Fringe TV Show - She Just Wasn't Made for These Times - Fringe Photos & Videos, Fringe Reviews & Fringe Recaps | TWoP

Recapped by Daniel · Aired 11-11-2011

With the Fringe team investigating a series of time anomalies, Peter continues ingratiate himself into the day-to-day workings, except when it comes to Walter, who is giving his (sort-of) son the silent treatment. And because Peter's working on this case of people who are experiencing time jumps back to four years ago, that means the team isn't able to avail itself of Walter's mind (except until Walter can't stand everybody not being as smart as he is, so he needs to provide a key theory). In fact, Broyles decides that Peter himself is a fringe event (and let's face it, he's not wrong), so at least Walter gets to treat Peter like a lab rat.

As for the anomalies, the team traces them to Brookline, where a devoted husband (played by Stephen Root, who to me will always be Jimmy James -- and if not Jimmy James then the guy from Office Space who just wants everybody to leave his stapler alone) is carrying on the work of his wife, a theoretical physicist, and he's managed to create a time chamber that he keeps using to jump back in time to when his wife wasn't an Alzheimer's patient, so she can continue her work until she finally figures out how to fix things permanently (not that she's aware of what her husband is doing).

Peter saves the day -- preventing the drowning death of drivers in a tunnel that didn't exist four years ago -- and the whole notion of time and place is getting to him. Despite -- or maybe because of -- his dreams in which he and Olivia are happy fun in love again, he's come to accept that he's a man in the wrong time here, that the people he knew and loved are elsewhere. Olivia, though, still wants to convince Walter to try to help him out. Walter's got better things to do, though -- like listening to Styx.

Daniel is a writer in Newfoundland with a wife and a daughter. On the plus side, at least Peter has a house to himself now. Follow him on Twitter (@DanMacEachern) or email him at danieljdaniel@gmail.com.

Olivia's lying on the grass in a playground, eyes closed, possibly dead. I mean, not likely dead, because that would kinda put a damper on the rest of the season, but... anyway, a hand reaches down to stroke her face, and she smiles and says, "I thought I'd gotten rid of you." It's Peter, who's horn-dogging it up in the park while kids play all around, and he says it took him three years to finally get her, so she's not getting rid of him that easily.

She asks where he disappeared to, and the answer is not "into some netherworld between time streams" but he just went to check up on Walter. "He found the swing set, and you know how he feels about Newtonian mechanics," says Peter. Sure enough, there's Walter, gleefully swinging while being pushed by some poor little kid who probably would rather have a turn. On the plus side, Walter doesn't appear to have conducted any nefarious experiments on the little kid yet, but it's still early.

So Olivia and Peter start talking about how this is the perfect day, which is a conversation they've had before, and then they start kissing, and Olivia says it's too bad it has to end, and Peter doesn't understand why it does and asks what the problem is. Apart from this obviously being a dream that is. "You, Peter. You're the problem," says Olivia, so this episode is starting off promisingly.

That's when Peter wakes up, still in his holding cell in the Federal Building, which is a lot less fun than making out with Olivia in a park, I suppose.

Speaking of Olivia, she comes into his cell just a moment after he wakes up to tell him there's something going on. "And we think it has something to do with you, with your appearance here," she says. They're not actually sure what's going on, but they think it has to do with time, she says.

Over to Central Village in Boston, where a little girl goes racing through an apartment building to try to scare her mom with a fake spider and her mom, washing dishes in the kitchen, plays along for a moment. "I'm almost done here, and then we'll read together, OK?" she says, and the girl says OK -- they're going to read Burlap Bear -- but when the woman turns back to the sink, what had been a basin filled with soapy water is suddenly a burned-out sink coated in ash to charred and melted and smoldering dishes and appliances. The entire kitchen looks like it's been torched, and her daughter is nowhere to be seen. OK, these anti-smoking messages are starting to get out of hand. "Samantha?" calls the woman, and she goes running down the hallway towards the sound of a crying infant. The woman pauses a moment, perhaps wondering why A) her five-year-old girl is now a crying infant in a crib and B) why the apartment is only burned out halfway through the kid's room -- the rest of it is fine. Then she just grabs the girl and runs outside, where people on the street are staring up at the charred and broken windows in the corner of the apartment building.

By Daniel

Then there's a kind-of multi-colored flash, and the singe marks remain but the windows are all back to normal. Also, Samantha -- still in her mother's arms -- is five years old again. "Mommy, what is it?" she asks, as her mother hugs her. It's nothing, sweetie. Your mom's just losing her mind, that's all!

After the opening credits, Peter's in the car with Olivia, and he's looking around outside. "What are you thinking?" she asks, and he says it's the first chance he's had to look outside since he got back. She's all, "Duh, I mean about the time anomalies I told you about." He characterizes it as people having strange cases of déjà vu, but she says it's more like time loops. Peter makes a Groundhog Day joke, and then asks what it has to do with him. "Shortly before you arrived, we experienced our own anomalies having to do with time, strange reversals in cause and effect," she says. That's why they're taking him to Massive Dynamic, to run more tests; they think the time anomalies may be because of him. Peter asks what Walter's theory is, but Olivia says Walter doesn't have one: "He's made it pretty clear that he doesn't really want to have anything to do with you," she says.

No time to explore that further, because Olivia gets a call from Lincoln Lee to tell her there's been another incident. On the scene, Astrid is using some tech borrowed from the other side as Walter walks her through the instruction manual: "'A short emission should indicate universe breach and extend through the infected area,'" he reads, but the spray, out of two light-blue cylinders, reveals nothing even after Astrid sprays the burned-out kitchen three times. Walter concludes that whatever happened here, it wasn't caused by a bleed-through from the other universe. "Well, it's a wonderful device nonetheless, despite the poorly written instruction manual," he says. Maybe it's not working right! Tell Astrid to blow on it!

Meanwhile, Olivia's taken a detour and brought Peter inside and tells him to just stay there and not touch anything or talk to anyone. I'd like to point out that Peter's a prisoner, so I'm not sure this would be proper FBI protocol, but never mind.

By Daniel

Anyway, Broyles fills Olivia in: it looks like there was a fire here, but the damage happened in an instant and there were no flames. But that's not the weirdest part: "According to the mother, for the duration of the event, her daughter went from being a five-year-old to an infant," says Broyles, and Olivia's eyes go all, "Say whaaaaat?"

Peter, naturally, followed Olivia's direction to stay put for all of about three seconds, and he wanders into the girl's room, where Samantha and her mom are sorting through the stuff animals to separate the burned and non-burned ones. Peter finds the stuffed elephant that the girl was looking for, earning the gratitude of daughter and mother, while Olivia looks on. "So, you really think I caused all this?" says Peter to Olivia. No, not now that you found a girl's stuffed elephant! Olivia just says she doesn't know.

And now Lincoln Lee is updating Broyles: the fire marshal says they've never seen anything like it -- some areas burnt to completely undamaged spots, and Astrid says the outside wall has scorch marks that make a perfect circle: "It's almost like the fire burned in the shape of a ball."

And there's this: the fire marshal said there was another fire here four years ago. "Well, that fits with what the woman was saying about her daughter becoming an infant," says Olivia. Because yeah, this whole thing makes total sense now, and so Lee wants to know if their working theory is that this whole place flashed back to four years ago.

Nobody's got an answer for that, and instead Broyles grumbles that he wants to get Peter back to the lab so Walter can run the tests. The only problem, says Olivia, is that Walter is refusing to do anything that includes Peter. "Dr. Bishop doesn't get to choose which cases he works and which he doesn't," snaps Broyles. "It's his job to investigate fringe events, and until something suggests otherwise, he is a fringe event." Peter stands there, casually leaning against the wall, hands in pockets, half-smile on his face, looking somewhat amused at being labeled a fringe event.

Back at the lab, Walter is begrudgingly running the test, but is refusing to speak to Peter in the second person and just says things like, "The subject can lower the arms." "You can call me Peter," says Peter, but Walter ignores this. "Subject does not have an elevated radiation level. Nor does it have any trace chemical signatures," says Walter. "It"? Ouch! Walter prods Peter in the chest. "Subject appears to be solid, not phasing in and out of existence," he says. Now see if the subject starts bleeding if you punch him in the nose!

By Daniel

Walter brusquely tells Olivia to tell Broyles that he's finished the examination and has concluded that the subject is not the cause of the "time-related phenomena." Peter tells Walter that he couldn't have possibly figured that out so quickly, and if he was erased from the timeline and then thrown back into it, then it stands to reason that those two things could be related.

Walter's walking away from Peter, ignoring him as he says this, and then he just stops short before saying he'll be in his bedroom working on the problem and doesn't wish to be disturbed.

Peter's a wee bit surprised to find out that Walter lives here since Olivia checked him out of the mental institution, but she says it's the only place he feels safe now. Then, as if Walter's a petulant teenager who went to his room after a fight with Mom and Dad, the loud rock n' rock music starts up. What's amusing is the song: "No Time Left For You" by The Guess Who. Anyway, Peter decides that if Walter won't help, he'll figure things out for himself, and asks if Walter still keeps his notes on worm holes in the bathroom, and part of me wants to ask what Walter's reasoning for that is, but most of me knows it's a bad idea to even think about asking about it.

Olivia asks Peter if he thinks this has something to do with time travel. Not time travel -- that would be bananas -- but time displacement, says Peter: "I think that, when I came back here, I somehow damaged the space-time continuum. And if that's the case, there may not actually be any rules to it," he says, as though any and all laws of physics have not been broken repeatedly over the course of this series.

But Olivia runs with it: like how in the apartment fire, the mother didn't revert to a younger age, but her daughter did (I'd like to point out that four years means something a little different to an adult than it does to a child, but in any case I'm not sure how they know she didn't revert to a four-year-younger version of herself).

Anyway, that's exactly what Peter's talking about. As far as he can tell, the anomalies are going to keep increasing exponentially, which is another observation based on nothing but a hunch, near as I can tell.

Cut to a carload of teenagers we've never seen before listening to loud music, which usually means a car accident is right around the corner. They're listening to Nine Inch Nails or some Nine Inch Nails-ripoff and arguing about the bands -- including a group called Aluminum Rain -- that they're going to go see, apparently in the middle of the woods. And they're arguing about the music to the extent that you can't wait for them all to die in a grisly collision of metal on metal.

The day, Peter is still working on the clear blackboard and starting to get really frustrated. "I can't balance the equation. There's too many variables and not enough constants," he says. Olivia's not much help in that department, but she does point out that there have been sixty-five time slips reported in the past seventy-two hours, all within a forty-mile radius of downtown Boston (she's a little disconcerted when Peter leans a little too close, a little familiar) and given that most people don't report déjà vu to the FBI, they can assume there have been at least twice as many unreported ones. She's going over her categorization system with Peter -- fascinating stuff, really -- when Walter comes to stiffly say that he was going to make a baloney sandwich, and would she care for one. He's also expressly not offering one to Peter.

Olivia politely declines, and brightly says, "I'm working on the case with Peter," adding that they could really use his help. Walter: "I'd be happy to join you, as soon as my lab is available to me again." Good god, what a baby. Not only that, he takes the reference book Peter's holding -- Caroll's Cosmology -- by pretending he just happened to be looking for it, and stomps off back to his room.

Olivia gives him a disappointed "Walter," but Peter says it's OK, and tells her to let him go. Once Walter's closed the door, though, Peter says, "He can't even look at me."

Olivia asks if Peter can blame him -- the look on Peter's face suggests that yeah, there's an argument to be made for blaming him -- because the visions Walter was having were unsettling enough, let alone seeing the adult version of the son that he lost. The visions, though, are new to Peter, who had no idea he'd been appearing to Walter.

Olivia's quiet for a moment, I imagine deciding if she really wants to share this bit, and then decides to: "You were also showing up in my dreams, almost every night. How is that possible when I'd never even seen you before?" The smirk on Peter's face suggests he's got some idea on that one. He just says she can believe whatever she likes, but this is where he's supposed to be, so maybe she and Walter were seeing echoes of the other timeline.

They're interrupted by Lincoln Lee, who comes in to tell them about the ghost train that unfortunately didn't smash into the teenagers discussing their awful music. Olivia and Peter get up to go, with Peter saying that if he's causing some sort of cosmic disruption, he's going to need a bigger boat. I mean... more specific readings. He grabs some sort of Ghostbusters-tech and is babbling about "full-spectrum of EM waves," when, mid-sentence, he is suddenly not in the lab anymore but at the railroad crossing. The police are there, the CSI unit -- Peter looks around, disoriented, but nobody else seems to notice anything amiss. Olivia and Lincoln are interviewing the teenage driver, who says they had no warning that the train was coming. Olivia asks what he means when he says it disappeared. "I know it sounds crazy, but I could only see part of it, like it was passing through a window. Curved, like looking through a bubble," he says.

So: spherical, like the apartment fire. Lee notices Peter looking around all confused and asks if he's OK. Peter asks how they got there, and Lee's all, "Um, we drove," and the question is another indicator that not everything is quite right, and Peter says he thinks he just had a time jump.

But there's no discussion of that, we just go right to the three of them heading back to the office, with Lee on the phone with the Transit Authority, which tells them that the railroad line was decommissioned. Guess how long ago it was that the last train ran on that track? Yep, four years ago. Peter, leaning in from the backseat -- always a terrible place to be part of a car conversation -- says that's good news, because they finally have the makings of a pattern.

Only as he says "pattern," they jump right back to the railroad crossing, only it's just after they've arrived and are getting out of the vehicle, with Olivia talking about how Boston PD is holding a witness for them and Lincoln saying he's going to check with the CSIs. "This is gonna start getting annoying," mutters Peter.

So while the FBI agents go to work, Peter starts waving his Science Wand over the teenagers' SUV. The front end is covered with some sort of ash-like residue and his Science Wand beeps a little more frantically as he waves it over the car. He taps on the bumper and attempts to pull it off -- and a piece breaks off in his hand. "Hey guys, I got something!" he yells, but he's already back in the FBI vehicle with Olivia and Lincoln again, heading back to the office.

He takes a moment to reorient himself again, and then says, "There are heightened levels of neutron radiation at the train crossing," and Olivia wants to know why he didn't tell them that back there, and he alludes to the most recent time jump but glosses over it. "A piece of the bumper just crumbled into my hands. Metal degradation... it's a classic of neutron radiation. We've got to get those kids tested for radiation poisoning," he says, but Lee's not following, so Peter gives a quick science lesson on now neutron radiation doesn't happen in nature but has to be generated by human technology. Olivia asks if this means he doesn't think he's responsible for what's going on. "No, I'm not saying that. I don't know that. But what I am saying is that somebody has to be causing these time events," says Peter.

That would be our cue to find out who it is. We head over to a nice suburban home, where Stephen Root -- who will always remain WNYX's Jimmy James to me -- watches his wife work, absorbed by books and equations on a blackboard in the dining room. She's not too preoccupied to be able to ask "Raymond" if he remembered to change the date on his dentist's appointment and take his cholesterol pill, and he -- checking his watch to see a countdown timer tick off with forty-five seconds remaining -- smilingly says that she doesn't need to remind him of things anymore, because he's turned over a new leaf. "Is that right? After thirty years?" she says, teasingly. He asks what he'd do without her, and this will turn out to not have been asked entirely rhetorically.

By Daniel

She breaks her pencil, and he quickly hands her a marker so she can continue writing. She's scribbling like a maniac. "Success?" he says, and she says no, but she's close. He tells her that he's sure she'll get it, any day now.

He checks his watch. Ten seconds left. He gives her a kiss on the back of her head -- and then she's gone. Her books and blackboard are gone from the dining room, replaced with a computer and doo-hickeys. There's also a wheelchair in there. The rest of the house is covered in empty dishes, pill bottles. Raymond doesn't appear surprised by this in the least, and he heads back into the kitchen, and we can see his wife, motionless in a chair in a sitting room off the other side of the kitchen. He brings her tea and cookies. She sits there, absentmindedly rubbing a pencil and staring into space. Come to think of it, she doesn't seem too different from Stephen Root's Office Space character.

By Daniel

"Kate," he says quietly. She turns to him, startled. "Would you like some tea?" he asks, and she stares at him, frightened. "Who are you?" she says, and he says, "I'm Raymond, sweetheart. I'm Raymond." He reaches out to stroke her face, and she recoils at his touch. She doesn't know him at all.

Back to the lab, where the "time" music theme continues. Walter's sitting there, headphones on, listening to Styx's "Too Much Time on My Hands" while Olivia and Peter work on the problem. Olivia wonders why anyone would develop technology that would cause time collisions, which A) ignores the possibility that it's accidental and B) is not really something Olivia would ask given everything that she's seen in her years in Fringe division. Peter just pointedly asks why Oppenheimer would invent the bomb, not that he knows this is some sort of weapon.

He marks the locations of the fire and the train on the map, saying that if they can find some sort of pattern, maybe they could find the source, but Olivia adds that two points isn't much to go on.

Luckily, Lincoln Lee is getting off the phone with two new reports: a perfect circle of trees appearing in a parking garage in Chestnut Hill, and an open pit of rotting garbage appearing on the eighth hole of a golf course that was built on top of a landfill four years ago.

Even with those marks plotted, it still looks really random to Peter, and suddenly Walter's had enough of the imbeciles trying to figure it out, like so many chimps poking at a desktop computer. He whips off his headphones and announces he's ready to present a theory. He grabs the marker and starts writing: "Snails! Nautilus shells. Ram's horns. These all have on thing in common: Fibonacci's golden spiral."

Peter's all, I'll be damned, that's it! as Walter draws the spiral on the map, locating its centre in a three-square mile area in the vicinity of Brookline.

And this time as we go to Kate and Raymond's house, we get the Floating Location Letters letting us know that this is in Brookline. Inside, Kate's a little more responsive, but she's worried about the need to go Christmas shopping, and Raymond tries to reassure her that they have plenty of time since it's not even Thanksgiving yet. Maybe not for you Americans, but we've already had our turkey up here in Canada! He tells her they'll have all the Christmases in the world, whatever that's supposed to mean, and then says he has to go do some work. He kisses her on the forehead and puts on the television for her, and then from a dresser retrieves the large journal that we earlier saw her writing equations in. In his basement, he adds the new equations that his wife added four years ago (five minutes ago) to a computer program. Once done, the sound of electrical whirring and humming starts getting louder and we see that his basement with all manner of contraptions, some sort of transformer/flux capacitor thing wrapped around the chimney. He throws a switch, electricity flashes and crackles, and a digital clock starts counting backwards from forty-seven minutes.

Anyway, Olivia's response effectively shuts Peter up, so there's that.

Speaking of the source, Raymond has been sent to the bookshelf to find a book on differential equations, when a short burst of a siren outside draws his attention to the window.

He looks outside at the police presence in the neighborhood but is called back to the dining room by Kate, who's excited about something in her notebook. She doesn't get to tell him what it is, because he figures it's time to show her what he's got going on in the basement. He takes her downstairs, and she's stunned to see the equations and machinery -- and I imagine a good chunk of her surprise is due to the fact that, in her perspective, none of this stuff would have been in the basement this morning.

She asks him what it is, and he says he built it from her work -- her theories and constants. "Time chambers are possible," he says, adding it took him almost three years to build it. It's not perfect, he tells her; he can only get it working for 47 minutes' worth of time chambering. Well, it's a good first try for a time chamber, Raymond! He says it can't go longer without the finished equation -- that's what he needs her to do, so he can keep the chamber open indefinitely.

By this point, he can't help but have noticed the distinct lack of delight on her face. "Raymond, what year is it?" she asks him, and he tells her it's 2007 -- and that's all he says, so she asks him what year it is "out there," and he cops to being 2011 in real life. She's taking all this in with open-mouthed horror, like he just announced he has another family with another woman a couple of towns over.

Outside, an FBI agent opens the gate and approaches the front door. Since it's not Olivia or Peter or Lincoln or Broyles or any other of our intrepid heroes, we already know he's dead. Halfway up the sidewalk, there's a kind of shimmer, noticeable enough to attract the attention of the Fringe gang nearby. The agent himself doesn't seem to notice anything amiss, at first, but he's just at the front steps when he starts shouting in distress -- only his voice is muffled, like it's coming from behind very thick glass. We can't make out what he's saying, so let's assume it's something like, "I can't believe NBC is pulling Community from the schedule!" and then he's put out of his misery by instantly disintegrating -- evaporating into thin air.

After the commercial break, Olivia is slowly walking up the front path, whilst on the phone with Walter. When she gets as close as she's willing to, he tells her to spray the fingerprint powder. She does so, and the powder reacts with the huge invisible dome enshrouding the property. "This is a time bubble," he tells her, and if they're right and what's happening is originating there, then the immense power is what obliterated the agent. "You can't just walk from the present to the past, shattering the laws of physics," says Walter, in all seriousness. You can throw a switch in your basement and send your home back four years without any outward appearance, but walking into the invisible time bubble, THAT would be ridiculous.

By Daniel

But they're going to HAVE to get in, points out Olivia, and Peter says they're going to need a Faraday cage (not the first time we've seen that on this show), something that's mobile and can block out the electromagnetic field. Walter sneers as he hears Peter talking, and gets all pissed with Olivia when she says they'll need a Faraday cage and he's insulted because of COURSE he knows what a Faraday cage is: "A baboon would!" he yells, slamming down the phone. I guess that means I wasn't even as smart as a baboon before I saw the first Fringe episode that mentioned one.

He stomps off, angry, but he is going to rustle up a cage; he barks orders at Astrid as to what he needs to make it: a car battery, copper wire, rubber cement among the components (that last one can be found in his Spider-Man fanny pack, he tells her, with the most dignity any actor could ever muster for that line).

Back at the House of Lost Time, Broyles is more concerned about whether they can predict the "residual event" and Lincoln suggests using Walter's spiral, and I hope Fibonacci isn't too annoyed about having his spiral renamed. Lincoln and Peter go off to find a map.

Inside, Raymond and Kate are back upstairs, and Kate has seen the growing law-enforcement contingent outside, and she tells Raymond that he needs to shut the thing off. "You don't know what can happen!" says Raymond, urgently -- and trying not to have to say why he needs her to shut it off. "Some things are supposed to remain theories. It wasn't meant to be built," she says, but he won't budge, and she yells for him to tell her why he did this, and he yells back that they don't have time. And Kate's a theoretical physicist, meaning she's no dummy, and she susses out that something must have gone wrong. "Did something happen to me?"

Raymond has a hard time answering, and finally whispers, "I lost you, Kate. I lost you."

Outside, we get a little more answers from Broyles, with info on the owners, Raymond and Kate Green. "Raymond is an electrical engineer. Kate, professor emeritus of theoretical physics at Boston University," he says. Theoretical physics, that makes sense, says Olivia. It's always so cute on this show when someone says that something "makes sense." Broyles also says Kate retired three years ago due to early-onset Alzheimer's.

Upstairs, Peter is skulking through the house. He finds a newspaper proclaiming the Boston Red Sox the 2007 World Series champs. Collector's item! I love the way the date and stories on an old newspaper are a quick way to reveal time-travel when all you really need nowadays would be to merely show a newspaper in someone's house at all. "A news-paper! How quaint!" He makes his way to the basement door, and slowly creeps downstairs. Raymond and Kate aren't in sight -- that's because Raymond is behind him, with a baseball bat, and he clocks Peter in the back of the skull with it. Peter collapses in a heap. "Raymond, what have you done!" wails Kate.

Outside, Olivia can't raise Peter on the radio, but it's weird that they show her all frantic now since it doesn't appear that they were able to talk from the moment he stepped inside.

Meanwhile, Astrid gets a phone call from Lincoln, who's over at the Melville tunnel. Cars are stopped and people are flipping out, because in the middle of the tunnel is a big wall of water. "We've still got over fifty cars stuck down here. We're clearing out the civilians. You have to see this," he says, because it's smartphone product placement time! And you know, I hate product placement at the best of times, but can I just point out how ridiculous it is to showcase your phone's video imaging capabilities with a FAKE VIDEO? Look how well our phone displays the superimposed image of a dome of watery death! Go out and buy it!

A groggy Peter regains consciousness to the sound of Raymond and Kate arguing about the work he's doing. He says he couldn't get the thing to work, but three days ago, he finally got results. As anyone who watches television knows, "His methods are unorthodox but he gets results!" is the No. 1 justification for every badass character in history. "Five minutes tuned into ten into twenty, and then I got it up to forty-seven minutes. I know it can go longer," he says. But Kate says it's over. "We're not turning it off!" he yells.

This measured discussion is interrupted by Peter banging the baseball bat. "Don't make me hurt you," he says -- rude! -- and he goes to shut down the machine but is warned by both Raymond and Kate that it would be very bad. "The entire city block will be evaporated along with all of us," says Raymond, and Kate concurs. "If it's not shut down properly, it will cause a rip in the fabric of space-time," she says. Since Peter has, I assume, seen Ghostbusters and remembers what happened when Walter Peck shut down the containment system, he tells them to shut it down properly: "An agent is already dead because of this machine, and right now there's a tunnel out there that's gonna cease to exist causing who knows how many more deaths." Raymond had no idea, but Kate says she was afraid of the potential time-displacement repercussions.

By Daniel

Down in the basement, Raymond is urging Kate to keep working, but she says it's over, the police are outside. Raymond tells them it's impossible for them to come in (but he didn't factor in the big brains of the Bishop boys!) and she just needs to solve the problem.

Looking practically near tears, Kate says she already solved it; that's what she was trying to tell him upstairs. "I haven't written it down yet, but I have it."

Outside, Olivia can't raise Peter on the radio, but it's weird that they show her all frantic now since it doesn't appear that they were able to talk from the moment he stepped inside.

Back in the tunnel, Lincoln and the others are outrunning water. Then the water disappears, so it's not such a problem anymore.

While FBI agents carry boxes out of the Greens' house, Raymond speaks soothingly to Kate -- the frightened, confused Alzheimer's version -- telling her not to worry about all the people. He says he has to go answer some questions but he'll be back in a few hours, and in the meantime a nurse will be here with her if she needs anything. He kisses her on the head, and then gets up to go.

But first he looks around to see if any agents are watching him, and retrieves his wife's workbook out of the top drawer of a dresser. He opens it, and then -- shocked by what he's seeing -- starts flipping through it, frantically. On page after page, his wife has run thick black lines over all her equations, rendering them unreadable. Jesus, forget the product-placed phone! Show me the marker that did that that quickly without losing any sort of inkiness by the end! On the last page, she's written, "Raymond, I Love You. How you repay me... Just love me and live your life." You heard the lady! Get yourself a convertible and a college-aged girlfriend, Raymond! He looks over at his wife, who's staring straight ahead.

Peter and Olivia have returned to the Federal Building, because she needs a few minutes for whatever, and tells him he can get a snack if he's hungry. She walks away. Peter sighs and starts moping around the room. Broyles comes over to say good work: "Turns out it wasn't you causing these events after all," he says. But Peter now thinks it was, because he overheard Raymond telling Kate that he only started getting results three days ago -- which was when Peter arrived.

He's also come to another conclusion: that even though he initially thought it was the timeline that needed to be reset, now he thinks it's himself. "Clearly, I'm in the wrong place. And all the people that I know and love are somewhere else," he says. Broyles, please excuse Peter as he now stares soulfully over at Olivia. Anyhoo, now Peter just has to figure out how to get home.

Broyles waits an appropriate moment to see if Peter's done feeling sorry for himself, and then says he may be able to help him at least be a little bit more comfortable while he's here. Peter had mentioned, in his debriefing, living in faculty housing with Walter, so he checked: Dr. Bishop does own a house on campus.

And Olivia shows Peter into the house that, in another timeline, he and his father shared. "It's déjà vu," says Peter, pulling the dustcovers off the furniture. Olivia tells him that there will be an FBI agent stationed outside the door. "Where would I run to?" asks Peter, chuckling. Then he asks if he gets an allowance, and Olivia says she'll see what she can do. Well, Peter's what, thirty? How does thirty bucks a week sound?

By Daniel

Back at the house, Peter comes back downstairs as Kate finishes writing and tells the Greens that the paperwork is being drawn up, but he's got assurances that they won't be prosecuted. Then the Greens start kissing, and when the tongue makes an appearance, that's when Peter's all, "Guys? Can we speed this up?" Kate looks at the closed journal. We never saw what she wrote -- and neither did Raymond -- but I'm sure it's all fine. "I love you, Raymond," she says. He turns a few dials, looks at his wife one last time -- her eyes welling up -- and flips the master switch. Cracklings and light flashings! Kate shimmers out of view. Raymond looks gutted. Peter looks uncomfortable. Make some small talk, Peter! Ask him what he thinks about the NBA lockout!

Back in the tunnel, Lincoln and the others are outrunning water. Then the water disappears, so it's not such a problem anymore.

By Daniel

She also says she's going to talk to Walter again to see if she can convince him to help. "Best of luck with that," says Peter, skeptically.

Then Olivia stands there for a moment, staring at Peter. He stares back, and finally she says that the other version of her must have been important to him. "I see the way you look at me when you think that I'm not aware," she says. It's much less awkward than you'd think a conversation from a co-worker about you ogling her would be. Peter, smiling, says she was, and corrects that to "She is." Olivia says she hopes he gets back to her, and Peter says he does too, and then it doesn't end with them making out, so I guess it's a sad ending. On the plus side, Peter's got this sweet house to himself, meaning no naked Walter running around when the ladies are over, plus he's going to get an allowance! If he saves up for a while, he can probably buy another Olivia.

Daniel is a writer in Newfoundland with a wife and a daughter. If he invents a time chamber it will be so he'll have a little time to himself to read a damn book once in a while. Follow him on Twitter (@DanMacEachern) or email him at danieljdaniel[at]gmail.com.

Fringe TV Show - She Just Wasn&#39;t Made for These Times - Fringe Photos &amp; Videos, Fringe Reviews &amp; Fringe Recaps | TWoP

Fringe TV Show - She Just Wasn't Made for These Times - Fringe Photos & Videos, Fringe Reviews & Fringe Recaps | TWoP