Sarah is in police custody, but John and Cameron disobey her orders and help her escape. The three then go to Zeira Corp so that Sarah can confront Catherine Weaver, and Cameron can confront John Henry.

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(as Jeffrey Hunt)

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(developed for television by), | 2 more credits »
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Storyline

With Sarah now in police custody, John and Cameron hide in a cheap motel. John is concerned about his mother's recent weight loss and thinks that Cameron may be a source of radiation poisoning. Sarah manages to get a message to John via Father Armando Bonilla, the priest they had met in Mexico. Meanwhile, Catherine Weaver asks Ellison to arrange for her to meet John. Despite his mother's advice to leave the city and forget about her, John decides to try and set her free and Cameron agrees to stage a one-person assault at the prison where Sarah is being held. Afterwards, Sarah and John finally meet Weaver face-to-face who, it turns out, has a considerably different agenda than they might have expected. For John however, his future may be changed forever. Written by garykmcd

Plot Summary | Plot Synopsis


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TV-14
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10 April 2009 (USA)  »

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1.78 : 1
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Did You Know?

Trivia

This is the second of two consecutive episodes, the other being Terminator: The Sarah Connor Chronicles: Adam Raised a Cain (2009), named for a song written/performed by Bruce Springsteen. See more »

Goofs

In season 1 Cromartie's exposed metal skull travels through time with the Connors, but when John and Weaver travels through time together Cameron's damaged body is left behind. See more »

Quotes

Cameron Phillips: [of Ellison] He upset you.
John Connor: Me? I think he upset you.
Cameron Phillips: You know that's impossible.
John Connor: Is it?
Cameron Phillips: You said it yourself, John - I'm just a machine.
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Soundtracks

Terminator: The Sarah Connor Chronicles (End Credits)
Written by Bear McCreary
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User Reviews

 
Not entirely convinced
3 May 2009 | by (United Kingdom) – See all my reviews

Suspension of disbelief aside to time travel (conservation of energy violated) or even logic (A clearly is not A) this kind of plot device leaves a writer with deuces wild! Sack an actor, actor storms of set, bring 'em back with a plot twist 'cos the future's what you make it. Yeah, right.

So we are to believe the lovely sexy Weaver is a good 'un all along with the plot twist (probably because she honed her acting skills and the writers wanted to factor her in to the next series). What then of all the slayings and disregard for human life (she was only killing the bad humans in the chain of building skynet?) or did she suddenly turn good when the Turk got hacked, or did John Henry's ethos and Weaver's do the switcheroo? - John Henry afterall released the prison gates. What of Cameron, playing John as a patsy all along to track down Weaver and John Henry building a counter-attack? She seemed to be concerned about not killing the prison guards and then rescuing Sarah too? All these agents coming from future (take the case of Riley and Jesse) having cloaked missions and intentions that require them to be double agents - it's a wonder they can keep track of what their supposed to be doing. There's no method in the madness. Do deep undercover agents/sleepers lose sense of their mission or purpose in life? Or what of the submarine episode, Jesse and this episode 'will you join us?', elements of which surfaced in S2.E22? Are we to believe there is some fifth column in robot world? Besides, just what is their problem with humans, their raison d'etre? Hardly explained in the series or the films.

I'm not entirely convinced that the whole concept is not being made up as they go along much as a programmer might hack a piece of unstructured code poorly maintained by many hands before him.

Who knows what the script writers' visions are? If the war between man and machine in the future is in deadlock, agents sent back to cross and double cross resulting in deadlock in the past (or is the whole thing fatalistic/preordained?), may be they could be realising that each race has attributes and rights and some kind of fifth column of peaceful co-existence or even symbiosis is emerging but that sounds way too sophisticated for Hollywood.

You know, George Lucas had the whole Star Wars Universe/Mytharc mapped out pretty much mid-seventies even though budgets changed, actors stayed on, sequels were made, then sequels to the sequels, then prequels, it all scanned correct with an overall vision.

I'm not entirely convinced that the whole project is not kept alive by the fickle ebb and flow of primetime ratings and the merchandise people. Not great SF.


9 of 53 people found this review helpful.  Was this review helpful to you?

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