So they start plotting the data on clear overlays and then assemble the overlays, where they discover that there are two foci that the events are clustering around. "And a rift seems to be forming on the axis between them, like they're tugging at each other," says Walter. You know, I realize that Fringe is a super-secret division, but it seems to me that the decision makers in the halls of state and federal government know about them -- so why, when shit is going down like this, is it left for two people to clumsily plot co-ordinates on a map to find a pattern? And the backup line of defence in this fight is a more evil Microsoft? Anyway, Astrid notices that one of the foci is the exact spot where the doomsday devices is housed, and the other is Liberty Island. "Walternate," says Walter, suddenly figuring it out.
Over at the Federal Building, Broyles is angrily yelling at someone who apparently will cause mass panic with whatever they've suggested, and I'd like to say that if LIGHTNING STORMS INSIDE BUILDINGS FOR BLOCKS AT A TIME isn't freaking people right the fuck out already, then these are people who can handle their shit, Broyles.
Anyway, Walter rushes in for one of those why-tell-Broyles-over-the-phone-when-I-can-take-the-time-to-drive-over-and-demonstrate-because-it's-not-like-time-is-of-the-essence-or-anything demonstrations, and he sets down a small, clear table on Broyles' desk, and dusts it with iron filings. Admittedly, the demonstration is kinda nifty: he puts a couple of magnets under the table and taps the surface, and the filings shake and shimmy into a magnetic field pattern. Broyles wants to know what his point is.
"The two machines, they're acting just like the magnets. Only in this case, across universes. The pull between them, creating this swath of events," he says, adding that one end is the hangar where the doomsday device is, and the other is Liberty Island. Broyles takes a second to remember that's where the Department of Defense HQ is on the other side. Walter figures that's where Walternate must have built his machine. "But if we move our machine to the same spot as theirs, we stall the pace of destruction," says Walter, moving the magnets together to demonstrate. Broyles can't believe it: "You want to move our machine one hundred miles and over water and park it offshore from the most densely populated city in the country?" Walter simply says yes, adding that Astrid's working out the logistics of stable transport. Yeah, that should take all of half an hour or so. Broyles has a concern: won't the intensity of the events in that area increase when the two machines are brought together?
Walter admits it will, but it will buy them time (how so?), and Olivia's looking for a way to get Peter inside the machine. "We just have to contain the damage until she succeeds and pray that Peter is ready," he adds. Broyles looks perplexed, and then he looks perplexed and resigned, which means that Broyles says yes.
Over at the museum, Sam shows Olivia a clear display case with a rock with cave drawings on it, and he tells her it's the key. She doesn't see it, but he's unperturbed and says that's the beauty of it.
Nearby is a Native American war hammer, but before he can get all smashy smashy, Olivia feels the electricity building in the air. At the last second, she shoves Sam clear as lightning slashes through the room, destroying the skylight and several of the display cases. And now the alarm is going, and Olivia wants to go shut off the alarm and she tells Sam to grab the key, so he smashes the case and picks up the stone tablet.
Out in the hall, the alarm has sent the security fencing rattling towards the floor, and Olivia tries to stop it with the nearby breaker panel, but it was short-circuited by the lightning. It's too far for them to make it on time, so Sam grabs a piece of debris and rolls it down the hall so that it hits a massive urn that tips over and rolls under the gate, stopping it from descending. Olivia's not too frantic that she can't be impressed by that little display, but Sam shrugs it off: "I work in a bowling alley," he says. Yeah, is that bowling alley designed by Rube Goldberg? Because if it isn't, I'm not sure that applies.
Anyway, outside Sam uses a hammer to split open the stone tablet to find the key, which is actually a small metallic rod encased inside. She wants to know how to use it, but Sam has no clue. "I told you, the instructions are incomplete," he says. Jesus, it's only your family's life's works. Olivia fiddles with the box and the key until the key clangs magnetically to the underside of the box, and it unfolds open itself. Inside is a scroll. Great. Is that the map to get to the key that opens another box that contains a key card?
Sam unrolls the scroll. More arcane scribbling, but the drawing on it, a woman with her head bowed and eyes closed, is unmistakably Olivia. At least her eyes aren't on fire.
Commercial break, and then we're back at the lab, where Walter is studying the diagram, theorizing that if it's a companion to the other picture, then it means that she and Peter both have a connection to the machine. Sam's no help: "All I know is the original manuscript is very clear on this point. The lockbox contains the crowbar."
So Walter's got it sussed out: Olivia's got the ability to turn off the force field long enough for Peter to get inside. Oh, and also that "Crowbar" would make a pretty bad-ass nickname, I think. Anyway, Olivia has no idea how she's supposed to get in anyway, so Walter turns to the drawing. He notices that there are waves behind Olivia's head on the right side of the page, and similar waves around the machine on the left side of the page, so he rolls the scroll back up, picture on the outside this time, revealing the answer. It's kind of like a reverse Mad fold-in. Olivia's incredulous, and Sam's all, "Telekinesis!" and Olivia says, "I can't." And Walter has to remind her that she in fact can and has done it in the past. I mean, it's kind of bullshit to have to say, "Remember that time you defused a bomb with your mind?" But it's arguably worse for Olivia to insist that she can't do it when she's done it before. What she means is that it was different, but Walter's only willing to concede that it was less advanced. But there is one snag: "Since it's the machine on the other side that's turned on, that's the machine you'll have to interact with," he says. Olivia's aghast at the implication that she might need to cross over, but that's not the case. He says the same part of her mind that allows her to cross over contains her telekinesis ability, so they should be able to work together in combination. "Control the machine over there from over here," says Sam. Now you're on the trolley!
Olivia says it's ridiculous, and even if it were possible, manipulating a light is nothing compared to manipulating the machine. Walter concedes the point. So she'll need to practice! She needs to find a teacher on the planet of Dagobah... Actually, Walter hauls out the typewriter that Fauxlivia used to use to communicate with the other side, and it's quantum entangled with the one over there, so it's perfect for testing her abilities.
He rolls a sheet of paper into the typewriter, and tells Olivia to clear her mind and to look into the mirror he has set up. "Imagine that you're looking at the typewriter on the other side. Now, press those keys using your mind."
She tries for like TWO SECONDS and nothing happens so she's ready to call it quits. Walter tells her it's like meditating, and she should focus on something specific, like a word or a phrase. She gives it another whirl, and stares intently into the mirror.
Meanwhile -- did it really take all this time? What kind of crappy-ass hospital was Peter staying in anyway? -- a nurse strolls into Peter's room, and is surprised not to find him there. She finds the envelope on which he's written "I AM G