Olivia's on her feet and on her phone, requesting an evacuation at that address. Peter's holding her coat for her. "Nice job," she tells him. "Good performance," he says, like maybe you could at least wait until you're out of EARSHOT of Jones, for God's sake.
At the scene, Charlie is doing what Charlie does best: hoarsely yelling at people to do things. He needs these streets cleared now, people! This area's not going to evacuate itself! Olivia and Peter show up, and Charlie tells them the building's about seventy percent clear, and they're lucky the building's undergoing renovations, because it's mostly empty. But the bomb itself is a real mess: bomb squad can't move it or defuse it. Olivia asks why. "Because they've never seen wiring like this before," says Charlie.
As Olivia approaches the bomb, which is attached to a window on what is a completely empty forty-seventh floor, she sees why. The wiring's coming out of packages of the toxin in a rectangle around the timer, which is set into a box containing an array of lights, just like the ones in the test. Bet you wish you hadn't cheated now, Olivia! Oh, and while I sympathize, it's worth noting that there's less than four minutes left, so maybe you should get moving instead of just standing there? I mean, I know the lighting from the helicopter's spotlight looks all dramatic and everything, but, you know, the bomb.
After the commercial break, Peter notes that the bomb's rigged up here for a reason: to blow out the windows, and a four-block evacuation isn't going to cut it. Charlie starts ordering people around again, while Olivia gets on her phone back to the Fringe lab. Astrid answers, "That son of a bitch knew what we were doing," says Olivia, and asks Astrid to put him on. Astrid takes the phone over to the barely conscious Jones and cradles the receiver under his face. She tells him it's Olivia, like maybe it's his birthday and he was expecting someone else to call him. "Hello, you," he croaks out, nice and creepily. She admits that she didn't really switch off the lights before, but of course he already knows that. "Before they can be considered soldiers, they must be regarded as recruits and the expectation must be that they shall be unwilling," says Jones, quoting from the manifesto. Meanwhile, Peter's all, "We gotta go!" but Olivia's not getting off the phone. Jones tells her there's only one way to disarm the bomb, and she knows what it is.
Olivia tries suggesting that Jones obviously feels she's valuable, but she's not going to be too valuable when the bomb goes off and then she suffocates because her nostrils have closed up and her lips have grown over her mouth. He admits that she is a "rare commodity," yes. "But I have one thing, Ms. Dunham, that you do not. I have faith in you." Cut the wires, boom. Move the device, boom. Lights still on when the timer hits zero, boom. Jones tells her she's the only way out.
Olivia hangs up and yells that they have to get everyone out of there, and Peter thinks she's talking about herself too, which is why he's surprised when she takes off her jacket and goes back to the device. She tells him she has to do this. "You stay here, you are going to die," he tells her. There's a minute left. Thanks for the vote of confidence, Peter! He says he's not doing this with her, and when she doesn't say anything to that, he says she's out of her mind and stomps off over to the elevator and pushes the button, like the bomb is going to go off in forty-five seconds, but I'm just going to stand here and wait for the elevator to come up FORTY-SEVEN FLOORS.
Olivia stares at the lights. Nothing happens, not even when she gets a little crinkle on her forehead. Behind her, Peter strolls back. Oh, good, a change of heart. Olivia's too busy staring at the lights. And staring. And staring. Finally, one winks out. Then another. Two at a time, three. Olivia doesn't even react, just continues to stare. It takes a few moments, but they all shut off. There's two seconds left on the timer. She covers her face with her hands. "You did it!" says Peter. Oh sure, now you're all proud of her! A minute ago you told her she was going to die! He asks her what she did. "I don't know," she says.
Back at the Fringe lab, Astrid, who has nothing better to do than babysit a dying psycho, answers the phone. "Yes sir. We will," she says. Jones is being wheeled out the door by paramedics, but he stops them to ask Astrid, "She did it, didn't she?" Astrid says she did. "My girl," gasps Jones.
Back at the building, Peter and Olivia are lounging on stacks of drywall. "I didn't do anything," says Olivia. She thinks it's a mind game on Jones' part, that he rigged the lights just like Peter did. Peter's completely convinced, though: "He couldn't have known when you were going to arrive. He couldn't have known the timing on that," says Peter. You're right, Peter. It makes much more sense that she turned off light bulbs with her MIND POWERS. Then he says she was "in the zone" out there tonight, like she didn't hit a couple of three-pointers, Peter, she TURNED OFF LIGHT BULBS WITH HER MIND POWERS. "The way you stared down that light box, was like nothing I'd ever seen," he says, and I have NO IDEA what that even MEANS. I mean, she stared at a box. But I'm impressed he can quantify how awesomely other people he's seen stare at things before.
Olivia suggests the whole thing was faked so he could meet Walter. "He wanted to meet the man who designed the device that got him out of prison," says Olivia. Peter seems skeptical of that. He's just thrilled that he didn't die tonight, so he invites Olivia out for a drink "or five," like any excuse for a party for Peter. Olivia considers the prospect of a liquored up horndog Peter sloppily hitting on her all night, and says she's going over to Boston General to talk to Jones. "It's my last chance," she says. She knows it won't be her last chance to let Peter get her drunk.
Back at the Fringe lab, Astrid and Walter are ... cleaning up, or puttering around, or NOT GOING HOME TO GET SOME DAMN SLEEP, when Astrid says in all the excitement of today, she hasn't overlooked the fact that Walter created a teleportation machine. "Which, despite the fact that it kills you, is pretty damn cool." As Walter turns toward her, it looks for a few terrifying seconds that they're going to start making out. "Kills you? It does something unthinkable, but it doesn't kill you," says Walter. He walks away, and he doesn't explain, and Astrid doesn't ASK him to explain.
Olivia, meanwhile, is strolling through chaos at Boston General, with doctors and nurses and dudes on cellphones milling about in slow motion. She makes her way to Jones' room, where Jones' bed lies empty, but there's a huge gaping hole in the wall, giving her a lovely view of the Boston night. You know, Walter, if this is what you mean by "unthinkable," shouldn't you have maybe, I don't know, TOLD SOMEONE about it? "Oh, fellows, before you take this person to a public hospital, you should know that he's going to transform or something or turn into a giant ball of flame or develop super strength, or something along those lines, enough to be able to rip a wrecking ball-sized chunk out of the wall. So, you know, heads up." Olivia turns to see, scrawled on the back of the door, "YOU PASS" in big letters.
Back at the Fringe lab, Walter's leafing through the manuscript again, though thankfully not on the crapper. Through glimpses at the page, we notice that the letter "y" is off kilter, printed entirely above the line of text instead of hanging partially underneath, as normal. Walter looks like something just occurred to him.
Olivia's apartment. Her cellphone rings. It's Nina Sharp, who says, basically, "Hey, remember when I said there were only tests done at Ohio State University? I was, conveniently plotwise, wrong. Turns out there were tests done in Jacksonville too, at a military base! Well, ta!"
Back at the Fringe lab, Walter pulls a typewriter down from the shelf, and rolls a fresh sheet of paper into it. He starts typing a word: Abilit.