All language subtitles for Fringe S01E15 - Inner Child

PHIL:
God, it's cold.

- I'm getting too damn old for this.
- Make sure that blast cap's on tight.

It's not the cap I'm worried about,
it's my damn fingers.

Stop complaining.
We fall behind, we violate our permit.

Just a minute, almost there.

MAN 1 [OVER RADIO]: Zone 1, clear.
MAN 2: Zone 2 is clear.

MAN 3: Zone 3, clear.
MAN 4: Zone 4, clear.

MAN 5:
Got a squatter in Zone 5.

Getting him out.
After that, we're clear here too.

MAN 6:
Zone 6, clear.

MIKE: Okay, people. Building's clean.
Wrap it up and get out.

Go for demolition in three minutes.

D-minus-three minutes.

PHIL: So, what's up, man?
Stateside Diner? Meatloaf sandwich?

DENNIS:
Thinking steak and eggs at Cora's.

Or we could always head up Route 9
to Parkview.

- Sure.
- What?

"What?" The waitress, the brunette.
What's her name?

Marcy? No, I wasn't even... I was
thinking about the lean corned beef.

Yeah, right.
The lean corned beef named Marcy.

[PHIL LAUGHS]

DENNIS:
Hold up.

What's the matter?

You okay?

Dennis?

- What's the problem?
- Nothing.

- I don't know.
- You swept it, right?

Sure. I just...

I don't know. All of a sudden,
I got a weird feeling.

Yeah? Me too. Mine's called,
"I don't wanna die looking at Dennis."

Come on, man.

Hey, radio Mike, will you?
Tell him I wanna do another sweep.

PHIL:
Come on, man. Where you going?

Dennis, they're holding
the countdown for us.

DENNIS: Damn it. Over here, let's go.
PHIL: Where are we going?

DENNIS:
I think we missed something.

Plans show another room over here.
God, this doesn't make sense.

MIKE:
Phil, you got Dennis? What's going on?

- We don't have a lot of time.
- Two more minutes. We'll be right up.

[FOOTSTEPS ECHOING]

- You hear that?
- What?

[STOMPS]

- Sounds hollow.
- This place has been completely prepped.

There's nothing underneath there.
It's a solid foundation.

- That sound solid to you?
- It's probably frost damage.

The concrete's cracked. Man...

[DENNIS GRUNTS]

[BOTH PANTING]

Mike, I think
you should come down here.

DENNIS: This was definitely not
in the blueprints.

PHIL:
God, what's that smell?

MIKE: What do you think this was?
PHIL: I don't know, but it's old.

MIKE:
Oh, good, that narrows it down.

[RATS SQUEAKING]

PHIL:
What the hell?

My God.

Ella?

Mommy gets grumpy
if I wake her too early.

She always did.

Come here.

[OLIVIA GRUNTS]

Do you want some pancakes?

Yes.

- Yeah?
- Mm-hm.

[CELL PHONE RINGS]

CHARLIE:
Francis.

Hey, Jim. How are you, buddy?

I saw that your mayor got himself
in a little bit of trouble.

That couldn't have been fun
for you guys.

When?

Has anyone taken anything from that fax
in the last five minutes?

MAN 1: No, sir.
MAN 2: Didn't see it.

I'll call you back.

Ugh. Liv, I'm sorry.
I told her to let you sleep late.

- Oh, she did. Until 6:17.
- Yup, that sounds late for her.

ELLA:
Which one?

RACHEL:
Uh, the yellow one.

- Aunt Liv?
- Definitely the yellow.

Did you tell her?

- Go get dressed.
ELLA: Okay.

OLIVIA:
What?

We went apartment hunting
yesterday.

Really? You're thinking
of moving to Boston?

Yeah, well, Ella loves it here
and so do I, so...

- You can stay here as long as you want.
- I know.

But you don't need a little creature
waking you up at 6:17 every morning.

[CELL PHONE RINGS]

If that little creature is Ella,
I am fine with it.

- Hello.
- It's me. The Artist is back.

How do you know?
Did we receive another fax?

- Yeah. Hartford office got one too.
- Well, did we get a trace?

Sent from a copy store in Allston.

I've got Mason and Lewis headed over
to question the employees.

See if someone can give a description
of whoever sent it.

Okay, I'm gonna be there
in 15 minutes.

Some horrifying event
you're not allowed to tell me about?

[CELL PHONE RINGS]

Yeah.

- Okay, now it's gonna be 14.
BRO YLES: Excuse me? Agent Dunham?

- Oh, hey.
- Get the Bishops.

I need you to meet me
at Children's Hospital.

- I just had an old case reopen and l...
- It can wait.

BRO YLES: After the boy was found,
crews performed a search of the tunnels.

It was determined they'd been
sealed shut for at least 70 years.

The place was a sarcophagus.

The only living things down there
were rats, insects...

...and him.

And we have no idea
how he got down there?

He's so pale.

BRO YLES: He seems to be developing
some sort of pigmentation.

WALTER: Well, he probably hasn't
seen sunlight in years.

Does he have a name?

BRO YLES: He hasn't spoken a word
since he was found.

Dr. Bishop, any thoughts?

Perhaps. First,
I need a piece of special equipment.

- My turntable.
- Is that some kind of lab equipment?

No, no, no.
A turntable. Record player.

You enjoy music, don't you,
Mr. Broyles?

Well, imagine the agony of having
an extensive record collection...

...and having no means to play it.

The agony.

I'll have someone get right on that.

[KNOCKS ON DOOR]

This is Dr. Winick, chief of Pediatrics.

Look, I understand your agency's
taken an interest in this child...

...but he's been through quite a trauma.
- Is he sick?

Not as far as we can tell,
but he's having difficulty breathing.

- We need to administer oxygen.
- No, don't. No. I wouldn't do that.

You said the tunnel was sealed.
Is that correct?

It's obvious that the child was trapped in
a low-oxygen environment for so long...

...his body adapted. That's why
he's having trouble breathing.

I don't think so.

Unless you have an IQ higher than mine
I'm not interested.

Administering additional oxygen
at this stage...

...would simply cause his lungs to fill
with fluid and drown him where he lies.

[PETER CLEARS THRO AT]

We need to deprive him of oxygen.

Get him a nasal cannula and a tank
with low oxygen content.

Perhaps 5 percent to start.

[ROCK MUSIC PLAYING
OVER SPEAKERS]

MAN: A griffin.
- Excuse me?

Your tattoo. The body of a lion,
the head of an eagle.

That's a griffin, right?

Just picked it out of the sample book.
Thought it looked cool.

Oh, well, a nice choice.

Did it hurt much?

I always imagined getting a tattoo
would hurt real bad.

It's a good pain.

- I'm sorry, I didn't mean to embarrass...
- You didn't.

Hey.

Do you need a hand?

Thanks, I got it.

Actually, you know,
a little help would be great.

- Cool motorcycle. What make?
- '67 Harley Shovelhead.

She's a beauty.

Yeah, she is.

[SAWING]

[BLOOD DRIPPING]

[WHEEZING]

Any minute now.

[BREATHING EVENLY]

[MONITOR BEEPS]

It worked.

You'll want to increase the oxygen flow
10 percent every hour till he acclimates.

So you said that he hasn't talked.
How do we know he can hear?

He responds to sound.

We examined his tympanic membrane,
there's no physical damage.

In fact, considering how he was found,
he seems fairly healthy.

His heart sounds fine,
his blood pressure's strong.

How do we think he survived
down there? What did he eat?

Rats, I'd think.

Moss, insects, high in protein.

Tastier than you may think,
especially millipedes.

Although they all lack
certain minerals...

...which may account
for his follicular dilemma.

- His baldness.
- Have you performed a urinalysis?

Haven't been able to.
We've been feeding him intravenously.

He hasn't relieved himself
since he arrived.

I can't say I blame him
for not wanting to try this.

Looks worse than the dreadful fill
they served us in Claire's.

You were on staff
at St. Claire's Asylum?

No, no, no. I'm not a medical doctor.
I was a patient.

[PETER LAUGHS]

Got such a sense of humor, huh?

Walter, what do you say we keep those
old St. Claire's stories to ourself, yeah?

Hello.

My name's Olivia. What's yours?

[CELL PHONE RINGING]

[OLIVIA CHUCKLES]

That's my phone.

It's Charlie.

Hi, I'm still in the hospital.

You won't remember this, Peter, but
you didn't talk much either as a child.

Could you get me the address?

Okay, tell him that I'll be there
as soon as I can.

Charlie got a call from the local P.D.
About the Artist.

I'm gonna go meet him now.

What's it say?

- Sam Gilmore.
- He can write?

Is that your name?

I'll see what we have on Sam Gilmores
in Massachusetts.

AGENT:
The body was found just after 6 p.m.

This part of the park's empty
this time of year.

A couple of kids were using it
as a shortcut when they found her.

Definitely the work of the Artist.

He clearly made alterations to the body
postmortem.

And put her here for the world to see.
Here's what we have so far.

She's a local girl.
A process server from Weston.

Next of kin is being notified
by local agents as we speak.

CHARLIE:
Samantha Gilmore.

Wait, did you say "Sam Gilmore"?

Yeah, Samantha Gilmore.
You know her?

CHARLIE:
Our perp's name is the Artist.

As some of you may recall, we had our
first encounter with him three years ago.

He killed four women in Lowell and
Jamaica Plain over a period of two days.

After the fourth murder, he stopped.

WOMAN [ON PHONE]:
Are you holding for Dr. Winick?

- Yes.
- One moment, please.

The killing bears
all of the Artist's trademarks.

His m.o. Is to kidnap, sedate
and kill his victims.

And then after he kills them,
using surgical tools and chemicals...

...he, in his mind,
enhances their appearance.

In this case, he bleached her skin,
removed piercings and dyed her hair.

- I'll let Dr. Winick know you called.
- Thanks.

CHARLIE: It was preceded
with a faxed invitation...

...to view work
to be displayed in public...

BRO YLES: Anything yet?
- No. That was the hospital.

They're giving the boy an MRI.

When he's done, I'm gonna go in
and talk to him again.

In the meantime, I've sent his picture to
Samantha Gilmore's friends and family.

But so far, no one recognizes him.

You didn't really expect
that they would, did you?

No.

So let me ask you the obvious,
what's the connection?

WALTER: Amala and Kamala,
the wolf girls of India.

And Marie-Angelique Memmie LeBlanc,
the wild girl of Champagne.

They're all feral children who grew up
completely isolated from human contact.

Surviving, like our boy,
for many years alone.

I'm guessing none of them
could write upside down.

You're saying that the boy
grew up down there?

Well, based on the blood work, yes.

I'm fairly certain.
The lack of vitamin D, for one...

But also the complete absence
of Lactobacillus...

Microorganisms that help us digest.
They're everywhere.

WALTER: Precisely. If the boy had
spent any time above the ground...

...then he certainly would have
absorbed those.

But that still doesn't explain
how he got there.

You said that, that place
had been sealed off for decades.

- The boy couldn't be more than 10?
- Well, he certainly looks that.

You believe he might be older?

Well, given the environmental conditions,
the lack of oxygen, light...

...and their impact
on his biological development...

...he could be significantly older.

But none of that explains
how he knew Samantha Gilmore.

No.

That I can't explain.
But good news, Mr. Broyles...

...I have located my turntable.

So I don't need you
to purchase me one after all.

It was under the sink in the john.

So, obviously,
I was sitting on the toilet...

- Walter. Think that's enough information.
AGENT: Agent Dunham.

We just got another one.
The Artist is going after another victim.

Easy. Easy.

- That's a beautiful dog.
- Thank you.

- Is he friendly?
- Of course.

- His name's Mack.
- Hey, Mack. Hey, Mackie.

OLIVIA:
Hey.

They, uh...

They told me that
you haven't eaten anything solid yet.

So I, uh...

I thought that you might like these
more than the mystery meat.

When I was a kid,
I used to live on these.

Except the yellow.

Something about the color
reminded me of medicine.

You wanna try one?

That's it. Good.

Thank you.

Yesterday you wrote down
a name for me.

Remember?

I thought today you could
give me your name.

MAN:
You have a real way with him.

Eliot Michaels,
Department of Social Services.

Olivia Dunham, FBI.

Um, do you mind if I borrow
Miss Dunham for a few minutes?

I promise I'll bring her right back.

I'll be just outside.

Dr. Winick brought me up to speed
about your interest in the boy.

Circumstances by which he was found
attracted our interest.

Mm-hm. It's bizarre, huh?

[SPEAKING INDISTINCTLY]

Have you been able to find out
anything more about him?

You know, first name?
Where he's from?

No. I'm afraid, not yet.

I just thought I'd stop by and see him
before I get the ball rolling.

- How so?
- How so?

Well, physically it doesn't seem as if
there's anything really wrong with him.

So I've arranged to have him moved.

- Moved?
- To a facility that can provide...

...the treatment he needs.
- When?

Tomorrow. You know, I hope.
Assuming all the paperwork is in order.

[GASPING]

[MONITOR BEEPING]

OLIVIA: What's wrong?
- I'm not sure.

His BP and his heart rate are spiking.

It's okay, it's okay. Hey, it's okay.

Shh. It's gonna be okay.

Aww.

[BREATHING EVENLY]

OLIVIA:
Good.

NURSE:
Should I get the doctor?

- I think we're okay.
- All right.

- You're okay there?
- Maybe if you just gave us a moment.

- Of course. Take your time.
- Thank you.

[DIALING CELL PHONE]

I'm at the hospital.
I think we may have found another one.

I should let you get some rest.

- Anything so far?
- I just got here five seconds ago.

So, what's the plan?

- Start knocking on doors?
- Unless you can think of a better idea.

- All right. You go east, I take west.
- Okay.

ARTIST:
Shh.

[WOMAN WHIMPERING]

ARTIST:
Shh, shh, shh.

[ARTIST SHUSHING]

[WOMAN SOBBING]

Good. You're very good.

RACHEL:
Mind some company?

Of course not.

Did I miss you last night,
or did you not even come home?

Uh, no, you didn't miss me.

Have you eaten anything?

M&M's.

Liv...

Do you like it? Your job?

Yeah, most days.

Today, not so much.

I followed a lead that didn't pan out.

What about you? Why are you up?

Um...

[CELL PHONE RINGING]

I'm sorry.

- Hello?
- We found our second victim.

It's Kate Harper.

- Where?
- Right outside St. Catherine's.

Surrounded by candles.

Good news is,
we might have finally caught a break.

ERT said they found some blood
underneath her nails. They're running it.

- Okay. I'll be right in.
- There's one more thing, Liv.

The address the boy gave us...

A little while after we left,
a neighbor found a dog tied to a fence.

It was whimpering.

- It was the victim's dog.
- We were there.

There's no way
we could have known, Liv.

But he was trying to tell us,
and he was right, and we were there?

Walter, Olivia's here.
She needs to talk to you.

[WATER RUNNING]

- Walter.
WALTER: Could you come back later?

I'm about to step in the bath.

No, she can't come back.
It's the middle of the night.

She needs to talk to you right now.

[WATER STOPS]

Honestly, Peter, can't a man get a...?
Agent Dunham.

Why didn't you tell me
Agent Dunham was here?

- I'm pretty sure I did.
- Well, what can I do for you?

OLIVIA: Walter, it turns out
that the boy was right.

He gave me a clue,
but I didn't know what I was looking for.

Do you have any thoughts at all?
Any idea how I can reach him...

...or how he's doing any of this?
- I believe I know how he's doing it.

Since he's been living underground
for so long...

...his hypersensitivity
to light and sound...

It's just possible
he may also be sensitive...

...to peoples' emotions.

A raw nerve...

...able to intuit the feelings
and intentions of others.

- Your killer, for one.
- So are you saying that he's psychic?

- No, no. More a shark.
- A shark?

Specifically,
their electromagnetic field...

...which allows them to detect
their prey's bioelectric field...

...from a distance of many miles.

We humans have it too,
of course. Pheromones.

Undetectable chemicals
that nonetheless affect our behavior...

...our sex drive, our fear...
- Hey, speaking of sex drive...

Oh, Peter, don't be such a prude.

I'm sure Agent Dunham
knows what a penis looks like.

- Don't you, Agent Dunham?
- My father, ladies and gentlemen.

But how would he know
things that I don't?

Know about the killer or the victims
that he's never even met?

My dear, there is much
that is unexplained...

...until it is.

In short, he has no idea.

But even if you're right
and he can sense the killer...

...he can't tell me that. Not in a way
that I could do anything about it.

Well, if that's the problem,
then there's no problem.

What does that mean?

Well, the boy is obviously
thinking, yes? Having thoughts.

We just haven't been able
to hear them.

And I'm sure you can do that,
can't you? Hear his thoughts?

Perhaps I can.

OLIVIA:
Did you make that?

Hey.

Listen, I wanna take you
away from here for a while.

Is that okay?

WILE E. CO YOTE [ON TV]:
Wile E. Coyote, super genius...

- Vintage Bugs Bunny.
BUGS BUNNY: Eh, what's up, doc?

Didn't get any better than this, right?

WILE E. CO YOTE:
Being a genius has its advantages.

Aha! I found it.

Neural stimulator.

Is there anything it can't do?

Is that what you're gonna use
to read his thoughts?

Not to read them, my dear.
To listen to them.

- I wish you would've told us.
- Why?

You could've saved us the hassle.
You're not putting that on that poor kid.

The last time you used that thing,
you drilled it into the guy's head.

If you think he'll find it disagreeable,
I suppose it could be modified.

Really? Didn't think to mention that
to the last guy?

It shouldn't be too much trouble.
I mean, we merely need to intercept...

...the responses
from the speech centers of the brain...

...which can be achieved by
placing electrodes in the halo ring.

After that, it's simply a matter
of synthesizing the impulses.

Think of it as creating
artificial vocal cords.

Simple. Like making an omelet.

Actually, son,
a good omelet is far more complex.

We'll have him talking in no time.

Where's the child
that was in this room?

- He was discharged.
- By whom?

Just remember that you don't have to do
anything that you don't wanna do.

If for a second you're scared
or you don't like what's happening...

...you just squeeze my hand
like that, okay?

Is he ready?

As ready as he'll ever be, I guess.

PETER:
I've seen that look before...

...usually right before
somebody throws up.

WALTER:
Agent Farnsworth, ready?

PETER: Walter, what are you doing?
- Watch and learn, son.

[AL GREEN'S "LO VE AND HAPPINESS"
PLAYING ON RECORD]

[GRO ANS]

Ooh! Whoo-hoo!

[LAUGHING]

Works every time.

- Nicely done, Walter.
WALTER: Thank you.

You can turn the music off now,
Agent Farnsworth.

[MUSIC STOPS]

What's wrong?

[DOOR OPENS]

What's going on in here?

Did you think you could steal a child
out of protective custody...

...and that no one would notice?

I didn't steal him. The child's
assisting us in a criminal investigation.

Assisting you how?

No offense, Mr. Michaels,
but that's classified information.

The Department of Social Services
doesn't have clearance to know that.

- What?
- Mr. Michaels isn't Social Services.

He's with the CIA's Directorate
of Science and Technology.

I'd have told you earlier myself, but
you don't have clearance to know that.

We were informed the DS&T
would be taking full custody of the child.

So they can what? Study him?

[SPEAKING INDISTINCTLY]

This child was, apparently,
able to survive for years underground...

...in an oxygen-deprived environment
with no food or water.

Surely, you could see how someone
might wanna exploit that.

So you wanna take him to protect him,
is that it? I don't buy that for a second.

- Dunham.
MICHAELS: It's all right.

It doesn't make any difference what
you think. The boy's coming with me.

I'm afraid this is above both of us.

[KNOCKS ON DOOR]

ASTRID:
Agent Francis just called.

He said we got another invitation
from the Artist.

[SIGHS]

Mr. Michaels,
suppose you gave us one day.

A day?

BRO YLES: He can help us
catch a murderer and save a life.

The boy will be under my protection.
I'll personally guarantee his safety.

If I agree to this...

...then you'll turn the boy over to me
without a fight.

Do we have an agreement?

We do.

My very educated mother
just served us nine pies.

No. That's the planets of
the solar system. Or at least, was.

Wanna take a look at this?

His name is Roadblock.
He's not one of your top-tier G.I. Joes...

...but he was the best we had.

WALTER: Wait, wait.
- Huh.

It's funny. I always remember the scar
being on the other side.

You want him?

Cannot build phallic puzzles
in the lab. No.

- What is he doing?
- Mnemonics.

Like, a rhyme or phrase
to help memory.

Like, HOMES stands
for the Great Lakes. That's Huron...

I'm familiar with it.
Why is he doing it?

He is trying to remember which wires go
into which connections on the machine.

[DOOR CLOSES]

Yeah, thanks, Charlie. I will.
Keep me posted.

- More bad news?
- We got the forensics report.

We were hoping that the blood
under the second victim's fingernails...

...was a match for the killer.
- But no?

Not unless Gene is the killer.
It wasn't human, it was bovine.

- You said cow blood?
- Yeah, and some plastic polymers.

How would someone get cow's blood
on their fingers in Boston?

OLIVIA: Astrid, could you contact
the Bureau of Animal Health?

Start pulling livestock licenses
around Boston.

Petting farms,
research facilities, anything.

- Yeah, got you.
- She's a bad mama jama. Ha.

Alpha, beta, theta and gamma.
She's a bad mama jama.

Signal, amplification, bifurcation,
modulation, juxtaposition.

You hanging in there, kiddo?

WALTER: Translating motor-linguistic
impulses into language!

- Yeah, me too.
- Peter, get me the red wires.

- Peter?
- Here's a thought.

Couple years ago, I was working as
a floor sweeper at a meat-packing plant.

- Sounds awesome.
- You have no idea.

My point is, we had these
big rolls of industrial-grade plastic...

...to wrap their meat in before we would
send them to the grocery stores.

- Cow's blood and plastic.
- Yeah.

Okay.

I believe we're ready.

- Peter.
- Yeah.

[BUZZING]

Yes.

Listen to that.

Listen to what?
That's just random noise.

No, that's just the computer
calibrating the signal-to-noise ratio.

Adjust the attenuator setting
to 70 decibels.

[BLEEPING AND CRACKLING]

[VOICE BABBLING]

That sounds a little more like a voice.

Yes. And now
the sound-pressure level.

Dial the audio meter to 1500 hertz.

- Go slower.
- Lf you wanna do this yourself, feel free.

There.

[VOICE SPEAKING INDISTINCTLY]

Astrid, quickly.
Get me a tape recorder.

[SHIVERING]

Turn the machine off right now.

Turn it off. He's freezing.
Help me get this off him.

Hey, Astrid, can you grab us a blanket?
Free in the front.

Here.

- We're gonna get you warmed up.
- Doesn't make any sense.

If anything,
brain activity should generate heat.

OLIVIA: We're trying to track down
a suspect in a murder investigation.

What, you mean the guy in the news
who killed those girls?

We're not sure. Maybe.

But any past or present employees
that stick out to you?

Like, antisocial behavior or a history
of violent incidences here at work?

No. They're good men. Hard workers.

Well, I'm gonna need a copy
of your employee records.

- Okay.
- And a sample of your shipping plastic.

Plastic? Why?

It could be an element
in our investigation.

- Will that be a problem?
- No, but...

Mr. Wu?

A man came in here yesterday...

...and I sold him some plastic.

[CHATTERING]

Allow me.

Oh, thank you.
Your mother raised you well.

OLIVIA:
Hey, Peter, it's me. I'm just leaving.

So how's the boy?
Has Walter made any progress?

PETER:
Hard to say. We heard something...

...but I don't know
if it was the kid trying to talk.

I don't want you to get upset
about this, because he is fine...

...but something kind of weird
did happen.

- Weird how?
- He started shivering all of a sudden.

Like the temperature dropped.
It didn't.

- Is he sick?
- No, he seems fine.

We got him wrapped up in a blanket.
He's doing okay. You find anything?

Yeah. Looks like the Artist bought
some plastic from a slaughterhouse.

I got a sketch, all thanks to you.

- Hey, guys, we got good news.
- What's that?

The plastic did come from a
meat-packing plant. Olivia got a sketch.

What about you?
Gonna go back to the FBI?

- Ask her if it was refrigerated.
- Hold on a second.

Ask her if the plant was refrigerated.

It's a meat-packing plant.
Let's go out on a limb...

...and say that it's refrigerated.
What does that matter?

Because that explains everything.

ASTRID:
Walter, you're not making any sense.

WALTER:
Of course I am.

The boy, our strange little friend,
is an empath.

PETER: He senses other people's
emotions. You already said that.

WALTER:
Did I?

OLIVIA:
Go on, Walter. What are you saying?

That he's capable of making
connections. Emotional connections.

To a construction worker who found
him, the killer, but most importantly...

...he's emotionally bonded to you,
Agent Dunham.

That's why he's telling you
about the crimes.

Because he knows that
the information is important to you.

He's trying to help you.

Are you trying to help me?

That man who's been hurting people
is going to hurt someone else...

...unless I stop him.

Do you know who he is?

Can you tell me anything about him?

Maybe he doesn't know.

Or he can't control the ability
all the time.

Perhaps a small electric shock
to kick-start things.

No.

It's something different.

It's like he's mad at me.

- Because he doesn't wanna leave.
- What?

You told Michaels that once the boy
helped you stop the Artist...

...you'd turn him over to him.

He heard you.

Or more accurately, felt you.

I'm sorry.

I've been so caught up
in what I needed...

...that I forgot how strange
this must seem to you.

And I know how scared you must be,
but I need your help again.

I can't even stop them
from taking you...

...even though I wish I could.

And if you really can feel
what I'm thinking...

...you know how much I mean that.

Thank you.

[PEOPLE CHATTERING]

OLIVIA:
Nice car, sir. Where you headed?

- Home. I was out to dinner.
CHARLIE: Open the trunk, please.

It's clear.

Okay, thank you.
Sorry for the inconvenience.

What's going on, officer?

What are you doing
in the neighborhood?

L... Just coming home from work.
Haven't had anything to drink.

Look, do you mind if I ask
what you're looking for?

I'm sorry. We're not allowed to say.

Sir, we need to check
the back of your vehicle.

[TIRES SCREECHING]

[CAR HORN HONKS]

OLIVIA:
Charlie, check the back of the van.

Liv, it's him.

We found a victim. She's alive.

- You all right?
- Yeah.

Oh, God.

This is Francis.
We need EMS at the cemetery...

...behind the 1600 block of York.

[PHONE RINGS]

- Broyles.
OLIVIA: It's Olivia.

I need you to help me with something.

Here. And then we just do
the blood work, okay?

Okay.

- Excuse me, Dr. Winick?
- Yes.

I was wondering
if I could talk to you for a moment.

Sure.

Hi.

Hi. I think you'll find
he's doing much better.

Hi. Oh, thank you.

You remember Dr. Winick.

She's gonna take you now,
but not to a facility.

She's going to take you to a home...

...with a very nice family
that are gonna take care of you...

...and keep you safe.

We should go now.

Ah...

Bye.

MICHAELS:
What do you mean, he's gone?

I'm sorry, Mr. Michaels.

- Gone where?
- That's what we can't figure out.

He disappeared from right
under the noses of a protective detail.

- How's that possible? He's just a kid.
- Yes.

A kid who, as you said,
lived his entire life underground...

...which still begs the question
how he got there in the first place.

I'm beginning to suspect there's a lot
about him we don't understand...

...and apparently, we never will.

ELLA: No, I didn't! I didn't say it!
RACHEL: Yes, you did.

- Hi, Liv.
OLIVIA: Yeah.

Mommy is so bad at Simon Says.
She won't even do what I say.

RACHEL: Four years old,
and she's drunk with power.

I have created a monster!

- Do you wanna play with us?
- Oh, don't do that. Let Aunt Liv rest.

Sure.

- I'm Simon.
- Okay.

- Simon says, "Put your hands in the air."
- Okay.

Touch your nose.

[ELLA LAUGHS]

You lost.

RACHEL: Okay. Again, again.
ELLA: Simon says, "Touch your nose."

You lose again!

[ENGLISH SDH]