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The Connor Crew needs to get back the severed hand of the T-888, lest authorities reverse-engineer the technology involved to create Terminators, in that awesome time-loop paradox, wherein it's the technology from the future that causes the actual invention of the technology, one of those things that if you think about too much, you will start to bleed from your ears.
The hand, though, isn't part of Agent Ellison's official investigation, because everyone already thinks he's crazy enough, so he's investigating this more or less on his own. He tracks down Dr. Silberman, who is now known as Dr. Silverman (and Earl Boen's streak comes to an end), and -- this is nice for him -- his hair has grown back! He's gone kind of cuckoo for cocoa puffs, and ties Ellison to a chair and jams a knife in Ellison's leg to make sure the unlucky agent isn't actually a Terminator. Ellison shows him the severed hand, and Silverman is all, "Great -- this means I have to kill you to death," and sets fire to his own house. Sarah's the one who saves Ellison from the fire -- he sees her, but judging from his bible-study group participation during the denouement, it's possible he thinks it might have been a hallucination. Whether he's coming around or not, you don't screw with Agent Ellison: he has Dr. Silverman thrown in the nuthouse.
Meanwhile, Cameron tracks down Dmitri Shipkov via his sister, who's a ballet teacher. In an amazing coinicidence, Summer Glau is a ballet dancer herself, which must have come in handy. Dmitry owes some men some money, and Cameron gains her ballet teacher's trust, and then finds out from Dmitry that he stole the Turk and sold it. After getting the contact info, she reneges on her promise to help, and Dmitry and his sister are killed. So she's not exactly the Terminator version of The A-Team.
Oh, and John discovers that while his mother was incarcerated in a mental institution for her anti-Skynet activism, she signed away her parental rights, and he cries like a baby about it, because I guess she hasn't demonstrated time and time again what a ferocious mama bear she is. Fortunately, they work it out by the end of the episode, which I hope means he won't be sniveling all through week's finale. Want more? The full recap starts right below!
It's late at night. A motorcycle cop pulls her bike down a side street, parks, and dismounts. She removes her helmet. It's Cameron in disguise, right down to the mirrored sunglasses. I just...wow. There's been a dearth of action heroines in a different sexy disguise every week since Alias went off the air, so I hope this continues. Anyway, Cameron quickly identifies the primary generator and sticks her arm into it, shutting it down. She looks out the window as the lights of Los Angeles blink off, block by block.
, Cameron pulls up to a police station affected by the blackout, taking advantage of the darkness and confusion to make her way easily down to evidence storage. (Something tells me that a simple power outage doesn't actually reduce police stations to utter chaos like this, but never mind.)
While Cameron makes her way through the stacks of boxes, Sarah strolls through a columbarium, and her voiceover babbles on about the destruction of the T-888, specifically in comparison with Andy Goode's cremation. Must fight urge to fall asleep.
Back at the police station, Cameron somehow identifies the box with the T-888 evidence file, and notes the name of the last person to have custody of the evidence: Ellison. Cameron checks the box. There's nothing in there she wants.
"Ashes to ashes," says Sarah, who is now going on about how part of her died a long time ago with Kyle Reese or something. She's found Andy's ashes. "Part of him lives on in John. If that's not a soul, I don't know what is." Well, that's actually sperm, Sarah.
In the Connor Compound (it's light out now), Derek's sleeping on the couch, hooked up to an IV. Sarah watches him, and then tries to check his bandage. Derek, startled awake, grabs her wrist, and then relaxes as he realizes who she is. He asks whether they've found Dmitri yet, and Sarah says no. "Put the machine on it," he suggests. Meaning Cameron, I suppose. Unless they have an implausibly super-functional microwave.
Into the kitchen now, where John wants to know if his Unky Derek is going to stay with them. "Let's see if he lives first," says the always-sentimental Sarah. Cameron strolls in, still wearing her officer's outfit. "And somewhere, a naked cop lies bleeding in an alley," says Sarah. Certainly wouldn't be the first time, hey? Cameron says she couldn't get the hand because the FBI has it. So Sarah wants John to play hooky so that they can find it. John's reluctant: "The feds have it now. I can't help. Besides, 'absent' gets me on the radar." He gets up and heads out the door. Cameron, however, is more than willing to play hooky, so Sarah assigns Cameron the task of finding Dmitri, and suggests starting with his sister, who's a ballet teacher. "You might want to change," suggests Sarah. Please do! And if the ballet-teaching sister lead doesn't pan out, I hear Dmitri's other sister is a French maid.
So Sarah, sitting on a swing in the yard, gets to work on bluffing her way past the FBI's evidence officer, by pretending that a rookie booking officer might have been responsible for some mistake that saw evidence from a robbery wind up in the file on the felony escape. The FBI guy doesn't have any record of it, but -- oh, hey! Here's the agent conveniently walking by! The clerk asks Ellison about the prosthetic hand from the felony escape. Ellison says that he never saw any hand, "fake or otherwise," and after a perplexed Sarah declines to speak to Ellison, he continues on his way -- with a box of evidence under his arm.
And now Ellison's at home with a stack of tapes of security footage from Sarah's stay in the loony bin. First up: Sarah dismantles her bed so that she can use a slab of metal to smash the camera. Later, during an interview, Sarah talks about wondering if she's being sent a message from God or the devil from the future. "Machines. You can pretend they're not, but they're coming," she says. "They will kill you. And your friends, and your family, and your mother and your father. And Kyle Reese, and your son. Your son!" She continues to rant about the coming of the robots, and then flips out completely, attacking the doctor, necessitating that she be subdued by a couple of orderlies. The doctor says that if what she's saying were true, there would be some evidence. "No one believes me," complains Sarah. Well, someone is coming around; Ellison gets up, walks into the kitchen, and opens the freezer. He pulls out a plastic bag and opens it up, pulling out the T-888's severed hand. I hope he marked on the bag when he put it in there, so he doesn't let it go bad.
A doctor shows Ellison into the room where "Sarah Connor spent three years of her life." He sees a gouge by the door handle and thinks back to Sarah slamming her overturned bed into the wall, over and over. We learn that Dr. Silberman (I guess we'll chalk up the Silverman/Silberman confusion to the fact they sound a lot alike, even to the overworked ears of the closed-captioners, okay?) retired to a cabin in Arrowhead, where he's growing his own vegetables (seems to be code for "crazy" here) and working on his book. Ellison wants to talk to anyone else who might have worked there at the time of Sarah's escape, but there's nobody left -- not even a janitor: "How long would you work here if you could find another job?" says the doctor. Well, with that kind of shining team spirit, I'm amazed anyone could tear themselves away.
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 chapter of her Metaphor Befuddlement. Maria invites her to come back 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."
Sarah comes in before Derek's rant really gets any steam, though, and gives a piece of paper to John, telling him that she needs him to get on the computer and find this address. John, happy to escape being crabbed at by his crazy Unky Derek, scoots off. "The machine has to go," Derek tells Sarah, who points out that Derek was quite happy to have the machine do some dirty work this morning, and I don't know exactly how "attending ballet class" qualifies as "dirty work" or anything, but Derek says that dirty work is all they're good for. Sarah tells him he should be resting, and he abruptly pulls away from her. "They never rest," he points out.
Meanwhile, in the kitchen, John's into the fridge for a drink or a snack, and notices the videotape in his mom's bag. He pulls it out and reads it, and then quickly scurries off to his room.
Derek moves into the living room to sit down and rest on the couch. He's getting a fresh blood stain on his white shirt. I'm hoping he doesn't pull a Sarah and wear it around for the rest of the episode. "You can't have that thing here. Can't sleep with it here," he says. "That gonna help?" asks Sarah, indicating the pistol Derek's holding. You never know, says Derek, adding: "Does it help to sleep on the whole trunk?" Sarah's face goes hard. "Go into my bedroom again, and I'll bust your head," she says, and stomps off.
In his bedroom, John slips the tape in his VCR and puts on headphones. We see, but don't hear, Sarah sitting at a table with some suit (not Dr. Silberman). On the screen, he produces a document and a pen and puts it on the table. That's all we see, but John is almost crying.
The morning, Sarah makes pancakes and asks Cameron how her ballet class is going. "Dance is the hidden language of the soul," says Cameron, and Derek snidely says that first you have to have a soul, and I for one think that if there would be someone he could stop being rude to, the fearsome killing machine would be it. Derek asks about the status of the hand, and Sarah says she thinks Ellison has it. Derek recognizes that name as the FBI agent who questioned him. "What, they've got only one FBI agent in this town?" he says. That's kinda funny, although considering it was Ellison's questioning that led to Derek's transfer, and then Derek's escape, it's not exactly an implausible coincidence that Ellison's connected to the evidence. Sarah does think, though, that Ellison is the one who can "put it all together." So put a bullet in him and be done with it! Sarah gives Derek a plate of pancakes, and he makes to leave, until he's drawn up by a pointed "We eat at the table" from Sarah. He rolls his eyes but heads back there. John, however, doesn't even pretend to be polite, shoving the piece of paper with the address Sarah wanted at her on his way out the door. Somewhat miffed, Sarah glances over at her bag on the counter, and then looks through it, but doesn't find what she's looking for.
Sarah doesn't have to look too far; John's ejected the tape but left it sitting there, protruding from the VCR. Sarah walks over and stands there for about five hours before putting the tape back in the VCR. We start out watching the video and then move into full-fledged flashback. The suit introduces himself as being from DCFS (Department of Children and Family Services), and says he's just dotting some i's and crossing some t's. He puts some paperwork in front of Sarah. "It basically states that you voluntarily and unequivocally consent, that you have been advised of the legal consequences of this relinquishment, that you understand that your consent is irrevocable, and once these papers are signed, all parental rights will be terminated." Wow, "terminated." Some choice of words. I'm surprised he didn't get a pen in the neck. Sarah stares at the pen for a moment, before picking up the pen and signing the papers, silently. Back in the present day, Sarah watches the video and reflects. "So that's why he's moping around, feeling sorry for himself. I'd better do something about this before he starts listening to My Chemical Romance."
Anyway, Derek's been left around at the kitchen table with Cameron, and they stare each other down. "Guess you're not hungry either," he says. Cameron pulls the plate toward her,takes a bite of pancake, and looks at him, all, "Your move, Derek." "You might have fooled them, but not me. I know you," says Derek. "I know you too," Cameron replies. They sit there, staring at each other. If it's a staring contest Derek wants, though, I think Cameron's got the advantage.
Dr. Silberman -- who, I guess, retired after building the Knight Industries Three Thousand, is repotting some plants in his outdoor garden in a beautiful cabin. Agent Ellison pulls up. "Can I help you?" asks Silberman. Ellison introduces himself, and says that he'd like to talk about Sarah Connor. Dr. Silberman's smile fades slightly before he invites Ellison inside...
...where, while Ellison sips from a cup of tea, Silberman runs down everything that was wrong with Sarah: depressed, anxiety-ridden, manic, violent with paranoid delusions. "Is that what it was? Delusions?" asks Ellison. Silberman asks if Ellison means the apocalyptic robot soldiers from the future? And they chuckle. Silberman adds that Sarah could be quite charming, too -- even persuasive. "'Beware of false prophets,'" says Ellison, and Silberman asks if he's a man of "the book." Ellison says, "It has brought me comfort at times." Well, seven episodes in, that's news to everyone else. Silberman asks whether Ellison wants more tea, and Ellison says sure, but as Silberman gets up, Ellison's hearing goes all wonky and his vision goes screwy. He drops the teacup, which shatters on the floor; Ellison collapses. Silberman watches, completely unsurprised.
Maria dances alone in her studio. Cameron watches her until Maria notices that she has an audience, and she stops, self-deprecatingly saying that she's out of practice from having to teach. "My brother says if you want to be good at anything, you have to practise every day," says Cameron, and then is all, "Speaking of brothers, do you have a brother? Is he a dancer like you or does he by any chance play chess?" Well, it doesn't go quite like that, but Cameron does draw all that information out of Maria. Cameron and Maria are interrupted by the ponytailed Russian douchebag strolling back into the studio, telling Maria he can see to it that she never dances again. Cameron steps between Maria and the douche to tell him, in Russian, that she can see to it that he will never dance again. He tells her to get lost, and Cameron kicks him against the wall, knocking him out. Cameron tells Maria that she's looking for her brother. "Are you police?" asks Maria. "I've already told the police everything I know." Cameron says, "No, I'm not police. But I do find them useful." She says she wants to help Maria's brother, and wants to know where he is.
Ellison wakes up, tied to a chair. Silberman stands nearby, thumbing through a book that looks like a Bible. "FBI, nice touch," he says. "Who do you think I am?" asks Ellison. "I know who you are, come here asking about Sarah Connor," he says. Silberman quotes from the Bible -- the entirety of Matthew 7:15: "Beware of false prophets, which come to you in sheep's clothing, but inwardly they are ravening wolves," and in spite of himself, Ellison -- suddenly Captain Bible -- mouths the words along with him. This is enough for Silberman to conclude that Ellison is from the future: "You're one of them." Ellison points out that if he were one of them, how could Silberman have poisoned him? You're an advanced model and you must have faked it, says Silberman, who strolls into the kitchen. Ellison points out that kidnapping a federal agent is a federal offence, and Silberman could go to prison for life, but that if he lets Ellison go, they'll forget this all happened. Only Silberman has another test to see if Ellison's a robot. Is it the Turing test? Actually, it is, if the Turing test involves jamming a jackknife into the subject's thigh -- so, no, no. It's not the Turing test.
Derek's barefoot in the backyard, feeling the grass under his toes and looking up at the sunny sky, free of Hunter-Killers and the like. Sarah comes out and says that John hasn't been answering his cell phone: "When he gets home, you tell him we need to talk." She's going out to Arrowhead, because she thinks Ellison might be there. "He's a strong boy, with strong opinions," says Derek of John. "I don't know where he gets that," deadpans Sarah. "His father?" asks Derek. Out of the picture, says Sarah. "On a completely unrelated note, can I ask you about my brother?" says Derek. He says that John said Kyle died when he was fighting, and Derek wants to know where he is now. "In the grass," says Sarah, like, thanks for specifying that you didn't jettison his ashes out to space or anything, but can you be a little bit more specific? She says she'll take Derek to visit him.
Silberman bandages up Ellison's leg. "It was an honest mistake. Can't be too careful," he says. Ellison doesn't exactly see things that way, I'll bet. Especially since he's still tied to the chair. Silberman asks Ellison whether he believes in the Bible. "I've read Revelations," says Ellison. Really? Then you probably should know it's really Revelation (well, Book of Revelation, actually). ["God, I have such a peeve about that too. Nice one, Daniel!" -- Wing Chun] Silberman's theory is that the apocalypse in the book and Sarah Connor's predictions are one and the same. "I suppose it's possible. What do you think?" says Ellison. By way of answer, Silberman describes when Arnie and John busted Sarah out of prison, fighting off the T-1000. "There was two of them?" asks Ellison. "They were different. The second one was almost beautiful. Like, perfect. Like a changeling. The face of mercury." Sarah was there, on the floor, and the boy was with her, screaming. He describes Arnie reaching out his hand, and saying, "Come with me if you want to live," like the hand of God reaching out to man. Come to think of it, that's an oddly phrased sentence for robots that take everything entirely too literally, isn't it? "The hand of God," says Ellison, and Silberman repeats it again: "But there's no proof, so we don't talk about it, those of us who were there." Ellison's all, and what if I have proof? "That's why I came to you, for corroboration," Ellison explains. Proof that Sarah's not crazy. That no one is crazy. "What is it?" asks Silberman. "The hand of God," says Ellison.
Silberman opens up Ellison's trunk. Inside, there's a box. Inside that box is a plastic bag. And in that bag is a severed prosthetic hand, the flesh of which must be getting awfully gamey by now.
Inside the house, Silberman says it's a good thing Ellison told him about this. "I told you, I'm on your side," says Ellison. "I wish that were true," says Silberman, who rhetorically asks what would happen if the wrong people got hold of the hand: "I can't let you stop her." Ellison points out that Sarah's dead, so stopping her ain't really a thing. "So was Jesus, once," says Silberman. Ellison's all, "wha?" but doesn't have a whole lot of time to think about this, because Silberman jams a needle into his neck.
Back at the Connor Compound, John plops a bunch of t-shirts in front of Derek, saying he didn't know how many he'd need because it depends on how long he's staying, which sounds like a passive-aggressive way of getting Derek to get his ass out of there, if you ask me. Derek checks out the shirt. I'm going to pretend it and all the others are from 1999: "'Limp Bizkit Significant Other tour'? What the hell?" John says it can't be easy sleeping on the couch, and he knows, because he's slept on a few of them himself. Rather than pointing out that sleeping on a couch is infinitely better than stretching out on cots in underground bunkers in a post-apocalyptic wasteland, Derek pretends to give a shit, and John talks about moving from friend to foster family while his mom was in a mental hospital: "You go around blowing up buildings and ranting about robots, it happens." "Sounds rough," says Derek, looking at another t-shirt ("who the hell are the Backstreet Boys?"). Then John starts talking about Todd and Jannelle, and how they were okay (which is him looking back with rose-coloured glasses, I think), and how they wanted to adopt him. "I'm sure your mom would've died before she'd let that happen," says Derek. "Yeah, you'd think," says John. Sensing what John's hinting at here, Derek tells him that you don't know what a person's going to do when they get stuck between four walls: "It screws with your head. Makes you do things you never thought you'd do." "Some people never give up. Some people always fight," crabs John. "Fewer than you think," says Derek, showing admirable restraint in not telling John to stop being such a fucking baby already. I guess John is his future commander-in-chief. Derek asks whether John ever wonders what happened to Todd and Janelle. Nope, says John: "I got them killed."
In an old apartment building -- the kind where the stairs go up the middle of the floor and apartments encircle the landing -- Dmitri's freaking out that Maria has brought someone to his hideout. "She can help us!" Maria tells him. Cameron follows them into their room, where Dmitri yells at his sister some more. Cameron says that she has money, and holds up a diamond. This gets Dmitri's interest. "You're the one who reported the Turk missing," she says. Dmitri says that he was visited by a man who wanted to pay him to steal the Turk. Since he owed a lot of money to the men who helped him to bring his sister to the States, he agreed. From the look on her face, this is more or less news to Maria. So he screwed with the Turk's endgame protocols so they'd lose, because had they won -- "and we would've won" -- he never would've got the Turk (which Dmitri calls "her") out of there. He was paid $20,000, which wasn't enough for ponytailed Russian mobsters, apparently.
A car pulls up outside, and Dmitri checks the window. Two tough-looking guys get out of a black car. Apparently, the first ponytailed douchebag warned them it takes more than one guy to handle the surprisingly feisty ballerina bodyguard, because there are two of them. (One of them even has a ponytail!) Dmitri goes back to Cameron and tells her that he needs more diamonds. "Who bought the Turk?" she asks. Dmitri pulls a card out of his jacket and gives it to her. "Thank you for explaining," says Cameron, and heads out the door. Dmitri and Maria freak out. "You promised you'd help us!" says Maria. Cameron ignores them and walks out into the hallway, and then past the two burly guys coming up the stairs. They ignore her, draw their guns, kick in the door, and head inside. We watch Cameron's expressionless face as she descends the stairs, ignoring the screams and gunfire coming from upstairs. Well, at least Maria's students can have week off.
Back at Silberman's Crazy Mountain Hideway, a groggy Ellison is struggling in his chair, while Silberman, um, splashes gasoline all over the place. And then drops a match. Wow. He's so concerned about Ellison stopping Sarah that he's killing Ellison. Or, at least, he's leaving Ellison in a dangerous situation in which he will EVENTUALLY be killed. You know, unless SOMEONE RESCUES HIM. Why not just slit his throat and then dump him out in the woods? Seems like a waste of a beautiful cabin.
Silberman strolls outside, carrying the Ziplocked Terminator hand, where he comes face to face with Sarah. They circle each other for a moment. "My god. I'm sorry I ever doubted you," he says. I guess he'd say that, considering that, in the past, she's stabbed him in the knee with a screwdriver, broken his arm, and threatened to inject Liquid-Plumr into his eyes. Sarah slugs Silberman, knocking him out. "Apology accepted," she says. With a dry, cool wit like that, you could be an action hero! A cabin window bursts, and flames lick the outside of the house. Inside, a man screams. Sarah stands there for about five hours before we go to commercial.
When we come back, it's raining, and we get an overhead shot of Silberman, still conked out on the ground, arms spread, looking not unlike Jesus on the cross. Only Jesus on the cross was not rudely kicked awake by an angry black man who's pissed off that Jesus stabbed him, drugged him and left him to die in a fire, right? I mean, I never saw The Last Temptation of Christ, but that didn't happen, right? Ellison has his gun drawn on Silberman. "Where is it?" he yells. "She took it," says Silberman. Who? Why, Sarah Connor, of course! Then Silberman starts to laugh maniacally. Ellison just stares at him.
Back at the Connor Compound, Cameron's just standing in the living room, staring into space -- at least, until Sarah comes in. Cameron fills her in on what's happened to the Turk, and gives her the card Dmitri gave her. "Where's Dmitri now?" asks Sarah. Dead, says Cameron. So's his sister. Sarah asks if Cameron killed them. "No. It wasn't my mission." Cameron turns and robotically walks away.
So it's time for Sarah to have the big emotional scene where she explains to big baby John that it's not really the biggest deal in the world that she relinquished custody of him when she was 9a) locked up in a mental hospital; (b) actually slightly loony (albeit right about the killer time-travelling robots); (c) as much a threat to him by association; and (d) it should be pretty freaking clear to him how devoted she was to him. She says she never wanted John to see the tape, but since he did, did he notice the date on it? Does he know what day that was? "I do now," pouts John. "That's the date you gave up being my mother." Sarah looks like John just hit her. She swallows hard, and says, "That's the date I broke out of there. The day you were coming for me, I was coming for you." She says that immediately after signing the paper, she knew she couldn't live with it. "I was coming for you, and I was gonna die trying," she says. "You almost did," John points out. Then he reminds her that when he did come to bust her out, she told him what a stupid move it was. Oh, quit bitching. You're just lucky your mom has apparently never rented Terminator 2; otherwise she might be hurt when, at the beginning, you're talking about what a loser she is. "I might have oversold that a little," Sarah says (heh), and then adds, "I'll always find you." "I'll always find you," he says. "I'll whine and cry about every little thing while I'm doing it, but I'll always find you," he does not add.
Sarah voiceovers as she and John destroy the T-888's hand with thermite, saying that there was a time when her son thought that she walked on water, but that he knows better now. Well, it's called growing up, Sarah. "We all have weak moments -- moments where we lose faith. But it's our flaws, our weaknesses that make us human."
A couple of orderlies stroll down the hall at Pescadero, open a cell, and deposit a straitjacketed Silberman, Ellison looking on. They lock him in, and Silberman goes to the little window. "They're here. They're here! THEY'RE EVERYWHERE!" he yells, half-laughing at the same time, as Ellison walks away.
Sarah continues the voiceover -- something about science performing miracles like the gods of old. We watch Cameron unlacing her calf-high pink-and-black-camouflage sneakers. Ellison's at a Bible study group, reading: "Every tree that bringeth not forth good fruit, is hewn down and cast into the fire." We flash back to Ellison in the fire, and see that Sarah's rescue consisted of her standing there for six hours holding out her hand. Yeah, um, Sarah? Ellison's TIED TO A CHAIR. A chair that has FALLEN OVER. Somehow, Ellison got out anyway. As Sarah continues her voiceover about machines being unable to possess faith or commune with God, or appreciate beauty or create art, we watch as Derek wanders through the Connor Compound over to Cameron's room. "If they ever learn these things, they won't have to destroy us. They'll be us," says Sarah, as Derek watches Cameron dance beautifully. It goes on for at least a full minute, with Cameron taking no notice of Derek standing there. Derek looks more and more horrified the longer it goes on. Given Derek's earlier comments about Terminators not having souls, I'd like to think we'd have gotten the point without Sarah beating us over the head with it, but now we'll never know. The point is Derek's disgusted because he's getting a boner, right? No? All right, voiceover. You win this round.