201 – “A New Day in the Old Town” transcriptEpisode Transcripts | Fringe - 201 A New Day in the Old Town | Posted by Scully
Courtesy of : Fringepedia
Manhattan – Accident Scene
(blood-covered, mock George Reed comes to and exits his damaged vehicle. he flees through the crowd and traffic. he gains access to a nearby apartment building)
SHAPE CHANGER (as George Reed): Excuse me. (politely to Parr in the hallway)
(Reed then abducts, and kills tenant Lloyd Parr… stealing his physical features in the process. Agents gather at the accident scene)
FBI AGENT: (standing between the vehicles) It’s car v. car. NYPD’s taking witness statements now.
AMY JESSUP: What the hell happened to the drivers?
FBI AGENT: Hey. You caught the case.
AMY JESSUP: So who’s are man? Who was driving this vehicle? (the agent hands her the classified cover page from Olivia’s personnel file)
Boston – The Piggly Wiggly
PETER: Walter. Come on. I don’t need you to make me anything.
WALTER: (pushing his cart along the aisles) I insist. You know, there’s something you don’t know about me, son.
PETER: What’s that? That once you enter a grocery store, you never leave again? Ever?
WALTER: No. Before I ever became Chair of Bio-Chemistry at Harvard, which was after Oxford and M.I.T., I was sous-chef at the Bakersfield Food Lab.
WALTER: Um-huh. Well, technically I worked under Seymour Brodien.
PETER: Am I supposed to know who that is?
WALTER: He invented the Ho Ho!
PETER: (smiling) Of course he did… Walter. I want to leave this place. And I don’t need you to make me a cake.
WALTER: I’m not making you a cake… I’m making you a custard. It’s my specialty.
PETER: I don’t like custard. In fact, I’ve never liked custard.
WALTER: As a boy, you loved it. You’ve just forgotten. Friday is your birthday. You deserve something wonderful.
PETER: Well, for my birthday, can I have ‘getting the hell out of here’?
WALTER: We need to celebrate… and make sure Agent Dunham can attend. I want to see her face when she eats my pudding.
PETER: That’s disturbing. (answers his ringing cell-phone) Peter Bishop. (listens) What?
Manhattan Accident – Olivia Returns
AMY JESSUP: (greeting him after his screeching arrival) Mister Bishop?
AMY JESSUP: Agent Jessup. Hi.
PETER: Hi. (points) This is my father. Walter.
AMY JESSUP: Yeah. I have a couple of questions for you.
PETER: How bad is she?
AMY JESSUP: We don’t know.
PETER: Excuse me? How do you not know?
AMY JESSUP: Can you explain exactly what you do? You’re some sort of special consultant…
PETER: Where’s Charlie?
AMY JESSUP: I’m sorry, Charlie who?
PETER: Agent Charlie Francis. Where is he?
AMY JESSUP: I believe he’s en route from Quantico. I’m the Agent-in-Charge.
PETER: Well Agent-in-Charge… where is Olivia Dunham?
(unnoticed, Walter fiddles with the locked door on Olivia’s SUV and gains access)
AMY JESSUP: Witnesses report that after the crash, a man was seen leaving the car on foot… but no one saw anyone leave the SUV. The doors are still locked, the seatbelts still buckled, the airbags deployed… but there’s no identation – which implies no one was behind the wheel at the moment of impact.
PETER: Did you check to make sure the skid marks match the other vehicle?
AMY JESSUP: Look, you still haven’t told me what it is you do. You, Agent Dunham, your father. I checked with the Field Office. They said that all of you work is…
PETER: …classified. And that you don’t have access. I don’t have time for this.
AMY JESSUP: It’s not that I don’t appreciate petulance, Mister Bishop… (Walter activates switches in the car and gets strange feedback and sounds) … but the sooner you cooperate…
PETER: … I would love to cooperate as soon as you can find me an agent that can actually help me!
(fearful, Walter exits the empty SUV, slamming the door and activating the alarm, everyone turns and stares as the horn blares and the engine races for a few seconds. then, after a few seconds of silence, Olivia shoots out of the vehicle through the windshield and tumbles to a stop, well in front of the SUV… and morbidly still)
New York General – Saving Olivia
PARAMEDIC #1: (rushing a guerney full of Olivia through the corridor to emergency services. The Bishops wait – concerned) Female – unconscious – dislocated right hip. Possible brain herniation. BP’s jumping – 180 over 20. Pupils are non-reactive.
PARAMEDIC #2: Coding!
ER DOCTOR: Prep her – stat!
BROYLES: (waiting on the front steps) Amy Jessup? Special Agent Broyles. We need to talk about what happened at that crime scene.
AMY JESSUP: Sir –
BROYLES: What happened, Junior Agent, is all right here in your report. (hands her the report) A random traffic accident involving a Federal Agent. No extenuating circumstances, case closed. Sign it, please.
AMY JESSUP: But this girl –
BROYLES: Sign the report, Agent. That’s an order. (hands her a pen)
(in the waiting area, Walter fiddles with a vending machine as the Olivia’s surgeon approaches)
SURGEON: I’m afraid your friend’s injuries were too severe.
PETER: Oh, come on.
SURGEON: We were unable trestore any brain function. Patients who suffer this kind of head trauma simply don’t reagain consciousness.
WALTER: (dismissive, to the surgeon) Simple. Reductive. Absurd. (hopeful, to Peter) Life and death, these are relative terms. Contextually defined, dependent on cultural specifics.
PETER: Walter –
WALTER: (about the surgeon) He is undoubtedly indulging in primitive diagnostics. Agent Dunham is not dead. She’s not dead. She’s not dead.
PETER: Walter — she’s not. Walter. Walter, wait, stop. (as he follows his father to Olivia)
SURGEON: You can’t go back there. Doctor, please. Back off.
WALTER: (after inspecting her medical state) I’m so sorry, Olivia. (sniffles)
A Quiet Bar – Somber Times
BROYLES: (startling Peter from behind as he approaches the counter) Mind if I join you?
PETER: I’m guessing you don’t drink.
BROYLES: (to the barkeep) Double.
PETER: How did you find me?
BROYLES: I work for the F.B.I. Where’s your father?
PETER: My father is off in la-la land. Mixed himself up a really nice cocktail of Valium, Haldol, Seconal, and I think Lorazepam. Astrid is baby-sitting.
BROYLES: I’ve been called to Washington tomorrow. The efficacy of the Division is being questioned. I’ve been informed that our failure to deliver any useable results is unacceptable.
PETER: They’re shutting you down? (snickers in disbelief) What were we even doing, anyway? We’d sit around and wait for somebody to die some grisly, macabre death, or for the entire fabric of the universe to come shredding apart. We were the clean-up crew, sent in to mop it up and make sure it was all neat and tidy for the file. We were always too late anyway.
BROYLES: That’s not entirely true.
PETER: We were too late for Olivia.
BROYLES: (raises his glass) To Agent Dunham.
PETER: To Agent Dunham. (raises his glass and clinks it to Broyles’ glass)
Olivia’s Hospital – Saying Goodbye
PETER: (after parking and entering, he finds a sad friend in a dark hallway) Hey, Rach. When did you get back?
RACHEL: A few hours ago. Ella’s at a friend’s house. I didn’t want her to remember her aunt like this. She had a living will. No ‘life support’. They’re gonna do this in… in the morning, so I’ve just been sitting with her, and… do you wanna…?
RACHEL: You know she liked you, Peter. Did you know that?
PETER: (sighs, exhales, wanders into Olivia’s room, sits on the side of her bed) Hey. (breathes deeply) Goodbye, Olivia.
OLIVIA: (eyes wide open, trance-like) Einai kalytero anthropo apo ton patera toy. (screams and bolts forward)
Olivia’s Hospital – Recovery Room
SURGEON: Can you tell me your name?
OLIVIA: It’s Olivia Dunham.
SURGEON: Do you know the year?
OLIVIA: Why am I in a hospital and what is wrong with my leg?
RACHEL: You re in an accident. Do you remember? In New York.
OLIVIA: Is Peter here? I need to see him.
RACHEL: He’s here, he’s here. (as Peter enters the room)
OLIVIA: I – I went somewhere.
PETER: I know, you went to New York.
OLIVIA: No. Yeah, but no.
PETER: Olivia, look, you were in an accident.
OLIVIA: No, no, I was trying to get somewhere and someone was trying to stop me, but I went there anyway, and — (aural beeps from her monitoring equipment increase) Oh, God, what is happening?
SURGEON: Mister Bishop, please, she needs to stay calm.
OLIVIA: He told me something.
OLIVIA: I don’t know. I can’t remember. But, oh, it was very important. There’s something that I have to do.
PETER: Who, Olivia? Who told you to do what?
OLIVIA: I don’t know, but there’s something that I have to do, and I…
OLIVIA: I think that our lives may depend on it.
PETER: Whose lives?
SURGEON: (to nurse) Get that beta blocker and get her pulse down.
OLIVIA: Peter, I need my gun. Please, I’m not safe. Somebody hurt me they did this to me. Please, Peter, my gun. I need my gun. Please, Peter.
Boston Federal Building – Reception
PETER: (just arriving in the lobby) Excuse me. I need to speak with Special Agent Broyles.
RECEPTIONIST: Agent Broyles is in Washington.
PETER: Uh, then Agent Francis, please, Charlie Francis.
RECEPTIONIST: Sir, what is this regarding?
PETER: I work for you guys. I’m a consultant. I need access to a file on a car accident yesterday in New York City.
RECEPTIONIST: (inspects his badge and compares it to a computer record) I’m sorry. These credentials have been revoked, Mister Bishop. (run his I.D. thru a shredder)
PETER: What? Look, lady, you need to help me.
RECEPTIONIST: Please feel free to file a civilian request on our website.
PETER: Web — no, listen to me. One of your agents is in the hospital, and her life– and possibly yours, depends on the work that I need to do, you find me somebody who can help me.
ESCORT: Okay, sir, if you’d exit the building — (scuffles with Bishop briefly)
AMY JESSUP: (to his rescue) I’ll take him.
PETER: (to the escort) I’m with her.
Amy’s Car – Driving to Lexington
PETER: What’re you doing in Boston?
AMY JESSUP: You like to fight, Mister Bishop? All that time in iraq. Mob connections. You’ve got quite a combative history.
PETER: You said you were gonna help me get my hands on that file.
AMY JESSUP: It’s on the seat behind you.
PETER: What? (reaches back, retrieves the folder and starts to read the contents)
AMY JESSUP: Something wasn’t adding up about those skid marks. They were darkest at the back, not the front.
PETER: So maximum torque farthest away from the incident. That means the driver wasn’t slowing down.
AMY JESSUP: He was speeding up.
PETER: Then he must’ve been waiting.
AMY JESSUP: Those are pictures from the surveillance camera in the parking structure adjacent to the accident site. George Reed. 524 Littlefield Road. Here in Lexington. We’re fifteen minutes away. Alright, now it’s your turn. What’s the Fringe Division? What do you people do?
PETER: (somber) Nothing. Not anymore.
Lexington – Reed’s Residence
AMY JESSUP: (kicking open the front door) F.B.I. — George Reed? Mister Reed? (entering a front room) Body. (kneels to inspect the corpse) Look at his lividity. If this guy was driving a car in New York, it wasn’t yesterday.
PETER: I need to get a ride for someone.
WALTER: (later, with forensics and investigators in the room) Feel his anus. It’s soaking wet. Expansion of the oral mucosa, the eyes, and the rectum to accommodate rapid fluid loss. If it’s a virus, it obviously doesn’t affect birds… (eyes a nearby bird cage) …or people, at least not quickly. Agent, I need this body taken back to my lab.
FORENSICS: Hey, lunatic, this body’s going to the morgue. (to Amy) Is he crazy?
WALTER: (seeking intervention) Peter?
FORENSICS: Who is the Agent-in-Ccharge here?
AMY JESSUP: I am. Take it wherever he wants.
AMY JESSUP: Is he crazy?
PETER: (under his breath) Oh yeah.
AMY JESSUP: Whatever Fringe Division is or was, F.B.I. says it’s been shut down. and yet I just sent you a body.
PETER: Which does begs the question, why are you doing this?
AMY JESSUP: Just following the case.
PETER: It doesn’pay to bluff a bluffer, Agent Jessup. You know, a lot of people would be scared by this. Most, actually.
AMY JESSUP: There are more things in Heaven and Earth than are dreamt–
PETER: Oh wow. Really? Butchered Shakespeare.
WALTER: (coming from the house to get permission) Peter. Peter! They said I can ride in the back with the body. Can I?
PETER: Sure. Of course you can. Stay out of the medications, though. Please.
AMY JESSUP: I think I’ve been waiting for you people my whole life.
Dusty Shop – New Orders
(the door bells jingle as mock Lloyd Parr enters a businees with many old business machines on display)
STORE OWNER: I’ll be with you in just a minute. So what can I do you for?
LLOYD PARR: I’m looking for a Selectric. Selectric 251.
STORE OWNER: Doesn’t exist. They never made one. It’s 245 straight to 255.
LLOYD PARR: No, no, no. I’m still gonna need the 251.
STORE OWNER: Ah. You’re one of them. You know, it’s been six years. I just kind of figured that, uh… (opens cash register, removes key and hands it over) Straight back. Last door. Hey. You — you tell ‘em. I’m not waiting around forever. (mumbles to himself as Parr walks to the back room) I am not waiting around forever.
(Parr sits at the table with the typewriter he requested and places a sheet of paper in it. He types that he was successful with his mission and requests to be extracted. He looks at the mirror next to the table as the reflected image of the typewriter activates without a user)
- MISSION ACCOMPLISHED
- TARGET TERMINATED
- IN FATAL CAR CRASH
- MEETING PREVENTED
- REQUEST EXTRACTION
(On the sheet of paper in the typewriter before him, he sees a reply that he was not successful and he receives new mission orders)
- MISSION FAILURE
- MEETING OCCURRED
- TARGET STILL ALIVE
- REQUEST NEW ORDERS
- INTERROGATE TARGET
- THEN KILL HER
Walter’s Lab – The Tour
AMY JESSUP: (as they prepare to enter the Kresge Building) What are we doing here?
PETER: (walking the halls) As I’m sure you’re probably already aware, my father was a scientist, who was sent to St. Claire’s. A mental institution, yes, but there is more. Worse. And some good, too. It’s complicated. But for right now all you really need to know is that this building is where he used to work. He was working here as a professor. Simultaneously, he was working on a number of top-secret government projects. We do our thing down here in the lab because, according to him, It’s the only place that he can work. (as the reach the lab door) You’re coming up on your last chance to turn back.
AMY JESSUP: Are you kidding?
PETER: Agent Jessup, welcome to Fringe Division. Astrid, Amy. Amy, Astrid. Nice haircut.
ASTRID: Thanks. Hi.
WALTER: Oh, hello again. I need four bunson burners, eight metal bowls yea big, and a freezer.
ASTRID: The bowls need to be sterilized?
WALTER: It’s not for the autopsy. It’s for the custard. For Peter’s birthday.
PETER: Walter, will you forget about the custard?
WALTER: I refuse. Also – rib cutters, toothed forceps, and a bone saw – for the autopsy. Not for the groceries.
Olivia’s Hospital – A Friend Visits
CHARLIE: (sitting nearby) I got here as fast as I could.
OLIVIAL: I’m alright. You didn’t have to come all this way.
CHARLIE: You’re not all right.
OLIVIA: Charlie, I’m fine
CHARLIE: My second year with Brooklyn P.D., one night we get a domestic disturbance call. Partner and I go over to his house. I’m with the guy, right? And he’s, uh… saying it’s nothing, you know, just a little argument. My partner calls from the other room and says that we need an ambulance for the girl. And I just know the guy beat the crap out of his girlfriend, so I go for my gun, I get him on the ground, and I’m cuffing him. And I hear a gunshot from the other room. I turn around, and this, uh, bloody girl– brutalized, brutalized girl– is, um… aiming a gun at me. What I didn’t know at the time was she had just killed my partner. She fires. Hits me in my chest. (stands-up and walks closer) Anyway, um… I’m in I.C.U. for six days. You know, and, um, hospital for two weeks. Kept on telling my wife, ‘I’m fine’. I was shaken, and I was scared. Now, if you’re like me, you got a gun underneath your pillow… Peter called me. (smiles) Hey. You can fool the doctors, kiddo. You can’t fool me.
OLIVIA: I don’t know what happened to me. I’m so scared. I can’t even load it. My hands won’t stop shaking. Charlie, I can’t. I can’t even load it.
CHARLIE: Hey. You’re gonna be alright. It’ll be alright.
Walter’s Lab – The Reed Autopsy
WALTER: It’s a shame. These lungs were in excellent condition once. Is the half-and-half boiling?
ASTRID: Yeah, just about.
WALTER: Mix the eggs, sugar, and salt in a separate bowl. Please.
PETER: Walter, there’s nothing wrong with the blood sample…. What are you thinking?
WALTER: (giggling) It’s funny. I love custard, but I hate flan. Which could be an issue of semantics, or difficulty with the French. Which I doubt, given my near obsession with moules a la creme Normande.
PETER: Well, that’s fascinating, but what I actually meant was are there any theories about how this man died?
WALTER: No, the water expulsion, though dramatic and messy, seems to be a symptom of some other process. But I stumbled upon something that did the unthinkable. Look inside the mouth. (to Amy) You can come closer, dear. Look at the soft palate. What do you see?
PETER: There are three markings. Indents like stab wounds. What are they? And while we’re at, what do you mean you stumbled across something that does the unthinkable?
WALTER: It made me remember something.
AMY JESSUP: (to Peter, as Walter loads a VCR tape) Is this you?
PETER: Yeah. My father recently took a little trip down Memory Lane, and for no reason has become Wildly obsessed with my childhood. He also likes to check and make sure that I’m still breathing when he thinks that I’m asleep, which is a little creepy.
WALTER: Focus, please. This is an experiment that Belly and I did. We came up with such a spectacular blend of drugs. One day, Leary came by, and he said, “you’re kidding me.”
ASTRID: Is this gonna make her head explode or something?
WALTER: Well, in a sense, yes, but not physically. We’re trying to augment Her fifth, sixth, and seventh chakras.
ASTRID: Throat, Third eye, and Crown.
WALTER: That is correct, Asterix.
WALTER: Communication, speech, clairaudience, cognition, and thought. Spirituality
PETER: You wanted her to see god.
WALTER: (heard on video) who is he?
REBECCA: (seen on video) The man with the machine. The three– the three nails. The three nails go in the mouth. There. He is a soldier. From somewhere else. He’s– he’s from a place that looks like this, but it’s not here. Oh, he’s–
He’s from another universe, man. Oh, I can see him. He pushes up the machine.
WALTER: (heard on video) He pushes up the machine?
REBECCA: Oh, yes, in the mouth. And then he changes. That’s how they change. They’re like shape shifters. That’s how they hide. They can look like us. They can look like any of us.
PETER: Astrid. (heading for her computer station) I need you to log on to the joint law enforcement database. We need to be informed immediately of any corpse that matches that description.
REBECCA: They can look like any of us.
Olivia’s Hospital – Frustration
(still in bed, she attempts to load the magazine to her service pistol. shaking and angry, she is unable and fumbles the rounds into her lap)
Committee Hearing – Washington D.C.
SENATOR: Unsubstantited claims of invasion. Reports of technology run amok. The old “X” designation and your fringe investigations have been indulgences in the federal budget for over half a century. Well, the salad days are over, Mister Broyles.
SENATOR: Excuse me?
BROYLES: …or Special Agent, as you’d prefer, Senator.
NEIL SCHELL: Colonel Broyles. Now look, listen, we all have a job here, and we–
BROYLES: Yes, Senator, I have a job. The same job I have had in three administrations and six wars. To defend our national security. And I assure you we are not secure. Yes, sometimes a threat is familiar. But I have come to learn that sometimes it is far worse — and when it is worse, when the threat is unimaginable, that is when we are at the door. And you should thank God for that.
NEIL SCHELL: (calmly) Phillip, without something usable, something to support the human and fiscal cost… I – I’m sorry.
Steps of the Capitol – Support
NINA: If your appearance is any indication… now I don’t have to tell you how important it is that Fringe Division not be shut down.
BROYLES: I’m not the one who needs convincing.
NINA: But we’ve tried. I’m afraid that this one is out of our hands. (she steps up to him and kisses him on the lips) Do what you always used to do, Phillip. Save the day.
Manhattan Morgue – Finding Parr
MORGUE ATTENDANT: Feds?
PETER: Yeah, that’s us. Well, her, technically, but say us.
AMY JESSUP: Where’s the body that triggered the alert? The one that has the three holes in its mouth?
LAB TECH: It’s right over there. (points across the room to an examining table)
AMY JESSUP: Thank you. (approaches the corpse of the authentic Lloyd Parr and reads from a file) They found this guy two blocks from the accident site.
PETER: The shape shifters must leave the original body behind.
AMY JESSUP: Do you remember the girl from the video? That she said he was a soldier? My father was a soldier. They do one thing, life or death.
PETER: They stay on mission. These killings weren’t random.
AMY JESSUP: Which means this man, this thing, whatever it is, its still trying to accomplish its goal.
PETER: (worried) Olivia. (hurrying toward the exit)
Olivia’s Hospital – Attacked
(mock Lloyd Parr stands outside the hospital with the transfer device in hand. later he stands quietly in a loading dock area as a nurse gets some sun and sips a beverage. she turns and is startled by his presence)
NURSE: Oh, my god. You scared me to death.
- – - -
AMY JESSUP: (in her vehicle, on the phone, racing to the hospital. Peter rides along silently) We’ve sent his description to hospital security… to dispatch all available agents. If he’s there, we’ll get him.
- – - -
(mock) NURSE: (entering Olivia’s room and aprroaching her. You’re looking better.
OLIVIA: Thank you. I’m starting to feel a little bit more like me.
NURSE: So how’s your memory?
OLIVIA: Still all just fragments. I remember going to New York, I remember driving, but I can’t seem to see anything past that.
NURSE: It happens with head injuries. People can lose days before an accident. The best thing to do is just to keep trying, Olivia.
OLIVIA: I was on my way somewhere to meet with someone, and — I guess someone hit my car. But–
NURSE: But… ?
OLIVIA: It doesn’t make any sense.
OLIVIA: It’s as if I went somewhere and talked to someone. And then… came back to the accident.
NURSE: Do you remember who you were going to meet with?
OLIVIA: No… Almost. He told me something.
NURSE: What? Go on.
OLIVIA: I can’t, uh–
OLIVIA: Something’s hidden.
NURSE: Yes. Where?
OLIVIA: I – I can’t–
NURSE: Where is it hidden?
OLIVIA: I can’t remember.
NURSE: That’s really all you know then, isn’t it?
NURSE: Okay. (hesitates, then jumps on top of Olivia, appearing to want to kill her)
CHARLIE: (rushing in to Hospital from the parking area) They have surveillance of your suspect entering the lobby.
PETER: Olivia’s room?
CHARLIE: The floor’s locked up six ways from Sunday. The only person allowed in is the nurse.
NURSE: (continuing to battle physically with Olivia) Don’t fight it. It’s over.
(Jessup barges in and fires a round into the nurse. Unphased, the shape shifter, leaps clear of Olivia out of the nearby window landing three stories below on a sill, then effortlesly jumping three more stories to ground level)
AMY JESSUP: (from Olivia’s window) Agent Francis, suspect is now white female, black hair, scrubs, gray sweater. She jumped down to the loading dock, she’s heading into the basement.
PETER: (entering the room. to Olivia) You okay?
OLIVIA: Go get that bitch.
(in the dark, damp basement, Amy and Charlie search the corridors separately… pistols drawn. Peter joins the search unarmed. Charlie approaches the roaring furnace, failing to notice the mock-Nurse hiding in the overhead pipes and wiring. As he passes, the assassin drops to the ground. Charlie fires twice – with unknown effect)
PETER: (running toward the gunfire, he runs into Amy, and her drawn weapon) Whoa, whoa, whoa. (hoping not to be shot)
PETER: (approaching Agent Francis and the downed nurse) Charlie! Hey! You okay? You hit?
CHARLIE: (stoic and panting) I’m good.
(Peter examines the nurse and retrieves the device from her side)
Olivia’s Hospital – Flower Delivery
(Peter knocks on her door and enters with a large bouquet)
OLIVIA: So who was she?
PETER: Walter thinks that she was a shape-changing soldier from another universe. He thinks that might be where you went. Hmm. Do you think it’s a bad sign that I can say that out loud and neither one of us thinks I’m crazy?
OLIVIA: (laughs) She thought I knew where something was hidden.
PETER: No matter what happened to you, and no matter where you went, Walter will figure it out. Olivia, I need to ask you something. (sits on the edge of her bed)
PETER: Einai kalytero anthropo apo ton patera toy. You said that to me just after you woke up. Do you remember it?
OLIVIA: No. Latin?
PETER: Mm-mm. Greek. My mother used to say that to me every night before I went to bed. (laughs) There really isn’t a point where things just can’t get weirder, is there?
OLIVIA: What does it mean?
PETER: It means ‘be a better man than your father’. Walter was already gone. It was like a code between my mother and me. It meant keep your people close. Take care of the people you care about.
OLIVIA: Well you’re good at that. (sighs)
PETER: It’s good to see you again, Olivia Dunham.
OLIVIA: It’s good to see you too.
NURSE: (knocks on door. from the hallway) It’s time to check your vitals.
PETER: You should get some rest. (starts to walk out of the room)
OLIVIA: Peter. Is it true that they’re shutting us down?
PETER: (confidently) No.
Steps of the Capitol – Resolve
PETER: (approaching as Broyles starts up the steps) Agent Broyles.
BROYLES: Mister Bishop.
PETER: At the bar, you said they needed to see results.
PETER: Walter says this tech isn’t from here. And that it’s broken. But it is proof and if they can fix it, they can have an army who can look like anyone they want them to. You tell them you can get this tech, and they can have it, but they are not shutting us down. From now on, we’re calling the shots. We’re done reacting. We’re not gonna be too late anymore. (handing over the shape changing device) After all, somebody’s got to save their asses, right?
BROYLES: You surprise me Mister Bishop.
PETER: Thanks. (as Broyles heads inside)
Amy’s Residence – Fringe Casework
(in comfortable clothing at her computer station, Amy types away. the charred corpse of the genetically transformed man from the Vertusair crash is on the monitor. on the right side of the monitor, notation of Fringe Divison cases have brief descriptions and biblical cross references. on her left side, she closes the bible she has been matching the references too)
Walter’s Lab – Birthday Ambush
(Peter enters the darkened lab and pauses. Gene moos as the lights are turned on for a small surprise party)
WALTER/ASTRID: Happy birthday, Peter!
WALTER: Look. Custard.
ASTRID: Happy birthday, Peter.
(Peter chuckles and accepts a hug from his father)
Olivia’s Hospital – The Furnace
(Charlie Francis removes laundry bags from a laundry cart, revealing the body of — Charlie Francis — he then lifts the nude corpse and throws it into the large furnace)
October 2nd, 2009 at 9:08 pm
I still think that “Einai kalytero anthropo apo ton patera toy.” was a message to peter from his birth mother.