Browse content similar to Nature under Constraint and Vexed. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
-I saw a girl kill herself. -Ew! -Yeah, and she looked exactly like me. | 0:00:02 | 0:00:05 | |
We're clones. We're like lab rats in an illegal experiment. | 0:00:05 | 0:00:09 | |
If it were my experiment, I would put an observer | 0:00:09 | 0:00:11 | |
close to the subject to keep tabs and accumulate data. | 0:00:11 | 0:00:14 | |
-Where is Beth? -She killed herself. I took her identity. | 0:00:14 | 0:00:17 | |
You're her monitor, aren't you? | 0:00:17 | 0:00:19 | |
Doctors came and medically examined her in her sleep. | 0:00:19 | 0:00:22 | |
I know exactly who you are. You're a...a sleazy watcher spy! | 0:00:22 | 0:00:27 | |
Aynsley? | 0:00:30 | 0:00:32 | |
The German was sick. Should I be worried about that? | 0:00:32 | 0:00:34 | |
I'm sick, Delphine. | 0:00:34 | 0:00:36 | |
Art, you gotta see this. It's a match on the Jane Doe print. | 0:00:36 | 0:00:39 | |
Why the hell does she look like Beth? | 0:00:39 | 0:00:41 | |
Sarah Manning! Put your hands on your head! You're under arrest. | 0:00:41 | 0:00:45 | |
-I didn't kill her, Art! -Do you know who did? | 0:00:45 | 0:00:48 | |
Detective, this interview is over. | 0:00:48 | 0:00:49 | |
-This is Amelia. -I'm your birth mother. | 0:00:49 | 0:00:52 | |
I had twins. One to the state, and one to the judge. | 0:00:52 | 0:00:55 | |
-Helena. -I grew up pure in a convent in Ukraine. | 0:00:55 | 0:00:59 | |
You killed someone I've been dreaming about my whole life. | 0:00:59 | 0:01:02 | |
Sarah Manning. | 0:01:02 | 0:01:05 | |
My name is Rachel Duncan, and we are going to come to terms. | 0:01:05 | 0:01:08 | |
Sarah? You can't make a deal. | 0:01:08 | 0:01:10 | |
Any freedom they promise is bullshit. | 0:01:10 | 0:01:12 | |
-They've patented us. -Sarah, they could claim Kira. | 0:01:12 | 0:01:15 | |
Kira! | 0:01:15 | 0:01:18 | |
This programme contains some violent scenes | 0:01:20 | 0:01:28 | |
'Pick up, pick up. Leave it for Felix.' | 0:01:36 | 0:01:38 | |
Fee! Shit. | 0:01:38 | 0:01:40 | |
Fee, where are you? They took 'em. | 0:01:40 | 0:01:42 | |
They took Kira and Mrs S. | 0:01:42 | 0:01:45 | |
You look like you could use a coffee. | 0:01:57 | 0:02:01 | |
Yeah, I'll take tea. | 0:02:01 | 0:02:02 | |
Tea it is. | 0:02:02 | 0:02:04 | |
'The number you have reached is not in service at this time.' | 0:02:15 | 0:02:19 | |
'The number you have reached is not in service at this time.' | 0:02:23 | 0:02:26 | |
'Hi, you've reached Paul Dierden. Please leave a message. | 0:02:39 | 0:02:42 | |
Paul, what the hell is going on? | 0:02:42 | 0:02:45 | |
Did Rachel just take my family? I need you to call me now. | 0:02:45 | 0:02:48 | |
Nah, first one's on the house. | 0:02:56 | 0:02:58 | |
Thanks. I appreciate that. | 0:02:58 | 0:03:00 | |
PHONE RINGING | 0:03:15 | 0:03:17 | |
-Paul? -'Hello, Sarah.' | 0:03:20 | 0:03:23 | |
There is a painless way | 0:03:23 | 0:03:25 | |
to reunite with Siobhan and Kira. | 0:03:25 | 0:03:29 | |
Simply surrender yourself. | 0:03:29 | 0:03:30 | |
Rachel, you bitch. Me and Kira are not your bloody subjects. | 0:03:32 | 0:03:36 | |
Neither is Siobhan. | 0:03:36 | 0:03:38 | |
The terms of my offer still stand. We'll pretend you didn't run. | 0:03:38 | 0:03:42 | |
Rachel, if you touch one hair on my daughter's head, I will... | 0:03:42 | 0:03:47 | |
Evenin'. | 0:03:47 | 0:03:50 | |
Evenin', fellas. What can I get ya? | 0:03:50 | 0:03:53 | |
Are your eggs the domesticated type? | 0:03:53 | 0:03:55 | |
What do you mean? | 0:03:55 | 0:03:57 | |
I believe my friend is asking for free-range eggs. | 0:03:57 | 0:03:59 | |
Undomesticated. | 0:03:59 | 0:04:02 | |
No free-range, no free run. Just normal eggs. | 0:04:02 | 0:04:06 | |
Then they're not normal. | 0:04:06 | 0:04:08 | |
Your chickens have been interfered with. | 0:04:08 | 0:04:10 | |
They're not my chickens, they're just my eggs. | 0:04:10 | 0:04:13 | |
I bet you ordered up a whole mess of eggs. | 0:04:27 | 0:04:30 | |
Who are you? | 0:04:30 | 0:04:32 | |
-She's got the lilt. -Yeah. | 0:04:32 | 0:04:34 | |
This is the one. | 0:04:37 | 0:04:38 | |
Uh-uh-uh. | 0:04:38 | 0:04:42 | |
After you. | 0:04:51 | 0:04:53 | |
I think we'll let the lady leave on her own. | 0:04:54 | 0:04:57 | |
Ease on out now. | 0:04:58 | 0:05:00 | |
Are you sure, Sarah? | 0:05:02 | 0:05:04 | |
We've come here to take you to Kira. | 0:05:04 | 0:05:08 | |
Where is she? | 0:05:09 | 0:05:11 | |
Sarah! | 0:05:21 | 0:05:23 | |
Sarah! There's nowhere to run! | 0:05:32 | 0:05:36 | |
-Sarah! -Shit. | 0:05:39 | 0:05:42 | |
We're your best option. | 0:05:49 | 0:05:51 | |
Ah! | 0:06:16 | 0:06:18 | |
LOUD MUSIC | 0:06:59 | 0:07:00 | |
-So, tonight you should be extra sweet to me. -Fee! | 0:07:21 | 0:07:24 | |
-Holy shit! Hi! -Where have you been? -Bloody hell, what? | 0:07:24 | 0:07:27 | |
What are you doing? Is this why you haven't answered your phone? | 0:07:27 | 0:07:31 | |
Yeah, cos I'm in the midst of a five way. | 0:07:31 | 0:07:33 | |
We have an emergency, and you're high. You're kidding me! | 0:07:33 | 0:07:36 | |
What are you wearing? | 0:07:36 | 0:07:38 | |
-What? Sarah, what? -They took Kira! | 0:07:38 | 0:07:43 | |
Mrs S's truck was still there; her purse. The place was trashed | 0:07:43 | 0:07:47 | |
-like they'd been dragged out... -OK, wait. | 0:07:47 | 0:07:49 | |
-Can we just, can we back up a sec, OK? -No, we need to go, Fee! | 0:07:49 | 0:07:52 | |
How do we know that this isn't Helena again, Sarah? | 0:07:52 | 0:07:55 | |
-No, she's gone. -She's gone where? | 0:07:55 | 0:07:57 | |
Just gone, OK? | 0:07:57 | 0:07:59 | |
PHONE RINGING | 0:07:59 | 0:08:00 | |
Shit! OK. Wait. You said all their other phones have been disconnected. | 0:08:00 | 0:08:04 | |
Well, why isn't yours disconnected? | 0:08:04 | 0:08:05 | |
-Probably because they're tracking that stupid pink burner. -Yeah. | 0:08:05 | 0:08:09 | |
-Hello? Hello? -'It's Paul, Sarah.' | 0:08:11 | 0:08:15 | |
-Who else is listening? -You know my situation. | 0:08:15 | 0:08:18 | |
Tell 'em I want to talk to Mrs S. | 0:08:18 | 0:08:20 | |
You're going to have to come in for that. | 0:08:22 | 0:08:24 | |
-I don't see a better choice, Sarah. -'I'll meet you alone.' | 0:08:24 | 0:08:27 | |
Wait for my call. | 0:08:27 | 0:08:29 | |
She's smarter than you think. | 0:08:31 | 0:08:33 | |
Do one more thing to help her | 0:08:33 | 0:08:36 | |
so I can put a bullet in your head. | 0:08:36 | 0:08:38 | |
No, no. You can't meet Paul. No. | 0:08:40 | 0:08:43 | |
-No, not in person, no. -What...? Hey, ow! Shit. Sorry, | 0:08:43 | 0:08:47 | |
Sorry. | 0:08:47 | 0:08:49 | |
OK. | 0:08:49 | 0:08:51 | |
Come on, get your shit together, you silly tit. | 0:08:51 | 0:08:54 | |
I need you to make a side trip for me, yeah? | 0:08:54 | 0:08:57 | |
Please just...come to the Dyad event. | 0:09:03 | 0:09:06 | |
Hey, think what you're asking me to do. | 0:09:06 | 0:09:09 | |
We can negotiate your position, but you need to start talking to Leekie. | 0:09:09 | 0:09:15 | |
-We need the Dyad now. -We? | 0:09:15 | 0:09:18 | |
You. If you are sick. | 0:09:18 | 0:09:21 | |
And our relationship can be whatever we want. We have leverage. | 0:09:28 | 0:09:33 | |
You still work for Leekie. | 0:09:33 | 0:09:35 | |
On your behalf, to protect you. | 0:09:35 | 0:09:37 | |
These samples aren't gonna go to Dyad, | 0:09:41 | 0:09:43 | |
and you can't tell them that we know about the patent either. | 0:09:43 | 0:09:46 | |
I'd do my own research first. | 0:09:46 | 0:09:50 | |
This is my biology, it's my decision. OK? | 0:09:50 | 0:09:53 | |
OK. | 0:09:53 | 0:09:55 | |
You're right. | 0:09:57 | 0:09:59 | |
KNOCKING ON DOOR | 0:10:07 | 0:10:09 | |
KNOCKING CONTINUES | 0:10:13 | 0:10:14 | |
What the dickens? | 0:10:17 | 0:10:19 | |
Rachel took Kira? She can't do that. We agreed to a code of conduct. | 0:10:24 | 0:10:27 | |
-Yeah, well, Sarah didn't sign a deal, did she? -Shh, -shh. Sorry. | 0:10:27 | 0:10:32 | |
I was supposed to ask you something, but I... Oh, can we borrow a gun? | 0:10:32 | 0:10:37 | |
you need a gun. Apparently I'm the go to girl for guns, right? | 0:10:37 | 0:10:41 | |
OK, Alison, come here. We... | 0:10:41 | 0:10:44 | |
Holy shit. | 0:10:44 | 0:10:46 | |
What is with the balls of your thumbs? They're so bouncy. | 0:10:46 | 0:10:49 | |
Felix, are you high? | 0:10:49 | 0:10:51 | |
Well, I didn't know there was gonna be a huge emergency, did I? | 0:10:51 | 0:10:54 | |
Be quiet. My children are sleeping. | 0:10:54 | 0:10:56 | |
Look, I do not keep guns in my house any more. | 0:10:56 | 0:10:58 | |
They're at the range in my locker. | 0:10:58 | 0:11:01 | |
-Could you maybe just go and fetch us one, please? -Sarah can't... | 0:11:01 | 0:11:05 | |
just go around shooting people with my guns, they're registered to me. | 0:11:05 | 0:11:10 | |
I'm trying to get my family life back in order. | 0:11:10 | 0:11:12 | |
I'm not drinking any more, no more... | 0:11:12 | 0:11:15 | |
little helpers. I'm doing a musical. | 0:11:15 | 0:11:19 | |
Oh, my God, not Cats. | 0:11:19 | 0:11:21 | |
-KNOCKING ON DOOR -Alison? | 0:11:21 | 0:11:24 | |
Oh, my God. | 0:11:24 | 0:11:26 | |
Hello, Donnie. | 0:11:31 | 0:11:34 | |
-Who are you talking to? -Um... I'm... | 0:11:34 | 0:11:37 | |
I'm running lines for the play, obviously. | 0:11:37 | 0:11:41 | |
At 4AM? | 0:11:41 | 0:11:43 | |
I'm not in control of the muse. | 0:11:43 | 0:11:45 | |
-The muse? -Mm hmm. | 0:11:45 | 0:11:47 | |
-You wouldn't understand. -No, I don't think so. | 0:11:47 | 0:11:50 | |
Just go to bed. | 0:11:50 | 0:11:52 | |
Fine. Don't be long. | 0:11:52 | 0:11:55 | |
OK. | 0:11:55 | 0:11:57 | |
Ahh, ahh! | 0:11:57 | 0:11:58 | |
What are you wearing? | 0:12:00 | 0:12:01 | |
-Oh, yeah! -No, no, no, no. | 0:12:01 | 0:12:04 | |
Look, I might be able to help with a firearm...unregistered. | 0:12:04 | 0:12:08 | |
-Seriously? -Yes. I have a friend. | 0:12:08 | 0:12:11 | |
Let's call him Ramon. | 0:12:11 | 0:12:15 | |
You know a gun dealer named Ramon? | 0:12:15 | 0:12:17 | |
He's a gun enthusiast. | 0:12:17 | 0:12:20 | |
He has many jobs, he's very hardworking. | 0:12:20 | 0:12:23 | |
-OK. -Tell Sarah to meet me at Glendale Community Theatre, 4PM. | 0:12:23 | 0:12:28 | |
Ja, die meisten der Patente wurden direkt | 0:12:30 | 0:12:33 | |
nach der Entscheidung des Supreme Court eingereicht werden. | 0:12:33 | 0:12:37 | |
Ja, sicher. | 0:12:37 | 0:12:39 | |
Vielen Dank, Herr Schlessinger. | 0:12:39 | 0:12:41 | |
PHONE RINGING | 0:12:41 | 0:12:43 | |
Paul here. | 0:12:43 | 0:12:45 | |
'Here's how this is gonna work.' | 0:12:45 | 0:12:47 | |
You Paul? | 0:13:04 | 0:13:05 | |
Yeah. | 0:13:05 | 0:13:07 | |
20 bucks. | 0:13:07 | 0:13:09 | |
PHONE RINGING | 0:13:11 | 0:13:13 | |
Can't trust anyone these days. | 0:13:17 | 0:13:19 | |
I knew they'd be all over you. | 0:13:19 | 0:13:21 | |
'Yeah, you got about 30 seconds.' | 0:13:21 | 0:13:23 | |
OK, well, now that nobody's listening, where exactly are they? | 0:13:23 | 0:13:26 | |
'All they gave me is a message from Rachel.' | 0:13:26 | 0:13:28 | |
Tomorrow morning, she's getting on a private plane, with Kira. | 0:13:28 | 0:13:32 | |
You could be on that plane with them or not. | 0:13:32 | 0:13:34 | |
What? She's just a child, Paul. How can they use her as leverage? | 0:13:34 | 0:13:37 | |
Sarah, I can't tell you what to do, | 0:13:37 | 0:13:39 | |
but tonight there's a big event at the Dyad. Rachel will be there. | 0:13:39 | 0:13:44 | |
-OK, what else? -She's, uh, insulated. Daniel rarely leaves her side. | 0:13:44 | 0:13:49 | |
But now he's tasked with bringing you back. He's coming after you. | 0:13:49 | 0:13:53 | |
She says, "Up yours." | 0:14:16 | 0:14:18 | |
Hey, can I borrow your phone? | 0:14:44 | 0:14:46 | |
Can I touch your boob? | 0:14:46 | 0:14:48 | |
Cheeky. | 0:14:49 | 0:14:51 | |
It's like a glitzy corporate event, Sarah. | 0:14:53 | 0:14:55 | |
I don't see what good a gun is gonna do. | 0:14:55 | 0:14:58 | |
-She's planning on gate crashing. -'I don't have a plan yet.' | 0:14:58 | 0:15:01 | |
-Cosima, where's Delphine? -At the Dyad, getting ready. | 0:15:01 | 0:15:05 | |
She wants me to go to this thing. | 0:15:05 | 0:15:07 | |
Maybe I should. | 0:15:07 | 0:15:09 | |
I smell lesbians in my bed last night. | 0:15:09 | 0:15:12 | |
Look, I'm not gonna apologise for my heart, OK? | 0:15:12 | 0:15:14 | |
But I promise both of you guys that I'm not gonna get fooled again. | 0:15:14 | 0:15:17 | |
Why don't I talk to them, Sarah? | 0:15:17 | 0:15:19 | |
No, no, no, no. Just sit tight, OK? | 0:15:19 | 0:15:22 | |
I'll feel better when I have a gun. | 0:15:22 | 0:15:24 | |
This is totally crazy. | 0:15:24 | 0:15:27 | |
Oh. | 0:15:37 | 0:15:38 | |
-Morning, Mrs Hendrix. -Hello, Ramon. | 0:15:45 | 0:15:49 | |
Did I catch you on a break? | 0:15:49 | 0:15:51 | |
Oh, customer service never takes a break at Econo-mart. | 0:15:51 | 0:15:54 | |
So, uh... | 0:15:56 | 0:15:57 | |
Avomax? Zaraphen? | 0:15:57 | 0:16:00 | |
Something between A and Z? | 0:16:00 | 0:16:02 | |
No, thank you. I'm actually taking a break. | 0:16:02 | 0:16:05 | |
Oh. Mmm. | 0:16:05 | 0:16:07 | |
-Kickin' it natural? -Uh, no. No, no, no. | 0:16:09 | 0:16:11 | |
Not interested in natural either. I have a... | 0:16:11 | 0:16:13 | |
I have a friend who needs a piece... | 0:16:13 | 0:16:16 | |
maker. | 0:16:16 | 0:16:18 | |
Mrs Hendrix! | 0:16:18 | 0:16:20 | |
I have a nice selection. All clean, | 0:16:23 | 0:16:26 | |
numbers filed. If you like a revolver, this 45 is a, uh... | 0:16:26 | 0:16:30 | |
pretty badass. | 0:16:30 | 0:16:32 | |
Matte black. | 0:16:32 | 0:16:34 | |
Is that a...lady grip? | 0:16:35 | 0:16:38 | |
Hot. | 0:16:38 | 0:16:40 | |
-Practical. -Mmm. | 0:16:40 | 0:16:42 | |
Thank you, Ramon. | 0:16:42 | 0:16:44 | |
So, how's your mother? | 0:16:46 | 0:16:49 | |
Hey, um, one subject is showing fresh symptoms. | 0:16:52 | 0:16:55 | |
Do you think you could take a closer look at their profile for me? | 0:16:55 | 0:16:59 | |
'The one with some kind of synthetic sequence you refuse to explain?' | 0:16:59 | 0:17:02 | |
Yeah, that one. | 0:17:02 | 0:17:03 | |
No, I can't, because you told me to erase the data. | 0:17:03 | 0:17:07 | |
I'm sending you a new blood sample. | 0:17:07 | 0:17:11 | |
Dr Cormier. | 0:17:11 | 0:17:12 | |
Dr Leekie asked me to escort you upstairs as soon as you arrived. | 0:17:12 | 0:17:16 | |
Of course. | 0:17:16 | 0:17:17 | |
Is there something going on I should know about? | 0:17:32 | 0:17:35 | |
Where is Cosima, Delphine? | 0:17:36 | 0:17:38 | |
Exactly where you want her - | 0:17:38 | 0:17:41 | |
here in town, considering your employment offer. | 0:17:41 | 0:17:45 | |
Be careful playing for the other team, Delphine. | 0:17:45 | 0:17:48 | |
Cosima is scared of us. She's seen how you've persecuted Sarah. | 0:17:48 | 0:17:51 | |
Sarah is not your subject. | 0:17:51 | 0:17:55 | |
You're a eugenicist, Dr Cormier. | 0:17:58 | 0:18:00 | |
-Is that a dirty word for you as a scientist? -No. | 0:18:00 | 0:18:04 | |
-I want Cosima here, full-time, starting tonight. -So do I. | 0:18:06 | 0:18:10 | |
324B21 is showing the same respiratory symptoms as the other two. | 0:18:12 | 0:18:16 | |
Congratulations. I'm invested, which I'm sure is what you wanted. | 0:18:19 | 0:18:23 | |
OK, people, listen up. | 0:18:37 | 0:18:40 | |
Let's gather. Everyone, let's gather. | 0:18:40 | 0:18:42 | |
Circle, please. Hands. | 0:18:42 | 0:18:44 | |
Troupe, in three days, we move to the main stage for dress rehearsal. | 0:18:44 | 0:18:49 | |
In four days, we open. | 0:18:49 | 0:18:51 | |
Losing Aynsley is... | 0:18:53 | 0:18:55 | |
..heartbreaking. | 0:18:56 | 0:18:58 | |
But we are not civilians. | 0:19:00 | 0:19:02 | |
This is the theatre, | 0:19:02 | 0:19:04 | |
and we all know that the show must go on. | 0:19:04 | 0:19:08 | |
So... Kelsey is going to be stepping out of the wings | 0:19:10 | 0:19:15 | |
to play Laura. | 0:19:15 | 0:19:17 | |
Um... Excuse me. | 0:19:17 | 0:19:19 | |
I'm your Laura. | 0:19:19 | 0:19:21 | |
No, Ali. | 0:19:23 | 0:19:24 | |
We all know how close you are to this. | 0:19:27 | 0:19:30 | |
But you have rehearsed with Aynsley, | 0:19:30 | 0:19:33 | |
you know the part. | 0:19:33 | 0:19:35 | |
We want you to play Sheila. | 0:19:35 | 0:19:37 | |
You want me to be the lead? | 0:19:39 | 0:19:41 | |
Yes. | 0:19:41 | 0:19:42 | |
Give it up. | 0:19:44 | 0:19:45 | |
-You can do this. -OK. | 0:19:50 | 0:19:52 | |
Show them, hmm? Shine. | 0:19:52 | 0:19:55 | |
OK, people, let's all shine onstage. | 0:19:55 | 0:19:57 | |
Let's pick it up from the point | 0:19:57 | 0:19:59 | |
where everyone helps Sheila clean up after the unfortunate death. | 0:19:59 | 0:20:04 | |
All right? Mop. | 0:20:04 | 0:20:06 | |
-Mop. -Lovely. | 0:20:06 | 0:20:08 | |
Stop crying, Carter. Deep breath. | 0:20:08 | 0:20:11 | |
One, two, three, four. | 0:20:11 | 0:20:14 | |
# And we will sing sing, sing away the hours | 0:20:14 | 0:20:18 | |
# Shout till our throats are sore | 0:20:18 | 0:20:21 | |
# And we will raise our voices to the heavens | 0:20:21 | 0:20:25 | |
# God himself will hear our mighty roar | 0:20:25 | 0:20:28 | |
# And we will wipe, wipe, wipe away the plasma | 0:20:28 | 0:20:32 | |
# Scrub off every stain | 0:20:32 | 0:20:35 | |
# Since I cannot control my asthma | 0:20:35 | 0:20:38 | |
# I'll stand by to entertain. # | 0:20:38 | 0:20:41 | |
Yes. | 0:20:43 | 0:20:44 | |
Brava! Bravissima! | 0:20:44 | 0:20:46 | |
Alison Hendrix is in a musical. | 0:20:58 | 0:21:00 | |
What? What musical? | 0:21:01 | 0:21:04 | |
It ain't Cats. | 0:21:04 | 0:21:06 | |
-I think she's playing the lead. -Beth's dead, German's dead, | 0:21:06 | 0:21:09 | |
Sarah Manning gets sprung on the cusp of confessing, | 0:21:09 | 0:21:12 | |
-and we're left with Alison Hendrix, model citizen and thespian. -Yeah. | 0:21:12 | 0:21:16 | |
-You're kidding me. -It's her. -Oh, shit. | 0:21:21 | 0:21:24 | |
We're not supposed to be on this thing, Angie. | 0:21:24 | 0:21:27 | |
Damn it. | 0:21:29 | 0:21:31 | |
Hey, long time no see. | 0:21:31 | 0:21:34 | |
-Sarah... Don't run. -Come on. | 0:21:34 | 0:21:37 | |
What do you want with Alison Hendrix? | 0:21:53 | 0:21:55 | |
I just told you. They killed a man right in front of me, Art. | 0:21:55 | 0:21:58 | |
Hey, I'm talking to you. Tell me what you are to each other, to Beth. | 0:21:58 | 0:22:01 | |
We don't know. That's the whole point. | 0:22:01 | 0:22:03 | |
The diner, sounds like the two bodies Grigson and Diaz caught this morning. | 0:22:03 | 0:22:07 | |
I know. She probably does too. | 0:22:07 | 0:22:09 | |
Those are the people behind it. The same ones that got me out of jail. | 0:22:09 | 0:22:12 | |
She's making this stuff up. | 0:22:12 | 0:22:14 | |
Then arrest me. You can't, can you? Huh? | 0:22:14 | 0:22:17 | |
Just come on. Come on. | 0:22:17 | 0:22:20 | |
Let's go check her story out. | 0:22:23 | 0:22:24 | |
SPEAKING QUIETLY | 0:22:29 | 0:22:31 | |
It's a fortunate position you find yourself in, Paul. | 0:22:34 | 0:22:37 | |
How is that, Miss Duncan? | 0:22:37 | 0:22:39 | |
You're the only one who seems to know what makes Sarah tick. | 0:22:39 | 0:22:44 | |
I need your office this evening. | 0:22:51 | 0:22:53 | |
It's the Koreas. | 0:22:53 | 0:22:55 | |
-Both of them. -Ah. | 0:22:55 | 0:22:57 | |
Well, good. Congratulations. | 0:22:57 | 0:23:00 | |
Paul, have you ever been to Taiwan? | 0:23:02 | 0:23:06 | |
-Taiwan, no. -I don't suppose you speak Mandarin? | 0:23:06 | 0:23:10 | |
-No. -Hm, pity. Pack a bag. We leave Tuesday. | 0:23:11 | 0:23:16 | |
Good luck, Paul. | 0:23:16 | 0:23:19 | |
Keeping him up close and personal? | 0:23:26 | 0:23:28 | |
Of course. | 0:23:28 | 0:23:31 | |
Rachel, did you seriously kidnap Sarah's people? | 0:23:31 | 0:23:34 | |
The less you know about it, the better. | 0:23:37 | 0:23:40 | |
The child may be a biological gold mine, but so is her mother. | 0:23:40 | 0:23:44 | |
Daniel will recover Sarah. | 0:23:44 | 0:23:46 | |
-Is that really necessary? -Yes. | 0:23:46 | 0:23:49 | |
And not your concern. | 0:23:50 | 0:23:53 | |
We have a big evening. You need to be on point. | 0:23:53 | 0:23:56 | |
To combine is to create... | 0:24:01 | 0:24:05 | |
..to engineer, divine. | 0:24:07 | 0:24:10 | |
You'll do wonderfully, Aldous. | 0:24:10 | 0:24:12 | |
Come on, just go check it out. | 0:24:20 | 0:24:21 | |
She probably dropped those bodies herself. | 0:24:21 | 0:24:23 | |
They have my daughter, Art. | 0:24:29 | 0:24:31 | |
-Hey. So, what's up? -Oh, best shooting we caught in two years, | 0:24:35 | 0:24:38 | |
and the federals walked in. Check it out. | 0:24:38 | 0:24:41 | |
-How you doin', Ange? -So, what happened? | 0:24:48 | 0:24:50 | |
George Hudson, line cook. | 0:24:50 | 0:24:52 | |
45 to the sixth chakra. | 0:24:52 | 0:24:54 | |
Cowboy was still waiting, but shotgun to the midsection. | 0:24:54 | 0:24:57 | |
-What chakra is that? -Uh, somewhere between the third and the fourth. | 0:24:57 | 0:25:00 | |
There's a possible eyewitness. | 0:25:00 | 0:25:01 | |
-A tea drinker. -A tea drinker? | 0:25:01 | 0:25:05 | |
Yeah, digs out a wall, escapes out the back. | 0:25:05 | 0:25:07 | |
OK. Thanks, man. | 0:25:09 | 0:25:11 | |
Sarah, if your daughter's missing, we'll put out an amber alert. | 0:25:11 | 0:25:14 | |
These people are powerful. They got me out of jail. | 0:25:14 | 0:25:17 | |
You can't do anything. | 0:25:17 | 0:25:19 | |
Just let me go, please. | 0:25:19 | 0:25:21 | |
Just before the lawyer showed up, you were about to tell me everything, | 0:25:21 | 0:25:26 | |
-what this really is. -You don't want to know everything, Art. | 0:25:26 | 0:25:29 | |
You don't want Angie to know anything. | 0:25:32 | 0:25:34 | |
Feds took over the scene from Grigson and Diaz. | 0:25:39 | 0:25:42 | |
-Which feds? -I didn't get an acronym. | 0:25:42 | 0:25:45 | |
Seriously? | 0:25:52 | 0:25:53 | |
We're off the case. It doesn't exist, Angie. | 0:25:53 | 0:25:57 | |
You want to walk her in there and hand her over, you go right ahead. | 0:25:57 | 0:26:00 | |
Come on, you. | 0:26:03 | 0:26:04 | |
Thank you. | 0:26:08 | 0:26:10 | |
Thank you? You miss us? You miss Beth's life, you little grifter? | 0:26:10 | 0:26:14 | |
She almost trusts me, Angie. | 0:26:20 | 0:26:22 | |
No, I'm not letting you turn yourself over to neolutionists. | 0:26:25 | 0:26:28 | |
What am I meant to do, Fee? Hey? | 0:26:28 | 0:26:31 | |
If Rachel's got Kira on a plane, I have to be with her. | 0:26:31 | 0:26:34 | |
Look, look, Sarah, Delphine put me on the list | 0:26:34 | 0:26:36 | |
for the Dyad tonight, OK? | 0:26:36 | 0:26:37 | |
I can go in there and, like, demand that Rachel let them go. | 0:26:37 | 0:26:41 | |
Rachel doesn't take demands, Cosima. | 0:26:41 | 0:26:43 | |
That's why I needed the bloody gun. | 0:26:43 | 0:26:45 | |
KNOCKING ON DOOR | 0:26:45 | 0:26:47 | |
Anybody in the house? | 0:26:47 | 0:26:50 | |
It's Ramon. | 0:26:50 | 0:26:52 | |
Ramon? | 0:26:52 | 0:26:54 | |
Delivery from Mrs Hendrix. | 0:26:54 | 0:26:56 | |
Well, those are so Alison. | 0:26:56 | 0:26:58 | |
It's what inside that counts. | 0:26:58 | 0:27:00 | |
Huh? Am I wrong, sailor? | 0:27:00 | 0:27:03 | |
Whoa. | 0:27:06 | 0:27:08 | |
Ah. Seriously, Sarah? What good is that gonna do? | 0:27:14 | 0:27:19 | |
-Alison, you know some very strange people. -'Oh, they look nice. | 0:27:19 | 0:27:23 | |
'Sorry I couldn't bring them in person. | 0:27:23 | 0:27:26 | |
'I have scads of costumes to alter.' | 0:27:26 | 0:27:28 | |
-Hey, thanks for the card too. -'Are you making fun of me?' | 0:27:28 | 0:27:30 | |
-I made that! -'No, no, no, no.' | 0:27:30 | 0:27:33 | |
-It's good to see you, Alison. -We love you, Alison. | 0:27:33 | 0:27:38 | |
Well, normally I'd say don't do anything rash, | 0:27:38 | 0:27:40 | |
'but rash seems to be a genetic trait, so... | 0:27:40 | 0:27:44 | |
'Go get Kira.' | 0:27:44 | 0:27:46 | |
Believe me, right now is the time to resist our predisposition | 0:27:46 | 0:27:50 | |
to impulsive behaviour. We need a plan. | 0:27:50 | 0:27:53 | |
'You don't have a plan?' | 0:27:53 | 0:27:54 | |
No, the plan's a bit of an issue. | 0:27:54 | 0:27:56 | |
Hey, I know where Rachel is. That's enough. | 0:27:56 | 0:27:59 | |
Sarah, what are you gonna do? | 0:27:59 | 0:28:01 | |
-Walk into the Dyad with a gun and just start shooting people? -Yeah. | 0:28:01 | 0:28:05 | |
'Uh, tut tut tut tut. I don't want to know anything. | 0:28:05 | 0:28:08 | |
'Leave me out of it.' | 0:28:08 | 0:28:10 | |
Plausible deniability. | 0:28:10 | 0:28:12 | |
-Yeah, sure. -I have to be at Sara Stubbs at 9PM | 0:28:12 | 0:28:15 | |
to do a fitting and run lines, so... | 0:28:15 | 0:28:19 | |
-break a leg, Sarah. -'Thanks again.' | 0:28:19 | 0:28:22 | |
This thing at the Dyad, it's, like, a big deal, yeah? | 0:28:22 | 0:28:25 | |
Yeah, big pharma, big agro, VIPs, security. | 0:28:25 | 0:28:29 | |
That's good, that's good. That will be helpful. They'll be busy. | 0:28:29 | 0:28:33 | |
OK, what are you on to? | 0:28:33 | 0:28:35 | |
Plausible deniability. | 0:28:36 | 0:28:38 | |
-Oh, no. -No, it's easiest just to give Rachel what she wants, yeah? | 0:28:38 | 0:28:44 | |
Me. Just not how she's expecting it. | 0:28:44 | 0:28:46 | |
OK, even if I agree with what I think you're thinking, | 0:28:46 | 0:28:49 | |
how do you next to Rachel with Daniel in the way? | 0:28:49 | 0:28:52 | |
Alison's not gonna like it. | 0:28:54 | 0:28:55 | |
PHONE VIBRATING | 0:29:00 | 0:29:02 | |
Paul Dierden. | 0:29:04 | 0:29:06 | |
'Paul, it's Sarah. Let me speak to her.' | 0:29:06 | 0:29:08 | |
She wants Rachel. | 0:29:11 | 0:29:12 | |
Hi, Sarah. This is Daniel. I speak for Rachel. | 0:29:17 | 0:29:20 | |
'I'm ready to make a deal, face to face.' | 0:29:20 | 0:29:22 | |
Well, Rachel's a very busy woman, | 0:29:22 | 0:29:25 | |
but if you tell me where you are, I'll bring you to her. | 0:29:25 | 0:29:28 | |
'All right. I'll meet you at 9PM. I'll be driving the red minivan.' | 0:29:28 | 0:29:33 | |
Ah! Oh, my God. Oh, my God! | 0:29:47 | 0:29:49 | |
Let go! Ugh! | 0:29:49 | 0:29:51 | |
Ugh! | 0:29:52 | 0:29:54 | |
BLOWS WHISTLE | 0:29:58 | 0:30:00 | |
Ah! Ah! | 0:30:14 | 0:30:16 | |
Who in the hell are you? | 0:30:16 | 0:30:19 | |
This is unacceptable. I need to talk to Dr Leekie right away. | 0:30:19 | 0:30:22 | |
That won't be necessary, ma'am. This is our mistake. | 0:30:22 | 0:30:25 | |
It won't happen again. | 0:30:25 | 0:30:27 | |
Thank you. | 0:30:40 | 0:30:41 | |
Elise! | 0:30:43 | 0:30:44 | |
Shite. | 0:30:56 | 0:30:58 | |
-Cosima. -Hey. -You came. | 0:31:38 | 0:31:41 | |
You won't regret this. I promise. | 0:31:46 | 0:31:48 | |
Aldous! Look who it is. | 0:31:48 | 0:31:51 | |
-Uh, no, no. -No, no, no, come, come, come. | 0:31:51 | 0:31:53 | |
Mon adversaire. I wasn't as sure as Delphine that you'd come. | 0:31:53 | 0:31:58 | |
Here I am. Um, doesn't mean I'm gonna sign your contract, though. | 0:31:58 | 0:32:02 | |
A starting point. | 0:32:02 | 0:32:04 | |
We're in uncharted waters. Really, it's all up to you. | 0:32:04 | 0:32:07 | |
OK. Then I want my own lab. | 0:32:09 | 0:32:11 | |
ANNOUNCEMENT: In a moment, | 0:32:11 | 0:32:13 | |
Dr Leekie will be welcoming you to the Dyad Institute. Please stand by. | 0:32:13 | 0:32:17 | |
That's my cue. Cosima... | 0:32:17 | 0:32:19 | |
..you have a bright future ahead of you. | 0:32:21 | 0:32:24 | |
This is the best place you could be right now. | 0:32:26 | 0:32:28 | |
Thank you, Dr Leekie. | 0:32:29 | 0:32:31 | |
-Enjoy yourself. -Mm. | 0:32:39 | 0:32:40 | |
You're Sarah. | 0:32:44 | 0:32:46 | |
Yeah, nice to meet you too. | 0:32:46 | 0:32:48 | |
-Does Cosima know you're doing this? -Depends if I get caught. | 0:32:48 | 0:32:52 | |
Now, where are Kira and Siobhan? | 0:32:53 | 0:32:55 | |
-What? -Don't play stupid. | 0:32:57 | 0:32:58 | |
Rachel kidnapped my family. Where are they? | 0:32:58 | 0:33:01 | |
-How would I know? I've never even seen Rachel. -I've seen her. | 0:33:01 | 0:33:04 | |
And if you want to keep Cosima out of this, | 0:33:04 | 0:33:08 | |
you're gonna tell me where she is. OK? | 0:33:08 | 0:33:11 | |
There is serious business going on right now behind the scenes, | 0:33:11 | 0:33:15 | |
and so my guess is that she's using Leekie's wing. | 0:33:15 | 0:33:19 | |
-Where is that? -Down there. | 0:33:19 | 0:33:22 | |
It's impossible to get down there. | 0:33:22 | 0:33:24 | |
-You need a specific swipe card for the 10th floor. -Like this? | 0:33:24 | 0:33:27 | |
You're going to get yourself killed. | 0:33:27 | 0:33:29 | |
Miss Cormier? | 0:33:29 | 0:33:32 | |
< Please welcome Dr Leekie. | 0:33:32 | 0:33:34 | |
APPLAUSE | 0:33:34 | 0:33:36 | |
Thank you, everyone. | 0:33:38 | 0:33:40 | |
I am Dr Aldous Leekie, | 0:33:40 | 0:33:43 | |
director of the Dyad Institute, | 0:33:43 | 0:33:45 | |
and it is my great pleasure to welcome you here | 0:33:45 | 0:33:49 | |
on behalf of the entire Dyad group of companies. | 0:33:49 | 0:33:54 | |
The keystone...of the original Dyad Institute was set here in 1918. | 0:33:54 | 0:34:01 | |
Today, worldwide, the overwhelming majority of bio tech research | 0:34:04 | 0:34:10 | |
is funded by private capital, | 0:34:10 | 0:34:13 | |
and today, the Dyad Group spans the globe. | 0:34:13 | 0:34:16 | |
We employ 27,000 souls | 0:34:16 | 0:34:19 | |
in 134 countries, | 0:34:19 | 0:34:22 | |
including Vatican City. | 0:34:22 | 0:34:25 | |
The age of biotechnology is upon us. | 0:34:29 | 0:34:32 | |
It is the moral responsibility of visionaries like us | 0:34:32 | 0:34:37 | |
to continue healing, feeding, and fuelling | 0:34:37 | 0:34:43 | |
the future of humanity. | 0:34:43 | 0:34:46 | |
The recent supreme court decision... | 0:34:49 | 0:34:51 | |
SPEECH IS TRANSLATED INTO KOREAN | 0:34:51 | 0:34:53 | |
..characterising the legal status | 0:34:53 | 0:34:56 | |
of natural versus synthetic DNA | 0:34:56 | 0:34:58 | |
was the successful result | 0:34:58 | 0:35:01 | |
of our lobbying strategies. | 0:35:01 | 0:35:03 | |
We are proceeding with the next tranche of patent claims. | 0:35:06 | 0:35:12 | |
Good, you made it. | 0:35:47 | 0:35:49 | |
-I want my daughter. -Of | 0:35:50 | 0:35:52 | |
course, and we want you to be together, | 0:35:54 | 0:35:58 | |
but my people found your foster mother's house overturned. | 0:35:58 | 0:36:01 | |
They were gone when we got there. | 0:36:01 | 0:36:03 | |
-You're lying. -I lied to get you here. But we don't have them. | 0:36:03 | 0:36:07 | |
Kira's here, and I want to see her now. | 0:36:10 | 0:36:14 | |
You're not going to shoot me, Sarah. | 0:36:15 | 0:36:17 | |
If you don't have her, you're dead! | 0:36:19 | 0:36:21 | |
There are other forces vying for our fate, Sarah. | 0:36:21 | 0:36:24 | |
We'll get Kira back together. | 0:36:24 | 0:36:27 | |
Nobody lays hands on me. | 0:36:31 | 0:36:34 | |
You don't own us. | 0:36:34 | 0:36:35 | |
Sarah, put it down. | 0:36:40 | 0:36:42 | |
-Where is Kira? -They don't have her. | 0:36:55 | 0:36:57 | |
They were playing me too. Now lower the gun. | 0:36:57 | 0:37:00 | |
And what are you, her bodyguard now? | 0:37:00 | 0:37:03 | |
It's you they want. It is over, Sarah. | 0:37:03 | 0:37:05 | |
Turn around. | 0:37:07 | 0:37:09 | |
In the face. | 0:37:23 | 0:37:24 | |
Sorry. | 0:37:24 | 0:37:26 | |
Go. I'll figure out something to tell 'em. | 0:37:30 | 0:37:33 | |
Hey, it's me. | 0:37:56 | 0:37:58 | |
Jesus Christ. You are like a bad smell. | 0:37:58 | 0:38:00 | |
Look, I didn't know where else to go. | 0:38:00 | 0:38:02 | |
Maggie Chen? | 0:38:20 | 0:38:21 | |
What, you're not having one? | 0:38:31 | 0:38:33 | |
I want it straight up. | 0:38:33 | 0:38:34 | |
It wasn't them, Art, the Dyad people. Somebody else took Kira. | 0:38:39 | 0:38:43 | |
I know. | 0:38:45 | 0:38:46 | |
What? | 0:38:50 | 0:38:51 | |
The feds are calling the diner thing domestic terrorism. | 0:38:51 | 0:38:54 | |
The cowboy that took the shotgun blast was a religious extremist, | 0:38:54 | 0:38:58 | |
like Maggie Chen, | 0:38:58 | 0:38:59 | |
a prolethean. | 0:38:59 | 0:39:01 | |
Helena's people. | 0:39:03 | 0:39:04 | |
Why don't we start with that? | 0:39:06 | 0:39:08 | |
Who is Helena? | 0:39:13 | 0:39:15 | |
Are you sure you want to know what this is all about? | 0:39:18 | 0:39:21 | |
I guess we'll find out. | 0:39:23 | 0:39:25 | |
Excuse me. | 0:39:47 | 0:39:49 | |
My sister shot me. | 0:39:49 | 0:39:51 | |
I need some help here! Trauma team! | 0:39:53 | 0:39:55 | |
OK, no, we need a nurse here right now. | 0:39:55 | 0:39:58 | |
Gunshot wound. Call it in, call it in! | 0:39:58 | 0:40:00 | |
Pressure! Gunshot through the back. | 0:40:00 | 0:40:03 | |
Get her up. Ready? Now. | 0:40:03 | 0:40:07 | |
We need to get her in... Move it! | 0:40:10 | 0:40:13 | |
Look at the camera. | 0:40:34 | 0:40:36 | |
Shot point blank in the chest and she walks in? | 0:40:39 | 0:40:42 | |
-How is she even alive? -We remember Aynsley's warmth. | 0:40:42 | 0:40:44 | |
-I killed Aynsley! -I watched it happen, Felix. | 0:40:44 | 0:40:47 | |
They didn't do anything about it. | 0:40:47 | 0:40:50 | |
The old wing is where our most sensitive research takes place. | 0:40:50 | 0:40:53 | |
This is where you keep the clones. | 0:40:53 | 0:40:55 | |
Rachel takes insult very personally. | 0:40:55 | 0:40:58 | |
-Would you leave us, please? -Yes, of course. | 0:40:58 | 0:41:00 | |
Kira? Hello? | 0:41:00 | 0:41:02 | |
They're gone. Young girl matching Kira's description with some guy. | 0:41:02 | 0:41:04 | |
-Get your hands on the car. -You're gonna regret this. | 0:41:04 | 0:41:08 |