One Night In October/Transcript
One Night In October
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Cellar Lab - Emotional Robbery
(sitting in a makeshift laboratory and under substantial duress, abductee Jeremy Roman is required to look at a wallet-sized photo of his childhood and recount the pleasant times he experienced with his family back then)
JOHN MCCLENNAN: Tell me about the day the picture was taken.
JEREMY ROMAN: (breathes shakily) I think I was six years old. We'd go camping... in the White Mountains... in the summer.
JOHN MCCLENNAN: Who took the picture?
JEREMY ROMAN: My mom. I remember she was laughing.
JOHN MCCLENNAN: (fishing for positive thoughts) Did you have a good relationship with her?
JEREMY ROMAN: I miss her very much. (strains into negative thinking)
JOHN MCCLENNAN: Ah, ah, ah. Let's go... back to the picture. (turns the knob on a machine. blue liquid flows through the tube connected to the victim's brain) And... tell me what else happened that day.
JEREMY ROMAN: We begged her... (body shivers. seemingly exulted)
JOHN MCCLENNAN: Take your time. It's almost over.
JEREMY ROMAN: My brothers and I... we begged her to keep it. (the large turtle he is holding in the childhood photo) We wore her down. (grunting) She said yes. We named him Fred.
JOHN MCCLENNAN: (fishing for positive thoughts) How did that make you feel?
JEREMY ROMAN: Happy.
(the interrogator looks-on as his latest victim passes into death, an instant icy corpse)
Walter's Lab - Redecorating
WALTER: (preaching to the new guy, Lee, about hybrids. walks slowly toward a table of reflective labware) Let me tell you about them. They are horrid creatures. Vile. Part organic tissue, (covers the table with a large cloth sheet to hide the reflections) part machine. It's like everything from over there. They are loathsome. Hateful. Contemptible. (looks at himself in the mirror. finds a new cloth to cover the reflection)
ASTRID: (walks-in and hears the sermon) Contemptible? (to Agent Lee) Is he doing the synonym thing again?
AGENT LEE: (stops studying documents at his workstation) Uh, he was telling me about the shape-shifters, and now he's moved on to the other universe , in general.
WALTER: Immoral. Evil.
ASTRID: (motherly, annoyed) Walter, we have been over this. What is in the past is in the past. We have agreed to move forward.
WALTER: Even I don't have drugs strong enough to forget they kidnapped Olivia to the other side.
AGENT LEE: (unaware) They did?
WALTER: For weeks, that awful woman pranced around my lab.
AGENT LEE: (softly to Astrid) Awful woman?
ASTRID: Uh, the other Olivia. The one from over there.
AGENT LEE: Oh.
WALTER: She bought my ignorance with baked goods while she carried out her plan to steal pieces of the machine with the -- it was that damn Portuguese sweet bread.
AGENT LEE: You mean the machine that created the bridge?
WALTER: Yes. But that was not their intent. What they expected was for our world to be destroyed. Annihilated --
ASTRID: Walter. (stressing) It did not happen.
WALTER: That doesn't mean that I have to like them. (covers the computer monitor with a towel. points across the lab) There's another mirror in the back storage cabinet. Kennedy, help me.
AGENT LEE: (clarifies) Lincoln.
ASTRID: (softly) Thank you.
AGENT LEE: No... problem.
WALTER: (at a distant) Quickly!
OLIVIA: (enters the lab with a large coffee and an upbeat mood) Morning.
OLIVIA: (looks around and chuckles) What's with the redecoration?
ASTRID: (answers the question posed) Walter. (continues organizing documents) Hey, don't look at me like I have some reasonable explanation. It's Walter.
OLIVIA: Is Lincoln here already?
ASTRID: Mm-hmm. You did tell him he could come by to learn about shape-shifters, right?
OLIVIA: (surprised) Mm-hmm, but I didn't think that he would beat me in.
ASTRID: Well, he just lost his partner. Plus he is new in town. He doesn't know anybody. (suggestive) He's probably a little lonely.
OLIVIA: (rejects Astrid's suggestion) No. Not going to happen.
ASTRID: (continues the match-making) Why not? He's cute.
OLIVIA: (quickly dismissive. rapid-fire list) Because if I went out with him, then I would start having second thoughts, like I always do, and then he would get hurt, and then my workplace would become awkward. (cell phone rings) And you know what? He's not even my type. (ringing continues)
ASTRID: (flatly honest) Do you ever think that maybe your type just doesn't exist?
OLIVIA: (answers her phone) Dunham. (listens) I'll be right there.
Federal Building - An Unusual Case
(at her boss' desk, Dunham studies photos of dead victims while being briefed on a serial murder case)
BROYLES: Twenty-three victims we know of, all following the same M.O. He drills into the back of the skull to access the brain. The tissue was punctured and exposed to localized electrical charges. But that's not what killed them. The official cause of death: cerebral hypothermia. A chemical agent was used to lower the brain's temperature. They froze from the inside out.
OLIVIA: (feeling out of the loop) Twenty-three murders. Why haven't I heard of them?
BROYLES: Because these crimes weren't committed over here. (hands over a case file from Fringe Division) We've been asked to assist on this case. (pauses while she thinks) Is that gonna be a problem?
Liberty Island - A Matter Of Trust
(Broyles and Dunham step onto a large scanning device in a secure hallway)
SCANNING DEVICE: Initiate scan. (after a few seconds) Scan complete.
(the two agents join Olivia's counterpart in a briefing room)
BOLIVIA DUNHAM: Twenty-two murders, killer didn't leave a single clue. (selects a file on her electronic screenpad) Then, on the twenty-third, we found a stray hair. (taps the electronic device. shows the suspect's profile.) D.N.A. led us to John Louis McClennan. No prior arrests. Show Me is up-to-date. Once we I.D.'d him, we went to his house, ready to apprehend him, but he didn't show up. He's disappeared.
OLIVIA: He was ahead of you.
BOLIVIA DUNHAM: With a two hundred and twenty I.Q., I imagine he's way ahead of us. Five years we've been looking for this guy. He was sloppy once. He's not gonna make the same mistake again.
OLIVIA: So what do you need from us?
BOLIVIA DUNHAM: We need you to escort the John Louis McClennan from your side over to ours.
OLIVIA: (hesitant) Why? To what end?
BOLIVIA DUNHAM: We're hoping that he can give some insight into our Mister McClennan.
OLIVIA: Look, I understand that they have the same D.N.A. --
BOLIVIA DUNHAM: (interrupting) I know all the reasons why not to do this. I've been through them all with my own Colonel Broyles. Frankly, we've got no options.
OLIVIA: Okay, well why don't you just interview him over here?
BOLIVIA DUNHAM: Because we want him to see where the killer was living. If -- if he can, uh, interact with the space, study his belongings, he can glean something that we can't.
OLIVIA: Well, you hope he can.
BOLIVIA DUNHAM: (protagonistic) Well, I lived in your apartment, and I picked up a lot of things about you.
OLIVIA: (curt) Will you excuse us a moment?
(the two agents step out of the room. Dunham starts a small rant)
OLIVIA: Okay, I get it. The accord was necessary. But this -- this is different.
BROYLES: Olivia, stop.
OLIVIA: Saving people's lives is important. Of course it is. But -- but I mean, have we even thought this through? I mean, how can we both...
BROYLES: It's really not that complicated. Chain-of-command is simple. Over here, we're in charge. Over there, they are.
OLIVIA: (lowers her demeanor) It is only simple if there's trust. What about that tech we gave them that we took from the human shape-shifter? I mean, have we even heard back?
BROYLES: Their Science Division is still working on it. I haven't forgotten about that. (sighs. calmer) Look. I know this is difficult for you. If there was any other way to execute this, I'd ask someone else.
OLIVIA: Okay, how is this even gonna work? Are we prepared to start telling civilians about the parallel universe?
BROYLES: No. No, we don't tell him anything. Professor McClennan won't have to know where he's been taken.
OLIVIA: He's a professor? And over there he's a serial killer? (not yet convinced) And we're counting on similarities?
BROYLES: On our side, McClennan teaches Forensic Psychology at West Connecticut College. His area of study: serial killers. (sighs) Look, I don't know if this is gonna work. But maybe it's not so far-fetched, either.
College Campus - Enrolling McClennan
PROFESSOR MCCLENNAN: (sitting in his book laden office) Uh, I'm a bit surprised. (chuckles) You read my article. I'm -- I'm working on a follow-up, actually. I don't think that we can underestimate the role that empathy plays in the structuring of the self, or -- or the lack thereof. I've profiled before for law enforcement, but I should say that, uh, this is the first time with the FBI.
OLIVIA: Are you willing to participate?
PROFESSOR MCCLENNAN: (adamant) Agent Dunham, I have been working towards this my entire life.
OLIVIA: There's a reason that we've kept this out of the media. This case is highly classified.
PROFESSOR MCCLENNAN: Okay.
OLIVIA: And one of the things that you are not able to know is where we're going. (pages her colleague with her smartphone) Do you have any allergies to tranquilizers?
PROFESSOR MCCLENNAN: What happened to blindfolds?
OLIVIA: Well, it's a long journey, and I assure you, it'd be more comfortable this way.
PROFESSOR MCCLENNAN: Mm. No. No allergies.
OLIVIA: (hears knock at door) Come in. (to McClennan) This is Agent Bergmann. He'll be administering a mild sedative.
PROFESSOR MCCLENNAN: (rolls-up his sleeve for an injection. delightfully surprised when he is handed a liquid dose to swallow) Hm. Here's to intrigue. (raises a toast. drinks the sedative)
Killer's Home - McClennan's Arrival
(in the alternate universe, at the home of serial killer John Louis McClennan in Norristown, Pennsylvania, Captain Lincoln Lee prepares his detail from Fringe Division for the arrival of Forensic Psychologist John McClennan. agents put the final touches on the theatrical deception they have planned)
LINCOLN LEE: (on his cell phone) Okay, thanks. (to team members installing listening devices in the house) Are we wired?
FD TECHNICIAN: Good to go.
LINCOLN LEE: (knocks on bathroom door) Hey, Liv, it's me.
BOLIVIA DUNHAM: Yeah, come in. (finishes fitting the blonde wig that makes her look like Olivia) What do you think?
LINCOLN LEE: (smartly) Blonde looks good on you.
BOLIVIA DUNHAM: Yeah well, lucky Frank likes the red, huh? (amused with the image in the mirror)
LINCOLN LEE: I didn't say I didn't like the red. You look good in both. (helps her with an Olivia-style jacket)
BOLIVIA DUNHAM: Thank you.
LINCOLN LEE: They're pulling up.
BOLIVIA DUNHAM: Okay.
FD AGENT #1: (radio chatter) Take it all the way down to the county road.
FD AGENT #2: (radio chatter) : That sounds like a good idea. Alright, let's go. Lock it up. Thank you. Moving now.
FD AGENT #1: (radio chatter) It's called in -- Davidson's available for transport.
FD AGENT #2: (radio chatter) Lead vehicle, sat -- (clears throat)
LINCOLN LEE: (a panel van arrives curbside and Fringe Division welcomes the FBI) Agent Dunham. We appreciate your help on this.
OLIVIA: Hello, Agent Lee. (inspects Bolivia's look-alike outfit) I button my jacket. (to Lee) So where do you want me?
LINCOLN LEE: We've got audio surveillance in that vehicle.
LINCOLN LEE: We'll monitor from there.
OLIVIA: Okay, that's fine. (steps aside as the sedated Professor is gurneyed through the front door of the killer's home)
BOLIVIA DUNHAM: (sassy) Showtime.
Gas Station - A New Target
(next to a busy suburban street, day-to-day life goes on at a modest fuel service facility)
FEMALE CUSTOMER: I'm not afraid. I'm not. You ready to do this?
FEMALE CUSTOMER: Gotta gas it.
MECHANIC: Yeah, yeah. I think it's the right one. I'll check it out inside.
FEMALE CUSTOMER: Yeah, yeah.
(a new customer stops next to one of the pumps and is ready to fill'er-up. her elementary school daughter hops out of the minivan and is eager to pitch-in with apprenticeship duties)
MEGAN MILLER: Can I do the windows?
NOREEN MILLER: I would love it if you would. (upbeat reinforcement to her 'almost tall enough for the job' helper) Well done, my girl. That is beautiful work. You want a snack?
MEGAN MILLER: I want chips.
NOREEN MILLER: Oh, that is shocking that you want chips.
(from a picnic bench on the far side of the property, John Loius McClennan sits, sips his hot beverage - intensely focused on the two ladies servicing their minivan)
Walter's Lab - Mozart Therapy
(Mozart's Requiem in D Minor blaring in the lab. Walter sitted in front of numerous speakers. head back. eyes closed.)
ASTRID: (steps in the lab) Walter. Walter! Walter! (stops the music)
PETER: Walter. (Walter gasps)
ASTRID: Do you have any idea how loud that was?
WALTER: A man may soothe his soul.
ASTRID: Walter, you found that soothing?
WALTER: Do you have any idea what it cost Mozart to create that movement?
ASTRID: Walter, stop. What's wrong with you?
WALTER: Nothing. My nerves are a bit raw. I haven't been sleeping well.
ASTRID: I checked your meds, and the counts are way off. You've been overdoing it.
WALTER: I've been experimenting. Again.
ASTRID: It's okay. (holds on to Walter's hand) I'm gonna help you get back on track. But if there is something else going on, you need to tell me.
WALTER: I need to rest. That's all. (stands up) Perhaps I'll go lie down. (walks slowly. covers a reflective surface.)
McClennan Home - Suspect Profile
PROFESSOR MCCLENNAN: (inspecting the neatly organized shelves) He needs to feel in control. Messy spaces bother him. (chuckles) He's highly intelligent. Hm. Probably self-taught. (carefully looking at action figures displayed in the shelf) And he's... fascinated by the brain. (about the many packages) Germany. China. Uh, Thailand.
BOLIVIA DUNHAM: Yeah, he ordered a lot of parts online from overseas for the schematics that he designed.
PROFESSOR MCCLENNAN: Hm. Mm... Hm. (unrolls a blueprint.) What are these for?
BOLIVIA DUNHAM: We don't know.
PROFESSOR MCCLENNAN: (radio relay in the surveillance vehicle) He needs to divert himself from his misery, so he builds things to occupy his time.
LINCOLN LEE: (looks at Olivia in the passenger's seat) You hate being out here, don't you?
OLIVIA: Why do you say that?
LINCOLN LEE: 'Cause it would drive her crazy.
OLIVIA: I'm fine with it. (as papers rustles on the speaker)
PROFESSOR MCCLENNAN: (opens a box) Uh, egg hatching lights. My dad used to work on a farm. We had chickens for a while. I don't know what he'd be using this for.
BOLIVIA DUNHAM: Does anything else stand out to you?
PROFESSOR MCCLENNAN: Hm? Mm. Uh, he's deeply unhappy. He grew up feeling deprived, and... other kids had things, and he -- he didn't. He's trying to make up for it now, but... He can't. (opens fridge) Dinner's important to him. He hunts during the day. He blends into his surroundings.
Gas Station - Silent Stalker
MEGAN MILLER: I have to go to the bathroom.
NOREEN MILLER: Okay. Come straight back. Alright?
MEGAN MILLER: I will.
NOREEN MILLER: And don't touch anything you don't have to. I'll just finish your job for you.
MEGAN MILLER: Okay.
(a man silently watches the girl enter the restroom. then studies the mother. he abandons his seat)
McClennan Home - Emotional Jealousy
(the profiling assessment moves to the workshop. several tools, gadgets and photo albums are scattered around the area. the professor points at the yellow chair)
BOLIVIA DUNHAM: What?
PROFESSOR MCCLENNAN: (confused) The chair. Uh, we had a set of chairs like that in -- in the house that I grew up in. (over radio) That's crazy. It's exactly the same. I loved that chair. (nervous giggle)
BOLIVIA DUNHAM: Well.
PROFESSOR MCCLENNAN: Hm. Oh, my. (in awe, seeing a wall of pictures of happy faces)
BOLIVIA DUNHAM: What do you think? (feeling uneasy)
PROFESSOR MCCLENNAN: There's too many of them. They're -- they're -- they're strangers to him. Uh, he -- he -- he doesn't know them.
BOLIVIA DUNHAM: Why have them displayed?
PROFESSOR MCCLENNAN: Oh, because he's jealous of them. Because he... he hates that they have happy lives. That's what he looks for. He takes them when they're happy. His feelings are all that matter. He wants to feel better.
Gas Station - Gone Missing
MEGAN MILLER: (exits the restroom, smiles at the next user and hurries back to back to her now abandoned minivan. looks around and calls-out) Mom? Mom!
(a few feet from the car, a warm tea was left in the table)
McClennan's Home - End Ruse
PROFESSOR MCCLENNAN: (removes a familiar picture) How could he have this?
BOLIVIA DUNHAM: Do you know that man?
PROFESSOR MCCLENNAN: He's my father.
(shocks Bolivia. Lincoln and Olivia look at each other)
PROFESSOR MCCLENNAN: What is this? What -- is -- is this some kind of a joke?
BOLIVIA DUNHAM: (trying to calm the professor down) No, John, this is not a joke. Of course not.
PROFESSOR MCCLENNAN: (increasingly agitated) No, no, of course not. What the hell is going on here? Why do you have a picture of my father?
BOLIVIA DUNHAM: (over radio) Just calm down.
PROFESSOR MCCLENNAN: (over radio) And the same damn chair from my childhood?
BOLIVIA DUNHAM (over radio) You don't understand.
OLIVIA: It's over.
LINCOLN LEE: Don't.
OLIVIA: He's my responsibility. (runs toward the house with Lee following)
BOLIVIA DUNHAM: (catches-up with the agitated professor) Professor. Professor, wait.
PROFESSOR MCCLENNAN: I'm finished here!
(the professor stops and stares at the two Olivias. his gaze moves toward a nearby amber quarantine zone)
PROFESSOR MCCLENNAN: Where am I? Where am I?
McClennan Home - Confessions
(standing near the communications van curbside)
BOLIVIA DUNHAM: See, I should've removed the pictures.
LINCOLN LEE: You took a calculated risk. I thought it would work too.
BOLIVIA DUNHAM: Broyles didn't want me to do it in the first place, and Charlie thinks that I'm insane.
LINCOLN LEE: Charlie's on a beach sipping Mai-Tais with the Bug Lady. I'm sorry, Missus Bug Lady.
BOLIVIA DUNHAM: Right.
LINCOLN LEE: Besides, it's not over yet.
BOLIVIA DUNHAM: (growing frustrated) I'm gonna go in there.
LINCOLN LEE: (grabs her by the elbow and stops her) Give her a minute.
BOLIVIA DUNHAM: Don't.
(sitting in the killer's living room and looking at a family photo)
OLIVIA: In this universe, some things are the same, and some things aren't. People... make different choices and -- and therefore end up in different places.
PROFESSOR MCCLENNAN: I mean, this is... like a nightmare.
OLIVIA: John, anything that you can tell us about him... anything will help. Anything.
PROFESSOR MCCLENNAN: I don't just understand him. I am him. What's in him is in me.
OLIVIA: So what do you mean?
PROFESSOR MCCLENNAN: You're not the only one with secrets.
OLIVIA: Go on.
PROFESSOR MCCLENNAN: (soul searching) For as long as I can remember... I knew something was wrong with me. (Bolivia walks in) My father -- he knew it too. He saw the darkness. He -- he used a... heavy hand to try and fix me. The brutality of it, I mean, it was...
(Bolivia lingers near the entrance)
OLIVIA: I al -- I also came from an abusive home. My -- my stepfather w --
PROFESSOR MCCLENNAN: (about his professional calling) It's no mistake that I - I do what I do. I want to understand myself. I want to help people like me.
BOLIVIA DUNHAM: (joins the introspection) Have you ever acted on it?
PROFESSOR MCCLENNAN: No. But I've wanted to.
OLIVIA: What stopped you?
PROFESSOR MCCLENNAN: Not what. Who. (pauses) She -- she helped me find just small... moments of peace. Moments... that I can hold on to.
BOLIVIA DUNHAM: Your mother.
PROFESSOR MCCLENNAN: No. My mother would... her -- her name was Margery. And what my father did with cruelty she did with love. She taught me that I didn't have to live in the darkness. That when I got the urges, that I c -- I could just step out of it and into the light. (revelation) This -- this is crazy. This -- this is -- because sometimes when I, um, imagine what my life would've been like without her... this is it.
LINCOLN LEE: walks in. to Bolivia. leaves) Can I see you?
PROFESSOR MCCLENNAN: I wish I could tell him. (the serial killer)
OLIVIA: And tell him what?
PROFESSOR MCCLENNAN: That it doesn't have to be this way. That -- that there's a way. That he just had no one to -- to -- to, uh, to teach him. I mean, you said so yourself. Some things happened... some way in this world, and -- and -- and some didn't, right?
OLIVIA: That may be so. But John... He can never know that you exist. You understand that. There's no other road for him.
PROFESSOR MCCLENNAN: Right.
(standing near the communications van. hands-over an electronic tablet with an image of the recently abducted)
LINCOLN LEE: Her name is Noreen Miller. Thirty-two.
BOLIVIA DUNHAM: Okay, so when did this happen?
LINCOLN LEE: She disappeared from a gas station rest stop about an hour ago. The security cameras picked up an image of him just before she disappeared.
OLIVIA: (joins the duo outside) There's another victim? (looks at the image on the tablet) Okay, John thinks he may be able to help you guys find him.
LINCOLN LEE: Let's go get him. (walks back in the house looking for the Professor) Where is he?
ESCORT AGENT: Bathroom.
BOLIVIA DUNHAM: (looks at where they had been sitting and talking) It's gone.
LINCOLN LEE: What's gone?
BOLIVIA DUNHAM: The photograph of his father. (barges into an empty bathroom and finds the window open)
Fringe Division - Tracking McClennan
LINCOLN LEE: (waiting for his boss at the elevator) I take full responsibility, Sir. I'm the senior officer, and...
BOLIVIA DUNHAM: ...sir, Lincoln's just trying to protect me. This was my idea.
COLONEL BROYLES: ...I'm not interested in culpability right now. Do we have any leads?
BOLIVIA DUNHAM: We think we know where he's going.
COLONEL BROYLES: You don't sound entirely convinced.
OLIVIA: (jumps in to the one-sided conversation) We -- we — we think that he's trying to find the killer.
COLONEL BROYLES: And why would he do that?
OLIVIA: Because, we believe, he wants to stop him.
AGENT FARNSWORTH: (announces from her workstation) We're online. (joined by the investigators) Professor John McClennan is not from here. The differences between his universe and ours will take him time to comprehend, which will make it easier to track him. He does not have a Show me, which means his access to public transportation is restricted. Although given a psychological profile, there's a forty-three point two percent chance that under extraordinary circumstances, he would be willing to steal someone's identification.
LINCOLN LEE: I'd say this is pretty extraordinary.
AGENT FARNSWORTH: Initial calculations indicate that there are two hundred and nineteen potential routes he could've taken in the time he's been missing, but the possibilities branch out exponentially the longer that he's out there. Even with our facial recognition programs, going through that much data is going to take a long time.
COLONEL BROYLES: How long?
AGENT FARNSWORTH: Thirteen hours, plus or minus.
COLONEL BROYLES: If you're right, Agent Dunham, then finding Professor McClennan is our best chance to save Noreen Miller. Let me know when you have something.
(later. after the Farnsworth briefing)
OLIVIA: (approaches) I have an idea.
BOLIVIA DUNHAM: (dismissive) You know, that woman processes more information in an hour than you and I will in a lifetime, so if she hasn't thought of it, it's not there.
OLIVIA: Yes, but she didn't see the photograph of John's father, and I did. Now, John said his father worked as a farmhand, so if we can trace the farm, then we --
BOLIVIA DUNHAM: Yeah, but we can't because John's father didn't own the farm, so his name wouldn't be on it.
OLIVIA: I understand, but in the photograph, he was standing in front of a tractor with commercial plates. Pennsylvania, T-R-5-3-8-7-9. We can trace the registration.
Makeshift Lab - Preparing Noreen
(the serial killer shaves the back of Noreen Millers skull, preparing it to accept the cranial plug he intends to install. sedated, Miller doesn't flinch when McClennan installs a large bit in his high-power pneumatic drill and tests it. just as he prepares to penetrate the woman's skull with his drill, Professor McClennan enters and interrupts the procedure. the serial killer is speechless when he turns to see his body double)
Fringe Division - Ready Room
LINCOLN LEE: (briefing a team of Agents as they don their assault gear. talks to overhead photos and the image of the abductee) Weir Farm. Shut down ten years ago, after the Richboro fires. It's been unoccupied ever since. Noreen Miller. Goes without saying, but I'm still gonna say it. All necessary steps should be taken to bring her home unharmed. Any questions? (looks around the room) Let's go.
BOLIVIA DUNHAM: (to Olivia as the assault team prepares to leave) Ride with me.
Weir Farm - Makeshift Lab
PROFESSOR MCCLENNAN: (trying to convince his counterpart to leave Noreen Miller be) It doesn't have to be like this. You don't have to hurt her. You're going for your Forty-Five Silver. You keep it in the toolbox.
JOHN MCCLENNAN: (amazed) How did you know that? How did you know that?
PROFESSOR MCCLENNAN: That's where he kept it. My dad.
JOHN MCCLENNAN: What are you?
PROFESSOR MCCLENNAN: I was like you. And then, one night in October, I - I went to a fair. I - I was ten. And that's the night that my father found the dead things. Only I didn't know that yet. I - I was playing carnival games, and I – I - I saw him coming toward me, and then I knew that he knew. The moment I saw him, I - I knew...
JOHN MCCLENNAN: ...that's my life. That's what happened to me. It was the ring toss that I was playing.
PROFESSOR MCCLENNAN: Yeah. Me too.
JOHN MCCLENNAN: I hid...
PROFEESSOR MCCLENNAN: ...behind the wagon wheel.
JOHN MCCLENNAN: But he found me. Grabbed me by the collar. His fingernails cut into my neck. He dragged me home, and he beat me for three days straight.
PROFESSOR MCCLENNAN: Not me. I ran. As far, as fast, as long as I could. I woke up in a field, and this woman... was standing over me. Her name was Margery. And because of her, I -- I don't have to do what you do to stop the pain.
JOHN MCCLENNAN: You can't control it. If you're like me...
PROFESSOR MCCLENNAN: I can control it.
JOHN MCCLENNAN: It can never stop!
PROFESSOR MCCLENNAN: She taught me how.
JOHN MCCLENNAN: No. This is the only way. I do this! And for awhile --
PROFESSOR MCCLENNAN: I can stop the urges.
JOHN MCCLENNAN: It's quiet.
PROFESSOR MCCLENNAN: No. I know the screams inside your head that won't stop. It's a horrible place to be. But I can help you. Like Margery helped me. You can step out of the darkness. Don't you want the pain to end?
JOHN MCCLENNAN: Yes.
PROFESSOR MCCLENNAN: I can show you how.
JOHN MCCLENNAN: Maybe you can.
En Route - Dunham Bonding
BOLIVIA DUNHAM: (driving through the dark, rural woods) What you said to John about your stepfather-- you were trying to open him up, huh?
OLIVIA: Yes. It's also true.
BOLIVIA DUNHAM: So what happened to him?
OLIVIA: My stepfather? (matter-of-factly) I killed him. (Bolivia not expecting that reply)
Weir Farm - Assault Launched
TACTICAL AGENT 1: Get a lockdown perimeter going.
TACTICAL AGENT 2: Got it.
JOHN MCCLENNAN: (starts making preparations in his lab to extract memories from his newest victim) Ah. Ah, ahhhhh. We are ready to begin. Tell me... About your happiest memories. Tell me about Margery.
(Fringe Division forces gather around the primary building on the property and prepare for a forced entry and rapid assault on the serial killer, in order to recover Noreen Miller)
TACTICAL AGENT 1: (as Lee breaks open the front door) Take the upstairs.
TACTICAL AGENT 2: Get the hallway.
TACTICAL AGENT 3: We're clear!
TACTICAL AGENT 1: Back room's clear!
TACTICAL AGENT 2: We got nothing, sir!
TACTICAL AGENT 3: We're all clear, sir!
(as the team secures the house, key personnel searching the main parlor realize)
BOLIVIA DUNHAM: Damn it.
LINCOLN LEE: We're in the wrong place.
Abandoned Farm - Night Search
(walking through an overgrown homestead with flashlights, a search helicopter above and others seaching the surrounding woods, the two agents inspect the broken and decaying remnants of a rural farm)
OLIVIA: What are you thinking?
LINCOLN LEE: Over there. There was a structure here.
OLIVIA: Um, it could be anything. A shed, a barn. There's another one.
LINCOLN LEE: There was a group of structures here. (amid the rotting pilings) This is where the family lived. (opens the storm doors to the cellar that once served the family. weapons drawn, they cautiously descend)
(in his makeshift lab, the serial killer extrudes the childhood memories of his other-universe counterpart)
JOHN MCCLENNAN: How did Margery make you feel?
PROFESSOR MCCLENNAN: (restrained) Safe. (fades to a dream-like state) She was so kind. So gentle. (envisions the pastoral sensibilities that she imbued in his post-adolescent life for both of them to see) (mentally communicating his thought) I never understood how someone so beautiful could love something so dark. (verbally. whispering. growing frigid) You... Don't have to do it... Anymore. (shares another vision of a motherly embrace. the killer is overwhelmed by the kindness, love and compassion the professor felt as a young man)
(the agents enter the subsurface lab, look at the bizarre array of equipment in use)
LINCOLN LEE: (scans a victim on the floor with his handheld device) She's sedated, but her pulse is strong.
OLIVIA: (enters a dark side room with her pistol leveled) John, put your hands where I can see them.
JOHN MCCLENNAN: (weak. nearly despondent) I wanted what he had. What she gave him.
OLIVIA: John, put your hands up.
JOHN MCCLENNAN: I took her from him. I shouldn't have. (regretful) She made him... feel for them. What have I done to all of them? (disoriented) Margery? What have I done? (commits suicide by shooting himself. Bolivia and Lincoln rush into the room to back-up Olivia)
Hospital Visit - Soul Repair
(after returning to this universe, Olivia joins her supervisor in a local hospital to check on the psychologist they convinced to help them catch a serial killer)
OLIVIA: How is the Professor?
BROYLES: (looking through the observation window) There appears to be no permanent damage to his motor functions or cognitive ability. He is, however, suffering from partial memory loss.
BROYLES: He's unable to recall the events of the last few weeks. He has no memory of ever being involved in this case.
OLIVIA: What about Margery?
BROYLES: His memories of Margery were extracted. The neurologists believe the loss is permanent.
OLIVIA: But for all we know, she's the only thing that's preventing him from --
BROYLES: (turing into a serial killer) -- I know. Once he's released, we'll have to keep an eye on him.
OLIVIA: Can I talk to him?
BROYLES: He's been told he was injured doing profiling work for the FBI.
OLIVIA: Okay. (enters the patient's room, approaches his bed and introduces herself) Hi. (waits) Do you remember me? (waits) Nothing at all? (waits) I'm Olivia Dunham. I'm one of the FBI agents who was working on the case.
PROFESSOR MCCLENNAN: They tell me I saved a woman's life.
OLIVIA: Yes. (upbeat smile and nod) And probably many more. I came to say thank you.
PROFESSOR MCCLENNAN: Just glad I could be of help.
OLIVIA: (steps closer) Do you remember Margery?
PROFESSOR MCCLENNAN: The other agent asked that too. No. But things are pretty dark right now. Did she have something to do with the investigation?
OLIVIA: Sort of. (pats his knee and heads for the door) Feel better soon.
PROFESSOR MCCLENNAN: You know what they say. That even when it's the darkest, we can step into the light. (flashes a small, confident, knowing smile)
OLIVIA: (privately. walking the corridors) He knows what she taught him, but he can't remember who she is. How is that possible?
BROYLES: At the risk of sounding sentimental... (very introspective. almost profound) I've always thought there were people who leave an indelible mark on your soul. An imprint that can never be erased.
Walter's Lab - Verbal Haunting
(preparing for bed, he quietly checks his aquarium, looses his slippers, arranges his pillows, gets under the covers and turns off the light. stressed by recent events, he is still uneasy)
PETER: (from the ether) Walter, I'm here.
WALTER: (startled) Who are you?
PETER: Can you hear me? (omni-directional source) I'm right here.
PETER: Walter, I'm right here.
WALTER: (lurches around to look) No, you're not.
PETER: I'm here, Walter.
WALTER: (looks straight-up) You -- you're just a fig -- a figment! (turns on his record player and blasts classical music to drown out the voice)
PETER: Walter, I'm right here. I'm here, Walter. Right here. Walter, I'm here. Can you hear me? I'm right here. Walter. Help me, Walter. Please help me.
(Walter finds a place on the floor to hide. distraught and questioning his own sanity, the former mental patient covers his ears with his hands as the ethereal voice continues to try and communicate with him)