Original subtitles

Hy of you, Sara.

- You're engaged to be married, John.

[tense music]

- A boy in your care tried to strangle himself.

You, Dr. Kreizler, are suspended by the state

from practicing medicine.

- Goo Goo Knox was feeding from her.

- You found the Linares baby.

The job's done. - [screams]

- If she strikes again,

I'll never be able to shed the guilt.

Help me find the Vanderbilt child.

I am the lead detective on this case.

Dr. Kreizler is most crucial.

I will need him reinstated.

- I will not take orders from them.

- Libby Hatch.

Who is she, and where is she from?

- My father, he had an accident too.

With him, it was a rope over a bridge.

- "He is survived by Malorie Hunter

and his daughter, Elspeth Hunter of Brooklyn."

And where would Elspeth Hunter go

if she was hunted by the New York Police Department?

- Brooklyn.

♪ ♪

- Where ya going?

- I get word someone has a proposition,

you two ain't what comes to mind.

♪ ♪

[groans]

- Mr. Byrnes, this is a place of business.

- And when mine's complete, I'll be out of yours.

- [groans]

- What do you suppose he's up to?

- Byrnes?

Drawing blood all over the city, no doubt.

Why engage in police work

when violence and intimidation will suffice?

- He's treating this as a race.

- Against time or against me?

- Oh, more the latter, I suspect.

Although you do encourage the competition.

- Me?

- Oh, come now.

You enjoy provoking him.

You're a provocateur.

Even I have not been spared that.

- Sergeant Kelly. I'm Sara How...

- Sara Howard of the renowned Howard Detective Agency.

Welcome to Brooklyn.

Is this your footman?

- John Moore of "The New York Times."

- A newsman.

It's intriguing pairing for a detective, Miss Howard.

- We're not all scoundrels, Sergeant.

- I'll have to take you at your word.

So this madwoman of yours, she has ties to Brooklyn.

- Have you reviewed the case? - There's no need.

A suicide like that, you remember.

Near took his head clean off.

- We suspect that man may have been her father.

- Do you know what became of the wife and child?

- I didn't follow up, I'm afraid,

but I have a hard time seeing

how that girl could've grown into your killer.

- Why? - Good family.

Lived just off Prospect Park.

- Family of means. - Yeah, very much so.

The girl was proper. She did as she was told.

Not the killing kind.

- Perhaps she wasn't then. Not yet.

But given what she's capable of now,

it stands to reason she's been in trouble before.

Do you mind if we have a look?

- After you.

- I swear,

I don't know where he is.

[breathing heavily]

Goo Goo doesn't tell me shit.

- Well, he's not an idiot.

But is he reasonable?

- Reasonable?

- Does he have a price?

- Every man has a price.

♪ ♪

- For the baby.

Safely returned.

I don't care what happens to the girl.

Nor to him.

There's more where that came from,

once the child is delivered to me unharmed.

Do you get what I'm saying?

♪ ♪

Do you get what I'm saying?

♪ ♪

- Yes.

♪ ♪

- Looks like you were on to something.

- Elspeth Hunter.

Confined at Blackwell's Island Asylum for two years.

- What? Why?

- For attempted murder.

♪ ♪

Of her own mother.

♪ ♪

[dark music]

♪ ♪

[playful French music]

♪ ♪

- I received a letter

from the Institute of Psychology in Vienna.

It is the first medical faculty of its kind

to include our field,

all tremendously exciting.

They have offered me a position.

I would depart in two weeks.

Thank you.

- So you're taking it?

- Unless you know of a reason I shouldn't.

[laughter]

♪ ♪

- [laughs] [slaps]

- [sighs contentedly] - [laughs]

- Alice, thank you for taking the time.

I'd like you to meet a colleague of mine.

Alice, this is Dr. Kreizler.

- What's his pleasure?

- His interest is purely scientific.

- So you like to watch.

- Observation is the best form of instruction.

- Next to practice, of course.

Alice has been running this alternative club

for some time.

- May I inquire as to your preferred predilection?

- Not so much a predilection

as a manner of existence, Dr. Kreizler.

- Alice has both male and female reproductive organs.

Alice's partner Rose has a fixation

identical to that of your kidnapper.

- Can you tell me about her?

- Her desires sometimes torment her.

She seems so lost at times.

It is as if she gains life by suckling me.

I feel I am her only connection to the world.

- May I ask, was Rose abandoned,

and if so, at what age?

- She was 4.

Left on a doorstep by her mother.

- Abandonment is a trigger

for a host of psychological ailments.

- Ailments?

- He means behavioral variations.

- Excuse me for a moment.

- Decreased engagement

coupled with persistent compulsive drives.

- And a desperation to recreate profound bonds

that she has been denied for herself.

It suggests a detachment from other human beings,

a loneliness,

sated by obsession.

[foreboding music]

♪ ♪

[baby cooing]

♪ ♪

- The water looks so calm.

That's where we should go.

We should climb aboard one of those big ships

and see where the wind takes us.

[soft music]

Nothing is beyond our means,

if we want it enough.

♪ ♪

- Stay off the streets until I get back.

Folks know your face,

and the Pinkertons are out looking.

[baby cooing]

- [whispering] Don't worry.

I'll save you some.

♪ ♪

[tense music]

[crowd chatting]

♪ ♪

- Look who climbed out of his hidey-hole.

♪ ♪

- I need our boys to do a collection.

- We just did one.

- Well, do another one.

All customers paying two months ahead,

on my orders.

And you meet me tomorrow with the money.

- Sure.

♪ ♪

Listen, that Doyle...

came about with some old cop offering money for the baby.

- What? How much?

♪ ♪

- More where that came from, he said.

- For the baby?

- Sound like you and the girl are off the hook,

supposing you take him up on the arrangement.

Kid must belong to someone important.

♪ ♪

Hey.

What about a finder's fee?

A token for my honesty.

♪ ♪

- Now that's for your honesty.

You don't wanna see betrayal.

♪ ♪

- I have studied these books

in the hope of unlocking aspects of the inner life

that people cannot or dare not give voice to.

Paraphilia,

inversion, perversion,

urning, dioning,

all of these I knew,

the way one can know the features of the moon

through a telescope,

but we may never know

what its surface feels like to touch.

I understand more from walking into that room

than Krafft-Ebing

or Havelock Ellis could have ever taught me

in a hundred volumes.

And I call myself an alienist

without having reckoned with this.

Perhaps I deserve having my license taken away.

- That is your conclusion from the experience?

Dare say, Laszlo,

your mind may be the most foreign of all.

♪ ♪

- The club.

Have you been there before?

- Are you asking professionally or personally?

I like to keep my mind open to new experiences.

New feelings.

[phone ringing]

♪ ♪

- Hello?

Sara, please, slow down.

- Mister! - Spare change?

- Get outta here.

Get outta here!

[children chatting]

[children shouting]

- It's hard to tell

whether he's being playful or barbaric.

- Get outta here, you little urchin.

Get, get, get!

- With Byrnes, I think it's best to assume the worst.

Are you quite sure we had to invite him?

- Before I shoot the lot of youse!

- We agreed to keep each other informed.

- Has he told you what he's been up to?

I thought as much.

- What?

[soft music]

What is it?

♪ ♪

- Have you thought about what it means for us?

- I've thought of nothing else.

♪ ♪

He's here.

[tense music]

♪ ♪

- Well, who better to track someone

responsible for endangering the life of a child?

- Byrnes is pleased that I've summoned you.

- Shall we?

I have an engagement this evening.

♪ ♪

- Mrs. Malorie Hunter.

We have some questions about your daughter.

- I read the papers.

I've been expecting you.

[tense music]

♪ ♪

- Well, that's a nice little place, isn't it?

- Aspirations.

- Mrs. Hunter, you must have some idea where she might be.

- I've no idea where she is.

I haven't seen Elspeth in years.

This is all I have left of her.

- Does she have any other family in the city?

- No.

- Friends?

Someone she might turn to for help?

Places she might go?

- I wouldn't know.

It was just the two of us after her father's...

accident.

Elspeth was the perfect child.

She never gave me any trouble at all.

She went to school with children

from the finest families in Brooklyn,

as clever as any of them, and she was a beautiful dancer.

We lived in Paris for a year.

Studied at the school of ballet.

- Why do you suspect your husband killed himself,

Mrs. Hunter?

- How am I to know?

He had a nervous disposition.

- Was he under the care of a doctor?

- Not that I was aware of.

He was raised in the country.

The city made him uncomfortable.

Perhaps he'd simply had enough.

- I imagine it was difficult for a man from the country

to maintain the lifestyle

to which you had become accustomed.

- Why do you think your daughter attacked you?

Had she been violent before?

- Not that I recall.

- You told the police she tried to kill you.

Something prompted her to act so aggressively.

- A fight, perhaps?

Over the baby?

♪ ♪

You might as well tell us everything.

- It was a girl.

- Where is she now?

- The Children's Aid Society took responsibility.

Elspeth didn't have the capacity...

- Because she was still a child herself.

- She was unstable.

Incapable of being a mother.

She couldn't care for it.

- So you took the child against Elspeth's wishes.

- She came at me with a knife.

I was fortunate to escape with my life.

- That's the story you told the police.

♪ ♪

But that's not what really happened,

is it, Mrs. Hunter?

She never touched you.

- Are you calling me a liar?

- You were a woman of means.

The Children's Aid Society wouldn't take the baby

unless you could prove

your daughter was a danger to it.

Otherwise, they were your responsibility.

And that's the last thing you wanted.

- How dare you?

- So you fabricated a story about her trying to kill you.

You inflicted a profound trauma on your daughter

from which she never recovered.

You abandoned her, you abandoned her child,

and you created a killer.

♪ ♪

- I didn't know what would happen.

- Of course you did.

It gave you back your freedom.

The freedom you had since your husband's death.

You didn't have to care for anyone now.

Not the baby,

nor the daughter you drove insane.

- I was doing what was best.

- For her?

Or for you?

You failed her then.

But you can help us now.

Does Elspeth know where the child is?

- No.

[sobbing]

I never told her.

I have the papers.

From the orphanage.

♪ ♪

- My God, Laszlo.

- Do you think Libby's come back to Brooklyn

to find her daughter?

- I don't know.

But the child is in great danger either way.

- If Libby Hatch didn't attack her mother,

how'd she get the scar on her face?

- She gave it to herself.

♪ ♪

[baby cooing]

♪ ♪

- I got you something.

- [laughs]

- Gets cold at night on them ocean liners.

- You mean it?

- I found our way out of this mess.

- [laughs]

- Vanderbilt's offering a reward.

All we gotta do is give up the baby

and we're on the next ship out.

- You'd sell him? You'd sell our baby?

He's our baby!

- The damn Pinkertons are after you.

They're not gonna stop, Libby!

- No.

- You stole a goddamn Vanderbilt!

- No!

[baby crying]

- You know he's gonna end up like the rest of 'em.

Might as well get something for him while we can.

- No.

No.

[grunts]

[baby crying]

♪ ♪

- I'm doing this for you.

- [sobbing] No, no, no!

[sobbing]

No!

- Her name is Clara.

For her own grandmother to make her an orphan...

are you not at least curious to meet the girl?

- Our presence would do more damage than good.

We'd be upending her already delicate world order.

These records will have to do.

[door opens]

- Gentlemen.

- You brought them. Good.

- Is there cause to reexamine them?

- Libby's mother reignited my interest.

They may contain a clue to her whereabouts.

- This is the first memory box Libby constructed.

Deterioration of the photographs tells us

it's older than the others.

- I remember. Her first victim.

- The child in the photograph is not a victim.

I suspect it's the daughter.

- Libby mourned her when her mother took her away

as if she were dead.

- Do you think she knows where the girl is now?

- No.

Assuming we believe Mrs. Hunter.

- If Libby knew where her daughter was,

she would've retrieved her.

There would be no need to recreate her

with these other children.

- "Recreate her."

- That's a disturbing thought.

♪ ♪

- He said he'd be here.

I ain't lying to you.

- Next time you see him, I have a message

I'd like you to relay.

♪ ♪

- [groans]

[grunting]

♪ ♪

- I propose a different course.

- A different different course?

- We've learned that the madwoman had a child

of her own,

one that was ripped from her unceremoniously.

- So Kreizler was correct in his assessment?

- Begrudgingly so, I admit. Yes, sir.

He believes that this is the root cause

of her baby-stealing, as it were.

I intend to put this to the test

by means of luring Libby Hatch from her hiding.

- If I know where you're going with this,

Vanderbilt will hate us for it.

But...

he'll have his baby back in the end.

How much is this going to cost me?

♪ ♪

- I have a proposal.

On behalf of Mr. Cornelius Vanderbilt.

[soft ambient music]

♪ ♪

- Laszlo.

I apologize.

It was not my intention to intrude upon you.

- Didn't want to wake you.

Sleep is a rare commodity for us both these days.

I phoned John to let him know where you were.

I hope you don't mind.

- Of course not.

That was very courteous of you.

Did he say anything?

- Only mumbled about extremes you're willing to go

to avoid either confrontation or conversation.

I forget which.

- Both apply.

- If you'd like to talk about it...

- I would not.

- Would it help if I already knew

what it was concerning?

- No.

[tense music]

♪ ♪

- There must be a clue in these boxes.

Libby's mother is a very interesting woman.

She lacks empathy, even for her own daughter.

Why choose to have a child

if that was not what she wanted?

- Perhaps she genuinely believed herself capable.

- Or she felt pressured.

It is a woman's purpose, after all.

♪ ♪

- You ready?

Come on ahead.

♪ ♪

- [laughs nervously] - Great.

Hold it.

Perfect. Like you're showing her around.

This way, Miss.

♪ ♪

Let's get one by her new bed.

♪ ♪

[baby crying]

- Libby?

[shushes]

Stop! Stop!

No!

No. - [grunting]

- [grunts] - [breathing heavily]

[yelps]

- Let go, damn it!

[grunts] - [screams]

- I'm sorry I took him, but I couldn't do it.

- I hate you.

I hate you!

You're just like the rest of them.

- No! I came back for you.

- [grunts] - [screams]

[both breathing heavily]

- [screams]

- Libby, I came back for you.

[baby crying]

And our boy.

I came back for our boy.

Huh?

We're a family.

[baby crying] - [sobbing]

- Huh?

- [sobbing] Our boy.

- I think he's hungry.

[baby crying]

[tense music]

♪ ♪

- Such a good boy.

Oh, such a good boy!

Oh, such a good boy.

[sighs]

[baby crying]

Such a good boy.

[sighs] [laughs]

What is this?

♪ ♪

What is this?

[baby fussing]

- It's about your daughter.

I'm sorry.

- [sobbing] What is this?

[baby crying]

- Where have you been?

- It was a long night.

- If I were you, I'd expect another one.

- Why? What's happened?

♪ ♪

That bastard.

He's gone behind my back

and used that child to lure Libby out of hiding,

and your fiancée's father aids him in the deceit.

- Vanderbilt must've endorsed it.

- I hope you're not defending them.

- Of course not.

I'm simply trying to deduce the sequence of events

so neither of us goes off half-cocked.

- Oh, I intend to... - Sara, take a breath.

Have you spoken with Laszlo?

- He's on his way to pick me up.

We're headed back to Brooklyn to see if we can wrestle

the poor child from their clutches.

- I shall deal with Hearst myself.

There's another conversation

I've been meaning to have with him anyway.

- Fine.

Wait...

- I shall update you later.

I'll be in touch.

- Perverse?

I don't think you wanna go down this road

with me, Mr. Moore.

- Is there no outrage you will not defend

in the name of free press?

- Libby Hatch sells more papers than the war.

- And what of the child?

Have you no concern for her wellbeing?

- Well, as far as I can see,

her quality of life is elevated significantly.

I wish I could say the same for our beloved Violet,

but ever since she...

- This has nothing to do with Violet.

- That's the problem, isn't it?

She seems to be of no concern to you at all.

- You're out of line, Mr. Hearst.

- Am I?

[tense music]

♪ ♪

Your private affairs are of no concern to me, John,

as long as they remain private.

Unfortunately, your relationship

with Miss Howard is out there for all to see.

Now, I say this man to man:

I think we both understand

there's a transactional nature to your marriage,

as there is with many.

But Violet...

is a lovely young woman,

and I do not wish to see her hurt.

- Nor do I.

- Then you know what you have to do.

I must run to a meeting.

Oh, the whole family is gathering

at Delmonico's tonight

to argue out summer plans in Newport.

We draw lots for the bedrooms.

It's good fun.

I'll expect to see you there.

[dramatic music]

♪ ♪

- You live here? - We're with Byrnes.

Step aside.

♪ ♪

Open the door!

- Shut your bone box. She could be here any minute.

- Vanderbilt put me in charge of this case,

and I will now allow you or Mr. Hearst

to exploit the poor child in his name or in mine.

- Mrs. Hunter consented to the plan.

- You said it was a personal favor

to Mr. Vanderbilt.

- Your granddaughter is an innocent.

She does not deserve to be paraded around for the papers,

or used as a lure.

- Clara, you're coming with us.

We'll keep you safe, I promise.

- She's coming.

Spotted three blocks away in a striped jacket.

Should we pursue? - No.

Let her come to us.

Results, Miss Howard.

The results will out.

♪ ♪

[tense music building]

♪ ♪

[knocking on door]

- [whispering] Don't be nervous, sweetheart.

Just let her in.

The boys'll take her down in a flash.

♪ ♪

- Where'd you get this coat?

- She said I could keep it

if I delivered something to this address.

- What'd she give you?

[tense music]

♪ ♪

- She said to tell you there was one for each of you.

♪ ♪

[bell ringing]

♪ ♪

- It was smart bringing 'em out like that.

- I wanna see her.

♪ ♪

- There's too many of them.

♪ ♪

Libby, we have to go.

♪ ♪

Libby.

Libby.

- There! Over there!

I see 'em! Over there!

Go!

[indistinct shouting]

♪ ♪

- We should split up.

They'll be looking for both of us.

♪ ♪

[crowd chatting]

♪ ♪

- You run along now.

♪ ♪

You can come out.

♪ ♪

Come on.

♪ ♪

Keep coming.

♪ ♪

That'll do.

♪ ♪

The bullet was a nice touch.

But I got one for you too.

- Tell me something.

♪ ♪

[laughs]

My daughter.

What's she like?

- Mute, maybe.

Or plain stupid.

Screwed up in the head like her mother, I'd imagine.

Now down on your knees.

♪ ♪

Vanderbilt's gonna be pleased

when I walk in with you and that baby.

Real pleased.

Now get your hands behind your back.

♪ ♪

[tense music building]

She's down here!

[splutters]

♪ ♪

[splutters]

♪ ♪

[children giggling]

♪ ♪

- Clara,

I told you about Dr. Stratton.

- Hello, Clara.

- Stevie, would you mind showing her around?

- Sure. This way.

- [whispering] It's all right.

[soft music]

♪ ♪

She has a difficult road.

One I won't be able to help her navigate.

- The loss of your license is only temporary.

- At least the institute will remain open

in the interim.

I appreciate your assistance where that's concerned.

- Of course.

What happens next with the case?

- More deaths.

Today's events guaranteed it.

- If we're working tonight,

I can cancel my plans with Lucius.

- No, I insist you keep them.

Give him my best.

- Are you okay, Miss Sara?

You seem out of sorts.

- I'm frustrated.

Furious, truth be told.

After the stunt Byrnes pulled today,

who knows what Libby is capable of next.

- I'd rather you not be alone.

Shall I call Mr. Moore?

- No.

- Then I will reschedule dinner.

- Please, Bitsy. I'm fine.

But I appreciate your concern.

- If you love him, you must tell him, Sara.

A time will come when it's too late.

[somber music]

♪ ♪

[refined music]

- Will you wait for Mr. Moore or shall I take the order?

- There's no need to wait. He'll be along directly.

- You sure of that, Chief?

♪ ♪

- We spoke today as men, Violet.

That's more than I should have said on the matter,

but nor will I see you fret.

- I'm not fretting.

Not tonight.

It would sully the whole summer to plan it with a sour heart.

- The summer you are to be married, my dear.

♪ ♪

Mr. Moore will have the Vichyssoise to start.

- Very cold.

- And the porterhouse, rare.

- With spinach.

You know his tastes almost better than I.

[both laugh]

- I well might, darling.

[phone ringing]

- Hello? - Oh, thank God.

I'm so relieved to hear your voice.

I've been expecting you.

Kreizler said you left him hours ago.

- I'm sorry.

There was more work to be done at the office.

- Have you uncovered a new lead?

Sara, if you refuse to speak to me, I...

- I've not refused.

- You have.

And it's unbearable.

- I think you know by now

that I find it particularly difficult

and I have trouble...

[soft dramatic music]

- Expressing?

- Yes. Expressing.

♪ ♪

But I thought what we did was rather wonderful.

♪ ♪

- As did I.

- However ill-conceived it may have been.

- Are you saying you regret it?

- No.

That's not what I meant.

But we did not think it through.

What it was.

- The question is not what was, it...

It's what is and...

what will be.

I'm asking what you want.

♪ ♪

Damn it, Sara, I can't do this anymore.

This talking in circles, it's maddening.

- John.

- I will make a decision for the both of us

if I must.

♪ ♪

Very well.

Good night, Sara.

♪ ♪

[ominous music]

♪ ♪

Delmonico's.

♪ ♪

[phone ringing]

♪ ♪

One moment, please.

[phone ringing]

♪ ♪

[latch clicks]

[door opens]

♪ ♪

- John?

♪ ♪

- What have you done

with her?

♪ ♪

- Where is she?

- Where is the baby you stole from the Vanderbilts?

- I didn't steal him. He's mine.

- Is she yours or is he yours?

- They're both mine. - Are you sure?

- Stop.

- It's a simple question.

- I saw you...

and that doctor taking her away.

- Do you want to see her?

Because if you give the baby back,

then perhaps I can arrange...

- Give him to you?

No.

No.

I'd be charred up faster than poor Martha Napp.

- Cornelius Vanderbilt can broker your freedom.

All you have to do is return the child unharmed.

- He offered us money already, but we didn't fall for it.

- What I'm offering is a chance to reunite with Clara.

[tense music]

But you can't keep that baby.

He belongs to someone.

You of all people must understand that pain.

♪ ♪

- You spent time with her.

- Yes.

- That Irish cop, he said she's like me.

- Doyle?

- I don't know his name.

♪ ♪

I slit his throat.

He stained my shirt.

He said that she...

♪ ♪

Is she off in the head?

Like her mom?

Can you tell me?

- We're going to help her.

And we can help you too.

- No!

No, no. [laughs]

♪ ♪

You're the one.

You...

You ruined everything.

You stay away from her.

[gunshot]

[both grunting]

[gunshot]

[both grunting]

♪ ♪

[gunshot]

♪ ♪

- [grunts]

[both groan]

♪ ♪

- Put the gun down.

- [breathing heavily]

- Put the gun down

or he dies.

Subtitles Diego Moraes(oakislandtk) www.opensubtitles.org