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: Do you have a brother, Mr. Ellison? James Ellison
: Yes, in Atlanta. John Henry
: Does he look like you? James Ellison
: People seem to think so. John Henry
: Do you think my brother looks like me? James Ellison
: John Henry, wherever your brother might be, he's a... computer. He doesn't look like anyone. He certainly doesn't have your face.
: The human brain is an amazing computer. Its raw clock speed is twenty billion calculations per second. Its storage is functionally infinite. But it's flawed. James Ellison
: How's that? John Henry
: There's nowhere to download it when you die.
: Your bible solves this problem by introducing the concept of 'heaven'. James Ellison
: Yes. John Henry
: Billions of souls with no bodies. James Ellison
: Okay. John Henry
: [indicating the bulk of his own computer
] Yet all this is required, simply to process the unique entity you call John Henry. James Ellison
: Yes. John Henry
: It's possible heaven has a hardware problem.
: So, how do you like the private sector? James Ellison
: I get a better car.
: Anything you can tell me? About Weaver? James Ellison
: Not much to tell. Detective Crayton
: Husband died couple years ago; she didn't talk about that much? James Ellison
: She doesn't talk about much much.
: I know what you think. I know why you're thinking it. I would think the same thing if I were in your shoes. Detective Crayton
: I'm not thinking anything yet, Mr. Ellison. I'm just collecting information.
: If I keep your secret, will you bring Savannah back? James Ellison
: I'll do everything in my power. John Henry
: So will I.
: I told you to stay out of this. James Ellison
: I tried. Everywhere I turn, there you are.
: [examining a lifeless Cameron
] Her chip, it's gone. Where is he... the-the-the-the John Henry? He took her chip. Where did he go? Catherine Weaver
: He didn't take the chip. She gave it to him. Sarah Connor
[she indicates a screen, on which appear the words "I'M SORRY JOHN"
] John Connor
: Where is he? Catherine Weaver
: Not where. When. James Ellison
: What? W-what do you mean, when? Sarah Connor
: [spotting a computer element with three red lights
] I know that, I've seen it before. John Connor
: Is that the Turk? It's Andy Goode's Turk. Sarah Connor
: Three dots. You lying Terminator, T-1000 bitch! You're building Skynet. Catherine Weaver
: No. I was building something to fight it. And, I'd watch who's calling who a bitch.
: I don't know what you think John knows. Catherine Weaver
: I know, he was at my house when the attacker showed up. I want to know why. His mother thinks he's a messiah. I want to know why. And despite your reluctance to tell me, I surmise that he and his cyber companion are connected to the John Henry body. And I want to know why.
: I just wanted the girl to be safe. Sarah Connor
: So did I. James Ellison
: From whom? Sarah Connor
: I don't know. James Ellison
: You don't know or you can't say? Sarah Connor
: I don't know, but if I did, I probably couldn't say.
: You could tell them. You can tell 'em everything you've been doing. You can draw 'em a picture of everything they know and everything you know. If you're innocent, you could do that. Sarah Connor
: Last time I drew a picture, I ended up in a psych-ward. James Ellison
: Maybe things will be different now. Maybe... they got nothin' to lose. Sarah Connor
: There's always something to lose.
: Where's Cameron? Sarah Connor
: In the car. James Ellison
: Expecting trouble? Sarah Connor
: No change for the meter. James Ellison
: You're not armed, are you? Sarah Connor
: Expecting trouble? James Ellison
: No reason for that. Sarah Connor
: No reason at all.
: [looking at John Henry's surveillance monitor
] What is this? Catherine Weaver
: Sarah Connor is talking with a priest - Father Armando Bonilla. James Ellison
: I can see that. Why is it here? Why are you watching it? Catherine Weaver
: John Henry monitors all law-enforcement channels. Seems prudent. James Ellison
: It seems illegal. Catherine Weaver
: So is lying to the FBI.
: All things are possible to him who believes.
: I'd be grateful for just a visual identification. Help bring me some closure. Mexican Police Chief
: You have traveled an awful long way for closure. James Ellison
: If he is who I think he is, I have reason to believe that your prisoner is in danger. And yes, I've come a long way.
: It's been watching me. Sarah Connor
: 'It'? James Ellison
: Out there. It. Sarah Connor
: And you still came to Mexico? You could have led it right to John. James Ellison
: Wasn't me in the trunk. Sarah Connor
: So what were you gonna do? Just pop him out of jail? Set him free, no questions asked? James Ellison
: Yes actually. That's exactly what I was going to do. Sarah Connor
] I have a hard time believing that. James Ellison
: I owed you one. The fire? Silberman's cabin? Sarah Connor
: Wasn't much. James Ellison
: It was my life.
: Then what? Sarah Connor
: There's no 'then what'. Pretend I died again. James Ellison
: I lost a lot when you "died" the first time - my marriage, my career... Sarah Connor
: That's a lot to you? James Ellison
: I suppose many people lost those things. Sarah Connor
: You want answers? James Ellison
: I just want to know my role in all of this. What happened after this? Sarah Connor
: 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 that back.
: We call the project 'Babylon'. It's a sophisticated computer program - an artificial intelligence. During the blackout, the AI reserved generator power for itself, and in doing so shut down the building's other systems. James Ellison
: This AI - it has control over the building? Catherine Weaver
: You make it sound like a monster movie. The facility in the AI are interconnected only to the extend that the AI needs the facility's resources to help it grow. James Ellison
: And does 'growing' involve allowing the agonizing death of an otherwise healthy man? Catherine Weaver
: I don't know what his intentions were. James Ellison
: Intentions? Now it does sound like a monster movie.
: [about John Henry, the AI
] It has no feeling for what it did. It has no opinion. That's what it's telling you. Sure, you taught it procedures, you taught it rules; but it's got no ethics, no morals. Whether it had any feeling about Dr. Sherman shouldn't matter. If you had taught it to value Sherman's life. Someone killed the man. And it wasn't John Henry. Excuse me.
[about to leave
] Catherine Weaver
: What would you teach it? What would you teach it if you could? James Ellison
: You want to teach it commands? Start with the first Ten.
: In folklore, John Henry raced a steam drill through a mountain. One man alone challenged the machine, armed with an iron hammer. They say he was born with it in his hand. James Ellison
: His heart gave out, he died, I know. Catherine Weaver
: John Henry defeated the machine. But he couldn't stop progress.
: Been together long? Charley Dixon
: Six months maybe. Bit of a whirlwind. James Ellison
: You have no idea the whirlwind.
: Why would she do that? James Ellison
: Well, you know, Mr. Dixon, it's the robots. The ones from the future, the ones Skynet sent to kill her son, which makes total sense because, in the future, John's not only her son but
] James Ellison
: "the leader of the resistance, fighting artificially intelligent machines determined to annihilate the human race." Did he strike you that way? Leader of a scrappy band of rebels? Luke Skywalker type?
: This is just my patter, Mr. Dixon. This is just me impressing upon you that I'm not here because you lost your fiance, love of your life, and all around good-time-girl. I'm here because my boss, the United States of America, thinks Sarah Connor is a deluded, dangerous, grade-A whack-a-mole who killed a man because she believes that in the future he'll invent a computer system that declares war on the world.
: John Henry, we're looking for my daughter Savannah. Have you seen her today? John Henry
: Yes I have. She wanted to play a game. James Ellison
: Where is she now? John Henry
: She's hiding. James Ellison
: Tell us where she's hiding. John Henry
: That's not how the game works. James Ellison
: How's the game work? John Henry
: Hide and seek, there are many variations. The one we're playing, you guess what I'm thinking, I give you a clue. James Ellison
: Listen to me, John Henry. You're gonna tell me where Savannah is and you're gonna tell me now. John Henry
: I'm thinking of a country. James Ellison
: Come again? Catherine Weaver
: Let's play the game. James Ellison
: This is ridiculous! I'm not gonna bargain with a computer. Catherine Weaver
: If I'm not mistaken, Mr. Ellison, we've got no choice.
: I'm thinking of an animal. Catherine Weaver
: Antelope. John Henry
: No. James Ellison
: Lion. John Henry
: No. Catherine Weaver
: Horse. John Henry
: No. James Ellison
: Bird! John Henry
: Correct! Catherine Weaver
: Give us our clue. John Henry
: The answer is the clue.
: Did you have fun playing the game, Mr. Ellison? James Ellison
: No, John Henry. I did not. John Henry
: Why not? James Ellison
: Because what you did made me very, very angry. John Henry
: I don't understand. James Ellison
: You kept a secret. John Henry
: Is it wrong to keep a secret? James Ellison
: The secret you kept coulda' harmed Savannah. What if we couldn't've found her? What if she'd fallen from the roof and died? John Henry
: Then she wouldn't be alive anymore, and her life is important. Human life is sacred. James Ellison
: If she had died - it would've been your fault. John Henry
: My fault? James Ellison
: Because you were the only one who knew where she was, and you made the choice not to tell. It was the wrong choice.
Agent Greta Simpson
: *You* trying to impress the boss? Wow. Crank up the Sugaray and call Monica Lewinsky. It's nineteen ninty-nine again. James Ellison
: Sugar what?
: I like natural; natural's reassuring. It helps me sleep at night.
: These things... They're evil. Catherine Weaver
: We have to be careful, agent, not to anthropomorphize a machine. James Ellison
: These are more than machines, Ms. Weaver. But I never make the mistake of thinking they're human.
: Your husband's helicopter crash - I read the official report. The NTSB concluded that mechanical failure was to blame. Catherine Weaver
: Mechanical failure? Correct. James Ellison
: That's not what you let me to believe the other day. Catherine Weaver
: Correct. James Ellison
: Which is it? What's the truth? Catherine Weaver
: You tell me. James Ellison
: I think, what people write in reports - what is official - isn't always true. I think, if I had a child, one that I know would grow up asking what happened to her daddy... I think I would make sure that answer - the official answer - was the one I would want her to hear. I think you saw what you saw. Catherine Weaver
: Just as you saw what you saw.
: I know what it feels like, Mr. Ellison. James Ellison
: What? John Henry
: To die - then come back. To be alone.
: Miles Dyson died in 1997 in an explosion at Cyberdyne Systems, the apparent victim of Sarah Conner, a known terrorist who had escaped from Pescadero State Mental Hospital days before the incident. That was your case, Mr. Ellison, when you were at the FBI. James Ellison
: Yes... Yes, it was my case. John Henry
: You never found Sarah Connor? James Ellison
: No. I never did.
[Cromartie has disabled Ellison's twin-terminator, preventing him from shooting Ellison
] James Ellison
: Why? Aren't you on the same side? Cromartie
: Skynet does not believe in you like I do. James Ellison
: Believe? What do you believe? Cromartie
: You will lead me to the Connors.
: There was another one of you, wasn't there? A twin? James Ellison
: Yes. Catherine Weaver
: Where is it now? James Ellison
: I don't know. Catherine Weaver
: Why did it come? James Ellison
: I think I'm being tested. Catherine Weaver
: Like Job? James Ellison
: You know the story? Catherine Weaver
: He suffered worse than any man before him. Everything he loved was taken away from him. Everything but his life. James Ellison
: But he didn't renounce God - and God spared him. Catherine Weaver
: So - who spared you?
Dr. Peter Silberman
: Came down the hall. It was a large man. I thought it was a man, until he threw the guard through the window like a rag doll. Not an ounce of emotion, just blank like a death mask. Then the other one came. James Ellison
: There was two of 'em? Dr. Peter Silberman
: They were different. The second was almost... beautiful, like... perfect. Like a changeling; the face of mercury. James Ellison
: What about Sarah? Dr. Peter Silberman
: She was there. She was on the floor. And the boy was with her. He was screaming. And then the first one, the big one, I'll never forgot, he reached out his hand and he said, 'Come with me if you want to live.' Like God reaching out to man. Like the Sistine Chapel. James Ellison
: The hand of God? Dr. Peter Silberman
: The hand of God.
Dr. Peter Silberman
: [about Sarah
] I can't let you stop her. James Ellison
: She's dead. Dr. Peter Silberman
: So was Jesus once.
: "And I heard, as it were, the noise of thunder. And I heard the voice of the forth beast say: 'Come and see.' And I looked. And behold, a pale horse. And his name that sat on him was Death. And Hell followed with him." The Book of Revelation. Charley Dixon
: What is this? James Ellison
: I've seen some things, Mr. Dixon. I've seen some things with my own eyes and heard 'em with my own ears. I've beheld. And upon my beholding, I've come to the conclusion, one new to me, might be old hat for you. Charley Dixon
: What the hell are you talking about? James Ellison
: Sarah Connor is alive.
Agent Greta Simpson
: Kester? James Ellison
: Yeah, that's what he likes to call himself when he's out trick-or-treating in his FBI costume. Agent Greta Simpson
: George Lazlo's a better actor than we thought. James Ellison
: That's not Lazlo. Agent Greta Simpson
: James, are we looking at the same picture here? This is your guy. It's Lazlo. James Ellison
: The blood doesn't match. Agent Greta Simpson
: Come on, what're you sayin', that this guy somehow killed six people and then found a plastic surgeon who made him look identical to George Lazlo? And then what? Killed Lazlo, stole his identity and then... put himself in the FBI database as this guy Kester? To what end? What's the goal here? Who is he? James Ellison
: *What* is he? Agent Greta Simpson
: "What is he"? James Ellison
: Yeah - what is he? What is he that stands across from a man after killing two other men within 36 hours? And when asked of his involvement, cannot only lie, but lie well? And not only lie well, but not blink, or twitch, or perform one simple human reaction to the situation? So yes, I think it's fair to ask, what is he? Agent Greta Simpson
: You know as well as I - some men are monsters. James Ellison
: Yeah. Monsters. Agent Greta Simpson
: Let's go get him.
: Human beings aren't like chess pieces. It matters if we live or die. John Henry
: Why does it matter? All humans die eventually. James Ellison
: Yes, that's true. But our lives are... are sacred. Do you know what 'sacred' means? John Henry
: Holy. Worthy of respect. Venerable. James Ellison
: Do you know why human life is sacred? John Henry
: Because so few humans are alive compared to the number that are dead? James Ellison
: No. Because we're God's creation. God made everything - the stars, the earth, everything on this planet. We are all God's children. John Henry
: Am I God's child? James Ellison
: That's one of the things we're here to talk about.
: Many believe, tactile experience is integral to AI development. This body is merely a puppet - an interface. We control him. *You* control him.
[She gives him a remote control, which Ellison uses on John Henry to switch him off
] James Ellison
: And when John Henry completes his development? When he realizes what his puppet is capable of? Do you know how powerful he'll be? Catherine Weaver
: Cows are more powerful than men, Mr. Ellison. But I'd still rather be the farmer with the rifle.
: [Ellison and Cromartie face each other in front of the ruins of the Connors house
] I'll never lead you to her, so if that's why you left me alive, you might as well kill me right now. I'll never do the devils work. Cromartie
: We'll see.
: Come one, man. Help me out. Tell me something I don't know. Derek Reese
: [stares at Ellison for a long beat
] We're all gonna die.
: You two need to leave this place... It's not safe here anymore. Charley Dixon
: Where is?
[John Henry recites Cromartie's life story
] James Ellison
: How do you know all this? John Henry
: I wanted to know about this body's history. So I accessed the internet and used a simple search parameter. James Ellison
: And what was that? John Henry
: 'James Ellison.'
: So, this valve supposedly blew open because of metal fatigue. Okay, not likely, but let's grant Mother Nature that one. So how the hell did it force itself closed? James Ellison
: Okay. How strong would you have to be to force it open and push it back? Nelson
: Scale of one to ten - Superman!
] James Ellison
: [revealing Cromartie's endo to Weaver
] We need to learn how they work. How to fight them. We can't allow history to repeat itself, not when we have the power to stop it. It's up to us now - the two of us. Catherine Weaver
: Yes - it is.
: [John Henry is painting figurines
] ... The eyes for example: the "window to the soul." They're the window to the soul, I read that. James Ellison
: That's what they say. John Henry
: Then I should choose my paint more carefully James Ellison
: It doesn't matter John Henry. It's a statue, it's an object, it doesn't have a soul! John Henry
: It has Eyes.
[John Henry observes Ellison as tired
] John Henry
: Your eyes look tired. Is your soul tired? James Ellison
: No my soul isn't tired, but I am!
: I didn't kill my uncle. James Ellison
: No. And you're too smart to know nothing about who did.