
OK, if I'm not back in 15 minutes, | 0:31:12 | 0:31:15 | |
call Art, tell him everything, | 0:31:15 | 0:31:18 | |
and make sure Kira's safe, yeah? | 0:31:18 | 0:31:20 | |
Yeah, I... Sarah! | 0:31:20 | 0:31:23 | |
What? | 0:31:23 | 0:31:24 | |
Um, just don't die, | 0:31:24 | 0:31:27 | |
because your first funeral | 0:31:27 | 0:31:29 | |
was just agonizing enough. | 0:31:29 | 0:31:31 | |
What are you doing down here? | 0:32:07 | 0:32:10 | |
I'm looking for Olivier. | 0:32:12 | 0:32:13 | |
Who are you? | 0:32:13 | 0:32:16 | |
You know how bad this can get. | 0:32:20 | 0:32:24 | |
I'm not working for anyone. | 0:32:24 | 0:32:26 | |
Then, why protect her? | 0:32:26 | 0:32:27 | |
I told you she was a killer. | 0:32:27 | 0:32:29 | |
Was she that good? | 0:32:29 | 0:32:30 | |
I have Beth to see you. | 0:32:32 | 0:32:35 | |
You must be Olivier. | 0:32:43 | 0:32:46 | |
Well, this is unexpected. | 0:32:46 | 0:32:48 | |
She was carrying this. | 0:32:48 | 0:32:50 | |
I told you to run. | 0:32:53 | 0:32:55 | |
Yeah, I don't do "run". | 0:32:55 | 0:32:57 | |
Leave us, please. | 0:32:57 | 0:32:59 | |
Call me as soon as you can. | 0:33:16 | 0:33:18 | |
All these years, I've never seen | 0:33:21 | 0:33:23 | |
one of you in the flesh. | 0:33:23 | 0:33:25 | |
You're even more beautiful in person. | 0:33:25 | 0:33:27 | |
He thinks you're the killer. | 0:33:27 | 0:33:28 | |
Me?! | 0:33:30 | 0:33:31 | |
You've got it all wrong. | 0:33:32 | 0:33:34 | |
We have medical evidence | 0:33:35 | 0:33:37 | |
that proves you're not Beth. | 0:33:37 | 0:33:39 | |
How can you tell that, | 0:33:39 | 0:33:40 | |
if we're genetically identical? | 0:33:40 | 0:33:42 | |
I'm not a scientist. | 0:33:42 | 0:33:44 | |
Well, you've still got the wrong girl. | 0:33:44 | 0:33:46 | |
The one who's killing us is blonde, | 0:33:46 | 0:33:48 | |
she's Ukrainian, she's a religious nut. | 0:33:48 | 0:33:51 | |
You've created a whole new brand | 0:33:51 | 0:33:53 | |
of fratricide. | 0:33:53 | 0:33:54 | |
You're not listening. It's not me. | 0:33:54 | 0:33:57 | |
Exquisite. | 0:33:57 | 0:33:58 | |
What do you people want? | 0:34:00 | 0:34:02 | |
The future. | 0:34:02 | 0:34:03 | |
Self-directed evolution? | 0:34:03 | 0:34:06 | |
You want to grow a tail, that's your business. | 0:34:06 | 0:34:09 | |
Oh, you know about my modest enhancement? | 0:34:09 | 0:34:11 | |
You've got a tail? The fact that I CAN have a tail, | 0:34:11 | 0:34:13 | |
millions of years after we shed it, | 0:34:13 | 0:34:15 | |
reminds me of what we can achieve. | 0:34:15 | 0:34:17 | |
Would you like to see it? | 0:34:22 | 0:34:24 | |
God, no. | 0:34:25 | 0:34:26 | |
Argentinean bio-hack. | 0:34:28 | 0:34:30 | |
Bloodflow, nerve endings, | 0:34:30 | 0:34:32 | |
warm to the touch. | 0:34:32 | 0:34:34 | |
But it's merely performance art, | 0:34:34 | 0:34:36 | |
compared to you. | 0:34:36 | 0:34:37 | |
You are our greatest achievement. | 0:34:37 | 0:34:40 | |
PHONE RINGS | 0:34:40 | 0:34:42 | |
Perhaps later. | 0:34:42 | 0:34:44 | |
This is Olivier. | 0:34:54 | 0:34:56 | |
What's so urgent? | 0:34:57 | 0:34:59 | |
'I have her, Aldous.' | 0:34:59 | 0:35:01 | |
The killer. | 0:35:01 | 0:35:02 | |
Get her ready to travel. | 0:35:05 | 0:35:07 | |
I'll be there in the morning. | 0:35:07 | 0:35:09 | |
And be careful with her. | 0:35:09 | 0:35:10 | |
She's irresistible, isn't she? | 0:35:25 | 0:35:27 | |
Now I know why you did this. | 0:35:30 | 0:35:33 | |
If I was in your position, | 0:35:33 | 0:35:35 | |
I'd fall in love with her, too. | 0:35:35 | 0:35:37 | |
SHE GASPS AND GRUNTS | 0:35:43 | 0:35:44 | |
Shh, shh, shh, shh, shh. | 0:35:44 | 0:35:46 | |
Hello, friend. | 0:35:46 | 0:35:49 | |
Oh, God! About time. | 0:35:49 | 0:35:52 | |
Do you want to be saved? | 0:35:52 | 0:35:54 | |
Yes, Helena! Untie me. | 0:35:54 | 0:35:55 | |
Give me a name, first. | 0:35:55 | 0:35:57 | |
I gave you Olivier. | 0:35:57 | 0:35:59 | |
I want the name of a sheep, too. | 0:35:59 | 0:36:01 | |
SHE GRUNTS | 0:36:01 | 0:36:03 | |
OK, I'll give you another name. | 0:36:08 | 0:36:10 | |
Tell me. | 0:36:12 | 0:36:14 | |
I offered you a way out, | 0:36:14 | 0:36:16 | |
and you made a fool of me. | 0:36:16 | 0:36:18 | |
You made a fatal error, Paul... | 0:36:18 | 0:36:21 | |
You trusted the wrong person. | 0:36:21 | 0:36:23 | |
Who are you? | 0:36:47 | 0:36:49 | |
I want to see your tail. | 0:36:49 | 0:36:51 | |
Now, show me the tail. Slowly. | 0:36:58 | 0:37:02 | |
That's good. | 0:37:05 | 0:37:07 | |
Ahh. | 0:37:09 | 0:37:11 | |
How is this possible? | 0:37:11 | 0:37:14 | |
Did you lie with a beast? | 0:37:15 | 0:37:17 | |
Please. You're a miracle. | 0:37:17 | 0:37:20 | |
Let me help you. | 0:37:20 | 0:37:21 | |
I have a message for your master. | 0:37:21 | 0:37:25 | |
From Tomas. | 0:37:26 | 0:37:28 | |
Aaargh! | 0:37:28 | 0:37:31 | |
Aaaaaargh! | 0:37:31 | 0:37:33 | |
I guess there's a few things I should've told you. You think? | 0:37:38 | 0:37:42 | |
Come on, Sarah. | 0:37:42 | 0:37:44 | |
PHONE BEEPS | 0:37:50 | 0:37:52 | |
PHONE RINGS | 0:37:56 | 0:37:58 | |
Yeah, one sec. | 0:37:58 | 0:38:00 | |
Detective Art Bell. | 0:38:04 | 0:38:05 | |
'Hi, um, Detective.' | 0:38:05 | 0:38:07 | |
You don't know me, but, um, | 0:38:07 | 0:38:10 | |
I need to talk to you about Beth Childs. | 0:38:10 | 0:38:12 | |
Beth Childs? What about her? | 0:38:12 | 0:38:14 | |
I was told to call, um... | 0:38:14 | 0:38:16 | |
Shit! Christ! | 0:38:16 | 0:38:17 | |
Let's go. Wrong number. | 0:38:17 | 0:38:20 | |
Hello? | 0:38:20 | 0:38:22 | |
Hello! | 0:38:22 | 0:38:24 | |
You had to give Helena a name? | 0:38:58 | 0:39:01 | |
Yeah, mine. I told her who I was. | 0:39:01 | 0:39:04 | |
Sarah? | 0:39:04 | 0:39:05 | |
She's got a thing for me. | 0:39:07 | 0:39:08 | |
Mm. | 0:39:19 | 0:39:21 | |
Well, three's a crowd, | 0:39:21 | 0:39:22 | |
so I'm going to go get drunk | 0:39:22 | 0:39:24 | |
by myself at Bobby's Bar. | 0:39:24 | 0:39:26 | |
We can't go back to the townhouse. | 0:39:26 | 0:39:28 | |
It's not safe. They'll be looking for us. | 0:39:28 | 0:39:31 | |
We should... | 0:39:31 | 0:39:33 | |
Working with Dr Leekie could be | 0:39:56 | 0:39:59 | |
the opportunity of a lifetime. | 0:39:59 | 0:40:00 | |
I know. | 0:40:00 | 0:40:03 | |
Then, why are you being so coy? | 0:40:03 | 0:40:05 | |
Don't you think | 0:40:07 | 0:40:09 | |
it's time we admit what this is really about? | 0:40:09 | 0:40:11 | |
I, um... | 0:40:22 | 0:40:24 | |
Oh. Oh, God, Delphine. | 0:40:24 | 0:40:26 | |
Uh...did I make a huge mistake? | 0:40:26 | 0:40:29 | |
No. I have to go. | 0:40:29 | 0:40:30 | |
It-it's OK. | 0:40:33 | 0:40:36 | |
Bye. Delphine, just... | 0:40:36 | 0:40:38 | |
Hey, I'm going home. | 0:40:48 | 0:40:49 | |
You should, too. | 0:40:49 | 0:40:51 | |
Ha-ha. What, and miss all the fun? | 0:40:51 | 0:40:52 | |
THEY LAUGH | 0:40:52 | 0:40:54 | |
Art! | 0:40:55 | 0:40:56 | |
Art, you got to see this. | 0:40:56 | 0:40:58 | |
Holy shit. | 0:40:58 | 0:41:00 | |
It's a match on the Jane Doe print. | 0:41:00 | 0:41:02 | |
Who's Sarah Manning? | 0:41:05 | 0:41:07 | |
And why the hell does she look like Beth? | 0:41:08 | 0:41:10 | |
Alarmingly large numbers are continuing | 0:42:00 | 0:42:01 | |
to kill themselves in custody. | 0:42:01 | 0:42:03 | |
"It's their own fault. Shouldn't be in prison in the first place." | 0:42:03 | 0:42:06 | |
I've heard it - the public's reaction. | 0:42:06 | 0:42:09 | |
"Mum, help me. Mum, help me." | 0:42:09 | 0:42:10 | |
He were bullied that much, I think he were tortured. | 0:42:10 | 0:42:13 | |
Crime Punishment Season concludes. | 0:42:13 | 0:42:15 |