Walter, trembling, uses a jury-rigged speaker array. As Elena activates her device, Walter plays the reverse frequency. The hall shudders. Elena’s machine explodes in a shower of harmonics. She collapses, unconscious — but the nine subway victims reappear on the concert stage, gasping, bruised, but human again.
Peter, using his con-man-honed pattern recognition, notices the victims all share one thing: they once posted online about hearing a strange “phantom melody” on the T, a sound that made their teeth ache. The lullaby is identified — “Schlaflied für Anna” ( Lullaby for Anna ), composed by Thorne for his terminally ill daughter, who died at age seven.
Olivia, Broyles, and the Fringe Division arrive. Massive Dynamic sends a liaison, but Walter, examining a residue on the seats, declares it’s not heat or chemical — it’s frequency . “Someone sang these people into the train, Olivia. Like a soprano shattering a wine glass, but in reverse.”
Olivia, gun raised, says, “She’s not yours to turn into a song.”