Ok, so Fringe is no Lost, right… it´s still from the same guy, so it´s all good. And it has the only non annoying Dawson´s Creek Alumni (Well… besides Michelle of course!). Yesterday a new episode of Fringe aired called Inner Child. Here are all the spoilers of Fringe

Complete Recap and Spoilers of Fringe 1×15 – Inner Child

Work crews set up dynamite to demolish a building. Two workmen walk away after placing the charges. One stops in his tracks, feeling odd, like maybe he didn’t sweep the building. He goes back in the building. He wants to do another sweep. He checks the building blueprints. He thinks there’s a room not on the prints. He stomps on the floor until he steps through. In a tunnel underground. Definitely not in the blueprints.

Something smells. They search around in the dark. They find something – a white-eyed feral child.

Olivia wakes up, being stared down by her niece.

At FBI HQ, Charlie Francis takes a call. He checks the fax machine. There’s a postcard advertising a brand new show in New York and Boston. It gives Charlie pause.

At Olivia’s, her sister tells her that they went apartment hunting yesterday. She’s thinking of staying in Boston.

Charlie calls Olivia. He says the Artist is back. They got a fax. She gets another call from Broyles. He wants her at Children’s Hospital. The bald child is there. The tunnels have been sealed for 70 years. No one knows how he got down there. He hasn’t spoken a word.

Walter Bishop wants his turn table.

The doctor says the child is having difficulty breathing. She wants to give him oxygen, but Dr. Bishop advises strongly against it. “Unless you have an IQ higher than mine, I’m not interested in what you think,” he says. The boy was in a low oxygen environment and his lungs adjusted, which is why he’s having a hard time now. Instead, they need to deprive him of oxygen.

Somerville, Mass. A woman (Lacy Goranson) does laundry at a laundromat. A man admires her griffin tattoo, asking if it hurt. She blows him off but seems to feel bad when she sees he’s in a wheelchair. Outside, she sees him trying to put his laundry in his van. She offers her help. As she leans into his van with his clothes, he stands up out of his chair behind her and jabs a needle in her.

In his van, he rises up, covered in blood. He takes out a jigsaw.

In the hospital, the child does better as they fix his oxygen levels. He’s bald, deathly pale and had red, sunken eyes. Walter guesses he ate rats, moss and millipedes.

Olivia tries to talk to him. Her phone rings. It’s Charlie. The boy watches as Olivia talks, everything is a haze to him. Olivia writes down Coolidge Park. The boy watches. He grabs her arm.

He takes her pen and starts writing in upside-down script. He writes: Sam Gilmore. They think it’s his name.

At the park, Olivia hears that the body was found a while ago. A woman is displayed in a white dress, standing, with a with a black wig. It’s the woman from the tattoo parlor. Her name is Samantha Gilmore. He worked on her after he killed her.

At the office, Charlie briefs the team on The Artist. They first encountered him three years ago when he killed four women over a period of two days. He kidnaps, sedates and kills his victims.

He bleached Samantha’s skin, dyed her hair and displayed her.

Olivia tells Broyles she sent the boy’s pictures to Samantha Gilmore’s friends, but no one recognizes him. The hospital is doing an MRI.

Dr. Bishop presents research on feral children. He says the boy lacks micro-organisms that anyone above ground would have so he’s been underground his whole life. Bishop guesses he could be older than the 10 years he looks. They don’t know why he’d know Samantha Gilmore.

But good news, Bishop says, he found his turn table.

Someone comes in with news that the artist sent another fax.

The Artist approaches a woman walking her dog.

Olivia visits with the boy. She brought him M & Ms. She eats one. He takes one and feeds it to her. She removes the yellows, as a kid they reminded her of medicine.

She talks to him about the name he wrote down. A man interrupts. Eliot Michaels (Erik Palladino) from social services. He asks the boy permission to borrow Olivia. In the hall, he tells her he’s arranged to have the boy moved tomorrow.

The boy starts freaking out. His heart rate spikes and he covers his ears. Olivia asks Eliot to give them a moment.

In the hall, Eliot makes a call. He tells someone he thinks they may have found another one.

The boy takes Olivia’s note pad. He writes an address.

Olivia and Charlie Francis go there. From inside his van, the Artist holds his hand clamped down over his latest victim’s mouth. She’s still alive. Olivia walks right by the van.

At home, Olivia’s sister asks her if she likes her job. She does most days. Not today, she followed a lead that didn’t pan out. She asks her sister why she’s still up. Right when she’s about to answer, Olivia’s phone rings. Charlie says they found the second victim, outside a church. Charlie says a little while after they left the address the boy gave them, a neighbor found her dog tied to a fence, whimpering. Olivia is upset that they were there and didn’t find her.

Olivia visits the Bishops. She tells Walter that the boy was right. He thinks that since he’s been living underground for so long and is hyper sensitive to light and sound, he might be sensitive to people’s intentions. Like a shark, whose bioelectric field allows them to detect their prey from many miles. But he doesn’t know why the boy would know what he does.

He thinks he might be able to hear his thoughts.

Olivia visits the boy. He made an arrow out of her yellow M & Ms. She tells him she wants to take him somewhere. She leads him by the hand out of the hospital to Walter’s lab. Astrid shows him Bugs Bunny cartoons online.

Walter finds his neural stimulator. The last time he used that thing he drilled it into a guy’s head. He thinks he can modify it – which might have been interesting to the last guy.

Eliot arrives at the hospital and is upset the boy is gone.

Olivia holds the boy’s hand in the lab. Walter fluffs his hair and puts on a record, specifically, Al Green’s “Love & Happiness.” He does a little boogie to music with the device to relax the boy, it works. He puts it on himself as he dances. The boy smiles and lets them put the same crown-like electronic device on him. He tenses up again. Eliot Michaels comes in.

Olivia meets with him and Broyles. She says child services doesn’t really have clearance to know why they need him. But Michaels is really with the CIA’s director of science and intelligence. They want the boy. Broyles says it’s out of their hands.

Astrid interrupts, saying they got another fax from the Artist. Broyles asks Michaels for another day with the boy. They agree.

The boy watches, nervous.

Peter Bishop entertains the boy with GI Joes. Walter works on a mnemonic, trying to remember which wires go into which connections on the machine.

Olivia reports on the forensics from the second victim. She had cow’s blood under her nails. Walter remembers what he needs.

Peter has a thought. He once worked as a floor sweeper at meat-processing plant, they had these huge pieces of plastic they wrapped the meat in. It fits.

The Bishops work on the boy while Olivia checks out a meat plant.

They turn on Walter’s machine. There’s a high pitched whine, the machine calibrating. Walter adjusts the levels. A computer voice starts talking. The boy starts shivering. He’s freezing. Peter tells him to turn the machine off. It doesn’t make sense, he says.

Olivia asks the meat processing manager for a copy of his employee records. She also wants a sample of their shipping plastic. He says a man came in yesterday and he sold him some plastic.

The Artist approaches a teacher outside a school.

Peter tells Olivia about his shivering. He reports back to Walter and Astrid on what Olivia says. Walter asks if the plant was refrigerated. That explains it.

The boy is an empath. He’s bonded to Olivia. He’s telling her because he knows the information is important to her. He’s trying to help.

Olivia takes his hand and tells him she’s trying to stop the man who’s been hurting people. Olivia thinks it’s like the boy is mad at her. Astrid says it’s because he doesn’t want to leave. Olivia apologizes to him and says she can’t stop them from taking him. If he can really feel what she’s thinking, he’ll know she means it.

He takes her pen. He writes York/Glenway.

Olivia arrives at that intersection, stopping drivers. She compares them to her sketch from the meat plant manager. She stops the Artist in his van. She looks at the sketch and sees the resemblance. She sees a yellow tree air freshner hanging from his rear view window. She realizes it wasn’t an arrow the boy made out of M & Ms, it was that. She wants to check the back of his vehicle.

Author: MollyWillow for IMDB