Seasonfour WINTER Bundle

PROLOGUE Campus Residence - Waking Dream PETER: (walks from the bedroom toward the kitchen. yawning) Walter? WALTER: Your waffle machine isn't working properly, Peter. So instead... PETER: You're talking to me? I don't understand. WALTER: (holds plate of food up to smell) Chocolate chip and banana pancakes. What could be clearer? Sit. (Peter sits) OLIVIA: (slips up behind Peter) Good morning. (then around front for a kiss) Good morning, Walter. (a kiss for him too) I thought you were making waffles. PETER: The waffle iron is broken. OLIVIA: Oh, but you were so looking forward to them. (returns to the table and sits) PETER: It's okay. This is fine. (genuinely delighted) Being back, with the two of you... this is very, very fine. WALTER: Don't worry, son. I'll get this infernal machine working. (holding the waffle iron) Then we can have waffles every day. I just need to adjust... (drops the waffle iron on the floor) PETER: (the loud thud of the appliance hitting the floor rousts Peter from the catnap he was having at his desk) Walter. (gets up and leaves) Walter's Lab - Reluctance WALTER: (after blowing air across several small pinwheels mounted before him) It's incredible. Astrid, come quickly. You've got to see this. The pinwheel with the metallic qualities is spinning against the flow of air, completely violating the law of physics. (as a large box is set on the table) Oh... pastries-- how nice. Thank you, Astrid. (steps back, intimidated when he sees he is not talking to Astrid) PETER: Hello, Walter. I have to talk to you about the machine. Walter... the machine was powerful enough to pop me out of my timeline. And I think it's the only thing that can get me back to where I belong. You built the thing. You're the only person who can help me reconfigure its matrix. WALTER: That machine is staggeringly dangerous. It's capable of destroying universes. PETER: I know. And maybe I am, too. I have tried to respect your boundaries. I have stayed away, Walter. But I’ve got to get home now. And you're the only person who can help me do that. (sternly) I have been separated from my family. And you of all people should understand how desperate I am to get back. WALTER: (sits and remembers a terrible day) The water was still running in the sink. She must've come to her decision while she was washing the dishes. PETER: What? WALTER: I knew almost immediately... even before I found the body. The car's engine was still running. There was no note. (somber) There didn't need to be. We had just lost our only child. I should have mourned with her... been there. But instead I let her grieve alone so that I could focus on finding a way to the alternate universe to save someone else's child. My actions caused the death of my wife... unspeakable damage to two universes. I lost my career... and my sanity... all because I tried to help another Peter. (ominous) I may be the only man that can help you, but I’m also the only man that cannot help you. Olivia's Apartment - Covert Planning PETER: (after knocking) Your office told me you were on leave. You okay? OLIVIA: Uh, yeah, it's -- it's just a migraine -- I think exhaustion. Broyles told me to take the day, rest up. What are you doing here? PETER: I need to ask you a favor. You mind if I come in? OLIVIA: Uh, sure. Please. (closes door, sits in living room) PETER: I need you to ask Broyles to get me permission to use the bridge so I can cross over into the alternate universe. OLIVIA: Why would you want to cross over? PETER: Because I think the machine is my best chance of getting home. And Walter created it, but clearly he's not gonna help me recalibrate it, so I’m hoping that Walternate will. OLIVIA: Walternate is an untrustworthy sonnuvabitch who is responsible for sending Shapeshifters to our universe. So what makes you think that he'll help you? PETER: I really don't have any other choice. OLIVIA: Okay, in any case, Broyles isn't gonna let you near that bridge. I mean, you may have gained some trust here, but to him, you're still an unknown entity. Besides, Peter, they don't know that you exist. And Walternate is their Secretary of Defense. I mean, how are you gonna get to him at the D.o. D.? (answers another knock at front door) AGENT LEE: Hey. OLIVIA: Hey. AGENT LEE: I brought you some chicken soup. I thought maybe you could use a little... (steps inside) company... which I see you already have. PETER: Him. AGENT LEE: Me. PETER: You're how I’m gonna get into the D.o.D. On the other side, Fringe Division reports directly to the Secretary of Defense. Their lead agent... OLIVIA: Is Lincoln Lee. Yeah, that could work. PETER: I think it will work -- all I need is a way to get over to the other side. AGENT LEE: I'm sorry. What are we talking about? OLIVIA: Here it is. (hands-over paperwork) PETER: A Massive Dynamic requisition form? What's Item 317? OLIVIA: It's Walter's portal device -- the one he used to cross over in 1985. PETER: That's at the bottom of Reiden Lake. OLIVIA: Well, maybe where you're from, but Massive Dynamic recovered it years ago. It's been in storage ever since. PETER: And you just happened to have this handy? OLIVIA: I've been thinking about crossing over myself, doing a little recon. PETER: Well, what do you even need Walter's device for when you can just cross back and forth anytime by yourself? OLIVIA: When I can what? AGENT LEE: Smart-- you were gonna go over there off-grid, find out what the shapeshifters are after. OLIVIA: See if I can expose Walternate's entire agenda. Peter's just given us a way in. PETER: Whoa, whoa. No, that's not at all what we're about to do. Look, I understand that you guys are dealing with real and present dangers from the other side, but if we go over there and you get busted, there's no way that Walternate's not gonna think that I’m involved. I'm gonna lose the best chance that I have to get back to my timeline, to my people. You got to understand that. OLIVIA: Of course. (capitulates) Getting you home is a priority for us as well. So right now this is about you. Lincoln and I will secure a van and collect the device from Massive Dynamic. PETER: Alright, then. Let's go get our ride. (leaves) AGENT LEE: You got something on your mind? (privately) OLIVIA: Yep. Terminal Theft - Fatal Error (waiting at the entrance to the restrooms of a large urban transportation hub) MOM: Honey, you sure you don't want me to come in with you? SON: Yeah. MOM: Okay, well, I'll be right out here if you need me. SON: (enters the lav and hears brutal struggling in one of the stalls. runs from the restroom) Mom! MOM: Excuse me, officer. (taps the shoulder of a uniformed officer on duty) There's some inappropriate behavior going on in the men's restroom, and my eight-year-old was just subjected to it. COP: (marches into the restroom) Alright, Transit P.D. Come on out of there. (opens the stall door and comes face-to-face with a transitioning shapeshifter that races from the area. leaving the corpse, the officer dashes after the suspect, leaves the building and watches as the shapeshifter runs effortlessly over a tall bus. the jump into traffic proves fatal as another large vehicle strikes, and kills the mutant) ACT I Liberty Island - Research Change INTERCOM: Mister Secretary, Brandon Fayette is here to see you, as requested. SECRETARY BISHOP: Send him in. BRANDON FAYETTE: (enters carrying a small container) Mister Secretary, I was told you wanted me to bring you the shapeshifter tech. SECRETARY BISHOP: You've been working on this for several weeks. How much longer will it take? BRANDON FAYETTE: I'm not sure. But I’ve identified a signal that we might be able to trace. (confident) If I’m right, it should lead us to whoever's responsible for these new shapeshifter prototypes. SECRETARY BISHOP: I want you to forward me your diagnostic protocols. And leave the disk with me. I'll handle the back-trace myself. BRANDON FAYETTE: Sir, are you sure? I feel I’m close. I would like to see this -- SECRETARY BISHOP: (curt) I shouldn't have to remind you that I am also a scientist. I'm perfectly capable of completing the task. BRANDON FAYETTE: No, sir. Of course. SECRETARY BISHOP: I'll send for you if I need anything else. (studies the new tech) Terminal Investigation - Contrary Orders BOLIVIA: So the guy scales the bus and then jumps thirty feet off its roof. LINCOLN LEE: That's what the witness report said. (looking at the thing in the bodybag) Gets a 9.5 for the attempt, but he failed to stick the landing. ELIAS KANE: (approaching with an armed military detail) May I have your attention, please? All Fringe Division and ancillary personnel are required to withdraw from the area immediately. LINCOLN LEE: Excuse me. Want to tell me what you think you're doing? ELIAS KANE: I'm Sergeant Elias Kane, Department of Defense. This investigation is now under the jurisdiction of Military Command. BOLIVIA: The hell it is. On who's orders? LINCOLN LEE: Secretary of Defense. Alright, everybody! Pack it up, clear it out! BOLIVIA: What, you're just gonna let that happen? LINCOLN LEE: It's out of our hands. BOLIVIA: We work for the D.o.D., too. Why would Secretary Bishop remove us from what is clearly a Fringe case? LINCOLN LEE: Ours is not to question why, ours is just to get the hell out. (leaves the scene) Road Trip - Brooklyn Visit OLIVIA: (answers hands-off cell call while driving South through Connecticut) Dunham. AGENT LEE: (on speaker) I was able to get the equipment. I'll meet you at the theater. OLIVIA: Great. We'll see you there. (ends call. To Peter) Now, what makes you so sure that there's a soft spot between universes in this place? PETER: Well, we've used it before... in another timeline. We're still about forty miles out. OLIVIA: (checks remaining mileage of new, eco-friendly electric vehicle) It's fine. We've still got plenty of range. (after they arrived in the theater and start setting-up equipment onstage to create a portal) PETER: You alright? OLIVIA: Yeah, I’m okay. PETER: You know, you really don't have to be here. OLIVIA: No, we have an arrangement. If something happens and you two can't get back, I have to be here to let Broyles know. AGENT LEE: (walks out after changing from his FBI business suit to Fringe Division garb consistent with his alternate universe counterpart) So this look about right? PETER: Yeah, you look good. OLIVIA: (approaches Lee. plucks his hair to match his counterpart. whispers so Peter won't hear) Okay. You're clear on everything, right? What you need to do? PETER: Are you ready? AGENT LEE: (walks to the threshold of the portal that will soon appear) Just out of curiosity, um... if this thing closes while I’m still crossing through, what happens? PETER: (as the portal powers-up) It'll cut you in half. I killed a guy like that once. Don't worry. He was a bad guy. Olivia, thank you. I owe you one. (steps through) OLIVIA: (to Lee) Good luck. PETER: (to Lee after he steps through and the portal has been closed) You okay? AGENT LEE: (personal inventory check completed) One piece. Fringe HQ - Intrusion Noted AGENT FARNSWORTH: (calling to her supervisor as sensor alarms sound a warning in the Situation Room) Colonel Broyles, sensors detecting a Class-Three Breach. COLONEL BROYLES: That's impossible. (rushes to the monitors) We haven't had any degradation since the universes were linked. AGENT FARNSWORTH: Nonetheless, sir, redundant systems are confirming a breach at an opera house in Lower Brooklyn. COLONEL BROYLES: Where are Agents Lee and Dunham? AGENT FARNSWORTH: En route to H.Q., ten minutes out. COLONEL BROYLES: (quickly. urgent) Notify them of the breach and redirect them there. And dispatch an Amber Team to meet them. AGENT LEE: (leaving the theater that just got tagged as a Class 3 Breach) This place isn't all that different from our -- (tongue-tied at the sight of the twin World trade Center towers filling the skyline) PETER: (all business) Hey Scarecrow, come on. The flying monkeys are coming. Liberty Island - Disk Retrieval SECRETARY BISHOP: (escorting his military detail with a bodybag on a gurney) Thank you, gentlemen. Bring the body in here. BRANDON FAYETTE: Sir, may I ask what's going on? SECRETARY BISHOP: Nothing to concern yourself with. I need you and your staff to vacate the lab until further notice. Sergeant Kane, please stand guard at the door. Make sure no one disturbs me. (unzips the body bag and cuts into the corpse with a scalpel. he reaches inside the cadaver and retrieves another high tech disk to add to the collection) ACT II Secure Dock - Gaining Access (approaches the sentry posted at the foot of the pier for the ferry commuter to Liberty Island. Peter's hands are restrained behind him) AGENT LEE: (handling Peter by the scruff) How's it going? CORPORAL WHEELER: Agent Lee, good to see you again. AGENT LEE: I've got a prisoner here I need to transport to Liberty Island. CORPORAL WHEELER: (checks log) I don't have any transport order. AGENT LEE: (lowers tone) No, you wouldn't. Secretary Bishop wants to keep this one off the books -- keeping it quiet for security reasons. (indignant) You think I’m making this up? CORPORAL WHEELER: No. Not at all, sir. I can call up the SecDef's office to clear it up. AGENT LEE: Sure, you speak to somebody there. They clear it with someone else, who clears it up the chain. That's at least three people you just included in a classified interrogation. (mocking) You go right ahead. It's your ass, not mine. CORPORAL WHEELER: I see what you mean. You know what? I'll send for the ferry. AGENT LEE: Good idea. CORPORAL WHEELER: I just need your "Show Me." AGENT LEE: Yeah, uh, about that... I had to jump into the East River to catch this scumbag. Must've lost it in the drink. CORPORAL WHEELER: That's fine. Your handprint will do. (holds out biometric scan pad for Lee's palm print) The ferry should be at the pier shortly. (Lee grabs Peter scruff and walks toward the loading area on the dock) Agent Lee... I'll go ahead and report your "Show Me" lost. AGENT LEE: (stops. looks back)) Thanks. (continues walking) PETER: (smartly) I'm impressed -- quite a knack for deception. Opera House - All Clear LINCOLN LEE: (over tactical comm) Colonel... we checked our readings again. They're still negative. If there was any kind of degradation here, it's gone now. COLONEL BROYLES: (listening from the Situation Room) Copy that. The breach is no longer registering here either. LINCOLN LEE: Looks like a false alarm. Maybe there was a glitch with the sensors? COLONEL BROYLES: Maybe. Recall your team and report back to H.Q. LINCOLN LEE: (after the transmission) Dreaming of a life in the theater? BOLIVIA: (still focused on earlier events) You know, that body at the bus terminal -- his face was pretty messed-up. LINCOLN LEE: (humorously) The guy was pancaked by a bus. BOLIVIA: I mean his features. They didn't add up. They were all mismatched. His hair, his eyes-- one blue, one brown. LINCOLN LEE: Okay. BOLIVIA: Well, you add that to the fact that he ran up the side of a bus, then jumped ten yards and landed on his feet. I think he might've been a shapeshifter. LINCOLN LEE: You mean those human shapeshifters the other side's accusing us of sending over. (ponders the concept) Okay. Well, I guess once the D.o.D. Confirms that with the autopsy, Secretary Bishop will let us know. BOLIVIA: (leaving the building for the SUV) Unless he doesn't. I mean, their Olivia said that she believed he was responsible for these new shapeshifters. LINCOLN LEE: Since when do you listen to anything they have to say? You said yourself she's a paranoid who doesn't trust anyone. BOLIVIA: Yeah, that doesn't mean she's not right. I mean, think about it. What if the Secretary had us removed from the crime scene so that he could cover up his own involvement? LINCOLN LEE: Now who's paranoid? (hops into the driver's seat to start the vehicle) Okay. Why won't the car start? (data monitor indicates his identification was reported missing by Liberty Pier security) Lost? I never reported it lost. BOLIVIA: They said the report came from the D.o.D. checkpoint at the pier. CORPORAL WHEELER: (answer call on his earpiece while standing sentry at Liberty Pier) Checkpoint Five, Corporal Wheeler. LINCOLN LEE: Wheeler, this is Agent Lee. I understand somebody there reported my "Show Me" lost. CORPORAL WHEELER: Agent Lee? (turns to verify that the Lee he granted access to is still on the pier) Secure Dock - Plot Foiled PETER: (standing and talking while waiting for the ferry boat) Once I get in to see Walternate, you should probably take off, head back to the opera house before they figure out you're not who you say you are. AGENT LEE: You've been there before, their D.o.D. It was in your debrief with Broyles after you showed-up. PETER: Yeah, Walternate wanted to keep me close when I was working on the machine. AGENT LEE: In his secure room. You said that's where he kept his classified files. If you worked in it, you must know how to get into it. PETER: (growing suspicious) Why are we talking about this, Lincoln? AGENT LEE: Just tell me where it's located, Peter. PETER: (disappointed) Oh, I don't believe this. AGENT LEE: You don't have to be involved. PETER: (angered) Of course they're gonna think I’m involved! You're about to ruin the best chance... AGENT LEE: I didn't come this far... to go back empty-handed! PETER: That I have to get back home! LINCOLN LEE: (approaches with team and weapons drawn) Don't move! Put your hands behind your head! PETER: Just give me a chance to explain. Look, I know how this looks, but it's a misunderstanding. LINCOLN LEE: Agent Lee, I presume. PETER: We can straighten this out. I have to talk to Secretary Bishop. BOLIVIA: (meeting for the first time) Who the hell are you? Liberty Island - Briefing The Boss SECRETARY BISHOP: (at work on the shapeshifter technology in Doctor Fayette's lab. answers the intercom beep) Yes? COLONEL BROYLES: (calling from his office) Mister Secretary, it's Colonel Broyles. Sorry to disturb you, but you need to know there's been an incursion from the other universe. We've apprehended two men who were on their way to you. One is their Fringe Division's Lincoln Lee. The other man... he claims to be Peter Bishop, your son. SECRETARY BISHOP: My son? COLONEL BROYLES: That's what he said, sir. We'll attempt to ascertain his real identity once we have them in custody. Agents Lee and Dunham are convoying the prisoners back to Fringe H.Q. now for questioning. Do you want me to contact the other side... demand an explanation? SECRETARY BISHOP: (uncharacteristically somber) No. Tell them nothing until you've had a chance to interrogate these men. And keep me informed with what you learn. ACT III New York Streets - Escape Ruse PETER: (sitting in a prisoner cage in the back of a Fringe Division vehicle driving uptown) This was Olivia's idea, wasn't it? AGENT LEE: Doesn't matter much now, does it? PETER: Yeah, it matters to me. I thought I could trust you two. AGENT LEE: I get it, Peter. You want to go home to your people. Well, we are fighting for our people. Whatever these shapeshifters are up to, we have to stop them. Sorry if I thought you wanted that, too. PETER: It's not my fight. MURPHY: (driver answers his earpiece) Agent Murphy. (listens) Affirmative, sir. As a matter of fact, I have them in my transport right now. (listens) Alright, sir. I understand. (swerves from convoy onto an intersecting street) LINCOLN LEE: (watches in rearview mirror as the convoy disperses and traffic snarls) What just happened? We lost the transport. (skids the vehicle through a U-turn to pursue) BOLIVIA: (on tactical comm) Agent Murphy, Agent Cole, do you copy? Agent Murphy, Agent Cole, respond. Hey! COLE: (hears call from lead vehicle) Murphy, what's going on? (is shot once in the chest by Murphy) BOLIVIA: Transport One, this is Dunham. (as Lincoln swerves in and out of traffic congestion) Do you copy? Agent Murphy, come in. LINCOLN LEE: (on comm to HQ) Agent Farnsworth, where is the locate on that prisoner transport? AGENT FARNSWORTH: (over comm link) Still looking. Stand by. MURPHY: (screeches to a halt in a back alley) Get out. The cuffs -- take 'em off. PETER: You trying to make this look like an escape attempt, like we're the ones that killed your partner? MURPHY: Your turn. Let's go. PETER: That call you got -- was that from Secretary Bishop? Did he tell you to do this? He's making a mistake. I just came here to talk to him. He doesn't understand why I’m here. MURPHY: It doesn't matter why you're here. I have my orders. (aims pistol at Peter's chest. distracted by gunfire from Cole. Peter wrestles with him. Lee knocks him to the ground, grabs the pistol and shoots him) PETER: We got to get out of here, now. Give me the gun. Give me the gun! We're doing this my way now. AGENT FARNSWORTH: (watching tracking software on her monitor) You're a hundred meters from the transport. Wait. They're on the move again. BOLIVIA: What? AGENT FARNSWORTH: Take the next alley. There are two transponders still in the alley. BOLIVIA: (to Lincoln) Okay, you let me out. You stay with the transport. (dismounts as Lincoln races after the errant vehicle. over comm channels) We've got two agents down. DISPATCH: All units, the suspects are headed North down the alley by Franklin and Broadway. LINCOLN LEE: (after blocking in Agent Lee) Out of the vehicle, now! On the ground. (searches the vehicle) BOLIVIA: (after the two Lee's return to the back alley) So where is he? AGENT LEE: I have no idea. I told you, he ran. LINCOLN LEE: (shares the latest intel) Agent Murphy's 'Show Me' was used at the Canal Street subway turnstile twenty minutes ago. BOLIVIA: So you led us on that little diversion so your friend could get away. LINCOLN LEE: Broyles put his description out to Transit and Metro P.D. He won't get far. You and your pal murdered two Fringe agents. Every cop in the city is gonna be looking for him. AGENT LEE: Right. That's what happened. We came all this way to kill two Fringe agents. (snide) That's brilliant. No wonder you're a detective. LINCOLN LEE: Makes a hell of a lot more sense than Agent Murphy shooting his own partner, then trying to kill you two because somebody called him up and ordered him to do it. BOLIVIA: So who on our side would want you dead? AGENT LEE: Your boss... the Secretary of Defense. LINCOLN LEE: (counter-snide) So, clearly, in the other universe, I’m a nut job. BOLIVIA: What makes you so sure that it was the Secretary on the other end of that call? AGENT LEE: Our universe has been infiltrated by shapeshifters from your side. They've killed a lot of people, including a friend of mine for -- for reasons I still don't understand. And your Defense Secretary's behind them. He's obviously got people inside your Division working for him. You take me in, he's gonna see to it I disappear. Trace the call. You trace the call that was made to Agent Murphy. If it leads back to Secretary Bishop, you know I’m right. LINCOLN LEE: If our Division's compromised, why trust us? AGENT LEE: Because of her. Peter said I could trust you. BOLIVIA: He doesn't even know me. AGENT LEE: (earnest) Peter said at the end of the day, you're a good person. You'd do the right thing. LINCOLN LEE: (pregnant pause) Liv? BOLIVIA: We'll sort it out at Headquarters. Bishop Residence - Meeting Mom ELIZABETH BISHOP: (arrives home and parks in the driveway. grabs the groceries, goes in the house, tosses everything on the counter, starts snacking and unpacking. notices the sliding door to the back is open, nits the silent alarm and grabs her purse to leave. is startled when she is intercepted at the front door) Oh, gawd! PETER: (extremely apologetic) I’m sorry. I'm not here to hurt you, I -- ELIZABETH BISHOP: (offers her wallet) -- I have money. Just take -- PETER: Oh, no, you don't understand. I just need to speak with your husband. It's very important. ELIZABETH BISHOP: (studies his face and his manner. thinks she knows who she is talking to) Peter? ACT IV Bishop Residence - Arresting Peter ELIZABETH BISHOP: (sitting opposite one another. maternally close) Over the years, my husband has opened my mind to things that I never thought possible. And still, I never thought that... but as soon as I looked into your eyes, I knew. (caresses his cheek) They, um... they told me that you died... the night that you were taken from me. PETER: And they told you the truth. I'm sorry, Elizabeth. I'm not the Peter that you think I am. I'm from another place. It's all very complicated. But I have people there that I care about very, very deeply, and I have to get back to them. ELIZABETH BISHOP: (candid) That's what got me through it, you know? I told myself that if another universe exists -- and there's got to be more -- then somewhere... you would grow up and be happy and... and fall in love. (bittersweet) Somewhere you would have a life... just -- just not here. PETER: That's why I came here. It's why I need to speak to Walter. He's the only person who can help me. ELIZABETH BISHOP: Yeah, of course. If -- if your father -- if Walter knew that you were here, he would do everything he could to help you. He's, um... he's at work. (stands to get the phone) I’ll call the office. PETER: Oh, no. No. No, I - I'm sorry. You can't do that. You can't let anybody else know that I’m here. When I first crossed over, people who worked for your husband tried to kill me. ELIZABETH BISHOP: What? Why would anyone try to -- PETER: I don't know. But clearly someone thinks that my being here is a threat. ELIZABETH BISHOP: Then, Peter... we need to protect you. Walter has to know about this. PETER: I think that he already does. (vehicles rush into the driveway) ELIZABETH BISHOP: (remembers her initial reaction to his intrusion) The alarm. Oh, god, I’m sorry. Before I knew it was you, I - I hit the alarm. Peter, why have you got a gun? SOLDIER: Mrs. Bishop. ELIZABETH BISHOP: Give me the gun. SOLDIER: Mrs. Bishop. ELIZABETH BISHOP: Peter, if you don't give me the gun, they will shoot you. SOLDIER: Mrs. Bishop, are you alright? ELIZABETH BISHOP: (sincerely) I won't let anything happen to you... not this time. Okay, don't shoot. SOLDIER: (rushing through the door with a squad) That's him. Hands in the air! ELIZABETH BISHOP: Okay, don't shoot! (stands in front of Peter) Don't shoot! SOLDIER: Mrs. Bishop, step away. This man is dangerous. He's killed two Fringe agents. ELIZABETH BISHOP: No, anyone who fires on this man will have my husband to answer to. A mistake has been made. I need your men to transport us to the Department of Defense. (let's the impact of her promise soak in) You heard me. We are going to see my husband. SOLDIER: He'll have to be restrained. ELIZABETH BISHOP: That's fine. (as Peter is cuffed) Walter will straighten all this out. You'll see. (the group leaves the house) Fringe HQ - Private Prisoner AGENT LEE: (as he is cuffed to a vertical pipe in a utility room) What the hell is this? LINCOLN LEE: This is where we're holding you. AGENT LEE: It's a maintenance closet. LINCOLN LEE: That's very astute. (snarky) No wonder you're a detective. BOLIVIA: We looked into Agent Murphy's phone logs, and he did receive a call just before the vehicle disappeared from the convoy. AGENT LEE: Like I said. BOLIVIA: We're gonna trace the call, and if it leads back to the Secretary of Defense, then we can talk. If not, this isn't the last windowless room you're gonna find yourself in. LINCOLN LEE: Make yourself comfortable. Nobody knows you're here but us. (after leaving the closet and closing the door) We're breaking about five different General Orders right now. I hope you know what you're doing. BOLIVIA: Me too. Liberty Island - Meeting Peter ELIZABETH BISHOP: (with security escort in-tow. marches in to her husband's office and directly to his side) Walter. It's Peter. It's a miracle. SECRETARY BISHOP: Of course it is. (calmly. to Peter) I've dreamt about this moment for so many years. And now you're actually here... standing in front of me. Take these restraints off him. SOLDIER: Sir -- SECRETARY BISHOP: Take them off. And then leave us. PETER: I know... I know that you don't want to hear this right now, Secretary Bishop, but... I'm not your son. SECRETARY BISHOP: I know that. How could you be? ELIZABETH BISHOP: He came to ask for your help. I promised him you would. SECRETARY BISHOP: Would you leave us for a moment, Elizabeth? ELIZABETH BISHOP: I -- SECRETARY BISHOP: I'd -- I'd like to speak to Peter alone. Just a few moments, please, dear. ELIZABETH BISHOP: (uncomfortable with the request) Alright... alright. (stops at Peter's side on her way out) PETER: (softly) Thank you. (after she leaves. to Bishop) I must say, that was a brilliant performance. You almost looked genuinely surprised to see me, which we both know is not the case. SECRETARY BISHOP: I've known about you for some time. (removes a handheld gizmo from a secure box on his desk) I've been monitoring the intelligence feeds from the other universe. PETER: Yeah, if by 'monitoring' you mean 'spying'. SECRETARY BISHOP: You have a very ill opinion of me. PETER: (slowly pacing the room as the gizmo is powered-up) Where I’m from, I know you all too well. SECRETARY BISHOP: Really? What do you know? PETER: For starters, I know you've already tried to have me killed once today. SECRETARY BISHOP: And why would I do that? PETER: I don't know, Walter. Maybe you see me as a threat. They know that you created the human shapeshifters. And they know that you're responsible for sending them into the alternate universe, in violation of your accord with them. WALTER: So you have come all this way to bring me to justice. PETER: No. Whatever disagreements there are between this universe and theirs are none of my business. I'll tell you exactly what I told them. It is not my fight. All I want is your help to get me back where I belong... to get me home. If you want to get rid of me, just help me. SECRETARY BISHOP: If you believe that I am to blame for all those terrible things, your decision to come here must've been difficult. PETER: I didn't really have any other choice. SECRETARY BISHOP: I see. Well, no one knows more about the burden of difficult decisions than I. BRANDON FAYETTE: (enters the office) Sir, Sergeant Kane said you wanted to see me. SECRETARY BISHOP: Doctor. Come in. Doctor Fayette, this man is from the other side. He is making serious accusations against me. He believes, among other things, that I am responsible for the shapeshifters that are plaguing the other universe. Now, you are my Chief Scientist. You know me and my operation better than anyone. Is it possible? Is there any way that what he is saying could be true? BRANDON FAYETTE: I don't see how, sir. I examined the shapeshifter tech in detail. I saw nothing to indicate you had anything to do with it, sir. SECRETARY BISHOP: (to Peter) There. You see? BRANDON FAYETTE: If I may ask... (convulses to the floor after being zapped by the handheld gizmo) SECRETARY BISHOP: (to Peter. foreboding) Not everything is as it seems. ACT V Liberty Island - Fresh Trust SECRETARY BISHOP: (in one of his labs. standing over the fresh corpse he just caused) I've suspected for some time that Doctor Fayette had been replaced by a shapeshifter. My men have been following him for some weeks, monitoring all of his communications. PETER: So what are you gonna do with him? SECRETARY BISHOP: Interrogate him, get what information I can to find out who's behind this. Earlier today, a State Department employee was the victim of another shapeshifter... trying to acquire his identity. It's become all too clear that elements of our government are being infiltrated. PETER: If you've known about this for so long, why haven't you done anything? SECRETARY BISHOP: Done what exactly? If word got out that elected officials and other authorities were not who they claimed to be, it would cause widespread panic, and society would collapse. PETER: No, trust me on this. You have to find the shapeshifters, expose them for what they are. SECRETARY BISHOP: And how would you propose I do that? PETER: Well, that device you used seemed to do the trick. SECRETARY BISHOP: Yes. And I spent weeks convincing myself that Doctor Fayette had been replaced. If I had been wrong, this tech would've killed a human being. PETER: Why are you telling me all of this? SECRETARY BISHOP: (lowers his tone. slows his cadence) Because you are the only person I can trust. You have no alliances... to our side or theirs. I'm telling you this because I need you to deliver a message. PETER: I appreciate what you're up against here, but -- SECRETARY BISHOP: It's not your fight? PETER: (snaps) Exactly. It's not my fight. I came here because I needed your help... to get home. The Walter on the other side refuses to help me, but you understand that machine. You share his mind. You're the only person who can help me get back to where I belong. SECRETARY BISHOP: (promising) And I will do everything in my power to help you get home. But you must go back to the other side and tell them that I am not their enemy. (ominous) Whoever is behind this is a threat to us all. PETER: (rethinking) I was wrong about you. You're not the man I thought you were. SECRETARY BISHOP: You are exactly the man I thought you would be. (proprietary) Please do this for me, Peter. Help us. Fringe HQ - A New Lead BOLIVIA: (joins her partner at his workstation in the Situation Room. hushed) Agent Farnsworth traced the call to Murphy's cuff back to an industrial park in the Flatiron District. The area's been abandoned since the 'Amber Riots' of '06. LINCOLN LEE: (soft-spoken in the busy room) The Flatiron District... that doesn't sound like it's connected to the D.o.D. or Secretary Bishop. BOLIVIA: Maybe it isn't, but we should still check it out. LINCOLN LEE: Liv, how much longer are we gonna keep Broyles in the dark? BOLIVIA: We're just following up on a lead. LINCOLN LEE: No. We're chasing the story of a suspect who may have murdered two of our own agents... and who, by the way, we locked in a broom closet instead of Holding, where he belongs. BOLIVIA: What if he's right? LINCOLN LEE: What if he's not? We have to tell Broyles something. COLONEL BROYLES: (as his agents approach him in his office) Did you process the prisoner into Holding? LINCOLN LEE: He's been secured, sir. BOLIVIA: But that's not why we're here. COLONEL BROYLES: I take it this is about the trace you ran on Agent Murphy's ear cuff. Agent Farnsworth told me. You want to tell me what it is you're looking for? BOLIVIA: Uh, well, it may be nothing, but until we know more... we would like some leeway on this. COLONEL BROYLES: (sighs. thinks for a second) Okay. Keep me posted. BOLIVIA: Yes, sir. Thank you. (nods and leaves) (Fringe Division Chief, Colonel Philip Broyles, makes a call once his office is vacated) DAVID JONES: (on intercom) Colonel Broyles. COLONEL BROYLES: They're on their way to you now. DAVID JONES: Excellent. (busy in his lab as shapeshifters are hurried about on gurneys) We'll be waiting for them. Opera House - Injured Visitor (laying still on the stage, waiting for her men to return through the portal. Olivia senses she is not alone, hops to her feet, draws her weapon and aims at the sudden visitor a few rows away) OLIVIA/THE OBSERVER: (parroting in unison) Who are you? Who are you? Show me your hands. Show me your hands. How did you -- how did you? Stop doing that. Stop doing that. Who the hell are you? Who the hell are you? THE OBSERVER: (strained) I have come to tell you something... Olivia. OLIVIA: How did you know my name? (steps closer) How do you know my -- (holsters weapon. looks at his chest) you've been shot? THE OBSERVER: I came to tell you... I have looked at all possible futures... and in every one, the result is the same. (struggling to breathe) You have to die. OLIVIA: (returns to stage for her phone) I'm gonna get you to a hospital. (turns back and the theater is empty. the wounded bald men disappeared as suddenly as he arrived) PROLOGUE Fringe Division HQ - SecDef Visits (Fringe division boss Broyles works quickly and quietly in front of a security monitor trying to locate the visiting FBI agent from the other universe, Lincoln Lee. he finds the likely hiding place in his building where his agents stashed their prisoner, then loads a syringe to take with him. on is way from the Situation Room, he is intercepted by his superior) SECRETARY BISHOP: (stepping from the elevator) Colonel Broyles. COLONEL BROYLES: Mister Secretary. What are you doing here, sir? SECRETARY BISHOP: I understand you have a detainee -- Agent Lincoln Lee from the other side. COLONEL BROYLES: That's right. (about Peter) Who's this? SECRETARY BISHOP: Please see that Agent Lee is released immediately. As far as the rest... well, perhaps best I explain in private. COLONEL BROYLES: (privately. in his office) Shape-shifters? You're certain about this? SECRETARY BISHOP: I wouldn't be here if I weren't. And if the Department of Defense can be infiltrated, then clearly every branch of our government is vulnerable. COLONEL BROYLES: You're suggesting that Fringe -- SECRETARY BISHOP: We have reason to believe that your Agent Murphy may have been one of them. We'll know for sure as soon as he's autopsied. COLONEL BROYLES: Do we have any idea who they're answering to? SECRETARY BISHOP: No. Nor do we understand their end... what their agenda is. COLONEL BROYLES: We might know more soon. Agents Lee and Dunham ran a trace on Murphy's last phone call. They're following up as we speak. Flatiron District - Nabbing Jones LINCOLN LEE: (clear of their vehicle and heading into the seemingly abandoned building their trace led to) I don't know. I've known Murphy since the Academy. He's always been a straight arrow. BOLIVIA: Oh, I just got kind of a hunch that this other Lincoln's telling us the truth. LINCOLN LEE: Must be because he has such a trustworthy face. BOLIVIA: (chuckles) See, I think he's kind of funny-looking. (subtle jab) LINCOLN LEE: You're funny-looking. BOLIVIA: (hears a noise. enters the building. finds her quarry) Don't move. LINCOLN LEE: (demanding) Put your hands up. DAVID JONES: (turns and raises his hands. about his 'project' in an incubation tank) Do you know what she is? BOLIVIA: A shape-shifter. DAVID JONES: She was once just a human being like any other. LINCOLN LEE: Until you killed her. DAVID JONES: Oh, she's not dead. Though in a manner of speaking, she was. A bookkeeper for an accounting firm -- can you imagine anything more lifeless? (droll humor) I suppose this it what is feels like to have a child... to love as a parent does. (elated) BOLIVIA: You must be very proud. DAVID JONES: Oh, I am... of all of them. Forty-seven so far. And each one... perfect. I’m so sorry. LINCOLN LEE: (as the shapeshifter struggles to live) What are you doing to it? DAVID JONES: To her! Isn't it obvious. (as the creature dies) Now I’m killing her. BOLIVIA: Why'd you do that? DAVID JONES: (menacing) Because you don't know me or what I’m capable of. But if I’m willing to do that to someone I love dearly, imagine what I'll do to people I don't care about. LINCOLN LEE: And what is it you need? DAVID JONES: From you? Nothing. You don't have the authority. (willingly surrenders) Take me to your leader. ACT I Walter's Lab - Observer Blood WALTER: (hears that he has company and assumes it is someone else) How's the cheese coming? Is it done soaking yet? Ah! Agent... Dunham. Hey. Look... spherical pastrami. (holds-up plate) You hungry? OLIVIA: Uh... no. Thank you. Um, I was looking for Astrid. ASTRID: (walks in with heavy gloves, carrying a bowl) Hey. Walter's just discovered molecular gastronomy. WALTER: I liquefied the meat, then placed it in an alginate bath. It's – it's really quite... ASTRID: ...disgusting. (confident in her assessment) WALTER: That's the thing about scientific inquiry -- not every experiment is a success. But I hold high hopes for the parmesan ice cream. OLIVIA: (to Astrid) You've had a fun day? ASTRID: (smiles) The best. What's up? OLIVIA: I was hoping you could do something for me. Uh, could you check this blood sample against the national and international databases? ASTRID: Am I looking for anything in particular? OLIVIA: I don't know -- a name, a genetic marker, anything out of the ordinary. ASTRID: (studies Olivia's timid attitude) What's going on? You seem troubled. OLIVIA: (confessing) I helped Peter and Lincoln cross over to the other universe. Since Walter's refusing to help Peter get back to where he's from, he thinks that Walternate may help him. And Lincoln's doing recon on the shape-shifters. ASTRID: Whoa. And what does that have to do with the blood sample? OLIVIA: Probably nothing, but can you call me if you find anything? ASTRID: Mm. OLIVIA: And wish me luck. ASTRID: Where are you going? Why do you need luck? (figures out the timid attitude) Because Broyles doesn't know anything about this, does he? OLIVIA: And Peter and Lincoln should have been back by now, so I’m gonna have to go and tell him what's been going on. ASTRID: Huh. Good luck. Fringe Division HQ - Meeting Jones COLONEL BROYLES: (as Olivia approaches in the heavily manned secure parking garage) What do we know? BOLIVIA: That he is certifiable. Apart from that, nothing else. COLONEL BROYLES: I.D.? LINCOLN LEE: We didn't find a Show-Me -- no surprise there. We ran his biometrics through all the databases -- criminal, medical, insurance. (as Jones is led from the vehicle by an armed tactical squad) Based on his accent, we even reached out to Scotland Yard. So far, nothing. COLONEL BROYLES: Anything at the location? LINCOLN LEE: Cleared it out before we got there. Science Division's doing a sweep. BOLIVIA: He knew we were coming. I mean, he was waiting for us to show up. COLONEL BROYLES: Take him to interrogation. I'll meet you there. And this time use an actual room, not the maintenance closet. LINCOLN LEE: Yes, sir. BOLIVIA: Yes, sir. Situation Room - Recognizing Jones AGENT LEE: (to a host agent) Thanks. (to Peter as he walks into the Situation Room) You hear they're bringing up the suspect? PETER: What suspect? AGENT LEE: The guy who's behind trying to have us killed, the guy behind the shape-shifters. OFFICE AGENT: (to Peter) Sir, your escort should be here shortly. PETER: Thank you. AGENT LEE: What escort? PETER: We're leaving. AGENT LEE: Wait a minute -- we might finally get some answers. We should stay here, and we should assist with the interrogation. PETER: No. I finally got Walternate to agree to help me. I don't think the way to say thank you is to tell him how to do his job. AGENT LEE: (pressuring) So that's it. Yeah, you... you got what you wanted. PETER: Yes, I got what I wanted. And whatever he finds out in that interrogation he's gonna share with you. So you got what you came for. And now all I want to do is get back to the other side, study the blueprints -- AGENT LEE: I need to be a part of this investigation. I lost a partner. (micro perspective) PETER: I lost a universe! (macro perspective) AGENT LEE: (pauses) You're scared. PETER: (admittedly) Yes, I am scared. I’m scared that every day that I stay here the people that I love get farther and farther away from me. So let them do their jobs. There's nothing that you can do here that they can't do for themselves. (looks at the prisoner as he is led in. recognizes the culprit) LINCOLN LEE: (escorting the prisoner) Is the interrogation room ready? AGENT LEE: What is it? (turns to see what caught Peter's attention) You know that guy? Interrogation Room - Terrorist Attack COLONEL BROYLES: (sitting across from the prisoner) I’m Colonel Broyles. I'd like to ask you some questions. DAVID JONES: I’m sure you have an abundance of questions. But I doubt I'd answer any of them. Besides which, we don't have much time. I imagine you'd like to avoid unnecessary deaths. COLONEL BROYLES: We're not in the business of responding to threats. DAVID JONES: Oh, I wouldn't call it that. Consider it an... insurance policy. An agent of mine -- a shapeshifter posing as Doctor Brandon Fayette -- was taken off-line earlier today. In his office, above his desk, there is a light fixture. Remove the outer frame. Tucked inside, there is a hard drive. (issues ultimatum) You have twelve minutes to bring it to me. COLONEL BROYLES: Twelve? DAVID JONES: Not to worry. I've been assured that by helicopter, you can make it to the D.o.D. and back with two minutes to spare. COLONEL BROYLES: And what's on the hard drive? SECRETARY BISHOP: (watching from behind the glass in the observation room) Go. LINCOLN LEE: We'll call on our way back. (leaves with Bolivia) DAVID JONES: Nothing of interest to you, though I’m sure you'll copy the contents before you let me go. COLONEL BROYLES: Before we let you go? Of course. Anything else you want while we're at it? DAVID JONES: Um... I wouldn't mind a cup of tea. SECRETARY BISHOP: (as his uninvited guests enter the observation room) I imagined you'd be on your way back home. PETER: I know who that man is. His name is David Robert Jones. SECRETARY BISHOP: (as Broyles joins the group) Go on. PETER: He's a scientist. He has a background in biotechnology and genetic weaponry. SECRETARY BISHOP: If you're right, we'll have a record of him -- we don't. He's not in any database. PETER: Because he's not from your universe. He crossed over from the other side. SECRETARY BISHOP: How can you be so certain? You've already said that things are different from your timeline. PETER: Let me talk to him. COLONEL BROYLES: Sir, I hardly think that's wise. DAVID JONES: (as Peter enters the interrogation room) Do you have my tea? PETER: Hardly. (sips his warm beverage) I do have some questions I'd like to ask you, though. DAVID JONES: Funny... the last man in here said the same thing. PETER: You're not from here, are you? DAVID JONES: Did the accent give it away? PETER: No. Actually, it was the scars. (starts the verbal fencing) AGENT LEE: (studying the monitor in the observation room) Did you see that? His pulse just went up. PETER: The last time I saw you, you were completely falling apart -- molecular disintegration due to transporting out of a German prison. (bravado) They had to wrap you in bandages just keep you from turning into a puddle on the floor. It seems like you figured out a way to heal yourself. Do you mind if I ask? What was it -- some sort of... DNA graft? DAVID JONES: I've never met you in my life. PETER: (menacing) No. But I've met you. DAVID JONES: Where? PETER: When you were crossing out of your universe into this one. You created a - a doorway, a portal. I’m the man who closed it on you. It cut you right in half. DAVID JONES: (feigning disinterest) Interesting story. Yet I’m still in one piece. I believe you've run out of time. COLONEL BROYLES: (answers call in the observation room) This is Broyles. INTERCOM: Sir, I have a woman on the line who says you're expecting her call. She says she's a friend of Mister Jones. COLONEL BROYLES: Go ahead. DOCTOR SAMUELS: Is Secretary Bishop on the line too? COLONEL BROYLES: Who is this? DOCTOR SAMUELS: (from a busy hospital ward) Can Mister Jones hear me as well? SECRETARY BISHOP: He can. What do you want? Hospital Ward - Killing Innocents DOCTOR SAMUELS: Just for you to listen. (leaves speakerphone on. activates a device. walks from the ward) INTERN: Doctor Samuels, do you want me to give that little girl with the bike injury a Tetanus? DOCTOR SAMUELS: Not necessary. I don't think she's gonna make it. DYING VICTIMS: (as the ward fills with a gas from the device left at the duty desk by Samuels) Oh, my God. Help! Help! Help! Let me out of here! (Samuels grabs a crutch and places it through the handles on the double doors to the ward. visitors panic, unable to escape. the chilling screams fill Fringe Division. one victim places his hand on the safety glass in the ward. most of the skin on the palm of his hand slough-off as he slinks to the floor. dead) ACT II Federal Building - Briefing Broyles BROYLES: (hears knock on his glass office door) Yes? OLIVIA: (steps into the off) Uh, sir, can I speak to you? BROYLES: (continues reading) Is this about Peter and Agent Lee? OLIVIA: You know? BROYLES: (looks up) That you helped them cross over to the other side without my authorization? (displeased) Yes, I know. I've just received word from my alter ego. Needless to say, he was about as amused as I am. OLIVIA: Are they okay? BROYLES: They're fine. And we'll deal with the issue of your insubordination once we've resolved the situation. OLIVIA: What situation? BROYLES: Take a seat. Have you ever heard of a man named David Robert Jones? OLIVIA: No. BROYLES: Neither had I. (opens the Jones file) He's been in Frankfurt Prison for possession of state secrets. Three years ago, he broke out. Apparently, since then, he's made his way to the other side. Fringe Division HQ - Releasing Jones BOLIVIA: There were sixteen people in the E.R. -- all of them dead. COLONEL BROYLES: And he says, if he's not released within fourteen minutes, the next attack will be worse. What do you want to do, sir? SECRETARY BISHOP: Prepare him for release. COLONEL BROYLES: What? AGENT LEE: (amazed that releasing Jones was even an option) You can't be serious. SECRETARY BISHOP: I understand your concerns Agent. I can't in good conscience allow him to continue to attack civilian targets. AGENT LEE: And you think capitulating is going to make him any less dangerous? Tell them. Tell them this is a terrible idea. LINCOLN LEE: (joins the enclave) What idea? AGENT LEE: They're gonna let Jones just walk right out of here. Do we even know what's on the hard disk? BOLIVIA: Apparently, he was accessing government satellites. Astrid's reviewing the data now. SECRETARY BISHOP: Obviously, we'll be keeping him under constant surveillance. This situation may even play out to our advantage. We may learn who he's working with, where the other shape- shifters are. LINCOLN LEE: We can monitor him with an internal tracker. SECRETARY BISHOP: That's a good idea. LINCOLN LEE: I’m glad you like it. I put one in his tea. COLONEL BROYLES: Agent Lee, Dunham... start organizing the surveillance detail. AGENT LEE: I'd like to help... if that's okay with you. COLONEL BROYLES: Any objections? LINCOLN LEE: None. DAVID JONES: (escorted by Broyles to the elevator and uncuffed) Much better, thank you. The hard drive, please. It's been a pleasure. (makes eye-contact with Peter. steps into the elevator and departs) Busy Plaza - Tracking Jones LINCOLN LEE: (on tactical radio) Hey, Red, you got anything? BOLIVIA: (sitting on a bench with Agent Lee. watching Jones across the plaza) Uh, yeah. I mean, same as you. I’m looking at a guy who knows he's being watched. He's gonna make a move soon, though. Check your watch. He's waiting for the lunch crowd. He's gonna try and get lost. LINCOLN LEE: I'll be waiting. AGENT LEE: (chit-chat) So you two seem close. BOLIVIA: Yeah, we are. Oh, no, no. No, I mean, not -- just as partners. AGENT LEE: You don't have to say it like that, like you pity us. BOLIVIA: No, I just broke up with someone, and Lincoln's been my shoulder to cry on. (Jones moves) He just got up. What's he doing? (as he removes a bag from a litter barrel) LINCOLN LEE: I’m guessing that's not lunch. COLONEL BROYLES: (over tactical radio) All units be advised -- suspect removed some kind of thermos from the trash. Place HAZMAT and E.O.D. personnel on standby. DAVID JONES: Hello. Would you like some money? NEARBY PEDESTRIAN: For real? DAVID JONES: Oh, yes. But I need your help giving away all of it. You see, I've realized that there's no point being... the richest man in the cemetery. (hands over wad of cash) NEARBY PEDESTRIAN: Huh. Alright. (loudly to all around) This guy's giving out free money! BOLIVIA: (as the crowd converges on Jones position) Are you seeing this? LINCOLN LEE: Yeah, I see it. What the hell is he up to? PETER: (watching with Farnsworth from HQ) Oh, no. AGENT FARNSWORTH: (on comm link} Colonel Broyles... we have a problem. COLONEL BROYLES: What is it? c AGENT FARNSWORTH: The tracking software -- there's some sort of malfunction. Jones's tracking signal is multiplying. We're seeing forty or fifty dots and counting. BOLIVIA: It's the money. He knows he's being tracked. He's put trackers on the money. AGENT LEE: What? How the hell did he know what signal we're using? (runs after Bolivia to locate Jones) LINCOLN LEE: Damn it. (pursues on foot) COLONEL BROYLES: (over tactical radio) All units, move into the plaza and maintain a visual on the target. AGENT LEE: Excuse me! Fringe Division! BOLIVIA: Astrid, is there any way you can zero in on Jones? AGENT FARNSWORTH: I don't know which signal is his. LINCOLN LEE: I don't see him. BOLIVIA: Okay, I think I got him. (checks the data map on her handheld tracker) There's a new cluster of trackers forming by the fountain North of the plaza. (Jones drinks from the thermos left for him) Damn it. It just disappeared. Colonel Broyles, we lost him. COLONEL BROYLES: (watches from a back alley as Jones gets into a waiting limousine and drives off) Roger that. All personnel return to Fringe Division. ACT III Upscale Restaurant - Helping Peter ELIZABETH BISHOP: (sits across from her sullen spouse as he sips some liquor. eating her diner) Walter, I know whatever happened today was a setback. SECRETARY BISHOP: There's more than that. We were severely compromised. (to the wait staff) Another, please. ELIZABETH BISHOP: And more Scotch is gonna change that? SECRETARY BISHOP: It was my decision, Elizabeth. I knew the risk. I took a -- an immense gamble. And now that man Jones is gone. ELIZABETH BISHOP: I don't think that's all you're upset about. You've gone over the blueprints, haven't you? Like Peter asked you to. SECRETARY BISHOP: Yes. I've tried to see what he's saying... that the machine is... capable of more than one function, that it can return him to his timeline. But I can't help him. And apparently, the other Walter refuses to... which is... ironic, given the lengths that that man went to in the past. ELIZABETH BISHOP: That is not your fault. It never was. SECRETARY BISHOP: Well, the outcome is still the same. I couldn't save our son then. And I can't help him now. (sips his refreshed drink) ELIZABETH BISHOP: Maybe I can. (has an novel idea) Maybe I can help Peter. Situation Room - Locating Amphilicite AGENT FARNSWORTH: (standing at her workstation) These are all the files we got from the hard drive. It seems Mister Jones was using D.o.D satellite and ground-penetrating radar to gather geological information. COLONEL BROYLES: So he's looking for something underground. What's there -- minerals, oil deposits? AGENT FARNSWORTH: Nothing of obvious value. I've cross-referenced the subfolders to see which locations they researched the most, but so far, I haven't found any meaningful pattern. COLONEL BROYLES: Let me know if you do.(walks off) AGENT FARNSWORTH: Yes, sir. PETER: (joins the savant) Do you mind if I take a look at your list of locations? AGENT FARNSWORTH: I don't mind. (keenly curious) Are you really from another timeline? PETER: Yeah, I think so. AGENT FARNSWORTH: (impressed. mildly infatuated) Cool. BOLIVIA: (on earphone) Hey, Lincoln, it's me. We're uploading Jones' face-recognition profile to the surveillance net now. (listens) No, they're detailed. We got some photos from the interrogation. Okay, well, call me when you do. AGENT LEE: (joins her at her desk) Any progress? BOLIVIA: Nothing yet, no. You got something on your mind? AGENT LEE: Actually, yeah. (lowers his voice) That tracker we had on Jones -- how did he pinpoint the wavelength we were on that quickly? BOLIVIA: What, you think someone from our team told him? AGENT LEE: You have a better idea? AGENT FARNSWORTH: I’m sorry to interrupt. That man, Peter -- he says he knows where Jones is going. PETER: (after the group of investigators gather) I think he was looking for a mineral named Amphilicite. AGENT FARNSWORTH: It's found mostly under sizeable deposits of limestone. I overlooked its significance. PETER: Because on its own, it has no significance. In its natural state, it's inert. It's not really reactive, like helium. But if you know how to process it properly, it can be used as a power source. BOLIVIA: How do you know all this? PETER: Because where I’m from, William Bell used a tiny amount of it to create a battery. Jones stole the battery. AGENT LEE: A battery made out of rock? PETER: Yes, trust me, with this stuff, you get a lot of bang for your buck. COLONEL BROYLES: Well, how much bang are we talking? PETER: Enough to blow a hole in the universe. I’m guessing Jones must have figured out the same process that Bell did and possibly how to weaponize it. COLONEL BROYLES: Which is why he's looking for it. Any idea where he plans on getting it? AGENT FARNSWORTH: Of all the locations he was studying, the one with the most potential for Amphilicite is located... here. (calls up the overhead photo on the large briefing screen) AGENT LEE: The Hudson River Valley. AGENT FARNSWORTH: Right, and this is the map file they accessed the most on Doctor Fayette's hard drive -- the Mohonk Quarry. We contacted the quarry. They said they haven't seen any signs of trouble. PETER: Which means we may finally be one step ahead of him. COLONEL BROYLES: Contact Agent Lee. I want that quarry secured immediately. BOLIVIA: Yes, sir. Mohonk Quarry - False Lead COLONEL BROYLES: (after the convoy of response vehicles stop and troops dismount. over comm to HQ) We're on the scene. We've got the main entrance secured and the quarries cleared. BOLIVIA: Looks like we beat Jones to it. LINCOLN LEE: (reads handheld scanner) Soil is undisturbed -- no signs of excavation for the last two months, at least. COLONEL BROYLES: Good. (to Division forces) Let's secure the ridge line. Take up positions on the western edge. No one gets in or out. PETER: Can you patch me through. AGENT FARNSWORTH: You're on. PETER: There's an access road above the quarry. It'd be easy for Jones to outflank you if you don't guard it. BOLIVIA: What access road? PETER: It's just to the North of your position. LINCOLN LEE: There's no road. PETER: I’m looking right at it. (image on briefing screen) Is this the map that we downloaded from Doctor Fayette's hard drive? AGENT FARNSWORTH: It is. Why? PETER: (suddenly realizes. disappointed) We're in the wrong universe. Hudson Valley - Jones Crosses ACCOMPLICE: Corridor tracking is complete. NADINE PARK: Do it. (trans-universal portal equipment is activated and a threshold is established in a remote field) DAVID JONES: (after stepping between universes) Something about the air on this side -- it tastes sweeter. ACT IV Walter's Lab - Meeting Walter WALTER: (grooming the southern half of his north facing dairy cow) And a tail to the East makes weather least. (whispers to Gene) I told Astrid she wouldn't need an umbrella. AGENT TIM: Excuse me, Doctor Bishop. You have a visitor. WALTER: (barking) Not now. Can't you see we're working on something very important. ELIZABETH BISHOP: Walter? (stops him in mid-groom) I’m not her. You know that, don't you? WALTER: (overwhelmed. timid) Of course. You're from the other side. ELIZABETH BISHOP: I never expected to see you again. I suppose it's appropriate that... a version of our son should bring us together. I came here for Peter. I understand you're refusing to help him. WALTER: I’m sorry you traveled so far. I can't. I have made my position quite clear. ELIZABETH BISHOP: The last time I saw you, you had come to save a boy's life. Now I've come to do the same. Liberty Island - The Return BROYLES: (waiting at the security checkpoint outside the Bridge Room) Welcome home. PETER: (taking blame for the unauthorized visit to the alternate universe) For the record, this was my idea. BROYLES: Later. There's a chopper waiting. The Tech Team is already en route to the location. We'll meet them there. PETER: How much trouble you in? (privately) OLIVIA: On a scale of one to ten? A lot. PETER: I’m sorry. OLIVIA: It'll blow over. It's not the first time. Walter's Lab - Elizabeth Helps ELIZABETH BISHOP: (accepts the hot beverage provided) Thank you. WALTER: I - I used honey instead of sugar. I - I thought -- but if you would prefer otherwise -- ELIZABETH BISHOP: Actually, I prefer honey. WALTER: She did too... my Elizabeth. (sits beside his visitor) ELIZABETH BISHOP: My being here must remind you of so many things. I’m reminded of something too... of that night twenty-six years ago... when you came to me on the other side and took Peter away with you. WALTER: I’m sorry. I should never have done so. ELIZABETH BISHOP: You were trying to save him. WALTER: He wasn't mine to save. I had no right. My Peter had already gone. ELIZABETH BISHOP: You were still a father. I saw how much you loved him -- your strength. WALTER: Not strength -- hubris. (self-disgust) And I've been punished for it ever since. ELIZABETH BISHOP: Hmm. By whom? WALTER: By God... by a deity-- whatever you want to call it. And I understand I deserve it. No man should do what I did. ELIZABETH BISHOP: You made a mistake. (conciliatory) That's what being a man is. WALTER: It was more than a mistake. I broke universes. I asked for a sign of forgiveness. But I got nothing. There is no absolution for me. (forlorn) ELIZABETH BISHOP: Well, I don't believe that. I forgive you, Walter. (holds his hand) I forgave you a long time ago. And if I can... God can. We both lost our sons. We never watched them... grow up and... fall in love, have babies. But there's something of them in him. In this Peter. I know you feel it too. And if you could just help him... Walter, he deserves to go back to the people he loves... and who love him. WALTER: (deeply intimidated) I’m afraid. ELIZABETH BISHOP: So is he. (puts her hand on his cheek) Mohonk Quarry - Jones Escapes (as raw ore is loaded into a dump truck, the Fringe Task Force convoy finds Jones and his crew rushing to finish their clandestine task) NADINE PARK: (spots the vehicles on the access road) We've got incoming. DAVID JONES: Secure the cargo. (to Park) Hold them off. NADINE PARK: (to her gunmen) Let's go. PETER: (as Lee racks his pistol) Hey, can I get one of those? AGENT LEE: Think you'll need a gun? PETER: Better safe than sorry. (racks his pistol) OLIVIA: (as bullets riddle the convoy) Get down! (opposing forces take cover behind the heavy equipment in the quarry as an all-out gun battle commences) DAVID JONES: (to his dump truck driver as he gets in to leave) We are done here. (Park drops a Federal Agent with a round. Peter returns the favor and drops her) PETER: (seeks cover behind a stack of pipes. to Lee as the dump truck flees the scene) That's Jones. OLIVIA: (over tactical radio as she drives after the truck)) Lincoln, I’m going after Jones. PETER: Give me your walkie. AGENT LEE: What? PETER: Give me your walkie, now! OLIVIA: Notify Colonel Broyles on the other side. Have him to send a team to meet me. PETER: Olivia, stop! Do not follow Jones! The window will close behind him. (urgent. dire warning) And if it closes while you're going through it, it will kill you! Olivia, please, trust me. (after the portal closes) Olivia? OLIVIA: I’m here. PETER: You okay? OLIVIA: Yeah. (looking at front half of the hood and engine block that were vaporized) Yeah, I’m okay. ACT V Liberty Island - Joint Conference SECRETARY BISHOP: (standing at the head of the table) Seems only hours ago that I asked Peter to be my emissary. I knew that, despite the accord, that there remained a great deal of... distrust and trepidation between our sides -- much of it directed towards me. I also know the truth -- that a new breed of shape-shifter had infiltrated both our worlds. And the only way to defeat them meant working together, fully combining our resources and our talents. I thought that if you heard this from someone more impartial.... you'd see the imperative. That message is no longer necessary. We know who our enemy is now. And that, in itself is a distinct step forward. BROYLES: Now that we know that Jones can cross between sides, we can coordinate our search. COLONEL BROYLES: You'll have our complete support. BOLIVIA: That's all good, but you said that only a tiny amount of this processed mineral is enough to tear a hole through a universe. So what is he planning? As far as we can tell, he's already recovered at least one hundred pounds of it. COLONEL BROYLES: She's right. We'll have to start trying to game-plan what he's after. AGENT LEE: How? We have no information to work from, and so far, he's been ahead of us every step of the way. Jones figured we'd realize he was interested in the quarry, so he crossed over to the other side. OLIVIA: We recovered his transport device. AGENT LEE: Yes, but for all we know, he has more of them. He is holding all the cards on this. PETER: Not all of them. You have me. I know him. And I saw how nervous he was when I was questioning him. If nothing else, I’m a variable that he didn't plan for. So, yes, we will all have to work together. But somewhere, we stopped him once before. (looks to Olivia) And we can stop him again. OLIVIA: (alone. after the meeting on the way out) Okay, you have to tell me everything you know about David Robert Jones -- the one that you encountered. PETER: Of course. OLIVIA: Okay, like, every little detail that you remember. PETER: Sure. OLIVIA: Alright, I’m gonna see what rooms are available. PETER: What? Now? OLIVIA: We should get started right away. PETER: No, let's do this tomorrow. I feel like I haven't slept in three days. First thing, I promise. OLIVIA: Fair enough. (thinks about the day) You know, Peter, uh... before, at the quarry, if it weren't for you... PETER: You're welcome. OLIVIA: Alright, I'll have someone pick you up in the morning. (leaves) Campus Residence - Walter Visits PETER: (repeated knocking at the front door) Yeah, yeah, I hear ya. (surprised) Walter. Are you okay? WALTER: May I come inside? PETER: Yeah, yeah. WALTER: Perhaps something to drink -- it's quite a long walk. (accepts beverage) Thank you. You should know that your mother was a wonderful woman... every version of her. PETER: She came to see you. WALTER: (timidly) I lost the people I loved most, and I imagine you miss them too -- the people you've left behind. PETER: Yes, I do. WALTER: I will help you, Peter. I will help you get home. (nostalgic) The last twenty-five years I've spent thinking about losing my son. I thought I was an expert on loss. Maybe that's why you are here... mmm, because there are still things that I need to learn. (as Peter smiles and drops his eyes to the floor) What? PETER: I just spent the last several days with the other Walter. And I was very surprised to learn that he's not the man that I thought he was. But I am not at all surprised to learn that you are. WALTER: Is that a good thing? PETER: Yes, Walter. That is a very good thing. WALTER: (looks around) You know, I used to live here. Jones Hideout - Private Communiqué (In a dark room, David Jones sits and types in front of an archaic computer screen Phase One complete. Where do we stand on Phase Two? the reply... In due time. We're working on her. She'll be ready soon. "Nina Sharp" smugly studies her succinct reply)

PROLOGUE Federal Building - Photo Intel OLIVIA: (looking around the small research room at posted photos. notices a familiar bald man) That's him. BROYLES: Are you sure? They all look like the same man. OLIVIA: No, that's the one. BROYLES: We've been looking at these people for three years. Why did they make contact now? OLIVIA: I don't know. But he knew my name, he knew who I was, and he knew where to find me. And then he just vanished. BROYLES: What exactly did he say? OLIVIA: He said that he had seen all possible futures, and in every one, I had to die. I had Astrid run a sample of his blood. There was no match on the DNA, but she did find antibodies for the Spanish Flu. BROYLES: The Spanish Flu? Isn't that extinct? OLIVIA: Well, the last recorded epidemic was in 1919. Which makes them a minimum of ninety-one years old. BROYLES: I'm going to assign you a security detail. OLIVIA: I don't think that that's necessary. BROYLES: He threatened you. OLIVIA: I'm not sure that's what he was doing. I -- I think that he was trying to warn me. BROYLES: If he approaches you again, I expect you to notify me right away. OLIVIA: (nods in complete agreement) Of course. Boston Street - Fatal Vision EMILY MALLUM: (sits in an alcove next to a large building. sketching. a vision pierces her mind and she quickly starts a new drawing. she finds the focal person of her vision walking by, finishes her sketch, then runs to deliver it to the man) Excuse me. (hands-over the drawing) JAYNE REYNAR: Do you know her? BOB ENGLEHART: No. JAYNE REYNAR: (looks at the drawing that was delivered) Oh, God. Is that supposed to be you? BOB ENGLEHART: Ah, she's talented. Twisted, but talented. JAYNE REYNAR: Why would anyone draw something like that? BOB ENGLEHART: (compassion for the maturity-impaired) Well, she's a teenager. Isn't that what they do? Play depressing music, and think about how everything sucks, and then try and make everyone else as miserable as they are. It's a stage. JAYNE REYNAR: Stage or not, that's creepy. CONSTRUCTION FOREMAN: Hey, look out! Get those people back! (as a large steel I-beam breaks free from the construction site and falls to the sidewalk below. piercing the man who just received a warning from the teenager who foresaw his death) ACT I Walter's Lab - Peter's Progress PETER: In my timeline, I can interact with the machine, but since I'm not supposed to exist here, it wouldn't respond to me. WALTER: It will require a biomechanical interfacing machine, calibrated specifically to your DNA. So you can operate it. PETER: You've done it before, Walter. You can do it again. OLIVIA: (arriving for the day) Good morning. WALTER: Hello, Olivia. We're discussing cis-acting meiotic double-strand break hot spots. ASTRID: Don't worry, Olivia, I have no idea what he's talking about either. PETER: What he's talking about is finally trying to get me back home. OLIVIA: I heard that Walter's going to help you. I had to see you with my own eyes. WALTER: Oh, don't worry, Agent Dunham. This won't interfere with my usual work, I assure you. If you need me, I will give you my full attention. OLIVIA: It's okay, Walter. I'm just happy that you two are working together. PETER: I can't say you're gonna get his full attention, per se. He's a little wired up today. He's already electrocuted himself three times. WALTER: Which reminds me, I can't feel my urine response yet. I should probably go empty my bladder again. (excuses himself) OLIVIA: (answers cell phone) Dunham. AGENT LEE: (from the accident scene as the skewered man is tagged, bagged and dragged-off by the ME) Hey. This is a weird one. It seems a crane operator lost control of an I-beam, which was then tragically introduced to a Robert Englehart. OLIVIA: And? AGENT LEE: A few moments before he was killed, someone handed Mister Englehart a sketch depicting him being skewered by that same I-beam, as if his death was predicted. (waits for a response) You still there? OLIVIA: Okay, so the person who -- who gave him the sketch, what did he look like, was he bald? AGENT LEE: No, it was a she. A teenage girl. A coworker of the victim was with him at the time. She thinks she could I.D. the girl if she saw her again. OLIVIA: Alright, well, we need to collect all the surveillance from the area. AGENT LEE: I'm already on it. Mallum Residence - Finding Purpose DIANE MALLUM: (just getting home) There you are. Where have you been all afternoon? (kisses her daughter) EMILY MALLUM: Just around. DIANE MALLUM: Well, you know you're supposed to call when you're gone this long. EMILY MALLUM: (loses the backpack) Sorry. (flops onto the sofa next to her younger brother) DANNY MALLUM: (to Emily) I met that kid in 3-C today. JIM MALLUM: (just getting home too) Hey, guys. DANNY MALLUM: Dad's home. DIANE MALLUM: Perfect timing. Dinner's almost ready. JIM MALLUM: (gets a hug from his boy) Hey, Buddy. Hi. DIANE MALLUM: So how did it go today? JIM MALLUM: Well (kisses his wife) -- the interview was great. I start tomorrow. DIANE MALLUM: That's great. (in her room, Emily starts channeling another vision. he father her sneaks in and covers her eyes) JIM MALLUM: (about the pastoral drawing on her lap) Looks like the view from the lake house. You miss it, don't you? EMILY MALLUM: (emotionally burdened) Dad, aren't you tired of moving us all around so much... because of me? JIM MALLUM: Doesn't matter where we are. All that matters is we're together. EMILY MALLUM: Why did God make me like this? JIM MALLUM: (earnest) You know how I feel, Em. God has a purpose for all of us. Even if we can't understand it. But I do know - mine is to take care of you guys. Hey, at least it hasn't happened in a while. Let's, uh, keep these curtains closed at night, okay? Alright. You get some sleep. I'll see you in the morning. EMILY MALLUM: (as he leaves her room) I love you, Dad. JIM MALLUM: I love you too, Angel. Federal Building - Health Concerns (sitting at her desk, looking at the foreshadowing sketch of impalement. the boss approaches) BROYLES: Any luck? Agent Dunham. Were you able to I.D. the girl who drew the picture? OLIVIA: Not yet. Lincoln's with the witness at the moment, looking at footage from traffic and surveillance cameras in the area. (responds to the worried stare) What? BROYLES: (sits) I got a call from Health Services. You've been three times in the last month? OLIVIA: You checking up on me? BROYLES: I'm your Commanding Officer. They tell me these things. OLIVIA: Migraines. I needed a prescription, which is why I went to Health Services. Headaches, that's all. (grins, hesitates, asks anyway) Do you believe in fate, sir? BROYLES: (candidly) No. I don't. OLIVIA: Neither did I, but this drawing... how is it the day after a complete stranger tells me I'm going to die, I end up investigating a case where the victim's death is predicted? I mean, maybe -- that man from the opera house -- maybe he does know something. BROYLES: Just for the next few days... maybe we should be vigilant. Keep you out of harm's way. (leaves her be) AGENT LEE: (later. approaches as he takes another pain pill) Good news. Robert Englehart's coworker just I.D'ed the teenage girl from surveillance tapes. (hands-over photo) We got a good image from the bank across the street from the cafe. OLIVIA: Okay, so do we know where she went? AGENT LEE: We know where she didn't go. Surveillance showed her bypass the 8th Street Bus Stop, she also walked right by the subway entrance. OLIVIA: Okay, so there's a good chance that she lives somewhere in the area. AGENT LEE: Maybe she goes to school nearby. Bus Ride - New Vision (sitting and drawing. a specific passenger catches her eye. she pursues him) EMILY MALLUM: Stop the bus! (to the heavens) I tried. ACT II Mallum Residence - Finding Emily DANNY MALLUM: (sitting at the dining room table working on his homework) Wait, 6/8ths is the same as 3/4ths? DIANE MALLUM: Right. You keep dividing the fractions in half, ‘tll you can't without changing the denominator. DANNY MALLUM: (not too much of a brat) No offense, Mom, but I understand this way better when Emily explains it. OLIVIA: (to the Mallums after knocking at their front door) Uh, good morning, sir. Ma'am, sorry to bother you. I'm Agent Olivia Dunham, this is Lincoln Lee. We work for the FBI. JIM MALLUM: (congenial) What can I do for ya? AGENT LEE: We're looking for this girl. (holds out security camera photo) We've been going door to door, asking people if they know her. One of your neighbors said she might live in the building. JIM MALLUM: (studies the photo) No, I don't think so. What's her name? AGENT LEE: We don't know. OLIVIA: Do you mind if I ask who else lives here with you, Mister... JIM MALLUM: Mallum. Jim Mallum. It's just my wife Diane and our son. Danny, come here. You see this girl around? Wait, is she the one we see at the park every so often? DANNY MALLUM: I think so. JIM MALLUM: Yeah. That's Tanner Park. It's about four blocks over. You might want to try looking for her around that area. OLIVIA: Thank you. You've been very helpful. JIM MALLUM: I wish I could offer more. OLIVIA: (after the door closes) Did you happen to notice the cabinet? AGENT LEE: No, why? OLIVIA: Red backpack, same one she's wearing in the picture. So why did he lie to us? AGENT LEE: As soon as we get back to HQ, I'll get the paperwork started on getting a warrant. OLIVIA: (as Emily walks around the corner heading home) Maybe we won't have to. Uh, hi. I'm Olivia Dunham, and this is Lincoln. We both work for the FBI. It's okay, you're not in any trouble. We just want to talk. Did you draw this? EMILY MALLUM: Is he dead? OLIVIA: Yes, but I think you already knew that. How? How were you able to draw this before the accident? EMILY MALLUM: (frustrated) I don't know. I just see it... in my head... whenever I'm around someone who's gonna -- I just sense it. OLIVIA: You just sense what? EMILY MALLUM: Death. AGENT LEE: That drawing... did you see something else that's gonna happen? Maybe we can stop it. JIM MALLUM: (from the stoop to his building) Emily! Get in the house. AGENT LEE: Mister. Mallum – JIM MALLUM: (protective) You can't question her without parental consent, and I'm not giving it. AGENT LEE: You lied to us. OLIVIA: Actually, sir, we don't need your consent. It's up to Emily whether or not she wants to talk to us. JIM MALLUM: Emily. Do you want to continue to answer these agents' questions? EMILY MALLUM: No. JIM MALLUM: There's your answer. Come on, Em. Let's go. Let me ask you something. You think you're the first people to come after my daughter? It always starts this way. Authorities show up when they get wind of a girl with her... ability. Then others come who want to study her, like those people at Massive Dynamic. AGENT LEE: Massive Dynamic? JIM MALLUM: And they never stop. No matter where we go, they find her. Watching from their cars, waiting for the right moment to grab her, take her to their labs. (angry) They poke and prod her like she's some kind of animal. You have any idea what that does to a young girl? Please... let my daughter have the chance at what's left of a normal childhood. OLIVIA: My number's on the card. (hands her business card to him) If you change your mind and want to talk, or if you and your family are being harassed, I think I can help. (to Lee as they hurry away) Okay, when we get back to the office, can you run a background check on the Mallums? See what we can find out. I'm gonna pay a visit to someone. JIM MALLUM: (returning to their apartment) Listen, you did the right thing out there. If it's happening again, no one can know. It puts us all at risk. EMILY MALLUM: Dad, I saw something else. On the bus. Something awful. JIM MALLUM: I'm sorry, Sweetie, but you know how this works. Even if you told 'em, would it make a difference? Remember what they did to you when we tried to help before? Trust me, okay? It's better this way. Massive Dynamic - Confronting Nina NINA SHARP: (on the phone) Of course. I'd certainly like to see the results for that. Sooner rather than later. Yeah, well, send them to me directly. (after the call) What a nice surprise. If I'd known you were coming, I would've cancelled my lunch. OLIVIA: Hi. (hugs) Uh, I'm actually here about Emily Mallum. Her father says that Massive Dynamic has been harassing her and her family. NINA SHARP: Oh, are you asking me a question, or are you accusing me of something? OLIVIA: Well, I thought you said that you were done using children as test subjects. (sits) NINA SHARP: Yes, we are. (sits) Massive Dynamic did approach the Mallum Family when they lived in Baltimore. Emily exhibited some fascinating Precog abilities that would've allowed us to make drastic advances in our study of the human brain. We simply wanted to catalog her abilities. Her father wasn't interested, even when we offered to pay for Emily's schooling. OLIVIA: I don't know how you could've raised me for so many years, and seen all the damage that was done to me, and pretend that there's nothing wrong with what you just said. NINA SHARP: Olivia, I am sorry. Now, what happened to you was awful. But this girl is different. No one made her this way. OLIVIA: I don't see the difference. I mean, it's still abuse. (answers cell phone) Dunham. EMILY MALLUM: (calling from the park) It's Emily. You said you wanted to help, Agent Dunham. Can you meet me? OLIVIA: (to Emily) Can you hold on one moment? (to Nina) I'm sorry, I have to go. Quiet Park - Another Vision OLIVIA: (meeting her at a quiet bench with a peaceful view) Emily? You picked a nice spot for us to meet. EMILY MALLUM: It reminds me of a place we used to live. A better time. I sometimes sneak out here to think. To clear my head. OLIVIA: Does your father know that you called me? (gets a shake of the head. no) So what did you want to tell me, Emily? EMILY MALLUM: I think a lot of people are gonna die. (reveals her latest drawing with mass casualties) ACT III Walter's Lab - Examining Emily EMILY MALLUM: (as she receives a quick medical once-over) It started when I was eleven. I was in a pet store with my mother. We were looking at puppies, when suddenly I heard this hum. I thought something was wrong with my ears, like you know how sometimes after you've flown in an airplane, but then, when we were leaving, the man behind the counter had a heart attack. I saw it in my mind before it happened. WALTER: That was the first time. How long before it happened again? EMILY MALLUM: A few months. I heard the hum during class, and an image popped into my head. My teacher lying dead in the street, covered in broken glass. Three days later, she got hit by a car. My parents took me to a doctor, but -- and then people started to do tests on me. And my friends heard about it. OLIVIA: And that's when people got scared? And then you moved. EMILY MALLUM: The first time. (as Astrid retrieves her EEG printout) But it kept happening. WALTER: Hmm. Fascinating. (about the readout) The Theta-One waves in your occipital lobe are remarkably active. And also, your brain seems to be drawing elevated levels of both oxygen and blood. PETER: Meaning what, Walter? WALTER: Belly and I always had a theory that some traumatic events echo backward in time. (animated) Put simply, some future events ripple backwards. Well, not in a way that we're consciously aware of, but it's sort of like vibrations. And perhaps your brain is uniquely sensitive to these vibrations. So it's possible that's the hum that you hear. Have you ever been able to control this ability? EMILY MALLUM: That's not how it works. These images I see... they're like dreams. At first they're vivid, but then they fade. That's why I draw them. But it wouldn't matter anyway. Whatever I see... somehow it always happens. (choked-up emotionally) I know all these people are gonna die, but there's nothing I can do to stop it. PETER: I don't understand, Emily. Why do you warn them if they can't do anything about it? EMILY MALLUM: I don't know. I guess if people knew, maybe they could say "I love you" to someone. Or just do one good thing. PETER: Maybe we can I.D. this man. She said she saw him on the bus. ASTRID: I'll check the MBTA database. If he has a bus pass, they might have his photo. (gets busy on her desktop computer) OLIVIA: (privately) I haven't thanked you for calling. That must've been hard. Can I ask you a question? Are you sensing anything now? Like, here with me? JIM MALLUM: (hears the din associated with her vision) Emily. EMILY MALLUM: Dad. OLIVIA: We called him. We didn't want your parents to worry when you didn't come home. JIM MALLUM: Did they hurt you? OLIVIA: Mister Mallum... you don't need to worry about us. EMILY MALLUM: Even if we've never been able to stop it, let them at least try. PETER: We got something. Astrid found him. She got an address. ASTRID: According to his bus pass, his name is Albert Duncan, he's got an apartment in Jamaica Plain. (hands her the data) OLIVIA: Let's go. PETER: And then what? Even if you can save Mister Duncan, what about the rest of the people in that drawing? AGENT LEE: I don't know. But we're certainly not gonna help anything by standing here. OLIVIA: (to Emily) Thank you. (leaves with Lee) JIM MALLUM: Can my daughter and I please go home now? If there's nothing more she can do for you. PETER: No, I think actually there is. Walter, I think you can hypnotize Emily to recover her vision of the event in that drawing. WALTER: (not familiar with that skillset) Wh – wh -- what makes you think I can do that? PETER: Because where I'm from, I've seen you do it before. Jamaica Plain - Duncan's Apartment BUILDING SUPER: (grants access to the apartment and follows the investigators in) So is Albert in some kind of trouble? AGENT LEE: We really don't know. BUILDING SUPER: (self-deprecating humor) Sure, I understand. I wouldn't tell me either. OLIVIA: Hey. Uh, Mister Duncan isn't home yet. He works construction. We called his boss, and apparently he's been away all week. How's it going there? ASTRID: Walter's just getting started. (hangs-up as the hypnagogic device takes effect on Emily) WALTER: Emily, I'm going to count backwards from three. And when I reach one, I want you to open your eyes, and tell me where you are. Three... two... one. Where are you, Emily? EMILY MALLUM: (opens her eyes. visualizes her bus trip) On the bus. On the way home. WALTER: Do you see Mister Duncan? EMILY MALLUM: No. But I hear it. I hear the hum. WALTER: (guiding her vision) Look around, Emily. Find Mister Duncan. EMILY MALLUM: I see him. He's getting off the bus. PETER: Guide her, Walter, you can do this. WALTER: Uh -- um, Emily, listen... don't let Mister Duncan get away. You'll have to catch up with him. Can you do that? EMILY MALLUM: Yes. WALTER: Follow him, Emily. We need to know where he's going. JIM MALLUM: What is it? EMILY MALLUM: Oh, gawd. (as she strolls through the catastrophic vision she recent put to paper) WALTER: Where are you? EMILY MALLUM: I don't know. But it's bad. Oh, God. They're dead. They're all dead. WALTER: Look around, Emily. Describe what you see. Tell me where you are. EMILY MALLUM: (the body of a victim hangs in midair during a huge explosion) I'm scared. WALTER: There's nothing to be frightened of. Nothing can hurt you. PETER: You know what, Mister Mallum, maybe if she heard your voice, it might help her. JIM MALLUM: Sweetheart, it's me. Look around. Tell me what you see. EMILY MALLUM: I see something. It looks like Latin. "dei judicium... fiat justitia." PETER: ..."by the judgment of god, let justice be done." ASTRID: (confirms) Mm-hmm. PETER: I need to borrow your phone, please. OLIVIA: (answers phone) Dunham. PETER: It's me. It's a courthouse. OLIVIA: (to Lee) It's happening at a courthouse. Peter, Albert Duncan just got divorced. The settlement was last week. He lost custody of his kids. Maybe he's not so happy about it. WALTER: (to Emily) When I count to three, I want you to wake up. EMILY MALLUM: I see him. I see Mister Duncan. He's holding something. (steps closer in her vision) Some sort of weird-looking radio. PETER: I don't think it's a radio. I think it's a detonator. Duncan's not the victim. He must be setting up some sort of bomb. (Duncan makes his way into the judicial building. his detonator easily clears security) ACT IV Allston Courthouse - First Response (Olivia and Lee arrive at the Allston Courthouse as the massive security response deploys into and around the building) TACTICAL TEAMS: Move, move, move! Go! Move! BROYLES: (to his agents) Courthouse Security Office pulled surveillance of Albert Duncan's vehicle entering the south entrance of the parking garage twenty minutes ago. We'll assume he's still in the building. AGENT LEE: What about the bomb? PETER: Given the amount of destruction in Emily's vision, we assume that he couldn't possibly have that amount of explosives strapped to his person. OLIVIA: The way Emily described it, it was as though the ground erupted. BROYLES: Right, so we'll assume the explosive is in the parking garage beneath the building. Bomb squad's about to go in and look for it. Peter's gonna join them. AGENT LEE: I can help. BOMB TECHNICIAN: (to Broyles) Sir, we're ready. BROYLES: (to Lee) Go. We'll start evacuating the building. Mallum Residence - Family Evacuation EMILY MALLUM: Dad, I'm sorry. Calling the FBI, I know I should've told you. JIM MALLUM: (returning to the apartment) That's okay, Sweetheart. I'm just really proud of you. But you're in the system now. You know, so it's only a matter of time before people start showing-up -- EMILY MALLUM: No. They're not like that. Agent Dunham promised. She said no one would harass us anymore. JIM MALLUM: (sees a menacing van down the street) Come on, let's get in the house, Em. EMILY MALLUM: Dad. JIM MALLUM: This isn't a discussion. Go pack your bags. (calling-out) Diane! EMILY MALLUM: Dad, please. DIANE MALLUM: What? What is it? JIM MALLUM: Black van across the street. Just like the one in Baltimore. DIANE MALLUM: Do what your father says. JIM MALLUM: (to Diane) I need a pen. I want to write down the license plate. (Emily starts packing, then closes her door so she can sit and sketch one final image) Allston Courthouse - Duncan's Revenge ALBERT DUNCAN: (stepping from the elevator) Uh, excuse me. I'm looking for Judge O'Malley. COURT CLERK: The Judge is in chambers. Do you have an appointment? ALBERT DUNCAN: Uh, no, but um... LOUDSPEAKER: Ladies and gentlemen, due to a reported emergency, please proceed immediately to the nearest exit. Please remain calm, and obey the instructions of the court officers. CANINE HANDLER: (to his furry, four-footed partner) What do you got, boy? What do you got? BOMB SQUAD: 26 and 28 are clear. What about the wheelwell? AGENT LEE: (to all in earshot) Hey, I got it! (approaches the pick-up truck. bomb technicians approach and uncover the payload. the shear volume of explosives makes everyone gulp) OLIVIA: (upstairs. briefing an officer) If you see him, I don't want you to confront him. Just keep your eyes on him, and you can either let Agent Broyles or myself know. COURT OFFICER: Okay. OLIVIA: Thank you. PETER: (on radio) It's me. We were right. It's rigged up to some sort of remote detonation trigger. BROYLES: Well, how long will it take to disarm? PETER: They don't know yet, but it's pretty elaborate. BROYLES: Okay, keep me informed. PETER: Will do. OLIVIA: They found the bomb? BROYLES: This thing goes off, we're gonna need to clear a 200-meter blast radius. Maybe you should help the police set up a perimeter. OLIVIA: I know what you're doing, and I'm not going anywhere. BROYLES: Olivia... what that man said to you... that you're gonna die... maybe this is what he was talking about. OLIVIA: (refusing the paradigm) I can't live my life like that. Or do my job. BOMB TECHNICIAN: (in the garage There's no reason for you guys to be here. This thing's wired with multiple redundancies. Could take hours. That guy could remote-trigger the device any time. PETER: (has a novel idea) Hey, can you tell me what frequency that bomb is rigged to receive? BOMB TECHNICIAN: Probably. Yeah, why? What are you thinking? PETER: Hey, it's me again. Have everybody turn their radios to 432.5 megahertz. ALBERT DUNCAN: (intercepts his target amid the evacuees) Hey. Hey, Judge O'Malley! You don't even know who I am. O'MALLEY: No, no. Should I? ALBERT DUNCAN: (finger in face) You took my family from me. And I'm gonna take you away from yours. BROYLES: It's over, Mister Duncan. We blocked your signal. OLIVIA: Nobody wants to hurt you, so you can just put your hands up, and we'll just walk out of here. ALBERT DUNCAN: No. (drops detonator) Nobody's going anywhere. (reveals bomb strapped to his torso) OLIVIA: Albert, you do not want to do this. Don't. ALBERT DUNCAN: (holds up deadman trigger) He... he took everything from me. OLIVIA: Okay, I understand why you're upset. But you can't do this. You can't. Albert... ALBERT DUNCAN: This is not my fault. This is because of him. And this is how it has to end. OLIVIA: No, you're wrong. Nothing has to happen. Nothing is written in stone. (calmly) You and I -- we don't have to die here today. Now, whatever happens next is up to you. You are in control. (waits for him to digest the thought) I'm not ready to die today. I don't think that you are either. (waits again) Just think about all these people. They have children too. Mallum Residence - Maximum Paranoia JIM MALLUM: (his answering machine takes the call while he packs and listens) We're not home. Please leave a message. OLIVIA: (leaves a message) Uh, Mister Mallum, this is Olivia Dunham. We defused the bomb. A lot of people's lives were saved today. I thought Emily would like to know. JIM MALLUM: (looking for his teenager) Hey, Em. (panics when he can't find her. the suspicious van is gone too) DIANE MALLUM: Jim? Jim, what is it? JIM MALLUM: They took her. They took Emily. ACT V Quiet Park - Losing Emily BROYLES: (on the phone to his agents still working the corthouse scene) We traced the plate number Jim Mallum provided. Boston PD hailed it. It was just a dry-cleaning van. AGENT LEE: Thanks for letting us know. (hangs-up. to Olivia) Her father was wrong. OLIVIA: I think he was just being paranoid. I don't think Emily was abducted at all. AGENT LEE: Then where the hell is she? OLIVIA: I think I might know. (drives to the park where she met the teen) Emily! Emily! (runs to the bench) You're freezing cold. We have to get you out of here. Her pulse is weak. AGENT LEE: I'll call the ambulance. OLIVIA: Help's on its way. EMILY MALLUM: It doesn't matter. (assigned to her fate) There's nothing anyone can do. It's just my time. AGENT LEE: This is Agent Lincoln Lee. I need an ambulance at Tanner Park right away. OLIVIA: No, Emily, you told me what's in your drawings is inevitable. But you're wrong. Today we saved all of those people because of you. JIM MALLUM: (approaches) Emily. (sees her weakened state) Oh, God. Emily... EMILY MALLUM: I've known for a while. JIM MALLUM: Why didn't you tell me? EMILY MALLUM: I knew you'd be here. JIM MALLUM: Em, please. They're on their way. Can you just hold on? EMILY MALLUM: I think you were right. Everyone has a purpose. They saved those people today. Maybe that was mine. (blood trickles from her nose as she leaves this life) Walter's Lab - Remembering Emily PETER: (enters the lab) Hey. OLIVIA: (looks up from her pile of work) Hey. PETER: They told me what happened with the girl. I'm really sorry. They said it was some kind of stroke. OLIVIA: Yeah. The overload of electrical activity in her brain was just too much. PETER: So the very thing that gave her her ability... OLIVIA: ...also killed her. Walter said that even if we'd known, we couldn't have done anything to prevent it. (thinks) He says, "a candle that burns twice as bright, burns half as long." PETER: I'm guessing you're not finding that all that comforting right now. OLIVIA: No, not as much as he does. PETER: (looks at photo on desk) Is that an Observer? OLIVIA: Is that what you call them? PETER: Yeah, why? What do you call 'em? OLIVIA: Well, up until now we haven't called them anything. PETER: Things really are different here. OLIVIA: What do you know? PETER: Well, they show up at significant events all through history. OLIVIA: Well, how do they do that? Like some kind of time travel? PETER: No, it's not really time travel, per se. Uh, it's more like they exist in all times simultaneously. They don't experience time the same way that you and I do. OLIVIA: So they know what's going to happen. I mean, if one of them said something about the future... could they be wrong? PETER: Well, no, I don't really see how they could. They don't predict the future, Olivia. They've already experienced it. Did one of them make contact with you? Have they reached out? OLIVIA: (spares him her concern) No. Olivia's Apartment - Maternal Visit NINA SHARP: (after knocking) I hope it's not too late. OLIVIA: No, I, uh... I just got home. Come in. NINA SHARP: I wanted to see you. Especially after I spoke with Phillip. He told me what happened to the girl. Are you alright? OLIVIA: Yeah, I'm fine. Really, I – I – I -- I am okay. (both sit on the couch) NINA SHARP: Sweetheart, about what you said when you came to see me this afternoon... I never should've reacted the way that I did. OLIVIA: I'm sorry, I should not have accused you. NINA SHARP: Please, I - I'm the one that needs to apologize. What happened to you as a child was unconscionable. You've come so far, I just forget sometimes how much you've been expected to forgive. OLIVIA: I'm not angry with you. I thought I was going to die today. And one of the things that I kept thinking was that you -- you wouldn't know how I felt. You're the closest thing I have to a mother. And I love you. NINA SHARP: Oh, Olive... (sees her wince) What? What's wrong? OLIVIA: I've just been getting these migraines, that's all. It's really not that big of a deal. NINA SHARP: Well, do you have any medicine? OLIVIA: Yeah, my doctor gave me some. NINA SHARP: Good. And what about food? Have you eaten? OLIVIA: No. NINA SHARP: I'm going to make you some soup. (heads to the kitchen) OLIVIA: You know, y-- you don't have to do that. NINA SHARP: I want to. I'm the closest thing you have to a mother. Remember. OLIVIA: Thank you. That would be great. NINA SHARP: Tomorrow I'm going to send some medication over. It's a new drug we've been working on. It's remarkable. (gets busy cooking) (on the street outside the apartment, a bald man in a Fedora waits and watches) PROLOGUE Doctor's Office - Bad News CHET WILLIAMS: (stoic at the diagnosis) Malignant? MEDICAL DOCTOR: (encouraging) But it's small, and it's the early days. And with radiation, this type of carcinoma is ninety-five percent treatable. Ninety-five percent survivable, Chet. That's better odds than you got driving up the Mass Pike. I've known you what, twenty years? We're going to get through this. Bus Stop - Worse News (the cancer sufferer sits at a bus stop. deflated. thinking. another rider has a seat) NEIL CHUNG: Tissue connectivity. That's what goes last. CHET WILLIAMS: (not understanding why this stranger is addressing him) I'm sorry? NEIL CHUNG: First, there's the cure -- radiation. It makes you sick, weak. But it doesn't work. Not this time, not in your case. The cancer has multiplied. They try Chemo, but the cell replication rate is just too high. Your bones hurt. They ache. They burn. Renal failure comes next. And soon, you lose all mobility below the waist. Impotence, incontinence, and finally, full respiratory failure. All from one... tiny mole. CHET WILLIAMS: (defensive) Doctor told me I have a ninety-five percent chance. NEIL CHUNG: (as the bus arrives) You're the other five percent. (after it departs, Chet lays dead on the bench) ACT I Liberty Island - Uninvited Guest (from the parallel universe, Agent Farnsworth makes her way through security in uniform, and unauthorized passage across the trans-universal bridge) SCANNING DEVICE: (as she stops on the scanning grid) Initiate scan. MILITARY SENTRY: (after she places her hand on the biometric monitor) Welcome, Agent. (Farnsworth steps through the outside doors and sees a very different Lady Liberty than the one she is accustomed to seeing) Fringe Division - Agent Retrieval LINCOLN LEE: (reporting to the boss at his desk) You wanted to see us, Colonel? COLONEL BROYLES: (stands) The bridge was activated an hour ago. An agent crossed over to the other side without any mission imperative. LINCOLN LEE: Who was it? BOLIVIA: Are you suggesting that somebody defected? COLONEL BROYLES: I can't imagine. It was Agent Farnsworth. LINCOLN LEE: That's impossible. (missing the obvious) Who -- who gave her clearance? COLONEL BROYLES: She did. Agent Farnsworth has the same security clearance as any senior Fringe Agent. In fact, she's responsible for processing transit papers and clearance. It just never occurred to us... BOLIVIA: ...that she would use it for herself. COLONEL BROYLES: Correct. LINCOLN LEE: What's she doing over there? COLONEL BROYLES: We don't know. She went off the grid immediately after crossing over. (deep breath) Alright. Let's send a team of agents to retrieve her. BOLIVIA: (has a better idea) No, she must've had a reason. Astrid doesn't do anything without a reason, and after the day she's had, I got a hunch where she's headed. I'll go get her. (heads for the door) Walter's Lab - Meeting Farnsworth WALTER: (sitting at a work station across from Peter. consumed in food fantasy) What would you say to some eggs? I had a marvelous dream last night in which eggs played a prominent part. (smiles) PETER: (frustrated) I would say... that we've only been working for three hours, and we've already taken two food breaks. At this rate, I'll never get home. WALTER: I miss the other one. PETER: I'm almost afraid to ask. WALTER: Boy. The other boy. He doesn't starve me. PETER: Which other boy? WALTER: The one who plays chess. PETER: Lincoln? WALTER: (unknowingly rude) That's the one. I prefer him. (walks over to chessboard) PETER: Well, Lincoln's not here, Walter. He's in Hartford. It's his god-daughter's birthday. Remember? And I’d be happy to play with you after we finish our work. WALTER: (knowingly rude) Frankly, I don't think you'd be much of a challenge. PETER: (getting back on task) I got a challenge for ‘ya. Why don't we fix the machine? (walks away) AGENT FARNSWORTH: (enters from the corridor) Hello. WALTER: (respond to the familiar voice) Hello. How about you and I share some delightful scrambled eggs, Astro? AGENT FARNSWORTH: (monotone) It's Astrid. WALTER: That's funny. You never correct me. (turns around and sees he is not conversing with his Agent Farnsworth) You're not you, are you? ACT II Walter's Lab - Where Agents Meet ASTRID: (enters the lab with Olivia) I don't think what he meant was "I'll call you." I think what he meant was "I'll never call you." OLIVIA: (sees Agent Farnsworth) Hello. ASTRID: (glances up at her counterpart) Aah! PETER: (walks from the back room) What happened? OLIVIA: (witty. to Astrid) I always wondered why nobody does that. (to Farnsworth) What are you doing here, Agent? AGENT FARNSWORTH: I came here to meet her. (her counterpart) ASTRID: Hi. (holds her new friend's hands) AGENT FARNSWORTH: Hello. ASTRID: Olivia told me about you. But it's nice to meet you personally in the flesh. AGENT FARNSWORTH: (deadpan) All personal meetings are in the flesh. ASTRID: (appreciates the unintentional humor) Yes, I - I suppose they are. AGENT FARNSWORTH: (reels off the facts) I thought I would come here. I didn't know where to go after. Mother might have had traditions for such occasions, but I don't know. I don't remember her. My mother died of cancer when I was a girl. Did yours as well? ASTRID: Yes. AGENT FARNSWORTH: At first I thought I would walk in the park. But it was so cold. And I could not stop thinking about the words Reverend Stewart said. (emphatic) What a leader he was, a great man, a great friend. Reverend Stewart said he would be sorely missed. And they lowered the box down into the ground, and we put down flowers. (emotional swell) And I didn't know where to go. Because the park was so cold. May I ask you a question? Yours -- did you love him? OLIVIA: Astrid... what's going on? ASTRID: (deciphering the flood of information) I think my f — (rethinks before misspeaking) I - I think her father is dead. OLIVIA: (answers ringing cell phone) Dunham. WALTER: Perhaps y - you would both like to join me in a plate of eggs. W - with chives. PETER: Walter, now is not the time. WALTER: Nonsense. N - nearly all cultures react to death with food. OLIVIA: Okay, uh, we just caught a case. And my double's on her way here to -- to sort this out. WALTER: (enraged) Olivia! The Viper? ASTRID: Walter! WALTER: What? (grumbles) I know. Détente. That's not to say I have to like her. OLIVIA: (logistics consideration) Do you think that one of us should wait here with – WALTER: (adamant) No, there's no need. We will be fine. Astrid and I - ASTRID: (disbelief) -- Really!? You get her name right? WALTER: Astrid and I can wait here alone. (to Farnsworth) Can't we, Dear? (taunting Peter) I'm sure she'll be great company. Bus Stop - Bagging Chet BROYLES: (inside the crime tape as his Science Team gets set up) Boston Police found the body at nine-thirty this morning. He was coming home from his doctor's office. Less than six hours ago, Chet Williams was diagnosed with Stage One melanoma. WALTER: (from the lab as he monitors via Astrid's videophone) Stage One. That has a survival rate of ninety-five percent. (to Agent Farnsworth) And that's without introducing even one frog rectally to slow cell division. ASTRID: (about the frog comment) What? OLIVIA: What? (about Astrid's private conversation) ASTRID: Nothing. (you don't want to know) PETER: (notes dried blood around the corpses eyes) So what are these? Bad mascara day? OLIVIA: I’d say bad day all around. I mean, can -- can someone actually cry blood? WALTER: Rarely. Certain viruses -- Ebola, say -- can cause bleeding from the tear ducts, but only after most of the organs are liquefied. Check his crotch. ASTRID: (not wanting to hear again what she thought she'd heard) I'm -- I'm sorry? WALTER: Don't be a prude. (Astrid lifts the corpses' clothing so Walter can clearly see back in the lab) Oh, you (to Farnsworth. watching over his shoulder) -- you see? There's no bleeding from the urethra. So I would say his organs are not liquefied. ASTRID: Okay, good news. Walter says that his organs haven't liquefied. PETER: So then what else could cause this? WALTER: Nothing. Nothing real, at least. There is a - a legendary alchemical mixture — a – a potion, as it were -- called the Tears Of Ra. Egyptians used it to euthanize beloved pets so that they could be buried with their owners who pre-deceased them. But it's just a myth. Well, bring the body back to the lab. And -- and also, I’d like some vanilla ice cream. Kirk out. (exulted. cuts the connection) AGENT FARNSWORTH: (summarizes what she just saw) You talk through her. You're Astrid. You talk through her. As if you were one person. WALTER: Yes, you could say it that way. AGENT FARNSWORTH: It must be pleasant. WALTER: (delighted with the new perspective on his relationship) Yes. I suppose it is. PETER: (to the forensics crew with the corpse) Thanks. You can follow us back to the lab. BROYLES: (busy on his cell phone) Yeah. Alright, keep me posted. Right. (as the corpse is gurneyed away, an Observer steps through a trans-dimensional portal temporarily embedded in one of the large front windows of a nearby business. he makes a quick assessment, then communicates it on his handheld device before vanishing back through the temporal doorway) MARCH: I think we have located it. Walter's Lab - Bolivia Returns ASTRID: (reads scale after Peter places autopsied organ on it) Point-two-six pounds. AGENT FARNSWORTH: (shotguns random datapoint) Seventeen percent lighter than an average human kidney. OLIVIA: (reads initial research) Okay, Chet Williams. Thirty-eight years old. Manufactures consumer goods overseas. Uh, single... no debt... no drug issues. His friends say that he's a nice guy. ASTRID: So nobody someone would want to kill? PETER: Well, everybody has somebody who wants to kill them. WALTER: (eyes down into microscope) And voilà. The deadly culprit reveals itself. (thinks) Odd. PETER: Always makes me nervous when he says that. WALTER: (to Farnsworth) An interaction of chemical compounds I've not seen before. (summons Astrid) Aspirin... (to all) predictive sciences says that these compounds shouldn't interact, but they do. OLIVIA: So what, you're saying that it's magic? WALTER: It's science. Just unusual science. Huh. (to Farnsworth) The way that six different alcohols create a flavor identical to iced tea. PETER: (quiet snark) Amen to that. WALTER: It works, but no one could've predicted it would work. OLIVIA: So you're saying that he was killed by a poison that no one invented? PETER: It should go without saying, but that's impossible. WALTER: (bitter) I think we're aware of that, Peter. (Bolivia enters the lab) BOLIVIA: (chipper) Oh. Isn't this a party? Hey, girls. WALTER: (to Bolivia) Mata Hari. (irate) Deceived and betrayed anyone yet today? It is almost lunchtime, after all. AGENT FARNSWORTH: (abruptly) Deus Ex Machina. WALTER: (suddenly interested) The Hand Of God? AGENT FARNSWORTH: The interaction of the chemicals in the poison is not predictable. The creation of the toxin requires the assumption that these compounds can intermingle, and in fact, these compounds do not intermingle -- except when they are all mixed together, they do, which is a completely unpredictable event. PETER: (postulating what he just thought he heard) Okay, just so I'm clear -- you're saying that a person would have to -- see that the chemicals had already been combined in order to know how to combine them? AGENT FARNSWORTH: Yes, and the chances of that occurring randomly are less than one tenth of one percent. Therefore, there is a root of the equation that is outside our realm of causality. Deus Ex Machina. The Hand Of God. PETER: (to Farnsworth) But Astrid, are you trying to tell us that God taught our Perp how to mix a mythical poison? WALTER: God... or godlike powers. (delighted when he makes the connection that Farnsworth was alluding to) It -- it's the only thing that makes sense. Come with me. I'll need your help to identify the origin of these component compounds. (escorts her from his work station. to those he left on the main floor) I think I love her. BOLIVIA: Okay, well, I guess that, uh, we're not gonna go straight home. (makes herself at home) Cold Chinese in the fridge? PETER: Uh, yeah. I'll check. (heads to the refrigerator. the two Olivia's make uncomfortable eye contact) Urban Encounter - Victim Of Mercy? CLERK: (in an inner city liquor store, a pint-size bottle of gin is sold and bagged for the customer) Here you go. (Carrie Watson leaves the store with her gin, then considers discarding her hasty purchase when she approaches a public trash can. willing to make an effort to conquer her addiction, the gin is not going home with her this day. with today's victory under her belt, she continues into a breezeway between buildings) NEIL CHUNG: (timing his arrival behind her, he jumps into the conversation she was having with herself) You're putting up a good fight. But you're not going to win. (as she turns to face the man claiming prophecy in her life) You're gonna take that drink, and from there it's all downhill. But you know the saddest part? (disinterested, she walks away) The drinking doesn't kill you. Instead, it shatters the lives of everyone around you. Everyone you love. (places time-viewing device in his pocket) Your boyfriend is going to be killed in a car accident with you behind the wheel. (she turns to him as the words slowly sink-in) Your brother is going to alienate his wife and daughter, throw away his own future trying to rescue you. But he fails. CARRIE WATSON: (dismissive) No one can see the future. NEIL CHUNG: You're right. (grabs her arm) There is no future. There's no past. Everything happens right now. (takes atomizer and sprays it into his target's face) ACT III Murder Scene - Tech Support WALTER: (empties out a shopping bag with a few dozen personal items. aggressive distrust) Now that you're back, I can finally rid myself of this junk you left behind in your haste to slink away. BOLIVIA: (laughs. checks out the stuff left behind) Walter, you've been holding onto this stuff all this time? WALTER: (feeling accused) I didn't steal anything, if that's what you're implying. (less rudely) Although I admit that this one item confounded me. (picks-up and examines a small silver box. sensing conspiracy) Just another of your tools of spy craft, I imagine. A sinister communication device? Some kind of devious encoder? BOLIVIA: Wow. (teasing) I really got to you, didn't I, Walter? Did you ever consider that perhaps it's because you enjoyed having me around? Admit it. (provocateur) You like me, Walter. ASTRID: (on videophone from crime scene) Walter, we're setting up. AGENT FARNSWORTH: Doctor Bishop. (to the distracted scientist) Doctor Bishop, your Astrid is summoning you. The Fringe Team is at the scene. FORENSIC TECHNICIAN: (briefing the science team in the breezeway) The way this woman died -- and I say this with some experience -- is among the weirdest things I’ve ever seen. PETER: She bleeding from her eyes? FORENSIC TECHNICIAN: How did you know? PETER: There seems to be a lot of that going around lately. You mind opening it up? I’d love to take a look. WALTER: (issues his needs over the comm link) Astrix, collect a DNA sample. PETER: Astrid, can you hand me a cotton swab? ASTRID: (more focused on aiding Peter) Hang on, Walter. PETER: (unwittingly supersedes Walter's traditional expertise) I wanna get a DNA sample. OLIVIA: (approaches the corpse) So the cops said... PETER: (busy at work) ...hang on a second. Seems to be some hemorrhaging of the nasal passage. OLIVIA: You think maybe she inhaled something? PETER: Yeah, possibly. Could be how they delivered the poison. ASTRID: (has to time now for his input) I'm sorry, Walter. What were you saying? WALTER: (feelingly outsourced) Doesn't matter. But please ask Agent Dunham to bring the body – PETER: (supersedes Walter's input again. unknowingly) Astrid, we're gonna need to get this body back to the lab to have it examined. Can you work that out with the M.E.'s office? ASTRID: Yeah. AGENT FARNSWORTH: (painfully candid. unintentionally) Does he always do all the jobs? (Walter kills the video feed after his ego has been sufficiently bruised) Walter's Lab - Controlled Suffering WALTER: (classical music plays as Peter works diligently at a lab station over the corpse. set on belittlement) These scalpels could use some sharpening. PETER: (accepts the tray of scalpels) And you're sharing that with me why? WALTER: I thought you'd sharpen them for me. You said you wanted to help. PETER: I had meant with the autopsy, Walter. WALTER: (snaps his gloves) The screws in the rib-spreader could also use a little tightening. (Peter walks away. let's the former alpha-dog have his moment) AGENT FARNSWORTH: (direct. candid) You're angry with your son. WALTER: He is not my son. AGENT FARNSWORTH: As I understand it, in a different timeline, he is. WALTER: Oh, so he says. AGENT FARNSWORTH: Do you feel love for him? I have found that anger inevitably seems to be conjoined with emotional investment. (succinct) Do you think that is the case? WALTER: (equally succinct) Peter is a reminder of the son I had... and wish had lived. But he is not that son. AGENT FARNSWORTH: (not understanding the complex circumstances Walter fancies as truth) And that makes you suffer? WALTER: Yes. AGENT FARNSWORTH: (selecting the least complex course for resolution) In that case, wouldn't it be preferable if you chose to believe he was your son? And then you could love him and be happy. (Walter ponders the concept. speechless) BOLIVIA: (working in Olivia's office. examining research) I'm sorry, but I'm just not seeing any connection between the victims. (studies Peter in the adjoining office) Secretary's son. He's cute, huh? Bet he's all contradictory and tricky like his Dad. OLIVIA: (aloof. barbed) Yeah, I imagine he's just your type. BOLIVIA: Actually, no. (curt) Turns out I like the nice guys. (looks around at the casework) Alright, so neither of the victims lived in the same neighborhood. They didn't go to the same gym, and they’ve got no mutual friends. OLIVIA: (focused) Yeah, well, there has to be a connection. We just haven't found it yet. BOLIVIA: (pretentious) You say that with such conviction. Because...? OLIVIA: (displaying her superior investigative skills. politely) Because if there isn't a link, then we've got a killer on the loose and no lead to find him. Logan International - Victim Screening PUBLIC ADDRESS: Flight 28 to San Antonio is now boarding at Gate 38-B. Flight 28 to San Antonio is now boarding at gate 38-B. NEIL CHUNG: (takes passenger's ID card, scans it against the blue rod, then gives it back) Have a nice flight. JARED COLIN: Look, Honey, I'm at the security thing. I’ve gotta call you back, okay? NEIL CHUNG: (scans the ID and it glows bright, then hands it back) Have a nice flight. JARED COLIN: Thanks. (Chung writes down the passenger's name, then waves the next passenger forward) ACT IV Parking Garage - Prophetic Encounter JARED COLIN: (arguing on cell phone as he heads for his car) Look, take it down a notch, okay? Yeah, yeah, I want to get this over with, too. What? No, no. It's not a ruse. I told you, I missed the flight this morning. There's nothing I can do. Bill, Bill. Listen to me. I'm hanging up the phone right now. Call me back when you get a personality I can deal with. (ends call. starts another cell call. to Chung as he approaches) Can I help you? NEIL CHUNG: Making your next call will destroy your life. JARED COLIN: Excuse me? NEIL CHUNG: You'll be driving. When a taxi cuts you off, your reaction won't be quick enough because you only have one hand on the wheel. JARED COLIN: (dismissing the crazy) Oh, okay. Well, thanks, pal. But my life really is none of your business. NEIL CHUNG: (itemizing future events) Your car is going to flip, shattering your spinal cord. You're left a paraplegic, and with no family, you end up in a group home. (places advanced technology in his pocket) The man who runs it is not... kind. Your body will be discovered more than ten hours after you die. No one mourns. I'm going to spare you from all that misery. A painless exit from a living nightmare. (removes atomizer. starts to aim but is blocked. the victim evades him, but is struck hard by a speeding car} Hospital Interview - ICU Patient OLIVIA: (to Peter as they find the Intensive Care duty desk) Jared Colin. Apparently, his attacker tried to spray him with some kind of atomizer. PETER: Yeah, that sounds like our guy. OLIVIA: He said he'd never seen the man before, so why? What's his motive? DOCTOR BRODY: (flirty fun) Hm. The Feds, I take it? Too many years in this job. Lawyers and Cops -- I can spot you guys a mile away. OLIVIA: Uh, I'm Agent Olivia Dunham, and this is Peter Bishop. What can you tell us about Mister Colin, Doctor? DOCTOR BRODY: Well, it's not good news. I mean, we saved his life, but his spinal cord is severed right below T-1, so he is not gonna walk again. Come on. He's down here. (starts down the hall) JARED COLIN: (awake. tired. wearing a cranial brace) I wasn't even supposed to be in town. I was heading down to Dallas. Selling my company to my scumbag partner, who for six years has made my life a living hell. Today was gonna be the day that I started over. New beginning. But I had a water bottle in my carry-on. By the time the damn TSA was done with me, I missed my flight. OLIVIA: Besides his description, is there anything else that you can tell us? Anything that you remember? JARED COLIN: He, uh... he had this weird rod. It was blue. And he'd look into it like he was some kind of fortune teller. He said I was gonna have a car accident, and I was gonna end up like this. PETER: So this guy predicted what would happen? JARED COLIN: Not exactly, but I guess exactly doesn't really matter now. OLIVIA: We think it's possible that the man who attacked you also killed at least another two people. (holds-up their photos) Do you recognize either of them? JARED COLIN: No. He... he said he wanted to put me out of my misery. Like he was doing a good deed. Like he was some kind of Saint. I tell ya, I wish he had. I wish he'd done it. I wish he'd killed me. Walter's Lab - Evidence Review ASTRID: (looking at the victim's photo) Nothing to link them. Period. AGENT FARNSWORTH: (parroting) Period. ASTRID/AGENT FARNSWORTH: (in unison) Goose egg. ASTRID/AGENT FARNSWORTH: (in unison) Zilch. ASTRID: (smiles) Would you like a cup of coffee? I'm going to make a fresh pot. AGENT FARNSWORTH: Coffee. I understand that has quite an interesting flavor. ASTRID: Yeah, I suppose it does. Have you never had any? AGENT FARNSWORTH: Where I come from, coffee is very rare and thus very expensive. I’ve never had the privilege. (awkwardly congenial) Yes, I would like that. Thank you, Astrid. ASTRID: You're welcome, Sweetie. (rolls her eyes as she walks away) WALTER: (at the other end of the lab. one of his guest attempts to sneak a piece licorice while he rests his eyes) Did you ask? I didn't hear you ask. BOLIVIA: (turns-on the charm) May I? WALTER: Certainly (opens his eyes) - not. BOLIVIA: (puts jar down) That's right. (sing-song) You're still mad at me. WALTER: Yes, and now you're breaking my concentration as well. BOLIVIA: Oh, I'm sorry. (sits down. sarcastically) Were you solving world hunger or perfecting the perfect peanut butter milkshake? (laughs) WALTER: (not buying into the charm) If you must know, I was musing on our killer. Agent Dunham reports that he may be attempting to put his victims out of their misery, and if that's the case, then his murder weapon of choice is consistent. ASTRID: The Tears Of Ra? WALTER: Yes. Painless and instantaneous. And it begins to make sense now. ASTRID: So we're looking for -- for what? A humanitarian killer? WALTER: Or a compassionate one. BOLIVIA: (seeking clarification) Okay, so you're saying that the killer believes he is saving his victims from a lifetime of suffering by killing them. That sounds like an extremely contorted view of compassion. WALTER: (altruistic) Some suffering is worse than death. AGENT FARNSWORTH: (looks up from recent research) What is Logan International? WALTER: It's an airport. Why? AGENT FARNSWORTH: All three victims traveled through there. WALTER: Is that right? (to Astrid. disappointed) How did you miss that? ASTRID: (defensive) I didn't! They all had different airlines. They had different destinations. Mister Williams was what, two weeks ago? Carrie Watson was last month. AGENT FARNSWORTH: Yes, their travel vouchers indicate that. What is TSA? ASTRID: Uh, Transportation Security Administration. They screen every passenger for safety. AGENT FARNSWORTH: In that case, correlating their voucher stamps, I believe they may each have been screened by the same Security Agent.(hands the data to Astrid) ASTRID: She's right. TSA Badge 0-0-4-7. AGENT FARNSWORTH: (looks to Astrid after tasting her cup of rare and exotic coffee. with considerable pleasure) My. Logan International - Confronting Chung NEIL CHUNG: (to passenger) Thank you. Have a nice flight. PUBLIC ANNOUNCEMENT: ...ready for departure at Gate 23-A. All passengers should now be on board. Flight 62, Chicago O'Hare at Gate 23-A. (Peter makes predatory eye contact with Chung) PETER: (as Chung flees behind a wall of terminal security and fellow agents) Hey. Stop that man! TSA SCREENER: Hey, whoa, whoa! Stop right there! (physically barricades the duo) OLIVIA: (attempting to circumvent the security serpentine) Federal Agents. We're in pursuit of a suspect. TSA SCREENER: (standing his ground) Federal Regulations. You either have a boarding pass or supervised authorization. (offering what little help he is authorized to offer in the time-critical situation) Do you want me to find you a Supervisor? ACT V College Classroom - Chung's Background PROFESSOR: (busy finishing with his paperwork after class) I was surprised the FBI was doing a background check on Neil. OLIVIA: Well, to be honest, we were surprised to learn that he was previously employed as a professor at MIT. PROFESSOR: Yeah, I could tell that on the phone. PETER: So how does an advanced mathematics professor end-up working for the TSA? PROFESSOR: I suppose he loses his mind. (moves to the briefing lectern) It would be an understatement to say that people around here are driven, but Neil -- he put 'em all to shame. He was the youngest tenure track professor ever. Brilliant. And a little bit mad to begin with, I suppose. And like most mathematicians, he believed that math was the key to unlocking the secrets of the universe. I know how that sounds. PETER: Not nearly as crazy as you might think. PROFESSOR: Well, a couple years ago, he came back from summer break at his lake house, and he was just... changed. He said that he'd found something, although he wouldn't say what. But he'd become obsessed with these high-level differential equations that no one could make heads or tails of. He had a theory that if he could solve the equations, space and time could be flattened, so they would all be on a level plane. PETER: Define that for me what do you mean by flattened? PROFESSOR: Well, that you could in essence see past, present, and future simultaneously. Well, eventually, solving the equations became more important than class, and soon, he just left and didn't come back. Now, from what I heard, he went back to the lake house. But this working at the TSA? Now, that surprises me. PETER: Where was that lake house? PROFESSOR: I'm not sure, somewhere in Eastern New York, I think. He wanted his mail forwarded. Oh, here we are.(checks Chung's file) Reiden Lake. OLIVIA: (returning to the car) When you first appeared in this timeline, it was at Reiden Lake. What's going on, Peter? PETER: The professor said that Neil thought he could see past, present, and future all at the same time. That's what the Observers do. We've just never been able to figure out how they do it. But in my timeline, an Observer saved my life. It also happened at Reiden Lake. (as Olivia unplugs the electric car) When Walter crossed over when I was a child to bring me back to his universe, the ice broke. We both fell in. It was an Observer who pulled us out. OLIVIA: Are you suggesting that an Observer is somehow behind this? That -- that he's using Neil? PETER: I don't know. I think we should take a drive. (both buckle-in and drive off) Walter's Lab - The Daddy Issue AGENT FARNSWORTH: (about Walter sitting with his eyes closed and wearing headphones) What's he doing? ASTRID: Thinking. AGENT FARNSWORTH: You care for him. ASTRID: (candidly) I suppose I do, yeah. AGENT FARNSWORTH: Like a father. My father... (saddens) I cannot get the thought out of my mind that... that I couldn't give him what he wanted because of the way that I am. (frustrated) That he secretly wished I could love him back in a way that he could understand. (curious for a post mortem solution) Do you think if I were more like you, he would've loved me more? If I was normal? (gets choked-up. purges the emotion five seconds after she felt it) I think I would prefer this beverage with sugar. (gets-up to find the sugar. the emotional impact on Astrid weighs heavy) Reiden Lake - Chung Cabin OLIVIA: (after the four drive to Reiden Lake from MIT, she parks in front of the Chung cabin, then takes less than a minute to pick the lock. humorously about the lock she just unlocked) Who leaves their door unlocked when they're not home? PETER: (perpetuating the joke) You're right. It's not safe. (follows her into the house) OLIVIA: (after looking, holsters her weapon) Well, we're in the right place. PETER: Hey, take a look at this. (the wall covered with religious, spiritual and other personal pictures, clippings, notes and memorabilia) Neil was a twin. His brother and father were killed in an accident. (about the iconery) So Gandhi, Joan of Arc, all the rest of them -- what's the connection? They're heroes? OLIVIA: (knowing the answer to her own question) What else do they all have in common? (gives him a few seconds) They're all saviors. PETER: So where is Neil? (she answers his question by handing him a photo of Neil - with his mom) Chung Residence - Final Stand (Neil Chung opens the safe in his closet and places the time-viewing device inside. he remove a pistol, loads it, then joins his mother in the living room) ANNE CHUNG: Where are you going? (as he checks the front of the house) I don't understand. (as Neil waits for his future to arrive) What do you mean, you are here to say good-bye? ACT VI Chung Residence - Satisfying Destiny ANNE CHUNG: (sitting calmly) Where are you going? NEIL CHUNG: I told you. ANNE CHUNG: "Where I belong" is not an answer. Were you fired again? NEIL CHUNG: I told you, Mom. I wasn't fired from MIT. I left. (approaches her) ANNE CHUNG: What? NEIL CHUNG: (resentful) I heard you that night, you know. The night Alex died. (Anne stares at him, aghast) You said God took the wrong one. "Why did God take my angel?", you kept saying. You always resented that I wasn't Alex. Not your angel. I was afraid that you were right. That I would never be good enough. As good as he was. (Anne is disturbed) But God had a plan. He let me live for a reason. I know that now. God gave me a way to see the future. ANNE CHUNG: W - what are you talk- NEIL CHUNG: (finishes the sentence) What are you talking about? NEIL/ANNE: Stop. Stop! Don't do that. NEIL CHUNG: (repeating, Observer-like) Don't do that. You're scaring me. ANNE CHUNG: You're scaring... me. NEIL CHUNG: God gave me a way to see the future so I could give people mercy. (convinced. diluted) ANNE CHUNG: Neil... I'm sorry. What you heard that night... about your brother... you should never have heard that. NEIL CHUNG: But I did. And I'm glad. Every time I saw the disapproving look in your eye, it drove me harder to separate myself through accomplishment. That's why God took notice. Because of you. ANNE CHUNG: Neil. Please stop this. NEIL CHUNG: (stares out the window at Olivia and Peter) Jesus knew the Romans were coming for him. He could have avoided his death so easily. But he didn't. He had faith that God had a plan. I understand God's plan for me now. And I'm willing to go. (pulls pistol from his belt) OLIVIA: (pounding on the front door) FBI. Open this door, or we're coming in! ANNE CHUNG: (terrified) FBI? OLIVIA: FBI. Put your hands up. (knocks door open) NEIL CHUNG: Don't you remember, Mom, what the priest said about Alex at the funeral? OLIVIA: (points gun) Stand up slowly and put your hands behind your head. NEIL CHUNG: He said angels don't belong on Earth. OLIVIA: Keep your hands where I can see them, and turn around very slowly. NEIL CHUNG: I'll see you in heaven. (shoots at the window, is shot in the chest) ANNE CHUNG: Agh! No! no! (holds her son as he collapses at her feet) PETER: (later, as the EMTs carry Neil's body away) Hey, how you holding up? OLIVIA: (reflective) You know, he wasn't trying to hit me. He fired at the window on purpose. PETER: How do you know that? OLIVIA: I think he knew we were coming, and he wanted us to shoot him. PETER: I guess it makes sense. I mean, he could see the past, present, and future. But he had a gun. Why not just shoot himself? OLIVIA: Because he was religious. If he committed suicide, he wouldn't be allowed into heaven. PETER: What about all the people he killed? OLIVIA: He thought he was saving them. This was his way to become an angel. PETER: Hmm. OLIVIA: (as he steps out) Peter. I know it's taken me some getting used to, but as long as you're stuck here, you make a good partner. (begins walking away) PETER: (flattered) Thank you. Walter's Lab - Fond Farewell AGENT FARNSWORTH: (blurts) Doctor Bishop. We are leaving. (receives hug in return) BOLIVIA: Hey, Walter. Here, I want to show you something. My ingenious piece of spy tech. (holds up the silver box, unlocks it with a few flips and turns. offers a tasty treat) WALTER: Mints? (takes one and eats it) BOLIVIA: Similar. They're Bobbins. They're delicious. WALTER: It's almost like Wintergreen. Only smokier. One for the road. (grabs licorice jar and offers a whip) BOLIVIA: (smiles) Are you giving me a send-off? WALTER: (flirtatious) You may possess positive qualities that I previously overlooked. BOLIVIA: (laughs) Are you flirting with me? WALTER: (slyly) In your dreams. ASTRID: (to her counterpart) It was really nice meeting you. It was amazing, actually. AGENT FARNSWORTH: Yes. ASTRID: (offers the gift of perspective) What you said before... my father... we're not very close either. He's a very complex man. He doesn't really show emotion. He does the best with the tools he has. That's just how he is. I know he loves me. At least, that's what I tell myself, even though it doesn't really seem that way. You shouldn't regret that you could've been more for him. It wasn't you. AGENT FARNSWORTH: (to Astrid) Thank you, Agent Farnsworth. ASTRID: You're welcome, Agent Farnsworth. (Agent Farnsworth walks away) Farnsworth Residence - Visiting Dad (Astrid unlocks the front door, then walks toward the kitchen) STEPHEN FARNSWORTH: Hey. Well, look who's here. ASTRID: Hi, Dad. (smiles. down trodden) STEPHEN FARNSWORTH: (understanding) Ah. That kinda day, huh? ASTRID: Yeah. That kind of a day. STEPHEN FARNSWORTH: Wanna tell me about it? ASTRID: Yes. But you know that I can't. STEPHEN FARNSWORTH: Yeah. I know. But at least I can feed ya. And I can give my baby girl a big ol' hug. (which he does) Awww. ASTRID: I love you, Dad. (enjoys the paternal embrace) STEPHEN FARNSWORTH: I love you too, Astrid. Chung Residence - Salvage Operation (while Anne Chung sleeps, two Observers slip past her and open Neil's safe. one removes the time- viewing device) MARCH: Here it is. (hands it to December) DECEMBER: (examines it) You're right. It's September's. MARCH: He must have lost it in 1985, the night he didn't save the boy. He'll be interested to know what happened to it. There's something else. It appears that September did not obey your instructions. The boy is back. Peter Bishop has returned.

PROLOGUE Olivia's Apartment - Waking Dreams OLIVIA: (slow-motion wrestling beneath the sheets. she pins him) I love you. Do you love me? PETER: I do. OLIVIA: Then tell me. I want to hear you say it. PETER: I love you. (kisses her. Olivia awakens quickly when her phone vibrates on the nightstand) PETER: (calling from the lab. energized) Hey. It's Peter. I'm sorry. I know it's early. Did I wake you? OLIVIA: Uh, no, that's okay. What's up? PETER: Me and Walter for the last twenty-four hours. We've been working on the machine. OLIVIA: Did you make any progress? PETER: Yes. I think we had a breakthrough. Could be the first step towards getting me back home, but... OLIVIA: ...but? PETER: There's something I need your help with. Walter's Lab - AM Cocktails WALTER: (pour and carefully mixing at a lab station crowded with beakers, beacons and Bunsens) Gently, gently... the trick is to ensure optimal heat distribution... while not allowing the mixture to separate. (as she approaches the table) Ah, Olivia, you're just in time. OLIVIA: What is that smell? PETER: Walter is creating a new breakfast cocktail -- hot cinnamon roll. WALTER: Did you know that the cocktail was historically conceived as a morning beverage? (eager) The etymology of the word itself, "cocktail," comes from the magnificent rooster, who announces the dawn of each day. (raises a toast) OLIVIA: What's in it? PETER: Oh, boy. (stifling his abused palate) It's mostly Cinnamon Schnapps and butter, but... right now it's mostly butter. WALTER: It needs more butter. (professional assessment) PETER: (senses her demure body language) You okay? OLIVIA: Yeah, I'm just a little bit tired -- that's all. Uh, what did you need my help with? (follows him to another work station supporting a large electro-mechanical component) WALTER: Peter and I have completed the biomechanical interface for the machine. The device is uniquely calibrated to work only with Peter's genetic profile. It uses an organic interface (his hand) to transcode Peter's neural impulses into command directives. PETER: Just watch. (places his hand on the interface and the device responds) OLIVIA: So you're able to control the machine with your thoughts through this? PETER: That's how I was able to do it back in my timeline. OLIVIA: And what, you just click your heels and think of home? PETER: Well, we haven't quite worked out how that works yet, but that's kind of how I ended up here in Oz in the first place, so in theory, yeah. WALTER: We won't know for sure until we're able to test the prototype on the machine itself. OLIVIA: Which would require Broyles' authorization. (gets it) Now I know why I'm here. PETER: You don't mind asking him, do you? OLIVIA: No, of course not. I'll see what I can do. (leaves the lab) Rural Vermont - Magnetic Anomaly TRUCK DRIVER: I... I have crazy dreams come on. (singing as he drives. the electronics in his rig seem to fail and he is stranded along with other motorists) FAINT CHATTER: (stranded motorists mill about, suffering similar misfortune) Yeah, I can't explain it. Another one here. Just stopped working. Oh, yeah. Just the lights went out, and then... just stopped. (small metal objects hover in the tractor cab) STRANDED MOTORIST: Hey, check it out! Do you see that? CONCERNED DRIVER: What is that? Over there. FAINT CHATTER: We got another... TRUCK DRIVER: What the hell? DISBELIEVING CROWD: (the lights of a commercial jetliner light the area as it passes overhead. dangerously low) Whoa. Oh. Got to be kidding me. Oh... (the jet crashes seconds later. the fireball climbs into the night sky) Honey, come here. Come here. Come here. Yeah. (after the plane crash all of the vehicles return to nominal operating condition) Can't believe it. You got service? Does anyone have cell reception? Is your phone working? Plane just went down. It might now. We should call... ACT I Rural Vermont - Crash Aftermath ASTRID: (getting out of the vehicle) I'll get Walter online. (makes cell phone call) BROYLES: Welcome to Vermont. OLIVIA: Thanks. So what brings us here? BROYLES: Atlantic 5-9-1 was passing overhead when a disturbance occurred mid-flight. It appears their electrical and hydraulic systems failed. ASTRID: (on phone) Walter? (to Olivia) I'm sorry. I can't seem to reach him. OLIVIA: Any survivors? BROYLES: None. NTSB is currently working the crash site about two miles south of here. ASTRID: (on phone) Walter... BROYLES: But we think whatever caused the crash originated in this location. OLIVIA: On what basis? BROYLES: Approximately three hours ago, every vehicle on this stretch of highway inexplicably lost power. OLIVIA: Well, it could be some sort of interference. Are there any high-frequency radio towers around? BROYLES: None. That wouldn't explain some of the stranger events described by witnesses. Objects suspended in midair... ASTRID: (on phone) Walter, are you getting this? Can you hear me? Walter... WALTER: (walking-up behind her) For God's sake, woman, lower your decibels. ASTRID: You're here, in person. WALTER: I thought it was a nice day for a drive. Well, let's get started, shall we? OLIVIA: (to Peter) Well done convincing him to leave the lab. PETER: Don't look at me. This was his idea. BROYLES: (to Olivia) I guess he finally got tired of being caged up. OLIVIA: Yeah, it's not just that. I mean, he's been much more open lately, somehow. WALTER: Peter! Look at this. (grabs hubcap from vehicle) ASTRID: Walter, what are you doing? This car belongs to someone. WALTER: Just watch. (throws hubcap at another vehicle so it sticks to the side) PETER: Huh. It's magnetized. WALTER: As I suspected -- I didn't think that those levitating effects that the witnesses described were the result of a change in gravity. On the contrary, it seems that for a brief moment, the electromagnetic force in this area was increased dramatically. PETER: Which is why all of the cars' electrical systems failed... and probably the plane's as well. WALTER: And it was strong enough... (struggles to remove the magnetized hubcap) to leave a residual magnetic force in all metal objects in the vicinity. BROYLES: Do you have any idea what caused it? WALTER: No. Not yet. I'll -- I'll need to take some samples before I can develop a proper theory. Um, but I - I - I will require some of the plane's wreckage and the black box. BROYLES: Go ahead and collect whatever evidence you need here. Agent Farnsworth and I will coordinate with NTSB to take custody of the wreckage and the bodies. WALTER: Peter... (and to Olivia) while they're collecting the samples, just down the road, I saw a sign for a place that serves delicious homemade rhubarb pie. Who's hungry? Westfield Proper - Pie Tasting (close to midnight, Olivia drives past the city limit "Welcome" sign and into the dark, inactive rural township. as advertised, the pie shop is open for business and appears to be the only action in town) WALTER: There. "The Best In Westfield." do you see? OLIVIA: Damn it. (fiddling with her cell phone) PETER: What's up? OLIVIA: I can't get a signal. (points down the street) I'm gonna hit that pay phone on the corner, see if I can get an ETA from Astrid. We may have to get the rhubarb to go. PETER: Alright. We'll meet you in there. OLIVIA: Okay. BIG WILLY: (as the door to his eatery opens) Come on in out of the cold, Gentlemen. Have a seat. What can I get for you? WALTER: Your largest slice of rhubarb pie and coffee, please. BIG WILLY: Alright. And for you? PETER: Just the bathroom. BIG WILLY: (points down the hall) Uh, it's in the back there -- first door on your right. PETER: Thanks. BIG WILLY: So where you folks from? (pours a cup of coffee) WALTER: Boston. BIG WILLY: Ah, it's a lovely city. Got an uncle out in Somerville. Your first time in Vermont? WALTER: Are we in Vermont? I had no idea. BIG WILLY: (robust) What, you folks lost? WALTER: (timid) Not that I'm aware of. BIG WILLY: Well, how does a man drive all the way from Boston to Vermont and not even know that he's there? WALTER: Oh, I'm not allowed to drive. I haven't renewed my license since I got out of the mental institution. BIG WILLY: (waits for the punch line. then laughs) You know what? I like you. Pie's on the house. WALTER: Oh. (delighted at the gesture) Thank you. (Olivia finds her way to the pay phone. An car in the street sits open and unattended. the phone is inoperative. Peter finishes his business and washes up and leaves the lavatory. on his way to rejoin Walter he pauses at the groaning noise from the pantry) BIG WILLY: (returns to Walter) Hey. Looks like June got you some coffee. How's your evening going? WALTER: Excellent. And yours? BIG WILLY: Just fine. So what can I get for you? WALTER: Pardon? (confused with his host's confusion) BIG WILLY: What do you want to order? WALTER: But... but I ordered a moment ago. BIG WILLY: This is my busiest shift. Do you want to order or not? WALTER: (demurely) But I did. I - I ordered rhubarb pie. And you even offered to give it to me free of charge. BIG WILLY: (instant pie rage fills his eyes) Are you trying to steal food? WALTER: No, of course not. BIG WILLY: (growing irate) Nobody steals from me. Not you, not Cliff, nobody. You hear me, old man? WALTER: I hear you. I hear you perfectly well. BIG WILLY: (instantly upbeat) Oh. Still got to get you that pie. Must've forgot. I'm sorry about that. CLIFF HAYES: (when Peter finds him bleeding on the floor of the pantry) Please... BIG WILLY: And there you go. (delivers one large slice of rhubarb pie. front and center) Anything else I can get for you? WALTER: No. (genuinely disoriented by the mood swings of his host)Thank you very much. BIG WILLY: You're very welcome. (turns, grabs a large chef's knife, then comes over the counter trying to slice Walter in half) Yaah! WALTER: Whaa! (blocks the stabbing hand of his assailant) Peter! Peter! PETER: (charging from the opposite side of the diner) Walter! BIG WILLY: (kicks Peter off of him) Rraah! (Olivia steps through the door and drops Willy with a single round) WALTER: Peter... PETER: I'm okay. OLIVIA: What -- what happened? PETER: I don't know, but there's a guy in the back room. I think the cook attacked him. He's pretty beat up. (as Walter helps him to his feet) Thank you. (as Walter checks Willy's dual iris eye) Come on. WALTER: (checking the injured man in the pantry) Pulse pressure's weak... probably as a result of the puncture in the arm. An inch to the right, it would've hit his brachial artery. OLIVIA: (returning from a search of the restaurant) I just found another body behind the counter. PETER: What are you thinking, serial killer? OLIVIA: I don't know. I mean, I think there's something off about this entire town. PETER: Meaning what? OLIVIA: The whole place is deserted. I can't get a cell signal. All the phone lines are down. WALTER: Do I take that to mean that we can't call for an ambulance? PETER: What, you can't treat him here? WALTER: Well, he's lost too much blood. Unless he is administered fluid, resuscitation, and a blood transfusion immediately, he may not make it. OLIVIA: Well, the nearest hospital is twenty miles away. PETER: (finishes dressing the bloody arm wound) Then let's get movin'. Grab his feet. Leaving Westfield - No Way Out (as Olivia drives past the Westfield city exit sign) CLIFF HAYES: (weak. groggy) Where am I? WALTER: You've sustained some injuries. We're going to get you to a hospital. CLIFF HAYES: No. No, we can't leave. We -- we can't leave. WALTER: (encouraging) You're going to be alright. Stay with us. What's your name? CLIFF HAYES: Cliff. Cliff Hayes. OLIVIA: Did you see that? (as she passes the city limit sign into town) PETER: Yeah, "Welcome to Westfield." Y - you must've gotten turned around someplace. OLIVIA: Yeah, I guess so. PETER: You just got to stay on the main road. It takes you right back to the highway. OLIVIA: Yeah, I - I thought I did. (as she passes the city exit sign again) What the hell is going on here? (as she drives back into town seconds later) PETER: (looking out the window back at the sign) That's not possible. CLIFF HAYES: We can't leave. (weak) We can't leave. We can't leave. WALTER: I think our friend's right. We're trapped here. ACT II Sheriff's Office - First Aid OLIVIA: (entering the powerless facility with flashlights) Hello? FBI. Anyone here? WALTER: Put him down here, Peter. His pulse is dropping. Start the blood transfusion immediately. PETER: With what, Walter? (searching the immediate area with his flashlight) WALTER: Uh, see if you can find a first-aid kit. There might be an I.V. I'm "O" Negative, so I can donate. OLIVIA: (checking behind the duty desk) Okay, the phones are out here too. Walter, why can't we leave? Do you think it's got something to do with what happened on the highway? WALTER: I'm not sure. I've seen this once before. OLIVIA: Where? WALTER: Brigadoon. The musical. Magical town in the forest where no one can leave. Of course, that quaint Scottish village was more hospitable than our present locale. OLIVIA: Come on, Walter. WALTER: I haven't formed a hypothesis at the moment. My concern is keeping this man alive. PETER: Found an I.V. Kit. (returns from a back room) WALTER: Good. Put pressure here. (right arm) Prepare two needles. CLIFF HAYES: We're not safe here. (frightened) This town... everyone's crazy. (feeling better as Walter transfuses blood into him) It started three nights ago. My sister woke us up. She was frantic. She was so scared. A man had broken into her house. I tried calling the Sheriff, but the phones were down, so I went over. When I got there, I found... her husband in the bedroom... shot in the head... point-blank. OLIVIA: The intruder killed him? CLIFF HAYES: Not the intruder. Her. She said she'd never seen him before in her life. (disbelief) They'd been married for eighteen years. PETER: So the effects are amnesic? CLIFF HAYES: Not exactly. She was delusional, she was talking about people she'd never met... things she'd never done... children she didn't have. It was as if she was... having memories, all of a sudden, from someone else's life. WALTER: The symptoms you are describing -- it resembles schizophrenia. I know it well. CLIFF HAYES: Except it wasn't just her. It was everyone. OLIVIA: So how can an entire town turn schizophrenic overnight? PETER: Some sort of biological contagion? Maybe a virus that affects the human brain? WALTER: A virus doesn't explain why we drive out one side of town and right in the other. Oh, this is something else. What else can you tell us about the symptoms? CLIFF HAYES: Most got sick right away. Others took longer, like, hours, a day. But it always started the same way. First, confusion, forgetting things... tremors. Some of them became paranoid. Others turned violent. PETER: Like our friend at the diner. CLIFF HAYES: A few of us who are immune are holed-up at the High School. Including my wife and daughter. That's why I went to the diner, to get them food. They need supplies. But what they need most of all is hope. Knowing that the FBI is here might give them that. OLIVIA: Alright, we need to find a way to contact Broyles and let him know what's going on here. PETER: I did find some radios out back. I could try to send out a signal, but I'm gonna need an elevated place with a clear line of sight and something to boost the power. CLIFF HAYES: There is a -- an emergency generator at the High School. PETER: What do you think? OLIVIA: I think we're gonna need a few things first. (as they comb the weapons locker) You know, I think there's a military base about fifty miles from here. PETER: You think the Army's involved in this? OLIVIA: I mean, something of this magnitude -- a whole town? Perhaps it was a military experiment gone wrong, like that case we caught in Edina. WALTER: Where's Edina? OLIVIA: Uh, Upstate New York. Remember, the whole town's population was disfigured from the military experiment? WALTER: We never had such a case. PETER: I investigated a case in Edina with my Walter, and my Olivia. OLIVIA: Oh, right. Right, well, I must've -- I must've read it in your debrief. (dismissing her own oversight) WALTER: Oh, uh, Peter, now, now, I don't consider myself to be a violent man... per se, but given the danger of our, uh, present predicament, I think it would be best if I had one of those. (handed a canister after Peter shoulders his shotgun)Pepper spray? PETER: Just remember it shoots that way. (turns the can around) WALTER: Oh. OLIVIA: (to Cliff) You ever use a gun? CLIFF HAYES: I'm a teacher. OLIVIA: Okay, red button, safety. (hands-over the pistol and heads for the door) Come on. (to all) Okay, let's go. Zombie Encounter - Seeking Safety (as the foursome steps out into the morning light. odd noises emanate from a nearby alley) CLIFF HAYES: What's that? W.. PETER: ...shh, shh. You guys hear that? (to disinterested man walks up the street with a bloody doll in his hand. Peter charges his shotgun and takes-up point to protect the others. as the man trundles past)) We got to get out of this town. OLIVIA: (as the car fails to start) Come on. WALTER: It won't start. The increase in electromagnetism that caused the cars to lose power on the highway must be present in this town too. OLIVIA: Well, it was working when we pulled in. WALTER: Well, the effect must be intermittent. We can wait, but we have no idea how long it will last. (Olivia abandons the vehicle) CLIFF HAYES: (to Walter. privately, as they make their way to the school) I see the resemblance. WALTER: Pardon? CLIFF HAYES: Agent Dunham said his name is Bishop, like yours. He's your son, isn't he? WALTER: (fighting against the wind) In a fashion, yes, you could say that. PETER: You alright? (as she lags behind) OLIVIA: Yeah. It's just -- my arm won't stop shaking. That's all. PETER: Whoa, whoa. What's the matter? OLIVIA: No, I'm okay. It's just -- I'm just a little bit dizzy. PETER: You need some water? OLIVIA: No becau...(slurred) Oh, Peter, I don't know how to explain it, but that feels like there was somebody else in my, uh -- in my head. Here... take this. (relinquishes her weapon) I – I - I'm scared that -- that what's happening to the other people in this town is happening to me. ACT III Westfield High - Government Bailout CLIFF HAYES: (banging on main access doors to the school) Open up. It's Cliff. BRIAN: (opens the door) Cliff. Who are they? CLIFF HAYES: They're FBI, Brian. I'll explain inside. BRIAN: (after securing the doors) I thought you were dead. What happened? CLIFF HAYES: Long story. OLIVIA: How many people do you have here? CLIFF HAYES: Twelve of us made it. BRIAN: Eleven. Teresa. CLIFF HAYES: When? BRIAN: This morning. Locked her up in one of the empty classrooms. Couldn't take the chance she'd hurt one of us. LACEY HAYES: (rushes to her father) Daddy! CLIFF HAYES: Lacey-girl. ANGELA HAYES: Oh, my gawd. I thought you were... (embraces her spouse) CLIFF HAYES: (comforting) ...No, no. I'm here. I'm here. PETER: (privately to Olivia) We've got to tell Walter. If you think what's happening to these people is happening to you... BRIAN: So, FBI, huh? Where's the rest of you? OLIVIA: Uh, they'll be here soon. BRIAN: We've been trapped here for days. Our whole damn town's destroyed. Our friends, our families -- everyone's going crazy, and the U.S. Government sends three people? OLIVIA: (professional bearing) Look, I understand that you have questions, but all I can tell you at the moment is that help will come. Now, in the meantime, we need to work together, find out what's going on here, and also how to get out. WALTER: (interjects) If I could examine one of the victims, we might get answers to what's happening in this town. I heard that one of your party went insane. May I see her? Biology Lab - Meeting Teresa WALTER: (snaps his fingers to get her attention after examining her eyes) Teresa. TERESA: (verbal tangent) You're the man from the government. You're here about our air quality. The air quality's bad here, isn't it? WALTER: Hmm. May I? Hmm. Fascinating. OLIVIA: What is it, Walter? WALTER: (to Olivia) I'll need to take a blood sample. The cook at the diner had two irises in each eye. Perhaps whatever is afflicting these people is creating some sort of rapid mitosis, causing the cells to replicate exponentially, duplicating body parts. OLIVIA: Mm. WALTER: (upbeat. clinical) I'm going to ask you some questions, Teresa. TERESA: (still on a tangent) I should start supper. Lee's going to be home soon. ANGELA HAYES: (explaining) H - her husband -- he passed six, seven years ago. WALTER: So when was the last time you saw Lee, Teresa? TERESA: This morning. I packed his lunch before he went to work. WALTER: And what did you and Lee talk about this morning? TERESA: (new tangent) Is this a joke? Some sick joke? WALTER: Sorry? TERESA: My Lee's dead... seven years this April. (original tangent) I should start supper. Lee's gonna be home soon. OLIVIA: How did it go? Did you get the radio to work? PETER: (returning from his reconnaissance) I couldn't get a signal. Even if I had a generator twice that size, there's just too much electromagnetic interference. I think we're stuck here for a while. What's wrong? OLIVIA: That woman, Teresa -- her husband died seven years ago, and yet she thinks she talked to him this morning. PETER: Let Walter test your blood too. It's the only way you're gonna know for sure. WALTER: (after drawing blood) They're probably just psychosomatic -- these things you're feeling. You were always very empathetic, even as a child. That's why you're such a great investigator -- you ability to empathize with the victims. That's all this is. A - and if it's something worse, then we'll deal with it. Well, I - I need to go and examine this. OLIVIA: Well, I'm glad you're here -- not just for me but for him. I've seen the way he's been with you lately. Before you got here, he was kind of shut-down and isolated. PETER: He's a lot like my Walter, this one. OLIVIA: What's she like? PETER: Pardon me? OLIVIA: The other Olivia. I'm just curious. PETER: I don't know, she's, uh -- she's driven. She's very, very stubborn. She doesn't like to lose. But she sees the best in people, even when they don't see it themselves. When she first found me, I was in Baghdad trying to run a scam on these two Iranian businessmen. OLIVIA: I didn't picture you as the scamming type. PETER: (flirty. not provocative) That's what made me so good at it. Anyway, it was all supposed to be temporary. She told me I just had to babysit Walter while he was working on a case for the FBI, and then after it was done, I could leave, go back to my own life -- despite, of course, how gorgeous she is. OLIVIA: Well, you've got good taste. PETER: She gave me something that I hadn't had since -- (nostalgic) really since my mom died. She gave me... a place to call home... a place I'd want to call home. Eventually, we even had our own thing. OLIVIA: A thing? PETER: Yeah, a thing. A routine, you know? On Friday nights, we'd get together. We'd watch cheesy horror films and order in from Damiano's. You ever been? OLIVIA: No, but I've driven past on my way home. PETER: It's good. You should check it out. OLIVIA: Well, she's lucky to have you. (screaming erupts at the opposite end of the corridor) ANGELA HAYES: Oh, my God! No! Biology Test - DNA Clues OLIVIA: What happened? (rushing to help) ANGELA HAYES: I don't know. I just found her like this. (laying dead on the floor) CLIFF HAYES: She got loose somehow. I don't understand. She was fine when we got here. I mean, if it happened to her, what's to say it's not gonna happen to rest of us, and why hasn't anybody come? OLIVIA: (emphatic) We're all gonna be okay. We just need to figure out what's happening here and find out how to get out. CLIFF HAYES: (frustrated) They shouldn't even be here. OLIVIA: I'm sorry? CLIFF HAYES: Last Fall I was offered a teaching job in Philadelphia. Angela wanted me to take it. I convinced her to stay. I think deep down I was scared to leave here. This town is all I've ever known. If I had just taken that job, my family would be safe now. OLIVIA: Maybe. But you are here, and if it weren't for you, they might not have made it this far. WALTER: (over the school loudspeaker) Will Olivia Dunham and Peter Bishop please report to the Biology Lab at once? Olivia and Peter to the Biology Lab. Thank you. WALTER: Peter? Olivia? I think I've worked out what's happened in this town. When I examined Teresa's blood, I found 92 chromosomes in her DNA. Well, that's twice the genetic material that should appear in any human-being. OLIVIA: Okay, well, how is that possible? WALTER: Belly and I once combined a tiny portion of our universe with the alternate universe in a goldfish bowl in our lab. Besides... what it did to the goldfish, the effect on the physics in the overlapping areas was catastrophic. Gravity, electromagnetic fields -- PETER: Walter, what you're saying is the two universes merged together somehow? WALTER: Yeah, I'm afraid I am. (draws on the chalkboard to explain) Um... These two circles... represent the respective universes. And this overlap is the town. Now, for reasons that I am yet to deduce, our Westfield has merged with the Westfield from the alternate universe, trapping the three of us in the overlap. OLIVIA: Okay, well, how can two universes merging drive an entire town insane? PETER: Maybe the same thing that's happening to the town is happening to the townspeople. They're merging with their doppelgangers. WALTER: Which would explain why Teresa, uh, thought her husband was alive and dead at the same time. I mean, can you imagine being flooded with years of experiences and memories that were not your own? The mind -- unable to distinguish between what's real and what is not. OLIVIA: (all business) Okay, well, can it be reversed? WALTER: Sadly, no. I am afraid the damage is done. PETER: So what are you saying, Walter, that Olivia's -- (concerned) WALTER: What? (unconcerned) No, Olivia's blood was fine. Did I fail to mention that? PETER: Yes, you left that part out. WALTER: Oh, you're -- you're perfectly fine, dear. Now, as with all of us, it stands to reason that Cliff and the other people here do not have doppelgangers at present in the town in the alternate universe. OLIVIA: But Cliff said that he turned down a job offer in Philadelphia last fall. PETER: Right, but in the alternate universe, he must've taken the job and moved his family. Hey, Walter, could any of this happen naturally? WALTER: I – I – I - I don't see how. When Belly and I merged just a tiny portion of the universes, the energy required was tremendous. I - I can't imagine an energy source that would merge an entire town. PETER: What about Amphilicite? WALTER: (contemplates) Yes, that would do it. OLIVIA: You think that David Robert Jones is involved? PETER: I don't know, but maybe that's why he was at the quarry. Mining Amphilicite, to do this. OLIVIA: But why? I mean, to what end? WALTER: Of course, if my theory's correct, it presents a more pressing problem. The effects I have just described -- t – they are just Phase One. OLIVIA: What's Phase Two? (as the building shakes unexpectedly) CLIFF HAYES: (joins the Science Team) Agent Dunham, you need to see this. (after rushing to the roof and checking the horizon) WALTER: (as major structures in the town fade to the realm of the ethereal) That... is Phase Two. ACT IV Westfield High - Theoretical Safety CLIFF HAYES: Lacey, come on. (to his daughter as she watches the town consume itself through the window) Come away from there, Honey. LACEY HAYES: (as the building shakes again) Daddy, what's happening? CLIFF HAYES: It's gonna be okay. Go with Mommy. WALTER: (to Olivia) I just don't know what to do. The two towns have merged together. They're creating an excess of mass and energy in the overlapping regions. The fundamental forces of physics are colliding -- out of balance, destroying everything. OLIVIA: Well, isn't there anywhere we'll be safe? WALTER: No. Two things cannot occupy the same space without dire consequences. Both towns will be destroyed and all of us with them. (fatalistic)) There's nothing we can do. There's nothing we can do. OLIVIA: (to Peter) M - maybe you should go and talk to him. PETER: Me? OLIVIA: Well, I've seen how you two are together, and he seems to respond to you. PETER: Walter... there must be something we can do. You said that the forces of nature are colliding. Do you think they could be offset by opposite forces? WALTER: Yes, yes, yes, yes, yes. The sum of equal and opposite vectors is -- is zero. (it dawns on him) Very clever, Peter. (optimistic) We need to find the place where the opposite forces meet and cancel out. PETER: Like the eye of the storm. WALTER: In a hurricane, the center is said to be the safest spot. PETER: And after this thing is said and done, it might be the only place that survives. WALTER: Of course. We need to find the true center of the merger. OLIVIA: Okay, well, you do that. I'm gonna get us a ride. PETER: (to Walter) Come on. OLIVIA: (moves across the room) Okay, we need to get to a place where we're gonna be safe from the destruction. CLIFF HAYES: Where? OLIVIA: We're working on it. But we're gonna need vehicles to transport us there. Now, we know that the phenomenon affects electronics, so any fuel-injected engines won't work. We need older cars, uh, any running models from the 1970s -- two, maybe three to transport everyone safely. BRIAN: (overhears) I might have a better idea. PETER: (reviewing a city map) We left town here. And we entered for the first time here. WALTER: And Cliff said the first building to fall was the bank here on River and Highway. PETER: Right. So, in order to find the bull's-eye... connect the points. Divide in half. Construct the perpendicular bisectors. WALTER: (plotting) And extend to their intersection -- in the center here. PETER/WALTER: (in unison) Cypress and Quimby.. Westfield High - Loading Up PETER: (hands her the map as the group leaves the school in the high winds) We think the center's gonna be right there. OLIVIA: Cypress and Quimby. That looks about four miles from here. WALTER: If Peter's theory is correct, it will be the only thing left standing when the town collapses upon itself. BRIAN: (pulls in front of the group in a school bus) Need a ride? CLIFF HAYES: (to his family) It's okay. It's okay. Daddy won't let anything happen to you. Go ahead. LACEY HAYES: Mommy. I'm scared. BRIAN: Okay. Where am I going? OLIVIA: Okay, uh, Cypress and Quimby. Do you know that? BRIAN: Yeah, yeah, yeah. There's a bike shop there. WALTER: (to the child) Don't cry, dear. We're going to a safe place. We'll be fine. You'll see. (as a citizen with two faces emerges from the back of the bus) Peter! PETER: (after Walter sprays his attacker with pepper) Nice shot. (pushes his attacker out of the rear emergency exit) OLIVIA: (to the panicked group) Okay, is everyone alright? CLIFF HAYES: I think we better get moving. OLIVIA: Okay. (as Brian drives-off) ACT V Bicycle Shop - Finding Sanctuary PETER: (after the bus stops short of it's destination. about the downed power pole blocking the route) Well, that's not moving! WALTER: (disembarking the group) Okay, everyone, we're on foot from here! Make sure you stay together. Come on, run! PETER: Go, go, go! That's the last of them? WALTER: Yes. BRIAN: Come on! Hurry up, let's go! CLIFF HAYES: Lacey! (as she falls in the calamity) LACEY HAYES: Daddy! BRIAN: Let's go, let's go! Everybody inside! (enters the bicycle shop) PETER: (after the scientist stops to assess the environment) Walter, what are you doing? Come on, get inside. WALTER: Peter. Peter, you were right. This is it. This is the eye of the storm. PETER: Great. WALTER: We'll be fine. We -- we'll be safe here. (the front window explodes and shatters) LACEY HAYES: Daddy, I'm scared. So loud. (a din settles over the locale) Aftermath - Trace Amphilicite (after the survivors emerge, the responders descend on the epicenter of the colliding universes. less than an acre is still intact) BROYLES: (on his cell phone) Understood. Coordinate with C.o.C. and keep me apprised of any changes. OLIVIA: Anything? BROYLES: Search teams just checked in. They scanned the entire area. No other survivors. And it gets worse. OLIVIA: How? BROYLES: During the search, we found several unusual devices. We're not sure how the technology works, but they were placed around the perimeter of the town. OLIVIA: David Robert Jones. BROYLES: HazMat detected trace amounts of Amphilicite. OLIVIA: What would David Robert Jones have to gain by destroying a town that people didn't even know was here to begin with? BROYLES: I don't know. But the amount of Amphilicite recovered from those devices is only a fraction of Jones' stockpile. AGENT: (approaches) Sir, we've got Director Norris. BROYLES: (to Olivia) Go home. I can take it from here. OLIVIA: (sits for a chat) Hey. How is Lacey holding up? CLIFF HAYES: It's just a sprain. She's fine. She's strong. (as EMTs treat his daughter nearby) OLIVIA: And how are you? CLIFF HAYES: My home... everything I've ever known -- how did they just disappear? OLIVIA: I wish I knew. CLIFF HAYES: Even if you did, you probably wouldn't be able to tell me, right? OLIVIA: The Bureau is gonna help you with temporary housing until you get back on your feet. CLIFF HAYES: Well, we have each other. No matter what happens, we'll face it together. (Olivia nods and departs) Walter's Lab - Evening Breakfast WALTER: (safely home. slaving over a hot Bunsen burner) Beautiful. PETER: (headed for the door) See you tomorrow. WALTER: You're leaving? But I - I've made crepes -- breakfast for dinner. Second most important meal of the day. PETER: (laughs at the homey gesture) I'm sorry, Walter. I didn't know. Will you take a rain check? WALTER: Of course. PETER: First thing tomorrow morning, I promise. And maybe by that time Broyles will have allowed us access to the machine. WALTER: Oh, yes. We can resume our efforts to get you home. Peter... (full of fatherly pride) good night. PETER: (heartfelt) Good night, Walter. Olivia's Apartment - Unexpected Kiss OLIVIA: (answers the knock at her door) Hey, come in. PETER: Hey. I hope you don't mind. (enters) I was just in the neighborhood. Thought I'd stop by to see how you're feeling. OLIVIA: No, why would I? I'm gonna pour you a drink. PETER: What is that that smells so fantastic? OLIVIA: (matter-of-factly) What do you mean? It's Friday. I ordered Damiano's. (turns and kisses him on the lips) PETER: (startled by the familiarity) W - whoa. Olivia.

PROLOGUE Olivia's Apartment - Kiss Rebuttal PETER: (sitting quietly across from the woman who seconds earlier gave him a very romantic kiss on the lips) Just be straight with me. Are you okay? OLIVIA: Yeah, I'm fine. PETER: Then why did you kiss me? OLIVIA: (giddy. confident in her reply) I don't know. It just felt like that's what we'd do. It just felt normal. PETER: (concerned over her recent personality swings) How long have we known each other, Olivia? OLIVIA: Three months. Peter, I know who you are, and I know who I am. I think that this may just be some residual effects left over from being in Westfield. PETER: Then we should let Walter have a look at you. OLIVIA: No, I'm -- I'm fine. Honestly. I think what I need is just some rest. I'm sorry that I kissed you. To be honest, I'm a little bit embarrassed about it. PETER: There's no need to be embarrassed. (pauses. concerned for her health) Maybe I should stay here for a little while -- you know, just while you rest, in case. OLIVIA: I would really like some time to myself. I think I've got another migraine coming on. PETER: (as he steps out the front door of her apartment) If you're still feeling this way in the morning, will you please let Walter take a look at you? OLIVIA: Okay. (as she closes the door to her home, she has a brief flash of memory from the timeline Peter previously experienced. she arrives at his home) Hi. PETER: Come on in. (she convulses slightly as the memory she is visualizing shows a golden glimmer around Peter) Deerfield Hospital - Hive Mind SEAN KEENAN: (a patient at the mental health facility wanders through the unlit dining hall late in the evening - focused on activities taking place elsewhere) Shh, quiet, quiet. We're almost there. It's time. (visualizing and hearing a major felony hundreds of miles away in Douglaston, New York. three young men enter a home without invitation) He's in the kitchen. MICHAEL GREENE: (homeowner fiddling with a bag of popcorn) Oh, hot, hot. SEAN KEENAN: (sharing the collective thinking of the trio of home intruders from the hospital) Fan out. You two, fan out. Be careful. BERNADETTE: (hospital staffer enters the dining hall) Sean. Hey, what are you doing in here? You should be in bed. Sean, it's me, Bernadette. Okay? Come on. I'm gonna take you back to your room. SEAN KEENAN: (still focused as she walks him to his room) He's in the kitchen. BERNADETTE: Come on. Let's go. SEAN KEENAN: (verbally sharing his image of Michael Greene leaving his kitchen) He's coming your way. He's coming your way. BERNADETTE: (struggling to get the tense young man's cooperation) Sean, can you hear me? Sean. Listen, the voices that you're hearing, they're not real. You're okay. Let's go. MICHAEL GREENE: (as he is surrounded by the trio in his home. one brandishes a chef's knife) Please. Please, take anything you want. You don't have to do this. No, no, please, please! I beg you. (fleeing upstairs) No, no, no! No! (a plastic bag is placed over his head and the stabbing begins) SEAN KEENAN: (as one of the three receives is injured by broken glass) Damn it, I'm cut! I'm bleeding! BERNADETTE: Charles! (calling for back-up help from another staffer) SEAN KEENAN: There's three of us and one of him. (still experiencing the murderous attack miles away) BERNADETTE: I need some help, Charles! Hold him down, damn it! CHARLES: This one's severe. SEAN KEENAN: That's better. BERNADETTE: I'm going to sedate him. SEAN KEENAN: (after he calms from the sedative. to the trio of murderers) It's over. He's dead. It's over. ACT I Deerfield Hospital - Meeting Sean AGENT LEE: (finding their way upstairs) What's a killing in New York have to do with a mental institution in Deerfield? OLIVIA: The police are calling the murder a home invasion. AGENT LEE: And we aren't? OLIVIA: We have no idea what the killers wanted, but that's not why we're here. Apparently, a nurse here watched the news report this morning, and last night, a patient with schizophrenia had recounted the entire crime in great detail... as it was happening. AGENT LEE: There really aren't any normal days in this job, are there? OLIVIA: Nope. WALTER: (sitting in a corridor, talking to a glossy-eyed patient of unique stature and character) That's when I told him. I said, "Tim, "it's not what the L.S.D. can do. It's what the human mind can do that is truly wonderful. ASTRID: (finding her ward) Walter, there you are. Olivia and Lincoln just got here. What are you doing? WALTER: I'm conversing with my friend here, Mister.... BERNADETTE: Silbiger. Who, at this hour, believes he's circling Venus. WALTER: (delighted) Oh. That's a lovely planet. Hmm. Hmm. (good choice) OLIVIA: (walking to Sean's room) So how long has Mister Keenan been a patient here? BERNADETTE: Sean. About three years now. Although I’m pretty sure he spent time in at least two other hospitals before we admitted him. He's been institutionalized since he was fourteen. WALTER: These voices he hears – are they demons or God or ? — BERNADETTE: Actually, Sean's hallucinations have never been grandiose or violent. Last night was the first time I’ve heard him talk like that. His room is right through here. (Olivia stops momentarily as another flash of memory floods her senses. she visualizes herself and Peter walking through the halls of another mental institution, years earlier) SEAN KEENAN: (once the Science Team has assembled) I don't understand. Are you saying the voices I hear in my head are real? OLIVIA: We don't know what to think right now. Now, this is the man who was killed. (places photo on the table in front of him) Have you ever seen him before? SEAN KEENAN: No. AGENT LEE: But you know how he died. SEAN KEENAN: I didn't -- I didn't hurt that man. AGENT LEE: (placating) We know that. SEAN KEENAN: Those -- voices, they -- they did it. OLIVIA: Sean, can you hear the voices now? SEAN KEENAN: No. No, they -- they come and go. WALTER: (thoughtful) Do they ever come from objects? Say, a tree or a wall? SEAN KEENAN: No. WALTER: I see. So they always come from inside your head. How many voices do you hear, Sean? SEAN KEENAN: Uh, I don't know. I... I think I recognize eight, maybe nine. But... not always. Some of them I don't hear for weeks. WALTER: Last night, how many voices did you hear? SEAN KEENAN: Three. AGENT LEE: That's what the police suspect. Three killers. SEAN KEENAN: But then one of them left when the other two went to the subway station. OLIVIA: The subway station? SEAN KEENAN: Yeah, I heard them say that one of them was hurt, like he was cut. He needed to get cleaned up before he got on the train. AGENT LEE: Cleaned-up where? SEAN KEENAN: Uh, he said the bathroom. It was the last thing I remember, and then the sedative started working, and I -- I fell asleep. AGENT LEE: I'll contact the Transit Authority, tell them to search the stations near the victim's home. (leaves the room) WALTER: Son, do the voices speak directly to you? SEAN KEENAN: No, they don't. They don't talk to me at all. WALTER: They only speak to each other? SEAN KEENAN: Yeah. OLIVIA: (to Walter) What are you thinking? WALTER: Sean, would you be willing to go off your meds if it would help this investigation? BERNADETTE: (at the duty desk, after the interview) Here's what I’ve been able to get so far, and I can probably get the rest of Sean's medical records within the hour. ASTRID: Okay, thanks. I'll make copies. WALTER: (boldly) I believe your diagnosis of the young man is fundamentally flawed. BERNADETTE: Excuse me? WALTER: Well, the truth is that the boy was diagnosed schizophrenic because he hears voices. But the voices don't persecute him, or relate to him at all. In fact, recent evidence proves that what he's hearing are the real thoughts of other people. ASTRID: But how is that possible? WALTER: I am not exactly sure yet. I think it may be a case of psychological symbiosis, maybe even mental telepathy. The point is, I believe the voices Sean is hearing - exist. OLIVIA: I'm sorry, what? WALTER: It is no delusion. No psychotic episode. OLIVIA: (to Bernadette) Sean has agreed to go off his medication. We're hoping that the more he is able to hear the voices, the more likely it is that we will be able to catch whoever's responsible for the killing. BERNADETTE: Sean is here voluntarily, so if that's what he wants to do, I -- I just need to explain this to his prescribing physician. OLIVIA: Well, I’m happy to come with you. BERNADETTE: I think that's probably a good idea. (Olivia has another flask of memory en route to see the physician. she and Peter prepare to meet Walter at St. Claire's and extract him to help with the Fringe Task Force) PETER: You know what? Why don't you go on ahead? (a heavily bearded Walter turns to meet Olivia for the first time. her focus returns to the task-at-hand at Deerfield) Campus Housing - Visiting Peter PETER: (welcoming the unexpected visitor at his front door) Hey. OLIVIA: Hey. Um, this might be a little bit weird, but I was wondering if I could come in and just have a look around. PETER: Yeah, of course. (as she enters) How you feeling? OLIVIA: (looks at the family room) That's where Walter used to sleep. PETER: How did you know that? (Olivia has another flash of memory as she stands there) PETER: To disaster narrowly averted. (clinking glasses together in a toast) OLIVIA: Or at least postponed. (memory flash subsides) OLIVIA: We had that case, that couple in Apartment 6-B. The woman who lost her husband. After, I came back here. And then we went upstairs. (visualizes a passionate embrace) I remember. PETER: That's not possible. OLIVIA: Peter, I remember William Bell. I remember crossing over to bring you back. I remember Jacksonville and seeing you shimmer the first time we kissed. I remember... you walking to The Machine and getting inside and being scared that you were going to die. PETER: Olivia, I don't know what's going on, but something must be wrong. OLIVIA: I remember it. I remember us. (looks longingly into his eyes) I remember everything. ACT II Walter's Lab - Testing Olivia WALTER: Okay. Tell me your name, please. OLIVIA: (sitting patiently in an examining chair surrounded by sensors and monitors) Olivia Dunham. WALTER: Good. And your home address? OLIVIA: Walter, I know who I am. Is this really necessary? WALTER: I am just making sure the machine is calibrated. And it is. Alright. Let's see if we can figure out what's going on inside your head, hopefully give you some peace of mind. OLIVIA: (adamant) Walter, I’m not scared. I keep telling you both. PETER: Good. That makes one of us. OLIVIA: I know that I should be concerned, but I’m not. WALTER: I -- I will factor that in to the diagnosis. (forcefully. polite) Now shoosh, please, both of you, and let me do my job. Now, Olivia. The first time you and I met, where was it? OLIVIA: Saint Claire's. The mental institution. WALTER: And the circumstances of that visit, everything you can remember. OLIVIA: My partner had been injured in an explosion, and I came to see if you were able to save his life. And Peter was with me because I needed a family member to sign you out. PETER: No, no. That's how it happened in my timeline. WALTER: Now, Dear, I want you to think very carefully. Do you remember going to retrieve me from Saint Claire's by yourself, without Peter? OLIVIA: Yes. I got lost on the way there. But it's hazy. It's kind of indistinct, like a -- like an old dream. WALTER: (to Peter) Brain scan? PETER: There's nothing unusual with the brain scan, Walter. But clearly, something is happening. How can she have memories of my Olivia's life that are clearer to her than her own? WALTER: My first thought is empathy. Even as a child, you were able to intuit what those around you wanted. Belly and I noticed it during the Cortexiphan Trials. And it's hardly surprising that children from abusive families become highly attuned to the emotional state of the adults around them. Which in this case is you, Peter. PETER: Me? WALTER: Well, I suspect that Olivia may be empathizing with your strong desire to be reunited with your Olivia. And she meets that need by, in effect, becoming your Olivia. PETER: Walter, no matter how badly I want my Olivia back, I can't make this one have memories of things she didn't experience. WALTER: That part still confuses me too. Perhaps some form of thought transference. She's channeling your memories. Or... PETER: ...or what? WALTER: Don't know. (mind wanders) I lost the thought. Too many drugs of my own. It happens. (new thought) Oh! May I take a few strands of your hair to test? OLIVIA: Of course. WALTER: Would you hold that for me, please? (take sample) Uh, Peter, would you -- (hands over sample) PETER: Prepare the slide, yeah. AGENT LEE: (enters the lab) How is she? PETER: We don't know yet. OLIVIA: I feel fine. AGENT LEE: That is two pieces of good news. Transit authorities found a wad of bloody paper towels at the Roosevelt Street Station bathroom, just like Sean described. Now, the DNA analysis suggests that we're looking for a Caucasian male, but so far, no hits from the database. WALTER: May I see the file? PETER: Hey, Lincoln. Can you give me a hand? WALTER: Just a minute. This DNA report -- I’ve seen one like this before. AGENT LEE: Where? WALTER: Our misdiagnosed schizophrenic, Sean. (points at macro-photo comparison) This strand of DNA is from Sean, and this from our suspect at the crime scene. Now, see that? They have the same chromosomal spur. AGENT LEE: Which means what? WALTER: The effect of the abnormality? I have no idea. It may mean nothing physically, but the point is that a spur like this is incredibly rare, and they both have the exact same one. Which, along with their genetic profiles, can only mean one thing: Sean and our killer are brothers. OLIVIA: Brothers. WALTER: Well, specifically, half-brothers. They only share one parent. But that gives credence to my theory that Sean is communicating with the killers via mental telepathy. There -- there... there are many documented cases of siblings communicating non-verbally, typically identical twins, but not always. AGENT LEE: That might explain how Sean is able to hear the thoughts of one of the killers. But he said that he's able to hear the thoughts of all three. OLIVIA: What if they're related? WALTER: Y - yes. That would explain -- good. AGENT LEE: Except that it doesn't. According to his medical records, Sean is an only child. OLIVIA: I’m gonna get my coat. AGENT LEE: Where are you going? OLIVIA: To talk to Sean's mother. AGENT LEE: (to Walter) Should she be leaving the lab? OLIVIA: You said there's nothing wrong with me physically. So if something shows up in the tests, let me know. Otherwise, we've got a case. WALTER: (after the agents leave) I know what you're doing. I know what it's like to want something back that you loved. I have succumbed to that temptation myself. PETER: Walter, whatever's happening to Olivia, I’m not doing it. WALTER: (judgmental) I think you are. Even without meaning to. And it's wrong, Peter. Keenan Residence - In-Vitro Twist MRS. KEENAN: (sitting calmly in her living room) For seven years, he's been treated for schizophrenia. If that's not it, what is it? OLIVIA: That's what we're trying to figure out. AGENT LEE: We've already located a significant piece of evidence based on what Sean told us he heard. MRS. KEENAN: Sean always told me the voices were real. OLIVIA: Mrs. Keenan, does Sean have any siblings? MRS. KEENAN: No, we only had one child. AGENT LEE: Is it even in the realm of possibility that Sean's father... could have had another child? MRS. KEENAN: His biological father? Yes. Sean was conceived through in-vitro fertilization. We used a donor. OLIVIA: What can you tell us about the donor? MRS. KEENAN: He seemed impressive on paper. OLIVIA: Um, what was the doctor's name? MRS. KEENAN: Doctor Owen Frank. A friend recommended him when the first I.V.F. we did failed. She said he only took the best donors so that his results were better. It's strange. A reporter called and left a message a couple of days ago. He was doing some sort of a piece on I.V.F. OLIVIA: What was his name? MRS. KEENAN: Daniel, I think. OLIVIA: Daniel Greene? MRS. KEENAN: Yes, that's it. I called him back, but he never returned my call. OLIVIA: So you never actually spoke to him? MRS. KEENAN: No. I did dig up the file that I kept while I was going through the I.V.F. Process. It's in my study. Let me get it for you. (leaves the sitting room) OLIVIA: Thank you. AGENT LEE: So in the -- Department of Strange, what are we thinking? That one of these children killed Greene because of the story he was writing? OLIVIA: Maybe. AGENT LEE: Alright. I'll contact his editors, see if they know anything about his angle. OLIVIA: And anybody else he may have interviewed. Retirement Home - Disturbing News TV NEWSCAST: Tragic news this afternoon -- the murder of a local hero. Acclaimed author and journalist Daniel Greene was found dead in his Douglaston, New York home earlier this morning. SAM: (to Doctor Frank as he absorbs the afternoon newscast) Hey, that's the guy who was here. The reporter. TV NEWSCAST: ...attacked and killed, possibly by... SAM: I heard about this morning. Three men broke into his house and suffocated him with a plastic bag. You were a doctor. How long does it take someone to suffocate? OWEN FRANK: (growing agitated) I want to go back to my room. Deerfield Hospital - Voices Return SEAN KEENAN: (sitting with Astrid in the dining hall and inhaling his food. manners are a side thought) I’m sorry. ASTRID: Oh, it's okay. SEAN KEENAN: I don't know what's happening. It's like I haven't eaten in years. ASTRID: Yeah, it's the detox program that Walter's got you on to wean you off your medication. It's just a side effect. SEAN KEENAN: (candid) You're pretty, you know? ASTRID: Thank you very much. SEAN KEENAN: (slight concern) You trust the scientist? ASTRID: (honestly) Walter? Yeah, I do. You're in good hands. When you start to hear the voices again, that's how you'll know that this is working. SEAN KEENAN: Well, in that case, it's -- it's working now. ASTRID: W - what, you can hear them again? SEAN KEENAN: Yes. ASTRID: Okay. What are they saying? SEAN KEENAN: (multiple mumblings) I don't know. I don't know. There are too many of them. ACT III Walter's Lab - Bee-lieve (Walter is fast at work on the hair sample from Olivia. then his hot tea. then honey for his tea... a stirring thought emerges. Olivia is in her office - on the phone doing her own research) OLIVIA: Yeah, I understand that the clinic closed down ten years ago, but that's the most recent address. Okay, well, if you find something more current, could you let us know? Yeah, thank you for your help. (ends call. to Peter) Thank you. Well, it turns out that Doctor Frank was not so good at keeping his A.M.A. information up to date. Do you think that you could go through these old utility bills from the clinic? Maybe there's a contact in there that we can follow up on. PETER: Yeah, of course. What? OLIVIA: (looks at his hand) Maybe I don't remember everything, 'cause I -- I don't remember you having this scar. PETER: You wouldn't. I only got that one a month ago. (as she gently holds his hand and makes eye contact) Olivia-- WALTER: (from the doorway of the office) I think I've had a breakthrough. PETER: (back in the lab. studying a large specimen jar) Bees? WALTER: Miraculous creatures. Tens of thousands of them working together to feed, shelter, and protect their colony. And like our suspects... they communicate over long distances. Their glands produce pheromones. Chemical compound that acts as a message. That message is received by their antennae, and then the bees respond. OLIVIA: Are you suggesting that the killers are communicating via pheromones? WALTER: Not necessarily. Many forms of non-verbal communication exist in nature. Eels use electrical pulses, whales use echolocation, elephants use seismic vibrations... PETER: Point, Walter? WALTER: (brusquely) Point, Peter... is... how ever these bees are communicating, they are operating as one, doing whatever it takes to ensure the survival of the hive. If Sean and his half-brothers are linked in a telepathic network, then it is possible they have formed a collective identity. OLIVIA: (answers cell phone) Dunham. (listens) Great. Thank you very much. (ends call) Apparently, Doctor Frank is living at an assisted living facility outside of Roxbury. (to Peter) You coming? Retirement Home - Frank's Confession ATTENDING NURSE: There he is, right there. OLIVIA: Thank you. (approaches) Uh, Doctor Frank? OWEN FRANK: Yes? OLIVIA: I'm Agent Olivia Dunham. I was hoping to ask you a few questions about your clinic. OWEN FRANK: Of course. OLIVIA: Uh, there was a man killed yesterday-- OWEN FRANK: A journalist. He came to see me last week. Wanted to talk about my research. My work. This isn't the first time that they have killed. OLIVIA: They? OWEN FRANK: I'm not sure who they are, but I have a suspicion. Three years ago, I hired someone else. Another writer. I wanted to document my work before I was no longer able to. But the day before we were meant to start work, he was also killed. Stabbed to death in his apartment. I thought it was just a -- a random event. But now, I am quite sure it wasn't. OLIVIA: What makes you think that? OWEN FRANK: The work I was doing at my clinic is merely a means to an end. A vehicle for my real experiments. OLIVIA: What were those experiments? OWEN FRANK: Genetic manipulation. The babies that I gave life to -- I had altered their DNA. I thought... what I thought really doesn't matter. Suffice it to say I -- I was attempting to make a better... OLIVIA: A better what? PETER: (knowingly) A better human-being. OWEN FRANK: (after returning to his room and his files) Are you familiar with recombinant DNA? PETER: It's a DNA sequence created in a lab using the genetic materials of different species. OWEN FRANK: Yes. I used that process on my subject embryos that I implanted. OLIVIA: Were your patients aware of what they were signing up for? OWEN FRANK: I promised them successful pregnancies and healthy babies. And that's what I gave them. I attempted to reintroduce abilities that we humans have long since evolved away from, the hard-wired instincts that we share with other animal species. OLIVIA: And would that include telepathy? OWEN FRANK: Mm. (nods yes) PETER: And a heightened protective instinct? OWEN FRANK: I believe that is why they are killing, yes. OLIVIA: So, what exactly is it that they're trying to protect? OWEN FRANK: Themselves. OLIVIA: If your work went public, people would start to ask questions. PETER: And they'd start searching for them. And they'd want to study them. We're gonna need a list of your patients. OWEN FRANK: The clinic's files are in commercial storage in Back Bay. I - I think I have the address here somewhere. OLIVIA: How many are there? OWEN FRANK: Subjects? Approximately two hundred. OLIVIA: Well, that doesn't conform with what our witness said. He didn't hear that many voices. OWEN FRANK: I was constantly modifying the process. With each modification, I created another sample group. OLIVIA: And they're all from the same donor. All two hundred. OWEN FRANK: Yes. OLIVIA: And his information is in the storage facility also? PETER: No. It's you, isn't it? OWEN FRANK: (removes his glasses) Can you imagine that? The hubris of trying to improve upon god? Deerfield Hospital - The Hive Swarms SEAN KEENAN: (pacing quickly back and forth) Okay, uh... we're in trouble, this--this is bad. ASTRID: Okay, that's good, Sean, just stay with them. (writing quickly) SEAN KEENAN: They're -- they're scared. They're -- they're -- they're worried, they feel threatened. There's a new voice. He's one of the three. He's telling the others to wait, he's coming. ASTRID: Where is he? SEAN KEENAN: I don't know, but he's in pain. (as his half brother bandages the wound he received during the murder of Michael Greene) Walter's Lab - Olivia's Diagnosis WALTER: (after reading the printout with Olivia's test result) Good gawd. AGENT LEE: (enters the lab) Hey. I just spoke to Olivia. She's on her way with Peter to retrieve Dr. Frank's research files. WALTER: That's not important now. I need you to take me to the bridge. AGENT LEE: What? WALTER: (angered) I need to see Nina Sharp. I know what's happening to Olivia. ACT IV Liberty Island - Confronting Nina NINA: (as she is joined in the Massive Dynamic briefing room) Walter. Agent Lee. What a surprise. Uh, hold all my calls, please. So, what is it? WALTER: Olivia has Cortexiphan in her system. Someone must have found out how to synthesize it. But how? NINA: No. WALTER: -- and how NINA: Walter, slow down. What are you saying? AGENT LEE: Doctor Bishop believes that Olivia has been dosed with Cortexiphan recently. WALTER: Recently, and repeatedly. NINA: And you know this for a fact? WALTER: I did a chemical analysis. The results are irrefutable. NINA: Well, how is she? Have you spoken with her? WALTER: I examined her. As far as I can tell, she's not in immediate jeopardy. AGENT LEE: But we need to find out how this is happening. NINA: Yes, of course. AGENT LEE: Where do you store the remaining Cortexiphan samples? WALTER: The ones that Belly and I kept. It's possible someone may have reverse-engineered the formula. NINA: They're at Massive Dynamic, under our tightest security. AGENT LEE: In my experience, security can be breached. NINA: No, I don't think you understand. That's physically impossible. The vault is biometrically secured. I am the only one with access. AGENT LEE: Could you take us to it? WALTER: Belly and I numbered the samples before we stored them. If anyone has tampered with them, I will know. NINA: Fine. I just need to make a few phone calls. AGENT LEE: No calls. The less people who know about this the better. NINA: Let's go. Back Bay Storage - Theory Debunked OLIVIA: (walking through the large storage lot in the cold damp night) Okay, Unit 2251. It's gotta be down here. Look, in case you were wondering, it's hard for me too, you know. I keep expecting to see that look in your eye, and it isn't there. Or it is, and -- and you're pulling back. PETER: As I'm sure you can understand, I'm... confused. OLIVIA: I'm confused too. I feel incredibly close to you. (upbeat) I feel like I know you better than anyone else in the world, and then when you look at me, it's like none of that is true. PETER: Olivia, I don't know what you want from me. OLIVIA: I -- I want you to behave naturally. I want you to -- to treat me like you know me better than anyone in the world too. Because you do. PETER: I think that's the one we're looking for. OLIVIA: Last time I opened one of these, it was rigged with Semtex. PETER: You mean with John Scott? OLIVIA: Yeah. PETER: How'd you know it was Semtex? OLIVIA: Uh, because when we were trying to figure out what happened to him, we traced it back to a munitions trader in Hong Kong. Why? PETER: 'Cause I didn't know it was Semtex until right now. OLIVIA: Okay. PETER: Meaning Walter's theory can't possibly be right. I'm not projecting my memories onto you. You can't have memories that I've never had. (baffled) I don't understand how this is happening. •• OLIVIA: I don't understand it either. But whatever this is, whatever the cause, I told you I'm not scared. (positive attitude) I like the feeling. (checks the door) It's unlocked. Deerfield Hospital - Hive Threatened SEAN KEENAN: (sitting with Astrid. more collective visions start to flow) They feel threatened. They need to stop someone. ASTRID: Okay. Stop who? SEAN KEENAN: They're gonna kill her. ASTRID: Sean. Who? Back Bay Storage - File Destruction OLIVIA: (enters the storage locker and finds the genetic research files and equipment destroyed and missing) Someone got here before us. (answers cell phone) Dunham. ASTRID: (calling from Deerfield Hospital) Olivia, they know that you're there. (vehicle lights appear at the end of driveway as the car speeds toward the storage locker. Peter pushes Olivia clear of the speeding car as it crashes into the storage garage. the attacker tries to club Peter and Olivia but is disarmed and cuffed) Retirement Home - Assassination POLICE OFFICER: (two uniformed officers approach the duty desk on a mission) Doctor Owen Frank, please. DESK ATTENDANT: He's on the Third Floor. Here, let me show you. OWEN FRANK: (as two of his genetically altered offspring enter his room) If you're looking for Mister Dubrow, he's moved three doors down. (realizing) You're... you're mine. (as a pillow is grabbed to suffocate him) No. DESK ATTENDANT: (approaching Frank's room with the police) He's right in here. POLICE OFFICER: (knocking) Doctor Frank. Boston P.D. Doctor Frank. (enters the room and finds the fresh corpse) Lock down the facility. ACT V Deerfield Hospital - Silence (Sean sits quietly on his bed while the TV blares with a riot scene from a old movie) MRS. KEENAN: (turns off the TV with the remote) I told you, Sean, it's too loud. SEAN KEENAN: I prefer it on. Will you turn it on? (demanding) Turn it on. MRS. KEENAN: Sean – ASTRID: (enters the room) Sean. What's wrong? SEAN KEENAN: (nearly distraught) I can't hear them. When I couldn't hear them before, there was a feeling that they were... with me. Like when s -- you know someone's in the room, even if you can't see 'em. ASTRID: Okay. SEAN KEENAN: This is different. They're gone. There's nothing anymore. Just silence. Why? ASTRID: (compassionately) I don't know. The truth is we may never know. But I can understand why silence would scare you. You're not used to being by yourself. But this is normal. It was so loud for you that you couldn't even hear yourself think. And I bet you have a lot of great thoughts. Pit Stop - Vanishing Act PETER: (as Olivia parks in front of a fuel pump) So destroying the records and killing the doctor, you think Walter was right? You think they were just protecting the hive? You thinking that this job just can't get any weirder? OLIVIA: Yeah. No. (turns to a personal chat) That's not what I was thinking. It's... it's just that now the case is over, we would go back to one of each other's houses. I know that that's what we would do. That was one of the things that we would do. I know that. So now, I don't know if I'm just supposed to ignore that, or what you want, and I guess I just – I -- Peter, how do you want to play this? PETER: Olivia... OLIVIA: ...Look, you don't have to answer now. I just want you to think about it. PETER: Olivia. I'm thinking about it. T's all I've been thinking about. And I'm afraid. I'm afraid because I've made this mistake before. I betrayed the Olivia that I love. But what I'm really afraid of is... when I look into your eyes, I know it's you. I know it's you. (big kiss) OLIVIA: Just gotta, um... I just gotta go pee. (leaves the vehicle for the interior of the store) Massive Dynamic - Cortexiphan Check NINA: (places hand on a scanner inside the high tech vault) Biometric hand scanner, like I said. Second-Tier Precaution. (after a nearby locker extends open) There. Twenty vials present and accounted for. WALTER: They're all here. NINA: Mm-hmm. Now let's focus on the real problem. What's happening to Olivia? AGENT LEE: We've already given you all the details we know about so far. NINA: Where is she? I'd like to see her. Can I speak with her? WALTER: (opens a vial and tastes the contents) This is not Cortexiphan. NINA: What are you talking about? WALTER: It's potassium iodide with food coloring. Red #4. The Cortexiphan has been replaced. Convenience Store - Gone Missing PETER: (enters the convenience store and checks the lavatory) 'Scuse me. The, uh, girl who came in here a couple minutes ago, about yea tall, blonde. CASHIER: I'm sorry, I -- I didn't see her. (Peter steps outside and looks around the premises) Isolation Cell - Imprisoned (groggy and barely conscious, Olivia comes to. strapped to a chair in a dilapidated room, she is face-to- face with a similarly restrained Nina Sharp) NINA SHARP: Olivia? Oh, gawd. Olivia? Did they hurt you? OLIVIA: Nina? NINA SHARP: Shh, it's okay. (disheveled and frightened) We're gonna be okay. We're gonna be okay. PROLOGUE Olivia's Apartment - Home Surveillance (the two men move through the apartment in a semi-heated discussion about the current situation) AGENT LEE: (intent on having a conversation) Broyles has agents and B.P.D. combing the area, checking all the traffic cams. Nina has to be behind Olivia's disappearance. Once she's been processed in at the FBI, we'll get her talking. PETER: (intent on thoroughly searching the premises for a clue) I thought you said she's denying any involvement in this. AGENT LEE: For now. Her alibi is not gonna hold. And if she knows where Olivia is -- PETER: Good luck getting Nina Sharp to break down and tell us. AGENT LEE: Alright, point taken. You still haven't told me what you're hoping to find here. PETER: If Walter's right and Olivia is being dosed with Cortexiphan, it stands to reason that she was gotten to when she was alone And vulnerable. AGENT LEE: You think she was being watched? (Peter nods) And this Cortexiphan is the reason she's been acting strangely. PETER: That's Walter's theory. AGENT LEE: Right, he thinks that you've been somehow projecting your Olivia onto her, that she's assuming the memories and personality of the Olivia from your timeline. PETER: (curt) Is any of this relevant right now? AGENT LEE: (snip) It is to me. She's my partner. And if that's true, think about what you're doing to her. Unintentionally or not, you are robbing her of her identity, her life. She is not your Olivia, Peter. PETER: And what if she is? AGENT LEE: (matter-of-factly) You know that's impossible. Yet you still let her continue working the case, knowing that she was under your influence, that she wasn't herself. I don't know you that well, but I'd like to think you weren't ignoring her safety for personal reasons... and that you're not ignoring me right now. PETER: (staring at a ceiling-mounted smoke alarm) I'm not ignoring you. (stands on table and pulls down device) AGENT LEE: (studies the small camera hidden in the alarm) Wireless closed circuit. It could have transmitted anywhere. What's that? PETER: It's a backup memory disk. I've seen surveillance cameras like that before. They continually capture and store images on a disk like this in a sixty-minute loop. AGENT LEE: Olivia hasn't been here all day. I doubt it's recorded anything useful in the last hour. I can have our Techs take a look. PETER: They're not gonna find anything, but maybe Walter and I will. Let Broyles know that we're working on this. In the meantime, you should keep on working on Nina, 'cause if this doesn't pan out, you're gonna have to do the impossible. AGENT LEE: What's that? PETER: (departs the residence) Get her talking. Isolated Cell - Priming Olivia NINA SHARP: (sitting restrained, facing one another) Well, they came for me in the middle of the night, when I was asleep. They grabbed me. Before they put the bag over my head, I saw her stepping out of the shadows behind them. It was me, Olive. I mean, she looked exactly like me. OLIVIA: So it wasn't you that I saw in your office a few weeks ago? You didn't come to my apartment to help me when I was sick? NINA SHARP: No, I’m sorry, sweetheart. I wish I could say that it was. I've been so worried about you. You know, all the time they've held me here, he still hasn't told me what he's after. DAVID JONES: (enters the holding cell) Olivia Dunham. I've waited so very long to meet you. OLIVIA: Actually, we've already met. DAVID JONES: You have me at a bit of a disadvantage. OLIVIA: I watched you die. And I'm looking forward to seeing you do that again. LELAND SPIVEY: Maybe confusion's an unforeseen side effect. DAVID JONES: I'm a bit confused myself. She's not the first to say that to me. OLIVIA: A side effect from what? What does he mean? DAVID JONES: Well, of course, you don't know, though I imagine you've been feeling the effects for some time -- your migraines, for example. OLIVIA: What the hell did you do to me? DAVID JONES: Nothing... that wasn't already done to you a long time ago. But then... you were just a child. Doctor Bishop's notes from the Cortexiphan Trial were quite clear. The subjects' abilities were triggered by sparks of intense emotions, hmm? Let's prime that. Every journey begins with a first step. (picks-up a heavy duty electric powered drill) NINA SHARP: Jones, you leave her alone. DAVID JONES: Always the protective mother hen. NINA SHARP: What are you doing? (as her robotic arm is exposed) OLIVIA: Don't. (as Jones prepares to torture Nina with the drill) NINA SHARP: No. (as the drill bit in her arm sparks and shorts the circuitry) OLIVIA: Nina. Damn it, Jones. Stop! DAVID JONES: Yes, I believe this will work nicely. ACT I Boston, MA - Observer Conference (on a brisk day in a large downtown, public square, a small parliament of Observers gather to report) DECEMBER: Have you located him? JULY: No. Do we know why he failed to carry out his instructions, why he did not erase the lingering traces of Peter Bishop from this timeline? DECEMBER: That is a question only September can answer, as well as if he is responsible for Peter Bishop's return. September has continually intervened on behalf of this boy, despite all warnings. He has been given every chance. MARCH: How should we proceed? DECEMBER: We wait. He will surface again. And when he does, he will have to face the consequences. (strolls away from the group) Interrogation Room - Accusing Nina NINA: Have they found her yet? (as the Fringe Task Force SAIC enters the room) BROYLES: Sit down, Nina. NINA: Now, Phillip, tell me. Do you have any idea if she's alright? BROYLES: Do you? NINA: (in disbelief) How can you ask me that? I raised Olivia as if she was my own daughter. BROYLES: (not asking. telling) Sit down. NINA: Phillip, you know me. Do you honestly believe that I’ve been dosing Olivia with Cortexiphan, that I could have had anything to do with her disappearance? BROYLES: I want to believe you, Nina. If you care about Olivia as you say, then cooperate. The more you tell me, the sooner I can find her, and the better it'll be for you. NINA: (frustrated) For God's sake, Phillip, I have already told you everything that I know. I should be coordinating with Massive Dynamic resources to assist in the search, not sitting here in some damn cell. (Lee enters the room and places some paperwork in front of Broyles) BROYLES: (reads the new file) When were you last in the Massive Dynamic Deep-Containment Facility? NINA: Yesterday afternoon with Agent Lee. AGENT LEE: And before that? NINA: I've told you already. I haven't been there for years. BROYLES: The biometric logs show you accessed the storage facility twice within the last three months. NINA: Well, that's not true. The logs have been tampered with. AGENT LEE: There are eyewitnesses who say they saw you enter the facility. We have signed affidavits from your own security people. NINA: (thinking quickly. grasping) A - a shapeshifter. I - it had to have been. That's the only explanation. BROYLES: If a shapeshifter was responsible, then you'd be dead. AGENT LEE: (damn serious) What are you doing with Olivia? NINA: I see where this is headed. You've convicted me already. I'm not saying another word without my attorney present. BROYLES: Have it your way. (stands-up and departs with Lee) Walter's Lab - Finding Leads ASTRID: (standing behind Peter and looking over his shoulder at his video recovery research) What exactly are you hoping to find on this chip that you haven't viewed already? PETER: The camera records over itself every sixty minutes, burying the older images under new footage, so I’m hoping that this machine is gonna give us a chance to reproduce those older images. WALTER: (fatalistic) A very slim chance. PETER: (sardonic) Thanks for the encouragement, Walter. WALTER: I should never have let her out of the lab. You shouldn't have... PETER: ...What? WALTER: I warned you not to succumb to temptation, Peter. Whatever consciousness Olivia appears to be manifesting now, she is not who you think she is. PETER: You don't know that. WALTER: What I do know is that if I had kept her here, as I should have, then she wouldn't have been taken. And we wouldn't be fishing in the dark, hinging our hopes on pulling a palimpsest out of that chip. PETER: Right now the only thing that matters is finding Olivia. Everything else will work itself out. ASTRID: Uh, I’m sorry, but what -- what is a ‘palimpsest’? WALTER: A manuscript page from a scroll or book from which the text has been scraped off, which means it can be used again. ASTRID: Like when you rerecord over an old VHS or cassette. WALTER: Precisely. And what was underneath bleeds through -- PETER: Hold on. I'm getting something. (adjusts joystick controller) I need to... WALTER/PETER: (sync'd) Increase the magnetic contrast. PETER: Thank you. ASTRID: (as image begins to clarify on the monitor) Olivia. Great. Now what? PETER: Now we dig deeper, see if we can find out who did this to her. Isolated Cell - Operant Conditioning LELAND SPIVEY: Let's go. (removing the restraints and escorting the senior prisoner out of the room) NINA SHARP: Uh, where are you taking me? DAVID JONES: Please, Ms Sharp. Don't make this harder than it has to be. OLIVIA: (pleading) Look, David, if it's me you want, you've got me. You win, but you can leave Nina alone, please. DAVID JONES: Oh, I couldn't possibly do that. (enters the room) Every horse needs a carrot. Every mouse, a piece of cheese. Incentive, Agent Dunham -- all creatures need an incentive to perform tasks. (places a box on the table) Let's give you a little better view, shall we? (opens the view shield to the next room and turns Olivia's chair so she can see Nina Sharp as she is strapped to a mattress frame) OLIVIA: Oh, my gawd. DAVID JONES: I'm going to take you through a series of tests. This first one may take some time. (opens a box with a matrix of small lights) I want you – OLIVIA: I know what you want me to do. You want me to turn the lights off with my mind. We did something like this before. You were trying to activate my ability to cross between universes. And since you seem perfectly capable of doing that yourself, what is this about? DAVID JONES: Whatever you know, Miss Dunham, whatever you think you know of your abilities, I assure you... your potential is... far greater. NINA SHARP: (before she is silenced with a gag) Olivia, listen to me! Don't do what he says, please, whatever happens. DAVID JONES: Alrighty, then. Let's begin, shall we? Now, if... as you seem to believe, you've done this before, then turning the lights on should not be any problem, should it? (waits. waits some more. calls for some incentive) Perhaps this will help you get started. OLIVIA: (as the metal frame Nina is strapped to is repeatedly charged with electricity) Oh, you sonnuvabitch. Leave her alone! DAVID JONES: Don't waste all that emotion on me, Miss Dunham. Turn on the light. OLIVIA: (focuses on the test at hand) I - I can't. (Nina is zapped again) Please, can you just leave her alone? DAVID JONES: Gladly. You know what you have to do. Just one light, and we won't have to hurt her anymore. OLIVIA: I can't. Please stop. I ca -- I just can't right now. I'm - I’m tired, and I just need rest. DAVID JONES: Very well. (as the observation window into Nina's room is closed) I'll give you your rest. We'll try this again in, uh, an hour. (leaves with the wooden box of lights) Walter's Lab - Unexpected Guest ASTRID: Wait. Stop. PETER: What? What do you see? ASTRID: I don't see anything. But I really have to pee, and I don't want to miss anything. WALTER: I've had the same issue for the past ten minutes. PETER: Great. Well, you won't have to wait too much longer. We can't dig any deeper because -- hold on a second. If I decrease the chrome and the saturation... ASTRID: (as the image becomes more viewer-friendly) That looks like a person. PETER: Hello. Can Facial-Rec tell us who this guy is? ASTRID: Send me a capture of the image. I'll forward it to FBI. They can cross-reference with Interpol's database. WALTER: (acid) Clearly he works for that harridan Nina. PETER: It's who Nina's working for that worries me. I've been racking my brain trying to figure out -- why would Nina be dosing Olivia with Cortexiphan? But then it occurred to me. The only person who's ever done anything like that, at least in my timeline, was David Robert Jones. Maybe he's trying to do the same thing again. WALTER: Do what? PETER: Activate Olivia. WALTER: For what purpose? PETER: I don't know. We could never figure it out. But maybe it's for the same reasons now. THE OBSERVER: (appearing suddenly in the center of the lab) Yes. His goal is the same. (collapse from the injury to his chest) PETER: (rushes to the injured man's side) You, talk to me. What do you know about David Robert Jones? What do you know about Olivia? THE OBSERVER: (pained) She needs you. ACT II Walter's Lab - A Significant Event (as the trio plonk the bald visitor onto a table) ASTRID: Oh my God, he's been shot. WALTER: Check his breathing, dear. PETER: There's no exit wound. That bullet's still in him, Walter. ASTRID: His breathing is shallow. WALTER: Pulse is weak. (puts his head to the wounded man's chest) There's no breath sound from his left side. His lung must have collapsed... if he has lungs? Oh, dear God, I have no idea if this man's physiology is similar to ours at all. PETER: (returns with surgical tools) It is -- at least that's what you told me in my timeline. WALTER: I suppose I have no reason to doubt myself. ASTRID: Walter, should I call the paramedics? WALTER: (to Astrid) They'll just take him to a hospital. He'll have a better chance of surviving with me. We need to cut this bullet out and reinflate the lung. Please get my medical kit, quickly, dear. (points) Peter, put pressure here. PETER: Walter, he is an Observer. They only show up at significant events. That he is here must mean it's important. ASTRID: Well, who could have shot him, and why? PETER: Well, I don't know, but he's here. He must have something to tell us. He said, "she needs you" - he was talking about Olivia. (phone rings) Ah, damn it. ASTRID: Here, here, here. (takes over the controlled pressure on the wound) PETER: (answers phone) Bishop. AGENT LEE: (from the Observation Room next door to Nina's meeting with her lawyer) It's Lincoln. We got the image you pulled. They're running it through facial recognition now. PETER: How long do you think before we have an I.D. on that guy? AGENT LEE: I'm not sure. We never tried it with an image this weak before. It could take time. PETER: What do you think the chances are we're gonna get lucky and Nina starts talking? AGENT LEE: I wouldn't count on it. She's got her lawyer in with her now. Short of the sixth amendment being repealed, I don't see her cooperating anytime soon. Isolated Cell - Remembering Olivia (after the two have been freed of their restraints and placed in the same room) OLIVIA: I am so sorry that you have to go through this. NINA SHARP: Oh, it's not your fault. I mean, none of this is your fault. No, listen to me. I know Jones. I know what he's capable of. William fired him because he was unhinged. You cannot give in. OLIVIA: Yeah, but if I don't, then he's going to keep torturing you, and I can't have that. I won't. Okay. Nina? Nina... You -- you have to help activate me. NINA SHARP: Olive, I - I... OLIVIA: Alright, Cortexiphan is based on emotions. For me, it was always fear-- not fear for myself, but fear for the people that I loved. Now, Jones is -- he's using that, hoping that it will access my abilities. But something's happened. NINA SHARP: W – w - what do you mean? OLIVIA: Well, because of the Cortexiphan... I – I - I can't remember certain aspects of our relationship. I - I can't remember things about us. And without that connection, I – I - I can't do what he wants. It just – it -- it won't work. NINA SHARP: Now, I -- now, I - I don't understand. Y - you don't remember our life together? OLIVIA: No, I – I - I remember, but... I just... I just need for you to help me feel it. Just -- just help me remember the details, what we -- what we meant to each other. mmm. Maybe if you could -- if you could just tell me a story, maybe the first day that Rachel and I came to live with you. NINA SHARP: Uh, oh, well, um... Mm, a social worker brought you and your sister up from Jacksonville on the train. I - I met you at Penn Station. You really don't remember? OLIVIA: I remember the train, I think, but... just -- just keep going. NINA SHARP: Well, I brought you girls home... to our old house in the Catskills. OLIVIA: And I couldn't sleep that night. And so you came into my room. And you sat with me, but I - I can't remember what we talked about. NINA SHARP: Okay, I -- you were scared. I mean, after what you'd been through, coming to a new home with a woman that you hardly knew-- OLIVIA: And I kept calling you ‘Ms Sharp’. NINA SHARP: Yes, you did. That's true. And I told you that you didn't need to worry, that we were a family now... and that whatever happened, we had each other. And we'd be okay. And I - I kissed you on the forehead. I kissed you good night, and you called me "Nina"... that was the first time you'd ever done that. OLIVIA: I can only remember pieces... Just fragments. It's like looking at a photo album of somebody else's life. This isn't going to work. I don't want them to keep hurting you, but... the only person that this has ever worked with is Peter. NINA SHARP: Peter Bishop? OLIVIA: The Cortexiphan, my abilities-- it's only ever worked when I've been around him. NINA SHARP: Aah! OLIVIA: Nina? NINA SHARP: Oh! (keels over in agony) OLIVIA: Nina, are you okay? NINA SHARP: Oh, oh! I – I – I – I – I don't know. Oh! OLIVIA: Hey! We need somebody in here now! LELAND SPIVEY: Stand back. What is it? OLIVIA: She, uh -- she needs medical attention now. Look, you can tell your boss that if she dies, then his leverage dies. LELAND SPIVEY: Bring the gurney. NINA SHARP: Olive! (rolled out of the room on a gurney. Nina Sharp hops to her feet and grabs a quick drink from the water fountain while her co-conspirator joins her for an update) DAVID JONES: Well? NINA SHARP: I know why it's not working. She needs Peter Bishop. Apparently, she can't be activated unless he's present. DAVID JONES: Somehow I knew he'd be trouble. Walter's Lab - Last Resort BROYLES: (joins the gathering the operating table) Agent Dunham had asked me not to share this with anyone, but under the circumstances... that man paid a visit to Olivia several weeks ago. PETER: What? BROYLES: At that Brooklyn opera house, while the two of you were on the other side. PETER: What did he want? BROYLES: Apparently to warn her. He said he'd seen all possible futures, and in every one, Olivia was going to die. WALTER: Peter. PETER: Yeah. WALTER: You said this man exists out of time. What if, at the opera house, weeks ago, he was referring to events that are happening now? PETER: Walter, if he was trying to warn her about this abduction, do you think maybe he knows where she is? WALTER: I suppose. BROYLES: Doctor Bishop, do you have any reasonable expectation when this man will wake up? WALTER: I've treated him as best I can, but he's gone into septic shock. His vital organs are shutting down one by one. I'm afraid there's nothing anyone can do for him now. ASTRID: (returning from the inner offices) That was H.Q. Found a match on the man in Olivia's apartment. His name is Leland Spivey. His last known address was an apartment in Deerfield. BROYLES: I'll deploy a S.W.A.T. unit to his place. ASTRID: Uh, you're not gonna find him. Leland Spivey died in a car accident three years ago. BROYLES: Then how was he in Agent Dunham's apartment weeks ago? ASTRID: I don't know. Maybe, uh-- maybe if Jones can cross over at will to the other side, he's bringing other people back with him? AGENT LEE: You think the guy on the tape is Spivey's doppelganger? PETER: It doesn't matter. It's a dead end. The only way to find Olivia is through him. BROYLES: You heard Doctor Bishop. He's dying. PETER: But he's not dead. He still has brain function. WALTER: Peter, you're not suggesting-- PETER: Why not? ASTRID: Suggesting what? WALTER: He wants to go into the Observer's mind. BROYLES: Is that possible? PETER: Walter, you know the only way that I'm going to find Olivia is if you can put me into his consciousness. WALTER: Peter, this man's brain could operate in ways we can't even imagine. And if he dies when you are in his mind, you could well die too. PETER: Can you do it? WALTER: Yes. PETER: Good. Then let's get started. We don't have much time. ACT III Walter's Lab - Timeless Consciousness WALTER: (injects Peter and watches the synaptic activity on two monitors as the Observer and Peter share one brainwave pattern) Okay, Peter, here we go. (Peter regains cognitive awareness in a clear glass observation platform just in time to witness a tremendous cosmic explosion in the void of dark space beyond the platform) THE OBSERVER: (commenting on the spectacle) The beginning of all things. I have been privileged to witness it... as I am to witness my end. PETER: You know that you're dying? THE OBSERVER: Yes. I was shot. PETER: By who? THE OBSERVER: That is not the relevant question. PETER: Yes. Olivia. You said she needs my help. Does that mean you know where she is? THE OBSERVER: That, too, is not relevant... Not yet. I am sorry, but I do not have long, and there is much I need you to understand before I go. PETER: Who... or what... are you? THE OBSERVER: I am called 'September' but that is a code designation given to members of our scientific team. PETER: Scientists? From where? THE OBSERVER: A more apt question would be, 'from when?' we are you-- we're human... many generations after your lifetime. We are one of countless possible futures for humanity. Our technology has uniquely afforded us the ability to travel within and outside of time so that we may observe our beginnings. PETER: But you've done a lot more than observe. THE OBSERVER: Yes. It was my attempt to rectify the mistake I made. PETER: What mistake? (the spatial viewing platform vanishes and is replaced by the 1985 Bishop lab in the alternate universe) Is that...? THE OBSERVER: Your real father... developing the cure that would have saved your life. SECRETARY BISHOP: (the events of 1985 unfold) Excuse me. What are you doing in here? THE OBSERVER: (1985 version) Forgive me, Doctor Bishop. I did not mean to disturb you. I am an admirer. (to Peter in the current timeline) Your father found the cure, but in my desire to witness the moment, I inadvertently distracted him from discovering it. PETER: I already know all that. Walter told me, but what were you doing there? THE OBSERVER: (1985 version to Bishop) I'm sorry for disturbing you. (to Peter in the current timeline) It was important. You are important. (having returned to the spatial viewing platform) It was why I could not allow you to drown at the bottom of Reiden Lake, why it was necessary to allow the other Doctor Bishop to cure you instead. Despite my efforts to set things right, these actions only culminated in further corruption of the timeline. The war between the two universes drastically altered destinies and brought about a child that was not meant to be. PETER: What child? THE OBSERVER: Your son... Henry. PETER: My what? THE OBSERVER: He was born to the wrong Olivia Dunham due to a series of circumstances that never should have happened. This event... would have irrevocably altered everything that was to come. PETER: (looks at an image of an infant manifested outside of the viewing platform) Henry. I have a son. THE OBSERVER: Had. When you made the sacrifice to step into that machine, you were not the only one who ceased to exist. So would he. I believed at the time that would be the end of it. I cannot explain, but it is clear that I was wrong. You have managed to return in physical form. I suspect... this will provide an opportunity for you to put things right. She is the one... the Olivia Dunham from whom your shared future was meant to spring. This must be, and everything will be as it was intended. You must find a way... (alarmed) they are coming. PETER: Who? THE OBSERVER: You need to go. PETER: (as the viewing platform begins to break apart) What's happening? THE OBSERVER: There is no time. I'm going to need you to do something for me. PETER: I'm not doing anything until you tell me where to find Olivia -- THE OBSERVER: For that, you have only to go home. (strongly suggesting) PETER: I know that I have to go home. (fighting to maintain their synaptic link) I know I have to get back to my timeline, but I'm talking about this Olivia in this timeline. THE OBSERVER: Go home. (forces Peter from his mind and back to his colleagues in the lab) ASTRID: (as the Observer convulses) Walter, what's happening? WALTER: I don't know. His heart rate is suddenly spiking. BROYLES: Peter, did you make contact? Was he able to tell you where Olivia is? PETER: (groggily) No. WALTER: Give me 30 milligrams of Propafenone. ASTRID: (as the Observer disappears from the table he was on and sends nearby equipment flying) Walter! AGENT LEE: (genuinely befuddled) Somebody want to tell me what the hell just happened? ACT IV Walter's Lab - Dead End ASTRID: (cleaning-up the mess) I don't understand how this table just knocked itself over. AGENT LEE: A dying man suddenly vanishes in front of our eyes, and the thing you're wondering is, what happened to the table? ASTRID: Among other things. PETER: He just stopped suddenly, and he said - they're coming - and then I got yanked out. WALTER: Well, I didn't do any yanking. It must have been them... the them who were coming. BROYLES: You're certain he had nothing else to offer? PETER: Mm-mm. He just kept on saying how I needed to get back to my timeline and my Olivia. AGENT LEE: Your Olivia and our Olivia? I thought they were one and the same to you. BROYLES: Then we're right back where we started... with Nina Sharp being our only real lead. Agent Lee, I think she's been on ice long enough. Let's see if she's ready to deal. (leaves the lab with Lee) WALTER: You tried, Peter. It was a valiant effort nonetheless. You're very lucky to have made it out. I can't imagine what would have happened if this Observer had disappeared with your consciousness still inside his brain. PETER: He existed outside of time. He could've helped me to find Olivia. (fresh thought) He kept on saying that I needed to get home. What if he was being literal this time -- not home to my timeline, just to my house? ASTRID: What do you think -- that she's waiting for you at your house after she's been kidnapped? WALTER: I suppose it makes as much sense as anything else that's gone on here. ASTRID: It doesn't make any sense. WALTER: My point exactly. PETER: I know that sounds crazy, but I got to at least check it out. Maybe there's a clue there that can point me in the direction of Olivia. I'll call you from there if I find anything. (leaves lab) Peter's Home - Intruder Alert PETER: (enters the campus he has been living in) Olivia? Olivia! You here? (senses he is not alone. turns as Leland Spivey turns on a desk lamp) Where is she? (approaches angrily) I said, 'where is she'? (falls when he is clubbed from behind) Plainfield Memorial - Ability Demo (Peter is cuffed and dragged to the holding cell where Nina Sharp was tortured) OLIVIA: (after hearing the activity) Hello? (after the metal screen is raised in the observation window) Peter? Peter? PETER: Olivia. Olivia, are you okay? Did they hurt you? OLIVIA: No, no. I'm fine. I'm fine. DAVID JONES: (enters the room) Nice of you to join us, Mister Bishop. By now, you must have realized that your every word was being monitored. If I overheard you correctly, you believe this man will be helpful in evoking an emotional response, so let's give it a try, shall we? Unless, of course, I was mistaken. I find your silence encouraging. PETER: Don't do it, Olivia. (Leland places a knife to Peter's throat) DAVID JONES: I'm afraid you must, or Leland here will start slicing off pieces of your friend. (Olivia focuses on the box and turns on the lights all at once) Excellent, Agent Dunham. I knew you had it in you. (the lights in the two rooms begin flickering and growing brighter) Impressive. (the lights grow extremely bright) What are you doing, Olivia? OLIVIA: I'm doing what you wanted. I'm turning on the lights. NINA SHARP: (tied to the electric torture rack) What? No, Olivia, don't. OLIVIA: You're not Nina. NINA SHARP: What are you talking about? OLIVIA: My high-school graduation -- you told me that now I was an adult. I was no longer allowed to call you 'Ms Sharp'. That was the first time I called you 'Nina'. DAVID JONES: (directing Nina's evacuation) Get her out. (a powerful electric charge shoots from an overhead light - killing Spivey and knocking Peter to the ground) ACT V Plainfield Memorial - Gaining Freedom OLIVIA: (enters the room where he was being threatened) Peter? PETER: Olivia. (strapped to a chair. on his side on the ground) How did you do that? How did you know how to concentrate your power? OLIVIA: Well, I, uh -- I didn't. (as she cuts the zip strips to free him) I just know that... when I was a little girl, I did something similar, and that if they brought you to me, then you might give me what I needed to do it again. Okay. Come on. (elsewhere in the abandoned facility. packing quickly) DAVID JONES: Best be on our way. (to an accomplice) Be a good fellow and keep them occupied, will you? (Olivia goes into spaz-mode and they are confronted in the hallway) PETER: Olivia. I got you. You're gonna be okay. I'm here. GOOD FELLOW: On your feet, both of you. (pistol pointed at Peter's head) PETER: She's having a seizure. GOOD FELLOW: I said get up. (attacked by Peter. violent fist and knee fight) OLIVIA: Hey! (aims dropped gun. Peter head butts opponent) Oh, God. PETER: Come on. DAVID JONES: (after activating a trans-universe portal in the corridor of the dilapidated hospital) Please be so kind as to step aside. (to Nina) Ladies first. (Nina steps through to a fully functional Plainfield Memorial hospital in the alternate universe) OLIVIA: Jones... don't move. (enters the corridor with her pistol pointed) DAVID JONES: (calmly. duly impressed) That was quite a display you put on in there, Miss Dunham. Your love for this man must be something quite profound. OLIVIA: Jones, you can step away from the portal. DAVID JONES: (turns to step through) Good-bye for now, Agent Dunham. (is shot. then turns and stands with something much less than a critical gunshot wound) It would seem there are some fringe benefits to having one's body reassemble at an atomic level. (waves and steps through the portal) OLIVIA: Peter, I -- did you see that? (has another debilitating seizure) I — Oh. PETER: I got you. (catching her as she collapses) I got you. Let's get you out of here, okay? OLIVIA: Okay. PETER: (outside, as they exit onto the poorly lit grounds. on his cell phone) Yeah. Yeah, Plainfield Memorial. But, Lincoln, make sure that you tell the EMTs that she's gonna need Diazepam. Alright, thanks. (to Olivia) Alright, first responders are on their way. You're gonna be fine. OLIVIA: It's okay. I'm feeling better now. I guess all the energy that I expended did a number on my nervous system. PETER: Maybe... (concerned at his substantial influence) but maybe it was me... just by being close to you, like Walter said. OLIVIA: Well, Walter isn't always right. PETER: Yeah, neither am I. At the gas station just before you got taken, you were ready to come home with me, and I was ready to think that that was okay. But it wasn't. It was a mistake... one that I promised myself I'd never make again. OLIVIA: This isn't the same as what happened – PETER: I saw her. I saw my Olivia -- the one that I am supposed to be with, the only one that I'm supposed to be with. OLIVIA: Peter, I don't understand what's happening to me any more than you do. But that doesn't change what I do know, what you know -- that if you look at me -- if you -- if you look -- if you look into my eyes, then you can see that I am her. PETER: (heartfelt) No. No, you have her memories, or you have my memories of her. You're a projection or -- I don't know what. But when I looked into your eyes, what I saw was what I wanted to see. I know she's out there... my Olivia, in my timeline, waiting for me. And I let myself forget that, so I’m sorry, Olivia. And I'll be sure that Walter can fix you up somehow and give you back your life. But for right now, I think it's better if I just stay away. OLIVIA: Okay, Peter, I – I - I'm in love with you, and I - I can't just -- just turn that off now. I don't want to lose you. W - where are you going? PETER: Home. I have to go home. (turns and walks from the hospital grounds as emergency personnel arrive and park)