Terminator: The Sarah Connor Chronicles

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I Got A Boy And His Name Is John

Sarah takes the time to watch a slow-motion replay of Carlos and one of his buddies describing the events of 9/11, while she voice-overs that she can't imagine the coming apocalypse but she can imagine planes hitting buildings, and had she been there, she probably would have figured it was the beginning of the end. Well, you and everyone else, Sarah. "I'm sure I would have thought, 'We have failed.'" Unfortunately, the wild gesticulations of Carlos and his buddy make it look more like they're describing an awesome Bruckheimer movie they just saw.

On a dark, quiet residential street, John picks the lock of a house that, judging by the mail on the table, belongs to Charley and Michelle Dixon, and we're in Sherman Oaks. There's a picture of Charley and Michelle on a nearby table. That must be Michelle in the picture, only she's not with Desmond from Lost anymore. On the kitchen table are some machinery parts, which John starts fiddling with, just as Charley, wearing his EMT uniform, comes in the back door. John ducks out of sight, but Charley has seen him, and recognized him. "I saw a picture of your mother on the television, and I could barely believe my -- I can't believe this!" he says, taking a step forward. John warns him not to come any closer, and Charley's all, you came to my house. And hey, you haven't aged a day! (Well, he doesn't say that last bit.) John asks if Charley's married, and Charley says he is, to a nurse at the hospital where he works. John pretends to think that's great (but he doesn't pretend very hard). John's kinda freaked out, although you'd think Charley would be the one more freaked out, since he doesn't have any idea what's happened. He tries to comfort the skittish John, and puts his hands on John's arms, and John tosses him to the floor and runs out. But he apologizes on the way out, which is comforting to Charley as he writhes in pain on the floor.

John arrives back at the house just before Sarah and Cameron do, and pretends to still be working on the thingamajig. He asks how things went with Enrique. "We need $20,000," she says, adding, "It's a long story." Even though it isn't, and John has nothing better to do even if it were. The womenfolk leave John alone, with Sarah touching his neck before she leaves and then Cameron imitating the gesture.

In the other room, Cameron tells Sarah, "John has a high level of stress." "Genetics are a bitch," says Sarah, but Cameron says she did a skin analysis. His temperature's high, salinity is high, pulse abnormal. Sarah says it's because John snuck out while they were gone. "Won't look me in the eye, his shoes are wet with grass. Don't need to be a tin man to figure that one out, just a mom." Cameron asks where he went, but Sarah says they'll worry about that later; they need to make sure he doesn't do it again. Oh, and if you have any more tricks like that up your sleeve? Blood analysis, that kind of thing? I need to know. "Computed axial tomography? CAT scans?" says Cameron excitedly. "Yeah, can you do that?" says Sarah, intrigued. "No," says Cameron, after a beat. Heh. Thank God she was programmed with comic timing.

Sarah tells John to get his shoes if he wants to go get his new name. They're heading back to the safe house, via the fire escape. "You're sure there's money here," says John, dubiously. Cameron says anything valuable they had would be here, hidden: "It's always hidden." John hopes the cops didn't get to it first, and Sarah hopes "our metal friend" didn't get to it first. Cameron says, "Our metal friend was only here to kill that fourth fighter when he came home." I think she's a little miffed at the implication that one of her kind would deviate from its programming. "Nice to know we spoiled that," says Sarah. "It'll find him," says Cameron. Quite the optimist. Cameron notices a poster hanging on the wall, one of those "Hang in there, baby!" jobbies with a kitten hanging from a branch, which John calls "ridiculous." Cameron insists that "People do like small animals," but John has a hard time explaining that some bad-ass soldier isn't going to have a poster of a cutesy-wutesy kitty on the wall. Given that, and given that The Shawshank Redemption came out in 1994, I can't believe it takes them so long to look under the poster, which is where they find the safe. "Do what you do, girlie," says Sarah to Cameron, but as soon as Cameron touches the safe, electricity arcs through her body, sending her flying backwards. Several floors below, our metal friend is back, and seems to have heard the commotion. Not that he's in any hurry to head up the stairs. Plodding. Relentless plodding.

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Terminator: The Sarah Connor Chronicles

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