|A Short Story About Love|
|Cast | Transcript|
Bistro Lunch - Maternal Comfort Edit
(in a restaurant Olivia pass instructions to a waiter who leaves. joined by Nina)
NINA: The whole world is on fire, (kisses her on the forehead) starting with my office. We've had to completely reevaluate all our security measures after what that woman did. The truth is... I wanted to give you time to collect your thoughts. I know when there's something you want to talk about.
OLIVIA: I'm in love with Peter. I know it sounds absurd to you. I hardly know him. But it's like I've known him my entire life. And everybody, including him, keeps telling me that it's impossible.
NINA: When Walter told me what you were going through -- two sets of memories, two sets of experiences -- he said the Cortexiphan dosing might be enabling you to remember things that Peter wants you to remember.
OLIVIA: But I can remember things that Peter couldn't have known, like details of cases that he wasn't on or names, um, places he's never been. I mean, how can that be if -- if he's controlling it? I don't know how this is happening, but... I'm scared.
NINA: We're gonna figure out what's happening with you, Olive. Now, as for your feelings about Peter, all wounds heal over time.
OLIVIA: Yeah. I just wish the time would move a little quicker.
NINA: Well, that's a coincidence, because we just filed a patent on that last week.
OLIVIA: (smiles and reach for her hand) It's good to be with you. We should do this more often. (Nina stares at her in surprise) What's wrong?
NINA: (now really worried) We always have breakfast together on Saturday mornings. We were here last week. Are you saying you don't remember? I'm worried. You're having these experiences at what cost?
OLIVIA: I'll talk to Walter.
Hall Residence - Intruder Alert Edit
CELIA: (on answering machine) Hey, Jane, it's Celia. God, (a man rubs his face with a liquid) it was a beautiful service... if you need anything, please call us.
(switches on the lights. a man with a scarred face appears in front of her)
JANE: Who are you? What do you want? No, please don't! No, please don't! No... No! No!
ACT I Edit
Walter's Lab - Nanny Cam Edit
OLIVIA: Hello, Walter.
WALTER: Oh, I'm so glad you're here.
OLIVIA: Is everything alright?
WALTER: I've run out of M&Ms. But I want to show you something. I ordered this on the interweb to keep an eye on our cleaning crew.
OLIVIA: A teddy bear?
WALTER: A teddy bear-witness. It has a camera. To my surprise, this inadvertently recorded the event between Peter and our bald man in the lab. Come. What do you see?
OLIVIA: I see him disappear and then the table get knocked over.
WALTER: Uh-huh. Look again. Do you see the blip?
OLIVIA: Okay, I saw it then.
WALTER: I believe something happened here that was undetectable to the human eye. Ah! They're back from M.I.T.
ASTRID: What did I just pick up, Walter? There were a lot of security precautions.
WALTER: It's an apparatus designed to slow down video. The playback rate is so decelerated that you can actually see light particles. Come on, Tommy, let's see what we can find on that tape.
ASTRID: How are you feeling?
OLIVIA: I'm fine. I was gonna come and talk to Walter, but his mind is firmly somewhere else at the moment.
WALTER: Astro, my waffle iron blew its fuse.
OLIVIA: Uh, this is Dunham.
Hall Residence - Initial Evidence Edit
BROYLES: Jane Hall -- she was found by her sister.
OLIVIA: That's severe bruising.
BROYLES: Those aren't bruises. The victim's skin had a reaction to some type of chemical residue left by the assailant's hands.
OLIVIA: So why are we here?
BROYLES: This is the second killing in a month where a woman has had the same marks. Both were recently widowed.
AGENT LEE: And the husbands died under mysterious circumstances.
BROYLES: The bodies were dumped in fields, completely dehydrated. As a matter of fact, Ms Hall had just arrived home from her husband Mark's funeral when she was killed.
OLIVIA: Okay, so we know that the killer is targeting couples.
BROYLES: There's one more thing. In both cases, DNA of the deceased husbands was found on the victims' necks.
OLIVIA: You're saying that both widows were killed by their dead mates?
BROYLES: It appears that's what the evidence is saying. But her husband's body was only exhumed fifteen minutes ago.
Walter's Lab - Covert Message Edit
WALTER: Oh, my. Peter, I need you here immediately -- where are you?
PETER: I'm in a cab on my way to the bus station.
WALTER: Bus station? Where are you going?
PETER: New York. You wanted me to stay away from her, remember? And a bus is as good a mode of transportation as any when you're trying to get out of town.
WALTER: You didn't tell me. Anyway, you must come back to the lab at once.
PETER: Why, what's going on?
WALTER: I think the Observer may have done something to your eye.
PETER: Whatever he did, it wasn't seen by the other Observers.
WALTER: All I care about is what he's done to you. So what's in New York?
PETER: I told you, Walter, it's what's not in New York -- Olivia.
WALTER: I admire you, Peter.
PETER: And why is that, Walter?
WALTER: I told you what the right thing, ethically, was to do... leaving Olivia... but I don't know that I would have had the strength to do it myself.
PETER: Is that your way of thanking me for taking your advice?
WALTER: It's a... particularly obtuse way to admit that you're a better man than I am.
PETER: ‘Einai kalytero anthropo apo ton patera toy’.
WALTER: Is that Greek?
PETER: Yeah. Yeah, it means be a better man than your father. It's something I was told a long time ago. But it is very strange to hear you say it.
PETER: What is it?
WALTER: There's something in there. It's got writing on it.
ACT II Edit
Walter's Lab - The Pheromone Factor Edit
PETER: It's an address.
WALTER: Two-two-eight and a half Morrow Street. It's amazing. I suspect this message, if left alone to run its course, would have fully dissolved, taking its place firmly in your mind's eye.
PETER: You think this would have etched itself into my brain?
WALTER: Organic ocular suggestion. You wouldn't be aware, but you would be irresistibly compelled to visit.
JONES: Doctor Bishop?
JONES: Agent Farnsworth said to bring her in if we were here first.
WALTER: Who is she?
JONES: Jane Hall.
PETER: I think it's a case, Walter.
WALTER: Oh. Oh, oh, right. Well, fine. Bring the poor Dear down and put her on the slab.
(in a private lab, Anson Carr cleans and scrubs a dehydration chamber, then prepares a chemical blend of liquids)
WALTER: The human body is composed of sixty percent water. However, Mister Hall's body was drained of almost all moisture.
ASTRID: He was literally killed by extreme dehydration.
WALTER: Among other things that are lost with such... dehydration... are pheromones. It wasn't only Mister Hall's DNA found on his widow's neck. Specifically, it was a very concentrated solution of Mark's Pheromones, which is what's causing the burning on the victim's neck.
OLIVIA: Why would somebody concentrate pheromones?
WALTER: They control our moods, our appetites... who we give our hearts to.
AGENT LEE: So he's targeting couples, killing the male, extracting the pheromones.
ASTRID: Do you think that he's trying to win the female?
WALTER: A love potion? Possibly. Mm... I would like to examine the first victims he did this to.
AGENT LEE: Okay. I will get the ball rolling on the exhumations, see if I can get their files pulled.
WALTER: Oh, I'm sorry. They're Peter's. I made him get off the bus to New York. But you didn't know that.
OLIVIA: That he was on his way to New York? No. Where is he now?
(on Morrow Street, Peter locates and enters the address message that was embedded in his eye. the spartan apartment contains stacks of news items... and a closet with simple black suits and Fedoras)
WALTER: Thank you, Dear.
OLIVIA: Walter, my memories are slipping. They're disappearing.
WALTER: Your own memories? You said to me they're in the back of your mind.
OLIVIA: Well, I didn't tell anybody that it was happening, because if Peter was gonna be with me, then I didn't think about the consequences. I just didn't care. But it's getting worse, Walter, whatever it is that's happening. And I want you to try and stop it. I want you to see if you can reverse it. I just -- I want to go back to who I was.
OLIVIA: I don't want to feel like this anymore.
WALTER: I'll think of something.
City Park - Couple Trolling Edit
ANSON CARR: I can do that, if you want.
ANSON CARR: Yeah.
MAN: Yeah, that'd be great.
WOMAN: Thank you. Oh, he's so cute.
ANSON CARR: I don't know about cute. This is Omar. (his pug dog) Are you ready? (snaps their picture) Mm-hmm. Oh, you two look so in love. Beautiful.
MAN: Oh, it's great.
ANSON CARR: You guys from around here?
MAN: Yeah, Brookline.
WOMAN: (summons her child) Come on, Oliver. Alright.
ANSON CARR: Well, take care.
MAN: Thank you.
(Carr moves on. looking for another couple. one without a child)
LINDA GREELEY: Andrew, be sure to get the lake in the background.
ANSON CARR: I could take that picture for you, if you want.
ACT III Edit
Walter's Lab - Perfume Connection Edit
WALTER: Smell this.
ASTRID: Walter, what is that? It is putrid!
WALTER: Mortius bestia -- roadkill. Specifically, an aromatic excretion from the castor sacs of the North American beaver used primarily for marking and mating. I went beaver hunting in Eastern Canada in the '70s. Of course, in those days, 'beaver' meant something else entirely.
ASTRID: Walter, why would you make me wear this and smell roadkill?
WALTER: Because I have been smelling things for the past hour, and I've lost my objectivity. Now are you gonna help me or not?
(in a private office)
OLIVIA: Okay, take a look at these. These are statements from friends and family. The one thing that they said about both couples is that they had great, solid, loving marriages.
AGENT LEE: So?
OLIVIA: So maybe he's targeting couples that personify the kind of love that he wants. What?
AGENT LEE: Nothing. Are you okay? I mean, with all you've been through in the past few days... you know, if you ever... need anything... I'm here.
OLIVIA: I know.
ASTRID: (enters the office) Um, Walter wants to know which of you has fearless nasal passages.
WALTER: For thousands of years, perfume makers have used a single disparate, rancid note to counterbalance all of the other sweet and unctuous scents in a fragrance. The ancient Mesopotamians used fish oil. The Greeks used animal carcass. The Egyptians used afterbirth. But used in proportion so that the human nose cannot detect the unique odor.
OLIVIA: You're saying our suspect is making a perfume?
WALTER: No. But like perfume, the chemical compound that our perpetrator is using to lure the opposite sex... does contain a rancid note. I found this on Jane Hall's neck, mixed with the pheromones of her dead mate.
ASTRID: It's an ingredient called Castoreum.
ASTRID: Uh-uh. Anyway, we can trace it. It is not easy to get. I only found five perfume manufacturers that use it. You guys can work these, and I'll take these.
(Peter continues his search of the Morrow Street apartment and hears beeping coming from a phonograph console. after fiddling with the back of the turntable, a secret storage area pops up. the brief case inside contains high-tech binoculars and an active tracking transponder)
Field Work - Fresh Lead Edit
OLIVIA: (answers phone) Hey, Astrid.
ASTRID: (from the lab) Hey. Where are you?
OLIVIA: We're just leaving Scentax. We're on our way to KJS next.
ASTRID: Forget about that place. Empire World Fragrance fired one of its employees a few months ago for theft. Guess what he stole.
OLIVIA: Castoreum? Do you have an address?
Chelsea Lab - Dehydrating Andrew Edit
ANDREW SUTTER: Let me out! Aah! Aah! Aah! (struggling to get out of a dehydration chamber as Carr sits and listens to reflective music, waiting for his pheromones)
(Lee and Dunham lead a tactical assault squad into Anson Carr's Chelsea home and lab)
TACTICAL TEAM: Clear!
OLIVIA: (touches dehydration chamber) It's still warm. He was just here.
AGENT LEE: Olivia.
OLIVIA: He's married.
AGENT LEE: (checks ID) Andrew Sutter, age thirty-six. 212 Piedmont Avenue Milton."
OLIVIA: Okay, I'm gonna call Broyles, tell him we know who the next victim's going to be.
(deep in the pine woods near Foxboro, Peter carries the briefcase and follows the directions emanating from the transponder he recovered. the beeping cadence increases on the tracker as he arrives at a small clearing. after only a few seconds, the ground vibrates and the 'Beacon' bores up through the damp loam)
ACT IV Edit
Sutter Residence - Protecting Dianna Edit
OLIVIA: (surprise visit at front door) It's okay. We're with the FBI. My name is Agent Olivia Dunham.
DIANNA SUTTER: What -- what are you doing?
OLIVIA: Are you Dianna Sutter?
DIANNA SUTTER: (sitting and getting the bad news) Last time I spoke to Andrew was this morning. His car's in the shop today. I told him to get a ride home from work because... because I was too busy.
OLIVIA: Believe me when I tell you that we are going to make sure that he doesn't hurt you or anybody else.
AGENT LEE: We're in position.
DIANNA SUTTER: Now what?
OLIVIA: Now we wait. Just keep looking straight ahead. You must have loved each other very much.
DIANNA SUTTER: We were married the summer after our senior year at Brown. This August, it... would have been fifteen years. We were best friends in college. He was always helping me get over a broken heart from one boy or another. He couldn't understand why I kept letting it happen... what I was looking for. He couldn't really understand the difference between loving someone and being in love with them. It's different, you know. But people get tired... of looking and hoping.
AGENT LEE: Maybe he's taking his time. Like he did with Jane Hall.
OLIVIA: Or maybe he was never coming here at all. This guy targets couples in love. You heard her talking about her marriage. Why would Carr pick them? Missus Sutter, is it possible that your husband may have been having an affair?
DIANNA SUTTER: How did you know?
OLIVIA: Do you know her name?
Greeley Residence - Home Invasion Edit
LINDA GREELEY: W – what are you doing in my house?
ANSON CARR: Shh...
LINDA GREELEY: No!
ANSON CARR: Shh, shh, shh, shh, shh, shh, shh.
LINDA GREELEY: No, please, God! No! Help me!
ANSON CARR: Shh.
LINDA GREELEY: Help me!
ANSON CARR: Shh, shh. I'm sorry. I'm so sorry. I'm so sorry.
LINDA GREELEY: Aah!
OLIVIA: Let her go! Move away from her.
ACT V Edit
Squad Car - Love Stinks Edit
OLIVIA: Do you know how much pain you caused?
ANSON CARR: I don't want you to think that I did it for me. I mean, not just for me. We're not meant to be alone. It's every human being's right to know love. And had I succeeded... had I found the right chemicals -- just the right... balance... I could have given the world... what you have.
OLIVIA: What do I have?
ANSON CARR: Love. I can smell that you're in love.
Nina's Residence - Letting Go Edit
NINA: I was wondering when I'd hear from you. I was just making some tea. How are you feeling?
OLIVIA: I'm okay. I talked to Walter.
NINA: What did he say?
OLIVIA: It doesn't matter. I met a woman today. She'd just lost her husband, and as she was talking about him and her marriage, as much as she wanted to be, she -- she wasn't in love. As I was listening to her... I realized what she was saying. She had let go of the possibility of love... of finding love. And I could see myself in her. I didn't like who I was. Now, all of these... memories and feelings that I'm experiencing, they're from a -- a better version of me. I've decided to let things run their course.
NINA: Oh, you had an emotional day, and you don't have to decide anything right now.
OLIVIA: I've made my decision.
NINA: You have so much in your life, Olive. Are you just gonna let that all disappear? And be replaced by what? Memories... of a life that you didn't live?
NINA: Well, how long do we have?
OLIVIA: I don't know. Neither does Walter.
NINA: Hmm. Well, my mother used to say, 'Encourage the quest for happiness in your children, even if it takes them very far away from you'.
OLIVIA: When the day comes... if I don't remember this... I want you to try and build something with me again. Don't give up on me. I love you, Nina.
NINA: I love you, Olive.
Peter's Residence - Beacon Visitor Edit
THE OBSERVER: Thank you.
PETER: For what?
THE OBSERVER: They hid the universe from me. They locked me out.
PETER: You mean the other Observers.
THE OBSERVER: Yes. What I led you to is a Beacon. I needed you to activate it so I could find my way back.
PETER: So I helped you. Then I need you to help me now. I have tried everything that I can think of... everything that I know how to do to get back home, and none of it has worked. And nobody here can help me. But you can. I know you can. Please... help me get back home.
THE OBSERVER: You have been home all along.
PETER: I don't understand. I was erased.
THE OBSERVER: There is no scientific explanation. But... I have a theory based on a uniquely human principle. I believe you could not be fully erased because the people who care about you would not let you go. And you... would not let them go. I believe you call it 'love'.
PETER: And Olivia?
THE OBSERVER: She is your Olivia.