Back at the Connor Compound, Derek comes in, waking his mom up on the couch. She hands over her little yellow sketch paper with the three dots, asking him what he thinks it means, explaining that she's been dreaming about it. It's so clearly finger holes for a bowling ball that I don't know what the whole mystery here is. He shrugs off any significance her dreams might have and tells her Chrome Artie's body wasn't there. "Ellison," says Sarah, and John says he doesn't have it. And then the next thing I know she's blathering on about how it's her fault that Chrome Artie found them, because of the boy at the bowling alley who she let live (see? Bowling alley! Finger holes on a bowling ball!). "We're not murderers. You're not," he says, consciously or unconsciously implying that he is, or feels like one. "We need to get that body back," she says.
Speaking of bodies, it looks like Derek's disposing of one in the woods, Jesse in the passenger seat of his truck. He gets in. "You don't think he'll ... talk, Young Fischer." "We had to let him go. He's not the monster we just buried," she says, and Derek hopes he doesn't become one. She asks him if he remembers any of it, and he says he doesn't. "It was all we talked about, Derek. What he'd done, how you were going to find him one day. You were obsessed," she says. Finally she chalks it up to him blocking a trauma, but he's got another theory: that he came from a future where it hadn't happened, and she's come from a future where it did.
"Is that possible?" she asks. He says since he's been back he's done things, changed things. "Maybe I changed the future," he says, which is, after all, the reason they're here. Well, that, and it's not a post-apocalyptic war zone. "Do you think there's a version of the future where we're not together?" she says. Derek says "no," scoring major sweetheart points.
Damn, Young Charlie, take a sick day! You're all beat up with a black eye! Young Charlie reports for work at SRF, checking in with the fingerprint and retinal scans, only to be greeting by suits from the FBI Department of Homeland Security.
In an interrogation room, the lead agent says Charlie came in two nights ago and made an unauthorized entry at 4:16 a.m. A very nervous-sounding Charlie says that's a mistake, that he would have no reason to be here at that time. "Computers don't lie, Mr. Fischer," says FBI guy, showing him the log with his name on it. And as the agent explains that at 4:23 a.m. someone made an unauthorized access to a computer networking system, that allows user access to all primary military-industrial computer systems, we watch as Old Charlie walks in, using his thumbprint and retinal scanner. "I'm telling you, this is all a big mistake," says Young Charlie, protesting that he doesn't even know how to get into the computer system, so why would he. "You tell me," says the agent. "Why would you install a roving back door into those computer systems, one that we can't dismantle so far."
Young Charlie, who looks like he might have just a theory as to how this may have happened, says he didn't do anything, so the agent asks him to explain how he got so banged up. Charlie stares at him for a moment. "I don't know if I can," he says. "Try," says the agent.
Elsewhere, Catherine Weaver's sleek black Mercedes pulls up next to Ellison's in a parking lot. She gets out and asks what it is he wanted to show her. He opens his trunk, and lifts the tarp off Chrome Artie's bullet-ridden body. "We need to learn how they work. How to fight 'em," he says. We see a shot of Young Charlie telling his story in the storage locker, which is now completely empty, agents scouring it. Then we see Young Charlie in white, in a room with padded walls, and a door closing shut on him. "We can't allow history to repeat itself. Not when we have the power to stop it. It's up to us, now. The two of us," he says. Catherine smiles. "Yes. It is."
Oh, lord. One more dream sequence. Sarah, in a dress, climbs down a ladder into the grave, which has a door in one wall. She walks through, into Dr. Sherman's office. He's sitting there and looks up. She asks what she's doing there. "I don't know. It's a waste of time. You just lie and lie," he says, and she repeats that, the way Cameron might. He asks her if she has things to do, and she says she does. "I should get back to work," she says, and now she's back in the room with the names written in blood on the walls, and she sees it: three dots in a triangular pattern. I STILL say it's a Big Lebowski reference.
Daniel still prefers Sports Night to The West Wing. He can be reached at firstname.lastname@example.org.