Using a knife, Sarah breaks into Ellison's house. Our FBI agent is not much into home security. Sarah notes the pictures on the walls, the open bible on a table, and an envelope (marked "Hand Delivery," naturally). She makes her way into the living room where, on the end table she spies her case file and records from Pescadero State Hospital. Stacked in front of the television are several VCR tapes. Sarah picks one out, looks at it and frowns.

Meanwhile, Cameron is already leotarded up and taking lessons from Shipkov's sister, and acquitting herself quite well. Either her model was programmed with iBallet 7.0.2, or Cameron's just mimicking the actions of the women around her. As the class disperses, Cameron watches one graceful dancer twirl. Maria, Shipkov's sister tells Cameron that it's a pas de chat -- literally, "totally graceful spins and ballet shit." "Will you show me?" asks Cameron, and Maria says that's for the advanced class, while Cameron's a beginner. So Cameron gets all, "I'll show you 'beginner'" and busts a ballet move all up in Maria's grill. Maria says, "It appears I have been served," and critiques Cameron's moves, saying that her lower body was nice, but that her upper body was rather mechanical. "Remember, you are a cat," she says. "I'm a cat," says Cameron, in the next chapter of her Metaphor Befuddlement. Maria invites her to come back next week so that they can develop her flexibility and imagination, which I have to say I am in favour of. "Dance is the hidden language of the soul, no?" Maria then walks past Cameron to speak in Russian to a burly man with a ponytail. "Stop coming here," she says. "I don't know where he is." "He owes me money," says the guy, who I'm starting to suspect isn't here for the arabesques. "Give him the message or he'll be sorry," says the guy, and walks out. Cameron watches it all.

Back at the Connor Compound, John comes home from school, surprised to see Derek in his mom's room, sitting on the floor, polishing an M-16 (not a euphemism). "Looks like you're loading guns that I know for a fact are already loaded," says John. He knows this because he loaded them. Derek says that he doesn't like firing any guns he hasn't loaded himself. Fine, says John, but he should take it into the kitchen: "Mom wouldn't like you doing that in her bedroom." "Why?" says Derek. Because it's her bedroom, not a gun range? "Because it's her room," says John, furrowing his brow, like that's self-evident. Which, to us, I guess it is. But in Derek's defence, the concept of having one's room is pretty alien when everyone's huddled together in underground bunkers. At any rate, Derek just ignores John (although he does get up and walk out of the bedroom), asking about the paramedic who fixed him up. "Oh, that's Charley," says John, kinda obliviously at first, explaining that Charley's his mom's old fiancé. Would you like his address, Derek? "He's a liability," says Derek. John talks about how he trusts Charley, only that doesn't mean a whole lot to Derek, because John also trusts "the machine." "Cameron--" begins John, and Derek is all, "Yeeeah. 'Cameron,'" and snorts, and goes off on a rant about Cameron having a name like "it's" a person. He says that John can't trust "it."