Morris shows up with his iPod and tells Cameron to listen to Hatful of Hollow, which he just downloaded this morning, like the album isn't 25 years old by this point. And John intercepts the ear buds, like maybe he's worried the shimmering guitars of "How Soon Is Now" might melt Cameron's computer brain, or else she's going to enter the iPod like she did the traffic network. While the boys are engrossed in the Smiths, Cameron notices a shifty guy watching them (it's actually Sarkissian's driver, not that Cameron knows that), and he appears to realize he's been spotted and sidles off. Cameron moves to follow him, but she's stopped by a teacher, who tells her to stay with the group. "Sorry," she says, and retreats, keeping an eye on Thug Life, holding up a wall on the other side of the room.

In the parking lot, Cameron is closing the trunk of a car when Morris comes running up, saying John's looking for her. "Wow. Is this your car?" he says, checking out the Mercedes. "No. It belongs to the guy I killed and stuffed in the trunk," she says. John runs up and says that "Mom" says they need to get home right away. Then he asks what's up with the car. Morris explains that Cameron stuffed a dead guy in there. "He was following us," says Cameron. And I for one would really like to know how Cameron accomplished the killing and the stuffing out in public without anyone seeing anything, but I guess it happened during the commercial break.

Morris, of course, assumes Cameron is kidding. "Your sister's dark, bro!" adding that she's gong to love the Smiths. John wants to get the rock out of there, but Morris has other ideas, like asking Cameron to go to the prom with him. Cameron stares at him, until John yells at her to say yes, which she does, and Morris's head practically pops off his neck.

Elsewhere, Ellison flirts with some FBI agent to run a name for him: Kester. He's an agent. "This the guy?" says the pretty FBI agent, who Ellison calls Karen, showing him the screen. Kester's got a file, and a mug shot. Ellison is staring at George Lazlo's face.

At that very moment, Agent Kester is in the FBI evidence storage, trying to get his hands on a file from the Sarah Connor case. Sorry, says the agent in charge, after checking on the file name. It's signed out to Agent Ellison. "Ellison, eh?" says Kester, adding "Crush...kill...destroy ..." as he totters out of the room. You'd think that would raise some suspicions.

Ellison and Chrome Artie miss each other by seconds on adjacent elevators, like this is some crappy romantic comedy, albeit one from years ago, when they didn't all necessarily star Kate Hudson.