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'This programme contains some scenes of a sexual nature.' | 0:00:02 | 0:00:03 | |
Helena does have a soul, she does have a purpose, and she is part of our family now. | 0:00:03 | 0:00:08 | |
Go back to hell, where you belong. | 0:00:08 | 0:00:10 | |
Shit! | 0:00:10 | 0:00:12 | |
Henrik! | 0:00:12 | 0:00:13 | |
I'm sick, Delphine. | 0:00:13 | 0:00:15 | |
Are you my dad? | 0:00:15 | 0:00:17 | |
Where's my niece? You left her with Cal? | 0:00:17 | 0:00:18 | |
Your mom has a lot going on right now. | 0:00:18 | 0:00:20 | |
-"This organism is restricted intellectual property". -They patented us. | 0:00:20 | 0:00:24 | |
Project LEDA. I mean, it's total military-speak. | 0:00:24 | 0:00:26 | |
You know the mythology of Leda And The Swan? | 0:00:26 | 0:00:29 | |
"Six scientists incinerated in lab explosion". | 0:00:29 | 0:00:31 | |
-FELIX: These were Rachel's parents. COSIMA: -Susan and Ethan Duncan, | 0:00:31 | 0:00:34 | |
-they were geneticists. -I love you, too. | 0:00:34 | 0:00:36 | |
You're not really the smartest clone, are you? | 0:00:36 | 0:00:38 | |
Smart enough to know you're shagging Rachel. | 0:00:38 | 0:00:40 | |
I shot you! You were dead! | 0:00:40 | 0:00:43 | |
You were dead! | 0:00:43 | 0:00:45 | |
He took something from inside of me. | 0:00:45 | 0:00:46 | |
And a new life begins. | 0:00:46 | 0:00:48 | |
Rachel, you don't need to see this. | 0:00:58 | 0:01:00 | |
I demanded to. Now, move. | 0:01:00 | 0:01:03 | |
I'd like to see him, please. | 0:01:19 | 0:01:21 | |
LEEKIE: I'm sorry, Rachel. | 0:01:38 | 0:01:40 | |
Daniel was a very loyal man. | 0:01:40 | 0:01:41 | |
To you. | 0:01:41 | 0:01:43 | |
To us both. | 0:01:43 | 0:01:45 | |
This wasn't Sarah. | 0:01:45 | 0:01:47 | |
No. | 0:01:47 | 0:01:49 | |
But I believe we all recognise the handiwork. | 0:01:50 | 0:01:52 | |
Your white whale, Aldous. | 0:01:54 | 0:01:56 | |
Seems we have a pair of them. | 0:01:56 | 0:01:58 | |
Security footage shows her leaving with Sarah. | 0:01:58 | 0:02:00 | |
The twins are back together. | 0:02:00 | 0:02:03 | |
Fascinating, actually, if one can rise above it, Rachel. | 0:02:03 | 0:02:06 | |
Animals. | 0:02:06 | 0:02:08 | |
How was Taiwan, Paul? | 0:02:08 | 0:02:09 | |
You two get along? | 0:02:09 | 0:02:10 | |
He performed admirably. | 0:02:10 | 0:02:12 | |
I did my job. | 0:02:12 | 0:02:13 | |
-Huh. Personal security, was it? -That's right. | 0:02:13 | 0:02:16 | |
She could've killed you, you know? | 0:02:25 | 0:02:26 | |
Thank you for your concern. | 0:02:26 | 0:02:28 | |
There is a kinder, gentler way, Rachel. | 0:02:28 | 0:02:31 | |
This is all the result of your heavy handed tactics. | 0:02:31 | 0:02:33 | |
Trust me, Aldous, | 0:02:33 | 0:02:35 | |
I've only just begun. | 0:02:35 | 0:02:37 | |
You do realise I'm going to have to paint this, to come to terms with it. | 0:03:19 | 0:03:22 | |
-Please don't. -Yeah, you're right. | 0:03:22 | 0:03:25 | |
I mean, you shot your evil twin sister dead, | 0:03:25 | 0:03:27 | |
only to have her arise and gut Rachel's henchman. | 0:03:27 | 0:03:29 | |
-How could I capture the nuance? -Yeah, believe me, you couldn't. | 0:03:29 | 0:03:32 | |
You are now pitted between | 0:03:32 | 0:03:34 | |
two psychopaths. Cut her loose. | 0:03:34 | 0:03:37 | |
If she hadn't shown up, I'd be dead. | 0:03:37 | 0:03:39 | |
She can't stay here, Sarah. She's not... | 0:03:39 | 0:03:40 | |
Oi! Just... Just... Just get her something to wear. Please? | 0:03:40 | 0:03:44 | |
Fine. | 0:03:44 | 0:03:47 | |
I'm sure I've got a Ukrainian folk costume in here somewhere. | 0:03:47 | 0:03:50 | |
-HISS Oh, God! -Hey! | 0:03:50 | 0:03:53 | |
You treat him with respect. You got it? | 0:03:53 | 0:03:56 | |
That's my brother. | 0:03:56 | 0:03:57 | |
Which means he's one of our sisters, family. | 0:03:57 | 0:04:00 | |
You get it, meat-head? | 0:04:00 | 0:04:01 | |
Do not call me this. | 0:04:01 | 0:04:03 | |
Do you understand, Helena? | 0:04:03 | 0:04:05 | |
He is sestra? | 0:04:07 | 0:04:08 | |
-Oh, God. -Exactly. | 0:04:08 | 0:04:11 | |
So pick some clothes, wash up, | 0:04:11 | 0:04:12 | |
and do everything he tells you to. | 0:04:12 | 0:04:15 | |
SHE SNIFFS | 0:04:15 | 0:04:18 | |
Thank you, Felix. | 0:04:18 | 0:04:20 | |
Just don't kill my rubber ducky. | 0:04:20 | 0:04:23 | |
Jesus. | 0:04:23 | 0:04:26 | |
What did those fish-cult freaks do to her? | 0:04:26 | 0:04:28 | |
I don't know. | 0:04:28 | 0:04:30 | |
She wouldn't say. | 0:04:30 | 0:04:32 | |
But I know somebody who can handle her. Maybe he can find out. | 0:04:32 | 0:04:34 | |
I just need you to chaperone her. | 0:04:34 | 0:04:36 | |
Oh, come on. | 0:04:36 | 0:04:37 | |
If you would, while I get my shit together please. | 0:04:37 | 0:04:41 | |
You are truly unbelievable. | 0:04:41 | 0:04:43 | |
Take this. | 0:04:45 | 0:04:47 | |
-Go talk to your daughter. -Thank you. | 0:04:47 | 0:04:50 | |
These socks are wet. | 0:04:53 | 0:04:54 | |
What? | 0:04:54 | 0:04:56 | |
Agreed. | 0:04:56 | 0:04:57 | |
Those are wet socks. | 0:04:57 | 0:04:59 | |
Hey, you want to wear my socks? | 0:04:59 | 0:05:01 | |
They're pretty cool, they're grey, | 0:05:01 | 0:05:02 | |
and they'll be like knee-highs on you. | 0:05:02 | 0:05:05 | |
No. | 0:05:05 | 0:05:07 | |
You know what? Good call. | 0:05:07 | 0:05:09 | |
You're going to need more than big socks this morning. | 0:05:09 | 0:05:12 | |
I know this has been sort of confusing, Kira. | 0:05:12 | 0:05:16 | |
I don't blame you for being put out. | 0:05:16 | 0:05:18 | |
But, since we're stuck in this together, | 0:05:18 | 0:05:21 | |
there's no reason why we shouldn't have a little fun. | 0:05:21 | 0:05:24 | |
And there's no reason why we shouldn't have really awesome socks. | 0:05:24 | 0:05:28 | |
Right? | 0:05:28 | 0:05:30 | |
Sit, please, Paul. | 0:05:30 | 0:05:32 | |
I'm in need of a new monitor. | 0:05:35 | 0:05:38 | |
You have a monitor? | 0:05:38 | 0:05:40 | |
She did. Daniel. | 0:05:40 | 0:05:43 | |
I've been self-aware since I was a child. | 0:05:43 | 0:05:45 | |
I'm not exempt from the programme. | 0:05:45 | 0:05:47 | |
I simply enjoy a unique vantage, | 0:05:47 | 0:05:50 | |
one with privilege. | 0:05:50 | 0:05:52 | |
She needs full-time personal security. | 0:05:52 | 0:05:53 | |
And you submit data to me | 0:05:53 | 0:05:55 | |
on her health and well being, | 0:05:55 | 0:05:57 | |
like any other subject. | 0:05:57 | 0:05:59 | |
Are you asking me if I'm interested or reminding me I have no choice? | 0:05:59 | 0:06:01 | |
It's a promotion, Paul. | 0:06:01 | 0:06:03 | |
A very handsome one, | 0:06:03 | 0:06:05 | |
if you have the starch for it. | 0:06:05 | 0:06:07 | |
Where are you with the new stem-cell line, Aldous? | 0:06:09 | 0:06:13 | |
My in vitro tests have been very promising. | 0:06:13 | 0:06:16 | |
Promising enough to treat Cosima. | 0:06:16 | 0:06:19 | |
Shut down the tests. | 0:06:19 | 0:06:21 | |
Until Sarah comes to heel, | 0:06:21 | 0:06:25 | |
Cosima will suffer. | 0:06:25 | 0:06:28 | |
Back in the early '80s, genetics was like the wild west. | 0:06:28 | 0:06:31 | |
No-one knew the science. | 0:06:31 | 0:06:33 | |
The laws didn't exist, so they slapped | 0:06:33 | 0:06:34 | |
provisional patents on everything. | 0:06:34 | 0:06:36 | |
Like pissing on a fence post. | 0:06:36 | 0:06:37 | |
Yeah, like leave it in legal limbo until the laws change | 0:06:37 | 0:06:41 | |
or you can figure out if it's worth anything. | 0:06:41 | 0:06:42 | |
They would still have to register them, though, right? | 0:06:42 | 0:06:45 | |
Back then, anything as advanced as synthetic DNA would probably | 0:06:45 | 0:06:48 | |
have fallen under the military, somehow. | 0:06:48 | 0:06:49 | |
The DYAD was just a contractor. | 0:06:49 | 0:06:51 | |
It could be a secret military patent. | 0:06:51 | 0:06:53 | |
Hmm, that makes sense. | 0:06:53 | 0:06:55 | |
Wait. How would I find that out? | 0:06:55 | 0:06:56 | |
I guess you wait until a guy in aviators shows up and tells you | 0:06:56 | 0:07:00 | |
you're in violation. | 0:07:00 | 0:07:01 | |
Scott, you're supposed to be my expert | 0:07:01 | 0:07:03 | |
on genetic patents here. | 0:07:03 | 0:07:05 | |
I just blog about it. | 0:07:05 | 0:07:06 | |
Why can't I come work for you on the super-sensitive shit? | 0:07:06 | 0:07:09 | |
Delphine, why can't Scott come and work with us | 0:07:09 | 0:07:11 | |
on the super-sensitive shit? | 0:07:11 | 0:07:12 | |
Because we'd have to kill his family. | 0:07:12 | 0:07:14 | |
You hear that? | 0:07:14 | 0:07:16 | |
That's fine. I applied with a letter from the Dean. | 0:07:16 | 0:07:18 | |
Hi, Scott. Bye, Scott. | 0:07:18 | 0:07:22 | |
He's so cute. | 0:07:22 | 0:07:23 | |
Did you get these? | 0:07:23 | 0:07:26 | |
What? | 0:07:26 | 0:07:27 | |
They're tissue test results from a stem-cell line, | 0:07:27 | 0:07:29 | |
one that I've never seen before, and they are... | 0:07:29 | 0:07:32 | |
What? | 0:07:32 | 0:07:33 | |
Compatible, with you. | 0:07:33 | 0:07:36 | |
Really? | 0:07:38 | 0:07:39 | |
But they were sent to me by mistake. | 0:07:39 | 0:07:41 | |
They were meant for Leekie. | 0:07:41 | 0:07:42 | |
He's supposed to share all the science with us. | 0:07:45 | 0:07:47 | |
Why don't we have these cultures? | 0:07:47 | 0:07:50 | |
I don't know. | 0:07:50 | 0:07:52 | |
Because they're experimental or proprietary. | 0:07:52 | 0:07:55 | |
That doesn't matter. I'll try anything. | 0:07:55 | 0:07:56 | |
So will I. | 0:07:56 | 0:07:58 | |
Where are you? | 0:08:01 | 0:08:03 | |
I'm in a place where bands play. | 0:08:03 | 0:08:06 | |
What bands? | 0:08:06 | 0:08:07 | |
I don't know. Bobby, | 0:08:07 | 0:08:09 | |
-who's playing tonight? -The Shit Goblins. | 0:08:09 | 0:08:12 | |
Sorry. | 0:08:13 | 0:08:15 | |
Yeah. | 0:08:15 | 0:08:17 | |
-I miss you, monkey. -I'm not a monkey any more. | 0:08:17 | 0:08:20 | |
-You're not? -I'm a leopard. -Cool! | 0:08:20 | 0:08:23 | |
Yeah, wow. I like the jacket, too. | 0:08:23 | 0:08:26 | |
You can talk to Daddy now. | 0:08:26 | 0:08:28 | |
Hey, Monkey. | 0:08:28 | 0:08:29 | |
Kira. | 0:08:29 | 0:08:32 | |
"Daddy". | 0:08:33 | 0:08:34 | |
Sorry about that. | 0:08:34 | 0:08:37 | |
I keep telling her it's Cal, but she daddy-ed me twice this morning. | 0:08:37 | 0:08:39 | |
She can call you what she wants. | 0:08:39 | 0:08:42 | |
-It's fine. -You sure you're OK? | 0:08:42 | 0:08:44 | |
Mind if we don't get into it? | 0:08:44 | 0:08:46 | |
A little. | 0:08:46 | 0:08:47 | |
Right, well, this, then... | 0:08:47 | 0:08:50 | |
That guy you crashed into. | 0:08:50 | 0:08:53 | |
Yeah, the DYAD gentleman. | 0:08:53 | 0:08:55 | |
Yeah, well, he didn't... He didn't die. | 0:08:55 | 0:08:58 | |
Not by your hand. | 0:08:58 | 0:09:00 | |
Ah, I'm relieved, you know. | 0:09:00 | 0:09:01 | |
Ostensibly. | 0:09:01 | 0:09:03 | |
-Where are you guys? -Close enough to grab you when you're ready. | 0:09:05 | 0:09:08 | |
I look forward to that. | 0:09:08 | 0:09:11 | |
All right, best behaviour, | 0:09:13 | 0:09:15 | |
little sestra. | 0:09:15 | 0:09:17 | |
Hello, again, Detective Bell. | 0:09:20 | 0:09:22 | |
Inside. | 0:09:22 | 0:09:24 | |
Hands on the table. | 0:09:30 | 0:09:31 | |
I don't like to be touched. | 0:09:31 | 0:09:32 | |
Yeah? Well, that's too bad. | 0:09:32 | 0:09:35 | |
I just gave her new clothes. | 0:09:35 | 0:09:37 | |
She didn't have any weapons, or anything like... | 0:09:37 | 0:09:40 | |
That's my pen. | 0:09:40 | 0:09:41 | |
I wanted to write letter. | 0:09:41 | 0:09:43 | |
I haven't forgot that you took a shot at me. | 0:09:43 | 0:09:46 | |
Give me your hands. | 0:09:47 | 0:09:49 | |
Do as he says, meat-head. | 0:09:49 | 0:09:50 | |
The windows are a 30-foot drop to concrete. | 0:09:50 | 0:09:53 | |
All sharp objects have been locked away. | 0:09:53 | 0:09:55 | |
The only way in and out of here is through me. So, in other words, | 0:09:55 | 0:09:59 | |
you're safe here. | 0:09:59 | 0:10:01 | |
Look, Helena, | 0:10:01 | 0:10:03 | |
he wants to help you and Sarah. | 0:10:03 | 0:10:05 | |
He lies down with pigs. | 0:10:05 | 0:10:08 | |
SHE SNORTS | 0:10:08 | 0:10:10 | |
And that's my cue to leave. | 0:10:10 | 0:10:13 | |
I've got a hot date, too. | 0:10:13 | 0:10:15 | |
Good luck | 0:10:15 | 0:10:17 | |
with...that. | 0:10:17 | 0:10:20 | |
Oh, um, try food. | 0:10:20 | 0:10:24 | |
Gracie won't talk, and so she remains, | 0:10:26 | 0:10:29 | |
until she admits the truth. | 0:10:29 | 0:10:30 | |
-Sure she's lying? -We both know. | 0:10:30 | 0:10:32 | |
If she won't open her heart to Helena, | 0:10:32 | 0:10:34 | |
then she's clinging to the old ways. | 0:10:34 | 0:10:35 | |
A punishment to fit the crime, Henrik. | 0:10:35 | 0:10:37 | |
It's been 12 hours. | 0:10:37 | 0:10:40 | |
Well... | 0:10:44 | 0:10:45 | |
Gracie, | 0:10:51 | 0:10:53 | |
you ready to tell us what really happened with Helena? | 0:10:53 | 0:10:56 | |
She can rot. | 0:11:03 | 0:11:05 | |
-ETHAN: -Well, I'm going to have to come after you and tickle you! | 0:11:18 | 0:11:22 | |
Here I come, the tickle monster! | 0:11:22 | 0:11:23 | |
Oh, no! | 0:11:23 | 0:11:25 | |
Thanks, Mummy. I love you. | 0:11:25 | 0:11:27 | |
What about poor Daddy? | 0:11:27 | 0:11:29 | |
I love you, too, Daddy. | 0:11:29 | 0:11:30 | |
Aw. Now, go get... | 0:11:30 | 0:11:32 | |
Oh! | 0:11:32 | 0:11:34 | |
Sarah's trying to learn everything about me, just as I am with her. | 0:11:34 | 0:11:37 | |
I want this to be clear, Paul... | 0:11:41 | 0:11:44 | |
As my monitor, you report my data to Aldous, | 0:11:44 | 0:11:47 | |
but you work for me. | 0:11:47 | 0:11:49 | |
Do you understand? | 0:11:49 | 0:11:51 | |
Not exactly. | 0:11:51 | 0:11:52 | |
I've known Leekie my entire life. | 0:11:56 | 0:11:59 | |
When my adoptive parents died, | 0:11:59 | 0:12:01 | |
he became something of a guardian to me. | 0:12:01 | 0:12:05 | |
But, now, my position in the corporation | 0:12:05 | 0:12:08 | |
essentially outranks his DYAD directorship. | 0:12:08 | 0:12:11 | |
He can become too attached to his subjects, myself included. | 0:12:11 | 0:12:16 | |
Sometimes he can't make the hard choices. | 0:12:16 | 0:12:20 | |
Did you read the report on Cal Morrison? | 0:12:20 | 0:12:23 | |
Made his money in micro optics. May have anti corporate leanings. | 0:12:23 | 0:12:26 | |
-What is it you're looking for? -I want to know if he's the other side | 0:12:26 | 0:12:29 | |
of Kira's biological equation. | 0:12:29 | 0:12:31 | |
The timeline works. We can place him with Sarah eight years ago. | 0:12:31 | 0:12:34 | |
Does that bother you? | 0:12:36 | 0:12:38 | |
That Sarah's back with the father of her child. | 0:12:38 | 0:12:41 | |
No. | 0:12:41 | 0:12:43 | |
Up until now, your entanglements | 0:12:48 | 0:12:50 | |
with Sarah have been your saving grace, Paul. | 0:12:50 | 0:12:52 | |
I never asked her to cross my path. | 0:12:52 | 0:12:54 | |
You didn't ask for me, either. | 0:12:54 | 0:12:57 | |
Now, it's time to make a decision, Paul. | 0:13:00 | 0:13:02 | |
This is Daniel... | 0:13:05 | 0:13:07 | |
This was Daniel's gun. | 0:13:07 | 0:13:08 | |
It can be tied to the murder of a police officer. | 0:13:08 | 0:13:12 | |
There's no middle ground any more. | 0:13:12 | 0:13:16 | |
What do you need me to do? | 0:13:18 | 0:13:20 | |
-ART: -Hey. | 0:13:25 | 0:13:27 | |
-HE SNAPS FINGERS -Hey! | 0:13:27 | 0:13:30 | |
Maggie Chen. | 0:13:30 | 0:13:33 | |
Also a prolethean. | 0:13:33 | 0:13:35 | |
She was your spotter. | 0:13:35 | 0:13:36 | |
She tracked down clones for you. | 0:13:36 | 0:13:39 | |
-The two of you worked together. -SHE HUMS | 0:13:39 | 0:13:42 | |
But, the thing is, last time I saw you, you were running away | 0:13:42 | 0:13:44 | |
from Johanssen's followers in a wedding dress. | 0:13:44 | 0:13:47 | |
You want to tell me what that was all about? | 0:13:53 | 0:13:55 | |
What did they do to you? | 0:13:59 | 0:14:02 | |
What did they do to you? | 0:14:03 | 0:14:06 | |
How did Maggie find the clones? | 0:14:10 | 0:14:13 | |
How did she communicate with you? | 0:14:13 | 0:14:15 | |
I am a very patient man, Helena. | 0:14:28 | 0:14:32 | |
So, I'ma just make me a grilled cheese sandwich | 0:14:32 | 0:14:38 | |
while you think about it. | 0:14:38 | 0:14:41 | |
Sorry I can't help you out of this. | 0:15:12 | 0:15:15 | |
Your dad's sending me after Helena. | 0:15:15 | 0:15:18 | |
She's got to carry the child, right? | 0:15:18 | 0:15:20 | |
Gracie. | 0:15:20 | 0:15:23 | |
I don't know if she's a miracle or not, but, | 0:15:23 | 0:15:26 | |
if something happened, just confess. Confession heals all. | 0:15:26 | 0:15:30 | |
It doesn't matter to me, what you did. | 0:15:53 | 0:15:55 | |
When I was seven, the nuns said I had devils inside me. | 0:16:15 | 0:16:20 | |
Sister Olga locked me in cellar. | 0:16:22 | 0:16:24 | |
She gave me darkness. | 0:16:26 | 0:16:28 | |
So, | 0:16:28 | 0:16:30 | |
I gave her darkness. | 0:16:30 | 0:16:34 | |
SHE MAKES POPPING SOUND | 0:16:34 | 0:16:36 | |
Does Sarah know of Swan Man? | 0:16:36 | 0:16:39 | |
I don't think so. | 0:16:39 | 0:16:41 | |
Swan Man played God. | 0:16:41 | 0:16:45 | |
How'd he do that? | 0:16:45 | 0:16:47 | |
He's in her locker. | 0:16:49 | 0:16:51 | |
Whose locker? Maggie's? | 0:16:51 | 0:16:53 | |
Why does Rachel want Sarah? | 0:16:53 | 0:16:56 | |
Is it for Kira, too? | 0:16:56 | 0:16:58 | |
Does Maggie Chen have a locker? | 0:16:58 | 0:17:01 | |
How does this help my sestra? | 0:17:01 | 0:17:04 | |
Listen, Helena, | 0:17:04 | 0:17:06 | |
this is really important. | 0:17:06 | 0:17:09 | |
I want to tell you something. | 0:17:09 | 0:17:11 | |
Yeah. | 0:17:13 | 0:17:14 | |
These, I like. | 0:17:16 | 0:17:18 | |
TEARS FOR FEARS: # I wanted to be with you alone | 0:17:32 | 0:17:37 | |
# And talk about the weather | 0:17:37 | 0:17:41 | |
# But traditions I can trace against the child in your face... # | 0:17:41 | 0:17:45 | |
BANGING ON DOOR | 0:17:45 | 0:17:46 | |
# Won't escape my attention | 0:17:46 | 0:17:50 | |
# You keep your distance... # | 0:17:50 | 0:17:53 | |
Hello, Felix. | 0:17:53 | 0:17:56 | |
Colin. You're back. | 0:17:56 | 0:17:58 | |
Provisionally. Is it safe to come in? | 0:17:58 | 0:18:00 | |
Depends what you're scared of. | 0:18:00 | 0:18:01 | |
I don't know, cops showing up at my desk, full of innuendo about you? | 0:18:01 | 0:18:04 | |
All of that has blown over. | 0:18:06 | 0:18:08 | |
# Something happens and I'm head over heels | 0:18:16 | 0:18:20 | |
# I never find out till I'm head over heels | 0:18:20 | 0:18:26 | |
# Something happens and I'm head over heels | 0:18:26 | 0:18:30 | |
# Ah, don't take my heart don't break my heart, don't, don't | 0:18:30 | 0:18:34 | |
# Don't throw it away. # | 0:18:34 | 0:18:36 | |
BANGING ON DOOR | 0:18:42 | 0:18:43 | |
Felix Dawkins? | 0:18:44 | 0:18:47 | |
Search warrant. | 0:18:47 | 0:18:49 | |
-Oh, shit, not again. -No, no, it's a misunderstanding, I'm sure. | 0:18:49 | 0:18:53 | |
-How's it going, Morguey? Better hope we don't find anything incriminating in your friend's place. -You won't. | 0:18:53 | 0:18:58 | |
Probably. | 0:18:58 | 0:18:59 | |
Sorry, baby. | 0:18:59 | 0:19:02 | |
Shit. | 0:19:02 | 0:19:03 | |
RADIO CHATTER | 0:19:04 | 0:19:06 | |
You're not going to find anything, other than a few roaches, all right? | 0:19:14 | 0:19:18 | |
And aren't you supposed to show me some identification? | 0:19:18 | 0:19:21 | |
Hello, Felix. | 0:19:21 | 0:19:23 | |
Oh, you bloody pricks. | 0:19:23 | 0:19:26 | |
Why can't you just leave my sister alone, hmm?! | 0:19:26 | 0:19:30 | |
Playing with team Rachel now, yeah? | 0:19:32 | 0:19:34 | |
Got the corrupt arm of the law in her clutch purse. | 0:19:34 | 0:19:38 | |
WHEEZING LAUGH | 0:19:40 | 0:19:43 | |
So what's this, you come to finish me off, | 0:19:43 | 0:19:47 | |
big-dick Paul? | 0:19:47 | 0:19:48 | |
You were at Cal Morrison's cabin. | 0:19:48 | 0:19:50 | |
I don't know what you're talking about. | 0:19:50 | 0:19:52 | |
What are you going to do with that? | 0:19:55 | 0:19:58 | |
OK, put that down. | 0:19:58 | 0:20:00 | |
Put it down. | 0:20:02 | 0:20:03 | |
Paul? | 0:20:07 | 0:20:08 | |
Paul! Paul, what are you doing?! | 0:20:10 | 0:20:13 | |
Are you crazy?! What are you doing?! | 0:20:13 | 0:20:14 | |
SOBBING I'm sorry! I'm sorry! I'm sorry! | 0:20:14 | 0:20:18 | |
What are you doing?! | 0:20:18 | 0:20:20 | |
PHONE RINGS | 0:20:39 | 0:20:41 | |
Felix? What the hell is going on? | 0:20:44 | 0:20:46 | |
-Hello, Sarah. -Where's my brother? | 0:20:46 | 0:20:50 | |
Right here. | 0:20:50 | 0:20:52 | |
I'm fine. | 0:20:52 | 0:20:53 | |
Present company excepted. | 0:20:53 | 0:20:55 | |
I have a murder weapon with Felix's prints on it. | 0:20:58 | 0:21:00 | |
-What?! -And a detective waiting in the hallway to find it. | 0:21:00 | 0:21:05 | |
Then, they'll find the gun was used to kill officer Tom Bowman | 0:21:05 | 0:21:07 | |
at your friend Cal's place. | 0:21:07 | 0:21:09 | |
You... You bloody gutless bastard! | 0:21:09 | 0:21:12 | |
Felix will be charged with murder, unless Rachel gets what she wants. | 0:21:12 | 0:21:17 | |
So your little trip to Taiwan really paid off. | 0:21:17 | 0:21:20 | |
How many clone notches in your belt now, eh, Paul, three? | 0:21:20 | 0:21:22 | |
She wants everything, Sarah... | 0:21:22 | 0:21:25 | |
You, Helena, Kira. | 0:21:25 | 0:21:27 | |
No more games. | 0:21:27 | 0:21:30 | |
This was never a game, you stupid twat. | 0:21:30 | 0:21:32 | |
The ball is in your court, Sarah. | 0:21:32 | 0:21:34 | |
You have until morning. | 0:21:34 | 0:21:36 | |
Whoa, whoa whoa whoa whoa, Sarah, Sarah, slow down. | 0:21:40 | 0:21:43 | |
Art, you've got to help me with this. Rachel's ruthless. | 0:21:43 | 0:21:46 | |
OK, I will call some people at the station and see if this is real | 0:21:46 | 0:21:49 | |
or if Rachel's just bluffing. | 0:21:49 | 0:21:51 | |
They've got a gun on him. Do you hear me?! | 0:21:51 | 0:21:54 | |
OK, but it's not that easy to set someone up. | 0:21:54 | 0:21:56 | |
-You've seen what they're capable of. -Don't do anything crazy, OK? | 0:21:56 | 0:21:59 | |
Do you hear me? Just come to my place. | 0:21:59 | 0:22:02 | |
Yes, well, what else am I going to do? I've got nowhere else to go. | 0:22:02 | 0:22:04 | |
COCKS GUN | 0:22:15 | 0:22:17 | |
Easy, easy. | 0:22:17 | 0:22:18 | |
Going to hurt her. | 0:22:18 | 0:22:20 | |
BONNIE: Well, Gracie? | 0:22:25 | 0:22:28 | |
There you go. | 0:22:28 | 0:22:31 | |
I was protecting us. | 0:22:31 | 0:22:34 | |
Not taking a real life, like killing | 0:22:34 | 0:22:36 | |
a coyote that wants to eat our chickens. | 0:22:36 | 0:22:39 | |
I'm so sorry, Father. | 0:22:42 | 0:22:43 | |
Just, uh, you help us get her back and all will be forgiven. | 0:22:43 | 0:22:48 | |
And, if you don't... | 0:22:48 | 0:22:50 | |
..then you will carry the child yourself. | 0:22:53 | 0:22:55 | |
COSIMA: Are you sure this is a good idea? | 0:23:04 | 0:23:07 | |
If he's withholding promising treatment from you, yes. | 0:23:07 | 0:23:09 | |
He's going to ruin your career, destroy your reputation | 0:23:09 | 0:23:12 | |
as a budding lesbian. | 0:23:12 | 0:23:14 | |
No, I think he's probably culturing it himself, | 0:23:14 | 0:23:16 | |
so I would check these fridges. | 0:23:16 | 0:23:18 | |
For a beaker marked "culture"? | 0:23:18 | 0:23:20 | |
THEY CHUCKLE | 0:23:20 | 0:23:22 | |
Oh, shit. Shit! | 0:23:24 | 0:23:26 | |
Oh, merde. | 0:23:26 | 0:23:28 | |
Dr Cormier. | 0:23:31 | 0:23:33 | |
My bad. | 0:23:33 | 0:23:34 | |
I wanted to see the original genome. | 0:23:34 | 0:23:36 | |
No! She didn't. | 0:23:36 | 0:23:38 | |
Aldous, you held back a stem-cell line from us. | 0:23:38 | 0:23:42 | |
In fact, I didn't. | 0:23:42 | 0:23:44 | |
Remember I told you I was developing | 0:23:44 | 0:23:46 | |
a pluripotent stem-cell line from baby teeth? | 0:23:46 | 0:23:50 | |
Yeah. | 0:23:50 | 0:23:52 | |
But Rachel is obstructing further testing. | 0:23:52 | 0:23:54 | |
Why the hell would she do that? | 0:23:54 | 0:23:56 | |
In a word? Sarah. | 0:23:56 | 0:23:58 | |
You seen this before? | 0:24:00 | 0:24:01 | |
-Who are they? -Two forefathers of the original experiment. | 0:24:05 | 0:24:08 | |
This was in Sarah's possession. | 0:24:08 | 0:24:12 | |
I'm going to tell you something that only a handful of people know. | 0:24:12 | 0:24:16 | |
20 years ago, there was a fire in one of our labs. | 0:24:16 | 0:24:20 | |
Several scientists died, reams of data lost, | 0:24:20 | 0:24:24 | |
and the original genome was destroyed. | 0:24:24 | 0:24:26 | |
So all of this secrecy around the original genome | 0:24:26 | 0:24:30 | |
is because it doesn't exist? | 0:24:30 | 0:24:31 | |
Yes. | 0:24:31 | 0:24:33 | |
The entire project is essentially an orphan. | 0:24:33 | 0:24:37 | |
We lost your prehistory, Cosima, and with it, | 0:24:37 | 0:24:40 | |
all record of several synthetic sequences embedded in your DNA. | 0:24:40 | 0:24:44 | |
What kind of synthetic sequences? | 0:24:44 | 0:24:46 | |
The sequences that make you possible. | 0:24:46 | 0:24:49 | |
That overcame the viability issues | 0:24:49 | 0:24:52 | |
-that have haunted us ever since. -So you lost the map. | 0:24:52 | 0:24:56 | |
So finding the sequence in the genome is like | 0:24:56 | 0:24:58 | |
looking for hay in a haystack. | 0:24:58 | 0:25:00 | |
So, you see, if Sarah has uncovered something, | 0:25:00 | 0:25:04 | |
I need to know. | 0:25:04 | 0:25:05 | |
I have no idea. | 0:25:05 | 0:25:07 | |
Whether I believe that or not, as a gesture of good faith, | 0:25:10 | 0:25:14 | |
I'm willing to disregard Rachel and proceed with the treatment. | 0:25:14 | 0:25:19 | |
CAL: Dinner's almost ready. | 0:25:26 | 0:25:28 | |
I hope you like burnt spaghetti. | 0:25:28 | 0:25:30 | |
What are you drawing? | 0:25:30 | 0:25:32 | |
A picture. | 0:25:32 | 0:25:34 | |
I didn't think your mom had any sisters. | 0:25:34 | 0:25:36 | |
They're new. They all look the same, but I can tell them apart. | 0:25:36 | 0:25:41 | |
What do you mean by that? | 0:25:41 | 0:25:43 | |
Someone's coming. | 0:25:43 | 0:25:45 | |
You're right. | 0:25:46 | 0:25:48 | |
BANGING ON DOOR | 0:25:48 | 0:25:50 | |
-Who's there?! -Police officer. | 0:25:50 | 0:25:53 | |
RADIO CHATTER | 0:25:53 | 0:25:55 | |
-Evening. -Evening. | 0:25:55 | 0:25:58 | |
Don't see many RVs this late in the year. | 0:25:58 | 0:26:00 | |
Just thought I'd see how you were making out. | 0:26:00 | 0:26:02 | |
Yeah, we're good. Thanks. | 0:26:02 | 0:26:04 | |
I'm just camping with my daughter. | 0:26:04 | 0:26:07 | |
Hmm. Mind if I see your ID and vehicle registration? | 0:26:07 | 0:26:09 | |
Sure, no problem. It's here. | 0:26:09 | 0:26:12 | |
Where are you from? | 0:26:12 | 0:26:13 | |
Uh, Seattle. | 0:26:13 | 0:26:16 | |
There you go. | 0:26:16 | 0:26:18 | |
You're a long way from home. | 0:26:18 | 0:26:19 | |
-Andrew Cooper. -Yep. | 0:26:19 | 0:26:22 | |
You heading back out west? | 0:26:22 | 0:26:24 | |
Yep, back home. | 0:26:24 | 0:26:26 | |
Hmm. | 0:26:26 | 0:26:27 | |
You don't mind if I take a look inside the RV? | 0:26:27 | 0:26:31 | |
Trick-or-treat! | 0:26:31 | 0:26:33 | |
Whoa! | 0:26:33 | 0:26:35 | |
Halloween's over, kiddo. | 0:26:35 | 0:26:36 | |
I know, but you're burning dinner again. | 0:26:36 | 0:26:39 | |
Oh, right, but it gives the food a nice, smoky flavour. | 0:26:39 | 0:26:42 | |
No, it doesn't. | 0:26:42 | 0:26:44 | |
She, um, | 0:26:44 | 0:26:46 | |
she went as some video game character. | 0:26:46 | 0:26:48 | |
Ah, better let you guys have your supper. | 0:26:50 | 0:26:53 | |
-Good night. -Good night. | 0:26:53 | 0:26:56 | |
You're quick on your feet, aren't ya? | 0:27:00 | 0:27:02 | |
Oh, shit! She escaped? | 0:27:13 | 0:27:15 | |
Yeah. Can you pass me the goddamn keys? | 0:27:15 | 0:27:17 | |
On the fish tank. | 0:27:17 | 0:27:19 | |
Yeah. | 0:27:19 | 0:27:20 | |
I'm sorry. I'm so sorry. | 0:27:20 | 0:27:22 | |
Not this again. | 0:27:24 | 0:27:25 | |
Yeah, more riddles from your sister. | 0:27:25 | 0:27:27 | |
-Well, how does it work? -Last time, they were GPS coordinates. | 0:27:27 | 0:27:30 | |
Three places we'd been, one we hadn't. | 0:27:30 | 0:27:34 | |
Let's go. | 0:27:34 | 0:27:36 | |
METAL CREAKING | 0:27:36 | 0:27:37 | |
This matches the coordinates. | 0:27:52 | 0:27:54 | |
What do you think? | 0:27:54 | 0:27:56 | |
She said something about a locker. | 0:27:56 | 0:27:59 | |
Helena! | 0:28:09 | 0:28:11 | |
Don't jump out and scare us with an axe or some shit. | 0:28:11 | 0:28:16 | |
-She likes bikes, right? -Yeah. | 0:28:18 | 0:28:21 | |
I think she rode off on one. | 0:28:21 | 0:28:23 | |
Why the hell did she send us here? | 0:28:23 | 0:28:25 | |
What does she want? | 0:28:25 | 0:28:27 | |
Eh. | 0:28:27 | 0:28:30 | |
I think this is Maggie Chen's locker. | 0:28:34 | 0:28:36 | |
She must've used it as a drop for information for Helena. | 0:28:36 | 0:28:41 | |
She camped out here. What a sad life. | 0:28:41 | 0:28:44 | |
-ART: -"Swan Man". | 0:29:19 | 0:29:21 | |
-What? -Swan Man. | 0:29:21 | 0:29:24 | |
Helena said that might mean something to you. | 0:29:24 | 0:29:28 | |
Swan, Leda And The Swan. | 0:29:28 | 0:29:31 | |
Project LEDA. | 0:29:31 | 0:29:33 | |
She said he was playing God. | 0:29:33 | 0:29:36 | |
Could that be the same man? | 0:29:36 | 0:29:41 | |
-This photo's, like, 1977? -So he'd be, what, | 0:29:41 | 0:29:44 | |
in his 70s now? | 0:29:44 | 0:29:45 | |
Yeah. Yeah, it could be. | 0:29:45 | 0:29:48 | |
Shit! | 0:29:48 | 0:29:50 | |
That could mean that our creators... One of them, | 0:29:50 | 0:29:54 | |
Rachel's dad, he could still be alive. | 0:29:54 | 0:29:57 | |
He didn't die in the lab explosion. | 0:29:57 | 0:30:00 | |
I need to call Cosima. | 0:30:00 | 0:30:01 | |
This is something I can use, something I can trade for Felix. | 0:30:01 | 0:30:06 | |
-Sarah. -What? | 0:30:09 | 0:30:10 | |
Sniper rifle. | 0:30:16 | 0:30:17 | |
She's going to kill Rachel. | 0:30:33 | 0:30:37 | |
PIANO MUSIC PLAYS SOFTLY | 0:30:37 | 0:30:39 | |
Paul. | 0:30:46 | 0:30:47 | |
'63 Margaux, two glasses. | 0:30:52 | 0:30:57 | |
SHE HUMS | 0:30:57 | 0:30:58 | |
A little more off the back, Helena. | 0:31:04 | 0:31:08 | |
Yes, Rachel, of course. | 0:31:08 | 0:31:11 | |
So pretty, you are. | 0:31:11 | 0:31:13 | |
So much money. | 0:31:13 | 0:31:16 | |
So much money. | 0:31:16 | 0:31:18 | |
Put it down. | 0:31:55 | 0:31:56 | |
Take off your shirt. | 0:32:10 | 0:32:11 | |
She's got about a 20-minute lead on us. | 0:32:13 | 0:32:14 | |
-We're close to Rachel's. -I tell you, she's fast. | 0:32:14 | 0:32:18 | |
SMOOCHING | 0:32:19 | 0:32:22 | |
Don't move. | 0:32:25 | 0:32:26 | |
Take off your pants. | 0:32:29 | 0:32:31 | |
Daniel like that? | 0:33:19 | 0:33:22 | |
Did Sarah? | 0:33:22 | 0:33:24 | |
Hey, what's that? | 0:33:24 | 0:33:26 | |
-What? -Hey, stop, stop. | 0:33:26 | 0:33:28 | |
-TYRES SCREECH -Hey, hold up. | 0:33:28 | 0:33:31 | |
That's her bike. | 0:33:31 | 0:33:32 | |
And that's Rachel's building there. | 0:33:32 | 0:33:34 | |
Wait, what side is Rachel's suite on? | 0:33:34 | 0:33:37 | |
It faces this way. | 0:33:37 | 0:33:38 | |
That's a clear line of sight for a sniper. | 0:33:38 | 0:33:42 | |
Come on. | 0:33:42 | 0:33:44 | |
Get that chair. | 0:33:46 | 0:33:48 | |
Take those off. | 0:34:06 | 0:34:07 | |
Sit down. | 0:34:18 | 0:34:20 | |
Do you like my hair, Paul? | 0:34:28 | 0:34:30 | |
Yeah, very pretty, | 0:34:30 | 0:34:32 | |
dirty, sexy Rachel. | 0:34:32 | 0:34:34 | |
Like my mother. | 0:34:34 | 0:34:36 | |
-Hello, sestra. -Helena, stop! | 0:34:47 | 0:34:50 | |
Helena! Put the gun down. | 0:34:50 | 0:34:52 | |
Mind your weapon, Art, or I pull trigger. | 0:34:52 | 0:34:55 | |
SHE EXHALES FORCEFULLY | 0:34:55 | 0:34:57 | |
Come see, Sarah. | 0:34:58 | 0:35:01 | |
OK. | 0:35:01 | 0:35:03 | |
You can't do this. | 0:35:09 | 0:35:11 | |
You can't. | 0:35:11 | 0:35:12 | |
Rachel is problem. I fix problem. | 0:35:12 | 0:35:15 | |
I wish you could. | 0:35:15 | 0:35:16 | |
They've got Felix. | 0:35:16 | 0:35:18 | |
Brother sestra. | 0:35:18 | 0:35:21 | |
He's in jail. If you kill Rachel, they're going to keep him there. | 0:35:21 | 0:35:26 | |
Look. | 0:35:26 | 0:35:28 | |
Look, Sarah. | 0:35:30 | 0:35:31 | |
PANTING | 0:35:35 | 0:35:38 | |
Paul is unfaithful. | 0:35:38 | 0:35:41 | |
I don't care about Paul. | 0:35:41 | 0:35:44 | |
He doesn't matter any more. | 0:35:44 | 0:35:47 | |
Then I kill him for you. | 0:35:47 | 0:35:49 | |
-No! Helena! Stop! -Take your finger off the trigger, put down the gun. | 0:35:49 | 0:35:52 | |
-No, just... -Pull, Art, see who's faster. | 0:35:52 | 0:35:54 | |
-Please. -I can't let her shoot. | 0:35:54 | 0:35:56 | |
Helena. | 0:35:58 | 0:35:59 | |
Listen to me. | 0:35:59 | 0:36:00 | |
There's another way. | 0:36:00 | 0:36:01 | |
We can make a deal for Felix, | 0:36:01 | 0:36:04 | |
but I need your help. | 0:36:04 | 0:36:06 | |
Only you can help me find Swan Man. | 0:36:06 | 0:36:09 | |
You only want to use me. | 0:36:09 | 0:36:12 | |
No, that's not true. | 0:36:17 | 0:36:20 | |
You saved my life. | 0:36:20 | 0:36:23 | |
You're my sister. | 0:36:23 | 0:36:25 | |
Helena, I thought... I thought I killed you. | 0:36:25 | 0:36:29 | |
I couldn't tell anybody what I lost. | 0:36:31 | 0:36:34 | |
You came back. | 0:36:36 | 0:36:38 | |
Please, put down the gun. | 0:36:41 | 0:36:45 | |
Please. | 0:36:45 | 0:36:47 | |
That's good. | 0:36:59 | 0:37:00 | |
Come down. | 0:37:04 | 0:37:05 | |
Thank you. | 0:37:15 | 0:37:17 | |
You make me cry, sestra. | 0:37:17 | 0:37:19 | |
SHE CHUCKLES | 0:37:19 | 0:37:21 | |
Come on, meat-head. | 0:37:21 | 0:37:23 | |
Don't call me this. | 0:37:23 | 0:37:26 | |
SHE CHUCKLES | 0:37:26 | 0:37:28 | |
Here we go. | 0:38:09 | 0:38:10 | |
Just an intradermal test to see how your body responds. | 0:38:11 | 0:38:16 | |
Yes, if my arm falls off, then we know. | 0:38:16 | 0:38:18 | |
LAUGHTER | 0:38:18 | 0:38:19 | |
-Or if you grow another limb. -Yeah. Ew. | 0:38:19 | 0:38:23 | |
Um... Oh, Dr Leekie, in light of what you shared with us earlier, | 0:38:23 | 0:38:29 | |
-we have a proposition for you. -We do? | 0:38:29 | 0:38:32 | |
No. No, not us. | 0:38:32 | 0:38:36 | |
Us. | 0:38:36 | 0:38:38 | |
I'm all ears. | 0:38:38 | 0:38:40 | |
We want to know... | 0:38:40 | 0:38:43 | |
You like to drink beer? | 0:38:43 | 0:38:45 | |
Hmm? | 0:38:45 | 0:38:47 | |
ROCK MUSIC PLAYS | 0:38:47 | 0:38:49 | |
Dr Leekie. | 0:38:52 | 0:38:53 | |
-Sarah. -So I hear I'm not the only data you lost. | 0:38:57 | 0:39:00 | |
You have something for me? | 0:39:00 | 0:39:01 | |
Professor Ethan Duncan, | 0:39:05 | 0:39:09 | |
alive. | 0:39:09 | 0:39:10 | |
Where? | 0:39:10 | 0:39:13 | |
It's vital my brother goes free. | 0:39:13 | 0:39:15 | |
All charges dropped. | 0:39:15 | 0:39:16 | |
Find him, I can pull the levers to countermand Rachel and guarantee | 0:39:19 | 0:39:23 | |
-Cosima will be able to continue the treatment. -What treatment? | 0:39:23 | 0:39:26 | |
Ah, so you don't share everything. | 0:39:26 | 0:39:30 | |
What? | 0:39:30 | 0:39:32 | |
What, is she sick? | 0:39:32 | 0:39:34 | |
Unfortunately, yes. | 0:39:35 | 0:39:37 | |
With what? With what Katja had? | 0:39:40 | 0:39:42 | |
I'll let her explain. | 0:39:42 | 0:39:44 | |
But all the more reason to find Duncan. | 0:39:44 | 0:39:46 | |
I can buy you three days. | 0:39:48 | 0:39:49 | |
If anybody follows us, I'm going to sic Helena on all of you. | 0:39:49 | 0:39:53 | |
Not an idle threat. | 0:39:53 | 0:39:55 | |
No, it's not. | 0:39:55 | 0:39:57 | |
Well, that looked interesting. | 0:40:00 | 0:40:02 | |
Rachel had you follow me. | 0:40:07 | 0:40:09 | |
She thought you might make a deal with Sarah behind her back. | 0:40:09 | 0:40:12 | |
Well, Sarah's off on a trip down memory lane. | 0:40:12 | 0:40:14 | |
Then so am I. | 0:40:14 | 0:40:15 | |
What she finds there may be dangerous to us all, Paul. | 0:40:15 | 0:40:19 | |
So I need you to come to me, first, | 0:40:19 | 0:40:20 | |
before Rachel. | 0:40:20 | 0:40:22 | |
I'll be in touch. | 0:40:22 | 0:40:24 | |
Right, so how do we find Swan Man? | 0:40:30 | 0:40:34 | |
This is nice truck. | 0:40:34 | 0:40:37 | |
Much leg rooms. | 0:40:37 | 0:40:39 | |
Helena, where are we going? | 0:40:39 | 0:40:40 | |
Cold River. | 0:40:40 | 0:40:42 | |
What's that, a town? | 0:40:42 | 0:40:44 | |
The place of screams. | 0:40:44 | 0:40:48 | |
You act like you've never been in a car before. | 0:40:50 | 0:40:52 | |
I've never been on road trip. | 0:40:52 | 0:40:54 | |
-We're clones. -I can't help but think that the godhead | 0:40:54 | 0:40:56 | |
has put you here to test me. | 0:40:56 | 0:40:58 | |
I'm wondering how a simple guy like me keeps a girl like you in a place like this. | 0:40:58 | 0:41:04 | |
You knew all along. You're just one of them, aren't ya? | 0:41:04 | 0:41:07 | |
Hello, Paul. | 0:41:07 | 0:41:08 |