The Dreamscape

Episode Report Card
Daniel: A- | 1 USERS: A+
Mind Over Splatter
t looks like some kind of container yard. Up ahead are four men: "There's John, a black guy, one who looks Latino, and the fourth I can't see," she says. We hear the Latino guy say, "Let's give him a minute. This is a big decision he's about to make," and then we see Mark Young say, "All right, I'm good."

Olivia tells them she can see Mark Young, and says she'll get closer. "Young is leaving with the Latino. I'm going after them." Olivia trails Mark and the other guy, who's saying, "Now you just do your part, and we'll take care of it. We do this one deal, and it's hasta luego." Suddenly, in a flash of light, they're gone. "They've disappeared," says Olivia. "That's because you are not in their memories. You're in John's," Walter tells her. She heads back towards John and the other guy. John's saying, "He'll deliver. He's just a little nervous. See the look he gave me when you told him how much you were willing to offer?" The other guy says he hopes John's right: "If we get into another Ashley situation, we're screwed." Except he'll never find out, because John pulls a knife and stabs the guy to death while a horrified Olivia screams to be pulled out of the tank. The worst part is going to be facing Walter saying "I told you so!"

Olivia works with Astrid on facial reconstruction software and in just seconds is able to create a sketch that looks absolutely nothing like the guy she saw in the memory. Since that guy's the only one of the four from the memory who's still alive, she wants to get it to Charlie so they can ID him. I presume Charlie will search for people who DON'T look like this guy. She goes around the corner where Charlie is sitting on a bench, leaning against her clothes, and he asks if she's OK and she says that she is, and says John's memories gave them a lead, and she has to see Broyles. "You want some company?" says Peter, and she says no, and can I just ask why is he even HERE then, and he says, "Olivia, if you need me, I'm here," and she says that she knows.

So naturally, instead of meeting in the office, Broyles and Olivia are meeting by the riverfront like a couple of gangsters, and Olivia shows him the sketch of the guy, and Olivia says they think Mark Young was murdered for selling technology to black market buyers, and this guy was part of an underground group responsible for brokering a sale of a synthetic hallucinogen made by Massive Dynamic. Just don't tell him that you got this lead through an e-mail from a ghost! Broyles asks what the black-market application would be. For a hallucinogen? Yeah, no one takes hallucinogens, Broyles. Olivia says besides its potential as a street drug, it can be used as a chemical weapon: "Apparently, it can literally scare you to death," she says. He says it looks like she's doing fine. Yeah, that's what makes her so damn good. She says they're going to need Massive Dynamic to disclose every project that Mark Young was working on. Broyles says that'll be easier said than done, but he'll see what he can. The two of them walk their separate ways. Sure hope nobody catches an FBI agent reporting to her boss!

Yeah, this is why Peter's not helping out: he's stalking Tess and Michael again. Michael comes down the steps out to his car, and Peter walks up behind him, and spins him around into a sucker punch. Michael gets an elbow in, but then Peter makes with the kung-fu and kicks the crap out of the guy, all Sonny Corleone on the sidewalk. Peter picks up the guy's gun, which got knocked loose, and points it in the guy's bloodied face. "If you touch her again, I'll kill you," he says. He walks away, taking the magazine out of the gun and throwing the pistol into the nearby trash.

Over at Boston Federal Building, agents are trying to find the mystery man by using facial recognition software and passing the composite around Young's apartment building and his office. Olivia's working the phone herself when Broyles stomps up and delivers a stack of files. "From Nina Sharp. Mark Young's projects," he says. They share a moment of surprised victory, and I'd like to point out that it's kind of funny that they just take it as a given that Nina hasn't held anything back.

She starts going through the files, but something twigs when she looks at Young's business card, with the phone number 1-877-8-MSSDYN. Even though we've been told she has this amazing memory, she has to dig for Young's day planner to find the word MONARCH again, and makes a phone number out of it, and calls. Here's hoping it's a local call, otherwise she's going to have to figure out the area code, too.

A man answers. Somewhat startled, Olivia says she's calling on behalf of his long-distance carrier. "I'm not interested. I don't want you calling again. So take me off your list, OK? Hasta luego." Closed captioning, instead of "hasta luego," says, "'cause I don't mess around." Olivia flashes back to the memory where the guy said exactly that, and excitedly hangs up the phone. "I need this phone traced. This is our guy," she says. Charlie asks how she knows, and she says she recognizes his voice. "You recognize his voice?" but that's another one of those "long stories" that Olivia doesn't like to tell her fellow agents. They trace the phone to a land line that's been forwarded to a cell, which is currently in transit on Route 3, heading to the Lincoln Tunnel.

So, based on, "I recognize his voice," Olivia and Charlie are part of this tactical team that's going to take down George Morales, 43, who bought a plane ticket this morning to Sao Paolo, out of JFK. "According to NCIC, he's a black market trafficker, high end," says Charlie.

So then the dude with the laptop and the blips on the computer screen says, "He stopped," and Dunham asks if they lost the signal, and the tech guy says, "No, he just stopped," and Olivia says, "Do you think he ditched his phone?" and I'd like to point out that in traffic there are these things called RED LIGHTS, and you have to STOP, like has Olivia ever seen one of these before? They turn the corner and see that traffic is pretty heavy, so Charlie and Olivia get out of the car and start going vehicle to vehicle. They're skulking as best they can, but it's hard not to notice two federal agents going from car to car with guns in their hands, and Morales ducks out of a taxi and makes a break for it. Charlie and Olivia chase him right into the windshield of another cab, and he's spilled onto the street, all blood.

Morales is getting some good drugs pumped into his system in the hospital when Olivia strolls in. "I want to make a deal. I'll tell you everything I know." Olivia's all, "Gee, thanks, Mr. Going Away for Possession of Chemical Weapons And Also Probably Murder." He says he wants protection from Massive Dynamic: "I didn't kill anybody. Why would I? That guy was a treasure trove of unbelievable things. Massive Dynamic killed him." Olivia draws the curtain around his bed another couple of feet. Yeah, that'll foil anyone who might be listening. Nice one, super agent.

She asks why Massive Dynamic would do that, and Morales says, "Maybe as a warning to any employee who was thinking of doing the same thing." My company would just e-mail a memo to everybody. Olivia says she thinks it's easy to invent a story that he thinks she wants to hear. He asks her if he invented ZFT, Flight 627, The Northwoods Group, John Scott or The Pattern. Isn't that the lineup at Coachella next year? He says it's all a hoax. "It's all a smokescreen so Massive Dynamic can do whatever it wants, to whoever it wants ... Massive Dynamic is hell, and its founder, William Bell, is the devil, and I can prove all of it."

Olivia asks why he's telling her this, and Morales says he knows he can trust her. "You don't even know me," she points out, and Morales says John Scott told him about her. "Immunity, and complete protection, and I will tell you everything I know."

I guess that sounds like a fine idea to Olivia, because she decides to pay a visit to Nina Sharp to play "we're taking you down" as well as "you can take your job offer and shove it." Except, in ret

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