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Jacksonville, How You Burn in My Soul
bination, though I can't remember the significance," he says. Well, I think we know some bad shit's going to go down on May 20th this year, which I'll just go ahead and assume is, being a Thursday, the date of the season finale.

They go inside the centre, largely empty save for the scattered chair and table, with paintings of animals still on the walls. Walter goes and turns on the electricity, so it's good that someone's been paying the bills all these years. Olivia looks around inside, at the scattered Connect 4 and Mr. Potato Head pieces, and the cheery Our Kids Are Happy Kids! banner on the wall, and then Walter brings her into another classroom and asks her if she sees anything.

"Like what?" she asks, and Walter explains that sixteen items in the room are from "the other side." He urges her to look closely at everything. She does -- at books, terrariums, mobiles, a globe, a little house of cards that is still standing (!) -- but nothing triggers for her.

Walter looks bummed, and says they should get started. "I was hoping to avoid this," he says, and walks out of the room. Peter follows, and Olivia does too, still glancing at the objects in the room. She stops by the door, where there's a giraffe height chart. Several names are penciled on the wall beside it, including little Olive D (coincidentally the worst-selling juice in the Sunny Delight family) at 38 inches.

Peter follows Walter through a room of equipment covered with sheets, and he pulls a sheet off one piece of equipment that looks like an old dentist's chair with a headrest (or head restraint). In an adjoining room, Walter scans the stacks of banker's boxes for one marked "Patient Files, Note Books, Research Documents," with "BISHOP, W." and "BELL, W." typed on the label. The box was archived by an E. Partridge, as it happens. He takes the lid off it and starts rifling through it when he comes across a case that contains a pair of round-framed eyeglasses. He smiles, and puts them on, and then buffs a steel tray so he can grin at his bespectacled face in the reflection.

Meanwhile, Olivia has gone outside to sit on a swingset and mope. Peter strolls out and takes the adjacent swing. "I have a freakishly good memory. I remember everything. But not this," Olivia tells him, and Peter wonders if that might be a good thing.

Walter comes outside and asks if she's ready, and then suggests she might want to change into something more comfortable. Oh, it's one of those bra-and-panties experiments of Walter's, I guess.

Inside, Walter hooks Olivia up to a bunch of electrodes attached to a rainbow of colours, one for every flavour in a pack of Skittles. As he does so, he tells her, "Perception is largely an emotional response. How we feel affects the way we see the world." It was his and Bell's hypothesis that extreme emotions would stimulate perception, that acute feelings of fear and love or anger would heighten the awareness. "Open the mind, as it were. The drugs help, of course," he says. Uh, yeah. Yeah, usually ingesting drugs will alter your perception of things. If I eat an orange and smoke a joint, it's not the orange that made me mellow.

Anyway, Peter hooks the Cortexiphan -- a dark fluid -- on Olivia's IV pole but waits before plugging it into her left arm. He asks if she's sure she wants to do it, and she nods, but then Walter is all confused about which arm should actually have the drip, and he does a little belly-rubbing, head-patting thing before deciding that the left arm is, in fact, the correct one. At some point, you gotta figure that it would be just a lot easier for Walter to write down actual information instead of all his mnemonics and stuff.

Anyway, Walter tells Olivia that the drugs will "generate an obstacle." He can't tell her what it will be (or what that ACTUALLY MEANS). "It will be uniquely yours," he says, and adds that facing the obstacle will elevate her emotional state, just like running on a treadmill will elevate her heartbeat. "And then when I've got you to the proper level, well, then I'll pull you out, OK?" "I am singing in the rain," Olivia responds, which means that the "drugs are working fast," according to Walter, who wonders, half to himself, if maybe perhaps it was supposed to be the right arm, which gives Peter some alarm.

So then Walter asks Peter to turn a monitor around so he can watch her vitals while he questions Olivia, who has her eyes closed. Walter asks her to open them.

She does. She's in a forest with very tall trees. In her dream, she's seated in the same position she is in in the chair in the lab -- in the exact same chair, in fact. Walter checks her "theta rhythms," which are normal, and her "stable neocortex" is active, which means it's working. Glad that means something to somebody!

In her dream, Olivia gets up out of the chair and starts to walk. There's a flash, and she spots someone running. "There's someone else here," she says. She looks around, and a loud noise, almost a roar, makes her sharply breathe in, causing Peter to ask Walter if she's all right. "No, but she's not supposed to be," says Walter, who then tells Peter that he needs something from his bag, which turns out, to Peter's exasperation, to be pretzels for Walter to munch on.

In the dream, the forest darkens from day to night in a matter of seconds, and Olivia follows what appears to be a little girl until she catches up with her, sitting against the base of a tree, looking scared. Olivia tells her everything's all right. "Please. I don't want to do this anymore," says the girl, and Olivia tells her she doesn't have to do anything she doesn't want to do. But there's a roar again, and the wind is picking up, and the girl starts running away, and Olivia has to chase her down and grab her. Peter's concerned about Olivia's agitation, even though that's kind of the point of the experiment, and Walter tells him "She's close."

Olivia hugs the girl, who's asking her to "make them stop! Please make them stop it!" Olivia manages to calm her down, saying nothing can hurt her. Well, don't LIE to her. "That's better. What's your name?" Along with the entire viewing audience, the little girl says "Olive." Olivia looks rather disturbed by this, and she looks around. When she looks back, Olive is gone.

We can hear someone (or something) whisper "Olivia," and when Olivia turns around again, Olive is standing there, with her eyes all creepy and fucked up. It's enough to give you a jolt, and Olivia bolts upright in the lab. "Good news. It worked," says Walter, but Olivia's in no mood: "What the hell is wrong with you? You did this to little children?" Walter looks quite hurt and chastened. "We should get to work," he says.

After the commercial break, a still-agitated Olivia picks through a key ring before dropping it on a desk while Peter watches. They're in the classroom where Walter said several objects were from the other side. Olivia picks up a doll and stares at it -- causing Peter and Walter to perk up -- but then she puts it back down again. She glances around some more, and Walter asks her if she sees anything.

"Nothing. Now what? Should we find some more kids to scare?" she says, coldly. Just in case you thought her snapping at Walter was due solely to her heightened emotional state earlier. But Walter's got no idea what to do now.

In New York, Nina Sharp's walking down the street when she hears dogs howling and barking. Well, that must be it! She gets out her cellphone: "Phillip, it's me."

And Olivia's on a child-sized bed, trying to get some rest, when her cellphone rings. It's Broyles, telling her that it's started, so she gets up to tell the others. When she finds Walter, he looks miserable, watching video of a stressed-out young Olive cowering in a corner of the lab, which looks burned-out. The video is naturally in creepy, grainy black and white. From the snippet of conversation between Bell and Walter, it sounds like we're being set up to find out that Bell was the ruthless scientist who didn't care who got hurt during his experiments, w

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