- Here's to your engagement, John.
I hope she makes you happy.
- It's the clothing the Napp baby wore.
- Steady hand. Perhaps the work of a surgeon.
- [baby cries] - A woman who lost the child.
- I care for Helen greatly, Dr. Markoe,
but I can't afford the scandal.
- Where is my baby? I want to see her.
- Your child is with the angels now, my dear.
Many of our staff are simply ward girls,
who sadly often lose their infants in childbirth.
- May I ask you something, nurse?
- You can just call me Libby.
- What happened at the hospital?
- No!
- I have the file on Martha Napp
from the Lying-In Hospital.
The last person to check on Martha Napp
was an employee named Colleen Ledwidge.
[soft suspenseful music]
*
- I was referred to you by a wealthy family.
- It's mainly the poor who come in now.
- Do you perform the service pro bono?
- I do.
It'd be mercenary to charge them
when they've been through so much.
- I suspect your compassion stems from a bereavement,
Mrs. Carlisle.
*
- My William departed this earth
when he was six months old.
Nothing compares to losing an infant.
*
[horse neighs]
- Remember, Bitsy, if the killer is there,
it will be crucial to be inconspicuous.
- I'll be fine, Miss Sara. I can handle myself.
I'll tell them I come from a big family.
Worked as a domestic, mostly,
and a lot of the time, I was with the babies.
- No, tell them all you know is babies.
Liars embellish the truth.
If you want to tell a good lie, keep it simple.
- I'll keep it simple, then.
- It's best if you work alongside the ward girls.
That way, you'll be able to listen
to everything and everyone.
*
- Most of these images conjure the illusion
that the child is merely sleeping,
but...these images here...
The eyes transform the picture from a consolation to...
something more disturbing.
- The eyes are hand-painted onto the negative.
I've only made two of them in all my years.
- A grief that defied understanding.
- A grief without end.
As if by painting the eyes,
she could see through to the soul.
[ominous notes]
- Where are the mothers now?
- Took their own lives.
They had that look.
As if their spirits had already departed this earth
and they were mere shades.
*
[crying echoing]
*
- Grief is a wound that sometimes never heals.
I am correct, am I not?
*
- Memento mori. - "Remember you will die."
*
[dark music]
*
[thunder rumbling]
- I don't know why the "Times" bothers reporting the weather
when they are never remotely correct.
- Well, it's meant to pass quickly.
It's mostly bills, I think.
This one's not.
- Hello? I'm here to see Miss Howard.
- I'm Miss Howard's assistant. She won't be a moment.
- Libby.
- Uh, Miss Howard, if I could get the file back?
I'm somewhat anxious about being late to the hospital.
Uh, Matron is so...
unforgiving.
- Come in.
- Oh, my, it's quite the armory you have here.
- A legacy from my father.
Have you read the file?
Says that Colleen Ledwidge was the last person
to check on Martha Napp
the night her baby went missing.
- She was on duty that night. Did her rounds.
I'm not a gossip, Miss Howard.
People who can't stand up for themselves
are often unhappily blamed for the sins of others.
- Libby.
Do you think that Colleen is capable
of kidnapping a baby?
Of murder?
[soft dramatic music]
*
- Where's the baby?
- Stillborn.
But he gives us some fish
and a spot of greenery to feel better.
He must like her more than he did me.
Richard Osgood.
I was given the bonsai first.
Followed by some spotfin betta.
See, they like to get you pregnant
to prove to their fellow financial-types
that their pecker still works.
Set you up in an apartment with fancy clothes and such.
*
- I'm sorry.
- [scoffs]
- Aren't we supposed to bathe her?
- He's had her fixed.
Let's leave her sleep as long as she can.
*
- [sobbing]
*
[baby crying distantly]
*
- Check with Dr. Markoe first.
- Yes, Matron. - [sighs]
What are you doing, Libby? - Nothing, Matron.
There was a body on the track this morning.
That's why I was late.
The tram, it hit a dodger.
- Get out. - Sorry.
*
- Get to work.
*
Stupid, stupid.
*
- We believe the kidnapper is a nursing woman
or had an abettor who was.
Either way, they were slow to-- - Loathe, I'd argue.
- To kill.
- I don't understand.
- It has to do with a black stain on the child's dress.
It is carbon. Powdered charcoal.
- It is used as an antidote to the poison.
- We found both the antidote and the poison
in the child's stomach.
- This may be interesting for the Napp baby,
whom you did not save,
but you've done nothing for us.
[soft dramatic music]
- Like you, Señor, I'm not of this place.
Other than you, having the added burden
of being seen as an enemy of the state,
you and I experience American authority similarly.
- The police are not interested in finding your child, Señor.
They think you staged the kidnapping yourself.
- I can corroborate that.
- We are your detectives on this case, sir.
- Please, let me present to you our theories
and tell you the steps that we are taking.
*
We have identified the poison used to kill the baby,
and we know that the key ingredient
cannot be obtained outside of a hospital,
one hospital in particular.
- From which the Napp baby was removed.
- But you're all here.
- We have someone undercover at this very moment.
- If the doctor instructs you to administer more chloroform,
you do so!
- She was refusing, ma'am.
*
- You may finish the mopping.
- I don't understand what I have done wrong.
- I know what you were doing in my office.
Now, mop the floor!
[soft tense music]
*
Take your apron off first, and then do it.
You are stupid!
Stupid, stupid, stupid.
*
[indistinct chatter]
- Who in blazes turned my building
into a flower market?
- I believe you ordered them, sir.
For Miss Violet's party.
- And you should've told me what a godawful idea it was.
- Yes, chief.
- Thank you. Thank you very much, sir.
Madam! Hunter of a torso!
[indistinct chatter]
- Did you hear Millbank has lent his Rhinebeck place
to the blockade planning?
Navy and Army are bunking up there.
- Now, how would a lowlife like me
get access to that information?
- Oh, I would've thought it would've trickled down
to the masses by now.
- Mr. Moore? - Joanna, right on time.
- This is the girl you--
- Bernie, this is Joanna Crawford.
- Pleased to meet you.
- How on earth will she be gathering stories
for the society pages, John?
- I will apprise Joanna of the event
and she will write it up.
We'll manage brilliantly, won't we?
- Yes.
- You really wrote that article on--
- "Suffragism and Emancipation:
A New America"?
That was my senior thesis. - It was...
It was very good.
- Thank you, sir.
I'm very passionate about--
- We should show you the office.
- Okay. Carry on, then.
[hymnal organ music]
*
- I wasn't sure you could come.
- I couldn't leave till now
without anybody getting suspicious.
- What have you discovered?
Have you learned anything about the maternal research wing?
- It's where they keep the pregnant mistresses
of rich old men.
What's more the peculiar is, there's no babies up there.
- Why? Where are they?
- That's the thing.
The women up there now, they all had stillborns.
- All of them? - That's what they tell them.
- What can you tell me about Colleen Ledwidge?
- Well, she's one of the ward girls.
Pretty tough character.
- Markoe seems to have a special interest in her.
- Mm.
- Bide your time.
Become friends with her. Get her to confide in you.
- You see, the only thing is something she said.
She's a ward girl, but she started as a patient.
This big-time swell Richard Osgood knocked her up.
Another one of his girls, Helen Sumner,
came in to the research wing yesterday.
*
- Was Colleen's baby also stillborn?
- I didn't ask her. - See if you can find out.
*
There's something else I want you to do.
- Sure, what is it?
- The Isaacsons identified the poison
found in the body of the Napp child.
I want you to see where it's stored.
- The drugs are kept under lock and key,
but that's not a problem.
There ain't a lock invented that I can't pick, Miss Sara.
- [chuckles]
They said they're aniline derivatives,
but they may have different names,
so here's what you're looking for.
- Acetanilide phenacetin.
- There should be a ledger indicating drug administration.
*
Maybe who signed for it.
Look for names, amounts, and who takes it out.
[suspenseful music]
*
[distant clanging]
*
[latch clanks]
- Oh, you gave me such a fright. [chuckles]
I thought my heart was gonna explode.
- What are you doing?
- Nothing.
- Oh, well, you're going to get into bother
if you're found in here.
It's off-limits.
But you already know that, don't you?
- No, no, I was looking for--
- Oh, I believe you, then.
[ominous notes]
- Colleen Ledwidge. Ward girl, grieving mother.
She lost a baby,
so she replaces it with another one.
- Kidnapping the Lindares child is servicing a need,
but there is a violence to this case,
a fury seething within the murderer's breast.
- Bitsy said she was enraged at the wealthy man
who had discarded her, Richard Osgood.
She fits our profile.
- Could a ward girl acquire aniline without detection?
- The Matron oversees the ward.
She no doubt places the drug orders herself.
She seems the most likely
to have the access and the means to cover it up.
- Matron wields her power at the hospital
with spite and venom.
Resentful, perhaps, of what she does not have:
A child.
- Although a woman who is a wet nurse better suits the profile.
- The Matron manages a staff of wet nurses
who bottle their milk.
She could administer that milk to an infant if she wanted to.
- I'd like us to not lose sight of Markoe.
- Laszlo, the psychology of the profile fits a woman,
and the evidence points to one of these two.
- But Markoe oversees the Matron.
He may not have taken the child,
but undoubtedly he knows more.
- Well, as a cherished friend of The 400,
he will be attending the social event of the season,
as will Richard Osgood.
- You can't mean to ambush them at Mr. Moore's party.
- It's our opportunity.
It's not ideal, but John will understand.
- Will he?
- We can't simply stand on ceremony, Laszlo.
What these two mean reveal about these suspects
could lead us to baby Ana.
[classical music]
*
- I must confess, it does feel strange
to be attending a ball
while there is a child still missing.
[indistinct chatter]
*
[dog barks]
Over there.
I should say hello to our hosts.
*
Where are you going? - To observe our friend.
*
[match sizzles]
- Sir, if you link the Linares abduction to Spain and Cuba,
there is a chance you may spook the kidnappers.
- So you think there are kidnappers then?
- No, sir, not necessarily, but it--
- [chuckles]
Richard, the man is marrying my own goddaughter,
and here he is hiding a story.
- You know I work for the "New York Times."
- The opposition.
- The Linares are clearly guilty.
- Guilty of what? - Who knows, Moore?
Guilty of neglect, conspiracy, fraud.
I wouldn't put anything past them, even murder.
And perhaps the child is back in Spain
and they're using this as an opportunity
to gain sympathy from the American public.
Well, they won't get it from the "Journal," Moore.
That I can assure you.
- Mr. Hearst,
I honestly believe the Linares family are innocent.
I would only ask that whatever line
the "Journal" takes on this story,
this tragedy is not used to drum up support
against the Spanish for the war in Cuba.
- War with Spain over Cuba is going to happen.
- I think that's enough for politics
for tonight, Osgood.
Okay, Moore.
I'm sure Violet is waiting for you.
- It's Byrnes here to see you, chief.
- Ah, Byrnes, my man. I wasn't expecting you tonight.
- I've come to pay my respects, Mr. Hearst.
I brung you a gift.
It's for your goddaughter and her betrothed.
- [chuckles] - Stop it, Richard.
- Mr. Osgood.
- I don't believe I know you.
- Oh, I know you, sir. [chuckles] I know you.
- Mr. Byrnes is my go-to man for all sensitive matters.
He is very effective and very discreet.
Thank you for the gift, Byrnes. Very considerate of you.
Just leave it with Monckton.
- Uh, sir, um...
these are some very fine cigars, sir.
- Well, Violet fill find it a wheeze, I'm sure.
Monckton! - Chief?
- Sir.
- You can help yourself to some hors d'oeuvres
in the kitchen on your way out.
[sighs] - I'll take that, Byrnes.
- That's former Chief Commissioner Byrnes
to you, Monckton.
*
[chuckles]
But hey, I won't hold that against you.
Put it there.
Maybe your mother didn't teach you manners
growing up, Monckton,
so I'll forgive you for that.
I don't expect you to like me,
but what I do require is some respect.
And a modicum of civility.
*
- Picking up any gossip? - Mm-hmm.
*
- Remind me again
what your costume is, Miss Howard.
- I'm a lady undercover on a Sunday stroll.
- [chuckles] No one would ever guess.
*
- I have much to tell you.
I suppose you know that Markoe is here.
- Yes, I'm very aware of that.
- Laszlo and I have agreed to talk to him tonight.
- Sara, we have nothing to confront him with
except unsubstantiated suppositions.
- Need I remind you that there is a child missing?
- And need I remind you
that this is my engagement party?
The only thing you are succeeding doing
is embarrassing Violet.
- Ah, Miss Howard.
[chuckles] How lovely to see you.
Has my card made its way to you yet?
- My apologies, Mr. Gildersleeve.
My boss, Mr. Moore here, has kept me so terribly busy
that I haven't had a chance to reply.
- [chuckles softly]
[electricity zaps] - [clinks glass]
Hello, friends!
Thank you so much for joining us on this auspicious evening.
I am so pleased
to be able to honor my goddaughter, Violet,
and soon-to-be godson-in-law, John Moore,
even though he has chosen a very wrongheaded career path.
[laughter]
Where is John?
- Down here and dressed as--
- A cub reporter for the "New York Times."
[laughter]
- All the news that's fit to print?
Your Mr. Peterson misses the biggest stories in this city
on the daily. [laughter]
- I thought the roast was saved for the wedding dinner, sir.
- Oh, this is my soap box, boy. I'll say what pleases me.
But perhaps you'll forgive my gentle ribbing
when I present you this.
[oohs and ahhs]
[applause]
The very first German-designed luxury motorcar
to hit our shore.
I have no need to extol its many virtues to you, John.
- John's been extolling the virtues of public transit.
- Because he can't afford an automobile.
[laughter]
- Now, boys.
I am dusting him off and spiffing him up.
The car is just one part of the costume.
No more need to bother Miss Howard
for jaunts here and there.
- Three cheers for the Hearst largesse!
- Hip, hip-- all: Hurrah!
[laughter and applause]
[soft dramatic music]
*
[classical music]
*
- The three agencies of action within human nature
are appetite, spirit, and reason.
Before me, I see
appetite has vanquished both spirit and reason.
- I know who you are. You're that damned alienist.
- You've had quite the harem at the Lying-In Hospital.
A new girl
in the research wing, I understand?
- Have you been spying on me?
I can have you removed from not only this party,
but from the country as a foreign undesirable.
- A child went missing from the hospital. Murdered.
The killer has taken another one.
- Damn you, man. This has nothing to do with me.
- It has everything to do with you, Osgood.
To you, these girls are merely playthings.
- What of it? They are hardly innocent.
- Tell me, what do you know of Colleen Ledwidge?
[soft tense music]
- You think Colleen, Miss Ledwidge,
is responsible for these crimes?
Colleen worked in service.
She was impressed by fine clothes, a dinner out.
Perhaps I persuaded her to think that my intentions were--
- Honorable?
Is she violent?
- Hot-blooded. Feisty.
Like a mare that needs breaking in.
- So you broke her in?
- She didn't understand the rules.
- What are the rules?
You take her innocence, her youth,
her prospects in respectable society,
and then you have her child taken off her
and sent God knows where?
*
- I thought her child had died.
- A time for reckoning comes to us all.
*
[classical music]
*
- I'm concerned you're being bought, John,
on the cusp of your true independence,
on the finding of your own powerful words.
I fear you're being seduced.
- Well, I fear you're behaving
like an irritating sister, Sara.
How about, "What a lovely party, John.
Please extend my thanks to your generous bride-to-be."
- Generous? She humiliated you.
- She did not humiliate me. - She laughed at your expense.
- It was a moment or two of teasing.
- That debased you.
- If I'm not fussed by it, then why should you be?
You don't care about me particularly.
You made that quite clear when I asked you to marry me.
You said no, if you recall.
[downbeat music]
*
- She's unkind to you, in public, no less,
which is not right for you, John.
Don't you see?
You deserve someone
who is adventurous and curious and--
- Someone like you?
- Yes.
Someone like me.
*
But not me.
*
- A yazoo tributary.
- What?
- It's an Indian name for a tributary
that runs beside a main river.
It flirts with joining it.
It comes very close, but never does.
- A woman exactly like that,
untied to the suffocating social mores,
the very opposite of any number of women down there.
- And the opposite of you too.
So full of judgment, yet trussed up like a turkey
in your corset and your fancy dress.
*
I decided, unlike you,
that I want not to be alone, childless, lonely,
corseted.
You're no yazoo tributary, Sara Howard.
In fact,
you're swimming right down the middle of the stream.
*
- Thanks for not ratting me out to Matron.
I didn't know it was the drugs closet.
- That's okay.
We gotta stick together around here.
I got secrets too, you know?
Not good ones.
- Did you do something wrong?
- Did I say it was me that did something wrong?
- No, just...
[whispers] I thought you were talking about you and Markoe.
[soft tense music]
- M-me and Markoe?
*
- Colleen pretends to herself it doesn't happen.
*
You don't ask her about things like that.
[soft dramatic music]
*
You should say sorry.
*
[door handle shuffles]
- What are you doing? You need to be in bed.
- Please help me.
*
I believed all the sweet nothings.
He can't throw me away so easily.
*
Help me.
*
[oohs and ahhs]
[indistinct chatter]
[cheers and applause]
[shushing]
- Where's Violet? - She said we could go ahead.
- V?
- Lock the door.
*
- I do hope this is the only key to the room.
- Not absolutely, totally sure,
which makes it all the more exciting.
[dramatic music]
- On your marks! - Come on!
- Get set!
both: Go!
[crowd hooting and clamoring]
- Get the ring!
*
- Are you mad?
[chuckles] My God, woman.
What has possessed you?
*
- Find the ring!
[cheers] - I found the ring!
- Whoo-hoo-hoo-hoo-hoo!
*
- It's more than somewhat depressing.
Such wanton extravagance fills me with melancholia.
[indistinct clamor, cheers]
*
It's like Versailles.
So far, I have counted three Louis Quatorzes
and at least four Marie Antoinettes.
What was it she said to her starving subjects?
"If you don't have bread, let them eat cake."
*
- I think what she actually said was,
"Qu'ils mangent de la brioche,"
which is "Let them eat brioche."
Although, of course, brioche is a pastry of sorts
and at the time, probably meant cake.
And I don't mean to be pedantic,
but I think you'll find there's only three Marie Antoinettes,
not four.
I think the one by that monstrosity of a motorcar
is actually a Madame de Pompadour,
chief mistress of Louis XV, rather than a Marie Antoinette,
although your error is entirely understandable.
- Chief mistress?
- Yes, it was an actual royal court position,
believe it or not.
And who are you, and what do you do,
and how do you come to be here?
- I'm an alienist.
- As am I.
*
- [chuckles] You're teasing me.
- Yes, I'm teasing you.
But it's also true.
Karen Stratton.
I was Violet's professor at Barnard.
Well, she had me for a semester.
- Professor Karen Stratton. I've read all your work.
- I'm Doctor--
- Of course, I know you're Dr. Kreizler.
Who in New York hasn't heard of you?
And in fact, it seems as if all
of the most important people in New York are here.
Even still, I didn't for the life of me
imagine I'd meet you.
It's quite the honor.
- The honor is all mine.
Indeed.
I would very much like to--
perhaps we could discuss--
- My card.
Do call on me.
[classical music]
*
- [chuckles softly]
*
- Richard?
Richard!
Why didn't you come to me?
Didn't you know what happened to me?
Where have you been?
- Helen? Come, now, Helen.
- I want to talk to Richard.
- [chuckling] Too much champagne.
- Get your hands off her, Markoe.
- She's deluded, the poor creature.
- Were you in the Lying-In Hospital?
If you touch her,
I will scream bloody murder at the top of my lungs
and then there will indeed be a scandal.
*
What happened?
- [sobbing] They took my baby.
*
They fixed me so I can't have children anymore.
I thought he loved me. - He does love you, Helen.
And that's why he's asked me
to accompany you in his carriage to the townhouse.
- What? He--he said that?
- Yes.
- You sterilized her, Markoe?
Is that what you do to all of them?
- She had an infection. I saved her life.
Helen, Helen. Come.
- Don't go with him, Helen.
You can trust me. I can help you.
[soft suspenseful music]
*
- May I?
[classical music]
*
[cigarette sizzles]
- Shame on you.
[dog barks distantly]
[soft dramatic music]
*
[clock ticking]
- [sighs]
The events earlier this evening were simply a distraction.
There is a phenomenon common in visual perception
that when something is drawing the eye's attention,
an object, a source of light,
we become almost blind to surrounding objects.
- The human eye cannot help but fixate on certain stimuli.
- And in such cases, the person isn't even aware
that their perception is limited,
so subtle is the effect.
- The same can be true of the mind.
And so it is with us, we have gone off-course.
- What are you saying, Laszlo?
That we are no closer to finding the killer
of Martha Napp's baby or the kidnapper of Ana Linares?
That Markoe has nothing to do with it?
- Precisely.
Dr. Markoe created a miasma of corruption at that hospital
in which our killer is hiding.
But that may be the extent of it.
- Señora Linares.
*
Please, have a seat.
[baby crying]
- Colleen.
- One of them puked all over the floor.
I only cleaned it an hour ago.
- I'll help you. - Thanks.
- Got any clothes?
*
I didn't mean anything by what I said.
*
- I thank you for helping me,
but remembering is also a curse.
There was someone there at the hospital
who did not behave as they should.
- A member of the hospital staff?
- Yes.
- Was Eva able to describe her?
- She was a woman one did not notice at first,
but she was watching all the time.
Staring at Ana, not touching her,
not caring for her, but watching.
She looked back at me and she left the room.
I knew she meant harm.
*
- She looked back at you?
Not at Ava?
- It's me.
My God.
- Señora Linares,
the trauma and fear had repressed your memories.
Your mind has constructed a narrative
that placed Ava, and not you, at the Lying-In Hospital.
- It means that you saw who took your baby.
*
- Yes, I saw her face again...
That day.
*
Right here.
[flash lamp snaps, echoes]
[wind howling]
[tense music]
*
[babies crying]
- You ever have a baby?
[soft dramatic music]
But he didn't make it?
*
[baby crying distantly]
Can you have another one?
- You mean did they sew up my tubes like the others?
*
They tried to, but I--
I lost a lot of blood, so they had to leave me intact.
- [cries loudly] - Libby told me.
[baby cooing]
- Colleen?
What happened to Martha Napp's baby?
[dramatic music]
- Sorry I'm late. I have them.
He printed them all from that Tuesday.
*
- Do you recognize anyone?
*
- [gasps] It's her.
*
[dramatic notes]
- Oh, my God.
- You know something? You're a real nosy parker.
- Colleen-- - I didn't do anything!
And they're all blaming me.
I checked on the baby and she was there.
Next, I heard her screaming.
How was I to know what happened?
- But do you know what happened?
- No! You're always asking questions!
Blaming me? What do you want?
Get me thrown out, put in jail? What are you, a snitch?
- No! [bucket clatters loudly]
[both yelling]
- [grunts]
[horse neighs]
*
- The Lying-In Hospital. - Please hurry!
*
- Come on! Go!
Yah!
*
- Come back, snitch!
*
- [yells]
Open the door! Open the door.
You can't stay in there forever!
*
- Libby, Colleen's lost her mind.
*
- Has she?
[ominous notes]
- Go, go!
*
- Your mouth-- that's charcoal, isn't it?
- You sure do ask a lot of questions.
- [groans]
[intense music]
*
[yelps]
*
- Oh, God!
*
- Whoa!
*
- Libby!
*
[soft tense music]
- Doctor!
[alarm ringing]
- I tried to help her.
- What happened?
- Libby locked the door. I couldn't get in.
- Which way did she go? - I don't know, she ran.
*
- She only managed a partial syringe.
*
- Hurry.
*
[suspenseful music]
*
- I tried to get in and stop her, but I couldn't.
- You did your best, Colleen.
*
- She's gone.
*
- Lucius.
*
- You're alive.
You're alive.
[stirring music]
*
- [knocks softly]
[suspenseful music]
*
[knocks loudly]
*
- Libby?
*
Excuse me?
What are you doing?
*
I-I am calling the police.
[yelps]
- [sniffles]
*
- I'll give you, uh...
I'll give you ten seconds to leave, or--
- Or what?
You'll tell someone? [chuckles]
You'll--you'll scream?
You'll what?
[sighs] So.
So this is where you live? [chuckles]
You know, it, um, it looks matronly.
Perhaps too cluttered, maybe a little cheap.
*
- What do you want? - [laughing] I want?
*
I want to, um,
um... [chuckles shakily]
To come in.
*
To, um, hmm.
To lighten the load.
*
To, um,
to rest my weary bones.
*
To find sanctuary.
- Sanctuary?
What have-- what have you done, Libby?
*
[tense music]
[softly] I can't breathe.
- Do you understand the feeling now?
- I can't breathe.
- That you gave to all the girls around you?
The stain you made on them?
The life that you tore from them?
*
How does it feel now to plead for mercy with your eyes
because your words, even if they came,
they mean nothing?
- [groaning and choking]
- Stupid...
stupid...
stupid.
[ominous music]
*
[humming]
[humming softly]