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The Connor Crew heads out to Charm Acres, a little enclave that catered to the dead workers who were slashed and burned by Catherine Weaver. Their goal is to find out more information about what was actually going on out there, so you know what that means: the Connors are going to befriend people who are then hurt to find out they've been used and deceived.
Sarah meets Diana Winston, who was the wife of the man who was killed in the struggle with Sarah, which for some reason she feels guilty about. John gets cozy with a girl whose father is being mourned among the 32 dead, but it turns out he's actually alive and the family just wants the insurance money so they can get the hell out of Dodge.
Both Winston and the other guy, George McCarthy, seem to be some sort of secret security on behalf of the plant: watching over the town through underground tunnels and cameras everywhere and dispatching people who get loose lips about the strange goings-on at the factory, which comes as quite the shock to McCarthy's wife and daughter, but then again, it seems like everyone in town was looking the other way and not asking obvious questions about the airtight security at a supposed air-conditioning plant. So not only do their loved ones die, but they have to endure a lecture from Sarah about how pathetic they are.
Sarah manages to avoid saying, “I told you so!” to everyone else now that her obsession with the three dots seems to have finally yielded something important. Of course, maybe she's just a little too preoccupied with the cliffhanger ending, in which the Crew's investigations lead them a small lake, from which rises one of the fearsome Hunter-Killers, which then flies away and into the back of an empty transport truck being driven by George McCarthy. Kind of like Knight Rider! The old one, anyway.
Want more? The full recap starts right below! After we're been reminded that Shirley Manson went all stabby at the warehouse, we get a title screen: VIGIL. I know these are like chapter titles, but if any show should, this one really needs to bring back the old action-television tradition of displaying the episode title. Like the A-Team: "Bad Day at Black Rock." That kind of thing.Anyway, The Connor Crew are driving down the road in a ridiculously shiny truck and listening to the radio recount the carnage -- thirty-two dead -- at the Desert Canyon Heat and Air plant, and there will be a vigil in Charm Acres, which is an "enclave" for plant employees, and Sarah turns off the radio, because she's sick of listening to K-PLOT radio. She'd much rather play Travel Bingo. Anyone got a square with dead cows rotting along the road? Cross it off!
So the public memorial in Charm Acres consists of pictures of all the victims on easels, and the townsfolk are milling about, and Cameron tells us the old yarn about Native Americans believing that photographs steal your soul. "I hate funerals," says John. "I hate Skynet," says Sarah, like LET HIM BE BUMMED OUT FOR A SECOND, and then John is griping about how this doesn't seem like a good idea anymore, and Sarah tells him to go find someone to talk to, which is awfully helpful. They're there to find someone who knew what was going on at the factory, but John says anyone who knew anything about the factory is dead. "I'm not," says Sarah, and John gripes that Sarah must be "luckier," in a tone that suggest he himself doesn't feel so lucky.
Sarah wanders through the pictures, and then comes across the one of the guy who shot her. She stares at it. See, the trick is to look past the picture. Then the 3D image pops out at you! Or in this case, a flashback to an episode that aired so long ago it might as well be from the first MOVIE. "You'd never guess he had it in him," says Derek, breaking Sarah out of her trance. "I see it," she says. Sure, NOW you do, one bullet wound later.
John spies a dark-haired girl moping on a bench. I guess what with Riley attempting suicide and then disappearing, he's probably got some kind of toxic-relationship void to fill.
"Is this seat taken?" he asks. "Are you going to say annoying things?" she asks him. Almost exclusively, sweetheart. But what she's talking about are the things people say when they're grieving, like, "I can't believing this is happening," that kind of thing. Yeah, stupid mourners! John promises not to say anything like that, and introduces himself (she's Zoe, she tells him) and he sits down. She asks if he knows someone in Charm Acres, or does he just have a "thing" for "small-town, homey funerals," and he says his mom worked at the factory and came to pay his respects, only then she calls him a "stupid funeral crasher" all mock outraged. Then she complains about Cameron "creepily" staring at them, and in Zoe's defence, that is exactly what's happening, like maybe Cameron could be just a little less robotlike about it. Zoe points out her mom, and says her dad worked at the factory. Yeah, WHO COULD YOUR DAD POSSIBLY BE. Then she cheerily talks about picking out a suit for her dad to be buried in, and she picked a grey one, even though "Henry" thought it should be a black one, and then this "Henry" character happens to come over, looking like the rich bad guy's sidekick in an '80s teen movie, and he tells Zoe that they're about to do the candle-lighting, and John extends his hand to introduce himself, and Henry glares at him and walks away, which I can't believe doesn't just happen to John all day long. John asks if Henry is her boyfriend, and she says, "He keeps applying for the job. I'm just not hiring," and she says it was nice to meet John, and then she skips off to continue thinking she's up to star in Juno II: Annoying Quirky Dialogue on Patrol.
So then some guy at a lectern is reading that poem about not standing at his grave, because he is not there, and meanwhile everyone is still milling about, like can you actually pay attention to the MEMORIAL SERVICE? What's your problem? Derek carries a lit candle around and looks at people standing to the pictures of their loved ones: Zoe and her mom stand to some long-haired beardo guy. And Sarah is still staring at Winston. Derek looks at her, and then is momentarily distracted because he's bumped by -- hey! Max Perlich! Meanwhile, a woman comes over to stare at Winston's picture and talk about how he hated to have his picture taken. Sarah apologizes for being in her mourner's space or whatever but the woman tells her it's nice to see an unfamiliar face for once, because all she sees around are people who've lost someone. Sarah introduces herself (yes, as Sarah -- it's CALLED AN ALIAS, SARAH. Try one sometime!) and the woman introduces herself as Diana Winston. Then she asks if Sarah knew her husband. Sarah's all, "If by 'knew' you mean 'killed,' then yes!"
Title screen: SERVICE. Images of the deceased are projected on a screen (in this case, Eugene Miller) while the appropriate relatives approach the casket. And Diana tells Sarah that Gene used to project movies on his garage door for the neighbourhood. "I just went for the free beer," says Diana, and Sarah congenially says she's done a lot of things like that, and now Diana is crying because she can't remember the last movie she saw with Winston, and how sometimes she'd just leave supper in the fridge for him. Sarah tells her it was a hard place to work, which she figured out in just those few short non-existent months she worked there. Meanwhile, there's Max Perlich in the back, scoping stuff out.
His cellphone rings. It's Catherine Weaver, calling him "Mr. Walsh," asking if he's located "him" yet, and Perlich says it's proving more difficult than he anticipated, and everyone he's talked to thinks this person is dead, and Weaver assures Mr. Walsh that he isn't. And thankfully the walls of the corridor Weaver's walking down stay free of blood spatters (for now).
Walsh hangs up and then seems to take an interest in Zoe's mom and sits down in the same pew as her.
Meanwhile, Agent Ellison is noticing a couple of plaid-clad people, including Murch, that one Moby-looking scientist, who tells him it's not "company policy" or anything, just something that a few of them do as an homage. To lumberjacks? No, to Lachlan Weaver, because this is the anniversary of his death. "He was a great guy. He was a genius, funny as hell. They both were, back then." The elevator dings, and there's the currently non-genius, super-serious Weaver on the elevator. She greets Ellison and Murch, who both get on the elevator with her. "Beautiful day, isn't it?" she says, staring straight ahead as the doors closed.
Back at the service, Gene Miller is being eulogized by a guy who takes some time to thank Desert Heat and Air's parent company, the Kaliba group, not just for picking up the tab for the funerals and the flowers, but also for the "kindness and generosity" they've shown during this difficult time. to Sarah, Diana Winston closes her eyes and shakes her head and eventually stands up and erupts, "Is this all it costs to buy us? Flowers and a few kind words?" Everyone sits around looking uncomfortable while she asks if any of them has seen anyone from the company. And not just today, but ever. No one says anything, and Diana grabs her purse and stomps out. Sarah's not far behind. They're barely out the door before the minister says, "Let us pray." Derek, sitting near the back, looks over at Walsh who, like him, isn't exactly bowing his head in sorrow.
Outside, Sarah sees Diana sniffling on a park bench. I'm sure she'll respect the grieving process and not just barge on over -- oh, my mistake. She sits down, and Diana just opens up about how for the first six years of their marriage they lived in nine states, thanks to Ed's military career, and she was the one who pushed Ed to take the nice, stable job that would let them settle down: head of security for Desert Canyon
Heat and Air. "Come on. What kind of heat and air factory needs that kind of security?" The best damn heat and air factory in the country, that's who! She asks what Sarah did there, and Sarah, sounding like she hadn't got around to working out that part of the lie yet, says she ran a coffee and sandwich cart: "I never knew what went on there." No one did, said Diana, who says Ed never talked about it and whenever she asked, he'd just shut down. "So I stopped asking. We all did." None of this is your fault, Sarah tells her. Diana starts wailing about how Ed was a decent man, no matter what was going on there. "Decent people can get caught up in things," says Sarah. Diana looks at her for a few minutes before pulling out a key ring that she says she found going through Ed's things, keys that she hadn't seen before. "This one's for a storage locker," she tells Sarah, who correctly figures out that the Winstons didn't actually have a storage locker. Diana says she's been meaning to check it out, but she's been too scared: "So I tell myself some doors are better left unopened." Not this one, says Sarah...
... who takes the key and checks out the jam-packed storage locker herself. Diana didn't even tag along? Inside is boxes, and furniture, some lacrosse... mallets? Sticks? You'd think I'd know this. Lacrosse is Canada's official summer sport. There's also a heap of bloody towels that Sarah nudges with her foot. Bad nosebleeds?
PROCESSIONAL: The hearses make their way through Charm Acres' streets, along with trucks bearing the pictures of the victims. I imagine those are so you know which hearse has which body. Helpful! Walsh appears to be having some vehicle difficulty: he can't get into his truck. But there's a big shiny truck pulling up beside him: it's Derek, who says it looks like Walsh needs a lift, and Walsh gratefully accepts.
Riding slowly along in the funeral procession, Derek offers his condolences. "Thanks, but it's not my funeral," says Walsh, adding that he's an OSHA investigator. Derek notices a ring on his finger that I guess tells Derek that Walsh was a cop, and he says something about how OSHA must be different from being a cop. Walsh glances at his ring like he didn't realize it would blow his cover, but admits to being a cop for twenty-three years in Baltimore. Twenty-three years? Homicide: Life on the Street didn't last nearly that long. He asks if Derek's a local, and Derek says his wife worked at the plant and knew a lot of the people, so Walsh offers his condolences. Derek asks what he thinks happened. "I think it's too early to tell," says Walsh, and Derek gets him to admit he wouldn't say what he thought happened even if he knew. "You know, some people say it wasn't an accident," says Derek, who is completely abandoning any pretence of being an innocent observer. He adds that people say there was a whole lot more going on up there than heating and air conditioning, and Walsh is all, like what? "That's what I'm asking you," says Derek, like Walsh is going to answer that. Instead he just asks what Derek would do if he knew something was going on up there. "Absolutely nothing," says Derek.
The funeral procession has come to a standstill, which Walsh uses as an opportunity to get out of the truck. "I think I'm gonna walk the rest of the way," he says. "No problem," says Derek, who then wishes him luck with the rest of the investigation. Walsh gets out and stands on the side of the road while Derek drives on, staring at him in the rearview mirror. That's some nice subtle detective work, Derek.
Meanwhile, Sarah has told Diana that there was nothing in the storage locker. Oh my god, you guys! She totally forgot about the bloody towels! Sarah has amnesia! "I did not know that man. I loved him, but I didn't know him," says Diana. "Sometimes that's for the best," says Sarah, whatever the hell that's supposed to mean. Diana's got more surprises in store: Ed called her three days ago, just before he died. "He must have accidentally dialed my cellphone," she says. She's got a recording of it: it's Ed's side of the conversation with Sarah right before they struggled and Ed got shot. We don't hear Sarah's voice on the tape, just her grunting as she struggles with Ed. Diana's crying, listening to it. "What happened to him, Sarah?" she says. For a brief second I thought she had heard Sarah's voice on the tape and so recognized Sarah's voice when she showed up at the memorial.
In another part of the procession, Cameron and John have managed to bum a ride with Zoe and Henry, and -- oh my god! Henry is played by that kid from Picket Fences! He looks almost exactly the same, only bigger, you know? Like someone took a picture of him in Photoshop and increased it and put a suit on him. Anyway, Zoe is moaning about how she doesn't want to die here, and she hates all these people and doesn't relate to them (which pisses Henry off), and she wants to blow off the funeral and just hit the highway and drive until they get to someplace amazing, like the Grand Canyon, and John helpfully sticks his nose in by saying he went there as a kid, and they have a boring conversation about it just so Zoe can say she got a postcard from there, prompting Henry to snap that if she starts talking about "Mike Thompson" again, he's getting out of the car. Since he's such a crab, that doesn't sound like the world's worst threat or anything. Anyway, Thompson was Zoe's ex-boyfriend. "And he was a good guy," she says, making Henry roll his eyes, "until he ditched me." John asks what happened, like I can't think of a conversation I'd like to have less with gloomy Zoe here. She says Mike was like all the rest of them: his mom worked at the plant. He was just a normal, funny guy who liked to play lacrosse, she says, at which point we flashback to Sarah finding lacrosse sticks in the locker room. Zoe goes on to say that apparently his mom violated some kind of confidentiality agreement, because they just up and left in the middle of the night (flashback to Sarah nudging the bloody towels with her foot) and Mike hadn't said a word to her about it. John and Cameron exchange glances. They must have seen the flashbacks too! A few months later, she got a postcard from Mike at the Grand Canyon. It was so sweet too, the way he wrote about how he totally wasn't dead or anything but had just left town. "He was a real prize," says Henry, all snide. "Shut up, Henry!" says Zoe. "Why don't you think about somebody beside yourself for once, huh?" says Henry, adding that she's not the only one who's lost someone. He's not wrong. A humourless douchebag, yes, but he's not wrong. "Zoe's not in love with you," Cameron informs him. Hee! Henry flips out and slams on the brakes, and almost gets rear-ended by the car behind him. He wants Cameron and John out of the car, and isn't going to move until that happens. John nervously eyes the motorcycle cop, part of the funeral escort, and so he gets out of the back, yanks Henry out of the driver's seat and shoves him in the back. Rather spinelessly, Henry just puts on his seatbelt and says, "What the hell is going on!" as John starts driving. Zoe says she can't deal with another funeral, and then asks if they want to see something amazing. I would love to see something amazing. Something amazing, like, say, explosions and guns and battling terminators, is far preferable to watching miserable people yell at each other at a funeral. Six Feet Under ended years ago.
So they make a right and pull out of the funeral procession and drive up to a pond or a little lake surrounded by dead cattle. Zoe says you'll be out there one day and they'll be lying dead like that, and the day they'll be gone. "Like Mike," says Cameron. "Yeah, like Mike," says Zoe, instead of, "No, Mike didn't die, he just left, Cameron." Henry chalks it up to "idiots with guns" but Cameron points out that there are no bullet wounds. "What are you, Dr. Quinn, medicine woman?" says Zoe, because you need a medical degree to tell that someone hasn't been shot. John su
ggests it was the water. "You'd think people would've picked up on that," says Cameron, and then the four of them stand around for five minutes for a pensive tableaux before we go to commercial.
BURIAL: We're at the cemetery now, everyone standing around looking glum as a casket gets lowered into the earth. Looks like Henry's dad. He's sitting there with presumably his mom as the coffin goes into the ground. "They always did want to be rich," Zoe tells John, adding, "His mom always wanted the good things. Careful what you wish for, huh?" John asks her what she means. Insurance company payouts, Zoe explains. "We're all rich," she says, with a sarcastic "woo-hoo!" added on. John asks what Henry's dad did. Same as everybody else: went to work in the morning, came home at night, and didn't talk about it. John wants to know why all the secrecy over heating and air-conditioning, and Zoe figures that it wasn't heating and air-conditioning at all, but some government project, because there were a lot of real smart people in town here. I hope there aren't some people watching this episode who do work in the industry and might feel maligned by Zoe's suggestion that these people were too smart to work in the air-conditioning industry. John asks her if she thinks someone sabotaged the plant. "It wasn't an accident, John. Moo." Then while someone starts singing "I'll Fly Away," Zoe goes over to stand near Henry, which is awfully big of her.
So the Connors are now all standing around casting meaningful glances at each other. Then Walsh shows up at the funeral, followed closely by Derek. Sarah moves away from Diana a little bit to tell Derek, "The guy who shot me is either a serial killer or a true believer," she says, adding that his wife thinks he was murdered. Derek thinks she's right, and asks if she heard anything about the drone Sarah thought she saw. "I don't think I saw it, I saw it," says Sarah. She notices Walsh and asks who he is. Derek says he's looking for something. "I figure the best way to find out what it is is to let him find it." Sarah susses out that Walsh "made" Derek and will try to lose him. "But he doesn't know me. I'll handle it." "You always do," says Derek. Yeah, great plan, unless, you know, Walsh, who is standing right there, sees Derek and Sarah standing there talking to each other. "Skynet's here, Reese. I can feel it," says Sarah. Derek has a little chuckle over her calling him that because it's what she used to call his brother. "Maybe you should try to let him go," says Derek. Nice. You know, Reese is your last name, asshole. "Maybe you should," says Sarah.
So Walsh leaves and starts wandering around, and Sarah follows him, crouching for cover behind a car as Walsh goes skulking around the side of a house, and then prying open a window and climbing in. I can't say I approve of OSHA's methods!
Back at the funeral, Zoe comes over to talk to John while Cameron stands there robotically, and John asks if Henry's going to be OK. "Henry smokes a lot of weed," says Zoe. Is that a yes? I don't understand kids today! John says his father died before he was even born, and Zoe's all, "My father's a pile of ashes somewhere, so I guess we're both screwed," and then John's all, "I thought you picked out a grey suit to bury him in?" Nice work, Columbo. Zoe stares at him for a moment before saying, "Why am I even talking to you?" which I can't believe everybody doesn't say to John every episode, and she snaps that he doesn't know her or what she's going through. "Stop trying to make it seem like you're some kind of sensitivity expert. You don't know anything." I can't believe everybody doesn't say that to him every episode either.
Zoe stomps off to her family and friends. "She's not crying," Cameron says. "She's not doing a lot of things," says John. Zoe gets in a car, avoiding eye contact with John.
My GOD, when are we going to get to the fireworks factory here? Weaver's looking at her BlackBerry when Ellison strolls in, and the big suckup went home at lunchtime to go put a plaid tie on, and offers his sympathies for Lachlan's death. Much like Zoe, Weaver ain't exactly wearing out her mascara with the tears. Ellison starts talking about when his father died. "He was a tough man. We didn't get along." But it still took him a long time to come to terms with his death, so he threw himself into work so he wouldn't have to. Weaver asks if this was recent. "Recent enough," says Ellison. "Then you understand," says Weaver. Ellison asks how Savannah does with it, and Weaver is puzzled by the question, so Ellison has to explain that he means how she's handled her father's death. "Dr. Sherman was very helpful in that regard," she says, and Ellison points out that Dr. Sherman is no longer among the living either. Weaver says children are very "resilient," and then Ellison says he's surprised that Savannah isn't here for the anniversary, and Weaver says it's important to maintain routine, and it's not like there's an actual ceremony or anything, like I'm not sure if Ellison expects Weaver to bring her daughter and force her to look at a handful of plaid-wearing people. "Today's not the day for excitement," says Weaver. Ain't that the truth. Then she asks Ellison to excuse her: "I'm feeling emotional." Wow -- that is advanced emotion-mimicry technology. "I'm experiencing feelings. Please excuse me." Ellison strolls out of the office, Weaver watching him. She buzzes her secretary: "Find my daughter and bring her to me."
Over in Charmless Acres, Sarah gets bored waiting for Walsh to make a reappearance, so she heads over to the side of the house too and climbs in the window.
WAKE: Zoe and her mom stand to the creepy picture of their dear departed father/husband, and somehow John managed to get himself invited to the wake with Cameron and Derek, and he's blathering on about how sometimes every single logical step they make leads them to "the most bizarre place," which is a bit much for someone fighting time-travelling morphing robots to save the world from a sentient machine that enslaves the human race. "What's the point?" asks John, and Derek says his mom thinks the factory is connected to Skynet. But you think she's nuts, says John. "Doesn't mean I think she's wrong," says Derek, around mouthfuls of shrimp skewer.
So Cameron looks over at Zoe and her mom standing to the picture, and she notes that neither of them has looked at it since they've been there. Derek's all, "yeah, and...?" Cameron says, "If you had a picture of Kyle Reese, you'd look at it, wouldn't you?" I'm glad she made sure to say "Kyle Reese" because otherwise Derek wouldn't have had a clue who she meant. "He's not dead," says John, and Derek calls that a big leap. John asks Derek if he would or would not look at a picture of his brother. Derek looks over at the "grieving" mother and daughter. "He's not dead," he agrees. "We should find him before he is," says Cameron. Yeah, actually doing something might be more helpful than stuffing your face at a wake.
Like Sarah here, stalking through this empty house. There's no furniture in the house. There's also no sign of Walsh, but she notes that, curiously, the chain on the front door is on, which means that he didn't go out the front door, anyway. On the rug near a shelving units are curved tracks. Sarah checks the shelf, which sure enough pulls away from the wall, revealing a hidden doorway atop a set of descending stairs. She makes her way down, gun ready.
In a dim basement is a table with several computer monitors, with split screens displaying dozens of camera angles of security footage. She taps a couple of keys and finds it really easy to switch between angles. Then she spots a smear of fresh blood on the floor, and she heads out into the hall. We pan back over to the monitors and we can see, on one of them, John searching a bedroom.
He's rifling through drawers, looking furtively around, but gets caught by Zoe anyway who wants to know what he's doing in her parents' bedroom. So maybe a be
tter idea would have been to have Derek or Cameron search the room while John stands guard, hey? Or is Derek still too busy cramming shrimp down his throat? "Your father's alive, isn't he?" he says. She tells him to "get out," and runs off down the stairs, so he chases her and tells her he knows that she's scared, but he can help. "No, you can't!" she says, and points upward. Derek looks up, and sees a camera hidden in a ceiling grate. You know, if you're going to POINT at the camera, you might as well just say "There's a camera up there!" since the camera can, you know, pick up you POINTING just as well.
Sarah's still strolling through the underground tunnel, which is quite reminiscent of the tunnels populated by the human resistance in the future. Eventually she comes to a ladder leading up to a door in the ceiling. Up she climbs and opens the door a crack and looks outside. It seems to lead to a garage.
At the wake, Derek answers his cellphone. It's Sarah, and the two of them do their little beepy code thing, and she tells him she's in a garage but "it's a long story" and he says he's at a "fake wake," and then she looks out the window and hangs up her phone. She walks over to the window and raps on the glass, because Derek is out there. Of course, so is everyone else at the wake, so it's a good thing she used her extra-special tapping that only Derek could hear and react to.
RECESSIONAL: So after the commercial break, everyone is down in the hidden basement with all the security monitors, even Zoe and her mother, which made me think I'd dozed off and missed a scene. Derek says this is just the way Skynet work camps were set up, with people watching other people on behalf of the machines. "Who are you people?" says Zoe's mother, and Sarah says she wants to know what was being made in the factory, and who owned it, etc. Zoe's mom is all, "How would I know?" and Sarah points out that the tunnel led to her garage. "My husband's garage," corrects Stella. She's not telling them anything, because she doesn't know them, and for all she knows they could be a terrorist organization, and Sarah says they are a terrorist organization, and if someone hadn't blown up the plant already, she would, like way to encourage Stella to be cooperative, and then there's John saying her husband isn't dead: "Not yet." And he takes out a gun and shoves a clip into it and I can't think of a less threatening image than that. Zoe pleads that her dad is innocent, and was all freaked out when he heard the news about everyone dead at the plant, and then there's Sarah and John yelling that they just want to know what was being made at the plant, and Stella says no one knew, and Sarah yells something about sleepwalking through their lives, and then Stella and Zoe admit that they're pretending Daddy's dead so they can get insurance money and move somewhere else and start over, which kind of makes Zoe's earlier snide comments about Henry's family getting insurance money seem even meaner. And Stella is defending looking the other way and not asking questions because that's what everyone else did, and that's maybe what Sarah would do because that's what most people do. Or something. For the love of god somebody SHOOT something. Or someone!
And then Cameron's all, "I pulled this from the archives" and we watch some footage of Ed Hoskins and Zoe's dad kill Mike Thompson and his family. "Daddy?" says Zoe. "You might not like asking questions," Sarah tells Stella, "but me, once I get started, I can't stop." Then John finds some boots with dried gunk caked on them and says he thinks he knows where George is.
So the Connor crew goes strolling outside, where Diana sees Sarah and comes running over to say she's been watching her, and you know what she thinks. "Ed would say you don't smell right." "Well, I guess Ed would know," says Sarah, and Diana says she deserves the truth, and Sarah says, "Sometimes it's better not to ask too many questions." So when it comes to what other people do, they're pathetic for not asking questions. But when it comes to what Sarah's doing, it's better not to ask too many questions. Got it. Sarah gets in the truck and the Connor crew drives off.
So I guess Weaver wanted her daughter brought in so we can have yet another scene of "Savannah is creeped out because this woman is a cold version of what her mother used to be." That's nice. We haven't had one of those in a couple of episodes, so maybe we forgot. Weaver tries to cheer up a sniffling Savannah by talking about what it was like when her own father died. "He was a tough man." He was a block of steel, Weaver, come on. Actually, what she does is repeat Ellison's story verbatim to Savannah, who appears unmoved. She misses her daddy, misses him reading her stories. Weaver says she can read Savannah stories. "He did it better," says Savannah, who's liable to wind up with a metal ice pick in her eye if she's not careful. Weaver says anytime she wants to see her dad, they've got videos, and Savannah has to tell her that it's not the same because she can't sit in his lap. Weaver hauls her up onto her own lap. "Your lap is cold," says Savannah. "I know," says Weaver. OH MY GOD THE BORINGNESS.
We're back over at Cattlekill Lake, where the Connor Crew finds the dead body of Mr. Walsh. He definitely has some kind of chest wound, though. "Where are we, John? What is this place?" asks Sarah. John says he doesn't know.
Suddenly, the water starts to bubble, and before any of the crew can really react, something erupts from the water with a ferocious roar. It's a Hunter-Killer, turbines whining, spotlight shining down on the Connors, before it turns in mid-air and flies off. The Connors all look at each other.
Elsewhere, George McCarthy gets out of the cab of his transport truck as the H-K approaches. He walks around to the back and opens the doors, and the H-K folds itself inward and flies inside. George closes the doors after it, and gets in his truck and drives off. Presumably at some point McCarthy is going to have to explain why he parked so damn far away from the pond instead of just to it.