All language subtitles for the.alienist.s02e04.1080p.webrip.x264-oath2

engagement,
John.

I hope she makes you happy.

- It's the clothing
the Napp baby wore.

- Steady hand.
Perhaps the work of a surgeon.

- [baby cries]
- A woman who lost the child.

- I care for Helen greatly,
Dr. Markoe,

but I can't afford the scandal.

- Where is my baby?
I want to see her.

- Your child is with
the angels now, my dear.

Many of our staff
are simply ward girls,

who sadly often lose
their infants in childbirth.

- May I ask you something,
nurse?

- You can just call me Libby.

- What happened
at the hospital?

- No!

- I have the file
on Martha Napp

from the Lying-In Hospital.

The last person to check
on Martha Napp

was an employee
named Colleen Ledwidge.

[soft suspenseful music]

♪ ♪

- I was referred to you
by a wealthy family.

- It's mainly the poor
who come in now.

- Do you perform the service
pro bono?

- I do.

It'd be mercenary
to charge them

when they've been through
so much.

- I suspect your compassion
stems from a bereavement,

Mrs. Carlisle.

♪ ♪

- My William
departed this earth

when he was six months old.

Nothing compares
to losing an infant.

♪ ♪

[horse neighs]

- Remember, Bitsy,
if the killer is there,

it will be crucial
to be inconspicuous.

- I'll be fine, Miss Sara.
I can handle myself.

I'll tell them I come
from a big family.

Worked as a domestic, mostly,

and a lot of the time,
I was with the babies.

- No, tell them all you know
is babies.

Liars embellish the truth.

If you want to tell a good lie,
keep it simple.

- I'll keep it simple, then.

- It's best if you work
alongside the ward girls.

That way,
you'll be able to listen

to everything and everyone.

♪ ♪

- Most of these images
conjure the illusion

that the child
is merely sleeping,

but...these images here...

The eyes transform the picture
from a consolation to...

something more disturbing.

- The eyes are hand-painted
onto the negative.

I've only made two of them
in all my years.

- A grief
that defied understanding.

- A grief without end.

As if by painting the eyes,

she could see through
to the soul.

[ominous notes]

- Where are the mothers now?

- Took their own lives.

They had that look.

As if their spirits
had already departed this earth

and they were mere shades.

♪ ♪

[crying echoing]

♪ ♪

- Grief is a wound
that sometimes never heals.

I am correct, am I not?

♪ ♪

- Memento mori.
- "Remember you will die."

♪ ♪

[dark music]

♪ ♪

[thunder rumbling]

- I don't know why the "Times"
bothers reporting the weather

when they are never
remotely correct.

- Well, it's meant
to pass quickly.

It's mostly bills, I think.

This one's not.

- Hello?
I'm here to see Miss Howard.

- I'm Miss Howard's assistant.
She won't be a moment.

- Libby.

- Uh, Miss Howard,
if I could get the file back?

I'm somewhat anxious about
being late to the hospital.

Uh, Matron is so...

unforgiving.

- Come in.

- Oh, my, it's quite the armory
you have here.

- A legacy from my father.

Have you read the file?

Says that Colleen Ledwidge
was the last person

to check on Martha Napp

the night
her baby went missing.

- She was on duty that night.
Did her rounds.

I'm not a gossip, Miss Howard.

People who can't stand up
for themselves

are often unhappily blamed
for the sins of others.

- Libby.

Do you think
that Colleen is capable

of kidnapping a baby?

Of murder?

[soft dramatic music]

♪ ♪

- Where's the baby?

- Stillborn.

But he gives us some fish

and a spot of greenery
to feel better.

He must like her more
than he did me.

Richard Osgood.

I was given the bonsai first.

Followed by some spotfin betta.

See, they like
to get you pregnant

to prove to their fellow
financial-types

that their pecker still works.

Set you up in an apartment
with fancy clothes and such.

♪ ♪

- I'm sorry.

- [scoffs]

- Aren't we supposed
to bathe her?

- He's had her fixed.

Let's leave her sleep
as long as she can.

♪ ♪

- [sobbing]

♪ ♪

[baby crying distantly]

♪ ♪

- Check with Dr. Markoe first.

- Yes, Matron.
- [sighs]

What are you doing, Libby?
- Nothing, Matron.

There was a body on the track
this morning.

That's why I was late.

The tram, it hit a dodger.

- Get out.
- Sorry.

♪ ♪

- Get to work.

♪ ♪

Stupid, stupid.

♪ ♪

- We believe the kidnapper
is a nursing woman

or had an abettor who was.

Either way, they were slow to--
- Loathe, I'd argue.

- To kill.

- I don't understand.

- It has to do with a black
stain on the child's dress.

It is carbon.
Powdered charcoal.

- It is used as an antidote
to the poison.

- We found both the antidote
and the poison

in the child's stomach.

- This may be interesting
for the Napp baby,

whom you did not save,

but you've done nothing for us.

[soft dramatic music]

- Like you, Señor,
I'm not of this place.

Other than you,
having the added burden

of being seen
as an enemy of the state,

you and I experience
American authority similarly.

- The police are not interested
in finding your child, Señor.

They think you staged
the kidnapping yourself.

- I can corroborate that.

- We are your detectives
on this case, sir.

- Please, let me present
to you our theories

and tell you the steps
that we are taking.

♪ ♪

We have identified the poison
used to kill the baby,

and we know
that the key ingredient

cannot be obtained
outside of a hospital,

one hospital in particular.

- From which the Napp baby
was removed.

- But you're all here.

- We have someone undercover
at this very moment.

- If the doctor instructs you
to administer more chloroform,

you do so!

- She was refusing, ma'am.

♪ ♪

- You may finish the mopping.

- I don't understand
what I have done wrong.

- I know what you were doing
in my office.

Now, mop the floor!

[soft tense music]

♪ ♪

Take your apron off first,
and then do it.

You are stupid!

Stupid, stupid, stupid.

♪ ♪

[indistinct chatter]

- Who in blazes
turned my building

into a flower market?

- I believe
you ordered them, sir.

For Miss Violet's party.

- And you should've told me
what a godawful idea it was.

- Yes, chief.

- Thank you.
Thank you very much, sir.

Madam!
Hunter of a torso!

[indistinct chatter]

- Did you hear Millbank
has lent his Rhinebeck place

to the blockade planning?

Navy and Army
are bunking up there.

- Now, how would
a lowlife like me

get access to that information?

- Oh, I would've thought
it would've trickled down

to the masses by now.

- Mr. Moore?
- Joanna, right on time.

- This is the girl you--

- Bernie,
this is Joanna Crawford.

- Pleased to meet you.

- How on earth
will she be gathering stories

for the society pages, John?

- I will apprise Joanna
of the event

and she will write it up.

We'll manage brilliantly,
won't we?

- Yes.

- You really wrote
that article on--

- "Suffragism
and Emancipation:

A New America"?

That was my senior thesis.
- It was...

It was very good.

- Thank you, sir.

I'm very passionate about--

- We should show you
the office.

- Okay.
Carry on, then.

[hymnal organ music]

♪ ♪

- I wasn't sure you could come.

- I couldn't leave till now

without anybody
getting suspicious.

- What have you discovered?

Have you learned anything about
the maternal research wing?

- It's where they keep
the pregnant mistresses

of rich old men.

What's more the peculiar is,
there's no babies up there.

- Why?
Where are they?

- That's the thing.

The women up there now,
they all had stillborns.

- All of them?
- That's what they tell them.

- What can you tell me
about Colleen Ledwidge?

- Well, she's one
of the ward girls.

Pretty tough character.

- Markoe seems to have
a special interest in her.

- Mm.

- Bide your time.

Become friends with her.
Get her to confide in you.

- You see, the only thing
is something she said.

She's a ward girl,
but she started as a patient.

This big-time swell
Richard Osgood knocked her up.

Another one of his girls,
Helen Sumner,

came in to the research wing
yesterday.

♪ ♪

- Was Colleen's baby
also stillborn?

- I didn't ask her.
- See if you can find out.

♪ ♪

There's something else
I want you to do.

- Sure, what is it?

- The Isaacsons
identified the poison

found in the body
of the Napp child.

I want you to see
where it's stored.

- The drugs are kept
under lock and key,

but that's not a problem.

There ain't a lock invented
that I can't pick, Miss Sara.

- [chuckles]

They said
they're aniline derivatives,

but they may have
different names,

so here's what
you're looking for.

- Acetanilide phenacetin.

- There should be a ledger
indicating drug administration.

♪ ♪

Maybe who signed for it.

Look for names, amounts,
and who takes it out.

[suspenseful music]

♪ ♪

[distant clanging]

♪

[latch clanks]

- Oh, you gave me
such a fright. [chuckles]

I thought my heart
was gonna explode.

- What are you doing?

- Nothing.

- Oh, well, you're going
to get into bother

if you're found in here.

It's off-limits.

But you already know that,
don't you?

- No, no, I was looking for--

- Oh, I believe you, then.

[ominous notes]

- Colleen Ledwidge.
Ward girl, grieving mother.

She lost a baby,

so she replaces it
with another one.

- Kidnapping the Lindares child
is servicing a need,

but there is a violence
to this case,

a fury seething within
the murderer's breast.

- Bitsy said she was enraged
at the wealthy man

who had discarded her,
Richard Osgood.

She fits our profile.

- Could a ward girl acquire
aniline without detection?

- The Matron oversees the ward.

She no doubt places
the drug orders herself.

She seems the most likely

to have the access
and the means to cover it up.

- Matron wields her power
at the hospital

with spite and venom.

Resentful, perhaps,
of what she does not have:

A child.

- Although a woman who is a wet
nurse better suits the profile.

- The Matron manages
a staff of wet nurses

who bottle their milk.

She could administer that milk
to an infant if she wanted to.

- I'd like us to not
lose sight of Markoe.

- Laszlo, the psychology
of the profile fits a woman,

and the evidence points
to one of these two.

- But Markoe oversees
the Matron.

He may not have taken
the child,

but undoubtedly he knows more.

- Well, as a cherished friend
of The 400,

he will be attending
the social event of the season,

as will Richard Osgood.

- You can't mean to ambush them
at Mr. Moore's party.

- It's our opportunity.

It's not ideal,
but John will understand.

- Will he?

- We can't simply stand
on ceremony, Laszlo.

What these two mean reveal
about these suspects

could lead us to baby Ana.

[classical music]

♪ ♪

- I must confess,
it does feel strange

to be attending a ball

while there is a child
still missing.

[indistinct chatter]

♪ ♪

[dog barks]

Over there.

I should say hello
to our hosts.

♪ ♪

Where are you going?
- To observe our friend.

♪ ♪

[match sizzles]

- Sir, if you link the Linares
abduction to Spain and Cuba,

there is a chance
you may spook the kidnappers.

- So you think
there are kidnappers then?

- No, sir, not necessarily,
but it--

- [chuckles]

Richard, the man is marrying
my own goddaughter,

and here he is hiding a story.

- You know I work
for the "New York Times."

- The opposition.

- The Linares
are clearly guilty.

- Guilty of what?
- Who knows, Moore?

Guilty of neglect,
conspiracy, fraud.

I wouldn't put anything
past them, even murder.

And perhaps the child
is back in Spain

and they're using this
as an opportunity

to gain sympathy
from the American public.

Well, they won't get it
from the "Journal," Moore.

That I can assure you.

- Mr. Hearst,

I honestly believe the Linares
family are innocent.

I would only ask
that whatever line

the "Journal" takes
on this story,

this tragedy is not used
to drum up support

against the Spanish
for the war in Cuba.

- War with Spain over Cuba
is going to happen.

- I think that's enough
for politics

for tonight, Osgood.

Okay, Moore.

I'm sure Violet
is waiting for you.

- It's Byrnes here
to see you, chief.

- Ah, Byrnes, my man.
I wasn't expecting you tonight.

- I've come to pay my respects,
Mr. Hearst.

I brung you a gift.

It's for your goddaughter
and her betrothed.

- [chuckles]
- Stop it, Richard.

- Mr. Osgood.

- I don't believe I know you.

- Oh, I know you, sir.
[chuckles] I know you.

- Mr. Byrnes is my go-to man
for all sensitive matters.

He is very effective
and very discreet.

Thank you for the gift, Byrnes.
Very considerate of you.

Just leave it with Monckton.

- Uh, sir, um...

these are some
very fine cigars, sir.

- Well, Violet fill find it
a wheeze, I'm sure.

Monckton!
- Chief?

- Sir.

- You can help yourself
to some hors d'oeuvres

in the kitchen on your way out.

[sighs]
- I'll take that, Byrnes.

- That's former
Chief Commissioner Byrnes

to you, Monckton.

♪ ♪

[chuckles]

But hey,
I won't hold that against you.

Put it there.

Maybe your mother didn't
teach you manners

growing up, Monckton,

so I'll forgive you for that.

I don't expect you to like me,

but what I do require
is some respect.

And a modicum of civility.

♪ ♪

- Picking up any gossip?
- Mm-hmm.

♪ ♪

- Remind me again

what your costume is,
Miss Howard.

- I'm a lady undercover
on a Sunday stroll.

- [chuckles]
No one would ever guess.

♪ ♪

- I have much to tell you.

I suppose you know
that Markoe is here.

- Yes, I'm very aware of that.

- Laszlo and I have agreed
to talk to him tonight.

- Sara, we have nothing
to confront him with

except
unsubstantiated suppositions.

- Need I remind you that there
is a child missing?

- And need I remind you

that this is
my engagement party?

The only thing
you are succeeding doing

is embarrassing Violet.

- Ah, Miss Howard.

[chuckles]
How lovely to see you.

Has my card made its way
to you yet?

- My apologies,
Mr. Gildersleeve.

My boss, Mr. Moore here,
has kept me so terribly busy

that I haven't had a chance
to reply.

- [chuckles softly]

[electricity zaps]
- [clinks glass]

Hello, friends!

Thank you so much for joining
us on this auspicious evening.

I am so pleased

to be able to honor
my goddaughter, Violet,

and soon-to-be godson-in-law,
John Moore,

even though he has chosen
a very wrongheaded career path.

[laughter]

Where is John?

- Down here and dressed as--

- A cub reporter
for the "New York Times."

[laughter]

- All the news
that's fit to print?

Your Mr. Peterson misses the
biggest stories in this city

on the daily.
[laughter]

- I thought the roast was saved
for the wedding dinner, sir.

- Oh, this is my soap box, boy.
I'll say what pleases me.

But perhaps you'll forgive
my gentle ribbing

when I present you this.

[oohs and ahhs]

[applause]

The very first German-designed
luxury motorcar

to hit our shore.

I have no need to extol
its many virtues to you, John.

- John's been extolling
the virtues of public transit.

- Because he can't afford
an automobile.

[laughter]

- Now, boys.

I am dusting him off
and spiffing him up.

The car is just one part
of the costume.

No more need to bother
Miss Howard

for jaunts here and there.

- Three cheers
for the Hearst largesse!

- Hip, hip--
all: Hurrah!

- Hip, hip--
all: Hurrah!

- Hip, hip--
all: Hurrah!

[laughter and applause]

[soft dramatic music]

♪ ♪

[classical music]

♪ ♪

- The three agencies of action
within human nature

are appetite, spirit,
and reason.

Before me, I see

appetite has vanquished
both spirit and reason.

- I know who you are.
You're that damned alienist.

- You've had quite the harem
at the Lying-In Hospital.

A new girl

in the research wing,
I understand?

- Have you been spying on me?

I can have you removed
from not only this party,

but from the country
as a foreign undesirable.

- A child went missing
from the hospital. Murdered.

The killer has taken
another one.

- Damn you, man.
This has nothing to do with me.

- It has everything to do
with you, Osgood.

To you, these girls
are merely playthings.

- What of it?
They are hardly innocent.

- Tell me, what do you know
of Colleen Ledwidge?

[soft tense music]

- You think Colleen,
Miss Ledwidge,

is responsible
for these crimes?

Colleen worked in service.

She was impressed
by fine clothes, a dinner out.

Perhaps I persuaded her to
think that my intentions were--

- Honorable?

Is she violent?

- Hot-blooded.
Feisty.

Like a mare
that needs breaking in.

- So you broke her in?

- She didn't understand
the rules.

- What are the rules?

You take her innocence,
her youth,

her prospects
in respectable society,

and then you have her child
taken off her

and sent God knows where?

♪ ♪

- I thought her child had died.

- A time for reckoning
comes to us all.

♪ ♪

[classical music]

♪ ♪

- I'm concerned
you're being bought, John,

on the cusp
of your true independence,

on the finding
of your own powerful words.

I fear you're being seduced.

- Well, I fear you're behaving

like an irritating
sister, Sara.

How about,
"What a lovely party, John.

Please extend my thanks
to your generous bride-to-be."

- Generous?
She humiliated you.

- She did not humiliate me.
- She laughed at your expense.

- It was a moment or two
of teasing.

- That debased you.

- If I'm not fussed by it,
then why should you be?

You don't care about me
particularly.

You made that quite clear
when I asked you to marry me.

You said no, if you recall.

[downbeat music]

♪ ♪

- She's unkind to you,
in public, no less,

which is not right
for you, John.

Don't you see?

You deserve someone

who is adventurous
and curious and--

- Someone like you?

- Yes.

Someone like me.

♪ ♪

But not me.

♪ ♪

- A yazoo tributary.

- What?

- It's an Indian name
for a tributary

that runs beside a main river.

It flirts with joining it.

It comes very close,
but never does.

- A woman exactly like that,

untied to the suffocating
social mores,

the very opposite of any number
of women down there.

- And the opposite of you too.

So full of judgment,
yet trussed up like a turkey

in your corset
and your fancy dress.

♪ ♪

I decided, unlike you,

that I want not to be alone,
childless, lonely,

corseted.

You're no yazoo tributary,
Sara Howard.

In fact,

you're swimming right down
the middle of the stream.

♪ ♪

- Thanks for not
ratting me out to Matron.

I didn't know
it was the drugs closet.

- That's okay.

We gotta stick together
around here.

I got secrets too, you know?

Not good ones.

- Did you do something wrong?

- Did I say it was me
that did something wrong?

- No, just...

[whispers] I thought you were
talking about you and Markoe.

[soft tense music]

- M-me and Markoe?

♪ ♪

- Colleen pretends to herself
it doesn't happen.

♪ ♪

You don't ask her
about things like that.

[soft dramatic music]

♪ ♪

You should say sorry.

♪ ♪

[door handle shuffles]

- What are you doing?
You need to be in bed.

- Please help me.

♪ ♪

I believed
all the sweet nothings.

He can't throw me away
so easily.

♪ ♪

Help me.

♪ ♪

[oohs and ahhs]

[indistinct chatter]

[cheers and applause]

[shushing]

- Where's Violet?
- She said we could go ahead.

- V?

- Lock the door.

♪ ♪

- I do hope this
is the only key to the room.

- Not absolutely, totally sure,

which makes it
all the more exciting.

[dramatic music]

- On your marks!
- Come on!

- Get set!

both: Go!

[crowd hooting and clamoring]

- Get the ring!

♪ ♪

- Are you mad?

[chuckles]
My God, woman.

What has possessed you?

♪ ♪

- Find the ring!

[cheers]
- I found the ring!

- Whoo-hoo-hoo-hoo-hoo!

♪ ♪

- It's more than
somewhat depressing.

Such wanton extravagance
fills me with melancholia.

[indistinct clamor, cheers]

♪ ♪

It's like Versailles.

So far, I have counted
three Louis Quatorzes

and at least four
Marie Antoinettes.

What was it she said
to her starving subjects?

"If you don't have bread,
let them eat cake."

♪ ♪

- I think
what she actually said was,

"Qu'ils mangent de la brioche,"

which is
"Let them eat brioche."

Although, of course,
brioche is a pastry of sorts

and at the time,
probably meant cake.

And I don't mean
to be pedantic,

but I think you'll find there's
only three Marie Antoinettes,

not four.

I think the one by that
monstrosity of a motorcar

is actually
a Madame de Pompadour,

chief mistress of Louis XV,
rather than a Marie Antoinette,

although your error
is entirely understandable.

- Chief mistress?

- Yes, it was an actual
royal court position,

believe it or not.

And who are you,
and what do you do,

and how do you come to be here?

- I'm an alienist.

- As am I.

♪ ♪

- [chuckles]
You're teasing me.

- Yes, I'm teasing you.

But it's also true.

Karen Stratton.

I was Violet's professor
at Barnard.

Well, she had me
for a semester.

- Professor Karen Stratton.
I've read all your work.

- I'm Doctor--

- Of course,
I know you're Dr. Kreizler.

Who in New York
hasn't heard of you?

And in fact, it seems as if all

of the most important people
in New York are here.

Even still,
I didn't for the life of me

imagine I'd meet you.

It's quite the honor.

- The honor is all mine.

Indeed.

I would very much like to--

perhaps we could discuss--

- My card.

Do call on me.

[classical music]

♪ ♪

- [chuckles softly]

♪ ♪

- Richard?

Richard!

Why didn't you come to me?

Didn't you know
what happened to me?

Where have you been?

- Helen?
Come, now, Helen.

- I want to talk to Richard.

- [chuckling]
Too much champagne.

- Get your hands
off her, Markoe.

- She's deluded,
the poor creature.

- Were you
in the Lying-In Hospital?

If you touch her,

I will scream bloody murder
at the top of my lungs

and then there will indeed
be a scandal.

♪ ♪

What happened?

- [sobbing]
They took my baby.

♪ ♪

They fixed me so I can't
have children anymore.

I thought he loved me.
- He does love you, Helen.

And that's why he's asked me

to accompany you in his
carriage to the townhouse.

- What?
He--he said that?

- Yes.

- You sterilized her, Markoe?

Is that what you do
to all of them?

- She had an infection.
I saved her life.

Helen, Helen.
Come.

- Don't go with him, Helen.

You can trust me.
I can help you.

[soft suspenseful music]

♪ ♪

- May I?

[classical music]

♪ ♪

[cigarette sizzles]

- Shame on you.

[dog barks distantly]

[soft dramatic music]

♪ ♪

[clock ticking]

- [sighs]

The events earlier this evening
were simply a distraction.

There is a phenomenon
common in visual perception

that when something
is drawing the eye's attention,

an object, a source of light,

we become almost blind
to surrounding objects.

- The human eye cannot help
but fixate on certain stimuli.

- And in such cases,
the person isn't even aware

that their perception
is limited,

so subtle is the effect.

- The same can be true
of the mind.

And so it is with us,
we have gone off-course.

- What are you saying, Laszlo?

That we are no closer
to finding the killer

of Martha Napp's baby or
the kidnapper of Ana Linares?

That Markoe has nothing
to do with it?

- Precisely.

Dr. Markoe created a miasma
of corruption at that hospital

in which our killer is hiding.

But that may be
the extent of it.

- Señora Linares.

♪ ♪

Please, have a seat.

[baby crying]

- Colleen.

- One of them puked
all over the floor.

I only cleaned it an hour ago.

- I'll help you.
- Thanks.

- Got any clothes?

♪ ♪

I didn't mean anything
by what I said.

♪ ♪

- I thank you for helping me,

but remembering
is also a curse.

There was someone there
at the hospital

who did not behave
as they should.

- A member
of the hospital staff?

- Yes.

- Was Eva able to describe her?

- She was a woman
one did not notice at first,

but she was watching
all the time.

Staring at Ana,
not touching her,

not caring for her,
but watching.

She looked back at me
and she left the room.

I knew she meant harm.

♪ ♪

- She looked back at you?

Not at Ava?

- It's me.

My God.

- Señora Linares,

the trauma and fear
had repressed your memories.

Your mind has constructed
a narrative

that placed Ava, and not you,
at the Lying-In Hospital.

- It means that you saw
who took your baby.

♪

- Yes, I saw her face again...

That day.

♪ ♪

Right here.

[flash lamp snaps, echoes]

[wind howling]

[tense music]

♪ ♪

[babies crying]

- You ever have a baby?

[soft dramatic music]

But he didn't make it?

♪ ♪

[baby crying distantly]

Can you have another one?

- You mean did they sew up
my tubes like the others?

♪ ♪

They tried to, but I--

I lost a lot of blood,
so they had to leave me intact.

- [cries loudly]
- Libby told me.

[baby cooing]

- Colleen?

What happened
to Martha Napp's baby?

[dramatic music]

- Sorry I'm late.
I have them.

He printed them all
from that Tuesday.

♪ ♪

- Do you recognize anyone?

♪ ♪

- [gasps]
It's her.

♪ ♪

[dramatic notes]

- Oh, my God.

- You know something?
You're a real nosy parker.

- Colleen--
- I didn't do anything!

And they're all blaming me.

I checked on the baby
and she was there.

Next, I heard her screaming.

How was I to know
what happened?

- But do you know
what happened?

- No!
You're always asking questions!

Blaming me?
What do you want?

Get me thrown out, put in jail?
What are you, a snitch?

- No!
[bucket clatters loudly]

[both yelling]

- [grunts]

[horse neighs]

♪ ♪

- The Lying-In Hospital.
- Please hurry!

♪ ♪

- Come on!
Go!

Yah!

♪ ♪

- Come back, snitch!

♪ ♪

- [yells]

Open the door!
Open the door.

You can't stay in there
forever!

♪ ♪

- Libby,
Colleen's lost her mind.

♪ ♪

- Has she?

[ominous notes]

- Go, go!

♪ ♪

- Your mouth--
that's charcoal, isn't it?

- You sure do ask
a lot of questions.

- [groans]

[intense music]

♪ ♪

[yelps]

♪ ♪

- Oh, God!

♪ ♪

- Whoa!

♪

- Libby!

♪ ♪

[soft tense music]

- Doctor!

[alarm ringing]

- I tried to help her.

- What happened?

- Libby locked the door.
I couldn't get in.

- Which way did she go?
- I don't know, she ran.

♪ ♪

- She only managed
a partial syringe.

♪ ♪

- Hurry.

♪ ♪

[suspenseful music]

♪ ♪

- I tried to get in
and stop her, but I couldn't.

- You did your best, Colleen.

♪ ♪

- She's gone.

♪ ♪

- Lucius.

♪ ♪

- You're alive.

You're alive.

[stirring music]

♪ ♪

- [knocks softly]

[suspenseful music]

♪ ♪

[knocks loudly]

♪ ♪

- Libby?

♪ ♪

Excuse me?

What are you doing?

♪ ♪

I-I am calling the police.

[yelps]

- [sniffles]

♪ ♪

- I'll give you, uh...

I'll give you ten seconds
to leave, or--

- Or what?

You'll tell someone?
[chuckles]

You'll--you'll scream?

You'll what?

[sighs]
So.

So this is where you live?
[chuckles]

You know, it, um,
it looks matronly.

Perhaps too cluttered,
maybe a little cheap.

♪ ♪

- What do you want?
- [laughing] I want?

♪ ♪

I want to, um,

um...
[chuckles shakily]

To come in.

♪ ♪

To, um, hmm.

To lighten the load.

♪ ♪

To, um,

to rest my weary bones.

♪ ♪

To find sanctuary.

- Sanctuary?

What have--
what have you done, Libby?

♪ ♪

[tense music]

[softly]
I can't breathe.

- Do you understand
the feeling now?

- I can't breathe.

- That you gave
to all the girls around you?

The stain you made on them?

The life that you tore
from them?

♪ ♪

How does it feel now to plead
for mercy with your eyes

because your words,
even if they came,

they mean nothing?

- [groaning and choking]

- Stupid...

stupid...

stupid.

[ominous music]

♪ ♪

[humming]

[humming softly]