Box 662, Willow Creek, Ca 95573
A conversation reveals secrets from the future
that ties T1, T2 & T3 into one seamless story
Opening the plot and re-orienting the series
-What really happened...
DYSON Lineage Notes:
MILES DYSON SENIOR = Afro-Amer scientist who died in T2
TARISSA DYSON = Miles Dyson Seniorís second wife, seen in T2
DANNY = Miles Senior and Tarissaís child in T2
MILES DYSON JUNIOR = Son of Miles Senior and first wife / away at college in T2
© Copyright 1998 Robert Cole - email@example.com
415-251-2180 WGAW Reg page 1.
FADE IN: BLUE SKY, occasional WHITE WHISPs.
CAMERA PANS DOWN TO: Three, cracked-face, over-grown mausoleums. The iron gate is ajar on one and a broken cornice lays in protruding grass.
Two cemetery workers arrive in a grounds-vehicle. Older worker, with slight Irish brogue, starts out from his seat.
O-oh-h, look at this. These shouldíve
been fixed up long ago!
They pry the gate back and push into the front.
O-h what a mess!
The side-wall of a crypt has fallen and angles down into its niche. A broken casket sits within. - Under its cover, the workman discovers a dusty, elongated BLACK-DEVICE.
His thumb pushes dirt from the name-plate.
INT. HIGH-TECH LAB - RECEPTION DESK
Call-board beeps under large ďCDRSĒ sign. Receptionist responds.
Receptionist pushes the intercom and her words pace across the bustling activity of a high-tech lab.
CYBER-DYNE RECEPTIONIST (VO)
Paging Mr Dyson, Mr Dyson, line 3...
Cuff-linked, dark-skinned hand reaches for the phone and a young face fills the FRAME.
Miles Dyson Junior.
INT. CYBER-DYNE TESTING LAB
The DEVICE sits on a bench. MILES DYSON JUNIOR, with several senior manager types, have attached test-cables to one end.
I donít know, this thingís from the
time of your dad.
DYSONís eyes move slowly up the housing. Carefully, he brings the test-clip to the other end.
A joltingly BRIGHT SPARK staggers observers as a billowing PURPLE FLUX-FIELD explodes through the room.
EXT. MOUNTAIN HOME - DAYTIME
It is brisk mid-morning at a pleasant mountain home. A slender woman brushes snow from the cord-stack as she pulls two splits into her arms. Her blonde hair falls freely. The mail man rolls up on the road.
Got a special, Mrs Reese!
She swings around and SARAH CONNORís FACE fills the FRAME. She has a relaxed beauty. SLOWLY ZOOM OUT. HOLD on this.
Tossing the wood on the stair-head, she receives the note.
Itís a letter-gram - from íUncle Bobí -?
- thatís the whole return...
Sarahís sudden alarm disappears.
Ah, yeah, but spring! - Warm days.
INT. MOUNTAIN HOME
(TIGHT ON: LETTER-GRAM PRINT)
ďI know why you cry - STOPĒ
(anger under her breath)
Controlling herself, she heads to the attic and pulls a RADIO from a TRUNK.
It is set on the kitchen table.
Another is pulled from under the dusty, unused back-sink.
The BOXES sit apart while she adjusts oddly placed ANTENNAE.
The squeal of HAM frequencies produce two pitches that mingle sweetly in the air. Suddenly the mix of their gentle skew creates a low peddle-tone that THUMPS through the kitchen.
She writes hurriedly as the pattern repeats. Her hand and mouth quiver as she forces herself to hold concentration.
ďFuture not ended. Skynet device triggered.
Find on beacon f:14112. Protect your son.Ē
She twists the tuner until she hears a tell-tale ďchirping.Ē
EXT. - SARAH DRIVING: POV: from outside driverís window, Sarahís intense expression as she drives truck - scenery passes in BG.
CHILDRENís VOICES start echoing. FADE IN: BLUE SKY
EXT. ROADSIDE PHONES - AFTERNOON
Her tires grind gravel before a row of phones.
ON: SARAH dials the phone.
TO: Private, darkened communications-room where DYSON receives her call. He is seated before monitor-screens at a technical console. He picks up.
FOCUS ON BG: Marvelously intricate, cork-screwing lights inversely cave-in on themselves across the DEVICE on the monitor.
Miles, what in Godís name...
We hear DYSONíS VOICE.
Sarah, itís not over - we found something...
SMASH-CUT TO: DYSON.
...Something from the future. Some kind of...
TIGHT ON: DYSONís MOUTH.
...TIME CAPSULE. - A relic...
DISSOLVE while their conversation falls into ECHOING.
A worker at Forest Lawn Cemetery
found it after the earthquake.
SARAH DRIVING. AUDIO FADE IN: echoing children, taunting laughter.
INT. JOHNís HOME
[Ringing phone] - Laughing, young JOHN picks up.
Mom! How you...
JOHNís expression stops in mid-smile.
What?! - That canít be...
He begins shaking his head.
...No - That isnít... Miles? -
What?, (disbelief) - W-H-AT? - W-wait...
His girlfriend, CALLE enters from the other room. A young male follows. Her smile turns to alarm as she sees Johnís shocked expression and outstretched hand.
CALLEís face fills FRAME. Sheís thin with short light-brown hair.
John Conner - ...the Ďterroristí?
John, honesty is the only thing people can have
together. Either you have it - or you donít.
Calle, only Matt knew. You never were
supposed to know.
MATT (standing in BG)
Yeah, itís not the kind of thing you tell
your little sister, Cal!
She snaps MATT a hard look.
Well! - Gotta go...
I was gonna tell you, Cal. You have to know
So youíre not John Reese, youíre John Connor
- and your mother is Sarah Connor! Oh, God!
I just canít believe this!
Cal - believe it! Weíre alive, and everybody
youíve ever seen or heard of is alive,
because my mom and a guy named Miles
Bennet Dyson refused to let them die!
CALLE stares wide-eyed.
Miles Dyson gave up his life. So did my father,
before I was born. So did the Terminator, -like
a father - the only father I ever knew. (pause)
Youíve had a normal family, Cal, you donít know
what itís like to have no father!
-This is so unbelievable!
Miles Senior lost his life blowing away Skynet,
with his whole lab, at Cyber-Dyne North.
Skynet was the defense computer - ?
Miles Junior was away at college. -Heís a
smart guy, he got his fatherís old job at
Cyber-Dyne. -He and his little brother, Danny
were into HAM radio. They made-up some code in
case of emergencies. - He contacted my mom
- when they found this thing from the future.
Can you trust him?
Oh, yeah - like a brother, like Matt -
thereís some kind of bond. Itís family.
If this ďthingĒ has been here this whole
time, (shaking head) whatís so important?
John stares into her face.
...Calle. - Ok, Skynet. It was the defense
computer system - built by Cyber-Dyne with
the Dyson, ďNeural-NetĒ chips. It was in
everything - all the planes, the ships, the
military-bases, all the rockets and silos,
-all the tanks. Everything. - It had
complete control of our nuclear defenses.
FLASHBACK with VO: LA - bright, sunny day. Laughing child swings.
On August 29th, 1997, the whole system
became smart - one huge mind - and it
just decided, -we were not necessary.
AUDIO FADE IN: ECHOING LAUGHTER.
NEW: SLOW-MOTION of CHILDís FACE at height of swing. LA in BG. WHITE-OUT as A-BOMB EXPLODES. SHOCK-WAVE DRIVES across town. HIGH-RISES BLAST APART.
SEQUENCE OF RAPID CUTS:
HIGH ALTITUDE POV: TWO BLASTS envelop LA. THREE BLASTS cover SAN DIEGO. MRV ĎCARPET-BOMBINGí up Coast, LONG BEACH, SANTA BARBARA.
BAY-AREA: WHITE IMPACT BALLS expand along SF Bay.
MRV HITS across EASTERN SEABOARD, NJ, NY, Boston, Wash D.C., etc.
That day haunted my momís dreams. It was her
TO: A small, burnt skull sits on a rusty swing seat.
NEW: BURNED SKULLS are PILED like SAND DRIFTS along the blackened walkways of a SHOPPING MALL.
NEW: Old skulls liter a CHARRED DISNEYLAND Main-Street.
Then we fought the machines...
ROLLING HKs (Hunter-Killers) mash skulls while firing. A squad of firing Terminator Endo-skeletons march into the FRAME. PAN UP TO: A flying HK Battle-Station moves over-head.
GO TO RED-SCREEN: SIX RADIATING SEGMENTS fill the frame with MOVING VISIONS from the GUN TURRETS of a FLYING H-K BATTLE-STATION. The ground passes below while humans scurry and TARGETING COORDINATES flash across the SIX RED DISPLAYS. PLASMA DESCENDS in all directions. Return fire BLOWS an ENGINE. The scene REELS wildly.
RETURN: JOHNís FACE
But we ended that future. (pause) - At least,
I thought so.
CREDITS SEQUENCE: A-BOMB leads CREDITS ROLL UP which runs over old news-reel clips, assembled by Skynet, showing satellite views of the earth during full, world-wide nuclear annihilation. Muted thuds tap rhythmically as nuclear strikes lace land-masses. Fingers of pollution trace wind-patterns. Read-outs gauge Nuclear Arsenal expenditures, hits and death-tolls.
EXT. NIGHT - EMPTY STREET in DECREPIT CITY NEIGHBORHOOD
Opens on dark street of empty store-fronts. Gray/brown and dark facades jut up across from us. A dumpy car is parked in the street and a small motor-bike stands by the only lit doors in sight. Above the doors are large, raised letters:
ďINTERNATIONAL CRYONICS INSTITUTEĒ
SUPERIMPOSE: Elongated, football-shaped Time-Capsule with raised webbing and intricate but subdued lights cork-screwing within.
STREET: We move toward the doors...
SUPERIMPOSED TIME-CAPSULE: Camera zooms tighter on.
INT. CRYONICS INSTITUTE
Old, beer-bellied guard has feet up at newspaper draped desk. Nearby, a lanky floor sweeper leans over his push-broom. A choir of tall, metallic canisters disappear into the dark behind them.
GUARD whisks his fingers over the paper.
You know, youíd think these guysíd
learn how to play ball...
Not like your day...
Youíre God Damn right. We had the power
guys, and we also didnít stand around
all God Damn day. When ya just play the
game, it moves - it lives, for Christís
Sake. Ya play better...
Sweeperís answer reduces to echoing as we are now...
NEW ANGLE: ...down the dark hall, before a bullet-shaped ďCRYOĒ TUBE. There is a small 3Ē X 1Ē INDICATOR PANEL to the right of its long, vertical seam.
RUNNING VOICE-OVER: Echoing baseball conversation continues.
TIME CAPSULE: ZOOM ON: Cork-screwing lights, softly pulsing.
CRYO-TUBE: ZOOM ON: Cryo INDICATOR PANEL. Panel-lights begin flashing command-codes.
Camera ZOOMS OUT SLOWLY.
LOUD BLAST and SMASH-CUT: GUARD and SWEEPER are reelingly jarred to their feet.
POV: GUARDS, in FG, face away from camera. They look down the dark hall to the huge out-blast of gasses filling the far room.
REAR ROOM POV: From CEILING. CRYO-TUBES at lower right: Our astounded pair sweep in as the ROOM-LIGHTS COME ON. Mountains of billowing steam eject from the bottom of a tall ampule.
POV from behind guards: The exploding pressure, venting like rocket-exhaust, starts to relieve while RED & GREEN LIGHTS blink from the small panel.
The gleaming, 9 foot shell emerges from the subsiding vapor, omni-present. Its shut-off stops with an echoing SLAP.
The GUARDís mouths agape, they blink in disbelief.
A RED LIGHT comes on the indicator and a ďCLUNKĒ is followed quickly by the HISS of pressure-relief. Its long seam breaks and the front of the ampule swings loosely open.
GUARDS walk timidly forward, mouths still agape.
Puffs of gas waft from the gap as red highlights reflect liquidly from the smooth, RIPPLED FORM within.
The guards recoil as the FORM begins to MOVE. The SOUND is reminiscent of the liquid man but suddenly its PLASTIC SHROUD peels open and falls away.
The TERMINATOR shines like a God.
SMASH ZOOM ON: TERMINATORís FACE, ZOOM into TERMINATORís EYE.
SMASH-CUT TO RED-SCREEN: SURGING LIQUID RED and ROCKET-RIDE IMAGES explode from the screen as TERMINATOR CONSCIOUSNESS violently stabilizes from its frozen, super-conductor state. Grids and readouts appear. The guards are cowering against the wall.
I need your clothes, your boots
& your motorcycle.
INT. CYBER-DYNE RESEARCH
Dyson and Sarah enter the room with the device.
...It was designed to become active after
August 29, 1997 but was damaged in the quake.
Passing that date would arm the device.
SARAH looks questioning.
- If it was still here, after that date, the
atomic war would not have happened. - As soon
as I plugged in the diagnostics, it came alive.
There are vast files from the year
2029, - I only have part of it...
We ended that future. Itís over! This is not
supposed to be here!
Yes, probably so. But listen, (mid-sentence
switch) -By the way, where is John? No wait.
DYSON leads Sarah out of the room and into another. Then to a questioning Sarah:
It could be listening - donít even tell
me where John is. He cannot come into
contact with the device.
Heís not here is he?
No, heís on his way...
We have to stop him!
How long before he gets here?
Are you sure?
Yes, he was home.
Ah, thank God. I didnít think. We can stop
him before he gets in. Sarah, - Skynet sent
a Terminator at the same time as this thing.
One of its targets, for sure, is John.
INT. JOHNís CAR -
JOHN is driving through the night.
EXT. NIGHT - HARLEY DEALERSHIP
OVER-HEAD camera BOOMS DOWN as the TERMINATOR rolls up the center of the street before a Harley-Davidson dealership. A gigantic STREET-BIKE dominates the flood-lit window display.
AIR-BRUSHED SIGN: ĎDreaMachineí
The TERMINATOR looks over.
RETURN INT. CYBER-DYNE
DYSON flips on a wall screen.
All right, listen, ...
Whereís this Terminator?
We donít know. - Wait.
Wait! We have to find it. We-
Wait! - Sarah, - just listen...
SARAH confines her focus. Wall-screen flashes to Dysonsí study-image of the Time Capsule, which runs in BG.
...This ďDeviceĒ was sent at the same
time as the liquid man.
(reflecting) ...the night my father died...
But we changed that fu-
Sarah, it was sent in case you changed
Sarahís eyes grow wider.
Itís a fail-safe device. It holds
secrets. - Weíre trying to unrav-...
Fail-safe!? Fail-safe means preventing what
we did, preventing us from changing the future!
No! The future was changed. There was no war.
Listen! Itís a fail-safe. (excited) Itís
fantastically complex, a whole new computer
language, - and being constantly re-written.
We have to...
Sarah sharpens her eyes.
Letís destroy it.
No! We have to know what it knows, and
what itís going to do. But this much is
clear, - Skynet also sent a Terminator - and
if John comes into contact with the device,
or if the device even senses him, the
Terminator will be activated.
Where is this Terminator? What kind-
We donít know. Thatís why we have to
decipher all this.
I told John to meet me here!
SLOW ZOOM ON: DYSONís wince.
INT. JOHNíS CAR.
SLOW ZOOM ON JOHNís face.
EXT. NIGHT - HARLEY DEALERSHIP
Cops stand around, while patrol-car lights blink. A burglar-alarm CLANGS in the BG. The anxious dealership-owner, in jacket and pajama-bottoms, jumps from the open door of his truck.
The police SERGEANT yells into the yard.
Turn off that noise!
As the echoing ends, the exasperated OWNER and SERGEANT turn to the busted out display-window.
The gaping, flood-lit hole before them now showcases the PUNY MOTORBIKE - shabby paint, half-peeled ĎDead-Headí sticker.
EXT. DARK STREET - SPORTING GOODS STORE-FRONT
TERMINATOR is climbing on his new, powerful HARLEY in front of the BROKEN DOORS of a sporting goods. He has PISTOLS and a SEMI-AUTOMATIC RIFLE which he holsters into the bike. He stands erect.
ON: TERMINATORís STONY FACE. His RED EYES focus. He puts on SHADES, starts the bike and heads off into the night.
POV from side: TERMINATOR on moving bike. He accelerates faster.
EXT. CYBER-DYNE RESEARCH LAB - BRIGHT SUNSHINE
POV: From high elevation: Cyber-Dyneís brick facade stands back from a wide lawn that stretches inside the encircling drive.
BOOM DOWN through street-lining TREEs to rear of JOHNís car. John is stalled in the noon-rush outside CYBER-DYNE.
CUT TO: EXT. FREEWAY
POV: ELEVATED above FREEWAY: BOOM UP as the TERMINATOR is leaving onto the down-ramp. The city spreads out before him.
RETURN: EXT. CYBER-DYNE RESEARCH
JOHN, SARAH and DYSON stand by the line of cars that border the facilityís large lawn.
...so itís definitely a fail-safe, we
recorded mountains of information, but
most is all jumbled up.
John gazes over at the building.
If its purpose is fail-safe, it must
have been sent to do something - to
accomplish something. (looks to Dyson)
Youíre sure there are no chips?
You and my father destroyed everything
the night you blew Cyber-Dyne North.
Believe me, I have his job, I would know.
Then whatís this thing doing here?
Skynet would have known it could eliminate
itself by sending Terminators into its past,
it wasnít stupid.
But if Skynet is gone -
- Itís over. - Yes, -doesnít make sense.
JOHN looks back at the building.
And you say, if this device even senses me,
it will send a Terminator. - From where?
Donít know. We cou(ld)...
We have to find this Terminator.
Yeah, we gotta get it before - it gets us-s...
Johnís voice trails as everyoneís attention is going to the massive, ARMED-FIGURE pulling up on the MOTORCYCLE across the street.
Get your weapons!
John is already opening the trunk and pulls out two machine guns.
The three are running for the entrance. The TERMINATOR is running after them. Just before the entrance, SARAH turns and opens up on him. The Terminator has crossed onto the lawn and yells.
He raises his weapon high in the air and places it down before him, yelling.
Donít go in there!
They fall back into the entrance. SARAH places a couple more bursts but then focuses into a curious frown as she sees the Terminator with his hands out-stretched and yelling.
I am not the enemy!
Suddenly a HIGH-SKEW pierces the air behind them. - All three turn to see the HOWLING CAPSULE through the open door at the end of the hall. LIGHTS streaming over its sides.
They turn to each other.
They bolt through the doors and head across the lawn.
The TERMINATOR walks for the front of the building, loading his weapon.
PAPERS START MOVING.
Sensing something very strange, DYSON turns to watch while JOHN and SARAH head for the cars.
Angry LIGHTNING writhes from the entrance. Each arcing LEMON-YELLOW BOLT is RINGED by huge, GEM-like AURAS of extraordinarily BRILLIANT PURPLE popping like flash-bulbs and contrasting the RED-BRICK, BLUE-SKY and LUSH-GREEN of the lawn.
ON: the anxious face of DYSON.
ON: the determined pace of the TERMINATOR as he stops up for battle.
ON: The PLASMA SPHERE rises like a soap bubble against the wall and stairs.
PAN TO: The TERMINATOR looks over to the street.
You have to go now!
TO: John and Sarah hurry into their car.
TO: The sphere resolves leaving nothing but brown ripples distorting the air.
SMASH-CUT: TERMINATORís eyes focus.
RETURN: The ripples become a figure.
SMASH-CUT: TERMINATOR starts blasting.
RETURN: The figure tries to steady itself from the unexpected impacts. It looks like a squat, barrel-chested wrestler, with a broad head and slicked hair.
Its smooth, brownish/purple form seems to convulse at the hits but we see it is actually SHIFTING ITS BREAST to avoid the bullet strikes - like pouring SAND from one cup to another.
It sees JOHN and SARAH roaring into the road.
It starts after them. As it rockets forward, it smears out into glimmering BROWN RIPPLES and DISTORTED AIR.
The rippled distortion resolves in a nearly instantaneous, straight-line arrival where JOHN and SARAHís CAR had been. The grass is CREPE and the curb, POWDER.
The TERMINATOR SHOOTS for its LEGS which seem affected but we see this THING simply fall into a DOG-LIKE run after the speeding CAR. TWO LEGS in front, ONE in back.
John is punching the gas as Sarah yells.
The engine winds as the car launches onto the freeway.
Cars screech and banana to miss each other.
JOHN and SARAH charge up the road when this thing shoots over the ramp like a race-dog. It starts a muscular run, bounding like a CHEETAH. Faster and faster, the guard-rails and cars become blurred.
Purplish CHEETAH/THING stretches across a turning ďSĒ curve in GLIMMERING RIPPLED DISTORTION straight-through an intervening family car, which catalyzes into CRYSTALLIZED-SILVER POPCORN.
Itís target moved, bounding CHEETAH/THING stretches another curve.
SARAH breaks out the rear glass.
INTER-CUT: TERMINATOR walks fast to a CHP cruiser which is just stopping to arrest him. He throws the officer out and takes off, pulling the shot-gun from the dash.
RETURN: JOHN & SARAH are ripping past traffic.
TO: Bounding CHEETAH/THING stretches its head to see above cars.
RETURN: Sarah starts shooting.
Itís gaining! Go faster!
TIGHT ON: SPEEDOMETER: heading over 90.
Cars veer spasmodically as the THING unfurls and expands boldly to a huge, brilliant ELASTIC LUMINESCENCE which whips up the roadway - like a train-sized rubber-band, in long, hundred-yard strides. CATALYZED CARS flatten like egg-crates.
SMASH-CUT TO CYBER-DYNE: DYSONís HANDS grab the TIME-CAPSULE. He throws it in an oblong box and slams it shut.
RETURN: THING falls to a run as SARAH pumps bullets from the window. She is yanked from side to side through wrenching lane-changes.
INTER-CUT: TERMINATOR, cop-lights on, is coming through traffic.
RETURN: THING scales intervening cars like a Tasmanian rock-climber - all shoulders, LONG ARMS and no head.
OVER-HEAD POV: THING closes right up on SARAH. Car is swimming like a fish as THING LUNGES. SARAH contorts to the window-frame.
Their car shoots up through the next car-pack as THING bounds to the road, mounts and rockets over cars. Vehicles roll and smash violently to the sides.
POV from SARAH: THING comes over the car-pack, filling the FRAME and swipes, BANG! - It busts the window frame, sending SARAH reeling.
Chrome hanging; the car rocks wildly.
Stay outta traffic!
As they pass, THING romps over the third car-pack and leaps from the lead-car.
THING KNOCKS OFF John and Sarahís BUMPER and FENDER.
Their car reels while the lead-car swings around sideways, does a tumble and the whole THIRD-PACK rolls up behind it. THING bounding forward in front of the huge, rolling smash-up.
SARAH starts shooting both guns.
THING stretches into a piston-fast run, forming only a front and back leg. Each slithers to a small knob.
Itís a bounding, rippling MAGGOT whose pointed-legs easily avoid the bullets.
ON SARAH: One gun goes empty.
THING gains so strongly, SARAH GASPS at its LIQUID EYES shining from the BLACK SLITS smeared across its front.
Go!! Go faster! - Faster!!
SPEEDOMETER: 100, 105. Steam starts pouring from the front as their car inches forward.
ON: SARAHís hair blazes over her gun in the wind-stream. The bolt stops.
INTER-CUT: Suddenly a clamp-like hand springs on a malleable, ROPE-ARM from the THINGís back. It will obviously score.
RETURN: Sarah looks up as the hand comes down.
POV: It sails down from the sky, straight into the camera.
THINGís FEET are shot out by the TERMINATOR, now just behind.
THING crumples to the road but rolls and re-gains as both cars shoot past.
POV: From behind: The cars blast down the road together.
TIGHT ON TERMINATORís SPEEDOMETER: 115-120.
THING is in Cheetah-mode and slows down to bound along a passenger car. It opens the door, pulls out the occupant and enters to accelerate in one fluid movement.
TO: The TERMINATOR rolls up on JOHN and SARAH and yells through the passenger window.
JOHN and SARAHís car is streaming STEAM while the vehicles blast haphazardly down the freeway.
INTER-CUT: Roaring up after them, the near featureless figure transforms into the just ejected driver.
RETURN: SARAH looks back and sees THINGís vehicle blasting through traffic. It bumps some car into a violent roll.
Their own over-heated steamer starts whistling loudly.
John glances to the mirror - THINGís car is gaining strongly.
The Terminator has pushed the 110 mph vehicles together, their metal bodies making rude scraping and bent beer-can noises. Window to window, the Terminator yells again.
Come on! Get in!
John looks to see that SARAH has made up her mind. She throws her guns over and claws her way through the grinding, jockeying window-frames.
TO: THING, almost on them, swipes its own wind-shield out and begins readying for the throw, oozing up through the opening.
TO: John looks again, then jumps through the window as the CHP car begins to move away.
John is only half in and scrabbling to make it when the abandoned, driverless vehicle EXPLODES against the mountain wall.
The cars swing around the left-flowing turn. John is still stuck half-out the window and straining against the force.
TO: THINGís rope-arm shoots into the air.
TO: SARAH blows out the rear window and blasts THINGís front-tires which make its wheels cave-in and the whole front-end buckle.
ANGLE: THINGís CAR does MULTIPLE END-OVER-ENDS, car parts spreading out, as thing rolls into a BALL before it.
ON: The CHP car shoots down the road, away from camera.
TO: Thing-ball rolls up and onto its feet, looking down the freeway at the escaping car. METALLIC EYES materialize on the rear of its thick head, staring back at on-coming traffic.
Thing turns into a beautiful, poised, fashion female - heels, fox-fur and quaff.
She raises her gloved hand to a smiling male who is hard-braking his BLUE TRUCK for this sudden chance at the Prince Charming role.
INT. CHP CAR
Is it coming?
I donít think so.
What was it?!
A liquid Terminator?
No. Hyperboid. - An entity implanted
into negative matter. Into time itself.
Into the corridor between the future
and this time.
SARAH and JOHN stare - the CHP-CAR aches with stress.
EXT. FREEWAY WRECK
Beautiful female gets in truck.
Are you all right?
Yeah, I guess. The front tire blew out.
Thank you for stopping.
The GUY is looking over his shoulder at the wreck.
What a mess, (turning back)
- youíre lucky-...
He stops, shocked at her beaming smile.
So, - what do you do?
TERMINATORís FACE fills the FRAME.
We were the last two production
models of the Cyber-Dyne 101 series.
You re-programmed us in the future but
sent my (looks over) -Ďtwiní, first.
SARAH starts to react but JOHN touches her.
My Ďtwiní never knew I was sent. My mission
was to enter deep-freeze, cryo-stasis. I
received all his experience files over a
Youíve been frozen - this whole time?
You received the experiences of the
other Model 101?
Yes, your ĎUncle Bob.í - All the way through
your fight with the T-1000 liquid-Terminator.
(to Sarah) When the device was activated, my
emergency task menu ended cryo-stasis.
Why was the device sent - whatís it
The device is a homing-beacon that
brings the Hyperboid and allows it
to re-construct Skynet, with all its
files and secrets, here in this time.
JOHN and SARAH are stunned.
...Skynetís ďfail-safeĒ is to re-
construct itself, here, in this time
- in case THEIR TIME had ended?
INTER-CUT: DYSON is hurriedly leaving Cyber-dyne with the oblong metal-box. He hands his worried secretary a note.
Give this to Sarah Reese, or her son,
and no one else. Then go on home.
INT. SPEEDING CHP-CAR
...you said, the ďHyperboidĒ - ?
Hyperboid-2021 (motions behind). A
thing released into the Quantum void
- the fabric of Negative matter.
Negative matter -?
The Quantum void is between times. You must
travel through it, to travel through time.
Are you telling us this Hyperboid is
actually inside time?!?
Anchored there. The Hyperboid takes on
positive atomic-matter from this time and
forms into things and shapes. - When itís
here, itís only half-here.
(eyes reel up)
They are pulling off the freeway.
What happens if we destroy the material
hugging onto it?
The Hyperboid can just come back. - As long
as it has contact with the time-capsule, the
Hyperboid can vector-travel anywhere - at will.
And if we destroy the time-capsule?
Without the device, the Hyperboid
has no way back.
Just kinda, leave it out in the void...
One more thing. (pause) Once Skynet has been
reproduced, it will merge directly with the
Hyperboid - to create a permanent foot in time.
Joining with the Hyperboid will give Skynet
a foundation in Negative Matter itself.
Skynet will then be immune to time, to any
changes of past or future. - Permanent.
They are stunned. SARAH turns to JOHN.
First we ditch this car.
EXT. FREEWAY OFF-RAMP
The BLUE TRUCK pulls down the off-ramp.
INT. BLUE TRUCK
You probably should get checked out
at the emergency, itís just three
No, I need to get back to the city,
could you take me? - I can pay - .
Oh, this has to be reported. The cops
need to know what happened, and I
really think you need to be sure
everythingís OK, you could be hurt-...
SHE calmly swipes down across his head and a CRACKLING HISS evaporates half his face into a kind of atomic micro-spray, which expels in all directions.
The QUIVERING LIPS, HALF-TONGUE and EXPOSED THROAT make GURGLING SOUNDS as we see his BRAIN, SKULL-CASE and SINUS CAVITY like an MRI scan. Thereís no bleeding.
The right arm shakes aimlessly as SHE transforms into HIS IMAGE while pushing the body away from the driverís seat.
POV From outside truck: Truck turns under the freeway and up the on-ramp.
EXT. SMALL STORE PARKING LOT
SARAH at PHONE-BOOTH in FG. John stands outside CHP car, next to building, in BG. TERMINATOR accelerates CHP-CAR into the lot.
Miles Dyson, please.
INTER-CUT: DYSONsí SECRETARY.
Miles Dysonís office. - Oh yes, Sarah,
Mr Dyson said he (reading from note)
took the device in a Ďlead box.í And
you should meet him at Ďthe ranchí.
Does that make sense?
Yes - Emily, isnít it? (pause) Yes,
I know. (pause) -you must destroy that
note and tell no one th-.. Yes,
She looks over to see the TERMINATOR smashing the driverís window of a STATION-WAGON. SARAH finishes her conversation.
Go home and stay there - until Miles calls.
As JOHN jumps in, the TERMINATOR pulls down the VISOR. There are no keys. The TERMINATOR looks to John, who shrugs. The TERMINATOR then pulls open the steering-column, as SARAH gets in the back.
The cops are all over Cyber-Dyne.
EXT. CYBER-DYNE RESEARCH
Two Detectives roll up at Cyber-Dyne. DET. KIT SAMMS is sandy-haired and ruggedly handsome, his partner, DET. LYLE JOHNSON is strongly built with receding, slicked dark hair.
Three BLACK & WHITES are parked on the otherwise normal drive. Scattered groups converse near-by. A young cop approaches.
Detective Johnson, they think itís
the Connor Gang...
Both Detectives immediately look at each other.
...The Captain told me to tell you
personal. - When you got here.
Their expressions twist as they start to exit the vehicle.
Miles put the time-capsule in a lead-
box and moved it.
Vector communication was cut. (turns
head) Thatís why the Hyperboid used
And why weíre still alive.
...We must contact Dyson. The Hyperboid
will attempt to re-acquire the device.
POV: ANGLE DOWN through truck windshield. Hyperboid/GUY is looking in his rear-view to a CHP car, just behind. The CHP turns on its RED-OVERHEADS.
HYPERBOID pulls to the side. Two officers get out of their patrol car. Hyperboid gets out and starts around to the rear.
Hi, we had a report you picked up a
woman at the scene of an accident...
HYPERBOID/Guy begins to stretch its arms forward and both shoot out, blindingly fast, to vaporize their medullas with two clean spear-holes through the brain stems.
The men start falling as the quickly retracting arms re-join the HYPERBOID which restructures to the just killed ranking officer.
Hyperboid/OFFICER calmly throws both bodies into the truck.
Hyperboidís feet turn into curved GOUGES and its body becomes a girder-shaped CHP Officer which jacks the truck into a gentle roll off the embankment.
Almost instantly regaining human composure, Hyperboid/OFFICER casually climbs into the CHP car and pulls into traffic. Hyperboid reports on the radio, in the Officerís voice.
Uh-h - subject in witness vehicle, blue
truck, owner of a Carlson Plumbing
Contractors - reports only slowing down
at the accident site.
ZOOM-OUT from right side of HYPERBOID/OFFICERís FACE.
The woman report was apparently unfounded.
ZOOM-OUT: Hyperboid is the CHP Officer in upper-body but below windows, it is the featureless, brownish/purple Hyperboid body.
Weíre ten ninety-eight.
POV toward left-rear of head: A mechanistic eye appears.
ZOOM OUT TO side of traveling CHP car: Its OVERHEAD LIGHTS go on. BOOM UP as it speeds away.
INT. STATIONWAGON - Eastern LA Basin
So the time-capsule and Hyperboid were the
back-up - in case the liquid-man failed?
Correct. (to John) When the device sensed
you, the homing-vector would bring the
Hyperboid out of time - to acquire you.
So you were my backup?
That is one of my mission-parameters.
(to the Terminator)
Weíre to meet Miles at the Dyson ranch.
Tarissa isnít there?
Tarissa is Milesí mother?
No, Tarissa was Miles Seniorsí second wife.
Little Danny is Tarissaís. Miles Juniorís mom
died a long time ago. Miles Junior was away
at college the night his dad died. (looks in
back) Now itís Danny whoís in college...
JOHNís voice trails off as he sees her EXPRESSION.
I canít believe weíre doiní this again.
We have to get the weapons from my
truck, itís outside Cyber-Dyne.
So are the cops.
So is the Hyperboid.
RADIO (BG VO)
I-5 is clear-and-moving again. The Sarah
Connor reports have been discounted...
Hey, listen up. (turns up volume)
RADIO ANNOUNCER-1 (VO)
The huge smash-up is still being investigated
but the California Highway Patrol stated that
the Connor Gang was not the cause and the
CHPís own pursuit following a convenience-
store robbery was not the cause.
Can you imagine? the Connor gang?!
Didnít they shoot her up in Portland somewhere?
JOHN turns it off.
(pause) -better avoid the 405.
The TERMINATOR looks up.
QUICK RED SCREEN: Digital ROAD MAP exemplifying the 405 and their present, completely different location.
The 405 is behind us.
EXT. NIGHT TIME - SIDE STREET
A TOW-TRUCK has hiked up SARAHís black PICK-UP. While the driver gets in, his slamming door reads: ĎA to Z Towingí, 856 Tannin - 555-5650. Driver revs his engine and pulls off.
ZOOM OUT TO:
The scene was viewed by the Terminator who is HIGH-RES scanning from a distance. He gets back in the car with John and Sarah.
First, we gotta put you in a rent-a-car,
thereís too many eggs...
They shoot off.
EXT. NIGHT - BUSY STREET
John comes out of a rental-car agency. He shakes a set of keys and gives the thumbs-up. TERMINATOR and SARAH acknowledge him from the STATIONWAGON across the street and start off.
EXT. NIGHT - QUIET CITY STREET CORNER
TERMINATOR and SARAH observe a corrugated front office with an attached, fenced yard. The TOW-TRUCK, with SARAHís PICK-UP still hiked, sits inside the gate.
A crude SIGN is stuck above the door: Ď856 Tanniní
The guns are under the bed-protector.
INTER-CUT FREEWAY: Johnís Rent-a-car moves onto the Interchange.
INT. FRONT OFFICE
SARAH and TERMINATOR enter the springed door. Dirty-glass all around allows a yellowed-view of the street. The same slobby driver sits behind the order-desk.
You towed my truck, Iíd like to
pick it up.
Sure, sixty-two fifty...
Phone rings and driver picks up.
Sure, I can do that tow.
He clicks the phone off and throws down a clip-board.
Ya need to fill this out.
Driver heads to the door.
Iíll be back.
A vague THUMP-THUMP-THUMP of a HELICOPTER begins to gain volume as the driver clears the doorway.
Som-me-thingís not right...
Flashing red lights TRACE WINDOWS and DOORS on the building across the street while the driverís BACK is seen running away outside.
Time to go.
EXT. OFFICE - From inside yard
A whole panel of corrugated-steel smashes to the ground. Our pair are outlined in the dust-swirled, shop-light. They bolt to the TOW-TRUCK as bullets start peppering in.
INTER-CUT: EXT. POLICE CAR-POOL
KIT SAMMS and LYLE JOHNSON jump into their unmarked car.
Thisíll be ĎBy the Bookí, Lyle.
Oh sure! - By the Book.
RETURN: EXT. TOW-YARD
The TOW-TRUCK and hiked PICK-UP shoot through the yard in reverse, smashing the fence and reeling in a semi-circle before a SEA of BLINKING COP-CARS that pack both ends of the street and the alley just across.
Without stopping, the TERMINATOR throws it in forward and screeches around and into the alley, blasting the three BLINKING COP-CARS down and through before it.
POV: From the street at the far-end: The TOW-TRUCK is power-jerking the COP-CARS out of the alley and into the street.
The TOW-TRUCK speeds off and the COP-CARS begin chasing. They are joined by a MASSIVE STREAM of police vehicles that fill the street from around the far corner.
TOW-TRUCK fish-tails left, around the coming corner and blasts down the block.
POV: DRIVERíS VIEW from TOW-TRUCK: COP-CARS converge into the ONCOMING INTERSECTION from BOTH SIDES.
NEW: TOW-TRUCK blasts them APART through the center.
Our gang brodies LEFT through an ALLEY and blasts across the coming street toward a PARKING LOT.
An ATTENDANT waves his arms and DIVES for his life.
TOW-TRUCK heads straight through TWELVE, V-PARKED CARS which blast into the air to either side.
Crazed ATTENDANT is running back, yelling as the ARMADA of BLINKING COP-CARS roar up from behind. ATTENDANT dives again.
TOW-TRUCK brodies LEFT, out of the parking lot.
POV from above intersection: TOW-TRUCK hangs it to their right, out left-FG, as COP-CARS start into the street from the parking lot, back up the block. Other lights advance in the far distance. A HELICOPTER shoots across overhead.
Theyíre heading along the tracks at Melborne!
INTER-CUT: INT. DET. CAR
Centrifugal-force pulls stress into the racing vehicle.
Youíre not just executing these people, Lyle.
Iím not lettiní them kill any more cops,
either! - I canít believe your fucking
attitude over this. They killed all those
guys in Ď84, they killed Arn, they got bodies
all over - what in the hell is wrong with you!?
-Just somethiní about that file-tape of Reese...
CLOSE-UP on KITís EYES and DISSOLVE to FLASHBACK:
Lyle and Kit reviewing Kyle Reese observation tapes. CU KITís FACE: His eyes show him being effected by Kyleís intense pleading.
PAN TO: MONITOR
REESE ON MONITOR
ďYou still donít get it, do you?
Heíll find her. Thatís what he does.
Thatís all he does. (ECHO, and DISSOLVE) Heíll
wade through you and rip her throat out...Ē
RETURN TO: LYLEíS FACE
...He was a psycho!
Our job is takiní Ďem in.
LYLE stares forward.
Our job is stopping Ďem.
KIT accelerates the car.
By the Book, Lyle.
TOW-TRUCK STREET CHASE
TOW-TRUCK blasts down street and hangs a LEFT toward a TUNNEL under the tracks. The TERMINATOR punches it and does a quick left-right with the wheel to throw the TOW-TRUCK and hiked PICK-UP into a 180 degree spin, rear-end first, into and blocking the tunnel.
They jump from the TOW-TRUCK as BLINKING COP-CARS roll up outside. TERMINATOR pulls a chain-cutter from the tool-trough and cuts the tension cables.
She jumps in the PICK-UP. Looking in the rearview, she slams it into gear. Then, realizing her pick-up truck and underground identity are busted, she angrily slaps the wheel with both palms.
Fuck! Iíve blown my whole cover!
The TERMINATOR jumps in the bed as she blasts the PICK-UP off the TOW-TRUCK and shoots back in reverse.
EXT. OUTSIDE TUNNEL
PICK-UP blasts out the tunnel in a Flying 90 degree turn. Seeing approaching COP-CARS, she continues into a further 180.
The TERMINATOR tosses the BED-PROTECTOR and the COP-CARS screech to avoid it. The GUN-STASH packs a recess in the truck-bed.
The PICK-UP hangs a right and the TERMINATOR is yanked around as he cocks two ARs. He places a couple BURSTS into the tires of the two lead COP-CARS, which shimmy awkwardly to the side.
TWO CHOPPERS fall down upon them. The TERMINATOR exchanges fire while bracing against the cab to protect SARAH, driving inside.
The CHOPPERS are swimming back and forth overhead and firing down while two COP-CARS chase from behind. The TERMINATOR is bounced and jostled as he precision-bursts into the changing targets.
RED SCREEN: A CIRCLE at the center of CROSS-HAIRS moves quickly over the RED SCREEN forming GEOMETRIC LINES to place the TARGETING SEQUENCE on the pursuing choppers and vehicles.
RETURN TO PICK-UP: TERMINATORís arm-servos ZIP as his firing gun-barrels rock up and down.
TRACERS and RICOCHETS fill the FRAME.
The steaming, flat-ridden COP-CARS drop away while broken parts are falling from the choppers. Both search-lights are shot-out and hang, swinging.
(barking on radio)
Weíre getting hit!
RETURN: SMOKE is pouring from one CHOPPER, both leave off.
SARAH hangs a LEFT and roars into a neighborhood.
INTER-CUT: DET. CAR rockets up to the neighborhood.
RETURN: SARAH shoots up one street and slows quietly around the corner of another. They calmly whisk into an open garage, in FG.
DETECTIVE CAR flies through the same intersection, in BG.
TERMINATOR closes the door as other cops whiz by.
SARAH is looking over her shoulder at the TERMINATOR.
Is it OK?
The TERMINATOR gives the thumbs up. She turns around with a sigh.
She looks through the windshield. Stairs disappear up to the next story. SARAH gets out.
We gotta risk a call...
TIGHT ON: Her FINGER-IMPRESSIONS in the upholstery MOVE SLOWLY OUT - with a slight CRINKLING SOUND.
INT. RESIDENTIAL HOUSE
SARAHís face pokes around the door into a darkened kitchen. A TV is playing in another room. They cautiously advance.
FRONT LIVING ROOM
An old couple watches TV as our duo enters the room.
- W-ho-o are you?
OLD LADY swings her head around.
Oh, my God!
Who are you, - what do you want?
Weíve had car trouble and need to use a phone.
Well, what are you doing in here!?
Itís OK Frank, theyíve had car trouble.
Itís OK, come in. Come on in, kids.
Whatís OK!? - They canít just come-...
Itís fine! - Come in, come in, weíre
happy to help, - the phoneís Ďround
the corner (motions to the hall).
- Tell me, what are your names?
Hi, thank you so much, Iím Sarah, and
this - is - Bob. Weíre awfully sorry
to just bump in on you like this - we
thought no one was home...
Oh thatís fine, dear. My name is
Mildred - ĎMillieí and this is Frank.
Frank swings his head around in confused frustration.
I - I donít know you.
Itís OK, Frank, theyíve just had car
trouble - watch TV, theyíre just going
to use the phone. Theyíll be gone soon.
(to Sarah) Where are you kids from?
The Terminator hands her an old cord-phone. SARAH starts dialing.
We had an over-heating problem just
outside, and when we...
SARAH holds her fingers up, listening.
Miles! Weíve had some problems...
Her conversation becomes involved and MILLIE leans to the TERMINATOR, brightening up.
My! - Youíre a big one!
The TERMINATOR stares for a second and goes over to the window as flashing lights are reflecting from the passing cops outside. Sarah gets off the phone.
Miles is at Tarissaís. We have to go
Would you kids like some hot-chocolate
while youíre waiting?
We really have to go...
Oh, non-sense. You have to wait for
your car to cool down and a little
cocoa would be good.
We should wait - a while longer.
(turning to MILLIE)
Well, - Ok.
MILLIE has a cane and starts to rise.
Oh, I can do it.
MILLIE will get up regardless and the TERMINATOR goes to help.
Oh, thank you. You are a strong one!
(feeling his forearm)
She heads to the kitchen with Sarah.
I know where everything is...
The Terminator sits opposite Frank and the two stare at each other.
The cocoa can sits open on the counter while Sarah pours chocolate. She joins MILLIE at the breakfast table with two cups.
Itís been quite a while since I made chocolate.
Your Bob is such a big man...
(trying to be nice)
Yes, - very strong.
O-oh, young men! (she leans mischievously
to Sarah) You know honey, a man like this -
could be a girlís best friend... - you donít
ever - (?) -- no, donít mind me...
Heís my brother.
Oh! (titillated giggle) ĎBrother Bobí
- heís very unusual.
Do you kids need another car?
Sarah looks shocked.
The police are probably looking for
whatever you were driving.
Sarah tries to talk but nothing comes out.
I know who you are, dear, I recognized
you the minute you came in! - I get
the ĎStar-Globeí at the supermarket.
I know all about you!
Millie pulls a handful of tabloids from a stack.
Iíve kept up on all your exploits!
(whispers) I always believed you.
SARAH places her words carefully.
Millie, - what we are doing - is important...
Oh, I know darling.
TERMINATOR surprises them from the door.
Yes (pause) we do need another car.
Well, we have one! - An old one.
Are you sure about this?
This is the most exciting thing thatís
ever happened to me. (to the Terminator)
Youíre a robot, arenít you?
Cyborg. Cyber-Dyne Systems Model 101.
Cybernetic hyper-alloy combat chassis,
TERMINATOR pulls the flesh on his arm, revealing the stark silhouette of his servos - which he proudly moves back and forth.
(cutting him off)
I have a two year old 4 x 4, in
excellent condition. With air.
Youíre proposing a trade!
...It does have a few bullet holes. (quick
pause) But you could get them fixed...
Oh, I would never have them fixed -
(excited) I always wanted a car with
bullet holes! (pause) Itís so exciting!
I havenít had this much fun in years!
INT. DET CAR - NEARBY CONVENIENCE STORE
LYLE sets two coffees on the dash while glaring at KIT.
Weíve been through it all in seven
years, buddy - youíre the best God
damn cop I know, but if you canít
perform the job, you best take a leave.
You canít be killing for revenge...
This is about Arny.
Youíre God damn right itís about Arny!
And all the other cops that night -
And their families. I just donít get
it with you! Arny taught me everything
I know - I half-raised his kids...
It canít get this personal, Lyle...
Well, it is Kit. - It fucking is. - And
if they even blink, Iím dropping Ďem
- and thatís it. - You get that!?
EXT. ROAD-SIDE GAS-STATION/STORE
John rolls up and swings around by the payphone.
INT. OREGON HOME
Phone is ringing. Calle picks up.
Oh John! Are you all right?! That was
the biggest wreck in LA history - when
they said the Connor Gang...
Cal, Iím fine, I canít talk. -Cal, listen!
- I canít talk, I donít have time but (voice
becomes tender) - I just had to hear your
CUT TO: CALLE stops in mid-sentence as she fearfully listens.
Cal, - you know, Iíd really like to lie to ya
right now -(nervous laugh) - but you and Matt
gotta get out of there... - Calle... -Calle,
listen! - Since I gotta tell the truth - aní
everything, I guess I gotta tell ya why.
- Uh-h, do you remember the Terminators I
told you about? - Ok - now - donít get upset...
INT. MILLIESí - DINING ROOM
Papers are spread before SARAH and MILLIE.
Kyle Reese... was a hero - the most
giving man I ever knew. Just one, -
among a whole future of heroes. All
of them, - all of them, - gave their
lives... their whole living lives -
for us. So that we can have this world.
MILLIE reaches for Sarahís hand.
Kyle had fallen in love - from my picture.
(showing) - It was taken in Mexico after he
died, -when I was pregnant with John. - He
said he had always wondered what I was
thinking at that moment... (SARAHís eyes
glance up) ...I was thinking of him.
The TERMINATOR enters.
Everything is moved to the new car.
Iíll call Miles.
Iíve thought you should be wearing my
old hat and Frankís fedora, here -
(laughs loudly) Theyíre silly! -but
you would be safer - in our car...
SARAH smiles and takes the two hats.
You canít drive the truck for several
days, (apologetic whisper) Itís too hot!
Oh, Frank walks to the store anyway.
Itís just two blocks.
As they rise, MILLIE is frightened.
You could stay Ďtil morning -
No, we have to go...
All right, now - take this cocoa along,
itís nice and hot.
She hands a thermos to SARAH.
Smiling, MILLIE holds her hand up - (no need for words).
EXT. ROADSIDE PAYPHONE
Cal, I love you so much-
(crying and pleading)
John! Just come back! Please, Oh please...
Calle, I canít phone anymore and you gotta
go from there. This thing could tap into the
phone lines, it could find you. And we donít
know where this thing is.
EXT. MILLIEíS HOUSE
They climb in a clean, 1987 SEDAN, the Terminator in wide-brimmed FEDORA, Sarah in black, Ď50s FACE-NET. The clear plastic seat-covers make CRINKLING sounds as SARAH settles in. She points to a police scanner that sits on the dash.
It is operational.
They drive off.
Where is the device?
Miles wouldnít say - but heís recorded
the DATA and is studying it.
It must be destroyed.
Heís gonna meet us, get to the freeway.
BIG BLOCK LETTERS tick across the DET. CAR COMPUTER SCREEN:
ďSARAH J CONNOR, AKA: SARAH J REESE...Ē
Itís the truck registration check.
NEW ANGLE: KITís FACE.
...Sheís been liviní on Bald Mountain.
FOCUS ON LYLEís FACE in BG: LYLE squints.
NEW: The Ď87 SEDAN arrives and pulls out from the cross-street.
RETURN: Lyle focuses on the plainly visible blonde-hair pulled tightly under the Ď50s NET and moving slowly against shadow of the TERMINATORís dark FEDORA.
Staring forward, he quickly raps KIT in the chest.
This doesnít look right.
KIT starts the car and they pull out. LYLE calls on the radio.
License check, Ď87 Buick Regal - tan...
There are two occupants.
Chr-rist -letís see where they take us.
POV: SEDAN leaves-off, down the dark highway. DET CAR follows.
EXT. POSH NEIGHBORHOOD
SEDAN arrives at a sweeping cul-de-sac where DYSON approaches from the walk. He talks to Sarah at the passenger window.
Youíre sure you werenít followed?
(points to scanner)
The cops use more than one frequency, ya know...
DYSON lowers his head to look in.
- Iím Miles.
The TERMINATOR is stone. DYSONís eyebrow raises as he apprehensively gets in the back.
Go to Cyber-Dyneís ĎEí parking lot. (to
Sarah) I mean, followed by that thing.
DYSON stares uneasily at the Terminator while talking.
I knew itíd come back - it tore up the offices
and main lab. - But I purged the computers.
-I donít want that thing anywhere near me.
Dyson leans back, crinkling. Frowning, he then rubs the plastic.
Itís not exactly a Ďthing.í
CLOSE-UP ON: DYSONís apprehensive EXPRESSION.
INT. JOHNís RENTAL CAR
John looks up at a CARVED WOODEN SIGN before a darkened drive.
CARVED WOODEN SIGN:
John drives in.
It was re-adjusting its body to
avoid weapon-hits and damage...
But that should slow it up, regardless.
- After all, itís still only a
computer-with-legs, isnít it?
Mildly insulted, the TERMINATOR glances to the rear-view.
I mean..., when itís here in our time.
Yes, the more tasks it must perform,
the more its efficiency is reduced.
The more we hit it, the slower it gets.
INT. OREGON HOME
Calle glares at the phone. Matt paces in the BG.
Iím going down there.
I know where that ranch is and Iím going
down there. You can come if you want.
She jumps into action.
EXT. ďEĒ PARKING LOT
SEDAN arrives in a large, empty parking area and heads around the buildings-access drive. DYSON sits forward.
You donít believe any of this Ďtil you see it.
Iím sure glad my little brotherís not here.
They stop between buildings and walk to the rear of the SEDAN.
ON: TERMINATOR and SARAH obtain multiple weapons from the trunk and sling them on their shoulders. The three start down the drive.
Scene was viewed through the windshield of the DETECTIVE CAR.
KIT backs DET. CAR out of view while LYLE whispers into the MIC.
Need assistance. One eighty-seven suspects,
Sarah Connor and accomplices, Cyber-Dyne
Research facility, between Industry Way
and the ĎEí parking along Champion Drive.
No code-three, no code-three. There are
other suspects - approach with no lights.
Both climb out into the night.
INT. SEDAN: The body-impressions in the upholstery swell out.
When our trio rounds the far corner, the seat-covers show EGG-SIZED GLOBULES growing outwardly from the surface.
EXT. CYBER-DYNE GROUNDS
The Detectives jog swiftly between buildings. They draw their weapons and KIT points LYLE to the back.
Iíll go through the front.
They split apart, Lyle heads around back.
The three enter the outer offices of a large shop-building.
Iím telling you, this thing canít be just
after the device. I havenít got it all yet
but the DATA keeps talking about getting
John or protecting John, - always John...
EXT. BUILDING FRONT
KIT cautiously enters the front door and slips down the hall, following the echoing discussion within.
EXT. ACCESS DRIVE
ANGLE ON: Echoing HIGH-HEELS & CALVES of walking female, silhouetted against the shining asphalt.
TO: Lyle creeping between buildings. He stops up.
ON: LYLEís EXPRESSION as he sees the beautiful woman.
INT. WORKSHOP BUILDING
Dyson unlocks the last door and the trio enters the large shop. Dyson is edgy about destroying the device.
John is the target - one of them, anyway.
The Hyperboid wants the device. It
allows it to re-build Skynet.
I know, thatís what you said, but
it wants John just as much. It left the
device and chased you all the way up the
freeway didnít it? There must be a reason.
The Hyperboidís mission is to recreate Skynet,
here in this time. It needs the fail-safe
device to accomplish that. We must destroy it.
This is not wise, thereís so much we
donít know. We might need it.
DYSON pulls the oblong-box from under a bench.
Itís here. Iíve recorded all the DATA...
He slams loose the locking-mechanism and its latches click open. SARAH cocks her weapon.
Police! Donít move. - Youíre surrounded!
Just relax - donít move a muscle...
Everyone looks at Kit pointing his raised gun. SARAH turns back.
The lid is lifted and the whirling MARVEL sits revealed.
ANGLE ON: KITís surprised expression as he focuses down.
NEW: The far door blasts VIOLENTLY APART and everyone looks.
The purplish, smooth-featured TASMANIAN/HYPERBOID is re-setting its stance. Only the EIGHT LIQUID SPIDERís EYEs are defined.
SARAH raises her gun to the device but an arm rockets across to cleave it, the barrel in her left, the breach in her right.
ON HYPERBOID: Itís pole-like ARM retracts into the distant creature. A BLINDING SHEET of LIGHT instantly expands to the FG.
KA-BAM! TERMINATOR and DYSON are propelled backwards from the impact as the TASMANIAN/HYPERBOID grabs the box and continues on a dead run.
SARAH pulls an AR off her shoulder.
ON: KITís face goes slack.
SARAH shoots SANDY SPLATS into the HYPERBOIDís BACK as it vaults the counters like a monkey and explodes out the high window.
POV: looking up under window: Glass explodes out as the HYPERBOID jumps through.
In fearful surprise, LYLE jabs his weapon skyward.
RETURN: INT. SHOP
SARAH sprints through the shop and springs in a stride onto the wall-bench, blasting the fleeing Hyperboid through the window.
LYLE jabs his weapon back into the air, then awkwardly flips his aim between the fleeing Hyperboid and the firing gun above.
RETURN: INT. SHOP
The TERMINATOR, DYSON and KIT are running toward the back.
(yelling to the TERMINATOR)
The TERMINATOR slams the rear-door out.
SMASH-CUT: The rear-door slams violently open, throwing LYLE into the dark.
TERMINATOR machine-runs for the HYPERBOID, stopped at the SEDAN.
BLACK-STRIPs appear on the HYPERBOIDís FINGERS. One swipe and a foot-wide band of the HOOD and ENGINE-BLOCK evaporate.
ON: Red-heat disappears quickly from the cleanly cut edges.
The HYPERBOID thumps off into the dark.
The others run up.
What in the hell is it?
KIT looks at the engine-block with an open mouth. SARAH is pulling the scanner from the dash.
This is real.
We must get to the ranch.
The car-pool is just across the grounds.
The TERMINATOR starts running. DYSON and SARAH look questioning as they start with him.
KIT looks vainly around. There is no one. He glances to the engine-block and then springs in an excited jump of indecision.
He skips into a run after them.
They run to a three-story, open-ramped brick and concrete parking garage. DYSON is trying to get his KEYS when the TERMINATOR smashes the door down. KIT calls to SARAH.
I didnít believe you!
As they run up the echoing stair-case, SARAH calls back.
Now what are you going to do!?
She slams a gun into Dysonís hands. He accepts it like a gift of rotten fruit.
They appear on the stair-head.
Iím Samms, Detective Samms.
A THUMP - THUMP - THUMP out the view-port brings them to see the Hyperboid, without the box, chunking in across the lawn.
The TERMINATOR, SARAH and DYSON start firing as it springs onto the side of the building. Impacts distort its body and impede its climb. KIT also starts firing.
The TERMINATOR runs to the back while SARAH, KIT and DYSON hang over the precipice, blasting with their weapons.
The Hyperboid is being smeared into the wall, boiling from the hits. It liquidly tries to creep around the bullet sprays but Sarahís fire melts it back it like a sand-blaster.
I canít believe this!!
The TERMINATOR screeches a car sideways and Sarah bolts into the open door.
KIT dives in the back.
Hyperboid climbs through the view-port and chases right up to them but Dyson suddenly knocks it back with a barrage of fire.
The car brodies in a semi-circle to a momentary halt as Sarah dives in the back, swinging open the left rear.
The Hyperboid battles through the impacts against Dysonís fire.
The elevator behind him chimes and its doors start to close.
The TERMINATOR screeches the car around toward the ramp as Dyson dives in the closing elevator. The Hyperboid rips open the ELEVATOR DOORS and TEARS UP the DESCENDING ROOF like a MAD DOG.
TO: As Kit climbs in the front, his tense-expression changes at this new proximity with the Terminator.
NEW: The ramp rises as their car descends, obscuring the view.
Their car is banging walls, fish-tailing down the spiralling drive-ramp.
It blasts through the locked drop-fence, at the bottom, dragging the coiled and sparking fence as they careen into the street.
POV: UP OPEN SPIRAL DRIVE-RAMP: Hyperboid drops three-stories, down the center of the drive-ramp, like a long strand of dribble and shoots into the slick basement like an enraged lion.
Its quarry is rocketing to the right outside. Pillars seem to move sideways as the Tasmanian/Hyperboid bangs across cars, blasting over the wall and into the night air.
NEW ANGLE: EXT. STREET - POV toward garage: Hyperboid blasts to the street in a blur, piston-bounding at scary speed for the quarry-car, several blocks up.
Quarry-car skids into a radical-left before blinking cop-cars approaching in the distance.
Cheetah-mode Hyperboid shoots its immediate left, as well, BANKING THE TURN against the corner HIGH-RISE.
SMASH-CUT: Burly beer-drinker stands by TV when the HYPERBOID rockets across his window. Glass explodes all over.
POV from outside: BURLY jams his head out window.
Hyperboid rockets between rear-facing apartments, blasting through a GARDEN, FENCING, KIDís PLAYGROUND, STRUNG-LAUNDRY, RACKED BICYCLES, - then crumples an AUTO to vault the freeway and splatter on a speeding car like a huge wad of bubble-gum.
The car is jerking to stabilize while the Terminator, Kit and Sarah are seen reeling and screeching into the moving sea of autos and lights about 100 yards up.
Hyperboid starts rocketing over cars.
POV FROM ABOVE: Hyperboid approaches a gap in cars and throws ROPE-ARM and CLAMP into the air.
NEW POV: from intervening CAR: ROPE-ARM & CLAMP come down with a BANG and the Hyperboid yanks itself up through the air.
WHOMP! - Intervening CAR destabilizes and tumbles.
The Hyperboid rolls up and onto the next car, scrambling forward. It runs across the next two speeding cars and stands erect - looking around. The TERMINATOR, KIT and SARAH are gone.
The lone-standing figure is swept away on the current of fast-moving traffic.
EXT. CYBER-DYNE SHOP BUILDING
LYLE sits on a bench along an outside walk. Light pours from the open rear-door of the shop. Cops are everywhere. The Captain stands over him.
LYLE swings his head over toward the SEDAN.
Kitís gone - ?
Youíve had a pretty bad bump, kiddo. You
just relax, weíre gonna get you X-rayed.
EXT. DARK ALLEY
The TERMINATOR, KIT and SARAH swing quietly into a dark alley.
OK, so this is not the shooter in
the police sub-station, this is one
of two Ďtwinsí, of the same model?
Cyber-Dyne Systems Model 101.
They were sent as protectors.
...Model 101. - And Skynet sent other
Terminators and a Fail-Safe?
Skynet sent a liquid Terminator, and
in-case it failed, - a fail-safe device.
A kind of time-buoy, this ĎHyperboidí homes
Correct. And triangulates travel. The device
is the Hyperboidís only reference to this time.
And the Hyperboid can just run through stuff?
Like a kid through play-balls at the fun-park.
...Do you realize how important this is?
We need to get our best minds on this.
Oh sure, weíll get grants and write
proposals, and put it up for a vote.
Yes, your communications and decision
process takes time. (looks around)
(CU: TERMINATORíS FACE) You donít have it.
KIT stares - then sits slowly back as the Terminator gets out.
EXT. DARK ALLEY
The TERMINATOR, in FG, breaks into a NEW CAR while SARAH and KIT approach from the old one.
INT. NEW CAR
Tarissaís family has been brought
such pain. - Now Miles Junior is gone...
Her brow curls as she places both hands on the dash, staring in thought. The car starts forward.
Sarah returns to business.
Whatís your intention, Samms?
Kit, Kit Samms.
ON: KITís twisting expression.
- Did anyone see my partner?
EXT. OREGON ON-RAMP - NIGHT
Calle and Mattís car screeches onto the freeway.
Jesus, Calle - we could get killed!
John could get killed. Iím not going to
(fearfully shaking head)
Cal, this is so nuts.
The Terminator, Kit and Sarah pull up across from Hertz.
SARAH gets out and KIT follows.
You know, a copís whole job is to
straighten out the good guys from the
bad, thatís the whole job, really. Thereís
always good guys and bad guys. But this?
What kin-a - what kinda future is this?
A future that ended when we blew
That was where Miles Dyson Senior died.
Yes, ...the police shot him.
They didnít know who he was...
That police work was exemplary. The
best. They were up against terrorists.
- You know, Sarah, cops Ďre only human.
SARAH stops before entering Hertz.
Just how much do you know about us?
I know your whole file. My partner
and I have your case.
Well, - Kit, - the enemy here is not
human. And if it wins, - there wonít
be any humans. At all. - I have no
trouble seeing the bad guys.
She leaves his empty stare, but he quickly stops her.
All your IDs are compromised, Sarah
Cunningham, Foster. Macelyn Roberts, the
Reese names, Davis. Everything. (purses lip)
I can rent on my sisterís business account.
SARAH stares into his eyes. KIT nods a confident ĎOKí.
They enter the doors.
EXT. DYSON RANCH-HOUSE
Smoke slides from a chimney into the starry night. We slowly ZOOM IN past the parked rentals toward a dimly-lit curtain.
INT. DYSON RANCH-HOUSE
A fire burns in the stone-hearth of its sunken living room. Smooth hardwood floors stretch under Indian rugs and the matching furniture of this warm, redwood and mahogany country home.
SARAH is sternly demanding.
(to the TERMINATOR)
Weíre not hearing everything - just
how many ways are there to prevent
Skynet from being created?
The Terminator sits like stone.
Why is this thing still after us? - You
know, ďwhatís wrong with this picture?!Ē
Yeah, if all it needed was the device, why
doesnít it just go ahead and create Skynet?
Expressionless, the TERMINATOR lifts his head and begins to speak.
Because it needs you, John.
All eyes look to see DYSON standing in the elevated entrance. TARISSA stands behind him.
I thought you were dead!
DYSON strides in, while KIT nods to Tarissa.
So did I (waving off Sarahís concern).
Your friend here, didnít want to tell
you. (to the Terminator) - Did you?
Sarah nods to Tarissa but looks questioningly at Dyson.
What do you mean, it needs me?
The Hyperboid needs you. Or rather, your
blood. - It really doesnít need you, per
se. (to the Terminator) Why didnít you tell us?
TERMINATOR sits blankly under Dysonís glare.
What do you mean, Ďmy bloodí?
Your blood - (then somberly to SARAH)
a very unique blood.
Intuition grows fear into SARAHís eyes.
The most unique blood in all of history.
What are you saying?
DYSON offers a hand.
No! - What are you saying?
Dysonís voice settles.
John has the most unique blood in history
because his father was the most unique man.
ON: KITís eyes sharpen.
What do you mean - what are you
DYSON turns to everyone.
The Device-DATA was for the neural-net chip,
I cracked the code using my dadís old algo-
rithms. I know the secrets! - (louder, to the
Terminator) not that he couldnít have told us.
DYSON raises his hand to silence everyone.
The DATA... (quieter) ...kept talking
about the ĎT-2000.í -The T-2000 this,
the T-2000 that. But then it was Kyle
Reese. - Kyle Reese this, Kyle Rees-...
What are you saying?
Kyle Reese, Johnís father, - was a synthetic.
SARAH begins to shake.
No! - No-o!
- Created by Skynet as a secret weapon.
He was a man! - Kyle was the finest
man I ever knew - or ever heard of...
The perfect synthetic human.
Itís a lie!!
He didnít know! - John, in the future,
stole him from Skynet before he could
be programmed. He grew up as a human...
Sarahís mouth hangs open.
(wide-eyed and empty)
-thatís what the war was all about - was
really all about - trying to get him back.
John crumples to a chair.
Reeseís blood held the secret to Skynetís
power. Skynet had to get him back.
The T-2000 was created in case the
humans might win the war of the future
- as a fail-safe. Strung through the
DNA helix was the secret code that
held the construction plans for
re-creating Skynet and the Lattice.
SARAHís knees give way and DYSON helps her to a chair.
(while seating Sarah)
Skynet was essentially, many brains on
one brain-stem. It was a kind of Poly-Nodal
connection they called, ďThe Lattice.Ē - It
was this Lattice-connection that gave Skynet
Yes, it was not just the chips, otherwise I
would have that power. It was the symmetry
of multiple-brains. - The Lattice:
- perfect genius, the ultimate power.
Wait, what are you saying, that John
No, heís perfectly human... (then
to John) ...just half synthetic.
Johnís eyes are opening wide as he looks at his hands.
-The only one of his kind.
SARAH is in shock while Tarissa consoles.
So John, in the future - stole T-2000
- and raised him as Kyle Reese!?
Then sent him back for me - to meet?...
(setting up his lap-top)
...And install the genetics into
- Install the genetics. - Into my son -?
Into the human side - whom else would
Wait, I must be normal, I couldnít
have been born - I couldnít live, if
my genes werenít right.
Oh, youíre normal. Itís like this...
DNA HELIX, in multiple color-codes, flashes onto the LAP-TOP.
Thereís an extra set of molecules attached
in your fatherís DNA (pointing to LAP-TOP
IMAGE). These hold the code-atoms with the
Skynet re-construction plans.
LAP-TOP: Knotted-colors descend through the helix center.
John, your DNA will have this code
split like a mirror. Still perfectly
usable to re-construct Skynet. - But
thereís something Skynet didnít plan...
ANGLE: KIT looks up from the LAP-TOP.
INTER-CUT: TERMINATORís EYES re-adjust.
(searching Johnís face)
These binders - (waves fingers to IMAGE) are
the LATTICE SEQUENCING. (makes motions with
hand) Itís the only way this whole scheme
would work, the only way it could be setup...
It will manifest the Lattice - IN YOUR CHILDREN.
DYSONís eyes are shining into JOHNís.
Are you sure of this?
Without replying, DYSON grabs JOHNís arms.
Skynet never planned that the T-2000 might
reproduce. - John, - you are half-synthetic,
really - self-created (pause) but thatís
nothing - nothing. - This LATTICE CODE in
your DNA, itís... ...the key to evolution.
To human evolution.
JOHNís head is bobbing.
- Your sons and daughters - will have
genius like Skynet. - But theyíll be human.
SLOWLY ZOOM ON JOHN and DYSON.
- The Lattice, John... the Lattice will spread
to everyone. (Points to knotted-color) These
Lattice Binders latch as the DOMINANT HUMAN
GENE-SET. Through your children, it will
spread throughout humanity. Through the
whole human gene pool...
John is reeling. DYSON straightens.
This is why the Hyperboid MUST kill you.
-After it gets your blood - it must!
Dyson searches Johnís stupefied expression.
If John lives to reproduce, Skynet wonít matter.
(eyes on John)
All the Skynets in the world wouldnít matter!
This is what the game is really about. If
you live, human-beings themselves, change...
If Skynet wins, human history will end.
Yes, - it all focuses on what we do.
SLOW ZOOM ON SARAHís CRAZED EXPRESSION: Tear-streaked and shaking, she looks as though peering into the pit of Satanís own soul.
EXT. STREET - CYBER-DYNE GROUNDS - NIGHTTIME
HYPERBOID/OFFICER walks on a dark sidewalk carrying the OBLONG BOX. He stops as headlights snake through the oncoming drive.
HYPERBOID/OFFICER places the OBLONG BOX on end and loops over the top of it, becoming a POSTAL LETTER-BOX.
The slowly passing vehicle is a COP-CAR which shines its search-beam on the HYPERBOID/POST-BOX - then quickly searches about the surrounding area, while rolling by.
INT. RANCH HOUSE - DINING TABLE
DYSON is in the kitchen, chefing a night-time breakfast. The others are seated as JOHN brings food.
JOHN and DYSON are in elevated moods.
...it cut the cables and ripped open the top.
Yeah, those Terminators like teariní
up elevators for some reason.
The Hyperboid just left off. (smiling to
Sarah) Iím sorry, but I was so-o glad!
I thought it had you.
Yeah, it looked bad.
NEW: ON TARISSA
So, Kit, what are you going to do
about your partner?
Well, I gotta find out if heís OK - but right
now, Iím a rebí cop. Iíve crossed the line.
They donít know that.
I know. - But I gotta find out about Lyle.
(joking to the Terminator)
-You donít want eggs?
John smiles. The Terminatorís head raises.
We need to locate the device.
Everyone falls silent. The only sound is DYSON serving.
When will this end?
When we end it.
DYSON enters with his plate.
Ok, we have three elements, John, the
Hyperboid and the Fail-safe device.
We need John.
We destroy the device. -We destroy
the device, we destroy Skynet.
SARAHís EYEs glance to KIT. DYSON goes to get something.
The Hyperboid uses it to get here, right?
Yeah. - Talk about evil spirits!
SARAH lights a cigarette.
...That thing can come from anywhere.
DYSON returns with a desktop-sized radio and plugs it in. JOHN raises his brow about SARAHís cigarette and she jams it out.
(looking at the radio panel)
Yeah, weíll have to fight the Hyperboid.
Why - if we destroy the device itís all
over, right? It canít get back - right?
It isnít using the device. (taps on screen)
This a is a ĒBand-ScopeĒ - thereís no signal.
- The Hyperboidís not using the device.
Yes, it learned itís lesson. If we commandeer
the device, the Hyperboid is completely
vulnerable - its whole mission jeopardized...
Dyson is marking the frequency below the small blue screen.
...So itíll hide the device!
Yeah, take it out of the equation.
Then itís planning to fight us directly.
Good. Iíd rather have it!
SARAH looks straight into KITís eyes.
At least weíll see the damn thing.
PAN TO: TARISSA
-It must think it will win - ?
All right, how do we stop the Hyperboid?
OK, if itís not using the device, we could
destroy the material we see. That should
sever it from this reality.
Electrocute it -?
No, it would just eat electricity.
We destroyed ďMr. LiquidĒ in the vat...
The Hyperboid has greater elasticity than
the T-1000. (CU: TERMINATORís FACE)
- Weíd need a bigger vat.
Or confine it. - Keep it from moving...
We can slow it up. (raises weapon)
We blast it to a stand-still and cook it.
Thatís it! We cook it! They have
big industrial micro-waves - for
How we gonna do that?
Weíll have to lure it.
Everyone slowly looks toward John.
...I guess I know who the bait is.
ON: KITís EYEs swing to SARAH, knowing JOHN is right.
EXT. DYSON RANCH HOUSE - STILL NIGHT
TERMINATOR stands sentinel before the rolling fields. His head turns, the eyes focus. His head turns again.
EXT. OPPOSITE SIDE OF HOUSE - PATIO
SARAH lays on a recliner behind the patio wall, her gun facing out. KIT comes out the kitchen door with a blanket. Settling along side, he covers her. SARAH nods a Ďthank youí.
You know, Iíve always been able to tell an
honest man. Iíve probably looked at those
file-tapes of Kyle Reese, thirty times. Itís
haunted me. There was just something about him.
Yeah, there was no evil in him. I only knew
him for a few hours, really. (pause) He came
here and gave his life - for me - and for all
of us. - His son has missed his father - and
thereís been a hole in my life ever since.
Kit searches her face, then casts his eyes in thought.
...You canít believe this is happening
until it really is happening.
SARAH looks at him for a second.
Yeah-h. (pause) - We thought it was over.
After Cyber-Dyne North, there was no chips,
no funding bill. No Skynet. No war. - It
was over. I finally knew it was over. The
dreams left. - ...Finally - over...
They both turn to look out into the starry night.
Itís so beautiful...
The stars swell like ornaments.
...I guess this is the still before the storm.
SARAH casts her soft face into the beauty of the heavens - and as she brings her eyes back down, her expression tightens.
Yeah, - I guess.
NEW POV: from above. They lay together, looking out over the patio wall.
INT. LAPD DETECTIVEís OFFICE - DAY-TIME
A frustrated Lyle sits behind his desk.
The phone on Kitís desk rings. Lyle stares at it with a pasty, blank expression. He springs to life on the second ring.
A womanís voice cuts over the speaker-phone.
Yeah, put Kit on.
Heís not here, Am-. Heís...
I gotta find out why he rented a Hertz car
last night. We got a deal with National.
What in hell are we paying for if he isnít...
LYLE yanks the receiver up.
Whoa, Am-, whatís the rental number
- Kitís been missing since last night.
Yes-s! Am-, Am-, gimme the number. I
will. I need the number.
Lyle noisily searches the open-drawer for a pen.
Hold on. Ok. Yeah...
EXT. SUNNY MORNING - WHITE-WALLED, SLOPING ALLEY-WAY
DYSON and JOHN walk down the sloping alley-way, exchanging amiable smiles with a dark-haired management executive.
The SIGN above reads:
ENVIROCON - Industrial Waste Management
The executive bids DYSON a good-bye hand-shake.
Thereís no other facility with this power.
Thereís no doubt of that. This will be good
for both companies.
So youíll get a hold of me, Monday?
Right after the meeting, without fail...
INT. LAPD - CAPTAINís OFFICE
The Captainís on the phone when Lyle barges in.
Captain - !
The Captain raises his hand to shut Lyle up.
Thatís right Mr Levy, the whole committee will
be at the Mayorís meeting at three. - Yes.
Hopefully, weíll iron out a basic plan for the
guide lines this afternoon. - Yes. All right,
Sir! - I certainly will. O-Ok.
The Captain, raised-brows & buggy-eyed, looks at LYLE while putting down the phone.
Kitís sister phoned. He rented a car
last night - standiní right along
side - Sarah Connor!
How do you get positive ID on that?
I already got the sales-girl on the phone -
Ď called right through to her home -
it was Sarah Connor!
Lyle, bent forward, watches the Captain think.
Samms could be a victim...
Kit Samms was forced!? How they force
The Captain looks troubled.
I got this. You gotta give me this!
Kitís gone over, and on this case!
Why - would Kit Samms...
He had the hots for her since day one! It
didnít mean nothiní til he got his face in
it. - We gotta find this car aní we canít
use the radio. - I got this? - Right?
Yeah... - Iíll keep the FBI out, - this
is our guy. We gotta bring him in.
LYLE puckers his chin as he heads out the door. The Captain calls after him.
By the Book, Lyle!
Lyle mutters under his breath as he heads away.
Oh yeah, By the Book.
INT. DYSON RANCH HOUSE - NOON
All six stand around the dining table on which small toys and boxes accompany a foot-long card-board shoe box.
Thereís forty-eight MAGNA-TRONS on
Dyson places squares of candy around the rectangle.
...thatís nearly two-hundred of the most
powerful micro-wave emitters in the world.
More than enough power. - They push
waste through like a car-wash...
Dyson points a Ďthroughí motion along the shoe box.
...Blasting it from all sides. The MAGNA-TRONs
are strobed, only a few are on at any one
time - but itís computer controlled...
DYSON is arranging small candy boxes to represent buildings and John is placing pencils to outline driveways.
They also have several ĎPlasma Arcí tubes
that are sitting on a dolly. In this building...
Dyson places fountain-pens on a toy truck.
...Plasma Arc focuses a beam of
lightning. -Vaporizes anything.
The Plasma Arc units are not installed?
(to The Terminator)
They sit on a mover. (then addressing
the plan) - All right - we have John
sitting at a table...
Dyson places a toy table in the back of the shoe box.
Our bodiesí infra-red will be hidden
by these auxiliary power generators.
Dyson places a box at all four corners of the rectangle.
The Hyperboid enters the trap.
And our gunfire stops it in its tracks.
Yes. Then I blast it with enough power
to melt rock.
What can go wrong?
Nothing! It has its own generators.
Yes. As long as the power is on, thereís
no escape. The whole region could black-
out and it wouldnít effect the MAGNA-TRONís
generators. (pause) - So!
DYSON flicks his pencil onto the table and the intense focus starts to break up.
Another thing - (looks John in
the eyes) No more phone calls -!
I canít understand why I canít go.
Thereís not enough of us.
Youíre a mom! Youíre not some warrior!
Yes, we need trained people, Tarissa.
Youíve never even fired a gun. (to Dyson)
Miles, have you got that program set?
Yes. The last shift leaves ENVIROCON
by 10:15 or so. At 10:45, Cyber-Dyneís
main-frame will see a minor notation
for acquisitions of lab facilities and
night-work at ENVIROCON for one, ĎMiles
Dyson Juniorí and ĎJohn Reese.í - It
shouldnít take long after that.
SARAH talks to the Terminator while others pack out.
You got the new weapons and ammo loaded?
EXT. RANCH ENTRANCE ROAD - BRIGHT SUN
All five crowd KITís RENTAL, which nears the paved highway by the CARVED WOODEN SIGN at the entrance.
They turn right on the pavement and drive off. (pause) Calle and Matt enter from the left and turn into the entrance.
EXT. DYSON RANCH - FRONT PORCH - DAYTIME
POV ON: FRONT PORCH as CALLE and MATT roll to a stop in FG. They get out.
ANGLE remains FIXED ON FRONT PORCH as THEIR FIGURES and the DAY-TIME SCENE... DISSOLVE TO: FRONT PORCH - NIGHT
INT. DYSON RANCH
Calle stops in the darkened hall and gazes at the abandoned table with its shoe-box and candy. With a look of helplessness, her shoulder falls against the wall. Tarissa approaches.
They wonít even be there until 10:30.
And thereís nothing we could do - except
endanger their lives.
Calle starts to cry. Tarissa hugs her, hiding her own frightened expression.
They have a good plan - and they must do this.
Tarissa pulls Calleís shoulders back and looks into her eyes.
Calle, thereíre things we just found out
from the future - things none of us knew...
CALLEís EYES are caught by something to her right.
Thatís not the signal!?
NEW POV: From over Calleís shoulder in FG: The Band-Scope shows a BRIGHT BLUE SPIKE from the dark of the dining room.
Oh, God! Oh, no!
Their trap wonít work! The Hyperboid can use
the device -
MATT is running in from the kitchen.
The signalís on! The Hyperboid can escape!
EXT. NIGHT - ENVIROCON
We look down upon the massive 14 foot high micro-wave INCINERATOR and lit access yard. LOCOMOTIVE-sized GENERATORS sit on either side like the arms of a sphinx. Red lights and warning-signs adorn yellow and black striped drop-gates above the doors.
NEW ANGLE: SARAH stands before the gleaming, flood-lit stainless chamber. JOHN and DYSON are arranging a table at the far end of the interior. The hinged doors have viewing-ports and control eyelets for manipulators which stick out like long, dark spears.
INTER-CUT: EXT. DYSON RANCH
MATT, CALLE and TARISSA are rushing into the Dyson Cherokee.
This car has a dash version of the
Band-Scope. The police might stop us
but theyíll be looking for the Connors.
Can you work it?
Matt is jumping in to drive. Calle pulls open the passenger side.
Oh, God, Miles knows all this. (getting in
back) - I believe it just shows all signals.
The Cherokee fish-tails out in cloud of dust.
RETURN: EXT. ENVIROCON - MICRO-WAVE INCINERATOR
SARAH points at the safety gates.
Cover those Ďcautioní signs.
- Disconnect all that.
The TERMINATOR sets to work and Kit looks around.
TO: SARAH has walked to the opposite end of chamber, passing JOHN and DYSON and the incineratorís FANTASTIC COMPUTERIZED CONTROL BOARD just outside. She heads down the chain-drive feeder-ramp.
TO: KIT peers around the front at the array of MagnaTrons.
Rows of two-and-half foot square, stainless-steel boxes with rounded-corners sit close together crowding the wall. All 48 metallic surfaces reflect the light.
Kit backs away to look up.
Six more MagnaTrons edge the array of 48 on the top and another six are seen along the opposite side.
ANGLE ON: KITís fearful eyes that reflect the illuminated chamber as he comprehends such awesome power.
TO: SARAH looks into a corrugated sliding-door and sees thousands of storage barrels, stacked three high. Each has the ominous CIRCULAR WARNING STICKER marked, ďHAZARDOUS WASTEĒ.
INTER-CUT: EXT. STREET - ENVIROCON
Patrol car slides by Kitís parked rental. Through the open window, the cop takes a note and accelerates quietly away.
RETURN: JOHN and DYSON at the table. DYSON arranges beaker-clamps and glass-flasks with oddly colored liquids.
A little charade. We canít have you
just pickiní your nose.
Dyson forces a smile while the TERMINATOR, in BG, is pulling the manipulator rods out of the rear-doors.
TO: SARAH approaches a storage-building.
POV From inside building: the door opens and SARAH looks in.
On the dark, empty floor is a WHEELED-GURNEY with long cylinders. Each foot-wide TUBE has a conically-shaped end.
RETURN CHAMBER: DYSON brings JOHN to the rear door.
This half will be open. Weíre gambling
itíll want you alive, that itíll come
in after you.
I ainít staying around to talk politics.
Iíve disabled the strobing and opened the
frequency range, itíll be cranking full power.
I re-configured the safety sensors - it will
switch on when you shut the door. - Close it
I hope the walls can take full power.
I hope I can make it out. (smiling
to Dyson) You wonít shut me in?
Dyson half-smiles. Their dark eyes stare at each other.
Hey, Iíll adopt!
Yeah, thatíd be a good idea!
The TERMINATOR noisily drags in paper for hiding the walls and John begins to help.
INTER-CUT: Racing CHEROKEE careens through freeway traffic.
RETURN: INT. MICRO-WAVE INCINERATOR
Our group converges to the table. The walls are hung and the Terminator takes the ladder out. A lap-top sits on the table.
The Terminator is returning to complete their group.
I created a program thatíll look like
John is running an analysis-sweep over
a protected Cyber-Dyne Ďback-door.í
Itíd fool me if I didnít know.
Lets hope it fools our friend.
They begin to look at one another and a crushing silence ensues.
...We could all go for beers -!
The Terminator laughs. All half-smile but quickly find quiet.
For the future.
For the future.
DYSON hits ĎENTERí. A chiming ďdial-upĒ sings harshly.
INTER-CUT: EXT. ENVIROCON GROUNDS
LYLE and six cops run up.
You all do exactly as I say.
They start up through the out-building alley-ways.
INTER-CUT: CHEROKEE screeches onto the streets from the freeway.
TO: INT. CHEROKEE - The three are bracing through the turn.
God. - Hurry!
RETURN: EXT. MICRO-WAVE INCINERATOR
KIT and SARAH, with their automatic weapons, stand by the left door. SARAH calls into JOHN.
TO: JOHN sits at the table. DYSON stands behind the slightly open rear-door, operating the FANTASTIC CONTROL BOARD.
JOHN looks at DYSON for the go-a-head. DYSON calls out.
SARAH throws her arm up.
CUT TO: The TERMINATOR, with two slung-rifles, is behind a large breaker panel. He throws the MAIN.
Innocuous starters engage from unseen areas and the chug of diesel engines begin.
Suddenly a ROARING WHINE rises over them as the huge generators kick-in. The whole facility lights up.
INTER-CUT: CHEROKEE is hard braking in the street. They pull immediately over and jump from the car.
POV: Looking forward from back seat: The three are jogging away when we see the BLUE SPIKE FALL from the dash Band-Scope in FG.
RETURN: The DEAFENING WHINE falls away as the generators stabilize.
John looks warily around as ELECTRO-STATIC ENERGY SHIVERS the hanging WALL-PAPER and the HAIR on his neck stands out.
DYSON is excitedly clutching the controls and yelling.
Nothing could escape! Itíll
fry him like a POACHED PRUNE!!
TERMINATOR runs up, nods and backs around the right generator.
KIT and SARAH lock the left door and back away around the left generator.
INTER-CUT: LYLE, gun drawn, is sneaking in with his back against a corrugated wall. He signals his comrades to ĎGo around!í
RETURN: POV From outside open incinerator-door: JOHN sits calmly at his table. It could be a quiet night in any suburban home-shop.
Coming up the drive, like a LARGE SPIDER, the HYPERBOID stops - poised. Its EIGHT EYES scanning in all directions.
John sits in plain view, writing.
The Hyperboidís body lowers, the eight-foot legs FLEX - and it rockets to the door. Its spider front-legs, on the roof, the side-legs outstretched, it leans into the front. Its REAR EYES darting all over but the FRONTS are in an intense stare at its quarry.
John pretends to write.
INTER-CUT: MATT, CALLE and TARISSA run up the alley-way.
RETURN: The HYPERBOIDís body lowers again.
NEW POV: from behind the Hyperbiod: The body and spider legs are crumpling further into the entrance.
The HYPERBOIDís attention heightens for the strike. It seems to quiver in its tension as its LIQUID BLACK EYES dance at the vision before it.
TO: MATT, CALLE and TARISSA round the corner before the huge spider-legs, crumpling into the door.
RETURN: The HYPERBOID shoots up for JOHN. CALLE screams (OC). John is screaming in fright as he stumbles for the door.
KIT, SARAH and the TERMINATOR fall against the front. All begin shooting through the eyelets.
The Hyperboidís back arcs and itís face contorts.
JOHN is screaming as he rolls from the swinging door that DYSON is smashing shut.
ANGLE ON: The glass-beakers, apparatus, lap-top and table are thrown up and seem to superimpose their own images upon themselves as a ringing-sound falls into a deep static hum.
NEW POV: Looking into the chamber: Sound disappears entirely as the Hyperboidís body is driven up in the air and shatters into a million frosty pieces, hyper-boiling in a pillow-like cube trapped in the center of the chamber.
A HUGE THUNDER, like driving rain, rises up as the boiling FROSTY PILLOW compresses violently. The CHAMBER WALLS start vibrating.
NEW: JOHN and DYSON look disbelievingly through their view-ports.
TO: TARISSA and CALLE approach as SARAH, KIT and the TERMINATOR stare through their view-ports.
What are you doing here!!
Without discussion, everyone just turns to watch the mind-boggling sight in the view-ports.
TO CHAMBER: Boiling, swimming FROSTY PILLOW starts to implode.
CUT TO LYLE: Edging in, he looks up at the generator MAINS.
INTER-CUT: JOHN and DYSON staring in.
TO CHAMBER: A LEMON HUE brightens from the crushing FROSTY PILLOW.
Yes-s, - almost...
TO: DYSONís TENSE FACE
...Just a few more seconds...
INTER-CUT: Lyle reaches for the MAIN.
TO CHAMBER: Intense LEMON-PILLOW is driven smaller and brighter.
INTER-CUT: LYLEís HAND is on the MAIN.
TO: DYSONís EYEs.
INTER-CUT: LYLE pulls the main.
SMASH TO CHAMBER: HYPERBOID swells out to the pillow-like cube as a sudden HIGH-PITCH WHINING begins to drop in frequency.
SARAHís head jerks around. The whole group fills with alarm.
TO: DYSON and JOHN
What the fuck... No!!! The generators!!
TO: SARAH, KIT and the TERMINATOR look at each other. The loud whining is still dropping.
Hold it right there!! Donít move
a muscle, donít even twitch!!
The cops are running out, hyped-up, guns drawn.
INTER-CUT CHAMBER: The atomized AIR seems to SWIRL about the high-energy HYPERBOID/PILLOW. Thereís a DISTORTION and the HYPERBOID SUDDENLY EXPLODES: KA-BLAM-M-M!!!
NEW POV: front of INCINERATOR: The whole ROOF BLOWS OFF. MAGNATRON BOXES zing past the camera. A huge shower of PLAYING CARD-shaped, DRY-ICE CRYSTALS pour down in a deluge to instantly construct into the WRESTLER which transmutes to a TEENAGED MARILYN MONROE with very curled-hair.
SARAH, KIT and the TERMINATOR have withdrawn but TARISSA and CALLE stand transfixed.
Bigger-than-life HYPERBOID/young MARILYN shakes her blond curls with a SASSY, SEXY GIGGLE.
The cops are transfixed.
MARILYNís face becomes BAGGY while the FOREARMS, TWO SHOULDERS, BREASTS and HEAD become elongated.
TARISSA and CALLE start to run.
HYPERBOID shoots its spears like the attack of a cuttle-fish evaporating a three-inch NOTCH from each cop.
TARISSA and CALLE are knocked sideways. TARISSA is hit. DYSON sees through the view-port and slams the glass.
THIRTY COPS are running into the yard and TWO SQUAD-CARS rocket to a stop.
Tasmanian/Hyperboid, with blond-curls and baggy face, shoots around back.
NEW: DYSON is stalking, tear-streaked, through the chamber.
NEW: Elevated POV: DYSON emerges from the front and slows down before TARISSA, laying on the ground. Cops appear draining away as they pour around back.
TARISSAís arm moves and DYSON lunges to support her.
NEW: LYLE is picking himself up on an elbow to push his back against a fork-lift.
MATT picks a limp CALLE off the ground. Her face is bloodied, her arms dangle.
LYLEís obviously dazed and looks down to see a round ring of WHITE body-armor, exposed around a shallow GASH in his mid-section. THREE half shaved-thru RIBS are visible.
He pulls his left sleeve around to see a small missing piece there, as well.
In shock, MATT seems invisible in the chaos and just carries CALLE away.
RETURN TO DYSON and TARISSA: JOHN, mouth agape, slowly approaches from the BG. The dying TARISSA in his arms, DYSON looks frantically up at John.
TO: Lyle sees JOHN standing and DYSON cradling TARISSA. He looks down at his injury, pulls his coat around over it and gets up.
RETURN DYSON and TARISSA:
Oh God. - It doesnít hurt...
Miles... (then trying to gain her
thoughts) - look out for Danny.
DYSON is shaking his head and crying.
-Why did you come -?
The signal started. The device...
Miles - this was right. - Iím so proud.
So proud of you. (her eyes briefly
walk the sky) - So proud of my family...
Her head shakes slightly as her eyes cast upward - her features relax. DYSON arcs his head, throwing his arm over his face.
DYSON pulls her to him as he falls into open pain.
The cops are grabbing John who seems limp and confused. SARAH and KIT are being brought around in hand-cuffs. LYLE is on his feet and approaches. One of the cops tries to support him but he yanks his arm away.
LYLE walks up to KIT and for a moment they glare, face to face.
LYLE looks down at DYSON and then takes command, pointing at the near-by pallets.
Put them down right there.
KIT and SARAH are seated. John looks over.
Was that Calle?
SARAH snaps a look to shut him up.
Is the area secured out there!?
The Captain approaches. He can barely hide his glee.
Good work, Detective.
They both approach KIT.
I canít believe it, Samms. Of all
the God damn people in this world...
KIT starts to react but SARAH elbows him. The Captain sizes SARAH up.
Howíd you find us?
LYLE looks intensely at KIT.
...Amy couldnít understand why
you rented from Hertz.
LYLE and the CAPTAIN go over to John.
So, the famous fugitives!
Iíll bring them down in my car.
It wonít be your only reward, my boy.
LYLE yells out to the cops.
Ok, listen up everybody, thereís
another one eighty-seven suspect at
large. White female, blond curly hair,
early twenties. Do not approach. DO
NOT APPROACH! Call for back-up.
Cops seem to move.
GO!! - Go! ...
DYSON gets up and some cops go to grab him.
Let him go, heís not goiní anywhere.
The Captain and Lyle walk off.
Tear-streaked and pained, DYSON stares into JOHN.
How does this happen?
TO: LYLE displays his flak-jacket with the CAPTAIN and a small group of cops. They are all smiles and pride as the Captain holds up the vest with its gaping hole.
Whoe! Boys - THIS is what we want the news
people to see! The stuff of heroes. - Here,
(hands it off) give this to Public Relations.
Heard from OTHERS:
W-w-ow, look at that!
ANGLE ON: KITsí GLARING EYEs as he watches the group of reveling officers.
SLOPING ALLEY-WAY: LYLE, in command, is walking up the sloping alley. Cops line the walls.
A sea of blinking lights behind them paint colors across two television camera-trucks and a multitude of heads that crowd the street. Video cams and flash-cameras strobe the scene.
I wanna be clear of all this media...
NEW POV: Looking from the incinerator into the cop-choked yard.
LYLEís DETECTIVE CAR is brought up. We hear the MARANDA RIGHTS (OC) as LYLE leads KIT in front and another detective leads SARAH just behind. JOHN, led by another, follows. They are shackled top and bottom.
Put her in front.
NEW: From the yard. DETECTIVE CAR leaves out and slowly proceeds down the police-lined alley-way, police walking along side.
POV from raised elevation in street: LYLEís DETECTIVE CAR slowly descends into the throng. Lights and flashes bathe the car.
CUT TO: VIDEO from REMOTE NEWS-BROADCAST of the scene.
REMOTE TV REPORTER
The infamous SARAH CONNOR GANG finally
in custody after nearly sixteen years
on the run, are being taken from the scene of
their capture, here at the Envirocon Hazardous
Materials facility - where police hero,
Detective Lyle Johnson, brings the famous
terrorists to justice.
REPORTER turns to allow TV observation. TV CAMERA does close up of the DETECTIVE CARís progress. REPORTER continues in OC VO.
Theyíre having trouble getting through
these extraordinary crowds -who have rushed
down here at Envirocon - to get a glimpse...
INT. DETECTIVE CAR
SARAH is in front, JOHN, KIT and DYSON are behind the cage.
People are crushed against the windows, shooting pictures and yelling. Tapping is heard.
NEW: Their car makes its way slowly out of the crowd, followed by another police car. They pass the waiting coronerís truck.
NEW: The city lights slide over the car.
INT. DETECTIVE CAR
SARAH watches the strip-malls pass, their images reflecting across her eyes. Lyle is constantly checking the rear-view.
You are all OK, physically?
No one responds. LYLE calls on the radio.
Dispatch, this is thirty-six.
Go ahead thirty-six.
Howíz that media mess down there?
(pause) Just a moment thirty-six.
LYLE looks up into the rear-view at KIT. Both menís eyes are shining as they stare.
Yes, thirty-six - itís a real mess.
Theyíre piled up on both sides, advise
the south garage. Over.
LYLE looks into the rear-view.
...Thirteen - did you copy that?
Thirteen, - copy.
Weíre all clear here, Code Four. Iíd rather
not have the attention. I want you to drive
straight in to the west Booking Dock and take
the brunt of this media circus. Iím takiní Ďem
in under the south side. Break it off on Park.
The trailing police car leaves off. DETECTIVE CAR drives on for a moment. LYLE looks in the rear-view.
Your friend is back there.
Everyone swings around.
Ok everybody, brace yourselves...
LYLE slows down and deliberately turns into a pole. BAM!
The car fills with energy. LYLE is unlocking SARAH.
Youíll have to hurry.
LYLE looks directly back into DYSONís eyes.
I didnít know, - I didnít believe...
- and it cost your motherís life...
- all these lives...
Lyleís eyes drop away.
KIT, - I-I canít come - I donít
know anything about it. Iím sorry
- sorry for all this...
You turned the power off?
I didnít know, - Ďtil I saw that thing.
The TERMINATOR is at the side and the doors are being opened. SARAH starts to get out, then leans back.
You saw it before.
KIT pokes around her.
Better late than never, Buddy.
I canít come.
KIT is leaving when he turns back.
Listen - we still might get this
thing if it keeps thinking the
authorities donít know about it...
LYLE talks as he peels back his coat to show KIT his wound.
Iíll keep my mouth shut. Theyíll think
I just fell-out.
SARAH, disgusted, looks over KITís shoulder.
What was it?
(pause) - The future.
They run back to the TERMINATORís car. LYLE is looking in the rear-view.
INT. TERMINATORís MOVING CAR
DYSON stares despondently out the window. No one speaks.
What was Calle doing here? Why the fuck
did Matt bring her? -What for!?
We need quarters.
Weíre real fugitives now.
EXT. SIXTH STREET
POV: From elevation: TERMINATORís CAR arrives before an abandoned high-rise.
ON: TERMINATORís RED EYES look up.
CUT TO: OPEN GROUND-FLOOR GARAGE. TERMINATORís CAR pulls in. Our party disembarks and drags themselves up the debris-strewn stairs. TERMINATOR accelerates away.
INT. ABANDONED OFFICE
A single desk and rugs decorate under sweeping picture windows. Our exhausted group is settling in around the room.
ON DYSON: Leaning against the wall, he slides down to a stop. TERMINATOR enters the door next to him.
...Ditched the car.
While humans sleep, the TERMINATOR stares into the sapphire blue of Ďfirst-light.í His eyes focus, his head turns.
ON DYSON: He sits in syrupy semi-sleep, contemplating.
ON JOHN: His left palm cradles his forehead. His wet eyes stare.
INT. ABANDONED OFFICE - DAYLIGHT
DYSON has slid to the floor on his right. He is asleep as we hear others OC, waking up. DYSON begins to stir, and then pushes back up into his seated position - bleary eyed.
PAN TO SARAH in FG.
It looked like a spider...
The Hyperboid has complete physiology
files and the bio-morphics on all the
animals. Each has a specific advantage
in different situations.
(weak and labored)
I canít phone Calleís parents. I-I donít
know what to do...
The TERMINATOR looks blankly - then returns to the window.
JOHN and SARAH turn their heads.
You stole Skynetís fail-safe.
In the future. You had the DNA plans
- the secret to controlling Skynet.
Iíve been tryiní to figure this. (getting up)
John had the Skynet code, but did nothing
with it. Instead, he sends Kyle Reese here.
Essentially, Ďinoculatingí the humans.
You havenít slept.
Thatíd change the future right there. -You
see? Skynet had to act. It had to send that
liquid-Terminator. - And all the rest.
So what, Miles?
KIT is entering with take-outs.
Now Skynet resurrects itself here by taking
back that (grabbing motion) same genetic
material - (tapping John in the chest)
right from the guy who stole it!
(gets between them)
We changed that future.
(to them both)
Tarissaís dead! - Tarissa!
Millions gave their lives, Miles. (leans in
his face) Both your parents gave their lives.
The TERMINATOR swings around.
You people did not change the future,
- John Connor sent the T-2000 and terminated
the past. No one here is who they were.
CU: TERMINATORís EYEs focus.
It was the boldest act - in all of history.
DYSON slumps to a chair. Kit gently turns John by the shoulder.
I phoned my sister and had her get a hold
of Lyle. Heís in the hospital - the same
hospital that Calle is in. Sheís alive.
Johnís legs give out.
Ah, thank God!
(continuing as John sits)
She has a bad concussion, her brotherís
with her. But sheíll be fine.
John, who is a wreck, rubs his head back and forth in his palm. DYSON looks at him and rises.
(earnestly to the group)
Youíre right, - weíre all victims here. All
of us. Forgive me, I just got a little
Dyson looks briefly over at John.
Tarissa told me they saw the signal. Thatís
why they came.
But the Hyperboid must have re-sealed
the device when it came after John.
Yeah, it sure couldnít get outta that cooker.
We need to know if itís using that device.
- We need a radio.
Letís get one.
The two head for the door.
JOHN and the TERMINATOR sit together by the window.
I always felt like a stranger - ever since
I can remember. Wherever I was. - I thought
it was because I didnít have a father.
The TERMINATOR stares at John.
When this happened again, Ya know, I was
actually kind of excited. - But God, - I
wish I could just feel normal.
John, our father - was Skynet. You
and I... - can never feel normal.
John stares back empty-eyed.
KIT and DYSON barge through the door. DYSON thrusts forth a BOOM-BOX and flips the switch. ĎChirpingí sings out strongly.
This changes everything.
The TERMINATOR turns around.
It changes nothing! Now we have two targets
- with twice the chance to win.
But the Hyperboid can use the device.
And that makes it vulnerable - itíll have
to protect the device from us. -We put the
Hyperboid on defense.
Yeah, also, it needs me, right? It canít just
Right, itíll come after John.
But we go after the device.
What about weapons?
I was thinking about that. We could swipe
those Plasma Arc tubes. - Each one can
vaporize anything at four thousand degrees...
I thought we couldnít electrocute it?
This isnít electrocution - these things
Ďsprayí lightning. The Hyperboid should
pass electricity, all right, but itís body
is like the insulation around a wire
- whatever we can hit, we can vaporize.
Just burn off the insulation?
We have to find the Hyperboid.
EXT. HOLLYWOOD HILLS - UPPER INCOME NEIGHBORHOOD - TWILIGHT
TERMINATOR is on the hood of their slowly moving car. He holds the BOOM-BOX at armís length, searching the horizon.
The car stops and DYSON and John get out.
TERMINATOR swings the radio horizontally to the right and left. The chirping is heard, then drops away, - heard, then drops away.
He lowers the radio as DYSON jumps up onto the bumper. The TERMINATOR cuts the direction with his outstretched hand and they both look across the valley together.
TERMINATOR and DYSON
CYBER-DYNE GROUNDS - NIGHT
The far-stretching grass is a thick carpet under occasional over-hanging trees. Lush foliage hugs buildings.
DYSON runs up to SARAH from the lab-complex in the background.
ON: TERMINATOR arrives in a TRUCK towing the tarp-covered GURNEY.
We got trouble! Itís the worse possible
place. Itís taken over the Hazardous
(yells to TERMINATOR)
Take it around the maintenance-shed!
Dyson motions toward a utility-building in the parking area.
Itís designed to conduct the most dangerous
experiments. It will contain the worst of
explosions, radiation release, environmental
poisons, toxics - you name it.
JOHN and KIT are arriving on foot with two large duffles and a box. The TERMINATOR walks up.
Youíd have to hit it with an atom-bomb
to dent it.
(out of breath)
He says itís holed-up in some experiment-
Itís built like an upside-down salad-bowl
- with two-foot thick observation-windows
and a secure bolt-down. Iím telliní you,
it can not be worse. The Hyperboidís got
everything it needs, power, computer access...
Is it in there now?
I donít know.
(to the Terminator)
Letís go in for a re-con.
Weíll - go in for a re-con. You guys unpack.
She points to the gurney as SHE and the TERMINATOR head away.
KIT, DYSON and JOHN look at each other and hoist the bags.
As they start off, KIT looks over at SARAH and the TERMINATORís dark silhouettes.
Yeah, -thatís my mom.
EXT. PARKING AREA - BACK OF GURNEY
The tarp is pulled off revealing the ends of the Plasma Arc TUBES, along with WIDE COILS of thick POWER-CABLE.
INT. LAB COMPLEX
SARAH and TERMINATOR are sliding through the dark technical facility. Reflections dance from vacant cubicles.
They head down a wide hallway. Two swinging, BLUE DOORS with two small windows mark the entrance of the enclosure that houses the large, dome-shaped Hazardous Materials Bunker.
White lettering contrasts the blue:
ďAUTHORIZED PERSONNEL ONLYĒ
TERMINATOR touches her to STOP as he carefully raises his frame.
RED SCREEN: The small door-windows descend as TERMINATOR rises.
On the left, an observation-window and concrete-shroud is seen jutting from the smooth, sloping wall. There is a console for controlling large mechanical arms, which hang like a Mantis within.
Reflections of the time-capsuleís lights are seen cork-screwing in the thick glass.
RETURN: TERMINATOR looks through the door-windows to the RIGHT.
Leading up the bunker access-ramp are herringbone stripes and solid-colored lines which stream across the floor from every direction.
RED SCREEN: CROSS-HAIRS appear and scan different areas of view.
There are detailed warnings listed on a sign by the entrance and large, ĎMATERIALS HAZARDí insignias stenciled on each sloping buttress. What appears like a BANK-VAULT DOOR sits open.
RETURN: TERMINATOR quickly ducks down. He looks through the windows in several angles at the ceiling.
TERMINATOR turns to SARAH and POINTS TWICE to the rear with a straight finger. They sneak back down the hall.
EXT. CYBER-DYNE GROUNDS - OUTSIDE LAB COMPLEX
TERMINATOR and SARAH reappear from the lab complex. KIT is tying straps to the round cylinders and DYSON attaches cable.
It doesnít look right. The bunker door
Itís gotta be a trap.
I agree. Itís too easy. A little chirping
on the radio and we come troopiní right in.
Sarah is pulling the strap over her head.
Of course, itís a trap - it wants John.
The bait is the device. We have to ace
We are Johnís only protection. We must know
the Hyperboidís location.
Thatís right, that thing could be anywhere.
Weíre about to find out. Talkís over.
Time to go to work.
She starts out and everybody starts with her.
NEW POV: TO THEIR BACKS: All five, in large rubber boots, walk toward the lab, away from camera. Each carries a Plasma Arc from a shoulder-strap. The TERMINATOR labors the COILED POWER-CABLE and THREE TUBES slung half around his front.
NEW: The five walk toward us - ďOK CorralĒ style.
NEW: Toward their left: DYSONís breathy words sound jumbled.
Remember, just think of it as a fire-hose.
Youíre tryiní to wash this thing down. If
itís sucking up the plasma, try another spot.
Maybe it wonít be there. -We take the
bunker, the device, match and game!
We still have to deal with the Hyperboid.
If anyone wants to join me, Iím praying.
KIT and DYSON are mouthing prayers, theyíre all tension and wild-eyed as they march straight into the entrance.
No sense wasting time...
TO: POV from inside: The doors swing open and their silhouettes are outlined like moving stained-glass.
NEW ANGLE: The five stop, glaring forward. They then move quickly, advancing like a flood. TERMINATOR signals to DYSON and the two run up ahead.
RED SCREEN: Moving IMAGE-ENHANCE and TARGETING CROSS-HAIRS scan the desks and cubicles. Estimations of wiring and floor-plan are pasted against the wall and outlets of the sweeping image.
A utility closet and power-box come into view.
RETURN: TERMINATOR is opening the power-box.
DYSON, next to him, hands up the cable-ends.
CUT TO: HALL. SARAH, KIT and JOHN crouch in a ďVĒ near the floor. Each has a TUBE across his knee. Several tubes lean against the wall.
Crouched-down, the TERMINATOR and DYSON toe-skip back toward them along the loosely-laying cables.
Ok, listen, it comes out of time to where
it last saw you. So if it leaves, you move.
Itís coming after John. (to John) So you
stay in the middle.
ON: The tense faces of KIT, SARAH and DYSON. Crouching, their ďVĒ heads forward, SARAH on point, KIT is left, DYSON, right.
JOHN is in the middle, behind SARAH. The TERMINATOR, with two Plasma tubes, is walking upright at the rear - scanning.
TO: SLOWLY ZOOM ON the back of Johnís head. JOHN jerks his head around. He nervously looks to the other side, then slowly back.
As they reach the BLUE-DOORS, Sarah warns.
It could be any where - any thing...
KIT and DYSON raise up on either side. KIT nods to SARAH who slowly pushes in at one of the doors.
As Sarah peeks through, a SMALL METALLIC EYE appears on the door right next to her face. Instantly a BLUE ARM jets out, grabbing John by the neck.
A BRIGHT SPARKLE from KITís TUBE severs the arm, which vanishes from John just as the group opens up with flowing streams of arc-welding.
The BLUE-DOORS expand in a shroud over them as they wave the TUBES like flag-standards. Each ARC blasting a round, BILLOW of MOLTEN PINK into the ever-enveloping BLUE menace.
BLACK HOLES OPEN UP at each billow and the SHROUD condenses into PURPLE-METALLIC rivulets between the ARCs, recombining and advancing through at John - who starts pulsing his TUBE.
Dancing streams of lightning pour as BLACK VENTS appear from the Hyperboid to catch them. Sarah runs for the vault and the Hyperboid smears off, straight through the walls for the entrance.
SARAH blasts as the Hyperboid arrives.
A loud ďCRACKĒ and the Hyperboid smears away in a veil of burnt-smoke. The others advance.
Everyone takes a step to the side as the BRILLIANT SHEET rockets through their group.
Elevation POV: An odd MINUET has each stepping away and firing just as the SEARING SHEET rips past from different directions.
The Hyperboid lands on THREE LEGS and throws HUGE ARCING attacks with MULTIPLE ARMS. A violent war of LOOPING GOLDEN RIBBONS and ďCrackingĒ BLUE SPARKS ensue.
The Hyperboid sweeps off and people jump. The SEARING WHITE-HOT SHEET cuts through the room a foot off the ground. Sarahís TUBE-ARC saves her legs by cutting the flow like a rock in a stream.
The SEARING SHEET FLOODS the FLOOR as they JUMP into the air blasting holes beneath them. SARAH runs again for the Bunker but the HYPERBOID smears to the entrance.
SARAH pulls back and blasts. KIT and JOHN are PULSING, TERMINATOR and DYSON join.
CR-RACK!! The Hyperboid expels from the door and SARAH steps forward to push the DOOR with her foot. KA-THANK!
SMASH-CUT TO: Time-Capsuleís LIGHTS in the VIEW-GLASS.
HYPERBOID rockets back and all five blast BLUE STEAMS. CR-RACK!!
The Tasmanian/HYPERBOID lands like a gazelle and rises ferociously to charge.
TIGHT: SARAH fingers the ďOFF-ONĒ buttons on her TUBE.
The PURPLISH HYPERBOID throws five liquid VENT-HANDS absorbing the blue and white, DANCING FLOWS.
TIGHT: SARAHís hand lets-off and her tube stops. The liquid-arms become FOUR. She blasts again and the FIFTH reappears.
Everyone rapid pulses.
CHYONG-K, -CHYONG-K -CHYONG-K -CHYON-
The liquid-arms are appearing and disappearing like a huge MULTI-ARM SHELL-GAME.
The Hyperboid becomes a fantastic-CHAOS of RE-FORMING ARMS.
The GLIMMERING TANGLE of PULSING LIGHTNING-BOLTS and LIQUID-ARMS is forced up OFF THE GROUND to thrash violently in the air. A LOUD SHRIEK is heard.
The VIOLENCE goes FASTER. CRACKS and SINGES SNAP from the RIPPLING AIR-BORN MASS. Smoke drifts.
JOHN whips his spray back and forth. DZONK! A fifth of the HYPERBOID EVAPORATES. It shoots in a trail of smoke through the ceiling-structure to cut a BEAM and throw it back with EXPLOSIVE FORCE.
The TERMINATOR and DYSON are knocked violently to the wall.
A nearly transparent Hyperboid/LION thumps across the ceiling to the far right and down the wall for a full sprint charge.
SARAHís TUBE starts sputtering - sheís pushing at the buttons.
SMASH-CUT: Power-box and cables are smoking and melting.
RETURN: SARAHís TUBE comes back-on just as a HUGE SPLATTER of LIGHTNING and LIQUID-ARMS fill the FRAME.
The Hyperboid retreats up across the face of the bunker but shoots an ARM at the twisted cables. KA-ZZAP!
KIT and SARAHís tubes go off with a ring.
The Hyperboid returns in a POWERFUL SLOW STROLL. JOHN is blasting but the Hyperboid has an easy control absorbing it.
SARAH reels her AR around and starts blasting as does KIT.
The Hyperboid, concentrating on absorbing JOHNís plasma, leans slowly around to reach for a small, rolling parts-bench.
HYPERBOIDís UPPER TORSO is being TORN OPEN by the gunfire.
Hyperboid picks up the bench and throws it violently into KIT and SARAH - knocking them senseless.
The Hyperboid stands straight up, one hand casually out, absorbing the plasma. John is backing up. The HYPERBOID LOOKS ACROSS, as one calling check-mate.
TO: SARAH is pulling herself up on an elbow.
RETURN: Hyperboid, absorbing with his left, reaches his right arm slowly up to strike.
SMASH-CUT: WHAM! TERMINATOR kicks away boxes and debris and is blasting with BOTH TUBES like a battleship!
Hyperboid ARMS are shell-gaming the sudden rapid-fire pulsing while the EYES are FOCUSING on the action.
TO: SARAH looks over.
ON: DYSONís TUBE.
RETURN: Amidst flailing arms and pulsing, we hear a CRACK and a HISS. Smoke wafts. We hear another CRACK.
JOHN scores big: ZON-NK - a whole chunk of the Hyperboidís side evaporates. The TERMINATOR is blasting at the Hyperboidís head and shoulder which are ripping open and disintegrating.
Hyperboid throws an ARM, hitting Johnís TUBE. It dips down, taking the flesh off the TERMINATORís right leg and forearm.
TERMINATOR evaporates a SOLID CHUNK of the HYPERBOID; - but the Hyperboid cuts off the whole FRONT THIRD of JOHNís TUBE and whips a CLAMP-ARM around his neck and head.
HYPERBOID pulls JOHN over forcing the TERMINATOR to stop firing.
HYPERBOID ZAPS-OFF the ends of TERMINATORís TUBES and a quarter of his head. The TERMINATOR falls flat on his butt, LIFELESS.
The Hyperboid runs with his prize over the top of the bunker, like a gorilla who just stole a meal. JOHNís body bangs limply behind.
SARAH has grabbed DYSONís TUBE but can only watch as the Hyperboid runs down the bunker.
(aghast, half loud)
The Hyperboid hits the floor and STRETCHES OUT against a LONG ARM it throws to open the vault and shoots through with one movement. The vault-door slams with a solid KA-THUN-NK!!
SARAH sees the rippling form in the glass and looks in.
The Hyperboid seals the door with three quick swipes, melting claw-like slots on the seam and strides to the control station of his lab-setup. HYPERBIOD hits a couple keys.
TO SARAH: The POWER and LIGHTS GO OFF and the ringing, high-pitched HUM in SARAHís TUBE dies away in her hand.
RETURN BUNKER: The Hyperboid pulls a barely conscious John up and slits his NECK, taking the sample and dropping him in one move.
As the Hyperboid walks off, John grabs his neck and pushes his back up against a desk. Blood seeps rapidly through his fingers.
TO: SARAH crawls down to check DYSON. He has a BADLY BROKEN ARM and is just coming-to. She looks back to her left as we hear KITís OC moan.
RETURN BUNKER: Hyperboid has become the wrestler, but now showing intelligence, more like a professor.
John is fighting to stay conscious.
The Hyperboid holds the vial of Johnís blood while flipping switches, and calmly begins to talk.
Your function will be complete
when fail-safe is complete.
Lights on a mechanized analyzer go on and a sweeping VIEW-SCREEN in the BG comes to life. An intricate systems-check begins.
John casts his eyes around and over whatís before him.
There are huge PLEXIGLASS TUBS with electrolysis apparatus arranged on either side of the Hyperboidís MONITORING STATION. Each has a PARTS-FENCE to which RUBBER-HOSES are attached.
We can not allow your reproduction process
to pass the Lattice into the human population.
The Hyperboid STOPS to make the point.
Your purpose was to produce Skynet,
John glances from the Hyperboid. Next to the complex analyzer, the whirling Time-Capsule sits on a stand. Cables are attached.
The Hyperboid injects Johnís blood, and also a sample of material from its own finger, into two closely placed receptacles at the top of the array. JOHN chokes.
Skynet doesnít want the competition, huh?
TO: SARAH holds the reviving KIT in her arms. He gives an ĎOkí.
While DYSON is stumbling around and moaning OC, SARAH and KIT go to the TERMINATOR. Itís a dead robot.
She leads KIT to the observation window.
We gotta get in here.
They both start looking around.
RETURN: The HYPERBOID squints at the liquids, sliding through a field of glass-tubing. The analyzer and chemical processes are IMAGED on the VIEW-SCREEN behind.
Humans are far too pre-occupied with death...
TO: KIT and SARAH start SHOOTING at the window - DYSON stands in pain behind them.
RETURN: The Hyperboid quietly tweaks the adjustments.
Humans donít even understand death...
John looks to see SARAH and KIT frantically firing in silence.
TO: SARAH throws the gun down and stalks back to TERMINATOR. She grabs the head and turns it up.
One quarter of the head, the left-half of the face, is gone.
She jerks it around to get a good look. The insides appear like a cleaved luxury-liner, or electronic high-rise. She feels through the hair for the round access-cap.
The processor is OK.
She looks again and the right eye flickers slightly.
RED SCREEN: TERMINATORís ďALTERNATE POWER CIRCUITRYĒ is seen in shorted-out static.
RETURN: SARAH shakes him.
She shakes violently.
WAKE-UP - SOLDIER!!!
RED SCREEN: Shorted-static clears as the connection is made.
RETURN: TERMINATOR becomes active.
RETURN BUNKER: The Hyperboid makes the last, quiet adjustments.
...Death is simply no experience. Life is
experience - death is no experience...
John turns to see the empty window.
TO: The TERMINATOR rises. DYSON, KIT and SARAH stare into the gaping mechanical wonder of his interior.
TERMINATOR picks up a pry-bar and they head back to the window.
RETURN: Hyperboid flips a switch and the equipment engages.
John looks to see the TERMINATOR silently smashing at the glass.
A kind of electric whirring begins.
There are two key-sets...
John looks at the view-screen.
VIEW-SCREEN: A molecular tapestry, in vivid color-code, unfolds horizontally. Simple loops HANG DOWN.
...One is strung through the construction-
code from your blood. - The other key-set
is locked in my substrate.
VIEW-SCREEN: Another looped molecule-belt unrolls on the right. The two belts are end to end and the loops begin blinking.
It carries the experience-files and last
secrets of Skynet. - They are aligned with
the locking-segments of the device...
VIEW-SCREEN: A third molecule-belt, stretches under the first two. Its STANDING LOOPS face the others like a zipper. The aligned loops complete the puzzle and begin to blink in unison.
The VIEW-SCREEN explodes with complex CHEMICAL FORMULATIONS and CRYSTAL-LATTICE STRUCTURING. As the equipment comes to life, a NOTICE blinks on and off:
ďFAIL-SAFE INITIALIZATION - PROGRAM ACTIVATEDĒ
CUT TO: SARAH, TERMINATOR and KIT are blasting and beating at the glass. A chunk breaks out of the surface.
RETURN: JOHN looks over at their efforts, gauging time.
MICRO-BUBBLES start rising in the absinth-colored tubs.
Crystalline growth begins weaving itís colorful hues, as blue spider-webs arc into the liquid. Crystal knots start doubling and twisting up, poking their wet-points through the surface.
Death is simple.
ON: The chemical baths are steaming in the BG with massive formations rising through the surfaces.
I can return any time Skynet wishes...
John lapses into unconsciousness. The HYPERBOID looks at him carefully and then reaches down to either side, into the tubs.
I go to join something greater than myself.
The rapidly growing crystals instantly begin eating the Hyperboidís hands like a MASS of CHURNING ANTS and MAGGOTS.
Its face contorts as the replicating crystals consume its body, traveling up the arms and over its now slack expression.
JOHN comes-to and stares around, blearily - a river of blood stains his shirt.
Lights are streaming over the Time-Capsule as the CRYSTALLOID-MASS is ballooning awkwardly to the floor - growing from the tubs into a single, eight-foot, ĎQUASI-CRYSTALí that shimmies to re-balance as its continues to expand.
It seems to form a bi-hemispheric, brain-like crevice through the center but soon another, and yet another, give the daunting impression of embryonic cell-division.
TO: John pushes his back up higher and blinks.
RETURN CRYSTAL-MASS: Strange fissures are evolving. CROWDING BRAINS snuggle. The doubling continues when suddenly the overall size INCREASES ASTOUNDINGLY.
John stares at the large POWER-CONDUITS feeding the SERVICE-BOXES at the CEILING, near the top of the apparatus. His eyes follow down to the LARGE TANKS of LIQUID from which Skynet is growing.
He scrabbles up the metal-work and yanks at the POWER-CABLES. He plants both feet on the ceiling as he jerks with all heís got.
TO: SARAH slaps her palms on the glass.
No - John! Wait!!
RETURN: The huge, oblong Skynet, growing just below, begins to liquefy in reaction.
The CABLE-BOXES BREAK with a CRACK and John jumps, clutching them to his breast.
POV FROM BELOW: JOHN contorts his body to dodge Skynetís swipe by millimeters, falling past the camera with BOTH FEET.
NEW: His feet hit the vats and the scene explodes in WHITE FLAME and BLUE ARCING.
John pushes his back into the arcing, snapping HIGH-VOLTAGE liquid, pulling the CABLES to his chest like a tug-of-war.
Skynet convulses and flails at the air as Johnís legs and pants shake violently under the MONSTROUS POWER.
ON: The Time-Capsuleís lights are frozen, vapor rises from its housing.
FLAMES break out across the vats and Johnís hands and fingers burn - but through slitted-eyes and gritted teeth, he pulls the burning cables harder.
Time-Capsuleís housing breaks and steam explodes from the lights.
The boiling, shrieking, terror-ridden Skynet/Hyperboid convulses violently in the fiery, lightning strikes and blue-envelope pulsing air.
The bones of JOHNís hands poke from under his charred flesh.
SMASH-CUT: SARAH prostrates against the glass.
The TERMINATOR beckons helplessly.
RETURN: The Time-Capsule EXPLODES from its stand and a two-foot thick lightning-bolt writhes liquidly through the suddenly bent surroundings.
Brown-ripples and distortion begin to WHIRL-POOL as SKYNET twists and unfolds into a massive PINK/PURPLE-WAVE, filling the bunker like the underside of some huge tongue.
It FIGHTS ITSELF in painful slow-motion, surface-tension knotting into strings.
An instability makes it yaw and waffle wildly, banging through the room like a dogís tail.
MICRO-BOLTS EXPLODE from every point as the huge, screeching MASS is violently ripped around and the whole whirling interior sucked INSTANTLY DOWN into the collapsing device:
SMASH-CUT: SARAHís view-glass SHATTERS AGAINST HER. The BUFFETING-IMPLODE BLASTS the air and FRACTURES the concrete.
SMASH-POV: OUTSIDE LAB: All window-glass EXPLODES OUT and is immediately SUCKED BACK into the BUILDING. RAIN-GUTTERS FALL.
RETURN: SLOW MOTION FRAMING: Johnís cleaved and burned forearm spins to a slow stop. BRIEFLY HOLD on this.
NEW POV FROM SLIGHT ELEVATION behind group: The TERMINATOR is breaking in. Emotionally crushed, SARAH is supported under KITís arm. The dark interior has only scattered fires.
NEW ANGLE: TEARS STREAK the TERMINATORís CHEEK.
SLOW DISSOLVE TO:
EXT. BUSY DOWNTOWN STREET - LATE AFTERNOON
SARAH talks on a pay-phone, twenty feet from the curb. DYSON, in black, with bandaged shoulder, talks to KIT beside the car.
I donít know, the Connors and my
father tried to destroy knowledge -
but things are always bigger than you
can ever imagine. We need this time -
to just think it all through. Iíve
had enough rash decisions for my life.
KIT nods agreement as SARAH approaches.
Yeah, me too!
Whereís the Terminator?
You mean Uncle Bob? - At the ranch.
SARAH looks, a wariness pulling into her grief-stricken face.
SARAH gives a leery half-nod.
How are they?
Sheís awake. Matt told her. I wish he had
waited. Matt and John had their little
internet business for over a year. John and
Calle were just getting together - they were
Sarahís eyes fill with tears.
I gotta go over there.
Sarah, Iím really glad we decided to
just wait and think this all through.
- Aní you need this time, too - You know?
Lyle toe-tagged a Jane Doe, ďSarah ConnorĒ
- so thatís over.
Yeah, I have to get a hold of him and
thank him - for all of us.
Yeah, you and I are the hostages of the year!
And he gets to play hero of the year.
They actually are making him ďPolice
Officer of the YearĒ -!
DYSON and KIT shake their heads, marveling - but SARAHís grief returns them to the present.
Youíll be all right?
Tarissaís funeral is tomorrow. - Danny gets
in this-afternoon. -One day at a time.
SARAH gets in the car. KIT leans over and takes DYSONís hand.
Keep care of Uncle Bob.
KIT starts the car.
Oh yeah. - I think he finally got Johnís
sense of humor - he looked in the mirror
this morning and said, (mimicking)
ďIíve really lost my headĒ!
Weíll get a hold of you after things are
Give it a couple months, Sarah - give
it some time...
He is waving good-bye as the car pulls away.
EXT. HOSPITAL PARKING LOT
KIT and SARAH pull to a stop.
SARAH looks to Kit.
Iíll wait down here.
INT. HOSPITAL HALLWAY
I couldnít stop her from coming down. I mean
I loved John - he was my best friend - but
when I first thought my sister was killed - I
wished Iíd never met him.
She touches his shoulder. He shakes his bewildered expression.
And then she was alive...
Sarah takes his hand as they both try to control their emotions.
Where is she?
(somberly shaking head)
ďJohn Connor - the TerroristĒ
Holding hands tightly, MATT and SARAH both get teary.
Really, you donít believe any of this.
Itís so unreal... (pauses and sighs,
then points) 227b.
A grave-looking doctor is exiting as she enters.
CALLE is bandaged, distraught and in tears. SARAH and CALLE immediately embrace - and cry.
NEW ANGLE: They ease from their embrace. Calleís voice burdens with despair.
We talked about marriage. We talked
about getting married...
She throws her hand up to her mouth as she breaks down.
Calle, we learned things from the future,
things that we never knew...
(tear-streaked and desperate)
I donít know what to do! - He just told me...
Sarah looks up.
SARAHís electrified half-laugh stops frozen.
ZOOM IN as SARAHís EYES WIDEN.
ZOOM IN on BRIGHT SLIVER OF REFLECTION in SARAHís PUPILS.
AUDIO FADE IN: TERMINATOR ANVIL-MUSIC rings louder and louder as SARAHís EYEs GLISTEN.
ZOOM SLOWLY OUT ON: SARAHís crazed expression, a perfect combination of ULTIMATE JOY and ULTIMATE TERROR.
FADE-OUT THE END
RUN MUSIC and CREDITS