[suspenseful music]
♪ ♪
- It's easy to fight when you've never been hurt before.
♪ ♪
Until it happens, you're invincible...
♪ ♪
But with every fight, there's a risk,
and sometimes you're sidelined.
The road to recovery is long--
endless when it's not clear if you can recover.
♪ ♪
Some days, I lose sight of who I am,
but I can't forget what my mission is.
♪ ♪
[distant growling and roaring]
[muffled shouts and growls] - [gently] Bob.
[thrashing and thudding] Easy, easy, Bob.
- Higher. - [growling]
Higher, higher. - Okay, Bobby.
- [growling]
[screams]
[music intensifying]
♪ ♪
[cart rattling]
[indistinct chatter]
- [panting]
- Watch it, hey!
♪ ♪
[knocking]
[soft dramatic music]
♪ ♪
- I have to keep the hope alive
that I can still make a difference.
♪ ♪
If not... [cart rattles]
Then what was coming back from the dead for?
I count the days and pray to be whole again,
back with my people on Snowpiercer,
1,034 cars long.
[dramatic music]
♪ ♪
- [singing in French]
[soft acoustic music playing]
♪ ♪
[music continues over speakers]
♪ ♪
- [sighs happily]
- He hasn't stopped playing her
since we got back from Snowpiercer.
- [sighing] Snowpiercer--
that was
the only best day of my life.
- He has lost his mind.
Do you see what he has us reading?
- You know, Miss Audrey
was so dazzling.
He's pining for her, his great love.
♪ ♪
- And you've been pining over the second-to-last Australian.
- His name's Murray. - Murray.
[chuckles]
[melodic chime]
- [chuckles] [feedback screeches]
Dear readers,
lay down your tomes and sharpen
your bon mots for book club.
Yes, you know what that means. - Shit, I haven't finished!
- He killed his first wife and the house burns down.
Let's go.
[soft dramatic music]
- Hey.
What happened with you and Wilford?
Do you want to talk about it?
When I worked here, you saved me.
- You knew how to save yourself.
- Come on, it's me.
The little I do know about you and Wilford
has me worried.
- My eyes are wide open.
This is nothing like the last time.
I'll be fine.
- Just be careful.
♪ ♪
- [singing in French]
- Dr. Headwood, Dr. Headwood. - [chuckles]
Emelia.
Damien with the nice, trim jib.
Alex, come in, all of you.
[chuckles softly]
Who wants to open
with thoughts on our "Rebecca"?
- [muttering, chuckles] Yeah. - You?
No? [people coughing uncomfortably]
You?
Yeah?
Then don't put your hand up then.
- I found her devotion
to her husband tragic. - [mutters] Oh, dear God.
- Mm. - Her husband sucked, frankly.
- He sucked? - [chuckles]
- This husband from one of the most enduring works
in English literature?
Emelia, what about you?
Do you trust our narrator heroine?
- We know almost nothing about her
other than she's young and in love,
but we do get into her psyche,
experience how jealous she is of Rebecca.
If she wasn't being honest, I don't think
she would show us her ugly traits.
- Yeah, mm. - But that's ignoring
how consumed she is by Rebecca.
If she doesn't trust herself,
then why would we ever trust her?
- Excellent point.
Emelia, your rebuttal?
- She's a girl in love.
That can make you do crazy things
and act outside of yourself.
[soft dramatic music]
- I beg your pardon.
Do continue with the salon.
- Well, I, uh, I find
the pair of them romantic.
Their love above all else-- - No, absolutely not.
I find it quite depressing.
- Our friend uptrain lit a lantern.
We're a go.
- Good work, Sykes.
Now, send this invitation out to Audrey.
♪ ♪
[stamper thudding]
[indistinct chatter]
- It's an invitation to Big Alice.
- Oh, well, lucky you.
- A cordial invitation to dine together
as we pass the forbidden city. - But also Tibet.
We traveled there years ago.
- We're asking an awful lot of you.
You good with this?
- I understand. We need to protect ourselves.
- Only if you can protect yourself.
- How do you know he won't
just lock the door and keep you there?
- Joseph wouldn't hold me against my will.
It's not his way.
And we need this, and I can do it--
at least find out what's going on over there.
- This is the comms panel. It's only got one screw.
On Big Alice, it's a red box
attached to a wall in his back engine.
There was a flaw in the prototype fixed in ours.
You switch these two wires,
we can hear everything he says.
He won't be able to tell if his comms are turned on or off.
♪ ♪
- [gasping]
♪ ♪
- Hey, save some for me.
- Plenty where that came from.
It's been quite some time since we've had a patient
with this amount of tissue damage.
- Will it heal?
- Headwoods, a moment?
- It's happening tonight.
- That wasn't what we agreed on.
[door creaks shut] - [gasping]
♪ ♪
- You're having a panic attack.
[echoing] Relax.
Name five red things in the room.
- What--what?
- Name five red things in the room, quick.
- [gasping]
Blood, blood.
Tis-tissue.
B-bucket. - Keep going.
- B-button.
[breathing heavily]
Book.
♪ ♪
[stammering] Your red book.
- The trick is is to externalize the pain.
Don't internalize it, or it'll paralyze you.
- Thank you.
What's Wilford planning for tonight?
The Headwoods don't look to pleased.
- Don't.
They are not people you wanna cross.
[door clicks open]
♪ ♪
- We'll have to put you under for the debridement
on your shoulder today.
We have to go deeper.
♪ ♪
- Okay, so our weather balloon
number 11 went up this morning.
- Well, that's good news, Mr. de La Torre.
- Let us know when we can announce contact with Melanie.
- Her pings do wonders for morale.
- Sorry. - Javi, you were saying?
- Yeah, so the data has been shared with Wilford
as we agreed. Results are safe with Melanie.
- The science is safe, but we are not.
I need to know which cars are vulnerable
to an outside attack.
There are indications that Wilford's cold man
might be up to something. - What indications?
- [clears throats]
Breach cars, anything with a port
might be a weak point, yeah? - Yeah.
So we have 16 breach exits,
all of which we can secure from outside entry.
- You're worried about attack,
but we're still opening the border for trade?
- Yeah, trade will continue as usual.
Till, you and Roche stay here. I need a word.
[door clicks close]
I have a source over there.
- All right, I think we can guess who that is.
- So you're communicating through trade.
Is she all right? - She's fine...for now.
She's onto something, which is why
we have to keep the border open.
- You're all worried about Wilford,
but we've got our own problems here at home.
The Breachmen and the Tailies are at each other's throats.
It's been two weeks since Lights' fingers
were chopped off, and I still don't have a suspect--
a legitimate suspect.
- Look, Till, why don't you take a day.
Get some rest.
- He's right. Take a day.
- If Mr. Layton wants to keep Hospitality
out of his machinations,
we'll just have to keep him out of ours.
- Some things are need to know, Ruth.
- What things? Like Audrey is spying?
He doesn't think that's risky-- putting them two back together?
People need to realize I wasn't born yesterday.
[door chimes]
- No, ma'am.
- [muttering indistinctly]
- Tristan, you are fired from the address service.
- Oh, thank God. [sighs]
- Um...
Right, Zarah, let's see what you've got?
- Me? Now? - Mm, poise under pressure.
- [grunts, exhales] - You all right?
- [retches]
Morning sickness.
- Why didn't you say so?
You can't do announcements like that.
[melodic chime]
- Good morning, Snowpiercer.
Today as we climb the Tibetan Plateau,
the temperature outside is -118 degrees centigrade.
The wind is north-northwest
at 30 to 40 knots.
Hospitality would like to remind you all
to be mindful of the change in elevation today.
[Afroman's "Because I Got High"]
For our window watchers,
today we will be passing Lhasa,
the famous forbidden city of what was formerly Tibet.
♪ ♪
- ♪ I was gonna clean my room until I got high ♪
- ♪ Ooh, ooh ♪ - ♪ I was gonna get up ♪
♪ And find the broom, but then I got high ♪
- ♪ Uh, la, la, da, da, da ♪
- ♪ My room is still messed up ♪
♪ And I know why ♪ - ♪ Why, man? ♪
♪ Yeah, 'cause I got high ♪
[thud] - [screams]
Oh, did you hear that?
[liquid sloshing]
- [groaning]
[hip-hop music playing]
- [sighs] Mr. Pike.
- A simple invite would have worked.
- Nothing, including you, moves through Third
without my permission. - [sniffs]
- If you ever... - [groans]
- Set foot up here again, you'll be dead.
♪ ♪
[stapler clicks loudly] - [screams]
Ugh, I hate that sound.
- Yeah, I know. It's when the staples
turn in against the skull.
- [screams, panting] - One more--ready?
- [screams]
[groaning] Oh, Layton!
My weed trade feeds the Tail, brother.
Is that not part of the reason you gave it to me?
- Yes, you know it is. - [sighs]
- It was LJ, you know, the little psycho.
That kid scares me, and she's your cultivation.
- [clears throat] What about Osweiller?
- Forget about him. He's a lone wolf.
It's Terence.
It's Terence, my brother. This can't stand.
- It won't. Hey.
I will handle this.
[soft dramatic music]
[soaring piano music playing]
[singer vocalizing]
♪ ♪
[button clicks]
- When do you and Sykes plan on telling me
what you're cooking uptrain?
♪ ♪
- Patience, my dear.
What's coming will be a surprise to everybody.
Fitting for an intimate evening?
- You look fine. - Fine?
A young woman should have a firm aesthetic opinion
if not an outright stance, shouldn't she?
- Your sexism is showing again, Dubs.
- [chuckles]
- How come you can invite Audrey over
and I can't go see Lilah Folger?
- Because, my dear, today is about Audrey.
♪ ♪
- ♪ Invader ♪
♪ Out again ♪
♪ ♪
♪ Invader ♪
♪ Out again ♪
- You worried she'll take your place, hm?
♪ ♪
- I'm worried you're going soft on me.
- Ah. Hmm.
♪ ♪
- Right this way, ma'am.
♪ ♪
- How does Audrey help us take Snowpiercer?
- Well, that's where you watch the mystery unfold, Alexandra.
♪ ♪
- ♪ Immerse ♪
♪ Your soul ♪
♪ In love ♪
[punchy hip-hop music playing]
♪ ♪
- Kind of beneath you two, ain't it?
Well, at least you're together.
I'll see myself up.
♪ ♪
[scrub brush thuds in bucket]
- We had an agreement. I get it all.
- I can do 60/40 for you.
The Tail needs that trade, Terence.
It feeds 'em.
- You know I don't give a shit about that.
- I know.
It's got all of the complaints against you over the years.
Robbery, drug dealing, extortion--
we threw in some unsolved crimes.
[soft dramatic music]
Take the deal, Terence, or I'll lock you up.
♪ ♪
- I've been watching your trade back there, and...
I noticed something--
that dirty, little tyke Winnie running uptrain
every time there's a shipment.
So it got me thinking-- who you got over there,
and what will Wilford do
to a spy?
- Careful, Terence.
♪ ♪
- I'm always careful.
[dramatic music]
- Right.
- It's Josie?
Josie's how you're getting information back there?
Who else knows?
- A few Tailies, Roche, and Till.
That's it, but now Terence
is holding it like a grenade to my head.
- Hey, happy parents to be.
I have been looking forward to this all day.
- Hm.
[tender music]
[ultrasound device whirring softly]
♪ ♪
- Aha, there's your baby.
- That little dot?
- Uh-huh.
Your child is roughly the size of a blueberry.
- Blueberry--haven't had one of those in a while.
- Oh, well, blueberries are tough without the bees,
but I hear the bees are bouncing back.
- Oh, maybe in time for the due date.
- Well, I'm gonna go get that printout for you.
♪ ♪
- If Terence is threatening to expose Josie,
he's threatening us.
He needs to be dealt with, Andre.
- I'm not in the Tail anymore, Zarah.
I can't do that.
[soft dramatic music]
- You could sanction it.
♪ ♪
I know you have the person to do it.
♪ ♪
[door clicks open, closes]
- About time.
This approach to the forbidden city
is looking pretty hairy.
- I'm looking forward to seeing it.
- Wilford's not here.
- [sighs] I'm glad.
We have a moment, just us women.
- You wanted to speak to me? - Yes.
Your mother and I are friends. - Well,
her and Joseph are enemies, so what would that make you?
- Neutral, darling. - [scoffs]
He tortures us with your albums all day.
Are all of those songs really about him?
- Most of 'em.
- So you love him.
You love him. That's the deal.
- What Joseph and I have is
complicated to say the least,
but I wouldn't be here if my connection to him
wasn't deeper than anything I've felt with anyone else.
- She's right. It's an abyss.
Audrey is one of the most intuitive people
I've ever met.
♪ ♪
Welcome aboard, old friend.
- [chuckles]
♪ ♪
- Ugh. [chuckles]
- Something to add, Alex?
♪ ♪
[wind whistling]
- You know, watching instruments ascend
is like watching water boil.
You're not gonna make it go any faster.
- 36,000 feet and no uplink.
Come on, Melanie, come on.
- Is it her end or ours? - 39,500, no ping.
[keyboard clacking]
I have to level out before it's too late.
- Ben, she's probably just having a telemetry issue.
She'll find it.
- She'd never miss an uplink
unless something was wrong.
♪ ♪
We'd better let the others know.
[applause]
- Oh, thank you. Thank you so much.
Okay, line up nice and straight, thank you.
Since Melanie's departure, the kids have been talking
a lot about the planet's future,
so they created something to share their hope
with the entire train.
All right, time to drop it. Hold it up, hold it up.
- Thank you, Melanie! - [chuckling]
- We love you, Melanie. - We love you.
- We love you, Melanie. - Oh, okay, that's enough.
- Aw.
More reputation rehabilitation for Melanie Cavill.
- Thank you, children.
Your lovely mural will hang all week
where everyone can see it.
[applause]
- Our launch data checks out, and our instruments are live,
but Melanie hasn't made contact.
♪ ♪
- Well, that could be anything, couldn't it?
- The problem appears to be on her end.
- We have to consider that something happened to her
and that we might not hear from her again.
♪ ♪
We've launched 11 probes so far,
so with a little luck, that's enough
to build a climate model, but Melanie...
♪ ♪
- I know that she's okay.
I can feel her out there every day.
- Well, we turn around for her tomorrow,
so we need to launch our last probe as scheduled.
- Wilford can't get wind of this.
- Agreed.
- We need to keep him on mission,
going back to get Melanie.
- And what should we tell the passengers?
They're expecting an announcement.
♪ ♪
- Melanie's the one thing
that's been keeping us all together.
- She did it for seven years. It still means something.
- So then we lie.
♪ ♪
- A lie for hope.
♪ ♪
- This new world order you fought for
isn't all it's cracked up to be, is it?
It's a free for all.
- You'd rather have Wilford?
- I'd rather sit back and see where the chips fall.
- Mm, I can't do that, Oz. There's something about me.
[punchy hip-hop music playing]
♪ ♪
- I kind of miss you, Bess. I do.
- You hear anything even slightly solid
about the Breachman attacking that Tailie?
- Solid, no.
I mean, they're good for it.
Wilford hires, organized.
So what? Could be anyone.
See you around, Till.
♪ ♪
- Compliments of those two assholes.
[both chuckling]
To our great Engineer! - Here, here.
- Boki. - Mm-hmm?
- To our great Engineer.
- Hey, hey, listen, that leads to trouble.
- Yeah, I'm hoping. - Come with me.
I've got something for you.
- You want to spar? - Yeah.
- Okay, not what I was expecting, pastor.
- Just met you in a bar. I go where I'm least expected.
[soft dramatic music]
♪ ♪
Is that all you got?
- I beat a lot of boys at the academy.
I don't want to hurt you.
- You hurt a lot of people in your past.
- What? - People hurt you.
You don't want to feel pain, but it's unavoidable.
[dramatic music]
Suffering is a part of the human condition.
♪ ♪
- You can't get to joy, to relief, without hurting--
sometimes yourself, sometimes others.
♪ ♪
[soft dramatic music]
♪ ♪
- You all right?
- I have Melanie on my mind.
You know, walking you through Hospitality,
it has me remembering all sorts of things.
- You need a moment?
- No. Walk with me
as I compose this announcement of false hope
for the passengers in my head.
♪ ♪
You know, I'm not naive, Zarah--
never was, never will be.
I know that people in power lie.
♪ ♪
Even I've done things in teal that I'm ashamed of.
- Well, a white lie to lift the passengers' spirits
won't be one of them.
You're a leader on this train, Ruth.
Your choices make a difference.
♪ ♪
- You know, I need them to, Zarah.
I really do.
- I remember us climbing the steps
of the Drepung Monastery right out there.
- It's so beautiful to see again.
So sad.
- Yes, all gone--great cities,
religions, whole schools of thought.
The world out there
doesn't serve a purpose anymore.
- Well, then, thank goodness I'm with the man
who invented the one thing that continues to matter.
♪ ♪
- It's only worth it
if you're back by my side, Audrey.
- Then open an aperitif so I can linger.
- I'm sure I can find something sweet.
- [chuckles]
[dramatic music]
♪ ♪
- [humming melody]
♪ ♪
- Shit.
♪ ♪
It's so beautiful.
- [chuckles] Where were we?
- Mm.
- Big Alice, Big Alice, this is Snowpiercer.
- Excuse me.
- Ben, is that your nasally voice?
- I'm just confirming.
We launched the balloon 11 today,
and, uh, Melanie linked up as usual.
- Riveting stuff, Ben.
I guess that's why climate science
never really found an audience.
[receiver clicks]
- Mm, mm.
Shall we see what's for dessert?
♪ ♪
- I think you get it.
- Guess that's why I'm sitting here.
Doesn't really suit you, does it?
- It was available.
- I mean any of it.
Running the train.
- There are some things I can't do myself.
- The Tail wanted to hang me for cannibalism,
and you vouched for me.
- I know.
- And I made a vow
never kill outside of combat
again, to be a...
to be a better man, to...
to have a better heart. - You have.
- [sighs]
Except when you ask me to do something like this.
♪ ♪
- If Terence is going to try and use Josie
to blackmail me, she isn't safe.
We can't lose our source over there,
and she's our sister, Pike.
- [exhales nervously]
♪ ♪
Ain't no scribe writing Pike's story
in the history of Snowpiercer.
- Tailie stories live longer, brother.
[dramatic music]
♪ ♪
[door closes]
- You looked good in there.
You should keep it up. - I might.
Hey, that stuff you said earlier
about humans hurting ourselves and others...
Do you believe it? - I do.
- Doesn't seem very Christlike. - [chuckles]
You know the realities
of this train better than anyone.
You've seen what people do to one another, to themselves.
- And it's depressing
to think that, at the end of the world,
we can't just find a way to be good to one another.
- I don't look at it that way.
This train has gone through a lot recently.
[soft dramatic music]
People want guidance, someone to look to.
♪ ♪
- And that's not Layton?
- I know you're close to him,
but it hasn't been an easy road under his leadership.
♪ ♪
You must feel it too.
♪ ♪
The change that's brewing.
♪ ♪
A leader can only compromise himself
so many times
before he loses the faith of his flock.
♪ ♪
- We need to give him time.
- Possibly.
Or he's the wrong shepherd.
♪ ♪
Jeremiah...
Chapter 50
verse 6...
♪ ♪
"My people have been lost sheep.
Their shepherds have led them astray"...
♪ ♪
"Turning them away on the mountains"...
♪ ♪
"From mountain to hill, they have gone"...
♪ ♪
"They have forgotten their fold."
♪ ♪
- And what the hell is this?
- I need this to be fair.
♪ ♪
- You come here to kill me, and you want it to be fair?
♪ ♪
- It's a Tail thing.
♪ ♪
- Osweiller!
- He's not here.
♪ ♪
They all took a walk.
- All right, man, hold on.
Listen...
Layton offered 60/40, right? I can live with that.
And I won't say a thing
about his girl over on Big Alice.
- Please, Terence, I'm giving you this courtesy.
Just do this quickly, quietly, and no one comes running.
♪ ♪
[groans]
- [screams] No!
- I wanted you to do this with honor!
- Wait, wait, you don't--wait! - To do this quietly!
[device whirring] - [choking]
- [grunts in anguish]
♪ ♪
[sobbing]
[soft dramatic music]
- You did the right thing, Andre.
I'm proud of you.
- Yeah.
♪ ♪
[melodic chime]
- Good evening, Snowpiercer.
Earlier today, high above us, another of our weather balloons
made contact with Engineer Cavill
out there on her own,
a lone spark lighting the way forward.
[razor buzzes]
On this train,
none of us are strangers to despair,
so we should celebrate these victories
when they come.
We must hold fast to our mission, our vision,
and ourselves.
♪ ♪
So...
as we prepare to turn around and return to her...
♪ ♪
Let us all say a prayer for Engineer Cavill
and our dreams of a life one day beyond Snowpiercer.
[melodic chime]
[cheers and applause]
♪ ♪
- [exhales deeply]
- All right, down the hatch with these we go.
- How long does the procedure take?
- Roughly an hour.
Oh, I gotta jot this down before I forget.
♪ ♪
- [grunts softly]
- There we are. Nighty night.
[eerie music]
- That Sykes... [scoffs]
she only brings bad news these days.
- I did not appreciate her visit today.
[soft dramatic music]
[monitor beeping quietly]
♪ ♪
- [echoing] Blood, tissue...
[Headwoods chattering] - Bucket, stairs, lights.
- Wilford pushes and pushes. - We won't lose.
♪ ♪
- [grunts quietly]
- Did she move? - I didn't notice.
- Lights.
Button.
Blood.
- It's starting tonight. - Mm, the Breachmen.
He's using them so early.
- It's a shame.
We could lose some good subjects too soon.
- Uh-huh.
- [breathing weakly]
[gasps]
[eerie music]
- I saw you ditch your meds.
You weren't knocked out during that procedure, were you?
- Don't know what you're talking about.
♪ ♪
- Give them to me.
♪ ♪
- Are you gonna tell them?
- I hope you know what you're doing.
♪ ♪
- Border's closing soon. You don't have to go.
Stay with me.
- I'm not the same person anymore.
- You are. You are the same person.
- You're not hearing me. I won't be broken by you.
And if we're gonna do this, you need to let me break you.
- I don't think that's possible--
too much ice under the surface.
- So if you won't let me in,
you can't change for the good of the train,
then what am I doing here?
- Audrey...
you know me better than anyone, and you know Mr. Layton.
Who do you think will come out on top?
- Joseph, what are you planning?
- Shh, I want you by my side when I take her back.
Stay, stay with me.
♪ ♪
You won't admit it to yourself,
but you're only half alive without me.
It's the same for me.
Together we're electric,
every nerve on fire. - [inhales sharply]
- Stay with me, Audrey.
♪ ♪
- This one's here, boss.
- You're clear to pass. Thank you.
- Make way. Free trade coming through.
[soft dramatic music]
All right, out of the way.
Tiny, get your hands off it. You have to wait.
[dramatic music]
- Well, that's almost all of it and still no Audrey.
- Call Roche; tell him to meet me at Muscle Breach.
- Why? What's going on?
- Just finish up trade, get Audrey back,
close the door ASAP.
♪ ♪
[door chimes]
- Ah, hey, step away from there, Boki!
- Get off of me. You crazy? - Where are your friends?
- Around. - Where are they?
We know you're plotting for Wilford.
- What the hell are you talking about?
["House of the Rising Sun" playing]
♪ ♪
- ♪ Oh, mother, tell your children ♪
♪ ♪
♪ Not to do ♪
♪ What I have done ♪
♪ ♪
♪ Spend your lives ♪
♪ In sin and misery ♪
♪ In the House of the Rising Sun ♪
- [screams]
♪ ♪
[alarm blaring] ♪ Well, there's a house ♪
♪ In New Orleans ♪
♪ They call the rising sun ♪
- [muttering] No, no, no, no.
- ♪ I'm going back ♪
♪ To New Orleans ♪
♪ To wear ♪
♪ That ball and chain ♪
- Ms. Wardell. - Audrey.
- What on Earth is going on over there?
- I'm afraid I'm not quite sure, Mr. Wilford.
- What have you done, Joseph?
- The choice is still yours, Audrey.
[soft dramatic music]
How about you, Ruth?
I know you've been dying to visit.
Step over before the doors close.
♪ ♪
- I can't do that now, sir.
Audrey?
[dramatic music building]
♪ ♪
Audrey? Audrey?
- Good night, Ruth.
I do hope everything's all right.
[latch clicking close]
[dramatic music]
♪ ♪