So he moves on and tells her that ten years ago she murdered Miles Dyson. "Long time gone, but the man's still dead, so we've got that." Eight years ago, she and her son and a high-school friend blew up a bank and died in an explosion. "Now of course, you're still alive, which is inconvenient for many, but the bank's still blown, so we've got that." And more recently, as in Monday, she participated in a firefight, leaving five dead and kidnapping Savannah Weaver, daughter of Catherine Weaver and citizen of Scotland, so this time Sarah's gone international! He tells her that two of the dead were off-duty police officers, which usually earns someone the needle.
Sarah tells Agent Aldridge that he's a funny boy: "I never liked funny boys." "I doubt they like you either, Ms. Connor," he says. Laughing time is over! He says there are two ways they can bring her son into custody: with her help, or dead. Sarah says her son is dead, but Aldridge isn't buying it. He tells her to think about it, and walks out. Sarah looks up at the security camera, red eye blinking.
Meanwhile, John is angrily watching the news, by which I mean he is visibly seething as he watches news footage of his mom's arrest, and they show a picture of the three of them, with the announcer saying the other suspects (i.e. John and Cameron) would now be in their mid-twenties.
John wants to move to a new hideout, but Cameron says it's a bad idea to do that within twenty-four hours of an "incident," and this room provides excellent sight lines down the highway. "This is not an 'incident.' This is my mother," John snaps at her. Cameron looks at him. He says he needs a computer so he can do some research, and she thinks he wants blueprints for L.A. county jail so he can bust out his mom. She says she won't let him do that, and he should know that by now. He says he does, and she asks him what he needs to research, then. "Power sources. Shielded nuclear power sources," he says, staring straight at her. "Like mine," she says. Bingo, he says. "I want to know if being around them all the time can give you cancer."
Elsewhere, the current terminator patches up his gunfight wounds with what looks like Krazy Glue. Nearby, on a computer screen, noted journalism website "Online News" is playing footage of Sarah's arrest, the same footage that is also on a television screen at Zeira Corp, where Murch is playing Dungeons and Dragons with John Henry. Uh oh, John Henry! You rolled a one, so you don't see the umber hulk in its nest of stone, and so you take three hit points of damage! Umber hulk smash! John Henry's face is like, "...the fuck?" Fortunately, he rolls a twenty when he attacks with his "vorpal long sword," so that's a "crit hit" and the umber hulk is dead. John Henry proudly relays his accomplishment to Weaver when she comes in, and it takes all her programming not to roll her eyes.
She asks to talk to Murch, who gets up from his chair, like maybe if they stand four feet away John Henry can't hear them. She asks who's winning, and Murch says it's not that kind of game, although he's "bummed" that John Henry killed the umber hulk so fast. Don't be so down, Murch. It's not like if the umber hulk had lived you'd be losing your virginity any time soon. "I'm sure you've considered the possibility he can roll whatever number he decides." Murch looks like he really hadn't thought of that.
Anyway, she didn't ask to talk to him because female-looking terminators are fascinated by Dungeons and Dragons. She just wants to know how long it would take to transport John Henry and all his equipment, should they need to. "John Henry's already been attacked once," she points out. He thinks moving all the stuff could potentially be a bad idea, and tells a little story about changing out a little fan wire, replacing it with the exact same kind of wire, same length. But it kinda "tweaked" him. "What I'm getting at is I think what we know to be John Henry only exists as this specific collection of hardware and software ... body and soul." Change a wire, change John Henry, says Weaver, getting it. John Henry interrupts to say he's ready to confront the "mind flayer" now, and he rolls another twenty. Uh-oh! Another "crit hit"!
Back at the jail, Aldridge opens the door to Sarah's interrogation room and shows Ellison in and then leaves. Ellison opens by saying he was followed to the movie theatre and had no idea, and he's spent the past four hours convincing the FBI that they're not in it together. Sarah's all, "Maybe I should tell them we were!" and then she yells that at the security camera. He says he just wanted to make sure the girl was safe, and Sarah says that's what she wanted too, and Ellison asks, "Safe from who?" and Sarah says she doesn't know. "Don't know or can't say?" asks Ellison. Sarah admits that while she doesn't know, she probably wouldn't be able to say if she did.
Ellison says they wanted to know what she's been up to for the past ten years, and he told them he had no idea: "What else could I tell them?" he says. He suggests telling them everything she knows: "If you're innocent, you could do that." Yeah, and wind up in a psych ward again, right? Ellison says it might be different now, as she's got nothing to lose. Not sure how that keeps her out of a psych ward, but OK. He says he's sorry ("sure you are," she retorts) as he gets up to go. She asks him where the girl is. Back with her mother, says Ellison, all duh. "She's not safe," Sarah tells him. He ignores this, so she starts yelling it at the security camera, which is being monitored by Aldridge, and also John Henry, with Weaver beside him.
So for some reason Aldridge's office is in a jail cell? I mean, it's clearly a temporary thing, but they couldn't find any other space for the poor bastard? Ellison comes in to see him. "This is where they stick us now. Pretty sure I know what the subtext is, but I refuse to read that deep," says Aldridge. Small talk over, the agent says Sarah's not budging on giving up her son, and Ellison suggests she's telling the truth, but Aldridge ain't having it, and says she's got a "guilty conscience," which is probably why she requested a priest, Father Armando Bonilla. The name doesn't ring a bell for Ellison, and Aldridge doesn't know what the connection is. "Did it ever occur to you she just might want to pray?" says Ellison. Oh, that's what you always think. Aldridge says what's occurred to him is that a priest is the only person other than a lawyer who Sarah can talk to, and they're not allowed to listen in.
Father Bonilla comes in, and Sarah asks if he remembers her. Yeah, the crazy family that hid out in his church? Yeah, he remembers you. He reminds that she told him there was a problem with her daughter. Sarah says she's better now, although she's in hiding, along with her son. She doesn't know where. "They're wanted. You have included them in your crimes," says Bonilla. She asks if he believes in the devil. Well, it's really a requirement of the faith, Sarah, but Bonilla's a little more equivocal. "Something opposes God. Something tempts man into sin," he says. Sarah says she believes something or someone wants this world to burn. "That day in the church, my daughter... you saw things, didn't you?" she asks. Bonilla says he prays every day to understand what happened. Sar