FRINGE FF 02 "BEFORE & AFTER"
FADE IN.
INT. SOMERVILLE, MA. - APARTMENT - DAY
A swirl of steam lingers above a cup of coffee sitting on top of the kitchen table. OLIVIA takes it and carefully sips a couple. She was in a white t-shirt and black sweat pants. Barefooted, she weaves her way through a maze of boxes and shopping bags to the living room. Settling herself in a newly bought lavender couch; she stares at the mess, it made her smile then takes another sip of coffee. Her cell phones rings; she takes it from a side table then looks at the LCD. She sets the cup of coffee down at the table.
OLIVIA
Hey ASTRID.
ASTRID (O.S)
So how's the new couch?
OLIVIA
It's comfy.
But I think we got a LITTLE bit carried away.
(she smiles)
She looks at the maze; a couple of shopping bags from an expensive brand of clothing line, boxes of unopened appliances - an LED TV, DVD Player, a fridge and a DRYER.
OLIVIA
(cont)
I haven't opened them yet.
Just the coffee maker.
ASTRID (O.S)
You NEED those things.
Besides, it was therapeutic.
OLIVIA
Yeah.
But it was UN-therapeutic for my credit card.
(ASTRID laughs)
OLIVIA
(cont)
I'll set everything up later.
ASTRID (O.S)
Hey, I got an idea.
Why don't you call Agent COLE to help you out,
get everything out of their box?
OLIVIA
Umm - No.
I think I can handle it myself.
ASTRID (O.S)
Oh you were thinking about it.
OLIVIA
Thinking about what?
ASTRID (O.S)
(laughs)
You know,
Agent COLE helping you out is a GREAT idea.
OLIVIA
Ha. Are we in high school?
I'll do it alone, so I can keep myself busy.
(she hears a beep)
ASTRID (O.S)
It's the same thing.
I'll call him if you want.
OLIVIA
(interrupting)
Hey, can I call you back I have an incoming call.
ASTRID (O.S)
Alright. I'll give him a call. Bye!
OLIVIA
Wait- No. ASTRID!
Ugh.
ASTRID's gone. Takes a deep breath, she takes the other call.
OLIVIA
DUNHAM.
(she listens)
I'm on my way sir.
INT. CAR - ON THE ROAD - DAY
We see PETER driving; he takes a bite out of a sandwich. WALTER is eating a piece of Red Vine.
FRAME on PETER. Chewing.
WALTER (O.S)
Oh! Oh!
PETER
What? What?
(panicking a little)
Startled, he dropped the sandwich.
FRAME on WALTER. Brandishing the piece of Red Vine in front of PETER.
WALTER
PETER!
I've just remembered
where I've hidden your LUNCH BOX!
FRAME on PETER. Annoyed, he brushes off a lettuce on his pants.
PETER
WALTER you almost gave me a heart attack
because of a LUNCH BOX?
FRAME on WALTER.
WALTER
(ignores PETER)
Ha! Now I remember!
(happy, takes a bite of Red Vine)
THEN his face turns from EXCITEMENT to CONFUSION.
FRAME back on PETER. Not noticing WALTER's expression.
PETER
(smiling a little)
You remembered a hidden location of a LUNCH BOX.
I'll bet that it contains a device
that can destroy the world.
(he looks at WALTER)
FRAME on WALTER. He seems to be thinking, holding the Red Vine in front of him. Then his expression changes back to a SMILE.
WALTER
I don't think so.
But I believe I took that LUNCH BOX
one morning BEFORE you went to school.
CLOSE-UP on PETER. Shows a little disgust.
PETER
A mysterious LUNCH BOX
that may contain a 20-year old
peanut butter and jelly, a juice box and an apple.
Great.
FRAME on WALTER.
WALTER
Not really mysterious. But RARE!
It's a 1964 BEATLES Kaboodle Kit!
FRAME on SIDE VIEW. PETER on FOREGROUND, WALTER on BACKGROUND, blurred.
PETER
(shaking his head)
Oh WALTER.
(he smiles)
INT. FEDERAL BUILDING – DAY
We see Agent BROYLES and OLIVIA talking in his offices. Agent COLE walks to his desk, he takes his jacket off and hangs it on his chair. He looks up at BROYLES' office, sees OLIVIA about to exit; he walks up to her.
COLE
Can I get you a coffee? I was just about to get some -
OLIVIA
Umm- no thanks.
COLE
You sure?
OLIVIA
(he was about to walk away)
Hey GRAYER?
COLE
Yeah?
OLIVIA
Did umm- Agent FARNSWORTH called you?
COLE
She did, yeah.
(smiling)
OLIVIA
(*with her usual fidgety hand gestures when she's explaining something)
About that, I uh- I don't think I need you to help me set up
the uh- TV, the DVD player and -
anyway, uh, ASTRID thinks that I do.
*If you ARE a FRINGE fan, you know what I'm talking about. Anyway..
FRAME on COLE. His smile fades; He's listening attentively.
FRAME on OLIVIA. Going on and on.
OLIVIA
(cont)
But reading the owner's manual, plugging in the cables myself is
what I need right now.
So, thank you BUT I can manage on my own.
(she politely smiles at him)
FRAME on COLE. He smiles back.
COLE
O-kay.
But Agent FARNSWORTH didn't mention any of that.
She called to remind me about a report-
FRAME on OLIVIA. She turns, just a little shade of, red. Then smiles.
OLIVIA
I uh- I'm sorry.
I assumed that when you said yes,
SHE called you about-
that.
FRAME on BOTH. A moment of awkwardness. A splint second, but definitely a MOMENT.
COLE
It's okay.
(he turns, about to leave)
But if you change your mind, I can help.
Just give me a call.
Purple looks great on you by the way.
OLIVIA's wearing a purple shirt. With a more feminine style than what she usually wears.
OLIVIA
Uh- Thanks.
COLE walks away.
FRAME on OLIVIA.
OLIVIA
(shakes her head, smiling)
Thanks ASTRID.
(talking to herself)
She walks to her office.
INT. NEW YORK, NY. - PARK SOUTH HOTEL - BATHROOM - NIGHT
FRAME on a woman, she SEEM to be relaxing in a tub. But NO bubbles? And she's in her underwear too.
CLOSE-UP on her face. A woman, blonde hair, 30 something, we see that she's actually crying. Terrified even.
PAN OUT. A man knelt beside the tub; wearing only a denim jean, pushes her under the water. She struggles against him, to breathe. The man maintains a firm grip on her; submerging her until she stops moving. He pulls her out of the tub and lays her on the tiled floor.
FRAME on the MAN. In his early 40's, his hair shows a couple of strands of white. A 5 o'clock shadow on his strong chin and jaws. His body, a well-built 6'2" frame. He looks down on the woman. His eyes, shows remorse for a couple of seconds then transforms into a murderous, evil stare. He performs CPR on her until she coughs out some water and starts to breathe again. He smiles at her.
MAN
Welcome back.
WOMAN
Oh, please- NO! please let me go!
MAN
Shh, shh.
(woman cries hysterically)
WOMAN
Don't kill me! Please!
MAN
I'm not going to kill you.
(he strokes her hair)
Not YET.
He grabs her by her hair and pulls her up to her feet. Suddenly, the MAN's face winces in pain.
MAN
(to himself)
STOP this! I'm NOT gonna let you do this ANYMORE!
(he closes his eyes then opens it)
You think you CAN stop me?
CLOSE-UP on the MAN's face. SCREAMS in pain. He suddenly transforms; his strong jaws turn into a smooth, clean shaven one. His once evil, green eyes turn to blue, filled fear looking at the woman.
MAN
(still talking himself)
I'M GOING TO STOP YOU!
FRAME on the WOMAN. She stopped crying hysterically, and stared at the MAN still holding her; shocked.
FRAME on the MAN. His body also transformed, from muscular to lean; he seems a couple of inches shorter from his previous 6' 2" frame. But his hair didn't change, still has streaks of white. Now he looks more like a normal guy in his 40's.
MAN
(to the woman)
I'm NOT gonna hurt you.
(he releases her)
The WOMAN collapses on the floor, staring at the MAN who just transformed in front of her eyes. The MAN leaves in a hurry.
FADE OUT.
FRINGE OPENING THEME.
INT. FEDERAL BUILDING - LOBBY/ELEVATORS - DAY
A Federal agent scans his I.D. then hurries over the closing doors of the elevator. He stretches out his arm, the door elevator door opens, hops in. About to push the floor button, he sees it's already been pressed. A couple of people were inside; he stands in front of a blonde woman, behind her were two other Federal agents. Not noticing a little girl holding the blonde woman's hand. The elevator stops at a floor; the two agents at the back about to step out.
AGENT #1
(to the blonde woman)
Excuse me ma'am.
The Blonde woman makes way, pulls the girl closer to her. The other agent knocks the little girl's teddy bear out of her arms. He didn't notice it, hurrying on his way out. The elevator door closes. The Agent in front of the blonde kneels down to pick up the bear and hands it over to the little girl.
AGENT
Here you go.
LITTLE GIRL
Thank you.
AGENT
You're welcome.
That's an unusual looking bear.
BLONDE WOMAN
It's her favourite.
We see that it's a stuffed BURLAP BEAR. The Agent looks up at the Blonde, he smiles at her, he stands.
AGENT
(to the little girl)
You here to see your dad?
LITTLE GIRL
No.
They reach a floor; elevator door opens. The woman answers the Agent.
BLONDE WOMAN
We're here to see her aunt. My sister.
LITTLE GIRL
Aunt LIV!
FRAME on OLIVIA. Standing in front of the elevator, dialling on her cell phone; surprised to see the people inside.
OLIVIA
ELLA?
(ELLA runs to her and gives her a hug)
PAN OUT. We see the BLONDE WOMAN stepping out of the elevator. The Agent still inside looking at them.
OLIVIA
RACH.
(she hugs her)
Can you hold the door?
(to the Agent inside the elevator)
She carries ELLA then ushers RACHEL back inside the elevator and steps in.
FRAME on THEM inside the elevator. OLIVIA pushes the '1' button. The Agent stood at the back corner.
OLIVIA
We'll have to talk on our way down.
ELLA
What's wrong aunt LIV?
RACHEL
I'm sorry. I should've called you first-
OLIVIA
(interrupting)
No. It's okay. It's just we're on our way to a case.
(to the Agent at the back)
I was just about to call you.
Umm. This is my sister RACHEL and my niece ELLA.
FRAME on the Agent. He's smiling.
OLIVIA (O.S)
This is Agent GRAYER COLE.
FRAME on OLIVIA, RACHEL and ELLA, still carried by her aunt.
OLIVIA
(to RACHEL)
My new partner.
RACHEL
(to COLE, shakes his hand)
Oh. Nice to meet you, Agent COLE.
(to OLIVIA)
We can talk later.
OLIVIA
Yeah. Listen, I'm really sorry-
RACHEL
No. Of course I understand.
OLIVIA
Here's my key to the apartment.
Wait for me there, okay?
RACHEL takes the key. She notices OLIVIA's wardrobe; it's different.
RACHEL
LIV, am I going color blind?
Or is that a RED shirt you're wearing?
(she's smiling)
OLIVIA
No, you're not.
And yes, it is RED.
(she too smiles)
OLIVIA
(cont)
(to ELLA)
You're getting heavy!
(noticing the bear)
What's that you got there?
ELLA
It's for you, aunt LIV.
OLIVIA
For me?
ELLA places the bear on OLIVIA's shoulder.
ELLA
Yeah. He'll keep you safe.
I asked him to.
OLIVIA
(smiling)
Aww. Thank you, baby girl.
FRAME on Agent COLE. Can't help but smile.
FRAME back on OLIVIA, ELLA and RACHEL. They all seem happy.
INT. LINCOLN NAVIGATOR - ON THE ROAD - DAY
OLIVIA's staring at the BURLAP BEAR she was holding. COLE, driving, he takes a glance at OLIVIA.
COLE
(in a high-pitched BURLAP BEAR voice)
Don't you worry OLIVIA. I'll keep you safe.
Just like I promised little ELLA.
FRAME on OLIVIA. Smiling at COLE.
COLE (O.S)
She's a sweet kid.
OLIVIA
(looking at the bear)
Yeah. She IS.
She places the BEAR on top of the dashboard.
FRAME on COLE. Takes a peek at the rear view mirror then on the road.
COLE
So where are we going?
OLIVIA (O.S)
New York University Medical Center.
FRAME on OLIVIA.
OLIVIA
(cont)
Agent BROYLES' going to meet us there.
INT. NEW YORK UNIVERSITY MEDICAL CENTER - DAY
Agent BROYLES, arms folded, in his hand a file; sternly looking through a window.
FRAME on a nurse checking up on a patient, a WOMAN; she looked pale and scared.
PAN OUT. BROYLES standing outside the room. OLIVIA and COLE approach him; he faces them.
OLIVIA
Sir.
BROYLES
Agent DUNHAM. Agent COLE.
COLE
Sir.
BROYLES
(hands each agent a folder)
KATHRYN BENFORD, 33, a bartender at a club.
The receptionist at the Park South Hotel called the police.
At 8:15 pm,
One of their guests found her curled up outside their room.
FRAME on COLE. Reading the file.
OLIVIA (O.S)
And we're here because?
FRAME on BROYLES.
BROYLES
According to the guest who found her.
BENFORD was shaking, terrified at something.
COLE (O.S)
According to this, she said that the man who attacked her..
FRAME on COLE. Still reading the files.
COLE
(cont)
..TRANSFORMED in front of her eyes.
FRAME on OLIVIA. Intrigued.
OLIVIA
Transformed, HOW?
BROYLES (O.S)
She said that she went to the hotel
with a man she met at the club.
FRAME on BROYLES.
BROYLES
Early 40's, 6'2" well-built.
(beat)
He tried to kill her by drowning her in the tub.
But the MAN who left the room,
she said was a different MAN.
And there's one more thing, several unsolved cases came up.
Same M.O. Victims drowned in the tub. No suspects.
Unfortunately all of them are DEAD.
FRAME on COLE.
COLE
Except for this one.
INT. SOMEWHERE IN NEW YORK - AN OLD APARMENT - UNKNOWN TIME
We see a MAN, with GREEN eyes, staring angrily at his reflection on a grainy mirror.
MAN with GREEN eyes
(to himself)
You LEFT her ALIVE!
I thought you were the SMART ONE.
Now, they're gonna FIND YOU!
FRAME on the MIRROR. The MAN on the MIRROR; he had BLUE eyes, visibly angry but he has a softer feature than the MAN on the other side.
MAN with BLUE eyes
No! They're GOING to FIND US!
If I can't stop YOU, then they WILL!
FRAME on SIDE VIEW. The MAN with the GREEN eyes closes his fists and punches the mirror in front of him. The mirror shatters on his fist, he bleeds. We see him breathing heavily.
INT. NEW YORK UNIVERSITY MEDICAL CENTER - VICTIM'S ROOM - DAY
OLIVIA was standing beside the bed, COLE's at the foot of the bed.
OLIVIA
My name is OLIVIA DUNHAM. This is Agent GRAYER COLE.
We're with the FBI.
Ms. BENFORD-
BENFORD
Call me KATE.
OLIVIA
KATE. We're sorry for happened to you,
BUT we need you to tell us everything,
about the MAN who attacked you.
FRAME on KATE. She hesitates, looks at BOTH agents.
KATE
Okay.
OLIVIA (O.S)
Let's start from the top.
FRAME on OLIVIA.
OLIVIA
Where'd you meet him?
FRAME on KATE. She looks very pale and her lips are chapped.
KATE
I bartend at a club, LATITUDE in 8th Ave.
He came to the club last night.
He hang out at the bar, I served him drinks.
(beat)
We talked. He was very charming.
OLIVIA (O.S)
Did you ask his name?
KATE
His name was EDWARD HARVEY.
He said he's a doctor, a neurologist I think, I'm not sure.
FRAME on OLIVIA. Taking notes.
FRAME back on KATE.
KATE
(cont)
So I told him to wait for me after my shift.
(starts to tear up)
He took me to this fancy hotel. And then-
(buries her face on her hands)
OLIVIA
It's alright KATE.
KATE
(looks up)
He- he drowned me at the tub. I couldn't BREATHE.
Then I- guess I fell unconscious.
When I woke up, I can feel the water in my lungs.
I can't see him very clearly at first.
(pauses)
He said to me, "Welcome back"
I remember begging him to STOP.
I said "Don't kill me".
He was going to put me back in the tub, when
he suddenly talked to himself.
He said, "STOP this".
Then he changed.
FRAME on OLIVIA. She's listening intently.
FRAME on COLE. Talking for the first time.
COLE
How did he change?
CLOSE-UP on KATE. She's trying to recall the details.
KATE
I noticed his eyes first.
They were GREEN then it turned BLUE.
Then his whole face.
It was a different man.
FRAME on OLIVIA.
OLIVIA
You said on the report that the man 'SHRUNK'.
KATE (O.S)
Yes.
FRAME on KATE.
KATE
He- was at first taller than me.
About 5 inches taller I guess.
Then when he 'TRANSFORMED', we were about the same height.
And he became thinner.
COLE (O.S)
Decreased muscle mass.
KATE
(looking at him)
I'm telling you it was a different man.
(agitated)
The vital monitors beside her starts to beep.
FRAME on OLIVIA.
OLIVIA
When he changed, did you notice if he was younger or-
KATE (O.S)
No.
PAN OUT. A nurse walks in.
NURSE
Excuse me Agents. I think it's enough for today.
She needs to rest.
OLIVIA
Of course.
Thanks for your time Ms. BENFORD.
OLIVIA and COLE exit the room. They walk.
OLIVIA
We need the surveillance record from the hotel and their guest list.
COLE
I'm on it.
FRAME on OLIVIA. She thinks for a second then stops walking; faces COLE.
OLIVIA
Let me get this straight.
He drowns her in the tub, possibly killing her.
THEN he tries to save her, and then
he kills her again?
FRAME on COLE.
COLE
It looks to me like he's on some
POWER trip.
He likes to be in control.
FRAME on OLIVIA.
OLIVIA
What kind of a human being does this kind of thing?
FRAME back on COLE. He starts to walk.
COLE
Apparently, a metamorphing monster.
OLIVIA (O.S)
We have to stop this man.
OLIVIA touches the back of her neck. Remembers the shape shifters; she seems stressed about it. COLE notices.
COLE
You okay?
OLIVIA
Yeah. I just remembered something.
COLE
Do you want to talk about it?
OLIVIA
No.
COLE
Okay.
Why did you asked her,
when the MAN changed,
if he changed to a younger 'him'?
Is that what you meant?
OLIVIA
Yeah.
It's a possibility.
(beat)
What do YOU think?
COLE
I think it's the same guy. And the 'transformation' thing?
Well, she suffered a major trauma maybe she's-
OLIVIA
-she's seeing something that's NOT really there.
You think she's crazy or something?
COLE
It's a possibility.
(he smiles)
FRAME on OLIVIA. She smiles back.
OLIVIA
You're a hard guy to convince, huh?
COLE (O.S)
Maybe.
FRAME on COLE.
COLE
I'll believe it when I see it.
EXT. HARVARD UNIVERSITY - GROUNDS - LATE AFTERNOON
PETER is trying to keep up with a 'dashing' WALTER, who is carrying a shovel.
PETER
WALTER! Where are you going?
WALTER
WE are going to get your LUNCH BOX!
PETER
(going along)
You buried it?
WALTER
(looks at the shovel)
No.
He stops abruptly, PETER almost bumping into him. WALTER faces him.
WALTER
(cont)
I don't know. BUT we may have to dig it up.
Though I'm pretty sure that it's NOT underground.
PETER
That's confusing.
WALTER continues to walk. PETER cell phone rings. He takes it from his jacket pocket.
PETER
Hello?
(Listens)
Thank GOD. You're a LIFE saver ASTRID.
We're on our way back.
PETER ends the call.
PETER
WALTER!
That was ASTRID, we have to go back to the LAB!
WALTER, who was a good distance from PETER. Looks back and can't hear him.
WALTER
What's that, PETER?
PETER catches up to him, a little out of breath.
PETER
We'll look for your LUNCH BOX next time.
We need to get back to the LAB.
WALTER
What? I walked all the way OUT here-
whoever that was, tell them to WAIT.
This will just take-
PETER
(cutting in)
WALTER, we can't make THEM wait.
It's about a CASE.
So come on, let's go.
WALTER
BUT-
PETER takes the shovel from WALTER's hands.
PETER
I promise we'll find it right after WE finish this case. Okay?
WALTER nods then they BOTH walk back to the LAB.
INT. FEDERAL BUILDING - OLIVIA'S OFFICE - LATE AFTERNOON
OLIVIA's desk is brimming with files related to the case they're working on. She's wearing her reading glasses, looking at a file. She types a name on her computer; EDWARD HARVEY. After a few seconds, the screen flashes the words 'NO MATCH FOUND'. She puts a big question mark on her notebook next to the name EDWARD HARVEY. Then picks up the phone and dials a number.
OLIVIA
Hey ASTRID, it's me.
Did you get the surveillance records yet?
ASTRID (O.S)
I just got it. I'm looking through it right now.
OLIVIA
And the guest list?
ASTRID (O.S)
Yeah. It's here.
OLIVIA
Umm, could you do me favour and look through them-
ASTRID (O.S)
See if there's anything that looks suspicious.
Don't worry I got it.
OLIVIA
And can you double check the name 'EDWARD HARVEY' for me.
I found NO match on record.
ASTRID (O.S)
EDWARD HARVEY. Okay I'll check it.
OLIVIA
Thanks. I just have to go home early,
RACHEL and ELLA are waiting for me at my place.
ASTRID (O.S)
No problem.
Tell ELLA I said hi.
OLIVIA
Okay, I will.
Call me when you find something.
ASTRID (O.S)
Of course. Bye.
OLIVIA
Bye.
She puts the phone down and takes her glasses off; stands, she puts on her jacket. Closes the files and arranges them neatly inside a briefcase then exits her office.
INT. FEDERAL BUILDING - PARKING LEVEL - LATE AFTERNOON
OLIVIA, holding a briefcase, walks to her car; a man runs after her.
MAN
OLIVIA!
She turns to see who it was. It's Agent COLE.
OLIVIA
Is there something wrong?
COLE
No.
I was just wondering if you can give me a ride.
OLIVIA
Why- where's your car?
COLE
I'm meeting someone
and I think I'll be drinking a couple of rounds. So-
OLIVIA
You won't be able to drive home.
Very responsible.
COLE
Well, I'll be taking a cab home.
I just don't want to leave my car there.
OLIVIA
(she smiles)
Sure, get in.
COLE opens the door for OLIVIA, then walks to the passenger side and gets in.
COLE
I owe you one.
OLIVIA
No problem.
COLE
Don't worry, I know you're in a hurry to get home.
It's just a couple of blocks from your place.
So I'll get off at your apartment then I'll just walk.
OLIVIA
Okay.
INT. HARVARD UNIVERSITY - WALTER'S LAB - LATE AFTERNOON
ASTRID is seated in front of the computer, carefully watching the surveillance tapes from the hotel. PETER and WALTER burst through the door. WALTER looks gloomy; on the contrary, PETER looks very relieved.
ASTRID
Hey guys.
(not taking her eyes off the monitor)
PETER looks around.
PETER
Where's OLIVIA?
FRAME on WALTER.
WALTER
Where's the BODY?
ASTRID (O.S)
There's NO body.
FRAME on PETER. He seems confused.
PETER
So what are we going to do-
without a body to examine?
FRAME on ASTRID. She presses something on the keyboard; the video on the monitor stops. She gets up from the stool and walks past PETER.
ASTRID
It appears that there WAS no body.
The victim survived.
(she disappears for a second)
FRAME on PETER. He takes a folder on top of the table; reads it.
FRAME on WALTER. He walks toward GENE.
ASTRID (O.S)
OLIVIA asked me to look at some surveillance tapes.
ASTRID reappears, holding a bottle of soda.
FRAME on ASTRID. She sits back in front of the computer. PETER moves beside her; still reading.
PETER
Have you read this?
It says here that
'the man who attacked her TRANSFORMED'
that he was a different man when he left.
ASTRID
Yeah, another really mind-boggling case.
PETER
Maybe she was on drugs.
ASTRID
No.
Tox screen showed no signs of drugs in her system.
PETER
WALTER, what do you think?
WALTER doesn't respond.
PETER
WALTER?
(he looks around)
FRAME on WALTER. He was brushing GENE's coat; he seems upset. GENE's mooing softly.
FRAME on ASTRID and PETER.
ASTRID
What's wrong with WALTER?
PETER
He's just angry 'cause we haven't found
that LUNCH BOX.
ASTRID
I thought he said he remembered where he hid it?
PETER
That's what he told me.
But you know WALTER.
ASTRID looks over at WALTER. He's really upset.
ASTRID
Look, PETER.
I think you should go and help him find it.
Clearly it's upsetting him.
PETER
Yeah. It is.
ASTRID
So go.
There's not really much to do here.
I've got this.
PETER
Are you sure?
ASTRID
Yup.
I'll let you know when I find something.
PETER
Okay. Thanks ASTRID.
WALTER let's go find that LUNCH BOX!
FRAME on WALTER. He drops the brush loudly on a bucket; a wide smile on his face.
PAN OUT. WALTER and PETER leaving; ASTRID wave them goodbye.
EXT. SOMERVILLE, MA. - OLIVIA'S APARTMENT - LATE AFTERNOON
A black LINCOLN NAVIGATOR parks at the side of the road; OLIVIA, carrying a briefcase and the BEAR, steps out. Followed by COLE; they see RACHEL seated on the stairs, watching ELLA playing at the sidewalk.
ELLA
Aunt LIV!
(runs to OLIVIA)
OLIVIA
(RACHEL takes her things)
Hey.
What are you guys doing outside?
(she picks up ELLA)
RACHEL
She wanted to wait for you.
OLIVIA sees RACHEL's eyes, looks like she's been crying; but she's trying not to in front of ELLA. COLE noticing that the sisters needed some time to talk; decides to talk to ELLA.
COLE
Hey. I'm hungry.
Do you want to go for some ice cream?
ELLA
(her eyes lit up)
Can we buy some for MOM and aunt LIV?
COLE
Sure.
But you have to ask them first.
ELLA
(to OLIVIA and RACHEL)
Can I go with Agent COLE? Please aunt LIV?
MOM? Can I?
RACHEL
(smiles)
You can go, sweetheart.
ELLA looks at her aunt, who was still carrying her. OLIVIA pretends to looks serious.
ELLA
Aunt LIV?
OLIVIA breaks into a smile.
OLIVIA
Of course you can go.
ONLY if you promise to look after Agent COLE.
ELLA
I promise.
(she gives OLIVIA a kiss on the cheek)
OLIVIA puts ELLA down and looks at COLE. Their eyes meet; she mouths the words 'Thank you'. COLE smiles at her then looks at ELLA.
COLE
(to ELLA)
Ready to go?
ELLA
Yes!
COLE
Great, let's go.
ELLA
Bye MOM! Bye Aunt LIV!
OLIVIA
Take care you two.
COLE and ELLA leaves.
OLIVIA
(to RACHEL)
Come on.
OLIVIA helps RACHEL up on her feet; takes her things then they both went inside the apartment.
INT. SOMERVILLE, MA. - ICE CREAM SHOP - NIGHT
ELLA's halfway through her gigantic bowl of strawberry sundae. Agent COLE ordered a root beer float; he watches her with a smile.
ELLA
Agent COLE?
COLE
Just call me GRAYER.
ELLA
How 'bout GRAY?
COLE
Sure. GRAY's fine.
What is it ELLA?
ELLA
(after swallowing a spoonful of ice cream)
I thought you were meeting someone here?
Where is she?
COLE
She's on her way.
ELLA concentrates on eating her ice cream for a moment; then she looks at COLE.
ELLA
So, are you, like aunt LIV's boyfriend?
COLE
(laughs but his face turns red)
No.
ELLA
Do you like her?
COLE
Do I like her?
(clears his throat)
You mean OLIVIA?
(stalling)
ELLA
Well?
COLE
If I say yes,
Would you tell her?
ELLA
No.
(eats another spoonful)
COLE
Okay.
Then yes.
ELLA
I think she likes you too.
COLE
What makes you say that?
ELLA
I saw a photo of you on her computer.
(beat)
I think you're perfect for aunt LIV.
COLE
(smiles at her)
Perfect, huh.
ELLA goes back to eating the strawberry ice cream.
INT. SOMERVILLE, MA. - OLIVIA'S APARTMENT - NIGHT
OLIVIA sees her laptop on top of the coffee table, it's open. We see Agent COLE's photo; some files on the screen.
RACHEL
I'm sorry.
ELLA was looking for something to play with,
she saw your computer and-
OLIVIA
(closes the laptop)
It's okay.
OLIVIA sits on the couch; RACHEL follows.
RACHEL
(smiling)
ELLA saw Agent COLE's photo.
OLIVIA
I was reading his records.
RACHEL
ELLA thinks you like HIM.
OLIVIA
(laughs, turns red)
I need to remember NOT to leave my computer ON.
(beat)
Are you going to tell me what happened?
RACHEL
(hesitates)
GREG and I, we had an argument.
He was going to hit me,
BUT he saw ELLA and he stopped.
OLIVIA
What? Did you call the police?
RACHEL
No. I didn't know what to do.
I just- packed our bags and decided to come here.
(beat)
I don't think we can work things out this time.
OLIVIA
You know that I'm always here for you and for ELLA.
Whatever your decision is, I'll be there to help you.
RACHEL
I don't know what I'm going to do without you.
OLIVIA
RACH.
RACHEL cries; they hold each other close.
INT. SOMERVILLE, MA. - ICE CREAM SHOP - NIGHT
ELLA was laughing hard; the ice cream bowl in front of her is now empty. We see a beautiful woman, probably in her late 20's, seated beside her; also laughing.
ELLA
(to COLE)
Are YOU really scared of spiders?
WOMAN
Yeah he is!
COLE
And you're NOT?
(laughs)
Come on, ever since I saw that movie "Arachnophobia"
I can't get it out of my head.
WOMAN
It's just a movie GRAY.
COLE
(to ELLA)
Well, she's scared of CLOWNS.
(ELLA giggles)
WOMAN
No, no.
I'm NOT scared of CLOWNS.
I hate them!
There's a difference, you know.
ELLA and COLE both laughing. The WOMAN joins them. COLE looks at his watch.
COLE
(to the WOMAN)
Before I forget, Happy Birthday.
He reaches inside his jacket and takes out a long, flat velvet box; he hands it to the WOMAN.
WOMAN
Aww, thanks GRAY.
She takes the gift and opens it; it was a bracelet. She puts it on her wrist.
ELLA
(to the WOMAN)
I'm sorry I don't have a present for you.
WOMAN
That's okay, sweetie.
You know what, I'm glad I came here with you guys.
This is the BEST birthday EVER.
ELLA smiles. And so does COLE.
ELLA
(to COLE)
Can we go to the park?
COLE
Okay, we still have time.
ELLA
(to the WOMAN)
Come with us.
WOMAN
Sure. I'd love to.
INT. SOMERVILLE, MA. - OLIVIA'S APARTMENT - NIGHT
OLIVIA's carrying a pair of wine glass and puts in the counter near the sink; then goes back to the living and takes her cell phone, she dials a number. We can see RACHEL curled up on the bed in OLIVIA's room.
OLIVIA
Hey. It's me.
How's ELLA?
COLE (O.S)
She's fine. We're at the park.
Should I take her back now?
OLIVIA
(looks at her watch)
Umm- yeah. Sure, it's late, so-
COLE (O.S)
Okay. We'll see you in a bit.
OLIVIA
Okay, bye.
INT. NEW YORK UNIVERSITY MEDICAL CENTER - HALLWAY - NIGHT
We see a DOCTOR reading from a clipboard he's holding; he passes by a dark room with a window, he sees his reflection. Stops for a second, he seems angry then looks away; he walks quickly towards the nurses' station. But before he can reach it, he passes by a room and catches a glimpse of a patient.
FRAME on the DOCTOR. He recognizes the patient on the room; his BLUE eyes widens in fear.
FRAME on the PATIENT. It's KATE BENFORD.
FRAME back on the DOCTOR. He looks like he's going to be sick.
CLOSE-UP on his EYES. His BLUE eyes suddenly turns GREEN.
FRAME on the DOCTOR. He turns around, he's whole body is trembling.
FRAME on a NURSE. She approaches the DOCTOR.
NURSE
Dr. STEVENSON, are you alright?
The DOCTOR looks at her, his eyes back to GREEN; does not respond leaves immediately.
INT. SOMERVILLE, MA. - OLIVIA'S APARTMENT - NIGHT
OLIVIA is sitting on the couch, her head resting on her hand; she's taking a quick nap while waiting for ELLA. A knock on the door wakes her up; she walks to the door, opens it. We see ELLA, carried by COLE, her head snoozing on his shoulder. The WOMAN is standing behind COLE. OLIVIA, a little surprised, lets them in.
COLE
(quietly)
Where should I-
OLIVIA
Oh, take her to my room.
RACHEL's in there.
(she guides him)
Have a seat.
(to the WOMAN)
FRAME on COLE. He gently puts ELLA on the bed, beside RACHEL. Then covers her with the blanket.
COLE
(whispers)
Goodnight kiddo.
OLIVIA gives ELLA a kiss on the forehead; turns the lamp off then they leave quietly.
FRAME on the WOMAN. She stands up when OLIVIA and COLE walks in the living room.
FRAME on OLIVIA and COLE.
COLE
She fell asleep on our way back here.
Probably exhausted,
she was running around the park.
(he laughs)
OLIVIA
GRAYER, I-uh,
I'm sorry I forgot that you were meeting someone.
I should've told ELLA-
COLE
(interrupting)
It's fine.
COLE sees the WOMAN, waiting but she was smiling. He moves towards her.
COLE
OLIVIA, I'd like you to meet my sister, ALEX.
FRAME on the WOMAN. She extends a hand to OLIVIA.
ALEX
It's a pleasure to meet you, OLIVIA.
OLIVIA shakes her hand.
FRAME on THEM.
OLIVIA
Hi- pleasure to meet you too.
I'm sorry for making your brother babysit.
I know you had plans-
ALEX
Don't worry about it.
Actually it was nice that ELLA's with him
or he'll bore me to death.
(joking)
They all laugh. A cell phone rings; OLIVIA takes it from her pocket.
OLIVIA
DUNHAM.
(listens)
Okay. We'll be there.
OLIVIA
(to COLE)
That was ASTRID.
She found something.
ALEX
(to COLE)
Work?
COLE
Yeah.
ALEX
I should head back to the hotel,
early flight tomorrow.
OLIVIA
You work abroad?
ALEX
You could say that.
I'm a flight attendant.
COLE
We'll drop you off, it's late
and I'm NOT letting you take a cab.
ALEX
Okay, DAD.
FRAME on OLIVIA, as she gets her keys, she sees ALEX playfully punches her brother in the arm. COLE complains. She smiles.
EXT. SOMEWHERE IN HARVARD UNIVERSITY - NIGHT
We see PETER knee-deep in the ground, digging with a shovel. While WALTER, to his excitement, holds the flashlight unsteadily.
PETER
WALTER!
Will you please hold the light steady?
I can't see a thing.
And it makes me dizzy.
WALTER
I'm sorry PETER.
But this makes me nervous.
PETER
You've been doing that for the past five holes
I've dug up.
(continues to dig)
WALTER
And I think I need to pee.
PETER rolls his eyes; suddenly he hits something, sounds like a hollow wooden box. He looks up at WALTER; who was, now, steady as a statue.
FRAME on PETER. He sets the shovel aside and uses his hands to dig up the box. It's a medium sized wooden chest, big enough to hold a metal LUNCH BOX. He takes it and gets himself out of the hole; gives it to WALTER.
FRAME on WALTER. He takes it and stares at it like it was made of gold.
PAN OUT. We see PETER moving closer to WALTER as he opens the box.
FRAME on the BOX. The lid slowly opens; the LUNCH BOX is indeed inside. It was RED, with an image of the BEATLES. WALTER takes it and tosses the wooden chest aside.
FRAME on WALTER. He looks at it closely; he unexpectedly remembers something. He gives the LUNCH BOX to PETER.
FRAME on BOTH. PETER takes it; puzzled. WALTER turns his back.
PETER
WALTER what's wrong?
WALTER
Open it.
(without looking at him)
PETER reluctantly opens it. He sees the content; looks like he's seen a ghost.
PETER
Why do YOU have this?
WALTER?
FRAME on WALTER. He does not say anything.
INT. LINCOLN NAVIGATOR - ON THE ROAD - NIGHT
We see OLIVIA , focused on the road, but she's smiling; COLE's in the passenger seat, behind him is ALEX. The siblings are still at it; joking around.
COLE
(to OLIVIA)
Maybe we should just drop this
CRAZY person behind me
in the middle of nowhere.
OLIVIA smiles.
OLIVIA
Are you two always like this?
ALEX
Oh yeah.
Always.
COLE
She ALWAYS gets on my nerves.
ALEX
BUT he still loves me.
(she tries to give COLE a kiss on the cheek)
COLE moves his face away; laughing. ALEX catches a glimpse of OLIVIA's tattoo.
ALEX
(to OLIVIA)
That's a cute tattoo.
OLIVIA
What?
ALEX
At the back of your neck.
OLIVIA
Oh.
(she touches the tattoo)
COLE
I didn't know you had one.
OLIVIA
It was a mistake. I-uh I'm gonna have it removed.
ALEX
Ha. You and GRAY have a lot in common.
OLIVIA
What do you mean?
ALEX
Oh, I guess you haven't seen it.
OLIVIA
Seen what?
COLE
Of course, she hasn't seen it.
ALEX
The scar on his chest, where a tattoo used to be.
And that other big tattoo on his back.
OLIVIA
Umm- NO.
COLE
Here we go again.
ALEX
Well, OLIVIA. GRAY here, also made a HUGE mistake
and he had it lasered off.
COLE
That was years ago.
ALEX
(ignoring COLE)
It was his EX-girlfriend's name.
What was it? ALICIA?
No. It was 'ISABELA'!
COLE
ALEXANDRIA, you're embarrassing me.
(he was smiling)
ALEX
Oh Am I?
I'm NOT done yet, my brother back in the day,
has this habit of falling for women who are
obnoxious, annoying and stupid.
COLE
Like you said 'back in the day'.
OLIVIA seems to be having fun.
ALEX
You know I didn't like any of your girlfriends.
NOT one!
Anyway, GRAY, I think you've improved.
COLE
(looks back at ALEX)
Improved?
ALEX
You know, your preference.
(looks at OLIVIA)
COLE
You're CRAZY.
OLIVIA sees her from the rear view mirror. She pretends like she didn't see anything. ALEX laughs at COLE. They arrive at the hotel.
COLE
(cont)
Oh look we're here! THANK GOD!
I'm being tortured.
(he steps out of the car)
COLE opens the door for ALEX. She gets out, still laughing. They hug for a moment.
COLE
You take care of yourself.
ALEX
Thanks for the gift. And the TIME.
COLE
You're welcome.
ALEX turns to OLIVIA; still in the driver's seat.
ALEX
It was so nice to meet you OLIVIA.
Thank you for the ride.
OLIVIA
Same here.
Be safe.
ALEX
I will.
(turns to COLE)
Great choice, GRAY.
I like her.
(smiles)
COLE gives her a playful nudge. She walks toward the entrance of the hotel. Then waves goodbye. COLE hops back in the vehicle. They drive away.
INT. NEW YORK UNIVERSITY MEDICAL CENTER - ROOM - NIGHT
A nurse starts to do her routine rounds; she checks up on the next patient. KATE BENFORD's room. The nurse notices the water on the floor; she approaches the bed, splashes of water as she walks.
FRAME on KATE BENFORD. Her eyes are wide open; she's DEAD.
FRAME on the nurse. She checks for a pulse; nothing. She touches the bed, soaking wet; water drips from it. She rushes out of the room to get help.
INT. HARVARD UNIVERSITY - WALTER'S LAB - NIGHT
ASTRID is re-watching the surveillance records on the computer; she's taking notes. OLIVIA enters the lab followed by COLE. They make their way to ASTRID.
OLIVIA
Hey.
ASTRID
(to OLIVIA)
Hey.
Agent COLE.
COLE
Agent FARNSWORTH.
Call me GRAYER.
ASTRID
Okay, GRAYER.
OLIVIA
(looking around)
Where's WALTER and PETER?
ASTRID
I called them already.
They're not back yet.
OLIVIA
Where ARE they?
ASTRID
Somewhere around campus.
They're looking for WALTER's lost LUNCH BOX.
OLIVIA
LUNCH BOX?
ASTRID was about to answer when PETER and WALTER came in the lab.
ASTRID
Oh they're here.
FRAME on WALTER. He's looking stern when he entered; for a second you can mistake him for WALTERNATE.
FRAME on PETER. Following WALTER; he seems really stressed out. His clothes plastered with dirt; sets the shovel down in a corner.
We can see that neither of them is carrying the LUNCH BOX.
FRAME on OLIVIA; looks concerned about WALTER.
FRAME on COLE, walks over to ASTRID.
COLE
(to ASTRID)
What did you find?
FRAME on ASTRID and COLE.
ASTRID
Umm- I've watched the entire surveillance tapes.
Starting from the day of the attack.
(she types on the computer)
A video playback pulls up on the screen; a man and a woman enter the elevator.
ASTRID
There's KATE BENFORD and, according to her,
a man named EDWARD HARVEY.
They were in the hotel elevator at 6:50 pm.
COLE
So it matches her police statement.
ASTRID
Yes.
BUT this is what caught my attention.
OLIVIA moves closer to them; looks at the screen. PETER joins them while WALTER sat at the far end of the lab; thinking. ASTRID shows them another video; it's an angle showing KATE BENFORD and EDWARD HARVEY entering a room.
ASTRID
They entered the room. Room 305.
Everyone's watching the video closely. ASTRID fast forwards the video.
ASTRID
No one entered or left the room after that.
But look at this.
The video plays; a man rushes out of Room 305. It wasn't EDWARD HARVEY. They all look confused.
OLIVIA
Who is that?
ASTRID
His name's Dr. LOUIS STEVENSON.
He's in the guest list, and the room is registered to him.
PETER
An accomplice, maybe?
ASTRID shakes her head. Immediately pulls up another video on screen.
ASTRID
I'm NOT sure.
Here he is at 9:20 am, he left the room.
And the receptionist confirmed
that Dr. STEVENSON left the hotel
at around that time but he never came back.
OLIVIA
So if this Dr. STEVENSON left the hotel and never came back-
ASTRID
HARVEY and BENFORD comes in and uses his room-
PETER
How the hell did he end up in the room with BENFORD?
Everyone was quietly thinking for a moment. Suddenly-
COLE
Play the video from when BENFORD was found.
ASTRID types in the keyboard; video plays. The video starts with Dr. STEVENSON rushing out of the room; leaves the door open. At 8:10 pm, BENFORD exits the room, still in her underwear, her body trembling. She walks a couple of steps and collapses in front of another room.
ASTRID
At around 8:15, a guest arrives and finds BENFORD.
OLIVIA
(pointing at the screen)
They call for help. There, security arrives then searches the room.
FRAME on the SCREEN. We see one of the guards entering the room, the other search the hallways. Then they come back to help BENFORD.
FRAME back on THEM. OLIVIA straightens up, thinking.
ASTRID
I've seen every video. They didn't find anyone in that room.
Except for Dr. STEVENSON's things.
NOT a trace of EDWARD HARVEY.
OLIVIA
We need to find one of them.
PETER
Them?
OLIVIA
(ignoring PETER)
ASTRID did you find anything about EDWARD HARVEY?
ASTRID
Nothing. He's not on any records or database.
OLIVIA
Probably NOT his real name.
COLE
I have to admit that I'm not the kind of guy who
BELIEVES in this kind of stuff.
BUT I think KATE BENFORD was telling the truth.
PETER
That it's the same guy.
HARVEY and Dr. STEVENSON.
Someone suddenly speaks from the far end of the lab.
WALTER (O.S)
JEKYLL AND HYDE!
Everyone turned to look at WALTER, seated like a sculpture.
FRAME on WALTER.
WALTER
BASED on Ms. HEMWORTH's recollection of the attack-
PETER (O.S)
It's BENFORD!
WALTER
(ignoring PETER)
She said that the man TRANSFORMED in front of her.
And that he was TALKING to himself!
My theory is that this man is suffering from
Multiple personality disorder.
A neurosis in which the personality
becomes dissociated into two
or more distinct parts,
each of which becomes dominant
and controls behaviour from time to time
to the exclusion of the other parts.
In this particular case, it's TWO personalities.
FRAME on OLIVIA.
OLIVIA
Schizophrenia?
FRAME on PETER. He's shake his head, in disagreement.
PETER
No. He means Split Personality.
Technically, it's different from Schizophrenia.
But WALTER, if that's the case,
that he has TWO personalities.
Physical transformation isn't one of its symptoms.
FRAME on OLIVIA.
OLIVIA
He's a doctor. Maybe he's treating himself and
that's what causes the transformation.
FRAME on WALTER. He stands then moves closer to them.
WALTER
She's right.
I'm guessing that he has formulated some sort of medication.
Probably a combination of
high doses of Clozapine and Risperidone.
FRAME on PETER. His arms folded.
PETER
You're telling us that he has what, gained the ability to
TRANSFORM because of an overdose of antipsychotics?
CLOSE-UP on WALTER.
WALTER
Somehow. Yes.
PAN OUT. We see them attentively listening to WALTER; suddenly became excited.
WALTER
A REAL LIFE version
of Dr. JEKYLL and Mr. HYDE!
COLE
(suddenly comes to a realization)
OLIVIA's right, EDWARD HARVEY is not his real name.
That's why he's NOT in any database.
I think Dr. BISHOP's right about him having TWO personalities.
ASTRID
What do you mean?
COLE
Dr. STEVENSON is the REAL person,
this EDWARD is his alter-ego.
(smiles)
He gave himself a name, EDWARD.
Which is Mr. HYDE's first name.
WALTER
EDWARD HYDE.
OLIVIA
What about the HARVEY?
PETER
I'm guessing he's a comic book fan.
OLIVIA
A comic book?
COLE
BATMAN's other famous enemy.
HARVEY 'Two-Faced' DENT.
ASTRID
The guy with the burned face?
PETER
Yeah, well, half of it.
HARVEY is probably a representation.
OLIVIA
(to ASTRID, smiling)
How did you know that?
ASTRID
I've seen the movie.
OLIVIA
Anyway, we need to find WYATT TOOMY.
ASTRID
Who's WYATT TOOMY?
OLIVIA seem confused.
OLIVIA
The man who transforms into-
She stops, realizing that what she's saying is from a case she worked on the other universe. Both COLE and PETER look at her with concern.
OLIVIA
I mean- uh, we need to find Dr. STEVENSON.
ASTRID
Well, he works at NYU Medical Center.
(reading a file)
OLIVIA
Did you say NYU?
COLE
(to OLIVIA)
Are you alright?
OLIVIA
Yeah, I'm fine. Why?
A cell phone rings. It's COLE's. He answers it.
COLE
GRAYER COLE.
(listens)
What?
(he looks at OLIVIA)
Okay, thanks.
OLIVIA
What is it?
COLE
KATE BENFORD is DEAD.
INT. LINCOLN NAVIGATOR - ON THE ROAD - MIDNIGHT
The NAVIGATOR zooms past the road. We see COLE on the driver's seat; OLIVIA in the passenger's, PETER and WALTER are at the back.
OLIVIA
He must have seen her.
COLE
This happened before right?
OLIVIA
Yeah.
COLE
But he was never suspected of it.
The killer was never caught.
PETER
EDWARD HARVEY is careful.
COLE
Right. STEVENSON probably had NO idea what his
alter-ego had been doing.
OLIVIA
UNTIL now.
WALTER
Dr. STEVENSON became aware of it, then
tries to STOP him.
OLIVIA
He's fighting for control, with himself?
PETER
Seems like it.
INT. NEW YORK UNIVERSITY MEDICAL CENTER - NURSES' STATION - MIDNIGHT
WE see OLIVIA and COLE talking to a nurse. Federal agents sweeping the victim's room for evidence.
NURSE
I was doing my routine rounds, to check the patients.
I went to her room and I saw there's water on the floor.
I saw her she was already dead.
She- she drowned.
OLIVIA
Did you notice anyone entering her room?
NURSE
No.
COLE
Anyone - anything suspicious?
NURSE
(thinks)
Not that I -
wait, I saw Dr. STEVENSON outside her room.
He looked sick and when I asked him what's wrong,
he left without saying a word.
OLIVIA looks at COLE. They confirmed their suspicions.
OLIVIA
(to COLE)
It was him.
NURSE
You think Dr. STEVENSON did this?
OLIVIA
We need to see the surveillance records on this floor.
Agent BROYLES approaches them.
BROYLES
Is PETER BISHOP here?
OLIVIA
He's with WALTER, down at the morgue.
They're checking BENFORD's body.
Is there something wrong sir?
BROYLES
He called me he said he wanted to talk.
OLIVIA
About what?
BROYLES
I don't know.
(changing the topic)
We got the address of Dr. STEVENSON.
Maybe you and Agent COLE should check it out.
COLE
Should we take the BISHOPS?
BROYLES
I don't think there's a need to.
Agent COLE nods then heads to the elevator. OLIVIA stares at Agent BROYLES then follows COLE.
INT. NEW YORK - A HIGH-END APARTMENT - LOBBY - MORNING
A man is reading a newspaper; in front of him surveillance monitors. OLIVIA walks toward him, closely followed by COLE. She takes out her I.D.
OLIVIA
(to the security guard)
Hey.
I'm Agent DUNHAM and this is Agent COLE.
We're with the FBI.
SECURITY GUARD
(puts the newspaper down)
What can I do for you?
COLE
Have you seen this man?
(shows him a photo of STEVENSON)
SECURITY GUARD
That's Dr. STEVENSON.
But I haven't seen him for quite some time.
OLIVIA
How long ago?
SECURITY GUARD
Ah- two, three weeks I guess.
Is he in some kind of trouble?
COLE
We're not at liberty to say.
OLIVIA
D'you mind if we take a look around?
SECURITY GUARD
Go ahead.
INT. NEW YORK - A HIGH-END APARTMENT - HALLWAY - MORNING
We see OLIVIA and COLE walking towards a door with a number 9 on it. OLIVIA reaches it first; knocks.
OLIVIA
Dr. STEVENSON?
FBI we need to talk to you.
Nothing. OLIVIA knocks again.
OLIVIA
Dr. STEVENSON?
They hear a LOUD crash; it continues. OLIVIA reaches for her gun. COLE does the same. OLIVIA gets out of the way; COLE kicks the door open. They enter cautiously; they can hear a person screaming.
OLIVIA
Dr. STEVENSON?
MAN (O.S)
Arrghh!
(struggling, another LOUD crash)
You CAN'T stop me!
OLIVIA signals COLE to go the other way; COLE nods then moves quietly to the other room. OLIVIA, gun in hand, moves forward. OLIVIA reaches the living room, she can see furnitures toppled, broken glasses on the floor; she can now clearly hear where the commotion is coming from.
MAN (O.S)
I'm GOING to END all of this!
OLIVIA slowly steps in; she sees a MAN, bloody face, holding his own shirt. He's pushing himself against a wall. OLIVIA, her face in shock. The MAN's face changes from STEVENSON to HARVEY.
OLIVIA
Dr. STEVENSON?
MAN
HE'S NOT HERE!
(he struggles against himself)
OLIVIA
EDWARD HARVEY?
The MAN, STEVENSON/HARVEY, pulls himself then launches himself across the floor. OLIVIA, gun still trained on them, can't believe her own eyes. She's seeing a man struggling like there's TWO of them. The MAN hits his head hard on the corner of a table. He loses consciousness. COLE appears on the other side of the room; he sees the unconscious MAN on the floor. Looks over to OLIVIA.
COLE
You okay?
OLIVIA
Yeah.
COLE
What happened?
But before OLIVIA can answer him, the MAN stirs then stands up. His face, Dr. STEVENSON's.
OLIVIA
Dr. STEVENSON?
MAN
Please! SHOOT me!
OLIVIA
(ignores him)
Get DOWN on your knees!
MAN
Please! I can't control HIM!
(he gets down on his knees)
Please shoot me! PLEASE!
OLIVIA
Hands behind your head.
COLE slowly moves toward STEVENSON. STEVENSON puts his hands on his head.
COLE
(to OLIVIA)
You got him?
OLIVIA
Yeah.
(gun trained on STEVENSON)
COLE approaches STEVENSON from behind. He holsters his gun, takes the cuff. COLE reaches for STEVENSON's hand.
CLOSE-UP on STEVENSON. His eyes changes from BLUE to GREEN.
A SIMULTANEOUS shot.
We see COLE about to put the cuffs on STEVENSON, who suddenly changes to HARVEY; quickly stands then tackles COLE hard, both men crashes through a wall. They end up in the other room. COLE lands hard on the floor; HARVEY, who now looks like the HULK's smaller brother. 6 feet tall of muscle, ripped not bulging, with veins popping out of his skin.
FRAME on COLE and HARVEY; his hands around COLE, gasps for air. COLE tries to reach for his gun, it's not there. Probably fell out during the struggle.
FRAME on OLIVIA. Horrified.
OLIVIA
COLE!
She fires a couple of shots at HARVEY; hits him on his back.
FRAME on HARVEY; looks back at OLIVIA. He rushes towards her.
FRAME on OLIVIA. Firing a couple more. HARVEY gets to her then slaps the gun out of her hands.
FRAME on COLE. He tries to stand up, winces in pain; broken rib. Searches for his gun, he can't find it.
FRAME back on OLIVIA. HARVEY goes for her throat; but before he can reach her, he transforms back to STEVENSON. He stops on his track.
STEVENSON
(to OLIVIA)
RUN!
COLE, now towering over STEVENSON, grabs him from the back. OLIVIA instinctively looks for her gun.
FRAME on STEVENSON. He does NOT try to break free. COLE pulls him back away from OLIVIA.
COLE
OLIVIA!
Shoot him!
DURING THIS - OLIVIA still looking for the gun, panicking a little. STEVENSON transforms back to HARVEY; an inch taller and much bigger in frame. COLE, with a broken rib, struggles to hold on.
COLE
OLIVIA!
HARVEY throws COLE off his shoulder; he crashes on top of a table. OLIVIA finds her gun, with a shaking hand, takes it.
FRAME on HARVEY. Turns around to face OLIVIA; who was now aiming her at him. He flashes a big SMILE.
FRAME on OLIVIA. With determined eyes, she FIRES; empties the clip.
FRAME on SIDE VIEW. OLIVIA on the right corner, holding her gun; HARVEY on the other side, still standing.
FRAME on HARVEY. We see TWO bullet holes on his forehead, blood oozing from it. He drops out of the FRAME; a LOUD thud.
FRAME on OLIVIA. Breathing heavily, she lowers her gun. Runs to the unconscious COLE.
FRAME on BOTH. OLIVIA tries to wake him up. She gently taps him on the face.
OLIVIA
COLE?
Wake up, please.
She notices the blood on her hands, he's bleeding on the back of his head.
OLIVIA
COLE!
PAN OUT. TOP VIEW. We see OLIVIA; knelt beside COLE, reaches inside her pocket, and takes out her cell phone. The DEAD STEVENSON/HARVEY lay a few feet from her.
FADE OUT.
INT. FEDERAL BUILDING - BROYLES' OFFICE - DAY
BROYLES stood behind his desk, looking down on a silver metal box; holding the lid open. WALTER was seated on a chair; he looks anxious. PETER, also standing, leans on a chair with both hands; looking at BROYLES.
BROYLES
Can YOU explain to me,
how you've come to acquire this ITEM?
WALTER
I don't know Agent BROYLES.
I can't remember.
PETER
The ONLY thing that he remembers is the LUNCH BOX
where we found that.
FRAME on the BOX. It looks similar to the piece of device that ALT-OLIVIA stole. A piece from WALTERNATE's doomsday device.
BROYLES closes the lid; sits on his chair.
FRAME on PETER.
PETER
Look, Agent BROYLES.
WALTER doesn't remember how he got it.
I'm just glad that we that piece instead of the OTHER side.
FRAME on BROYLES. He nods.
BROYLES
I'm glad too.
(to WALTER)
IF you remember anything else,
a piece of the device,
or any vital information that can help us-
FRAME on WALTER. Interrupting BROYLES.
WALTER
I will tell you Agent BROYLES.
When I remember it.
BROYLES (O.S)
Okay.
INT. FEDERAL BUILDING - PARKING LEVEL - DAY
We see WALTER and OLIVIA walking to the BISHOP's car; looks like they're talking about something. PETER following them, he's staring at OLIVIA.
WALTER
(to OLIVIA)
Agent BROYLES, he thinks that I'm hiding something.
OLIVIA
Are you?
WALTER
No.
And if I am hiding something.
I don't remember what it is.
OLIVIA
(smiles)
It's fine.
He doesn't think that.
Don't worry.
WALTER
Okay.
WALTER gets in the passenger seat; OLIVIA closes the door for him. PETER was standing, waiting for OLIVIA in the other side. OLIVIA passes by PETER; on her way to her car.
PETER
OLIVIA.
Can I talk to you?
OLIVIA stops; hesitates.
OLIVIA
I'm actually in a hurry-
PETER
(ignoring her)
You've been avoiding me ever since-
(sighs)
I know I made mistake.
I just want to know if- if we can go back to just like
BEFORE.
OLIVIA
You mean like, BEFORE, where I can work with you to solve a case.
BEFORE, where I can talk to you about anything, I can have a drink with you.
Where, looking at you makes me happy.
(beat)
PETER, that was BEFORE-
-all of this. BEFORE her.
Now, I'm at this stage where, I can't look at you
without remembering all the things that you confessed to me.
PETER
OLIVIA-
OLIVIA raises her hand to stop PETER. She's holding back her tears.
OLIVIA
I'm trying to forget all of that.
So I can work with you again, just like BEFORE.
I've been through so much PETER.
Just let me HEAL.
(beat)
I'm NOT asking you to stay away, or leave.
I'm asking you to UNDERSTAND.
AFTER all that, who knows.
PETER
Okay.
(his eyes full of sadness)
OLIVIA catches a glimpse of WALTER seated inside the car; he gives her a weak smile. OLIVIA smiles back. SHE leaves and gets in her car; leaving PETER standing, in tears.
INT. BOSTON GENERAL HOSPITAL - ROOM - DAY
A man, in black denim jean, seated on the side of the bed, is trying to put on his shirt. He flinches in pain; bandages around his mid-section, and on his forehead. He has bruises all over. COLE attempts again; still stings. A woman in a white t-shirt, brown leather jacket and jeans; her hair in a ponytail, appears near the door. She flashes a smile on him. It's OLIVIA.
OLIVIA
Where do you think you're going?
COLE looks up. OLIVIA comes in.
COLE
I'M going home.
Where are YOU going?
OLIVIA sees the faint trace of the tattoo on his chest.
OLIVIA
I'm here to visit- YOU.
COLE smiles.
COLE
Can I get a little help?
OLIVIA takes the maroon shirt. COLE stands; she moves behind him to help him get dressed. She sees half of the BIG tattoo ALEX was talking about. It's a KOI fish; in a shape of 'J'.
OLIVIA
You broke three ribs and you got more spots than GENE.
You need to rest.
Did your doctor give you permission to go home?
COLE faces her. He's buttoning up his shirt.
COLE
Nope.
OLIVIA
I think that means you're NOT supposed to go home yet.
COLE, now all dressed up. Smiles at her.
COLE
Too late. You're already here.
(takes his duffel bag)
OLIVIA doesn't move.
OLIVIA
I'm just here to visit.
COLE
Come on. I don't like hospitals.
(he pulls her hand)
OLIVIA
You scared of needles?
(looks around)
Well, there are NO SPIDERS in here.
(she smiles)
COLE
ELLA.
OLIVIA walks toward him. A grin on her face.
COLE
You think that's funny?
(he's smiling too)
OLIVIA
Oh, yeah.
PAN OUT. We see OLIVIA and COLE walking towards the elevator; talking (inaudible).
FADE OUT.
END.