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You think Jesse doesn't feel? She feels! After killing Riley, she feels like going out drinking and getting in fights with off-duty military personnel, which means she needs to get bailed out by Derek, who's none too pleased about it. He comes off kinda dumb this episode, what with the way Jesse is practically wearing a T-shirt that says, "Ask me about my involvement with Riley's death" the way she keeps trying to make Derek see the positive side of Riley's death, which is that it'll drive a wedge between John and Cameron (whom Derek wrongly believes killed Riley).
John's suspicious of Cameron as well, but something about how hot Cameron is seems to persuade John that she's not lying to him (this time). Sarah's less enthralled than John, and seems to want to throw Cameron in the fire with which she's destroying all the spare terminator parts, which she found in the garage. The Connor Clan is leaving the compound, much to the chagrin of their neighbor and her massive boobs.
Speaking of dumb, Ellison helps Weaver find her missing daughter, who is playing a building-wide game of hide and seek thanks to Chrome Artie, who needs a chewing-out by Ellison for playing a dangerous game with a little child. That's fine. But Ellison could have been a little more unnerved by the fact that Weaver's missing daughter didn't unnerve her very much.
Flashback/forwards tell us the story of a mission undertaken by Jesse and her sub (the S.S. Minnow, right?) with the scrubbed T-888 as its captain, Queeg (played by Chad Coleman, also known as "Cutty" from The Wire). The good news is Queeg steers the sub to safety during an encounter with a much more powerful terminator submarine. The bad news is that Queeg's got another mission Jesse didn't even know about, from John Connor, which involves the crew picking up a package along the way. The show's to be continued week, so we'll have to wait until then to see what's in the case. Unless it's like Pulp Fiction and we never do. Man, more people need to get shot on this show. Come on! Ratings bonanza!
Want more? The full recap starts right below! Jesse sits in her hotel room. In a chair. Lips pursed. She sits between two matching lamps on matching end tables, and she reaches over to the one on her left and shifts it slightly. I kind of expected a compartment to pop open with, like, a gun, or blueprints. Action Comics #1. Then she glances over into the other room and remembers that she needs to finish zipping up the body bag that Riley is lying in. Man, she's just like me in college! Whenever I had a big job to do, like finish an essay, or dispose of a body, I'd usually put it off by tidying up my room first. Lamp adjustment all finished now, she goes and zips Riley up.We fade to white and into a flash-forward to the resistance base at Serrano Point in 2027, with Jesse getting ready to leave on a mission and Derek apparently being all antsy about it, even though she calls it a "milk run," and he's worried about the terminator-infested waters she needs to get through, and she wonders if he's going to be like this every time she ships out. Worried about her? Life's rough, Jesse. He tells her he's going on a mission too, and she's all, "Oh, one of those missions," and he says it isn't one of those missions, but is awfully evasive when she tries to get him to tell her just what his mission is. All he'll say is that it's "different." Presumably we're talking about the jump back to the present day, so I'm not sure what she means by "one of those missions." Anyway, he's also not happy about the fact that her submarine is piloted by a scrubbed terminator, and she says that "Queeg" (awesome choice for the name) is a "good bloke," and Derek snaps that he's not a bloke at all. "Jesse, he's not on our side. Don't ever think that," he sassies. He tells her to aim for the chip. And they suck face for a little bit, and Jesse says, "I love you too," even though Derek didn't say it (unless he tapped out Morse code with his tongue or something), and they separate and Jesse calls after Derek to say "hooroo," which means, she says, "I'll see you later." And he says it back.
Back in the present day, Sarah is stuffing a bunch of bundles of money into a sack, and John strolls in and asks what she's doing, and she says she's "moving," and John looks reasonably accepting of this, saying it's probably about the right time, and she tells him to gather up his Fall Out Boy and Panic At The Disco CDs, and she's about to tackle the garage, and he too quickly says he'll do it, and he makes up an excuse that he's got a bunch of "memory cards and flash drives" out there, and he doesn't want to erase his old copy of Space Invaders, and she tells him the garage is all his.
Of course, the real reason he doesn't want his mom out there cleaning is that there's a boatload of old terminator parts out there. Cameron's setting some out on the table when John comes in, and he says, "It looks like a robot serial killer lives here. Oh, I guess one does!" and she tells him she's doing "inventory" and he's worried about his mom coming in and seeing it. He tells her to dig a hole out back where they'll bury the parts and come back later for them when they've found a place to burn them. "And we will burn them," he tells her. She stays silent.
Jesse has decided that moping around her hotel room isn't cinematic enough, so she's sitting at a bar listlessly stirring her drink. From a table nearby, some navy dude in a flight jumpsuit comes over from his table of fellow military men, and he cheerfully asks what she's drinking, and she sullenly says she doesn't know, just that there's some booze, some sugary stuff to cut the burning taste, and ice. And then looks up at him all doe-eyed and says it's almost empty.
And he tells the bartender to get her another one of whatever she's drinking, because I'm guessing he's got a thing for surly women with cuts all over their faces. And then he wonders how she orders a drink if she doesn't know the name of it, and she's all, "Just like you did," and then he says "it has to start somewhere," and blah blah blah, and then she tells him, "You ask a lot of questions for a guy who wants to get in my pants," which kind of catches him off-guard, and then she's complimenting his "costume" and asks him if he's contemplating a career in the military, and he says, "Actually, I fly P3s," "Oh, brownshoe," she says, which is a term I'm not familiar with, and he nods, and she says she works on a sub, which makes her a "bubblehead," I guess, and he's all, "They let women on subs in Australia?" "We program killer robots, too," she says, and then he starts talking about how weird it is that he hunts subs and she drives one, and then says they're like the wolf and the sheepdog ("not that I'm comparing you to a dog," he wimpily assures her). And she calls it a "good point" and stands up and says she just remembered something. "Sheepdogs hate wolves," she says, and punches him in the face, and instantly the other dudes at his table stand up and start menacingly advancing on her. She's like five feet tall!
So then Kacy, played by Busy Phillips, is helping Sarah pack up, by which I mean she's sitting there blathering on and occasionally handing Sarah packing tape. She says they'll "totally keep in touch," and Sarah agrees, totally not meaning it. Sarah won't let her carry any boxes anyway, even though what's-her-name says she snapped back to "fighting trim" like an elastic band after the pregnancy, and she's planning to breastfeed her kid until he's five so she can trick her body into keeping the massive boobs she now has. Maybe that's why Seth Rogen is across the street staring at her.
Speaking of which, who's got the baby? Trevor does, says Kacy. Not that Trevor's back, LIKE WE CARE EITHER WAY, but Trevor needed some "daddy time" after what he saw last night, which was a body they fished out of the river, a girl who'd been shot through the chest. Trevor said it looked like she'd been executed.
"Pretty little blond thing," laments Kacy, speculating the girl came to the promised land from Iowa to be an actress and fell in with the wrong crowd. Trevor said all they have to go on are scars from an attempted suicide, as well as a tattoo of a "pretty little star" on her wrist. Sarah's all, "mmm-hmm," thoughtfully.
And she goes out to the garage where John and Cameron are STILL sorting through the forbidden technology pile, when Cameron announces that Sarah is coming, so they hastily clean everything up. And Sarah comes in and says, "I need to talk to John," and Cameron stands there until Sarah's all, "now!" and Cameron looks to John to get the all-clear and he nods for her to go.
So she strolls outside, and spots a pigeon on top of a brick wall, like what is with the death wish these stupid birds have? Is the Connor Compound some kind of test of bird fearlessness? She gets a little closer and the bird flies away. "Goodbye bird. There's a fifty-one percent chance I wouldn't have killed you." Not bad odds!
Anyway, in the garage, Sarah's talking to John, who looks stunned at whatever she's telling him, and then he walks outside and stares at Cameron for a moment before continuing on to the house. Sarah comes out and starts to say, "Cameron..." only Cameron cuts her off to say she already knows: "I heard you. Riley's dead."
John's staring out into the darkness outside when Cameron comes out on the deck or the porch or wherever we are. He's playing with the little pocketwatch/Cameron-disintegrator thing she made him. "Was it you? Did you kill her?" he asks, and he rudely doesn't even turn around or anything. "What if I did?" asks Cameron. Whoa, a little bit of sassiness. Stick that finger in the wound, Cameron. John tells her not to play games with him, and says he needs the truth. She says she didn't kill her. "I wanna believe you," he says, pointing out that sometimes she lies to him. "Yes, I do, but I'm not lying now. And I am sorry." For what, he asks. "For your loss," she says. He says he wants to believe that too, and stomps off into the house past Cameron, standing there impassively.
S
o Derek's driving with Jesse, and the two of them are having a sullen-off in the truck, just staring out the window. He asks if she's going to say anything. She thanks him, curtly, for bailing her out, since she knows he doesn't like police stations. "Maybe that's because I'm a fugitive," he points out, and she's all, "I said 'thanks'!" and she won't tell him what happened other than she got in a fight. "With four naval aviators," he says. "Really just three. One of them went down pretty quick," she says. He asks what's going on and she says "Nothing." He doesn't believe her, but that's all she's going to say.
We flash back (forward) through the white screen into the submarine known as the U.S.S. Jimmy Carter. And somewhere in the depths of that tin can, the sailors on board are all standing around in a circle, and one of them asks Jesse if they've crossed the line yet. "Give it another tick," she says, looking at her watch, and then announces that they've crossed the equator, and everyone cheers. "One nice thing about metal driving the boat, a schedule's a schedule," says some dude. And another nice thing is that they don't take your damn yogurt out of the break room fridge like some co-workers I know.
So anyway, there's some guy lying on the floor on his back in the centre of the circle, and he's all oily and greasy, and this burly guy standing to Jesse hands her a proclamation that she unrolls and reads: "Know ye that sonar man second class Christopher Garvin on the 13th day of September, 2027, aboard U.S.S. Jimmy Carter appeared at the equator at latitude zero, longitude 180, entering into our royal domain. And having been inspected and found worthy by my royal staff was initiated into the solemn mysteries of the ancient Order of the Deep. I command my subjects to honour and respect him as one of our trusty shellbacks." And then they pull up the newest shellback, and everyone is hugging each other, and this isn't some futuristic resistance ceremony thing but is a real thing that happens to commemorate the first time a sailor crosses the equator, which I was not aware of until know. Thank you, Sarah Connor Chronicles, for teaching me something other than "be wary of your cyborg bodyguard."
Anyway, then the submarine is rocked by some kind of explosion that might be a depth charge, and Jesse orders everyone to general quarters and everyone scatters.
In Catherine Weaver's office, the ginger terminator herself is doing some work while her poor mopey daughter does her best to entertain herself. She asks her mommy to come play hide and seek, but gets a lecture on forebearance and patience and self-control, like what a treat for Savannah on Take Your Phoney Daughter to Work Day. "As opposed to wanting what we want when we want it. Something to think about." And Weaver goes back to work, so Savannah wanders off, casting one puffed-lower-lip look back at her "mommy" before heading out into the hall. Then, to her left, a door swings open on its own. Smiling, she walks through out to where the elevators are, and the doors open obligingly and she walks in there too. It's a magical elevator, with the buttons lighting up in pretty patterns, playing "Three Blind Mice," making Savannah giggle. The elevator floor indicator goes down to zero, and the doors open in the basement.
Still smiling, Savannah wanders down the hall, and the lights come on as she needs them, so she makes a game of it, skipping and jumping so the lights turn on. She's having a grand time, which is awful for anyone watching because we're all assuming she's going to be killed now.
Partway down a hall, another door swings open. There's Chrome Artie/John Henry, sitting at a table. He waves hello at her. "Would you like to play hide and seek?" he asks. Oh, my god, that is SO funny. She was just saying to her mom that she wanted to play hide and seek! She walks into the room, and the door swings shut behind her.
So after a commercial break, we see Ellison sitting at his desk having his lunch, because, you know, Ellison is so busy doing whatever it is that he supposedly does for Weaver that he can't get away from his desk even for lunch, and Weaver strolls in to calmly tell him that Savannah is missing. "She's in the building, Mr. Ellison. You just have to find her." He says the building has twenty-three storeys and it doesn't seem to register that HE'S more concerned about Savannah missing than Weaver is, and Weaver says there's someone who knows what's happening on all floors.
So they go to see John Henry, who admits to having seen Savannah: "She wanted to play a game." So where is she? She's hiding, says John Henry. Ellison orders John Henry to tell them where she is. "That's not how the game works," says John Henry, scoldingly, and then explains that if they guess what he's thinking, he'll give them a clue. Ellison tries again to get John Henry to tell them where Savannah is, but John Henry ignores this, closes his eyes and says, "I'm thinking of a country." Ellison's all, huh? And Henry looks to Weaver, who RATHER SUSPICIOUSLY is ENJOYING this, and she wants to play the game, and John Henry smiles, and Ellison snaps that he's not going to bargain with a computer. "If I'm not mistaken, Mr. Ellison, we've got no choice," says Weaver, who really ought to think about looking a little less excited about this and more concerned for her daughter.
Elsewhere, Derek is bandaging up Jesse's knuckles and chiding her for punching the guy in the mouth, because one time when he and Kyle were kids they saw two "tunnel trolls" fight over a can of stewed tomatoes. Ew! Anyway, the loser lost three teeth and the winner got the tomatoes and also a blood infection and died a week later. That's why he's giving her antibiotics too. Well, that and the syphilis.
Derek's cellphone rings, and he's all beep-boop and is surprised by what he's being told, and then says, "Damn," and then, "John OK?" He tells Sarah, presumably, to hold tight, that he's on his way.
He hangs up and tells Jesse that John's girlfriend is dead. Jesse somehow manages not to blurt out "I totally didn't do it." Derek tells her "the cyborg" did it. Jesse asks if he knows that for sure. "Who else could it be?" he asks, because nobody ever gets murdered. She asks what he's going to do about it: "Because you can't kill her, Derek," she says, really surprising him. "He has to make that decision on his own," she continues. Derek stares at her thoughtfully for a moment. "You've really thought this through," he says. She says no, but she does think about it: "Just like you do."
So back on the sub now, in the engine room, Jesse gets a report of more depth charges but no damage. "They want us to make a mistake. Reveal our position," says the terminator captain, played by the guy who played Cutty on The Wire. The newest trusty shellback, Garvin, gets on the sonar and has a look at all the blips. "We gotta Kraken," says Garvin. Jesse asks if he's sure, and then tells him to feed the sonar picture to tactical. She has a look at the diagram on some kind of display. "You're a big fella, aren't ya. And very far from home," she says. Then she studies the sonar map again. "That can't be right. Where are we?" she says, mostly to herself. Meanwhile, Queeg asks for a torpedo report. They've only got three. "Ready tube one, hold for my order." he says.
Another depth charge rocks the sub, and Jesse tells him they can't fight a Kraken with only one or even three torpedoes, that they need to break contact and find a way around. But Queeg ignores her to tell Garvin to turn on the sonar: "One ping only." The sonar reveals there's a torpedo on its way, so Queeg tells the chief to put a thirty-second fuse on the torpedo and to have it match their speed and bearing after breakaway. He's unsure, but Jesse tells him to go ahead, so he does so.
And Queeg hammers on the controls, sending the sub diving to, he tells them, 728 metres. "Crush depth!" she says. "To the edge of crush depth," clarifies Queeg, explaining that the Kraken won't be able to follow, and t
he sonar will reflect off the "thermocline layer," so they'll be invisible, Jesse realizes. The chief complains that if Queeg's off by even a millimetre for even a fraction of a second, they'll be dead, but Jesse confidently says he won't be: "This is what he does." Garvin reports two detonations, the two torpedoes. "And now we roll over, stick out our tongue, and hold our breath," says Jesse. The sub plunges and levels off at exactly 729.8 metres. "You may return to your duty stations, now," he says, but nobody moves. Jesse snaps, "What, you've never been twenty centimetres from your maker before? Move!" and they scatter. She leans in to Queeg and says when he's done skating over their deaths, she's got a question for him: "Why are we three hundred miles off course?" Queeg doesn't answer, but the reason better not have anything to do with the Dharma Initiative.
Sarah's in the garage examining the spare terminator parts when John comes in. "We were using it for research," he says, and she angrily orders him not to make excuses for her or to cover for her. She'd much rather have found his porno stash, you can tell. He tries to tell her he knew about the parts, but she's not talking about that; she's talking about Riley. "There's nothing to talk about, is there? Because Riley's dead," he says, sullenly, and she asks him what he thinks about that. He says he'll figure it out, but she says they both know what happened. He tells her Cameron didn't do it, but she doesn't believe him.
"I'm sure, and I know her. And she told me," he says. Sarah scoffs. "Just like she told you she destroyed every part we ever captured. Just like she tells us what she does every night when we go to sleep. When she comes back in the morning, she's covered in cuts and bruises. Just like she told you she loved you." Well, that last one's kind of true, isn't it? John slams the table, and snaps that his mom doesn't know anything, and he stomps off to go have a hissyfit somewhere.
"I'm thinking of an herb," John Henry tells Ellison and Weaver, who gleefully guesses "tarragon!" which is wrong, and Ellison is FINALLY losing his shit and asks Weaver what's wrong with her, why she isn't angry. "You asked me to teach him ethics, morals and rules. What good is it if he's not gonna follow 'em?" he says, and she tells him Henry will, if they give him a chance to learn them on his own, and Ellison eventually throws out an "oregano" guess, which turns out to be right, and Henry gives them a clue: "The sun is shining on Savannah." Ellison gets on his walkie-talkie to tell the security team to check near all windows. This would be the same security team that didn't notice the little girl wandering around the super-secret basement in the first place. And John Henry is now thinking of an animal, so Weaver and Ellison yell animals at him until Ellison says, "Bird!" which is right, and is also the clue, which confuses Ellison at first, until he has a eureka moment and radios security to meet him at the elevator.
And they head up to the roof, where they find Savannah asleep inside the company helicopter. Again: nice work, security team! I suppose the answer is John Henry guided her everywhere and yadda yadda yadda, but you'd think Weaver would have a little bit more sophisticated security measures to counterbalance John Henry's abilities. Anyway, Savannah climbs down into Ellison's arms, and he passes her off to Weaver. "You found me, mommy," she says, sleepily, and Weaver is all, "Yes, I did!" and carries her off, Ellison watching them. Probably all pissed off that Weaver's taking the credit.
Over at Riley's foster parents' place, now, and the foster dad answers the knock at the door to find John standing there, which must fill him with all kinds of happiness. "Is Riley around?" asks John, and Aaron says she didn't come home last night, and John pretends to be surprised by this. After a moment, Aaron invites him in. "Foster kids. That's the way it is with them sometimes. They drift into your life, and then they drift back out again. Not always according to plan." Then he starts talking about Riley being a tough cookie: "Good heart, as I'm sure you know, but tough to know," he says. John says he needs to talk to her, so maybe he can leave a message, but as he's saying this, the phone rings. Aaron answers it, and is relieved to find out it's Riley. John looks rather surprised. Too surprised, in fact, considering that this turns out to be the damn plan.
Of course, it's just Cameron talking in Riley's voice, telling Aaron that she's in Riverside and she's OK, and then she winds up talking to John, who interestingly at first almost seems like he wants to believe that it actually is Riley, only he knows that it's really not, and his conversation works on another level with Cameron: "You know you're really freaking everybody out, right?" he tells her. "Am I freaking you out now?" she asks him. Yeah, he's freaking out. He says they'll talk later, and she gives him another "I love you," and it's all John can do not to fall apart right there, but he just says, "OK, bye," and clicks off.
So outside, he meets up with Cameron and asks her what the hell that was about, and she tells him it was the plan, and he tells her that the plan was just for her to call the foster parents' house so the dad could hear Riley's voice, and Cameron's all, "I did that," and John points out that it's not all she did, and Cameron reminds him that the point was to make it seem like Riley was still alive so the foster parents don't go to the cops, and John's reaction made it more authentic, and if anything, John practically sobbing his eyes out made things more suspicious, if you ask me. She asks if he doesn't think it was more authentic this way, and he doesn't answer. So she asks where they're going now, like maybe they're going out to dinner to celebrate. "We're not going anywhere. I'm going somewhere, and I'm going to go alone," he says. She tells him he shouldn't be alone, and he says, "Yes, I should," and he stomps off down the street.
Ellison stomps back into the room to see John Henry, who asks if he had fun playing the game, and Ellison's all pissed off and says he didn't: "Because what you did made me very, very angry." He says John Henry kept a secret: "The secret you kept could have harmed Savannah. What if we couldn't have found her? What if she'd fallen from the roof and died?" "Then she wouldn't be alive anymore. And her life is important. Human life is sacred," says John Henry. Ellison says if anything had happened to Savannah, it would have been his fault. "My fault," says John Henry, sounding unhappy. Ellison says John Henry was the only one who knew where Savannah was, and he made a choice not to tell. "It was the wrong choice." John Henry considers this. Ellison might want to consider that John Henry could easily kill him without lifting a finger.
Derek and Jesse arrive back at her hotel room, and Derek's being his usual mopey self. "I think about Riley. What the cyborg did to her," he says. "It's a terrible thing," agrees Jesse, adding if John realizes what the metal is, what it does, maybe some good can come of it: "Maybe you can help him see that." Derek's not convinced. "'Good'? An innocent kid is dead, because that metal bitch murdered her in cold blood. No good comes out of that. None. Not ever." Jesse says he's a good man, and then she starts sucking his face and tells him not to let anyone tell him different. On the other hand, if someone were to tell him he's kinda dumb, don't press the issue so much. A couple of minutes later (at best, you know what I mean?) Jesse's buttoning up her pants and Derek's grabbing his jacket and walking out the door. "Hooroo," he tells her, and she says it back, like I love how all of a sudden this "hooroo" thing is a thing they have, only we've never seen it before now.
Back on the sub, Jesse asks Queeg why they've been going thirty degrees off bearing for the past four hours, heading into a major Skynet zone. "Our new mission required it," says Queeg, saying their new mission is
taking them to a deep-water oil platform near the Indonesian archipelago. "Lt. Deets and his team will board the rig and retrieve a package. We will deliver this package to Serrano Point." Jesse points out that they have important cargo to deliver to Perth, like vaccines, but Queeg says the new orders come from John Connor. She asks if these new orders say what's in the package. "Yes, they do," he says, and that's all he says. Maybe he's distracted by the fact that a full half of Jesse's form is obscured by a promo of a writhing Eliza Dushku for that Dollhouse show and we can't actually see what's going on until Eliza disappears, thank you. "Please inform the crew. Thank you," says Queeg.
So Jesse fills in Lt. Deets, who says he'll be fine, because he's "got this" and he cocks his weapon, and she tells him she's being serious. "I'm always serious about being fine," he says, and Deets is so going to die before the end of this two-parter. She says if he sees anything he doesn't like, to make sure he thinks before he pulls the trigger. "I've been seeing things I don't like since J-Day. You don't get to be my age without thinking first," he says, and reassures "Mom" that they'll hold hands before crossing the street.
So back in the control room Jesse opens up communications with Deets' team, and Deets says this deep-sea oil rig is the second-worst thing he's ever smelled, and she says they'll maintain radio silence until they've got their mitts on the package, and my guess is that she was worried he was going to say the worst thing he ever smelled was the time he followed her in the bathroom.
So we watch Deets and his team make their way through dark, dank corridors and steps, hooks and chains hanging everywhere, things sloshing. It's like watching a first-person shooter. I think I've played this one! Deets turns a corner and seems surprised by what he sees, and he steps back. He thinks for a moment, and then puts his rifle down and silently motions for his team to head out. After a moment, they do, leaving him there on his own. He steels himself, and then goes back around the corner, raising his arms in the air as he does so.
On the floor is a box, and there's a dude standing behind it. But what's got him raising his arms are the two armed endoskeletons standing there. "Connor sent me. John Connor. I've come for that," says Deets, sounding like he's pissing his pants right at this very moment. There's some sort of blue light on the box. "I'm just here for that," says Deets again. The dude, possibly a terminator himself, steps forward and picks up the box, holding it up, looking like he's half-smiling. Yeah, probably a terminator. Of course, the endos look like they're grinning demonically, with their weapons trained on Deets. On the plus side, at least it looks like his bowels are completely evacuated.
As Cameron approaches the garage, we can see the flickering orange light of a fire through the windows, and maybe, just maybe, if Sarah's burning the terminator stuff and all this sensitive stuff from the future? She should cover over the windows so the neighbours don't think there's a fire happening.
Sarah's staring at an endo hand when Cameron walks in. "I had planned on waiting for you with Derek's sniper rifle. Pull the trigger, solve about fifty percent of my problems, one shot," says Sarah, like NICE WELCOME, and she asks Cameron how bad she figures Sarah would have felt. "Very bad?" guesses Cameron. So much for her brainiac computer mind. "Not bad at all," says Sarah, but she knows someone who would have felt bad: "Someone who never would have forgiven me if I'd done that." She says she doesn't know what to do with Cameron, who knows why they're here and what the stakes are. "And yet here I stand, burning what's left of an endoskeleton I thought we'd burned months ago," she says. Oh, Cameron. She's disappointed in you! That's always way worse than when your mom's just straight-up mad at you! Cameron says she needed spare parts. "I don't care what you need because it's not about you," snaps Sarah. Cameron agrees and says it's about John. "You're concerned for his safety," she says, and Sarah says you bet she is. "From Skynet, from me?" says Cameron. "Maybe. Maybe especially you," says Sarah. Cameron says they're all a threat to John, because he worries about them, which makes him vulnerable. "I am not John's problem," says Sarah. "John is John's problem. Humans are the problem," says Cameron, adding that the only way for him to be safe is to be alone. "What kind of life is that?" asks Sarah. "John's life. Someday," says Cameron, before turning and walking out of the garage, with Sarah standing there, her little terminator bonfire there for the whole neighbourhood to see. Try not to kill any birds on your way back to the house!
And we go now to where John had to go: somehow inside a morgue in front of a wall of refrigerated slabs. Did he just walk in? Is this a public building? He opens a door marked "Jane Doe" and rolls out a shelf with Riley on it. And he takes a moment before he can even look at her body. And then he turns her head towards him, and then he lifts up her hand, with her nails encrusted with gunk (Jesse's skin?) and he presses the back of her hand against his cheek. "I'm sorry," he whispers. Riley does not reply. He puts the hand back, and pushes her body back into its compartment and shuts the door.
Elsewhere, Jesse sits in her chair. Slightly edgy, she reaches out and shifts the lamp again, and then sits there fidgeting until the "To Be Continued..." screen comes up. Because this episode is a cliffhanger more than a regular episode is how, exactly?