|The Ghost Network|
|Cast | Transcript|
St. Anne's Cathedral Edit
ROY MCCOMB: (in confessional) Forgive me, father, for I have sinned. It's been three months since I've confessed.
FATHER KENT: Go on, my son.
ROY MCCOMB: Do-- Do you believe that God can speak to you, father?
FATHER KENT: Of course I do. The Lord speaks to all those who are willing to listen.
ROY MCCOMB: What about the devil, then?
FATHER KENT: Do you want to confess something, my son?
ROY MCCOMB: I'm a good man, father. I - I try to be a good man. But I - I see things. (visual of a midtown commuter bus… suspicious man boards with a case) I s-- see things. I don't know why he chose me, but it's happening again. (more visuals of the commute) It's happening again, and I'm scared.
FATHER KENT: Scared of what?
ROY MCCOMB: Of what's going to happen on the bus. (the suspicious man dons a mask and starts to prepare an attack) I want it to stop. Please. I just want it to stop.
FATHER KENT: Son, have you hurt someone? (Roy flees – the attack on the bus is complete) Son! Son, come back. Roy! I know it's you. (finds a picture drawn of horrified commuters dropped by Roy)
UNIFORMED COP: (approaching the motionless bus) Hey, let's go buddy, what's the problem? (sees the solidified passengers inside) Oh, my God.
ACT I Edit
Mount Briar Cemetery Edit
(dozens attended the graveside services of Agent John Scott)
YOUNG PASTOR: The souls of the just are in the hand of God. And no torment shall touch them. They seemed, in the view of the foolish, to be dead, and their passing away was thought an affliction. and their going forth from us, utter destruction - but they are in peace.
(Amazing Grace sounds on bagpipe, a flag is draped on the coffin, John’s mother stares, thunder sounds, Olivia reflects alone, then with Charlie)
CHARLIE: (walking away from the ceremony) You know, you being here Libby… you did the right thing.
OLIVIA: Yeah. The man betrays his country, turning over state secrets to God knows who. And here we are, pretending he's a hero.
CHARLIE: I know. Stop. Bureau's got one black eye as it is. The last thing we need right now is another espionage scandal. You made it through. It's over now.
OLIVIA: Did you see John's mother? She wouldn't stop looking at me.
CHARLIE: His mother.
OLIVIA: Yeah, like she was blaming me for what happened to him, like it was my fault he was dead.
CHARLIE: As far as John's mother knows, her son died a hero serving his country.
OLIVIA: A hero. He used me, Charlie. And he told me he loved me.
CHARLIE: I wasn't gonna tell you this… but he said he loved me too.
(both grin and chuckle)
BROYLES: (approaching from behind) Agent Dunham. Agent Francis. (to Olivia) I need you to come with me.
OLIVIA: (to Charlie) Thank you.
The Bishops Dine Edit
PETER: You brought your own sweetener?
WALTER: Don't be ridiculous. It's my medication.
PETER: You're not on any medication, Walter.
WALTER: Of course I am. I've been making it myself in the lab.
PETER: Oh, I wish you were joking. You're self-medicating... with homemade drugs.
WALTER: Simple combination of dextromethorphan, clonazepam, and some fluoxetine.
PETER: Those are psychotics, Walter. All of them.
WALTER: Of course they are. That's the point. I have been in a mental facility for the past seventeen years. It's put me quite out of balance.
PETER: (leaving the stall) Stay here for a second, would you?
WALTER: What if I need to use the bathroom?
PETER: Just hold it. I'll be right back.
(Walter notices the phone cell vibrating and takes the call. Peter intercepts a familiar face from his past with a camera. He grabs him and inspects the camera)
CAMERA GUY: Hey! What're you doin'?
PETER: What, you thought I didn't see you all day? (takes the digital memory disk from the camera)
CAMERA GUY: You were supposed to check in before you came home.
PETER: If you tell anybody else that I'm here, you're the first one of the bunch I'm gonna come after. (returns to the table)
WALTER: It was moving but I stopped it. There was something important. Oh… I've decided on the pancakes. Blueberry.
PETER: That's great, Walter. Did somebody call me on the phone?
WALTER: Oh, that's what was important. Something about a bus.
Investigating the Bus Edit
BROYLES: The incident occurred at 8:14 A.M. - middle of rush hour. First responders were worried it was bioterrorism. Ghosts of the Sarin subway incident in Tokyo in 1995. They called in the C.D.C. - confirmed the attack isn't biological in nature. There's no Contagion.
PETER: And you said there wasn't any good news.
BROYLES: (to nearby Officer) Excuse me. Team's coming in to transfer this bus to a secure area. I want you to extend the perimeter outside the tunnel another 50 yards.
WALTER: It's horrible. They're like mosquitoes trapped in amber.
OLIVIA: If this was some sort of attack, why not just use something conventional, like plastic explosives? A pipe bomb?
PETER: Impact. Whoever did this wanted attention. I mean, look at that.
BROYLES: Or it's not an attack at all. And it's something else entirely.
OLIVIA: Meaning what?
BROYLES: If I knew that, you wouldn't be here.
WALTER: I imagine that the material was released in gaseous form before solidification. I need to study it back in my lab. Can I have some?
OLIVIA: We'll have to dig out their personal effects so we can I.D. them. Notify their next of kin.
Inspecting Items Taken Edit
MATTHEW ZIEGLER: It's not here.
ASSISTANT: In eius telephoni non fuit. Quomodo pergemus?
At McComb’s Workplace Edit
(Roy sits at his desk with a pencil in his mouth, flashes visions, begins to draw)
PAULA: Roy? (looks at his drawings) What is that?
ROY MCCOMB: (distraught) I don't know.
Walter’s Lab Edit
PETER: Any idea what it is yet?
WALTER: Tricky. Very tricky. (studies microscope slides) All I've been able to discern is that it starts as a silicon-based aerosol, and it solidifies somehow. You could be of assistance to me. I would love to hear some Bach. Mass in A minor. Will you play it for me? I'm sure the young lady down there would get us a piano.
PETER: That young lady is an F.B.I. Agent - Walter. Her name is Astrid, and this is the 100th time you have forgotten her name. So, no. I don't think I can get you a piano.
WALTER: You always resisted your lessons too. Lack of commitment, son, was always your problem. Imagine that's why you still haven't chosen a profession.
PETER: I suppose I should've followed in your footsteps. 'cause your work has obviously brought such joy to the world.
WALTER: Who was he, Peter?
WALTER: The man in the restaurant. You in some kind of trouble?
PETER: It was nothing. He was harassing the waitress. I just told him to cut it out.
WALTER: Oh, I see.
Bus Impound Site Edit
OLIVIA: (to Forensics technician) Excuse me. Can you please extract this camera? (points) I want you to note all the people on this video. Cross-check them with the victims. (reviewing images) If we're lucky, maybe she caught whoever did - stop… go back. Can you close in on that woman? (sees Agent Mendoza)
CHARLIE: What is it?
OLIVIA: That backpack. I just saw that woman, that backpack wasn't there. Has anyone seen a blue backpack with the other personal effects?
CHARLIE: So someone took the bag from her? Got off the bus before the attack?
OLIVIA: Who is she? (technician calls-up computer personnel file) Evelina Mendoza. She's a federal employee. What's her job? (reads file) Oh, my God. She's D.E.A.
At the Federal Building Edit
OLIVIA: (to Broyles) The woman who died on the bus, whose backpack was stolen, she was a drug enforcement agent. Undercover. She had a handler, Grant Davidson. I wanna bring him in for questioning.
(visuals of Davidson in-processing in the lobby)
GRANT DAVIDSON: I apologize if I wasn't helpful on the phone. I needed to ask my superiors for clearance to talk to you about Eve.
BROYLES: Our condolences. From her records she seemed like an exemplary Agent.
GRANT DAVIDSON: Ah, she was.
OLIVIA: Can you tell us about the case she was working on?
GRANT DAVIDSON: Uh, three months ago, she was tasked to infiltrate the east coast representatives of a Nicaraguan drug cartel. We'd been banging on them for over a year. She called me. Said she wanted me to pull her out. She was scared. Said she heard members of the cartel discussing something about ‘The Pattern’. I told her I never heard of it. And, uh, we set up a meet but she never showed.
BROYLES: It appears whoever attacked the bus this morning was interested in one of her effects. Do you have any idea what she could've been carrying?
GRANT DAVIDSON: I wish I could be more helpful.
BROYLES: You have been, Agent Davidson. Thank you.
GRANT DAVIDSON: Uh, I've been asked to officially I.D.’d. her body. I suppose that won't be a problem.
(in the morgue)
OLIVIA: Have you spoken with her family?
GRANT DAVIDSON: Uh, there's a brother she doesn't talk to. I didn't realize how hard this was gonna be.
OLIVIA: You don't have to explain. I know what it's like to lose someone you've worked with closely.
GRANT DAVIDSON: I'd uh… I'd like to say good-bye.
OLIVIA: Of course.
(he enters the exam room and takes her hand)
Back at Walter’s Lab Edit
OLIVIA: Should I bother to ask?
ASTRID: Music helps him process. It works too. As soon as Peter started playing, Walter just kinda locked in. He was able to recreate the material from the crime scene.
PETER: Hey! (runs in)
OLIVIA: I hear you play the piano.
ASTRID: He doesn't just play. He's good. You should hear him.
PETER: No. Maybe some other time.
WALTER: (seated at the piano) Olivia. You'll be pleased to hear we figured it out. The material, the gas that was released on the bus, turned solid when it met the nitrogen in the atmosphere - instantly immobilizing and suffocating the passengers.
OLIVIA: So who would have the know-how to manufacture something like this?
PETER: I'll give you six guesses. And the first five don't count.
OLIVIA: Massive Dynamic.
(a little later at the computer console)
ASTRID: (to Olivia) Three chemical companies in the U.S. supply those compounds… all of them fully-owned subsidiaries of Massive Dynamic.
OLIVIA: (answering her cell phone) Charlie? What's up?
CHARLIE: We've got something. I think you're gonna wanna see it.
At McComb’s Apartment Edit
CHARLIE: (walking into the apartment) Tip got called in from a priest over at St. Anne's. Says the guy that lives here mentioned a potential incident about the bus before it happened.
OLIVIA: So what do we know about him?
CHARLIE: Name's Roy McComb. He’s a high school graduate, no criminal record. Apparently he's been pushing papers over at an escrow company for the last couple of months. Got D.P.D. picking him up from there right now.
OLIVIA: That doesn't seem like the profile of a mass-murderer.
CHARLIE: No. I didn't think so either.
OLIVIA: What? (follows Charlie into a room full of hand drawn atrocities)
CHARLIE: You're looking at depictions of dozens of attacks, accidents, disasters we've seen over the past year. And look, all of them are dated before the incidents took place.
OLIVIA: Is that the flight from Hamburg?
ACT II Edit
McComb in Custody Edit
(in the observation room)
PETER: So this guy drew Flight 6-2-7, the ‘Angel Suicides’ in Baltimore and the ‘Birmingham Bridge Collapse’. Clearly, the man is disturbed… but do you really think that he could be involved in all this?
BROYLES: No. I don't. But that doesn't make me any less interested in the way he got his information. Several of those incidents have never been made public. And based on the evidence, every one of them was either drawn or constructed before the event depicted.
(in the interrogation room)
CHARLIE: Mister McComb. I'm Special Agent Charlie Francis of the F.B.I. I want to tell you you're not officially being charged with anything right now. I'd like to ask you a few questions. Is that okay?
ROY MCCOMB: Yeah, okay. Sure, hmm... call me Roy.
CHARLIE: Okay, Roy. Let's start with this drawing of yours.
Nina’s Office at Massive Dynamic Edit
OLIVIA: Fourteen different chemicals compounds were used in the material responsible for the incident on the bus. Three of them, manufactured exclusively by your subsidiaries.
NINA: You've done your homework. We supply them to a dozen labs around the world. It could have been stolen from any one of them.
OLIVIA: I'll need a list of those labs, then.
NINA: Of course. Anything you need.
OLIVIA: Thank you.
NINA: So, is there anything else?
OLIVIA: When we first met, you said that science and technology had advanced to such as state that - your words - they were running out of control.
NINA: That sounds about right.
OLIVIA: Well so far, all the science and technology that I've come across has been very tightly controlled by Massive Dynamic. Every case I investigate has a tie back to this company.
NINA: Well, I think maybe you have it backwards. Massive Dynamic is... well, so massive that just about everything in the world of science and technology has a tie back to us. Of course, I could say something of the same to you, couldn't I? You've been investigating these cases for a very short while now. At least three of them have occurred right in your own backyard. I might suspect that you, yourself were somehow responsible. (accepts file from assistant) I hope it'll help you find whoever's behind these attacks.
NINA: Apparently, Broyles hasn't told you. Yes, the technology was used once before in Prague, although there were fewer casualties. Then I suppose if you had access to the case files, you'd know that we'd already shared all the information we have with the Government. (hands file over)
OLIVIA: Thank you. For the information. (departs)
The McComb Interview Continues Edit
CHARLIE: What about this one? (holds-up drawing) This one's gonna happen too, Roy?
ROY MCCOMB: Look, I know that this sounds crazy, in fact, I think I am crazy. But I can be anywhere, at home or at work, and uh, then all of a sudden I get this, I don't know how to describe it... this... feeling and the only way that I can get it out, get rid of it is to try to draw what I see. Or to try to build it. Sometimes, that works.
CHARLIE: How long have you been getting these feelings?
ROY MCCOMB: Maybe... nine months.
(in a large briefing room)
BROYLES: Nine months. Roy's... feelings, or whatever they are, began roughly when we became aware of ‘The Pattern’.
PETER: Meaning what?
BROYLES: I'm not entirely sure yet. But it's hard to say he's lying.
PETER: He's not. I like to consider myself to be a fairly good poker player, which requires me to have the ability to read my opponents' tells, knowing he's bluffing. He's not bluffing. Regardless of what the actual explanation is, he sincerely believes that what he's saying is the truth.
BROYLES: In that case, what do you suggest? How has he learned of these incidents?
PETER: I don't know.
OLIVIA: (walks in) Hey! I just saw Charlie who told me
WALTER: (interrupts) Occam's razor. A lot of things being equal, the simplest solution's the best.
BROYLES: And what is that?
WALTER: The man's psychic. Theoretically, it's all quite possible.
OLIVIA: So you're saying Roy can read people's minds?
WALTER: I posit that Roy has no control over his abilities. That he's linked psychically with someone or less likely but still possible a small group of people responsible for these events. Equally possible, someone's who merely discussing them. Perhaps he's communicating with you Agent Broyles.
BROYLES: Forgive me Doctor Bishop. I like to think I have an open mind. But I have a hard time accepting that that man is hearing another person's thoughts.
WALTER: So do I. Which is why I would like to prove it.
PETER: And here we go.
BROYLES: And how would you do that?
WALTER: Am I required to keep him alive?
OLIVIA: That would probably be best.
(outside on the breezeway)
OLIVIA: Can we, uh... talk a moment?
BROYLES: Go ahead.
OLIVIA: Nina Sharp just told me that this isn't the first time that material from the bus has been used.
BROYLES: I'd normally be skeptical of anything coming from Nina but in this case, she's correct.
OLIVIA: So what? I don't even have clearance to know background on a case I'm investigating?
BROYLES: Agent Dunham, if I'm not always completely transparent with you there's a reason: this little task force that you and I call our day job now. It sometimes requires some... shall we say bureaucratic maneuvering to keep it alive and free from political meddling… which means… sometimes I don't tell you everything for your own protection.
OLIVIA: With all due respect, that's not good enough. I've been trained for a lot - hostage crises, terror campaigns, suicide bombers, chemicals attacks, but, you know the things I have seen since I started working for you... If I'm gonna do this job, I need to know what it is I'm dealing with.
BROYLES: And you will. When you're ready. Till then I suppose you'll need to trust me.
Hospital M.R.I. Chamber Edit
PETER: So what are we looking for?
WALTER: If my thesis is correct, if he is picking up the thoughts of another human being, he will leave a distinct signature.
PETER: And you think we'll be able to identify whose thoughts they are?
WALTER: That's preposterous. But I may be able to intercept them. (as McCombs enters the chamber) Magnificent machine! Do you mind if we view the axial images?
CONTROL ROOM TECHNICIAN: His vitals are spiking.
(McComb becomes very distressed)
PETER: What's happening?
WALTER: No idea. But I'm extremely interested to find out.
ROY MCCOMB: Something's wrong!
PETER: Shut it down, now!
ROY MCCOMB: H, hu, huh… Help! (struggles clear)
PETER: Get up. You okay?
ROY MCCOMB: I… I think so. What did that?
WALTER: Something in the blood. A magnetic compound of some kind, dormant... perhaps a parasite.
ROY MCCOMB: What's he saying? I don't understand.
PETER The machine is basically a gigantic magnet, and you've got metal in your blood. If we hadn't turned it off, it would've ripped your body apart.
WALTER: It would have been quite a mess.
ASTRID: Why would there be metal in his blood? That's not normal, right? (everyone looks at one another with raised eyebrows)
ACT III Edit
Digging Deep in Walter’s Lab Edit
ASTRID: (drags in boxes of files) You wanna see everything from 1989?
WALTER: No. Perhaps '79.
PETER: Fantastic. That's very helpful.
(finds the file he was looking for)
WALTER: Oh, stop. I was right. Belly and I worked on this very problem.
PETER: Yeah. As in William Bell - Founder of Massive Dynamic, and one of the richest men on the planet. He and Walter used to share a lab together.
WALTER: Loved cloves. Awful odor. We posited a spectrum of waves lying outside of the range of those already discovered. We hypothesized that these waves could be used to communicate information. The Government, of course, was extremely interested. It was a brilliant idea. A theory, but a good one. They wanted to use the network to send their most clandestine information.
PETER: Because if no other government knew the spectrum existed, they couldn't listen in.
WALTER: Yes. And they called it the ‘Ghost Network’. But they asked us to take it one step further, to develop a method where they could transmit directly from one person to another. I surmised that I could introduce an iridium-based, organometallic compound into the subject's brain.
PETER: You have got to be kidding me.
PETER: Roy McComb was one of your test subjects.
WALTER: Of course. Yes! That explains it, doesn't it?
PETER: Explains it? Yes, that explains why he almost died today. Because you injected something into his brain nearly 20 years ago.
WALTER: No, what I gave him was not nearly enough to cause that reaction. The compound must have multiplied in his bloodstream over time. Environment, perhaps diet.
PETER: He was a sophomore volunteer for psych experiments. Did you ever even bother to explain to him what you were doing?
WALTER: Well it wouldn't have been a very secret experiment if I had.
OLIVIA: (just arriving) What's going on? How's Roy McComb?
PETER: Roy McComb will be fine. No thanks to my father's attempts to turn him into a human walkie-talkie.
WALTER: Wait a second.
PETER: Don't you try and change the subject!
WALTER: What you just said is on subject. The iridium-based compound that multiplied in his bloodstream has turned him into some kind of receiver.
PETER: A receiver of what?
WALTER: Transmissions. Someone else, it seems, and I'm somewhat jealous of this, has perfected our ‘Ghost Network’. And is using it to communicate. Our dear Roy is merely overhearing what they say.
(later on – a demonstration with a large kaleidoscopic image)
WALTER: You will note that the rotary movement gives the impression of a three-dimensional tunnel, when in fact it is not. Next slide, please. (viewing an additional image) Ah, it's an oldie but a goodie. As you observe this image, your brain perceives first a duck, then a rabbit, then a duck again - it always comes back to the duck. In truth, the image is neither. But it illustrates the brain's need to take random sensory input and construct it into a meaningful whole…
PETER: (interrupts) Great!
WALTER: … despite…
PETER: Thank you, we get it!
OLIVIA: Uh, I'm sorry - I don't think I do get it.
PETER: Well neither do I - I just want him to stop.
ASTRID: I'll get the lights.
WALTER: I suspect someone has continued my research. But they've taken the easy way out…. merely using the ‘Ghost Network” as a secure telecommunications channel.
OLIVIA: You're suggesting that Roy's listening into someone's telephone network.
WALTER: Yes. But no, not listening. Roy's brain is trying to interpret the sensory input. Much as our brains grapple with the duck - rabbit, I told you. It always comes back to the duck.
OLIVIA: So if Roy's receiving this frequency, is there any way that we can tap in and hear them? Or maybe even I.D. them?
WALTER: Construct a receiver using that spectrum, it's possible, of course. But it would take months. But it may be possible to redirect the transmissions from his visual centers to his auditory cortex.
ASTRID: Wait, you want to rewire his brain?
WALTER: Not without his permission.
PETER: It would be a minor surgery. Minor brain surgery. Emphasis not on the minor.
WALTER: I would need a specific piece of equipment. Magnetic neurostimulator I built in 1983. With a few adjustments, it would work.
PETER: Alright, we'll just go back in time and get it for you.
WALTER: No need to. It's most likely where I left it 17 years ago. Hidden in a wall in our old house in Cambridge.
At The Old Bishop House Edit
PETER: Blast from the past. What's the game plan here? We just gonna knock on the door, ask 'em if we can tear out their walls?
OLIVIA: Pretty much.
PETER: I guess the badge is the "pretty please" in that equation. There's no lights on.
OLIVIA: I'm gonna call in, see if we can track down the owner for consent. (Peter tries to jimmy the door) What're you doing?
PETER: What? This is barely even a crime. I used to live here. (the door swings open without effort)
Prepping McComb Edit
WALTER: Normal pupil response. Taking any medications, prescribed or illicit? You can be truthful. I won't judge. In fact, if the answer is no, I may encourage some drug use.
ROY MCCOMB: No, none.
WALTER: Any food allergies?
ROY MCCOMB: Not that I'm aware of.
WALTER: Good, good, good. This all checks out. Strap him down. We'll get started.
ROY MCCOMB: Oh, God. Strap me down?
ASTRID: There's nothing to be worried about.
ROY MCCOMB: I guess, uh - it must seem pretty silly... thinking God is talking to me and everything.
ASTRID: What were you supposed to think?
ROY MCCOMB: That I was just crazy. I considered that, too.
ASTRID: It's gotta be sort of a relief, right? Knowing there's a rational explanation?
ROY MCCOMB: I wouldn't exactly call any of this rational. Do you really think that this is going to help you catch the guys that killed those people on the bus?
ASTRID: You're our best lead. No pressure, huh?
Searching the Old Bishop House Edit
PETER: We lived here when I was a kid, but after Walt was institutionalized, my mom couldn't afford the mortgage so we moved down to an apartment in Allston.
OLIVIA: So where's your mother now?
PETER: That's a story for another time. So tell me. Of all the possible career choices, how did a girl like you end up in law enforcement?
OLIVIA: Well, I pretty much knew this was what I wanted to do by the time I was nine.
PETER: When I was nine years old, I think I wanted to be a brontosaurus. (finds an old hiding space) You know, they say the psych profiles of cops and criminals are pretty much identical. Ever consider a life of crime?
OLIVIA: No dental.
PETER: (empty-handed) Nothing. Of course.
PETER: (finds an old sliding panel) My mom had this covered up. Used to hide in it all the time. (pulls up a dumb waiter)
Ready to Operate Edit
WALTER: You'll need to be awake for the procedure. - but I'm going to give you a mild sedative to reduce any anxiety.
ROY MCCOMB: Doctor Bishop, you look really familiar to me.
WALTER: (administers sedative) I hear that a lot - in the mental institution where I lived. (to Astrid) He'll need a moment. (to Peter and Olivia coming through the door) Oh. You've returned. How was the old house? How is Rufus?
PETER: Well, the house is just like we left, but we put Rufus to sleep almost 20 years ago Walter.
WALTER: Oh. That's terrible news.
OLIVIA: We found your equipment.
WALTER: (inspects technical contraption) Oh, this brings back some memories.
PETER: Of what?
(preparing to operate)
WALTER: I think it's time for some intracranial penetration. (lifts drill to McCombs head) This won't hurt… just feel a touch odd.
ROY MCCOMB: Okay.
(a knock at laboratory interrupts. a freshman duo is lost. Olivia responds)
FRESHMAN: Is this Poli-Sci 101?
OLIVIA: (with disbelief) Not remotely.
PETER: (Olivia returns) Who was it?
WALTER: (drills the skull) I need you to keep this dial steady at 60 hertz - 10 gauss until I tell you otherwise. I believe there are clusters of metal in the visual centers of your brain. I'm going to attempt to move them to those regions which process sound. You'll be shown a series of images. I need you to tell me any sensations you experience as you see each image.
ROY MCCOMB: Sounds easy enough.
WALTER: First image, please.
ROY MCCOMB: It's a horse.
WALTER: Wonderful. 50 gauss.
ROY MCCOMB: What the hell was that?
WALTER: Oh, that was your body's normal muscle response. It's perfectly natural. You may also experience an involuntary bowel movement.
ROY MCCOMB: Great.
WALTER: Next image, son.
ROY MCCOMB: Oh, man. Mmm, oh, this is bad. Oh, this is weird. Uh, I-- I'm-- mmm-- I'm tasting, uh, dirt. Uh, no wait, it's uh, gasoline.
WALTER: We've reached the gustatory cortex. We're getting close. Next image, please.
ROY MCCOMB: I don't know. It's a beach.
WALTER: Well, no sensations at all?
ROY MCCOMB: I don't think so.
WALTER: Damn it, don't you feel anything?
ROY MCCOMB: Uh, I'm a little scared.
WALTER: I don't understand. This should be working.
PETER: Walter, take a deep breath. It's gonna be okay.
ROY MCCOMB: Nuntia adhuc...
WALTER: You. (to Astrid) Increase the level to 200 gauss.
ROY MCCOMB: Ita, modo eum collocutus sum.
PETER: Don't do that! Stop, I said!
ROY: Quando fiet.
ASTRID: What did you say?
ROY: I don't know. I can hear voices. Una hora locum statuisti.
PETER: I think that's Latin.
ASTRID: It is. He just said, um-- damn, what's that word? Hora, um-- hour. Something's happening in an hour.
PETER: How in the world can you possibly know that?
ASTRID: I majored in linguistics. My Latin's admittedly a bit fuzzy.
OLIVIA: Okay, keep going.
ROY MCCOMB: Ad stationem.
ASTRID: Ad stationem, that means station.
ROY MCCOMB: Orstreelum--no wait, it's Australem ob.
ASTRID: Australem means south and then...
ROY MCCOMB: Commerciam convenimus.
ASTRID: An exchange is being made. um-- An exchange at south station. I think someone's meeting at south station to make an exchange in an hour.
ROY MCCOMB: Bene ubi fuit.
ASTRID: He just said, "good, where was it."
ROY MCCOMB: Ab initio in eius corpore fuit.
ASTRID: From the beginning, on her person. It was on her person. It was on her from the start? Maybe or--
OLIVIA: She had it on her the whole time.
ASTRID: Oh, yeah, that's a possible translation.
PETER: Hey! Where you going?
(Olivia races to the morgue to inspect Mendoza’s hand. has flashes of Davidson visit)
GRANT DAVIDSON: (in flashback) Now, I've been asked to officially I.D. her body. (Olivia finds that a large incision in Mendoza’s hand)
ACT IV Edit
Enroute to South Station Edit
OLIVIA: (driving and talking on cell phone to Broyles) There was a three-inch incision in Evelina's right palm. Whatever she had on her, Davidson cut it out. She was hiding it in her hand. I'm heading to South Station now. I think he's planning a hand-off at five o’clock.
BROYLES: (on the run at Headquarters) We have to assume Davidson's working for the same people who hit the bus. I'll notify C.I. – but in the meantime, I'm sending the field assist your way.
OLIVIA: But plainclothes only. We don't want to tip him off.
(in the lab, McCombs remains engaged)
WALTER: Oh, my god.
ROY MCCOMB: What's wrong?
WALTER: I believe with proper demodulation, you could receive satellite television for free.
PETER: Okay, fun time's over. Astrid, let's get him unhooked.
South Station & Walter’s Lab Edit
(Grant Davidson, Olivia, Charlie, Matthew Ziegler, and Ghost Network at the commuter rail station/Walter, Peter, Astrid and Roy McComb at Walter’s Lab)
GRANT DAVIDSON: (his phone rings at South Station) It's me, I'm at the station.
GHOST NETWORK: (on phone ) Where am I meeting your man?
ASTRID: (in lab to McComb) Excuse me?
ROY MCCOMB: (to Astrid) I'm getting something. It's in English. We can see you.
GHOST NETWORK: Outside South Station. We're verifying you haven't been followed.
ROY MCCOMB: Then we'll instruct you further.
OLIVIA: (on phone) It's Olivia.
PETER: (on phone) Hey, Roy's talking again. Are you at South Station?
OLIVIA: Yeah. Why?
PETER: So are they.
OLIVIA: Did you get anything else?
PETER: They're checking to make sure that Davidson wasn't followed. I think that's it for now.
ROY MCCOMB: Could I get a drink or something?
PETER: Yeah. I'll get you a glass of water.
GRANT DAVIDSON: (answers phone) Go ahead.
GHOST NETWORK: We're clear on our end. Go inside.
PETER: (returns with water) Here you go.
ROY MCCOMB: (dictating) … and head to the Dewey Square exit.
PETER: (to Astrid) You got that?
GRANT DAVIDSON: (to Ghost Network) How will I recognize the person I'm meeting?
ROY MCCOMB: (dictating) … he’ll recognize you.
OLIVIA: (answer call from Peter) Yeah.
PETER: It's happening now. He's headed to the Dewey Square exit.
OLIVIA: Got it. (hangs up, calls Charlie)
CHARLIE: (answers phone) Francis.
OLIVIA: We got him. He's at the south end of the terminal.
(she stalks the terminal and locates Davidson)
OLIVIA: Turn around and put your hands in the air now.
(he turns, she realizes he has been shot, he falls, killed by an assassin, his briefcase gone)
CHARLIE: (catching up to her) Clear!
OLIVIA: He's been shot. He's not breathing!
CHARLIE: Call in a MedEvac!
OLIVIA: The case. They've made the exchange. He's running.
CHARLIE: Stay with him.
(they chase Ziegler down the platform and corner him)
OLIVIA: Put the case on the ground.
CHARLIE: Drop the gun now!
OLIVIA: Put your hands where I can see them.
(the suspect deliberately steps backwards in front of a passing bus to avoid capture)
ACT V Edit
Debriefing at the Federal Building Edit
OLIVIA: All that trouble for this. So any idea what it is?
BROYLES: Not yet. But I'm hoping our friends at the N.S.A. will be able to tell us.
OLIVIA: So eleven innocent people die today, we risk losing another by drilling through his head, all for something we know nothing about?
BROYLES: Do you ever smile, Dunham? We I.D.'d the shooter. (pulls out file) Matthew Ziegler. When we ran his fingerprints, he popped up on two other pattern-related cases. We're digging into his financials, travel records. Linkage, Dunham. Not only can we now put a face to these people, but we know they're communicating. And how. I'd say that's an impressive day's work. Which brings me to this.
OLIVIA: What is it?
BROYLES: Of all the models in Roy's apartment, three of them are incidents that we haven't been aware of.
OLIVIA: Pattern cases?
BROYLES: It would seem so. Take a look. If you want. Let me know if you have any thoughts.
OLIVIA: I'll do that.
BROYLES: I'll see you tomorrow.
Finishing-up at Walter’s Lab Edit
OLIVIA: How are you feeling?
ROY MCCOMB: My head hurts a little, but, um, Dr. Bishop gave me something for the pain.
WALTER: Vicodin. That's it. I promise.
OLIVIA: So no more transmissions.
ROY MCCOMB: No.
PETER: My guess is once you arrived at South Station with the cavalry, they realized the ‘Ghost Network’ was compromised, and stopped broadcasting on it.
OLIVIA: Well just in case, if you hear anything else, do me a favor, give me a call.
ROY MCCOMB: I will. It felt really nice to be able to help. (to Walter) Thank you.
WALTER: You're welcome.
ASTRID: I have a few release forms I need you to sign, and then I can take you home.
ROY MCCOMB: Okay.
PETER: Dunham. Any requests?
OLIVIA: How 'bout some Bach?
PETER: Bach? No, that's way too stuffy. What you need is some jazz.
OLIVIA: Well I'll take what I can get.
After Hours At Massive Dynamic Edit
BROYLES: I'm sure you can understand why I don't wanna go through channels.
NINA: If I know you at all, this isn't the only reason you're here. Is this because of our interest in Agent Dunham?
BROYLES: Seems a bit early to be poaching my newest hire, with only a three-case resume under her belt.
NINA: I didn't achieve my position without the ability to evaluate someone's talents immediately.
BROYLES: Neither did I.
NINA: Oh, you feel protective of her, don't you?
BROYLES: I'm in the business of protecting all my agents.
NINA: I want nothing but the best for her.
BROYLES: Of course you do.
(in a quiet lab)
NINA: We found another one. (recovered chip)
TECHNICIAN: Let's see what we have. (looking into a microscope) Well, crystalline structure's intact. No detectable oscillations. This may just be what we need to break the encryption.
NINA: Speaking of which, I'm told you've made progress.
TECHNICIAN: See for yourself. We finally stabilized the link. We've been pulling information from the disk for the last 72 hours.
NINA: Let me know when it's finished.
(John Scott rests in a chamber)