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-No. -GUNSHOT | 0:00:23 | 0:00:25 | |
Argh! | 0:00:28 | 0:00:29 | |
COMMOTION | 0:00:29 | 0:00:32 | |
Angelo. No! | 0:00:32 | 0:00:34 | |
I'm so sorry, Jack. In the future are we together? | 0:00:34 | 0:00:38 | |
We can't be cos one day you're going to die and I won't. | 0:00:38 | 0:00:41 | |
Then we forget the future and we make a promise. | 0:00:41 | 0:00:44 | |
I'm sorry, Angelo. | 0:00:44 | 0:00:46 | |
This is the story of my life. | 0:00:46 | 0:00:49 | |
Captain Harkness, the last mortal man. | 0:00:49 | 0:00:52 | |
You'll want to come with me, because I can take you to the one man who knows how the miracle began. | 0:00:52 | 0:00:57 | |
-Who's that? -Angelo. | 0:00:57 | 0:01:00 | |
Angelo Colasanto. | 0:01:00 | 0:01:02 | |
They're with me. They've agreed to leave their weapons behind. | 0:01:24 | 0:01:27 | |
-But Esther's going to stay outside. -Why? What for? | 0:01:27 | 0:01:30 | |
She's going to keep an open relay to a hard drive back in Los Angeles. | 0:01:30 | 0:01:33 | |
If we go through those doors and disappear, we have a record. | 0:01:33 | 0:01:36 | |
OK? So tell your goons to leave her alone. | 0:01:36 | 0:01:38 | |
Come on, Angelo's inside. | 0:01:38 | 0:01:40 | |
He talked about you all the time, Jack. His immortal man in old New York. He never forgot. | 0:01:47 | 0:01:51 | |
You telling me the whole world got screwed because two gay guys had a hissy fit? | 0:01:51 | 0:01:55 | |
-Rex, get back in your cave. -Come on, give me a break. | 0:01:55 | 0:01:58 | |
You inspired him. You proved immortality was possible. | 0:01:58 | 0:02:01 | |
And he devoted the rest of his life to finding out how to live forever. | 0:02:01 | 0:02:06 | |
And he did it? | 0:02:06 | 0:02:08 | |
He's still alive? He's still young? | 0:02:08 | 0:02:10 | |
Oh, yes, he's still alive. | 0:02:10 | 0:02:12 | |
Angelo Colasanto is still very much alive, | 0:02:14 | 0:02:17 | |
but he's not young. | 0:02:17 | 0:02:20 | |
My grandfather waited all this time to live forever. | 0:02:20 | 0:02:25 | |
And his wish came true... | 0:02:25 | 0:02:27 | |
..too late. | 0:02:31 | 0:02:32 | |
-What's wrong with him? -At his age, just about everything. | 0:03:03 | 0:03:07 | |
You can leave us alone, thanks. | 0:03:07 | 0:03:09 | |
Of course, ma'am. | 0:03:09 | 0:03:11 | |
What happened to your eye? | 0:03:14 | 0:03:16 | |
I was just born with it. | 0:03:18 | 0:03:20 | |
-It's him. -You must be horrified. | 0:03:25 | 0:03:28 | |
-Why would you say that? -He's grown so old. | 0:03:28 | 0:03:31 | |
That's how I see the whole world. | 0:03:31 | 0:03:34 | |
He's still young compared to me. | 0:03:34 | 0:03:36 | |
This is for Esther. | 0:03:36 | 0:03:37 | |
Keeping an open line to make sure we're all safe. | 0:03:37 | 0:03:39 | |
After everything I've heard about Torchwood technology, | 0:03:39 | 0:03:43 | |
you're going to rely on an open handset? | 0:03:43 | 0:03:45 | |
Yeah well, we had to leave LA in a hurry - thanks to someone I could mention. | 0:03:45 | 0:03:49 | |
'Anyway, what the hell's going on with the stock market?' | 0:03:49 | 0:03:52 | |
They're falling. | 0:03:52 | 0:03:54 | |
It's been inevitable ever since miracle day, | 0:03:54 | 0:03:57 | |
which I reckon is part of the plan. | 0:03:57 | 0:03:59 | |
So you put a gun to my daughter's head for this?! | 0:03:59 | 0:04:01 | |
-Your revenge on Jack? -We weren't trying to hurt you. | 0:04:01 | 0:04:04 | |
I was carrying out my grandfather's final wish... | 0:04:04 | 0:04:08 | |
-to keep you safe. -So you don't want him dead? | 0:04:08 | 0:04:10 | |
-You were protecting me? -Hell of a way of going about it. | 0:04:10 | 0:04:13 | |
There's a crucial distinction. My grandfather cared for you, I don't. | 0:04:13 | 0:04:17 | |
You might be important in some way we've yet to work out. | 0:04:17 | 0:04:19 | |
'So it's best to keep you intact.' | 0:04:19 | 0:04:22 | |
But that's as far as the sentiment goes. | 0:04:22 | 0:04:25 | |
So why the hell, you know... | 0:04:25 | 0:04:27 | |
Bollocks. Start again. | 0:04:28 | 0:04:30 | |
Any chance of a drink? | 0:04:30 | 0:04:32 | |
'I could murder a pint of bitter right now.' | 0:04:32 | 0:04:35 | |
Thanks, Gwen. I'll have a vodka. | 0:04:35 | 0:04:38 | |
These are all of you. Some of these are... | 0:04:47 | 0:04:51 | |
That's Torchwood. | 0:04:51 | 0:04:53 | |
That's Cardiff. | 0:04:53 | 0:04:56 | |
When was that? | 0:04:56 | 0:04:58 | |
-The '70s. -A moustache? | 0:04:58 | 0:05:00 | |
My God, Jack. | 0:05:00 | 0:05:02 | |
-He watched you for decades. -But he never made contact. | 0:05:02 | 0:05:07 | |
You may not be ashamed of being old, | 0:05:07 | 0:05:10 | |
-but he was. -Hold on now. He didn't cause this? | 0:05:10 | 0:05:14 | |
Angelo didn't cause the miracle? | 0:05:14 | 0:05:16 | |
No, he lived this long through natural means. | 0:05:16 | 0:05:19 | |
He kept his body at a temperature two degrees below normal. | 0:05:19 | 0:05:23 | |
He controlled his caloric intake, kept his blood pressure below 110. | 0:05:23 | 0:05:27 | |
-Does that work? -Oh, yes. | 0:05:27 | 0:05:29 | |
Prolonging life is simple. | 0:05:29 | 0:05:31 | |
But no-one's worked out how to make a profit at it, so it's not advertised. | 0:05:31 | 0:05:35 | |
And the whole time he was looking for immortality? | 0:05:35 | 0:05:37 | |
It's not as impossible as it sounds. You are not the only remarkable thing on this earth, Jack. | 0:05:37 | 0:05:44 | |
Consider the jellyfish. | 0:05:45 | 0:05:48 | |
The species turritopsis nutricula is considered to be immortal. | 0:05:48 | 0:05:51 | |
Its cells undergo a process called transdifferentiation. | 0:05:51 | 0:05:55 | |
Quite simply, it can revert to a younger state, and grow old again. | 0:05:55 | 0:05:59 | |
And then repeat, without limit. | 0:05:59 | 0:06:01 | |
It's possible there are individual jellyfish upon this planet | 0:06:01 | 0:06:07 | |
that have existed for thousands and thousands of years. | 0:06:07 | 0:06:10 | |
I'm not as special as I thought. | 0:06:10 | 0:06:12 | |
You never were. Even within the human body, cancer cells are immortal. | 0:06:12 | 0:06:16 | |
Stem cells, in theory they can divide forever. | 0:06:16 | 0:06:21 | |
And this is the research that Angelo investigated. | 0:06:21 | 0:06:25 | |
-Well, they all did, because my grandfather wasn't alone. -Who were the others? | 0:06:25 | 0:06:29 | |
Well, the story says that it started with three men, each representing a different family. | 0:06:29 | 0:06:36 | |
And when you were being murdered over and over again, these three men came to witness your resurrection. | 0:06:36 | 0:06:43 | |
I saw them. | 0:06:45 | 0:06:46 | |
They made a deal. | 0:06:49 | 0:06:51 | |
They formed an alliance to purchase the power of resurrection. | 0:06:59 | 0:07:02 | |
-And when you escaped, the three families swore that they'd find the gift again. -What were their names? | 0:07:02 | 0:07:09 | |
The Ablemarch family, the Costerdane family and the Frines. | 0:07:09 | 0:07:14 | |
Ablemarch, Costerdane, Frines. | 0:07:14 | 0:07:17 | |
Did you get that? Ablemarch, Costerdane and... | 0:07:17 | 0:07:19 | |
'Is "Coster" with a T E R?' | 0:07:19 | 0:07:21 | |
Is "Coster" with a T-E-R? Yeah, T-E-R. And... | 0:07:21 | 0:07:23 | |
'Spell "Frines".' | 0:07:23 | 0:07:26 | |
-Could you spell Frines? -F-R-I-N-E-S. | 0:07:26 | 0:07:30 | |
F-R-I-N-E-S. | 0:07:30 | 0:07:32 | |
Trace 'em. I want you to find every member of those three families. | 0:07:32 | 0:07:36 | |
Rex, this is nine decades later. | 0:07:36 | 0:07:38 | |
Look, I don't care if it's 500,000 people. I want you to find them all...now. | 0:07:38 | 0:07:42 | |
So what happened then? | 0:07:46 | 0:07:48 | |
1928... What did they do next? | 0:07:48 | 0:07:50 | |
They lost Jack, but they still had his blood. | 0:07:50 | 0:07:52 | |
No, no, no... | 0:07:52 | 0:07:55 | |
No! | 0:07:59 | 0:08:01 | |
I thought they were draining it away, but they were collecting it. | 0:08:01 | 0:08:05 | |
-They just had to figure out how to use it. -But that doesn't work. | 0:08:05 | 0:08:08 | |
There's nothing special about my blood in itself. | 0:08:08 | 0:08:11 | |
That's not what made me immortal. | 0:08:11 | 0:08:12 | |
-Then why would the three families want to kill you? -I don't know. | 0:08:12 | 0:08:16 | |
Whatever they were planning, my grandfather wasn't included. | 0:08:16 | 0:08:20 | |
I think they considered him inappropriate. | 0:08:20 | 0:08:23 | |
What's inappropriate? | 0:08:23 | 0:08:25 | |
He loved a man. He did go on to have a family of his own, | 0:08:25 | 0:08:29 | |
and I think he loved my grandmother very much, but he never lied about you, Jack. | 0:08:29 | 0:08:33 | |
And I think that Ablemarch, Costerdane and Frines | 0:08:33 | 0:08:39 | |
found that a little unfortunate. | 0:08:39 | 0:08:44 | |
As a result, Angelo was forced to watch them from afar. | 0:08:44 | 0:08:48 | |
Made enough money by the looks of it. | 0:08:48 | 0:08:49 | |
Well, Jack told him enough to navigate his way through the 20th century and make a profit. | 0:08:49 | 0:08:54 | |
But what did these families do to the world? | 0:08:54 | 0:08:57 | |
They started in Manhattan. | 0:08:57 | 0:08:59 | |
80 years later the whole of the planet becomes immortal. | 0:08:59 | 0:09:02 | |
-And I become mortal. -In 1998 we intercepted a message. | 0:09:02 | 0:09:06 | |
It was just one word - "Blessing". | 0:09:06 | 0:09:09 | |
'We've heard about the Blessing.' | 0:09:11 | 0:09:12 | |
They found it. Whatever the Blessing is, the three families found it. | 0:09:12 | 0:09:17 | |
Now it's time that we found them. | 0:09:17 | 0:09:19 | |
Esther, you got any news for us? | 0:09:19 | 0:09:21 | |
'This is plain weird.' | 0:09:21 | 0:09:22 | |
There's no-one called Ablemarch or Costerdane or Frines. | 0:09:22 | 0:09:26 | |
I mean, literally there's no such names. There's nothing. It's blank. They don't exist. | 0:09:26 | 0:09:31 | |
'Esther? Esther?' | 0:09:35 | 0:09:38 | |
Esther? I think there's trouble. | 0:09:39 | 0:09:42 | |
-How long till Shapiro gets here? -He was out of the airport right behind us. | 0:09:47 | 0:09:51 | |
We got maybe five minutes till the CIA descends. | 0:09:51 | 0:09:53 | |
Five minutes should be enough. Bring her. | 0:09:53 | 0:09:55 | |
We've got to finish this before the rest of the CIA arrives. | 0:09:55 | 0:09:59 | |
What is it, Rex? What's happening? | 0:09:59 | 0:10:01 | |
-Tell us where we can find the three families. -You never will. That's the point. | 0:10:01 | 0:10:05 | |
They came out of New York with the motivation of keeping this secret. | 0:10:05 | 0:10:08 | |
-Where's the best place to hide yourself? In plain sight. -Nobody move! | 0:10:08 | 0:10:12 | |
-This is the CIA. -Stay where you are. | 0:10:12 | 0:10:14 | |
That's an order. You, with the others. | 0:10:14 | 0:10:16 | |
-Hey. -Matheson, don't try anything. | 0:10:16 | 0:10:18 | |
We are arresting all of you for violations of the miracle security act. | 0:10:18 | 0:10:22 | |
This is the same as treason now, folks. And I want a word with Rex. | 0:10:22 | 0:10:27 | |
-Right now. Secure him. -Who the hell are you? -Don't move. | 0:10:27 | 0:10:30 | |
-That's your last warning. -That's Brian Friedkin. | 0:10:30 | 0:10:33 | |
-Of course it's Friedkin. If anyone's working for the three families, it's him. -That's enough! | 0:10:33 | 0:10:37 | |
We may have to end this with an unfortunate number of Category 1s. Get him out. Take him out. | 0:10:37 | 0:10:42 | |
-You're not taking him. -Back down. | 0:10:42 | 0:10:44 | |
-No, you're not. -Back down! | 0:10:44 | 0:10:46 | |
-No, you're not. -Back down! -OK. OK, it's all right. | 0:10:46 | 0:10:48 | |
Well, they've just taken Rex. All right. | 0:10:48 | 0:10:51 | |
-OK? -OK. Fine. Right. | 0:10:51 | 0:10:53 | |
-They're not legitimate CIA. -Done. | 0:10:56 | 0:11:00 | |
All right. Go out and keep watch for the squad. | 0:11:05 | 0:11:09 | |
Leave me alone with him. | 0:11:09 | 0:11:12 | |
This is going to have to be quick. | 0:11:12 | 0:11:15 | |
-Shapiro's arriving any minute. -Right. Right, I get it. | 0:11:15 | 0:11:17 | |
-You have to dispose of me before the CIA finds out what you're up to. -How did you find us? | 0:11:17 | 0:11:22 | |
Ten hours ago Rex made a phone call to the brother of Dr Vera Juarez expressing his condolences. | 0:11:22 | 0:11:29 | |
We've been tracking his phone ever since. | 0:11:29 | 0:11:31 | |
I knew you'd make a mistake in the end. It's funny though. | 0:11:31 | 0:11:34 | |
I never thought that sympathy would draw you out. | 0:11:34 | 0:11:37 | |
Now all I've got to do is say that you attacked me and then I pulled my gun. | 0:11:37 | 0:11:41 | |
I wonder which spot is memories or personality. | 0:11:41 | 0:11:46 | |
Here, please feel free to piss yourself. | 0:11:46 | 0:11:48 | |
Why is Friedkin inside? Who put him in the field? | 0:11:50 | 0:11:53 | |
Rex Matheson was his division, sir. He feels responsible. | 0:11:53 | 0:11:56 | |
Yeah, well, he should have waited for me, the fat ass. | 0:11:56 | 0:11:58 | |
It doesn't make sense. I mean, Rex? He'd know they'd be tracing him. | 0:11:58 | 0:12:02 | |
-How much did the families pay you? -It wasn't about the money. | 0:12:02 | 0:12:05 | |
You can't escape them. | 0:12:05 | 0:12:06 | |
The families don't just pay me. They own me. | 0:12:06 | 0:12:09 | |
-Who did that? -They are everywhere. They are always. -What's it doing? | 0:12:09 | 0:12:13 | |
-They are no-one. -And they are listening. -What? | 0:12:13 | 0:12:16 | |
Oh, Friedkin, I'm so glad you mentioned money. | 0:12:18 | 0:12:20 | |
That's going to transmit beautifully. | 0:12:20 | 0:12:22 | |
What do you mean transmit? Transmit from where? | 0:12:22 | 0:12:25 | |
You're not wearing a wire, we already checked. | 0:12:26 | 0:12:30 | |
Ha! He stole them. | 0:12:30 | 0:12:31 | |
Mr Shapiro you've got a confession from Brian Friedkin live on the air. | 0:12:32 | 0:12:35 | |
-You're lying. -Oh, yeah? | 0:12:35 | 0:12:38 | |
You know, you should read more. Check the Torchwood file, OK? | 0:12:38 | 0:12:41 | |
I-five technology transmitting from a contact lens camera? | 0:12:41 | 0:12:45 | |
Yeah, see once my heart rate hits 120, that's the signal to transmit | 0:12:45 | 0:12:50 | |
the image on every frequency and on every monitor within 100 feet. | 0:12:50 | 0:12:54 | |
-You planned this. -Mmm. | 0:12:54 | 0:12:57 | |
I used my phone on purpose. I was just waiting until Torchwood got enough information. | 0:12:57 | 0:13:01 | |
But, then, the Colasantos, they showed their hand. | 0:13:01 | 0:13:03 | |
So I needed to get back inside, which meant laying a trap for you. | 0:13:03 | 0:13:09 | |
It's over, Friedkin. | 0:13:09 | 0:13:13 | |
It's over. | 0:13:13 | 0:13:15 | |
And you're no killer. | 0:13:15 | 0:13:16 | |
Agent Friedkin, show yourself! | 0:13:16 | 0:13:19 | |
-Good job. -Thank you. | 0:13:19 | 0:13:21 | |
Very good job. | 0:13:22 | 0:13:24 | |
Mr Shapiro, sir, tell me something... | 0:13:40 | 0:13:43 | |
All that time I was on the run, did you think I was a traitor? | 0:13:43 | 0:13:48 | |
There was evidence, woven through your records, going back ten years or more. | 0:13:48 | 0:13:53 | |
Whoever these people are, they're a lot smarter than Friedkin. | 0:13:53 | 0:13:56 | |
-They're operating on all sorts of different levels. -Yeah, but now we've got them on the run. -Maybe. | 0:13:56 | 0:14:03 | |
So let's start from the beginning. | 0:14:03 | 0:14:05 | |
-Exactly what is going on? OK, let's see where we are. -Er, hold on a minute, mate. | 0:14:05 | 0:14:10 | |
Rex, look, I need to know, did you plan this whole thing from the start? | 0:14:10 | 0:14:14 | |
-No, I improvised when the Colasanto people appeared. -You could have warned us. | 0:14:14 | 0:14:18 | |
People seem to be talking over me, which is fascinating and rare and forbidden. I'll come back to you. | 0:14:18 | 0:14:24 | |
First of all, we're going to deal with this Colasanto woman. | 0:14:24 | 0:14:27 | |
-The granddaughter Olivia. Have I got that right? -Yes, and as far as I'm aware, | 0:14:27 | 0:14:31 | |
the CIA does not have the authority to operate on American soil. | 0:14:31 | 0:14:36 | |
-Get her out of here. -This is my property. | 0:14:36 | 0:14:37 | |
Take her to the safe house. Tell her to line up her lawyers, so I can piss on them long and hard. | 0:14:37 | 0:14:42 | |
So these are the Torchwood clowns? | 0:14:42 | 0:14:44 | |
Torchwood did more to piece this together than the entire CIA! | 0:14:44 | 0:14:48 | |
You're that English girl, Cooper. | 0:14:48 | 0:14:49 | |
-Have I got that right? -No, I'm not English and I'm not a girl. | 0:14:49 | 0:14:52 | |
Gwen, this is Allen Shapiro. Don't. Really, don't. | 0:14:52 | 0:14:56 | |
-Well, he's not scaring me. Hello. -I am sick of her already. Can we deport her? Let's deport her. | 0:14:56 | 0:15:02 | |
-Hey, hey, hey, leave her alone. -Don't you dare. Don't you dare. | 0:15:02 | 0:15:06 | |
Hold on. Sir, with all due respect, Gwen Cooper has proven herself to be extremely useful. | 0:15:06 | 0:15:11 | |
-I think it's worth keeping her on our side. -Did you sleep with her? -Pardon me?! | 0:15:11 | 0:15:14 | |
-No sir, I did not. -Because most women that bitter, you've slept with. | 0:15:14 | 0:15:18 | |
Did you make that mistake? | 0:15:21 | 0:15:22 | |
No. | 0:15:22 | 0:15:24 | |
No, sir, I did not. | 0:15:24 | 0:15:26 | |
Esther Drummond. Rex said you did a good job out in the field. | 0:15:26 | 0:15:29 | |
-Thank you, sir. -In my opinion you deserted your post. I'm docking your pay. | 0:15:29 | 0:15:34 | |
And what is it with you, "Red Baron"? You got Snoopy up your ass? | 0:15:34 | 0:15:37 | |
-Hee-hee, that's funny. -While you're wasting time, Mr Shapiro, | 0:15:37 | 0:15:41 | |
we've got the names of the people who are responsible for causing the miracle. I suggest we get to work. | 0:15:41 | 0:15:46 | |
-Torchwood is going to work for the CIA? -I think the CIA can work for Torchwood, if you're lucky. | 0:15:46 | 0:15:51 | |
We've got a plane ready and waiting 20 minutes away. | 0:15:53 | 0:15:55 | |
The sooner we pool our resources, the sooner we can end this thing. | 0:15:55 | 0:15:59 | |
-Let's go. Everybody out. -What about him? We've got a very sick man here. | 0:15:59 | 0:16:02 | |
Didn't you read the news? Nobody dies. There's a nurse around here. You got two minutes. | 0:16:02 | 0:16:07 | |
Don't leave them alone. | 0:16:07 | 0:16:09 | |
-Jack, did we just join the CIA? -I think we did. -Hmm. -Hmm. | 0:16:17 | 0:16:24 | |
Take that fat ass traitor to the airport and put him in cargo. | 0:16:27 | 0:16:31 | |
God help you. | 0:16:35 | 0:16:37 | |
The families aren't kind to people who let them down. | 0:16:37 | 0:16:40 | |
-I did a lot of good. -Sure. | 0:16:40 | 0:16:43 | |
All I'm going to be remembered for is this. | 0:16:43 | 0:16:48 | |
But there were times when I stopped them, when I said no to the families. | 0:16:48 | 0:16:53 | |
There were so many times that I said no. | 0:16:53 | 0:16:57 | |
I wish I could say no now. | 0:16:59 | 0:17:01 | |
-What are you doing? -It's all about the family in the end. | 0:17:03 | 0:17:06 | |
-They said that they would get mine unless... -No, no! -No, no, please! | 0:17:06 | 0:17:09 | |
What the hell was that? | 0:17:13 | 0:17:15 | |
What happened? | 0:17:17 | 0:17:18 | |
-Oh, my God. -Who was in there? | 0:17:18 | 0:17:21 | |
Friedkin, Colasanto. I don't know how many others. | 0:17:21 | 0:17:24 | |
-Goddamn it. -Shit. | 0:17:24 | 0:17:27 | |
MACHINE BLEEPS | 0:17:30 | 0:17:33 | |
More bloodshed. | 0:17:56 | 0:17:59 | |
All these years later and my life hasn't changed. | 0:18:03 | 0:18:06 | |
I can't believe you were watching me. | 0:18:12 | 0:18:14 | |
Maybe you said hello. | 0:18:16 | 0:18:18 | |
Some old man asking me directions and I just... | 0:18:18 | 0:18:23 | |
looked right through you. | 0:18:23 | 0:18:25 | |
Did you see him? | 0:18:31 | 0:18:33 | |
Did you see Ianto? | 0:18:34 | 0:18:36 | |
You'd have liked him. | 0:18:41 | 0:18:43 | |
Or maybe not. | 0:18:45 | 0:18:46 | |
You'd have been jealous. | 0:18:49 | 0:18:52 | |
Got to go. | 0:19:03 | 0:19:05 | |
Work to do. | 0:19:05 | 0:19:07 | |
I'll take care of you. I promise. | 0:19:14 | 0:19:18 | |
I could travel this whole wide world... | 0:19:20 | 0:19:23 | |
..but where would I find another man like you? | 0:19:24 | 0:19:28 | |
See you later, old man. | 0:19:34 | 0:19:36 | |
MACHINES BLEEP FURIOUSLY | 0:19:42 | 0:19:45 | |
What's the point of that? | 0:19:45 | 0:19:49 | |
BLEEPING CONTINUES | 0:19:49 | 0:19:52 | |
He's sick, I know. Tell me something new. | 0:19:53 | 0:19:57 | |
Shut up! | 0:20:00 | 0:20:02 | |
You want to tell whoever made this stuff dying's not quite the same any more? | 0:20:02 | 0:20:07 | |
Oh, how do I? | 0:20:08 | 0:20:11 | |
MACHINES STOP BLEEPING | 0:20:13 | 0:20:15 | |
That's better. | 0:20:16 | 0:20:17 | |
Kind of cruel though. | 0:20:19 | 0:20:21 | |
Angelo... | 0:20:21 | 0:20:23 | |
Even if your heart stops, | 0:20:25 | 0:20:28 | |
you go on living nowadays. | 0:20:28 | 0:20:30 | |
Like I said, I've got to go. | 0:20:38 | 0:20:41 | |
No way. | 0:20:55 | 0:20:56 | |
That's impossible. | 0:21:00 | 0:21:02 | |
How the hell did you do this? | 0:21:05 | 0:21:09 | |
I've got a man dying here! Do you hear me? | 0:21:17 | 0:21:20 | |
-Someone's dying! -Jack, what's happening? | 0:21:22 | 0:21:26 | |
-He's dead. He died. Angelo died right in front of me. -OK. Just think about it, Jack. | 0:21:26 | 0:21:30 | |
-He can't die. -This man's dead. We've got to help him. | 0:21:30 | 0:21:32 | |
Get away from the bed. Clear the area. That's an order. All right, come on, step back. | 0:21:32 | 0:21:36 | |
Clear the bed. We have an emergency. | 0:21:36 | 0:21:38 | |
Stand back. You, do what you can. This man is either dying or dead. | 0:21:38 | 0:21:43 | |
Jack, just let the medical staff take a look at him, OK? | 0:21:43 | 0:21:46 | |
He can't be dead. It's impossible. Nobody can die. He's just category one. | 0:21:46 | 0:21:49 | |
I scanned him. He's gone. | 0:21:49 | 0:21:51 | |
But is it everyone? I mean, did the world just change back? | 0:21:52 | 0:21:56 | |
And, if so, what happens to me? Hmm? | 0:21:56 | 0:21:58 | |
I was supposed to die. | 0:21:58 | 0:22:00 | |
You, tell Langley to go online, check the hospitals, check with everyone, | 0:22:01 | 0:22:05 | |
cos if he's dying, who else is dead? Matter of fact, just come with me. Excuse me. | 0:22:05 | 0:22:09 | |
He's dead! | 0:22:11 | 0:22:13 | |
How? | 0:22:43 | 0:22:44 | |
Only him, no-one else. | 0:22:46 | 0:22:48 | |
The only man in the whole wide world to die. | 0:22:48 | 0:22:51 | |
The miracle continues minus Mr Colasanto. | 0:22:51 | 0:22:54 | |
So how did he do it? | 0:22:54 | 0:22:56 | |
We've taken the body for autopsy. Any idea what we'll find? | 0:23:03 | 0:23:06 | |
I don't know. | 0:23:06 | 0:23:07 | |
-We should go. -No, no, no, no. | 0:23:07 | 0:23:09 | |
-Nobody is leaving. This house is secure. -It's not a crime scene. -Are you sure about that? | 0:23:10 | 0:23:15 | |
Dying of old age can now be considered a crime. | 0:23:15 | 0:23:18 | |
Something happened here, | 0:23:18 | 0:23:20 | |
and we are going to search this place for every last bit of information. | 0:23:20 | 0:23:24 | |
And nobody is going to leave until we know exactly what happened. | 0:23:24 | 0:23:28 | |
So you can stay just where you are, Captain. | 0:23:29 | 0:23:32 | |
I'm sorry. | 0:23:47 | 0:23:49 | |
Yeah. | 0:23:51 | 0:23:52 | |
And you really don't know what happened to him? | 0:23:54 | 0:23:57 | |
What is it, Jack? | 0:24:00 | 0:24:02 | |
Come on, what's wrong? Are we in trouble? | 0:24:04 | 0:24:07 | |
Yes. | 0:24:09 | 0:24:10 | |
We're in trouble because he died? | 0:24:10 | 0:24:12 | |
Yeah. | 0:24:14 | 0:24:16 | |
But why? | 0:24:16 | 0:24:18 | |
Well, Brian Friedkin's a category one, | 0:24:23 | 0:24:25 | |
the economy's going into a freefall, and one man died. | 0:24:25 | 0:24:29 | |
So, how was your day? | 0:24:29 | 0:24:31 | |
Welcome back, Rex. It was quiet without you. | 0:24:31 | 0:24:33 | |
But there's nothing else happening worldwide. Colasanto is the only death. | 0:24:33 | 0:24:37 | |
We're trying to keep it secret, but you have the only corpse on earth. | 0:24:37 | 0:24:40 | |
How do you think it happened? Was it some kind of drug? | 0:24:40 | 0:24:43 | |
-What makes him different? -Still waiting for the results. | 0:24:43 | 0:24:46 | |
Well, if he found a way to die, then we need to find it quickly. | 0:24:46 | 0:24:49 | |
Past two hours, Greece and Ireland have declared bankruptcy, and Spain is going under. | 0:24:49 | 0:24:53 | |
-They'll take the European Union down. -Let's investigate this from the day it began | 0:24:53 | 0:24:57 | |
-with the three families. Esther? -I've sent you their names, Costerdane, Ablemarch, Frines. | 0:24:57 | 0:25:03 | |
-I've looked. There's no-one with these last names. -There has to be. They're names. | 0:25:03 | 0:25:07 | |
-What names aren't names? -These names. | 0:25:07 | 0:25:10 | |
According to every site I can think of, the names never existed. | 0:25:10 | 0:25:14 | |
It's happened before. After the Second World War, all the Hitlers disappeared from the phone book. | 0:25:14 | 0:25:19 | |
Change your name, go back and erase passport records, birth certificates. | 0:25:19 | 0:25:23 | |
-Do that for decades and you're buried in the fabric of the world. -There's got to be a paper trail. | 0:25:23 | 0:25:28 | |
Oh, I was born for this. | 0:25:28 | 0:25:30 | |
All right, we've got Manhattan 1928. | 0:25:30 | 0:25:32 | |
Let's check churches, schools, Western Union. I'll get the full division on this. | 0:25:32 | 0:25:36 | |
If these people bought or sold or joined anything, it's got to be on paper somewhere. | 0:25:36 | 0:25:41 | |
-People always miss something. -All right. | 0:25:41 | 0:25:43 | |
Noah, sidebar. I got something for you. | 0:25:43 | 0:25:45 | |
Hey, remember the Vivaldi inheritance in 2004? | 0:25:45 | 0:25:47 | |
Follow that pathway, cos it worked in the end. | 0:25:47 | 0:25:50 | |
Cross-reference it with the word "Blessing." | 0:25:50 | 0:25:52 | |
Make "Blessing" a filter. | 0:25:52 | 0:25:55 | |
Yup. Hey, I've gathered some information for you. | 0:25:55 | 0:25:58 | |
It's your sister. | 0:25:58 | 0:26:00 | |
Is she all right? | 0:26:02 | 0:26:04 | |
She's OK. She's under psych observation. | 0:26:04 | 0:26:07 | |
-In the high security wing. -Oh, my God. | 0:26:07 | 0:26:09 | |
I told them you work for the government to get her some extra care, you know? | 0:26:09 | 0:26:12 | |
Thank you. | 0:26:12 | 0:26:14 | |
-Thanks. -Yeah well, don't tell anyone. Bad for my image. I'll send you the details. | 0:26:14 | 0:26:19 | |
-You're making a personal call, Drummond? -No. Sorry, sir. | 0:26:19 | 0:26:23 | |
Is that Mr Shapiro? | 0:26:23 | 0:26:24 | |
You tell him, "Yes, it's personal. It's important. | 0:26:24 | 0:26:27 | |
And yes, his wife called. And I sent her flowers on his behalf." | 0:26:27 | 0:26:30 | |
Charlotte Wills. Bane of my life. | 0:26:30 | 0:26:32 | |
Try hitting Phicorp with an official disclosure. | 0:26:32 | 0:26:35 | |
And I got one more thing for you, Oswald Danes. | 0:26:35 | 0:26:38 | |
We're eyeballing him now, but not under close surveillance. Why? | 0:26:38 | 0:26:41 | |
Harkness watches him, his instincts are good. He says if we're watching Danes, | 0:26:41 | 0:26:45 | |
then the three families are, too. I want you to get someone in there. | 0:26:45 | 0:26:48 | |
I'm on it right now. It says here that Oswald sold out Cowboy Stadium. | 0:26:48 | 0:26:52 | |
-He's in Dallas. -He's playing a stadium? | 0:26:52 | 0:26:55 | |
He's preaching hellfire and salvation, | 0:26:55 | 0:26:57 | |
which makes him the most popular man in the world right now. | 0:26:57 | 0:27:01 | |
I'm trying to set up a joint appearance for you with Madison Weakly. | 0:27:03 | 0:27:07 | |
She's the bisected bride. | 0:27:07 | 0:27:09 | |
You know, car accident sheared off everything below the bikini line. | 0:27:09 | 0:27:13 | |
Got married a week later propped up on a box. | 0:27:13 | 0:27:15 | |
Basically, she's made up of positive thinking and colostomy bags. | 0:27:15 | 0:27:19 | |
Anyway, they were thinking you and she could share the spotlight | 0:27:19 | 0:27:22 | |
if they could manage a two-shot, obviously. | 0:27:22 | 0:27:24 | |
Next, I've got you these essays by John Maynard Keynes. | 0:27:24 | 0:27:29 | |
You've got interviews about fixing the economy tomorrow. | 0:27:29 | 0:27:32 | |
Just call for more deregulation and a resumption of burning. | 0:27:32 | 0:27:36 | |
Now, we've got this. | 0:27:36 | 0:27:37 | |
LOUD MUSIC STARTS | 0:27:37 | 0:27:38 | |
It's a request to speak to the Committee on Health and Immortality. | 0:27:38 | 0:27:42 | |
# Riding down Sunset | 0:27:42 | 0:27:44 | |
# Santa Monica too... # | 0:27:44 | 0:27:45 | |
Oswald? | 0:27:45 | 0:27:46 | |
# Over to the valley... # | 0:27:46 | 0:27:49 | |
What do you think? Yes, or no? | 0:27:49 | 0:27:50 | |
MUSIC CONTINUES | 0:27:50 | 0:27:51 | |
If you could turn that down? | 0:27:51 | 0:27:54 | |
All right, I'm going to need a reply by Friday night | 0:27:54 | 0:27:57 | |
or they'll ask someone else. | 0:27:57 | 0:27:58 | |
I said, they'll ask someone else. | 0:27:58 | 0:28:02 | |
Please, Oswald, I'm just trying to finish the day. Could you turn the music down? | 0:28:02 | 0:28:06 | |
MUSIC STOPS | 0:28:06 | 0:28:07 | |
Get me a girl. | 0:28:07 | 0:28:09 | |
How old? | 0:28:10 | 0:28:11 | |
Legal age. | 0:28:12 | 0:28:14 | |
Seriously? | 0:28:15 | 0:28:16 | |
I've made a new life for myself, a new chance | 0:28:16 | 0:28:20 | |
with new tastes. | 0:28:20 | 0:28:22 | |
So I want a woman. | 0:28:22 | 0:28:25 | |
Now get me one. | 0:28:25 | 0:28:27 | |
A redhead. | 0:28:27 | 0:28:29 | |
MUSIC RESUMES | 0:28:29 | 0:28:30 | |
# Jumping like a Jack-in-the-box | 0:28:30 | 0:28:32 | |
# Cruising in the big bowl | 0:28:32 | 0:28:34 | |
# For a burger and some fries | 0:28:34 | 0:28:36 | |
# All the cool cats gather round | 0:28:36 | 0:28:39 | |
# They want to go for a ride | 0:28:39 | 0:28:41 | |
# in a stretch Cadillac... # | 0:28:41 | 0:28:44 | |
Hi there. | 0:28:44 | 0:28:45 | |
I'm sorry, but you're Jilly Kitzinger, right? | 0:28:46 | 0:28:49 | |
-I'm sorry. I don't have time... -No, here, let me help you with this... | 0:28:49 | 0:28:52 | |
All this stuff. I will take this. | 0:28:52 | 0:28:54 | |
I will take that. That's better. | 0:28:54 | 0:28:57 | |
So my name is Shawnie Yamaguchi, | 0:29:05 | 0:29:08 | |
and I'm on that internship from Harrigan Knights PR, | 0:29:08 | 0:29:11 | |
and they said you are so busy and overworked and I figured, well, you know, learn from the best. | 0:29:11 | 0:29:16 | |
I don't need an intern. Thank you. | 0:29:16 | 0:29:19 | |
I'm sure. But this isn't the latest model. | 0:29:19 | 0:29:22 | |
And I can get you the prototype, if you want. | 0:29:22 | 0:29:25 | |
And you really need to get 4G. I got a contact in the store. | 0:29:25 | 0:29:28 | |
And that is an awful lot of reading. | 0:29:28 | 0:29:30 | |
And I am free all night. | 0:29:30 | 0:29:32 | |
Shawnie Yamaguchi? | 0:29:34 | 0:29:36 | |
That is correct. | 0:29:36 | 0:29:37 | |
Go get me a sandwich, | 0:29:37 | 0:29:39 | |
tomato and Swiss on sourdough. | 0:29:39 | 0:29:43 | |
See how well you cope with that. | 0:29:43 | 0:29:45 | |
And then you can find me a prostitute. | 0:29:45 | 0:29:47 | |
I'm sorry? | 0:29:47 | 0:29:50 | |
-Start with the sandwich. -Certainly. | 0:29:50 | 0:29:53 | |
I don't mean to be rude, but I don't know how you put up with him. | 0:29:53 | 0:29:57 | |
Oh... | 0:29:59 | 0:30:01 | |
I won't have to. Not for much longer. | 0:30:01 | 0:30:03 | |
I'm sorry, what do you mean? | 0:30:03 | 0:30:05 | |
Never mind. Off you go. | 0:30:05 | 0:30:07 | |
Danes and Kitzinger. | 0:30:23 | 0:30:25 | |
Shawnie's in. | 0:30:25 | 0:30:27 | |
Told you I'd come back, didn't I? | 0:30:29 | 0:30:32 | |
Just give me till tomorrow and I'll come see you, OK? | 0:30:33 | 0:30:35 | |
Did you fix things? | 0:30:35 | 0:30:38 | |
You said you were going to fix them. | 0:30:38 | 0:30:40 | |
Not yet. | 0:30:40 | 0:30:42 | |
'Still trying.' | 0:30:42 | 0:30:44 | |
Doctor said you'd been good today. | 0:30:45 | 0:30:47 | |
-'She sounded nice.' -Yeah. | 0:30:47 | 0:30:49 | |
She is, yeah. | 0:30:49 | 0:30:51 | |
Hey, when I get back we'll go to the promenade together, | 0:30:52 | 0:30:55 | |
just you and me. | 0:30:55 | 0:30:57 | |
Would you like that? | 0:30:57 | 0:30:59 | |
I suppose. | 0:31:00 | 0:31:01 | |
We keep talking about the miracle like it's a bad thing, | 0:31:02 | 0:31:05 | |
'but we forget about the good side,' | 0:31:05 | 0:31:08 | |
all the years we're going to have... | 0:31:08 | 0:31:11 | |
..together. That's good, isn't it? | 0:31:12 | 0:31:14 | |
They said you reported me. | 0:31:14 | 0:31:16 | |
Who said that? | 0:31:17 | 0:31:19 | |
Is it true? | 0:31:19 | 0:31:21 | |
I had to. | 0:31:22 | 0:31:24 | |
For your own good. | 0:31:26 | 0:31:27 | |
I know. | 0:31:27 | 0:31:29 | |
I get that, yeah. | 0:31:29 | 0:31:31 | |
That's why I know you'll understand. | 0:31:33 | 0:31:35 | |
-'I want to volunteer.' -For what? | 0:31:37 | 0:31:39 | |
Category one. | 0:31:39 | 0:31:42 | |
Sarah... | 0:31:47 | 0:31:48 | |
..you can't volunteer. Category one is... | 0:31:50 | 0:31:54 | |
'..it's a medical condition.' | 0:31:55 | 0:31:57 | |
You can't choose it. | 0:31:58 | 0:31:59 | |
People do. | 0:31:59 | 0:32:01 | |
Online, there's thousands of us. | 0:32:01 | 0:32:03 | |
This whole world's changed, Esther. | 0:32:05 | 0:32:08 | |
'This body... | 0:32:08 | 0:32:10 | |
'is without a soul.' | 0:32:10 | 0:32:12 | |
Don't say that. | 0:32:13 | 0:32:15 | |
What about the girls? Think about the girls. | 0:32:16 | 0:32:19 | |
I've put them on the list, too. | 0:32:19 | 0:32:22 | |
'Sometimes I wonder what keeps us from falling straight through the earth' | 0:32:22 | 0:32:25 | |
to the other side of the world. | 0:32:25 | 0:32:28 | |
(Oh, God.) | 0:32:32 | 0:32:34 | |
Damn it. | 0:32:38 | 0:32:39 | |
-You OK? -Fine. | 0:32:49 | 0:32:52 | |
Time out, I think, Drummond. | 0:32:52 | 0:32:55 | |
No, sir. Not at all. | 0:32:55 | 0:32:57 | |
We need to find out how that man died and fix this stinking world. | 0:32:57 | 0:33:01 | |
Thank you, sir. | 0:33:01 | 0:33:03 | |
I can't tell you. I don't trust the phones these days. | 0:33:06 | 0:33:09 | |
And we've got these family people everywhere. And Jack's just as bad. | 0:33:09 | 0:33:13 | |
Honestly, you should see him right now, Rhys. He's sulking. | 0:33:13 | 0:33:16 | |
Why? What's he doing now? | 0:33:16 | 0:33:18 | |
Oh, don't tell me. Did he get another bruise? | 0:33:18 | 0:33:21 | |
-Who's that? -Jack, her boss. | 0:33:21 | 0:33:24 | |
Well, you tell her from me, I had a gun held to my head. | 0:33:24 | 0:33:28 | |
My life was in danger, | 0:33:28 | 0:33:31 | |
and her father's, right inside our own house. | 0:33:31 | 0:33:35 | |
'And all because of her.' | 0:33:35 | 0:33:38 | |
So you tell her, don't give up. | 0:33:38 | 0:33:41 | |
Go get the bastards, whatever it takes. | 0:33:43 | 0:33:47 | |
Tell her yourself. | 0:33:47 | 0:33:48 | |
No. | 0:33:48 | 0:33:50 | |
I'm watching TV. | 0:33:50 | 0:33:53 | |
-She says go get 'em. -Yeah, I heard. | 0:33:53 | 0:33:56 | |
So, what about Jack then? | 0:33:56 | 0:33:59 | |
Oh, he's doing that old thing, keeping secrets. Won't tell me. | 0:33:59 | 0:34:03 | |
Will you? | 0:34:03 | 0:34:05 | |
Hmm? | 0:34:05 | 0:34:06 | |
God knows what's going on. What time is it there? | 0:34:06 | 0:34:08 | |
Ah, it's almost eight. The telly's been on all night. | 0:34:08 | 0:34:11 | |
They said there'll be a run on the banks. Like a Lehman Brothers' thing. | 0:34:11 | 0:34:15 | |
-It's the pensions. -Aye. Pensions go bankrupt cos of the miracle, that starts a domino effect | 0:34:15 | 0:34:20 | |
'cos it's all been on a knife edge since 2008.' | 0:34:20 | 0:34:23 | |
They said the best advice is to invest in gold. | 0:34:23 | 0:34:25 | |
There we are, we'll be fine. | 0:34:25 | 0:34:27 | |
-Thank God for my vast reserves, eh? -How's dad? | 0:34:27 | 0:34:30 | |
(She's asking how dad is.) | 0:34:30 | 0:34:32 | |
(Tell her the truth.) | 0:34:32 | 0:34:34 | |
Not so good, Gwen. | 0:34:34 | 0:34:36 | |
Is he conscious? | 0:34:36 | 0:34:38 | |
Not so much, no. | 0:34:38 | 0:34:39 | |
The trouble is, we can't get a doctor in cos they'll classify him category one. | 0:34:39 | 0:34:43 | |
And them ovens are still there. They're only closed cos of the protests. | 0:34:43 | 0:34:47 | |
They said if we get a recession, it's classic isolation policy. | 0:34:47 | 0:34:50 | |
-Given our lack of resources the camps will open again. -Like someone planned it. | 0:34:50 | 0:34:54 | |
Yeah. But does that include 2008 as well? | 0:34:54 | 0:34:56 | |
-I mean, you know, was that part of the plan? A first stage? -Could be. | 0:34:56 | 0:35:01 | |
I think we've been manipulated for decades. | 0:35:01 | 0:35:03 | |
Yeah, but what for? | 0:35:03 | 0:35:05 | |
-I mean, where's it all heading? -'I don't know.' | 0:35:05 | 0:35:08 | |
It's not like the old days with Torchwood. I mean... | 0:35:08 | 0:35:11 | |
'we knew what we were fighting there. But this,' | 0:35:11 | 0:35:14 | |
this is like the whole world is changing | 0:35:14 | 0:35:17 | |
and we're just so tiny. | 0:35:17 | 0:35:20 | |
God, I wish you'd come home. | 0:35:20 | 0:35:22 | |
Not yet, sweetheart. | 0:35:22 | 0:35:24 | |
But soon. | 0:35:24 | 0:35:26 | |
Soon. | 0:35:26 | 0:35:28 | |
(OK.) | 0:35:30 | 0:35:31 | |
FLOORBOARD SQUEAKS | 0:35:37 | 0:35:38 | |
TAPS FOOT | 0:35:40 | 0:35:42 | |
What are you doing? | 0:35:42 | 0:35:43 | |
You seen this? Maybe it's the floor. | 0:35:45 | 0:35:48 | |
What do you mean? | 0:35:48 | 0:35:49 | |
We're going through evidence like Angelo's body did something. | 0:35:50 | 0:35:53 | |
But the only strange thing with this room is the floor. | 0:35:53 | 0:35:56 | |
I knew something was bugging me. | 0:35:56 | 0:35:58 | |
Look, the bed's on a sort of platform. | 0:35:58 | 0:36:01 | |
Esther, don't. Just leave it. | 0:36:01 | 0:36:02 | |
But it's not part of the original design. It can't be. | 0:36:02 | 0:36:05 | |
Esther, seriously. Listen to me. | 0:36:05 | 0:36:07 | |
Don't say another word. Just leave it. | 0:36:07 | 0:36:10 | |
Jack? | 0:36:10 | 0:36:12 | |
It's the floor. | 0:36:15 | 0:36:17 | |
Esther, stop, right now. | 0:36:17 | 0:36:19 | |
-HE CHUCKLES -This is a hell of a lot better than nicotine gum, let me tell you. | 0:36:21 | 0:36:25 | |
You know what the rumour is from Washington? If cancer cells | 0:36:25 | 0:36:28 | |
are immortal, then the miracle switched them around and made them just plain mortal. | 0:36:28 | 0:36:32 | |
They're keeping it quiet in case there's an outbreak of spontaneous joy. I mean, we can't have that. | 0:36:32 | 0:36:37 | |
But it means we've got nothing to worry about. | 0:36:37 | 0:36:39 | |
We can smoke our way into the next Great Depression. | 0:36:39 | 0:36:43 | |
Now... | 0:36:51 | 0:36:52 | |
Somebody want to tell me what's going on between you three? | 0:36:54 | 0:36:58 | |
Nothing. | 0:36:58 | 0:37:00 | |
I'm sorry, Jack... But we're trying to figure out how Angelo Colasanto died. | 0:37:10 | 0:37:16 | |
I think there's something under the floor. | 0:37:16 | 0:37:18 | |
OK, people, thank you very much. Leave the room immediately. | 0:37:34 | 0:37:37 | |
Good work. | 0:37:37 | 0:37:39 | |
Wait for my call. | 0:37:40 | 0:37:41 | |
-Captain Harkness, what is that? -No idea. | 0:37:41 | 0:37:43 | |
Jack, tell us what it is, cos if you could hear my sister | 0:37:43 | 0:37:47 | |
-volunteering to be categorised, you would help. -If he says he doesn't know, he doesn't know, OK? | 0:37:47 | 0:37:51 | |
I've read the Torchwood file. Are those materials extraterrestrial? | 0:37:51 | 0:37:53 | |
I said he doesn't know. Now get out of his face. | 0:37:53 | 0:37:57 | |
The file also says that Cooper and Harkness inevitably form an alliance | 0:37:57 | 0:38:01 | |
and the best results can be achieved by separating them. | 0:38:01 | 0:38:05 | |
OK, get her out of here. And I mean it this time. | 0:38:05 | 0:38:07 | |
Deport her. She's no longer welcome in the United States. | 0:38:07 | 0:38:11 | |
-Get her out of the country. -Don't touch me. -Leave her alone. -Oh, you have something to say? | 0:38:11 | 0:38:15 | |
Please. No? Well, | 0:38:15 | 0:38:17 | |
I'm sorry, Miss Cooper, but from this moment on, Torchwood is defunct. | 0:38:17 | 0:38:21 | |
You will be removed from American soil immediately. | 0:38:21 | 0:38:24 | |
And God help Great Britain. | 0:38:24 | 0:38:26 | |
With me. Don't cause trouble. | 0:38:26 | 0:38:28 | |
Jack. I'll find you, all right? | 0:38:28 | 0:38:29 | |
-Sir, you've got to reconsider this. -You can't do this. -Then talk. | 0:38:29 | 0:38:33 | |
By all means, start talking. | 0:38:33 | 0:38:35 | |
The CIA doesn't have any authority over me. You're not deporting me! | 0:38:35 | 0:38:38 | |
I'm coming back! | 0:38:38 | 0:38:41 | |
Still got nothing to say? | 0:38:41 | 0:38:42 | |
Then you won't mind if we dig this thing up and take it back for analysis. | 0:38:42 | 0:38:46 | |
You can't. | 0:38:46 | 0:38:47 | |
I'm sorry, OK? You can't touch it. | 0:38:47 | 0:38:50 | |
Oh, he speaks at last. | 0:38:50 | 0:38:51 | |
Jack, come on. What the hell is it? | 0:38:51 | 0:38:54 | |
-Some sort of transmitter. -OK, what does it do? | 0:38:54 | 0:38:57 | |
Well, it mostly proves my theory that | 0:38:57 | 0:38:59 | |
immortality is caused by some kind of Morphic Field. | 0:38:59 | 0:39:02 | |
-Wait a minute. You know what's causing the miracle? -No, | 0:39:02 | 0:39:05 | |
saying it's a Morphic Field is as vague as saying it's radiation. | 0:39:05 | 0:39:09 | |
I still don't know how, where or what is creating it. | 0:39:09 | 0:39:13 | |
So it transmits what, some sort of field that cancels out the first one so Angelo could die? | 0:39:13 | 0:39:18 | |
-And where did he get it? -I don't know everything. | 0:39:18 | 0:39:20 | |
-How big is this field? The whole house? -Smaller. | 0:39:20 | 0:39:22 | |
About the size of that panel. | 0:39:22 | 0:39:24 | |
So we would be able to stop the miracle if we could create a field as big as what, the whole planet? | 0:39:24 | 0:39:30 | |
No, you need a structure like this panel as big as the whole planet. | 0:39:30 | 0:39:33 | |
Well, I'm sure we'll be able to replicate its effects. | 0:39:33 | 0:39:36 | |
Don't touch it, seriously. That's a proper null field. | 0:39:36 | 0:39:39 | |
You change the dynamic and it could nullify everything, even life. | 0:39:39 | 0:39:43 | |
-Well, then you need to make it safe. -I am not an expert. | 0:39:43 | 0:39:46 | |
You're the closest thing we've got. Now make it safe. | 0:39:46 | 0:39:49 | |
And then we'll take this thing back to Langley. | 0:39:49 | 0:39:51 | |
KNOCK ON DOOR | 0:39:57 | 0:39:59 | |
Mr Danes. | 0:40:09 | 0:40:12 | |
My name is Claire. Or whatever you want it to be. | 0:40:12 | 0:40:16 | |
Now, I did have to adopt a dress code in order to get through hotel security. | 0:40:16 | 0:40:21 | |
You know how that is. But I have clothes in my bag if you'd like. Schoolgirl outfit maybe? | 0:40:21 | 0:40:27 | |
There won't be any need for that. | 0:40:27 | 0:40:28 | |
OK. Well, it's not about the clothes, anyway. | 0:40:28 | 0:40:31 | |
SHE GIGGLES I can act all kinds of innocent. | 0:40:31 | 0:40:36 | |
Whatever you want. | 0:40:36 | 0:40:37 | |
I was very clear I don't want that. | 0:40:37 | 0:40:39 | |
-Not at all. -What do you want? | 0:40:39 | 0:40:42 | |
I suppose...we could talk a little. | 0:40:44 | 0:40:47 | |
-Would you like a drink? -And then what? | 0:40:47 | 0:40:50 | |
I need to know exactly what we're doing tonight. | 0:40:50 | 0:40:53 | |
Maybe we could have dinner... | 0:40:54 | 0:40:57 | |
on room service. | 0:40:57 | 0:40:59 | |
I'm sorry, you mean like a date? | 0:40:59 | 0:41:02 | |
If you want. | 0:41:05 | 0:41:07 | |
Mr Danes, I do know who you are. | 0:41:08 | 0:41:11 | |
I mean, from your trial. | 0:41:11 | 0:41:13 | |
Except that's not everything that I am. Don't presume to know me. | 0:41:15 | 0:41:18 | |
I am capable of much more than my reputation. | 0:41:18 | 0:41:22 | |
So you want to date me? | 0:41:22 | 0:41:24 | |
To begin with. | 0:41:25 | 0:41:27 | |
Oh, my God. So would that be like your first date ever? | 0:41:28 | 0:41:33 | |
SHE GIGGLES | 0:41:33 | 0:41:35 | |
I said don't presume. | 0:41:36 | 0:41:39 | |
We could have a drink. | 0:41:40 | 0:41:42 | |
Maybe a fine wine, | 0:41:42 | 0:41:45 | |
civilised people, | 0:41:45 | 0:41:46 | |
adult company. | 0:41:46 | 0:41:48 | |
Actually...no. | 0:41:48 | 0:41:50 | |
If you don't mind, I think I'd like to go. | 0:41:50 | 0:41:52 | |
But I do mind. I'm paying. | 0:41:53 | 0:41:55 | |
Mr Danes, the thing is, | 0:41:55 | 0:41:57 | |
I could cope with this if it meant shoving my face in the dirt. I'm used to that. | 0:41:57 | 0:42:00 | |
But if you want us to pretend that you're normal, | 0:42:00 | 0:42:05 | |
-no way. No. -No, no, look... | 0:42:05 | 0:42:08 | |
-Don't, sir. Please don't do that. -All I'm asking for is your company. That's all. Just your company. | 0:42:08 | 0:42:13 | |
Well, I think I should warn you that girls my age fight back. | 0:42:13 | 0:42:16 | |
-You know that already though, don't you? That's why you prefer kids in the first... -Stop! | 0:42:16 | 0:42:21 | |
Don't you dare! | 0:42:21 | 0:42:22 | |
If you want to be a changed man, you're running out of time. | 0:42:28 | 0:42:32 | |
The way I heard it, you've been classified a Category 0. | 0:42:32 | 0:42:36 | |
What's Category 0? | 0:42:38 | 0:42:40 | |
Oh, that day will come. | 0:42:40 | 0:42:44 | |
Category 0 is you. | 0:42:44 | 0:42:46 | |
KNOCK ON DOOR | 0:42:54 | 0:42:56 | |
-What's Category 0? -What's... | 0:43:06 | 0:43:09 | |
the what? | 0:43:09 | 0:43:11 | |
What's Category 0? | 0:43:11 | 0:43:13 | |
And why does my whore know about it? | 0:43:13 | 0:43:15 | |
Ah, clever girl. Well, | 0:43:15 | 0:43:17 | |
that's what you get for employing someone who sleeps with senators. | 0:43:17 | 0:43:20 | |
-She's been listening. -Tell me, what's Category 0? -Look, Oswald, | 0:43:20 | 0:43:24 | |
did you really think it would never come to an end, your freedom? | 0:43:24 | 0:43:28 | |
There's an emergency mandate being passed through congress | 0:43:28 | 0:43:31 | |
defining a new Category 0, meaning people who have | 0:43:31 | 0:43:34 | |
earned themselves a place in the ovens for moral reasons. | 0:43:34 | 0:43:38 | |
-They want to burn me alive? -Oswald, you were always sentenced to death. | 0:43:38 | 0:43:41 | |
What you had was a wonderful delay. | 0:43:41 | 0:43:44 | |
And now it's time for that adventure to come to an end. | 0:43:44 | 0:43:47 | |
But... | 0:43:47 | 0:43:48 | |
-..people love me. -Television loves you. | 0:43:51 | 0:43:54 | |
It's a different thing. | 0:43:54 | 0:43:56 | |
They can't kill me. | 0:43:56 | 0:43:58 | |
Not yet. I haven't found them. | 0:43:58 | 0:43:59 | |
-Haven't found who? -How long have you known about this? | 0:43:59 | 0:44:02 | |
How long have you known? | 0:44:02 | 0:44:04 | |
-How long have you known? -Oswald... | 0:44:04 | 0:44:06 | |
SHE SCREAMS | 0:44:10 | 0:44:13 | |
I'll have you arrested for this! | 0:44:19 | 0:44:21 | |
Brand new charges! | 0:44:21 | 0:44:23 | |
They're going to reopen those ovens and you're going in! | 0:44:26 | 0:44:29 | |
You run, Oswald! Run as fast as you can! | 0:44:29 | 0:44:33 | |
You've got the most famous face on the planet. Where will you hide?! | 0:44:33 | 0:44:37 | |
Where are you going to go, Oswald? What are you going to do? | 0:44:38 | 0:44:41 | |
Esther, can you come here for a second? | 0:44:47 | 0:44:51 | |
Uh, and Rex. | 0:44:51 | 0:44:53 | |
I need you to hold these pattern blocks in place. | 0:44:53 | 0:44:56 | |
All right, which ones? | 0:44:56 | 0:44:58 | |
-There. Put your hands on the panel. -Jack, I'm really sorry about this, but I didn't know. | 0:44:58 | 0:45:04 | |
Yeah, now listen to me quickly. I've broadened the transmission so it's nullifying sound waves. | 0:45:04 | 0:45:09 | |
No-one outside the field can hear us. | 0:45:09 | 0:45:14 | |
So make yourself look busy, | 0:45:14 | 0:45:15 | |
just stay where you are and no-one can hear what we're saying. | 0:45:15 | 0:45:20 | |
What are you talking about? | 0:45:20 | 0:45:22 | |
They're right there. Hey, you can hear me, right? | 0:45:22 | 0:45:25 | |
-Hey! -Would you turn around and not look at him? | 0:45:25 | 0:45:28 | |
They can't hear us? | 0:45:28 | 0:45:30 | |
It's a null field. | 0:45:30 | 0:45:31 | |
No, no way. | 0:45:31 | 0:45:34 | |
Rex, don't attract attention. | 0:45:34 | 0:45:36 | |
All right. Esther, I want you to count to 100 out loud. | 0:45:36 | 0:45:40 | |
All right? Just keep counting. | 0:45:40 | 0:45:42 | |
Go ahead, go. | 0:45:42 | 0:45:44 | |
One, two, three, | 0:45:44 | 0:45:47 | |
four, five, six... | 0:45:47 | 0:45:50 | |
VOICE MUTED | 0:45:50 | 0:45:52 | |
Excuse me. Sorry about that. Just check that medical record, OK? | 0:45:56 | 0:46:00 | |
-..30, 31, 32... -Holy shit. This is insane. -They can still see us. | 0:46:02 | 0:46:06 | |
Keep your heads down facing away like you're concentrating, OK? | 0:46:06 | 0:46:10 | |
This thing is real. | 0:46:10 | 0:46:11 | |
-How does it work? -I can't tell you. That's the point. Just listen to me. | 0:46:13 | 0:46:18 | |
I knew this stuff the second I saw it. Yes, it's alien technology. | 0:46:18 | 0:46:21 | |
The only examples of it on earth were in the Torchwood hub. | 0:46:21 | 0:46:26 | |
They were buried in the ruins. | 0:46:26 | 0:46:29 | |
But Angelo had people watching. | 0:46:29 | 0:46:31 | |
He must have salvaged it knowing the miracle was coming. | 0:46:31 | 0:46:33 | |
So what did he do? Trigger it with your DNA or something? | 0:46:33 | 0:46:36 | |
Maybe that was revenge or maybe giving me a clue. | 0:46:36 | 0:46:39 | |
But there's only one course of action left now. | 0:46:39 | 0:46:43 | |
-You have to get me out of here. -Are you crazy? | 0:46:43 | 0:46:46 | |
Turn your head. | 0:46:46 | 0:46:48 | |
Jack, listen to me. The CIA is not the enemy. That's why I brought them in. | 0:46:48 | 0:46:53 | |
Don't you understand? You don't... | 0:46:53 | 0:46:55 | |
Be calm... | 0:46:58 | 0:46:59 | |
Look, you don't need to run any more, OK? | 0:47:01 | 0:47:04 | |
-We can protect you. -There's a reason why Torchwood was secret. | 0:47:04 | 0:47:07 | |
We kept things hidden from the human race. | 0:47:07 | 0:47:09 | |
This technology is a science the world should never know. | 0:47:09 | 0:47:14 | |
How can you know that? | 0:47:16 | 0:47:17 | |
I know, Esther, because I've seen the future. | 0:47:17 | 0:47:21 | |
I've walked the future world and breathed its air. | 0:47:23 | 0:47:28 | |
And this technology would send it to damnation. | 0:47:29 | 0:47:33 | |
Just imagine the stealth technology of a null field | 0:47:33 | 0:47:36 | |
hiding bombs, hiding planes, shielding one side from radiation while the other side burns. | 0:47:36 | 0:47:44 | |
This thing would be the end of us. | 0:47:44 | 0:47:46 | |
This timeline would be terminal. | 0:47:46 | 0:47:49 | |
-He's right. -Whose side are you on? | 0:47:51 | 0:47:55 | |
Even if the government... | 0:47:55 | 0:47:57 | |
even if the government had this one panel | 0:47:57 | 0:48:01 | |
and they put people inside and they died, it's the same thing as the ovens. | 0:48:01 | 0:48:04 | |
It's control over life and death and we've seen that that doesn't work. | 0:48:04 | 0:48:08 | |
But you trust me, don't you? Both of you? | 0:48:08 | 0:48:11 | |
After all we've done? | 0:48:11 | 0:48:13 | |
Please, I'm begging you, get me out of here. | 0:48:13 | 0:48:17 | |
Look, this is the alpha plate. | 0:48:17 | 0:48:19 | |
Without it, this is just a bunch of metal. | 0:48:19 | 0:48:21 | |
You've got to get me and the plate away from this house. | 0:48:21 | 0:48:24 | |
Jack, listen to me. We can't, OK? We are the CIA | 0:48:26 | 0:48:29 | |
and this is a genuine CIA operation. | 0:48:29 | 0:48:31 | |
This is history, Rex. This is everything. | 0:48:31 | 0:48:34 | |
Please, get me out. | 0:48:34 | 0:48:37 | |
-MUTED: -Please. | 0:48:48 | 0:48:50 | |
-I think you should call the police. -This is bigger than the police. | 0:48:55 | 0:48:58 | |
I'm organising a press conference. I'll say that Oswald Danes is on the run with all his old appetites. | 0:48:58 | 0:49:03 | |
It'll be the biggest witch hunt this country's ever seen. Oh... | 0:49:03 | 0:49:07 | |
um... | 0:49:07 | 0:49:08 | |
Shawnie, can you give us a second? This is a friend of mine... | 0:49:08 | 0:49:12 | |
I think. | 0:49:12 | 0:49:14 | |
-What are you doing here? -I'm here to warn you. | 0:49:17 | 0:49:20 | |
You're being watched by a CIA field agent. | 0:49:20 | 0:49:22 | |
Me? Don't be ridiculous. | 0:49:22 | 0:49:25 | |
Oh! | 0:49:27 | 0:49:28 | |
GUNSHOT | 0:49:32 | 0:49:33 | |
And secondly, you're being considered for a promotion. | 0:49:36 | 0:49:40 | |
-You just shot her. -Does a promotion sound interesting? | 0:49:40 | 0:49:43 | |
-She was CIA? -I need you to focus, Miss Kitzinger. | 0:49:43 | 0:49:46 | |
How would you react to a promotion? | 0:49:46 | 0:49:48 | |
-With Phicorp? -Oh, we're way above Phicorp. | 0:49:48 | 0:49:51 | |
-Then, who are you? -We're family business. | 0:49:51 | 0:49:55 | |
Interested? | 0:49:55 | 0:49:57 | |
Yes. | 0:49:59 | 0:50:00 | |
-Yes. -Well, then, that completes the interview. | 0:50:00 | 0:50:03 | |
-And we'd better leave. -Where are we going? -A long way away. | 0:50:05 | 0:50:08 | |
I have her. She's with us now. | 0:50:08 | 0:50:11 | |
Thanks. Good news. | 0:50:11 | 0:50:14 | |
Catholic churches love records. There's tons of this stuff. | 0:50:14 | 0:50:19 | |
Sorry, am I interrupting? | 0:50:19 | 0:50:21 | |
Oh, no, it was just a family thing, that's all. | 0:50:21 | 0:50:23 | |
All right, let's get started. | 0:50:23 | 0:50:25 | |
The whole world is depending on us. | 0:50:25 | 0:50:26 | |
Hey, Jack, | 0:50:32 | 0:50:34 | |
Shapiro wants to see you. | 0:50:34 | 0:50:36 | |
Yeah. | 0:50:36 | 0:50:37 | |
Wait a minute. You might want to grab your coat. | 0:50:37 | 0:50:39 | |
-He's outside by the forensics vehicle. -Thanks. | 0:50:39 | 0:50:42 | |
-Thank you. -Yeah, just shut up. Now listen, | 0:50:46 | 0:50:51 | |
this is the story. | 0:50:51 | 0:50:52 | |
Jack knocked him out, held us at gunpoint and stole a car, OK? | 0:50:52 | 0:50:55 | |
All right, come on. | 0:50:55 | 0:50:57 | |
-You're not coming with me? -We can't. That's why we've got to keep our faces out of this. | 0:50:57 | 0:51:01 | |
I'm sorry, Jack. But the CIA has a chance of solving this thing now. | 0:51:01 | 0:51:04 | |
-They need me and Esther. We can help. -There's a courtyard this way. | 0:51:04 | 0:51:07 | |
Listen. There'll be a guard on the gate. | 0:51:08 | 0:51:10 | |
I'll tell him that Shapiro authorised a car. Just keep your head down. | 0:51:10 | 0:51:14 | |
-Go, go, go. -Which one is it? -I don't know. They're all the same. Just chirp the thing. | 0:51:14 | 0:51:17 | |
BEEP Hey, stop! I said stop. | 0:51:17 | 0:51:19 | |
GUNSHOT | 0:51:19 | 0:51:21 | |
Jack! | 0:51:21 | 0:51:22 | |
Stay where you are! | 0:51:26 | 0:51:28 | |
He saw me. Rex, he saw me. | 0:51:28 | 0:51:30 | |
-Come on, Jack. -Rex, he saw me. | 0:51:30 | 0:51:32 | |
I know. You can't stay. You definitely cannot stay. | 0:51:32 | 0:51:35 | |
Someone's going to have to go with him. Jack, get in there. | 0:51:35 | 0:51:38 | |
Come with us. | 0:51:38 | 0:51:39 | |
I can't. Look after him, Esther. | 0:51:39 | 0:51:41 | |
-My sister. -I know, but someone will have heard that shot. Now go. -Rex, you've got blood. | 0:51:41 | 0:51:46 | |
It's my heart, OK? Just go. It's my heart. Go! Go! | 0:51:46 | 0:51:49 | |
TYRES SKID | 0:51:49 | 0:51:50 | |
-RADIO: -'It's morning in America. | 0:52:00 | 0:52:02 | |
'It's morning across the western world and the banks are closing down. | 0:52:02 | 0:52:06 | |
'It's a disaster of almost biblical proportions.' | 0:52:06 | 0:52:08 | |
Jack, you still with me? | 0:52:08 | 0:52:10 | |
'Some say the concept of money itself is under threat. The Euro has exacerbated the financial crisis...' | 0:52:10 | 0:52:13 | |
Jack? Can you hear me? | 0:52:13 | 0:52:15 | |
'..encouraging some countries to behave as recklessly as the banks themselves...' | 0:52:15 | 0:52:19 | |
Oh, my God... I don't...I don't know where to go. | 0:52:37 | 0:52:41 | |
Jack, please. Please say something. | 0:52:41 | 0:52:43 | |
Oh, my God, I don't know what to do! | 0:52:43 | 0:52:46 | |
Jack... | 0:52:47 | 0:52:49 | |
Oh, my God. | 0:52:51 | 0:52:53 | |
I don't know what to do. | 0:52:53 | 0:52:54 | |
I have reason to suspect you may be illegally harbouring an unsupported Category One deceased person. | 0:52:59 | 0:53:05 | |
You've been invited to Shanghai. | 0:53:05 | 0:53:07 | |
The families want to meet you... | 0:53:07 | 0:53:09 | |
in person. | 0:53:09 | 0:53:11 | |
I'm rather jealous. They're taking you to the Blessing. | 0:53:11 | 0:53:14 | |
You're scared. Your skin's a little too tight. | 0:53:41 | 0:53:45 | |
There's something just out of the corner of your eye you can't quite see. Hmm? | 0:53:45 | 0:53:50 | |
Subtitles by Red Bee Media Ltd | 0:54:04 | 0:54:07 | |
E-mail [email protected] | 0:54:07 | 0:54:11 |