Anya’s next school assignment will be to go to a parent’s workplace to learn about their job and why they chose it. She asks Yor first, who imagines Anya shadowing her while she’s doing her real job assassinatin’, which is great both for some laughs and another excuse to watch Yor do her thing. Thankfully the blood in her imagining is pink, but both she and Anya deem it best for her to go to Loid’s workplace.
When I was sick but too young to stay home alone, my folks would alternate who took me to work. In both cases, their co-workers were delighted for a cute little kid to be there (their words not mine), and that’s no different for Anya at the hospital. The issue is that she takes careful notes of everything Loid is thinking rather than saying, and also learns about a secret passage she can’t resist exploring.
We finally meet the lady with the short white hair in the OP and ED; we don’t yet get her name but she’s a Westalis agent like Twilight. Anya ends up getting stuck in the ductwork directly over a meeting where doctors are talking about ghosts—and she makes a lot of ghost like sounds freeing herself. Finally, her hasty dumping of all the figures into the “sandbox” reveals the limitations of the psychiatric tool, as Loid assumes she’s deeply troubled child.
The remaining quarter of the episode consists of Anya taking the idea of coded messages from her spy TV show and running with it. Since her own chicken scratch is illegible to everyone but her (her report—including many of Loid’s thoughts—was quite thorough!) she has Yor write them up, and she then distributes them to Becky, Second Son, everyone.
Even Frankie gets one, and wrongly assumes it’s a love letter handed to Anya by a beauty. When he cracks the code and waits on the bridge at the allotted time in his Sunday best with several dozen roses, Anya’s alarm goes off, but Bond shuts it off, letting Anya sleep right through the meeting time. That’s probably for the best, considering only Frankie showed up and had the wrong idea.