"I don't think the resistance fighter who wrote on their wall knew what the 3 dots meant; he was just told to write it down, so he did. The 3 dots didn't represent the time machine, they represented John Henry. 3 dots on The Turk.

I don't think he sent Cameron back for the use of her chip; but she seemed to know who John Henry was, and probably saw that he was vulnerable whilst immobile, and knew that he was valuable, so she gave him her chip. I think Cameron would have preferred to leave with John and disappear like Sarah wanted them to, until she got the "will you join us?" message."

"Wasn't the Turk turned into (at least part of) the time machine?

I'm just trying to make sense of all of this. Have re-watched the last several eps and it still doesn't jive with me. Too many plot holes and continuity disfunction. Was this to leave it up to the viewer's interpretation, so they can add to it whatever they will? I believe this was a policy that TSCC used a lot, but this is one point that seems to stick out unresolved (not even ambiguous)."

"So the three dots represented the time machine in CW's basement.

But how would JC send back a resistance fighter that would know this? The future CW and JC go to doesn't know who JC is!

Even if JC did know, did he also send Cameron back for the use of her chip? Was that her mission. If so, shouldn't she just have went to Zeira Corp. in the first place, or did se not know where to go, but knew that in John's life the answer to this would be unraveled? But if that is the case did John of the future forget?"

"I don't think the 3 dots represented the time machine. It represented the Turk.. John Henry. He needed protecting, like everything else on the list."

"Josh Friedman is like Miles Davis. Miles of course was a great jazz musician, but one hallmark of his style was that he would skip notes, leaving the listener to fill in the missing note mentally.

Josh's style cultivates ambiguity. He skips giving us some details. This raises questions and causes uncertainties. Some viewers find this to be more entertaining. (I first experienced this effect on TV with X Files.) Like Miles' work, it appeals to limited audiences.

Also like Miles' work, the pattern takes odd twists and turns, making it hard to predict and confounding listeners who are prone to extrapolating conclusions from what has been played so far. Notably, most music follows patterns that are pleasing and fairly predictable, often repetitious. Sometimes the music will deviate from the pattern, dischordantly, but ultimately return to the original melody, which is picked up with gratifying satisfaction for most listeners.

But Miles' music often wandered afield and stayed dischordant, frequently atonal, and was more theoretical or abstract. Listeners who preferred predictable, repeating melody patterns did not like his work.

Whether you like Josh's style becomes a matter of taste. I agree with those who question whether this style best serves the TSCC franchise. It was more appropriate with X Files. TSCC might have been better served with a more straightforward exposition."