All language subtitles for The.Alienist.S02E07.WEB.x264-PHOENiX_Track03

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.