Fringe Season 1 Transcripts

PROLOGUE Flight 627 - A Contagious Event (Glatterflug Airlines Flight 627 is enroute from Hamburg, Germany to Boston, Massachusetts) ANNOUNCEMENT: ... ist eingeschaltet. Befestigen sie bitte ihre Sicherheitsgürtel. ANNOUNCEMENT: The Captain has turned on the fasten seat-belts sign. Please make sure your seatbelts are securely fastened. GERMAN WOMAN: Ich möchte sehen wie der Film weitergeht. (I would like to see the film continue) MAN FROM DENVER: I don't speak German. I'm from Denver. GERMAN WOMAN: Dies ist mein erster Flug. (this is my first flight) MAN FROM DENVER: I'm from Denver. ANNOUNCEMENT: Wir durchfliegen jetzt starke Turbulenzen. Nehmen sie bitte ihre Plätze ein. (we are flying through strong turbulence. please return to your seats) INDIAN MAN: Hey, friend. It's just an electrical storm. MORGAN STEIG: I understand. INDIAN MAN: Here. Gum? MORGAN STEIG: No, thank you. FLIGHT ATTENDANT: Mein Herr, sie müssen sich hinsetzen! (sir, you must sit down) Beruhigen sie sich! (calm down!) Beruhigen sie sich! (calm down!) Entschuldigen sie bitte! Gehen sie zu ihrem Sitz zurück! [please, go back to your seat!] FLIGHT ATTENDANT: (on phone) Kapitän! Wir haben eine Notsituation! (Captain, we have a difficult situation!) PILOT: ... gibt eine Not-... (... if necessary...) Sprechen sie mit mir! (talk to me) Was zum Teufel passiert! (what the hell is going on?) Beruhigen ... (...calm down...) Warum antworten sie mir nicht! (why don't you answer me?) Reden sie mit mir! (talk to me) ACT I Turnpike Motel - A Romantic Interlude OLIVIA: Oh my god! JOHN: What? OLIVIA: This bed is loud. JOHN: You think? OLIVIA: We can't keep doing this. Sneaking around. JOHN: Department is not a massive fan of office romance. The policy seminar was endless, wasn't it? Kept finding myself staring at you, I decided to move my chair to stop. OLIVIA: Well, I think Charlie knows. JOHN: No, he doesn't know. OLIVIA: Well, I think he does. JOHN: If he knew, we would be transferred. The idea somebody making a call whether not you and I get to live in the same city is unacceptable to me. Anyway that's just a preamble to a kicker, which is that - I love you. OLIVIA: (answers her cell phone) Olivia Dunham. Yes, sir. Of course, sir. Yes, sir. I-I... I'm on my way. (to John): Incident at Logan. International flight. Charlie is on his way. JOHN: (answers his cell phone) Agent Scott. Logan Airport Tarmac OLIVIA: Olivia Dunham, FBI. CHARLIE: We've got a flight out of Hamburg, 147 passengers. Tower has lost contact three hours in. They thought it might have been electrical interference. They enter in our airspace radio silent. Navy then scrambles two F-18 for escort. They reported stains on the windows, no signs of life aboard the jet. White House approved the CDC's request for the jet not to be opened until they arrive. OLIVIA: No signs of life? Who was flying the plane? CHARLIE: Logan is one of the first airports with the PEARL autopilot system. Plane landed itself right on time, unlike every flight I've ever taken. JOHN (on phone): ... well, let me assure you, we'd be happy to treat you as family too. (to all) Good old NTSB, they all like to think they're cops. CHARLIE: Agent Scott. JOHN: Agent Francis. Agent Dunham. CHARLIE: Whatever the hell McNeary shot through that window, it made him throw up in front of his whole unit. (security checkpoint to the tarmac) MAN IN CAR: Excuse me. So what's going on here? Some sort of an accident? GUARD: The tarmac is closed. Nothing you need to worry about, sir. MAN IN CAR: All right. GUARD: Move on. MAN IN CAR: I'll do that. Thank you. (standing next to Flight 627) BROYLES: Although this is a joint task force, you are all reporting to the Department of Homeland Security. I'm Special-Agent-in-Charge Broyles. DC has sent me here to make sure we get results. Standard Level 4 HAZMAT suits are required to go in. Members from each agency of the starting line as follows: CIA, Faranough. FBI, Charlie Francis and John Scott. Everyone else stand by. OK people, let's move. OLIVIA: Sir. Olivia Dunham. FBI's interagency liaison. BROYLES: Liaison on an interagency task force, got to love that. Kinda like powdered sugar on a glazed doughnut. OLIVIA: Excuse me, if I'm gonna do my job effectively, I'd like my information first hand, that's not redundancy, that's accountability. BROYLES: I know exactly who you are. You want in, Liaison? Suit-up. AGENT: What kind of terrorism is this? OLIVIA: Who says it's terrorism? Federal Building - The Situation Room NEWS ANCHOR: (voiceover from broadcast)... sources tell us, that the plane was deliberately set ablaze by the CDC. AGENT #1: I've got 15E. Seat 41A. John Rosenblum, Honolulu Hawaii. Car salesman... criminal history checks negative. AGENT #2: ...intelligence check's negative. OLIVIA: Have we reviewed video from Hamburg Airport? We need to see if any passengers were showing signs of illness. AGENT DAWSON: ...ground crew who fueled the airplane. We need names. BROYLES: On it's way Agent Dawson. And what the hell is taking so long with that black box? AGENT #4: Report says maintenance replaced oxygen tank an hour before take-off. OLIVIA: Please tell me that terminal's shut down. BROYLES: It's been down since 4:00 local time. You got any more questions? OLIVIA: Who's point from CDC on the bone tissue and air sample? BROYLES: Agent Paley. You want his home number? OLIVIA: No, but I'd like the whole report, and not just this fax, claiming that there's no matches... BACKGROUND: ...to any known pathogens or airborne viruses. BROYLES: (to Olivia) We're on that too, Liaison. We don't think what happened on that plane was a result of the in-flight movie. CHARLIE: (to all) Back Bay PD got a call at 3:00, from a guard on duty from a storage facility. He saw two, and I quote, 'suspicious middle-eastern men' handing a white guy a briefcase. BROYLES: (to Olivia) Liaison, take it. Go find out. OLIVIA: Take what? That? You're telling me that's my assignment? BROYLES: Yeah, Honey, would you mind? NEWS ANCHOR: (voiceover from broadcast) "... CDC's control. The decision was made to burn the plane only after ..." U-Case Storage - Chelsea, MA (Olivia and John walking along a snow-covered storage facility) OLIVIA: Petty bastard. He's pissed because his best friend sexually assaulted three marine privates. And I'm the bad guy, cause I put him away. JOHN: Broyles is an idiot. You're smarter, you're stronger, you're much better looking. He's jealous. (Olivia stops walking) JOHN: What? OLIVIA: You said you loved me. In the motel. JOHN: Yeah. OLIVIA: That was a big deal. JOHN: Yeah, well you didn't say anything back, so I just let it go. OLIVIA: I've been sorta bad at this, for a long time. Until you. I wanted to say, I love you too. (Staring and smiling at each other, John kisses Olivia) JOHN: Let's go check the trash together. (they open up and rummage through a dumpster, picking up a pair of canisters) OLIVIA: Empty. JOHN: Acetylene, propane? OLIVIA: (she smells the canister) No, ammonia. (suddenly, John goes to pick a lock on one of the storage units) OLIVIA: What are you doing? JOHN: What are you doing? I'm a federal agent. (they start opening more of the storage units...stepping into one with animals in cages and computer equipment) JOHN: We need to get a chem-transport team out here now. OLIVIA: I'm on it. (trying her cell phone) No signal. (she goes outside to get a signal) (while John searches other storage units, a door from another storage unit opposite him is opened from the inside and out steps the MAN IN CAR from Logan Airport) JOHN: Freeze FBI! I have a gun! I will shoot! (the man starts to run and John chases him while calling Olivia on his cell) OLIVIA: (picks up her cell phone) John? JOHN: We have a runner in the back. We need him alive. OLIVIA: I'm on my way. (Olivia catches up to them. The man stops and triggers a speed-dial on his cell phone) JOHN: Hands in the air! OLIVIA: John! (A storage units explode. John is engulfed in flames. Olivia is thrown against a wall and passes out) Hospital (Olivia in a dreamy state. Dr. Reyes voiceovers much of her recovery sequences and her initial visit to see John) DR. REYES: You were very lucky today, Agent Dunham. Your wounds could have easily been much more severe. Agent Scott wasn't as fortunate. While he survived the initial blast, Agent Scott was exposed to some synthetic chemical compounds. Work that was done in the labs you found. He's not contagious, but until we understand more it's better not to introduce any additional contaminates. We haven't been able to identify the substance that is affecting him. The CDC has sent in specialists, but they've never seen anything like what's happening here. We've put agent Scott in a drug induced coma. His body temperature has been lowered significantly to try and slow the progress. I'm sorry Agent Dunham. ACT II Federal Building - Boston (Olivia is performing searches on a computer database. Her search brings up an article by a Dr. Walter Bishop entitled: "Report on Dissolved Flesh", from the Medical Journal Archive. She runs to Broyles) OLIVIA: (comes up behind Broyles) It's me. Liaison. (Broyles does not turn around) I found a connection between the Hamburg flight and what's happened to Agent Scott. (Broyles turns around) His name is Walter Bishop. He's a scientific researcher from Cambridge, born in '46. Harvard educated post-grad at Oxford and MIT. Look at the experiments he was doing in the seventies. I believe Dr. Bishop might have information that might tell us what happened aboard that plane and save Agent Scott's life. BROYLES: It says the guy has been at St. Claire's for 17 Years. OLIVIA: I saw that. An assistant was killed in his lab. Rumors about Dr. Bishop using humans as guinea pigs. He was charged with manslaughter, but was deemed mentally unfit to stand trial. BROYLES: Why are you so sure Bishop's worth our time? OLIVIA: Why are you so sure he's not? BROYLES: Listen, Dunham. You and I got off on a wrong foot. OLIVIA: If my past job performance as US Marine Special Investigator offends you... BROYLES: Well, Yeah. It does. A man who serves his country for 30 Years has a few drinks and small lapse of judgment does not deserve five years... OLIVIA: A small lapse in judgment that will haunt three young women for the rest of their lives. BROYLES: But that's not tonight's business, is it? Look, DC has tasked me to make sure that our reaction to Flight 627 is beyond reproach. Now, it says here, in 1991, the glorious State of Massachusetts forbade Dr. Bishop from having any visitors, with the exception of immediate family. So, from where I sit, barging into a mental institution, waving the Patriot Act, which is what you need, and demanding face-time with some old lab rat, who you think might be behind some of the most terrifying terror that I can possibly imagine ... OLIVIA: I'm coming to you with a solid lead and your personal resentment is preventing you... BROYLES: And you're wasting your breath and my time. Do you understand "immediate family?" You want to question Dr. Bishop, you go find his next of kin and have him escort you in. Talk to Bishop, uncover something substantial and I will have your back. Until then, I am not so convinced. Now, can you handle that? OLIVIA: He does have a son. BROYLES: Is his son a local too? OLIVIA: Not exactly. Bagdad, Iraq - Meeting Peter (helicopter flyover of the city while voiceover from the Federal Building continues) BROYLES: (in voiceover) So this guy's Walter Bishop's son? OLIVIA: (in voiceover) His name is Peter Bishop. He's a high-school drop-out, IQ at 190, just 50 points north of genius. Misfit, nomad. Hasn't kept a job longer than two months. He's been a wild land fireman, cargo pilot and briefly a college chemistry professor. He falsified a degree from MIT. He even managed to get a few papers published before he was found out. Sounds like a massive pain in the ass. (taxicab ride to a well-appointed hotel. meeting with two local businessmen in a private room) PETER: My resume is hardly traditional, but around these parts traditional increasingly means irrelevant. Hundred billion dollar sunk in infrastructure and you can barely keep the lights on. You need someone to oversee construction on 600 miles of pipeline to carry crude between your fields in Kirkuk and the port of Ceyhan. A job well out of the 'Green Zone', I might add. Well, I'm still alive to do so. You need someone who has a handle on the laws of hydro-dynamic resistance, the heat exchange and oil mixture flows. You'll also need someone who can work with mixed integer programs cause you're gonna have to resize the pipes as you start working across uneven terrain. That is, if you want to keep down the construction costs. (Peter pauses when the two men begin to converse separately in their native language) Truth is, I need this job as much as you need me to do it. (when the businessmen continue their separate chat) ...I also speak Farsi. And 600,000 all-in... sounds fair. (in the lobby of the hotel) OLIVIA: Peter Bishop? Olivia Dunham. I'm with the FBI. PETER: OK. OLIVIA: You've heard of flight 627? PETER: The Hamburg flight, of course. OLIVIA: You may be able to help us with that. PETER: No, I think you've got the wrong guy. OLIVIA: Your father is Walter Bishop. PETER: The last time somebody asked me that it was an accusation. OLIVIA: Well, he's the man we're looking to speak with, but due to his current status, you're the only one who can provide us access. PETER: And what possible help could that man be to you? And what is it exactly that you're expecting me to do? Hop on a plane with you back to Massachusetts? I just got here honey. OLIVIA: I can have you on a return flight here in four days, but first... PETER: Let me save you the time. I'd rather stay here in Iraq. That's how much I want to see my father. OLIVIA: I'm going to beg you as one human being to another. Your father may be able to save someone who is dying. Someone I care about very much. PETER: Sweetheart, we all care about someone who is dying. I can't help you, I'm sorry. OLIVIA: I know why you're here. I have your file. PETER: What file? OLIVIA: The one the FBI would say doesn't exist. And it has everything. Where you've been, what you're running from. And what you need while you're here. So, either you come with me, or I let certain people know your whereabouts. PETER: When do we leave? Return Flight to the United States (together alone in the cabin of a small jet) OLIVIA (on cell phone): Did the doctor say anything else? Yeah. Thanks, Charlie. PETER: Let me ask you something. My father, not my favorite. He is without a doubt the most self- absorbed, twisted, abusive, brilliant, myopic son-of-a-bitch on the planet. So he was a chemist. That much I already know. He worked out of a basement lab in Harvard, doing research for a toothpaste company. I also know that there was an accident at the lab one night, when my father was arrested. Beginning the first truly peaceful period in our home, but here is the thing Olivia, my gut tells me, that your friend's life, the one hanging in the balance, is not going to be saved by a tube of toothpaste. OLIVIA: He worked out of Harvard, but not on toothpaste. He was a part of a classified US Army experimental program called Calvin Genetics. They gave him the resources to do whatever work he wanted. Which was primarily in an area called "fringe science." PETER: When you say "fringe science," you mean pseudo-science. OLIVIA: I suppose. Things like mind control, teleportation, astral projection. Invisibility, genetic mutation, re-animation, fertility... PETER: Whoa, excuse me for a second. Re-animation, really? So you're telling me... what? My father was Dr. Frankenstein? St. Claire's Hospital - Meeting Walter (Peter and Olivia arrive at St. Claire's, walk through security doors and past holding cells) PETER: You know what? Why don't you go on ahead? (turns back while she proceeds with her escort) (Walter sits facing a wall in a large cell) GUARD: Dr. Bishop, special day. You have a visitor. OLIVIA: Hello. WALTER: I knew someone would have come. Eventually. (Walter and Olivia sit in a large dining hall. two escorts lingering nearby) OLIVIA: Dr. Bishop? Dr. Bishop? WALTER: This was ... when did this happen? OLIVIA: The incident on the plane happened four days ago. Agent Scott was injured the next day. WALTER: Aderm already indurated. Translucent. Muscular tissue. OLIVIA: On Scott? You mean can you see through his skin? Yes. WALTER: Oh, that's not good. To see through the skin. It's tricky, it's advanced.... like that. OLIVIA: What's happening to him? Can it be reversed? What is it? WALTER: They have this horrible pudding here. Butterscotch pudding on Mondays. It's dreadful. OLIVIA: It's Thursday. WALTER: Oh. That's fantastic news! It can be reversed. What happened to your colleague. Years ago I worked with lab animals and... some of them were afflicted, but were saved. OLIVIA: So, do you remember what to do? WALTER: This place, their choice of therapies has ... OLIVIA: Dr. Bishop? WALTER: You came here today with my son. I'm not allowed visitors you see, except immediate family. Unless the order has been lifted. And it's a simple 'if-then' formula. If you are here, then so is he. I would so much, so very much like to see him. So much. (Olivia finds Peter waiting down the hallway) OLIVIA: He asked for you. PETER: Thanks, sweetheart. I really appreciate that. OLIVIA: Hey, I didn't tell him you were here. Call me sweetheart one more time, I'd really like that. (Peter gains his resolve and joins Walter in the dining hall) PETER: Hello, Walter. WALTER: I thought you'd be fatter. PETER: You thought I'd be fatter? Excellent, first words. Perfect. WALTER: No, as a boy. You were round. PETER: Yes, I was. Until the summer before high-school, not that I'd expect you to remember that. WALTER: May I see something? PETER: What are you doing? Take your hands off of me! WALTER: Pupils are good. They're good. WALTER (to Olivia): How advanced is your colleague's condition? Would you... something... I'm unable to deduce without a first-hand examination. I must see Mr. Scott myself, which I am unable to do. Under the present law. Unless, signed out by a legal guardian, who must be once again a relative. PETER: What are you asking me to...? No! Guardian? No. Forget it. OLIVIA: He'll do it. PETER: No, I will not. OLIVIA: One phone call. That's all it takes. You want me to make it? Cause I've got my phone in my pocket. Now it's out of my pocket. PETER: You wanted my father. Now you've got my father. Which falls into the category, be careful what you wish for, Sweetheart. ACT III Departing St. Claire's Hospital (Peter signs out Walter and waits quietly with Olivia while Walter shaves and changes into street clothes.) (driving away from the asylum) RADIO REPORTER: (voiceover) Every effort is being made to understand what happened on Flight 627. OLIVIA: Dr. Bishop, I was curious. Did anyone else ever have access to your work? WALTER: Well, the assistants have bits and pieces... God, I suppose. I suppose the only one who really knew what I was doing was Belly. OLIVIA: Who? WALTER: Belly. William Bell, he and I shared a lab. OLIVIA: William Bell? PETER: You shared a lab with the founder of Massive Dynamics? WALTER: I'm sorry. I don't know what that is. Massive Dynamics. (to Walter) Ah, nothing really. Just a tiny little company. PETER: (to both) That's perfect. One guy becomes one of the wealthiest man on planet, the other guy becomes an institutionalized psychopath. WALTER: Oh! OLIVIA: What? What happened? WALTER: I just pissed myself. PETER: Excellent. WALTER: Just a squirt. (Olivia drives past a billboard advertising Massive Dynamic.) Hospital Hallway CHARLIE: Just got the message, how's John? OLIVIA: Worse. CDC says that Hamburg flight was caused by synthetic compounds, which is like saying rain is caused by wet compounds. They've run some tests on John, but haven't come back with anything. CHARLIE: What about Bishop? OLIVIA: Left or right? Insane, and irritating. And also my only hope. Listen. I need to question William Bell. Could you set that up for me? CHARLIE: William Bell? Massive Dynamic's William Bell? OLIVIA: He and Bishop used to shared a lab. CHARLIE: You kidding? Hospital Room (Astrid, Olivia, Peter and Walter enter sterilized area. John is lying on an examining table. Walter stares at a skylight.) OLIVIA: Dr. Bishop? WALTER: Send Ginger ale. I need Ginger ale. Haven't had some long time. I miss it. OLIVIA: Can you please get some Ginger ale for the doctor, Agent Farnsworth? (Walter picks up scalpels and approaches John's body.) PETER: (to Walter) Whoa! Stop right now! Stop! PETER: (to Olivia) Does this not concern you? OLIVIA: Let him go. WALTER: Petri dish. Quick, please. But, I need to take this to my lab right away. OLIVIA: Your what? WALTER: Kresge Building basement, Harvard. We should leave, I have my sample. OLIVIA: Your lab was shut down after you left. WALTER: I'm sorry? PETER: Wake up. It's gone. WALTER: No. No, no, no. No, no, no, no, no. PETER: Walter, there is no lab. WALTER: It's a perfect working... Damn you! (Walter smashes equipment.) PETER: We need to get him back immediately. Broyles' Office BROYLES: Liaison. When did you get back? OLIVIA: I need your help. I want you to know I've successfully had Dr. Walter Bishop released from St. Claire's and he requires the use of his old laboratory. BROYLES: I'm sorry. What? OLIVIA: Kresge Building, Harvard, basement. BROYLES: It would be nice, to think that your tenacity in this case is a byproduct of a remarkable and robust professionalism. But I can't help but wonder, if it wasn't something going on between you and Agent Scott. OLIVIA: Get the lab for Bishop. Harvard Lab - Walter's Return (Someone turns on the lights at the Lab. Walter, Olivia, Peter and Astrid enter the room.) WALTER: (to himself): So much. So much happened here. WALTER: (To the others) And so much is about to. ACT IV Harvard Lab - Setting Up OLIVIA: Dr. Bishop, I've ordered a standard forensics' work package. Is there anything else you need? WALTER: Optical coherence tomograph for flesh study. Two thousand pounds of silicon. At least five anonymous blood samples from volunteer donors, micro-organism detector. NASA grade, of course. There's still NASA, yes? OLIVIA: Yes. WALTER: Oh, she's still here. This tank was the best. And a two-Year-old bussaurus. ASTRID: A what? PETER: A cow. He wants a cow. WALTER: Purebred, not a crossbred, this is important. Mature weight 850 pounds, total fat average 2.37. OLIVIA: Is he joking? PETER: Genetically, humans and cows are separated by only a couple lines of DNA. So, what's an ethical test subject? OLIVIA: Where'd you learn that? MIT? PETER: No actually, I picked that up reading books. You should try it sometime. It's fun. OLIVIA: (to Astrid) Get him the cow. WALTER: Fantastic, thank you. Only thing better than a cow is a human. Unless you need milk. Then you really need a cow. (Activity including Walter examining laboratory slides; Olivia reviewing photos of Flight victims; an unidentified, and unrelated, class in session; and the arrival of the cow.) Harvard Lab - Peter's Background PETER: Coffee? OLIVIA: Thanks. PETER: Tell me. What else did that file say? About yours truly. How bad was it? OLIVIA: I'm not at liberty to discuss it. PETER: Why don't you go ahead and liberate yourself because I'm here now, so I kinda feel like I deserve the truth, don't you? (Olivia looks at Peter without speaking.) PETER: There was no file. OLIVIA: I needed you back here. PETER: So that was what? You were bluffing? OLIVIA: I was desperate. PETER: Yeahh, I'm usually pretty good at reading people. That's sorta what I do. OLIVIA: Yeahh, well I could see you were in trouble. Anyone could see that. PETER: So I could have stayed. I could have stayed in Iraq. OLIVIA: You know, a car bomb went of this morning in Kirkuk. You just might owe me a "Thank you". PETER: Yeahh, well, I owe a lot. OLIVIA: Yeah, I figured. Mafia. PETER: A guy named Big Eddie. I swear to you I'm not making that up. OLIVIA: You owe money to a guy nick-named Big Eddie? PETER: No, I owe money to a guy named Big Eddie. He had it legally changed. And the thing is, I'm not even a gambler. I mean I never was. It's just ... A couple of years ago I went a bit crazy. OLIVIA: I thought you were a genius, you must have had a system. PETER: Of course there was a system. The House was cheating. But you try telling them that. Harvard Lab - Diagnosis WALTER: (in background) Seventy-two, during Vietnam, DOD's BioChem Division had us working on a protocontagion for a possible use against Vietcong. It's possible that whatever affected that plane may have been derived from that work. OLIVIA: What about John? WALTER: What's affecting him is merely a chemical reaction to the raw laboratory ingredients. Not the finished contagent, which means we can synthesize a counter-agent. OLIVIA: So you can help him? PETER: Don't do that. Don't give her false hope. WALTER: It's not false. It's not false; It's real. I could help, yes, if I had a precise inventory of what was in that storage facility when it detonated. OLIVIA: We don't have it. It all went up, everything. And the suspect who might have those answers got away and John was the only one who saw his face. So how long does he have left? WALTER: Current rate of crystallization, cellular degradation,... OLIVIA: How long? WALTER: Twenty-four hours. His brain will no longer be able to oxygenate itself. I'm so sorry. That I can't offer you a less dangerous solution. OLIVIA: What do you mean? WALTER: Didn't I mention it? PETER: Whatever you think you said, you didn't say. WALTER: Synaptic transfer system, shared dream state. OLIVIA: What do you mean 'shared dream state'? WALTER: Human brain generates a quantifiable electric field. I hypothesized in 1976 that it is possible to synchronize the fields of two distinct minds to allow the sharing of information across the unconscious state, like a string between two tin cans. PETER: You know what's great about that is that it's completely insane. OLIVIA: You're saying I can talk to John in coma? And he can tell me what the suspect looks like? WALTER: It's not an exact science. PETER: It's not even science. OLIVIA: Have you done this before? WALTER: I have used this technique to extract information from a corpse once. You can do that if they haven't been dead for longer than six hours. PETER: Right, because after six hours - that's when they are really dead. OLIVIA: You could access his memories? WALTER: Assuming there's no brain damage. Of course you'd have to have an electromagnetic probe placed in the base of your skull, whilE immersed without clothing in the old tank. And you'd be heavily drugged. OLIVIA: What sort of drugs? WALTER: Mix of Ketamine, neurontin, lysergic acid diethylamide. PETER: That last one is LSD, by the way. Acid. WALTER: It would take at least a few hours, I'd need your help to synthesize it, if it's not too much trouble. PETER: Yeah, sure, no problem. That sounds like fun. PETER: (to Olivia) The man who was just released from a mental institution, he wants to give you a drug overdose and stick a metal rod into your head and put you naked into a rusty tank of water. WALTER: No, I don't want to. No, I'd rather not, I'm just saying I can. PETER: Okay, Olivia, excuse me for a second. You're obviously under severe duress and you haven't slept since Iraq and the man you care about might die, but I'm telling you, that man will kill you! WALTER: You don't understand the procedure. OLIVIA: John would do it for me...Set it up. I'll get DHS's authorization to bring John here. PETER: This is unbelievable. This is insane; he is insane and you're insane for following him. WALTER: Excellent. Let's make some LSD. Harvard Lab - John Scott Arrives OLIVIA: (to ambulance attendants) Put him over here. ASTRID: (to Olivia) Salt will make you float. OLIVIA: Charlie. Did you get me in to see William Bell? CHARLIE: Massive Dynamics isn't exactly being forthcoming or courteous. And apparently William Bell is out of the country for the next two weeks. OLIVIA: What's this? CHARLIE: A sweet little memo from their General Council. OLIVIA: So Bell doesn't want to talk? CHARLIE: Or he's just being the head of a 50 billion dollar corporation. OLIVIA: Screw this! I want to drive a tank through William Bell's office and find out what he knows. CHARLIE: I know you do, but I'm here to tell you the bad news. It's going to be another 48 hours till we get a court order. WALTER: (to Olivia) You should probably strip to your underwear. WALTER: (to Charlie) Hello. CHARLIE: What the hell was that? OLIVIA: Charlie, we don't have 24 hours. I need you to get to Bell. If Walter fails, Bell could be the only one to save us. CHARLIE: Olivia, what's happening here? You've cleared all this with Broyles? OLIVIA: Somewhat. CHARLIE: Somewhat doesn't sound good. CHARLIE: Is that a cow? OLIVIA: Yeah, that's Gene. Listen Charlie, I -I need you to promise me you'll do whatever you can. CHARLIE: Of course. You know that... Hey. Be careful. (Charlie looks at John's transparent body.) CHARLIE: (to himself) My god. Harvard Lab - Preparation (Olivia, with the help of Walter, Peter and Astrid, prepares) WALTER: Now, where was I? Could you tilt your head forward, please? PETER: I still think that this is deeply irresponsible and believe me, I would know. WALTER: This is an anaesthetic. If you feel normal it's working. PETER: Yeah, because bootleg and smack in a basement is just a picture of normalcy. (Walter inserts probe at base of Olivia's neck.) PETER: I've got you. I hope your guy is worth it. (Walter injects Olivia) WALTER: And this will rip open your consciousness. (Olivia enters tank.) WALTER: Listen, in case you don't come back, I just wanted to say before we do this...how much I appreciate what you've done. There is so many things you lose in a place like that. You lose being trusted. Strange how important that is when it's gone. ACT V Harvard Lab - Synaptic Transfer WALTER: If you want to watch, you can come closer. You work here? ASTRID: Yeah, I'm Astrid Farnsworth, assistant to Agent Dunham. WALTER: Who? (Astrid points at the tank containing Olivia.) WALTER: Oh, yes. I'm Walter... PETER: Bishop. Walter Bishop. WALTER: Yes, thank you. PETER: Don't mention it. WALTER: These are her brain rhythms. More important than most people know regarding cerebral regional interaction. Critical. (Walter walks to another computer display.) And these are his. As the drugs take effect, the probes will synchronize the electrical signals from both. That what the brain is, an electrical router. Should be able to be interpreted by the other. PETER: Simple really, like making toffee. WALTER: And when the rhythms are in-sync, they should be in the same place. So to speak. PETER: So what do we do now? WALTER: Now we wait. (Time passes. Peter paces. A spark occurs in Olivia's consciousness.) PETER: What was that? WALTER: Should be any minute now. Harvard Lab - Olivia's Dream (In Olivia's dream, she is in a junk yard. Her and John's words are italicized.) OLIVIA: Hello? I think I'm here. I'm here! WALTER: Look, look, look! Almost in-sync. (In Olivia's dream, she is in a graveyard, then a child's room.) OLIVIA: John? I know this. That's my uncle's kayak. Why is it here? John? Is that you? JOHN: Olivia? OLIVIA: John? PETER: What's happening? WALTER: She's fine. PETER: She's alright? WALTER: She's fine. PETER: You're sure? WALTER: Look. They're together. JOHN: I was just thinking about you. (Olivia and John embrace while standing on a finished floor in a desert. They kiss. The encephalogram shows a spike.) PETER: What was that? (Walter smiles.) WALTER: Nothing. OLIVIA: John, you were hurt. JOHN: I don't remember. OLIVIA: Think. The storage units. JOHN: I feel cold. OLIVIA: I need you to remember. JOHN: Remember what? OLIVIA: What you saw. I need you to show me his face. JOHN: Why? OLIVIA: So I can save you. Please try. Try and remember. Yes. This is right. JOHN: "We've got a runner in the back. We need him alive." OLIVIA: I can't see his face. (Olivia sees the face. Walter and Peter pull her out of the tank.) Harvard Lab - Out of the Tank WALTER: You're late! OLIVIA: (gasping) I saw him. I saw John get hurt. I was there. I was there, I swear. ACT VI Situation Room - Federal Building (Olivia is working in a facial recognition program.) CHARLIE: What do you mean you saw him? Where? OLIVIA: I told you not to ask me that. (Olivia makes selections in the program.) OLIVIA: This is him. This is the suspect we are looking for. He looks like this. AGENT #3: Send me the image, I'll put it through the database. CHARLIE: Have you slept? You look like crap. AGENT #3: No primary matches for criminal record. OLIVIA: Cross check all state driver's license files and send this image to all local hospitals. AGENT #4: Agent Dunham, take a look at this. OLIVIA: Oh my God. This is him. (he shows her a photo of Morgan Steig to Olivia.) AGENT #4: He was a passenger on Flight 627. OLIVIA: I don't understand. CHARLIE: Wait. He couldn't been in the storage place. OLIVIA: Charlie, I saw him there. AGENT #3: Hold on guys. Morgan Steig was passenger number 108. His emergency contact, Richard Steig. (Woman shows a photo of Richard Steig to Olivia.) OLIVIA: You're telling me he has a twin? AGENT #3: Yeah. No home address. Only history of employment. CHARLIE: What? (Olivia shows report to Charlie.) OLIVIA: Richard Steig's last employer. Massive Dynamic Corporate Offices OLIVIA: I was hoping to speak with William Bell. NINA: I'm Nina Sharp, Executive Director. I only have a few minutes. OLIVIA: Our primary suspect is a former employee of yours, Richard Steig, who may have used research from your company to develop a self-eradicating airborne toxin. We don't know why or for whom, but it appears he was willing to sacrifice his own brother. Whatever killed those people on that plane got onboard through his insulin pen. So, do you want to talk to me? NINA: (to her assistant) Danielle, please assemble everything we have on Richard Steig for Agent Dunham here. NINA: (to Olivia) I remember Richard Steig. He worked in our Weapons System Research lab. He was caught three months ago trying to leave the premises with classified information. He was terminated immediately. We referred his name to the Justice Department. We have done our do diligence, Agent Dunham. And, if you choose to drag our company and Dr. Bell's name into this matter, you will be hearing from our attorneys. OLIVIA: How long have you worked for Dr. Bell? NINA: Sixteen years. I owe Massive Dynamics my life and that is not an exaggeration. I was a runner most of my life. In the '97 Boston Marathon, I felt strangely tired. One day at the office Dr. Bell noticed my discomfort and insisted I go for a CAT Scan. Cancer. Spread so severely I had to have my arm amputated that week. (removes a skin-like cover exposing her bionic arm) That first scanner that found my cancer was built by this company. The robotic assist tools that were used at my surgery, the drugs I took afterwards, were developed and manufactured by Massive Dynamics. And my replacement limb was designed by Bell himself. (Nina's Assistant returns and hands a file to Nina, who passes it to Olivia) NINA: Everything we have on Richard Steig. Do you believe that Steig may be part of the "Pattern"? OLIVIA: I'm sorry, part of the... Part of the "Pattern?" NINA: I assumed you had clearance. OLIVIA: I'm cleared to know whatever you're cleared to know, miss Sharp. NINA: Apparently not. But suffice to say that we reached the point where science and technology have advanced at such an exponential rate for so long, it may be way beyond our ability to regulate and control them. You should know what you're getting into, Agent Dunham. I would say this to my own daughter: "Be careful and good luck." Harvard Lab - "Sponge Bob Square Pants" WALTER: And this is a show for children? ASTRID: Yeah, it's huge. WALTER: Surprisingly profound for a narrative about a sponge. (Peter's cell phone rings) PETER: Crazy House. Olivia's Car OLIVIA: I just landed at Logan, I'm on my way to you. I think we located our suspect. PETER: Hold on a second, you found the guy? You found the guy from your dream? OLIVIA: I'm picking you both up. I need your father there to question, get whatever information he needs so he can make a cure for John and I need you there too, in case your father is... PETER: Say no more, we'll meet you out front. ACT VII Arresting Richard Steig UNIDENTIFIED POLICE OFFICER: Stake out is on, you're outside. UNIDENTIFIED POLICE OFFICER: Stand by. UNIDENTIFIED POLICE OFFICER: Confirm your position. UNIDENTIFIED POLICE OFFICER: Two minutes out. UNIDENTIFIED POLICE OFFICER: ...perimeter two miles back. UNIDENTIFIED POLICE OFFICER: "Everybody where are you at? UNIDENTIFIED POLICE OFFICER: Coming out. UNIDENTIFIED POLICE OFFICER: (to female evacuee) This way, ma'am. UNIDENTIFIED POLICE OFFICER: "Stand aside! UNIDENTIFIED POLICE OFFICER: FBI! UNIDENTIFIED POLICE OFFICERS: Clear! Clear! Clear! (Walter and Peter are sitting in a car.) WALTER: I'd like to check your blood pressure. PETER: Why don't you check your own blood pressure? Mine is fine, thanks. WALTER: Your skin tone suggest you might be suffering from arterial hypertension. PETER: Don't tell me what I'm suffering from. And there are no visible signs of hypertension. WALTER: When this is over, please don't send me back. I don't want to go back. PETER: Look, Walter. WALTER: This experience... It woke me up again and you can't put me back to sleep. PETER: It was hardly my idea. Any of it. WALTER: Whatever punishment you think I deserve, I swear I have already endured it. Seventeen years. Please, son. (Peter sees Steig exiting building.) PETER: Hey! Hey! WALTER: What? PETER: Hey! He's in the alley! WALTER: Can I get out of the car? PETER: Stay right there Walter. (Olivia, Peter and others chase Steig through an alley, a park, a building and another alley before Peter tackles Steig.) OLIVIA: I've got some questions for you. FBI Interrogation Area OLIVIA: RICHARD STEIG: I have nothing to say. (Olivia leaves the interrogation room. Peter, who has been watching on a monitor, enters the room.) PETER: The compound the Infected Agent Scott..., it's water soluble, right? We might not know what it is, but we know what it does. That means that, if I wanted to, I could extract the contaminated fluids from his body. That would allow me to slip to you any time I wanted to. In your food, a cup of coffee, in the toilet, nobody would ever know how it happened. (Pause.) The only problem is, that woman who was just in here, that's her friend who's dying. The only problem is, I don't have that kind of time. (Steig lunges. Peter grabs his arm and smashes a heavy coffee mug into Steig's hand. Steig screams in pain. Olivia bursts into the room.) PETER: Tell me the chemicals! Now! OLIVIA: No, you can't. You can't do that! PETER: (To Olivia.) You can't; I can. PETER: (To Steig.) I'm gonna count to one.... One! (Peter grabs his arm and smashes a heavy coffee mug into Steig's hand a second time. Steig screams again.) Harvard Lab - How to cure John WALTER: The active toxin was a magnesium-based ethylene glycol. PETER: No, I understand that, but you're not listening. WALTER: Magnesium ethylene glycol with organophosphate trigger. PETER: Look, Walter, just stop for a second. His blood won't be able to absorb it before the side effects kill him. WALTER: And you're saying what? We synthesize a calcium gluconate in a thiamine base? PETER: Yes, exactly. WALTER: We can't, we'd need more of his blood. We have none. OLIVIA: That's not true. All agents are required to set up a backup blood supply in case we're wounded. WALTER: Autologous transfusion. That's brilliant. PETER: We can create the antidote and then just dissolve it in stored blood. If we transfuse him intravenously, his body won't be overwhelmed. WALTER: A-plus, Boy. Well done. Let's begin. (Walter and Peter begin preparing the antidote. John's frozen blood arrives.) Broyles, Olivia and the Pattern (Broyles and Olivia are on a floor above the Lab. As they talk, Olivia sits and Broyles joins her.) BROYLES: So, I got the lab. OLIVIA: Yeah, I know you did. Thanks. BROYLES: How's it going downstairs? OLIVIA: Bishop says it'll be a while, but that it's looking "auspicious." That was his word... What? BROYLES: You've done some solid work here. Locating Bishop. Getting him out, finding a way to get him to work with you. We're impressed. OLIVIA: Who's we? BROYLES: What happened on that plane might be part of something more dangerous than simple terrorism. OLIVIA: Simple terrorism? BROYLES: In the past nine months, there'd been three dozen authenticated incidents like the Hamburg flight. Most of what I'm about to show you has not been made public. John Thompson, normal kid. Went missing back in '98. Reappeared last month half way around the world, hadn't aged a day. In the past few months, 46 other children who went missing that same year turn up. Same story. Local fishermen off the coast of Sri Lanka. Reports a low flying plane emitting a high pitched frequency that blows out all their windows. An hour later, same spot, an 8.7 subsurface earthquake creates a tsunami that kills 38,000 people. OLIVIA: So why are you telling me this? BROYLES: This man. A patient in Lisbon who woke up after years in a coma. Began writing, just numbers. They turn out to be exact real time coordinates of our Carrier Battle Groups in the Pacific. Intel that's classified above Top Secret. OLIVIA: So how is that even possible? BROYLES: Come work for me and I'll get you the clearance... OLIVIA: Stop! BROYLES: Dunham, there is more you need to hear. OLIVIA: You must not have heard me, I said stop. BROYLES: They're calling these events "The Pattern." As if someone out there is experimenting, only the whole world is their lab. You've seen it now. You know. OLIVIA: I don't want to know. I have a job. BROYLES: This is a more important job. Anything, anybody you need you can have. OLIVIA: I like the job I've got. And the man I do it with, which you seem have deduced on your own. BROYLES: Look around. You see all these people going about their lives? No idea what's happening around them and what they're in the middle of? OLIVIA: I just want to go back to before. BROYLES: Dunham, I don't think you can. Harvard Lab - John Awakes (Walter and Peter mix the chemical compound required to save John's life. The frozen blood arrives. Peter injects the compound into the IV system.) WALTER: He's up. He's awake. PETER: Olivia, he's awake. He's conscious! OLIVIA: John? John? Can you hear me, baby? Baby? JOHN: I had a dream about you. Hospital - Nurses Station OLIVIA: Hi. Change of clothes for Agent Scott. DR. REYES: His vitals are surprisingly strong. OLIVIA: So, how long does he have to stay? DR. REYES: Until the melanoma sites in his skin are regenerated, but that shouldn't be more than a week. He owes you his life. OLIVIA: We owe each other. What room is Steig in? (Olivia enter Steig's hospital room.) RICHARD STEIG: I told you everything I know, didn't I? And I gave you the names of all the synthetics I used in the compound. OLIVIA: Don't worry. Our immunity agreement holds. But there's still a whole lot more we have to talk about, like why you killed your own brother. And who you're selling your work to? RICHARD STEIG: Who said I was selling it? I was threatened by a guy from your office. You think I'm lying? I swear to God, I can prove it. OLIVIA: Where's the recording? RICHARD STEIG: I buried it. Near Steig's Apartment (Olivia digs a package containing a small cassette tape out of the ground, enters her car and listens to the tape.) JOHN: (on tape) (Indistinguishable) RICHARD STEIG: (on tape) ...the airplane was a demonstration. JOHN: (on tape) You've drawn unwarranted attention to something we can't afford to be connected with. I'll make this simple. You're not selling to anyone else. You do that, we will come after you. I will come after you. RICHARD STEIG: (on tape) You're threatening me? After seeing what I'm willing to do to my own brother? JOHN: (on tape) Let me assure you we'd be happy to treat you as family too. (Olivia has brief flashback and remembers John saying those words on his cell phone as he arrived at the Logan tarmac to invistigate Flight 627.) Hospital - John's Room (John sits up in bed and removes his monitoring leads. After dressing he walks to a restricted hall in the hospital.) JOHN: Special Agent Scott. UNIDENTIFIED GUARD: Yes. Sir. Go in. (John finds Steig and smothers him) ACT VIII What John Did OLIVIA: (on cell phone driving fast) Charlie, I need two agents posted outside agent Scott's room. Check on Steig. CHARLIE: I'm on it. OLIVIA: I'm five minutes away. (Charlie walks in and finds Steig dead in bed) CHARLIE: We need this place locked down! (Arriving at the hospital entrance, Olivia spies Johns' vehicle accelerating out of a side lot.) OLIVIA: This is Dunham, Agent I.D. 5-2-7-7-6. in pursuit of blue S.U.V., heading south on Fenway. Need immediate assist. (A car chase ensues. John crashes and is dying a bloody death.) JOHN: Ask yourself, why... why Broyles sent you... to the storage facility. Why you? OLIVIA: I don't understand. Who are you working for? John, tell me. Tell me more. John. (John dies... Olivia copes... cries... driving with Charlie afterwards) CHARLIE: I knew him just as long as you did. I'm sorry. Job isn't what it was ten years ago. We're supposed to protect the world, where one breath of the wrong air can incinerate you from the inside out. I mean, how do we protect people, when corporations have higher security clearances than we do? When we're not fully briefed on half the things that we're investigating. You know, when the truth, the truth is - we're obsolete. OLIVIA: Take me back to the lab. Outside the Lab OLIVIA: Can I talk to you please? PETER: Yeah. (to Walter) I'll be back in a second. OLIVIA: I'm sure you're anxious to get as far away from here as possible. To Iraq or Afghanistan, or some other out of reach places. But I'm here to tell you that your father needs to stay, which means that you need to... too. PETER: Are you okay? OLIVIA: I don't know. I know you have countless reasons as to why this is a non-starter for you. But your father is a good man. He's not the monster you think he is and you're good with him despite what you think. And you're the only one who speaks Walter. We take him back to St. Claire's it's all over. PETER: Where's John? OLIVIA: I can talk to the Agency and get them to clear your gambling debt. PETER: I can take care of my own debts, okay? What just happened? Where's John? OLIVIA: I'm not gonna use false threats with you anymore. I don't need to. The threats are real. PETER: After you left my father sat down, started talking to me and he was remarkably lucid. He told me about the work that he and William Bell have done in their experiments and that incident. What happened on that plane is just the beginning. Which makes every part of me feel like I gotta get the hell out of Boston. WALTER: (interjects) Are we leaving? A Massive Dynamic Facility (John Scott's body is prone on a gurney) NINA: How long has he been dead? ATTENDANT: Five hours. NINA: Question him. (the attendant pushes the gurney into a room behind a secure door.)

PROLOGUE Scarlet Red Motel LORAINE ALCOTT: (lounging on bed) What's her name? Whoever you're thinking about. Your girlfriend or whatever. CHRISTOPHER PENROSE: I don't have a girlfriend. LORAINE ALCOTT: Yeah? What's in the bag? Oh, is it a pizza? 'cause I could really go for a mushroom pizza. CHRISTOPHER PENROSE: Yeah, it's a mushroom pizza. LORAINE ALCOTT: Awesome. (as he dresses in the bathroom) You're not married, are you? Not that it's any of my business. Well, you never know about people. My name isn't Amber, by the way, obviously. That's just for the club. (he prepares a syringe) You wanna know my real name or what? CHRISTOPHER PENROSE: Yes, I do. Very much. LORAINE ALCOTT: Loraine. Ready for this? Loraine Daisy. All my sisters have flowers for middle names. My mom couldn't even spell Loraine right. CHRISTOPHER PENROSE: What is it? LORAINE ALCOTT: I don't know! (she convulses) CHRISTOPHER PENROSE: What is it? LORAINE ALCOTT: Oh, God, what's happening?! Stop it! Are you... Aggh! (runs from room) CHRISTOPHER PENROSE: It'll be over in a second. Hold on. Try and get up. Try and get up. Try and get up. NEIGHBORING ROOM: Everything okay? You need a lift to the hospital, I got a van right here. CHRISTOPHER PENROSE: Thanks, I'll take her. I'll take her. (speeds off) LORAINE ALCOTT: (screaming) What's happening to me?! Wallace Bromley Medical Center (parking at an unoccupied entrance) LORAINE ALCOTT: (dropped at the curb) aagghh! Don't leave me! (racing through the hall) DOCTOR STEEL: I'm Doctor Steel, okay? Everything's gonna be fine. Take a deep breath, alright? You're gonna be fine, okay? You're gonna be fine. Take a deep breath. Now, how many months are you? LORAINE ALCOTT: How many months what? DOCTOR STEEL: Pregnant. LORAINE ALCOTT: I'm not - not pregnant! (in the emergency operating room) DOCTOR STEEL: Hold her down. We're gonna have to strap her in. LORAINE ALCOTT: Nooo! NURSE #1: We gotta cut this baby out now Doctor! DOCTOR STEEL: Alright, alright. NURSE #2: V.P. 60, pulse is thready. (monitor flat-lines) DOCTOR STEEL: What the hell was that? NURSE #2: We lost her heartbeat. DOCTOR STEEL: Go for the baby now. Give me a scalpel. (quietly) All right, come on. All right. Right there. Okay. (pulling a groaning infant through the incision) NURSE #1: Oh, God. DOCTOR STEEL: Dear God. NURSE #2: Aaahh! ACT I The Oversight Committee (to a small group of professional looking men and women in a well-appointed briefing room) BROYLES: Thank you all for convening at this late hour. Forty-three minutes ago, we were alerted to an incident at the Wallace Bromley Medical Center. While the details are still coming in, it appears to be another anomaly whose mysteries and origins remains the sole purpose of this committee. I called you together tonight to introduce you to my new team, who will now be responsible for investigating all these events. (personnel files are reviewed by attendees) Hopefully, they will have more success than our last. (briefs from large monitor) Walter Bishop, dubbed by his contemporaries as a successor to Albert Einstein, worked for the Defense Advanced Research Projects Agency from the late '70s... NINA: …until he was committed to the Saint Claire's mental institution for manslaughter. BROYLES: He was never convicted of that crime. NINA: But in one of your own reports, you theorize that Bishop's previous work may itself be the root of all these unexplained phenomenon. BROYLES: Given that he's been hugging a padded cell for 17 years… I think we can probably exclude him as a suspect, however, his knowledge makes him uniquely qualified to assist our efforts while he remains in the legal custody of his son Peter. NINA: Yes, Peter Bishop, whose history of questionable business practices verge on fraud, yet you propose giving him access to information that, if made public, would cause mass panic. BROYLES: There's nothing we could tell him that he can't learn from his father or deduce himself, with a 190 IQ. NINA: What were you thinking when you recruited Olivia Dunham? An FBI Agent who had an illicit affair with her partner, a man who turned out to be a traitor. BROYLES: I was thinking that a woman who didn't hesitate to follow the evidence and expose the man she loved at the cost of great personal pain and embarrassment - must surely be worthy of our trust. Heading to Wallace Bromley Medical Center (at home studying files – then in flashback) JOHN: (to Olivia) I love you. (reviewing classified files – again in flashback) OLIVIA: (to injured John) Who? Who are you working for? (continues reading – answers cell phone) OLIVIA: Hello? BROYLES: Wake up… there's something you need to see. OLIVIA: Well, waking up's not gonna be a problem, but thank you for the gentle nudge. BROYLES: Pick up the others and meet me in thirty minutes at the Bromley Medical Center. (hangs-up) OLIVIA: (aloud to herself) A good morning to you too. (minutes later at the Bishop’s hotel. knocking on the door) PETER: (opens door) You're kiddin' me, right? OLIVIA: Your phone was off the hook. PETER: That's 'cause I didn't want to get woken up. OLIVIA: You need to get your father. Apparently there's something we need to see. PETER: And this something-- OLIVIA: It can't wait. PETER: Okay. Walter. Hey, Walter, come on, we're - Walter? Oh come on. Tell me you're not in the closet. What the hell are you doing in there again? WALTER: Where I've been for the past seventeen years is a mental hospital. PETER: St. Claire's. I'm the one that got you out of that place, remember? WALTER: There was a patient there. Carlos. He would sing ‘row, row, row your boat’ every night. Funny how difficult it is to sleep without that song. PETER: That's nice. We gotta go Walter. Investigating at the Medical Center (getting out the vehicle) OLIVIA: Hey, I got here as fast as we could. BROYLES: Twenty-seven minutes. Nicely done. Peter Bishop. (shakes hands) I'm Philip Broyles, Department of Homeland Security. Thank you for agreeing to work with us. PETER: Just to be clear, I haven't agreed to anything. I'm just here as the babysitter. My father is the one you want. BROYLES: Nice to meet you anyway. Is he coming out? PETER: Well, that's unclear. He's currently in the car fiddling around with his seat warmer. BROYLES: (through open window) Doctor Bishop, hello. I appreciate you coming out tonight. WALTER: I've never seen a feature like this before. It warms your ass. It's wonderful. Have you tried it? (walking the halls of the hospital) BROYLES: Seventeen past midnight, a woman… pregnant to term, was found alone outside the hospital. She collapsed, suffering severe abdominal pain. She's a Jane Doe. Prints and D.N.A. are being run now. Should have her I.D.’d by sundown. At twelve twenty-four, less than two minutes after she was pronounced dead, Ms. Doe became a mother. OLIVIA: Did the baby survive? BROYLES: The newborn was convulsing. screaming in obvious pain. They placed it in a bassinet, we’re in the process of transferring it to an intensive care when they realized what was happening. It was growing... before their eyes. OLIVIA: Growing? You mean they could... see it getting larger? BROYLES: That's right. OLIVIA: So where's the baby now? PETER: Walter! BROYLES: It remained alive for nearly half an hour, this way. Finally dying from natural causes. OLIVIA: Natural causes? I don't understand. BROYLES: What they realized is that the child wasn't just growing. It was aging. PETER: Oh - okay, hold on a sec. It's 4:00 A.M. so I'm a little foggy, but we're supposed to believe that grandpa here was born four hours ago? OLIVIA: Were there any calls or tips? Did the security cameras see how the pregnant woman got here? Did she drive herself or was she dropped off? BROYLES: We're checking those now. Doctor Bishop, any idea how something like this might happen? PETER: I think you're probably expecting a bit much, Mister Broyles. WALTER: …Celermitosis. Disabling, reversing cell cycle inhibitors - activating them and turning CIP/KIP and INKA 4a/ARFs into catalysts… uh, ninety-two percent of caucasian newborns have blue eyes. (to Peter) Yours were green. (to all) To understand what happened here, I'll need to run extensive tests, get these bodies to a lab. Therefore, of course, I'll need a lab immediately. BROYLES: Doctor, you have one. Your old lab at Harvard… we reopened it for you. Do you not remember that? WALTER: No. No, but that's fantastic news! Walter’s Lab (in Dunham’s office) PETER: All right, let's assume for a second that bundle of joy here is for real. What are we doing here? BROYLES: A series of events has occurred, continues to occur, that has us and other agencies on alert. These events appear to be scientific in nature and suggest a larger strategy, a coordinated effort. It's been referred to as ‘The Pattern.’ PETER: Mister Broyles, I consider myself a fairly intelligent guy. But I'm not following you here. OLIVIA: Inexplicable and frightening things are happening and there's a connection somehow. PETER: Thanks. That much, I understand. ASTRID: I got Henning on the phone. The hospital got a call from a guest at the Scarlet Red Motel, checking to see if the pregnant woman was doing okay. OLIVIA: Was she staying there? ASTRID: Yes, with a caucasian male - 20’s, brown hair… but there's no description of him or the car he was driving. OLIVIA: Well call the motel - make sure they don't touch anything. They shouldn't even go in. ASTRID: I already called, and you're good to go. The motel room's empty and locked. OLIVIA: Doctor Bishop? I may need you to take samples from the motel room. I need you to come with me. Walter. WALTER: (over the corpse) Do you see what I'm doing here?! PETER: Hey... relax. WALTER: I can't figure this out with a girl buzzing in my ear. I am trying to put these pieces together like a puzzle. How this happened, how he happened to her. I'm working. PETER: Come on, Olivia. I can do this. My limited stint at M.I.T. did teach me something. (the two depart the lab) Investigating at the Scarlet Red Motel OLIVIA: Loraine Daisy Alcott. PETER: Loraine Daisy… that's just sad. OLIVIA: One 'r'. PETER: (from the bathroom) Hey. I think I actually got something to sample in here. It's some kind of orange gel. I'm sorry about my father. He always was a little myopic. OLIVIA: Her things were left behind, but not his. (inspects the bed) PETER: Checking the thread count? OLIVIA: Yeah. Open the cabinet. PETER: Why? OLIVIA: There are gonna be sheets in there. PETER: Okay, how'd you do that? (she marches out of the room upset, he follows) PETER: Hey! Car's right here. Olivia, what's going on? OLIVIA: That's what he would do. He'd go to motels ahead of time, to replace the sheets with leak-proof medical grade linen, so he wouldn't leave any blood evidence. PETER: Who? OLIVIA: I know who was in that room. The killer. I know who's profile. It was a case that John and I worked. Serial murders in New Jersey and New York, and we never caught him. PETER: Look, you can't beat yourself up 'cause you didn't catch the bastard on your first try. OLIVIA: I feel like I've been asleep for the last year. Every case that John and I worked together, I have to go back and try and find whatever I missed. PETER: Okay, then, tell me... how'd the killer do it? ACT II Driving from the Scarlet Red Motel OLIVIA: When I joined the F.B.I., this was one of the cases John and I investigated together. Each time, he'd kill five young women within a few days. He's pick them up, take them to motels... and then he'd give them a muscle paralyzer. They'd be wide awake, but unable to move. He's make an incision here, along their gums. And then he'd pull their mouths open up to their eyes. PETER: Okay, that's enough. You can stop right there. OLIVIA: He'd go through their nasal cavity and remove a piece of their brain. PETER: And all of this connects to magic old man baby and the pregnant woman... how? OLIVIA: I don't know. But there's a connection somewhere. The muscle paralyzer he used was bright orange. So if that's our sample, then I'm telling you, this is our guy. Which means - he's gonna kill again. Afternoon at a Dance Club (Stacy spots Christopher Penrose entering and quickly finds her way to his side) STACY: (softly, coy) I'm Stacy. Instructions at the Federal Building CHARLIE: (to a briefing full of Agents) Memorial services for Agent Scott are being planned for late in the week. I know everybody's heard a lot of things surrounding the circumstances of his death, but I just want to be clear - John Scott was one of us… and we will pay him the respect of considering him innocent until the inquiry can establish the full facts of the matter. (notices Olivia waiting) Now, as far as any contacts, our official word right now is no comment. Dismissed. (walking away from room with Olivia) CHARLIE: What are you doing here? OLIVIA: I left you a message. CHARLIE: I know, I got it. You want to open up a twelve year-old serial case. The brain surgeon. OLIVIA: I don't think he retired. CHARLIE: How long is Broyles going to have you on special assignment? What the hell are you working on anyway? OLIVIA: You knew, didn't you? About me and John? CHARLIE: I like to think that I have some powers of deduction. OLIVIA: I took advantage of our friendship. You kept quiet, even though you didn't approve. CHARLIE: I hadn't seen you that happy in a long time. Look, Olivia, you have nothing to prove. OLIVIA: Yeah, I do. I have to live with the fact that I didn't see him for who he really was. I have to live with the feeling that whatever awful things he did, I should have stopped them. CHARLIE: Livy, you can... OLIVIA: … mostly just wanna take a shower from the inside out. CHARLIE: I'll get you the case files. (walks off) Getting Acquainted With Stacy (parks at an unoccupied warehouse) STACY: So, I - I started working there a couple weeks ago. It's a lot better than the one in Providence. That place is a total dive. Most guys bring me to a hotel. Wow, heh. Look at this place. CHRISTOPHER PENROSE: Those windows have a really great view of the bridge. STACY: I don't care about the bridge. What do you like? CHRISTOPHER PENROSE: I like the bridge. Go check it out. (she walks to the window, he secretly prepares a syringe, kisses her and injects her) STACY: Agh! Ah...uhh! Results in Walter’s Lab PETER: Hello? WALTER: Over here. Over here! (sits milking a cow) PETER: What are you doing? WALTER: I'm doing two things at once. I'm waiting for you - and I'm doing her a favor. PETER: You were supposed to be doing extensive testing… eighty year-old ‘man- baby’... remember that? WALTER: Done. Test is complete. You underestimate me. Which I suppose I deserve. But... wonderful news all around. D.N.A. results confirm my suspicions that the woman was impregnated by a man who is the result of experiments identical to those conducted by me in this very lab around 30 years ago. PETER: So you know how this happened? WALTER: No. No idea. The specifics elude me completely. PETER: So then what's this wonderful news? WALTER: Because I remembered something else. I remembered where I parked my car. PETER: Really? You remember where you parked your car 17 years ago? Visiting Walter’s Storage Garage (opening the combo lock on the door) WALTER: 3-1-4-1-5-9. Tuh! Ha! PETER: Pi to six digits. WALTER: I can't fathom that it's still here. Look at it. PETER: This is your car? Of course it is. So what, you got cars stuffed with papers all over town? WALTER: Not just cars. You have no idea where I've hidden things. PETER: Friend of yours? (displays severed hand in jar) WALTER: Oh... I certainly hope not. Come on, boy, we need to get these file boxes back to the lab. PETER: You may be able to reanimate dead guinea pigs or... whatever, but I can bring anything mechanical back from the dead. Returning to Walter’s Lab (hauling in boxes of files) ASTRID: This is the last of them. WALTER: That'll do. Hello, I'm Doctor Walter Bishop. ASTRID: Yes, Doctor Bishop. We've met. I'm Junior Agent Astrid Farnsworth. PETER: (to Astrid) Third time's a charm. Now, Walter, we'd probably be a lot more help to you if you told us what we were looking for. WALTER: My research. Sella Turcica - Diaphragma Sellae - the dural folds of the Pituitary Fossa in which the pituitary gland sits, situated in the sphenoid bone. OLIVIA: Did you just say pituitary gland? WALTER: Did I? OLIVIA: Well, that's how he killed. He'd perform surgery on his victims, remove the pituitary gland before he overdosed them with anesthesia. WALTER: Look for anything with the pituitary in it. ASTRID: I'm sorry. I don't get it. I mean, what's the link to what happened at the hospital? WALTER: Advanced, rapid aging, like the disease called Progeria, can be induced artificially by manipulating the pituitary gland. ‘P’- pituitary. ‘P’,‘P’,‘P’. PETER: All the hormones in the human body that control growth, which is aging really, are in the brain. And the pituitary gland is the boss. WALTER: ‘P’ Okay. Pinoche, pinto. Penny--oh. Ah, yes… OLIVIA: Progeria. WALTER: …Penny. OLIVIA: Case file by Doctor Penrose? WALTER: Yes, Penrose. WALTER: Penrose! I remember him. A former colleague of mine. Although he suffered from severe pseudo-folliculitis nuchae. PETER: Razor burn. WALTER: He’ll know! We ran experiments on rapid growth. Obviously, someone had made a breakthrough, and Penrose could possibly lead us to that person. ASTRID: Doctor Claus Penrose. He moved to the East Coast two years ago. He's a professor at Boston College. Driving to Boston College CHARLIE: Agent Francis. OLIVIA: Charlie, it's me. CHARLIE: Dunham. What's up? OLIVIA: I need a cross check of recent unsolved homicides. See if any bodies have turned up with a missing pituitary gland. CHARLIE: Oh, you say the sweetest things. OLIVIA: Only to you, Charlie. CHARLIE: I'll get somebody on it. (a victim lays on a makeshift operating table awaiting pituitary extraction, Christopher Penrose approaches with a scalpel) ACT III Interview at Boston College (walking in) OLIVIA: Doctor Penrose. CLAUSE PENROSE: Yes? OLIVIA: Agent Dunham, FBI. (flashing credentials) Can we ask you a few questions? CLAUSE PENROSE: (flatly) Do you drink tea? (sitting in his office) OLIVIA: The body you see there was photographed only hours after being born. CLAUSE PENROSE: Where is the mother? OLIVIA: She died during childbirth. When she was admitted, she claimed she wasn't even pregnant. You worked with Doctor Bishop, manipulating growth hormones at the end of the Vietnam war. CLAUSE PENROSE: Yes. So... what can I do for you? OLIVIA: In the years since, have you shared your research with anyone? CLAUSE PENROSE: I must tell you both, our work was PETER: (interrupting) - highly theoretical? OLIVIA: Yes. CLAUSE PENROSE: But I was going to say that… more than anything, it was wrong. I resigned from the employ of the United States Government after only one year. When I refused to continue, I was harassed. Threatened... with deportation. It...didn't feel like the America I remembered - from when I was a boy. Which is why... as sorry as I was to hear about Doctor Bishop's incarceration, I believe it was the best thing that could ever happen to humanity. No one in power should ever learn what he knows. uh... forgive me for sounding uncooperative Agent Dunham, but... my work to which you are referring ended years ago. Since then, I've done all I can to forget it. (departing interview for vehicle) OLIVIA: What do you think? PETER: I think you know what I think. OLIVIA: Well, he meant what he said. PETER: He's not telling us everything. OLIVIA: (answers cell phone) Dunham. CHARLIE: (from his office) Dudbury Police has a blonde female victim. Surgical incision along her upper gum line. The central endocrine gland has been removed… This count? OLIVIA: Can you get the body brought to the lab? CHARLIE: Will do. Autopsy in Walter’s Lab OLIVIA: (enters with Peter) Astrid called. She said you have news. WALTER: You're right. The pituitary gland has indeed been removed - and I may be able to posit a hypothesis as to why. Years ago, when I worked with the Defense Department, we were tasked with a program designed to cultivate soldiers. OLIVIA: Cultivate? WALTER: Quite literally. Grow them. It was highly theoretical, of course. Female eggs were to be fertilized in a lab and given a cocktail of growth hormones. If perfected, a baby was born and within three years aged to the equivalent of a 21-year-old male. A soldier in prime condition. PETER: You're telling me you developed a way to grow soldiers - people. WALTER: Theoretically. The only problem was how to slow the aging process once the subject had reached the desired physical age. Once started, we couldn't turn the aging off. OLIVIA: So you think now what? That the killer somehow continued your work? WALTER: Not exactly. But I believe that someone has made a breakthrough, that the killer is the product. The test tube human afflicted with rapid aging. To slow the process, he must extract the hormones from the pituitary glands of his victims to treat himself, to stay young. OLIVIA: Then the pregnant woman at the hospital-- PETER: She was an accident. And the killer's condition was passed on to the baby. WALTER: Even condoms are not 100% effective. You two should be aware of this. That night, he was going to kill her, but first they fornicated. Had intercourse… sex. PETER: Okay, we got it. WALTER: She became pregnant, um, but the pregnancy became horribly accelerated. OLIVIA: So someone must have heard her scream. And he couldn't go through with his plan. He couldn't kill her. Which is why he didn't kill this girl at a motel, because he was scared. And if his M.O.'s changed, then...we have nothing. We have to go back and start again from the beginning. PETER: No, this is okay. We're making progress-- OLIVIA: Why don't you tell her that everything's going to be okay. WALTER: I thought you had a way with women. The Penrose’s Meet at the Warehouse CLAUSE PENROSE: Christopher! The FBI came to see me today. I know what happened. You got that woman pregnant. Son, we have to be so careful. CHRISTOPHER PENROSE: I know. CLAUSE PENROSE: How's the pain? CHRISTOPHER PENROSE: Getting worse. CLAUSE PENROSE: Yes, well, we're almost there. You just need to get one more, and you'll be okay again. Brainstorming at Walter’s Lab WALTER: Yes. Yes. Yes! PETER: Something on your mind? WALTER: Please. The term "on your mind" vexes me with its depictive inaccuracy. PETER: Aw, stop. Would you just talk like a person? What are you thinking? WALTER: Jules Verne. PETER: ‘20,000 Leagues Under The Sea’ Jules Verne? WALTER: Yes. Although I was referring to his lesser-known masterwork, the Kip Brothers, in which he posited that the last image seen in life, right at the moment of death, is permanently imprinted on the retina of the eye. PETER: Also a work of fiction. Which is a small but critical distinction. WALTER: When was it you lost your imagination, son? PETER: All right, do you want to play? Let's play. The only way that we can see what she saw, even in theory, is if we could recover the electric impulses that were traveling along her optic nerve… which we can't. WALTER: Ah, we're in luck. This woman was given a muscle relaxant. The drug would have frozen her neural pathways at the moment of death and the last images she saw with it. PETER: Okay, assuming we're actually having this conversation, we would still need a... Well, I don't know. We still need something that could translate what she saw-- WALTER: Something that could translate from her eyes to a monitor. A TV screen. (catches-up to Olivia getting some fresh air outside) PETER: Hey. (sits on bench) OLIVIA: I'm sorry about the lab. I don't usually... PETER: What? OLIVIA: Lose control. PETER: To tell you the truth, it was kind of a relief. You've been so together with everything that's going on, I was starting to develop an inferiority complex. Knowing that Walter's work is responsible for all those murders... I just want you to know that you're not alone here. Listen... I can't believe that I'm about to propose this, but I - I think... We've actually figured out a way to track down that psycho. OLIVIA: How? PETER: Well, we need a piece of equipment. It's, uh, laser optic hardware. Very crazy and very, very hard to find. But as it turns out, only one company has the patent. A Favor from Massive Dynamic (sitting in the waiting area - daydreaming) DANIELLE: Sorry for the delay Ms. Sharp will be right with you. BROYLES: I have reservations about asking Massive Dynamic for a favor. The corporate mind always looks for quid pro quo. OLIVIA: Can I ask you a question? BROYLES: Of course. OLIVIA: Before he died, Agent Scott suggested that this was more than a coincidence that you recruited me for this assignment. BROYLES: Agent Dunham... do you mind if I ask you a personal question about you and Agent Scott? The very last time you were... intimate... were you safe? You weren't, were you? (she becomes violently pregnant like Loraine Alcott) DANIELLE: (startles Olivia from her daydream) Agent Dunham? Ms. Sharp will see you now. (in her office) NINA: I hope the ride was comfortable. I'm not a big fan of airplanes myself. Despite the obvious intellectual understanding of their safety, my hands still get sweaty on takeoff. OLIVIA: Thank you again for your cooperation, we're very... NINA: (interrupts) No need to thank me. You know, I've been thinking of you - meaning to thank you for being a woman of your word and keeping Massive Dynamic out of the press. I also wanted to say... you have my sincere condolences on the loss of Agent Scott. OLIVIA: What do you know about Agent Scott? NINA: I know that he was your partner. I've lost people close to me. I know how hard that can be. Not to mention the rumor about what he was involved with. And, of course, the joy of being a female in a traditionally male line of work. No doubt some of your male colleagues are assuming that you two were intimate. (male assistant returns with case) Ah. The electronic pulse camera. Travel safely, Agent Dunham. The Experiment in Walter’s Lab (pulling eye and elongating optic stem/nerve from its socket) WALTER: Are we ready? Dear, the lights. Goggles, all of you. Do not look directly into the light. ASTRID: Are we really going to be able to see her last image? WALTER: Faith. Never a bad thing to have. (flashing pulses around the room – faint images on a large screen). (visuals of Christopher Penrose finding a new victim in a bar, then Christopher and Doctor Penrose preparing that victim for pituitary extraction in a makeshift operating room) (continuing the experiment in the lab) PETER: This is taking too long. If he's already picked up another-- WALTER: Impatient! You always were. PETER: As if you ever knew me well enough to make a statement like that. WALTER: Huh! You're a smart boy. But there is much you don't know. OLIVIA: Did you see that? (improved images appear on large screen) PETER: What was that? OLIVIA: Wait, wait. What was that? Can you focus? WALTER: It's not a slide projector. PETER: Wait... Astrid, can you flip it over? ASTRID: Yes. PETER: That's a bridge. ASTRID: I know that bridge. I used to live in Denton. That's, um, that's Sargent bridge. That's in Stoughton. PETER: What's in Stoughton? OLIVIA: The warehouse district. This would be one of the last images she saw? WALTER: In theory, yes. PETER: Where would she have to have been to see that angle of the bridge? OLIVIA: (to Astrid) Pull up N.R.O. online… image mapping database. (images appear on computer monitor) Okay, match the angles. (refines the aspect of the image) Wait, stop. That's it. Pull out to aerial view and triangulate. ASTRID: It looks like she's in this warehouse district. The 1600 block of Bond street. OLIVIA: I want satellite images of that area for the last 24 hours. (minutes later) ASTRID: Street sweeper on the access road at 8:05 P.M. OLIVIA: I got nothing between 6:00 and 7:45 P.M. WALTER: (to Peter) What are we looking for, exactly? PETER: She died in one of these buildings. OLIVIA: I've got a gray sedan parked outside Unit 17 at 8:05 A.M. ASTRID: I've got the same vehicle eight hours later. PETER: That's the estimated time of death of our last victim. OLIVIA: If you get anything more specific, call me. ASTRID: You got it. WALTER: (to Peter, rushing to leave with Olivia) It worked, Peter! See that? It worked! ACT IV Searching the Warehouse District OLIVIA: So Lessing... Borrow... Belmont. PETER: Hold on - did you say Borrow? Did we pass Borrow already? OLIVIA: There. (points to lit building, parks car) Stay there. (the car) PETER: That's just not gonna happen. OLIVIA: (finds Doctor Penrose in a makeshift operating room) F.B.I.! Put your hands up! I said put your hands up. PETER: She's alive. OLIVIA: (to Penrose) Is there anyone else here? (hears noise behind her - to Peter) You have your phone? PETER: Yeah. OLIVIA: (gives him her spare pistol) Dial 1-7-2-2-4. Ask for Charlie Francis. Tell him we need field assist. Tell him to ping the GPS for the location. Safety's on the right. Do not let him move. (chases after fleeing suspect) Freeze! PETER: (Doctor Penrose pulls electrical diversion and runs) Hey, hey! Back off! (fires pistol) ASTRID: (answers phone in lab) Hello? (hands phone to Walter) It's Peter. WALTER: Just making popcorn. PETER: Walter, I'm with a woman in her mid-20s. She is going into cardiac arrest due to an overdose of anesthesia. Her heart just stopped. WALTER: Do you have any cocaine? PETER: Cocaine? No, I don't have any cocaine. WALTER: Oh, then too bad. You'll have to shock her heart. PETER: Yeah, I know that. unfortunately, I don't have a defibrillator! (Olivia pursues an agonized Christopher Penrose) PETER: (fashions a defibrillator from scratch) Hey, you still there? WALTER: Mm. PETER: What is the optimum voltage for cardiac resuscitation? WALTER: Try 200 volts. PETER: All right, here it goes. (zap) It's not working. WALTER: Well, you'll have to crank it, won't you? PETER: Hey! Hey, it worked. WALTER: Good work, son. Good work. PETER: (hangs-up phone) Hey. You’re gonna be okay. Chasing Young Penrose (Olivia pursues the genetically-altered Christopher beyond the warehouse, pistol drawn, hears coughing in a back alley) CHRISTOPHER PENROSE: (coughing and aging before our eyes) He - he should have let me die - a long time ago. I'm not... I... I was an experiment. Someone... someone paid him. The man I called my father. He should have let me die. That was his mistake. But he was blinded... Because he loved me. He loved me. He... (passes away before her stunned eyes) ACT V An Offer from Nina OLIVIA: Thank you again for your help. NINA: That's what I'm here for. I hope it served you well. I'd ask you what you wanted the camera for, but I respect your confidentiality. OLIVIA: Well, we're grateful for your help. NINA: Seems you're settling well into your new position. OLIVIA: Excuse me? NINA: I don't think a woman of your talents should be in public service. OLIVIA: Oh? And where should I be? NINA: Here, at Massive Dynamic. OLIVIA: You're offering me a job? NINA: Philip Broyles is a good man, and his record speaks for itself. Well, I'm sure you got into law enforcement because you wanted to make a difference. So consider this - Massive Dynamic is one of the ten largest economic entities in the world. Our weapons technologies shape the Defense Department's strategies. Our investments sway the markets and make or break presidential elections. Overseas, we have responsibilities traditionally sacred to the state. The right to direct private armies, to manage global affairs into stable equilibrium. OLIVIA: You're serious. NINA: Yes, I am. Not to mention, I believe a position here would speed your effort to find answers. OLIVIA: You're referring to ‘The Pattern’? NINA: Among other things. Finishing-up at the Federal Building BROYLES: Penrose took a hit. Forensics tracked a two-mile spatter trail leading from the warehouse out to route one. Local P.D.'s on the lookout, and I've ordered checkpoints along the Interstate, but nothing so far. He's still out there. (quietly) Listen... every aspect of these investigations is strictly classified. All of it. You understand that? OLIVIA: Of course. BROYLES: Certain private individuals have been granted clearance regarding ‘The Pattern’ – including Nina Sharp. But that clearance is limited. OLIVIA: I understand. Sure, but, uh... I'm not clear on what you're getting at. BROYLES: When you were with her, did she share anything with you? Did she mention the pattern? Did she comment or ask you anything about the details of your investigation? OLIVIA: Yeah, she did. She said you were a good man. BROYLES: And that was it? OLIVIA: She offered me a job. BROYLES: And what did you say to that? OLIVIA: I told her you were gonna give me a raise. Finishing-up at Walter’s Lab PETER: (holding a document) "I acknowledge that by signing this document, I waive my constitutional right against unreasonable search and seizure." I'm not signing this! WALTER: I, however, will. PETER: Well, of course you will. What have you got to lose? You're already committed to a mental institution. OLIVIA: You have to sign it too. PETER: I'm not signing my rights away to the Federal Government. I already got enough trouble in my life. (tosses document back to her and departs area) WALTER: About my former colleague and his son. It's one of the inherent pitfalls of being a scientist - trying to maintain that distinction... between God's domain and our own. Sometimes, I forget myself. But then, you already know that. OLIVIA: What do you mean? WALTER: If you've read my file, then you know the truth about Peter's medical history. I've been meaning to ask you to-- OLIVIA: Walter... there was no mention of any medical history. Just his birthday. WALTER: Oh. I was going to ask you to keep it between just the two of us, but, uh... I suppose, then, there's no need. Overnight in the Bishop’s Hotel WALTER: …zero… one… one… two… three. …eight… thirteen… twenty-one… thirty-four… fifty- five… PETER: Hey Walter! WALTER: You're awake, Peter. Me too. I was trying to lull myself to sleep. PETER: Yeah, I'm... I'm aware of that. I can hear you. You think you could do that in your head? WALTER: Wasn't I? I thought I was. Sorry. PETER: That's okay. Just try and keep it down, all right? WALTER: 1... 2... 33... 3... 77... 2... 21. 6... 110. PETER: (gently) Row, row, row your boat gently down the stream merrily, merrily, merrily, merrily… WALTER: (concerned) Son? Is that you? PETER: Yes, Walter, it's me. …stop talking and close your eyes, okay? Row, row, row your boat gently down the stream merrily, merrily, merrily, merrily… life is but a dream… (visual of three similar men at rest on gurneys)

PROLOGUE St. Anne's Cathedral ROY MCCOMB: (in confessional) Forgive me, father, for I have sinned. It's been three months since I've confessed. FATHER KENT: Go on, my son. ROY MCCOMB: Do-- Do you believe that God can speak to you, father? FATHER KENT: Of course I do. The Lord speaks to all those who are willing to listen. ROY MCCOMB: What about the devil, then? FATHER KENT: Do you want to confess something, my son? ROY MCCOMB: I'm a good man, father. I - I try to be a good man. But I - I see things. (visual of a midtown commuter bus… suspicious man boards with a case) I s-- see things. I don't know why he chose me, but it's happening again. (more visuals of the commute) It's happening again, and I'm scared. FATHER KENT: Scared of what? ROY MCCOMB: Of what's going to happen on the bus. (the suspicious man dons a mask and starts to prepare an attack) I want it to stop. Please. I just want it to stop. FATHER KENT: Son, have you hurt someone? (Roy flees – the attack on the bus is complete) Son! Son, come back. Roy! I know it's you. (finds a picture drawn of horrified commuters dropped by Roy) Tunnel UNIFORMED COP: (approaching the motionless bus) Hey, let's go buddy, what's the problem? (sees the solidified passengers inside) Oh, my God. ACT I Mount Briar Cemetery (dozens attended the graveside services of Agent John Scott) YOUNG PASTOR: The souls of the just are in the hand of God. And no torment shall touch them. They seemed, in the view of the foolish, to be dead, and their passing away was thought an affliction. and their going forth from us, utter destruction - but they are in peace. (Amazing Grace sounds on bagpipe, a flag is draped on the coffin, John’s mother stares, thunder sounds, Olivia reflects alone, then with Charlie) CHARLIE: (walking away from the ceremony) You know, you being here Libby… you did the right thing. OLIVIA: Yeah. The man betrays his country, turning over state secrets to God knows who. And here we are, pretending he's a hero. CHARLIE: I know. Stop. Bureau's got one black eye as it is. The last thing we need right now is another espionage scandal. You made it through. It's over now. OLIVIA: Did you see John's mother? She wouldn't stop looking at me. CHARLIE: His mother. OLIVIA: Yeah, like she was blaming me for what happened to him, like it was my fault he was dead. CHARLIE: As far as John's mother knows, her son died a hero serving his country. OLIVIA: A hero. He used me, Charlie. And he told me he loved me. CHARLIE: I wasn't gonna tell you this… but he said he loved me too. (both grin and chuckle) BROYLES: (approaching from behind) Agent Dunham. Agent Francis. (to Olivia) I need you to come with me. OLIVIA: (to Charlie) Thank you. The Bishops Dine PETER: You brought your own sweetener? WALTER: Don't be ridiculous. It's my medication. PETER: You're not on any medication, Walter. WALTER: Of course I am. I've been making it myself in the lab. PETER: Oh, I wish you were joking. You're self-medicating... with homemade drugs. WALTER: Simple combination of dextromethorphan, clonazepam, and some fluoxetine. PETER: Those are psychotics, Walter. All of them. WALTER: Of course they are. That's the point. I have been in a mental facility for the past seventeen years. It's put me quite out of balance. PETER: (leaving the stall) Stay here for a second, would you? WALTER: What if I need to use the bathroom? PETER: Just hold it. I'll be right back. (Walter notices the phone cell vibrating and takes the call. Peter intercepts a familiar face from his past with a camera. He grabs him and inspects the camera) CAMERA GUY: Hey! What're you doin'? PETER: What, you thought I didn't see you all day? (takes the digital memory disk from the camera) CAMERA GUY: You were supposed to check in before you came home. PETER: If you tell anybody else that I'm here, you're the first one of the bunch I'm gonna come after. (returns to the table) WALTER: It was moving but I stopped it. There was something important. Oh… I've decided on the pancakes. Blueberry. PETER: That's great, Walter. Did somebody call me on the phone? WALTER: Oh, that's what was important. Something about a bus. Investigating the Bus BROYLES: The incident occurred at 8:14 A.M. - middle of rush hour. First responders were worried it was bioterrorism. Ghosts of the Sarin subway incident in Tokyo in 1995. They called in the C.D.C. - confirmed the attack isn't biological in nature. There's no Contagion. PETER: And you said there wasn't any good news. BROYLES: (to nearby Officer) Excuse me. Team's coming in to transfer this bus to a secure area. I want you to extend the perimeter outside the tunnel another 50 yards. WALTER: It's horrible. They're like mosquitoes trapped in amber. OLIVIA If this was some sort of attack, why not just use something conventional, like plastic explosives? A pipe bomb? PETER: Impact. Whoever did this wanted attention. I mean, look at that. BROYLES: Or it's not an attack at all. And it's something else entirely. OLIVIA: Meaning what? BROYLES: If I knew that, you wouldn't be here. WALTER: I imagine that the material was released in gaseous form before solidification. I need to study it back in my lab. Can I have some? OLIVIA: We'll have to dig out their personal effects so we can I.D. them. Notify their next of kin. Inspecting Items Taken MATTHEW ZIEGLER: It's not here. ASSISTANT: In eius telephoni non fuit. Quomodo pergemus? At McComb’s Workplace (Roy sits at his desk with a pencil in his mouth, flashes visions, begins to draw) CONCERNED COWORKER: Roy? (looks at his drawings) What is that? ROY MCCOMB: (distraught) I don't know. Walter’s Lab PETER: Any idea what it is yet? WALTER: Tricky. Very tricky. (studies microscope slides) All I've been able to discern is that it starts as a silicon-based aerosol, and it solidifies somehow. You could be of assistance to me. I would love to hear some Bach. Mass in A minor. Will you play it for me? I'm sure the young lady down there would get us a piano. PETER: That young lady is an F.B.I. Agent - Walter. Her name is Astrid, and this is the 100th time you have forgotten her name. So, no. I don't think I can get you a piano. WALTER: You always resisted your lessons too. Lack of commitment, son, was always your problem. Imagine that's why you still haven't chosen a profession. PETER: I suppose I should've followed in your footsteps. 'cause your work has obviously brought such joy to the world. WALTER: Who was he, Peter? PETER: Sorry? WALTER: The man in the restaurant. You in some kind of trouble? PETER: It was nothing. He was harassing the waitress. I just told him to cut it out. WALTER: Oh, I see. Bus Impound Site OLIVIA: (to Forensics technician) Excuse me. Can you please extract this camera? (points) I want you to note all the people on this video. Cross-check them with the victims. (reviewing images) If we're lucky, maybe she caught whoever did - stop… go back. Can you close in on that woman? (sees Agent Mendoza) CHARLIE: What is it? OLIVIA: That backpack. I just saw that woman, that backpack wasn't there. Has anyone seen a blue backpack with the other personal effects? CHARLIE: So someone took the bag from her? Got off the bus before the attack? OLIVIA: Who is she? (technician calls-up computer personnel file) Evelina Mendoza. She's a federal employee. What's her job? (reads file) Oh, my God. She's D.E.A. At the Federal Building OLIVIA: (to Broyles) The woman who died on the bus, whose backpack was stolen, she was a drug enforcement agent. Undercover. She had a handler, Grant Davidson. I wanna bring him in for questioning. (visuals of Davidson in-processing in the lobby) GRANT DAVIDSON: I apologize if I wasn't helpful on the phone. I needed to ask my superiors for clearance to talk to you about Eve. BROYLES: Our condolences. From her records she seemed like an exemplary Agent. GRANT DAVIDSON: Ah, she was. OLIVIA: Can you tell us about the case she was working on? GRANT DAVIDSON: Uh, three months ago, she was tasked to infiltrate the east coast representatives of a Nicaraguan drug cartel. We'd been banging on them for over a year. She called me. Said she wanted me to pull her out. She was scared. Said she heard members of the cartel discussing something about ‘The Pattern’. I told her I never heard of it. And, uh, we set up a meet but she never showed. BROYLES: It appears whoever attacked the bus this morning was interested in one of her effects. Do you have any idea what she could've been carrying? GRANT DAVIDSON: I wish I could be more helpful. BROYLES: You have been, Agent Davidson. Thank you. GRANT DAVIDSON: Uh, I've been asked to officially I.D.’d. her body. I suppose that won't be a problem. (in the morgue) OLIVIA: Have you spoken with her family? GRANT DAVIDSON: Uh, there's a brother she doesn't talk to. I didn't realize how hard this was gonna be. OLIVIA: You don't have to explain. I know what it's like to lose someone you've worked with closely. GRANT DAVIDSON: I'd uh… I'd like to say good-bye. OLIVIA: Of course. (he enters the exam room and takes her hand) Back at Walter’s Lab OLIVIA: Should I bother to ask? ASTRID: Music helps him process. It works too. As soon as Peter started playing, Walter just kinda locked in. He was able to recreate the material from the crime scene. PETER: Hey! (runs in) OLIVIA: I hear you play the piano. ASTRID: He doesn't just play. He's good. You should hear him. PETER: No. Maybe some other time. WALTER: (seated at the piano) Olivia. You'll be pleased to hear we figured it out. The material, the gas that was released on the bus, turned solid when it met the nitrogen in the atmosphere - instantly immobilizing and suffocating the passengers. OLIVIA: So who would have the know-how to manufacture something like this? PETER: I'll give you six guesses. And the first five don't count. OLIVIA: Massive Dynamic. (a little later at the computer console) ASTRID: (to Olivia) Three chemical companies in the U.S. supply those compounds… all of them fully- owned subsidiaries of Massive Dynamic. OLIVIA: (answering her cell phone) Charlie? What's up? CHARLIE: We've got something. I think you're gonna wanna see it. At McComb’s Apartment CHARLIE: (walking into the apartment) Tip got called in from a priest over at St. Anne's. Says the guy that lives here mentioned a potential incident about the bus before it happened. OLIVIA: So what do we know about him? CHARLIE: Name's Roy McComb. He’s a high school graduate, no criminal record. Apparently he's been pushing papers over at an escrow company for the last couple of months. Got D.P.D. picking him up from there right now. OLIVIA: That doesn't seem like the profile of a mass-murderer. CHARLIE: No. I didn't think so either. OLIVIA: What? (follows Charlie into a room full of hand drawn atrocities) CHARLIE: You're looking at depictions of dozens of attacks, accidents, disasters we've seen over the past year. And look, all of them are dated before the incidents took place. OLIVIA: Is that the flight from Hamburg? ACT II McComb in Custody (in the observation room) PETER: So this guy drew Flight 6-2-7, the ‘Angel Suicides’ in Baltimore and the ‘Birmingham Bridge Collapse’. Clearly, the man is disturbed… but do you really think that he could be involved in all this? BROYLES: No. I don't. But that doesn't make me any less interested in the way he got his information. Several of those incidents have never been made public. And based on the evidence, every one of them was either drawn or constructed before the event depicted. (in the interrogation room) CHARLIE: Mister McComb. I'm Special Agent Charlie Francis of the F.B.I. I want to tell you you're not officially being charged with anything right now. I'd like to ask you a few questions. Is that okay? ROY MCCOMB: Yeah, okay. Sure, hmm... call me Roy. CHARLIE: Okay, Roy. Let's start with this drawing of yours. Nina’s Office at Massive Dynamic OLIVIA: Fourteen different chemicals compounds were used in the material responsible for the incident on the bus. Three of them, manufactured exclusively by your subsidiaries. NINA: You've done your homework. We supply them to a dozen labs around the world. It could have been stolen from any one of them. OLIVIA: I'll need a list of those labs, then. NINA: Of course. Anything you need. OLIVIA: Thank you. NINA: So, is there anything else? OLIVIA: When we first met, you said that science and technology had advanced to such as state that - your words - they were running out of control. NINA: That sounds about right. OLIVIA: Well so far, all the science and technology that I've come across has been very tightly controlled by Massive Dynamic. Every case I investigate has a tie back to this company. NINA: Well, I think maybe you have it backwards. Massive Dynamic is... well, so massive that just about everything in the world of science and technology has a tie back to us. Of course, I could say something of the same to you, couldn't I? You've been investigating these cases for a very short while now. At least three of them have occurred right in your own backyard. I might suspect that you, yourself were somehow responsible. (accepts file from assistant) I hope it'll help you find whoever's behind these attacks. OLIVIA: Attacks? NINA: Apparently, Broyles hasn't told you. Yes, the technology was used once before in Prague, although there were fewer casualties. Then I suppose if you had access to the case files, you'd know that we'd already shared all the information we have with the Government. (hands file over) OLIVIA: Thank you. For the information. (departs) The McComb Interview Continues CHARLIE: What about this one? (holds-up drawing) This one's gonna happen too, Roy? ROY MCCOMB: Look, I know that this sounds crazy, in fact, I think I am crazy. But I can be anywhere, at home or at work, and uh, then all of a sudden I get this, I don't know how to describe it... this... feeling and the only way that I can get it out, get rid of it is to try to draw what I see. Or to try to build it. Sometimes, that works. CHARLIE: How long have you been getting these feelings? ROY MCCOMB: Maybe... nine months. (in a large briefing room) BROYLES: Nine months. Roy's... feelings, or whatever they are, began roughly when we became aware of ‘The Pattern’. PETER: Meaning what? BROYLES: I'm not entirely sure yet. But it's hard to say he's lying. PETER: He's not. I like to consider myself to be a fairly good poker player, which requires me to have the ability to read my opponents' tells, knowing he's bluffing. He's not bluffing. Regardless of what the actual explanation is, he sincerely believes that what he's saying is the truth. BROYLES: In that case, what do you suggest? How has he learned of these incidents? PETER: I don't know. OLIVIA: (walks in) Hey! I just saw Charlie who told me WALTER: (interrupts) Occam's razor. A lot of things being equal, the simplest solution's the best. BROYLES: And what is that? WALTER: The man's psychic. Theoretically, it's all quite possible. OLIVIA: So you're saying Roy can read people's minds? WALTER: I posit that Roy has no control over his abilities. That he's linked psychically with someone or less likely but still possible a small group of people responsible for these events. Equally possible, someone's who merely discussing them. Perhaps he's communicating with you Agent Broyles. BROYLES: Forgive me Doctor Bishop. I like to think I have an open mind. But I have a hard time accepting that that man is hearing another person's thoughts. WALTER: So do I. Which is why I would like to prove it. PETER: And here we go. BROYLES: And how would you do that? WALTER: Am I required to keep him alive? OLIVIA: That would probably be best. (outside on the breezeway) OLIVIA: Can we, uh... talk a moment? BROYLES: Go ahead. OLIVIA: Nina Sharp just told me that this isn't the first time that material from the bus has been used. BROYLES: I'd normally be skeptical of anything coming from Nina but in this case, she's correct. OLIVIA: So what? I don't even have clearance to know background on a case I'm investigating? BROYLES: Agent Dunham, if I'm not always completely transparent with you there's a reason: this little task force that you and I call our day job now. It sometimes requires some... shall we say bureaucratic maneuvering to keep it alive and free from political meddling… which means… sometimes I don't tell you everything for your own protection. OLIVIA: With all due respect, that's not good enough. I've been trained for a lot - hostage crises, terror campaigns, suicide bombers, chemicals attacks, but, you know the things I have seen since I started working for you... If I'm gonna do this job, I need to know what it is I'm dealing with. BROYLES: And you will. When you're ready. Till then I suppose you'll need to trust me. Hospital M.R.I. Chamber PETER: So what are we looking for? WALTER: If my thesis is correct, if he is picking up the thoughts of another human being, he will leave a distinct signature. PETER: And you think we'll be able to identify whose thoughts they are? WALTER: That's preposterous. But I may be able to intercept them. (as McCombs enters the chamber) Magnificent machine! Do you mind if we view the axial images? TECHNICIAN: His vitals are spiking. (McComb becomes very distressed) PETER: What's happening? WALTER: No idea. But I'm extremely interested to find out. ROY MCCOMB: Something's wrong! PETER: Shut it down, now! ROY MCCOMB: H, hu, huh… Help! (struggles clear) PETER: Get up. You okay? ROY MCCOMB: I… I think so. What did that? WALTER: Something in the blood. A magnetic compound of some kind, dormant... perhaps a parasite. ROY MCCOMB: What's he saying? I don't understand. PETER The machine is basically a gigantic magnet, and you've got metal in your blood. If we hadn't turned it off, it would've ripped your body apart. WALTER: It would have been quite a mess. ASTRID: Why would there be metal in his blood? That's not normal, right? (everyone looks at one another with raised eyebrows) ACT III Digging Deep in Walter’s Lab ASTRID: (drags in boxes of files) You wanna see everything from 1989? WALTER: No. Perhaps '79. PETER: Fantastic. That's very helpful. (finds the file he was looking for) WALTER: Oh, stop. I was right. Belly and I worked on this very problem. ASTRID: Belly? PETER: Yeah. As in William Bell - Founder of Massive Dynamic, and one of the richest men on the planet. He and Walter used to share a lab together. WALTER: Loved cloves. Awful odor. We posited a spectrum of waves lying outside of the range of those already discovered. We hypothesized that these waves could be used to communicate information. The Government, of course, was extremely interested. It was a brilliant idea. A theory, but a good one. They wanted to use the network to send their most clandestine information. PETER: Because if no other government knew the spectrum existed, they couldn't listen in. WALTER: Yes. And they called it the ‘Ghost Network’. But they asked us to take it one step further, to develop a method where they could transmit directly from one person to another. I surmised that I could introduce an iridium-based, organometallic compound into the subject's brain. PETER: You have got to be kidding me. WALTER: What? PETER: Roy McComb was one of your test subjects. WALTER: Of course. Yes! That explains it, doesn't it? PETER: Explains it? Yes, that explains why he almost died today. Because you injected something into his brain nearly 20 years ago. WALTER: No, what I gave him was not nearly enough to cause that reaction. The compound must have multiplied in his bloodstream over time. Environment, perhaps diet. PETER: He was a sophomore volunteer for psych experiments. Did you ever even bother to explain to him what you were doing? WALTER: Well it wouldn't have been a very secret experiment if I had. OLIVIA: (just arriving) What's going on? How's Roy McComb? PETER: Roy McComb will be fine. No thanks to my father's attempts to turn him into a human walkie- talkie. WALTER: Wait a second. PETER: Don't you try and change the subject! WALTER: What you just said is on subject. The iridium-based compound that multiplied in his bloodstream has turned him into some kind of receiver. PETER: A receiver of what? WALTER: Transmissions. Someone else, it seems, and I'm somewhat jealous of this, has perfected our ‘Ghost Network’. And is using it to communicate. Our dear Roy is merely overhearing what they say. (later on – a demonstration with a large kaleidoscopic image) WALTER: You will note that the rotary movement gives the impression of a three-dimensional tunnel, when in fact it is not. Next slide, please. (viewing an additional image) Ah, it's an oldie but a goodie. As you observe this image, your brain perceives first a duck, then a rabbit, then a duck again - it always comes back to the duck. In truth, the image is neither. But it illustrates the brain's need to take random sensory input and construct it into a meaningful whole… PETER: (interrupts) Great! WALTER: … despite… PETER: Thank you, we get it! OLIVIA: Uh, I'm sorry - I don't think I do get it. PETER: Well neither do I - I just want him to stop. ASTRID: I'll get the lights. WALTER: I suspect someone has continued my research. But they've taken the easy way out…. merely using the ‘Ghost Network” as a secure telecommunications channel. OLIVIA: You're suggesting that Roy's listening into someone's telephone network. WALTER: Yes. But no, not listening. Roy's brain is trying to interpret the sensory input. Much as our brains grapple with the duck - rabbit, I told you. It always comes back to the duck. OLIVIA: So if Roy's receiving this frequency, is there any way that we can tap in and hear them? Or maybe even I.D. them? WALTER: Construct a receiver using that spectrum, it's possible, of course. But it would take months. But it may be possible to redirect the transmissions from his visual centers to his auditory cortex. ASTRID: Wait, you want to rewire his brain? WALTER: Not without his permission. PETER: It would be a minor surgery. Minor brain surgery. Emphasis not on the minor. WALTER: I would need a specific piece of equipment. Magnetic neurostimulator I built in 1983. With a few adjustments, it would work. PETER: All right, we'll just go back in time and get it for you. WALTER: No need to. It's most likely where I left it 17 years ago. Hidden in a wall in our old house in Cambridge. At The Old Bishop House PETER: Blast from the past. What's the game plan here? We just gonna knock on the door, ask 'em if we can tear out their walls? OLIVIA: Pretty much. PETER: I guess the badge is the "pretty please" in that equation. There's no lights on. OLIVIA: I'm gonna call in, see if we can track down the owner for consent. (Peter tries to jimmy the door) What're you doing? PETER: What? This is barely even a crime. I used to live here. (the door swings open without effort) Prepping McComb WALTER: Normal pupil response. Taking any medications, prescribed or illicit? You can be truthful. I won't judge. In fact, if the answer is no, I may encourage some drug use. ROY MCCOMB: No, none. WALTER: Any food allergies? ROY MCCOMB: Not that I'm aware of. WALTER: Good, good, good. This all checks out. Strap him down. We'll get started. ROY MCCOMB: Oh, God. Strap me down? ASTRID: There's nothing to be worried about. ROY MCCOMB: I guess, uh - it must seem pretty silly... thinking God is talking to me and everything. ASTRID: What were you supposed to think? ROY MCCOMB: That I was just crazy. I considered that, too. ASTRID: It's gotta be sort of a relief, right? Knowing there's a rational explanation? ROY MCCOMB: I wouldn't exactly call any of this rational. Do you really think that this is going to help you catch the guys that killed those people on the bus? ASTRID: You're our best lead. No pressure, huh? Searching the Old Bishop House PETER: We lived here when I was a kid, but after Walt was institutionalized, my mom couldn't afford the mortgage so we moved down to an apartment in Allston. OLIVIA: So where's your mother now? PETER: That's a story for another time. So tell me. Of all the possible career choices, how did a girl like you end up in law enforcement? OLIVIA: Well, I pretty much knew this was what I wanted to do by the time I was nine. PETER: When I was nine years old, I think I wanted to be a brontosaurus. (finds an old hiding space) You know, they say the psych profiles of cops and criminals are pretty much identical. Ever consider a life of crime? OLIVIA: No dental. PETER: (empty-handed) Nothing. Of course. OLIVIA: What? PETER: (finds an old sliding panel) My mom had this covered up. Used to hide in it all the time. (pulls up a dumb waiter) Ready to Operate WALTER: You'll need to be awake for the procedure. - but I'm going to give you a mild sedative to reduce any anxiety. ROY MCCOMB: Doctor Bishop, you look really familiar to me. WALTER: (administers sedative) I hear that a lot - in the mental institution where I lived. (to Astrid) He'll need a moment. (to Peter and Olivia coming through the door) Oh. You've returned. How was the old house? How is Rufus? PETER: Well, the house is just like we left, but we put Rufus to sleep almost 20 years ago Walter. WALTER: Oh. That's terrible news. OLIVIA: We found your equipment. WALTER: (inspects technical contraption) Oh, this brings back some memories. PETER: Of what? (preparing to operate) WALTER: I think it's time for some intracranial penetration. (lifts drill to McCombs head) This won't hurt… just feel a touch odd. ROY MCCOMB: Okay. (a knock at laboratory interrupts. a freshman duo is lost. Olivia responds) FRESHMAN: Is this Poli-Sci 101? OLIVIA: (with disbelief) Not remotely. PETER: (Olivia returns) Who was it? OLIVIA: Freshmen. WALTER: (drills the skull) I need you to keep this dial steady at 60 hertz - 10 gauss until I tell you otherwise. I believe there are clusters of metal in the visual centers of your brain. I'm going to attempt to move them to those regions which process sound. You'll be shown a series of images. I need you to tell me any sensations you experience as you see each image. ROY MCCOMB: Sounds easy enough. WALTER: First image, please. ROY MCCOMB: It's a horse. WALTER: Wonderful. 50 gauss. ROY MCCOMB: What the hell was that? WALTER: Oh, that was your body's normal muscle response. It's perfectly natural. You may also experience an involuntary bowel movement. ROY MCCOMB: Great. WALTER: Next image, son. ROY MCCOMB: Oh, man. Mmm, oh, this is bad. Oh, this is weird. Uh, I-- I'm-- mmm-- I'm tasting, uh, dirt. Uh, no wait, it's uh, gasoline. WALTER: We've reached the gustatory cortex. We're getting close. Next image, please. ROY MCCOMB: I don't know. It's a beach. WALTER: Well, no sensations at all? ROY MCCOMB: I don't think so. WALTER: Damn it, don't you feel anything? ROY MCCOMB: Uh, I'm a little scared. WALTER: I don't understand. This should be working. PETER: Walter, take a deep breath. It's gonna be okay. ROY MCCOMB: Nuntia adhuc... WALTER: You. (to Astrid) Increase the level to 200 gauss. ROY MCCOMB: Ita, modo eum collocutus sum. PETER: Don't do that! Stop, I said! ROY: Quando fiet. ASTRID: What did you say? ROY: I don't know. I can hear voices. Una hora locum statuisti. PETER: I think that's Latin. ASTRID: It is. He just said, um-- damn, what's that word? Hora, um-- hour. Something's happening in an hour. PETER: How in the world can you possibly know that? ASTRID: I majored in linguistics. My Latin's admittedly a bit fuzzy. OLIVIA: Okay, keep going. ROY MCCOMB: Ad stationem. ASTRID: Ad stationem, that means station. ROY MCCOMB: Orstreelum--no wait, it's Australem ob. ASTRID: Australem means south and then... ROY MCCOMB: Commerciam convenimus. ASTRID: An exchange is being made. um-- An exchange at south station. I think someone's meeting at south station to make an exchange in an hour. ROY MCCOMB: Bene ubi fuit. ASTRID: He just said, "good, where was it." ROY MCCOMB: Ab initio in eius corpore fuit. ASTRID: From the beginning, on her person. It was on her person. It was on her from the start? Maybe or-- OLIVIA: She had it on her the whole time. ASTRID: Oh, yeah, that's a possible translation. PETER: Hey! Where you going? (Olivia races to the morgue to inspect Mendoza’s hand. has flashes of Davidson visit) GRANT DAVIDSON: (in flashback) Now, I've been asked to officially I.D. her body. (Olivia finds that a large incision in Mendoza’s hand) ACT IV Enroute to South Station OLIVIA: (driving and talking on cell phone to Broyles) There was a three-inch incision in Evelina's right palm. Whatever she had on her, Davidson cut it out. She was hiding it in her hand. I'm heading to South Station now. I think he's planning a hand-off at five o’clock. BROYLES: (on the run at Headquarters) We have to assume Davidson's working for the same people who hit the bus. I'll notify C.I. – but in the meantime, I'm sending the field assist your way. OLIVIA: But plainclothes only. We don't want to tip him off. (in the lab, McCombs remains engaged) WALTER: Oh, my god. ROY MCCOMB: What's wrong? WALTER: I believe with proper demodulation, you could receive satellite television for free. PETER: Okay, fun time's over. Astrid, let's get him unhooked. South Station & Walter’s Lab (Grant Davidson, Olivia, Charlie, Matthew Ziegler, and Ghost Network at the commuter rail station/Walter, Peter, Astrid and Roy McComb at Walter’s Lab) GRANT DAVIDSON: (his phone rings at South Station) It's me, I'm at the station. GHOST NETWORK: (on phone ) Where am I meeting your man? ASTRID: (in lab to McComb) Excuse me? ROY MCCOMB: (to Astrid) I'm getting something. It's in English. We can see you. GHOST NETWORK: Outside South Station. We're verifying you haven't been followed. ROY MCCOMB: Then we'll instruct you further. OLIVIA: (on phone) It's Olivia. PETER: (on phone) Hey, Roy's talking again. Are you at South Station? OLIVIA: Yeah. Why? PETER: So are they. OLIVIA: Did you get anything else? PETER: They're checking to make sure that Davidson wasn't followed. I think that's it for now. OLIVIA: Okay. ROY MCCOMB: Could I get a drink or something? PETER: Yeah. I'll get you a glass of water. GRANT DAVIDSON: (answers phone) Go ahead. GHOST NETWORK: We're clear on our end. Go inside. PETER: (returns with water) Here you go. ROY MCCOMB: (dictating) … and head to the Dewey Square exit. PETER: (to Astrid) You got that? GRANT DAVIDSON: (to Ghost Network) How will I recognize the person I'm meeting? ROY MCCOMB: (dictating) … he’ll recognize you. OLIVIA: (answer call from Peter) Yeah. PETER: It's happening now. He's headed to the Dewey Square exit. OLIVIA: Got it. (hangs up, calls Charlie) CHARLIE: (answers phone) Francis. OLIVIA: We got him. He's at the south end of the terminal. (she stalks the terminal and locates Davidson) OLIVIA: Turn around and put your hands in the air now. (he turns, she realizes he has been shot, he falls, killed by an assassin, his briefcase gone) CHARLIE: (catching up to her) Clear! OLIVIA: He's been shot. He's not breathing! CHARLIE: Call in a MedEvac! OLIVIA: The case. They've made the exchange. He's running. CHARLIE: Stay with him. (they chase Ziegler down the platform and corner him) CHARLIE: F.B.I.! OLIVIA: Put the case on the ground. CHARLIE: Drop the gun now! OLIVIA: Put your hands where I can see them. (the suspect deliberately steps backwards in front of a passing bus to avoid capture) ACT V Debriefing at the Federal Building OLIVIA: All that trouble for this. So any idea what it is? BROYLES: Not yet. But I'm hoping our friends at the N.S.A. will be able to tell us. OLIVIA: So eleven innocent people die today, we risk losing another by drilling through his head, all for something we know nothing about? BROYLES: Do you ever smile, Dunham? We I.D.'d the shooter. (pulls out file) Matthew Ziegler. When we ran his fingerprints, he popped up on two other pattern-related cases. We're digging into his financials, travel records. Linkage, Dunham. Not only can we now put a face to these people, but we know they're communicating. And how. I'd say that's an impressive day's work. Which brings me to this. OLIVIA: What is it? BROYLES: Of all the models in Roy's apartment, three of them are incidents that we haven't been aware of. OLIVIA: Pattern cases? BROYLES: It would seem so. Take a look. If you want. Let me know if you have any thoughts. OLIVIA: I'll do that. BROYLES: I'll see you tomorrow. Finishing-up at Walter’s Lab OLIVIA: How are you feeling? ROY MCCOMB: My head hurts a little, but, um, Dr. Bishop gave me something for the pain. WALTER: Vicodin. That's it. I promise. OLIVIA: So no more transmissions. ROY MCCOMB: No. PETER: My guess is once you arrived at South Station with the cavalry, they realized the ‘Ghost Network’ was compromised, and stopped broadcasting on it. OLIVIA: Well just in case, if you hear anything else, do me a favor, give me a call. ROY MCCOMB: I will. It felt really nice to be able to help. (to Walter) Thank you. WALTER: You're welcome. ASTRID: I have a few release forms I need you to sign, and then I can take you home. ROY MCCOMB: Okay. PETER: Dunham. Any requests? OLIVIA: How 'bout some Bach? PETER: Bach? No, that's way too stuffy. What you need is some jazz. OLIVIA: Well I'll take what I can get. (he plays) After Hours At Massive Dynamic BROYLES: I'm sure you can understand why I don't wanna go through channels. NINA: If I know you at all, this isn't the only reason you're here. Is this because of our interest in Agent Dunham? BROYLES: Seems a bit early to be poaching my newest hire, with only a three-case resume under her belt. NINA: I didn't achieve my position without the ability to evaluate someone's talents immediately. BROYLES: Neither did I. NINA: Oh, you feel protective of her, don't you? BROYLES: I'm in the business of protecting all my agents. NINA: I want nothing but the best for her. BROYLES: Of course you do. (in a quiet lab) NINA: We found another one. (recovered chip) SCIENTIST: Let's see what we have. (looking into a microscope) Well, crystalline structure's intact. No detectable oscillations. This may just be what we need to break the encryption. NINA: Speaking of which, I'm told you've made progress. SCIENTIST: See for yourself. We finally stabilized the link. We've been pulling information from the disk for the last 72 hours. NINA: Let me know when it's finished. (John Scott rests in a chamber)

PROLOGUE East River Coffee Shop - Brooklyn, NY (overlooking the skyline and a large construction site) WAITRESS: Can I get you some coffee? THE OBSERVER: Roast beef sandwich on a roll. Meat raw as possible. Room temperature water. No ice. WAITRESS: Gotcha. OBSERVER: Do you have jalapeños? WAITRESS: I think he does. OBSERVER: Eleven of those please. On the side. WAITRESS: Eleven? You got it. (he puts a journal on the table, observes the construction and takes notes) WAITRESS: (looking at the notes) What is that? That language, is that, like, Korean or something? OBSERVER: No. WAITRESS: Good. I had Asian studies at C.U.N.Y. I thought I really missed something. (she moves away) (at the construction site) FOREMAN: Move. Move now! (a fireball erupts) CROWD: (screams) Help! - Watch out! - Get out of there! etc… OBSERVER: (finishes drink and pays bill as a crane collapses. walks to the crater in the ground, makes a call on cell phone) It has arrived. ACT I In The Bishop’s Hotel Suite WALTER: One hundred fifty grams of sucrose, maintained at seventy degrees Fahrenheit for one hundred twenty hours. Thirty milliliters at Eighty degrees... PETER: What formula are you rattling off at three o'clock in the morning? WALTER: The formula for root beer. PETER: Root beer. That's what's so important you couldn't stop yourself from broadcasting. WALTER: I haven't had it for ages. I… I thought I might make some in the lab tomorrow. Where are you going? PETER: It occurs to me it might be easier to sleep in the tub. WALTER: A root beer float. Delicious. PETER: Next time, would you please drain the tub? WALTER: Oh, yes. Indeed. Morning at the Federal Building PETER: I know how to get there. SECURITY: I need you to slow down. PETER: Her office is right up here. I've been there before. SECURITY: Sir, you don't have clearance to walk here unescorted. OLIVIA: (intercepting the two) Peter. PETER: We need to talk. (to security) Is that okay with you? Do I have clearance to talk to her? OLIVIA: It's okay. I got it. Come with me. (walks to office) Where is your father? PETER: Walter is at the hotel. But don't worry, your agents are standing guard. Not that it matters, 'cause the man is unconscious. He was awake until five in the morning, reciting the chemical compositions of his favorite beverages to me. That was right after he finished lecturing me on how I'd squandered my above average intellect and my substantial education, all - while he was standing there naked. Because he prefers the breeze. OLIVIA: Well, your living arrangements are temporary. We're finding you an apartment so that-- PETER: Olivia, don't bother. I wanted to help. I felt bad. I still feel bad about what happened to you. But the truth is, you don't need me here. OLIVIA: That isn't the truth. PETER: It is. Things are happening here. Strange things that need investigating, that connect somehow to the insane work that Walter was doing way back when, but he's the one with the answers. You need him. I'm just a babysitter. OLIVIA: Peter, you decipher what he says. Things that other people can't even follow. PETER: No, not any more. Anybody can do that. There's nothing special about me. OLIVIA: You're his son. PETER: That's not the only thing. I don't do well staying in one place. You know that. This isn't the job for me. OLIVIA: If you leave, so does he. PETER: Really? You're telling me that if the Federal government wants to get Walter Bishop out of a mental institution, they can't do that without the consent of his son? OLIVIA: It's your father. He's made it very clear that if you leave, he won't cooperate with our investigations. PETER: I don't believe it. OLIVIA: He would rather go back to St. Claire's - than work here without you. He said that more than once. PETER: (half seriously, half jokingly) Was he wearing clothes at the time? Examining The Beacon - Chelsea, MA (the science team pulls-up to Kramer Manufacturing) AGENT: Good morning. WALTER: Hello. OLIVIA: Hello. GROUP: Morning… morning... BROYLES: Yesterday, there was an explosion at a construction site in Williamsburg, Brooklyn. A crane collapsed. Left three dead, two dozen injured. The public was told that it was a gas main explosion, which, technically, is the truth. It's what caused the explosion I want you to see. (walking past a checkpoint) We had it transported here late last night. We've got N.S.A. and C.D.C. gathering data - but Doctor Bishop - I wanted you to see this as soon as possible. PETER: What is it? BROYLES: It's why you're here. We don't know. OLIVIA: It just fell from the sky? BROYLES: It came from underground. The thing blasted through an unused subway tunnel into a gas main. PETER: Underground? BROYLES: Came to rest right on the surface. As if someone had carefully placed it there. WALTER: (examines the beacon) Solid iridium? TECHNICIAN: We think so, yes. WALTER: Subsonic vibrations? TECHNICIAN: At two megahertz, and then again at four. PETER: This thing is vibrating? BROYLES: Doctor Bishop, do you have an idea what this may be? WALTER: An idea, yes. OLIVIA: Do you feel like sharing? WALTER: No. It's too early. BROYLES: This isn't the first time one of these has shown up... 1987 at Quantico, Colonel Jacobson was in charge of the investigation. OLIVIA: Henry Jacobson? BROYLES: Spoke to him myself this morning. He's expecting a visit. Said he's looking forward to seeing you again. OLIVIA: What do you wanna do? PETER: What kind of man would take off on you the minute a can of magic space soup - appears out of nowhere? WALTER: Who says it came from space? PETER: It's a joke, Walter. WALTER: Oh. OLIVIA: Thank you for staying. PETER: (whispers) This is the last one, Olivia. Then I'm gone. OLIVIA: (whispers) okay… WALTER: We need to get this back to the lab. BROYLES: We can't risk transfering this to the university. We'd rather you stay... WALTER: ...if you require my perspicacity such as it exists - then there are certain fundamental requirements, not the least of which is access to my equipment! my lab...! Visiting Colonel Jacobson - Roseville, VA HENRY JACOBSON: well… well… well. OLIVIA: I was hoping I'd have an excuse to see you again. HENRY JACOBSON: It's good to see you. Oh… (hugging) (inside his house) HENRY JACOBSON: It's been more than a year since she died. It's still difficult. I suppose it always will be. Jessica took care of the house. Hell, she took care of everything. I apologize for what has to be horrible coffee. OLIVIA: No, it's delicious. HENRY JACOBSON: I… I know you lost someone too. My condolences. It's not easy losing a partner. I know you and Agent Scott were close. OLIVIA: What can you tell me about Quantico? Nineteen-Eighty-Seven? HENRY JACOBSON: Master Sergeant Stuart Malick. He was at his post at the Marine base on the night of June Twenty-Second. His job was to watch the motion sensors, perimeter security, to ensure that there was no breach at the base. Except on that night, the sensors went nuts. What we found was this. Metallic cylinder, twenty-four inches tall, twelve inches in diameter. He assumed it fell from the sky. That perhaps it was a piece of a satellite. Except it wasn't. Stranger still, although it seemed to be a solid piece of hard metal, - it was vibrating. OLIVIA: At two megahertz. Then again at four. HENRY JACOBSON: There's another? OLIVIA: Where is this one? Still at Quantico? HENRY JACOBSON: I was called in to investigate. We determined it was transmitting something. A signal that we couldn't decode. Forty-eight hours after we found it, there was an explosion unlike anything I'd ever seen. It went through the floor to the basement below. It exploded down - and was gone. I'll give you my files, whatever you need. But this was a weird one, Olivia - and if it's happening again, as a friend, I'd ask you to stay as far away from this thing as you can. Walter's Lab - Testing the Beacon ASTRID: And what exactly is this? WALTER: In time, my dear. (uses tuning fork) Back at Kramer Manufacturing (John Mosley conceals an advanced looking assault pistol and barges his way into the restricted area) AGENT: Hello, sir, can I help you? (guards with rifles and body armor are hit with percussive fire) RADIO DISTRESS CALL: Code Red, Code Red! We have a breach in Sector Eight!. (shoots officers and breaks into the sealed area) JOHN MOSLEY: (to Technician) You. Where is it? ACT II Asleep at Olivia's Apartment OLIVIA: (her cell phone wakes her) Agent Dunham. - Hello? - Hello? JOHN: Olivia. OLIVIA: Hello? JOHN: Olivia. OLIVIA: John? (she dials to have the call traced) DISPATCH: Dispatch. OLIVIA: This is Agent Dunham. Seven-Eighteen-Six-Twenty-Two-Seven-Nine. I need a call traced from my cell. It just came in. DISPATCH: Please hold. We have no record of any calls in the last three hours. OLIVIA: Oh. DISPATCH: I'm sorry. OLIVIA: Okay. Thank you. At The Bishop Laboratory (inspect and test the cylinder) WALTER: (inspects the Beacon) The precision with which this object was constructed is inspiring. Down to the molecular bonds. PETER: I sure hope that a gigantic metallic suppository is not the pinnacle of human achievement. What is it? Let me ask you a question. If I tried reverse psychology, like, if I just said to you right now, "Walter, don't tell me what that is," Would that work? WALTER: Many years ago, I worked on 'Project Thor'. The Department of Defense wanted a subterranean torpedo, a missile which could, in theory, be shot from anywhere in the world through the earth's core and hit its target on the other side. PETER: I know for a fact that that is ridiculous. WALTER: Open your mind, son, or someone may open it for you. PETER: Even that doesn't make any sense. WALTER: The cylinder could be any number of things, none of which I am prepared to discuss. PETER: Great, well, I am glad I stuck around for this. OLIVIA: I don't believe it. PETER: What? OLIVIA: Look. It's one of the photos from Jacobson's file. Him. Remember? The bald guy. PETER: No, who is he? OLIVIA: That's the point. PETER: Olivia, you're starting to sound like Walter. OLIVIA: There are many things I'm not good at, too many, but one thing I can do, that I've always been able to do, that game, Concentration. Memory. Connecting things. (brings up files) Putting them together. See. OLIVIA: Two weeks ago at the hospital. That's him. (points to the Observer) PETER: No way. Colonel Jacobsen Gets a New Visitor HENRY JACOBSON: (answers door) Can I help you? (John Mosley blasts him across the room) In Broyle’s Office OLIVIA: (displays evidence) Still photograph from the crime scene at Quantico, 1987. Look. He was there. Look at this. Less than two weeks ago at the hospital in Quincy. It's the same guy. And he looks the same. And he was there with us. What? BROYLES: Come with me. (she follows to a room with busy workers, and walls covered with photos) BROYLES: Excuse us please. It took us a year to spot him. You did it in three weeks. OLIVIA: (looks at photos) Who the hell is this guy? BROYLES: That is one excellent question. OLIVIA: You've run him through every database? BROYLES: Of course. OLIVIA: And there's nothing on him? Nothing at all? BROYLES: No positive I.D. We've recorded him at over three dozen scenes, all of which relate to 'the Pattern'. OLIVIA: How? And why? What is he doing? BROYLES: What it looks like he's doing. He's watching. Observing. Which is why we refer to him as ‘The Observer’. But what he wants and why he's there, we don't know. OLIVIA: And he was there the other day? In New York at the construction site? BROYLES: (answers cell phone) This is Broyles… (listens) When did it happen? More Testing at Walter's Lab WALTER: Okay, turn it on. PETER: What is that? WALTER: It's called sound. PETER: I know that, thank you. What's the point? WALTER: I need to compare the numbers, confirm my suspicions. PETER: Compare them to what? Suspicions of what? ASTRID: (answers phone) Astrid Farnsworth. WALTER: I'll explain later. PETER: No, I want you to explain right now. I want to know what the hell this tin can is. ASTRID: Peter? It's Olivia. PETER: Hello? OLIVIA: There's been an attack, Peter. The team at the warehouse is dead. PETER: What? Who did it? OLIVIA: I don't know, but we're moving that thing to a secure facility. I'm on my way. PETER: Got it. Walter, whatever the hell that thing is, you should have never brought it here. WALTER: Why do you say this? Has someone come for it? PETER: Why would you ask that? WALTER: Have they? PETER: Yes. WALTER: Then we need to keep this safe. We need something-- something very important. PETER: What? WALTER: Aluminum foil. PETER: Why? WALTER: Trust me. PETER: No, thank you. WALTER: Damn it! Must you always be such a smart ass? I need the aluminum foil right now to shield the frequencies of the cylinder. Your life depends on it. All our lives depend on it. Go now! PETER: I'm gonna go get you your aluminum foil, and then when I get back, you're gonna tell me what the hell it is you think that thing does. WALTER: While you're out, if you see a chance to get me a root beer float, that would be wonderful. PETER: I'll see what I can do. (leaves the lab) WALTER: Would you be a lamb and get me that syringe? ASTRID: Sure. WALTER: Thank you. (he grabs her and injects her. she collapses) ACT III Peter Returns to the Lab PETER: Hey.. I got the tin foil! Astrid! Astrid! Are you okay? Astrid, look at me, Astrid. Hey, focus, focus for a second. Where is Walter? Colonel Jacobson’s House (Jacobson is tied-up and being interrogated) JOHN MOSLEY: Someone came to you. Think about her. I know you were there. The last time. And she's come to you now. Think about that woman. Don't play with me. Now - you tell me now, or I'll do that again. Think. (listens to his earphone) See? That was easy. Walter and The Observer Meet WALTER: (to waitress) Bless you. (to The Observer) I haven't had a root beer float in seventeen years. OBSERVER: And? How is it? WALTER: Heavenly. And earthly at the same time. OBSERVER: Quite the connoisseur. WALTER: Do you want some? OBSERVER: No, thank you. I wouldn't taste much anyway. Seventeen years. That's a long time to go without something you love. WALTER: Where I've been, you lose track of time. So much now to make up for. OBSERVER: Thank you for hiding the beacon. I can't touch it myself. I know you have questions. Soon you will have answers. WALTER: Of course. Crisis at Walter's Lab AGENT: Doctor Walter Bishop, I'm forwarding his photo right now. I want surveillance posted outside his last known residence. PETER: Come on, this is getting annoying. BROYLES: Please do not stand there and tell me that you have no idea where your father… PETER: …you're assuming I have any understanding of how that man's addled brain works. BROYLES: You gave us the impression that you could handle him. PETER: Hey, let's get something straight. I didn't promise you anything. I warned you from the word ‘go’. OLIVIA: Agent Dunham. Thank god. Where? We'll be right there. Walter just got picked up, walking the median of I. Ninety-Five. Interview Room at the Federal Building WALTER: If it's possible, I would very much like my own clothes back. PETER: Let me explain how this works to you, Walter. You can't inject a federal officer with sedatives, steal government property, and then escape from protective custody, and then ask to be not treated like a criminal. WALTER: Have you never taken anything that didn't belong to you because you knew it was the right thing to do? PETER: This isn't about me. WALTER: Maybe it is, Peter. OLIVIA: You took the cylinder. Do you remember that? WALTER: Yes, of course. What would you like to know about it? OLIVIA: Where is it? WALTER: I can't tell you that. But I can tell you that someone is coming to seek the cylinder. Thus, I had to hide it. And I don't recall where or from whom. OLIVIA: We need you to remember. It may be dangerous, and we need to help keep people safe. Tell me what it is. WALTER: If I - if I attempted to explain it… You--you might think me mad. PETER: Don't worry. There's no chance of that happening. WALTER: I believe there are only another four hours in which I must keep the cylinder from those who are trying to get it, a theory I have discussed with my friend, who agrees with me. PETER: Your friend? Um, he's a tall fellow, right? Pink, big fuzzy ears. WALTER: No, he's a man. Quite nice. Albeit extremely bald. No eyebrows either. It's disturbing, but you get accustomed to it. OLIVIA: You talked to him? PETER: Do you really think it's a good idea to feed into his delusions at this point? OLIVIA: Walter, who is he? Where can we find him? WALTER: Oh, you won't be able to find him. PETER: Of course not, 'cause he's in the seventh dimension. WALTER: He's shy. Though he wouldn't be any use to you. He just observes. PETER: Walter, you haven't talked to this man. You've seen him in Olivia's photographs, so cut out the gibberish and just tell us where the cylinder is. WALTER: Must you always be so small-minded? Damn it, don't be like her. Like your mother. Questioning my judgment. I am not a child. I will not be babied. PETER: (leaving) Thank you for that. That's exactly what I needed. Guilt relieved. Olivia, I am very sorry, but I think you'll understand why I don't want to hang around any longer. WALTER: I upset him, didn't I? (Olivia leaves to find Broyles) BROYLES: Where are we? OLIVIA: I couldn't tell you. Walter's hiding something. He's being as cryptic as ever. He says he had to keep the cylinder safe. That someone is looking for it. Welcome to the joys of Walter Bishop. BROYLES: Where did he take it? OLIVIA: You'll have to ask Walter. He won't tell me. But, apparently, he had a meeting with a man matching the description of our friend. The bald guy. BROYLES: Well, I know a lot of bald guys. OLIVIA: The Observer. BROYLES: Are you saying Walter's saying he knows him? OLIVIA: I'm saying he's not cooperating. I'm saying I'm confused. Peter Moves Out of the Lab PETER: (on cell phone) Hey, man. Thanks for calling me back so fast. (listens) Look, don't start with me right now, okay? (listens) Well, guess what, I'm calling this time to ask for a favor too. (listens) Nah, I need some work. (listens) Well, I don't really care, as long as it puts some money in my pocket. (listens) Anywhere but Boston. (listens) Okay. (John Mosley waits in a corner of the lab) ACT IV Investigating at the Federal Building AGENT: Agent Dunham? Agent Farnsworth is on the phone. OLIVIA: (on cell phone) I don't know. About an hour ago? When he left, he was pretty upset with Walter. Maybe he just finally left. ASTRID: No, there was a struggle here. OLIVIA: I'll check it out. Thanks, Astrid. OLIVIA: (to her Agent at desk) Call Harvard Campus Security. There's a closed-circuit camera outside Countway Library aimed at the Kresge Building. I need footage going back two hours. In Mosley’s Hide-Out PETER: (strapped to table) You don't work for Big Eddie, do you? Look, I think you got the wrong guy. What I'm saying is... whatever it is you want, I don't think I'm gonna be able to give it to you. No, no! JOHN MOSLEY: (adjusts a strobe light) You have something I need. Tell me where it is. PETER: I have no idea what you're talking about. JOHN MOSLEY: I'm going to ask you some questions. Please answer honestly. What's the most pain you've ever felt in your life? (presses a button) Walter in Custody OLIVIA: This was taken outside of your lab. (shows photo of Mosley) Have you ever seen this man before? WALTER: I don't believe so, no. Something's happened, yes? Something unfortunate. What is it? OLIVIA: I believe this man may have abducted Peter. WALTER: That's not - no. Peter will lead him to it. OLIVIA: To what? The cylinder? How? Did you tell him where you put it? WALTER: No, of course not. I don't need to. Back In Mosley’s Hide-Out JOHN MOSLEY: You and your colleagues had the cylinder last. Where is it now? PETER: I have no idea. And even if I did, you're the last person I'd tell. JOHN MOSLEY: But you just did tell me. Your father hid it. But you don't know where. And yes, to answer your question, when this is over, I just might kill you. It depends on a few things. When was the last time your father kissed you? PETER: I think that's your lamest question yet. JOHN MOSLEY: Yeah? (zaps Peter) Think about your father. Good. Good. Now think about a time before he was sent away to the institution. A happy time, a time when you still believed that your father loved you. Besides the car, and your old house… does your father have any other hiding places? Answer the question. Does your father have! Thank you. You just told me where the cylinder is. In a Foggy Cemetery JOHN MOSLEY: (getting out of car) Come with me. (directs Peter to a specific area) JOHN MOSLEY: Shame you never met him. (about Robert Bishop) Come on. Dig. Careful. (Olivia searches for Peter and finds the two with the metallic cylinder. Mosley runs off) PETER: Hey, Olivia. Over here. OLIVIA: Are you okay? PETER: Yeah. …that way. Go. He's got a gun. (Olivia finds Mosley and shoots him several times, he loses the cylinder and runs. she shoots and kills him. the cylinder disappears into the ground) OBSERVER: (watches and calls on his cell phone) Departure on schedule. PETER: (charging from the trees) Who the hell are you? What is the cylinder? You know what it is, don't you? (starting to have his thoughts read) OBSERVER: (mimics) You know what it is, don't you? PETER/OBSERVER: (synchronized) Why is it here? PETER/OBSERVER: Why now? PETER/OBSERVER: Who are you? OBSERVER/PETER: Apples, bananas, rhinoceros. OBSERVER/PETER: I want to hold your hand. OBSERVER/PETER: Lucy in the sky with diamonds. OBSERVER: (preempts) Do you really know my father?... Did you talk to him this afternoon? …Are you his friend? (Peter stares. The Observer shoots him) ACT V Freedom for Walter (in the holding room) WALTER: Peter... Is he all right? CHARLIE: He's fine. He had a mild concussion, but he's gonna be fine. WALTER: Thank you… wonderful news. CHARLIE: Come on. I'm gonna take you back to your hotel. WALTER: If you don't mind, there's something I'd like to do first. (at Astrid's desk) WALTER: What I did to you was very untrustworthy of me. I never intended to harm you. I was simply doing what was necessary to protect us all. If it would help you feel a sense of retribution, I would tell you to inject me too. But... but I'd most likely enjoy it. At The Hospital OLIVIA: (to nurse) Hi, Peter Bishop, he was brought in about an hour ago. Excuse me. (to Broyles) Hi. BROYLES: Are you okay? OLIVIA: Yeah. I'm fine. So did we recover the cylinder? BROYLES: We dug out the hole, but there's no sign of it. As soon as the sun comes up, we'll bring in an excavator, but somehow, I don't have an expectation we'll find it. OLIVIA: So it just disappeared. BROYLES: We I.D.'d the shooter. John Mosley. Wanted for a double homicide in Seattle last month… a few drug-related felonies before that. OLIVIA: Seattle. Came a long way to try and get that thing. BROYLES: Another in a long line of questions. I should get back. As you can imagine, there are some interagency fires to quash. N.S.A. considered that device their personal property. They're looking for an explanation. So I'll see you tomorrow? OLIVIA: Yeah. (Olivia finds Peter down the hall) OLIVIA: Hi. You ready to get out of here? PETER: Something happened out there tonight, Olivia. The pattern that Broyles refers to… I always thought it was nonsense. Inexplicable things happen every single day. It does not mean that there is any deeper significance. I know this is gonna sound insane. Yeah, I know that it sounds insane, but the man in the woods, he knew me. And I don't know how, but he was inside my head. He knew what I was going to say before I said it. OLIVIA: The man I shot? PETER: No, the other guy, the bald guy. From your photos. Mr. no brows? OLIVIA: Peter, I didn't see anyone. PETER: You know me well enough now to know that these are the last words I would ever expect to be saying, but what if Walter is right? What if this is just the beginning? OLIVIA: Listen, you took a pretty bad blow to the head. PETER: You think I did this to myself? OLIVIA: No, I just - I was wrong to-- to demand that you stay here. Walter is not your responsibility. As you've always said, this was just supposed to be temporary. You have your life. PETER: Olivia, did you hear what I just said? I mean, I'm a fairly open-minded guy, but there are things happening here that I can't even begin to explain. And I am not going anywhere until I can. OLIVIA: In that case, you might want this. Your credentials have been approved. Civilian consultant to the Department of Homeland Security. PETER: Does this mean I don't need an escort to come into the Federal Building anymore? OLIVIA: Yeah. PETER: Will it get me out of speeding tickets? OLIVIA: Maybe. The Bishops Return to the Hotel PETER: So let me tell you about my day, Walter. I was abducted, tortured, had two wires shoved up my nose that were connected to a machine I've never seen before. But maybe the strangest part of the day is that somehow, without talking, I was able to answer a question that I didn't have the answer to. WALTER: Where I buried the capsule? PETER: How did I know that, Walter? I didn't know that. I didn't know where the cylinder was buried. WALTER: You know it, son, because I know it. PETER: No, I didn't know because you didn't tell me. WALTER: I didn't have to. You must adjust the way you consider communications, ideas. Ideas can be absorbed through osmosis. Through proximity. Do you remember the night of the accident when you were young? - I was driving… PETER: Of course, I remember. WALTER: Your mother was at home. PETER: Of course, I remember. Thanksgiving dinner. WALTER: She was anxious for us to get there, join everyone. When the car went off the road, the ice was so thick that it held the vehicle for what must have been two minutes. PETER: What does this have to do with what happened today? WALTER: I regained consciousness, I saw your body... contorted horribly, and I reached for you. But the ice broke. And we sank into that dark water. PETER: And then you swam to shore and saved us both. I know. WALTER: No. I was unable to control my limbs in that icy water. It wouldn't respond. I was incapable of saving you, or myself. We were dead, Peter, you and I. Until someone grabbed me. And we were going up. We were saved, both of us, by a man that I had never met. A man that shouldn't have been there at all. He pulled us to the shore. I remembered that he was bald, that he had no eyebrows. And as he set us down in the snow, I recalled his stare, standing there in his suit soaking wet, seemingly indifferent to the cold. It was as if he knew my thoughts before I did. As if he were inside my head. Without speaking, he made it clear that he would need me one day. A return favor, so to speak. And this is it. Today, what happened with the capsule, I'm not sure how I know about the vibrations, the composition. But then when I tested it myself, heard the vibrations, felt them, it was as if an envelope had been opened and I could finally read my instructions. Instantly, I knew that I had to protect the capsule for him. Who they are, what they want - as a man of science, I share your frustration in not having these answers. But what I know is that you are sitting here now... my son... alive. I know you must think me insane. PETER: Not nearly as much as you might think. Olivia's Apartment - Late (Olivia checks her mail and refrigerator, prepares a bowl of cereal, turns and sees John Scott) JOHN: Hello, Liv. (Olivia drops her cereal)

PROLOGUE Apartment in Worcester, MA FLORA MEEGAR: Joseph! Joe! You're gonna be late! Oh, look at yourself. Tuck in your shirt. Put a comb through your hair, for god's sake. Dara's son, he always takes care of his appearance. BiCoastal Parcel RON BOYNTON: Meager JOSEPH MEEGAR: It's Mee-gar. RON BOYNTON: Late again and you're making personal calls? JOSEPH MEEGAR: Oh, no, I'm... RON BOYNTON: Who's this? JOSEPH MEEGAR: Nobody. RON BOYNTON: She your girlfriend? JOSEPH MEEGAR: No, she came with the phone. RON BOYNTON: What are you stalking this girl? JOSEPH MEEGAR: No. JOSEPH MEEGAR: Are you kidding me? RON BOYNTON: Aw, come on. Unbelievable. Two in one week. Your sweep's leaving, Meager. Get on it... Or get another gig. Herndon Building - Delivery (rock music blasts) JOSEPH MEEGAR: Hi, How are you today? BETHANY: And we're still on for the regional manager's meeting JOSEPH MEEGAR: Oh. BETHANY: Tomorrow at 4:00? Great. Yeah, thank you. Okay, great. No problem Okay, thank you. Bye- bye. JOSEPH MEEGAR: Oh, I'm so... I did not mean to interrupt. BETHANY: No problem. Don't you usually have the little tablet thingy with you? JOSEPH MEEGAR: Yeah. Uh, I usually do. BETHANY: Is there something else, or... JOSEPH MEEGAR: I used to be a Webelo. BETHANY: And? JOSEPH MEEGAR: Um, the Webelos... Cub Scouts? Your Brownie patch. BETHANY: Oh! Oh, yeah. No, I... I actually found that online. It's kitschy, right? I was gonna put it on one of my jackets. JOSEPH MEEGAR: Oh, that's... Oh, that's, uh... Yeah, that's cool. CO-WORKER: Hey, Bethany, we still on for drinks tonight? BETHANY: Of course. You better not keep me out too late this time. CO-WORKER: We'll see. BETHANY: (as her computer starts to fail) No, no, no, no. No, no, please. Don't do this to me! No. What happened? Damn it! Oh my God! Do not crash on me. This is not happening. Hold it! Hold it! Please hold the elevator. I've got to find an I.T. Guy. This is a disaster. Oh, you dropped your ph... Oh JOSEPH MEEGAR: Are you okay? BETHANY: Get away from me. JOSEPH MEEGAR: Oh no... Bethany? Bethany! (car alarms) JOSEPH MEEGAR: Stop it! Stop it! Stop doing it! ACT I A Street in Boston, MA OLIVIA: I'm telling you because you knew about John and you didn't say anything, so I trust you. At least enough for me to not think you're gonna think I'm crazy. CHARLIE: Oh, of course not. OLIVIA: I saw him last night. CHARLIE: You saw John. OLIVIA: In my kitchen. Standing about as far from me as you. JOHN: Hello, Liv. OLIVIA: I grabbed my gun, But he was gone. I know he wasn't there. Obviously. I...I just... CHARLIE: Let me see. You fall in love with your partner... Who betrays you... And your country? He dies in your arms. Then he shows up in your kitchen And you're wondering if that's grounds To rescue yourself. OLIVIA: Yeah, okay, well, we can start with that. CHARLIE: I say no.You're the one that exposed him. Bare minimum, That makes you indispensable. You want my advice? Next time John shows up for a nightcap... Give him one. OLIVIA: I'm being serious. CHARLIE: So am I. You think a few weeks pass And everything you went through just goes away? Don't fight it. Don't beat yourself up. You know, You're good at that. That's a character flaw. It'll get easier. Walter's Lab - Broyles Briefs WALTER: Did she say what it was about? PETER: Olivia? No. She'll tell us when she gets here. WALTER: How are you feeling? PETER: Never been better. WALTER: Oh? You look quite the opposite. PETER: Maybe that's 'cause I had a little trouble sleeping last night. WALTER: Oh, I had trouble sleeping myself. I was thinking about that man. The one who tortured you. Something about him. So familiar. Peter, when I was in St. Claire's... PETER: We don't have to talk about this. It's not important. WALTER: But it is important. You cannot imagine what it's like for a man like me To not have access to parts of his mind. PETER: You're doing fine, Walter. BROYLES: Dr. Bishop, Peter. PETER: Ah, visiting hours. Everybody put on their best straight jacket. BROYLES: At approximately 10:17 A.M., a massive power surge struck a downtown high-rise in Worcester, Massachusetts. As a result, an elevator on the 26th floor plummeted straight to the basement. Eight passengers died. PETER: Did the cable snap? OLIVIA: That's what's strange. The elevator didn't fall. It drove itself into the ground. PETER: That's not possible. BROYLES: Nine months ago, a MagLev train in Tokyo plowed through a crowded station. Publicly, reported as human error. In reality, caused by a power surge of unknown origin. Intelligence chatter speculated that it might be a demonstration of a new weapon technology. OLIVIA: It's possible that this morning's event was another demonstration. WALTER: To override the elevator's circuitry would require a... a discharge of immense power and precision. BROYLES: I've made arrangements for you to be received at the building. We need to know what happened, how it happened, and who's behind it. Herndon Building - Parking Garage PK SIMMONS: I'm PK Simmons, the building's engineer. OLIVIA: Olivia Dunham, FBI. This is my team, Peter Bishop and Dr. Walter Bishop. PK SIMMONS: So you've been briefed on what's happened? OLIVIA: Mm-hmm. PK SIMMONS: Damn elevator powered itself into the floor. Never seen anything like it. PETER: Shouldn't the brakes have come on automatically? PK SIMMONS: Well, that's the thing. They did. I mean, the safety's clamped onto the rails all right, but for some reason, the motor just kept going. Nearly melted the shoes, which is technically... PETER: Impossible? Yeah, we're seeing a lot of that lately. PK SIMMONS: You know your elevators. PETER: MIT drop-out. OLIVIA: Is there any security camera footage? PK SIMMONS: Nope. All the cameras frizzed. Hey, can you people move out of there? FBI coming through. OLIVIA: So how could an elevator drive itself? PK SIMMONS: It's almost like another generator came online, Jacked into the system, and overloaded it with double or triple the voltage. WALTER: Exit wound burns. Subconjuctival hemorrhages. This woman displays all of the symptoms of a classic... PETER: Thermoelectric trauma. OLIVIA: What are you two saying? PETER: He's saying that all these people were electrocuted. OLIVIA: Electrocuted? WALTER: May I? That's lovely. 24 carat gold. Traces of nickel, possibly cobalt. OLIVIA: How are you doing that? WALTER: This entire space is charged with electromagnetic energy. far beyond that which occurs in nature. There's still residual magnetic energy from whatever electrocuted these people. I need to examine the victims' belongings, and one of the bodies as well. OLIVIA: Are you saying you may know how this happened? WALTER: No, not yet. But I can tell you every one of the passengers in this elevator was dead by the time they hit the ground. Walter's Lab - Remembering WALTER: I've worked on a project where I've seen this before. The government had asked me if it was possible to make a human being trackable by pigeons. PETER: Like homing pigeons? What possible use could that serve? WALTER: Well, I'm sure it had something to do with the commies. It always did back then. Regardless, our theory was that human beings are merely highly complex electrical systems. Um... battery, please, Olivia. The heart, the brain driven by electrical impulses. and because everyone has a unique electromagnetic signature, like a fingerprint, then we theorized that properly altered, pigeons should be able to hone into that signature. OLIVIA: Like the way they know how to fly south for the winter. WALTER: Precisely. But the human field was too weak, so we tried to augment it and make it strong enough for the birds to detect. OLIVIA: Did it work? WALTER: Oh, yes. But the side effects negated our plans. There was one test subject, every time she hiccupped, the lights would dim. PETER: So you're saying these people could control electronic devices? WALTER: No, not deliberately. But I did surmise that it should be possible. No, not deliberately. (heart starts beating by itself on the table) ASTRID: Did you just make that thing come back to life? WALTER: No, not in this particular instance. But it does confirm my theory. OLIVIA: What theory? WALTER: Didn't I say? OLIVIA: No. WALTER: Someone has pursued this idea. They have amplified a person's electromagnetic field. And in fact, it is the residual energy from that person that is making this heart pump. And further, it is that person who is responsible for the deaths in the elevator. PETER: So you don't think it was a weapon that electrocuted those people? WALTER: No. It was a human being. BiCoastal Parcel - A Firing DANIEL CHIN: (on the TV) ...accident occurred just after 10:00 a.m. here at the Herndon Building in downtown Worcester. UNIDENTIFIED WORKER: Hey, Ron wanted to see you. DANIEL CHIN: ...haven't yet been released, dropped 26 stories to their death when the building's elevator system failed catastrophically. UNIDENTIFIED WORKER: What's wrong with you? DANIEL CHIN: Investigators are now looking into possible answers as to why the emergency brakes... UNIDENTIFIED WORKER: You look sick. ANCHORMAN: (on the TV) Thank you, Daniel. Now... JOSEPH MEEGAR: Excuse me, Mr. Boynton. RON BOYNTON: Where have you been? JOSEPH MEEGAR: Excuse me? RON BOYNTON: Do you remember last week what I said to you? The words I used? How sympathetic I was? What did I... what did I say? JOSEPH MEEGAR: That... that you... Yeah, that you were watching my performance. RON BOYNTON: I said you had to stay on the damn grid and stick to the schedule. because the system here, even when things are working, depends on people like you being, at the very least, reliable. JOSEPH MEEGAR: I've... I've... had a really hard day. RON BOYNTON: Guess what? Your day is fantastic compared to mine. JOSEPH MEEGAR: No, it's not. RON BOYNTON: What the hell's on your uniform? JOSEPH MEEGAR: What? RON BOYNTON: What is that? JOSEPH MEEGAR: I don't... I don't know. And I'm... I'm not sure. RON BOYNTON: I'll tell you what. I'll make it easy. It's not your uniform anymore. Get your ass down to the locker room... JOSEPH MEEGAR: Wait. RON BOYNTON: Take it off and leave it there. JOSEPH MEEGAR: No, but... but please. I take care of my mother. RON BOYNTON: Yeah, and I take care of my family. And one of the ways I do that is to employ smart, reliable, capable people. and you are none of those things. JOSEPH MEEGAR: Please. RON BOYNTON: You're fired. Go. JOSEPH MEEGAR: Mr. Bowing... RON BOYNTON: Get outta here, Meager. I don't want to see you in this building anymore. Get the hell outta here! (Boynton's arm gets caught in a machine) ACT II Federal Building - After Hours BROYLES: Here. (delivers coffee) OLIVIA: Thanks. BROYLES: I thought you left hours ago. OLIVIA: I could say the same about you. BROYLES: What are you reading? "Neural distortion in human subjects." And what's all this for? OLIVIA: I'm just trying to wrap my head around an idea Walter had. He believes that it may be a person who was responsible for the Herndon incident. Not a person wielding some kind of device. A person who has somehow developed the ability to affect, or maybe even control, electrical devices. BROYLES: And I suppose the good doctor has a theory how that's possible. OLIVIA: He thinks this person was altered in some way. Extensive procedures. Chemical therapy. What? BROYLES: In the course of investigating other pattern cases, we've come across a handful of clinics. Off the grid operations that solicited clients by making the same kinds of claims you see advertised on TV at 3:00 a.m. Only they weren't actually providing weight loss or hair growth. OLIVIA: What were they really doing? BROYLES: Have you ever heard of a man named Jacob Fischer? OLIVIA: No. BROYLES: Doctor of biotechnology. Wanted in four states and three countries for illegal human experimentation. Surgical alterations, radical hormone therapy, using average citizens as unwitting guinea pigs. One subject was pumped full of stimulants and kept awake for a solid year. Fed on a steady visual diet of horrific images. I only bring it up because if Dr. Bishop is right, and there is a person with these extraordinary capabilities, it might very well be that someone made him this way. OLIVIA: I'd like to read the files on Dr. Fischer. BROYLES: I'll have them transferred to your terminal. But it's not easy stuff to look at. (later - the power goes out and Olivia explore the corridors - hearing noises) OLIVIA: Hello? JOHN: Hey Liv It's okay. It's okay. It's just me. I know this doesn't make any sense to you. Even if it did, I know you don't have any reason to trust me. But that's what I'm asking you to do. We don't have much time. I'm here to help. OLIVIA: You tried to kill me. JOHN: No, Liv. I loved you. You know that. You know I loved you. I did. Always. I can prove it to you. But not here. It's... it's just not the way it works. You're on the right track. I'm here to tell you that. You're looking for a person, But Jacob Fischer is after him also. You need to get to him first, before Fischer can use him. OLIVIA: Use him for what? Use him for what? How do you know that? JOHN: I will prove it, Liv. That I love you. Always. But not just yet. You're just gonna have to wait. The Bishop's Hotel OLIVIA: There were weight sensors in the elevator. So just before impact, the car weighed 1,440 pounds. The combined weight of the victims, 1,275 pounds, PETER: Leaving a discrepancy of 165 pounds. OLIVIA: Meaning someone walked out of there alive. PETER: Okay. Somebody got lucky. So what? OLIVIA: Walter's theoretical test subject. I think he's real and that this could be him. PETER: The only problem with that scenario is that it doesn't make sense. If he was in the elevator car, he should've been electrocuted just like everybody else. And that's if the impact didn't kill him first. WALTER: Not necessarily. If this person is both the source and the conductor of a large amount of electrical current, then it could well induce a form of electrodynamic levitation. PETER: That's the technology behind maglev trains. They essentially float on an electromagnetic cushion. OLIVIA: So he floated. Like my necklace in the elevator? PETER: Um, no, but... it is possible that he could've levitated long enough to escape the brunt of the impact. OLIVIA: That still doesn't make sense. If you can sabotage machines, you wouldn't sabotage one you're in. PETER: Unless it was unintentional An accident. Maybe whoever we're looking for isn't in control of their abilities. Maybe they don't even know what they're doing. OLIVIA: Then we shouldn't be looking for big events. We should be looking for small ones. Unintentional ones. [Walter touches Peter, causing a discharge of static electricity] PETER: Oh, come on! Damn it! WALTER: Just a small discharge. Negligible compared to the voltage coursing through that elevator. I say we need to find this person and soon. Before he finds out exactly what he's capable of. Wool socks. Federal Building - Following Clues OLIVIA: Charlie, thanks for waking up the team. CHARLIE: Sure, look, we got reports of anomalies clustered around the outlying parts of Worcester and the Herndon building. Parking garage, gates, automatic doors, a few CCTVs. OLIVIA: Well, we need more. Enough to discern a pattern. CHARLIE: You know, saying somebody's doing all this. You do know that's crazy, right? OLIVIA: If it weren't, we wouldn't be looking for him. Joseph's Apartment FLORA MEEGAR: Mmm, Joseph. JOSEPH MEEGAR: Mom. FLORA MEEGAR: What time is it? Where the hell have you been? JOSEPH MEEGAR: Mom. I think I made a big mistake. FLORA MEEGAR: You? Surprise. JOSEPH MEEGAR: No, pl... please just listen to me. Please. A few months ago, I was reading this magazine, and there was this ad in the back about tapping into your hidden potential, you know? and I... I figured it couldn't hurt. So I went down to this office. They did some tests. FLORA MEEGAR: Did you give them money? JOSEPH MEEGAR: No, just listen... FLORA MEEGAR: What the hell's the matter with you? JOSEPH MEEGAR: They put me under some hypnosis. I don't know. And they... they said They were gonna, uh, realign the electrical impulses of my brain. Make it mimic a more confident person. FLORA MEEGAR: Oh... JOSEPH MEEGAR: No, but they did something to me! They changed me. I can't remember. And now all these things have been happening. I don't know what to do. I don't know what to do. What do I... I'm dying... FLORA MEEGAR: Stop it! Get a hold of your... JOSEPH MEEGAR: Damn it, mom! For once, please! Please help me. FLORA MEEGAR: Pills. JOSEPH MEEGAR: Oh, my god, Oh, my god. No, no, no, please. FLORA MEEGAR: Pills JOSEPH MEEGAR: Hello? Hello? Hello? Hello? Joseph's Lobby JACOB FISHER: Joseph Meegar You don't have to be scared, Joseph. We want to help you. We're here to adjust your medication. JOSEPH MEEGAR: You did this to me. What did you... (hypodermic syringe in Joseph's back) JOSEPH MEEGAR: Ah! ACT III Federal Building - Finding a Connection CHARLIE: We're looking for anything unusual. Systems going offline, random power surges. AGENT RODRIGUEZ: Hey, I've got another incident. CHARLIE: Hold on. AGENT RODRIGUEZ: BiCoastal Parcel. Guy lost his hand in a conveyor malfunction. CHARLIE: BiCoastal Parcel? AGENT RODRIGUEZ: Yeah. CHARLIE: I gotta call you back. OLIVIA: What? CHARLIE: Herndon Building security sign in sheet. BiCoastal Parcel. Joseph Meegar. Joseph's Apartment / Walter's Lab OLIVIA: (on cell phone) She was found dead. A pacemaker malfunction. PETER: (to Astrid and Walter) Olivia thinks they may have found our guy. OLIVIA: Yeah, now we just have to find him. Time of death was around 1:15 a.m., So god knows where he could be by now. WALTER: Ask her what's visible in the event perimeter. Electronic, specifically. PETER: (on cell phone) Walter wants to know what's in the apartment. What kind of gadgets? Uh, specifically electronics. OLIVIA: Um, okay, there's an answering machine. PETER: Answering machine. OLIVIA: Telephone. PETER: Telephone. OLIVIA: Boom box. PETER: Boom box. OLIVIA: Fan. PETER: Fan. WALTER: B...boom box. That's a device for playing music. Cassette tapes, yes? PETER: Yes, but now's not really the time. (on cell phone) Anything else, Olivia? OLIVIA: Television. PETER: A television. OLIVIA: Lamps. PETER: A lamp. Walter! Walter! Pay attention, would you? We're doing this for you. WALTER: Tell Olivia to come home. I know how to find him. Walter's Lab - EM Signature OLIVIA: So... so what is this? WALTER: This is the sort of work I was born for. has a unique magnetic fingerprint. PETER: You were hoping for something more specific, maybe? WALTER: Everyone has a unique magnetic fingerprint. I said that, yes? But it is limited. Barely traceable, Except in people like Mr.... What's his name? OLIVIA: Meegar. WALTER: Meegar. But since Mr. Meegar has been enhanced, he'll give off stronger signal than your average joe. OLIVIA: So what's that got to do with the cassette tape? WALTER: The cassette tape is as simple as it gets. Once exposed to a magnetic field, it remains permanently magnetized. Given the strength of Mister... Meegar's electromagnetic signature, plus his proximity to the tape, I have little doubt that that cassette has been imprinted with Meegar's electrical signature. PETER: It... it's kind of like when a film camera double-exposes a picture. WALTER: Now we just take out the music and see what we have left. Uh-huh. Well... Wait, wait, wait... there it is. That's him. That's Mister... ALL: Meegar. WALTER: Yes. Now to find Meegar. OLIVIA: How? WALTER: Birds. OLIVIA: Wait, you mean that pigeon thing? WALTER: Mm-hmm. OLIVIA: You believe we can find him using pigeons? WALTER: It's possible. As I've said, I can program carrier pigeons to track a strong electromagnetic field. We have his signature. Now all we need are birds. OLIVIA: I... I wish you told me earlier, because then I could've been working on it. So how many? WALTER: Not many. Two dozen. OLIVIA: Two dozen. Great. Waking-up in Fischer's Lab JOSEPH MEEGAR: Wait, where am I? MAN: (on phone) Tell Fischer he woke up. JOSEPH MEEGAR: What is... what is this place? Hey, what are you doing? What are you... No, no, no! No, wait, no... Please! Please, please, please! Walter's Lab - Prepping Pigeons PETER: You ready? WALTER: Yes, ideal. OLIVIA: Walter, you're not gonna accidentally fry one of those pigeons? WALTER: Stranger things have happened. PETER: That's his motto. WALTER: As I said, pigeons contain traces of magnetite in their beaks. Like hundreds of tiny compass needles. The tesla coils will create an artificial electromagnetic field, which I have already matched with Mister... Uh, whatever's unique signature, and will now imprint onto the pigeon. OLIVIA: So we set all of these birds free and they... PETER: Fly to Joseph Meegar. Yeah, I know. Me too. I'll believe it when I see it. WALTER: Step back! Work to be done. GPS chip's ready? ASTRID: Yep. PETER: So we're putting GPS chips on carrier pigeons to find a man who can control electricity? I have you to thank for that, don't I? OLIVIA: Yeah, that's me. (outside the lab in the hallways of Kresge Hall - Olivia sees John) OLIVIA: No! JOHN: You listened. OLIVIA: You're not real. JOHN: The last time we spoke, you listened. OLIVIA: You stay the hell away from me. JOHN: Liv, I didn't betray you. You know that. In your heart. You know I wasn't the one. PETER: Hey, I think this bird thing might actually work. You okay? OLIVIA: Yeah. ACT IV Outside Walter's Lab PETER: Hey, Charlie. OLIVIA: Oh, thanks. PETER: Did I miss anything? OLIVIA: No, I think the show's about to start. WALTER: I know we've only been together for a short time, but I think I'm going to miss them. Such majestic creatures. ASTRID: They're rats with wings. You'll get over it. All right, GPS is active. WALTER: Excellent. Then we're ready. PETER: Ladies and gentlemen, start your engines. CHARLIE: Start it up. WALTER: Come on, come on. (Walter whistles at birds. Birds leave. Walter laughs) ASTRID: Are you sure this gonna work? WALTER: Of course not. (Peter and Olivia pursue in a car, Charlie follows) PETER: Seriously, if this works... OLIVIA: You're gonna have some more faith in your father? PETER: No. Back Inside Walter's Lab WALTER: So what do we do now? ASTRID: We gotta tie the GPS to the mainframe. WALTER: Genius. ASTRID: And we're in. And there are the birds. Car Chasing Pigeons OLIVIA: I don't see them. PETER: (on cell phone to Astrid) Yeah, we lost the birds. ASTRID: They're going northwest towards Mill street. PETER: We're approaching Mill now. ASTRID: Uh, make a left. PETER: (to Olivia) Take a left. OLIVIA: I see them PETER: All right, we got them. I see them. Aren't you glad you got the car washed? Room Where Joseph is Held JOSEPH MEEGAR: Ah! Ah! What is that? JACOB FISCHER: It is unfair. And I appreciate that the position you find yourself in now must be so surreal for you. JOSEPH MEEGAR: Oh, my God! What did you do to me? My head...hurts so much. JACOB FISCHER: Those had to be subdermal. They can be removed later. JOSEPH MEEGAR: What am I doing here? No, no, no... Ah! JACOB FISCHER: You don't realize what you are. JOSEPH MEEGAR: I'm scared. Okay? JACOB FISCHER: You wanted to be confident. That's why you came to us. JOSEPH MEEGAR: No, I don't want to be confident. I don't need to be confident. JACOB FISCHER: But you are now. JOSEPH MEEGAR: I just want my life back! I just want to go back to how it was, please! JACOB FISCHER: Look what science has made you, Joseph. You are special. JOSEPH MEEGAR: No. Pigeon Chase Continued ASTRID: Make a right on Tempest. PETER: Take your next right. ASTRID: All right I think they stopped OLIVIA: There. PETER: All right, I got them. I see them. Okay, we're heading there now. ASTRID: Then our work is done. Good luck. OLIVIA: Hey, you stay here. PETER: Whatever you say, boss. CHARLIE: I'm not gonna ask. OLIVIA: Good. Raiding Fischer's Lab JACOB FISCHER: What is it? ASSISTANT: Visitors. Front entrance. JACOB FISCHER: Take him out through the back. Wait at the depot. You'll be contacted there. ASSISTANT: What about you? JACOB FISCHER: He's the priority. (at the front entrance) OLIVIA: No movement. CHARLIE: Stand back. (in the garage) JOSEPH MEEGAR: Where are you taking me? ASSISTANT: Get in. Get in the car! (at the entrance) CHARLIE: Get those hands up. I said get your hands in the air. OLIVIA: Joseph Meegar. Where is he? JACOB FISCHER: I'm sorry. Who? OLIVIA: Take upstairs. We'll go around. (in the garage) OLIVIA: Freeze! Stop! Joseph! Stop or I will shoot! JOSEPH MEEGAR: Ugh! ACT V Securing Fischer's Lab (Meegar is wheeled to the ambulance) PETER: They're gonna keep him heavily sedated for a while - don't want him pulling his whole electro-man thing. OLIVIA: (approaching the ambulance) Mister Meegar. JOSEPH MEEGAR: Miss, no one will tell me where I'm going. OLIVIA: To the hospital. They're going to perform some exams. Check to see that your head's okay. And then I'm gonna have some questions for you. JOSEPH MEEGAR: I want to go home. I didn't want to hurt anybody. OLIVIA: We're going to help you. JOSEPH MEEGAR: That's what they said. Please... I want to go home. OLIVIA: I'm afraid we can't let you do that. Back at the Bishop Lab WALTER: That one can go out the back. Thank you, my dear. ASTRID: What's my name? WALTER: Starts with "a", yes? ASTRID: Astrid. WALTER: ah, ha, ha - I knew it. (Olivia walks in) WALTER: Ah ha, Olivia. Peter told me to tell you, if I saw you, that he was returning the pigeons. (he starts to sip milk) OLIVIA: Walter. What's... WALTER: ah - that's milk… from Gene. Do you want some? OLIVIA: I'll pass. WALTER: Are you certain? OLIVIA: Um-huh. WALTER: The color in your face. You're looking a little pallid. Are you feeling well? OLIVIA: Fine. I'm a little tired - that's all. WALTER: Well, I don't yet know you well enough to ask this, but, uh... you haven't seemed yourself lately. OLIVIA: I haven't been sleeping very well. I've been... nothing. See you tomorrow. WALTER: Have you been seeing him? Your friend... John Scott. I'm not surprised. There is a reason. OLIVIA: I've been having hallucinations. WALTER: No. Not hallucinations. OLIVIA: Walter. What's happening? WALTER: I can't be sure. The brain is a mystery… but I believe, when you were in the tank, John Scott... that part of his consciousness crossed over into yours - and it's still there. His memories, experiences, thoughts. You understand me, yes? OLIVIA: These aren't memories. He appears right in front of me - he talks to me. WALTER: Yes, he would... like a waking dream... because he doesn't belong there. There's only room for one voice in your head, not two. This is your brain's way of working it out. Your mind is expelling him, exorcising his thoughts. OLIVIA: He'll go away... is that what you're saying? WALTER: I don't know. Do you really want him to? Dunham Drives Home (Olivia sees imaginary John walking. She follows him to a basement full of files and photos) Broyles Briefing - Federal Building (Dunham joins her supervisor in his office) BROYLES: Our team is still cataloging all the files that we found in the cellar. Apparently John Scott was conducting his own investigations. OLIVIA: Did the files give any indication of who he might've been working for? BROYLES: Not that we can see. But it appears that many of the cases were Pattern-related. OLIVIA: He knew about 'The Pattern'? BROYLES: He also knew about our friend Dr. Fischer. In fact, he knew quite a bit more than we did. Including seven other potential Josephs that Fischer was subjecting to treatments. (she inspects files) Fortunately, none of them had activated yet. We were able to locate all seven. Medical services is examining them now, but they appear to be fine - thanks to you. Fischer's still refusing to cooperate, but I suspect six weeks in solitary (Dr. Fischer is locked in a cell) might change his mind. OLIVIA: Well, I hope you're right about that. BROYLES: And there was also something else. (puts a metal container on the table) - John Scott's personal effects. It would seem some of them were intended for you. (he departs) (Olivia opens a ring box with an inscribed ring reading 'Always') SCOTT: (voice-over) I will prove it Liv - that I love you - always.

PROLOGUE Holly's Diner - Milford, MA (a white van dumps Emily Kramer in the street and drives off. she finds a late night diner, wanders in and is greeted by the waiter) BEN: (to Emily) Hey do you need a menu? You okay? Do you want some food? There's a wicked good vegetable soup. (gets a nod and walks back to the chef) Hey give me a soup. GARY: Onion? BEN: No. Vegetable. No one likes the onion. And call Marty would you? GARY: Marty? How come? BEN: There's some woman here who might be in trouble. She might need some help. BEN: (walks back to Emily) Here you go. EMILY KRAMER: Thank you. BEN: I used to love those crackers. When I was kid my mom would always get pissed at me because whenever we went out to eat I'd always eat like three packs before the food came and then I'd be stuffed. BEN: What happened there? Not that it's any of my business. I'll leave you alone if you like. EMILY KRAMER: I'm trying to remember. MARTY PITTS:I was at Thurber's. BEN: Hey Marty. MARTY PITTS: I'll just have a soda. How you doing tonight? You live around here? I do. I live in the area. Haven't seen you around. EMILY KRAMER: I know I was born in Boston. MARTY PITTS: Oh yeah? you were born there? So, uh, where do you live now? Where's home? EMILY KRAMER: I don't remember. They... they did things. MARTY PITTS: Who did things? EMILY KRAMER: I-- I don't-- I don't know. They-- they gave me a red medicine. MARTY PITTS: Yeah? So, uh, what was the red medicine? EMILY KRAMER: They didn't tell me. MARTY PITTS: Okay, that's alright. EMILY KRAMER: And, um, a blue one. There was blue. They -- they confused me. They... hurt me and -- MARTY PITTS: Ma'am, I think you should come with me. EMILY KRAMER: No. MARTY PITTS: I can help you. EMILY KRAMER: No! MARTY PITTS: No no no, you're not in any trouble. EMILY KRAMER: No stop--stop it! MARTY PITTS: You need to talk to somebody. (trying to handcuff her) EMILY KRAMER: Stop it! MARTY PITTS: This is Officer Pitts. I've got a 5150. Can you make sure that Hannah's available tonight please. BEN: Aah! (becomes ill and collapses) MARTY PITTS: Ben. Ben! (everyone become violently ill) MARTY PITTS: I need an ambulance at the diner right away! Right now! (everyone starts bleeding from the eyes and ears) What the hell is this?! (everyone starts moaning and screaming, collapse then die. Emily's head explodes offscreen) ACT I Holly's Diner - Investigated (forensics and the science team gather outside. Walter hums like the nearby transformer) PETER: (to Olivia) What? OLIVIA: Oh, that doesn’t bother you? PETER: Are you kidding? That man falls asleep counting PI to the one hundred first digit. That’s soothing. OLIVIA: Walter! WALTER: Was I humming? I thought it was in my head. OLIVIA: It wasn’t. WALTER: Forgive me Olivia… nothing sings like a Kilovolt. Unique pitch. Nothing else in nature quite like it. OLIVIA: I’m sure you’re right. PETER: What’s up? What’s on your mind? OLIVIA: Short fuse today, I guess. WALTER: Indeed, the tension in your voice indicates that you’re carrying a heavy psychic burden. Tortured by the depths of some -- PETER: Hey Walter, I think she liked it better when you were humming. BROYLES: The incident occurred approximately six hours ago. All we’ve been able to determine so far is that they were exposed to high levels of radiation. Emily Kramer. Last night was the first night that anyone had seen her in two weeks – seem she was reported missing by her parents. Police officer inside responded to a psych disturbance, which would explain why we found her in handcuffs. OLIVIA: You think she was a runaway? BROYLES: Her parents say no. They say she was perfectly happy. In fact, she had just been accepted to a masters program she was excited about. Curiously, the level of radiation coming from Emily’s body is almost three times as great as the rest. OLIVIA: Are you saying she is the source? BROYLES: Don’t know. Doctor Bishop, any thoughts? WALTER: Yes… where can I get one of those white suits? (Regards the Hazmat suits worn by science team) (inside the diner) PETER: Oh... ah... oh, yeah… there’s no head. WALTER: She was sick. Most like Bellini’s Lymphocemia. (inspects Kramer’s arms) striped bruising on her neck and upper arms. OLIVIA: You know what he’s talking about? PETER: Bellini’s Lymphocemia. It’s an auto-immune disease. Irreversible. The body destroys its own muscles and organs. OLIVIA: Meaning it’s fatal. PETER: Yeah. WALTER: Though I’ve never seen Bellini’s cause a victim to lose her head. And what’s more curious - this woman seems to have been in remission. Cured even… the rash appears to be healing. Bruises receding. PETER: How do you cure a disease that is incurable? WALTER: I haven’t the slightest idea, though I myself once cured this one in a dream. Opium. Fantastic stuff. Of course I forgot it as soon as I woke up. (he jams a meat thermometer into Pitt's brain through the ear) PETER: Uhh! Thanks for the warning. WALTER: One hundred twenty one degrees… that’s counter-indicative for a hemorrhagic tumor. Most likely water molecules excited all at once. PETER: He means the guys brain was boiled. WALTER: Like a Maine lobster. I need this body and the headless one taken back to my lab. OLIVIA: Walter - her disease… If there’s no cure -- WALTER: Well, that’s the question. And one which we should pose to whoever was treating her. Which makes three questions. The other one being, what exactly happened here? PETER: That’s only two questions. WALTER: Oh… is it? Oh, the third question! Um, could I get some of this onion soup? It looks delicious. Patel Health Care Interview NADIM PATEL: Agent Dunham? Nadim Patel. Pleasure to meet you. OLIVIA: Thank you, thank you very much for taking the trouble to talk to me. NADIM PATEL: Of course. I’ve been told you have news about Emily Kramer. OLIVIA: Unfortunately, I do. Emily was found dead last night. NADIM PATEL: What? How? OLIVIA: I’m not at liberty to discuss that with you. NADIM PATEL: Forgive me. I’m just… emotional investment in patients. It’s an occupational hazard. Her poor parents must be devastated after everything they’ve already been through. OLIVIA: Yeah, and I hate troubling you about this, but, we understand that Emily was suffering from a fatal disease that had recently gone into remission. NADIM PATEL: That’s right. DUNHAM: (hesitates) Do you have any idea how that’s possible? NADIM PATEL: Medically, no. OLIVIA: Were you treating her with any sort of radiation therapy? NADIM PATEL: Radiation? No, why? OLIVIA: The… the circumstances surrounding Emily’s death were unusual. And it’s possible that her condition may have been a factor. NADIM PATEL: I’ll get you her records if that’ll help. OLIVIA: Yeah. NADIM PATEL: She was finally starting to live again. Walter's Lab - Performing Autopsy PETER: Do I really need to be here? Couldn’t you just use a clamp? WALTER: Of course I could, but I enjoy the company. Quality time, they say. PETER: Yeah, ‘cause this is just like throwing around the old pigskin. ASTRID: What’s that smell? WALTER: Hyacinth, my third favorite flower. Associated in mythology with rebirth, which in this case is cruelly ironic. ASTRID: It’s coming from her? WALTER: Indeed, which indicates either a mutation at the genetic level, or she was eating flowers. Perhaps her perfume. OLIVIA: How’s it coming? WALTER: Oh, Olivia, join us. We’ve learned some things. PETER: We don’t think she ran away. WALTER: Ligature marks. OLIVIA: So she was being held against her will. WALTER: Either that, or she had a proclivity for sexual bondage. Scientific observation, not a judgment. Some of my fondest memories -- PETER: Oh Walter, stop! Wherever that’s going is just wrong. WALTER: (points to body) There’s also this. Subcutaneous injection marks. She was being given medicine intravenously. OLIVIA: So, whoever was holding her captive was giving her drugs. WALTER: Yes. But not the enjoyable kind. In fact, quite unlike anything I’ve ever seen before. PETER: (to Olivia) You okay? OLIVIA: Should I be? So, how’d she end up in the diner?... Did she escape? WALTER: Perhaps not. There are two distinct methods in scientific experimentation. Lab trials or field trials. ASTRID: You’re suggesting they may have let her go on purpose? PETER: Whoever did this wanted to make sure what they did to her was working. OLIVIA: So there was something inside her that killed those people at the diner… in her. WALTER: Noggin? -- I am not sure yet. Just a theory, obviously I’ll be more certain once we identify the substance OLIVIA: (answering phone) …sorry WALTER: …or when whoever did this… OLIVIA: (on cell phone) Hey, Charlie. WALTER: …tries to repeat their results. ASTRID: You mean if they take another woman. WALTER: Judging by Agent Dunham’s body language, I’d say she is receiving that very news. OLIVIA: (to Charlie) Okay. The Williams’ House – Acton, MA CHARLIE: Missing persons called in another case four hours ago. Her name is Claire Williams. She was diagnosed with Bellini’s Lymphocemia three years ago. OLIVIA: Someone’s targeting people with the disease? CHARLIE: That… or it’s one hell of a coincidence. Hey, Liv. I get it. OLIVIA: You get what? CHARLIE: Young woman, what was done to her. You know, this coming your way… today of all days. OLIVIA: (rings the doorbell) It’s okay. I’m okay. CHARLIE: Listen, I know you don’t like to celebrate, but happy birthday. OLIVIA: (door is answered) Ken Williams? Olivia Dunham, Charlie Francis, FBI. KEN WILLIAMS: Claire… did you find her? CHARLIE: I am afraid we don’t have any new information. But we do need to ask you a few questions. (inside the house a photo is shown) CHARLIE: Her name is Emily Kramer. She suffered from the same disease as you wife. You’ve seen her before? KEN WILLIAMS: Another case? What -- what happened to her? OLIVIA: Do you know her, Mister Williams? KEN WILLIAMS: No, I -- I don’t think so. We don’t know anyone else with Bellini’s… I mean, what we went through fighting Claire’s disease… and the constant pain… when the lesions started appearing, she stopped going out. The damn disease almost took everything from us, even our marriage. And then… it was like a miracle. OLIVIA: A miracle? KEN WILLIAMS: She started getting better. The pain went away. OLIVIA: She went into remission? KEN WILLIAMS: About six weeks ago. She was herself again. And now… please find my wife. Please find her for me. Easterbrook's Private Lab - Framingham, MA (Claire's monitor beeps. her vision clears. she sobs) CLAIRE WILLIAMS: What’s happening? (Sarnoff adds a colorful drug to her treatment) CLAIRE WILLIAMS: Please don’t hurt me. (Sarnoff leaves the room. Esterbrook studies her on the monitor) DAVID ESTERBROOK: The last one was a test. This one counts. Is she a candidate? ELIZABETH SARNOFF: Even better. DAVID ESTERBROOK: Let’s get started then. (Claire begins to panic) ACT II Walter’s Lab – Papaya Demo WALTER: To understand what happened at the diner - we’ll use Mister Papaya. Clear!... This is upsetting because he is the friendliest of fruits. (waiting)… and we have GOO-ification. ASTRID: Is that the scientific term? WALTER: Wait. The show’s not over yet. (the papaya explodes) OLIVIA: Is that what you think happened to the people of the diner? WALTER: That beam emits high energy microwaves which cause Mister Papaya’s molecules to vibrate rapidly causing friction and producing heat. PETER: It’s like how a microwave oven cooks food. Only in the Emily Kramer case… she was the oven. ASTRID: But then what killed Emily? WALTER: This demonstration is far more effective with living tissue. I have some expendable gerbils in the back. OLIVIA: No. WALTER: Oh it’s no trouble, I’m sure you’d like it. PETER: Walter, just drop it. ASTRID: Wait, am I missing something? How is it that Emily is, um, cooking people? WALTER: In her blood I found traces of radioactive isotopes, Strontium Ninety. I believe that these microscopic capsules are designed to release just the right amount of radiation at specific times – to cure her disease. OLIVIA: So you think these capsules saved her life. PETER: Think of it like time released chemotherapy. WALTER: Oh yes, yes but, in Emily’s case, the cure are also made her a perfect candidate for weaponization. Whatever was injected into her bloodstream caused these capsules to burst all at once sending out a microwave blast and perhaps given her own head was the source of energy - kaboom. OLIVIA: So Emily’s rheumatologist, Doctor Patel would he have access to these sorts of isotopes? PETER: It’s doubtful - they only use them in a couple of therapies and they are really strictly regulated, why? You think Patel had something to do with this? OLIVIA: I don’t know, but eighty three percent of kidnap victims are abducted by someone they know. I’m gonna go and talk to Emily Kramer’s parents. PETER: I’ll come with you. WALTER: Oh Peter! If you’re going out, could you bring me back some cotton candy? PETER: Cotton candy? WALTER: Yep… and Blue! Not pink. I’ve had a craving. Must be the Hyacinths. Lovely blue flowers. Emily Kramer’s House – Looking for Clues PETER: You’re probably way ahead of me on this already, but I’m noticing certain uncomfortable similarities between this and some of the other incidents we’ve been covering lately. More humans, being used as Guinea pigs. My point is, if this is part of the pattern, what if these people aren’t just experiments? What if somebody is preparing for something? (notices a crowd arriving) Maybe we should come back later. OLIVIA: Before or after they do to Claire Williams, what they did to Emily Kramer? PETER: Olivia, this is a wake. These people are mourning their child. (they enter the house and heads directly upstairs) PETER: No. Don’t you need a warrant for this? Hey Olivia - stop! Okay… crashing a wake is bad enough, but rifling through a dead girl’s things? OLIVIA: It’s the only hope we have of finding a solid lead, so please help me. PETER: What is it that we’re looking for? OLIVIA: Anything, any connection she may have had - - PAULA KRAMER: (discovers them in the room) What are you doing in here? Who are you? What are you doing in my daughter’s room? OLIVIA: Mrs. Kramer we’re terribly sorry about your loss. We are with the FBI. PAULA KRAMER: FBI? Today? You come here today? OLIVIA: Mrs. Kramer. Please listen to me. Another girl’s life is at stake. PAULA KRAMER: What do you mean? What other girl? OLIVIA: Her name is Claire Williams. PAULA KRAMER: Claire? What’s happened to Claire? OLIVIA: You know her? (minutes later in Claire’s room) PAULA KRAMER: A therapist told her to write through the pain and the alienation that she felt. It was all she had until the treatments. PETER: The treatments? PAULA KRAMER: For her Bellini’s. Emily and Claire both had the disease. That’s how they met. Here. They became such good friends. (they review a photo of Ken and Claire Williams with Emily Kramer) Return to the Williams’ House OLIVIA: (after banging loudly on the door) Why did you lie to me Mister Williams? KEN WILLIAMS: We met Emily at the hospital waiting for blood tests, she and Claire started talking, sharing horror stories about the disease. They became friends, and one night over dinner, the conversation turned to how the medical establishment had abandoned us. See, there’s only three thousand people in this country who suffer from Bellini’s. Not enough for the drug companies to make a profit. So they’re not looking into developing a cure, and we started talking to some other people we met who also had the disease. A microbiologist, an investment banker, the mother of a professional athlete - started thinking about what we could do if we pooled our resources. OLIVIA: So Claire and Emily were treating themselves. KEN WILLIAMS: We didn’t have a choice. We were desperate. We tried radical therapies normal doctors wouldn’t touch. Three months ago we found a cure. PETER: Time released radioactive capsules. KEN WILLIAMS: …yeah. OLIVIA: I don’t understand. Why lie? KEN WILLIAMS: Because the people we love are depending on it. I can’t take the chance you’d stop that. Claire wouldn't want that. It is what gave us our lives back. OLIVIA: Mister Williams, we will need the names of the other patients involved. KEN WILLIAMS: I could give you some but I don’t know all of them. You’ll have to ask Doctor Nadim Patel. OLIVIA: Emily’s doctor. He knew this was going on? KEN WILLIAMS: He cared enough to help us. PETER: The medication. Do you have a sample? (Williams nods) Easterbrook’s Lab – More Treatment (Sarnoff prepares another dose for Claire Williams) CLAIRE WILLIAMS: Is that my Bellini’s medication… Just… Tell me what you’re doing. Please just tell me what you’re doing to me. ELIZABETH SARNOFF: We know all about your disease Claire. We know that this makes you better. But this… this will make you special. CLAIRE WILLIAMS: I’m so tired. (sobs) Patel Health Care – Challenging Patel NADIM PATEL: What is this? OLIVIA: When I told you there were unusual circumstances surrounding Emily’s death, these were the circumstances. NADIM PATEL: I don’t understand. OLIVIA: We know how it worked Doctor Patel. Ken Williams told us everything. What we don’t know is who else was involved. NADIM PATEL: I’m not responsible for this, not this. All I do is give them updates. OLIVIA: Who’s they? Who’s they? NADIM PATEL: Intrepus. OLIVIA: The drug company? NADIM PATEL: You should just walk away, you have no idea who you’re dealing with, what they’re capable of. OLIVIA: I need a name, Doctor Patel. (Patel turns to a file cabinet as if he were going to give find the name) OLIVIA: Doctor Patel? Doctor Patel? (Patel pulls a pistol from his files then turns and points it at Olivia) OLIVIA: (aims her pistol) Drop it! NADIM PATEL: I swear, it was only supposed to be updates. OLIVIA: Doctor Patel, put the gun on the ground now! NADIM PATEL: I’m a doctor, a healer. Do you want a name?... David Esterbrook. (Patel turns the gun on himself) OLIVIA: NO! (gunshot off-camera) ACT III Federal Building - Pinpointing Easterbrook CHARLIE: Hey I found him… David Esterbrook - he heads up Intrepus Pharmaceutical Research Division. By all accounts, he’s solely responsible for a 'gun’s blazing congressional lobbying campaign' that allows Intrepus to dig into some of their more controversial R and D. OLIVIA: Define controversial. CHARLIE: Prenatal gene therapy, human–animal hybridization studies, viral warfare, all the fun stuff. He is in Manhattan today, he’s speaking at a humanitarian aid forum. Listen Liv, even if the doctor was right, even if Esterbrook had something to do with what happened to those women, I’m gonna go out on a limb, I gonna say he’s not going to confess. OLIVIA: I want to see it in his eyes, Charlie. I need to know it’s him. Humanitarian Aide Forum - Manhattan, NY OLIVIA: Mr. Esterbrook? Sorry to interrupt. Amanda Bennet, Baxil. Listen, with the risk of sounding sycophantic, I’ve followed your work since Yale. Three degrees, including a PhD. in medicinal neurobiology. I couldn’t even get through biochem without cheating off my roommate. (giggles) I’m sorry, this will sound insanely naïve to you. DAVID ESTERBROOK: No, hardly. OLIVIA: Science and technology has reached a point where our means are finally catching up with our imaginations, and the only thing preventing us from doing truly visionary work are these moral-based restrictions that lawmakers put up in the name of public policy. That and money. We’ll always need more money. DAVID ESTERBROOK: I’m gonna let you in on a little secret, Amanda. It isn’t about the money. It is about the resolve. OLIVIA: I haven’t been entirely honest with you. I don’t work for Baxil. But I do know a colleague of yours. Doctor Nadim Patel. DAVID ESTERBROOK: How is Nadim these days? OLIVIA: These days? Dead. DAVID ESTERBROOK: I’m sorry to hear that. OLIVIA: Not as sorry as I was to watch it happen. DAVID ESTERBROOK: Identity theft is a Federal crime, Amanda. OLIVIA: So is kidnapping and murder. And it’s Agent Dunham. DAVID ESTERBROOK: Tell me, what did you hope to get out of this conversation? OLIVIA: I already got it. DAVID ESTERBROOK: How old are you? Twenty-eight? Twenty-nine? You’re an attractive young woman. I’m sure you want to start a family one day. It would be a shame if anything got in your way. (he walks away) Federal Building - Broyles Gets The Word (the elevator arrives and he exits) BROYLES: (answers his cell phone) Broyles. (exhales) When? Walter's Lab - A Word of Caution BROYLES: Dunham. OLIVIA: Hey. BROYLES: I understand you paid a little visit to David Esterbrook. OLIVIA: Well news travels fast, I was just about to type up the report - - BROYLES: In public… in a hotel bar. OLIVIA: I didn’t realize my interview techniques were under such close scrutiny. BROYLES: Everything we do is under close scrutiny. This task force that you’re now part of, at best… it’s controversial. We need to be perfect. Trying to intimidate such a high-profile suspect in a murder investigation is reckless, at best. OLIVIA: Claire Williams is a prisoner right now, having god knows what injected into her body. And David Esterbrook knows where she is. He’s guilty. And he just assumes he’ll get away with it. So excuse me, but right now, I couldn’t give a damn about politics. BROYLES: Which is exactly your problem, and now mine. You think you’re the only one who wants to find Claire Williams? Meanwhile you violated the cardinal law of our profession. You let your feelings drive your decision-making. And as a result, you’ve endangered not only Claire Williams’ life, but everything we’re trying to do here. If I can’t trust you to control your own passion, Dunham, then I can’t trust you... Is that clear? OLIVIA: You’ll have my report on the Esterbrook interview within the hour. BROYLES: I’ll be waiting. OLIVIA: Is there anything else you’d like me to run past you? BROYLES: Not anything. Everything. Easterbrook’s Lab – A Test (Claire’s monitor beeps. Sarnoff releases a rat in the room) DAVID ESTERBROOK: How’s it going? ELIZABETH SARNOFF: She’s almost ready. DAVID ESTERBROOK: And the capsules in her blood stream, they can be triggered remotely? ELIZABETH SARNOFF: Everything’s as requested. She’ll be stable and ready for transport by morning. DAVID ESTERBROOK: I’ll call the client and scheduled delivery. Well done. (Claire sees the rat crawl under her sheets. blood seeps thru) C.WILLIAMS: aah! oh! oh! What’s happening to me? Walter's Lab - Olivia's Office PETER: (knocks and enters) Hey, how’s it going? OLIVIA: It’s great. Esterbrook’s our only lead to where they're holding Claire Williams, and I can’t get to him. I mean, the guy’s cleaner than snow. Not even as much as an unpaid parking ticket. PETER: Well, I think we actually might be making some progress. a couple of minutes ago, Walter thought he might have isolated the compound that’s in Emily Kramer’s blood, but then he got distracted by the unicorn running through the lab. OLIVIA: Funny.… Anything else? Got any more jokes? PETER: All right, something’s been bugging you all day. Something other than Claire Williams. And that’s okay. You know what? We’re all allowed to have our bad days. What’s not fine is blaming it on me. I want to find her just as much as you do. OLIVIA: You’re right. I’m sorry.… I… I’m sorry. Fine. I had a stepfather, and when he drank, he accused my mom of seeing other men, and then he’d hit her. And she’d just live with it. Never called the police, not once. Then one day, he beat her really bad and broke her nose. I was nine. He stormed out of the house, got in his car and drove off, my mom’s crying and I can’t help her, and then I hear his car. He’s turned back around. He kept a gun in the drawer near his bed. When he opened the door, I pulled the trigger. Then I pulled it again. And I can still see his face - - almost daring me to finish. But I couldn’t. So… they took him to the hospital and said that he couldn’t be saved, but he didn’t die. He recovered. Then one night, he just slipped away. We never saw him again. And I still blame myself, because I should’ve done it if. I should’ve killed him. And I know that rationally, he is not responsible for all the bad things in the world, but he is responsible for some of them. And every year he sends me a card on my birthday… Just to let me know… That he’s still out there. PETER: It’s your birthday today? (nods) No man is untouchable Olivia. If you really want Esterbrook, all you have to do is talk to your friend Nina Sharp. Massive Dynamic as three separate pharmaceutical divisions they’re all in direct competition with Intrepus. Their annual budget for corporate espionage could feed a mid-sized nation. I guarantee you she has something on David Esterbrook. OLIVIA: Yeah, but even if you’re right, I can’t go to her. PETER: Why not? OLIVIA: Because despite their annual budget, corporate espionage is wildly illegal. You really think that she’d admit that to me? It’s here somewhere. I know it is. I just have to look harder. PETER: (walks out) I’m going out. WALTER: Okay.… Oh, Peter! To be honest, I didn’t even know you were here. The Chariot Equestrian Center NINA: (gives her horse to the trainer) Thank you. PETER: Excuse me. Miz Sharp. Hi, I’m Peter - - NINA: Peter Bishop, Walter Bishop’s son. You’re not the only one who’s done their homework. What can I do for you, Mister Bishop? PETER: Well, I was hoping I could take a moment of your time. NINA: Well… does Miz Dunham know you’re here? PETER: No, no, she doesn’t know I’m here. NINA: Well, Peter, suppose we take a walk. (walking together) You’re suggesting that Intrepus is conducting illegal drug trials with human beings. That is a rather bold claim to make, Mister Bishop. How are you able to substantiate your information? PETER: Would you put it past them? Let’s assume for a second that what I’m saying is true. NINA: hmm. PETER: Where would they do it? They wouldn’t risk using one of their own testing facilities. It would have to be some place off the grid. NINA: You know, you still look just the same as you did when you were a child. Oh, I doubt you’ll remember, but you and I spent a good deal of time together. Some of it right here. Your father and I were quite close when we were both much younger. Now I have all kinds of information, Peter, and some of it does me no good. Well, take the Aymara people, for instance, of Central Peru. I know that the soil beneath their land houses a naturally occurring metal alloy that is potentially hyper-conductive. I also know that you have managed to successfully conduct business with these and other tribal concerns, in parts of the world traditionally resistant to development. PETER: I’m sorry, Miz Sharp. I think I must’ve missed your question. NINA: My question is, are you willing to make a bargain? I’d give you the exact location you want, and in exchange, I get to come to you someday, and you return the favor. No questions asked. So… Do we have a deal? ACT IV Walter's Lab - Preparing an Antidote WALTER: Do you smell that? ASTRID: Yes, and next time how about a little warning? WALTER: Huh? Oh, not that. Methyleugenol. The chemical responsible for giving Hyacinths their aroma. ASTRID: So what about it? WALTER: I have been trying to determine what caused that the radioactive capsules in Emily Kramer’s bloodstream to burst at once. This is it, Asterisk. PETER: Astrid. Her name is Astrid. WALTER: I’ve got it Peter. Methyleugenol is the key! That’s what they injected her with. That’s why these women were chosen. By itself, harmless, but given their treatments-- PETER: Causing all the capsules to burst at once… They made her radioactive. They turned her into a weapon. WALTER: It will be a decidedly blue compound, and now that I know—no… Yes… Yes! That’s it. A bonding agent. That will work. That will interfere with the process. PETER: How long? How long will it take to make the cure? WALTER: Oh, not long at all. Now that I know. Where’s Olivia? (meeting in the hallway) PETER: Ahem. OLIVIA: When did this happen? When did this become the world we live in? Patel, Esterbrook. These are the people we trust to take care of us. PETER: 5620 Stapleton Avenue. The facility where Clare Williams is being held. That’s the address. OLIVIA: How could you possibly?-- PETER: Radioactive isotopes have a heat signature that’s visible to spy satellites. I had a friend track it down through the National Reconnaissance Office. OLIVIA: You have a friend at the N-R-O? PETER: I have a friend who’s cracked their control systems. OLIVIA: Peter, if I pull the trigger on this and the information’s bad… PETER: It’s good. It’s good. OLIVIA: (dials cell phone) Charlie, I’ve got a solid lead. (returns to lab) A strike team, full tactical. PETER: How we doing? WALTER: Almost there. OLIVIA: No, we’re sure. This is the one. We’ve got a visible heat signature from the isotopes. WALTER: Visible heat signature? Radioactive isotopes don’t give off… PETER: Walter, Walter, stay focused. How we doing? WALTER: Oh, uh, um, Olivia, this is the antidote. (shows syringe) OLIVIA: Okay, Charlie, we’re coming now. WALTER: Listen to me. You must inject this directly into her bloodstream. In the jugular, preferably. OLIVIA: Okay. Federal Building - Briefing the Raid (in a room full od agents, photos and layouts) CHARLIE: Facility’s located. On the southern edge of Framingham. Surveillance teams reported armed security on the premises. We’re expecting resistance, so this will be the tactical entry. OLIVIA: Our main objective is securing the victim, Claire Williams. Judging from the layout, it’s likely she’s being held at the basement levels. Raid on Easterbrook's Lab OLIVIA: (in voiceover from the briefing) We’ll enter through the northwest of the building. Alpha team will enter through the front, clear out the west of the building. Bravo team will clear the lower levels. Are we clear? Then let’s make this happen. (tactical team forces entry into Easterbrook's lab and deploy) AGENTS: FBI, you’re under arrest. Get down - now! Hands behind your head. Room is clear! I need one, I need one, I need one! (guard enters and shoots agent in the leg) AGENT: Look out! Man down! OLIVIA: (returns fire and hits the guard) We have a man down. We need immediate MedEvac. Call it in. Stay with him. CHARLIE: Level's secure. We’ve got a few in custody. OLIVIA: Any sign of Claire? CHARLIE: No. OLIVIA: I’m going down. CHARLIE: Watch yourself. (locates Claire's room) OLIVIA: (to Sarnoff) Step away from that please. Where is she? Where’s Claire Williams? AGENT: Agent Dunham, you can’t go in that room. The radiation, it’ll kill us all. OLIVIA: Claire! Claire! Claire, my name’s Olivia Dunham, I’m with the FBI. I know you’re scared, but I need you to listen to me. I need you to come to the door. I can’t come in there. CLAIRE WILLIAMS: My head… It hurts. OLIVIA: Listen to me, that’s medicine. I need you to come to the door and take it. I can’t come in there. CLAIRE WILLIAMS: AAH! OLIVIA: Claire! (Claire moans) Claire, look at me! That’s good. Now come to the door. Keep coming. I need you to take the syringe. I’m gonna tell you what to do. Good. Claire. CLAIRE WILLIAMS: unhh (begins to convulse) OLIVIA: Claire! Look at me, Claire! I’m right here with you. Claire! Claire, right now you need to jab yourself in the side of your neck. CLAIRE WILLIAMS: Oh my god. My head. OLIVIA: Claire! Claire! Come on… Claire, do it! You can do this. Just do it. I know you can do it. Stab it in. CLAIRE WILLIAMS: (she injects the syringe) aah! unh! OLIVIA: Claire! Claire! ACT V At the INtREPUS Building (Olivia barges into the room that Esterbrook is working in) DAVID ESTERBROOK: Agent Dunham. Apparently I didn’t make my point clearly enough. OLIVIA: I thought you’d be interested to know that Claire Williams is safe. DAVID ESTERBROOK: Can’t say I’m familiar with that name. OLIVIA: That’s odd. Because an employee of yours, Elizabeth Sarnoff, just admitted that you supplied her with the facility and the equipment to make Emily Kramer and Ms. Williams into human weapons. DAVID ESTERBROOK: A disgruntled former employee will say just about anything to vilify the boss that fired her. OLIVIA: Then you won’t mind coming with me to answer some questions. DAVID ESTERBROOK: Do you honestly see this going anywhere, Agent Dunham? I have a law firm on retainer that charges more by the hour than you make in an entire year. OLIVIA: Then I suggest you get them to meet you at the FBI. DAVID ESTERBROOK: I’d guess I will include police harassment in the litany of charges that I will file against you. OLIVIA: I’m still gonna walk you out that door in handcuffs for resisting questioning. So the press that I tipped off… can splash your picture all over the news. You may not answer or the Federal government, but you do answer to a board of directors, and I wonder what their response will be when they have their company dragged into the middle of a murder investigation. (slams him face down on he table) DAVID ESTERBROOK: Ohhw! Federal Building - A Chat with the Boss OLIVIA: (checks her mail, then checks-in with her supervisor) I guessed by now you’ve heard. BROYLES: That you frog-marched a senior officer of a multibillion dollar conglomerate out of his office? Yeah, I heard. Quite a few cameras there. OLIVIA: (smiles) The press they always get their pound of flesh. I understand that you think I acted too emotionally. And putting aside the fact that men always say that about women they work with, I’ll get straight to the point. I am emotional. I do bring it into my work. It’s what motivates me. It helps me to get into the headspace of our victims… See what they’ve seen. Even if I don’t want to, even if it horrifies me. And I think it makes me a better agent. If you have a problem with that, sorry. You can fire me. But I hope you don’t. (turns to leave) BROYLES: You’re not getting off that easy Agent Dunham. I’ll see you in the morning. Late Night Drives (in Nina’s chauffeured vehicle) CAR RADIO: …today as the spike in the price of oil again sent tremors through the financial markets, but for pure shock value nothing beats today’s very public detainment of Intrepus’ David Esterbrook by the FBI. Intrepus’ stock is being absolutely pummeled in overnight trading, and analysts predict it will open… (in Olivia's vehicle) CAR RADIO: … (report continues)… At twenty three dollars a share. That’s a ten year low, which of course is very good news for Intrepus’ competitors, most notably Massive Dynamic. Shares of MD are up almost twelve percent as investors flee to the most reliable brand in the sector. Outside the Bishop's Hotel WALTER: Olivia! OLIVIA: Hey. WALTER: Did you lock yourself out again? PETER: Actually Walter, this is our hotel. WALTER: Oh. OLIVIA: I need to talk to you. PETER: Sure. (to his Walter) I’ll see you upstairs, okay? WALTER: It’s nice to see you. OLIVIA: Good night, Walter. PETER: And remember tonight, please, the red toothbrush is mine. WALTER: White for Walter, that’s me. Right? PETER: (to Walter) Yes. (to Olivia) Everything okay? OLIVIA: I know where you got your information. About Claire Williams. What was her price? What did Nina Sharp want in return? PETER: Nothing untoward, if that’s what you’re worried about. OLIVIA: Peter. PETER: You don’t have to worry about me. I am a big boy. I can take care of myself. You have been looking out for me, so I’m just returning the favor. OLIVIA: Thank you. PETER: There was no letter today, was there? OLIVIA: No. PETER: Happy birthday. OLIVIA: You better get back upstairs before Walter falls asleep in your bed. Ahem. PETER: Yeah. He has actually done that before. While I was sleeping. Really not something you want to wake up to. Good night. Olivia's Apartment (on the floor inside the door is an unsigned card that says - 'thinking of you')

PROLOGUE Contraband Raid - Weymouth RADIO-A: Captain Loeb, what's your 20? MITCHELL LOEB: We're in tow. 200 meters out. What's your E.T.A.? RADIO-A: We're in position. Standing by. No activity, Captain. MITCHELL LOEB: Roger. Hold position. - Charlie? RADIO-C: In position. Standing by. MITCHELL LOEB: Delta? RADIO-D: Standing by, Captain. MITCHELL LOEB: Roger. Cutting engines. At South Bank now. MITCHELL LOEB: South Bank quiet. Bravo, status? RADIO-B: All quiet, sir. Wait. I think I hear something. We have Tango in sight. MITCHELL LOEB: All teams, move out. Go, go, go. SWAT TEAMS: - Stop the truck! - Stay where you are! - Out! Out! Get out! - Hands where I can see them! Federal Building BROYLES: Panda bears? I assume you checked inside them. MITCHELL LOEB: They knew we were coming. Somewhere, they made a switch. Joseph Smith. Began working for the shipping company a week before the container was packed. He had access to the container. He's also got a science background. Customs has him back and forth from Budapest eight times in the past 12 months. BROYLES: Other local agents on the operation? MITCHELL LOEB: Coscarelli and Scrimm. Page 47. BROYLES: Weight of the container after pickup was 1306 pounds. The weight when it arrived in Germany before shipping, 1299. That's seven pounds. What the hell weighs seven pounds? (Loeb collapses.) BROYLES: Mitchell? Let's get a medic in here! Rush to the Hospital DOCTOR #1: What'd you give him? NURSE #1: One round of eppy. Intermittent cardiac arrest. I've never seen anything like this. NURSE #1: Pupils fixed one minute, dilating the next. DOCTOR #1: How's the rhythm now? NURSE #1: Asystole. DOCTOR #1: Charge the paddles. We'll start at 200. SAMANTHA LOEB: Phillip! What's happening? BROYLES: We don't know. SAMANTHA LOEB: Is he gonna be okay? Is it a heart attack? BROYLES: The only thing for us to do is wait. DOCTOR #1: Clear! All right,again. Let's go to 300. NURSE #1: V.fib. DOCTOR #1: Clear! We gotta open him up, pump the heart manually. Prep him. Scalpel... Saw. Retractor. NURSE #1: We got something - his heart's beating. NURSE #2: What is that? DOCTOR #1: I don't know. ACT I Science Team at the Hospital BROYLES: In happened in my office two hours ago. It wasn't a heart attack. At least not in the traditional sense. They cordoned off the area. But ID's been here already. - said the thing isn't communicable. OLIVIA: The thing? BROYLES: We'll get to that. WALTER: You have any gum? PETER: No, Walter. WALTER: Mints? PETER: No. Later. BROYLES: Agent Loeb returned from an operation last week in Frankfurt. Do you know him at all? OLIVIA: No. BROYLES: He collapsed. Thought it was a seizure at first, except he appeared lucid, in pain. Didn't seem like a heart attack either. None of us knew what it was. And none of us know now either. OLIVIA: How are his vital signs? BROYLES: Weakening. Doctor Bishop. What you're about to see... I don't know if you've seen anything like it before. But I'm hoping you have. I'm hoping you can help. The man lying in that room is not just a colleague, he's a friend. WALTER: I see. Do you have any mints? (in the operating room) This is spectacular. PETER: "Spectacular." I'm sure he'd be thrilled to hear your diagnosis. OLIVIA: Do you know what that is? Your work or your old experiments, does that look... look familiar? WALTER: No. Couldn't be more aberrational. I'm simply admiring the design. At least partially organic. Looks like the hybrid result of genetic manipulation. Symmetrical, its central body mass. If indeed it is an organism at all, It's designed, it seems, to envelope the entire human heart. Look, look. A series of tendrils. A root system. Don't you see it? How beautiful this is? PETER: Not so much. No. OLIVIA: Can you help? Do you think you can remove it? WALTER: Oh, I'd be willing to try. But not here. My breath is atrocious. Testing Loeb in Walter's Lab WALTER: I was deconstructing in my head the approach to designing something like this. And... and two things occurred to me in the hospital. One, we could be dealing with something as simple As, uh, Giardia Duodenalis. OLIVIA: As simple as that. Really? PETER: It's a single-celled parasite that lives in the intestines of animals. Common waterborne illness. WALTER: Could we attach Mr... PETER: - Loeb. WALTER: Loeb... to the vitals machine, please? OLIVIA: So you're saying that... that thing in his chest... WALTER: Is a parasite? Yes. Yes, perhaps. But with an exceptional means of attachment. Typically, parasites use whole body insertion. This creature is unlike anything I've ever seen before. So we won't be able to truly examine it Until it's removed. ASTRID: Mitchell Loeb's recent case files, as requested. OLIVIA: Oh, thanks, Astrid. ASTRID: And his wife just arrived. She asked to speak with you. OLIVIA: I'm gonna talk to her in the office. PETER: Okay, he's wired. What was the other thing? WALTER: Pardon? PETER: You said that two things occurred to you. What's the other one? WALTER: Oh. I would still really like some gum. Or some mints? Thank you, Peter. OLIVIA: Mrs. Loeb. Olivia Dunham. I'm with Homeland Security. SAMANTHA LOEB: Samantha. I'm hoping you can help me. No one will tell me anything. Why was he transferred here? Can you at least tell me that? OLIVIA: I can tell you that there's a doctor here who is... uniquely qualified to save your husband's life. SAMANTHA LOEB: This was in his bag. Among the things he brought home from Frankfurt. SAMANTHA LOEB: I don't know if it'll help at all. OLIVIA: It might. We'll check it out. Thank you. SAMANTHA LOEB: Can I see Mitchell? Please. OLIVIA: As soon as possible. I promise you that. WALTER: - Uh-oh... ASTRID: What's happening? WALTER: It's killing him. Squeezing his heart. Killing him. ASTRID: What are you doing? PETER: I'm gonna give him some cyclobenzaprine. If the parasite is constricting, this might loosen its grip. WALTER: It's a gamble, but I like the theory. Look at this. This is good. Organism's tissue. PETER: Where the hell are you going? WALTER: D.N.A. analysis should tell us much. WALTER: Excellent work, son. You may have found your true calling at last. Working with me. PETER: I certainly hope not. OLIVIA: Please tell me you guys have some good news. PETER: I don't know if it's good news, but it is something. WALTER: This is fascinating. OLIVIA: What? WALTER: We can assume that this growth, this parasite, is... is of human design, yes? OLIVIA: Okay. WALTER: I was looking for repetition. The signature of the creator. A sign, a... a footprint that he or she had been there before us. OLIVIA: I don't understand. PETER: Well, that puts you in the same group as the rest of humanity. What he's trying to say is we found this. WALTER: Ah. No, see that? This pattern repeats throughout the DNA sequence. It appears again and again. But it's too organized to be accidental. Too perfect to be natural. OLIVIA: So you're saying that someone put in this line of DNA on purpose. Why? WALTER: Mischief. Arrogance. We don't know. Your friend thinks it might be a code. PETER: The other one. ASTRID: I studied cryptology even before I joined the bureau. I was obsessed as a kid. Now, I keep assuming it can't be this. That it's too simple to be plain text. But I think it may just be the 'Caesar Shift'. PETER: What's that? OLIVIA: It's a simple mono-alphabetic cipher. PETER: Is it now? OLIVIA: It's what Julius Caesar used, apparently, to send letters to his friends. You take one letter and replace it with another, but in alphabetical order. ASTRID: There's a sequence of three letters that appears repeatedly in the parasite's DNA. It could be CIY or DJX. Or EKY. OLIVIA: Or ZFT? ASTRID: Yeah, ZFT fits. What is that? Briefing Broyles in his Office OLIVIA: I've been reviewing John Scott's cases, checking to see if any of them were mishandled, or seeing if any of the cases were left unsolved. BROYLES: And? OLIVIA: And one of them that I remember was an operation tracking a group working out of Budapest. The name on the file, what was written, was "ZFT". That mean something to you? What? BROYLES: A month ago, a man... British national named David Robert Jones, was arrested in Frankfurt, Germany, by InterPol on possessión of state secrets. His background is in deep bio-technology. Notably genetic weaponry. He was a senior fellow at the Bremming Institute for twelve years, then went off the grid. He'd show up now and then, often in Eastern Europe. OLIVIA: So you think he is Z.F.T.? BROYLES: I don’t know. But Loeb did. It was one of the reasons he was in Frankfurt… investigating Jones. OLIVIA: Meaning that thing… BROYLES: May be retribution. OLIVIA: So Z.F.T., What is it? Who are they? BROYLES: Agent Dunham, there is much you have not been made aware of regarding ‘the Pattern’. OLIVIA: Well – I’m here. I have time. Are you available? BROYLES: What we’ve learned so far is the following: There are cells – we don’t know how many. Privately funded with presence in eighty-three recorded countries. Z.F.T. is among them. OLIVIA: So they’re terrorists. BROYLES: Not in the conventional sense. They traffic not in drugs or weapons, but in scientific progress. OLIVIA: Meaning what? BROYLES: Meaning what happened on Flight Six-Two-Seven, or what happened to Agent Loeb. These may have been simply proof that a scientific theory, an experiment – worked. OLIVIA: So that thing we found in Loeb – could be one of those experiments. Do you think Jones will tell us how to remove it? BROYLES: He might, if we were allowed to see him. German authorities have refused us access. OLIVIA: What? BROYLES: There not giving the U.S. access. OLIVIA: And he’s being kept in Frankfurt? BROYLES: Yeah. OLIVIA: I may be able to get in. BROYLES: You got super-powers you aren’t telling me about? OLIVIA: Maybe. BROYLES: You’re not really going to Germany? OLIVIA: Yeah – I’m really going. BROYLES: Let me save you the trip, Dunham. You’re not getting in. OLIVIA: We don’t know each other well enough for you to say something like that to me. And I don’t see any other option here. Do you? Sir. Loeb’s your friend. And I promised his wife. Troubles in Walter's Lab PETER: What’s wrong? WALTER: This may be something of an understatement, but he is not doing well. Dehydrated. PETER: Walter, come here. (points to the intravenous drip) What is that? WALTER: That’s the root. PETER: Coming up from his arm? WALTER: Into the I.V., yes. This parasite is spreading faster than I thought. PETER: How long do you think he’s got? WALTER: A day… maybe. PETER: (cell phone rings) Hey. OLIVIA: (driving quickly) Hi… so the good news is I think we have a lead. The bad news is I have to go to Germany to see him. PETER: I don’t think that’s the bad news – he’s dying Olivia – I don’t think we’re gonna make it. OLIVIA: We’re gonna make it. I’ll call you when I land. ACT II Arriving in Frankfurt OLIVIA: Look at you. LUCAS: Well, don’t let the suit throw you. OLIVIA: Wow, Lucas, I never thought I’d see the day. LUCAS: It’s more comfortable than the military uniform. OLIVIA: yeah… hi… (nervous kiss on the cheek) LUCAS: I’m not sure I can help you. OLIVIA: You said you have contacts at the prison. LUCAS: I’m in the Bundestag. I have contacts everywhere. But you jumped on the plane so fast, I didn’t have time to check anything out. OLIVIA: Well, what did you find? LUCAS: I know the warden. He wouldn’t agree to anything. He didn’t want me to show up. OLIVIA: So what do we do? LUCAS: Show up. Visiting Wissenschaft Prison WARDEN JOHAN LENNOX: Tenacious as always. What can I do for you, Lucas? LUCAS: Olivia Dunham, this is Johan Lennox. OLIVIA: Thank you for seeing us. WARDEN LENNOX: You want time with a prisoner? OLIVIA: David Robert Jones. WARDEN LENNOX: This will be a problem. OLIVIA: I’m sure we can work something out. WARDEN LENNOX: I’m sorry. LUCAS: Es gibt da bestimmt Dinge, die Sie gebrauchen können und ich wäre bereit, über diese Dinge zu reden. [There are bound to be things, that could be of some use for you and I am willing to talk about these things.] WARDEN LENNOX: Mit dem, was ich brauche, können Sie mir nicht helfen. [You can't help me with what I need.] WARDEN LENNOX: (to Dunham) Your friend wants to be persuasive. OLIVIA: Mister Lennox, you have your reasons why you won’t allow access to your prisoners, but this is very important to me. I would be willing to sign anything. Etwas, das beispielsweise beweist, dass ich nicht hier war [For example something that proves I was never here.] WARDEN LENNOX: I like her. LUCAS: You have good taste. WARDEN LENNOX: Even if I were to give the okay, Mister Jones talks to no one. OLIVIA: Well I have reason to believe he will talk to me… if I write him a message, will you give it to him? Back at Walter's Lab BROYLES: I don’t expect miracles… I don’t know if I expect anything. But I am grateful - for whatever you can do in this case. WALTER: (oblivious) Sorry? BROYLES: I was just saying I’m grateful for your work. WALTER: You’re most welcome... You know I had a fruit cocktail once. In Atlantic City. Mind you, I’m not a fruit cocktail sort of guy. BROYLES: Excuse me. We need to discuss your father. PETER: Is it the fruit cocktail thing again? BROYLES: Um-huh. PETER: Yeah, he’s been doing that recently. He gets obsessed about certain foods. It’s weird. BROYLES: We need him to focus. PETER: To focus? Mister Broyles… two-thirds of the time, my father’s not even lucid. And in those rare and unpredictable moments of clarity, he rambles on about the foods and beverages that he missed while he was incarcerated in a mental institution for the better part of the last two decades. To say that he’s not focused… Is to say that he’s a bi-ped – which is to say, you’re absolutely right. He’s not focused. And also, it’s not going to change anytime too soon. I’m his son – I’m not a puppeteer. I’d don’t have a remote control. There’s no master switch I can flick and turn him into the man I wish had raised me, or even somebody I don’t have to baby-sit ever day.… I guess I’ve had that on my mind for awhile. BROYLES: Apparently. BROYLES: (cell phone rings) Broyles… CHARLIE: It’s Charlie Francis. I understand I’m not at clearance level, but I have something for you. BROYLES: What is it? CHARLIE: Local connection to the Z.F.T. BROYLES: Speak to me. CHARLIE: We analyzed the document Loeb brought back from Frankfurt. We figured out each line corresponds to an FBI case file – and an I. D. number for the Agent or Agents assigned to it. Every one of originating from this field office. BROYLES: Another mole in this office? And you think what? John Scott? He was working with Z. F. T.? CHARLIE: Maybe, maybe not. Whoever did this needed upper level security clearance. Access to the FBI mainframe. BROYLES: You said local connection? CHARLIE: Yeah, one of the lines is a phone number registered to a Joseph Smith – and we have him tied - - BROYLES: Yeah, I know Joseph Smith. Loeb was briefing me on him when he collapsed! You got an address? CHARLIE: Hold on… Four-Three-Three-One Broad Street, Saugus. BROYLES: Four-Three-Three-One Broad Street. I’ll call you back. BROYLES: I want a SWAT team surrounding Joseph Smith. He’s at forty-three thirty-one Broad Street, in Saugus. And I want this radio silent. LUCAS: It’s good to see you again, despite the strange circumstance. OLIVIA: You don’t have to wait with me. LUCAS: As you keep telling me. I want to. I like it here. OLIVIA: Thank you. WARDEN LENNOX: I’m surprised. He’ll see you… but not until tomorrow morning. This is not Jones’s rule, or mine. It is the institution’s. Long before I got here, there have been strict regulations regarding visitors. Tomorrow morning, you’ll have fourteen minute, not a second more. (Dunham nods) Mister Jones wanted you to have this. (he hands Dunham a note) PETER: (cell phone) Hello. OLIVIA: Peter, it’s me. I’m looking for Broyles. Is he there? PETER: No, he’s on some sort of raid. OLIVIA: Jones has agreed to meet with me tomorrow morning. But only on the condition that he first get to talk to a colleague of his. So we’re looking for a guy local to Boston. He’s in Saugus. PETER: He’s in what? OLIVIA: (looks at the note) His name’s Joseph Smith. PETER: At Four-Three-Three-One Broad Street. OLIVIA: Had you know that? PETER: That’s who Broyles is after right now. OLIVIA: What?... How? PETER: I don’t know. OLIVIA: Peter, we need him alive. The Raid on Smith PETER: Hey. (answering his cell phone) OLIVIA: Are you there, are you close? PETER: No, I’m on my way. You get in touch with Broyles yet? OLIVIA: No, they’re still radio silent. I’m gonna call HQ. I’ll call you back. OLIVIA: I know they’re radio silent, but you’ve got to get someone down there right now, please. We need to get the message to them - they need to keep Joseph Smith alive. PETER: Damn it… (to his cell phone and failed call) AGENTS: Move – Move – Clear - Move – Clear… FBI AGENT: You must stand back, sir! PETER: I’ve got information. FBI AGENT: Sir, this is a police action. PETER: I need to talk to Philip Broyles. FBI AGENT: You need to get back. You are not authorized to get any closer to the house! BULLHORN: … come out with your hands up. PETER: Hey. (answering his cell phone) OLIVIA: Are you close? PETER: Yeah, I’m here, but I can’t get any closer to the house. They’re already inside. FBI AGENT #2: On the roof, on the roof! FBI AGENT #3: Freeze! FBI. PETER: Oh no. OLIVIA: What? Peter. FBI AGENT #3: Freeze! FBI. FBI AGENT #4: Stop or we’ll shoot. FBI AGENT: Drop your weapon! PETER: No, No, No, No! OLIVIA: Peter. Peter. ACT III Cleaning-up after Smith BROYLES: (barking orders) Have the evidence response team catalog and box every item down to the toilet paper off. Bishop. What you doing here? PETER: I just got off the phone with Olivia. She’s headed back to the airport. Turns out Mister Jones would only help us if he could talk to Mister Smith. The same Mister Smith that your people just killed. BROYLES: You’re kidding me? PETER: That’s the first serious thing I’ve said all day. PETER: (cell phone rings) Hello. ASTRID: Peter. It’s Astrid. Your father wants me to inform you that there are fluid accumulating in Agent Loeb’s lungs. WALTER: Tell him we need help quickly. ASTRID: He says we need help quickly. WALTER: Insert this into his I.V. - let me talk to him. Hello Peter, this is me, your father. Walter Bishop PETER: Thank you Walter. I know who you are. WALTER: Excellent. Um, we need to talk to that man Smith right away. He may be our best chance to save Agent Loeb’s life. PETER: I know that, but he’s dead. He was shot. We’re out of luck. WALTER: Well does he still had his head? Is it still attached to his body? PETER: Only you would ask that question. Yes. He still has a head. WALTER: Splendid. Then perhaps in this case, death is simply an inconvenience. Bring him in and hurry. Agent Loeb’s tissue is already deteriorating, which makes it exponentially messier. BROYLES: What? At The Airport OLIVIA: So close. LUCAS: You never did lose well. What happened Olivia? There’s something that has shifted in you. Something’s happened. OLIVIA: Well, a lot has happened. You know it’s been a strange time. LUCAS: I wasn’t gonna say these words, but here we are. So I’m gonna say them. I have become -- and I’m not kidding – a spectacular cook. Spend the night. OLIVIA: I can’t Lucas. LUCAS: Of course you can… of course you can. OLIVIA: (her phone rings) Dunham. PETER: Does Jones know about Smith? OLIVIA: What? PETER: Does David Jones know that Joseph Smith is dead? OLIVIA: No - why? PETER: ‘Cause if you can still get in to see him tomorrow, he may not have to. At Walter's Lab WALTER: Oh good, uh, bring him down here son, quickly. Get me ice. ASTRID: You already asked. WALTER: And the halo head brace. ASTRID: It’s right over there. PETER: (to the Medical Tech) We got it from here, thanks. WALTER: Uh, did I ask-- ASTRID: -- to put salt water in the trough. Yes. WALTER: Ninety kilograms, not a drop more. (opens the body) He’s been shot dead. PETER: Is that a problem? WALTER: Yes, that’s a problem. Of course it’s a problem! A bullet in the head would normally indicate significant brain trauma. PETER: Well it would also indicate that he’s dead. But you didn’t seem to have a problem with that. WALTER: This procedures not like removing tonsils. PETER: I’ve never had a conversation with a dead guy before. Forgive me if I don’t know the rules. ASTRID: Is this going to work, or not? WALTER: I’ll need to alter the procedure. And I’m not making any promises. ASTRID: Eighty-six degrees Doctor Bishop. WALTER: Good, almost there. Let me know when it’s exactly eighty-four point five degrees blue. Your brain is like a computer. Green. Just needs electricity to function - which the body ceases to produce upon death. Which is why we’re keeping his body cold, to retard degeneration. WALTER: It’s astonishing how this mans scalp resembles… ASTRID: … Peter’s bare bottom when he was a baby. WALTER: How did you know that? ASTRID: You told us that already – twice. WALTER: oh… What did I say next? PETER: That we’re gonna kick start his brain. WALTER: Ah, yes! Excellent. Conductive gel to prevent the electrical current from setting him on fire. Spread it evenly. And don’t forget his nipples. – Oh Peter! WALTER: In ‘75, the FBI asked me to use this procedure. Someone had been murdered. But I don’t recall his name. Hmm. James, I believe. Or Jimmy. They wanted to identify his assassin. Union leader I think. PETER: Jimmy Hoffa? WALTER: Yes. Well, the – the trouble was, he had a shockingly low electro-sensitivity. When I turned on the machine, it instantly fried is brain like an egg. Everyone has the unique tolerance to electrical stimulation. Mine for instance, is remarkably high. Yours Peter -- unusually low. As for our friend here, we don’t know. Too little current and won’t work. Too much, and we will overcook his brain - so I will have.. PETER: You ~ used to do this to me. You attached wires to car batteries and then you would shock me. WALTER: Yes, I was accumulating data. PETER: No, you are experimenting on me. WALTER: Son, we’re ready. First we must test if this will register any brain activity. And this will indicate if he’s transmitting any thoughts to you. Since he’s dead, Peter, you’ll obviously have to be his ears and mouth. Eventually, we’ll connect this to your head. (to Farnsworth) Okay dear, we’re ready. Turn it on. Try two hundred micro-volts! WALTER: Oh look Peter… he’s talking to you. (bulbs explode) I suppose it’s a good thing it wasn’t attached to your head. At Lucas' Apartment OLIVIA: (laughing) I don’t believe you. LUCAS: I’m not kidding - looked into it. OLIVIA: You have not. LUCAS: I have… - so. OLIVIA: umh-huh… LUCAS: Who was he? Whoever it was who broke your heart. Or… am I misreading you? OLIVIA: He was my partner from the Bureau. And you of all people should know that I’ve always been a little inept at this. But, he was straight-forward, decisive, charming, and it was wonderful. Except it was all a lie, and he betrayed me. Betrayed the job. Then he died. That’s the end. LUCAS: That’s the end for him. I’ve known this for years. I screwed-up… with you. OLIVIA: The timing wasn’t right for either of us. LUCAS: Yes it was. I know it was. But I was scared. And that’s the -- the God’s honest truth. I think about you… so often and… I don’t call because… because I’m ashamed of how I treated you. OLIVIA: No, it was just… Lucas, I… ACT IV Back in Lucas' Apartment OLIVIA: (cell phone rings) I… I have to… I have… I have to get this. LUCAS: I hate whoever that is. OLIVIA: Hello. PETER: Hey, you’re not gonna believe this ‘cause I’m not really sure that I do. But I think this might actually work. OLIVIA: Walter figured it out? PETER: Well, there are limits. Some issues and problems. But Walter seems to think we can get the dead guy to answer some questions. OLIVIA: Then we’re on. I’ll call you from the prison. Eight A.M. tomorrow, my time. PETER: You okay? OLIVIA: I’m good… Thank you. OLIVIA: I’m going to go back to the hotel… grateful to you, to the incredible cooking, and your sweet words. Prison Interview & Peter's Experiment ASTRID: Do you hear anything? PETER: I think we gotta ask him a question first. ASTRID: I see. WALTER: Are we ready to see how this is working? WALTER: When I say go, you Astro, will ask Peter a question. I will flip the switch, which will stimulate our naked friend’s brain - and Peter, you will hear his response… any questions? ASTRID: Uh, yeah, what should I ask him? WALTER: Anything you like. It’s only a dry run - and son… I should apologize in advance. I’m afraid this… Well, I shouldn’t frighten you. PETER: No… wouldn’t want to do that. WALTER: Three, two, one… Go! (rotates dial) ASTRID: What’s your favorite flavor of ice cream? PETER: OHHH! WALTER: Anything? PETER: Did I hear anything? NO. WALTER: Three, two, one… Go! ASTRID: What’s your favorite color? PETER: Nope, still nothing. Just extreme discomfort. ASTRID: (answering cell phone) Hello. OLIVIA: They’re taking me to see Jones now. ASTRID: It’s Olivia. They’re taking her in. WALTER: No. We’re not ready yet. PETER: No, no, no, tell her she has to stall. ASTRID: Did you hear that? OLIVIA: I’ll do what I can, but I’ve only got fourteen minutes starting now. WARDEN LENNOX: (looks at watch) Fourteen minutes. DAVID JONES: What a pleasure this is. OLIVIA: We have your Mister Smith in custody. You will not speak with him directly. You will ask me one question that you want answered. I will relay that question to an Agent back in the States – who will talk to Mister Smith. I will then relay Mister Smith’s response to you. Then you will tell me how to save Agent Loeb. That is how it works. DAVID ROBERT JONES: You’re very serious, do you know that? Your friend’s life hangs in the balance. Is that it? And you want me to save him. I gathered as much from your note. OLIVIA: Tell me something. Why not your freedom, or extradition? You must realize that you have leverage here. Yet all you want is the answer to one question? DAVID ROBERT JONES: You make two assumptions Miz Dunham, both incorrect. The first is that there is nothing more valuable than my freedom. The second is that I am responsible for the infection of Agent Loeb. WALTER: Hello, Gene. Shhh... Not a word. I think I know your problem. You think too much. It’s a family curse. Your own brain function is interfering with the process. You need to be a passive receiver. This is a sedative. It will numb your higher brain function. I’ve mixed it with a euphoria inhibitor, which will clear the high from your system in a matter of minutes. (to Astrid) If I tell you to, state this in his chest – right here. Beneath the breast bone. PETER: Whoa, Whoa, Whoa. What is that? WALTER: Adrenaline PETER: Why Walter? Are you planning on stopping my heart? Walter, what are you giving me? WALTER: Nothing for you to worry about. Perfectly harmless. BROYLES: What is going on in here? SAMANTHA LOEB: Mitchell! OLIVIA: If you’re not responsible for infecting Agent Loeb, who is? DAVID ROBERT JONES: Perhaps the same people responsible for bringing us together. What if someone wanted information from the both of us? You see? Perhaps they’ve orchestrated all of this. What if you and I – both of us, at this very moment, were being manipulated. OLIVIA: By whom? And what would they want? DAVID ROBERT JONES: You’ve not been doing this very long, have you? There are very few things in life that surprise me anymore, Miz Dunham. And yet, I confess, I am confused. If it is so urgent to save the life of your friend, why haven’t we gotten on with it? WALTER: Peter. Peter, can you hear me? BROYLES: This can’t possibly be scientific. WALTER: Peter, looking at me. PETER: Daddy? WALTER: Hmmm. I think we’re ready. OLIVIA: (answers phone) Hello. ASTRID: Go. Quick. OLIVIA: (to Jones) Go ahead. Ask your question. DAVID ROBERT JONES: Asked my friend Joe… Where does “The Gentleman” live? OLIVIA: Mister Jones would like to know - Where does “The Gentleman” live? SAMANTHA LOEB: Mitchell. Oh god. What is it? WALTER: Parasite in his bloodstream - choking him of oxygen. Asteroid, Nitroglycerine in a vial on the desk. SAMANTHA LOEB: Wait a minute. I don’t understand. A parasite? WALTER: Could you give us some room, please? ASTRID: I’ll call you back. BROYLES: C’mon Sam, let them do their job. DAVID ROBERT JONES: (after Dunham hands up) Is there a problem? OLIVIA: My phone doesn’t get the best reception and prison isolation cells. DAVID ROBERT JONES: You do have Mister Smith, do you not? OLIVIA: I’m curious, why do you think he would cooperate with you after you had him arrested? DAVID ROBERT JONES: Oh, the people I work with are loyal to the end. Can you say the same? OLIVIA: (her phone rings) Hello. ASTRID: Okay, we’re trying again. WALTER: Three, two, one… Go! ASTRID: Where does “The Gentleman” live? Did you hear anything? PETER: No. No. WALTER: We’re going to have to increase the voltage… I’m sorry son. Three, two, one… Go! ASTRID: Where does “The Gentleman” live? PETER: (in agony) Uh – Uh, Nothing. No. OLIVIA: Astrid, I need the answer now. ASTRID: Agent Dunham, it’s not working. PETER: (shocked again) I need some paper, paper, give me some paper, quick, quick. I see something. ASTRID: Wait, hold on. PETER: Untie my hand. Quickly! ASTRID: What is that? PETER: I have no idea. ACT V Prison Interview - continued OLIVIA: I need the answer now. ASTRID: We don’t have it yet. I don’t think it’s working, PETER: Walter, what is this? (studies his own sketch) WALTER: How do I know? You saw it, not me. DAVID ROBERT JONES: He seems rather irritated with you. OLIVIA: Astrid, please. I have no time. ASTRID: I know. You have to hold on. I’m sorry. PETER: Walter, what is it? Do you see it? It’s there… there’s just something missing. WALTER: Obviously, horizontal lines. There’s literature on this. Misrepresentation of horizontal space and unilateral brain damage. DAVID ROBERT JONES: (mockingly) tick-tock - tick-tock - tick-tock. OLIVIA: Astrid, please… Hurry. PETER: I, I don’t understand. WALTER: It’s just a conjecture. But the bullet may have destroyed that part of the brain that helps process horizontal lines. We are going to have to fill in the blanks. OLIVIA: God, Astrid, I have no time. I need the answer now, Astrid! Please. PETER: Little Hill ASTRID: Little Hill? OLIVIA: (yelling back into the room) Little Hill! DAVID ROBERT JONES: Three parts Mebendazole. Two parts Thermophilic-Hydrolase. A syringe directly into the parasite. DUNHAM: Astrid, write this down (from the corridor) Three parts Mebendazole. Two parts Thermophilic- Hydrolase. A syringe directly into the parasite. Finishing at Walter's Lab PETER: Walter, look. The roots. They are dying. SAMANTHA LOEB: Well, does that mean… is… is—is Mitchell gonna live? Is he gonna be okay? WALTER: Yes, my dear, I believe he will. Returning Olivia to the Airport OLIVIA: Jones asked me a question about loyalty. And something about the way he said it, it felt like he knew something. LUCAS: Like what? OLIVIA: Something about my partner betraying the Bureau, I don’t know. LUCAS: You know… I have other means of gathering information about Mister Jones. If you’d like me to use them.… Say yes Olivia, it’ll give me an excuse to call you again. Loeb Revives at the Hospital BROYLES: Mitchell, I understand that you’re feeling far from one hundred percent. But while you were unconscious, we made a discovery. That an organization with connections to ‘’The Pattern’’ may have someone working with us, on the inside. MITCHELL LOEB: John Scott. BROYLES: That was our first thought, but he would have needed to have higher clearance than Scott was afforded. We thought that perhaps you were talking to them because you might have discovered who that person was. MITCHELL LOEB: Scott’s the only one I know of. You’re making me paranoid. BROYLES: All I want to do is make you better. I’ll see you in the morning. SAMANTHA LOEB: Alright. MITCHELL LOEB: Hey. OLIVIA: Sir. How is he? BROYLES: He’s good. The Doctor here removed that thing from his chest. Walter made sure he saved it for him. OLIVIA: I bet he did. But what about answers? The question Jones asked Smith. And the response he got, Little Hill? We know that Agent Loeb was infected, but we don’t know by whom. Jones says it wasn’t him. We don’t know anything. BROYLES: You have a problem agent Dunham. You’re not easily satisfied, you want everything, and you want it now. In your mind, somehow a small victory is no victory. What you did was save a man’s life, but that doesn’t land for you. OLIVIA: Sir-- BROYLES: I would tell you to ‘snap the hell out of it’. To stop whining about what you can’t know, can’t control, can’t change. I would tell you to get some sleep while you can because tomorrow, we’ll do this all over again, and guess what, you’ll have a million new answers and a million and one new questions. I would tell you those things, but I won’t, because your dissatisfaction is what makes you so damn good. Someone I’m proud to say I work with. OLIVIA: Thank you. BROYLES: Now go get some sleep while you can. PETER: Hey, how you feeling? OLIVIA: I should be asking you that. Thank you. PETER: Thank you. You too. OLIVIA: You hungry? PETER: After everything I saw today… no, not at all. But I am thirsty. Really, really, thirsty. OLIVIA: Me too. PETER: Look at that. OLIVIA: Yeah, look at that. SAMANTHA LOEB: They’re gone. MITCHELL LOEB: So… did it work? What we did? SAMANTHA LOEB: Yes. It led them back to Mister Jones. MITCHELL LOEB: Did he ask the question?... Did we get the answer? SAMANTHA LOEB: (whispers) … LITTLE HILL …

PROLOGUE Route 12 near Middletown, CT JEREMY STOCKTON: Are those notes you're writing Ben? I thought we talked about this. You know about taking a break from the music so you'd have time for other things. Maybe something new. BEN STOCKTON: Dad don't get mad at me, but the windshield wipers, can you slow them down? JEREMY STOCKTON: Slow them down? BEN STOCKTON: The tempo. It's messing me up. JEREMY STOCKTON: Sorry Bean, I can't. I need to be able to see. JOANNE OSTLER: Stop, I need help. BEN STOCKTON: What is it? JEREMY STOCKTON: Don't know. Let's see. (to Joanne Ostler) You okay? JOANNE OSTLER: Oh I'm fine. I can't say the same for my car. It kind of shuddered and then stopped. And my phone's dead. JEREMY STOCKTON: Oh hold on. Be right back. JOANNE OSTLER: Thank you. JEREMY STOCKTON: Of course. It's not a night you wanna get stuck out here. JOANNE OSTLER: Yeah I need a tow. JEREMY STOCKTON: (on cell phone) I'm on Route 12 About two miles north of Fair Oak. Yeah, Massachusetts plate, 332 EWD (to Joanne): Ah, they're busy. It's gonna be a while. JOANNE OSTLER: Then I definitely am not gonna make it to this business meeting, which would normally be a blessing but this one's really important. JEREMY STOCKTON: Listen I-I know hardly a thing about cars. But why don't you let me take a look? JOANNE OSTLER: No no you've done enough. No. That's alright. JEREMY STOCKTON: Transmission's dry. Some kind of electrical short. TOW TRUCK DRIVER: Hey easy. Didn't mean to scare you. JEREMY STOCKTON: It's okay. I didn't hear you. TOW TRUCK DRIVER: Yeah listen sorry it took so long. Man you okay? JEREMY STOCKTON: Where's her car? Ben. Ben? Ben! ACT I Federal Building - Briefing the Science Team BROYLES: The boy's name is Ben Stockton. According to his father they were driving home from a school function last night when he saw a woman having car trouble. The father claims that while he was looking at the woman's car something happened. He said it was like time jumped. And his son the woman and her car were suddenly gone. OLIVIA: So he just blacked out? BROYLES: In the statement he gave police he insisted he never lost consciousness. OLIVIA: So any other witnesses to back up the dad's story? BROYLES: No but this is not the first time this has happened. These are from the files of three other missing person cases dating back ten years. In each one witnesses describe seeing the same woman. We've tried running facial recognition software. Nothing. OLIVIA: So what happened to the other victims? BROYLES: The first was found wandering the shoulder of I-91 Near North Hampton. The second in the supermarket curled up in the freezer bin. OLIVIA: Meaning what? They were let go? BROYLES: Apparently. But not before whatever'd been done to them drove them insane. Two weeks after she was found one of the victims actually tried to lobotomize herself using a butter knife. And all of them completely incapable of recalling what happened during the abduction. Even under hypnosis. OLIVIA: (reviewing case files) So they're all academics. A probability theorist, structural engineer... If we're looking at a serial abduction, then a ten-year-old kid really doesn't fit the bill. BROYLES: No, but other than that the details surrounding his disappearance are identical to the others. Interacting with the woman in the sketch, then experiencing an interval of lost time. WALTER: Peculiar flashing lights. Green, green, green, red. Like Christmas lights. BROYLES: How did you know that Dr. Bishop? WALTER: I don't know. But that's what happened. Isn't it? BROYLES: Yes. PETER: Think you might be able to jog your mind Walter? Could be kind of helpful. WALTER: Christmas lights. That's all I can recall. Sorry. The Stockton House - Highland, CT JEREMY STOCKTON: I know what it sounds like. Like I'm crazy. I'm not. I talked to her. I touched her car. MAUREEN STOCKTON: ...police grilled my brother for hours. They treated him like a suspect. JEREMY STOCKTON: I know what I saw. She was real. MAUREEN STOCKTON: Why doesn't anyone believe him? JEREMY STOCKTON: You're wasting time. We need to find Ben. OLIVIA: Yeah. I believe you. In fact we think that the same woman may be involved in a number of other abductions. This has happened before. JEREMY STOCKTON: Why would anyone want to take my son? OLIVIA: I don't know. Honestly, he doesn't really fit the profile of the other victims. For one, they were all adults. And another, they were all academics - experts in various fields. JEREMY STOCKTON: What? Ben is kind of an expert himself. OLIVIA: What do you mean? JEREMY STOCKTON: Nine months ago, my wife was walking Ben to school. Some idiot late for a dentist appointment ran a red light. And they were hit in the crosswalk. Abby was killed. The doctors told me they didn't know if Ben was gonna make it either. He was in a coma for six days. And when he woke up... it's easier if I just show you. (starts a recording of Ben on the TV) This is the day I took him home from the hospital. He hadn't spoken, said even a word - since I told him his mother died... and we got home, and he just sat down at the piano and started to play. OLIVIA: He's very talented. JEREMY STOCKTON: Before this, he had never taken a single lesson. His doctors told me there had been other cases - people with severe brain traumas waking up with the ability to do things they'd never done before. Two weeks later, he was composing his own music. One piece in particular. He stopped being interested in everything else. MAUREEN STOCKTON: You said the other people that had been taken were accomplished at something. Do you think that that's why they took Ben? OLIVIA: I don't know. (the two women speak separately as Olivia prepares to depart) OLIVIA: Thank you so much for your time. MAUREEN STOCKTON: Uh, Agent Dunham.... After Abby died, my brother... he barely held it together. Without Ben, I don't think he'll make it. OLIVIA: I'll do everything I can. MAUREEN STOCKTON: (nods in thanks) In a Dungeon-like Basement (Ben sits in the corner of the the room, Ostler enters) JOANNE OSTLER: How are you feeling Ben? BEN STOCKTON: I wanna go home. I just wanna see my dad. JOANNE OSTLER: Oh, well - I have something better for you. There's someone else here who would very much like to see you. BEN STOCKTON: I don't care! I wanna see my dad! JOANNE OSTLER: Well your mother will be very disappointed to hear that. BEN STOCKTON: My mom's dead. JOANNE OSTLER: Are you sure about that? Walter's Lab - Trying to Remember (under his breath, Walter sings a holiday tune) PETER: Hey, Walter. Don't you think it's a little early in the season For the yuletide cheer? WALTER: I'm reciting Christmas carols in an attempt to jar loose some details from my subconscious to remember where I heard mention of the green and red lights. But sadly it hasn't yet worked. PETER: So you thought it would be more useful to work on your Christmas tree decorations? WALTER: Though I - I cannot recall where I heard of the lights, it did give me an idea, a theory as to how the boy was taken. I was hired to design a technology, an intricate pattern of flashing lights intended to create a suggestible state of hypnosis. Theoretically the test subjects will do whatever commanded. Bark like a dog, dance a jig, wash the car. PETER: The U.S. Government had you working on mind control? WALTER: Not the government. It was an advertising agency. They hoped to broadcast the flashing lights during commercials so that the viewers would have no choice but to buy their products. Unfortunately, it merely caused nausea. Which was unfortunate because apparently, people don't like to shop when they feel like they're going to throw up. (to Astrid) Miss! Where is the remote? PETER: Oh, hey, Walter, Walter. Walter, dial it down a notch all right? (handing over the remote) WALTER: (to Peter) I posit that the flashing lights witnessed by the father induced a hypnagogic trance during which stage the child was abducted. PETER: I thought you said the experiments were failures. WALTER: Oh yes. But I focused solely on the timing and intensity of the flashes not the colors - the green and red. Now I suggest that those wavelengths are the key to success. Come. Let me demonstrate. Come. PETER: What do you want me to do? WALTER: Just stare at the lights. PETER: (stares at the lights) Sorry Walter. Better luck next time. ASTRID: (coming into the lab much later) Anyone ready for lunch? What's up, Chachi? PETER: (looks at missing sleeves) Did you do this to me? WALTER: You did. Driving to Walter's Lab OLIVIA: (answers phone) Dunham. CHARLIE: It's me. Based on the description by the father, I I.D.'d your kidnapper. Name is Joanne Ostler. She was a neurologist studying at M.I.T. She would have been thirty this March. OLIVIA: What do you mean, would have been? CHARLIE: Uh, according to DMV Department of Records, Joanne Ostler died ten years ago. OLIVIA: Are you sure it's the same woman? CHARLIE: Looks identical to the woman from your sketch, and she doesn't have a twin because I checked. OLIVIA: So what happened to her? CHARLIE: Apparently, her car went off a bridge in November of '98. Eight months before any of the abductions. OLIVIA: How is that even possible? CHARLIE: Here's the thing. The car was recovered but her body was never found. OLIVIA: So then it's possible that she survived. CHARLIE: Either that or Broyles has you chasing a ghost. Walter's Lab - Remembering Dash (Walter sings more holiday tunes) OLIVIA: Hey. What the hell is he doing? PETER: He thinks it'll help him remember where he's heard about the red and green lights. OLIVIA: Okay. We've got good news. We think we understand how it was that Ben was abducted. Those red and green flashing lights. They put the father into a hypnagogic state. And we think we may have I.D.'d the woman responsible. WALTER: I have it! Christmas. Christmas. Leading to Christmas carols. One of which is Jingle Bells, which leads naturally to Dashing Through The Snow. Which of course inevitably leads one to Dash. PETER: To Dash? WALTER: Dashiell Kim. The man who mentioned the lights to me. I'm sure of it. OLIVIA: Where is he Walter? Can we talk to him? WALTER: I guess that would depend on whether he has succeeded in killing himself or not. PETER: What are you talking about, Walter? Who is this guy? WALTER: A fellow inmate of mine at St. Claire's asylum. Broyles' Office OLIVIA: I think we may have I.D.'d another abductee. Dashiell Kim. Headed up Astrophysics at U Mass. Went missing in May 2006. Turned up a week later at his home outside Clarksburg, where he had a psychotic break. Bludgeoned his wife to death with a tire iron. He was committed to St. Claire's hospital. BROYLES: He was there at the same time as Dr. Bishop? OLIVIA: Walter Bishop claims he remembers Kim telling him a story about a woman who put him to sleep with a Christmas tree and then took him away. BROYLES: Green and red lights. OLIVIA: And he fits the profile. Expert in a scientific field. But I need you to get an interview request pushed through legal so we can arrange a visitation. Any specific things that Kim might remember about the abduction, like where he was taken maybe. BROYLES: That might take some time. OLIVIA: How come? BROYLES: Says here Dashiell Kim is a 10-27. OLIVIA: Yeah what's that? BROYLES: 10-27... Criminally Insane... with knowledge of state secrets. Apparently Kim had a sideline consulting the defense contract for JPL. You can't get in to talk to him without official clearance. OLIVIA: And how long will that take? BROYLES: If we go through channels, six weeks - minimum. I've got a contact at Justice. I'll tell him it's urgent. (takes a fax from the machine) I don't know how a guy that could do this to his own wife is gonna help you find a missing kid. Ben Gets a Visitor in the Basement JOANNE OSTLER: You've never looked at it in that order have you? BEN STOCKTON: No. ABBY STOCKTON: Hi, Bean. BEN STOCKTON: Mom? ACT II Walter's Lab - of Numbers and Music PETER: He did this to his own wife? OLIVIA: 32 years of marriage. By all accounts they seemed happy... until Dashiell showed up after he was abducted, and beat her to death. WALTER: (looks at photo) Did I hear mention of my old friend Dashiell? Of course, I'd recognize his handiwork anywhere. OLIVIA: You mean he killed others? WALTER: Well he tried - a patient at the institution - Jasper, but actually I was referring to the equation. Dashiell was obsessed with it. OLIVIA: Obsessed in what way? WALTER: He couldn't complete it. I tried to help him solve it once and he came at me with a plastic spork. (watching a recording of Ben on piano) PETER: What are you thinking? OLIVIA: You know Ben's father said that Ben became obsessed with this one piece of music and he couldn't complete it either. WALTER: I've been listening to it. It's very beautiful. He's light years ahead of where even you were at that age. PETER: Walter, take a look at this. See this function? It appears here... here... here - it just keeps on repeating over and over. WALTER: Yes yes it's a recurring expression. PETER: Or it's a rhythm. WALTER: Well yes I suppose. Are you suggesting-- PETER: Can you convert that into standard musical notation? WALTER: Oh-oh-oh I can try. OLIVIA: What's going on? PETER: Music is a mathematical language. Chords have numerical values and their notes - 1/4s 1/8s 1/16s - they're all just fraction variables. OLIVIA: Okay I took the oboe for six months and then quit. (after converting the notes to mathematic notation) WALTER: Almost there Peter. That's nine bars. PETER: Okay listen to this. Sound familiar? OLIVIA: That's Ben's song. WALTER: Yes. Ben's piece is the musical equivalent of Dashiell's mathematical formula. PETER: So how is that possible? They'd never even met each other. WALTER: It's not so surprising actually. Curious minds often converge on the same idea. Newton and Leibniz independently, without knowing each other, invented calculus. The relevant question is what is it? OLIVIA: What is what? PETER: What is it that both Ben and Dashiell are trying to solve? Ben Gets a Hug in the Basement BEN STOCKTON: How is this possible? Are we in heaven? ABBY STOCKTON: No, honey, we're not in heaven. BEN STOCKTON: But I don't understand. I saw you get hurt. ABBY STOCKTON: I don't understand either. But I do know that I'm here. And I've missed you so much, Bean. For me to stay you have to do what this woman says. You have to finish the song, Bean. You need to finish it. It's important, Ben. BEN STOCKTON: Okay. I love you, Mom. ABBY STOCKTON: I love you, too, Bean. (they hug tightly) St. Claire's - Sumner's Office OLIVIA: Dr. Sumner. BRUCE SUMNER: Hello. OLIVIA: Thank you so much for taking the time to speak with me. BRUCE SUMNER: I understand you're interested in talking to one of my patients, although I - I can't imagine what help Dashiell Kim could be to the FBI. OLIVIA: We're investigating a missing persons case - a kidnapping, and we believe that before coming here Mr. Kim may have been the victim of an abduction himself, possibly by the same person that we're looking for. BRUCE SUMNER: I suppose you came by this information through a former patient of mine, Dr. Walter Bishop? You're the agent who took him three months ago, aren't you? OLIVIA: Yes, and you should know Dr. Bishop is doing quite well. He's been assisting us since he checked out. BRUCE SUMNER: He has no business being out among the rest of us. OLIVIA: Well, I appreciate your concern but I'm not here to talk about Dr. Bishop. BRUCE SUMNER: I respect your discretion, provided you respect mine. The mental health of my patients is my primary concern and subjecting them to open-ended interrogations by FBI agents is hardly prudent therapy. I appreciate your position. And I'd like to help, but I can't subject Dashiell to new faces right now. OLIVIA: Dr. Sumner I'm here because a child's life may be in danger. BRUCE SUMNER: There may be a way we can work this out. OLIVIA: I'm listening. BRUCE SUMNER: You've assured me that Walter Bishop is doing fine. If that's the case, I'll allow Walter Bishop to talk to Mr. Kim and ask your questions. It might do Dashiell good to see a familiar face. Walter' Lab - Tough Decision PETER: Olivia, there is nothing to discuss. OLIVIA: But it's the only way we can make contact with Dashiell Kim. PETER: Absolutely not. OLIVIA: ...Peter. PETER: You want to send my already mentally unstable father back to the institution that made him that way? OLIVIA: We don't have a choice. We need to speak to Dashiell, and without Sumner's permission, we need a subpoena, which is going to take time. PETER: Even if he speaks to Dashiell, what makes you think he's gonna remember a word that he says? The man can't even remember what he had for lunch. WALTER: I have noticed that you have a habit of referring to me as if I'm not in the room. Does anyone care what I think? PETER: Yes, Walter. What do you want to do? WALTER: I'd rather not go. OLIVIA: Walter... PETER: Olivia, he said no. WALTER: That is incorrect. I said, "I'd rather not go," but I will. Every moment that passes is another moment that little boy's life is in danger. Isn't that...correct, Agent Dunham? OLIVIA: Um-huh. WALTER: Then we should go. (Peter looks very unhappy) St. Claire's - Reception (Peter finishes signing a stack of papers) BRUCE SUMNER: Well, are you ready? PETER: When you get out, we'll be right here. OLIVIA: Good luck, Walter. BRUCE SUMNER: Come with me. (Walter looks anxious as he walks down the corridor) ACT III St. Claire's - Activity Room WALTER: (to unidentified patient) I'm sorry. I'm sorry. I can't help you. (a familiar orderly apporaoches) FRANK: Dr. Bishop, how you been? WALTER: You know I'm not really back. FRANK: Yeah, well, it's nice to see you anyway. BRUCE SUMNER: You have ten minutes, Walter. (walks across room and sits next to friend) WALTER: Dashiell, it's me, Walter, Walter Bishop. DASHIELL KIM: Walter? You look different. WALTER: It's the beard. And you look different too somehow. That smile. Have they altered your medication? Wouldn't surprise me. These medieval quacks are more proficient at phrenology than psychopharmacology. DASHIELL KIM: I miss your jokes, Walter. WALTER: And I miss your stories. The one about the woman who took you away with the green and red lights. Dashiell, look at me. This is important. The woman, where exactly did she take you? DASHIELL KIM: I'm sorry. I don't know what you're referring to. You must be mistaking me for someone else. Now, if you'll excuse me, I want to sit here and finish my butterscotch pudding in peace. WALTER: You were always trying to solve it, huh? Yes. DASHIELL KIM: I don't do math anymore, Walter. Mathematical formulations are not conducive to my mental stability. WALTER: That's fine, but if you recognize the equation, do you not remember the woman with the red and green lights where she-- DASHIELL KIM: I don't do math anymore! (disruption in background) WALTER: You used to tell me the story all the time. DASHIELL KIM: No! WALTER: You used to drive me crazy. DASHIELL KIM: I don't do math anymore. I don't care about math. (the orderlies intercept the duo) FRANK: Dr. Bishop. WALTER: No, I need to know where she took you, damn it. BRUCE SUMNER: That's enough! It's time to go. WALTER: Where is she? FRANK THE ORDERLY: I've got him. WALTER: Please, Dashiell, it's only -- (Sumner injects Walter) St. Claire's - Return to Sumner's Office PETER: What do you mean you sedated him? Walter is legally in my custody. You have no right to keep him here. BRUCE SUMNER: Not only do I have every right to hold him, I have a responsibility to hold him. He accosted Mr. Kim. If I release him and something else happens... OLIVIA: I can assure you that's not going to happen. He's under our supervision. BRUCE SUMNER: Perhaps that's what compounded the problem. PETER: Meaning what? BRUCE SUMNER: I had some time to talk to Dr. Bishop after he calmed down about his work assisting you and it is clear that exposing him to the pressures of criminal investigations while indulging his fantastical pseudo-scientific notions has exacerbated the worst features of his mental illness. PETER: Really? BRUCE SUMNER: Really. PETER: 'Cause after some of the things I've seen in the last three months, Walter strikes me as being one of the sanest people I know. BRUCE SUMNER: Is that so? OLIVIA: I'm gonna make this really simple, Dr. Sumner, Walter Bishop is assisting us in a criminal investigation which you are currently obstructing. So either you release him into our custody, or I will get a court order. BRUCE SUMNER: You go get your court order then. St. Claire's - Walter's Room (Walter lies in bed whimpering when a visitor enters his room abd sits at the foot of his bed) OTHER WALTER: (to Walter) Welcome back, Walter. ACT IV Federal Building - Chasing Tips OLIVIA: Where are we on that tip from Rochester? CHARLIE: Local agents are heading to the convenience store where they saw the boy. They're hoping video surveillance can confirm it really was Ben Stockton. OLIVIA: Okay, well have we set up checkpoints? CHARLIE: No they're working on it. So far nothing. ND AGENT #3: I have the general counsel's office on the phone. It's about Dr. Bishop. OLIVIA: (on telephone) This is Agent Dunham... No, I wanted you to work around the protocol... Please, I need your help... I need to get Bishop out... Okay 7:00 a.m....Thank you. PETER: What was that? OLIVIA: Okay, we have to wait till morning for the court order to have Walter released. PETER: But then he's out. OLIVIA: I promise. And I'm sorry and obviously you were right. PETER: No, this was Walter's choice. OLIVIA: Okay. So if you want to go down to reception, someone can arrange a ride and then at least one of us can get some sleep. PETER: The woman who abducted Ben - Joanne Ostler - up until now everybody thought she was dead right? OLIVIA: Yeah. PETER: Well she's been walking around for the last ten years, she must have been using somebody's name. OLIVIA: We didn't get any hits on an alias search. PETER: What'd you base the search on? OLIVIA: On the anagrams. Like combinations of different family names. It's what most people use if they want to change their identity. PETER: Thanks, I know that. I've done this once or twice myself. OLIVIA: Why doesn't that surprise me? PETER: The best lie - the one that's easiest to remember with consistency - is the one that's based on the truth. Whenever I would do this, I would base it on my own last name. Bishop. So Peter King. Peter Knight. OLIVIA: Well, that's a great idea if your last name is as simple as Bishop. What do you do when it's Ostler? PETER: Is there a computer around here I could use? (Peter works at computer) OLIVIA: (on telephone) This is a serial abductor so she's smart. She's probably switched cars since then. I want a record of every stolen car from the last 36 hours. PETER: (to unindentifed person) Hey, where does this print? (person motions) Thanks. OLIVIA: Every gas station from Middletown to Rochester, and pull all the credit card receipts. PETER: "Ostler"--Middle English for "innkeeper." OLIVIA: (on cell phone) Hold on. (to Peter) Middle English? PETER: The point is "innkeeper" got me to hotels, so I cross-indexed last names that match hotels with her first name. OLIVIA: Joanne Ritz. PETER: No photo - just a P.O. Box in Clarksburg. OLIVIA: P.O. Box? PETER: Criminals don't really like people like you knowing where they live. OLIVIA: (on cell phone) Can you expand the grid search for Ben Stockton to Clarksburg? Mom Gets Hurt in the Basement JOANNE OSTLER: What is it, Ben? What's wrong? BEN STOCKTON: I...I don't see it. ABBY STOCKTON: It's okay, Bean. You're doing great, Honey. BEN STOCKTON: I can't. I don't know how it ends. (Blood drips onto piano keys) Mom. ABBY STOCKTON: No. ABBY STOCKTON: (to Ostler) Please I don't want to go away. JOANNE OSTLER: Well, that's up to Ben isn't it? BEN STOCKTON: Mom! BEN STOCKTON: (to Ostler) Stop! What are you doing to her?! JOANNE OSTLER: If you lose her again, you'll only have yourself to blame. BEN STOCKTON: (screams) Mom! St. Claire's - A Balcony WALTER: I'm sorry I upset you last night. DASHIELL KIM: Go away. WALTER: There's a little boy out there. He's in trouble. We're his only hope. DASHIELL KIM: I don't want to talk about math Walter. WALTER: Okay, okay. I don't need to talk about the equation. I need to know about the woman, where she took you. DASHIELL KIM: You're wrong. There was no woman. WALTER: Dashiell, if you don't, the boy... he'll end up like us. DASHIELL KIM: Walter please. I can't! WALTER: Yes, you can. DASHIELL KIM: It was so beautiful. She promised me things. What I wanted most of all, but when I couldn't solve the equation, she took it away. Everything she promised. It was all a lie... (flashes of Ben with a harness on his head, playing a keyboard and trying to solve the Equation for Ostler) DASHIELL KIM: ... none of it was real. She hurt me. She put me in a dungeon. She filled my mind with images of the people I loved... and then tortured them ripping them apart all the while trying to suck the answers she wanted out of my head. But I couldn't - I couldn't give her what she wanted. WALTER: Where were you, Dashiell? DASHIELL KIM: I told you a dungeon. WALTER: No! No! No! Not some fantasy you nitwit. Where were you really? DASHIELL KIM: Dungeon! A dungeon in a red castle! WALTER: You listen. You answer me. Don't you understand? No listen. This is the only way we'll find him. DASHIELL KIM: None of it happened. It was just a dream. Just a bad dream. St. Claire's - Peter Cautions Sumner BRUCE SUMNER: You're making a terrible mistake. Despite whatever strings you've managed to pull, your father is not mentally fit to be released from this hospital. PETER: Thanks for the advice. My personal assessment is that he's safer with me than he is with you. He may not be the picture of sanity, but yesterday when I saw him come through that door, I saw him change. He was afraid. BRUCE SUMNER: So what are you saying? Are you saying that I somehow Managed to intentionally harm him? Office of Homeland Security? How'd you pull this off? PETER: Meaning? BRUCE SUMNER: Meaning that since you were here last. I learned a little bit about you. Enrolling at M.I. T. based on fraudulent credentials. Starting businesses and failing, and then running away from the consequences. PETER: Do you have a point? BRUCE SUMNER: You are not a fit guardian for Walter and I'm going to petition the state to have him removed from your custody. PETER: Excuse me? BRUCE SUMNER: Whether you're willing to recognize it or not - Walter is a danger... both to himself and to others. PETER: Then I guess the apple doesn't fall far from the tree. 'Cause you may think you know what he's capable of, but you have no idea what I'm capable of. BRUCE SUMNER: Are you threatening me? PETER: I'd like to see my father now. BRUCE SUMNER: Uh-huh. (at the security gate) PETER (to Walter): Walter? Are you okay? WALTER: I'd like to go now. PETER: Of course, we'll go right now. WALTER: I've - I've failed. It was all for nothing. Dashiell went on and on like an incoherent loon about being taken to dungeons and red castles. Son, is that what it's like to talk to me? PETER: Walter... let's go home. Door-to-door in Clarksburg, MA CHARLIE: Excuse me ma'am, I'm Special Agent Francis with the FBI. I was wondering if you'd seen this boy. His name's Ben Stockton. He's ten years old. WOMAN AT DOOR: No, I'm sorry. What happened to him? OLIVIA: (answering cell phone) This is Dunham. PETER: (leaving St. Claire's) Hey it's me. I want you to know he's out. OLIVIA: Oh good! How's he doing? PETER: Yeah he's okay, but I hope you got a lead there because this was a total bust. OLIVIA: I'm sorry. So he wasn't able to connect with Dashiell? PETER: No, he's taking it pretty hard. He's beatin' himself up pretty good. OLIVIA: Did he get anything? PETER: He just said the guy was babbling on talking about red castles and dungeons. He did what he could. OLIVIA: I - I'm just glad he's okay. PETER: Yeah, me too. OLIVIA: And if any red castles appear, I'll let you know. PETER: Sure. (Olivia turns and sees a large red building behind some trees) ACT V In the "Red Castle" CHARLIE: It's not a drawbridge but it's close. OLIVIA: This place looks like it hasn't been used for a while. CHARLIE: (on cell phone) It's Francis. Could you pull up a property search on an address for me? OLIVIA: Charlie. CHARLIE: Yeah. OLIVIA: I think I found something. (a ladder well) (Charlie and Olivia climb down and then into separate hallways) CHARLIE: Watch yourself. (Olivia locates a room and sees Ben) OLIVIA: (to herself) Oh, thank god. (to Ben) You're going to be okay. (Ostler enters the room and attacks Olivia. after the two fall to the ground, Ostler flees down the corridor. Olivia follows and orders her to stop) OLIVIA: Stop! Put your hands in the air! (Ostler uses a remote control to activate a green-green-green-red sequence of lights to hypnotize Olivia) CHARLIE: (startling her) You okay? OLIVIA: She was just there. The Bishop's Hotel Room PETER: Nice to be home right? WALTER: This place is filthy. Did you have a party while I was gone? PETER: No Walter I didn't have a party. WALTER: I don't want you to take this the wrong way, but I need space. PETER: Oh? WALTER: Sorry to spring this on you so suddenly but... these quarters are very cramped. I think I am ready for my own room. PETER: That's - that's not a problem. I can talk to Olivia tomorrow about getting you some on-campus housing. WALTER: That would be very beneficial. PETER: You know what you did by going back into that place was very, very brave, Walter. WALTER: (quietly) Thank you son. In a Remote Compound JOANNE OSTLER: Got it. Now let's see if it really does what you said it would. (Loeb attaches a device to a safe and places an apple inside the safe) MITCHELL LOEB: Where's the equation? JOANNE OSTLER: Seems crazy that some numbers can make a machine like this work. MITCHELL LOEB: Look around your house your office, your kitchen - numbers make everything work. Here we go. (Loeb dons a glove and, with some effort, reaches through the solid back wall of the safe and removes the apple) JOANNE OSTLER: It worked. That's incredible. (Loeb kills Ostler with a pistol and takes a bite of the apple) MITCHELL LOEB: (on cell phone) It worked. The Stocktons Meet at the Federal Building OLIVIA: Ben, are you hungry? 'Cause there's a vending machine in the hall - I've got a roll of quarters. BEN: No, I'm okay. Thanks. OLIVIA: Sure? BEN STOCKTON: Mm-hmm. JEREMY STOCKTON: (finds his son waiting) Ben? BEN STOCKTON: Dad? JEREMY STOCKTON: Ben! BEN STOCKTON: Dad! BROYLES: Release forms. As soon as he signs they're free to go. OLIVIA: Yeah, uh, maybe we should just let them, uh, have a minute. Now I really need to call Peter and Walter. After what Walter went through, he'll be happy to know that Ben's alright. BROYLES: Good work.

PROLOGUE Massive Dynamic Briefing Room (catches her co-worker as he exits the elevator) MELANIE: Hey. MARK YOUNG: Hey. Sorry. MELANIE: (marching quickly to the briefing room) I've been calling your cell. MARK YOUNG: The west side highway was a parking lot. Did they start? MELANIE: Yeah. Charlotte's been tap-dancing for the last twenty minutes. MARK YOUNG: Damn it. MELANIE: Wait, your tie. MARK YOUNG: Oh. Thank you. MELANIE: Don't forget this. MARK YOUNG: Thanks. MELANIE: And breathe. CHARLOTTE: And ExtenzaLife's market has remained remarkably stable, especially given Wall Street's recent financial difficulties. But let me turn things over to the man you've come to hear. MARK YOUNG: Hello. CHARLOTTE: Mark. MARK YOUNG: Sorry. I'm late. Thank you for your patience. BRIAN COLE: It's quickly fading. MARK YOUNG: Right. So let's get started. Okay, uh, as you can see from figure six, the three year rate of return on ExtenzaLife products exceeds that... BRIAN COLE: Well, Mister Young, a rocky start, but I'll be letting the board know we're in good hands. MARK YOUNG: Thank you. (alone in a room full of butterflies) MARK YOUNG: What? Ow! Little bastard. Ow! Son of a- ow! (screaming) ACT I Olivia's Apartment - Call to Duty BETH: (unseen, over the phone): Lauren and Craig will be here. Remember Craig? He's from South Africa? OLIVIA: Yeah, I remember him. Are you sure Bobby's going to be okay with it? You know, Beth, not everybody like a surprise. BETH: Oh please. The man loves being the center of attention. Do you know how many times he told me that he didn't want a party for his birthday? Anyway, I'm glad you're coming. It's been ages since we've had a chance to talk. OLIVIA: Yeah, can you hold on one sec? I've got another call. (switches calls) Hello? BROYLES: I need you to pick up the others and get to the Marlboro Airport. OLIVIA: Okay. I'm going to tell you something and you're going to think I'm joking, but I'm not. I quit. Only just for the next couple of days and I'm happy to rejoin the others after the weekend. BROYLES: Runway fourteen. The plane will be waiting. OLIVIA: So, where are we going? Bell Plaza - New York PETER: Just your average multinational corporation specializing in secret bioresearch and defense contracting. Massive Dynamic seems like such an innocent name for a corporation, don't you think? WALTER: Hmm. That's odd. OLIVIA: What? WALTER: The lacerations on the body. These no doubt were caused by shards of glass, but these under the shirt. PETER: They were caused by the glass, how come the shirt's not torn? WALTER: A fall of such height would cause compound fractures, massive internal bleeding, all evidenced in this poor chap, I'm sorry to say, but wounds this delicate--most unlikely. PETER: So, what do you think caused them? WALTER: Too early to tell. It's a shame I don't have a lab--I'd like to examine him. PETER: You do have a lab, Walter. Your lab at Harvard. WALTER: Yes, I do, don't I? Massive Dynamic Building - 33rd floor NINA: Mark Young was a capable executive who displayed no signs of emotional dysfunction. He was one of our more promising analysts, in fact. Popular among his co-workers. OLIVIA: So why do you think he would jump to his death? NINA: I don't want to sound callous, Agent Dunham, but when you run a company of over three hundred thousand employees, you sometimes see a small percentage who succumb to the stress of their responsibilities, and, on occasion, the nature of our work. OLIVIA: What do you mean by that? "The nature of our work"? NINA: Oh, I was simply referring to the pressure to deliver results, which the private sector seems to require. You would find it exhilarating. OLIVIA: Are you trying to change the subject by offering me another job? NINA: Well, I'd hate to sound like a suitor who's constantly being turned down for a date. OLIVIA: Well, just to be clear, as flattered as I am, I'm going to go wherever this investigation takes me. NINA: I would expect nothing less. OLIVIA: And I would expect more from you than the polite appearance of cooperation. You knew this man. He was a rising star in your company. There must be something more you can tell me about him. NINA: When one's domain includes the cutting edge of science, there is a risk of exposure to ideas that aren't easy to reconcile--certain realities. I'm sure you know what I mean, doing the work that you do. For some, it's too much to take. Mark Young's Apartment CHARLIE: You ever wonder how we survived as a species without drugs? FORENSICS AGENT: The, uh, hard drive is password-protected. Once we break the encryption, we'll send you his data. OLIVIA: Okay. Thank you. OLIVIA (to Charlie): Well, he wasn't planning on killing himself three days ago. He just booked a plane ticket. CHARLIE: To where? OLIVIA: Omaha, on the twenty-second of December. CHARLIE: Christmas in Nebraska. Sounds depressing. OLIVIA: Yeah, well, maybe he's got family there. CHARLIE: You find something? OLIVIA: No. Walter's Lab WALTER: Seems my suspicions were correct. These wounds go all the way down to the bone itself, as if they originated on the inside and pierced their way up through the body tissue. ASTRID: How did that happen? WALTER: That is an excellent question. WALTER (to Peter): Peter, do you know what I've been remembering? Aspects of your childhood. PETER: That's charming, Walter. Blood samples are ready. Anything in there that explains those lacerations? WALTER: No, I don't believe so. Typical medications, all of them surprisingly legal. ASTRID: So they wouldn't have harmed him? WALTER: That is correct. Although they could have been used as a carrier to transfer the foreign compound to the victim's brain. ASTRID: What foreign compound? WALTER: Oh, didn't I mention it. Um, a synthetic in the blood. An ergoline derivative. Uh, perhaps he was treated for migraines, but it does not explain what caused these wounds. WALTER (to Peter): Coffee yogurt. ASTRID: The synthetic compound? WALTER: Peter, when he was thirteen, all he would eat was coffee yogurt. Almost drove his mother to tears. PETER: Walter, that wasn't me. That was you. WALTER: Oh. PETER (on cell phone): Hello? WALTER: If that's Agent Dunham, tell her to bring some coffee yogurt. PETER (on cell phone): Can you hold on for one second? WALTER: He's right about the yogurt. In case you haven't noticed, I can be quite obsessive. ASTRID: Really? PETER (on cell phone to Tess Amaral): Hey. Still there? TESS AMARAL: Yeah. Um, I'm sorry. I just didn't realize what it would do, hearing your voice. PETER: Listen. TESS AMARAL: No, listen. Don't bother making up a story, Peter. I know you're back. I need to see you. Peter? PETER: I can't get away right now. TESS AMARAL: Well, then, when? Olivia's Research (Olivia sits in her apartment researching the case on her computer. she receives an email from John Scott telling her an address: 1312 Labrador Lane) Basement Labrador Lane (Olivia finds a box containing toads) Advice at the Federal Buildng CHARLIE: Hey, Liv. What do you know about a bunch of frogs? I just got a P.O. request from Agent Farnsworth, asking to send a terrarium and ten pounds of live insect larvae, and charge it off to the Mark Young case. Is there something you want to talk to me about? OLIVIA: Uh, I had some frogs transferred to Walter's lab. CHARLIE: These frogs. You think they have something to do with why the guy jumped out of the window? OLIVIA: Probably not. CHARLIE: Okay. OLIVIA: Charlie? CHARLIE: Yeah? OLIVIA: Come with me. You know how after John died you told me that I should maybe take some time off? You said that what happened with him was going to affect in ways that I couldn't even anticipate. CHARLIE: Yeah. OLIVIA: You were right. I feel like I'm going clinically insane, literally. I told you I saw him standing right in front of me. CHARLIE: This happen again? OLIVIA: And he's called me. He sent me an e-mail, and at first I thought it was him helping me like when we were partners. I know how it sounds. CHARLIE: Have you spoken to Doctor Katz? OLIVIA: Even though it's confidential, I'll still have a psych eval on my record. I know it seems so selfish to even say it, but I was thinking maybe I could just take a personal leave, just do nothing for a week or two and maybe clear my head. CHARLIE: Think that'll help? OLIVIA: I don't know. CHARLIE: Dunham. ASTRID: Agent Dunham, it's me. Doctor Bishop wants you back immediately. He thinks you've cracked the case. You are not going to believe this, but, um, the guy who jumped out the window? Doctor Bishop thinks it's because of the frogs. ACT II Coffee Shop TESS AMARAL (to man holding door): Oh, thanks. PETER: Hi. TESS AMARAL: Hi. (they greet each other with a kiss) TESS AMARAL: I wasn't sure you'd be here. PETER: That makes two of us. You look good, Tess. TESS AMARAL: You look older. PETER: Older? When my father first saw me, he told me he thought I'd be fatter, but I got to tell you--older actually kind of hurts. TESS AMARAL: Your father? Since when do you see your father? PETER: Long story. TESS AMARAL: Wait, listen to me. If I can find you, then they can find you. PETER: I know. TESS AMARAL: They'll hurt you. PETER: Can I get you a cup of coffee? Something to eat maybe? TESS AMARAL: Nothing changes with you, huh? It's the same old Peter, you just play it fast and loose until it's too late. PETER: Tess. TESS AMARAL: I mean, it was easy enough for you to leave the first time, why should it be any different now, right? PETER: I know that you believe that, Tessa, but you have to trust me, it was harder than you think. TESS AMARAL: Trust you? I'm not sure I ever even knew you. PETER: Yeah, you did. Maybe better than anyone. You still do. TESS AMARAL: What does that say about you? I'm not kidding. You need to leave Boston and never come back ever. PETER: Is that what you want me to do? TESS AMARAL: How can you ask me that? Come on. PETER: Tessa, look, it's comp... (Peter notices bruises on Tess arm) PETER: Michael? TESS AMARAL: Things have changed. PETER: Yeah, apparently. TESS AMARAL: It'll be worse for you if you stay. Walter's Lab & Toad Logic WALTER: Psychophysiologic effects, otherwise known as psychosomatic. The ability of the mind to cause actual physical changes in the body. ASTRID: Mind over matter, like when you get scared and you get goosebumps. WALTER: Precisely. Although it is possible for the body to manifest physical changes imagined in the brain in a far more dramatic fashion. This test subject is in a highly suggestible state, as you can see in this archive footage. A form of hypnosis. I convinced him that he was in a meat locker. And what is more impressive, I told him that this ice cube was a burning coal. ASTRID: Oh, my god. WALTER: Cruel, I suppose, but very enlightening. OLIVIA: So, Walter, what does this have to do with frogs? WALTER: Uh, toads, actually--Bufo alvarius, a species which secretes a psychoactive compound. The substance which I couldn't identify in Mr. Young was in fact a concentration of the venom produced in the skin. Properly altered, it's an hallucinogen, a very powerful one. Quite unlike anything I have taken. It directly affects the amygdala, which is the fear center of the brain. OLIVIA: So you're saying that Mark Young hallucinated being cut on his body, and then his mind made it actually happen. WALTER: Yes. A very clever means of murder. OLIVIA: What do you mean "murder"? WALTER: Oh, come on, we've discussed this. I'm sure we have discussed this. ASTRID: No, no, you and I did before Olivia got here. WALTER: The potency of the dose that I found in Mr. Young's blood was at least 30 times that that any sane person would ingest, which suggests that someone else gave him the drugs. OLIVIA: So whoever those frogs belong to may be the killer. ASTRID: I ran a property record search on the basement where you found the toads, but nothing came up. How'd you even find it in the first place? OLIVIA: It's a long story. OLIVIA: Walter. Walter. The shed where I found the frogs, John Scott led me to it. WALTER: You've been seeing him again because his memories are still in your head. OLIVIA: His memories? WALTER: Yes. Trapped like fragments, snapshots in your mind. Your work on this case must be a trigger to some knowledge he had. OLIVIA: So how long? I mean, how long is this gonna keep happening? WALTER: Could last for many years. OLIVIA: I need to get it out. I can't keep having John's life flash in front of my eyes every few days. There must be something you can do. WALTER: Perhaps, using a form of repressed memory therapy, we may be able to bring the memories to the surface, and purge them from your unconscious. But... OLIVIA: You'd have to put me back in the tank. WALTER: Yes. Yes. And I would always advise against that. The risk of physical, not to mention mental damage, it might cause could be catastrophic. OLIVIA: Walter, I'll do it. I need to do it. Peter's Car (Peter spies on Tess and Michael at their residence) PETER (on cell phone to Astrid): Yeah. ASTRID: Peter, it's Agent Farnsworth. Um, where are you? PETER: Just putting some gas in the car. Why, what's up? ASTRID: I think you should just come back. Revisiting the Tank in Walter's Lab OLIVIA: Ugh, Walter! How long is going to take? WALTER: Miss Dunham, what we're doing, what you have asked me to do, is pushing the boundaries of all that is real and possible. We're not roasting a turkey. ASTRID: The library was not open. I had to go to the book store. OLIVIA: What for? WALTER: When you're in the tank, you must listen to my voice at all times. This is a technique I developed decades ago in this very lab. Most of which I don't remember. WALTER: Is Peter coming? ASTRID: Yes. OLIVIA: Is that a bible? WALTER: Yes. Last time you were in the sensory deprivation tank, you went into a state of shared consciousness with Agent Scott. During that time, part of his memories crossed over into your brain. By putting you into a state of deep hypnosis, and by giving you substantial doses of psychoactive drugs, I can help you to access those alien memories that your mind has repressed. My voice is your guide. It is also your tether to reality. You must focus on my voice, or you may risk being lost in the memories. Uh oh. OLIVIA: What? WALTER: I just got an erection. Oh, fear not. It's nothing to do with your state of undress. I think I simply need to urinate. OLIVIA: That's good to know. WALTER: Will you get her in the tank, please? ASTRID: Are you sure about doing this again? OLIVIA: All I want is for it to stop, but if his memories can do some good, then at least I wasn't deceived for nothing. WALTER: You'll begin to feel sleepy. You must listen to my voice at all times. Concentrate on the name of the man from whom you seek information. And look for signs. OLIVIA: Signs? WALTER: I'll tell you when you get there. OLIVIA: Walter, what was the Bible for? WALTER: Well, you're taking untested psychedelics, lying in saline with an electric charge in the base of your cranium. Among other things, I thought it appropriate to pray you don't get electrocuted. OLIVIA: Praise the Lord. WALTER: Amen. ACT III Walter's Lab - Olivia Remembers WALTER: Next! ASTRID: "Then I will sprinkle clean water upon you" WALTER: "And ye shall be clean. And of all thy filthiness, and all thy idols, I will cleanse thee and a new spirit I will give to thee. And a new spirit I will put within thee." ASTRID: Wow, nice. I didn't know you were so religious. WALTER: I'm not. Not anymore. - - Olivia, can you hear me? OLIVIA: Yes. WALTER: Good. You see the end of the escalator, Olivia? You will step off in five, four, three, two, one. Take a moment. Look around. What do you see? OLIVIA: I see nothing. Just light. WALTER: Olivia, listen carefully. Apart from my voice, what else do you hear? OLIVIA: Music. WALTER: Excellent. Where is it coming from? You should be able to see something. OLIVIA: There's nothing. I don't know where I am. WALTER: Stand by. Anything now? What do you see? OLIVIA: Nothing. Wait, there's a door. WALTER: Good. Walk through it. Tell me where you end up. OLIVIA: I'm in a restaurant. WALTER: Does it look familiar? OLIVIA: Sort of, but I don't know why. This is where we had our first date. And there we are. This is our first date. WALTER: Can... can you see yourself and John? PETER: What's going on? WALTER: She's gone back in. PETER: What? Olivia went back in the tank? why? WALTER: Son, I need your help. PETER: Walter, you said that this was dangerous. WALTER: Oh, it is. Very. ASTRID: She thinks John Scott had information about the man who killed himself. PETER: So, what, she went back in the tank to go talk to John Scott? ASTRID: To see his memories. OLIVIA: Look at him. He looks so alive. JOHN: Maybe. OLIVIA: What do you mean, "maybe"? JOHN: You'll see. OLIVIA: So real. WALTER: I need you to adjust the drugs. PETER: Well, what did you give her this time? WALTER: Drugs I'd rather be taking myself. Set the IV to ten drips per. Peter, please. OLIVIA: I'm getting up. What should I do? WALTER: Fear not. This is just a memory. Um, just visiting. They cannot see you. OLIVIA: He's alone. John? WALTER: He cannot hear you or speak with you. You're in a memory. He cannot interact with you. Olivia, I'm going to take you elsewhere. OLIVIA: I loved you. Tonight, during dinner, I loved you, but you were lying to me about who you were. I mean, did you ever have any feelings for me at all, or was it all just...? Mark Young killed himself yesterday... He sees me. WALTER: No, Olivia. He definitely does not see you. OLIVIA: I'm somewhere else. I'm in John's car. WALTER: Good. Do you see any clues? OLIVIA: I'm alone. WALTER: He must be there. Find out where you are. OLIVIA: There's no one here. WALTER: It's his memory. He must be there somewhere. OLIVIA: I see them. WALTER: Who? PETER: Ask her what she sees. WALTER: Wh... what do you see? OLIVIA: There's four men. There's John, a black guy, one who looks Latino, and the fourth I can't see. I don't know who they are. GEORGE MORALES: Let's give him a minute. This is a big decision he's about to make. MARK YOUNG: All right, I'm good. OLIVIA: Oh, my God. It's Mark Young. I see him. He's here. WALTER: Can you hear anything? All right? OLIVIA: I'll get closer. Young's leaving with the Latino. I'm going after them. GEORGE MORALES: Now you just do your part, and we'll take care of you. We do this one deal, and it's hasta luego. OLIVIA: They've disappeared. WALTER: That's because you're not in their memories. You're in John's. You must go back to him. PAUL: You know if it's on time? JOHN: It will be. He'll deliver. He's just a little nervous. See the look he gave me when you told him how much you'd be willing to offer? PAUL: I hope you're right. If we get into another Ashley situation, we're screwed. (John stabs Paul) OLIVIA: No! Stop! No! Get me outta here! Walter! ACT IV Walter's Lab - Olivia Sketches Morales OLIVIA: So just a little less chin. ASTRID: Okay. How's this? OLIVIA: That's it. That's the Latino guy I saw in John's memory. He's the only one of the four still alive. We need to figure out who he is and find him. So, can we get this to Charlie, and maybe we can get it ID'd? ASTRID: Got it. OLIVIA: Hey. PETER: Hey. OLIVIA: You're on my clothes. PETER: Oh, sorry. OLIVIA: That's okay. PETER: You okay? OLIVIA: Yeah. John's memories gave us a lead, so I better get a move on. I need to see Broyles. PETER: You want some company? OLIVIA: No. Thanks. PETER: Olivia, if you need me, I'm here. OLIVIA: Yeah, I know. River Bank - Olivia Meets Broyles OLIVIA: We believe Mark Young was murdered for selling technologies to black market buyers. And we believe that this man was part of an underground group responsible for brokering the sale of a synthetic hallucinogen manufactured by Massive Dynamic's drug division. BROYLES: And what would be the black market applications of this hallucinogen? OLIVIA: The drug can easily be mass produced as a cheap street drug or worse. In its potent form, used as a chemical weapon. Apparently it can literally scare you to death. BROYLES: Then don't let me slow you down. Sounds like you're doing fine. OLIVIA: There's just one more thing. We're gonna need Massive Dynamic to disclose every project that Mark Young was working on. BROYLES: You're right. Although that'll be easier said than done. I'll see what I can do. Street Side - Peter Intercepts Michael (Peter blindsides Michael and they fight) PETER: If you touch her again, I'll kill you. Federal Building - Locating Morales CHARLIE: Any luck? AGENT #1: We've been running facial recognition software. So far no matches. CHARLIE: Witness sightings? AGENT #1: NYPD's passing the composite around Young's apartment building and office as we speak. OLIVIA: (into cell phone) Oh, yeah, I need you to cross reference all of John Scott's case files with Mark Young. Yeah. (sees Broyles enter) Hold on. BROYLES: From Nina Sharp... (puts files down) Mark Young's projects. OLIVIA: (to cell call) Yeah, can you call me back if you find something? Thank you. (she examines the files and deduces the phone number of the suspect) GEORGE MORALES: Hello? OLIVIA: Hello, I'm calling on behalf of your long distance carrier. GEORGE MORALES: I'm not interested. And I don't want you calling again. So take me off your list, okay? Hasta luego. (flashing back to John Scott's memories - GEORGE MORALES: We do this one deal, and it's hasta luego.) OLIVIA: I need this phone traced. This is our guy. CHARLIE: How do you know? OLIVIA: I recognize his voice. CHARLIE: You recognize his voice? OLIVIA: It's him, Charlie. I swear. (encouraging her fellow agent) Come on. AGENT #2: Almost there. Got it. It's a land line, but it was forwarded to a cell. OLIVIA: Where? AGENT #2: He's in transit on Route 3 heading to Lincoln Tunnel. Charlie and Olivia Chase Morales CHARLIE: How far out are we? FBI TECH AGENT: About a mile and closing. CHARLIE: We got 'em. Name on the account is George Morales, age forty-three. Purchased a plane ticket this morning. Three forty-five flight down to Sao Paolo out of JFK. OLIVIA: So he must be on his way there now. CHARLIE: According to NCIC, he's a black market trafficker, high end. OLIVIA: So how far out are we? FBI TECH AGENT: Five hundred and fifty yards. FBI TECH AGENT: Echo flank left foxtrot. RADIO VOICE (off screen): Flank right. FBI TECH AGENT: Wait, he stopped. OLIVIA: What, did we lose the signal? FBI TECH AGENT: No, he just stopped. OLIVIA: So do you think he ditched his phone? CHARLIE: I don't know why he would. There's no way he could have spotted us. Looks like he hit traffic. OLIVIA: Where's the transponder? Let's go. Charlie! (Morales is hit by a taxicab) FEMALE VOICE (off screen): You okay? Call 911! OLIVIA: He's okay. ACT V Hospital - The George Morales Offer OLIVIA: I'm told you wanted to see me. GEORGE MORALES: Yes. I want to make a deal. I'll tell you everything I know. OLIVIA: I'm not sure what you have to trade. Under Title Eighteen of the U.S. Code, we have you for possession of chemical weapons on top of suspicion of murder of Mark Young. GEORGE MORALES: I want protection. OLIVIA: You mean immunity. GEORGE MORALES: No, I mean protection. From Massive Dynamic. You need to move me from here right now. OLIVIA: What are you talking about? GEORGE MORALES: I didn't kill anybody. Why would I? That guy was a treasure trove of unbelievable things. Massive Dynamic killed him. OLIVIA: Massive Dynamic killed Mark Young? GEORGE MORALES: That's right. OLIVIA: Why would they? GEORGE MORALES: Maybe as a warning to any employee who's thinking of doing the same thing. OLIVIA: Maybe? I think it's easy to invent a story that you think I want to hear. GEORGE MORALES: Really? Did I invent ZFT? Flight 627? The Northwoods group? John Scott? The Pattern? The whole thing is, is a hoax. It's all a smoke screen so Massive Dynamic can do whatever it wants to whoever it wants. Do you understand that? Massive Dynamic is hell, and its founder, William Bell, is the devil. And I can prove all of it, but only if I get protection. OLIVIA: So why me? Why do I get the privilege of your cooperation? GEORGE MORALES: Because I know I can trust you. OLIVIA: You don't even know me. GEORGE MORALES: John Scott told me about you. Immunity and complete protection, and I will tell you everything I know. Massive Dynamic - Nina Sharp's Office NINA: Agent Dunham, I don't recall seeing you on my schedule today. OLIVIA: Well, I don't need an appointment, Ms. Sharp. NINA: It's all right. OLIVIA: No matter where my investigations take me, they always come back here. NINA: Well, I don't know what you've heard since we last saw each other, but I would hope that my cooperation would have garnered some benefit of the doubt. Massive Dynamic has nothing to hide. Hospital - George Morales Room GEORGE MORALES: It's about time. What took you so long? Massive Dynamic - Impasse with Nina OLIVIA: See, I believe that your cooperation is an illusion. It never leads to something tangible. It only leads to more questions. And that's the point, isn't it? To keep us all asking questions? All just chasing our own tails? NINA: Are you sure you're feeling well, Miss Dunham? I think perhaps you're perceiving things that are entirely in your mind's eye. OLIVIA: I wanted to thank you for all your job offers, and I'm sorry that it's taken me so long to give you an answer, but I, um, I think I finally have one. NINA: Yes, it's obvious in your expression. Well, I understand that you've captured your suspect. I imagine that in an effort to seek an immunity agreement from your agency, he's attempting to blame Massive Dynamic for all his foul deeds. OLIVIA: Are you protecting your CEO, William Bell? Because if you are, now is the time to tell me. Once our witness talks, you lose all leverage in a plea. NINA: I seriously doubt that your witness will be able to provide any actionable evidence to implicate Massive Dynamic or William Bell of any wrongdoing. Hospital - George Morales Attacked (Morales being attacked by John Scott) GEORGE MORALES: No, please! No, John, please don't! I won't say anything. NURSE: (Screams) Street in Front of Massive Dynamic OLIVIA (to Broyles on cell phone): Dunham. BROYLES: Our witness is dead. OLIVIA: What? BROYLES: Seems he was drugged with the same substance as Mark Young. OLIVIA: How? We had guards on his room. BROYLES: We don't know yet, but a nurse saw his throat open up right before her eyes. OLIVIA: Nina Sharp. BROYLES: Excuse me? OLIVIA: She got to him, and there'll be no evidence of that, just like you said. BROYLES: Dunham, Nina Sharp and Massive Dynamic have been nothing but cooperative with this investigation. I suggest you keep your unfounded accusations in check. Hallway in Front of Walter's Room OLIVIA: Walter. Hi. Can you come out? Um, I need to go back in. WALTER: In our room? OLIVIA: Uh, no. In the tank. There are too many questions. Like who's working for whom? And why? Who should be arrested? who's plotting what? And if John had the answers, Then the answers are still in his memory, which means that they're in my memory. WALTER: Miss Dunham. OLIVIA: Please, Walter. We're wasting time. WALTER: It's dangerous. OLIVIA: I am prepared to take that risk. WALTER: There is little that makes me happier than taking drugs. Perhaps administering them, designing and carrying out experiments that bend the plane of what we consider reality. I'm rarely if ever opposed to such things except now. But I tell you, you'll damage yourself. Every time you go back in, the risk of permanent damage--seizures, aneurysms, memory loss, death... OLIVIA: But if I don't go back in, others may die. WALTER: And if you do, the death could be your own. There are no guarantees that you will retrieve the memories you're looking for. And remember, there can be no interaction with him. You can't just ask. OLIVIA: He did see me. WALTER: No. No, that is not possible. Give me some time. I will try to develop a safer technique. But not tonight. You need to rest. Sleep well. OLIVIA: You too. Street at Night GREGORY WORTH: (on cell phone): Tell him to have the money or I'll have to break his legs too. I gotta go. (to Michael Kelly) What the hell happened to you? MICHAEL KELLY: He's back in town, Peter Bishop. GREGORY WORTH: Peter Bishop, really? Olivia's Apartment (Olivia receives an email from John Scott - "I saw you in the restaurant")

PROLOGUE Philadelphia Mutual Savings Bank EVAN MCNEIL: (at console next to dead guard) Security cameras are out - disarming alarm. (diverts wire circuitry) Alarm disarmed. MITCHELL LOEB: Roger, we're in. (walks to vault wall and inspects it) How are we doing? EVAN MCNEIL: Loop is up - you're good to go. (team attachs equipment to wall and computer controls) MITCHELL LOEB: How are we doing? RAUL LUGO: Good to go. MITCHELL LOEB: Okay - powering up. 3... 2... 1... charge. (wall vibrates) RAUL LUGO: Oscillation is good. RYAN EASTWICK: Ready to open the grid. MITCHELL LOEB: Where are we? RAUL LUGO: 96%... 98... resonance - set. MITCHELL LOEB: Give me the grid... (men expose wall to harpoon) Careful! RAUL LUGO: (fires cable through wall) Magnet firm. MITCHELL LOEB: How long do we have? (team dons remainder of gear) RAUL LUGO: Confirming density and thickness, 1 minute 41, 40... MITCHELL LOEB: Let's go. (team pulls way through the resonated wall into vault) MITCHELL LOEB: (looking for safety deposit box number) 610, 610, 610... Okay, we got it. Give me a charge gel. RYAN EASTWICK: (passes charge and checks watch) 57 seconds. MITCHELL LOEB: (places charge) We gotta move. (smoking door falls to floor) RYAN EASTWICK: 45 seconds (box is lugged to the wall) RYAN EASTWICK: I got it. Down. MITCHELL LOEB: Alright, let's move. Grab everything let's go. RYAN EASTWICK: Let's go, I need help. Get it up. (hoisting the box to the cable) MITCHELL LOEB: (to Eastwick) Okay, take it through. RYAN EASTWICK: (pushes the box through to the waiting McNeil) Okay, you got it? (checks watch) They gotta move or they're not gonna make it. (in the vault) MITCHELL LOEB: Lugo, let's go. RAUL LUGO: The magnet, it won't disengage. MITCHELL LOEB: Lugo... disengage it - we've got to go now. RAUL LUGO: You go, I'm working on it. Go! I'm right behind you. (tugs on magnetic harpoon) (outside the vault - Loeb emerges) RYAN EASTWICK: 15 seconds. What the hell is he doing? MITCHELL LOEB: The magnets stuck. ROBERT NORTON: He can't leave that in there. We're screwed if he does. MITCHELL LOEB: Yeah! I think he understands that. (looks at watch) Come on. ROBERT NORTON: (cable goes limp) We got slack. RYAN EASTWICK: 10 seconds, 9 seconds, 8, 7, 6... RAUL LUGO: (dons mask) Alright, I'm ready. Pull me through! RYAN EASTWICK: 5 seconds, 4, 3... (Lugo starts through wall) We've got 2 seconds, come on, pull! MITCHELL LOEB: Come on, push. Come on. RAUL LUGO: It's hard! Pull me through! (wall solidifies) ...ahhhh, ahhhh!... MITCHELL LOEB: (quickly) Grab everything, let's go. (retrieves pistol) RAUL LUGO: No, help me. Please? MITCHELL LOEB: (fires pistol) Let's go. Let's go! Secure that gear, I want nothing left behind. ACT I The Science Team at the Bank PETER: (entering the bank - to Olivia) What do you mean you don't have one? Everybody's got one. Even I've got one. WALTER: (interrupting) What's that, a spleen? PETER: Yeah, Walter, a spleen. WALTER: And this one suffers from Asplenia, a rare genetic condition in which one is born spleen-less. PETER: Thanks, Walter. (to Olivia) So, you seriously don't have a best friend? OLIVIA: Nope. Well - does a sister count? PETER: Of course a sister doesn't count. OLIVIA: Well, I guess that I've always just enjoyed being on my own. Even when I was at boarding school, they used to call me "Han". PETER: As in "Solo"? That's cute. At least you had a nickname. BROYLES: (on cell phone) This is Phillip Broyles with Homeland Security - please have him call me as soon as possible. (listens) Yes, and they'll connect you. (hangs up phone) AGENT: (next to the vault - to onlookers) Clear the area, please. WALTER: Ohhh. (sees corpse in wall) This is fascinating. BROYLES: A security guard was killed, the surveillance cameras disabled. OLIVIA: So, what do we have? BROYLES: Nothing. This incident may be related to a recent series of bank robberies - this would be the third. OLIVIA: All in Philadelphia? BROYLES: First was in Cleveland, the second in Baltimore. WALTER: (interrupting) I was in Baltimore. I remember a woman with particularly large breasts. BROYLES: Each time the only thing that's been taken has been a single, oversized safe deposit box. All without so much as a breach of the vault. OLIVIA: Are the boxes traceable? BROYLES: I have a call in to the bank manager now. The who, what, and why… that's you. PETER: Just when you thought things couldn't get any weirder. OLIVIA: (studies the corpse) Peter, I know this man. PETER: What, the guy in the wall? Really? Let me guess. He's your best friend. OLIVIA: No, I mean it. PETER: You know him from where? WALTER: To determine what happened here, we'll have to cut him out of the wall. At least pieces of him. I'll need some of this netting as well. OLIVIA: Raul. Raul Lugo. WALTER: You know this man? OLIVIA: He was in my first unit in the Marines. WALTER: Then you have my condolences. PETER: You're being serious? OLIVIA: Yeah. He's from Jersey. Uh, he's married. His wife's named Susan. He plays baseball. He lives in Edison. I've been to his house. In the Robber's Warehouse RYAN EASTWICK: Bullet in the head or no, leaving a guy halfway stuck in the wall wasn't the most professional move. MITCHELL LOEB: I thought it was a nice touch. RYAN EASTWICK: You can joke about it all you want. MITCHELL LOEB: Yeah, thanks. RYAN EASTWICK: We had another grid. We should have tried to get him out. MITCHELL LOEB: How are we doing? EVAN MCNEIL: Crappy. Self-sealing bolts, magnetic tumblers, some kind of old-school chromo-alloy. Someone really didn't want this opened. MITCHELL LOEB: How long? EVAN MCNEIL: Couple of hours, maybe three. MITCHELL LOEB: We have one more box to go. If your bitching about Raul is your way of saying you want out, then go. Otherwise, inject yourself and shut your mouth. Visiting in Wissenschaft Prison (inmates converse in German in the background) DAVID ROBERT JONES: (to his arriving lawyer) Mr. Kohl - please come in. The Bishops Shop for Tools WALTER: (wandering the aisles of TOOLRACK) This is amazing! The scale of this hardware store is unprecedented. PETER: Actually, it's completely precedented. There are stores like this everywhere, Walter. All around the world, in every city. WALTER: Well, if anyone knows that, it's you. PETER: All right, what's that supposed to mean? WALTER: My last phrase? PETER: Yes, your last phrase... ‘if anybody knows that - it's you’. what is that? WALTER: I was implying that you traveled extensively. PETER: No, you were implying that I haven't stayed still much in the last 15 years. You were implying, and you've been implying with increasing frequency, that you don't approve of my admittedly nomadic existence. In short, Walter, you're saying that you're disappointed I haven't made more out of my life. That's what you're implying. WALTER: Yes, I suppose so. PETER: The reason this store seems like such a miracle to you is because you've been holed-up in a mental institution for the better part of the last two decades - which effectively does two things. One, it precludes you from knowing much of anything about me. About who I am, who I've been, what I know, and what I've done. And two, it renders any fatherly judgments you may have of me - moot… Are we clear? H.I. WORKER: Can I help you guys find something? WALTER: Oh, Yes. We're looking for an electric saw, preferably variable speed with an easily replaceable blade system. H.I. WORKER: : What are you cutting? Wood? WALTER: Human tissue. Flesh and bone. It's more sinuous than you may expect. PETER: It's really not that dire. WALTER: Oh, actually, potentially it's far worse. H.I. WORKER: Um, I think that the saw that you're looking for is around the corner, next to the routers. WALTER: Thank you. PETER: (to the retreating young lady) No need to call the police. The Visit with Mister Jones KOHL: Mr. Jones, as you know, we only have so much time. So... the sentencing is scheduled for next week. As I told you before, I think the best we can hope for is life. However, I will be filing an appeal... DAVID ROBERT JONES: You've spoke to my people? Do they have any news for me? KOHL: Yes, they said that the "job" in Philadelphia was successful. DAVID ROBERT JONES: Good. Please tell them the following - they are to wire Mr. Loeb another $100,000… and to inform him of the location of the next ‘item’. KOHL: I'll pass that along. DAVID ROBERT JONES: Thank you. KOHL: Here is the document. If you would just take a quick look at it? This is a standard document for appeal. If you'll just sign on the... (watches Jones turn over the document and start writing on the back) What are you doing? DAVID ROBERT JONES: Items that I will need upon your next visit. My people will provide them for you. KOHL: Dramamine? Sun tan lotion? What are these for? DAVID ROBERT JONES: As my employee, it really is none of your concern now, is it? What size are you? … suit size? KOHL: 40 long. Why? DAVID ROBERT JONES: The address of my personal tailor. He'll fix up something nice for you. My way of saying thank you for all you've done for me. Dunham Informs the Ex-Wife SUSAN LUGO: (answers door) Yes. OLIVIA: Susan. SUSAN LUGO: Yeah. OLIVIA: Olivia. Olivia Dunham. SUSAN LUGO: Hello. OLIVIA: I'm afraid I have some bad news. SUSAN LUGO: (sits on couch) I just can't believe it. I just can't believe he's dead. Raul moved out about two years ago. We hadn't spoken in months. OLIVIA: You know, I am so sorry. And please forgive me, but did he mention these robberies? SUSAN LUGO: No. Can't say I'm surprised though. OLIVIA: What do you mean? SUSAN LUGO: Ever since he came back from the war, he was just dark. Depression, drinking and I tried to help the best way I could, I swear to god, but... OLIVIA: I'm sure you did. Do you know anyone he was hanging out with? Any of his recent friends? Because I hadn't seen Raul in years. SUSAN LUGO: You knew Raul? OLIVIA: Yes, of course. We served together in the Marines. SUSAN LUGO: Oh, I didn't know. OLIVIA: We have met before. SUSAN LUGO: Who? You and I? OLIVIA: Yes, we had dinner here. SUSAN LUGO: You were in my house? OLIVIA: It took me a little while to remember because it was so long ago, but Raul and I met at Camp Pendleton - and we had dinner here, the night that he became First Lieutenant. SUSAN LUGO: No, you weren't here. OLIVIA: Susan, I'm sorry, but I was. And you were a wonderful host. you made pot roast... SUSAN LUGO: … and it burned. Yes, and we had to order in. OLIVIA: Yeah, and the delivery guy dropped the bag right here. And that piano was actually in front of the window - and the sofa was here by the fire. SUSAN LUGO: Yes, I remember… but you were not here. The day Raul made First Lieutenant - it was just me, Raul, and John. OLIVIA: Who? SUSAN LUGO: Raul's friend from Pendleton, John. OLIVIA: John who? SUSAN LUGO: John Scott. (Olivia looks stunned) Are you okay? ACT II Power Tools at the Bank WALTER: Almost there son. Get ready. I know you can do it. (saws hand off of corpse – plunk) Nice catch. well done. PETER: I'm carrying a tray, Walter. It's not exactly rocket science. WALTER: What I said before - didn't come out as I intended. PETER: What, the crack about the breasts? WALTER: No, about my disappointment in you. It has more to do with your potential than anything else. You have no idea what you're capable of Peter. PETER: That's sweet, Walter, but ultimately unfair - especially coming from you. OLIVIA: So, what have we got here so far? WALTER: Nothing yet. PETER: Walter seems to think that if we can examine this guy's flesh at the cellular level, we might be able to figure out how it is that they pass through solid matter. WALTER: What we perceive as solid matter is mostly empty space. Just as me may perceive that a life is full that is actually a series of empty encounters. PETER: He's been like that all day... it's been awesome. WALTER: To accomplish this, your bank robbers would need cutting edge knowledge of quantum physics - not to mention technology that would cost more than a dozen banks could hold. PETER: How did it go with Raul Lugo's wife? OLIVIA: (looking frazzled herself) Well, they were separated, so she hadn't had much contact with him for months. But she said he suffered from depression. PETER: Are you okay? OLIVIA: Yeah, I'm good. WALTER: No, Peter's right. Your pupils are dilated. It's a symptom of high stress. Unless you're using hallucinogens. (playfully) Are you tripping, Agent Dunham? PETER: (scolding) Walter... OLIVIA: I didn't recognize Raul Lugo - John Scott did. WALTER: You're confusing John Scott's memories... OLIVIA: …with my own. PETER: So, you never met this guy? OLIVIA: No, but I could have sworn I did. WALTER: ‘That’… I don't understand ‘that’… I need to look into ‘that’! OLIVIA: Okay, but first we need to figure out what happened here. Who did this, what they want – and what they're gonna do next. Robber's Warehouse - Discontent EVAN MCNEIL: Success. (cuts open safe deposit container) MITCHELL LOEB: Nice job. EVAN MCNEIL: Are you ever gonna let us see what's in these boxes? MITCHELL LOEB: I don't think so. And even if I did, you wouldn't understand it. (opens container and sighs) Nina Visits John Scott NINA: Well, I thought we were making progress. CHIEF TECHNICIAN: We were, but we've hit a dead-end trying to reconstruct John Scott's memories. If we push further, we risk destroying the fragments we're trying to retrieve. NINA: Well, not to place any undue pressure on you and your team, but we're in a race against highly motivated individuals - and right now, John Scott is our only advantage. CHIEF TECHNICIAN: Understood. Walter's Lab - Discussing Leads PETER: So, why did you need me to go get all that rice? WALTER: No talking! (playfully aims toy pistol) PETER: Seriously, Walter, what's the rice for? And while I'm at it, what's with all the toys? WALTER: Oh, these were in my storage. They're your toys, son, from when you were a little boy. PETER: Those aren't mine. WALTER: Then I suppose they must be mine... (quickly changes topic) It's the netting, Peter. I believe the swatch left behind was from a larger piece... that was draped over the vault wall. That - somehow is the key, although I'm not sure yet exactly how they would... (finds small doll) ah-ha!… ha, ha, ha. WALTER: (moves to a vibrating table with a beaker full of uncooked grain) Now… what do you see here? PETER: So far some rice and a bunch of toys. WALTER: This gentleman is standing on what appears to be solid. However, add vibration... (turns on motor) - I'm quite envious of this. PETER: Of what? WALTER: Well, somehow the robbers were able to weaken the vault wall. High frequency vibrations disrupting its atomic structure allowing another piece of solid matter through it. Well, obviously what I'm showing you here is a theoretical example. In actuality, this feat would be immensely complicated and apparently not without consequences. It seems that use of this technology can render one slightly - radioactive. PETER: How slightly? WALTER: Well… not as slightly as I thought. (to Astrid) Miss? Would you mind putting the hand on ice? It will help preserve the tissue. PETER: Just so I'm clear, Walter, the robbers have managed to not only violate the natural laws of the universe, but they're also becoming radioactive? OLIVIA: Who's radioactive? PETER: Our robbers apparently. Where have you been? OLIVIA: I've been working. Where have you been? PETER: I've been buying rice for Walter's toys. ASTRID: Did you get any leads on the safety deposit boxes? OLIVIA: Yeah, they were all purchased 23 years ago. All paid for in cash, bogus names on each account. (to Walter) How radioactive? WALTER: Slightly. PETER: Though not as slight as Walter would like. So, we have no idea Who those safety deposit boxes belong to? OLIVIA: (to Peter) No, and it's untraceable. (to Astrid) Can you call all the hospitals in and around the Philadelphia area? Get them to call us if anyone comes in showing signs of radiation poisoning. ASTRID: Yeah, I'm on it. OLIVIA: Okay. PETER: Okay… so what's our next move? OLIVIA: Raul Lugo was a good kid before the military. He had a clean record… responsible employee. I want to know how he became a criminal. Why they recruited him and what they promised him. PETER: All right, so how are we gonna do that? OLIVIA: Lugo's wife gave me some names. It just so happens his best friend from high school works at a bar in Cambridge. PETER: Did I just hear "bar in Cambridge"? OLIVIA: Hey, Astrid, would you mind... ASTRID: Watching Walter? Yeah, I'm on that, too. WALTER: Now, Miss, I'm going to repeat the demonstration with the rice. Would you care to watch? ASTRID: Nope. WALTER: Okay. A Bar in Cambridge OLIVIA: Just go along with this, okay? PETER: Sure thing, boss. OLIVIA: (to the bartender) Hi. DREW: Hey. OLIVIA: How's your night? DREW: I've had worse. What can I get you? OLIVIA: Double shot of whiskey. DREW: A double. What's your preference? OLIVIA: Your call. DREW: (to Peter) You? PETER: Same as the lady. OLIVIA: I'm Stephanie. This is my brother, Rick. DREW: Hey Brother Rick. PETER: Hi. OLIVIA: You know, you look familiar. DREW: Who? Me? PETER: Cheers. OLIVIA: (downs her drink) Um... I'll take another. Are you sure we haven't met before? DREW: I don't think so. OLIVIA: What's your name? DREW: Drew. OLIVIA: Drew, I got to tell you, I never forget a face. PETER: It's true, she doesn't. It's kind of creepy actually. OLIVIA: I got it. Raul and Susan's wedding. DREW: No way. You were there? OLIVIA: You were the best man. DREW: Yeah. PETER: It's incredible, right? She's been able to do that since we were kids. Remember that? OLIVIA: I do. So do you still see them? DREW: No, it's been years. OLIVIA: I was friends with Susan in college, but we lost contact, too. It's horrible. Where are they living now? DREW: You know, I don't know. I heard they split. OLIVIA: Oh, No. DREW: Yeah, well, I'm not surprised. OLIVIA: Why not? DREW: I don't know. Raul got weird. OLIVIA: Weird how? DREW: You know he was in the gulf war? He sort of... I don't know, it was post-traumatic stress or something. I feel bad. I'm sure I would have lost my mind if I'd gone to the gulf war as well. Anyway, when he got back, he didn't come around much. He started hanging out at the V.A. a lot. OLIVIA: Which one? DREW: I don't know. CUSTOMER: Bartender DREW: It's a shame. He was a good guy. Excuse me. (he walks off) OLIVIA: Sure. PETER: Brother? OLIVIA: Yeah. It, uh... it kind of works better that way. PETER: Does it now? BROYLES: (answering phone in office) Broyles. OLIVIA: (calling from bar) It's Dunham. Look, I was wondering if you could find out what V.A. hospital Raul Lugo might have gone to. BROYLES: There was nothing in any of his records. OLIVIA: Yeah, I know. That's why I'm calling you. Can you help me? BROYLES: I'll do what I can. I'll have an answer for you in an hour. OLIVIA: Thanks. (hangs up phone) OLIVIA: (to Peter) Let's go. He is gonna call us back in an hour. PETER: Whoa, whoa, whoa… what's the rush? Two is your limit? OLIVIA: Is that a dare? The Robber's Prepare for Providence EVAN MCNEIL: Rook to E-7. ROBERT NORTON: Check. So, I took a look at his papers while he was checking out whatever was in that box we grabbed. EVAN MCNEIL: So? ROBERT NORTON: It's a map of Germany. EVAN MCNEIL: Germany? ROBERT NORTON: Yeah, Frankfurt. Lines all over it. Latitude and longitude. Looks like he's planning a damn invasion. RYAN EASTWICK: I got next. MITCHELL LOEB: All right, listen up. We're headed out. Let's go. EVAN MCNEIL: Where to? MITCHELL LOEB: Providence. Waiting at the Bar PETER: Pick a card. (she does) All right. Now, I need you to memorize that card. OLIVIA: Okay. PETER: You got it? OLIVIA: Yeah, I got it. PETER: You sure? OLIVIA: Yes. PETER: Absolutely positive? OLIVIA: Absolutely positive. PETER: Because if you don't, it doesn't work. OLIVIA: Okay, I remember. PETER: Okay, good. PETER: (makes card disappear) …and just like everything else we do around here.. it's about to get weirder. (holds up bottle where card reappeared) It's pretty good, right? OLIVIA: That was great. PETER: Okay, so top that. OLIVIA: Okay. PETER: Seriously? OLIVIA: Oh, that's fantastic. PETER: Women never have card tricks. OLIVIA: Tell me when to stop. (counts out cards) One, two, three, four, five, six, seven... PETER: Stop. OLIVIA: Which one? (he points) Four of clubs. (Peter turns over the predicted card) Eight, nine, ten, eleven, twelve... PETER Stop. OLIVIA: (Peter turns over the predicted card) Queen of diamonds. PETER: You can count cards. OLIVIA: That's all I would do when I was a kid. I'm sure that if I was a child today, I would be diagnosed with something. I just have this thing for numbers. I see them once and remember them the rest of my life. PETER: Seriously? OLIVIA: Yeah, my best friend from high school's license plate - 7240168. My locker combination in middle school - 36-21-7. The numbers of the safety deposit boxes - 233, 377, and 610. PETER: What? OLIVIA: I could do more. PETER: No, no, no… Say that again. The numbers on the safety deposit boxes. OLIVIA: 233, 377, and 610. Why? PETER: I know those numbers. In the Bishops Hotel PETER: Walter? Hey, Walter! Wake up! Walter. Walter, wake up. This is important. WALTER: (jostled awake) oh, oh, Oh?… Do you two want to use the room? PETER: Walter, this is important. The numbers you recite every night, what are they? WALTER: Numbers? PETER: Every night you recite a sequence of numbers to help you fall asleep. 233, 377, 610… WALTER: ...987, 1,597. PETER: Precisely, those. What is that pattern? WALTER: It's a Fibonacci Sequence. You should know that, Peter. If you had stayed at college... OLIVIA: Walter, not everybody knows the Fibonacci Sequence. WALTER: Oh, sure they do. It's a wildly famous mathematical sequence. Each number in the sequence is the sum of the two preceding. PETER: Including 233, 377, and 610, Which just happened to be the numbers of the safety deposit boxes that were stolen. WALTER: It's fascinating, but it's a coincidence. It can't possibly be significant. Unless... Oh, my god. OLIVIA: What? WALTER: The safety deposit boxes are mine. ACT III Still at the Bishops Hotel WALTER: (pacing the room) Cleveland, Baltimore, Philadelphia… Cleveland, Baltimore, Philadelphia… now… OLIVIA: Walter, are there any other safety deposit boxes that haven't been broken into yet? WALTER: I don't know. I don't know where - because I can't remember why I put things into the boxes. PETER: Alright, so let me get this straight. You can remember traveling around the country 23 years ago, renting all these safety deposit boxes under assumed names… but you can't remember why? WALTER: The "why" is of secondary importance to "what". What was I protecting? Whatever it was, I didn't use my usual hiding places, so, I suspect it was something of profound significance. PETER: Well, excellent. That clears it right up. WALTER: I was under a great deal of stress at the time. It - it was before the accident in the lab - before that poor lab assistant lost her life. (sits and take bottle from night stand) I was... distrustful of everybody. Even better, your mother. I was convinced I was being followed. Someone was watching my every move. (drinks dissolved medication) PETER: Which medication is that Walter? WALTER: Supplements. OLIVIA: Walter, did you tell anybody else? WALTER: hoo... hmm… I told you I was paranoid. OLIVIA: Okay, get dressed - we're going out. WALTER: Breakfast? Walter Visits the Federal Building CHARLIE: According to your travel records, in 1985, you gave a lecture at Syracuse University. Now, these photos are of banks in the Syracuse area. Does any of this trigger anything in your mind? WALTER: (glances at photos) Yes, but not about banks. Think back 20 years - imagine yourself then, imagining yourself now - 20 years into the future. In your wildest imagination, could you ever think you'd be here? CHARLIE: (softly to Olivia) Is he stoned? OLIVIA: Just show him the other batch, and be patient with him. (watch Walter licking photo) His mind works in a different way. (Charlie raises his eyebrows) BROYLES: (enters room) Agent Dunham. OLIVIA: What's up? BROYLES: After he split up with his wife - Raul Lugo moved to D.C. (hands her a file) He was an in- patient at the V.A. there for six months, from last May to mid-October. OLIVIA: No visitors? BROYLES: Not according to the records. I don't know what that does to your theory he was recruited there. OLIVIA: Unless it was by another patient. Nina Returns to John Scott NINA: You have something? CHIEF TECHNICIAN: Something remarkable, actually. When we tried to access Agent Scott's hippocampus, his brain-wave echo suddenly became erratic. Inconsistent in ways we've never seen. NINA: And the cause of the inconsistency? CHIEF TECHNICIAN: We managed to resolve the last image in Agent Scott's optic nerve before he died. This image is linked to a second set of brainwave echoes. (hands Nina a file) Agent Dunham's. They must have somehow shared consciousness. If that's the case, it would suggest that some of John Scott's memories, perhaps the very ones we need... NINA: …are in Agent Dunham's mind. At the V.A. in Washington D.C. OLIVIA: (introduces herself to orderly Ed "Smitty" Smith) Hi. I’m Agent Dunham with D.H.S. I'm looking for Dr. Bruce Miller? (receives direction) Thank you. Excuse me, Dr. Miller? Agent Olivia Dunham. I'm with D.H.S. BRUCE MILLER: What can I do for you Agent Dunham? OLIVIA: I wanted to talk to you about a patient of yours. Raul Lugo. Marine Force Recon. History of P.T.S. D. BRUCE MILLER: I'm sure you know I can't violate patient confidentiality. OLIVIA: Raul Lugo is dead Dr. Miller - so his right to confidentiality no longer applies. I'm investigating his death and I need to know about his friends… anyone he was doing therapy with - or people that he got close to... BRUCE MILLER: If you're referring to current or former patients, those records are also protected. OLIVIA: Unless they're involved in ongoing criminal activity, in which case it would be your duty to release them to me. BRUCE MILLER: What crimes? OLIVIA: I'm sorry, I'm not authorized to tell you that. Suffice to say, the team of criminals I'm investigating are all highly trained, well-skilled, and... BRUCE MILLER: Agent Dunham, I have two dozen patients to see before I can go home to dinner. And I'm not about to violate my ethical duty based on your say-so. Now, if you would like to come back with a Federal subpoena I would be glad to help you out... but until then, you'll have to excuse me. (they part ways. she starts a cell phone call and is intercepted) ED SMITH: He liked to play chess. Raul. He used to play chess all day long. OLIVIA: With anyone in particular? ED SMITH: There were four of them. The Chess Club. OLIVIA: And do you remember their names? ED SMITH: Get a pencil. The Robber's Depart the Warehouse MITCHELL LOEB: (departing with team and equipment) Let's go. Let's go. Let's move. (getting in van) Let's go. Door! Let's move! Federal Building - Following Leads AGENT #2: Robert Norton, Captain, United States Air Force. Honorably discharged April of '04. CHARLIE: Pull up his cell phone records and his financials. See if there's anything else that ties him to Lugo. AGENT #2: I'm on it. OLIVIA: These are the V.A. visitor logs. These men were recruited. I want you to comb the logs and follow up on every entry. AGENT #1: I just talked to Evan McNeil's wife. Says her husband's away on business. She hasn't heard from him in two days. OLIVIA: Call his work and see if they know where he is. CHARLIE: Alright, we got something. One of our vets bought three one-way tickets to T.F. Green Airport in Providence. OLIVIA: When do they land? CHARLIE: 47 minutes ago. PETER: (takes call in lab from Olivia) Hey, what's up? OLIVIA: We think the next bank hit is gonna go down in Providence. Can you talk to Walter and see if it jogs his memory? PETER: Yeah, sure. WALTER: (to Astrid about Gene, the cow) Down strokes only… you brush with the grain. PETER: Hey Walter, are any of those banks you rented the safety deposit boxes in Providence? WALTER: I don't believe so, No. I'm sorry Peter, I have tried everything to remember. I understand how important it is, and I am quite disappointed with myself. PETER: (to Olivia at her office) Hold on a sec. WALTER: (to Astrid) When she's finished chewing her cud, remember to brush her teeth. ASTRID: I am not brushing a cow's teeth Walter. You know I have real work to do, right? PETER: Hey, Walter. If you were gonna rent a safety deposit box in Providence, what bank would you use? WALTER: Providence? That would have to be the Fairmont Savings Bank, off Westminster Street… It's the only one with safe deposit boxes big enough for my purposes. (realizing how he was manipulated) Oh... well done, son. PETER: The Fairmont Savings Bank off Westminster Street. OLIVIA: You're sure? PETER: Oh, yeah. I'm sure. Locking Down Fairmont Savings Bank (entering the building headed for the vault) SAM MARTIN: Agents, Sam Martin. Providence S.A.C. CHARLIE: Francis and Dunham. So, what's our status? SAM MARTIN: All surrounding streets are locked down. Per your request, my men are checking all shared walls and alley ways. This is Mr. Grimes, he manages the bank. GRIMES: I don't understand. We've had no alarms or signs of forced entry. OLIVIA: Well, this crew doesn't work like that, Mr. Grimes. (entering the vault) GRIMES: We have cameras, motion detectors, sensors that detect fractional variances in ambient temperature. CHARLIE: They might be disabling that wirelessly. Shooting you a feed back loop of old data while they stop and shop. GRIMES: Oh, my god. OLIVIA: 9-8-7. - It's the next number in the Fibonacci Sequence. SAM MARTIN: These four walls are internal to the bank. I don't care how they got in here, they're still in my perimeter. CHARLIE: This layout's not easy. And even if they did get through one of these walls, they've got multiple other walls on every side. They wouldn't have time to breach them all. OLIVIA: What's underneath? A basement or access tunnels? GRIMES: This is the basement. There's two feet of solid steel and then the foundation. Everything under that belongs to the city. Gas mains, sewer, electric. OLIVIA: Sewer. CHARLIE: Providence PD, I need the closest sewer line exit to Fairmont Savings Bank. (on a side street exiting sewer access) MITCHELL LOEB: (to crew loading van) Let's go. CHARLIE: F.B.I. - Freeze! (shoots - missing - chasing on foot with Olivia) EVAN MCNEIL: : Come on! Come on! (van races away leaving Ryan Eastwick) Come on, man! Come on, you can do it! EVAN MCNEIL: Come on! (Ryan Eastwick runs after van) EVAN MCNEIL: Reach out a little further! Come on! (Ryan Eastwick nearly catches van) EVAN MCNEIL: Come on, man, you've almost got it! (Olivia shoots Ryan Eastwick in the leg, as van speeds off) CHARLIE: This is Francis, I.D. number 3-1-5-5-6. I need a ‘bolo’ on a black cargo van heading south on Westminster. License plate number 10562-Sierra. I also need E.M.S. - suspect down. ACT IV Conflict at the Hideout EVAN MCNEIL: Damn it! MITCHELL LOEB: Shut up. Scrub down and take your shots. I want this box open now. EVAN MCNEIL: Not until you show me what this is all about. (Loeb saunters to the stolen box and reveals complex equipment inside) One guy dead, another put away. For that? A camera or something? What the hell is it? MITCHELL LOEB: A word of advice... don't pry into things you couldn't possibly understand. (into his cellphone) We're on. He's coming tonight. Final Orders at Wissenschaft DAVID ROBERT JONES: Perfect. (inspecting the goods brought to him) Very good. I see you didn't take me up on my offer to go see my tailor. KOHL: No, I like this suit. It's always been lucky for me. DAVID ROBERT JONES: Well I can appreciate that. Thank you, Mr. Kohl. Come back in the morning with the paperwork for my appeal. 6:30 sharp? I'll be happy to sign it then. Oh, and wear one of your lucky suits. KOHL: Will there be anything else? DAVID ROBERT JONES: As a matter of fact, Yes. I'll need my people to procure... one last item. KOHL: And what would that be? DAVID ROBERT JONES: Not a "what", Mr. Kohl. In this case, a "whom". Back at the Federal Building UNKNOWN ABDUCTOR: (unseen assailant in the parking garage - viewing Olivia) Target in sight. (in the interrogation room) OLIVIA: We have your service record, Mr. Eastwick. Your 10-40's. We know everything about you. Except what it was that you wanted so badly you'd walk through a solid wall. RYAN EASTWICK: Ryan Shawn Eastwick, Staff Sergeant, First Special Forces Group, 3rd Battalion. 29- 869-617. OLIVIA: You're not a P.O.W. Eastwick. You're a criminal. (in the observation room) PETER: Look at his hands. They look a little jittery. CHARLIE: She's wearing him down. PETER: No, I don't think so. That looks physiological. (OLIVIA in background: ...that's over 20 years in Federal Prison. Is that any way for a decorated combat veteran...) PETER: Call her out, would you? I got an idea. CHARLIE: I wasn't aware you had a background in interrogation. PETER: I've been in rooms like that, on both sides of the table. This will either work or it won't. Either way, it's only two minutes of your time. (OLIVIA: on intercom ...we already have enough proof to put you down for armed robbery times three... that's over 20 years in a federal prison. Do you think the prisoners there will care that you were once a hero fighting for your country?) (Charlie text-mails her) (in the interrogation room) (bzzzzzz... Olivia reads her text-mail and meets Peter at the door) OLIVIA: We lose him, we lose time. We lose everything. (walks away) PETER: Look. You're a tough guy. I'm a tough guy. I think we can dispense with the formalities. I'm not gonna stick a thumb in that shot-up leg of yours because 'A' - I think that's exactly what you expect me to do, and 'B", I don't think you'd crack anyway. (sits at table) No, all I want from you is to show me your hands. Right. Let me see if any of this rings a bell for you. You've been shaking uncontrollably, you vomited at least twice in the last 10 hours, and this morning you found hair on your pillow because it's starting to fall out. RYAN EASTWICK: What's wrong with me? PETER: Radiation poisoning. Right now, you're in the "walking ghost" phase, which I suggest you enjoy 'cause it's a hell of a lot better than the intestinal bleeding, delirium and coma phase you're gonna hit in a couple of days. You violated the laws of physics, Mr. Eastwick, and Mother Nature's a bitch. RYAN EASTWICK: (puts jittery hands on table) Are you a doctor? PETER: First, I need to know what you were hired to steal. RYAN EASTWICK: He didn't tell us. PETER: Who's he? I need a name. RYAN EASTWICK: He never told us his name, all right? We were freelance, hired out. He equipped us, trained us. I can tell you names of the others, but it doesn't matter anyway. He's got everything he needs now. PETER: Everything he needs to do what? RYAN EASTWICK: Are you gonna help me or not? PETER: Actually, Ryan - no. What I'm gonna do is I'm gonna go on the other side of that glass and I'm gonna watch you bleed out, unless you tell me everything I need to know! RYAN EASTWICK: I swear, I don't know what he's doing. All I know is that I overheard a phone conversation once. He's going to a field in Westford. PETER: A field. What field? RYAN EASTWICK: I don't know! Look, man, you got to help me, all right? I need some medicine, okay? Some specialist. Please. You got to help me. Hey! Hey! (Peter walks out) (in the office bullpen) OLIVIA: (looking at map) There. Westford. CHARLIE: That's 30 square miles. How are we gonna find one field in all of that? OLIVIA: Wait. PETER: What? OLIVIA: I know where they're going. There's an abandoned air strip out there. It's called Little Hill Field. "Little Hill". That's the codeword that Joseph Smith gave to David Robert Jones, in a case a few weeks ago. CHARLIE: The guy from the German prison? OLIVIA: It can't be a coincidence, Charlie. It's in Westford just off Route Three. You come in from the west. I'll take the south. CHARLIE: (to all in earshot) All right - listen up! I need every available unit for field assist! Let's move, move, move! ACT V Walter Starts to Remember Lab WALTER: (flipping through his lab records) I’ve seen it here somewhere, what I hid in those banks… it must be – I kept very thorough records. PETER: Unfortunately not very organized records. (sits and fiddles with coin) WALTER: That’s quite impressive. PETER: It’s a nervous tick. Which hand? (makes coin disappear) WALTER: That’s fantastic. PETER: Magic. (shrugs) What? WALTER: (stares) You nearly died when you were a boy. You started bruising… and your kidneys failed. The doctors didn’t know what it was – the closest diagnosis was hepea – the rare form of bird flu that hadn’t been around for decades. Your mother was beside herself, she stopped eating – she stopped sleeping… and I was worse. After all, I was the scientist, here my only son was dying and I couldn’t do anything about it. PETER: Walter. I don’t remember any of that. WALTER: I became consumed – with saving you. Conquering the disease. In my research I discovered a Doctor… Alfred Gross! Swiss. Brilliant physician. The only man that ever successfully cured hepea. But there was a problem. He had died in 1936. And so, I designed a device intend to reach back in to time – to cross the time-space continuum and retrieve Alfred Gross. To bring him back with me… to fix you, my dying son. The device Peter, I think that’s what I hid in those safe deposit boxes. PETER: And it worked? You were able to go back to 1936 and get this guy? WALTER: No. Before I could test it, you started to recover. The doctor said it was a miracle. But the science behind it, in theory, it would work. In theory, it could retrieve anyone from anywhere. Enroute to Little Hill Field (driving quickly, getting instructions from her navigation system to "...continue North on Plain Street... go 1.2 miles) OLIVIA: (answers phone) Dunham. CHARLIE: It’s Charlie. I’m headed East on Route Three, about 2 miles out. What’s your 20? OLIVIA: I’m 10 minutes out, coming in from the South on Plain. Preparing at Little Hill MITCHELL LOEB: (calibrating the equipment by radio) 49.1.1122, 95 degrees North. 8.916092 degrees East. SURVEYOR 3 (or 4): (on radio) Horizontal angle 33.33 grad. We’re good to go. MITCHELL LOEB: Alright. What time do you have? SURVEYOR 2: Twelve-thirty Final Visit at Wissenschaft KOHL: Mister Jones. DAVID ROBERT JONES: Mister Kohl. KOHL: I have your appeal request all prepared and ready to go. (turns back to Jones) All I need is your signature. (neck is snapped by Jones) Closing in on Little Hill RADIO: 10-82, this is Bravo Team entering Westford, pulling South on to Bridge Street. OLIVIA: …just came out of nowhere. CHARLIE: Where are you? Give me your 20. Liv? (Olivia flees her vehicle when cut-off) DUNHAM: (tasered in back) Ughh. ASSAILANT: Target captured. (Loeb and his team finalize preparations to extract Jones - Jones prepares for his elaborate escape from imprisonment - seconds later in a flash of light - Jones arrives at Little Hill) Broyles Confronts Nina NINA: (on the phone from a London sidewalk) Hello. BROYLES: (on the phone from his office) Olivia Dunham is missing. NINA: What?... What do you mean missing? BROYLES: It appears she has been abducted. – Need I even ask? (she hesitates to reply) Are you there? NINA: Yes. Yes. I am here… Frankly I resent the accusation. BROYLES: I don’t make accusations, so let me be clear. If I find out -- NINA: -- Phillip! That’s enough. Now you know how I feel about Agent Dunham. Why would I want any harm to come to her? Now, what do we know about who may have taken her? – And why? Departing Little Hill MITCHELL LOEB: (greeting Jones as he clears the field) So, what does one say at a moment like this? Nice trip? DAVID ROBERT JONES: I suppose that works well enough. I need to get into the decompression chamber. MITCHELL LOEB: Of course. DAVID ROBERT JONES: Do you have her? Agent Dunham. MITCHELL LOEB: She didn’t even put up a fight. DAVID ROBERT JONES: Well then, let’s not keep her waiting.

PROLOGUE Walter's Lab - Idle Times PETER: (walking-in) Walter - What are you doing? WALTER: (sitting at work-station) I'm dosing a caterpillar. PETER: Dosing? As in L.S.D? WALTER: Well... it's a special blend. PETER: I see. Hey, guess what just happened. WALTER: Hmmm? PETER: Finding out that my father is giving drugs to bugs - somehow just became a typical moment in my life. WALTER: It's wonderful. Isn't it? ASTRID: (walking-in) Hey, have you heard from Olivia this morning? PETER: No. Why? What's up? ASTRID: She's missing. Loeb's Lab (regaining her senses as she is strapped to a gurney and rolled in by two technicians- a masked man approaches and prepares medical equipment) MITCHELL LOEB: (mumbles) OLIVIA: Who are you? ... What do you want? MITCHELL LOEB: This won't take long. OLIVIA: I'm sure you say that to all the girls. MITCHELL LOEB: Turn her over. OLIVIA: (flipped in-place) WHOA!! Federal Building - Broyles Briefs BROYLES: (pacing the crowded situation room) Listen-up! One of our own has been abducted. The vehicle of Agent Olivia Dunham was found abandoned on Graniteville Road in Westford, three miles North-East of Little Hill. I want everyone doing everything... surveillance cameras checked, local officers and agents questioned, anyone who might have seen anything. P.D., D.W.P, Triple A. I don't care what acronym it is... you get'em, you talk to them and you find Dunham. For those of you new to this office... this is Agent Charlie Francis - he's my 'second-in-command'. You got anything, you come to me or him. Loeb's Lab - Testing Begins MITCHELL LOEB: (To Olivia) Try not to move. (Loeb walks to another room.) UNIDENTIFIED ATTENDANT: Sir, did it work? MITCHELL LOEB: I hope so. Get my car ready. I'm going back to the office. UNIDENTIFIED ATTENDANT: Yes, sir. OLIVIA: Can I please have some water? If you're going to kill me, then can I please have some water? Please. (First unidentified attendant looks toward second unidentified attendant. They agree. the first brings a beaker of water to Olivia.) OLIVIA: I need to-- I need to sit up. Please. Oh, thank you, thank you. Thank you. (Olivia smashes beaker into first attendant's face and throws a pair of scissors at second attendant. After freeing herself in the confusion, she disables or kills both attendants. In another room, knocks out a third man and takes some laboratory samples after placing them into a thermos. She takes a weapon, a remote key device and a cell phone. On her way out of the building, Olivia entounter a fourth man, whom she shoots.) Broyles and Harris BROYLES: (On cell phone) And pull agents from Albany, Mr. Clark, and get them to Boston, or do I need to remind you how I started this conversation? UNIDENTIFIED WORKER: I have a Sanford Harris, line six. BROYLES: (On cell phone) Just get it done. (Switches phones.) SANFORD HARRIS: Sanford. BROYLES: Listen, we, uh-- We're having something of a crisis here. SANFORD HARRIS: Yeah, well, your crisis is why I'm calling. Look, Phillip, we go back too far. I say something diplomatic, you'll see through it before the end of my sentence. BROYLES: You're calling about Olivia Dunham? SANFORD HARRIS: I'm calling about "Fringe Division." Internal affairs is sending me in to do a full review of your office, make sure things are running as they should. I just wanted you to hear it from me. Olivia calling for assistance OLIVIA (on cell phone): This is Agent Dunham. I need to speak to Broyles. BROYLES: What the hell happened to you? OLIVIA: I'm in Watertown. There was a building that we need to raid. I need agents, maybe 20. Have them meet me in 30 minutes At the end of Talcott Street. BROYLES: Are you okay? OLIVIA: Not yet, I'm not. OLIVIA (to agents arriving on scene): The building I was being held at is two miles-- AGENT (pointing a gun): Hands behind your head and drop to the floor. OLIVIA: Where's Broyles? AGENT: Do it! OLIVIA: What's going on here? AGENT: Freeze right there! Olivia meets with Harris SANFORD HARRIS: Quite a day, Agent Dunham. You're in Boston hospital. You probably didn't think you'd see me again so soon. OLIVIA: Don't take this the wrong way, Mr. Harris, but, uh, I don't think about you all too often. SANFORD HARRIS: Really? Well, you must get some satisfaction from what you did to me. My conviction wasn't a point of pride for you? OLIVIA: Why am I cuffed to the bed? SANFORD HARRIS: Because this is the kind of authority that I have here. You see, my conviction on sexual assault that you so ably prosecuted was overturned. And Homeland Security, for whom I consult, has assigned me to review "Fringe Division." OLIVIA: Just like that? SANFORD HARRIS: Which gives me the prerogative to question your sanity, your loyalty, your worthiness to serve. And it seems to me the people you surround yourself with have failed those tests at every turn. Beginning with your former partner... and lover, John Scott. OLIVIA: John! SANFORD HARRIS: An agent who betrayed you and who turned out to be a traitor against this country, a traitor whose life you went to considerable lengths to save. OLIVIA: If you're suggesting that I know anything about-- SANFORD HARRIS: You went to Iraq to recruit a man to help you save Agent Scott's life. Peter Bishop, arrested seven times. OLIVIA: I needed Peter. SANFORD HARRIS: To assist you in freeing his father from a mental institution. Walter Bishop, who was sent to St. Claire's because he was deemed unfit to stand trial for manslaughter, a man who spent most of his adult years running questionable scientific experiments on human subjects. He's out of his mind, Miss Dunham. These are the people you surround yourself with. A traitor, a criminal, and a lunatic. What does that say about you? OLIVIA: Am I under arrest? SANFORD HARRIS: It goes without saying that you are not to investigate your own abduction. Understood? (Tosses handcuff onto Olivia's bed and leaves) Olivia Returns to the Office CHARLIE: Liv. Are you okay? OLIVIA: Yep. CHARLIE: Hey, Liv, you know I had nothing to do with the way you were taken in, right? OLIVIA: Yeah, I know that. That son of a bitch Harris, he molested three women. I put him away, and that's what this is about. I am not gonna ask him for a thing. I'm gonna go to that building myself. CHARLIE: We sent a team to the address, to the building where you were being held. It was empty. There was nothing there. OLIVIA: What about the phone I got? The car I took? Did you trace... CHARLIE: They're clean. The only prints were you. Oh, there's something else. There's a woman here to see you-- Rachel. She says that you're expecting her. Who is she? OLIVIA: She's my sister. Olivia Greets her Family RACHEL: How are you? OLIVIA: Oh, oh, you look great. RACHEL: I don't really. OLIVIA: Come on, you do. RACHEL: I don't. OLIVIA: You're always so hard on yourself. RACHEL: I know, whatever. Thank you. OLIVIA: You are just a giant person. ELLA: Hey, Aunt Olivia. OLIVIA: Hello. When did you get so big? RACHEL: What happened to your face? OLIVIA: Oh, it's, um, a scratch. ELLA: I brought this for you. RACHEL: She wanted to bring you something from her room. OLIVIA: I have really, really needed one of these. Thank you so much. RACHEL: Are you sure you're alright? OLIVIA: It's a long story. I, uh-- I'm working on a case. RACHEL: Go, go, we're good. Is it okay if we still stay with you tonight? 'cause if it's not okay-- OLIVIA: yeah, yeah. No, of course. I'll meet you back here at 5:00. RACHEL: Perfect. go, save the world. OLIVIA: Alright. RACHEL: I love you. OLIVIA: I'll see you at 5:00. RACHEL: Thank you so much. OLIVIA: Mwah. bye. The Contents of the Thermos OLIVIA: (On cell phone) Peter, it's me. PETER: Olivia, thank god. Are you okay? how are you? Where are you? OLIVIA: I'm on my way to you. So can you meet me outside in ten minutes? And bring your father. I think we'll need him. PETER: Do I have to? (Olivia picks up Peter and Walter; they load several metal cases into Olivia's vehicle.) OLIVIA: They gave me a spinal tap. They put electrodes or sensors on my head. Why would they do that? I mean, what would they want with me? What were they doing? Who could they be? WALTER: You're like the question machine. PETER: And there was nothing there when they checked the building? OLIVIA: No. They'd cleared the building. But I took something before I left, something from one of their labs, and I hid it to keep it safe. PETER: What was it? (Olivia pulls into the vacant lot where she had buried the thermos. She unearths it, opens it, and hands the tubes to Walter. Several minutes are presumed to have passed. Walter has set up a small laboratory in the back of Olivia's vehicle and is looking at a specimen through a microscope.) OLIVIA: Walter, can you identify what it is? WALTER: Yes. I'm afraid I can. Boston College - The Professor Speaks MILES KINBERG: Which means if your high school Bio teacher told you that humans sit at the top of the food chain, he or she was dead wrong. Literally millions and millions of organisms feed on us, reproduce within us. Viruses, bacteria, protozoa, and fungi -- the four musketeers of the pathogenic world. (Kinberg stops speaking, grasps the podium, and falls to the floor.) TARA COLEMAN: Doctor Kinberg? Doctor Kinberg? Somebody call an ambulance. Someone help him. Somebody help him. (Coleman administers artificial respiration to Kinberg to no avail. He dies. His throat bulges and a slug approximately one foot long exits his body through his mouth.) ACT I Boston College - Lecture Hall BROYLES: (voiceover) Agent Dunham, I know you've already had quite a day, but there is an event that requires our attention. OLIVIA: (voiceover) Okay, where? WALTER: Internal hemorrhaging. Rapid cell deterioration. It appears that he suffocated from within. PETER: Well, maybe that's 'cause a giant, slimy, spikey slug came out of his mouth. WALTER: Yes. And I have a theory as to what it might have been. PETER: I'm sure you do. Care to share? WALTER: Eventually. OLIVIA: Peter, anything? PETER: No, it always takes a second for the thermal cameras to calibrate. What do we know about our guy? OLIVIA: Only what I was told outside. His name's Miles Kinberg, immunologist, cutting edge work, an expert in his field. That's all I know. WALTER: Whatever it was, it ripped through his esophagus on the way out. At least he died teaching, a righteous profession. PETER: Hold on a sec. I got it. OLIVIA: Stay there. PETER: Right there. Right there, right there. WALTER: (wandering the room oblivious, looking at the lecture slides) Look. Simian hemorrhagic fever. The infected cells have a definitive spiderweb look. Makes HIV look like a common cold by comparison. PETER: Walter. WALTER: Ebola. First the headaches then the skin turns to rice pudding. PETER: Walter, please. WALTER: No time for the immune response. PETER: I lost it. OLIVIA: What do you mean you lost it? PETER: Either it can vanish or it's fast. It's really fast. There. OLIVIA: Cover the doors! PETER: It's going down. There! Get it! OLIVIA: There! there! PETER: Get it, get it. get it. (Walter regains his focus and throws a wastebasket over the organism) WALTER: Things like this used to happen in the lab all the time. Makes me nostalgic. Walter's Lab - Studying The Organism WALTER: Spirited - isn't it? (as the gigantic organism squirms around) PETER: Well, have you considered, I don't know, killing it? WALTER: We can always kill it, son. We can't always bring it back. ASTRID: You probably could. WALTER: That is true. Do you know what I could go for? ASTRID: Don't say food. WALTER: Cheese steak. ASTRID: How can he even think about eating? PETER: I know. it's disgusting, right? And yet... ASTRID: Ha, you want one too? PETER: Extra provolone, please. ASTRID: Like father like son. PETER: Ah, come on, don't say that. WALTER: (studies the microscope) My theory is correct. I knew it. This organism was developed from the same material that Olivia stole from her captors. We must let her know. PETER: You sure? WALTER: My boy, I'm not even sure that we all exist on the same plane of consciousness. But yes, I believe so. Broyles Defends His Turf BROYLES: I've been briefed on how you brought in Olivia Dunham. SANFORD HARRIS: Oh, I had reason to suspect she might be dangerous. BROYLES: I agreed to let you question her, not tranq her like a rabid dog. What you did was unacceptable. Dunham's been nothing but an exemplary agent, and this is my office. SANFORD HARRIS: Well, then you need to be corrected on two counts. The jury's out on Dunham. I'm not convinced she's the superstar you claim she is. BROYLES: How could you be? You're on a vendetta against her. SANFORD HARRIS: Secondly, while I'm here on active investigation, this division is under my purview. BROYLES: Active investigation? This morning it was a review. SANFORD HARRIS: Well, the Pentagon is concerned, Phillip. Well, think of how this office was thrown together. Flight 627 lands, and suddenly you're in charge of two dozen agents? BROYLES: Somehow I think none of that's the reason you're here. SANFORD HARRIS: This isn't a witch hunt. I'm not here to punish some J.V. agent who tried to ruin my life for chasing a little tail. I'm here to do my job. Why don't you do the same? Interviewing The T.A. OLIVIA: Did you see anyone unusual? Anyone in your class? TARA COLEMAN: No. OLIVIA: And did he mention anything to you? Anything in private? TARA COLEMAN: Why would he? OLIVIA: 'cause you were his teacher's assistant. TARA COLEMAN: Oh. OLIVIA: I thought that he might have mentioned if something unusual had happened. TARA COLEMAN: No, he didn't. Nothing. OLIVIA: We've been trying to track Kinberg's whereabouts over the past week. We spoke to his wife, and she said that he had arrived home just before midnight the last two nights, but, according to his schedule, his last class started at 6 o'clock. TARA COLEMAN: He's had extended office hours this week. OLIVIA: Well, could I get a list of the students he talked to? TARA COLEMAN: It was drop-in. I'm not really sure. I'm sorry. After what happened today, I feel like nothing's real. That was crazy... it was-- OLIVIA: How long were you seeing him? Professor Kinberg. TARA COLEMAN: Three months. I knew he was gonna take the job. He hadn't even told his wife about it yet. OLIVIA: What job was that? TARA COLEMAN: I shouldn't. He wasn't supposed to tell me. OLIVIA: It's okay. TARA COLEMAN: The CDC - Centers for Disease Control. They offered him this big job, which meant moving to Atlanta. So I figured that was gonna be it for us. OLIVIA: And what exactly was the job? TARA COLEMAN: Task Force to oversee the country's preparedness to fight off an epidemic. It sounded like a big deal. Federal Building - Broyles Office OLIVIA: Can I come in? BROYLES: I hate that-- knocking and asking while you're coming in. OLIVIA: Doctor Kinberg - the professor who died at Boston College, was offered a job at the CDC to co- chair a classified task force whose sole responsibility was to respond to epidemics. BROYLES: And? OLIVIA: He wasn't the only scientist asked. There was another one -- Doctor Russell Simon from Cambridge. I'm trying to locate him now. BROYLES: What, you think he's a target too? OLIVIA: I do. And I also think that the people who killed Kinberg are the same people who took me. BROYLES: And how'd you make that leap? OLIVIA: Walter, he thinks the thing that killed Doctor Kinberg is genetically similar to some evidence that I grabbed from the people who abducted me. BROYLES: But why abduct you? What's the link? And why kill Kinberg like that? OLIVIA: I don't know yet. But so far I figured why kill an epidemiologist unless you're looking to start an epidemic? BROYLES: Get rid of the firefighter before you start a fire. And why am I just now hearing of this? OLIVIA: Because your friend Sanford Harris forbade me from investigating my own abduction. BROYLES: Harris. He's put everything on hold... has requested that I run all operations past him before we move. OLIVIA: Is that even possible? BROYLES: Apparently. OLIVIA: Sir, I'm asking you to save a man's life. Are you telling me that you don't have the authority to let me do my job? BROYLES: Find Simon. Get him in protective custody now. OLIVIA: Thank you. BROYLES: I'll handle Harris. OLIVIA: I know you will. (smiles) Federal Building - Preparing For Simon (on her cell phone with her sister) OLIVIA: Hey, Rach, it's me. Can we just meet at the apartment? Is that okay? RACHEL: Yeah, sure. I have the key. Is everything okay? OLIVIA: Yeah, I'm fine. (picks up her Magic Eight Ball) I won't be too late. And if you get hungry, there's food in the fridge, or there are some menus by the phone in the kitchen if you want to order in. RACHEL: Don't worry about us at all. Ella's having a blast. OLIVIA: Okay, I'll see you tonight. I love you. RACHEL: You too. (hangs-up, turns to talk to Charlie) OLIVIA: I'm going to Cambridge to pick up Russell Simon. CHARLIE: Who's that? OLIVIA: A man we're taking into protective custody. I'll give you the details on the way. CHARLIE: Oh, I'm going with you? OLIVIA: Yeah CHARLIE: Meet you downstairs. (leaves the area) OLIVIA: Hey, Mitch. MITCHELL LOEB: Listen, Olivia, your abduction. I'm gonna coordinate the investigation. I assume everything you remember is already in your debrief. OLIVIA: Yeah. MITCHELL LOEB: If I find anything, I'll let you know. We'll find 'em. OLIVIA: That's great, Mitch. Thank you. ACT II Federal Building - Protecting Simon OLIVIA: (walking through the situation room) Doctor Simon, thank you for your cooperation. RUSSELL SIMON: I suppose I should be thanking you. FBI tells you they're here to save your life, you listen. OLIVIA: Well, I know it must seem confusing. RUSSELL SIMON: Well, it's certainly shocking. Miles was a dear friend. OLIVIA: I am sorry. CHARLIE: (in a private briefing area) Know that we're doing everything we can to bring those responsible to justice. RUSSELL SIMON: The C.D.C. wasn't expecting me for three months. CHARLIE: Who else knew you were planning on taking this job? RUSSELL SIMON: Well, no one. just my wife. I was instructed not to tell anyone. OLIVIA: And is there anyone you can think of who might be targeting you? RUSSELL SIMON: Maybe students whose grades they might have felt were undeserved. SANFORD HARRIS: (at the door) Will you excuse us for a moment? I need to talk to my agents. RUSSELL SIMON: Sure. (in the hallway) SANFORD HARRIS: (to Charlie) Can you give us a minute? (to Olivia) So I understand that you have requested placing Doctor Simon in protective custody. OLIVIA: I believe that his life may be in danger. SANFORD HARRIS: Yeah, well, that's taxpayer dollars, Miss Dunham, and I haven't approved that. OLIVIA: Let me ask you a question, not that I don't enjoy having you here, But how long are you planning on sticking around? SANFORD HARRIS: Until I have made a full assessment of how this office conducts its business. Did Broyles approve your request? OLIVIA: No, he did not. (he starts to walk off) Mr. Harris, you don't like me, you don't respect me, and you think I'm bad at my job... but please, don't let that get in the way of doing the right thing. That man in there may likely die if we don't keep him safe. I'm not asking you to like me. I'm asking you to do the right thing. SANFORD HARRIS: Yeah, we'll keep him safe. OLIVIA: Thank you. (walking alone, she answers her cell phone) OLIVIA: This is Dunham. PETER: Walter's still trying to determine what that thing is that came out of Kinberg... but I think we made a breakthrough. OLIVIA: Okay, so what is it? PETER: It seems to be activated by a liquid. OLIVIA: What does? The parasite? PETER: The yellow powdery stuff in the vials that you stole, they're like eggs, but the catalyst is stomach acid. OLIVIA: So the victim just needs to ingest it? PETER: Exactly right, and then it grows--fast. (Simon accepts a glass of water from a visitor while he waits) RUSSELL SIMON: Thank you. MITCHELL LOEB: No problem. (continuing their phone conversation) OLIVIA: And is there any way to trace it, where it came from? PETER: Walter doesn't seem to think so, no. (Simon quenches his thirst as Charlie returns) CHARLIE: Doctor Simon, with your permission, I'd like to take you to our Field Office. We'll debrief you, go over your options. Then we'll move you to a safe house... You okay? RUSSELL SIMON: Yeah. CHARLIE: There'll be agents there on call 24 hours a day. (Simon convulses) Breathe. CHARLIE: (into the intercom) This is Agent Francis, I need medical attention in Room Six. (to Simon) I called medical assistance. (Simon collapses and regurgitates the gigantic organism) CHARLIE: (quietly) Oh, my god. (Olivia enters as the organism speeds around, Charlie fires at it once) Walter's Lab - Identification WALTER: It's viral. Nasopharyngitis, albeit a gargantuan specimen. OLIVIA: What--what does that mean? WALTER: This organism is a single specimen of a virus for the common cold. OLIVIA: So you're saying that this is one single cell? WALTER: It's not unprecedented. The ostrich egg is a single cell, and it can grow up to five pounds. PETER: They supersized the common cold, which, as it turns out, is disgusting. OLIVIA: Obviously somebody's playing with us. PETER: Yeah, they're showing off. Killing epidemiologist with the common cold. WALTER: It is impressive. PETER: What I want to know is what they wanted from you. OLIVIA: Oh, who cares about me? I want to know who's next. PETER: I care about you. If we can figure out why they needed you, then maybe we can figure out who's next. OLIVIA: I'm gonna keep looking for someone who's connected to Kinberg and Simon. (departs the area) WALTER: She is beautiful, isn't she? PETER: Who? WALTER: The slug. Olivia Apartment - Family Time RACHEL: (head in the refrigerator) You know, I could have cooked for you. OLIVIA: (at work over the stove) Uh, no, thanks. I've tasted your cooking. RACHEL: Hey, I've gotten really good, you know. OLIVIA: Oh, yeah? RACHEL: Yeah. No, I haven't. OLIVIA: I didn't think so. RACHEL: Hard day? OLIVIA: Uh, I honestly wouldn't know what to tell you. And if I did, it would be a felony. RACHEL: You have a crazy job. OLIVIA: Yeah, I have a crazy job. Cheers. RACHEL: Cheers. (clink wine glasses) OLIVIA: Have you heard from Greg? RACHEL: (shakes her no, gets misty) I don't know how to do this alone. OLIVIA: Ella is beautiful, and smart, and strong, and she gets that from you. RACHEL: Me? no. You've always been the strong one, you have. OLIVIA: Rach. RACHEL: I've only done one thing right in my life. OLIVIA: Then you need to be strong for her. Whatever you need, I'm here. And you guys can stay here as long as you want. RACHEL: Thank you. OLIVIA: Is there something else? Something you're not telling me? RACHEL: No. No, there's nothing else. Federal Building - Instincts MITCHELL LOEB: (passing her at her desk) How goes it? OLIVIA: Horrible. MITCHELL LOEB: We'll find 'em, whoever's responsible for what happened. Maybe this'll help. (tosses her a Magic Eight Ball) (she drops it, reaches down to pick it up and notices his shoes are like her abductors) OLIVIA: (marches to Charlie's work-station) I need to talk to you. (quietly in an empty corridor) Charlie, I think I know who killed Simon. And I think it's the same person who abducted me. CHARLIE: Who? OLIVIA: Mitchell Loeb. Don't ask me how I know. I'll tell you later. CHARLIE: Livvy, that can't be right. OLIVIA: It is. And I can prove it. But I've got Harris watching me like a prison guard. I can't do this myself. CHARLIE: What do you need? ACT III Walter's Lab - A Proposal (Olivia approaches the Loeb's house, knocks and looks around) PETER: Walter - is that LSD? WALTER: LSD, why would I?-- it's a decongestant. She is a giant cold virus after all. PETER: Right. CHARLIE: (enters the lab for a quiet conversation) Peter. You got a moment? PETER: What's up? CHARLIE: Olivia may have a lead on who abducted her. Only she can't pursue it without some help. I can't help her. PETER: Why not? CHARLIE: Suffice it to say that sometimes a problem with being in law enforcement is that you gotta obey the law yourself. PETER: And you think I'm the guy to break the law for you? CHARLIE: I'm sorry, I didn't-- PETER: No, look, you're right. I am the guy to break the law for you. What do we need? CHARLIE: I need a wiretap. PETER: On who? CHARLIE: Mitchell Loeb... FBI. Investigating Loeb's House (Olivia returns to the front door and starts to pick the lock when Loeb appears from the side of the property) SAMANTHA LOEB: Hello? OLIVIA: Samantha. SAMANTHA LOEB: Olivia, hi. OLIVIA: I was just in Marlborough. I thought I'd drop by and check to see if you're okay. SAMANTHA LOEB: I don't understand. OLIVIA: I don't know. I guess I hadn't talked to you since Mitchell's surgery. SAMANTHA LOEB: Oh, well, how sweet of you. Would you like to come inside? Have a cup of tea? OLIVIA: Yeah, thank you. (fixing tea in the kitchen) OLIVIA: I've been thinking a lot about you and everything that you and Mitchell went through. It's really lovely having him back at the office. SAMANTHA LOEB: Oh, yes, he's really glad to be back. OLIVIA: His recovery seemed to go smoothly. SAMANTHA LOEB: What were you doing in Marlborough? OLIVIA: I'm working on a case. SAMANTHA LOEB: Well, what's the case? OLIVIA: Suspicion of a double agent. SAMANTHA LOEB: (the kettle whistles) Excuse me. I'll get the tea. OLIVIA: Mind if I use your bathroom? SAMANTHA LOEB: It's down the hall. OLIVIA: Thank you. Calling In A Favor (on his cell phone in the lab) PETER: Kyle. Hey, man. (to Charlie) Can you grab me that phone? (points) (to Kyle) Alright, go ahead. (takes notes) Uh-huh, okay, so I enter the phone number and then just punch in that code? Kyle, you are the greatest, man. (listens) Have I told you that lately? (listens) Yeah, thanks. you too. (hangs-up) PETER: (to Charlie) He used to work at the phone company, but I never really understood why. The guy's a genius. CHARLIE: Yeah, right. Wouldn't want to waste any of that potential. PETER: (placing new call) He tapped into the Loebs' home phone number. We should be able to pick up any outgoing calls that make from their house. Tea With Samantha (Samantha Loeb dials out) MITCHELL LOEB: (answers phone at work) This is Mitchell. SAMANTHA LOEB: Olivia Dunham is in our house. MITCHELL LOEB: Why? SAMANTHA LOEB: She claims she was here to check on you. (in the lab) CHARLIE: Is it working? PETER: No. Hey, Kyle, it's not working. All I'm getting is buzz. I don't hear anything. SAMANTHA LOEB: I think she knows. MITCHELL LOEB: I don't know how she could. SAMANTHA LOEB: I don't know what to do. MITCHELL LOEB: Well, I do. And you have to move fast. SAMANTHA LOEB: What? MITCHELL LOEB: You need to kill her. Right now. ACT IV Confronting Samantha Loeb (Olivia snoops around the Loebs' home office and picks the lock on the desk) SAMANTHA LOEB: (on the phone) Her office might know that she's here. How can I just-- MITCHELL LOEB: (in his office on the phone) Dunham's already under suspicion for being unstable. They think she's dangerous. PETER: (placing a call from the lab) Alright, I'll try it again. (Olivia finds pictures of the giant organisms in the desk) (Peter listens to the Loeb's on the wire tap) MITCHELL LOEB: We can say she came after you, that it was self-defense. SAMANTHA LOEB: There has to be another way to do this. MITCHELL LOEB: There isn't, honey. There's one way. You cannot let Dunham leave there alive. In the entry closet, top shelf, in the back, there's a gun. Contact me when it's done. CHARLIE: (asking about the wire tap that Peter hears) What is it? PETER: Olivia's in trouble. CHARLIE: What happened? PETER: Hold on a second. (Samantha prepares to attack Olivia. Olivia closes the desk and answers her phone) PETER: Come on, pick up, pick up. OLIVIA: (answers phone) It's me. PETER: Get out of the house. she's gonna kill you. OLIVIA: What? PETER: Samantha Loeb is going to kill you. Get out of the house right now. SAMANTHA LOEB: (stalking through the house with the pistol) Olivia. Tea's ready. Olivia? OLIVIA: Samantha. Turn around and put the gun on the ground. Put the gun down. (she drops it) Now get down on the ground. Samantha. SAMANTHA LOEB: Please, don't hurt me. OLIVIA: Get on the ground, Samantha. SAMANTHA LOEB: I was just doing— OLIVIA: Samantha, get down on the ground now. I don't want to shoot you, but I will. SAMANTHA LOEB: (sobbing) What are you gonna do to me? Are you going to hurt me? OLIVIA: Damn it, Samantha, shut the hell up and get down on the ground. (Samatha tries to get closer) Don't do it. Please get down! (Dunham's pistol is knocked loose and they fight... after punching and tripping, the two separate and go for their weapons - both fire - Loeb falls with a wound to the forehead) Federal Building - Evidence Search OLIVIA: There's nothing here. Loeb knew he was gonna cut and run. BROYLES: Based on what you've found, you have nothing to trace. PETER: No, nothing yet. WALTER: I'll need more time to trace the origin of the virus, but even then it will be impossible to know the exact origin. CHARLIE: Liv, I hate to even ask you this. Anything you remember from when they had you? OLIVIA: No, there's nothing that I heard, nothing that I remember. BROYLES: There's no other way to track Loeb's cell phone? CHARLIE: Tech services tried everything. PETER: Wait a minute, not everything. The agents at Loeb's house, they're surveilling the area, right? No sign of Loeb? CHARLIE: Not yet. PETER: So he doesn't know about his wife. OLIVIA: No, he doesn't. PETER: Meaning that she could still contact him. BROYLES: I'm ahead of you. I'll get a team. WALTER: What happened? I missed it. OLIVIA: Okay, we need Samantha Loeb's cell phone. I think inventory has it. CHARLIE: I'm on it. OLIVIA: Nice work. PETER: Thanks. Capturing Mitchell Loeb (driving quickly through town, Loeb receives a text message from his wife's cell phone and diverts to meet her. The science team waits in their vehicle) WALTER: It's all rather tense, isn't it? PETER: He's gonna come. Assuming, of course, they text each other. OLIVIA: (into her walkie-talkie) Do you see him yet? CHARLIE: (answers from his vehicle) No, not yet. WALTER: Peter was really worried about you when you were gone. PETER: Walter. WALTER: You were. PETER: Well, of course I was worried. WALTER: He was really worried. CHARLIE: (into his walkie-talkie as Loeb drives up) We got him. (Loeb exits his vehicle for a pay phone) OLIVIA: (to the Bishops) Okay, you stay here. (vehicles swarm the scene and Loeb tries to flee) BROYLES: (as Loeb draws his pistol) Mitchell, put it down! put it down! OLIVIA: Freeze! (shoots Loeb as he turns to fire on her) Drop it. Drop your weapon. (Charlie collects the weapon) OLIVIA: You're under arrest. (Loeb gives her a smug smirk and she pistol whips him across the face) PETER: Nice work. OLIVIA: Thank you. ACT V Federal Building - Interrogation (in an interview room) OLIVIA: Who are you working for? Don't be an idiot, Loeb. This is your one chance to cooperate. I'd say to you that you have no idea how hard we're gonna come down on you, except you do. MITCHELL LOEB: I want to see my wife. OLIVIA: You're not getting a thing until you talk. MITCHELL LOEB: Then you're outta luck. OLIVIA: Why'd you kill them, Kinberg and Simon? And why like that? I mean, there are easier ways to take somebody out. MITCHELL LOEB: You're getting nothing. (in the observation room) SANFORD HARRIS: She can't do it. She won't get a confession. BROYLES: I'd say the evidence in his house is plenty. SANFORD HARRIS: Well, I'd say evidence is no confession. (in the interview room) MITCHELL LOEB: Ask as many questions as you want. OLIVIA: Why take me? And that spinal tap, what did you want? Loeb, this is your last chance to cooperate. MITCHELL LOEB: Or what, you'll torture me? OLIVIA: (to Charlie) Can you leave me alone with him? (in the observation room) SANFORD HARRIS: What's she doing? (in the interview room) OLIVIA: You want your wife, Mitch? MITCHELL LOEB: Yeah, Olivia, I do. OLIVIA: Okay. (contemplates) Okay. (shows him a picture of his dead wife) And do you want to know who pulled the trigger? Mitch? You're looking at her. Did you kill them? Did you? MITCHELL LOEB: Yes! Do you not understand the rules? What we're up against? Who the two sides are? Tell me at least you know that. OLIVIA: Who's we? MITCHELL LOEB: We had a plan here, lady. We had a shot. And you just blew it. OLIVIA: Then why did you kidnap me? MITCHELL LOEB: Kidnap you? Idiot. We saved you. OLIVIA: Saved me from what? MITCHELL LOEB: We were going to let you go. We saved you. You-- you have no idea --- what you've done. Not a clue. (in the observation room) PETER: There's your confession. Federal Building - After Confessing BROYLES: You need to get some rest. I think you've earned it. OLIVIA: I'll see you tomorrow. Thank you. Thank you. PETER: He's right. You should get home. OLIVIA: What did he mean he saved me? what the hell was that? PETER: He was messing with you. Well, I don't know. I mean, did you see him? There was something about the way he said that. PETER: The man's insane, Olivia. WALTER: I concur, and in the category of 'takes one to know one'... That man did seem disturbed. OLIVIA: But then why take me? PETER: Because they wanted to hurt you. They knew that you were investigating them. They wanted to take you out. OLIVIA: Then why not just kill me? PETER: You're talking about a man who infects people with giant viruses. If you hadn't escaped, who knows what they would have done to you. Listen to me, you'd just told him that you killed his wife. He said that to you to try and get a reaction out of you, to get to you. Let it go. You got his confession. Go home. WALTER: I was worried, too, when you were taken. OLIVIA: Thank you, Walter. WALTER: Not as much as him, of course. PETER: Walter. WALTER: It's true. Olivia's Couch (Olivia and Ella are curled-up on a comfortable sofa taking a late afternoon nap. Rachel enters and tucks them under the blanket and gives each a kiss on the forehead... and turns off the reading lamp)

PROLOGUE The Wiles Residence GREGORY WILES: (on cell phone in his room. listens to Luke Dempsey. replies) No, man, whatever. (listens) You're wrong. (listens) Admit you're wrong. (listens) No, she didn't. (listens) What? (listens) Well, then she's a bigger idiot than you are, which is impossible. (listens) It is impossible. (listens) I'm really good at math. It's impossible. (listens) All right, cool. Later. (stares at monitor) CYNTHIA WILES: (stand behind her son at his door) We'll be back around 10:00. Make sure to take Bucky out. You hear me? I love you. (leaves room) ACT I Operation At Olivia's Apartment (the girls hang-out playing a popular board game. the buzzer loudly zaps Ella) ELLA: (skiddish ang giggling) That scared me. OLIVIA: Me too. ELLA: Your turn. OLIVIA: Okay. RACHEL: Ella, when you said you brushed your teeth. Did you also completely dry your toothbrush? ELLA: I brushed. RACHEL: Ella. (hands the child her toothbrush as she exits the room. then to Olivia) I just love being lied to. OLIVIA: Hey, you're a tough mother. Ella's a sweetheart. RACHEL: She is a sweetheart. She's a lying little sweetheart. Sure reminds me of you? OLIVIA: (laughing) Oh! RACHEL: I'm gonna go make sure she's brushing her teeth. Walter's Lab - Criticizing Darwin WALTER: With all due respect, Darwin got it all wrong. I used to make the joke that Darwin's thinking was rather... unevolved. PETER: Which I'm sure used to be very funny. WALTER: For a brilliant man, Darwin was occasionally a moron. He claimed that males tried to spread their genes by having sex constantly. However, the females, with limited eggs, were more selective in their attempts to find genetically superior males. I believe that Darwin was simply inaccurate, that females can be just as aggressive as males, and with males equally dispassionate. Thoughts! (Peter reads a letter disconcerting letter) Peter? ASTRID: (answers her cell phone) This is Astrid. OLIVIA: (driving) Hey, it's me. Can you have the guys go outside? I'm sending over a body. ASTRID: Yeah. Yeah, I'll have them waiting outside. OLIVIA: Thank you. ASTRID: Okay. (to Walter and Peter) Hey, that was Olivia. She needs you guys outside. A coroner's on his way with a body. WALTER: You know, this is the part of day that I look forward to most... when I know there's something bizarre out there. I just don't know what it is - like a grab bag of disturbing events, don't you think? PETER: Yeah. (somberly distracted, he discards the note in the garbage pail) WALTER: Be right back Agent Farnsworth. ASTRID: Okay. Bye. (concerned, she retrieves and reads the note that Peter discarded) Springfield - Meeting The Wiles OLIVIA: (seated in their living room) Thank you for taking the time. We know you're grieving. We're very sorry about your loss. PAUL WILES: What the hell could have done that to him? CHARLIE: We don't know yet. But we are going to find that out. OLIVIA: Did you notice anything strange in your son's behavior over the last few days? CYNTHIA WILES: No. School is good. He was looking forward to graduating. We had dinner together almost every night. We tried to get a few syllables out about his day. CHARLIE: Any history of drug use? PAUL WILES: No. I know all parents think that, but in Greg's case, it's true. Whatever happened... he didn't bring it on himself. OLIVIA: What about any... preexisting medical conditions? CYNTHIA WILES: Asthma. I blame it for all the time he spends on the computer. OLIVIA: Was he on the computer last night? CYNTHIA WILES: Most nights. He spends all his free time there, playing games, trading songs. He chats about girls with his friends. CHARLIE: Which friends? PAUL WILES: Uh... Luke, probably. Luke Dempsey. CHARLIE: E-Y? PAUL WILES: Yeah. OLIVIA: We're gonna do everything we can to find out what happened to your son. Walter's Lab - Autopsy WALTER: (after running a power drill into the skull of the corpse) He can be rotated onto his back now, drain the remainder of his brain. Once that's done, we can examine his cranial cavity. PETER: (approaches pessimistically) Oh, this is gonna be awesome. OLIVIA: (just arriving. on her cell phone) Just get me everything you can and call me right back. Thanks. PETER: Everything okay? OLIVIA: Yeah, his parents say he was a good kid. What do we know from the autopsy? WALTER: All I know for sure is that his brain matter has been completely liquefied. How? My first thought is an extremely virulent form of syphilis. OLIVIA: You're saying that his brain could have been cooked by an S.T.D.? WALTER: Safe sex is important. You do always have your sexual partners wear a condom, I hope. PETER: Walter... OLIVIA: Well, if he got this from a girl or some kind of drug that he was experimenting with, there may be a record of that on his computer. Astrid, can you check his hard drive? I had it transferred with some of his other effects. ASTRID: I got it right here. I'm on it. WALTER: Oh, and be sure to check his floppy disks as well. PETER: Floppy disks are a little outdated. Why don't you focus on what you do best? All yours... liquid brains. (holds-up a beaker full of brains) WALTER: Oh. Fantastic. I will get the bone saw! ASTRID: (studies her monitor) Hey - check this out! OLIVIA: What? ASTRID: Something's wrong. The hard drive platters must be fused. OLIVIA: You sure? ASTRID: Linguistics major. Computer science minor. Plus, I've been taking computers apart since I was, like, six. OLIVIA: So do you think you can get anything off this? ASTRID: Uh... I know some pretty aggressive data retrieval techniques. I can give it a shot. OLIVIA: Well, I'm gonna go interview that Dempsey kid and see if I can dig up something else on the victims. So call me as soon as you find something. Interviewing Luke Dempsey OLIVIA: (to a mechanic outside a large garage) Excuse me. I'm looking for Luke Dempsey... (he points to a busy bay) Thank you. (she enters the garage) Luke Dempsey? Olivia Dunham. F.B.I. Can I have a word? LUKE DEMPSEY: I was just talking with Greg last night. What happened to him? OLIVIA: To be honest, we're not entirely sure. What did you two talk about? LUKE DEMPSEY: A bunch of stuff. I got him a deal on a split rear exhaust for his '93 GT... told him he could swing by whenever. And after... a couple hours, he just... he stopped answering. I figured he fell asleep. OLIVIA: How do the two of you know each other? LUKE DEMPSEY: Our dads worked together when we were kids... Greg and I stayed friends. OLIVIA: Can you think of anyone who may have wanted to hurt Greg... or maybe had a grudge against him? LUKE DEMPSEY: You think... somebody killed him? OLIVIA: Do you? (after the interview. answers her cell phone) Dunham. PETER: It's Peter. We just got a call about another body. Car Dealer Found Dead (the science team arrives and is escorted through the lot by Broyles) OLIVIA: Sir. BROYLES: Dunham. The General Manager of this dealership was found dead by an employee. OLIVIA: We have the employee? BROYLES: Yeah. Though he's having a hard time being coherent. OLIVIA: Well, what exactly happened? BROYLES: (greeting the men) Bishop. Doctor. WALTER: (kneeling over the corpse) It appears he died the same way as the teenager in Springfield. Prepare six vials, please. PETER: Yes, sir. OLIVIA: Where's the guy who found him? BROYLES: This way. - - away from the forensics inspection - - SALESMAN: Anton's a nice man. Honest guy. He has three kids. OLIVIA: When was the last time you saw him alive? SALESMAN: Last night. There's a bar we go to sometimes. Strip club. My wife doesn't know. Just... please don't judge me. OLIVIA: I'm not judging you. - - over the corpse - - (Walter jams a long swab through the victims nose and into his brain) PETER: Ohhh!! (to the violent intrusion) WALTER: What? He's dead. He can't feel this. (taking sample from body) I wonder if they sell cars here with those seats that warm your ass. PETER: Why don't you ask 'em? WALTER: Hmm? Maybe I will. - - interview continues - - OLIVIA: Anton's worked here as long as you have? SALESMAN: A little longer than that, actually. He's been here for three years. OLIVIA: And is there anyone you can think of that would want to hurt him? SALESMAN: Anton? No way. He's solid. OLIVIA: Can I take your card in case I need to ask you some more questions? SALESMAN: Yeah, sure, um... my cell's on there. And if you're ever interested in a new vehicle, we have next year's models in, so, um... now you are judging me. Walter's Lab - Astrid Inspects ASTRID: (shows the innards of the hard drive) It's the weirdest thing. The fused platters we found on the car salesman's computer... they're fried just like the kid's. OLIVIA: Well, that can't be a coincidence. ASTRID: I'm trying to recover as much data as possible. These platters are incredibly sensitive. A speck of dust is enough to make them unusable. But this? OLIVIA: It looks like someone took a blowtorch to them. ASTRID: And from what I was able to pull so far, It looks like both the computers downloaded a huge file... 657 megabytes each right before they crashed. PETER: Where'd the file come from? ASTRID: It's a miracle I was able to salvage this much. To figure that out, I'd need another couple days to access the ISP servers. OLIVIA: That's time that we don't have. (an old phone rings. no one seems to know where it is coming from) Is it you? PETER: uhnt-uh. WALTER: I haven't heard that sound for ages. ASTRID: I think it's the phone. OLIVIA: (after spying an old wall-mounted phone across the lab) Who would have that number? ASTRID: It must be on Harvard's system. I didn't even know it worked. PETER: (hikes across the room and answers) Hello? ... no there's nobody here by that name... (turns his back to Astrid) Yes, I'm sure... Sorry. I think you got the wrong number. OLIVIA: Who was it? PETER: Some... student looking for financial aid. ASTRID: What are you doing? PETER: I think... I got a guy who can help us. OLIVIA: Who? PETER: You really wanna know? OLIVIA: Good point. Be careful with that, though, 'cause it's evidence. PETER: (walks away with the hard drives and tosses them in the air) Just kiddin'. OLIVIA: (to Astrid) Okay, I'm gonna go talk to Greg Wiles's friend, Luke Dempsey. ASTRID: (calling her back as she starts to depart) Agent Dunham? I think I might know who's just on the phone. (Astrid shows Olivia the letter discarded earlier by Peter) ACT II Electronics Expertise PETER: (enters a simple store front in a modest neighborhood and heads to the counter with a plastic bag) How's it going, Akim? AKIM: Peter Bishop. Long time. Not long enough... PETER: Play nice. I come bearing gifts. (holds-up a rare golden coin) AKIM: My god. I can't believe you kept it. You could have sold this for a fortune. PETER: I kept it to remind me never to wager with anything that I couldn't bear to live without. AKIM: I can have it back? PETER: Sure. First... I'm gonna need some help. (they head to a work bench in the rear of the building) AKIM: What do you got? PETER: (takes two computer drives from his bag) Just before they fried, both of these drives downloaded the same program. AKIM: Very good. (sits at the work bench) And what are we looking for? PETER: I wanna know what it is and where it came from. (the monitors immediately fill with a cascade of data) Harris Intrudes SANFORD HARRIS: Agent Dunham. I hear Agent Broyles has you investigating the Bridgeport Automotive death. May I ask what exactly you're looking for? OLIVIA: I'll be cross-referencing the victim's medical records with the A.M.A. database, looking for anything that might connect him to the teenager and explain what happened here. SANFORD HARRIS: Medical records, A.M.A. database, liquefied brains. Come on, Dunham. This case clearly falls under the jurisdiction of the C.D.C.! Qualified, knowledgeable, scientists... OLIVIA: ...there was no known pathogen, no signs of a contagion... SANFORD HARRIS: ...who see these things every day! OLIVIA: With all due respect, Agent Harris, I have done my due diligence. I just got off the phone with my contact at the C.D.C., and they have seen nothing like it. (displays photos of the victims) But you tell me, does this look like a flu you've heard of where people's brains come out their ears? SANFORD HARRIS: No. No. This looks like yet another excuse to justify the allocation of F.B.I. resources to what's arguably become a rogue division inside a federal agency, operating, if not completely autonomously, then well outside the standard regulatory purview. I have news for you, Agent Dunham. I'm here to remedy that. OLIVIA: I'll consider myself warned. SANFORD HARRIS: Twelve hours. After that, I shut you down and put the case in what I believe will be considerably more capable hands. Breaking The Code AKIM: Whoa. PETER: What's this? AKIM: It's particles scattered all over the internet. This thing must have been insanely complex. Integrated video, audio. I mean some of this isn't even computer code. PETER: Is that even possible? AKIM: Multiple parallel packet routing. Ten times the usual nodes. Whoever sent this is trying very hard to cover their tracks. (in her office Olivia's research begins to bear fruit) PETER: Akim, come on. You have no idea where this thing came from? AKIM: Nothing yet. There's too many paths. Wait a second. Okay, I... I can't tell you where it's originating, but I got a destination. This program's being downloaded right now, real time. PETER: Then that's the next target. AKIM: Neighborhood in Brighton, near Boston. It's close by. PETER: Brighton? Can you pull up the address? AKIM: Honing in. There. That's where it's going. (Olivia's address pops-up) PETER: Oh My God. (immediately calls Olivia in her office) OLIVIA: Dunham. PETER: Olivia, listen to me... just before they died, both the victims downloaded the same transmission, and it's happening again right now. OLIVIA: Where? PETER: Your apartment. (in Olivia's apartment, Ella starts to play on the computer) ACT III Olivia's Apartment - Ella Attacked (Peter and Olivia rush to Olivia's apartment in their respective cars. Rachel whirs away in the kitchen, unaware that her phone is ringing. Ella plays and learns on a laptop computer in a nearby room) PETER: (on cell phone to Olivia) Hey, I just turned right onto Broadway. I should be there in five minutes. OLIVIA: Uh, look, Rachel's not picking up her cell... PETER: Then call the next door neighbor. OLIVIA: I don't know any of the neighbors. I haven't seen any of them for months. PETER: Then call Boston PD. OLIVIA: I already have. (in Olivia's apartment, Ella is about to start the malicious program) ELLA: Mom! RACHEL: One minute, Ella. (entrancing images appear to Ella on the monitor. Rachel continues her kitchen chaos - oblivious to Ella's developing problem. The monitor seems to be reaching towards Ella's face. After screeching to a halt, sending several trash cans flying, Olivia bursts through the front door of her apartment with her gun drawn) RACHEL: (startled, she drops a bowl of food) Liv, what the hell are you doing? OLIVIA: Okay... is there someone else here? RACHEL: Of course not. It's just us. OLIVIA: Ella? Ella. Everything's gonna be okay. (as the child continues to stare at the monitor) PETER: (arriving on scene) You okay? OLIVIA: Yeah. Can you check out the back? PETER: Yeah. OLIVIA: Ella! Ella. Ella. What's wrong? (to the befuddled child) RACHEL: (coming from the kitchen) Nothing is wrong, Olivia. She's just playing her game, right, Ell? OLIVIA: Ella! Ella...Ella... sweetie! Ella! ELLA: (coming out of her trance) Aunt Liv? When did you get home? - - after things have calmed down- - CHARLIE: I don't understand. What happened? OLIVIA: There were flashes on the computer screen when I first came in, like bursts of images. I don't know. I can't explain it. It was like nothing I had ever seen before. CHARLIE: Images? OLIVIA: Yeah. And they affected Ella in some way, like she was hypnotized. CHARLIE: I'm gonna call Computer Forensics. They'll be here right away. PETER: (singing to Ella) Trot, trot to Boston, trot, trot to Lynn. Better watch out, or you might fall in! RACHEL: Do you do birthday parties too? PETER: Not so much, no. Though I have done my fair share of baby-sitting lately. RACHEL: Yeah, well, the way you are with Ella, it seems like you'd be really good... at a party. PETER: I'm not really familiar with the word. Maybe you can talk to your sister, she can give me the weekend off. RACHEL: My sister's not really the weekend off type. That was always more me. RACHEL: (to Olivia) Everything okay? OLIVIA: Yeah. Ella, come here. (studies the childs eyes) RACHEL: What are you doing? OLIVIA: You need to get her checked out as soon as possible. RACHEL: What are you talking about? She's fine. Look at her. OLIVIA: I'm sure everything's fine. RACHEL: Liv, what is going on? ELLA: (to Olivia) There was a hand. I remember. There was a hand coming out of the computer. RACHEL: (skeptically) Okay, uh... we're definitely cutting back on the sugar intake and... possibly our visits with Aunt Olivia. Come on, Sweetie. PETER: Hold on. Hold on a second. What kind of hand, Ella? ELLA: Weird... Glowy... Scary. RACHEL: Ell, this isn't funny. Look at me. You know how I feel about lying. ELLA: I'm not! It really happened! RACHEL: How? ELLA: I don't know. I was playing with my game, and I saw this hand. RACHEL: Which game was it? ELLA: My Ponies. RACHEL: I don't want you on that site again, okay? Promise? (Olivia looks at the laptop and notices that the webcam is on) BRIAN DEMPSEY: (looking at Olivia through the laptop webcam) That's right, Sweetheart. I'm the one you're looking for. Luke and Brian Dempsey Meet (as he mocks loudly to himself, alarms to his warehouse activate) BRIAN DEMPSEY: Who's there? LUKE DEMPSEY: It... it's just me, Dad. Somebody in here? I heard voices. BRIAN DEMPSEY: Talking to myself. What are you doin' here? LUKE DEMPSEY: Thought I'd bring you some lunch. BRIAN DEMPSEY: Thanks. How are things at the body shop, Luke? LUKE DEMPSEY: Fine. Have you found a job yet, Dad? BRIAN DEMPSEY: Who says I'm looking for one? LUKE DEMPSEY: I went by your place. The mail was all piled up. Mrs. Greely said you haven't been home in over a week. BRIAN DEMPSEY: She should mind her own business. LUKE DEMPSEY: Have you been sleeping here, Dad? BRIAN DEMPSEY: Luke... thanks for the food, but... I should be getting back to this. LUKE DEMPSEY: W... what is it that you're working on? BRIAN DEMPSEY: A new program. I don't wanna jinx it. I think it's gonna impress a lot of people. ACT IV Meeting in Broyles Office OLIVIA (on cell phone): Okay, love you. Bye. PETER: How's Ella doing? OLIVIA: Fine. The doctor says she's perfectly healthy. There's no sign of neurological damage. Nothing. PETER: That's excellent news. OLIVIA: Charlie's taking them back. He's gonna keep an eye on the apartment until I get there. PETER: Good. OLIVIA: If something had of happened to her... PETER: ...but it didn't. Don't torture yourself with hypotheticals. She's fine. OLIVIA: Yeah. This is gonna sound crazy but I think whoever's responsible was watching - through the computer. PETER: What? OLIVIA: The light next to the camera was on, and Ella doesn't know how to use it. BROYLES: You think he was spying on you? OLIVIA: I don't know. Maybe he was trying to scare me. He knows about the investigation, and this is his sick way of telling me to back off. BROYLES: I suppose he could have broken into our network, learned you were investigating his case... which means maybe we can track him. OLIVIA: Well, we have Forensics on it as we speak. PETER: Also, I've got a... subcontractor that I've worked with before. He's trying to track down the origin of the data stream that was sent to Olivia's computer. BROYLES: And this... data stream, you think it may be connected to what killed those people? OLIVIA: The victim, Greg Wiles, was found in front of his computer too, and his hard drive was fused, just like the car salesman. BROYLES: A computer program that can... PETER: Kill people. Yeah, I know. But Walter's working on it right now back at the lab. But here's what I don't understand. If a person is responsible for those deaths, why are they killing? Have you found any connection between the victims? OLIVIA: Not yet. A Day Trader Dies MIRIAM ROSENTHAL: (arriving home late in the afternoon) Mark?... Honey?... Can you help me with the groceries?... (checks her mail) John and Alice are coming over for dinner. You remember? ...thought I'd make a roast. (walks upstairs) Hey, Dow Jones. Are you alive in there? Mark? (she enters his office to find him slupped back in his chair - dead) Mark!?... (she screams in horror) A Stroll Across Campus PETER: It's amazing, isn't it? All these people, and they don't have a clue... how crazy it all really is. The world... everything. OLIVIA: If we do our job, they'll never have to. (answers cell phone) Olivia Dunham. CHARLIE: (from office) We've got another death. This one outside Chicago. This one is a day trader. OLIVIA: (to Peter) It's happened again. (to Charlie) When are you going to start calling them murders? CHARLIE: When you find us a murderer. OLIVIA: Well, send me everything you can on the victim. CHARLIE: Will do. OLIVIA: Okay. (Peter recognizes that he is being observed and excuses himself) PETER: (to Olivia) I'll meet you inside, okay? (approaches the waiting woman as Olivia heads for the laboratory) Are you Jessica Warren? JESSICA WARREN: Yes. PETER: I'm Peter Bishop. JESSICA WARREN: (gruffly) I know. PETER: I read your letter. And I can understand, of course, why it is that you want to see my father. But it's not the right time. He's only been out of the institution for a couple of months. After 17 years... JESSICA WARREN: ...and three months, Mister Bishop... I know exactly how long it's been. PETER: I'm sure you do. I'm very sorry for what happened, Missus Warren. I wish this weren't the case, but nothing will bring your daughter back... not even talking to my father. JESSICA WARREN: I need to see him. PETER: To do what? To blame him for the accident? JESSICA WARREN: It's between me and your father. PETER: I'm sorry. It's not going to happen. (somberly walking away toward the lab) Walter's Lab - A Solution OLIVIA: Hey. (removes her winter clothing) ASTRID: Hey... I'm glad Ella's okay. OLIVIA: Oh. Thank you. WALTER: Oh, Agent Dunham. I think I worked out how these deaths occurred. It's a complex combination... of visual and subsonic aural stimuli - ingeniously designed to amplify the electrical impulses of the brain, trapping it in an endless loop. OLIVIA: Walter? ASTRID: It's like a computer virus that infects people. OLIVIA: I don't understand. Ella said she saw a hand coming out of the computer. WALTER: A hallucinatory effect of the stimuli, perhaps. I need to research further. (walks away) PETER: (enters the lab) Hey. OLIVIA: Hey. PETER: Where's the latest victim? OLIVIA: Uh... just outside of Chicago. PETER: Any motive yet? OLIVIA: Not yet. Listen... I think I know who that woman was... outside. PETER: What do you think you know? OLIVIA: That she's the mother of the lab assistant... that was killed in the fire here almost twenty years ago. It's none of my business. PETER: Go ahead. What? OLIVIA: Does Walter know? That she wants to see him? PETER: Of course Walter doesn't know. He couldn't handle it. OLIVIA: I see. PETER: You think that he could? (sits down) OLIVIA: I don't know why, but I do. PETER: You really think it's a good idea...... to put him through that? OLIVIA: Well, I was thinking that it's all unresolved. For him, for her, and I was thinking that it must be hard for her too, to come back here to the place where she lost her daughter. PETER: What's your point? OLIVIA: That you underestimate him, your father - and you shouldn't. (Peter leaves as Astrid enters with some papers) ASTRID: Here is what Charlie was able to dig-up on the last victim. OLIVIA: (reads aloud) 'Mark Rosenthal. Forty-eight. Married'. (to Astrid) Any information on his next of kin? ASTRID: It's sad, actually. He just got married last year to a... a Miriam Dempsey. I have her number here if you want it. OLIVIA: Did you say Dempsey? ASTRID: Mm-hmm. OLIVIA: I interviewed a Luke Dempsey this morning. He was friends with the teenage victim Greg Wiles. ASTRID: Uh... according to this background info, Miriam Dempsey is Luke's mother. OLIVIA: So that would make the last victim Luke's stepfather. ASTRID: Yeah. OLIVIA: What are the chances of the same kid being connected to both victims? ASTRID: Maybe Luke is a killer. OLIVIA: It's possible, but... he seemed genuinely upset when I told him his friend was dead. He did mention something else. He said that the reason he was friends with the victim was because their fathers worked together. - - in a separate part of the lab - - WALTER: Is everything alright? I heard you and Agent Dunham. From the tone, it sounded like you were having an argument. PETER: Everything's fine. I tried to expense a couple of Celtic tickets on the F.B.I.... she caught me. WALTER: Oh, I see. I hope she doesn't notice the $2,000 for the baboon seminal fluid I ordered. I hope I can recall why I ordered it. PETER: (to Olivia as she enters with the papers) What's up? OLIVIA: I think we have our suspect. PETER: Brian Dempsey. OLIVIA: He used to work for Paul Wiles. PETER: Greg's dad? OLIVIA: Exactly. He was Dempsey's boss until he fired Dempsey six years ago. According to Wiles, he was a programmer, way ahead of his time. Wiles said when he fired him, Brian threw a fit. ASTRID: Yeah, and the victim outside Chicago was married to Dempsey's ex-wife. Really nasty divorce too. PETER: What about the car salesman? ASTRID: Uh, we're still looking for that connection. But it looks like Dempsey's M.O. is to hurt people who screwed him over by going after their loved ones. OLIVIA (on cell phone): Charlie. Yeah. It's me. I need you to get to Brian Dempsey's house. Luke's father. I think he's our guy. Federal Building - Interviewing Luke (in the observation room) SANFORD HARRIS: Dunham, where's our suspect? OLIVIA: There was no sign of him at home. We picked up his son from work. SANFORD HARRIS: What's your plan? OLIVIA: We're waiting for the right moment. SANFORD HARRIS: Well, why wait? Just go in and break him. OLIVIA: I... I'm not sure that's the way to go. SANFORD HARRIS: You care to share your reasoning? OLIVIA: I think that Luke suspects there's something wrong with his father. If we go in heavy-handed, then... he could shut down or call a lawyer, and then... he won't tell us anything. SANFORD HARRIS: It's your job to make sure that doesn't happen. OLIVIA: I'm more than familiar with passive coercion. SANFORD HARRIS: Good. Then find his pressure points, put your little hands around him, and squeeze. That's an order. OLIVIA: (sarcastically) Every time that guy opens his mouth, I like him more and more. CHARLIE: (to Olivia) So? OLIVIA: Come on. (in the interview room) OLIVIA: Luke, this is Agent Francis. Where's your father? LUKE DEMPSEY: No idea. OLIVIA: (sits across the table from Luke) Tell me about him. LUKE DEMPSEY: Uh, what do you wanna know? OLIVIA: (standing over Luke's shoulder) He had a pretty rough ride. Smart. Maybe a little too smart for his own good. Couldn't hold down a job, then he gets dumped by your mom. That couldn't have been easy. LUKE DEMPSEY: People don't understand him. They don't take the time. OLIVIA: When did you see him last? LUKE DEMPSEY: Few weeks ago. We aren't really close. OLIVIA: Have you spoken to your mom recently? Do you know what happened to your stepfather? LUKE DEMPSEY: And, uh, I told you about Greg myself. OLIVIA: Come on, Luke. The only thing that these victims have in common, besides having their brains liquefied, was that they were all close to someone who pissed-off your father. This guy (shows photo of Mark Rosenthal) died because he married your mother. (Luke reacts) OLIVIA: And your friend Greg here, (shows photo of Greg) he died because his dad fired your dad. LUKE DEMPSEY: That's impossible! OLIVIA: The horror show in this picture was a friend of yours. You wanna cover it up now? LUKE DEMPSEY: No! I want a lawyer. D-don't I get a lawyer? (back in the observation room) PETER: Is it any consolation knowing you were right? OLIVIA: (to Charlie) Do me a favor. Wait five minutes, then release him. CHARLIE: What about Harris? OLIVIA: Screw him. CHARLIE: My thoughts exactly. PETER: Okay, come on. What did I miss? OLIVIA: Just trust me. ACT V Luke Calls a Cab LUKE DEMPSEY: (on phone) Yeah, I need a cab. OLIVIA: (to another agent) I need to hear that call. (Agent provides phone) Thank you. LUKE DEMPSEY: ...2 Braddock Street. CAB DISPATCHER: One person going to 1432 Braddock Street. I'll have a car there in ten minutes. LUKE DEMPSEY: Ten minutes, right? Alright, thanks. OLIVIA: (after eavesdropping) He just called a cab. One guess where it's taking him. PETER: Oh, come on. He cannot possibly be that stupid. OLIVIA: He is nineteen. PETER: Good point. Following Luke PETER: I don't underestimate my father, by the way. I understand him, sometimes more than I want to. Look, if I let him talk to that woman, she's just going to accuse him of killing her daughter, which is something that he didn't do. OLIVIA: (driving a discreet behind the cab Luke hailed) Then why not just let them meet? PETER: Whose side are you on anyway? OLIVIA: I know what it's like to live with something unresolved... that's all. PETER: Congratulations... you just described the entire planet. OLIVIA: This could provide closure for your father. He's had to live with the death of thiis woman. He was put away because of it. Who's to say that this wouldn't be a resolution for him? PETER: Yeah, if I didn't know better, I'd think you actually wanted the man to have a nervous breakdown! OLIVIA: Then maybe you don't know better, because I care for your father, too. And I believe that shielding him from the truth, from what's real, ultimately does him a disservice. PETER: What's real doesn't really seem to concern Walter. And what you said earlier about this being none of your business, that was right on the money. (pulls to the curb a half block away from where the cab dropped the suspect off) OLIVIA: Okay, you stay here. PETER: You are not going in there alone. OLIVIA: Just stay here and watch the entrance. PETER: Will you at least call for backup? OLIVIA: Harris wants me to screw this up. If I call for help, he's going to do whatever it takes to make me look bad. Federal Building - Upsetting Harris SANFORD HARRIS: (sees the empty interrogation room and marches into the Situation Room) Where the hell are Dunham and the kid? AGENT: I have no idea. SANFORD HARRIS: (to everyone in earshot) Hey! Trace the G.P.S. on Dunham's car. I want to know where she is now! Luke Confronts His Father (Olivia stalks toward the interior of the warehouse and overhears a heated discussion) LUKE DEMPSEY: W- Why the hell would you do that? He was a friend of mine! BRIAN DEMPSEY: He has a bad family, Luke. They were cruel people. LUKE DEMPSEY: You actually... you actually killed Greg from here? Now... how many more Dad? Who else, huh? BRIAN DEMPSEY: All they had to do was give me a chance, a fair shake, a chance to prove myself, but they thought they could just drop me to the curb like a piece of garbage. Son... LUKE DEMPSEY: No! No! So all this is supposed to fix that? I don't know who you are anymore, Dad! I used to look up to you. And now... you're pathetic. BRIAN DEMPSEY: (an alarm sounds as Olivia approaches) Go! They're coming for me, not for you. LUKE DEMPSEY: Dad... BRIAN DEMPSEY: Go! (Olivia moves through the now darkened room with her weapon at the ready. Dempsey slips up behind her and aims his revolver at her head) BRIAN DEMPSEY: Stay right where you are. ACT VI Olivia Confronts Brian Dempsey BRIAN DEMPSEY: (aims a pistol at Olivia) You ruined everything. People were gonna respect me... respect my work. Now my son hates me because of you. (puts a pistol to his chin too) But this is how it ends. OLIVIA: Okay... BRIAN DEMPSEY: Stay back, or I'll kill you, too. It was their fault... all of them! I just wanted them to feel the pain that they made me feel. OLIVIA: Just put the gun down. BRIAN DEMPSEY: Why should you care whether I live or die? Especially when you know what I've done. OLIVIA: Mister Dempsey look away from the screen. BRIAN DEMPSEY: (becoming entranced with the images on the monitor) No. I wanna see. I want to finally see... my creation. (a concerned Peter hurries into the building) LUKE DEMPSEY: (charging from the behind a storage wielding a thick pipe) Stop right there! PETER: Hey there, Luke. LUKE DEMPSEY: Shut up. Leave my father alone. PETER: Luke, take it easy. LUKE DEMPSEY: Stay back! (a gunshot sounds in the other room. Peter and Luke run toward it) PETER: Dunham! You okay? OLIVIA: I'm okay. Luke... Luke... (Luke sees his father shot dead) LUKE DEMPSEY: What did you do to him? OLIVIA: No, I didn't... he went into a trance and he shot himself. (Luke runs outside is intercepted by a team of law enforcers) AGENT: Freeze! SANFORD HARRIS: Get on your knees, son. Get on your knees. (Peter and Olivia inside their car) PETER: I don't get it. He knew he was killing those people. Why would the kid protect a murderer like that? OLIVIA: Because it's his father. Harris Challenges Broyles BROYLES: Sanford. SANFORD HARRIS: Interesting day. (enters Broyles office and closes the door) BROYLES: So I hear. SANFORD HARRIS: (makes himself comfortable on the couch) For the record... your agent disobeyed a direct order of mine, released Luke Dempsey, and then attempted to apprehend the suspect without backup. BROYLES: From what I can tell, Agent Dunham closed this case in spite of your obstructions. SANFORD HARRIS: She violated too many aspects of FBI protocol to even count! BROYLES: She I.D.-ed a murderer, contained a computer program that melts people's brains... SANFORD HARRIS: Listen to me, Phillip... BROYLES: No, you listen to me. What you're passing off as bureaucratic concern looks an awful lot like a personal vendetta, and if you push it I will stake my career on her behalf. SANFORD HARRIS: (stands toe-to-toe with Broyles) Are you threatening me, Phillip? BROYLES: You decide to go after Olivia Dunham, you're going after me, and all the red tape in the world won't protect you. SANFORD HARRIS: You sure you're up for this? I got alot of red tape, Phillip. (walks out) Walter Meets Jessica Warren PETER: (walking into the lab) Walter, There's a woman here who wants to talk to you. (Jessica Warren is standing several yards away; her face is concealed by shadows.) WALTER: She pretty? PETER: She's right there. Now, look... if you need me, I'll be right here. If you need to end the conversation for any reason, you just say the word. (Walter approaches Jessica) JESSICA WARREN: My daughter's name was Carla Warren. WALTER: Oh,dear. JESSICA WARREN: Do you remember her? WALTER: Yes. JESSICA WARREN: I want to see you because... you were the last person to see my daughter alive, and...I've always wanted to ask... Was there anything else I could know? Anything,anything else...you could tell me about my daughter. WALTER: She was... a wonderful girl. What I remember... is her smile. She had a wonderful smile. WALTER: I miss Carla. JESSICA WARREN: Me,too. I miss her. (Walter embraces Jessica Warren.) WALTER: I'll tell you everything I remember about our time together. Olivia's Apartment RACHEL: Part of me wants to ask you to explain what happened with Ella. But I'm not sure I'll feel safer if I know. OLIVIA: You wouldn't. RACHEL: How do you do it, Liv? ELLA: I brushed. RACHEL: Fantastic. Say goodnight. OLIVIA: Okay, come here and give me a kiss...on the cheek. ELLA: I tricked you. OLIVIA: Okay. Good night, sweetheart. ELLA: Night. (Olivia answers her doorbell) PETER: Hi. OLIVIA: What's up? PETER: First of all, I've had a couple of drinks, but don't worry... I walked over. OLIVIA: Okay. PETER: And, uh... I wanted to say that... I've never had him in my life... Walter. And now, thanks to your insane freak show of an operation, I do. Have him in my life. And I think that I was... I think that I was a little scared. And maybe if he... he talked to that woman... Whatever. I... I wanted to say that I'm sorry. You were right. Thank you. OLIVIA: You're welcome. (Peter sees Rachel behind Olivia) PETER: Hi. RACHEL: Hi. PETER: How's Ella doing? RACHEL: Good. Thanks. Liv. She wants you to tuck her in. OLIVIA: Okay. PETER: So I'll see you tomorrow. OLIVIA: Yeah. PROLOGUE Turbulent Flight INTERCOM: Ladies and gentlemen, we will soon been starting our inflight movie. We will be coming through with headsets which are available for purchase for four dollars. And of course exact change is always appreciated. (Bowman writes in his notes about technology, avoiding capture, imperatives and dangerous... when his nose starts to bleed. the senior gal next to him offers advice) SENIOR GAL: You should put keys on your back. MARSHALL BOWMAN: Excuse me? SENIOR GAL: It's an old wive's tale to stop the bloody nose. MARSHALL BOWMAN: Yeah? SENIOR GAL: Actually, I tried it once. It doesn't work. It's all bull. (Bowman quickly finds the lavatory, checks his teeth, swabs his mouth, tests the swab in solution, and, disappointed with the results, hurries to find a flight attendant) MARSHALL BOWMAN: Excuse me. Excuse me. Excuse me, I need to talk to you. MELISSA: Yes, sir, I'll be with you in one moment. MARSHALL BOWMAN: No, now! Please. MELISSA: (to the passenger she was serving) I'll be right back. (in the galley to Bowman) What's the problem? MARSHALL BOWMAN: I'm in trouble. There's something happening to me, that I don't have the time or permission to explain to you. MELISSA: What is it? MARSHALL BOWMAN: You need to listen to me very carefully. I need you to go to the passengers, I need you to collect as many sedatives or tranquilizers as you can. MELISSA: Okay, sir, I need you to take a deep breath. MARSHALL BOWMAN: This isn't a panic attack. This is real. We will die, all of us, if you don't do what I say. MALE ATTENDANT: Sir, a threat like that is in violation of FAA regulat... MARSHALL BOWMAN: Do I look to you like I care about that? MELISSA: (sees his nose starting to bleed) Oh, my God. MARSHALL BOWMAN: I need you to get those drugs for me. Do you have any weapons, a gun? MALE ATTENDANT: (to Melissa) Go call the Captain. (to Bowman) Sir, I'm going to need you to calm down. You're going to scare the passengers. MARSHALL BOWMAN: They should be scared. What weapons do you have? MELISSA: (on phone to cockpit) Yeah, it's Melissa. MARSHALL BOWMAN: What weapons!? MELISSA: (to cockpit) We have a man here, who's claiming to be in... MALE ATTENDANT: We have a Taser in the cockpit, which I will use on you if you don't calm down. MARSHALL BOWMAN: Taser won't do a thing. It'll just piss me off. MELISSA: (to cockpit) He wants drugs, but he seems to be on something already. MARSHALL BOWMAN: I need you to do what I say. I'm going into that bathroom. You keep me in there. You keep that door closed. Get whatever sedatives you can as soon as you can. MALE ATTENDANT: You can go in that bathroom, sir. MARSHALL BOWMAN: I am not messing around! When you get the drugs, you come back, you knock. If I don't answer, or if I do, and what you see isn't me anymore, you keep that door closed. You hear me? You keep me in there, away from the other passengers. Get the drugs. Quick. MALE ATTENDANT: Yes, sir. I'll do that. (Bowman returns to the lavatory more distressed, losing teeth, nauseous and breathing heavy ans screaming) MELISSA: (on phone to cockpit) Yes, sir, but I think forty minutes is too long. (Passengers become very concerned as the screaming and thrashing in the lavatory becomes extremely violent) MELISSA: (on the cabin intercom) Ladies and gentlemen, we have a passenger who is having a hard time... Please remain calm. Everything's going to be just fine. MARSHALL BOWMAN: (Bowman collapses as large quills thrust from the back of his torso) Ah Agh! Ah! Ah Agh! Ah! MALE ATTENDANT: What's he doing in there? MELISSA: I don't know. It just got quiet. MALE ATTENDANT: Maybe he passed out. MELISSA: The Captain says we should restrain him. I've only... (Bowman, fully transformed into a horrific monstrosity, blasts from the lavatory, growling and snarling. passengers scream as he begins to wreck havoc on the tail section of the aircraft) ACT I The Crash (in a large green field amongst the woods near Scarsdale NY, kids play and laugh. a dozen cars are parked around the soccer practice, a trio is headed to the minivan) MOM: (to the boys as they pile in) Seatbelts, seatbelts. (as Mom drops the rear hatch on the van, the low-flying airplane appears in the reflection of the hatch window. she turns and watches with concern. she pivots to follow the aircraft as it passes overhead. seconds later, the left wing dips sixty degrees as the aircraft descends to the wooded treeline just over a mile away from mom. almost immediately, a huge fireball barrels into the sky from the destroyed aircraft) Olivia's Apartment OLIVIA: (walking into the boudoir) Well, hello. ELLA: Look, Aunt Liv, I'm beautiful. (from playing dress-up) OLIVIA: You are beautiful. RACHEL: (intercepting the errant girl) Yes, you're beautiful. But why don't we put this down and take these off? Here, give me... what else do you have here? I'll take that. Alright. Go wash that off. ELLA: Okay. (leaves) RACHEL: (to Olivia) Sorry. OLIVIA: Oh, please. That's fine. Do you remember when we had that sleepover at Aunt Missy's? And then you found the perfume and poured it all over... was it Lola? RACHEL: No, Lola was the hamster. Roxy was the dog. OLIVIA: Right. RACHEL: (looks at ring) Liv, what is this? Is this Mom's? (inspecting the inscription) 'Always'? This isn't Mom's. OLIVIA: No. It's from John. RACHEL: John... Your partner, John? OLIVIA: Yeah. RACHEL: You told me that you guys were... he asked you to marry him? OLIVIA: Uh, no. He didn't. It was a mistake - suffice to say that it never actually happened. RACHEL: Uh, no. You can't do that. OLIVIA: Well, I have to. RACHEL: I am your sister, and I have told you every excruciating detail of my failed marriage. There's nothing that you can... OLIVIA: ...He was a traitor. The people that he was working with, we still don't even know who they were. But whoever they were, he was bad. And whatever was between us was a lie, so that he could gain my trust, so that I didn't see him for what he was. RACHEL: God, Liv... I'm so sorry. OLIVIA: Yeah. Me too. RACHEL: And I thought Greg was a jerk. OLIVIA: Uh, Greg is a jerk. RACHEL: Yeah. Greg is a jerk. OLIVIA: (answers ringing phone) Hello? (listens) Where? Crash Site BROYLES: (walking through the wreckage) Flight 718 went down a little after six P.M. Witnesses say the plane just fell out of the sky. Once we recover the black box, we'll know more. OLIVIA: So why are we here? Shouldn't NTSB be taking point? BROYLES: According to Air Traffic Control, they got a distress call from the pilot, but it was cut off and they lost communication. Whatever happened up there, has something to do with what I'm about to show you. It's burned badly. Forensics thought it was an animal at first. They were mistaken. No one's ever seen an animal like this. WALTER: I can understand the confusion. This creature has pelage (fur) characteristic of an animal. And yet... (flips the charred beast) I will say this... our friend here didn't start out this way. CHARLIE: (approaching) Hey, Liv. OLIVIA: Hey. CHARLIE: Hey... (hands her a stack of files) Copies of the manifest and passports. There's 147 passengers. It's going to be a long few days for the poor folks tasked with trying to identify the remains. OLIVIA: So is there anyone of any interest? CHARLIE: Not at first glance, no. Does the elder Bishop have any ideas about that? OLIVIA: Not yet. Or if he does, he isn't saying. CHARLIE: So the official word right now is engine failure. The pilot tried to bring it in for an emergency landing. The landing here failed to engage, the pilot lost control. MARSHALL BOWMAN: (Olivia start flashing visions of Bowman and Hicks talking with John) The way this thing works... works... What it does to you?...It's a horror show... It's far worse than you can even imagine... I'm telling you this stuff... It's a horror show, John. CHARLIE: (to a lucid Olivia) What? You find something? OLIVIA: Yeah, I think this is our guy. (refers to the file) CHARLIE: The fried dog man? OLIVIA: Yeah. Marshall Bowman. We need to pull everything we can find on him. CHARLIE: How can you know that? OLIVIA: Call it my gut. CHARLIE: (with blind acceptance) You're good. Walter's Lab - Autopsy (with the scorched, transformed Marshall Bowman on an examining table, the science begins) WALTER: I'd expect whatever caused this mutation would've completely altered his internal organs. The kidneys appear normal. ASTRID: It also gave him four extra nipples. PETER: Maybe he mutated into a opossum. WALTER: No, opossum's have 15 mammaries. Unlike most mammals, who have an even number of nipples. Hence, the one half rule regarding nipples. ASTRID: The one half nipple rule? PETER: You just had to ask, didn't you? WALTER: The typical number of young in a litter is usually equal to to half the number of nipples on the animal. The number of nipples being the maximum litter size. Humans, for example, one child is the typical. Maximum, twins. Barring extraordinary cases - when the young far exceeds the number of nipples. PETER: God, I hope I never have to hear him say the word "nipple" again. WALTER: Evidence of an extradural hematoma. Possibly epistaxis. PETER: Meaning, he had a colossal nosebleed. ASTRID: I know. WALTER: Hmmm. There's something hard inside here. (to Astrid) Scalpel. (cuts) Forceps. (digs a small disk from the left palm) ASTRID: What is it? A tumor? WALTER: Not unless a tumor is made of glass. Situation Room - Initial Leads SIMMONS: (on phone) I need someone over at VertusAir, right now. Yes, this is about 718. What do you think? AGENT #2: (to co-worker) Look through all the internal reports on structural breakdown... CHARLIE: (walking with Olivia) Here's everything we have on Marshall Bowman. Forty-two years-old, worked at a credit cortier in Marseille, managed their corporate accounts. Has Doctor Bishop been able to make a positive ID yet? OLIVIA: No, but we should contact the bank, and see what they can tell us about him. CHARLIE: Done. Back of the file are Bowman's U.S. clients. DANIEL HICKS: (Olivia returns to John memories and recognizes Hick from the file she is reviewing) He outdid himself this time. And he's gonna get impatient to sell it off. So you have to get the money lined up fast. CHARLIE: (to the mesmorized Olivia) What? Olivia, you okay? BROYLES: (barging in) People, we got something. Simmons, patch me in through public address. Wilson sent over the black box recording, the last sixty seconds of the flight. Play it. (over the office intercom) VERTUSAIR 718: New York Center, this is VertusAir 718 heavy. We have a report that there... TOWER: Tower to Vertusair 718, other aircraft calling, say again? VERTUSAIR 718: Our purser's reporting a disturbance in the main cabin. There seems... It's trying to get in. New York, we need an emergency land... 718... we have something on board... It's already killed at least three pass-- PURSER: (in background) Dear God, hold that back! (intercom goes silent) BROYLES: That's it... techs' trying to recover more. Let's back to work, people. (departs situation room) OLIVIA: Charlie. Come here a second. See this guy? Daniel Hicks, he owns an import export company based in Chelsea. He's the guy that Marshall Bowman was flying in to meet. We need to bring him in for questioning. CHARLIE: This your gut again? What's going on, Liv? OLIVIA: Okay, this is going to sound insane. So let's just put it in the category of "crazy things happening in Walter Bishop's lab." CHARLIE: Okay. OLIVIA: (quietly) John Scott and I shared consciousness. Our minds were connected through a procedure before he died, and... some of his memories are still in my head. CHARLIE: His memories? OLIVIA: And sometimes I get flashes. I see what he saw in the memory. And in one of these flashes, I saw him with Marshall Bowman and this guy... Hicks. I think they were all working together. CHARLIE: On what? OLIVIA: I don't know. A weapons sale of some kind? CHARLIE: Okay. I'll bring him in. OLIVIA: That's it? CHARLIE: Despite the thousand questions I have in my head right now, I'm going to bite my tongue. OLIVIA: Thank you. (heading for a desk, Olivia continues the investigation with a phone call) PETER: (in the lab, answers the call from Olivia) Bishop's House of Horrors. OLIVIA: Hey, how we doing? PETER: Good, we got the blood-work back. You were right, it is Marshall Bowman. OLIVIA: Anything else? PETER: Yeah, Walter seems to think he was dosed with some kind of designer virus. OLIVIA: So, it was intentional. PETER: Hard to say it was an accident, this stuff doesn't exist in nature. And whoever did it, would have to have a deep understanding of cutting-edge genetics. I mean it completely rewrote Bowman's DNA. Even if the plane hadn't of crashed, he wouldn't have survived the transformation. And there's something else - and this falls under the heading of "what the hell?" - but we found something in his left hand. Here, I'll stream it to you. (captures picture with his cell phone) It's a glass disk, about the size of a nickel. OLIVIA: (looking at picture from Peter) I don't believe it. We found a similar disk on the D.E.A. agent a few months back. PETER: I thought you told me that Bowman was a banker. Now you're telling me he's some kind of agent? OLIVIA: I don't know. But Charlie is bringing in a guy who might be able to give us some answers. Interviewing Hicks (in an interrogation room at the Federal Building) CHARLIE: Tell us about your business, Mr. Hicks. DANIEL HICKS: My business... Import and export. But you know that already. You just came from my office. CHARLIE: Why don't you indulge us, Mr. Hicks? What do you import and export? DANIEL HICKS: Furniture, mostly. Mostly French. 18th and 19th Century. I'd like to know what this is all about. I run a clean business. CHARLIE: How do you know Marshall Bowman? DANIEL HICKS: He's my banker, overseas. Why, has he gotten into some kind of trouble? (in the observation room) WALTER: This is wonderful. Don't you agree? It's just like a good detective movie. (in the interrogation room) CHARLIE: Mr. Hicks, have you heard what happened on Flight 718? DANIEL HICKS: Yeah, that's the plane that crashed, right? OLIVIA: This might be hard to recognize, but... this is Marshall Bowman. He was on board of that plane. (hands over a picture of Bowmans corpse DANIEL HICKS: (upset) I... I don't understand. OLIVIA: I believe you do, Mr. Hicks. I believe you know how that happened. I believe that you and Marshall Bowman conspired to distribute a deadly virus, and this is the unintended result. DANIEL HICKS: Look... I think you have me mistaken for someone else. CHARLIE: (to Hicks) Your nose is bleeding. (to the observation room) Can we have a box of tissues, please? (in the observation room) WALTER: (to Peter) No. No, tissues won't help. Get me some sedatives. Now! (they dash out) (in the interrogation room) DANIEL HICKS: I need help. (stands, convulses) Ah, ahhh. OLIVIA: Walter, what's happening? (as he rushes in) WALTER: I suspect the same thing that happened to that man in the airplane. (Peter arrives with a First Aid kit and Walter begins to treat Hicks) I may be able to suspend the process. OLIVIA: No! Not yet. Not until he talks. DANIEL HICKS: Please! OLIVIA: You want help? I want answers. DANIEL HICKS: We... must... have been... dosed. OLIVIA: I want to know the name. Who dosed you? DANIEL HICKS: Conrad. Ah! (Walter injects Hicks) PETER: (as Hicks falls to the floor, bloody and in the throes of a seizure) Oh. I don't think that's working. (Olivia stares as Hicks goes limp) ACT II Walter's Lab - Examining Hicks (plowing through boxes in a side corridor) ASTRID: (enters) I checked the D.H.S. database, nothing came up on a 'Conrad', first or last name, when cross-referenced with a Daniel Hicks. OLIVIA: Well so far, there's no mention of a "Conrad" in John's old files, either. ASTRID: Why don't you let me take a turn? OLIVIA: Thank you. (leaves the hall and joins the Bishops at work) Anything? WALTER: Yes. As often is the case, there's good news and bad news. He is transforming, but I placed him in a medically-induced coma to slow the process. OLIVIA: Which is that? The good, or the bad? WALTER: Huh? OLIVIA: Which is it? The good news, or the bad news? WALTER: That's the bad news. The good news is that I have already synthesized a preliminary sample of an antidote. I'm testing it on tissue samples as we speak - and... a watermelon (holds up a slice) as a control group. OLIVIA: And will it be ready in time? WALTER: That depends on your definition of time. If you mean before he turns into a beast, I wouldn't wager on it, no. OLIVIA: Wonderful. (wondering about Hicks) Cut open his hand. PETER: What? OLIVIA: I want to see if there's a disk in it. Like Bowman's. WALTER: I like cutting. Broyle's Office - Disk Delivery (Olivia places a plastic bag in front of him) BROYLES: Where did you get these? OLIVIA: One of them was in Bowman's palm. The other one was on Hicks. We've seen one of these before. Did the N.S.A ever determine what it was for? BROYLES: A data storage device. Apparently used to transport information. OLIVIA: I want authorization to exhume John Scott's body. BROYLES: John Scott? OLIVIA: I think he may have one of these on him, too. I think he was working with Bowman and Hicks. BROYLES: I'm afraid that won't be possible. OLIVIA: Well, then make it possible. BROYLES: Excuse me? OLIVIA: I know it's against protocol, but right now, I don't give a damn. BROYLES: Stop. OLIVIA: And if you don't want to ask Harris, then... BROYLES: I said stop. OLIVIA: I'll go and ask him, myself. BROYLES: You can't dig up John Scott's body. And that other disk... it didn't go to the N.S.A. OLIVIA: Where did it go? Massive Dynamic (walking the halls to meet Nina) BROYLES: One of the advantages of being the Defense Department's biggest contractor is that Massive Dynamic has money to develop technologies generations beyond that of the US government. So when we were unable to retrieve the information off the disks, I requested Nina's help. OLIVIA: But I suspect you telling me this isn't the only reason we're here. NINA: (waiting around a corner) Agent Dunham. OLIVIA: Miss Sharp. NINA: For what it's worth, it was not my decision to keep this from you. (referring to the secure lab behind her. the trio enters) (Olivia approaches the enclosed John and studies him) BROYLES: As you suspected, we discovered a glass disk identical to the others, embedded in Agent Scott's hand. NINA: While he may appear to be alive, I assure you he is not. We've kept him in a suspended state because we believe that the information stored in the disks self-destructs when the disk's host dies. We attempted to utilize Agent Scott's body... His blood, his D.N.A., to try to retrieve the data. The small amount of information we were able to gather seems to implicate Agent Scott as part of a bio-terrorist cell. BROYLES: There were also references to a Conrad. We believe he's a scientist. Designing chemical and biological weapons for sale on the black market. C.I.A. has received scattered intel on him in the past, nothing concrete. We don't even know his full name. OLIVIA: So a plane full of people are dead - and our best lead is... nothing? A chemist, whose name we don't even know? BROYLES: It gets worse. Three hours ago, French Intelligence related to D.C. that an informant of theirs claims a major weapons sale is about to go down in Chicago. However, what the informant was unable to say is exactly where, or when, the sale is going to take place. What the informant did know is that the man behind the sale is known as Conrad. Heading for the Lab PETER: (answers phone in the lab) Hello? OLIVIA: I'm on my way back. Is Walter there? PETER: Yeah, why? OLIVIA: I just got word that Conrad's planning on selling this virus. PETER: What? When? OLIVIA: I don't know. But if I'm right, and John was working with these guys, then he has it in his memory, which means that it's in mine. PETER: Olivia... you know how dangerous this is... OLIVIA: Tell Walter to prep the tank. I'm going back in. ACT III Walter's Lab - The Tank PETER: You okay? OLIVIA: Yeah. PETER: Be careful. (closing the door on the sensory tank) ASTRID: We're online. WALTER: (sitting at the console) Alright. Olivia, can you hear me? OLIVIA: Yes. WALTER: You must listen to my voice at all times. It is your connection, your lifeline. Understood? OLIVIA: Understood. WALTER: I am going to try and guide you through John Scott's memory in an attempt to take you back to the place where he met our comatose friend, Mr. Hicks. Now, picture yourself at the top of a steep flight of stairs. As you descend, step by step, you'll become progressively more, and more relaxed. Now, here come the last five steps... four... three... two... one. (Olivia bolt awake in John's memory) Where are you? OLIVIA: I'm in a bedroom. No, it's not a bedroom. This is where we used to meet. John and I. (Memory Olivia and Memory John come into the room and fall onto the bed in a romantic embrace directly in front of Tank Olivia) OLIVIA: Oh, man. This is crazy. JOHN: Absolutely, this will never happen again. OLIVIA: No. PETER: Ask her what she sees. WALTER: What do you see? OLIVIA: Me and John. WALTER: Don't worry, he can't see you. Remember, you're observing a memory. OLIVIA: (Memory Olivia excuses herself and heads to another room) I'll be right back. JOHN: (Memory John converses with Tank Olivia) Hi, Liv. WALTER: Olivia, what's happening? OLIVIA: John's talking to me. WALTER: That's not possible, Olivia. He can't see you. We'll try to take you elsewhere. Where John and his accomplices met. OLIVIA: (draws her weapon as John moves toward her) Don't move. JOHN: Liv, what's wrong? OLIVIA: Stop. Don't. Don't move. WALTER: Olivia, focus on the sound of my voice. OLIVIA: I said stay there. JOHN: I miss you. OLIVIA: Don't move. I'm going to ask you a question, and you're going to give me the answer. You were working with a man named Conrad. He developed a biological weapon. I want to know who he is, and who he's planning on selling it to. JOHN: Liv, put the gun... OLIVIA: Stop lying to me, John. I know that you're part of a terrorist cell. We have your partner in custody. Hicks. He's dying. And Bowman is already dead. They were infected with some kind of a virus. JOHN: (approaching) Liv... OLIVIA: No! (fires into his John's chest) PETER: (her monitors spike in the lab) What just happened? WALTER: I don't know. PETER: We need to get her out, now. WALTER: It's too dangerous. She's too far in. We need to reconnect before we pull her out. WALTER: Olivia, can you hear me? Olivia? Olivia, can you hear... (echo) Olivia? (walking down a damp alleyway in John's memories) OLIVIA: Walter? JOHN: (from nowhere) Olivia. OLIVIA: I want answers, John. (at the end of the alley a limousine comes around a corner and passes by) JOHN: There he is. OLIVIA: Who? JOHN: Conrad. He's a monster, Liv. Capable of creating horrible things. Weapons, which he does for no other reason than because he can. 'cause he's curious. Then he sells them to the highest bidder. That's him. (points to himself high on a fire escape stairway, holding a sniper rifle) And that's me. Problem was, we were hunting a man none of us had ever seen before. If I'd have known I had him in my sights, I could've taken him out right then and there. It was my most important mission, and I failed. I let that monster get away. I didn't know it was him. OLIVIA: What mission? Who were you working for? JOHN: Bowman and Hicks. The truth is, they were and they are government agents. N.S.A., secret task force. And so was I. OLIVIA: I don't believe you. JOHN: It's the truth, Liv. OLIVIA: No, not again. If you want me to believe you, then you need to prove it to me. JOHN: I can't, Liv. It was Black Ops, a deniable operation. If we were to take out Conrad, there could be no record of our involvement. That's why I could never tell you. Even though I wanted to. OLIVIA: If that's the truth, then help me. Tell me where the sale is going down. JOHN: What sale? OLIVIA: The virus. We believe that Conrad's planning on selling it. JOHN: I don't know what's going on inside Conrad's organization anymore. But Hicks would know. You need to talk to Hicks. He was privy to all that information. He has it right in his hand. (John disappears) OLIVIA: John? John? JOHN: (reappearing on her other side) Liv, trust Hicks. He can help you. (disappears again) OLIVIA: John? John. WALTER: (to Peter) We have to pull her out. OLIVIA: (distressed) John! WALTER: (to Astrid) Prepare 30 C.C.s of dextroamphetamine. (Peter pulls Olivia t=from the tank panting and near shock, Astrid injects the dextro) OLIVIA: Oh, Peter. PETER: You're okay. You're going to be fine. Apres Tank (after recovering, Olivia returns to floor of the lab) OLIVIA: (on her cell phone) I understand. Thanks for checking. (hangs-up phone, approaches Peter) My contact at N.S.A. couldn't confirm a single thing that John said. Of course, John said they wouldn't be able to. PETER: Well, that's the perfect alibi... one that you can't confirm. OLIVIA: Uh, yeah. How's it coming? PETER: His cell sample's membranes still aren't absorbing the inhibitor. We don't know if the antidote's working yet. OLIVIA: But it might. We could try it and see. PETER: You want to wake up Hicks? Even though he could transform just like Bowman did? OLIVIA: Conrad could be selling this virus as we speak - and Hicks is the only one who can tell us how this is going to go down. PETER: And you're willing to take John's word that you can trust Hicks? It finally happened. I'm now referring to a dead guy, who only exists in your mind. WALTER: (interrupting loudly) Boy! I need another bag of Midazolam right away. PETER: What if he's still lying to you? Have you considered that? If Hicks and John are working with Conrad, that maybe John is using you to tip Conrad off. Maybe he wants to get you killed. This is a bad idea, Olivia. (Peter walks off) ASTRID: (from nearby) My mother always says I stick my nose in places it does not belong. I know we haven't known each other that long. But you are one of the best judges of character I've ever met. So, I guess the question is what's your instinct? When you were with John, when you were looking into his eyes, was he for real? OLIVIA: (slow decides, then) Prep Hicks! Ready or not, we're administering the antidote. WALTER: An experiment... how exhilarating. OLIVIA: (on her cell phone) This is Agent Dunham. I need to talk to Broyles. ACT IV Reviving Hicks (following a shot in the neck - Hicks bolts awake and sits up - gasping) WALTER: Sorry to wake you. Little worse than adrenaline, except perhaps lice, which is a nightmare. ASTRID: Mr. Hicks, try and breathe normally. Can you hear me? WALTER: This is an antidote. While I can't guarantee that it'll actually work, I do have a recorded I.Q. of... ASTRID: ...196. WALTER: Really? ASTRID: (to Hicks) We know about the work you were doing with John Scott. Now we need your help. Situation Room - Game Plan (briefing a few dozen agents) BROYLES: For those of you not in the know, information has come to this agency about a weapons buy. The goods? The same virus responsible for Flight 718. I know this label gets slapped on pretty much all we do, but preventing this transaction from taking place is our highest priority. The prospective buyer of this weapon landed in the United States this morning. 0700 hours, O'Hare Airport. And we were there. That suspect is now in custody. (visual footage of Ernesto being arrested on the street carrying a suitcase with the 'buy' money) And no surprise to anyone, refuses to cooperate. But we do have someone else in custody. An informant with extensive information on the players we will be dealing with - his name is Daniel Hicks. (footage of Hicks recovering in Walter's lab) And he has agreed to relay all necessary information to Agent Dunham using an encrypted and untraceable two-way radio, which we implanted earlier this afternoon. (footage of Olivia receiving her implant) Agent Francis will coordinate surveillance. CHARLIE: The informant disclosed that the meet is scheduled for 1600 hours, at the Fairchild Hotel, Room 1021. The seller, a man known as Conrad, will not be there. But his intermediaries will. We have agents standing by to move in in corresponding rooms. Per regulations, no raid will be ordered until Agent Dunham has visual on the weapon. When she does, she'll give the go signal. That signal will be... OLIVIA: Christmas. CHARLIE: (smuggly) Now we all look forward to seeing how she works that into conversation. BROYLES: Okay, people, let's get it done. Chicago - Fairchild Hotel CHARLIE: (from his forward command post) Listen up. Spotted the seller. (the criminals pull-up in front of the hotel) The seller is making a phone call. Stand by. (waiting in the lobby) OLIVIA: You didn't have to come with me, you know. PETER: Shady deals with shady guys in shady hotels is my M.O. - and typically, if someone is going to kill you, it's a good idea to have an ally in the room. OLIVIA: I'm not scared. PETER: Being fearless doesn't mean you're being safe. OLIVIA: (by radio) Astrid, how're we doing? (from the lab) ASTRID: Hey. Hicks is on board and ready to go. I'm putting you on speaker. WALTER: So far so good, Olivia. Blood pressure 140 over 90, not bad considering 3 C.C.s of adrenaline. OLIVIA: Are they going to expect bona fides? Hicks, tell me what I need to know. DANIEL HICKS: They're going to be suspicious why they've never seen you before. You tell them you used to work with Anderson. OLIVIA: Anderson, okay. Got it, what else? DANIEL HICKS: You tell them Ernesto flew in for the meeting, but he got called back to 'the basement', and he couldn't come. OLIVIA: What do you mean, "called back to the basement?" DANIEL HICKS: Just say it, he'll understand. OLIVIA: You're not messing with me, are you, Hicks? DANIEL HICKS: You trusted John Scott, right? Then trust me. CHARLIE: (by radio) He's on the move - seller's heading inside. OLIVIA: (to Peter) That's him. Here we go. (the two head to the entrance with the case full of money) CHARLIE: Liv... you be careful. OLIVIA: You're Gavin. Susan. I used to work with Anderson. GAVIN: I was expecting someone else. OLIVIA: Well, Ernesto flew in, but he was called back to the basement, so he couldn't make it. GAVIN: (points to Peter) Who's he? OLIVIA: Who are they? (about his thugs) GAVIN: We'll sweep you and get to business. OLIVIA: Good. (the five saunter off toward the elevators) Fairchild Hotel - Rm 1021 GAVINS' MAN: (after sweeping Olivia with an electronic detector) She's clean. GAVIN: (to Peter) The money please? (to Olivia) Just a formality, I assure you. (the money is loaded into a counting machine) It will only take a moment. (to Peter) Have we met before? You look familiar. Did you work with Anderson, too? DANIEL HICKS: (by phone to Olivia) He's testing you. You tell him Peter met Anderson at New College at Oxford. They met at Oxford. New College. (to Peter) Isn't that right? PETER: (to Gavin) What does it matter to you where I met anyone? GAVIN: Where did you meet? On campus? DANIEL HICKS: Where they met? I'm sorry, I don't know that. I don't know where exactly it was. PETER: (improvising) We met at the White Horse. On Wheatly Road, you know it? GAVIN: I don't recall. PETER: You would. Thai food... it's fantastic. That's where I met Anderson. I could tell you what each of us was wearing, if you want to hear it. AGENT #3: (command post chat) Where the hell did he come up with that? CHARLIE: I have no idea. GAVINS' MAN: (to Gavin) It's all here. GAVIN: (to Olivia and Peter) Have a seat. I have to admit... I was skeptical that you'd come at all. OLIVIA: (sitting) Well, of course we came. GAVIN: I thought it would be Paris all over again. DANIEL HICKS: (by radio) Tell him that was because of the French intelligence report, and he knows it. OLIVIA: That was because of the French intelligence report. You know that. (a case with the deadly drugs is brought in and displayed) GAVIN: True. But this is a larger purchase. (answers ringing phone) Hello? (listens) Okay. (to Olivia) Conrad would like to see you. OLIVIA: When? GAVIN: Now. He's on his way. (tension builds in the command post) AGENT #3: What's going on? Do they have the package? Why isn't she calling the raid? CHARLIE: Because Conrad's coming. AGENT #3: So what? CHARLIE: So she doesn't want to scare him off. She wants to get him. She's waiting for Conrad. (faces in the command post and lab show concern) GAVIN: We've included this with the purchase. (holds up a vial) It's a reverse mutator. An antidote. It would take you years to reverse engineer an antivirus. It's why the purchase price is so high. The formula in itself is deceiving in it's complexity. OLIVIA: Well, we shouldn't have a need for that. GAVIN: It's only in case of accidental exposure. Which, I assure you, would be fatal. Now why wouldn't Ernesto call me back himself? And tell me someone else was coming to meet? (in the lab, Hicks starts to bleed heavily from the nose) DANIEL HICKS: Uh oh... Oh, god. WALTER: (to Astrid) Get me a tranquilizer quickly. ASTRID: (to Olivia) It's happening to him. Hicks is transforming. GAVIN: Well? OLIVIA: How would I know? I'm not Ernesto's mother. GAVIN: At least tell me who he was meeting. DANIEL HICKS: Uh.. oh.. ah! WALTER: Quickly! Quickly! (agents in the command post get very concerned with events in the lab and Room 1021) CHARLIE: (to command post personnel) What the hell is going on? GAVIN: I asked you... a simple question. Who was Ernesto meeting? ASTRID: (to Hicks) I need a name. Somebody, anybody else in your operation. (to Olivia) Oh, no. Oh, god. Hicks is out. ACT V Fairchild Hotel - The Bust GAVIN: I'll ask you again... who was your colleague meeting? AGENT #2: (listening in next room. to Charlie) Sir, should we move in? PETER: (jumps to his feet) Okay! Whoa! Whoa! Whoa! Okay! Okay! (weapons drawn on him) That's enough. Now, just tell them! Tell them, I'm not getting greased over Ernesto's dirty little secret. GAVIN: What secret is that? OLIVIA: (to Peter) Shut your mouth! PETER: (to Gavin) Ernesto is sick. He's... he's dying... sick, okay? He just doesn't want anybody to know. CHARLIE: (listening in next room) Damnit, Liv. Give the signal. OLIVIA: (to Peter) What the hell is wrong with you? He asked you... PETER: What the hell is wrong with me? I got a gun in my face, for starters. GAVIN: Enough of you. Shut up! PETER: Get that gun out of my face right now. CONRAD MOREAU: (enters from side room) Gavin! Who are these people? GAVIN: According to them, Ernesto's sick. OLIVIA: It's true. He found out the day before Christmas. CONRAD MOREAU: I spoke to Ernesto this morning. He's fine. Kill them both right now. CHARLIE: (charging in with team) FBI! (Olivia and Peter slug those holding guns on them) AGENT X: Put the gun down! Put the gun down! AGENT Y: Hands on the table. Get down. (criminals are subdued) OLIVIA: (to a bent over Conrad being arrested) John Scott says hi. Broyle's Office - Debrief BROYLES: Turns out, Conrad's a French citizen. Conrad Etienne Moreau. Wanted in connection with at least half a dozen biological attacks. And those are just the ones we know about. He's been manufacturing biological weapons and distributing them on the black market for years. And you caught him. I'd think you could at least let yourself crack a smile about that. OLIVIA: I didn't do it alone. BROYLES: You know... despite the successful outcome of this case, John Scott's status remains the same. As far as this Department is concerned, he was a traitor. Even if he was telling the truth. There's no way to confirm it. OLIVIA: That's all right. I know the truth. And that's enough. After Hours at the Lab OLIVIA: (enters the lab) Hello? Anyone here? (studies the tank) WALTER: (returning from side room) Agent Dunham? OLIVIA: Where is everyone? WALTER: They took that gentleman that was here to the hospital, to recover. OLIVIA: So the antidote worked? WALTER: He started improving almost as soon as I administered it. Which is more than I can say for my own concoction. Any case, I was just about to read a bedtime sto... OLIVIA: Walter... I was hoping you'd do me a favor. WALTER: Even if you did go back in, I'm dubious you'd even be able to find him. OLIVIA: What do you mean? WALTER: Your brain wave patterns are returning to normal. Your mind is finally succeeding in purging itself of Agent Scott. Even if you could reconnect, it'd be for seconds, minutes at best, and then you would never see him again. OLIVIA: Then we need to do this now. (Olivia relaxes in the tank. she is alone on a small pier at a lake in Autumn. John appears directly behind her) JOHN: It's beautiful out here, isn't it? OLIVIA: We caught him today. Conrad. JOHN: Really? OLIVIA: I'm sorry that I doubted you. I should've trusted you. JOHN: No, it wasn't your fault. I always meant to tell you. I guess I ran out of time. There was one other thing. (he takes her ring from a box and puts it on her finger). I know we can't ever be together. Not really. Maybe I won't know the difference. (they kiss) I love you, Liv. (he disappears) OLIVIA: (at rest in the tank) I love you, too.

PROLOGUE (Wissenschaft Prison, attorney Salman Kohl is escorted to visit his client, Mister Jones) SALMAN KOHL: (entering the secured room) Mister Jones. DAVID JONES: Mister Kohl. (sits sketching Dunham) SALMAN KOHL: I have your appeal request all prepared and ready to go. It goes without saying the German government are not big fans of yours. You did, after all, steal state secrets. I think that the best that we can hope for is 'life', hmm? (turns back to Jones) Now, all I need is your signature. (neck is snapped by Jones) (Jones prepares for teleportation, disappears in a beam of light, reappears in a beam of light near Little Hill Field, MA; guards run the corridors of the prison) (rest of prologue in German. first hallway) GUARD 1: Sound the alarm! (a second hallway) GUARD 2: The perimeter is sealed! GUARD 3: Have they checked the cameras? GUARD 2: They're checking again now! (approaching & in the cell) GUARD 3: That's impossible. GUARD 4: (to the Warden) All protocol was followed, sir. The facility is on lockdown. We don't know what happened here. JOHAN LENNOX: But we do know... that the prisoner in this cell is gone. (staring at the dead attorney and the scorched walls) ACT I Walter's Lab - A Chat OLIVIA: (walking in) Is your father about? PETER: Right here. Why don't you ask him what he's doing? OLIVIA: I'd rather not. (as Walter mucks around Gene's udders) Listen. Do you remember that prisoner Jones I went to see... PETER: ...in Germany, right? OLIVIA: He escaped. PETER: Good for him. How? OLIVIA: Uh, nobody knows. It makes no sense. The German authorities came to see me last night. PETER: How come when nobody knows and it doesn't make sense, they come to us? OLIVIA: Well, what we do know is that Jones was working with Mitchell Loeb. WALTER: Oh, I remember Loeb. That's the guy that stole my invention? OLIVIA: Yeah. I'm gonna go and talk to him now. But can you describe to me again what you made? What Loeb was stealing. PETER: And why don't you tell her the truth this time. He kind of sugar-coated last time around. OLIVIA: You did? Why? Is it something that could have helped Jones escape? WALTER: It was a - transportation device. I called it 'DizRay', coined based on the premise disintegration, reintegration, dis-re, 'DizRay'. OLIVIA: Are you saying that you created a... PETER: ...a teleportation system, yeah. Except for, this one was meant to travel through time. How's that? WALTER: Assuming someone could solve the considerable problems, coming through it - arriving would require weeks of decompression in a barometric tank. And if you survived that, based on what would happen next... you'd likely wished you hadn't. OLIVIA: So you're saying that Jones, in theory, could have zapped himself out of prison. WALTER: Uh... yes. (nods) Jones' Safe House DAVIS: Equilibrium has been reached. Decompression is complete. (The barometric tank steams open and out climbs David Jones) Welcome back sir. DAVID JONES: Cup of tea, please? DAVIS: Of course. DAVID JONES: (later, to his gathered colleagues) Firstly, I'd like to thank you, for the work you've done. For bringing me here. I understand there have been sacrifices. I am grateful to them, as I am to you. Everything is in order then. DAVIS: Yes sir. The list is complete. We've got a lab set to your specifications. DAVID JONES: And the sealant? DAVIS: All parts. DAVID JONES: Good. (hand shakes as he sips his tea) Downtown Newsstand - Curbside THOMAS AVERY: (to a browser) Hey, you know it's not a library here, you know? - and I don't make loans. (A male patron wearing a latex glove approaches, selects a paper and pays) That is seventy-five cents my friend. Of course it's old news now, given the old internet and all that. You must be an old traditionalist like myself, right? Hey, hey, hey, I like these. You don't see the two dollar very often. (patron walks off) Thanks. I'll keep it. JOANNE: (approaches) Okay, so Tommie... you were right. THOMAS AVERY: Yeah, you see that? Grace Kelly? JOANNE: She was good. But, Jimmy Stewart was better. THOMAS AVERY: I'm creatin' cinephiles one reader at a time. Now listen, I want you to check out a movie called, uh, Charade... ever seen it? JOANNE: Never heard of it. THOMAS AVERY: Uh, oh god. Oh. I guess there's somethin' in my eyes. JOANNE: You okay? THOMAS AVERY: Uh oh god. JOANNE: Tommie, you okay? (he turns and his face has 'skinned' over) Oh. My god aaahh! Oh Tommie. Tommie! He can't breathe, he can't breathe. (as the man spasms on the ground) ACT II Federal Building - Research BROYLES: Anything yet? CHARLIE: (overlooking a young shoulder) We might be on to something. Uhh... nothing local on Jones. But, uh... we found some financial records for Salman Kohl - Jones's attorney. BROYLES: The man found dead in Jone's cell? CHARLIE: He kept a slush fund that he maintained under an assumed name. BROYLES: Could be a mistress... CHARLIE: Or something less salicious... more interesting. BROYLES: Let me know if you find something useful. Squeezing Loeb (Olivia awaits as a HumVee pulls up to the center of a damp parking lot full of military 'motor pool' vehicles. it stops and two armed military guards lift the shackled Mitchell Loeb off of the aft ramp) OLIVIA: I know about David Robert Jones. I know that you helped him escape. And that you kidnapped me on that same night. You know where Jones is. MITCHELL LOEB: You're not someone I... really wanna work with. OLIVIA: (steps forward. reading papers) Your Transfer Order... to Wallens Ridge State Prison. (snidely) You know what that place is like Mitchell. You know what they're gonna do to you... what it's gonna be like the first night?... the second? MITCHELL LOEB: (interjecting)... doesn't matter if you find Jones or not. He's just a part of 'the army'. - - What was written will come to pass - and nothing you do can stop that - -. --nothing--. OLIVIA: (at a loss for words, her cell phone rings. glaring at Loeb) Agent Dunham. (listens) It's me. (Broyles) Get the Bishops and meet me at Boston General. Boston General Hospital BROYLES: (entering an examination room with the science team) His name is Thomas Avery. Runs a news stand downtown. His only prior physical conditions were high cholesterol and a weak bladder. According to witnessess, the whole thing happened in less than two minutes. WALTER: Ceramides. They act as a signalling molecule in the skin. They control how the cells grow and differentiate. Two thoughts come to mind. The first, that this affliction might have been caused by a mutation, changing these lipids to recognize and seal any and all orifices... did they check his anus and penis? PETER: You think we could get the answer to that question without me in the room? OLIVIA: What was the other thought? WALTER: Sorry? OLIVIA: You said two thoughts came to mind. WALTER: Ah yes... the other was - coffee cake! Tiny pebbles of cinnamon sugar. PETER: (to Broyles) Once again - my father. OLIVIA: (to Broyles) You know what this is. BROYLES: (to Olivia) You think... Jones? WALTER: Peter. Help me with this please. BROYLES: (to Olivia) You talked to Loeb. Did he give you anything? OLIVIA: Maybe. But nothing that relates to this exactly. BROYLES: Well, I'm not convinced that this is Jones' work. And what interest would he have in a news stand operator? OLIVIA: That's what we're going to find out. Peter!... You got a sec? (in the corridors of the hospital) OLIVIA: When I saw Loeb he said something. That Jones was only doing what had been written. PETER: Meaning what? Written where? OLIVIA: I didn't know, but we've never known what Jones's group Z.F.T. stood for. Maybe it's not the name of their organization, but, what if it's the name of their bible? PETER: Interesting... OLIVIA: So, I called a contact at the German authorities and I asked him to search any known document with those initials. PETER: Did he find anything? OLIVIA: Yes - he did. (hands him her PDA) PETER: "Zerstorung durch Fortschritte der Technologie" PETER/OLIVIA: (together) Zee - Eff - Tee. OLIVIA: Scroll down. PETER: (loosely) "Destruction by Advancement of Technology". OLIVIA: It's a self-published anonymous manuscript. On their records only because it was recovered as evidence in a police raid in an unrelated case. PETER: They sending it to us? OLIVIA: They would be - if it hadn't been destroyed ten years ago. So... I was hoping that you might have one of your - weird connections? PETER: (feigning insult) Weird connections? OLIVIA: (not wanting to offend) They're... always a little weird. PETER: (mocking like an older brother) Well, you're always a little weird. OLIVIA: (waiting) What do you think? Come on. PETER: (letting her off the hook). I think I've got a weird connection. Walter's Lab - Examining Avery ASTRID: (about the corpse) Is he contagious? WALTER: If he were contagious, we'd have several more orifice-less bodies by now. Scalpel please? And an empty I.V. bag. ASTRID: Empty I.V. bag? What exactly are we doing here? WALTER: The obvious. Searching for evidence. Any scientific clue to reveal what caused this - Hear no evil, Speak no evil, See no evil malady. The gas trapped within his body (entubates the sealed mouth) may yield important information. Worth the study. (Astrid gags) Oh dear God... that is putrid. (nonchalant) On a separate topic, do you like coffee cake? Federal Building - A Lead DOOMED AGENT: (catching-up from behind) Take at look at this. I, um.. know someone at the S.E.C. I had her send over a list of every business that Jones's lawyer has incorporated for his clients over the last three years. Figure one, or more, of them are used to funnel cash to the Z.F.T. CHARLIE: This is all protected by lawyer-client privilege. How did you get her to break that? DOOMED AGENT: We, uh, dated... in college. And she dumped me - bad. So, I told her she owed me one. (gets disapproving stare) I, I narrowed down the list to U.S. addresses only. CHARLIE: Good work. (walks away with the file) Book Store - An Old Friend EDWARD MARKAM: (to a patron) It's no first folio. Some tanning, pretty badly shelf-cocked. I can give you forty for it. MALE PATRON: Okay. PETER: (interrupting) You don't wanna make that deal. (inspects book being bargained over) First Edition - (The) "Land of Laughs"? (to patron) No matter what condition it's in, it's worth at least twice that. MALE PATRON: (gets the extra money from Markam) Thanks. EDWARD MARKAM: Have a great day. (to Peter as they head to the back of the shop) Was that really necessary? PETER: Ah, you know me Markam... 'Friend of the People'... EDWARD MARKAM: What about me? Aren't I people? PETER: ...people who shower. EDWARD MARKAM: Huh. (spies Olivia) Who's this friend? OLIVIA: Olivia Dunham. EDWARD MARKAM: (gregariously) Five dollars I can name at least one item on your night stand Olivia Dunham. Don't tell me... you're gonna like this - I'm never wrong. It's a gift... okay. Toni Morrison Novel, something by Obama, and/or the current issue of Bon Appetit. OLIVIA: Uh. I'm reading 'Advanced Forensic Science' by Annemann. I keep it next to my gun. EDWARD MARKAM: hoh... I like this one. PETER: This one's just a friend and we need a favor. An anonymous self-published manuscript. EDWARD MARKAM: Uh-huh. 'Destruction by Advancement of Technology' - sounds sexy and very challenging. OLIVIA: ...and Peter says you're good. EDWARD MARKAM: Well, he also says that you're just a friend, so... PETER: (less tolerant) ...the book Markam. We need it. EDWARD MARKAM: Today - right? PETER: Right. (starts to depart) Impress me. EDWARD MARKAM: Nothing interests me less than impressing you. Federal Building - Surprise Visit CHARLIE: (finds the boss in his office) I think I might have something. Warehouse building in Allston, leased to Jone's attorney. Power was cut-off for months - two weeks ago it was turned back on. BROYLES: The day Jones escaped from prison. CHARLIE: Could be a 'safe house'. BROYLES: (picks-up phone and speed dials out) This is Broyles. I need a search warrant authorized. COWORKER: (barging in) Sir. BROYLES: (motions her to wait) Yeah, a warehouse in Allston. COWORKER: (insisting) Sir. This can't wait. BROYLES: What is it? COWORKER: There's a man downstairs - says his name is David Robert Jones. (law enforcement agents rush to the first floor lobby) CHARLIE: Everybody down! (echoed) AGENTS: Down!.. down!.. down! Don't move! Stay calm! BROYLES: (from the balcony) Jones! CHARLIE: (drawing his pistol at near point blank) Freeze! DAVID JONES: (arms spread wide) I will speak only with Agent Olivia Dunham. ACT III Federal Building - Harris Speaks (in the observation room, discussing Jones in the next room) SANFORD HARRIS: ...and he just turned himself in? BROYLES: Two hours ago. Said he'd only speak to Agent Dunham. Hasn't said a word since. SANFORD HARRIS: Anything else? Anything on how he escaped from prison? BROYLES: No information. Just another question. A key. SANFORD HARRIS: What key? BROYLES: It was found on him when he turned himself in. There are no markings on it. Forensics are doing their thing. He wanted us to find it. OLIVIA: He wants to talk to me. Let me in there. SANFORD HARRIS: Jones doesn't get to dictate the terms of his captivity. OLIVIA: He wouldn't be a captive if it wasn't under his terms. The only reason Jones is here is because he wants to be. SANFORD HARRIS: Well, that may be the case, but the United States doesn't negotiate with terrorists. OLIVIA: That's exactly the kind of arrogance he's expecting. SANFORD HARRIS: What did you say? OLIVIA: The man was clever enough to Star Trek himself out of a maximum security German prison, elude InterPol, arrive in Boston, and get himself apprehended - simply because he liked the idea. He's expecting us to reject his request. SANFORD HARRIS: And your choice is what? Give Jones what he wants - to demonstrate that we can be anti- dogmatic? BROYLES: I don't think that's what you're saying. Is it Agent Dunham? OLIVIA: Since he arrived in town, an innocent man was killed in a shocking and gruesome way. SANFORD HARRIS: We don't know that was Jones. OLIVIA: It was Jones, and he has more planned. SANFORD HARRIS: And you know that how? OLIVIA: I don't know how to justify a hunch. BROYLES: (tired of the bickering) Sanford. I don't see any harm... SANFORD HARRIS: ...this isn't a gentleman's club, Miz Dunham. Mister Jones doesn't just get to choose the pretty one. You wanna get him to talk? Join the raid on that warehouse in Allston... see what you find. OLIVIA: How is that... SANFORD HARRIS: ...relevant? Well, because right now, he's just an escaped prisoner. But if he's playing games, as you say, I doubt he's here to help us. Show me some hard evidence that connects him to that incident downtown. (Harris leaves. Broyles gives Olivia a head nod yes - do it) Raiding the Safe House OLIVIA: (driving and answering her cell phone) Agent Dunham PETER: (calling from the bookstore) I got it. The Z.F.T. book. OLIVIA: Stop it. Already? PETER: Markam found some guy who collects scientific ephemera. He had a copy in his basement. (flips through the document) This thing was never published. It was never even proofed, but, check this out. 'The advances of science, which are supposed to expand our knowledge of the universe, will, if not carefully controlled, destroy the world as we know it'. OLIVIA: So it's light reading? PETER: Wait. It gets better. 'Our technological ambition has not only driven us to the brink of catastrophe, the catastrophe has already begun. What will the Apocalypse look like? The answer, to use a term generally understood, but the specifics of which you cannot imagine, and which this document will attempt to describe, is warfare'. And that's just the foreward. OLIVIA: Well keep reading. PETER: Will do. Where you headed? OLIVIA: We're going to raid a building that we think may be a 'safe house'. (led by Olivia and Charlie, more than a dozen agents and officers in tactical gear swarm into a large industrial garage area with flashlights on and weapons drawn. they disperse) ALPHA RADIOMAN: Alpha Team Clear. BRAVO RADIOMAN: Bravo Clear. DELTA RADIOMAN: Delta Clear. ECHO RADIOMAN: Echo Clear. CHARLIE: (aprroaches Olivia as she finds a sketch) What is it? OLIVIA: It's me... he was here. CHARLIE: (to everyone around him) I want everything bagged and tagged. Move fast! (Olivia inspects the decompression chamber) Harris Interviews Jones SANFORD HARRIS: (enters the interrogation room, takes off his jacket) I'd like to ask you some questions. DAVID JONES: Oh, I believe I've made myself clear. There is another I wish to speak to. SANFORD HARRIS: I afraid Agent Dunham is pre-occupied. Lucky you - you get me. (Jones coughs repeatedly) You don't look well. DAVID JONES: Which is why I was hoping to speak with Agent Dunham as soon as possible. I prefer to avoid any additional, unnecessary deaths. Now, when Agent Dunham comes to see me, I will require the following items: a standard walkie-talkie with removable crystals, metallic ballpoint pen, and an eye glass repair kit. An analog wrist watch. Your watch would do. SANFORD HARRIS: You sure you don't need anything else? DAVID JONES: Quite sure, yes. Inspecting the Safe House (an agent, off on his own, is looking through rooms and finds a desk with a two dollar bill in one of the drawers) OLIVIA: (joins Charlie) Anything? CHARLIE: Nothing criminal. OLIVIA: Alright. Let's lock it up and get back. (looks toward source of doomed agent yelling) CHARLIE: (races upstairs with Olivia and find the agent with his eyelids sealed shut) What the hell?! OLIVIA: I need a med kit! Now! (to Charlie) Quick. Help me hold him. He's suffocating. I need to 'trach' him. (she scalpels an opening in the agents' lower throat and inserts the breathing tube) Oh, come on. Okay, breathe. Okay. He's breathing. (as the agents' skin rapidly grows over the tube and his face - killing him) No... no, no, no, no, no. Federal Building - Post Raid (Olivia and Charlie walk through the situation room full of sad faces, Harris drops his wristwatch in a paper sack) SANFORD HARRIS: (in the surveillance room) Where are we? TECH SUPPORT: We've got audio. Visual coming up right now. SANFORD HARRIS: Move in closer on this. I want to record every twitch. (in the interrogation room) DAVID JONES: (Olivia enters as he coughs) Oh finally. A welcome face. OLIVIA: A colleague of mine just died. (sits down) He was twenty-seven years old. He was due to get married next month. DAVID JONES: Yes. I tried to prevent that. Your Agent Harris needed some convincing. OLIVIA: Here I am. DAVID JONES: Have you brought the items I requested? (she slides the sack across the table to him) This will only take a moment. SANFORD HARRIS: (to the surveillance tech) Pull in tighter on this, on the hands. (as Jones disassembles the radio) What the hell is he doing? That's a thousand dollar watch. (Jones initiates a jamming signal with piercing feedback) WHOA! What's happening in there? TECH SUPPORT: I don't know. DAVID JONES: Now I've... managed to get us some privacy... it's just you and me now. But we haven't much time. OLIVIA: You were responsible for what happened to Thomas Avery. DAVID JONES: Simply the stage setter. An example that doesn't need to be followed. OLIVIA: Well, that implies that you're planning something else. DAVID JONES: Something far worse... yes. OLIVIA: What is it? DAVID JONES: First. I need your services. OLIVIA: What the hell do you want? DAVID JONES: I need you to pass a test. (in the observation room) SANFORD HARRIS: (barging-in) Get them the hell outt there. That device he's made is blocking our surveillance equipment. BROYLES: He can't hurt us Sanford. He's just trying to show you who's in charge. (in the interrogation room) DAVID JONES: When I turned myself in there was a key in my pocket, as I'm sure you are aware. Take the key, which I assume is in Forensics, go to Salem, and the amusement park on Policy Street. I left something there for you. (grunts and keels over) OLIVIA: You need medical attention. DAVID JONES: (struggling) All of the assistance... in this world... could not cure me Miz Dunham. It seems that... when one is dematerialized on a molecular level and then reassembled - there are certain unadvertised side effects. But who knows? Perhaps this task I have for you could lead to something that might help me. OLIVIA: Tell me about the attack that you're planning. DAVID JONES: I wouldn't call it that. I'd call it an insurance policy. OLIVIA: I don't care what you'd call it. DAVID JONES: Even as we speak, a white cargo van is transporting an explosive device capable of killing several hundred people in the manner of the newspaper salesman and your deceased F.B.I. colleague. OLIVIA: When is it set to go off? DAVID JONES: Sixteen hours from now. OLIVIA: Before anything, you are going to disable that... DAVID JONES: ...NO. You are. But first, there's the matter of the key. SANFORD HARRIS: (barging-in) That's enough. (to Olivia) I want you out of this room. DAVID JONES: Don't worry Miz Dunham. If I wanted to harm you, I would have. Long ago. (Olivia leaves. to Harris) Apologies... about the watch. (walking the corridor to the elevator, donning her coat, briefing Broyles and Harris) OLIVIA: Jones is planting a device somewhere. Capable of killing more people in the same way that guy from the newsstand died. He won't say where or when. But we need eevery white van rented in the last forty-eight hours tracked down. In the meantime, I need two hours alone. SANFORD HARRIS: Why? Where are going? OLIVIA: To get a massage. (enters elevator) I'll tell you when I get back. ACT IV Manifesto Clues at the Lab OLIVIA: (on cell phone, driving) Hey, it's me. Where are we at? PETER: We know how the folks end up faceless. It's a powdered toxin absorbed through the skin. It triggers a hyperactivity in the protein responsible for scar tissue... you want any more detail than that? OLIVIA: Uh, not really. Did you hear that Jones turned himself in? PETER: Yeah, I did. Did you get anything? OLIVIA: Yeah - that he's crazy... and that he's planning on using that toxin again - and soon. How's Walter coming with the antidote? PETER: He's working on it. He says, and I quote - 'it'll be ready when it's ready, and not a moment before'. OLIVIA: Great. Anything more in the manuscript that might suggest what Jones' end game is? PETER: Well, it reads like a happy combo between an anti-science manifesto and a 'call-to-arms'. OLIVIA: A 'call-to-arms' against whom? PETER: Exactly. I'll call you back when I get to the good part. OLIVIA: Yeah. Please do. Maybe it will help us figure out where this next attack is gonna be. I'll be back as soon as I get the package Jones left me. PETER: Okay. (hangs-up) WALTER: Was that Olivia? PETER: Yeah. (approaches Walter's workdesk) Where's the manuscript? WALTER: Is she bringing coffee cake? PETER: No. She's not getting food. Have you seen the manuscript that I was reading earlier? WALTER: (uncovers the document) It's fascinating, isn't it? I was just reading it while sitting on the crapper. PETER: Please? No more information than that - can I have it back? WALTER: I must read you one excerpt. PETER: Great. Well grab the blankie - it's nap time. WALTER: (voiceover as Olivia drives) We think we understand reality. But our universe is only one of many. The unknown truth is that the way to travel between them has already been discovered - by beings, much like us, but whose history is slightly ahead of our own. The negative aspect of such visitation will be irreversible both to our world and to theirs. (Olivia arrives in a deserted alley lined with locked storages) It will begin with a series of unquantifiable natural occurrences - difficult to notice at first - but growing, not unlike a cancer, until a simple fact becomes undeniable. Only one world will survive. (Olivia remove a box full of items from a container and opens it) It will either be us - or them. Skill Test at the Lab OLIVIA: (reading the letter from the box to the science team) Miss Dunham, I know how this appears, that I've sent you quite a distance to pick-up a box of children's games. But what I've hidden here is not a game at all. You are holding an evaluation system. A series of tests designed to cultivate specific innate skills present in particular individuals. Do the first test only. Complete it successfully, and come back to see me. Do this and no one else will die. PETER: I got the instructions. OLIVIA: So, Jones is threatening to kill hundreds of people unless I take a test. ASTRID: No - unless you pass a test. OLIVIA: Fine. What does passing a test have to do with Jones killing innocent people? PETER: In a word - insanity. You can't pose rational questions when you're dealing with a guy like Jones. WALTER: Indeed. And whatever Mister Jones' true goal may be... we only have eight hours left until his next attack. PETER: (opens a shoebox size wood case with a 7X7 grid of small lights) Test One... of ten, by the way. Turn switch on. The recruit sits no more than twenty-four inches away from the device, but cannot touch the light board. Recruit focuses on light board. the object of the test is to systematically shut down the lights so that ultimately, none are illuminated. OLIVIA: How? PETER: (sarcastically) Using all your magic powers, I guess. WALTER: Curious. The instructions refer to the recruit. The author of the manuscript uses the same term. (reading from the manuscript) ...Many warriors of the inevitable confrontation are among us now - but before they can be considered soldiers, they must be regarded as recruits. And the expectation must be that they shall be unwilling. OLIVIA: So, I am supposed to just turn these lights off by looking at them. PETER: Well, it wouldn't be much of a test if we could just take out the battery. OLIVIA: (activates the light board) Fine. (looks at others half-serious. becomes serious and starts to lose herself in the lights. is startled as her phone rings. everyone smiles. she sighs. answers phone) Dunham. CHARLIE: We just got a hit. Steady Car Rentals in New Haven leased a white van yesterday morning. You're gonna love this - to one - Olivia Dunham. OLIVIA: No. CHARLIE: Oh yeah, he's messing with you Liv. got local police scouring the area. So far, no luck. OLIVIA: Thanks Charlie. This is just a stupid mind game. (walking away) PETER: Where are you going? OLIVIA: To end it. Federal Building - Jones Admission (in hallway) SANFORD HARRIS: I will not let him use that device again. If you're gonna meet with Jones, I want full surveillance this time. OLIVIA: Sir. The last time you got your way, we lost a good agent. Do you really want to get in the way again? (waits for a reply) We have less than seven hours before something truly horrific will happen - something that I am trying to stop. And for some reason, Jones is out to get me. So sir, would you please let me handle this? (Harris takes the brow-beating and wanders off) (in the interrogation room) OLIVIA: (places the jamming device on the table) I got your test kit. DAVID JONES: You didn't bring it? OLIVIA: No. I didn't need to 'cause this is... DAVID JONES: ...your reluctance is to be expected. OLIVIA: I know what you're doing Mister Jones. DAVID JONES: I'm trying to get you to pass Test Number One. OLIVIA: I know about the manuscript. The Manifesto. Z.F.T. I know that you believe that there's some kind of a war coming... DAVID JONES: ...you read it?... OLIVIA: ...and that you are recruiting warriors. That's the word that you use, isn't it? DAVID JONES: You don't believe that you're worthy? OLIVIA: I believe that everybody... maybe even you... is entitled to their own belief system, but somehow, you got me into your head. DAVID JONES: Somehow? Yes. You are among those treated with Cortexiphan. It's why we had you taken. We needed confirmation. Something which requires a 'spinal tap'. The next step, had you not escaped, was to convince you of this. OLIVIA: I have never been treated with Cortexiphan. I haven't even heard of it. DAVID JONES: You wouldn't have. OLIVIA: Well, I don't believe you Mister Jones. What I believe is that you've created some ridiculous scenario where people's lives rely on me attempting, and failing, what is obviously an impossible task. DAVID JONES: (distressed) The task is hardly impossible! OLIVIA: I will not let these people die because of some stupid game that you're playing. DAVID JONES: (louder) This is no game! OLIVIA: You need to cooperate Mister Jones. DAVID JONES: (agonized) No Miz Dunham! It is you who needs to cooperate. (falls to floor handcuffed to chair) OLIVIA: Mister Jones? Walter's Lab - Delivering Jones PARAMEDIC: (wheeling Jones in on gurney and briefing Peter) Pulse is slowing down - fifty beats per minute. PETER: (pointing across lab) Get him up there. Astrid! Set up the E.K.G. WALTER: Is this the patient? (Gene follows on a tether) PETER: Walter... put the cow away would you? PARAMEDIC: (looking at the backside of Gene) What is this place? PETER: It's a freak show. Thanks for your help. Thank you. (as the paramedics leave) ACT V Walter's Lab - Gathering Facts (gathered around Jones) WALTER: You understand, this man teleported through space. His molecules disintegrating and reintegrating. The very implications of it... We need a video camera - we should record this. PETER: Walter - this man is our only chance to stop a device that could kill a lot of innocent people. I need you to stabilize him. WALTER: Of course. PETER: Okay. WALTER: Point taken. I'll do a thorough exam. meanwhile, get me 50 cc's of saline, please. PETER: Hey Astrid - do you mind? ASTRID: Sure. (Peter finds his way to Olivia's workspace, where she is on the phone) OLIVIA: No... of course they did. Why am I not surprised? Thanks Charlie. (hangs-up) PETER: Anything? OLIVIA: Yeah, that drug Jones claims is in my body... Cortexiphan, it's a drug patented, but not approved by, the FDA. PETER: Patented to whom? OLIVIA: ...to Massive Dynamic. PETER: (scoffs) Why am I not surprised? OLIVIA: That's what I just said... Jones? PETER: Walter's replenishing his fluids right now, but he's still gonna have to give him a full exam before we even know if we can wake him back up. OLIVIA: Look. I'm gonna go find out what I can about Cortexiphan - but in the meantime, he is actually expecting me to be able to do it. PETER: To do what? OLIVIA: Test number one. The flashing lights. Jones won't cooperate unless I pass the test... you think we can trick him? PETER: What are you asking me to do? You want me to open up the light box? OLIVIA: (timidly) You could see what you could do. Massive Dynamic - Chat w/ Nina OLIVIA: Thank you so much for seeing me at such short notice. NINA: As I said... I am always available to you, Olivia. What can I do? OLIVIA: I need information on a drug called Cortexiphan. NINA: It doesn't ring a bell... let me check. (consults her high tech 'whiteberry' and sighs in pain) OLIVIA: Is everything alright? NINA: Uh... my hand... it's been acting-up. I need to have it looked at. (returns to her PDA) Oh yes, I recall this. 'Cortexiphan' - it was part of a clinical trial of a drug that Doctor Bell created in 'eighty-one. OLIVIA: What is it? -- If you don't mind? NINA: Doctor Bell theorized that the human mind, at birth, is infinitely capable... and that every force it encounters; social, physical, intellectual... is the beginning of the process he referred to as 'limitation' - a diminishing of that potential. OLIVIA: And Cortexiphan? NINA: ... it was meant to 'limit' that 'limitation' - to prevent the natural shrinking of that brain power. OLIVIA: To prevent, not undo? NINA: Meaning... OLIVIA: That the drug was administered to children? NINA: Yes... the drugs were extensively animal tested. They were harmless to the children who received them. Unfortunately, they were also unsuccessful - so Doctor Bell abandoned his research on Cortexiphan in 1983. OLIVIA: And where were the trials? NINA: Doctor Bell conducted the trials himself at Ohio State University, Wooster Campus. OLIVIA: Nowhere else? NINA: No... why? If I may ask? OLIVIA: Nothing -- it's good to know. Walter's Lab - Jones Awakes OLIVIA: (on the phone to Peter as she drives) No matter what Jones believes - I was never given that drug. William Bell conducted his trials in Ohio. In 1981, I was three, living in Jacksonville, Florida. My dad was stationed at the Naval Base there. PETER: That's great. In other news - Walter thinks he is going to be able to revive Jones soon - and - I was able to reprogram the light box.... We should be able to fake Jones out. OLIVIA: I knew you could do it. I'll see you soon. (hangs-up) (Jones is strapped to an elevated table and gets an injection in the neck from Walter) WALTER: If there's a cardiac arrest, we'll need Nitroglycerin... Peter! prepare... (Jones jumpstart to life - gasping) OLIVIA: Mister Jones. We have two hours before your planned attack hits... and I think I have passed test number one. DAVID JONES: Doctor Bishop... (congested) ... without your extraordinary work - I wouldn't have the pleasure of making your acquaintance. WALTER: (moves closer to Jones) I locked the teleporter away for a reason... one of which you are now experiencing. DAVID JONES: (shudders) Never the less. It... is.. an honor. OLIVIA: (interrupts) Jones. I passed the test. You tell us everything we need in order to stop whatever it is you're planning. DAVID JONES: (gulping) That... was.. always the deal. (Olivia moves to the light box test, altered by Peter. she flips it on and concentrates. slowly, the lights extinguish one after another, Jones monitors her as the last light goes out) DAVID JONES: Well done Miz Dunham. Thank you. (he relaxes his head) OLIVIA: Your turn! DAVID JONES: Indeed. (conceding) 9-2-3 Church Street. The forty-seventh floor... you better hurry. OLIVIA: (speed dialing dispatch on her cell phone) This is Agent Dunham - I need immediate Evac at Nine- Twenty-Three Church Street - There's a device on the forty-seventh floor... (to Peter as she marches past him) Nicely done. PETER: Good performance. Church Street CHARLIE: (barking orders to all in earshot at street level) I need these streets cleared now! Anyone within a four block radius has to move! - GO! Double Time! OLIVIA: (arriving in the lobby) Hey. Where are we? CHARLIE: Buildings about seventy percent clear... we lucked out - they're undergoing renovations, so not all the floors are occupied. OLIVIA: So... the device? CHARLIE: This one's a real mess. Bomb Squad says they can't move it or diffuse it. OLIVIA: Why? CHARLIE: Because they've never seen wiring like this before. OLIVIA: (arriving at the bomb) Oh my god... (breathing deeply, a helicopter zips by the window) ACT VI 47th Floor - Time For Action (three minutes, twenty-eight seconds remain on the device) PETER: It's rigged here for a reason - to blow out the windows. OLIVIA: Four blocks ain't gonna cut it. PETER: Not even close. CHARLIE: I am on it (to assistant cop) Contact the Weather Service. We need a map of the fallout pattern... and get FEMA up to speed ASTRID: (picks up the ringing phone in the lab) Agent Farnsworth. OLIVIA: (on her cell phone and staring at the device) Hey, it's me. That son of a bitch (Jones) knew what we were doing. ASTRID: What? OLIVIA: He knew that we were faking him out.... Is he still conscious? ASTRID: Barely. OLIVIA: Put him on. ASTRID: (holds phone to Jones ear) It's Olivia. DAVID JONES: (exhausted) Hello, you. OLIVIA: I can't do this. (two minutes, forty six seconds remain on the device) DAVID JONES: I remain confident that you can. OLIVIA: Look, you know what I did before - it wasn't real. DAVID JONES: Yes... I know Miz Dunham. Before they can be considered soldiers - they must be regarded as recruits, and the expectation must be that they shall be unwilling... OLIVIA: ...Mister Jones, I am willing, I am willing, but I am not able. (two minutes, thirteen seconds remain on the device) PETER: (interrupts) Olivia, we have gotta go. DAVID JONES: There's only one way to disable that device. You know what that is. OLIVIA: (nods into phone) Okay - you think that I am valuable. Valuable enough to kidpnap, to try and train. DAVID JONES: You are a rare commodity - true. OLIVIA: Okay. If you don't deactivate this device. I'm gonna die. Which means that your rare commodity is gone. DAVID JONES: But I have one thing Miz Dunham, that you do not. I have faith in you.... there is no red wire, no blue - only black. Cut any one of them, and the device blows. Try and remove it, and the device blows. And if those light are still on when the timer hits zero... the device blows. There is only one way out - and it's you. OLIVIA: (she hangs-up and turns to Peter and Charlie) Okay, we need to get these people out of here. (she removes her overcoat and returns to the device) PETER: Whoa whoa whoa whoa! Where are you going? Olivia, we gotta go. What did Jones say? Olivia... OLIVIA: I need to do this. There is no other way. PETER: If you stay here you are going to die. (one minutes, one second remains on the device) I'm not doing this with you Olivia. (he walks off to the elevators) You're out of your mind. (Olivia studies the panel of lights on the device intently. Peter thinks better of his departure and returns to observe. Slowly, as Olivia concentrates, each of the 47 lights dims in random order. the final light dims just two seconds before the anticipated detonation) PETER: You did it. What was that? How did you do that? OLIVIA: (nearly in tears) I don't know. (panting) I don't know. Jones Departs the Lab ASTRID: (answers a ringing phone on the lab) Farnsworth. (listens) Yes sir. (listens) Thank you. We.. we will. DAVID JONES: (to paramedic as he is wheeled-out) Wait... wait. (to Astrid) She did it, didn't she? ASTRID: It seems she did. DAVID JONES: (whispers to himself) My girl. Recovering on the 47th Floor (Agents and inspectors have returned and are wandering the area, Olivia and Peter sit and rest) PETER: You okay? OLIVIA: I didn't do anything... with those lights, they... he planned it, Jones... it was all just a mind game. PETER: How'd he plan it? Planned what? OLIVIA: They were programmed to turn off when the countdown ended. PETER: Maybe, but... he couldn't have known you were gonna arrive. He couldn't have known the timing on that. OLIVIA: Well that's what he did. PETER: Look, I'm the last person who subscribes to this kind of stuff, but you were in the zone out there tonight, Olivia. The way you stared down that lightbox was like nothing I have ever seen before. OLIVIA: It wasn't me. PETER: Fine, then let me play Devil's Advocate - why did Jones choose you at all? OLIVIA: (thinks a second) Because of your father. He wanted to meet your father. he wanted to meet the man who designed the device that let him escape from prison. PETER: And you think that's what all this is about? Okay. Fine. Look, all I know is I didn't die tonight. So I'm pretty much willing to accept any explanation you want to give. (thinks) You wanna go get a drink? Or five? I've seen you with a whiskey bottle. OLIVIA: huh... Jones was just transferred to Boston General... I have a few questions for him. It's my last chance. PETER: ....yeah. After Hours at Walter's Lab ASTRID: So in all the excitement of today, I forgot to say something. I haven't overlooked the fact the you actually created a teleportation machine. WALTER: Well... I suppose I did. ASTRID: Which, despite the fact that using it kills you, is... pretty damn cool. WALTER: Kills you? It does something unthinkable, but... it doesn't kill you. (he wanders away) Boston General - Questions (Olivia walks the busy halls toward Jones' room. She enters and he is not there. a gaping four foot by seven foot hole in the wall looks out over the city, from a half dozen floors up. on the wall next to her in big letters, the message - "You Passed") Walter Reads (at his desk he reads through the ZFT manifesto. un-proofed and un-published, it is littered with offset "y"s.) Olivia's Apartment OLIVIA: (seated in gym clothes with an adult beverage, she answers her phone) Hello. NINA: (on a balcony with her cell phone) Agent Dunham? Nina Sharp... hand's back to normal OLIVIA: Well, good for you. NINA: I was curious about that question you asked, whether there were other places where Cortexiphan was tested. OLIVIA: Yeah. NINA: There was, it turns out - a second clinical trial - though much smaller than the one in Ohio. OLIVIA: There was? NINA: Yes, in Jacksonville, Florida... at a military base. (silence) Agent Dunham? OLIVIA: Thank you very much for calling. NINA: You're most welcome - have a good night. Walter Types (from storage, Walter extracts an old manual typewriter and prepares to type. he types the word 'Ability'... like the ZFT manifesto - the 'y' is offset from the rest of the typeset)

PROLOGUE (a team of demolition experts assemble sticks of dynamite, blasting caps, timers, detonators and wire to drop a five story building) PHIL: God, it's cold. Gettin' too damn old for this. DENNIS: Make sure that blast cap's on tight. PHIL: It's not the blast cap I'm worried about; it's my damn fingers. DENNIS: Stop your complaining. We fall behind schedule, we violate our permit. PHIL: Just a minute. Almost there. (joins workers who continue to search the building before it is destroyed) MAN ON RADIO 1: Zone one clear. MAN ON RADIO 2: Zone two clear. MAN ON RADIO 3: Zone three clear. MAN ON RADIO 4: Zone four clear. MAN ON RADIO 5: Got a squatter in zone five. Getting him out. After that, we're clear here, too. MAN ON RADIO 6: Zone six clear. MAN ON RADIO 7: Zone seven's clear. MIKE: (on radio) Okay, people. Building's clean. Wrap it up and get out. We're go for demolition in three minutes. CONTROLLER ON RADIO: T-minus three minutes. (Group of men are walking away from prepared building.) DENNIS: So what's up, man? Stateside Diner, meatloaf sandwich? PHIL: Thinking steak and eggs at Cora's. DENNIS: Well, we could always head up Route Nine to Parkview. PHIL: Sure... DENNIS: What? PHIL: "What". The waitress. The brunette. What's her name? DENNIS: Oh, Marcie? No, I wasn't even... I was thinking about the lean corned beef. PHIL: Yeah, right, the lean corned beef named Marcie. DENNIS: Hold up. PHIL: What's the matter? You okay? Dennis, what's the problem? DENNIS: Nothing. I don't know. PHIL: - You swept it, right? - Sure. DENNIS: I just... I don't know. All of a sudden I got a weird feeling. PHIL: Yeah? Me too. Mine's called, "I don't wanna die looking at Dennis." Come on, man. DENNIS: Hey, radio Mike, will ya? Tell him I wanna do another sweep. PHIL: Come on, man, where you going? Dennis, they're holding the countdown for us. Damn it! Come on. Where we going? DENNIS: I think we missed something. The plans show another room over here. Ahh, this doesn't make sense. CONTROLLER ON RADIO: Phil, you got Dennis? What's going on? We don't have a lot of time. DENNIS: Just two more minutes. We'll be right out. Do you hear that? PHIL: What? DENNIS: Sounds hollow. PHIL: Come on, man, this place has been completely prepped. There's nothing underneath there, just solid foundation. DENNIS: Does that sound solid to you? PHIL: It's probably just frost damage. DENNIS: The... the concrete's cracked. (hole breaks open under Dennis' feet. He falls, but is caught by Phil) Ohh! PHIL: (on radio) Mike, I think you should come down here. (joined by Mike, the three men explore the catacombs below the building with flashlights) DENNIS: This was definitely not in the blueprints. PHIL: God, and what's that smell? DENNIS: What do you think this was? PHIL: I don't know, but it's old. DENNIS: Well, good, that narrows it down. (in the dark dampness, the trio find what looks like a jail cell. something scurries to the back of the area) PHIL: What the hell? (a naked, hairless Child huddles in the corner of the dark cell) Oh, my god. ACT I Olivia's Bedroom - Early Morning (Olivia awakens slowly to find her niece staring at her, waiting to talk) OLIVIA: Ella? ELLA: Mommy gets grumpy if I wake her too early. OLIVIA: She always did. (grabs Ella and hauls her into bed) ...mmmm, come on. Oy, oy, oy. Well, do you want some... pancakes? ELLA: Yes. OLIVIA: Yeah? Mm-hmm. Federal Building - Situation Room CHARLIE: (walking through the office, he answers his cell phone) Francis. (listens) Hey, Jim. How are you, buddy? I saw that your mayor got himself into a little bit of trouble. That couldn't have been fun for you guys. (listens) When? (listens - then addresses everyone in the office) Has anyone taken anything from that fax in the last five minutes? (receives an indistinct reply from across the room) CHARLIE: (into phone) I'll call you back. (searches and locates a facsimile on the machine - a picure of a broken doll and text announcing the showing of 'A Brand New Work' -- today in Boston) Olivia's Kitchen - Early Morning RACHEL: Ugh, Liv, I'm sorry. I told her to let you sleep late. OLIVIA: Oh, she did until... six-seventeen. RACHEL: Yup, that sounds late for her. (Ella enters kitchen with two garments.) ELLA: Which one? RACHEL: Uh, the yellow one. ELLA: Aunt Liv? OLIVIA: Definitely the yellow. ELLA: Did you tell her? RACHEL: Go get dressed. OLIVIA: What? RACHEL: We went apartment hunting yesterday. OLIVIA: Really? You're thinking of moving to Boston? RACHEL: Yeah, well, Ella loves it here, and so do I, so... OLIVIA: Well, you know that you can stay here for as long as you want. RACHEL: I know, but you don't need a little creature waking you up at 6:17 every morning. OLIVIA: If that little creature is Ella, I am fine with it. (answers her cell phone) Hello. CHARLIE: It's me. The Artist is back. OLIVIA: How do you know? Did we receive another fax? CHARLIE: Yeah. Hartford Field Office got one too. OLIVIA: Well, did we get a trace? CHARLIE: Sent from a copy store in Allston. So I've got Mason and Louis headed over to question the employees, see if someone can give us a description of whoever sent it. OLIVIA: Okay, I'm gonna be there in fifteen minutes. (hangs-up) RACHEL: Some new horrifying event you're not allowed to tell me about? OLIVIA: Yeah. (answers cell again) Okay, now it's gonna be fourteen. BROYLES: Excuse me, Agent Dun...? OLIVIA: Oh, hey. BROYLES: Get the Bishops soon. I need you to meet me at Children's Hospital. OLIVIA: Actually, I just had an old case reopened, and I... BROYLES: It can wait. Boston Children's Hospital - Intake (Broyles, Olivia, Walter and Peter walk down corridor toward isolation room. When they arrive, Broyles motions through window into room at the Child.) BROYLES: After the boy was found, construction crews performed a search of the tunnels. It was determined they'd been sealed shut for at least 70 years. The place was a sarcophagus. The only living things down there were rats, insects ...and him. OLIVIA: And we have no idea how he got down there? (Broyles shakes his head.) OLIVIA: He's so pale. BROYLES: He seems to be developing some sort of pigmentation. WALTER: Well, he probably hasn't seen sunlight in years. PETER: Does he have a name? BROYLES: He hasn't spoken a word since he was found. Doctor Bishop, any thoughts? WALTER: Perhaps. But first I need a piece of special equipment. My turntable. BROYLES: Is that some kind of lab equipment? WALTER: No, a turntable. Record player. You enjoy music, don't you, Mister Broyles? Well, imagine the agony of having an extensive record collection, and having no means to play it. PETER: The agony. BROYLES: I'll have someone get right on that. (taps on window of isolation room to get attention of physician, who exits to hallway) BROYLES: This is Doctor Winick, Chief of Pediatrics. DR. WINICK: Look, I understand your agency's taken an interest in this child, but he's been through quite a trauma. PETER: Is he sick? DR. WINICK: Not as far as we can tell, but he's having difficulty breathing. We need to administer oxygen. WALTER: No, don't. No. no. no. I wouldn't do that. You said the tunnel was sealed, is that correct? Well, then it's obvious that the child was trapped in a low-oxygen environment for so long that his body adapted to it. And that is why he's having trouble breathing. DR. WINICK: I don't think so. WALTER: (abrasively) Unless you have an IQ higher than mine, I'm not interested in what you think. Administering additional oxygen at the stage would simply cause his lungs to fill with fluid and drown him where he lies. (Walter makes eye contact with Broyles and Winick and calms somewhat) We need to deprive him of oxygen. Get him a nasal cannula and a tank with low oxygen content. Perhaps five percent to start. (Winick raises an eyebrow, but seems to understand) (Olivia looks into the room and stares at the Child. They seem to bond) A Laundromat - Sommerville, Mass (Samantha Gilmore is removing clothes from a dryer and folding them. The Artist does the same in the near background) THE ARTIST: A griffin. SAMANTHA GILMORE: 'Scuse me? THE ARTIST: Your tattoo. The body of a lion and the head of an eagle. That's a griffin, right? SAMANTHA GILMORE: Just picked it outta the sample book. Thought it looked cool. THE ARTIST: Oh, well. A nice choice. Did it hurt much? I always imagined getting a tattoo would hurt real bad. SAMANTHA GILMORE: It's a good pain. THE ARTIST: I'm sorry, I didn't mean to embarrass you or any... SAMANTHA GILMORE: You didn't. (Gilmore watches as the Artist pushes back from the folding table and rolls away in a wheelchair. Gilmore looks moderately embarrassed about having been brusk with the man. Soon after, Gilmore exits the laundromat and walks to her motorcycle. She sees the Artist trying to place his laundry basket into his van.) SAMANTHA GILMORE: Hey. Do you need a hand? THE ARTIST: Uh, thanks, I got it. (pauses) Um, actually, you know, a little help would be great. (Gilmore walks over and lifts the laundry basket) THE ARTIST: Cool motorcycle. What make? SAMANTHA GILMORE: '67 Harley Shovelhead. THE ARTIST: She's a beauty. SAMANTHA GILMORE: Yeah, she is. (Gilmore turns her back to put the basket into the van. The Artist rises from his wheelchair and lunges at her with a hypodermic needle) ACT II (in the back of his van, The Artist uses a saw and power drill. he wears a butchers apron and latex gloves and is covered in blood as he continues his work) Children's Hospital - Improvement (the Child sits in bed, breathing heavily with a nasal oxygen tube while the room full of adults waits and watches) WALTER: Any minute, now. DOCTOR WINICK: (as the heavy breathing abates) It worked. WALTER: You'll want to increase the oxygen flow by ten percent every hour 'til he acclimates. OLIVIA: So you said that he hasn't talked. How do we know he can hear? DOCTOR WINICK: He responds to sound. And we examined his tympanic membrane, there's no physical damage. In fact, considering how he was found, he seems fairly healthy. His heart sounds fine, his blood pressure is strong. OLIVIA: And how do we think he survived down there? I mean, what did he eat? WALTER: Rats, I'd think. Moss, insects. High in protein. Tastier than you may think, especially millipedes. Although they all lack certain minerals which may account for his follicular dilemma. PETER: (interjects) His baldness. WALTER: Have you performed a urinalysis? DOCTOR WINICK: We haven't been able to. We've been feeding him intravenously. He hasn't relieved himself since he arrived. WALTER: Can't say I blame him for not wanting to try this. (picks-up a slice of dry toast) This looks worse than the dreadful food they served at St. Claire's. DOCTOR WINICK: You were on staff at St. Claire's Asylum? WALTER: No, no, no, not a medical doctor. I was a patient. PETER: (diverting the conversation) Got such a sense of humor, huh? WALTER: Hmm? PETER: Walter, what do ya say we keep those old St. Claire's stories to ourself, yeah? OLIVIA: Hello. (approaches the Child tenderly) My name's Olivia. What's yours? (her phone startles her) It's my phone. (she answers it) It's Charlie. Hi. I'm, uh, still in the hospital. WALTER: You won't remember this, Peter, but you didn't talk much either, as a child. OLIVIA: (on her cell phone) Could you get me the address? WALTER: In fact, you were quite shy. (the Child watches intently as Olivia writes the location of the first victim in her notebook. he grabs her arm with a jolt, takes her pen and writes a name upside in the notebook) WALTER: What's it say? OLIVIA: Sam Gilmore. PETER: He can write? OLIVIA: Is that your name? BROYLES: I'll see what we have on any Sam Gilmores in Massachusetts. Coolidge Park AGENT: (approaching the Artist's handiwork) The body was found just after 6:00 pm. This part of the park's usually empty this time of the year. Couple of kids were using it as a shortcut when they found her. Definitely the work of the artist. He clearly made alterations to the body post mortem, and put her out here for the whole world to see. Here's what we have so far. (hands Charlie a file) She's a local girl. A process server from Weston. Next of kin is being notified by local agents as we speak. CHARLIE: Samantha Gilmore. OLIVIA: Wait, did you say Sam Gilmore? CHARLIE: Yeah. (opens the file to confirm the identity) Samantha Gilmore. You know her? Federal Building - Briefing Room CHARLIE: (to room full of agents) Our perp's name is the artist. Now, some of you here may recall that we had our first encounter with him three years ago. He killed four women in Lower Jamaica Plain over a period of two days. After the fourth murder he stopped. OPERATOR: (on phone with Olivia) Are you holding for Dr. Winick? CHARLIE: ...apparently he... OLIVIA: (to Operator) Uh, yes. CHARLIE: Samantha Gilmore, age twenty-four. Now, the killing bears all of the artist's trademarks. His M.O. is to kidnap, sedate, and kill his victims. Then after he kills them, using surgical tools and chemicals, he, in his mind, enhances their appearance. In this case he bleached her skin, removed multiple piercings, and dyed her hair, OPERATOR: ...I'll tell Doctor Winick... CHARLIE: Like the others... OLIVIA: (on phone) Thanks. CHARLIE: It was preceded with a faxed invitation to view new work that was to be displayed somewhere in public. BROYLES: (quietly at her desk, sitting) Anything yet? OLIVIA: No. That was the hospital. They're giving the boy an MRI. When he's done I'm gonna go in and talk to him again. In the meantime I've sent his picture to Samantha Gilmore's friends and family, but, so far, no one recognizes him. BROYLES: You didn't really expect that they would, did you? OLIVIA: No. BROYLES: So let me ask you the obvious. What's the connection? (Walter and Peter enter after the briefing and share some reseach) WALTER: (flipping through images in a book) Amala and Kamala, the Wolf Girls of India. And... and, ah... Marie-Angelique Memmie Leblanc, the Wild Girl of Champagne. They're all feral children who... who grew up completely isolated from human contact, surviving, like our boy, uh, for many years alone. PETER: Yeah, but I'm guessing none of them could write upside-down. BROYLES: You're saying that the boy grew up down there. WALTER: Well, based on the blood work, yes. I'm fairly certain that the lack of vitamin D, for one, but also the complete absence of lactobacillus... PETER: (interrupts) ...micro-organisms is that help us digest. They're everywhere. WALTER: Precisely. If the boy had spent any time above the ground, then he certainly would have absorbed those. OLIVIA: But that still doesn't explain how he got there in the first place. You said that the place had been sealed off for decades. The boy couldn't be more than - ten? WALTER: Well, he certainly looks that. BROYLES: You believe he might be older. WALTER: Well, given the environmental conditions... the lack of oxygen and light... and their impact on his biological development, he could be significantly older. OLIVIA: But none of that explains how he knew Samantha Gilmore. WALTER: No. That I can't explain. But good news, Mister Broyles, I have located my turntable, so I don't need you to purchase me one after all. It was under the sink in the john. So obvious. I was sitting on the toilet, and I... PETER: Walter, I think that's probably enough information. JUNIOR AGENT: (enters the room with a fax) Agent Dunham. We just got another one. The artist is going after another victim. Walking The Dog KATE HARPER: (walking her pet near a park) Easy, easy. THE ARTIST: (approaching politely) That's a beautiful dog. KATE HARPER: Thank you. THE ARTIST: Is he friendly? KATE HARPER: Of course. His name's Mack. THE ARTIST: (kneels to greet the animal, smiles at Kate) Hey, Mack. Hey, Mackie. (pets the dog) Hi, Mack. ACT III Children's Hospital - The Second Lead OLIVIA: Hey. (knocks on the door, sits on the edge of the bed) They, uh... they told me that you haven't eaten anything solid yet. (pours some candies into her hand) So I, uh... I thought that you might like these more than the mystery meat. (tastes a candy) When I was a kid, I used to live on these. Except the yellow. Something about the color. Reminded me of medicine. You wanna try one? (the Child picks a candy up and studies it) That's it. Good. (he feeds it to Olivia) Thank you. Ahem. Yesterday you wrote down a name for me. (takes out her notebook) Remember? I thought today you could give me your name. ELIOT MICHAELS: (walking in the room) You have a real way with him. Elliot Michaels. Department of Social Services. OLIVIA: Uh, Olivia Dunham, FBI. ELIOT MICHAELS: (to the Child) Um, you mind if I borrow Miss Dunham for a few minutes? I promise I'll bring her right back. OLIVIA: (to the Child) I'll be just outside. ELIOT MICHAELS: (in the hallway) Dr. Winick brought me up to speed about your interest in the boy's case. OLIVIA: The circumstances by which he was found attracted our interest. ELIOT MICHAELS: It's bizarre, huh? Have you been able to find out anything more about him? You know, first name, where he's from... OLIVIA: Uh, no. I'm afraid not yet. ELIOT MICHAELS: Well, I'm not gonna get in your way. I just thought I'd stop by and see him before I get the ball rolling. OLIVIA: How so? ELIOT MICHAELS: How so? Uh, well, you know... physically, it... it doesn't seem as if there's anything really wrong with him, so I've arranged to have him moved. OLIVIA: Moved? ELIOT MICHAELS: To a facility that can provide the treatment he needs. OLIVIA: When? ELIOT MICHAELS: Tomorrow. You know, I hope. Assuming all the paperwork is in order. (the Child starts growing concerned, convulsing slightly, his monitor beeps, the nurse runs in the room followed by Olivia) OLIVIA: What's wrong? NURSE: Uh, I'm not sure. His BP and his heart rate are spiking. OLIVIA: (calming the Child) It's okay, it's okay. Hey. It's okay. Shh. It's gonna be okay. Oh... Good... NURSE: (to Olivia) Should I get the doctor? OLIVIA: I... I think we're okay. ELIOT MICHAELS: You okay, there? OLIVIA: Maybe if you just, uh, gave us a moment. ELIOT MICHAELS: Of course. Just take your time. OLIVIA: Thank you. ELIOT MICHAELS: (on cell phone walking down the hall) I'm at the hospital. I think we may have found another one. OLIVIA: (sitting bedside) I should let you get some rest. THE CHILD: (takes pen and paper, studies Olivia's face and writes inverted '547 Marlborough') Searching Marlborough Street OLIVIA: Anything so far? CHARLIE: I just got here five seconds ago. So what's the plan? Start knocking on doors? OLIVIA: Unless you can think of a better idea. CHARLIE: Alright. You go East, I take West. OLIVIA: OK. (in a nearby van, parked just to the East) THE ARTIST: (whispers to Kate Harper as she whimpers) Shh, shh, shh... Shh... Shh, shh, shh. (after Olivia moves away from the van) THE ARTIST: (to Kate Harper) Good. You are very good. Olivia's Apartment - Unwinding RACHEL: (joins a seated Olivia in the kitchen) Mind some company? OLIVIA: Of course not. RACHEL: Did I miss you last night, or did you not even come home? OLIVIA: Uh, no. You didn't miss me. (sips her cocktail) RACHEL: Have you eaten anything? OLIVIA: Uh, M & M's. RACHEL: Liv... Do you like it? Your job? OLIVIA: Yeah. Most days. Today, not so much. I followed a lead that didn't pan out. What about you? Why are you up? RACHEL: Um... OLIVIA: (to Rachel) I'm sorry. (answers her cell phone) Hello. CHARLIE: (from the crime scene) We found our second victim. It's Kate Harper. OLIVIA: Where? CHARLIE: (walking outside of the church) She's right outside St. Catherine's. Surrounded by candles. Good news is we might have finally caught a break. E.R.T. said they found some blood underneath her nails. So they're running it. OLIVIA: Okay. I'll be right in. CHARLIE: Just one more thing, Liv. The address the boy gave us. A little while after we left, a neighbor found a dog tied to a fence. It was whimpering. It was the victim's dog. OLIVIA: We were there. CHARLIE: There's no way we could've known, Liv. OLIVIA: But he was trying to tell us, and he was right, and we were there? ACT IV Walter's Hotel Room PETER: (knocking on the bathroom door) Walter. Olivia's here. She needs to talk to ya. Walter. WALTER: Could she come back later? I'm about to step in the bath. PETER: No, she can't come back later. It's the middle of the night. She needs to talk to you right now. WALTER: (opens the door and exits) Honestly, Peter, can't a man get a... Agent Dunham. Peter, why didn't you tell me Agent Dunham was here? PETER: I'm pretty sure I did. WALTER: Well, what can I do for you? OLIVIA: Walter, it turns out the boy was right. He gave me a clue, but I didn't know what I was looking for. So do you have any thoughts at all? Any idea how I can reach him or how he's doing any of this? WALTER: I... I believe I know how he's doing it. Since he's been living underground for so long, His hypersensitivity to light and sound... it's just possible he may also be sensitive to people's emotions. A raw nerve. Able to intuit the feelings and intentions of others. Your killer, for one. OLIVIA: So are you saying that he's psychic? WALTER: No, no. More a shark. PETER: A shark? WALTER: Specifically, their electromagnetic field, which allows them to detect their prey's bioelectric field from a distance of many miles. We humans have it too, of course. Pheromones. Undetectable chemicals that nonetheless affect our behavior, our sex drive... PETER: Hey, speaking of sex drive (chiding his father for his loose robe). WALTER: Oh, Peter, don't be such a prude. I'm sure Agent Dunham knows what a penis looks like. Don't you, Agent Dunham? PETER: My father, ladies and gentlemen. OLIVIA: (continues unphased) But how would he know things that I don't? Know about the killer or victims that he's never even met? WALTER: My dear, there is much that is unexplained. Until it is. PETER: In short, he has no idea. OLIVIA: Even if you're right, and he can sense the killer, he can't tell me that. Not in a way that I could do anything about it. WALTER: Well, if that's the problem, then there's no problem. PETER: What does that mean? WALTER: Well, the boy is obviously thinking, yes? Having thoughts. We just haven't been able to hear them. PETER: And I'm sure you can do that, can't you? Hear his thoughts? WALTER: Perhaps I can. Children's Hospital - Field Trip OLIVIA: (walks in to visit the Child and notices the yellow candy arranged in the shape of an arrow or pine tree) Wow. Did you make this? Hey. Listen, I wanna take you away from here for a while. Is that okay? Walter's Lab - Preparing to Experiment ASTRID: (showing the Child some on-line cartoons) Vintage bugs bunny. Didn't get any better than this, right? WALTER: (finds a suitcase in the backroom) Aha! I found it! Neural stimulator... is there anything it can't do? OLIVIA: Walter, is that what you're gonna use to read the boy's thoughts? WALTER: Not to read them, my dear. To listen to them. PETER: I wish you would have told us that that's what you were gonna use. WALTER: Why? PETER: 'Cause you coulda saved us the hassle you're not putting that medieval torture device on that poor kid. OLIVIA: Walter, the last time you used that thing, you drilled it into the guy's head. WALTER: If you think he'll find it disagreeable... I suppose it could be modified. PETER: Really? You didn't think to mention that to the last guy? WALTER: It shouldn't be too much trouble. We merely need to intercept the neural responses from the speech centers of he boy's brain, which can be achieved by placing electrodes in the halo ring. After that, it's simply a matter of synthesizing the impulses. Think of it as creating artificial vocal cords. PETER: Simple. Like makin' an omelet. WALTER: Actually, son, a good omelet is far more complex. Eh? We'll have him talking in no time. Children's Hospital - Patient Missing ELIOT MICHAELS: (walking into the room) Where's the child that was in this room? NURSE: (changing bed sheets) He was discharged. ELIOT MICHAELS: By whom? Walter's Lab - Patient Found OLIVIA: (assuring the child) Just remember that you don't have to do anything that you don't wanna do. If for a second you're scared, or you don't like what's happening, You just squeeze my hand like that. Okay? WALTER: Is he ready? OLIVIA: As ready as he'll ever be. I guess. PETER: I've seen that look before. Usually right before somebody throws up. WALTER: Agent Farnsworth, ready? PETER: Walter, what're you doing? WALTER: Watch and learn, son. (starts dancing to the music holding the neural halo) MUSIC: # Love and happiness # Wait a minute # Something's going wrong # Someone's on the phone # three o'clock in the morning # Yeah # Talkin' 'bout # WALTER: Ooh (the Child smiles as Walter dons the halo) MUSIC: # She can make it right # Well # Happiness is when # You really feel good about somebody # There's nothing wrong # being in love with someone # Yeah # Yeah, oh, baby # OLIVIA: Nicely done, Walter. (as he places the halo on the Childs head) MUSIC: # Love and happiness # Love and happiness # Love and happiness # WALTER: You can turn the music off now, Agent Farworth. (the Child grips Olivia's hand and appears wary) What's wrong? ELIOT MICHAELS: (barging into the lab with Broyles in-tow)) What's going on in here? (in an inner office) ELIOT MICHAELS: Did you really think you could just steal a child out of protective custody and that somehow no one would notice? OLIVIA: Look, first of all, I didn't steal him. The child's assisting us in an active criminal investigation. ELIOT MICHAELS: Assisting you how? OLIVIA: No offense, Mr. Michaels, but that's classified information. The Department of Social Services doesn't have clearance to know that... (Michaels raises his eyebrows) What? BROYLES: (stares at Michaels and turns to Olivia) Mr. Michaels isn't Social Services. He's with the C.I.A.'s Directorate of Science and Technology. ELIOT MICHAELS: I'd have told you earlier myself, but you don't have clearance to know that. BROYLES: This morning we were informed the D.S.N.T. will be taking full custody of the child. OLIVIA: So they can what? Study him? (the Child studies the conversation from his bed in the lab) ELIOT MICHAELS: This child was apparently able to survive for years, underground, in an oxygen-deprived environment with no food or water. Surely you could see how someone who doesn't have his best interests at heart might want to exploit that. OLIVIA: Oh, so you wanna take him to protect him, is that it? Forgive me for sounding harsh, but I don't buy that for a second. BROYLES: Dunham. ELIOT MICHAELS: It's alright. To be honest, it really doesn't make any difference what you think. the boy's coming with me. BROYLES: I'm afraid this is above both of us. ASTRID: (walking into the office) Agent Francis just called. He said we got another invitation... from The Artist. BROYLES: Mr. Michaels, suppose you give us one day. ELIOT MICHAELS: A day? BROYLES: He could help us catch a murderer and save a life. The boy would be under my protection. I'll personally guarantee his safety. ELIOT MICHAELS: If I agree to this, then you'll turn the boy over to me without a fight? Do we have an agreement? BROYLES: We do. ACT V Walter's Lab - Testing The Child WALTER: (talking to himself) My Very Educated Mother Just Served Us Nine Pies. No. That's the planets of the solar system... or at least was. PETER: (distracting the Child) You wanna take a look at this? His name is Roadblock. He's not really one of your top-tier G.I. Joes, but it is the best we had. Huh. It's funny, I always remember the scar being on the other side. You want him? WALTER: Cannot Build Phallic Puzzles In The Lab. PETER: What is he doing? ASTRID: Mnemonics. You know, like a rhyme or phrase to help memory. Like, uh, "H-O-M-E-S" stands for the Great Lakes. That's Huron... PETER: I'm familiar with it. Why is he doing it? ASTRID: Well, he is trying to remember which wires go into which connections on the machine. OLIVIA: (on phone) Yeah, thanks, Charlie. I will. Keep me posted. PETER: (walks over to Olivia) More bad news? OLIVIA: We got the forensics report. We were hoping that the blood we found under the second victim's fingernails was a match for the killer. PETER: But no? OLIVIA: Not unless Gene is the killer. It wasn't human, it was bovine. GENE: moo... ASTRID: You said cow blood? OLIVIA: Yeah, and some plastic polymers. ASTRID: How would someone get cow's blood on their fingers in Boston? OLIVIA: Astrid, could you contact the Bureau of Animal Health? We should start pulling livestock licenses around Boston. Petting farms, research facilities, anything. ASTRID: Yeah. Gotcha. (walks away to start researching) WALTER: (to himself loudly) She's a bad mamma jamma! Ha! Alpha, beta, beta and gamma... She's - A - Bad - Mamma - Jamma. Signal - Amplification - Bifurcation - Modulation - Juxtaposition. (fades - ... "vocal - linguistic - impulses") OLIVIA: (to the Child) You hanging in there, kiddo? Yeah, me too. WALTER: Peter, get me the red wires. Peter. PETER: Here's a thought. A couple years ago, I was working down in Tennessee as a floor sweeper at a meat- packing plant. ASTRID: Sounds awesome. PETER: You have no idea. My point is we had these big rolls of industrial-grade plastic that we used to wrap their cuts of meat in before we would send them to the grocery stores. OLIVIA: Cow's blood in plastic. PETER: Yeah. (Olivia treks off to a series of local meat-packing plants) WALTER: (finishes preparing the Child with the neural halo) Okay. I believe we're ready. Peter. PETER: Yeah. (adjusts switch and dials) WALTER: Ah. Yes. Listen to that. PETER: Listen to what, Walter? That's just random noise. WALTER: No, that's just the computer calibrating the signal to noise ratio. Adjust the attenuation setting to seventy decibels. ASTRID: (audio is slightly clearer) Okay, that sounds a little more like a voice. WALTER: Yes, now, the sound pressure level. Eh, dial the audio meter to fifteen hundred hertz. Slower, damn it, go slower. PETER: Okay, if you wanna do this yourself, feel free. WALTER: (to Peter) No, there. (urgently to Astrid) Astro, quickly, get me a tape recorder. PETER: (the Child starts to shiver uncontrollably) Walter, turn the machine off right now. Turn it off now. He's freezing. Help me get this off of him. Hey, Astrid, can you grab us a blanket? WALTER: All right, free in the front. ASTRID: Here. PETER: Alright, we're gonna get you warmed up. WALTER: Doesn't make any sense. If anything, brain activity should generate heat. Interview At Beacon Hill Meats OLIVIA: (shivering in a meat locker as she interviews a supervisor) We're trying to track down a suspect in a murder investigation. ARCHIE WU: What, you mean the guy on the news... who killed those girls? OLIVIA: We're not sure. Maybe. But any past or present employees that stick out to you? Like antisocial behavior or a history of violent incidences here at work? ARCHIE WU: No. They're good men. Hard workers. OLIVIA: I'm gonna need a copy of your employee records, regardless. ARCHIE WU: Okay. OLIVIA: And also a sample of your shipping plastic. ARCHIE WU: Plastic? Why? OLIVIA: It could be an element in our investigation. Will that be a problem? ARCHIE WU: No, but... OLIVIA: Mr. Wu? ARCHIE WU: A man came in here yesterday, and I... I sold him some plastic. Not So Good Samaritan (a grade school is letting out and the bus is filling with students a female teacher with an arm load of school work heads to her vehicle when a gentlemen offers to help) THE ARTIST: (politely) Allow me. TEACHER: Oh, thank you. (opens the trunk to her car) Your mother raised you well. Returning To The Child - The Third Lead OLIVIA: (on the phone leaving the neat-packing plant) Hey, Peter, it's me. I'm just leaving. So, how's the boy? Has Walter made any progress? PETER: (on the phone from the lab) Hard to say - we heard something, but I don't know if it was the kid trying to talk. Look, I don't want you to get upset about this because he is fine, but something kinda weird did happen. OLIVIA: Weird how? PETER: Well, he started shivering all of the sudden. Like, the temperature dropped thirty degrees, except it didn't. OLIVIA: Is he sick? PETER: No, he seems fine. We got him wrapped up in a blanket. He's doing okay. How 'bout you? You find anything? OLIVIA: Yeah, looks like the artist bought some plastic from a slaughterhouse in Roxbury. I got his sketch, all thanks to you. PETER: (walks into the main lab area) Hey, guys. We got good news. ASTRID: What's that? PETER: Turns out the plastic did come from a meat packing plant. Olivia got a sketch of the guy. (to Olivia) What about you? You gonna go back to the FBI, or you coming here? WALTER: Ask her if it was refrigerated. PETER: Hold on a second. WALTER: Peter! Ask her if the plant was refrigerated. PETER: It's a meat packing plant full of raw meat. So yeah, let's go out on a limb here and say that it's probably refrigerated. What does that even matter? WALTER: Because that explains everything. ASTRID: Walter, slow down. You're not making any sense. WALTER: Of course I am. The boy... our strange, little friend... is an empath. PETER: Yes. He senses other people's emotions. You already said that, Walter. (Olivia returns to the lab, the Child pets Gene as the science team talks at the opposite end of the hallway) OLIVIA: Go on, Walter, what are you saying? WALTER: That he's capable of making connections... emotional connections. Uh, to a construction worker who found him, the killer, but most importantly, he is emotionally bonded to you, Agent Dunham. That's why he's telling you about the crimes. Because he knows that the information is important to you. He's trying to help you. OLIVIA: (studies the Child, walks toward him and sits nearby) Are you trying to help me? That man who's been hurting people is going to hurt someone else unless I stop him. Do you know who he is? Can you tell me anything about him? PETER: Maybe he doesn't know. ASTRID: Or he can't control the Ability all the time. WALTER: Perhaps a small electric shock to kick-start things. OLIVIA: No. It's something different. It's like he's mad at me. ASTRID: Because he doesn't wanna leave. OLIVIA: What? ASTRID: Well, you told Michaels that once the boy helped you stop the Artist, you'd turn him over to him. WALTER: He heard you. Or, more accurately, felt you. OLIVIA: I'm sorry. I've been so caught up in what I needed that I forgot how strange this must seem to you. And I know how scared you must be, but I need your help again. I can't even stop them from taking you. Even though I wish I could. And if you really can feel what I'm thinking... you know how much I mean that. (the Child writes out another lead for Olivia - 'York/Glenway') OLIVIA: Thank you. ACT VI Police Roadblock OLIVIA: (approaches driver seated in stopped vehicle) Nice car, sir. Where ya headed? DRIVER: Uh, home. I was out to dinner. CHARLIE: (from behind the vehicle) Open the trunk, please. (inspects trunk of sedan) It's clear. OLIVIA: Okay. Thank you. Sorry for the inconvenience. (waves the vehicle through as a van pulls to a stop for inspection) THE ARTIST: What's going on, officer? OLIVIA: What are you doing in the neighborhood, sir? THE ARTIST: I... just, uh, coming home from work. Haven't had anything to drink. Would you mind if I ask what you... what you're looking for? OLIVIA: (after reviewing her sketch of the suspect) Uh, I'm sorry. We're not allowed to say. (Olivia notices a yellow tree-shaped air freshener hanging from the rear view mirror, and suddenly has memory flashes of the yellow candy as The Child arranged it... in the shape of a tree.) (then, more suspiciously) Sir, we need to check the back of your vehicle. (the Artist speeds away and Olivia fires her pistol repeatedly at the vehicle. she runs after it. after the van nearly collides with another vehicle and stops in the bushes, the Artist runs away. Olivia pursues.) OLIVIA: Charlie! Check the back of the van! (the chase continues through the dark alleys and over a fence) CHARLIE: (on his radio at the back door to the van) Liv, it's him. We found the victim. She's alive. (the chase continues into a cemetery along a row of crypts. pistol drawn, Olivia stalks the hiding criminal. he jumps from the shadows and knocks the pistol from her hands. he attempts to stab her and during the fist fight, she turns his knife on him and stabs him. she retrieves her pistol as Charlie runs to her aid.) CHARLIE: You alright? OLIVIA: Yeah. (exasperated) Oh, god. CHARLIE: (checks the criminal for a pulse, then, into his radio) This is Francis. I need E.M.S. at the cemetery behind the 1600 block of York. Enroute to Children's Hospital BROYLES: (answers phone in his office) Broyles. OLIVIA: (driving her vehicle) It's Olivia. I need you to help me with something. Approaching Doctor Winick DOCTOR WINICK: (explaining to an assistant) Here. Here. And then we just do the blood work, okay? OLIVIA: Excuse me, Dr. Winick? DOCTOR WINICK: Yes. OLIVIA: I was wondering if I could talk to you for a moment. DOCTOR WINICK: Sure. Walter's Lab - Sanctuary For The Child OLIVIA: Hi. (entering with Winick) WALTER: Hi. WALTER: (Peter returns with the child) I think you'll find he's doing much better. OLIVIA: (to the child) Hi. (takes jacket from Peter) Oh, thank you. (to the child) You remember Dr. Winick. She's gonna take you now. But not to a facility. She's gonna take you to a home. With a very nice family that are gonna take care of you. And keep you safe. (they study one another) DOCTOR WINICK: We should go now. OLIVIA: (a kiss to the child's forehead) Bye. Broyles Office - The Cover-up ELIOT MICHAELS: (standing toe-to-toe) What do you mean he's gone? BROYLES: I'm sorry, Mr. Michaels. ELIOT MICHAELS: Gone where? BROYLES: Well, that's what we can't figure out. He disappeared from right under the noses of a protective detail. ELIOT MICHAELS: How is that possible? He's just a kid. BROYLES: Yes. A kid who, as you said yourself, lived his entire life underground, which still begs the question... how he got there in the first place? I'm beginning to suspect there's a lot about him we don't understand. And apparently we never will. ELIOT MICHAELS: (smiles. smirks. walks out of the office) Olivia Returns To Her Apartment RACHEL: (wrestling on the couch with her daughter) You said it! ELLA: No! I didn't! I didn't say it! RACHEL: Yes you did, you cheater! ELLA: Waah! RACHEL: Hi, Liv. ELLA: Mommy is so bad at "Simon Says" she won't even do what I say. RACHEL: Four years old and she's drunk with power. (play tickling) I have created a monster! ELLA: Do you wanna play with us? RACHEL: Oh, don't do that. Let Aunt Liv rest. OLIVIA: Sure. (sits down) ELLA: I'm Simon. OLIVIA: Okay. ELLA: "Simon Says" - put your hands in the air. OLIVIA: Okay. (both women raise their arms) ELLA: Touch your nose. (Olivia touches her nose) You lose. (everyone laughs) Again! Again! Driving To Sanctuary (as Doctor Winick drives, The Child sits in the back seat and marvels at the world as it passes by him. the marvel goes out of his face as they drive by The Observer, walking on a nearby snow-covered sidewalk. both empaths turn and stare at one another, continuing on their separate ways)

PROLOGUE Olivia's Home - Bedtime for Ella (curled-up under the covers with her niece, reading and getting ready for sleep) OLIVIA: ... and the Bear came across a Fox, and the Fox said... Bear, Bear, stop right there. There's a monster up ahead. RACHEL: (coming in from the adjacent room) Okay, bedtime. ELLA: No, no, this is the last book. RACHEL: Oh, I thought that the last book - was the last book. OLIVIA: We are almost done. RACHEL: You guys work well together, and I don't like it. OLIVIA: (answers ringing phone) Hello. PETER: (from the lab) Hey, it's Peter. OLIVIA: Hi. What's wrong? PETER: What's wrong? OLIVIA: Is there something wrong? PETER: No. Why, what's wrong with you? OLIVIA: Uh, nothing. I assumed there was an emergency. PETER: Nope. no emergency. OLIVIA: What's up? PETER: Nothing, I was actually calling for Rachel, is she there? OLIVIA: Yeah. PETER: Actually, it's kinda stupid. I can call back later if you guys are in the middle of something. OLIVIA: No, no, she's right here. Uh, Rach, it's for you. It's Peter. RACHEL: Oh. (takes phone) Hey. (listens) Yeah, did you remember it or not? (laughs) Are you serious? (walks to other room) What is it? ELLA: Aunt Liv, can we keep on going? RACHEL: (in background) ...no, never... OLIVIA: Yeah. RACHEL: (in background) All right, hold on. (loudly to Peter) Hold on a second. Hold on. OLIVIA: uh. But I don't see any monster, the Bear said. and he kept walking because he didn't believe there was a monster up ahead. ELLA: Aunt Liv? OLIVIA: Yeah? ELLA: Monsters aren't real, right? OLIVIA: No, Sweetheart. They're not. Swift Research - Anarchy Rules (the cages are rattling and the lab animals are upset when four young criminals break into the testing facility and begin to vandalize the property, destroy equipment, spray graffiti on the walls and release the caged animals) FEMALE CRIMINAL: The cameras are dark. MALE CRIMINAL: Let's go. We gotta move. JONATHAN SWIFT: I told you, relax. The alarm's disabled. MALE CRIMINAL: There might be a backup system. JONATHAN SWIFT: No, there isn't. I checked all the security. Why don't you finish up in here? I want to see what's behind this door. (breaks a lock an trips a silent alarm at a nearby private residence) (the geneticist responsible for much of the advanced research at the lab, Cameron Deglmann, is awoken by a noisy text message reporting the crime at Swift Research. he races there in a vehicle) FEMALE CRIMINAL: (eager to leave the crime scene) Come on, Jonathan. We've gotta get outta here. JONATHAN SWIFT: Hold on a second. (walks to a large metal door at the back of the area, opens it and hears a deep growl) CAMERON DEGLMANN: (after racing through the night, he pulls up in a vehicle. enters through the shipping doors in his pajamas and robe. with a flashlight and drawn pistol, he confronts the intruders) Stop right there! FEMALE CRIMINAL: You should be arrested for what you do. We let them all go. All of them. These animals deserve better. How would you like to be caged up and tortured? (the security responder sees that the once locked metal door is wide open and walks to it, concerned. he is followed with) Shame on you for what you do. These are living creatures and you murder them. You're a killer. CAMERON DEGLMANN: Tell me you didn't open that door in there. JONATHAN SWIFT: Yeah, you bet I did. CAMERON DEGLMANN: (completely panicky) Get out now! All of you! Get out! (walks into room) FEMALE CRIMINAL: You should be arrested. Experimenting on animals is a crime. CAMERON DEGLMANN: Somebody shut her up! (as he is grabbed violently from behind... returning for a second, vomiting blood) CHRIS HAWKINS: Let's go! let's go! (foursome runs from the lab) Let's go. come on! (Jonathan is grabbed from behind as they start to exit the facility. he is dragged back inside) FEMALE CRIMINAL: Jonathan! CHRIS HAWKINS: Let's go. come on, go! (the trio races away into the night in a vehicle) MALE CRIMINAL: What the hell was that? FEMALE CRIMINAL: That thing, that thing grabbed that guy. MALE CRIMINAL: I'm freaking out, man. What do we do? Do we call the police? FEMALE CRIMINAL: We can't leave Jonathan. We have to go back. CHRIS HAWKINS: No, no, no. FEMALE CRIMINAL: This is crazy. This is crazy. (screams as the car lurches) What is that? CHRIS HAWKINS: I don't know! I can't see anything! (the vehicle departs the road and rolls through the woods) FEMALE CRIMINAL: (to her silent cohort as he bleeds from the mouth) Chris? MALE CRIMINAL: What did that? (inverted and trapped in the backseat, she screams as she sees a beast charging at her from outside the car) ACT I Walter's Lab - Morning Coffee PETER (entering lab to Astrid): One cream, one sugar. ASTRID: Thank you, Peter. (Peter walks over to what appears to be an omelet lying on a plate and starts to cut a piece.) WALTER: Peter, no! PETER: Walter, we talked about sharing. WALTER: That's not to eat. you've ruined it. PETER: It's an omelet. WALTER: It's not an omelet! (lifts top of item to display an ear) PETER: Oh, my--ugh! Walter, why is there an ear in the omelet? WALTER: It was an experiment. It was a protein-rich incubator. It was growing. PETER: It was growing? That's perfect. WALTER: No, it's not perfect. You just ruined it. And you could have died, had you eaten it. ASTRID (answers ringing phone): Hello? (listens) Really? PETER: You know, maybe in the future you could do me a favor and just put a sign warning me not to confuse your toxic playthings with breakfast. WALTER: Maybe you should get your own breakfast and not poach mine. PETER: That is hardly the point. Remember yesterday when I nearly washed my face in a sink full of acid? Or three days ago you hooked Gene up to the solar panels and I nearly electrocuted myself. WALTER: This is a lab. You're the one who should be careful. I trust you look both ways when you cross the street. PETER: Yeah, but the difference being that if I don't, I'm the only one who gets flattened. You, Walter, you live in a society with other people. ASTRID: Hey. PETER: What?! ASTRID: That was Olivia. At an Overturned SUV in the Woods BROYLES: Local P.D. found the vehicle a couple hours ago. Three bodies inside two male,one female. OLIVIA: And the cause of death? BROYLES: They appear to have been attacked by an animal, but the coroner's never seen anything like it. Whatever did this doesn't appear to be indigenous to the area. CHARLIE: Well,wherever it is indigenous to, I don't wanna live there. WALTER: Oh, interesting. PETER: Some would say disgusting. WALTER: Whatever did this had enormous claws, like those of a bear or of one of the big cats. -- The spread of the digits, v-shaped. -- It's too wide for one of those creatures. -- Configuration closer to that of an eagle -- Of course much,much larger. PETER: Hey, we're looking for big bird. WALTER: Don't be ridiculous. Perhaps a pterodactyl... OLIVIA: Have evidence techs bag their I.D.s? CHARLIE: No, I don't think they were carrying any. OLIVIA: Maybe this is why. CHARLIE: That's a Brockhage lock pick gun, PETER: They work great. A little bulky for my taste,but-- CHARLIE: Looks like these kids were out for more than a joyride. WALTER: Mmm, this is quite delicious. PETER: Where did you get that? WALTER: In the car,uneaten. PETER: What is the matter with you? WALTER: Oh,forgive my son. He's been in a mood all day. PETER: I just figured "don't eat the evidence", went without saying. WALTER: I assure you it has no bearing on the case. OLIVIA (Peers into vehicle and sees drink cups): Four drinks. CHARLIE: Three bodies. OLIVIA: There were four people in this group. CHARLIE: We're missing a body. OLIVIA (To Broyles): Have we searched the woods? BROYLES: We had canine units canvass the area. We didn't turn up any other bodies. OLIVIA: Well, maybe one of them got away and survived. BROYLES: If they did, they could answer a lot of questions. CHARLIE: I'm gonna check local hospitals, see if the emergency room has anything that lines up with an animal attack. PETER: All this stuff is from Junkie Genie's. It's a fast food joint up by M.I.T. Food is crap. But it's cheap, and it's open late. So it's always filled with undergrads. BROYLES: I thought you falsified your degree from M.I.T. WALTER: Yeah, Peter, why commit to anything when you can just fake it? PETER: I spent some nights there. OLIVIA: Maybe we should go through the student database and see if we can I.D. any of the victims. Cambridge - Theta Alpha Zeta House OLIVIA: I understand Chris Hawkins lives here. (Displays credentials) Olivia Dunham, FBI. CARL BUSSLER: Yeah, um, Chris isn't here. OLIVIA: I know, but would you mind if I ask you a few questions? CARL BUSSLER: I'm Carl. And no, I would love it. Come on in. OLIVIA: Thank you. (Olivia enters the living room and sees a clear plastic pipe) CARL BUSSLER: Oh, yeah, that isn't mine. That was left here by a stranger. Can I get you something? Orange juice? candy? OLIVIA: How 'bout some pants? CARL BUSSLER: Yeah, I can do that. (Carl slips into a pair of trousers.) OLIVIA: So how well do you know Chris? CARL BUSSLER: Oh,you know,okay. Kinda, "Hey, how's it going?" "nice,whatever." "what's for dinner?" That kinda stuff. Why, is he in some kind of trouble? OLIVIA: I'm not at liberty to say. CARL BUSSLER: Oh, no, no, no. Just 'cause he doesn't seem like the type, you know,to get into FBI kinda trouble. OLIVIA: Why do you say that? CARL BUSSLER: He's always making fliers, going to rallies. You know, political. OLIVIA: So what kinda causes? CARL BUSSLER: It's really just the one. Uh, "Animals Forever," I think it's called. Or, no, no, no. "Animals First." OLIVIA: He was an animal rights activist? CARL BUSSLER: Yeah, definitely. He'd save anything with a beak or a claw. Walter's Lab - Autopsies ASTRID: Jeez. Whatever got to him had some pretty nasty claws. WALTER: Ooh, Ooh. And some very large fangs. PETER: What is that? WALTER: Punctures from the fangs of most likely some type of viper. ASTRID: So this thing had the claws of a lion and the fangs of a snake? WALTER: It reminds me of a woman I once knew in Cleveland. PETER: Walter, these punctures are over four inches apart. and that would make this snake eight-feet long. WALTER: Her name was Harriet something. OLIVIA: How is everything? PETER: Well, apparently you're looking for a lion-snake named Harriet. PETER: Did you find anything at M.I.T.? OLIVIA: Yeah,the victims were all animal rights activists, A group called "Animals First." PETER: So you think that they were breaking into labs that were doing animal testing? OLIVIA: And releasing the animals, which would explain the burglary tools and the lack of I.D. PETER: It would, but it wouldn't explain how whatever it is that these guys released was able to rip a door off their car and kill 'em all. OLIVIA: Walter, have you got any idea what kind of animal would be in a lab that could do this? WALTER: Well, judging by the wounds, I'd say two or three different ones actually. PETER: Right, a motley crew of lab animals got together and decided to exact their revenge on mankind. OLIVIA: Astrid, let's look up labs in the area that do research with animals and-- ASTRID: See if any of them reported break-ins? Yep, I'm on it. (Walter continues his examination of a corpse. He removes a spine from one of the wounds and examines it.) WALTER: Oh,no. Trouble at the Wooded Area (Animal control vehicle pulls off road.) ANIMAL CONTROL OFFICER 1: This is unit 81 responding to the...monster sighting on route 30. DISPATCHER (On Radio): Roger that,81. (Animal control officers exit their vehicle.) ANIMAL CONTROL OFFICER 1: It's always a monster. Monster must be housewife for raccoon. ANIMAL CONTROL OFFICER 2: You hear that? (Animal control officers move toward a growling sound.) Olivia and Peter Talk PETER: Any leads on the fourth victim? OLIVIA: No. PETER: What? OLIVIA: Nothing. You called Rachel last night - anything important? PETER: Hardly. You know that song "If you like pina coladas?" We were trying to remember the name. It turns out it's called "Escape." OLIVIA: So you two are friends now? PETER: Does that bother you? OLIVIA: (unconvincingly) No. (Peter grins as Olivia answers her ringing phone) Hey, Charlie, what's up? WALTER: (looking though some of his old files) Oh, good heavens. OLIVIA: Astrid, Charlie just called. Animal control got a call from a woman in Newton who claims that she nearly hit a monster on Route 30. So I'm gonna go meet him there. Will you call me if you find anything? ASTRID: Ah, sure thing. OLIVIA: Thanks. WALTER: Olivia, be careful. OLIVIA: (as she leaves) Thank you, Walter. PETER: What was that all about? WALTER: Nothing. Just want her to be safe. A Wooded Area (Charlie Francis approaches the animal control truck in his vehicle. He exits the vehicle.) CHARLIE: Hello? (Charlie approaches the truck and opens the driver side door. He sees the mauled body of one of the animal control officers and calls a number on phone.) CHARLIE: This is Francis. I need medevac teams and backup sent to my location. (Charlie draws his weapons and proceeds into the woods, where he finds the body of the second animal control officer. As Charlie looks around, the tail of the unknown beast descends from above him. The camera cuts to Olivia arriving at the scene. She hears shots being fired. She draws her weapons and runs toward the sound.) OLIVIA: Charlie? Charlie? (Olivia finds Charlie under a tree.) OLIVIA: Charlie. How bad is it? CHARLIE: I don't know. Uh, I'm all right. OLIVIA: What was it? CHARLIE: Big. ACT II Animal Control Van - Assisting Charlie OLIVIA: Uhh PETER: What the heck is that? (as the EMT pulls a quill from Charlie's chest) WALTER: (barking at the EMT) Put the stinger in here, please. Now, please, in here. Excellent. Thank you. Thank you very much. EMT: Agent. I'd like you to get that eyed down at the hospital. CHARLIE: No, thanks. It won't be necessary. WALTER: Agent Francis, I'm told you were attacked by the beast. What did it feel like? CHARLIE: It hurt. WALTER: No, I mean the animal's dermis. Was it rough like a rhinoceros? CHARLIE: I haven't felt any rhinos lately. But, uh, it was course like sandpaper. WALTER: And the metasoma, the tail, was it segmented like a scorpion? CHARLIE: I didn't get a good look at it. It kept on knocking me on my ass. WALTER: Perhaps you did,you just can't remember. Trauma can do that. I could hypnotize you -- OLIVIA: Walter, I think that that's enough for the moment. WALTER: But it would be very helpful to identify the traits. PETER: Are you okay? Did you take something? WALTER: Psychedelics? No, not since Thursday, no. OLIVIA: Walter, why don't you share what you're thinking? WALTER: I believe we may be dealing with a transgenic species. OLIVIA: Which is what? WALTER: It's an animal creation. Um, an organism made up of the genes of multiple species. The best of the best, as it were. OLIVIA: You're saying that you think the creature is man-made? WALTER: Accelerated Darwinism. OLIVIA: Is that even possible? WALTER: In theory, yes. Although one would have to solve many problems -- Incompatible species, Massive mutual rejection, similar to when a transplant recipient rejects a donor organ. PETER: And there's a reason for that. Mixing a bunch of species to create a franken-rhino Is unnatural And a really bad idea. OLIVIA: (answers ringing cell phone) Dunham. ASTRID: (from the lab) Hey, it's me. Is Charlie all right? OLIVIA: Yeah, he's okay. ASTRID: Thank god. Okay, um, you wanted me to look into any labs that might house animals near the first crime scene. OLIVIA: And? Swift Research - Olivia Interviews ROBERT SWIFT: How can I help you, Agent Dunham? OLIVIA: Doctor Swift? You could start by telling me what sort of work you do here at Swift Research. ROBERT SWIFT: Well, we're commissioned by pharmaceutal and cosmetic companies to test their products, to make sure they're safe before using them in human trials. OLIVIA: Oh, by uh, testing them on animals first? ROBERT SWIFT: Well, it's an unfortunate but necessary step. We feel it's better to have an animal experience an allergic reaction to a certain perfume... so that you don't have to. OLIVIA: Uh, Doctor Swift. Are you aware that a group of college students were attacked and killed near this facility last night? ROBERT SWIFT: Attacked? By whom? OLIVIA: That's what we're trying to determine. We believe these students may have been -- Are you okay? ROBERT SWIFT: Um, no, actually. We're three days behind on a deadline. You'll excuse me if I seem insensitive, but what does this have to do with me and this lab? OLIVIA: We believe they were animal rights activists. That they were killed after they broke in and released animals from a facility much like you have here. ROBERT SWIFT: So you're suggesting that a lab animal is responsible? OLIVIA: Well, maybe one that was genetically altered? Do you do any of that sort of work here? ROBERT SWIFT: No, Agent Dunham. I told you we only test products. And what's more, there was no break-in. OLIVIA: (sees a painter with a roller brush walk by) Doing some cleanup work? ROBERT SWIFT: Hundreds of animals in and out of here every week. As I'm sure you can probably imagine, the cleanup never ends. OLIVIA: Mind if I take a look? ROBERT SWIFT: Uh, not to be a rude host, but you actually do need a warrant. Understand that we deal with billion-dollar trade secrets, and I am obligated to respect my clients' confidentiality. Walter's Lab - Strange Dialogue (Astrid does busy work around the lab as Walter seems to be having a private conversation, with himself) WALTER: No, hmm? --- How would we accomplish that? --- Wait, damn it! --- How can I concentrate with you running around? ASTRID: Walter, are you talking to me? WALTER: No, just thinking out loud. OLIVIA: (return to the lab) Hey. Walter. Walter, I need you to tell me what exactly you would need to create a genetic hybrid, like specific items, so that I can see if Robert Swift bought any of it. WALTER: I would need some sodium bicarbonate. And a house in the country, a place to be alone with my thoughts. Some Mahler for the late nights. And time. A lot of time. PETER: I know, it's like he's on another planet. You've seen him. he's been like that all day. OLIVIA: But can you focus him? PETER: Focusing walter is even at the best of times just a matter of degrees. (hesitates) Okay, fine. OLIVIA: Thank you. PETER: (pursues him across the lab) Hey, Walter, I need you to step back to the planet Earth for a second and focus on something that isn't about you. WALTER: Peter... I'm afraid this is about me, about my work. I found this book among my old files. PETER: What is this, Walter? (opens to see sketches of hybrid animals) Olivia, take a look at this. Is this the creature? WALTER: No. WALTER: But I fear it's quite similar. PETER: Where did you get this? WALTER: I tried to make it 20 years ago. OLIVIA: Are you saying you created this? WALTER: Not this one specifically. My experiments were a failure. PETER: (angry) You knew. you knew all along. You knew that this was connected to your work, and you knew you had information that could help us, but you kept it to yourself. WALTER: My creatures didn't survive. Someone else must have finished my work. OLIVIA: Who, Walter? who could have done this? Twenty years ago, who were you working with? WALTER: Kelvin Genetics. We were doing classified work for the U. S. Army. OLIVIA: I Need a name, Walter. ASTRID: ...uh, guys. OLIVIA: Do you remember anybody specific? WALTER: No ASTRID: Guys. This body is moving. PETER: What? WALTER: He's still alive. Quick, unzip it. They may be suffocating. PETER: ugh! Maggots! WALTER: No, not maggots. Larvae from the creature. OLIVIA: You mean that these are baby monsters? WALTER: Yes. We must collect them. Peter, a petri dish. (the thorax of the corpse breaks open and hundreds of maggots spill out) WALTER: Make it a bucket. ASTRID: I'm gonna be sick. WALTER: Two buckets. OLIVIA: Walter, how is this even possible? WALTER: The stinger. It must carry the eggs. It transfers them to a suitable incubator. ASTRID: What,you mean it plants the eggs when it stings you? WALTER: Yeah. it's fascinating. OLIVIA: Oh, god. Charlie. Charlie’s House – Tough Day Over (a newscaster reports on the TV in the bedroom) REPORTER: ...so far there have been three reported sightings in the Greater Boston Area -- Two in Medford and one in Arlington. Authorities advise if you see it or any other wild animal, (a familiar bald character crosses the camerashot) do not try to confront it yourself... SONIA FRANCIS: Do you hear this? There's some kind of mountain lion on the loose. CHARLIE: Mountain lion? SONIA FRANCIS: Yeah, in Boston. Where does a mountain lion come from in Boston. CHARLIE: Maybe it escaped from the zoo. SONIA FRANCIS: Well, I doubt that, otherwise they would just say so. (crawls in bed) REPORTER: ...local authorities advise that if you do spot the mountain lion that you should not try to approach it... CHARLIE: Well, baby, that's why you married me. SONIA FRANCIS: Why? CHARLIE: 'cause I can protect you from all the scary things that are out there. SONIA FRANCIS: And, uh, who's gonna protect you? CHARLIE: (crawls in bed) I told you, it's just a scrape. Bad guy, broken bottle. SONIA FRANCIS: Ohh. CHARLIE: Nothing I haven't handled before a dozen times. SONIA FRANCIS: Who's that? CHARLIE: (answers the ringing doorbell) Liv. OLIVIA: Charlie, hey. CHARLIE: What's up? OLIVIA: ...uh. CHARLIE: You okay? OLIVIA: Yeah, Charlie, um -- but you may not be. ACT III Walter's Lab - Helping Charlie (a squeeze bottle full of gel is unceremoniously dumped on Charlie's abdomen) WALTER: ... electro-conductive gel for the ultrasound. CHARLIE: Enough with the suspense. What is it exactly that we're looking for? WALTER: I believe that the stinger we found in you implanted the creature's embryos. I think this is why the creature didn't eat you. I think you may be carrying its offspring. CHARLIE: You trying to tell me that I'm pregnant? OLIVIA: We're hoping not. CHARLIE: (as Walter studies the monitor) So? WALTER: (to Astrid) Ten times magnification. (sees the parasitic larvae clearly active) huh. CHARLIE: Is that it-- WALTER: I'm afraid so. (dryly) One small piece of good fortune is the creature doesn't mate in the traditional way. PETER: (perturbed) Thanks for that, Walter. That's great bedside manner. OLIVIA: So what do we do now? WALTER: I don't know. I can't simply remove them. They've already spread throughout his system. PETER: Just give me a second Astrid. (walks after his father) Walter. Walter, calm down. CHARLIE: (privately) Liv, uh, the other victim. How were these things actually born? OLIVIA: It doesn't matter because, um, it's not gonna go that far. PETER: Walter, there's gotta be something that you can do, alright? Hey, look at me. You can't check out right now. We cannot let this man die. WALTER: Don't you think I know that, Peter? I'm thinking damn it. (observes the wiggling maggots in a jar) Agent Farnsworth, draw 25 milliliters of blood... Peter, get some Trichlorimide. PETER: What are you gonna do? WALTER: Poison them. ASTRID: (minutes later, preparing to inject a syringe in Charlies abdomen) This is gonna pinch just a little bit. CHARLIE: ohhh... (as the needle enters his side) WALTER: Careful Peter, it's highly toxic. (as he handles the poison) CHARLIE: (quietly to Olivia) If this doesn't work, how much time do I have? OLIVIA: The last victim, we figured twenty-four hours after he was... CHARLIE: ...knocked up? OLIVIA: Yeah. CHARLIE: So I have about sixteen hours. Local Playground - Danger Lurks PLAYGROUND PATRON: (mom arrives with her young son, Tuck, for some exercise and fun on a cold dreary day) Slow down, honey. Careful. Okay, get your toy out. (her cell phone rings, she answers as the boy continues on his mission) Hello? Hey, Catherine. (the boy dashes to the equipment and starts to play) Whoa, whoa, slow down, honey. Be careful. Hey, yeah, sorry. Oh, the house? (the boy plays alone, in apparent safety, as mom is distracted with the call) Yeah, we saw it yesterday... (a low growl comes from beneath the crawl way as a rattling tail disappears to the interior) Federal Building - Kelvin Connection BROYLES: I've made a few calls for you, and this is what I was able to get the Army to declassify on Kelvin Genetics. (hands her a dossier file with images of four men and one woman. Brian Lehrman of Naperville, IL is the cover page) Five lab assistants worked there with Doctor Bishop and William Bell. All of them now in the private sector... none working in biogenetics, as far as I can tell. OLIVIA: And Robert Swift? BROYLES: No connection. OLIVIA: I've been through the missing persons records a dozen times. There's nothing from any of the local hospitals either. BROYLES: You're still thinking there was a fourth activist. OLIVIA: And if they're out there and impregnated, then who knows how many more of these things we're looking at. BROYLES: Though presumably we'd have heard something by now. (begins to walk) Any more sightings? OLIVIA: Not any within the last ten hours. BROYLES: Maybe it's gone. Maybe it went into the river or died from lack of proper food. FBI AGENT: (from her desk) Agent Dunham. Peter Bishop's on line six. OLIVIA: Oh (picks-up the line) Hey. PETER: (from the lab) Bad news. The poison killed the larvae, but it also poisoned Charlie's blood. OLIVIA: Have you spoken to Charlie? PETER: Yeah, he's putting on a brave face, but he's not doing well. His blood pressure's down. His kidneys are failing. OLIVIA: I don't understand. PETER: Walter thinks the larvae act like a parasite, they feeding on their host for nutrients. They're killing him so that they can gestate. WALTER: (from across the lab) Tell her Peter... about the blood? OLIVIA: (overhearing) What blood? PETER: Walter has a theory. He thinks he knows a way to trigger the larvae into self-destructing. OLIVIA: How do we do that? PETER: Well, we'd have to transfuse Charlie with the creature's blood, mix the mother's blood in with his own. That way, maybe the larvae will think he is one of their own and stop feeding and die of starvation. (pauses) Which sounds crazy - I know, but he seem to think that it'll work. OLIVIA: Okay. Then that's what we'll do. Bye. (hangs-up) BROYLES: (having heard only half the conversation) What? OLIVIA: We need to find the creature. Local Playground - Danger Stalks PLAYGROUND PATRON: (on cell phone to Catherine) It's got three bedrooms, so... if we want to have another baby we'll be fine. Oh, and, uh, the best part about it is it's got this amazing yard. It's even got a tree house for Tuck. (suddenly concerned for her son's safety, she dismisses her caller and approaches the play equipment) Uh, Catherine, let me call you back. Tuck! (as he enters a crawl tube) Tuck, come out of there. (she grabs him and extracts him) Tuck! (as the beast lingers in the back of the dark space) Walter's Lab - Game Planning OLIVIA: (overlooking a map) Medford, Waltham, Newton, and an unconfirmed report of a giant snake out of Watertown. PETER: What are you thinking? OLIVIA: That it doesn't make sense. I mean, something this big, why aren't there more sightings? WALTER: (bedside) This is just a mild sedative. It might make you feel more relaxed. CHARLIE: Thanks. WALTER: You're welcome. I'm sorry this has happened to you. CHARLIE: It's not your fault. WALTER: They didn't tell you. CHARLIE: Tell me what? WALTER: The creature, where it came from. OLIVIA: (announcing to the lab) Astrid, I need a schematic of the sewers, Section E-3 and F-5. WALTER: You've had a thought? OLIVIA: Yeah, I think it's traveling underground. ASTRID: (minutes later) Here you go. OLIVIA: Thank you. Look at that. All the sightings are near major storm drains. PETER: And each one of them large enough to accommodate the creature. WALTER: That make sense. If it's part tiger, then it would prefer dark. And a python would seek out water. PETER: So it's probably only surfacing to eat or ...to mate. (studies his silent father) What? WALTER: If it's traveling in the sewer, then we have nothing. It could be anywhere. OLIVIA: Walter, it's okay. We're making progress. WALTER: No, it's not okay. You tell Agent Francis it's okay. (leaves office despondent) PETER: I'll go talk to him. (suddenly moaning and groaning loudly - Charlie's pain just climbed to a new level) PETER: (to Charlie) Hang on, hang on - - - (to Astrid and Olivia) Hold him down, hold him down. OLIVIA: Charlie?! PETER: Lift his shirt. (she does and the parasitic larvae are visibly active just below his skin) They're getting bigger. ACT IV Walter's Lab - Another Lead OLIVIA: (walking around talking into cell phone) When? (listens) Did you get any witness statements? (listens) Okay, well, can you send me them as soon as you get them? (listens) Thank you. PETER: Another sighting? OLIVIA: Yeah, this time in a public park off Hawthorne, which is nowhere near any of the other places. (looks at map of sewage lines) PETER: So there's no predictable pattern. OLIVIA: No, this thing could show up anytime, anywhere, and we'll have no idea. (answer ringing cell phone) Hello. CARL BUSSLER: Agent Dunham. Hey, this is Carl Bussler from M.I.T. (walks through his residence) OLIVIA: What can I do for you, Carl? CARL BUSSLER: Uh, you said to call if anything came up, and I think maybe something might have. OLIVIA: What is it? CARL BUSSLER: Uh, this kid Jonathan hasn't been in class for the last few days. And I don't know if he was friends with Chris or whatever, but he was into all that animal rights stuff too. Anyway, no one's seen him. OLIVIA: Okay, I'll look into it. What's his last name? CARL BUSSLER: Uh, Swift. Jonathan Swift. Swift Research - Confessions RECEPTION: Miss! (to Olivia as she marches to a back office) You can't go back there! ROBERT SWIFT: (casually) Agent Dunham. OLIVIA: You lied to me. ROBERT SWIFT: I did? OLIVIA: You obstructed the course of a Federal investigation into the deaths of five people. ROBERT SWIFT: (to two researchers) Will you excuse us for a minute? OLIVIA: Doctor Swift, you failed to tell me that your son Jonathan was at M.I.T. ROBERT SWIFT: I'm not sure how that's relevant. OLIVIA: Three of his classmates were torn limb from limb the other night, and he hasn't been seen since. I would say that that would be very relevant. ROBERT SWIFT: I don't know how that happened, but my son was not involved. OLIVIA: When was the last time you spoke to Jonathan? ROBERT SWIFT: A few days. He's very busy at school. OLIVIA: Yes, I know. Politically active. Animals First. He wasn't too fond of the work you did here, was he? ROBERT SWIFT: I really can't say. Is this going somewhere, Agent Dunham? OLIVIA: Yes, a motive. I believe that he found out about your studies, that your lab was testing on animals, and he and his friends broke in here two nights ago. But what he didn't know was that you do more than just test on animals - you create them, dangerous genetic hybrids. ROBERT SWIFT: We're done here. (starts to walk off) Any further questions, you're gonna have to go through my attorney. OLIVIA: (pursues him) Doctor Swift, this thing has already killed five people and infected one of our agents. As we speak, his offspring is growing inside of him, killing him. Do you really want his death on your conscience. Now your son is out there, maybe injured, maybe infected, and I can help. But you need to help me too. ROBERT SWIFT: (distraught) It didn't kill five people. OLIVIA: Excuse me? ROBERT SWIFT: It was seven. - - - - ASTRID: (answer lab phone) Hello. OLIVIA: Hey, Swift broke. He admitted that the hybrid came from his laboratory. Apparently he was collaborating with a geneticist called Cameron Deglmann. ASTRID: Oh. Well, where is this guy? OLIVIA: Uh, dead. He was at the lab along with Swift's son when the students released the creature. ASTRID: So what is the link to Kelvin Genetics? OLIVIA: Well, that's the interesting part. You got a pen. Walter's Lab - Creature Traits ASTRID: Good news. That was Olivia. Swift confessed. Apparently this monster has nothing to do with your work, Walter. PETER: What? ASTRID: Swift was working with a geneticist. For years he was pursuing this work, a Cameron Deglmann. WALTER: Deglmann, of course. PETER: Whoa, whoa, who's Deglmann? WALTER: A pioneer in hybridization. Quite brilliant. In fact it was his work that inspired my research in the first place. PETER: And it never even crossed your mind that he might be involved? WALTER: He had a very forgettable face. ASTRID: And in the more good news column, Olivia was able to get the combination of animals that went into the hybrid. WALTER: Oh, oh, go on. ASTRID: Uh, Heloderma Suspectum. WALTER: Yes, a venomous lizard native to North America. Also called the Gila Monster. ASTRID: Megarhyssa Macrurus. WALTER: Parasitic Wasp. Interesting. ASTRID: Desmodus Rotundus and -- WALTER: Wait, did you say Desmodus Rotundus? ASTRID: Yeah. Why, what is that? PETER: It's a type of bat. WALTER: Of course. Why didn't I think of it before?... PETER: ...their immune system... WALTER: ...makes it a perfect candidate for genetic hybridization. ASTRID: I'm lost. PETER: Bats have an immune system that's unique in the animal kingdom. They can carry on hundreds of different diseases without ever being affected. WALTER: That's same system makes it possible for the creature to mature without rejecting its various parts. The bat was the missing ingredient that allowed the creature to survive. ASTRID: So now that you know what it is, can you help Charlie? WALTER: No. We'll still need a specimen of the creature's blood. ASTRID: Okay. Okay, well, we know what it's made of. We know that it moves through the sewer. So can't we, I don't know, Like, bait it or something? PETER: Just so I'm clear, are you actually suggesting that we go down into the sewers and wait for this thing to eat us? ASTRID: Oh, no. WALTER: Yes! Yes. PETER: Oh, no. No? WALTER: It's not interested in food. ASTRID: No. WALTER: But we do have something that it is interested in. - - - - WALTER: (briefs the science team) Bats are a highly maternal species. They are quite protective of their young. OLIVIA: Walter, are you saying that we can lure this thing by dangling those larvae in front of it? WALTER: Yes. but no. PETER: Oh, great, this again. WALTER: It won't be necessary to be in front of it. Bats are capable of seeking out their offspring from miles away. We've already determined that it's traveling through the sewer systems - so we just need to lure it from a central location. PETER: Wonderful, so we're gonna antagonize this thing into chasing us and then what, Walter? WALTER: Well, now that I have a better idea of its biological makeup, I think I can kill it, Assuming that you can provide us with 50-caliber incendiary rounds, Agent Dunham. OLIVIA: Well, that's not exactly F.B.I. standard-issue, Walter. Are you sure about this? WALTER: If my theory is correct and the bat traits are dominant in the creature, then yes, I believe we can successfully lure it. Whether we can survive the encounter is the more intriguing question. - - - - PETER: (looks over weapons) Okay, we missing anything? WALTER: Could you carry these, son? (hands him a tray of wiggling larvae) PETER: Sure thing. WALTER: Be careful. You must be very gentle with them. PETER: Right,'cause we wouldn't want to hurt the monster babies. (slams tray down) OLIVIA: (checks in with Charlie before leaving) You need anything? CHARLIE: (tucked under a blanket, ailing) A shot of J.D. and a chaser of beer would be nice. (thinks) You know, hunting this thing in the sewers... It's not a good idea, Liv. OLIVIA: You got a better idea? CHARLIE: Yeah. Don't get hurt for me. OLIVIA: Well, that's not really very fair considering you would do the same thing for me. I'll be back soon... promise. (walks over to Astrid) You will call me if his condition changes. ASTRID: I will. OLIVIA: (to Peter) We ready? PETER: Ready as I'll ever be. Walter, let's go. WALTER: Be right there, son. (secretly pockets a bottle of poison) Heading Into The Sewers WALTER: (approaching a manhole cover on a busy sidewalk) Based on the schematics, this will make a fine infiltration point. PETER: (to a curious pedestrian) Nothing to see here, ma'am. (pulls lid off manhole) Just routine maintenance. - - - - PETER: (as Olivia finishes climbing down the ladder) Smells great down here. So what's next, Walter? WALTER: There's an intersection a hundred feet down here that will conduct the sound most effectively. (the trio walk on, searching with flashlights) - - - - WALTER: Nearly there. (enters a larger chamber with several smaller corridors that fan out) The larvae are creating a vibration, frequencies of sound detectable by bats and hopefully our guest of honor. (uncovers the tray of larvae) PETER: Well, now I know what it feels like to be live bait. OLIVIA: Hey, come on, let's get into position. Charlie's House - After Errands SONIA FRANCIS: (answers ringing phone after walking in with groceries) Hello. CHARLIE: You just get in? SONIA FRANCIS: Hi. I thought it might be you. I just got in from the market. I ran into Jody. (laughs) CHARLIE: What is it? SONIA FRANCIS: Oh, uh, she just told me a really funny joke. CHARLIE: Tell me. SONIA FRANCIS: ...so the patient goes to his doctor and he says, ‘Doctor, if I give up wine, women, and song, will I live longer?’ and the doctor says, ‘Well, no. But it'll feel longer.’ CHARLIE: (laughs, wheezes in discomfort) SONIA FRANCIS: You don't think that's funny. CHARLIE: I do. SONIA FRANCIS: No, you don't. Are you gonna be home for dinner? CHARLIE: I don't know. SONIA FRANCIS: Okay, alright. Well, I will see you when you get home. And I love you, babe, even more for laughing at that joke. CHARLIE: And I love you too. SONIA FRANCIS: Bye-bye. Sewer Lines - A Split In The Team WALTER: Frightening situation like this, two things occur to me. The first is a song. I used to sing to Rufus. PETER: (explains) Our dog. WALTER: When he was young, he used to have night terrors. (starts reciting an old song) Van Amburgh is the man, who goes to all the show, he steps into the lion's cage, and tells them he knows. He puts his head in the lion's mouth... PETER: (interrupts) ... hey Walter, think we can wait down here to be mauled in silence, please? WALTER: Of course. OLIVIA: (chimes in) So what was the second thing? WALTER: Hmm? OLIVIA: You said two things occur to you. WALTER: Oh, the second thing. I need to tinkle. Could either of you direct me to the facilities? PETER: The facilities? You're in the sewer, Walter. You're knee-deep in the facilities. WALTER: Quite right. Excuse me. (wanders away) PETER: (to Olivia) Don't say that I never take you anywhere. (Walter closes a metal screen door behind him and secures it) Hey, open this up right now. WALTER: I'm afraid I can't do that, Peter. No one else is going to get hurt. This thing is a mistake, and I'm going to correct it, alone. PETER: Walter! Hey! Walter... you open this gate right now! WALTER: You were right, Peter. I live in a society - and I need to clean up after myself. PETER: Walter, it's not your fault. You did not do this. WALTER: No, but I could have. I pursued the same science... OLIVIA: Walter, Walter, you're not prepared for this. That thing could tear you apart. WALTER: You're right. I had almost forgot. I've already considered that possibility. PETER: Walter, is that the Trichlorimide? (Walter swallows the poison) No, no, no! What are you doing? That's gonna kill you. (struggles to break through the gate) WALTER: (in distress) Should the creature consume me, it will only be poisoning itself. Afterwards, you remove its blood and save Agent Francis. PETER: Walter, listen to me, I don't want you to do this. Okay? Do you hear what I'm saying? I do not want you to do this. WALTER: Should I live, there's an antidote in the lab, which I should ingest within the hour. So time is of the essence. PETER: Walter. Walter, stop right there. Walter, come back here! (Walter turns and flees) Stop right now! Walter! ACT V Sewer Line - First Contact (making his way alone through the wet nastiness, discarded belongings and steaming pipes) WALTER: (singing soflty to himself) Van Amburgh is the man, who goes to all the shows, - - - who goes to all of the shows, he steps right into the lion's cage. PETER: (prying open the gate that Walter secured minutes before wandering away) Selfish son of a bitch. If he lives through this... I am gonna kill him myself. WALTER: (melodically) The hyena in the next cage, most terrible to relate, got awfully hungry the other night... and ate up his female mate. (tentatively) He's a most ferocious beast, don't go near him, little boys, for when he's mad, he swings his tail... and makes an awful noise. (the creature, hanging inverted, stares at Walter from just a few feet away, rattles its' tail and appears ready to attack) WALTER: Oh, dear god. PETER: (racing from around the corner with Olivia) Walter! Walter! (the creature snarls, drops to the ground, sweeps Walter to the ground, then turns and dashes toward the approaching duo) WALTER: Ohh! (shots ring, and the creature falls. Walter sighs... holding a smoking pistol) PETER: Are you okay? WALTER: Yes. Although when I mentioned that the poison would kill me within the hour, did either of you happen to notice the time? Walter's Lab - Brewing Antidote (the team works to prepare a remedy. Walter takes the antidote to the poison he ingested. Charlie receives an intravenous drip) CHARLIE: That's it then? WALTER: Now we wait. (to Astrid) Prepare Agent Francis for the ultrasound. OLIVIA: (studying Charlie as he reflects on the situation) What? CHARLIE: Sonia and I, we've been talking a lot lately about having a baby. ASTRID: (intercedes) Sorry, I gotta gel you up. WALTER: (to Peter) You were right. What you said before about the consequences, I don't think of them, never have. Don't know if I can. That's not who I am. PETER: I know. But you were brave today. WALTER: Yeah. Check in on Agent Francis. Let's look in on our little friends. (studying the ultrasound monitor) ASTRID: It didn't work. WALTER: Ever the pessimist. Look. OLIVIA: (as the activity on the monitor ceases) They're dying. CHARLIE: What happens now? WALTER: Now you crap 'em out. Charlie's House - After Dark SONIA FRANCIS: (half asleep in bed) Hey, you're home. CHARLIE: (sits on edge of bed) I didn't mean to wake you. SONIA FRANCIS: (after a kiss and a snuggle) You feel good. CHARLIE: So do you. (nodding-off) SONIA FRANCIS: um-huh Olivia's Apartment - Late Return (Olivia opens the door to find Rachel and Ella curled-up together, sleeping. in her room she tucks in for the night and turns off her light. with the wind howling and the days events behind her... she decides to sleep with the light on)

PROLOGUE Grand Central Station - Nighttime (Risa Pears, pushes her 18-month old daughter, Lucy, home from the circus late in the evening in a stroller, through a fairly empty Grand Central Station. Three floating circus balloons -- red, yellow and blue -- are attached to the stroller. She is approached by an ill-kempt man.) MAN: Evening, little lady. (Risa ignores the man and continues to the platform.) RISA: Baby, we're gonna run. (she just misses train number seven.) RISA: Damn it! Mommy didn't say that. (sooner than expected, another train approaches as Lucy plays with the attached balloons.) RISA: It's our lucky day, Baby. Here it comes. (Lucy unties the red balloon and it floats upward. Risa reaches for the balloon, and as she does so, the front of the train pulls even with her. Immediately, someone with long blond hair and a dark coat rushes from behind her and pushes her in front of the train.) RISA (gasps): Oh — (from another viewpoint, the murderer is Olivia Dunham.) Olivia's Home - Awakening (at that moment, Olivia jolts awake in her bed from the nightmare vision she had. Disturbed, she gets up. Several hours later, she is sitting in the kitchen working a crossword puzzle with the television news on in the background.) WEATHER REPORTER: We have a low-pressure center here, backed up with a cold front coming across the east. And then, here in the west, we've got a high-pressure ridge coming in with a warm front that's descending across the western part of the country... (Rachel enters the kitchen.) RACHEL: I always hated you could do that. OLIVIA: I always hated that you could date two guys at the same time. RACHEL: (looking at nearly empty coffee pot): Really, Liv? What time did you wake up? Are you okay? (Ella arrives unnoticed.) ELLA: Aunt Liv, I'm getting vascinations. RACHEL: Vaccinations! Come on, baby, go get dressed. ELLA: They put something dead inside you. Dead! Into your blood. Gruesome. RACHEL: Ella Jae, please go get dressed. ELLA: Yes. (leaves room.) OLIVIA: Gruesome. RACHEL: Gruesome? That's a good word. OLIVIA: (reading a crossword clue): "Ten Across. A Jabberwock's..." TELEVISION REPORTER: ...and in other news, a suicide on the new york subway system last night got rush hour off to a slow start this morning. Risa Pears, a New York City school teacher and mother of an 18- month-old daughter flung herself in front of an oncoming train last night while returning home from the circus. Subway service between... (Olivia stares at screen and recognizes the face of the woman she dreamed of murdering last night.) ACT I Broyles' Office - A Favor OLIVIA: I want permission to go into New York to investigate a case. BROYLES: What is it? OLIVIA: A suicide on the subway. BROYLES: I read about it in the paper this morning. How exactly is this a case? OLIVIA: I believe that the woman may have been murdered. There may have been extraordinary circumstances. BROYLES: What kind of extraordinary circumstances? (waits) I'm listening. OLIVIA: Uh... that's all I'm comfortable saying at the moment, sir. BROYLES: Dunham, are you all right? For the last few weeks you've seemed...distracted. On edge. OLIVIA: I haven't been sleeping very well. I wouldn't be asking if this wasn't important. BROYLES: Dunham, you're a crucial part of this operation. You're very valuable to me. Twenty-four hours. Then I want you back on the job, head clear. OLIVIA: Thank you. Walter's Lab - Talking About Dreams PETER: Olivia, it was a nightmare. OLIVIA: It felt like I was really there. PETER: No, you were asleep in your bed. WALTER: Just a minute. Have you experienced any nausea, Agent Dunham? Rashes, hair loss -- even a strand or two on the pillow? OLIVIA: No. WALTER: Any pain urinating, or blood? PETER: I don't think you're helping. OLIVIA: Is that a -- PETER: Yeah, a Geiger counter. WALTER: Not a rad. I thought you might have teleported to New York in your sleep and killed her. Wouldn't that have been wondrous? But even the most controlled matter to energy transmutation leaves behind some background radiation. So... ergo, you were not actually there. PETER: Great. Well, I'm glad we got that cleared up. WALTER: Astral... ASTRID: Astrid! WALTER: ...projection. A spirit walk, as it were. No, no, no, you wouldn't have had sufficient corporeal form to interact with the young woman. PETER: Here we go. It's like listening to a broken record, but the lyrics keep on changing. She had a bad dream. OLIVIA: No, I could smell the platform. I saw her baby staring at me. I saw her face before I saw the news. How is that possible? WALTER: Opium? OLIVIA: It wasn't just a dream - was it? PETER: New York it is. WALTER: Yeah. I love New York. Oh, we could catch a show! Pippin! Uh...no. • cats fit on the windowsill... children fit in the snow PETER: Walter, you're staying here. (to Astrid) I'll make it up to you. WALTER: • Why do I feel like... I don't fit in anywhere I go? • ASTRID: That is the Jackson Five, right? WALTER: hmm? Absolutely. At Grand Central Station OLIVIA: She said to meet her at the clock. PETER: There she is. POLICE OFFICER: You the two? OLIVIA: Uh, Dunham, Bishop. FBI. POLICE OFFICER: You know, you shouldn't eat those. (big salty pretzel) PETER: About thirty years too late on that. OLIVIA: Can you show us where this actually happened? POLICE OFFICER: Yep. Let's go. (walking to the tunnels) Are we safe? PETER: Sorry? POLICE OFFICER: FBI comes into my house, first thing I need to ask is, 'Are we safe?' OLIVIA: I'm not sure we're ever really safe. PETER: We're as safe as houses. What can you tell us about this suicide? POLICE OFFICER: Just like it said in the papers, Risa Pears, 28, decided to take a header in front of the 'Seven Train'. OLIVIA: So what makes you think that it was a suicide? POLICE OFFICER: Security cameras got it all. OLIVIA: I'd like to take a look at that tape myself. POLICE OFFICER: Alright, we'll set you up, Agent. What, exactly, are we looking for here? OLIVIA: Humor me. (privately to Peter) There's gonna be a balloon floating on the ceiling. A red one. PETER: (trackside) The husband was away on business in Seattle. He just flew back in. He's giving a statement down at the station. OLIVIA: Come on, this doesn't fit the profile. Married, a baby. You don't take your kid to the circus and then giv'em a front-row seat to watch you kill yourself. PETER: (pointing at red balloon) And then there's that. OLIVIA: Yeah. NYPD District Headquarters TODD PEARS: This doesn't make any sense. She'd been waiting to go to the circus. And she's from here. We met in Chicago. She kept saying that she wanted to take Lucy to the circus. Okay? She used to sing you this song about elephants. We were happy. She wouldn't kill herself. You've gotta believe me. She would never kill herself. POLICE OFFICER: Agent, the surveillance you wanted is ready. OLIVIA: Thank you. TODD PEARS: Sh-she wouldn't do it. She just wouldn't. OLIVIA: Thank you. (Olivia walks into room with video playing) POLICE OFFICER: Mm-hmm. This is the digital backup. The primary drive is in evidence. OLIVIA: (looking at the monitor) Can you slow this down? Can I get a copy of this? Walter's Lab (Olivia, Walter, Peter and Astrid watch the security recording) OLIVIA: See, it doesn't make any sense. I remember things from the crime scene. I remember pushing her. WALTER: You know dreams aren't always literal. Perhaps you killed this young woman in some less direct way. OLIVIA: No, no, no, no, no, no. We just watched her kill herself. WALTER: Perhaps you compelled her to jump using your mind. Do you have any reason to want her dead? Romantic rival, perhaps? PETER: What?! OLIVIA: I didn't even know her. WALTER: Then why did you kill her? OLIVIA: I don't know. PETER: Stop, both of you. Stop. Nobody killed anybody. WALTER: I'm surprised at you, Peter. Agent Dunham is your friend. You trust her. she says she killed that girl. Are you presumptuous to believe her only when she says what you want to hear? Your mother was a bit like that. Consider this question - What is mankind's oldest dream? ASTRID: World peace? WALTER: Oh, hardly. It's a social construct imposed by an awareness of our own mortality. ASTRID: Should have gone with 'great taste - less filling'. WALTER: What is the greatest desire of the weak and the subjugated? Of the man whose fire is stolen by an opponent whose only advantage is the luck of superior size. ASTRID: We're stealing fire? PETER: I think we're cavemen in this story. WALTER: Whose woman is wrenched away by brutality and force. PETER: Sexist cavemen at that. WALTER: Simple. to kill with thought. To wish someone dead. To murder with the mind. PETER: Come on, that's ridiculous. WALTER: You're right, I'm sure. Unless, of course, it happens again. Italian Restaurant - Dinner (mostly couples speak in hushed voices. Olivia is sitting alone at a table when she notices one couple in particular. the man flirts casually with the hostess) MOUSE WILLIS: Why would you do that? BILLY WILLIS: What? Come on. MOUSE WILLIS: Do you think it's okay to just flirt with her like that? BILLY WILLIS: Honey, honey, please. MOUSE WILLIS: What is it -- I'm not young enough? (stands-up, enraged) BILLY WILLIS: Is there something wrong? MOUSE WILLIS: I'm not sexy enough anymore? Why are you doing this too me? BILLY WILLIS: What is the matter? MOUSE WILLIS: You bastard! BILLY WILLIS: Just calm down. MOUSE WILLIS: You bastard! You cheating bastard! BILLY WILLIS: There's nothing wrong here. MOUSE WILLIS: You cheating bastard! BILLY WILLIS: (Olivia visualizes standing with the crazed woman as they stab the man, together, with a knife from the cheese plate) Uhh! Uhh! Olivia's Apartment - Napping On The Couch (Olivia jolts awake from a nap, gasps and breathes erratically... then dials Charlie on her cell phone) OLIVIA: Charlie. Charlie, it's me. Uh, there's been a murder. ACT II St. Vincent’s Hospital OLIVIA: I tried to kill him. PETER: A half-dozen witnesses' statements say she stabbed her husband. OLIVIA: Yeah, I was there. PETER: No… you were three hundred miles away. OLIVIA: And somehow, I'm killing these people in my dreams. DOCTOR: Hello. OLIVIA: Agent Olivia Dunham. This is Peter Bishop. PETER: Hi. OLIVIA: So what can you tell us, Doctor? DOCTOR: The damage was quite severe. Upper and lower intestines both shredded. She essentially gutted him. He's gonna die, that's why they gave her permission to be here. OLIVIA: So your name is Mouse? MOUSE WILLIS: Nickname from college. I'm quiet... I guess. OLIVIA: Maybe just... tell us what you remember. MOUSE WILLIS: We were at dinner. Tuesdays we go out. We decided Italian. I don't know what happened. I just... it doesn't make any sense. Billy's devoted to me. Then suddenly, I knew he was gonna leave me. I was convinced of it, and I got so... scared. I got so angry. How could I do this? OLIVIA: Maybe you didn't mean to hurt him. I mean, maybe somebody made you do it. Like, compelled you. PETER: Agent Dunham? OLIVIA: I mean, did it feel like there was someone else in your head making you stab him? MOUSE WILLIS: I tried to kill my husband, right? How is this happening to me? PETER: Agent Dunham. MOUSE WILLIS: oh, god. OLIVIA: okay... PETER: Agent Dunham, I need to talk to you right now. OLIVIA: It wasn't you. PETER: Olivia, what, exactly, do you think you're doing? OLIVIA: I made her do it, Peter. PETER: You're running on no sleep. And if i'm right, caffeine pills. I faked my way through grad school, remember? You need to calm down. You're not thinking straight, and you're not making any sense. OLIVIA: Peter... what is happening to me? Restaurant Crime Scene Interview RESTAURANT MANAGER: Hey... whoa, we're closed. PETER: FBI. RESTAURANT MANAGER: Great. Fun times. PETER: So what can you tell me about what happened here last night? RESTAURANT MANAGER: I got nothing new for you, FBI. PETER: Humor me. RESTAURANT MANAGER: Sure. Middle of dinner, bitch gets up and stabs her husband. PETER: Bitch? Really? We got a problem here? RESTAURANT MANAGER: Problem? yeah, We got a problem. People rush out last night in the middle of dinner. No one pays. Today I'm out all of lunch hour. Oh yeah. Also, I'm on the cover of 'The Post'. OLIVIA: Who was sitting here? RESTAURANT MANAGER: Lady, this isn't 'The Palm'. We don't keep a seating chart. OLIVIA (Lunging at manager and pushing him back against table): Who was it?! RESTAURANT MANAGER: Whoa! Whoa! OLIVIA: Was I there? Was it me? PETER: Agent Dunham. RESTAURANT MANAGER: ...just some guy. He comes in every now and then. Blond hair. He's got a scar on his face. OLIVIA: I know who that is. RESTAURANT MANAGER: What the hell is wrong with you? You think you can do whatever you want? What are you, crazy? I'll sue you guys. PETER: Olivia, stop. What is wrong with you? OLIVIA: That man that he described, I've seen him before. PETER: What? Where? Walter's Lab - Reviewing Footage WALTER: That's a curious word. So it's got nothing to do with going underwater? ASTRID: No. 'UnSub' stands for unidentified subject. WALTER: Actually, it should more logically mean going above water. PETER: And still no. WALTER: I certainly hope we find him. Who we looking for? OLIVIA: I think it's after this. WALTER: Remarkable. This is entirely new. WALTER: What? PETER: You're talking about the coffee? WALTER: mm, yes. What is it? PETER: Cinnamon? ASTRID: Yes. WALTER: It's quite good. delightful, really. OLIVIA: There. ASTRID: Blond hair, a scar. PETER: And he was at both crime scenes. OLIVIA: So he's our link. WALTER: Interesting. No, not the coffee. Although I was wondering if we can -- OLIVIA: Walter? Please. WALTER: Well, you say he was at the table where you dreamt you were sitting? OLIVIA: Yes. WALTER: And he was on the platform where you dreamt you were standing? OLIVIA: Yes. WALTER: And in your dreams you got many of the actual details correct. Is that right? OLIVIA: Yes. WALTER: But you did not see him in your dreams. OLIVIA: No, I didn't. WALTER: Well, perhaps that's because you were him. As I said, dreams are not always literal. What if you weren't dreaming about yourself, you were dreaming about him... Mister Unsub? OLIVIA: So he's the one that's been doing these things to these people, not me? WALTER: That's a possible explanation. OLIVIA: But why would I be dreaming of him? I mean, who is he? ACT III Federal Building - Situation Room AGENT #1: Government Armed Forces Database is online. AGENT #2: Interpol and Public Health Systems online. AGENT #3: We can match a partial from the restaurant... to one off the guard rail at the subway station. Running facial recognition software. BROYLES: Agents. What precisely, is going on here? OLIVIA: Sir-- WALTER: An unsub that may be killing people with his thoughts while Olivia is watching in her dream. (Looking up from playing with a coffee maker.) Uh, by the way, I don't think this machine works. BROYLES: Agent Dunham-- AGENT #1: We’ve got a hit. CHARLIE: Suspect’s name is Nick Lane. Uh, former address is St. Jude’s Mental Hospital. WALTER: Well I’m not going there. Federal Building - Broyles' Office BROYLES: I have a lawsuit from a restaurant manager in New York. I have unauthorized allocation of Agency time and resources. I have access of government databases for personal use. What’s going on? OLIVIA: Someone’s been coming into my dreams. and he's either been making me kill people, or he's been killing people and making me watch. BROYLES: You know how this sounds? OLIVIA: These things -- these things that we see every day, these things that we investigate -- they're happening to me. BROYLES: Dunham, you understand what kind of scrutiny we're under? You're under? If Sanford Harris weren't in Washington... OLIVIA: I know. BROYLES: You can't unofficially investigate a case where you're the subject. OLIVIA: I’m sorry. BROYLES: Dunham, why didn't you come to me? OLIVIA: I should have... but I didn't want to sound crazy. So maybe -- maybe it's better if I just take some time off -- just a few days -- to work this out. Maybe just take a short leave. I need to do this. BROYLES: (on phone) Agent Francis, we have a status change. I’m opening a new case. Subject’s name is Nick Lane. Agent Dunham is on point. Please give her whatever assistance she needs. OLIVIA: Thank you. BROYLES: Dunham. (as she leaves) Take care of yourself. OLIVIA: I will. St. Judes's - Researching Lane PETER: You know, until this year, I’d never actually been to a mental hospital OLIVIA: learn to like new things. PETER: Maybe I never gave it enough thought-- what Walter went through. I only every saw it from my own perspective. His being crazy was something he did to us. To my mother and me. It wasn't something that happened to him. OLIVIA: Well, you were young. PETER: Well, I’m not young anymore. Must be a terrible thing to not be able to trust your own mind. OLIVIA: Yeah. PETER: Hey... DOCTOR MILLER: (enters the waiting area) Are you two the Federal Agents? OLIVIA: Uh, yes. Agent Olivia Dunham. This is Peter Bishop. DOCTOR MILLER: Doctor Miller. Come with me. (the trio walk the hallways) DOCTOR MILLER: I remember Nick very well. He was already a residential patient when I arrived here, which is about five years ago now. He had a very comprehensive insurance policy. Quite old. I’d never seen one like it. PETER: What kind? DOCTOR MILLER: Military. About four months ago a attorney arrived here with a paper saying that Nick had inherited a large sum of money. They met twice more, and after that, Nick checked himself out. He was here voluntarily, after all. Nick was an interesting person. He had a kind of brightness to him. OLIVIA: Intelligent. DOCTOR MILLER: Yes, quite, but not what I mean. He had an emotional brightness. If he was happy, he would light up a room. Sad, he was like a black hole that would suck you right down with him. Hyper- emotive is the clinical term. Put simply, his affect was highly infectious. OLIVIA: Was he dangerous? DOCTOR MILLER: No. no, if anything, his ideation tended toward self-contempt. toward the suicidal. Although he did suffer from some psychosis when his delusions were florid. PETER: What sort of delusions? DOCTOR MILLER: Typical paranoid fare. Nick was convinced he'd been recruited as a child for a series of top-secret experiments. That he was being prepared to serve as a soldier in the coming war against denizens of a parallel universe. ASTRID: (on her cell phone in the lab reading the ZFT Manifesto) "There is a war coming. Not a war of hatred and anger - a battle for survival. Many warriors of the inevitable confrontation are among us now. But before they can be considered soldiers, they must be regarded as recruits." PETER: (on speaker phone, riding with Olivia) It’s alright here. He might as well have the ZFT memorized. ASTRID: But this is a Manifesto from a terrorist cell in Germany. PETER: yeah, ZFT -- it translates as 'Destruction by the Advancement of Technology'. It’s their mission statement. ASTRID: Yeah, that's my point. You said Nick Lane's been in a nut farm for years, right? PETER: The records go back to the mid'90s. So he's quoting the ZFT for at least that long. ASTRID: So when did they recruit him? OLIVIA: How old is he? PETER: What? OLIVIA: Nick Lane. What year was he born? PETER: uh, 1979. OLIVIA: Where? PETER: Jacksonville, Florida. Aren’t you from Jacksonville? OLIVIA: We need to talk to your father. PETER: Why, what do you think you know? OLIVIA: We need to talk to him now. Walter's Hotel Room WALTER: Where’s the fire? I always loved that expression, which is curious, since my lab assistant was killed in a fire. OLIVIA: What can you tell me about Cortexiphan? WALTER: Oh, that takes me back. I remember 'Belly' whipping up a peyote mash-- OLIVIA: Walter! WALTER: Cortexiphan was a highly experimental drug. William theorized that it might enhance certain abilities in predisposed children. PETER: Let me guess-- you experimented on people. WALTER: Oh, no, no. not me. William. We had quite a disagreement about it. OLIVIA: What abilities? WALTER: It worked on perception. Carlos Castaneda, Aldus Huxley, Werner Heisenberg, all focused on one single elementary truth. Perception is the key to transformation. PETER: Reality is both subjective and malleable. If you can dream a better world, you can make a better world. WALTER: Or perhaps travel between them. PETER: What did you just say? OLIVIA: So if Nick Lane was treated with Cortexiphan, he could change reality with his thoughts. He could make somebody do something just by thinking it. WALTER: Not his thoughts. It’s how you feel that determines your view of the world. OLIVIA: You’re saying that Cortexiphan worked on feelings. WALTER: That’s reductive, but essentially, yes. OLIVIA: What if Nick Lane... wasn't affecting people with his thoughts? What if he was affecting them with his emotions? The psychiatrist said that he was suicidal, right? They said that his moods were contagious. What if he was on the platform because he was considering killing himself? WALTER: Oh, my. OLIVIA: Look, at the restaurant, all happy couples. it triggers his own fear of abandonment. And that woman caught his mood. PETER: For the sake of argument, let's say that Nick’s emotions are contagious, like a virus. Maybe he's even doing this unwittingly, but it still doesn't explain how you're seeing him in your dreams. WALTER: If William had followed the usual procedures... you see, often when we experimented on children-- PETER: Okay, can we just stop right there and analyze that sentence for a second? WALTER: ...we would put them in pairs. Like the buddy system in summer camp. PETER: Listen to him! He’s comparing human experimentation to summer camp! WALTER: This pairing kept them from becoming frightened or feeling isolated. Sometimes an intense bond could form... a bond... which could be greatly amplified by a drug like Cortexiphan. PETER: Stop it, both of you. You’re creeping me out. Olivia was never treated with Cortexiphan. WALTER: Is that true, Agent Dunham? OLIVIA: I might have been. PETER: What? WALTER: Well, that's good news. OLIVIA: How is that good news, Walter? WALTER: This Nick Lane of yours -- it means I may know how to find him. An Upscale Bar - Seen From The Lab (• a scantilly clad lady dances and entices Nick Lane - through Olivia's visions • - Olivia lies in the lab, under hypnosis) OLIVIA: (mumbles to those around her) He’s sexually excited. His excitement has infected the dancer. She’s excited too. They’re leaving the club together. BOUNCER: (to the dancer as she departs with Lane) What, are you nuts, Ginger?! You’re in the middle of your shift! ASTRID: (just arriving) What’s going on? WALTER: I’m hypnotically stimulating R.E.M. state to enhance her psychic connection to Nick Lane. We’re tuning her antenna, as it were. PETER: Olivia can feel what Nick Lane is feeling. She can see what he's seeing. OLIVIA: oh-- ASTRID: What’s happening? Is he hurting her? OLIVIA: oh... ASTRID: Oh. WALTER: What? OLIVIA: oh... PETER: Oh. WALTER: What? OLIVIA: ohhh.. ohhh.. (moaning in pleasure) WALTER: Oh, I see. OLIVIA: (visualizing herself as Lane in the dancer's apartment) He’s feeling guilt. Shame. He feels dirty. He hates himself. He wishes he was dead. The dancer... He’s infecting her. She’s catching it. His emotions are jumping to her. How much he hates himself. The girl... he's infecting her. (Ginger takes breaks a glass in the bathroom, shatters it and cuts her own throat with Olivia's help) OLIVIA: She’s dead. I killed her. WALTER: No, no, you didn't. You must stay under. Agent Dunham, you must try to stay under. She must try to stay under. ASTRID: What is going on? Did he just kill someone? Did he kill that dancer? WALTER: These are dreams. This boy is essentially a reverse empath. His feelings are killing people. Put simply, Agent Dunham’s mind is recognizing the effects of his emotions on his victims, and translating them into images that her dreaming mind can recognize. PETER: Put simply. WALTER: Peter... help her. Help her calm down. Go ahead, son. (Peter takes her hand) Agent Dunham... Where are you? Where are you? What can you see? What can you see? (she visualizes herself entering Lane's apartment building) WALTER: Agent Dunham... Where are you? OLIVIA (awaking): I know where he lives. ACT IV Nick Lane's Apartment - The Raid [alarm clock buzzing] CHARLIE: It’s clear! OLIVIA: Clear. CHARLIE: Come over here. I think you should take a look at this. WALTER: The 'Torre Attack'. Someone’s been a busy bee. PETER: Look at the dates on these papers. This guy's been collecting this stuff for years. WALTER: I’ve always wanted a two-headed goat. What newspaper is this? Can I get a subscription? PETER: Walter! OLIVIA: Why now? He was given Cortexiphan over twenty years ago, right? Why is this just happening now? PETER: That lawyer shows up at the mental hospital with a magical inheritance, and all of a sudden Nick Lane becomes an emotional atom bomb? Seems a little too coincidental to be coincidence in my book. OLIVIA: So what are you saying? You think he was activated? WALTER: "What was written will come to pass." OLIVIA: What? WALTER: It’s written on the wall over here. CHARLIE: Got a call from a security guard downtown. We’ve got a positive I.D. of Nick Lane entering a building. He's not alone. WALTER: Nick Lane may be turning into a walking epidemic. As his emotions become more intense, they become more contagious. PETER: Great. Why can't "more angry" ever translate into "less dangerous"? And what are we supposed to do if we find him, anyway? I mean, if we get too close to him, aren’t we gonna be infected with his emotions too? WALTER: Yes. But perhaps Agent Dunham would not. OLIVIA: Why? WALTER: You were also treated with Cortexiphan. It might afford you some degree of immunity from Nick's abilities. PETER: Why do I get the feeling? You’re not telling us everything? WALTER: Because I don't know everything. Unidentified Multi-story Building OLIVIA: Officer, we're with the FBI. DETECTIVE: You don't want to go up there. We already sent a guy up, now he's on the ledge too. We don't know what the hell's going on up there. OLIVIA: Its okay, officer. PETER: Olivia... OLIVIA: I’m gonna be okay. Up on the Roof OLIVIA: Nick? Nick Lane? NICK LANE: Olive. You heard me. You heard me - you came. You were always the strong one. Whenever I got scared, you could make me feel better. Do you remember, Olive? OLIVIA: I’m sorry, no, I don't. NICK LANE: That’s okay. I think they meant for us to forget. I just couldn't. I did what they told us. I waited Olive. The soldier to come is both natural and unnatural. I waited to be called up. You stay fit; stay focused, and stay ready. I wore the blacks and grays. I blended in. But the call never came. It never came. Then, that man with the glasses, he showed up at the hospital. He spoke all the old words. He said they're coming. He needed warriors. He said... "what was written will come to pass." He said he knew how to wake me up. I shouldn't have listened to him. Sometimes what we wake up, it can't be put back to sleep. OLIVIA: Nick, you don't have to do this. NICK LANE: I want to stop hurting people! (Removes automatic pistol from pocket and offers it to Olivia.) Take it. Take it. Shoot me. Please Olive? I can't fight this much longer. (Olivia takes Nick's pistol.) OLIVIA: Listen to me. Come... NICK LANE: AAAGGHH!! (Unidentified woman jumps to her death, landing on a car near Walter and Peter.) WALTER (on the ground, to Peter): Uh, maybe... I do hope Agent Dunham meant to do that. NICK LANE: Shoot me! Or I will jump and they will all jump with me. ACT V A Rooftop - The Plea NICK LANE: (earnestly) Shoot me Olive! I have to die or I will keep hurting people. Please. We weren't meant for this -- don't make me take them all with me. Please? OLIVIA: I'm sorry. (shooting him twice in the legs, he falls and those around him fall to the ground, away from the precipice) NICK LANE: Olive... you'll wish you had... you'll wish you'd kill me. (the trance is broken and the those lured to the roof begin to recover) A Secure Medical Facility BROYLES: (walking a long white corridor) Nick Lane's parents died several years ago. Car accident. His lawyer's identity appears to have been falsified. We've repeated our request to Massive Dynamic for information regarding the Cortexiphan protocols. But according to Nina Sharp, the names of the particpants were deleted from the records. And you still have no memory of the trials... OLIVIA: ...no. BROYLES: ... or being treated with the drug? OLIVIA: ...no. BROYLES: ...but he does? OLIVIA: Yes. BROYLES: Why do think that is? OLIVIA: I don't know. (they stop at Lane's window and study him on a hospital bed) BROYLES: You saved his life. He's being kept in a drug-induced coma. OLIVIA: For how long? BROYLES: Indefinitely. OLIVIA: He said sometimes what we wake up can't can't be put back to sleep... I wonder if he was right. BROYLES: Are you alright Dunham? OLIVIA: Yeah. Olivia's Apartment - After Hours (Olivia enters to find Ella asleep on the couch and sits by her as she wakes) OLIVIA: Hey. ELLA: Aunt Liv. The stuff that they put in me isn't dead anymore. It came back alive. Can that really happen? OLIVIA: It's just bad dreams, baby girl. It's just bad dreams. Come on. (picks up the child) Ooh, you're getting so big. I'm going to put you back to bed. - - - - (answers a knock on the door and is handed a stack of files by Charlie) CHARLIE: I'm breaking about a thousand regulations by doing this. Here's Nick Lane's file. OLIVIA: I know. I appreciate it Charlie. Thank you. CHARLIE: Okay. (walks off as Olivia close the door. she opens the file to find a handful of newspaper clippings from Lane's apartment) Walter's Lab - Opening Old Boxes (rummaging through a storage box, Walter finds some old cassette tapes and starts watching one. haunted by what he sees and hears - a small blonde child sits huddled on the floor while voices dialogue from off the screen) WILLIAM BELL: Is the incident contained? FEMALE VOICE: Yes, Doctor Bell. WILLIAM BELL: How bad? FEMALE VOICE: Bad. WILLIAM BELL: Casualties? FEMALE VOICE: Not sure yet. We can't locate Brenner. WILLIAM BELL: Is SHE okay? FEMALE VOICE: SHE is fine. WILLIAM BELL: Hell, do we know what triggered it? WALTER: Obviously she was upset, William. (to the child) It's okay. It's alright now. Nobody is angry with you. You didn't do anything bad. It's alright Olive... everythings going to be okay. (Walter sits silently, alone in the dark lab and stares at the screen)

PROLOGUE Bob Dunn's Apartment - Preparation (Bob Dunn is preparing for a night out while listening to the local evening news.) NEWS ANCHORMAN: ...at 10 o'clock. We're going to take you live now to Janice Lincoln, on the scene at another Boston nightclub JANIS LANGIS: The body was found here by Pier Seven. Police are canvassing the area. No witnesses have come forward at this time. And auuthorities are baffled by what appears to be one of the most gruesome murders in Boston's history. The media has being blocked from the immediate crime scene and all we have been told is that a body was found mutilated by what might have been a hunting knife. Police are withholding the name of the victim until their family can be contacted. (Dunn picks up his pocket items, including a large knife) JANIS LANGIS: There were a number of crimes... not the safest neighborhood... but there haven't been violent crimes of this nature, before. Until... comes forward, Police have no clues in this bizarre murder that occurred here tonight. Outside a Club (Dunn's cell phone rings.) BOB DUNN (To phone): Hello, beautiful. GIRLFRIEND: Finally. Where have you been? Did you get my message? BOB DUNN: I did. GIRLFRIEND: But you didn't call me back. BOB DUNN: No, I thought I'd call you later. There was a conference. GIRLFRIEND: Where were you last night, Bob? BOB DUNN: I was at home. I was catching-up on my sleep. GIRLFRIEND: But I called. BOB DUNN: You know I turned off the phone to get some sleep. Hey, come on, now, you're starting to go down that road again. Before you know it, you'll be all upset. I think this has more to do with the miles between us, all that dreary weather you're having in Portland. You'll feel much better when you get back tomorrow. Hey, we'll, uh, we'll do something nice. In fact, we'll stay in. I'll cook for us. GIRLFRIEND: I'd like that, Bob. BOB DUNN: Listen, love, I'll call you when I get home tonight. Right now I've gotta go have dinner with these insufferable suits from Hong Kong. GIRLFRIEND: I hope it won't be too awful. BOB DUNN: You never can tell. Inside the Club (Dunn enters the club, pausing to have his hand stamped. Techno music is playing. Dunn looks at several women before selecting one who is standing alone.) BOB DUNN: You know what's funny... before I came in here, I thought I was good-looking. (The woman scoffs at his comment. Dunn laughs pleasantly.) BOB DUNN: Seriously, though, I can tell you're my type of girl. WOMAN: How do you know? BOB DUNN: I know these things. (her male friend returns with her drink) Cheers Mate. (Dunn looks for another woman and makes eye contact with Valerie Boone) BOB DUNN: I can tell you're my kind of girl. Bob Dunn's Apartment - Romance (Dunn and Valerie are making out while standing. Valerie pulls back and pushes Dunn into a chair. She then reaches out and breaks his neck.) (The scene switches briefly to Portland, where Dunn's girlfriend is in bed, reaches for her cell phone and dials Dunn's number.) (Back in Dunn's apartment, his phone vibrates with the call while Valerie, standing in Dunn's bathroom wipes blood off her cheek and looks at her own unnaturally bright blue eyes. A wide shot shows Dunn's body prostrate on his bed with his spine violently exposed.) ACT I Olivia's Apartment - House Guests (Ella and Graham play in the kitchen as the adults sit and chat in the living room) RACHEL: Oh Olivia, you have to hear how Helen and Neil met. This could be good for my sister. NEIL: We're both single. We're in our thirties, hadn't met anyone. We wanted to have a kid. Then I heard about this program called, Two Singles Together. Two Singles Together was the answer for us. OLIVIA: I'm sorry, two--? RACHEL: Two Singles Together. It's a matchmaking service. NEIL: Not just a matchmaking service, Rachel. A way of life. OLIVIA: Two Singles Together? HELEN: Uh, I have my own schedule, works for me. I have no interest in controlling Neil's, either. NEIL: I like vacations in the sun and... HELEN: ...and I like the snow. OLIVIA: Doesn't that kind of defeat the purpose of being in a relationship? NEIL: Well, there are things we agree on, of course. HELEN: Like, um... where to live. The appropriate kindergarten. Friends we both enjoy. Which, incidentally, I want to make sure Ella can attend Graham's birthday party. RACHEL: Oh, I already R.S.V.P.'d on the class sign up. HELEN: Uh, that was for Neil's rock climbing party for Graham. My party for Graham is the following Saturday. We are doing Science Center. RACHEL: (doorbell sounds) Excuse me for one minute. (accepts a small package) See ya. OLIVIA: What? RACHEL: Greg's filing for divorce. OLIVIA: Oh, Rach. RACHEL: Not now. Not in front of them. They'll make me join Two Singles Together. (rejoins the guests) Okay. Where were we? OLIVIA: (answers cell phone) I'm sorry, I've just been called into work. NEIL: oh, what kind of work do you do, Olivia? Crime Scene - Dunn Apartment CHARLIE: Victim's name was Bob Dunn, he was thirty -three years old. His girlfriend. Got back from a business trip in Portland. Couldn't reach him. She found him here. No forced entry. No witnesses. OLIVIA: So this matched the victim that Boston P.D. found two nights ago at the pier? The one that's been all over the news? CHARLIE: Yeah, they don't know what to make of it, so now they have another one. Now it's ours to mix up. WALTER: You know what this reminds me of, Peter? PETER: Nope, but I'm gonna guess it's something unbelievably disgusting. WALTER: Shrimp cocktail. You see, the shrimp must be deveined by putting a shallow cut down the back to expose the vein. Which, in fact, is not a vein at all, but the crustaceans intestinal tract. PETER: Great, thanks for that. That's another foodstuff I can cross off the menu for life. (privately) Hey, you okay? OLIVIA: Why? PETER: Well, you were awfully quiet on the car ride over here and you just don't seem your normal, chipper self at a bloody, gruesome crime scene. OLIVIA: Oh, I'm sorry, I'm, um... It's just home stuff. PETER: Well, I know from home stuff. I live with a guy inspecting a severed spine. WALTER: This is fascinating. These appear to be bite marks. See how the flesh is ripped and jagged markings. Canine or even ursine, but human. PETER: You're suggesting that someone chewed his spine out? WALTER: Yes... But with a jaw strength well in excess of that of a normal human being. PETER: Great, well, maybe we're looking for Dracula. WALTER: (hardy laugh) Finally, son, you're opening your mind to new possibilities. But, no, there are no vampires, sadly. But it'll be something exciting, I'm sure. Federal Building - Briefing Broyles BROYLES: (seated at desk) We have another monster on the loose? OLIVIA: Uh, no, sir. Walter says that the teeth marks are definitely human. BROYLES: I can just about remember when a suspect being human was a given, not an option. OLIVIA: Bob Dunn's girlfriend said that he had a car, an Audi A-4. It wasn't in the garage, and we couldn't find it when we did a two-block sweep. BROYLES: Local P.D. Is on it? OLIVIA: Yeah, we could get lucky. Maybe the killer took it. BROYLES: And Doctor Bishop? OLIVIA: He's at the lab with both bodies, doing autopsies. BROYLES: Okay, well, let me know if you learn anything. (she hovers at his desk briefly) Is there something else? OLIVIA: This may sound impolitic, sir, but I was wondering if you were satisfied with your divorce attorney. I've heard you talking on the phone to your kids, but never to your wife. BROYLES: I was satisfied. Except for the bill. OLIVIA: I was wondering if I might be able to get the name and number. BROYLES: (he forwards the texting) It should be waiting in your in-box. I hope things work out for your sister. I pay attention too, Agent Dunham. Walter's Lab - An Autopsy WALTER: (lyrically) The C-1 cervical vertebra is connected to the C-2 cervical vertebra. C-2 cervical vertebra is connected to the C-3 cervical vertebra... PETER: Walter. That's enough. ASTRID: When you finally meet a nice girl, I would avoid bringing her home for as long as possible. Walter, this is the lab work you requested on the victim. WALTER: Excellent. It may help us understand why their spinal columns have been completely drained of spinal fluid. ASTRID: The killer took the victims' spinal fluid? Why would they do that? WALTER: Where would the fun be if we already knew all there is to know? (reads the report from Astrid) This is interesting. Traces of treponema pallidum. That's the syphilis bacteria. On the victim's neck and back. Most likely from the killer's saliva. PETER: So the killer has syphilis? WALTER: Seems so. PETER: Great. I should of worn gloves. WALTER: And what's even more fascinating, this particular strain of syphilis is extinct. Has been for decades. PETER: Well, how could the killer be exposed to an extinct strain of syphilis? WALTER: See, isn't this fun? Federal Building - Meeting with CDC OLIVIA: (walking through the workarea) I appreciate the C.D.C.'s prompt response on this matter. CDC AGENT: Of course. I ran an index search. A sample of that particular strain of syphilis was shipped out four weeks ago to a Lubov Pharmaceuticals. They have a local address in Brighton. OLIVIA: Well, thank you, but a phone call would have sufficed. CDC AGENT: Actually, I'm not sure that it would have. I took the liberty of running the rest of Lubov's research requests over the past few years. This isn't the first contagion they've ordered from us. In fact, there have been quite a few. (hands her a file to review) OLIVIA: We need to show this to Broyles. - - (in Broyles office) - - CDC AGENT: Any reputable scientist with the appropriate credentials can procure samples of bacteria and viruses for their research. OLIVIA: In addition to the extinct syphilis bacteria, Lubov Pharmaceuticals also procured a sample of a substance called RUD-390. BROYLES: Which is... CDC AGENT: A chemical compound used in the construction of bioweapons. BROYLES: You're suggesting whoever's behind these killings may also be planning a biological attack? OLIVIA: Or has before. RUD-390 was one of the components of the rapid skin growth toxin that killed Agent Kent. BROYLES: You're saying this is Z.F.T.? CDC AGENT: Z.F.T.? What's that? BROYLES: We believe Z.F.T. is a terrorist organization... responsible for a number of bio attacks in the last year. CDC AGENT: I see. Why? What is their agenda? OLIVIA: That's what we wanna find out. BROYLES: Assemble an assault squad. Move on Lubov. OLIVIA: Yes, sir. Reigning in Boone (Boone performs a graphic dissection on a small mammal in his lab/kitchen as the tactical team enters to arrest him) OLIVIA: Federal Agents. You're under arrest. (in an interview room at the Federal Building) OLIVIA: Doctor Nicholas Boone. Advanced degrees in hematology and biochemistry. Founder of Lubov Pharmaceuticals, a multi-national biotech firm whose corporate offices turn out to be in a split-level, in Brighton. (Broyles watches from the observation room) OLIVIA: Now we know that this strain of syphilis that you ordered was found on his spine (places photo) And you see these. They're human bite marks. What is out there doing this? What happened to these people? (displays more photos) CHARLIE: How long have you been a follower of Z.F.T.? That's right, Doctor Boone. We know about Z.F. T. NICHOLAS BOONE: What do you know? OLIVIA: Enough to know that they're using the world as a testing ground for experiments. We want to know more about David Robert Jones, About who funds Z.F.T. And why. We want to know what we're dealing with. CHARLIE: I don't have to spell it out for you, Doctor Boone. You talk to us, give us information. Help us with whatever's out there killing people. It'll go better for you. OLIVIA: Why are you doing this? What have you done? NICHOLAS BOONE: Someone was dosed. OLIVIA: With what? CHARLIE: Dosed with what?! NICHOLAS BOONE: I know a lot about the things you want. And more. And I'll answer your questions. But you have to help me first. OLIVIA: Help with what? NICHOLAS BOONE: They have my wife. I want you to get her back. ACT II Federal Building - Interviewing Boone OLIVIA: Z.F.T. Has your wife? NICHOLAS BOONE: What counts with punishment is the ability to know whom to hurt, and when. CHARLIE: You're telling me Z.F.T.'s coercing you to conduct these experiments by threatening to harm your wife. OLIVIA: Why would they be punishing you? NICHOLAS BOONE: Because when I realized what my work was being used for, I tried to get out. I'll tell you everything you want to know. But first, you have to get my wife back. - - (in the observation room) - - BROYLES: Do you believe him? CHARLIE: I don't. OLIVIA: Boone's wife is a nurse. I checked with her hospital, and she hasn't been to work in three weeks. CHARLIE: Proves nothing. BROYLES: I'm inclined to agree with Agent Francis. CHARLIE: Everything we know about these guys suggests that they're zealots. Why don't we go back in there, ask him why the sudden change of heart? OLIVIA: We can't ask him a thing until we get his wife. CHARLIE: Could be a trap. OLIVIA: Could be the truth. I'm sorry, but since I've been working in Fringe Division, eighty one people have lost their lives. And that's not including the 147 on Flight 627. Now, in my entire career, only nine people have died on cases that I worked. This is the closest that we've ever come to getting traction and stopping these people. Getting a handle on Z.F.T., Jones... Or more. This guy could be our chance. BROYLES: (to knock on door) What is it? JUNIOR AGENT: The address Boone gave us, where he says they're holding his wife. It's a restaurant... in Chinatown. BROYLES: Doesn't exactly scream Z.F.T. Hive of activity. JUNIOR AGENT: They've been tagged by... (?) OLIVIA: Meaning? JUNIOR AGENT: They're burning five times more power a month than they should making Moo Shoo Pork. OLIVIA: They could be using the power for something else. Maybe to facilitate a laboratory? This could be our chance to get to Z.F.T. BROYLES: Go get 'em. OLIVIA: I'll get a team together. Inspecting Boone's Lab PETER: (identifying themselves law enforcment) Peter and Walter Bishop. We're here to catalog the chemical evidence. WALTER: (greeting everyone individually) Walter Bishop. Nice to meet you. Hello. Oh, no, please sit down. Bishop, Walter Bishop. PETER: Walter, you don't have to shake everybody's hand. He gets a little nervous around authority figures. (sees the vivd dissection) Oh, boy. Look at that. WALTER: Benzyl alcohol. Colorless liquid used as a bacteriostatic in solutions for injection, topically as a local anesthetic. Personally, I like to use it as a mouthwash. PETER: (studies the bloody scene) What did this guy create? WALTER: From what I've seen so far, I am forming a hypothesis. Would you care to hear it? PETER: Well, I don't know. Would I ever be able to sleep at night again? WALTER: Well, that depends. PETER: Depends on what? WALTER: On whether the light is on or not. The Raid - Ride in the SWAT Van CHARLIE: (briefing the team) There's four exits. Risk and Walken, you take the rear. Taub and Brown, you take the side. Dunham and I are gonna be in the front with the rest of you. OLIVIA: And remember, this is a hostile situation in a contained environment. So retrieving the hostage unharmed is our top priority. AGENT: Yes, ma'am. OLIVIA: (answers cell phone) Dunham. RACHEL: Greg wants full custody of Ella. OLIVIA: What? RACHEL: Another process server just came by. Greg is claiming that I am an unfit parent. That the minor's mental and physical well-being would be best served under the sole custody of the petitioner. OLIVIA: He can't be serious. RACHEL: I won't let that happen, Liv. I will run if I have to. I will take her and I will disappear, I swear to God. OLIVIA: Okay, Rachel, Rachel... Just calm down. You're not running anywhere, and you're not gonna lose Ella. RACHEL: He's just doing this to hurt me. OLIVIA: Okay, Rachel, listen to me. Now, this is just one of those things that you're gonna look back on and you're gonna say, "I beat that too." Do you hear me? RACHEL: I hear you. OLIVIA: Okay. So, um, look, Let's talk when I get home. I - I've got a... I gotta go to a meeting. RACHEL: Okay. OLIVIA: Ahem. CHARLIE: We got that meeting. (the van pulls up quickly and the tactical team empties into the basement of an Asian style restaurant) AGENT: Freeze. Get your hands in the air. OLIVIA: F.B.I.! AGENT: Get your ass on the floor! OLIVIA: (the team fans out looking for an illegal lab) Clear? AGENT: Clear! OLIVIA: (grabs the owner roughly and demands) Valerie Boone. Ta zai nali? OWNER: Huh? OLIVIA: Nicholas Boone de ai ren. Ta zai nali? Valerie Boone. OWNER: Shei? - - (interview room)- - BROYLES: (upset) Your wife isn't there. NICHOLAS BOONE: I know that. I need to talk to Agent Dunham. OLIVIA: (answers cell phone in cellar of restaurant) Dunham. BROYLES: I'm putting him on. NICHOLAS BOONE: Agent Dunham. OLIVIA: What the hell's going on? NICHOLAS BOONE: There's a room in the back. Can you see it? OLIVIA: Yeah, we checked. She's not there. NICHOLAS BOONE: I know, but what I need is. OLIVIA: Okay, I'm here. NICHOLAS BOONE: In front of you, you should see a row of refrigeration units. Third from the right. OLIVIA: Yeah, I see it. NICHOLAS BOONE: Open it. OLIVIA: You know, I'm not gonna do a thing until you tell me why we're here. NICHOLAS BOONE: We're getting to that. OLIVIA: No, you tell me now. NICHOLAS BOONE: Inside that cooling unit you'll find a contagion, five vials marked XT43. The person who's out there killing has been dosed with this. I need it to make an antidote. OLIVIA: You lied to me? NICHOLAS BOONE: No. Agent Dunham... They didn't kidnap my wife. The infected her. That was my punishmnent for trying to leave Z.F.T. It's she who's out there killing. Boone Lab - Camcorder Clues (Peter finds and activates a video camera with images of the Boone's at a park) NICHOLAS BOONE: Valerie Boone. Valerie Boone, you turn March into June. VALERIE BOONE: Okay, that's enough. You be on camera. I always do this. NICHOLAS BOONE: I have no interest in being on camera. VALERIE BOONE: Okay, we'll both -- all right. Hi. NICHOLAS BOONE: Hello. VALERIE BOONE: Us in the park! Outside The Night Club (Valerie finds a ride home with a man driving a Mustang. they park short of her destination to talk) MUSTANG MAN: You are so beautiful. You are really warm. You're burning up. What - what's wrong? VALERIE BOONE: You're my kind of guy. I'm sorry. (as she proceeds to sever his spine) ACT III Federal Building - The Camcorder BROYLES: (intercepting her as she exits the elevator) Dunham. OLIVIA: Charlie is running a background check on the body that he found in the Mustang. Peter said you had something that I should see. BROYLES: (hands her a small video camera) ... found this at Boone's house. You’ll wanna pay specific attention to the date. (both join Boone in the interview room and Olivia plays a recent tape) NICHOLAS BOONE: (voice on camera) ...whoever wore a lab coat and rubber gloves. VALERIE BOONE: (image on camera) oh ho, ho. NICHOLAS BOONE: Valerie Boone. Valerie boone, you turn March into June. VALERIE BOONE: Okay, that's enough. You be on camera. I always do this. NICHOLAS BOONE: I have no interest in being on camera. VALERIE BOONE: Okay, we'll both -- all right. Hi. NICHOLAS BOONE: Hello. VALERIE BOONE: Us in the park! NICHOLAS BOONE: Where is--okay. Look out. Okay. VALERIE BOONE: Okay. NICHOLAS BOONE: There, okay, that's it. VALERIE BOONE: No, no, no! NICHOLAS BOONE: That's not it. VALERIE BOONE: There he goes. Oh, my god, you look like you ran in the trash can. (Boone runs across camera, very able-bodied) OLIVIA: (turning off the camera) That video was taken three weeks ago, Doctor Boone. Can you explain to me why you are in a wheelchair today? NICHOLAS BOONE: She needs to feed. She can't control it. I began to feed her my own spinal fluid. The more I gave, the more she craved, until... I couldn't give anymore. The contagion burns through her spinal fluid faster than her body can replace it. When she kills, it's simply to... refuel. I tried to synthesize the antidote on my own, watching her suffer the effects of being infected. But I couldn't do it. Not without a dose of the bacteria to work from. For the rest of my life, this chair will remind me of what I've done. OLIVIA: Why would Z.F.T. want you to create something like this? NICHOLAS BOONE: To create a human nightmare. The syphilis was just a platform. A carrier for other attributes. Attributes that changed her. OLIVIA: For what purpose. NICHOLAS BOONE: For the same reason they asked me to... Create the skin growth toxin... To show off. OLIVIA: To who? NICHOLAS BOONE: Other scientists. You mean nothing to them. OLIVIA: So how many vials were created? Just the ones that I took? NICHOLAS BOONE: I made six, now accounted for, but I can't guarantee they won't pick up where I left off. BROYLES: If they did figure out how to make it, could they weaponize this bacteria? NICHOLAS BOONE: You really don't know who you're dealing with. The answer for both of us is to let me make a cure. Now that you've recovered the dose samples, I can make it. My offer still stands. I'll tell you everything I know when you find her. If the cure works, we both win. Now I'll need access to a lab with a blood analyzer. I'll also need a spectroscope and a centrifuge. You might want to write this down. OLIVIA: That won't be a problem. Walter's Lab - Finding a Cure PETER: Do you really think it's a good idea to let him have free reign in Walter's believe-it-or-not emporium? WALTER: Oh, and this is something my son Peter is working on. I haven't got the faintest idea what it is. NICHOLAS BOONE: Your centrifuge is twenty years old. WALTER: Oh, twenty-five. It's an oldie, but a goody. I also have a cow. PETER: And, just for the record, one mad scientist is my limit. OLIVIA: I think that having him help Walter is our best chance at saving lives. (answers cell phone) Dunham. CHARLIE: It's Charlie. We found Bob Dunn's missing car. OLIVIA: Where? CHARLIE: Clear across town, in Mission Hill. It's completely stripped. Quarter panels, radio, everything. OLIVIA: The G.P.S.? CHARLIE: No, it's gone. We've got no way to track where he picked up Boone's wife. OLIVIA: Okay, thanks, Charlie. WALTER: Uh, good news, Peter. Nicholas and I are in agreement. NICHOLAS BOONE: Yes, we need to purify the mold, then ferment it... WALTER: ...to the highest possible concentration. Uh, Agent Farnsworth. We are going to need a rat. ASTRID: Can you, uh, call me if something else turns up? OLIVIA: Okay, bye. PETER: Great news. They made a breakthrough. They're gonna fight the super syphilis with super penicillin. Syphilis was the platform. If they can kill the syphilis, they can stop the contagion. WALTER: I did the same thing once against a super pneumonia. OLIVIA: Right. Well, Charlie just found Dunn's car, stripped in Mission Hill. PETER: Excellent. He check the G.P.S.? OLIVIA: Stolen. PETER: Well, everything stolen is not necessarily lost. OLIVIA: Meaning what? PETER: Meaning if there's a car found stripped in The Greater Boston Area, I can guarantee you my man Mako has his big toe in it. OLIVIA: Oh, you have a friend who runs a chop shop? PETER: Yeah. You make that sound so illegal. Mako's Garage PETER: She's with me. I'll owe you one. Okay? (calls her over) Dunham. MAKO: Let's just say the G.P.S. is here... allegedly. But it's useless because it's been wiped for resale. Hypothetically. OLIVIA: We're trying to track a killer, Mister Mako. PETER: Nah, it's just Mako. You know, like Cher. OLIVIA: Theoretically, if the G.P.S. is wiped, then that would put you in a rough spot, because you'd be hampering a Federal investigation. PETER: ...come on. MAKO: I'm trying to work with you here. OLIVIA: We need the G.P.S. to find out where the victim was the night of his killing. But you stole his car from his home in Brookline. MAKO: I didn't steal his car from Brookline. OLIVIA: Where'd you steal it from? MAKO: If I tell you where we boosted that car, can we just say that this conversation never happened? OLIVIA: Hypothetically? Sure. MAKO: Route Eighteen, Weymouth. By the water. Walter's Lab - Testing The Rat WALTER: Fascinating. 105 degrees. NICHOLAS BOONE: Then the rat's successfully infected. This strain of syphilis raises the body temperature well above normal. The cure is nearly complete. Once this penicillin concentrates, we can test it on the rat. WALTER: Where did you study, Nicholas? NICHOLAS BOONE: At the Curie Institute in Paris. Kings College, Aberdeen, Scotland. It's quite a fall. WALTER: It's an honor to have your intellect in my lab. NICHOLAS BOONE: That's high praise. Because I know very well who you are. WALTER: Well... that makes one of us. A little memory loss is often kind to the soul. NICHOLAS BOONE: That a figure of speech? Or do you believe there is such a thing? The soul? WALTER: There are days when I wish I did. There are days when I wish I didn't. NICHOLAS BOONE: I often wake up at night, frightened, with the understanding that there are things Man shouldn't know. That the scientific trespasses I've committed... WALTER: ...will one day be judged. Belly and I would often debate this very thing. William Bell. You've heard of him? NICHOLAS BOONE: Well, of course. Founder of Massive Dynamic, richest man in the world. WALTER: We used to share a lab. Quite a fall. hmm. If indeed there is a soul, we must consider then that there is still time for redemption. We're not being hauled off to be judged yet, Nicholas. Weymouth - Route Eighteen PETER: This must be where Mako boosted the car. All the shattered glass. So we're thinking what? Boone's wife kills this guy, steals his car, and then drives it out here? OLIVIA: Yeah. But what was she doing here? PETER: And where did she go? You know what I hate worst than the cold? OLIVIA: What? PETER: Not much. (searches nearby shrubs) Olivia, I think I know why she came out here. (located another victim) ACT IV Walter's Lab - Link To The Club WALTER: The camera, Aspirin. ASTRID: Okay. Ready. WALTER: Ahem. We are about to inject the infected rat with an antidote. Should it prove effective, it will no doubt work on humans as well. Nicholas. Now we wait. Ah! Marvelous. You can bring the bodies right this way, gentlemen. We've been expecting you. Right over here is fine. May I offer you a 'Peek Frean'? A delicious vanilla wafer with raspberry center and lemon cream. PETER: He doesn't want a cookie, Walter. WALTER: Uh... apparently, you're wrong. OLIVIA: That's two more bodies. One we found in the forest in Weymouth, the other on the street in Roxbury. Where is she getting her victims? You must have some idea where she'd go. NICHOLAS BOONE: The person out there killing people is not thinking like my wife... well, she wouldn't recognize me... let alone find comfort in places she knows. ASTRID: This one's been drinking. He smells like a brewery. Hey, Peter, will you turn out the lights? PETER: Seriously? WALTER: Alright, Peter. I ordered it on television. ASTRID: It's an entry stamp. He's got the same one. It's a place called The Cavern The industrial area is really happening in the underground club scene right now. PETER: So she's going to the club to find these victims. NICHOLAS BOONE: Look, I need more time to make the cure. Please. If you take her alive, I know I can save her. OLIVIA: I'll see what I can do. The Cavern - Finding Valerie OLIVIA: (to security) Dunham, F.B.I. Him too. He's with me. CLUB GIRL: (flirtatious) Now you're my kinda guy. What is that? PETER: It's a hand-held thermal imaging radiometer. It tells me if you're hot. CLUB GIRL: So... PETER: So you're definitely hot. I'm looking for someone with syphilis. CLUB GIRL: Uh, okay. (leaves disappointed) - - (in the lab) - - WALTER: I don't understand. Something's wrong. Something's missing. The rat's body has rejected the cure. Perhaps a protein incompatibility. NICHOLAS BOONE: No, it's not that. I know what's wrong. The contagion required cerebral spinal fluid as a catalyst. And the cure must require some as well. WALTER: Bond the cure to the contagion. NICHOLAS BOONE: Yes, and the only spinal fluid we know for a fact is compatible... is my own. WALTER: Well, no, that's out of the question. It's too dangerous. If you lose more spinal fluid it could cause a brain hemorrhage. NICHOLAS BOONE: No, I was very careful to monitor the amount of fluid I removed. Another twenty- five milliliters should be safe. ASTRID: Walter... we can't. NICHOLAS BOONE: We have no other choice! ASTRID: Walter. WALTER: Prep the table, Agent Farnsworth. NICHOLAS BOONE: Thank you. - - (in the club) - - OLIVIA: Anything? PETER: No, not yet. I got her. She's moving along the back of the bar. OLIVIA: Peter. I can't find her. PETER: She was right there, but she's gone now. OLIVIA: Okay... uh... alright keep looking. I'm going to check-in with Charlie. Hey, Charlie? We had her but we lost her. You got the exit? CHARLIE: Nobody is leaving yet. She's still in there with you Liv. - - (in the lab) - - WALTER: Have you prepared a (mumbles) spinal fluid, Agent Farnsworth? (to Boone) Come on up. Here we go. Gently. NICHOLAS BOONE: Yes. Okay, gently, gently. WALTER: Alright? The Cavern - Capturing Valerie OLIVIA: Charlie... Charlie, I think she's headed to you. CHARLIE: What's she wearing? OLIVIA: Black dress and freakishly blue eyes. CHARLIE: On it. Valerie Boone! Are you Valerie Boone? It's her. Take her down. Alright, we've got her. Clear the area. ASTRID: I just got off the phone with Olivia. Good news, Doctor Boone. They have her. WALTER: Oh, excellent. ASTRID: Doctor Boone? Walter... hmm? WALTER: Get me a T.P.A. injection. You lied to me. You let me take too much spinal fluid. NICHOLAS BOONE: How far would you go for someone you love? ASTRID: Unh! Peter Drives - Valerie Rests (the two drive quickly through the night - to get Valerie to the lab) PETER: How's she doing? OLIVIA: She's going to be out for hours. PETER: Where's the siren on this thing? OLIVIA: There. Is that why you wanted to drive? PETER: Everybody should get to do this at least once before they die. ACT V Peter Drives - Valerie Attacks (a sedated Valerie Boone stirs awake in the back of Olivia's car) PETER: That look says more than just, 'I wish I hadn't have let him drive.' OLIVIA: I was just thinking about Nicholas Boone and what he did for his wife. What he is doing. Jeez, that kind of love. Greg asked Rachel for a divorce, and now he's fighting her for custody. PETER: You know, I never liked that guy. OLIVIA: You've never met Greg. PETER: Yeah, but I met your sister. So I know she deserves better. OLIVIA: And I thought you were a card-carrying cynic. PETER: I am, world class. But there's an argument to be made that beneath every cynic, there is a frustrated romantic. OLIVIA: (Valerie attacks Olivia from the backseat) agh! uhh! (Peter swerves trying to help) ohh! Peter! Peter - my tranq gun - uhh! (Peter fires twice and Valerie is subdued) OLIVIA: Thank you. PETER: I think she liked you. Walter's Lab - The Antidote WALTER: (to Peter as he carries in Valerie) Good. Bring her in, strap her down. OLIVIA: (observing Boone's degraded health) Walter, what happened? ASTRID: He had a stroke. WALTER: Pulse is strong. PETER: Yeah, so is she. WALTER: Agent Farnsworth, thirty c-c's of the antidote, please. (raises Valerie for an injection) Peter. NICHOLAS BOONE: (watches his wife receive the injection. quietly to Olivia) Thank you. OLIVIA: (softly) You're welcome. ASTRID: Okay, now what? WALTER: Now we wait. (Valerie screams wildly and fights her restraints) OLIVIA: Walter... WALTER: No - no! Let her! PETER: Is she?... WALTER: Seems to be working. Agent Farnsworth... prepare a solution, thirty parts saline... and some adrenaline and perhaps a cup of coffee. OLIVIA: Walter. WALTER: hmm? (checks Boone for a pulse) He's gone. - - - - WALTER: (later, as the med techs roll Valerie Boone from the lab, Walter approaches Olivia with a video cassette) Doctor Boone asked me to give this to you personally, Agent Dunham. OLIVIA: What is it, Walter? NICHOLAS BOONE: (on video tape) Agent Dunham, If you're watching this, I suspect I didn't make it. But you and I had a bargain, and, uh, you held up your end. Now, I have made many mistakes in my life, but in the end, I should at least be a man of my word. And I promised you answers. With any luck, you will use them to rectify some of my misdeeds. Now, in the time I worked with Z.F.T., I never dealt with anyone of significant rank within the movement. But I was able to gather some names, including some I suspect you've already heard of. A Classy Jazz Bar BROYLES: Dunham. OLIVIA: Hey. BROYLES: Are you alright? OLIVIA: Yeah. Uh, Nicholas Boone talked. He told us everything he knew about Z.F.T. BROYLES: Did he mention David Robert Jones? OLIVIA: No, he said he'd never heard of him. But he did mention another name that we've heard before. According to Boone, the man who's funding Z.F.T... is William Bell.

PROLOGUE Fringe Division Mobilizes BROYLES: (briefing to a monitor in a room full of agents) For those of you just joining us, what you're looking at is the work of Z.F.T., a terrorist organization responsible for at least a half a dozen biological attacks over the last several months. Everything we know thus far can be found in your packets, including a copy of their manifesto, which elucidates their ideology and their methods - 'destruction by the advancement of technology'. Which in short, boils down to the following, attempting to provoke or prepare for a war. NEW AGENT: War? With whom? BROYLES: That's the question, isn't it? What we do know is that these bizarre acts seem to be increasing in frequency and that their targets are unpredictable, and therefore unprotectable. (as he continues briefing, a distressed young woman flees a large building in New York City) SUSAN PRATT: Taxi. Taxi! (rushing into traffic, she is nearly struck as she fails to hail a cab) BROYLES: We've recently developed evidence which suggests Z.F.T. is funded by an unlikely source, and a name I'm sure you've all heard of... William Bell, Founder and Chairman of Massive Dynamic. SUSAN PRATT: Wait. Wait. Hold the bus! (barely catches a ride) You go up Park, right? Past Lenox Hill Hospital? BUS DRIVER: Yeah, six stops away. Are you feeling okay? SUSAN PRATT: Fine. Let's just go, please. (finds a seat) BROYLES: Those of you assembled in this room now have a single, clear-cut goal - to provide actionable evidence establishing a link between William Bell and Z.F.T. Special Agents Olivia Dunham and Charlie Francis will be assigning you to teams and coordinating the investigation. All efforts and information go through them. Now let's go to work. New York City - Burning Up SUSAN PRATT: (in growing discomfort) Stop the bus. Stop the bus, please. I have to get off now. BUS DRIVER: Ma'am, will you please sit down? I'm not allowed... SUSAN PRATT: ...please stop the bus. I have to get off now. BUS DRIVER: Okay, okay. SUSAN PRATT: Open the door! (she exits the bus) Oh, my god. Please, please help. Somebody. Oh, my god. I can't breathe. Oh, my god. NEARBY PEDESTRIAN: Lady, you okay? (seconds later, she becomes engulfed in flames and flares into a large fireball) ACT I Walter's Lab - ZFT Thoughts PETER: Find anything new and exciting in there, Walter? WALTER: (studies the manifesto) Huh? PETER: Well, you've read the manifesto about a dozen times cover to cover - So, just wondering. WALTER: I need to show you something, Peter. ASTRID: (walks in) Hey. PETER: Hey. ASTRID: What's going on? PETER: I don't know. Show and tell, apparently. (Walter types) What is this? I don't know what I'm looking at. WALTER: This typewriter's Belly's. I remember the day he purchased it. It was raining. PETER: Do you understand what you're saying, Walter? That William Bell doesn't just fund Z.F.T., he wrote their manifesto, and is actual responsible for everything that's been happening? WALTER: Absolutely not. William Bell was many things. He was ambitious. He was egotistical. He was temperamental. But he wasn't a madman. Although the ideas in his manifesto are radical, he wouldn't do this – this - these horrendous things. He would never do it. There are references all throughout to the chapter of ethics. But there is no such chapter. It is missing. And I believe that someone has removed it to suit their own evil purposes. And I can prove it. PETER: How? WALTER: Get another copy of the book. One with all the pages. PETER: There is no other copy. This is the only one. ASTRID: (phone rings) I'll get it. WALTER: He wrote it here... in - in this lab. The – the - it could still be here somewhere - the original. PETER: And what if you're wrong? WALTER: I'm not wrong. And when I find it, you will see. It will absolve him, Peter. PETER: Peter, it's Olivia. (on phone) New York City - Combustion Scene CHARLIE: So this is what I've got so far. Bus driver called 9-1-1, reported an agitated woman got off his bus. Moments later, she caught fire and exploded. Police combed the area. They couldn't find any evidence of an accelerant or an incendiary device. PETER: If there's something strange in your neighborhood... WALTER: ...who you gotta call? OLIVIA: So what do you make of this, Walter? WALTER: Well, from what Agent Francis described, it's possible we're dealing with a case of spontaneous human combustion. PETER: Thought that was just a myth. WALTER: Oh, myth is just an unverified fact. PETER: Maybe she was hit by a tiny meteor. WALTER: It's also possible. Until I get this body back to the lab, I won't be able to say anything with absolute certainty. OLIVIA: Alright, I'll get the coroner to prep the bodies for transport. WALTER: Bodies? Is there another somewhere? PETER: You okay? OLIVIA: (one of two corpses vanishes from her sight) Yea... I just... Federal Building - Nina Visits BROYLES: (picks-up phone in office) Broyles. (listens) Send her in. NINA: Phillip. BROYLES: Nina. NINA: I won't play coy, Phillip. I understand the FBI has opened an investigation into Massive Dynamic. As you can imagine, we spend a lot of money on counter-intelligence. And any probe into our finances raises red flags. So... What are you fishing for? Industrial espionage? Treaty violations? BROYLES: We have evidence that indicates William Bell may be involved with several biological attacks perpetrated this past year. NINA: But that's ridiculous. BROYLES: Perhaps. But as long as you're here, if you have something to offer, now would be the time. NINA: I'm not one of your street thugs that you can bully, Phillip. And William Bell is not a terrorist. BROYLES: I'd like to hear him tell me that himself. NINA: I'm afraid that's not possible. He's traveling. You're wasting your time. William Bell is not the enemy. BROYLES: (as Nina storms out) Is there something else? Walter's Lab - Initial Autopsy WALTER: Matter is just energy waiting to happen. The average adult at rest contains enough potential energy to explode with the force of five very large hydrogen bombs. PETER: You know, theoretically, you're actually right? WALTER: Ho ho ho ho! My son finally agrees with me! Uh, Agent Farnsworth, take a note of that. PETER: Unfortunately, we're just not very good at releasing it. WALTER: No. It needs a spark, of course - a trigger. ASTRID: So what do you think would've released it in her? WALTER: Some say a particle is to blame - the appropriately named 'pyroton'. Maybe we could finally prove that it exists. Peter! Fire up the electron microscope! PETER: Uh, about that, I might've taken that apart. WALTER: What on Earth for? PETER: I needed the parts for a project I'm working on. WALTER: (angry) As I said, potential for destruction in each of us is infinite! Federal Building - A Second Vision BROYLES: (busy on the phone as Olivia enters his office) Yes, Jim, I understand. Right away. OLIVIA: I had you pegged as a creature of habit. (smiling) You changed your office. BROYLES: (bewildered) Come again. OLIVIA: Your desk. You moved it. Uh, we know from the driver what stop she got on. He's worked up an artist sketch rendering. So we'll canvass the area, see if we can I.D. her. BROYLES: What about the other victim? Did the bus driver see her get on too? Were they not together? OLIVIA: I'm sorry. You mean one. There was only one victim. BROYLES: I'm confused. (hands her a photo with a second victim) (she turns as someone enters the room behind her. her vision ends. the furniture is as it was as her supervisor walks in) BROYLES: Agent Dunham. Where are we on this? OLIVIA: (disoriented) Uh, the bus driver remembered what stop she, uh... what stop she got on. He gave us an artist sketch rendering. We're gonna show it around and see if we can I.D. her. SANFORD HARRIS: (barges into the office) What the hell is going on here? BROYLES: Sanford. SANFORD HARRIS: Why is the entire thirteenth floor trying to link William Bell to biological terror attacks? BROYLES: We have evidence that Bell might be implicated. SANFORD HARRIS: Yeah, I know what you have. You have testimony from a dead man who himself was an admitted terrorist. OLIVIA: Well, his testimony confirms what we've long suspected. Massive Dynamic may be involved or behind the events we've been witnessing. SANFORD HARRIS: William Bell and Massive Dynamic are the Defense Department's largest contractors. These waters are much too deep for a fishing expedition. OLIVIA: Are you seriously suggesting that we just ignore-- SANFORD HARRIS: I am telling you to drop this - considering that you have nothing more than an unsubstantiated report from a hostile source. Clear? (walks out) OLIVIA: Are we really going to… BROYLES: …no. Get more evidence. ACT II Walter's Lab - Victim Identification WALTER: Just four centimeters. Ugh. (removes the jaw from the corpse) ASTRID: You know, Walter, working with you, it's amazing the sort of things you get used to. WALTER: You're not the first person to tell me that. ASTRID: Wow. Looks like somebody could've flossed more. Okay. Let's just hope that she has her dental records on file. WALTER: File. Of course. hmm? My filing system. Perhaps that's where I hid the manifesto! ASTRID: You mean like how you seal things in the walls of your old house? Or how you squirrel things away in random deposit boxes around the country? I would hardly call that a 'filing system'. WALTER: I was prone to hide things because I was afraid that someone would unlock all my secrets. I didn't realize that the someone would be me. Where's my geiger counter? I left it here. ASTRID: What, you think a radiation detector's gonna help you find the manifesto? WALTER: No. But I find that the rhythmic ticking - it emits helps me think. ASTRID: Oh, Walter, Peter actually cannibalized that for his project too. WALTER: Oh, no, look, this has got to stop. Lab rule number one, do not borrow Walter's equipment without asking! ASTRID: Walter, we found a match on the victim. Her name is Susan Pratt. Pratt's Apartment OLIVIA: (to the building superintendant as he lets them in the apartment) Thank you. We'll take it from here. CHARLIE: Susan Pratt. She's 29 years old. Single. Worked for a New York Highway Department - tollbooth operator. OLIVIA: That's a lonely line of work. CHARLIE: Doesn't look like she had much of a social life either. She's definitely a table for one. (inspects tiny kitchenette) Hey, Liv. You think there's something wrong with her? OLIVIA: (reviews books on shelf) What do you mean? (inspects closet full of gray and black clothing) CHARLIE: You know, good-looking woman in the prime of her life. No evidence of a boyfriend. Or any friends for that matter. Just doesn't exactly strike me as being normal. OLIVIA: Well, I guess that depends on what your definition of normal is. CHARLIE: Liv. OLIVIA: (from a drawer) Hey, Charlie, I think I found something. She has a $30,000 check from an Isaac Winters. CHARLIE: I found something too. I think you should take a look at this. (entering a charred bathroom) OLIVIA: What the hell happened to her? Walter's Lab - Plausible Cause PETER: Walter, I'm back. WALTER: Did you get it? PETER: No, I told you they don't have it. WALTER: Has to be Frankenberry -- that's what I ate back then -- If I'm to remember where I hid the manuscript, it's simple sense memory, Peter. PETER: But they don't have it. For all we know, they don't even make it anymore. I did, however, get you this. All the artificial sugary sweetness a growing scientist needs. WALTER: Hello, Agent Dunham! Let me guess, you're a Cornflakes gal. Am I correct? OLIVIA: Uh, yeah. Uh OLIVIA: So we went to the victim's apartment and there appears to be evidence of other fires. PETER: So the bus stop wasn't her first incident. OLIVIA: No. Walter. Does that mean something to you? WALTER: It changes everything. We can rule out spontaneous human combustion. For one, I mean, that's strictly a one-off event as you can imagine. PETER: So what does it rule in? WALTER: Pyrokinesis. PETER: Stop. There's no time for jokes, Walter. OLIVIA: Pyrokinesis? PETER: It's not even a real word. It was made up by Steven King. You ever see Firestarter with Drew Barrymore? Little girl who can start fires with her mind? WALTER: Mister King coined the term, but the phenomenon existed long before that. It's not that complicated, really. It's merely a form of telekinesis. The ability to move objects with the mind. PETER: Merely? WALTER: However, with pyrokinetics, they can excite objects at a molecular level. Well - well, look, think--think of--of--of each of these grains of cereal as a molecule. (shakes box) Uh, as the molecules start to vibrate more quickly, they generate heat. Energy. Until that energy must be released! (spills cereal) PETER: Agh. It's a fascinating demonstration, Walter. But it still doesn't explain why it is that Susan Pratt blew up. WALTER: I suspect this was a newfound ability. Well, it--it--it takes training to generate a heat source outside of the body. Without proper control, the energy is turned inward. You see? She had no other options. PETER: So you think that she had a choice to either blow somebody else up or blow herself up. WALTER: Yes. But this poor woman had yet to master her ability. Which made her a powder keg. Emotional stress, agitation, any high anxiety would set her off. OLIVIA: So where does this ability come from? Is it that she was just born different or is it something that someone did to her? WALTER: That is the real question now, isn't it? PETER: I'm not cleaning that up, by the way. (cereal mess) OLIVIA: (answers cell phone) Dunham. CHARLIE: (from the office) We got a hit from that check you found in Susan Pratt's apartment. Uh, it was cut from a law firm. Signed by Isaac Winters. He has an office in Charlestown. Charlestown MA - Raiding Winters CHARLIE: No movement. Why am I not surprised you brought one of those? (lock pick) OLIVIA: Because you know me too well. (picks lock) CHARLIE: If we get caught, I don't know you at all. (inspects abandoned office) Looks like somebody left in a hurry. ANSWERING MACHINE: You have four new messages. SUSAN PRATT: Mister Winters, this is Susan. Susan Pratt. You told me to call you if anything odd started happening. Well, it did, after I took the tests. Please call me back. CHARLIE: I'm gonna call ERT, have them dust for prints. SUSAN PRATT: Mister Winters, it's Susan again. You told me - you told me not to talk to anybody, but I'm scared. What's happening to me? - - - - (curbside, an ambulance races past Olivia as she has a vision of many of the downtown highrise structures ablaze) LOUDSPEAKER: Proceed to the nearest emergency shelter. Attention all citizens. Evacuate the area now. Proceed to the nearest emergency shelter. This is not a test. CHARLIE: (startling her from her trance) Hey, Liv. You okay? ACT III Walter's Lab - Examining Olivia WALTER: You sure you haven't had any LSD? Mescaline? Magic mushrooms? OLIVIA: It wasn't a drug trip, Walter. WALTER: Well, visual hallucinations could be caused by a number of things. Could you look straight ahead, please? Sleep deprivation, a concussion, brain tumor. OLIVIA: I feel like I'm losing my mind. WALTER: Oh, I don't think so. If you were actually going insane, you'd likely have no idea what's happening. Take it from me. When did these episodes start? How did they feel? OLIVIA: First with Susan Pratt's body. Then it was in Broyles' office. The other on the street. The same people, the same places, but bleak. The, uh, the city was on fire. WALTER: Fascinating. There's another possibility, but it's a bit complicated. Deja vu. OLIVIA: It wasn't deja vu, Walter. Not even close. WALTER: Typical protracted deja vu. Prolonged. You're familiar with the -- the pliability of space-time, yes? PETER: Of course. Who isn't? WALTER: One minute will explain. (rolls out a chalkboard) Most of us experience life as a - a linear progression just like this. (draws a horizontal line) But this is an illusion because every day, life presents us with an array of choices. As a result, life should look more like this. (draws diagonal branches from the first line) And each choice... leads to a new path. To go to work. To stay home. And each choice we take creates a new reality. Do -- do you understand? OLIVIA: Yes. But what does it have to do with deja vu? WALTER: Deja vu is--is--is simply a - a momentary glimpse to the other side. Almost everyone experiences it. We feel that we've been somewhere before because actually we have - in another reality. It's another path. The road not taken. OLIVIA: Walter, why me? Why am I seeing these visions? WALTER: I don't know. OLIVIA: Walter, what about William Bell's drug trials? Cortexiphan. You said that it worked on perception. WALTER: Yes. OLIVIA: If it's true - and I was part of the trials when I was a kid, is it possible that it's causing these visions? WALTER: I don't know. But what I do know is that you are a committed investigator. You're a perceptive agent. If you are having these visions, whatever they are, there must be a reason. Trust me. PETER: Really Walter? ...from a man who routinely sees little green men prancing through the lab with Tam o'Shanters on? ASTRID: (interrupts) Hey, I think I found something. (hands Olivia an image of a charred body) It's another victim who died the same way Susan Pratt did. I checked it out and the guy who runs the web site lives in Malden. Malden MA - Visiting Grayson EMMANUEL GRAYSON: (answers door buzzer) Yes. OLIVIA: Uh, my name's Olivia Dunham. I'm a Special Agent with the FBI. We need to speak to Emmanuel Grayson. EMMANUEL GRAYSON: May I see your credentials, please? (she holds them to the view hole in the door) OLIVIA: (seated inside) Mister Grayson, you operate a web site Called "Galaxy Truths" where you claim to uncover conspiracies perpetrated by foreign governments. EMMANUEL GRAYSON: I don't claim. I accomplish. Unlike you two. You're just pawns being used by the government to spread their propaganda. OLIVIA: Look, I can appreciate your opinion, mr. Grayson. I just wanted to ask you a few... PETER: (aggressively) ...no, no. Look. Look. You're right, okay? She's a Fed, but I'm not. I'm just like you. I am a citizen in search of the truth. (to Olivia) Give me the photo. We downloaded this off of your web site. It claims that this person was a victim of spontaneous human combustion. Now you gotta tell us, where did this one happen? EMMANUEL GRAYSON: Budapest. Three weeks ago. The victim was an American graduate student on holiday. The Hungarian police say he was attacked and set on fire. That's not the truth. OLIVIA: Why do you say that? EMMANUEL GRAYSON: Are you familiar with William Bell? OLIVIA: Of course. EMMANUEL GRAYSON: William Bell killed these people. OLIVIA: What do you mean? EMMANUEL GRAYSON: William Bell's company Massive Dynamic is a cover for all manner of unethical behavior. Multi-national, outside the purview of government control. He founded it to continue his experiments with impunity. Among them, secret drug trials. This was one of his test subjects. OLIVIA: Then why would William Bell have him killed? EMMANUEL GRAYSON: Well, he didn't. At least not intentionally. You see, Bell is trying to activate his subjects to see which ones were successful. Some can handle the process. Others can't. OLIVIA: What process? EMMANUEL GRAYSON: To create super soldiers. OLIVIA: Super soldiers? EMMANUEL GRAYSON: Yes. Like Khan Noonien Singh. To defend us in a coming war. OLIVIA: What war? PETER: I'm sorry. The Khan? EMMANUEL GRAYSON: Yes. PETER: As in The Wrath of... EMMANUEL GRAYSON: Yes. PETER: Let me guess. This war, it's against... EMMANUEL GRAYSON: The Romulans. Renegade Romulans from the future. Here to change the timeline. The sworn enemy of The Federation. PETER: The Federation? That would be the United Federation of Planets? EMMANUEL GRAYSON: Yes. PETER: hmm. And you know all this because?... EMMANUEL GRAYSON: I am the son of Sarek. PETER: Which makes you Spock. EMMANUEL GRAYSON: Yes. PETER: Well Mister Spock, thank you for your time. We'll let you get back to the bridge now. EMMANUEL GRAYSON: Live long and prosper. Nina - Called To Action NINA: Okay, yes, you were right. But see that? I'm a big enough girl to admit when I'm wrong. (listens) Oh, but I think we can prepare for that possibility. It shouldn't be a problem. (call-waiting alerts her to another call) Uh, Mister Prime Minister, I'm very sorry, would you mind holding for just a moment? (listens) Thanks. (switches to new caller) Hello. (listens) When? (listens. slightly startled) Well, no. Don't do that. Don't do anything until I get there. (switches to original call) Sir, I'm so sorry. Something has just come up. If you'll excuse me. (listens) Yes. You too. (ends call. then to her driver) Get me to the helicopter fast. ACT IV Federal Building - Confronting a Bully OLIVIA: What if we're overlooking something? What if Emmanuel Grayson was right? PETER: About which part? Being from Planet Vulcan? OLIVIA: No. Forget that. But some of what he said made sense. We already know that William Bell conducted drug trials with experimental drugs. Cortexiphan for one. PETER: Do you have anything stronger for my coffee? OLIVIA: Yeah. Bottom drawer. The cabinet behind you. PETER: And here I was halfway kidding. What? OLIVIA: What your father said about me having these visions for a reason. Maybe there's a clue in them that I'm meant to find. PETER: Meaning what? OLIVIA: We have one victim. Susan Pratt. But in my visions, there are always two bodies. PETER: Who are they? OLIVIA: I don't know. Unidentified. But maybe if I could get back to that parallel universe, as Walter describes, I can I.D. that second charred body. Maybe what's happening there could help us understand what's happening here. SANFORD HARRIS: (slips into the room and the private conversation) Happening where? OLIVIA: Nowhere. SANFORD HARRIS: Your new assignment. (hands her a paper) PETER: Always a pleasure seeing you, sir. (raises his mug) OLIVIA: (reads the paper and storms down the hall after him) Hey. Wait a sec. Harris. Can you stop? You want me to submit for a psych exam? SANFORD HARRIS: That's right. I'm concerned for you. OLIVIA: Why? SANFORD HARRIS: I've read your briefs. And I'd say your analysis borders on the paranoid. Besides which, your behavior's been noted as erratic and driven by emotion and not just by me. OLIVIA: ...oh that is not what this is about! My colleagues need to trust me. They need to depend on me. Not wonder in the back of their minds whether or not I'm losing mine. SANFORD HARRIS: ...look, this job is intense. OLIVIA: This has got nothing to do with my ability to do my job. This is about something else. This is about you and me. SANFORD HARRIS: This is exactly what I'm talking about because right now, you are acting emotionally. OLIVIA: Yes, you're right, I am. You know, I've tried to move past our history. I've tried to reason with you in the interest of a working relationship. But you seem to get off on this. So fine. I don't give a damn anymore. But I am not going to let you undermine my ability to do my job. SANFORD HARRIS: You can color this any way you like, Dunham. But I am still your superior officer and that evaluation is a direct order. A Telling Vision (Olivia heads down the hall away from Harris and crumbles the letter as she reaches the situation room when - another vision starts, the phone rings, and changes color. The agents are suddenly very active. Charlie is barely audible but becomes clearer as Olivia approaches) CHARLIE: We need to get their statements... you put a shoot to kill order out on the perps. You understand me? Don't get close to them. OLIVIA: (getting his attention) Charlie. CHARLIE: Yeah, what's up? OLIVIA: Uh, I was wondering where we were on the Susan Pratt case. CHARLIE: Pratt - nowhere. Same place we were yesterday. OLIVIA: I'd like to look again. CHARLIE: You have half of Boston in quarantined lockdown - and you're worried about a pair of charred twins? OLIVIA: Twins? (she looks at a photo Charlie hands her. two corpses suddenly change to one corpse as her vision ends and she bumps into a busy coworker) BUSY AGENT: Sorry. Didn't see you. - - - - CHARLIE: We already ran Susan's bio, and we didn't find a sister. OLIVIA: I know. CHARLIE: Now what makes you think... TECH AGENT: ...look. You were right. Nancy Lewis. It says here that she had a twin sister who went missing eleven years ago. CHARLIE: Maybe she just ran away. Changed her identity. OLIVIA: She must've been running pretty hard. Where does Nancy live? TECH AGENT: She's local. 934 Whittier. OLIVIA: Thanks, Charlie. Meeting Nancy NANCY LEWIS: (answers a knock at her apartment door) Hi. Can I help you? ISACC WINTERS: Nancy Lewis, my name is Isaac Winters. ACT V 934 Whittier - Apartment 210 OLIVIA: (arriving at front door of Lewis' apartment and knocking) Nancy Lewis? FBI... we need to ask you some questions. (to Peter) It's unlocked. (enters with pistol drawn to find disarray) Nancy? (searching the room) PETER: Coffee's still hot. OLIVIA: (calls on cell phone) Uh, this is Dunham. I need immediate forensic dispatch to 934 Whittier. Apartment 210. PETER: Dunham. Take a look at this. (at the window) This glass has been melted. OLIVIA: You think she's starting fires like her sister? What is it? PETER: I got an idea. - - as the forensics team roams the apartment - - OLIVIA: (quietly on her cell phone) I'm not sure. PETER: (returns with a glass cutter) I've got it. MISTER PROTOCOL: (to Peter) Please don't touch that window. We haven't pulled prints yet. PETER: You're not gonna need to. MISTER PROTOCOL: I think the protocols and the processing of evidence are pretty clear. PETER: Let me guess, you're new around here. OLIVIA: Is everything alright? PETER: Yeah, everything's fine. Just tell Mister Protocol to let me do my job, please. OLIVIA: (to Mister Protocol) Uh, it's okay. He's with me. Are you, uh, ever gonna tell me what it is that you are actually doing? PETER: Help me with this first. Hold the glass up here. Gently. (as he scribes a foot wide circle of glass from the window) WALTER: (arriving at the crime scene with equipment. to Astrid) I sure hope this is important... I was just about to take my bath. PETER: Hey. You have any problem taking it apart? ASTRID: Walter tried to take back the electron microscope. But I convinced him that you needed it. So what's going on? PETER: Nancy Lewis was kidnapped. We're gonna figure out who did it. WALTER: (as Peter assembles the equipment, Walter finds a photo in the apartment) I've seen this woman before. But why does she look so familiar? PETER: Maybe because you dissected her twin sister yesterday. Remember? Blond girl about 5'- 7". Really well done. Melted fillings. WALTER: Oh, right. PETER: Astrid can you plug that in to the DVI input? ASTRID: (takes electrical lead) Yes. PETER: Okay. Here's the deal. Walter, the project that I've been working on was for you. WALTER: For me? PETER: It reconstructs audio. I wanted you to be able to digitize some of those old water-damaged vinyl records you have. I know how much the mean to you. WALTER: Thank you, son. (to Astrid) You know, when he was five, he -- he built me a popsicle napkin holder. Dreadful design. Utterly useless. PETER: Thank you. WALTER: But this -- this is... PETER: You're welcome. Anyway, the basic principles at work here are very simple. You all know how a record player works, right? ASTRID: Yeah. A needle goes over the grooves of the vinyl and the vibrations it picks up are amplified into sound. PETER: Exactly. So the principle is the same. Except for instead of a needle, I use the electron microscope to take a high resolution, digital image of the grooves on the surface of the record. That image is then transferred into the computer, which translates it back into audio that we can hear. ASTRID: You sound just like him. PETER: I'm guessing that with the software modifications I gave you, we're gonna be able to do the same thing with this. OLIVIA: So you're saying that you can play back the glass somehow. PETER: Yeah. Walter says that these pyrotechnic abilities only occur during times of emotional stress. I think that when our twin was kidnapped, the heat that she generated 'caused that window to liquefy slightly. Which means that any sound that was in this room at that time would've left microscopic impressions in the molten glass. ASTRID: Like the grooves on a record. PETER: Exactly right. Now if you'll please scan the glass. ASTRID: Okay. You're ready to go. PETER: Alright. So it's transferring into the sound processor now. Let's see what we got. (a loud, sharp sonic wave pierces the room and the glass that is being tested breaks) WALTER: That could've been one of my records. PETER: It's okay. It's okay. I already have a digital scan of the glass in here. Let's try that again, shall we? Just slow it down. I don't understand. It should be working. (sounds are easier to understand) WALTER: Yes. Yes. Now attenuate for ambient noise. (Peter turns a knob and a voice is audible) NANCY LEWIS: (digital recording reveals a physical struggle) Get out of here. Stay away. What do you want?! Please! WALTER: (saddened) Poor dear. OLIVIA: Peter, can you play it back from when he starts to talk? PETER: Yeah. One sec. (rewinds) OLIVIA: Okay, just there. Where he's dialing. (opens her cell phone) Okay, can you make that clearer? PETER: Sure. Let me just isolate the sound. Are you thinking what I'm thinking? OLIVIA: (she records the dialing sequence from the abduction of Lewis) My cell phone app can dial the number from the tones. (she replays the tones and blind dials to...) SANFORD HARRIS: (answering his cell phone) This is Harris. ACT VI Federal Building - Following A Suspect SANFORD HARRIS: (walking out of the situation room) Hey Charlie. I'm headed out for a few hours. If anybody needs me, I'm reachable by cell. CHARLIE: You got it. (picks up phone to make a call as Harris exits) OLIVIA: (curbside in her vehicle as Harris emerges) I got him, Charlie. He's headed West. CHARLIE: I'm right behind you. (exits the building and enters a separate vehicle) OLIVIA: (after following Harris for minutes in her vehicle, on her radio) Charlie, he's approaching a warehouse off Moore and Adams. CHARLIE: Roger that. We're turning onto Adams right now. (parks near Olivia as she watches through binoculars. approaches her vehicle and knocks on her window) OLIVIA: Hey. He used a remote to get in. CHARLIE: I guess we go with the old-fashioned way. (the team jimmies-open a door to the warehouse and enters with pistols drawn. Warehouse - Saving Lewis SANFORD HARRIS: (walks to a control panel and looks into an isolation room) Where are we? ISAAC WINTERS: (monitoring Nancy Lewis strapped to a bed) No thermal activity yet. Her body temperature's normal. We'll know more soon. SANFORD HARRIS: Well, he's losing patience. We need her active. Get it done. (split into two teams of two, Olivia and Charlie search separate parts of the warehouse. Olivia finds a room with pictures of victims on the wall. she notes that her picture prominently displayed, as well. her tactical partner is dropped by two gunshots from a guard. hidden in the room she exits and shoots the guard. CHARLIE: (on the radio) Liv, I heard gunshots. You okay? OLIVIA: Charlie, we've got a man down. (she continues her search further into the warehouse and is shot at by Winters. she returns fire, hitting him in the chest) Charlie, I've got her. Back Northwest corner. (she explores further and finds the isolation room. (to Lewis) I'm Olivia. I am with the FBI. NANCY LEWIS: (gasping) help me. Please. OLIVIA: Don't worry. You're going to be okay. (unaware of Harris' presence, Olivia is locked into the room with Lewis) No! (bangs the door) Harris, open the door! (marches to the observation window, plants herself in front of Harris and aims her pistol at him, point-blank) God Damn it Harris! Open the door. (she fires twice into the safety glass with no effect) NANCY LEWIS: I can't breathe. (hyperventilating) SANFORD HARRIS: (taunting her over the intercom) Well, look at that. Good work, Agent Dunham. You managed to activate her before we could. OLIVIA: Damn it, Harris, open the door. She needs help. SANFORD HARRIS: Not if she can control it. And if not, she'll explode and kill the both of you. So one problem solves another. NANCY LEWIS: aaah! I'm burning up! OLIVIA: You're gonna be okay. Just calm down. Just calm down. NANCY LEWIS: I'm burning up. okay. SANFORD HARRIS: (on his cell phone) Yeah, it's me. I need to speak to him. OLIVIA: Hold on. I'm gonna get you out of here. SANFORD HARRIS: It worked. She's hot. We have an active. But she's a loss. She's highly unstable. NANCY LEWIS: Why is this happening to me? I don't understand. OLIVIA: They did something to you -- maybe to both of us a long time ago when we were just kids. And right now you're feeling the effects from that. But you can control this, okay? You can control this and I'm gonna help you. I just need you to focus the heat away from us. NANCY LEWIS: I can't. OLIVIA: Yes, you can. Just focus. Focus on anything. Just focus, Nancy. You can do this, Nancy. NANCY LEWIS: I can't. OLIVIA: You can. SANFORD HARRIS: (still on phone in other room) Yeah, I'll take care of it. There won't even be a trace. (begins to sway in distress as Lewis stares at him) I, uh, uh... (his arm ignites, then the observation room explodes through the safety window into the isolation room. Olivia drags Lewis to the ground, barely avoiding the fireball) OLIVIA: (sitting-up in the aftermath) Oh! It's okay. Everything's gonna be okay. Oh, yeah. You're gonna be okay. (hugs Lewis as she sobs) Oh, it's okay. It's okay. Late Night Boston - Pastry Shop PETER: (excuses himself from the table in an upscale bake shop) Okay. I think you got all of that, Walter. I'm gonna use the bathroom. Be right back. (to an employee as he finds his way to the back) 'scuse me, could you keep an eye on him... make sure he doesn't leave? WALTER: (to Olivia as she approaches from another direction) Agent Dunham. OLIVIA: Where's Peter? WALTER: Peter's in the bathroom. OLIVIA: (sits down with him) What the hell did you people do to us? (opens a portfolio, removes and displays photos) You and William Bell, Walter. What did you do to me? Susan Pratt and Nancy Lewis are from Jacksonville, Florida. Just like Nick Lane, the guy that you conducted drug trials on when he was a kid. The drug trials that you conducted on me. WALTER: They were Belly's. They were his trials. OLIVIA: You knew. Walter, you were there and you knew. WALTER: We were trying to help. We meant no harm. OLIVIA: No harm? You were drugging children. Three-year-old children, Walter. Why did you do it? WALTER: We were trying to prepare you. To make you capable. Able. Something terrible is coming. OLIVIA: What? WALTER: I don't know. OLIVIA: Walter, what did you do to us? WALTER: I don't know. OLIVIA: Damn it, Walter, you do! WALTER: No, I don't. I don't. I - I can't remember. I'm sorry. (as she gathers the photos and departs the way she came in) PETER: (returns to the table after a only a short while to find Walter nearly in tears) Hey. Hey. Walter. What just happened? (Olivia returns to her vehicle and sits in solemn reflection) Broyles' Residence - A Late Visitor BROYLES: (answers the ring at his front door) Nina. What is it? NINA: These were all taken in the last twenty-four hours. (displays pictures containing The Observer) You know what happened the last time he appeared with this kind of frequency. We need to talk. Walter's Lab - An Unexpected Visitor (after playing one of his old phonograph recordings, Walter has a glimmer in his eye as he locates a document in an old file box) WALTER: (responding to the door closing, without looking to see who has entered) Astrid, I found it. The original manuscript with the extra pages. I was right. Listen to this. '...Our children are our greatest resource. We must nurture them and protect them. We must prepare them so they can one day protect us.' You see, I was... THE OBSERVER: Hello, Walter. WALTER: (casually) Oh. Hello. THE OBSERVER: (stoic) It's time to go. WALTER: (humbly) Is it time? I'll get my coat. Elevator Ride - An Assassination (approaching locked doors in an elegant condominium, Nina is rung in by the doorman) NINA: Evening. (to the doorman as she hails and enters the elevator) (as she exits the elevator, two large men wearing ski masks approach her. one levels a silenced pistol at her chest and fires)

PROLOGUE New York City - Emergency Room EMT #1: (wheeling in a gun-shot-wound patient) G.S.W., left-upper quadrant, possible hemothorax. BP is dropping, 80 over 50. Pulse 120. DOCTOR: Breath sounds? EMT #1: Decreased on the left side, labored but stable. DOCTOR: Get me a chest scan. EMT #1: Doctor... there's something else. (exposes a damaged robotic arm) Federal Building - Mobilizing OLIVIA: (enters the situation room) Sir, I just heard about Nina Sharp. Do we know who shot her? BROYLES: We’re trying to figure that out. The security guard and doorman in the lobby are dead. No I.D. on the gunman. OLIVIA: Is she gonna be… BROYLES: …too early to say. AGENT: (holding phone) Sir. No official statement from Massive Dynamic or William Bell. BROYLES: Thanks. That's no surprise. If they say the C.O.O. was shot, their stock will take a hit. CHARLIE: (points to a monitor) Hey Liv, security footage just came in. We had video tech assemble the three video cameras. They shoot the night guy, they replace him… then this guy comes in and they all head upstairs. NINA: (on video footage, greets her doorman) Evening. CHARLIE: Nina Sharp comes in six minutes later. (image of Nina collapsing back into the elevator. her assailants follow) Then it goes black for four minutes. OLIVIA: What did he do to her? GARBLED VOICE: Take out do it here. Take out the we can do it here. BROYLES: Whatever it was, it only took them four minutes. CHARLIE: Who is he? OLIVIA: Can we enhance what he said? TECH AGENT: Sure. WEAK VOICE: Take out the camera. We can do it here. Take out the camera. We can do it here. Take out the camera. We can do it here. OLIVIA: Run it through voice recognition. STRONGER VOICE: Take out the camera. We can do it here. Take out the camera. We can do it here. DAVID JONES: Take out the camera. We can do it here. Take out the camera-- OLIVIA: (image and file appears on the monitor) David Robert Jones. OLIVIA: (privately with Broyles) Why is he wearing bandages and the others are wearing masks? BROYLES: Not easy to walk around when you're on half the world's watch list. Maybe he's recently tried to change his appearance. OLIVIA: But all our information suggests that Jones is working for Bell. So why shoot his number two? It doesn't make any sense. BROYLES: Maybe our information is wrong. OLIVIA: Why don't we go straight to the source and bring William Bell in for questioning now? BROYLES: At this point, I don't think that-- OLIVIA: We have solid intelligence that William Bell is funding these horrific events that we've seen, most of which have been carried out by Jones. BROYLES: I'm not... OLIVIA: ...at this point, I don't care how powerful William Bell is or how deep his political connections go, he is not above the law. BROYLES: Dunham-- OLIVIA: Sir, with all due respect, I have too much in this, professionally and personally, that if you stand in the way now, I -- BROYLES: Dunham! I came in here to begin making the calls I'm going to need to make in order to get the interview that we both agree is necessary. And I would also request that you stop cutting me off every time I'm about to tell you to stop drilling, you've struck oil, as I was going to do when we first came through that door. (answers phone) This is Broyles. (listens, hangs up) Nina Sharp is out of surgery. Walter's Lab - Missing Scientist ASTRID: (to Peter as he arrives) Hey. PETER: Hey, where's Walter? ASTRID: With you? PETER: unt-uh. I went to check on him this morning, his bed wasn't even slept in. I thought he'd worked here all night. ASTRID: I thought he went home with you last night. OLIVIA: (just arriving) Hey, I need to talk to Walter. Is he here? PETER: Yeah, take a number. ASTRID: I'm gonna check the cafeteria, see if he slept there again. PETER: Okay. (to Olivia) You don't look so good. OLIVIA: David Robert Jones shot Nina Sharp. I wanted to see if -- PETER: (calling out) Hi--hi, it's Peter Bishop calling. I was wondering if you maybe have an eye on my father? He wondered off again. (listens) Yeah. Look, can you do me a favor? Could you go check down in the marine biology lab? He sometimes spends the night down there, cleaning out the tanks with Mrs. Ericson. No, I'll wait--I'll wait. Thank you. OLIVIA: Do you think he left because of what I said? PETER: You mean because of what he is referring to as 'the assault in the pastry shop?' I don't know, it's hard to say. OLIVIA: It was about Cortexiphan, Bell's trials. I wanted to see if Walter knew what Bell did to me. PETER: I know, he told me. You caught him off guard. And I understand you had your reasons for saying what it is that you had to say. And I know he understands that too. ASTRID: (returning) He's not there. No one's seen him. PETER: (caller is back on the line) Hello. (listens) No luck, huh? Okay, well thanks for your help. OLIVIA: Peter... I -- I'm sorry that I was so hard on him. PETER: Don't worry about it. He's probably back at the hotel right now, working his way to the bottom of a pint of rocky road. (Walter visits a gravesite, The Observer waits nearby) Intensive Care - Nina Recovers (she awakens following surgery and looks at her spastic robotic arm. she is startled by a visitor) BROYLES: I think to repair that, one requires a special skill set. NINA: Phillip. BROYLES: You've been shot. We discovered it was Jones. You're lucky. Not too many gunshot victims have come through this way have Kevlar parts in their rib cage. You'll be up and about in no time. What did he want, Nina? What did he do to your arm? NINA: Get me Agent Dunham. I need to speak with her right away. (elsewhere, Jones and his crew stop at a busy city intersection and unload equipment) OLIVIA: (to the security detail outside of Nina's hospital room. flashes her badge and enters) Agent Dunham. BROYLES: (a team in medical garb hovers over Nina's bed) Specialists from Massive Dynamic. NINA: I'll be right with you, Agent Dunham. BROYLES: (sarcastically) Let's just say this treatment doesn't fall under an HMO. OLIVIA: No. (Jones continues to set up his equipment in the street) NINA: (out of bed and ambulatory) William Bell is not the problem, and he's certainly not the head of a terrorist organization. OLIVIA: Well, I'll make that judgment. Thank you. NINA: Well, it's true Jones used to work for William Bell 15 years ago. In fact, he was one of our first employees at Massive Dynamic. But he was let go. OLIVIA: Why? NINA: The details are not important. Suffice to say that Jones felt spurned by the rejection. William was a father figure to him, a respected mentor. I would go as far as to say that all the death and destruction that Jones has caused up until this point has been a way of proving something to William. OLIVIA: To prove what? NINA: Jones always felt that he was special and that no one recognized that, certainly not William. OLIVIA: So before the shooting, when was the last time you saw David Jones? NINA: Oh, I haven't seen him for years. But after he broke out of prison, he was contacting our offices, requesting meetings with Doctor Bell. Over the past few weeks, his calls have become... rather extreme. OLIVIA: You've been in contact with a known felon? NINA: It was an internal matter. Clearly we thought we could manage this better than we did. BROYLES: Apparently, Jones is ill, dying from the teleportation from his prison break. Nina believes Jones' agenda is to kill William Bell when he finds him. OLIVIA: Then Bell needs to come in. We need to put him into protective custody. NINA: Not possible. OLIVIA: Why not? Where is he? NINA: I can't say. OLIVIA: This is ridiculous. NINA: Listen to me Agent Dunham. I can't say because I don't know. I haven't seen William Bell for months. He's been communicating with me strictly electronically. But what I do know, though... is speaking with William Bell has become more than a professional matter for you. In fact, I'm counting on that. Stop Jones and I will personally arrange a meeting between you and Bell. But if Jones gets to Bell first, I'm afraid all the answers you're searching for... die with him. OLIVIA: What did Jones want from you? What did he do to you in the elevator? NINA: (looks at her arm) He stole a very powerful... energy cell that Doctor Bell hid within my arm. OLIVIA: What can he do with it? NINA: Unfortunately, the question is... what can't he do? Busy Intersection - Opening A Window (operating the power equipment, passers-by are distressed by the sonic pitch being created) JONES AIDE: Coordinate tracking is complete, sir. You can increase sonic frequency. It's locked in. DAVID JONES: Stabilize, damn it. (a rift appears on the street and a large truck drives through it from the other side) JONES AIDE: The coordinates are separating, sir. It's not working, they're still separating. We're losing it. We can't hold it open. (the truck drives through the rift and the anomaly collapses on the rear of the vehicle, shearing off the back of the trailer. the cab careens into traffic, strikes a car and skids to a halt, just feet from Jones) DAVID JONES: It's too thick here. These are the wrong coordinates. (stoically removing his glasses, he exposes he mangled face) Try again, please. ACT I A Desolate Beach Near Grafton THE OBSERVER: Do you recognize this? (hands over a vintage coin) WALTER: How did you get that? THE OBSERVER: This coin looks similar to the one you're thinking of. But it is from another place. There is more than one of everything. I have said too much, I am not supposed to get involved. I have taken you as far as I can. Does this house look familiar to you? WALTER: Yes. THE OBSERVER: Do you remember what you have to find? (studies Walter's bewildered expression) You must try to remember. There isn't much time. Walter's Lab BROYLES: (enters with a friend) Agent Astrid Farnsworth? I'd like you to meet Nina Sharp. ASTRID: Hello. Uh... How are you feeling? NINA: The extent of my injuries was greatly exaggerated. BROYLES: We wanted to ask you a few questions about Doctor Bishop. ASTRID: Okay. NINA: Has he been acting strange lately? ASTRID: Walter acting strange... um... no stranger than usual. BROYLES: And did he speak to anyone, or has anyone recently contacted him that you've never heard of before? ASTRID: No. Should I be concerned. PETER: (enters from a side room) Should she be? NINA: Peter, hello. PETER: Miss Sharp. So what's going on here? BROYLES: Agent Dunham told you about the attack by David Robert Jones? PETER: Yeah. NINA: Jones is in possession of something your father may... know something about. BROYLES: When was the last time either of you saw Doctor Bishop? PETER: It was last night. Why? You think Jones has something to do with his disappearance? ASTRID: Doctor Bishop gets lost more often than you would imagine. BROYLES: mm. I'm sure you're right. (answers phone) This is Broyles. NINA: (phones the office) It's me, I need a Priority One grid search. Target is Walter Bishop. New York Intersection - Investigating CHARLIE: (arriving) What the hell happened? Where's the other half of the truck? WITNESS #1: Suddenly, there was this shimmer, like a curtain almost, or a window. OLIVIA: My colleague said you saw a man with a machine... and what did it look like? WITNESS #2: The man was holding, like, this black square. Like it was scanning something. WITNESS #1: This truck, it just -- just came out of nowhere. It just appeared like it came through the window, and what was on the other side of it was different. WITNESS #2: It was emitting this sound, like a loud noise. It didn't look like it was doing anything, but, um... it did. OLIVIA: Do you remember what he looked like? WITNESS #2: No, he was wearing a mask. OLIVIA: Are you sure it was a mask and not bandages? WITNESS #2: Yeah, more like bandages. Walter's Lab - Nina Contributes BROYLES: (to Peter) Take a look at this. (image retrieved from the fax) NINA: This image of your father was taken three hours ago, near East Douglas and Grafton. Massive Dynamic maintains access to all the cameras we manufacture. This security footage was from the local commuter train station. PETER: I think I'm starting to understand a little better. This is near a beach house that we own. Walter used to love it up there 'cause it's quiet. My father has had a particularly rough couple of days. I'm not sure that everything's making sense to him right now. NINA: We have agents canvassing the area. If you give us the address -- PETER: Actually, if you don't mind, I'd rather go up there and bring him back myself. I think that's for the best right now. BROYLES: Of course. PETER: Thanks. Intersection - Data on the Truck FBI AGENT: Agent Francis... (hands over a sheet of paper) The driver died on impact. Blunt force trauma to the head. That's what we got so far. CHARLIE: You sure this is right? FBI AGENT: Yeah. OLIVIA: What? CHARLIE: The prints aren't coming back on the driver, the truck isn't registered in New York or anywhere else. The VIN number, the serial part numbers, they don't exist. OLIVIA: What does that mean? CHARLIE: This truck was never made. How is that possible? Where the hell did it come from? Beach House - Finding Walter PETER: (drives up and walks in the open door) Walter? (looks at old keepsakes) Walter? (finds his father in a back room) Walter? WALTER: Hello, Peter. PETER: Walter, what are you doing here? You had us worried. WALTER: I'm looking for something. I think it... It might be in this house. And it's very important. PETER: Okay. What are you looking for? WALTER: I just can't recall, son. That's the thing. Federal Building - Broyle's Office OLIVIA: You're not telling us everything. If Jones is looking for Bell, then what does an energy cell and a truck coming from nowhere have to do with it? NINA: Well nothing comes out of nowhere, Agent Dunham. OLIVIA: Then where does it come from? NINA: I think you already know that. And I think you already suspect where William Bell is. OLIVIA: Are you saying that you know where Bell is? Stop playing games with me. Tell me where he is, or I assure you I will turn this world over looking for him. NINA: Well, that's just the problem, Agent Dunham. William Bell is not in this world. ACT II (at a soccer field in Providence, play is vigorous. Jones arrives in his van) Federal Building - Convincing Charlie CHARLIE: You're saying that William Bell disappeared into a different universe? Like Dorothy going to Oz? OLIVIA: Well, Walter calls it an alternate reality. Do you understand? CHARLIE: Not remotely. You're saying that William Bell is not on this planet. NINA: No, he is. Just another version of this planet. OLIVIA: Have you ever had déjà vu? CHARLIE: Living a moment you've already lived before? Yes. What does this have to do with where Bell is? OLIVIA: Well, déjà vu is like a glimpse into the other side. You feel like you've been somewhere before because actually in another reality you have. BROYLES: But déjà vu is just a window. It's possible some individuals may be able to do more than just see into the other world. They may be able to travel there. OLIVIA: So the incident on the street -- that's why we can't identify the truck. Because it came from the other side. NINA: That's what Jones is using the energy cell for. He's trying to cross over, to get to Bell. BROYLES: (answers phone) Broyles. OLIVIA: (answers phone) Dunham. CHARLIE: (answers phone) It's Francis. BROYLES: (to caller) Where? Bishop Beach House - Frustration PETER: Walter, just -- just calm down. WALTER: Yes, Peter. I started something a long time ago, I did -- I did, it's the truth, I did... and there is no getting past that! PETER: Walter. WALTER: (searches feverishly) And I have to finish it. PETER: Walter! Walter. WALTER: Damn it. PETER: I need you to take a breath and calm down. WALTER: In this damn house. It's so-- it's in my mind. PETER: Walter. I need you to take a deep breath. WALTER: How do you--? I can't find it and I don't know where to look. I don't know where to look... and it's so important to look. (kicks wall) I don't know where to look. PETER: Walter, Walter, where are you g -- Walter! Where are you going? Walter, look, it's getting late. We need to head back. WALTER: No, not yet. (calms down) PETER: You know, I remember when we used to come down here during the summers. Mom and I. You were always still working back in the city. I'd stand out here on the beach for hours, looking at the ocean. It used to seem like it went on forever. And on Saturdays... I'd always wake up just before my alarm. I could smell the pancakes... which meant that you were here. I'd creep down the stairs, and there'd you be... standing over the stove, flipping pancakes. You seemed so big back then. I'd just stand there watching you. And you'd always flip one of the pancakes. WALTER: I made them in the shape of whales. They were your favorite! Yes. Peter, I remember. Thank you. I know why I'm here. I know where it is. Soccer Field - Crime Scene CHARLIE: Okay, so tell me exactly what you saw. SOCCER PLAYER: I was standing there by the field. Lance went back, you know, to get the ball. That's when I saw it. It's like a see-through wall appeared. It sort of shimmered, like a heat wave, you know? Like something was there, but it wasn't. CHARLIE: What do you mean it was there and it wasn't? SOCCER PLAYER: It was like a window, but warped. Then it shut. CHARLIE: Thanks you. OLIVIA: (approaches) Hey. CHARLIE: Okay. So him and his friend are playing soccer. Kid's running with the ball. All of a sudden they see a shimmer of light. Kid hits the shimmer, and then he just sort of collapses. OLIVIA: And did anyone see Jones? CHARLIE: No. But there's a bit more to go. (to the forensics technician) Go ahead. Okay. How does something like that happen? (Lance is uncovered and is missing his head, right arm and right shoulder) I can't believe I'm gonna be saying this. (in disbelief) Let's assume that Jones is trying to make this doorway into another universe... OLIVIA: ...Why here? I mean, first New York, now here. What do they have in common? ACT III Federal Building - Researching OLIVIA: (enters the situation room) Hey Chad, what you got? AGENT CHAD: Third floor says they can't find a connection between the incident in New York and the one on the soccer field... OLIVIA: Yeah, I know. I know. Look, I want you to go through our database, and cross-reference any incidents connected to science, biology, or unexplained phenomenon and have the file sent to my office, please. AGENT CHAD: Dating back how far? OLIVIA: All of them. OLIVIA: (to the helpers bringing in stacks of files to her office) Uh, just put them down there, thank you. You can roll that one into the corner. (opens files and starts to post a master map of incidents) OLIVIA: (sees a pattern and heads to Broyles office to inform him) Sir, we need to call Nina Sharp. I think that I found a connection between what Jones did in New York - and that park in Providence. Discover at the Bishop Beach House PETER: (as his father moves old storage items) Walter, tell me what you're looking for. (takes a stack of items) Here, I got it. WALTER: (discovers an old foot locker) Oh! It's still here. I was beginning to be afraid that... (finds a lock box inside with a vintage coin on top of the box) Peter, this is why we're here. (struggles to open it) It's locked. - - Nina joins Olivia in the research - - OLIVIA: This is a record of all local incidents related to The Pattern. Some of these go back more than twenty years. NINA: But we've done this ourselves at Massive Dynamic. A dozen of our top analysts have spent the better part of two years -- OLIVIA: Yeah, and there's seemingly no obvious logic or predictability. It took me a while to see it myself. But... these are the spots where Jones used his device. Now look at this. (highlights locations on the monitor and computes a spoked pattern around several central locations) That can't be a coincidence. BROYLES: So what does it mean? NINA: I think I may know. - - The Bishops continue - - PETER: (picks the lock on the security box) Got it. (Walter removes a small, hand-held electronic device) What exactly is that? WALTER: When Belly and I were younger men, we regularly ingested large quantities of L.S.D. PETER: You don't say? WALTER: We became convinced what we saw while on the drug was real. We believed that we were catching glimpses of another reality, another world just like ours but slightly different, populated by slightly different versions of ourselves. We all experience it momentarily as deja vu. And Belly and I could prolong it with hallucinogenics. But the question of course was -- how to get there without LSD. Belly, as you know, theorized that young children have the capacity to see these other worlds naturally. PETER: I know, you already told me about that. Bell's experiments with Cortexiphan. WALTER: Yes. He theorized that properly nurtured, these abilities could be heightened, intensified, and that in time his subjects may be able to travel from here to there. PETER: Over there? You mean an alternate world? WALTER: Around this time, something was lost to me, Peter. Something precious. I became convinced that if only I could cross over myself, then I could take from there what I had lost here. PETER: And what was the plan? You were just gonna open up a hole and then walk over to the other side? WALTER: No... it's not that simple. You have to find the right place first. - - Nina continues briefing Olivia and Broyles - - NINA: Finding the right place to cross over is the key. Doctor Bell once posited that our world has ‘soft spots’, places where the fundamental constants of nature -- the speed of light, gravity, the mass of a proton, for example -- have begun to decay. As a result, in these particular areas, the membrane between the realities is thinner, almost porous. The Bermuda Triangle is one, but there are others. And until recently, these areas were extremely rare. OLIVIA: What do you mean "until recently"? What happened? NINA: We happened, Agent Dunham. Scientific progress, advancing technologies... by meddling with the laws of nature, has hastened the decay of these constant fundamentals and increased the number of soft spots. BROYLES: So you're suggesting Jones is looking for one of these ‘soft spots’. NINA: Yes. In the belief that by releasing the right kind of energy, and aiming it exactly at the proper spot, he could effectively break through. - - Walter continues briefing Peter - - WALTER: Of course there's a problem opening a hole to another reality. In theory, that would also allow things from there to pass over here, which could be dangerous. And so -I also built a plug. PETER: A plug? WALTER: Actually more a patch to close the hole should the need ever arise. (holds out the device) This is that patch, Peter. This is what I had to find. PETER: Okay, just so I'm clear, somewhere out there, there is a hole to another reality, and you need to plug it? WALTER: Yes, I'm afraid so. PETER: Well, do you know where it is? WALTER: Yes. Yes, I do, Peter. Reiden. Reiden Lake. - - Nina offers to get more data for Olivia - - OLIVIA: We have to identify another soft spot, then we'll know where he's going. NINA: We should expand the search parameters. Did you map events beyond the Eastern Seaboard? OLIVIA: No, they're not in our database. NINA: I'll call my office and have the files transferred to your system. OLIVIA: Which of these events are the oldest? Do you remember? I mean, these events are somehow consequences of ‘soft spots’ -- BROYLES: Well... these are the first recorded incidents. They all go back more than fifteen years. NINA: Becca's Meadow, that was the site of the first incident we know about. OLIVIA: Wait... all of these incidents point to here. (points to a hub location on the monitor) That's where he's going. Reiden Lake. Reiden Lake DAVID JONES: Get all the gear, get set up. (his accomplices start unloading a small van in a wooded area) Come on, men. We're going to the other side. ACT IV Reiden Lake - Driving In WALTER: It's just the other side of the lake, the place where I opened the hole. PETER: That's awfully convenient. WALTER: Not convenient at all. That's why I bought the beach house in the first place, the proximity. Come on, Peter. Can't you go faster? We may not have much time. PETER: After all these years, what's going to happen if we're not on time? WALTER: I don't know! But my friend came and he said we must. He only comes when it's of dire consequence. PETER: And what friend would that be? WALTER: The bald one. PETER: You mean the one that Olivia calls ‘’The Observer’’? WALTER: Yes. PETER: The man who attacked me in the woods. WALTER: He must've had a very good reason. I'm sure he didn't mean you any harm. PETER: What else aren't you telling me, Walter? WALTER: Lots, I'm sure, but none of it's relevant. Can't -- it's been so long. This all looks the same. Oh... Peter, Peter, Peter, Peter. Peter! Stop it! Stop! (approaching a familiar gate) PETER: Okay. Now what? (Walter takes the device out of the lockbox) That thing's not going to blow up, is it? WALTER: I certainly hope not. (hesitates. takes the coin from his pocket) PETER: What? WALTER: You may not remember this. When you were a boy, you were very sick, dying. PETER: Walter. WALTER: And sometimes you got scared. And to calm yourself, to forget what you were going through, you took to collecting coins. This one, this was your favorite. PETER: You're right. I don't remember any of that. WALTER: I do. PETER: Walter! (both men are dragged quickly from the car by federal agents) OLIVIA: (running in a few seconds later) It's okay, It's okay. It's okay, it's okay. They're with me. Easy, easy. it's okay. WALTER: Agent Dunham... PETER: How did you know where we were? OLIVIA: What are you doing here? WALTER: We're trying to plug a hole in the universe. What are you doing here? OLIVIA: Apparently the same thing. PETER: But how did you... WALTER: ...oh no! (responding to a loud sonic tone further away in the wooded area) CHARLIE: What is that? Reiden Lake - Confronting Jones (the law enforcement and science team run to the source of the sonic distortion and find a wavy disturbance in a clearing that is forming due to the efforts of Jones and his team, shots are fired and a charging agent falls) AGENT: Doctor Bishop, stay down. DAVID JONES: (in the chaos to his technician) Keep going please. Don't stop what you're doing. Hold them off as long as you can. CHARLIE: Olivia, I'll cover you. PETER: (amid the gun battle) Walter! Hey, Walter, stay here. WALTER: (palming the device) They'll need this to close the portal, to prevent him from going over. PETER: Give it to me. I'll do it. Give it to me! WALTER: Okay. It's simple, a child could do it. You just twist this. DAVID JONES: What's the status? JONES AIDE: Coordinates are coming into place, sir. We're almost there, sir. OLIVIA: Jones? (she shoots his gunman) Don't move. JONES AIDE: Manifold is stable. OLIVIA: I said don't move. (she shoots Jones' technician when he completes the link. Jones heads to the event horizon) Stop! Don't move. DAVID JONES: Beautiful, isn't it? (he hesitates) You'll understand if this reunion is brief. OLIVIA: If you take one more step, I'll shoot. DAVID JONES: (marching into the anomaly) Good-bye, Agent Dunham. OLIVIA: Don't! (she shoots him once. barely phased, he rises and continues. she shoots again) DAVID JONES: (not as injured as he should be from his gunshot wounds he turns and addresses Olivia) The teleporter, it may be killing me, but in the meantime, it's made me something rather special. You see, your bullets just go right through me. And soon Doctor Bell will see just how special I am. OLIVIA: Stop! PETER: (running in from the woods with the device) Dunham! (he activates the device just as Jones attempts to pass through it. the passage fails and a third of Jones skull evaporates along with the upper left quadrant of his torso) ACT V Olivia's Office BROYLES: (walks in as she is repacking files) Hey. OLIVIA: Hey. BROYLES: Under normal circumstances, I would ask you when I could expect your report. But in this case, I find myself at a bit of a loss. OLIVIA: How is Nina? BROYLES: She's doing fine. She wanted me to convey her gratitude. (he hesitates to continue) OLIVIA: What? BROYLES: We've been told to cease and desist our investigation into William Bell. OLIVIA: By whom? BROYLES: The kind of people that when they give you an order, you don't question it. I'm sorry. Walter's Lab - A Note ASTRID: (returning with groceries) Doctor Bishop... Good news. I got you some Berry Boom. PETER: (tail-gating Astrid into an inner office) Hey, what's wrong? (as they both eye an envelope with Peter's name on it. he opens the envelope and reads a letter from Walter) WALTER: (handwritten on paper) "I'm stepping out for a bit. Don't worry about me, son. I know where I'm going." ASTRID: You want me to call the police? PETER: No. That is the first time he has ever written a note. I think our little boy is growing up. (Walter stands in a graveyard and places a coin on the headstone of a Peter Bishop, 1978 - 1985) Olivia's Apartment - Summoned OLIVIA: (sitting silently and reflecting on her badge and gun, her cell phone rings) Hello? NINA: Agent Dunham, it's Nina Sharp. You held up your end of the bargain. Now, I'd like to hold up mine. Would you mind coming to Manhattan tomorrow? OLIVIA: Sure. NINA: Do you know the Mutsumi Hotel on Broadway? OLIVIA: Yes. NINA: Great. Tomorrow it is, then. I hope you understand why I can't go through channels. And I appreciate it if you didn't tell anyone about this either. (Nina's instructions continue as Olivia drives southbound the next day for a rendezvous) I don't mean to sound overly cautious, but I think you'll soon understand why we'll want to keep this between us. Let's say one o'clock. Come alone. I'll answer any questions you have. New York City - Mutsumi Hotel OLIVIA: (sitting alone in an upstairs restaurant she refuses a beverage refill after her meeting failed to occur as scheduled) No, thank you. (after many patrons have left, she calls to check on her appointment) Nina Sharp? (listens) Olivia Dunham. (listens) No, I don't want to leave a message. She's expecting my call. (listens) What do you mean she's out of the country? (after entering the elevator to leave, somewhere between the fourteenth and twelfth floor, she starts to have visions of a crowded elevator. the power surges, the visions stop and she exits to meet a business woman) BUSINESS WOMAN: (approaches the elevator to greet Olivia and escort her down the hall) Agent Dunham, welcome. Right this way. Go right in. (opens an office door) (Olivia enters and looks around. she is joined a minute later) WILLIAM BELL: (in the shadows) I've been waiting quite a long time for this. OLIVIA: Where am I? Who are you? WILLIAM BELL: The answer to your first question is -- is very complicated. The answer to your second... (steps into the light) I'm William Bell. (Olivia turns and walks to a window. she is over ninety stories up in the South Tower of the World Trade Center in New York City)