Snowpiercer (2020–…): Season 3, Episode 7 - Episode #3.7 - full transcript
[tense music]
- [groans softly]
[groan echoing]
♪ ♪
[sighs]
[groans]
[horn blares in distance]
[high-pitched ringing]
[groans]
[thuds]
Nope.
Oh...
[sighs]
[train tracks rattling]
Shh...
[tense music]
♪ ♪
Hello?
♪ ♪
Ben? Alex?
♪ ♪
[door beeps]
♪ ♪
[dramatic music]
♪ ♪
Whoa, whoa!
Hey, hey, hey, hey, hey.
Hey. Okay.
♪ ♪
Stop. Stop!
All right, hey.
Hey, take it easy.
All right.
[groans]
Who are you?
- Don't play dumb.
What were you doing
in the Engine?
- You're in a lot of trouble.
- Hey. Hey, hey, hey.
No, no, no.
Hey. Hey. Hey, hey.
Listen, I don't know
what you--
[door opens]
- Hello, chaps.
- Shit.
[gunshots]
- Oh! Oh!
Hey! Jesus!
- That was too close, Andre.
Clean him up.
- Javi?
- Yeah.
- Have you got it?
- Got what?
♪ ♪
Ruth?
- Oh, shut up.
You're ruining this.
♪ ♪
- Yeah. He's got it.
- Good.
- Come on. Let's clear out.
This'll draw heat.
- Calmly now. Calmly.
We split up
and meet at the border.
Everybody got their papers?
- Yeah.
- Good. Come on. Let's go.
- Okay. Let's go.
♪ ♪
- What?
♪ ♪
[light music]
♪ ♪
What the...
[dramatic music]
♪ ♪
Winnie?
♪ ♪
Why not?
♪ ♪
[chuckles]
♪ ♪
[laughing] Yeah.
Uh...
Till. Wow. Okay.
Hey, you gotta help me.
I need--
- Shh. Inside voices.
- Yeah, that's about enough
of this nightmare.
[whispers]
I have to wake up.
- Hey, buddy,
you gotta get
your shit together, okay?
You're not dreaming.
[whispers]
You're dying.
[dramatic music]
♪ ♪
[dramatic music]
♪ ♪
[indistinct chatter]
- Hey.
- Hey.
- It's first light.
The vigil's over.
- Let's go get our boy.
- Layton.
[dramatic music]
Layton.
- Layton.
♪ ♪
- His pulse is weak.
Go and get Dr. Pelton.
Quick, quick, go.
- Okay. Okay.
- [snapping]
Layton, wake up.
[whispering] Wake up.
- [snapping]
Wake up. Wake up.
- Hey.
- Wake up.
- Hey.
Cool it,
or you'll get us both
thrown in the slammer.
You can't mess around here,
okay?
- Where is here?
- This is Snowpiercer.
- This is not Snowpiercer.
- No, it is.
And it isn't.
You'll recognize people,
but they're not the same
as they are over there.
- You're the same. Sort of.
- I'm the librarian.
I know things.
You're still carrying residue
from the other side.
[blows] But it will fade.
You'll get used to it here.
- No. "Used to it"?
No. Till, I need to get home.
- Oh. Well, that's different.
I don't think
I can help you with that.
- Why not?
- Well, first, you'd have
to see the Tail Boss.
But that's a dangerous journey,
you know want I'm saying?
- Nope, I don't.
- Okay. Work with me.
If you want to get back,
you need to find the Tail
and ask the Tail Boss
to send you home.
- Wilford, he was pretending
to be my buddy
and he was gonna cross
the border for some mission,
but I needed papers.
- Oh.
Now, that I can help you with.
- Okay.
- Follow me.
- Yes.
[tense music]
♪ ♪
[machines beeping, whirring]
- Got it.
- Okay, on three.
One, two, three.
- How is he?
Well, what does the doctor say?
- Nothing yet.
She's with him now.
We only just got here.
- You said everything
was gonna be fine.
- Josie. What happened?
- I don't know.
He just--he just
wouldn't wake up.
♪ ♪
- The forger's
the next door down.
Don't let on
you're not from here.
- You're not coming?
- I can't get you
to the Tail, Layton.
Listen to me.
[dramatic music]
The longer you're here,
the harder it is
to get to the other side.
Do not get lost.
[knife clicks, slashes]
- What did you do that for?
- Shh-shh-shh-shh-shh.
- [groans]
- You don't have much time
in the real world.
This cut will guide you
if you start to lose your way.
Hmm?
- Thanks, I guess.
- Okay.
Good luck, bud.
You'll need it.
♪ ♪
- [sucks in air]
[scoffing]
♪ ♪
[knocking]
[door clicks open]
[music playing faintly
in distance]
both: Oh, shit.
It's you.
- Uh, I'm here for my papers.
- Not in the hall.
Not in the hall.
♪ ♪
- ♪ I'm sure
it will come true ♪
- You want one?
- No, thanks.
- Good.
[singer singing indistinctly]
♪ ♪
Starts to wear on you,
doesn't it?
[typewriter dings]
[keys clacking]
You tell yourself
your cover story
so many times,
you start to forget
what's real
and what you made up.
♪ ♪
- I don't know about that.
- You never started to believe
your own lie?
Whatever, you don't have
to prove yourself to me.
I am out of the game.
♪ ♪
This is just
a little side hustle
to keep me going.
Sign here.
♪ ♪
- This will get me in the Tail?
- The Tail?
What, you got a death wish?
- Uh, just the opposite,
actually.
- Well, I don't mess
with the Tail.
You understand?
You want the Tail,
go see the Cartographer.
- Cartographer?
- Yes. In the Market.
I'm gonna need
something in return.
[tense music]
Two operatives
got whacked uptrain.
♪ ♪
I heard that you were involved,
but I figure someone else
pulled the trigger.
♪ ♪
So...
you give me
the triggerman's name,
and I will send you
on your way.
♪ ♪
- I don't know,
and I don't rat.
Keep your damn papers.
♪ ♪
What's going on here, Ruth?
- Just a little test.
You screwed up and got caught.
We need to know
we can trust you.
- You have your answer.
♪ ♪
- I got my eye on you.
[machine beeping]
- Any news?
- No.
[baby fussing]
- He's stable.
You can see him now.
[machine whirring]
[beeping]
- Well, there's no
sugarcoating this.
He's in a coma, has been
for up to 12 hours already.
- Will he wake up?
- I wish I could tell you.
CT scan shows
some brain swelling,
but his pupils are responding,
so that's a good sign.
- So what do we do now?
- Stay strong, hold his hand,
talk to him.
It's a waiting game,
I'm afraid,
but you're welcome to stay.
- I gotta go.
- You keep us updated.
- Yeah.
- I have to get back
to the Engine.
- Yeah.
Yeah. I'll come too.
- You don't have to.
He'd want you here.
- Are you sure?
- Yeah.
[tense music]
- He passed.
- So far.
- Course I passed.
- I told her you were solid,
sport.
Don't let me down.
- Yeah. I'm good.
Let's go.
- Right.
We cross the border
individually.
Answer questions yes or no.
Stick to your cover stories.
We should be good.
All right? Let's go.
- All right.
♪ ♪
- Hey.
Uh, what's my cover story?
- You joking?
- No, I'm fine. I just forgot.
- Well, tighten up.
You're a dancer.
♪ ♪
- Name?
- Joseph Wilford.
- Purpose of travel?
- Import-export.
Exotic fruit and sugars.
Thank you.
♪ ♪
- Name?
- Andre Layton.
- Name?
- I just--Andre Layton.
- Why were you uptrain?
- I'm a dancer.
- I love the ballet.
- No, it's modern, actually.
We had a recital.
Dance is the hidden language
of the body...
and soul.
♪ ♪
- Sad I missed it.
♪ ♪
- Next time.
♪ ♪
[sighs]
[tense music]
♪ ♪
- [sobbing quietly]
♪ ♪
- Hello?
- [gasps]
Oh.
You shouldn't be in here.
- Well, I'm just hiding out.
But I--I can leave.
It's all yours.
I heard about Layton.
I'm very sorry.
- Yeah, I'm sure you are.
[sniffling]
- I've never
seen you cry before.
You know,
you don't have to fight it.
He was your best friend.
- And there's nothing I can do
to help him.
So--bye, Audrey.
- You could talk to him.
If he's still in there,
he'll hear you.
[soft music]
- And say what?
- Remind him
what he's fighting for.
♪ ♪
- You should do it.
- Me?
- Like you used to
in the Nightcar.
You get inside people's heads.
That's your thing.
- This is different.
- You just told me
it's worth a try.
Please, Audrey.
♪ ♪
[light music playing]
[indistinct chatter]
♪ ♪
- Joe. Ruthie.
Oh, you have just made my day.
Get down here right now.
- We're just dropping in.
Brief respite. Come on, chaps.
♪ ♪
- Oh...
- [chuckles]
You, my dear, are radiant.
- It is the humidity.
It makes me glow.
- [chuckling] Oh.
♪ ♪
- Now, how long
do I get to keep you?
Come, I've got
your favorite table waiting.
- Till the sun's over the yard,
at least.
- Hey, hey. [speaks Spanish]
Come here.
Two shots, please.
- You forgot your manners.
- Perdón, señorita.
Three shots.
♪ ♪
[chuckles]
♪ ♪
- Salud.
- Salud.
♪ ♪
- That's rum.
- No shit. That a problem?
- No, it just, um,
takes me back.
- Oh. Check it.
♪ ♪
[foreboding music]
- Looks good.
- Ruth.
- Hmm?
- I'm gonna go
to the restroom.
- Hey, wait a minute.
Let's have a chat.
- For God's sake, Ruth.
Let him breathe.
Sorry, old chap.
- Another rum.
[mysterious music]
♪ ♪
[indistinct chatter]
[upbeat music playing]
♪ ♪
[guitar playing]
♪ ♪
Hey, I'm looking
for the cartographer.
Uh, yeah, thank you.
- It's a good one.
♪ ♪
- Are you lost?
- You're the cartographer?
- Yeah. Come in.
You're staring.
- Yeah. Sorry.
You remind me of someone.
- Where you trying to go?
- The Tail.
- Why you want to go there?
- Get back to my family.
- Yeah? You're a dad?
- We have a daughter.
- Yeah, well, being a parent
makes you do crazy things.
[soft music]
- Okay.
So getting to the Tail,
that's the easy part.
Getting in the Tail,
you need the word.
- Okay. What's the word?
- I don't know the word, but...
"Most will run,
some will seek.
"Hide or cheat,
we always meet.
I present,
past and future keep."
♪ ♪
- Is that a riddle?
Oh, I hate riddles.
- Okay, that's enough.
- Give it to me again.
- That's enough.
[speaking Spanish]
- Hey, hey, hey, hey. Okay.
Just let go of my arm.
Man! Hey!
[dramatic music]
Ah! [groans]
- Gracias.
- All yours.
[gun clicks]
- Okay.
- I told you he stunk.
- Easy, okay? I just
had some personal business.
- Oh, you're gonna have
to do better than that, man.
- You botched the pick-up,
you forgot your password,
and I know that you talked
to the Forger
earlier about the Tail.
- I vouched for you, Andre.
You told me you wouldn't ask
any questions.
- I was just covering my back.
- Let's pop him.
We can't risk this shit.
- Get that shit out of my face.
You tell them to stand down.
♪ ♪
You need me, or you never
would've brought me this far.
- We only need you
for the meeting, Andre.
After that, we're done.
Do you understand?
- Fine by me.
- Put the gun down, Ruth.
♪ ♪
What you don't know
might hurt you.
♪ ♪
[suspenseful music]
♪ ♪
[lively music playing
in distance]
[singers singing in Spanish]
♪ ♪
- They're okay, Alex.
Just him. Bring him down.
♪ ♪
Look at that, he showed up.
- That was the plan, right?
- Shut up.
- Hey, we're gonna
be friends here, maybe.
♪ ♪
How you doing?
Good to see you.
- You too.
- Hey. You hungry?
You're always hungry.
Hey, let's get you some claws.
Some claws, some legs,
oysters over here.
- Oysters, claws, coming up.
♪ ♪
- Have a seat.
♪ ♪
- All right. Uh...
- Sam.
- This is--
Sam, this is Joseph Wilford.
- Joe.
- Joe.
This is the guy
I was telling you about.
- You all right?
- I guess we'll see.
- Here we go.
- Go ahead. Dive in.
- I'm not really here
for the seafood or the company.
The crab's a filthy creature.
- He warned me
I wouldn't like you.
- He said the same about you,
old chap,
but I told him
it doesn't really matter,
'cause I'll forget you, anyway.
- I heard about
that heat uptrain.
Two dead G-men.
That kind of sours the deal.
- Oh, hey, that's on me.
There were no witnesses.
Joe bailed me out.
Got us across the border clean.
[tense music]
- Well, it's not my problem,
as long as I get what I need.
♪ ♪
[dramatic music]
♪ ♪
- Let's have a look. Shall we?
♪ ♪
- It's legit.
- Yeah. It's all good.
- Good.
♪ ♪
- By the power vested in me,
you assholes are under arrest.
[guns clicking]
- [yelps]
No! No, don't shoot!
[people screaming]
- ♪ Life is getting better
every day, oh, yeah ♪
- Go.
- ♪ Things are looking up
in every way ♪
[gunshots]
[people screaming]
- ♪ My troubles
and my worries ♪
♪ Were too much
for me to bear ♪
♪ So finally, in despair ♪
♪ I threw my troubles
in the air ♪
♪ And take upon your shoulders
all the woes and cares ♪
- Help me!
- ♪ Of everybody else
instead of yours ♪
♪ This may seem impossibly
improbable to you ♪
♪ When suddenly you'll find
that everyone is singing too ♪
♪ Things are lookin' up
in every way, oh, yeah ♪
♪ Things are lookin' up
in every way ♪
- [grunting]
- ♪ Things are lookin' up
in every way ♪
- Get up.
Modern dance recital?
That was the kids' troupe.
[chuckles]
Let's go.
[tense music]
♪ ♪
[dramatic music]
♪ ♪
You're in a world
of trouble now.
- Why am I not surprised
you're like this over here too?
- Firing squad's at midnight.
- Wait. Hey, hey.
Firing squad?
- Take care.
♪ ♪
- Do you want forgiveness?
- Pike?
♪ ♪
Oh, God.
- Indeed, brother.
Your hour draws nigh.
Confess your sins,
and you will be absolved.
- Of what?
- There are a pile of bodies
in the cantina.
Start there.
- [scoffs]
I just want to go home.
- How can you get back home
if you don't even know
what you're looking for?
- The Tail Boss
can send me home.
- That's where you're
very wrong.
- What do you
really want from me?
You threatened New Eden.
I didn't have any choice, Pike.
♪ ♪
- May God have mercy
on your soul.
- No. Pike.
Pike, I won.
I get to keep my secrets, Pike!
That was the deal!
Pike!
[beeping, whirring]
- How's he doing?
- No change.
What is she doing here?
- Oh. I know, Zarah.
But you worked with her
in the Nightcar.
You know what she can do.
- I don't know if it'll work,
but I can try.
- Guess it couldn't hurt.
I could use a break.
- Yeah.
- Josie, want to get
a cup of coffee?
- Yeah, sure.
- Okay. Now what happens?
- I try to reach him.
- Okay. Let's go.
- Andre.
Listen.
Listen to your breath.
Feel the in and out
as the air fills your lungs.
[soft music]
♪ ♪
[intense music]
Andre, if you can hear me,
move towards my voice.
Remember your body.
The feel of your daughter
in your arms.
Someone you love
whispering in your ear.
Remember yourself.
[clock ticking]
You're searching for something
but you don't know what.
♪ ♪
You're trapped, Andre.
You're holding onto something
that isn't real.
♪ ♪
Move towards me.
Come back.
♪ ♪
Whatever's keeping you here,
face it.
And come home.
[tense music]
♪ ♪
[dramatic music]
♪ ♪
- [grunts]
♪ ♪
[grunting]
[groaning]
Andre. You made it.
You're a good man.
I caught a bullet
on the way out.
You've got to keep going.
- What do you mean?
- To the Tail.
You're nearly there.
Here. Take it.
- What is it?
- It's our gift
to the Tail Boss.
Good luck.
♪ ♪
[soft music]
♪ ♪
[suspenseful music]
♪ ♪
- I recognize this.
You've glommed on
to some theory.
This is step one,
"research frenzy."
Step two would be
"soak in the bathtub"
if you had one.
So what is it?
- Could be nothing.
- Well, it's clearly something
because you called me in here.
- I need charts, Alex.
And my instruments--
parallel ruler, compass.
- So that you can slash
your guard in the throat?
- Is it true Mr. Layton
is at death's door?
- That's need-to-know.
- Fine.
Leave me out of the politics.
But this...
this is big, Alex.
Give everyone some real hope,
especially you.
If you don't help me,
we may never know.
♪ ♪
- Old Ivan's Way.
- I'm sorry.
It wasn't supposed
to go to knives.
- God, I hated the Tail.
All of its customs.
Like people playing the piano
like it wasn't a bunk bed.
Meanwhile,
Andre's teaching children
how to breed rats
just so we can eat.
- Oh, we had some dark times.
- Yeah. But you know,
you and Andre took
such good care of everyone.
I mean, the two of you just--
you really bring out
the best in each other.
- I don't know.
- You do.
You know, it used
to really threaten me,
but it doesn't anymore.
Andre and I are better as
co-parents than as a couple.
Josie...
I never should have
turned my back on you.
I--
- Hey.
You were backed against a wall.
I don't blame you.
Never have.
- I'm just so glad
you're here with me today.
I...
And I'm glad
that Andre has you too.
- [sighs]
Hello?
- What do you want?
- Josie.
Sorry...you're the Tail Boss?
- You didn't answer
my question.
- No. Hey.
My name is Andre Layton,
and I'm trying
to get back home.
Do you know me?
- No, but the Tail Boss
knows everyone.
"Most will run,
but some will seek.
"But hide or cheat,
we'll always meet.
I present,
past and future keep."
Who am I?
- Josie.
- Who am I, Mr. Layton?
- Death.
- Been expecting you.
Didn't think
you'd know the word.
- Yeah. I guess.
I know it too well, actually.
I guess I'm trying
to escape it.
- Death isn't the enemy.
You're here 'cause you're
scared of something.
- Oh, yeah?
What am I afraid of?
- I don't know,
but you're gonna
have to face it.
[dramatic music]
He's here.
♪ ♪
- You run the train.
- Yes, I do.
- The power's in the Tail.
It's upside-down.
- There's no up, no down.
The train is cyclical.
It's a cruel loop.
- Right.
I saw the map.
A snake eating its tail.
[solemn music]
How do I get back
out of a loop?
♪ ♪
- Thank you, Josie.
♪ ♪
You like her.
- It's complicated.
- It's never as complicated
as it seems.
You bring me a gift?
♪ ♪
I have something for you too.
♪ ♪
- That's Zarah's handwriting.
- Read it to me.
♪ ♪
- "My little soul,
I haven't seen your face yet
"or held you in my arms,
"but my love for you
is already limitless.
You aren't just my child.
You're the future."
♪ ♪
Liana?
♪ ♪
- Hi.
- Hi.
[chuckles]
No, this is--
this isn't your future.
It's not.
I'm going back for you.
I--I can get you out of this.
I can break the cycle.
- Look at what you brought me.
♪ ♪
- You're not here
to face your death.
- Pike's bomb.
- You're here to face mine.
[beeping]
[rapid beeping]
- Liana!
[echoing] Liana!
♪ ♪
[high-pitched ringing]
- Andre. Andre, wake up.
That was a rough one, huh?
- Asha? What am I doing here?
Liana was supposed
to send me home.
- This is your home.
[disquieting music]
♪ ♪
- No. I'm supposed to be
on Snowpiercer.
♪ ♪
- This hell
is the only home you know.
♪ ♪
- I'm close to the answer.
- Don't look in there.
[clanking]
Lunch is ready.
- Tomato soup
and a grilled cheese.
- Hmm?
- A memory.
- Look, we shouldn't dwell
on the past.
We've got enough
to worry about
just trying to stay alive.
- What's in there?
[tense music]
♪ ♪
What are you keeping from me?
- Andre.
- Show me. Give me the key.
- No. No! Get off!
- Asha.
- [grunts]
Stop! Stop it!
♪ ♪
You're not gonna like
what you find in there, okay?
[distant booming]
[distant crashing]
Shh.
[whispers] Marauders.
♪ ♪
- [whispers] Marauders?
The guys that killed everyone?
- Not all, but most.
- Shit.
[breathing heavily]
♪ ♪
[wind whistling]
[dramatic music]
[gunshots]
[gun clicking]
♪ ♪
[gunshot]
♪ ♪
- Asha!
♪ ♪
Asha!
♪ ♪
[grunting]
♪ ♪
- [screaming]
[grunting]
♪ ♪
[grunting]
- This is where it started,
where I first saw New Eden.
[breathing heavily]
- You don't need
to look in there.
[dramatic music]
- You told me
not to let you see it.
♪ ♪
- I made it up.
- Andre. Dr. Pelton!
It's okay, it's okay.
You're back.
- Hey.
I--I thought you'd want to know
Dr. Pelton thinks
he's gonna be okay.
No lasting brain damage
or anything.
So...
thank you for helping him.
- You're a really good friend
to Andre.
Bess, you care so much
for other people,
but you won't let
anyone care for you.
Why is that?
[soft music]
- It's been a long day, Audrey.
♪ ♪
[door beeping]
- Oh, thanks.
- Hey.
- Hey.
♪ ♪
Oh...
You had us scared.
Are you all right?
- What if...
I was so desperate
to give everyone a future...
that I made one up?
I can't lead this train
if all I have is a lie.
♪ ♪
[exhales shakily]
♪ ♪
- After the Atacama,
what route did you take?
- I'm not telling you that.
What is all this?
- Come with me.
After our trains separated,
I followed your trail,
trying to guess intentions,
near-term destination
versus long-term trajectory.
I couldn't catch you.
I had to intercept.
♪ ♪
See?
- Whoa, okay.
- So about three months in,
I thought I caught a break--
a track switch signal
near Marseille.
We followed it there
but found no sign of you.
- Well, yeah, 'cause
that was the wrong continent.
We were nowhere near France.
- So the question is,
if it wasn't you, who was it?
♪ ♪
- A signal error.
- No. I don't think
it was a malfunction, Alex.
I believe it was your mother.
That Melanie is alive.
[chuckles]
♪ ♪
[dramatic music]
♪ ♪
- [groans softly]
[groan echoing]
♪ ♪
[sighs]
[groans]
[horn blares in distance]
[high-pitched ringing]
[groans]
[thuds]
Nope.
Oh...
[sighs]
[train tracks rattling]
Shh...
[tense music]
♪ ♪
Hello?
♪ ♪
Ben? Alex?
♪ ♪
[door beeps]
♪ ♪
[dramatic music]
♪ ♪
Whoa, whoa!
Hey, hey, hey, hey, hey.
Hey. Okay.
♪ ♪
Stop. Stop!
All right, hey.
Hey, take it easy.
All right.
[groans]
Who are you?
- Don't play dumb.
What were you doing
in the Engine?
- You're in a lot of trouble.
- Hey. Hey, hey, hey.
No, no, no.
Hey. Hey. Hey, hey.
Listen, I don't know
what you--
[door opens]
- Hello, chaps.
- Shit.
[gunshots]
- Oh! Oh!
Hey! Jesus!
- That was too close, Andre.
Clean him up.
- Javi?
- Yeah.
- Have you got it?
- Got what?
♪ ♪
Ruth?
- Oh, shut up.
You're ruining this.
♪ ♪
- Yeah. He's got it.
- Good.
- Come on. Let's clear out.
This'll draw heat.
- Calmly now. Calmly.
We split up
and meet at the border.
Everybody got their papers?
- Yeah.
- Good. Come on. Let's go.
- Okay. Let's go.
♪ ♪
- What?
♪ ♪
[light music]
♪ ♪
What the...
[dramatic music]
♪ ♪
Winnie?
♪ ♪
Why not?
♪ ♪
[chuckles]
♪ ♪
[laughing] Yeah.
Uh...
Till. Wow. Okay.
Hey, you gotta help me.
I need--
- Shh. Inside voices.
- Yeah, that's about enough
of this nightmare.
[whispers]
I have to wake up.
- Hey, buddy,
you gotta get
your shit together, okay?
You're not dreaming.
[whispers]
You're dying.
[dramatic music]
♪ ♪
[dramatic music]
♪ ♪
[indistinct chatter]
- Hey.
- Hey.
- It's first light.
The vigil's over.
- Let's go get our boy.
- Layton.
[dramatic music]
Layton.
- Layton.
♪ ♪
- His pulse is weak.
Go and get Dr. Pelton.
Quick, quick, go.
- Okay. Okay.
- [snapping]
Layton, wake up.
[whispering] Wake up.
- [snapping]
Wake up. Wake up.
- Hey.
- Wake up.
- Hey.
Cool it,
or you'll get us both
thrown in the slammer.
You can't mess around here,
okay?
- Where is here?
- This is Snowpiercer.
- This is not Snowpiercer.
- No, it is.
And it isn't.
You'll recognize people,
but they're not the same
as they are over there.
- You're the same. Sort of.
- I'm the librarian.
I know things.
You're still carrying residue
from the other side.
[blows] But it will fade.
You'll get used to it here.
- No. "Used to it"?
No. Till, I need to get home.
- Oh. Well, that's different.
I don't think
I can help you with that.
- Why not?
- Well, first, you'd have
to see the Tail Boss.
But that's a dangerous journey,
you know want I'm saying?
- Nope, I don't.
- Okay. Work with me.
If you want to get back,
you need to find the Tail
and ask the Tail Boss
to send you home.
- Wilford, he was pretending
to be my buddy
and he was gonna cross
the border for some mission,
but I needed papers.
- Oh.
Now, that I can help you with.
- Okay.
- Follow me.
- Yes.
[tense music]
♪ ♪
[machines beeping, whirring]
- Got it.
- Okay, on three.
One, two, three.
- How is he?
Well, what does the doctor say?
- Nothing yet.
She's with him now.
We only just got here.
- You said everything
was gonna be fine.
- Josie. What happened?
- I don't know.
He just--he just
wouldn't wake up.
♪ ♪
- The forger's
the next door down.
Don't let on
you're not from here.
- You're not coming?
- I can't get you
to the Tail, Layton.
Listen to me.
[dramatic music]
The longer you're here,
the harder it is
to get to the other side.
Do not get lost.
[knife clicks, slashes]
- What did you do that for?
- Shh-shh-shh-shh-shh.
- [groans]
- You don't have much time
in the real world.
This cut will guide you
if you start to lose your way.
Hmm?
- Thanks, I guess.
- Okay.
Good luck, bud.
You'll need it.
♪ ♪
- [sucks in air]
[scoffing]
♪ ♪
[knocking]
[door clicks open]
[music playing faintly
in distance]
both: Oh, shit.
It's you.
- Uh, I'm here for my papers.
- Not in the hall.
Not in the hall.
♪ ♪
- ♪ I'm sure
it will come true ♪
- You want one?
- No, thanks.
- Good.
[singer singing indistinctly]
♪ ♪
Starts to wear on you,
doesn't it?
[typewriter dings]
[keys clacking]
You tell yourself
your cover story
so many times,
you start to forget
what's real
and what you made up.
♪ ♪
- I don't know about that.
- You never started to believe
your own lie?
Whatever, you don't have
to prove yourself to me.
I am out of the game.
♪ ♪
This is just
a little side hustle
to keep me going.
Sign here.
♪ ♪
- This will get me in the Tail?
- The Tail?
What, you got a death wish?
- Uh, just the opposite,
actually.
- Well, I don't mess
with the Tail.
You understand?
You want the Tail,
go see the Cartographer.
- Cartographer?
- Yes. In the Market.
I'm gonna need
something in return.
[tense music]
Two operatives
got whacked uptrain.
♪ ♪
I heard that you were involved,
but I figure someone else
pulled the trigger.
♪ ♪
So...
you give me
the triggerman's name,
and I will send you
on your way.
♪ ♪
- I don't know,
and I don't rat.
Keep your damn papers.
♪ ♪
What's going on here, Ruth?
- Just a little test.
You screwed up and got caught.
We need to know
we can trust you.
- You have your answer.
♪ ♪
- I got my eye on you.
[machine beeping]
- Any news?
- No.
[baby fussing]
- He's stable.
You can see him now.
[machine whirring]
[beeping]
- Well, there's no
sugarcoating this.
He's in a coma, has been
for up to 12 hours already.
- Will he wake up?
- I wish I could tell you.
CT scan shows
some brain swelling,
but his pupils are responding,
so that's a good sign.
- So what do we do now?
- Stay strong, hold his hand,
talk to him.
It's a waiting game,
I'm afraid,
but you're welcome to stay.
- I gotta go.
- You keep us updated.
- Yeah.
- I have to get back
to the Engine.
- Yeah.
Yeah. I'll come too.
- You don't have to.
He'd want you here.
- Are you sure?
- Yeah.
[tense music]
- He passed.
- So far.
- Course I passed.
- I told her you were solid,
sport.
Don't let me down.
- Yeah. I'm good.
Let's go.
- Right.
We cross the border
individually.
Answer questions yes or no.
Stick to your cover stories.
We should be good.
All right? Let's go.
- All right.
♪ ♪
- Hey.
Uh, what's my cover story?
- You joking?
- No, I'm fine. I just forgot.
- Well, tighten up.
You're a dancer.
♪ ♪
- Name?
- Joseph Wilford.
- Purpose of travel?
- Import-export.
Exotic fruit and sugars.
Thank you.
♪ ♪
- Name?
- Andre Layton.
- Name?
- I just--Andre Layton.
- Why were you uptrain?
- I'm a dancer.
- I love the ballet.
- No, it's modern, actually.
We had a recital.
Dance is the hidden language
of the body...
and soul.
♪ ♪
- Sad I missed it.
♪ ♪
- Next time.
♪ ♪
[sighs]
[tense music]
♪ ♪
- [sobbing quietly]
♪ ♪
- Hello?
- [gasps]
Oh.
You shouldn't be in here.
- Well, I'm just hiding out.
But I--I can leave.
It's all yours.
I heard about Layton.
I'm very sorry.
- Yeah, I'm sure you are.
[sniffling]
- I've never
seen you cry before.
You know,
you don't have to fight it.
He was your best friend.
- And there's nothing I can do
to help him.
So--bye, Audrey.
- You could talk to him.
If he's still in there,
he'll hear you.
[soft music]
- And say what?
- Remind him
what he's fighting for.
♪ ♪
- You should do it.
- Me?
- Like you used to
in the Nightcar.
You get inside people's heads.
That's your thing.
- This is different.
- You just told me
it's worth a try.
Please, Audrey.
♪ ♪
[light music playing]
[indistinct chatter]
♪ ♪
- Joe. Ruthie.
Oh, you have just made my day.
Get down here right now.
- We're just dropping in.
Brief respite. Come on, chaps.
♪ ♪
- Oh...
- [chuckles]
You, my dear, are radiant.
- It is the humidity.
It makes me glow.
- [chuckling] Oh.
♪ ♪
- Now, how long
do I get to keep you?
Come, I've got
your favorite table waiting.
- Till the sun's over the yard,
at least.
- Hey, hey. [speaks Spanish]
Come here.
Two shots, please.
- You forgot your manners.
- Perdón, señorita.
Three shots.
♪ ♪
[chuckles]
♪ ♪
- Salud.
- Salud.
♪ ♪
- That's rum.
- No shit. That a problem?
- No, it just, um,
takes me back.
- Oh. Check it.
♪ ♪
[foreboding music]
- Looks good.
- Ruth.
- Hmm?
- I'm gonna go
to the restroom.
- Hey, wait a minute.
Let's have a chat.
- For God's sake, Ruth.
Let him breathe.
Sorry, old chap.
- Another rum.
[mysterious music]
♪ ♪
[indistinct chatter]
[upbeat music playing]
♪ ♪
[guitar playing]
♪ ♪
Hey, I'm looking
for the cartographer.
Uh, yeah, thank you.
- It's a good one.
♪ ♪
- Are you lost?
- You're the cartographer?
- Yeah. Come in.
You're staring.
- Yeah. Sorry.
You remind me of someone.
- Where you trying to go?
- The Tail.
- Why you want to go there?
- Get back to my family.
- Yeah? You're a dad?
- We have a daughter.
- Yeah, well, being a parent
makes you do crazy things.
[soft music]
- Okay.
So getting to the Tail,
that's the easy part.
Getting in the Tail,
you need the word.
- Okay. What's the word?
- I don't know the word, but...
"Most will run,
some will seek.
"Hide or cheat,
we always meet.
I present,
past and future keep."
♪ ♪
- Is that a riddle?
Oh, I hate riddles.
- Okay, that's enough.
- Give it to me again.
- That's enough.
[speaking Spanish]
- Hey, hey, hey, hey. Okay.
Just let go of my arm.
Man! Hey!
[dramatic music]
Ah! [groans]
- Gracias.
- All yours.
[gun clicks]
- Okay.
- I told you he stunk.
- Easy, okay? I just
had some personal business.
- Oh, you're gonna have
to do better than that, man.
- You botched the pick-up,
you forgot your password,
and I know that you talked
to the Forger
earlier about the Tail.
- I vouched for you, Andre.
You told me you wouldn't ask
any questions.
- I was just covering my back.
- Let's pop him.
We can't risk this shit.
- Get that shit out of my face.
You tell them to stand down.
♪ ♪
You need me, or you never
would've brought me this far.
- We only need you
for the meeting, Andre.
After that, we're done.
Do you understand?
- Fine by me.
- Put the gun down, Ruth.
♪ ♪
What you don't know
might hurt you.
♪ ♪
[suspenseful music]
♪ ♪
[lively music playing
in distance]
[singers singing in Spanish]
♪ ♪
- They're okay, Alex.
Just him. Bring him down.
♪ ♪
Look at that, he showed up.
- That was the plan, right?
- Shut up.
- Hey, we're gonna
be friends here, maybe.
♪ ♪
How you doing?
Good to see you.
- You too.
- Hey. You hungry?
You're always hungry.
Hey, let's get you some claws.
Some claws, some legs,
oysters over here.
- Oysters, claws, coming up.
♪ ♪
- Have a seat.
♪ ♪
- All right. Uh...
- Sam.
- This is--
Sam, this is Joseph Wilford.
- Joe.
- Joe.
This is the guy
I was telling you about.
- You all right?
- I guess we'll see.
- Here we go.
- Go ahead. Dive in.
- I'm not really here
for the seafood or the company.
The crab's a filthy creature.
- He warned me
I wouldn't like you.
- He said the same about you,
old chap,
but I told him
it doesn't really matter,
'cause I'll forget you, anyway.
- I heard about
that heat uptrain.
Two dead G-men.
That kind of sours the deal.
- Oh, hey, that's on me.
There were no witnesses.
Joe bailed me out.
Got us across the border clean.
[tense music]
- Well, it's not my problem,
as long as I get what I need.
♪ ♪
[dramatic music]
♪ ♪
- Let's have a look. Shall we?
♪ ♪
- It's legit.
- Yeah. It's all good.
- Good.
♪ ♪
- By the power vested in me,
you assholes are under arrest.
[guns clicking]
- [yelps]
No! No, don't shoot!
[people screaming]
- ♪ Life is getting better
every day, oh, yeah ♪
- Go.
- ♪ Things are looking up
in every way ♪
[gunshots]
[people screaming]
- ♪ My troubles
and my worries ♪
♪ Were too much
for me to bear ♪
♪ So finally, in despair ♪
♪ I threw my troubles
in the air ♪
♪ And take upon your shoulders
all the woes and cares ♪
- Help me!
- ♪ Of everybody else
instead of yours ♪
♪ This may seem impossibly
improbable to you ♪
♪ When suddenly you'll find
that everyone is singing too ♪
♪ Things are lookin' up
in every way, oh, yeah ♪
♪ Things are lookin' up
in every way ♪
- [grunting]
- ♪ Things are lookin' up
in every way ♪
- Get up.
Modern dance recital?
That was the kids' troupe.
[chuckles]
Let's go.
[tense music]
♪ ♪
[dramatic music]
♪ ♪
You're in a world
of trouble now.
- Why am I not surprised
you're like this over here too?
- Firing squad's at midnight.
- Wait. Hey, hey.
Firing squad?
- Take care.
♪ ♪
- Do you want forgiveness?
- Pike?
♪ ♪
Oh, God.
- Indeed, brother.
Your hour draws nigh.
Confess your sins,
and you will be absolved.
- Of what?
- There are a pile of bodies
in the cantina.
Start there.
- [scoffs]
I just want to go home.
- How can you get back home
if you don't even know
what you're looking for?
- The Tail Boss
can send me home.
- That's where you're
very wrong.
- What do you
really want from me?
You threatened New Eden.
I didn't have any choice, Pike.
♪ ♪
- May God have mercy
on your soul.
- No. Pike.
Pike, I won.
I get to keep my secrets, Pike!
That was the deal!
Pike!
[beeping, whirring]
- How's he doing?
- No change.
What is she doing here?
- Oh. I know, Zarah.
But you worked with her
in the Nightcar.
You know what she can do.
- I don't know if it'll work,
but I can try.
- Guess it couldn't hurt.
I could use a break.
- Yeah.
- Josie, want to get
a cup of coffee?
- Yeah, sure.
- Okay. Now what happens?
- I try to reach him.
- Okay. Let's go.
- Andre.
Listen.
Listen to your breath.
Feel the in and out
as the air fills your lungs.
[soft music]
♪ ♪
[intense music]
Andre, if you can hear me,
move towards my voice.
Remember your body.
The feel of your daughter
in your arms.
Someone you love
whispering in your ear.
Remember yourself.
[clock ticking]
You're searching for something
but you don't know what.
♪ ♪
You're trapped, Andre.
You're holding onto something
that isn't real.
♪ ♪
Move towards me.
Come back.
♪ ♪
Whatever's keeping you here,
face it.
And come home.
[tense music]
♪ ♪
[dramatic music]
♪ ♪
- [grunts]
♪ ♪
[grunting]
[groaning]
Andre. You made it.
You're a good man.
I caught a bullet
on the way out.
You've got to keep going.
- What do you mean?
- To the Tail.
You're nearly there.
Here. Take it.
- What is it?
- It's our gift
to the Tail Boss.
Good luck.
♪ ♪
[soft music]
♪ ♪
[suspenseful music]
♪ ♪
- I recognize this.
You've glommed on
to some theory.
This is step one,
"research frenzy."
Step two would be
"soak in the bathtub"
if you had one.
So what is it?
- Could be nothing.
- Well, it's clearly something
because you called me in here.
- I need charts, Alex.
And my instruments--
parallel ruler, compass.
- So that you can slash
your guard in the throat?
- Is it true Mr. Layton
is at death's door?
- That's need-to-know.
- Fine.
Leave me out of the politics.
But this...
this is big, Alex.
Give everyone some real hope,
especially you.
If you don't help me,
we may never know.
♪ ♪
- Old Ivan's Way.
- I'm sorry.
It wasn't supposed
to go to knives.
- God, I hated the Tail.
All of its customs.
Like people playing the piano
like it wasn't a bunk bed.
Meanwhile,
Andre's teaching children
how to breed rats
just so we can eat.
- Oh, we had some dark times.
- Yeah. But you know,
you and Andre took
such good care of everyone.
I mean, the two of you just--
you really bring out
the best in each other.
- I don't know.
- You do.
You know, it used
to really threaten me,
but it doesn't anymore.
Andre and I are better as
co-parents than as a couple.
Josie...
I never should have
turned my back on you.
I--
- Hey.
You were backed against a wall.
I don't blame you.
Never have.
- I'm just so glad
you're here with me today.
I...
And I'm glad
that Andre has you too.
- [sighs]
Hello?
- What do you want?
- Josie.
Sorry...you're the Tail Boss?
- You didn't answer
my question.
- No. Hey.
My name is Andre Layton,
and I'm trying
to get back home.
Do you know me?
- No, but the Tail Boss
knows everyone.
"Most will run,
but some will seek.
"But hide or cheat,
we'll always meet.
I present,
past and future keep."
Who am I?
- Josie.
- Who am I, Mr. Layton?
- Death.
- Been expecting you.
Didn't think
you'd know the word.
- Yeah. I guess.
I know it too well, actually.
I guess I'm trying
to escape it.
- Death isn't the enemy.
You're here 'cause you're
scared of something.
- Oh, yeah?
What am I afraid of?
- I don't know,
but you're gonna
have to face it.
[dramatic music]
He's here.
♪ ♪
- You run the train.
- Yes, I do.
- The power's in the Tail.
It's upside-down.
- There's no up, no down.
The train is cyclical.
It's a cruel loop.
- Right.
I saw the map.
A snake eating its tail.
[solemn music]
How do I get back
out of a loop?
♪ ♪
- Thank you, Josie.
♪ ♪
You like her.
- It's complicated.
- It's never as complicated
as it seems.
You bring me a gift?
♪ ♪
I have something for you too.
♪ ♪
- That's Zarah's handwriting.
- Read it to me.
♪ ♪
- "My little soul,
I haven't seen your face yet
"or held you in my arms,
"but my love for you
is already limitless.
You aren't just my child.
You're the future."
♪ ♪
Liana?
♪ ♪
- Hi.
- Hi.
[chuckles]
No, this is--
this isn't your future.
It's not.
I'm going back for you.
I--I can get you out of this.
I can break the cycle.
- Look at what you brought me.
♪ ♪
- You're not here
to face your death.
- Pike's bomb.
- You're here to face mine.
[beeping]
[rapid beeping]
- Liana!
[echoing] Liana!
♪ ♪
[high-pitched ringing]
- Andre. Andre, wake up.
That was a rough one, huh?
- Asha? What am I doing here?
Liana was supposed
to send me home.
- This is your home.
[disquieting music]
♪ ♪
- No. I'm supposed to be
on Snowpiercer.
♪ ♪
- This hell
is the only home you know.
♪ ♪
- I'm close to the answer.
- Don't look in there.
[clanking]
Lunch is ready.
- Tomato soup
and a grilled cheese.
- Hmm?
- A memory.
- Look, we shouldn't dwell
on the past.
We've got enough
to worry about
just trying to stay alive.
- What's in there?
[tense music]
♪ ♪
What are you keeping from me?
- Andre.
- Show me. Give me the key.
- No. No! Get off!
- Asha.
- [grunts]
Stop! Stop it!
♪ ♪
You're not gonna like
what you find in there, okay?
[distant booming]
[distant crashing]
Shh.
[whispers] Marauders.
♪ ♪
- [whispers] Marauders?
The guys that killed everyone?
- Not all, but most.
- Shit.
[breathing heavily]
♪ ♪
[wind whistling]
[dramatic music]
[gunshots]
[gun clicking]
♪ ♪
[gunshot]
♪ ♪
- Asha!
♪ ♪
Asha!
♪ ♪
[grunting]
♪ ♪
- [screaming]
[grunting]
♪ ♪
[grunting]
- This is where it started,
where I first saw New Eden.
[breathing heavily]
- You don't need
to look in there.
[dramatic music]
- You told me
not to let you see it.
♪ ♪
- I made it up.
- Andre. Dr. Pelton!
It's okay, it's okay.
You're back.
- Hey.
I--I thought you'd want to know
Dr. Pelton thinks
he's gonna be okay.
No lasting brain damage
or anything.
So...
thank you for helping him.
- You're a really good friend
to Andre.
Bess, you care so much
for other people,
but you won't let
anyone care for you.
Why is that?
[soft music]
- It's been a long day, Audrey.
♪ ♪
[door beeping]
- Oh, thanks.
- Hey.
- Hey.
♪ ♪
Oh...
You had us scared.
Are you all right?
- What if...
I was so desperate
to give everyone a future...
that I made one up?
I can't lead this train
if all I have is a lie.
♪ ♪
[exhales shakily]
♪ ♪
- After the Atacama,
what route did you take?
- I'm not telling you that.
What is all this?
- Come with me.
After our trains separated,
I followed your trail,
trying to guess intentions,
near-term destination
versus long-term trajectory.
I couldn't catch you.
I had to intercept.
♪ ♪
See?
- Whoa, okay.
- So about three months in,
I thought I caught a break--
a track switch signal
near Marseille.
We followed it there
but found no sign of you.
- Well, yeah, 'cause
that was the wrong continent.
We were nowhere near France.
- So the question is,
if it wasn't you, who was it?
♪ ♪
- A signal error.
- No. I don't think
it was a malfunction, Alex.
I believe it was your mother.
That Melanie is alive.
[chuckles]
♪ ♪
[dramatic music]
♪ ♪