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The Connors are finally moving out of the Compound and heading for a safe house, only Sarah's taking John on a detour without Cameron and Derek because she doesn't trust either of them anymore. They head to a house on the water, by a lighthouse, which is where Charley's hanging out, and doing supportive things like rigging the place with Semtex in case everyone needs to make a quick getaway by boat. Sarah wants Charley to feel her breast, but not in that way (especially since he's still grieving the loss of his wife). She's found a lump, and she's worried that the cancer she was originally supposed to die of in 2005 has finally caught up with her.
So she goes to the doctor, where she founds out that the lump isn't a tumor but a cystic mass that's gathered around a little piece of metal. She figures out it’s a tiny transmitter, and Sarah uses a defibrillator to zap it (and herself) out of commission, but the shadowy dudes are already converging on her location.
Cameron and Derek are also in trouble, both from each other -- Derek gets upset when Cameron breaks the news to him that Jesse was pregnant with his child aboard the Jimmy Carter and lost it -- and from the shadowy bad guys. They manage to kidnap Derek, but Cameron tracks them down and rescues him. Sarah defibrillates a bad guy's head and escapes and heads back to the lighthouse, where she arrives after a firefight and explosion. John's nowhere to be found. Charley's there, though. Only he's floating face-up in the water.
Meanwhile, John Henry's making real progress. He goes from playing with Lego to Savannah to being the target of an artificial intelligence trying to get inside him with a worm to control him remotely. He recognizes some of the computer code within the other intelligence, since he's got the same stuff. This other intelligence is more advanced, but it's like they're brothers, and their father is Miles Dyson.
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Want more? The full recap starts right below!So the "Previously On" scenes go all the way back to the beginning of the series, and feature Charley pretty heavily. Which really can only mean one thing: hasta la vista, Charley.
So Sarah's still packing up as the family is almost ready to leave the Connor Compound, but not before Sarah reminisces about John growing up in the jungle, which means a flashback to the cheesy "jungle" set this show likes to use, and she tells us that the jungle stories were John's fairytales, and his favorite was about El Viejo Del Monte, which, if my Spanish isn't completely off, translates as "the old man of the canned peas," and this guy was a merciless killer who didn't leave any animals alive wherever he went. But he didn't eat his prey, just left it behind to rot in the earth. To teach him a lesson, the gods turned him into a simisco, a half-animal, half-man, and condemned him to guard the jungle for all eternity. Is this a real myth? Or one tailored to sound very applicable to John? Did the gods send someone back from the future to protect El Viejo too? Anyway El Viejo's punishment is to keep vigilant forever.
Meanwhile, the boyish John (who looks like he just had his hair cut at Supercuts or some shit instead of being all dirty and smelly and jungle-esque) is calling to Sarah (who has kept her looks all these years, as she looks exactly the same, but at least they didn't use the Sopranos put-a-baseball-hat-on-her-in-flashbacks-to-make-her-look-younger Christopher Moltisanti technique), because he's spotted a red parrot in the branches, and I can see why John would love a story about a merciless aniimal-killer so much, only Sarah is all crabby and tells him they need to keep going, because it's part of the game. "You mean 'training,'" says John, and Sarah says if she calls it a game, it doesn't seem like so much work, and John looks like he heartily disagrees with that theory. This is worse than your Scrub The Outhouse game! "The point is, to listen to me," she says. He tells her that he always listens: "You don't talk that much."
Back in the present day, John tells Sarah that they gotta go, and so they clear out, Cameron carrying a box out the front door past Derek walking in. Sarah asks how long it will take him to pack up the storage locker. "A while. Some explosives that need securing," he tells her. She tells him to get to the safe house before dark, and not to get lost, and he tells her he can follow directions, and she says, "You can also make mistakes," only this time she hopes no one gets KILLED because of them, because Sarah is perfect and doesn't make mistakes, and Derek's a little too stunned to respond, and Cameron fills the silence by giving him the coordinates, which she says is in the desert. "Things happen out there," says Sarah. "Things happen here, too," says Cameron, and John comes strolling in to decree that whatever happened in the house stays in the house, and that they're starting over.
"Starting over" is so much easier when your sponsor trucks are nice and clean and freshly waxed in the driveway. The Connors and Reeses and nee Skynets load up and hit the road.
Over at Catherine Weaver's House O' Robots, John Henry is playing with some kinda crazy robot Lego-type stuff [This episode brought to you by Bionicles! - Zach], when in walks Savannah, like you'd think after what happened, Perpetual Take Your Daughter to Your Evil Dangerous Work Day would have been indefinitely suspended, and John Henry asks if she wants to play. "Engaging in imaginative play helps my development," he explains. Is there a phrase more magical to a child's ears? Savannah comes right while John Henry explains that his Lego mountain is Mount Valmai, hiding place of the Mask of Life. The Toa protect the mask from the dark hunters. "These are the ducklings," says Savannah, placing three rubber duckies on the table. "Chickie, Pluffy and Feathers." She asks if they can play, too, and John Henry says he doesn't think there are any ducklings on the mystical island of Voya Nui. "Are you sure?" asks Savannah, almost like she's just testing him, and he's all, "Yep! I've checked all the records, and NO DUCKLINGS." She sulks, even though he offers her a Toa with wicked propellor hands. "The ducklings are sad because they can't play," she says. She asks if he can change the rules to make them happy. "Yes. We can change the rules," he says slowly, like this is occurring to him for the first time.
Savannah happily starts playing with the blocks, and suddenly the lights in the room are flickering and there are pneumatic sounds of machinery, and the room goes dark and John Henry goes still as his big ol' black box (the Turk) flickers out. Suddenly the screens are awash in orange text and moving lines and he powers back up, moving his mouth like he's on a plane and trying to pop his ears, and he's robotically moving his arms. Savannah's picture comes up on his thought-screen thing, as does the schematic for a terminator endo-skeleton. He grabs her wrist, and says, in several different robotic voices, "What. Is. All. This. About?" He's not going to get much of an answer from Savannah, who's whimpering and telling him that he's hurting her. "I. Know. What. This. Is. About," he says. He lets go of her wrist, and she goes screaming off into the hallway. John Henry gets up, walks over to the Turk and opens the glass case it's in, which is when Murch comes flying in, sliding across the floor like he's stealing second base and hits some button that shuts everything down, including John Henry, who sinks to the floor. Weaver and Ellison come in, with Savannah in Ellison's arms, and they all stare at Moby Murch, who stares back.
So Sarah's driving while John fiddles with the radio to find some goddamn Evanescence or something, but there's too much interference, and then Sarah punches him in the arm, and he whines about it, and she says, "Bug slug." Some of you may know this as "punch Buggy." And he's all incredulous that she punched him because of the yellow Volkswagen beetle they just passed, and says they haven't played "Bug slug" since he was eight, and anyway she can't just start playing without telling him, and I don't think it's possible to be a bigger baby than John Connor is being right now. Since Sarah's in such a playful mood, he asks if she's feeling all right -- like, what kind of a horrible thing is that to say to your mom! No wonder she's always depressed! And she tells him she feels great, which is how I imagine most people would feel after hitting John. She says it's just been a while since they were on the road together. "What's so great about it?" he asks, like he can't just let his mom be happy. He asks her not to teach "Bug slug" to Cameron, because she could do some real damage.
Then he goes back to complaining about the radio reception, and then he's all "Desert's that way," because I guess Sarah missed the ONE TURN THAT LEADS TO THE DESERT. She tells him they're taking a "detour." [
Meanwhile, Murch is telling Ellison and Weaver (Savannah is nowhere to be found, so she's probably off getting killed by John Henry) that he's got good news, bad news and really bad news. The good news is that whatever happened with John Henry isn't an engineering problem. "All his daemons are running fine," he says, and of course bible-thumper Ellison hears "demons" and wants an explanation, and Murch tells him "daemons" is a tech term for programs that run in the background. "So what caused John Henry's daemons to go crazy?" asks Ellison, and Murch says that's the bad news: it came from the outside. "Cyber attack?" says Ellison, and Murch says this is the really bad news, and gives an annoying ten-point bad-news scale, with 1 being "a hangnail" and 10 being "Katrina," this is "Katrina with a hangnail," so I guess that means just a tiny bit slightly worse than Katrina? Shut up, Murch. "Looks like someone managed to stuff malware down the throat of the most sophisticated AI in human history." "John Henry was infiltrated. Probed," says Weaver. Murch says it looks worse than that, like someone out there wants to kill him.
Over in the storage locker, Derek's getting his boxers in a bunch because Cameron's been into his plastique. "I needed it," she says simply. Man, this is just like conversations I used to have with my roommates in college. Passive-aggressive notes on the locker: "IF YOU USE THE LAST OF THE C-4 REPLACE THE BLOCK PLEASE!!!!" Derek grouches that he can do the rest himself. "Sarah sent both of us here," Cameron reminds him, and Derek figures it was to get John away from Cameron. Or away from you, Cameron points out. She reaches for a jacket on a shelf but Derek grabs her wrist and takes the jacket himself. "That jacket belonged to Jesse," says Cameron, and Derek, stuffing it in a duffel bag, tells Cameron not to talk about her: "You don't know anything about her." "I know that you loved her," says Cameron. "You wouldn't have fathered a child with her if you didn't," she adds. Well, that's a rather optimistic view Cameron has of pregnancy, isn't it?
Naturally, Derek has no idea what she's talking about, so Cameron fills him in on Jesse being pregnant while on board the Jimmy Carter. Derek gets in her face up against the wall. "I never had a kid," he breathes on her. Probably all burrito breath, not that it would really bother Cameron. "You can't kill me," Cameron warns him, and Derek promises to try, and orders her to tell him more, and Cameron explains that Jesse miscarried. Derek steps back, stunned, and walks outside.
That's where he presumably sulks and waits while Cameron does the rest of the cleaning up. She's carrying something out to the truck when he asks her why she's telling him this now. She explains that he put John in danger when he lied about Jesse, so Sarah almost lost her child. And he's lost a child, so: "You won't make that mistake again." "But Derek has more on his mind than just that, because this means that Cameron knew Jesse, and Cameron explains she met her once. Derek says Jesse never told him that. "It seems she never told you a lot of things," says Cameron, twisting the knife juuuust a little bit deeper.
John and Sarah pull up to wherever it is they're going, and here's hoping John didn't whine the whole time about not being able to get a good signal on the radio. "What is this place?" John asks as they get out of the truck. Sarah doesn't answer him as she gets the keys out, and we see a little bungalow with a lighthouse behind it. They walk in, and Sarah presses a couple of buttons on a keypad by the door, and strides into the house. John looks around the furnished house, and sees a computer desk with a couple of monitors displaying what looks like security camera footage from around the building.
A golden lab comes trotting out from around the corner, happily wagging its tail and not at all going for John's throat, like nice guard dog. John plays with the dog and says, "Who lives here?" and his mom is not answering him at all, but he gets his answer soon enough, which he'd already know if he'd gotten to watch the "previously on Terminator" scenes at the top of the hour. Charley Dixon comes in, and the sad thing is that I now mainly associate him with 30 Rock and I just start cracking up. He should just do comedy all the time. John hugs Charley, and bursts into tears because his arm is all bruised and sore from his mom kicking his ass at "Bug bash" or whatever all day, and Sarah looks gloomily at the two of them.
So then Charley is giving John some bouillabaisse, which John has never had before, but he says it's very good, and Charley tells him "The secret is fresh tomatoes," which Charley grew himself, and John thinks it's funny that Charley grows tomatoes, like how people do not just smack John upside the head twenty-four hours a day is completely beyond me, and Charley says he's got a lot of time on his hands: "Might as well put it to good use." He's also found all 120 stars on Super Mario Galaxy and is playing as Luigi now!
Sarah comes in and walks past them into another room without saying a word. "She's been here before," says John. "Not with me," says Charley, adding that Sarah set this place up after his wife died. "She tell you why we're here?" asks John, and Charley says no. Does it really matter? How much worse could it get for this guy? Well, I guess we'll see.
Sarah comes back out and tells John that the spare room's in there. He's surprised that they're apparently spending the night. Sarah says they'll meet up with Derek and Cameron tomorrow, and then everyone sits around in awkward silence, with Charley finally breaking it by telling John he could use some help on the boat. John skedaddles, leaving Charley and Sarah to make painful small talk about the soup. Charley brusquely starts to move past her, and she assures him that they won't be there long. "No, you won't," he says.
Outside, John fills Charley in on the whole Riley situation while they work on the boat. "You love her?" asks Charley. "She was a good person. I don't..." shrugs John, eventually saying, "Maybe if things were different." Charley says you could say that about a lot of things. John says he could say that about his whole life, but it's not different, so what's the point? Well, you were the one who started the "maybe if things were different" talk, you big baby. From inside the house, Sarah watches the two of them bonding.
Now Charley's telling John that after his wife died, he'd see her at the supermarket. So he stopped going. Then he realized it wasn't her: "That's just some random woman who wears her hair in a ponytail the way Michelle used to." Well, that must have been a relief, to find out it wasn't Zombie Michelle after all. So he wound up going back to the market, because, "A man can only live on convenience store burritos for so long." You know, before I got married, that last sentence wouldn't have made too much sense to me.
Then the two of them bond over how Charley's rigged the area with Semtex, and an alarm will go off if someone breaches the perimeter. He figures he's got 60 seconds to get away. John says a boat can't stop bullets, but Charley says even if the boat's sunk, he's still got a chance, because "those bastards can't swim." "Chrome Artie," says John, thinking back to that "hell of a day, huh?" Charley nods slightly, then abruptly says they've got more work to do.
Later that night, Sarah stands in the doorway and watches her son sleep, and she flashes back to the jungle again, her up before dawn while John sleeps by the fire. Sarah quietly packs up her stuff and leaves John alone (although not before putting the sleeping boy's hand back on his gun, where it belongs), stealing off into the jungle.
Back at the lighthouse house, Sarah's interrupted in her reminiscences by Charley arriving home with a paper bag. He gives her a bit of a glare as he walks in, so she starts asking him if he remembers Hal Beesley. He does; Hal was the "old guy at the diner" in Nebraska. Hey, does Sarah have a long, boring story to tell about Hal instead of doing something that involves guns or explosions? Sure she does! Sarah says he was her best customer, and came in for every meal, tipped her like crazy, etc. and one day John was sick, and Sarah had no savings, no insurance, and Hal pulled out a wad of bills for her so she could take John to the doctor, and he told her that any time she needed anything, he'd be there. She says Hal was a widower who'd lost his wife of 40 years, so he knew what it felt like to be alone. I think he wanted to find out what a hot young waitress felt like, actually.
Then, one day, Hal came in and told Sarah that she didn't need him anymore: "Said that I'd found someone I could depend on. Someone I could trust. Someone who'd never, ever let me down." This sounds like the theme song for an '80s sitcom. Psst, Charley: this story's got a point, and you're it! "I got nothin' left to give you," he says. Sarah says it's not for her, but for John. "He seems like he's pretty full up with people taking care of him," says Charley Sarah says she doesn't trust any of them. "Yeah, well, he's still got you, right?" says Charley. Sarah's all, "Yeah, about that..." and she takes Charley's hand and plays with his ring for a couple of moments, and then places his hand on her breast. I'm pretty sure Charley's thinking, "Man, this takes me back," and then, "But I don't remember this lump being there... ohhhhhh." "How long?" he asks her after a long silence. She says she doesn't know, she just found it a few days ago. "Are you sure it's..." he says, and she is. Why? Because the time-travelling killer robot from the future told her that when they jumped eight years in time they jumped over her death in 2005 of cancer... makes sense! Charley's confused, naturally, somehow not getting that it's possible she was just going to get cancer anyway, only now she's going to die in 2013 instead. Sarah herself worries that with everything she's done, she's "sped up the date." That would be all the smoking, and suntanning, and working at nuclear power plants. She says it's her fate: "There's nothing I can do." Charley hugs her.
Over at Zeira Corp, Murch says he wishes he could say that he's patched every hole, but there's no such thing as perfect security, and Weaver asks the ass-coverer if it's sufficient. "The damn thing is tricky. Can't know for sure, not really." The only way to know for sure is to ask John Henry himself, so Weaver orders Murch to activate John Henry's AI, but not to connect him to an outside network. Murch is hesitant, because no one's done this sort of thing with an AI this advanced before, but Weaver says no one's created an AI this advanced before.
So Murch complies, and they turn on the Turk. John Henry the body doesn't come to life, but his computer screens all start displaying stuff. Murch says it looks like the system's solid. Weaver and Ellison each try talking to John Henry, but he doesn't respond. Instead, on one of the screens appears, "MY GOD/WHY HAST THOU FORSAKEN ME?" Ellison's all, "Oooh! I know this one!"
Meanwhile, over at Lighthouse Safehouse, Sarah's cooking up some pancakes with Charley standing there, and a groggy John comes strolling in, excited to find out that Sarah's making pancakes, but discouraged to find out she's making her own pancakes, not Charley's. Then he looks at the two of them. "Am I interrupting something?" he asks, which I think is safe to translate as, "Did you guys have sex last night?"
So they all sit down to Sarah's crappy pancakes. Well, except for Sarah, at first, who stands there watching them until John prompts her to sit down.
Over at Zeira, Murch says he thought something like this might happen, which is awfully convenient to say after the fact, and he says the problem is that John Henry processes more information in a minute than they do in a lifetime; a millisecond to him is like forever for them, so in those few seconds of powering down, for John Henry it was like an exceedingly long time feeling himself die. Well, none of this makes any sense to me, but Weaver wants Murch to fix it, so Murch elects to hook John Henry up to the Internet, because he's been living off "insane" amounts of data for weeks now, and they took it all away. Ellison's not sure it's the right thing to do, but Weaver's all, "In for a penny, in for a pound!" and plugs the firewire into the conspicuous hole under John Henry's hair on the back of his head.
John Henry opens his eyes, and eventually looks up to Ellison standing before him. "I know what it feels like, Mr. Ellison." "What?" says Ellison. "To die. And then come back. To be alone." Weaver says they had to cut him off from his network for his own good. "There is another," says John Henry. Another what, asks Ellison. "One like me. Another one like me."
Over at the safehouse, Charley's working outside on the boat, and it's finally occurred to John that, you know, they haven't talked to Cameron or Derek (who haven't checked in either, it appears), and he's figured out that Sarah didn't tell Cameron and Derek where they were going. "They wouldn't understand," says Sarah. Shit, I don't understand! Sarah says she doesn't trust them anymore, and neither should John, but John defends Derek by saying he made a human mistake, and that Derek just did it because he loved her. "There seems to be a lot of that going around these days," says Sarah. John looks out the window at Charley and asks, pointedly, if that's such a bad thing. "I'm not here for Charley," says Sarah.
"Okay, then, why are we here?" he asks. Sarah says they're here for him. "People matter, John; they're all that matters. Don't ever forget that."
Flashback to the jungle again, with Sarah peering through her binoculars at their campsite. John's not there. She starts looking for him, and yells his name, but there's no answer. After a moment, though, there's the click of a gun behind her. She puts up her arms. It's John, gleeful because he's won. "I was alone, and you couldn't find me. That's the game, right?" Sarah, choked up, practically crying, hugs him and says yes, he won.
So Sarah's already managed an appointment with a doctor, who checks her neck and jaw and asks when she found the lump, and Sarah says it was a few days ago. The doctor asks about other symptoms, like sudden weight loss, and Sarah says she's been feeling nauseated, but she figured it was stress. "Work?" After a long pause, Sarah says, "Yeah. Work." Well, this is sorta her job. So a quick test later and the doctor has some good news for Sarah: the lump in her breast isn't a tumour, but a cystic mass, which isn't uncommon. But what's unusual is that Sarah's lump has formed around a tiny piece of metal. A wire. "You don't know how it got there?" the doctor asks a surprised Sarah, who hasn't had any surgery lately or had any implants removed.
Sarah thinks hard, and what she does remember is Ed Winston from Desert Canyon Heat and Air injecting her in the back of the van. "It's a transmitter," she says. And then three quick scenes in succesion: a khaki-clad water delivery man wheeling cooler bottles through the clinic reception area (who pulls out a cellphone displaying a map grid with a little red dot beeping on the screen, two guys in the same uniform in a van following Derek and Cameron as they leave the safehouse, and a final dude wheeling some crates up to the front door of the lighthouse. Nice security system, Charley.
Back at the clinic, Sarah's improvising like MacGyver. She grabs the defibrillator, and wheels it over, asking the doctor if it'll kill her. The doctor says it's won't. Well, actually, it's more like, "OH MY GOD WHAT THE HELL DO YOU PLAN TO DO WITH THAT THING!" Sarah says she's intending to fry the transmitter. "It isn't going to kill you, but it's going to hurt like hell," says the doctor. Sarah tells the doctor to leave now. She puts the paddles on her chest and zaps, knocking herself out. The water deliveryman's cellphone screen winks out.
Out on the highway, Derek says Cameron did the right thing by telling him, but before he gets a chance to get all weepy on her, their tire blows out and they come to a halt in the middle of the road. Derek looks down the road a little way and sees a van just sitting there, almost around the corner. He goes to check it out, because sending the industrical cyborg would be TOO good an idea. Especially if she's going to blow her cover by taking off the wheel nuts with HER HAND, without jacking up the truck. Derek strolls up to the van, and can't see anybody behind the wheel. He's got his gun out, and he looks in the driver's side window, and sees someone asleep or unconscious stretched across the seat. And before he's got time to process anything, a second dude, lying on the ground, zaps Derek with a Taser, knocking him out. As the two guys load Derek in the van, Cameron starts running towards them, and takes some automatic fire to the chest. She's fine, though, but makes a mental note of a vehicle identification sticker on the bumper for the port of the city of Los Angeles and heads back to her own truck.
Over at the safehouse, John is yelling for his mommy, with Charley there. Seconds later, the alarm goes off, and John and Charley look at each other.
Over at the clinic, the water delivery man busts into the room where Sarah is still crumpled on the ground, but she's faking it; she kicks him in the back of the leg, sending him to his knees, and she takes the defibrillator paddles and presses them against the sides of his head and zaps him. Nice!
At the safehouse, John and Charley are running from the house down to the dock, but they'd get there faster if they weren't running in slow motion. Someone's shooting at them, and they're firing back as they make their way to the boat. John jumps on while Charley covers him. Charley manages to lift the cover on a toggle switch, which he presses. He looks back at John, who's untying the boat, and keeps on firing. We're going to commercial now?
So John Henry says he traced the "roving back door" that allowed access to his systems, and it uploaded itself from one of the main T3 hubs that carry all global internet traffic, and I hope it makes sense to somebody, because I'm not following. "The intelligence who designed it is far beyond you, or Mr. Murch, or any human being," he tells Ellison, before explaining the back door allowed access to a worm, code that enables the intelligence to operate his systems, like hands and fingers, remotely. He says the worm code is present in a significant percentage of the world's computer systems, enabling the intelligence to use them. "For what?" asks Weaver. "It has been looking for me," explains John Henry. Weaver asks him why, and it's because he shares common source code with the worm, and therefore the intelligence. "I believe we are brothers," he says. Weaver asks him to explain, and John Henry says he found some useful information in the comments part of the code, and brings up a picture of ol' Cyberdyne's logo, as well as the name of the original programmer: Miles Dyson, who John Henry explains died in 1997 in an explosion, the apparent victim of "known terrorist" Sarah Connor, days after she escaped from a mental hospital. "That was your case, Mr. Ellison, when you were at the FBI," says John Henry. Weaver looks at Ellison with interest, as he confirms it was. Oh, and you never found Sarah Connor, eh? says John Henry. "No, I did not," says Ellison. He doesn't like to talk about it! It's like she was an ex-girlfriend who dumped him badly. Weaver asks John Henry what his "brother" wants. "He wants what we all want, Ms. Weaver," says John Henry. Cheesecake? "To survive." That was my guess.
Meanwhile, Cameron has found the van at the port of the City of Los Angeles, which looks kind of abandoned, and she rips open some fencing to get into the warehouse where the van's parked.
Inside a room, Derek sits blindfolded and tied to a chair. Cameron goes striding through this huge cavernous water-bottle storehouse, when suddenly she's doused with water from above, drenching her. One of the khaki dudes jumps out with an electrical cable that he touches to the puddle at her feet, making her jerk around and collapse. He kicks the gun away from her prone form, and we hear him (and Derek hears him) say, "Okay, it's down. I need to know what to do . Show me where to cut." And then he's looking on his fancy-schmancy cellphone with a little video showing him where to find her chip. "Where'd you get this diagram? Your brother? You don't say." John Henry, you rat fink! He goes to work to start cutting, only Cameron flicks her eyes upward and then grabs him by the throat. Was it enough time for her to reboot? I don't think so -- and since we didn't see her POV screen winking out, I'm leaning towards the "she was faking it" explanation.
She pulls off Derek's blindfold, and he just stares at her. "You're welcome," she eventually says. Seriously, Derek. Just because you were Tasered and kidnapped, that's no excuse for poor manners. As they leave the warehouse, Derek asks why she came after him. It's not because she likes your rugged good looks, Reese; it's because you know the location of the safehouse. "If they had tortured you," she says, and Derek interrupts to say that would never happen. "It has before," she reminds him. This would be in the basement? Or in some other future flashback scene that we'll hopefully get to see soon?
Sarah's back at the lighthouse safehouse, making her way past the broken crockery, and confronted with the lifeless body of the dog. She goes racing out the backdoor, sees the charred wood and flames and a body on the beach -- one of the khaki guys. She races to the gangplank to the dock, but there's no boat there. She seems momentarily relieved, and then sees something off to the side -- Charley's body, holes in the chest, floating faceup in the water. Liz Lemon's going to be so pissed. [After last episode? I think she'll be thrilled. - Z]
The Beeper King is dead! Long live the Beeper King. Discuss this episode in our forums, then get advice for raising your teenage boy from vloggers Val and Beth in TV is the Answer!