Fringe s01e15 Episode Script

PHIL: God, it's cold.
- I'm getting too damn old for this.
- Make sure that blast cap's on tight.
It's not the cap I'm worried about, it's my damn fingers.
Stop complaining.
We fall behind, we violate our permit.
Just a minute, almost there.
MAN 1 [O VER RADIO.]
: Zone 1, clear.
MAN 2: Zone 2 is clear.
MAN 3: Zone 3, clear.
MAN 4: Zone 4, clear.
MAN 5: Got a squatter in Zone 5.
Getting him out.
After that, we're clear here too.
MAN 6: Zone 6, clear.
MIKE: Okay, people.
Building's clean.
Wrap it up and get out.
Go for demolition in three minutes.
D-minus-three minutes.
PHIL: So, what's up, man? Stateside Diner? Meatloaf sandwich? DENNIS: Thinking steak and eggs at Cora's.
Or we could always head up Route 9 to Parkview.
- Sure.
- What? "What?" The waitress, the brunette.
What's her name? Marcy? No, I wasn't even I was thinking about the lean corned beef.
Yeah, right.
The lean corned beef named Marcy.
[PHIL LAUGHS.]
DENNIS: Hold up.
What's the matter? You okay? Dennis? - What's the problem? - Nothing.
- I don't know.
- You swept it, right? Sure.
I just I don't know.
All of a sudden, I got a weird feeling.
Yeah? Me too.
Mine's called, "I don't wanna die looking at Dennis.
" Come on, man.
Hey, radio Mike, will you? Tell him I wanna do another sweep.
PHIL: Come on, man.
Where you going? Dennis, they're holding the countdown for us.
DENNIS: Damn it.
Over here, let's go.
PHIL: Where are we going? DENNIS: I think we missed something.
Plans show another room over here.
God, this doesn't make sense.
MIKE: Phil, you got Dennis? What's going on? - We don't have a lot of time.
- Two more minutes.
We'll be right up.
[FOOTSTEPS ECHOING.]
- You hear that? - What? [STOMPS.]
- Sounds hollow.
- This place has been completely prepped.
There's nothing underneath there.
It's a solid foundation.
- That sound solid to you? - It's probably frost damage.
The concrete's cracked.
Man [DENNIS GRUNTS.]
[BOTH PANTING.]
Mike, I think you should come down here.
DENNIS: This was definitely not in the blueprints.
PHIL: God, what's that smell? MIKE: What do you think this was? PHIL: I don't know, but it's old.
MIKE: Oh, good, that narrows it down.
[RATS SQUEAKING.]
PHIL: What the hell? My God.
Ella? Mommy gets grumpy if I wake her too early.
She always did.
Come here.
[OLIVIA GRUNTS.]
Do you want some pancakes? Yes.
- Yeah? - Mm-hm.
[CELL PHONE RINGS.]
CHARLIE: Francis.
Hey, Jim.
How are you, buddy? I saw that your mayor got himself in a little bit of trouble.
That couldn't have been fun for you guys.
When? Has anyone taken anything from that fax in the last five minutes? MAN 1: No, sir.
MAN 2: Didn't see it.
I'll call you back.
Ugh.
Liv, I'm sorry.
I told her to let you sleep late.
- Oh, she did.
Until 6:17.
- Yup, that sounds late for her.
ELLA: Which one? RACHEL: Uh, the yellow one.
- Aunt Liv? - Definitely the yellow.
Did you tell her? - Go get dressed.
ELLA: Okay.
OLIVIA: What? We went apartment hunting yesterday.
Really? You're thinking of moving to Boston? Yeah, well, Ella loves it here and so do I, so - You can stay here as long as you want.
- I know.
But you don't need a little creature waking you up at 6:17 every morning.
[CELL PHONE RINGS.]
If that little creature is Ella, I am fine with it.
- Hello.
- It's me.
The Artist is back.
How do you know? Did we receive another fax? - Yeah.
Hartford office got one too.
- Well, did we get a trace? Sent from a copy store in Allston.
I've got Mason and Lewis headed over to question the employees.
See if someone can give a description of whoever sent it.
Okay, I'm gonna be there in 15 minutes.
Some horrifying event you're not allowed to tell me about? [CELL PHONE RINGS.]
Yeah.
- Okay, now it's gonna be 14.
BRO YLES: Excuse me? Agent Dunham? - Oh, hey.
- Get the Bishops.
I need you to meet me at Children's Hospital.
- I just had an old case reopen and l - It can wait.
BRO YLES: After the boy was found, crews performed a search of the tunnels.
It was determined they'd been sealed shut for at least 70 years.
The place was a sarcophagus.
The only living things down there were rats, insects and him.
And we have no idea how he got down there? He's so pale.
BRO YLES: He seems to be developing some sort of pigmentation.
WALTER: Well, he probably hasn't seen sunlight in years.
Does he have a name? BRO YLES: He hasn't spoken a word since he was found.
Dr.
Bishop, any thoughts? Perhaps.
First, I need a piece of special equipment.
- My turntable.
- Is that some kind of lab equipment? No, no, no.
A turntable.
Record player.
You enjoy music, don't you, Mr.
Broyles? Well, imagine the agony of having an extensive record collection and having no means to play it.
The agony.
I'll have someone get right on that.
[KNOCKS ON DOOR.]
This is Dr.
Winick, chief of Pediatrics.
Look, I understand your agency's taken an interest in this child but he's been through quite a trauma.
- Is he sick? Not as far as we can tell, but he's having difficulty breathing.
- We need to administer oxygen.
- No, don't.
No.
I wouldn't do that.
You said the tunnel was sealed.
Is that correct? It's obvious that the child was trapped in a low-oxygen environment for so long his body adapted.
That's why he's having trouble breathing.
I don't think so.
Unless you have an IQ higher than mine I'm not interested.
Administering additional oxygen at this stage would simply cause his lungs to fill with fluid and drown him where he lies.
[PETER CLEARS THRO AT.]
We need to deprive him of oxygen.
Get him a nasal cannula and a tank with low oxygen content.
Perhaps 5 percent to start.
[ROCK MUSIC PLAYING O VER SPEAKERS.]
MAN: A griffin.
- Excuse me? Your tattoo.
The body of a lion, the head of an eagle.
That's a griffin, right? Just picked it out of the sample book.
Thought it looked cool.
Oh, well, a nice choice.
Did it hurt much? I always imagined getting a tattoo would hurt real bad.
It's a good pain.
- I'm sorry, I didn't mean to embarrass - You didn't.
Hey.
Do you need a hand? Thanks, I got it.
Actually, you know, a little help would be great.
- Cool motorcycle.
What make? - '67 Harley Shovelhead.
She's a beauty.
Yeah, she is.
[SAWING.]
[BLOOD DRIPPING.]
[WHEEZING.]
Any minute now.
[BREATHING EVENLY.]
[MONITOR BEEPS.]
It worked.
You'll want to increase the oxygen flow So you said that he hasn't talked.
How do we know he can hear? He responds to sound.
We examined his tympanic membrane, there's no physical damage.
In fact, considering how he was found, he seems fairly healthy.
His heart sounds fine, his blood pressure's strong.
How do we think he survived down there? What did he eat? Rats, I'd think.
Moss, insects, high in protein.
Tastier than you may think, especially millipedes.
Although they all lack certain minerals which may account for his follicular dilemma.
- His baldness.
- Have you performed a urinalysis? Haven't been able to.
We've been feeding him intravenously.
He hasn't relieved himself since he arrived.
I can't say I blame him for not wanting to try this.
Looks worse than the dreadful fill they served us in Claire's.
You were on staff at St.
Claire's Asylum? No, no, no.
I'm not a medical doctor.
I was a patient.
[PETER LAUGHS.]
Got such a sense of humor, huh? Walter, what do you say we keep those old St.
Claire's stories to ourself, yeah? Hello.
My name's Olivia.
What's yours? [CELL PHONE RINGING.]
[OLIVIA CHUCKLES.]
That's my phone.
It's Charlie.
Hi, I'm still in the hospital.
You won't remember this, Peter, but you didn't talk much either as a child.
Could you get me the address? Okay, tell him that I'll be there as soon as I can.
Charlie got a call from the local P.
D.
About the Artist.
I'm gonna go meet him now.
What's it say? - Sam Gilmore.
- He can write? Is that your name? I'll see what we have on Sam Gilmores in Massachusetts.
AGENT: The body was found just after 6 p.
m.
This part of the park's empty this time of year.
A couple of kids were using it as a shortcut when they found her.
Definitely the work of the Artist.
He clearly made alterations to the body postmortem.
And put her here for the world to see.
Here's what we have so far.
She's a local girl.
A process server from Weston.
Next of kin is being notified by local agents as we speak.
CHARLIE: Samantha Gilmore.
Wait, did you say "Sam Gilmore"? Yeah, Samantha Gilmore.
You know her? CHARLIE: Our perp's name is the Artist.
As some of you may recall, we had our first encounter with him three years ago.
He killed four women in Lowell and Jamaica Plain over a period of two days.
After the fourth murder, he stopped.
WOMAN [ON PHONE.]
: Are you holding for Dr.
Winick? - Yes.
- One moment, please.
The killing bears all of the Artist's trademarks.
His m.
o.
Is to kidnap, sedate and kill his victims.
And then after he kills them, using surgical tools and chemicals he, in his mind, enhances their appearance.
In this case, he bleached her skin, removed piercings and dyed her hair.
- I'll let Dr.
Winick know you called.
- Thanks.
CHARLIE: It was preceded with a faxed invitation to view work to be displayed in public BRO YLES: Anything yet? - No.
That was the hospital.
They're giving the boy an MRI.
When he's done, I'm gonna go in and talk to him again.
In the meantime, I've sent his picture to Samantha Gilmore's friends and family.
But so far, no one recognizes him.
You didn't really expect that they would, did you? No.
So let me ask you the obvious, what's the connection? WALTER: Amala and Kamala, the wolf girls of India.
And Marie-Angélique Memmie LeBlanc, the wild girl of Champagne.
They're all feral children who grew up completely isolated from human contact.
Surviving, like our boy, for many years alone.
I'm guessing none of them could write upside down.
You're saying that the boy grew up down there? Well, based on the blood work, yes.
I'm fairly certain.
The lack of vitamin D, for one But also the complete absence of Lactobacillus Microorganisms that help us digest.
They're everywhere.
WALTER: Precisely.
If the boy had spent any time above the ground then he certainly would have absorbed those.
But that still doesn't explain how he got there.
You said that, that place had been sealed off for decades.
- The boy couldn't be more than 10? - Well, he certainly looks that.
You believe he might be older? Well, given the environmental conditions, the lack of oxygen, light and their impact on his biological development he could be significantly older.
But none of that explains how he knew Samantha Gilmore.
No.
That I can't explain.
But good news, Mr.
Broyles I have located my turntable.
So I don't need you to purchase me one after all.
It was under the sink in the john.
So, obviously, I was sitting on the toilet - Walter.
Think that's enough information.
AGENT: Agent Dunham.
We just got another one.
The Artist is going after another victim.
Easy.
Easy.
- That's a beautiful dog.
- Thank you.
- Is he friendly? - Of course.
- His name's Mack.
- Hey, Mack.
Hey, Mackie.
OLIVIA: Hey.
They, uh They told me that you haven't eaten anything solid yet.
So I, uh I thought that you might like these more than the mystery meat.
When I was a kid, I used to live on these.
Except the yellow.
Something about the color reminded me of medicine.
You wanna try one? That's it.
Good.
Thank you.
Yesterday you wrote down a name for me.
Remember? I thought today you could give me your name.
MAN: You have a real way with him.
Eliot Michaels, Department of Social Services.
Olivia Dunham, FBI.
Um, do you mind if I borrow Miss Dunham for a few minutes? I promise I'll bring her right back.
I'll be just outside.
Dr.
Winick brought me up to speed about your interest in the boy.
Circumstances by which he was found attracted our interest.
Mm-hm.
It's bizarre, huh? [SPEAKING INDISTINCTLY.]
Have you been able to find out anything more about him? You know, first name? Where he's from? No.
I'm afraid, not yet.
I just thought I'd stop by and see him before I get the ball rolling.
- How so? - How so? Well, physically it doesn't seem as if there's anything really wrong with him.
So I've arranged to have him moved.
- Moved? - To a facility that can provide the treatment he needs.
- When? Tomorrow.
You know, I hope.
Assuming all the paperwork is in order.
[GASPING.]
[MONITOR BEEPING.]
OLIVIA: What's wrong? - I'm not sure.
His BP and his heart rate are spiking.
It's okay, it's okay.
Hey, it's okay.
Shh.
It's gonna be okay.
Aww.
[BREATHING EVENLY.]
OLIVIA: Good.
NURSE: Should I get the doctor? - I think we're okay.
- All right.
- You're okay there? - Maybe if you just gave us a moment.
- Of course.
Take your time.
- Thank you.
[DIALING CELL PHONE.]
I'm at the hospital.
I think we may have found another one.
I should let you get some rest.
- Anything so far? - I just got here five seconds ago.
So, what's the plan? - Start knocking on doors? - Unless you can think of a better idea.
- All right.
You go east, I take west.
- Okay.
ARTIST: Shh.
[WOMAN WHIMPERING.]
ARTIST: Shh, shh, shh.
[ARTIST SHUSHING.]
[WOMAN SOBBING.]
Good.
You're very good.
RACHEL: Mind some company? Of course not.
Did I miss you last night, or did you not even come home? Uh, no, you didn't miss me.
Have you eaten anything? M&M's.
Liv Do you like it? Your job? Yeah, most days.
Today, not so much.
I followed a lead that didn't pan out.
What about you? Why are you up? Um [CELL PHONE RINGING.]
I'm sorry.
- Hello? - We found our second victim.
It's Kate Harper.
- Where? - Right outside St.
Catherine's.
Surrounded by candles.
Good news is, we might have finally caught a break.
ERT said they found some blood underneath her nails.
They're running it.
- Okay.
I'll be right in.
- There's one more thing, Liv.
The address the boy gave us A little while after we left, a neighbor found a dog tied to a fence.
It was whimpering.
- It was the victim's dog.
- We were there.
There's no way we could have known, Liv.
But he was trying to tell us, and he was right, and we were there? Walter, Olivia's here.
She needs to talk to you.
[WATER RUNNING.]
- Walter.
WALTER: Could you come back later? I'm about to step in the bath.
No, she can't come back.
It's the middle of the night.
She needs to talk to you right now.
[WATER STOPS.]
Honestly, Peter, can't a man get a? Agent Dunham.
Why didn't you tell me Agent Dunham was here? - I'm pretty sure I did.
- Well, what can I do for you? OLIVIA: Walter, it turns out that the boy was right.
He gave me a clue, but I didn't know what I was looking for.
Do you have any thoughts at all? Any idea how I can reach him or how he's doing any of this? - I believe I know how he's doing it.
Since he's been living underground for so long his hypersensitivity to light and sound It's just possible he may also be sensitive to peoples' emotions.
A raw nerve able to intuit the feelings and intentions of others.
- Your killer, for one.
- So are you saying that he's psychic? - No, no.
More a shark.
- A shark? Specifically, their electromagnetic field which allows them to detect their prey's bioelectric field from a distance of many miles.
We humans have it too, of course.
Pheromones.
Undetectable chemicals that nonetheless affect our behavior our sex drive, our fear - Hey, speaking of sex drive Oh, Peter, don't be such a prude.
I'm sure Agent Dunham knows what a penis looks like.
- Don't you, Agent Dunham? - My father, ladies and gentlemen.
But how would he know things that I don't? Know about the killer or the victims that he's never even met? My dear, there is much that is unexplained until it is.
In short, he has no idea.
But even if you're right and he can sense the killer he can't tell me that.
Not in a way that I could do anything about it.
Well, if that's the problem, then there's no problem.
What does that mean? Well, the boy is obviously thinking, yes? Having thoughts.
We just haven't been able to hear them.
And I'm sure you can do that, can't you? Hear his thoughts? Perhaps I can.
OLIVIA: Did you make that? Hey.
Listen, I wanna take you away from here for a while.
Is that okay? WILE E.
CO YOTE [ON TV.]
: Wile E.
Coyote, super genius - Vintage Bugs Bunny.
BUGS BUNNY: Eh, what's up, doc? Didn't get any better than this, right? WILE E.
CO YOTE: Being a genius has its advantages.
Aha! I found it.
Neural stimulator.
Is there anything it can't do? Is that what you're gonna use to read his thoughts? Not to read them, my dear.
To listen to them.
- I wish you would've told us.
- Why? You could've saved us the hassle.
You're not putting that on that poor kid.
The last time you used that thing, you drilled it into the guy's head.
If you think he'll find it disagreeable, I suppose it could be modified.
Really? Didn't think to mention that to the last guy? It shouldn't be too much trouble.
I mean, we merely need to intercept the responses from the speech centers of the brain which can be achieved by placing electrodes in the halo ring.
After that, it's simply a matter of synthesizing the impulses.
Think of it as creating artificial vocal cords.
Simple.
Like making an omelet.
Actually, son, a good omelet is far more complex.
We'll have him talking in no time.
Where's the child that was in this room? - He was discharged.
- By whom? Just remember that you don't have to do anything that you don't wanna do.
If for a second you're scared or you don't like what's happening you just squeeze my hand like that, okay? Is he ready? As ready as he'll ever be, I guess.
PETER: I've seen that look before usually right before somebody throws up.
WALTER: Agent Farnsworth, ready? PETER: Walter, what are you doing? - Watch and learn, son.
[AL GREEN'S "LO VE AND HAPPINESS" PLAYING ON RECORD.]
[GRO ANS.]
Ooh! Whoo-hoo! [LAUGHING.]
Works every time.
- Nicely done, Walter.
WALTER: Thank you.
You can turn the music off now, Agent Farnsworth.
[MUSIC STOPS.]
What's wrong? [DOOR OPENS.]
What's going on in here? Did you think you could steal a child out of protective custody and that no one would notice? I didn't steal him.
The child's assisting us in a criminal investigation.
Assisting you how? No offense, Mr.
Michaels, but that's classified information.
The Department of Social Services doesn't have clearance to know that.
- What? - Mr.
Michaels isn't Social Services.
He's with the CIA's Directorate of Science and Technology.
I'd have told you earlier myself, but you don't have clearance to know that.
We were informed the DS&T would be taking full custody of the child.
So they can what? Study him? [SPEAKING INDISTINCTLY.]
This child was, apparently, able to survive for years underground in an oxygen-deprived environment with no food or water.
Surely, you could see how someone might wanna exploit that.
So you wanna take him to protect him, is that it? I don't buy that for a second.
- Dunham.
MICHAELS: It's all right.
It doesn't make any difference what you think.
The boy's coming with me.
I'm afraid this is above both of us.
[KNOCKS ON DOOR.]
ASTRID: Agent Francis just called.
He said we got another invitation from the Artist.
[SIGHS.]
Mr.
Michaels, suppose you gave us one day.
A day? BRO YLES: He can help us catch a murderer and save a life.
The boy will be under my protection.
I'll personally guarantee his safety.
If I agree to this then you'll turn the boy over to me without a fight.
Do we have an agreement? We do.
My very educated mother just served us nine pies.
No.
That's the planets of the solar system.
Or at least, was.
Wanna take a look at this? His name is Roadblock.
He's not one of your top-tier G.
I.
Joes but he was the best we had.
WALTER: Wait, wait.
- Huh.
It's funny.
I always remember the scar being on the other side.
You want him? Cannot build phallic puzzles in the lab.
No.
- What is he doing? - Mnemonics.
Like, a rhyme or phrase to help memory.
Like, HOMES stands for the Great Lakes.
That's Huron I'm familiar with it.
Why is he doing it? He is trying to remember which wires go into which connections on the machine.
[DOOR CLOSES.]
Yeah, thanks, Charlie.
I will.
Keep me posted.
- More bad news? - We got the forensics report.
We were hoping that the blood under the second victim's fingernails was a match for the killer.
- But no? Not unless Gene is the killer.
It wasn't human, it was bovine.
- You said cow blood? - Yeah, and some plastic polymers.
How would someone get cow's blood on their fingers in Boston? OLIVIA: Astrid, could you contact the Bureau of Animal Health? Start pulling livestock licenses around Boston.
Petting farms, research facilities, anything.
- Yeah, got you.
- She's a bad mama jama.
Ha.
Alpha, beta, theta and gamma.
She's a bad mama jama.
Signal, amplification, bifurcation, modulation, juxtaposition.
You hanging in there, kiddo? WALTER: Translating motor-linguistic impulses into language! - Yeah, me too.
- Peter, get me the red wires.
- Peter? - Here's a thought.
Couple years ago, I was working as a floor sweeper at a meat-packing plant.
- Sounds awesome.
- You have no idea.
My point is, we had these big rolls of industrial-grade plastic to wrap their meat in before we would send them to the grocery stores.
- Cow's blood and plastic.
- Yeah.
Okay.
I believe we're ready.
- Peter.
- Yeah.
[BUZZING.]
Yes.
Listen to that.
Listen to what? That's just random noise.
No, that's just the computer calibrating the signal-to-noise ratio.
Adjust the attenuator setting to 70 decibels.
[BLEEPING AND CRACKLING.]
[VOICE BABBLING.]
That sounds a little more like a voice.
Yes.
And now the sound-pressure level.
Dial the audio meter to 1500 hertz.
- Go slower.
- Lf you wanna do this yourself, feel free.
There.
[VOICE SPEAKING INDISTINCTLY.]
Astrid, quickly.
Get me a tape recorder.
[SHIVERING.]
Turn the machine off right now.
Turn it off.
He's freezing.
Help me get this off him.
Hey, Astrid, can you grab us a blanket? Free in the front.
Here.
- We're gonna get you warmed up.
- Doesn't make any sense.
If anything, brain activity should generate heat.
OLIVIA: We're trying to track down a suspect in a murder investigation.
What, you mean the guy in the news who killed those girls? We're not sure.
Maybe.
But any past or present employees that stick out to you? Like, antisocial behavior or a history of violent incidences here at work? No.
They're good men.
Hard workers.
Well, I'm gonna need a copy of your employee records.
- Okay.
- And a sample of your shipping plastic.
Plastic? Why? It could be an element in our investigation.
- Will that be a problem? - No, but Mr.
Wu? A man came in here yesterday and I sold him some plastic.
[CHATTERING.]
Allow me.
Oh, thank you.
Your mother raised you well.
OLIVIA: Hey, Peter, it's me.
I'm just leaving.
So how's the boy? Has Walter made any progress? PETER: Hard to say.
We heard something but I don't know if it was the kid trying to talk.
I don't want you to get upset about this, because he is fine but something kind of weird did happen.
- Weird how? - He started shivering all of a sudden.
Like the temperature dropped.
It didn't.
- Is he sick? - No, he seems fine.
We got him wrapped up in a blanket.
He's doing okay.
You find anything? Yeah.
Looks like the Artist bought some plastic from a slaughterhouse.
I got a sketch, all thanks to you.
- Hey, guys, we got good news.
- What's that? The plastic did come from a meat-packing plant.
Olivia got a sketch.
What about you? Gonna go back to the FBI? - Ask her if it was refrigerated.
- Hold on a second.
Ask her if the plant was refrigerated.
It's a meat-packing plant.
Let's go out on a limb and say that it's refrigerated.
What does that matter? Because that explains everything.
ASTRID: Walter, you're not making any sense.
WALTER: Of course I am.
The boy, our strange little friend, is an empath.
PETER: He senses other people's emotions.
You already said that.
WALTER: Did I? OLIVIA: Go on, Walter.
What are you saying? That he's capable of making connections.
Emotional connections.
To a construction worker who found him, the killer, but most importantly he's emotionally bonded to you, Agent Dunham.
That's why he's telling you about the crimes.
Because he knows that the information is important to you.
He's trying to help you.
Are you trying to help me? That man who's been hurting people is going to hurt someone else unless I stop him.
Do you know who he is? Can you tell me anything about him? Maybe he doesn't know.
Or he can't control the ability all the time.
Perhaps a small electric shock to kick-start things.
No.
It's something different.
It's like he's mad at me.
- Because he doesn't wanna leave.
- What? You told Michaels that once the boy helped you stop the Artist you'd turn him over to him.
He heard you.
Or more accurately, felt you.
I'm sorry.
I've been so caught up in what I needed that I forgot how strange this must seem to you.
And I know how scared you must be, but I need your help again.
I can't even stop them from taking you even though I wish I could.
And if you really can feel what I'm thinking you know how much I mean that.
Thank you.
[PEOPLE CHATTERING.]
OLIVIA: Nice car, sir.
Where you headed? - Home.
I was out to dinner.
CHARLIE: Open the trunk, please.
It's clear.
Okay, thank you.
Sorry for the inconvenience.
What's going on, officer? What are you doing in the neighborhood? L Just coming home from work.
Haven't had anything to drink.
Look, do you mind if I ask what you're looking for? I'm sorry.
We're not allowed to say.
Sir, we need to check the back of your vehicle.
[TIRES SCREECHING.]
[CAR HORN HONKS.]
OLIVIA: Charlie, check the back of the van.
Liv, it's him.
We found a victim.
She's alive.
- You all right? - Yeah.
Oh, God.
This is Francis.
We need EMS at the cemetery behind the 1600 block of York.
[PHONE RINGS.]
- Broyles.
OLIVIA: It's Olivia.
I need you to help me with something.
Here.
And then we just do the blood work, okay? Okay.
- Excuse me, Dr.
Winick? - Yes.
I was wondering if I could talk to you for a moment.
Sure.
Hi.
Hi.
I think you'll find he's doing much better.
Hi.
Oh, thank you.
You remember Dr.
Winick.
She's gonna take you now, but not to a facility.
She's going to take you to a home with a very nice family that are gonna take care of you and keep you safe.
We should go now.
Ah Bye.
MICHAELS: What do you mean, he's gone? I'm sorry, Mr.
Michaels.
- Gone where? - That's what we can't figure out.
He disappeared from right under the noses of a protective detail.
- How's that possible? He's just a kid.
- Yes.
A kid who, as you said, lived his entire life underground which still begs the question how he got there in the first place.
I'm beginning to suspect there's a lot about him we don't understand and apparently, we never will.
ELLA: No, I didn't! I didn't say it! RACHEL: Yes, you did.
- Hi, Liv.
OLIVIA: Yeah.
Mommy is so bad at Simon Says.
She won't even do what I say.
RACHEL: Four years old, and she's drunk with power.
I have created a monster! - Do you wanna play with us? - Oh, don't do that.
Let Aunt Liv rest.
Sure.
- I'm Simon.
- Okay.
- Simon says, "Put your hands in the air.
" - Okay.
Touch your nose.
[ELLA LAUGHS.]
You lost.
RACHEL: Okay.
Again, again.
ELLA: Simon says, "Touch your nose.
" You lose again!