Episode Report Card Daniel: C+ | Grade It Now! YOU GRADE IT Come on, Eileen
By Daniel | Season 2 | Episode 13 | Aired on 12.15.2008
ley is ... back in the bathroom at the Connor Compound? At any rate, she flashes back to visiting Jesse at the hotel because she needed someone to talk to. "Phones. That's why we have phones," says an extremely pissed Jesse. A distraught Riley says she got kicked out of her foster home because she hit her foster mom. She thinks that instead of going into another foster home, she and Jesse can get a place together. "I'll just tell John that I quit school, and then we can be together," she says. This would be when Jesse hauls off and smacks. "I'm not here to babysit you. And you're not here to feel sorry for yourself," she snaps. She lectures a shocked Riley on how she's here to do a job: keep John away from her. "Go do your job," she says. You know, I assumed she meant Sarah, but given that she doesn't say Sarah's name, it could be Jesse's referring to an even tougher bodyguard...... who, back at the Connor Compound, is telling John that Riley's lying. "About what?" asks a not-really-giving-a-shit John. Cameron says she doesn't know, but her heart rate was elevated and her hand was perspiring, which John chalks up to Cameron freaking her out as usual. Cameron asks what happened to her face, and John admits that he doesn't know. "I could find out," says Cameron, and John warns her to stay away from Riley. They head back inside, and find the bathroom door locked. John gets Cameron to force it open (need her already, hey?). What they find inside is Riley, unconscious on the floor, bloody wrists. John gathers her in his arms and looks up at Cameron, scared.
So Sarah bursts in on Dr. Morris leading a group therapy session, and insisting she's got an emergency, which is rather rude, but given the topic was "when do you tell a new person in your life that you've been abducted," I think Sarah's doing them a favour by forcing them all to get sunshine. Morris breaks up the group therapy for this "emergency," and when Sarah hugs Allan, she slips something into her purse.
Looks like Ellison's decided to impart some life's wisdom over a game of chess with Chrome Artie. He asks if John Henry ever played chess with Dr. Sherman. No, but they played talking games. Ellison asks John Henry if he misses Dr. Sherman. Henry doesn't reply right away, then acknowledges that he learned from Dr. Sherman, so Sherman's absence slows his growth. His absence is more important than that, says Ellison, who sets about trying to explain the importance of human life. "It matters when we die," says Ellison. Henry asks why it matters, given that everyone dies eventually. Ellison goes on about the sanctity of human life, saying that since god made everything on the plant, "we are god's children." "Am I god's child?" asks Henry, who still has a lot to learn. "That's one of the things I'm here to talk to you about," says Ellison.
So did the hypno-regression therapist get pissed when she found out the emergency was just retrieving directions to a place? Guess not, because she goes to work on Allan, trying to get him to remember the bus ride to the lab. Naturally, Sarah's listening in, which means she hears the last thing said by Dr. Morris: "Can I help you?" There's someone standing in the room. Shots are fired. Sarah bolts from the truck, and maybe she might have been able to help out if she weren't moving in SLOW MOTION. By the time she gets inside, Morris and Allan are both dead, and the sound of a motorcycle revs up and fades away outside.
Fortunately, the hypnosis was completely successful and Sarah manages to find the top secret lab based solely on auditory clues, like "it rains, every day," as Sarah pulls up by a field just as sprinklers come on, spattering her truck. So ANYWAY, she finds this big windowless warehouse and loads up her knapsack with guns and bombs. And despite this place supposedly being intensely private, Sarah thinks it's a great idea to just stroll right up to the door HOLDING A GUN. Oh well. At least we're finally getting to the fireworks factory.
And inside there's a single guy working at a desk. He's somewhat surprised, to put it mildly, to have a gun pulled on him. He says his name is Winston, and claims to install air-conditioning. He pleads with Sarah, saying he's got a wife and son. Sarah asks him what's in the warehouse, and Winston says his boss rents it to another company. Just as Sarah's distracted, ol' Winston with the wife and kid whips out a gun and shoots Sarah in the leg. Instead of staying where he is to finish her off, he comes over to stand right over her, and Sarah manages to wrestle his gun around and shoot him instead. He collapses on top of her and rolls off, and Sarah drags herself towards the door, hallucinating her tanktop self spinning a knife, and her pink-dressed self.
Hauling herself out the door, she rolls onto her back and stares into the sun, which isn't going to help matters. Slowly, the sun is blocked out by the descending underside of a craft that looks remarkably like the diagrams from Allan's trailer. Sarah might not have actually seen one, but to me it looks like a Hunter-Killer.