TOBY: Previously on The Listener...
(SIREN WAILING)
TOBY: What's going on here?
TRAFFIC OFFICER: Well, a guy just walked out into traffic.
He Iooks awake, but he won't say anything.
Hey, sir? How you doing? Can you hear me?
I know you.
-He's a John Doe. -He's been here 24 hours.
-You still don't know who he is? -I have no ID, no wallet, no keys, nothing.
We have your test results
and your brain is a Iittle swollen from the accident,
but otherwise you should be fine.
-Accident? -Yes.
Did you have any problem with your memory prior to the accident?
I don't think so.
You have a wife. You have kids, no?
-But you know me? -You were younger then.
I know, in the eyes. The eyes haven't changed.
You're Maya's boy.
You've got the gift.
Just Iike she did.
Come on, Maya. It's time.
-You knew my mother. -Maya.
You were taking us somewhere.
-Maya changed your name. -Yes.
Tell me your name again.
-Say it. Your name is Toby. -Toby.
That's the only name you have now.
-Toby Logan. Say it again. -Toby Logan.
That's good, sweetheart.
What was your name?
Don't worry, William. It's going to be okay.
William.
My name was William.
(SIREN WAILING)
I saw myself as a kid in his memory. My name was William.
Your name was Toby when you were brought to me.
That was before my mother changed it.
(KNOCKING ON DOOR)
Hey. This is my friend, Ray.
He wants to help you.
Hello, Frank.
-Do I know you? -Don't you remember?
AII those years ago?
-I don't know. -Toby, this is Frank Cardea.
That's right. That's my name. Frank.
RAY: Frank's the one who brought you to me, Toby.
He's the one who saved your Iife.
-And you, sir? -Ray Mercer.
-PIeasure to meet you. -It's good to see you, Frank.
Do you remember when you brought Toby to me
and told me not to Iet them find him?
I don't remember, no.
Don't Iet who find me, Frank?
Oh, well, you're all grown up now, William.
Nobody would possibly recognise you.
(STAMMERING) No, Toby.
Maya said to call you that. Toby Logan.
RAY: That's right, Frank.
You brought Toby to me, and you told me he almost drowned.
Drowned?
I'm sorry.
No, no, no. It's okay.
Do you remember pulling me from the river? Do you remember that?
-Why didn't you come back? -I did.
Now. Your mother sent me.
Are you saying my mother's alive?
Frank, you told me Toby's mother drowned 20 years ago.
No.
Find him, Frank. Tell him what's happening.
-Toby, what is it? -I just saw my mother. She's alive.
Frank, do you know why Maya sent you?
I... (STAMMERING)
-I'm sorry. -That's all right, Frank. We'II Iet you rest.
No, no, no. Your name is Frank Cardea.
My name is William. My mother's name is Maya.
-RAY: Toby. -Maya sent you, Frank.
-Where is she? Where's my mother? -Toby...
-Toby, come on. -Frank.
-PIease. -Ray, we gotta get through to him.
There's gotta be something you can do.
The best thing for him right now is rest. Let his brain heal.
(CAR HORN BLARING)
RAY: Toby?
Toby, what is it? What's wrong?
(SIGHING)
TOBY: It feels Iike a plane just crashed through my head.
(VOICES WHISPERING)
I don't know what it was. A car. A crash.
-It wasn't coming from Frank? -It came from out of nowhere.
These beacons don't come from out of nowhere.
This was different, Ray.
Usually, I'm able to place it to something, a place, anything.
But this... It was Iike it was coming straight for me.
Toby, you really should go home and get some rest.
This guy knows my mother's alive.
I'm not going anywhere. I need to get through to him.
-Hey, what are you guys doing here so Iate? -I'm trying to get Toby to go home.
What's the matter with you? You Iook Iike you've seen a ghost.
I'm fine, Liv. Thank you.
Toby?
Okay, what is going on?
I think you're gonna have to try and get that out of Toby.
(SOFTLY) I'II see you tomorrow, Frank.
Toby?
-You gonna shut me out of this one, too? -It's a Iong story, Liv.
-Yeah, well, I'm a good Iistener. -AII right. His name is Frank Cardea
-and he does know me. -How? From where?
He knows me from a Iong time ago.
-My mother sent him to tell me some things. -Your mother?
Mmm-hmm.
-I thought she... -She's alive.
Oh, my God.
So if I can get through to him, he can tell me where she is.
Okay, well, if there's anything that I can do...
No, there's nothing, unless you have a magic wand
and you can bring back his memory. That would be really kind of special.
No, I don't have a wand.
But I have a pencil. I'II make some calls.
See if there's anything new going on with head trauma patients,
maybe some experimental medication with clinical trials would help.
-AII right. Thank you. -Okay.
Okay.
C-A-R-D-E-A. Cardea.
It's getting more expensive. How's it Iooking?
Okay, thank you.
-Where you at? -D's.
Great. You only got 80 or 90 more hotels in the city.
So what do you think, man? He had to be staying somewhere, right?
Yeah, Iike a friend's house.
He could have been Iiving here his whole Iife.
Maybe he just got off a bus and got hit by that car.
See, Charlie checked him out. He had no driver's Iicence. No address.
What are you gonna do when you track him down?
How's that gonna help you find your mother?
Well, I can see how he signed in. Maybe there's a copy of his ID.
-Go there. Find your mom. -Yeah.
Well, how do you even know Cardea's his real name?
What about that other thing? The hit? The car crash from nowhere?
Well, it was so dark. I don't know. I saw a man's face and it was very quick.
-You have no idea what that's about? -I don't even know where it came from.
Maybe your power's changing. You know, maybe you're mutating.
-Yeah, maybe I'm mutating. -Yeah.
No? Could be. A Iittle bit.
AII right, okay, yeah, it's different. The hits are taking on another Ievel.
-I don't know why. -Man, you must be going crazy.
Not that you're going crazy. Just that you're going crazy.
Can I have Frank Cardea's room, please? C-A-R-D-E-A.
You don't remember me, do you, Frank?
I'm sorry?
-Have you found him? -Found him? Who?
Excuse me.
-Can I help you? -I was just saying hello to Frank.
-You two know each other? -We go back a ways.
Maybe you could help Toby, the paramedic who brought Frank in.
-I'm sorry? -Toby Logan.
He's been trying to get through to Frank.
-Get through to him? -Um... Yes.
Frank's come in with some severe head trauma.
And he's had some trouble with his memory.
-Stop it. -What's the matter, Frank?
Just stop now. Just...
Do you know where I can get in touch with this Toby Logan?
Uh...
I'm sorry, you are?
I'm an old friend of Frank's.
What's the matter, Frank?
If I do run into him, who shall I say is Iooking for him?
That's okay. I'II come back Iater.
-Who is he? -He said he was a friend.
-He said he knew me. -Did you?
I don't know.
Frank,
what's the matter? What are you thinking?
-Toby knows. -Toby knows what?
-Toby knows what I'm thinking. -Yeah, I bet he does.
Toby's got a way of getting into your head.
(SIGHING)
You want the bad news or the bad news?
-Do I have a choice? -Oh, your words are so prophetic.
Now, Iisten, after your boy called in with his "medical emergency,"
I called Lanois, I called Manuel, Hudson, none of them can take the shift.
What about Danko?
She's at the dentist all morning. And you know what that means?
-Cavities? -No, not cavities.
It means you're riding with the Ryder. You are Iacing it up with a Iegend.
Now, fire this bad boy up. I'm gonna get my bag.
(WOMAN CHATTERING ON PA)
-TOBY: Hey. -Toby!
Hey, Liv.
-Listen, I was checking up on Frank, earlier. -Mmm-hmm. How's he doing?
-He's okay, but he had a visitor. -Oh, who?
This really weird guy who kept asking questions about you.
Maybe it was just me, but it was kind of creepy.
Hey, Frank?
What are you doing here? You shouldn't be out here.
Oh. I'm just getting some air. I wanna clear my head.
Liv, do you think Frank and I can go for a walk?
Sure. Not for Iong. And only if you're up for it.
-AII right. -Okay.
Frank, how you doing? I hear you had a visitor today.
-Oh, yeah, I've been trying to place him. -Yeah, maybe an old friend?
No, I don't think so.
There's something about this guy. I feel it in the pit of my stomach.
Yeah, I'm sure it'II come to you.
Do you remember anything new about Maya? About my mother?
Yeah... What do you remember?
I remember...
I remember her pulling me down a hallway.
-Yeah. Well, we had to get out of there. -Right. Get out of where, Frank?
I can't... I took you to the trailer...
-Yes, I remember the trailer. -Yes, so you and your mother would be safe.
But we weren't safe.
Go. Hide.
MAN: You don't Iook so good, Maya.
Don't take my baby.
-MAN: Where's the other one? -He's gone.
Who was after us, Frank?
Who was after my mom and me?
(CAR HORN BLARING)
Toby! Toby!
Toby!
(EXCLAIMING)
Toby! What is it? Come on, sit down.
(PANTING)
-I'm fine, Frank. I'm sorry. -You sure?
(EXHALING)
-Excuse me, can I help you? -I'm Iooking for Toby Logan.
-I understand that he works out of here. -Yeah, and you are?
Victor CIuny.
Well, I'm his boss. You know, maybe I can help you.
We need Mr Logan to provide us with some confidential information
-about a patient he picked up Iast week. -Confidential?
That sounds Iike some sort of case for National Security or something.
Well, maybe you would Iike to talk to his partner.
You know, they always ride together.
We would prefer to speak to Mr Logan personally.
Well, I'II make sure to tell Mr Logan that you were Iooking for him.
You wouldn't happen to know how we could get in touch with him?
Well, seeing how we're so open in sharing information, no.
-Anything else? -Yes, maybe I should speak to his partner.
She's at the dentist right now.
Oh.
Thank you, Mr Ryder.
Toby ever mention a guy named Victor CIuny?
Why?
Just some guy was snooping around, you know, asking a Iot of questions.
Just rubbed me the wrong way.
-Is Toby in any trouble? -No, sir. Not that I know of, sir.
Why the hell are we still here? Let's get going, man.
Yeah. Sorry, sir.
RAY: How you doing, Frank?
-I know you. -Of course.
We met earlier. You said that you had read about me.
About my work.
Thought Toby might be someone I'd be interested in.
"When roses cease to bloom, dear And violets are done
"When bumblebees in solemn flight Have passed beyond the sun"
Sure Iikes his Emily Dickinson.
"The hand that paused to gather Upon this summer's day"
Frank, where's my mother?
"Will idle Iie, in Auburn Then take my flower, pray!"
My mother, Frank? Where is she? That's why you're here. Tell me where she is.
-(SOFTLY) Think about it. -I'm sorry.
-I'm tired. -RAY: Come on, Frank.
Let's get you back to your room.
-It's been a Iong day, Frank. -Yes, thank you.
You just rest. Take your time. It'II come back to you.
-Tell Toby I'm sorry I couldn't remember. -I will, Frank. I will.
RYDER: AII right, so what have we got here?
Oh, sir, don't touch him. It could be electrocution.
There's no way that's electrocution.
Yeah, the best thing here is to just wait it out.
Yes, sir, these days we get more Academy Award performances
than the Academy Awards.
-Yeah, good work. -Thank you, sir.
Yeah, but don't Iet that get to your head.
That's what the good people of this city pay you for.
OZ: Hey, man, where are you?
Hey, I'm at the university waiting for Ray to finish a Iecture.
Yeah? What's going on with him?
Well, we're gonna check out my old case file,
see if we can find something that'II jog Frank's memory.
What's going on with you?
You ever hear of somebody named Victor CIuny?
No. Why?
I don't know, some guy was poking around here earlier asking about you.
Shaved head, medium build?
Yeah, how'd you know?
Sounds Iike the same guy that was hanging out in Frank's room.
Huh. Sounds Iike somebody's got their eye out for you.
Yeah. Thanks, Oz. How's it going with Ryder?
Yeah, we're totally BFF's. I gotta text him.
We're braiding each other's hair Iater. PIease come back. My Iife is hell.
Nothing new there, though, huh? I gotta go. Talk to you Iater.
-Thanks for coming. -No problem.
-Looks Iike just your file. -What was in my file, Ray?
Events. How we were controlling your gift.
Distress beacons. The Iatest incidents. Everything.
Ray, all that information was just sitting there in that filing cabinet?
In a Iocked filing cabinet in a Iocked room with a security guard.
Somebody obviously knew exactly what they were Iooking for.
Yeah. Me.
-Burglary is all over it. -No, no, Charlie. It's not about burglary.
This is about somebody coming after me.
Both Oz and OIivia have told me that a guy named Victor CIuny
has been asking about me.
-Okay. -Ray's office gets broken into
and my files are the only ones taken.
And you think this CIuny guy's gonna be all over you
-unless I do something about it? -Yes.
CHARLIE: And I can't do anything about it until he actually does something.
That's reassuring, Charlie. That's reassuring.
When you find me in a ditch, don't forget that his name is Victor CIuny.
Okay, Toby. AII right. Look, I'II Iook him up,
and if anything comes up, okay,
if there's any dirt under this guy's fingernails,
-I promise you I will talk to him. -Thank you.
But in the meantime you might just want to Iay Iow till this all blows over.
If you Iike, here is a key to my apartment.
Anything you want to tell me?
(SIGHING)
Okay. So...
Let me get this straight.
You know what I'm thinking?
-Yeah. -Like right now?
Mmm-hmm.
OLIVIA: I don't know what to say.
You don't have to say anything.
AII the time that I've known you, Toby, all the things...
AII the things that I've kept from you, you knew?
Uh-huh. Yeah.
-Okay, yeah, I deserve that. -Okay. No. No. Okay.
(EXHALES)
The things that I was thinking, you have to know,
they weren't necessarily what I was thinking.
Because there's over-thinking and just wishful thinking...
Liv, relax, okay? I Iove you.
OLIVIA: Toby, you're gonna break me.
Oh, you heard that, too?
And I didn't want to tell you 'cause I didn't want to hurt you.
-Can you just turn it off? -Sometimes, yeah, I can.
Like right now, when I don't wanna know what you're thinking
and I just hope that we're thinking the same thing.
Hmm.
-Well, we weren't thinking the same thing. -How do you know that?
You weren't thinking what I was thinking just now.
-You sure about that? -Mmm-hmm. I was thinking this...
OZ: Ah!
-Hey, hey. -Hey, boys.
-Frank. Toby. -Mendoza.
-Mendoza? -I don't know.
-He's been saying it over and over again. -Yeah. Mendoza.
-Maybe it's somebody you know, Toby? -No. Mendoza.
Wait a minute, Frank. Is this the place that you've been staying?
Yes!
TOBY: Maybe there's something with your address on it.
-Maybe your Iuggage here, Frank. -Yeah.
TOBY: Maybe a tag?
-No tag. -How about a wallet?
What's that, Frank?
It's you and your mom.
Can I see it?
I will figure it out, Toby. We'II find her.
(CELL PHONE RINGING)
Hey, Charlie. Thank you for calling me back. Yeah.
We're at Casa Mendoza Motel. Room 45.
No, they're giving us a hard time. They claim that Frank paid cash.
Signed it with no address.
Maybe you should come by, show your badge, make it more official.
Great. Thank you.
She'II be here in 10 minutes.
Frank, what happened?
She knew they were coming for you.
-She nearly killed me. -No. She wasn't trying to hurt you.
She was trying to save you. I found you downstream.
(KNOCKING ON DOOR)
(KNOCKING CONTINUES)
(SOFTLY) Frank, Iet's go.
(CAR DOOR CLOSING)
You okay, Frank?
Toby! PIease!
-Toby Logan? -Come on.
Toby, I've been all over town Iooking for you.
Well, here I am. What do you want?
I wanna take you home, to your mother.
Maya, Frank had an accident.
You're going to bring Toby back. Bring my son home.
I'll bring him back.
-My mother sent you to find me. -She wants you home.
-I said that I'd help. -No. Maya sent me.
Yes, she did, Frank.
But when she didn't hear from you she got worried
and that's when this whole thing got mixed up.
I'm not the bad guy here, Toby. I wanna help you.
There are other people out there Iooking for you.
-Oh, no. It's a Iie. It's a Iie. -Frank, stop it.
-You're confused. -No, I...
-Why would I Iie, Frank? -I don't know.
Toby. Toby, I'm gonna call Maya.
Look, you can talk to her yourself.
-Come. -Here.
No, no, wait.
There you go.
Hi, it's Maya. I'm not home, so please leave a message.
-She sounds the same. It's her. -That's right.
She sounds exactly the same.
Come on. Let's go. My car's right here.
(CAR HORN BLARING)
Your...
There was an accident in a snowstorm and you were there.
Hey, Charlie. Detective.
VICTOR: Detective?
CHARLIE: This is the guy who broke into Ray's office. We've got him on tape.
I had some new information about a burglary that happened a couple of days ago.
VICTOR: This bitch is gonna nail me. I gotta deal with her first.
You weren't going to take me to my mother's, were you?
-CHARLIE: Toby... -Where were you gonna take me?
-CHARLIE: Toby... Toby. -Tell me the truth. AII right?
Where were you going to take me? Where's my mother?
-Do you know where my mother... -Hey!
Don't. Put down the gun.
Put down the gun!
Toby, get outta here!
(BOTH GRUNTING)
-Frank, get her head. -Right.
Charlie, stay with me. Look at me. Charlie?
Stay with me. Frank, put your hand there.
-Put a Iot of pressure on that. -Okay.
This is EMT Toby Logan.
We've got an officer shot at the Casa Mendoza Hotel.
AII right. Charlie? Charlie?
(SIREN WAILING)
Okay, we're up. Bring her straight into Pre-op 3.
No. No, no, no. No, no. No.
-Hey, Liv. -You are not a doctor. Let me do my job.
Frank. PIease.
Get him into an examination room. Stay with Frank.
NURSE: Sir, please?
This way.
-Hell of a day, eh, Frank? -(FRANK GRUNTING)
He's the one we've been running from.
-He's the one Maya had to get away from. -It was him.
-Where's the other one? -He's gone.
-Where is he? -I don't know. I swear to you.
Don't make this any more difficult than it needs to be.
(WHIMPERING)
No!
No, you can't take my baby!
(BABY CRYING)
-He's the one who took my brother. -They wanted you, too.
That's the reason we were running.
Logan!
Hey.
What the hell happened out there?
See, I gave the officer on the scene a full report.
Right. Who's Victor CIuny?
You probably know more about him than I do.
What was Marks doing at that motel?
-She was protecting us. -She was protecting you?
-Mmm-hmm. -That's great.
You got your own private security guard now.
That guy was after me and she...
-You threw her in front of a bus! -What are you talking about?
Marks opened up the doors to my department to you
-and Iook where it got her. -You got the wrong idea about me.
What I got is my own agenda and you're on it.
You set one foot inside my department, I swear to God...
BECKER: I'll snap your scrawny little neck.
-She's out of surgery. -And?
She's critical but stable.
-How's Frank? -He's fine. Irascible.
He just wants to get out of here.
Liv, I'm sorry that you're bothered by all of this.
You have absolutely nothing to be sorry about.
I will take you to Charlie and then you have to promise to go home
-and get some rest. -AII right.
-Doctor's orders. -Thank you.
I remember when I first met you.
And I asked you to help me and you did.
I run around and I pry into people's heads
and I think that I'm gonna help them, that I'm gonna fix things.
It made me feel Iike I had purpose,
a reason to be Iike this,
that it could be helpful to people, that I could be of a benefit.
You trust me.
That means a Iot to me.
I don't need you to forgive me for dragging you into this.
I just need you to get better.
(FOOTSTEPS APPROACHING)
-Hey, Ray, thanks for coming. -How's she doing?
They're discharging Frank.
Yes, I heard. I'm gonna take him to my place.
With CIuny still out there, is that a good idea?
You're right. Um...
Maybe I'II grab my bags and we'II find a hotel.
I've been thinking, Ray, what if this is all connected?
-What do you mean? -What if it's my mother driving that car?
Doesn't that make sense?
She hasn't heard from Frank, so she goes to find him herself
-and CIuny stops her. -It's over, Toby.
No. Something's not right.
She's desperate. She's coming by herself.
If it's her in the car, what if these are her distress beacons?
What if she needs help?
Even if there is a chance I'm right, I have to find her.
Frank, I'm just going to grab a bag here.
-I was supposed to call her. -What?
-I was supposed to call Maya. -AII right, that's good.
Just think back a Iittle bit, okay?
-Think back a Iittle bit before then. AII right? -Mmm-hmm.
"Will idle Iie, in Auburn Then take my flower, pray!"
I know you.
That's good. Okay. It's good. It's good.
AII right, you got here somehow. AII right?
You don't have a driver's Iicence, so you couldn't drive.
-No, no. Didn't drive. -How did you get here?
-Were you on a bus? -I was.
-AII right, where did you come from? -(STAMMERING) Well...
It's okay. Okay, how Iong was the ride? Can you think about that, Frank?
That's good, think about the sign. Think about the sign.
The sign. Where was I?
The sign.
-Right. -The sign. The bridge! The bridge!
-Yes. -Yeah.
(COCKS GUN)
You didn't think that we were gonna stop, did you?
Stand back, old man. You are coming with me.
You're not going to shoot me.
-You didn't come here to kill me. -No, you're right.
-But I will put a bullet in his brain. -I'm not gonna Iet you take him.
-In five... -You can't take him.
-...four, three... -AII right. Okay.
Let Frank go.
I'II come with you. I'II come with you.
Leave Frank alone, and I'II come with you.
Back off.
I'm taking you where you belong.
-Toby, get out of here. Run. -I'm not running, Frank.
Toby's right. He's not gonna run any more.
Nobody is.
And you're not gonna stop, are you?
(LAUGHING)
Give me the gun, Frank.
How Iong are the police going to keep Frank?
-I don't know. -And you can't get near him?
Becker's got me banned from even driving by the police station.
-Maybe I can get to him. -He's not gonna Iet anyone talk to him, Oz.
-So what are you going to do? -I don't know.
CIuny didn't make it.
-Toby... -What am I supposed to do?
AII right? That's the only guy who knew where my mother was.
I got a feeling he's gonna need the both of us.
Yeah.
FRANK: "When roses cease to bloom, dear And violets are done
"Will idle lie, in Auburn
"Then take my flower, pray!"
AII right, guys. Frank came here to take me home, right?
-What's orthography? -I don't know.
Well, he underlined it in here.
"Weeds triumphant ranged Strangers strolled and spelled
"At the Ione orthography Of the elder dead"
-It's the study of spelling. -Really?
-Orthography. You guys didn't know that? -No.
Let me see this.
AII right, Frank treated this Iike a bible.
Why did he underline that word?
Maybe he's underlining words he doesn't know.
-OZ: I do that. -No, Iook at this. Here's another one.
"The hand that paused to gather Upon this summer's day
"Will idle Iie, in Auburn Then take my flower, pray!"
"Auburn." He underlined "Auburn."
Then there's "violet."
-And there's another "violet." -They're both colours.
Mmm-hmm.
-You think he's trying to tell us something. -No, I don't.
He came here for a reason and he forgot what that was.
And maybe this is his way of trying to remember why he's here.
I don't know.
-OLIVIA: What are you doing? -Just checking something here.
(STAMMERS) Auburn is a town west of here.
Yeah, town of Auburn? Can you maybe try first name Maya?
M-A-Y-A.
Violet's a name. Could be a street.
On Violet Street maybe.
Oh, really? Yeah?
OZ: Yeah. Nothing?
-AII right, thank you. -Any Iuck?
Local hospitals haven't admitted any accident victims in a week.
-I take it she's not there? -The house is all Iocked up.
Guy across the street says no one's been home in days.
(SIGHING)
-What's the matter, Toby? -Well, she's still out there.
-Stuck in her car. -Mmm-hmm. We gotta find her.
(CRASHING)
Hey, this is it. This is it. Stop the car! Hey, Oz, stop!
-AII right. -Gotta back up.
What is it?
Mom!
Mom! Mom!
Hey, Oz, call it in!
Police. Ambulance. We're on a bridge just outside of Auburn.
There's a car. It's buried under snow.
No, we don't know about survivors.
(PANTING)
She's not here.
(SIGHING)