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This programme contains some scenes which some viewers may find upsetting | 0:00:02 | 0:00:05 | |
-Do you know Dr Aldous Leekie? -No. -Neolution gives us the opportunity | 0:00:05 | 0:00:08 | |
-at self-directed evolution. -Delphine. -Cosima. | 0:00:08 | 0:00:10 | |
Because she doesn't know that I know. | 0:00:10 | 0:00:11 | |
I'm the one who's monitoring her. | 0:00:11 | 0:00:12 | |
It's time we admit what this is really about? | 0:00:12 | 0:00:15 | |
Did I make a huge mistake? | 0:00:15 | 0:00:16 | |
I have to go. | 0:00:16 | 0:00:18 | |
This is high-level shit, Sarah, | 0:00:18 | 0:00:19 | |
an illegal human cloning trial. | 0:00:19 | 0:00:21 | |
There is nine of you. No! There is only one of me. | 0:00:21 | 0:00:23 | |
You have a problem. | 0:00:23 | 0:00:24 | |
-What kind of a problem? -She is not Beth. | 0:00:24 | 0:00:26 | |
You must be Olivier. The one who's killing us is Ukrainian, she's blonde, | 0:00:26 | 0:00:30 | |
she's a religious nut. | 0:00:30 | 0:00:31 | |
You are the original. | 0:00:31 | 0:00:32 | |
You are the light. | 0:00:32 | 0:00:33 | |
I dreamed that we were friends. | 0:00:33 | 0:00:36 | |
-We are not friends. -We will be. | 0:00:36 | 0:00:37 | |
I have her, Aldous. | 0:00:37 | 0:00:39 | |
Get her ready to travel. I'll be there in the morning. | 0:00:39 | 0:00:41 | |
I want to see your tail. | 0:00:42 | 0:00:44 | |
Aaaaah! | 0:00:44 | 0:00:46 | |
-'I need to talk to you about Beth Childs.' -Beth Childs? | 0:00:46 | 0:00:48 | |
-Let's go. -Wrong number. | 0:00:48 | 0:00:50 | |
We can't go back to the town house. It is not safe. They will be looking for us. | 0:00:50 | 0:00:54 | |
Art, you got to see this. | 0:00:54 | 0:00:55 | |
Who is Sarah Manning? | 0:00:55 | 0:00:57 | |
Ready for this? | 0:01:08 | 0:01:09 | |
You believe in doppelgangers, Angie? | 0:01:09 | 0:01:11 | |
Doppelgangers running around to confuse the issue? No. | 0:01:11 | 0:01:15 | |
How about twins? | 0:01:15 | 0:01:16 | |
Beth ever mention a twin sister? | 0:01:16 | 0:01:18 | |
What the hell is going on?! | 0:01:18 | 0:01:20 | |
Look, we identified Sarah Manning | 0:01:22 | 0:01:24 | |
as Jane Doe, so, | 0:01:24 | 0:01:25 | |
come on, we got to make a house call. | 0:01:25 | 0:01:27 | |
Hey. | 0:01:30 | 0:01:31 | |
You mind keeping this between us? | 0:01:31 | 0:01:33 | |
Just till we figure out what the hell it is. | 0:01:33 | 0:01:35 | |
Yeah, sure. | 0:01:35 | 0:01:37 | |
Yeah, sounds good to me. | 0:01:37 | 0:01:39 | |
Thanks. | 0:01:39 | 0:01:40 | |
We can't go back to the town house. | 0:01:55 | 0:01:57 | |
Uh-uh. Shh-shh-shh-shh. | 0:01:57 | 0:01:59 | |
Olivier's boss, Dr Leekie, | 0:02:06 | 0:02:08 | |
is flying in today. He will be looking for you. | 0:02:08 | 0:02:10 | |
OK. | 0:02:10 | 0:02:11 | |
For a second there, I forgot I was a clone. | 0:02:12 | 0:02:16 | |
He thinks you're the one killing his clones. | 0:02:16 | 0:02:19 | |
DOOR OPENS | 0:02:19 | 0:02:21 | |
Oh. Sorry. | 0:02:23 | 0:02:25 | |
Couldn't afford lattes for Bonnie and Clyde. | 0:02:25 | 0:02:28 | |
Morning, Fe. | 0:02:28 | 0:02:29 | |
Can we torch this, please? | 0:02:29 | 0:02:31 | |
What? | 0:02:31 | 0:02:32 | |
Your psycho sister's coat smells like low tide. | 0:02:32 | 0:02:34 | |
Felix! | 0:02:34 | 0:02:37 | |
Sarah's going to have to hole up here for a while. | 0:02:37 | 0:02:39 | |
You, too? Impinging on my creativity. Shagging in my bed. | 0:02:39 | 0:02:42 | |
MOBILE RINGS | 0:02:42 | 0:02:44 | |
Alison. | 0:02:48 | 0:02:50 | |
Oh, brilliant! Invite her, too. Then maybe we can all cuddle up | 0:02:50 | 0:02:53 | |
with Weight Watchers and Grey's Anatomy. | 0:02:53 | 0:02:55 | |
Hey. How was couples' camp? | 0:02:55 | 0:02:57 | |
'I came back early.' | 0:02:57 | 0:02:58 | |
Cosima filled me in already | 0:02:58 | 0:03:00 | |
and I'm taking a break from you two. | 0:03:00 | 0:03:02 | |
I need to get my house together. | 0:03:02 | 0:03:03 | |
Er, isn't that what marriage counselling was for? | 0:03:03 | 0:03:06 | |
-Donnie and I are getting a divorce. -What? | 0:03:06 | 0:03:09 | |
Oh, I'm fine. | 0:03:09 | 0:03:10 | |
It is my decision. | 0:03:10 | 0:03:12 | |
Everything is under control. | 0:03:12 | 0:03:14 | |
OK, now I'm worried. | 0:03:14 | 0:03:15 | |
Well, don't be. I can take care of myself | 0:03:15 | 0:03:17 | |
and I don't need... | 0:03:17 | 0:03:19 | |
WHISPERS: ..you helping me clear my deck | 0:03:19 | 0:03:21 | |
of liars and spies. | 0:03:21 | 0:03:22 | |
Alison, you don't know who your monitor is, OK? | 0:03:22 | 0:03:24 | |
Don't fixate. | 0:03:24 | 0:03:26 | |
I'm reclaiming my life, Sarah. | 0:03:26 | 0:03:28 | |
Please respect that. | 0:03:28 | 0:03:30 | |
Aynsley, what are you doing? | 0:03:40 | 0:03:42 | |
Alison, you're home! | 0:03:42 | 0:03:43 | |
I told you I was coming back early. | 0:03:43 | 0:03:45 | |
But not today, silly. | 0:03:45 | 0:03:47 | |
I just came to water the plants. | 0:03:47 | 0:03:48 | |
Did you? | 0:03:48 | 0:03:50 | |
KNOCKING | 0:03:50 | 0:03:51 | |
I'll get it! | 0:03:51 | 0:03:52 | |
Hey, hey, hey, hey. What have I said | 0:03:55 | 0:03:57 | |
about answering the door on your own? | 0:03:57 | 0:03:59 | |
Only when we invite someone. | 0:03:59 | 0:04:01 | |
Uh-huh, and we have not, have we? | 0:04:01 | 0:04:03 | |
Kira, go up to your room. | 0:04:05 | 0:04:08 | |
Quick. | 0:04:08 | 0:04:09 | |
Siobhan Sadler? | 0:04:16 | 0:04:17 | |
Who wants to know? | 0:04:17 | 0:04:18 | |
Detectives Bell and Deangelis. | 0:04:18 | 0:04:20 | |
Are you the legal guardian | 0:04:20 | 0:04:22 | |
of Sarah Manning? | 0:04:22 | 0:04:23 | |
Sarah's dead? | 0:04:59 | 0:05:01 | |
I'm sorry. | 0:05:01 | 0:05:04 | |
How? | 0:05:04 | 0:05:05 | |
She was shot. | 0:05:05 | 0:05:07 | |
Shot? | 0:05:07 | 0:05:09 | |
When? | 0:05:09 | 0:05:11 | |
On or around November 25th. | 0:05:11 | 0:05:13 | |
November 25th? That is two weeks ago. | 0:05:13 | 0:05:16 | |
Identification took some time. | 0:05:16 | 0:05:18 | |
But you're sure it's her? | 0:05:18 | 0:05:20 | |
Did you know if Sarah had any problems | 0:05:23 | 0:05:26 | |
with anyone? | 0:05:26 | 0:05:27 | |
Women, especially, | 0:05:27 | 0:05:28 | |
but not exclusively. | 0:05:28 | 0:05:30 | |
Why would you ask that? | 0:05:30 | 0:05:32 | |
I'm sorry. | 0:05:34 | 0:05:35 | |
We can't share much about the investigation, at this point. | 0:05:35 | 0:05:38 | |
Did she live here with you? | 0:05:38 | 0:05:40 | |
No. She came of age and she moved out years ago. | 0:05:40 | 0:05:42 | |
We aren't... | 0:05:42 | 0:05:45 | |
We weren't close. | 0:05:45 | 0:05:46 | |
Did Sarah have a sister? | 0:05:48 | 0:05:49 | |
No, she was an orphan. | 0:05:49 | 0:05:51 | |
Could she have a sister? | 0:05:51 | 0:05:54 | |
If she did, it would be news to both of us. | 0:05:54 | 0:05:57 | |
Neolution is bullshit, Cosima. | 0:05:59 | 0:06:02 | |
No, it isn't, Sarah. It's an applied philosophy | 0:06:02 | 0:06:05 | |
with profound implications for what I do. | 0:06:05 | 0:06:06 | |
So you'd go around black-bagging your subjects? | 0:06:06 | 0:06:09 | |
That was mistaken identity, OK? | 0:06:09 | 0:06:12 | |
Olivier thought you were the killer, Sarah. | 0:06:12 | 0:06:14 | |
Yeah, well, your good friend Dr Leekie's on his way. | 0:06:14 | 0:06:16 | |
Can I expect the same from him? | 0:06:16 | 0:06:18 | |
OK, you know what? | 0:06:18 | 0:06:19 | |
You were the one who turned our killer | 0:06:19 | 0:06:21 | |
against our creators. | 0:06:21 | 0:06:22 | |
I mean, why the hell would you bring Helena into the mix? | 0:06:22 | 0:06:25 | |
Oi! Ivory tower! This all happened | 0:06:25 | 0:06:27 | |
because you got the science wrong. | 0:06:27 | 0:06:29 | |
No, I didn't. | 0:06:29 | 0:06:31 | |
Yes, you did, OK? | 0:06:31 | 0:06:33 | |
They knew I wasn't Beth, from the medical tests. | 0:06:33 | 0:06:35 | |
You said our DNA was identical. | 0:06:35 | 0:06:37 | |
It is. You know, maybe it was your sunny personality that gave you away. | 0:06:37 | 0:06:40 | |
Whose bloody side are you on, Cosima? | 0:06:40 | 0:06:42 | |
Oh, hang up! She is a Freaky Leekie. | 0:06:42 | 0:06:44 | |
D... | 0:06:44 | 0:06:45 | |
Shit! Fe, Cosima drank the purple Kool-Aid. | 0:06:45 | 0:06:49 | |
Well, then, to hell with her. | 0:06:49 | 0:06:50 | |
You can still save Alison. | 0:06:50 | 0:06:53 | |
Alison's fine. | 0:06:53 | 0:06:54 | |
She is not fine. She is divorcing Donnie. | 0:06:54 | 0:06:57 | |
Every freak for herself. | 0:06:57 | 0:06:59 | |
Divorces do really strange things to normals, Sarah. | 0:06:59 | 0:07:01 | |
They lose their fake happiness, | 0:07:01 | 0:07:02 | |
they forget the way to the mall, | 0:07:02 | 0:07:04 | |
and then they come downtown to find themselves. | 0:07:04 | 0:07:06 | |
She is obsessing that one | 0:07:09 | 0:07:11 | |
of her bitchy friends is her monitor. | 0:07:11 | 0:07:12 | |
Aynsley. | 0:07:12 | 0:07:14 | |
It is her, for sure. | 0:07:15 | 0:07:16 | |
Whew, divorce. You poor thing. | 0:07:18 | 0:07:21 | |
Where are the kids? | 0:07:21 | 0:07:23 | |
They are at my mother's. | 0:07:23 | 0:07:24 | |
Do they know? Did you tell them? | 0:07:24 | 0:07:26 | |
-You are just full of questions, aren't you? -Well, of course I am. | 0:07:26 | 0:07:29 | |
I care about you. | 0:07:29 | 0:07:30 | |
I knew you were unhappy, but... | 0:07:30 | 0:07:32 | |
How did you know? | 0:07:32 | 0:07:33 | |
By asking questions. | 0:07:33 | 0:07:34 | |
Always asking, asking. | 0:07:34 | 0:07:36 | |
Everything you know, you pried right out of me. | 0:07:36 | 0:07:38 | |
Here's a thought... | 0:07:44 | 0:07:46 | |
why don't you let me coach figure skating tonight? | 0:07:46 | 0:07:48 | |
The kids are with your mom. | 0:07:48 | 0:07:50 | |
Have a night in, relax. | 0:07:50 | 0:07:52 | |
No, you relax. Figure skating is | 0:07:52 | 0:07:54 | |
on my schedule and whether my daughter is in attendance or not, I'll be there. | 0:07:54 | 0:07:57 | |
Ally, I think you need some "me" time. | 0:07:57 | 0:08:01 | |
And I think you need to give me my house keys back. | 0:08:01 | 0:08:03 | |
What?! What have I done? | 0:08:03 | 0:08:06 | |
Keys, please. | 0:08:06 | 0:08:07 | |
I know you're in pain, | 0:08:12 | 0:08:13 | |
so I won't ask for my keys back, | 0:08:13 | 0:08:15 | |
but I want you to know I won't abandon you, Ally. | 0:08:15 | 0:08:18 | |
You know... | 0:08:27 | 0:08:29 | |
I'm afraid restoring your brother's, er, | 0:08:31 | 0:08:33 | |
appendage was out of the question. | 0:08:33 | 0:08:36 | |
The tail was too badly damaged. | 0:08:36 | 0:08:38 | |
Must've been a new one for you. | 0:08:38 | 0:08:40 | |
Yes, but fascinating, actually. | 0:08:40 | 0:08:42 | |
That level of surgical enhancement... | 0:08:42 | 0:08:44 | |
He is very committed. | 0:08:44 | 0:08:45 | |
How long do you expect to keep him here? | 0:08:45 | 0:08:47 | |
Between the blood loss and the risk | 0:08:47 | 0:08:49 | |
of infection in that...area, | 0:08:49 | 0:08:51 | |
a few days to a week. | 0:08:51 | 0:08:52 | |
Thanks, doc. | 0:08:52 | 0:08:53 | |
I'll wait till he comes to. | 0:08:53 | 0:08:55 | |
Where are you with Cosima? | 0:09:15 | 0:09:18 | |
Closer. | 0:09:19 | 0:09:20 | |
She... | 0:09:20 | 0:09:22 | |
She made a pass at me, Aldous. | 0:09:22 | 0:09:25 | |
Really? | 0:09:25 | 0:09:27 | |
Yes. | 0:09:27 | 0:09:29 | |
Delphine... | 0:09:29 | 0:09:32 | |
..Cosima's safety is at stake. | 0:09:33 | 0:09:36 | |
Other subjects, too. | 0:09:36 | 0:09:38 | |
I need to know | 0:09:38 | 0:09:40 | |
which ones she's in contact with. | 0:09:40 | 0:09:44 | |
But she has to initiate disclosure. | 0:09:44 | 0:09:46 | |
I'm not saying disclose. | 0:09:46 | 0:09:50 | |
This is a direct threat, so I need you | 0:09:50 | 0:09:52 | |
to dig deeper and faster. | 0:09:52 | 0:09:54 | |
"Dear Mummy, | 0:10:51 | 0:10:52 | |
"I miss you. | 0:10:52 | 0:10:54 | |
"Mrs S says you | 0:10:54 | 0:10:55 | |
"are in the sunshine. | 0:10:55 | 0:10:58 | |
"Please come home. | 0:10:58 | 0:11:00 | |
"Love, | 0:11:00 | 0:11:02 | |
"Kira." | 0:11:02 | 0:11:05 | |
Oi! Can you not, please? | 0:11:12 | 0:11:15 | |
I'm not going to hole up with you, if you can't sit still. | 0:11:15 | 0:11:18 | |
Does it smell? | 0:11:18 | 0:11:19 | |
Yeah! It smells like a foot. | 0:11:19 | 0:11:20 | |
Only worse, because it's yours. | 0:11:20 | 0:11:22 | |
Alison's not picking up. | 0:11:22 | 0:11:24 | |
MOBILE RINGS | 0:11:24 | 0:11:26 | |
Who is calling? | 0:11:26 | 0:11:28 | |
Art. Again. | 0:11:28 | 0:11:30 | |
Sorry, Beth doesn't live here any more. | 0:11:30 | 0:11:32 | |
No, she lives with me. | 0:11:32 | 0:11:34 | |
So does her boytoy bodyguard. | 0:11:34 | 0:11:37 | |
-Stop! Would you please stop?! -DOOR OPENS | 0:11:37 | 0:11:39 | |
Pl... | 0:11:39 | 0:11:40 | |
Oi-oi, Mrs S. | 0:11:40 | 0:11:42 | |
Oi-oi. | 0:11:42 | 0:11:43 | |
And you're alive. | 0:11:45 | 0:11:47 | |
Yeah. Why? | 0:11:47 | 0:11:49 | |
Two homicide detectives on my doorstep this morning, | 0:11:49 | 0:11:52 | |
quite convinced they'd found your body | 0:11:52 | 0:11:55 | |
in a gravel quarry. | 0:11:55 | 0:11:58 | |
Who wants mimosas? | 0:11:58 | 0:11:59 | |
Sit down and shut your gob! | 0:11:59 | 0:12:01 | |
I was tempted to claim the remains | 0:12:01 | 0:12:04 | |
and feed them to you both on toast. Would you care to enlighten me? | 0:12:04 | 0:12:06 | |
I don't want to lie to you, so, | 0:12:06 | 0:12:09 | |
not yet. | 0:12:09 | 0:12:10 | |
What'd they say? | 0:12:10 | 0:12:11 | |
Very little. | 0:12:11 | 0:12:13 | |
I'd venture little is all they have. | 0:12:13 | 0:12:15 | |
Thanks. | 0:12:15 | 0:12:17 | |
Whatever is going on, if it takes | 0:12:22 | 0:12:24 | |
one step towards Kira, you need to yell fire. | 0:12:24 | 0:12:27 | |
The home we've built for ourselves in this country, | 0:12:29 | 0:12:31 | |
we burn it all down, if we have to. | 0:12:31 | 0:12:34 | |
That is a promise. | 0:12:34 | 0:12:37 | |
Hey. | 0:12:40 | 0:12:41 | |
Hey, facial reconstruction's coming along. | 0:12:41 | 0:12:44 | |
-Yeah, well, hang on to your hat. -Sounds promising. | 0:12:44 | 0:12:46 | |
Sarah Manning offed herself, jumped in front | 0:12:46 | 0:12:49 | |
of a train at Huxley Station. | 0:12:49 | 0:12:50 | |
What?! | 0:12:50 | 0:12:52 | |
Check out the time of death. | 0:12:52 | 0:12:54 | |
Two days before Jane Doe was shot. | 0:12:54 | 0:12:56 | |
Jane Doe can't be Sarah Manning. Sarah Manning was already dead. | 0:12:56 | 0:12:59 | |
Except the prints match. | 0:12:59 | 0:13:00 | |
Twins, right? Twins. Twins' prints are | 0:13:00 | 0:13:03 | |
close enough to flag a match. I mean, environmental factors like | 0:13:03 | 0:13:05 | |
wear and tear can usually differentiate. | 0:13:05 | 0:13:07 | |
-OK, but the foster mother said no relations. -That she knew of. | 0:13:07 | 0:13:09 | |
Sarah was an orphan. | 0:13:09 | 0:13:11 | |
Say Beth's a triplet, separated at birth. | 0:13:11 | 0:13:12 | |
Come on, humour me. Over a couple of days, | 0:13:12 | 0:13:15 | |
same city, one suicides, the other gets whacked? | 0:13:15 | 0:13:17 | |
I mean, it suggests they're in touch, that they're not separate any more, right? | 0:13:17 | 0:13:20 | |
And there's only one left to clear it up. | 0:13:20 | 0:13:22 | |
-Beth! -Hey. Got your messages. | 0:13:25 | 0:13:27 | |
Bad time? | 0:13:27 | 0:13:29 | |
So what's this all about? You miss me already? | 0:13:31 | 0:13:34 | |
Some questions came up about your work on the Jane Doe case. | 0:13:34 | 0:13:37 | |
Such as? | 0:13:41 | 0:13:42 | |
Well, you told us there was | 0:13:42 | 0:13:44 | |
-no print match on the victim. -Yeah, there wasn't. | 0:13:44 | 0:13:47 | |
Well, there's no confirmation of that in the case file. | 0:13:47 | 0:13:50 | |
There should be. | 0:13:50 | 0:13:51 | |
Well, we ran them again and we got a match. | 0:13:51 | 0:13:53 | |
So, we're finally getting somewhere. | 0:13:56 | 0:13:58 | |
Yeah, it sounds like it. | 0:13:58 | 0:14:00 | |
Just need to know... | 0:14:00 | 0:14:02 | |
Is this a joke? | 0:14:10 | 0:14:11 | |
Does the name | 0:14:11 | 0:14:13 | |
Sarah Manning mean anything to you? | 0:14:13 | 0:14:14 | |
Who the hell is this? | 0:14:14 | 0:14:17 | |
You have never seen her before? | 0:14:17 | 0:14:18 | |
Er, er, yeah, yeah, | 0:14:18 | 0:14:20 | |
in the mirror. | 0:14:20 | 0:14:22 | |
Come on. No! | 0:14:22 | 0:14:24 | |
Hey, I guess people have lookalikes. | 0:14:24 | 0:14:25 | |
Do they? | 0:14:25 | 0:14:26 | |
Alison! | 0:14:28 | 0:14:30 | |
Alison, how are you? | 0:14:30 | 0:14:31 | |
-Hmm? -Oh, poor hon. | 0:14:31 | 0:14:34 | |
If you need anything, just call. | 0:14:34 | 0:14:36 | |
Why can't you just support me | 0:14:36 | 0:14:37 | |
in what I'm trying to do? This is important to me. | 0:14:37 | 0:14:39 | |
You can't just put on an outfit and be a coach. | 0:14:39 | 0:14:41 | |
You are not their coach. You don't know what you're doing. | 0:14:41 | 0:14:42 | |
-I am here every single... -Ally! Hey! | 0:14:42 | 0:14:45 | |
Hi, Chad. | 0:14:45 | 0:14:46 | |
Singlehood. Free at last, huh? | 0:14:46 | 0:14:47 | |
What are you doing here, Aynsley? | 0:14:47 | 0:14:48 | |
I know, right? | 0:14:48 | 0:14:51 | |
Chad, go play with your dumbbells. | 0:14:51 | 0:14:53 | |
I told you I've got this covered. | 0:14:53 | 0:14:54 | |
You are in no condition to be coaching kids. | 0:14:54 | 0:14:56 | |
Way to rub salt in the wounds, Ayns. | 0:14:56 | 0:14:57 | |
Sorry, I tried. | 0:15:00 | 0:15:03 | |
I'm perfectly fine and no-one asked you | 0:15:03 | 0:15:06 | |
to sub for me, so leave. | 0:15:06 | 0:15:08 | |
Alison, you're mad at Donnie, not me. | 0:15:08 | 0:15:11 | |
I told you to stay away from me. | 0:15:11 | 0:15:12 | |
And I told you you're not yourself. | 0:15:12 | 0:15:15 | |
I know what you're doing, Aynsley. | 0:15:15 | 0:15:16 | |
You want to mess with my life? | 0:15:16 | 0:15:18 | |
I'm going to mess with yours. | 0:15:18 | 0:15:19 | |
Sorry to be a bitch, here, | 0:15:25 | 0:15:26 | |
but it looks like you buried | 0:15:26 | 0:15:28 | |
Jane Doe's fingerprints to hide your connection. | 0:15:28 | 0:15:30 | |
What connection? | 0:15:30 | 0:15:31 | |
I don't have a sister. I don't know who this person is. | 0:15:31 | 0:15:34 | |
Sarah Manning was an orphan. | 0:15:34 | 0:15:35 | |
Same prints as Jane Doe, but she | 0:15:35 | 0:15:37 | |
killed herself days before Jane Doe was murdered. | 0:15:37 | 0:15:40 | |
Look, Beth, | 0:15:41 | 0:15:42 | |
we just need to know where you fit in. | 0:15:42 | 0:15:45 | |
Can I see her file? | 0:15:47 | 0:15:49 | |
Sorry, | 0:15:49 | 0:15:51 | |
you're a civilian. | 0:15:51 | 0:15:52 | |
Yeah, what you always wanted. | 0:15:52 | 0:15:53 | |
Art, do I need to lawyer up, here? | 0:15:57 | 0:16:01 | |
I don't know, Beth. | 0:16:01 | 0:16:04 | |
Do you? | 0:16:04 | 0:16:05 | |
Have forensics run her prints | 0:16:19 | 0:16:21 | |
as fast as possible. | 0:16:21 | 0:16:23 | |
You got it. | 0:16:23 | 0:16:24 | |
Oh, shit. | 0:16:52 | 0:16:55 | |
OK, fine, you caught me. | 0:16:55 | 0:16:58 | |
Just please don't narc on me to Aynsley. | 0:16:58 | 0:17:00 | |
You know how apeshit she gets about stuff like this. | 0:17:00 | 0:17:02 | |
Whoa. | 0:17:05 | 0:17:07 | |
Alison. | 0:17:07 | 0:17:08 | |
You know, Chad, this is the first hit | 0:17:08 | 0:17:10 | |
I've had since Godspell in college. | 0:17:10 | 0:17:13 | |
I don't know what that is. | 0:17:13 | 0:17:16 | |
OK. | 0:17:18 | 0:17:20 | |
You got any more? | 0:17:20 | 0:17:22 | |
Paul. | 0:17:29 | 0:17:31 | |
Dr Aldous Leekie will be here | 0:17:31 | 0:17:33 | |
in a couple hours. | 0:17:33 | 0:17:35 | |
He texted you. | 0:17:35 | 0:17:38 | |
You are conspiring | 0:17:38 | 0:17:42 | |
with at least two clones. | 0:17:42 | 0:17:43 | |
Just one, actually. | 0:17:43 | 0:17:45 | |
Are you crazy? | 0:17:45 | 0:17:47 | |
Despite appearances, I'm not the one | 0:17:47 | 0:17:50 | |
in a compromising position here, Paul. | 0:17:50 | 0:17:55 | |
You blackmailed | 0:17:55 | 0:17:58 | |
an ex-military-intelligence guy | 0:17:58 | 0:18:00 | |
to do your dirty work. | 0:18:00 | 0:18:03 | |
Olivier Duval... | 0:18:03 | 0:18:06 | |
that's a classy pseudonym, bro. | 0:18:06 | 0:18:08 | |
Thank you. | 0:18:10 | 0:18:12 | |
Your real name is Kevin, | 0:18:12 | 0:18:16 | |
you're from Wenatchee, Washington, | 0:18:16 | 0:18:18 | |
and you have a raft of unsavoury sex warrants. | 0:18:18 | 0:18:21 | |
The organisation knows that. | 0:18:21 | 0:18:24 | |
Yeah, but the police don't. | 0:18:24 | 0:18:25 | |
And that's why you're going to listen | 0:18:25 | 0:18:29 | |
when I tell you what happened last night. | 0:18:29 | 0:18:31 | |
Oh, I get it. | 0:18:36 | 0:18:39 | |
Smoke through the roof... | 0:18:39 | 0:18:41 | |
Accelerated dissipation. | 0:18:41 | 0:18:42 | |
Mm. | 0:18:42 | 0:18:43 | |
Mm-hm. | 0:18:43 | 0:18:45 | |
Fewer air fresheners required. | 0:18:45 | 0:18:48 | |
Speaking of fresh air... | 0:18:48 | 0:18:50 | |
cheers to finally getting Donnie | 0:18:50 | 0:18:52 | |
off your couch. | 0:18:52 | 0:18:53 | |
Are you mocking the failure | 0:18:53 | 0:18:56 | |
of my marriage, Chad? | 0:18:56 | 0:18:58 | |
Sorry. | 0:18:58 | 0:19:00 | |
No, don't be. | 0:19:00 | 0:19:01 | |
I gather you and Aynsley | 0:19:01 | 0:19:03 | |
aren't exactly booking nooners. | 0:19:03 | 0:19:05 | |
Eh, you know, | 0:19:05 | 0:19:07 | |
the thing about you and me, Hendrix... | 0:19:07 | 0:19:08 | |
Hmm? | 0:19:08 | 0:19:10 | |
We are sharks - we stop moving, we die. | 0:19:10 | 0:19:13 | |
Hmm. | 0:19:13 | 0:19:15 | |
Well, you certainly got that down - | 0:19:15 | 0:19:17 | |
those late-night runs in your sleeveless Ts. | 0:19:17 | 0:19:21 | |
You ain't so bad yourself. | 0:19:21 | 0:19:24 | |
Tight glutes. | 0:19:24 | 0:19:26 | |
Nice pecs. | 0:19:26 | 0:19:27 | |
I bet you could bench press me. | 0:19:27 | 0:19:29 | |
Easy. | 0:19:29 | 0:19:31 | |
Bet you could bounce me like a ball. | 0:19:32 | 0:19:35 | |
OK. | 0:19:35 | 0:19:39 | |
Maybe you've had too much. | 0:19:39 | 0:19:41 | |
Hmm. | 0:19:41 | 0:19:42 | |
Maybe you haven't had enough. | 0:19:42 | 0:19:45 | |
What are we doing, here? | 0:19:45 | 0:19:47 | |
I'm objectifying you. | 0:19:47 | 0:19:49 | |
Sexually. | 0:19:49 | 0:19:51 | |
To get back at Donnie. | 0:19:51 | 0:19:53 | |
I should really have a problem with this. | 0:19:53 | 0:19:55 | |
But you don't. | 0:19:55 | 0:19:58 | |
HORN BEEPS | 0:20:06 | 0:20:08 | |
Hey, Delphine. | 0:20:11 | 0:20:13 | |
I hope I'm not disturbing you. | 0:20:13 | 0:20:15 | |
Oh, no, no, no. No, impossible. | 0:20:15 | 0:20:17 | |
So, apparently, I've got this thing | 0:20:17 | 0:20:19 | |
for, like, jumping to conclusions. | 0:20:19 | 0:20:22 | |
You know, it's just that I've never... | 0:20:22 | 0:20:26 | |
I know, I know, I know, you're not gay | 0:20:26 | 0:20:28 | |
and I'm a total idiot. | 0:20:28 | 0:20:29 | |
So sorry. | 0:20:29 | 0:20:30 | |
Oh, let me... | 0:20:30 | 0:20:32 | |
Oh, yes. | 0:20:32 | 0:20:34 | |
-Do you...? -Yeah. | 0:20:34 | 0:20:35 | |
I just want to make, like, | 0:20:35 | 0:20:37 | |
crazy science with you. | 0:20:37 | 0:20:39 | |
Totally crazy science. | 0:20:39 | 0:20:41 | |
I'm so glad to hear that because you know what? | 0:20:41 | 0:20:43 | |
I was reading up on the Dyad Institute | 0:20:43 | 0:20:46 | |
and did you know that Dr Leekie, | 0:20:46 | 0:20:48 | |
he has built a dedicated department | 0:20:48 | 0:20:49 | |
for transgenic organ transplants? And... | 0:20:49 | 0:20:52 | |
Sorry, I was just dorking out so hard | 0:20:52 | 0:20:55 | |
to their extrapolation of murine models. | 0:20:55 | 0:20:58 | |
What?! | 0:20:58 | 0:20:59 | |
Yeah. | 0:20:59 | 0:21:01 | |
Oh, wow. | 0:21:01 | 0:21:02 | |
You know, it's really, really good | 0:21:02 | 0:21:04 | |
to finally meet someone who gets it. | 0:21:04 | 0:21:06 | |
-Hmm. -Who gets me. | 0:21:06 | 0:21:09 | |
Yeah, ditto. | 0:21:12 | 0:21:14 | |
Obvs. | 0:21:14 | 0:21:15 | |
I can't stop thinking about that kiss. | 0:21:19 | 0:21:22 | |
Like in a not-bad way? | 0:21:22 | 0:21:25 | |
Oh, like, | 0:21:25 | 0:21:27 | |
I've never thought about bisexuality. | 0:21:27 | 0:21:29 | |
I mean, for myself, you know. | 0:21:29 | 0:21:30 | |
But as a scientist, I know that | 0:21:30 | 0:21:32 | |
sexuality is a spectrum. | 0:21:32 | 0:21:34 | |
But, you know, social biases, | 0:21:34 | 0:21:35 | |
they codified attraction. | 0:21:35 | 0:21:38 | |
It is contrary to the biological facts, | 0:21:38 | 0:21:41 | |
you know. | 0:21:41 | 0:21:42 | |
Mm-hm. That is oddly romantic. | 0:21:42 | 0:21:45 | |
Totally encouraging. | 0:21:50 | 0:21:51 | |
You want me to coach, yeah! | 0:22:19 | 0:22:21 | |
LAUGHING | 0:22:25 | 0:22:26 | |
OK, no. | 0:22:26 | 0:22:27 | |
Let's turn around right here now. | 0:22:27 | 0:22:29 | |
Coach, yeah! | 0:22:29 | 0:22:31 | |
-You are in the end zone. -Yeah, you're my coach! | 0:22:31 | 0:22:33 | |
Touchdown! | 0:22:33 | 0:22:35 | |
# When I start to make you nervous | 0:22:35 | 0:22:37 | |
# And I'm going to extremes | 0:22:37 | 0:22:39 | |
# Tomorrow, I will change | 0:22:39 | 0:22:41 | |
# And today won't mean a thing | 0:22:41 | 0:22:44 | |
# I'm a bitch, I'm a lover | 0:22:44 | 0:22:46 | |
# I'm a child, I'm a mother | 0:22:46 | 0:22:48 | |
# I'm a sinner, I'm a saint | 0:22:48 | 0:22:51 | |
# I do not feel ashamed | 0:22:51 | 0:22:53 | |
# I'm your hell I'm your dream | 0:22:53 | 0:22:56 | |
# I'm nothing in between | 0:22:56 | 0:22:58 | |
# You know you wouldn't want it | 0:22:58 | 0:23:00 | |
# Any other way, yeah. # | 0:23:00 | 0:23:03 | |
Get out! | 0:23:09 | 0:23:10 | |
Get out! | 0:23:12 | 0:23:13 | |
Meera saw you screwing my husband! | 0:23:13 | 0:23:17 | |
Everyone knows! | 0:23:17 | 0:23:18 | |
You screwed my husband! | 0:23:18 | 0:23:20 | |
Well, maybe, if you paid | 0:23:22 | 0:23:23 | |
more attention to him and less to me. | 0:23:23 | 0:23:25 | |
Get out of the car, Alison! | 0:23:25 | 0:23:27 | |
You've no idea who you're dealing with! | 0:23:27 | 0:23:31 | |
No, I know exactly who you are. | 0:23:31 | 0:23:34 | |
You are a sleazy watcher/spy. | 0:23:34 | 0:23:37 | |
Sleazy? | 0:23:37 | 0:23:38 | |
That is rich, coming from a backstabbing | 0:23:38 | 0:23:40 | |
psycho slut like you! | 0:23:40 | 0:23:41 | |
Do you...? | 0:23:41 | 0:23:44 | |
Stop it! | 0:23:44 | 0:23:45 | |
Hey! | 0:23:45 | 0:23:47 | |
Ha-ha! Aah! | 0:23:49 | 0:23:51 | |
# I'm a bitch, I'm a lover | 0:23:51 | 0:23:53 | |
# I'm a child, I'm a mother | 0:23:53 | 0:23:55 | |
# I'm a sinner, I'm a saint | 0:23:55 | 0:23:58 | |
# I do not feel... # | 0:23:58 | 0:23:59 | |
Hey, hey, hey, Morguee. | 0:24:02 | 0:24:05 | |
We need everything you got on Sarah Manning. | 0:24:05 | 0:24:07 | |
Caucasian female, suicide by train. | 0:24:07 | 0:24:11 | |
You processed the body and its release. | 0:24:11 | 0:24:13 | |
I process lots of bodies. | 0:24:13 | 0:24:14 | |
Is there a problem? | 0:24:14 | 0:24:16 | |
Fingerprints from our Jane Doe | 0:24:16 | 0:24:18 | |
of the gravel crusher. | 0:24:18 | 0:24:20 | |
Forensics says they're spooky-close to two other women. | 0:24:20 | 0:24:22 | |
Yeah, one's Sarah Manning. | 0:24:22 | 0:24:24 | |
The other is a... totally other woman. | 0:24:24 | 0:24:26 | |
Let's see. Er... | 0:24:26 | 0:24:29 | |
Sarah Manning. Suicide by train. | 0:24:29 | 0:24:31 | |
Holy shit. | 0:24:32 | 0:24:35 | |
It is uncanny. | 0:24:35 | 0:24:38 | |
We need the name and the address | 0:24:38 | 0:24:40 | |
of the person who identified her. | 0:24:40 | 0:24:42 | |
What?! I... | 0:24:47 | 0:24:49 | |
OK, Colin, please slow down. | 0:24:49 | 0:24:51 | |
What exactly did they say? | 0:24:51 | 0:24:52 | |
I couldn't lie, Felix, OK? | 0:24:52 | 0:24:53 | |
There are records. Your signature, address. | 0:24:53 | 0:24:56 | |
OK, | 0:24:56 | 0:24:57 | |
I've got to go, | 0:24:57 | 0:25:00 | |
but you just take a hot bath. | 0:25:00 | 0:25:01 | |
I'll talk to you later. | 0:25:01 | 0:25:03 | |
Shit! Sarah. | 0:25:03 | 0:25:04 | |
You can handle this, yeah? | 0:25:04 | 0:25:06 | |
Cops? Yeah. I... Yeah. | 0:25:06 | 0:25:08 | |
Where are you going to go? | 0:25:08 | 0:25:09 | |
No idea. | 0:25:09 | 0:25:12 | |
KNOCKING | 0:25:12 | 0:25:14 | |
Shit! | 0:25:14 | 0:25:15 | |
Felix! | 0:25:15 | 0:25:17 | |
It is me, Alison! | 0:25:17 | 0:25:18 | |
Please be home. | 0:25:18 | 0:25:20 | |
You are effing kidding me. | 0:25:24 | 0:25:27 | |
Bad things have happened to me. | 0:25:27 | 0:25:29 | |
And I would love to hear about them, | 0:25:29 | 0:25:31 | |
I would, but right now, | 0:25:31 | 0:25:32 | |
you need to go. | 0:25:32 | 0:25:33 | |
What? | 0:25:33 | 0:25:34 | |
I can't go back there. | 0:25:38 | 0:25:41 | |
It is just for one night, Alison. | 0:25:41 | 0:25:43 | |
I slept with Aynsley's husband. | 0:25:43 | 0:25:47 | |
What? | 0:25:47 | 0:25:49 | |
I shagged Chad. | 0:25:49 | 0:25:53 | |
Then Aynsley attacked me in the middle of the street. | 0:25:53 | 0:25:56 | |
I degraded myself | 0:25:56 | 0:25:57 | |
and I disgraced my children | 0:25:57 | 0:25:59 | |
and I can't go back there. | 0:25:59 | 0:26:00 | |
I seriously underestimated you. | 0:26:00 | 0:26:04 | |
I hope you kicked her arse. | 0:26:04 | 0:26:06 | |
I did. | 0:26:06 | 0:26:08 | |
Kind of. | 0:26:08 | 0:26:11 | |
I don't want to divorce Donnie, | 0:26:11 | 0:26:12 | |
but I can't keep lying to him and I hate | 0:26:12 | 0:26:16 | |
lying to my kids, I hate it! | 0:26:16 | 0:26:18 | |
How can we possibly sustain this insanity? | 0:26:18 | 0:26:20 | |
We can't. I don't know if Art's going to throw me in jail | 0:26:20 | 0:26:24 | |
or if Cosima's going to narc us out | 0:26:24 | 0:26:26 | |
to the Neolutionists, or what. | 0:26:26 | 0:26:29 | |
Do not forget Helena. She is always fun. | 0:26:29 | 0:26:32 | |
All I know is I came back to fix things, | 0:26:32 | 0:26:36 | |
be a real Mum to Kira. | 0:26:36 | 0:26:38 | |
So what if we tell them? | 0:26:40 | 0:26:43 | |
You mean come out? | 0:26:43 | 0:26:46 | |
"I miss you, | 0:26:57 | 0:26:59 | |
"Mummy. | 0:26:59 | 0:27:00 | |
"I miss you, Mummy. | 0:27:00 | 0:27:03 | |
"I miss you, Mummy. | 0:27:03 | 0:27:05 | |
"I miss you, Mummy." | 0:27:05 | 0:27:07 | |
Scotsburn Avenue. | 0:27:13 | 0:27:15 | |
148. | 0:27:16 | 0:27:19 | |
'Dr Baker to paediatrics, please. | 0:27:23 | 0:27:25 | |
'Dr Baker.' | 0:27:25 | 0:27:28 | |
I replaced your security footage | 0:27:30 | 0:27:32 | |
to show only one clone. | 0:27:32 | 0:27:35 | |
Beth...Sarah... was never there. | 0:27:35 | 0:27:36 | |
He is smart. It won't work. | 0:27:36 | 0:27:39 | |
It will if you stick to one. There was only one. | 0:27:39 | 0:27:41 | |
And you need to stop blaming yourself. | 0:27:43 | 0:27:45 | |
How could you know? | 0:27:45 | 0:27:47 | |
-Uh, Dr Leekie, I'm... -Paul Dierden. | 0:27:47 | 0:27:51 | |
I hear great things. | 0:27:51 | 0:27:52 | |
Aldous. | 0:27:52 | 0:27:54 | |
Aldous, she took my tail. | 0:27:54 | 0:27:56 | |
Shut up, Olivier. | 0:27:56 | 0:27:59 | |
Are you OK? | 0:28:05 | 0:28:08 | |
Yes. | 0:28:08 | 0:28:10 | |
Are you sure? | 0:28:12 | 0:28:14 | |
I...I cry after sex with boys, too. | 0:28:17 | 0:28:22 | |
Poor you. | 0:28:22 | 0:28:24 | |
But you know what? | 0:28:26 | 0:28:28 | |
Hmm? | 0:28:28 | 0:28:29 | |
I am never this hungry. | 0:28:29 | 0:28:32 | |
I could kill for some ice cream. | 0:28:32 | 0:28:34 | |
Mmm. OK. | 0:28:34 | 0:28:37 | |
Your wish is my command. | 0:28:37 | 0:28:38 | |
I'm going to go to the store and I'm | 0:28:38 | 0:28:41 | |
going to get us some Eskimo Pies. | 0:28:41 | 0:28:43 | |
Eskimo? | 0:28:43 | 0:28:44 | |
Yeah. | 0:28:46 | 0:28:47 | |
I don't think I know it. | 0:28:47 | 0:28:49 | |
-No? -No. | 0:28:49 | 0:28:50 | |
Prepare yourself. | 0:28:50 | 0:28:51 | |
You are about to become a craven addict. | 0:28:51 | 0:28:54 | |
I think I already am. | 0:28:54 | 0:28:56 | |
Merde. | 0:30:12 | 0:30:14 | |
She dropped the Beth act cold right in front of us. | 0:30:22 | 0:30:25 | |
If it weren't for Paul, she would've killed me. | 0:30:25 | 0:30:27 | |
She said her name was Helena | 0:30:27 | 0:30:30 | |
and she had an accent, Slavic. | 0:30:30 | 0:30:33 | |
She admitted she killed Beth | 0:30:33 | 0:30:35 | |
and took over her life. | 0:30:35 | 0:30:36 | |
Aldous, she is completely insane. | 0:30:36 | 0:30:38 | |
Welcome to the big picture. | 0:30:41 | 0:30:43 | |
Yes, sir. | 0:30:43 | 0:30:44 | |
Sorry, guys. | 0:30:44 | 0:30:47 | |
Visiting hours are over. | 0:30:47 | 0:30:48 | |
Oh, sure. We will get out of your way. | 0:30:48 | 0:30:50 | |
You just rest and heal. | 0:30:55 | 0:30:59 | |
What do they say in the military, | 0:31:04 | 0:31:07 | |
"You've proven your mettle"? | 0:31:07 | 0:31:09 | |
No, sir, nobody ever said that. | 0:31:09 | 0:31:11 | |
-OK. -MOBILE RINGS | 0:31:11 | 0:31:13 | |
Well, tomorrow, | 0:31:13 | 0:31:14 | |
I'd like to talk about next steps. | 0:31:14 | 0:31:16 | |
Excuse me. | 0:31:17 | 0:31:19 | |
Found something? | 0:31:20 | 0:31:21 | |
Promise me Cosima's safe. | 0:31:21 | 0:31:23 | |
Her quest, Aldous, it's all perfectly... | 0:31:23 | 0:31:26 | |
perfectly natural. | 0:31:26 | 0:31:28 | |
Delphine, | 0:31:28 | 0:31:29 | |
believe me, I'm protecting her. | 0:31:29 | 0:31:31 | |
Now, what is it? | 0:31:31 | 0:31:33 | |
Well, she's not only researching her own biology, | 0:31:33 | 0:31:35 | |
but she is aware of... of eight others. | 0:31:35 | 0:31:38 | |
She has had contact. | 0:31:38 | 0:31:40 | |
I need names. | 0:31:40 | 0:31:42 | |
OK, yes. Well, some of them seem to be dead. | 0:31:42 | 0:31:44 | |
-Janika Zingler. -Yes. | 0:31:44 | 0:31:46 | |
Danielle Fournier. | 0:31:46 | 0:31:47 | |
Yes. Yes. | 0:31:47 | 0:31:49 | |
Katja Obinger. | 0:31:49 | 0:31:50 | |
Yes. | 0:31:50 | 0:31:51 | |
Helena. There is no last name. | 0:31:51 | 0:31:53 | |
Helena. | 0:31:53 | 0:31:54 | |
There is Alison Hendrix, Beth Childs, | 0:31:54 | 0:31:57 | |
and Sarah Manning. | 0:31:57 | 0:31:59 | |
Sarah Manning? | 0:31:59 | 0:32:02 | |
Anything else on her? | 0:32:02 | 0:32:04 | |
No, nothing. | 0:32:04 | 0:32:06 | |
Listen, I have to go. She is coming. Bye. | 0:32:06 | 0:32:09 | |
DOOR OPENS | 0:32:18 | 0:32:20 | |
Hello? | 0:32:26 | 0:32:27 | |
What happened? Are you OK? | 0:32:27 | 0:32:30 | |
Yeah. It is time, Siobhan. | 0:32:30 | 0:32:31 | |
Time I told you what's really going on. | 0:32:31 | 0:32:34 | |
Well, then, I am all ears. | 0:32:34 | 0:32:38 | |
Siobhan, this is Alison Hendrix. | 0:32:44 | 0:32:48 | |
Pleased to meet you. | 0:32:52 | 0:32:54 | |
Well, tell me more, love. | 0:33:01 | 0:33:03 | |
I mean, it can't get any stranger than human cloning. | 0:33:03 | 0:33:07 | |
Well, we live in Scarborough. | 0:33:07 | 0:33:11 | |
About a million years ago, | 0:33:11 | 0:33:12 | |
I went to university. | 0:33:12 | 0:33:13 | |
You went to university? | 0:33:13 | 0:33:16 | |
Mm! Yes. Kinesiology. | 0:33:16 | 0:33:17 | |
Where'd you go wrong? | 0:33:17 | 0:33:19 | |
Oh, that's just basically massage therapy, isn't it? | 0:33:19 | 0:33:22 | |
No, Sarah. It is very important. | 0:33:22 | 0:33:25 | |
It heals. | 0:33:25 | 0:33:26 | |
-Oh! -No. | 0:33:26 | 0:33:28 | |
Um, and then I got married. | 0:33:28 | 0:33:31 | |
And everything is shit. | 0:33:32 | 0:33:35 | |
She came to see Kira once, | 0:33:37 | 0:33:38 | |
in your place, didn't she? | 0:33:38 | 0:33:40 | |
I knew something was up. | 0:33:42 | 0:33:44 | |
Yeah, sorry, the crazy one, Helena, was after me. | 0:33:44 | 0:33:47 | |
OK, so, Helena, Alison, Cosima. | 0:33:47 | 0:33:50 | |
Beth is the policewoman. | 0:33:50 | 0:33:52 | |
Yeah, who topped herself, yeah. | 0:33:52 | 0:33:56 | |
You. | 0:33:56 | 0:33:57 | |
No, there's probably thousands of us. | 0:33:57 | 0:33:59 | |
Ahem! Unless Helena's killed them all. | 0:33:59 | 0:34:01 | |
We are all messed up. | 0:34:01 | 0:34:03 | |
Except you, Sarah. | 0:34:03 | 0:34:06 | |
I'm the biggest mess there is, Alison. | 0:34:06 | 0:34:08 | |
No, no, no, no, because you say "eff it". | 0:34:08 | 0:34:10 | |
I tried to say "eff it" today | 0:34:10 | 0:34:13 | |
and I blew up my whole life. | 0:34:13 | 0:34:15 | |
I just wanted to say "eff this", | 0:34:15 | 0:34:17 | |
"eff you", and I effed it, | 0:34:17 | 0:34:20 | |
I effed it all up. | 0:34:20 | 0:34:21 | |
Oh. You know, would you like to see | 0:34:21 | 0:34:24 | |
the guest bedroom, at this point, chicken? | 0:34:24 | 0:34:26 | |
Huh? Huh? Come on. | 0:34:26 | 0:34:29 | |
Yes. Oh, you are so lovely. | 0:34:29 | 0:34:32 | |
Ahem! You know, you're very lucky, Sarah. | 0:34:32 | 0:34:35 | |
My mother wouldn't be this lovely. She... | 0:34:35 | 0:34:37 | |
My mother would have me put in therapy. | 0:34:37 | 0:34:40 | |
Yeah, yes. | 0:34:42 | 0:34:44 | |
That is Sarah. | 0:34:44 | 0:34:46 | |
Whew. | 0:34:46 | 0:34:49 | |
I was just so shocked. | 0:34:49 | 0:34:51 | |
Seeing her laid out on that slab, | 0:34:51 | 0:34:53 | |
looking so | 0:34:53 | 0:34:54 | |
dead, really. | 0:34:54 | 0:34:57 | |
So your foster sister didn't have any sisters? | 0:34:57 | 0:35:00 | |
Just me. | 0:35:00 | 0:35:01 | |
I keep asking myself | 0:35:03 | 0:35:04 | |
"What'd I miss?", you know? | 0:35:04 | 0:35:07 | |
Because I never really saw the signs. | 0:35:07 | 0:35:09 | |
Beth Childs. | 0:35:09 | 0:35:11 | |
Hmm? Who is that? | 0:35:11 | 0:35:12 | |
You mind if I look? | 0:35:14 | 0:35:16 | |
I like art. | 0:35:16 | 0:35:18 | |
No, yeah, by all means. | 0:35:18 | 0:35:21 | |
Oh! Er... | 0:35:26 | 0:35:28 | |
Those are the many sides of Sarah. | 0:35:28 | 0:35:31 | |
I call that series | 0:35:31 | 0:35:32 | |
Twisted Sister. | 0:35:32 | 0:35:34 | |
I like 'em. | 0:35:34 | 0:35:35 | |
Sort of working out your grief. | 0:35:35 | 0:35:36 | |
Yes. Wherever it takes me. | 0:35:36 | 0:35:40 | |
Thanks. | 0:35:45 | 0:35:47 | |
I'm sorry, again, | 0:35:47 | 0:35:48 | |
for your loss. | 0:35:48 | 0:35:49 | |
Thank you. | 0:35:49 | 0:35:52 | |
I've been here before. | 0:35:58 | 0:35:59 | |
What does that mean? | 0:35:59 | 0:36:01 | |
MOBILE RINGS | 0:36:02 | 0:36:05 | |
Hello. | 0:36:10 | 0:36:12 | |
Hello? Hello? | 0:36:12 | 0:36:15 | |
Harvey, you pervy bastard, | 0:36:15 | 0:36:16 | |
I know that's you. | 0:36:16 | 0:36:18 | |
Last night, I get a phone call. | 0:36:21 | 0:36:23 | |
Some punk with an English accent | 0:36:23 | 0:36:24 | |
says he wants to talk about Beth. | 0:36:24 | 0:36:27 | |
Then he hangs up. | 0:36:27 | 0:36:28 | |
Let's bring him in. Let's shake his tree, man. | 0:36:28 | 0:36:31 | |
Nah, it's too early. I want to get | 0:36:31 | 0:36:33 | |
a better picture of this whole deal, first. Come on. | 0:36:33 | 0:36:35 | |
SIRENS WAIL | 0:36:38 | 0:36:41 | |
What are you doing? | 0:36:52 | 0:36:53 | |
Any loss of sensation in your feet? | 0:36:53 | 0:36:55 | |
No. | 0:36:55 | 0:36:56 | |
Just checking. | 0:37:00 | 0:37:02 | |
Get some rest. | 0:37:02 | 0:37:05 | |
Oh, and Dr Leekie sends his regards. | 0:37:07 | 0:37:10 | |
RAPID BEEPING | 0:37:10 | 0:37:13 | |
COUGHING | 0:37:15 | 0:37:17 | |
MONITOR BEEPS | 0:37:17 | 0:37:19 | |
CONTINUOUS BEEP | 0:37:24 | 0:37:26 | |
I know there's more here, | 0:37:30 | 0:37:33 | |
between the lines. | 0:37:33 | 0:37:35 | |
What's it that you need, Sarah? | 0:37:35 | 0:37:37 | |
How can I help? | 0:37:37 | 0:37:39 | |
Wow, | 0:37:39 | 0:37:40 | |
Alison, Cosima, Beth... | 0:37:40 | 0:37:43 | |
Their mothers all wanted babies enough to do in vitro. | 0:37:43 | 0:37:46 | |
So why did mine give me up? | 0:37:46 | 0:37:47 | |
There were...rumours. | 0:37:49 | 0:37:51 | |
Yeah? | 0:37:51 | 0:37:54 | |
That some of the kids we were hiding, | 0:37:54 | 0:37:55 | |
the ones that came in Carlton's pipeline, | 0:37:55 | 0:37:58 | |
like you, children in the black... | 0:37:58 | 0:38:01 | |
What do you mean, | 0:38:01 | 0:38:02 | |
exactly, "in the black"? | 0:38:02 | 0:38:03 | |
You know, undocumented. | 0:38:03 | 0:38:05 | |
Outside the system. | 0:38:05 | 0:38:06 | |
The rumour was these kids were the subject of medical experiments. | 0:38:06 | 0:38:09 | |
Carlton's pipeline. | 0:38:12 | 0:38:15 | |
What kind of experiments? | 0:38:15 | 0:38:17 | |
I don't know, love. It was a paranoid time and a radical fringe. Everything was rumour then. | 0:38:17 | 0:38:21 | |
Carlton brought me to you. | 0:38:28 | 0:38:30 | |
Wouldn't he know who my birth mother was? | 0:38:30 | 0:38:33 | |
He may, but even if he did, | 0:38:33 | 0:38:35 | |
he might not tell me. | 0:38:35 | 0:38:37 | |
Do your contacts still know him? | 0:38:37 | 0:38:39 | |
It...it's possible. | 0:38:39 | 0:38:41 | |
Can you get in touch with him? | 0:38:42 | 0:38:43 | |
It is 15 years ago. | 0:38:43 | 0:38:45 | |
Last I heard, he was in Wormwood Scrubs Prison. | 0:38:45 | 0:38:48 | |
I'll try. | 0:38:48 | 0:38:49 | |
I just want to know who I am. | 0:39:26 | 0:39:28 | |
You are still you. | 0:39:28 | 0:39:30 | |
Remember that. | 0:39:32 | 0:39:34 | |
You are a survivor. | 0:39:34 | 0:39:36 | |
Kira? | 0:39:49 | 0:39:50 | |
It's Helena! Kira! | 0:39:55 | 0:39:57 | |
Kira! | 0:39:59 | 0:40:01 | |
Kira! | 0:40:03 | 0:40:04 | |
Where are we going? | 0:40:07 | 0:40:10 | |
I'm taking you to meet someone. | 0:40:10 | 0:40:13 | |
How can you be Sarah's daughter, child? | 0:40:13 | 0:40:16 | |
How can that be? | 0:40:16 | 0:40:18 | |
Kira! Stop! | 0:40:18 | 0:40:20 | |
You are just like my mom. | 0:40:20 | 0:40:22 | |
No, I'm not. | 0:40:22 | 0:40:23 | |
She is not real. | 0:40:23 | 0:40:25 | |
Of course she is. | 0:40:26 | 0:40:28 | |
Kira! | 0:40:30 | 0:40:32 | |
Helena? | 0:40:33 | 0:40:36 | |
Yes, angel? | 0:40:36 | 0:40:38 | |
What happened to you? | 0:40:40 | 0:40:42 | |
I don't know. | 0:40:45 | 0:40:46 | |
Kira! | 0:40:59 | 0:41:00 | |
Kira! | 0:41:06 | 0:41:07 | |
I should go home now. | 0:41:07 | 0:41:09 | |
Yes. | 0:41:13 | 0:41:15 | |
Do you know the way? | 0:41:15 | 0:41:17 | |
Of course. | 0:41:17 | 0:41:18 | |
Good night, angel. | 0:41:21 | 0:41:23 | |
-Kira! -Mommy! | 0:41:25 | 0:41:27 | |
HORN BEEPS | 0:41:27 | 0:41:28 | |
-Kira, no! -BRAKES SCREECH | 0:41:28 | 0:41:31 | |
No! | 0:41:32 | 0:41:35 |