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Robots Need Love Too. They Want to Be Loved by You.
shows him the boxes of animal crackers he loves. Walter grumpily says it's William Bell who loved animal crackers: "I occasionally eat them to honour him, that is all." I eat fried peanut butter and banana sandwiches. Not because I like them, mind; I do it to honour Elvis Presley. Then Walter starts chuckling as he remembers how Bell always thought that "dinosaur cookies" would have been a great idea: "Velociraptor, mmm! Dilophosaurus, yum!" Astrid says she was always a big stegosaurus fan -- as was Belly, apparently. "The funny thing about stegosaurus..." he begins, and then Walter suddenly goes quiet, like something just occurred to him, and he bolts out of there, although not so urgently that he doesn't take the time to warn Astrid not to eat his pudding.

Walter gets on the elevator, and the doors are about to close when one Officer Ray Duffy gets on as well. And it isn't too long that Walter starts talking -- ostensibly to the officer, but really to himself -- about how the "stegosaurus had a brain in its ass," or rather a massive cluster of nerves above the rump and this is an evolutionary leap, apparently, separating short-term memory from long-term memory. This causes him to refer to Belly as an "ingenious son of a bitch," and he is oblivious to Duffy pulling out his shapeshifting device. Way to stay undercover, Duffy!

On the twenty-third floor, the security guard lets Walter go right on through, but tells Duffy that he's not allowed to be up here: "Police are strictly working the lobby." Duffy more or less ignores him and kind of cocks his head, watching Walter continue on. "Sir," says the security guard. Likely the last word he'll ever speak.

Back in the cafeteria, Peter and Fauxlivia are talking about Patricia Van Horn not knowing her husband wasn't actually there anymore, with Fauxlivia arguing the "shapeshifters are amazing!" side of the argument. Peter wonders if maybe she DID notice but just made excuses or came up with ways to explain it to herself: "Kind of like I've been doing with you," he says, giving Fauxlivia yet another "Oh shit! My cover's blown!" scare, only Peter is just referring to "all the little differences" he's noticed in her since she's been back from the other side. "It's like you're a completely different person," he says, including her seeming less burdened and more patient with Walter. "Don't get me wrong, I like it. The change is good. But it's different." Fauxlivia, you really shouldn't be looking THAT nervous right now. They're joined by Astrid, who of course doesn't know where Walter is, causing Peter to spring into action.

Upstairs, Walter is wrestling with Van Horn's body, rolling it over so he can make an incision in the base of the spine (mercury spilling out). Officer Ray Duff comes strolling in and tells him to step away from the body, and Walter goes full-on fraidy-cat, holding his hands up, but while Duffy pokes around inside (the conveniently pre-opened) Van Horn, Walter grabs hold of what looks like some kind of surgical steak knife.

Duffy pulls a little doohickey out of the back of Van Horn, and Walter's not so terrified that he can't be excited over being right about the memory being in the base of the spine. "Yeah, you were right," says Duffy, not even looking at Walter, who closes his eyes, looks like he thinks that what he's about to do will likely result in his own death -- and he jams the blade into Duffy, who pulls it out and then grabs Walter and slams him hard against a beam.

Downstairs, Fauxlivia and Peter get on the elevator that Duffy vacates, and Peter notices, too late to get out the closing elevator doors, the splotches of mercury that must have come from the cop. Fauxlivia hits the button for the second floor and tells Peter to look for Walter, while she goes after the shapeshifter.

So she gets out and more or less stands around while Peter continues up in an elevator that apparently gets to your floor faster if you continuously hammer the button for the floor you want.

He gets off and races past the dead security guard to find Walter groggy on the floor. Peter cradles Walter's head as Walter starts talking about the two-brained stegosaurus. And here comes Fauxlivia, having decided she's spent enough time pretending to chase the shapeshifter. She calls the EMTs for Walter, and by this point the blood is flowing from Walter's head pretty good, and Astrid FINALLY shows up and freaks out over Walter's injury. "Under the circumstances, I'm fine. I could have been killed," he tells her. I think he's happy to milk this for sympathy juuuust the teensiest bit.

And then Peter tries to hack into Massive Dynamic's security cameras so they can try to ID the shapeshifter before he changes bodies, and Walter merely places his thumb on the scanner, granting access immediately. "Ownership has its privileges," he says, before Astrid leads him away.

Duffy pulls into his driveway, and finds Newton standing there in the suburban darkness, looking at his house. Let's just say they don't exactly high-five each other. Newton points out that Duffy didn't shift. "I didn't have to. I got it," says Duffy, and he hands over the whatsit to Newton. As for the house, Newton tells him: "Don't worry about them. I took care of it. We're clean." Duffy gets angry and asks him why he did that -- but that was only a test. Newton didn't actually kill them. "I couldn't understand your hesitation. I saw it, but I didn't understand it. It's them, isn't it," he says. Well, of course it's them! Isn't that part of the point? Walter figured that out in like five minutes with a dead one! As far as robot epiphanies about humans go, it's not quite "I know now why you cry."

While Duffy protests that this is his life, Newton tells him this is simply a "way station," and now he'll have another life: "It's what we do. It's what we're made for." You guys, maybe. But shapeshifter Gene Simmons was made for loving you, baby.

Look, we know this isn't going to end well. Duffy gets a bullet in the forehead, and it's as Newton is putting the cop's body in the trunk of his car when Fauxlivia and Peter arrive, Fauxlivia firing a shot at Newton's car as he peels out. They chase him their own car -- the model of which we know thanks to an annoyingly noticeable bit of product placement camerawork.

So the two of them haul ass up and down the streets, because it's not like they can fire off turtle shells at each other. Unfortunately for Fauxlivia, Peter's driving, so it's not like she can "accidentally" lose Newton. At one point the cars are beside each other and Newton and Fauxlivia actually look at each other, Fauxlivia looking like she has absolutely no idea what to do.

The chase winds up in a tunnel, and Newton wrenches the wheel to go around another vehicle, and winds up rolling his car. It's not explicit, but I think he did it intentionally. Our Fringe heroes get out of the car, with Peter calling Broyles while Fauxlivia approaches Newton's vehicle, and does her best to whisper at him so Peter can't hear. She grabs the disk from his jacket (Newton grabs her wrist and stares at her for a moment before letting go) and then calls out to Peter, "I can't find it, but, uh, we can search properly when I get him custody," like maybe they can put him in a crocodile tube until he talks, and really, one of the "little things" that I imagine Peter has noticed about "Olivia" since she's been back is that she ALWAYS SOUNDS LIKE SHE'S LYING.

Fauxlivia strolls through the corridors of one of those stylish, elegantly lit prisons you see on television. No sounds except the clanging echoes of the doors, no one around...

She's there to visit Newton, who asks if the Van Horn disk is secure. "It is," she says. Isn't Newton the kind of prisoner that you'd want in a cell that's monitored? No? You're sure? OK. Fauxlivia passes him a little tab of something through the sliding partition of his cell, and he looks at it. "You're gonna have a very difficult time without me, you know," he says. Maybe, but she'll probably also be subjected to fewer smug, condescen

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