Opening credits! Yay-- oh, damn, they're the ultra-depressing prison camp grey credits, featuring such wacky concepts as "community" and "joy" and "individuality." Wait, maybe they mean the show Community! So it's not so bad in 2036.
We're off to a thriving black market, which seems to make Walter anxious, at least until he spots a geisha rocking back and forth in a chair. He flirts with her, at least until we get the sense she's a robot and Peter pulls Walter away so we don't know if he might have actually continued to hit on her.
Etta sends Peter and Astrid off to deal with the amber gypsies since Fringe busts them all the time and so they'll likely recognize her. She also gives them some currency to close the deal with: a handful of walnuts worth $3,000, according to Etta. Wait, WALNUTS? I mean, I guess it's marginally better than the local currency being "future bucks" or something, but damn.
A shifty guy points some sort of device at Peter to ensure he's not a loyalist, then sends the two of them on their way for the "freshest cuts." Once they're gone, he surreptitiously pushes a red button on a device below the counter.
Meanwhile, Walter is playing the doting grandfather, thrilled at how Etta has turned out, even though, as he reminds her, for him it was just a couple of months ago he took her to the pier, where she looked at the horses. "For me, you will forever be a little girl," he says. Hell, most grandfathers are like that anyway. She kisses him on the cheek.
Peter and Astrid are wondering among the ambered people, stood up in their slabs like exhibits in a museum. Olivia's not there, so it's back to the creepy guy. Peter says they're looking for a blonde. "Those are the cuts," says the guy. Time to lay some serious walnuts on the guy! Peter pulls out the walnuts and Buddy starts flipping through a ledger, looking for the woman who had "an electronic device" in her hand. "Late 20s, black leather jacket?" asks the guy. Given Olivia was 30 at the start of this series, let's chalk this up to a commendable skin-care routine. Anyway, she was just sold. Peter asks to who.
Cut to the apartment of one Edward Markham, who has aged terribly, not that he was exactly an oil painting last time we saw him. He's watching Maverick, the old television show with James Garner as opposed to the Mel Gibson movie. It took me a while to realize it was Clint Eastwood in the scene as well, mainly because Eastwood's about 150 years younger there and actually speaking to someone sitting in a chair. Markham's eating, and he splashes some food on the coffee table, which happens to be a slab of amber containing Olivia. Seems a peculiar home-décor choice, but on the other hand, it will probably last forever and didn't require any assembly.