[metallic rattling]

John: Riley, look at me.

[camera snaps]

Riley: Show me that. That's horrifying.

John: Yeah, well, it's supposed to stop cars from playing Ping-Pong with
your head.

Riley: Hey, I think your mom's out here.

Riley: Hi, Mrs. Baum! Thank you so much for having me over.

John: I didn't even know if you were busy tonight when I texted you.

Riley: I'm never busy.

John: So I should do it again sometime.

Riley: Or maybe you could call. You know, with your voice.

[indistinct chatter]

Riley: See you soon?

John: Okay, be safe. I bought her a helmet.

Sarah: Responsible. You think it'll stop a bullet?

John: Why, you gonna take a shot at her?

Sarah: A lot of bullets fly around here. Someone will. You care about this

John: Yeah.

Sarah: Then leave her alone.

Cameron: I'll talk to John.

Sarah: John's not listening.

Cameron: He's always listening.

Cameron: I was going to suggest a safe.

Sarah: Well, you might have suggested it before we got robbed.

Sarah: Where are you going?

Cameron: I need to restock the supply drop. We've been using a lot of

Sarah: Business has been booming. Where's John?

Cameron: Still in his room.

Sarah: He hasn't gotten up yet?

Cameron: He needs more sleep than you do. It's because the circadian
rhythm of teenagers is abnormal.

Sarah: How late were you up talking to him?

Cameron: Not late. He won't be seeing Riley anymore.

Sarah: Is that so?

Cameron: John's not stupid.

Sarah: I don't like the way he responds to you.

Cameron: You got what you wanted.

[drill buzzes]
[footsteps approaching]

Cromartie: Where is he?

Sarah: Check under the bed.

Cromartie: You don't know.

John: I didn't even know if you were busy when I texted you tonight.

Riley: I'm never busy.

John: So then I guess I should do it again sometime.

Riley: Or maybe you could even call. You know, with your voice.

John: Maybe I could try that.

Riley: Maybe you should. See you soon.

John: Go, be safe.

Cameron: I'll talk to John.

Sarah: John's not listening.

Cameron: He's always listening.

[knocks on door]

Cameron: Are you busy?

John: No. Did you change?

Cameron: It's hot out.

John: Since when do you feel heat?

Cameron: I feel heat.

John: Are you hoping that Riley's gonna see us in bed together, and be
totally scarred for the rest of her life or something?

Cameron: No. I watched Riley leave till I couldn't see her anymore.

John: And then you and mom high-fived.

Cameron: You bring danger into Riley's life.

John: I know that. I'm not stupid.

Cameron: But sometimes you do stupid things. It would help me to
understand why.

John: Humans do stupid things. So don't worry about it, and be happy
you're a machine.

Cameron: I'm a machine. I can't be happy. But I understand more than you

John: So you understand that I'm going to keep seeing Riley, even if
everyone thinks it's a bad idea.

Cameron: I understand that it's a bad idea. And... I understand that being
John Connor can be lonely.

John: Oh, yeah? How do you understand that?

Cameron: You and I talk about it a lot.

John: We do?

Cameron: We do. We will.

John: I need-- I need to get some sleep.

Cameron: And Riley?

John: I know. I know.

Cameron: He won't be seeing Riley anymore.

Sarah: I don't like the way he responds to you.

Cameron: You got what you wanted.

[engine starts]

Cameron: It's just you.

Derek: You been stealing my supplies?

Cameron: We needed to make a small bomb.

Derek: I set this drop up with my people for my people. And everything's
in here for a reason.

Cameron: John was supposed to ask.

Derek: John needs to get his head in the game.

Cameron: Maybe he couldn't find you. You don't spend much time at the

Derek: I don't have a bed, remember?

Cameron: You didn't have a bed in the old house.

Derek: I had a gunshot wound at the old house.

Cameron: Yes. You almost died.

[phone rings]

Derek: It's not the first time.


Cameron: Who's that?

[phone beeping]
[male voice speaking Spanish]

Derek: Alarm code from John. He's in trouble.

John: I need to get some sleep.

Cameron: And Riley?

John: I know. I know.

[door closes]

John: Yeah, right.

[phone beeping]

John: Hey. I'll be there in a few minutes.

Riley: Ew, please stop doing that. Look, I got this from my foster
parents. And it's a rape whistle. It's totally for moments like this.

John: Moments like this?

John: Yeah, all right. When I was a kid, I-- I lived in Mexico for a year
and a half. In this, uh, little village called Dejalo. And, uh... That's
where we're going. Thought I'd show you around.

Riley: Wow. Um, well, did you run this idea by your mom? Because sometimes
I get the impression that she doesn't really like surprises.

John: I don't care.

Riley: Did you guys get in a fight last night?

John: No.

Riley: So this is definitely a field trip, and not some revenge fantasy?

John: All right, if you don't wanna go, that's cool. But do not make me
feel like I'm kidnapping you or something.

Riley: Oh, no, I'm sorry. I'm sorry. You just caught me off guard. I'm
really, really happy that you want to show me where you grew up.

John: Good. 'cause I booked the honeymoon suite.

Riley: Wait, what?

John: It's good, right? It's nice to get some space.

Riley: You and space. You know, 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

John: God, you're such a little stalker.

Riley: All right, so I get that... We ran away to get some space. [laughs]
The only shame is... We ran all this way, and there's skulls everywhere.

John: What, you don't like skulls?

Riley: I like other things better.

John: It's for Dia de los Muertos. The festival's tonight.

Riley: Nice. Skulls and darkness, how charming.

John: Doing the best I can.

Riley: I never want to leave this room.

John: Wait, I think I see the problem.

Riley: Would you just get in here? We don't need bubbles.

John: Well, there's bubbles to be had, and I'm going to have bubbles.

[electronic humming]

John: Ah, not bad, huh?

Riley: You're a total pro. Wait, you didn't live here with your mom, did

John: No. We, uh-- We actually had a cabana on the beach.

Riley: I think we had very different childhoods.

John: It wasn't always good. Sometimes I wish we just stayed here. Away
from everybody.

Riley: People suck.

John: Not just people.

Riley: 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.

John: No, I'm not.

Riley: Yes, you are. You have a tell.

John: I just don't want to sit around and talk about messed up childhood.
Can't we just enjoy ourselves?

Riley: Yeah, fine. Enjoy yourself, John. I'm sure we're not the only
couple that's found themselves in a honeymoon suite, and not known the
first thing about each other.

John: You're right. People suck.

[water splashes]

John: Podemos tener picante, por favor?

Waitress: El verde? Es muy picante como fuego.

John: Si, exactamente.

Riley: What was that about?

John: Hot sauce.


John: You know, uh, they do this killer Thanksgiving buffet here.


Riley: I bet.

John: See? I'm telling you all sorts of good stuff.

Riley: I'm not trying to be your stalker, I just-- I think this is what we
should be doing. You know, getting to know each other.

John: Well, I have a question for you. You said, uh, that I have a tell.
What is it?

Riley: Okay, you promise not to obsess over it or anything?

[camera snaps]

Cameraman: What a handsome couple. And for only $5, A photo memory.

John: No, thanks.

Cameraman: See, a beautiful shot. And it's all digital. Which means I can
email it to you.

Riley: I--I think I have something in my teeth.

Cameraman: Oh, well, let me take another.
John: No no, really, that's okay. Hey, I said that's okay. Look, man, why
don't I, uh-- Why don't I just give you five bucks, And you'll delete it.
Can you do that?

Cameraman: Gracias, joven. The young boy and mother who stayed in Vivian's

John: Thanks a lot.

Cameraman: John Connor.

John: No se de quien estas hablando.

Cameraman: You're Sarah Connor's son.


John: I'll be right back.

Cameraman: I remember when the Connors left Dejalo. And I remember the
stories that were told after you were gone.

John: Man, you really-- You really mixed me up with somebody else. I'm

Cameraman: These are pictures you wouldn't want the authorities to see.

John: How much?

Cameraman: Everything you've got.

[indistinct chatter]

John: Hey, back off, man.

[glass shatters]

John: We gotta get out of here, now. Run!

Cameraman: No!

Waitress: Oye, oye, oye! No se puede salir sin pagar!

[indistinct chatter]

John: Puedo pagar la camara.

Policeman: Stick to English, kid. The American accent is killing me.

John: This is a misunderstanding, that's all. I'll pay for the camera,

Policeman: What the hell were you doing down here anyway?

John: We're just tourists.

Policeman: Cancun's not good for you?

Policeman (Chief): This is the guy?

Policeman: Yes, sir. I was about to take his statement.

John: A man took a picture of me and my girlfriend, and he wanted us to
buy it. It was crowded, someone bumped into him, He dropped his camera. I
was afraid a fight was going to start, so we tried to leave, that's all.

Policeman (Chief): How old are you?

John: 16.

Policeman (Chief): You were drinking?

John: No.

Policeman (Chief): You have parents.

John: My mother and an uncle.

Policeman (Chief): They know where you are?

John: No.

Policeman (Chief): I'll make you a deal. If they come pick you up, I'll
let you go with a warning.

Derek: Leave a message.

[phone beeps]

Policeman (Chief): What the hell was that?

John: It's my uncle's voice mail.

Policeman (Chief): Call your mother.

Sarah speaking monotone: Hello?

[phone beeps]

Sarah: John, thank god. Where are you? I've been going out of my mind.

[phone beeps]

Policeman (Chief): Did you get through?

Sarah: John, are you there? Are you in trouble?

John: She didn't answer.

Policeman (Chief): Put him in holding. In a few hours, give him another
phone call. And run his name through Interpol.

Policeman: Yes, sir. So which name should I run? The one on your passport?
Or the real one?

[metallic crash]
[rooster crows]

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.

Guard: You two came in together.

Riley: Sir, do you have children? Do you have a daughter? My dad told me
to stay away from this guy, and he was totally right. This guy's a
complete freak. And I don't even care how much trouble I'm in. All I want
to do is call home and tell them where I am. Please?

Guard: Take a step back. I'm going to open the door.


John: Lo siento, senor. Lo siento.


John: 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.

Riley: What? What are you do--

John: If you see daylight, you run.

Cromartie: Your strategy has changed from last time.

Sarah: Has it?

Cromartie: The first time we met, you tried to kill yourself.

Sarah: You're right. This time I'm going to kill you.

Cromartie: 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

Sarah: How did you find the house?

Cromartie: The boy told me. The one from the bowling alley. You should
have killed him. Just like you should have killed yourself.

Sarah: I'm not a murderer.

Cromartie: Who is?

[tires screech]
[latin music plays]
[tires screech]
[can crackles]
[car slows]
[door opens]

Sarah: Hey! Hey! Hello?

[gunfire continues]
[tires screech]
[screeching continues]
[gunfire continues]
[car slows and music stops]

Ellison: Sarah Connor? James Ellison. I need you to come with me.

[phone rings]
[breathing heavily]

Ellison: 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 that 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, email it over and I'll
take a look.

[phone beeps]

Ellison: Hold on. Yeah, yeah, you're right. It does look a little bit like
him. John Connor. God rest his soul.

Policeman (Chief): You're with the American FBI?

Ellison: Yes, 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.

Policeman (Chief): The domestic terrorism case.

Ellison: You're familiar with the Connors?

Policeman (Chief): 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.

Ellison: Look, I'd be grateful for just a visual identification to help
bring me some closure.

Policeman (Chief): You have traveled an awful long way for closure.

Ellison: If he is who I think he is, then I have reason to believe that
your prisoner is in danger. And yes, I've come a long way.

[knock on door]
[speaking spanish]

Policeman (Chief): Excuse me.

[indistinct chatter]

Cromartie: I'm looking for John Connor.

[gunfire and screaming]

John: Daylight, run!

Ellison: John! I'm here to help you.

Riley: Oh, my god! Oh, my god!

John: The car, Riley! Riley, get in the car, now! Now! Get in!

[tires screech]

Ellison: You okay?

John: Yeah. Are you okay?

Riley: Yeah, I'm fine. I'm fine.

John: Are there any rounds in this thing?

[gun clicks]

John: Look for ammunition. Look for more ammunition. We need more!

Riley: Okay.

[dull thumping]

Riley: Ow!

John: What, are you okay?

Riley: I just felt something back here!

John: Stop the car. Stop the car.

Ellison: Sarah Connor. James Ellison. I need you to come with me.

John: Mom.

Sarah: We need to move.

[dog barking]
[suspenseful music]

Ellison: It's a clear shot all the way up the alley, back to the jail.

Sarah: No, that's where it will be waiting.

Ellison: Let me do that.

Sarah: I need to be able to use it.

Ellison: I should hope so.

Sarah: Why are you here?

Ellison: John was flagged in the FBI computer.

Sarah: Couldn't you just have buried it?

Ellison: It's been watching me.

Sarah: It?

Ellison: Out there. It.

Sarah: And you still came to Mexico? You could have led it right to John.

Ellison: It wasn't me in the trunk.

Sarah: So what were you going to 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.

Sarah: Hm, I have a hard time believing that.

Ellison: I owed you one. The fire. Silberman's cabin?

Sarah: Wasn't much.

Ellison: It was my life.

Sarah: How you feel about that now?

John: You have to go. I promise I'll call you as soon as we get back to
L.A. But you have to go.

Riley: John.

John: Riley, don't. Go home. I swear I'll explain everything when we get

Sarah: Go out the back. Run due east. There's a bus route.

Riley: You know what else there is? A man with a gun who's killing people.

John: He won't follow you if you run away from me.

Riley: I don't wanna run away from you.

Sarah: Get her out of here. I need your phone.

Ellison: Have a plan?

Sarah: I've got a weapon.

Ellison: Cameron. The girl from the bank vault?

Derek: Yeah?

[phone beeps]

Sarah: John and I are in trouble. I need you and Cameron.

Derek: John's with you? Well, we're here already. We're at the jail.

Sarah: What?

[woman crying]

Cameron: Cromartie's here.

Derek: Then we should stay undercover. Hey!

Cameron: I'm looking for John Baum. Where is he?

Policeman (Chief): Yo no se.

Derek: We gotta get out of here.

Cameron: We gotta find John.

Derek: We're no good to him dead.

Cameron: I can't let anything happen to him.

Cameron: Escaped or dead?

Guard: Escaped! A little help, por favor?

Derek: Don't worry, it won't be back.

Guard: Senor! Please!

[phone rings]

Derek: Yeah?

[phone beeps]

Sarah: John and I are in trouble. I need you and Cameron.

Derek: John's with you? Well, we're here already. We're at the jail.

Sarah: What?

Derek: Wait, wait, wait, Sarah. Then where the hell's Cromartie?

Policeman (Chief): I am sorry, senor, But I'm going to have to ask you to

Cromartie: I'm gonna need to see John Connor.


Guard: Help. Help me! Ayudame!

Cromartie: I'm looking for John Connor.

Guard: He's gone.

Cromartie: Are there any other exits?

Guard: No.

[suspenseful music]
[car beeps]

Ellison: Have you come to repent?

Cromartie: I'm looking for John Connor.

Ellison: All things are possible to him who believes.

[soft latin music]
[latin music continues]

Sarah: We'll attract less attention if we don't travel together.

Ellison: You want me to leave? What's next?

Sarah: We'll come back down here. And bring something with us to destroy

Ellison: His name's gonna be on an alert.

Sarah: He's got other names.

Ellison: Then what?

Sarah: There is no "then what." Pretend I died again.

Ellison: I lost a lot when you died the first time. My marriage, my

Sarah: That's a lot to you?

Ellison: I suppose many people lost those things.

Sarah: You want answers.

Ellison: I just want to know my role in all of this. What happens after

Sarah: 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?

[grunts and screams]
[sobbing continues]