At the Connor Compound, Derek's getting back from a six-hour run. "I guess I'm slow," is his excuse. If Derek is anything like me as a 12-year-old, then the real reason he was gone so long is because he stopped off at that comic-book store after school again. He says he doubled back on Sherman's place and can't find anything significant. Sarah says they bugged the house but still need the patient files. Then there's the sound of a gunshot, so Sarah and Derek and Cameron all start running in slow motion for John's room. I really would appreciate it if, since they're going all cheesy slow-motion that they really embrace the cliché and have the characters speaking in slow motion too. Might as well, right?

They find a startled John in his bedroom, with a gun in his hand. He says he was just cleaning it and it went off. Well, that's puberty for you. He's all right, save for a burn on his cheek from an ejected shell casing. Sarah gives him a look, all, "Young man, what have I told you about making sure the chamber's clear before cleaning a gun!"

Cameron sits outside Sherman's building listening to the bug through headphones, although I'm kind of surprised the audio isn't just patched directly into her. Savannah's having a session, playing with dolls, Sherman trying to find out where the doll's mommy is. "She's working," says Savannah, adding the doll wants to tell Sherman a secret, which is, "I want my old mommy back." Again, Catherine stands outside, creepily staring at the session, and tilting her head like a breakdancer DOING THE ROBOT, and with none of the fluidity of something MADE FROM LIQUID METAL. I mean, GOD. The receptionist strolls up to tell Catherine that her daughter is beautiful, and that she looks just like her mother (which really just means they both have red hair). Session over, Sherman brings Savannah over and says he needs to talk to her mommy, so she goes into the waiting room and continues to look forlorn while Sherman takes Catherine into his office.

He starts by asking her what her most vivid childhood memory is. She doesn't offer one, and he tells Catherine that Savannah's most vivid memories are of her father's death: hearing the news, the funeral, etc., and because she's so young, she has no distance from it. "Well, we can't make her grow faster, can we?" says Catherine, awesomely inflecting the last bit to make it sound like it's not a rhetorical question, as if Catherine's actually open to suggestions. Sherman delicately tells Catherine that she needs to reassure Savannah that she hasn't lost her mother as well as her father. I guess that means he doesn't get that when Savannah wants her old mother back, she's not speaking metaphorically. In his defense, "my mommy has been replaced by a liquid-metal killing machine from the future" is not a problem that crops up often enough that he should have recognized it right off.