After the commercial break, Derek's studying the guy's license, which does indeed say Paul Stewart, and he says he repairs watches in Pasadena. "What are you doing here, Fischer?" snaps Jesse. While the poor guy protests that he's just Paul Stewart off Blackburn Avenue, Jesse gets angrier and angrier, and smacks him one, and has to be restrained by Derek to keep from doing more damage to him. Derek sits in front of the guy (Richard Schiff! Thank you, opening credits!) and asks if he knows him. "No! I don't know you, I don't know her!" says Paul. Derek heads outside with Jesse so she can be all cranky about how Derek doesn't believe her. He says he knows the greys, because they caught four of them, but they're not going to do anything to this guy until they're sure of who or what he is. "He is who I say he is," says Jesse, quietly. "I want to hear him say it," says Derek. Jesse says he will, and grabs her jacket. "I'll show you," she says, stomping off.
Sarah wakes up in bed to the crackling hiss of a baby monitor on the night stand. She gets up and slowly starts walking through the house. Oh, great. Another dream sequence. She's got on her Laura Ingalls Wilder dress again, and slowly makes her way into the Connor Compound's maternity ward, with row upon row of bassinets, each filled with blankets wrapped around a couple of turtles. Well, except for one, which is empty.
She turns and sees Cameron sitting in a rocking chair, nursing. Then Cameron's staring adoringly at the turtle in her palm, and it seems like she's going to give it to Sarah, and then walks past her to give it to Chrome Artie instead. Yet another reason I hate dream sequences. They make it easy to make misleading promos.
Sarah raises her gun, but suddenly it's real life again (or is it?) and she's outside, pointing the gun at her own reflection in the window. Now she's in the kitchen, pondering, looking at a picture with three dots drawn in a triangular pattern on a notepad. God, I hope we're done with the dream sequence now.