All language subtitles for The Alienist s02e01_English

[wind whooshing]

[thunder rumbling]

[thunder cracks]

[rain pattering]

[horse neighs]

[dark music]

* *

[gate creaks]

* *

[ominous music]

* *

[woman fussing]

* *

[eerie music]

*

[babies crying]

[bedpan clatters loudly]

- What is it, what is it?

- Where is my baby?
- What are you on about?

- No, my baby, she's--
- Your baby is fine.

- No, my baby's--
- Now calm down.

[overlapping arguing]

- No, my baby's--
- Now calm down.

She's fine.
- No, no, no, no!

No, no, no, no, no--

- Stop it!
- [screams]

- Stop!
- No!

No, no, no, no!

Dr. Markoe!
Please, where is my baby?

You know I know
what happens here!

I'll call the police!
[screams]

Let me see her!

[babies crying]

*

No, no! My baby!

* *

[dramatic music]

* *

*

[tense music]

* *

[men shouting in distance]

[suspenseful music]

* *

- Dr. Kreizler.

Come to free the sinners?

- According to your Bible,
aren't we all sinners?

- In my book,

butchering your own child
is a crime against God and man.

- Despite your polished shoes

and shiny buttons,
deputy warden,

I do not believe your uniform

gives you the right
to pass sentence.

* *

[woman yelps]

- Slow down!

[horse neighs]
- Whoa!

- I'm sorry. Please hurry.
- Watch where you're going!

[whip cracks, horse neighs]

* *

[soft suspenseful music]

* *

- [gasps softly]
I can still find her smell.

* *

It's faint now,
but it's still there.

* *

What are they calling me?

Are they calling me a monster,
Dr. Kreizler?

- You are not a monster,
Martha.

It is the world
that is monstrous.

*

- Good morning,
Mrs. Schermerhorn.

- I'm here to see Miss Howard

to receive an update
on my case.

- Milly?

Milly!

* *

- What is all the racket?

* *

Quick, Ida.
All hands on deck.

[lively music]

You take the back stairs.

- Milly will lead you through
to Miss Howard,

Mrs. Schmerhorn.

* *

- Thank you, Ida.

* *

Why is Mrs. Schmerhorn
here today?

- She got the dates mixed up.

Milly's asking after her dogs,

trying to keep her occupied.

- Today, of all bloody days?

A woman is to be put
to her death.

We have no time for this.

* *

They look good.

- I feel positively entombed
in here.

- Well, it was
out of order yesterday,

but it was supposed
to be fixed.

- What progress can we report?

- We did a full inventory
of her silverware.

None of the servants
is stealin' from her.

Oh, you got a smudge.

* *

- The elevator's broke again.
She left in a huff.

- Thank God for small mercies.
Milly, get the banners.

* *

- The carriage is ready,
Miss Sara.

- Thank you, Ida.

Delmonico's, please.
- Yes, ma'am.

* *

- Kreizler feels there's
a fair chance of reprieve,

but if we could use
your good graces to--

Y--I understand,

but a woman's life
is at stake, TR.

Whatever you can do.

Thank you, Teddy.

[sighs]

- Talcum is the talk
of the town.

[laughter]

That's your leaving face.

Must you?

- It's an important day, V.

An important story.

- I know.

Your words
will make a difference.

I wish you would work
with my fa--

my godfather.

Your hours would be your own
at the "Journal."

- I think you mean
my hours would be yours.

- You're so adorable.

I hate that you have to leave
me and poor Mrs. Bamm Bamm

all alone when
we're having such fun.

Isn't that right,
Mrs. Bamm Bamm?

[classical music playing]

- I must leave, I'm afraid, V.

* *

Maurice, I realize
there's an outstanding, uh--

but I was hoping
to put the luncheon on my tab.

- Miss Violet asked that
the bill be on her account,

Mr. Moore.

- Oh.

Goodness.

- John, we must hurry.

* *

- Sure, fine.

Okay, well, uh,
thank you, Maurice.

*

[soft suspenseful music]

* *

Ladies.

- It's somewhat of a tight
squeeze in here, John.

- Yeah.

* *

- Sing Sing Prison!
And hurry, please!

* *

all: Free Martha Napp!
Free Martha Napp!

Free Martha Napp!

Free Martha Napp!
Free Martha Napp!

Free Martha Napp!

- It's a glorious morning,
gentlemen.

- Mr. Byrnes!

In what capacity are you here,
Mr. Byrnes?

- The warden has asked me
to observe

to be sure that these
proceedings are just and fair.

We're demonstrating one
of the new wonders of the age.

The electric chair
is considerably more humane

than death by hanging.
- Mr. Byrnes!

- A fellow won't
shit his pantaloons

in the chair--a woman, neither.

- Brave men do not gather
to murder a woman.

- And what of Elizabeth
Cady Stanton's protests?

- This is not courage.
It's cowardice.

- She was tried
in a court of law.

Fairly tried.

- Where is the body?
This is an outrage!

[protesters shouting
and booing]

all: Justice for Martha!

- We condemn murder!

- Be careful, girls!

- Justice for Martha!
Justice for women!

[protesters cheer]

[indistinct clamoring]

Sara!

Do what you can.

- We will, Elizabeth!
We will!

- Save Martha Napp!
Save Martha Napp!

- Excuse me.
Excuse me.

Press!
- Let him through.

- John Moore, "New York Times."
- Yeah, that's fine.

- Sara Howard,
New York Police Department.

- This is out of date,
Miss Howard.

[tense music]

- My good man,
we just observed Thomas Byrnes,

the former commissioner of
the New York Police Department,

enter through here.

You did not peruse his papers.

- Well, that's Mr. Byrnes,

and I think a former
commissioner deserves--

- I am here from Washington

under the express orders
of Theodore Roosevelt,

the Assistant Secretary
of the Navy,

and reports directly,

directly to the President
of the United States.

* *

So, officer, maybe you want
to think about that and hop to.

* *

- Yes, ma'am--Miss Howard.

[protesters shouting]

- You dissemble with
admirable ease, Miss Howard.

- I have found being able
to tell a small, white lie

on occasion is a most useful
skill, Mr. Moore.

* *

- I don't mind dying,
Dr. Kreizler.

I don't.

But what I do mind

is dying and not knowing
what happened to my baby girl.

[soft dramatic music]

Can I ask you for something?

- Ask anything of me.

- When I'm gone, you find her.

You find my baby girl.

You promise me, Doctor?

*

- I promise you, Martha.

* *

- They will try to crush us,
but we will not be silenced!

- [snarls]

[shouting, clamoring]

[dog growls]

- [yelps]
- Get off of her!

[tense dramatic music]

- [screaming]

*

[chains rattling]

* *

- If you find her,
you can give it to her.

*

[whimpers]

* *

- Roosevelt never called,
did he?

There'll be no reprieve.

* *

[water splashing]

- [whimpers]

- Any last words?

- Stop!

We have to stop this!

- One of the female agitators,
I see.

- This woman is innocent!

This is an outrage,
an abomination!

- I am surprised, Miss Howard,

a lady of your bearing
should be participatin'

in such hooliganism
and lawlessness.

- "A little rebellion
now and then

is a good thing,"
Mr. Byrnes.

- The words of anarchists
and agitators.

- They're the words of
Thomas Jefferson, Mr. Byrnes.

- Officers, please.

Miss Howard is a lady
with a constitutional right

to speak her mind.

- Sara,
we have lost the battle.

* *

- Enough.
- Let go of me!

I ask you all, as you sit here
silently spectating,

where is the body
of the murdered child?

Where?

Shame on you.

Shame on you all.

* *

- [sobbing softly]

[pounds on wall]

* *

[electricity zaps]
[screams]

[chair rattling]

[electricity humming]

* *

- Double it!
2,000 volts!

[electric current crackling]

* *

[crackling stops,
switch clicks]

[loud clang]

[indistinct chatter, shouting]

[horses chuffing]

- Stevie will take you
to "The New York Times."

- Laszlo, wait.

- I have no need
for pity, John.

You should leave.

- I would not be a friend
if I were

to leave you alone like this.

- But there is nothing
you can say that will

make this day seem
any less objectionable.

Martha Napp
put her faith in me.

- And I shall write about her

and all of New York will know
of this injustice.

She will not have died in vain.

- I'm not at all certain that
Martha did not want to die.

- What do you mean?

- She was already dead

before she entered
that execution chamber.

Her only thought
was for her infant child,

and whoever stole that child
killed Martha

as surely as if they had
pulled the lever themselves.

[soft dramatic music]

*

[ticking]

[distant clattering]

[suspenseful music]

*

[door clicks, squeaks]

[distant clattering]

*

[door rattling]

- Put your hands up
and face me.

Stay where you are!

* *

[panting]

I could've shot you.

- You would have been
doing me a service.

I can't seem to get rid
of the smell of burning flesh

out of my nostrils,
which is curious,

because it's no longer
a physical sensation,

but my memory
of what happened today.

- [sighs]
Come in, please.

What would you drink, Laszlo?

- Would have a glass
of burgundy.

- I have American bourbon.
Straight up or watered down?

- [chuckles]

I will have that.

[dog barking in distance]

How goes it with your
brave new adventure, detective?

- Seems that most of my clients
are rich, old dowagers

who think their servants
are stealing from them.

- The curse of the greenback.

The more money they make
during the day,

the more they worry at night
over losing it.

The room
is unquestionably yours, Sara.

- Well, the rent's
not unreasonable,

and we are on Broadway.

- What I meant was--
- I know what you meant.

- You've surrounded yourself

with your most valued
possessions.

And if I were of a mind,

I would tell you much
about who you are

by observing the ephemera
you've chosen to display here.

- It's late, Laszlo.

If you would kindly refrain

from making a psychological
profile of who I am

based on the furnishings
of my office.

- Your father
would be proud of you,

seeing what you have
accomplished.

- I would like to think so.

- Hmm.

It is curious, is it not,

at the time Mary Shelley
was writing this book,

there was a belief
in Galvanism,

that man could
reanimate the body

through the use
of electrical impulses?

And today--

- Today we use
the same potent force

to take the life
of an innocent woman.

- Underneath our skin,
bone, and sinew,

which of us are not monsters?

- It was indeed monstrous
what happened today.

[soft dramatic music]

* *

- I promised her I would look
for her missing child.

* *

- I and my detective agency
are at your disposal.

* *

I'll help you in any way I can.

* *

- I need to first
assess my notes

from my interviews with Martha,

and then I will marshal
all that I know,

all that I've learned,

to determine
what befell the child.

* *

- I can help you, Laszlo.

* *

- Thank you for the bourbon,
Sara.

It was restorative.

* *

And rest assured,

I will call on you
should I need your assistance.

* *

- [exhales deeply]

[indistinct chatter]

- Today's headline,
Martha Napp!

First woman to suffer death
in the electric chair!

[tense music]

- Gentlemen, get your papers.

Papers here!
Mister, your paper?

[indistinct chatter]

* *

- What do you want?

- Thomas Byrnes
is here to see you, Chief.

- Well, send him in, Monckton.

Send him in.

- Mr. Hearst will see you now,
Byrnes.

- Don't stand there, man.
Come in!

- [scoffs]

- Got something on your mind,
Byrnes?

- Well, sir, first off,
I brung you a present.

- What's that?

- It's hair.

But more to the point,

the child murderess
Martha Napp's hair.

- Her hair?
- Yes, sir.

Cut from her scalp
before she met her maker.

I figured you could give it
away in the "Journal."

People have
a morbid fascination

with gruesome memorabilia,
in my experience.

- You leave the running
of the "Journal" to me, Byrnes.

We may not be
"The New York Times,"

but neither are we
PT Barnum's circus.

Besides,
that story's almost over.

We'll remind the American
people of this fact:

She was a murderess
who got her just deserts.

Thank you, Byrnes.
- Thank you, sir.

- Monckton, get in here!

I need one of the brain monkeys
downstairs

to write a new column
for today.

"Spanish spies in New York

bringing their war
to our shores."

You get the picture?
- Of course, Chief.

- That's what the common man
wants to read

over his morning grits.

The United States
standing up to bullies.

[both speaking Spanish]

[soft music]

* *

- [singing softly]

[soft suspenseful music]

* *

- Here you are, ma'am.

*

- You got a dime, lady?

For a sick soldier--
what served his country good.

Huh?
- Sorry.

[ominous music]

- Spanish whore.

* *

[flash lamp snaps, echoes]

* *

[crow caws]

[horse neighs]

* *

[indistinct whispers]

* *

- [breathing shakily]

* *

[flash lamp snaps, echoes]

*

[children laughing]

[horses neighing]

[baby fussing]

[shushes gently]

[soft dramatic music]

* *

[unsettling music]

* *

[dissonant suspenseful music]

*

[gasping]

[screams]

[soft dramatic music]

* *

[telephone ringing]

- Hello?

Yes, Elizabeth, it's me.

* *

- [sobbing and muttering
in Spanish]

- I didn't quite know
what else to do,

who else to call, given
the political sensitivities.

War with Span seems certain.

- Señora Linares
won't call the police?

- No.

Do you think the police

will want to provide
even one man

to find the daughter
of their enemy?

- This is why we called
upon you, Sara.

- [sighs]
I'm grateful for that trust.

I can assure you,
I will do my utmost

to help you find your daughter.

- Well, yes, Sara.

Isabel and I hoped, we wondered

if we could use
your good graces

to call your friend
Dr. Kreizler?

Dr. Kreizler had some success,
did he not,

with that dreadful monster

who was murdering
young boy prostitutes?

- Indeed, he did.

- And do you not think
his assistance in this case

would be invaluable?

- Should I have a need
for an alienist,

I would not hesitate
to ask Dr. Kreizler

for his help and insight.

But what the Señora requires
now, Elizabeth,

is an expert in the procedural
method of criminal detection,

because there is always
a trail,

no matter the criminal's
stealth or genius.

And if you still hesitate
to consider me professionally,

I will remind you of
the prejudice against our sex

that could impede
this investigation.

Does it not take a woman

to know that a woman
who has lost a child

is neither hysterical
nor irrational,

and that she has cause
to be as she is?

That she must be heard?

You need a detective, Señora,

and a woman such as I with the
resources and the experience.

I see your pain.

I see your suffering.

And I care.

I care, deeply.

- I want you to help me.

*

- Isabella is sleeping now.

I'm afraid the trauma is
blocking her memory of the day.

- Was the sheet there
when you came in?

- I put it there...

because of this.

* *

- There's something about this
that feels curated,

staged like a work of art.

*

[indistinct chatter, laughter]

- Order in the court!

- Dr. Markoe
is not an alienist.

He has told the court
nothing about how

Martha Napp's
professed issues in mothering

could have conceivably led
to her murdering her own child.

- Dr. Kreizler--

- I demand justice
for this woman.

I demand justice
for Martha Napp!

- Well, you can demand
all you like,

but this is my courtroom,
and my ruling will stand.

Execution by electric chair.

[gavel pounding]

- Sir?

- I believe I'm done
for the night.

[classical music playing]

* *

- Laszlo.

- Oh, John.

I've been reading a monograph
by Dr. Markoe,

Martha Napp's physician
at the Lying-In Hospital.

- Laszlo, may I--
- He determined

she suffered
from post-term psychosis,

but any symptoms
he describes here--

none of them
were displayed by Martha.

- Laszlo, I--

- His theories
are preposterous,

contradictory, and inane.

- [clears throat]

May I present my fiancée,
Miss Violet Hayward?

- Oh.
Miss Hayward.

- V, this is Dr. Kreizler.

- The famous Dr. Kreizler?
The alienist?

- I hazard that I'm more
derided than acclaimed.

- I fear if I spoke with you
at any great length,

you would know the deep
recesses of my mind.

- Or the shimmering shadows.

- Laszlo.

Sometimes you go too far.

- I thought we were dining
à deux tonight, my darling,

but perhaps
if Dr. Kreizler is joining us,

he should pull up a pew.

- I think Laszlo was--
- Already leaving.

Every mind is like the ocean,
Miss Hayward.

There's surface and depth
in all of us.

- [sighs]

- Good night, my friend.
- Good night.

* *

[soft music]

* *

- Whoever it is could've
conceivably come through

any of these windows.

- The staff swear blind

they had the windows closed
at night.

- Of course they do.

They're afraid
of getting into trouble.

You think in this heat

they're not going to at least
open them for air?

[soft suspenseful music]

*

They entered here.
The frame's been damaged.

* *

Give me a boost, Bitsy.

* *

- Where does it go?

- Leads to 5th Avenue.

They could be anywhere
in New York.

* *

[suspenseful music]

* *

- Dr. Kreizler,
ain't we wasting our time?

- Time is never wasted
when one is thinking.

That is what is wondrous
about the human mind.

* *

We may appear still,
yet all the time,

in here,
we're conducting symphonies,

solving the most arduous
mathematical problems,

and contemplating the mysteries
of the universe.

- Doing all those things
right now, Doctor?

- No, Stevie.

[dark music]

*

- Dr. Markoe--

- One moment,
if you please, Matron.

Count to ten and then tell me.

* *

- Dr. Kreizler is outside.

He gave me his card
to give to you.

- Do not be alarmed, Matron.

We run a tight ship here,

and we do that by discipline,
order, and example.

An example needed to be set
with Martha Napp.

- What will I tell him?

- Simply tell him
I'm indisposed.

On second thoughts,

tell him to go to hell.

- I went to the hospital
and the morgue

like you asked, Miss Sara,
but we got nothing.

All babies accounted for except
for one, but it was a him.

Poor little thing.

His head was swoll up
the size of a cantaloupe.

- It's difficult the first time

you're confronted
with death, Milly,

especially
when they're so young.

Bitsy, will you take a message
to John Moore?

Ask him if there's been
any developments

in the Martha Napp story.

There may be a connection.

Just tell them to call
if he hears anything.

This is a real case.

None of our previous endeavors
made a difference,

but this one does.

It's life and death, girls.

[distant rumbling]

[bell ringing]

[indistinct chatter]

[train rumbling]

- If you're a good girl,

Nanny will get you a 5¢ soda
cream from the fountain after.

Can you do that?

[soft dramatic music]

* *

[chimes ring]

[music box playing]

- Good day, sir.
- Good morning.

Welcome to Siegel-Cooper.

- Not too far, Eloise.

[dramatic music]

* *

[eerie ominous music]

* *

*

- [screaming]

[telephone ringing]

- Good morning,
"New York Times."

- This Martha Napp article's
not bad at all, John.

It's not up there with
Hawthorne, but it's not bad.

Are you sure you don't want
to go back to the society pages

with your--
- My own kind?

I think I've got quite used to

looking at your ugly mug
every day, Bernie.

- Mm, don't know
if I'm gonna run with it yet.

There's a lot of big
statements here, John.

It's gonna make a lot
of important folks angry.

- Did I mention that I'm angry?

What kind of world do we
live in for this to happen?

The blood of innocents
was spilt.

[telephone ringing]

- "New York Times."
Hello?

- Bernie, wait up.
- Yeah?

- Walk with me, John.
- Yeah?

- Every other newspaper
is saying

that she did away
with her child.

I appreciate your ardor,

but to run a story,
we need facts.

We got any new ones?
- Bernie, hear me out.

- I got a lunch at McSorley's
with someone

from Boss Croker's finance
committee in five minutes.

- Boss, boss!

- Who knows,
you give me some facts,

maybe we can come back to it.

- Boss!
- Maude.

- I've been calling you.
This just in.

They found a dead baby's body
down at Siegel-Cooper.

- When was this, Maude?
- Late morning.

Cops haven't even
confirmed it yet.

- See where it leads,
but go easy.

- Thank you.

Maude, I need you to ensure

Miss Howard
gets there directly.

Tell her what's happened.

* *

[indistinct chatter]

[flash lamp snaps, sizzles]

[laughter]

- So what are we looking at,
geniuses?

- There's toxic abrasion
in the mouth.

- Burning.

- Yeah, I know what toxic...

- [chuckles]
Abrasion.

- Yeah, I know what it is.

- Burning.
Of the mouth.

- I know I should've also
perhaps sent word for Laszlo,

but it's mere conjecture
at this stage

as to whether
it's the Napp baby or not.

- I fear this is another
missing infant.

- Another?

- I've been asked in confidence

to find the missing
infant daughter

of Spanish Governor-General
Narciso Linares.

- How long has the child
been missing?

- Not long.
Since last night.

I promised the mother
I would find the baby.

- But Sara, you cannot assume
it's the same--

- There was a bloody doll found
in the baby's crib.

It was left there,
presented like a trophy.

The doll was from
Siegel-Cooper.

I fear this is that child,
John.

[soft dramatic music]

- Excuse me, excuse me,
excuse me.

- Run along, now.
- Stand back.

Stand back.

* *

- Marcus!
Lucius!

- Sara.
It's okay.

*

- What can you tell me
about the child?

- Girl or boy?

- It's a girl.

- How long is she dead?

- The child had died
quite recently.

It's hard to say for sure.

- Oh, no.

Would it be possible for me
to have a look at the baby?

Please,
it would mean a great deal.

- We just saw Doyle
and his men leaving.

- He'll be back any minute.
- We'll be quick.

*

- What is it, Sara?
- It's nothing.

*

Oh, dear God.

- Is it the Spanish child?

- It has similar markings on
its eyes to that of the doll,

but I don't believe so.

Is that blood?

- Congealed blood, yes,

but perhaps some other matter.

What we hypothesize
was a toxic causality.

- What my brother means
is we guess poison.

- How do you guess poison?

- There are lesions,
burns inside the mouth

consistent with that type
of material.

- And the child
was found where?

- Here.

A girl was in the shop.

She picked it up
thinking it was a doll.

* *

- I think it would be useful

to have Laszlo
come and take a look.

- I can't have you here, Sara.

I certainly
can't have Laszlo here.

- Well, if not now, when?

- We will send him a message
to meet us at the lab.

*

[flash lamp snaps, sizzles]

- The child was poisoned,
you said?

- Yes.

- Have you identified her?
- No. How could we?

- Martha mentioned her child
had an identifying contusion.

May I?

A benign hemangioma
under her left axilla.

* *

It's what I feared.

* *

- So the dead child
is Martha Napp's?

*

- These are the photographs
Marcus took of the Napp child

at Siegel-Cooper,

and these are from the autopsy.

*

The markings on the eyes
are so curious.

- It reminds me of--
- Posthumous portraiture.

- Memento mori.
Remembrances of death.

- Grieving parents
had the eyes painted on plates

to give the illusion
the child is still alive.

- Do you think someone
is grieving

for the child they have killed?

- Grief can be tangled,
impenetrable,

elaborate, and tortuous.

- It doesn't feel like grief,
though.

It feels like a Pandora's box
of emotions,

someone who is unmanned
and untethered.

It feels diabolical.

- The doll is a repository
of the evil within.

It allows the killer

to dissociate
from the cruelty of the act.

It allows the killer to--
- To love.

It allows the killer to love.

*

Who could've done this?

- A person in great pain,

retreated into themselves,
alone in their desolation.

Presenting to the world a face
to mask their own darkness.

[soft dissonant music]

[baby crying]

- Baby Ana is at their mercy.

* *

- Well, whoever they are,
they will kill again.

[baby crying]

- We must begin.