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