Fringe TV Show - Olivia Really Lights Up The Room - Fringe Photos & Videos, Fringe Reviews & Fringe Recaps | TWoP

Recapped by Daniel · Aired 02-24-2012

Olivia’s missing and Peter’s trying to find her, along with a Lincoln Lee who’s pissed at Peter because Lincoln subscribes to Walter’s theory of Jerk-Peter-is-Projecting-Memories-Into-Olivia. Meanwhile, Broyles is interrogating Nina on the assumption that she knows something about Olivia’s disappearance, which she denies.

Meanwhile, of course, the other Nina is being held captive with Olivia and we discover that Olivia was kidnapped by David Robert Jones and/or his goons (although how that happened at the gas station with no one noticing is never explained), and they torture her in an effort to get Olivia to display her latent light-turning-on ability. But it’s not working, so they’re going to have to find someone who provides more of an emotional response from her. And while the other Observers meet to ask what is be done about this September fellow, September himself shows up at Walter’s lab, still bleeding from his gunshot wound.

So Peter gets Walter to perform his special mind-meld thing with September, and Peter goes into the Observer’s mind, which is kind of like an observation deck on major events like the Big Bang, and… well, that’s pretty much it, because everything disintegrates as the other Observers, possibly, are coming for September, but not before he tells Peter to go home. Peter figures it’s a clue to finding Olivia, so he literally goes to his house, where Jones’ goons are waiting for him. So Peter is now the torture subject for Olivia -- who figured out, based on a false detail in a shared memory with Nina that this Nina wasn’t her Nina, but working with Jones. So she turns on the lights, in that little lightbox thing that we saw in Season 1, and then she practically goes Carrie on the place, forcing Nina and Jones to flee back to the other universe. Olivia shoots Jones, but he absorbs the one bullet and then stands there taunting her about how his molecular reassembly has some benefits (which we’ve seen before). Why Olivia didn’t just empty her clip into the guy is beyond me.

At any rate, he escapes -- Peter not getting to close the portal on him this time -- and all that’s left is for Olivia and Peter to cuddle, except Peter spurns her, deciding based on what he saw in the Observer’s mind is that despite the memories she’s got, she’s not really his Olivia, and he’s not going to make that mistake again.

Daniel is a writer in Newfoundland with a wife and a daughter. He thinks the Observers could make a fortune bootlegging old Beethoven concerts. Follow him on Twitter (@DanMacEachern) or email him at danieljdaniel@gmail.com.

Peter and Lincoln enter Olivia's apartment, Lincoln telling Peter that FBI agents and Boston police are combing the area and checking all the traffic cams. You know the exact same response that law enforcement launches when any ordinary citizen has been missing for an hour or two. Lincoln's convinced that Nina Sharp is behind Olivia's disappearance and they'll get her talking once she's processed at the FBI. Peter says, "I thought you said she's denying any involvement in this," -- like he's not familiar with the concept of people lying about the bad shit they've done -- and Lincoln says her alibi won't hold, and if she knows where Olivia is...

"Good luck getting Nina Sharp to break down and tell us," says Peter, and Lincoln adds, "You still haven't told me what you're hoping to find here," because this is one of those television excursions where the characters apparently didn't talk en route but waited until they arrived at their destination to fill each other in on pertinent details. But Peter now explains that if Walter's right about Olivia being dosed with Cortexiphan, it likely happened while she was alone and vulnerable. It's a better theory than the "in a crowd and on her guard" theory, that's for sure. Lincoln asks a couple of questions for the benefit of an explanation for the audience about the Cortexiphan making Olivia act strangely, and assuming the memories and personality of the Olivia from Peter's timeline, because Peter's projecting his Olivia onto her. "Is any of this relevant right now?" asks Peter. I'm sorry, did Peter just ask if the effects of the Cortexiphan dosing has any relevance to Olivia's disappearance which is why they're searching Olivia's apartment for EVIDENCE OF CORTEXIPHAN DOSING? And now Lee is giving Peter a lecture about how Olivia is his partner, so if this true, Peter needs to think about what he's doing to her. "Unintentionally or not, you are robbing her of her identity, her life. She is not your Olivia, Peter," says Lincoln. Hate to say it, but Seth Gabel really isn't selling this scene.

Anyway, Peter asks what if she is and Lincoln says, "You know that's impossible," and he would know that... how, exactly? Anyway, Lincoln keeps babbling on about how Peter "let" Olivia continue working the case -- because Peter is in charge of Olivia, I guess -- knowing that she was under his influence and that she wasn't herself. Lincoln says he'd like to think Peter's not ignoring her safety for personal reasons. And then, noticing that Peter is looking at the ceiling and not paying any attention to him, he adds, "...and that you're not ignoring me right now."

By Daniel

Peter says, "I'm not ignoring you," neglecting to add, "I'm just looking for signs of what happened to Olivia instead of sermonizing about something you know nothing about." But that's implied. Peter pulls a chair over so he can hop up and pull down the smoke detector or doorbell chime or whatever. Inside is a little camera. "Wireless closed circuit. It could have transmitted anywhere," says Lincoln. Peter pulls the backup memory disk because he of course has seen cameras like this before and they continually capture and store images on a disk like this in a sixty-minute loop. Lee points out that Olivia hasn't been here all day so there's probably not anything useful on it, but he'll have the FBI techs take a look. Peter says they won't find anything, but maybe he and Walter will, so he just takes the, you know EVIDENCE, and Lincoln doesn't do anything about it. Peter tells him to keep working on Nina because if the disk doesn't yield anything, Lincoln's going to have to do the impossible and get Nina Sharp talking. I guess Peter is the boss of everybody now?

The Nina Sharp down in the basement is singing like a nightingale, talking about how they came for her in the middle of the night and before they put the bag over her head, she saw another Nina step out of the shadows behind them. "She looked exactly like me," she says. Olivia asks if it was her she saw in her office a few weeks ago, or who came to her apartment when she was sick. Nina says she wishes she could say it was. And she's been really worried about her: "You know, all the time they've held me here, he still hasn't told me what he's after," she says. And in case there's any lingering question about who we're talking about, David Robert Jones strolls in, all "I've waited so very long to meet you." Olivia says they've already met, and Jones doesn't remember but he's an evil British villain so he says it all classy, "You have me at a bit of a disadvantage." Olivia says she watched him die, and she's looking forward to seeing him do that again. Jones's lackey says maybe confusion is a "side effect," and Jones is all, "What's up with these Fringe assholes talking about how they've seen me die? I'm not dead!"

Olivia's a little concerned about the sidekick's use of the term "side effect," and Jones says he imagines that she she's been feeling the effects for some time now -- like her migraines. Olivia angrily asks what he did to her. "Nothing that wasn't already done to you a long time ago," he says. While his No. 2 prepares some kind of handheld drill, Jones explains that Dr. Bishop's notes from the Cortexiphan trial were quite clear: "The subjects' abilities were triggered by sparks of intense emotion, hmm?" He's got the drill, and he's standing by Olivia, and Nina yells at him to leave her alone. "Always the protective mother hen," says Jones, and he strolls over to Nina. His sidekick uses a knife to pull back the fake skin on her robot arm, and Jones starts lowering the drill, over Nina's and Olivia's protests. It grinds away at Nina's arm -- wouldn't it actually be less painful on her real, non-robot arm? Anyway, Olivia's all, "Dammit, Jones, stop!" He does. "Yes, I believe this will work nicely," he says. He always sounds like he's hissing.

In Boston, near some outdoor skating rink -- I don't know Vancouver well enough to know if this was actually shot there; it seems like some sort of landmark that may actually be in Boston -- we get a little Observer conference. Four of them. Standing there all hairless in suits and not conspicuous at all. What's on the agenda for the conference? What a screw-up September is, obviously. Followed by a nutrition break and then trust falls! December wants to know if September has been located. July says he hasn't, and asks if they know why he failed to erase the lingering traces of Peter Bishop from this timeline. December says that's a question only September can answer, as well as if he's the reason why Peter Bishop is back in the first place. "September has continually intervened on behalf of this boy, despite all warnings. He has been given every chance," says December. Sounds like September's not going to be getting a good performance review this year. In a surprise move, the Observers don't take the action route, but will instead wait for September to resurface, at which time he'll have to face the consequences. First on the list: turning over his company fedora, I imagine. The meeting is adjourned and it's too bad, because I was kinda hoping to see the Observers skating around the ice rink, blank looks on their faces, carrying their briefcases.

Nina's pacing around an interrogation room when Broyles comes in, and Nina anxiously asks if they've found Olivia yet. He growls at her to sit down. "Do you have any idea if she's all right?" asks Nina. It comes off a bit phony, a little "see how I'm so innocent that it doesn't occur to me that you think I'm guilty so I'm way more concerned about Olivia?" Broyles asks if she has any idea if Olivia's all right. Nina's hurt by the question, and points out she raised Olivia as if she were her own daughter.

Broyles tells her again to sit down. Slowly, she does, and then pleadingly asks Broyles if he honestly thinks she's been dosing Olivia with Cortexiphan or if she could have had anything to do with her disappearance. Broyles says he wants to believe her, so if she cares about Olivia, she'll co-operate. "The more you tell me, the sooner I can find her, and the better it'll be for you," he says, which starts to make Nina a little angry. She snaps that she has told them everything she knows and she should be coordinating Massive Dynamic resources in the search, not sitting in a cell. That's when Lincoln walks in, carrying a file that he gives to Broyles. He has a look at it, and asks when the last time was that she was in Massive Dynamic's deep-containment facility. She says it was yesterday afternoon with Agent Lee, but other than that hasn't been there for years.

By Daniel

Broyles shows her that the logs indicate she accessed the storage facility twice in the last three months. She looks at the logs, and says they must have been tampered with. Lee, though, says there are eyewitnesses to her being there, and they have signed affidavits from her own security people.

Nina's the first one to bring up the shapeshifters, and Broyles says, "If a shapeshifter was responsible, then you'd be dead." You know, weren't you recently at war with a universe in which everyone has a doppelgänger? Is that a possibility? Nina figures that they've already convicted her and decides to lawyer up. Broyles is all, "Have it your way." Of course, there's more to Broyles than anyone else knows yet, but I'm still left wondering, not for the first time, if Nina and Broyles ever had any booty calls in this timeline. He and Lincoln leave.

Over in the Harvard lab, Walter's buttering bread and then showering it with sprinkles, which... doesn't actually seem too bad. Meanwhile, Peter is going over the video pulled from the chip, explaining to Astrid that the camera records over itself every sixty minutes, burying the older images under new footage, so he hopes the machine is going to give them a chance to reproduce the older images. They're looking at grainy footage on the computer screen with spots on it, like this is a canvas that's been painted over or something, and they're scraping off the top layer, which seems rather ridiculous. Walter is both being pessimistic about their chances of finding anything while also blaming Peter (and himself) for letting Olivia out of the lab -- again, what with Olivia not being a GROWN WOMAN who wouldn't have told them to get bent if they'd even tried. At any rate, Walter still blames Peter more than he blames himself. "I warned you not to succumb to temptation, Peter. Whatever consciousness Olivia appears to be manifesting now, she is not who you think she is." Walter grumbles that if they'd kept her there, then she wouldn't have been taken. Yeah, because your Harvard lab is such a high-security safe zone. He says they're fishing in the dark -- Walter being a big Nitty Gritty Dirt Band fan -- and pinning their hopes on a "palimpsest." Astrid -- despite being the amazing linguist that we've been told she is -- asks what a palimpsest is, and Walter explains that it's a manuscript page from which the text has been scraped off so it can be used again. "Like when you rerecord over an old VHS or cassette," says Astrid -- like HOW MANY OLD PEOPLE DOES FOX THINK ARE WATCHING THIS SHOW -- and we all get what Peter is doing here, and despite it being nonsense, Peter says he's "getting something" and he just needs to "increase the magnetic contrast," because of course he's a genius at WHATEVER THIS IS TOO. Despite Walter's skepticism, he lets himself get caught up in the need for more magnetic contrast or whatever. And Peter uses his +10 knob of magical magnetic contrast enhancement and manages to tease out a ghostly image of Olivia in her own apartment. Success! Now you've confirmed that Olivia lived in her apartment!

Over in Davy Jones's Dungeon, Jones and his sidekick come in, with the sidekick cutting Nina out of her restraints and taking her out of the room, ignoring her demands to know where she's being taken. Olivia wants Jones to release Nina since he's got her, but Jones says, "Every horse needs a carrot, every mouse a piece of cheese." He's got a little red box with him, and he sets it down in front of her and continues to lecture her on how all creatures need an incentive to perform tasks.

He lifts open a shutter on a window behind her, and then turns her chair around so she's got a better view of Nina being strapped to some sort electric rack -- like in Rambo: First Blood Part II. "I'm going to take you through a series of tests. This first one may take some time," he says, pulling a smaller, wooden box out of the red one and flips it open. There's an array of lights inside, which we saw for the first time way back in the first season. "You want me to turn the lights off with my mind," she says and, to his slight surprise she starts telling him that they did something like this before (that was also the fourteenth episode of its season, by the way); he was trying to activate her ability to cross between universes. What she doesn't understand this time around is, since he's perfectly capable of doing that himself, what is this about? "Whatever you know, Miss Dunham, whatever you think you know of your abilities, I assure you, your potential is... far greater." Meanwhile, on the other side of the window, Nina is yelling for her not to do what he says, at least until she gets a rag stuffed in her mouth. And here Jones wants her to turn the lights on, not off, which he says shouldn't be a problem for her if she's done this kind of thing before. Olivia stares at him for a moment, and then starts staring at the lightbox. After a few seconds though, nothing happens. "Perhaps this will help you get started," says Jones, and signals to his assistant, who sends some electricity coursing through Nina, who writhes in pain. On the plus side, her robot arm is probably charged back up again.

Olivia calls him a son of a bitch, and as the torture stops and Nina goes limp, Jones tells Olivia not to waste all the emotion on him. "Turn on the light," he says. She says she can't, which earns Nina another jolt. "You know what you have to do. Just one light, and we won't have to hurt her anymore," he says.

So Olivia gets back to staring at the box, and tries for much longer this time, but with the same results. "I can't," she says, but as Jones turns to look at his assistant again, Olivia tells him that she just can't right now; she's tired and needs rest. Jones considers this for a while, then half-smiles and lowers the shutter, telling her that she'll have her rest, and then they'll try again in an hour. An hour? That's not really going to be enough for a nice deep REM sleep, but... well, I guess that's why you're the evil mastermind.

Back at the lab, the attempt to pull some erased image off the memory disk is interrupted -- much to Peter's chagrin -- by Astrid's and Walter's overwhelming urges to take pee breaks. Maybe Peter's just worried because last night when Olivia said she needed to whiz she wound up disappearing?

He's also frustrated and about ready to give up anyway, until he gets the idea to "decrease the chrome and the saturation" and then like magic this perfect picture of some dude's face appears full-frame on the screen. Like, why not just have Peter wave a magic wand over the thing and be done with it? Then Astrid asks for a screen-capture of the image so she can do some FBI and Interpol facial-recognition alchemy or whatever. Walter grumbles that clearly he works for "that harridan Nina," and Peter says it's who Nina's working for that worries him. He's been racking his brain trying to figure out why Nina would be dosing Olivia with Cortexiphan. Then it occurs to him that the only person who's ever done anything like that, at least in his timeline, was David Robert Jones. Oh, and HIS DAD, but he doesn't bring that up. "Maybe he's trying to do the same thing again," he says. Walter wonders why Jones would be trying to activate Olivia, and Peter says they were never able to figure it out the first time, but maybe it's for the same reason now.

And suddenly, there's September, shirt bloodied. He's still bleeding to death from his gunshot wound! "Yes. His goal is the same," he says, before collapsing. Peter grabs him, less to help him than to find out what he knows about Jones, or Olivia. "She needs you," says September.

By the time we get back from commercial, the Observer is unconscious, and the gang hoist him up on a table and hurriedly examine him. He's been shot, but there's no exit wound, so the bullet's still in him. Walter says his pulse is weak, and there's no breath sound coming from the left side, so his lung must have collapsed. Then it occurs to Walter that he doesn't even know if this man has lungs, or if the man's physiology is similar to humans at all. You know, I'm no scientist, but externally, he LOOKS HUMAN, albeit creepier than many, but the presence of a nose and mouth suggests at least some similarity to humans. Peter says Walter -- in Peter's timeline -- said the physiology is similar to humans, and since Walter's a big fan of his own work, that's good enough for him.

So Walter gets to work, giving instructions to Astrid and Peter. Peter's got something else on his mind, though: the fact that Observers only show up at significant events. You know, if that were true, I'm sure I would have seen one at my thirtieth birthdayganza, but I didn't, so explain that. Peter figures -- because he is such a genius -- that when the Observer said, "She needs you," he was talking about Olivia. His phone rings, and it's Lincoln calling to say he got the image they sent him and he's running it through facial recognition, but he's never done this with an image this weak before, so it could take some time. Peter asks what the chances are that Nina starts talking, and considering she's in the interrogation room with her lawyer right now, it doesn't look good.

Meanwhile, the other Nina is back in the room with Olivia, who apologizes that Nina's going through this, and Nina assures her that's pretty much entirely the fault of that psychopath Jones. "William fired him because he was unhinged," she points out, and urges Olivia not to give in. Olivia doesn't want Jones to keep torturing Nina, though. But she's got the beginnings of a plan: since Cortexiphan is based on emotion -- for Olivia, its fear for the people she loves. But because of the Cortexiphan, she can't remember certain aspects of her relationship with Nina, and without that connection, she can't do what Jones wants. Nina's all, "I don't understand -- you don't remember our life together?" Oh Olivia, that hurts more than any electrical current ever could!

Olivia says she remembers, but she needs Nina to help her feel it, help her remember the details and what they mean to each other. She suggests Nina tell her a story, like the first day that she and Rachel came to live with her. Smells like a test to me! Nina tells her that a social worker brought the two of them up from Jacksonville on a train, where she met them at Penn Station. "You really don't remember?" she asks Olivia. Olivia says she thinks she remembers the train and urges her to keep going. Nina says she brought them home to their old house in the Catskills. Olivia picks it up and starts talking about how she couldn't sleep that night, so Nina came into her room and sat with her. She can't remember what they talked about, though. Nina says she was scared, because of what she'd been through, coming to a new home with a woman that she barely knew.

"And I kept calling you 'Ms. Sharp,'" she says. Nina laughs and tells Olivia that she comforted her and told her they were a family now and that whatever happens, they have each other. Then she kissed Olivia on the forehead. "I kissed you goodnight and you called me 'Nina' -- that was the first time you'd ever done that," she says. Olivia's looking at her, seeming like she doesn't remember, and it's upsetting to her. Or just maybe there's another reason why Olivia looks sad right now. She tells Nina that she can only remember fragments: "It's like looking at a photo album of somebody else's life," says Olivia, who's resigning herself to the fact that this isn't going to work. She doesn't want them to keep hurting Nina, but the only person that this has ever worked with is Peter. Nina, suddenly all clear-eyed, is all, "Peter Bishop?" Olivia explains that her abilities have only ever worked when she's been around Peter.

By Daniel

Nina suddenly howling in pain, clutching her stomach, to the point that Olivia bangs on the door until the hired goons come in. "She needs medical attention now," she tells them. The sidekick looks at the two of them skeptically, and Olivia says that he can tell his boss that if she dies, his leverage dies. So Buddy orders one of the henchmen to bring the gurney and they wheel Nina away. They're not far down the hall when Nina opens her eyes, sits up and grabs a glass of water from the... full water cooler in the abandoned school or hospital or whatever this is?

Jones strolls around the corner and Nina tells him that Olivia needs Peter Bishop. "Apparently, she can't be activated unless he's present," she says. Jones says somehow he knew Peter would be trouble. Yeah, it's the stubble.

Meanwhile, back at the Harvard lab, Broyles has arrived and tells them about this guy showing up at the opera house while Peter and Lincoln were on the other side, talking about seeing all possible futures and Olivia dying in every one. Nobody points out that unless some of those futures involve people becoming immortal, then everyone dies in all possible futures. Walter figures that if the Observer exists "out of time" as Peter said, maybe weeks ago at the opera house he was referring to events that are happening now. And Peter picks that up and wonders if maybe the Observer knows where Olivia is. Walter supposes that's possible, but the bad news is that September has gone into septic shock, his organs are shutting down one by one, and there's nothing anyone can do for him now.

While Peter thinks about that, Astrid comes in to say HQ found a match on the guy in Olivia's apartment, because of course they did. His name is Leland Spivey, and his last known address was an apartment in Deerfield. Broyles says he'll send a SWAT unit to the place, but Astrid all dramatically has saved a rather pertinent piece of information: Leland Spivey died in a car accident three years ago. Broyles -- who likely actually knows what's going on, remember, adding a little menace to the situation -- asks how Spivey was in Dunham's apartment, and Astrid suggests Jones is bringing people over from the other side with him -- maybe it's Spivey's doppelgänger.

Despite the fact that it wouldn't hurt to check out this universe's Spivey's last place of residence, Peter is throwing all his eggs in the "The Observer is our only lead!" basket. Yeah, he may be dying, but he still has brain function, points out Peter. Walter gets an inkling of what Peter is driving at, and is aghast. "He wants to go into the Observer's mind," he says. Broyles asks if that's possible and Walter says, "It has been since the first episode but sometimes we forget it's an option."

"But you've done a lot more than observe," says Peter, meaning September specifically and not the Observers in general. September says it was his attempt to rectify the mistake he made. Then Fringe becomes A Christmas Carol or It's a Wonderful Life as the expanding universe dissolves into Walter's lab, and we can tell it's ages ago because Walter has that hair pelt thing on his head. That's Peter's real father, says September, developing the cure that would have saved Peter's life. Except that Peter and the Observer watch as Walter notices September (the one in the lab at the time, not the one with Peter) watching him. "What are you doing here?" asks Walter, and the then-September apologizes for disturbing him, adding that he's an admirer. The now-September tells Peter that Walter found the cure -- we watch the stuff Walter was working on boil from red to blue -- but in September's desire to witness the moment, he distracted Walter from realizing it.

Of course, Peter already knows all this, so he asks September why he was there in the first place. "It was important. You are important," says September, which is why he couldn't let Peter drown at the bottom of Reiden Lake, why it was necessary to let the other Dr. Bishop cure him instead -- and we see wavering images of these events in the smoke and gas beyond the -- well, let's call it the observation deck. But despite September's efforts to make things right, the actions only culminated in further corruption of the timeline, and the war between universes drastically altered destinies and brought about a child that was not meant to be.

That gets Peter's attention. He asks, "What child?" and September says, "Your son, Henry." Holy shit, I forgot all about Henry! We see images of the adorable little baby as well as Fauxlivia as September explains to a gobsmacked Peter that Henry was born to the wrong Olivia Dunham due to a series of circumstances that never should have happened. "This event would have irrevocably altered everything was to come," he says. Peter walks toward the window and puts his hand up. "Henry. I have a son," he whispers. He smiles. September says, "Uh, everyone who has a son named Henry, step forward. Not so fast, Peter." He explains that when Peter made the sacrifice to step into the machine, he was not the only one who ceased to exist. Peter, who seems to have taken to the idea of fatherhood really quickly, looks gutted. September says he thought at the time that that would be the end of it. "I cannot explain, but it is clear that I was wrong," he says. Yeah, "cannot explain," no kidding. "Cannot explain" is pretty much the slogan for later seasons of any J.J. Abrams creation, isn't it? But since Peter has returned in physical form, this is an opportunity for him to put things right. And as visions of Olivia flash before Peter, September explains that the Olivia "is the one." She's the one from whom his shared future was meant to spring, he says. "This must be, and everything will be as it was intended. You must find a way." The cosmic Chris Harrison abruptly stops, glances to the side, and says, "They are coming." Peter asks who, but the Observer tells him there's no time and he needs to go. There's some sort of explosion outside, and the observation deck starts to disintegrate. It's like there's a wind blowing bits of it away, and Peter struggles against some sort of unseen force. September tells Peter he needs to do something for him, and Peter refuses until September tells him where Olivia is. "For that, you have only to go home," says September. Peter starts bitching about how he knows he has to go home, back to his timeline, but he's talking about Olivia in this timeline, and the Observer tells him to go home again, and then Peter wakes up.

By Daniel

He arrives home, and doesn't even turn on any lights before he starts calling Olivia's name. He just goes wandering through a dark house for some reason. Then Leland Spivey turns on a desk lamp, and Peter demands to know where Olivia is. Leland doesn't say anything, and Peter walks towards him -- and then gets struck on the back of the head by one of the other goons, who Peter might have seen coming if he'd turned on the damn lights.

But no! And now he's being dragged, semi-conscious, along a dingy corridor. In her cell -- where the lightbox sits, still unlit -- Olivia can hear movement on the other side of the shuttered window. She bangs on it, and after a moment, it's lifted -- and she's alarmed to see a groggy Peter sitting in the other side. Nina's strapped to the electrical apparatus again. Peter comes to, and the two of them check to make sure the other's OK, and then Leland pulls Peter back and holds a knife to his throat as David Robert Jones comes slithering in, saying it's nice of Mr. Bishop to join them. He says Olivia must have by now figured out that her every word was being monitored -- Olivia glances at Nina, who can't maintain eye contact. Burn in hell, Evil Nina! -- and that she believes Peter will be able to evoke the emotional response they need. "I find your silence encouraging," says Jones. Peter urges Olivia not to do it, but Jones warns that if she doesn't, Leland is going to start slicing off pieces of her friend. So Olivia turns and looks at the lightbox, and everyone watches with interest.

A light blinks on. Then a couple more. Then a few more, and soon the entire box is lit up. Jones is pleased, but only a moment later he gets concerned as the overhead lights in the rooms start burning brighter and then burning out. "What are you doing, Olivia?" he asks. Hey, you poked the woman with the crazy mind powers! "I'm doing what you wanted. I'm turning on the lights," she says. Nina yells for Olivia to stop, and Olivia's all, "Nice try, Not-Nina!" and she explains that it was at her high school graduation that Nina said that now she was an adult and no longer allowed to called her "Ms. Sharp." That was the first time I called you 'Nina,'" says Olivia. Since the jig is up and everything's going to hell around them, Jones orders his men to get Nina off the apparatus, which they do, and they start to head out. Peter's chair is knocked over -- like the table! -- and Leland gets fried by some stray electricity as light bulbs burst. Olivia slumps to the floor, and the lights on the lightbox blink out.

By Daniel

Peter's explaining how September just abruptly stopped talking, said "They're coming," and then Peter was yanked out. Walter says he didn't do any yanking, so it must have been the "them" that are coming who did that. "He just kept on saying how I needed to get back to my timeline and my Olivia," says Peter. Lincoln says, "Your Olivia and our Olivia? I thought they were one and the same to you." Like seriously, who pissed in Agent Crankypants's cornflakes this morning? Still, Peter's looking reflective about it.

So they're right back where they started, with Nina being the only real lead. Broyles tells Lincoln that she's been on ice long enough, so maybe she's ready to deal now.

They leave, and Walter consoles Peter on his "valiant effort," adding that he's lucky to have made it out. He can't imagine what would have happened if the Observer had disappeared with Peter's consciousness still inside his brain. Less whining from Peter, probably.

Peter's moping about how September could've helped him find Olivia. Then he starts thinking about September telling him to go home, and he wonders if the Observer was being literal this time -- not home to his timeline, just home to his house? Astrid's all, "What do you think, that she's waiting for you at your house after she's been kidnapped?" Walter says it makes as much sense as anything else that's gone on here, and Astrid, in unison with everybody, says it doesn't make any sense, but of course that's Walter's point. Peter decides that he may as well go home to check it out. Maybe there's a clue there that can point him in Olivia's direction. And if not, he just got Party Down on DVD so now's as good a time as any for a mini-marathon.

But by this point, Peter is a little more on board Walter's theory that it has to do with her proximity to him. "Walter isn't always right," she says, somewhat warily. But Peter says back at the gas station, right before she was abducted SOMEHOW, like maybe teleportation, Peter says he was ready to think that going home with her was OK, but it's not. "It was a mistake -- one that I promised myself I'd never make again," he says. Olivia tells him that it's not the same as what happened before, but Peter's resolute; he says he saw her, his Olivia, the one that he's supposed to be with -- the only one he's supposed to be with. He's got a point; how many Olivias does any man really need? He's already had two, which is two more than most guys get.

Olivia, speaking in the anxious tones of someone trying not to get her boyfriend to break up with her, says she doesn't understand what's happening to her any more than he does, but if he looks at her, if he looks into her eyes, he can see that she's her. You know, HER. Olivia-Prime. Famous Ray's Original Olivia. One Olivia to rule them all, one -- OK, you get it.

But Peter's not buying it; she may have his Olivia's memories, but it's a projection, or something -- he's not sure. But when he did look into her eyes, he saw what he wanted to see, he says. "I know she's out there; my Olivia, in my timeline, waiting for me." He says he's sorry, and he's sure Walter can "fix you up somehow" -- nice for him to talk about Olivia like she's an old junker that needs an engine overhaul -- but for now he thinks it's better if he just stays away.

The sirens get louder and we can see the flashing lights as Olivia desperately tells Peter she's in love with him and she can't turn it off, and she doesn't want to lose him. It's starting to rain now and he's walking away from her. "Where are you going?" she says. "Home. I have to go home," he says. I suppose Olivia could have pulled her gun on him to get him to stay, but by this point the cops have arrived, so they probably would have taken a dim view of that.

Daniel is a writer in Newfoundland with a wife and a daughter. He thinks Peter really should be collecting as many Olivias from as many universes and timelines as he can. Follow him on Twitter (@DanMacEachern) or email him at danieljdaniel[at]gmail.com.

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By Daniel

Meanwhile, Jones is tippity-tapping away on his computer and opens up a portal to the other universe. "Ladies first," he says to Nina. Those British! So gallant! Nina's already on her way through when Peter and Olivia come roaring around the corner, Olivia with her gun drawn and ordering Jones not to move. He smiles and says it was quite a display she put on back there: "Your love for this man must be something quite profound," he says. Peter's like, "Yeah, but we've still got 'It's Complicated' checked on our Facebook relationship statuses." Jones turns to head through the portal, and Olivia shoots him. Through the throat, it looks like! Good god! But he doesn't even fall down. "It would seem there are some fringe benefits to having one's body reassemble at an atomic level," he rasps, and then he steps through the portal, which closes behind. Olivia's all, Peter, holy shit! And then she starts to collapse again, but this time Peter catches her.

They make their way outside the hospital, with Peter on the phone getting him to send EMTs to Plainfield Memorial, and making sure that they have Diazepam for Olivia. Olivia says she's feeling better, and is chalking up her seizures to all the energy she expended doing a number on her nervous system, and I fail to see how "expending so much energy on my telekinesis shut down my nervous system, causing me to have seizures" means she doesn't need EMTs.

By Daniel

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Fringe TV Show - Olivia Really Lights Up The Room - Fringe Photos &amp; Videos, Fringe Reviews &amp; Fringe Recaps | TWoP

Fringe TV Show - Olivia Really Lights Up The Room - Fringe Photos & Videos, Fringe Reviews & Fringe Recaps | TWoP