Season 4 Transcript Bundle

301 - PROLOGUE

Liberty Island - Brainwash Session DOCTOR ANDERSON: Agent Dunham, I'm trying to help you get your life back so that you can go home, back to your life, your job, your family. OLIVIA: This is not my home. DOCTOR ANDERSON: Because you come from another universe? OLIVIA: Yes. DOCTOR ANDERSON: Olivia... What is happening to you, given the nature of your job, the upsetting events you come in contact with on a regular basis, coupled with the injury to your head... It's not surprising your mind has created this fantasy... a means of processing the trauma. OLIVIA: This is not a fantasy. DOCTOR ANDERSON: You agree you are an agent with Fringe Division. OLIVIA: I work for the FBI in Fringe Division... dealing with weird and mysterious events that threaten the safety of the United States and its residents. DOCTOR ANDERSON: Good. (picks up a photo and shows it to Olivia) Is this your mother? OLIVIA: She looks like her, but it isn't her. DOCTOR ANDERSON: And these? (shows Olivia two more photos) Agent Lincoln Lee, Charlie Francis... are these your partners? OLIVIA: No. DOCTOR ANDERSON: And who is this? (shows another photo) OLIVIA: Another Olivia Dunham. The Olivia Dunham from over here. DOCTOR ANDERSON: And how does that sound to you, Olivia... What you're saying that there's a world beyond this world populated with people who look exactly like the people here? OLIVIA: It sounds preposterous, which is what I thought when I first learned about it, but as insane as it sounds, it's the truth. DOCTOR ANDERSON: Who's Peter? After you were injured outside the opera house, when you were under anesthesia, you mumbled the name "Peter." Is he one of your friends? The ones who came here with you from the other universe? OLIVIA: Peter is my colleague, a civilian consultant. My team and I crossed over here to find him and bring him home. DOCTOR ANDERSON: And where are they now... Peter and your friends? OLIVIA: I don't know. But I assume they had to go home without me. DOCTOR ANDERSON: Olivia, I know it's really scary... not being in control of one's own mind. OLIVIA: Doctor Anderson... I am not crazy. That is not my mother. My mother died when I was fourteen. The Charlie Francis that I knew was murdered. I have never won an olympic medal for marksmanship. None of these are me. This is not my life. DOCTOR ANDERSON: You think I'm trying to convince you you're someone you're not? Why would I do that? OLIVIA: I don't know DoD Headquarters - Another Dose BRANDON: You wanted to see me, sir? SECRETARY BISHOP: The treatments are not working. BRANDON: Well, that's, uh, not such a surprise. We always knew that transferring memories was a long shot at best. SECRETARY BISHOP: Let's try again, please. BRANDON: Sir, if we give her another dose, it could kill her. SECRETARY BISHOP: You and I know something that many lives and many more dollars have been spent to keep secret that we are at war... at war with another universe populated by creatures who have damaged the very fabric of reality. All around us, our world is under attack. Somehow, this girl came here. Somehow, she is equipped to move through universes. We need her to help us understand this skill because if we can do it, we can win this war. And if not, soon, there'll be nothing left to protect. Let's try again. Experimental Facility - Prison Break OLIVIA: Is it dinner already? SOLDIER: Afraid not. OLIVIA (strapped down): Please... Please don't do this again. (A scientist injects a blue liquid into her. When he is about to inject another (white) substance) I don't feel so good. (Olivia gasps) I can't... can't breathe. BRANDON: Unstrap her. Sit her up. (Olivia attacks the two scientists and made a run) Code blue. Code blue. SOLDIERS (running after Olivia): Freeze! OLIVIA: Come on! Come on! SOLDIERS: Hold it right there! Hold it right there! (Siren goes off, soldiers chasing after Olivia) SOLDIERS: I see her! Over there! ACT I Manhatan - Cab Jacked BROADCAST: The White House announced that President Obama has chosen former President John F. Kennedy to lead the government's new agency aimed at slowing ecological breakdown. President Kennedy plans to step down from his role as U.N. Ambassador. OLIVIA (gets in the taxi): Drive. HENRY HIGGINS: I'm gonna need you to Show Me. You know I can't put this cab into drive without your I.D. OLIVIA (points a gun): What's your name? HENRY HIGGINS: Henry. OLIVIA: Okay, listen, Henry. What I need you to do right now is I need you to drive. HENRY HIGGINS: Okay. Liberty Island - Fugitive Search COLONEL BROYLES: No, sir. Not yet. Shore patrol says there's no way she could have made it across that the currents are impossible this time of year. SECRETARY BISHOP: What do you think? COLONEL BROYLES: I think from what I know of Olivia Dunham. She's the one person I would bet on who could survive. SECRETARY BISHOP: Then find her. Herny's Taxi - Shopping for Olivia HENRY HIGGINS: Why are you wearing a hospital gown? Are you sick? OLIVIA: I've been held against my will and I'm being pursued by a division of the government. They've done experiments on me. They're trying to convince me that I'm someone that I'm not. (looks at the photograph) Is that your family? HENRY HIGGINS: Look, I'm just getting my life back together. I don't know what you're doing, but the last thing I need now is any kind of trouble. OLIVIA: You're not in any trouble, Henry... As long as you do exactly as I say. Okay, I want you to slow down Just up here and park. (Car stopped) Give me your I.D. Your "show me." (Olivia checks Henry's information on Show Me) Okay, you're gonna go into that store and you're gonna buy me some clothes. I now know where you and your family live. If you alert anyone, Henry, I assure you trouble will find you. HENRY HIGGINS: I understand. OLIVIA: Good. DoD Hospital - Visiting Lincoln AGENT FRANCIS: Knock, knock. LINCOLN LEE: Who's there? AGENT FRANCIS: Uh, no one, 'cause you're so ugly, no one would come to your door. LINCOLN LEE: Ha ha. (to Melissa) Hey, Melissa, you know how agent francis can tell which end of the worms living inside his body are which? Tickles them in the middle and sees which end farts. (Melissa laughs) Boom. MELISSA: I'll get you some water, Lincoln. LINCOLN LEE: So... what have you heard? How much longer are they gonna keep her there? AGENT FRANCIS: You know Olivia. She's strong. Physically, she's doing a lot better. But they're saying she had a complete psychotic break. LINCOLN LEE: I've heard of people losing time, you know? Not being able to remember the day leading up to a bad car accident. But this is crazy. And the other olivia? AGENT FRANCIS: She escaped to the other side, along with the secretary's son and the other Walter Bishop. LINCOLN LEE: You know, three days ago, I was eating a bowl of chocolate ice cream. I was watching Tom Cruise kick some ass on tv. I thought, "life's pretty good." Now all of this. COLONEL BROYLES: I'm afraid it's just gotten worse. LINCOLN LEE: Sir. COLONEL BROYLES: How you coming along? LINCOLN LEE: I'm doing okay. What is it? COLONEL BROYLES: Last night Agent Dunham escaped from the facility on Liberty Island. Henry's Taxi - Insane Passenger HENRY HIGGINS: Nice ink. What's it mean? OLIVIA: What? HENRY HIGGINS: Tattoo on the back of your neck. Looks like a sun of some kind. OLIVIA: They must have done it to me. She must have one. The other one must have a tattoo. HENRY HIGGINS: The girl they're trying to make you believe you are? OLIVIA: Yeah. HENRY HIGGINS: Yeah, that sounds right. I agree. OLIVIA: Hey, don't do that. Don't placate me because you think that I'm-- HENRY HIGGINS: What? Crazy? And what would you think if I jacked your cab in a hospital gown with a gun, screaming a conspiracy, telling you I'm being chased by the government and folks are trying to make me believe I'm a tattooed version of myself. OLIVIA: Look, I know I sound insane. HENRY HIGGINS: A little bit. OLIVIA: Well, I'm not insane. I'm not who they say I am. HENRY HIGGINS: Okay. So where we going? OLIVIA: You're taking me home. DoD Hospital - Finding Olivia COLONEL BROYLES: I don't have to tell you a delusional Fringe Division agent with sensitive, classified information is of great concern. AGENT FRANCIS: Do you have any idea where she's gone? COLONEL BROYLES: Not yet. Considering her mental state, she could be anywhere. (To Lincoln) Where you going? LINCOLN LEE: To get my clothes. COLONEL BROYLES: Not you. LINCOLN LEE: If Olivia's in trouble, I'm not sitting here. AGENT FRANCIS: I thought you had to go back to the hyperbaric chamber. LINCOLN LEE: I can be out for eight hours at a time. I got six hours left today. (To Melissa) Melissa. Get my nanite wraps. Brooklyn, NY - Amberized Opera House OLIVIA: If I'm not back in 15 minutes, you can leave. HENRY HIGGINS: The opera house? That's where your home is? OLIVIA: No, but that's how I got here, and that's how I'm gonna get back there. HENRY HIGGINS: What's to stop me from leaving now? OLIVIA (chuckles): Henry Arliss Higgins. 3248 Hastings Avenue, Apartment 3. I.D. Number 10-02-25-056768. Blood Type, "B" negative. Your inoculations are up to date except for your typhus, which is 17 days overdue. You might want to get that taken care of. (Olivia approaches the Opera House) POLICE OFFICER: Hey! Hey! Agent Dunham, I'm sorry, I didn't recognize you. I wasn't aware that the Fringe Division was overseeing this. OLIVIA: Oh, uh, it's okay. I should have I.D.'d myself. POLICE OFFICER: So is it, uh, true what they say about this place? People have disappeared into thin air inside? I know, I know. Classified. Things keep getting weirder and weirder all the time. OLIVIA: If you'll excuse me, I'm just gonna-- POLICE OFFICER: Yeah, you know, we should--we should step back. OLIVIA: I-I-I'll only be a minute. POLICE OFFICER: No, no. There's no time for that. The protocol's already in effect. OLIVIA: Yeah, I understand... POLICE OFFICER: Agent, Agent, you can't. OLIVIA: No. ACT II Fringe Division, NY - Locating Olivia COLONEL BROYLES: Anything yet? LINCOLN LEE: Agent Farnsworth is running scenarios. AGENT FARNSWORTH: There's a 6% chance that Agent Dunham will return to headquarters to surrender. An 11% chance that she will return to attack. A 21% chance that she will attempt to contact someone that she knows. A 29% chance that she will return to the theater where her trauma occurred. And a 33% chance that she will attempt to leave the country. FRANCIS & LEE: Someone contact the borders? COLONEL BROYLES: Yea. LINCOLN LEE: She's good at disguises. COLONEL BROYLES: I've told them that too. FRINGE DIVISION AGENT: Agent Dunham just left the Orpheum Theater quarantine in a city taxi. COLONEL BROYLES: Get a line on the tracker in that cab and find it. AGENT FRANCIS: Yes, sir. Henry's Taxi - Home, Family, Love HENRY HIGGINS: So... what now? OLIVIA: I don't know yet. Can you just keep driving? HENRY HIGGINS: (phone rings) It's my wife. OLIVIA: Okay. Don't do anything foolish, Henry. HENRY HIGGINS: (to wife) Hey. Yeah, yeah. I know. I never put it in there. It was in Laura's old room. Laura's-- yeah. Nothing. I-I got a fare. Okay. Around 7:00? I love you, hon. For sure. OLIVIA: What's her name? HENRY HIGGINS: Jasmine. Unless I'm in the doghouse then she's "honey." So most of the time, it's "honey." (Olivia chuckles) What about you? You got someone? OLIVIA: Sort of. HENRY HIGGINS: That's an odd name... "sort of." OLIVIA: His name is Peter. He's sort of the reason I'm here. Can you take me to 655 18th street, Just off 10th avenue? HENRY HIGGINS: What's there? OLIVIA: It's a company called Massive Dynamic. HENRY HIGGINS: Never heard of it. OLIVIA: They make technology that could get me home. If I'm right, there's a lady who works there who may be able to help me. HENRY HIGGINS: Well, if we're going down to Chelsea, we're gonna need some gas. (Olivia and Henry stop for some gas. Olivia takes the car key.) OLIVIA: Remember. HENRY HIGGINS: Yeah, I know. I know. You got my number. Jedi mind trick. (Olivia enters a restroom and starts sobbing.) LINCOLN LEE: Hey, Liv. Thank god we found you. ACT III Shexxon Gas Station - Gun Fight LINCOLN LEE: Okay. I know I'm not quite my handsome self, But a hello would be nice. I know about the shootout at the Orpheum. Colonel Broyles told me all about it. You know, you took a blow to your head-- OLIVIA: Don't you come any closer. LINCOLN LEE: Liv, I'm going through it myself. Believe me, I know that the treatment can feel worse than the disease... But they're just trying to fix you. We all just want to help you get bet-- (Olivia points a gun) Liv? OLIVIA: Take your gun out and put it on the ground. LINCOLN LEE: Olivia, come on. I've been your partner for two years. OLIVIA: Put your gun on the ground. LINCOLN LEE: This isn't necessary. OLIVIA: Kick it over here. LINCOLN LEE: What do you think I'm gonna do? OLIVIA: I don't know. I don't know you. Whatever they told you, I am not who you think I am. LINCOLN LEE: Liv, think about what you're doing. You can't just keep running. (Olivia directs Lincoln in the restroom and blocks the door) OLIVIA (To Henry): Get in the car. Get in the car! Drive. HENRY HIGGINS: What are you doing? OLIVIA: Just drive! AGENT FRANCIS: Liv! OLIVIA: Go, go, go, go. HENRY HIGGINS: Whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa! AGENT FRANCIS: Hey! HENRY HIGGINS: You're a hell of a shot. OLIVIA: No, actually, I'm not. HENRY HIGGINS: Well, you could have fooled me. OLIVIA: Hey, what are you doing? HENRY HIGGINS: They won't be able to find us now. OLIVIA: Thank you. DoD Headquarters - Surveilling Olivia COLONEL BROYLES: She must have removed the cab's tracker. We've tapped into the surveillance cams but we haven't picked anything up yet. SECRETARY BISHOP: Did you see the incident footage? COLONEL BROYLES: Yes, sir. (Secretary Bishop and Colonel Broyles watch Olivia shooting the gas tank) SECRETARY BISHOP: You know what I'm thinking? COLONEL BROYLES: That there's only one person at Fringe Division who could make a shot like that. SECRETARY BISHOP: It's working. ACT IV Memorial Park - Mixing Memories OLIVIA: Why'd you pull over? HENRY HIGGINS: This is it. 18th street, 10th avenue-- that's where you said. OLIVIA: Oh, no. HENRY HIGGINS: What? OLIVIA: It's not here. They must never have built it. HENRY HIGGINS: Okay, maybe you got the cross streets wrong. Let me look it up. OLIVIA: I'm stuck here. HENRY HIGGINS: Are you okay? OLIVIA: Shadowgrove circle... 302 shadowgrove circle. It's in tarrytown. I-it's a... it's a safe house. Walter must have told me about it. I don't know why I forgot. HENRY HIGGINS: Tarrytown's about 40 minutes from here. OLIVIA: Okay, we better get going. (Charlie visits Frank in his apartment) AGENT FRANCIS: Hey, Frank. FRANK STANTON: Charlie, what's up? Do you have news about Olivia? AGENT FRANCIS: You mind if I come in? FRANK STANTON: Come in. (back on the road) HENRY HIGGINS: He obviously means a lot to you. OLIVIA: Excuse me? HENRY HIGGINS: The guy you mentioned, why you say you came here. (Olivia chuckles) OLIVIA: Frank? Yeah. HENRY HIGGINS: I thought you said his name was Peter. OLIVIA: Yeah. Peter. HENRY HIGGINS: Right. You don't look so good. OLIVIA: How long 'til we get there? HENRY HIGGINS: Not long. Bolivia's Apartment - Finding a Lead FRANK STANTON: I haven't slept since this whole thing happened. I don't even know what's wrong with her. Nobody will even give me a straight answer. AGENT FRANCIS: We're gonna get her better. I promise you. We just... we just got to find her. Can you think of something that, uh, we might have missed. You know, um, someone else she could have gone to for help. Someplace she could be hiding out, A friend, anything? FRANK STANTON: Marilyn is back in town. AGENT FRANCIS: I thought she was in France. FRANK STANTON: She came home when she heard what happened. Tarrytown, NY - Meeting Marilyn HENRY HIGGINS: You know, the last time I ran a fare out this far, the meter read about 300 bucks. Guess I'll just put it on your tab. I can wait for you if you like. OLIVIA: No, you go home to your family. HENRY HIGGINS: You gonna be okay? OLIVIA: I'm not crazy, you know. But to prove that to you I'd have to tell you some things that were even crazier. HENRY HIGGINS: You know, a few years ago, I was in a bad way. Couldn't pull myself out. Inside, I knew I was somebody else. There's only one person who believed that... Jasmine. She saw the man I knew I was. But she was the only one. I mean, sometimes you just got to believe what you can't see. OLIVIA: Thank you. (Olivia tries the doorbell but did not get a response. She goes in the house through the window.) MARILYN DUNHAM: Olive? OLIVIA: Mom. ACT V Dunham Residence - Reunion MARILYN DUNHAM: (rushing to hug her daughter) Sweetheart. Oh! I know what happened. They told me about your breakdown. I came home as soon as I heard. I tried to see you, but they wouldn't let me. Sweetheart, I've been so scared. OLIVIA: I'm not your daughter. My mother died when I was 14 years old. This is all wrong. You're not supposed to be here. MARILYN DUNHAM: Sweetheart! OLIVIA: Don't you call me that. I am not your daughter. MARILYN DUNHAM: Yes, you are. You're just confused. OLIVIA: (angered) This was going to be my way home. MARILYN DUNHAM: This is your home. OLIVIA: No, my home is in Jacksonville, Florida. I was -- I was brought up on an Army Base. I've never been here before! MARILYN DUNHAM: If you've never been here, how did you know to come here? OLIVIA: I helped you paint, didn't I? MARILYN DUNHAM: Yes. You picked the colors. I wanted blue, but you convinced me to use -- OLIVIA: (smiling at the memory) Yellow, because it was more cheerful. MARILYN DUNHAM: Sweetheart... this is your home. This is your safe house. Oh. AGENT FRANCIS: (after knocking on the front door) Sorry to bother you, Mrs. Dunham, just um, wondering if you heard from Olivia. MARILYN DUNHAM: She's here. AGENT FRANCIS: She is? MARILYN DUNHAM: Come on in. OLIVIA: Hey. Liberty Island - Memory Implant SECRETARY BISHOP: (in his office. debriefing the recapture with his medical expert) Olivia Dunham has been recovered. It appears that your treatments have taken effect after all. Your plan was sound. They just needed a bit more time than you assumed. BRANDON: No, it wasn't time. It was the adrenaline from her escape. The adrenaline triggered our Olivia's Memory "B" Lymphocytes.It carried them across the blood-brain barrier and successfully transferred the memories, which means for all intents and purposes... she is our Olivia now. Tarrytown - Leaving Mom (Agent Francis drives Olivia from Bolivia's mom's home as Henry Higgins watches from nearby in his parked cab. Satisfied, Higgins drives in another direction) OLIVIA: (as they drive) Thanks, Charlie. AGENT FRANCIS: For what? OLIVIA: For being my friend. AGENT FRANCIS: Hey, Liv? OLIVIA: Yeah? AGENT FRANCIS: (joking) Thank you for not shooting me. OLIVIA: Aw. (both laugh) Fringe Division - Pressing for Details SECRETARY BISHOP: (on video conference monitor) Give her the weekend. After that, she should be fine to go to work. COLONEL BROYLES: Then I assume this is the time to ask you - why? Why convince her she's our Olivia Dunham? Why is it necessary? SECRETARY BISHOP: You don't need to worry about that just yet. You'll know soon enough. COLONEL BROYLES: With due respect Mister Secretary, you're embedding one of them on my team, and you've embedded my agent with them. I need to know now. SECRETARY BISHOP: Good work today, Phillip. Congressional Building - Personal Testimony SENATOR VAN HORN: And that's what you call him -- Walternate-- your real father? PETER: Yeah. SENATOR VAN HORN: Okay, go on. PETER: Well, Walternate took me over there because he said he needed me to help him fix the damage on the other side. SENATOR VAN HORN: But you believed he was lying to you. PETER: Yeah, he--he never had any intention to -- to fix the other side. He wanted me to help him destroy ours. SENATOR VAN HORN: Hmm. PETER: "hmm," what? SENATOR VAN HORN: Pen's dying. PETER: Here, give it to me. I know a trick. SENATOR VAN HORN: A trick... to save a dying pen? PETER: Do you want me to fix it or not? SENATOR VAN HORN: Ah, it's okay. We're almost finished here. I just have one more question. Um, you said when you learned Walternate was lying to you, your first thought was anger, that you wanted to put a stop to his agenda. But you could have done that by staying there. So the one thing I don't understand is... why'd you come back? Congressional Grounds - Budding Romance BOLIVIA DUNHAM: You know, I haven't seen those in a while... your shoes. WALTER: Wallabees. BOLIVIA DUNHAM: Are you bringing them back? WALTER: Where did they go? Oh, good. He's done. BOLIVIA DUNHAM: How was it? PETER: It was endless, but it's over now. We can get on with our lives. WALTER: That's great. How about we start with dinner? I'm starving. PETER: And the whole time I was in there, there was only one thing I could think about. BOLIVIA DUNHAM: Yeah? What? (Peter and Bolivia kiss) PETER: That. Let's go. I'm sure tomorrow will bring the usual insanity. May as well enjoy a night off.

302 - PROLOGUE Milton, MA - Home Invasion (evening time in an upscale suburban neighborhood. Joe fiddles with the tool kit looking for a pick-axe. he stands up and turns to the family he and his accomplices have bound and gagged. he turns on the television for them watch. downstairs, his fellow criminals toil digging a hole) DARRYL: (standing in deep hole in the basement) You know, we'd get through this foundation a lot quicker with that pick-axe. Where's your dumb cousin? BLAKE: He ain't dumb. And don't worry about him. Just keep working. (begins shoveling) DARRYL: (after finding a metal box in the soil and climbing out of the hole) What do you think's in it? BLAKE: Ain't our job to think. It's our job to dig. DARRYL: We're getting paid a lot of money for this. It's got to be something valuable. BLAKE: That's exactly the kind of thinking that found us trouble in Texas. DARRYL: Yeah? (studies the box) We made a lot of money back in Texas. BLAKE: Maybe just a peek. (the lightbulb above their heads shatters as they open the large black box. both men go into a trance and begin to bleed from the nose and ears. Joe returns to the basement, finds his crew and panics. he closes the box, runs upstairs, finds the family in a zombie-like trance and bleeding from the head. Joe flees the house with the box) ACT I Newton's Lab - Tattoo Removal THOMAS NEWTON: I have everything you need for your new identity right here. Agent Olivia Dunham, joined the Fringe Division September 9th, 2008. And you also got files on both Bishops, Broyles, Bell, and Farnsworth. BOLIVIA DUNHAM: Where did you get this? THOMAS NEWTON: I've been over here since you were in high school, and I've cultivated a lot of resources. Anything you need, just ask. BOLIVIA DUNHAM: A history of pop culture. THOMAS NEWTON: That's your homework. It'll help familiarize you with this world. If you can move your hair to the side. BOLIVIA DUNHAM: Yeah. THOMAS NEWTON: Now don't worry. You won't feel a thing. BOLIVIA DUNHAM: Who's "Bone-o"? THOMAS NEWTON: Oh, it's Bono, actually. He's a musician. BOLIVIA DUNHAM: Oh, yeah. Is he any good? THOMAS NEWTON: One of the few I like on this side. BOLIVIA DUNHAM: Well, he's easy on the eyes. THOMAS NEWTON: Careful. Their side may be alluring, but don't be taken in by it. They started the war. Remember? BOLIVIA DUNHAM: You don't have to remind me whose side I'm on. Did you do what I told you to do? THOMAS NEWTON: I hired a team and sent it to the site, yes. BOLIVIA DUNHAM: Your usual men? THOMAS NEWTON: No. I don't want to burn my resources. Does that meet with your approval? BOLIVIA DUNHAM: I don't care how long you've been here. This is my operation. You work for me. THOMAS NEWTON: Indeed. Walter's Lab - Ancient Tech ASTRID: Doctor Bell's company was known for tackling the most advanced technological problems. He will long be remembered as one of our country's leading visionaries. WALTER: It's a bit generic, don't you think? He was my best friend. Wherever he is, he'll be very disappointed. We're low on butter. ASTRID: Butter? Right. Coming up. BROYLES: And you think this is what, some sort of doomsday machine? PETER: Well, Walternate said that it was a very powerful piece of ancient tech. He spent the last few years looking for the machine's component pieces. BROYLES: But he's finished assembling it? PETER: No. He was missing several of them. Including one very important one. Me. BROYLES: You think this is accurate? That you somehow can power this device? PETER: The device seem to need a specific human interface, and this piece responded directly to me. BROYLES: If that's true, if Walternate needs you to operate this weapon -- PETER: We know that he has agents on this side. If he wanted me back, I think they would have made a play already. There has to be some other plan. WALTER: Peter, these cacao beans, they're inedible. Gene will never be able to digest them. PETER: She's a cow, Walter. She could probably digest the frying pan. BROYLES: What is he doing? PETER: Oh, you don't want to know. WALTER: I'm trying to make chocolate milk. Or rather, I'm trying to make the cow make chocolate milk. BROYLES: Doctor Bishop, do you have any idea why this machine would or could be configured for Peter, why it would respond to him? WALTER: I know that this machine is dangerous. BROYLES: Which is why we need to understand it. If it is indeed a threat -- WALTER: ...then to ignore it would be irresponsible. I've heard that argument before. That's what you people told Oppenheimer when you discovered that the Nazis were working on a bomb. And how do you think he slept after his little invention had killed hundreds of thousands in a fraction of a second? I need to go back to the market. Aspirin, we need to go to the market. BROYLES: Is he okay? PETER: Well, he's Walter. Define "okay." BOLIVIA DUNHAM: Hey. WALTER: Do you need anything at the market? BOLIVIA DUNHAM: No, thank you. BROYLES: Peter, I know you and Walter have been through a lot, but if this is the threat we think it is, we need Walter focused. PETER: What if he's right? What if we shouldn't be working on this thing? You ready? BOLIVIA DUNHAM: Yeah. O'Leary's Bar - Happy Hour BOLIVIA DUNHAM: We've been back for two days, and Walter's already driving you to drink? PETER: Do you blame me? Sometimes I feel like I'm stuck in one of those bad buddy cop movies. Like I'm handcuffed to a... BOLIVIA DUNHAM: ...to a mad scientist who kidnapped you from another universe? PETER: Yeah. Exactly. BOLIVIA DUNHAM: You know, I understand Walter's concern about the weapon, but I think that Broyles is right. BARTENDER: Another? BOLIVIA DUNHAM: We need to figure out what it does, and can't do that without Walter. I love this song. PETER: Really? BOLIVIA DUNHAM: Don't you? PETER: No, it's a great song. I just... as long as I've known you, I've never heard you express an interest in music. BOLIVIA DUNHAM: Oh. I've been noticing a lot of things since we've been back. I guess being over there and meeting another Olivia Dunham has made me think about the way I look at the world, the choices I've made. Come on. PETER: Are you serious? BOLIVIA DUNHAM: Yeah, come on. What, are you one of those guys who doesn't like to dance? PETER: No. I guess there's nothing like seeing another version of yourself to give you a little perspective. I've got to tell you, it was strange... being with the other you. BOLIVIA DUNHAM: Oh. PETER: It was like looking into one of those carnival mirrors. BOLIVIA DUNHAM: What, you didn't like the red hair? PETER: Well, I've always preferred blondes. But you did make a very sexy redhead. BOLIVIA DUNHAM: Good. PETER: The more I think about being over there, the less real it seems. But you, you still feel real. BOLIVIA DUNHAM: (answers cell phone) Dunham. Milton, MA - Crime Scene BROYLES: The neighbor found 'em a few hours ago. M.E. puts the time of death around ten last night. PETER: What are you thinking? BOLIVIA DUNHAM: Nothing. Just taking it in. BROYLES: Doctor Bishop, any thoughts? WALTER: Reminds me of Monet's Water lilies. BOLIVIA DUNHAM: The painting? PETER: It's a pastel. Look at the blood. It's a shade lighter than ordinary. WALTER: It's mixed with something else. Possibly spinal fluid. BOLIVIA DUNHAM: So where are the men who tied them up? BROYLES: Neither of them had I.D. Techs are taking prints. WALTER: Seem to be in some type of vegetative trance before they expired. PETER: So you've seen something like this before? WALTER: No. Nostradamus is said to have died standing up, but I highly doubt that someone who predicted his own death wouldn't have laid down. BROYLES: But you're saying whatever did this didn't kill them right away. WALTER: It's a hypothesis, but we are yet to find our Rosebud, the elusive clue that will unlock the mystery. BOLIVIA DUNHAM: So has anyone located what they were after? BROYLES: We don't even know what they were after. PETER: Beware of buried treasure, huh? BROYLES: We're thinking there was a third thief who took whatever they dug up. WALTER: Unless, of course, this buried treasure had legs of its own. Wouldn't that be delightful? BOLIVIA DUNHAM: Any leads on the third man? BROYLES: No, not yet. Newton's Shop - Foolproof Plan BOLIVIA DUNHAM: I was just in Milton. We got a problem. Your little plan wasn't so foolproof. The device was supposed to be there, right? Well, it wasn't. One of your men must have taken it. Two of your men died like you planned, but the other one survived and took the device. THOMAS NEWTON: I only hired two men. (Bolivia shows him crime-scene photographs of the two diggers) That's them, yeah. If there were three, all three should be dead. No one can withstand that thing. BOLIVIA DUNHAM: Well, someone did, and we need to find him. (Joe stands in Blake's apartment, staring at the box) ACT II Walter's Lab - Brain Dissection (Blake's brain makes a squishy-popping sound as Walter pulls it from the corpse) ASTRID: (working nearby) That sound creeps me out. WALTER: Really? I always found it oddly comforting. (looking at the thin cross-sectioning she has done for the microscope) Oh, that's very good, Dear. Have you ever worked behind a deli counter? ASTRID: (removes her gloves as she studies him) Walter, your tie. I, uh... WALTER: Oh. ASTRID: I think you have a little bit of brain on it. Here, let me, uh... WALTER: (takes his tie and tastes the dark blotch on it) It's raspberry jam. PETER: (walks into the lab from the hallway) Walter, it's time to go. ASTRID: (to Peter) Can you give us just a minute? WALTER: (to Astrid) Maybe I'm overdressed. Maybe I should change anyway. ASTRID: Walter, you look fine. (starts cleaning the necktie) WALTER: (concerned) No, I don't think I can do this. ASTRID: Walter, it's gonna be okay. You look lovely. (making him smile) Massive Dynamic - Solemn Event WALTER: (walking the corridor to Nina's office with Peter) This place makes me feel so insignificant. I read that they invented a wheelchair that can be steered by brainwaves alone. Some sort of micro-electro technology. (notices an odd research project through an open lab door) NINA: (meeting the Bishop's in the corridor) Walter. Peter. We are set up in my office. WALTER: Nina, I know that this has been a great loss to you as well. (embraces her in an awkward hug for both) WILL EXECUTOR: (sitting at a table, reading Bell's final testament. Nina and Walter each receive a letter. Nina receives a brass ship's bell) "My great friend Isaac once said, life is joy, death is peace. It's transition that's difficult. I was not a man of many friends, but if I'd had hundreds, I would still cherish the two of you most. Nina, I was your right hand, and you were mine. For the many hours we spent exploring the impossible, a small thank you. And for the precious few we had alone in Tuscany, a memento of me." (Nina unveils her memento) "Walter, we gather knowledge faster than we gather wisdom. By now I trust you have ample reserves of both. I hope you've forgiven me." (Walter opens and reads the letter he received) Thus concludes the last will and testament of William Bell. Thank you all for coming. (Nina and Walter stare intently across the table at one another) PETER: (walking the corridor after reading) So you gonna tell me? WALTER: What? PETER: About the letter. WALTER: No. (slightly confused) I don't think so. PETER: (answers ringing cell phone) Hello? BROYLES: (calling on cell phone from the Federal Building) Dunham's not picking-up. You two at Blake's apartment yet? PETER: No, I'm not with Dunham. Who's Blake? BROYLES: He's one of the two men we found in the basement. We got a fingerprint hit on him this morning. She didn't call you? PETER: No, she didn't. Cambridge - Blake's Apartment (quietly searching the messy residence alone. reaching for her pistol when she hears a noise at the door) PETER: (enters the home) Hey. BOLIVIA DUNHAM: Hey. Broyles called you. PETER: Yeah. BOLIVIA DUNHAM: Sorry. I know you don't want to babysit, but I knew Walter had a big day today, and if I called, you'd come. PETER: (looks around at the mess) Blake's got a friend living here. BOLIVIA DUNHAM: Looks that way. Although there's nothing to tell us who he is. I was just gonna go look for the landlord, see what he knows. Maybe you could do another once-over, in case I missed something? (leaves the apartment and makes a cell phone call from the alleyway. the thief with the box drives-up and stops nearby) It's Dunham. You got a pen? THOMAS NEWTON: (on cell phone) I do now. BOLIVIA DUNHAM: 1200 Remington Place, Cambridge. Bishop and I will be gone in thirty minutes. I need you there then. We've got to bring this guy in. (Joe sits in his vehicle next to the box and makes written notations on a pad of paper) ACT III Walter's Lab - Bell's Letter ASTRID: Walter? (approaches as he sits and examines a brain) How was the reading of the will? WALTER: You know, there's this South American centipede that's been known to crawl through the nasal passages and wreak this kind of havoc. ASTRID: Do you think that a bug could have killed all five victims and disrupted the electronics in the house? WALTER: Probably not. (angrily tears off his latex gloves) ASTRID: Hey. (consoling) Hey. Walter. Is everything okay? WALTER: (glum) No. (takes a key from Bell's letter) ASTRID: This is from Bell? It's a key to a safety deposit box. (she reads the letter. "DON'T BE AFRAID TO CROSS THE LINE.") WALTER: It's an old argument. Belly and I spent days discussing the wisdom of crossing the line. "Only those that risk going too far can possibly know how far they can go." That's what Belly used to say. ASTRID: So you were the cautious one? WALTER: He was over there. He saw what I did, all that I destroyed. How can he tell me to cross the line? ASTRID: (vehement) Walter, you saved Peter's life. I know that there were consequences, but Peter has got to understand why you made the choices you made. You've talked to him, haven't you? WALTER: I've been waiting for the right moment. ASTRID: Walter, you said you were gonna do that days ago. He has got to hear your side of the story. WALTER: (puts on his jacket to leave, then notices something on the brain he has been studying) Endolymph fluid. There's severe damage to the inner ear. Pass me a swab, please. (swabs the ear of the corpse) I think I know what happened here. Walter's Lab - Ultrasonic Science (later, after Peter has joined them) PETER: (looking for a phonograph album in the collection) Walter, I can't find The Requiem. WALTER: Perhaps Don Giovanni. ASTRID: So you think that music killed these people? WALTER: Not music per se. (prepares to don a cranial cap with neural sensors) Could you help me with this please, my dear? PETER: What about this? (holds out a new album from the collection) Would that work? WALTER: (to Peter) Figaro. Perfect. (to Astrid) We've known for some time that different sounds affect the brain in different ways. (places the phonograph needle on the record album, then begins to sing his own lyrics over the classical Italian ones) Look at my brain waves on the monitoro. ASTRID: (notices the brain wave patterns from Walter's cranial sensors are decreasing in intensity) They're smoothing out. PETER: Harmonic music reduces neural activity. WALTER: Which is why we think more clearly when we listen to it. As opposed to this. (changes tunes to a fast- paced contemporary techno-anthem) Dissonance. Look--look at my neurons. Look at my neurons. (the monitor displays increased and intensified brain wave patterns) PETER: We get it, Walter. Can I turn this off now? WALTER: Oh, sorry. Sorry. Sorry. (the room returns to silence) You see, the point is this, that with this type of auditory phenomenon, taken to its ultrasonic extreme, can be fatal, and the way it affects the brain, it could well have induced some type of vegetative trance before death. PETER: Which would also explain the trauma to the inner ear. ASTRID: So we're looking for some kind of deadly music box? PETER: No, it's ultrasonic, so you wouldn't be able to hear it. The frequency's too high. WALTER: Silent but deadly. (lowers his voice) Speaking of which... might like to take a step away. PETER: (slightly disgusted) Delightful, Walter. Any ideas why it didn't affect the third man? Maybe headphones of some sort? WALTER: They would need to be very sophisticated. PETER: I'm gonna call Broyles. (walks from the lab toward his office) Have him monitor the city for any abnormal ultrasonic activity. ASTRID: Walter. (softly urging him to follow his son) Go talk to him. Olivia's Apartment - Box Delivery OLIVIA: (on videotape) All the victims were patients of Doctor Laxmeesh Nayak. He ran an outpatient clinic in Seattle. Nayak was ostensibly treating these patients as part of a clinical trial for sleep disorders. BOLIVIA DUNHAM: (studying the videotape, then to herself) You got a photographic memory. How am I gonna do that? (answers Joe's knock on the door and aims her pistol at the man) You don't move unless I tell you to. Got it? Okay. Step inside. (he does) Put the box down. On the bench. Slowly. (he complies again) JOE: Please. Don't hurt me, Missus Dunham. BOLIVIA DUNHAM: You're deaf. (after listening to his speech patterns) That's why you didn't die. Walter's Lab - Kidnap Confession PETER: (finshes a call on his cell phone) I'll call Olivia. Thanks. WALTER: (enters the inner office) Peter, may I have a moment? PETER: Sure. What's up? WALTER: I, uh... today when I said goodbye to Belly, it was hard. Very hard. PETER: Sure, it was. Um, I'm sorry if I wasn't... (more considerate) WALTER: No, not that. What I'm trying to say is that it was nothing, nothing compared to saying good-bye to my son. PETER: (trys to leave the room) Walter, I've got to call Olivia. WALTER: (steps in his way) Peter, you need to hear this. (very somber) When Peter... my Peter... died... I lost all hope. The only thing that kept me alive was Elizabeth, and my window into your world. I always told Belly that we couldn't cross over, that it was far too dangerous. When I saw that you were dying too, and that I was the only one who could save you... PETER: ...you kidnapped me, Walter. You took me from my family. From my world. WALTER: I didn't plan to. That was not my intention. (pauses) I love you, Peter. And if I had to make the choice all over again, I'm not sure that I'd be strong enough to act differently, but, now I understand that it was wrong, that I should never have crossed the line, that it was terribly wrong. PETER: (quietly upset) I can't talk about this yet, Walter. Olivia's Apartment - Newton Joins BOLIVIA DUNHAM: He saw my badge outside of Blake's apartment. He thought he was bringing the box back to the authorities. THOMAS NEWTON: I'll come back after I'm done to help you with him. It's too bad he's not blind. If you need me to take care of him... BOLIVIA DUNHAM: No, you can just do your job. Make sure you don't screw it up this time. (Newton leaves with the box and Bolivia fastens a silencer to her pistol. she walks up behind Joe and fires once into the back of his head) BOLIVIA DUNHAM: I'm sorry. (as she drags the body, there is a knock at the door) BOLIVIA DUNHAM: (through the peephole) Peter. PETER: (from the hallway) Hey. Did I come at a bad time? ACT IV Olivia's Apartment - Male Visitor PETER: (loudly from the hallway) Hey, you want me to come back later? BOLIVIA DUNHAM: (blatantly lying) No, not at all. I, uh, I just got out of the shower, so can you just give me a minute? (drags Joe into the bathroom) PETER: (apologetic) I'm sorry. I should have called before I came over. BOLIVIA DUNHAM: (after wetting her hair, pretending to start drying it and partially disrobing, she opens the door to her apartment) Hey. PETER: Hey. Mind if I come in? BOLIVIA DUNHAM: Sure. PETER: So... Walter apologized to me. (sits on her sofa) I know it wouldn't take much. A few words, a hug, a couple hands of Uno. Anything would make the man feel better at this point, but... I just can't bring myself to do it. Sometimes I can't even look the guy in the eye. BOLIVIA DUNHAM: (sits across from him) Well, you two have been through a lot. You can't expect just to go back to the way it was before overnight. We all know this has been hard on you, Peter. PETER: No, you have no idea. I saw what Walter did. I saw the quarantine zones. (leans closer) I saw all the damage that he caused. He destroyed their world. My world. BOLIVIA DUNHAM: Well, he couldn't have known how bad it was gonna be. PETER: Yeah. I mean, it's not like they gave him a picture of himself with fireballs coming out of his eyes while he was strapped into a doomsday machine. BOLIVIA DUNHAM: You didn't come here to talk about Walter, did you? PETER: I can't close my eyes without seeing that picture. And whatever is in those blueprints is my connection to that machine. What if they're right? What if that machine does exactly what Broyles and Walter think it does? Is that my destiny, my fate? Am I supposed to destroy worlds too? Because, I'll be honest with you, I don't really want to turn out like Walter. BOLIVIA DUNHAM: (notices over Peter's shoulder that blood from Joe is seeping under the door to the bathroom) Peter, the truth is I'm scared too. The last few weeks have been hard on all of us. (moves close to Peter on the sofa) You know, of course there's always the temporary fix. PETER: The temporary fix? BOLIVIA DUNHAM: Distraction. (leans over Peter and kisses him on the lips) Subway Station - Deploying The Box THOMAS NEWTON: (after entering the station carrying the box under his arm, he sits and addresses a tiny vagrant resting on a bench) Hello. HOMELESS MAN: Hi. (studies the container resting between them) What's this? THOMAS NEWTON: It's, uh... It's a box. HOMELESS MAN: Well, what's in it? THOMAS NEWTON: As with most things in life, the reality would pale in comparison with one's imagination. And, uh, isn't it better to wonder? (returns to reading his paper. after a few moments) I say, uh, would you mind keeping an eye on the box while I go to the restroom? HOMELESS MAN: Is there, you know, remuneration? THOMAS NEWTON: Of course. There you go. (hands over a bill) I won't be a minute. HOMELESS MAN: Okay. (Newton strolls away and upstairs) Olivia's Apartment - New Distraction (Bolivia and Peter continue their romantic interlude on the sofa. while they kiss, blood continues to trickle from beneath the bathroom door and remains unnoticed by Peter. both of their cell phones ring at the same time) PETER: (reads his caller ID) Astrid. BOLIVIA DUNHAM: (reads her caller ID) Broyles. PETER: (sarcastically to Bolivia) Well, that can't be a good sign. Subway Station - Missing Box WALTER: (as the team parks their vehicles at the surface entrance) Kent Street. I frequented a massage parlor just around the corner. I used to get off right here. PETER: I sure hope you're talking about the station, Walter. BROYLES: (as his team approaches him and the entrance-way down to the loading platform) We got five more victims, maybe more unaccounted for. All mobile, but unresponsive. They're in some kind of trance. Lieutenant, I want every subway station in Boston evacuated. Security cameras picked up a small man walking into the tunnel carrying a metallic box. WALTER: (walking around) These people seem to be suffering from the same symptoms as the victims at Milton. BROYLES: Yes, we're thinking the box might be what the thieves dug up there. PETER: What about the trains? BROYLES: System runs on a computer. We've logged in and stopped all trains going into the tunnel. POLICE CAPTAIN: (approaching with news) Bomb squad's ready to deploy a man in the tunnel. PETER: Bomb squad? (loudly) This thing's not a bomb. You send your men in there, they're gonna get killed. BROYLES: That tunnel leads straight to another station. If this box is mobile, we have to stop it. You have a better idea? PETER: Yeah, I'll go. WALTER: Peter, you can't. It's too dangerous. PETER: The box is our responsibility, Walter. And if I can get in front of it, maybe I can disarm it. WALTER: No, no, no. (almost stammering) I haven't had time to devise something to protect you from the sound emissions. PETER: I'm sure your boys have some sort of ear protection, right? WALTER: The frequencies are ultrasonic. Simple noise cancellation won't work. (emphatic) I'd have to disable all impulses along the cochlear nerve. POLICE CAPTAIN: My men are standing by, Agents. BROYLES: Peter, I have to make a call here. PETER: What is it, Walter? WALTER: The science is tenuous to say the least. PETER: Walter, if you have a way to put me in front of that box, you got to tell me right now. Walter, talk to me. WALTER: (worried) Agent Dunham, we're going to need your gun. RADIO CHATTER: Mic test. One, two. PETER: (after putting on a vest) So how long have I got? WALTER: I don't know. If you can hear us talking, it's too late. PETER: Well, ballpark it for me, Walter. WALTER: Maximum, three minutes. BOLIVIA DUNHAM: You ready? PETER: (nods) Do it. (Bolivia points her pistol next to Peter's left ear and fires. He turns and she fires again next to his other ear, effectively making him deaf for a brief time. he nods at the team, confirms that his radio is on and leaves the platform to enter the tunnel. inside, he turns on his flashlight and visually searches ahead. he finds the device, and the thief, and calls on the radio that he has found it) PETER: I see it. (seconds later, the head of the vagrant explodes violently) Oh, my god. (he grabs the device and moves away from the fresh carnage. he studies the case and the contents briefly then announces on the radio) I know what this is. It's a piece of the weapon. I recognize it from Walternate's blueprints. BROYLES: (on the platform to Walter and Bolivia) The weapon from the other side? How's that possible? ACT V Subway Tunnel - Quick Thinking PETER: (over the radio to the team as they wait on the loading platform) It looks like the box was soundproof. But it's broken. I can't close it. I'm gonna try to disarm it. (begins to attach connectors, sensors and clamps to various wires on the interior of the device. cuts one wire with no decrease in output. ) WALTER: (to the team after he looks at his watch) He hasn't spoken for seventy-one seconds. Something is wrong. His hearing could come back at any time. We need to send someone in. BROYLES: (emphatically to Walter) I can't send another man in there. WALTER: (negotiating. begging) He could be hurt. He could be dy... BOLIVIA DUNHAM: (holds up hand for silence) Hey, guys. Do you hear that? (mechanical vehicle sounds heard from the tunnel) BROYLES: (yelling into his handheld radio) I thought all the trains were stopped. WALTER: (studying the space around him) The device affected the subway's communication system. BROYLES: (as Bolivia jumps from the platform and races towards Peter) Dunham, wait! You can't go in there! (Peter fails to disarm the ultrasonic weapon a third and fourth time. the energy output remains at full power until he moves a connector and the output drops to zero. relieved, he wipes his brow - then senses that something is not right, though he can't hear what it is. he touches the rail near him, then turns to see a train bearing down on him. just a few feet away from being struck, Peter is grabbed by the running Bolivia and safely tackled into a shallow alcove. the train passes) Subway Station - Ultrasonic Aftermath WALTER: (as the body bag is zipped closed on the diminuitive vagrant, his head mostly missing) For a catastrophic explosion like that, I imagine he had some sort of surgical implant. Dental ceramic crowns. If they were to vibrate at just the right resonant frequency... I always hated dentists. BROYLES: (looks at the ultrasonic device) And you're sure this is part of the weapon? PETER: Yeah, looks just like the parts I saw on the other side. And we know that Walternate has agents over here. Maybe they're looking for the missing pieces, the ones he couldn't find over there. BROYLES: (speaking softly, privately, after Peter approaches) Why would there be pieces on our side? PETER: (softly) You got a better explanation? We're talking about two universes here. Two of each one of us. At this point, would anything really surprise you? WALTER: (answering the question that wasn't directed at him) Bacon-flavored pudding. That would surprise me. PETER: (steps over to the device) I'd like to take this back to the lab. We got the blueprints. Maybe I can figure it out. BROYLES: Okay. (as Peter signs the reciept for the container and its' contents) BOLIVIA DUNHAM: (runs into Peter as he prepares to leave the subway platform with the container) I guess you've got other plans for tonight. PETER: Yeah. Do you mind? (apologetic) BOLIVIA DUNHAM: (earnest) Of course not. BROYLES: (privately with Walter) Today was a bad day. But it could have been a lot worse. Your quick thinking saved a lot of lives, Doctor Bishop. Good work. (pats the Doctor on the arm as he steps away to talk to a uniformed policeman) (alone, Walter removes from his pocket, the key to Bell's safety deposit box and looks at it tentatively) (Walter finds his way to a brightly lit bank and then to an interior safe deposit vault. the banker in the vault removes a container from a wall of locked containers and places it on a table for Walter. Walter opens the container after the banker leaves and looks slightly baffled at what is inside. in the lab, Peter prepares to take notes and begins to inspect the ultrasonic device) Astrid's Apartment - Surprise Visit (Walter roams the interior of a pleasant apartment complex looking at door numbers. he stops in front of 204, checks his note, then knocks) ASTRID: (surprised at her visitor) Walter. Hi. WALTER: I know what Belly left me. ASTRID: Oh? WALTER: (removes an envelope from beneath his overcoat) He left me Massive Dynamic. (shows her a stack of corporate shares) I'm the sole shareholder. (in the lab, Peter continues his inspection and begins comparing the ultrasonic component he has to the blueprint plans) Typewriter Shop - Covert Communique (Bolivia enters the communication room, closes the door, sits and rolls a fresh piece of paper into the Selectric 251 and types) PETER HAS FIRST PIECE. HE IS ACTIVELY ENGAGED. (she waits a few seconds and then reads as she receives a reply) UNDERSTOOD. BEGIN WORK ON DR. BISHOP.

303 - PROLOGUE Hoboken, NJ - Calculated Chaos (In Hoboken, Milo Stanfield works the busy streets to implement his plan - to cause the death of a woman using a highly calculated series of chain reaction events he intends to initiate) GOOD SAMARITAN: (as a bike messenger clips him) Ah! Ugh! FEMALE WITNESS: (as a bike messenger goes careening into a fruit stand) Oh, my gosh! GROCER: (to the bicyclist that toppled over his fruit) You alright? You alright? GATHERED CROWD: (overlapping shouting on the busy street - a distraction to local drivers) REFOCUSED CROWD: (gasps and screams - as the woman targeted by Milo is struck and killed by a large passenger bus with a distracted driver) ACT I Team Headquarters - Olivia Returns AGENT FRANCIS: Welcome back, Agent Dunham. You do remember me, right? OLIVIA: Yeah. You're that tightwad that owes me seventy dollars. AGENT FRANCIS: Damn it! I was -- I was hoping you'd forget about that. It's good to see you. OLIVIA: You too. AGENT FRANCIS: No worse for the wear -- you look like you got some rest. OLIVIA: A continuous I.V. drip and government-issue antipsychotics, It's like instant R & R. AGENT FRANCIS: It sounds like fun. Maybe I should, uh, dive off the deep end. OLIVIA: Hey, you think anyone would notice a difference? AGENT FRANCIS: You know what I realized this minute? That I didn't miss you at all, not even an itty, little bit. OLIVIA: Come on, you were lost without me. Admit it. AGENT FRANCIS: Yeah, yeah. Broyles' Office - Master Plan SECRETARY BISHOP: How does she seem? COLONEL BROYLES: She seems like Olivia Dunham. SECRETARY BISHOP: For all intents and purposes, she is Agent Dunham. She's internalized her traits, her memories, her knowledge. When tested, she consistently responds as our Agent Dunham would under similar circumstances. COLONEL BROYLES: And what about our Agent Dunham? Has she made contact? SECRETARY BISHOP: She is on the other side... focused on the task at hand. COLONEL BROYLES: Permission to speak, Mister Secretary. SECRETARY BISHOP: Go ahead. COLONEL BROYLES: Putting an impostor on my team is too big a risk. Now, you can run all the tests you want, but you don't know how this Olivia will respond in the field. SECRETARY BISHOP: We have no other choice. She needs to be completely immersed in Agent Dunham's life. Over time, she will reach a plateau, and her new identity will become fixed. COLONEL BROYLES: How much time? Because I'm not willing to lose one of my legitimate agents. SECRETARY BISHOP: You don't know what we have to gain. COLONEL BROYLES: Which is what, exactly? SECRETARY BISHOP: Sit down. She can move between worlds. We have discovered some ways to cross over. But each comes with their own dangerous consequences - but she... she can cross without harm. The Science Division is working-up a series of experiments. We need her to submit willingly, which she'll only do if she believes that she belongs here. Phillip... if we can learn what she already knows... COLONEL BROYLES: ...we can begin to defend ourselves. And what if her new identity doesn't hold? SECRETARY BISHOP: Then she'll no longer be necessary. Keep me apprised. COLONEL BROYLES: Yes, sir. ACT II Hoboken, NJ - Initial Response AGENT FRANCIS: Yesterday a Liberty Metro bus ran a red light, killing a person. This morning same thing happened again. Two mornings in a row, two buses kill two people. Now, Lookers ran the probabilities, and it's a statistical anomaly. OLIVIA: What happened at yesterday's crash? AGENT FRANCIS: Police considered it a routine accident, so we have no more information. You mind taking over? OLIVIA: Sure. Okay... the first victim's name is Cole Arnett, forty-three years old. He was on his way to his job. He is a hospital case worker. Must've been his unlucky day. AGENT FRANCIS: Alright, we're coming in. Oxygen, people. AGENT: Air quality normal, no oxygen needed. AGENT FRANCIS: Okay, listen up. Agent Lee will be meeting us on the site. He'll be calling the shots. (To police officer) Agent Francis. MELISSA: Watch the time Agent Lee. I need you back in that chamber in eight hours, or your burns will regress. You can kiss all that healing good-bye. LINCOLN LEE: Easy come, easy go. MELISSA: Oh, you think you're amusing. LINCOLN LEE: I am amusing! God, I miss this. AGENT FRANCIS: I bet. Did, uh, Broyles download you yet? LINCOLN LEE: Talked to him on the way over. I need a victim I.D. AGENT FRANCIS: See what I can do. LINCOLN LEE: Where's my...? OLIVIA: ...Field kit? Here. You look better. LINCOLN LEE: You look sane. You doing alright? OLIVIA: So far. I mean, it's my first day back, so... listen, when I pulled that gun on you, I didn't know what I was doing. Something had happened... LINCOLN LEE: ...but nothing happened. You and I we're good. OLIVIA: Yeah? LINCOLN LEE: Yeah. MALE EMT: Died on impact. No attempts to revive her were made. AGENT FRANCIS: Obviously. Still have any fingerprints? MALE EMT: Right hand's probably your best bet. AGENT FRANCIS: Real name's Jillian Foster, thirty-two. Lives right here in Hoboken. MALE EMT: Anything else? AGENT FRANCIS: She liked daisies. BUS DRIVER: I never hit a person before, never. I mean, once, I hit a pigeon. I felt horrible for weeks. LINCOLN LEE: No sign of environmental degradation. Molecular cohesion is intact. AGENT: So why is this a Fringe case? OLIVIA: Yeah, yeah. We're done. Thanks. What, you got something? LINCOLN LEE: When's the last time you saw one of these? OLIVIA: God, a pen? I don't know. Preschool maybe. AGENT FRANCIS: I didn't know they still made these. LINCOLN LEE: It's obviously new. No dents, no scratches. OLIVIA: Where'd you find it? LINCOLN LEE: Right there, by the mailbox. OLIVIA: Oh, that's where the bike messenger said he swerved, so he wouldn't hit some old guy that was bending down. LINCOLN LEE: Huh. AGENT FRANCIS: Uh, you want to share, buddy? Or are we supposed to stand here and watch you think? LINCOLN LEE: Alright... it's pretty rare finding one of these just lying around. OLIVIA: Well, maybe the old guy bent down to pick it up, and that's what caused the bike messenger to swerve. AGENT FRANCIS: Causing him to hit the stand. LINCOLN LEE: Like the pen started some kind of... chain reaction. AGENT FRANCIS: Did you find something? LINCOLN LEE: What is it? OLIVIA: Sorry, I thought I recognized someone. AGENT FRANCIS: You okay? OLIVIA: Yeah. AGENT FRANCIS: Alright, so... Fringe Event... or not? LINCOLN LEE: Not sure yet. But something weird definitely happened here. OLIVIA: Yeah. Bolivia's Apartment - Concerned Boyfriend OLIVIA: Hello? FRANK STANTON: Hey, babe. OLIVIA: You didn't have to do that. FRANK STANTON: Hey. OLIVIA: Thank you. FRANK STANTON: So how was it? OLIVIA: Yeah, it was... it was pretty good. FRANK STANTON: Yeah? OLIVIA: What's happening in North Texas? I heard it's a pretty bad outbreak. FRANK STANTON: Twenty-two smallpox cases so far. OLIVIA: Has Atlanta called? FRANK STANTON: No, no one's assigned me yet. OLIVIA: Oh. FRANK STANTON: Wait, why are we talking about this? OLIVIA: Because you're a virologist, and smallpox is one of your areas of expertise. You may as well start packing. FRANK STANTON: No, I mean, why are we talking about me? I want to talk about you. How was it being back at work? What's wrong? Did something happen? OLIVIA: Well, at first, it was normal. And then we're out in the field, and -- and... I saw a face. FRANK STANTON: A face? OLIVIA: Mm. FRANK STANTON: Was it someone you know? OLIVIA: Do you remember the Secretary's son -- the one who was kidnapped when he was a boy? FRANK STANTON: Mm-hmm. OLIVIA: Yeah, him. But it wasn't really him. It was -- it was like I was hallucinating or something. FRANK STANTON: Did you tell Broyles? OLIVIA: No. FRANK STANTON: Maybe you shouldn't be on field duty. OLIVIA: Yeah, I want to be there. FRANK STANTON: I know, but you have to tell someone -- a doctor, at least. OLIVIA: I need my life back, Frank. FRANK STANTON: And I love your gung-ho attitude, but, honey, you just got over a breakdown. If you need help, that's fine. OLIVIA: Frank, it was my first day back. I was nervous. I don't think that it's that surprising that there's a trace... FRANK STANTON: I can take myself off call. Maybe it's not a good time to travel. OLIVIA: That's not what I want. Are those avocados? Where did you get them? How much? FRANK STANTON: Don't worry about that. Liv, what if it happens again? OLIVIA: It won't. FRANK STANTON: But if it does, you'll tell Broyles, right? Because... I love you. OLIVIA: I'll tell him. FRANK STANTON: Thank you. OLIVIA: Can we eat? FRANK STANTON: Yes, we can eat. OLIVIA: Okay. FRANK STANTON: Okay. ACT III Team Headquarters - Impossible Odds LINCOLN LEE: Alright, help me out here. So the first bus driver was distracted by tree trimmers when he ran the red light. The second bus driver was looking at a fight over oranges. Isn't distraction the root of every accident? AGENT FRANCIS: Listen, I'm not finding any connections in these victims' bios either. The first guy, Arnett, worked at a hospital for the past fifteen years. The second victim, Miz Foster, landed her position at Gregston Electric a little over a year ago. LINCOLN LEE: Maybe they knew someone in common? AGENT FRANCIS: Or maybe, despite what Farnsworth said, it's just... two freak accidents. LINCOLN LEE: You know, Liv thinks I'm right... about there being chain reactions that led up to the crashes. AGENT FRANCIS: Okay. Well, now that you two have, uh, rediscovered your Vulcan Mind Meld... do you think she's doing okay? LINCOLN LEE: Yeah. Why, you don't think so? AGENT FRANCIS: I don't know. I just -- I just feel a little uncomfortable. LINCOLN LEE: That's not a shocker. You let a Doppelganger coldcock you with a bottle because you didn't pick up on the fact that she wasn't your partner. AGENT FRANCIS: And you would have? LINCOLN LEE: I just know Liv a little better, that's all. AGENT FRANCIS: Right. 'cause you -- you kissed her one time. LINCOLN LEE: How was I supposed to know she had a boyfriend? AGENT FRANCIS: Okay. LINCOLN LEE: Whatever. The point is, I would've known. AGENT FRANCIS: Yeah, keep telling yourself that, okay? When she was having her breakdown, she kept on and on about how they were trying to make her believe she was somebody else, that this wasn't her life. This is gonna sound nuts. What if she's telling the truth? What if it's not the real her? LINCOLN LEE: That is nuts. AGENT FRANCIS: You're right. Alright. For the record, you cannot tell those two apart. LINCOLN LEE: Look at this-- over there on the ground, the lower corner. AGENT FRANCIS: That's another ballpoint pen. LINCOLN LEE: Get Liv, tell her we got something. Someone is causing these accidents on purpose. AGENT FRANCIS: How is that even possible? I mean, what would be the odds? AGENT FARNSWORTH: ... zero-point-zero-zero-zero - impossible. LINCOLN LEE: Astrid, we see impossible every day. AGENT FARNSWORTH: You see improbable. You're asking me if it is possible for a person to use a ballpoint pen to set off a chain of events that culminates in someone getting killed by a bus twice? LINCOLN LEE: Exactly. AGENT FARNSWORTH: There's no way. OLIVIA: But given how few ballpoint pens are out there, finding one at both crime scenes-- I mean, that's an anomaly. You said that yourself. LINCOLN LEE: What if someone calculated the variables? AGENT FARNSWORTH: Thirty-seven people in the intersection, twenty-two cars, four trucks, two buses, wind speeds of five to ten miles an hour, and that is just to start. In total, we are talking about a hundred and twenty variables in a dynamic system of differential equations. I can't solve that kind of a problem, much less manipulate the outcome to my advantage. LINCOLN LEE: So there's not even the slightest chance we're dealing with a murderer? AGENT FRANCIS: Dude, seriously? What part of zero-point-zero-zero-zero don't you get? OLIVIA: What is it? AGENT FARNSWORTH: It happened again. LINCOLN LEE: What did? AGENT FARNSWORTH: Bus accident, East 85th and York. Upper East Side - Calculated Chaos OLIVIA: Have you called the ambulance? POLICE OFFICER: It's on the way. OLIVIA: Sir, we're gonna get you to the hospital. AGENT FRANCIS: Where were you sitting on the bus? FEMALE PASSENGER: Right in the front, first seat. LINCOLN LEE: Did you happen to notice a pen? TEEN MALE: What? LINCOLN LEE: A-a pen, a-a ballpoint pen. You use it to... to write with. AGENT FRANCIS: Looks like there was some sort of commotion. Dog ran into the street, distracted a bus driver. There is no way this is another coincidence. OLIVIA: Except this time it didn't work. He's gonna make it. Uh, ma'am, you need to stay still. It's not over. He's still here! Stop! Don't move! Take your hands out of your pockets. Put your hands on your head. Whoa! ACT IV DoD Hospital - Two Minute Warning LINCOLN LEE: Give Astrid his physical description. Have her run it through the database. OLIVIA: I did. She's already working on it. You've got to get back in that pod. LINCOLN LEE: It's just the two-minute warning. MELISSA: Agent Lee, what part of "be back in eight hours" didn't you understand? OLIVIA: You know, I - I still can't believe that he knew the bike would cause the truck to slow down and swerve under the footbridge. I mean, he didn't even look. How did he know precisely when to jump? LINCOLN LEE: You should stop focusing on how and focus on why. Why is he targeting these people? OLIVIA: Alright, I'm working on it. LINCOLN LEE: The victims must have something in common. There's got to be a connection we're not seeing. MELISSA: Oh gawd. OLIVIA: Okay Lincoln, you got to get in there. LINCOLN LEE: Cross-check their medical files, criminal records, job histories, tax histories... OLIVIA: Shut up, okay? I got it. LINCOLN LEE: Someone's gotten bossy. Stanfield Residence - A Loving Reminder MADELINE STANFIELD: Where have you been? They've been calling all day. MILO STANFIELD: What did you tell them? MADELINE STANFIELD: Nothing. You have to call them back. MILO STANFIELD: Each liquefied thing provides an instance of the proper gift being liquid. Liquid and mass is equal. Passing through liquid and mass is the same. MADELINE STANFIELD: If you don't call them, I will. MILO STANFIELD: But you won't. You see, your only action will be inaction. That's your pattern. MADELINE STANFIELD: What? MILO STANFIELD: Ninety-seven percent of your actions prioritize relational bonds over other variables. Eight out of nine times, you avoid making decisions that could result in a negative outcome. MADELINE STANFIELD: I am not some collection of data you need to make sense of. SIMULTANEOUSLY: I'm your sister. MILO STANFIELD: I'm worried about you. Can't you see that? MADELINE STANFIELD: All I want is for you to... MILO STANFIELD: ...is for you to be safe. That's all I've ever wanted for you. Go again. MADELINE STANFIELD: Stop finishing my sentences... SIMULTANEOUSLY: ...and let me help you. MILO STANFIELD: Trust me, Milo, I've always been there for you. I've always taken care of you. That was fun. (holds out small figurine of horse) Don't. I... Don't. Don't. MADELINE STANFIELD: You didn't expect that, did you? Because you've forgotten what it's like to feel emotions. MILO STANFIELD: No, no. MADELINE STANFIELD: You've forgotten us. Mom gave you this as a reminder... MILO STANFIELD: No. MADELINE STANFIELD: That you didn't have to do more than you were able to, that we loved you. MILO STANFIELD: That's irrelevant now. MADELINE STANFIELD: Milo, please! I don't recognize you anymore. I made a mistake when I signed you up. I didn't mean this. You have to follow the rules. You have to do what they say. You're overreaching. Remember this. (horse figurine) Team Headquarters - Connected Victims AGENT FRANCIS: Li--listen... what time is your mommy gonna be home? No, no, no, no, no, no, no. I don't want to hear you play your flute, kid. I'm gonna call you back. OLIVIA: You just hung up on a child. AGENT FRANCIS: You talk to the next witness. I hope it's a tuba player, okay? OLIVIA: Fine. Uh, this is Agent Dunham, can you connect me to the next witness, please? Excuse me? Hey, Charlie... AGENT FRANCIS: Yeah? OLIVIA: Since when do we need a code? AGENT FRANCIS: They upgraded the system last month. You don't remember? OLIVIA: Sorry. I guess I'm still getting over the head trauma. AGENT FRANCIS: Uh-huh. Hey, Liv. OLIVIA: Yeah. AGENT FRANCIS: You remember that time when we were at Coney Island? We were riding the Hellhole together, right? You got sick, and you threw up on the guy next to you. OLIVIA: Yeah... except you threw up all over the person next to you - so you can stop trying to rewrite history. What -- what made you think of that? AGENT FRANCIS: Witness is from Coney. OLIVIA: Oh. Hey, wait a sec... Jillian Foster was a consultant for Gregston Electric. AGENT FRANCIS: I don't see the connection. OLIVIA: The first victim worked at Bryant Hospital, right? AGENT FRANCIS: Yeah, Cole Arnett. They mainly deal with neurological disorders, Alzheimer's, Parkinson's, PTSD -- top-flight medical research. OLIVIA: Okay, it says here that Gregston Electric owns a subsidiary company called the Ivon Medical Group. The Ivon Medical Group is also listed as one of Bryant Hospital's outside vendors. AGENT FRANCIS: You're driving. Bryant Hospital - Milo Identified AGENT FRANCIS: As hospitals go, not bad. OLIVIA: Yeah, unless it's run by an evil genius who's creating accidents to kill people. AGENT FRANCIS: Good morning. RECEPTIONIST: Welcome to Bryant. What can I do for you? AGENT FRANCIS: Agent Francis, Agent Dunham. We're here to see your Chief Medical Director. RECEPTIONIST: Hold on, I'll let him know. Hi, Violet. Could you let Doctor Levin know Fringe Agents are here? It'll just be a minute. Are we being quarantined? AGENT FRANCIS: No. Scout's honor. AGENT FRANCIS: Are you seeing what I'm seeing? Right there on the table. We're definitely in the right place. DOCTOR LEVIN: So sorry for the delay. I'm Doctor Levin. AGENT FRANCIS: Agent Francis. OLIVIA: Uh, Agent Dunham. Hi. DOCTOR LEVIN: Please, my office is right this way. OLIVIA: Doctor, we just noticed that a lot of your patients are using ballpoint pens. DOCTOR LEVIN: Well, many of our residents have trouble interfacing digitally due to their mental deficiencies. Pen and paper is just a -- well, an easier way to communicate. AGENT FRANCIS: Did you know Mister Arnett well? DOCTOR LEVIN: We didn't socialize outside of work, but, uh, well, we were all devastated when we heard. OLIVIA: What about this woman? DOCTOR LEVIN: Yes, Jillian Foster. She, uh, worked with the Ivon Medical Group. They were, uh, conducting a drug trial here. You're kidding me. Jeffrey Mayer? AGENT FRANCIS: You know him? DOCTOR LEVIN: Yes. But I, uh -- I don't understand. He was killed too? OLIVIA: Doctor, we're gonna have to question all your science and medical personnel on staff. DOCTOR LEVIN: You're not looking for a doctor. You're looking for a patient. We started this study a year ago. We were working on creating "nootropics." OLIVIA: Like smart drugs. DOCTOR LEVIN: That's right. All of our test subjects started with an I.Q. of less than sixty-five. Our aim was to increase their intelligence so they could function independently day to day. AGENT FRANCIS: That's a worthy goal. DOCTOR LEVIN: We thought so too. OLIVIA: Oh, st -- ca-- can you go back? Stop. That's him. DOCTOR LEVIN: Milo Stanfield. AGENT FRANCIS: You don't sound surprised. DOCTOR LEVIN: I'm not. This was Milo five months ago -- measured I.Q. of fifty-six, severe cognitive deficiency. OLIVIA: He's reciting the digits of Pi... DOCTOR LEVIN: ... to one thousand decimal places, while solving differential equations in his head. AGENT FRANCIS: That is unbelievable. DOCTOR LEVIN: That was after one treatment. We gave him five. Every time we administered the protocol, his intelligence increased exponentially. The final phase of the project allows subjects to be released under the supervision of a guardian's care. OLIVIA: And after that? DOCTOR LEVIN: After that, we return the subjects to their original state. A necessary part of human drug trials. We had to determine whether there are any permanent adverse side effects. OLIVIA: So Milo didn't want to be regressed, which is why he went after Cole Arnett. DOCTOR LEVIN: We thought it was an accident. I drove to Ivon and informed Jillian myself. She was concerned that the delay in regressing Milo might compromise the results. She offered to handle it herself. AGENT FRANCIS: So Milo killed her too. So what about the third victim? Jeffrey Mayer? DOCTOR LEVIN: A recovery specialist, who we contract with if somebody goes missing. The thing is... I only put the order in yesterday. Mister Mayer had not yet been assigned the task. OLIVIA: Okay, so who's Milo's guardian? DOCTOR LEVIN: Uh, his sister. She lives out on Long Island -- Oyster Bay, I believe. OLIVIA: You really think he'd go back there? He's got to know that's the first place people are gonna look. AGENT FRANCIS: I've been to Oyster Bay. I never saw an oyster. OLIVIA: I can't wait to tell Lincoln he was right, that this guy is actually able to start a chain reaction to commit murder. AGENT FRANCIS: I'm not watching the happy dance. ACT V Stanfield Residence - Interviewing Madeline MADELINE STANFIELD: Can I help you? AGENT FRANCIS: Fringe Division. We need to ask you a few questions. MADELINE STANFIELD: Uh, about? OLIVIA: About your brother, Milo. MADELINE STANFIELD: Three people? OLIVIA: That we know of, yeah. MADELINE STANFIELD: No, there must be some mistake. Milo wouldn't kill innocent people. AGENT FRANCIS: I suppose he didn't think they were that innocent. You know, after all, they were trying to cut off the medication that was making him smart. Right? OLIVIA: Do you have any idea where he is now? MADELINE STANFIELD: He doesn't confide in me anymore. AGENT FRANCIS: You mind if I take a look at his room? MADELINE STANFIELD: Go ahead -- last door on the left. OLIVIA: Is that you? MADELINE STANFIELD: Mm-hmm. OLIVIA: "Milo and Madeline" -- sounds like a kids' book. MADELINE STANFIELD: You're not the first person to say that. OLIVIA: Ah, you seem close. MADELINE STANFIELD: We were. He was a lot older, but... we liked the same cartoons, played the same games. OLIVIA: I had the opposite. My sister and I were close in age, but... we fought over everything. MADELINE STANFIELD: Are you close now? OLIVIA: Uh, she passed a few years ago. MADELINE STANFIELD: Oh, I'm sorry. That must've been... really difficult. OLIVIA: It was. MADELINE STANFIELD: When I was little, I used to always be scared that something would happen to Milo. He'd forget to check for cars, just run right into traffic. I worried that he'd never be happy. He'd never feel like... like he belonged. OLIVIA: Must've been hard watching him struggle. MADELINE STANFIELD: It was harder for him. That's why I agreed to the drug study. OLIVIA: He isn't that helpless person anymore. He's dangerous, and I think you know that. So if there is anything that you can think of... we just don't want to see anyone else get hurt, including your brother. MADELINE STANFIELD: It's a... it's a good-bye note. But it says where I can reach him. OLIVIA: Thank you. Oyster Bay - Unpredictable Solution AGENT FRANCIS: Patricia Hotel, Lakewood Avenue. OLIVIA: Yeah, I'm gonna call backup, get them to meet us there. AGENT FRANCIS: Hold on a second. What if that's what Milo wants? You know, that's his M.O., always ten steps ahead. OLIVIA: So what, you think he knew that his sister was gonna tell us? AGENT FRANCIS: Listen, he knows we're onto him. He knows his sister. What if he's trying to set us up? OLIVIA: Well, we can't just stand here. AGENT FARNSWORTH: I can't answer that. OLIVIA: Why not? AGENT FRANCIS: Because there is no answer. It's a mathematical problem without a solution. OLIVIA: Well, which scenario is more likely? We go to the Patricia Hotel, or we don't? AGENT FARNSWORTH: Suppose he predicts you'll go there. But then you'll predict he'll predict that, so you don't go. AGENT FRANCIS: So we shouldn't go? AGENT FARNSWORTH: But then he predicts that you predicted that. And he changes his plan, which means that you should go to the hotel. But then he predicts that you'll predict what he predicted too. It's an infinite spiral. OLIVIA: Okay, well, thank you, Astrid. We'll take it from here. AGENT FRANCIS: Where you going? OLIVIA: To the Patricia Hotel. AGENT FRANCIS: Liv... OLIVIA: Look, Charlie, he could be there now. I'm not willing to lose him. Are you? AGENT FRANCIS: Fine. You drive. OLIVIA: Charlie, there he is. ACT VI Patricia Hotel - Alleyway Chase MILO STANFIELD: Oh, that wasn't supposed to happen. (Olivia falls down and gasps for air) AGENT FRANCIS: Freeze! (shoots Milo in the leg as he flees) (to Olivia) Here. Take it. Take it. Press the button. (to Milo) You move again... the next one won't be in your leg, buddy. (to Olivia) You're okay. Just breathe. AGENT FRANCIS: Since when do you break protocol? You passed by an Auburn Diamond, okay? Blinking Auburn Diamond, which you ignored. Compromised air quality. FEMALE EMT: Pressure's normal. OLIVIA: Thank you. FEMALE EMT: Yep. AGENT FRANCIS: You need oxygen to breathe. OLIVIA: Charlie, I'm sorry. I don't really even know why I did that. AGENT FRANCIS: Because you're a daredevil. I get it. So if you don't mind... I'd appreciate it if we don't go through this again? OLIVIA: Okay. Medical Confinement - Milo's Fate OLIVIA: The drugs have been in his system too long, so the doctors weren't able to reverse the affects. According to the doctors, the patterns that he sees are too complex to put into words. His thoughts now can only be interpreted by a machine. MADELINE STANFIELD: So... so the machine is talking to him? OLIVIA: Madeline, your brother... he no longer thinks in terms that you or I would be able to comprehend. I'm sorry. MILO STANFIELD: Is equal value of six. Six is the solution. What is a solution? Derives a gradient of 'Y'. Evaluate a 'Y4' and proceed. Isolate discontinuities and recalibrate. There's a forty-two percent chance that the King will take the Queen. DoD Headquarters - Brandon's Lab SECRETARY BISHOP: You know, sometimes I envy you, Brandon. Being here, nothing to distract you. BRANDON: Mister Secretary, I didn't realize you were coming. SECRETARY BISHOP: These are my son's clothes. BRANDON: Yes. I thought if I used items from the other side, it would provide an associative link which would spark Olivia to... SECRETARY BISHOP: ...cross over to the other universe. Yes, good thinking. When will it be ready? BRANDON: We're very close. So far, all the test subjects I've hooked up to the chair. They're experiencing a high level of anxiety, their stress is causing my readings to fluctuate. I've been tinkering with this thing all day. SECRETARY BISHOP: The solution is obvious. Submerge the subject in water. BRANDON: Sensory-deprivation tank. Of course. The womb-like atmosphere naturally provides a state of relaxation. SECRETARY BISHOP: Sometimes simpler is better. BRANDON: Do you miss it? SECRETARY BISHOP: Miss what? BRANDON: Being a scientist. SECRETARY BISHOP: I am still a scientist, Brandon. I just have a much larger laboratory. Let me know as soon as the tank's ready. Bolivia's Apartment - Hallucination OLIVIA: God, I don't know how you do it. I'm never done packing till the cab actually arrives. FRANK STANTON: Well, I'm off to deal with diseased people in North Texas, so it's not like I have to look good. OLIVIA: Oh, except you do. FRANK STANTON: Are you sure you're okay with me doing this? I can still call Fiken, beg him to cover for me. OLIVIA: We have had this conversation. FRANK STANTON: I know. I know. It's just they haven't told me yet how long I'll be gone. OLIVIA: So just keep me posted. FRANK STANTON: (phone rings) That's probably the cab. (leaves the room) PETER (as a vision): You know why you didn't die today, right? Because you didn't know the protocol. If you'd stopped for oxygen, you'd be dead right now. But you did something that he couldn't factor in, you kept running. You know why you did that. It's the same reason you thought you saw Walter in the hospital. It's the same reason why you think you're seeing me now. You're not from this world Olivia. You're not her. OLIVIA: You're not real. PETER (as a vision): Real is just a matter of perception. I am here. And I'm a part of you that you have to hold onto. You can't forget who you are Olivia. You can't forget where you're from. You can't forget this. (a gentle kiss) FRANK STANTON: What's wrong? OLIVIA: Nothing. You just surprised me, that's all. FRANK STANTON: You alright? OLIVIA: Yeah. It's just I'm gonna miss you. FRANK STANTON: I'm gonna miss you too. I will be home as soon as I can. OLIVIA: Okay. Well you call me when you land. FRANK STANTON: Alright. Bye.

304 - PROLOGUE Boston Late Night - Bar & Grill (sitting and "people-watching" other patrons) PETER: So? What else did you come up with? And you can't say 'pirate' again. BOLIVIA DUNHAM: Definitely a banker. (referring to a nearby couple) PETER: A banker? BOLIVIA DUNHAM: Mm-hmm. PETER: Persian Kid Rock? BOLIVIA DUNHAM: Yeah. His long hair is just his link to his individuality. I think they work together. PETER: Well, she's wearing her sexiest little black dress, so somewhere deep inside of her, she was hoping this dinner was about something else. BOLIVIA DUNHAM: Not work. But she was wrong. PETER: Yes, she was. That, however, is truly impressive. (looks at another couple) BOLIVIA DUNHAM: Yeah, he's a little short for her, I'll grant you that. PETER: But not when you stand him on his money. BOLIVIA DUNHAM: Careful. Your con man's showing. PETER: (gut laughs) I think I just understand transactional needs. Each party has something the other party wants. She gets security, he gets her. We all draw our moral lines in the sand. And unless you can put yourself in another man's shoes, I don't think you can really judge their situations. (looks back at the couple) But look at the body language. They haven't slept together yet. BOLIVIA DUNHAM: No? PETER: (heavy personal subtext) You can always tell when a relationship's about to take that next step. I had a really nice time tonight. BOLIVIA DUNHAM: Me too. PETER: But unfortunately, if I don't get home, Walter's going to start wondering where I am. And then he'll probably start calling the emergency rooms. Shall we? BOLIVIA DUNHAM: Yeah. PETER: (to the wait staff as they walk to the receiving area) Thanks. Have a good night. BOLIVIA DUNHAM: Uh, could you give me a moment? PETER: Yeah, of course. I'll be outside. (Bolivia heads to the restroom and takes a long, contemplative stare into the mirror) Brookline, MA - Juice Bar LEMONADE VENDORS: Hi, Senator Van Horn. (as the Senator pulls his luxury sedan over to the side of a quiet residential street, and lowers his window) SENATOR VAN HORN: Hi, girls. You know, I've been looking for some lemonade all day. You know where I can find some? LEMONADE VENDOR #1: We're selling lemonade. SENATOR VAN HORN: (demonstrative and child-friendly attitude) You are? Well, perfect! Missus Van Horn has me running all over town. I am parched. Oh, that looks delicious. (takes cup) How much? LEMONADE VENDOR #2: One dollar. SENATOR VAN HORN: One dollar? LEMONADE VENDOR #1: We made it ourselves. SENATOR VAN HORN: (questions the bargain pricing) Well, I don't know. (sips) You know, this just might be the best lemonade I have ever had. I'll see you, okay? LEMONADE VENDORS: Bye. SENATOR VAN HORN: Bye. (drives off after leaving a very generous tip) LEMONADE VENDORS: Wait! You forgot your change! (The politician drives away from his charmed constituents, checks to see them in his rearview mirror and is distracted as a heavy truck broadsides him in the nearby intersection) Local Hospital - Van Horn Revealed (as emergency medical personnel rush the badly damaged politician to treatment) EMT: Victim is unresponsive. Possible head injury. NURSE: I don't feel a pulse, Doctor. Charge D-fib? DOCTOR #1: Not yet. NURSE: But he has no pulse. DOCTOR #1: Then why is he still breathing? (later, after friends and colleagues of the politician have started to gather at the hospital) BROYLES: Patricia. PATRICIA VAN HORN: Oh, Phillip. BROYLES: I heard on the news. I got here as fast as I could. How is he? PATRICIA VAN HORN: I don't know. They won't tell me anything. BROYLES: (flashes his badge at the duty desk) I want information on James Van Horn. (Thomas Newton saunters through the halls and towards emergency services) DOCTOR: Prep for intubation and alert the O.R. NURSE #1: O.R. is standing by. DOCTOR: Get me a CBC and tox screen. What's his B-P? NURSE #2: I'm not getting anything. He has no pressure. DOCTOR: Start C-P-R. What the hell is going on with this guy? THOMAS NEWTON: (walks into the room) Stand aside, please. DOCTOR: You can't be in here. (shot by Newton) BROYLES: (hears multiple gunshots) Stay here. (to Patricia) (Newton rolls Van Horn into the hall on the gurney) SECURITY MAN #1: Stop right there! (challenges Newton and is shot) SECURITY MAN #2: Freeze! (challenges Newton and is shot) BROYLES: F-B-I... Drop your weapon! (Newton turns, fires, misses. Broyles fires and hits Newton. Newton grabs a female hostage for protection) THOMAS NEWTON: You, come here! (to Broyles) I will kill her! Drop your weapon! Do it! BROYLES: (as Newton shoots the Senator in the face) No! (Newton continues firing, releases the hostage, enters a stairwell and jumps several floors to escape. Broyles approaches Van Horn. the politician has the mechanical eye of a shape-shifting soldier from the parallel universe) ACT I Massive Dynamic - Walter 1 Oh 1 (walking the corridor to retrieve Walter) PETER: You can't seriously expect me to believe that you are okay with this. NINA: Well, William's last wish was that your father take over this company, my personal feelings are not at issue. PETER: With a basement lab in Harvard, Walter was able to open a wormhole into another dimension that essentially shredded all the laws of science. I can't wait to see what he's capable of doing with a multi-billion dollar corporation. NINA: Your father made some regrettable choices in the past, but his brilliance is undeniable. It was that intellect that William Bell believed in. And frankly, so do I. PETER: It's not his intellect I'm concerned about. (briefing a room full of corporate scientists on his personal philosophy and outlook) WALTER: So beautiful, It is absolutely breathtaking. Somewhere between pudding and foie gras. And why do I bring this up? You, with the red hair. SCIENTIST: It's black. WALTER: I see red. Answer the question. SCIENTIST: I'm really not sure why we're talking about brain physiology. WALTER: Dear God. How can you be so limited? When William Bell created this company, he knew one thing to be true. Brain and the mind are capable of so much. Don't you see that the brain is consciousness, hmm? The mind is god! There are no limits, except for those that we impose on ourselves. Open your eyes. Open, open. Inspiration is everywhere. Do you know how lucky you are to play in this sandbox? My heart is racing. God! Is anyone else hot in here? (starts to remove clothing) NINA: Uh, sorry to interrupt. WALTER: Oh, Peter, you're just in time for the good-- PETER: Time to put your pants back on, Walter. We've got a case. We have to go. WALTER: Of course. I'll just get my things. NINA: He's a bit unorthodox. PETER: He's also trippin' his brains out right now. You know that, right? NINA: Mm. Hospital Crime Scene - Aftermath BROYLES: Van Horn was admitted at fourteen hundred hours. Newton came in fifteen minutes later and went on a shooting spree. BOLIVIA DUNHAM: (security footage action) Look at that. It's like he's got no fear. BROYLES: Clearly, Van Horn was an operative of Newton's. We can only assume Newton knew Van Horn's identity as a shape-shifter would be revealed after he was injured in the crash. PETER: So Newton came here to retrieve him. BROYLES: And when he couldn't, he shut him up. WALTER: (to Bolivia) Oh, in the right light, your hair looks like strands of lemon diamonds. PETER: He self-medicated this morning. WALTER: Don't worry. I do some of my finest work self-medicated. BROYLES: Good, because not only was James Van Horn a sitting U.S. Senator with top level clearance, he was a good man. I want to know how long ago he was replaced by a shape-shifter and for what purpose. I want a full accounting of every committee he sat on, every classified briefing he had. BOLIVIA DUNHAM: Okay. Well, I'll make sure that his office is locked down. PETER: Broyles, if they can get to a sitting Senator, the whole government could be compromised. BROYLES: I know. I'm gonna call Dan Gilmore at the CDC and arrange blood tests for everyone on The Hill. Doctor Bishop? WALTER: Mm-hmm? BROYLES: Examine the body, see what you can find. WALTER: Of course. I think I'll go examine the body and see what I can find. FBI AGENT: So is it a machine? WALTER: No. Where can I purchase some candy buttons? Those little candies attached to rolls of paper. Do they still make those? FBI AGENT: I wouldn't know. I try not to eat sugar. So if it's not a machine, it's human? WALTER: (asks for tool) Nerve hook. To answer your question, it is neither -- and both. Part machine, part organic. A shape-shifter. Such an inspired creation. Frankly, I'm a little envious that Belly thought of it before I did. PETER: (joins the dissection) How's it going in here? WALTER: You'll be happy to know that having something to focus on is calming the vividness of my hallucinations. PETER: I think I'll probably be able to take it from here, Agent. FBI AGENT: Thank you. PETER: So, Walter. WALTER: I'm glad she's gone. Very negative energy. PETER: It seems pretty specific, don't you think, Walter? One shot, right through the eye? WALTER: That's a good question. Assuming that Newton shot the shape-shifter to incapacitate him, perhaps this is the location of some sort of power source. PETER: So assuming that you're right, Do you think we could fix it? WALTER: Fix him? We could try. Bold Action - Questioning Newton THOMAS NEWTON: (answers phone from forested area) Yes? BOLIVIA DUNHAM: What were you thinking? THOMAS NEWTON: Van Horn was in a car accident. He was a liability. I had to act quickly. BOLIVIA DUNHAM: Okay. What did he know? THOMAS NEWTON: He was a senior operative. He knew everything. BOLIVIA DUNHAM: Did he know about me? THOMAS NEWTON: Of course. Who do you think provided the information on Olivia Dunham and the Fringe team? Don't worry. He's been disabled. Or as you people call it, he's dead. He can't talk, and data recovery's impossible. Your cover's safe, for now. BOLIVIA DUNHAM: What do you mean, my cover is safe for now? THOMAS NEWTON: I don't know what your mission is, Bolivia, and you've made it very clear that it's none of my concern. Whatever it is, I imagine it requires you to gain Peter Bishop's complete trust. BOLIVIA DUNHAM: What makes you think that I don't already have it? THOMAS NEWTON: Well, maybe it's because I'm looking in from the outside, but I'm willing to wager that somewhere, deep inside his brain, Peter Bishop senses that something is not quite right with you, that something has changed, that you're not his Olivia. BOLIVIA DUNHAM: Okay, you need to remember who you're talking to. THOMAS NEWTON: You're in over your head. You're not fully committed to this task, and because of that, you will fail. (hangs-up) Hospital Dissection - Venue Change WALTER: Did you know, in the nineteenth century, hat makers used mercury to flatten the fur on hat brims? Sadly, the mercury caused significant brain damage. Hence, where Lewis Carroll got the term Mad Hatter. PETER: Thank you, Walter. That will be very helpful next time I'm on Jeopardy. WALTER: Eh! I can't animate this shape-shifter. Not here. Perhaps if we moved the body back to my lab -- PETER: Sure, I'll have the body transferred back to Harvard right away. WALTER: No. My other lab. The equipment of Massive Dynamic is state of the art. PETER: Okay. I'll call Nina right now. WALTER: Uh-oh. I think I might be peaking again. Peter, perhaps Chamomile Tea would help. PETER: (as the shapeshifters left hand starts to twitch) Whoa, stop, stop. What'd you just do, Walter? WALTER: I must have triggered something. BOLIVIA DUNHAM: (joins the duo) So how's it going in here? WALTER: Agent Dunham, good news. It seems this tin can is still kicking. ACT II Massive Dynamic - Memory Stimulation ASTRID: Agent Astrid Farnsworth. I'm here to see Doctor Bishop. FLOOR SECURITY: I've got an "Astro" Farnsworth. ASTRID: That's me, mm-hmm. (delivers storage box to Walter, watches the dissection continue as probes are inserted) You know, the old me would have been really disgusted by that. WALTER: Eh, finally. Did you get everything on the list? ASTRID: I don't even want to know. WALTER: Which one are you referring to? ASTRID: Both. WALTER: Ha. Did you get the candy buttons? ASTRID: Yeah, do you really think that he's-- WALTER: They're for me. ASTRID: Okay. Now, do you mind telling me what all this stuff is for? WALTER: We're making a treasure map. Somewhere inside this creature is a data storage unit, And now that he's alive, I'm going to find it. Using those items as visual stimuli, we are going to map its neural pathways--well, what we would think of as its brain. ASTRID: And what are we hoping to find? WALTER: Its memories, Astrid. Everything it knows. Who it was working for. If there were others. You look shocked. ASTRID: You just called me Astrid. You never get my name right. WALTER: Must be the LSD. Senator's Office - Enemy Intel SENATOR'S AIDE: These are Senator Van Horn's Homeland Security briefings, going back three years. BOLIVIA DUNHAM: Great. Thank you. (to Peter) You know, I can handle this, If you want to go check on Walter and see how he's doing. PETER: Astrid must be there by now. If they've learned anything, I'm sure they'll call. BOLIVIA DUNHAM: The Senator made requests for classified intelligence twenty-nine times last month. PETER: There's nothing here. (searches desk area) BOLIVIA DUNHAM: Well, if he's like the other shape-shifters, He's gonna be careful. He's not gonna leave anything here that would tell us he wasn't the Senator. PETER: Except for one thing. He didn't know that today was the day he was gonna die. Unless he had someone come in here and clean up after him, there's got to be something. BOLIVIA DUNHAM: (looks at ringing cell phone. to Peter) It's Rachel. I should take this. PETER: Tell her I said hi. BOLIVIA DUNHAM: Heh. (walks to the hallway and answers call from Newton) Hey, Rache, what's up? THOMAS NEWTON: Do you know it's customary to leave one message, and the caller will get back to you? Not thirty. BOLIVIA DUNHAM: He's alive. Van Horn is alive. THOMAS NEWTON: That's impossible. BOLIVIA DUNHAM: You underestimated them. He's on the Twenty-Third Floor of Massive Dynamic. Doctor Bishop's working on him now. THOMAS NEWTON: I'll take care of it. BOLIVIA DUNHAM: You had better. PETER: Hey, I think I found something. (jimmies open lock box) BOLIVIA DUNHAM: What is it? PETER: (removes images and files from the box) It's you. You... and me... and Walter-- all of us. Every case we ever worked on. He knew everything. Duffy Residence - New Assignment LISA DUFFY: (tending to her fussy eater during family dinner) You want to pretend the train's going into the station? NATE DUFFY: (proud whine) I'm seven and a half, Mom. RAY DUFFY: (proud defender) You forget you're dealing with a very mature young man here. (knock on the front door) Ah, I'll tell them we don't want any. (to Nate) Come on, asparagus, it's great. And it'll make your pee smell funny. Real funny. THOMAS NEWTON: (after Ray opens the door and looses his smile) Hello, Ray. I have an assignment for you. (hands file over on Van Horn) The body's in the lab on the Twenty-Third Floor. RAY DUFFY: You expect me to break into Massive Dynamic? THOMAS NEWTON: Oh, you don't have to. Just shift into a new body assigned to you still, someone with clearance. It shouldn't be a problem. Is it? RAY DUFFY: No. I'm just surprised. I haven't seen you in five years. THOMAS NEWTON: Oh, you know, that's the way it works. After this mission, you'll take a new identity. And Ray? No traces left behind. Nothing that can expose us. Understood? RAY DUFFY: (disheartened) I'll contact you when it's done. THOMAS NEWTON: Good. Massive Dynamic - Back From D.C. (Broyles, Bolivia and Peter enter Massive Dynamic through the security checkpoint) BROYLES: I've got Bureau Agents stationed throughout the building, and an NYPD security detail has set up a perimeter. BOLIVIA DUNHAM: So what makes you think that Newton would try to recover the shape-shifter? BROYLES: I'd rather be wrong than sorry. WALTER: (exits the elevator and approaches. to Broyles. trying to get his attention) Good, I heard you were back. PETER: Hold on, Walter, hold on. According to the files in Van Horn's office, he's been collecting intel on us for the last two years, which suggests when he was shifted. BROYLES: Besides Newton, anything about other shape-shifters? Anything that would tell us who they're working with, how they get their orders? PETER: No. BOLIVIA DUNHAM: So did you find anything in D.C.? BROYLES: We ran blood tests on every person who works on the hill. Everyone checks out. PETER: What about the DoD and FBI? The shape-shifters could have infiltrated their ranks too. BROYLES: We're testing everyone with a level four classification or above. PETER: No, we've got to go wider. Van Horn can't be the only mole. There's just no way-- WALTER: Maybe we should just ask him. BROYLES: What? WALTER: That's what I've been trying to say. If you want to know who the shape-shifter's been working with, I think we should just ask him. Massive Dynamic - Enlisting Patricia BOLIVIA DUNHAM: Is it even possible that there's recoverable data left in Van Horn? ASTRID: Walter thinks so. We've been trying various techniques to locate it. At first, we did not have very much luck. With everyday objects, the shape-shifters only had a minimal reaction. But then we tried something more personal. WALTER: Watch the monitors closely. Here's what happens when I show it a toy car. No neural activity. But when I show a photograph of the Senator's wife... BROYLES: So those areas are where the data is? ASTRID: No, we haven't found any data storage. WALTER: Not yet, we haven't, but I believe we can continue to revive the neural pathways by playing upon this emotional tie. PETER: I'm not following, Walter. It's a machine. WALTER: Yes, and to succeed in its mission, it needed to play the role of a spouse. And pretending to have an emotional connection caused a real one to form. The ability to process complex emotions is built into the machine's operating system. We just needed a stronger trigger to find the data. We need to use Van Horn's wife. BOLIVIA DUNHAM: Oh, I don't think we can ask that of a civilian, Walter. I mean, not to mention the security clearance it would require. WALTER: It's the only way. PETER: Broyles, I know she's a friend of yours, but if we could get at that data-- BOLIVIA DUNHAM: I don't think it's a good idea. Imagine the panic if she talks to the press. BROYLES: I've known Patricia Van Horn for most of my adult life. Her character's beyond question. If she's willing to help us, I'm willing to trust her. ACT III Duffy Residence - Monster Sighting RAY DUFFY: Hey, buddy, what are you still doing up? NATE DUFFY: I didn't sound the monster alarm, but I think he's here. RAY DUFFY: Where? NATE DUFFY: Under the bed. RAY DUFFY: You know... sometimes... monsters aren't all that bad. Sometimes... if you get to spend some time with them, they can be very surprising. They can be, um, incredibly sweet and pure and capable of great, great love. And then, one of them might actually become your very, very best friend. NATE DUFFY: But you're my best friend. RAY DUFFY: Yeah, that's right. NATE DUFFY: Are you going to work? RAY DUFFY: Yeah. NATE DUFFY: Come check on me when you get back? RAY DUFFY: I will. Massive Dynamic - Salvaging Data BROYLES: Patricia, this is Agent Olivia Dunham and Peter Bishop. BOLIVIA DUNHAM: Hello. PETER: Hi. PATRICIA VAN HORN: Hello. BOLIVIA DUNHAM: I'm, uh, I'm sorry. I know that what we're asking you to do Is difficult. PATRICIA VAN HORN: Frankly, it all seems a bit beyond comprehension. Last week was our granddaughter's first birthday. You should have seen the way Jim held her in his arms. He was so happy. And now, the thought that he was really this thing. BROYLES: Patricia, if this is too much for you. PATRICIA VAN HORN: No. I want to be here. I want to know who did this to my husband. PETER: Well, that's what we're hoping to find out too. BROYLES: You ready? PATRICIA VAN HORN: I'm ready. Hi, James. It's me, Patricia. Can you hear me? Is -- is that what you want? WALTER: Oh, it's perfect. But if you could please talk to him and not at him. PATRICIA VAN HORN: Okay. It's quiet in the house without you. I finished the curtains. I can't sleep. It's just something to do. WALTER: No, no, no, this is not good. Um... maybe if you could touch him. Um, perhaps a gentle caress or tickle. BROYLES: Excuse me? WALTER: Uh, I'm just suggesting possible ways-- PATRICIA VAN HORN: No, it--it's okay. I understand. Jim... the kids have been asking for you. Grayson called yesterday. ASTRID: Neural activity is rising. PATRICIA VAN HORN: Lucy said her first word. "shoes." WALTER: It's working. We're close. PATRICIA VAN HORN: I've been thinking of all the years we had. I know it wasn't always easy. I'm sorry I didn't know... you were gone. I - I don't know how I didn't know. You would have known. I-I know you would have. ASTRID: Walter, the lower base of his spine. WALTER: No, something's wrong. It doesn't make any sense. PATRICIA VAN HORN: I don't know if you can ever forgive me, but I - I'm so sor-- VAN HORN CORPSE: 11, 10, 12, Whitefield. 11, 13, 16, Beaufain. BOLIVIA DUNHAM: Walter, what's happening? WALTER: I don't know. VAN HORN CORPSE: 11, 17, Essex. ASTRID: It could be cipher text, like a code, maybe. PETER: No, he's on a loop. VAN HORN CORPSE: 11, 13... PATRICIA VAN HORN: Stop it! BROYLES: That's enough! BOLIVIA DUNHAM: What was that? WALTER: I don't know. Maybe we triggered a corrupted file, A mishmash of discarded data. PATRICIA VAN HORN: No. I know what that was. Next month was our anniversary. The Beaufain, the Whitefield, the Essex, they're all hotels. We were leaving November tenth. BROYLES: We're done here. Let me take you home. PATRICIA VAN HORN: Did it help? Did you find what you were looking for? BROYLES: You've done more than enough. WALTER: It's no use. PETER: There has to be a way to salvage more data. WALTER: The shape-shifter's system's too badly damaged. Any data in there is likely lost. (Bolivia reads text message from Unknown - "Get Out. ETA 15 minutes." WALTER: One thing I do know for sure, I am no longer high. BOLIVIA DUNHAM: Walter, why don't we take a break and get something to eat? WALTER: I don't have an appetite. BOLIVIA DUNHAM: Well, maybe just a change of scenery might clear your head, make you feel better. WALTER: I suppose so. Massive Dynamic - Cafeteria' saurus ASTRID: Walter, I thought you said you weren't hungry? WALTER: I'm eating for comfort. To think what I put that poor woman through, and the most activity we saw occurred in the shape-shifter's ass. ASTRID: It was his lower spine, Walter. Look, animal cookies. You love these. WALTER: (cranky) No, Belly loved them. I occasionally eat them to honor him, that is all. ASTRID: Walter, I'm just trying to cheer you up. WALTER: Thank you. Belly always thought that dinosaur cookies would have been a better idea. Velociraptor, mm! Dilophosaurus, yum! ASTRID: You know, I was more of a stegosaurus fan myself. WALTER: That was Belly's favorite too. The funny thing about stegosaurus... ASTRID: Walter? Walter, what just happened? WALTER: I'll be right back. Oh, don't eat my pudding. ASTRID: Okay. Elevator Ride - Going Up WALTER: Did you know that the stegosaurus had a brain in its ass? Why didn't I think of it? The stegosaurus has a massive cluster of nerves above the rump, the sacral ganglion. Evolutionary leap. Separating short-term memory from long-term memory. Belly, you ingenious son of a bitch. (Walter chatters in front of the police officer that joined him on his elevator trip back to the lab. Officer Ray Duffy remains silent as he removes his shape changing device) ACT IV Close Encounter - Shapeshifting Kind FLOOR SECURITY: Doctor Bishop, go right ahead. WALTER: Thank you. FLOOR SECURITY: You're not authorized to be up here. Police are strictly working the lobby. Sir. PETER: Patricia Van Horn Was living with a shape-shifter for two years. She must have noticed something different. BOLIVIA DUNHAM: Oh, shape-shifters are good at their job, you know? PETER: I've been thinking about it. Maybe she did notice, and she just made excuses For herself not to have to deal with it. Or she came up with ways to explain it to herself. Kind of like I've been doing with you. BOLIVIA DUNHAM: With me? PETER: Yeah. With all the little differences ever since you got back from the other side. And you did tell me that your experiences on the other side changed you, but since you got back, it's like... it's like you're a completely different person. You seem less burdened. You're more patient with Walter. Don't get me wrong, I like it. The change is good. But it's different. ASTRID: Hey. BOLIVIA DUNHAM: Hey. PETER: Hey. BOLIVIA DUNHAM: Where's Walter? ASTRID: I don't know. He said he'd be right back. WALTER: Astrid, I need you to adjust that light. RAY DUFFY: Step away from him. WALTER: Oh, oh! RAY DUFFY: Stay right there. Don't move. WALTER: It was in his spine. I was right. RAY DUFFY: Yeah, you were right. BOLIVIA DUNHAM: Look, he's probably just gone to the restroom or something. PETER: No, he left his pudding. Something must be wrong. Excuse me. Hey! That cop, it must have been him. BOLIVIA DUNHAM: Okay, you look for Walter, I'll go after the shape-shifter. PETER: Walter? Walter! Walter. Walter, look at me. Hey, Walter? Walter! WALTER: Hey son? The stegosaurus, Peter. It has two brains. That's what they were after. BOLIVIA DUNHAM: I, uh, I couldn't find him. So is he alright? PETER: He took a pretty bad knock on the head. WALTER: I'll be fine. BOLIVIA DUNHAM: Uh, this is Dunham. We're on Floor Twenty-Three. I need the EMTs here now, please. WALTER: Listen to me. There was someone here. PETER: We know, Walter. There was a shape-shifter here. WALTER: And they took what we were after. They took the data out of Van Horn. ASTRID: Walter? Walter, oh, my god! WALTER: What? ASTRID: Walter, are you okay? WALTER: Under the circumstances, I'm fine. I could have been killed. BOLIVIA DUNHAM: What are you doing? PETER: The security cameras. If we can I.D. the shape-shifter, maybe we can catch him before he changes bodies. WALTER: Oh, come on. Peter. Ownership has its privileges. Duffy Residence - Family Aspirations THOMAS NEWTON: You didn't shift. RAY DUFFY: I didn't have to. I got it. THOMAS NEWTON: Don't worry about them. I took care of it. We're clean. RAY DUFFY: Why did you do that? THOMAS NEWTON: I didn't. I couldn't understand your hesitation. I saw it, but I didn't understand it. I do now. It's -- it's them, isn't it? RAY DUFFY: I got the disk. I found a way... THOMAS NEWTON: ...and now it's time for you to move on. RAY DUFFY: No. This is my life... THOMAS NEWTON: ... and now you'll have another life, just like you had another one before. This is simply a way station for you. A stop along the way. It's what we do. It's what we're made for. RAY DUFFY: No, no, no. It means so much to me and I've come to mean so much to them. How can you ask me to give them up? THOMAS NEWTON: Well, I suppose I can't. (shoots Ray in the forehead) BOLIVIA DUNHAM: Keep your hands where I can see them! Car Chase - Apprehending Newton PETER: (to drivers nearby) Get back in your car! (on cell phone) I need to reach Agent Broyles. It's urgent. BOLIVIA DUNHAM: Newton. Newton, where is it? PETER: Is he alive? BOLIVIA DUNHAM: Where is it? He's breathing. Yeah. PETER: Does he have the disk? BOLIVIA DUNHAM: I can't find it, but, uh, we can search properly when I get him into custody. PETER: Alright. ACT V Federal Detention - Bolivia's Challenge THOMAS NEWTON: Is the Van Horn disk secure? BOLIVIA DUNHAM: It is. THOMAS NEWTON: You're gonna have a very difficult time without me, you know? BOLIVIA DUNHAM: Well, there are plenty of machines here. I can befriend a vacuum cleaner. THOMAS NEWTON: You're very good at that. BOLIVIA DUNHAM: At what? THOMAS NEWTON: At continuing to try to convince yourself that you don't care. But you do care, don't you? Every night when your head hits the pillow, in the last moments before you go to sleep, your emotions betray you, and you question your ability to pull this off. Words like, integrity, self-respect - they haunt you. They form a line that you're unwilling to cross and that will lead to your undoing. But I suppose that's not my problem anymore. BARTENDER: Here you go. BOLIVIA DUNHAM: I lied to you. PETER: About what? BOLIVIA DUNHAM: Uh... I don't want to talk.

305 - PROLOGUE Liberty Island - Routine Check-Up BRANDON: You've been back with Fringe Division for a week now? OLIVIA: Uh... for eight days. BRANDON: Any headaches or lingering symptoms... mood swings, insomnia? OLIVIA: No. Although I do feel like I keep getting asked the same question over and over again. Is that a lingering symptom? BRANDON: You are recovering from a severe mental break, Agent Dunham-- I have to ask you these questions. OLIVIA: Yeah. I know. SECRETARY BISHOP: Please accept my apologies for the poking and prodding, Agent Dunham. OLIVIA: Uh, Mister Secretary. SECRETARY BISHOP: You look well. OLIVIA: I am. Good as new. SECRETARY BISHOP: Did you get the dossier I sent over? OLIVIA: Yes, sir. So you really believe that the other Olivia Dunham can cross between universes. SECRETARY BISHOP: It would appear so. Thus far, we've developed some means of our own, but each of them has dangerous side effects. But it seems their Olivia can travel between worlds safely, which is the real reason you're here today. We believe you may be able to do the same. OLIVIA: How would I be able to do that? SECRETARY BISHOP: I don't know... yet. But with your permission, we'd like to put you through a series of experiments to see if we're right. I'm sure you understand... what this would mean to our cause. We'd be able to defend ourselves against the other side. But... I know you've been through a lot, Olivia. So if you're not up to it, you should just say so. PETER (as a vision): You can take as many pills as you want. I'm not going anywhere. OLIVIA: You're not here. PETER (as a vision): Look, I understand why you agreed to take the test. You just want things to go back to normal, to be the Olivia that you think you should be, but unfortunately, that's not gonna happen. Because you're not their Olivia. And you can keep on telling yourself that you're fine, but you're not fine. You're not sleeping. And I'm not a lingering symptom. You can't ignore me. Franklin Street Station, Brooklyn - Liberation JOSHUA ROSE: Alright, easy. Got it? MARK WILNER: Yep. JOSHUA ROSE: Careful. I said careful! MARK WILNER: Have your gun? JOSHUA ROSE: Okay, ready? Uhh! I got it. He's not breathing. MARK WILNER: He's dead. JOSHUA ROSE: No, he's not dead. Gimme-- gimme the syringe. Gimme the syringe! Come on, buddy, come on. Come on, come on, come on. MARK WILNER: Nothing. JOSHUA ROSE: Come on! Come on! AUTOMATED ALERT: Warning. Quarantine area breach. MARK WILNER: The cops are gonna be here any minute. We gotta move. JOSHUA ROSE: Breathe! Come on, breathe! Come on! Okay, you're okay. Cut him out, cut him out! You okay? MARK WILNER: Okay, give me a minute. We're gonna cut you out, okay? JOSHUA ROSE: Come on, pick it up! Wilner. Wilner! MARK WILNER: Oh, god. JOSHUA ROSE: Here. Pull. Come on, come on, pull. Just pull. Come on! Pull, come on, pull! Come on, man, come on, come on, pull! MARK WILNER: Help me. Please! JOSHUA ROSE: Wilner, I'm sorry. He's my brother. MARK WILNER: No! Please! Don't leave me! ACT I Franklin Street Station - Investigated LINCOLN LEE: Homemade laser knife. AGENT FRANCIS: It's clean. There's no fingerprints. LINCOLN LEE: Pretty sophisticated tech for looters. AGENT FRANCIS: Well, you gotta hand it to 'em. No one's ever removed anything from the quarantine zone, yet they keep trying. LINCOLN LEE: Lotta purses and wallets in there. Like Cary Grant said... "the stuff that dreams are made of." AGENT FRANCIS: Oh... LINCOLN LEE: You got something? AGENT FRANCIS: I don't know yet. I'll be right back. OLIVIA: Hey. LINCOLN LEE: Well, look who's here. OLIVIA: Yeah. Traffic. LINCOLN LEE: Third time this week. You gotta stop taking the Nixon Parkway. OLIVIA: Yeah. LINCOLN LEE: You okay? You seem a little run down. OLIVIA: Oh, yeah. Frank's on assignment, and I never sleep very well when he's away. So you gonna bring me up to speed? AUTOMATED NARRATIVE: …in 1989, these isolated tears in the fabric of our universe began to increase in frequency. Some of them expanded into micro black holes with devastating consequences. To contain these events, scientists designed a quarantine protocol using a chemical substance, Amber 31422. AGENT FRANCIS: Alright, just fast forward. AGENT #1: What are you looking for? AGENT FRANCIS: I was just watching this a couple of weeks ago. I just... remember something a little differently. Right there. Freeze it. Thanks. Four years ago, this station was sealed. Now it looks like we have a new addition. Meet our thief. LINCOLN LEE: Must have gotten caught in the reseal. OLIVIA: Mark Wilner. Couple counts of burglary. You know, breaking into amber seems awfully ambitious for a small-time crook. LINCOLN LEE: Something tells me he wasn't after purses. Quiet Upscale Bar - Resolve COLONEL BROYLES: So this is where the powerful hide out. SECRETARY BISHOP: Just those that need to do some thinking before they head home. Thank you for meeting me. Understand you're working on a case-- a man removed from amber. COLONEL BROYLES: Franklin Street Station. We're trying to determine why someone would go to all that trouble to steal him. SECRETARY BISHOP: When I first... developed the amber, the universe was degrading at an alarming rate. People were becoming afraid to leave their homes. I remember the first time we instigated the protocol. It was... October 17, 1989. I remember I awoke... particularly happy that day. And then there was the breach at Harvard Yard. COLONEL BROYLES: If we hadn't contained it, half of Boston would have been swallowed up. SECRETARY BISHOP: Sixty three civilians were trapped in amber that day... and all the hundreds since. It sickens me. COLONEL BROYLES: Sir... It's a tragic, but a small price to pay for the greater good. People understand that. SECRETARY BISHOP: Perhaps. But if they were to find out that the amber victims could be removed and resuscitated, I'm afraid the outcry would be akin to revolt. COLONEL BROYLES: Quarantine victims are alive? SECRETARY BISHOP: Theoretically. But to remove them would weaken the structural integrity of the amber. COLONEL BROYLES: We'll recover them before anyone finds out, sir. SECRETARY BISHOP: Oh, and another thing. Olivia Dunham has agreed to submit to the tests developed by Science Division. As I've said, these... tests are stressful. If she becomes unstable in any way-- COLONEL BROYLES: If I see any unusual behavior, I'll let you know. SECRETARY BISHOP: Nature doesn't recognize good and evil, Phillip. Nature only recognizes balance and imbalance. I intend to restore balance to our world. Whatever it takes. Situation Room - Identifying The Escapee OLIVIA: Really? You never did that before? LINCOLN LEE: Make my own popsicles? OLIVIA: Yeah. My mom used to have these plastic molds, and you'd pour fruit juice into them and then stick them in the freezer. AGENT FRANCIS: My mom... OLIVIA: mm? AGENT FRANCIS: Made me get her cigarettes. LINCOLN LEE: Aw! OLIVIA: Aw! AGENT FRANCIS: Ah. So who's the popsicle? COLONEL BROYLES: Joshua Rose. I worked his case with Fringe Division four years ago. He's a bank robber. OLIVIA: Well, why would Fringe Division be appointed to investigate a robber? COLONEL BROYLES: Rose used some kind of device that allowed him to access the vaults without setting off the bank alarms. But what it also did was cause molecular degradation. LINCOLN LEE: Man-made breaches. We studied that case back at the Academy. You guys had to quarantine what-- half a dozen areas? COLONEL BROYLES: One for every job Rose pulled. The bank above Franklin Station was Rose's last job. He got caught in the quarantine. Now, it's possible that he was taken out in order to be revived. LINCOLN LEE: Revived? COLONEL BROYLES: What I'm about to tell you is classified. The people entombed in amber are in a state of suspended animation. OLIVIA: Sir. If people knew that their loved ones were still alive in there-- COLONEL BROYLES: I understand, Agent Dunham. Which is why we need to recover Rose, whatever state he's in, as soon as possible. He had an apartment that was sealed after he was ambered. Start there. Nanuet, New York - Amber Recovery JOSHUA ROSE: Shh, shh, shh. Just rest. You'll be fine. Just needs time to recover, Danielle. Sealed Apartment - Clue Search AGENT FRANCIS: My first partner got caught in an amber quarantine in Boston. His little girl just turned six last week. If I get ambered... just leave me in there. PETER (as a vision): Does that feel familiar? Two people who look exactly alike. LINCOLN LEE: You find anything? OLIVIA: What do we know about Rose's family? LINCOLN LEE: Never married. No kids. Parents are dead. He has a brother Matthew, an accountant. Broyles said he was very cooperative in their investigation. OLIVIA: Okay. Uh, maybe we should talk to him again. AGENT FRANCIS: Hey, guys. Jackpot. Anybody recognize any of this stuff? LINCOLN LEE: Some of it. Ion lasers. Pneumo drills. Some kinda gas. Looks like he was trying to build some kind of Negative Matter Ring. AGENT FRANCIS: Okay, Mister Wizard. Some of us don't have a fancy degree. LINCOLN LEE: Creates high frequency vibrations. Which could weaken the atomic structure of the bank's walls. That would explain how Rose was able to get inside. AGENT FRANCIS: He walked through walls? LINCOLN LEE: It's possible. AGENT FRANCIS: Okay, now I know you pulled that outta your ass. OLIVIA: Shh! Listen. LINCOLN LEE: Go! Now! ACT II Fringe Team HQ - First Aid NURSE ALICE: This might sting a bit. OLIVIA: Okay. LINCOLN LEE: Dinner is on me tonight, Liv. Evvia, Pimlico. Whatever you want. COLONEL BROYLES: Big spender. What's the occasion? AGENT FRANCIS: Olivia saved our lives. She heard the bomb before it went off, and we had enough time to get out the apartment. COLONEL BROYLES: Good work, Agent. OLIVIA: Thank you, sir. LINCOLN LEE: You I.D. the symbol on those tanks? COLONEL BROYLES: Ferrocene. It's a compound used in Negative Matter Rings. LINCOLN LEE: Oh ho! What did I say? AGENT FRANCIS: Anyone ever tell you gloating isn't attractive? NURSE MAUD: Hold still, Agent Francis. AGENT FRANCIS: Oh! NURSE ALICE: That looks pretty bad. Why don't you take this off? I'll get the doctor. OLIVIA: Okay. LINCOLN LEE: Liv? Soon as we're done, we're gonna go talk to Joshua Rose's brother. OLIVIA: Okay. Nanuet, New York - Interviewing A Rose JOSHUA ROSE: You got it? I'll be right back, alright? I'll be right back. LINCOLN LEE: Matthew Rose? JOSHUA ROSE: Yeah. What can I do for you? LINCOLN LEE: Agent Lee, Fringe Division. This is Agent Dunham. JOSHUA ROSE: What's goin' on? LINCOLN LEE: What we're about to ask you is classified. It's about your brother Joshua... any idea about his whereabouts? JOSHUA ROSE: You know, four years ago you people told me that he was trapped in amber. You telling me you were wrong? LINCOLN LEE: We can't go into detail. But if we were wrong, would he contact you? JOSHUA ROSE: My-- my brother-- ripped families apart, okay? Mothers and husbands trapped in amber because of the crimes he committed. He'd know better than to contact me. Do you have any idea what it was like for me when Joshua's face started showing up on the news? I mean, every time I went to the market, to a movie, take my kids to Little League... people would look at me and see him. OLIVIA: That must have been very difficult for you. JOSHUA ROSE: You know, just because we look alike, it doesn't mean we have anything in common. LINCOLN LEE: We appreciate your time, Mister Rose. If you hear anything... JOSHUA ROSE: Yeah. LINCOLN LEE: And all this time I thought my brother was a pain in the ass. OLIVIA: Oh... gotta go to the DoD. They're ready for me. LINCOLN LEE: You sure you're up for this? I mean, you just started back to work. OLIVIA: Yeah. I can handle it. But thank you... Mom. MATTHEW ROSE: Where's Danielle? JOSHUA ROSE: She, uh... she's at the store. She's gonna be back in a minute. I don't know how to say this, but-- you, uh... you came to the bank to try and stop me, but you were too late. I mean, I didn't know. I couldn't know you were coming. You were trying to stop me from robbing a bank, and I ended up stealing your life. But you're free now. It took me longer than I thought, but I never gave up. MATTHEW ROSE: How are our boys? DANIELLE ROSE: They're so big, you're not gonna believe it. They're giants. It's okay. It's okay. Liberty Island - Brandon's Lab SECRETARY BISHOP: Genetically, you're exact replicas, you and the other Olivia. Which means, theoretically, you both should be capable of the same thing. In the isolation tank, you'll be freed from sensory distractions, so the part of your brain which enables you to travel between universes should be more accessible. And we will help the process along by giving you a number of psychotropic drugs. BRANDON: There's a speaker in the tank, so you'll be able to hear us. And we'll be monitoring you closely. SECRETARY BISHOP: You ready? OLIVIA: Just like riding the roller coaster at Coney Island, right? SECRETARY BISHOP: Close it. Olivia, can you hear me? We'll start the drugs now. Now we wait. BRANDON: It's not working. SECRETARY BISHOP: Increase the doses. 5,000 milligrams of Neurontin, 2,000 Elavil. BRANDON: Sir, are you really-- SECRETARY BISHOP: Only those who risk going too far find out how far they can go. Do it. BRANDON: Oh, hell! uh... her heart rate is 183. Blood pressure is falling. CONCERNED MOM: Cameron. I told you not to touch anything. OLIVIA: I went somewhere. To a gift shop. There was... a boy. SECRETARY BISHOP: It worked! She crossed over. ACT III Bolivia's Apartment - Broken Date PETER (in a vision): Makes sense now, doesn't it? Why they needed you to take their test voluntarily. Why they needed you to believe that you were their Olivia. They know you can cross over. You've done it before. That's how you ended up here in the first place. OLIVIA: Mom. Hey. MARILYN DUNHAM: Hi. OLIVIA: Come in. MARILYN DUNHAM: It's Tuesday. OLIVIA: Yeah. Oh! Lunch. I'm sorry. It just slipped my mind. It's just been really hectic and... yeah. You know. Frank does most of the real cleaning around here. MARILYN DUNHAM: He's still away. OLIVIA: He's still in North Texas trying to put a stop to that smallpox outbreak, so... MARILYN DUNHAM: Olive... is everything okay? OLIVIA: Oh... Mom, I'm just tired, and I keep seeing-- PETER (in a vision): I knew a pair of twins in high school... Nina and Gina. One of them was always so much brighter than the other one, but they both managed to get straight A's. I'll give you one guess how they did that. MARILYN DUNHAM: Olivia. OLIVIA: Yeah. MARILYN DUNHAM: I asked you when is he coming back in town? OLIVIA: Mom, I've gotta go. Um... I'm sorry. Do you mind if you-- if you let yourself out? Fringe Team HQ - Serious Hunch OLIVIA: Sir? Uh... they switched. COLONEL BROYLES: Who? OLIVIA: The twins. When we spoke to Matthew Rose today, when he was talking about Joshua's crimes, he wasn't angry or-- or upset. He was... ashamed. It- it wasn't like he was embarrassed. It was more like he was guilty. COLONEL BROYLES: You think Joshua Rose was pretending to be his brother. OLIVIA: I think the man we spoke to today committed those crimes. I think that they switched on us. (later, in the interrogation room) MATTHEW ROSE: What is this about? LINCOLN LEE: Identical twins have the same DNA. But fingerprints and retinas are unique. COLONEL BROYLES: He's who he says he is. He's Matthew Rose. OLIVIA: No. Something's not right. COLONEL BROYLES: Dunham, it was just a hunch. OLIVIA: They switched again. LINCOLN LEE: Liv-- OLIVIA: I'll prove it to you. COLONEL BROYLES: Dunham. OLIVIA: You switched with your brother. MATTHEW ROSE: What are you talking about? OLIVIA: You know exactly what I'm talking about. LINCOLN LEE: Olivia. OLIVIA: Hang on. Okay, we went to your house yesterday. What did we talk about? MATTHEW ROSE: What? OLIVIA: At your house. What... did we talk about? MATTHEW ROSE: Your partner did most of the talking. I told you how hard it was for me and my family when Joshua was robbing banks. OLIVIA: He told him. What we looked like, what we talked about. They're in this together. His brother told him. COLONEL BROYLES: Dunham. OLIVIA: They're messing with us. They switched. COLONEL BROYLES: Dunham. Outside. OLIVIA: He's lying. And you can't prove that I'm wrong. COLONEL BROYLES: We can't prove you're right either. LINCOLN LEE: Liv-- OLIVIA: ...they're twins. Are you telling me that it's not in the realm of possibility that they took each other's place? COLONEL BROYLES: Look, even if you're right, we can't hold him on a hunch. AGENT: Colonel, you've got a visitor upstairs. Fringe Team HQ - Concerned Mom MARILYN DUNHAM: Colonel Broyles, I'm not sure if you remember me. COLONEL BROYLES: Of course, Missus Dunham. What can I do for you? MARILYN DUNHAM: Olivia would be furious with me, but... I think she went back to work too soon. She just hasn't been herself and... I'm worried that there's something wrong. Fringe Team HQ - A Fresh Lead LINCOLN LEE: Hey. You okay? OLIVIA: I mean, that depends. Do you believe me? LINCOLN LEE: Break-in at Langdon Chemical two weeks ago. Guess what they stole? OLIVIA: Three tanks of Ferrocene. LINCOLN LEE: Who uses Ferrocene again? OLIVIA: So Joshua Rose is planning another heist. Uh-- sir. COLONEL BROYLES: Lee, go check it out. Take Francis. OLIVIA: Oh... D-don't do this to me. Please don't take me off the case. COLONEL BROYLES: I think you've been pushed too hard. Go. OLIVIA: Sir, I'm not crazy. I know I'm right about this. COLONEL BROYLES: Dunham... OLIVIA: If I could just follow it through, I-- COLONEL BROYLES: Dunham... go home. ACT IV Rose Residence - Panic Mode JOSHUA ROSE: How'd it go? MATTHEW ROSE: They know. One of the agents, she knows, man. She knows it was you who spoke to her at the house and we switched. JOSHUA ROSE: But they let you go? MATTHEW ROSE: Yeah. JOSHUA ROSE: Matty, are you being followed? MATTHEW ROSE: I don't see anyone. JOSHUA ROSE: You wouldn't see anybody. That's the point. MATTHEW ROSE: What are we gonna do? JOSHUA ROSE: Just, um... run some errands. Go get a cup of tea. Just don't come home yet. I need a couple of hours. I'll take care of this. MATTHEW ROSE: How? JOSHUA ROSE: Just do what I said. It wasn't supposed to be like this. They weren't supposed to be this close. Look, I'm doing my best here-- you know that. DANIELLE ROSE: Do you know what it was like for him? In the amber? Did he tell you? Well, he told me. He was aware of every moment. His mind was stuck in the last thought he had before he was trapped. This horrible feeling of fear... and loss. Wondering about his family, how we would get along. Can you imagine that? JOSHUA ROSE: I have a plan. DANIELLE ROSE: Oh. What? You gonna rob a bank? One last score to get lost and stay lost, Joshua? If you really cared about him, you would turn yourself in, because that is the only way out of this. OLDEST ROSE BOY: Oh, nice goal! Whoo! Fringe Team HQ - Fresh Eyes OLIVIA: Agent Farnsworth, would you mind taking a look at something for me? If Joshua Rose was about to hit another bank, where would it be, given his profile and M.O.? AGENT FARNSWORTH: I ran that scenario for Agent Lee an hour ago. OLIVIA: I understand, but would you mind taking another look for me? AGENT FARNSWORTH: There are thirty-seven likely targets based on that criteria. OLIVIA: Okay, what assumptions did you make? AGENT FARNSWORTH: Assuming that Joshua Rose was taken out of amber, necessary parameters would include a subterranean vault, a minimum of $50,000, proper getaway routes... OLIVIA: ...wait--sorry. Assuming that Joshua was removed from the amber? We know that he was taken out of the amber. AGENT FARNSWORTH: We know that someone was taken from the amber. Joshua's a twin. There's a fifty percent chance that his brother was in amber and that Joshua broke him out. OLIVIA: And Joshua is a brilliant criminal with expertise in breaking into impenetrable areas. Matthew is an accountant. AGENT FARNSWORTH: Yes. OLIVIA: Okay, so if it was Matthew who was in the amber, then Joshua's M.O. may have changed. AGENT FARNSWORTH: I don't follow your logic. OLIVIA: Okay. I think I spoke to Joshua yesterday. He was clearly ashamed. I mean, if he spent the past four years living with the guilt of trapping his brother in amber, then he's not gonna want to hurt people like that again. AGENT FARNSWORTH: Less human traffic. A remote area. Reduced collateral damage. That would narrow the list of likely targets down to three-- three banks. ACT V Situation Room - Breach Detected MALE TECHNICIAN: Anomalous energy signature detected. Class Two breach. COLONEL BROYLES: Where's the location? AGENT FARNSWORTH: Parameters match events from 2006. Seventy-nine percent probability it was caused by Joshua Rose. COLONEL BROYLES: I need a location. FEMALE TECHNICIAN: Riverdale Mutual. The Bronx. COLONEL BROYLES: Let's go, people. AGENT FARNSWORTH: She was right. COLONEL BROYLES: Who? AGENT FARNSWORTH: Agent Dunham. Riverdale Mutual - Quarantine Response LINCOLN LEE: I want science and risk reports now! AGENT FRANCIS: That's Olivia's car. LINCOLN LEE: Chief! Molecular degradation is increasing. We're looking at a two hundred meter quarantine. COLONEL BROYLES: Set a perimeter. LINCOLN LEE: Best way in is through the main entrance. I want three canisters in the main lobby. A three-point spread with dispersion tubes to the basement and the second floor. AGENT FRANCIS: We got a busted lock on a subway gate. She could be down there. COLONEL BROYLES: She could be anywhere. The quarantine protocol's already in place. AGENT FRANCIS: Sir, if she's in there... COLONEL BROYLES: ...it's a Class Two breach. We have to seal it before we lose this whole block. LINCOLN LEE: Five minutes. Give us five minutes. COLONEL BROYLES: You got three. AUTOMATED ALERT: Warning. Quarantine protocol imminent. Evacuate the area immediately. Warning. Protocol initiation imminent. JOSHUA ROSE: What are you doing here? MATTHEW ROSE: I found the blueprints. Realized what you're up to, and I can't... let you do this again. LINCOLN LEE: Olivia! AGENT FRANCIS: Dunham! LINCOLN LEE: Liv! AUTOMATED ALERT: Massive loss of life will result. Warning. AGENT FRANCIS: Alright, we've got to move. OLIVIA: Okay. Wait. Joshua Rose is in there-- LINCOLN LEE: We gotta go! AUTOMATED ALERT: Quarantine protocol initiated. OLIVIA: Rose is in there-- LINCOLN LEE: We gotta go! AUTOMATED ALERT: Massive loss of life will result. JOSHUA ROSE: Matt, you gotta leave. There's no time for this. You gotta go right now. MATTHEW ROSE: You don't need the money! AUTOMATED ALERT: Massive loss of life will result. MATTHEW ROSE: Where are your tools? JOSHUA ROSE: Unless they think they have me, they'll never stop. AUTOMATED ALERT: Thirty seconds remaining. JOSHUA ROSE: There's no other way. If I turn myself in, they'll figure it out-- They'll know I wasn't the one in the amber. They'll take you. You're the only person alive that survived the quarantine. They'll experiment on you for the rest of your life. You know that. AUTOMATED ALERT: Warning. Twenty seconds to quarantine. JOSHUA ROSE: Matty... Matt, you gotta go. I'm not taking your life twice. AUTOMATED ALERT: Ten seconds to quarantine. MATTHEW ROSE: Josh... no... JOSHUA ROSE: Matt... let me do this one good thing. AGENT #1: Quarantine protocol complete. One casualty. Joshua Rose. COLONEL BROYLES: Let's clean up and go home. Dunham, you hang back. Are you aware of how many protocols you broke? AUTOMATED ALERT: ...this area is quarantined. You have no access at this time. No access. COLONEL BROYLES: Good work. OLIVIA: Thank you, Colonel AUTOMATED ALERT: ...we appreciate your cooperation. This area is now under quarantine. LINCOLN LEE: Okay? AUTOMATED ALERT: ...all civilians must now evacuate the area. This area is now under quarantine. Nanuet, New York - Off The Hook OLIVIA: Hello. We found your brother. And I'm sorry to say he was caught in a quarantine protocol last night. MATTHEW ROSE: Where? OLIVIA: Riverdale Mutual. In the Bronx. He was attempting to break in. MATTHEW ROSE: Well, thank you for telling me... agent. OLIVIA: I'm sorry. True or false? I take this to my lab, get them to run this skin sample, they'd tell me this was from the man who spent the past four years in amber. YOUNGEST ROSE BOY: Hey Dad, Mom needs you to stick the steaks on the grill. MATTHEW ROSE: Okay, buddy. OLIVIA: Have a good day... and you can consider this investigation closed. PETER (in a vision): You know why you let him go, don't you? It's 'cause you can understand what he's going through. Trapped in that amber. It's just like you're trapped over here. Only difference is... nobody's going to save you. Only you can save yourself. You listened to me about the case. I don't understand why you won't listen to me about this. Why do you refuse to believe who you are? Why do you want to deny the truth about yourself? OLIVIA: You know, you can't prove anything that you're saying. PETER (in a vision): But I know things. OLIVIA: You're in my head. PETER (in a vision): Exactly. Which means you know things too. Things about the other side. Things you couldn't possibly know unless you'd been there. Unless you were from there. OLIVIA: Like what? PETER (in a vision): On the other side, the twin towers have fallen. On the other side, your sister Rachel is still alive. She lives in Chicago. Her husband took a job there. They live at 1934 Sherman Way... OLIVIA: See, now I know you're lying, because Rachel hates Chicago. PETER (in a vision): Your beautiful niece Ella is alive. She was born, and it's her birthday today. She turns seven. OLIVIA: There's no way to prove it. PETER (in a vision): Yes, there is. Liberty Island - Brandon's Lab OLIVIA: Brandon. I wanna go back in the tank. BRANDON: You're not scheduled for another test until tomorrow. SECRETARY BISHOP: Anything new? BRANDON: No. But something interesting. About twenty minutes ago, her brain chemistry spiked. It seems there's some dormant chemical in her brain. SECRETARY BISHOP: Hmm. Some sort of synthetic compound. BRANDON: From the way it's bound to her neurons, I'd say it's been there since she was a child. ELLA: Hello? OLIVIA: Hi. ELLA: Aunt Liv! I knew you wouldn't forget my birthday. Aunt Liv? SECRETARY BISHOP: What happened? OLIVIA: It didn't work. Nothing happened. All I saw was black.

306 - PROLOGUE Numbers Broadcast - Tuning In 6955 kHz (in Stockton Harbor, Maine) DAVE BARRETT: (over ship-to-shore radio) Stockton Harbor, Stockton Harbor, come in. Requesting clearance. MURRAY HARKINS: Tide is coming in strong. Pulling a fog bank in from the east. It's close to shore, so watch yourself and take it slow. DAVE BARRETT: (over ship-to-shore radio) Copy that. We see it up ahead. Looks like pea soup. MURRAY HARKINS: Maintain a bearing at three-five-eight. I've hung a lantern out for you. (music box tune plays) (in Chinatown, NY) DAN LIANG: Did I tell you? Mia's friend June is coming too. Seriously, one-hundred percent hot. SHEN CHAN: Uh-huh? (electronic beep) It's about to come on! DAN LIANG: Shen, are you seriously not coming? SHEN CHAN: Dude, when I crack this thing, They are gonna write books about me. [music box tune plays] (in Merrimack County, New Hampshire) LAIRD WOOMER: Hey, Beck. You want a tea? Love one. BECKY WOOMER: Hey, Aaron. You gonna make mommy a tea? (chuckles) (electronic beep) It's starting. LAIRD WOOMER: Okay, I'll leave you alone. (electronic beeping. female speaking in native language. music box tune plays. grunting) DAVE BARRETT: (over ship-to-shore radio) Captain Barrett to Fort Point Light Station. Come in. Over. (gasps) Fort Point, we're lost in the fog bank. We can't see the light. Over. Fort Point, are you there? This is ‘’Swedish Fish’’. Come in. Murray, it's Dave. I've got no eyes out here. DAN LIANG: Hey, I forgot my I.D. Dude. Shen? LAIRD WOOMER: Becky. BECKY WOOMER: Stay away from me. LAIRD WOOMER: Whoa. BECKY WOOMER: I said stay back! Who are you? LAIRD WOOMER: It's me, Laird. (baby Aaron cries) BECKY WOOMER: Who am I? ACT I Olivia's Apartment - Breakfast In Bed BOLIVIA DUNHAM: (sitting in bed and reading) Oh, wow. This is better than room service. (as breakfast is served on a lap tray) What did I do to get so lucky? PETER: (dutiful) Nothing. It's just for being you. (kiss on the lips) BOLIVIA DUNHAM: Thank you. PETER: You're welcome. So what's the latest catastrophe I want to know nothing about? (walks around, then hops into bed) BOLIVIA DUNHAM: (returns to the newspaper) Well, uh, earthquakes, oil spills, financial disaster. It's not really the best way to start the day. PETER: Here I thought there was nothing good until the Entertainment Section. BOLIVIA DUNHAM: What's in the Entertainment Section? PETER: (provocatively) I don't know, but you should find out. BOLIVIA DUNHAM: (checks the section and tickets fall out) I love U-2. PETER: I figured we were way overdue for a normal date. BOLIVIA DUNHAM: That is just so sweet and so kind of romantic. PETER: Try not to sound so shocked. (another kiss) BOLIVIA DUNHAM: Thank you. PETER: (answers cell phone) Walter? Walter, is that you? WALTER: (from the lab. angered) Of course it's me. I came in this morning and found your little project. PETER: And what project would that be? WALTER: You know very well what project. You are continuing to work on this infernal device-- The one depicted in the blueprints. PETER: That's correct. I'm running diagnostics. (gets out of bed) WALTER: I thought I made my -- You have no idea what it does. You might as well be building a nuclear bomb in my lab. PETER: (chuckles) I don't think that's entirely fair. WALTER: Do you? Well, fine. If you end up breaking the universe, this time, it's on your head. (hangs-up) BOLIVIA DUNHAM: What was that about? WALTER: It's nothing. Apparently, Walter doesn't want me playing with his toys. (gets back in bed) BOLIVIA DUNHAM: (answers her cell phone) Dunham. (listens. there has been an incident) Yes, sir. We'll meet you there. (to Peter) Broyles. PETER: Guess that means we're doing the crossword in the car. Woomer Residence - Broadcast Recording PETER: (walking with the science team from their parked vehicles) So fifteen people all up and down the Eastern Seaboard, all suffered from retrograde amnesia at the same time? BROYLES: Around ten forty-five P.M. WALTER: Collective memory loss. That's a new one for the medical books. BROYLES: According to the Pentagon, the victims were all using shortwave radios. WALTER: Ham-radio enthusiasts -- maybe their brains were erased by the magnetic winds from the solar storm? PETER: If it hadn't happened four hours after sundown, you might be on to something. BROYLES: Becky Woomer. Her husband said he left her alone for roughly three minutes. In that time, she forgot all details about her life, including her name. The D.o.D. is concerned this could be a test run for a potential terror attack. LAIRD WOOMER: (in his kitchen) The doctors at the hospital don't understand it. They can't even tell me if she's going to get her memory back. PETER: Did your wife ever tell you what it was she was listening to? LAIRD WOOMER: Becky was a moderator in a chat room. They listen to number stations. PETER: Number stations? LAIRD WOOMER: I don't know much about them. They're kind of a mystery. WALTER: (in the victim's hobby room) Oh. A reel-to-reel. I used to have one exactly like this. I remember hours spent ripped out of my gourd listening to Beatles albums backwards for secret messages. They weren't there. (Broyles is not surprised) PETER: So apparently Becky recorded last night's broadcast. Whatever she heard should be on that tape. WALTER: Listening to what they recorded last night could cause us to forget why we wanted to listen in the first place - Einstein. BROYLES: Did he say what he thinks is on it? PETER: He said that she spends her night's listening to numbers on random ham-radio stations. She's trying to crack some code. BROYLES: Number stations? PETER: You heard of them? Massive Dynamic - Number Stations 101 NINA: (all-knowing. candid) Number stations. Nobody knows what they are or even where they come from. As far as anyone knows, they're artificially generated voices reading streams of random numbers in a wide variety of languages. The Department of Defense hired us to investigate them. Other than the fact that they were first discovered more than seventy years ago, we came up with nothing. We could never triangulate their point of origin. This one we picked-up four years ago. (plays the original Spanish language recording) Some people think they may be covert communications between spies or drug-traffickers. The problem is no one has been able to find proof to support any theory at all. So, at the moment, they remain unexplained. BOLIVIA DUNHAM: But the number broadcasts have never caused amnesia before. NINA: Not to the best of our knowledge. WALTER: Perhaps Peter would like to play last night's tape aloud to everyone, given his recent fondness for dangerous activity. (stands brusquely) As soon as she's up to it, I would like to examine the woman who lost her mind. And I think I know a way to analyze the tape without losing our memories. Oh, I need something from the child development center. Sixth floor? (intends to leave) NINA: Actually, the Seventh. (to Peter as Walter exits) You might want to escort him, Peter. Yesterday, he spent fifteen minutes in front of a utility closet thinking it was the elevator. PETER: (amused) Right. Be right back. (leaves to follow his father) BOLIVIA DUNHAM: Would you mind if Astrid took a look at your research? She might pick up something that your code breakers missed. NINA: Of course. (observant) Olivia, are Peter and Walter okay? BOLIVIA DUNHAM: (dismissive) Yeah. (back on topic) You know we found a piece of the machine that Walternate is building. And Peter's trying to figure it out. NINA: He should. We need to know what we're dealing with. BOLIVIA DUNHAM: Except Walter doesn't agree. He won't help. He's setting up roadblocks for Peter. (persuasive) You know, you two go back a long way. Maybe you could talk to him. NINA: What? You're not having any luck? BOLIVIA DUNHAM: (brash) Oh, I haven't tried. NINA: But that's not like you. You're usually more direct with Walter? BOLIVIA DUNHAM: Well, it's complicated between them. I don't want to make it worse. (her cell phone rings) NINA: (assuring) I'll speak with Walter. BOLIVIA DUNHAM: (answers cell phone) Dunham. (listens) Yes? (listens) Where? Alford, MA - Investigating A Break-In BROYLES: (briefing Bolivia as they approach a radio tower surrounded by law enforcement vehicles) Homeland Security traced the broadcast when they tried to contact the tower employees, they didn't get a response. UNIFORMED OFFICER: As far as we can tell, the break-in happened around ten-thirty. Security system was state- of-the-art. Whoever did this was a pro... but there's something else. (the two agents enter the facility through an access door at ground level and walk past a dead man sitting nearby. they continue past a dead woman on the floor laying between the racks of electrical equipment. beyond her they find a large, shiny cube attached to the transmitting equipment - the device hovers in mid-air) ACT II Alford, MA - Fingerprint Lead (the forensics team inspects a hovering cube attached to the rack of transmitting equipment in the radio station) BOLIVIA DUNHAM: How the hell is it doing that? BROYLES: It's not floating exactly. Apparently it's got some sort of magnetics inside. (a technician unplugs an internal connector in the device and it drops from its' hover) BOLIVIA DUNHAM: So do you think that this was the source of last night's number broadcast? BROYLES: This is definitely wired to output a transmission. (to the technician) Hold on. I want to see that panel. I need the print powder. (sprays the large board extracted from the device and exposes a large fingerprint) It's impossible to do microelectronics with gloves on. Let's get this to Doctor Bishop. (leaves) Walter's Lab - Analog Demodulation ASTRID: (signs for the large quantity of storage files that were just delivered) This should keep me busy for... eternity. Thank you. PETER: (returns from private cell phone call) Okay, that was Olivia. They're analyzing the fingerprints they found up at the radio tower, and they think they found the device used to upload last night's broadcast. GENE: Moo! WALTER: What? GENE: Moo! PETER: What's that? GENE: Moo! ASTRID: (looks at child's audio toy) Property of Massive Dynamic? WALTER: It's not theft if you own the company. I've found a way to listen to the tape of the numbers broadcast without losing what faculties I have left. PETER: Well, how'd you manage that? WALTER: The key is analog demodulation. I knew my Jimi Hendrix wah-wah pedal would come in handy. Take a look. This is the sound of the transmission, modified so it's safe, of course. But if we demodulate... (electronic tone pitches down and the waveform on the monitor divides to two separate waves) PETER: So there are two signals? WALTER: Precisely. The top wave is 'the numbers. The bottom wave, which I have suppressed is a pulse. And I believe that this is responsible for the amnesia. Someone found a way to attach this pulse to the numbers broadcast. ASTRID: Well, that explains why nobody's been affected by listening to the number stations before, because they're not causing the problem. WALTER: So we still don't know where the numbers are coming from, but I suspect that the device that Agent Dunham found is the source of the pulse. ASTRID: Okay, but who would do this, and why give these people amnesia? PETER: Because they cracked the code, or they came damn close to figuring out what number stations are... and somebody wants to keep that a secret. WALTER: Well done. You sounded very Sherlock Holmes just then. (to Astrid) Which makes you Watson, Dear. PETER: Walter... is this the soundboard I was using to run diagnostics on the weapon? (growing upset) WALTER: I was using it to down-convert the signal. PETER: Really? (holds-up unplugged electrical prongs) WALTER: (defensive) I was focused on solving the case at hand. I'm not concerned with preserving your wretched experiment. Now, if you don't mind, I have some thinking to do. (walks off) PETER: (softly to Astrid) This has got to stop. (joins his father in a quiet office) Walter... WALTER: (miffed) I asked you not to work on that device in my lab! PETER: They're working on it on the other side. We need to understand exactly what it does. WALTER: What's to understand? You're playing with fire. Stop being so bull-headed and put a stop to this. PETER: Walter (sits)... when I touched that device on the other side... it came alive in my hands... like it was bonded directly to me. How can you expect me to ignore that? ASTRID: (joins the somber duo) I just talked to Olivia. They pulled a picture of our suspect from his prints. She's taking it to the Woomer house now to show it to the husband. Becky was released from the hospital. She's back home now. WALTER: Oh. (in the dark woods near a large radio tower, a man carries another cubed device toward the facility) Woomer Residence - Critical Lead (sitting in the kitchen with the victim's husband. studying a photo of the man suspected of planting the device in the radio tower) BOLIVIA DUNHAM: His name is Joseph Feller. Earlier today, we picked up his prints From a radio tower just outside Boston. His last known address was Milwaukee, Wisconsin. That was 1997. But since then, he's been off the map. LAIRD WOOMER: (studies the image) I've never seen him before in my life. PETER: Do you mind if we poke around a little bit? There's some things here that could be useful to us. Maybe check out her computer, her address book? LAIRD WOOMER: Of course. (the man in the woods, Joseph Feller, works quickly in a second radio facility to install another cubed device) WALTER: (sitting with the victim and running some tests) Read this and then do what it says. BECKY WOOMER: Stand up, then sit down. WALTER: Wonderful. Thank you. Earlier, I told you the names of three things. BECKY WOOMER: Cat, horse, cotton candy. WALTER: Very good. (watches as she picks-up an unfinished knitting project) It's beautiful. BECKY WOOMER: I don't remember doing this. I suppose I was knitting it for the baby. (teary) I don't recognize him. (intimidated) I don't recognize that man who is out there. I look at the pictures everywhere and I see myself in them. But I - I don't know them. WALTER: (reassuring) The human brain is a miracle... a most resilient organ... a storage unit for everything you have ever known... seen, or felt. It's all still in there, whether or not you are conscious of that. PETER: (privately, after searching the victim's hobby room) This is a list of everybody that Becky talked to about the number stations. You recognize anyone? BOLIVIA DUNHAM: (flatly reads what he was pointing to) Ed Markham? PETER: Bookstore owner? Purveyor of rare manuscripts? Your favorite ladies' man? BOLIVIA DUNHAM: Oh, right. (laughs) How could I forget? (clueless) PETER: I'm gonna give him a call, see if maybe he has some idea about this. BOLIVIA DUNHAM: (after Peter moves off) Walter, are you alright? WALTER: (reflective) I know what it's like, what this woman's going through. I lived it. To not recognize your life... it's awful. BOLIVIA DUNHAM: (sincere) I'm sorry, Walter. WALTER: Don't be. (pained smile) Let's just focus on putting a stop to this before more people get hurt. (Feller completes his work in the radio station by inserting an additional circuit/chip on a main panel. he activates the device he installed and the cube hovers in-place) Landau 287 - Diversion PILOT: (a dark and stormy night, thunder rumbles as the small commuter plane struggles at altitude in the violent flight conditions. radio call) Baltimore Center, this is Landau Two-Eight-Seven. Request to divert to Richmond. Over. BALTIMORE CENTER (on radio): Roger, Landau Two-Eight-Seven. Weather is... (radio static) Level Five thunderstorm... (radio static) You'll have... (radio static) PILOT: Baltimore Center, say again. You're breaking up. (severe turbulence rattles the passengers. tuning to another channel gets music and a recitation of numbers. the pilot reacts to the broadcast, grabs his head and yells from the overload) ACT III Walter's Lab - Frustrated Inspection TV NEWSCAST: Small engine plane went down just outside of Owings Mills, Maryland. ASTRID: (turns from TV) NTSB just released a statement. It looks like the plane's radio was tuned into the same frequency as the second numbers broadcast. WALTER: (fiddling with the pulse device) Precisely what I was worried about. A second attack, and now not only do we have twenty new amnesiacs, but six people died. (frustrated with the device) Damn it! Why can't I get a current? ASTRID: Maybe you reversed the poles? WALTER: No. It just doesn't make sense. Everything that I know about the physics of electricity says that this device shouldn't work at all. ASTRID: Walter, I know that you're angry right now, and I get it. I cannot make heads or tails of this code. It's immense. It's not even just one code. The... the numbers are a code. The time between the numbers is a code. (answers her cell phone. listens) Yes, sir? Okay, I will make sure that he gets it. (hangs-up) That was Agent Broyles. There was another radio tower break-in. It was unmanned, so nobody was hurt, but they found another cube... the one that must have downed the aircraft. They're sending it over right now. WALTER: Wonderful. Another cube I can't make any sense of. ASTRID: Well... maybe this will do us some good? (shows him a classical music album) Hmm. (soothed. they smile at one another) Alright, let's get back to work. (claps hands) Markham's Bookstore - The First People EDWARD MARKHAM: (sitting and sorting books) Number stations? It was a hobby. I banged my head on that wall for five years and gave up. Stamp collecting... now there's a hobby with dividends. BOLIVIA DUNHAM: Well, all the people who listened to the last two number broadcasts have had their memories wiped. We're trying to identify who's behind it. EDWARD MARKHAM: Are you serious? (stands-up) PETER: Whatever they knew and whatever they figured out about the numbers, somebody made sure that they forgot it. So whatever you know about what they mean would really help us. EDWARD MARKHAM: (sighs) Okay... I'll help you, but you have to promise me I'll be safe. PETER: Sure. Done. Just tell us what you know about the stations. EDWARD MARKHAM: (in a separate part of the store) First of all, they're as old as dirt. They say when Marconi invented the radio, the first thing he heard was the numbers, like they were floating around in space just waiting for someone to listen. PETER: So you're trying to tell me that Marconi picked up a transmission before humans invented the technology to send one? EDWARD MARKHAM: Creepy, right? (opens a metal lock box, removes a book and displays it) BOLIVIA DUNHAM: Wow. The First People. EDWARD MARKHAM: By Seamus Wiles, 1897. There was only one edition. You're holding one of the last copies. PETER: And this will tell us what the numbers mean? EDWARD MARKHAM: No, but it'll tell you where they came from, or one theory at least. PETER: By "First People," what are we talking about... Adam and Eve? EDWARD MARKHAM: No, before dinosaurs, before all of it, there were the first people... the first humans to evolve on this planet. PETER: If you don't know anything, you can just say that. EDWARD MARKHAM: I'm serious. Look, just read the book. It's all in there. PETER: How much do you want for it? EDWARD MARKHAM: I don't want your money. I want protection. What if someone comes to erase my memories? PETER: (chuckles) I should be so lucky. BOLIVIA DUNHAM: Thanks, Markham. (turns and leaves with Peter) Walter's Lab - Fetched By Nina WALTER: (begins to inspect the second pulse device that just arrived) Fantastic. Now I have bookends. NINA: (unexpected entrance) Definitely a conversation piece. WALTER: Nina... if I had known you were coming, I'd have baked a cake. ASTRID: He means that... literally. NINA: Next time I'll call. Hello, Astrid. (turns) Walter, I need to speak with you. Harvard Campus - High Times NINA: (sitting on a bench in the wooded commons watching students walk around. Walter lights up) I forgot how serious this campus has become. I remember my time here quite differently. WALTER: (exhales smoke) We did have fun, didn't we? (inhales again) Don't know what happened to this generation. I have a prescription. NINA: (takes a hit of Walter's "medical" cannabis) So do I. WALTER: Look at all these students. When did they become so afraid? We had the courage to think against the grain of what we were told. We let our curiosity be our guide. NINA: (candidly) So why stop Peter from following his? WALTER: (hesitates) What Peter's doing is different. He's bent on pursuing something despite the grave risks it poses to his well-being. NINA: You can't create a vaccine without working with the virus. WALTER: No, but I have experienced what this kind of hubris can do. NINA: Well, and yet you didn't heed anyone's warnings. I begged you to stop, but you insisted on finding a way to cross over. Peter wouldn't be here now if you hadn't. WALTER: If he continues to investigate-- NINA: Yes, well, he will continue to investigate - whether you like it or not. WALTER: Then he will play right into Walternate's hands. I-- NINA: What do you mean? WALTER: (passionately) If only one world can survive, then it stands to reason that Walternate will use Peter to ensure that it's his world that does. But he has already built as much of the machine as he can. He gave the blueprints to Peter and asked him to complete it... even though... this... could kill him. (hands her the drawing of Peter activating the weapon) NINA: I remember, Walter, but who says this is the only outcome? It's a drawing, not destiny. Even if you're right about Walternate's plan, I mean, you don't know if he'll succeed. And given the stakes, won't Peter need your guidance more than ever? (earnest) Walter... one of the things I have most admired about you is your optimism. Don't become a fatalist now. Bolivia's Car - Numbers Connection PETER: (sits and reads as Bolivia speeds) So according to this... something happened, some sort of cataclysm that so completely decimated the first people, they were just wiped out of the historical record. BOLIVIA DUNHAM: So how did Seamus Wiles know about them? PETER: Yeah, exactly. They were apparently very technologically advanced. They discovered the vacuum. BOLIVIA DUNHAM: Oh, the vacuum cleaner? PETER: (chuckles) no. The Vacuum as in "the source of all creation and destruction." BOLIVIA DUNHAM: Interesting. PETER: This book is useless. There's nothing here. (turns page) What were the numbers on the first broadcast? BOLIVIA DUNHAM: Why? PETER: Well, if you were to believe the book, the First People measured time in months that had wildly different numbers of days in them. But humor me. What were the numbers? BOLIVIA DUNHAM: (uncertainty, slowly recalls) uh... 12... 34, 17... 9, 15, and, uh... PETER/BOLIVIA DUNHAM (simultaneously): 8, 42, 40. PETER: Yeah. The numbers of the first broadcast correspond exactly with the numbers in this book. They match the numbers of this calendar exactly. Never thought I'd say this, but I think Markham's right. Somehow the number stations are connected to these First People. What the hell does that mean? ACT IV Walter's Lab - Ancient Calendar WALTER: (walking with Astrid through his Harvard lab) It's fascinating. Remarkable. Read more. ASTRID: You don't actually believe this? An ancient people who evolved before the dinosaurs just vanished without a trace? (stares at the content in the book Peter retrieved from Markham) It's -- it's absurd. WALTER: (after stopping at Peter's workstation) Why should we be so arrogant as to assume that we're the first Homo sapiens to walk the Earth. History is full of extinction events... climate change, meteorites, Atlantis. ASTRID: Atlantis? Peter, come on. Help me out here. PETER: I don't know what I believe yet. All I know is that the numbers in their calendar correspond with the numbers of the first broadcast. That can't just be a coincidence. ASTRID: (reading from the book) They were a people of great technological prowess who made the ultimate discovery. A mechanism known to them as The Vacuum, containing at once both the power to Create, and to Destroy. WALTER: (chuckling) The Vacuum. What a wonderful name, and it verifies some of my theories. ASTRID: What theories, Walter? Create and destroy what? WALTER: Well, everything. (excitedly) Many religions speak of such a power. And science, the Big Bang, And it's counterpart, the Big Crunch. The universe expanding and contracting And expanding... an endless cycle of creation and destruction. PETER: Okay, let's run with that. Let's say that these First People did create this mechanism and then somehow translated into a code. ASTRID: And now someone is wiping people's memories to keep the code a secret? WALTER: It's not so surprising. It's the key to the universe. It's a secret worth protecting. BOLIVIA DUNHAM: (walks into the lab from the access hall) Hey. Sorry I'm late, but I thought these might cheer you up. (hands Walter a pastry box) WALTER: (opens the box) Oh. Oh. Oh! Malassadas! Oh, it's wonderful. (happily starts to devour one of the donut- y treats) BOLIVIA DUNHAM: Anything new in the book? ASTRID: I'm sure the numbers hold the answers, But beyond that, nothing tangible. PETER: (inspecting the pulse weapon taken from the broadcast tower) Wait a minute. Hey, Walter? Come here. Take a look at this. This transistor is newer than the rest of them. Somebody must have replaced it. It's Polish, and it's military grade. (*holds up the transistor with tweezers, then drops it in an envelope) There's only a couple of places that are licensed to sell parts like that, and they're all regulated, which means that you have to give a verified address to buy one. (stands and walks to this office) I'm gonna make some phone calls. WALTER: May I borrow that? (reaches for the book) ASTRID: Mm-hmm. WALTER: I feel a bowel movement coming on. ASTRID: (somewhat disgusted) Walter. BOLIVIA DUNHAM: Can you tell Peter I'll be back? I'm gonna let Broyles know where we're at. ASTRID: Mm-hmm. (Bolivia drives away quickly in her car) WALTER: (later, Walter joins Astrid as she sits and studies) Avocado, cucumber, and cheese. (places a plate of food before her) In 1974, the C.I.A. asked me to develop the best sandwich for clarity of thought. ASTRID: (focuses on the paperwork covering her desk) There's too much information here. WALTER: But of course the chips are just because I like foods that crunch. ASTRID: (sighs and starts to eat what Walter has brought her) There has to be a pattern here. Every code relies on a pattern. I just need to see it. WALTER: But you can't. That's your problem. ASTRID: Thanks for the vote of confidence. WALTER: Oh, oh, no, no, no, no, no. No, I... I simply meant that to break the code you would have to think like they did, and they lived millions and millions of years ago. I... I mean, for one thing, look at their concept of time. Nine days in a month? (side-tracked) If you're not going to eat those chips, May I? (as Astrid's jaw drops in a moment of clarity) What? What? What happened? ASTRID: Here. Read me this calendar. (hands him the old book) How many days are in each month? WALTER: Why? ASTRID: Humor me. WALTER: The first two are twelve and thirty-four. Then seventeen, nine, fifteen. What are you thinking, Watson? ASTRID: That maybe what we're missing is a Cipher Matrix... our decoder ring. Okay, what are the next months? WALTER: Eight, forty-two, forty, twenty-seven... Feller's Apartment - Goodbye Feller BOLIVIA DUNHAM: (knocks on the door of her shapeshifting accomplice in his high-rise apartment building. when the door opens) We've got a problem. (walks in) JOSEPH FELLER: (closes the door and follows) The Secretary said we weren't supposed to meet. BOLIVIA DUNHAM: Well, the Secretary is on the other side. He can't foresee every turn of events. Now, you replaced a transistor in one of the boxes. Polish -- they found it. They're tracking the sale as we speak. JOSEPH FELLER: Who are these people? BOLIVIA DUNHAM: Look, you were sloppy. You've jeopardized the mission. JOSEPH FELLER: I'm supposed to upload another pulse tomorrow. BOLIVIA DUNHAM: I think you've done enough. We've got their attention. There's no need to hurt any more innocent people. JOSEPH FELLER: What do they say on this side? (cell phone rings) "All's fair in love and war"? If they were in our shoes, they would do exactly what we're doing. BOLIVIA DUNHAM: (answers cell phone) Dunham. BROYLES: We've got an address on the suspect. Joseph Feller. 989 Nelson Street, Medford. We're en route with backup. BOLIVIA DUNHAM: Okay, I'm on my way. (to Feller) They're coming. JOSEPH FELLER: Where should I go? Do you have any information on my next mission? BOLIVIA DUNHAM: Yeah, I do. (tires screeching) PETER: Olivia's already here. (gunshot and glass shatters) (thud) (overlapping chatter) BROYLES: It's a shape-shifter. (elevator bell dings) PETER: Olivia... Thank god you're all right. Tell me what happened. BOLIVIA DUNHAM: He--he came at me. I had no choice. PETER: But you're alright? BOLIVIA DUNHAM: Yeah, I'm alright. But, uh, he was coming out as I got here, and... PETER: But you're alright? BOLIVIA DUNHAM: Uh-huh. ( radio chatter ) ACT V Walter's Lab - Astrid's Epiphany WALTER: Any breakthroughs? (standing next to his colleague as they study the multiple cipher matrices she has created on the many clear plexiglass boards around the lab) ASTRID: (scanning for possible patterns) I don't know. I thought that maybe if I added up all the numbers... WALTER: ..well, keep at it. And I wouldn't go in the bathroom, Dear. (walks away) ASTRID: (starts to erase part of a matrix and marvels at the sunshine passing through the drawing board - and onto the circular globe of Earth nearby) Huh. Medford, MA - Toasted Data Chip (racing to the disabled shapeshifter before the technician can zip closed the body bag) PETER: Whoa, whoa, whoa, whoa! Hold on! I need to look at that body. You got a pair of gloves on you? BROYLES: What is it? PETER: Well, it makes sense now why Walter couldn't figure out the tech that emitted the amnesia pulse. It must have come from the other side. BROYLES: Which suggests Walternate knows what the numbers mean. He must be the one protecting the code. (Peter flips the shapeshifter on to its' side to search the lower spine area) BOLIVIA DUNHAM: What? (as Peter feels around inside the machine) PETER: Data storage unit. (pulls out the badly mangled component and holds it up) I'm guessing we're not gonna get anything off of that. It's toast. BOLIVIA DUNHAM: (answers ringing cell phone) Dunham. ASTRID: (calling from Walter's lab) I think I cracked the code. I know what Number Stations are. Walter's Lab - Pinpoint Geography ASTRID: (standing before her work on the clear plexiglass drawing boards) It's a coordinate system. These numbers indicate locations. Latitude and longitude. 35 degrees and 40 minutes South by 58 degrees and 40 minutes West, that's just outside Buenos Aires, Argentina. All of these numbers indicate specific locations on a globe... Ethiopia, Spain, China. PETER: So what's there at the end of the points? ASTRID: So far as I can tell, nothing special... a farmhouse, public swimming pool, and random stuff like that. WALTER: We're not looking for a man-made structure. If this message is millions of years old, then we're likely talking about something buried beneath the earth. BOLIVIA DUNHAM: How many locations? ASTRID: I haven't finished plugging in all the numbers, But so far, twenty-two. PETER: And what's the closest one? Jersey City, NJ - Excavation PETER: (walks across the very active excavation site with two beverages and finds Bolivia) What'd I miss? BOLIVIA DUNHAM: Oh, uh, thank you, (takes her drink) Nothing yet. They just pulled up an old buried football, so... PETER: I had to go back. Forgot to say skim. BOLIVIA DUNHAM: (chuckles) You walked there twice? You didn't have to do that. PETER: Well, I had a motive. (charmingly) It's the little things that make me irresistible. BOLIVIA DUNHAM: What if he's right? (looks at the doctor standing by himself, nearby) Walter? PETER: Right about what? BOLIVIA DUNHAM: I've been thinking, Peter. Your father's concerned about building Walternate's device. What if it does mean the destruction of one universe or... or the other? PETER: (heavy with concern) We don't know that yet. BOLIVIA DUNHAM: (trying to sound upbeat) That's not really my point. If you knew that only... one of our worlds could survive and if it was up to you, and you alone, to defend your side... You'd have no choice, right? I mean, you would have to do what you had to do... no matter the cost to protect... our world. PETER: (earnestly) There are billions of innocent people over there... just like here... people with jobs, families, lives. I got to believe there's another way. And whatever my part in all of this is... I got to believe there's another way. There's always hope, right? (sips his drink, then runs to the dig site when he hears) EXCAVATOR: We got something! (Walter and Bolivia join Peter at the deep hole as a large, heavy cylindrical-shaped object is hoisted from the deep pit. In the lab, Astrid continues her deciphering and assignment of values to position on the map) ASTRID: Oh, my. (softly to herself) (Peter clears packed dirt from the surface of the object and finds large carved glyphs) BOLIVIA DUNHAM: (answers cell phone) Dunham. ASTRID: (calling from the lab) I just identified the last coordinates... Milton, Massachusetts, the house where the first piece of Walternate's machine was buried. Do you think it's possible that these locations are all a part of the machine, that Walternate's device is the vacuum described in The First People book? BOLIVIA DUNHAM: Uh, yes. I think they're one and the same. (ends call, then to Peter and Walter) Astrid finished the code. There are thirty-seven more locations. WALTER: (resolutely) In that case... it seems we have work to do. We have to recover the pieces, assemble it, and figure out how it works. (looks Peter in the face to assure that this is the course he wants to pursue) Creation and Destruction... I suppose we'll have to hope for the former. (after the visit to Jersey City, Bolivia returns to the vintage office equipment shop and her communication device. She rolls paper into the typewriter and reports that "THEY'VE LOCATED THE PIECES OF THE DEVICE." After a few seconds she receives a reply - WELL DONE. INITIATE PHASE TWO) Bolivia's Apartment - Testing Postponed (in the alternate universe, Olivia exits the shower into her steamy bathroom and places her earpiece in her ear to take a call) OLIVIA: Dunham. BRANDON FAYETTE: (calling from his lab on Liberty Island) Agent Dunham, this is Brandon Fayette. OLIVIA: Oh, Brandon. Hey. Uh, I'm on my way. I should be about an hour. BRANDON FAYETTE: Actually, that's why I'm calling. The Secretary has decided to postpone today's procedure. OLIVIA: So when do you want me to come in? BRANDON FAYETTE: It may not be necessary. We'll let you know. OLIVIA: Okay. Bye. PETER (as a vision): You have to get out of here. You know why they canceled the last test, don't you? Whatever they needed from you, they have it now. It's not safe for you here anymore, Olivia. (emphatic) You have to go home.

307 - PROLOGUE Kent Street - Wyatt's Apartment (an aging man stands in the bathroom and sharpens a straight razor on a leather strop. he cuts his hair short then lathers his scalp with shaving soap and shaves his head clean. when he is finished shaving he takes a vial with only a small amount of fluid left in it and pours it into the sink. he draws the liquid from the sink and begins anointing himself) WYATT TOOMY: (reciting to himself) Through suffering comes redemption. Through sorrow comes exaltation. Through pitch dark comes a cleansing fire. Through the fire, we shall find a spring of new life. New Yonkers, NY - Monster Concerns MAX CLAYTON: (alone and scared in his bed, he rousts mom from her bed) Mommy? EMILY CLAYTON: Max? MAX CLAYTON: There's a monster in my closet. EMILY CLAYTON: (walks him back to bed and looks around the room) No monsters here. None there either. Looks like your room is officially monster-free tonight, kiddo. Now, you remember what big boys do to get rid of monsters in their room? MAX CLAYTON: Well, you close your eyes, and you count to three. EMILY CLAYTON: And when we open them? MAX CLAYTON: The monster's gone. EMILY CLAYTON: Mm-hmm. You get some rest, Sweetie. (kisses her son on the forehead. turns off the light and starts to leave) I love you. MAX CLAYTON: (sits and listens to the sounds of his room. his door swings shut and a masked man steps from behind it. he covers his eyes) One, two, three. (uncovers his eyes and is immediately gagged by the masked man) (Max loses consciousness and is carried to the second-storey window. his abductor opens the window and jumps to the ground below with the boy) ACT I Manhatan - Taxi Station (cabbie Henry Higgins sits near the West Village docks listening to the radio, reading and waiting for his next fare) RADIO BROADCAST: ...polls show that most Americans oppose the proposed law to limit the number of children to two per family... however, leading politicians from two of the three major parties favor the law... OLIVIA: (hopping into the back seat of the cab) Hey. HENRY HIGGINS: You. (startled at the return of one of his most challenging customers) W-what are you doing here? OLIVIA: (all smiles) Can I buy you breakfast? Quiet Diner - Help Requested (sitting in a booth next to the window) OLIVIA: (to the server when their meals arrive) Thank you. HENRY HIGGINS: Thanks. OLIVIA: (in a hushed tone to her breakfast guest) I need to get into the DoD facility on Liberty Island, and I need your help. I can steal a boat, but I can't leave it docked on the island, otherwise the security patrol would find it, and I need some time inside the building alone. I just need you to get me across the water. HENRY HIGGINS: Across the patrolled water. You're with Fringe Division. Don't you have super-secret clearance or something? Why you breaking into a government building? OLIVIA: Because I have to go home. HENRY HIGGINS: (semi-sarcastic) Oh, so home is on Liberty Island now. OLIVIA: It doesn't matter where I'm from. What matters -- what matters is that I'm in trouble, and I think that my time is running out here, and right now you are the only person that I'm willing to trust. I need your help, Henry. Please, will you help me? HENRY HIGGINS: (rubs his eyes) So if all you're asking for is a ride... you ain't got to steal a boat. My cousin has one. Just give me a day or so. OLIVIA: Thank you. HENRY HIGGINS: Yeah. OLIVIA: (reads new text mail - 400 Terry Ave. New Yonkers) Okay, there's my number. (hands him a small piece of paper) I gotta go. HENRY HIGGINS: Hey. Those people you're running away from, they still after you? OLIVIA: Not if they keep believing that I'm somebody else, no. (starts to leave) Thanks. New Yonkers - The Sugar Sweats AGENT FRANCIS: We'll let you know if Fringe Division officially assumes the case. Thanks. (shakes hands with departing officer) Appreciate it. OLIVIA: (approaches) So what do we have? AGENT FRANCIS: Kid was abducted from his bedroom last night. LINCOLN LEE: (joins his team with readings) Okay, we're good down here. Molecular cohesion intact. Atmosphere readings are solid. AGENT FRANCIS: You know, these kidnappings are tragic, but ninety-nine percent of them have nothing to do with Fringe Division. LINCOLN LEE: Yeah, tell that to the Secretary. The Peter Bishop Act of '91 says every kidnapping gets treated like a possible fringe event. AGENT FRANCIS: All I'm saying is that these cops don't need us to work their cases, okay? Waste of manpower. (Emily Clayton sits nearby and sobs) OLIVIA: It's not a waste. AGENT FRANCIS: I'll get a statement. OLIVIA: (to Lincoln) Let's check upstairs. (enters the boy's room) Detective? Would you mind walking us through the scene? DETECTIVE: Sure. Uh, victim is Max Clayton. Eight years old. Mom came in to check on him in the morning, and he was gone. We, uh--we found a couple of partial prints on the windowsill and in the closet, but we're still collecting evidence. We believe the suspect snatched the kid, and he, uh, fled out the window. OLIVIA: Well, it's a long way down, especially if you're carrying a fifty-pound kid. Okay, so the suspect is probably male, strong, uh, say twenty to thirty-five. LINCOLN LEE: (to the forensics technician) Hey, can I see that for a second? (studies the print. to Olivia) There's some kind of residue on these fingerprints. (analyzes the print with his handheld scanner) Sucrose. DETECTIVE: Sugar? What, was he eating cookies or something? LINCOLN LEE: Uh-uh. He secretes it through his sweat. The Candy Man... he's back. ACT II Fringe HQ - Visit From The Boss COLONEL BROYLES: (as his boss joins him in his office) Mister Secretary. SECRETARY BISHOP: (close the door behind him) I just heard. Fringe Division was created to investigate tragedies of unimaginable scale. You and I both know that there's no crime more heinous than the theft of a child. COLONEL BROYLES: I'll do everything I can to find him, sir. SECRETARY BISHOP: I don't doubt your resolve, Philip. Actually, that's why I'm here. There's no shame in letting it fall to another desk if it's too personal. COLONEL BROYLES: (solemn) It's been four years since the Candy Man took my son. Four years... since I heard him laugh or watched him play outside with his sister. He had my son for two days. When I got him back, he wasn't a little boy anymore. If there's anyone you want on this case... it's me. SECRETARY BISHOP: Very well. COLONEL BROYLES: My only concern is that I don't have all of my agents to help me. How long until this is over, sir - until our Olivia comes home? SECRETARY BISHOP: You'll be happy to know we made a breakthrough. We found something in her brain chemistry, something unique. If it's what enables her to cross between worlds, you'll have your team back very soon. I know what it's like to lose a son. And even when they come back, the damage is irreparable. If you need someone to talk to, Philip, let me know. (leaves the office) Fringe HQ - Bold Proposal AGENT FRANCIS: (barking motivation to agents in the Situation Room) We need a lead, folks. Something to go on. It's been eighteen hours since the Clayton boy went missing. That gives us until tomorrow night to find him. LINCOLN LEE: The Candy Man's last kidnapping was two years ago, before you joined Fringe Division. OLIVIA: I remember when this happened, reading about it, but they never said what he did to these kids. It's like they've had the life drained out of them. LINCOLN LEE: Acute deterioration of organ tissue, depleted immune systems. Some of the kids even came back with cancer. OLIVIA: (points to close-up case file image) Those incisions -- why there? LINCOLN LEE: Posterior cerebral cortex. From that point on the body, you can access the spine. OLIVIA: Okay, Astrid, what do we know about these cases? AGENT FARNSWORTH: The abductions themselves appear to be random, occurring every two years. The victims are always children ages seven through nine. They are taken, then released forty-eight hours later with massive internal degradation. The victims describe the suspect as male, age unknown. In the majority of cases, other than a shaved head, there's no physical description given, because he wore a mask. OLIVIA: What do you mean in the majority of cases? AGENT FARNSWORTH: Two of the victims reported being held captive by two suspects, one young and one old. OLIVIA: Then why haven't we expanded the profile to look for two suspects? AGENT FRANCIS: Liv, these kids were really scared. There's a lot of inconsistencies in their statements. OLIVIA: Well, that doesn't mean that they're not true. (to Farnsworth) Can you please pull up the victim's bios? (studies the bios) Okay, Amanda Holt and Christopher... Broyles. We should speak to Christopher again. LINCOLN LEE: That's not a good idea, Liv. You weren't here when it happened. Broyles is protective. OLIVIA: Well, we should at least ask. AGENT FRANCIS: Liv... don't even think about it. Fringe HQ - Tough Proposition OLIVIA: (standing in her bosses office) I would like to re-interview your son. COLONEL BROYLES: Excuse me? OLIVIA: Christopher reported that he was held by two men-- an older man and a younger man. Now, if that's true, He may remember other things about this guy that could help our investigation. COLONEL BROYLES: Agent Dunham... my son went through something no child should ever have to go through. And when he came home, I had to ask him questions about it, going over the details again and again, forcing him to relive it, when all he wanted to do was forget. And for what? I didn't solve the case. And I didn't help my little boy sleep at night. OLIVIA: I'm sure that you did your best, but if I spoke to him, maybe I could get more out of him. COLONEL BROYLES: I'm his father. OLIVIA: Perhaps that's the problem. Maybe there are some things that you don't want to hear. COLONEL BROYLES: (stands and gets in her face) Now, there's something I want you to hear. My son's condition since he was taken has deteriorated so rapidly that he'll be lucky if he makes it to his eighteenth birthday. Now, what little childhood Christopher has left, I intend to protect it. OLIVIA: I get that. But Christopher's childhood is not the only one at stake right now. COLONEL BROYLES: (sternly) You're dismissed. Wyatt's Apartment - Draining Youthfulness MAX CLAYTON: (to his masked abductor when he is offered a candy treat) I don't feel good. I want to go home. WYATT TOOMY: (chants) Through suffering comes redemption. Through sorrow comes exaltation. Through the pitch dark comes the cleansing fire, and through the fire, we shall find the spring of new life. (a large metal device is attached to the back of Max' neck) ACT III Broyles Residence - Hard Choices (in Glen Cove, Chris Broyles sits in the family room and listens to a classic pulp fiction radio tale. his father joins his mother in the kitchen) RADIO NARRATOR: ...devotes his life to righting wrongs, protecting the innocent, and punishing the guilty. Cranston is known to the underworld as The Shadow. Never seen, only heard, his true identity is known only to his constant friend and aide, Margo Lane. Today's story... COLONEL BROYLES: Hey. DIANE BROYLES: (looks up from the newscast on the television) Hey. (they exchange kisses) There's been a police officer parked out front all afternoon. So it's true? (concerned) The Candy Man's back? COLONEL BROYLES: Yeah. DIANE BROYLES: Ahem. Do you think he'll try to come back here? COLONEL BROYLES: No. (sincerely) It is just for my peace of mind. How's Christopher? DIANE BROYLES: He's scared. The story about the missing boy's been all over the news today. Did you eat? COLONEL BROYLES: Not since breakfast. DIANE BROYLES: (opens the refrigerator and retrieves some food) Has there been any progress in the case? COLONEL BROYLES: No. One of my agents wanted to re-interview Chris -- Olivia Dunham. She thinks there may be some detail he's forgotten. I told her it was a waste of time. DIANE BROYLES: (hands him the plate of food) I've always liked Olivia. She seems very smart. COLONEL BROYLES: (sips from his bottle of beer) I'm gonna go put him to bed. DIANE BROYLES: He's a strong boy, Philip... strong enough to talk about it... even if you're not. Fringe HQ - Pituitary Science LINCOLN LEE: (joining his team mate with a snack as she studies and thinks) Thought you might be hungry too. OLIVIA: Red Vines? LINCOLN LEE: They're new. Charlie tried them and said they're great. OLIVIA: Thanks. So after the victims were abducted, the kids came back with massive cell degeneration and internal-organ atrophy. All those conditions are symptomatic of old age too, right? LINCOLN LEE: I suppose so. Why? OLIVIA: Well, aging has to do with the pituitary gland, right? Which can be accessed through the back of the neck. LINCOLN LEE: Did you suddenly become a scientist when I was in the hospital? You trying to take my job? OLIVIA: It was an old case that I worked before I joined Fringe Division. This guy was draining hormones from pituitary glands. Anyway, my point is that some of the victims mentioned there were two suspects, one old and one young, but they all said that they never saw the suspects at the same time. LINCOLN LEE: (contemplates) Okay. OLIVIA: Well, what if there weren't two people? What if there was only one person who was literally changing from old to young? What if the Candy Man is stealing youth? LINCOLN LEE: Okay. (thinks) In theory, concentrated pituitary hormones could be processed in some way to accelerate healing, maybe even reverse aging, but - if that's true, it would also cause some serious side effects. OLIVIA: Like what? LINCOLN LEE: Anemia, tremors, hypoglycemia. OLIVIA: High blood sugar? High enough that he could secrete sugar in his sweat? (answers a call on her earpiece) This is Dunham. (listens. nods) Okay, I'll be there. Thank you. LINCOLN LEE: What was that about? Broyles Residence - Meeting Chris DIANE BROYLES: (walks with Olivia from the front door) It's nice to see you again, Olivia. Chris is looking forward to meeting you. Here we are. COLONEL BROYLES: Chris, Agent Dunham's here. OLIVIA: Oh, uh, "Olivia" is fine. It's, uh--it's nice to meet you, Chris. CHRISTOPHER BROYLES: (turns from his keyboard to greet his guest) Hi. (offers to shake hands) OLIVIA: (finds and shakes the hand of the visually-impaired young man) Hi. CHRISTOPHER BROYLES: (as she sits across from a young fan) Did you really save that school bus of kids from a Class-Three Vortex last year? Is it true? OLIVIA: (humbly) Well, I was just doing my job. CHRISTOPHER BROYLES: Oh. that's so cool. So... my mom says you want to talk about the man who took me. OLIVIA: Yeah. Would that be okay? CHRISTOPHER BROYLES: (hesitates. sighs. nods) Sure. OLIVIA: Maybe we could talk somewhere else. Like, where is your favorite place to go? Seaside Stroll - Painful Memories (Olivia and Chris walk along the shoreline. the youngster hangs onto her arm with one hand and clears his path with white cane in the other hand. his father lingers near the car and watches as the two find a place to sit and talk) COLONEL BROYLES: (answers a call in his earpiece) Broyles. SECRETARY BISHOP: (calling from the DoD lab) The Candy Man has had the boy for thirty-six hours. Twelve hours left. How are we doing? COLONEL BROYLES: Nothing yet, but we're working every lead we have. SECRETARY BISHOP: You'll be happy to hear that you'll have your team back together soon. Our Olivia's mission on the other side is almost complete, and we'll be able to bring her home. COLONEL BROYLES: And what about this Olivia? SECRETARY BISHOP: We're going to pull her out of the field tomorrow morning. I don't believe we'll be needing her anymore. Call me if you find anything. (they terminate the call and the Colonel turns to watch his son from afar) CHRISTOPHER BROYLES: My dad says I need to forget about what happened. OLIVIA: Yeah? But it's hard to forget, isn't it? You know, I can imagine what it must have been like for you... how scared you must have been, how much you -- you really wanted to get back to your family, and to your friends. CHRISTOPHER BROYLES: I - I have nightmares about this sometimes. OLIVIA: Really? Could you tell me about them? CHRISTOPHER BROYLES: I always remember the smell first. It's musty, like our attic. He comes to the room wearing a mask to check on that thing stuck in my neck. It feels like... it's stealing my energy. I'm so tired. I feel sick. OLIVIA: Chris, you said that there were two men... one old and one young, right? Did they ever talk to you? CHRISTOPHER BROYLES: No. Nothing I remember. OLIVIA: Chris... What is it? You can tell me. CHRISTOPHER BROYLES: I know the Candy Man's back. OLIVIA: Yeah, he is. CHRISTOPHER BROYLES: (starts to get teary-eyed) He said if I told anyone about him, he -- he'd come back. He said this time... he'd -- he'd hurt my mom and dad. (weeps) OLIVIA: That is not going to happen. (puts her arm around him and comforts him) I promise. Christopher, there is another little boy just like you. He's been taken, and he wants to go home and see his family too. You can help him. CHRISTOPHER BROYLES: (with resolve) I remember their voices. Um, they both said the same thing. I think it was a prayer. OLIVIA: Can you remember the words? CHRISTOPHER BROYLES: Some of the words. "Through the pitch dark... comes a cleansing fire." OLIVIA: Okay. ACT IV Fringe HQ - Prayer Research (with eleven hours and nine minutes remaining to recover Max Clayton) AGENT FRANCIS: (joins Lee in the Situation Room carrying, and reading from, an electronic tablet) ..."through the pitch dark comes a cleansing fire." The words "pitch" and "dark" are common to several sacramental prayers from the early Twentieth Century. Uh, the words appear in the liturgy of over a dozen churches in New York City. LINCOLN LEE: A dozen that we know of. Every time there's another Fringe event, a new church pops up. You know, I thought it was bad enough someone's kidnapping kids. Now we find out he's kidnapping kids for God? Broyles Residence - Positive Note (the Colonel returns with his son and agent, parks in the driveway and holds the door for a happy Christopher) DIANE BROYLES: (steps out of the house) Hi, Honey. CHRISTOPHER BROYLES: (upbeat and excited) Mom, I collected some shells for you. They smell like the ocean. (hands the shells over) DIANE BROYLES: Thank you. Oh, looks like you brought half the beach back with you too. (starts to wipe her messy child) CHRISTOPHER BROYLES: (smiling) No, leave the sand. I like it. COLONEL BROYLES: I'll be right in. (answers a call on his earpiece) Broyles. OLIVIA: He was very, very helpful. Thank you. DIANE BROYLES: Thank you. (returns to the house with her rejuvenated son) CHRISTOPHER BROYLES: (to his mom) Come on. I want to wash the shells off. DIANE BROYLES: Okay. OLIVIA: Bye, Christopher. CHRISTOPHER BROYLES: Bye. OLIVIA: (answers he cell phone) Dunham. HENRY HIGGINS: (over the phone) The boat's called Sally. The Red Hook Marina in Brooklyn -- "B" Dock. Be there tonight at 10:00, and I'll get you where you want to go. OLIVIA: Okay, I'll be there. (hangs-up quickly) COLONEL BROYLES: Dunham. Charlie got a hit on the prayer. They traced it to the Astoria Church in Queens. Astoria Church - Meet The Reverend OLIVIA: ..."through the pitch dark comes the cleansing fire." REVEREND MARCUS: Yeah. "and through the fire, you shall find the spring of new life." It's beautiful, isn't it? OLIVIA: What does it mean? REVEREND MARCUS: I wasn't always a man of the cloth. You know, I used to be a physician. And then the Avian Influenza Epidemic came. My wife became ill. And despite all my training, there was... there was nothing I could do to save her. Without her... I was nothing. I was lost. But then God came and lifted me up, and -- and he showed me that what people need in these troubled times is -- is something to believe in. Faith -- that's what'll heal this wounded world. OLIVIA: The prayer was spoken by the suspect in a kidnapping that we're investigating. We believe the suspect is a member of your church. It will help our investigation if you would give us the names and addresses of all the men in your congregation. REVEREND MARCUS: Giving out information on parishioners is -- is breaking the confessional seal. COLONEL BROYLES: Reverend Marcus, I understand. I too am a man of faith. But right now there's a child missing, and we need your help. We have a former victim who can identify the kidnappers' voices. REVEREND MARCUS: And you believe that this person is reliable? COLONEL BROYLES: He's my son. REVEREND MARCUS: Oh, I'm sorry. (thinks) I can get you the roster from our Men's Group, if that'll help. COLONEL BROYLES: Thank you. (leaving the church with the roster) OLIVIA: There are over forty names on this list. COLONEL BROYLES: We'll have to split up. Call Lincoln and Charlie. Wyatt's Apartment - Saving Max OLIVIA: (talking on her cell phone as she enters the building) No, nothing yet... although this church is full of true believers. One guy actually told me that the Reverend cured his kidney disease. So what about Charlie and Lincoln? COLONEL BROYLES: (over the phone) No luck yet. They've interviewed seven men on the list, and none of them fit the profile. OLIVIA: (approaches the front door of her next interview) Okay, I'm here. I'll, uh-- I'll call you in a bit. (knocks and is received) Wyatt Toomy? Agent Dunham. (flashes her ID and badge) I'm with Fringe Division. I need to ask you a couple questions in regard to an investigation. Can I come in? WYATT TOOMY: Sure. (looks at a picture of Max) Yeah. Saw him on the news. It's real sad. You really think someone from the church may have taken him? OLIVIA: Possibly. Yeah. WYATT TOOMY: Excuse me for a moment. So did you meet Reverend Marcus? (removes food from the stove) OLIVIA: Yes. WYATT TOOMY: He is a miracle worker. Great man. Touched by God. (places his food on the dining room table) OLIVIA: (after they both focus on the child's doll visible on the far side of the room) Do you live here alone, Mister Toomy? WYATT TOOMY: Yep. Just me. OLIVIA: Don't move! (charges after him and gets a door slammed in her face) Ugh! (draws her pistol and calls for back-up on her phone) This is Agent Dunham. I'm at 1068 Kent Street, Apartment Five. The suspect's been sighted. I need backup now, please. (finds a curtained opening at the back of a closet and enters a hidden room. the abducted child rests on a bed) Max. Hi. Uh, I'm with the F.B.I. Are you okay? Okay. (notices the device on the back of Max head) Oh. (Wyatt Toomy charges in with a sawed-off shotgun. Olivia fires into him several times, ending his attack) Hey, (to Max) you okay? You sure? Alright. (hugs the boy tightly) ACT V Wyatt's Apartment - Aftermath OLIVIA: (standing near Toomy's corpse. to her boss) The paramedics took Max to the hospital. His mother's gonna meet him there. The Super said that Wyatt Toomy had been living here for almost nine years. Kept to himself, always paid his rent a week in advance. AGENT FRANCIS: (from the another room) Hey. You guys should take a look at this. COLONEL BROYLES: (joins his agents) Have you figured out what he was doing? LINCOLN LEE: (standing over a bench of equipment and distiller) We won't know exactly until we get this back to the lab, but my guess is Olivia was right. COLONEL BROYLES: About what? LINCOLN LEE: Seems he was making some kind of age-regression serum. (hands over an ID with the image of an older Wyatt) He was extracting hormones from the kids and giving them to himself. OLIVIA: Your son was right. There was a young and an old suspect. It's just that they were the same man. AGENT FRANCIS: This guy worked in sanitation. How'd he figure out how to do all this? (loudly to surrounding agents) Alright, let's bag and tag it. COLONEL BROYLES: (somberly to Olivia) I won't forget what you did here. LINCOLN LEE: (to Olivia, after the Colonel walks away) Hey. When you're done here, you want to join me and Charlie for a beer? We get a lot of bad days. We got to celebrate the good ones. OLIVIA: No, thanks. (pats him on the arm) I'm going home. Red Hook Marina - Late For Her Date OLIVIA: (approaches a smaller commercial vessel) Hey. HENRY HIGGINS: You're nineteen minutes late. I had one more minute, and I was out of here. OLIVIA: Wow, you really think this thing is gonna take us across the harbor? HENRY HIGGINS: Don't worry about the boat. Worry about the patrols around that island. OLIVIA: Hey Henry, I know I'm asking a lot of you if you want to back out... HENRY HIGGINS: Come on. Let's just get it over with, okay? OLIVIA: You want me to cast us off? HENRY HIGGINS: What? (befuddled) OLIVIA: Do you want me to untie the boat from the dock? HENRY HIGGINS: Oh, yeah, yeah. Do that. Yeah. OLIVIA: Henry, you have done this before, right? HENRY HIGGINS: Want to know the truth? OLIVIA: Yeah. HENRY HIGGINS: Water scares the hell out of me. (trying to convince her as much as he is trying to convince himself) Look, don't worry. My cousin ran me through everything I need to know. We'll be fine. Just do that -- that casting thing. What's wrong? OLIVIA: Someone had to teach you how to do it. HENRY HIGGINS: Yeah, so what? I told you I'm not a boater. COLONEL BROYLES: (from his office. calling home and leaving voicemail) Hey, Hon. When you hear this, give me a call. I shouldn't be here too much longer. (hangs-up and immediately answers an incoming call) Hey, I just left you a message. OLIVIA: (calling from dockside) Hey. Uh, I think we were wrong. Wyatt Toomy was not a scientist. He needed someone to show him how to make the serum. COLONEL BROYLES: Who? OLIVIA: Reverend Marcus. He said that he was a doctor. I think that's how he's been healing his congregation. He's been dosing them. Wyatt was working for him. COLONEL BROYLES: Dear God. OLIVIA: Well, Christopher was right all along. There really were two suspects. COLONEL BROYLES: (hurries to leave the office and rush home) I told Reverend Marcus Chris could I.D. the voices he heard, and now my wife isn't picking up the phone. OLIVIA: Okay, I'll meet you at your house. (hangs-up turns to her cabbie) Henry, I gotta go do something. Can you promise me that you will wait for me? Please? HENRY HIGGINS: Where the hell are you going? Broyles Residence - An Intruder (Christopher rests in bed and is jolted awake by his mother's scream. in the living room, a masked man gags Diane Broyles until she passes out. the intruder enters the young man's room and finds the bed empty. he starts to search the rest of the house) REVEREND MARCUS: (announcing to whoever can hear him. Chris hides behind a grill) You want to play hide-and- seek, young man? I'll find you. God wants me to find you. I'm simply carrying out his plan. Take comfort, Christopher. You gave so much of yourself to help heal others. (walks past the boy's hiding place) We all have to make sacrifices for the common good. CHRISTOPHER BROYLES: (as the intruder pulls him from the cabinet he was hiding in) No! No! No! No! No! No! COLONEL BROYLES: Hey! CHRISTOPHER BROYLES: Let go of me! COLONEL BROYLES: Chris! (fires at, and hits the masked intruder) CHRISTOPHER BROYLES: Dad. (runs to safety and a hug) COLONEL BROYLES: You're safe, son. You're okay now. (holds his tearful child tightly) ACT VI Regional Hospital - Victim Recovery (the Broyles family congregate and console one another in a recovery room) HENRY HIGGINS: (calling from the docks) Where are you? It's been an hour. What's the deal with you? OLIVIA: (answer the question out of earshot of her boss) I'm leaving now. Just give me fifteen minutes. HENRY HIGGINS: Make it fast. I'm starting to get seasick. (ends call) EMILY CLAYTON: (approaches in the hallway) Agent Dunham? I thought that was you. OLIVIA: Missus Clayton, how is Max doing? EMILY CLAYTON: Doctors think you got there just in time. Now, he hasn't been able to stop talking about you. It'd really mean a lot if you could say hi. (joins her son in his room with a visitor) Hey, Max, someone's here to see you. MAX CLAYTON: Hi. OLIVIA: Hi. (joins him on the bed) How are you feeling? MAX CLAYTON: Much better now. OLIVIA: That's good. You're a real brave kid, you know that? MAX CLAYTON: Well, not as brave as you. Can I ask you a question? OLIVIA: Sure. MAX CLAYTON: What's F.B.I.? OLIVIA: F.B.I.? (taken aback) Where'd you hear that? MAX CLAYTON: Well, you said it when you saved me. Remember? You said you were F.B.I. OLIVIA: Oh. F.B.I.'s just another word for police. MAX CLAYTON: Well, then when I grow up, I want to be F.B.I. too. OLIVIA: That'd be nice. (upbeat) Now, you should get some rest, because it's late. MAX CLAYTON: Okay. OLIVIA: (turns to see the Colonel eavesdropping from the doorway) Bye. MAX CLAYTON: Bye. OLIVIA: (joins her boss in the corridor) How's your wife and son? COLONEL BROYLES: They're gonna be fine. In fact, the doctors are gonna take a look at the serum Wyatt Toomy was synthesizing. It may have some healing potential for Christopher and the other victims. OLIVIA: Well, that's great. Maybe some good could come out of all this. COLONEL BROYLES: Dunham... the F.B.I. ceased to exist over a decade ago... at least on this side it did. You know who you are, don't you? OLIVIA: (realizes she has been discovered) What happens now? COLONEL BROYLES: (pauses) Now... I'm going home. New York Harbor - Final Fare (Henry taxis the vessel to within a few hundred yards of Liberty Island and shuts down the engines) OLIVIA: Henry, don't worry. Just stick to the same bearings on your way out, and you won't run into any of their patrols. HENRY HIGGINS: What makes you so sure? OLIVIA: 'cause I memorized the routes when I escaped from there. HENRY HIGGINS: How you plan on getting up there? OLIVIA: (stares at the well-lit statue of Lady Liberty) I'll manage. Thank you... for everything. HENRY HIGGINS: Hey, I just borrowed a boat. OLIVIA: No. You believed in me. HENRY HIGGINS: You got me all the way the hell out here. You might as well tell me -- where is it you're from? OLIVIA: I'm from a parallel universe. (dives into the dark waters from the stern of the ship and begins to swim to the island) Liberty Island – A Break-In RADIO CHATTER: Copy that. (as Olivia scales the dark seawall to the government facility, scales the chain link fence and avoids detection by the security detail. Inside, she continues toward Brandon's lab, hides from the patrolling military personnel and uses her key card to access the lab) SECRETARY BISHOP: (sitting in the back of his vehicle as it is driven, he answers the call on his earpiece) Yes. HEAD MP: (over the phone) Sir, there's been a security breach. Someone's accessed the lab on Liberty Island. (inside the lab, Olivia initializes the tank, secures the drugs she needs, then injects them into her forearm, dons a respirator and enters the tank. after a few seconds with her eyes closed, she materializes in the gift shop on Liberty Island in this universe. she quickly looks around then heads to the doors to leave. delayed by the locked doors, she gets some company) CLEANING LADY: (walking out from a back room) Ma'am, what are you -- we're -- we're closed. OLIVIA: I'm sorry. I was just, uh... would you be able to let me out? (politely. then worried as she starts to phase in and out between universes) No, no. Please, this can't be happening. I'm not gonna hurt you. I need you to listen very carefully. What I'm going to say is gonna sound insane, but I need you to do something for me. (back in the tank in the alternate universe she struggles underwater as the security detail reaches in to pull her out) No! No! No! Please. Please, I don't belong here! SECRETARY BISHOP: (stern order) Sedate her. OLIVIA: (fiercely resisting) Oh, God! Please let me go! Olivia’s Apartment – Cozy Time (friends with benefits, Bolivia and Peter, are curled-up under the covers as the classic movie Casablanca plays on the TV. Bolivia dozes while Peter watches) RICK (on-screen): Who are you, really, and what were you before? What did you do, and what did you think, huh? ILSA (on-screen): We said 'no questions'. PETER: (softly to the woman resting on his arm) You know, I can turn it off if you want to go to sleep. BOLIVIA DUNHAM: (woozy) I'm just resting my eyes. PETER: Right. Otherwise known as sleeping. BOLIVIA DUNHAM: Oh, don't you want to see how it ends? PETER: I've seen this movie about a hundred times. BOLIVIA DUNHAM: Oh. PETER: (in serious disbelief) You're honestly telling me you've never seen Casablanca? BOLIVIA DUNHAM: (wild guess) I've heard of it. It's, uh -- It's Ronald Reagan, right? PETER: (laughs) No. It's Humphrey Bogart. BOLIVIA DUNHAM: Oh. I was kidding. Okay, so let me guess. They, uh -- they end up running away together, and -- and they live happily ever after? PETER: Actually, no. She leaves him at the airport, and they never see each other again. BOLIVIA DUNHAM: Oh. I thought you said it was a love story. PETER: Well, aren't all the best love stories tragedies? BOLIVIA DUNHAM: Only in the movies. (chuckles) Come on. (snuggles) Let's go to sleep. (kisses) PETER: Good night. BOLIVIA DUNHAM: Good night. PETER: (turns out the light and gets a call on his phone) Oh, you've got to be kidding me. (answers) Hello? Walter, is that you? I can hear you breathing. CLEANING LADY: (calling from Liberty Island) Is this Peter Bishop? PETER: Yes. CLEANING LADY: (distressed) I'm calling from New York. I know this is gonna sound crazy, but I just saw a woman disappear in front of my eyes. PETER: Who is this? CLEANING LADY: Her name was Olivia. She has a message for you. She's trapped in the other universe. (hangs- up)

308 - PROLOGUE Olivia's Apartment - Busted PETER: (gets a call on his phone while curled-up with Bolivia Dunham in bed) Oh, you've got to be kidding me. (answers) Hello? (listens) Walter, is that you? I can hear you breathing. CLEANING LADY: (calling from Liberty Island) Is this Peter Bishop? PETER: Yes. CLEANING LADY: (distressed) I'm calling from New York. I know this is gonna sound crazy, but I just saw a woman disappear in front of my eyes. PETER: Who is this? CLEANING LADY: Her name was Olivia. She has a message for you. She's trapped in the other universe. (hangs- up) BOLIVIA DUNHAM: Who is it? PETER: (hesitates) Apparently I'm eligible for unprecedented savings. BOLIVIA DUNHAM: Unprecedented savings at Midnight? PETER: Well, it's never too late for savings. BOLIVIA DUNHAM: Apparently not. I think that you should save their number and call them back when they're sleeping. PETER: Blocked. BOLIVIA DUNHAM: Oh. (Peter lays awake for several hours, waiting. he slips quietly from the bedroom and starts to inspect items in the drawer. he continues looking in a file box and a card index. he studies a small sheet of cheap, romantic, carnival images they took together. he picks-up her laptop computer, sitting near his identical laptop, and moves to where he can keep an eye on her as she sleeps. he attempts to open the password secure files with no luck. he is joined in the family room) BOLIVIA DUNHAM: What you doing? PETER: (bleary-eyed lie) Just sending an e-mail. BOLIVIA DUNHAM: At two-fifteen? PETER: Well, it's not two-fifteen in Greece. Thought I'd catch up with a friend in Corinth. BOLIVIA DUNHAM: You got a friend in Corinth? PETER: Yeah. And like he always says... Einai kalytero anthropo apo ton patera toy. BOLIVIA DUNHAM: What does it mean? PETER: It means, be a better man than your father. His dad's not great at communicating either, so we have that in common. I thought I'd stay in touch. BOLIVIA DUNHAM: Oh. I'm going back to bed. You coming? PETER: Yeah, I'll be right there. I'm just gonna grab a glass of water. BOLIVIA DUNHAM: Okay. (Peter opens and closes the cabinet demonstratively. then returns to find Bolivia leveling her pistol at him) BOLIVIA DUNHAM: I failed the test, didn't I? What did it mean? The Greek phrase. PETER: It meant exactly what I said it meant... but it was Olivia who said it to me, not some friend. BOLIVIA DUNHAM: How'd you figure me out? It had something to do with that phone call, didn't it? PETER: How'd you do it? How'd you replace our Olivia? You were with us when we came back from the other side, weren't you? BOLIVIA DUNHAM: You have a lot of questions. I understand. But you can understand that I can't give you the answers. PETER: This from the woman standing in front of me in pajamas who just shared the same bed with me. I guess answers is where you draw the line. BOLIVIA DUNHAM: It's not realistic to think that I wouldn't do what I came here to do. (tosses him a small case with a vial and a syringe) PETER: (studies the vial) Is this gonna kill me? BOLIVIA DUNHAM: (as he sits to inject himself) Not if you do it right. Five cc's should be enough. PETER: So why are you here? What was the assignment? That's alright. (fills syringe) I wouldn't tell me either. 'cause if you're telling the truth and this doesn't kill me, the last thing you want me to have is information. BOLIVIA DUNHAM: You gonna come after me? You gonna kill me? PETER: No, I'm gonna get answers. And if I find out that you did anything to Olivia, then I'm going to kill you. (injects his arm) BOLIVIA DUNHAM: (whispers to him as he starts to fade and blur) The effects of the paralysis will wear off in a few hours. Typeset Antiques - Surprise Visit STORE OWNER: (startled from behind as he arrives and unlocks the front door of the business) Holy -- Oh. (inside, he opens the cash drawer on the register, takes the key to the covert communications room in the back, then hands it to Bolivia. she sits and types her mission situation on the Selectric 251) COVER BLOWN. EXTRACTION NEEDED ACT I Olivia's Apartment - Aftermath FBI EMT: Any nausea? PETER: (answers gingerly as he sits and is tended to) Yeah. Bit of a headache too. FBI EMT: On a scale of one to ten? PETER: Tequila hangover or something like that. BROYLES: (enters. disappointed) Eight weeks... and none of us suspected anything. Did she give you any indication at all where she was headed? Anything you might have overlooked? PETER: Not that I could think of. FBI EMT: I'll get these to the lab, sir. WALTER: I'd like some samples sent to my lab as well as quickly as possible. PETER: Any luck running that call that came in to my cell phone? BROYLES: All we know is that it was made from a Manhattan pay phone at twelve twenty-one A.M. There's no way of knowing who placed it. WALTER: Odd. It seems that Olivia was able to cross over momentarily, but unable to stay here. PETER: Well, we got to get her back. So how do we get over there, Walter? WALTER: Crossing over is out of the question. Not without Olivia's help. But there may be something I haven't thought of yet. BROYLES: Peter, you said she administered the paralytic at two fifteen A.M. Now what were you doing here at two fifteen A.M.? WALTER: (bumbling interception of the question. lying) Olivia called our house. She thought she heard someone trying to enter her apartment. And of course-- PETER: Walter, you don't have to cover for me. Since we came back from over there, Olivia and I became something more than friends. BROYLES: (genuinely did not know) I see. WALTER: It's perfectly understandable, son. In the 'Seventies', I innocently wandered into the wrong home and it was three days before I realized my mistake. And unlike Olivia, the woman with whom I was sharing a bed didn't look like my wife at all. PETER: (suddenly realizes) She took the wrong computer. I was searching her computer last night and she caught me, but I convinced her that it was mine. BROYLES: What's on it? PETER: I don't know. It was encrypted. (shows everyone the passworded screen) BROYLES: (barks into the other room) Hernandez, I want access to every file on this computer. Typeset Antiques - Sour Grapes STORE OWNER: (bitter and complaining) That's what they do, isn't it? They make you wait for 'em. I've been waiting... for seven years. Your kind isn't so good at keeping promises. But I guess you've got it all under control. (Bolivia slams her portable computer closed after realizing she grabbed the incorrect one from the apartment) Liberty Island - Pending Doom (Colonel Broyles arrives at the DoD facility on the island and heads inside for his meeting with Secretary Bishop) BRANDON FAYETTE: (standing before the Secretary while he sits at his desk and studies the latest communique) Agent Dunham hasn't completed her mission yet. SECRETARY BISHOP: No, but we can't worry about that now. We need to provide her with an extraction point. BRANDON FAYETTE: Well, sir, last time we swapped an entire steel bridge with you on it. SECRETARY BISHOP: (sternly) The principle is the same. You simply need to narrow the harmonic field to focus on something smaller. A single person. We'll use the girl. I've gotten all we need from her and obviously they have equivalent mass. Pull your team off whatever they're doing. I need a time and a location for Agent Dunham. BRANDON FAYETTE: (candidly) Alive or dead? How do you want to send back their Olivia? Alive or dead? Because I feel there are very valuable parts for study and I would just have to replace her mass. (leaves the office shortly thereafter and finds the next visitor... to Colonel Broyles) He's ready for you. SECRETARY BISHOP: (once Broyles has joined him in his office) Someone helped her get past our patrols onto this island. Whoever the traitor is, they don't understand our goals. To save our world from destruction. Our people. Our families. I know that you know this as well as I do, Philip. For the past twenty years, our world has been breaking apart because of what they did. And now with what we've discovered about how that girl crosses over, we are about to turn the tide. Only one world can survive. And finally we have made strides so that it can be ours. (hands Broyles a cocktail) Our Olivia will be returning shortly. Her mission over there was a success. COLONEL BROYLES: (toasts, ironically) To her safe return. (in the corridor, after Broyles passes her room, two orderlies drag Olivia out) OLIVIA: (fiercely resisting) No! No! No! No, please! No! No! (turns and sees a disheartened Broyles staring at the commotion) Please, please, please help me! I -- Let me go! I can't-- (as she is hauled away) ACT II Walter's Lab - Missing Component (what is left of the science team brainstorms the possibilities and laments at the deception they suffered) OLIVIA: (on a digitally recorded video just days after the she liberated Walter from Saint Claire's in 2008) Despite his obvious eccentricities, Doctor Bishop has been very helpful. BROYLES: (on video) And Peter? OLIVIA: (on video) He's been helpful too. I like him. PETER: (to the team) So this is how she learned about us? Is there anything in there about how she communicates with the other side? ASTRID: So far, besides Olivia's debriefs, just files on all the cases we handled. WALTER: I'm a fraud. A failure. Four hours of intense meditation augmented by a precise two-gram dose of Brown Betty and I've got nothing. There is no way to cross over safely. I'm afraid I have failed you. I am sorry. And I have failed Olivia. PETER: Walter, you haven't failed us or her. (to Broyles as he enters the lab) Any news? BROYLES: So far, our task force has recovered seventeen pieces of Walternate's device. Five-thirty this morning, the other Olivia used her clearance to access the aircraft hangar where they're being stored. She took this. (hands a photo of one of the device components to Peter) PETER: Well, that explains why she's here. Walternate couldn't find all the pieces to the machine on the other side. (walks to his bulletin board covered in drawings, images and blueprints) So he must have sent her over to retrieve it. BROYLES: What if her mission is complete? PETER: Then she may be going home. BROYLES: (to Peter) And not only may Walternate be able to complete this device, but if we lose her, we lose our chance to use her to get Olivia back. (to Walter) Doctor Bishop... any thoughts on how she would cross to the other side? WALTER: No. Nothing. (somberly eats one of the malassada pastries that Bolivia recently brought to cheer him up) And I have no idea how to bring our Olivia back. It's all because of that temptress. She tricked my son with her carnal manipulations and he fell right into her vagenda. ASTRID: Vagenda? WALTER: Like Mata Hari using her feminine wiles to accomplish her evil ends. And I too fell prey. She used my stomach to get through to my heart. ASTRID: (studies the pastry box brought by Bolivia) Hey, Walter... didn't she tell you she always brought these back when she went to the Federal Building? This bakery is in The Bronx. (to the group) Why would she go there? PETER: Because she must know somebody there. BROYLES: Let me see that address. Typeset Antiques - New Instructions (Bolivia returns to the sequestered communications room when the typewriter becomes active. she removes the letter and learns what she needs to do next) BOLIVIA DUNHAM: (joins the store owner upfront) You want new legs? There's one more thing I need you to do for me. The Bronx - Area Search (Broyles drives and stops close to the bakery. the Bishops help him explore the neighborhood and interview the locals) PETER: So why would she be coming here? (scanning the area) BROYLES: (hands-out photos to use) Let's split up and show her picture around. WALTER: (eager to help) I'll take the pastry shop. Typeset Antiques - New Instructions STORE OWNER: (as Peter enters the shop) Help you? PETER: Yeah, I hope so. I'm looking for a woman who frequents this area. You've seen her before? (holds up photo) STORE OWNER: (casually) No. Can't say I have. PETER: You sure? STORE OWNER: Yeah. PETER: (starts looking around the shop) Typewriters, huh? Seems like kind of a high-rent area to be selling something so retro. STORE OWNER: People come from all over the city. I specialize in stuff that's hard to find. PETER: (turns and sees his laptop computer resting nearby) Yeah, I can see that. I can also see my computer right here. (in the communication room after Walter and Broyles have joined the interview) STORE OWNER: Hey, they promised me new legs. BROYLES: (to the owner after looking at the Selectric 251 typewriter) How does it work? STORE OWNER: I don't know. No, really, I don't. They just come here. WALTER: (opens the machine and starts inspecting) It's a quantum entangled telegraph. It's a machine that could communicate between universes. It's fascinating. PETER: (starts to remove the ink ribbon) Well, if it works anything like a normal typewriter-- (reads the tape) ...WELL DONE. INITIATE. PHASE TWO ...NEEDED. PENN STATION. NEWARK, NJ PETER: Penn Station. Newark. Manhatan - Afternoon Drink (Colonel Broyles sits in a moderately somber bar, at the counter, while he and a few dozen other patrons watch footage on the big screen television of a disastrous Fringe event from two decades earlier, to the day. An alternate version of Ray Orbison's song "You Got It" plays in the bar.) BARTENDER: (sees the Fringe Task Force ballcap on the counter as the Colonel starts to pay and leave) Oh, no, no, no. Your money's no good here, sir. Times are tough. It's nice to know we have heroes. COLONEL BROYLES: Thank you. Liberty Island - Swaying Allegiance (Olivia gets a visitor in her small holding cell as she sits on the floor and dabbles with her food) COLONEL BROYLES: I wanted to come and see you. Thank you for not giving me up. You easily could have. OLIVIA: How is your son? COLONEL BROYLES: He's sleeping through the night again. We owe that to you. I want you to know that I realize that. Is there anything I can do to make you more comfortable? OLIVIA: That's not why you're here. You're here to make yourself more comfortable. COLONEL BROYLES: Maybe. OLIVIA: Do you know what they're gonna do to me? (pulls back her bangs) Why I have these marks on my forehead? They're sending me back. They're gonna swap me for your Olivia. But they're gonna kill me first. They're gonna cut out my brain... and study it. (begs) Please help me. If you can get me out of here, I can get myself home. COLONEL BROYLES: I can't. My world is dying because of what your side is doing to us. If I help you escape -- OLIVIA: No. Despite what you think, my universe is not at war with yours. This all began because a man came over here to save a boy and twenty-five years later, I came back to save that same boy. But if you let me die, then we will strike back and we will fight. But if you let me go, both universes can survive. There must be another way and I promise you I will find it. Two floors up, there's a lab there. If you can get me in there, then I can get myself back home. COLONEL BROYLES: And if you're lying? You'd say anything right now because your life depends on it, but what if your side has every intention of our destruction? Am I supposed to just hope you're telling me the truth? OLIVIA: If you don't trust me... then there is no hope. (a technician enters the cell and prepares an injection) COLONEL BROYLES: I'm sorry. OLIVIA: (tugs on his jacket) Please. Please. (watches as he exits, turns to contemplate her situation, then turn and walk quickly away) ACT III Nature Walk - Spousal Support DIANE BROYLES: So are you gonna tell me? Or are we gonna keep on pretending that there isn't something on your mind? COLONEL BROYLES: I have a decision to make. DIANE BROYLES: Okay. COLONEL BROYLES: Remember when I joined Fringe Division? DIANE BROYLES: Mm-hmm. COLONEL BROYLES: Two weeks into the job, we had that vortex in the East River. A hundred and sixty-five people swallowed up. Half of 'em kids. And it's gotten even worse since then. Now we may actually have a chance to start to put our world back together. Fix it. Only thing is, to do that, We're gonna have to go to war. A lot of lives will be lost. An unimaginable number. And I don't know if I can live with that. There may be another option, but it could put everything at risk. Either way, who am I to play God With other people's lives? Who am I to make that choice? DIANE BROYLES: Twenty years ago, I knew that you were the right man to protect our world. After all these years, I've never stopped believing that. I think this world is in as much pain as it can stand. We need to restore hope. Race To Penn Station BROYLES: (on his cell phone as he drives quickly) Tell your people she's armed and dangerous, but she has to be taken alive. She may be the only chance we have to recover our agent. COMMAND POST: (on phone) Understood, sir. BROYLES: Good. I'll call you when we get close. (hangs-up) Doctor Bishop, any thoughts? WALTER: Several. Not many of them pleasant, however. BROYLES: I meant do you have any idea why she's headed to Penn Station? Do you think she's trying to cross to the other side? Is there a soft spot there? WALTER: No. Not as far as I know. BROYLES: Peter, we'll get her. And we're going to bring Olivia home. PETER: Glad you're feeling so confident. BROYLES: She was strong enough to get us a message. And if there were anyone I would bet on to survive over there, It would be her. Liberty Island - Brandon's Lab BRANDON FAYETTE: Spin her. What's her heart rate? OPERATING ASSISTANT: Sixty resting. Should I give her more sedative? BRANDON FAYETTE: No, if her heart rate lowers any more, we won't be able to preserve her organs. Why don't you go prepare the coolers in the receiving room? (activates bone saw. responds to intruder at the door) Excuse me! You're not allowed to be -- {shot/darted by muffled weapon) COLONEL BROYLES: (to Olivia after he flips her upright and starts to release her restraints) We don't have much time. We have to get out of here. Come on. Get up. (prepares a large syringe of adrenaline) OLIVIA: (disorientated) You came back for me. COLONEL BROYLES: Don't thank me yet. I have to give you adrenaline. OLIVIA: Oh, no. Please don't don't do-- (as the syringe punctures her sternum) --Ah! ... (later, after she sprints down the corridor and they enter an elevator) Whew! Man, that hurt. COLONEL BROYLES: Sorry. OLIVIA: Don't be. COLONEL BROYLES: The ground floor? What's there? OLIVIA: The lab. They have a deprivation tank there. COLONEL BROYLES: And that'll help you cross over? OLIVIA: Yeah, it's something to do with the lack of sensory input. (Brandon's assistant returns and finds his dead body in the dissection lab) COLONEL BROYLES: What is it? (studies a container holding several intravenous drip bags with her name on them and a reddish fluid inside) OLIVIA: I'm not positive, but I think it's Cortexiphan. COLONEL BROYLES: What's that? OLIVIA: It's a long story, but if I'm right, this is why they stopped their experiments on me. 'cause they found what they needed and it could help your people cross over to my side. (unveils the tank) They emptied the tank. I - I - I can't cross over. (as the security alarms blare) ACT IV Brandon's Lab - Fleeing The Island COLONEL BROYLES: (as the alarm continues to blare) Come on. We have to go. OLIVIA: No, you've done enough. Now if I can just get to the other side of the island, then maybe I could swim for it. I've done it before. Then I've got to get to Boston. COLONEL BROYLES: What's in Boston? OLIVIA: The Secretary has a lab there at Harvard just like my Walter Bishop on the other side. COLONEL BROYLES: And your Walter has a deprivation tank, so you think the Secretary may have had one too? OLIVIA: (collects some Cortexiphan to take with her) Well, they're genetically identical, so they think alike and, yeah, it's possible. I can't think of anything-- COLONEL BROYLES: They've changed the harbor patrols. You'll never make it. But I can get you there. Come on. Rainy Day - New Plans SECRETARY BISHOP: (answers call on his earpiece) Hello? COMMAND POST: (over the phone) Sir, there's been an incident at Liberty Island. SECRETARY BISHOP: What kind of incident? COMMAND POST: Olivia Dunham is gone. Penn Station - Capturing Bolivia COFFEE VENDOR: Here you go. Best coffee West of the Passaic. You want cream and sugar? BOLIVIA DUNHAM: No. You can keep the change. LUKE: (approaches from behind as she sips her beverage) Some things are gonna be hard to leave behind. Come on. Time for you to go home. (inside a public restroom, after they have secured it with closed for maintenance signs) You know, I sometimes dream about it. The other side. (as he prepares an injection pistol) Sadly, for my kind, coming here is a one-way ticket. BOLIVIA DUNHAM: I thought your kind didn't care. LUKE: Give me your right hand. Palm up. (swabs the palm) Eight identities in the last five years, but this has been my favorite. (looks in mirror) I seem to be a big hit with the ladies. You may want to close your eyes. BOLIVIA DUNHAM: (as he injects her) Ah! BROYLES: (after parking amid the gathering law enforcers outside of the station) Have you spotted her? LEAD COP: No. There are six entrances to the building. We've got a team on each one of them. BROYLES: (hands a pistol to Peter) Don't shoot yourself. WALTER: (sincerely) No gun for me. BROYLES: (flatly) Good idea. (as they enter the station) LUKE: (still in the restroom. finishes the second injection) Okay, turn around, lift up the back of your shirt. BROYLES: (in the lobby spaces the gathering officers) Let's split up. You three, with me. LUKE: (preparing the third injection with Bolivia bent over a wash sink) The transfer's scheduled for four o'clock. That's in precisely twenty-three minutes. CAPTIVE MOM: (not yet in peril. barges into the restroom) Oh, I'm sorry. I know you're cleaning, but I really have to -- (sees what she is interrupting) PETER: (spots Luke and Bolivia as they exit the restroom) Dunham! Freeze! (Bolivia fires into the air and starts a panic in the crowd. over his tactical radio) I got her. She's in the Northwest bathroom. (once he is joined by Broyles and back-up) She's in there with another guy. (points across the lobby) BROYLES: (over his tactical radio) I want two teams. One from the West and one from the East. BOLIVIA DUNHAM: (dragging her freshly shifted accomplice along as a human shield/captive mom) Okay. Put your guns down or I will shoot her. Put your guns down or I will kill her! BROYLES: (to the team) Put 'em down. UPSET DAUGHTER: (screams and runs toward Bolivia's human shield she thinks she knows as her mother) Oh, my gawd. Mom! Mom! BOLIVIA DUNHAM: Don't you make me kill her. UPSET DAUGHTER: Mom! PETER: (changing the shifter for personal knowledge) What's your daughter's name? Your daughter's name! What is it? (hesitates. studies the target and fires into its' forehead. mercury begins to spill from the wound) UPSET DAUGHTER: Mom! (thinking she just saw her mother killed) BROYLES: (to Bolivia) Drop your weapon now! (to his agents) Take her. PETER: (later, during clean-up) Where is she? Where's Olivia? Tell me how we get her back. BOLIVIA DUNHAM: I don't know. That wasn't part of my assignment. Listen, whatever happens to me, I want you to know that this started out as an assignment, but it became... PETER: ...something more. That would be so much easier to believe if you weren't in handcuffs right now. UNIFORMED COP: Mister Bishop? PETER: Yeah? UNIFORMED COP: We found this in the bathroom. (soft case baggage) No sign of the component she stole, but we also found the second body. PETER: Thank you. (takes the bag and finds the sheet of 'couples photos' they took together) ACT V Harvard Lab - The Door Home (Olivia and the Colonel arrive at Secretary Bishop's abandoned lab and Olivia finds the tank straight-away) BROYLES: (as they study the old piece of equipment) So what do we do now? OLIVIA: (after filling the tank with water and solubles to help her float) Okay, I think that's it. (Broyles prepares the Cortexiphan) TACTICAL TEAM: Move in. Go, go, go! (approaching the lab rapidly) OLIVIA: (hears the raiding team approach) They're here. How did they find us? COLONEL BROYLES: Subcutaneous tracker. (displays the small lump in his wrist) I'm too important to lose. Look, I've seen war. But if what you're saying is true, In the end, I have to believe in hope. Please make this worth it. Go! (closes the doors to the tank after she enters.) DoD MP #1: Colonel Broyles, you are under arrest. Where's the girl? Freeze! Don't move! She's in the tank! Open it up! (Olivia bolts when something seems to have changed) Walter's Lab - Unexpected Visitor ASTRID: (turns and looks at the tank as the doors start to open and the water inside sloshes. drops her lab supplies at the sight.) Olivia? (Olivia collapses to the floor) Olivia! Oh, God. Penn Station - Prisoner Transport BROYLES: (briefs an aid as Bolivia is cuffed into the transport truck) I want a three-car escort, half-mile buffer zone all the way to Boston. WALTER: Hmm. PETER: "hmm" what? WALTER: These look familiar. (studies the pins that were with the shapeshifters injection gun) PETER: Familiar how? WALTER: I don't know yet. (alone and secured in the paddy wagon, Bolivia's hands begin to glow orange/red at the injection sites WALTER: (taps one of the pins he has been studying and listens to it resonate) E minor. It's pretty. BROYLES: (returning from his call) That was Astrid. Olivia's back. PETER: (amazed. yuh) She's what? BROYLES: Apparently she crossed over into your father's lab. Astrid's with her. They're in an ambulance on their way to Boston general. PETER: Why Boston General? Is she okay? BROYLES: They think she had some kind of seizure. PETER: Alright, I'm going to see Olivia. WALTER: (still focused on the pin) Peter? PETER: Walter, just stay-- WALTER: No. I remember why this is familiar. They're harmonic rods. Like Belly and I used to use to help objects cross between universes. And this was found in their Olivia's bag? PETER: Yes. (the ground rumbles and Bolivia's transport truck shakes from side to side. then with pistol drawn as he and Walter find the contents of the truck that replaced Bolivia) Broyles! Broyles, stop. I don't think you want to see this. (he does. he meets the mangled, maimed and scorched alternate universe version of himself) Fringe HQ - Bolivia's Return LINCOLN LEE: (catches her as she strolls in from the elevator lobby) Hey, Liv, check this out. No more pain. No more burns. I'm as good as new. It's like nothing ever happened. BOLIVIA DUNHAM: Just like nothing ever happened. AGENT FARNSWORTH: Excuse me, Agents. Have you seen Colonel Broyles? He's late to work this morning. LINCOLN LEE: Have you tried calling him? AGENT FARNSWORTH: Yes, I tried calling him at home too and his wife said that he did not come home last night and that is very unlike him. (Phillip Broyles studies and tends to his counterpart in the morgue and closes the eyes of Colonel Broyles) New Walking Sticks STORE OWNER: (in a quiet reading space lined with books and storage files, the antique typewriter salesman prepares for the treatment he was promised. nervous as a big syringe is prepared) I've never been a big fan of needles. Doctors, needles, hospitals. THE LIBRARIAN: Make a fist. STORE OWNER: You know, when you're a kid and you're sick, You know, you just -- you come to hate 'em all. (barely tolerates the injection) Oh. THE LIBRARIAN: Go ahead. Try 'em out. STORE OWNER: That's it? THE LIBRARIAN: Only one way to find out. STORE OWNER: (finds his way to his feet and manages to walk without the aid of his crutches) Wow. Thank you. THE LIBRARIAN: Thank you. (takes out the ancient component that was just delivered to him and studies it) Boston General - Grateful Reunion OLIVIA: (groggy) Peter. PETER: (humble) I'm sorry, Olivia. OLIVIA: Don't apologize. You were the only thing that got me through. If it wasn't for you, I would never have made it back. You saved my life. (he leans forward and kisses her on the forehead)

309 - PROLOGUE Busy Train Station - Dosed (a mild-mannered, well-dressed, gentleman waits for his target to depart the train that has just arrived. he follows him closely with his umbrella in-hand) PUBLIC ANNOUNCER: Final boarding call for Eastbound Express on Track 18. Final boarding call. Eastbound express, Track 18. GRANT RUSSO: (after getting tapped in the side of leg with the umbrella) Excuse me. ROLAND BARRETT: I'm sorry. So, so sorry. Russo's Residence - Not Well (Russo makes it home while the man who taped him with his umbrella waits outside for him to succumb to the drugging he induced) ROLAND BARRETT: Yes, hello. Sure. Yes, uh, there's a man here in need of medical attention - - 5776 Dower Street. Yeah, he's injured very badly. Please hurry. Cheers. (to Russo as he prepares a syringe) I'm so sorry, sir. But, uh... there's no other way. EMT #2: There's no details on this one. EMT JOE: Never a good sign. EMT #2: Hello? Did somebody call 9-1-1? Someone call 9-1-1? Hello? (to Joe) Call this in. EMT JOE: Dispatch, we're looking at a possible homicide. Requesting backup. DISPATCHER: Copy that. Stand by Unit 16. Unit 16, backup's en route to your location. Ten minutes out. EMT #2: (looks at the gaping hole in the victim's chest) Oh, my God. Joe, someone cut this guy's heart out. Get in here. GRANT RUSSO: Don't -- don't let me die. Train Station - Barrett Returns (Barrett returns to the train station carrying a small cooler) PUBLIC ANNOUNCER: Passengers holding monthly passes may pick up commuter express tickets at ticket window seven. Commuter express tickets, Ticket Window Seven. Baggage service desk, call 2133. Baggage service desk, call 2133. CONDUCTOR: All aboard! ACT I Federal Building - Broyles Office OLIVIA: (smiling and pert) Guess you weren't expecting me back so soon. (later. providing detailed assessment) Which led me to believe that Walternate's main priority was learning how to cross universes safely. He was using me to discover how. BROYLES: Do you think he's close? OLIVIA: His tests enabled him to synthesize Cortexiphan, so, yeah, I think he's close. And he is driven. The way he sees things, It's his world or ours. So I understand that the other Olivia escaped with a crucial part of the machine. Where is the rest of it? BROYLES: Science Division is analyzing the remaining pieces now. OLIVIA: I'd like to see the results. BROYLES: Of course. Once you're back. You're officially on leave until further notice. To say you've experienced a trauma is an understatement. You need to process what you've endured over the past two months. OLIVIA: I know, but I honestly believe that my ability to do my job isn't impaired. BROYLES: Your ability's not my only concern. OLIVIA: I'm not gonna deny that the last few months haven't taken their toll. But I made a promise to a friend over there. And I swore that I would do everything that I can to heal both worlds. I need to go back to work. BROYLES: This friend you're talking about... what was he like? OLIVIA: He wasn't that unlike you. He was honorable, committed. He feared for his family, for their future. BROYLES: So he had children? OLIVIA: A son and a daughter. And he was very close to his wife. BROYLES: And they were still married? (quiet. in deep reflection) OLIVIA: Yes. Bishop Residence - Fatherly Concern PETER: Come on, Walter! Let's go! WALTER: Coming! I thought it was in the closet. Aah! Wait. PETER: Where was it? WALTER: Bathroom. I'd forgotten that a couple of nights ago, I used my cauterizer to remove an uncomfortable growth between my... PETER: ... less information, better. (helps with the jacket) WALTER: Have you spoken to Olivia? PETER: I did. Called her last night. She's doing better, but still recuperating. WALTER: I understand how difficult it is to be candid with people that you care about, uh, particularly when it concerns matters that are intimate in nature. PETER: Ready to go? WALTER: Yes, I am. And by intimate, I mean sexual. PETER: Yeah, I got that. (during the drive to Rye, NY) WALTER: I know this is an instance of a parent asking a child to do as he says and not as he does. PETER: How many ways can I tell you that I don't want to have this conversation, Walter? WALTER: But you must have it. PETER: No, this conversation, the one that we're having right now. We're here. (after parking) WALTER: You understand better than most the pain a lie can inflict. PETER: Yes, I do... which is why, even though I expect it's going to fundamentally change how she feels about me, I am going to tell Olivia everything. Okay? WALTER: You're a good man, Peter. She knows that. Rye Crime Scene - Inspecting Russo WALTER: (gathering the team outside of Russo's House) Look who's here. Oh, it's good to see you out and about. Peter, look, it's Olivia. OLIVIA: Hi. PETER: Shouldn't you be resting? BROYLES: Agent Dunham has been cleared for duty. PETER: Alright, well, in that case, welcome back. OLIVIA: Thank you. PETER: You gonna tell us what we're in for? BROYLES: At approximately eight this morning, 9-1-1 received a call from inside this house. The caller said that there was someone inside in need of medical attention. When the EMTs arrived, they found the victim strapped to a table, chest cavity open and his heart missing. But then, after they discovered him in that condition, the victim regained consciousness and spoke and then died three minutes later. WALTER: He was conscious and speaking without a functional cardiovascular system? BROYLES: It appears so. WALTER: Lady Fortuna has smiled upon us. (inside, as they start to inspect Russo's corpse) Where do you suppose I could pick up quality imported pickled herring? PETER: No idea. Why? WALTER: I'm thinking of Scandinavia. PETER: Scandinavia? WALTER: The Blood Eagle... a Norse method of torture -- (studying the surgical work on the table) breaking the ribs and spreading them out to resemble blood-stained wings. PETER: So we're looking for a Viking? WALTER: Whoever did this was trained. These incisions have been made with precision. This is beautiful work. Definitely not a Viking. They were ruthless. Peter, look at this. PETER: (looks at the heart plumbing of the victim) Scar tissue. WALTER: Yeah. He's had heart surgery before. PETER: Stay here. I'll be right back. WALTER: Well, it's impossible to determine the time of death, because in this case, the standards we generally use don't apply. BROYLES: What exactly does that mean? OLIVIA: (after Walter taps a nerve in the wrist of the victim) He still has reflexes? WALTER: Yes, and yet his heart was removed at least four hours ago. By now, rigor mortis should be starting to set in. BROYLES: So we're not even sure if he's dead? WALTER: Well, from what I can see, he's more dead than not. OLIVIA: Okay, what if somebody is harvesting organs -- on the black market? PETER: Not likely. (returns from another room with a large clear bag full of pill containers) This guy's medicine cabinet rivals some pharmacies. He's got everything in there -- steroids, immuno-suppressant’s, anti-fungals, anti- biotics, pain medication. OLIVIA: Okay, so you wouldn't steal a heart from someone this sick if you were selling it. BROYLES: Who's the prescribing physician? PETER: Doctor Alexandra Ross. BROYLES: You two go talk to this Doctor Ross. Doctor Bishop, I'll arrange to transport the cadaver to your lab. WALTER: Oh, great. Perhaps there I'll be able to discover what made this tin man tick. Hospital Cafeteria - Peter's Confession PETER: (returning from the duty desk) Doctor Ross is still in surgery. OLIVIA: Okay, then we'll wait. PETER: You know you're drinking swill, right? OLIVIA: It's nice to be able to take a cup of coffee for granted. PETER: What? OLIVIA: You know, when you go on vacation and you come back and some things are a revelation? Like coffee, or my favorite shoes. And then... other things are just... I don't know. My mail was opened. It's kind of disconcerting knowing that somebody else has been living your life. Hey. You okay? PETER: (somberly) There's something that I have to talk to you about... about her. I noticed... changes -- small changes, but they were definitely there. She's... she's much quicker with a smile and... less... I don't know -- less intense maybe. She said that when she was over there, what she saw of her other life, it made her want to change, to be happier. And I believed her, because that made sense. OLIVIA: There was no way for you to know. Everything happened so fast, I couldn't even tell you how they did it. And it's okay. (shrugs it off) I'm here now. PETER: When you asked me to come back to this world with you... you said... OLIVIA: ...that you belonged with me. PETER: And so I came back for you... for us. And we started seeing each other. And I explained away the differences because our relationship was different. I thought she was you, Olivia. OLIVIA: (slight embarrassment) Does everyone know? PETER: (earnest) I reported everything when I found out who she was. Olivia, I'm sorry. OLIVIA: (apologetic) You know, she had a really full life, really sweet boyfriend. And if he hadn't been out of town, then who knows what could've happened? She had friends, people who loved her, people who -- who risked their lives to help her. And they all believed that I was her. (wants to shrug it off) So, you know, I – I - I can understand how that... NURSE: (finding the waiting investigators) Mister Bishop? Doctor Ross is out of surgery. PETER: (to the nurse) Could you give us a second, please? NURSE: Sure. PETER: Thank you. OLIVIA: Peter... it's fine. We're good. Let's go. (stands and leaves) Hospital - Interviewing Doctor Ross (sitting across from one another in the Doctor's office) ALEXANDRA ROSS: I don't understand. His heart was removed? PETER: We'd like to ask you about the medications that you prescribed him. ALEXANDRA ROSS: Of course. It was the standard regimen for transplant recipients. Mister Russo suffered from congestive heart failure. He was on the list for over a year waiting for a donor. OLIVIA: He had a heart transplant? ALEXANDRA ROSS: Yes. He wanted a second chance. We gave him one... or at least I thought we did. Barrett's Basement - Chest Surgery (in his makeshift operating room, Roland sutures closed the thoracic cavity of a lifeless young woman) ROLAND BARRETT: It won't be long now. (caresses her forehead) It will be okay. ACT II Walter's Lab - Fresh Aroma ASTRID: You sure it's called the Yatsko Project? Nina says that she checked Massive Dynamic's archives personally, and nothing came up under that heading. WALTER: Well, that can't be right. Belly and I created a serum similar to this in the mid-seventies. I'm certain of it. We were trying to devise a method to... of questioning someone after death. ASTRID: Of course you were. WALTER: Tell her to look under pet projects. Perhaps the Yatsko research was folded in. ASTRID: Okay. I'm leaving. Peter's giving you a ride home. WALTER: Oh. ASTRID: He should be here any minute, Walter. PETER: Evening, everyone. WALTER: Peter. What wonderful timing. ASTRID: You got the keys to lock up? PETER: Yeah. Yeah, no problem. ASTRID: Alright, don't let him keep you here too late, okay? Good night, Walter. WALTER: Good night, Astrid. Peter, come here. PETER: Good night. WALTER: I want you to smell something, tell me what you deduce. PETER: Okay. What am I smelling? WALTER: Him. Notice anything? PETER: I'm not vomiting. WALTER: Precisely. By now, it should be emitting the unmistakable odor of putrefaction. This corpse's decomposition has slowed to almost zero. PETER: So what's arresting the decay? WALTER: That's a good question. Astrid and I isolated traces of a serum in his blood. It functions as a preservative, radically slowing down cell degradation. PETER: Why bother to slow down his death? They already stole his heart. WALTER: To assuage his conscience, of course. PETER: You think the type of people that would steal an organ out of a transplant patient would really be troubled by conscience? WALTER: He called 9-1-1. If the EMT's had got him on a heart-lung machine in time, he might have survived. It's highly unlikely, of course, but I'm betting it helps our organ thief sleep well at night. PETER: Well, at least somebody is. WALTER: You haven't told, Olivia, have you? PETER: Nope, actually, I did. WALTER: How did she react? PETER: Surprisingly well. WALTER: Really? PETER: Mm. WALTER: Do you think possibly they replaced her with a robot? (Olivia meltsdown in front of her washing machine after trashing her closet and her linens, upset at the personal invasion she endured) Federal Building - Morning Break OLIVIA: (joins her junior assistant) Hey. Tell me there's more. ASTRID: There's plenty. I just made a fresh pot. OLIVIA: Great. ASTRID: Bad night? OLIVIA: I had a lot of laundry to go through. ASTRID: How is it... being back? OLIVIA: It's good. ASTRID: Yeah? OLIVIA: Strange. Peter told me what happened, you know, that he was seeing her. You know, I get it, but... you saw them together. What was he like with her? He didn't seem different? I mean... like, happier or... ASTRID: Olivia... OLIVIA: I'm sorry. I'm sorry. Okay. We should go. Broyles wouldn't have called us in if he didn't have something. ASTRID: Olivia, wait. He thought that she was with you. OLIVIA: I understand. It's fine. ASTRID: It's not fine. Whatever feelings that Peter had, they were not about her. They were about you. And they were real. They still are. OLIVIA: Thank you, Astrid. (a briefing by the boss in his office) BROYLES: A cross-state search of police records turned up multiple organ thefts in the last two months. The incidents took place in five different states, but the M.O. of the crime is consistent. OLIVIA: You're saying the same person did all this? BROYLES: It appears so. PETER: Any of those organs transplants? BROYLES: They all were. And not only that, they're all from the same donor. OLIVIA: Do we have a name? BROYLES: We have a donor number. Names are kept confidential. Seventeen-year-old female. We've issued a priority request. We should know more shortly. PETER: Mind if I take a look? (starts to study the data file) ASTRID: So he's gathering all of her organs. Why? BROYLES: There are some people who have strong objections to organ donation. OLIVIA: Maybe someone close to her didn't think the recipients were worthy. PETER: It says here after the organs were harvested, they remanded the custody of the body to the Rosindale Eye Bank. You think maybe her corneas were donated too? OLIVIA: There's no photos of them being stolen. BROYLES: (picks-up phone) Put me through to the Rosindale Eye Bank. (waits) Yes, this is Colonel Broyles with the FBI. I need to speak with your Executive Director immediately. (listens) Yes, it's urgent. Immediately means urgent. Thank you. Chelmsford, MA - Cornea Removal ROLAND BARRETT: (as he prepares to surgically remove the eyes of the organ recipient) So sorry, sir. These don't belong to you, do they? Chelmsford, MA - Rescuing Ben BROYLES: (on phone) Good. He wasn't at home. We're at his restaurant now. Thanks. (hangs-up) That was Astrid. We've got a name on the donor. Amanda Walsh -- her family lives in Providence. FBI's arranging an interview. PETER: (looks through window) There's a light on in back. OLIVIA: (moving to the interior of the seemingly unoccupied facility) Hello? Anybody there? PETER: Over here. (finds surgical implements) OLIVIA: We're too late. (hears thud) BEN KILLENBURG: (turns to Olivia as she discovers the newly blinded man) Please... help me. ACT III Hospital - Interviewing Ben BEN KILLENBURG: (laying in bed with his eyes wrapped in bandages and gauze) I wanted to see how the construction was coming along. There was some paperwork to take care of. I was feeling fine. But as I was walking there, I started getting dizzy. Next thing I know, I'm strapped to a slab. (surprisingly concilatory) He actually apologized. Can you believe that? He said he wished there was another way, that they didn't belong to me. PETER: So Walter was right. We're dealing with a remorseful organ thief. OLIVIA: Well, that makes sense. He didn't want to hurt those people. It's about her. He didn't want her organs going to someone else. PETER: I'm gonna call Broyles, let him know we're on the way to talk to the family. Walter's Lab - Bovine Concerns GENE: (feeling cornered. unloved) Moo! ASTRID: Walter, please tell me you're not giving Gene the evidence to drink. WALTER: (tinkering with a vial of liquid) Not until I understand the long-term side effects. But imagine the possibilities if this can permanently erase cell decay. ASTRID: Milk that doesn't go bad. WALTER: And cheese. ASTRID: Well, that dream is gonna have to wait, Walter. Here are the Yatsko Project files. Massive Dynamic just sent them over. You were right. They were misfiled. It turns out that the research that you and William Bell did on human-tissue preservation didn't stop when you went to Saint Claire's. WALTER: Interesting. I think we're on the precipice of understanding this. ASTRID: More you than we. WALTER: I have a working hypothesis. Astrid, I need you to get me something. I need the organ donor. ASTRID: Amanda Walsh. WALTER: I need her body... or what's left of it. Walsh Residence - Meeting Mom MISSUS WALSH: Oh, gawd. The only consolation I had was her passing gave other people another chance. OLIVIA: Was Amanda dating anyone? I mean, did she have any friendships that were cause for concern? MISSUS WALSH: No, I was more concerned that she didn't have any friends. She didn't like school. She didn't want to do sports. It was ballet. That was the only thing that ever made her happy. PETER: Missus Walsh, how did your daughter die? MISSUS WALSH: She took her own life. My daughter was clinically depressed. OLIVIA: Was she being treated for depression? MISSUS WALSH: Yes. She was on antidepression medication. She also did a lot of group therapy. She kept trying different ones, but there were a few that she stuck with. OLIVIA: We'd like the names of the doctors and also the groups that she was attending. PETER: Excuse me for a sec. (takes EVO 4G video phone call outside) MISSUS WALSH: I'll get that information. PETER: (outside. looking at video call) Hey, Astrid. ASTRID: Are you at the Walsh house? PETER: Yeah, why? ASTRID: Well, Walter's got some theory. He needs you to speak to Missus Walsh. PETER: Okay. What's he need? (back inside the Walsh home) MISSUS WALSH: (hands-over information to Olivia as Peter returns) Amanda's schedule, her psychiatrist, the group she was going to. If there's anything else I can do... PETER: ...actually there is. That was Astrid on the phone. Missus Walsh, we'd like to ask your permission to exhume your daughter's body. MISSUS WALSH: You can't. PETER: I know that it's an awful thing to ask. MISSUS WALSH: No, it's -- it's not possible. Walter's Lab - Tasting Amanda PETER: (returns with a large urm) Walter. WALTER: Here she is. PETER: I hope there's a good reason for this, given all that family's already had to suffer. WALTER: There's a good reason. PETER: Oh, Walter, come on. ASTRID: Oh, my god. PETER: That's a person. WALTER: No, not at all. I suspect it's some kind of hardwood, cherry, maybe mahogany, and concrete. PETER: Are you sure? WALTER: I know that these are not human cremains. ASTRID: If that's not her, then where's her body? WALTER: Likely with the rest of her organs. I believe whoever is stealing these organs is trying to put this girl back together again. Barrett's Basement - Lifeless Ballet ROLAND BARRETT: (carefully aligns the limp body of Amanda Walsh in the supports and pulleys that hang from the roof of his basement) It's gonna be good for you, very good. We need to keep your body strong, don't we? (he returns to a console of levers and starts a phonograph with a classical ballet tune. he activates the levers and foot pedal, then lifts the limp body of Amanda into various ballet position. he returns Amanda to her seated position and drops his head in sad remembrance) ACT IV Walter's Lab - Missing Corpse ASTRID: (on the phone) So the funeral home didn't report it. You're kidding me. Okay, thanks. (hangs-up. to Walter) Broyles just confirmed your suspicion. Amanda Walsh's body was stolen before it could be cremated, and the funeral home covered it up. Apparently stealing bodies is not all that unusual. WALTER: Of course not. The theft of corpses is a time-honored tradition. ASTRID: Tradition? WALTER: My Dear, we've been stealing from the dead for as long as we've been burying them. Perhaps longer. In the eighteen hundreds, grave robbery was the primary means that doctors and scientists had of obtaining human cadavers for study. In fact, the practice was so common that it inspired the gothic novel Frankenstein. You may have heard of it. ASTRID: You don't really believe that it's possible to bring a dead person back to life, do you? WALTER: No, but not for lack of trying. Belly and I dabbled in that arena for years. But alas, we never could revive Yatsko. Peter just loved that cocker-spaniel. (testing the corpse) Feel that. Finally some stiffness. Federal Building - Short Tempered OLIVIA: (standing and reviewing the stacks of files) Okay, I've removed anyone who doesn't have a medical or a scientific background. PETER: (sitting across from her at the table and reviewing the files) What about this guy? Ellis Rourke. OLIVIA: What group was he in? PETER: Uh, General Depression. He and Amanda were in it together for almost a year. OLIVIA: Okay. Hit me. PETER: Age thirty-six, majored in biology, has an anger-management problem, arrested twice for battery. OLIVIA: No, whoever's doing this isn't driven by anger. FBI AGENT: (enters room with storage file) Colonel Broyles asked me to drop these records off. (leaves) OLIVIA: Okay. Thank you. I got it. Oh, Amanda was also in a cognitive behavioral group. It focused on ways to cope with depression. PETER: You'd think that someone who was working that hard at being okay would get some sort of payoff. OLIVIA: Well, it doesn't always work like that. PETER: I think I got something. Simon Waylan, age twenty-nine. Says here that he is socially and sexually incompetent. OLIVIA: (terse) No, it doesn't fit the profile. PETER: (reconciling) Alright, I - I appreciate that profiling is one of your specialties, but you could at least listen to what I have to say before you just dismiss it out-of-hand. OLIVIA: Well, he's not the guy we're looking for. PETER: So what am I missing? OLIVIA: What do you mean? PETER: You said that we're looking for somebody who knows Amanda -- a loner type who has difficulty making friends, who more than likely has parents who are either living far away, or are deceased, which would bring me to Simon Waylan. Twenty-nine years old, computer programmer, bachelor, lives alone, also just happened to leave the emergency-contact sheet blank. Therapist says that he displays symptoms of narcissistic personality disorder, which means caring about other people is not exactly his strong suit. OLIVIA: Look, I'm sorry, but he's not the guy. PETER: Right. So why not? OLIVIA: Profiling is not just about checking off the facts. You have to weigh them. You got to feel it in your gut. PETER: So what don't you feel... OLIVIA: ...he doesn't love her. Whoever's out there fighting to give Amanda back her life, even though she chose to end it, loves her. Okay? PETER: Okay. OLIVIA: I'm sorry. PETER: Don't be. Let's just move on. OLIVIA: What is it? PETER: Roland David Barrett... worked in animal research. But... it's not him. He dropped out of the group last Spring. OLIVIA: When last Spring? PETER: Last session was... April 10th... the day that Amanda committed suicide. Enroute - Finding Barrett PETER: (reading file) Barrett is the only son of Nathaniel Barrett, heir to the Stanfield Chemical fortune. Ten years ago, after his father passed away, Roland inherited everything. Does his post-doctoral work on cell decay and regeneration, but then quit abruptly because of an onset of severe depression. Then four years ago, he picks up his scientific work at the Duk-Hee Genetic Institute -- part of an international team. There are hundreds of different researchers working on it, but according to this, Barrett's research contributed to the creation of synthetic life on the cellular level. I wonder if he could actually do it. OLIVIA: (drives and thinks) What? PETER: Reanimation. OLIVIA: Okay. Barrett's Basement - Frankenstein Effect (Barrett places electrodes on Amanda after anatomical reconstruction. He turns the power up and hits her with a heavy jolt that makes her convulse. After only a few heartbeats she flatlines and a goes still. A few moments later, her heartbeat returns and she sits up - her eyes wildly searching the makeshift operating room in confusion) ACT V Barrett's House - Failed Reanimation ROLAND BARRETT: Amanda? Amanda, it's me. It -- it's me, Roland. You -- you made a terrible mistake. But it's okay now. You're back. I always told you I'm gonna be there for you, The way you were there for me, remember? It's okay. Hey, hey. Hey, look at me. Look at Roland. Look at me. Oh--oh, no. ASSAULT TEAM: FBI! You're surrounded. All teams move out! Go! Go! Go! Move, move! Clear! TECHNICIAN: Go ahead and start a "V" series. (the team spreads out to search the house) OLIVIA: (after tackling Barrett) Where is she? ROLAND BARRETT: Downstairs. BROYLES: (to the Bishops as they move downstairs) Clear. ROLAND BARRETT: (confessing quietly to Olivia) I was trying to correct a wrong. She made a mistake. OLIVIA: What was your relationship to her? ROLAND BARRETT: I just wanted her to have another chance. I wanted her to live a life. Her eyes. When I looked into her eyes... it wasn't Amanda. I don't know what I brought back, but I know... it -- it wasn't her. PETER: (after Walter starts to inspect Amanda) Is she dead? WALTER: Yes, she's dead. (as the forensics team starts to pack and leave Barrett's house) WALTER: You know what I need after a day like today? PETER: For most people, it would be a drink, so I'm guessing... WALTER: ...strawberry milkshake... PETER: I can do that. WALTER: With extra whipped cream. PETER: Don't push it. Barrett's Yard - Somber Times PETER: Olivia? Are you okay? What is it? OLIVIA: You know what Barrett said? He said that he looked into her eyes, and he knew that it wasn't her. PETER: Olivia... OLIVIA: (about Bolivia) I understand the facts. I know that she had reams of information about me and about my life and about the people that were close to me. And I understand that if she slipped up that she would have a completely reasonable explanation for it. And I guess to expect you to have seen past that is perhaps asking a little bit too much. But when I was over there, I thought about you. And you were just a figment of my imagination. But I held onto you, and it wasn't reasonable, and it wasn't logical, but I did it, so... why didn't you? She wasn't me. How could you not see that? Now she's everywhere. She's in my house, my job, my bed, and I don't want to wear my clothes anymore, and I don't want to live in my apartment, and I don't want to be with you. She's taken everything. PETER: (softly. as Olivia plods away) I'm sorry. Peggy's Malt Shop - An Observation THE OBSERVER: (standing across the street as the Bishops enter the shop for a late night treat. calls out on his handheld communication device) I have arrived. (listens) Yes. I am looking at him as we speak. He is still... alive. (reporting on one of the two Bishop men)

310 - PROLOGUE Bishop Residence - Getting Smarter (late at night. peppy, upbeat music finds Walter experimenting on the dining room table, preparing a syringe for injection, and fumbling to get his trousers around his ankles. in his robe and barely awake, Peter joins him) PETER: Walter? WALTER: Peter. You're up early. PETER: Oh, no, I'm still asleep upstairs in my bed. You're just talking to an astral projection of me. WALTER: You're just saying that to see if I'm high. PETER: (looks at the syringe) What are you doing, Walter? WALTER: I'm making myself smarter. PETER: Really? (sits and prepares for the tale) WALTER: When William removed those parts of my brain all those years ago, he diminished my intellect. (swabbing his backside for the injection) And now, I'm not the equal of my equal. PETER: Your equal? WALTER: Walternate. If I can think like him, I can figure out what he's trying to do with that device and how to keep you safe. PETER: Walter. (interrupts the injection) WALTER: Hmm? PETER: You really sure you should be dabbling in that? WALTER: I've done hundreds of experiments on myself. PETER: No. That's not what I meant, Walter. (earnestly) According to William Bell, he took out those parts of your brain for a reason. Because you asked him to. Because you were afraid of what you were becoming... I don't want to see you hurt yourself. WALTER: I won't hurt myself. (injects the solution into his left backside) Ooh. Ahh... PETER: (hears knocking at the door) Who's that at two in the morning? WALTER: Oh! My pizza. (trundles to the door with his trousers around his ankles) PETER: So you are high, then. WALTER: Maybe a bit. Parklane Senior Care - A Ghost? (Boston late night, a lone retiree pads along an empty corridor. the staff notices on one of their security monitors) JOE: We've got a live one. PAM: (joins her colleague) That's Mister Joyce. He's a sleepwalker. JOE: (a security alert flashes nearby) Open door in the patient wing. (on the monitor, a younger man joins Joyce) Who is that? PAM: Come on. (both leave the security station to find Joyce) Mister Joyce, are you awake? Mister Joyce! Who were you talking to? That boy. Where did he go? ROSCOE JOYCE: I was talking to... Bobby. PAM: Bobby? (back in Roscoe's room as she settles him in, to Joe) Now, he definitely wasn't talking to Bobby. JOE: Who's Bobby? PAM: (picks-up a framed photo of Roscoe and Bobby from decades ago) He's Mister Joyce's son. He died in 1985. (to Roscoe) What did he say to you? Forested Hillside - Mission Report (the young man from the security footage climbs to meet the man who brought him to his father) OBSERVER: Did you tell him? BOBBY JOYCE: (nods yes) What now? OBSERVER: I take you back home. ACT I Olivia's Apartment - Belated Gift (responds to knocking at her door. looks through the peephole then opens the door) COURIER: Olivia Dunham? OLIVIA: Yeah. (accepts a bulky envelope and signs for it) Thank you. (closes the door, inspects the envelope, opens it and extracts the book - "If You Meet the Buddha on the Road, Kill Him!". looks at the backcover. opens the book and finds a card with the message -- Olivia... Because you asked. Peter -- she puts the book down and answers her ringing cell phone) Dunham. Parklane Senior Care - Meeting Roscoe PETER: (to Olivia as she enters the facility and joins the team) Hey. OLIVIA: Hey. What's up? PETER: Broyles was just telling us a ghost story. BROYLES: Bobby Joyce. (hands over a picture from the security footage showing Roscoe Joyce and his son) He's the son of one of the residents here. Or rather, he was. He died twenty-five years ago. And it gets more odd. The cameras picked up this as well. (hands Olivia another picture. one with Bobby and The Observer.) OLIVIA: The Observer? It's been a while since we've seen him. PAM: (summoning the team) Agent Broyles? PETER: (to his father, who is still studying the photograph of The Observer) You coming Walter? WALTER: Yes, of course. PAM: (leads the team through the day room) After I took a second look at the video, I knew who it was right away. Mister Joyce keeps a photo of Bobby on his bedside table. I been looking at it ever since I worked here. PETER: Did Mister Joyce say what it was that he and Bobby were talking about? PAM: (enters the TV room) He doesn't remember. He was sleepwalking. (points to the seated man) That's Mister Joyce. WALTER: Roscoe Joyce! BROYLES: You know him? WALTER: (hurries to his side) Mister Joyce! Mister... Mister Joyce. I'm Walter Bishop! (star struck, he reaches to shake hands) I'm a tremendous fan! ROSCOE JOYCE: (understated) Nice to meet you. PETER: (privately) You ever heard of Violet Sedan Chair? BROYLES: No. PETER: It's Walter's favorite band. Roscoe Joyce is their keyboardist. He's a hero of Walter's. He's up there with Einstein and Tesla. OLIVIA: Uh... Mister Joyce, I'm Agent Olivia Dunham. (shakes hands) Hi. I understand that you had a visitor last night. ROSCOE JOYCE: My son. (shows her his framed photograph) I don't remember talking to him. But I remember he was here. It's a curse, not... remembering a miracle. It was a miracle -- seeing him again. Can you imagine what that's like? WALTER: Yes, I can. OLIVIA: (pauses) Mister Joyce? NURSE #1: I'm sorry. It's time for his physical therapy and his medication. PAM: Ready, Mister Joyce? (the two help him stand up) One, two... three. (they lead him away) BROYLES: I've come to believe in some strange things, but ghosts... WALTER. Bobby wasn't a ghost. The Observer doesn't experience time like we do. If we can accept that he can travel from the past to the present and back to the past again, then it's not inconceivable that he could bring others with him. We'll have to try and help Mister Joyce remember what his son said to him. I'll need to take him back to my lab. PETER: But why would The Observer drag a dead man twenty-five years through time just to talk with his father? WALTER: I don't know. But every time The Observer shows up, it has something to do with you. And every time, it's something bad. PETER: Walter, come on, you-- WALTER: I'll go wait in the car. (walks away) BROYLES: I'll make the arrangements to have Mister Joyce released. PAM: (after the arrangements have been made) Three pills at eight this evening, and he gets a little cranky if he doesn't eat. PETER: That's alright, I got experience with cranky. Thank you. (puts the bottle of pills in his pocket and joins Olivia nearby) PAM: Mm-hmm. Have a good one. PETER: (noticing an adorable senior couple sitting and chatting) That's sweet. OLIVIA: Yeah, it is. (reaches inside her coat and returns the book Peter sent to her apartment) Uh, I don't think that this was for me. It arrived this morning, and I looked at the date on the order, and it was from when I was over there, so I figured that it was probably for her. PETER: (tongue-tied) Olivia... OLIVIA: ...It's okay. ROSCOE JOYCE: (joins the duo with Walter) I understand you're gonna help me remember what my son said to me. OLIVIA: We're gonna try. Hanna's Jewelry - Interrupted Heist ROBBER #1: (loading money from the vault to a gym bag) I'm almost done here. You guys finished out front? (turns and sees The Observer behind him. reaches for his pistol before being tossed through a large interior window) OBSERVER: (incapacitates a second gun-toting 'tattoo man', then catches several bullets as the third 'tough man' fires his weapon. a punch and a kick later his objective is achieved. he dials on his communications device and reports) I'm at 719 Skelton Avenue. There has been a robbery. (as he walks from the scene he hears pained wheezing from the employee that has been bound by the robbers. he stops and removes the tape from her mouth) VICTORIA DIMIRO: Help me. (her savior searches her purse and gives her a blast from her inhaler. after her breathing calms) Thank you. (The Observer exits the store, puts the inhaler in his pocket and quietly walks off) ACT II Walter's Lab - Hypnotherapy PETER: (escorting a piano into the lab) Walter? Where do you want this? WALTER: Uh, r-r-right...there! (points) PETER: (to the delivery team) Very good. Thanks, fellas. (to Walter, about Roscoe) What's he listening to? WALTER: Ocean waves. I need him to be in a peaceful state of mind for the hypnotherapy to take full effect. Once he's in a more pliable state, he may be able to access his memories. (dons his blue/red lensed glasses) ASTRID: (sarcastic) That's a good look, Walter. WALTER: These were created by an old friend of mine, Doctor Jacoby from Washington State. They will enable me to see Roscoe's aura so that I can measure the depth of his hypnotic state. ASTRID: And the piano? WALTER: Roscoe's mind doesn't work like ours. His creativity is expressed through music. Playing -- may help him to recollect the conversation he had with his son. PETER: And if you just happen to get a private concert from your musical idol... WALTER: That's not why I'm doing this. But I cannot deny that I would enjoy it. (getting the attention of his lethargic subject) Mister Joyce? We're ready for you. ROSCOE JOYCE: (lifts his headphone from his ear) What do you want me to do? WALTER: Let me guide you. Listen to my voice. I will speak into the microphone. Now, imagine yourself... somewhere tranquil, serene, safe. Go down the staircase... OLIVIA: (on the phone, while Peter picks up a bag and joins her) So there's no footage at all? Okay, well, thank you for checking. (hangs-up. to Peter) I thought maybe the traffic cameras would have picked up The Observer, but no such luck. How's it going out there? PETER: (removes the book from the bag) Uh, Walter's channeling The Amazing Kreskin. I just wanted to try and explain the book. OLIVIA: You don't have to. PETER: She asked me what my favorite book was. I understand that she was probably just trying to gather information on me, but... I also know that I'm not the easiest guy to get to know. (heart-felt) It's always been easier for me to... keep people at arm's length... which is actually something that I think we have in common. The book wasn't meant for her. It was meant for the Olivia Dunham that I've spent the last couple years of my life with. Because I wanted you to read it. You're the person I wanted to share it with. OLIVIA: (saddened) You know, I feel like Rip Van Winkle. Everything is different. Even you opening up to me is different. And this book is just a reminder of all the things that I missed, conversations we didn't have... ASTRID: (joins them in the inner office) You guys should come see this. Walter's doing it. WALTER: (to Roscoe) Sit. At the count of three, you will open your eyes, but you won't be awake. You'll still be open and receptive as you are now. Are you ready? One... Two, three. ROSCOE JOYCE: (sitting at the keyboard) Ohh... ha ha. It's been a long time since I touched a piano. (steps on the footpedal twice. starts playing the piano) WALTER: Roscoe, I want you to think back. The night you saw Bobby. ROSCOE JOYCE: Tuesday... Tuesday is... chicken dinner. WALTER: Yes. And... after you went to bed and fell asleep, what happened? ROSCOE JOYCE: (methodical) Bobby... my boy. I didn't believe it was him. It'd been so long since... I'd seen him. I asked him if he was real. He took my hand... he was real. WALTER: What did he say? ROSCOE JOYCE: He whispered something to me. He was so close... I felt his... (ringing cell phone interrupts his thoughts) OLIVIA: God. I – I - I'm — (on phone) Dunham. Can you hold on, please? (to Walter) I - I'm so sorry, Walter. (walks off. to her caller) This is Dunham. WALTER: Let's go. What did Bobby say? ROSCOE JOYCE: I don't remember. OLIVIA: (on phone) Go it. I'm on my way. (hangs-up. to Peter) The Observer's been spotted in Brookline, so... PETER: Walter, you alright? WALTER: If alright means despondent, yes. ASTRID: Peter, go. I'll take care of him. OLIVIA: Walter, I'm sorry! ROSCOE JOYCE: He was in a... brown shirt. ASTRID: Who was? ROSCOE JOYCE: Bobby. His mother gave it to him. WALTER: What did Bobby tell you? ROSCOE JOYCE: He told me... I would... meet you. Walter... Bishop. He called you by name. Bobby said I was supposed to... help you. WALTER: Help me. How? ROSCOE JOYCE: I don't know. Don't you? ACT III Curbside Cambridge - Colleagues Confer THE OBSERVER: (as his colleague joins him) It has begun. I have set everything in motion. DECEMBER: I have watched Doctor Bishop as long as you have, perhaps not as closely, but I think you're wrong. He won't do it. THE OBSERVER: I disagree. I believe he has changed. (both watch a man exit and lock his pick-up truck) DECEMBER: You think he has changed. I don't believe he has. In either case, I suppose we will find out soon enough. (The Observer approaches the truck, touches the locked keyhole once, opens the door and steals the vehicle) Walter's Lab - Youthful Memories ROSCOE JOYCE: (setting at the piano and playing casually) Are you sure you don't know what I'm supposed to do for ya? WALTER: (working nearby at a table with burners, beakers and tubes) No idea. ROSCOE JOYCE: Bobby told me to help you. WALTER: You already have. Just hearing you play, I... (a youthful smile finds his face) I feel like I'm a teenager again. Can I ask you something, Roscoe? Why did Violet Sedan Chair break up? ROSCOE JOYCE: (stops playing) I don't know. It just happened. We were having creative differences. We figured the best thing to do was to take a break, give the band time to regroup. One day, I looked up... and a couple of years had gone by. I barely touched the keyboard. And then a couple of more. Eventually... it just seemed easier not to. (starts playing) I suppose that that's hard to understand. WALTER: No. I spent years away from the things I loved. (heavy memories flood in) I've been trying to get back into the swing of it ever since. Hanna's Jewelry - Victim Interview VICTORIA DIMIRO: I was having an asthma attack. It was like he saw what I needed. He got my inhaler from my purse. PETER: Did he say anything to you? (Olivia sits and listens quietly for the response) VICTORIA DIMIRO: No. Nothing. It was like nothing affected him. He had this calmness. I didn't even think he was real, except... he saved my life. Walter's Lab - Brain Mapping ROSCOE JOYCE: So... what -- what is all this you got here, huh? (referring to the elaborate equipment surrounding them) WALTER: Recently, I invented a liquid base to aid in the process of brain-mapping. ROSCOE JOYCE: Ha. Really? Brain-mapping. That's a good name for an album. (watches as Walter pours a vial of liquid into a container of milk) Any chance you could explain that to a simpleton like me? WALTER: (approaches the piano) I don't want to bore you with the details, but I'm missing parts of my brain. And I have to rejuvenate them in order to rise to the intellectual challenges before me. ROSCOE JOYCE: And they are? WALTER: Discovering why your son Bobby left the message... and how to keep my son Peter from the peril surrounding him. ROSCOE JOYCE: Is that... milk? (points at the container) WALTER: The milk acts as a bonding agent for the other compounds. ROSCOE JOYCE: Oh... WALTER: (places the container of modified milk in the refrigerator) a... and helps disguise the taste. ROSCOE JOYCE: I don't see how I can help you in any way. My knowledge of science begins and ends with inventing a recipe for a... strawberry milk shake. WALTER: You like strawberry milk shake? ROSCOE JOYCE: They're my number one drink since I stopped drinking. WALTER: It's mine too! Ashram! Come out here, please. ASTRID: Walter, what is it? WALTER: I need you to go to the grocery store. ASTRID: Walter... WALTER: We need a gallon of strawberry ice cream, some sweet whey, and some yeast and some sugar. ASTRID: Okay. We need coffee anyway. (leaves the lab) WALTER: Thank you, Dear. (to Roscoe) I spent six years perfecting my recipe. You must try it! Well... ha. (toasting) To answers. (hears door open and close) Oh, did you forget something? I hope they didn't run out of sweet whey. (turns to find that Astrid has not come back into the lab) OBSERVER: Hello, Walter. We need to speak. ACT IV Harvard Campus - The Grassy Stroll (walking through one of the many campus green areas, Walter's acquaintance gets the conversation he asked for) OBSERVER: (looking at the changing, falling leaves) You call it... Autumn. Is that right? Lovely word. WALTER: We had a deal. (takes the man by his arm) Please... don't take him from me. The drawing. Peter in the device. You know the future. Tell me how I can save my son from dying. OBSERVER: There are things that I know. But there are things that I do not. Various possible futures are happening simultaneously. I can tell you all of them, but I cannot tell you which one of them will come to pass. Because every action causes ripples, consequences both obvious and... unforeseen. For instance... after I pulled you and Peter from the icy lake, later that summer, Peter caught a firefly. I could not have known he would do that or that because he did a young girl three miles away would not. And so later that night, she would continue looking, trying to find another one. I could not have known that when she did not come home, her father would go out looking for her, driving in the rain, so that when the traffic light turned red, his truck skidded through the intersection at Harvard Yard, killing a pedestrian. WALTER: Did that happen? OBSERVER: You and I have interfered with the natural course of events. We have upset the balance in ways I could not have predicted. Which is why now I need your help. WALTER: (surprised) Help? OBSERVER: When the time comes, give him the keys and save the girl. WALTER: Give him the keys? W - wha -- what do you mean? What girl? OBSERVER: You should answer your phone. WALTER: (answers his phone just as it starts to ring. turns away for some privacy) Hello? PETER: (over the phone) Apparently, your friend is fighting crimes now. WALTER: Friend? (turns and sees that he is suddenly alone) PETER: The Observer. Broke up a robbery at a jewelry store. Three guys came in, killed the owner, tied up the girl who worked here. WALTER: Girl? PETER: Yeah, according to her, The Observer saved her life. WALTER: Who is she, the girl? PETER: Her name's Victoria Dimiro. Why? WALTER: I - I - I need to speak to her. Bring her here. PETER: Walter... WALTER: ... please don't argue with me, Peter. This is important. I need to speak with her. PETER: (looks back into the store to see that the interview is on-going) Fine. But you'll have to wait. Cops are about to take her downtown so she can give a statement. WALTER: Well, as soon as they're done, bring her here to me. (hangs-up) Walter's Lab - Bobby's Dream ROSCOE JOYCE: (sitting and eating a big bowl of ice cream as Walter returns from his stroll) Ah! There you are. I have several things to tell you. First... Miss Farnsworth is back. And, uh, and I... remember something else. WALTER: Oh? ROSCOE JOYCE: Bobby... called me on the phone. WALTER: (baffled) Just now? ROSCOE JOYCE: Oh, no, no. Ha ha. No. Years ago. We were on tour, and he called to tell me about a strange dream he'd just had. He dreamt a bald man in a dark suit, took him to see me. I was an old man living in a nursing home. Dreaming about something that happens... twenty-five years later. WALTER: I don't think it was a dream at all. I think... the man in the suit took your son through time. And it was only just last night that you caught up to the other end of the visit. ROSCOE JOYCE: Mm. Wild. (chuckles, not sure of implication) You know, come to think of it, that was the last conversation we had. Him... telling me about his dream. We were playing a show that night, a club in Harvard Yard. Bobby... was on his way to the show. I remember looking outside and seeing how hard it was raining. I remember getting a call from the police. They told me... he stepped onto the crosswalk... when a truck... WALTER: ...skidded through the traffic light. ROSCOE JOYCE: They said it was -- wasn't anybody's fault. (growing tearful) When I lost my son... nothing seemed to matter anymore. That's the reason I broke up the band. But here I am. I played again. It felt good. It felt right. Maybe that's why Bobby came back. WALTER: (resolved) Maybe it was. Would you excuse me for a moment? (walks to one of the offices in the lab) ASTRID: Hey. Peter called. He wanted me to let you know that they are on their way back, and they're bringing the salesgirl with them. (sees his concern) Walter, what is it? WALTER: I know what The Observer's doing. ASTRID: (tentatively) Okay. WALTER: The day I crossed over and saved Peter, I set off a chain reaction. I set the universe off-balance. Two of them. I've seen the damage with my own eyes, but... it's not enough. It - it's not enough to understand the suffering I've caused. ASTRID: (quickly interjecting) Walter, we have been over this. You couldn't have known. WALTER: That's exactly the point -- unforeseen consequences. But my fault, just the same. (looks through the blinds into the lab) And that man... has lost a son because I was unwilling to lose mine. I know the Observer is trying to restore balance, and he wants me to help him, to -- to help undo all the damage I've caused, but I can't do it. Don't you see? Doing that, I would lose him all over again. ASTRID: Lose who? WALTER: Peter! ASTRID: Walter-- WALTER: I need a phone! (hurries off) Porter Square - Transporting Victoria PETER: (answers ringing cell phone as Olivia drives behind the police cruiser delivering Ms DiMiro) Hello. WALTER: (over the phone. from the lab) A - ask that salesgirl a question for me. Where was she in 1985? PETER: I can't do that, Walter. She's in the car in front of us. But we're just passing through Porter Square. We should be there in about five minutes. You can ask her all the questions you like then -- (the vehicle stolen by The Observer speeds along a perpendicular thoroughfare and collides into the side of the police cruiser. Olivia swerves and skids, flattening a tire in the process. traffic grinds to a halt) WALTER: (loudly. concerned at what he just heard) Peter? ACT V Porter Square - Give Me The Keys (Olivia and Peter exit their vehicle to tend to the wreck. The Observer sets off on foot) WALTER: (on the phone from the lab) Peter? Peter, what is it? OLIVIA: (barks an order at Peter) You check the other car. I'll go after him. WALTER: Peter, what's happening? PETER: (on phone) The Observer ran into the cop car. WALTER: Peter, are you alright? PETER: (looks at Victoria, then to the injured policeman that was driving) Get on the dispatch. We're gonna need an ambulance. WALTER: Peter! PETER: I gotta go! I got to go! (to Victoria) Where's your, uh, your inhaler? (searches her purse) No. It's not in there. VICTORIA DIMIRO: The bald man in the store... he took it. PETER: Put your arms around my neck. (carries her from the wrecked police cruiser) OLIVIA: (running down a nearby street) Excuse me! FBI! Move! PETER: Try to calm down. You're gonna be alright. (placing her in the rear hatch section of his vehicle) WALTER: (arrives in his station at the collision scene) Peter, are you okay? Yeah, I'm fine, but she's not. (waves him over to help) ASTRID: What's wrong with her? PETER: She's asthmatic. The adrenaline from the crash... WALTER: ...elevated her heart rate and triggered an attack. PETER: Exactly. There's an ambulance on the way, okay? WALTER: Where are you going? PETER: Olivia took off after The Observer on foot. I'm gonna catch up. Hey, give the keys and save the girl. (puts out a hand for the keys the station wagon) WALTER: What did you say? PETER: I said give me the keys and save the girl. WALTER: (confounded) He told me you'd say that. PETER: Who? WALTER: The Observer. This is it! This is his plan. This is what he wanted. PETER: You spoke with The Observer? WALTER: Yes! He is course correcting. (gets it. understands the master plan) I don't know how, but he's done some kind of... a chain reaction that started from the moment that we walked into that nursing home to meet Roscoe. Everything since has been the sequence culminating in this very moment, and if I save this woman and let you go, then I'm afraid the consequences... you're gonna die, Peter. They're gonna take you from me. PETER: Walter, you can't predict the future, and neither can I. But if you don't help that girl right now, she's gonna die in the street -- do you hear me? WALTER: They'll take you from me. PETER: (reassuring) Walter, give me the keys. Give me the keys, Walter. OLIVIA: (continuing on foot through the pedestrian traffic) Excuse me! Out of my way! Move! FBI! Coming through! Excuse me! (stops. calls on her phone) PETER: (on his phone) Yeah. OLIVIA: I'm on State Street. I've lost him. PETER: I got him. He's headed into a hostel at 2119 Main Street. OLIVIA: Okay. I'm on my way. PETER: (exits the station wagon and is nearly struck by traffic) Hey! (is nearly struck again and continues pursuit on foot) Porter Square - Save The Girl ASTRID: Walter, she's getting worse! WALTER: (after searching for any makeshift equipment to help his patient) Now, here, I - I want you to lay down, please, so we can help you -- lay down. Astrid, would you put your hands either side of her ribs, please? VICTORIA DIMIRO: (wheezing. to Astrid) It's alright. WALTER: When I tell you, I want you to push up, applying constant pressure. ASTRID: Okay. WALTER: I am going to use this plastic bottle to push air into your lungs. Will you hold your nose, please? (she does) Okay, good. Are you ready? (to Astrid) Push. (nearby. Peter finds his man on a separate rooftop residential complex than the one he climbed-up) PETER: What is this all about? You know, don't you? The picture of me and the device -- what does it mean? What's going to happen to me? OBSERVER: It must be very difficult. PETER: What? OBSERVER: Being a father. (then fires his pulse gun, knocking down Peter) PETER: Unh! OLIVIA: (catches the tail end of the action and leaps the alleyway to the second roof to follow) Hey! (draws her weapon, sees that she has fallen well behind, and that Peter is starting to wake up) WALTER: (to the EMTs that are loading Victoria in the ambulance) You need to keep her calm to prevent another attack. VICTORIA DIMIRO: Thank you. WALTER: (answers ringing cell phone) H - hello? OLIVIA: (from the scene of the confrontation) Walter, we lost him. WALTER: Peter? OLIVIA: No, Walter, The Observer. Peter's fine. He's just a bit banged up, that's all. Why would you think we lost Peter? ASTRID: Is Peter okay? WALTER: Yes. It doesn't make sense. Why would The Observer do all this? ACT VI Parklane Senior Care - Fieldtrip Over ROSCOE JOYCE: (walks into his room feeling renewed) Ah... home. It was a pleasure to meet you, Kelly. ASTRID: (smiling) You too, Roscoe. WALTER: I don't know what to say. ROSCOE JOYCE: Come visit me sometime. Bring me a strawberry milk shake. I'll play some piano for ya. WALTER: (shakes hands with a tearful smile) It would be an honor. ROSCOE JOYCE: (shares a nice man hug with his new friend) I forgot what my son felt like, what he smelled like. How it felt to be around him. But now I remember. Nobody is supposed to have a second chance like that. Walter's Lab - The Answer Within (the duo walks in from the corridor outside the lab) PETER: First he saves the girl, then he tries to kill her. Then he runs up five flights of stairs just to shoot me with his magic air gun and disappear. None of it makes any sense. OLIVIA: (smart-alecky) And how is this different to any other day? PETER: Uh... OLIVIA: Peter, are you sure you don't want to go see a doctor? PETER: No, I'm okay. Thanks. (she finds the book that he had sent to her apartment) Do you ever feel like every time we get close to getting the answers, somebody changes the question? (swoons) Olivia. OLIVIA: So why is this your favorite book? PETER: (struggles) Because it talks about not depending on other people for answers. That you can only find the answers inside yourself. Which... given our current situation, is kind of amusing if you think about it. (takes a pill and washes it down with Walter's modified milk) Oh...unh! (drops the container and collapses) OLIVIA: Peter? Peter! WALTER: (at Parklane Senior Care. answers ringing cell phone) Hello. Walter Bishop. OLIVIA: Walter, Peter's collapsed. He's having some kind of a seizure. He took some aspirins and swallowed it with some milk -- WALTER: Milk? OLIVIA: Yeah, from the refrigerator. WALTER: Oh, gawd! OLIVIA: Oh, gawd what? WALTER: The organometals I - in the serum must have reacted with, with the phosphates in the milk. OLIVIA: (urgently) Walter, what do I do? WALTER: (over the phone loudspeaker) He needs an anticoagulant to stop the seizures. In my medical bag on the shelf near the centrifuge. OLIVIA: Okay, I got it-- WALTER: ...You'll also need the gallon jug of saline, which is on the bottom shelf. Open the bag -- you'll find a bottle of magnesium sulfate. Use the syringe. One c.c. of magnesium sulfate, nine c.c's o-of saline. OLIVIA: It's not here, Walter, the magnesium sulfate. I can't find it. WALTER: Oh, w--no, no, no, I moved it, so... So I - I'd know where I put it. It was such an obvious place-- OLIVIA: Please, Walter! WALTER: Oh! Yeah! I - I alphabetized it. I - it's in the refrigerator next to the mayonnaise. OLIVIA: Okay. I got it. WALTER: Quickly -- OLIVIA: (prepares a syringe of Walter's solution) Okay, Walter. Where do I put it? WALTER: In his leg. In his right leg. (waits) Olivia? Please tell me what's happening. Olivia? OLIVIA: Okay. Okay, I think he's stabilizing. Everything's okay. Bishop Residence - Decompressing PHONOGRAPH MUSIC: I could while away the hours - conferrin' with the flowers - consultin' with the rain - and my head I'd be scratchin' - while my thoughts were busy hatchin'... if I only had a brain PETER: (waking up) Hey. WALTER: (presents a bowl of his soup) I made you some... Rosemary Chicken Soup. How are you feeling, son? PETER: (groggy) I'm better. WALTER: Thank you. PETER: (less groggy) What are you thanking me for? WALTER: For what you did. My serum was flawed. It would have killed me if I'd taken it. You only lived 'cause you're young and healthy. And I suspect... that's what this was all about. PETER: (doesn't have a clue) You lost me, Walter. WALTER: I think... The Observer saved my life. When he gave you a knock on the head so you'd take some aspirin and wash it down with the milk so you'd ingest the serum instead of me. PETER: (snarky-ish) I think if that's all he wanted, there must have been an easier way. WALTER: Well, he's not human. You can't expect him to think like us. (hands over hot bowl) Oh! PETER: (accepts bowl of soup) Thank you. PHONOGRAPH MUSIC: (slow and haunting as Walter thinks) ... and then I'd sit and think some more - I would not be just a nothin' - my head all full of stuffin' - my heart all full of pain... Bishops Residence - Observers Confer (outside the home in the cold, brisk night) OBSERVER: (mechanically with no emotion) I must admit, I feared my experiment would fail. DECEMBER: But you were right. He's changed. He was willing to let his son die. OBSERVER: Yes. And now we know. When the time comes... he will be willing to do it again.

311 - PROLOGUE Remote Base - The Trigger (a caravan of vehicles drives to a remote facility in the dark of the night. military sentries man the gate and challenge the non-military vehicle as it attempts to enter the compound) LIEUTENANT PIKE: Clearance and I.D. (to Broyles after he rolls down his window) WALTER: (rolls down his window and politely asks the second sentry) Do you have any chewing gum? PFC TOMFORDE: (baffled) Excuse me? PETER: (interceding) I'm sorry. He's got this thing with his ears. WALTER: It's not a thing with my ears. I've got a blocked Eustachian tube. And it's a perfectly natural reaction. Any flavor will do, although I'm rather partial to grape. LIEUTENANT PIKE: Welcome back, Colonel Broyles. (salutes smartly) (inside a large hangar on the grounds: scientists, technicians and facilitators pour over databases and design schematics) JAMES FALCON: We've tried a dozen different power sources. NINA: (looks at a page with a drawing of the Wave Sink device) And there were no reactions at all? JAMES FALCON: We've run all the diagnostics. The machine continues to be unresponsive. AIDE: (approaches) Miss Sharp, your guests are here. NINA: Expand the telemetry parameters and run the tests again. (Nina finds the Fringe Team and walks them back to the hangar through the break area) NINA: I understand you broke the encryption on the computer the other Olivia left behind. BROYLES: A few days ago. Peter gave us a number of password suggestions. One worked. NINA: Oh? WALTER: Yeah. It was a song lyric. And Fauxlivia ruined U2 for all of us. NINA: Fauxlivia? PETER: That's what Walter's calling her now. 'Fauxlivia' as in "fake Olivia." NINA: Ah. Uh, the data on the computer. What did you find? BROYLES: Unfortunately, it's one big file, mission details buried in hundreds of pages of mundane observations about our world. We don't know what's valuable and what isn't. And we can't identify any type of code. WALTER: (enters the hangar bay) Oh, my. OLIVIA: It's bigger than I imagined. (the team stands in awe, staring) PETER: Well, I suppose... it's just big enough to destroy a couple of universes. JAMES FALCON: (briefs the team as they approach the bank of technicians and scientists at their monitors) So far, we haven't been able to figure out how the machine works. NASA, the CIA, the NIH. We've had the government's top people at our disposal. WALTER: Which are you? JAMES FALCON: Excuse me? WALTER: Which agency do you work for? NINA: Walter, this is Doctor James Falcon, our lead scientist on this project. WALTER: Oh. Well, I suppose that makes me your boss. I am Doctor Walter Bishop. (shakes hands) Sorry for the interruption. Please continue. JAMES FALCON: As I was saying, we're confounded. There doesn't seem to be an energy source and nothing that suggests the machine can hold or transmit any type of power. DOCTOR GRANT: (typing at a nearby console. surrounding monitors start to fluctuate and degauss) Jack, are you getting this? JACK: Yeah. DOCTOR GRANT: Some kind of electromagnetic spike. (metallic objects start to tip over and slide around) NINA: Well, we think the problem must be the missing piece. The one that the other Olivia stole. PETER: That could be right. (referring to the blueprint on the table) The piece was right from the center of the machine. So it could be the power source. JAMES FALCON: Did the other Olivia mention the machine in her files? BROYLES: We're still working through the data. (interrupted by the screeching. portions of the device start to move and slide into a new configuration. Peter wipes his bleeding nose. everyone in the room looks on as the disruption ends) WALTER: Oh God. JAMES FALCON: It's like... something triggered it. PETER: Something did trigger it. Me. ACT I Bishop's Residence - Not So Stealthy (late at night, the front door opens slowly and Peter slips into the house wearing dark clothes, dark gloves and carrying a large tote bag. he puts the bag down and heads to the refrigerator for a snack. he sits to prepare a sandwich) WALTER: (walks to the kitchen in his pajamas and robe... holding a book) Peter. You've been out? PETER: No, I just came downstairs. I couldn't sleep. WALTER: I thought I heard the door. PETER: (shrugs) You must have been dreaming. WALTER: I don't think so. I wasn't sleeping either. Is that peanut butter? Can I have one? PETER: Mm-hmm. WALTER: How you feeling? Any more nosebleed? PETER: No. WALTER: Headaches? PETER: No. WALTER: But you're unable to sleep? PETER: Yes, but I don't think that has anything to do with the machine, Walter. WALTER: Might. We don't know yet. We don't know anything. (places the book on the counter) The First People's book. I read it cover to cover a dozen times. There's nothing to suggest how that device works or how it's connected to you. PETER: Walter. Stop, please. I want answers too. And I know you want to help me, but I don't think that you can this time. You can't protect me from everything. (hands over the first sandwich) Massive Dynamic - Prepping Peter JAMES FALCON: (attaching electrodes as he prepares Peter for testing in a large scanning device) Only a couple more, Mister Bishop. WALTER: (vehement) You still haven't convinced me that this is necessary. JAMES FALCON: Every human being gives off a unique electromagnetic signature. We're testing to see if it was indeed your son's that triggered the machine. WALTER: I have a graduate degree from MIT as well. I don't need a test to know how unlikely it is that this has got anything to do with electromagnetics. NINA: Now Walter. WALTER: Peter. Do you have any idea how much radiation you're about to be exposed to? PETER: (lays calmly. with some sarcasm) Well, I do now, Walter. NINA: Walter, I think you're overreacting. WALTER: (to Nina) May I have a word in private, please? NINA: (inside the adjacent observation room) We can't fire him, Walter. He's one of the most gifted biomedical engineers in the country. WALTER: I don't care who he is. (emphatic) I don't want him poking and prodding my son. NINA: I know you're worried about Peter. WALTER: (angrily) I'm not worried, Nina. I'm terrified. Did you see the way that machine reacted to him? NINA: (calming. certain) That is precisely why we're running these tests. WALTER: This is a waste of time. It's not going to tell us anything. Nina, I need you to do something for me. I've been trying to regenerate my brain cells. But William was too clever for that. He not only took out pieces of my brain, he inhibited their ability to replicate. NINA: ...no Walter WALTER: -- but Belly kept detailed notes of everything he did. I want to see his research to know how to reverse what he did to me. To regrow my brain cells. NINA: Walter, that's more than fifteen years ago. WALTER: I'm not whole, Nina. If I'm to figure out how Peter is connected to the machine, I have to get smarter. (plea) It's the only way I'll be able to help my son. NINA: Yes. I'll get on it right away. WALTER: Thank you. OLIVIA: (approaches Peter as he is prepped) Hey. PETER: Hey. OLIVIA: You okay? PETER: Oh, yeah. Yeah, I'm great. (jesting) In fact, I think I might use my newfound superpowers to make this machine levitate. OLIVIA: Oh, well, now that would be impressive. (curious) Listen, I tried to call you last night and you didn't pick up. PETER: Oh. Yeah. (rolls eyes) Walter was being Walter. I had to go for a walk. JAMES FALCON: We're ready. Do you want something to help you to sleep? This may take a while. PETER: No. I'm okay. Thanks. JAMES FALCON: Peter, relax. This procedure's perfectly safe. PETER: I'm sorry, Doc. You'll forgive me if I'm a little bit leery of machines right about now. JAMES FALCON: I understand. OLIVIA: Okay, well, I'm going to be right outside. (steps away with Falcon as Peter is slid into the scanner) Port Authority - Discovering Baird (midday in the courtyard between several large government buildings. a man takes a cigarette break near the Koi Pond filled with leafy aquatic plants. he notices something strange in the fountain, removes the cigarette from his mouth, grabs a twig from the ground and moves the floating vegetation aside. curious about the dead fish, he finds a man floating face-up at the bottom of the shallow pond) Walter's Lab - Discreet Help BROYLES: (enters the lab while Astrid is cleaning the aquarium) I see Doctor Bishop leaves the high intensity work for you. ASTRID: Agent Broyles. You know they're all over at Massive Dynamic. BROYLES: I know. I came to speak with you. For the past two days, an encryption team has been waiting for the data on the other Olivia's hard drive. ASTRID: Yeah. I hear it's one big mess. BROYLES: More than three hundred pages of material. Details about this world. Profiles on our people. Mission specifics. It's difficult to know what information's important. ASTRID: Well, I'm happy to help. BROYLES: I knew you would be. And we certainly could use your skills. But there's a reason I haven't already asked. Her mission logs are filled with personal observations. And many of them concern her relationship with Peter. And given what Peter and our Olivia have been through-- ASTRID: I understand. I'll be discreet. BROYLES: The file is on the mainframe. (hands her a card, then answers his ringing cellphone) Broyles. (listens) I'll be right there. Massive Dynamic - Accelerated Pulse JAMES FALCON: (studying the monitor in the Observation Room) Yes. I admit his rate is a bit high. WALTER: A hundred and thirty beats per minute is hardly a bit high. I want you to take him out of that machine right now. JAMES FALCON: Doctor Bishop, it's a very narrow tachycardia. It's hardly life-threatening. It would be ridiculous to stop testing for this. OLIVIA: Okay, so what is going on? JAMES FALCON: Peter's heart rate is a bit elevated. I assumed it was nerves at first, but he should've stabilized by now. OLIVIA: Are you saying that his heart rate could have triggered the machine? JAMES FALCON: No, I don't see how it could have. But it is curious and implies we should do more tests. WALTER: (angered) By all means. Let's use my son as a new Massive Dynamic lab rat! OLIVIA: Walter, I don't think the doctor was -- (answers ringing cellphone) Dunham. (listens) I'm on my way. (to Walter) Okay. I've got to go. Can you call me if you learn something new? Port Authority - A Possible Mole BROYLES: (strolling along the edge of the pond as the forensics personnel investigate the area) His name was Michael Baird. He was found dead in the fountain by a colleague. M.E. thinks he was murdered some time around three A.M. OLIVIA: So what's with the dead fish? BROYLES: They died of mercury poisoning. OLIVIA: Mercury? (looks at Baird's body) He's a shapeshifter. BROYLES: That's not all. (to a forensics technician) Turn him over, please. (to Olivia about the large incision in Baird's lower back) His data storage disk was removed. (to the technician) Thank you. (to Olivia) Whoever did this knew what they were doing. So why would someone kill a shapeshifter? OLIVIA: You mean someone other than us? Okay. (postulating) What if this was Walternate? What if he sent over some type of cleaner to tie up all the loose ends? To kill this guy before we... BROYLES: ... before we learned what he knew. OLIVIA: What are you thinking? ASTRID: (in the lab. answers her ringing cell phone) This is Astrid. BROYLES: Agent Farnsworth. I need you to run a search on the other Olivia's data file. ASTRID: Okay. What's the name? BROYLES: Michael Baird. ASTRID: (types in the request) Yeah, he's on here. He's on a long list of Port Authority employees. BROYLES: Shut down the mainframe. Shut it down now. And from this moment on, no one accesses that file except you. OLIVIA: (after the phone call is completed) What's going on? BROYLES: We cracked the encryption on the other Olivia's hard drive thirty-six hours ago. Among the info, she lists thousands of names. Michael Baird is one of them. Suppose Walternate knew we were getting close to identifying the list of shapeshifters on that drive. OLIVIA: How would he know that? BROYLES: Because someone on our side may have told him. OLIVIA: We got a mole. ACT II Massive Dynamic - Test Results PETER: (sits on the apparatus, having redressed) Well? JAMES FALCON: (enters the testing area with paperwork) I'd cut back on fried foods. But your lab work, the E.E. G. readings, it all looks pretty standard. Nothing to indicate you and the machine share an electromagnetic signature. PETER: And there's nothing out of the ordinary? JAMES FALCON: Well, like I told your father, your heart rate was a bit elevated. But that could be adrenaline, nerves, stress. PETER: Doctor, come on, when I got within fifty feet of that machine, things started flying around the room. My nose started bleeding. You're honestly trying to tell me that that's just a coincidence? JAMES FALCON: No. I'm telling you we still have no idea how any of that happened, but from a medical standpoint, you seem perfectly normal. I'm willing to run more tests. But, frankly, I thought you'd be relieved. PETER: (smiles. grants him one) Well, hey, you're the doctor. WALTER: (enters the test room, trying, and failing, to be soft spoken) Peter. Agent Dunham called. They found a dead shapeshifter. (catching Falcon's attention) She thinks that someone on the inside must be feeding Walternate information. PETER: Let's go. (pat to the back of Falcon) Thank you. (leaves with Walter) JAMES FALCON: You're welcome. Walter's Lab - Sifting The Data (gathering around Astrid's workstation) BROYLES: We assume the shapeshifter was killed because someone knew it was just a matter of time before we I. D'd him. PETER: We need to round up anybody who had access to the other Olivia's hard drive. BROYLES: We're already on it. PETER: All the FBI decryption teams. Anybody in Massive Dynamic. OLIVIA: (think about something else) Okay, Peter. BROYLES: Trust me, we're on top of it. We're questioning every one of them as we speak. In fact, that's what Walter and Nina are doing at Massive Dynamic now. PETER: What about the rest of her file? Does it mention any other shapeshifters other than Baird? ASTRID: Well, Newton's mentioned. And if there are two of them, we're assuming there are more. But there are hundreds of names throughout the file. Just lists of government employees, local cops. BROYLES: We're running profiles on all of them now. We're looking for anything that might indicate a recent change in behavior. Anything which would suggest having been replaced by a shapeshifter. OLIVIA: (ready to get to work) Alright, well, it looks like a big job. So how can we help you sift through the data? ASTRID: (hesitantly) Um, it's probably not a good idea. OLIVIA: Why not? PETER: (knows why. flatly) Because she wrote about me. BROYLES: (concurs. flatly) Yeah. Some parts of this read like a diary. You're quite prominent. PETER: We should get to Massive Dynamic. OLIVIA: (upbeat. to Astrid) Okay, well, call me if you find something. (leaves with Peter) Massive Dynamic - Lie Detection BRANDON: (as he draws a blood sample) State your full name, please. MATT GOLDIN: (even tone) Special Agent Matthew Nicholas Goldin. JAMES FALCON: Does the name Michael Baird mean anything to you? MATT GOLDIN: (flatly) No, it does not. BRANDON: Where were you born? MATT GOLDIN: Brooklyn, New York. PETER: (watching the interview on the monitor in the observation) How many more are there? NINA: Twenty-two of our people. Another seven from the FBI. So far, all the blood tests have come back negative. But that doesn't rule out the possibility of a human mole. PETER: Lie detectors are unreliable. OLIVIA: He's right. People beat them all the time. NINA: (confident) Well not this one. William designed it. It measures the slightest shift in facial muscles, which allows us a link to stress and a particular emotion. His facial muscles tell us that his stress is not connected to feelings of guilt or shame. WALTER: (impressed) Very clever. I wish I'd thought of it. PETER: We need to keep everybody in custody until we find the leak. NINA: There are nearly thirty people on the list. I'm not sure that's practical. PETER: (slightly accusatory) Do you actually want to catch this mole, Nina? BRANDON: (over the video feed) Do you know the identity of any shapeshifter? MATT GOLDIN: (over the video feed) No, I don't. BRANDON: (over the video feed) Do you know anything about the murder... NINA: Walter, do you have a moment? WALTER: Yes. Yes, of course. (leaves the room) BRANDON: (over the video feed) Have you ever given anyone information to assist in the murder of a shapeshifter? MATT GOLDIN: (over the video feed) No, I haven't. Nina's Office - The Need To Help NINA: (hands over a box marked DNA) You were right. I found William's research. His notes suggest that he designed a retroviral serum based on your DNA that will regrow your brain tissue. WALTER: That's wonderful. Oh, thank you, Belly. (opens the box) NINA: Walter, William experimented with lab animals first. A rat and a chimpanzee. Now, back in the '90s, we had a small lab fire. The original labels were destroyed. I'm going to ask the lab to run diagnostics on all three. Then they should be able to tell us which one was made for you. (as he snorts the DNA sample she handed to him) Walter. WALTER: Don't worry. I've snorted worse. A few good whiffs and my brain should be able to begin to regrow its missing parts. NINA: And what if the serum is not based on your DNA? WALTER: (deadpan) Well, I'll probably get a rash. NINA: Well, I'm afraid we've got a bigger problem on our hands. I'm worried about Peter. WALTER: So am I. But that's what this is all about. NINA: Peter has endured a lot recently. Maybe he should talk with someone. No, what I'm trying to say is there are people that are trained to help. WALTER: (intently) Nina, he's my son. I'm the one that needs to help him. Massive Dynamic - Falcon Bolts (Olivia and Peter continue to watch the on-going interview process over the video feed in the Observation Room) BRANDON: (over the feed) Do you know anything about the murder of Michael Baird? AGENT RUIZ: (over the feed) No. BRANDON: (over the feed) How long have you been in the FBI? AGENT RUIZ: (over the feed) About five years. OLIVIA: (turns from the monitor) Peter. BRANDON: (over the feed) And you never heard of Michael Baird before I brought his name up... OLIVIA: (heartfelt) About the other Olivia's files, I know that you slept with her and I know that you're trying to protect me. But reading about it isn't going to make it worse. Peter, I'm not doing any good here. But if I could help Astrid with the files-- PETER: Olivia. I've conned people. And I know what I would've written about them. She must have thought that I was a fool. (sullen) And I don't want you to see me like that. BRANDON: (over the feed) Alright, we're done. (to Peter and Olivia once they join him) That's it. We've talked to everybody. PETER: We should call Broyles and tell him. OLIVIA: What about Doctor Falcon? BRANDON: Doctor Falcon wasn't on the team that worked on the hard drive. OLIVIA: Maybe not, but he was asking questions about it yesterday at the hangar. BRANDON: (makes a call) Hey, it's me. Uh, could you send Doctor Falcon up, please? (listens) Why not? OLIVIA: What? BRANDON: Doctor Falcon left work early. Falcon's Residence - Too Late (Broyles leads the science team and a large tactical squad to raid the house of James Falcon. agents rush into the house and fan-out looking for their target. ) TACTICAL RAID: Clear. Clear. Clear. (on the floor of the first floor living room, Olivia locates Falcon.. disabled in a pool of his own mercury) ACT III Falcon's Residence - A Step Behind OLIVIA: (over the phone) The exact same as Michael Baird. Two shots in the head and his data storage unit had been removed. ASTRID: (in the lab, searching Bolivia's database) You're right. Doctor James Falcon. He's on here. He's part of a list of Massive Dynamic employees. OLIVIA: (to Peter, on the other side of the room) Doctor Falcon's name is on her computer. ASTRID: So if Walternate's knocking these guys off, they must know something important. WALTER: (to himself) Damn. OLIVIA: Yeah. Tell Walter I feel the same. ASTRID: That's not about the shapeshifters. Walter's giving himself an IQ test. OLIVIA: (slightly amused) Okay. Well, Falcon's body is being taken to the lab. So when Walter finishes exercising his mind, can you get him to take a look? And maybe he can find something that will help us identify the killer. ASTRID: Of course. OLIVIA: (after the call) Astrid's still going through her files. But so far no luck identifying the remaining shapeshifters. PETER: Yeah. The techs are drawing a blank too. I don't think we're gonna find anything in here that's gonna tell us who Falcon was working with. OLIVIA: God, it feels like every time we learn something new, we're still a step behind. If we could get to one of these shapeshifters, maybe we could finally get answers. Walter's Lab - Falcon Autopsy WALTER: (unzipping the body bag containing James Falcon) My bone saw, Dear. The aspirator, voltmeter, and a ripe banana. ASTRID: (worried about potential forensic applications) Please tell me the banana's for you. WALTER: I had a sudden craving. (reflective) It's odd though. Bananas are typically my least favorite fruit. Oh, news. (about a nearby monitor) ASTRID: (checks the new data) Yeah, but it's not good. Another twenty names have been cross-checked from Fauxlivia's files. None of them are shapeshifters. WALTER: So you've read all of Olivia's files? ASTRID: Yeah. Most of them. WALTER: (quietly concerned) What did she have to say about me? ASTRID: (upbeat smile. honest) She liked you. She thought that you were kind and brilliant. WALTER: (accepts the assessment) Would you help me with him, please, Dear? (brings Falcon to an upright position and checks the incision on his lower spine) ASTRID: Walter! (after he grimaces like an aggressive, non homo-sapien, primate) WALTER: Oh. I'm sorry. That was very rude. (thinks about his facial tick) I was displaying dominance. 'scuse me? The serum I took. It must have been meant for a chimpanzee. ASTRID: You mean it's growing chimp DNA in your brain? WALTER: Well, just a bit. It's fascinating though, isn't it? (now intrigued) How the tiniest change in our composition can yield such drastic changes in our behavior. It's not surprising, really. After all, we share fifty percent of our DNA with a banana. ASTRID: You sure it isn't dangerous? WALTER: No. It'll pass. My immune system will recognize it as foreign and reject it. (reclines the shapeshifter) So... the bone saw, please. Hmm. ASTRID: What is it? WALTER: I'm not sure. Magnify... (checks the fingernails of the corpse with a large lense) Looks like blood. Falcon's Residence - Apology Offer OLIVIA: (examines an exterior window) So this must've been how he got in. PETER: It looks like he used a knife to jimmy open the window. OLIVIA: Which would suggest that he and Doctor Falcon were strangers, or otherwise he would've used the front door. Right? PETER: Hmm. (looks around the room) OLIVIA: Peter. (changing the subject) I owe you an apology. (forthright) PETER: For what? OLIVIA: The last few weeks have been really hard for me. I've been so focused on what the other Olivia did to me that I... I just haven't thought about what she did to you. PETER: Look, Olivia-- OLIVIA: And I want you to know that I'm sorry and that I get it now. The good news is... is that she's gone. I know it doesn't feel like that at the moment, but she is gone. And, um, we can get past it. PETER: (smiles) Thank you. (phone vibrates. reads the message) I've got to do more tests at Massive Dynamic. OLIVIA: Do you want me to drive you? PETER: No. I'll just take the train. But could you call Walter and let him know I'll be home late and not to worry? OLIVIA: Mm-hmm. PETER: Thank you. (walks off) OLIVIA: (answers ringing phone) Dunham. ASTRID: (from the lab) It's me. We just found blood under Doctor Falcon's fingernails. OLIVIA: So the killer is human? WALTER: Appears so. Type A positive. It's fairly common. I'm A positive along with one-third of the population. ASTRID: I'm searching Massive Dynamic's personnel files now and there is only one person with that blood type who had access to Fauxlivia's files. Brandon Fayette. Nina Sharp's Chief Scientist. Busy Street - On The Run (a woman rushes down a bustling urban street checking to see if anyone is following her. she cuts between two buildings, up a staircase, through a loading dock and into a quiet back alley, still checking behind her. she is immediately solicited) TRANSIENT: Spare some change, lady? JACKIE BERMUDEZ: (calmly) Yeah. (reaches for her purse) Sure. (grabs the hand of the transient, snaps his neck, then plugs her shape-changing device into his palate. she crushes portions of her face for the pending reconfiguration, then initiates the device) Massive Dynamic - A Quick Bite (Nina escorts Broyles, Dunham and two additional agents quickly through the halls of her facility en route to what may be a crucial arrest in the case of Bolivia's compromised database) BROYLES: (as his agents level their weapons at the snacking scientist sitting in his lab) Don't move. BRANDON: (intimidated, and sporting a mouth full of lunch) Can I swallow? Back Alley - Transformation Incomplete (the shapeshifter finishes the transformation it initiated just a minute earlier and secures its' shape-changing device once it has fully adopted the appearance of the transient male it just killed. then, from the loading dock behind it) PETER: Hey, Bermudez. (walks from the dark breezeway firing four shots from his silenced pistol into the shapeshifters torso) ACT IV Massive Dynamic - Stoked INTERVIEWER: (questioning the one man in the process that no one has questioned) Have you ever killed a shapeshifter? BRANDON: No. (coy) I've been going to the gym though. I'm kind of stoked you'd think I'd have that kind of strength. You can keep asking me questions. The machine isn't gonna give you a different answer - because I didn't do it. NINA: (looking at the monitor in the observation area) He's right. Machine says he's telling the truth. Walter's Lab - A Familiar Pattern ASTRID: Hi. What have you got? OLIVIA: It's not Brandon. We questioned him and he passed the polygraph. ASTRID: Well, that's not unheard of. Lots of people defy a polygraph. OLIVIA: Not this one. Okay, which one of these haven't you gone through? I understand why nobody wants me to read these files. But what's written here is in the past and what is important is the future. Somewhere in here are the names of the remaining shapeshifters. And we're running out of options. ASTRID: Yes. And we have to find them before whoever's killing them does. Believe me. I know. Broyles is calling me every twenty minutes to tell me the same thing. OLIVIA: At this point, it's not just the shapeshifters that I'm worried about. I mean, if we can find the next target and surveil him, maybe we can catch this guy. ASTRID: Look, I am really thankful for your help. Seriously. But I've been through this whole stack already. OLIVIA: But I'm not just another set of eyes. We're the same. The other Olivia and me. I should be able to think the same way. So maybe I'm gonna be able to find a pattern. (starts reading) Bishop's Residence - Missing Peter WALTER: (after assembling a banana split, he answers his phone smeared in whipped cream) Hello? NINA: Walter, it's Nina. WALTER: Nina. I was just thinking about you. (licks the cream from his finger. then remembers) The first sample is definitely chimpanzee. You can label it now. NINA: First sample? WALTER: Belly's serum. I'm ready for round two. NINA: Actually, I was calling for Peter. WALTER: He's not with you? Has he finished the tests already? NINA: Finished? No, no, that's why I'm calling. I wanted to schedule a round of tests. WALTER: But Olivia said -- (realizes the deception) I must've misunderstood. NINA: Walter, I understand how you feel about this testing. And I know that Peter is reticent as well. But I also know that you understand why these tests are so important. Will you tell him I called? WALTER: Yes. I'll give him the message. (looks up the stairs towards Peter's room. after the call he enters the room and snoops around. he finds lists of names from the compromised database. names are circled. names of targeted shapeshifters) (Peter sits and waits in a vehicle outside of Zach Alperts' home) Walter's Lab - Cracking The Code ASTRID: (joins her unusually quiet teammate) You okay? OLIVIA: (reading from Bolivia's journal) "It's strange, but at moments when I'm with PB, I find myself forgetting what I'm here for. PB's different than I expected him to be. A sincerity behind his eyes. A deep-seated goodness. It's hard not to get caught up in it. Not to get caught up in him." (stops reading) You know, this may have started out as a mission, but it turned into something else. She was starting to have real feelings for him. ASTRID: (shakes head) Olivia...? OLIVIA: No, I mean, and he's a great guy. And, of course, we're the same. She would see what I see. We speak the same. We use the same phrases. I'm reading this and I'm thinking this is how I make sense of things. Make sense of feelings. Of Peter. We even use the-- ASTRID: Olivia? OLIVIA: Okay. I think I got something. (grabs a stack of papers) We need the original printout of the file. ASTRID: Exactly what am I looking for? OLIVIA: When I was a little kid, my mother used to call me Olive and hers did too. So I think this is a letter substitution code. So O-L-I-V-E. Uh, "O" is the 15th letter of the alphabet. So on the 15th page, the 15th name is... ASTRID: It's Newton. "L" is the 12th letter of the alphabet. 12th name on the 12th page. OLIVIA: Michael Baird. ASTRID: And "I" is the 9th letter in the alphabet. The 9th name on the 9th page. OLIVIA: James Falcon. ASTRID: The 22nd name on the 22nd page is Jackie Bermudez. OLIVIA: And the last one is Zach Alpert. Okay, we've got'em. Zach's Apartment - Preempted Strike (Peter shims open a window lock on the building he has been sitting outside of. he climbs through the window, closes it and affixes a silencer to the pistol he has. he slinks across the apartment to the room with the television set that is on. he fires twice into the body sitting in front of the television. it falls to the floor. a dummy dressed in Zach's clothing. Peter turns and is smacked in the head with the butt of a pistol, collapsing to the floor) ZACH ALPERT: Hello, my friend. I was expecting you. ACT V Zach's Apartment - Disk Retrieval ZACH ALPERT: (standing over Peter with a pistol to the back of the head) Where are you getting your information? How did you find me? I know who you are, Peter. You might think that we're not allowed to kill you. But that doesn't mean that we can't hurt you. (puts a screwdriver to Peter's temple) We can get everything we need from you even if you only have nine fingers... or one eye. (startled as Walter enters the house) WALTER: Peter. (Peter knocks the shapeshifter to the ground. Zach reaches for his dropped pistol and has the fingers on his right hand chopped-off by Peter) ZACH ALPERT: Ahhh! (then shot twice in the chest once Peter recovers the pistol. Walter stares in amazement) BROYLES: (answers handsfree phone call while driving) Broyles. OLIVIA: (from her vehicle) Jackie Bermudez's apartment was empty. We've got a team sitting on it in case she comes back. BROYLES: (nearly forced into a collision by traffic as he speeds through the night) Damn it. OLIVIA: You okay? BROYLES: Yeah. So five shapeshifters. How'd you break the code? OLIVIA: There's only five letters in "Olive." Newton, Baird, Falcon are dead. Bermudez is missing. BROYLES: So that leaves one. (back in the apartment as he holds the pistol trained on the shapeshifter) PETER: How'd you find me, Walter? WALTER: I found your notes on Fauxlivia's file. You left -- they were right on your desk. I'm smart enough to open a phone book. (as Peter flips Zach over and carves a trench in his lower spine) I looked the man up. You killed them all, didn't you, Peter? PETER: (pulls the memory storage disk from the shapeshifter) And it's been useless. I didn't learn anything from the rest of the data disks. But he's the last one. He must know something. WALTER: Peter... PETER: I have to know what they know, Walter. I'm tired of being reactive. WALTER: Son, this isn't you. You can't just-- PETER: They're soldiers, Walter. They're here to kill us. (as Zach groans) Besides, they're not even human. And I'm not doing anything wrong. (flips the shapeshifter over and fires a bullet into his forehead) WALTER: Then why didn't you tell us? (dismayed) If you weren't doing anything wrong, why didn't you tell us? I don't know what's happened, but this is not you. PETER: (answers ringing cell phone) Hello. OLIVIA: (calling from her vehicle) Peter, it's me. Good news. We identified the last two shapeshifters. We're heading to Zach Alpert's apartment. It's in Revere. I'll let you know if we find him. (pulls the car up to the front of Zach's home, stops and gets out just as Broyles pulls up and parks. both race inside with pistols drawn and find the remains of Zach) Bishop's Residence - A Step Ahead OLIVIA: (sitting and talking with her colleagues) We failed. He got all of them and now he's gone. We don't know who he was. We're always just a step behind. PETER: Well, we still have the other Olivia's computer. (notices he is getting the evil-eye from Walter) Maybe Astrid can learn something. OLIVIA: Okay. I should get home. (stands and walks off) Bye, Walter. WALTER: Bye. (still eyeing Peter as he follows Olivia to the front door) OLIVIA: (privately before leaving) Peter, I read her file. And you should know that you have nothing to be embarrassed about. PETER: (somewhat relieved) Thank you. WALTER: I think I know what's happening to you. Every relationship is reciprocal, Peter. When you touch something, it touches you. You're changing, son. When you touched the machine, it changed you. It weaponized you. PETER: So what do we do now, Walter? WALTER: I don't know. (thinks as Peter walks away) Massive Dynamic - More Data NINA: I understand you have news on the device. BRANDON: Not exactly, but we found these three copies of The First People's book. NINA: (stops and studies the new collection) Where did we find them? BRANDON: One was in a museum. The others, private collections. The owners did not want to part with them. But it kind of helps when you have unlimited funds. NINA: And did they all say the same thing? BRANDON: It's in three different languages written by three different authors. They're all published within two years of each other. So forgiving for the translations, they're almost literally word for word. NINA: And - what do you make of it? A civilization that existed millions of years before the dinosaurs? BRANDON: The planet has been spinning for five billion years. We've only been around for the past 250,000. There were six major extinction events before we even crawled out of the slime. So who's to say that one of them didn't wipe out a great civilization? NINA: Hmm. BRANDON: There's another thing. When we put the word out that we were looking for copies of the book, we found out we weren't the only ones. A few years ago, somebody started a similar search. NINA: Who? BRANDON: William Bell. NINA: Ah. (back at his home, Peter studies his face in the mirror. the eyes are darker. maybe a touch of grey has started. definitely more resolve as he heeds his father's word's. maybe the device has touched him... weaponized him)

312 - PROLOGUE Massive Dynamic - William Bell's Secret NINA: (as she searches through Bell's old keepsakes) Hmm. Hmm. Hmm. NINA: The First People. You and your secrets. (dials cell phone) Yes, call Agent Dunham, please. OLIVIA: (once she has arrived) So they all say essentially the same thing? NINA: Not essentially. Precisely. Despite being attributed to different authors. A fantastical idea and I have yet to uncover why William was pursuing it. That being said, it was information in the books that lead us directly to the coordinates where we recovered the pieces of the device. OLIVIA: Which makes them impossible to discount. NINA: I've been thinking about the journal the other Olivia wrote while she was here. Perhaps her writing might shed some light. OLIVIA: Uh, no. I read her file and she didn't mention "The First People" or the device. NINA: Oh, I hadn't realized. I... imagine that must have been awkward, reading her account of her time with Peter. OLIVIA: Though it seems somewhere along the way, she did start to develop genuine feelings for him. NINA: I see. And did that surprise you? OLIVIA: No. I mean, I understand how that could happen. NINA: But what? OLIVIA: Just makes me wonder if maybe he feels the same way. And I would understand if he did. I--I was her for a while and she's-- she's like me, but better. NINA: Oh, Olivia-- OLIVIA: No, I mean, she still has her mother and she wasn't experimented on as a child. And she can laugh. She has real friends. She even wears a dress every once in a while. NINA: Yes, but even so, you don't know what Peter's thinking. William and I... we also had a complicated relationship. If there's one thing I regret, it's that we never honestly acknowledge how we felt about each other. Don't make the same mistake that I did. If you want to know how Peter feels... ask him. INtREPUS R & D - Not So Happy Birthday RANDALL: What is it? GROUP: Ooh! RANDALL: Hey, now you can finally get the real answers to the mysteries of the universe, Warren. WARREN BLAKE: Yeah. Tell me, oh Eight Ball, will we get the Fowler Grant? (shakes the his new Magic Eight Ball) Oh. "outlook not so good." GROUP: ...awww WARREN BLAKE: Thank you. GROUP: Happy birthday to you, happy birthday to you, happy birthday Dear Warren, happy birthday to you. (cheers. applause) GRACE: Make a wish, Warren. WARREN BLAKE: I wish I never hear you guys sing again. GRACE: You're very popular today. WARREN BLAKE: Oh, yeah, once a year. Thanks, Grace. Gaah! Ah! GRACE: Warren? WARREN BLAKE: Ah! Ah! GRACE: (screams) ACT I INtREPUS R & D - Quarantined BROYLES: Ninety minutes ago, 9-1-1 received a call about a suspected biological attack. BPD responded, evac'ed the building and set up a quarantine zone. OLIVIA: Any casualties? BROYLES: One. Doctor Warren Blake. A scientist working in the company's R & D Department. The victim's reaction doesn't match any known biological or chemical weapon. WALTER: But why would anyone kill a scientist? What did we ever do? PETER: Really? WALTER: Oh, my. Look at this. I feel nauseated. PETER: Yeah, this is pretty disgusting, even by our standards. WALTER: I'm not talking about the body. I fear I may have broken wind inside my suit. Hmm, this is curious. It would appear there isn't a single bone left in this man's body. This blue substance seems to be the culprit. Victim must have inhaled it. OLIVIA: Which caused his bones to disintegrate? WALTER: Ingenious. It destroyed bone matter but was nonreactive with everything else. The work of a highly proficient chemist, no doubt. PETER: I found the source. That's an odd delivery system. Bonus points for the creepy factor though. OLIVIA: This was definitely personal. It was his birthday. The card says, "from Madison." PETER: So who's Madison? OLIVIA: I don't know. This was sent to Blake, but there's return address on it. PETER: What are you thinking? OLIVIA: That this is too big to go in a mail drop. WALTER: Did I miss something? PETER: Yeah, our first lead. WALTER: Oh. Walter's Lab - Locating Downey OLIVIA: Thank you. Broyles tracked the postal code. The package was sent from Chelsea two days ago, so I'm just downloading the post office security footage. Okay. Let's see if we can find our guy. ASTRID: Doctor Warren Blake was noted for his recent work in vaccinating thousands of people in underdeveloped countries. This guy cured diseases. He saved lives. How come all the creeps go after the good guys? WALTER: Oh, my. ASTRID: How many times are you gonna test that? Or is this just a way for you to break your diet? WALTER: Do you think I enjoy eating greasy fried food? You're right. But if I can figure out exactly what this substance is, then we may be able to determine where it comes from. Look. The molecules in the powder bond with calcium, but they also appear to be capsulized, which preserves the agent until it's delivered into the host. And -- ASTRID: What? WALTER: Belly and I worked on a similar technique in the '70s when we were trying to find a way to vaccinate people without their knowledge. We discontinued the project when Tricky Dicky tried to use our research to develop biological weapons. ASTRID: You used to work for President Nixon? WALTER: It was uncomfortable. His wife... kept coming on to me. Now, little lady, let's see what makes you tick. Because if I'm right, this is not some rogue's creation at all. OLIVIA: Astrid... could you run this for me, please? ASTRID: You found the suspect? PETER: Good thing lunatics still have to use the postal service. WALTER: Well, that makes two breakthroughs. I believe this is military. Ours, to be precise. OLIVIA: U.S. Military? How would our suspect get his hands on something like that? ASTRID: Because he's a former Marine. His name is Aaron Downey. He doesn't have a criminal record. He has a military one. PETER: So he used his clearance to get access to the powder. ASTRID: It's not likely. He's been out of the service for four years. OLIVIA: Okay, what's his last known address? (makes a quick cell phone call) This is Dunham. I need a team in Quincy now. Downey's Home - Tactical Raid RADIO CHATTER: Up front! You two, go! Go! We're clear right. Clear! SWAT #1: No chem or bio agents. We're clear. RADIO CHATTER: No chem or bio! Go ahead. Take the hall. Okay. OLIVIA: (checks the kettle on the stove) Still hot. We just missed him. (later as the house is being investigated) PETER: So how does a Marine end up a terrorist? OLIVIA: It says here that Downey's service record was impeccable and then four years ago, he just abruptly resigned his commission. PETER: Does it say what he did after that? OLIVIA: No. He was off the grid for a couple years. But when he did resurface, he bought this house. All cash. PETER: Interesting. So who is she? OLIVIA: She was obviously important to him. Maybe she knows where he is. PETER: You okay? OLIVIA: Do you still think about her? PETER: Excuse me? OLIVIA: Well, you've bought me one hundred cups of coffee and you know that I take it black with one sugar, but this morning you brought me one with milk and I'm assuming that that's the way the other Olivia likes hers. PETER: Yes. I think about her all the time. I think about how she used my feelings for you to manipulate me. How she lied to me and everybody else. OLIVIA: No, before you knew she wasn't me. She was fun, right? She had an easier smile. I mean, that's what you said. PETER: Olivia, I said that because I wanted you to know that I noticed the differences. But I thought it was because of me. Because of us. I thought that I was bringing out a different side in you. But it was never because I wanted to be with her more. Because I don't. I'm sorry about the coffee. SWAT #2: Agent Dunham. We've got something downstairs. OLIVIA: Can you finish up here? PETER: Yeah. BROYLES: (studies a large case with half of its' heavy duty cannisters missing) Military ordinance is serialized and the serial numbers have been filed down. They're stolen. OLIVIA: So... where are the other three? PETER: (hears a distant phone ring then sees a man dash across the hip roof outside the second story window) He's here! Freeze! (runs after him. jumps from balcony to roof, to roof) Freeze! FBI! (both jump to the ground. the man he is chasing flees into the street and is struck by a passing vehicle) ACT II Hospital - Intensive Care Unit DOCTOR: ...everything is stabilized, but there's a fair bit of swelling in the brain, and that's pushing down on the brain stem, effectively cutting off the blood supply. OLIVIA: So what are the chances that he'll regain consciousness? DOCTOR: We just don't know. The brain damage is substantial. WALTER: May I see his medical chart? DOCTOR: Sure. If he does come out of the coma, he won't be able to talk or swallow or even breathe without a machine. OLIVIA: Okay. Thank you, Doctor. PETER: So much for interrogating him. WALTER: Hmm. OLIVIA: What is it, Walter? WALTER: It says there's still neural activity in the cerebrum. Low levels, but it's there. I may know a way to question the suspect. But I'll need to go back to the lab first to think about it. OLIVIA: The woman in the photos at Downey's house, it's his ex-wife. She agreed to come in and talk to us. Walter, we'll drop you off at the lab. Federal Building - Meeting Sara (sitting and conducting a friendly interview) OLIVIA: (shows her photo) This is Doctor Warren Blake. We found his body yesterday. Do you know him? SARA DOWNEY: Uh... he finally - he finally did it. He said he was going to kill him. I just never took him seriously. OLIVIA: I'm sorry. What are you saying? SARA DOWNEY: Aaron... left the Marines to do some private contractor work. The money was really good, but he had to be overseas for a couple of years. When he got home, we wanted to start a family. It was great at first. I mean, I got pregnant and we bought a house. And then, um... seven months into the pregnancy... our baby died. OLIVIA: Oh, I'm so sorry. SARA DOWNEY: The doctor said that there was something wrong with Aaron. Some DNA pathogen that he passed on to our child. Aaron was convinced that it had something to do with his time overseas. He kept talking about a weapons project, that he must have been exposed to something. Doctor Blake was the scientist who oversaw it. PETER: Sara, did he happen to tell you the name of that project? SARA DOWNEY: No, Aaron never said. All he talked about was Doctor Blake. He blamed him for Maddy's death. OLIVIA: Maddy? SARA DOWNEY: Madison. That was gonna be our daughter's name. She died like all the others. OLIVIA: What others? There were two other men in Aaron's unit. SARA DOWNEY: He never told me their names, but their babies died the same way. PETER: I'm sorry to ask you this, but how did your daughter die? SARA DOWNEY: They said it was some kind of bone disease. It left her without a skeleton. (walking the corridors after the interview) OLIVIA: So we have three missing canisters and two men with a grudge. PETER: So you're thinking revenge too? OLIVIA: Well, he killed Blake with his own weapon. I'm gonna call Broyles and see if he can dig up some of Blake's old research grants. If we can find out more about this project, then maybe we can find the names of the other two men. PETER: (answers ringing cell phone) Hello? WALTER: Peter? I need to be picked up. PETER: Where are you calling me from, Walter? WALTER: (standing at a pay phone near a busy, four-lane divided highway) Uh, New Hampshire, I believe. Mile marker 259 on the I-89. Peter, bring your wallet. I haven't got any money and I'm starving! New Hampshire - Roadside Assistance (chatting as Peter refuels the Vista Cruiser) OLIVIA: Walter, you still haven't told us. Where exactly were you driving to? WALTER: I didn't see the gas light come on. OLIVIA: That wasn't my question. WALTER: In the Wooster Cortexiphan Trials there was a boy, Simon Phillips. He lives just up the road here. I believe he may be able to help us. PETER: Help us how? WALTER: (scolding) Peter, don't spill it. The paint on the car is very delicate. OLIVIA: Broyles pulled all the names from the Wooster Cortexiphan Trials months ago and I don't remember a Simon Phillips. WALTER: Because he wasn't in the records. He didn't complete the program. Simon was beginning to develop the ability to read minds. We hadn't intended it to happen. None of the other children were affected in such a way. PETER: You threw him out of the trial, didn't you, Walter? 'cause you knew if he read your mind, he'd know your secret, that you had taken me from the other side. WALTER: Well, whether or not he completed the trial is inconsequential. He had the ability once. OLIVIA: Well, how do you know that he can still access it? WALTER: It's probably dormant, but if I can somehow reactivate Simon's ability, then we could use him to read Downey's mind, find out where the next attack's coming from. (as a VW bug drives) Oh, look! (socks his son in upper arm) Punch buggy! Blue. (amused with himself) Washington, Vermont - Meeting Simon (the trio approaches a rural cabin surrounded by substantial fencing and a trespass warning) OLIVIA: I don't think this guy's big on company. PETER: I'm guessing you didn't call ahead. OLIVIA: (knocks on the heavy wood door) Mister Phillips? (walks to a window) Hello? PETER: (notices an urgently bouncing man) Walter, you don't have to be so nervous. I don't even think he's home. WALTER: I'm not nervous. It was a long car trip. Listen. I need to pee. OLIVIA: How do we know that he still lives here? (Walter finds relief at the nearby pond, finishes his business and turns to find a truly nervous man pointing a pistol at him) SIMON PHILLIPS: (responding to Walter's thoughts) Yes, I know who you are. (listens and responds) No, I wouldn't call it wonderful at all. WALTER: (thinking randomly) SIMON PHILLIPS: (repeating the random thoughts) Bacon, unicorns... Peter's birthday, dash of cinnamon, Z-two equals z-one squared plus c, Reiden Lake. What does that mean, huh? What are you trying to do to me? WALTER: Nothing. It's just my mind does that sometimes. (continues random thoughts) SIMON PHILLIPS: You need to leave. OLIVIA: (pointing her pistol) Put your gun down. SIMON PHILLIPS: (nothing crosses his mind) How come I can't hear you? Why can't I read you? WALTER: She's another Cortexiphan subject. Sometimes you children are immune to each other's abilities. (adds the thoughts) I know what it's like. What's wrong with him? (Simon collapses. Later, Olivia sits alone with him inside the cabin as the Bishops wait outside) WALTER: Every new thought he reads is an added stressor. To cope, his brain pumps adrenaline and cortisol into his system. Naturally, he experiences headaches, nausea, accelerated heart rate. That's why he gets sick. PETER: How many more, Walter? How many more are gonna come crawling out of the woodwork? (inside the cabin, the two former test subjects share a hot beverage) SIMON PHILLIPS: Thanks. OLIVIA: You're welcome. SIMON PHILLIPS: (smiles) It's refreshing, you know, not, uh--not being able to read your mind. It's the, um -- it's the first real conversation I've had in twenty years. So it started when I was about ten. It was, uh, small at first. Just hearing other kids' thoughts at school, but then it kept getting worse. And now I can't control it. I can't turn it off. Whenever I get within 50 feet of another person, it's like-- OLIVIA: Is that why you live here? Alone? SIMON PHILLIPS: It's the only place that's quiet. Do you know how it feels to be burdened with something that makes it impossible for you to relate to another person? That makes you feel completely alone in the world? OLIVIA: I can imagine. Simon, I know that dealing with our capabilities can sometimes be difficult, but... they can also help people. SIMON PHILLIPS: Look, I don't have to be able to read your mind to know that you want something. What is it? OLIVIA: We need you to help with an investigation. We need you to read a suspect's mind. SIMON PHILLIPS: No. I don't think so. OLIVIA: Please, Simon, come back to Boston with me. SIMON PHILLIPS: A city the size of Boston? You've got to be joking. All those thoughts, they're like millions of needles in my brain. I'm sorry. There's gotta be another way. OLIVIA: Look, I know what I'm asking of you, but, Simon, I'm afraid that if you don't help us, more people will die. Please. Canopy One - A Second Attack (three executives hurry into a glass elevator to get up to a short notice meeting) DICK: Can you believe Barry pulling this on us last-minute? Emergency board meeting at Five O'clock? I've got dinner in the city in an hour. Ninety-three is gonna be brutal. Is this a joke? (notices a rag doll attached to the ceiling) "Happy Birthday from Carla"? (the doll deploys a fine blue powder, filling the small enclosure and killing the occupants) ACT III Hospital - Interviewing Downey HOSPITAL CHIEF: (barking orders over the chaos in the hallways) I want non-critical patients in the lobby! Take Mister Johnson to the cafeteria, we've got the beds set up there. Ahh, we are moving them as quickly as we can. BROYLES: Thank you. HOSPITAL CHIEF: Can I ask what this is for? WALTER: We need a mind reader to help us find a bomb. (after the evacuation, Olivia escorts Simon through the quiet halls to Downey's bedside. Broyles and the Bishops watch on a monitor in an isolated room) PETER: We should think of a backup plan. BROYLES: You got any ideas? OLIVIA: (after sitting briefly next to the brain-damaged murderer) It's not working, is it? SIMON PHILLIPS: (breathless from the clutter he was trying to process) Maybe if you, uh... ask him a question. OLIVIA: Okay. Aaron, can you focus on my voice? Can you hear me talking to you? SIMON PHILLIPS: (hears the words that Downey heard from his ex-wife) The doctor says there's something wrong with our baby. It's completely oxidized. OLIVIA: Aaron... who are you working with? Who else was a part of the project? (after Simon vomits) You okay? SIMON PHILLIPS: Get me a pen. (once Simon has written all of the thoughts that he was able to read, Walter reviews the list with rest of the team. WALTER: Well, what about the plate of vegetables? PETER: Let's just assume for right now that the vegetables are inconsequential. Was there any reference in Downey's file to Maryann? OLIVIA: No. Okay, what about Project Jellyfish? WALTER: Jellyfish are one of few creatures without any bones. BROYLES: The weapons program Blake and Downey worked on. PETER: Yeah, that's got to be it. BROYLES: (answers his ringing cell phone) Broyles. OLIVIA: He can barely function around people. The Cortexiphan Trials ruined his life. He's broken. PETER: Olivia, I know what you're thinking. You and he are nothing alike. BROYLES: (after his call) There's been another attack. Same M.O. The powder killed three senior executives at Canopy One. PETER: Canopy One the defense contractor? OLIVIA: Do you think that's who's funding the weapons project that Downey and the others were working on? BROYLES: I don't know. I'm gonna call Nina Sharp. She's had more experience with the Defense Department than I have. Let me know if you two turn anything up. (leaves) OLIVIA: Okay. (rejoins Simon as he draws) Hi. SIMON PHILLIPS: Did it help? OLIVIA: We don't know yet. We're, uh-- we're hoping so. (about the drawing) Who is she? You had drawings of her in your cabin. SIMON PHILLIPS: She works at a coffee shop by my house. OLIVIA: What's she like? SIMON PHILLIPS: She's perfect. OLIVIA: You haven't met her, have you? SIMON PHILLIPS: I see her sometimes when I drive by. OLIVIA: Is it because you think it would be too painful? SIMON PHILLIPS: Look, even if she pretended to be nice or to be my friend or even flirted with me out of some kind of pity, I would know how she really feels. That I'm too much of a freak for her to even consider being with. OLIVIA: But... but you don't know that. That's what you're afraid is gonna happen. And so what if you find out that -- that she's not interested or that there's somebody else on her mind or that she doesn't love you. I mean, isn't it - isn't it better to know? SIMON PHILLIPS: No one should know exactly what someone else is thinking. OLIVIA: Probably not, but I wouldn't mind having that ability right now. (Simon turns and looks at Peter at the end of the hall, reading a thought or two of his) Nina's Office - Outside Help NINA: Officially, Project Jellyfish never existed. BROYLES: You brought me all the way out here to tell me that? NINA: No. (to her aide) Send Agent Edwards in, please. BROYLES: I might have guessed that this involved the CIA. AGENT EDWARDS: It doesn't. But Nina asked me to do some digging and we both know that what Nina Sharp wants, she gets. So... Jellyfish. It was a weapons project. Three men carried out the live field tests. BROYLES: How did they survive? AGENT EDWARDS: Apparently they were inoculated. But when they tried to start families, the... BROYLES: ...the toxin affected their unborn children. AGENT EDWARDS: Now, I couldn't find anything in Downey's personal file you haven't already seen. But I found something in the D.O.D. payroll database. Turn to the last page. In addition to a large cash payment, Downey was given three acres of government land. Farm land at Pembroke, twenty-five miles south of Boston. Pembroke - Weapon Testing VANNOY: (enters the abandoned barn and approaches his comrade) How's it coming? Are we good? DILLON: (activates the dispersal charge in the vest on a mannequin. a dark blue cloud fills the barn) Yeah, we're good. ACT IV Pembroke - Barn Quarantine WALTER: (after returning from the contaminated area and removing his bio-hazard hood) We're fine. The powder is fully oxidized. OLIVIA: (inside the barn. looking at the test dummy) Jeez. WALTER: The vest would allow them to spread the powder themselves. OLIVIA: Yeah, in large quantities. PETER: Yeah, looks like they got bigger plans than just three guys in an elevator. OLIVIA: And then there's this. Looks like a map of their next target, right? Maybe an overhead view. BROYLES: (calls his agent to a separate area) Dunham! OLIVIA: (looks at multiple news clippings) Congressman Jim Thorn. Isn't he a former Army General? BROYLES: He was senior military advisor to the Joint Chiefs at the time of Project Jellyfish. OLIVIA: So you think he approved the project? BROYLES: I need to alert Thorn's detail. (steps away to make a call) PETER: (looks at some of the schematics) Didn't Simon write something down about Maryann? OLIVIA: What? PETER: When Simon was reading Downey's mind, didn't he say he saw the image of the name Maryann? OLIVIA: Yeah, why? PETER: 'cause I think I just found her. OLIVIA: That's the Fine Arts Museum. Okay, so what does the museum have to do with Congressman Thorn? BROYLES: (after his call) He's holding a fundraiser. It's an event for three hundred of his top donors. It started half an hour ago. SIMON PHILLIPS: I'm not going home, am I? Fine Art Museum - Stopping Dillon BROYLES: (preparing in the equipment van) Peter's inside briefing the Congressman. AGENT #1: How good a shot are you? OLIVIA: Uh, I'm okay. Why? AGENT #1: If either of those two guys have a hand trigger, you're only gonna get one shot. Put it through the mouth to sever the spinal cord. That way the suspects won't have a chance to detonate. BROYLES: Are you sure he's up for this? OLIVIA: I hope so. Because without Simon, we can't identify the suspects. BROYLES: If Simon can't do it... you get out of there. OLIVIA: (approaches the security detail) Agent Dunham with the FBI. Where's Congressman Thorn? SECURITY #1: Inside. We've already been through this with your Agent Bishop. OLIVIA: Then why haven't you taken him to safety? SECURITY #2: You ever try telling a Four-Star General to take a death threat seriously? OLIVIA: This is not a threat. I've already seen what these guys are capable of and everyone here is at risk. So you keep him in the back. SIMON PHILLIPS: The tall one thinks you're hot. OLIVIA: (on her radio in the service corridor) We're making our way to the ground floor. BROYLES: (over radio) Copy that. OLIVIA: (to Simon as he gets woozy) Okay. It's okay. You can do this. DILLON: Hey, you're not supposed to be here. This area is for staff only. OLIVIA: Oh, I'm sorry. We're just looking for the restroom. He's had a little bit too much to drink. DILLON: (thinking) Who is she? A cop. I have to get out. (aloud) The restroom's downstairs. OLIVIA: Thank you. SIMON PHILLIPS: That's him. OLIVIA: What? SIMON PHILLIPS: That's him. OLIVIA: Are you sure? SIMON PHILLIPS: Yeah. OLIVIA: Okay. Wait here. (follows, draws he pistol, shoots him when he ambushes her) Damn it. (over the radio) Suspect one's down, but he's not wearing the vest. The other suspect must be carrying the toxin. BROYLES: Copy that. OLIVIA: I'm going back out there with Simon. WALTER: She'll be alright, Peter. ACT V Fine Arts Museum - Stopping Vannoy (Olivia and Simon make their way through the crowded reception area trying to get a read on the assassin. Simon is overwhelmed by all of the thoughts he is processing, then picks-up on the man they are tracking as he wonders where his co-conspirator has gone) VANNOY: (thinking) Where's Thorn? Something's not right. This is not how it's supposed to go. Where's Dillon? SIMON PHILLIPS: He's here. VANNOY: (thinking) Something is definitely wrong. SIMON PHILLIPS: (looks up at a man climbing the grand staircase) There. Blue tie. VANNOY: (thinking) Thorn should be here by now. (Olivia has the man in sight and hurries up the adjacent staircase) SECURITY #2: (to Vannoy as he shows interest in the Congressman's side room) I'm sorry, sir. You can't enter here. VANNOY: Oh, I'm looking for my wife. I think she went out onto the balcony. SECURITY #2: You'll need to use a different exit. (puts his hand out to stop the intruder and is faced with the assassins hand trigger) (Olivia fires from across the landing through the back of the assassin's skull. the crowd scatters in shock. the security man opens the jacket of the dead man and finds the intricate bio-weapon strapped around his chest. Olivia looks down to check Simon, cowering against the base of the stairs in discomfort) PETER: (later, as the assassins are wheeled out in bodybags, an offering) Coffee. (hands over a cup) Black, one sugar. OLIVIA: Thank you. PETER: And I've been meaning to tell you... you look great in the dress. (Walter approaches Simon, somber and wanting to say something. The two make eye-contact. Walter leaves it at that) Simon's Cabin - Farewell Chat (late at night and out of their formal wear, Olivia walks Simon to his front porch) OLIVIA: Thank you. It doesn't have to be like this, you know? Living out here the way that you do. I guess what I'm trying to say is that you should go and talk to that girl. SIMON PHILLIPS: You still don't understand, Olivia. We're not supposed to know what people think. OLIVIA: Simon, don't let your ability stop you from living your life. SIMON PHILLIPS: I may not be able to read your mind, but I read his. (hands over an envelope) This is what it's like to be me. (Simon steps into his home as Olivia leaves with the envelope) Massive Dynamic - Nina's Research (Nina pours over multiple copies of various different The First People books from around the globe. NINA: (realizing something significant) No. (Nina compiles the names of the different authors and determines that the names are all anagrams for one man) Bowling Alley - After Hours (in an otherwise unoccupied sports venue, the manager sweeps the smooth floors with a soft broom and comes toe-to-toe with an old acquaintance in high-heeled boots) SAM WEISS: I can see you didn't bring your bowling shoes. That's gonna be a problem if you intend to break a hundred. NINA: Maybe next time. Tonight, I have a different problem. Tell me about The First People. Start with why those books seem to indicate that you wrote them, then move on to what the device is intended for. SAM WEISS: So you found it. NINA: You never told me about this. SAM WEISS: Ahem. I'm not your problem. Peter Bishop is. NINA: Go on. SAM WEISS: Okay. What I can tell you is this... That device can either be used as a tool of creation or as a weapon of destruction. Depends on your point of view. And Peter Bishop is uniquely tuned to operate it. (sits on the ball return) Whatever frequency Peter's vibrating at will determine how the machine reacts. NINA: And what determines Peter's frequency? SAM WEISS: Depends on his state of mind, which, in turn, will depend on who he ends up with. Olivia from here or Olivia from over there. Whichever one he chooses, it'll be her universe that survives. NINA: So in that case, there's no cause for concern. He'll choose our Olivia. SAM WEISS: I wouldn't be so sure of that. Olivia's Apartment - After Hours (Olivia sits and reads the note from Simon) - He still has feelings for her. -

313 - PROLOGUE Empire Docking Station - Welcome Home PUBLIC ADDRESS: Paging Ms Levin -- your party is waiting for you at Terminal 7, Gate 3. Final boarding for Gotham Air Flight... FRANK STANTON: Guess who. BOLIVIA DUNHAM: Uh... well, the voice isn't familiar, but, uh, the hands I like. They're kind of... rugged and sexy. Oh. No, sorry. I - I -- I don't recognize you. FRANK STANTON: No, it's my fault. I thought you were someone else. BOLIVIA DUNHAM: Oh. Well, you should probably leave, because I'm waiting for my boyfriend, and we haven't seen each other for a few months, and he's really big and strong, so... but, you know, actually, now that I think about it, there is something in your face that's kind of ringing a bell. FRANK STANTON: Really? Yeah, maybe... maybe it's my, um, lips. BOLIVIA DUNHAM: Hmm. FRANK STANTON: It's so good to be home. BOLIVIA DUNHAM: You hungry? PUBLIC ADDRESS: Due to inclement weather over the Midwest, the following flights have been cancelled -- Glatterflug Flight 7 bound for Chicago. Gotham Air 3 bound for Saint Louis. ARMAND SILVA: 'Everybody talks about the weather. Nobody does anything about it'. I'm quoting Samuel Clemens. HARRY MILLMAN: You stranded too? ARMAND SILVA: In a way, yeah, I, uh... I'm waiting on someone who got delayed. Could you pass me the salt, please? HARRY MILLMAN: Sure. ARMAND SILVA: Thank you. Bolivia's Apartment - A Bit Distant BOLIVIA DUNHAM: How was the shower? FRANK STANTON: It was hot. I was beginning to think there wasn't a hot shower anywhere in North Texas. BOLIVIA DUNHAM: Well, welcome back to civilization. FRANK STANTON: Well, to what do I owe the honor? BOLIVIA DUNHAM: You're a national hero. I figured you deserve the good stuff. Cheers. FRANK STANTON: Cheers. Hmm. It's good. Liv... everything alright? BOLIVIA DUNHAM: What do you mean? FRANK STANTON: I don't know. It's just, uh... didn't say a word to me on the drive back from the airport. And when I'd call from Texas, you seemed a bit distant. BOLIVIA DUNHAM: Well, we were distant. FRANK STANTON: Yeah, I know. Just you almost... didn't seem like yourself. BOLIVIA DUNHAM: Oh. You know, work's just been kind of crazy. FRANK STANTON: Look, I know when I'm away, we can be a bit off. Just want to make sure it's not something more. BOLIVIA DUNHAM: No. It's just everything's a little overwhelming since Broyles went missing. FRANK STANTON: Do you have any leads? BOLIVIA DUNHAM: No. They, uh, found his car at the edge of a 'No-Go Zone', but nobody knows why it was in there. FRANK STANTON: Something classified? BOLIVIA DUNHAM: Possibly, yeah. Uh, Lincoln's taking over in his absence. He keeps pressing all the official channels, but we're not getting any answers. They stopped the search. FRANK STANTON: I'm sorry I couldn't be here for you. I know how you feel about him. BOLIVIA DUNHAM: Well, you're here now. And I'm glad about that. FRANK STANTON: Me too. Empire Docking Station - Bug Eruption HARRY MILLMAN: Help. Please, help. ACT I Bolivia's Apartment - Weekend Planning FRANK STANTON: You have any idea how much I missed watching you get dressed in the morning? What time is it? BOLIVIA DUNHAM: Uh, it's about eight. I thought you might like to sleep in. FRANK STANTON: Yeah. Thank you. Hey, uh... you want to get away this weekend? BOLIVIA DUNHAM: Uh, sure. Where? FRANK STANTON: I don't know. How about we hop on an airship and go down to Annapolis like we used to? BOLIVIA DUNHAM: Annapolis? FRANK STANTON: Yeah. We can go to the crab shack on the wharf or BOLIVIA DUNHAM: -- Obrecky's? FRANK STANTON: Right. Remember how great their jukebox was? BOLIVIA DUNHAM: I would love that. (answers call) Dunham. (listens) Okay. I'm on my way. (to Frank) Bye. Empire Docking Station - Bug Recovery BOLIVIA DUNHAM: Hey. I heard they're rerouting all the flights from Newark -- bomb scare? LINCOLN LEE: Nope. Spontaneous bug eruption. Guy named Harry Millman, forty-two years old -- they found him in the bathroom. Bugs had eaten their way from the inside out. BOLIVIA DUNHAM: Oh, fabulous. Gosh, I was just here last night picking up Frank. So, bugs. LINCOLN LEE: Yep. BOLIVIA DUNHAM: Ugh, you know how I feel about bugs. LINCOLN LEE: Not Charlie. Charlie loves bugs. AGENT FRANCIS: Look lively, people. New boss is here. LINCOLN LEE: How is it that when you say 'boss', it sounds like insubordination? AGENT FRANCIS: You see, that's my tone. Maybe that's why I didn't get the promotion. LINCOLN LEE: Yeah, maybe, or else I'm better than you. BOLIVIA DUNHAM: Okay, so they're pretty, but what are they? LINCOLN LEE: No idea. We've been through what -- three different insect databases? We still can't find a match. BOLIVIA DUNHAM: What happened to the other passengers? AGENT FRANCIS: We contacted about half of them. Apparently, the bugs don't live outside the body too long. And if somebody had been infected, we would have heard about it by now. BOLIVIA DUNHAM: Yeah, maybe. Maybe not. LINCOLN LEE: Maybe some kind of mutant insect bit him, laid eggs under his skin? BOLIVIA DUNHAM: That's comforting. AGENT FRANCIS: Looks like we got a live one. Gotcha. Liberty Island - Children Not Allowed BRANDON FAYETTE: Sorry to keep you waiting, Mister Secretary. SECRETARY BISHOP: I see the piece that Agent Dunham obtained was finally sent over. BRANDON FAYETTE: Yes, and it seems to be functional. We should have it integrated with the machine by week's end. SECRETARY BISHOP: Good. BRANDON FAYETTE: That's actually not why I asked you here. The experiments with the chemical we synthesized from the other Olivia's brain... it appears there's been a breakthrough.This subject was given his second dose of the day. Forty-three minutes later, this happened. SECRETARY BISHOP: Crossed over? BRANDON FAYETTE: No. NURSE: Danny? How are you doing this? DANNY: I - I don't... don't know. I'm just... just thinking it... and it's happening. Aah! NURSE: Oh, my gawd! Danny! Call Doctor Jackson! SECRETARY BISHOP: Nine test subjects get an injection and die within thirty minutes. This one develops a telekinetic ability. What's the difference? BRANDON FAYETTE: We'll know more after we dissect his brain, but I have a theory -- age. This subject was the youngest of the group, which would make sense, given your notion that the human brain is infinitely capable at birth. We simply need younger subjects. I think that children... SECRETARY BISHOP: -- No. BRANDON FAYETTE: Sir, we may be close. SECRETARY BISHOP: No children. That is not an option. You'll have to try something else. Entymology Lab - Meeting Bug Girl MONA FOSTER: Drop your file request on the table. I'm a little busy right now. BOLIVIA DUNHAM: Uh, Fringe Division. I'm Agent Olivia Dunham, and this is Agent -- MONA FOSTER: Agent Charlie Foster -- Francis. I'm Foster... Mona Foster. AGENT FRANCIS: We, uh-- we--we met before? MONA FOSTER: I treated you for your arachnid infestation. I'm not surprised you don't remember me. You were in a lot of pain. So how are the spiders? AGENT FRANCIS: Uh, they're good. They -- they -- sometimes they just itch a little bit. MONA FOSTER: Maybe you just need someone to scratch it. AGENT FRANCIS: Hmm. MONA FOSTER: So... what brings Fringe here today? It's order Coleoptera, for sure, Archostemata maybe, but species? No clue. Where did you find this? BOLIVIA DUNHAM: Uh, the Empire Docking Station. MONA FOSTER: That's kind of an unusual habitat for beetles. AGENT FRANCIS: They ate their way out of a person. MONA FOSTER: Interesting... AGENT FRANCIS: Yeah. MONA FOSTER: Wait here a minute. AGENT FRANCIS: Don't even start with me. BOLIVIA DUNHAM: Oh... AGENT FRANCIS: Don't -- BOLIVIA DUNHAM: Bug Girl's got a crush on Charlie. AGENT FRANCIS: Bug Girl has a crush on the fact that I got spiders in my blood, Kiddo. BOLIVIA DUNHAM: Come on, everybody's looking for someone that's gonna like them for who they are inside, right? AGENT FRANCIS: Are you kidding me right now? MONA FOSTER: Skelter Beetle... Mansohnium Boogliosus, which answers one question but raises a whole bunch of others. BOLIVIA DUNHAM: Such as? MONA FOSTER: Such as how is this here? Skelter Beetles are parasitic. They lived exclusively in sheep. AGENT FRANCIS: Sheep. MONA FOSTER: And given that all the sheep died out ten years ago BOLIVIA DUNHAM: -- the bugs died with them. AGENT FRANCIS: What was it doing inside of a person? Brooklyn Warehouse - Failed Test ARMAND SILVA: Specimen number seven was harvested twelve hours ago after a twenty-minute gestation period. I have extracted the epigastric tissue from the beetle's abdomen and... and placed it into the substrate. I am now adding ten milliliters of the protein complex to catalyze a reaction. If the enzyme is present... the indicator will turn pink. Come on. ACT II Fringe Division HQ - Farnsworth's Recommendations LINCOLN LEE: Get local P.D. to check the house if she's not answering her phone. AGENT #1: Passenger 23 is clear. AGENT #2: Passenger 9 is clear. LINCOLN LEE: We've also fully accounted for zeppelin crew and ground personnel. FRANK STANTON: The food for the airship? It's supplied by an LFC food services. And it checks out clean so far. AGENT FARNSWORTH: You're wasting your time. We're not dealing with an outbreak. We've cleared 62.237% of people who could possibly have been exposed. That's enough to make a statistical inference. This is not an epidemic. FRANK STANTON: Where do I get one of you? BOLIVIA DUNHAM: I bet she drives a beetle. AGENT FRANCIS: Y - you're not funny. BOLIVIA DUNHAM: Listen, if you go on a date with her and you're late, then at least you know that she won't bug out. AGENT FRANCIS: Wow. You're original. BOLIVIA DUNHAM: Hey. FRANK STANTON: Hey. BOLIVIA DUNHAM: What are you doing here? FRANK STANTON: Uh, Lincoln requested a CDC liaison. I said I could help. AGENT FRANCIS: Hey, Frank, how's cow country? FRANK STANTON: Let's just say I'm happy to be back. LINCOLN LEE: You find anything? AGENT FRANCIS: Yep, Mansohnium Boogliosus. Skelter Beetle. They died out with the sheep in '01. FRANK STANTON: Huh. Never heard of them. Let me look at that. LINCOLN LEE: I guess for you two this kind of thing is romantic? Brings back memories, huh? BOLIVIA DUNHAM: Hoboken? LINCOLN LEE: Uh-huh. There's nothing like a little cholera outbreak to bring two people together. I can only imagine what it is you see in a guy like that. BOLIVIA DUNHAM: Oh, he's kind of perfect, isn't he? LINCOLN LEE: No, I am perfect, but he's a close second. BOLIVIA DUNHAM: Right. LINCOLN LEE: Right. BOLIVIA DUNHAM: So still nothing on how our victim got infected? LINCOLN LEE: Nope. If you learn anything, you let me know. BOLIVIA DUNHAM: Mm-hmm. LINCOLN LEE: I'll be in Broyles' off-- I'll be in my office. FRANK STANTON: See, what's odd is with the sheep they have a symbiotic relationship, but now they're attacking their host. They're eating their way out. AGENT FRANCIS: So they look the same, but they're not the same. FRANK STANTON: Yeah. Yeah, to put it simply. The question is why. What -- what changed? AGENT FARNSWORTH: Why don't you just ask? AGENT FRANCIS: What's that? AGENT FARNSWORTH: When you don't know the answer to something, you ask someone who does. Put out a Fringe Alert to the public. Odds are that someone will recognize this beetle and call in a tip. In fact, statistics suggest you will get at least two calls. FRANK STANTON: I don't know what they pay you here, but I definitely need you in my life. Avenue Road Diner - Dosing Jerry JERRY BISSELL: Uh, do you mind? WAITRESS: Hi. What can I get ya? JERRY BISSELL: A cup of Earl Grey and a piece of, um, cherry pie. WAITRESS: Okay. JERRY BISSELL: That looks complicated. What is it? ARMAND SILVA: Uh... I'm a scientist. This is my, uh, research, but, uh... you probably wouldn't understand. JERRY BISSELL: Well, try me. ARMAND SILVA: Do you know the name Jonas Salk? JERRY BISSELL: Sure. Who doesn't? He cured polio. ARMAND SILVA: Have you heard of... Watson and Crick? JERRY BISSELL: They're those DNA guys, right? ARMAND SILVA: That's right, yeah. How about, uh, Doctor Armand Silva? JERRY BISSELL: Armand Silva. No. Don't know that one. ARMAND SILVA: Oh. You will. TV ANNOUNCEMENT: Attention, citizens -- this is a Fringe Alert. If you have seen or have any information regarding this bug, known as a Skelter Beetle, please call 7-1-1 and speak to Fringe Division. WAITRESS: Have you decided? ARMAND SILVA: Yeah. I'll have what he's having. Fringe Division HQ - Spilling Secrets FRANK STANTON: Hey. Got a minute? Can I ask a favor? LINCOLN LEE: Of course. What's up? FRANK STANTON: I was hoping if the case wraps up this weekend if Olivia could have a few days. LINCOLN LEE: Why? You two got, uh... big plans or something? FRANK STANTON: Yeah. Yeah, you could say that. LINCOLN LEE: Sure. FRANK STANTON: Can you, uh... keep a secret? LINCOLN LEE: You kidding me? I have my own, like... Cone of Silence when it comes to secrets. What is it? AGENT FRANCIS: Ma'am, nobody's gonna eat your dog, alright? Thank you for calling. BOLIVIA DUNHAM: No, sir, these bugs do not have control of your wife. AGENT FRANCIS: These people are freaks! What's going on in this city? I'm gonna get a sandwich. BOLIVIA DUNHAM: Uh, no, sir, I promise that is not the way they work. Yes, you can feel free to call us if something changes. Okay, thank you. LINCOLN LEE: How's it going? BOLIVIA DUNHAM: Um, well... we have had two hundred phone calls, mostly from nut jobs and scared -- LINCOLN LEE: Frank's gonna ask you to marry him. I'm serious. This weekend -- he just told me. I - I promised I'd keep it a secret, but you know me, I can't... keep a secret. AGENT FRANCIS: Hey, I think I got a legitimate call here. Something up? BOLIVIA DUNHAM: No. LINCOLN LEE: Uh-uh. AGENT FRANCIS: Okay. Guy used to work at a biology annex. Guy next door to him used to be an expert on Skelter Beetles. LINCOLN LEE: Go. Go check it out. AGENT FRANCIS: Great. LINCOLN LEE: So? What are you gonna say... to Frank? What? I can keep a secret. Biology Annex - Pinpointing Silva NED DOLEN: Yeah, that's it. Ah, I wish I could forget these things. His name was Armand Silva. He was in virology down the hall. Those damn things were always getting out. I'm a scientist, but I hate bugs. AGENT FRANCIS: You know what he was doing with them? NED DOLEN: I don't know. We were all working on our own projects. I was harvesting sheep hearts for valve replacement surgeries. So how are they back -- the bugs? BOLIVIA DUNHAM: Well, that's what we're trying to figure out. Do you know where we can find Doctor Silva? NED DOLEN: No. In fact, a few years ago, I heard he tried to kill himself. I didn't really know him that well, but, uh... it was like those bugs were his whole life. When the sheep died out, he was a mess. But if he's not dead, he's definitely the guy you want to talk to. If anyone will know how those bugs have come back, it'll be him. (a parked vehicle with a dead driver. skelter beetles coming out from his body. on a lower level, Armand catches falling beetles.) ACT III Parking Area - Investigating Jerry BOLIVIA DUNHAM: Jerry Bissell, aged 42, worked as a data systems repairman. It says that he ate at the Avenue Road Diner about three hours ago. AGENT FRANCIS: Hey, I know that place. It's right around the corner. LINCOLN LEE: No luck on Doctor Silva. His last known address is outside of Boston, but nothing in the system on him since the city was ambered back in '04. BOLIVIA DUNHAM: No record of his death either. LINCOLN LEE: No. BOLIVIA DUNHAM: Okay, so that means that he's still out there somewhere. AGENT FRANCIS: Hey, look at this... right there. These are so much different. They're so much bigger. I'm gonna take it to forensics, see what they come up with. BOLIVIA DUNHAM: Hey, can you send someone to the diner as well? Maybe somebody saw something. AGENT FRANCIS: Oh, great. Now I got, like, two bosses? BOLIVIA DUNHAM: What's wrong? LINCOLN LEE: Keep feeling like I'm missing something... that Broyles would see something I'm not. BOLIVIA DUNHAM: Lincoln, you're doing fine. Don't worry. We'll catch this guy together. Cozy Bedroom - Confiding to Mistress REIKO: Do you want me to give you some time alone? SECRETARY BISHOP: No. Please don't. REIKO: What is it? SECRETARY BISHOP: You're lovely. You know that? REIKO: You're sweet. And you're also avoiding answering my question. SECRETARY BISHOP: It's... many things. If you had asked me a week ago, I would have told you that I would sacrifice anything... to save our world. But in fact, there are lines I simply cannot cross. Does that make me weak? REIKO: No. It's what makes you the most brilliant man I've ever known. And the fact you beat yourself up over these decisions... now, that's what makes me sure of this strength. SECRETARY BISHOP: I wish I had the same faith. I'm afraid I've failed, Reiko. Peter was here, and... he was here of his own choosing, as he needs to be. And I lost him... I underestimated his attachments over there. I hadn't factored in the girl. REIKO: But now you know about the girl. And you know Peter better. You'll get him back. SECRETARY BISHOP: How could you be so sure? REIKO: Do you trust me? SECRETARY BISHOP: More than anyone. REIKO: Well, then... trust my perspective on this. I know you, Walter. I've seen your determination, your will. I don't have a single doubt in my mind you'll find an answer. You always do. Bolivia's Apartment - Surprise Proposal BOLIVIA DUNHAM: Hi. FRANK STANTON: You're home. I called Atlanta. I found out some information on Doctor Silva. CDC had a grant he applied for on file, back in '97. Claims he was close to a vaccine for the Avian Flu. BOLIVIA DUNHAM: Gosh, if that's true-- FRANK STANTON: I know. It would have saved millions. Thing is his research... it reads a little off the wall. Here, take a look at this. The vaccine was based on an enzyme that the Skelter Beetle produced. And that got me thinking. BOLIVIA DUNHAM: You think he's trying to bring the Skelter Beetle back from extinction? Is that even possible? FRANK STANTON: Possible, yeah. Certainly not easy. He'd have to clone DNA from a preserved specimen. But the real problem would be that the eggs would never hatch. BOLIVIA DUNHAM: Because they only live in sheep. FRANK STANTON: Exactly. He'd have to modify them. He'd have to reengineer them to live in a different host. BOLIVIA DUNHAM: Like people. FRANK STANTON: Sheep and humans share ninety-six percent of the same DNA. And that could account for the reason why the bugs are killing their human hosts. But I just called the lab. They said the bugs they got from the first victim -- they weren't mature enough to create the enzyme. BOLIVIA DUNHAM: But the bugs got bigger with the second victim. FRANK STANTON: They did? BOLIVIA DUNHAM: Yeah. Maybe he is modifying his work. Okay, so say you're right. What would he need? FRANK STANTON: Like equipment? BOLIVIA DUNHAM: Yeah. Call Lincoln. Retro-viral samples. LINCOLN LEE: Retro-viral samples. BOLIVIA DUNHAM: Plasmid array. LINCOLN LEE: Plasmid array. BOLIVIA DUNHAM: Liquid spectrometer. LINCOLN LEE: Okay, wait, wait. Slow down. BOLIVIA DUNHAM: An electron microscope and also liquid nitrogen -- you got all that? Alright, I'm leaving now, so I should be there in about twenty minutes. Uh, Lincoln said that if you were here, he would kiss you. FRANK STANTON: Well, I'm glad he's not here. BOLIVIA DUNHAM: Okay. And you will keep the list on you. FRANK STANTON: Yes, of course, of course. Keys. BOLIVIA DUNHAM: Keys. Yes. Thank you. And my I.D. FRANK STANTON: And you forgot this. BOLIVIA DUNHAM: Oh. FRANK STANTON: I was gonna wait 'til this weekend. I know we have a lot to figure out. There's your job, and there's my job, and there's my mother. Look, being away from you made me realize how much I can't stand being away from you. Olivia Dunham... will you marry me? BOLIVIA DUNHAM: Yes. FRANK STANTON: Seriously? BOLIVIA DUNHAM: Hello? LINCOLN LEE: Hey. Where are you? BOLIVIA DUNHAM: It's Lincoln. I'm just leaving the house. What's up? LINCOLN LEE: Don't come down here. We got a hit. Six months ago, Silva purchased a plasmid array. He had it shipped to a warehouse in Brooklyn. I'm sending you the address now. Brooklyn Warehouse - No Signal LINCOLN LEE: Silva's unit is Number Twenty-one. I already walked the perimeter. No sign of any other cars. What? BOLIVIA DUNHAM: I said yes. Frank asked me, and I said yes. LINCOLN LEE: And? You happy? BOLIVIA DUNHAM: Yeah. I am. LINCOLN LEE: Good. Then I am too. Watch your step. BOLIVIA DUNHAM: Thank you. Hey... I think someone's here. LINCOLN LEE: Hey! Hey! Olivia! Olivia! Damn it! VOICE RECORDING: No signal. Please try again. BOLIVIA DUNHAM: Aah! ACT IV Brooklyn Warehouse - Dosed (Armand gives water to Bolivia. checks his left eye.) BOLIVIA DUNHAM: Where's Lincoln? (In the cold room, Lincoln looks for something to break the door.) LINCOLN LEE: Come on, there's got to be something. There's got to be... yes! BOLIVIA DUNHAM: There are more agents on their way here now. ARMAND SILVA: I think we both know that's not true. (Armand set up a camera) BOLIVIA DUNHAM: Come on, do yourself a favor and just let me go. ARMAND SILVA: They'll thank me. The whole world... will thank me. BOLIVIA DUNHAM: Thank you for what -- your vaccine? Is that what you're talking about -- your vaccine? For someone who wants to save lives, you sure don't have much of a problem killing people. ARMAND SILVA: How many did Salk sacrifice trying to get his answers... Pasteur... in the name of science? When the sheep died out, I tried cows, goats, primates. None of them could host the beetles. Humans were my only option. BOLIVIA DUNHAM: What about stopping the research? That wasn't an option? ARMAND SILVA: No. Because I was too close. And now... now I'm... my work is... is nearly complete. Did you ever ask yourself what you're leaving behind? I have an ability. (picks up a beetle) I was on a path. I had a calling, and the world changed on me. It simply... changed and robbed me of my legacy. This... world, this decaying madness... robbed me. (Linc puts on gloves. directs liquid nitrogen to the keypad. breaks the lock.) LINCOLN LEE: Come on. (makes a call) This is Agent Lee. I need a tactical unit immediately at my location. ARMAND SILVA: See, the second batch of specimen were almost mature enough, but not quite. And then I realized... a queen can hatch her own eggs. She can create a legion, enough for my vaccine. One more human host... to bring the queen beetle to term. BOLIVIA DUNHAM: But it's over now, 'cause we know who you are. ARMAND SILVA: You don't understand. The gestation has already begun. BOLIVIA DUNHAM: (looks at the glass of water) What did you give me? What the hell did you give me? (vomits) LINCOLN LEE: Don't move! (points a gun to Silva) BOLIVIA DUNHAM: Lincoln. Lincoln, don't shoot him. LINCOLN LEE: That's up to him. BOLIVIA DUNHAM: No. We need his help. I've been infected. ACT V Brooklyn Warehouse - Saving Bolivia LINCOLN LEE: Don't worry, Liv. I'm gonna take care of you. AGENT FRANCIS: Down! Now! Down! FRANK STANTON: Olivia! BOLIVIA DUNHAM: Frank! Oh, Frank, Frank. LINCOLN LEE: He dosed her. BOLIVIA DUNHAM: Oh, Frank, he made me drink the water. LINCOLN LEE: Somebody bag that glass! FRANK STANTON: What do we do... to stop the infestation? What do we do to stop it? LINCOLN LEE: Get her to the hospital. FRANK STANTON: Let me go! LINCOLN LEE: Get her to the hospital. You're running out of time. Go. FRANK STANTON: Go! She's been infected with a deadly parasite. The next ten minutes are critical. In my kit, there's a vial of Metrifonate. It's an antiparasitic. Liv. BOLIVIA DUNHAM: Yeah. FRANK STANTON: I'm gonna do everything I can. Just hold on. LINCOLN LEE: Everybody out... now! (To Armand) Tell me how to save her. ARMAND SILVA: Oh... LINCOLN LEE: (gun point on Armand's head) You have one more chance. Tell me! ARMAND SILVA: If you want your friend to live, put down the gun and do exactly as I say. LINCOLN LEE: Aah! What do you want? ARMAND SILVA: Bring me those panels over there... and I'll tell you how to save your friend. Ambulance - EMT: B.P.'s 140 over 90. Heart rate's elevated. That could just be the adrenaline. BOLIVIA DUNHAM: Oh, Frank, my stomach -- FRANK STANTON: The antiparasitic that I'm going to give you is powerful. It's gonna kill the bugs inside you before they hatch. BOLIVIA DUNHAM: Why do I sense that there's a "but" coming? FRANK STANTON: Because it's a lot for your system to take. BOLIVIA DUNHAM: Uh-huh. So what do we do? FRANK STANTON: I don't think we have a choice. Hand me the wand. Can you zoom in? BOLIVIA DUNHAM: What do you see, Frank? EMT: I see movement! Brooklyn Warehouse - No Saving Needed BOLIVIA DUNHAM: Where? LINCOLN LEE: What the hell am I putting together here? ARMAND SILVA: You'll work faster if you don't talk. LINCOLN LEE: I gave you what you wanted. Now you tell me how to save her. ARMAND SILVA: She doesn't need saving. I didn't infect her. LINCOLN LEE: Uh-uh. She was sick. ARMAND SILVA: Not because of me. She's not the final host. Aah! Oh! Ambulance - The Host EMT: Syringe is ready. FRANK STANTON: Look at me. Look at me. It's gonna be okay. BOLIVIA DUNHAM: Okay. EMT: Stop! FRANK STANTON: What? EMT: Take a look at this. BOLIVIA DUNHAM: What is it? What is it? FRANK STANTON: Are you sure? EMT: Look at the Beta HCG levels in her blood. FRANK STANTON: The picture on the sonogram... BOLIVIA DUNHAM: Uh-huh? FRANK STANTON: You're not infected. You're pregnant. (In Armand's warehouse) ARMAND SILVA: I've done it. The queen is ready. Uhh... Aah! Come here. Make sure... they... spell my name... right. Hospital - Goodbye Frank FRANK STANTON: Can I come in? BOLIVIA DUNHAM: Of course. FRANK STANTON: What did the doctor say? BOLIVIA DUNHAM: That the baby's healthy and that the, uh-- the fall and the adrenaline triggered some kind of morning sickness. FRANK STANTON: How far along are you? BOLIVIA DUNHAM: Frank... FRANK STANTON: Liv, how long you been pregnant? BOLIVIA DUNHAM: Six weeks. FRANK STANTON: Are you in love with him... the father? That's all I needed to know. BOLIVIA DUNHAM: Frank. FRANK STANTON: You... were gonna marry me. (walks away) (Bolivia grabs her pillows and cries) Secretary's Vehicle - A Development SECRETARY BISHOP: Hello? BRANDON FAYETTE: Mister Secretary, there's been a development. I think I might have another way to bring Peter back from the other universe. Bolivia's Apartment - Grandfather's Visit BOLIVIA DUNHAM: Sir. SECRETARY BISHOP: Forgive my intrusion. I hope this isn't a bad time. BOLIVIA DUNHAM: Please come in. SECRETARY BISHOP: I heard the news about your pregnancy. Don't worry. Your position with Fringe Division will remain intact. You'll have whatever resources you need. After all, you are the mother of my future grandchild.

314 - PROLOGUE Park Slope - Party At The Kimballs (approaching the entrance to the high-rise Rosencrantz apartment building) CHRIS: Okay, we need a secret word in case I need to make a quick escape. SYLVIA: You'll be fine. CHRIS: I just don't know what I'm gonna talk about. SYLVIA: Come on, they're my friends. Just as long as you don't discuss religion or politics. CHRIS: Oh! Well, it is lovely weather we're having today. SYLVIA: See? You do small talk just as good as anyone. JIMMY SMITH: Evenin', folks. What unit? SYLVIA: Uh, Kimball, 7-C. JIMMY SMITH: Enjoy. SYLVIA: Thanks. CHRIS: Thanks. (waiting for the elevator in the lobby) SYLVIA: (to a resident making her way down the stairs with her luggage) Oh, is the elevator not working? MISSUS MARCELLO: No, it's workin'. Good luck. (curbside) JIMMY SMITH: Evening, Missus Marcello. Where you heading? MISSUS MARCELLO: The Schrodinger Hotel, on Flatbush. JIMMY SMITH: You're not leaving too, are you? MISSUS MARCELLO: I can't take it anymore, Jimmy. I haven't slept in weeks. JIMMY SMITH: Come on, it's not that bad. MISSUS MARCELLO: Yet -- and I'm not sticking around to find out how bad it's gonna get. I'm not spending another minute in this building. JIMMY SMITH: Alright, alright. At least let me hail you a cab. (as her good friend opens the door to Apartment 7C) SYLVIA: See? I told you I know where Brooklyn is. KIM KIMBALL: Oh, my god. You made it. SYLVIA: Hi. KIM KIMBALL: You must be Chris. It's so nice to meet you. CHRIS: California bubbly? KIM KIMBALL: Mm, I like him already. Come in, come in. Most people are out on the balcony. Why don't you guys head out, and I'll get some drinks. SYLVIA: Here, I'll come with you. (to Chris) Uh, wine? CHRIS: Surprise me. KIM KIMBALL: He is handsome. SYLVIA: And is sweet and funny. KIM KIMBALL: ...and your age, finally. Hey, try some of this chicken. It's amazing. SYLVIA: He's great, and at this point, we're practically living together. KIM KIMBALL: Really? RICK KIMBALL: Who are you living with? SYLVIA: Hey, Rick. KIM KIMBALL: Her boyfriend. So... have you given him a section of your closet? SYLVIA: And half the medicine cabinet. KIM KIMBALL: (as the blender starts without warning) Rick! RICK KIMBALL: Alright. Alright, I'll call the building manager. KIM KIMBALL: Yesterday, the stove comes on completely by itself. RICK KIMBALL: Yeah, now we just need to teach it to make us breakfast. KIM KIMBALL: Hey! I'm serious. This is not funny. RICK KIMBALL: It's kind of funny. KIM KIMBALL: Yeah. (as her friend starts into anaphylactic shock) Sylvia? Sylvia... You okay? SYLVIA: What's in those? KIM KIMBALL: I don't know, what's it? Some type of barbecue? SYLVIA: Get my--get my purse! KIM KIMBALL: She's having some kind of allergic reaction! Go get Chris! RICK KIMBALL: Where's Chris? CHRIS: I'm Chris. RICK KIMBALL: Sylvia can't breathe. She needs her purse. CHRIS: It's with her coat. (runs for coat and purse) JIMMY SMITH: (to cabbie as Marcello loads in) To the Schrodinger, corner of Flatbush -- (bodies start impacting the nearby sidewalk... attendees from the Kimball party) ACT I Bishop Residence - Blueberry Surprise WALTER: (sings as he prepares a large breakfast feast) Yum, yum, pigs, bum, pancakes blue. O.J., fresh fruit... PETER: What's the occasion, Walter? WALTER: Oh, nothing special. But for the past couple of weeks, no new cases and... somehow that has translated into... never seeing Olivia. And I, for one, miss her. PETER: Any reason why you didn't mention this to me last night? WALTER: Well, would you believe it slipped my mind? PETER: No, I would not. You know, Walter, whatever's happening between Olivia and I -- or not happening, as the case may be -- Is really between us. It's none of your concern. WALTER: Your happiness is my concern. PETER: And while that's very sweet, I'm begging you, please... don't try and force things, okay? WALTER: I'm not forcing anything. (answers the knock at the front door) OLIVIA: Good morning, Walter. WALTER: Yes, it is. It's great to see you, Dear. OLIVIA: So what was so important? WALTER: Hmm? Important? Breakfast. The most important meal of the day, and I proved it in 1973. Blueberry pancakes. This a Bishop family specialty best eaten while still warm. OLIVIA: Walter, you didn't have to do this. PETER: That's exactly what I told him. WALTER: Ooh, there's something missing. (runs off) PETER: He wants us to spend time together. OLIVIA: The three of us? PETER: No, just the two. Walter! He's not lying, though. The pancakes are fantastic. OLIVIA: I'm gonna head back to the office. PETER: Olivia. Look, I don't approve of his methodology, but... since we're here, we might as well take advantage of the situation and just talk about what's bothering you. OLIVIA: I don't really know what to say. Look, I know that you still think about her. I know you had feelings for her. And that you still do. And, frankly, I don't think you've been completely honest with me. PETER: Well, you're right. I mean, I haven't told you everything. Mostly because I didn't think that you... OLIVIA: ...that I could handle it? PETER: I know that you struggle with trust issues. You have a difficult time letting people in. OLIVIA: Well, I - I'm struggling because the reasons are real. I'm not making them up. PETER: I know. I never wanted to be one of the reasons. And I still think about her, because I spent so long imagining going down that path with you. Imagining what it would be like to wake up in a bed next to you. To sit around, just the two of us having a cup of coffee, reading the paper. And then finally, I had it. I've seen what the two of us together looks like. And it's beautiful. OLIVIA: Peter, she's the one that took it away from us, not me. PETER: And now? Who's the one stopping us now? OLIVIA: (answers mobile phone) Dunham. Yes, sir. We'll be right there. ACT II Park Slope - Outside Rosencrantz PETER: I'm gonna go get Walter. OLIVIA: Okay. PETER: Hey, Cupid! WALTER: Did my plan work? PETER: Well, if your plan was to make things even more awkward and painful between Olivia and I, yeah, worked like a charm. WALTER: Perhaps I should have made a frittata. BROYLES: Six people attending a party on the seventh floor fell to their deaths last night. One second, they were standing on the balcony... next second, they were hitting the sidewalk. OLIVIA: But they all jumped? WALTER: Like a flash mob... of suicide. PETER: But jumpers don't usually take their patio furniture when they commit suicide. (to BROYLES) They find any structural damage to the balcony they were standing on? BROYLES: First responders didn't detect anything. That doorman, Jimmy Smith, was on duty when they fell. OLIVIA: Okay, well, I'll meet you guys upstairs. (walks over to JIMMY SMITH) Jimmy, I'm, uh, Agent Olivia Dunham. I was wondering if I could ask you a couple questions about what happened here last night? JIMMY SMITH: I don't know -- I don't know what happened. I was helping Missus Marcello hail a cab, and then this body just... hit the ground. And then another and then... they all just came down. OLIVIA: But at once? Like they all jumped at the same time? JIMMY SMITH: Maybe it's true what they say about this place. OLIVIA: What do they say? Rosencrantz Building - Kimball Residence KIM KIMBALL: Sylvia has a peanut allergy, and I guess something that we had catered triggered an attack. RICK KIMBALL: I ran out to the balcony to get her boyfriend. We were so busy with Sylvia that... by the time we heard the screams, everyone was... gone. (on the balcony) WALTER: Don't be a daredevil. PETER: I'm not, I'm not. (examining the street below) I don't think these people jumped. WALTER: You're right. And even if they just went over the railing, they would have landed farther out. PETER: Yeah, simple physics. Instead, they landed directly below us. WALTER: It's as if they went straight through the balcony. (jumps, to test balcony's integrity) PETER: Let's not push it, alright? WALTER: It's fascinating. How -- how do six people fall though a solid floor? OLIVIA: Uh, ghosts. Apparently the residents think that the Rosencrantz Building is haunted. Apparently, unexplained phenomena has been happening here for a while. PETER: Unexplained phenomena? OLIVIA: Yeah, the water pipes would be replaced, and then two days later, explode. Or the electricity would go on and then go off, unexplained. People have been reporting odd sounds. PETER: Well, that described just about every single prewar building. OLIVIA: Well, half the tenants have already moved out. PETER: Now that people have fallen through the balconies, I'm pretty sure they're about to lose the other half. Any ideas, Walter? WALTER: I know what's happening here. Ten times, I've flipped this coin. And ten times, I've gotten heads! That's fairly inconceivable. The laws of physics are being disrupted here. The balcony -- here one second, gone the next. OLIVIA: What are you saying, Walter? WALTER: That, like the other universe, our world is starting to come apart at the seams. And the tear is beginning right here! Walter's Lab - Detecting the Vortex WALTER: Damn it. OLIVIA: Walter, what are you looking for? WALTER: My seismograph. How am I supposed to measure microquakes without my damn seismographs? PETER: Walter, we keep 'em in the back. WALTER: Then why are you all sitting around? ASTRID: I'll go get it. PETER: You know, a thank you wouldn't kill you. WALTER: Oh, I'm sorry if at this moment, when the universe is collapsing, I forgot the magic word. OLIVIA: Walter, I understand that you're worried, but at the moment, we don't know for sure that what we're dealing with is a soft spot. WALTER: It is not a soft spot, dear. It is a hole, which could potentially lead to a vortex. PETER: Right, with the operative word being potential. WALTER: Yes, agreed, we need proof, and that's where you come in. I want all the data we can glean from that location. Digital spectrometer, radiological survey meter -- we need to track any irregularities. PETER: Walter, this is still hypothetical. WALTER: Peter, I know that this is not exactly precise science. Perhaps you'd prefer that I put Olivia into a heightened state of fear and anxiety in the hopes that she may get a glimmer from the other side. PETER: That's not what I meant. ASTRID: Here's your seismograph. OLIVIA: Thank you, Astrid. Okay, Walter, we're gonna go set this up at the Rosencrantz. If any seismic activity happens, you'll be the first to know. WALTER: Uh, yes. Thank you! Please! Hocus pocus! Whatever you want to hear. ASTRID: Walter, what's all that about? WALTER: Nothing. (pauses) Do you remember the chemical attack on the commuter bus some years ago? ASTRID: Yeah, it was one of our first cases. WALTER: I want the case file, and I want my lab notes for the case, please. ASTRID: How come? WALTER: Oh, dear god. Is it "second guess everything I do" day? Because I haven't been informed. ASTRID: I'll get you the file, Walter. ACT III Park Slope - Seismograph Deployment OLIVIA: Okay, the seismograph is online. PETER: (on phone) Alright, Walter, we've got everything set up. Well, can't you do that from there? Okay, fine. We'll stay here... yeah, bye. OLIVIA: You're kidding. PETER: He wants us to stay here. OLIVIA: I mean, he knows it's twelve degrees out here? PETER: He said to stay close in case we have any last-second calibrations. OLIVIA: Do you really think that this is the end of the world as we know it? PETER: If it is, there's no reason to wait outside in the cold for it. There's a bar right across the street. OLIVIA: Wait, you think that now is the time to be throwing back shots? PETER: Who said anything about downing shots? Maybe they got fries. OLIVIA: Well, now you're talking. JIMMY SMITH: Evening, Missus Merchant. ALICE MERCHANT: Hello, Jimmy. (Merchant hurries to her apartment and prepares for a visitor) Beer Break - Olivia's Confession PETER: (after visiting the jukebox in the bar) Mystery selection, coming up. OLIVIA: Is it "Feelings"? PETER: No. Did I ever tell you about the time Walter did his rendition of "Never, Never Gonna Give You Up" for me? OLIVIA: No, but I actually love Barry White. PETER: He was only wearing his socks at the time. OLIVIA: Uck. PETER: He was doing The Hustle... there was a lot going on. OLIVIA: Okay, that's enough. (pause) You know when you were talking earlier about... what it felt like when you thought you were with me? And you said that it was beautiful? PETER: Yeah. OLIVIA: I want to know what that feels like. PETER: But? (Olivia leans towards Peter, and they kiss momentarily, but Olivia pulls back) PETER: Olivia? What? OLIVIA: I just need to get some air. I'm sorry. PETER: Olivia. Look, whatever that was, if you think that it's a mistake... OLIVIA: Peter... you glimmered. When we kissed, you glimmered. PETER: So you're afraid. Afraid of what? OLIVIA: That you were right. That this isn't just about her. It was, but I think that this is me, I think that I'm stopping us. Maybe I am just incapable of being vulnerable. PETER: Olivia, come on, you know that that's not true. OLIVIA: It must be. I'm terrified, that I can't fix this, that... that this is just who I am. PETER: What do you see? Merchant Residence - Meeting Derek WALTER: Peter? Are you getting these readings? What's happening? PETER: I don't know. I'll call you right back. WALTER: Peter? PETER: What happened? OLIVIA: Who was he? ALICE MERCHANT: My husband. His ghost. ACT IV Merchant Residence - Interviewing Alice WALTER: Nothing. I thought there'd be some radiation leakage from over there. PETER: So you're not buying that it's her husband's ghost? WALTER: There's no such thing as ghosts. PETER: That's where you draw the line? Ghosts? WALTER: Belly and I used to argue about this constantly -- what happens to the body's energy after death. William theorized we should be able to capture that energy using what he called Soul Magnets. PETER: It's a catchy name. WALTER: He said if he were right, he would contact me from The Great Beyond. I haven't gotten the call yet. PETER: Well, if she didn't see her husband's ghost, then what did Missus Merchant see? OLIVIA: Missus Merchant... when was the first time you saw your husband? ALICE MERCHANT: You mean after he died? He's been visiting... for a couple months now. OLIVIA: Oh. Looks like you two were together for a long time. ALICE MERCHANT: Almost forty-five years. OLIVIA: These photographs are beautiful. Was he a photographer? ALICE MERCHANT: He liked to pretend he was. OLIVIA: Oh. ALICE MERCHANT: When we'd travel, he'd tell people we worked for National Geographic. Oh, oh, I know that that -- that sounds horrible. OLIVIA: No. ALICE MERCHANT: But that little fib got us into a few restricted but spectacular places. We never had children, so... that was our thing. OLIVIA: Huh. ALICE MERCHANT: We made a hell of a team. OLIVIA: Forgive me, but how did Derek die? ALICE MERCHANT: It was stupid. The fuse box blew, like it always did. And we flipped a coin, like usual. Whenever there was a chore, neither of us wanted to do, we'd flip for it. Derek lost this time. There was a short in the wiring. He died instantly. OLIVIA: After his death, you must have been devastated. Is that when he started coming to you? ALICE MERCHANT: No. I couldn't get out of bed after the funeral. We've been together since we were twenty. He was part of me. Then he was gone. OLIVIA: So when did you first see him after he died? ALICE MERCHANT: A few days after. Around dinner. For a second, I forgot. I wondered what Derek... was in the mood to eat. And then I remembered... he was gone. And all I felt was despair. All I wanted was him. Even if that meant... dying myself. And that's when he came. He came to be with me. When I needed him. WALTER: How long did you two live here? ALICE MERCHANT: Oh... over forty years. Derek owned this apartment. I moved in after we got married. WALTER: Oh. (in the hallway outside of 6B) OLIVIA: Walter, why did you ask that question? How long had she lived here? What -- what does it matter? WALTER: Because... if her husband had this apartment, then it stands to reason that her husband's double has this apartment on the other side. Which proves I'm right. The universe is breaking apart at this very spot. That woman is seeing through to the other side and mistaking the other Derek for her husband. OLIVIA: Which is why I can see him too. WALTER: Yes! And if the fabric separating our universe is so thin that Missus Merchant can see through it... Th – this is not good at all. PETER: Walter, I understand why she can see through and I can't, but... how is it that Missus Merchant can see through? WALTER: Right now, I'm not interested in how, Peter. I'm more concerned about what happens next. OLIVIA: Which is... Walter's Lab - Vortex Demonstration WALTER: Imagine this is the soft spot in the universe... but every incident... weakens it a little more. Until, eventually... a vortex... a gaping hole, that sucks in and obliterates everything around it. Just like we've seen happen on the other side. ASTRID: Walter, I found it. WALTER: Oh. Good. What took so long? ASTRID: The FBI had transferred the case files to Massive Dynamic. OLIVIA: Which file? WALTER: The commuter bus attacks several years ago. PETER: How is that relevant? WALTER: I've been worried about this since we returned from the other side. How we would respond if a vortex opened up here. How we would plug the bridge. OLIVIA: Walter, please don't tell me that you're thinking... PETER: ...What am I missing? WALTER: We would do the same thing as they did over there. Massive Dynamic - Amber Testing NINA: The government asked us to analyze this for its military properties. No one had ever seen anything like it before, so there was concern. WALTER: With good reason. If I'm right, this has a composition similar to the material that Walternate uses. We need half a dozen of our best scientists. And that... nervous fellow, Brandon. BROYLES: Doctor Bishop, let me get this straight. Are you really suggesting that the FBI encase that building in Amber? WALTER: Perhaps the whole block. Tell them they can refer to my lab notes. OLIVIA: Oh, stop, Walter. I mean, we've seen what the Amber's done to the other side, with thousands of people trapped. BROYLES: Not to mention the public reaction. We'd be looking at mass hysteria. WALTER: I understand, but how do you think the public will react if that soft spot turns into a vortex? A black hole that swallows up half of Brooklyn. We should get started. OLIVIA: Okay, I understand that it's a last resort, but it's a bad last resort. BROYLES: Well, you know more about this than any of us do. What's the protocol they use over there? OLIVIA: Okay, well, the Fringe Team goes in and, uh, assesses the scope of the damage. Then they set a perimeter. They evacuate as many people as they can. Once the canister is in place, the gas is dispersed, and within seconds, the Amber solidifies. BROYLES: I need to run this up the channels. PETER: Not exactly how you imagined meeting the President, huh? BROYLES: I already know him. He doesn't like me. I beat him at golf. OLIVIA: What are you thinking? PETER: Well, uh, I understand Walter's concerns, but there's got to be another way, right? I'm gonna access the information that we've got on the other soft spots. Walter still doesn't understand what's causing the incidents. But if this is a new soft spot, then why there? Why that building? If we could figure that out, maybe we could figure out how to stop it. OLIVIA: Okay, well, let's pull up all the geological reports from the Rosencrantz as well, going back to the first reported incident, and see what we're missing. BRANDON: We've never done the parameters based on your notes. And we think this mixture should replicate the compound you're looking for. NINA: So how's it going? Walter, are you alright? WALTER: For a long time, I've been willing to think the worst of Walternate. That he was an evil man. Willing to use any means necessary to get what he needed. I suppose it made it easy to justify what I did. Now we're faced with the same decision. And I'm arguing that we do exactly what he did. What sort of person does that make me? NINA: One who's asking the right questions. WALTER: You don't think he grappled with them too? BRANDON: The compound is ready, sir. Massive Dynamic - Making The Connection OLIVIA: There's nothing unusual beneath the surface. There's no subway tunnels, no major utility lines. I mean, what are we missing? Hey... PETER: I'm sorry, um... the woman who lost her husband, Alice Merchant... why can she see through to the other side? You can do it, but only when your -- your emotions are heightened. That emotional intensity is your trigger. OLIVIA: Well, she's grieving her husband. That's emotionally intense. PETER: Sure, but people lose loved ones all the time. It's sad, but what makes her so unique? OLIVIA: Yeah, and -- and why can she only see her husband's double and not her own? I mean, if they both live on the other side, then she should see them both, right? PETER: Maybe the other Alice lost the coin toss. She told you they used to flip a coin to see who was gonna have to go fix the fuse. Well, maybe the exact, same thing happened on the other side, but on the other side... OLIVIA: Alice died instead of Derek. Okay, well... what if we've been looking at this all wrong? What if this is not about physics, but about people? WALTER: Go on. OLIVIA: Is it possible that these two people, both grieving for a version of each other in the exact same spot, are somehow causing this soft spot? WALTER: Some form of emotional quantum entanglement. Perhaps. "Spooky Action at a distance." PETER: Einstein. Two objects interacting with each other even though they're separated by a great distance. WALTER: Man had a way with words. OLIVIA: So it is possible. WALTER: In theory! I'd have to test it. And I'd have to figure out how to do that. OLIVIA: Dunham. ASTRID: Olivia, I'm picking up all kinds of seismic activity in Park Slope. OLIVIA: It's happening again. ACT V Park Slope- Quarantine Prep SWAT AGENT: South side of the street is clear, sir. BROYLES: Move west and merge with Team Bravo. I want an update in five. (to Walter after he approaches) Is that the Ambering device? WALTER: I've prepared a remote detonator so your agent won't get caught in it. BROYLES: (to his agents) You two, take this cylinder. Place it in the stairwell, then report directly to me, quickly. OLIVIA: Sir, uh, I think that there's another option. Short version -- the woman who can see through to the other side, what if whatever freak accident that killed her husband over here also killed the wife over there? And this intense grief that they're both experiencing is somehow blending our universes together? BROYLES: You think all of this is because of feelings? PETER: Some naturally occurring chemicals in the body, like Cortexiphan, which allows Olivia to see the other side, but only when she's afraid. We don't know how her emotions let her do that, but we know that they do. BROYLES: Doctor Bishop, is there any merit to this? WALTER: There's a chance. But quantum entanglement is a tricky business. I'm not sure. TACTICAL RADIO: Sir, we've got a resident that's refusing to vacate. Merchant, 6B. Please advise. PETER: That's her. WALTER: Pulling her out won't help. Proximity is irrelevant. If Peter and Olivia are right, and this couple is responsible for what we are seeing, then it doesn’t matter if they are inches apart, or miles. The subatomic connection is the same. She needs to break that connection, and let go on her own. BROYLES: Well, what do you suggest? OLIVIA: We convince her that it's not her husband that she's holding onto. BROYLES: And that'll make this stop? OLIVIA: Possibly. But before we resort to amber, we have to try. BROYLES: If I give the order, I want you two out immediately. No hesitation. Understood? OLIVIA: Yes, sir. BROYLES: Go! Apartment 6B - Seeing Derek (after running upstairs, breaking-in and finding the ghostly apparition of Derek Merchant standing in front of Alice) OLIVIA: He's already here. Alice... ALICE MERCHANT: Go away. I don't want you here. OLIVIA: Alice, what I'm about to tell you is going to be hard to understand, but everything that is happening in this building is because of you. Because of you and Derek. Now, you're the only person that can stop it. But to do that, you need to let him go. ALICE MERCHANT: I won't do that. OLIVIA: I can understand how you feel. Okay, Alice, the man you're seeing, he's not a ghost, and he's not your husband. He looks like Derek. He looks exactly like Derek. ALICE MERCHANT: Then who is he? Park Slope - Heavy Tremors BROYLES: How long do we have? WALTER: There's no way to know. SWAT AGENT: Sir, the device is in place. BROYLES: I want all teams behind the line, immediately. SWAT AGENT: Yes, sir. Apartment 6B - Meeting Derek ALICE MERCHANT: You're wrong. OLIVIA: I swear to you. The man that you're seeing, he's from another place. He's from another world. ALICE MERCHANT: What are you talking about? OLIVIA: In his world, he lost his wife too. And she looked exactly like you. He's making the same mistake that you are. He thinks that you're his wife. Now, I know this sounds insane, but all those people that fell from the balcony, they all died because you two couldn't let go of each other. All of this is happening because of you, and you can stop it if you just let go of him. DEREK MERCHANT: Alice... Love. It's me. ALICE MERCHANT: I can hear you. Derek, I hear you! PETER: Olivia... I can see him too now. DEREK MERCHANT: Sweetheart... I miss you. ALICE MERCHANT: I miss you too. Park Slope - Vortex Onset BROYLES: Was that -- that shimmering, was that was I think it was? WALTER: Seeing the other side. Yes...we all are. BROYLES: (over the radio) Dunham, Bishop, I want you out of there now! Do you copy? I repeat, do you... DEREK MERCHANT: There's so much more to tell you. Things I never got a chance to say. PETER: I don't think the building can take much more of this. OLIVIA: Well, she won't let go. BROYLES: (as glass shatters to the street) What's happening? WALTER: Rapid shifts in barometric pressure. Static electricity. BROYLES: Doctor Bishop... WALTER: It's the vortex. It's starting. ACT VI Park Slope - Vortex Averted BROYLES: How do I trigger the Amber, Doctor Bishop? WALTER: Turn it on. Pull out the pin. BROYLES: Evacuate now, do you hear me? That's a direct order! OLIVIA: Alice, you have to listen to us. That man is not your husband. DEREK MERCHANT: Who is that? Who are those people with you? PETER: Alice, please. Look at me. You need to let him go. ALICE MERCHANT: How can you ask me? I can't. I can't! I just can't! PETER: I know, I know. But you've already had what most of us only dream of. A lifetime with the person you love. Look around you. Your entire house is filled with mementos -- photographs, ticket stubs. Evidence of a life shared with somebody. Proof that what you and Derek had was true and real. And I know that when you have something so real, you'll do anything to keep from losing it. But please, you have to let him go. DEREK MERCHANT: Alice, I miss you so much. And the girls miss you. ALICE MERCHANT: We never had children. DEREK MERCHANT: Of course we did. ALICE MERCHANT: No. I'm not your wife. Your wife is gone. And so is my Derek. PETER: We're good up here. Everything okay down there? OLIVIA: I know that it's a lot to take in. ALICE MERCHANT: I'm not sure I'll ever really understand what happened. And I'm not sure it would make any difference if I did. You know... today was something I never could have imagined. But if the impossible is... possible... who's to say that someday I won't see him again? OLIVIA: Maybe you will. Massive Dynamic - Things To Come NINA: Walter... the custodian would like to vacuum. WALTER: Just a few more minutes. Lovely view, isn't it? NINA: You saved the lives of a lot of people today. And you should feel very proud. WALTER: No. Today wasn't a victory. Today was a vision of things to come. NINA: Walter, now, you don't know that to be true. WALTER: Unfortunately, I do. If the vortex had opened, I would be able to seal it. And then there would be new cracks and we would seal those cracks, and those cracks in our universe would beget larger cracks and... over there, decades of research and funding... the best solution Walternate could come up with was this. And it won't be enough. Once the universes start to unravel, there'll be no stopping it. I don't know how to stop it. NINA: Well, then... I think you need to learn. Bishop House- Revelations PETER: Hey. OLIVIA: Hey. PETER: I'm sorry, I thought maybe you were Walter. OLIVIA: Oh... is he missing? PETER: No, he stayed down in New York. What's up? Is everything alright? OLIVIA: Yeah. Um... I might be being presumptuous, but, um... I was thinking maybe... [holds up a bottle] PETER: Yeah, of course. Come on in. I'll get us some glasses. [toast] To disaster narrowly averted. OLIVIA: Or at least postponed. Peter, what you said to Missus Merchant... I want what you want. PETER: What do you think we should do about that? [olivia leans in and they kiss. longer than before. olivia pulls away] Am I glowing? OLIVIA: No. [olivia takes peter's hand and they go upstairs] Park Slope - An 'Alternate' Ending BOLIVIA DUNHAM: Anything? LINCOLN LEE: Mm... nothing. All readings are within normal parameters. BOLIVIA DUNHAM: That's weird, 'cause Astrid reported a Class Four event at this location, and she's never wrong. Did you check the batteries? LINCOLN LEE: Um...Yeah. BOLIVIA DUNHAM: Agent Dunham with Fringe Division. I'm sorry to bother you so late. But I was wondering if you happened to have noticed anything strange going on in the area? DEREK MERCHANT: No, n - nothing. BOLIVIA DUNHAM: Okay. Uh, what about your family? Maybe they-- DEREK MERCHANT: No, uh, I live alone here. My wife died a couple months ago. BOLIVIA DUNHAM: Oh, I'm sorry. Well, if you do happen to notice something, please call the hotline. DEREK MERCHANT: Yeah. BOLIVIA DUNHAM: Okay. Thank you so much for your time. LINCOLN LEE: Cancel the quarantine protocol. If there was a rift here, it's closed now. BOLIVIA DUNHAM: Hmm.

315 - PROLOGUE Reiden Lake - Desperate Measures ELIZABETH BISHOP: Peter. Peter? Darling, it's lunch. (finds Peter's note by the bed) ELIZABETH BISHOP: Peter! (panting) Peter! (panting) Peter! (cracking) Peter! Oh, god! Peter! Oh, god! No! Peter, no, please! (panting) no! Peter, please! Oh, god, please. No! Please don't. Oh, please... Oh, no! Oh, no! YOUNG PETER: Aah! Get off of me! You're not my mother! Oh, god! I want to go home! Stop! You're not my mother! I want to go home! ACT I Jacksonville Daycare - Short Thursday WALTER: Okay, children, let's begin. That's it. Now, close your eyes. I want you to ignore everything except the sound of my voice. Try to relax. Clear your minds. We discussed that your imagination can take you anywhere you want to go. YOUNG OLIVIA: What's wrong? NICK LANE: I don't know what Snuggles will do... if we go somewhere. YOUNG OLIVIA: Just... put him on your feet and he'll come with us, Nick. WALTER: Olivia, how can you concentrate if you're talking? Now, close your eyes, dear. Now, concentrate. Imagine this world... slipping away. ASHLEY: Excuse me, Doctor Bishop. Your wife is on the phone. WALTER: Tell her I'll call her back later. ASHLEY: Well, she said to tell you that she's here... in Jacksonville. WALTER: Is it Thursday, Miss Ashley? Isn't Thursday early day this week? Ha ha ha ho! Well, I'm gonna go home, and you can too! TEST SUBJECTS: Yay! MISS ASHLEY: Okay, guys. Get your backpacks, okay? Ben, yours is in the corner there, And, Jen, don't forget your violin on purpose again, okay? Bishop Residence - Fighting Memory WALTER: Where is he? (to Peter) Of course the Dodgers play for Los Angeles. YOUNG PETER: No, they don't. They play in Brooklyn, and I've seen them. And the Red Lantern isn't supposed to be green. I've never had a baseball mitt before--never. WALTER: Peter, you were very sick for a very long time. It must have confused you, mixed up your memories, son. YOUNG PETER: Do not call me that. WALTER: Hey, hey-- YOUNG PETER: I am not your son! You are not my father! And she is not my mother! You are not my father! WALTER: Hey, hey... YOUNG PETER: Get off of me! ELIZABETH BISHOP: Hey, hey, hey... YOUNG PETER: You're not my mother! I want to go home! ELIZABETH BISHOP: He's asleep. We can't keep this up. It's making him crazy. WALTER: What's the alternative? Tell him the truth? He'd be locked up. These lies were supposed to be a temporary measure. We were supposed to have him home well before it got this far. ELIZABETH BISHOP: It's been six months, Walter. WALTER: Getting him back wasn't as simple as I'd hoped. ELIZABETH BISHOP: You're working, but I'm with him. WALTER: Elizabeth, I think this series-- ELIZABETH BISHOP: I'm with him all the time. I can't watch him suffer like this. What if... if you made a device like the one you used to bring him over? WALTER: Elizabeth, we have been through this. That would be catastrophic. The texture of the universe has changed from my crossing. It cannot withstand any more damage. ELIZABETH BISHOP: Neither can he, Walter. He is in such distress. He--he looks at me, and he doesn't trust me. I'm his mother, but no matter what I say, he-- WALTER: Elizabeth, Elizabeth, you are not his mother. He's a little boy very much like our son... and we saved his life. ELIZABETH BISHOP: No, you--you-- you saved his life. I'm just trying to keep him alive. I won't keep lying to him like this. WALTER: Elizabeth... ELIZABETH BISHOP: It's not fantasy. I can't keep him safe If he doesn't trust me. WALTER: Please... Just a little more time. I told you... I think the children are the key. The children should be able to cross over, And when they do, They can take Peter safely home with them. (laughs) he--he can ride on their feet. Just give me a little more time, please. Dunham Residence - Bedtime Bruises OLIVIA'S STEPDAD: Damn it, Olivia. When I say go to bed, I mean go to bed! Don't you run from me! Come here! Get your butt back in-- ...Ever run from me! ACT II Bishop Residence - Not Crazy ELIZABETH BISHOP: Hey, I'm really glad you got some sleep. Peter. YOUNG PETER: Do you really think I don't know that you're not my mother? ELIZABETH BISHOP: Please, can we just, uh-- YOUNG PETER: You think I can't tell? ELIZABETH BISHOP: Peter, how many more questions am I gonna have to get right before you believe me? We've been doing this routine for two months now. I told you the name of your hamster. I told you-- YOUNG PETER: You got some wrong. ELIZABETH BISHOP: Yes. And maybe that's because you're confused because you were so ill. YOUNG PETER: He makes you say that, doesn't he? 'cause he's the one who stole me. ELIZABETH BISHOP: Stole you from where, Peter? YOUNG PETER: From the other world at the bottom of the lake. ELIZABETH BISHOP: (softly) love... YOUNG PETER: I know that I sound crazy. But I'm not, okay? I'm not crazy. ELIZABETH BISHOP: Peter, let's just, um-- Let's just get out of the house today, baby, okay? Let's just, um, get some air. Jacksonville Daycare - Olivia's Lament MISS ASHLEY: You look gray, which is not technically a skin color. Another sleepless night? WALTER: Yes, I suppose so. MISS ASHLEY: Look, I'm not finished with these. I want to organize a subgroup data. So if you don't mind-- WALTER: There's no need. I have something else in mind. This is not working. I want to separate the children and begin independent testing. MISS ASHLEY: Okay, well, any particular order? WALTER: What's Olivia doing inside? MISS ASHLEY: Well, she didn't have a very good night either. WALTER: Olivia, why don't you go outside and play with the others? Olive, what happened to your eye? Ashley said that you told her that you fell. YOUNG OLIVIA: Running in my house. WALTER: Olive, you can trust me. If someone is hurting you-- YOUNG OLIVIA: I said I fell, okay? I fell. That's all. WALTER: May I? Olive, why did you draw this? Did you see it in a book? (Olivia shakes her head) Where, then? Was it last night... when you fell? Jacksonville - Running Errands ELIZABETH BISHOP: You know tulips don't usually grow in areas like this. YOUNG PETER: Well, then what are they doing here? ELIZABETH BISHOP: A professor who was working here missed them, so he imagined a tulip that would grow in this climate, and he invented it. He used his brain and his imagination to turn the world into what he wanted it to be. How would you change the world if you could, Peter? What would you wish for? YOUNG PETER: I wouldn't make stupid flowers grow. ELIZABETH BISHOP: (laughs) What would you do? YOUNG PETER: I'd go home. ELIZABETH BISHOP: A couple of more errands, and... then I've got a surprise in store for you. (in toy store) ELIZABETH BISHOP: Peter. Now, listen, Can I trust you not to run off on me? Okay. Go and pick a toy, then. Go on. ELIZABETH BISHOP: Ooh, that's a strange game. What's that called? BOY IN TOYSTORE: It's called joust. [zapping on video game] Jacksonville Daycare Center - The First Meeting WALTER: I suspect her crossing over was triggered by an extreme emotional response. MISS ASHLEY: Her black eye. WALTER: So, now we need to design a series of experiments around emotional flexibility. ELIZABETH BISHOP: Hey. I wanted to show Peter where you worked. WALTER: Hey, Peter! Hey. Look at that airplane. That's, um... a DC-3, yeah? Aha. The beguiling Olivia Dunham beguiles. MISS ASHLEY: Listen, Peter, I was about to go and get a snack. Would you like to, uh, come with me and get something? ELIZABETH BISHOP: Yeah, go on, Peter. YOUNG PETER: Okay. MISS ASHLEY: Come on, let's go. WALTER: We've had a promising development. I think young Olivia may have crossed over. And if I'm right and she has... ELIZABETH BISHOP: Then she can take Peter home. I knew you'd find a way. WALTER: Well, I-I still have to work out precisely how she does it. But we're nearly there. ACT III Jacksonville Daycare Center - Tests for Subject 13 WALTER: William, I need your help. I have reason to believe Subject 13, Olivia Dunham, has been able to cross over to the other side. But I believe that young Olivia may need to be in some kind of heightened emotional state to access her ability. I'm compiling some recordings on my new betamax. Perhaps you'll be able to see something I cannot. (Recording) WALTER: Okay, Olivia. You feeling comfortable? YOUNG OLIVIA: I'm fine. WALTER: These wires will show me how you respond to the tests. I'll just-- Ashley. Uh, test series alpha. I'll be monitoring vitals, theta rhythms, stable neocortex. Okay. [Young Olivia and Walter chuckling] Well, you're doing very well there, Olive. Now, these four brothers grew up to be great warriors. They were very special because they had the power of metamorphosis. YOUNG OLIVIA: Metamorphosis? WALTER: Mm-hmm. Ah... He could turn into... a hawk, watching for invaders from on high. The speed of a cheetah and... the fire of a dragon! (Olivia laughing) Minimal response to joy. Theta rhythms show a slight bump but not within our range. YOUNG OLIVIA: Can I stop now? WALTER: Not yet, dear. You need to keep going. A little longer, Olivia. You're doing really well. Heart rate 140 beats per minute for 30 minutes. No response to exhilaration. (panting) You'll have to start over. YOUNG OLIVIA: It doesn't fit. WALTER: Try it. Look at each piece carefully. No. You'll have to start again. YOUNG OLIVIA: I-it doesn't fit, Dr. Walter-- WALTER: Try it. Faster. Come on, come on. That's wrong. That's wrong. That's wrong. Concentrate, Olivia! YOUNG OLIVIA: No! I'm not working on this anymore! WALTER: Minimal activity in the stable neocortex. Anger isn't the answer. Loneliness isn't the answer either. Perhaps fear... show you a movie. It's one of my favorites. It's called Jaws. It's... It's a bit scary, but I think you can handle it. YOUNG OLIVIA: Um... Sorry. WALTER: That's all right. ASHLEY: Ready to start the movie? WALTER: No, no, no. Um... No, let's-- let's take a little break. Let's get that off you. You don't need that. It started to occur to me, William, that fear by itself wasn't the answer. YOUNG OLIVIA: [lock clicks] [bells jingling] [gasping] [pounding on door] Walter? Let me out! Please, let me out! [breathing heavily] [pounding continues] [indistinct whispering] Who's there? Is someone there? [gasps] Aah! ACT IV Bishop Residence - Disturbing Sirens YOUNG PETER: Approaching the building, requesting clearance to dock. [imitates plane engines whirring] [sirens approaching] [sirens departing] [pulsating tone on phone] ELIZABETH BISHOP: Love, come and get your coat, will you? [more sirens wailing] Jacksonville Daycare Center - Missing Olivia YOUNG NICK: I don't think Olive thought the joke was very funny. WALTER: No, I suppose not. There you go. ASHLEY: Nick, would you please wait outside with the other children? Thank you. Dr. Bishop-- WALTER: Just a minute, Ashley. We're obviously on the right track. The part of Olivia's brain that let her do this must be the same part that lets her cross between universes. But I'm still missing something. MISS ASHLEY: Dr. Bishop, we have another problem. MISS ASHLEY: Let's get your backpack on, okay? Good night. ELIZABETH BISHOP: Ashley... What's going on? MISS ASHLEY: [sighs] there's been a small fire, But everything's under control. ELIZABETH BISHOP: Ashley. MISS ASHLEY: One of the children has gone missing-- A girl, Olivia Dunham. Now, your husband and the others are out looking for her, and I'm sure that everything's gonna be fine. ELIZABETH BISHOP: Okay. All right. Thank you. Peter, come on. Come inside with me. Peter, will you wait here for me for a minute? Okay. Good boy. I'll be back in a second. WALTER: Elizabeth. ELIZABETH BISHOP: Did you find her? WALTER: No, we haven't yet. ELIZABETH BISHOP: This little girl, Olivia. Walter, it says that you think her stepfather's hitting her. I-- "William, I believe the ideal environment for transition across universes may be a return to her home. The unique combination of love and terror there apparently stimulates a cortical reaction." WALTER: "a"--they are notes. And "b"--yes. The unique combination of love and terror does stimulate a cortical reaction that may be the key to her crossing over. And if she is not allowed to return to her home to restimulate the pathways-- ELIZABETH BISHOP: What, you mean to be terrorized again? WALTER: Then it could well take me years to simulate the state artificially. ELIZABETH BISHOP: Walter, you said that this was just a theory. Surely there's got to be some other way. WALTER: And if there isn't? This is not about you and me and Peter anymore. Don't you see what I've done? I crept over in the night... and I stole their child. If we don't return him, They'll figure it out, and they'll come after him, After us... I know... Because that's what I would do. ELIZABETH BISHOP: So you would sacrifice one for the other... This little girl Olivia for Peter? WALTER: No. But for thousands of others... Or millions, It would have to be considered. ELIZABETH BISHOP: Walter... MISS ASHLEY: Oh, I'm sorry. I was looking for Peter. He told me he's never had peanut m&ms before. ELIZABETH BISHOP: Oh, he's out by the cubbies. MISS ASHLEY: No, I just looked there. ELIZABETH BISHOP: He- Peter? Peter? Alternate Bishop Residence - Drunk Bishop NEWSCASTER: it's been six months since Peter Bishop disappeared, But authorities still have no ideas. The sympathy of the world goes out to Dr. Walter Bishop And his devoted wife, as the entire nation remains aghast at the kidnapping of their only son. Dr. Bishop, the architect of the famed Star wars defense system that protects our nation, and his wife made an emot-- ELIZABETH BISHOP: This isn't doing you any good. SECRETARY BISHOP: Don't turn it off now. They're about to point out how ironic it is... That the safety czar couldn't protect his own child. ELIZABETH BISHOP: Walter, I'm serious. You can't keep doing this. You can't keep drinking yourself into oblivion. SECRETARY BISHOP: Do you have a better suggestion about what I should be doing? ELIZABETH BISHOP: Well, not this. SECRETARY BISHOP: Should I give up on my son... the way the police seem to have? ACT V Alternate Bishop Residence - Severed Marriage ELIZABETH BISHOP: Dinner's ready in 20. SECRETARY BISHOP: I'm not hungry. ELIZABETH BISHOP: That's fine. You still need to eat. If nothing else, You need to put something in your stomach to absorb all that alcohol. SECRETARY BISHOP: You said he was wearing a beige sweater. The man who took my son-- you said he was wearing a beige sweater, Not a suit like I would wear. ELIZABETH BISHOP: Walter, please don't do this. SECRETARY BISHOP: How did he sound? His voice? I have a new theory-- plastic surgery. There are a handful of surgeons skilled enough to pull off a feat of this magnitude, but the voice... the voice would be tricky. ELIZABETH BISHOP: You know what? Maybe it was plastic surgery... Or an alien able to take on any shape he wanted. We've considered all your theories, Walter, And none of them have brought our son back. It happened. It just happened, and it's inexplicable. SECRETARY BISHOP: Nothing is inexplicable, Elizabeth. Science is seen as magic by primitives. Something happened in this house, and we have to go over it and over it until we find out what we're missing. ELIZABETH BISHOP: And how will this time be any different? SECRETARY BISHOP: I don't know yet. We have to go over it. ELIZABETH BISHOP: I have, Walter. I've thought back. I've gone over it again and again. I have told you and a dozen policemen every detail that I can remember about that night. I've had hypnotherapy to try and recover every detail I couldn't! SECRETARY BISHOP: I know. And I believe you... about all of it. But there has to be something we've overlooked. There has to be an explanation. ELIZABETH BISHOP: You fly to Florida every Monday. You work all week, and then you come back, and we do this. This is not a marriage anymore. It's a routine. SECRETARY BISHOP: Please, Elizabeth... one more time. He's my boy. I can't lose him. I'm so sorry, my love. I know I can't keep doing this. But it's impossible. Impossible he's gone. ELIZABETH BISHOP: I know. I know, Walter. I spend every waking moment imagining where he is... what he's doing. And I pray that wherever he is, he's safe... that someone's taking good care of him... and that someday, by some miracle, we'll get to see him again. But until that miracle happens, I can't break. I need to be here for him. We need to be here for him. But we won't. Walter, we're breaking. Our marriage... this is breaking us. And I can't let that happen. I need you, my love. I've lost Peter. I-- I can't bear to lose you too. Don't go to work tomorrow. Stay home this week. Forget the lab. Forget Florida. Let's put our marriage back together. Bishop Dynamic - Back to Work SOLDIER: Welcome back, sir. [car door closes] LAB TECH: Morning, Doctor Bishop. SECRETARY BISHOP: Morning. Jacksonville Daycare Center - Olivia's Drawing MISS ASHLEY: It's almost dark, and there's still no sign of either of them. I found this. It's Olivia's. ACT VI White Tulip Field - Parental Issues YOUNG PETER: Hi. YOUNG OLIVIA: Hi. How'd you find me? YOUNG PETER: I guess tulips don't normally grow around here. [paper rustling] YOUNG OLIVIA: But... how'd you know I'd come here? YOUNG PETER: Because it's the only drawing that looked happy. My name's Peter. YOUNG OLIVIA: Mine's Olivia. Don't-- be careful. YOUNG PETER: I'm not scared. What happened? YOUNG OLIVIA: My step-dad did it. YOUNG PETER: So... everyone's looking for you. YOUNG OLIVIA: [voice breaking] I messed up... and now he's gonna send me home. YOUNG PETER: Who? YOUNG OLIVIA: Dr. Walter. YOUNG PETER: Did you tell him... Walter, I mean, about your step-dad hitting you? YOUNG OLIVIA: I don't think it'd do anything. YOUNG PETER: My mo-- My mom was telling me you got to imagine how you want things to be. And then you can try and change them. YOUNG OLIVIA: Do you trust him... Walter? YOUNG PETER: You should tell him. You got to try something, right? YOUNG OLIVIA: I think I cooled off by now. YOUNG PETER: Did you imagine that? Jacksonville Daycare Center - ASHLEY: No, the last time we saw her was before 5:00. We went looking ourselves, but then it got dark. POLICEMAN: And do your son and the girl know each other? ELIZABETH BISHOP: No. He--he's not from here. He doesn't even know the area. MISS ASHLEY: (gasps) Look! They're back. ELIZABETH BISHOP: Oh, Peter! Oh, god! We were worried sick about you. Are you all right? Huh? Yeah? MISS ASHLEY: Let's just have her go inside. I don't know what she's going through. I just want to check her. Please. POLICEMAN: Okay. MISS ASHLEY: Okay, thank you. Come on, sweetie. Come on. Okay, your step-father's on his way. Olivia, sweetie, we were all so worried about you. What were you thinking? YOUNG OLIVIA: I want to see Dr. Walter. MISS ASHLEY: Okay, you can see him tomorrow, but-- YOUNG OLIVIA: No! I have to see him now. MISS ASHLEY: Olivia, you can't see him now, okay? Olivia, don't-- Alternate Florida - Bishop's Office (Secretary Bishop sits at his desk in Bishop Dynamic and watches quietly as a distraught young blonde storms into his office with a drawing pad) YOUNG OLIVIA: (upset) My step-father did this. He hits me. That's when I crossed over to the other universe. Look... That's where I saw the blimps, Just like you said. They were in the sky in the other universe. Can you make him stop hitting me... Please? (Secretary Bishop studies the drawing this young girl he has never seen before hands to him... never saying a word) Jacksonville Daycare - Return Trip WALTER: (interrupts his confused young test subject, who appears to have just finished having a conversation with his empty chair) Olive? Olivia... What is it? What's wrong? OLIVIA'S STEPDAD: I'm sorry, Dr. Bishop. I hope our little princess hasn't caused you too much trouble. WALTER: No trouble at all. OLIVIA'S STEPDAD: Come on, Olivia. I've been worried sick. Let's get you home. WALTER: Before you go... I want you to understand that this girl is very special to me, and if anything harmful should happen to her, anything to frighten her or make her uncomfortable in the least... I will not hesitate to inform social services... in which case, I have certain government friends who could ensure that you will be facing significant troubles for yourself. Do you understand me? (to Olivia) Dear... You go home and get some rest, huh? And... we'll see if we can figure out a new way tomorrow. All right? Bishop Residence - Brainwashed Peter YOUNG PETER: I'm sorry. ELIZABETH BISHOP: Hmm? YOUNG PETER: When I ran off-- I-I'm sorry if I scared you. ELIZABETH BISHOP: Peter, it's... YOUNG PETER: I'm never going back... Am I? ELIZABETH BISHOP: Listen to me. Sometimes the world we have is not the world we want. But we have our hearts and our imaginations to make the best of it. I will promise you this. I will be the best mother I possible can for you. I'll take care of you. I'll protect you. And I'll never let anyone take you away from me... No one... Not ever. YOUNG PETER: But you're not her... are you? You're not my real mother. ELIZABETH BISHOP: You were sick. You were very sick for a long, long time. And I think it confused you. Yes... I am your mother. Of course I am. Now... you go off and wash your hands for dinner, okay? YOUNG PETER: Okay... Mom. Bishop Dynamic - Realization ELIZABETH BISHOP: [line ringing] Hello? SECRETARY BISHOP: Elizabeth, it's me. I know where our son is. I know where Peter was taken.

316 - PROLOGUE Walter's Lab - Last 48 Hours WILLIAM BELL: I understand your concerns, But I assure you, Olivia is perfectly fine. She is simply resting. BROYLES: what do you mean, she's resting? WILLIAM BELL: Well, not exactly of course. Just in the sense that her conscious mind, her awareness, is at a state of rest. But I assure you, she is totally safe. This is all exactly as I planned it. (chair squeaking) PETER: You haven't heard the best part. Ask him when he planned it. WILLIAM BELL: Several months ago, when I first met Olivia in my office on the other side. I gave her a cup of tea. The soul magnets were in that tea. BROYLES: So these soul magnets drew your consciousness into Olivia after you died? WILLIAM BELL: Well, after my physical body died. As you can see, I am quite alive. WALTER: Indeed. Look at this. Two distinct patterns of electrical activity. This one -- active. That's you, Belly. (laughs) The other one inert. Like the brain waves of a long, dreamless sleep, which suggests that Olivia was aware of none of this. WILLIAM BELL: Now I understand that this could take some time for you to get used to. Imagine how I feel. I never realized that a bra was so binding. (snickers) WALTER: Astrid, you can start taking the electrodes off her--him. BROYLES: How much time? You're not suggesting this is permanent. WILLIAM BELL: Oh, no, no. We simply need to find a more suitable home for me to move to. Now Olivia's brain can accommodate my consciousness for several weeks before anything would happen to her. PETER: Weeks? Not a chance. WILLIAM BELL: And I am confident that Walter will find a more stable home long before that. BROYLES: Same question. How long? WILLIAM BELL: 24 hours. 48 at the most. (To Astrid) Has anyone ever told you, dear, that you have lovely hands? ASTRID: Thank you. PETER: You're not seriously considering sanctioning this, are you? BROYLES: Well, what would you suggest, Peter? If I leave Olivia's brain now without finding a suitable host, I would die. And don't you think that my life is worth an extended nap? WALTER: And besides, William can help us understand Walternate's plan, can't you, William? PETER: Walter. WALTER: What he intends to use the machine for. And how to keep Peter out of it. PETER: Stop. I want to know how we get Olivia back. BROYLES: 48 hours to find a new and suitable host. Then I want you out of my agent. Or I'll have Doctor Bishop figure out how to drive you out. Agreed? WILLIAM BELL: You have my word, young man. Now I need to retrieve my files From Massive Dynamic. There is a box labeled "reentry." PETER: I'll get it myself. BROYLES: As fast as possible. PETER: You don't have to tell me twice. Roxbury, MA - Raindrops JIM: (thunder crashes) That was fast. DANA GRAY: You said I didn't have much time, Jim. JIM: You didn't. You don't. (thunder crashes) You were right. It's gonna rain. There is hope in raindrops. Isn't that what you said? What does that even mean? DANA GRAY: It means... that every drop of rain holds the promise of regrowth. Each has a purpose. Even if they don't know it. I think we can feel that way. That we don't have a purpose. But we do. Jim. JIM: Do you believe what you're saying? About purpose? You said you know how I feel. You said you know pain. And you wanted to kill yourself too, you said that. DANA GRAY: Yes. JIM: So? What's your reason to stick around? DANA GRAY: My reason? JIM: Have you found your purpose? DANA GRAY: Jim. JIM: It's okay. You did your best. I don't believe in hope anymore. All I know is we're all gonna die. ACT I Walter's Lab - Interdimensional Decay PETER: Okay, here are the reentry files. You need anything else? WILLIAM BELL: Uh, a computer with access to social service and medical databases would be useful. Now the host needs to be biological, able to cognate, but without its own governing consciousness. A human brain would be ideal, but not a prerequisite. PETER: What? WILLIAM BELL: Hmm. Peter, your father wouldn't want to hear me say this, but even if he does find out more about this machine, it doesn't necessarily mean he'll be able to prevent the events depicted in that picture. I mean, that just could simply be your fate. PETER: Thankfully, I don't believe in fate. Whatever Walternate's plans are for me, I promise you, I'm not getting in that machine. WILLIAM BELL: (chuckles) Son, it is not always that simple. I've lived a long time, Peter. So believe me when I tell you that sometimes when one walks away from his fate, it leads one directly to fate's doorstep. (footsteps) ASTRID: Hey, Broyles just sent something over that you need to see. PETER: Excellent. Do it again, and I'll show you. Holy! ASTRID: This video was taken last night just after 10:00 in Roxbury. PETER: Nobody could have survived that impact. ASTRID: And yet she did. PETER: What are you thinking, Walter? WALTER: Maybe it's not the woman at all. Maybe it's the location. WILLIAM BELL: Walter, you think that this is spatial decay, don't you? Caused from a soft spot between the universes. WALTER: We're beginning to see signs of degradation on this side. WILLIAM BELL: Well, it was bound to happen. I'm surprised that it's taken this long. All right, we need a geiger counter. PETER: No, no. We don't need anything. We can handle this. You need to... WILLIAM BELL: What? Go to my room? Sit on my hands? The computer is searching all the local hospitals for a potential host based on the parameters that you retrieved from Massive Dynamic. Now I am not someone who can make that occur any faster. What I am is the only person on this universe who has extensive experience in interdimensional decay. PETER: Fabulous. WILLIAM BELL: Fantastic. Hartford, CT - Tracked (agent receives a printout and studies it, realizing something, he runs after another agent) ND AGENT: Agent Lee! You're gonna want to see this. (hands the printout to Agent Lee) AGENT LEE: Where is she? ND AGENT: Boston. Roxbury, MA - Investigating Gray WILLIAM BELL: We have more advanced ways to detect molecular degeneration over there, but a simple radiation test should be enough to see whether the fabric of the universe has begun to decay. PETER: And? WILLIAM BELL: Well, everything's within normal range. WALTER: Nothing unusual here. PETER: So if it's not the place, then it's got to be the girl. Must be something about her that allowed her to survive the fall. WALTER: Well, then we need to get to know more about her. WILLIAM BELL: DNA. Excellent. (laughs) I'll take the samples from the passenger's side. WALTER: Look at this. Me and Belly collecting human tissue And fluid specimens. Just like when we were kids. PETER: Glad you guys are enjoying yourself. BROYLES: This is Peter and Doctor Walter Bishop, The civilian consultants I told you about. This is Special Agent Lincoln Lee from Hartford. He has some information regarding this case. WILLIAM BELL: Hi. Uh... PETER: This is... WILLIAM BELL: Agent Olivia Dunham. Fringe Division. AGENT LEE: What division? PETER: So what you got? AGENT LEE: The woman who jumped and walked away? Her name is Dana Gray. She was murdered 18 months ago. Two bullets in the head. M.E. said she died instantly. She was killed with her husband and her children in a home invasion robbery. WILLIAM BELL: Ooh. That's grisly. AGENT LEE: I can't argue. This was a tough one. PETER: They ever find who did it? AGENT LEE: Yes. We tried to bring him in, but he drew on us. Two agents ended up putting him down in a shootout. So case closed. That is, until I get a call about Missus Gray's body disappearing from the morgue. I assumed it was stolen. WALTER: It's a reasonable assumption. AGENT LEE: I didn't think anything of it until I saw this. Witnesses reported seeing two people jump out of a dorm window. Cops get there. One body. Grad student who lived there. But the cops find two sets of fingerprints on the ledge during their investigation. Second set, those fingerprints were identified as Dana Gray's. Which is insane because she's dead. WILLIAM BELL: Well, you know, stranger things have happened. AGENT LEE: Um, no, they haven't. PETER: Don't listen to him. Her. Sorry. Go on. AGENT LEE: Not knowing what to make of it, I flag Gray in the system. Over the next two months, we found prints at three other double suicides. Now security photos show her there, and eyewitnesses report seeing her die. First responders show up, there's only one body, and it's never hers. I know this sounds insane, but I don't think this woman can die. WALTER: Isn't this our lucky day? ACT II Walter's Lab - Soul Vampire AGENT LEE: (opens door, walks along, stops and find a cow) He-Hello? ASTRID: Hello. PETER: What's he doing here? WILLIAM BELL: I invited him. WALTER: Belly invited him. ASTRID: That's Gene. GENE: Moo! WALTER: Come down here. I've got something. AGENT LEE: Um, what is this place exactly? PETER: This is the place where the mysteries Of the universe get answered. And congratulations. Whatever your security clearance was, it just got about seven levels deeper. WALTER: Something to show you. We found two sets of DNA in the specimens we took from the scene. Two different people. But in performing the tests, we noticed something odd in the molecules of Ms. Gray's body. They didn't want to come apart. They were held together by an unusually strong electromagnetic bond. AGENT LEE: Um, I'm confused. You're saying that her body's being held together by magnetism? WILLIAM BELL: Well, we're all held together by magnetism. Our molecules are like these hematite rocks. (picks up a bracelet) Magnetism is what keeps us from flying apart. It's what keeps us solid. WALTER: In Ms. Gray's case, the attraction was almost unbreakable. It's a miracle she left any blood behind at all. WILLIAM BELL: (wraps the bracelet around Astrid's wrist) I think it suits you, dear. ASTRID: (removes the bracelet) Um, but--but how? (buttons up her shirt) I mean, why did she get magnetically supercharged? WALTER: Belly, what if she took the energy from her victims? PETER: Victims? WALTER: The people she's jumping with. WILLIAM BELL: Yeah, that'd make sense. She absconds with their life force at the moment of death. AGENT LEE: Life force? You mean like a soul? Is that even a scientific concept? WILLIAM BELL: You know, it's best to try not to be reductive. I mean, after all, every living thing is simply bundled energy. And perhaps Ms. Gray has found a way to capture some vital portion of another person's essential energy and therefore has extended her own life. WALTER: Extending her own life. AGENT LEE: A soul vampire. WILLIAM BELL: As it were. PETER: It says in the file that each one of the victims tried to commit suicide previously. WALTER: Perhaps simple compassion, Belly. WILLIAM BELL: Yes, that's brilliant. She only wants to take the souls of those people that are already prepared to surrender their own. AGENT LEE: A compassionate soul vampire. WILLIAM BELL and WALTER: Yes. AGENT LEE: Oh, boy. Um, who are you guys? PETER: Why don't I explain that to you as we go? AGENT LEE: Are we going somewhere? PETER: If you were looking for victims who had previously tried to commit suicide, where would you go? AGENT LEE: Suicide hotlines? Therapy groups? PETER: Exactly. (to Walter) Walter, give me a call if you can figure out any more about why Dana Gray can't die. Cemetery - Suicidal Brian DANA GRAY: (crying as she replaces the flowers for her husband and children's graves. as she walks, her phone rings) Helpline. This is Joan. Hello? BRIAN: I think I'm gonna hurt myself. DANA GRAY: Okay, sweetie, what's your name? BRIAN: I'm Brian. DANA GRAY: Hi, Brian. I guess you're in a bad place right now, huh? BRIAN: I'm tired. DANA GRAY: I know, sweetie. Life can be tiring. (sighs) I know. Listen, Brian, I really want to help you, but you have to let me do that, okay? And this is too important to do over the phone. BRIAN: You're just trying to trick me. You're gonna send the police to stop me. DANA GRAY: No, listen to me, Brian. I would never do that. I promise, okay? Now, sweetheart, just tell me where you are. Suicide Hotline Office - Investigating Joan LUCY: (identifies the picture) That's her. Yeah, that's Joan. PETER: Is she working today? LUCY: No, she hasn't been in for a few days. Is she in some kind of trouble? PETER: (goes in to a room with Lucy and Agent Lee) Was she close with anybody in the office? LUCY: Well, she was friendly, But I wouldn't say she was close to anyone. She did her job and went home. (into Dana's office) Here's her desk. I hope nothing's happened to her. She's one of our best counselors. AGENT LEE: How so? LUCY: Well, if there was a particularly challenging call, a person who was at risk, we'd forward it to her. She was amazing. In three months, she saved at least 37 lives. She had an uncanny way of connecting with people feeling hopelessness. I mean, anybody who gets struck by lightning twice and survived has to have a perspective on hope, right? AGENT LEE: (gets a look from Peter) Do you have her address? LUCY: Yeah. Let me go get it (heads out). AGENT LEE: If Dana Gray is stealing people's souls as they die... PETER: Then why is she so committed to saving their lives? Brian's Residence - Saving Brian DANA GRAY: (at the bottom of the stairs) Brian? (walks into Brian's apartment) Hello, Brian. BRIAN: (sat on the floor, pointing a gun) You're not scared. I know when people are scared. And you're not. Why? DANA GRAY: Why are you doing this? BRIAN: (drops the aim) You think you convinced me to allow you to come here. But it was me who wanted you to come. DANA GRAY: Okay. BRIAN: I don't want to hurt people. But I always do. DANA GRAY: Who do you hurt? BRIAN: I have no hope. Like those raindrops that you mentioned on the phone. You said they have a purpose. Well, I don't like my purpose. Do you think the raindrops will help those people on the train? DANA GRAY: What people on the train? BRIAN: I don't want to hurt them. But I will. And that's why you're here. You have to save them. There's a duffel bag with my bomb. And that's why you're here. East bay railway train 67. Car 2. Seat 17. (Dana grabs a phone and dials, as the phone rings) Like Azrael, let his angels carry my damned soul to heaven. (aims the gun to his chin and takes the shot) MAN ON PHONE: 911. What is your emergency? Hello? Hello? This is emergency services. (puts down the phone) ACT III Walter's Lab - The Afterlife WILLIAM BELL: (as Walter smokes) No. Nothing. None of them fit the parameters. WALTER: (exhales the smoke) Here either. We're looking for such specific conditions to accommodate your transfer, William. A brain-dead patient like this could be one in a million. (hands the cigarette to William) GENE: Moo! WILLIAM BELL: (looks at the cow) Huh. WALTER: William. No. No. (laughs with Bell) AGENT LEE: There's not much in here. No friends, no acquaintances. No one that can tell us where to find her. You? PETER: Mm-mm. Just a bunch of books and a receipt from a flower shop for a dozen roses, but she paid in cash. AGENT LEE: Hmm. (looks at the box and picks up a book) One of these things is not like the others. PETER: What's that? AGENT LEE: You never watched Sesame Street? (puts down the book in front of Peter) The Afterlife of the Soul. These other books are clinical. PETER: But this one's religious. AGENT LEE: Exactly. PETER: (picks up the book and opens) All the highlighted passages are about what happens to us after we die. AGENT LEE: What's she doing, trying to convince people to jump by telling them how great heaven would be? (the two chuckle) PETER: What if we're thinking about this backwards? What if that book's not for other people? It's for her. Maybe she's the one that wants to die. WALTER: (with Bell, brushing Gene) Even if we were able to transfer your consciousness safely inside Gene, there are other matters to consider. WILLIAM BELL: Well, we would communicate through my brainwaves. You would hook me up to an EEG machine and decipher my thoughts. WALTER: That may work, but still... I'd have to milk you. WILLIAM BELL: Well, we could assign Astrid. (Walter snickers and laugh with Bell) PETER: Walter? Walter? WALTER: Oh, not now, son. We're on to something. PETER: Look, if Dana Gray was hit by lightning twice, do you think that would help to explain why she's so overly electromagnetic? WILLIAM BELL: I suppose that's possible. The ions due to the multiple lightning strikes could cause her molecules to be supercharged. WALTER: And possibly intensified the electromagnetism. Why do you ask? PETER: We don't think that she's trying to live forever. We think she's trying to die. AGENT LEE: Dana Gray's description just went out over the police bulletin in Dorchester. Somebody spotted her. Brian's Residence - No Stowaway (body of Brian wraps up) AGENT LEE: (shows the picture of Dana) You're sure this is the woman you saw leaving the apartment? LANDLADY: Like I already told the police, I was making dinner when I heard the gunshot. I came out into the hall, and I saw that woman leaving. Did she kill him? AGENT LEE: This is an ongoing investigation. I'm afraid I can't comment. LANDLADY: Oh, I see. You're the only one who gets to ask questions? AGENT LEE: Thank you for your cooperation. PETER: So M.E. says that the angle and wound powder burns are consistent with suicide, but the gun only discharged once. AGENT LEE: It only takes one bullet to blow your brains out. PETER: Yeah, sure, but up until now, her M.O. has been to try and kill herself either with or directly after the suicide victim. Why? AGENT LEE: If she can't die and her soul, energy, whatever you want to call it is bound to her body. Maybe she's trying to go with theirs. Like a hitchhiker. PETER: (laughs) A stowaway to heaven? AGENT LEE: Yeah. PETER: Yeah, but she was here. And Dana Gray, why didn't she just pick up the gun and try to shoot herself? Try to catch a ride? AGENT LEE: What changed? Church - Azrael NUN: (approaches Dana with a book) I think this is the story you were looking for. I'm surprised you've heard of it. DANA GRAY: I'm taking a night class, And we're doing an essay on the journey of the soul to the afterlife. NUN: Then you'll find this very interesting. The Ascension of Azrael. It's about a sinner named Azrael whose soul was condemned to purgatory. After years of watching him suffer, the angels asked God to let Azrael free. But God ignored them. So the angels went down into purgatory and lifted Azrael up to heaven. When God asked why they did this, the angels said Azrael had suffered enough. And the combined innocence of the angels' souls outweighed Azrael's sins. Finally, God agreed. And Azrael's soul was welcomed into heaven. Good luck with your assignment. (walks out) (Dana Gray opens a note) Brian's Residence - Secret Shrine (the floor creaks. Broyles takes off the carpet. a secret underground room is found.) PETER: (opens the door and switches the light on) Oh. Hello, freak show. BROYLES: It's some kind of shrine. AGENT LEE: More like a trophy room. PETER: So clearly this guy was nuts. AGENT LEE: I believe the clinical term is sociopath. But yeah. He was. BROYLES: So why was Dana Gray here? FBI TECH: Agent Broyles? We found this invoice in the bathroom. BROYLES: 20 pounds of plastic explosives. This guy was making a bomb. PETER: So where is it? East Bay Railway Train - Seeing Family (Dana Gray locates the seat, grabs the bag, opens to find a bomb) PASSENGER: (on the phone) Okay. I'll pick them up on the way. Yeah, I said okay. All right. See you soon. (to Dana) My sister. She had another baby. Her and her husband, they're like rabbits. I'm heading to Providence to see 'em. What about you? (on the next seat) Where are you headed? DANA GRAY: I'm on my way to see family too. ACT IV Brian's Residence - Tracking Gray BROYLES: Alert BPD and put the bomb squad on standby. Let me know when it's done. PETER: Hey, Broyles, timers. (hands the timer) And the wires are stripped. Looks like he was getting ready to attach it to a power source. BROYLES: He's rigged the bomb with a time detonator. AGENT LEE: We went over every inch of this place. It's not here. BROYLES: (to FBI tech) Check his credit cards, ATM withdrawals, metro cards. I want a list of possible targets, any places guy'd want to blow up. FBI TECH: Yes, sir. PETER: What if you're tracking the wrong person? Dana Gray was here. BROYLES: You think she took the bomb? Why would she do that? AGENT LEE: No. She didn't take it. I think I know what's going on here. It sounds insane, but here's my theory. She can't die. But she wants to. And she's been trying anything and everything she can to move on. Right? She's been trying to stow away on the souls of the recently dead. Which is why she's been using suicide victims. BROYLES: And how is that related to the plastic explosives About to be detonated somewhere in the city? AGENT LEE: 'Cause her plan isn't working. She's looking for another way. See, Dana was here when this guy committed suicide. I think that he told her where the bomb is, and the only reason she didn't pick up that gun and follow suit is because she's gonna try something new. PETER: So you think she's trying to increase her chances of making it to the afterlife by killing herself with a group of people? AGENT LEE: It would explain why she's not here. This woman lost her entire family. She's desperate. BROYLES: Even if you're right, That still leaves the same problem. How do we find the bomb? PETER: Hey, is this the suicide's phone? (lifs up the evidence, opens up and shows to Agent Lee) Placed a phone call half an hour before he shot himself. Boston area code. How much you want to bet that's Dana Gray's phone number? (Dana spots a happy couple. The two sits nearby. Dana's phone rings.) AUTOMATED VOICEMAIL: You've reached the crisis helpline. This is Joan. If this is an emergency, hang up and di-- FBI TECH: She's not answering. Can't run a trace unless the line's open. She has to pick up. PETER: Can you change the outgoing caller I.D. on this phone from here? FBI TECH: Yeah, sure. AGENT LEE: What are you thinking? PETER: She may not answer this number, But I know whose number she will answer. DANA GRAY: (phone rings) Hello? PETER: Dana, please don't hang up. DANA GRAY: Who is this? PETER: My name is Peter Bishop. DANA GRAY: The number that you're calling from, How did you get it? PETER: I work with the FBI, Dana. DANA GRAY: Well, then I'm sorry, Mister Bishop, but we have nothing to talk about. PETER: Dana, please, I know what happened to you. I know about your family. I know how they died. And I know that you're only doing this because you want to be reunited with them. DANA GRAY: Just because you've read some files about me, Mister Bishop, doesn't mean you know the hell that I've been stuck in or what I have to do to make it stop. PETER: But I can help you to make it stop. The people that I work with are scientists. They are the best at what they do. And if you come in, I promise you they can help you. DANA GRAY: Can you promise me you'll reunite me with my family? PETER: Can you promise me that killing a bunch of people will? DANA GRAY: It's the best chance I've got. I'm sorry. I have no choice. PETER: Dana, that's not true. You have a choice. We all have a choice. DANA GRAY: Not me. I should have died that night with my family. But for some reason, some impossible cosmic joke, I'm stuck here. I didn't ask for this. PETER: As strange as this sounds, I know exactly what you're going through. But believe me, Dana, this is not the solution. DANA GRAY: I guess we'll find out soon enough. PETER: Did you get it? ACT V Walter's Lab - Word Problem DANA GRAY: (Recorded voice) I should have died that night with my family. BROYLES: There. That in the background. Can you isolate that? CONDUCTOR: Next stop, Norwood Station. ASTRID: Here it is. I've got it open. There are three different trains from three different points of origin - that stop in Norwood at this time of night. PETER: You sure? ASTRID: Yeah, the 6:15, the 6:25, and the 6:45. She could be on any one of them. WILLIAM BELL: Ask him when they spoke to her. What time? ASTRID: Hey, when did you speak to her? What time? PETER: I don't know. It was ten minutes ago. ASTRID: Ten minutes ago. WALTER: Oh, good. I love word problems. Three trains all passing through Norwood. WILLIAM BELL: Each travelling at its own constant velocity. WALTER: Not accounting for station stops. PETER: What are they saying in the background? ASTRID: I have no idea. They're doing that thing again where they don't finish sentences. WILLIAM BELL: I merely need to insert the parameters based on the train schedule. WALTER: That is too early. WILLIAM BELL and WALTER: She's on the 6:25. ASTRID: She's on the 6:25. East Bay Railway Train - Welcome Aboard PASSENGER: Excuse me. Can you keep an eye on my stuff here? I have to use the bathroom. BROYLES: (sirens wailing) FBI. We need to clear the train. There may be an explosive on board. We think it's due to go off in about eight minutes. (chatter) This is the suspect. CONDUCTOR: There are over 300 people on this train. PASSENGER: That girl's in the next car. She was right there. BROYLES: Bring the dogs in now. I need everyone to stay calm. I need a single file line. Move toward the nearest exit. Leave your belongings where they are. You can get them later. DANA GRAY: (sobs) I don't understand. AGENT LEE: She's gone. (explosion and screams) Hey! I've got something. Just down here. AGENT LEE: She's dead. So what changed? After all that time trying, why is she able to die now? PETER: Welcome to the Fringe Division. Every answer you get just leads you to more questions. AGENT LEE: That may be. But it's a lot more exciting than Hartford. Feel free to give me a call If you ever find yourself needing some help. PETER: Be careful what you wish for. Bishops Residence - Fate and Destiny WILLIAM BELL: Hello, Peter. Walter thought that it would be a good idea for me to stay here tonight. I just made a pot of tea. Would you like a cup? PETER: Yeah. Why not? WILLIAM BELL: So I've been thinking about Dana Gray. PETER: You're not the only one. WILLIAM BELL: Well, I have two thoughts. My first thought is that the energy emitted from that bomb somehow reset the electromagnetic charge in her body and that it was that unique charge that enabled her to die permanently. PETER: Okay. That makes sense. What was your second thought? WILLIAM BELL: That my first thought is wrong. PETER: And? WILLIAM BELL: What if, Peter, this isn't about biology or physics? What if what we witnessed was the very reason that Dana Gray couldn't die? PETER: Why? WILLIAM BELL: Because she needed to be here to save those people's lives. PETER: You think it was her destiny. WILLIAM BELL: Well, destiny, fate. Jung called it synchronicity, The interconnectedness of apparently unrelated events. I mean, don't you think that it's curious we meet a woman who is unable to die at the exact moment my consciousness seemingly returns from the grave. Now as a scientist, I like to believe that nothing just happens, that every event has some meaning. Some sort of message. You just have to be able to listen closely enough to hear it. (church bells ring) See. PETER: It's a church bell. So tell me, what's the meaning? You okay, Bell? OLIVIA: Peter... PETER: Olivia, is that you? WILLIAM BELL: Oh, no. PETER: What the hell just happened right there? WILLIAM BELL: I think that I may have been wrong. This may be a little more complicated than I first thought.

317 - PROLOGUE Walter's Lab - Last 48 Hours WILLIAM BELL: I understand your concerns, But I assure you, Olivia is perfectly fine. She is simply resting. BROYLES: what do you mean, she's resting? WILLIAM BELL: Well, not exactly of course. Just in the sense that her conscious mind, her awareness, is at a state of rest. But I assure you, she is totally safe. This is all exactly as I planned it. (chair squeaking) PETER: You haven't heard the best part. Ask him when he planned it. WILLIAM BELL: Several months ago, when I first met Olivia in my office on the other side. I gave her a cup of tea. The soul magnets were in that tea. BROYLES: So these soul magnets drew your consciousness into Olivia after you died? WILLIAM BELL: Well, after my physical body died. As you can see, I am quite alive. WALTER: Indeed. Look at this. Two distinct patterns of electrical activity. This one -- active. That's you, Belly. (laughs) The other one inert. Like the brain waves of a long, dreamless sleep, which suggests that Olivia was aware of none of this. WILLIAM BELL: Now I understand that this could take some time for you to get used to. Imagine how I feel. I never realized that a bra was so binding. (snickers) WALTER: Astrid, you can start taking the electrodes off her--him. BROYLES: How much time? You're not suggesting this is permanent. WILLIAM BELL: Oh, no, no. We simply need to find a more suitable home for me to move to. Now Olivia's brain can accommodate my consciousness for several weeks before anything would happen to her. PETER: Weeks? Not a chance. WILLIAM BELL: And I am confident that Walter will find a more stable home long before that. BROYLES: Same question. How long? WILLIAM BELL: 24 hours. 48 at the most. (To Astrid) Has anyone ever told you, dear, that you have lovely hands? ASTRID: Thank you. PETER: You're not seriously considering sanctioning this, are you? BROYLES: Well, what would you suggest, Peter? If I leave Olivia's brain now without finding a suitable host, I would die. And don't you think that my life is worth an extended nap? WALTER: And besides, William can help us understand Walternate's plan, can't you, William? PETER: Walter. WALTER: What he intends to use the machine for. And how to keep Peter out of it. PETER: Stop. I want to know how we get Olivia back. BROYLES: 48 hours to find a new and suitable host. Then I want you out of my agent. Or I'll have Doctor Bishop figure out how to drive you out. Agreed? WILLIAM BELL: You have my word, young man. Now I need to retrieve my files From Massive Dynamic. There is a box labeled "reentry." PETER: I'll get it myself. BROYLES: As fast as possible. PETER: You don't have to tell me twice. Roxbury, MA - Raindrops JIM: (thunder crashes) That was fast. DANA GRAY: You said I didn't have much time, Jim. JIM: You didn't. You don't. (thunder crashes) You were right. It's gonna rain. There is hope in raindrops. Isn't that what you said? What does that even mean? DANA GRAY: It means... that every drop of rain holds the promise of regrowth. Each has a purpose. Even if they don't know it. I think we can feel that way. That we don't have a purpose. But we do. Jim. JIM: Do you believe what you're saying? About purpose? You said you know how I feel. You said you know pain. And you wanted to kill yourself too, you said that. DANA GRAY: Yes. JIM: So? What's your reason to stick around? DANA GRAY: My reason? JIM: Have you found your purpose? DANA GRAY: Jim. JIM: It's okay. You did your best. I don't believe in hope anymore. All I know is we're all gonna die. ACT I Walter's Lab - Interdimensional Decay PETER: Okay, here are the reentry files. You need anything else? WILLIAM BELL: Uh, a computer with access to social service and medical databases would be useful. Now the host needs to be biological, able to cognate, but without its own governing consciousness. A human brain would be ideal, but not a prerequisite. PETER: What? WILLIAM BELL: Hmm. Peter, your father wouldn't want to hear me say this, but even if he does find out more about this machine, it doesn't necessarily mean he'll be able to prevent the events depicted in that picture. I mean, that just could simply be your fate. PETER: Thankfully, I don't believe in fate. Whatever Walternate's plans are for me, I promise you, I'm not getting in that machine. WILLIAM BELL: (chuckles) Son, it is not always that simple. I've lived a long time, Peter. So believe me when I tell you that sometimes when one walks away from his fate, it leads one directly to fate's doorstep. (footsteps) ASTRID: Hey, Broyles just sent something over that you need to see. PETER: Excellent. Do it again, and I'll show you. Holy! ASTRID: This video was taken last night just after 10:00 in Roxbury. PETER: Nobody could have survived that impact. ASTRID: And yet she did. PETER: What are you thinking, Walter? WALTER: Maybe it's not the woman at all. Maybe it's the location. WILLIAM BELL: Walter, you think that this is spatial decay, don't you? Caused from a soft spot between the universes. WALTER: We're beginning to see signs of degradation on this side. WILLIAM BELL: Well, it was bound to happen. I'm surprised that it's taken this long. All right, we need a geiger counter. PETER: No, no. We don't need anything. We can handle this. You need to... WILLIAM BELL: What? Go to my room? Sit on my hands? The computer is searching all the local hospitals for a potential host based on the parameters that you retrieved from Massive Dynamic. Now I am not someone who can make that occur any faster. What I am is the only person on this universe who has extensive experience in interdimensional decay. PETER: Fabulous. WILLIAM BELL: Fantastic. Hartford, CT - Tracked (agent receives a printout and studies it, realizing something, he runs after another agent) ND AGENT: Agent Lee! You're gonna want to see this. (hands the printout to Agent Lee) AGENT LEE: Where is she? ND AGENT: Boston. Roxbury, MA - Investigating Gray WILLIAM BELL: We have more advanced ways to detect molecular degeneration over there, but a simple radiation test should be enough to see whether the fabric of the universe has begun to decay. PETER: And? WILLIAM BELL: Well, everything's within normal range. WALTER: Nothing unusual here. PETER: So if it's not the place, then it's got to be the girl. Must be something about her that allowed her to survive the fall. WALTER: Well, then we need to get to know more about her. WILLIAM BELL: DNA. Excellent. (laughs) I'll take the samples from the passenger's side. WALTER: Look at this. Me and Belly collecting human tissue And fluid specimens. Just like when we were kids. PETER: Glad you guys are enjoying yourself. BROYLES: This is Peter and Doctor Walter Bishop, The civilian consultants I told you about. This is Special Agent Lincoln Lee from Hartford. He has some information regarding this case. WILLIAM BELL: Hi. Uh... PETER: This is... WILLIAM BELL: Agent Olivia Dunham. Fringe Division. AGENT LEE: What division? PETER: So what you got? AGENT LEE: The woman who jumped and walked away? Her name is Dana Gray. She was murdered 18 months ago. Two bullets in the head. M.E. said she died instantly. She was killed with her husband and her children in a home invasion robbery. WILLIAM BELL: Ooh. That's grisly. AGENT LEE: I can't argue. This was a tough one. PETER: They ever find who did it? AGENT LEE: Yes. We tried to bring him in, but he drew on us. Two agents ended up putting him down in a shootout. So case closed. That is, until I get a call about Missus Gray's body disappearing from the morgue. I assumed it was stolen. WALTER: It's a reasonable assumption. AGENT LEE: I didn't think anything of it until I saw this. Witnesses reported seeing two people jump out of a dorm window. Cops get there. One body. Grad student who lived there. But the cops find two sets of fingerprints on the ledge during their investigation. Second set, those fingerprints were identified as Dana Gray's. Which is insane because she's dead. WILLIAM BELL: Well, you know, stranger things have happened. AGENT LEE: Um, no, they haven't. PETER: Don't listen to him. Her. Sorry. Go on. AGENT LEE: Not knowing what to make of it, I flag Gray in the system. Over the next two months, we found prints at three other double suicides. Now security photos show her there, and eyewitnesses report seeing her die. First responders show up, there's only one body, and it's never hers. I know this sounds insane, but I don't think this woman can die. WALTER: Isn't this our lucky day? ACT II Walter's Lab - Soul Vampire AGENT LEE: (opens door, walks along, stops and find a cow) He-Hello? ASTRID: Hello. PETER: What's he doing here? WILLIAM BELL: I invited him. WALTER: Belly invited him. ASTRID: That's Gene. GENE: Moo! WALTER: Come down here. I've got something. AGENT LEE: Um, what is this place exactly? PETER: This is the place where the mysteries Of the universe get answered. And congratulations. Whatever your security clearance was, it just got about seven levels deeper. WALTER: Something to show you. We found two sets of DNA in the specimens we took from the scene. Two different people. But in performing the tests, we noticed something odd in the molecules of Ms. Gray's body. They didn't want to come apart. They were held together by an unusually strong electromagnetic bond. AGENT LEE: Um, I'm confused. You're saying that her body's being held together by magnetism? WILLIAM BELL: Well, we're all held together by magnetism. Our molecules are like these hematite rocks. (picks up a bracelet) Magnetism is what keeps us from flying apart. It's what keeps us solid. WALTER: In Ms. Gray's case, the attraction was almost unbreakable. It's a miracle she left any blood behind at all. WILLIAM BELL: (wraps the bracelet around Astrid's wrist) I think it suits you, dear. ASTRID: (removes the bracelet) Um, but--but how? (buttons up her shirt) I mean, why did she get magnetically supercharged? WALTER: Belly, what if she took the energy from her victims? PETER: Victims? WALTER: The people she's jumping with. WILLIAM BELL: Yeah, that'd make sense. She absconds with their life force at the moment of death. AGENT LEE: Life force? You mean like a soul? Is that even a scientific concept? WILLIAM BELL: You know, it's best to try not to be reductive. I mean, after all, every living thing is simply bundled energy. And perhaps Ms. Gray has found a way to capture some vital portion of another person's essential energy and therefore has extended her own life. WALTER: Extending her own life. AGENT LEE: A soul vampire. WILLIAM BELL: As it were. PETER: It says in the file that each one of the victims tried to commit suicide previously. WALTER: Perhaps simple compassion, Belly. WILLIAM BELL: Yes, that's brilliant. She only wants to take the souls of those people that are already prepared to surrender their own. AGENT LEE: A compassionate soul vampire. WILLIAM BELL and WALTER: Yes. AGENT LEE: Oh, boy. Um, who are you guys? PETER: Why don't I explain that to you as we go? AGENT LEE: Are we going somewhere? PETER: If you were looking for victims who had previously tried to commit suicide, where would you go? AGENT LEE: Suicide hotlines? Therapy groups? PETER: Exactly. (to Walter) Walter, give me a call if you can figure out any more about why Dana Gray can't die. Cemetery - Suicidal Brian DANA GRAY: (crying as she replaces the flowers for her husband and children's graves. as she walks, her phone rings) Helpline. This is Joan. Hello? BRIAN: I think I'm gonna hurt myself. DANA GRAY: Okay, sweetie, what's your name? BRIAN: I'm Brian. DANA GRAY: Hi, Brian. I guess you're in a bad place right now, huh? BRIAN: I'm tired. DANA GRAY: I know, sweetie. Life can be tiring. (sighs) I know. Listen, Brian, I really want to help you, but you have to let me do that, okay? And this is too important to do over the phone. BRIAN: You're just trying to trick me. You're gonna send the police to stop me. DANA GRAY: No, listen to me, Brian. I would never do that. I promise, okay? Now, sweetheart, just tell me where you are. Suicide Hotline Office - Investigating Joan LUCY: (identifies the picture) That's her. Yeah, that's Joan. PETER: Is she working today? LUCY: No, she hasn't been in for a few days. Is she in some kind of trouble? PETER: (goes in to a room with Lucy and Agent Lee) Was she close with anybody in the office? LUCY: Well, she was friendly, But I wouldn't say she was close to anyone. She did her job and went home. (into Dana's office) Here's her desk. I hope nothing's happened to her. She's one of our best counselors. AGENT LEE: How so? LUCY: Well, if there was a particularly challenging call, a person who was at risk, we'd forward it to her. She was amazing. In three months, she saved at least 37 lives. She had an uncanny way of connecting with people feeling hopelessness. I mean, anybody who gets struck by lightning twice and survived has to have a perspective on hope, right? AGENT LEE: (gets a look from Peter) Do you have her address? LUCY: Yeah. Let me go get it (heads out). AGENT LEE: If Dana Gray is stealing people's souls as they die... PETER: Then why is she so committed to saving their lives? Brian's Residence - Saving Brian DANA GRAY: (at the bottom of the stairs) Brian? (walks into Brian's apartment) Hello, Brian. BRIAN: (sat on the floor, pointing a gun) You're not scared. I know when people are scared. And you're not. Why? DANA GRAY: Why are you doing this? BRIAN: (drops the aim) You think you convinced me to allow you to come here. But it was me who wanted you to come. DANA GRAY: Okay. BRIAN: I don't want to hurt people. But I always do. DANA GRAY: Who do you hurt? BRIAN: I have no hope. Like those raindrops that you mentioned on the phone. You said they have a purpose. Well, I don't like my purpose. Do you think the raindrops will help those people on the train? DANA GRAY: What people on the train? BRIAN: I don't want to hurt them. But I will. And that's why you're here. You have to save them. There's a duffel bag with my bomb. And that's why you're here. East bay railway train 67. Car 2. Seat 17. (Dana grabs a phone and dials, as the phone rings) Like Azrael, let his angels carry my damned soul to heaven. (aims the gun to his chin and takes the shot) MAN ON PHONE: 911. What is your emergency? Hello? Hello? This is emergency services. (puts down the phone) ACT III Walter's Lab - The Afterlife WILLIAM BELL: (as Walter smokes) No. Nothing. None of them fit the parameters. WALTER: (exhales the smoke) Here either. We're looking for such specific conditions to accommodate your transfer, William. A brain-dead patient like this could be one in a million. (hands the cigarette to William) GENE: Moo! WILLIAM BELL: (looks at the cow) Huh. WALTER: William. No. No. (laughs with Bell) AGENT LEE: There's not much in here. No friends, no acquaintances. No one that can tell us where to find her. You? PETER: Mm-mm. Just a bunch of books and a receipt from a flower shop for a dozen roses, but she paid in cash. AGENT LEE: Hmm. (looks at the box and picks up a book) One of these things is not like the others. PETER: What's that? AGENT LEE: You never watched Sesame Street? (puts down the book in front of Peter) The Afterlife of the Soul. These other books are clinical. PETER: But this one's religious. AGENT LEE: Exactly. PETER: (picks up the book and opens) All the highlighted passages are about what happens to us after we die. AGENT LEE: What's she doing, trying to convince people to jump by telling them how great heaven would be? (the two chuckle) PETER: What if we're thinking about this backwards? What if that book's not for other people? It's for her. Maybe she's the one that wants to die. WALTER: (with Bell, brushing Gene) Even if we were able to transfer your consciousness safely inside Gene, there are other matters to consider. WILLIAM BELL: Well, we would communicate through my brainwaves. You would hook me up to an EEG machine and decipher my thoughts. WALTER: That may work, but still... I'd have to milk you. WILLIAM BELL: Well, we could assign Astrid. (Walter snickers and laugh with Bell) PETER: Walter? Walter? WALTER: Oh, not now, son. We're on to something. PETER: Look, if Dana Gray was hit by lightning twice, do you think that would help to explain why she's so overly electromagnetic? WILLIAM BELL: I suppose that's possible. The ions due to the multiple lightning strikes could cause her molecules to be supercharged. WALTER: And possibly intensified the electromagnetism. Why do you ask? PETER: We don't think that she's trying to live forever. We think she's trying to die. AGENT LEE: Dana Gray's description just went out over the police bulletin in Dorchester. Somebody spotted her. Brian's Residence - No Stowaway (body of Brian wraps up) AGENT LEE: (shows the picture of Dana) You're sure this is the woman you saw leaving the apartment? LANDLADY: Like I already told the police, I was making dinner when I heard the gunshot. I came out into the hall, and I saw that woman leaving. Did she kill him? AGENT LEE: This is an ongoing investigation. I'm afraid I can't comment. LANDLADY: Oh, I see. You're the only one who gets to ask questions? AGENT LEE: Thank you for your cooperation. PETER: So M.E. says that the angle and wound powder burns are consistent with suicide, but the gun only discharged once. AGENT LEE: It only takes one bullet to blow your brains out. PETER: Yeah, sure, but up until now, her M.O. has been to try and kill herself either with or directly after the suicide victim. Why? AGENT LEE: If she can't die and her soul, energy, whatever you want to call it is bound to her body. Maybe she's trying to go with theirs. Like a hitchhiker. PETER: (laughs) A stowaway to heaven? AGENT LEE: Yeah. PETER: Yeah, but she was here. And Dana Gray, why didn't she just pick up the gun and try to shoot herself? Try to catch a ride? AGENT LEE: What changed? Church - Azrael NUN: (approaches Dana with a book) I think this is the story you were looking for. I'm surprised you've heard of it. DANA GRAY: I'm taking a night class, And we're doing an essay on the journey of the soul to the afterlife. NUN: Then you'll find this very interesting. The Ascension of Azrael. It's about a sinner named Azrael whose soul was condemned to purgatory. After years of watching him suffer, the angels asked God to let Azrael free. But God ignored them. So the angels went down into purgatory and lifted Azrael up to heaven. When God asked why they did this, the angels said Azrael had suffered enough. And the combined innocence of the angels' souls outweighed Azrael's sins. Finally, God agreed. And Azrael's soul was welcomed into heaven. Good luck with your assignment. (walks out) (Dana Gray opens a note) Brian's Residence - Secret Shrine (the floor creaks. Broyles takes off the carpet. a secret underground room is found.) PETER: (opens the door and switches the light on) Oh. Hello, freak show. BROYLES: It's some kind of shrine. AGENT LEE: More like a trophy room. PETER: So clearly this guy was nuts. AGENT LEE: I believe the clinical term is sociopath. But yeah. He was. BROYLES: So why was Dana Gray here? FBI TECH: Agent Broyles? We found this invoice in the bathroom. BROYLES: 20 pounds of plastic explosives. This guy was making a bomb. PETER: So where is it? East Bay Railway Train - Seeing Family (Dana Gray locates the seat, grabs the bag, opens to find a bomb) PASSENGER: (on the phone) Okay. I'll pick them up on the way. Yeah, I said okay. All right. See you soon. (to Dana) My sister. She had another baby. Her and her husband, they're like rabbits. I'm heading to Providence to see 'em. What about you? (on the next seat) Where are you headed? DANA GRAY: I'm on my way to see family too. ACT IV Brian's Residence - Tracking Gray BROYLES: Alert BPD and put the bomb squad on standby. Let me know when it's done. PETER: Hey, Broyles, timers. (hands the timer) And the wires are stripped. Looks like he was getting ready to attach it to a power source. BROYLES: He's rigged the bomb with a time detonator. AGENT LEE: We went over every inch of this place. It's not here. BROYLES: (to FBI tech) Check his credit cards, ATM withdrawals, metro cards. I want a list of possible targets, any places guy'd want to blow up. FBI TECH: Yes, sir. PETER: What if you're tracking the wrong person? Dana Gray was here. BROYLES: You think she took the bomb? Why would she do that? AGENT LEE: No. She didn't take it. I think I know what's going on here. It sounds insane, but here's my theory. She can't die. But she wants to. And she's been trying anything and everything she can to move on. Right? She's been trying to stow away on the souls of the recently dead. Which is why she's been using suicide victims. BROYLES: And how is that related to the plastic explosives About to be detonated somewhere in the city? AGENT LEE: 'Cause her plan isn't working. She's looking for another way. See, Dana was here when this guy committed suicide. I think that he told her where the bomb is, and the only reason she didn't pick up that gun and follow suit is because she's gonna try something new. PETER: So you think she's trying to increase her chances of making it to the afterlife by killing herself with a group of people? AGENT LEE: It would explain why she's not here. This woman lost her entire family. She's desperate. BROYLES: Even if you're right, That still leaves the same problem. How do we find the bomb? PETER: Hey, is this the suicide's phone? (lifs up the evidence, opens up and shows to Agent Lee) Placed a phone call half an hour before he shot himself. Boston area code. How much you want to bet that's Dana Gray's phone number? (Dana spots a happy couple. The two sits nearby. Dana's phone rings.) AUTOMATED VOICEMAIL: You've reached the crisis helpline. This is Joan. If this is an emergency, hang up and di-- FBI TECH: She's not answering. Can't run a trace unless the line's open. She has to pick up. PETER: Can you change the outgoing caller I.D. on this phone from here? FBI TECH: Yeah, sure. AGENT LEE: What are you thinking? PETER: She may not answer this number, But I know whose number she will answer. DANA GRAY: (phone rings) Hello? PETER: Dana, please don't hang up. DANA GRAY: Who is this? PETER: My name is Peter Bishop. DANA GRAY: The number that you're calling from, How did you get it? PETER: I work with the FBI, Dana. DANA GRAY: Well, then I'm sorry, Mister Bishop, but we have nothing to talk about. PETER: Dana, please, I know what happened to you. I know about your family. I know how they died. And I know that you're only doing this because you want to be reunited with them. DANA GRAY: Just because you've read some files about me, Mister Bishop, doesn't mean you know the hell that I've been stuck in or what I have to do to make it stop. PETER: But I can help you to make it stop. The people that I work with are scientists. They are the best at what they do. And if you come in, I promise you they can help you. DANA GRAY: Can you promise me you'll reunite me with my family? PETER: Can you promise me that killing a bunch of people will? DANA GRAY: It's the best chance I've got. I'm sorry. I have no choice. PETER: Dana, that's not true. You have a choice. We all have a choice. DANA GRAY: Not me. I should have died that night with my family. But for some reason, some impossible cosmic joke, I'm stuck here. I didn't ask for this. PETER: As strange as this sounds, I know exactly what you're going through. But believe me, Dana, this is not the solution. DANA GRAY: I guess we'll find out soon enough. PETER: Did you get it? ACT V Walter's Lab - Word Problem DANA GRAY: (Recorded voice) I should have died that night with my family. BROYLES: There. That in the background. Can you isolate that? CONDUCTOR: Next stop, Norwood Station. ASTRID: Here it is. I've got it open. There are three different trains from three different points of origin - that stop in Norwood at this time of night. PETER: You sure? ASTRID: Yeah, the 6:15, the 6:25, and the 6:45. She could be on any one of them. WILLIAM BELL: Ask him when they spoke to her. What time? ASTRID: Hey, when did you speak to her? What time? PETER: I don't know. It was ten minutes ago. ASTRID: Ten minutes ago. WALTER: Oh, good. I love word problems. Three trains all passing through Norwood. WILLIAM BELL: Each travelling at its own constant velocity. WALTER: Not accounting for station stops. PETER: What are they saying in the background? ASTRID: I have no idea. They're doing that thing again where they don't finish sentences. WILLIAM BELL: I merely need to insert the parameters based on the train schedule. WALTER: That is too early. WILLIAM BELL and WALTER: She's on the 6:25. ASTRID: She's on the 6:25. East Bay Railway Train - Welcome Aboard PASSENGER: Excuse me. Can you keep an eye on my stuff here? I have to use the bathroom. BROYLES: (sirens wailing) FBI. We need to clear the train. There may be an explosive on board. We think it's due to go off in about eight minutes. (chatter) This is the suspect. CONDUCTOR: There are over 300 people on this train. PASSENGER: That girl's in the next car. She was right there. BROYLES: Bring the dogs in now. I need everyone to stay calm. I need a single file line. Move toward the nearest exit. Leave your belongings where they are. You can get them later. DANA GRAY: (sobs) I don't understand. AGENT LEE: She's gone. (explosion and screams) Hey! I've got something. Just down here. AGENT LEE: She's dead. So what changed? After all that time trying, why is she able to die now? PETER: Welcome to the Fringe Division. Every answer you get just leads you to more questions. AGENT LEE: That may be. But it's a lot more exciting than Hartford. Feel free to give me a call If you ever find yourself needing some help. PETER: Be careful what you wish for. Bishops Residence - Fate and Destiny WILLIAM BELL: Hello, Peter. Walter thought that it would be a good idea for me to stay here tonight. I just made a pot of tea. Would you like a cup? PETER: Yeah. Why not? WILLIAM BELL: So I've been thinking about Dana Gray. PETER: You're not the only one. WILLIAM BELL: Well, I have two thoughts. My first thought is that the energy emitted from that bomb somehow reset the electromagnetic charge in her body and that it was that unique charge that enabled her to die permanently. PETER: Okay. That makes sense. What was your second thought? WILLIAM BELL: That my first thought is wrong. PETER: And? WILLIAM BELL: What if, Peter, this isn't about biology or physics? What if what we witnessed was the very reason that Dana Gray couldn't die? PETER: Why? WILLIAM BELL: Because she needed to be here to save those people's lives. PETER: You think it was her destiny. WILLIAM BELL: Well, destiny, fate. Jung called it synchronicity, The interconnectedness of apparently unrelated events. I mean, don't you think that it's curious we meet a woman who is unable to die at the exact moment my consciousness seemingly returns from the grave. Now as a scientist, I like to believe that nothing just happens, that every event has some meaning. Some sort of message. You just have to be able to listen closely enough to hear it. (church bells ring) See. PETER: It's a church bell. So tell me, what's the meaning? You okay, Bell? OLIVIA: Peter... PETER: Olivia, is that you? WILLIAM BELL: Oh, no. PETER: What the hell just happened right there? WILLIAM BELL: I think that I may have been wrong. This may be a little more complicated than I first thought.

318 - PROLOGUE Obstetrics Exam - Viral Worries (Bolivia sits and looks at a peaceful image on a nearby monitor while her physician draws blood from her arm and her mom waits at her side) ROSA OPORTO: You're almost done. MARILYN DUNHAM: How long ‘til we get the results? ROSA OPORTO: I arranged to have the labs run in house. We'll know by the end of the day. BOLIVIA DUNHAM: Well, you know, if Rachel was a carrier, then... MARILYN DUNHAM: Honey, you are a different person than your sister. Nothing is set in stone. (to the physician) Rosa, would you please talk to her? ROSA OPORTO: Viral Propagated Eclampsia is dormant until pregnancy and undetectable before eight to ten weeks. So until we get the results of today's screening, nothing is certain. You may not be a carrier at all. BOLIVIA DUNHAM: Okay. But it's hard to believe that when the odds are eighty percent that I am. ROSA OPORTO: On average. And, yes, the fact that Rachel had VPE puts you in the highest risk group. It's okay to want to prepare yourself. Look... I know it's easier said than done, but my best advice to both of you is take it a step at a time. Return Trip - Mom Support (Marilyn drives her daughter back to the apartment to drop her off after her pre-natal exam) MARILYN DUNHAM: (consoling) Let's not get ahead of ourselves. There's still a chance. BOLIVIA DUNHAM: Mom, you weren't listening, were you? There is an eight out of ten chance that I'm a carrier, and if I am, there's only a handful of cases where either a mother or a baby survive delivery with VPE. So I don't really have a choice. And let's face it. (slight dismay) I mean, I'm alone. My job is all-consuming. My life is hardly conducive to parenting. MARILYN DUNHAM: Well, what about the father? BOLIVIA DUNHAM: Oh, we've been over this. MARILYN DUNHAM: You met a man in a bar while Frank was out of town -- Honey, that just doesn't sound like you. BOLIVIA DUNHAM: (curt) Well, I never said that it was one of my finest moments. MARILYN DUNHAM: Well, I'm sorry, but I don't mean to be -- BOLIVIA DUNHAM: Judgmental? MARILYN DUNHAM: Judgmental. I-- I just want you to have the support that you need. BOLIVIA DUNHAM: And I do. You and Lincoln should get together and commiserate. He's not happy about this either. MARILYN DUNHAM: That doesn't change the fact that you'd make a wonderful mother someday. BOLIVIA DUNHAM: Mom... (gets out of the vehicle after Marilyn stops in front of the apartment entrance) Okay. Thanks for driving me. MARILYN DUNHAM: Are you sure you're okay? I can come upstairs with you if you like. BOLIVIA DUNHAM: No, I'm good. MARILYN DUNHAM: Alright, listen, call me as soon as you hear anything, good or bad. BOLIVIA DUNHAM: I will. MARILYN DUNHAM: I love you. (throws a kiss) BOLIVIA DUNHAM: You too. MARILYN DUNHAM: Bye. (Dunham closes the car door and turns and walks to the front door of the apartment complex as Marilyn drives off) Bolivia's Apartment - Justified Paranoia BOLIVIA DUNHAM: (turns and suspiciously scans the neighborhood before she enters the building. answers a call on her earpiece) Dunham. LINCOLN LEE: (calling from the office) Hey, it's me. BOLIVIA DUNHAM: Hey. LINCOLN LEE: You okay? You sound distracted. BOLIVIA DUNHAM: (swipes her access card and enters the building while a bald man wearing a Fedora and dark suit watches from across the way) No, I'm good. (explains herself as she approaches her own apartment) You know, I'm probably just being paranoid. I didn't actually see anybody. LINCOLN LEE: But you said you saw someone yesterday. BOLIVIA DUNHAM: I - I think so. I mean, I thought that I did. LINCOLN LEE: I'm sending over a security detail. (begins typing on his desktop command monitor) BOLIVIA DUNHAM: Lincoln, you really don't have to do that. LINCOLN LEE: Well, I'm your Commanding Officer, so your permission's irrelevant. Besides, if you're concerned you're being followed, there's probably a reason. They'll be there within the hour. BOLIVIA DUNHAM: (as she enters her apartment and locks the door securely behind her) Okay. Thank you, Lincoln. LINCOLN LEE: Hang tight, Liv. (ends call) (Dunham puts down her shoulder bag, then studies a favorite picture. she turns and receives an electric zap by one of the two men that have snuck into her home. she collapses to the floor) ACT I Fringe Division - Agent Missing LINCON LEE: (walking the corridor toward the Situation Room) You're kidding me. You went on a date with 'Bug Girl'? AGENT FRANCIS: Oh, you're so smug. You know, at least I make attempts. You don't even try to go out. LINCOLN LEE: That's because my new position demands the majority of my time. AGENT FRANCIS: Oh, your excuse is smug. AGENT #1: (intercepting Lee as he enters) Excuse me, sir, the detail you requested has reached the location. LINCOLN LEE: Let me know as soon as they're in place. AGENT #1: Yes, sir. LINCOLN LEE: (as she walks off) Thank you, Agent. AGENT FRANCIS: I already told you. I'm not calling you "sir". LINCOLN LEE: Alright. Then tell me about ‘Bug Girl’. AGENT FRANCIS: Alright. First off, her name is Mona. LINCOLN LEE: Mona? AGENT FRANCIS: It was tea, and, uh, I'm not going any further than that. LINCOLN LEE: Why not? AGENT FRANCIS: Buddy, why don't you stop focusing on me and just admit... you've got a thing for Liv. LINCOLN LEE: (semi-bluffing) That's ridiculous. Although I do think if she was going to cheat on Frank with someone... (thinks better of what he was about to say) ...you know what? It's none of my business. AGENT FRANCIS: Yeah. I knew that was driving you crazy. LINCOLN LEE: (answers call on his earpiece) This is Agent Lee. (raises eyebrows) What? (grows concerned) When? Liberty Island - Notifying The Boss BRANDON FAYETTE: (standing with the senior politician) Sir, I understand you have strong reservations. But from everything we know, Peter is uniquely suited to power the machine. And if we fail to determine a reliable way to cross between worlds -- SECRETARY BISHOP: I have already stated my opinion. We are not experimenting on children. I have made myself clear. (activates video call from his Adjutant) Yes. MAJOR WARNER: (on screen) Mister Secretary, Manhatan Fringe Division, Agent Lee. SECRETARY BISHOP: (activates earpiece) Agent Lee, what is it? LINCOLN LEE: Sir, Olivia's been kidnapped. SECRETARY BISHOP: What do you mean, kidnapped? LINCOLN LEE: Agent Dunham suspected she was being followed. Security detail found signs of a struggle and her door was wide open. SECRETARY BISHOP: Has anyone made contact with demands? LINCOLN LEE: Not yet, but I spoke to her forty minutes ago, so it hasn't been long. SECRETARY BISHOP: Have you contacted Echelon? LINCOLN LEE: As soon as I heard. They're activating the satellite. SECRETARY BISHOP: I don't need to tell you, Agent Lee, how crucial it is that this matter be resolved safely. I want information as you receive it. LINCOLN LEE: Yes, Mister Secretary. (ends call) AGENT #1: Echelon Satellite tracking online. (beep) Busy Streets - Tracking Olivia LINCOLN LEE: (on earpiece to Situation Room) Give me some good news. AGENT #2: We got her, sir. LINCOLN LEE: Where? FRINGE AGENT #2: North Moore Street moving east toward the harbor. Speed is fifty kilometers per hour. AGENT FRANCIS: (to tactical assault team as they load into a panel van) Let's go! KIDNAPPER #2: (to his co-conspirator in the back of their van as they drive through traffic with Olivia) Prepare to make the transfer. Let me know when you're ready back there. AGENT #1: She stopped moving. Corner at Mason and Tobey. AGENT FRANCIS: (to the tactical squads as they pile out of the van) Box positions. Front and back covered. On my signal. LINCOLN LEE: (after searching the area with his tracking device and only finding Dunham's electronic device in the bushes) Son of a bitch. AGENT FRANCIS: They knew she had a tracker. Bayard Warehouse - Phase One (a medical team in scrubs and masks transfers Dunham to their makeshift medical facility. they prepare and inject large doses of serum into their restrained abductee) DOCTOR: What's next? DOCTOR #1: Phase one has disrupted the regulatory process. By now, all inhibitory proteins should be blocked. BOLIVIA DUNHAM: (groans) NURSE JOYCE: Doctor, she's coming to. DOCTOR #1: She's a fighter... Like they said. (as Dunham tries to mouth a few words) Let's put her back out. NURSE JOYCE: This will help with the pain. Good. You should start feeling that right away. DOCTOR #1: (to the nurse) Let us know when she's ready. BOLIVIA DUNHAM: (groggily, as the nurse points a large piece of medical equipment at her abdomen) What are you doing? NURSE JOYCE: Just try to get some sleep. I'll come back and check on you. (turns down the lighting and leaves the small enclosure) (Dunham is left dazed and alone, to rest. her fetal son is visible on the monitor, and very active) ACT II Fringe Division - Failed Tracking AGENT FRANCIS: (enters the headquarters with his superior) So much for trackers being classified. I mean, that was a waste of valuable time. LINCOLN LEE: The trackers -- they're organic technology. AGENT FRANCIS: Okay... which means what? LINCOLN LEE: They're distinct in every person. And untraceable without the Echelon Protocol. So there's only one way that the kidnappers would know about the trackers. Either this is an inside job or someone sold the information. AGENT FARNSWORTH: (interrupting the two agents) Excuse me, Agent Lee, I was told that you wanted to see me right way. LINCOLN LEE: Yes. I need you to construct a database. I want the names and background of everyone that has clearance high enough to know about our tracking protocol. AGENT FARNSWORTH: Yes, sir. In the meantime, I think that you will want to look at this. (guides the two agents into an active computer screen) I've reviewed the traffic for a three-block radius around Agent Dunham's residence. There's an anomaly -- the same commercial vehicle has cruised past her building six times in the past week. The chances of that are 1 in 756,000. It is a clear statistical outlier. AGENT FRANCIS: You said a commercial vehicle? AGENT FARNSWORTH: It's registered to a livery service. (the two agents leave the looker) Taxi Station - Interrogating Henry HENRY HIGGINS: (in his taxi, listening to a song while enjoying his electronic comics in his portable computer) Yo, he's crazy. (startled by a siren nearby) AGENT FRANCIS: (aims a gun to the taxi driver) Fringe Division! Hands on the wheel! LINCOLN LEE: (aims his gun) Get out of the car! HENRY HIGGINS: Which one is it? LINCOLN LEE: Out of the car! (opens the door) HENRY HIGGINS: Okay, okay. LINCOLN LEE: Turn around! (grabs the driver and holds him onto the taxi) AGENT FRANCIS: Where's the Show Me? HENRY HIGGINS: It's in the front seat. (the agent looks for the driver's ID) LINCOLN LEE: Where's Agent Dunham? HENRY HIGGINS: What? LINCOLN LEE: You've been driving by her building -- why? HENRY HIGGINS: I'm a cab driver. I got fares all over. (quickly gives in) Alright. I was worried about her. That's all! Once in a while I drive by, make sure she's okay. That's not a crime. AGENT FRANCIS: Alright. (reads from the driver's Show Me) Henry Arliss Higgins. He lives on Hastings Avenue. Wife's Jasmine. Daughter's Laura. LINCOLN LEE: How do you know her? (the driver plays coy) Don't you push me, Henry. Agent Dunham happens to be a very good friend of mine. HENRY HIGGINS: Sure don't seem that way. Not from what she's told me. AGENT FRANCIS: You know Dunham. HENRY HIGGINS: Yeah, I do. I know you too. This is the second time you've pointed a gun at me. The first was the day I met her. AGENT FRANCIS: You're the cab driver from the gas station. LINCOLN LEE: You helped her get away. HENRY HIGGINS: Well, she... she threatened me. LINCOLN LEE: Where is she? HENRY HIGGINS: How would I know? I didn't expect she would come back here. LINCOLN LEE: What do you mean, back here? Bayard Warehouse - Baby Update DOCTOR #1: (approaches Bolivia, checks her eye) Don't move, please. (the patient struggles) Up her to fifty milligrams. That should keep her knocked out. NURSE JOYCE: (surprised) Fifty milligrams? DOCTOR #1: (confronts the doubting nurse) Is there a problem? NURSE JOYCE: No, Doctor. DOCTOR #1: Good. How's he doing? NURSE JOYCE: He's doing very well. (Dunham is worried and confused. looks at her unborn son in the monitor then to his abdomen) Abdominal circumference 160, head 170, biparietal diameter 40. DOCTOR #1: Shouldn't be long now. I'll make sure everything's ready. NURSE JOYCE: I'll administer the sedatives. It's time for your pill. (takes a pill out of the bottle) BOLIVIA: (struggles) No, I -- NURSE JOYCE: It's for your own good. (holds Dunham's cheek) There's no time for discussion. Now, do I need to call the orderlies or not? (Dunham calms down) Good girl. (Dunham voluntarily accepts the pill) Now, just... relax. (Dunham swallows) (as the nurse leave, Dunham spits out the pill) Taxi Station - Speculated Switcharoo HENRY HIGGINS: All I know is she was scared. She kept on saying people were trying to convince her that she was someone that she wasn't. LINCOLN LEE: What people? HENRY HIGGINS: People she was running away from. You guys, I guess. AGENT FRANCIS: So she said she wanted to go home. HENRY HIGGINS: Yeah. To some guy. Named Peter. LINCOLN LEE: Peter? HENRY HIGGINS: That was his name. Look, I didn't want to get involved in any of this. But she... she got to me. LINCOLN LEE: And you said after you helped her get to Liberty Island, you didn't see her again? HENRY HIGGINS: I didn't expect to… ‘til I ran into her a few weeks ago on the street. Only she acted like she didn't know me. Like her mind got wiped. When someone knows you and then all of a sudden they don't... I don't know. I - I got worried. Look, I'm not trying to ruffle any feathers here, guys. There's some things a guy like me shouldn't know about. I get it. But you start hearing things about some other universe... it's hard to ignore. LINCOLN LEE: What did you just say? HENRY HIGGINS: (on the Fringe Division black car) What about my taxi? AGENT FRANCIS: Okay, this is... seriously messed up. LINCOLN LEE: He knows way too many details to be lying. AGENT FRANCIS: What are you thinkin'? LINCOLN LEE: Remember after Liv's breakdown when she came back to field duty? AGENT FRANCIS: Yeah. LINCOLN LEE: You asked me if I thought it was possible for our Olivia to be switched with the one from the other universe. AGENT FRANCIS: And you said I was crazy. LINCOLN LEE: What if you're not? Peaceful Park - Confirmed VPE MARILYN DUNHAM: (walks with her dog and receives a call) Hello? ROSA OPORTO: Marilyn? It's Rosa. I've left several messages for Olivia, but I couldn't reach her. MARILYN DUNHAM: Oh, well... I'm sure something must have come up at work. Do you have her test results back? ROSA OPORTO: Yes. I'm sorry. Olivia is a carrier for VPE. (sits down in a nearby bench) Listen, I'd like Olivia to meet with a trauma counselor here on staff, Beau Amaral. He's wonderful. He can talk to her. MARILYN DUNHAM: I'm sure that'll be helpful. ROSA OPORTO: Marilyn? MARILYN DUNHAM: I'm here. ROSA OPORTO: Tell Olivia to call me when you talk to her. I'd like to schedule the procedure as soon as possible before there's any risk to her health. MARILYN DUNHAM: Okay, I'll tell her just as soon as she calls back. Thank you, Rosa. Bye. (ends call) (the unlucky mother looks at a grandmother, mother and daughter enjoying their time together at the park) Bayard Warehouse - No Escape (the nurse switches off the medical equipment. Dunham picks up a scalpel. attempts to take off the strap. screams of tummy pain.) NURSE JOYCE: (presses the intercom button) Doctor, we're ready. BOLIVIA DUNHAM: What -- what-- what are you doing to me? (something inside Bolivia's abdomen is moving) ACT III Liberty Island - Half-Truth SECRETARY BISHOP: (with his back to the agent) And this all from a cab driver. LINCOLN LEE: Yes. With all due respect, sir... if there's any truth to what he's saying, it could be a lead. I need to know. Was our Agent Dunham replaced with theirs? SECRETARY BISHOP: (faces the agent. walks towards him.) She was. Yes. And during that time, our Agent Dunham infiltrated their Fringe Division. LINCOLN LEE: I wish I was told sooner. SECRETARY BISHOP: You weren't told because it was classified. Our Agent Dunham returned safely to our side weeks ago. LINCOLN LEE: And theirs? SECRETARY BISHOP: Sent home. (sits down) I'm beginning to think that... not sharing this information may hinder your ability to find Olivia. LINCOLN LEE: What are you thinking? That this all may have something to do with her abduction? SECRETARY BISHOP: Agent Dunham is carrying my grandchild. It wasn't part of the mission. When she was on the other side, Olivia and my son got close. I believed the child and Olivia would be safer if no one knew the truth. LINCOLN LEE: Who else knows about this? SECRETARY BISHOP: As far as I know, just Olivia and I. LINCOLN LEE: Do you think she could have been taken by invaders from the other side? SECRETARY BISHOP: I imagine it's possible. Or, if as you suggest... that this could be an inside job. None of us is without enemies. LINCOLN LEE: You're suggesting this may be about you? SECRETARY BISHOP: (leans forward) My son was taken from me, Agent Lee. The notion that I might lose my future grandchild is simply impossible. I will answer your questions. I will give you complete access to Olivia's mission files. Whatever it takes -- find her. LINCOLN LEE: I'll do my best, sir. (leaves the room) Bayard Warehouse - Phase Two (the pregnant patient is transferred by the medical team to the testing facility) DOCTOR #1: How are her ligaments doing? NURSE JOYCE: Supple. The chemicals are working. DOCTOR #1: Okay. Calibrate the joint expander to eighteen degrees. If her bone can withstand it, increase to twenty-three. (checks blood sample in the microscope) Hemoglobin count six point seven. NURSE JOYCE: That's low. DOCTOR #1: I agree. It's borderline. (checks Bolivia's now full-blown belly) Utero-placental blood flow is inadequate. Is her pain management on schedule? NURSE JOYCE: Yes, Doctor. I gave her the last sedative twenty minutes ago. DOCTOR #1: Administer another twelve units of plasma immediately. NURSE JOYCE: This will be her fifth transfusion. DOCTOR #1: Duly noted. NURSE JOYCE: Acceleration at this rate is difficult in the best of circumstances. With her erratic vitals – DOCTOR #1: We will take appropriate precautions. NURSE JOYCE: I'm not sure they exist. If her body isn't ready -- DOCTOR #1: We have the timetable. There will be no adjustments. Initiate Phase Two. NURSE JOYCE: Have you emptied your bladder? BOLIVIA DUNHAM: Yeah, I feel really kinda dizzy. NURSE JOYCE: Did you empty your bladder? BOLIVIA DUNHAM: You're an obstetric nurse. You must feel some kind of calling to do something so selfless. You know, to help women bring babies into the world. I think I may have VPE. In fact, I probably do. My sister and her baby didn't make it through labor. Both their hearts gave out. You cannot be okay with what they're doing to me. If you don't make them stop, then they're gonna kill me and they're gonna kill the child that I'm carrying. You don't have to do... anything. You just have to leave me alone just for a minute. Please. Okay? NURSE JOYCE: We're starting the next phase in twenty-two minutes. And believe me, you don't wanna be standing when it happens, so stop wasting time. Empty your bladder and let's get on with this. Fringe Division - No Baby LINCOLN LEE: Whoever kidnapped Olivia knew she was implanted with a subcutaneous tracker. AGENT FARNSWORTH: All employees with Level Five clearance had access to the biometric tracking protocol. I compiled the database, but without another variable, the list is fairly extensive. AGENT FRANCIS: We have another one. LINCOLN LEE: What we're about to tell you requires Level Ten clearance. AGENT FARNSWORTH: Sir, I'm nowhere near that level. LINCOLN LEE: Concerning this matter, you are now. AGENT FARNSWORTH: What is it? LINCOLN LEE: Agent Dunham is pregnant with Secretary Bishop's grandchild. AGENT FARNSWORTH: Oh, I see. I'll start by cross-referencing agents with clearance with those who also had access to Agent Dunham's medical records. LINCOLN LEE: Let me know as soon as you're done. (leaves the two male agents) AGENT FRANCIS: (sees Marilyn escorted by an agent in the elevator) Marilyn's here. Did you call her? LINCOLN LEE: I thought it was time she knew. I sure don't want to do this. AGENT FRANCIS: Alright, listen, I'll talk to her. You deal with Travis Bickle. Come on. Coppola... "You talkin' to me?" LINCOLN LEE: No idea. AGENT FRANCIS: Alright. Point is, Henry's probably done with his statement. I'll deal with Marilyn. LINCOLN LEE: Thank you, Charlie. AGENT FRANCIS: Yeah, buddy. (leaves to talk to Marilyn. sitting down talking to Marilyn.) We're working every lead. Every Agent in this office, they're doing everything they can to find her. MARILYN DUNHAM: How long has she been missing? Hmm? I knew that something was wrong because...Doctor Oporto said she wasn't answering her phone calls. AGENT FRANCIS: Who's Doctor Oporto? MARILYN DUNHAM: It's her obstetrician. AGENT FRANCIS: There's a possibility that... her kidnapping relates to her pregnancy. MARILYN DUNHAM: She can't have the baby. There's -- there's no way she can have the baby. Bayard Warehouse - Chinatown Escape NURSE JOYCE: You need help with your slippers? BOLIVIA DUNHAM: No. (slowly takes off her slippers. punches the nurse. grabs the scalpel and points at the neck of the nurse.) You're gonna get me out of here. NURSE JOYCE: You're making a big mistake. Help! In here! You can't leave! BOLIVIA DUNHAM: Either I leave or you bleed to death. DOCTOR: Where is she? Don't worry. She won't get far. (pregnant lady runs. thunder clashes. a masked person passes by.) BOLIVIA DUNHAM: (continues running. at the window of a restaurant) Hey! Hey. Please, can you let me in? (inside, a lady busy hoovering) Hey! (bangs the door) Help me! Oh! (sits down, grabs her abdomen, screams in pain) ACT IV Fringe Division - Chinatown Call (Agent Dunham holds her belly and screams of pain. she stands up and walk across the street, passing by a display of chinese clothes store. she stops at the phone booth and picks up the phone.) LINCOLN LEE: Impound brought your cab around. It should be waiting for you on B-4. HENRY HIGGINS: Valet service, huh? LINCOLN LEE: Look, I know you still have questions, but I can't impress this on you enough -- what we've talked about is restricted information. HENRY HIGGINS: Ah, don't worry. I'm not talking. Not that anyone would believe me anyhow. LINCOLN LEE: (activates his earpiece) This is Agent Lee. BOLIVIA DUNHAM: Lincoln! LINCOLN LEE: Oh, my God, Olivia. Where are you? BOLIVIA DUNHAM: I'm in Chinatown. I'm not exactly sure where. LINCOLN LEE: Listen carefully. I want you to look around and tell me what you see. BOLIVIA DUNHAM: (in distress) Okay. I see a... a dragon. It's red. And there's a noodle store. Listen, Lincoln, I need a doctor. I think... I think that the baby's coming. LINCOLN LEE: What? BOLIVIA DUNHAM: They accelerated the pregnancy. LINCOLN LEE: Alright. You're gonna be okay. BOLIVIA DUNHAM: I need you to speak to my mo--ther! (drops the phone. finds the medical personnel following her.) LINCOLN LEE: Liv, what's happening? Olivia, can you hear me? I need a trace on that call that originated in Chinatown! HENRY HIGGINS: I know a shortcut. LINCOLN LEE: Yeah? HENRY HIGGINS: I'm a cabbie. I know every shortcut. (closes elevator) (at chinatown, the pregnant woman holds on to a young woman after being chased by her kidnapper) YOUNG WOMAN: What's wrong with you? BOLIVIA DUNHAM: Oh, God, I need help! Oh! (screams in pain as the bystanders watch her suffer) (at Fringe Division, the looker operates her machine while the cabbie and the agent is on the car) AGENT FARNWORTH: She called from a phone booth. Canal and Market. AGENT FRANCIS: Did you get that? LINCOLN LEE: Canal and Market. Got it. HENRY HIGGINS: Yeah. We're close. LINCOLN LEE: What about the medical team? AGENT FRANCIS: They're en route. LINCOLN LEE: Tell them she's in labor. AGENT FRANCIS: That's impossible. LINCOLN LEE: No. They accelerated her pregnancy. AGENT FRANCIS: Lincoln. Listen to me. I spoke to Marilyn. There's something wrong. She won't make it through delivery. LINCOLN LEE: (arrives at the scene) Fringe Division! Out of the way! HENRY HIGGINS: (yells something incomprehensible) Fringe! BOLIVIA DUNHAM: Oh! Oh, Lincoln, I think the baby's coming. LINCOLN LEE: Let's get her inside. (carries the pregnant lady with the cabbie to a chinese store. lays her to the ground with her head resting on his legs. the crowd outside watches.) HENRY HIGGINS: Right here, right here. Olivia... my name is Henry. I delivered my little girl in the back of my cab. It's not exactly a medical degree, but I can help out until the ambulance arrives. LINCOLN LEE: You can trust him. BOLIVIA DUNHAM: Okay. It's nice to meet you, Henry. HENRY HIGGINS: Yeah. You too. May I? BOLIVIA DUNHAM: Sure. HENRY HIGGINS: Now, get your knees up. Okay? Easy. Okay? Nice and easy. (positions the pregnant woman) BOLIVIA DUNHAM: Lincoln, did you talk to my mom? (holds onto the agent) Oh, God. LINCOLN LEE: Just squeeze my hand. As hard as you need to. HENRY HIGGINS: You're feeling it like you need to bear down. BOLIVIA DUNHAM: Mm-hmm. HENRY HIGGINS: That's okay. This baby on its way. LINCOLN LEE: You just look at me. You don't think about an hour from now. You don't think about a minute. We're gonna focus on this moment, okay? It's you and me. BOLIVIA DUNHAM: God, I'm scared. HENRY HIGGINS: Put your chin to your chest. It'll help. Okay, and I need you to push. One, two... Three. Keep pushing, keep pushing. Four, five. LINCOLN LEE: That's good, that's good. That's really good. BOLIVIA DUNHAM: You promise me that you will stay until this is over. LINCOLN LEE: There's no place else for me to be. HENRY HIGGINS: That's it. You're doing so good. Okay, you're almost there. Come on, push. One, two... LINCOLN LEE: I love you. BOLIVIA DUNHAM: Promise me you'll save the baby. LINCOLN LEE: Liv... BOLIVIA DUNHAM: Promise. LINCOLN LEE: Okay. I promise. HENRY HIGGINS: Oh, my God, I see his head! Alright, you gotta go. Keep going. Keep going. Keep going! There it is! There it is! He's here. He's okay. He's okay. (the newborn baby screams) LINCOLN LEE: You hear that? (the new mother is unconscious) Liv? He made it. BOLIVIA DUNHAM: Oh... (regains consciousness) LINCOLN LEE: He's fine! (touches the baby with the mother) You -- you have a son. BOLIVIA DUNHAM: He's beautiful. (at a distance, an ambulance siren is heard. the crowd outside begins to clap. the nurse is just outside of the store) ACT V Hospital Hallway - Banter LINCOLN LEE: I wonder what she's gonna end up naming him. AGENT FRANCIS: She didn't tell you? LINCOLN LEE: No. AGENT FRANCIS: I'll give you a hint. It's not Lincoln. LINCOLN LEE: You don't know anything, do you? AGENT FRANCIS: No, I don't. But I had you going. LINCOLN LEE: Can't believe Liv is a mom. AGENT FRANCIS: Listen, you did a good job, sir. Broyles would be proud. LINCOLN LEE: Hold on. Did you just say sir? AGENT FRANCIS: Don't get used to it. Hospital Staircase - Job Well Done SECRETARY BISHOP: Any news? LINCOLN LEE: We found the location where they were holding her. Abandoned building on Bayard Street. Techs are there now. SECRETARY BISHOP: Have they found anything? LINCOLN LEE: No, sir, not yet. SECRETARY BISHOP: I want security assigned at all times. Until we find whoever did this, Agent Dunham and her baby are still at risk. LINCOLN LEE: I've arranged for Secret Service. There's an agent outside her room right now. SECRETARY BISHOP: Thank you, Agent Lee. Your hard work will not go unrewarded. I'll go up and... meet my grandson. (climbs to next floor) LINCOLN LEE: Yes, sir. AGENT FRANCIS: He should have told us. LINCOLN LEE: Which part? Olivia's Room - Adoration MARILYN DUNHAM: He's a miracle. BOLIVIA DUNHAM: They said it was the acceleration. That the...the virus couldn't replicate as fast as the pregnancy. MARILYN DUNHAM: Whatever the science is... he's still a miracle. Hospital Staircase - Distrust LINCOLN LEE: They put an imposter on our team to protect their mission. And do the math. Olivia, when she came back -- wasn't it around the time Broyles disappeared? AGENT FRANCIS: It was. LINCOLN LEE: Makes you wonder what else we don't know. AGENT FRANCIS: Yes, it does. Olivia's Room - Blood Sampling BOLIVIA DUNHAM: As soon as I found out I was pregnant, all I did was think about whether or not I had the condition. I never actually spent any time thinking about... being a mom. I mean, I... now I just -- I don't know if I'm ready. MARILYN DUNHAM: To tell you the truth, all you need to do is love him. And you can figure out the rest as you go on. BOLIVIA DUNHAM: I'm gonna need your help. MARILYN DUNHAM: I hope so. NURSE: Sorry to interrupt. How are you feeling? BOLIVIA DUNHAM: Good. NURSE: I'll be right back. MARILYN DUNHAM: Do you mind if I tag along? NURSE: Not at all. You're a handsome little fellow, aren't you? Oh, Sweetie! MARILYN DUNHAM: Ooh! NURSE: (to technician) That goes to the lab. (to baby) What a good boy. It's okay. It's okay, Sweetie. (to Marilyn) There's your grandson back. MARILYN DUNHAM: Oh! Yes! You are so brave. Yes! Hospital Stairwell - Sample Intercepted THE OBSERVER: (on communication device) It is happening. BRANDON FAYETTE: Why did you tell Lincoln so much? SECRETARY BISHOP: He's a good Agent. And smart. The lie would have made him grow suspicious. And I trusted that you wouldn't fail. BRANDON FAYETTE: We didn't.

319 - PROLOGUE Walter's Lab - Finding A Host WILLIAM BELL: The Little Old Lady From Ipanina. WALTER: It's the Girl From Ipanema. And no. Try again. WILLIAM BELL: Oh, Walter, can you try something else? WALTER: You're taking the fun out of it. (to Peter) What's the temperature, son? PETER: We're at 64 degrees. WALTER: Perfect! Astro, are we ready? ASTRID: Just about, Wally. PETER: And you're sure this is safe, Walter. WALTER: Perfectly. If everything goes according to plan, the electrical current will latch onto the dominant consciousness which is Belly's and coax it into its new residence. PETER: I meant safe for Olivia. WALTER: Oh. Of course. PETER: No offense. WILLIAM BELL: Oh. None taken. WALTER: Olivia's mind is still peacefully at rest. She won't be aware of any of this. Though we should all take a few steps back. PETER: Excuse me? WALTER: It's perfectly safe, Son. I assure you. ASTRID: EEGs are online. WALTER: You ready, Belly? WILLIAM BELL: Aye, aye, Captain. WALTER: Do it, dear. ASTRID: Okay. Three, two, one... WILLIAM BELL: Walter? Didn't work. WALTER: Damn! You can reset the circuit breakers, Dear. Tell the Medical School we're returning Mister Spencer. ASTRID: (to Peter) Sorry. PETER: So what now? WILLIAM BELL: Well, now I guess we try and find another brain-dead host. PETER: And what makes you think it's gonna go any better this time? That body fit all of your parameters, and we were lucky to find him in the first place. WILLIAM BELL: Perhaps we should think up another idea. PETER: I have a new idea. You said that if you didn't find a suitable host in forty-eight hours that you would just go away. WILLIAM BELL: Are you suggesting that I die? PETER: I'm suggesting that I want Olivia back. And I'm losing patience. OLIVIA: Peter -- oh, Peter, help me! PETER: Astrid! ASTRID: What happened? PETER: Call 9-1-1. Hospital Visit - Bell Revived PARAMEDIC: Female. Thirty-one years old. Tonic-clonic seizures. No response to four milligrams Lorazepam IV. B- P's 190 over 110. ER DOCTOR: Trauma Bay Two! Pupils dilated. How long has she been seizing? PARAMEDIC: Going on twenty minutes. PETER: Twenty-five. ER DOCTOR: Okay. Start her on a Phenytoin drip. WALTER: No, that's absolutely wrong! ER DOCTOR: Excuse me? ER NURSE: Gentlemen, you need to step outside unless you're family. PETER: She's my girlfriend. WALTER: He's my partner. PETER: Walter... WALTER: ...William cannot tolerate Phenytoin -- he's anemic! ER DOCTOR: She's crashing. Let's defib at 360. WALTER: Too much! It's too much. PETER: Walter. Just let them do their job. WALTER: What if his consciousness... uh--uh--uh... changed her physiology? A charge that size directly into her heart -- PETER: Walter, they have to do something. ER NURSE: 354. Charge to 360. WILLIAM BELL: Doctor... I've been jolted once today. If you do it again... you will kill me and the young woman I'm living inside of. ACT I Patient Room - Bell Recovers BROYLES: How could this have happened? Doctor Bell, you assured me that Agent Dunham was perfectly safe. WILLIAM BELL: And I believed that she was. With the rats, it was nearly two weeks before I began to see any complications. BROYLES: What rats? WILLIAM BELL: My test subjects. When I was first conducting Soul Magnet experiments thirty years ago, the rats lasted nearly two weeks before the host's consciousness got lost. I never anticipated that it would happen more quickly in a human. BROYLES: Wait. Go back. What do you mean, with the rats the host consciousness got lost? WILLIAM BELL: It seems that at a certain point the brain can no longer accommodate two people's consciousness. So one just went away. And no matter how hard I tried, I was unable to retrieve it. BROYLES: You gave me your word. Forty-eight hours. You said if you didn't find a suitable host in forty-eight hours-- WILLIAM BELL: I know what you're going to suggest, young man. Peter's already said as much. but as much as I may want to... I can no longer simply leave. PETER: And why not? WALTER: Because at this point, your consciousness is the only thing keeping Olivia's body alive. WILLIAM BELL: That's right. PETER: Walter... how long before Olivia's gone for good? WILLIAM BELL: Well... I don't know exactly, but based on what we've seen thus far, I would say... no more than... a day. WALTER: Well... well, if we're going to get Olivia back, we're not going to do it here. Walter's Lab - Trip Planning WILLIAM BELL: Okay... what about this? What if we try to activate her chi? WALTER: Acupuncture? WILLIAM BELL: Yes. We try and stimulate her Seventh Chakra. Pure consciousness. WALTER: As much as I love the notion, it could take dozens of sessions spread over several days. You said we had to find a way to pull Olivia out in twenty-four hours. WILLIAM BELL: What if we don't? Have to find a way to pull her out, I mean. WALTER: What are you thinking? WILLIAM BELL: What if, instead of trying to find a way to pull Olivia out, we try and find a way to go in? ASTRID: Peter... PETER: I'm just saying consider it. We know he has a healthy ego. You don't start a company like Massive Dynamic without an ego. ASTRID: But do you really think that he would let Olivia die just so-- PETER: He could go on living? I don't know. Maybe, Maybe not. But on the list of accomplishments for William Bell, cheating death would certainly rank number one. ASTRID: Hmm. WILLIAM BELL: Kids. We think that we have found a way to bring Olivia's mind back. WALTER: And to remove William's. Whole Brain Emulation. It's another one of Belly's old projects. It describes how an inorganic host can house organic material. We're gonna put Belly in the computer. Much to do and not much time. While we go into Olivia's mind, you can get to work on this. It's very self-explanatory. PETER: Wait. Enter Olivia's mind. How? WALTER: We've done it before -- when Olivia and Agent Scott shared the dream state. It's a simple variation. PETER: Walter. WALTER: Every brain generates a quantifiable electric field. if we can... tune ours precisely to Olivia's, then we can share her mind. We can go looking for her. WILLIAM BELL: Walter? WALTER: Hmm? WILLIAM BELL: Where do you keep the neurosensors? WALTER: Back shelf by the fish food. PETER: If I remember correctly, you had to put an electromagnetic probe into her brain and dose her with a massive amount of hallucinogenics. WALTER: Of course, LSD! WILLIAM BELL: That could solve the superego problem. WALTER: Ohh... oh, that is brilliant, son! This may be a weird time to ask, but have you ever tripped? PETER: Are you suggesting that-- WALTER: Of course! It's Olivia's mind we're entering. Presumably, it will be some maze-like iteration of her psyche. Memories are subconscious. You know her better than anyone. If she is lost in her mind, we need you to guide us. (shouts) Astrid! (to Astrid) We need to mix up two thousand milligrams of LSD and -- and we need some sugar cubes. Please. (to Peter) You first, Son. Don't be nervous. I imagine there are things in this very lab that are as mind-blowing as anything that I've experienced while tripping. Besides... this is merely a conduit to Olivia's mind. And when we get there, we should all be very cogent. Typically you'd feel the effects of the drug in thirty to forty-five minutes... (quietly) but I've added an accelerant. (to Astrid) You can start to prepare the sedative, Dear. I'll go and help Belly. ASTRID: Peter, don't worry. I'll keep my eye on the monitors. I'll make sure you're okay. PETER: It's not me I'm worried about. I'm pretty sure there's a good reason why we can't enter each other's minds. What if we kick something loose in there? ASTRID: Right now, I think you're her only hope. BROYLES: How's it coming? ASTRID: So far so good. BROYLES: What? PETER: You're bald. (whispers to Astrid) I think he's an observer. ASTRID: It's okay, Peter. (shouts) Walter, we're ready. WALTER: Oh. Good. Bring him over. ASTRID: It's okay. BROYLES: Drugs? ASTRID: Yep. Lots of 'em. PETER: Whew. ooh... (chuckles) that tickles. Olivia's Mind - Urban Chaos WALTER: (loud horn honk) Peter! Peter! Over here! I think you better help me down. (as the bus he is on top of drives off) Whoa... whoa! ACT II Olivia's Mind - Covert Signals WALTER: (after being helped down from the bus) No! No! No! Of all the places to grab a man, you choose the crotch of my pants! PETER: Hey, I broke your fall, didn't I? WALTER: You spared me no embarrassment in the process. PETER: I thought you said none of this was real anyway. WALTER: I said that everything is a product of Olivia's subconscious. My feelings are most definitely real. Where's Belly? PETER: I have no idea. WALTER: He must have entered somewhere else. PETER: It doesn't matter. We're here for Olivia anyway. So what's the next step in the plan? There is one, right, Walter? Please tell me that the plan doesn't end here. WALTER: Of course not! The plan... is to find Olivia and guide her out. We just have to start looking. (quickly runs off) PETER: Wal -- Walter! WALTER: Amazing, isn't it? PETER: How are we supposed to pick Olivia out? All these people are dressed like they raided her closet. WALTER: More likely, she equipped them according to her preferences. Our fault, I fear. Cortexiphan subjects experience a strong desire to blend in, to stay in the background. They were designed that way. PETER: Designed that way? WALTER: Peter. PETER: What is that? WALTER: I believe it's Morse Code. And unless I'm mistaken, that's an S.O.S. (goes towards a nearby bin) PETER: What are you doing? WALTER: Chocolate pudding. My favorite. PETER: Ah, come on, Walter, you can't seriously be thinking about eating right now. WALTER: Of course not. I just had lunch. (using the empty pudding container, sends out a reflected coded message) PETER: What are you saying? WALTER: I'm asking who it is. (deciphers the message from twin towers) It's Olivia! She's found us. PETER: Tell her to stay there. We're on our way. Walter's Lab - Accidental Trip ASTRID: Any changes? BROYLES: No. (inspecting Walter) They all seem oddly peaceful. Do you really think it's possible to upload a person's consciousness to a computer? ASTRID: I don't know. I'm just following Bell's instructions. The aim is for the computer to mimic the behavior of neurons. BROYLES: (picks up a red licorice) I never understood why Walter was so drawn to licorice. But look at it. The swirl... it's Bernini's spiral altar at Saint Peter's. It... doesn't end. ASTRID: Did you clean that up? BROYLES: Yeah. I thought I'd help you clear the table. ASTRID: You touched the tray with the sugar cubes? BROYLES: Sure. Why? ASTRID: Have you ever taken LSD? Olivia's Mind - Mob Chase PETER: The towers are out of proportion. We should be closer by now. WALTER: It's Olivia's mind assigning importance. Our surroundings represent her emotional landscape, don't forget. Oh. (notices a man looking at them across the road) Oh, my. Olivia's stepfather. (quickly runs to hide) PETER: What? Where? WALTER: Over there! That's -- that's him! Olivia's stepfather. PETER: Hmm. Walter, I'm... getting a bad feeling about this. Any suggestions? WALTER: Yes. Run! (chases by a mob) Oh! The cab! PETER: Wait, wait, wait. You're driving? WALTER: Okay. (takes off with a cab and the mob continues to chase) PETER: What the hell was that? (finds two black cars chasing after them) Go, go, go, go, go, go! WALTER: (gets off the taxi) Peter... I made a skid. PETER: There. The elevators. NINA SHARP: Walter! Peter. Hello. WALTER: Nina! Are you a sight for sore eyes! PETER: We're looking for Olivia. NINA SHARP: Olivia? PETER: We think she's in an office near the top on the north side. Walter thinks it's Bell's office. NINA SHARP: Okay. This elevator is the fastest one. It will take you directly to the private lobby of the upper floors. (with robotic arm, scans Massive Dynamic card) PETER: Walter! (grabs him from falling off the empty elevator) WALTER: Oh! (Peter pushes Nina) PETER: C'mon WALTER: (enters the elevator) She tried to kill us. You saw. Why is everyone trying to kill us? I don't like this place. PETER: Me neither. (exits the elevator, the two walks down the hall, knocks at Bell's office door) Olivia? You in there? WALTER: Careful, Peter. We don't know what her mind's put on the other side of this door. We should be ready for anything. (door swings open) Belly. WILLIAM BELL: I lied. Olivia's not here. I was concerned if you knew it was just me, Peter wouldn't let you come rescue me. WALTER: Belly... why are you a cartoon? (steps into the room and turns him and Peter into animation) WILLIAM BELL: I'd ask yourselves the same question. ACT III Olivia's Mind - Safe Haven WILLIAM BELL: I found myself on the street, but neither of you were nearby. And then a car tried to run me down. So I came here. I assumed it would be a safe haven... But then I encountered Nina. PETER: I don't understand. If this is all a projection of Olivia's mind, why is everything turning against us? When she came to us in the lab, she asked for help. WILLIAM BELL: What I'm starting to think is that when my mind entered hers, her ego became confused -- her sense of self. WALTER: Which, in turn, initiated the darker part of her subconscious allowing her deepest fears to run rampant. PETER: Explain that. WALTER: We're saying that Olivia is not aware that Belly's consciousness entered hers. As far as she's concerned, one minute she was fine, the next minute she was set adrift in her innermost thoughts. It's her fears that are causing the siege. PETER: Then, in that case, she's not lost, she's hiding. That's what she does. When Olivia is afraid, she retreats. WILLIAM BELL: That's not good. PETER: And being lost is? WILLIAM BELL: Yes, it's better. I expected there to be a logical trail whereby we could track her because Olivia wanted to be found. If she's hiding... I'm afraid we're looking for a needle in a haystack. WALTER: He's right. Everything in her mind is dangerous and hostile to her now. How can we expect to find her if she's frightened of everything, us included? PETER: Because she'd do exactly what you did -- she'll find a place that she considers to be safe. And she'll hide out. WILLIAM BELL: There's an entire world out there with no rhyme or reason. Where would you like to start? Walter's Lab - LSD Effect ASTRID: Hey... BROYLES: Hey. ASTRID: I know you said only water, but... it might be good if you can eat something. But if you want, I can take it away. That's fine too. Whatever you like. BROYLES: Thank you... for this. ASTRID: What you're feeling right now. It's just the effects of the LSD. But it's temporary. BROYLES: No. It's infinite. It's all around us. (chuckles) You didn't see that. I didn't see that. (becomes serious) But now I know. And I know it followed me. ASTRID: What followed you? BROYLES: Death. I saw death. All of it. And it was me. Can you hold my hand? Please. Olivia's Mind - Towards Jacksonville WALTER: Well, Peter? PETER: The first place I would look is Jacksonville. WALTER: Jacksonville's the last place she'd go. PETER: Exactly. That's my point. I know Olivia. She knows that that's the last place anybody would look for her. WILLIAM BELL: We only have so much time, Peter. Are you sure? PETER: Yes. Let's get to Jacksonville. (screeching cars) WALTER: I assume that's about us. (door slams open. zombies dressed in lab coats approach the three men) WILLIAM BELL: The Zeppelin. (runs towards the airship. Peter stops and attacks the zombies.) WALTER: Peter! (Peter undo the anchor of the airship) Come on, son! (runs towards the rope ladder, jumps and clings onto the rope) WILLIAM BELL: We should circumnavigate the currents. WALTER: I should have known. WILLIAM BELL: Should have known what, Walter? WALTER: When we were over there... Getting Peter back, and we were on that stage... You said good-bye to me. I should have known you had no intentions of dying that day. As long as I've known you, you've hated good-byes. WILLIAM BELL: I guess that's true. WALTER: I need you, William. I don't know what to do. About Peter. About the machine. About what's waiting for him... For the world because of what we did. WILLIAM BELL: Walter, when we were young and foolish with too much power and too many dreams that no one could stand in the way of... we needed each other. WALTER: I don't understand. WILLIAM BELL: We needed each other then, to check and balance. WALTER: And now? WILLIAM BELL: Now you possess the wisdom of humility. We didn't back then. The decisions you make will be the right ones. The direction you choose to take will be just. (someone cuts the fuel line. alarm goes off.) PETER: What's that? WILLIAM BELL: Fuel gauge. (Peter approaches the engine room and finds fuel leaking out. grabs the key to open the lock.) ZEPPELIN CREWMAN: (kicks the door, knocking Peter down. points the gun at him.) How many are up there? PETER: It's just me. ZEPPELIN CREWMAN: This is a flare gun. You don't want to get shot with a flare gun. WALTER: Peter-- PETER: Walter, stay back! WALTER: Who are you? ZEPPELIN CREWMAN: What's your name? PETER: Peter. ZEPPELIN CREWMAN: Peter what? PETER: Peter Bishop. ZEPPELIN CREWMAN: Nice to meet you. (fires the gun) WALTER: (flies out of the airship) Peter! Peterrr! PETER: Walter! WALTER: Ahh! (holds on to the zeppelin crewman but knocks off with his parachute) Walter's Lab - Walter's Back ASTRID: Walter! You're here with us. You're back in the lab. WALTER: It's alright. It's alright. I'm back. I'm back. Oh, damn. I'm back. ACT IV Olivia's Mind - This Way WILLIAM BELL: Your father'll be fine, Peter. He knows there's no time to come back. And even if he tried, he would never find us. We're on our own. PETER: Who was that guy? WILLIAM BELL: Someone unpleasant from her past, I imagine. This way. We'll need to take possession of a vehicle. Do you drive a motorcycle? I would love to ride on a motorcycle. PETER: Hold on. You're going the wrong way. WILLIAM BELL: I've got ten years of experience in Jacksonville. We're on East Union Street. It leads to the Matthews' Expressway. If you want to get to the Jacksonville Day Care Center-- PETER: She won't be at the day care center. We need to go that way. WILLIAM BELL: I thought you said she was that way. PETER: And I thought you said you wanted to travel by motorcycle. Walter's Lab - Bird Chirping WALTER: The computer's nearly ready to receive Belly's consciousness. (Broyles' mouth wide open, finds an animated bird on Walter's right shoulder, begins to whistle) Hand me those tubes, dear. (smiles at Walter and Astrid) This should snap right in. (drops the tube) Damn my hands! ASTRID: Walter, it's okay. I can get you another one. WALTER: There isn't another one. I'll have to modify the ECL 82 tube from my phonograph. And I'll need tinfoil and instant glue and a 60-watt light bulb. And hurry, dear! Olivia's Mind - Finding Olivia WILLIAM BELL: Where are we going, Peter? PETER: Olivia told me she lived on the military base! (stops and unboards the motorcycle) Olivia once told me that she sometimes thinks about what it would be like to just be normal. She said she falls asleep sometimes thinking about what it would be like if her life hadn't taken the turn that it did. She told me that the last time she remembered feeling that way was the day before she met you and Walter at the Cortexiphan Trials. I think she's down there somewhere. In that house, on that day. Hiding out. WILLIAM BELL: They're all the same. How will we find her? PETER: Her real dad painted the door red. He told her that it was good luck. The army told them it was against regulations, but he was an important man, so they let it slide. WILLIAM BELL: There aren't many streets left, Peter. Maybe the door was painted green again after they moved away. PETER: It wasn't. WILLIAM BELL: What are you waiting for? What if I'm wrong? What if she's not in there? I've taken us so far off course... WILLIAM BELL: You should have thought of that back at the Zeppelin. OLIVIA: (Peter approaches the red door and opens) Peter. PETER: Olivia. It's okay. OLIVIA: I'm so afraid. I don't know what's happening. There are all these people trying to hurt me, and this was the safest place I knew. PETER: I know, and I'm here to help you. But we don't have a lot of time, so I can't explain it all right now, but I need you to understand that you're safe. It's okay for you to come back. OLIVIA: Peter? What's wrong? Peter, you're scaring me. PETER: You're not her. OLIVIA: What are you talking about? PETER: This is not you. I can see it in your eyes. It's not you. YOUNG OLIVIA: I just needed to know it was you. PETER: Olivia? YOUNG OLIVIA: People have been tricking me, but I knew the real you would recognize me. (Olivia's stepfather approaches) Oh, no. PETER: Run! WILLIAM BELL: Peter, this way! Peter? Walter's Lab - No Going Back WALTER: Peter, Peter, Peter! Peter, Peter, Peter, it's okay! Calm down, son! PETER: Walter! Walter, she's here. I found her! She's here! I gotta go back, Walter. WALTER: Shh, shh, shh. PETER: I gotta go back. They're gonna get her. ASTRID: Walter, what do I do? WALTER: Nothing, dear. Nothing. All we can do is wait. It's up to Belly now. (to Peter) Come on, breathe. In and out. Hey... Hey... Hey... PETER: Oh, I lost her. I lost her. ACT V Olivia's Mind - Escaping Jacksonville WILLIAM BELL: Go! YOUNG OLIVIA: No more. I'm not afraid of you. OLIVIA: How? WILLIAM BELL: I suspect I know what has happened here. I think my experiment was right after all. You should have been safe inside your mind... Except it's you, and you have never felt safe. You are your own worst enemy, Olivia. You took the opportunity to let your fears overwhelm you, but you just fought back. In the end, you are as strong as Walter and I always believed you were. And now you know it too. OLIVIA: So what happens now? WILLIAM BELL: Now, you go back. But not me. For you to survive, I need to leave. OLIVIA: I don't understand. WILLIAM BELL: You don't have to. Well, that's Walter. Right on time. Please tell Walter that I knew the dog wouldn't hunt. Walter's Lab - Olivia Returns WALTER: Olivia? OLIVIA: Hi. WALTER: You lie there and rest. WALTER: One consciousness. One glorious consciousness! OLIVIA: What happened to me? PETER: What do you remember? OLIVIA: I remember you. And I remember William Bell was there. ASTRID: Walter. It didn't work. WALTER: He's gone. William's gone. OLIVIA: Walter... I think Bell gave me a message. He said tell Walter that I knew the dog wouldn't hunt. ASTRID: Walter, what does that mean? WALTER: When we would do experiments, he would use that expression when he knew something wouldn't work. ASTRID: But he suggested the computer. It was his idea. WALTER: Exactly. He knew he wasn't coming out. And he hates good-byes. ASTRID: Welcome back, Olivia. OLIVIA: Thank you. ASTRID: Walter? I downloaded Zoom for you. I can watch it with you if you'd like. WALTER: If you don't mind... I'd just like to be alone for a while longer. ASTRID: Okay. Take your time. Olivia's Apartment - Checking Up OLIVIA: Well, you look better than the last time I saw you. PETER: Yeah. It's amazing what a couple of hours will do for a guy. OLIVIA: Hi. PETER: Hi. OLIVIA: You hungry? PETER: Uh, no. I'm okay, thanks. So how you feeling? OLIVIA: Um... I feel like I've just woken up from a really strange dream. Thank you for coming to get me. PETER: It's not as dangerous as crossing into another universe, but I try. You're welcome. What are we gonna have to deal with next, right? OLIVIA: I don't know. But for some reason, I'm not afraid to move forward anymore. Sure you don't want some toast? PETER: No, I -- no, I'm fine. Who is this guy? I saw him in your mind. You had him locked up in a Zeppelin. He was just flying around trapped in there. OLIVIA: I don't know. I haven't seen him before. But I think that he's the man who's gonna kill me.

320 - PROLOGUE Liberty Island - Preparing The Device BRANDON FAYETTE: (to his assembled team) So where do we stand? SCIENTIST: We've doubled the thickness of the lead shielding around the machine. BRANDON FAYETTE: Good. You let me know as soon as the Faraday Cage is completed. SCIENTIST: I'm told they're almost done. (hesitates) You really think this is all necessary? BRANDON FAYETTE: We're standing underneath a giant lightning rod. It's unclear what kind of electrostatic discharge the device may give off. SECRETARY BISHOP: (steps through the open lab door) Good morning. BRANDON FAYETTE: (to his colleagues) If you'll all excuse us, please. (to Bishop, after his team steps out) Based on Olivia Dunham's DNA profile, we were able to identify twenty-three chromosomes your grandson inherited from his mother and strip them out. (hands over a vial) Of course, that leaves us with only half of Peter's full genetic profile. But hopefully that's enough to activate the machine. SECRETARY BISHOP: How long before we're ready? BRANDON FAYETTE: It should be within the hour. Sir, history may never fully know what we've done here. How we've saved our universe. (sincere and committed) I'm proud to be a part of it. SECRETARY BISHOP: Oppenheimer saved us too. But at what cost? (reflective) He couldn't bear the nightmares... the screams of all the innocents he had killed. "Now, I am become death, the Destroyer of Worlds." Only in our case, that really is true. We destroyed their world to save ours. May God have mercy on us. (returns the vial to his scientist) Accord, NY - First Vortex (in this universe... in the rolling wooded fields of southeast New York, a ranch hand approaches the large flock of sheep he is monitoring in the chilly early morning air. the livestock are alarmed and bleating loudly as something unusual takes shape in the nearby woods) RITCHIE: (calls on a handheld radio) Hey, Joe, come in. JOE: (sitting in his parked truck on a nearby access road. returns the radio call) You know what time it is, don't you, Rich? RITCHIE: Listen, you've got to get up here. JOE: Six A.M. That means I'm having my breakfast right now. RICHIE: (sense of urgency) This is serious. You've gotta get up here. Something's spooking the sheep. They're going crazy. JOE: Alright. I'm on my way. (dumps his hot drink out of the window and starts the drive up to the flock. the music from the radio in his truck becomes all static as he approaches. thousands of locust swarm down the road and away from the flock. the truck strikes hundreds of the insects and nearly crashes. after he arrives safely at the grazing field) I just hit a swarm of locusts! It's like the blessed apocalypse. RITCHIE: Yeah, well, the sheep are acting like it is. I tried to round 'em up, get 'em back to the barn, but they won't budge. JOE: (a strong wind blows through) Gimme your walkie. (takes radio and broadcasts) Everybody listen up. This is Joe. I need all hands in the North Field. RITCHIE: (gets Joe's attention and points to the horizon) What is that? (seconds later, both men are engulfed by a blinding blue light) ACT I The Bowling Alley - Sam's Concern (a lone patron spends some time refining his game in the early morning hours while the manager tends to chores around the building) DONNIE: (after nearly rolling a strike, but leaving the 2 and 4 pin) Damn it! SAM WEISS: (consoling from a few lanes away) Some days you've got it, Donnie, some days you don't. DONNIE: I'm gonna go get a cup of coffee. (walks away from the foul line) (Sam approaches a ball return and inspects a maroon bowling ball involuntarily bouncing against the ball next to it. He walks to the equipment room, closes the door behind him, and opens a padlock on a large cabinet. Sam removes a large box, opens it, takes out a Newton's Cradle and places it on the work counter. He steps back and watches the device and waits. After a few seconds, two of the five suspended metallic balls begin to bounce off of either end of the string - automatically transferring energy like the maroon bowling ball. Sam grows concerned) Bishop Residence - Naked Tuesday (Olivia wakes up smiling, slips out of her boyfriends embrace, brushes her hand over Peter's head, hops out of bed and leaves the bedroom for the hallway) WALTER: (enters the hallway. naked, except for furry slippers) Good morning, Olivia. I didn't know you were spending the night. What a lovely surprise. OLIVIA: (flustered at the sight) Oh, no. The surprise is all mine. WALTER: I am going to pop another mushroom frittata into the oven. I got some Morels from the market with the biggest caps you've ever seen. OLIVIA: Sure. WALTER: (passing her) Olivia. OLIVIA: (eyes to the ceiling) Mm-hmm, mm-hmm. WALTER: You should get some slippers for when you stay over here. This house can get very chilly. (laughs) OLIVIA: Right. Okay. WALTER: (singing) And some magic mushrooms and they put them in the stew. (Olivia scurries back to bed and clears her throat) PETER: (sighs as he wakes. groggily) What time is it? OLIVIA: It's six-thirty in the morning... PETER: Oh, gawd. OLIVIA: (contrite) ...and, uh, your father is walking around the house naked. PETER: Oh, yeah, it's Tuesday. (chuckles) He always cooks naked on Tuesdays. OLIVIA: Is that safe? PETER: Uh-uh. It's not pretty either. But you get used to it. (snuggles closer) OLIVIA: (softly) Hmm. I could get used to this. (smirks. sincere) This is my favorite time of day. The sunrise, when the world is full of promise. (phones vibrate and ring) PETER: (groans. disappointed at the interrupting calls) Well, that's not. Accord, NY - Initial Investigation (the Fringe team arrives, parks, exits their vehicle and are astounded by the localized devastation in the grazing pasture) WALTER: Oh, my. BROYLES: (approaches the new arrivals) A ranch foreman and a farmhand are confirmed missing, along with an entire herd of sheep. Over five hundred head gone. OLIVIA: How is that possible? BROYLES: You tell me. No hurricanes or tornadoes in the area. Barometers remained steady. PETER: There's an army base about twenty miles from here. BROYLES: I thought that too, but we ruled out weapons testing. Whatever happened here, we didn't cause it. WALTER: (knowing) I wouldn't bet the farm on that. (moves away to inspect the area) OLIVIA: When did this happen? Do we have a time on the incident? BROYLES: 6:05 A.M., give or take a few minutes depending on the individual report. (looks to a nearby eyewitness) That man owns the neighboring property. He was outside when it happened. I'd like you to question him. OLIVIA: Sure. (walks toward the eyewitness) WALTER: Peter! A hand! Come quickly! (scratching at a huge boulder) This granite contains quartz crystals. My electrometer. PETER: (hands over the boxed instrument) Quartz crystals only develop an electrical potential when they're put under physical pressure. WALTER: Extreme physical pressure caused by a major gravitational event. (electrometer clicks as he places electrodes on the boulder) Highly charged, of course. PETER: And I suppose you have a theory? WALTER: (nods) I believe that a vortex appeared above this field, consuming everything in its path. My worst fear is realized... our world is breaking down around us. PETER: Well, let's not jump to conclusions. WALTER: I'm not. PETER: Even if that is true, Walter, why now? What would trigger a vortex? WALTER: That's a good question. Remote Base - Unexpected Activation (walking with a sense of urgency through the interior halls of the remote hangar that houses the Wave Sink Device) NINA SHARP: This is clearance Double A. I want all unnecessary personnel sent home. SCIENCE DIRECTOR: I've issued the bulletin. NINA SHARP: How many on duty when it started? SCIENCE DIRECTOR: Four. It was a skeletal crew. NINA SHARP: (scolding) And we're sure it wasn't tampered with? SCIENCE DIRECTOR: (defensive) It wasn't. We reviewed the footage. With all due respect, there's no way. NINA SHARP: (on her cell phone) Get me Agent Broyles. BROYLES: (answers the video call from the pasture outside of Accord) Yes. Hello, Nina. NINA SHARP: Phillip, the machine came on. Can you hear me? BROYLES: I can hear you. Go on. NINA SHARP: The machine came on by itself, without Peter. BROYLES: When? NINA SHARP: 6:02 A.M. There was no warning. (the device starts surging) BROYLES: Is that noise the machine? NINA SHARP: (machine rumbles, Nina turns the camera phone toward the machine, then back to her) Tell Walter it's on. He needs to know. (uncharacteristically intimidated) ACT II Accord, NY - The Beginning PETER: What do you mean, the machine is activated? BROYLES: Apparently, it powered up by itself. It appears our assumptions were wrong. WALTER: What time did this happen? BROYLES: Just after six this morning. WALTER: Of course. That's the reason. The machine activated just after six, just minutes before the vortex opened. OLIVIA: So you think it caused this? WALTER: Yes, and if it's the end of the world... this is just the beginning. Walter's Lab - Growing Threats OLIVIA: (approaches Peter's workstation) Anything? PETER: (frustrated) This is worthless. OLIVIA: Peter. PETER: Up until now, we've been operating under the assumption that I was somehow the power source for this machine, but clearly that was wrong. OLIVIA: You're the only one that the machine's responded to. You've said so yourself. PETER: And yet it turned itself on while I was two hundred miles away. So how do we explain that? WALTER: (approaches quickly with a computer graph) I think I understand. The machine's magnetic field is warped in a patterned I've only seen one other time. The typewriter that the other Olivia used to communicate with the other side. OLIVIA: What are you suggesting, Walter? PETER: Quantum entanglement. WALTER: I'm afraid so. OLIVIA: You think that Walternate turned the machine on over there? WALTER: Which triggered a sympathetic response from the one over here. Yes, it makes sense. OLIVIA: But how? I mean, how could he do that without Peter? WALTER: There's not much we do know for sure. ASTRID: (approaches) I just got off the phone with Broyles. Three more reported incidents. Massive colonies of bats were spotted above the New Jersey turnpike. Mini quakes in Florida. And in Newton, thirty acres of woodland completely decimated. All organic life just dead and desiccated in a matter of hours. OLIVIA: The Blight. WALTER: (gravely concerned) At this point, I believe that the events will begin to increase exponentially. And there's no way to stop it. He's won. (somber) Walternate has won. Park - Shortened Day-Off BOLIVIA DUNHAM: Oh! It's chilly! MARY: Well, Doctor Marna said two weeks, and he's three weeks old yesterday. You worry too much. Besides, the fresh air's gonna do him some good. BOLIVIA DUNHAM: Look at him, just kind of sizing up the world. MARY: He's alert, that one. BOLIVIA DUNHAM: You know, it is kind of windy. So will you humor me? Here. Oh, nice and warm. (pager beeps) oh. MARY: Let me. BOLIVIA DUNHAM: See, it's supposed to be my day off. MARY: Not the first time we've heard that. BOLIVIA DUNHAM: No. (checks page) MAN IN PARK: Kids, let's go! MARY: We'll be okay if you have to go. BOLIVIA DUNHAM: (to Henry) Heh! You are such a nugget. Oh, I know. Mwah! I love you. (to Mary) Alright, I'll call you when I have some idea of what time I'm gonna be home. MARY: Okay. Don't worry, I'll keep him safe. You just keep the rest of us safe. BOLIVIA DUNHAM: Okay. (departs) Alternate Universe - False Alarm (sitting in the back of the response vehicle with his team) LINCOLN LEE: (reading from a status monitor) The Lookers have detected a spatial discontinuity. BOLIVIA DUNHAM: Okay. How bad? LINCOLN LEE: Power density spikes reaching over three thousand milliwatts per square meter, and that's two hundred meters away from the focal point. BOLIVIA DUNHAM: This is a Class Nine event? LINCOLN LEE: No, it's a Ten. The power spikes are coming from Liberty Island. The D.O.D. complex. Charlie and the evacuation teams are en route. BOLIVIA DUNHAM: Okay, air quality normal. No need for oxygen. Let's go. LINCOLN LEE: (activates his earpiece as the team exits the vehicle) This is Agent Lee. We're still seeing dangerously high levels. Understood, Mister Secretary. (to the team) False alarm! Let's pack it back up! TEAM MEMBER: Yeah, stand down. Let's go, come on. BOLIVIA DUNHAM: What's going on? LINCOLN LEE: We've been ordered to stand down. BOLIVIA DUNHAM: But what about the energy surges? LINCOLN LEE: (looks across the harbor at Liberty Island) They're still happening. BOLIVIA DUNHAM: Well, did they give you any reasons as to why? LINCOLN LEE: Explanations are above my pay grade. BOLIVIA DUNHAM: I think I know who to ask. Liberty Island - Sacrificial Son SECRETARY BISHOP: Damn it. No measurable improvement? BRANDON FAYETTE: Environmental degradation levels haven't changed since the device was activated. SECRETARY BISHOP: Reversing this many years of damage will take longer than a few hours. MAJOR WARNER: (video screen call) Mister Secretary, Olivia Dunham is here to see you. SECRETARY BISHOP: Send her in. (to Brandon) Let me know if anything changes. BRANDON FAYETTE: (as he leaves the office) Olivia. SECRETARY BISHOP: Olivia. (shakes hands) I'd hoped you brought Henry. BOLIVIA DUNHAM: Uh, he's with the nanny. I'm actually on duty at the moment, sir. SECRETARY BISHOP: (steps back) So this is a professional visit? BOLIVIA DUNHAM: Fringe Division identified a Class Ten energy surge emanating from this complex, which would normally justify evacuating a ten-mile radius around the epicenter. SECRETARY BISHOP: There's no danger for the general public. We've taken proper precautions. BOLIVIA DUNHAM: Of course. I wasn't suggesting otherwise. (pauses) When I was returning from over there, you had me steal a piece of tech. Tech that you said was part of a weapon that could destroy the other side. SECRETARY BISHOP: What exactly are you asking, Olivia? BOLIVIA DUNHAM: Have you activated that weapon? Is that what's causing the surge? SECRETARY BISHOP: (turns a walks to the map) That's classified. BOLIVIA DUNHAM: What's going to happen to the people over there? SECRETARY BISHOP: (stern) My concern is for the people of our world. BOLIVIA DUNHAM: But your son is over there. SECRETARY BISHOP: I'm aware. (faces her. stoically) Peter chose to leave. He chose his allegiance. I chose to give up my son so that you could keep yours. (dismissive) Now, if there's nothing further... ACT III Walter's Lab - Peter's Destiny (standing and studying boards posted with Wave Sink Device schematics) ASTRID: So what do we do? PETER: What if we just broke it back down into its component parts? WALTER: With the amount of energy this machine is generating, I don't know what would happen. The machine is quantum entangled. It could tear us apart with the energy from the other side alone. ASTRID: And is that more dangerous than vortexes putting holes in our universe? Walter, our world is tearing apart at the seams. WALTER: Still, I'm afraid anything we might do could have devastating consequences. OLIVIA: (joins the group) I just spoke to Nina. I was right. They picked up an electromagnetic spike at 5:47 this morning in upstate New York. PETER: Fifteen minutes before the vortex opened. WALTER: Is that how they predict anomalies on the other side? OLIVIA: (nods yes) They also look for odd thermal patterns and radiation spikes. I've got Nina tracking all three. ASTRID: An Early Warning System. Well, at least we'll be able to warn people. WALTER: And maybe save some lives. OLIVIA: Okay, I'm gonna go to Massive Dynamic and help Nina with the protocol. (starts to leave) PETER: (catches-up to her. studies her face. concerned) Olivia. OLIVIA: I'll call you when I get to New York. Can you let me know if Walter comes up with anything? There's got to be a way to stop the machine. (leaves the lab) WALTER: (studying the schematics) Perhaps if we encased the entire machine in lead... contained the energy it's emitting. PETER: Walter. We both know there's another way. (in Walter's office) It makes sense, Walter. We all thought that I could turn the machine on. Maybe I can turn it off. Maybe that's what the drawing means. WALTER: We don't know what the drawing means. {removes a bootleg flask from the desk) PETER: If your theory is accurate, we're running out of time. (sits. watches as Walter pours two stiff drinks) And the way that machine responded to me after I touched it, it's like it's been calling out to me. Every piece of data we have about the machine points to one conclusion. Somehow, that machine was made for me. WALTER: (softly) Peter, you could die. PETER: And if we do nothing, we're all gonna die. WALTER: (slides a drink to Peter. studies his drink and remembers) Give him the keys and save the girl. PETER: What? WALTER: This is what he was doing. He was preparing me. PETER: Who? WALTER: The Observer. He was preparing me because he knew I would have to let you go. That I would... that I would have to sacrifice you to fix the problems I'd created. PETER: (earnestly) I think this is what I'm supposed to do. But I can't do it without your help. (the Bishops raise their glasses and toast. Peter throws back his shot) Massive Dynamic - Nina's Secret (Olivia drives quickly to meet with Nina and listens to the developing news) RADIO NEWSCAST: Police and fire departments have been responding to unexplained weather phenomena up and down the Eastern Seaboard for the last twenty-four hours. The National Weather Service has released a storm advisory for the entire East Coast. NINA SHARP: (on phone, pacing her office) What do you mean, he's gone? He has to be somewhere. He didn't just disappear. There's always a trail. Keep looking. (intercom beeps) Yes? ASSISTANT: (on the intercom) Agent Dunham has arrived. NINA SHARP: Oh, good. Send her in. OLIVIA: (enters the office) Nina. NINA SHARP: We're moving forward as you requested. I've assembled a team. I've briefed them on the protocol you outlined. OLIVIA: Okay, good. So where are we in terms of coverage? NINA SHARP: Well, I've tasked all of our satellites to focus on the Northeast States. (points to large monitor) OLIVIA: So this is where the thermal detection is up and running? NINA SHARP: Yes, but it's far from complete. It does give us lead time, however, if a vortex starts forming in a densely populated area. OLIVIA: What about the electromagnetic disturbances? NINA SHARP: We've recalibrated our entire cell tower network to warn us if any are detected. OLIVIA: And Amber? NINA SHARP: Alright, there we've hit a wall. We have enough Amber to contain eight, maybe ten events. But beyond that, our chemists are having a great deal of difficulty finding some of the more rare elements. OLIVIA: Without the Amber, early detection is irrelevant. NINA SHARP: (hesitant) Yes, well... it wasn't supposed to be this way. OLIVIA: What do you mean, it wasn't supposed to be this way? NINA SHARP: I was told on good authority that if you and Peter were together, it would all work out. OLIVIA: What are you talking about? On whose authority? NINA SHARP: There's a man that William knew. I'm not sure where they met. But he had great confidence in him. He trusted him implicitly. He advised me to do the same. After William went missing, when circumstances warranted, I would consult with him. This man knows a great deal about the machine. OLIVIA: (incensed) And you didn't think it was worth mentioning until now? NINA SHARP: No, he said if I divulged what he had told me that I would never see, or hear from him again. I didn't want to risk losing that connection. OLIVIA: Nina, our universe is breaking down. If this man has any information about the machine, then I need to know who he is and what he told you. NINA SHARP: You've already met him. Sam Weiss. (in a separate room she shows Olivia the copies of The First People books they have collected so far) William told me he possessed knowledge beyond anything I could fathom, but even I never suspected anything of this magnitude. OLIVIA: So how'd you find out? NINA SHARP: The authors. Anagrams. I figured it out a few weeks ago. Even the Hebrew and Russian ones are phonetic scramblings of his name. OLIVIA: We've been through these books hundreds of times. So what else does he know? NINA SHARP: I think you and I both know that Sam will reveal only what he wants to. OLIVIA: Not this time. NINA SHARP: If you track him down. We don't have an address for him. He disconnected his phone, shut down the bowling alley. Nobody has seen him since. OLIVIA: If there's even a chance that he can turn this machine off, then I have to speak to him. I'll find him. (leaves the office) Saratoga Springs, NY - Strange Sky (a playful young couple runs from the woods back to their pick-up truck) JACK: (in childish pursuit) I need the keys, Jeanie. JEANIE: (successfully eluding capture) Catch me. JACK: C'mon! Jeanie. JEANIE: (gleeful) Nope. JACK: Jeanie. JEANIE: No. (dives in the passenger side and slides over to the drivers' position) JACK: You're... (to his smiling girlfriend) I didn't mean it. JEANIE: Yeah? (sincere) Then what did you mean? JACK: (honest) I meant that you mean a lot to me. (heartfelt) You're kind of amazing. JEANIE: (after handing him the keys and a quick kiss) Jack. JACK: What? JEANIE: (looking out the front window at strange aberration forming in the sky) What is that? JACK: I have no idea. (nearby, Sam Weiss looks through a trans-dimensional viewing window at the growing vortex. focused and concerned, he quickly calculates a complex physics equation in the notebook he is holding) ACT IV Bolivia's Apartment - Bye Bye Baby BOLIVIA DUNHAM: (holding her son and singing softly) I see the moon, the moon sees me, shining through the old oak tree, please let the light that shines down on me, shine down on the one that I love (whispers) That's you. (places Henry in the crib) LINCOLN LEE: (holding a framed picture of the two of them together after she received a medal) Remember this? BOLIVIA DUNHAM: Yeah. That was my first commendation. LINCOLN LEE: Yeah, for dragging my ass out of a Class Four vortex. BOLIVIA DUNHAM: (laughs) well, you actually owed me fifty bucks, so I was going for your wallet. LINCOLN LEE: Seems like a million years ago. (sighs) You can't do this alone, Liv. Let me come with you. BOLIVIA DUNHAM: As much as I would love to have you watching my butt, I need you here. Now if I'm not back tomorrow, you're gonna take Henry to my mother's, right? LINCOLN LEE: (adamant) You're coming back. BOLIVIA DUNHAM: Yeah, but if I don't, I need to know that he's safe. You're the only one that I trust. LINCOLN LEE: You really think Peter Bishop can stop this? That he can heal both worlds? BOLIVIA DUNHAM: I don't know, but if anyone can change the Secretary's mind and get him to turn that machine off, then it's his son, right? LINCOLN LEE: I'll see you when you get back. (big hug) BOLIVIA DUNHAM: (return hug and a pat on the back) Okay. (leaves the apartment) Liberty Island - Crossover Attempt (in his lab, Brandon Fayette sits and work while the local ball game plays on the radio) RADIO SPORTSCAST: It's a beautiful night here at Ebbets Field, bottom of the fifth. The Dodgers are leading the Expos 2-0. (indistinct player) is yet to give up a hit. BRANDON FAYETTE: (startled at the late night visit) Agent Dunham. This is a restricted area. BOLIVIA DUNHAM: (levels her pistol at the scientist) Ten months ago, the Secretary brought Peter Bishop back from the other side. How? BRANDON FAYETTE: (bluffing) I don't know what you're talking about. Maybe if you just put the gun down. BOLIVIA DUNHAM: (dead serious) Lie to me again and I'll shoot you in the knee. I read the mission logs. I know that the Secretary developed technology to cross between universes and bring back Peter Bishop. Show me where it is. (sternly) Now. BRANDON FAYETTE: (while being marched down the hallway at gunpoint) The Watch Commander patrols this area every five minutes. BOLIVIA DUNHAM: It's every twelve, actually. Nice try. BRANDON FAYETTE: You realize this is never going to work, right? BOLIVIA DUNHAM: I did not ask for your opinion. BRANDON FAYETTE: The technology you want never made it out of the test phase because it breaks down the molecular cohesion of the person crossing over. The Secretary took a huge risk using it once. In some test subjects, even that proved lethal. BOLIVIA DUNHAM: (stops in front of a locked storage room) I appreciate your concern. Now open the door. BRANDON FAYETTE: (places his hand on the access panel, opens the door and enters) This stuff is not organized. BOLIVIA DUNHAM: You've got five seconds. Four... BRANDON FAYETTE: (after another failed bluff) Here it is. (opens case with several large clear cylinders) One will get you there and back. (condescending) If you make it to the other side, just stay there, because when the Secretary finds out you're a traitor-- BOLIVIA DUNHAM: I'll take my chances. (as she pistol whips him across the temple. she grabs two cylinders and dashes down the hall to find approaching sentries) GUARDS: Stop! (fires his rifle) There she is! (alarms sound as she takes an elevator to the access tunnels below) Put your hands up. Let's go! (fire as she flees) The other side! Suspect northeast tunnel. (trapping her behind a locked gate) Hold your position! Show us your hands, or we will fire on you. BOLIVIA DUNHAM: (attempts to crossover by activating one of the devices. but fails) Son of a bitch. ACT V Weiss Residence - Search For Sam LANDLORD: (answer a knock on the door of his apartment) What do you want? OLIVIA: (flashes her badge and ID in his face) F.B.I. LANDLORD: (walking toward his tenants room) Seamus Wiles, now that you mention it, never struck me as an Irish. Sam Weiss, that makes sense. OLIVIA: Well, he went by a few different names, but only one of them rented an apartment in Boston. LANDLORD: You're not gonna tell me what he did? OLIVIA: I just need to ask him a few questions. LANDLORD: So long as there's no dead bodies in there. (unlocks the door, opens it and enters) OLIVIA: (enters the empty living space) What? Did he move out? (searches the room for clues) LANDLORD: If he did, he didn't tell me. Last guy who bailed on the apartment ended up being a hoarder. Took me three weeks to clear out the trash. Remote Base - Failed Disarmament (Peter sits in front of a row of monitors. in deep contemplation, he waits for his safety jumpsuit) TECHNICIAN: (place the garment on the desk) Here you go, sir. BROYLES: (engaged in a sidebar conversation in the hallway) Do you really think this could work? That Peter can turn off the machine? WALTER: (growing jittery) The machine's emitting an energy signature almost like an electric current. Peter thinks that because of his relationship with the machine, that if he goes into it, the current will run through him, creating a kind of a closed circuit. And if he can complete the circuit, then he can also break it or turn it off. BROYLES: What do you think? WALTER: Excuse me? BROYLES: Peter's your son. As a father, do you think this is a good idea? WALTER: It's because of my selfishness, my inability to let my son go twenty-six years ago that this is happening. My opinion as a father, it doesn't matter. BROYLES: Walter, it matters to me. WALTER: (hesitates. at a loss) I honestly don't know what's gonna happen, Phillip. And the current of energy is so powerful. It's unlike anything I've ever seen. And the thought of what that could do to my son... I don't want him to suffer. TECHNICIAN: (to Peter, as he finishes suiting-up) You're all set, Mister Bishop. ASTRID: Are you sure you don't want me to call Olivia? PETER: If it doesn't work, she's gonna find out soon enough. Just tell her that -- ASTRID: Whatever it is, you'll tell her yourself. WALTER: Can I get you anything, son? A sedative? Something to calm you? PETER: I'm calm. WALTER: You're sure now? PETER: I'm okay, Walter. BROYLES: The techs said they're ready when you are, Peter. Good luck. PETER: If this works and I save both universes, I want you to consider me officially retired. BROYLES: (humorously) I'll think about it. ASTRID: (offers a bug hug) We'll be here waiting for you. WALTER: Wait. Give me your hands. PETER: (gets a squeeze of hand gel) What is that? WALTER: Electro-conductive gel. If there's an energy current, it will pass through the hand holds and this gel will keep it from burning your skin. PETER: Walter... I'm okay. WALTER: (quietly) I was never good at letting you go. PETER: This time, you have to. WALTER: (swell of pride) Son... PETER: I know. (walks to device and rides the access platform to the top. slowly he places an open palm on the side of the machine and receives a violent shock that blasts him off of the platform and twenty feet to the ground below) WALTER: Peter! (as his son rolls to a stop. unconscious. his head and face covered in blood) Berkshire County Hospital - ER Visit (the gurney with Peter's damaged body is rushed into the emergency treatment ward) EMT #1: Male, thirty-two years of age, closed head trauma, possible concussion, non-responsive. WALTER: He suffered a massive surge of electricity. ER DOCTOR: Vitals? EMT #2: BP 80 over 50. Pulse 45, regular. ER DOCTOR: Gail, what's open? NURSE GAIL: Trauma Bay Two. WALTER: His blood type is A-positive. ER DOCTOR: Let's take him to Two. We'll do an MRI. WALTER: And you need to do an echocardiogram as well. ER DOCTOR: You have to wait here, sir. WALTER: No, no, no, no, no. You listen. No, no. You listen to me. (quavering) This is my son. ER DOCTOR: I understand, sir. We'll take good care of him. (Astrid catches-up to Walter to help him with the waiting) NURSE GAIL: (later. to Olivia as she bursts into and past the ER reception area) Excuse me, Miss. This area's for staff and immediate family only. OLIVIA: (flashes badge) I'm looking for Peter Bishop. He was brought in about an hour ago. He's a white, thirty- two -- ASTRID: Olivia! (intercepting the nurse) She's with us. OLIVIA: How's Peter? ASTRID: He's still unconscious, but his vitals are stable. They just -- they can't wake him up. He's with the doctors now. OLIVIA: Oh, god. ASTRID: They did an MRI. They said that there is no apparent brain trauma. They're just hoping that he's gonna come out of it soon. OLIVIA: What happened? ASTRID: (sighs) Peter tried to go into the machine. It wouldn't let him. It's like it's... protecting itself or something. OLIVIA: Is Walter here? ASTRID: Yeah. He's taking it pretty hard. Hospital Chapel - Bargain With The Boss WALTER: (enters. looks around) I don't know my way around here. Other people, I suppose, find comfort being in chapels, speaking to you. (begins to negotiate) I have no other place to turn. I asked you for a sign, and you sent it to me. A white tulip. And I was so grateful. Since then, in moments of deep despair, I have found solace in believing that you had forgiven me. I was willing to let him go. I was willing to let Peter die. I've changed. That should matter. (makes his proposal) God, I know my crimes are unforgiveable. So punish me. Do what you want to me. But I beg you, spare our world. (kneels and weeps) Hospital Landing - Finding Sam (Olivia sits in the waiting area quietly thinking about Peter. the dappled light on the carpet in front of her begins to move and flicker. she steps outside and sees the light in the sky above the horizon is changing. the man she has been looking for comes bounding up the stairs to the entrance of the building) SAM WEISS: Hello, Olivia. OLIVIA: Sam, I've been looking for you everywhere. The machine is on. SAM WEISS: I know. And I need you to take me to it. OLIVIA: Sam, what is going on? SAM WEISS: Olivia, you have to trust me now, please. We don't have a lot of time. (walks off) Liberty Island - The Greater Good (the senior politician walks down a darkened corridor in the military complex he runs and turns on the light in cell holding one of his previously most trusted agents) SECRETARY BISHOP: I know this is hard for you. BOLIVIA DUNHAM: (sitting smugly) Oh, you don't know anything about me. SECRETARY BISHOP: Don't I? This morning in my office, you asked how I could be willing to let my son die to heal our world. But you understand sacrifice better than anyone, Olivia. You were willing to leave your son behind, to risk your life for what you perceived to be the greater good. We're more alike than you think. BOLIVIA DUNHAM: I don't understand how killing billions of people could possibly be in the interest of the greater good. SECRETARY BISHOP: That's because you still have the luxury of your ideals. I have to be pragmatic. You've put me in a difficult position. Anyone else would be rotting away in a stockade for treason, but you are the mother of my grandson. You'll stay here for your own good until this is over. (turns the lights out and walks away)

321 - PROLOGUE Berkshire County Hospital - Waiting Bedside WALTER: (after waking from a catnap in a nearby chair. stands next to his boy and touches his brow) Peter, I’m here, son. ASTRID: (enters the private room) You’re up. WALTER: (looks at his watch and takes a pulse) Of course. I was just resting my eyes. ASTRID: How is he? WALTER: His pulse is strong. ASTRID: I just spoke with Doctor Levin. She’s planning on keeping him sedated for at least another twelve hours. She thinks the fact that his vitals are stable is a very positive sign. She’s hopeful that he’s gonna come out of this without any permanent damage. WALTER: She can’t possibly know that. Peter interacted with a machine of immense power. A surge like that could have disrupted his neural patterns, created memory deficits... Aphasia. ASTRID: Walter, let’s wait and see, okay? (upbeat) How about we go for a walk? You know, you haven’t eaten in hours. The cafeteria is just downstairs. I think I saw tapioca pudding on the menu. WALTER: (reluctant to step out) Well, I can’t deny I’m hungry. Holyoke Highway - Spontaneous Lightning (a family drives in moderate traffic through Massachusetts farm country. the teenage son sits in the backseat, listens to music on his headset, watches the odd weather, then notices as the hair on his forearm stands straight- up) NATE: Hey Dad, something weird is happening. GARY: What’s up, Nate? KARA: Are you feeling sick? NATE: No, I -- (a bolt of lightning hits the SUV in front of them and it flips onto it's roof and slides) GARY: (after stopping) What the hell was that? (electrical bolts strike around the vehicle) KARA: Ah! (her husband backs the vehicle away where they initially stopped. turns to her son) Are you okay, Nate? NATE: I think so. GARY: It’s okay, buddy. It’s over. You wait here. I’m gonna take a look. (prepares to walk forward toward the accident scene) KARA: (concerned) Gary, no. GARY: You’ll be safe in the car. Just stay down, don’t touch anything. (jogs up the hillside to the overpass. finds a damaged vehicle. looks out over the score of vehicles stopped on the roadway. electrical bolts repeatedly strike the roadway and nearby fields) ACT I Remote Base - Sam's Assessment SAM WEISS: (standing in the hangar bay studying the large weapon) It wasn’t supposed to happen this way. OLIVIA: What do you mean - 'this way'? SAM WEISS: It’s already on. OLIVIA: Yes, it’s been on for the past thirty-two hours. SAM WEISS: So how can that be? This doesn’t make sense. OLIVIA: Walter thinks that the machines are quantum entangled and that this machine was triggered when they activated theirs on the other side. SAM WEISS: Even so, how did they turn it on in the first place? This machine was built for Peter. Only he can operate it. OLIVIA: Well, he tried, but the machine sent him flying. SAM WEISS: (throws pen at it and watches as it deflects and buries in nearby piece of equipment) It’s hot-wired. It’s tricked into thinking he’s already inside. That’s why it’s repelling anyone or anything trying to enter. OLIVIA: So you’re thinking that it’s malfunctioning. SAM WEISS: What I’m saying is it’s frustrated... in a manner of speaking. That’s why you’re seeing all this damage out in the world. It’s not a Doomsday Device, but it’s acting like one. OLIVIA: Okay, so how do we stop it? SAM WEISS: In case of emergency, break glass. (unrolls an ancient scroll) I believe there’s a way we can disarm the force field and let Peter in safely. OLIVIA: Okay, I read the First People book cover to cover and there’s nothing in it about that. SAM WEISS: Not in your book. This is the manuscript the books are based on. These pages were never published. OLIVIA: Okay, so what am I looking at? SAM WEISS: This is a box. (leafs through the document) This is the key that opens the box. OLIVIA: Well, what’s inside the box? SAM WEISS: According to this, it’s a crowbar of sorts. OLIVIA: A crowbar? SAM WEISS: Yes. It’ll pry the force field open long enough for Peter to get in. OLIVIA: And what happens if he does? Does he die? SAM WEISS: No. I don’t think so. OLIVIA: You don’t think so? SAM WEISS: As I understand it, the machine is indestructible. So if Peter gets in, he should be safe. OLIVIA: Okay, so where are these now? SAM WEISS: Come on. Berkshire County Hospital - Inspiring Walter WALTER: (walking the corridor with a cafeteria tray loaded with food) It’s a long time since I’ve seen a classic fruit cocktail. Why do you suppose that is? ASTRID: I suppose loading fruit with sugar, artificial flavors and dyes has just fallen out of favor. WALTER: That’s a shame, isn’t it? DOCTOR: (on the move behind them. to an assistant) Not a fire. It’s a freak lightning storm. I need you to call the Burn Center, see how many they can take. NURSE: (later, as victims roll in) Second-degree burns. Trauma Bay Four is prepped and ready. WALTER: (to Astrid as they watch the ranks swell) Getting worse. ASTRID: We don’t know that this has anything to do with the machine. WALTER: I think we do. BROYLES: (aprroaching the duo) I want another team on the scene and get the Governor on the line. ASTRID: Hey, what happened? BROYLES: A spontaneous dry lightning storm just outside Worcester. Twenty-five people injured in similar storms are being reported up and down the Eastern Seaboard. WALTER: Electro-static fluctuations in the atmosphere. I’m not surprised. BROYLES: (phone rings) Sorry, I have to take this. (to caller) Yes? put him through. Mister Governor. WALTER: (starts back to Peter's room) We should get back to Peter. ASTRID: Walter, this is a Fringe Event. We need to get back to the lab. WALTER: I’m not leaving him. ASTRID: Peter would not want you to sit by his bedside and do nothing. I’ll make sure that the hospital calls us. We’ll be back before he wakes up. WALTER: (firmly) I’m afraid I’m out of ideas. Forgive me if I’d like to spend my remaining time with my son. ASTRID: Well, what about Olivia? You saw how hard it was for her to leave him, but she’s out there trying to find a way to end this. WALTER: I too have tried. I went so far as to ask God for help. And how did he respond? Nothing. ASTRID: That’s your excuse? Come on now. What have you done, Walter? God helps those who help themselves. WALTER: Poor Richard’s Almanac. ASTRID: What? WALTER: (inspired) Ben Franklin. That was his phrase. 'God helps those who help themselves'. You’re right. We have to investigate. We can’t begin to neutralize this until we understand. ASTRID: Well, where are we going? WALTER: To get my kite. (starts to leave) Weiss Mausoleum - Fetching The Box SAM WEISS: See the thing is I’m not the first Sam Weiss. OLIVIA: (refers to the large stone sarcophagus they have gathered around) So which Sam Weiss is this? SAM WEISS: That’s my great-great-great-great grandfather. He was digging for mastodon bones when he discovered an ancient manuscript instead. OLIVIA: So he was the one who wrote the First People book. SAM WEISS: No, that was the fifth Sam Weiss. The third and fourth Sams spent their lives searching for the manuscript’s missing sections. OLIVIA: You’re a dedicated bunch. SAM WEISS: A machine with the power to create and destroy worlds shouldn’t be taken lightly. (prying the lid off of the tomb) Dang, this is heavy. (removes a metal container the size of shoebox) OLIVIA: Okay. Let’s go get the key. SAM WEISS: No. Maybe we shouldn’t be doing this at all. The crowbar’s not to be used unless something goes wrong with the machine. OLIVIA: Uh, look outside, Sam. Something is going wrong. SAM WEISS: The timeline’s not right. Maybe this is a cosmic hiccup. Maybe it’ll course-correct on its own. OLIVIA: Or maybe it will destroy two universes. SAM WEISS: That’s exactly my point. You know, generations of knowledge have been bestowed upon me. But no one said anything about the other side turning on the machine first. OLIVIA: Okay, Sam, I’m gonna make this really easy for you. I am armed and I want you to take me to the key now. Walter's Lab - Voltage Meter (in the grassy quad on campus, Walter wrangles a kite with sensors through the strong winds) WALTER: Ho-ho! That’s it! Come and get me! Strike me down, you sprites, you elves, you glorious blue jets! ASTRID: (monitoring the gauges covering a nearby work table) Walter, this can’t possibly be safe. WALTER: Nonsense! I’m fully insulated. Are you tracking the field strength? ASTRID: Yeah, it’s all over the place. Needle won’t sit still. WALTER: (as an electrial charge finds its' way to his hands) Ah-ha! Oh! Whoo! Whoo! What was the voltage on that one? ASTRID: Uh... (as the equipment starts to smoke slightly) I’m gonna go with 'high'. We’re not even getting any more electrical readings. WALTER: What about barometric pressure? ASTRID: (as another bolt dumps him on his backside) Walter! Oh, my God! Hey! Hey, Walter. WALTER: (revives) What happened? ASTRID: You just got struck by lightning twice. WALTER: That’s it. The missing variable. (elated) Oh, Ostrich, you are a genius! ASTRID: (tentative. genuinely baffled) Why? WALTER: Repetition, my Dear. We have to account for repetition. Pack all this up. We’re going back to the lab. ASTRID: Okay. WALTER: Haa haa. (points to the kite and the sky) Berkshire County Hospital - Suddenly Well (a life sign monitor beeps steadily. Peter's eyes open wide. he removes the electrodes and sensors attached to him as he sits-up. he checks the wardrobe, finds his personal effects, dresses and wanders into the hall, seemingly disoriented) NURSE: (answers ringing phone) ICU. We’ve got two, maybe three free beds. You’re gonna have to send some of them to General. (fails to detect Peter behind her) ER STAFF: (as chaos ensues) Please, you need to lie down, ma’am. If your daughter is here — Help! He’s not breathing! Get me the cardiologist on call. NURSE #2: (challenges the disoriented Peter Bishop) Excuse me. Sir, you alright? What’s your name? PETER: My name’s... NURSE #2: (notices his wristband) Are you a patient? DOCTOR #2: (summons the nurse) I need a crash cart in here. NURSE #2: (task saturated) Don’t move. I’ll be right back. (Peter finds his way to an exit and leaves the hospital) ACT II Pittsfield, MA - Catching A Cab PETER: (after walking the busy streets. he hails a) Taxi! CABBIE: (after his fare hops in) Where you headed, pal? PETER: 42nd and Lex, please. CABBIE: Come again? PETER: 42nd and Lex, Midtown. CABBIE: (eyeballs the man in the backseat) Are you feeling okay? PETER: Yeah, I’m fine. Why? CABBIE: 42nd and Lexington is in New York, and we are in Pittsfield. That’s a pretty steep fare. (Peter thinks. remembers he has a wallet. removes a credit card and lets the driver verify it) 42nd and Lex it is. Boston Chaos - Accessing The Museum SAM WEISS: (as he stops and parks among the emergency vehicles) Appears we’ve got another problem. The key is in there, the Whitley Museum. POLICE SARGEANT: (briefing the duo as he escorts them to the front of the museum) Mayor’s Office has us setting up safety zones at locations of all the lightning storms. OLIVIA: So what’s the radius? POLICE SARGEANT: Oh, this one’s six blocks. We’ve had bigger. Quincy, Somerville, two at Southie. I barely have enough manpower to keep up. Oh, that’s her. Museum Director. CHRISTINE ALBRIGHT: (on the phone) I don’t care if it’s the bloody Apocalypse. I’m not leaving my museum unattended. You remember what happened in Baghdad. Listen, I’ll call you back later. POLICE SARGEANT: Uh, ma’am, this is the Agent I spoke to you about. OLIVIA: (holds out official identication) Olivia Dunham, FBI. CHRISTINE ALBRIGHT: Doctor Christine Albright. SAM WEISS: (holds out unofficial identication) Sam Weiss. Patron member since ‘82. OLIVIA: Thank you so much for meeting us. Are those the floor plans? CHRISTINE ALBRIGHT: (nods) mm-hmm. SAM WEISS: (points to specific section of the floor plan) There. That’s where the key is. OLIVIA: You sure? SAM WEISS: Positive. CHRISTINE ALBRIGHT: That’s the Native American Wing. I curated those exhibits myself. There’s no key in there. SAM WEISS: I beg to differ. OLIVIA: Okay, what’s the most direct route to that wing? CHRISTINE ALBRIGHT: You mean you want to go in? You can’t. it’s not safe. POLICE SARGEANT: Battalion Commander said he’d never seen anything like it. Lightning coming out of thin air. SAM WEISS: Inside the museum? POLICE SARGEANT: Inside all the buildings on the block. OLIVIA: Okay, well, that’s a chance we’re gonna have to take. CHRISTINE ALBRIGHT: Uh, go through the front entrance. That’s the quickest route. Please be considerate. We’ve lost enough priceless artwork for one day. OLIVIA: You have our word. Walter's Lab - Another Pattern ASTRID: (approaches with a stack of papers) Here’s everything, including the latest raw data from Massive Dynamic. WALTER: Excellent. Let’s mark all the spots where lightning has struck more than once. ASTRID: Because lightning shouldn’t strike twice? WALTER: No, that’s a myth. as we know, lightning can and does strike twice, given the right conditions. but the frequency of multiple strikes, that we measure. ASTRID: You think this is gonna give us the pattern? WALTER: No, not by itself. But when we compare it to the frequency of seismic events and multiple radiation and thermal spikes... maybe. ASTRID: Okay. (starts plotting on clear overlays) WALTER: (assembles the overlays once the data has been plotted) Seismic... and radiation... and thermal. What do you see, Dear? ASTRID: These X’s line up perfectly. WALTER: And what else? ASTRID: Fringe Events seem to be clustered around two points. WALTER: (points to the separate regions) The foci. And a rift seems to be forming on the axis between them, like they’re tugging at each other. ASTRID: Walter, this is the exact location where our machine is housed. But why Liberty Island? WALTER: (suddenly realizing) Walternate. Federal Building - Convincing Broyles BROYLES: (on the phone) Do you understand what you’re suggesting? We’re talking mass panic. Do you have a contingency plan in place for that? (as Walter sets-up shop on his desk) Hold on. I’ll call you back. WALTER: Here we go. A simple visual demonstration. It’s important that you pay attention. (gently taps a clear table, magnets and iron filings) These two magnets... create a magnetic field between them. As a result, these iron filings line up in a pattern consistent with that field. BROYLES: Your point? WALTER: The two machines, they’re acting just like the magnets. Only in this case, across universes. The pull between them creating this swath of events. At one end, the hangar where we keep our machine. The other end - Liberty Island. BROYLES: The location of the Department of Defense Headquarters on the other side. WALTER: Which is where Walternate must have built his machine - there’s no other explanation. But if... (aligns the magnets) we move our machine to the same spot as theirs... we stall the pace of destruction. BROYLES: You want to move our machine one hundred miles and over water and park it offshore from the most densely populated city in the country? WALTER: (frankly) Yes. Astrid’s already working out the logistics of stable transport. BROYLES: But when the two machines are brought together, won’t that increase the intensity of events in that spot? WALTER: Yes, but it will buy us time. Olivia’s looking for a way to get Peter inside the machine. We just have to contain the damage until she succeeds and pray that Peter is ready. (soft persuasion) Phillip... I know it sounds crazy... but it’s our only viable option. Whitley Museum - Extracting The Key SAM WEISS: (approaching a clear display case) There it is. OLIVIA: The key? I don’t see it. SAM WEISS: That’s the beauty. No one can. (retrieves nearby 'war axe') OLIVIA: (soft static crackles in the air) Sam? Do you hear that? SAM WEISS: Is it the lights? OLIVIA: It’s not the lights. (loudly) Get down! (tackles him to the floor as electrical bolts shatter the display cases) Okay, you get the key. I’ll disable the alarm. (Sam grabs the stone tablet he needs. Olivia runs to the fuse panel as security fencing drops in the hallway) It’s not working. It was short circuited by the lightning. We won’t make it. (Sam grabs a large round piece of debris down the hall and knocks over a large curvy urn that rolls under the descending security fence and braces it open) OLIVIA: (in awe) Oh, my god, Sam. SAM WEISS: (matter-of-factly) I work in a bowling alley. OLIVIA: Okay, come on. (racing from the building to safety) (outside. working from the back of their vehicle) OLIVIA: That’s the key? (as he cracks the tablet enough to remove a small metallic object encased inside) SAM WEISS: Incredible. OLIVIA: Okay, so what do I do? SAM WEISS: I don’t know. I told you, the instructions are incomplete. OLIVIA: I mean, there’s nowhere for it to go. Are you sure that this is the right key? SAM WEISS: Yeah, are you kidding? My father took me to the Museum hundreds of times. Believe me, you have no idea how boring those – (the small key latches magnetically to the side of box they retrieved from the crypt) You did it. OLIVIA: Sam? (the box hums, then unrolls to a flat position, exposing another scroll inside) That’s the crowbar? I mean, what is it? SAM WEISS: (opens the scroll and studies the image on it) It’s you. ACT III Walter's Lab - Motivating Olivia OLIVIA: What does the drawing mean, Walter, and why am I in it? WALTER: (studies the scroll Sam recovered with a magnifying lense) Well, if it’s a companion to the original picture, it means that you and Peter both have a connection to the machine. OLIVIA: But why? I mean, why am I connected to it? WALTER: Perhaps your friend here could enlighten us. (turns to Sam) SAM WEISS: (adamant) No. I mean, all I know is the original manuscript is very clear on this point. The lockbox contains the crowbar. WALTER: Then the answer is unavoidable. (to Olivia) Apparently, you have the ability to turn off the force field that’s keeping Peter out and open the machine for long enough for him to get inside. OLIVIA: How am I supposed to do that? WALTER: Well, the answer lies in the drawing. Otherwise, why draw it? Oh, let’s see. (turns the scroll sideways) Uh-huh. Brain waves, it would seem. (rolls it backwards to form a cylinder) SAM WEISS: Hey... careful with that. WALTER: Uh-huh. There’s your answer. (points to the joined edges with Olivia's expanded image) Huh? You Olivia, have the power to bend things with your mind. That’s what you’re doing in this drawing, if you look at it the right way. OLIVIA: Walter, you’re not seriously talking about -- SAM WEISS: Telekinesis. OLIVIA: No. I can’t. WALTER: Yes, you can. You’ve done it before. Two years ago, David Robert Jones. She defused a bomb by turning off some light with her mind. OLIVIA: Walter, that was different. WALTER: Well, it was less advanced. Oh, I’m afraid there’s something else. Since it’s the machine on the other side that’s turned on, that’s the machine you’ll have to interact with. OLIVIA: You’re not suggesting that I need to cross over. WALTER: No. The same part of your mind that allows you to cross over contains your ability of telekinesis. They should be able to work together in combination. SAM WEISS: Control the machine over there from over here. WALTER: In theory, yes. OLIVIA: (unconvinced) No, it’s ridiculous, and even if it was possible, manipulating a light is nothing compared to manipulating the machine. WALTER: You’re right. of course. Requires a much greater degree of control. (thinking ahead) We’ll have to practice. Start on something smaller. SAM WEISS: How do we do that? WALTER: Ahh. (after moving to an inner office and loading a sheet of paper into the captured Selectric 251) This is the typewriter the other Olivia used to communicate with the other side. Like the two machines, it is quantum entangled with its counterpart. In this case, whatever’s typed on one appears on the other, which makes it the perfect means for testing your abilities. You ready to give it a try? OLIVIA: So how? WALTER: Okay, clear your mind. Look into the mirror. Imagine that you’re looking at the typewriter on the other side. Now, press those keys using your mind. OLIVIA: Walter, this is-- WALTER: Shh. Don’t expect it to happen so quickly. It’s like meditating. You need to focus on something specific. A word, phrase... and be patient. (in Peter's hospital room, a staff member finds an envelope on his empty bed and becomes alarmed an places a call. the envelope has the written meessage - 'I am going home'. OLIVIA: (after her rejoins her and sits down) Walter, maybe if you gave me some Cortexiphan. WALTER: I’m afraid at this point, it would do you more harm than good. These abilities are inside you, Olivia. You simply need to harness them. OLIVIA: Walter, I don’t know how. I never have. WALTER: I know what it’s like to feel unequal to the task required of you. To feel incapable. I’ll never be the man I was, but I’ve come to embrace those parts of my mind that are... peculiar and broken. I understand now that’s what makes my mind special. (studies her for a moment) I wish you could see yourself the way I see you. You have no idea how extraordinary you are. If you would embrace that, there’s no end to what you can do. OLIVIA: I know that you want to believe in me... and I want to believe in me... but believing doesn’t make it true. WALTER: Just try. (she concentrates again and fails) It’s okay. Take a break and we’ll try again. Hmm? ASTRID: (walks into the office) The hospital just called. Peter’s missing. ACT IV New York - Looking For Luck PETER: (stops a woman) Excuse me. Do you -- (stops a man) Excuse me. Hmm? Do you know if there's a pawn shop around here? I've been here before, but-- PEDESTRIAN: No, sorry, man. I'm -- I don't know. (continues to walk) PETER: (turns around and stops the man again) Man, I'm sorry to disturb you, but it's just it's really important. I could have sworn there was one. PEDESTRIAN: (sighs) I don't know. Uh, I think there's one over on 3rd avenue. PETER: On 3rd? Yeah. Thank you. (store door bells chime. Peter looks around the shop. store owner stops his work to entertain his customer) PETER: (points at a display) Can I see these? STORE OWNER: Sure. You a collector? PETER: I was... when I was a kid. STORE ONWER: (lays his tray of coins in front of his customer) They're all graded and authenticated. Price-wise, everything in here, five hundred and up. PETER: This one. (points and picks up a coin) STORE OWNER: Silver half dollar. PETER: It's my favorite. It always brings me luck. Walter's Lab - Worried About Peter ASTRID: (drops the phone) Walter, they searched the house. There's no sign of him. WALTER: What if he can't remember our address? ASTRID: No, Walter, let's not assume the worst. WALTER: (frustrated) Is that what you think I'm doing? Because it is a fact that Peter sustained a massive blow to the head. It is a fact that he was in a hospital less than ten hours ago. It is a fact that we haven't got the slightest clue how that machine affected him. So please do not accuse me of making assumptions. (realizes he has frustratively assaulted his colleague) I'm sorry, Astrid. ASTRID: I know you're scared, Walter. OLIVIA: Hey. Peter's credit card has been used twice in the past two hours. Eight hundred dollars to the Western Massachusetts Cab Company and six hundred dollars to a pawn shop in Manhattan. ASTRID: He took a cab to New York? OLIVIA: It appears so. Until we speak to the driver, we won't know for sure. WALTER: What would he be looking for in New York? Liberty Island - Mistaken Identity GUARD: Excuse me, you can't be here. we're evacuating the area. PETER: I know, I know, but I have to talk to my father. I have something to show him. it's really important. GUARD: And who, out of curiosity, is your father? PETER: Walter Bishop. The Secretary of Defense. Walter's Lab - Releasing Sam OLIVIA: Here. (hands over a drink) SAM WEISS: Thank you. Any word from Peter? OLIVIA: No. What you doing? SAM WEISS: Reading. That's a lie. Trying to read. Pathetic attempt to distract myself with ancient gossip. Better than thinking about what I've done. OLIVIA: Sam, you didn't do anything. SAM WEISS: I intervened. OLIVIA: I didn't give you an option not to. BROYLES: We just got word Peter's been found. OLIVIA: Is he alright? BROYLES: He's alert, answering questions. Transport's waiting for us at the heliport. OLIVIA: Well, where is he? BROYLES: Liberty Island. The machine has arrived there as well. WALTER: I'll get my coat, and some Dramamine. BROYLES: I'm afraid this is where you get off. Official personnel only. OLIVIA: Sam, whatever's happening, it's not over. SAM WEISS: Good luck, Olivia. OLIVIA: Thank you. (the bowling alley manager looks out on the cityscape while the Newton's Cradle spontaneously moves) Liberty Island - Checking Peter WALTER: Peter! What on Earth made you come here? (as Olivia gives him a hug) Are you alright, Son? PETER: There are two of you, aren't there? I think I've been confused. WALTER: (shines a light on his son's eyes and checks his blood pressure) What year is it? PETER: Twenty-eleven. WALTER: President? PETER: Obama. WALTER: Nausea, headaches, ear-ringing? PETER: No, physically, I feel fine. WALTER: And who is that woman over there? PETER: Olivia. WALTER: What's the last thing you remembered before you woke up in the hospital? PETER: I remember getting into the machine... or trying to. WALTER: Good. And do you know me? PETER: I know you're not the Secretary of Defense. The sweater's a dead giveaway. WALTER: Good. Fact that your memory's returning is a sign that your confusion is temporary. You're gonna be okay, Peter. Where'd you get this? OLIVIA: Walter? WALTER: The machine. Liberty Island - Plan Not Working BROYLES: I thought you had a plan to contain the rise in pressure. WALTER: The system wasn't designed for sudden fluctuations. BROYLES: So what can we do to compensate for that? WALTER: I'm afraid so long as the machine is on -- there's nothing we can do. Liberty Island - Telekinetic Typing OLIVIA: Oh, Peter, I was worried about you. PETER: I'm okay. Let's just figure this out. So the drawing implies that you need to use telekinesis? Is Walter sure? OLIVIA: Well, Walter's educated guess is as good as we have. Well, I mean, I tried. I concentrated on a phrase like Walter asked me to do and still nothing. PETER: Well, what was the phrase? (Astrid, disturbed by keys clacking, goes into an inner office and finds the quantum typewriter is active) OLIVIA: What do you mean it's working? ASTRID: I heard the keys tapping away. It keeps typing the same message. Are you doing that? OLIVIA: What's the message? ASTRID: Be a better man than your father. ACT V Liberty Island - Accessing The Device BROYLES: There’s a boat leaving for Manhattan in five minutes! I want all non-essential personnel on it! That means get out now! WALTER: Don’t worry. Just think of it as a giant typewriter. BROYLES: Do you know what to do? OLIVIA: I think so. BROYLES: The tremors are getting stronger. WALTER: Exponential microquakes. We’re building towards a massive event. I suspect we don’t have much time left. OLIVIA: Walter, what if I can’t do it? What if I can’t turn it off? WALTER: I have known you for a long time, Olivia, and I believe that the drawing was no accident. Whoever did it knew the same as I do. That you don’t fail. PETER: You ready? OLIVIA: No. You? PETER: No. Don’t say I never took you anywhere. You can do this. BRANDON FAYETTE: (from his laboratory in the alternate universe as his monitors fluctuate wildly) Notify the Secretary. There’s something happening to the machine. PETER: You did it. OLIVIA: Peter. I love you. PETER: Wish me luck. WALTER: Oh, dear God. Lower Manhattan - Chaos & Injury LOUDSPEAKER: All civilians proceed to evacuation route immediately. FRINGE AGENT: Agent Bishop. Agent Bishop, take cover! PETER: Fringe Division? Where the hell am I? FRINGE AGENT: Sir, you’ve been hit. Medic! I need a medic now!

322 - PROLOGUE Fringe Medical Complex - Saving Peter (Peter is dashed through the halls on a gurney with injuries from the mayhem he encountered in Lower Manhattan after he entered the Wave Sink Device - and travelled to May of 2026) EMT #1: Peter Bishop. Forty-seven years old. Shrapnel wound in the abdomen. ER NURSE: BP is 110 over 70. ER DOCTOR: Start an IV. PETER: Where am I? ASTRID: Peter, you were injured in a Fringe event. You're in good hands. It's okay, I'm right here. ER DOCTOR: (to Peter) Lie back. Just relax. (to staff) He's bleeding pretty bad here. Get me some units of his reserve blood. Start transfusion now. (to Peter) Agent Bishop, please just lie still. (to staff) Get me the U.V. cauterizer. ASTRID: It's alright, Peter. You're going to be fine. (hours later, at the reception desk) ELLA: I'd like to find out how Peter Bishop is doing. ER RECEPTION: May I see your badge? ELLA: I don't have a badge... yet. I was just promoted last week. I have a temporary barcode. Can I show you that? ER RECEPTION: Sure. (scans Ella's coded wrist and reads the results from the scanner) Thank you, Agent Dunham. Agent Bishop has been in recovery for an hour now. He should be out soon. OLIVIA: (approaching the reception area) Ella. ELLA: Peter's fine, Aunt Liv. He's in recovery. (mild embarassment) I mean, uh, Agent Dunham, ma'am. OLIVIA: You can just call me Boss like everybody else. Now, how are you? ELLA: I'm fine. I remember being in my SUV. And the next thing I knew, I was on the ground and there was Vortex Shrapnel everywhere. People are saying that it's the End-of-Dayers. OLIVIA: That's what we think, yeah. We think it's Moreau. PETER: (walking out the recovery area for reception) Hey. OLIVIA: Peter. How are you feeling? PETER: (with some pain) Ah... just like new. OLIVIA: So what'd the doctor say? PETER: Doctor says I'm fine. ASTRID: No. They said to stay off his feet for a few days. OLIVIA: See? You're pushing yourself. PETER: Moreau's out there. OLIVIA: Peter, you got to stay off your feet. This is gonna be one of those times when you say, "you were right." PETER: I'm not going to say that you were right because I've got state-of-the-art science on my side. (cheerful. cups her check) I feel fine, Hon. ELLA: Do you remember what you were saying in the field about the machine and being from the past? PETER: (to Ella) Well, I didn't say I didn't get my bell rung, but I'm doing better now. (to Olivia) Two eggs over- easy, bacon, and grapefruit juice. That's what I made you for breakfast on Sunday. ASTRID: Hey, guys. Look. (everyone turns to the large television monitor in the waiting area. response forces dash through the smoke and chaos on the streets of Lower Manhattan) OLIVIA: (shares what she already knew) There's a Stage Three tear. We've initiated Amber Protocol. (the image of the terrorist claiming responsibilty for Fringe event appears on the screen) Brooklyn Philharmonic - Electrilight Bombing (Moreau and two of his accomplices enter the empty foyer of the large theater while an operatic performance is underway and the doors closed to latecomers. Moreau puts the briefcase down that he carried in with him and moves to the door to listen to the enthralling music. Oscar removes one of the explosive devices from inside the briefcase and prepares to deploy it. A tuxedoed gentleman walks through the area after both devices have been activated and placed on the ground. he nearly walks over one of them, turns to look around and is shot twice in the chest by the third terrorist with a silenced pistol) MOREAU: (softly to his men to leave) Okay. (they hurry from the theater and at least one of the devices destroys the main interior walls of the building - and the patrons enjoying the performance) ACT I Brooklyn Theater - Searching The Orpheum ASTRID: Hey. The security firm just emailed this video. We think they gained entrance from the side fire door. OLIVIA: Okay, so how come they didn't trigger the alarm? ASTRID: It was disabled. But that's not all. We think we found an Electrilight. It must have been a dud. PETER: I believe so. We finally get to see one. Fringe Headquarters - Assistance Required ASTRID: The End of Days. Ha. That's one of my father's favorite sermons. When the world dies and a savior arrives to end the suffering and usher all the worthy into Heaven. PETER: Pass me those alligator clips? ASTRID: Of course, if my father ever met one of the kooks who's actually attempting to end the world, he'd probably kill them himself. AGENT: (hands Astrid a stack of papers) Agent. Eyewitness statements. ASTRID: (to Peter) I'll let you know if any of this is worthwhile. OLIVIA: Anything? PETER: No. Not only can I not tell you how the thing works, according to all the readings, it shouldn't be working at all. You know, there's probably only one person on Earth who can tell us how this thing functions. OLIVIA: Walter. PETER: Got any markers you can call in? OLIVIA: You think now's the time? PETER: I think it might be past time. (Peter leaves the office and heads to a high security prison. inside he is escorted to a secure conversation area then sits behind a glass panel and waits while the convict he needs to talk to is summoned. Walter walks through the barred gate on the other side of the barrier. he is barely recognizable in his orange jumpsuit, long hair, bushy beard and shackles) ACT II Federal Prison - Interviewing Walter PETER: Hello, Walter. WALTER: Must be bad if they're letting you see me. PETER: It is. WALTER: I heard a rumor that the Sun was burning out. They don't tell me much in here. PETER: The Sun is still shining. WALTER: I also hear there's been a massive increase in Kappa radiation. PETER: That one's true. A wormhole opened in Central Park, right in the center of Sheep's Meadow. Took us months but... we were finally able to Amber it over. WALTER: A wormhole shouldn't emit that type of radiation. Not unless it's a wormhole through time. PETER: Exactly right. The carbon levels were consistent with the late Paleozoic era. Two hundred and fifty million years ago. WALTER: Paleozoic. Theropods! My old self would have been fascinated with that. How's Olivia? PETER: She's fine. Thank you. I need your help. WALTER: What is it? PETER: We're not exactly sure. Some kind of light bomb. It's made by a terrorist group. They call themselves the End-of-Dayers. They use them on soft spots, trying to rip holes in the fabric of the universe. Trying to accelerate the end of days. I'm hoping if we can figure out how it's made and maybe trace the parts... we can stop them before it's too late. WALTER: Even if I could help you... I can't do it from here. I... would need my tools. My special instruments. PETER: We both know that's not going to happen. Washington, D.C. - Confronting Broyles (Peter stares at the television screen and live coverage of a large vortex draining the Thames River. he stands up when he is joined in the plush office) PETER: Senator. BROYLES: Hello, Peter. PETER: Thank you for your time. BROYLES: No need for formality in here. It's good to see you. Have a seat. You said it was urgent. PETER: It is. I assume you've been briefed about the End of Days organization? BROYLES: I'm well aware of the situation, yes. PETER: We recovered this device from what's left of the Opera House. Science Division's been trying to crack the technology, but without much luck. BROYLES: What do you need? PETER: I need Walter. I want you to grant him a temporary furlough so he can help us on the case. BROYLES: That's out of the question. I'm sorry. PETER: If we can understand this technology, we might be able to prevent future attacks. BROYLES: Consult with him in prison if you need to. That's all I can offer. PETER: Why? You worried about your reelection prospects? BROYLES: You know me better than that. I'm worried about that. (points at the television screen) The entire globe is disintegrating. We're running around putting on band-aids, and every day more people are lost because of it, and Walter was responsible. I know him. And I know his intentions weren't this. But there's not a single person out there who hasn't lost someone they love because of him. You can't begrudge the anger they feel towards him. PETER: I don't. I'm out there in the streets with them every day. And, yeah, maybe I am running around putting band-aids on it until we can figure out how to reverse the damage that's already been done. But at least it's something. And if we can figure out this technology, I guarantee you we will prevent future casualties. Phillip. If what we lost in Detroit still means anything to you... just give me one chance. That's all I'm asking. Walter's Lab - Back In Business (lights switch on) WALTER: (stares at the empty lab) Where are my things? PETER: They're all still in evidence, Walter. Don't worry. Olivia's on it. Your equipment will be here shortly. WALTER: Mm. Will Astrid be here? PETER: No. Astrid's a Fringe Agent now. We need her out in the field. WALTER: Oh. I suppose since she's no longer caring for me, she's able to (realizes his hands are chained) -- spread her wings. (whispers to Peter) May I take a look out back? My old office. MOVING STAFF: (from the main lab) Just leave him there for now. I'm not sure where he wants him. PETER: Walter. WALTER: I didn't realize how much I've missed swivel chairs. I've also missed swiveling. PETER: There's someone here to see you. WALTER: A visitor? OLIVIA: Walter. WALTER: Olivia! Congratulations are in order, my Dear. OLIVIA: What for? WALTER: The wedding, of course. OLIVIA: Oh. That was a while ago now. WALTER: This is the first opportunity I've had to give you an appropriate welcome to our family. I always did want a daughter. OLIVIA: Thank you, Walter. WALTER: (to the Fringe agent) For goodness' sake! Doesn't the word fragile mean anything to you? (the box floats and safely lands on the floor) (to Olivia) Was that you? OLIVIA: I learned to control it a few years ago. WALTER: I'm impressed. Foggy Park - Evil Plans MOREAU: So... what's the next target? SECRETARY BISHOP: The wormhole in Central Park. MOREAU: Considering your world was destroyed by a wormhole, I suppose it's fitting. SECRETARY BISHOP: Is this it? MOREAU: Followed your specifications to the letter. More than twice the yield of the device we used last night. SECRETARY BISHOP: It won't be long... 'til this world joins mine. ACT III Walter's Lab - Advanced Technology PETER: (to Walter's security detail) Boys. (to Walter) Any luck? (puts a bag of licorice on the worktable) WALTER: Afraid not. Can't make any sense of this technology. I'll continue to run diagnostics on the canister, but even if I am successful, our world is still ending. You may stop this group, but you cannot stop the inevitable. Our destiny was set the day we triggered the machine. I didn't understand until it was too late that our... two worlds were inextricably linked. Without one, the other simply cannot exist. When their world was destroyed, that was the day we sealed our fate. For all intent and purposes... that was the day we died. PETER: We don't know that for sure. WALTER: Have you seen him? PETER: Walternate? No. Nobody has. He's become a recluse. WALTER: Imagine coming over here to try to save the world... only to be stuck here when your world was destroyed. Not to mention having the same face as the most reviled man in the universe. I just wanted to say... at the trial, you spoke on my behalf... PETER: ...Walter, I'm the one who got in the machine. I'm the one who destroyed the other universe. WALTER: The courts perceived that you did it... to defend our universe. And so do I. This all began with me, and my... hubris. PETER: Walter... WALTER: ...and I just wanted to say thank you. PETER: No matter who's at fault, you are my dad. (Peter leaves the lab. Walter picks out one licorice and takes a bite.) Bishop's Residence - Family Planning OLIVIA: (to her husband busy over a hot stove) That smells insanely good. PETER: After the day we had, I figured we deserved better than takeout. OLIVIA: Hey. How you holding up? PETER: Ha. I'm doing fine. Why? OLIVIA: Well... you know Walter would always cook when he was worried about you, so... PETER: Well, of all the bad habits I could pick up from him, that's the least of them. (looks at a child's drawing on the refrigerator door) OLIVIA: Amanda from across the street gave it to us. That's you and me and the little baby that we're gonna have that she is planning on babysitting. PETER: Oh... well, I think we should get started on that right away. OLIVIA: You're really gonna use a drawing from a little girl to get lucky? PETER: It sounds so dirty when you say it like that. OLIVIA: She's a sweet little girl. PETER: You know, Hon, if you wanted to reconsider... OLIVIA: I can't say that I don't think about it. And that I don't wish things were different. PETER: Honey, people still have families. Look at Amanda. She was born into this world, and she's still happy. And the world could get better. So I still think we're gonna have a kid. OLIVIA: I hope you're right. PETER: In fact, I think we're gonna have several. Two, maybe three. A little tribe of Bishops. (the next morning the phone rings while they slumber) PETER: (answers) Hello? WALTER: (calling from the lab) I understand now. They're splitting atoms... not as an outcome goal but as a means to an end. PETER: Slow down, Walter. WALTER: The diagnostics on the canister -- they show residual traces of Strontium 90. That's a radioactive isotope. That's how they're making the Electrilights. PETER: Which means it would leave a signature. WALTER: Yes! Like radioactive breadcrumbs. They'll lead us to whoever's doing this. PETER: (to Olivia) We need Science Division to monitor current radiation tracking maps. WALTER: It'll be faster if you exclude readings inconsistent with Strontium 90. Look for spikes in the remaining data. Forest Encampment - The Key OLIVIA: This is a campground. Do you think it's even possible to split atoms here? PETER: I can see 'em making s'mores, maybe, but weapons of mass destruction? No. OLIVIA: Is this the right place? AGENT #2: The tracking system is detecting the same radioactive signature that registered on the canister. PETER: So then where's the lab? OLIVIA: (to her Agent) Okay. You keep searching. I'm gonna call this in. If you find anything out of the ordinary, I want to know. AGENT #2: Yes, ma'am. AGENT #3: (privately to Peter) Sir. We found this sitting on top of a rock. I don't know if it means anything. PETER: Thank you, Agent. AGENT #3: Sure. OLIVIA: Peter. (as he hides the key box he was handed) Maybe Walter was wrong about the radioactive signature. PETER: Yeah. I'll go back to Science Division, see if maybe something's wrong with the radiation detection sensors. OLIVIA: Okay, well, let me know if you find anything. PETER: Yeah. Will do. (gets in his vehicle and opens the key box) (in Central Park, Moreau enters the restricted Amber zone and prepares to deploy two more Electrilight devices) ACT IV Fringe Headquarters - No Respect ASTRID: (looks at someone's abandoned lunch) How come no one respects my desk? NEARBY AGENT: You're too nice. LOUSPEAKER: (alarm goes off) Team One, get ready to deploy. Perimeter breach. Sector Eight in Central Park. Walter's Lab - No Clues WALTER: This technology's ten, maybe fifteen years ahead of its time. I don't mind saying it's something I would like to have invented. I mean for peaceful purposes. Mining, maybe. OLIVIA: Walter. What about the components? WALTER: Where were these parts made? I haven't the foggiest. OLIVIA: (answers ringing cell phone) Dunham. I'm on my way. WALTER: What's wrong? OLIVIA: There's been a security breach at the wormhole. Someone in the park I.D.'d Moreau. (to Ella) Come on. Reiden Lake - Confronting Secretary Bishop (approaches his old family summer home with the key left for him to find) PETER: (answers ringing cell phone) Hello? Hello? (no response. enters the cabin with his pistol drawn and finds the man that lured him there) SECRETARY BISHOP: Hello, Peter. PETER: (puts the gun on the desk. sits in the nearby chair.) Why'd you leave me the key, Walter? SECRETARY BISHOP: I knew you'd recognize it. I couldn't just call you. PETER: Yes, you could have. SECRETARY BISHOP: No, no, no, no. Not if I wanted the proper reunion that we both so richly deserve. PETER: So letting me know that Moreau works for you -- that was your way of getting my attention? SECRETARY BISHOP: Among other things. PETER: I should have known that the Electrilight came from you. After all, Walter was the only one brilliant enough to figure out how it worked. Stands to reason that you were the only one brilliant enough to invent it. Yin and Yang. SECRETARY BISHOP: That's interesting. Interesting that you should say that -- Yin and Yang. PETER: Why are you doing this? SECRETARY BISHOP: Yin and Yang. One man broke the universe. The other man did nothing.... but have his son stolen, his life stolen, ruined. I came over here at the end on a mission of mercy to ask for help for my side. The race was lost, a race I didn't initiate. But still, I came. And you destroyed us, Peter... my son. You destroyed your own... PETER: You activated the machine on your side. You were going to use it to destroy this universe. I only acted in self-defense. SECRETARY BISHOP: Do you know what it's like... to wake up and just for a moment... think that everything is as it was? And then to realize it's not... that the nightmare you had was real. Soon everyone here will experience loss the way that all those over there did. Air, water... light, even. But you... you will experience loss the way I did. PETER: What does that mean? SECRETARY BISHOP: You destroyed my universe, son, and I'm going to destroy yours. And not all at once. Central Park - Team Immobilzed ELLA: Peter's still not picking up. AGENT #4: Agent Dunham. We spotted a vehicle parked near the perimeter breach. OLIVIA: What kind of vehicle? AGENT #4: A bus. OLIVIA: Okay. I want all tactical teams to enter the restricted area -- (a flash knocks out all of the Fringe responders. Olivia recovers first and sees a cloudy, colorful vortex drifting from the Amber mound) Reiden Lake - Duped PETER: I came here alone, Walter. To make a personal plea to you. I'm sorry for the suffering that I've caused you. I'm sorry... for destroying your people. Our people. I'm sorry for destroying our world. And if I could take back that choice... I would. But it's no excuse for what you're doing now. And it has to stop. I don't want to have to use these. But you're going to come with me now, Father. SECRETARY BISHOP: You know, Peter, if I was really there, I might not be able to resist killing you. I think this is the better way, so you can learn about loss. Let's start by killing someone you love. (Peter grabs for him and his hand pass through him. he has been talking to a holographic projection. Secretary Bishop turns of the hologram device he is using and exits his vehicle parked near Olivia in Central Park) Central Park - Olivia Ambushed OLIVIA: (on her tactical radio) We're gonna evacuate the area, try and contain the wormhole. So can you move everyone back to Sector Three? (Secretary Bishop steps out from behind a vehicle and shoots Olivia in the forehead with a silenced pistol) ACT V Olivia's Funeral - Sad Farewell PETER: Olivia Dunham... my wife... was everything to me. (later, on the ride home) WALTER: Why have we stopped? What is this, some kind of protest? ELLA: No. It's the wormhole. They're still trying to seal it up. Sergeant, when we start moving again, can we cut over and take Columbus, then we can -- WALTER: Wait. No. Turn the car around. Please... I need to get back to my lab. (back at his home, Peter sits and drinks, then drinks some more - and grieves deeply) Walter's Lab - Reconnecting WALTER: Diagnostics are almost complete. You used to call me "Uncle Walter" do you remember? ELLA: I don't remember much from before it got bad. WALTER: I'm so sorry... Ella. I understand... words can't come close to mitigating your loss. Truly, if I could go back in time and change things, I would. I would give anything to be able to go back and make different choices. ELLA: But you can't. There aren't any happy endings nowadays, are there? WALTER: No. I suppose not. ELLA: I remember the cow that stayed over there. She had kind eyes. WALTER: She did, didn't she? My Gene. I do miss her. Oh... that's it. Peter's Residence - Time Paradox WALTER: Peter, I was wrong. It's not too late. You can save both worlds. We can do it all over again. This time, you -- you simply need to make a different choice, and should something go wrong, then Olivia will be our fail- safe. PETER: Walter, stop. Olivia is dead. WALTER: But she won't be... Not then. PETER: The machine? I turned that on fifteen years ago. WALTER: And all the time I sat in prison, I - I - I couldn't figure out where it came from. I knew the pieces were buried millions of years ago, but how did they get there, so deep in the past? But now I understand. I sent them there. The wormhole in Central Park -- I sent them back through time. Peter, you can stop the destruction before it occurs! PETER: If that's the case, just don't send the machine back. Then we'll never discover it, and I'll never destroy the other universe. WALTER: No, no, no. It doesn't work that way. I have already done it. Therefore, I have no choice but to do it again. PETER: Walter, that doesn't make any sense. WALTER: It does. It's a paradox. I can't change what happens because it's already happened. But you can make a different choice within what happened. I simply need to find a way to bring your consciousness forward to now so that you can witness what will happen if you make the same choice. Peter, for all I know, it could be happening already. Don't you see? We can fix everything. We can cheat the rules of time. PETER: Imagine the repercussions. WALTER: There's no way of telling what the cost might be. But it can't be worse than this. It can't be worse than this. PETER: What would I need to do? Liberty Island - Stress In The Device (current times) OLIVIA: Walter? What's happening to him? WALTER: His heart rate's going up -- 156 and climbing! OLIVIA: What's it doing to him? WALTER: I don't know. BROYLES: It's been sixty seconds now. How much longer are we gonna let him stay inside that thing? WALTER: Peter has interfaced with the machine at a biological level. If we take him out prematurely, I'm afraid we'll harm him. ACT VI Liberty Island - SecDef Outsmarted SECRETARY BISHOP: What is it? BRANDON FAYETTE: Sir, it just started sixty seconds ago. SECRETARY BISHOP: What started exactly? BRANDON FAYETTE: The machine -- something is happening. The diagnostics are through the roof. Look at this -- the soft spots -- they're not closing. They're getting worse. SECRETARY BISHOP: Bring me Olivia Dunham, now. BOLIVIA DUNHAM: I don't understand what you're asking me to do. SECRETARY BISHOP: The drawing suggests that you have a connection with the machine... that you can stop it, that you can turn it off. BOLIVIA DUNHAM: They outsmarted you, didn't they? They know you turned the machine on. So they put Peter in theirs... and now we're the ones that are gonna get destroyed. Liberty Island - Pulled Together WALTER: Something's wrong! OLIVIA: Help me, quick! Come on, let's move it! Peter. PETER: Olivia... you're alive. OLIVIA: Are you doing that? PETER: I understand now. Walter? Walter! I understand now. I understand what the machine does. I know what it's capable of, and I know where it came from. WALTER: The First People? PETER: Yes, The First People, Walter, but The First People are us -- you, most specifically and maybe Ella and Astrid -- I don't know. I don't know who it was that took the machine back through time. But I know something else. I've seen Doomsday, and it is worse than anything you could possibly imagine. This isn't a war that can be won. Our two worlds are inextricable. If one side dies, we all die. So I've torn holes in both the universes and they lead here, to this room. A bridge so that we can begin to work together to fix -- SECRETARY BISHOP: You shattered my universe. You have any idea how many deaths you've caused? WALTER: That was an accident. What you have tried to do you've done on purpose! OLIVIA: Whatever you've both done, we're here now. So maybe it's time we start to fix it. Liberty Island - A Parliament Of Observers DECEMBER: You were right. They don't remember Peter. THE OBSERVER: How could they? He never existed. He served his purpose.