The End Of All Things/Transcript
The End Of All Things
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Olivia's Apartment - Home Surveillance
(the two men move through the apartment in a semi-heated discussion about the current situation)
AGENT LEE: (intent on having a conversation) Broyles has agents and B.P.D. combing the area, checking all the traffic cams. Nina has to be behind Olivia's disappearance. Once she's been processed in at the FBI, we'll get her talking.
PETER: (intent on thoroughly searching the premises for a clue) I thought you said she's denying any involvement in this.
AGENT LEE: For now. Her alibi is not gonna hold. And if she knows where Olivia is --
PETER: Good luck getting Nina Sharp to break down and tell us.
AGENT LEE: Alright, point taken. You still haven't told me what you're hoping to find here.
PETER: If Walter's right and Olivia is being dosed with Cortexiphan, it stands to reason that she was gotten to when she was alone And vulnerable.
AGENT LEE: You think she was being watched? (Peter nods) And this Cortexiphan is the reason she's been acting strangely.
PETER: That's Walter's theory.
AGENT LEE: Right, he thinks that you've been somehow projecting your Olivia onto her, that she's assuming the memories and personality of the Olivia from your timeline.
PETER: (curt) Is any of this relevant right now?
AGENT LEE: (snip) It is to me. She's my partner. And if that's true, think about what you're doing to her. Unintentionally or not, you are robbing her of her identity, her life. She is not your Olivia, Peter.
PETER: And what if she is?
AGENT LEE: (matter-of-factly) You know that's impossible. Yet you still let her continue working the case, knowing that she was under your influence, that she wasn't herself. I don't know you that well, but I'd like to think you weren't ignoring her safety for personal reasons... and that you're not ignoring me right now.
PETER: (staring at a ceiling-mounted smoke alarm) I'm not ignoring you. (stands on table and pulls down device)
AGENT LEE: (studies the small camera hidden in the alarm) Wireless closed circuit. It could have transmitted anywhere. What's that?
PETER: It's a backup memory disk. I've seen surveillance cameras like that before. They continually capture and store images on a disk like this in a sixty-minute loop.
AGENT LEE: Olivia hasn't been here all day. I doubt it's recorded anything useful in the last hour. I can have our Techs take a look.
PETER: They're not gonna find anything, but maybe Walter and I will. Let Broyles know that we're working on this. In the meantime, you should keep on working on Nina, 'cause if this doesn't pan out, you're gonna have to do the impossible.
AGENT LEE: What's that?
PETER: (departs the residence) Get her talking.
Isolated Cell - Priming Olivia
NINA SHARP: (sitting restrained, facing one another) Well, they came for me in the middle of the night, when I was asleep. They grabbed me. Before they put the bag over my head, I saw her stepping out of the shadows behind them. It was me, Olive. I mean, she looked exactly like me.
OLIVIA: So it wasn't you that I saw in your office a few weeks ago? You didn't come to my apartment to help me when I was sick?
NINA SHARP: No, I’m sorry, sweetheart. I wish I could say that it was. I've been so worried about you. You know, all the time they've held me here, he still hasn't told me what he's after.
DAVID JONES: (enters the holding cell) Olivia Dunham. I've waited so very long to meet you.
OLIVIA: Actually, we've already met.
DAVID JONES: You have me at a bit of a disadvantage.
OLIVIA: I watched you die. And I'm looking forward to seeing you do that again.
LELAND SPIVEY: Maybe confusion's an unforeseen side effect.
DAVID JONES: I'm a bit confused myself. She's not the first to say that to me.
OLIVIA: A side effect from what? What does he mean?
DAVID JONES: Well, of course, you don't know, though I imagine you've been feeling the effects for some time -- your migraines, for example.
OLIVIA: What the hell did you do to me?
DAVID JONES: Nothing... that wasn't already done to you a long time ago. But then... you were just a child. Doctor Bishop's notes from the Cortexiphan Trial were quite clear. The subjects' abilities were triggered by sparks of intense emotions, hmm? Let's prime that. Every journey begins with a first step. (picks-up a heavy duty electric powered drill)
NINA SHARP: Jones, you leave her alone.
DAVID JONES: Always the protective mother hen.
NINA SHARP: What are you doing? (as her robotic arm is exposed)
OLIVIA: Don't. (as Jones prepares to torture Nina with the drill)
NINA SHARP: No. (as the drill bit in her arm sparks and shorts the circuitry)
OLIVIA: Nina. Damn it, Jones. Stop!
DAVID JONES: Yes, I believe this will work nicely.
Boston, MA - Observer Conference
(on a brisk day in a large downtown, public square, a small parliament of Observers gather to report)
DECEMBER: Have you located him?
JULY: No. Do we know why he failed to carry out his instructions, why he did not erase the lingering traces of Peter Bishop from this timeline?
DECEMBER: That is a question only September can answer, as well as if he is responsible for Peter Bishop's return. September has continually intervened on behalf of this boy, despite all warnings. He has been given every chance.
MARCH: How should we proceed?
DECEMBER: We wait. He will surface again. And when he does, he will have to face the consequences. (strolls away from the group)
Interrogation Room - Accusing Nina
NINA: Have they found her yet? (as the Fringe Task Force SAIC enters the room)
BROYLES: Sit down, Nina.
NINA: Now, Phillip, tell me. Do you have any idea if she's alright?
BROYLES: Do you?
NINA: (in disbelief) How can you ask me that? I raised Olivia as if she was my own daughter.
BROYLES: (not asking. telling) Sit down.
NINA: Phillip, you know me. Do you honestly believe that I’ve been dosing Olivia with Cortexiphan, that I could have had anything to do with her disappearance?
BROYLES: I want to believe you, Nina. If you care about Olivia as you say, then cooperate. The more you tell me, the sooner I can find her, and the better it'll be for you.
NINA: (frustrated) For God's sake, Phillip, I have already told you everything that I know. I should be coordinating with Massive Dynamic resources to assist in the search, not sitting here in some damn cell.
(Lee enters the room and places some paperwork in front of Broyles)
BROYLES: (reads the new file) When were you last in the Massive Dynamic Deep-Containment Facility?
NINA: Yesterday afternoon with Agent Lee.
AGENT LEE: And before that?
NINA: I've told you already. I haven't been there for years.
BROYLES: The biometric logs show you accessed the storage facility twice within the last three months.
NINA: Well, that's not true. The logs have been tampered with.
AGENT LEE: There are eyewitnesses who say they saw you enter the facility. We have signed affidavits from your own security people.
NINA: (thinking quickly. grasping) A - a shapeshifter. I - it had to have been. That's the only explanation.
BROYLES: If a shapeshifter was responsible, then you'd be dead.
AGENT LEE: (damn serious) What are you doing with Olivia?
NINA: I see where this is headed. You've convicted me already. I'm not saying another word without my attorney present.
BROYLES: Have it your way. (stands-up and departs with Lee)
Walter's Lab - Finding Leads
ASTRID: (standing behind Peter and looking over his shoulder at his video recovery research) What exactly are you hoping to find on this chip that you haven't viewed already?
PETER: The camera records over itself every sixty minutes, burying the older images under new footage, so I’m hoping that this machine is gonna give us a chance to reproduce those older images.
WALTER: (fatalistic) A very slim chance.
PETER: (sardonic) Thanks for the encouragement, Walter.
WALTER: I should never have let her out of the lab. You shouldn't have...
WALTER: I warned you not to succumb to temptation, Peter. Whatever consciousness Olivia appears to be manifesting now, she is not who you think she is.
PETER: You don't know that.
WALTER: What I do know is that if I had kept her here, as I should have, then she wouldn't have been taken. And we wouldn't be fishing in the dark, hinging our hopes on pulling a palimpsest out of that chip.
PETER: Right now the only thing that matters is finding Olivia. Everything else will work itself out.
ASTRID: Uh, I’m sorry, but what -- what is a ‘palimpsest’?
WALTER: A manuscript page from a scroll or book from which the text has been scraped off, which means it can be used again.
ASTRID: Like when you rerecord over an old VHS or cassette.
WALTER: Precisely. And what was underneath bleeds through --
PETER: Hold on. I'm getting something. (adjusts joystick controller) I need to...
WALTER/PETER: (sync'd) Increase the magnetic contrast.
PETER: Thank you.
ASTRID: (as image begins to clarify on the monitor) Olivia. Great. Now what?
PETER: Now we dig deeper, see if we can find out who did this to her.
Isolated Cell - Operant Conditioning
LELAND SPIVEY: Let's go. (removing the restraints and escorting the senior prisoner out of the room)
NINA SHARP: Uh, where are you taking me?
DAVID JONES: Please, Ms Sharp. Don't make this harder than it has to be.
OLIVIA: (pleading) Look, David, if it's me you want, you've got me. You win, but you can leave Nina alone, please.
DAVID JONES: Oh, I couldn't possibly do that. (enters the room) Every horse needs a carrot. Every mouse, a piece of cheese. Incentive, Agent Dunham -- all creatures need an incentive to perform tasks. (places a box on the table) Let's give you a little better view, shall we? (opens the view shield to the next room and turns Olivia's chair so she can see Nina Sharp as she is strapped to a mattress frame)
OLIVIA: Oh, my gawd.
DAVID JONES: I'm going to take you through a series of tests. This first one may take some time. (opens a box with a matrix of small lights) I want you –
OLIVIA: I know what you want me to do. You want me to turn the lights on with my mind. We did something like this before. You were trying to activate my ability to cross between universes. And since you seem perfectly capable of doing that yourself, what is this about?
DAVID JONES: Whatever you know, Miss Dunham, whatever you think you know of your abilities, I assure you... your potential is... far greater.
NINA SHARP: (before she is silenced with a gag) Olivia, listen to me! Don't do what he says, please, whatever happens.
DAVID JONES: Alrighty, then. Let's begin, shall we? Now, if... as you seem to believe, you've done this before, then turning the lights on should not be any problem, should it? (waits. waits some more. calls for some incentive) Perhaps this will help you get started.
OLIVIA: (as the metal frame Nina is strapped to is repeatedly charged with electricity) Oh, you sonnuvabitch. Leave her alone!
DAVID JONES: Don't waste all that emotion on me, Miss Dunham. Turn on the light.
OLIVIA: (focuses on the test at hand) I - I can't. (Nina is zapped again) Please, can you just leave her alone?
DAVID JONES: Gladly. You know what you have to do. Just one light, and we won't have to hurt her anymore.
OLIVIA: I can't. Please stop. I ca -- I just can't right now. I'm - I’m tired, and I just need rest.
DAVID JONES: Very well. (as the observation window into Nina's room is closed) I'll give you your rest. We'll try this again in, uh, an hour. (leaves with the wooden box of lights)
Walter's Lab - Unexpected Guest
ASTRID: Wait. Stop.
PETER: What? What do you see?
ASTRID: I don't see anything. But I really have to pee, and I don't want to miss anything.
WALTER: I've had the same issue for the past ten minutes.
PETER: Great. Well, you won't have to wait too much longer. We can't dig any deeper because -- hold on a second. If I decrease the chrome and the saturation...
ASTRID: (as the image becomes more viewer-friendly) That looks like a person.
PETER: Hello. Can Facial-Rec tell us who this guy is?
ASTRID: Send me a capture of the image. I'll forward it to FBI. They can cross-reference with Interpol's database.
WALTER: (acid) Clearly he works for that harridan Nina.
PETER: It's who Nina's working for that worries me. I've been racking my brain trying to figure out -- why would Nina be dosing Olivia with Cortexiphan? But then it occurred to me. The only person who's ever done anything like that, at least in my timeline, was David Robert Jones. Maybe he's trying to do the same thing again.
WALTER: Do what?
PETER: Activate Olivia.
WALTER: For what purpose?
PETER: I don't know. We could never figure it out. But maybe it's for the same reasons now.
THE OBSERVER: (appearing suddenly in the center of the lab) Yes. His goal is the same. (collapse from the injury to his chest)
PETER: (rushes to the injured man's side) You, talk to me. What do you know about David Robert Jones? What do you know about Olivia?
THE OBSERVER: (pained) She needs you.
Walter's Lab - A Significant Event
(as the trio plonk the bald visitor onto a table)
ASTRID: Oh my God, he's been shot.
WALTER: Check his breathing, dear.
PETER: There's no exit wound. That bullet's still in him, Walter.
ASTRID: His breathing is shallow.
WALTER: Pulse is weak. (puts his head to the wounded man's chest) There's no breath sound from his left side. His lung must have collapsed... if he has lungs? Oh, dear God, I have no idea if this man's physiology is similar to ours at all.
PETER: (returns with surgical tools) It is -- at least that's what you told me in my timeline.
WALTER: I suppose I have no reason to doubt myself.
ASTRID: Walter, should I call the paramedics?
WALTER: (to Astrid) They'll just take him to a hospital. He'll have a better chance of surviving with me. We need to cut this bullet out and reinflate the lung. Please get my medical kit, quickly, dear. (points) Peter, put pressure here.
PETER: Walter, he is an Observer. They only show up at significant events. That he is here must mean it's important.
ASTRID: Well, who could have shot him, and why?
PETER: Well, I don't know, but he's here. He must have something to tell us. He said, "she needs you" - he was talking about Olivia. (phone rings) Ah, damn it.
ASTRID: Here, here, here. (takes over the controlled pressure on the wound)
PETER: (answers phone) Bishop.
AGENT LEE: (from the Observation Room next door to Nina's meeting with her lawyer) It's Lincoln. We got the image you pulled. They're running it through facial recognition now.
PETER: How long do you think before we have an I.D. on that guy?
AGENT LEE: I'm not sure. We never tried it with an image this weak before. It could take time.
PETER: What do you think the chances are we're gonna get lucky and Nina starts talking?
AGENT LEE: I wouldn't count on it. She's got her lawyer in with her now. Short of the Sixth Amendment being repealed, I don't see her cooperating anytime soon.
Isolated Cell - Remembering Olivia
(after the two have been freed of their restraints and placed in the same room)
OLIVIA: I am so sorry that you have to go through this.
NINA SHARP: Oh, it's not your fault. I mean, none of this is your fault. No, listen to me. I know Jones. I know what he's capable of. William fired him because he was unhinged. You cannot give in.
OLIVIA: Yeah, but if I don't, then he's going to keep torturing you, and I can't have that. I won't. Okay. Nina? Nina... You -- you have to help activate me.
NINA SHARP: Olive, I - I...
OLIVIA: Alright, Cortexiphan is based on emotions. For me, it was always fear-- not fear for myself, but fear for the people that I loved. Now, Jones is -- he's using that, hoping that it will access my abilities. But something's happened.
NINA SHARP: W – w - what do you mean?
OLIVIA: Well, because of the Cortexiphan... I – I - I can't remember certain aspects of our relationship. I - I can't remember things about us. And without that connection, I – I - I can't do what he wants. It just – it -- it won't work.
NINA SHARP: Now, I -- now, I - I don't understand. Y - you don't remember our life together?
OLIVIA: No, I – I - I remember, but... I just... I just need for you to help me feel it. Just -- just help me remember the details, what we -- what we meant to each other. mmm. Maybe if you could -- if you could just tell me a story, maybe the first day that Rachel and I came to live with you.
NINA SHARP: Uh, oh, well, um... Mm, a social worker brought you and your sister up from Jacksonville on the train. I - I met you at Penn Station. You really don't remember?
OLIVIA: I remember the train, I think, but... just -- just keep going.
NINA SHARP: Well, I brought you girls home... to our old house in the Catskills.
OLIVIA: And I couldn't sleep that night. And so you came into my room. And you sat with me, but I - I can't remember what we talked about.
NINA SHARP: Okay, I -- you were scared. I mean, after what you'd been through, coming to a new home with a woman that you hardly knew--
OLIVIA: And I kept calling you ‘Ms Sharp’.
NINA SHARP: Yes, you did. That's true. And I told you that you didn't need to worry, that we were a family now... and that whatever happened, we had each other. And we'd be okay. And I - I kissed you on the forehead. I kissed you good night, and you called me "Nina"... that was the first time you'd ever done that.
OLIVIA: I can only remember pieces... Just fragments. It's like looking at a photo album of somebody else's life. This isn't going to work. I don't want them to keep hurting you, but... the only person that this has ever worked with is Peter.
NINA SHARP: Peter Bishop?
OLIVIA: The Cortexiphan, my abilities-- it's only ever worked when I've been around him.
NINA SHARP: Aah!
NINA SHARP: Oh! (keels over in agony)
OLIVIA: Nina, are you okay?
NINA SHARP: Oh, oh! I – I – I – I – I don't know. Oh!
OLIVIA: Hey! We need somebody in here now!
LELAND SPIVEY: Stand back. What is it?
OLIVIA: She, uh -- she needs medical attention now. Look, you can tell your boss that if she dies, then his leverage dies.
LELAND SPIVEY: Bring the gurney.
NINA SHARP: Olive!
(rolled out of the room on a gurney. Nina Sharp hops to her feet and grabs a quick drink from the water fountain while her co-conspirator joins her for an update)
DAVID JONES: Well?
NINA SHARP: I know why it's not working. She needs Peter Bishop. Apparently, she can't be activated unless he's present.
DAVID JONES: Somehow I knew he'd be trouble.
Walter's Lab - Last Resort
BROYLES: (joins the gathering the operating table) Agent Dunham had asked me not to share this with anyone, but under the circumstances... that man paid a visit to Olivia several weeks ago.
BROYLES: At that Brooklyn opera house, while the two of you were on the other side.
PETER: What did he want?
BROYLES: Apparently to warn her. He said he'd seen all possible futures, and in every one, Olivia was going to die.
WALTER: You said this man exists out of time. What if, at the opera house, weeks ago, he was referring to events that are happening now?
PETER: Walter, if he was trying to warn her about this abduction, do you think maybe he knows where she is?
WALTER: I suppose.
BROYLES: Doctor Bishop, do you have any reasonable expectation when this man will wake up?
WALTER: I've treated him as best I can, but he's gone into septic shock. His vital organs are shutting down one by one. I'm afraid there's nothing anyone can do for him now.
ASTRID: (returning from the inner offices) That was H.Q. Found a match on the man in Olivia's apartment. His name is Leland Spivey. His last known address was an apartment in Deerfield.
BROYLES: I'll deploy a S.W.A.T. unit to his place.
ASTRID: Uh, you're not gonna find him. Leland Spivey died in a car accident three years ago.
BROYLES: Then how was he in Agent Dunham's apartment weeks ago?
ASTRID: I don't know. Maybe, uh-- maybe if Jones can cross over at will to the other side, he's bringing other people back with him?
AGENT LEE: You think the guy on the tape is Spivey's doppelganger?
PETER: It doesn't matter. It's a dead end. The only way to find Olivia is through him.
BROYLES: You heard Doctor Bishop. He's dying.
PETER: But he's not dead. He still has brain function.
WALTER: Peter, you're not suggesting--
PETER: Why not?
ASTRID: Suggesting what?
WALTER: He wants to go into the Observer's mind.
BROYLES: Is that possible?
PETER: Walter, you know the only way that I'm going to find Olivia is if you can put me into his consciousness.
WALTER: Peter, this man's brain could operate in ways we can't even imagine. And if he dies when you are in his mind, you could well die too.
PETER: Can you do it?
PETER: Good. Then let's get started. We don't have much time.
Walter's Lab - Timeless Consciousness
WALTER: (injects Peter and watches the synaptic activity on two monitors as the Observer and Peter share one brainwave pattern) Okay, Peter, here we go.
(Peter regains cognitive awareness in a clear glass observation platform just in time to witness a tremendous cosmic explosion in the void of dark space beyond the platform)
THE OBSERVER: (commenting on the spectacle) The beginning of all things. I have been privileged to witness it... as I am to witness my end.
PETER: You know that you're dying?
THE OBSERVER: Yes. I was shot.
PETER: By who?
THE OBSERVER: That is not the relevant question.
PETER: Yes. Olivia. You said she needs my help. Does that mean you know where she is?
THE OBSERVER: That, too, is not relevant... Not yet. I am sorry, but I do not have long, and there is much I need you to understand before I go.
PETER: Who... or what... are you?
THE OBSERVER: I am called 'September' but that is a code designation given to members of our scientific team.
PETER: Scientists? From where?
THE OBSERVER: A more apt question would be, 'from when?' we are you-- we're human... many generations after your lifetime. We are one of countless possible futures for humanity. Our technology has uniquely afforded us the ability to travel within and outside of time so that we may observe our beginnings.
PETER: But you've done a lot more than observe.
THE OBSERVER: Yes. It was my attempt to rectify the mistake I made.
PETER: What mistake? (the spatial viewing platform vanishes and is replaced by the 1985 Bishop lab in the alternate universe) Is that...?
THE OBSERVER: Your real father... developing the cure that would have saved your life.
SECRETARY BISHOP: (the events of 1985 unfold) Excuse me. What are you doing in here?
THE OBSERVER: (1985 version) Forgive me, Doctor Bishop. I did not mean to disturb you. I am an admirer. (to Peter in the current timeline) Your father found the cure, but in my desire to witness the moment, I inadvertently distracted him from discovering it.
PETER: I already know all that. Walter told me, but what were you doing there?
THE OBSERVER: (1985 version to Bishop) I'm sorry for disturbing you. (to Peter in the current timeline) It was important. You are important. (having returned to the spatial viewing platform) It was why I could not allow you to drown at the bottom of Reiden Lake, why it was necessary to allow the other Doctor Bishop to cure you instead. Despite my efforts to set things right, these actions only culminated in further corruption of the timeline. The war between the two universes drastically altered destinies and brought about a child that was not meant to be.
PETER: What child?
THE OBSERVER: Your son... Henry.
PETER: My what?
THE OBSERVER: He was born to the wrong Olivia Dunham due to a series of circumstances that never should have happened. This event... would have irrevocably altered everything that was to come.
PETER: (looks at an image of an infant manifested outside of the viewing platform) Henry. I have a son.
THE OBSERVER: Had. When you made the sacrifice to step into that machine, you were not the only one who ceased to exist. So would he. I believed at the time that would be the end of it. I cannot explain, but it is clear that I was wrong. You have managed to return in physical form. I suspect... this will provide an opportunity for you to put things right. She is the one... the Olivia Dunham from whom your shared future was meant to spring. This must be, and everything will be as it was intended. You must find a way... (alarmed) they are coming.
THE OBSERVER: You need to go.
PETER: (as the viewing platform begins to break apart) What's happening?
THE OBSERVER: There is no time. I'm going to need you to do something for me.
PETER: I'm not doing anything until you tell me where to find Olivia --
THE OBSERVER: For that, you have only to go home. (strongly suggesting)
PETER: I know that I have to go home. (fighting to maintain their synaptic link) I know I have to get back to my timeline, but I'm talking about this Olivia in this timeline.
THE OBSERVER: Go home. (forces Peter from his mind and back to his colleagues in the lab)
ASTRID: (as the Observer convulses) Walter, what's happening?
WALTER: I don't know. His heart rate is suddenly spiking.
BROYLES: Peter, did you make contact? Was he able to tell you where Olivia is?
PETER: (groggily) No.
WALTER: Give me 30 milligrams of Propafenone.
ASTRID: (as the Observer disappears from the table he was on and sends nearby equipment flying) Walter!
AGENT LEE: (genuinely befuddled) Somebody want to tell me what the hell just happened?
Walter's Lab - Dead End
ASTRID: (cleaning-up the mess) I don't understand how this table just knocked itself over.
AGENT LEE: A dying man suddenly vanishes in front of our eyes, and the thing you're wondering is, what happened to the table?
ASTRID: Among other things.
PETER: He just stopped suddenly, and he said - they're coming - and then I got yanked out.
WALTER: Well, I didn't do any yanking. It must have been them... the them who were coming.
BROYLES: You're certain he had nothing else to offer?
PETER: Mm-mm. He just kept on saying how I needed to get back to my timeline and my Olivia.
AGENT LEE: Your Olivia and our Olivia? I thought they were one and the same to you.
BROYLES: Then we're right back where we started... with Nina Sharp being our only real lead. Agent Lee, I think she's been on ice long enough. Let's see if she's ready to deal. (leaves the lab with Lee)
WALTER: You tried, Peter. It was a valiant effort nonetheless. You're very lucky to have made it out. I can't imagine what would have happened if this Observer had disappeared with your consciousness still inside his brain.
PETER: He existed outside of time. He could've helped me to find Olivia. (fresh thought) He kept on saying that I needed to get home. What if he was being literal this time -- not home to my timeline, just to my house?
ASTRID: What do you think -- that she's waiting for you at your house after she's been kidnapped?
WALTER: I suppose it makes as much sense as anything else that's gone on here.
ASTRID: It doesn't make any sense.
WALTER: My point exactly.
PETER: I know that sounds crazy, but I got to at least check it out. Maybe there's a clue there that can point me in the direction of Olivia. I'll call you from there if I find anything. (leaves lab)
Peter's Home - Intruder Alert
PETER: (enters the campus home he has been living in) Olivia? Olivia! You here? (senses he is not alone. turns as Leland Spivey turns on a desk lamp) Where is she? (approaches angrily) I said, 'where is she'? (falls when he is clubbed from behind)
Plainfield Memorial - Ability Demo
(Peter is cuffed and dragged to the holding cell where Nina Sharp was tortured)
OLIVIA: (after hearing the activity) Hello? (after the metal screen is raised in the observation window) Peter? Peter?
PETER: Olivia. Olivia, are you okay? Did they hurt you?
OLIVIA: No, no. I'm fine. I'm fine.
DAVID JONES: (enters the room) Nice of you to join us, Mister Bishop. By now, you must have realized that your every word was being monitored. If I overheard you correctly, you believe this man will be helpful in evoking an emotional response, so let's give it a try, shall we? Unless, of course, I was mistaken. I find your silence encouraging.
PETER: Don't do it, Olivia. (Leland places a knife to Peter's throat)
DAVID JONES: I'm afraid you must, or Leland here will start slicing off pieces of your friend. (Olivia focuses on the box and turns on the lights all at once) Excellent, Agent Dunham. I knew you had it in you. (the lights in the two rooms begin flickering and growing brighter) Impressive. (the lights grow extremely bright) What are you doing, Olivia?
OLIVIA: I'm doing what you wanted. I'm turning on the lights.
NINA SHARP: (tied to the electric torture rack) What? No, Olivia, don't.
OLIVIA: You're not Nina.
NINA SHARP: What are you talking about?
OLIVIA: My high-school graduation -- you told me that now I was an adult. I was no longer allowed to call you 'Ms Sharp'. That was the first time I called you 'Nina'.
DAVID JONES: (directing Nina's evacuation) Get her out.
(a powerful electric charge shoots from an overhead light - killing Spivey and knocking Peter to the ground)
Plainfield Memorial - Gaining Freedom
OLIVIA: (enters the room where he was being threatened) Peter?
PETER: Olivia. (strapped to a chair. on his side on the ground) How did you do that? How did you know how to concentrate your power?
OLIVIA: Well, I, uh -- I didn't. (as she cuts the zip strips to free him) I just know that... when I was a little girl, I did something similar, and that if they brought you to me, then you might give me what I needed to do it again. Okay. Come on.
(elsewhere in the abandoned facility. packing quickly)
DAVID JONES: Best be on our way. (to an accomplice) Be a good fellow and keep them occupied, will you?
(Olivia goes into spaz-mode and they are confronted in the hallway)
PETER: Olivia. I got you. You're gonna be okay. I'm here.
GOOD FELLOW: On your feet, both of you. (pistol pointed at Peter's head)
PETER: She's having a seizure.
GOOD FELLOW: I said get up. (attacked by Peter. violent fist and knee fight)
OLIVIA: Hey! (aims dropped gun. Peter head butts opponent) Oh, God.
PETER: Come on.
DAVID JONES: (after activating a trans-universe portal in the corridor of the dilapidated hospital) Please be so kind as to step aside. (to Nina) Ladies first. (Nina steps through to a fully functional Plainfield Memorial hospital in the alternate universe)
OLIVIA: Jones... don't move. (enters the corridor with her pistol pointed)
DAVID JONES: (calmly. duly impressed) That was quite a display you put on in there, Miss Dunham. Your love for this man must be something quite profound.
OLIVIA: Jones, you can step away from the portal.
DAVID JONES: (turns to step through) Good-bye for now, Agent Dunham. (is shot. then turns and stands with something much less than a critical gunshot wound) It would seem there are some fringe benefits to having one's body reassemble at an atomic level. (waves and steps through the portal)
OLIVIA: Peter, I -- did you see that? (has another debilitating seizure) I — Oh.
PETER: I got you. (catching her as she collapses) I got you. Let's get you out of here, okay?
PETER: (outside, as they exit onto the poorly lit grounds. on his cell phone) Yeah. Yeah, Plainfield Memorial. But, Lincoln, make sure that you tell the EMTs that she's gonna need Diazepam. Alright, thanks. (to Olivia) Alright, first responders are on their way. You're gonna be fine.
OLIVIA: It's okay. I'm feeling better now. I guess all the energy that I expended did a number on my nervous system.
PETER: Maybe... (concerned at his substantial influence) but maybe it was me... just by being close to you, like Walter said.
OLIVIA: Well, Walter isn't always right.
PETER: Yeah, neither am I. At the gas station just before you got taken, you were ready to come home with me, and I was ready to think that that was okay. But it wasn't. It was a mistake... one that I promised myself I'd never make again.
OLIVIA: This isn't the same as what happened –
PETER: I saw her. I saw my Olivia -- the one that I am supposed to be with, the only one that I'm supposed to be with.
OLIVIA: Peter, I don't understand what's happening to me any more than you do. But that doesn't change what I do know, what you know -- that if you look at me -- if you -- if you look -- if you look into my eyes, then you can see that I am her.
PETER: (heartfelt) No. No, you have her memories, or you have my memories of her. You're a projection or -- I don't know what. But when I looked into your eyes, what I saw was what I wanted to see. I know she's out there... my Olivia, in my timeline, waiting for me. And I let myself forget that, so I’m sorry, Olivia. And I'll be sure that Walter can fix you up somehow and give you back your life. But for right now, I think it's better if I just stay away.
OLIVIA: Okay, Peter, I – I - I'm in love with you, and I - I can't just -- just turn that off now. I don't want to lose you. W - where are you going?
PETER: Home. I have to go home. (turns and walks from the hospital grounds as emergency personnel arrive and park)