Fringe

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Stop Dragging My Heart Around
want him to go on, because this is where things start to get a bit frightening. "Does it have to do with Peter?" asks Ella, eagerly, either because she's in love with Peter like her mom is, or because she wants frightening things to happen to him.

Back in the '40s, a shadowy young man has "gone into hiding because he had in his possession a very special item." "What kind of item?" asks Ella.

"A heart. But a heart unlike anything the world had ever seen," says Walter. I'll say! Peter, looking very old-school gangster, opens a box that requires a thumbprint scan. Inside is an artificial heart, made of glass, and an internal glow is visible along a seam.

Holy crap, we're only now getting the opening credits?

Anyway, afterwards, Walter, putting on some jazz music (which turns out to be a jazzified version of Traffic's "Low Spark of High Heeled Boys"), tells Ella that the measure of a good detective is where she gets her information from. For Olivia, that's a seedy jazz bar, where the pianofied Traffic song is being sung by a dapper Broyles. "Detective Dunham knew some high people in low places," says Walter, while '40s Olivia strolls up to Broyles and tells "Lieutenant Broyles" that it's good to see him. He just glowers at her, and she lightly asks if he's not going to say hello. "Well, now, I didn't know if you actually meant 'hello' or if you were just stringing me along. You're good at that," he says, with -- is that a slight Louisiana drawl? Olivia says she needs to ask a favour, and he says it must be a good one if she's coming to him.

"Not as good a favour as pretending six years ago I didn't see a cop on the beat plant evidence to get a promotion," says Olivia, pointedly, and that's enough for Broyles to have a look at the picture of Peter and declare he's never seen him. So Olivia hands over some kind of line-drawing squiggle that Peter's "sweetheart" found in her apartment the night he vanished.

Broyles looks at it, and adds a few lines before telling her it's the company logo of Massive Dynamic -- he shows it to her, and now it looks like an M with a mirror image. Olivia asks what they do, and Broyles is all, "What don't they do?" like THANKS FOR ALL THE HELP, BROYLES, YOU PIANIST.

Walter tells Ella that Massive Dynamic made its money at any cost: "A vile firm that never missed an opportunity to exploit the little guy."

Over to the concrete and glass edifice that houses Massive Dynamic, and whilst Nina's assistant and Nina herself are in period costume, Nina's office amusingly looks largely the same: minimalist décor. There's a somewhat old-timey-looking phone on the desk, but it's out of place next to the 21st-century Gateway computer. Olivia thanks Nina for seeing her, and Nina says Broyles called on her behalf, saying she was looking for something. "His name is Peter Bishop. I'm investigating his disappearance on behalf of his fiancée. She believes he may be in trouble."

Nina says she's not surprised, and that whatever trouble Peter is in, she's sure he deserves much worse: "Peter Bishop is a con man with many talents and many identities -- all of them suspect. Small cons to large-scale industrial espionage, with only one person's interests at heart: his own." She adds that if he's "pretending" to love Rachel, he must be using her somehow, and Nina hopes that he stays missing, since he's dangerous.

And then Nina's assistant strolls up because her "attention is required on another matter," and it was nice that she could spare 45 seconds for Olivia, and as Olivia leaves, Nina tells her to proceed with caution: "I meant it when I said that Peter Bishop is dangerous."

After Olivia leaves, Nina picks up the phone and dials. "It's me. There's been a development," she says.

More anachronisms as Olivia, in her car, calls Rachel from her cellphone, and gets her answering machine. As she's leaving a message, the line is picked up, and we can hear the sounds of a struggle, and then Rachel yelling, "Help me, Miss Dunham!" Is she your only hope? There's no answer when Olivia yells Rachel's name.

So Olivia busts into Rachel's apartment, only to find her dead on the floor. On the wall is a poster for a movie called The Glass Man, and I only mention it because that's likely to be of some significance to someone somewhere who cares to put more thought into interpretations of drug hallucination/dream sequence episodes than I do. It doesn't appear to be an actual movie. Likely more significantly, there is literally a hole in Rachel's chest, probably where her heart used to be.

And now we have some photographers taking pictures with those massive cameras and exploding light bulbs that they used to have -- weren't those the days -- while Olivia watches. And Ella interrupts to indignantly scold Walter that Rachel can't be dead, and Walter asks why not. "Probably because it's her mother, Walter," suggests Astrid, but that's not it; it's because, according to Ella, that that's not how stories work: "She's in love. True love! She can't die." Walter reminds Ella that he said that in this story, things are not as they seem.

Broyles is filling Olivia in on some Rachel-knowledge, mainly that she was an actress whose real name was Kelsey, and they don't know why she was using a fake name. "But whoever did this was good. Didn't leave fingerprints. Hell, we can't even identify what type of weapon he used. But one thing we both know, Dunham: death seems to follow you around." He wants Olivia as far away from this as possible, and Olivia does her sassy-dame routine about how her interest is piqued, but Broyles is serious: "Keep nosing around, and you and your interest can spend some time downtown as a guest of the state. She says she'll pass, and he orders her to leave things to the big boys. She stares at him a moment, and then strolls out, nabbing a date book on the table by the entrance as she goes.

In her car, she flips through it. A cheque for $200 falls out, made out to Kelsey [Something], signed by Walter Bishop. Olivia calls directory assistance and asks for the address for Walter Bishop.

"It's you!" says Ella, holding a big bucket of ... oats? Grass? Whatever it is, Gene is plowing through it. Walter says the Walter Bishop in the story is "slightly less handsome" than himself, "but equally brilliant. A tinkerer, a dreamer. And Olivia would soon discover that he was the one that got her mixed up in all this."

Olivia's in Story Walter's lab, and it's a lot like the real thing, but with all kinds of toys in addition to his sciencey stuff. Like a multicoloured Slinky and parts of a Habitrail. Gene appears to be wearing a Twister mat.

Walter's wearing a three-piece suit and confessing that he hired Rachel/Kelsey to hire Olivia to find Peter. She asks why he didn't come himself. "Your reputation precedes you, Miss Dunham. You aren't the best, but you're selective. You only take cases where someone has lost their heart to love. So I used her to get your attention. I never meant for her to be harmed."

Olivia says she's got his attention, and now she wants to know who the hell Peter Bishop is. "He was my lab assistant," says Walter, and Olivia asks the obvious question about their shared last name. Walter says it's coincidental, but he did grow to love Peter as a son. "But apparently, he was far more dangerous than I feared. He stole something from me. My most ... important invention."

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

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