Forced Perspective
Cast | Transcript


Federal Building - Photo Intel[]

OLIVIA: (looking around the small research room at posted photos. notices a familiar bald man) That's him.

BROYLES: Are you sure? They all look like the same man.

OLIVIA: No, that's the one.

BROYLES: We've been looking at these people for three years. Why did they make contact now?

OLIVIA: I don't know. But he knew my name, he knew who I was, and he knew where to find me. And then he just vanished.

BROYLES: What exactly did he say?

OLIVIA: He said that he had seen all possible futures, and in every one, I had to die. I had Astrid run a sample of his blood. There was no match on the DNA, but she did find antibodies for the Spanish Flu.

BROYLES: The Spanish Flu? Isn't that extinct?

OLIVIA: Well, the last recorded epidemic was in 1919. Which makes them a minimum of ninety-one years old.

BROYLES: I'm going to assign you a security detail.

OLIVIA: I don't think that that's necessary.

BROYLES: He threatened you.

OLIVIA: I'm not sure that's what he was doing. I -- I think that he was trying to warn me.

BROYLES: If he approaches you again, I expect you to notify me right away.

OLIVIA: (nods in complete agreement) Of course.

Boston Street - Fatal Vision[]

EMILY MALLUM: (sits in an alcove next to a large building. sketching. a vision pierces her mind and she quickly starts a new drawing. she finds the focal person of her vision walking by, finishes her sketch, then runs to deliver it to the man) Excuse me. (hands-over the drawing)

JAYNE REYNAR: Do you know her?


JAYNE REYNAR: (looks at the drawing that was delivered) Oh, God. Is that supposed to be you?

BOB ENGLEHART: Ah, she's talented. Twisted, but talented.

JAYNE REYNAR: Why would anyone draw something like that?

BOB ENGLEHART: (compassion for the maturity-impaired) Well, she's a teenager. Isn't that what they do? Play depressing music, and think about how everything sucks, and then try and make everyone else as miserable as they are. It's a stage.

JAYNE REYNAR: Stage or not, that's creepy.

CONSTRUCTION FOREMAN: Hey, look out! Get those people back! (as a large steel I-beam breaks free from the construction site and falls to the sidewalk below. piercing the man who just received a warning from the teenager who foresaw his death)


Walter's Lab - Peter's Progress[]

PETER: In my timeline, I can interact with the machine, but since I'm not supposed to exist here, it wouldn't respond to me.

WALTER: It will require a biomechanical interfacing machine, calibrated specifically to your DNA. So you can operate it.

PETER: You've done it before, Walter. You can do it again.

OLIVIA: (arriving for the day) Good morning.

WALTER: Hello, Olivia. We're discussing cis-acting meiotic double-strand break hot spots.

ASTRID: Don't worry, Olivia, I have no idea what he's talking about either.

PETER: What he's talking about is finally trying to get me back home.

OLIVIA: I heard that Walter's going to help you. I had to see you with my own eyes.

WALTER: Oh, don't worry, Agent Dunham. This won't interfere with my usual work, I assure you. If you need me, I will give you my full attention.

OLIVIA: It's okay, Walter. I'm just happy that you two are working together.

PETER: I can't say you're gonna get his full attention, per se. He's a little wired up today. He's already electrocuted himself three times.

WALTER: Which reminds me, I can't feel my urine response yet. I should probably go empty my bladder again. (excuses himself)

OLIVIA: (answers cell phone) Dunham.

AGENT LEE: (from the accident scene as the skewered man is tagged, bagged and dragged-off by the ME) Hey. This is a weird one. It seems a crane operator lost control of an I-beam, which was then tragically introduced to a Robert Englehart.


AGENT LEE: A few moments before he was killed, someone handed Mister Englehart a sketch depicting him being skewered by that same I-beam, as if his death was predicted. (waits for a response) You still there?

OLIVIA: Okay, so the person who -- who gave him the sketch, what did he look like, was he bald?

AGENT LEE: No, it was a she. A teenage girl. A coworker of the victim was with him at the time. She thinks she could I.D. the girl if she saw her again.

OLIVIA: Alright, well, we need to collect all the surveillance from the area.

AGENT LEE: I'm already on it.

Mallum Residence - Finding Purpose[]

DIANE MALLUM: (just getting home) There you are. Where have you been all afternoon? (kisses her daughter)

EMILY MALLUM: Just around.

DIANE MALLUM: Well, you know you're supposed to call when you're gone this long.

EMILY MALLUM: (loses the backpack) Sorry. (flops onto the sofa next to her younger brother)

DANNY MALLUM: (to Emily) I met that kid in 3-C today.

JIM MALLUM: (just getting home too) Hey, guys.

DANNY MALLUM: Dad's home.

DIANE MALLUM: Perfect timing. Dinner's almost ready.

JIM MALLUM: (gets a hug from his boy) Hey, Buddy. Hi.

DIANE MALLUM: So how did it go today?

JIM MALLUM: Well (kisses his wife) -- the interview was great. I start tomorrow.

DIANE MALLUM: That's great.

(in her room, Emily starts channeling another vision. he father her sneaks in and covers her eyes)

JIM MALLUM: (about the pastoral drawing on her lap) Looks like the view from the lake house. You miss it, don't you?

EMILY MALLUM: (emotionally burdened) Dad, aren't you tired of moving us all around so much... because of me?

JIM MALLUM: Doesn't matter where we are. All that matters is we're together.

EMILY MALLUM: Why did God make me like this?

JIM MALLUM: (earnest) You know how I feel, Em. God has a purpose for all of us. Even if we can't understand it. But I do know - mine is to take care of you guys. Hey, at least it hasn't happened in a while. Let's, uh, keep these curtains closed at night, okay? Alright. You get some sleep. I'll see you in the morning.

EMILY MALLUM: (as he leaves her room) I love you, Dad.

JIM MALLUM: I love you too, Angel.

Federal Building - Health Concerns[]

(sitting at her desk, looking at the foreshadowing sketch of impalement. the boss approaches)

BROYLES: Any luck? Agent Dunham. Were you able to I.D. the girl who drew the picture?

OLIVIA: Not yet. Lincoln's with the witness at the moment, looking at footage from traffic and surveillance cameras in the area. (responds to the worried stare) What?

BROYLES: (sits) I got a call from Health Services. You've been three times in the last month?

OLIVIA: You checking up on me?

BROYLES: I'm your Commanding Officer. They tell me these things.

OLIVIA: Migraines. I needed a prescription, which is why I went to Health Services. Headaches, that's all. (grins, hesitates, asks anyway) Do you believe in fate, sir?

BROYLES: (candidly) No. I don't.

OLIVIA: Neither did I, but this drawing... how is it the day after a complete stranger tells me I'm going to die, I end up investigating a case where the victim's death is predicted? I mean, maybe -- that man from the opera house -- maybe he does know something.

BROYLES: Just for the next few days... maybe we should be vigilant. Keep you out of harm's way. (leaves her be)

AGENT LEE: (later. approaches as he takes another pain pill) Good news. Robert Englehart's coworker just I.D'ed the teenage girl from surveillance tapes. (hands-over photo) We got a good image from the bank across the street from the cafe.

OLIVIA: Okay, so do we know where she went?

AGENT LEE: We know where she didn't go. Surveillance showed her bypass the 8th Street Bus Stop, she also walked right by the subway entrance.

OLIVIA: Okay, so there's a good chance that she lives somewhere in the area.

AGENT LEE: Maybe she goes to school nearby.

Bus Ride - New Vision[]

(sitting and drawing. a specific passenger catches her eye. she pursues him)

EMILY MALLUM: Stop the bus! (to the heavens) I tried.


Mallum Residence - Finding Emily[]

DANNY MALLUM: (sitting at the dining room table working on his homework) Wait, 6/8ths is the same as 3/4ths?

DIANE MALLUM: Right. You keep dividing the fractions in half, ‘tll you can't without changing the denominator.

DANNY MALLUM: (not too much of a brat) No offense, Mom, but I understand this way better when Emily explains it.

OLIVIA: (to the Mallums after knocking at their front door) Uh, good morning, sir. Ma'am, sorry to bother you. I'm Agent Olivia Dunham, this is Lincoln Lee. We work for the FBI.

JIM MALLUM: (congenial) What can I do for ya?

AGENT LEE: We're looking for this girl. (holds out security camera photo) We've been going door to door, asking people if they know her. One of your neighbors said she might live in the building.

JIM MALLUM: (studies the photo) No, I don't think so. What's her name?

AGENT LEE: We don't know.

OLIVIA: Do you mind if I ask who else lives here with you, Mister...

JIM MALLUM: Mallum. Jim Mallum. It's just my wife Diane and our son. Danny, come here. You see this girl around? Wait, is she the one we see at the park every so often?

DANNY MALLUM: I think so.

JIM MALLUM: Yeah. That's Tanner Park. It's about four blocks over. You might want to try looking for her around that area.

OLIVIA: Thank you. You've been very helpful.

JIM MALLUM: I wish I could offer more.

OLIVIA: (after the door closes) Did you happen to notice the cabinet?

AGENT LEE: No, why?

OLIVIA: Red backpack, same one she's wearing in the picture. So why did he lie to us?

AGENT LEE: As soon as we get back to HQ, I'll get the paperwork started on getting a warrant.

OLIVIA: (as Emily walks around the corner heading home) Maybe we won't have to. Uh, hi. I'm Olivia Dunham, and this is Lincoln. We both work for the FBI. It's okay, you're not in any trouble. We just want to talk. Did you draw this?

EMILY MALLUM: Is he dead?

OLIVIA: Yes, but I think you already knew that. How? How were you able to draw this before the accident?

EMILY MALLUM: (frustrated) I don't know. I just see it... in my head... whenever I'm around someone who's gonna -- I just sense it.

OLIVIA: You just sense what?


AGENT LEE: That drawing... did you see something else that's gonna happen? Maybe we can stop it.

JIM MALLUM: (from the stoop to his building) Emily! Get in the house.

AGENT LEE: Mister. Mallum –

JIM MALLUM: (protective) You can't question her without parental consent, and I'm not giving it.

AGENT LEE: You lied to us.

OLIVIA: Actually, sir, we don't need your consent. It's up to Emily whether or not she wants to talk to us.

JIM MALLUM: Emily. Do you want to continue to answer these agents' questions?


JIM MALLUM: There's your answer. Come on, Em. Let's go. Let me ask you something. You think you're the first people to come after my daughter? It always starts this way. Authorities show up when they get wind of a girl with her... ability. Then others come who want to study her, like those people at Massive Dynamic.

AGENT LEE: Massive Dynamic?

JIM MALLUM: And they never stop. No matter where we go, they find her. Watching from their cars, waiting for the right moment to grab her, take her to their labs. (angry) They poke and prod her like she's some kind of animal. You have any idea what that does to a young girl? Please... let my daughter have the chance at what's left of a normal childhood.

OLIVIA: My number's on the card. (hands her business card to him) If you change your mind and want to talk, or if you and your family are being harassed, I think I can help. (to Lee as they hurry away) Okay, when we get back to the office, can you run a background check on the Mallums? See what we can find out. I'm gonna pay a visit to someone.

JIM MALLUM: (returning to their apartment) Listen, you did the right thing out there. If it's happening again, no one can know. It puts us all at risk.

EMILY MALLUM: Dad, I saw something else. On the bus. Something awful.

JIM MALLUM: I'm sorry, Sweetie, but you know how this works. Even if you told 'em, would it make a difference? Remember what they did to you when we tried to help before? Trust me, okay? It's better this way.

Massive Dynamic - Confronting Nina[]

NINA SHARP: (on the phone) Of course. I'd certainly like to see the results for that. Sooner rather than later. Yeah, well, send them to me directly. (after the call) What a nice surprise. If I'd known you were coming, I would've cancelled my lunch.

OLIVIA: Hi. (hugs) Uh, I'm actually here about Emily Mallum. Her father says that Massive Dynamic has been harassing her and her family.

NINA SHARP: Oh, are you asking me a question, or are you accusing me of something?

OLIVIA: Well, I thought you said that you were done using children as test subjects. (sits)

NINA SHARP: Yes, we are. (sits) Massive Dynamic did approach the Mallum Family when they lived in Baltimore. Emily exhibited some fascinating Precog abilities that would've allowed us to make drastic advances in our study of the human brain. We simply wanted to catalog her abilities. Her father wasn't interested, even when we offered to pay for Emily's schooling.

OLIVIA: I don't know how you could've raised me for so many years, and seen all the damage that was done to me, and pretend that there's nothing wrong with what you just said.

NINA SHARP: Olivia, I am sorry. Now, what happened to you was awful. But this girl is different. No one made her this way.

OLIVIA: I don't see the difference. I mean, it's still abuse. (answers cell phone) Dunham.

EMILY MALLUM: (calling from the park) It's Emily. You said you wanted to help, Agent Dunham. Can you meet me?

OLIVIA: (to Emily) Can you hold on one moment? (to Nina) I'm sorry, I have to go.

Quiet Park - Another Vision[]

OLIVIA: (meeting her at a quiet bench with a peaceful view) Emily? You picked a nice spot for us to meet.

EMILY MALLUM: It reminds me of a place we used to live. A better time. I sometimes sneak out here to think. To clear my head.

OLIVIA: Does your father know that you called me? (gets a shake of the head. no) So what did you want to tell me, Emily?

EMILY MALLUM: I think a lot of people are gonna die. (reveals her latest drawing with mass casualties)


Walter's Lab - Examining Emily[]

EMILY MALLUM: (as she receives a quick medical once-over) It started when I was eleven. I was in a pet store with my mother. We were looking at puppies, when suddenly I heard this hum. I thought something was wrong with my ears, like you know how sometimes after you've flown in an airplane, but then, when we were leaving, the man behind the counter had a heart attack. I saw it in my mind before it happened.

WALTER: That was the first time. How long before it happened again?

EMILY MALLUM: A few months. I heard the hum during class, and an image popped into my head. My teacher lying dead in the street, covered in broken glass. Three days later, she got hit by a car. My parents took me to a doctor, but -- and then people started to do tests on me. And my friends heard about it.

OLIVIA: And that's when people got scared? And then you moved.

EMILY MALLUM: The first time. (as Astrid retrieves her EEG printout) But it kept happening.

WALTER: Hmm. Fascinating. (about the readout) The Theta-One waves in your occipital lobe are remarkably active. And also, your brain seems to be drawing elevated levels of both oxygen and blood.

PETER: Meaning what, Walter?

WALTER: Belly and I always had a theory that some traumatic events echo backward in time. (animated) Put simply, some future events ripple backwards. Well, not in a way that we're consciously aware of, but it's sort of like vibrations. And perhaps your brain is uniquely sensitive to these vibrations. So it's possible that's the hum that you hear. Have you ever been able to control this ability?

EMILY MALLUM: That's not how it works. These images I see... they're like dreams. At first they're vivid, but then they fade. That's why I draw them. But it wouldn't matter anyway. Whatever I see... somehow it always happens. (choked-up emotionally) I know all these people are gonna die, but there's nothing I can do to stop it.

PETER: I don't understand, Emily. Why do you warn them if they can't do anything about it?

EMILY MALLUM: I don't know. I guess if people knew, maybe they could say "I love you" to someone. Or just do one good thing.

PETER: Maybe we can I.D. this man. She said she saw him on the bus.

ASTRID: I'll check the MBTA database. If he has a bus pass, they might have his photo. (gets busy on her desktop computer)

OLIVIA: (privately) I haven't thanked you for calling. That must've been hard. Can I ask you a question? Are you sensing anything now? Like, here with me?

JIM MALLUM: (hears the din associated with her vision) Emily.


OLIVIA: We called him. We didn't want your parents to worry when you didn't come home.

JIM MALLUM: Did they hurt you?

OLIVIA: Mister Mallum... you don't need to worry about us.

EMILY MALLUM: Even if we've never been able to stop it, let them at least try.

PETER: We got something. Astrid found him. She got an address.

ASTRID: According to his bus pass, his name is Albert Duncan, he's got an apartment in Jamaica Plain. (hands her the data)

OLIVIA: Let's go.

PETER: And then what? Even if you can save Mister Duncan, what about the rest of the people in that drawing?

AGENT LEE: I don't know. But we're certainly not gonna help anything by standing here.

OLIVIA: (to Emily) Thank you. (leaves with Lee)

JIM MALLUM: Can my daughter and I please go home now? If there's nothing more she can do for you.

PETER: No, I think actually there is. Walter, I think you can hypnotize Emily to recover her vision of the event in that drawing.

WALTER: (not familiar with that skillset) Wh – wh -- what makes you think I can do that?

PETER: Because where I'm from, I've seen you do it before.

Jamaica Plain - Duncan's Apartment[]

BUILDING SUPER: (grants access to the apartment and follows the investigators in) So is Albert in some kind of trouble?

AGENT LEE: We really don't know.

BUILDING SUPER: (self-deprecating humor) Sure, I understand. I wouldn't tell me either.

OLIVIA: Hey. Uh, Mister Duncan isn't home yet. He works construction. We called his boss, and apparently he's been away all week. How's it going there?

ASTRID: Walter's just getting started. (hangs-up as the hypnagogic device takes effect on Emily)

WALTER: Emily, I'm going to count backwards from three. And when I reach one, I want you to open your eyes, and tell me where you are. Three... two... one. Where are you, Emily?

EMILY MALLUM: (opens her eyes. visualizes her bus trip) On the bus. On the way home.

WALTER: Do you see Mister Duncan?

EMILY MALLUM: No. But I hear it. I hear the hum.

WALTER: (guiding her vision) Look around, Emily. Find Mister Duncan.

EMILY MALLUM: I see him. He's getting off the bus.

PETER: Guide her, Walter, you can do this.

WALTER: Uh -- um, Emily, listen... don't let Mister Duncan get away. You'll have to catch up with him. Can you do that?


WALTER: Follow him, Emily. We need to know where he's going.

JIM MALLUM: What is it?

EMILY MALLUM: Oh, gawd. (as she strolls through the catastrophic vision she recent put to paper)

WALTER: Where are you?

EMILY MALLUM: I don't know. But it's bad. Oh, God. They're dead. They're all dead.

WALTER: Look around, Emily. Describe what you see. Tell me where you are.

EMILY MALLUM: (the body of a victim hangs in midair during a huge explosion) I'm scared.

WALTER: There's nothing to be frightened of. Nothing can hurt you.

PETER: You know what, Mister Mallum, maybe if she heard your voice, it might help her.

JIM MALLUM: Sweetheart, it's me. Look around. Tell me what you see.

EMILY MALLUM: I see something. It looks like Latin. "dei judicium... fiat justitia."

PETER: ..."by the judgment of god, let justice be done."

ASTRID: (confirms) Mm-hmm.

PETER: I need to borrow your phone, please.

OLIVIA: (answers phone) Dunham.

PETER: It's me. It's a courthouse.

OLIVIA: (to Lee) It's happening at a courthouse. Peter, Albert Duncan just got divorced. The settlement was last week. He lost custody of his kids. Maybe he's not so happy about it.

WALTER: (to Emily) When I count to three, I want you to wake up.

EMILY MALLUM: I see him. I see Mister Duncan. He's holding something. (steps closer in her vision) Some sort of weird-looking radio.

PETER: I don't think it's a radio. I think it's a detonator. Duncan's not the victim. He must be setting up some sort of bomb.

(Duncan makes his way into the judicial building. his detonator easily clears security)


Allston Courthouse - First Response[]

(Olivia and Lee arrive at the Allston Courthouse as the massive security response deploys into and around the building)

TACTICAL TEAMS: Move, move, move! Go! Move!

BROYLES: (to his agents) Courthouse Security Office pulled surveillance of Albert Duncan's vehicle entering the south entrance of the parking garage twenty minutes ago. We'll assume he's still in the building.

AGENT LEE: What about the bomb?

PETER: Given the amount of destruction in Emily's vision, we assume that he couldn't possibly have that amount of explosives strapped to his person.

OLIVIA: The way Emily described it, it was as though the ground erupted.

BROYLES: Right, so we'll assume the explosive is in the parking garage beneath the building. Bomb squad's about to go in and look for it. Peter's gonna join them.

AGENT LEE: I can help.

BOMB TECHNICIAN: (to Broyles) Sir, we're ready.

BROYLES: (to Lee) Go. We'll start evacuating the building.

Mallum Residence - Family Evacuation[]

EMILY MALLUM: Dad, I'm sorry. Calling the FBI, I know I should've told you.

JIM MALLUM: (returning to the apartment) That's okay, Sweetheart. I'm just really proud of you. But you're in the system now. You know, so it's only a matter of time before people start showing-up --

EMILY MALLUM: No. They're not like that. Agent Dunham promised. She said no one would harass us anymore.

JIM MALLUM: (sees a menacing van down the street) Come on, let's get in the house, Em.


JIM MALLUM: This isn't a discussion. Go pack your bags. (calling-out) Diane!

EMILY MALLUM: Dad, please.

DIANE MALLUM: What? What is it?

JIM MALLUM: Black van across the street. Just like the one in Baltimore.

DIANE MALLUM: Do what your father says.

JIM MALLUM: (to Diane) I need a pen. I want to write down the license plate.

(Emily starts packing, then closes her door so she can sit and sketch one final image)

Allston Courthouse - Duncan's Revenge[]

ALBERT DUNCAN: (stepping from the elevator) Uh, excuse me. I'm looking for Judge O'Malley.

COURT CLERK: The Judge is in chambers. Do you have an appointment?

ALBERT DUNCAN: Uh, no, but um...

LOUDSPEAKER: Ladies and gentlemen, due to a reported emergency, please proceed immediately to the nearest exit. Please remain calm, and obey the instructions of the court officers.

CANINE HANDLER: (to his furry, four-footed partner) What do you got, boy? What do you got?

BOMB SQUAD: 26 and 28 are clear. What about the wheelwell?

AGENT LEE: (to all in earshot) Hey, I got it! (approaches the pick-up truck. bomb technicians approach and uncover the payload. the shear volume of explosives makes everyone gulp)

OLIVIA: (upstairs. briefing an officer) If you see him, I don't want you to confront him. Just keep your eyes on him, and you can either let Agent Broyles or myself know.


OLIVIA: Thank you.

PETER: (on radio) It's me. We were right. It's rigged up to some sort of remote detonation trigger.

BROYLES: Well, how long will it take to disarm?

PETER: They don't know yet, but it's pretty elaborate.

BROYLES: Okay, keep me informed.

PETER: Will do.

OLIVIA: They found the bomb?

BROYLES: This thing goes off, we're gonna need to clear a 200-meter blast radius. Maybe you should help the police set up a perimeter.

OLIVIA: I know what you're doing, and I'm not going anywhere.

BROYLES: Olivia... what that man said to you... that you're gonna die... maybe this is what he was talking about.

OLIVIA: (refusing the paradigm) I can't live my life like that. Or do my job.

BOMB TECHNICIAN: (in the garage There's no reason for you guys to be here. This thing's wired with multiple redundancies. Could take hours. That guy could remote-trigger the device any time.

PETER: (has a novel idea) Hey, can you tell me what frequency that bomb is rigged to receive?

BOMB TECHNICIAN: Probably. Yeah, why? What are you thinking?

PETER: Hey, it's me again. Have everybody turn their radios to 432.5 megahertz.

ALBERT DUNCAN: (intercepts his target amid the evacuees) Hey. Hey, Judge O'Malley! You don't even know who I am.

O'MALLEY: No, no. Should I?

ALBERT DUNCAN: (finger in face) You took my family from me. And I'm gonna take you away from yours.

BROYLES: It's over, Mister Duncan. We blocked your signal.

OLIVIA: Nobody wants to hurt you, so you can just put your hands up, and we'll just walk out of here.

ALBERT DUNCAN: No. (drops detonator) Nobody's going anywhere. (reveals bomb strapped to his torso)

OLIVIA: Albert, you do not want to do this. Don't.

ALBERT DUNCAN: (holds up deadman trigger) He... he took everything from me.

OLIVIA: Okay, I understand why you're upset. But you can't do this. You can't. Albert...

ALBERT DUNCAN: This is not my fault. This is because of him. And this is how it has to end.

OLIVIA: No, you're wrong. Nothing has to happen. Nothing is written in stone. (calmly) You and I -- we don't have to die here today. Now, whatever happens next is up to you. You are in control. (waits for him to digest the thought) I'm not ready to die today. I don't think that you are either. (waits again) Just think about all these people. They have children too.

Mallum Residence - Maximum Paranoia[]

JIM MALLUM: (his answering machine takes the call while he packs and listens) We're not home. Please leave a message.

OLIVIA: (leaves a message) Uh, Mister Mallum, this is Olivia Dunham. We defused the bomb. A lot of people's lives were saved today. I thought Emily would like to know.

JIM MALLUM: (looking for his teenager) Hey, Em. (panics when he can't find her. the suspicious van is gone too)

DIANE MALLUM: Jim? Jim, what is it?

JIM MALLUM: They took her. They took Emily.


Quiet Park - Losing Emily[]

BROYLES: (on the phone to his agents still working the courthouse crime scene) We traced the plate number Jim Mallum provided. Boston PD hailed it. It was just a dry-cleaning van.

AGENT LEE: Thanks for letting us know. (hangs-up. to Olivia) Her father was wrong.

OLIVIA: I think he was just being paranoid. I don't think Emily was abducted at all.

AGENT LEE: Then where the hell is she?

OLIVIA: I think I might know. (drives to the park where she met the teen) Emily! Emily! (runs to the bench) You're freezing cold. We have to get you out of here. Her pulse is weak.

AGENT LEE: I'll call the ambulance.

OLIVIA: Help's on its way.

EMILY MALLUM: It doesn't matter. (assigned to her fate) There's nothing anyone can do. It's just my time.

AGENT LEE: This is Agent Lincoln Lee. I need an ambulance at Tanner Park right away.

OLIVIA: No, Emily, you told me what's in your drawings is inevitable. But you're wrong. Today we saved all of those people because of you.

JIM MALLUM: (approaches) Emily. (sees her weakened state) Oh, God. Emily...

EMILY MALLUM: I've known for a while.

JIM MALLUM: Why didn't you tell me?

EMILY MALLUM: I knew you'd be here.

JIM MALLUM: Em, please. They're on their way. Can you just hold on?

EMILY MALLUM: I think you were right. Everyone has a purpose. They saved those people today. Maybe that was mine. (blood trickles from her nose as she leaves this life)

Walter's Lab - Remembering Emily[]

PETER: (enters the lab) Hey.

OLIVIA: (looks up from her pile of work) Hey.

PETER: They told me what happened with the girl. I'm really sorry. They said it was some kind of stroke.

OLIVIA: Yeah. The overload of electrical activity in her brain was just too much.

PETER: So the very thing that gave her ability...

OLIVIA: ...also killed her. Walter said that even if we'd known, we couldn't have done anything to prevent it. (thinks) He says, "a candle that burns twice as bright, burns half as long."

PETER: I'm guessing you're not finding that all that comforting right now.

OLIVIA: No, not as much as he does.

PETER: (looks at photo on desk) Is that an Observer?

OLIVIA: Is that what you call them?

PETER: Yeah, why? What do you call 'em?

OLIVIA: Well, up until now we haven't called them anything.

PETER: Things really are different here.

OLIVIA: What do you know?

PETER: Well, they show up at significant events all through history.

OLIVIA: Well, how do they do that? Like some kind of time travel?

PETER: No, it's not really time travel, per se. Uh, it's more like they exist in all times simultaneously. They don't experience time the same way that you and I do.

OLIVIA: So they know what's going to happen. I mean, if one of them said something about the future... could they be wrong?

PETER: Well, no, I don't really see how they could. They don't predict the future, Olivia. They've already experienced it. Did one of them make contact with you? Have they reached out?

OLIVIA: (spares him her concern) No.

Olivia's Apartment - Maternal Visit[]

NINA SHARP: (after knocking) I hope it's not too late.

OLIVIA: No, I, uh... I just got home. Come in.

NINA SHARP: I wanted to see you. Especially after I spoke with Phillip. He told me what happened to the girl. Are you alright?

OLIVIA: Yeah, I'm fine. Really, I – I – I -- I am okay. (both sit on the couch)

NINA SHARP: Sweetheart, about what you said when you came to see me this afternoon... I never should've reacted the way that I did.

OLIVIA: I'm sorry, I should not have accused you.

NINA SHARP: Please, I - I'm the one that needs to apologize. What happened to you as a child was unconscionable. You've come so far, I just forget sometimes how much you've been expected to forgive.

OLIVIA: I'm not angry with you. I thought I was going to die today. And one of the things that I kept thinking was that you -- you wouldn't know how I felt. You're the closest thing I have to a mother. And I love you.

NINA SHARP: Oh, Olive... (sees her wince) What? What's wrong?

OLIVIA: I've just been getting these migraines, that's all. It's really not that big of a deal.

NINA SHARP: Well, do you have any medicine?

OLIVIA: Yeah, my doctor gave me some.

NINA SHARP: Good. And what about food? Have you eaten?


NINA SHARP: I'm going to make you some soup. (heads to the kitchen)

OLIVIA: You know, y-- you don't have to do that.

NINA SHARP: I want to. I'm the closest thing you have to a mother. Remember.

OLIVIA: Thank you. That would be great.

NINA SHARP: Tomorrow I'm going to send some medication over. It's a new drug we've been working on. It's remarkable. (gets busy cooking)

(on the street outside the apartment, a bald man in a Fedora waits and watches)