He's talking about an invention that's more important than his others, which include bubble gum, flannel pajamas, and rainbows!

His latest project, naturally, is singing corpses, he tells Olivia, at which a dead body counts itself in and three dead bodies (a couple with stitched-up Y-incisions on their torsos) sit up and start singing "The Candy Man" as Walter conducts them. When they're done, they lie back down. "Why not bring a little life to the dead, I say?" says Walter, and then whispers that their harmonies are still a bit off. You'd think Olivia would be sufficiently weirded out to refrain from asking about any more of Walter's projects, but she points to a picture in his journal of two people with their arms wrapped around each other, and asks what it is. "Well, that's a hug, of course," says Walter. Ella's amazed that this guy invented hugs, and Present-Day Walter also ascribes the invention of teddy bears and chocolate bars to him too and something even more remarkable: a glass heart. Story Olivia asks Story Walter what makes the glass heart so special. Walter says it's a power source that's capable of many wondrous things, and until recently he was kept alive by this glass heart, since he needed to replace his own bad one. So he's like Iron Man! While he explains that someone slipped into his room a few nights ago and took it while he was sleeping, he unbuttons his vest and shirt and reveals a metal door in his chest that he opens. Inside is a tangle of wires and power cells. "I've done what I can with these batteries. It's kept me stable, but if I don't get my heart back, I'll die." Peter and the heart disappeared at the same time. The heart's priceless, of course, and he has so much good left to do: "If I die, I'll never get to finish any of them. All of my ideas, they will all die with me."

A very concerned Ella asks Present-Day Walter if Olivia's going to help Story Walter. "Of course! But first she needs to rehire her assistant," and here Walter shoots a sidelong smile at poor Astrid, who is cleaning up after Walter and Ella, "Esther Figglesworth." Astrid doesn't look too amused.

Esther Figglesworth is at this moment pleading with a stern nurse for a job in what appears to be some kind of sanitarium. She nervously talks about all the experience she has with people. "I'm sure that would come in handy, right? I mean mental patients probably need tons of patience," she jokes. The nurse glares at her. Question: if you're a stern nurse, do you tell your hairstylist that you'd like the Nurse Ratched? Or if you do your hair like that, do you then become a humorless authoritarian? Esther, flailing, figures the patients probably also need love, and then she starts singing a song about how she really needs this job. Considering it's from A Chorus Line, the song's got a little more musical-theatre pedigree than "Head Over Heels. And is that Jasika Nicole's actual voice? If so, nice job! Then her cellphone rings. Oooh, job interview faux pas! Bigger faux pas: answering it! Esther apologetically tells Nurse Ratched that her old boss is on the line, and she only calls when it's important, or when she gets lost. Olivia's short and to the point: "New case. I need you." Esther reminds Olivia that she fired her this morning, still owing her six months back pay, so why would Esther help her? "Because it's important. And because that's just the kind of girl you are."