Meanwhile, Jane and Sydney hit Richard with a shovel and buried him in the forest and now Jane is going all to pieces about it. Seems she has this crazy idea that she'll be some kind of suspect just because she spent the last ten weeks of her life plotting Richard's death. In fact, Jane is so strung out that Sydney -- SYDNEY! -- is giving her rational advice. "You need to act normal," Sydney says, even though her sister is currently pacing around her apartment clutching a blanket. Jane slumps against the mantlepiece as Sydney quietly tells her to file a missing person report in a couple of days. "Everything's going to be all right," Sydney reassures her, and boy, if anyone knows about getting away with a crime it's Sydney, right? The girl who spent a bunch of weeks in prison for a crime that she DIDN'T commit.

So in TV Guide this week Melrose executive producer Frank South says that this season is going to be "more grounded" than last year, and to prove it, here comes the show's most grounded character, just poppin' right out of the ground! It's Night of the Living Richard as our favorite zombie boy pushes his way out of his grave and heads to town looking for brains to eat. He's dirty, he's got a garbage bag wrapped around him, he's drooling... but his hair still looks terrific! That's our Richard; the only man in the Underworld who still knows his hair care.

Richard stumbles off camera just in time for the opening credits, where we find some fun surprises: Jo's gone, but Kimberly's not! There's a bunch of big-lipped new people! And more surprise: Hey, there's a Special Guest Star AGAIN this year!

Back at the apartment, Billy shows up at Alison's first thing in the morning so that he can get his harassment done early. Alison answers the door in a robe and finds that Billy has somehow had time overnight to get a really short corporate haircut. He tells her he got the message on his answering machine when he came home last night; apparently Alison had a headache THIS BIG and it had Jake written all over it. Remembering her excuse, Alison squints her eyes and asks if they can talk about this later. Billy tells her he was waiting at the restaurant all night for her -- I'd recap this storyline for you if I could find the energy to give a damn, but really, it's all just too embarassing. Billy, what were you doing at the restaurant "all night," having a sleepover with the violin player? Learn how to check your machine from a pay phone. Next! She pretends to apologize and tells him she'll meet him tonight instead, then closes the door on him and slinks back to her bedroom, where a shirtless Jake is waiting for her. Now, come on, I thought this was supposed to be more "grounded" this season. If that was waiting in YOUR bedroom, would you even ANSWER the door? I wouldn't get up if the city was being carpet-bombed by the aliens from Independence Day. Anyway, Jake's a little crabby about being hidden from Billy, but Alison reminds him that Billy is his friend too, and "this is gonna be tough." Jake hugs her, whispering, "Yeah, I know."

Okay, have we noticed something yet? "More grounded" apparently means QUIET and SLOW. It's been, like, ten minutes into the show already and nobody's raised their voice above a low murmur yet. Last year by this time we would have had three screaming arguments, a car exploding, and someone falling off of something, preferably onto concrete. A case in point: In the next scene, Amanda goes to the police station to visit Officer Wiley, and does she yell? Does she rant? Does she stab him in the hand with a pencil? No, she just wants some information about this whole Peter problem. Wiley lays out the exposition for us -- Peter's real name is Dr. Peter Howell, and he used to be married to a woman named Elizabeth Davis. "They had a nice life back in Kansas City," Wiley says. Okay, I know, I'm bored too, but let's get through this; Amanda looks vaguely interested, so maybe we should pay attention. A few years back, Elizabeth was killed, and Peter was charged with the murder -- wow, this boy collects murder charges like merit badges, don't he? Peter skipped town and hasn't been seen until now. Wiley assures Amanda that he has documentation of all this, although he doesn't go to the ludicrous extreme of actually, y'know, SHOWING it to her or anything. Amanda decides to play Nancy Drew again, and says that she's not going to make any decisions about Peter until she finds some things out on her own.

And back we go to Mancini-Hart, where Jane is "acting normal" by slinking around and jumping at sudden noises. She opens Richard's office door and sees a dark-haired man sitting in a chair, but she only sees him from behind, so she doesn't know who it is, and they're really trying to generate some suspense, so guess what? It's Billy. Yeah, even scarier than Zombie Richard, right? Turns out Billy's had an appointment with Richard -- "he was going to throw a campaign my way," Billy says, as if that explains everything. By the way, this new "grounded" Billy is so intense that it looks like he's trying to shoot lasers out of his eyes. Director's note to Billy! Blink once in a while! While Billy does target practice with his eyes, Jane pretends that even though she just got into work twenty seconds ago, she's really worried about why Richard hasn't shown up yet. Um, Jane? This is Melrose Place. I'd be concerned if anyone showed up to work by lunchtime. But she's pretending to care, so she ropes Billy into coming with her to check out Richard's house. "I'm sure everything's fine," Billy shrugs. "I'm sure it is," Jane murmurs as she watches Billy walk out the door, looks back in the office, looks at the door, adjusts her purse, grabs the door handle, looks back in the office, looks at the door again, and finally walks out into the hall, shutting the door. See what I mean by quiet and slow? I could play this episode during a funeral and nobody would ask me to turn it down.

And the fun never stops on Melrose -- now let's have a scene where one character is in a coma, one is half-awake, and the third is blitzed out on pain pills! Matt buzzes in to Kimberly's hospital room, where Michael is groggily trying to keep himself up. He must be watching the episode! Bada bing! Thank you, ladies and gentleman, my sixteenth "this episode is slow" joke in two paragraphs! I'll be doing this all night! Anyway, Matt has enough energy for all of us -- he's so high on his medications that he's jumping around like a hummingbird, blinking a mile a minute. He's got so much energy that he starts giving Michael some spontaneous hygiene lessons, encouraging him to go home and take a shower before he starts breaking local health codes. Matt can watch Kimberly be unconscious for a while. Michael starts being impossibly rude, telling Matt to buzz off and while he's at it, go to his house and pick up some clean clothes for him. Then Amanda stops by, and Matt racks his hummingbird brain trying to think of something he had to tell her -- but Amanda cuts him off since she's not in the mood. Then Matt leaves. That was Matt Fielding, ladies and gentlemen! Hopped up on goofballs and still a doormat. "How is she?" Amanda asks about Kimberly. "The same," Dr. Michael shrugs. "Still in a coma." No duh, Michael, is that why she's lying unconscious in front of you and breathing through a tube? That kind of brilliant diagnosis is why he gets the big bucks, my friends. Michael tells her that Kimberly hasn't woken up to give Peter's alibi, so Amanda can stop pretending to care. "I don't pretend anything, Michael," she snaps -- yeah, she freely admits that she doesn't care. And neither do I at this point. Make with the explosions! Amanda tells him she's going to Kansas City for a while, and sh-booms out the door. And that scene was so emotionally draining for Michael that he slumps back against his chair for a nap.

Meanwhile, in jail -- and how often do you get to use THAT phrase? I love this job -- Peter seems to have found time between gang-rapes to get a really snappy new haircut and lose a few pounds; he's really taking to this prison thing. I don't think I've ever seen him look better. He's lying there on his bunk reading a magazine like a kid at sleepaway camp when Counselor Wiley comes by to taunt him a while. The Wiley coyote -- and how long did you think it would take me to make THAT joke? -- mentions the name Dr. Peter Howell, which definitely gets Peter's attention, especially when Wiley says that he told Amanda all about it. Peter goes ballistic, lunging for Wiley's tie through the bars like he's going to beat him to death with it. Peter begs for a phone to talk to Amanda -- "You don't know what you're doing!" But Wiley just walks away; his good deed's done for the day.

So Jane drives over to Richard's house to check it out, and the poor girl has to listen to Billy drone on and on about his problems like anyone in the world cares. Jane pays less than no attention, since she's just noticed that Richard's car isn't in the driveway, where he left it last night when he got murdered. Apparently zombies get free valet parking in LA; that's just one of the many benefits of the fast-paced zombie lifestyle. Billy's non sequitur reply: "So you and Alison back on speaking terms yet, or what?" Um, Billy, don't I hear your mom calling? Get back to your own storyline before I have to slap you. Billy makes himself useful by walking right into Richard's house and remarking on how clean it is. Then he notices something strange -- three perfectly formed muddy footprints in the hall that look like Arthur Murray dance-lesson diagrams. Must be dirty dancing, I guess. Get it? Dirty danc-- oh, never mind. The footprints head into the hall, but then just stop -- "As if he just disappeared," Billy grunts, leaving the audience to fill in the obvious next line: "...Or took off his shoes." They can do that these days, Billy. New concept. Don't worry about it. Jane's a little creeped out by the whole muddy footprint decor, so she splits, saying that Richard will probably just turn up at the office. After Billy and Jane are gone, Richard pops out of a door. "I'll show up, Jane," he promises, cleaning the blood off the back of his head and getting it all over one of his nice white towels. He'll NEVER get that stain out.

And speaking of unpleasant things you can't get rid of, Alison finally bothers to show up for one of Billy's little dinner dates. Now it's time for a lesson about the Melrose Diet -- one of those Melrose secrets that only your friends here at Melrose Space will let you in on. Have you ever wondered how those Melrose women stay so painfully, fashionably thin? It's because of the Melrose Diet -- you can order anything you like, but you NEVER finish a meal. Let's watch. Billy and Alison desperately try to have pleasant, inoffensive conversation, but it really doesn't work, so Billy launches into The Speech. "I'm just going to say this, so don't stop me or interrupt me," he says. "...Billy," she interrupts, immediately. But he charges ahead like a fool, saying that no matter what's happened to them, they've always ended up back together. He lists all of the problems she's caused: "Think about it, y'know -- our marriage that didn't happen, horrible stuff with your father, your drinking, Hayley, D&D, Amanda... through all of that, we are inevitable... THAT's why I never lost faith." Alison finally takes offense: "Marrying someone else is not losing faith?" He stupidly charges on with his list of her character flaws, saying that she's too good to be a barmaid, too. Hey, Billy, while you're on a roll like this, why don't you tell her that her cheeks are too big and she hasn't changed her hairstyle in five years? He takes this opportune moment to tell her that he loves her and he'd like to marry her. Good choice of moments, Bill, as you can tell by the fact that she gets up without a word and stalks out of the diner. "Dammit, don't you walk away from me!" he yells, then realizes that this means he gets all the french fries.

The next morning, Jane tells her accomplice about her weird day at Richard's house. Sydney isn't bothered that Richard's car was missing -- "The car could have been stolen, repossessed. Who knows." Yeah, Syd, or maybe it got beamed up by aliens who are stripping it for parts for their spaceship. Then who should show up but Jane's toothy new roommate, the walking toothpaste commercial, Samantha! Under her breath, Syd asks Jane why she had Samantha move in. "I have my reasons," Jane mutters. Okay, Jane, and those would be? This mysterious plot thread has been hanging since last season, and don't expect it to get cleared up tonight. As far as I can tell, Jane asked Samantha to move in because her lease doesn't allow her to have pets. The Perky One starts moving boxes in, tripping over a shovel on Jane's doorstep. Syd and Jane freak out, and Sydney says the shovel wasn't there when she came in twenty minutes ago. "Is it ours?" Jane asks, completely oblivious to the effect this weird scene is having on her new roomie. Syd and Jane smile unconvincingly at Sam, and go into the back to talk, bringing the shovel with them. Samantha frowns and tries to figure out if she can get her security deposit back.

And now let's take a trip to Kansas City, Missouri! Tonight the part of Kansas City will be played by a suburb of Los Angeles. Amanda is wearing a blinding white suit, which makes a real fashion statement; I think the statement she's going for is "I have no plans to play frisbee today." She knocks on the door and Mrs. Davis answers. Okay, to recap, remember the woman that Peter was supposed to have married and killed before he was Peter? Well, this is her mother. Got that straight? Well, as soon as she hears the name Peter she starts shaking and falling apart, but Amanda insists that she needs to talk to her, and since she's the Special Guest Star, she gets to go anywhere she wants.

And now a side trip to scenic Boston. Unfortunately, I have to now synopsize a scene starring characters I've never seen before and which I frankly do not understand. I'll try to make it quick. A dark-haired woman with impossibly large lips reads a Boston newspaper that, for some bizarre reason, has decided to print a three-day-old story about a murder case in Los Angeles with a big front-page photo of the suspect and a screaming headline in the font size usually reserved for, say, a sneak attack on Pearl Harbor. I guess the Boston papers are still getting their front-page news via the Pony Express, or maybe it's just a slow news year. Anyway, the large-lipped woman recognizes Peter, and no, I don't know who she is or what she's doing here, but she's in the opening credits now, so pay attention. She seems to be running some kind of restaurant because a beefy guy named Kyle -- who's also in the opening credits AND married to Josie Bisset, so watch it -- comes up to her and addresses her as Taylor, so at least we now have a name to go with the lips - errrr, face. Kyle rambles on about some kind of problem with the waiters but Hot Lips doesn't seem to care, so why should we? Kyle fondles her face, so I guess he's her boyfriend or husband or something. Taking another peek at the paper, she suddenly tells Kyle that she wants to go to Los Angeles for a couple of days, starting now. Kyle objects that there's a busy night tonight, but to no avail, she's off camera already, probably to use another three tubes of lip gloss. Honestly, I don't mean to harp on this, but that woman's lips take up FAR too much of the available space on her head. Something ought to be done.

Back in Kansas City, Mrs. Davis didn't want to talk to Amanda at all a minute ago, but now she's pouring her a big ol' cup of tea and telling her the most intimate details of her life. This is the basic shtick. Beth and Peter were married, Beth got cancer, Peter pulled the plug on her. Beth's parents kind of took it the wrong way and seemed to get upset for some reason, and Peter disappeared. "The funny thing," Mrs. Davis says, is that a couple years later, they found Beth's diary in a box, and her last entry said that she wanted to kill herself, but she couldn't get Peter to help her. Well, that IS funny, isn't it? I mean, you have to laugh. It's the kind of thing they'll all get a big kick out of years from now.

Okay, so remember how at the end of last season, Jane bought a clothes boutique too? Jane's motto: Why bankrupt one business at a time when you can bankrupt two at once? So she's hard at work at "Jane's," the new shop, when the police stop by with some questions about Richard's disappearance. Jane's pretending not to know anything when Samantha carries in a load of clothes from Jane's car, accidentally dropping the trenchcoat Jane wore when she killed Richard. The Telltale Hart starts beating louder and louder, and Jane has a hard time concentrating on her conversation with the police officer. He splits, and Jane frantically attacks Samantha, asking where she got the coat. "Now, you'll excuse me for saying this," Samantha blurts out, "but lately you've been jumping around like a crab in a steam pot." Jane has no time for weird folksy analogies, so she walks off with the jacket, leaving Samantha with yet another confused expression for the fadeout.

At Shooters, Jake takes Alison's hand and observes that they've been avoiding each other since Alison's date with Billy. Neglecting her work -- as if she does anything else -- Alison has a long conversation about how she's falling for Jake. Jake agrees, saying that "I've finally found someone who looks at life the way I do," a line I clearly remember him using on at least two women last season. Alison brings up Billy's proposal, and says that she wants to tell him about their relationship, but Jake gets all sensitive and says that they'd better be sure about it before they hurt Billy. Now if they'd ask me, I'd advise 'em to laugh openly at Billy and rub it in his face until he's driven to suicide, but hey, that's just me. I guess I'm just not feeling very "grounded" these days.

And FINALLY we get some action in this episode. The voices in Jane's head are telling her that Sydney's behind all the weirdness, so when Sydney arrives home from work, she finds Jane in her apartment, fondling her gun. "It's been you all along, hasn't it, Sydney," she shrieks, and accuses Sydney of planting the shovel, the trenchcoat, and the muddy footprints. Sydney grabs the gun away from Jane like a kindergarten teacher confiscating a water pistol, then yells: "I can't take this anymore! You have been flying around here like a parakeet ready to blow this thing wide open!" As parakeets so often do. What is with the analogies tonight? Jane says that someone is trying to drive her crazy, but Sydney tries to explain it all away as a string of coincidences. Sydney says they just have to get through this, but Jane doesn't know how she can get over killing someone. She breaks down and cries, and Sydney comforts her, and so ends another quiet, slow night at Melrose.

The following day's events start at the oh-so-beautiful Wilshire Memorial hospital, where I have noticed that we only ever seem to see one hallway and one nurse's station. I think this must either be a very very small hospital, or HEY, maybe Aaron Spelling only wanted to spring for one hospital set. Anyway, Kimberly lies in bed with a ventilator tube crammed down her throat (at least we know she won't be blessing us with her nasal ramblings for awhile), and Michael sits at her side, the ever-vigilant dog-boy. Then (God help us) he tells a story:

"A story about two people who fell in love (who fell in lust is more like it). There were bad times (yeah, and lots of them), but the good times were on fire (and so was the couch at the beach house, and Melrose Place itself). Then Michael goes off on a tangent about marriage, and we're regaled with black and white flashbacks of the affair-behind-Jane's-back-days (was Michael's hair ever really that _big_?), marriage scenes from last season outside the beach house, but surprise, surprise, no flashback of a bald Kimberly, her throwing knives or the contents of the house at Michael, or her little death shrine to Syd. Selective memory much? "That couple was us (and Rita, and Betsy, and that creepy guy in the mirror). Come home. Come home, Kim. Kim, come home (Lassie! What is it girl???)." And lo and behold, Kimberly begins to grunt around her breathing tube, and Mikey-boy goes into high panic mode, calling for a nurse and staring lovingly at Kimberly's enormous forehead. Kimberly replies with an articulate "Groufgrargh." Beautiful.

As this neverending episode continues, we cut to the LA county jail, where I think I just saw OJ Simpson go by! Never mind, it was only Taylor (a.k.a. Billie from "Days of our Lives"), with the same haircut from two years ago. Our friendly neighborhood Detective Wiley is busy recommending 24-hour light in Peter's cell and constant noise around him (um, is that really allowed?) when he sees Taylor go by and stops to ask where she's going. She asks to see Peter, and is really put out when she's told there are visitation restrictions. She snots around about how people have rights, blah, blah, blah, and quite frankly I figure that anyone who's character is actually named Taylor McBride doesn't need rights -- just better writers. Snot turns to shock when Detective Wiley tells her that only Peter's lawyer and wife are allowed in to see him. Oops! Wife? Wiley tells Taylor/Billie (I'm sorry, but it'll take me a while to get over this. I still think of Jo as Princess Vespa from "Spaceballs") Amanda's name, and she stammers that she's sure they've met, then hightails it outta there without leaving her phone number. Why the cops need that I'm not too sure. Maybe Wiley liked her hair.

Back at LA's only bar, Billy ties one on (or two, or three) and Jake is standing around looking really uncomfortable/nervous/scared/silly. Billy slurs his appreciation for Alison in her Shooter's uniform (a pair of jeans and a t-shirt), as opposed to her "Amanda-wannabe suits at D & D. You don't gotta show all that leg to look sexy." No, but the ratings will go way down. Jake says "I guess.", sticking to the #1 rule for keeping a big secret from somebody: Respond to everything they say with sullen one-word answers! Billy then jumps on a chance to embarrass himself with yet another brilliant line when Alison comes to the bar. "You don't want to marry me and it's cool", he sputters. Alison suggests talking another time (as she always does). "There's nothing to talk about" he tells her. "You don't want me and I accept that." Oh, really, Billy? Then STOP TALKING ABOUT IT!!! So Alison delivers her favorite line, "Billy, you're drunk" as I start rolling on the floor in agony. I guess the shoe really is on the other foot. Unfortunately, that foot is also kicking Billy's butt. Jake offers to send Billy home in a cab, but Billy says he doesn't want to leave his friends. Friends? Where? Everyone knows Billy was a bastard last season -- he has no friends. Jake lets Billy sleep off the drunk in his office, and he exchanges meaningful glances with Alison. I'm over in the corner puking if you need me for anything.

And back at 4616, it's Amanda in pajamas! Actually, it's just an ugly suit. She's checking her mail, no doubt waiting with baited breath for her "How to get a personality in 12 easy steps" kit from Wham-O. Matt comes in and she tells him he looks like hell (not more dramatic foreshadowing! I can't take it!), and then spazzes on him because Jo has 3 days of mail piled up. I can see how that would just ruin anyone's day. Matt tells her that Jo moved to Europe with Dominick O'Malley, and is currently in Bosnia doing photo coverage of Doctors Without Borders. Ever her charming self, Amanda breaks the devastating news that "THERE'S NO WAY SHE'S GETTING HER DEPOSIT BACK!" Oh the humanity! Amanda complains about having to clean Jo's apartment and show it to a bunch of losers so Matt offers to do it for her for a break in his rent. Amanda accepts the offer, but with a noncomittal comment on the rent break as she walks away to ponder how her bangs grew 3 inches overnight.

Alison and Jake carry a very intoxicated Billy (Hey! That's a Backstab Sandwich!) into the Melrose courtyard and on to his apartment. Billy is mumbling and carrying on so Matt - or, as Billy puts it: "MattMan, M'friend!" - tells him to be quiet, because Amanda's on edge (as if that's some kind of rare occurrence. What I want to know is what Amanda is on the edge OF). Alison and Jake get Billy into his apartment where they deposit him on the couch, and Alison congratulates Jake for his brilliant idea of leaving Billy in the Shooter's office which is where, as it turns out, Billy found a bottle of Tequila and climbed right into it. Jake counters that he didn't know Billy would do that and already these 2 are sounding like The Bickerson's and their relationship hasn't even gone public yet. Sheesh. Billy tells Alison and Jake that they're his only friends which is kinda sad considering the surprise they have in store for him. He then gleefully adds, "I hope I get sick!" Alison and Jake leave so they can suck face in front of Jake's apartment because that's a quiet, secluded place and none of the Melrose neighbors are NOSY enough to actually catch them, right?

As we fade to a commercial, someone who deserves a raise has come up with the best cut-to-ad-shot ever. It's black and white slo-mo of Jake and Alison kissing, with a split screen of a sweet little drunk sleeping Billy on his couch, all overlaid by the MP logo. Perfect.

Taylor wanders into the Melrose Place courtyard where she finds Manic Matt clearing out Jo's apartment, except Matt is so wired on drugs that he's accomplishing little more than making a bunch of disorganized, jerky movements. Taylor asks Matt "if Amanda owns this building", which Matt confirms so she adds, "I've heard it's a nice place". This prompts Matt to look blankly at her before spitting out a laugh dangerously similiar to those of Beavis and ButtHead ("Uh huh huh huh"). Matt informs Taylor that he's "sorta managing" the place, so Taylor dives right in and asks if there's a unit open and are married couples welcome and can she see it and can she put down a deposit. And between Matt's pill popping and Taylor's obvious penchant for cappucino, this scene is just so awkward that Baryshnikov couldn't have choreographed it better. The 2 head upstairs to look at the apartment but only after trying to headbutt each other for the 20th time in this scene.

Michael is holding Kimberly's hand as she lays in her hospital bed gazing up at him as if he should actually qualify for sainthood. Michael, always the romantic, professes his devotion to his psycho wife by crooning, "I'm on you like white on rice!" Ah, Hallmark cards should be made of such sentiments. Michael then changes his tone and tells Kimberly that she's Peter's alibi and that she needs to talk to the police because "I need him back at the office - the business is falling apart" which are far better reasons than, say, the TRUTH! Kimberly agrees to give her statement to the police even though it's obvious she has no recollection of that evening with Peter but justifies this by saying to Michael, "How could I say no to you? You saved my life." And I'm glad she said that because I had no idea that hand holding and yelling at medical staff was all it took to cure one of a 10 foot fall off a Boiler Room scaffold. Will wonders never cease...

A storm has suddenly erupted over sunny California so maybe NOW the pace will pick up. It's obvious from the deafening thunder and ultra-bright lightning that the special effects people were never taught the difference between OVERKILL and moderation. This over-emphatic storm continues throughout the rest of the episode and it's actually more annoying than anything else. So when I refer to the thunder, I want you to take 2 metal garbage can lids and SLAM them together so you can get the full effect of how overdone this storm was.

At Shooters, Jake walks past Jane and Sydney's table on his way to make goo-goo eyes with Alison. He makes a whiny comment about how she left early in the morning so now I'm worried that the folks who wrote dialogue for Jo have now set their sights on Jake. Alison explains that, until they get the "Billy thing" resolved, they will have to sneak around. When Jake starts pouting, Alison tells him cheerfully, "Aw, c'mon - it'll be FUN!" and sometimes I think this girl could find the bright side of a root canal. Jake mumbles, "I'm falling for you too, you know" and wanders off. Alison walks in the opposite direction, back past Jane and Syd's table where this time the camera stays.

Jane and Sydney are toasting one another on their good luck with the LAPD who, it seems, is so bogged down with all the other crimes going on out there that they wrote off Richard's disappearance as voluntary and closed the file. Syd tells Jane some nonsense about how she's relieved and yet feels "kinda bad" about what happened and then wishes Jane could relax too. The 2 sisters raise their wine glasses as Jane says, "To justice - and getting away with it". As the glasses clink together, a simultaneous clap of thunder explodes. Yawn.

Amanda is in a jail cell pacing back and forth when her husband Peter WhatIsMyLastNameNow is escorted in. They each start talking over each other about Peter's shady past when Amanda informs Peter that evidence was found that his first wife committed suicide and he has, therefore, been exonerated. Amanda seems relieved that Peter's innocence has been proven until he tells her, "You don't understand. I did do it. I killed my wife." (more lightning and thunder to add effect)

Michael, Detective Wiley, and half a dozen other random extras are all marching down the hospital hallway en route to Kimberly's room, presumably so she can give her statement. However, upon entering Kim's room, Michael finds it empty. He angrily summons an orderly who explains, "She said you told her she could check out" so I guess in this hospital of Hand Holding Therapy, medical charts have also been abolished. Michael takes the orderly, slams him against the wall, and with Mr. Detective as witness, tells him, "If I don't find her in 3 minutes, you're a dead man!" Michael then storms off.

At Jane's Home for Wayward Design Assistants, Sam is sitting comfortably with her feet propped on the table, reading a magazine and drinking a cup of Lord-only-knows-what when Jane walks by on her way to bed. Sam thanks Jane for being so hospitable and then tells Jane to "sleep well". Jane echoes the sentiment and heads into her room. Closing the door behind her, there's yet another overzealous thunder clap and she sees that her windows are open. She closes them while rationalizing aloud, "I must've left them open this morning" and then crawls into bed. Pulling the covers up to her chin, she rolls onto her side where she discovers a pile of dirt in her bed. Instantly panicked, she starts screaming, springs out of bed, turns on the light, and yanks the blanket off the bed to expose a makeshift gravesight on one half of the bed, complete with a wooden cross. As Jane continues screaming and brushing the dirt off herself, we see Richard standing outside her window soaked from the rain but thoroughly enjoying Jane's hysteria.

--written by Danny, Jo and Stacie

Michael finds Kimberly and tells her she's Peter's only hope, but Kimberly informs Michael that she can't remember anything and, therefore, can't be Peter's alibi. When Amanda comes to visit the beach house, Michael tells Amanda of Kimberly's memory loss, so Amanda lunges at Kimberly while snarling, "I'll make you remember!" Jane tells Sydney that Richard's not dead, so in an attempt to prove that he is, Sydney takes Jane back to Richard's gravesight where they plan to dig him up, but Richard is there with a gun waiting for them.