[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]
♪ ♪