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This show finally gets back to following up on the fallout from Riley slitting her wrists in the Connor Compound bathroom. Sarah goes to Riley's foster parents' place to try to sniff out any truth to the suggestion that Riley's bruise came from the fist of her foster father, and she's none too subtle in asking about it, pissing off the foster father, who reveals that Riley attacked his wife, while freaking out about a hellish vision of the world featuring bleached skulls. Oh, and by the way, the guidance counselor thinks John is a bad influence on Riley as well.
So Sarah goes to see the counselor, who turns out to be Jesse (not that Sarah knows who she is), who shares with Sarah all of the Connor activity that Riley has seen fit to share with her.
Sarah's none too happy about Riley's big mouth. Nor John's for that matter, although he denies telling Riley anything. Sarah doesn't believe him. And this only makes Riley seem like even more of a threat to John, which makes Cameron want to take her out. Cameron also thinks Riley saw her arm opened up so she could tinker with the wiring inside; she totally did, but plays dumb anyway because, Jesse warns her, Cameron will slaughter you. Which, as it turns out, is apparently Jesse's plan anyway: to have Cameron kill Riley, turning John against metal.
And Riley wants none of it anymore, so she attacks Jesse, who fights back and eventually puts a bullet into Riley's chest. You know, not long after Riley transformed into essential plot point from annoying half-forgotten subplot. Jesse may yet achieve her goal, since John doesn't believe Cameron doesn't know anything about Riley's disappearance.
Derek might as well be on a totally different show at this point. Same with Weaver, Ellison, and Chrome Artie. Cameron tells John about the self-destruct she's placed in her head, since it's become necessary and terminators can't destroy themselves. Poor John, I hope he doesn't realize that all the women around him seem to be trying to kill themselves.
Want more? The full recap starts right below! There's a pigeon flitting around the Connor Compound. Cameron's watching it, then, amazingly, tries to persuade it to leave. "You shouldn't nest in the chimney," Cameron tells it. The pigeon declines to answer. "You're migratory. You need to find a mate." Already tired of the lecture, the pigeon flies into the window. "That's a window, bird." So the pigeon tries to fly by her, but she reaches up and snags it.Holding the bird, Cameron walks outside. "I'm not supposed to kill you, but you can't stay here," she tells it. When I was a bartender, that's exactly what I told people at closing time. People eventually got the message. She holds the bird up and tells it to go, but it does not. Possibly because Cameron starts to squeeze it, and then drops it, dead, on the ground. She stares at her hand, figures twitching, looking mildly alarmed. Since most of the time her features are expressionless, she's completely freaking out.
Sarah's brushing her teeth in the bathroom, and then looks over at the huge bloodstain on the floor, like "Oh, yeah. That." So she hauls out a can of Nova Brite and is scrubbing away and suddenly Riley's standing there. "I was wondering when we'd see you again," says Sarah, instead of, say, "hello" or "how are you." Riley's wrists are bandaged, and she says, "They make you rest a couple days." Sarah asks if it helps, and Riley says it doesn't.
Speaking of helping, Sarah's used up all the Nova Brite, and Riley asks if there's some anywhere else, and Sarah tells her that it's in the kitchen, so Riley volunteers to go get it, which seems fair.
Only instead of bringing it back, she sits on the kitchen counter with it, reading about how it's deadly to people and domestic animals, and in case you're wondering if maybe she's thinking of trying to kill herself again, here comes Capt. Sunshine himself, John Connor, and she says she needed a "minute alone," and John asks if "she" said anything, and Riley says she asked her, but she thinks Sarah was just trying to be nice. The nickname "Suicide Blond"? Not so nice! It's John's opinion that it's not anybody's business, and Riley has to point out that she did do it right in their bathroom. And then they talk some more about forgetting things and things that are in the past, and he strokes her hair, and meanwhile poor Sarah is up there just waiting for the Nova Brite, and eventually she gives up and goes to get it herself and it's just been left there sitting in the middle of the hallway, like thanks for nothing, Riley.
Elsewhere, Derek is shooting at a row of apples out in the bush near an oil derrick, like how wasteful is that, and he misses one, so of course the sight must be off. Jesse smirks and offers to give it a try, and takes the gun. Derek says it's nice to be able to waste bullets on apples, and I for one would much rather watch these people waste bullets on each other, and then Derek says April 21, 2011, was Judgment Day for him, and wants to know what hers was, but she's too busy missing apples as well, and avoids the question, and then eventually says that whatever it was, it's probably changed now, so there's no point worrying about it.
Derek says he needs her help with something, and she says, "Didn't I just help you with something? This morning in the shower?" and I'd appreciate it if the two of them can keep their damn hands off each other for two damn minutes, and Derek says there's a guy with information he needs. "So ask him," says Jesse, helpful as always. "Not that kind of guy. Not that kind of information," says Derek. Skynet, deduces Jesse, and Derek nods. She tells him she's here to win the war, not prevent it. "John Connor," says Derek, and Jesse does likewise. Derek says she keeps saying that, but he doesn't know what it means: "So either help me with my plan, or show me some progress on yours." She asks him what he needs. Another shower, probably.
Sarah's sifting through some piles of documents on the dining room table, looking for something she can't find. She tells Cameron that there was a stack of papers on the lawyer who set up the drone shell company. "Derek took it," says Cameron. "So he's chasing it down?" asks Sarah, but Cameron doesn't know. Sarah gets all ticked off, saying Derek should keep her in the loop: "It's my loop," she says, and Cameron says she's been distracted. "I was kidnapped," says Sarah. "Which is distracting," points out Cameron.
So because Sarah's not in a foul enough mood, she asks Cameron about Riley, and Cameron tells her about the bruise on Riley's face the day she tried to commit suicide, which John thinks is from her foster father. Sarah asks if Cameron agrees, but she's not sure: "We don't know much about Riley," says Cameron, who offers to go visit the foster parents, but Sarah says she'll do it. It is her loop, after all.
Then there's a closeup of a wrist, and someone is slitting it open with a razor blade! Gah! Oh, it's just Cameron, judging from the machinery inside. She cuts lengthwise down her arm too, with it resting on a table in the garage. She starts poking around as her fingers twitch.
Outside, Riley strolls up to retrieve her bicycle, leaning against the garage. She peers through the window, and sees Cameron tinkering with her arm. Freaked out, she grabs her bike and gets out of there. Cameron hears her leaving, and goes to the door and watches her. Riley pauses, briefly; her eyes widen, but she doesn't turn around.
So it's great that Cameron, after being concerned about being spotted by Riley, goes right back to work on her freaky terminator arm with the garage door actually ajar. John comes in, and Cameron tells him that she killed a bird. John's all, "Not the bird in the chimney," like maybe he had grown attached to it or something. Then he asks if the bird cut her arm. Yeah, the straight surgical incision that ripped open her forearm, a bird did that. "The bird experienced an involuntary movement of my fingers," says Cameron, which is, I suppose, one way of putting it. She's digging around because there's been some damage done to her arm but she doesn't know how it happened. John figures it happened during a fight, which is brilliant speculation on his part; I can easily see why mankind depends on this kind of genius. "You're not designed to fight other machines," he says, so I guess it's too bad that she's been sent back in time BY him to fight other machines FOR him.
But it's tough luck for Cameron, says John, because it's not like they have a box of spare terminator parts just lying around. At which point Cameron is all, "Yeah, the thing about that is..." and then she pulls out a box of spare terminator parts, as well as Christmas decorations. John's pissed about it: "You're supposed to burn the endos," he says. "Not all of them," says Cameron, and John says, "Says who?" and it turns out Future John said it was OK, and Future John, being all grown up and not a crabby whiner, outranks present John. "I have damage to my hand, and now you're able to fix it," says Cameron simply. John contines to glower. "Future John has better information than you do," she says. Nicer, too, she thinks.
Riley's waiting on the side of the road, and Jesse pulls up. Riley's all, "She's gonna kill me!" and Jess asks what happened, only she refers to Cameron as "it" rather than "she." Riley says Cameron cut her wrists open, and Jesse asks her why it did that, and Riley doesn't know, but she says Cameron knows she saw her do it. "If she knew you saw, you'd be dead," says Jesse, which probably isn't as comforting as I bet she thinks it is. Riley paces. "I wonder what's wrong with it," says Jesse, and asks Riley if Cameron's been acting strange. "Everything she does is strange!" snaps Riley, who says she can't go back there. Jesse ain't hearing that though, and tells her to remember the mission. "Trust me, there is only one way. I won't let Cameron hurt you." She strokes Riley's hair. People like to do that to Riley. "I won't let anyone hurt yo
u," she says. Anyone else, you mean.
So Sarah's over at Riley's place, chatting with the foster father, who is all bad-ass sneaking some pop out of his "private stash" because his bitch wife won't buy the stuff with caffeine or sugar or whatever. And Sarah gets right into it: "Must have been a shock, what happened to Riley." FF says it was, and asks what John said about it. "Getting anything out of that boy's like pulling teeth," says Sarah, but she lets on that Riley seemed upset that day, and had a bruise, which surprises FF. And Sarah starts in with this routine: "I'm a patient person, but I swear, there've been times. Kids, they know how to push your buttons..." she says, and I'm kind of surprised FF didn't ask if she was wearing a wire, the way she's all, "I'm just saying, if someone lost their temper, no biggie, it happens," and FF is quite offended and says what happened was that Riley assaulted his wife. "Started yelling about the world burning up. Bleached skulls or some such nonsense," he says. "She said that?" says Sarah, when a better response might be "She said what?" And FF is lamenting John and Riley dropping out of school, and the thing you know, the guidance counselor shows up at their door. Gasp! Not a guidance counselor! "Even she thinks John's a bad influence," says FF. He says the guidance counselor had a lot to say about Sarah and her family. "I was willing to dismiss it as gossip, until I met you," he says, like an asshole. I mean, unless the gossip was "Sarah Connor likes to clumsily persuade people to confess to beating their foster children," I can't imagine how Sarah's just convinced him she's a bad mother. Sarah asks for the counselor's name. FF gets it for him. "Keep John away from Riley. She's been through enough," he says. Sarah doesn't say anything. Thanks for the sugar and caffeine-fortified soda, douchebag.
John's still working on Cameron's arm, and Cameron keeps looking at him, giving the scene a bit of intimacy. John connects some kind of piston or rod or whatever the hell as he finishes up and tells her to clench her fist. "Do you feel any different?" he asks. Cameron says she does. "Do you feel fixed?" he says. "I don't know," she says. "Well, just try not to kill any more birds," he tells her. Cameron tells him he's "ahead of schedule." With what, he asks. "What you need to learn," she says.
Sarah's sitting at a table outdoors, on the phone with Derek. Or at least we assume it's Derek, but I for one am not convinced because I've gotten so used to the characters doing their beep-boop code thing on the phones. Anyway, she's telling him not to run off like that. It's just her end of the conversation, so we don't get to hear Derek smart off to her. Anyway, she's gotta go, because "Miss Wilson" is here. Only Miss Wilson is actually Jesse with her hair pulled back and wearing lipstick. Sarah doesn't know her, of course. Nor does she know that the so-called guidance counselor, um, pleasured Sarah's brother-in-law in the shower this morning. I hope that doesn't come up in conversation again.
What they do talk about is Sarah's job necessitating that the family moves around a lot. What's her cover story, anyway? I suppose it's not important, but I can't remember if that's ever been addressed. Anyway, she says it's hard for John to make friends, which is why she was so happy when Riley started coming around. Well, there's a lie and a half! She adds she had no idea Riley was so "troubled." Jesse/Wilson says it's often hard to tell but sometimes in these cases there may be abuse. In Riley's case, she's an orphan out of Riverside. Her parents died in a meth lab fire. Sarah says she talked to Riley's foster dad, who said Wilson had been around to talk to him. Wilson's all, DUH, I'm a guidance counselor, and she tried to kill herself.
Sarah says her main concern is that Riley get some help, as she's actually grown fond of Riley, like I'm surprised Sarah's nose hasn't started growing by this point. Wilson asks if Sarah's the one who took her to the hospital, and Sarah says she wasn't around at the time, and Wilson's all, "let me get out my pen and make a big black mark in the NO ADULT SUPERVISION box on my paper o' judgment here," and Sarah lamely says that John's uncle is around "sometimes," and Wilson's all, "yeah, I know about Unky Derek," which is true in the biblical sense, even, but Wilson's all, John's uncle on his father's side, right? "We're not involved, if that's what you're getting at," says Sarah, and Wilson says she's just trying to "paint a picture." The picture she's trying to paint, apparently, is of some kind of orgy going on at the Connor compound: "Do you think it's wise to have an unattached adult male hanging around a pretty teenage girl who's obviously so desperate for attention?" asks Wilson. Whoa! What kind of shit does Derek get up to with Jesse? Instead of saying, "Thanks, but my brother-in-law isn't going to have sex with his nephew's underage girlfriend," Sarah says, "Did she say something?" And Wilson said if she did, it's confidential, as opposed to all the other stuff Wilson likes to blab out, like meth-head parents dying in a fire and the like.
Sarah says John's just trying to be Riley's friend. He's trying to help her. "Like by taking her to Mexico?" says Wilson. "Yes, by taking her to -- I mean, no! D'oh!" Wilson tells her it's a federal offence to transport a minor across the border without her parents' permission. Sarah, chastened, apologizes and says she'll talk to her son. Wilson says she gets the sense Sarah's just a hard-working single mom trying to make it in this workaday world: "I'm a big believer in keeping your own house in order, so why don't I let you handle this your way? For now," she says. Sarah says she appreciates it. "Consider it done," says Jesse, and they shake on it, and Wilson leaves, because she's going to be late for Derek's afternoon servicing.
Riley examines her scarred wrists in the doctor's office, when Busy Nurse comes by for a perfunctory glance at the wounds. "Keep taking the antibiotics," she says. "That's it?" asks Riley. "Why, is there something else you need, sweetie?" says Busy Nurse, who doesn't even look at Riley, who eventually says "no." "'Cause we really could use the room," says the nurse. Riley stares off into space.
John's tiptapping away on his computer, looking up a restaurant address, he tells Cameron when she comes in. She asks if he's hungry. He says yes, but he's actually looking up a restaurant address for Derek, like did Derek ever hear of the goddamn Yellow Pages? "That Kaliba lawyer he's been tracking, the guy's got a booth reserved there." Cameron tells him it's not an ideal place for this kind of thing; it's underground, and, she says, glancing at the computer screen, "according to this, 'crowded with friendly people.'" Hee! She says it'll be difficult to dispose of a body. John's all "easy, tiger" and tells her Derek's just going to grab the guy and press him for information, so body disposal probably won't be necessary. "It'll be necessary," she says, before saying she'll go make John a sandwich. He asks why. "Because you're hungry," says Cameron. "Why don't we let hungry be my problem," he says, instead of, I don't know, "Thank you, Cameron. I'd love a sandwich." "Sometimes it's nice to have help," she explains. He asks her how her hand's doing. She looks at it, clenches the fingers. "Not a problem," she says. Then John's all, "Aren't you supposed to be really good at self-repair?" he says. Yes, answers Cameron. John gets it: sometimes it's nice to have help. Cameron seems possibly proud that John was able to fix her. But John just grouchily says he's going to make his own sandwich. Have some more CRAB meat, John.
So thank god the Internet was invented so Derek could get his nephew to find this place. Derek sits scowling at the bar nursing a beer while frequently glancing over none-too-surreptitiously at the lawyer. Hey, here comes one of those friendly people we hear about! This woman pours herself into the seat
to Derek after asking if it's taken. "You buying?" she says. "Nope," he says. Since he's turning her down, she offers to introduce him to the man-whore (is that the phrase? 'man-whore'?) at the end of the bar. "I'm here for business, not pleasure. Thanks," says Derek. She sees him look over at the lawyer, who's surrounded by women and bodyguards. "What's he do?" she asks. Lawyer, Derek tells her, adding, "He ever buy you a drink?" "Once or twice," she says, smiling. Derek asks what the "muscle" thought of that. "They very much enjoyed the show. It's nice having an audience." Derek looks at her, almost like maybe now he is buying, but then the lawyer gets up to leave, and Derek signals to the bartender for his tab.
John's on the phone, at the Connor Compound with, presumably, Riley, saying they'll watch a movie or something when she comes over later. He hangs up when his mom comes in. She sits at the table and says she had an "interesting" conversation with the guidance counselor at his old school. He tells her he forgot to send in that "quarterly home schooling thing," but she says the conversation wasn't about that. It was about the Connors and what they do and trips to Mexico. John can't believe she was talking to a counselor about this. "From a stranger's lips to my own ears, John," she says. He says that doesn't make any sense. She tells him she also talked to Riley's foster dad. She would have talked to him longer, but he asked her to leave, she says (which didn't really happen, but probably would have). "He thinks we're the reason she tried to kill herself." Because of Mexico, asks John, incredulous. "Because she had a violent breakdown over bleached skulls and the end of the world," says Sarah. Shit, hasn't everybody in this damn family had that happen? John says he hasn't told Riley anything. "I don't believe you," she says, coldly. John looks hurt by that. In Sarah's defence, I wouldn't believe John either. "Well, I swear to god I've said nothing." Well, if you swear to God, John. He says he'll talk to her, but Sarah says she thinks it might be too late for that. John asks her what she means. "I want you to prepare yourself for what's going to happen when Cameron finds out," she says. Damn. God, I hope terminators are available for home purchase by the time my daughter's old enough to date.
John's in the kitchen when Cameron walks in. John asks her if it's possible he knows something that Future John doesn't know. Cameron says it seems unlikely. So he asks another question: "Do you think it's possible for me to know something you don't know?" She asks if he's asking her if Future John kept secrets from her. John nods. "I'm sure he did," says Cameron.
Sarah answers the knock at the front door to find Riley. She comes in to see John, but Sarah's not letting her go by that easily. "You owe him an explanation for the things you said," she said. Riley's all, "things I said?" "To your foster dad, your guidance counselor," says Sarah, and Riley, again, is all, "guidance counselor?" Sarah says she's a terrible liar. "You don't owe me. It's him who's put his trust in you."
Speak of the devil, here's John himself: "People know things, Riley. True things," he says. Riley denies telling anybody anything: "What would I even say?" she says. Oh, and here's Cameron to join the party. Riley asks if they can go somewhere more private, and John agrees, but there's a knock at the door. Sarah asks if they're expecting anybody, and nobody is, so John scopes it out -- "someone with a clipboard" -- and Sarah motions for Riley to go hide while she jams a gun down the back of her jeans and opens the door.
"I'm Molly Malloy, I'm with the department of child and family services," she says, handing over a card. In Dublin's fair city, where girls are so pretty, I first laid my eyes on sweet Molly Malloy... what's that? That's "Molly Malone"? Damn. Anyway, she wants to talk about Riley. "She's not here, by any chance, is she?" asks Molly. John quickly answers that she isn't, and Molly's all, "John, is it?" and then Molly invites herself in for a little chat.
Having a little chat of their own out in the shed are Riley and Cameron. "This is your fault," says Cameron. "What's my fault?" asks Cameron. "You're the reason that person is here," is the answer. Riley stares at Cameron's arm. Her hand seems to be involuntarily tensing and clenching. Yeah, nice repair job, John. Maybe he's not as "ahead of schedule" as Cameron thinks he is. "You're his sister. You can't keep me here," says Riley. "They don't always like the way I do things," says Cameron. So flat. So chilling. Riley stares at her, not really able to disguise the fear.
Things aren't going so great in the house, either. "I've heard you keep guns in the home," says the social worker, before hastily adding, "which, of course, is every American's right." Yeah, THANKS, Fox Network. "For security," says Sarah, adding that they were robbed. Molly asks if they've ever carried guns outside the home. Instead of saying no, or maybe shooting Molly, Sarah says, "Can I ask again what this is about?" Molly says she's just trying to determine what kind of environment she's got here for Riley or even John. Oh, and she's searched, and wasn't able to find any record of a concealed weapons permit. John tells her to try New Mexico, and Molly's a little surprised, but not so much that she says they would still need to transfer it, and John rattles off a regulation about having sixty days to do so, and I can't say I think John's lightning-quick retrieval of firearms legalities is likely to mollify Molly.
Back in the shed, Cameron is asking what she should do with Riley. Probably not exactly what Riley wants to hear. "Child and family services respond to complaints. Are you a complainer?" asks Cameron. Riley protests, again asking what she'd even tell anybody. She's getting a little more frantic, as she can see Cameron trying to suss things out. Cameron says Riley's unreliable: "I don't know what you'd do." And it's like Cameron's making notes while trying to come to a decision: "You can't be John's girlfriend. You're a threat. You can't be here anymore, but I can't let you leave." So again, Riley, what is Cameron going to do with you? "Nothing," says a terrified Riley, who then elects to try to cling to Cameron's cover story for all it's worth: "You're his sister. Get it through your head. You're just his sister!" she says. John comes in, and takes in the scene, then asks Riley to come over. Riley's all, gladly! and comes over to give him a hug. He tells her to wait outside, and she leaves, and he turns to Cameron.
"Were you going to kill her?" he says. "I don't know what I was going to do," she says. John's all since when do you not know what you're going to do, but she doesn't know the answer to that either. She knows she SHOULD have killed her. John tells her it's not her decision to make. "It's usually not a decision," says Cameron, sounding a mixture of perturbed and perplexed. John says it is this time, but not hers. He asks what's happening to her. She doesn't know that, either.
With the social worker gone (or, let's face it, possibly DEAD), Sarah sashays through the house. She looks outside, looks pissed, pulls her gun out. Then she appears to think better of something. So she takes out the cartridge and ejects the bullet from the chamber and puts it all on the table. I wonder what made her draw her gun?
Oh, here we go: Riley, still alive. She's outside, talking to John. "I didn't make that call," she says. He says he knows; he believes her. Then he asks if there's anything she wants to tell him. About what, she asks. About anything, he says: "Because today is the day. Today is the day where you tell me whatever it is you wanna tell me. Today." Over his shoulder, Riley sees Sarah come out on the porch. John follows her line of vision, and Riley's face kinda crumples for a moment, and you think she might say something, but it passes. She says there's nothing she wants to tell him, and then asks if there's anyt
hing he wants to tell her: "Because you're right. I think today is the day." A tear rolls down her cheek. Over her shoulder, John looks at Cameron. Riley does too. Cameron cocks her head. God, poor Riley! Although if Cameron and Sarah plan to start firing at Riley, they shouldn't be in each other's line of fire like this. John looks back at his mom for good measure, and then says "no."
Back at Jesse's hotel room, Derek's going through papers and photos when Jesse comes in, still in her guidance counselor costume. He tells her she's late and asks where she was. "I got hungry and I hate room service," she says, and he starts going over the recon he got on their guy, with his 'round the clock bodyguards, and his walled, guarded compound in the hills. "We should take this slow," says Jesse, but Derek says they can't because the guy's planning a trip out of the country. Jesse says she's not sure she can do it, since she's out of practice. "You've got your people," she tells Derek. "My people seem distracted. What about you?" is his answer. She doesn't say anything, so he tells her it's happening at 2030 tonight and tells her to bring a vehicle so she can block the road. "You pin down the guards, I'll snatch up the lawyer," he says, getting up and heading for the door. She calls his name but he ignores her and walks out. What have you done for him lately, Jesse?
Back at the Connor Compound, John's explaining to his mom when Riley, who is pacing around outside, is still alive. He says Riley didn't rat them out but trusted someone who did. Sarah asks him who, and John admits Riley won't say who. "This is not good, John. This could mean a lot of very bad things," she says. They look at each other for a moment, and then outside. Only Riley's not there anymore.
It's later. It's dark. Derek crouches in the bushes, beside a road, resolutely determined to be the only one willing to provide this show with any damn action. A vehicle approaches. Derek checks his watch. The vehicle speeds past, and Derek watches it. It's a yellow Volkswagen. Probably not the vehicle of choice for the target, but John looks at his watch again.
Jesse's getting ready at her place. She checks out the photos that are scattered all over the bed, and suddenly she's attacked from behind by Riley, trying to strangle her. "I know, Jesse. I know!" she screams. They struggle, and Jesse throws her off, knocking her against the dresser. Riley smashes a vase and threatens Jesse with a shard. Jesse's all, "what's this about?" and Riley wails about how Jesse wanted John to care about Riley, to love her, and Jesse's all, "yeah, that was the plan," but Riley says it's more than that: "She's supposed to kill me, right? That's it! That's the real plan!" That's absurd, says Jesse, but she's not exactly convincing. Riley says Jesse knows the only thing that could turn John against Cameron would be for Cameron to kill Riley, and she wails that Jesse's the one who called CFS, her foster parents, the school. "How could you do that to me? I trusted you! I loved you!" "Loved" you? There's probably nothing behind that, but were there other, um, showers? Jesse throws a -- I don't know, some heavy object at Riley and they start scrapping again until this time Jesse's got Riley from behind, and Jesse starts screaming, "I rescued you from hell and brought you to paradise!" Riley's not struggling. "I gave you a purpose. A chance to be a hero!" She asks how many people get a chance to have their lives mean something. For their deaths to mean something. Yeah, she's a psycho, and Riley starts struggling and screaming again. You're probably going to have to find a new hotel, there, Jesse.
Riley can't get free. "You could have been beautiful. But you're just a coward," Jesse tells her. Riley's all, "I'll show you a coward!" and then they're fighting again. Real knock-down dragout, with the two of them slamming each other against things, choking each other, rolling on the floor. It goes on for a while, like when Peter Griffin fights that chicken.
On the floor, Riley is on top of Jesse, choking her, so Jesse tries to gouge Riley's eyes out with her thumbs. Riley staggers backwards, and finds some kind of long ugly statue or perhaps a rather disconcertingly huge and misshapen vibrator and starts beating Jesse with it. Savagely, ferociously. From the floor, Jesse manages to kick Riley in the chest, sending her flying backwards, and then Jesse kicks a nearby coffee table, springing open a drawer with a silenced gun in it. She grabs it and shoots Riley in the chest. Riley falls to her knees, and then all the way to the floor, dying. Jesse falls back on the floor herself, when she really should be looking for the Do Not Disturb sign to hang on the doorknob.
Meanwhile, Derek's still waiting on a friend and checking his watch every ten seconds. Then a convoy of three vehicles go by: the Kaliba lawyer. No vehicle blocks the road, no one pins down any bodyguards. Derek impassively gets up to go.
Cameron's in the shed, tinkering with something mechanical. John comes in and says he can't find Riley. Cameron says if she's out there she'll give him a call: "She always does." Nice "if she's out there," Cameron. "Cameron, did you ...?" asks John. She doesn't answer right away, but then says he knows she didn't. Well, he doesn't know that. He asks what she's doing, and she says she's making something for him. She hands him a pocket watch and he asks what it is. "You've tried to fix me, twice now. It's not working," she says. He's all, yeah? "I'm not capable of self-termination," she says. "Suicide," says John. She can't do it, but he can, she says. "Why would I want to kill you?" he asks, aghast, as though her erratic behaviour isn't reason enough. She tells him he might have to someday. She's planted a small explosive in her head, near her chip. He opens the pocketwatch. Instead of a time piece, there's a row of buttons. Looking upset, he closes it again. She hangs it around his neck. Seems kinda conspicuous, Cameron. "All you have to do is hit the switch," she says. He asks her what Future John would do right now. "Future John doesn't live here. You do," she says. I think he was probably hoping to hear "request sexual relations with me," but that's not going to happen. He tucks the watch into his sweater and she half-smiles at him.
He walks out of the garage and heads up the driveway to the house, but something catches his eye: a dead bird in the grass. Not the same one as before, I don't think. Great. So they're going to get the friggin' World Wildlife Fund on their asses too!