Terminator: The Sarah Connor Chronicles (2008–2009): Season 2, Episode 8 - Mr. Ferguson Is Ill Today - full transcript
In this episode that replays the same day's events from numerous viewpoints, John, growingly alienated with life and both unable and unwilling to face his own destiny, runs away with Riley for a getaway to Mexico where he wants to show her the life he wishes he had, unaware that Cromartie is hot on their tail, and has taken Sarah hostage. Elsewhere, Derek and Cameron are forced to team up to find John and Riley before Cromartie does, while Ellison finally discovers that Sarah is alive when John and Riley land in jail from a barroom brawl, which reveals their location to Cromartie.
NARRATOR: Previously on Terminator:
The Sarah Connor Chronicles:
I'm here because Sarah Connor is a
deluded, dangerous whack-a-mole...
...who killed a man
because she believes...
...he'll invent a computer system
that declares war on the world.
I'm looking for this girl.
Have you seen my niece?
There was a guy here
looking for your sister.
[KNOCKING ON DOOR]
-I'll get rid of him.
-Riley.
-If you don't leave, I'm calling the police.
JOHN: That guy's really dangerous.
Really dangerous.
This has nothing to do with Riley.
You're pissed.
I found someone I actually
like spending time with, and it's not you.
[POUNDING]
JOHN: Riley, look at me.
RILEY: Show me that. That's horrifying.
JOHN: It's supposed to stop cars
from playing Ping-Pong with your head.
RILEY: Hey, I think your mom's out here.
Hi, Mrs. Baum.
Thanks so much for having me over.
JOHN: I didn't know if you were busy tonight
when I texted you.
RILEY:
I'm never busy.
I should do it again sometime?
RILEY: Or maybe you could even call.
You know, with your voice.
JOHN: Maybe I should try that sometime.
-Maybe you should.
-See you soon?
-Okay. Be safe.
I bought her a helmet.
Responsible.
You think it'll stop a bullet?
Why, are you gonna
take a shot at her?
Well, a lot of bullets fly around here.
Someone will.
You care about this girl?
-Yeah.
-Then leave her alone.
I'll talk to John.
John's not listening.
He's always listening.
I was going to suggest a safe.
Well, you might have suggested it
before we got robbed.
SARAH:
Where are you going?
I need to restock the supply drop.
We've been using a lot of ammunition.
Business has been booming.
Where's John?
-Still in his room.
-He hasn't gotten up yet?
He needs more sleep than you do.
It's because the circadian rhythm
of teenagers is abnormal.
How late were you up talking to him?
Not late.
He won't be seeing Riley anymore.
-Is that so?
-John's not stupid.
I don't like the way
he responds to you.
You got what you wanted.
[DRILL BUZZING]
-Where is he?
-Check under the bed.
You don't know.
JOHN: I didn't know if you were busy
when I texted you tonight.
RILEY:
I'm never busy.
So then I guess
I should do it again sometime.
Or maybe you could even call,
you know, with your voice.
JOHN: Maybe I could try that.
-Maybe you should.
-See you soon.
-Okay. Be safe.
I'll talk to John.
John's not listening.
He's always listening.
-Are you busy?
-No.
-Did you change?
-It's hot out.
Since when do you feel heat?
I feel heat.
Are you hoping
Riley's gonna see us in bed...
...and be totally scarred
for the rest of her life?
No.
I watched Riley leave
till I couldn't see her anymore.
And then you and Mom high-fived.
You bring danger into Riley's life.
I know that.
I'm not stupid.
But sometimes you do stupid things.
It would help me to understand why.
Humans do stupid things.
So don't worry about it,
and be happy you're a machine.
I'm a machine. I can't be happy.
But I understand more than you think.
You understand
I'm gonna keep seeing Riley...
...even if everyone
thinks it's a bad idea?
I understand that it's a bad idea.
And...
...I understand
that being John Connor can be lonely.
Oh, yeah?
How do you understand that?
You and I talk about it a lot.
-We do?
-We do.
We will.
I need to get some sleep.
And Riley?
I know.
I know.
-He won't be seeing Riley anymore.
-I don't like the way he responds to you.
You got what you wanted.
It's just you.
-You been stealing my supplies?
-We needed to make a small bomb.
I set this drop up with my people
for my people.
-And everything's in here for a reason.
-John was supposed to ask.
John needs to get his head
in the game.
Maybe he couldn't find you. You don't
spend much time at the house.
I don't have a bed, remember?
-You didn't have a bed in the old house.
-I had a gunshot wound at the old house.
-Yes. You almost died.
-It's not the first time.
[PHONE RINGING]
Who's that?
[DIALING]
[MAN SPEAKING SPANISH
ON OTHER END]
Alarm code from John. He's in trouble.
I need to get some sleep.
And Riley?
I know.
I know.
Yeah, right.
Hey. I'll be there in a few minutes.
Please stop doing that.
Look, I got this from my foster parents,
and it's a rape whistle...
-...and it's totally for moments like this.
-Moments like this? Yeah. All right.
When I was a kid,
I lived in Mexico for a year and a half...
...in this little village called Dejalo.
And that's where we're going.
-Thought I'd show you around.
-Wow.
Well, did you run this idea by your mom?
Sometimes I get the impression...
...that she doesn't really like surprises.
-I don't care.
-Did you guys get in a fight last night?
No.
So this is definitely a field trip
and not some revenge fantasy?
If you don't wanna go, cool, but don't
make me feel like I'm kidnapping you.
No, I'm sorry. I'm sorry.
You just caught me off guard.
I'm really, really happy that you
wanna show me where you grew up.
Good.
Because I booked
the honeymoon suite.
Wait, what?
It's good, right?
It's nice to get some space.
You and space. The first time we talked,
you were sitting by yourself in the grass.
That was space too.
JOHN:
So it was.
RILEY: You know,
I used to watch you at school.
When the bell would ring
and those narrow hallways would fill up.
It got so loud,
and people would bump into you.
You looked like you could
just jump out the window and run away.
God, you're such a little stalker.
All right, so I get that we ran away
to get some space.
The only shame is...
...we ran all this way,
and there's skulls everywhere.
What, you don't like skulls?
I like other things better.
It's for Dia de los Muertos.
The festival's tonight.
Nice.
Skulls and darkness. How charming.
I'm doing the best I can.
RILEY:
I never wanna leave this room.
-Wait, I think I see the problem.
-Just get in. We don't need bubbles.
There's bubbles to be had,
and I'm gonna have bubbles.
[JACUZZI WHIRRING]
-Not bad, huh?
-You're a total pro.
Wait, you didn't live here
with your mom, did you?
No.
We actually had
a cabana on the beach.
-I think we had very different childhoods.
-It wasn't always good.
Sometimes I wish we'd just stayed here,
away from everybody.
-People suck.
-Not just people.
No, I mean,
when you meet someone...
...you don't really expect
to give a damn about them, right?
Who's got the time?
Life's too short, and people suck.
I don't like getting attached to people.
So...
...why were you living in Mexico?
Oh, you're thinking of a lie or a joke.
-No, I'm not.
-You are. You have a tell.
I just don't wanna sit around
and talk about my messed-up childhood.
-Can't we just we enjoy ourselves?
-Yeah. Fine.
Enjoy yourself. We're not the only couple
that's found themselves...
...in a honeymoon suite and not known
the first thing about each other.
You're right.
People suck.
[JOHN & WAITRESS
SPEAKING SPANISH]
-What was that about?
-Hot sauce.
You know, they do
this killer Thanksgiving buffet here.
I bet.
See? I'm telling you
all sorts of good stuff.
I'm not trying to be your stalker.
I just--
I think this is what we should be doing.
Getting to know each other.
Well, I have a question for you.
You said that I have a tell.
What is it?
Okay, you promise
not to obsess over it or anything?
[CLICK]
What a handsome couple.
And for only $5...
-...a photo memory.
-No, thanks.
See? A beautiful shot.
And it's all digital...
-...which means I can e-mail it to you.
-I think I have something in my teeth.
-Let me take another--
-No, really. That's okay.
Hey, I said it's okay.
Look, man,
why don't I just give you 5 bucks...
...and you'll delete it?
Can we do that?
Gracias.
Thanks.
The young boy and mother
who stayed in Vivian's cabana.
Thanks a lot.
John Connor.
[SPEAKING SPANISH]
You're Sarah Connor's son.
I'll be right back.
I remember
when the Connors left Dejalo.
And I remember the stories
that were told after you were gone.
Man, you really mixed me up
with somebody else. I'm just....
These are pictures you wouldn't want
the authorities to see.
-How much?
-Everything you've got.
JOHN:
Hey. Back off, man.
-We gotta get out of here now. Run.
-No.
[COP SPEAKING SPANISH]
[SPEAKING SPANISH]
Stick to English, kid.
The American accent is killing me.
This is a misunderstanding. That's all.
I'll pay for the camera, okay?
What the hell
were you doing down here anyway?
-We're tourists.
-Cancún's no good for you?
CAPTAIN: This is the guy?
COP: Yes, sir.
I was about to take his statement.
A man took a picture of me and my
girlfriend. He wanted us to buy it.
It was crowded.
He dropped his camera.
I was afraid a fight would start,
so we tried to leave.
-How old are you?
-Sixteen.
-You were drinking?
-No.
-You have parents?
-My mother and an uncle.
They know where you are?
No.
CAPTAIN:
I make you a deal.
If they come pick you up,
I let you go with a warning.
DEREK [ON RECORDING]:
Leave a message.
-What was that?
-My uncle's voice mail.
Call your mother.
[DIALING]
SARAH'S VOICE:
Hello?
John? Thank God. Where are you?
I've been going out of my mind.
[TAPPING KEYPAD]
-Did you get through?
SARAH'S VOICE: John, are you there?
Are you in trouble?
She didn't answer.
Put him in holding. In a few hours,
give them another phone call.
And run his name through Interpol.
Yes, sir.
So which name should I run?
The one on your passport
or the real one?
RILEY: Sir. Sir, hello?
Hi. Can you come here, please?
Hi. I need your help, please.
This guy in here is a complete psycho.
He's been trying to make moves on me.
You two came in together.
Sir, do you have children?
Do you have a daughter?
My dad told me to stay away
from this guy. He was totally right.
This guy's a complete freak.
I don't care how much trouble I'm in.
All I wanna do is call home
and tell them where I am.
Please?
Take a step back.
-I'm going to open the door.
-Thank you.
[JOHN SPEAKING SPANISH]
[GUNSHOTS]
[MAN SHOUTING IN SPANISH]
Riley, you need to listen to me.
No matter what happens,
if you see daylight, you run, okay?
-Don't wait for me. Just run.
-John, what are you do--?
If you see daylight, you run.
-Your strategy's changed from last time.
-Has it?
The first time we met,
you tried to kill yourself.
You're right.
This time, I'm gonna kill you.
She hasn't been careful.
She's made mistakes.
Not as many as you, but enough.
Does she have damage to her chip?
-She has damage to her chip.
-How did you find the house?
The boy told me.
The one from the bowling alley.
You should have killed him.
Just like you should have killed yourself.
-I'm not a murderer.
-Who is?
[CAR STARTS]
[SPANISH MUSIC PLAYING ON RADIO]
[CAR STOPS]
[DOOR OPENS]
[FOOTSTEPS WALKING AWAY]
[GUNSHOTS]
[MEN SHOUTING IN SPANISH]
Hey! Hey!
[GUNSHOTS]
[MEN SHOUTING IN SPANISH]
-Hello?
GUY: Now!
Now! Get in!
[GUNFIRE & PEOPLE SHOUTING]
[CAR TIRES SCREECHING]
[GUNFIRE]
[CAR STARTS DRIVING]
[GUNFIRE & PEOPLE SHOUTING]
[GUNFIRE & PEOPLE SHOUTING]
[ENGINE REVVING]
[CAR STOPS]
[CAR DOOR OPENS & CLOSES]
[GUN COCKS]
Sarah Connor? James Ellison.
I need you to come with me.
[PANTING]
[PHONE RINGING]
James Ellison.
Agent Crossman? How you doing?
It's good to hear from you.
What's on your mind?
Mexico?
You don't say.
I suppose they don't have anyone
looking into it over at the bureau.
I know.
Connor case has been cold since '99.
I was just curious.
Sure. E-mail it over and I'll take a look.
[PHONE BLEEPS]
Hold on.
Yeah. Yeah, you're right.
It does look a little bit like him.
John Connor. God rest his soul.
CAPTAIN: You're with the American FBI?
-Yes, sir. That's right.
You have a boy in your custody.
His arrest report
lists an alias of John Connor...
...which matches a fugitive of mine.
The domestic-terrorism case.
You're familiar with the Connors.
It was flagged during processing,
but we dismissed it as a coincidence.
Your fugitive
would be 24 years old by now...
...if he was not already dead.
Look...
...I'd be grateful
for just a visual identification...
...to help bring me some closure.
You have traveled an awful long way
for closure.
If he is who I think he is...
...then I have reason to believe
that your prisoner's in danger.
And, yes, I've come a long way.
[KNOCKING ON DOOR]
[SPEAKING SPANISH]
Excuse me.
[SPEAKING INDISTINCTLY]
[GUNSHOTS]
[GUNFIRE & MEN SHOUTING]
JOHN:
Daylight. Run!
John! I'm here to help you.
-Oh, my God!
JOHN: The car. Riley!
The car! Riley!
Riley, get in the car! Now!
Now! Get in!
ELLISON:
Get down, get down!
-You okay?
-Yeah. Hey, look at me. Are you okay?
-Yeah, I'm fine.
-Okay.
I'm fine. I'm fine.
JOHN:
Are there any rounds in this thing?
[CLICK]
Look for ammunition.
Look for more ammunition.
[THUMPING]
-What?
-I felt something back here.
Stop the car. Stop the car.
[COCKS GUN]
Sarah Connor? James Ellison.
I need you to come with me.
Mom.
We need to move.
ELLISON: It's a clear shot all the way
up the alley back to the jail.
-No. That's where it'll be waiting.
-Let me do that.
I need to be able to use it.
I should hope so.
Why are you here?
John was flagged in the FBI computer.
Couldn't you just have buried it?
It's been watching me.
"It"?
Out there. It.
And you still came to Mexico?
You could've led it right to John.
-Wasn't me in the trunk.
-What were you gonna do?
Just pop him out of jail?
-Set him free, no questions asked?
ELLISON: Yes, actually.
-That's exactly what I was going to do.
-I have a hard time believing that.
I owed you one.
-The fire. Silberman's cabin.
-Wasn't much.
It was my life.
How you feel about that now?
You have to go.
I promise I'll call you
as soon as we get back to L.A.
-But you have to go.
-John.
Riley, don't.
Go home.
I swear I'll explain everything
when I get there.
Go out the back.
-Run due east. There's a bus route.
-You know what else there is?
A man with a gun who's killing people.
He won't follow you
if you run away from me.
I don't wanna run away from you.
Get her out of here.
I need your phone.
ELLISON: Have a plan?
-Got a weapon.
Cameron.
The girl from the bank vault?
DEREK [ON PHONE]:
Yeah?
-I need you and Cameron.
-John's with you?
-We're here already. We're at the jail.
-What?
-Cromartie's here.
-Then we should stay under cover.
Hey.
Metal.
I'm looking for John Baum.
Where is he?
[CAPTAIN SPEAKS SPANISH]
-We gotta get out of here.
-We gotta find John.
We're no good to him dead.
I can't let anything happen to him.
-Escaped or dead?
-Escaped.
-A little help?
-Don't worry. It won't be back.
Señor, please!
[PHONE RINGING]
Yeah?
SARAH:
John and I are in trouble. I need you--
John's with you? We're here already.
-We're at the jail.
-What?
Wait, wait, wait, Sarah.
Then where the hell's Cromartie?
CAPTAIN: I'm sorry, señor.
I'm going to have to ask you to leave.
I'm gonna need to see John Connor.
[GUNSHOTS]
[GUNSHOT]
COP:
Help! Help me!
-I'm looking for John Connor.
-He's gone.
Are there any other exits?
No.
JOHN: The car! Riley!
Riley, get in the car! Now!
Have you come to repent?
I'm looking for John Connor.
All things are possible
to him who believes.
We'll attract less attention
if we don't travel together.
You want me to leave.
-What's next?
-We'll come back down here...
...and bring something with us
to destroy it.
ELLISON: His name's gonna be on an alert.
-He's got other names.
Then what?
There is no "then what."
Pretend I died again.
I lost a lot
when you died the first time.
My marriage. My career.
That's a lot to you?
I suppose many people
lost those things.
You want answers.
I just wanna know my role
in all of this.
What happens after this?
This is it.
There's nothing else
behind the curtain.
This is what I do. It's all I do.
You already know why I do it.
I'm sorry for what you lost...
...but I can't help you
get any of it back.
Can I have the chip?
Ah!
Ah!
[SARAH SOBBING]
[ENGLISH SDH]
The Sarah Connor Chronicles:
I'm here because Sarah Connor is a
deluded, dangerous whack-a-mole...
...who killed a man
because she believes...
...he'll invent a computer system
that declares war on the world.
I'm looking for this girl.
Have you seen my niece?
There was a guy here
looking for your sister.
[KNOCKING ON DOOR]
-I'll get rid of him.
-Riley.
-If you don't leave, I'm calling the police.
JOHN: That guy's really dangerous.
Really dangerous.
This has nothing to do with Riley.
You're pissed.
I found someone I actually
like spending time with, and it's not you.
[POUNDING]
JOHN: Riley, look at me.
RILEY: Show me that. That's horrifying.
JOHN: It's supposed to stop cars
from playing Ping-Pong with your head.
RILEY: Hey, I think your mom's out here.
Hi, Mrs. Baum.
Thanks so much for having me over.
JOHN: I didn't know if you were busy tonight
when I texted you.
RILEY:
I'm never busy.
I should do it again sometime?
RILEY: Or maybe you could even call.
You know, with your voice.
JOHN: Maybe I should try that sometime.
-Maybe you should.
-See you soon?
-Okay. Be safe.
I bought her a helmet.
Responsible.
You think it'll stop a bullet?
Why, are you gonna
take a shot at her?
Well, a lot of bullets fly around here.
Someone will.
You care about this girl?
-Yeah.
-Then leave her alone.
I'll talk to John.
John's not listening.
He's always listening.
I was going to suggest a safe.
Well, you might have suggested it
before we got robbed.
SARAH:
Where are you going?
I need to restock the supply drop.
We've been using a lot of ammunition.
Business has been booming.
Where's John?
-Still in his room.
-He hasn't gotten up yet?
He needs more sleep than you do.
It's because the circadian rhythm
of teenagers is abnormal.
How late were you up talking to him?
Not late.
He won't be seeing Riley anymore.
-Is that so?
-John's not stupid.
I don't like the way
he responds to you.
You got what you wanted.
[DRILL BUZZING]
-Where is he?
-Check under the bed.
You don't know.
JOHN: I didn't know if you were busy
when I texted you tonight.
RILEY:
I'm never busy.
So then I guess
I should do it again sometime.
Or maybe you could even call,
you know, with your voice.
JOHN: Maybe I could try that.
-Maybe you should.
-See you soon.
-Okay. Be safe.
I'll talk to John.
John's not listening.
He's always listening.
-Are you busy?
-No.
-Did you change?
-It's hot out.
Since when do you feel heat?
I feel heat.
Are you hoping
Riley's gonna see us in bed...
...and be totally scarred
for the rest of her life?
No.
I watched Riley leave
till I couldn't see her anymore.
And then you and Mom high-fived.
You bring danger into Riley's life.
I know that.
I'm not stupid.
But sometimes you do stupid things.
It would help me to understand why.
Humans do stupid things.
So don't worry about it,
and be happy you're a machine.
I'm a machine. I can't be happy.
But I understand more than you think.
You understand
I'm gonna keep seeing Riley...
...even if everyone
thinks it's a bad idea?
I understand that it's a bad idea.
And...
...I understand
that being John Connor can be lonely.
Oh, yeah?
How do you understand that?
You and I talk about it a lot.
-We do?
-We do.
We will.
I need to get some sleep.
And Riley?
I know.
I know.
-He won't be seeing Riley anymore.
-I don't like the way he responds to you.
You got what you wanted.
It's just you.
-You been stealing my supplies?
-We needed to make a small bomb.
I set this drop up with my people
for my people.
-And everything's in here for a reason.
-John was supposed to ask.
John needs to get his head
in the game.
Maybe he couldn't find you. You don't
spend much time at the house.
I don't have a bed, remember?
-You didn't have a bed in the old house.
-I had a gunshot wound at the old house.
-Yes. You almost died.
-It's not the first time.
[PHONE RINGING]
Who's that?
[DIALING]
[MAN SPEAKING SPANISH
ON OTHER END]
Alarm code from John. He's in trouble.
I need to get some sleep.
And Riley?
I know.
I know.
Yeah, right.
Hey. I'll be there in a few minutes.
Please stop doing that.
Look, I got this from my foster parents,
and it's a rape whistle...
-...and it's totally for moments like this.
-Moments like this? Yeah. All right.
When I was a kid,
I lived in Mexico for a year and a half...
...in this little village called Dejalo.
And that's where we're going.
-Thought I'd show you around.
-Wow.
Well, did you run this idea by your mom?
Sometimes I get the impression...
...that she doesn't really like surprises.
-I don't care.
-Did you guys get in a fight last night?
No.
So this is definitely a field trip
and not some revenge fantasy?
If you don't wanna go, cool, but don't
make me feel like I'm kidnapping you.
No, I'm sorry. I'm sorry.
You just caught me off guard.
I'm really, really happy that you
wanna show me where you grew up.
Good.
Because I booked
the honeymoon suite.
Wait, what?
It's good, right?
It's nice to get some space.
You and space. The first time we talked,
you were sitting by yourself in the grass.
That was space too.
JOHN:
So it was.
RILEY: You know,
I used to watch you at school.
When the bell would ring
and those narrow hallways would fill up.
It got so loud,
and people would bump into you.
You looked like you could
just jump out the window and run away.
God, you're such a little stalker.
All right, so I get that we ran away
to get some space.
The only shame is...
...we ran all this way,
and there's skulls everywhere.
What, you don't like skulls?
I like other things better.
It's for Dia de los Muertos.
The festival's tonight.
Nice.
Skulls and darkness. How charming.
I'm doing the best I can.
RILEY:
I never wanna leave this room.
-Wait, I think I see the problem.
-Just get in. We don't need bubbles.
There's bubbles to be had,
and I'm gonna have bubbles.
[JACUZZI WHIRRING]
-Not bad, huh?
-You're a total pro.
Wait, you didn't live here
with your mom, did you?
No.
We actually had
a cabana on the beach.
-I think we had very different childhoods.
-It wasn't always good.
Sometimes I wish we'd just stayed here,
away from everybody.
-People suck.
-Not just people.
No, I mean,
when you meet someone...
...you don't really expect
to give a damn about them, right?
Who's got the time?
Life's too short, and people suck.
I don't like getting attached to people.
So...
...why were you living in Mexico?
Oh, you're thinking of a lie or a joke.
-No, I'm not.
-You are. You have a tell.
I just don't wanna sit around
and talk about my messed-up childhood.
-Can't we just we enjoy ourselves?
-Yeah. Fine.
Enjoy yourself. We're not the only couple
that's found themselves...
...in a honeymoon suite and not known
the first thing about each other.
You're right.
People suck.
[JOHN & WAITRESS
SPEAKING SPANISH]
-What was that about?
-Hot sauce.
You know, they do
this killer Thanksgiving buffet here.
I bet.
See? I'm telling you
all sorts of good stuff.
I'm not trying to be your stalker.
I just--
I think this is what we should be doing.
Getting to know each other.
Well, I have a question for you.
You said that I have a tell.
What is it?
Okay, you promise
not to obsess over it or anything?
[CLICK]
What a handsome couple.
And for only $5...
-...a photo memory.
-No, thanks.
See? A beautiful shot.
And it's all digital...
-...which means I can e-mail it to you.
-I think I have something in my teeth.
-Let me take another--
-No, really. That's okay.
Hey, I said it's okay.
Look, man,
why don't I just give you 5 bucks...
...and you'll delete it?
Can we do that?
Gracias.
Thanks.
The young boy and mother
who stayed in Vivian's cabana.
Thanks a lot.
John Connor.
[SPEAKING SPANISH]
You're Sarah Connor's son.
I'll be right back.
I remember
when the Connors left Dejalo.
And I remember the stories
that were told after you were gone.
Man, you really mixed me up
with somebody else. I'm just....
These are pictures you wouldn't want
the authorities to see.
-How much?
-Everything you've got.
JOHN:
Hey. Back off, man.
-We gotta get out of here now. Run.
-No.
[COP SPEAKING SPANISH]
[SPEAKING SPANISH]
Stick to English, kid.
The American accent is killing me.
This is a misunderstanding. That's all.
I'll pay for the camera, okay?
What the hell
were you doing down here anyway?
-We're tourists.
-Cancún's no good for you?
CAPTAIN: This is the guy?
COP: Yes, sir.
I was about to take his statement.
A man took a picture of me and my
girlfriend. He wanted us to buy it.
It was crowded.
He dropped his camera.
I was afraid a fight would start,
so we tried to leave.
-How old are you?
-Sixteen.
-You were drinking?
-No.
-You have parents?
-My mother and an uncle.
They know where you are?
No.
CAPTAIN:
I make you a deal.
If they come pick you up,
I let you go with a warning.
DEREK [ON RECORDING]:
Leave a message.
-What was that?
-My uncle's voice mail.
Call your mother.
[DIALING]
SARAH'S VOICE:
Hello?
John? Thank God. Where are you?
I've been going out of my mind.
[TAPPING KEYPAD]
-Did you get through?
SARAH'S VOICE: John, are you there?
Are you in trouble?
She didn't answer.
Put him in holding. In a few hours,
give them another phone call.
And run his name through Interpol.
Yes, sir.
So which name should I run?
The one on your passport
or the real one?
RILEY: Sir. Sir, hello?
Hi. Can you come here, please?
Hi. I need your help, please.
This guy in here is a complete psycho.
He's been trying to make moves on me.
You two came in together.
Sir, do you have children?
Do you have a daughter?
My dad told me to stay away
from this guy. He was totally right.
This guy's a complete freak.
I don't care how much trouble I'm in.
All I wanna do is call home
and tell them where I am.
Please?
Take a step back.
-I'm going to open the door.
-Thank you.
[JOHN SPEAKING SPANISH]
[GUNSHOTS]
[MAN SHOUTING IN SPANISH]
Riley, you need to listen to me.
No matter what happens,
if you see daylight, you run, okay?
-Don't wait for me. Just run.
-John, what are you do--?
If you see daylight, you run.
-Your strategy's changed from last time.
-Has it?
The first time we met,
you tried to kill yourself.
You're right.
This time, I'm gonna kill you.
She hasn't been careful.
She's made mistakes.
Not as many as you, but enough.
Does she have damage to her chip?
-She has damage to her chip.
-How did you find the house?
The boy told me.
The one from the bowling alley.
You should have killed him.
Just like you should have killed yourself.
-I'm not a murderer.
-Who is?
[CAR STARTS]
[SPANISH MUSIC PLAYING ON RADIO]
[CAR STOPS]
[DOOR OPENS]
[FOOTSTEPS WALKING AWAY]
[GUNSHOTS]
[MEN SHOUTING IN SPANISH]
Hey! Hey!
[GUNSHOTS]
[MEN SHOUTING IN SPANISH]
-Hello?
GUY: Now!
Now! Get in!
[GUNFIRE & PEOPLE SHOUTING]
[CAR TIRES SCREECHING]
[GUNFIRE]
[CAR STARTS DRIVING]
[GUNFIRE & PEOPLE SHOUTING]
[GUNFIRE & PEOPLE SHOUTING]
[ENGINE REVVING]
[CAR STOPS]
[CAR DOOR OPENS & CLOSES]
[GUN COCKS]
Sarah Connor? James Ellison.
I need you to come with me.
[PANTING]
[PHONE RINGING]
James Ellison.
Agent Crossman? How you doing?
It's good to hear from you.
What's on your mind?
Mexico?
You don't say.
I suppose they don't have anyone
looking into it over at the bureau.
I know.
Connor case has been cold since '99.
I was just curious.
Sure. E-mail it over and I'll take a look.
[PHONE BLEEPS]
Hold on.
Yeah. Yeah, you're right.
It does look a little bit like him.
John Connor. God rest his soul.
CAPTAIN: You're with the American FBI?
-Yes, sir. That's right.
You have a boy in your custody.
His arrest report
lists an alias of John Connor...
...which matches a fugitive of mine.
The domestic-terrorism case.
You're familiar with the Connors.
It was flagged during processing,
but we dismissed it as a coincidence.
Your fugitive
would be 24 years old by now...
...if he was not already dead.
Look...
...I'd be grateful
for just a visual identification...
...to help bring me some closure.
You have traveled an awful long way
for closure.
If he is who I think he is...
...then I have reason to believe
that your prisoner's in danger.
And, yes, I've come a long way.
[KNOCKING ON DOOR]
[SPEAKING SPANISH]
Excuse me.
[SPEAKING INDISTINCTLY]
[GUNSHOTS]
[GUNFIRE & MEN SHOUTING]
JOHN:
Daylight. Run!
John! I'm here to help you.
-Oh, my God!
JOHN: The car. Riley!
The car! Riley!
Riley, get in the car! Now!
Now! Get in!
ELLISON:
Get down, get down!
-You okay?
-Yeah. Hey, look at me. Are you okay?
-Yeah, I'm fine.
-Okay.
I'm fine. I'm fine.
JOHN:
Are there any rounds in this thing?
[CLICK]
Look for ammunition.
Look for more ammunition.
[THUMPING]
-What?
-I felt something back here.
Stop the car. Stop the car.
[COCKS GUN]
Sarah Connor? James Ellison.
I need you to come with me.
Mom.
We need to move.
ELLISON: It's a clear shot all the way
up the alley back to the jail.
-No. That's where it'll be waiting.
-Let me do that.
I need to be able to use it.
I should hope so.
Why are you here?
John was flagged in the FBI computer.
Couldn't you just have buried it?
It's been watching me.
"It"?
Out there. It.
And you still came to Mexico?
You could've led it right to John.
-Wasn't me in the trunk.
-What were you gonna do?
Just pop him out of jail?
-Set him free, no questions asked?
ELLISON: Yes, actually.
-That's exactly what I was going to do.
-I have a hard time believing that.
I owed you one.
-The fire. Silberman's cabin.
-Wasn't much.
It was my life.
How you feel about that now?
You have to go.
I promise I'll call you
as soon as we get back to L.A.
-But you have to go.
-John.
Riley, don't.
Go home.
I swear I'll explain everything
when I get there.
Go out the back.
-Run due east. There's a bus route.
-You know what else there is?
A man with a gun who's killing people.
He won't follow you
if you run away from me.
I don't wanna run away from you.
Get her out of here.
I need your phone.
ELLISON: Have a plan?
-Got a weapon.
Cameron.
The girl from the bank vault?
DEREK [ON PHONE]:
Yeah?
-I need you and Cameron.
-John's with you?
-We're here already. We're at the jail.
-What?
-Cromartie's here.
-Then we should stay under cover.
Hey.
Metal.
I'm looking for John Baum.
Where is he?
[CAPTAIN SPEAKS SPANISH]
-We gotta get out of here.
-We gotta find John.
We're no good to him dead.
I can't let anything happen to him.
-Escaped or dead?
-Escaped.
-A little help?
-Don't worry. It won't be back.
Señor, please!
[PHONE RINGING]
Yeah?
SARAH:
John and I are in trouble. I need you--
John's with you? We're here already.
-We're at the jail.
-What?
Wait, wait, wait, Sarah.
Then where the hell's Cromartie?
CAPTAIN: I'm sorry, señor.
I'm going to have to ask you to leave.
I'm gonna need to see John Connor.
[GUNSHOTS]
[GUNSHOT]
COP:
Help! Help me!
-I'm looking for John Connor.
-He's gone.
Are there any other exits?
No.
JOHN: The car! Riley!
Riley, get in the car! Now!
Have you come to repent?
I'm looking for John Connor.
All things are possible
to him who believes.
We'll attract less attention
if we don't travel together.
You want me to leave.
-What's next?
-We'll come back down here...
...and bring something with us
to destroy it.
ELLISON: His name's gonna be on an alert.
-He's got other names.
Then what?
There is no "then what."
Pretend I died again.
I lost a lot
when you died the first time.
My marriage. My career.
That's a lot to you?
I suppose many people
lost those things.
You want answers.
I just wanna know my role
in all of this.
What happens after this?
This is it.
There's nothing else
behind the curtain.
This is what I do. It's all I do.
You already know why I do it.
I'm sorry for what you lost...
...but I can't help you
get any of it back.
Can I have the chip?
Ah!
Ah!
[SARAH SOBBING]
[ENGLISH SDH]