Episode Report CardMonty Ashley: B+ | Grade It Now!
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While Sarah digs into a picnic table with her Large Knife and watches Arnold, John, and Enrique load the truck with killin' supplies, she watches Enrique's family and gets misty-eyed. And who can blame her, with the sun shining through the dust and that same supposedly poignant music playing? She rests her head on her arm and closes her eyes. Suddenly, and for no reason, Sarah's walking up to a chain-link fence next to a playground. Yay! This movie has recess! But it's just for the kids; I don't get to play four-square or play on the bars or nothin'. Man. Anyway, Sarah goes up to the fence to look at the kids and their slow-motion poignancy. She screams, but no one can hear her. The sound of her hitting the fence is pretty loud, though. And then there's a nuclear explosion that sets everyone on fire and there's screaming and death. The shockwave rips through the city, busting things up like nobody's business, and Sarah wakes up gasping. It turns out that she carved the words "NO FATE" into the table. Later, Sarah busts out of a trailer, wearing a bandolier and military cap and carrying an assault rifle, and gets into their stolen car, rather than the truck that's been being loaded all day. John chases after her, but she's gone. At the table, John puts the pieces together: his father (from the last movie, who he sent back to protect his own mother in 1984) told her that there was "no fate but what we make," which Old John made him memorize as a message to her. The whole message is, "The future's not set. There's no fate but what we make for ourselves." Arnold concludes that she intends to change the future, and they realize that she's going after Dyson. John screeches that they have to go after her. Arnold thinks it's tactically dangerous, but John doesn't care. That's what I look for in a military leader: someone who doesn't care what's tactically dangerous. Maybe Sarah should have sat the kid down with Sun Tzu and Clausewitz instead of teaching him how to steal from ATMs. The reason, by the way, that John wants to stop her, is because Killing is Wrong. If that's the moral of this movie, they sure blow a lot of things up to get there. In the Dyson household, the Dyson child is playing with a remote-controlled car, which goes down some steps and into Dr. Dyson's work area. There's a bright red dot on the back of Dyson's head when the car bumps into his ankle, causing him to bend over. Sarah's shot hits his monitor. After another sniper-style shot misses, Sarah switches to automatic fire and just fills the room with lead. Two full clips later, she walks in with a pistol to finish the job. She takes him down with a shot to his shoulder, at which point Mrs. Dyson and the kid see what's going on. Young Dyson begs her not to shoot his daddy, but she gets him out of the way and orders all non-Dr. Dysons to the floor. Dyson tries to ask what's going on, but she tells him to shut up (four times) and insists that it's all his fault, that she won't let him do it, and so on. He, meanwhile, looks remarkably inoffensive lying there bleeding on the coffee table. She starts to squeeze the trigger, but has a sudden attack of not-wanting-to-kill-the-innocent-man. As Arnold and John burst in, Sarah's sagging against the wall. John hugs her and insists that it's going to be okay. Arnold stops Dyson's bleeding, but Dyson still has some perfectly normal questions, starting with "Who are you people?" John hands Arnold a knife, tells him to "show him," and takes Danny (that's the littlest Dyson) out of the scene. Tell me something. If you were a kid and your father had just had his office shot up, not to mention his shoulder, by some woman who's nearly catatonic in the corner and a big Austrian and a floppy-haired kid came in to talk to her, how would you react to the floppy-haired kid saying, "Danny? Danny, I want you to come with me right now, okay? Show me your room"? Because I think I'd be more than a little creeped out, but John seems to be trying to calm the kid down.