Browse content similar to Governed by Sound Reason and True Religion. Check below for episodes and series from the same categories and more!
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I'm your birth mother. Mrs S, she's not who she says she is. | 0:00:01 | 0:00:04 | |
You know what to do. | 0:00:04 | 0:00:06 | |
Kira! | 0:00:06 | 0:00:08 | |
What the hell is going on? Did Rachel just take my family? | 0:00:08 | 0:00:11 | |
We've come here to take you to Kira. | 0:00:11 | 0:00:15 | |
Tonight there's a big event at the Dyad. Rachel will be there. | 0:00:15 | 0:00:18 | |
How do you get next to Rachel with Daniel in the way? | 0:00:18 | 0:00:20 | |
Rachel's a very busy woman, but if you tell me where you are, I'll bring you to her. | 0:00:20 | 0:00:24 | |
-Who in the hell are you? -This is our mistake. | 0:00:24 | 0:00:26 | |
I want my own lab. Thank you, Dr Leekie. | 0:00:26 | 0:00:30 | |
-You're Sarah. -Yeah, nice to meet you too. | 0:00:30 | 0:00:33 | |
I want my daughter. If you don't have her, you're dead! | 0:00:33 | 0:00:36 | |
The Dyad people. Somebody else took Kira. | 0:00:36 | 0:00:38 | |
I know. The cowboy who took the shotgun blast was a religious extremist. | 0:00:38 | 0:00:42 | |
-A Prolethean. -Helena's people. | 0:00:42 | 0:00:45 | |
This programme contains prolonged violent scenes. | 0:00:45 | 0:00:49 | |
HEART MONITOR BEEPS | 0:00:50 | 0:00:52 | |
OK, Eastern European accent, and... Scarification? | 0:00:56 | 0:00:59 | |
Angel wings. | 0:00:59 | 0:01:01 | |
No ID, but these are the contents of her pockets. | 0:01:01 | 0:01:05 | |
Sugar packs, lollipops... | 0:01:05 | 0:01:09 | |
Shot point blank in the chest and she walks in? | 0:01:09 | 0:01:12 | |
How is she even alive? | 0:01:12 | 0:01:14 | |
SHE GASPS | 0:01:14 | 0:01:15 | |
It's OK. It'll be all right. | 0:01:15 | 0:01:19 | |
-What do these Proletheans want with your daughter? -I don't know, Art. | 0:01:23 | 0:01:26 | |
-Everybody's after us. -KNOCK ON THE DOOR | 0:01:26 | 0:01:29 | |
-Hey. -We're going to find her. | 0:01:32 | 0:01:34 | |
-OK. -OK? | 0:01:34 | 0:01:36 | |
-Yeah. Thank you. -Good. | 0:01:36 | 0:01:38 | |
Hello, Arthur. | 0:01:38 | 0:01:40 | |
I can't believe you let a cop into the Clone Club. | 0:01:42 | 0:01:45 | |
Yeah, well, I'm over it. | 0:01:45 | 0:01:47 | |
Finally this whole shit-show is starting to make sense. | 0:01:47 | 0:01:49 | |
So, if these religious freaks have Kira, how do we find them? | 0:01:49 | 0:01:53 | |
MOBILE RINGS | 0:01:53 | 0:01:56 | |
-It's out of town. -We've got a number of branches. | 0:01:56 | 0:02:00 | |
-Hello? -We've just got to figure out which one. | 0:02:00 | 0:02:03 | |
-Kira? Kira? -Give it! | 0:02:03 | 0:02:05 | |
Yeah. | 0:02:05 | 0:02:06 | |
Kira? Hello? | 0:02:06 | 0:02:08 | |
Mommy, I'm not supposed to call. | 0:02:08 | 0:02:10 | |
I'm so glad you did. Where are you, baby? | 0:02:10 | 0:02:13 | |
I don't know. I'm scared. There's a weird man here. | 0:02:13 | 0:02:18 | |
Kira? Kira?! | 0:02:18 | 0:02:21 | |
It's a listed number. It's a motel in Bridgeleigh County. | 0:03:03 | 0:03:06 | |
-Let's go, or they'll be gone. -Whoa. It could be a trap. | 0:03:06 | 0:03:09 | |
-She's going with me. -Yeah, it could still be a trap. | 0:03:09 | 0:03:13 | |
-Fee, stop. -Wait! Just a minute, please. | 0:03:13 | 0:03:16 | |
New clone phones. | 0:03:16 | 0:03:19 | |
I'll get these ones to Cosima and Alison. | 0:03:19 | 0:03:21 | |
-Numbers are already stored in there. This one's for me. -Thank you. | 0:03:21 | 0:03:24 | |
When we're back together, we're leaving, yeah? | 0:03:24 | 0:03:27 | |
Yeah. Costa Rica. I've heard that one before. | 0:03:27 | 0:03:30 | |
Look, I need you to keep telling me we can make it. | 0:03:30 | 0:03:33 | |
We can. | 0:03:33 | 0:03:35 | |
We remember Aynsley's warmth, | 0:03:40 | 0:03:43 | |
her devotion to family, to community. | 0:03:43 | 0:03:46 | |
We remember early mornings with the Bailey Downs Ice Queens, | 0:03:46 | 0:03:50 | |
long evenings on stage rehearsing various | 0:03:50 | 0:03:53 | |
theatre productions. | 0:03:53 | 0:03:54 | |
And some of us remember book club, | 0:03:54 | 0:03:57 | |
or as Aynsley called it, full-contact reading. | 0:03:57 | 0:04:01 | |
She wanted us to... | 0:04:01 | 0:04:03 | |
Self-reflect. | 0:04:03 | 0:04:05 | |
And she would say almost daily, | 0:04:05 | 0:04:10 | |
"Be true to who you are." | 0:04:10 | 0:04:12 | |
She's got a lot of gall coming here after sleeping with Chad. | 0:04:14 | 0:04:18 | |
THEY TALK IN HUSHED TONES | 0:04:18 | 0:04:21 | |
If you wanted to have a glass right now, | 0:04:21 | 0:04:23 | |
I wouldn't blame you one bit. | 0:04:23 | 0:04:24 | |
No, thank you, Donnie. | 0:04:24 | 0:04:26 | |
I think I'll stay clear-headed indefinitely. | 0:04:26 | 0:04:30 | |
-Mom. -What? Where did you | 0:04:30 | 0:04:32 | |
-get these flowers? -They're Aynsley's. | 0:04:32 | 0:04:33 | |
What?! No, no, no, no! | 0:04:33 | 0:04:36 | |
-You take those back. -I got it, I got it. | 0:04:36 | 0:04:38 | |
-Then we can go home. -Yes, please. | 0:04:38 | 0:04:40 | |
Here, hold my coat. Guys, what are you thinking? Come on. | 0:04:40 | 0:04:43 | |
Sorry, Father. | 0:04:43 | 0:04:45 | |
-Alison? -Mm. | 0:04:45 | 0:04:47 | |
I'm so sorry. | 0:04:47 | 0:04:49 | |
Oh. Oh, thank you, Sarah, really. I feel like the play is | 0:04:49 | 0:04:52 | |
-saving my life right now. -You lost a friend, | 0:04:52 | 0:04:55 | |
and they shouldn't be treating you like this. | 0:04:55 | 0:04:58 | |
Thank you. | 0:04:58 | 0:05:00 | |
Oh, that's OK. | 0:05:00 | 0:05:02 | |
Oops. | 0:05:02 | 0:05:03 | |
-See you at rehearsal. -OK. | 0:05:10 | 0:05:12 | |
OK. | 0:05:12 | 0:05:13 | |
MOBILE VIBRATES | 0:05:15 | 0:05:17 | |
Margaret, hi. | 0:05:34 | 0:05:36 | |
-Ali? -Mm-hmm? | 0:05:42 | 0:05:44 | |
-Shall we? -Yep. | 0:05:44 | 0:05:47 | |
OK. Gemma, here you go. | 0:05:47 | 0:05:49 | |
Come on. | 0:05:52 | 0:05:53 | |
You did well to save her, Mark. | 0:06:09 | 0:06:12 | |
Helena is the twin sister of the mother, the one that got away. | 0:06:12 | 0:06:15 | |
She almost didn't make it. Real close. | 0:06:15 | 0:06:18 | |
Yeah. Here, steady her | 0:06:18 | 0:06:20 | |
for me. Be gentle. She shouldn't baulk a bit. | 0:06:20 | 0:06:23 | |
All right. Now, easy, girl. | 0:06:29 | 0:06:31 | |
COW LOWS | 0:06:31 | 0:06:33 | |
Hand me the AI gun. | 0:06:33 | 0:06:37 | |
Now we just... | 0:06:37 | 0:06:39 | |
Slide that in directly into the cervix. | 0:06:39 | 0:06:42 | |
And... | 0:06:42 | 0:06:44 | |
The rest is up to the Lord, just helped him along a little bit. | 0:06:49 | 0:06:51 | |
Amen, Pastor. | 0:06:51 | 0:06:53 | |
We'll need a little help too, Mark, getting that girl out | 0:06:53 | 0:06:56 | |
-of the hospital. -Yeah, I imagine so. -Well, Henrik, | 0:06:56 | 0:06:58 | |
am I making up another bed or not? | 0:06:58 | 0:07:00 | |
That's entirely dependent on Mark here, Bonnie. | 0:07:00 | 0:07:05 | |
I'll do my best. | 0:07:05 | 0:07:07 | |
You know we love you like a son, right? You're the only one we trust with all this. | 0:07:07 | 0:07:12 | |
Thank you. | 0:07:12 | 0:07:14 | |
Well, what? You're accusing me of | 0:07:14 | 0:07:16 | |
colluding with Sarah to... To, I'm sorry, | 0:07:16 | 0:07:20 | |
shit-kick Rachel? I don't know... Why would I do that? | 0:07:20 | 0:07:23 | |
Aldous, Sarah, she's a con artist. She fooled us too. | 0:07:23 | 0:07:28 | |
-Did she? -She stole your pass card. | 0:07:28 | 0:07:32 | |
-Really? -Mm-hmm. | 0:07:32 | 0:07:34 | |
I'm sorry. None of us ever trusted her. | 0:07:36 | 0:07:39 | |
Let me just say... | 0:07:39 | 0:07:43 | |
Rachel takes insult very personally. | 0:07:43 | 0:07:46 | |
If you want to help Sarah, you'd be uniquely positioned to do so | 0:07:46 | 0:07:49 | |
here at the Dyad. | 0:07:49 | 0:07:51 | |
I for one would like to avoid a war. | 0:07:51 | 0:07:55 | |
And I just want to make crazy science with you | 0:07:55 | 0:07:58 | |
in our new lab. | 0:07:58 | 0:08:00 | |
-They're gone. -Shit! | 0:08:15 | 0:08:18 | |
-When? How long? -About an hour ago. | 0:08:18 | 0:08:20 | |
A young girl matching Kira's description | 0:08:20 | 0:08:22 | |
-and some guy. Hey, come on. -Wait, Siobhan wasn't with them? | 0:08:22 | 0:08:25 | |
-There was no woman at all? -No, just the guy. | 0:08:25 | 0:08:29 | |
Hey. | 0:08:35 | 0:08:37 | |
Art. | 0:08:43 | 0:08:46 | |
-Find something? -Yeah. | 0:08:46 | 0:08:48 | |
That's hers. | 0:08:48 | 0:08:51 | |
Hold up. | 0:08:51 | 0:08:52 | |
That's Daniel, Rachel's bloody Doberman. | 0:08:55 | 0:08:57 | |
You stay put. | 0:08:57 | 0:08:59 | |
I've been hoping to run into this guy again. | 0:08:59 | 0:09:01 | |
Police officer. Put your hands on the car. | 0:09:07 | 0:09:10 | |
I said get your hands on the car. | 0:09:12 | 0:09:14 | |
Can I help you, Detective Bell? | 0:09:14 | 0:09:17 | |
Hm? I have a permit for that. | 0:09:17 | 0:09:20 | |
You're a private investigator this time. | 0:09:29 | 0:09:32 | |
You're going to regret this, professionally speaking. | 0:09:32 | 0:09:36 | |
-We know where you live. -Why do I doubt that? | 0:09:39 | 0:09:42 | |
We know where you work. | 0:09:42 | 0:09:43 | |
Keep your hands on the car. | 0:09:43 | 0:09:45 | |
You're a very bright man, Detective. | 0:09:45 | 0:09:48 | |
What are you doing here, huh? What are you doing here? | 0:09:48 | 0:09:51 | |
If you want to see Kira, you better shut up and get in. | 0:10:26 | 0:10:31 | |
This is your stop. | 0:10:37 | 0:10:40 | |
If you don't get too stroppy, I'll help you out. | 0:10:40 | 0:10:44 | |
-Where is my daughter? -Someone'll be along. | 0:10:50 | 0:10:53 | |
-Ooh! -Where is she? You piece of shit! | 0:10:55 | 0:10:58 | |
Ugh! | 0:10:58 | 0:10:59 | |
Stop. | 0:10:59 | 0:11:01 | |
What the bloody hell? Bloody hell! | 0:11:01 | 0:11:06 | |
I'm sorry, Benjamin. You didn't sign up for that. | 0:11:06 | 0:11:09 | |
No, I certainly did not. | 0:11:09 | 0:11:12 | |
-What the hell is going on? -Relax. Kira's fine. | 0:11:12 | 0:11:15 | |
-What, he's not a Prolethean? -No, chicken, you just passed through | 0:11:15 | 0:11:19 | |
-an airlock. -A what? -An airlock. When Kira called you, I knew you'd come | 0:11:19 | 0:11:22 | |
for her and bring your troubles with you. | 0:11:22 | 0:11:24 | |
Here's her phone. It was ringing. | 0:11:24 | 0:11:27 | |
-I took out the batteries. -Thanks, Ben. Safe home. | 0:11:27 | 0:11:30 | |
You too, S. | 0:11:30 | 0:11:31 | |
What happened with Amelia? | 0:11:34 | 0:11:36 | |
I'm not telling you shite till I see Kira. | 0:11:36 | 0:11:39 | |
Better get a move on, we've quite a hike. | 0:11:39 | 0:11:43 | |
Whose side are you on, S? | 0:11:46 | 0:11:48 | |
Yours, love. It's always been yours. | 0:11:50 | 0:11:53 | |
Now, while it may lack some lustre, | 0:12:02 | 0:12:03 | |
the old wing is where our most sensitive research takes place. | 0:12:03 | 0:12:07 | |
Like when you were sterilizing lunatics in the '30s? | 0:12:07 | 0:12:11 | |
Ah, before my time. | 0:12:11 | 0:12:12 | |
She's... She's being cheeky again. | 0:12:12 | 0:12:14 | |
She's knows the Dyad was built on vaccines. | 0:12:14 | 0:12:16 | |
-Yes, polio, Spanish influenza... -Manufactured right here, | 0:12:16 | 0:12:19 | |
shipped all over the world, and millions of lives saved. | 0:12:19 | 0:12:24 | |
Oh, so this is where you keep the clones. | 0:12:24 | 0:12:25 | |
Ah, obviously you're part of a high-security programme. | 0:12:25 | 0:12:28 | |
Yeah, most restricted projects are entirely compartmentalized. | 0:12:28 | 0:12:31 | |
Right, so smart people don't know what they're actually working on. | 0:12:31 | 0:12:34 | |
Ah, but you will. You're working on yourself. | 0:12:34 | 0:12:38 | |
Ah, do the honours? | 0:12:38 | 0:12:40 | |
-I was right, it's clone jail. -It's not. | 0:12:49 | 0:12:52 | |
You know, if I wanted an obsolete lab, I could just go to a community college. | 0:12:52 | 0:12:56 | |
We're going to customise it. | 0:12:56 | 0:12:58 | |
Here your opportunities will be endless. | 0:12:58 | 0:13:00 | |
Just last month, I e-mailed a vaccine | 0:13:00 | 0:13:03 | |
to a colleague in Delhi who then recreated it | 0:13:03 | 0:13:05 | |
on a 3D biological printer! | 0:13:05 | 0:13:08 | |
That's completely amazing. | 0:13:08 | 0:13:11 | |
Think of what we could build in this room. | 0:13:11 | 0:13:13 | |
Please, make a list. | 0:13:13 | 0:13:16 | |
Equipment, personnel. | 0:13:16 | 0:13:18 | |
Just... Blue sky a little. | 0:13:18 | 0:13:21 | |
Together. | 0:13:21 | 0:13:22 | |
Well, I know nobody likes to touch a dead body, | 0:13:25 | 0:13:28 | |
but I was really hoping you'd help me clean up the blood. | 0:13:28 | 0:13:32 | |
I'll help. | 0:13:35 | 0:13:38 | |
We're blood buds till the end | 0:13:38 | 0:13:40 | |
It is written in our hearts | 0:13:40 | 0:13:42 | |
We will be together till the day | 0:13:42 | 0:13:45 | |
That death takes us apart | 0:13:45 | 0:13:48 | |
# Now weeeee | 0:13:48 | 0:13:52 | |
# Must heed the call, clean the brains off the wall | 0:13:52 | 0:13:55 | |
# The task may be unpleasant but it's ours | 0:13:55 | 0:13:59 | |
# Try not to complain as you're scrubbing out the stain | 0:13:59 | 0:14:02 | |
# This is dirty work, dirty work | 0:14:02 | 0:14:05 | |
# Sing, sing, sing away the hours | 0:14:05 | 0:14:09 | |
# shout till our throats are sore... # | 0:14:09 | 0:14:12 | |
Sorry. She just takes left, right? Left, left. Right? | 0:14:12 | 0:14:16 | |
-Let's do it again? -No. We're going to take five. | 0:14:16 | 0:14:19 | |
And I mean five. Carter, no more sobbing. | 0:14:19 | 0:14:22 | |
Alison, please. | 0:14:22 | 0:14:24 | |
OK. | 0:14:24 | 0:14:26 | |
Sorry. | 0:14:26 | 0:14:28 | |
-It's OK. Right here. -Mm-hmm. | 0:14:28 | 0:14:30 | |
OK, now, do you feel that? | 0:14:30 | 0:14:32 | |
-Mm-hmm. -That is you | 0:14:32 | 0:14:35 | |
-breathing very high. -Yes. | 0:14:35 | 0:14:38 | |
-That's anxiety residue. -OK. | 0:14:38 | 0:14:40 | |
What you want to do... | 0:14:40 | 0:14:42 | |
Is you want to breathe... from here, from the sacrum. | 0:14:42 | 0:14:46 | |
-I... -From the sacrum to the diaphragm and out. | 0:14:46 | 0:14:49 | |
-Let's do it, OK? -I'm not sure that's my sacrum. | 0:14:49 | 0:14:51 | |
Now right... feel it right here, and in. | 0:14:51 | 0:14:54 | |
-And ouuuuuuuuuuut. -Ouuuuuuuuut. | 0:14:54 | 0:14:58 | |
-Excuse me. -Ouuuu... Ah! | 0:14:58 | 0:15:01 | |
Thank God. Sir. | 0:15:01 | 0:15:03 | |
Everybody, this is Felix, my acting coach. | 0:15:03 | 0:15:05 | |
Hello! You all look wonderful. | 0:15:05 | 0:15:07 | |
Hi, I'm Alexander. I'm the director. | 0:15:07 | 0:15:09 | |
Yes, I've seen where that hand's been. | 0:15:09 | 0:15:11 | |
OK, let's just... We'll be right back. Thank you. | 0:15:11 | 0:15:15 | |
Donnie is your husband, Aynsley is your monitor. | 0:15:15 | 0:15:17 | |
-No, no! I was wrong. -Yes! No! | 0:15:17 | 0:15:20 | |
I was wrong, Felix. | 0:15:20 | 0:15:21 | |
Vague text messages, they didn't prove anything! | 0:15:21 | 0:15:24 | |
You have a history of jumping to monitor conclusions. | 0:15:24 | 0:15:27 | |
What have I done? | 0:15:27 | 0:15:28 | |
Aynsley's dead. | 0:15:33 | 0:15:35 | |
I'm sorry, what? | 0:15:35 | 0:15:38 | |
There was an, uh, an accident with her garbage disposal. | 0:15:38 | 0:15:41 | |
Her scarf got caught and... | 0:15:41 | 0:15:45 | |
she choked to death. | 0:15:45 | 0:15:47 | |
-Oh, my God. -And I was there. | 0:15:47 | 0:15:50 | |
I watched it happen, Felix. I didn't do anything about it. | 0:15:50 | 0:15:53 | |
Sh, OK, OK, OK. Look, are you joking? | 0:15:53 | 0:15:57 | |
No! No, no. I thought it was her. | 0:15:57 | 0:15:59 | |
We all did. We... | 0:15:59 | 0:16:01 | |
-It was Donnie all along! -OK. | 0:16:01 | 0:16:04 | |
I killed Aynsley. | 0:16:04 | 0:16:05 | |
-No, no, darling. -Yes, I did! | 0:16:05 | 0:16:08 | |
-Yes! -Well... I mean... not really, | 0:16:08 | 0:16:11 | |
-you know, just like hardly. -Oh, God. You can't tell Sarah, please. | 0:16:11 | 0:16:15 | |
-No. -You can't tell anybody. | 0:16:15 | 0:16:17 | |
I... I can't... I can't go to jail. Oh, my God. I have two children. | 0:16:17 | 0:16:21 | |
Nobody's going to jail, OK? No-one's going to jail. | 0:16:21 | 0:16:23 | |
We just need to prove that Donnie's really your monitor. | 0:16:23 | 0:16:27 | |
How? I mean, | 0:16:27 | 0:16:29 | |
he's bamboozled me for all of these years. | 0:16:29 | 0:16:32 | |
He's very good at being evil. | 0:16:32 | 0:16:35 | |
Yes. Yes, he is, terribly. | 0:16:35 | 0:16:37 | |
So here's what we do. We set a trap. | 0:16:37 | 0:16:39 | |
Give him some monitor-ish information and see | 0:16:39 | 0:16:42 | |
-if he reacts like a monitor. -Uh-huh. | 0:16:42 | 0:16:44 | |
OK. Have you got any ideas, or do you just want to keep drinking? | 0:16:44 | 0:16:47 | |
I think I need to keep drinking for a while and then I'll have an idea. | 0:16:47 | 0:16:51 | |
I made things worse, Siobhan. | 0:16:53 | 0:16:56 | |
-Why didn't you call me? -I couldn't trust the phones. | 0:16:56 | 0:16:58 | |
There was more than one person watching the house. I knew someone was coming, | 0:16:58 | 0:17:01 | |
so I tossed the place. I made it look like an abduction | 0:17:01 | 0:17:04 | |
to confuse the issue. I put Kira first. | 0:17:04 | 0:17:06 | |
You think I didn't? | 0:17:06 | 0:17:08 | |
Hey, I know this place. | 0:17:14 | 0:17:18 | |
This is where we landed when we left the UK. | 0:17:18 | 0:17:20 | |
Hello, Sarah. Welcome back. | 0:17:35 | 0:17:37 | |
Barry. | 0:17:37 | 0:17:40 | |
The Birdwatchers. | 0:17:40 | 0:17:42 | |
My old network. They helped us disappear once. | 0:17:42 | 0:17:46 | |
They're helping again. | 0:17:46 | 0:17:47 | |
Well, look at you. | 0:17:50 | 0:17:52 | |
-Brenda. -Yeah? -Yeah. | 0:17:52 | 0:17:56 | |
She remembers. Well done. Such a beauty, and all grown-up. | 0:17:56 | 0:18:01 | |
I wouldn't say either. | 0:18:01 | 0:18:02 | |
Ohhh. | 0:18:02 | 0:18:04 | |
Mommy! | 0:18:04 | 0:18:07 | |
Monkey! Come here. | 0:18:07 | 0:18:09 | |
I was so worried about you. I didn't know where you were. | 0:18:11 | 0:18:14 | |
-We came to the Birdwatchers. -I know. | 0:18:14 | 0:18:18 | |
Are you all right? | 0:18:18 | 0:18:22 | |
Are you sure? | 0:18:22 | 0:18:24 | |
Come on inside. | 0:18:26 | 0:18:28 | |
I know I could use a drink. | 0:18:28 | 0:18:31 | |
You could have answered your phone. | 0:18:31 | 0:18:33 | |
-What's the point? -I don't know, | 0:18:33 | 0:18:35 | |
quash the wild rumours you're about to get suspended? | 0:18:35 | 0:18:38 | |
My union rep's on it. | 0:18:38 | 0:18:40 | |
No. | 0:18:40 | 0:18:42 | |
So, what, I got to beat it out of ya? | 0:18:45 | 0:18:47 | |
What the hell happened? | 0:18:47 | 0:18:49 | |
You know that lawyer, the real connected one, | 0:18:51 | 0:18:53 | |
pulled the rug out from under us during the Sarah Manning thing? | 0:18:53 | 0:18:56 | |
Well, we crossed paths, and words were exchanged. | 0:18:56 | 0:19:00 | |
He's the one trying to get you suspended? | 0:19:00 | 0:19:03 | |
I got something that might help. You know Carp, the patrol guy? | 0:19:03 | 0:19:06 | |
Mentions he's got the weirdest Jane Doe in hospital. | 0:19:06 | 0:19:09 | |
-Holy shit. -Yeah. | 0:19:16 | 0:19:17 | |
That's, what, like number five? | 0:19:17 | 0:19:20 | |
Don't go there, Angie. Just drop it. Alison Hendricks, | 0:19:22 | 0:19:26 | |
-just drop the whole thing. -But you're getting screwed, Art. | 0:19:26 | 0:19:30 | |
-And what about justice for Beth? -Look, I'm serious. | 0:19:30 | 0:19:33 | |
Leave it alone. | 0:19:33 | 0:19:36 | |
-You're not going there. -I'm not going there. | 0:19:37 | 0:19:40 | |
I'm here about the Jane Doe that came in last night, | 0:19:40 | 0:19:43 | |
-the gunshot vic. -Sure, she's right down here. | 0:19:43 | 0:19:45 | |
Where'd she go? | 0:19:52 | 0:19:53 | |
You're kidding. | 0:19:55 | 0:19:57 | |
Who are you? | 0:20:02 | 0:20:04 | |
Family. | 0:20:04 | 0:20:06 | |
Nervous, Gracie? | 0:20:13 | 0:20:15 | |
It's not usual, is it? | 0:20:17 | 0:20:19 | |
I'm sure we seem as strange to them as they do to us. | 0:20:19 | 0:20:24 | |
Just do as your father says. | 0:20:24 | 0:20:25 | |
I'm not sure. | 0:20:25 | 0:20:27 | |
Mary! Come, come, | 0:20:40 | 0:20:42 | |
come, girl. | 0:20:42 | 0:20:43 | |
Hello, Gracie. | 0:20:49 | 0:20:50 | |
Will it eat? | 0:20:53 | 0:20:55 | |
Of course she will. | 0:20:55 | 0:20:57 | |
Aw, Gracie, don't be scared. | 0:20:57 | 0:20:59 | |
She needs our care, and we need her trust. | 0:20:59 | 0:21:02 | |
REPEATED GRUNTING AND SLAPPING | 0:21:08 | 0:21:12 | |
Forgive me. | 0:21:22 | 0:21:24 | |
An old custom. | 0:21:24 | 0:21:26 | |
Hello, Tomas. | 0:21:29 | 0:21:31 | |
I am so grateful to your family for my rescue, | 0:21:31 | 0:21:34 | |
and for hers. I found myself... | 0:21:34 | 0:21:37 | |
praying for her soul. | 0:21:37 | 0:21:39 | |
-Well, that's not so crazy, is it? -Abominations have no soul. | 0:21:39 | 0:21:43 | |
Though one could easily mistake | 0:21:43 | 0:21:45 | |
the bullet missing her heart for a miracle. | 0:21:45 | 0:21:48 | |
It IS a miracle, my friend. | 0:21:48 | 0:21:51 | |
Your charge... | 0:21:51 | 0:21:53 | |
Is a genetic anomaly. | 0:21:53 | 0:21:56 | |
She's a mirror. | 0:21:56 | 0:21:58 | |
-See, her internal organs, all reversed. -What? | 0:21:58 | 0:22:04 | |
It's a condition that, uh... | 0:22:04 | 0:22:07 | |
That sometimes occurs with identical twins. | 0:22:07 | 0:22:09 | |
Kind of a yin-yang sort of thing. | 0:22:09 | 0:22:13 | |
One of them's right-handed, | 0:22:13 | 0:22:15 | |
one of them's left-handed. Whew. | 0:22:15 | 0:22:19 | |
One of them has her heart on the left side... | 0:22:19 | 0:22:22 | |
And one of them has their heart... | 0:22:24 | 0:22:27 | |
Her heart is on the wrong side. | 0:22:27 | 0:22:29 | |
This is surely the mark of corruption. | 0:22:29 | 0:22:31 | |
Yeah, well, that's where I disagree with you. | 0:22:31 | 0:22:34 | |
You see, I steered my faith through science at MIT, | 0:22:34 | 0:22:37 | |
and what I see here... | 0:22:37 | 0:22:39 | |
What I see here is God opening a whole new door. | 0:22:39 | 0:22:42 | |
Well, what you see is not who she is. | 0:22:42 | 0:22:45 | |
Your "new order" should appreciate | 0:22:45 | 0:22:48 | |
this wretch is not merely an affront, | 0:22:48 | 0:22:51 | |
she is the war for the future of creation. | 0:22:51 | 0:22:54 | |
I got not argument with you there. | 0:22:58 | 0:23:01 | |
You're welcome here, Tomas, both of you, | 0:23:01 | 0:23:03 | |
for as long as it takes her to recover. | 0:23:03 | 0:23:06 | |
Hey, look, that's where Uncle Felix bashed his head open. | 0:23:12 | 0:23:16 | |
Thanks to his foster sister, who was helping him down the stairs headfirst. | 0:23:16 | 0:23:19 | |
-He asked for it. -We don't get many through | 0:23:19 | 0:23:22 | |
these days, but we could still kit out an army if we had to. | 0:23:22 | 0:23:25 | |
All sizes and shapes. | 0:23:25 | 0:23:27 | |
Mrs S says I have your old bed. | 0:23:27 | 0:23:30 | |
Yeah, I think you do. | 0:23:30 | 0:23:32 | |
Look, that's me, and that's Uncle Felix. | 0:23:32 | 0:23:36 | |
Oh, Marjorie, that's horrible. | 0:23:46 | 0:23:48 | |
But I can't. I can't today. No. | 0:23:48 | 0:23:51 | |
Absolutely not. | 0:23:51 | 0:23:52 | |
Now make it sound all dire, you know. | 0:23:52 | 0:23:55 | |
And, oh, mention Sarah. | 0:23:55 | 0:23:57 | |
-They're all obsessed with Sarah. -No, not even an emergency. | 0:23:57 | 0:24:01 | |
I can't talk to Sarah. I can't. | 0:24:01 | 0:24:03 | |
I... I... That's not my business. | 0:24:03 | 0:24:05 | |
Now set the hook. | 0:24:05 | 0:24:07 | |
I absolutely cannot do it today. No, no. | 0:24:07 | 0:24:10 | |
Fine. | 0:24:10 | 0:24:12 | |
Looking good, Teddy. Do you need a stretch? | 0:24:14 | 0:24:17 | |
I need to go out. | 0:24:17 | 0:24:19 | |
It's... It's absolutely essential. | 0:24:19 | 0:24:21 | |
I followed her to the cemetery. You said to call | 0:24:39 | 0:24:41 | |
if she had contact with a Sarah someone, right? | 0:24:41 | 0:24:44 | |
-Manning. Sarah Manning. -I don't know who that is. | 0:24:44 | 0:24:48 | |
Oh... Here comes someone. | 0:24:48 | 0:24:50 | |
Yep, someone's coming. Hang on. | 0:24:53 | 0:24:55 | |
-Alison. -Sarah, hi. | 0:24:55 | 0:24:58 | |
Oh, honey. Look at you. You're shaking. | 0:24:58 | 0:25:01 | |
Oh. | 0:25:01 | 0:25:03 | |
Really nice of you to come by on such short notice. | 0:25:03 | 0:25:05 | |
Of course I came. | 0:25:05 | 0:25:07 | |
It's a lot, eh? | 0:25:07 | 0:25:10 | |
Aynsley passing, and taking over her role. | 0:25:10 | 0:25:14 | |
OK, I'm back. It's Sarah Stubbs. | 0:25:14 | 0:25:18 | |
-Who is that? -She's in the play with Alison. | 0:25:18 | 0:25:21 | |
Wasn't that...? | 0:25:26 | 0:25:28 | |
My husband. | 0:25:28 | 0:25:30 | |
Uh, I don't know her very well, but she's probably early 30s. | 0:25:30 | 0:25:34 | |
I guess you'd say plus-size. | 0:25:34 | 0:25:37 | |
Donald... Stop talking. | 0:25:37 | 0:25:39 | |
That's not the right Sarah. | 0:25:39 | 0:25:41 | |
OK, well, then what do you want me to do now? | 0:25:41 | 0:25:44 | |
Hang up, Donnie. | 0:25:44 | 0:25:47 | |
Hello? | 0:25:47 | 0:25:48 | |
Oh! | 0:25:50 | 0:25:52 | |
Alison. | 0:25:52 | 0:25:54 | |
Hello, Donnie. | 0:25:54 | 0:25:55 | |
Ah, I guess you're wondering, um... | 0:25:55 | 0:25:59 | |
Hmm? | 0:25:59 | 0:26:00 | |
Honey... | 0:26:00 | 0:26:03 | |
You haven't even cried yet. | 0:26:03 | 0:26:05 | |
I knew you were coming here to see Aynsley. I was worried. | 0:26:05 | 0:26:08 | |
Worried? That I might... do something drastic? | 0:26:08 | 0:26:13 | |
To myself? | 0:26:13 | 0:26:15 | |
-To you? -I was just worried. | 0:26:15 | 0:26:21 | |
Would you like to join us? | 0:26:21 | 0:26:24 | |
No. Um... You be with your friend. | 0:26:28 | 0:26:31 | |
I'm sorry. | 0:26:31 | 0:26:33 | |
I love you. | 0:26:33 | 0:26:35 | |
She's not used to being cooped up. | 0:26:43 | 0:26:47 | |
Yeah? Makes two of us. So, what | 0:26:47 | 0:26:49 | |
were you planning to do with her? Before I showed up? | 0:26:49 | 0:26:52 | |
I've organized drivers, booked two flights on the red-eye to London | 0:26:54 | 0:26:57 | |
tonight. London is where this all started. | 0:26:57 | 0:27:01 | |
Will you follow? You and Fee? | 0:27:01 | 0:27:05 | |
They're for me and Kira, Sarah. You and Felix can stay here with Brenda. | 0:27:05 | 0:27:08 | |
When it's safe, I'll organise to bring you. | 0:27:08 | 0:27:11 | |
There are people in the UK I haven't seen in a long time, | 0:27:11 | 0:27:14 | |
-people with answers. -She's MY daughter. | 0:27:14 | 0:27:16 | |
And your next move is WHAT exactly? | 0:27:16 | 0:27:18 | |
Because so far, you have done a piss-poor job of keeping her safe. | 0:27:18 | 0:27:21 | |
Yeah, it's all my fault. Yeah? | 0:27:21 | 0:27:25 | |
No. No, but... It IS your reality. | 0:27:25 | 0:27:29 | |
And my care of Kira has always been bulletproof, has it not? | 0:27:29 | 0:27:34 | |
What is this? | 0:27:43 | 0:27:46 | |
Project LEDA? | 0:27:46 | 0:27:49 | |
Well, you clearly know something I don't. | 0:27:49 | 0:27:52 | |
-Amelia gave that to me. -Well, what does she say it is? | 0:27:52 | 0:27:56 | |
She warned me about you | 0:27:56 | 0:27:58 | |
as she died of a stab wound from Helena. | 0:27:58 | 0:28:01 | |
-She put you with these people. -I'm sorry, Sarah. | 0:28:04 | 0:28:09 | |
I'm very sorry, but... | 0:28:11 | 0:28:12 | |
I swear to you, I don't know who they are. | 0:28:12 | 0:28:15 | |
Brenda, you've outdone yourself. | 0:28:19 | 0:28:21 | |
It's nice to feed a proper pack again. | 0:28:21 | 0:28:24 | |
-To safe travels. -Mm-hmm. | 0:28:26 | 0:28:30 | |
Brenda used to run strike kitchens on nothing more | 0:28:33 | 0:28:35 | |
-than scrap meat and canned veg. -I tried to keep | 0:28:35 | 0:28:38 | |
Siobhan in the kitchen, | 0:28:38 | 0:28:39 | |
but she preferred scrubbing Kalashnikov's to pots and pans. | 0:28:39 | 0:28:44 | |
What kind of strikers need machineguns? | 0:28:44 | 0:28:46 | |
SHE SIGHS I was on... Guns for Funds. | 0:28:46 | 0:28:49 | |
Running weapons to finance | 0:28:49 | 0:28:52 | |
freedom. It made a lot of sense at the time. | 0:28:52 | 0:28:54 | |
Not particularly effective, but good times. | 0:28:54 | 0:28:58 | |
Then we lost Jamie. | 0:28:58 | 0:29:00 | |
Who's Jamie? | 0:29:03 | 0:29:04 | |
Jamie's my dad. | 0:29:04 | 0:29:08 | |
There's always a high price to pay for righting wrongs. | 0:29:08 | 0:29:11 | |
Does this extractor fan even work? | 0:29:15 | 0:29:19 | |
-No. -That's OK. We'll get it fixed. -Right. | 0:29:19 | 0:29:23 | |
You're making, like, a shopping list for me? | 0:29:23 | 0:29:26 | |
I am. | 0:29:26 | 0:29:28 | |
OK. Chill zone up here, with, like, a Persian rug. | 0:29:30 | 0:29:36 | |
And a really nice leather couch. | 0:29:36 | 0:29:40 | |
Hang on. Does a GeneChip system make a two-channel array moot? | 0:29:40 | 0:29:45 | |
Moot? | 0:29:45 | 0:29:47 | |
Aw. | 0:29:47 | 0:29:48 | |
You're so cute. | 0:29:50 | 0:29:52 | |
DOOR LOCK BEEPS | 0:29:58 | 0:30:00 | |
Well, so much for security. | 0:30:00 | 0:30:03 | |
Hello. | 0:30:07 | 0:30:09 | |
Rachel Duncan. | 0:30:09 | 0:30:10 | |
You sure are. Um... | 0:30:10 | 0:30:15 | |
I'm Cosima, the real Cosima, not the one who... | 0:30:15 | 0:30:19 | |
kicked your ass or whatever. | 0:30:19 | 0:30:21 | |
Got to love concealer. | 0:30:21 | 0:30:23 | |
-I hear you're very clever. -Yeah, I was clever when I was like six. | 0:30:23 | 0:30:27 | |
Doctor Cormier, now that we've met, you'll need to sign a new | 0:30:27 | 0:30:29 | |
confidentiality agreement. Would you leave us, please? | 0:30:29 | 0:30:32 | |
Yes, of course. | 0:30:32 | 0:30:34 | |
So... | 0:30:43 | 0:30:44 | |
You're gay. | 0:30:44 | 0:30:46 | |
My sexuality is not the most interesting thing about me. | 0:30:46 | 0:30:51 | |
How are you feeling? | 0:30:53 | 0:30:55 | |
These are the results of your last medical tests. | 0:30:56 | 0:30:59 | |
What tests? | 0:30:59 | 0:31:01 | |
You visited your university GP two weeks ago. Blood tests. | 0:31:01 | 0:31:07 | |
You have a high lymphocyte count along with high CRP and ESR. | 0:31:07 | 0:31:12 | |
You were aware of Katja Obinger's undiagnosed condition, yes? | 0:31:12 | 0:31:15 | |
Yeah. | 0:31:15 | 0:31:17 | |
Here's her data, redacted to the pertinent. | 0:31:17 | 0:31:21 | |
It's in our best interest to eliminate | 0:31:21 | 0:31:23 | |
genetic predisposition. | 0:31:23 | 0:31:24 | |
Um, then you should let me examine the original genome. | 0:31:24 | 0:31:28 | |
Oh, that's not possible. | 0:31:28 | 0:31:30 | |
-Why not? -I assure you, | 0:31:30 | 0:31:33 | |
the original DNA was robust. | 0:31:33 | 0:31:35 | |
We believe our issues stem from the cloning procedure. | 0:31:35 | 0:31:38 | |
Dr Cormier will schedule you an MRI. And here's | 0:31:38 | 0:31:43 | |
something else I'd like you to engage with. | 0:31:43 | 0:31:46 | |
Here's what little we know of Sarah Manning's upbringing | 0:31:46 | 0:31:49 | |
and environment. And here's her sequenced genome. | 0:31:49 | 0:31:55 | |
I want you to tell me why she's different than we are. | 0:31:55 | 0:31:58 | |
You mean, why she of all of us can have a child? | 0:31:58 | 0:32:03 | |
Do make yourself at home. | 0:32:06 | 0:32:08 | |
MOBILE RINGS | 0:32:16 | 0:32:19 | |
-Our next driver, confirming. -Take it outside, please, Barry. | 0:32:19 | 0:32:23 | |
-Hold on a minute. -Why does he need to take it outside? | 0:32:23 | 0:32:26 | |
-So none of us know the details. -It's just the way it's done, love. | 0:32:26 | 0:32:30 | |
Aw, monkey. | 0:32:33 | 0:32:36 | |
Hey. You sleepy, monkey? | 0:32:36 | 0:32:40 | |
You want to take a kip before we leave? | 0:32:40 | 0:32:42 | |
That's a good idea. We've got a really big trip ahead. | 0:32:42 | 0:32:47 | |
-Any goodbyes are just for now, OK? -Yeah. | 0:32:52 | 0:32:55 | |
OK, come on. Come on. | 0:33:13 | 0:33:16 | |
-Should I put my pyjamas on? -Depends what you have to tell me. | 0:33:16 | 0:33:22 | |
What's wrong? | 0:33:25 | 0:33:28 | |
What did you show Mrs S outside? | 0:33:28 | 0:33:30 | |
That. Why? | 0:33:33 | 0:33:36 | |
That's Amelia's. | 0:33:36 | 0:33:38 | |
I saw it when she was snooping in her stuff. | 0:33:38 | 0:33:42 | |
Why was Mrs S snooping in her stuff? | 0:33:46 | 0:33:48 | |
I bet Mrs S has loads of secrets. | 0:33:53 | 0:33:56 | |
Some of them are good, yeah? | 0:33:56 | 0:33:58 | |
Maybe, but I don't think so. | 0:33:58 | 0:34:01 | |
-We should go. -Yeah. | 0:34:03 | 0:34:06 | |
We're on hold. | 0:34:10 | 0:34:11 | |
If there's trouble, I need to know. | 0:34:11 | 0:34:14 | |
Barry? Is there trouble? | 0:34:14 | 0:34:17 | |
I'm to make a call in an hour. | 0:34:17 | 0:34:21 | |
Usual delays. | 0:34:21 | 0:34:22 | |
Barry, I'd like to talk to the driver myself. | 0:34:55 | 0:34:57 | |
-You can't. I'm the contact. -If we delay, | 0:34:57 | 0:35:00 | |
we'll be in daylight on the route with the most cameras. | 0:35:00 | 0:35:03 | |
-Well, we'll change the route. -Barry, I'll call and | 0:35:03 | 0:35:06 | |
get it sorted out. | 0:35:06 | 0:35:07 | |
I think I'd like to review it personally, Brenda. | 0:35:07 | 0:35:09 | |
ENGINE SPLUTTERS | 0:35:11 | 0:35:12 | |
Stop! Hands! | 0:35:17 | 0:35:19 | |
Sarah! | 0:35:26 | 0:35:28 | |
-Mommy! -Get down! | 0:35:28 | 0:35:30 | |
What the hell are you doing? For God's sake, she's | 0:35:30 | 0:35:32 | |
-just a little girl. -We were all little girls once. | 0:35:32 | 0:35:37 | |
-Not like this one. -Meaning what... Exactly? | 0:35:37 | 0:35:41 | |
It means... | 0:35:41 | 0:35:43 | |
Ah! | 0:35:43 | 0:35:45 | |
Ah! Ah! Ah! | 0:35:45 | 0:35:47 | |
Ah! Ah! Ah! Ah! Ah! | 0:35:47 | 0:35:50 | |
Ah! Ah! Ah! Ah! | 0:35:50 | 0:35:52 | |
Get out! | 0:35:52 | 0:35:54 | |
Get out of the truck or Kira will get hurt! | 0:35:54 | 0:35:57 | |
Open the door! Sarah! | 0:35:59 | 0:36:01 | |
I can't let you go! | 0:36:01 | 0:36:03 | |
Ah! You bitch! | 0:36:07 | 0:36:10 | |
Ah! | 0:36:10 | 0:36:13 | |
-Mommy? -Stay down! Stay down! | 0:36:17 | 0:36:20 | |
SHE GRUNTS AND WINCES | 0:36:55 | 0:36:58 | |
Not my boy. Not my boy. | 0:37:03 | 0:37:07 | |
SHE GASPS | 0:37:07 | 0:37:09 | |
Could you just tell me why? | 0:37:11 | 0:37:13 | |
After all we have been through together. Why? | 0:37:13 | 0:37:18 | |
A lifetime of bluster | 0:37:18 | 0:37:22 | |
about change and justice | 0:37:22 | 0:37:25 | |
while we starve for our troubles. | 0:37:25 | 0:37:28 | |
Who got to you? | 0:37:28 | 0:37:30 | |
-SHE GASPS -I found God. | 0:37:30 | 0:37:33 | |
It turns out... | 0:37:33 | 0:37:35 | |
The Lord has deep pockets. | 0:37:35 | 0:37:39 | |
You sold us to the Proletheans. | 0:37:39 | 0:37:43 | |
Now, you tell me, | 0:37:43 | 0:37:45 | |
who are these cursed children you brought into our lives? | 0:37:45 | 0:37:49 | |
They're Project LEDA. | 0:37:49 | 0:37:53 | |
-I don't know what that is. -Good. | 0:37:53 | 0:37:57 | |
GUNSHOT | 0:38:00 | 0:38:02 | |
PHONE RINGS Bollocks. | 0:38:13 | 0:38:15 | |
Alison? | 0:38:15 | 0:38:17 | |
It's him. Donnie took the Sarah bait. | 0:38:17 | 0:38:20 | |
-What? -My husband is my monitor. | 0:38:20 | 0:38:24 | |
Um... | 0:38:24 | 0:38:25 | |
I need you to get me out of here before I snap. | 0:38:25 | 0:38:28 | |
Oh, God, Alison, I'm so sorry. I... | 0:38:28 | 0:38:30 | |
I can't. I'm leaving town for a while. | 0:38:30 | 0:38:33 | |
Leaving? Where? | 0:38:33 | 0:38:35 | |
I'm going. I'm going with Kira and Sarah. | 0:38:35 | 0:38:37 | |
We... Look, I wanted to tell you, but it's not safe to know. | 0:38:37 | 0:38:41 | |
-Even my own clones think I'm useless. -Oh, no, | 0:38:41 | 0:38:43 | |
darling, no! You... You have a musical | 0:38:43 | 0:38:46 | |
-to focus on. -I killed Aynsley, Felix. | 0:38:46 | 0:38:49 | |
Aynsley wore a scarf in the kitchen. Hang on just one second. | 0:38:49 | 0:38:52 | |
-Hi, uncle Felix. -Hey, monkey! | 0:38:52 | 0:38:55 | |
All right, Alison, I'm REALLY sorry, | 0:38:58 | 0:39:00 | |
-but I've got to go. -No... | 0:39:00 | 0:39:02 | |
-I know, I... -Felix. | 0:39:02 | 0:39:04 | |
Look, call Cosima. Don't tip him. She'll help you. | 0:39:04 | 0:39:06 | |
And just play possum, OK? Don't... I'm sorry, Alison. | 0:39:06 | 0:39:09 | |
I've got to go. I'm sorry. | 0:39:09 | 0:39:11 | |
How is auntie Alison making out? | 0:39:15 | 0:39:18 | |
You have got enough to worry about right now, OK? | 0:39:20 | 0:39:23 | |
Are you excited for our big adventure, monkey? | 0:39:23 | 0:39:25 | |
-I don't know. -Yeah, no, it's going to be brilliant. | 0:39:25 | 0:39:28 | |
Absolutely. No question. I can't wait. Are we there yet? | 0:39:28 | 0:39:32 | |
1,400 acres supporting 40 souls. | 0:39:38 | 0:39:41 | |
God smiles on you. | 0:39:41 | 0:39:43 | |
Well, farmers pray more than most, but... | 0:39:43 | 0:39:45 | |
it's not worth the breath without hard work | 0:39:45 | 0:39:47 | |
and basic biology, agro-sciences. | 0:39:47 | 0:39:50 | |
Helena's been with you for quite some time now, hasn't she? | 0:39:52 | 0:39:55 | |
Since she was 12 years old. | 0:39:55 | 0:39:57 | |
I wonder, Tomas, if you've ever considered the fact that, | 0:39:57 | 0:40:01 | |
seeing as she's the twin of a fertile clone, | 0:40:01 | 0:40:04 | |
well, maybe, uh... | 0:40:04 | 0:40:06 | |
Maybe Helena can... Conceive as well. | 0:40:06 | 0:40:10 | |
Impossible. She's defective and dangerous. | 0:40:10 | 0:40:13 | |
Any child of hers would be a monster. | 0:40:13 | 0:40:15 | |
Well, you know her best. | 0:40:15 | 0:40:18 | |
You know a wise man once said | 0:40:18 | 0:40:20 | |
science without religion | 0:40:20 | 0:40:22 | |
is lame. | 0:40:22 | 0:40:23 | |
Religion without science is blind. | 0:40:23 | 0:40:26 | |
Einstein didn't believe in God. | 0:40:26 | 0:40:28 | |
It's a brand-new day. | 0:40:46 | 0:40:48 | |
Why am I here? | 0:40:51 | 0:40:52 | |
My father says he wants you to join our family. | 0:40:52 | 0:40:54 | |
-Who is that? -They asked me to keep this video journal. | 0:40:54 | 0:40:57 | |
They found polyps on my lungs. | 0:40:57 | 0:41:00 | |
Looking for a little girl in a custody case. | 0:41:00 | 0:41:02 | |
They were here yesterday. | 0:41:02 | 0:41:03 | |
-Do you live nearby? -Yeah, Black Oak Drive. -Oh, Hilldale Crescent. | 0:41:03 | 0:41:07 | |
-I'm Angie. -Alison. | 0:41:07 | 0:41:08 |