Plot
Written by John Enbom, the plot of "Heavy Metal" consists of two non-intersecting storylines.
Suspicious of a redirected shipment of refined coltan, Cameron, Sarah, and John discover another Terminator (Brian Bloom) hoarding the metal—an essential component of Terminator construction—in preparation for its use in the future war. Dealing with this new threat focuses on John and Sarah's differing tactics; whereas Sarah is more concerned with John's safety and decides they should ignore this new development, John feels that despite the lack of any apparent threat to himself, they have a responsibility to deal with this new Terminator. John ultimately defies his mother and follows the Terminator to a military bunker where it stores the coltan, seals itself (and John) in, and goes into a "standby mode". Sarah and Cameron successfully retrieve John and the coltan, sealing the Terminator inside. After driving the truck with the coltan into the ocean, it's revealed that Cameron kept a bar of the metal without the others' knowledge.
On a Friday evening, Cromartie forces Dr. Lyman, a plastic surgeon, to sculpt his face into the same as another patient the doctor had already treated—unemployed actor, George Lazlo (Garret Dillahunt); after receiving his surgery Cromartie kills the doctor and leaves. The recurring Agent Ellison arrives on the murder scene as it's tied to his previous cases by Cromartie's mysterious faux blood. Investigating the real Mr. Lazlo, his blood does not match that at the scenes, and he is released by the FBI only to be killed and replaced by the doppelgänger Cromartie.
Read more about this topic: Heavy Metal (Terminator: The Sarah Connor Chronicles)
Famous quotes containing the word plot:
“Trade and the streets ensnare us,
Our bodies are weak and worn;
We plot and corrupt each other,
And we despoil the unborn.”
—Ralph Waldo Emerson (1803–1882)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)