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This programme contains some scenes which some viewers may find upsetting | 0:00:02 | 0:00:04 | |
-You said our DNA was identical. -Maybe it was your sunny personality that gave you away. | 0:00:04 | 0:00:07 | |
Who the hell is Maggie Chen? | 0:00:07 | 0:00:08 | |
That's the woman Beth shot. | 0:00:08 | 0:00:10 | |
Maggie helped make you. | 0:00:10 | 0:00:12 | |
Then she saw the light. | 0:00:12 | 0:00:13 | |
Beth killed her to protect us. | 0:00:13 | 0:00:15 | |
Art, you got to see this. It's a match on the Jane Doe print. | 0:00:15 | 0:00:18 | |
Why the hell does she look like Beth? | 0:00:18 | 0:00:19 | |
COSIMA: Paul...reports to Olivier, his handler. | 0:00:19 | 0:00:22 | |
You just rest and heal. | 0:00:22 | 0:00:24 | |
Dig faster. | 0:00:24 | 0:00:26 | |
Cosima's safety is at stake. | 0:00:26 | 0:00:28 | |
Well, she's not only researching her own biology, | 0:00:28 | 0:00:30 | |
but she is aware of eight others. | 0:00:30 | 0:00:33 | |
I think he's my watcher. | 0:00:33 | 0:00:34 | |
I think that I may have spotted her real monitor. | 0:00:34 | 0:00:37 | |
You want to mess with my life? | 0:00:37 | 0:00:38 | |
I'm going to mess with yours. | 0:00:38 | 0:00:40 | |
I don't want to divorce Donnie, | 0:00:41 | 0:00:43 | |
but I can't keep lying to him. | 0:00:43 | 0:00:45 | |
So what if we tell them? | 0:00:45 | 0:00:47 | |
Siobhan, this is Alison Hendrix. | 0:00:47 | 0:00:49 | |
-What happened to you? -I don't know. | 0:00:49 | 0:00:51 | |
Kira! Kira, no! | 0:00:51 | 0:00:53 | |
HORN HONKS | 0:00:53 | 0:00:54 | |
TYRES SCREECH | 0:00:54 | 0:00:56 | |
SIREN WAILS | 0:00:58 | 0:00:59 | |
TYRES SCREECH | 0:00:59 | 0:01:01 | |
Seven-year-old female struck by a vehicle. | 0:01:01 | 0:01:03 | |
GCS 3, chest injury, possible internal bleeding. | 0:01:03 | 0:01:06 | |
-Stay with me, baby, please. -ETA: Three minutes. | 0:01:06 | 0:01:08 | |
We're here, love. We're right here. | 0:01:08 | 0:01:09 | |
Let's get her typed and crossed for three units. | 0:01:09 | 0:01:11 | |
-We're right here. Please. -Excuse me, excuse me. | 0:01:11 | 0:01:14 | |
This is as far as you go. | 0:01:14 | 0:01:16 | |
-No, no, no! -Sarah, Sarah. | 0:01:16 | 0:01:20 | |
We have to let them do their job. | 0:01:20 | 0:01:22 | |
On three. One, two, three! | 0:01:22 | 0:01:25 | |
I want an ultrasound and a trauma series - | 0:01:26 | 0:01:28 | |
chest, pelvic, C-spine. Let's get a level one on stand-by | 0:01:28 | 0:01:31 | |
and a crash cart. We may need to intubate. | 0:01:31 | 0:01:33 | |
-OR's being prepped. -Good. | 0:01:33 | 0:01:34 | |
I should've known Helena would find us. | 0:01:37 | 0:01:40 | |
I should've stopped her. | 0:01:40 | 0:01:42 | |
I won't have you blaming yourself. | 0:01:45 | 0:01:47 | |
You did not bring this on. | 0:01:47 | 0:01:49 | |
She's going to be OK, Sarah. | 0:01:49 | 0:01:51 | |
-She has to be. -Mm-hmm. | 0:01:51 | 0:01:54 | |
Can I get anybody some coffee? | 0:01:54 | 0:01:56 | |
Alison, I know you mean well, | 0:01:58 | 0:02:00 | |
I know you do, it's just... | 0:02:00 | 0:02:02 | |
-Um, I know, I know. I'm in the way. -Yeah. | 0:02:02 | 0:02:04 | |
I just can't help but feel like it's my daughter in there. | 0:02:04 | 0:02:09 | |
You should go home, | 0:02:09 | 0:02:11 | |
you should get some sleep. | 0:02:11 | 0:02:12 | |
I can't go home, Felix. I... | 0:02:12 | 0:02:16 | |
I assaulted my monitor. | 0:02:16 | 0:02:18 | |
I'm going to get black-bagged like Sarah | 0:02:18 | 0:02:20 | |
and carted off to God knows where. | 0:02:20 | 0:02:23 | |
All right, | 0:02:23 | 0:02:25 | |
use my place, then. | 0:02:25 | 0:02:27 | |
OK. Thank you. | 0:02:27 | 0:02:29 | |
I'll call you if we hear anything. | 0:02:29 | 0:02:31 | |
OK. | 0:02:37 | 0:02:38 | |
Ultrasound's up. | 0:02:43 | 0:02:45 | |
Heart rate's at 80. | 0:02:45 | 0:02:46 | |
BP 85/50. | 0:02:46 | 0:02:49 | |
Doctor, you need to see this. | 0:02:51 | 0:02:52 | |
What's happening? | 0:03:07 | 0:03:09 | |
It looks like Kira's going to be OK. | 0:03:10 | 0:03:13 | |
What does "looks like" mean? | 0:03:14 | 0:03:16 | |
Well, she's been sedated, but her blood pressure | 0:03:16 | 0:03:18 | |
and breathing have stabilised. | 0:03:18 | 0:03:20 | |
Her ribs are intact, there's no internal bleeding, no head trauma. | 0:03:20 | 0:03:23 | |
I think she's going to be fine. | 0:03:23 | 0:03:25 | |
She was run right over. I saw it. | 0:03:25 | 0:03:29 | |
Then she's a very lucky girl. | 0:03:29 | 0:03:31 | |
She's OK. | 0:03:31 | 0:03:32 | |
She's OK, she's OK, she's OK. | 0:03:32 | 0:03:35 | |
She's OK. | 0:03:35 | 0:03:37 | |
SHE SOBS | 0:03:37 | 0:03:39 | |
My baby. | 0:03:41 | 0:03:43 | |
Mummy, she looks like you. | 0:04:37 | 0:04:40 | |
She looks like mummy. | 0:04:40 | 0:04:41 | |
Sh sh sh, sh sh. | 0:04:41 | 0:04:43 | |
Just sleep now, monkey. | 0:04:43 | 0:04:45 | |
I'll keep you safe from her. | 0:04:45 | 0:04:47 | |
I promise. | 0:04:49 | 0:04:50 | |
There was a girl, a little girl. | 0:05:00 | 0:05:03 | |
Easy, child. Pull yourself together. | 0:05:03 | 0:05:05 | |
Sarah is a mother. | 0:05:05 | 0:05:07 | |
That's ridiculous! | 0:05:07 | 0:05:08 | |
It's not possible. | 0:05:08 | 0:05:10 | |
The girl was hit by a car because of me. | 0:05:17 | 0:05:20 | |
-FELIX: -She's all right? | 0:05:21 | 0:05:23 | |
Yeah, yeah, she's fast asleep. | 0:05:23 | 0:05:25 | |
How about you, then? | 0:05:27 | 0:05:28 | |
Are you thanking your lucky stars? | 0:05:28 | 0:05:30 | |
I don't believe in miracles. | 0:05:30 | 0:05:32 | |
Kids are made of rubber, Sarah. | 0:05:32 | 0:05:35 | |
She got lucky, just like the doctor said. | 0:05:35 | 0:05:38 | |
You didn't see it. | 0:05:38 | 0:05:39 | |
Count your blessings. | 0:05:39 | 0:05:41 | |
Move on to your worries. | 0:05:41 | 0:05:43 | |
Yeah, Helena's got to go. | 0:05:44 | 0:05:46 | |
I got a dozen reasons to bring Beth back in. | 0:05:47 | 0:05:50 | |
Look, we got three sets of matching prints, | 0:05:50 | 0:05:52 | |
a jumper who looks just like her, | 0:05:52 | 0:05:53 | |
and we got a smooth little rent-boy who's connected to them both. | 0:05:53 | 0:05:56 | |
All right, all right. I know, Angie... | 0:05:56 | 0:05:57 | |
And here, we've got Jane Doe, the one who started it all. | 0:05:57 | 0:06:00 | |
Bet you 100 bucks I know who she's going to looks like | 0:06:00 | 0:06:01 | |
when Beckwith is done with the reconstruction. | 0:06:01 | 0:06:03 | |
-You got no charge that'll stick yet. -Obstruction. | 0:06:03 | 0:06:05 | |
-This all comes on the heels of that civilian shooting. -So what?! | 0:06:05 | 0:06:08 | |
So she could be protecting the killer. | 0:06:08 | 0:06:10 | |
Sh, sh, sh, sh. | 0:06:10 | 0:06:11 | |
How's it going? | 0:06:12 | 0:06:14 | |
Still pushing for a break, sir. | 0:06:14 | 0:06:16 | |
Grigson and Chow just solved that stabbing in the junction. | 0:06:16 | 0:06:19 | |
Maybe you need a fresh pair of eyes here, huh? | 0:06:19 | 0:06:22 | |
No, we're good, sir. We're good. | 0:06:22 | 0:06:24 | |
Just give us till the end of the day. | 0:06:25 | 0:06:27 | |
You want me to throw my ex-partner under the bus, hmm? | 0:06:32 | 0:06:36 | |
If I'm wrong about this, | 0:06:36 | 0:06:38 | |
you'll be the last partner I ever have. | 0:06:38 | 0:06:40 | |
I don't know, Art. | 0:06:40 | 0:06:42 | |
I'm starting to wonder. | 0:06:42 | 0:06:45 | |
Does she have something on you? | 0:06:45 | 0:06:47 | |
End of day, Angie. | 0:06:53 | 0:06:55 | |
If this is true, | 0:07:04 | 0:07:06 | |
if the child's actually hers... | 0:07:06 | 0:07:08 | |
HE BREATHES HEAVILY | 0:07:08 | 0:07:10 | |
How could you let her go? | 0:07:10 | 0:07:11 | |
She's innocent. | 0:07:11 | 0:07:13 | |
I did what I was told, | 0:07:13 | 0:07:16 | |
I used Sarah to get to the others. | 0:07:16 | 0:07:17 | |
Then where are the others?! | 0:07:17 | 0:07:19 | |
Why is Sarah still alive? | 0:07:22 | 0:07:24 | |
That man, Olivier! | 0:07:24 | 0:07:25 | |
-I took off his beast-tail for you. -Yes! | 0:07:25 | 0:07:28 | |
To get Dr Leekie's attention! | 0:07:28 | 0:07:30 | |
The child will be valuable to them. | 0:07:30 | 0:07:33 | |
MOBILE PHONE RINGS | 0:07:33 | 0:07:36 | |
No, no! | 0:07:36 | 0:07:37 | |
PHONE CONTINUES TO RING | 0:07:37 | 0:07:39 | |
That's her! | 0:07:39 | 0:07:40 | |
Tell her to come here. | 0:07:41 | 0:07:43 | |
Tell her! | 0:07:43 | 0:07:45 | |
'Helena.' | 0:07:46 | 0:07:48 | |
'Is Kira all right?' | 0:07:48 | 0:07:50 | |
I'll tell you in person. | 0:07:50 | 0:07:53 | |
Where are you? | 0:07:53 | 0:07:54 | |
It was an accident. | 0:07:54 | 0:07:57 | |
Tell her! | 0:07:57 | 0:07:58 | |
CLATTERING FROM PHONE | 0:08:03 | 0:08:05 | |
Lovely apartment for a young couple. | 0:08:09 | 0:08:12 | |
Ahh! | 0:08:14 | 0:08:17 | |
Very convincing. | 0:08:19 | 0:08:21 | |
Unfortunately, | 0:08:21 | 0:08:23 | |
the lie Olivier told last night was not. | 0:08:23 | 0:08:25 | |
What lie? | 0:08:25 | 0:08:27 | |
Someone tampered with the security footage at club Neolution, | 0:08:27 | 0:08:31 | |
but I know there were two clones there | 0:08:31 | 0:08:34 | |
that night, weren't there? | 0:08:34 | 0:08:37 | |
HE CHUCKLES | 0:08:37 | 0:08:39 | |
I've searched for the lost clone, | 0:08:39 | 0:08:41 | |
Helena, for years. | 0:08:41 | 0:08:42 | |
She's my white whale, Paul! | 0:08:42 | 0:08:45 | |
But she's feral. | 0:08:45 | 0:08:46 | |
She couldn't fool you, | 0:08:46 | 0:08:48 | |
impersonate Beth, | 0:08:48 | 0:08:50 | |
under this roof, | 0:08:50 | 0:08:52 | |
in that bed. | 0:08:52 | 0:08:54 | |
But Sarah Manning could. | 0:08:56 | 0:08:58 | |
LOUNGE MUSIC PLAYS | 0:09:04 | 0:09:07 | |
Oh! | 0:09:13 | 0:09:14 | |
Oh! | 0:09:37 | 0:09:38 | |
What the hell?! | 0:09:38 | 0:09:41 | |
A simple "thank you" would suffice. | 0:09:41 | 0:09:43 | |
So, Kira's going to be OK? | 0:09:43 | 0:09:44 | |
Yes, miraculous recovery. | 0:09:44 | 0:09:46 | |
OK. | 0:09:46 | 0:09:48 | |
Uh, where's my, um... | 0:09:48 | 0:09:50 | |
Oh, your... | 0:09:50 | 0:09:51 | |
drug paraphernalia is in a drawer. | 0:09:51 | 0:09:54 | |
So is the paraphernalia that was by your bed. | 0:09:54 | 0:09:57 | |
Did you wash that, too? | 0:09:57 | 0:09:59 | |
My children are at my mother's house right now. | 0:09:59 | 0:10:02 | |
I'm a danger to them. | 0:10:02 | 0:10:04 | |
So I was thinking I could use | 0:10:04 | 0:10:06 | |
this house as a base | 0:10:06 | 0:10:09 | |
while I apartment-hunt. | 0:10:09 | 0:10:10 | |
No! | 0:10:10 | 0:10:12 | |
Well, Donnie's staying clear of the house for a few hours, | 0:10:12 | 0:10:14 | |
so I just need to go by | 0:10:14 | 0:10:17 | |
and get some sundries and clothing. | 0:10:17 | 0:10:19 | |
Fine! You can stay one night. | 0:10:20 | 0:10:23 | |
Just don't wake me on your way back in. | 0:10:23 | 0:10:26 | |
Felix. | 0:10:30 | 0:10:32 | |
Felix. | 0:10:32 | 0:10:34 | |
I'm a pariah. | 0:10:34 | 0:10:36 | |
I can't go back there alone. | 0:10:36 | 0:10:38 | |
Mnh! | 0:10:38 | 0:10:39 | |
I need you to be my wingman. | 0:10:39 | 0:10:41 | |
Are you bloody serious? | 0:10:41 | 0:10:45 | |
Please? | 0:10:48 | 0:10:50 | |
I need to change. | 0:10:52 | 0:10:55 | |
Fetch me something gay. | 0:10:55 | 0:10:56 | |
BELL TOLLS | 0:10:56 | 0:10:58 | |
Holy shit, Sarah. | 0:10:58 | 0:10:59 | |
I'm so relieved. | 0:10:59 | 0:11:00 | |
'Yeah, even the doctors were stumped.' | 0:11:00 | 0:11:03 | |
Do you think, because Kira's mine, | 0:11:03 | 0:11:05 | |
she might be different? | 0:11:05 | 0:11:07 | |
'Because she's uninjured?' | 0:11:07 | 0:11:08 | |
'Yeah, it's just a question.' | 0:11:08 | 0:11:10 | |
Well, if they genetically modified us, | 0:11:10 | 0:11:13 | |
I mean, you could've passed something down to her. | 0:11:13 | 0:11:15 | |
Like what? | 0:11:15 | 0:11:16 | |
'I don't know. | 0:11:16 | 0:11:17 | |
'Lizards regrow limbs.' | 0:11:17 | 0:11:19 | |
Cosima, Kira's not a lizard. | 0:11:19 | 0:11:22 | |
'Right, well,' | 0:11:22 | 0:11:23 | |
it's not magic, | 0:11:23 | 0:11:25 | |
it's just stem cells, you know? | 0:11:25 | 0:11:27 | |
Look, I have a guy who's sequencing | 0:11:27 | 0:11:30 | |
the German's DNA alongside mine, | 0:11:30 | 0:11:32 | |
to see if the illness she had was genetic. | 0:11:32 | 0:11:34 | |
'If you want, I can give him samples' | 0:11:34 | 0:11:37 | |
of you and Kira, to compare. | 0:11:37 | 0:11:39 | |
Yeah, I'm not giving you | 0:11:39 | 0:11:41 | |
our genetic material. | 0:11:41 | 0:11:42 | |
You'd probably hand it over to Delphine. | 0:11:42 | 0:11:45 | |
Dude, I'm just doing what we agreed, OK? | 0:11:45 | 0:11:47 | |
I'm following the science. | 0:11:47 | 0:11:49 | |
'Yeah, well,' | 0:11:49 | 0:11:50 | |
I worry about scientists more than science. | 0:11:50 | 0:11:52 | |
DOORBELL RINGS | 0:11:52 | 0:11:54 | |
Got to go. | 0:11:54 | 0:11:56 | |
SHE SIGHS | 0:11:56 | 0:11:58 | |
Eh, I got it. | 0:12:00 | 0:12:02 | |
Hey. | 0:12:04 | 0:12:05 | |
Hey. Colouring books and puzzles. | 0:12:05 | 0:12:08 | |
She's sleeping. | 0:12:08 | 0:12:10 | |
Uh, Mrs S, this is Paul. | 0:12:10 | 0:12:12 | |
-Pleasure. -Paul. | 0:12:12 | 0:12:15 | |
She knows everything. | 0:12:15 | 0:12:16 | |
Well, not everything, clearly. | 0:12:16 | 0:12:18 | |
Well, don't hold it against me, but I have some bad news. | 0:12:18 | 0:12:22 | |
Dr Leekie knows who you are, Sarah. | 0:12:23 | 0:12:26 | |
GRUNTING | 0:12:28 | 0:12:29 | |
Let go! | 0:12:29 | 0:12:31 | |
Let go! | 0:12:31 | 0:12:32 | |
Aaaah! | 0:12:34 | 0:12:35 | |
Aah! No! | 0:12:35 | 0:12:37 | |
No! No! | 0:12:37 | 0:12:39 | |
SHE SCREAMS | 0:12:39 | 0:12:41 | |
SHE SOBS | 0:12:44 | 0:12:47 | |
I gave you everything! | 0:12:47 | 0:12:49 | |
A reason for living | 0:12:49 | 0:12:51 | |
and, in return, weakness. | 0:12:51 | 0:12:52 | |
Tomas. | 0:12:52 | 0:12:54 | |
No! | 0:12:54 | 0:12:56 | |
If you protect this forgery... | 0:12:56 | 0:12:58 | |
..you're no better than they are. | 0:12:59 | 0:13:01 | |
No! | 0:13:01 | 0:13:03 | |
Aah! | 0:13:03 | 0:13:05 | |
You're no better than they are! | 0:13:05 | 0:13:07 | |
SHE CRIES OUT | 0:13:07 | 0:13:09 | |
SHE SOBS | 0:13:09 | 0:13:12 | |
Leekie wants to meet? | 0:13:16 | 0:13:18 | |
He says he wants to make a deal. | 0:13:18 | 0:13:19 | |
He knows you're aware, in contact with each other. | 0:13:19 | 0:13:22 | |
How? Did Cosima give me up? | 0:13:22 | 0:13:24 | |
Look, this is an opportunity. | 0:13:24 | 0:13:26 | |
SHE SIGHS | 0:13:26 | 0:13:27 | |
You sound exactly like her. | 0:13:27 | 0:13:29 | |
I don't trust him, either. | 0:13:30 | 0:13:32 | |
But the genie's out of the bottle. | 0:13:32 | 0:13:35 | |
For them, too. | 0:13:35 | 0:13:36 | |
Your interests have aligned. You can get answers. | 0:13:36 | 0:13:39 | |
Or I could get black-bagged and abducted. | 0:13:39 | 0:13:41 | |
What if there was a way to meet him safely, | 0:13:41 | 0:13:44 | |
on your terms? | 0:13:44 | 0:13:46 | |
Over 4,000 base pairs from each sample, sequenced and analysed. | 0:13:48 | 0:13:52 | |
Awesome! Awesome. | 0:13:52 | 0:13:53 | |
OK, what did you find? | 0:13:53 | 0:13:55 | |
No markers for respiratory disease. | 0:13:55 | 0:13:57 | |
This sequence is anomalous | 0:13:57 | 0:13:59 | |
for cytochrome C and then this piece | 0:13:59 | 0:14:01 | |
is distinct in each sample. | 0:14:01 | 0:14:03 | |
They're different? | 0:14:03 | 0:14:05 | |
That's...that's crazy. | 0:14:05 | 0:14:08 | |
What are you looking for, really? | 0:14:08 | 0:14:10 | |
Not respiratory disease. | 0:14:10 | 0:14:12 | |
Nope. | 0:14:12 | 0:14:14 | |
Hey. | 0:14:14 | 0:14:15 | |
Hey! | 0:14:15 | 0:14:17 | |
Hey. | 0:14:17 | 0:14:18 | |
-Scott, this is Delphine. -Hello. | 0:14:18 | 0:14:20 | |
Hey. | 0:14:20 | 0:14:23 | |
I have to run to class, | 0:14:23 | 0:14:25 | |
but I was wondering if I could | 0:14:25 | 0:14:27 | |
come over later. | 0:14:27 | 0:14:29 | |
Yeah, of course. | 0:14:29 | 0:14:31 | |
OK. | 0:14:31 | 0:14:32 | |
Oof! Wow! OK! | 0:14:35 | 0:14:38 | |
Bye. | 0:14:43 | 0:14:44 | |
Bye. | 0:14:44 | 0:14:45 | |
If she wakes up, just tell her I'm going to be right back. | 0:15:01 | 0:15:05 | |
And will you? | 0:15:05 | 0:15:06 | |
Yeah. | 0:15:06 | 0:15:08 | |
Are you going to be OK here? | 0:15:10 | 0:15:11 | |
Don't you worry about Helena. | 0:15:15 | 0:15:16 | |
Your shotgun. Forgot about that. | 0:15:16 | 0:15:19 | |
One of the great things about this country... | 0:15:19 | 0:15:22 | |
hunting's not just for the rich. | 0:15:22 | 0:15:24 | |
MOBILE PHONE RINGS | 0:15:30 | 0:15:33 | |
Kind of busy, here, Art. | 0:15:35 | 0:15:38 | |
Pilates can wait, Beth. | 0:15:38 | 0:15:40 | |
We need to talk. | 0:15:40 | 0:15:41 | |
-We already did that. -'Off the record, this time. | 0:15:41 | 0:15:44 | |
'No-one else.' | 0:15:44 | 0:15:45 | |
This is your last chance. | 0:15:45 | 0:15:48 | |
Where are you? | 0:15:48 | 0:15:50 | |
You know I get crow's feet | 0:15:50 | 0:15:52 | |
if I don't get enough shuteye. | 0:15:52 | 0:15:54 | |
I will have you back on your couch in a jiff. | 0:15:54 | 0:15:57 | |
Oh, my God! | 0:15:58 | 0:16:00 | |
Alison. | 0:16:00 | 0:16:01 | |
Wh...what's going on? What is this? | 0:16:01 | 0:16:03 | |
We're gathered in a spirit of love and understanding. | 0:16:03 | 0:16:07 | |
Please, join us. | 0:16:07 | 0:16:09 | |
An intervention? | 0:16:09 | 0:16:11 | |
This is bullshit! | 0:16:14 | 0:16:16 | |
Hello! | 0:16:16 | 0:16:17 | |
Felix. Gay friend. | 0:16:17 | 0:16:19 | |
Acting coach. | 0:16:19 | 0:16:20 | |
Oh, that's perfectly fine here. | 0:16:20 | 0:16:22 | |
Which one? | 0:16:22 | 0:16:23 | |
Yes, yes. Please join us. | 0:16:23 | 0:16:26 | |
Alison, your friends have shown great strength | 0:16:26 | 0:16:28 | |
in setting aside their pain and hurt | 0:16:28 | 0:16:31 | |
in order to talk with you today. | 0:16:31 | 0:16:33 | |
Mm-hmm. | 0:16:33 | 0:16:34 | |
Um, Donnie, why don't you | 0:16:37 | 0:16:38 | |
go ahead and get us started. | 0:16:38 | 0:16:40 | |
Uh... | 0:16:40 | 0:16:41 | |
Yeah. | 0:16:41 | 0:16:42 | |
Alison, the pills... | 0:16:45 | 0:16:48 | |
and the drinking, | 0:16:48 | 0:16:50 | |
it has to stop. | 0:16:50 | 0:16:52 | |
I don't think you know how hard this has been for me. | 0:16:54 | 0:16:58 | |
The constant criticism, | 0:16:58 | 0:17:00 | |
the abuse. | 0:17:00 | 0:17:02 | |
You can be specific, Donnie. | 0:17:02 | 0:17:04 | |
You hit me with a golf club. | 0:17:06 | 0:17:09 | |
You burned my chest with hot glue. | 0:17:09 | 0:17:13 | |
It still hurts in the shower, Alison. | 0:17:13 | 0:17:15 | |
Donnie... | 0:17:15 | 0:17:17 | |
Alison, it's actually important for you to just | 0:17:17 | 0:17:19 | |
try and listen right now. | 0:17:19 | 0:17:21 | |
Aynsley? | 0:17:21 | 0:17:22 | |
Alison, | 0:17:22 | 0:17:24 | |
you took advantage of my husband | 0:17:24 | 0:17:27 | |
and may have ruined my marriage, too. | 0:17:27 | 0:17:29 | |
You threatened and assaulted me. | 0:17:31 | 0:17:33 | |
But I think what really hurts is that | 0:17:33 | 0:17:35 | |
you turned your back on our friendship. | 0:17:35 | 0:17:38 | |
-Donnie, tell her that we... -Mom! | 0:17:38 | 0:17:40 | |
It's not just about you and me, Alison. | 0:17:42 | 0:17:46 | |
It's about our kids. | 0:17:46 | 0:17:47 | |
Do you really want to break up our family? | 0:17:49 | 0:17:51 | |
Alison. | 0:17:57 | 0:17:58 | |
I have two minutes. | 0:18:17 | 0:18:19 | |
Two minutes? | 0:18:19 | 0:18:21 | |
That's all I get for two years by your side? | 0:18:21 | 0:18:23 | |
Who's that? | 0:18:31 | 0:18:32 | |
Felix Dawkins. | 0:18:32 | 0:18:34 | |
Your lookalike, Sarah Manning's, foster brother. | 0:18:34 | 0:18:36 | |
Yeah, and? | 0:18:37 | 0:18:39 | |
You visited his place a few weeks back | 0:18:39 | 0:18:41 | |
with 75 grand in your trunk, | 0:18:41 | 0:18:42 | |
the day I stopped you from skipping town. | 0:18:42 | 0:18:45 | |
It's all coming back to the Maggie Chen shooting. | 0:18:45 | 0:18:48 | |
You don't want to go there, Art. | 0:18:49 | 0:18:51 | |
You put the phone in Maggie Chen's hand. | 0:18:51 | 0:18:54 | |
You helped me make it look like it was an accident. | 0:18:54 | 0:18:56 | |
I was trying to help my partner. | 0:18:56 | 0:18:59 | |
This is your last chance to come clean with me, Beth. | 0:18:59 | 0:19:02 | |
We do what we gotta do. | 0:19:06 | 0:19:08 | |
SHOUTING | 0:19:16 | 0:19:19 | |
COSIMA ON PHONE: 'Sarah, you were right. I was wrong.' | 0:19:46 | 0:19:49 | |
OK, what have you done with Cosima? | 0:19:49 | 0:19:51 | |
Because this definitely isn't her. | 0:19:51 | 0:19:53 | |
Ha ha. OK, listen... | 0:19:53 | 0:19:56 | |
they can tell us apart by our DNA. | 0:19:56 | 0:19:58 | |
That's how they knew you weren't Beth. | 0:19:58 | 0:20:00 | |
So we're not genetically identical? | 0:20:00 | 0:20:01 | |
'We should be,' | 0:20:01 | 0:20:03 | |
but there's a synthetic sequence. | 0:20:03 | 0:20:05 | |
I don't know what it is, exactly, | 0:20:05 | 0:20:06 | |
but it's like a barcode, maybe, | 0:20:06 | 0:20:08 | |
-maybe a way to differentiate us? -'Well, that explains' | 0:20:08 | 0:20:10 | |
how Olivier knew I wasn't Beth, | 0:20:10 | 0:20:12 | |
but it does not explain | 0:20:12 | 0:20:14 | |
how Leekie knows my name. | 0:20:14 | 0:20:16 | |
'He knows who you are?' | 0:20:16 | 0:20:17 | |
Yeah, and he knows we're in contact. | 0:20:17 | 0:20:19 | |
Did you say something to Delphine? | 0:20:19 | 0:20:21 | |
No. Sarah, no. I... | 0:20:21 | 0:20:24 | |
Cos they're one step closer to Kira. | 0:20:24 | 0:20:27 | |
Uh... | 0:20:27 | 0:20:28 | |
OK, I would never say anything about you or Kira. | 0:20:28 | 0:20:33 | |
You are the first one of us to ever even have a child. | 0:20:33 | 0:20:37 | |
I mean, there's not even taxonomy for the offspring of a clone. | 0:20:37 | 0:20:40 | |
'Well, either way, you got what you wanted,' | 0:20:40 | 0:20:42 | |
cos I'm about to meet Leekie. | 0:20:42 | 0:20:44 | |
Really? | 0:20:46 | 0:20:48 | |
Just give him a chance. | 0:20:48 | 0:20:51 | |
'You might be surprised.' | 0:20:51 | 0:20:52 | |
They care about us. | 0:20:52 | 0:20:54 | |
They...they have to. | 0:20:54 | 0:20:56 | |
Yeah, I was thinking of putting a gun to his head. | 0:20:56 | 0:20:59 | |
PAUL: 'Sorry for the precautions.' | 0:21:03 | 0:21:05 | |
No, I understand completely. | 0:21:05 | 0:21:07 | |
DOOR OPENS | 0:21:11 | 0:21:12 | |
Hello, Sarah. | 0:21:35 | 0:21:37 | |
Dr Leekie. | 0:21:39 | 0:21:41 | |
You've gleaned how this works. | 0:21:42 | 0:21:45 | |
There are many questions I can't answer. | 0:21:45 | 0:21:47 | |
That's not good enough. | 0:21:47 | 0:21:48 | |
I understand your frustration, but, | 0:21:48 | 0:21:50 | |
like Olivier or Paul, I only know my part. | 0:21:50 | 0:21:53 | |
So, what is your part? | 0:21:53 | 0:21:55 | |
I oversee data collection | 0:21:55 | 0:21:57 | |
and quantify your well-being. | 0:21:57 | 0:21:59 | |
I... | 0:21:59 | 0:22:00 | |
I look after you. | 0:22:02 | 0:22:03 | |
Not me. | 0:22:03 | 0:22:05 | |
-No. -Mnh-mnh. | 0:22:05 | 0:22:06 | |
Somehow, you got away. | 0:22:06 | 0:22:07 | |
Jesus Christ. Just tell me why! | 0:22:07 | 0:22:11 | |
What is this all about? | 0:22:11 | 0:22:12 | |
We can go further, Sarah, much further, | 0:22:12 | 0:22:15 | |
but we need to come to an agreement on something crucial. | 0:22:15 | 0:22:17 | |
Helena. | 0:22:18 | 0:22:21 | |
A common enemy, obviously. | 0:22:21 | 0:22:23 | |
Olivier said she mentioned Tomas. Who's that? | 0:22:23 | 0:22:25 | |
Great question, | 0:22:25 | 0:22:27 | |
and one I can answer. | 0:22:27 | 0:22:29 | |
Tomas opposes us. Science, in general. | 0:22:29 | 0:22:33 | |
They're religious extremists. | 0:22:33 | 0:22:35 | |
Proletheans, they call themselves. | 0:22:35 | 0:22:38 | |
Right, "Neolutionist" is way better. | 0:22:38 | 0:22:41 | |
Years ago, one of their agents infiltrated our project. | 0:22:41 | 0:22:44 | |
Maggie Chen, the woman Beth shot. | 0:22:44 | 0:22:46 | |
Yes. | 0:22:46 | 0:22:47 | |
She and Tomas found Helena in a convent, | 0:22:47 | 0:22:49 | |
then trained a clone to kill clones. | 0:22:49 | 0:22:52 | |
Brilliant, really. | 0:22:52 | 0:22:54 | |
That's "brilliant, really." | 0:22:54 | 0:22:57 | |
So, what, you want me to kill her? | 0:22:59 | 0:23:00 | |
No, we don't want to harm her at all. | 0:23:00 | 0:23:03 | |
We want you to bring her in so we can deprogram her, | 0:23:03 | 0:23:07 | |
get her the help she needs. | 0:23:07 | 0:23:10 | |
You do this, | 0:23:10 | 0:23:11 | |
and we can move forward with a new understanding. | 0:23:11 | 0:23:14 | |
You and your friends will be free | 0:23:14 | 0:23:17 | |
to live as you choose, no monitors. | 0:23:17 | 0:23:19 | |
Oh, you're going to give us lives? | 0:23:19 | 0:23:21 | |
You've always had lives. | 0:23:21 | 0:23:23 | |
They haven't been directed, just observed. | 0:23:23 | 0:23:25 | |
Except in your case. | 0:23:25 | 0:23:27 | |
And Helena's. | 0:23:27 | 0:23:28 | |
Helena's been under their care, | 0:23:28 | 0:23:30 | |
which is far, far worse than ours. | 0:23:30 | 0:23:34 | |
Bring her in. | 0:23:34 | 0:23:36 | |
We'll get her the help she needs. | 0:23:36 | 0:23:39 | |
KNOCK AT DOOR | 0:23:48 | 0:23:49 | |
Bonsoir, ma cherie. | 0:23:53 | 0:23:56 | |
I have the truffles that I promised you. | 0:23:59 | 0:24:02 | |
Are you OK? | 0:24:04 | 0:24:05 | |
Are you? | 0:24:05 | 0:24:07 | |
Well, I was, but... | 0:24:07 | 0:24:10 | |
Delphine Cormier, not Beraud. | 0:24:14 | 0:24:17 | |
You've already got your doctorate in immunology, don't you? | 0:24:17 | 0:24:21 | |
I am... | 0:24:21 | 0:24:23 | |
so sorry. | 0:24:23 | 0:24:24 | |
I'm so stupid. | 0:24:26 | 0:24:28 | |
No, no, no, you're not. | 0:24:28 | 0:24:30 | |
You knew this all along. | 0:24:30 | 0:24:31 | |
Yeah, that transcript you accidentally left behind, | 0:24:31 | 0:24:35 | |
your fake boyfriend in Paris, | 0:24:35 | 0:24:36 | |
pretending you didn't know who Dr Leekie was. | 0:24:36 | 0:24:38 | |
I knew it was bullshit, | 0:24:38 | 0:24:40 | |
but I still thought you were on my side. | 0:24:40 | 0:24:42 | |
I wanted to trust you. | 0:24:44 | 0:24:45 | |
You can trust me. | 0:24:45 | 0:24:47 | |
You told Leekie I know these girls! | 0:24:47 | 0:24:49 | |
I had to! | 0:24:49 | 0:24:51 | |
Look at me. | 0:24:51 | 0:24:52 | |
He says you're in danger. | 0:24:52 | 0:24:54 | |
Of what?! | 0:24:54 | 0:24:56 | |
You don't know, do you? | 0:24:58 | 0:25:00 | |
No. | 0:25:01 | 0:25:03 | |
Then you're the real danger, Delphine. | 0:25:03 | 0:25:05 | |
KNOCK AT DOOR | 0:25:08 | 0:25:09 | |
Alison, you're only making things worse. | 0:25:09 | 0:25:12 | |
I only want to talk to Felix. | 0:25:12 | 0:25:14 | |
This is all Aynsley. | 0:25:25 | 0:25:27 | |
She put them up to this. | 0:25:27 | 0:25:28 | |
It's all part of the experiment. | 0:25:28 | 0:25:30 | |
Yes, how do clones react when ritually | 0:25:30 | 0:25:33 | |
humiliated by friends and loved ones? | 0:25:33 | 0:25:34 | |
Fascinating. | 0:25:34 | 0:25:35 | |
Hey! | 0:25:37 | 0:25:38 | |
Sharesies? | 0:25:39 | 0:25:41 | |
Maybe it's not just Aynsley. | 0:25:50 | 0:25:52 | |
Maybe they're all monitors. | 0:25:52 | 0:25:54 | |
The reverend seems all right. | 0:25:54 | 0:25:55 | |
Actually, he's kind of sexy. | 0:25:55 | 0:25:57 | |
Man of the cloth, and all that. | 0:25:57 | 0:25:59 | |
Felix, what am I going to do? | 0:26:00 | 0:26:03 | |
Put your chin up. Be a woman. | 0:26:08 | 0:26:12 | |
This is backstabbing 101. | 0:26:12 | 0:26:14 | |
I cannot go back out there. | 0:26:16 | 0:26:17 | |
Of course you can. | 0:26:17 | 0:26:19 | |
You're going to face the music, | 0:26:19 | 0:26:21 | |
eat some humble pie, | 0:26:21 | 0:26:23 | |
hug it out, play possum. | 0:26:23 | 0:26:25 | |
Aynsley's going to think she's won | 0:26:25 | 0:26:27 | |
and you are going to live to fight another day. | 0:26:27 | 0:26:30 | |
Mm-hmm. | 0:26:41 | 0:26:42 | |
Oh, lord. | 0:26:42 | 0:26:43 | |
Can you help me get my face on? | 0:26:45 | 0:26:48 | |
With pleasure. | 0:26:48 | 0:26:50 | |
MOBILE PHONE RINGS | 0:27:24 | 0:27:30 | |
Helena still won't answer. | 0:27:34 | 0:27:37 | |
What do you plan to do, turn her over to Leekie? | 0:27:37 | 0:27:41 | |
I don't know. | 0:27:41 | 0:27:42 | |
I don't know what he's really going to do with her, do I? | 0:27:42 | 0:27:45 | |
Does that matter? | 0:27:45 | 0:27:47 | |
She came after your daughter. | 0:27:47 | 0:27:48 | |
Yeah, my gut says put a bullet in her myself, but, | 0:27:48 | 0:27:52 | |
you don't understand what it's like. | 0:27:52 | 0:27:54 | |
I look at Helena and I see me. | 0:27:54 | 0:27:57 | |
You don't owe her anything, Sarah. | 0:27:57 | 0:27:59 | |
I, um... | 0:28:01 | 0:28:04 | |
I got in touch with my people back in England, | 0:28:04 | 0:28:07 | |
about where you're really from. | 0:28:07 | 0:28:08 | |
And? | 0:28:08 | 0:28:10 | |
They said they'd get back to me, but, | 0:28:10 | 0:28:13 | |
they're scared, | 0:28:13 | 0:28:14 | |
as if something is going on over there, too. | 0:28:14 | 0:28:17 | |
Please, Cosima. | 0:28:20 | 0:28:22 | |
Where are you going? | 0:28:22 | 0:28:24 | |
Why, so you can tell Leekie? | 0:28:24 | 0:28:25 | |
I'm such an idiot! | 0:28:25 | 0:28:27 | |
What else did you tell him? | 0:28:27 | 0:28:29 | |
Nothing! | 0:28:29 | 0:28:30 | |
Just the seven names. | 0:28:30 | 0:28:32 | |
Nothing about Kira. | 0:28:32 | 0:28:34 | |
She's an anomaly. You know that? | 0:28:36 | 0:28:37 | |
Delphine, you can use me, | 0:28:37 | 0:28:40 | |
that's fine, | 0:28:40 | 0:28:41 | |
but don't go near that little girl. | 0:28:41 | 0:28:43 | |
I didn't and I won't! | 0:28:43 | 0:28:45 | |
Get out! | 0:28:45 | 0:28:46 | |
Please listen to me. | 0:28:46 | 0:28:48 | |
Just let me tell you this one thing. | 0:28:48 | 0:28:50 | |
Just listen to me. | 0:28:50 | 0:28:53 | |
I didn't want to fall for you. | 0:28:53 | 0:28:55 | |
I wasn't supposed to. | 0:28:55 | 0:28:57 | |
But I have. | 0:28:58 | 0:29:00 | |
How can I possibly believe that, Delphine? | 0:29:00 | 0:29:03 | |
Because you feel it! | 0:29:03 | 0:29:05 | |
Ugh! | 0:29:05 | 0:29:06 | |
This is not...it's not a lie. | 0:29:06 | 0:29:08 | |
It's not possible. | 0:29:08 | 0:29:10 | |
You know, I've never been with a woman before. | 0:29:10 | 0:29:13 | |
Yeah, it showed. | 0:29:13 | 0:29:15 | |
SHE SOBS | 0:29:24 | 0:29:27 | |
The 23rd, right? | 0:29:27 | 0:29:29 | |
Yeah, east platform, north end. | 0:29:29 | 0:29:30 | |
I was on the other side, fixing a derailer. | 0:29:30 | 0:29:33 | |
That's her. | 0:29:33 | 0:29:35 | |
What a shame. | 0:29:38 | 0:29:39 | |
That's Beth. | 0:29:39 | 0:29:41 | |
And then this other lady walks up. | 0:29:41 | 0:29:43 | |
-MAN: -That'd be your jumper. | 0:29:54 | 0:29:56 | |
Wait, wait. Rewind that. | 0:29:59 | 0:30:01 | |
Right...stop, right there. | 0:30:01 | 0:30:03 | |
Shit. | 0:30:03 | 0:30:04 | |
I never saw it from this angle. | 0:30:04 | 0:30:06 | |
MOBILE PHONE RINGS | 0:30:28 | 0:30:31 | |
-Helena. -'Sarah!' | 0:30:37 | 0:30:39 | |
You're the only one I can really turn to. | 0:30:41 | 0:30:44 | |
HELENA BREATHES HEAVILY OVER PHONE | 0:30:44 | 0:30:47 | |
How do you know it's not a trap? | 0:30:49 | 0:30:51 | |
-She was convincing. -It is a trap. | 0:30:51 | 0:30:54 | |
But now you know where she is, just give her to Leekie. | 0:30:54 | 0:30:56 | |
I'd have to agree with him, at this point. | 0:30:56 | 0:30:58 | |
And then what? Then we're partners with Leekie | 0:30:58 | 0:31:00 | |
and then he's going to find out about Kira. | 0:31:00 | 0:31:02 | |
-Tsk. Sarah... -I don't know how I'm going to play this, | 0:31:02 | 0:31:04 | |
OK? Just...just give me a minute. | 0:31:04 | 0:31:07 | |
Hey, you're awake. | 0:31:13 | 0:31:15 | |
How do you feel? | 0:31:15 | 0:31:17 | |
Tired. | 0:31:17 | 0:31:18 | |
Yeah. | 0:31:18 | 0:31:19 | |
You had a big crash, | 0:31:20 | 0:31:23 | |
but you're going to be just fine. | 0:31:23 | 0:31:26 | |
It wasn't Helena's fault. | 0:31:26 | 0:31:30 | |
What? | 0:31:30 | 0:31:31 | |
I went outside to play with her. | 0:31:31 | 0:31:33 | |
She tell you to say this? | 0:31:34 | 0:31:37 | |
No. | 0:31:37 | 0:31:38 | |
She's dangerous. | 0:31:38 | 0:31:40 | |
She's sick in the head and it makes her want to hurt us. | 0:31:40 | 0:31:43 | |
She just needs your help. | 0:31:43 | 0:31:45 | |
I'm sorry, Kira. | 0:31:45 | 0:31:47 | |
I don't think anybody can help Helena now. | 0:31:47 | 0:31:50 | |
-MEERA: -'Alison,' | 0:32:07 | 0:32:10 | |
I saw you in that van with Chad. | 0:32:10 | 0:32:14 | |
My children saw you. | 0:32:14 | 0:32:16 | |
-AYNSLEY: -I just wish you could understand how much damage you've caused. | 0:32:16 | 0:32:19 | |
I mean, we all trusted you. | 0:32:19 | 0:32:22 | |
Aynsley, you brought us here today, didn't you? | 0:32:22 | 0:32:25 | |
I care about you, sweetie. | 0:32:25 | 0:32:27 | |
You called all these people | 0:32:27 | 0:32:29 | |
and told them everything. | 0:32:29 | 0:32:31 | |
I'm doing this to help you. | 0:32:31 | 0:32:33 | |
And I thank you... | 0:32:33 | 0:32:35 | |
..for scrutinizing every detail of my life | 0:32:37 | 0:32:40 | |
since the day I moved into this fishbowl. | 0:32:40 | 0:32:42 | |
You have pried and snooped and gossiped about me | 0:32:42 | 0:32:46 | |
like I was your own, personal laboratory subject. | 0:32:46 | 0:32:49 | |
How would you like it | 0:32:49 | 0:32:50 | |
if I turned your life inside out? | 0:32:50 | 0:32:53 | |
If I told all these people that Chad, | 0:32:53 | 0:32:56 | |
your husband, slept with the spin-class instructor, | 0:32:56 | 0:32:58 | |
long before me. | 0:32:58 | 0:33:00 | |
Well, maybe he acts that way | 0:33:00 | 0:33:01 | |
because you BLEW the roofer at the cabin! | 0:33:01 | 0:33:05 | |
Wow! | 0:33:05 | 0:33:06 | |
OK, um... Alison, you see... | 0:33:06 | 0:33:09 | |
No! No more words! | 0:33:09 | 0:33:12 | |
She's right. | 0:33:13 | 0:33:15 | |
This has gone far enough. | 0:33:15 | 0:33:17 | |
Mom, everybody, out, now! | 0:33:17 | 0:33:19 | |
Let's go. | 0:33:19 | 0:33:20 | |
This was your olive branch and you torched it! | 0:33:28 | 0:33:32 | |
Huge mistake. | 0:33:32 | 0:33:34 | |
DOOR SLAMS | 0:33:38 | 0:33:39 | |
That went very well. | 0:33:42 | 0:33:43 | |
-I think it went well. -Yeah. | 0:33:43 | 0:33:44 | |
SCRAPING AT DOOR | 0:34:14 | 0:34:15 | |
You came. | 0:34:23 | 0:34:24 | |
How is Kira? | 0:34:26 | 0:34:28 | |
You're never going to see her again. | 0:34:30 | 0:34:33 | |
I would never hurt her. | 0:34:33 | 0:34:35 | |
I wish I could believe you. | 0:34:35 | 0:34:38 | |
Do it. | 0:34:49 | 0:34:51 | |
Shit! | 0:34:58 | 0:35:00 | |
You care! | 0:35:01 | 0:35:03 | |
No, I don't. | 0:35:03 | 0:35:05 | |
Stay back! | 0:35:05 | 0:35:07 | |
Don't try any shit! | 0:35:07 | 0:35:08 | |
You are all I have now. | 0:35:26 | 0:35:28 | |
I love you. | 0:35:45 | 0:35:47 | |
You must be Sarah. | 0:35:58 | 0:35:59 | |
You can't harm her kid! | 0:35:59 | 0:36:01 | |
Harm her? No, never. | 0:36:01 | 0:36:02 | |
The child is innocent. | 0:36:02 | 0:36:04 | |
You are the light, Helena. | 0:36:04 | 0:36:07 | |
You're the original. You know what that means? | 0:36:07 | 0:36:09 | |
The child is rightfully your daughter. | 0:36:09 | 0:36:12 | |
He's lying! Helena, Helena. | 0:36:12 | 0:36:14 | |
There's no original. | 0:36:14 | 0:36:15 | |
I told you...we're the same. | 0:36:15 | 0:36:17 | |
Neither of us is the original. | 0:36:17 | 0:36:19 | |
Put her down! | 0:36:19 | 0:36:20 | |
We'll bring the child home to her real mother. | 0:36:21 | 0:36:24 | |
Helena! Helena. | 0:36:24 | 0:36:26 | |
Look, look... you know that connection you feel? | 0:36:26 | 0:36:30 | |
I feel it too. | 0:36:30 | 0:36:32 | |
It's us. | 0:36:33 | 0:36:35 | |
She'll say anything to save herself. | 0:36:35 | 0:36:37 | |
He locked you in a cage! | 0:36:37 | 0:36:39 | |
He lied to you your entire life! | 0:36:39 | 0:36:42 | |
He's going to do that to Kira. | 0:36:42 | 0:36:45 | |
He's going to hurt Kira, | 0:36:45 | 0:36:47 | |
like he hurt you. | 0:36:47 | 0:36:49 | |
You made me this way. | 0:37:01 | 0:37:03 | |
Helena. | 0:37:03 | 0:37:05 | |
Agh! Aagghh! | 0:37:16 | 0:37:18 | |
HE MOANS | 0:37:20 | 0:37:22 | |
I know what you are. | 0:37:26 | 0:37:28 | |
Yeah, I'm the one with the keys. | 0:37:28 | 0:37:31 | |
Maybe I'll give 'em to Dr Leekie. | 0:37:31 | 0:37:33 | |
Come on. | 0:37:38 | 0:37:39 | |
POUNDING AND GRUNTING | 0:37:44 | 0:37:47 | |
'Sarah! Sarah!' | 0:37:47 | 0:37:48 | |
MOBILE PHONE RINGS | 0:37:48 | 0:37:51 | |
S? | 0:37:52 | 0:37:53 | |
Sarah, where are you? | 0:37:53 | 0:37:54 | |
'I'm about to give Helena to Leekie.' | 0:37:54 | 0:37:56 | |
He knows who I am. He's going to find out | 0:37:56 | 0:37:58 | |
about Kira, sooner or later. | 0:37:58 | 0:38:00 | |
You can't. | 0:38:00 | 0:38:01 | |
You need to get back here, right away. With Helena. | 0:38:01 | 0:38:04 | |
-POUNDING -What? Why? | 0:38:04 | 0:38:06 | |
I'll explain when you get here. | 0:38:06 | 0:38:08 | |
POUNDING | 0:38:11 | 0:38:15 | |
'Sarah!' | 0:38:15 | 0:38:16 | |
You wanted to see me? | 0:38:41 | 0:38:42 | |
Yeah. | 0:38:42 | 0:38:44 | |
It's about Beth Childs. | 0:38:44 | 0:38:46 | |
I'm sorry. | 0:38:52 | 0:38:53 | |
She said she'd be here. | 0:38:53 | 0:38:55 | |
Yes. | 0:39:01 | 0:39:03 | |
'They didn't show.' | 0:39:03 | 0:39:05 | |
Blood is thicker than you think, Aldous. | 0:39:05 | 0:39:08 | |
Jesus Christ! | 0:39:11 | 0:39:12 | |
How long has Art been sitting on this? | 0:39:12 | 0:39:14 | |
Just a couple of days, sir. | 0:39:14 | 0:39:16 | |
Really, Angie? | 0:39:20 | 0:39:22 | |
You said by the end of the day. | 0:39:22 | 0:39:24 | |
We're getting an arrest warrant for Beth Childs. | 0:39:24 | 0:39:27 | |
Lieutenant, Beth's dead. | 0:39:27 | 0:39:30 | |
You need a warrant for Sarah Manning. | 0:39:30 | 0:39:33 | |
Where's Helena? | 0:39:38 | 0:39:40 | |
I tied her up in the trunk. | 0:39:40 | 0:39:41 | |
What's going on? | 0:39:41 | 0:39:43 | |
Sarah, this is Amelia. | 0:39:47 | 0:39:51 | |
Hi. | 0:39:51 | 0:39:53 | |
Look at you. | 0:39:53 | 0:39:55 | |
Sarah. | 0:39:55 | 0:39:57 | |
I'm your birth mother. | 0:40:00 | 0:40:02 | |
Yeah, I'm not what you expected, I'm sure. | 0:40:07 | 0:40:11 | |
I kind of gave up expecting. | 0:40:12 | 0:40:14 | |
I'm sorry to arrive like this, but, | 0:40:14 | 0:40:16 | |
when word came you were looking for me, | 0:40:16 | 0:40:18 | |
I had to leave Cape Town in a hurry. | 0:40:18 | 0:40:20 | |
I was being watched, you see. | 0:40:20 | 0:40:24 | |
After all this time, they... | 0:40:24 | 0:40:26 | |
..they found me again. | 0:40:28 | 0:40:30 | |
I was only 22, in a new country. | 0:40:30 | 0:40:34 | |
A wealthy couple asked me to be their in-vitro surrogate. | 0:40:34 | 0:40:38 | |
They paid me, provided a flat in London, | 0:40:38 | 0:40:41 | |
a legal arrangement. | 0:40:41 | 0:40:42 | |
But...something was off. | 0:40:42 | 0:40:45 | |
The medical tests were excessive and I overheard the couple | 0:40:45 | 0:40:49 | |
talking with the doctors, about a child unfettered by tradition, | 0:40:49 | 0:40:54 | |
an advanced... | 0:40:54 | 0:40:57 | |
evolution, of some kind. | 0:40:57 | 0:40:59 | |
Neolution? | 0:40:59 | 0:41:01 | |
Yeah, but they weren't a couple at all. | 0:41:01 | 0:41:04 | |
They were scientists. | 0:41:04 | 0:41:05 | |
The child I carried wasn't meant for them. | 0:41:05 | 0:41:09 | |
I realised the life inside of me was in danger, | 0:41:09 | 0:41:13 | |
so I ran, | 0:41:13 | 0:41:15 | |
I hid, and gave birth to the two of you in secret. | 0:41:15 | 0:41:20 | |
The two of us? | 0:41:20 | 0:41:22 | |
Yeah, I had twins. | 0:41:22 | 0:41:26 | |
I knew I couldn't keep you, | 0:41:26 | 0:41:28 | |
so I hid you away... | 0:41:28 | 0:41:30 | |
one to the state and one to the church. | 0:41:30 | 0:41:34 | |
Helena. | 0:41:36 | 0:41:38 | |
Subtitles by Red Bee Media Ltd | 0:41:39 | 0:41:42 |