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"Six scientists in lab explosion". | 0:00:02 | 0:00:03 | |
Your father will remain here. | 0:00:03 | 0:00:05 | |
If anybody moves against this house, | 0:00:05 | 0:00:07 | |
I will put a bullet in his head. | 0:00:07 | 0:00:09 | |
-Rachel. -Hello, Father. | 0:00:09 | 0:00:11 | |
-What have we there? -Everything, Mrs Sadler. Absolutely everything. | 0:00:11 | 0:00:14 | |
You gave me Kira's stem cells? | 0:00:14 | 0:00:16 | |
This is my decision and not yours! | 0:00:16 | 0:00:18 | |
There is no decision. You have one way forward, this is it. | 0:00:18 | 0:00:20 | |
Get out! | 0:00:20 | 0:00:22 | |
Kira might be her only chance. | 0:00:22 | 0:00:24 | |
Will this help? My tooth. | 0:00:24 | 0:00:25 | |
I give you Duncan, you give up on Kira, we disappear once and for all. | 0:00:25 | 0:00:29 | |
Alison? C...Clone? | 0:00:29 | 0:00:31 | |
I don't think he knows. | 0:00:31 | 0:00:32 | |
You destroyed us... | 0:00:32 | 0:00:34 | |
with the spying and the lies. | 0:00:34 | 0:00:36 | |
-Rachel, is it done? -It's in motion. | 0:00:36 | 0:00:38 | |
-Rachel. -Go, now. | 0:00:38 | 0:00:40 | |
Dr Leekie. Get in! | 0:00:40 | 0:00:41 | |
You ruined my marriage. I quit! | 0:00:41 | 0:00:45 | |
-The hell are you doing, huh? You all right? -I'm fine. | 0:01:11 | 0:01:14 | |
Shit! | 0:01:14 | 0:01:15 | |
Just give me a hand. We got to switch cars. | 0:01:15 | 0:01:18 | |
I thought you said you had that place cased, man. | 0:01:18 | 0:01:20 | |
That was a frickin' ambush. Who were those guys, huh? | 0:01:20 | 0:01:23 | |
Not cops. | 0:01:23 | 0:01:24 | |
Not feds, either, in 400 shoes. | 0:01:24 | 0:01:25 | |
I told you to stay with the whip. | 0:01:25 | 0:01:27 | |
Yeah? If I'd stayed there, you'd be in the morgue now. | 0:01:27 | 0:01:29 | |
Let's get the car and get outta here. | 0:01:29 | 0:01:31 | |
Aah! Aah! | 0:01:31 | 0:01:33 | |
-Aah! -Shit! | 0:01:33 | 0:01:34 | |
-Aaah! -Come on. | 0:01:34 | 0:01:35 | |
Ahh! Oh, shit! | 0:01:35 | 0:01:37 | |
Oh, shit. | 0:01:37 | 0:01:38 | |
Aah... | 0:01:38 | 0:01:39 | |
Oh...shit. | 0:01:39 | 0:01:41 | |
Tony, get outta here. | 0:01:43 | 0:01:45 | |
Just forget it, man. You gotta go. | 0:01:45 | 0:01:47 | |
Ohh! Just go. I should've... | 0:01:47 | 0:01:49 | |
I should've told you months ago. I was set up. | 0:01:49 | 0:01:52 | |
What? Who set you up? | 0:01:52 | 0:01:54 | |
You remember that cop that called? | 0:01:54 | 0:01:55 | |
She called out of the blue. I didn't tell her nothing. | 0:01:55 | 0:01:58 | |
-I know. She wanted you because you're... -What? | 0:01:58 | 0:02:01 | |
Hey. Hey, you're all right, OK? | 0:02:03 | 0:02:05 | |
-Yeah? -You gotta make me a promise. | 0:02:05 | 0:02:08 | |
You gotta pass on a...a message. | 0:02:08 | 0:02:10 | |
All right, well, wh-what message, huh? | 0:02:10 | 0:02:13 | |
You gotta find that cop. You have to find Beth Childs. | 0:02:13 | 0:02:15 | |
DOOR OPENS | 0:02:54 | 0:02:56 | |
Where's Kira? | 0:02:59 | 0:03:01 | |
They're not coming by until I know it's safe. | 0:03:01 | 0:03:03 | |
Hello, Sarah. | 0:03:03 | 0:03:04 | |
-Hi. -Benjamin has four men on watch. | 0:03:04 | 0:03:06 | |
Rachel's been warned. If she tries anything, | 0:03:06 | 0:03:09 | |
I will pop her papa in the brain pan. | 0:03:09 | 0:03:11 | |
I like to think she's bluffing. | 0:03:11 | 0:03:13 | |
I'm not, Andrew. | 0:03:13 | 0:03:14 | |
Please call me "Ethan". If I'm to be your pawn, | 0:03:14 | 0:03:17 | |
I'd like to reclaim my given name. | 0:03:17 | 0:03:19 | |
At any rate, | 0:03:19 | 0:03:21 | |
we hold all the cards. Ethan here, | 0:03:21 | 0:03:23 | |
his information, and Kira. | 0:03:23 | 0:03:25 | |
Kira's not part of any deal, S. | 0:03:25 | 0:03:27 | |
I bloody know that! But Rachel's reunion with her father was real. | 0:03:27 | 0:03:31 | |
Let's just see how it all lands at Dyad. | 0:03:31 | 0:03:34 | |
Confirmed all clear, S. | 0:03:34 | 0:03:36 | |
Come! | 0:03:36 | 0:03:37 | |
-They were in the alley. -Mrs S! | 0:03:37 | 0:03:40 | |
Hello, darling! | 0:03:40 | 0:03:41 | |
Let's wait outside. | 0:03:41 | 0:03:43 | |
Thank you, Benjamin. | 0:03:43 | 0:03:45 | |
Safe enough, yet? | 0:03:45 | 0:03:46 | |
You are a sight for sore eyes. | 0:03:46 | 0:03:49 | |
-What about me? -Come here, you. | 0:03:49 | 0:03:52 | |
-Mmmm! -It's good to see you. | 0:03:52 | 0:03:54 | |
Cosima. | 0:04:10 | 0:04:12 | |
Cosima! | 0:04:12 | 0:04:13 | |
Hold on to your hat. | 0:04:13 | 0:04:15 | |
-Hey, my passcard is not working. -Yeah, I locked you out. | 0:04:15 | 0:04:19 | |
Is that for me? | 0:04:21 | 0:04:22 | |
Yeah, a package from Sarah. | 0:04:22 | 0:04:24 | |
Seriously? | 0:04:24 | 0:04:25 | |
I can override this lock anytime. | 0:04:25 | 0:04:27 | |
Go for it. | 0:04:27 | 0:04:29 | |
I just really don't want you here. | 0:04:29 | 0:04:31 | |
-Cosima! -Wow, girl fights are mean. | 0:04:35 | 0:04:39 | |
So, the donor's a child? | 0:04:46 | 0:04:49 | |
You are aware a far more effective | 0:04:55 | 0:04:57 | |
and obvious treatment | 0:04:57 | 0:04:59 | |
for 324B21 would be the kid's bone marrow? | 0:04:59 | 0:05:02 | |
Yeah, Scott, we are aware of that. | 0:05:04 | 0:05:06 | |
Donnie! Donnie? | 0:05:14 | 0:05:17 | |
HE CLEARS THROAT | 0:05:19 | 0:05:20 | |
Why didn't you come pick me up, hmm? | 0:05:20 | 0:05:23 | |
The kids are truant. | 0:05:23 | 0:05:25 | |
There's cleaning product all over the laundry room. What's going on here? | 0:05:25 | 0:05:28 | |
Just stop, OK? I don't feel very well. | 0:05:28 | 0:05:31 | |
OK. I know. | 0:05:31 | 0:05:34 | |
It's a lot to take in, isn't it? | 0:05:34 | 0:05:37 | |
Your wife's a clone. | 0:05:37 | 0:05:39 | |
See? I use the C-word, too. | 0:05:39 | 0:05:41 | |
-Ugh... -It's OK. | 0:05:41 | 0:05:43 | |
We'll deal with it together, OK? | 0:05:43 | 0:05:44 | |
Hmm? | 0:05:45 | 0:05:47 | |
What's that smell? | 0:05:50 | 0:05:51 | |
Um, no... | 0:05:51 | 0:05:53 | |
No. Stop. What are you doing?! | 0:05:53 | 0:05:55 | |
What are you doing?! Don't! | 0:05:55 | 0:05:57 | |
-BOTTLES CLINK -Ugh... | 0:05:57 | 0:05:59 | |
Oh, my God. | 0:05:59 | 0:06:00 | |
Oh, my God, you're drinking?! | 0:06:00 | 0:06:02 | |
God! Drinking alcohol the day I get back from rehab?! | 0:06:02 | 0:06:06 | |
Are you insane?! | 0:06:06 | 0:06:07 | |
I know all your little hiding spots! | 0:06:07 | 0:06:09 | |
-Do you want that, hmm?! -I know about the pills | 0:06:09 | 0:06:12 | |
you keep in your bean pots! | 0:06:12 | 0:06:13 | |
Your minibar in the tub labelled "buttons". | 0:06:13 | 0:06:16 | |
You give me that. Give me that! You're supposed to be supporting me! | 0:06:16 | 0:06:19 | |
-Aagh! -Does that hurt? Does that hurt yet? | 0:06:19 | 0:06:21 | |
No. | 0:06:23 | 0:06:25 | |
OK! It's time to get ready for school. | 0:06:25 | 0:06:27 | |
Tonight, we're going to stay at Grandma's house, | 0:06:27 | 0:06:29 | |
until Daddy feels better, OK? | 0:06:29 | 0:06:31 | |
Let's go out the door. | 0:06:31 | 0:06:33 | |
Good. | 0:06:33 | 0:06:34 | |
You take today to think. | 0:06:34 | 0:06:36 | |
Who the hell are you? | 0:07:12 | 0:07:13 | |
You're Tony? | 0:07:13 | 0:07:14 | |
No, I'm Harry frickin' Potter. | 0:07:14 | 0:07:18 | |
Where's Beth? | 0:07:18 | 0:07:20 | |
You're leaving already? | 0:07:25 | 0:07:26 | |
-Oh, yeah. -Kira's in the bath. | 0:07:26 | 0:07:29 | |
I thought we could hang. | 0:07:29 | 0:07:30 | |
My work as child smuggler is done for the day. | 0:07:30 | 0:07:32 | |
What's your daughter's name, again? | 0:07:32 | 0:07:35 | |
Kira. | 0:07:35 | 0:07:36 | |
And she's how old? | 0:07:36 | 0:07:38 | |
She's none of your concern. | 0:07:38 | 0:07:40 | |
Hey. Is there something up? | 0:07:41 | 0:07:43 | |
Um, Arthur needs my help with something cloney, all right? | 0:07:43 | 0:07:48 | |
But no... no, we've got it, OK? | 0:07:48 | 0:07:52 | |
You just need to stay here with Kira. | 0:07:52 | 0:07:54 | |
I'll call if I need to. | 0:07:54 | 0:07:56 | |
-Thank you. -You're welcome. Bye. -Bye. | 0:07:56 | 0:07:59 | |
My daughter was about Kira's age when she was taken. | 0:08:01 | 0:08:05 | |
You mean Rachel, by Leekie. | 0:08:05 | 0:08:06 | |
Let's hope you can end this war, Ethan. | 0:08:08 | 0:08:10 | |
That's how you make amends. | 0:08:10 | 0:08:12 | |
I'm afraid Dr Leekie's unavailable. | 0:08:16 | 0:08:18 | |
Would you hold? | 0:08:18 | 0:08:20 | |
You must be Dr Cormier. | 0:08:21 | 0:08:22 | |
Uh, yes. | 0:08:22 | 0:08:24 | |
Paul, your absence is inconvenient | 0:08:24 | 0:08:28 | |
and your silence is irksome. | 0:08:28 | 0:08:30 | |
Please, you know I hate to worry. | 0:08:32 | 0:08:34 | |
Good afternoon, Dr Cormier. | 0:08:37 | 0:08:39 | |
Could I get you tea, coffee? | 0:08:39 | 0:08:41 | |
No, thank you. | 0:08:41 | 0:08:43 | |
Where is Aldous? | 0:08:43 | 0:08:46 | |
SHE SIGHS | 0:08:46 | 0:08:47 | |
Tea, please, Martin. | 0:08:50 | 0:08:52 | |
And could you send a man round for Paul? | 0:08:52 | 0:08:54 | |
Aldous suffered a fatal heart attack | 0:08:58 | 0:09:00 | |
on one of our jets bound for Langley last night. | 0:09:00 | 0:09:04 | |
Excuse me? | 0:09:04 | 0:09:05 | |
I'm sorry. | 0:09:05 | 0:09:07 | |
I know you were close. | 0:09:07 | 0:09:09 | |
For now, you will report to me. | 0:09:09 | 0:09:11 | |
-That's, um... -Difficult. | 0:09:11 | 0:09:15 | |
For us both. | 0:09:15 | 0:09:17 | |
But, despite this tragedy, | 0:09:17 | 0:09:20 | |
it's come to light that Aldous buried crucial information | 0:09:21 | 0:09:24 | |
about the origins of the experiment. | 0:09:24 | 0:09:26 | |
A line of communication is now open with Sarah. | 0:09:26 | 0:09:29 | |
Delphine, | 0:09:29 | 0:09:31 | |
we may have a breakthrough for Cosima. | 0:09:31 | 0:09:35 | |
Yes. | 0:09:35 | 0:09:36 | |
For us all. | 0:09:36 | 0:09:38 | |
Art, I didn't give you permission to break into my flat. | 0:09:45 | 0:09:48 | |
What the hell's with you? | 0:09:48 | 0:09:50 | |
Felix, Tony. | 0:09:51 | 0:09:54 | |
What, Beth's not coming now? Oh, right. Yeah, great. | 0:10:01 | 0:10:03 | |
What the hell was I thinking, trusting a friggin' cop? | 0:10:03 | 0:10:06 | |
Take it easy, all right? | 0:10:06 | 0:10:08 | |
-It's complicated. -Yeah. | 0:10:08 | 0:10:09 | |
-Yeah? Then I'm out. -No, no, you want to stay. You want to stay. | 0:10:09 | 0:10:12 | |
Oh, yeah? Who are you, hmm? | 0:10:12 | 0:10:15 | |
Hardy boy? | 0:10:15 | 0:10:16 | |
Felix. | 0:10:16 | 0:10:18 | |
I'm a friend of Beth's. | 0:10:19 | 0:10:21 | |
We're both friends of Beth's, all right? We're safe friends. | 0:10:21 | 0:10:23 | |
Art's a cop. | 0:10:23 | 0:10:25 | |
He's suspended. | 0:10:25 | 0:10:26 | |
Which is the only kind of cop I like. | 0:10:26 | 0:10:28 | |
Just make yourself at home. Sit down. | 0:10:30 | 0:10:33 | |
I just need 30 seconds with him out in the hall, all right? | 0:10:33 | 0:10:36 | |
And then we'll explain everything. OK? | 0:10:36 | 0:10:39 | |
30 seconds. Fifi. | 0:10:39 | 0:10:42 | |
You call me that again, we don't tell you a thing. | 0:10:42 | 0:10:45 | |
Whoo! | 0:10:45 | 0:10:46 | |
Holy Tilda Swinton! | 0:10:48 | 0:10:51 | |
Where in the hell did he come from? | 0:10:51 | 0:10:53 | |
I kept Beth's cell phone active, hoping it might ring someday, but, | 0:10:53 | 0:10:57 | |
can you clarify what's going on, here? | 0:10:57 | 0:10:59 | |
-That would be a single chromosome. -So I got it right... | 0:10:59 | 0:11:02 | |
she's a trans clone. | 0:11:02 | 0:11:03 | |
He's trans. | 0:11:03 | 0:11:05 | |
He's, yeah, just another variation in my sister's skin. | 0:11:05 | 0:11:08 | |
Look, he said that Beth contacted him, | 0:11:08 | 0:11:10 | |
that a friend of his was just whacked by suits | 0:11:10 | 0:11:13 | |
and now, he'll only talk to Beth. | 0:11:13 | 0:11:15 | |
OK. Right. | 0:11:15 | 0:11:17 | |
Does Tony know that he's a clone? | 0:11:17 | 0:11:19 | |
I don't know. He's sketchy as hell. I didn't want to tell him anything. | 0:11:19 | 0:11:22 | |
Good. We can't. Follow my lead. | 0:11:22 | 0:11:25 | |
What lead? Oh, shit. | 0:11:25 | 0:11:27 | |
Just one. I'm a few. | 0:11:35 | 0:11:37 | |
No family, too. Who am I? | 0:11:37 | 0:11:39 | |
Pretty gay, by the looks of this place. | 0:11:39 | 0:11:42 | |
Tony, Beth's dead. | 0:11:47 | 0:11:48 | |
Then I got no business here. | 0:11:50 | 0:11:52 | |
You do, Tony. Yeah, you do. | 0:11:52 | 0:11:54 | |
What did Beth tell you, exactly? | 0:11:55 | 0:11:57 | |
She said we might be related and then, she said she was a cop, | 0:11:57 | 0:12:00 | |
so I hung up. | 0:12:00 | 0:12:02 | |
Now, Sammy's got a message for her and she's dead. | 0:12:02 | 0:12:04 | |
What's the message? | 0:12:05 | 0:12:07 | |
No way. | 0:12:07 | 0:12:08 | |
I want to know what's going on here. | 0:12:08 | 0:12:10 | |
All right, yeah. | 0:12:10 | 0:12:13 | |
But here it is, Tony. We know things. | 0:12:13 | 0:12:16 | |
We don't know you. | 0:12:16 | 0:12:17 | |
So how about I go check your story out? | 0:12:17 | 0:12:19 | |
You stay here with Felix. | 0:12:19 | 0:12:21 | |
Look at this. | 0:12:31 | 0:12:32 | |
We need Auntie Alison, stat. | 0:12:32 | 0:12:35 | |
You like that? | 0:12:36 | 0:12:38 | |
Should we put more angels on it? | 0:12:38 | 0:12:40 | |
-They remind me of Helena. -Yeah? Me too. | 0:12:40 | 0:12:43 | |
Is she OK? | 0:12:44 | 0:12:47 | |
Yeah, she's fine. | 0:12:47 | 0:12:49 | |
I sort of had to leave her to her own devices, | 0:12:51 | 0:12:54 | |
but she asks about you all the time. | 0:12:54 | 0:12:57 | |
KNOCKING, DOOR OPENS | 0:12:57 | 0:12:59 | |
Should we hide? | 0:12:59 | 0:13:01 | |
-IN OTHER ROOM: -Out to the car... | 0:13:08 | 0:13:09 | |
Has something happened to Cosima? | 0:13:15 | 0:13:17 | |
Um, no. | 0:13:17 | 0:13:19 | |
Actually, I'm... I'm here on Rachel's request. | 0:13:19 | 0:13:22 | |
Hmm. To, what, | 0:13:22 | 0:13:24 | |
leverage your girlfriend's life for my daughter's stem cells? | 0:13:24 | 0:13:26 | |
No. Sh-she has a new proposal. | 0:13:26 | 0:13:30 | |
Leekie is dead. | 0:13:30 | 0:13:32 | |
She says it was a heart attack. | 0:13:35 | 0:13:36 | |
-SHE SCOFFS -I bet she does. | 0:13:36 | 0:13:39 | |
What you wanted, isn't it? | 0:13:39 | 0:13:40 | |
I believe Aldous was the lesser of two evils. But it's too late, now. | 0:13:40 | 0:13:43 | |
-This is now about Professor Duncan. -Go on. | 0:13:43 | 0:13:46 | |
The key to a gene-therapy cure | 0:13:46 | 0:13:47 | |
which does not require Kira's stem cells | 0:13:47 | 0:13:50 | |
lies in Duncan's synthetic sequences, | 0:13:50 | 0:13:52 | |
but we need him to come to the Dyad and begin immediately. | 0:13:52 | 0:13:54 | |
No. | 0:13:54 | 0:13:55 | |
But Kira stays with you, where she belongs. | 0:13:55 | 0:13:58 | |
Do you think I could trust Rachel? | 0:13:58 | 0:14:00 | |
Or you, Delphine. | 0:14:00 | 0:14:02 | |
We didn't bring Duncan all this way not to use him. | 0:14:02 | 0:14:06 | |
Please, tell Rachel that we will consider her proposal. | 0:14:06 | 0:14:09 | |
OK. | 0:14:09 | 0:14:10 | |
It looks like you are out of here. You need to take that Pegasus! | 0:14:16 | 0:14:20 | |
Whoa! Whoa, whoa, whoa! | 0:14:20 | 0:14:22 | |
Uh...jeez, I thought you went home for the night. | 0:14:22 | 0:14:25 | |
We were going to play in the cafeteria, but... | 0:14:25 | 0:14:27 | |
sorry. | 0:14:27 | 0:14:29 | |
Are you minding the dental pulp in the incubators? | 0:14:29 | 0:14:33 | |
-Yeah, absolutely. -Cool. | 0:14:33 | 0:14:35 | |
Then I don't care if you're making bathtub acid. | 0:14:35 | 0:14:37 | |
Cosima, the Dyad room wars club, my sworn enemies. | 0:14:37 | 0:14:42 | |
Doomsday, Painmaker, Uwish97. | 0:14:42 | 0:14:44 | |
Cool. | 0:14:44 | 0:14:45 | |
Play on, hail fellows. | 0:14:48 | 0:14:50 | |
SHE CLEARS HER THROAT | 0:14:50 | 0:14:51 | |
OK. Get those junkyard moves out of my game. | 0:14:54 | 0:14:56 | |
We don't need those here. | 0:14:56 | 0:14:58 | |
All right, read them and weep, gentlemen. You know. You know. | 0:14:58 | 0:15:01 | |
Ha! Missed. | 0:15:01 | 0:15:03 | |
My great worm uses its plague breath | 0:15:03 | 0:15:05 | |
and your lame force guardian takes two damage. | 0:15:05 | 0:15:07 | |
And... | 0:15:07 | 0:15:10 | |
Boom! Hello, special. | 0:15:10 | 0:15:12 | |
Goodbye, force guardian. I win the battle. | 0:15:12 | 0:15:15 | |
Whoa! Dream on. | 0:15:17 | 0:15:19 | |
Your worm can't use a special ability twice. | 0:15:19 | 0:15:21 | |
And Mad Kathos slays before you ever plague-breath. | 0:15:21 | 0:15:24 | |
Mnh, mnh-mnh, sorry. | 0:15:24 | 0:15:25 | |
Mad Kathos's abilities only work in battles he's in. | 0:15:25 | 0:15:29 | |
Scott gets the damage. He doesn't draw again. | 0:15:29 | 0:15:31 | |
But who cares? Because the guardian is toast | 0:15:31 | 0:15:35 | |
and these beastmen go here. | 0:15:35 | 0:15:37 | |
Do you, like, want to play? | 0:15:42 | 0:15:44 | |
I don't know if you're ready for that. | 0:15:47 | 0:15:48 | |
Boom, boom. | 0:15:48 | 0:15:51 | |
Don't even think about it. | 0:15:51 | 0:15:53 | |
Teleport card. | 0:15:53 | 0:15:55 | |
So all your Ratabians are dead, | 0:15:55 | 0:15:57 | |
I've got the city and dragon room, | 0:15:57 | 0:15:59 | |
and... | 0:15:59 | 0:16:01 | |
-Pillage! -Ohh! | 0:16:01 | 0:16:03 | |
What?! | 0:16:03 | 0:16:04 | |
That's great. | 0:16:04 | 0:16:07 | |
SHE COUGHS | 0:16:07 | 0:16:08 | |
Cosima. Are you OK? | 0:16:13 | 0:16:15 | |
We need to talk. | 0:16:21 | 0:16:23 | |
COSIMA CLEARS HER THROAT | 0:16:26 | 0:16:27 | |
Play on. | 0:16:27 | 0:16:28 | |
Cosima, things are moving too fast to be this way. | 0:16:33 | 0:16:36 | |
I think they killed Aldous. | 0:16:36 | 0:16:38 | |
What?! | 0:16:38 | 0:16:40 | |
Rachel is at his desk | 0:16:40 | 0:16:41 | |
and she's selling it as a heart attack | 0:16:41 | 0:16:44 | |
on the private jet. Listen to me. | 0:16:44 | 0:16:47 | |
I think you are running out of time. | 0:16:47 | 0:16:48 | |
And Kira's tooth was a band-aid, | 0:16:48 | 0:16:52 | |
but Duncan, he may hold the key to an actual cure. | 0:16:52 | 0:16:56 | |
I'm trying to help. | 0:16:56 | 0:16:58 | |
Tell me what you want. | 0:16:58 | 0:17:01 | |
So you're done. Just get outta here. | 0:17:02 | 0:17:04 | |
Hey, battle bitches, can you pick up your beastmen and beat it? | 0:17:04 | 0:17:10 | |
I'm going to keep the promise that I made to you when we first met. | 0:17:11 | 0:17:15 | |
That, one day, I'd get you completely baked. | 0:17:16 | 0:17:19 | |
SHE LAUGHS | 0:17:22 | 0:17:24 | |
Orphan? Huh. | 0:17:24 | 0:17:26 | |
At least you didn't know your real parents were assholes. | 0:17:26 | 0:17:30 | |
You know, mine were so full of shit... | 0:17:31 | 0:17:33 | |
..it made sense when Beth said we were related. | 0:17:34 | 0:17:37 | |
How long did you, uh.. how long did you know Sammy? | 0:17:39 | 0:17:43 | |
Long enough. | 0:17:45 | 0:17:47 | |
How come you're so interested in Sammy? | 0:17:47 | 0:17:50 | |
I'll tell you, if you give me the message he had for her. | 0:17:50 | 0:17:52 | |
You got to work smarter than that, buddy. | 0:17:52 | 0:17:54 | |
Can I borrow some clothes? | 0:17:56 | 0:17:57 | |
No. | 0:17:57 | 0:17:59 | |
Come on, I've been driving for two days. | 0:17:59 | 0:18:01 | |
Got to bathe the boys, you know what I mean? | 0:18:01 | 0:18:05 | |
I know your game, Tony. | 0:18:06 | 0:18:08 | |
-Oh, yeah? -Mm-hmm. | 0:18:08 | 0:18:10 | |
What is that? | 0:18:10 | 0:18:12 | |
Pushing buttons. | 0:18:12 | 0:18:13 | |
Testing boundaries. | 0:18:13 | 0:18:15 | |
Deep, like an artist, or something. | 0:18:15 | 0:18:17 | |
Oh! | 0:18:17 | 0:18:18 | |
So just how does Tony the trans bandit go over | 0:18:18 | 0:18:21 | |
with the hoodlum set, hmm? | 0:18:21 | 0:18:23 | |
Jesus Christ. | 0:18:23 | 0:18:25 | |
When did you come out, Tuesday? | 0:18:25 | 0:18:28 | |
Yeah. Tony, what you're doing here | 0:18:28 | 0:18:31 | |
is more complicated than sex or gender. | 0:18:31 | 0:18:33 | |
Oh, yeah? | 0:18:33 | 0:18:35 | |
Just shut up and run me a bath. | 0:18:40 | 0:18:43 | |
Run it yourself, bitch. | 0:18:45 | 0:18:47 | |
Ouch! He's meaner than he looks. | 0:18:47 | 0:18:51 | |
You are so much like my sister. | 0:18:51 | 0:18:52 | |
What are you doing? | 0:19:08 | 0:19:10 | |
Ali, uh... | 0:19:10 | 0:19:11 | |
I'm leaving. | 0:19:13 | 0:19:15 | |
No. | 0:19:16 | 0:19:18 | |
We are not there yet. | 0:19:18 | 0:19:20 | |
No! We have a whole mountain to climb. | 0:19:20 | 0:19:22 | |
-We aren't even at base camp yet! -I'm sorry. | 0:19:22 | 0:19:25 | |
I'm sorry. I've already hurt you so badly. | 0:19:25 | 0:19:28 | |
-You're better off without me. -So is this the real Donnie Hendrix, then? | 0:19:28 | 0:19:31 | |
Just picks up and abandons his kids in the middle of the night. | 0:19:31 | 0:19:35 | |
Don't you love me anymore? | 0:19:36 | 0:19:38 | |
Did you ever love me? | 0:19:40 | 0:19:42 | |
I'm sorry. I'm so sorry. I'm sorry. | 0:19:46 | 0:19:49 | |
I'm sorry about the porn and... | 0:19:49 | 0:19:52 | |
I'm sorry about putting you in rehab | 0:19:52 | 0:19:54 | |
-and I'm sorry for hating your mother and... -Everybody hates my mother. | 0:19:54 | 0:19:57 | |
Oh, God. | 0:19:59 | 0:20:00 | |
I have made such terrible mistakes, Donnie. | 0:20:00 | 0:20:03 | |
No, no, Ali. | 0:20:03 | 0:20:05 | |
Not like this one. | 0:20:09 | 0:20:11 | |
Try me. | 0:20:11 | 0:20:12 | |
Finding a cure means handing Dyad the keys to the kingdom. | 0:20:12 | 0:20:16 | |
Synthetically speaking. | 0:20:16 | 0:20:19 | |
Can you really cure Cosima? | 0:20:19 | 0:20:21 | |
Yes. | 0:20:21 | 0:20:23 | |
Though it's immodest to boast. | 0:20:23 | 0:20:25 | |
Then there's no question. | 0:20:25 | 0:20:26 | |
Arrange to take him to Dyad. | 0:20:28 | 0:20:30 | |
I guess we'll see if he's still one of them. | 0:20:31 | 0:20:34 | |
This is kind of nice, you know? | 0:20:43 | 0:20:45 | |
Kicking it in a limey boy's tub, all Bohemian and shit. | 0:20:45 | 0:20:48 | |
You got any more smokes? | 0:20:48 | 0:20:50 | |
-Tony. -Yeah? | 0:20:50 | 0:20:52 | |
I can't stand you sober, | 0:20:52 | 0:20:53 | |
so I'm going downstairs for some booze. | 0:20:53 | 0:20:56 | |
All right, sounds like a plan. | 0:20:56 | 0:20:58 | |
Maybe we can hit the town later. | 0:20:58 | 0:21:00 | |
-All right. -OK. | 0:21:13 | 0:21:14 | |
What have we got? | 0:21:14 | 0:21:15 | |
-Tony, formerly Antoinette Sawicki... -Sawicki? | 0:21:15 | 0:21:18 | |
Yeah, and Sammy Weldeen, both convicted thieves. | 0:21:18 | 0:21:21 | |
Seems Sammy got himself shot | 0:21:21 | 0:21:22 | |
in the middle of a job day before yesterday. | 0:21:22 | 0:21:24 | |
Assailants? Unknown. | 0:21:24 | 0:21:26 | |
His body turned up in a Cincinnati garage. | 0:21:26 | 0:21:28 | |
No. No, no. | 0:21:28 | 0:21:29 | |
I smell Monitor all over dead Sammy. | 0:21:29 | 0:21:32 | |
Why, why would he know Beth? | 0:21:34 | 0:21:36 | |
They met. Her phone records show a dozen long calls to Cincinnati | 0:21:36 | 0:21:39 | |
and she flew there twice. Did you get the message out of him? | 0:21:39 | 0:21:42 | |
No, he keeps getting up in my kitchen | 0:21:42 | 0:21:44 | |
at the same time I'm getting up in his. | 0:21:44 | 0:21:46 | |
-Well, did you tell him he's a clone? -What the hell?! | 0:21:46 | 0:21:49 | |
Do I have to take responsibility for that too? | 0:21:49 | 0:21:51 | |
Shit, look, let's just see what he says | 0:21:51 | 0:21:54 | |
after I get five or six of these into him. | 0:21:54 | 0:21:56 | |
I'll see where the search for him's at, | 0:21:56 | 0:21:58 | |
but I'm telling you, whoever shot Sammy will come looking for him. | 0:21:58 | 0:22:01 | |
-Dyad? -I don't know. But if I were you, | 0:22:01 | 0:22:03 | |
I would call Sarah and get it over with. | 0:22:03 | 0:22:06 | |
No, um, let me just take one more run at him | 0:22:06 | 0:22:08 | |
before I bring in the big guns, yeah? | 0:22:08 | 0:22:10 | |
All right. | 0:22:10 | 0:22:11 | |
Hmm. Bloody hell. | 0:22:21 | 0:22:23 | |
What do we have here? | 0:22:28 | 0:22:29 | |
You want a hit? | 0:22:29 | 0:22:32 | |
Warm, fuzzy rush of big T. | 0:22:32 | 0:22:34 | |
Testosterone. | 0:22:34 | 0:22:36 | |
No, thanks. | 0:22:36 | 0:22:38 | |
Once a week, come hell or high water. | 0:22:38 | 0:22:41 | |
Or my buddy getting killed. | 0:22:43 | 0:22:45 | |
Or Beth. | 0:22:47 | 0:22:48 | |
Or you, lookin' so good. | 0:22:50 | 0:22:52 | |
You're too kind, Tony. | 0:22:52 | 0:22:54 | |
-Tell me something, yeah? -Yeah. | 0:22:56 | 0:22:59 | |
Beth contacts you, and then Sammy sends a message to Beth, | 0:22:59 | 0:23:03 | |
so it seems to me that they knew each other. | 0:23:03 | 0:23:06 | |
You think? | 0:23:06 | 0:23:08 | |
How about you tell me how you knew Beth? | 0:23:08 | 0:23:11 | |
Same old story. | 0:23:11 | 0:23:13 | |
Rent boy meets police officer. Intrigue ensues. | 0:23:13 | 0:23:16 | |
Right. | 0:23:16 | 0:23:18 | |
Hey, you sure you don't want a hit? | 0:23:18 | 0:23:20 | |
It'll put some hair on your chest. | 0:23:20 | 0:23:22 | |
I get to shave mine. | 0:23:22 | 0:23:24 | |
-Quick, aren't ya? -Mm-hmm. | 0:23:25 | 0:23:27 | |
Well, you've got absolutely nothing I haven't seen before. | 0:23:29 | 0:23:33 | |
Let's drink to that. | 0:23:33 | 0:23:35 | |
"You cannot imagine the strange, | 0:23:39 | 0:23:42 | |
"colourless delight | 0:23:42 | 0:23:44 | |
"of these intellectual desires. | 0:23:44 | 0:23:47 | |
"The thing standing before you | 0:23:47 | 0:23:49 | |
"is no longer an animal, a fellow-creature, | 0:23:49 | 0:23:52 | |
"but a problem!" | 0:23:52 | 0:23:53 | |
Hey. Do you seriously think that's appropriate? | 0:23:53 | 0:23:56 | |
KNOCKING | 0:23:56 | 0:23:58 | |
We're ready. | 0:24:05 | 0:24:06 | |
Benjamin. | 0:24:06 | 0:24:08 | |
It's time, Ethan. | 0:24:08 | 0:24:10 | |
Don't worry, hmm? | 0:24:22 | 0:24:24 | |
I'm nobody's pawn. | 0:24:24 | 0:24:26 | |
PHONE RINGS | 0:24:28 | 0:24:29 | |
Hello, Felix? | 0:24:31 | 0:24:33 | |
'Hey, Sarah. Oh, God.' | 0:24:33 | 0:24:35 | |
What?! | 0:24:35 | 0:24:36 | |
It's another naive clone. | 0:24:36 | 0:24:39 | |
'Shit! Who is she?' | 0:24:39 | 0:24:41 | |
ROCK MUSIC BLARES | 0:24:41 | 0:24:43 | |
That's the thing. | 0:24:43 | 0:24:45 | |
She's a he. | 0:24:45 | 0:24:47 | |
What? A boy clone? | 0:24:47 | 0:24:49 | |
'From a whole new batch, then.' | 0:24:49 | 0:24:51 | |
No. | 0:24:51 | 0:24:53 | |
No, it's definitely your batch. | 0:24:53 | 0:24:54 | |
Can you just get here as fast as you can, all right? | 0:24:54 | 0:24:57 | |
OK, great, thanks. | 0:24:57 | 0:24:59 | |
Who was that? | 0:25:00 | 0:25:02 | |
It was my sister. | 0:25:02 | 0:25:04 | |
Foster sister? | 0:25:04 | 0:25:06 | |
Yeah, it was my foster sister. | 0:25:06 | 0:25:07 | |
Tasty Tony. | 0:25:23 | 0:25:25 | |
Fluidity doesn't shock me either, Tony. | 0:25:25 | 0:25:28 | |
Something did. | 0:25:28 | 0:25:30 | |
HE MOANS SOFTLY | 0:25:32 | 0:25:33 | |
Mnh-mnh. | 0:25:36 | 0:25:38 | |
Who's this over here? | 0:25:50 | 0:25:52 | |
Hmm? | 0:25:52 | 0:25:54 | |
-Is this Beth Childs? -No. | 0:25:54 | 0:25:57 | |
Is Beth Childs your sister? | 0:25:57 | 0:25:59 | |
-No, that's my sister. -You want me to punch you in the head? | 0:25:59 | 0:26:02 | |
What's with her dick, huh? | 0:26:05 | 0:26:08 | |
Creative licence, nothing more. | 0:26:08 | 0:26:09 | |
You going to tell me what the hell's going on here, Felix? | 0:26:11 | 0:26:13 | |
Depends, Tony. Are you going to tell me what Beth's message is? | 0:26:13 | 0:26:16 | |
LAUGHTER | 0:26:19 | 0:26:21 | |
I am h-helium and I'm way funnier | 0:26:29 | 0:26:32 | |
than polonium. SHE LAUGHS HYSTERICALLY | 0:26:32 | 0:26:35 | |
Ow, my... Ow! | 0:26:35 | 0:26:37 | |
Helium is way funnier than polonium. | 0:26:37 | 0:26:40 | |
Oh, my God! | 0:26:40 | 0:26:42 | |
Aah! | 0:26:42 | 0:26:44 | |
Is the helium voice gone now? | 0:26:51 | 0:26:53 | |
Ohh...yes. | 0:26:53 | 0:26:54 | |
It is. | 0:26:54 | 0:26:56 | |
Good. | 0:26:56 | 0:26:57 | |
Because there is something important I want to tell you. | 0:26:57 | 0:27:01 | |
Je t'aime. | 0:27:04 | 0:27:05 | |
Is that why you didn't tell me | 0:27:07 | 0:27:10 | |
that they were Kira's stem cells? | 0:27:10 | 0:27:11 | |
-Yes. -Is that why, even before I got here, | 0:27:13 | 0:27:17 | |
you gave Dr Leekie my blood samples, | 0:27:17 | 0:27:19 | |
-even though I told you not to? -Cosima... | 0:27:19 | 0:27:22 | |
It's your life. | 0:27:24 | 0:27:26 | |
It's not just that. | 0:27:26 | 0:27:28 | |
It's all of us. | 0:27:30 | 0:27:31 | |
You have to love all of us. | 0:27:31 | 0:27:34 | |
Then I love all of you. | 0:27:35 | 0:27:36 | |
Good. | 0:27:39 | 0:27:41 | |
Because if you betray us again, | 0:27:42 | 0:27:44 | |
I have enough dirt on you to destroy your career. | 0:27:44 | 0:27:47 | |
And I love you, too. | 0:27:54 | 0:27:56 | |
I don't know. I don't know. I feel like someone | 0:28:02 | 0:28:05 | |
pulled the planet out from under me. | 0:28:05 | 0:28:06 | |
Yeah, that's good. Keep going. | 0:28:06 | 0:28:10 | |
I thought I was doing something worthwhile, | 0:28:10 | 0:28:12 | |
a sociological study. | 0:28:12 | 0:28:15 | |
-I feel so stupid. -Mm-hmm. | 0:28:15 | 0:28:18 | |
Goddamn Leekie, | 0:28:18 | 0:28:22 | |
with his big, stupid face, | 0:28:22 | 0:28:25 | |
sneaking doctors in here, examining you! | 0:28:25 | 0:28:28 | |
My own, sweet wife! | 0:28:30 | 0:28:32 | |
I understand furious, | 0:28:32 | 0:28:33 | |
darling, being humiliated by... | 0:28:33 | 0:28:38 | |
unspoken things. | 0:28:38 | 0:28:41 | |
I have to confess something about Aynsley's accident. | 0:28:44 | 0:28:48 | |
INAUDIBLE | 0:28:56 | 0:28:58 | |
Please don't think I'm horrible. | 0:29:05 | 0:29:07 | |
I killed Dr Leekie. | 0:29:15 | 0:29:18 | |
You're killing me, man. | 0:29:20 | 0:29:22 | |
How come you have a friggin' painting with my face on it, eh? | 0:29:22 | 0:29:25 | |
I want to tell you. It's not my place. | 0:29:25 | 0:29:27 | |
Right. Right. | 0:29:27 | 0:29:29 | |
You know, my buddy Sammy, | 0:29:29 | 0:29:31 | |
he didn't give a shit what was going on between my legs. | 0:29:31 | 0:29:35 | |
He just saw me, all right? | 0:29:35 | 0:29:37 | |
And he sends me here with some frickin' message | 0:29:37 | 0:29:39 | |
and you're not going to explain to me why? | 0:29:39 | 0:29:42 | |
Just 30 minutes, all right? | 0:29:42 | 0:29:45 | |
I've given you all frickin' night, man. | 0:29:45 | 0:29:48 | |
I will tell you everything, if you just wait. | 0:29:48 | 0:29:51 | |
-Bullshit. -Stop! | 0:29:51 | 0:29:54 | |
You wouldn't believe me, even if I told you. | 0:29:54 | 0:29:55 | |
-Out of my way. -Tony! | 0:29:55 | 0:29:57 | |
Tony... | 0:29:57 | 0:29:59 | |
-Whoa... -Shite! -Tony, this is Sarah. | 0:30:04 | 0:30:07 | |
Your sister. | 0:30:07 | 0:30:09 | |
Never had to do this with one of our own before. | 0:30:14 | 0:30:17 | |
Cosima sort of jumped me into the whole clone thing. | 0:30:17 | 0:30:19 | |
-Sarah. -Yeah? | 0:30:19 | 0:30:22 | |
Shut your yap for a second. | 0:30:22 | 0:30:24 | |
Sure. | 0:30:24 | 0:30:25 | |
Jesus Christ. | 0:30:28 | 0:30:30 | |
My mom always said that they made a mistake | 0:30:32 | 0:30:35 | |
down at the IVF clinic, but, shit. | 0:30:35 | 0:30:39 | |
You all right, mate? | 0:30:39 | 0:30:40 | |
It's a lot to take in. | 0:30:40 | 0:30:42 | |
Yeah, yeah. | 0:30:42 | 0:30:44 | |
Look at us. We're hot. | 0:30:44 | 0:30:46 | |
Damn, girl. | 0:30:48 | 0:30:50 | |
Not our usual identity crisis. | 0:30:50 | 0:30:54 | |
I did all that work a long time ago. | 0:30:54 | 0:30:57 | |
There's only one Tony and you're not me, sucker. | 0:30:57 | 0:31:01 | |
I guess this is the new guy. | 0:31:01 | 0:31:03 | |
-Mm. -Damn right. | 0:31:03 | 0:31:05 | |
Let's cut the shit, all right? | 0:31:05 | 0:31:08 | |
I got a message and I want to know who they were. | 0:31:08 | 0:31:11 | |
"They"? | 0:31:11 | 0:31:13 | |
Them, all right? The suits who ambushed me and Sammy. | 0:31:13 | 0:31:16 | |
Sammy was ex-military, | 0:31:16 | 0:31:18 | |
so a lot of our jobs came from his old army contacts. | 0:31:18 | 0:31:22 | |
What's the message? | 0:31:22 | 0:31:23 | |
Sammy's exact words? | 0:31:26 | 0:31:28 | |
"Tell Beth keep the faith. | 0:31:29 | 0:31:32 | |
"Paul's like me. He's on it. | 0:31:32 | 0:31:35 | |
"He's a ghost." | 0:31:35 | 0:31:37 | |
A ghost? That's it? | 0:31:37 | 0:31:39 | |
Yeah. Then he died. | 0:31:39 | 0:31:41 | |
Sorry. | 0:31:44 | 0:31:46 | |
Paul. | 0:31:48 | 0:31:50 | |
No trace? No travel alerts, | 0:31:53 | 0:31:55 | |
no digital trail, Paul's disappeared? | 0:31:55 | 0:31:58 | |
Keep looking. | 0:31:58 | 0:32:00 | |
Professor Duncan. | 0:32:04 | 0:32:06 | |
Hello again, Rachel. | 0:32:06 | 0:32:08 | |
I'm so relieved we could arrange this. | 0:32:08 | 0:32:11 | |
Would you like some tea? | 0:32:11 | 0:32:13 | |
Oh, yes, please, my dear. | 0:32:13 | 0:32:15 | |
With lemon. | 0:32:15 | 0:32:16 | |
I feel I must apologise | 0:32:20 | 0:32:22 | |
for our last meeting. | 0:32:22 | 0:32:25 | |
I was overly emotional. | 0:32:25 | 0:32:26 | |
Well, we both were, my dear. | 0:32:26 | 0:32:29 | |
It was a day I'd dreamt of for 20 years. | 0:32:29 | 0:32:31 | |
Well, I have not. | 0:32:31 | 0:32:33 | |
Our relationship must remain... | 0:32:33 | 0:32:36 | |
professional, | 0:32:36 | 0:32:38 | |
for all concerned. | 0:32:38 | 0:32:41 | |
Do you remember I used to read you The Island of Dr Moreau? | 0:32:41 | 0:32:46 | |
Yes. | 0:32:48 | 0:32:49 | |
How does it go? Um... | 0:32:49 | 0:32:51 | |
the bit about | 0:32:51 | 0:32:52 | |
how he'd be forgiven for hate, | 0:32:52 | 0:32:56 | |
but not for irresponsibility. | 0:32:56 | 0:32:59 | |
I don't recall. | 0:33:01 | 0:33:03 | |
Why? | 0:33:03 | 0:33:04 | |
I hope you can forgive me | 0:33:04 | 0:33:06 | |
for being glad that Aldous Leekie is dead. | 0:33:06 | 0:33:09 | |
Of course. | 0:33:13 | 0:33:14 | |
OK. Oh, oh! Um... | 0:33:17 | 0:33:20 | |
I'm pretty sure he crapped himself. | 0:33:20 | 0:33:23 | |
Ohh, Dinah. | 0:33:23 | 0:33:25 | |
I'm sorry. | 0:33:25 | 0:33:26 | |
I was going to take him with me. | 0:33:26 | 0:33:28 | |
That's the director of the Dyad Institute. | 0:33:31 | 0:33:35 | |
He just got in and I whacked him. | 0:33:35 | 0:33:40 | |
I didn't even mean to. | 0:33:40 | 0:33:41 | |
-Oh, God... -OK, just relax, Donnie. | 0:33:41 | 0:33:44 | |
He is not at all well-wrapped. | 0:33:44 | 0:33:46 | |
You're worried about the trunk? | 0:33:46 | 0:33:49 | |
Yes! I'm going to make a new liner. | 0:33:49 | 0:33:51 | |
And I hope that you threw the weapon in the lake. | 0:33:51 | 0:33:54 | |
I put it back in your gun locker. | 0:33:54 | 0:33:57 | |
-You used my gun?! -Uh... | 0:33:57 | 0:34:00 | |
This message... It's like | 0:34:00 | 0:34:03 | |
Sammy's trying to reassure Beth about Paul. | 0:34:03 | 0:34:07 | |
-They're both military. What the hell does that mean? -I don't know. | 0:34:07 | 0:34:09 | |
Leekie's gone. Paul's AWOL. Enjoy it. | 0:34:09 | 0:34:12 | |
-Are you going to be all right? -Yeah. | 0:34:12 | 0:34:15 | |
He's got some of your worst qualities. | 0:34:15 | 0:34:19 | |
You're the very best of us. | 0:34:23 | 0:34:25 | |
I know. Hmm. | 0:34:25 | 0:34:27 | |
Bye. | 0:34:29 | 0:34:30 | |
Bye. Be safe. | 0:34:30 | 0:34:33 | |
Do you want another whiskey? | 0:34:38 | 0:34:41 | |
I got sisters. | 0:34:41 | 0:34:43 | |
That you do, Tony. | 0:34:43 | 0:34:45 | |
That you do. | 0:34:45 | 0:34:46 | |
You know what? I think I'd get along with dreadlocks, over there, but... | 0:34:48 | 0:34:52 | |
that one with the soccer ball | 0:34:52 | 0:34:54 | |
looks like a douche. | 0:34:54 | 0:34:56 | |
She's a functional alcoholic. | 0:34:56 | 0:34:58 | |
But she's not that bad. | 0:34:58 | 0:34:59 | |
Lucky for you, I'm going to keep you away from all of this. | 0:34:59 | 0:35:04 | |
For now. | 0:35:06 | 0:35:07 | |
These are items I need to begin unlocking the synthetic sequences. | 0:35:13 | 0:35:18 | |
A floppy-disk drive? | 0:35:21 | 0:35:22 | |
Well, I only claim the road map, coordinates, entirely low-tech. | 0:35:22 | 0:35:26 | |
Once you've located them, | 0:35:26 | 0:35:28 | |
Cosima has unlimited resources. | 0:35:28 | 0:35:30 | |
Ah. | 0:35:30 | 0:35:32 | |
But the child is still the prize, isn't she? | 0:35:32 | 0:35:35 | |
Little Kira. | 0:35:35 | 0:35:36 | |
Answer me this, Professor. | 0:35:38 | 0:35:39 | |
Why Sarah? | 0:35:42 | 0:35:44 | |
Of all of us, | 0:35:44 | 0:35:46 | |
how is it the unmonitored tramp was successful? | 0:35:46 | 0:35:50 | |
In her fertility? | 0:35:50 | 0:35:51 | |
Ha! Rachel, | 0:35:51 | 0:35:54 | |
she's a failure, not a success. | 0:35:54 | 0:35:56 | |
You are all barren by design. | 0:35:56 | 0:35:58 | |
Agh! | 0:36:04 | 0:36:05 | |
I suppose you couldn't have created | 0:36:07 | 0:36:09 | |
a reproducing prototype, could you? | 0:36:09 | 0:36:13 | |
Aaaah! | 0:36:13 | 0:36:16 | |
That would be irresponsible. | 0:36:16 | 0:36:18 | |
Which is unforgivable. | 0:36:19 | 0:36:21 | |
Ahem, Dr Cormier will introduce you to Cosima. | 0:36:26 | 0:36:30 | |
-Enchante. -It's time we begin fixing your mistakes. | 0:36:30 | 0:36:34 | |
Did you get all your stuff? | 0:36:45 | 0:36:47 | |
-Mm-hmm. -Hey. The cops found your stolen car, Tony. | 0:36:47 | 0:36:51 | |
Which means the Dyad's not going to be far behind. | 0:36:51 | 0:36:53 | |
We do get it, Arthur, OK? | 0:36:53 | 0:36:55 | |
Can you give us like two minutes, please? | 0:36:55 | 0:36:57 | |
Yeah. Yeah, I'll be downstairs. | 0:36:57 | 0:37:00 | |
But he needs to be on a bus. | 0:37:00 | 0:37:02 | |
Now. | 0:37:02 | 0:37:04 | |
Hmm. | 0:37:04 | 0:37:06 | |
Tell me something... | 0:37:06 | 0:37:08 | |
why is it that I'm not worried about you? | 0:37:08 | 0:37:10 | |
Cos this is how I roll. | 0:37:10 | 0:37:13 | |
Can't fence this shit in. | 0:37:13 | 0:37:15 | |
All right, there, Tennessee Waterfall. | 0:37:16 | 0:37:18 | |
Take this. There's three numbers in there, yeah? | 0:37:21 | 0:37:25 | |
Me, Art, and Sarah. | 0:37:25 | 0:37:26 | |
You call it if anything goes wrong. | 0:37:26 | 0:37:29 | |
You little... | 0:37:32 | 0:37:34 | |
Later, sister-kisser. | 0:37:35 | 0:37:37 | |
HE CHUCKLES | 0:37:37 | 0:37:38 | |
OK, come on, Scott, they're almost here. | 0:37:46 | 0:37:49 | |
Ohh! Give me a break. | 0:37:49 | 0:37:51 | |
What are you doing? | 0:37:51 | 0:37:52 | |
-No. -No? | 0:37:52 | 0:37:54 | |
All right. | 0:37:57 | 0:37:59 | |
Wow, the original geneticist. | 0:37:59 | 0:38:02 | |
-Yeah. -I assume he's here to help us with 324B21. | 0:38:02 | 0:38:05 | |
Cos, otherwise... | 0:38:05 | 0:38:06 | |
Scott. | 0:38:06 | 0:38:08 | |
It's me. | 0:38:08 | 0:38:10 | |
I'm 324B21. | 0:38:10 | 0:38:12 | |
You? | 0:38:16 | 0:38:18 | |
Do you need me to beam you up, Scotty? | 0:38:18 | 0:38:21 | |
It's an honour, Cosima. | 0:38:29 | 0:38:32 | |
An honour to be working with you. | 0:38:34 | 0:38:38 | |
OK. | 0:38:41 | 0:38:42 | |
Cosima. | 0:38:43 | 0:38:45 | |
This is... | 0:38:48 | 0:38:49 | |
Professor Duncan. Hi. My maker. | 0:38:49 | 0:38:51 | |
Oh, please, don't call me that. | 0:38:51 | 0:38:54 | |
It's "Ethan". | 0:38:54 | 0:38:55 | |
It's not every day you get to meet your, uh, | 0:38:55 | 0:38:57 | |
Ethan. | 0:38:57 | 0:38:58 | |
No, I suppose not. | 0:39:00 | 0:39:02 | |
We're ready to work. | 0:39:02 | 0:39:04 | |
We're very optimistic. | 0:39:04 | 0:39:06 | |
Mm-hmm. Mm-hmm. | 0:39:06 | 0:39:08 | |
This is Scott. | 0:39:08 | 0:39:11 | |
Um... | 0:39:11 | 0:39:12 | |
He's new to the whole thing, but... | 0:39:12 | 0:39:16 | |
but, um, indispensable. | 0:39:16 | 0:39:19 | |
SHE COUGHS | 0:39:19 | 0:39:21 | |
Cosima? | 0:39:23 | 0:39:24 | |
-God! -Cosima! | 0:39:26 | 0:39:28 | |
Wait, wait. Give her some space. Ethan, get some help, now. | 0:39:28 | 0:39:31 | |
VOICES FADE AWAY | 0:39:31 | 0:39:33 | |
-Now! -I'll be right back! | 0:39:33 | 0:39:35 | |
Cosima, can you hear me? | 0:39:42 | 0:39:45 | |
We need some help! | 0:39:45 | 0:39:47 | |
Cosima! | 0:39:47 | 0:39:49 | |
What's up with your garage? | 0:40:48 | 0:40:51 | |
-Oil change. -Renovating. | 0:40:51 | 0:40:52 | |
-Now for the embryos. -Those are my babies? | 0:40:52 | 0:40:54 | |
Feel free to spend as much time here as you wish. | 0:40:54 | 0:40:56 | |
You're part of our family now. | 0:40:56 | 0:40:58 | |
I'd like you to take over as interim director. | 0:40:58 | 0:41:00 | |
The disease is spreading too rapidly. | 0:41:00 | 0:41:01 | |
-But if we can reboot her immune system... -With my kid's bone marrow! | 0:41:01 | 0:41:06 | |
-Will Auntie Cosima die? -She might. | 0:41:06 | 0:41:08 |