In the Morgue, surrounded by dead bodies stacked honeycomb-hideout style, Tru is having second thoughts about her job choice. Davis, her live co-worker, offers his personal philosophy, "We're all someplace for a reason. Just sometimes you need to accept what that reason is."
Harrison breaks into an upscale home and is caught off guard by a man with a fireplace poker. We hear a shot and see a bloodied Harrison aiming the gun at the man's chest.
Meanwhile, 14 hours earlier, Harrison introduces his new girlfriend, Sara, to his protective sister. By the end of brunch, Tru is won over by his brother's enthusiasm and gives her stamp of approval.
Tru and Harrison share a celebratory drink in a bar but the festivities are cut short by a distressing call from Sara. Harrison runs to her aid.
Back at work, Tru receives a new stiff - a good-looking 30-something man with a bullet in his chest. The delivery man informs Tru that he was shot in his ex-wife's home. Tru flips through the man's wallet and spots a photo of the victim with his arm around Harrison's new girlfriend. At the same time, Tru gets an alarming call from her sister informing her that Harrison's been arrested for murder. Tru takes off to find out what happened, taking a quick detour to the dead man's crypt. She stares at his white face waiting for some sign of life but the dead man seems intent on remaining dead. She urges him to speak now or forever hold his peace. Nothing. Then, just before shoving him back into his cubbyhole, the dead man squeezes out some life, "Help Me!"
Back in time…
Tru pleads with Harrison to stay away from Sara - if only for a day. That day. Harrison doesn't take his sister's rantings seriously, accusing her of finding fault with every girl he brings around.
Tru locates the dock where Sara's ex parks his impressive yacht and when Andrew, the ex, appears on deck, Tru poses as a photographer working on a new "harbor lifestyle" book. Andrew, who doesn't appear to buy the photographer bit, invites Tru in for a private tour of the cabin. Inside, she discovers that Andrew and Sara aren't exactly divorced.
Tru drops in on Sara, who explains that Andrew was an abusive husband and is refusing to grant her a divorce because it's the only real power he still wields over her.
Harrison confronts Tru with meddling in his relationship. He accuses her of being selfish and unable to stand seeing him happy for once.
Back at the harbor, Tru helps herself onto Andrew's yacht and begins snooping around. Andrew suddenly appears and quickly jumps to the conclusion that she's working for his wife, trying to dig up dirt to force his hand with the divorce. He pulls out his cell and dials security…but Tru manages to convince him she's not there on his wife's behalf. He explains that the reason he won't give Sara the divorce is simply that she married him for his money and he'll be forced to give her half. He claims he's never laid a hand on his wife or any other woman for that matter.
When Harrison arrives at Sara's house, she appears distraught. She tells him Andrew was there and had threatened her life. She confides that he's angry at Harrison for winning her heart. She feels helpless to protect herself. Harrison comforts her and assures her there's no reason to feel helpless when he knows just the guy who can help.
In her office, Meredith plays Tru an old audio recording of a panic-stricken 911 call from Sara, detailing a physical attack on her by her husband. Tru realizes Andrew lied to her.
On a deserted street, Harrison and Sara meet "the guy" - a firearms dealer with a fully-stocked trunk. Sara wants to back out but when Harrison agrees to hold the piece for her, she acquiesces.
At the bar, Tru continues trying to convince her brother that he's in harm's way. When she spots the gun tucked into Harrison's waistband, she becomes desperate and decides to give it to him straight. "I relive days. People ask for my help. Dead people." She explains that she gets to relive days in order to save people from their fate. Harrison's about to have her committed when she gives him a private display of her unique talents. After predicting the waiter's going to drop his tray, a man's going to jump up and proclaim his undying love and Harrison's cell phone's going to ring with Sara on the other end asking for his help, all mere moments before they do, he starts listening a little closer. But even though Tru implores him not to go to Sara for her own sake, because without him she'll be all alone in the world, he refuses to abandon Sara in her time of need.
Meredith calls Tru with a police report she's tract down, placing Andrew in LA on the night of Sara's 911 call. They put two and two together and realize that with Andrew dead, Sara will be entitled to all the money and Harrison will be the poor schmuck who takes the rap for his murder.
Andrew, somewhat perplexed by Sara's invitation, is at her house inspecting the wiring in the alarm system when Harrison shows up and breaks through the front door. He makes his way down the hall, gun in hand. Andrew comes from behind and surprises him with the fireplace poker. A struggle ensues and Harrison gets the upper hand. The gun is staring Andrew down but Harrison is not pulling the trigger. Sara takes charge and commands Harrison to kill him. He can't. Disgusted by his cowardice, Sara grabs the gun and shoots Andrew herself. Andrew collapses. Sara, void of any emotion, proceeds to detail to Harrison just how bad things look for him - his blood in the house, prints on the gun, breaking and entering, etc. She generously offers him legal advice as she dials 911 and, feigning despair, reports that her husband has just been murdered.
She turns around and is shocked to see Andrew alive and standing upright. She reaches for the gun but it's now poised in Tru's capable hands. Andrew explains that he got a strange call e
arlier in the day urging him to wear a bulletproof vest.
Harrison says goodbye to the pleading Sara as the police haul her away.
Back in the morgue, Tru resumes her conversation with Davis, admitting that perhaps she is there for a reason after all.