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This programme contains some scenes which some viewers may find upsetting | 0:00:13 | 0:00:20 | |
Some sort of morphic field suspended the human race. | 0:00:20 | 0:00:24 | |
Because this miracle, it's as if something is willing them to go on. | 0:00:24 | 0:00:28 | |
-What's wrong with your sister? -She's not sick. She just... | 0:00:28 | 0:00:32 | |
..can't cope. | 0:00:33 | 0:00:36 | |
-Oh, my God. -They're ready for a war. | 0:00:36 | 0:00:40 | |
No, they were ready for the miracle. | 0:00:40 | 0:00:43 | |
PhiCorp knew it was coming. | 0:00:43 | 0:00:46 | |
-I did visit PhiCorp and they were kind enough to offer me protection. -In exchange for what? | 0:00:46 | 0:00:51 | |
The message. | 0:00:51 | 0:00:52 | |
Who are you? | 0:00:55 | 0:00:57 | |
-They could have traced that handset. -Let's get out of here. I think we've got them worried. | 0:00:57 | 0:01:01 | |
Sarah? | 0:01:24 | 0:01:26 | |
It's me. It's Esther. | 0:01:28 | 0:01:30 | |
Sarah! | 0:01:33 | 0:01:35 | |
Are you there? | 0:01:35 | 0:01:37 | |
LOCK CLICKS | 0:01:37 | 0:01:41 | |
-Hey. -These people, they were looking for you. | 0:01:48 | 0:01:52 | |
-They kept asking me questions about you. -I know. | 0:01:52 | 0:01:55 | |
I'm sorry. I can't stay long, but... | 0:01:55 | 0:01:58 | |
What have you done with the house? | 0:01:59 | 0:02:01 | |
-Where are the kids? -They're in here, with me. | 0:02:04 | 0:02:08 | |
Can I see them? | 0:02:08 | 0:02:11 | |
Esther, I'd never hurt them. | 0:02:11 | 0:02:13 | |
-But I can't stay. -Mom! -> | 0:02:13 | 0:02:15 | |
I'm leaving town. I've got to go today. | 0:02:15 | 0:02:18 | |
Don't go to Boston. | 0:02:18 | 0:02:20 | |
There's cholera in Boston, they said on the news. | 0:02:20 | 0:02:24 | |
Don't go to Philly either - dysentery. | 0:02:24 | 0:02:27 | |
-New York's got typhus and hemorrhagic fever. -Sarah... | 0:02:27 | 0:02:32 | |
that's just what they're saying online. | 0:02:32 | 0:02:34 | |
But we've changed, | 0:02:34 | 0:02:36 | |
all of us, didn't we? | 0:02:36 | 0:02:39 | |
Something in the air...infected us. | 0:02:39 | 0:02:42 | |
-Made us godless. -Let me in. | 0:02:43 | 0:02:45 | |
-Let me see the girls. -I'm not letting them out. They can't come outside. I won't let them! | 0:02:45 | 0:02:50 | |
-Let me in, Sarah, please! -Mom, tell her to stop! | 0:02:50 | 0:02:53 | |
Honey, I know this is crazy, but... | 0:02:55 | 0:02:58 | |
you're safe, I promise. | 0:02:58 | 0:03:00 | |
Look, I'm working with these people and we're going to stop this. | 0:03:04 | 0:03:09 | |
I'm leaving town with them and we've got things to do, | 0:03:09 | 0:03:11 | |
but I'll come back as soon as I can. | 0:03:11 | 0:03:15 | |
Please... | 0:03:18 | 0:03:21 | |
Please let me say goodbye to the girls. | 0:03:21 | 0:03:23 | |
No. | 0:03:23 | 0:03:26 | |
-Mom! -No. | 0:03:26 | 0:03:28 | |
I'll come back... | 0:03:32 | 0:03:34 | |
..as soon as I can, OK? | 0:03:37 | 0:03:39 | |
DIALLING TONE | 0:03:53 | 0:03:55 | |
Hello. | 0:03:55 | 0:03:57 | |
Yeah, I'd like to...report... | 0:03:59 | 0:04:02 | |
..there are two children that I believe might be in danger. | 0:04:05 | 0:04:09 | |
Melanie and...and Alice Drummond, | 0:04:09 | 0:04:14 | |
daughters of Sarah Drummond. | 0:04:14 | 0:04:16 | |
Their address is... | 0:04:16 | 0:04:19 | |
1032... | 0:04:19 | 0:04:21 | |
King Sovereign Road. | 0:04:21 | 0:04:23 | |
I'm sorry. I can't give you my name. | 0:04:23 | 0:04:26 | |
I just want you to help them. | 0:04:26 | 0:04:28 | |
PHONE BEEPS | 0:04:30 | 0:04:32 | |
ENGINE STARTS | 0:04:32 | 0:04:33 | |
Confirmed. I found Esther Drummond. | 0:04:41 | 0:04:44 | |
The pathway to Torchwood's open and clear. | 0:04:44 | 0:04:46 | |
'Follow her to Harkness. Do what you like with the others.' | 0:04:46 | 0:04:49 | |
And the miracle continues | 0:05:12 | 0:05:13 | |
with healthcare throughout America now reaching a state of crisis. | 0:05:13 | 0:05:17 | |
The courts have been flooded with claims and counterclaims | 0:05:17 | 0:05:21 | |
as people adjust to a new form of life. | 0:05:21 | 0:05:23 | |
I had a heart attack in October. | 0:05:23 | 0:05:25 | |
The company replaced me, but I can still work. | 0:05:25 | 0:05:27 | |
I'm not like I'm going to die, am I? | 0:05:27 | 0:05:29 | |
So, if I have to sue them to get my job back, then I will. | 0:05:29 | 0:05:32 | |
Who is there to speak for the living when the White House is silent, | 0:05:32 | 0:05:36 | |
the Vatican is silent, the scientists are silent? | 0:05:36 | 0:05:38 | |
Well, I am not. | 0:05:38 | 0:05:40 | |
In business news, pharmaceutical companies are predicting record profits. | 0:05:40 | 0:05:44 | |
PhiCorp has pledged a payback scheme | 0:05:44 | 0:05:47 | |
in local communities around its Los Angeles headquarters. | 0:05:47 | 0:05:50 | |
Ugh, 2,700 miles. | 0:06:06 | 0:06:08 | |
Man, am I sick of your ugly faces! | 0:06:08 | 0:06:10 | |
Ugh! | 0:06:12 | 0:06:14 | |
Anyone got change for the meter? | 0:06:16 | 0:06:18 | |
Last thing we need is getting a ticket. | 0:06:18 | 0:06:20 | |
-No coins. -I've only got plastic. You said no plastic. | 0:06:20 | 0:06:25 | |
Hey, my man. You got change for a dollar? | 0:06:28 | 0:06:31 | |
Wow, look at that horizon! | 0:06:31 | 0:06:34 | |
We've reached the edge of America. | 0:06:34 | 0:06:36 | |
GWEN LAUGHS | 0:06:36 | 0:06:38 | |
Decades since I saw the Pacific. | 0:06:38 | 0:06:40 | |
Must be about 70 years. | 0:06:40 | 0:06:42 | |
Are you kidding when you say things like that? | 0:06:42 | 0:06:45 | |
Oh-ho-ho! I wonder. | 0:06:45 | 0:06:46 | |
So, where's PhiCorp from here? | 0:06:46 | 0:06:49 | |
Maybe about...ten miles that way. | 0:06:49 | 0:06:51 | |
Technically, it's another city. | 0:06:51 | 0:06:53 | |
PhiCorp headquarters is in Los Angeles and we're in Venice. | 0:06:53 | 0:06:56 | |
We need to find somewhere to hide while we plan the assault. | 0:06:56 | 0:06:59 | |
Can't we stay here, by the sea? | 0:06:59 | 0:07:01 | |
Not some stinking, dirty pit for once, Jack! | 0:07:01 | 0:07:05 | |
Please? | 0:07:06 | 0:07:08 | |
Hey, man. | 0:07:14 | 0:07:16 | |
Believe! | 0:07:16 | 0:07:17 | |
DIALLING TONE | 0:07:25 | 0:07:27 | |
-Can't get rid of you, can I, dead man walking? -'Yeah, yeah.' | 0:07:27 | 0:07:30 | |
What is this "Dead Is Dead" shit? I see posters all over the place. | 0:07:30 | 0:07:33 | |
It's the latest campaign. | 0:07:33 | 0:07:35 | |
As if Oswald Danes wasn't bad enough, this one's led by Ellis Hartley Monroe. | 0:07:35 | 0:07:40 | |
A small-town mayor trying to make a name for herself. Where are you? | 0:07:40 | 0:07:43 | |
Sorry, Doc, no can say. But if I wanted to know where I could get prescription drugs in Los Angeles, | 0:07:43 | 0:07:48 | |
no questions asked, you could make your own conclusions. | 0:07:48 | 0:07:51 | |
-And that's the only reason you called me? -Well, you are the doctor! | 0:07:51 | 0:07:55 | |
-What are you doing in LA? -I never said I was in LA. | 0:07:56 | 0:07:59 | |
It may surprise you that I haven't got my own private network of drug runners on the West Coast. | 0:07:59 | 0:08:04 | |
'Come on, Vera.' | 0:08:04 | 0:08:05 | |
I've seen what you can do with the doctor-patient relationship, | 0:08:05 | 0:08:09 | |
and the Hippocratic Oath, it doesn't cover it. | 0:08:09 | 0:08:11 | |
Ellis Hartley Monroe started the Dead Is Dead campaign, and do you know why? | 0:08:11 | 0:08:15 | |
She thinks we should treat people who should have died as if they're already dead. | 0:08:15 | 0:08:19 | |
I think she's got a point. | 0:08:19 | 0:08:21 | |
-HE CHUCKLES -I'm busy. Thank you, Rex. | 0:08:21 | 0:08:24 | |
You are so going to call me back. | 0:08:24 | 0:08:26 | |
I'm so not. | 0:08:26 | 0:08:27 | |
We don't have all day, Dr Juarez. | 0:08:32 | 0:08:35 | |
'This hospital has been empty' | 0:08:35 | 0:08:38 | |
since '92, '93, | 0:08:38 | 0:08:40 | |
but it's still in remarkable condition, all things considered. | 0:08:40 | 0:08:44 | |
So, if you could listen. | 0:08:44 | 0:08:48 | |
Now, we have representatives from City General, | 0:08:48 | 0:08:53 | |
St Mary's, St Helen's, | 0:08:53 | 0:08:55 | |
the Open Brook, Grand Maple Forest, Attwood's and Woolsey Heights, yes? | 0:08:55 | 0:09:01 | |
All of you with ICU departments stretched to the breaking point. | 0:09:01 | 0:09:07 | |
This would be the solution. | 0:09:07 | 0:09:08 | |
We bring them all here, all the emergency patients en masse. | 0:09:08 | 0:09:12 | |
Rather than 15 hospitals at maximum capacity, we have one. This one. | 0:09:12 | 0:09:17 | |
It's abandoned. We're going to need equipment and staff. | 0:09:17 | 0:09:20 | |
All that taken into consideration, but the strategy would work. | 0:09:20 | 0:09:23 | |
So, we just put everyone inside and close the door? | 0:09:23 | 0:09:26 | |
Do you know what they called that in the old days? | 0:09:26 | 0:09:28 | |
-A plague ship. -Let me stress this. | 0:09:28 | 0:09:30 | |
This is a short-term measure. | 0:09:30 | 0:09:33 | |
The plan itself would have to be initiated by tomorrow. | 0:09:33 | 0:09:36 | |
-That's impossible. -That's not enough time. | 0:09:36 | 0:09:38 | |
The people want a healthcare solution and they want it immediately. | 0:09:38 | 0:09:42 | |
For most of the people, Miracle Day is just that, it's a miracle. | 0:09:42 | 0:09:46 | |
People are beginning to move beyond the panic, to the possibilities of a golden age. | 0:09:46 | 0:09:50 | |
-As long as the sick and the old are hidden away from sight. -Exactly. | 0:09:50 | 0:09:53 | |
But let's not forget, this isn't anything new. | 0:09:53 | 0:09:56 | |
The Western world has always hidden its unwanted. | 0:09:56 | 0:09:59 | |
We signed on for that a long time ago, before any miracles appeared. | 0:09:59 | 0:10:03 | |
And you, you said yourself - the plague ship is an old idea. | 0:10:03 | 0:10:08 | |
Now...I have set up a schedule | 0:10:09 | 0:10:11 | |
and I've made a list of transport liaison managers... | 0:10:11 | 0:10:16 | |
Well, I'm not going to pretend it ain't nirvana. | 0:10:22 | 0:10:24 | |
But this is the best I've got. | 0:10:24 | 0:10:27 | |
As long as it's got electricity and a roof, this is all we need. | 0:10:27 | 0:10:30 | |
-Hot water would be good. -I don't suppose it's any good asking who you are. | 0:10:30 | 0:10:33 | |
-We're travelling circus folk. -And he's the clown. | 0:10:33 | 0:10:36 | |
-I'm the bearded woman, but I shaved. -You missed a bit. | 0:10:36 | 0:10:39 | |
Cash in hand, and there's more of that tomorrow, as long as you don't tell anyone we're here. | 0:10:39 | 0:10:44 | |
If anybody does ask, you let us know straight away. | 0:10:44 | 0:10:46 | |
Sure thing. | 0:10:46 | 0:10:48 | |
By the way, if you get hungry, | 0:10:49 | 0:10:52 | |
there's a cafe on the corner does a guava-jalapeno cheese tart that's fabulous. | 0:10:52 | 0:10:55 | |
Laters. | 0:10:55 | 0:10:57 | |
Fabulous? What is it with you? | 0:10:59 | 0:11:02 | |
-You make everybody around you gay? -That's the plan. | 0:11:02 | 0:11:04 | |
OK, now we can use this place as our delivery address, we can order that spare server. | 0:11:04 | 0:11:09 | |
Then we start in on PhiCorp. | 0:11:09 | 0:11:11 | |
But first thing we've got to do is lift out the security profile. | 0:11:11 | 0:11:14 | |
-PHONE RINGS -I've got to take this. Sorry. Um, yeah. I... | 0:11:14 | 0:11:17 | |
Sorry. | 0:11:17 | 0:11:19 | |
No, you know what Torchwood's like. It's terrible. | 0:11:21 | 0:11:23 | |
I mean, we're living in this... | 0:11:23 | 0:11:26 | |
shed thing, | 0:11:26 | 0:11:28 | |
'and there's no electricity, there's no water.' | 0:11:28 | 0:11:31 | |
It's dark | 0:11:31 | 0:11:32 | |
and cold and damp. | 0:11:32 | 0:11:34 | |
I thought it was boiling hot in Los Angeles all year round. | 0:11:34 | 0:11:38 | |
-Well, they lied, Rhys. -CHATTER IN BACKGROUND | 0:11:38 | 0:11:40 | |
-What's that noise? Is that people? -'Yeah.' | 0:11:40 | 0:11:43 | |
-Street gangs. -SEAGULL CRIES | 0:11:43 | 0:11:45 | |
Was that a seagull? | 0:11:45 | 0:11:47 | |
Er...it's a woman, | 0:11:47 | 0:11:49 | |
er...on the rampage. | 0:11:49 | 0:11:52 | |
A mad woman. Anyway, so how's my little girl? | 0:11:52 | 0:11:54 | |
Don't call me that, Gwen! | 0:11:54 | 0:11:56 | |
You're very funny. Do I get to say hello? | 0:11:56 | 0:11:58 | |
No! It took me two hours to get her to sleep. She was fretting like mad. | 0:11:58 | 0:12:03 | |
-I'm not waking her, so tough. -I'm not on holiday, Rhys. | 0:12:03 | 0:12:05 | |
-I'm out here working. -'Still, tough.' | 0:12:05 | 0:12:08 | |
-So, what's happening with PhiCorp, then? -'Uh, yeah, things.' | 0:12:08 | 0:12:12 | |
Esther's bouncing this signal off the Chinese satellite, so I don't want to say too much. | 0:12:12 | 0:12:16 | |
There's one thing you've got to sort out, OK, and that's my dad. | 0:12:22 | 0:12:26 | |
'They keep saying the hospitals are full of MRSA,' | 0:12:26 | 0:12:28 | |
-so can you get him out? -That's impossible, honestly, now. | 0:12:28 | 0:12:31 | |
They said on the news no-one's allowed to move. But he's safe enough, Gwen. | 0:12:31 | 0:12:35 | |
I have never felt so far away. | 0:12:35 | 0:12:37 | |
'Look, I just don't trust the hospitals, Rhys.' | 0:12:37 | 0:12:40 | |
-There must be something you can do. -PHONE BEEPS | 0:12:40 | 0:12:42 | |
Look, I've got to go, OK? I'm busy. They really need me. | 0:12:42 | 0:12:46 | |
We're on a mission. Er, just get my dad out, Rhys, OK? I'll phone you tonight. | 0:12:46 | 0:12:51 | |
It's already tonight. | 0:12:51 | 0:12:53 | |
PHONE RINGS | 0:12:56 | 0:12:58 | |
Torchwood located. | 0:13:04 | 0:13:06 | |
-Sorry. Rhys. Sorry. -We've all got family. | 0:13:11 | 0:13:14 | |
The sooner we get this done, the sooner we can see them. | 0:13:14 | 0:13:17 | |
OK, what do you need me to do? | 0:13:17 | 0:13:19 | |
We need to lift out the security protocols on Jilly Kitzinger's files. | 0:13:19 | 0:13:24 | |
-Can you do that? -Got Torchwood software ready and waiting. | 0:13:24 | 0:13:27 | |
-'There is a lot of...' -You're obsessed with this bastard. | 0:13:27 | 0:13:30 | |
I'll put a permanent trace on him so we always know where he is. | 0:13:30 | 0:13:33 | |
-Did we find anything more on Kitzinger? -She's freelance. | 0:13:33 | 0:13:36 | |
Working with PhiCorp for six months. She's not connected. | 0:13:36 | 0:13:39 | |
She just happened to be at the right place at the right time. | 0:13:39 | 0:13:42 | |
Just like Oswald. We're wasting our time tracking them. | 0:13:42 | 0:13:45 | |
It's never a waste of time. Our greatest problem is that what's happened to the world is invisible. | 0:13:45 | 0:13:50 | |
But quite by chance, Oswald's found himself right at the heart of it. | 0:13:50 | 0:13:54 | |
George Eliot wrote this chapter in Middlemarch. | 0:13:54 | 0:13:57 | |
She said that if you take a piece of metal | 0:13:57 | 0:13:59 | |
with random scratches all over it and hold a flame up to the metal, | 0:13:59 | 0:14:02 | |
the scratches look like they're forming patterns, circling around the light. | 0:14:02 | 0:14:07 | |
And that's Oswald. | 0:14:07 | 0:14:09 | |
He's blazing away, and patterns are starting to revolve around him. | 0:14:09 | 0:14:14 | |
All we have to do is keep watching. | 0:14:14 | 0:14:17 | |
SOFT FIZZ | 0:14:39 | 0:14:42 | |
SOFT FIZZ | 0:14:44 | 0:14:45 | |
SOFT FIZZ AND HISS | 0:14:50 | 0:14:52 | |
KNOCK ON DOOR | 0:15:05 | 0:15:07 | |
Change of plans. Got some statistics here. You'll need to memorise them. | 0:15:09 | 0:15:12 | |
The White House is planning some sort of rally in Los Angeles. | 0:15:12 | 0:15:17 | |
We might have to move by the end of the week. | 0:15:17 | 0:15:19 | |
But the good news is, PhiCorp has asked me to stay at your side full time. | 0:15:19 | 0:15:25 | |
Evidently someone over there believes you're important. | 0:15:25 | 0:15:28 | |
Who am I to argue? | 0:15:28 | 0:15:29 | |
Glorious. | 0:15:29 | 0:15:30 | |
I'll bet that's killing you, Miss Kitzinger, because you can't stand the sight of me. | 0:15:30 | 0:15:35 | |
No, I can't. No, sir, not at all. | 0:15:35 | 0:15:38 | |
But it is not my job to like you. | 0:15:38 | 0:15:39 | |
I will find your coffee, | 0:15:39 | 0:15:41 | |
I will accompany you to the studio, | 0:15:41 | 0:15:43 | |
recommend whether Diane Sawyer is better than Piers Morgan. | 0:15:43 | 0:15:47 | |
All that and more, but between me and you, it's your hands. | 0:15:47 | 0:15:50 | |
I can't look at your hands without thinking about what they did. | 0:15:52 | 0:15:57 | |
You ever wonder why anyone considers me important? | 0:16:00 | 0:16:03 | |
I'm sure someone's got a reason. | 0:16:03 | 0:16:05 | |
-Wouldn't you like to know what it is? -Very much so. | 0:16:05 | 0:16:09 | |
How much do you know about our masters at PhiCorp? | 0:16:10 | 0:16:13 | |
Because I did a little searching of my own last night. | 0:16:13 | 0:16:18 | |
It's been a long, long time since I was allowed online. | 0:16:19 | 0:16:24 | |
I tried to find out who's above PhiCorp, | 0:16:24 | 0:16:28 | |
who owns them, and the strangest thing happened. | 0:16:28 | 0:16:32 | |
The information just scattered away. | 0:16:32 | 0:16:36 | |
All sorts of names and tangents and diversions, | 0:16:36 | 0:16:41 | |
but nothing tangible. | 0:16:41 | 0:16:42 | |
That's when I recognised the pattern, | 0:16:42 | 0:16:45 | |
because I've had a lot of experience perfecting how to hide myself online. | 0:16:45 | 0:16:49 | |
And suddenly, I'm looking at someone else doing the same, but on a massive scale. | 0:16:49 | 0:16:56 | |
Worldwide. | 0:16:56 | 0:16:58 | |
I wonder why. | 0:17:00 | 0:17:02 | |
Time to go. | 0:17:06 | 0:17:07 | |
-What for? -Central News, 3.30. Isn't that right? | 0:17:08 | 0:17:12 | |
If you would let me finish, they cancelled you. | 0:17:12 | 0:17:16 | |
-Apparently they booked someone else. -Who did they get? | 0:17:16 | 0:17:21 | |
Ellis Hartley Monroe, the darling of the Tea Party. | 0:17:21 | 0:17:24 | |
She's been looped on Channel 55 all day long, and she's radical. | 0:17:24 | 0:17:29 | |
'I think someone's got to say it. | 0:17:29 | 0:17:31 | |
'Dead is dead. | 0:17:31 | 0:17:33 | |
'We are surrounded by people who should have died. | 0:17:33 | 0:17:35 | |
'I'm sorry for them, yes, but these people fill me with terror. | 0:17:35 | 0:17:40 | |
'Am I the only one brave enough to say it? They should have perished. | 0:17:40 | 0:17:44 | |
'I'm sorry, but they should. | 0:17:44 | 0:17:45 | |
'And by persisting, | 0:17:45 | 0:17:47 | |
'they are draining the resources of healthy, living citizens. | 0:17:47 | 0:17:50 | |
'Now, I'm nobody special, but I'm a mother and a voter | 0:17:50 | 0:17:55 | |
'and an American, and I'd like to think that that means something. | 0:17:55 | 0:17:59 | |
'This is what I want.' | 0:17:59 | 0:18:01 | |
-Looks like you've got a rival. -'The Dead Is Dead campaign asks...' | 0:18:01 | 0:18:04 | |
You'd better think of a line, or you'll be yesterday's news. | 0:18:04 | 0:18:08 | |
'..and taken to a place that's safe, | 0:18:08 | 0:18:10 | |
'and I mean safe for the rest of us. | 0:18:10 | 0:18:12 | |
'The Dead Is Dead campaign asks that these citizens be removed from society | 0:18:12 | 0:18:18 | |
'and taken to a place that's safe.' | 0:18:18 | 0:18:20 | |
All I got - a couple aspirin. | 0:18:20 | 0:18:24 | |
Thanks. | 0:18:24 | 0:18:26 | |
Haven't you got family in California? | 0:18:26 | 0:18:30 | |
No, I'm from New York. | 0:18:30 | 0:18:32 | |
-But when you were injured, I went through your file... -There's no-one. | 0:18:32 | 0:18:36 | |
'..don't speak ill of the dead...' | 0:18:38 | 0:18:40 | |
That's the problem with this job. Family always comes second. | 0:18:40 | 0:18:43 | |
I said there's no-one! OK? | 0:18:43 | 0:18:46 | |
'..because dead is dead, | 0:18:46 | 0:18:48 | |
'and sometimes, segregation is vital and necessary, | 0:18:48 | 0:18:53 | |
'because these living deceased should not have equal rights. | 0:18:53 | 0:18:58 | |
'No, sir. They should be removed. | 0:18:58 | 0:19:00 | |
'They should be contained. | 0:19:00 | 0:19:03 | |
'And then they should wait. | 0:19:03 | 0:19:04 | |
'Because I believe their passage to the afterlife has but paused. | 0:19:04 | 0:19:08 | |
'And when this miracle ends, death will find them. | 0:19:08 | 0:19:13 | |
'Their time will come and they will die.' | 0:19:13 | 0:19:16 | |
RAISED VOICES IN BACKGROUND | 0:19:22 | 0:19:26 | |
Don't shoot! | 0:20:02 | 0:20:03 | |
It's me, Dad. | 0:20:03 | 0:20:06 | |
-What the hell are you doing in my place? -Getting these. | 0:20:06 | 0:20:09 | |
-Put them back. Those are mine. -Looks like stolen property to me. | 0:20:09 | 0:20:12 | |
So what if they are? | 0:20:12 | 0:20:14 | |
-You going to arrest me? -CIA agents don't arrest people, Dad. You know that. | 0:20:14 | 0:20:18 | |
Yeah, then...then what? | 0:20:18 | 0:20:21 | |
You going to torture me? | 0:20:21 | 0:20:23 | |
You people! You've already ruined the world and now you want to take away a man's livelihood? | 0:20:23 | 0:20:28 | |
-Somehow this is my fault? -You and your precious government. | 0:20:28 | 0:20:31 | |
You changed the rules on us. | 0:20:31 | 0:20:33 | |
Don't tell me this ain't some damn experiment. | 0:20:33 | 0:20:36 | |
I don't want to live forever, especially like this. | 0:20:36 | 0:20:39 | |
Put the gun down, Dad. | 0:20:39 | 0:20:41 | |
Don't you tell me what to do, not in my house! Son of a bitch! | 0:20:41 | 0:20:45 | |
-Give me that back. -No. You're liable to shoot somebody. | 0:20:45 | 0:20:48 | |
-It ain't even loaded. -Really? | 0:20:48 | 0:20:50 | |
Well, so what if it is? I need protection living in this dump. | 0:20:52 | 0:20:56 | |
But you don't have to live this way. Don't you understand that? | 0:20:56 | 0:21:01 | |
-Don't you pretend to give a shit if I live or die. -Come on, don't give me that. | 0:21:05 | 0:21:09 | |
-You never cared for anybody... -Don't give me that. | 0:21:09 | 0:21:11 | |
That's bullshit and you know it. | 0:21:11 | 0:21:13 | |
What did you come here for, Rex? | 0:21:13 | 0:21:15 | |
Tell me that. What the hell did you come here for? | 0:21:15 | 0:21:20 | |
I got hurt, Dad. | 0:21:31 | 0:21:33 | |
I got hurt bad. | 0:21:36 | 0:21:38 | |
So what? | 0:21:42 | 0:21:43 | |
I've been dying out here for 15 years. | 0:21:43 | 0:21:49 | |
You never once cared. | 0:21:49 | 0:21:51 | |
Get the hell out. | 0:22:09 | 0:22:11 | |
To recap, there's over 100 dedicated servers identical to that one | 0:22:41 | 0:22:45 | |
inside the PhiCorp building, all containing corporate data. | 0:22:45 | 0:22:49 | |
But according to Jilly Kitzinger's information, | 0:22:49 | 0:22:51 | |
number 113 is a secure server, accessible by only the highest corporate brass. | 0:22:51 | 0:22:56 | |
-That's our target. -And when PhiCorp says secure, they mean secure. | 0:22:56 | 0:23:00 | |
I have never seen firewalls like this before. | 0:23:00 | 0:23:03 | |
Our only option is to steal number 113, to physically take it, | 0:23:03 | 0:23:06 | |
and cover our tracks by leaving a duplicate in its place. | 0:23:06 | 0:23:09 | |
-Which is empty. -So, we damage it. Fire damage. | 0:23:09 | 0:23:12 | |
PhiCorp will think the information's lost, not stolen, and they won't overreact. | 0:23:12 | 0:23:16 | |
-PHONE RINGS -Oh, sorry. It's off. | 0:23:16 | 0:23:19 | |
That's your mother, that is. | 0:23:20 | 0:23:22 | |
How do you like that, eh? | 0:23:22 | 0:23:24 | |
I can scout out the building. How are you going to get me inside? | 0:23:24 | 0:23:27 | |
I don't think so. Not your mission, Agent Matheson. You're still on CIA lists. | 0:23:27 | 0:23:32 | |
It's way too risky to pass you through security. | 0:23:32 | 0:23:34 | |
-What makes you any better? -Jack wiped us off the map. | 0:23:34 | 0:23:37 | |
He's got a piece of software that removes any reference to Torchwood online. | 0:23:37 | 0:23:40 | |
There's no record of us, unlike you. | 0:23:40 | 0:23:43 | |
-OK, dead is dead. That's me, huh? -Rex, you're a better strategist than any of us. | 0:23:43 | 0:23:47 | |
Maybe you can figure out what to do next. Check this out. | 0:23:47 | 0:23:51 | |
This is the IT centre where the servers are housed. | 0:23:51 | 0:23:54 | |
Floor 33, maximum security, completely enclosed. | 0:23:54 | 0:23:57 | |
We need to gain access, but it's restricted, with some heavy duty biometrics. | 0:23:57 | 0:24:02 | |
Only one man can gain total access. | 0:24:02 | 0:24:05 | |
The man who designed it - | 0:24:05 | 0:24:06 | |
Nicolas Frumkin. | 0:24:06 | 0:24:09 | |
What kind of biometrics? I mean, what level? | 0:24:09 | 0:24:11 | |
Every entry needs voice print, palm print, iris recognition, | 0:24:11 | 0:24:14 | |
by him and him alone. | 0:24:14 | 0:24:16 | |
OK. Then I know exactly what you need to do. | 0:24:16 | 0:24:20 | |
Oh, hey! | 0:24:28 | 0:24:30 | |
-AMERICAN ACCENT: -Oh, my gosh, look at her! She is a beauty. | 0:24:30 | 0:24:34 | |
-Yeah. -Oh! Hey, baby! -Don't I know you? | 0:24:34 | 0:24:36 | |
-I swear we've met before. You're, um... -I'm Nicolas. -That's right! | 0:24:36 | 0:24:40 | |
-Nicolas Jackson, isn't it? -No, Nicolas Frumkin. -Yeah, yeah. | 0:24:40 | 0:24:44 | |
'I think we've met...' | 0:24:44 | 0:24:46 | |
Nicolas Frumkin. Nicolas Frumkin. Nicolas Frumkin. | 0:24:46 | 0:24:49 | |
My name's John Smith. | 0:24:49 | 0:24:51 | |
Your baby is just so amazing. She is just awesome! | 0:24:51 | 0:24:55 | |
-She's a keeper, isn't she? -Do you mind holding that for me? Thank you. | 0:24:55 | 0:24:59 | |
Look at you! Wow. | 0:25:05 | 0:25:08 | |
-I'll take that off you. -Doesn't she remind you of our little girl? | 0:25:08 | 0:25:12 | |
-Oh, you should see her! -We'd better be moving along. It's lunch hour, so... | 0:25:12 | 0:25:16 | |
-Oh, there she is. -Her name is | 0:25:16 | 0:25:18 | |
-Sally Anne Louise Matilda...Jane. We couldn't choose! -No! | 0:25:18 | 0:25:22 | |
-She's beautiful. -Thank you. Look at her little face! | 0:25:22 | 0:25:25 | |
Got it. | 0:25:28 | 0:25:30 | |
-So, it was awesome meeting you. Just super good. -Yeah, you too. | 0:25:32 | 0:25:35 | |
-See you around. -Sure thing, hot diggity! | 0:25:35 | 0:25:38 | |
See you later. Take care. | 0:25:38 | 0:25:40 | |
-You are so never doing that accent again. -I am mortified. | 0:25:40 | 0:25:43 | |
I'm absolutely mortified! | 0:25:43 | 0:25:45 | |
-I thought you had a system! -We did have a system. It fell apart. | 0:25:47 | 0:25:50 | |
St Helen's and Open Brook sent all patients here at the same time. | 0:25:50 | 0:25:53 | |
-We can't even move them upstairs. -Why not? | 0:25:53 | 0:25:56 | |
No electricity. This building's been abandoned for 20 years. | 0:25:56 | 0:25:59 | |
-There's patients from Conniston Drive... -That's a hospice! | 0:25:59 | 0:26:02 | |
The hospices are closing down but their intake is still sick. | 0:26:02 | 0:26:06 | |
-They sent them without asking? -You know how long it takes to process one patient? | 0:26:06 | 0:26:10 | |
Imagine what we're dealing with! ..Hey! | 0:26:10 | 0:26:12 | |
-The public's not allowed inside. -Look, just take him. Take him! | 0:26:13 | 0:26:17 | |
That's his books, his pills, and he likes that old sweater. | 0:26:17 | 0:26:19 | |
-You can't just dump him here with us. -Yeah? I'm sick of it! | 0:26:19 | 0:26:23 | |
I'm sick of his piss, his smell. All he eats, he throws up. | 0:26:23 | 0:26:26 | |
Am I supposed to look after him forever? I'm not doing it! | 0:26:26 | 0:26:29 | |
-I tried, but I can't, OK? -But...but you can't! Ma'am! | 0:26:29 | 0:26:32 | |
BABY CRIES | 0:26:32 | 0:26:34 | |
Oh! That hallway...should be empty. | 0:26:34 | 0:26:39 | |
Go and fetch Mr Holland. This is disgraceful! | 0:26:39 | 0:26:43 | |
Doctor, help! Help! | 0:26:43 | 0:26:45 | |
PATIENTS COUGH | 0:26:45 | 0:26:47 | |
Hey, why don't we get masks? | 0:26:47 | 0:26:51 | |
I know. I'm sorry, but we haven't got our procedures right yet. | 0:26:51 | 0:26:54 | |
-Just give us a little more time. -I don't want to lie next to these... | 0:26:54 | 0:26:58 | |
-They're like corpses. -I'm sorry, but they aren't actually dead. | 0:26:58 | 0:27:03 | |
-What if they're infectious? -Can't you take the baby outside? | 0:27:03 | 0:27:06 | |
It's not safe in here! They keep talking about disease. | 0:27:06 | 0:27:11 | |
-Is she yours? -I don't know who she is! | 0:27:11 | 0:27:13 | |
She's not my problem. She was just left there. | 0:27:13 | 0:27:16 | |
No-one's checked on her in 20 minutes. | 0:27:16 | 0:27:18 | |
-It's not my job. -For God's sake! There's no paperwork with that baby! | 0:27:18 | 0:27:21 | |
There's no ID! This is ridiculous! | 0:27:21 | 0:27:24 | |
Find Sally Richter. Tell her it's an emergency. | 0:27:24 | 0:27:27 | |
Tell her I say so - Dr Juarez, City General. | 0:27:27 | 0:27:30 | |
Look at this! And we're calling it a sterile area? | 0:27:35 | 0:27:38 | |
Teething troubles. | 0:27:38 | 0:27:40 | |
-The transfer itself seems to be working on the whole. -Until we get cholera. | 0:27:40 | 0:27:44 | |
Dr Juarez, I told you, this is a temporary measure. | 0:27:44 | 0:27:47 | |
-Then? What happens next? -I'm not at liberty to say. | 0:27:47 | 0:27:50 | |
-I am on the medical panel! -One of the panels. | 0:27:50 | 0:27:52 | |
One of the many panels. One of 15 in DC alone. | 0:27:52 | 0:27:55 | |
-I guarantee plans are being made and we'll make... -No, that's not fair, | 0:27:55 | 0:28:00 | |
ladies and gentlemen. The slogan "Dead Is Dead" | 0:28:00 | 0:28:03 | |
is hardly appropriate on hospital grounds. | 0:28:03 | 0:28:05 | |
But this project demonstrates the bold thinking | 0:28:05 | 0:28:08 | |
that we need in America. | 0:28:08 | 0:28:10 | |
Behind me, we have people in the right place. | 0:28:10 | 0:28:13 | |
It's as simple as that. | 0:28:13 | 0:28:14 | |
People in the right place. Behind those doors, | 0:28:14 | 0:28:17 | |
they pose no danger to society. | 0:28:17 | 0:28:20 | |
Over here! | 0:28:20 | 0:28:22 | |
-Tiny little problem. -Those cameras were here for me. | 0:28:27 | 0:28:30 | |
I know. It's just a timing malfunction, that's all. | 0:28:30 | 0:28:34 | |
The moment I lose my platform, I get thrown back to the mob. | 0:28:34 | 0:28:37 | |
I'm not doing that. | 0:28:37 | 0:28:38 | |
Do you hear me? I'm never going back. | 0:28:38 | 0:28:41 | |
So, if you don't want me angry with you, Missy, | 0:28:41 | 0:28:44 | |
if you don't want PhiCorp | 0:28:44 | 0:28:46 | |
angry with you, you're going put this right. | 0:28:46 | 0:28:48 | |
-Is that understood? -Perfectly. | 0:28:48 | 0:28:51 | |
-REPORTER: -'The words of Ellis Hartley Monroe, | 0:28:54 | 0:28:57 | |
'a philosophy which is now sweeping around the country. | 0:28:57 | 0:29:01 | |
'She's put drug campaigners such as Oswald Danes in the shade | 0:29:01 | 0:29:05 | |
'as her popularity soars. The Dead Is Dead campaign...' | 0:29:05 | 0:29:08 | |
This is why I need your pledges and support. | 0:29:08 | 0:29:11 | |
Not for me, but for the greater good. | 0:29:11 | 0:29:14 | |
Because I want to fund a programme nationwide | 0:29:14 | 0:29:17 | |
that rebuilds our wonderful cities, | 0:29:17 | 0:29:20 | |
that zones them to redistribute the population | 0:29:20 | 0:29:24 | |
in accordance with the miracle. This would be a new America, | 0:29:24 | 0:29:27 | |
a new world, | 0:29:27 | 0:29:30 | |
a new heaven. Now, it seems to me we've relied too much | 0:29:30 | 0:29:33 | |
on the pharmaceutical companies, or as I call them, drug dealers. | 0:29:33 | 0:29:37 | |
Companies like PhiCorp profit off disaster, and I think that's wrong. | 0:29:37 | 0:29:42 | |
ALL: Oswald! | 0:29:42 | 0:29:44 | |
Oswald! | 0:29:44 | 0:29:45 | |
-WOMAN: -He's going in, Mrs Monroe. Why don't you? | 0:29:48 | 0:29:51 | |
We'll keep these doors closed because this must be hygienic. | 0:29:52 | 0:29:57 | |
See? Very hygienic. | 0:29:57 | 0:30:01 | |
Brave man. I wouldn't go in there. | 0:30:02 | 0:30:05 | |
Do you know who that is? | 0:30:05 | 0:30:07 | |
I think that they are scared of you. | 0:30:07 | 0:30:10 | |
But not me. | 0:30:11 | 0:30:14 | |
I'm not scared of you. | 0:30:14 | 0:30:17 | |
How... After all, how could I be? | 0:30:17 | 0:30:20 | |
Because we're the same. | 0:30:20 | 0:30:22 | |
Yes, we are. I am just the same as you. | 0:30:22 | 0:30:26 | |
-I'm so cold! -Oh, it's all right. | 0:30:26 | 0:30:29 | |
Of course, of course. Here, hang on. | 0:30:29 | 0:30:32 | |
Just a moment, please. | 0:30:32 | 0:30:34 | |
There we go. | 0:30:34 | 0:30:36 | |
Everything will be fine. | 0:30:36 | 0:30:38 | |
There, how is that? | 0:30:38 | 0:30:41 | |
-ALL: -Oswald! Oswald! | 0:30:41 | 0:30:43 | |
Oswald! | 0:30:43 | 0:30:44 | |
You've been abandoned, all of you. | 0:30:44 | 0:30:46 | |
You're the unwanted, and there are people out there | 0:30:46 | 0:30:50 | |
who are preaching | 0:30:50 | 0:30:53 | |
all sorts of dangerous lies about you. | 0:30:53 | 0:30:56 | |
And who is out there talking on your behalf? | 0:30:56 | 0:31:00 | |
Hmm? | 0:31:00 | 0:31:01 | |
I'm here to tell you... | 0:31:01 | 0:31:04 | |
..I will. | 0:31:05 | 0:31:06 | |
I promise, I will. | 0:31:06 | 0:31:08 | |
Because you need help. | 0:31:08 | 0:31:09 | |
You need food. And you need security. | 0:31:09 | 0:31:14 | |
And I swear to you, I will not rest | 0:31:14 | 0:31:18 | |
until those things are given to you. | 0:31:18 | 0:31:21 | |
And I will help you. | 0:31:21 | 0:31:22 | |
-Bless you. -Yes, and you. | 0:31:22 | 0:31:24 | |
I'm here to help. | 0:31:24 | 0:31:27 | |
I will help all of you. | 0:31:27 | 0:31:28 | |
Yes, join with me now. | 0:31:28 | 0:31:31 | |
And I can understand your pain, all of you. | 0:31:31 | 0:31:35 | |
I understand it because I have suffered the same as you. | 0:31:35 | 0:31:38 | |
I still recognise you behind that mask! | 0:31:38 | 0:31:41 | |
-You bastard! -That's OK. | 0:31:41 | 0:31:44 | |
No, that's fine. I understand, sir. | 0:31:44 | 0:31:48 | |
I will not hide. | 0:31:49 | 0:31:52 | |
I have come in here to stand beside you | 0:31:52 | 0:31:56 | |
and I am proud of that, sir. | 0:31:56 | 0:31:58 | |
I will not hide my face. | 0:31:59 | 0:32:03 | |
REPORTERS CLAMOUR | 0:32:05 | 0:32:07 | |
But we're the same. | 0:32:09 | 0:32:13 | |
Don't you see? | 0:32:13 | 0:32:14 | |
I was supposed to die. | 0:32:14 | 0:32:16 | |
I was abandoned and I was faithless. | 0:32:16 | 0:32:20 | |
And I was lost. | 0:32:20 | 0:32:22 | |
But look at me. | 0:32:22 | 0:32:25 | |
Look at me! I mean, after the miracle... | 0:32:25 | 0:32:29 | |
I have risen. | 0:32:29 | 0:32:30 | |
Oh-ho! I have risen | 0:32:30 | 0:32:34 | |
with unending life. | 0:32:34 | 0:32:37 | |
And I can promise all of you | 0:32:37 | 0:32:39 | |
that same rapture. | 0:32:39 | 0:32:42 | |
-ALL: -Oswald! Oswald! | 0:32:42 | 0:32:45 | |
Please, whoever you are, | 0:32:45 | 0:32:48 | |
this child's been abandoned. Can't you get her some help? | 0:32:48 | 0:32:51 | |
Oh, poor little thing! | 0:32:51 | 0:32:53 | |
Of course. You see, she's fine now. | 0:32:53 | 0:32:57 | |
Dead is not dead. | 0:32:59 | 0:33:00 | |
No, not any more. | 0:33:00 | 0:33:03 | |
Life is life. | 0:33:03 | 0:33:04 | |
Aw, look at her! | 0:33:04 | 0:33:07 | |
And I can promise you, with all my heart, | 0:33:07 | 0:33:10 | |
this little girl will live forever | 0:33:10 | 0:33:15 | |
and ever, and ever, and ever! | 0:33:15 | 0:33:20 | |
Oswald! | 0:33:20 | 0:33:21 | |
Listen, clear the damn schedule. | 0:33:21 | 0:33:23 | |
It is Oswald 24/7 from here on out. | 0:33:23 | 0:33:25 | |
-Dr Juarez! -This is disgusting. | 0:33:25 | 0:33:28 | |
I know! | 0:33:28 | 0:33:29 | |
ALL: Oswald! Oswald! | 0:33:29 | 0:33:31 | |
If you think I'm sharing a camera with that man...! | 0:33:31 | 0:33:35 | |
What the hell am I paying you for? | 0:33:35 | 0:33:37 | |
Get a hold of Fox, tell them I'm heading for New York. | 0:33:37 | 0:33:40 | |
Hotel, then airport. | 0:33:44 | 0:33:47 | |
No, hotel first, then I need to see Mr Coulidge. | 0:33:49 | 0:33:52 | |
Can you find his address? It's in the book. | 0:33:52 | 0:33:56 | |
This coffee tastes kind of weird. | 0:33:57 | 0:33:59 | |
What do you want? | 0:34:43 | 0:34:44 | |
What's your name, sir? | 0:34:45 | 0:34:47 | |
-I'll give you money! -I just need your name. | 0:34:49 | 0:34:51 | |
-Nice and clear, if you could. -Frumkin. | 0:34:51 | 0:34:55 | |
Nicolas Frumkin. | 0:34:55 | 0:34:58 | |
There's an organisation, Mr Frumkin, called Torchwood. | 0:34:58 | 0:35:03 | |
Now, I'm only telling you this so you know who's to blame. | 0:35:03 | 0:35:06 | |
Torchwood is about to access your secure site, | 0:35:06 | 0:35:10 | |
which means I also need access using your biometrics. | 0:35:10 | 0:35:14 | |
I can tell you how to get in. | 0:35:14 | 0:35:17 | |
There's a code. | 0:35:17 | 0:35:18 | |
No, there's not. | 0:35:18 | 0:35:21 | |
There is. | 0:35:21 | 0:35:22 | |
I swear to you, there's a code that you can use to... | 0:35:22 | 0:35:25 | |
Shh, shh, shh. I'm afraid I studied all the specifications. | 0:35:25 | 0:35:29 | |
The protocol's quite clear. | 0:35:29 | 0:35:32 | |
I need the biometrics of poor Nicolas Frumkin. | 0:35:32 | 0:35:37 | |
Which means, firstly, your voice. | 0:35:39 | 0:35:42 | |
Consider that done. | 0:35:43 | 0:35:45 | |
And then... | 0:35:45 | 0:35:47 | |
Please. | 0:35:47 | 0:35:48 | |
Please don't. Please. | 0:35:50 | 0:35:52 | |
It's your system, which means it's your fault. | 0:35:52 | 0:35:55 | |
Because the next thing I need is the palm of your hand, | 0:35:55 | 0:35:58 | |
and then one of your eyes, but just one. | 0:35:58 | 0:36:01 | |
No! | 0:36:01 | 0:36:02 | |
Don't worry, no-one dies. | 0:36:02 | 0:36:05 | |
HE SCREAMS | 0:36:06 | 0:36:08 | |
Whoo! | 0:36:20 | 0:36:21 | |
Everything online? | 0:36:28 | 0:36:30 | |
Yeah. Good signal. | 0:36:30 | 0:36:32 | |
Those two clowns should be in position. I'll go check that 105 access. | 0:36:32 | 0:36:36 | |
I should be running this operation, not going to check the road. | 0:36:36 | 0:36:39 | |
DIALLING TONE | 0:36:44 | 0:36:46 | |
'Social services.' | 0:36:46 | 0:36:48 | |
Hi. Yes, I'm calling from FBI police liaison. | 0:36:48 | 0:36:50 | |
I was given this number by Susan Malpass. | 0:36:50 | 0:36:54 | |
I just need to check some details on... | 0:36:54 | 0:36:57 | |
let me see, the name's Drummond. | 0:36:57 | 0:37:00 | |
Sarah Drummond, King Sovereign Road. | 0:37:00 | 0:37:02 | |
I've got it right here. Children - Alice, seven, and Melanie, eight. | 0:37:02 | 0:37:06 | |
That's it. | 0:37:06 | 0:37:08 | |
We're just chasing an update. | 0:37:08 | 0:37:10 | |
They're in the system now. | 0:37:10 | 0:37:11 | |
Right. | 0:37:11 | 0:37:13 | |
-I'm sorry, what does that mean? -'It'll take a few days.' | 0:37:13 | 0:37:16 | |
They'll stay at Brayden Long Heights until we can find them foster homes. | 0:37:16 | 0:37:20 | |
-We'll try and keep them together. It shouldn't be too much of a problem. -I'm sorry... | 0:37:20 | 0:37:24 | |
-Are you saying they've been removed from the home? -That's right. This morning at 8am. | 0:37:24 | 0:37:29 | |
-You said you were going to work with the family. -'We tried.' | 0:37:29 | 0:37:32 | |
But it wasn't considered safe and the mother's been admitted for psych. | 0:37:32 | 0:37:35 | |
She what? | 0:37:35 | 0:37:37 | |
She's been under observation in the psych ward under the care of a Dr... Where is it? | 0:37:37 | 0:37:43 | |
..Dr Cottesloe, that's it. No report on file yet. | 0:37:43 | 0:37:48 | |
Should be something in tomorrow, the next couple of days. | 0:37:48 | 0:37:51 | |
What happened? How did she end up like that? | 0:37:51 | 0:37:53 | |
-What did you say your name was? -Where is she? | 0:37:53 | 0:37:56 | |
Where is she now? | 0:37:56 | 0:37:58 | |
I'm sorry, who are you exactly? | 0:37:58 | 0:38:00 | |
-'Can I ask what's the reason for this call?' -PHONE BEEPS | 0:38:00 | 0:38:03 | |
OK... OK, OK. | 0:38:03 | 0:38:05 | |
Access is fine. | 0:38:06 | 0:38:09 | |
OK, let's see those two do their stuff. | 0:38:09 | 0:38:12 | |
OK, here we go. Good luck. | 0:38:26 | 0:38:29 | |
SHE CHUCKLES | 0:38:29 | 0:38:31 | |
HE SIGHS | 0:38:31 | 0:38:33 | |
-What is wrong with "good luck"? -It's kids' stuff. | 0:38:33 | 0:38:35 | |
Torchwood keeps treating this like it's a game. | 0:38:35 | 0:38:37 | |
-PHONE BEEPS -Are we interrupting you? | 0:38:37 | 0:38:39 | |
Who could be sending you messages right now? | 0:38:39 | 0:38:41 | |
-It's just this thing. It's personal. -No-one should have that number. | 0:38:41 | 0:38:45 | |
Shh, shh, we're in. | 0:38:45 | 0:38:47 | |
-Hi. -Can I help you? | 0:38:50 | 0:38:51 | |
-Yes, I'm here for the training sessions. -Your name? | 0:38:51 | 0:38:54 | |
Yvonne Pallister. | 0:38:54 | 0:38:56 | |
International Sales. | 0:38:56 | 0:38:58 | |
Only problem is, I don't see any training going on today. | 0:39:02 | 0:39:06 | |
I got an e-mail last night from Lorraine in Human Resources. | 0:39:06 | 0:39:10 | |
-I'll call them. -OK. | 0:39:10 | 0:39:13 | |
PhiCorp Human Resources. This is Lorraine. How may I help you? | 0:39:16 | 0:39:20 | |
Yeah, I have an Yvonne Pallister down here. | 0:39:20 | 0:39:22 | |
-She says there's some kind of training. -Yes. Send her right up. Floor 21. | 0:39:22 | 0:39:27 | |
OK. | 0:39:27 | 0:39:30 | |
-Floor 21. Go on up. -Thank you. | 0:39:30 | 0:39:32 | |
Hold up, hold up! Who are you? | 0:39:41 | 0:39:43 | |
Delivery. | 0:39:43 | 0:39:44 | |
-I don't have anything on my schedule. -It says Human Resources. | 0:39:44 | 0:39:48 | |
Human Resources. | 0:39:57 | 0:39:58 | |
Our document shredder had crapped out. We had to rush a new one. | 0:39:58 | 0:40:02 | |
Send it on up. | 0:40:02 | 0:40:04 | |
Sure thing. | 0:40:04 | 0:40:06 | |
Go on up. | 0:40:07 | 0:40:09 | |
-Need some help? -No, I'm good. | 0:40:09 | 0:40:11 | |
What's wrong with you? | 0:40:18 | 0:40:20 | |
Nothing. | 0:40:20 | 0:40:21 | |
-Hello, handsome. Love the uniform. -Ditto. | 0:40:28 | 0:40:32 | |
-Come on. -Oh, hold on. | 0:40:33 | 0:40:35 | |
Whoever wears heels to work is heroic. Why do women put up with these things? | 0:40:35 | 0:40:40 | |
The Fire Department's response time is 12 minutes. | 0:40:40 | 0:40:43 | |
When they arrive, Esther'll direct them to the 14th floor. | 0:40:43 | 0:40:46 | |
That should buy us another five minutes before they check other floors. Let's go, mistress. | 0:40:46 | 0:40:51 | |
FIRE ALARM BLARES | 0:41:02 | 0:41:04 | |
Fire on the 14th. | 0:41:04 | 0:41:06 | |
'Please exit the building.' | 0:41:13 | 0:41:15 | |
'Please state your full name.' | 0:41:26 | 0:41:29 | |
'Nicolas Frumkin.' | 0:41:29 | 0:41:31 | |
'Please place your right hand on the sensors as indicated. | 0:41:31 | 0:41:35 | |
'Please look closely at the circle below.' | 0:41:35 | 0:41:38 | |
Iris in five. | 0:41:38 | 0:41:41 | |
'Access granted.' | 0:41:46 | 0:41:48 | |
I never thought that would work. | 0:41:48 | 0:41:50 | |
'Welcome back, Nicolas.' | 0:41:50 | 0:41:52 | |
-They're in. -Good. | 0:41:57 | 0:42:00 | |
You want to tell me what's wrong? | 0:42:01 | 0:42:03 | |
My sister. | 0:42:03 | 0:42:05 | |
Child Protective Services... | 0:42:08 | 0:42:10 | |
..they took her kids. | 0:42:13 | 0:42:15 | |
And they've got your number? | 0:42:15 | 0:42:17 | |
-No, I set up a relay. It's anonymous, OK? -All right. | 0:42:17 | 0:42:20 | |
And if you really want me to be heartless, Rex, I'm the one that reported her. | 0:42:20 | 0:42:24 | |
Happy now? | 0:42:24 | 0:42:25 | |
Server 113. | 0:42:27 | 0:42:29 | |
Little bastard. | 0:42:30 | 0:42:32 | |
PHONE BEEPS | 0:42:37 | 0:42:39 | |
Now she's on the telephone?! | 0:42:43 | 0:42:44 | |
-What the hell is wrong with you people? -Yeah, Anwen all right? | 0:42:44 | 0:42:47 | |
She's fine. She's at home. | 0:42:47 | 0:42:50 | |
-I know you're busy. I was just phoning about your dad. -Is he OK? -He's fine. Same as ever, no change. | 0:42:50 | 0:42:54 | |
I just saw him, he sends his love. But I did what you said and made a fuss about getting him moved. | 0:42:54 | 0:42:59 | |
I'm a bit busy, sweetheart. Just tell me, can you get him out of there? | 0:42:59 | 0:43:03 | |
Yes, I can. Shall I go ahead? | 0:43:03 | 0:43:05 | |
Oh, I love you. I love you. | 0:43:05 | 0:43:06 | |
I love you. I love you. Just do it and leave me alone. | 0:43:06 | 0:43:10 | |
Oh, and give Anwen a big kiss. OK? Bye. | 0:43:10 | 0:43:13 | |
-Good luck. -OK, go. | 0:43:33 | 0:43:35 | |
-Reattach 655-321. -But still, it must have been tough, though. | 0:43:43 | 0:43:49 | |
There's nothing else I could've done. | 0:43:49 | 0:43:51 | |
She wouldn't even let me see them. She had the house all barricaded up. | 0:43:51 | 0:43:55 | |
-Wait, you saw the house? -Well, yeah. | 0:43:55 | 0:43:59 | |
You went by the house? What if you were followed? | 0:43:59 | 0:44:02 | |
Oh, my God, you're such an idiot. | 0:44:02 | 0:44:04 | |
I'm doing my job, OK? | 0:44:04 | 0:44:06 | |
And then 322 to 340. | 0:44:06 | 0:44:09 | |
You've compromised the security of the entire mission! | 0:44:09 | 0:44:12 | |
Come on! | 0:44:12 | 0:44:13 | |
322. | 0:44:15 | 0:44:17 | |
One more. 324. | 0:44:20 | 0:44:22 | |
-I've lost her. -What the hell just happened? | 0:44:29 | 0:44:31 | |
Gwen. | 0:44:35 | 0:44:36 | |
Output from the I5s goes dead without consciousness. | 0:44:36 | 0:44:40 | |
-Oh, so she's unconscious now? -I don't know. -I warned you! | 0:44:40 | 0:44:44 | |
Gwen! | 0:45:04 | 0:45:05 | |
Can you hear me? | 0:45:05 | 0:45:08 | |
-'Are you all right?' -It's back. ..Oh, no. | 0:45:08 | 0:45:11 | |
'Can you hear me?' | 0:45:11 | 0:45:13 | |
Who did this, Gwen? | 0:45:13 | 0:45:14 | |
-Oh, no, no. Please, God. -Goddamn it! This is all your fault! | 0:45:14 | 0:45:19 | |
Come on! Esther, can you override this elevator? | 0:45:31 | 0:45:34 | |
I can't. The Fire Department's closed the whole thing down. | 0:45:34 | 0:45:37 | |
OK. | 0:45:39 | 0:45:40 | |
Rex, it's 33 floors. That's 66 flights of stairs, and you've got a ruptured chest. | 0:45:40 | 0:45:45 | |
Oh, man. Good luck. | 0:45:45 | 0:45:48 | |
-Ah! Ah! -Jack! | 0:45:49 | 0:45:52 | |
-You OK? -Yeah. What happened? -I did. | 0:45:52 | 0:45:55 | |
I'm so sorry. | 0:46:01 | 0:46:02 | |
-Who the hell are you? -Names aren't important right now. | 0:46:05 | 0:46:08 | |
-Oh, great, he's cryptic. -What do you want? | 0:46:08 | 0:46:12 | |
Well, clearly, you dead. | 0:46:12 | 0:46:14 | |
Then why am I still alive? | 0:46:14 | 0:46:17 | |
That's the point. | 0:46:17 | 0:46:18 | |
It's got to be said, Miracle Day's hardly been advantageous for those in my line of work, | 0:46:21 | 0:46:27 | |
the day the killing stopped. | 0:46:27 | 0:46:28 | |
But I can't tell you, Jack, how wonderful it is, | 0:46:28 | 0:46:32 | |
how truly wonderful it is, to meet somebody who's mortal. | 0:46:32 | 0:46:37 | |
-It's my Holy Grail. -If he's the only one that can die then it's in your interest to keep him alive. | 0:46:37 | 0:46:42 | |
That's exactly what I'm doing. Haven't you noticed the absence of killing? | 0:46:42 | 0:46:46 | |
Because this captain... | 0:46:46 | 0:46:48 | |
..fascinates me. | 0:46:51 | 0:46:52 | |
I've been paid to eradicate him, but that only makes me wonder why. | 0:46:59 | 0:47:03 | |
-What makes you so different? -I don't know. | 0:47:03 | 0:47:06 | |
And yet you're the only one left, the only true human. | 0:47:06 | 0:47:09 | |
If I knew, I would tell you. | 0:47:09 | 0:47:12 | |
I'm trying to find out the same thing myself. | 0:47:12 | 0:47:15 | |
Yes, I know. Thank you. | 0:47:23 | 0:47:25 | |
Who employs you? | 0:47:27 | 0:47:28 | |
Don't you have any idea, Jack? | 0:47:28 | 0:47:30 | |
They told me it was a very long time ago. | 0:47:30 | 0:47:33 | |
-Don't you remember? -Who? | 0:47:33 | 0:47:36 | |
Who told you that? | 0:47:36 | 0:47:38 | |
This would be so simple in the old days. | 0:47:42 | 0:47:44 | |
Tell me what I want... | 0:47:48 | 0:47:49 | |
-Oh! -..or I'll slit her throat. | 0:47:50 | 0:47:53 | |
SHE PANTS IN FEAR | 0:47:53 | 0:47:55 | |
I keep wondering during these miraculous days, would it be better or worse | 0:47:55 | 0:47:58 | |
knowing that her pain will last forever? | 0:47:58 | 0:48:02 | |
I think better. | 0:48:02 | 0:48:03 | |
-Leave her alone! -Then tell me! -I don't know. | 0:48:04 | 0:48:09 | |
You're very special to them, Jack. | 0:48:21 | 0:48:24 | |
They trust me enough to tell me that. But I hear rumours... | 0:48:24 | 0:48:27 | |
of miracles yet to come, of a new society | 0:48:27 | 0:48:30 | |
being forged here on Earth, and I'd like to guarantee my place. | 0:48:30 | 0:48:34 | |
So, tell me... | 0:48:34 | 0:48:35 | |
..what did you give them so long ago? | 0:48:37 | 0:48:39 | |
When? | 0:48:39 | 0:48:41 | |
Tell me who's employing you. | 0:48:45 | 0:48:46 | |
You'll never stop them, for this... | 0:48:49 | 0:48:52 | |
..is who they certainly are. | 0:48:54 | 0:48:56 | |
They are everywhere. | 0:48:56 | 0:48:58 | |
Shit. | 0:49:03 | 0:49:05 | |
They are always. | 0:49:06 | 0:49:08 | |
They are no-one. | 0:49:08 | 0:49:10 | |
They have been waiting for such a long time. | 0:49:19 | 0:49:22 | |
Searching the world... | 0:49:24 | 0:49:26 | |
..for a specific geography. | 0:49:27 | 0:49:28 | |
What the hell does that mean? | 0:49:28 | 0:49:30 | |
That means that they've found it. | 0:49:30 | 0:49:32 | |
-And they've made it magnificent. -SHOUTS: -Who are they?! | 0:49:36 | 0:49:40 | |
They once had names. | 0:49:40 | 0:49:42 | |
Long ago. And those names... | 0:49:42 | 0:49:45 | |
Oh... Argh, shit. | 0:50:02 | 0:50:05 | |
He was just about to tell us. | 0:50:13 | 0:50:15 | |
Thanks? | 0:50:16 | 0:50:18 | |
Anybody? Thanks? | 0:50:18 | 0:50:21 | |
And you shot him in the throat. | 0:50:21 | 0:50:24 | |
Well, dead is dead. | 0:50:24 | 0:50:25 | |
It's such an unfortunate phrase, "dead is dead". It's coarse. | 0:50:30 | 0:50:36 | |
I know, as a survivor, it's hurtful. | 0:50:36 | 0:50:38 | |
The last thing that we need right now is a campaign that's going to empower the mob. | 0:50:38 | 0:50:44 | |
The words of Oswald Danes are quickly becoming a worldwide phenomena. | 0:50:44 | 0:50:48 | |
Today the story of Danes and the abandoned child truly went viral. | 0:50:48 | 0:50:52 | |
HE SPEAKS JAPANESE | 0:50:52 | 0:50:54 | |
SHE SPEAKS SPANISH | 0:50:54 | 0:50:57 | |
As the White House stays silent, | 0:51:00 | 0:51:02 | |
we ask is Oswald Danes now becoming the voice of the people? | 0:51:02 | 0:51:05 | |
Is he the one true representative of this miracle age? | 0:51:05 | 0:51:09 | |
You are trending like never before, you clever bastard. | 0:51:09 | 0:51:13 | |
You make it all sound planned. I was just trying to help those unfortunate souls. | 0:51:13 | 0:51:17 | |
Well, it's working. Guess what they're calling you in France. | 0:51:17 | 0:51:21 | |
The Sainted Danes. | 0:51:21 | 0:51:23 | |
That's almost blasphemous. | 0:51:23 | 0:51:24 | |
And now you're a definite for the Miracle Rally. | 0:51:24 | 0:51:27 | |
Flights are booked to Los Angeles. | 0:51:27 | 0:51:29 | |
They want you to speak from the stage, and guess who you're replacing? | 0:51:29 | 0:51:33 | |
-Ellis Hartley Monroe? -Ellis Hartley Monroe! She must be livid! | 0:51:33 | 0:51:36 | |
We contacted the office of Ellis Hartley Monroe, | 0:51:36 | 0:51:39 | |
asking for a response, | 0:51:39 | 0:51:40 | |
but they told us Mrs Monroe will not be making any statements | 0:51:40 | 0:51:43 | |
for the foreseeable future. | 0:51:43 | 0:51:45 | |
'Mrs Monroe? We'd like to apologise. | 0:51:55 | 0:51:58 | |
'We're really very, very sorry about this. | 0:51:58 | 0:52:01 | |
'Indeed, we'd like to imagine if time and tides had flown in a different way | 0:52:01 | 0:52:05 | |
'we could have almost been friends. | 0:52:05 | 0:52:08 | |
'I hope that's some consolation at the end. | 0:52:08 | 0:52:11 | |
'The truth of it is, we liked your message, Mrs Monroe. | 0:52:15 | 0:52:18 | |
'We liked your style. | 0:52:18 | 0:52:19 | |
'But we already have Oswald Danes. We don't need another. | 0:52:19 | 0:52:24 | |
'And certain aspects of your strategy were revealing our hand just a little too soon. | 0:52:24 | 0:52:29 | |
'And we have been planning this so carefully for such a long time. | 0:52:31 | 0:52:36 | |
'Because we are everywhere. | 0:52:39 | 0:52:41 | |
'We are always. | 0:52:41 | 0:52:43 | |
'We are no-one. And soon, the families will rise.' | 0:52:45 | 0:52:49 | |
Anything yet? | 0:53:14 | 0:53:16 | |
It's going to take days, weeks. | 0:53:16 | 0:53:18 | |
But I'm rushing through a primary sift for basic patterns. | 0:53:18 | 0:53:21 | |
-Good morning. -Yeah. | 0:53:21 | 0:53:22 | |
-Thanks again for saving my ass yesterday. -I was saving her ass. | 0:53:22 | 0:53:26 | |
You were just gravy. | 0:53:26 | 0:53:28 | |
-I'm sorry I made such a mess of it. -That was your final warning. | 0:53:28 | 0:53:31 | |
You give it any more thought? That maniac said it was someone you knew. | 0:53:31 | 0:53:35 | |
-Not that easy when you've lived thousands of years. -Going to keep talking that shit, huh? -Got it. | 0:53:35 | 0:53:41 | |
First basic pattern. Land prices. | 0:53:41 | 0:53:44 | |
Estimates dating back years | 0:53:44 | 0:53:46 | |
and they're all linked to these construction plans. | 0:53:46 | 0:53:51 | |
Plans for what? | 0:53:51 | 0:53:52 | |
They're calling them overflow camps for all the patients in ICU. | 0:53:52 | 0:53:57 | |
Looks like PhiCorp's taking charge of them, like they own them. | 0:53:57 | 0:54:01 | |
Sold some kind of strategy to the UN. | 0:54:01 | 0:54:04 | |
PhiCorp and whoever else is behind them. | 0:54:04 | 0:54:06 | |
-But what the hell are they up to? -I bet it ain't good. | 0:54:06 | 0:54:09 | |
-PHONE BEEPS -Bollocks! Bollocks! | 0:54:09 | 0:54:10 | |
I am so sorry. I've been so busy, I didn't ring you back. | 0:54:10 | 0:54:13 | |
But I'm going call you back in half an hour, and that is a promise. | 0:54:13 | 0:54:17 | |
Calm down! Don't worry. I'm phoning with good news. It's about your dad. | 0:54:17 | 0:54:21 | |
-What is it? What's happened? -I said it's good news. Now, stop and listen, you daft thing. | 0:54:21 | 0:54:25 | |
-I've got him onto that scheme, top of the list. -What scheme? -Government's stepped in to prop up the NHS. | 0:54:25 | 0:54:30 | |
-They're spending millions. They're building these sort of camps to help people. -Overflow camps? | 0:54:30 | 0:54:36 | |
That's it. I got your dad inside the South Wales site. | 0:54:36 | 0:54:38 | |
OK, Rhys, listen to me. Do not let them go. Do not let them take my father. I haven't time to explain. | 0:54:38 | 0:54:44 | |
-Just...just bloody move. -They just moved him out. -Then stop them, OK? | 0:54:44 | 0:54:47 | |
This is bloody PhiCorp, Rhys, and they are up to something. | 0:54:47 | 0:54:50 | |
Move! Don't let them go! | 0:54:55 | 0:54:57 | |
Just get him back. Get him back now! | 0:54:57 | 0:55:00 | |
Gwen, | 0:55:05 | 0:55:07 | |
it's too late. | 0:55:07 | 0:55:08 | |
They've got my dad, Jack. | 0:55:08 | 0:55:10 | |
They've got my dad. | 0:55:11 | 0:55:13 | |
If anyone ever hears this, | 0:55:20 | 0:55:22 | |
we thought we knew what we were doing, | 0:55:22 | 0:55:24 | |
all of us, this new Torchwood team. | 0:55:24 | 0:55:29 | |
We thought we knew what was happening with PhiCorp and America and my dad and everything. | 0:55:29 | 0:55:35 | |
And then we discovered the truth. | 0:55:35 | 0:55:37 | |
Because then we found out what was really happening, | 0:55:37 | 0:55:42 | |
what this miracle really means. | 0:55:42 | 0:55:46 | |
And now it's too late. | 0:55:46 | 0:55:47 | |
We can't stop it. | 0:55:47 | 0:55:49 | |
It's happening across the whole wide world. | 0:55:49 | 0:55:53 | |
God help us all. | 0:55:54 | 0:55:55 | |
And I am sorry, Dad. | 0:55:59 | 0:56:01 | |
Subtitles By Red Bee Media Ltd | 0:56:57 | 0:57:01 | |
E-mail [email protected] | 0:57:01 | 0:57:04 |