TERMINATOR 3: ARMAGEDDON BY Daniel Perez based on THE TERMINATOR by James Cameron & Gale Anne Hurd TERMINATOR 2: JUDGMENT DAY by James Cameron & William Wisher TERMINATOR 3ª Screenplay, Text File and, HTML & Java Internet Version Copyright 1998 by Daniel Perez. http://www.terminator3armageddon.com or http://www.geocities.com/Hollywood/2900/ If you want to see this script or a future draft of it made into a film, please write to, James Cameron c/o Lightstorm Entertainment 919 Santa Monica Blvd Santa Monica, CA 90401 And ask him to collaborate with Daniel Perez to make this script and future drafts into a film. Thank you for your support of this script. None of the contents of this plaintext file can be changed without the consent of Daniel Perez. The cover page must always accompany this script. (c)1998 by Daniel Perez TERMINATOR 3 ARMAGEDDON FADE IN: CREDITS EXT. -- DESERT -- EARLY MORNING The horizon is beet red from the rising sun. Electric high tension lines hang over the desert on towers near a road. A BRIGHT VORTEX opens in the sky above the power lines. Blue Plasma, in double helix formation, drops out of the vortex. The air surrounding the plasma ripples with intensity. THE PLASMA HELIX wraps itself around a power line like a snake coiled around a tree branch. The plasma turns bright white. It SHOOTS down the length of the line. A highway sign by the road reads -- LOS ANGELES - 75 MILES EXT. -- DOWNTOWN L.A. -- PARKING LOT -- DAY A large crowd; surrounding a stage. Teal and white banners hang above and to each side. They read -- U.N. GLOBAL ANTI-VIOLENCE DAY - AUGUST 28TH, 2000. Several U.S. representatives sit at tables. At the podium, a middle aged man, prepares to speak. Police guard the stage. A FEMALE TV REPORTER tells us about the rally. In her 40's, dark flowing hair, bright blue eyes, blue dress-suit, upper class pedigree type. TV Reporter We're here to cover the dedication of this center of cooperation between the U.S. and the U.N. It's purpose; to usher in a new era of peace in the new millennium. The U.N. representatives carry a U.N. flag to a flagpole, surrounded by police. We HEAR a rush of dissenting, screaming voices in the background. VOICES Take it down! Take it down! Death to the U.N.! TV Reporter Although this site will help curb violence in Los Angeles, there are some who don't agree. A CROWD surges toward the police. Militia members. Others stand on camouflage vehicles, waving large American flags. The vehicles are marked -- LOS ANGELES CITIZENS MILITIA A MILITIA MEMBER reaches in the back of a jeep. Blonde hair, buzz cut, the Timothy McVeigh type. He moves a copy of THE TURNER DIARIES; reaches for an AR-15 ammo magazine. He clips it in an AR-15 hidden under a tarp. SEVERAL GANG MEMBERS; Cryps and Bloods watch the melee. One gang member briefly hides in the crowd. He nervously places his hand on a .38 caliber tucked in his belt expecting something. Another has a UZI bulging under his jacket. THE REPORTER interviews a middle aged MILITIA GENERAL, salt and pepper hair, four stars on the collar of his camouflage uniform. Beads on sweat on his forehead; furious. TV Reporter America will be safer with peace centers. Why do you hate peace? Militia General Can't you see we're being invaded by a foreign power! We're here to stop the New World Order! In the background the militia people rush the police lines. They snatch the U.N. flag and run toward a clearing. They stand with the flag under a set of power lines stretching over the parking lot. A ZIPPO STYLE LIGHTER is pulled out. The militia members torch the U.N. Flag. While it burns a... BLUE ARC OF PLASMA in a double-helix form, drops downward out of the power line, vaporizes the flag. A wave of energy kills the militia members, LURCHING the bodies backwards. The plasma SPLITS in two and forms into two human shaped figures. New types of Terminators . The first TERMINATOR looks like the older model Terminator (Arnold type) on the outside. The second terminator, a T-TWO THOUSAND, forms into a female form, blonde hair, 6 feet tall, bright blue eyes. Both mimic the militia members BDU's and combat boots. The BDU's are black instead of camoflauge. THE MILITIA MEMBER moves through the crowd with the loaded AR-15. Insensed by the black uniforms and dead militia members, he jerks down on the charging handle of the AR-15. Militia Member (aiming at the Terminator) You son of a bitch! SHOTS BREAK OUT. The crowd ducks. Round after round SPRAYS from the obviously automated AR-15. The police duck; draw their side arms. Several rounds THRUST through the Terminator and T-TWO THOUSAND. THE MILITIA GENERAL runs and tackles the militia member. They wrestle on the ground; the AR-15 still firing. Several rounds CUT DOWN Cryps and Bloods on the opposite side of the crowd. THE GANG MEMBER, takes an UZI out of his jacket and shoots back. All hell breaks loose. LAPD riot police fire and kill both the Militia member and the Gang member. A RIOT ENSUES in the crowd. Fists fly. Gunfire explodes. Police fire back. The Terminator and the T-TWO THOUSAND walk through the riot unfazed. The Terminator quickly lashes out and snatches a MAG-10 SHOTGUN from a militia member and holds it up. THE MAG-10 turns into blue plasma and becomes part of the Terminators arm. The Mag-10 is absorbed into his body. The T-TWO THOUSAND does a similar feat with an AK-47. The Terminator turns to T-TWO THOUSAND. Terminator Let the humans destroy themselves. They're experts on the subject. Both terminators IMPLODE into puddles of blue plasma and flow to a street light. A hole melts in the base, the plasma flows in. EXT. -- RESIDENTIAL STREET -- MORNING A newspaper carrier rides his bike on a street in Pasadena. He throws a newspaper toward a house, RATTLES a window next to the front door. A man opens the door. STEVE FERGUSON steps out the door; picks up the paper. Mid twentyish, dark brown hair, brown eyes, white shirt, tie, suit pants. A BLUE DODGE NEON is parked up the street. In the car a woman wears a blue work shirt, blue jeans, LA Dodgers jacket. SARAH CONNOR holds a 35mm digital camera connected to a laptop computer. She snaps pictures like a photographer at a photo shoot. Sarah Turn this way. That's it. Sarah gets a shot of Steve. Steve walks back inside. She starts the Neon; drives away. A blue Sedan follows Sarah. EXT -- FREEWAY - LOS ANGELES -- MORNING THE NEON turns onto the Pasadena Freeway. Sarah notices the Sedan EXT -- APARTMENT BUILDING -- MORNING A run-down apartment building stands in broken down section of El Segundo. The building is of Spanish design, arched doorways, tile roof. Boarded windows and gang graffiti cover the walls. Looks abandoned to outsiders. INT. -- APARTMENT -- EL SEGUNDO -- MORNING The inside is obviously not abandoned. Four people are inside of a heavily fortified apartment inside the building. Several large plates of 1/4 inch sheet metal are bolted to the walls facing the street. A 50 caliber machine gun is aimed toward th e window. Three men in their mid to late thirties, wearing O.D. tank tops, pants, and combat boots. Two of the men, Hector and Valdez field strip UZI's, M-16's. The third man, Cortez sits at a table made from a 4 by 8 foot piece of plywood and saw horses. H e's, about 6 ft, long hair in a pony tail, molds unpackaged C-4 into shaped explosive charges. He takes a break, wipes his hands with a rag and walks over to a desk. Cortez Hey John! Get some sleep already. You've been at it all night. JOHN CONNOR types on a Macintosh Millennium 3000 computer. Sixteen years old Brown combed back hair, dressed in rumpled blue jeans and a black shirt. John lets out an sigh. John I've got to get this done Cortez. The mission depends on it. IN THE HALL Sarah knocks on the door. She places her Browning automatic in the back of her pants. She pulls her jacket down over it. IN THE ROOM John picks up a Sig Sawyer 9mm automatic from the desk. Cortez looks through the peephole in the door while holding an UZI. He slowly opens the door. Sarah steps in. John puts down the Sig. Cortez leans close to Sarah as she walks in, whispering to her. Cortez I didn't know what I'd do without you. Is there a chance? For us? Sarah (softly) Cortez, you know my feelings are for one person. The mission keeps him alive for me. Sorry. Sarah gently kisses Cortez on the cheek. John thrusts a notebook computer into his book bag while Sarah approaches. Sarah John, go to Big Bob's. One of my waitress friends will hide you. John What happened? Sarah I think I was followed. We're getting out of here. John continues to rummage in his book bag, his hand passes over a girl's picture. John ÒNo fate but what we make for ourselvesÓ. Fake ID, safe houses, paranoia, broken (holds up girls picture) relationships. The norm. John wads up the picture, tosses it in the trash. Sarah sees Johns programming on the screen. John, clicks the mouse on a pull-down menu, saves a copy of the program. Sarah I know it hurts, but the mission's our priority. (sighs) Did you finish my program? John Yeah I got the bugs out of it. (beat) By the way, what'd you find out this morning? Sarah walks to the Macintosh. She takes a CD ROM out of her Jacket pocket and puts it in the CD drive. Sarah moves a copy of the LA Times out of the way. The headlines read -- RUSSIA INVADES MIDDLE EAST; Russian Ultra-nationalists on rampage. Sar ah motions the mouse to click on the picture files. The Photo Viewing program activates. Pictures of Steve appear. Cortez and the other two men watch. Sarah His name's Steve Ferguson. He works at Digital Integrated Industries; Cyberdynes subsidiary. INT./EXT. -- STEVE'S CAR -- DRIVEWAY -- MORNING Steve sits in his car, a Ford Tarus. He talks on his cell phone. A CLOSE UP of the phone number book in Steve's briefcase with the name -- Digital Integrated Industries, then in fine print -- Subsidiary of Cyberdyne Systems. Steve closes the brief case, then turns the ignition key. He backs out of the driveway. INT. -- APARTMENT -- EL SEGUNDO -- MORNING On the computer, we see her using her program to break into ÒThe CellÓ, the main computer of a local Cellular phone service. The screen fills with a window of calls made by Steve Ferguson. Sarah eyes the screen with satisfaction. Sarah He'll be mine. KNOCKING comes from down stairs. Sarah immediately pulls out her Browning Auto. She and Cortez walk to one of the boarded windows in back. Who they see near the back door is a... TEENAGER about John's age, long blond hair, blue eyes, loose jeans, black shirt with ÒDAY OF AKIRAÓ written on it, John Lennon style glasses. INT. -- STAIRWELL -- APARTMENT BUILDING -- MORNING Sarah with a paranoid look in her eye, quietly unlocks the door with her Browning Auto drawn. She jerks open the door. Cortez yanks the teenager inside and they take him upstairs. INT. -- APARTMENT -- MORNING Sarah and Cortez bring the Teenager into the apartment. Cortez holds the teenager inside the doorway, while Hector and Valdez frisk him. Sarah peeks through the cracks in the boarded up windows. She turns back. Sarah Check him for wires. Hector and Valdez frisks the teenagers' armpits, rib cage, crotch, etc. Cortez looks the Teenager over. Cortez He's clean. John (to Dave) Sorry about this Dave. Dave fixes his shirt. Sarah turns to John. Sarah Dammit John! What if he's a Fed? John Chill out, OK? He's Dave Thurman, the hacker I met at the Twenty-six- hundred meeting. Dave tries to break a smile, catching his breath. Sarah places the Browning onto a desk. Cortez suspiciously eyes him. Dave picks up his book bag and takes out several pieces of hackers equipment, a speed dialer, a digital Blue Box, a laptop computer, a cell phone, CD ROM's. Dave puts the items t ogether as he explains. Dave I figured out how get around Cyberdynes security system. Sarah and John sit down next to Dave as he activates a program; ÒSARAH'S BREAKER -- Guerrilla Freeware for the massesÓ. Sarah breaks a little smile as she sees a short Quicktime movie of herself in camo fatigues on the screen. Dave activates his Netscape Browser, loads the homepage of Cyberdyne systems -- http://www.cyberdyne-systems.com/ Dave (to Sarah) Because of your program, everyone knows you in the hacker world. Sarah Glad I could help. Tell me, how'd you break into Cyberdyne? John and Dave both grin then look up to Sarah. Sarah looks back puzzled. John We crashed Cyberdynes web server. They couldn't afford losing their online business, so the files were moved to the main system. INT. -- APARTMENT ACROSS STREET -- EL SEGUNDO -- MORNING. We're in a room filled with surveillance equipment aimed at Sarah and John's apartment. Dish shaped devices, phone tapping equipment, laptops, tape recorders, video cameras sound analyzers, Radio Frequency locators, the whole works. Sarah (filtered) We can't hackÔem now. Not here. Standing in the room are three men in dark suits, FBI agents. One agent; Caucasian, in his forties;6 feet tall, moustache, his name; Agent Edward McCallum Agent McCallum They're on to us. Two other men wear protective black vests, black boots, black pants, dark blue shirts. We see the yellow letters ÒATFÓ Bureau of Alcohol, Tobacco and Firearms. An FBI agent turns to Agent McCallum. FBI Agent Agent McCallum? When do we start? Agent McCallum Organize the Teams. The FBI agent uses a cell phone to give the word. Agent McCallum uses a laptop to access all the information on Sarah from the LAPD's main computer. Sarah's picture; her arrest records, the destruction of Cyberdyne, appear on the screen. INT. -- LAPD HQ -- COMPUTER RECORDS DIVISION -- MORNING A police CLERK looks at her watch. Gets up. Clerk Hmm. Break time. The Clerk walks out the door, locks it. A FLASH OF LIGHT illuminates the room. Blue static plasma pours out of the fluorescent ceiling lights. The Terminator resumes normal form. His right hand, still in plasma form, shapes into a data jack. He connects himself to the computer. The Terminator copies e very file the FBI agent is accessing. The computer screen shows Sarah's old mug shots. Videos from the institution play in small windows. SARAH'S police record, scrolls on the screen. Destruction of Cyberdyne, Grand Larceny, Felony Explosive Use, Firearm felonies, kidnapping of John Connor. A SECOND STREAM of blue plasma flows from an electrical outlet; shapes into T-TWO THOUSAND. This female Terminator has something the previous one's didn't have, her own personality. She smiles at the Terminator as she slowly strolls up to him. T-TWO THOUSAND Thought I'd find you here. The Terminator I've located Connor.... T-TWO THOUSAND gently places her index finger on the Terminators lips to shush him. T-TWO THOUSAND I already know. FBI computers have pathetic security. The Terminator sternly looks at her with a side glance. T-TWO THOUSAND smiles as she morphs into plasma. T-TWO THOUSAND Don't be so rigid. INT -- APARTMENT -- EL SEGUNDO -- MORNING Dave stands next to Sarah as she taps away on the laptop computer. The radio plays in the background. Radio DJ The President assures us the U.S. and U.N. will work to seek peace in the Mid-East crisis...Rioting has broken out at the U.N youth center. We'll keep you updated. John slowly shakes his head at the news. John If the machines don't destroy the world, we will. EXT.-- ROOFTOP -- ACROSS STREET -- MORNING Blue plasma flows off of the electric wires on the roof of the building. They form into you know who. T-TWO THOUSAND The creator wants them terminated quickly. The Terminator A direct termination doesn't work. We're going to wait. The Terminator's arm morphs into a string of plasma. It flows down the side of the building. It reaches the back of a phone booth and attaches itself to the phone cable. THE TERMINATOR'S DIGITIZED POV Shows voice and data logs, fax messages. A 3-D listing of data being transferred from Sarah and John's apartment to a remote computer service then to Cyberdynes Computer. EXT. -- PARKING LOT -- SUBSIDIARY -- MORNING Steve parks his car. He steps out carrying his briefcase. He passes a sign. It reads ÒCYBERDYNE SYSTEMSÓ. The building, rebuilt with new glass facing, shines in the sunlight. Steve walks through a type of doorway scanner that scans a person's han d. Steve places his hand on the interactive pad which can read a persons DNA. DNA SCAN - POSITIVE ID, FERGUSON, STEVE - ACCESS GRANTED. A high tech open sesame. INT. -- CHIEF EXECUTIVE'S OFFICE -- MORNING The chief executive of Cyberdyne, FRANK WERNHAUSEN, in his fifties, with thinning, greyish-blond hair, sits at his computer in his spacious and moderately lit office. He uses a virtual reality device. The movement of his blue eyes sorts files in th e computer. Steve KNOCKS at the door. No answer. Steve walks in; places his briefcase on a wooden conference table. Frank shuts off the device, looks up to Steve. He responds with a slight German accent. Frank Sorry I didn't hear you Steve. Steve A new toy, Mr. Wernhausen? Frank It writes programming based on neural responses. We couldn't have done it without your CPU. Frank's desk phone RINGS. Frank answers while Steve studies the virtual reality headset. Frank (into phone) Good. Send him up. Frank hangs up the phone. Steve sets down the device, turns toward the door. An Air Force colonel carrying a briefcase walks in. COLONEL KEVIN REESE, medium height, black hair, blue eyes, a proud, no-nonsense soldier, protective. Colonel Reese looks very similar to John Connor's father, Kyle Reese. He glances around the ro om, assuming it's safe. Frank (to Colonel Reese then Steve) Steve, you remember Colonel Reese from the Air Force? Steve approaches Colonel Reese; firmly shakes his hand. Colonel Reese Pleased meet you again Mr. Ferguson. Colonel Reese shakes hands with Frank. Steve Likewise Colonel. Steve, Frank and Colonel Reese sit at a large round wooden conference table. A 3 foot wide, black, doughnut circle, fluorescent light fixture hangs above it. Sunlight shines in through a glass wall of blocks. It reminds us of the war room in Dr. Strangelove. Colonel Reese Steve, your microchip helped us make the world's best weapons. Steve I'm honored. Why am I here? Colonel Reese Your new level 10 security clearance will let us tell you. Colonel Reese opens his briefcase; takes out a Digital Video Disc. He places it in a DVD player in a big screen television. The screen goes black, then...ÓPROJECT WORMWOOD -- Classified Information- Smart Weapons Testing - White Sands Target range -New Mexico. A HUNTER-KILLER prototype, an olive drab vehicle rolls across desert, it's treads CLANK and KICK up dust. Target cars and trucks are crushed by the treads. It fires laser weapons from turrets on overhanging arms about 20 feet above the ground. The turrets aim and destroy targets. Colonel Reese The M-100 H-K. Autonomous, unmanned, equipped with laser weapons and infrared scanning. An endo-skeleton robot walks and destroys fake soldiers with a laser plasma rifle. It's a model subtitled T-70, bulkier than the future endo-skeleton cyborgs. Olive green exterior. It faces us, an omen. Frank Cyberdyne Systems Model 101; version T-70. Cyberdyne wouldn't be here if I hadn't invented it. Colonel Reese Bullet proof, resistant to Electromagnetic pulse. The soldier of the future. (to Frank) Of course poor security delayed completion. Frank Because the terrorists set us back three years. Steve glances at Frank's unsettled eyes, concerned at the breach in security of such an advanced place. Frank (to Steve) I'll explain later. Colonel Reese Thanks to you Steve, our nation's armed forces will be one with machines. EXT. -- STREET -- EL SEGUNDO -- DAY FBI AGENTS IN BLACK UNIFORM forcefully clear people from the area. Cars are turned away from the street. FBI agents take sniper positions on rooftops. ATF agents prepare to charge the building. BRADLEY ARMORED VEHICLES with Tear Gas launchers roll onto both ends of the street. Agent McCallum, wearing a bullet-proof vest, walks with a slight limp behind a RYDER moving van with an ATF agent. ATF agent The knee still acting up? Agent Mcallum It always will. Six years ago, a big friend of Connor's shot it off. ON THE ROOF Two FBI agents hide behind a vent, aim their sights of their rifles's at the apartment window. A wave of plasma sweeps over the agents, revealing their true identities. T-TWO THOUSAND makes a move, the Terminator holds her back. T-TWO THOUSAND This goes against our mission. The Terminator The other terminators were beaten. Why? Emphasis on termination, not surveillance. INT. -- APARTMENT -- EL SEGUNDO -- DAY John glances out the window. The street is deserted. He walks to the window. Cortez and Sarah notice and follow him. John Where's the traffic? Sarah's paranoia returns. She reaches out to John while picking up her Browning. Dave stands up to look. Sarah sees the head of a person in a black uniform on a building across the street. Sarah Everybody hide! Now! CUT AWAY TO the roof across the street, we see John and Sarah in the cross hairs of the rifles of FBI snipers on rooftops. We hear Agent McCallums's voice on the radio. Agent McCallum(V.O.) Remember, no Cyberdyne incidents. On the street Agent McCallum lifts his arm. He gives a signal to the FBI snipers to hold their fire. THE PHONE in the apartment RINGS. Sarah picks up the receiver. Agent McCallum (filtered) This is Agent McCallum of the FBI. You can't escape Sarah. Your freedom ends today. Sarah Freedom is dead. Sarah flings the phone across the room. It SHATTERS the window and PLUNKS to the floor. AN FBI SNIPER watches from the roof across the street. His finger holds the trigger of an MP-5. He is startled by the shattering glass. He pulls the trigger. SARAH pulls back on John as we hear the first shot. BANG! A round breaks through glass in the window. Sarah holds John as she falls with him to the floor. She covers John with her body. Cortez, Hector and Valdez drop to the floor, grabbing M-16's The bullet STRIKES Dave in the chest. His ÒDay of AkiraÓ shirt ripples from the shock. He is knocked back off of his feet and slams down onto a ratty couch, dead. Cortez Sarah! Here! Cortez slides an M-16 across the floor to Sarah. A BARRAGE OF BULLETS shatters the window next to Sarah. She flattens herself against the floor. The FBI agents keep firing. Bullets pound the 1/4 inch sheet metal bolted to the walls. AGENT MCCALLUM calls up to the roof with the bullhorn. Agent McCallum (amplified) HOLD YOUR GODDAMN FIRE! SARAH fires the M-16 back out the window while ducking behind a white cast- iron radiator. AGENT MCCALLUM ducks as bullets STRAFE across the car in front of him. He motions to the Bradley Vehicles. He picks up a two-way radio. Agent McCallum Send in the Bradleys! T-TWO THOUSAND turns to the Terminator. He coldly stares back. The Terminator Now it's time. Patience pays off. THE BRADLEYS roll down toward the empty apartment building. The tire treads run over trash and weeds and a ragged childs doll. The plastic head is flatted on the dirt. THE TURRETS on the armored vehicles ram the building, BREAKING OPEN the walls. SMASH! The turrets BREAK OFF supports in the first floor. Canisters of CS tear gas are injected into the building's first floor; just like the Branch Davidian Complex in WACO. AN ELECTRICAL OUTLET is pushed out of a wall. The wires, short and arc. The sparks start a fire. INT. -- APARTMENT BUILDING -- DAY Sarah grabs M-16's, UZI's, and Remington shotguns and stuffs them into a duffel bag. Sarah John! Get the laptop! John crawls to the desk. He ducks while bullets fly over head. Plaster dust and bits spray everywhere. John opens his backpack. He reaches up grabs Sarah's Optical Disks in a white box marked ÒHacking ProgramsÓ. Cortez Sarah! John! Get out of here! Take the tunnel! Cortez, Valdez and Hector fire out the windows at the approaching ATF agents, providing cover for Sarah and John. BAMMM!!! John falls to the floor as the building is shaken while the Bradleys ram it. The floor and the walls SPLIT. John They're ramming us!! John reaches for Dave's laptop. A circle of blue plasma swirls in the center of the laptops screen. The picture warps out of focus. John glances, frozen. Sarah looks to see him. John's eyes widen. He leaps out of the way as TWO THREE INCH WIDE STREAMS OF GLOWING BLUE ENERGY SHOOT OUT of the screen, melting the laptop. Each stream of energy forms into the Terminator and the T-TWO THOUSAND. CORTEZ rushes at the T-TWO THOUSAND. She swipes with a blade formed from quantum plasma, vaporizing him. Bullets from the ATF CUT DOWN Valdez and Hector. Sarah John, come on! NOW! Sarah grabs John by the arm. John quickly picks up a Digital Video Disc corder from a table. They run the hell out of there. THE TERMINATOR AND TWO THOUSAND ARC back up into the electric lights in the hall in a rope like helix fashion. INT. -- HALLWAY -- DAY Sarah and John scramble down the hall. Fluorescent lights flicker and POP behind them. Glass, Phosphorus, broken plastic and ceiling tile rain from the ceiling while they run. Two snake-like forms of BRIGHT BLUE PLASMA bob and weave from one fluor escent light to another and SHATTER the fixtures, blast out ceiling tiles. THE HALLWAY FLOOR partly collapses into the 1st floor. Sarah and John bolt through a door to the stairwell. John flicks off the stairwell lights. Sarah pauses, looking back. Sarah What are you doing!? John high tails it down the steps as the blue snaking plasma jumps from the hallway lights to the stairwell lights. The plasma bounces off the fixture; plops to the floor. John Tripping them up. Upon reaching the bottom of the steps, Sarah rips up a linoleum panel from the floor. She shoves John into an underground electrical conduit tunnel. A BRADLEY'S TURRET PUNCHES THROUGH the wall. Sarah dives into the maintenance tunnel just before the Bradley's front wheels collapse the wall onto the opening. EXT. -- ABANDONED BUILDING -- PARKING LOT -- DAY Sarah and John KICK their way out of an empty electric transformer box, 100 feet behind the building. The building collapses behind them while the Bradleys pummel it. They run to Sarah's Neon near a large rubbish pile. ATF AGENTS FIRE their MP-5's. Bullets RIP across the ground. PLASMA shoots upward out of the dirt and pierces the Bradleys gas tank. BOOOOOOM!! The Bradley BLASTS STRAIGHT UP in the air. The ATF agents hit the dirt. The Neon's tires SQUEAL; it tears down the alley. EXT. -- STREET -- EL SEGUNDO -- DAY T-TWO THOUSAND liquefies, splits into two T-TWO THOUSAND plasma snakes!! Both of the coil around each other like a DNA helix as the plasma jumps to electric wires on the roof of a nearby building. THE QUANTUM PLASMA TERMINATOR ARCS off of the building; flows into the taillights on a semi. THE PLASMA flows through the semi's wiring and out of the instrument panel. The driver, with his shirt smoldering, jumps from the truck. The Terminator resumes form. Two cyndrical sections of plasma fall in the seat. They form into the Mag-10 shotgun and th e AK-47. EXT. -- INTERSECTION -- EL SEGUNDO -- DAY Sarah swerves the Neon through traffic. She heads north on Sepulveda Blvd, toward the L.A.X. airport. Horns HONK. John takes out his camcorder to record what's happening. THE PLASMA HELIX of the T-TW0 THOUSAND flows through the wiring of the traffic signals. All the lights, red, yellow and green, instantly BRIGHTEN and EXPLODE. Metal CRUNCHES and tires SCREECH while cars collide at the intersection of Imperial Highway. The Terminator uses the semi to PLOW cars out of the way. Sarah quickly glances backwards to see the Terminator following her. THE TERMINATOR reaches for the Mag-10 He holds it out the drivers side window, aiming it at Sarah's car. BOOM!! SARAH AND JOHN duck, as the shot blows out the rear windshield. JOHN AIMS THE DVDCORDER straight as they enter a tunnel under L.A.X. A 747 crosses the tarmac above. Sarah looks at the tunnel with disbelief. Sarah A new Terminator, a new tunnel. INT. -- CHASE THROUGH SEPULVEDA AVE. TUNNEL -- DAY The plasma helix T-TWO THOUSAND arcs from a buildings outdoor light fixture to the lights in the tunnel. Sarah's Neon passes a semi. She swerves back into her lane. THE TERMINATOR aims the MAG-10 at the gas tank of an oncoming semi approaching Sarah's car. BOOM! One shot, nothing. BOOM! The second shot. KABOOOM! The tank on the semi EXPLODES. SARAH AND JOHN flinch. The blast forces Sarah's car out of her lane. John Watch the wall! The Neon SCRAPES against wall of the tunnel. SPARKS FLY. THE ONCOMING SEMI bursts into flames and jack-knifes. The rear end of the trailer scrapes against the wall in front of Sarah's car. THE TRAILER SLAMS against a small abutment. It lifts up. Sarah's car passes under the trailer's wheels!! The wheels leave ruts and skid marks on the roof. The trailer SLAMS on the pavement. John looks up to the ceiling of the tunnel. John Mom! Lights! THE LIGHT FIXTURES are blasted off of the ceiling of the tunnel by BURSTS OF ENERGY from the plasma helix of the T-TWO THOUSAND. They SMASH on the pavement. Sarah SWERVES to avoid them. THE CHASE exits the tunnel near the L.A.X main terminal. The Neon climbs an entrance ramp and heads East onto Century Blvd. EXT. -- CENTURY BOULEVARD -- NEAR L.A.X. -- DAY The T-TWO THOUSAND plasma snakes and arcs from one building to another. Signs and payphones are blasted from buildings. THE TERMINATOR aims the AK-47 out of the window of the semi. He aims. SMAAASHHH!!! The semi-truck sideswipes a limo disrupting the Terminator's aim. The chase turns North onto the Interstate 405 freeway entrance. EXT. -- CHASE -- 405 FREEWAY -- DAY THE QUANTUM PLASMA jumps to an electrical conduit on the elevated 405 Freeway. Plasma shoots up from a light pole base on the southbound side. A light pole is BLASTED from it's base like a rocket. It takes the trajectory of a javelin thrown by a powerful athlete. The PLASMA shoots upward. It forms an arch and crosses to a lightpole base on the northbound side of 405. THE BLACKTOP in front of the Neon is impaled by a light pole. Sarah swerves in the nick of time. She reaches in the backseat, grabs an M-16. Sarah John! Grab the wheel! SARAH crawls in the backseat, leans out the rear drivers side window and FIRES the M-16. THE FRONT RIGHT FENDER of a Lincoln is stuck by a lightpole. The Lincoln flips forward, end over end. The front right side RIPS AWAY. The trunk almost slams into the Neon. INSIDE THE SEMI plasma shoots from the Terminator's chest and into the instrument panel. ÊHe turns on the truck's lights. The truck bears down on the Neon. Streams of plasma shoot out of the headlights of the semi, aiming for the rear of the Neon. Sarah shoots at the trucks headlights. She shouts to John. Sarah Pull the fuses! John reaches under the dashboard. He yanks on the mass of wires under the dash; rips out the fuse panel. Plastic SNAPS. John hisses in pain, cutting himself, blood drips. THE PLASMA SNAKES vaporize the tail light covers and rip across the trunk of the car leaving molten trails resembling welding arcs. JOHN pulls the tail lights fuses with one hand while driving with the other. The plasma bounces off the tail lights. ANOTHER LIGHT POLE PUNCTURES an overpass. It plummets diagonally, piercing the blacktop in front of the Neon. The front left side of the Neon STRIKES the pole and flips sideways onto it's roof. SARAH AND JOHN are bounced around inside the Neon while it skids on it's roof. The Neon skids toward the center cement divider of the freeway. Metal SCRAPES, sparks fly. The IMPACT flips the car right side up again! Sarah takes the wheel from John. She turns off the 405 freeway onto La Cienega Blvd. EXT. -- LA CIENEGA BLVD. -- INGLEWOOD -- DAY Sarah drives the Neon up La Cienega toward Centinela Ave. The Quantum plasma jumps from the 405 to power lines along La Cienega Blvd. The Terminator attempts to pass the Neon while PLOWING a moving van out of the way. Sarah floors the accelerator. She aims the Neon straight toward a Flatbed Semi loaded with metal I-beams. John You got a death wish?! Sarah I'm counting on it! Strap in!! John and Sarah snap their buckles. The driver in the truck jumps out as he sees the approaching plasma and semi. Sarah swerves the Neon onto Centinelia Ave. At the same time, the TWO-THOUSAND FLOWS into the traffic lights and arcs toward Sarah's S CREECHING car. THE TANKER driven by the Terminator SMASHES into the oncoming Metal hauling Semi. The the T-TWO-THOUSAND plasma shoots into the grille of the Flatbed Semi. The TANKER EXPLODES. I-Beams punch through the Flatbed trucks cab and into the tanker. Plasma energy dissipates throughout the metal. The I-Beams CLATTER on the cement. EXT./INT. -- SARAH'S CAR -- DAY Sarah SLAMS on the brakes to her car on Centinela Boulevard. She looks back at the wreck. John grabs the camcorder and continues filming the wreck. Sarah watches him. Sarah We have to find out everything Ferguson knows about Cyberdyne. John Will he believe terminators exist? Sarah quickly glances at John. She doesn't know. EXT. -- INTERSECTION -- DAY Quantum plasma flows from the flaming wreckage into two puddles of opaque blue energy. The Energy swirls upward into human shapes. We see an almost transparent Endo-skeleton in the Terminator's plasma. Bystanders step back. Another LAPD cruiser approaches the intersection. T-TWO THOUSAND and the Terminator walk over to the cruiser. The Terminator still carries the MAG-10. Two officers step out, drawing their guns, Baretta automatics. 1st Officer Drop your weapon! On the ground! The Terminator knocks the Baretta out of the officers hand, grabs the officer and tosses him over the top of a car. T-TWO THOUSAND forms her arm into a quantum-metallic blade. She impales him. The officer SHRIEKS. Streams of plasma shoot up out of his eyes and mouth. His body is vaporized. The Terminator and T-TWO THOUSAND get into the cruiser. T-TWO THOUSAND turns to the Terminator. T-TWO THOUSAND You didn't terminate the officer. The Terminator Not a priority. One, I was sent to help terminate Sarah and John. Two, make sure our creator receives the time displacement information. DIGITIZED SCHEMATICS of the TIME DISPLACEMENT MACHINE appears in T-TWO THOUSAND'S vision. It changes to a digitized image of the Terminator. A clear outline of an endo-skeleton morphs within the plasma. T-TWO THOUSAND New technology, old programming underneath. The Terminator Newer technology, more mistakes to be found. The T-TWO THOUSAND frowns. She starts the cruiser. INT. -- CYBERDYNE SYSTEMS -- FRANK'S OFFICE -- DAY The television shows home video footage of silvery objects above a mountain range. It zooms in on shots of flying H-K's. The date of the video is in the lower left -- 08/29/97 Colonel Reese Finally, to increase security, the project was moved from Area-51 to White Sands. Did I leave out anything, security-wise? Steve Just one thing. Who attacked this company three years ago? Frank puts a disc in the DVD player. Sarah and John appear as they destroy Cyberdyne. Steve vaguely recognizes Sarah. INT. -- CYBERDYNE SYSTEMS -- HALLWAY -- DAY Steve and Colonel Reese walk down the hall outside Frank's office. Steve looks around to see if anyone is listening. Steve Why'd you call me this morning? Colonel Reese We're watching Frank. He can't be trusted with your inventions. A security camera, disguised as a ceiling fixture, watches. Steve You told me his psychological profile is unstable. Colonel Reese The top brass are watching him. Do you have the file? Steve opens his briefcase, then takes out a CD-ROM, hands it to Colonel Reese. Colonel Reese glances at the CD-ROM. The name....MILES BENNET DYSON....a personell file. Steve Right here. It's got everything on Miles Dyson. If Frank slips up, what happens to me? Colonel Reese We'll protect you. You'll be known as Miles Dyson by our computers. (beat) Sooner or later, Frank will be gone. It's just a matter of time. INT. -- FRANK'S OFFICE -- DAY An agitated Frank watches the conversation on a monitor. Steve and Colonel Reese leave the camera's view. Frank coldly SLAMS his fist against the monitor. It shuts off. He walks to his desk, picks up the remote, turns on the TV. Images of riots and looting appear. News Anchor (filtered) Law and order is collapsing. The city is asking why? Frank Simple. Lack of discipline. He reaches into his briefcase, takes out a 3 inch square, black optical disk. Next to the disk are copies of MEIN KAMPF and the TURNER DIARIES on optical disks. Frank turns on his computer, inserts the disk. Windows appear on the screen. Red background, white letters which reads in flashing text -- ARPANET ACCESS -- RESTRICTED USE ONLY. He types in his pass code. Frank glances around the room setting his sights on the......virtual reality device. EXT. -- ABANDONED ARMORY -- DAY Sarah brings the Neon to a halt at the back fence of an abandoned National Guard armory. Sarah and John step out, walk through a hole in the weathered cyclone fence and approach a pile of rusty barrels. Sarah moves the barrels above ground, reveali ng buried cache barrels. John uses a tire iron to pop off the cover of a barrel. Sarah reaches in, takes out plastic explosives, grenades, camouflage uniforms. She hands them to John. John Will this be enough? Sarah I hope so. It's better to be safe than terminated. EXT./INT. -- HOUSE -- DRIVEWAY -- LATE AFTERNOON The Terminator and T-TWO THOUSAND pull in front of a house in the Eagle Rock District of L.A. T-TWO THOUSAND KICKS the front door off of the hinges. The Terminator follows. IN THE BEDROOM the Terminator searches. He sees a computer. The Terminator turns it on. From the file names we see it belongs to Dave. T-TWO THOUSAND walks in while the computer shows a program for a commercial online service. A window with a picture of Earth appears then morphs into PHREAKNET.NET. The program asks for a password under Dave's name. The Terminator Primitive password protection. T-TWO THOUSAND Not for long. The T-TWO THOUSAND morphs her hand into a plug interface and jacks it into the back of the PC. She uses a decrypting program to access the Online services password files. The access codes, and Internet nodes are mapped out in her POV. GATEWAY 867.5.30.9 ACCESSED -- FIREWALL OVERRIDE UNIX ROOT ACCOUNT ESTABLISHED -- PASSWORD FILE OPEN. Dave's Online account is opened into a an ordinary text window. The Terminator uses the mouse to choose the ÒList of E-mail AddressesÓ menu. We see an E-mail address - Savior@phreaknet.net. This address shows the most E-mail replies from Dave's acc ount. INT. -- SARAH'S CAR -- EVENING Sarah concentrates while she driving her car down the street. John glances at the dashboard clock. 7:00 P.M. Sarah Is Ferguson at work? JOHN has his laptop computer in front of him, connected to a cell phone. A blue bordered window John's account for Phreaknet.net is on the screen. He uses Sarah's Breaker program to get into Digital Integrated Industries computers. It flashes ÒSECURITY BYPASSEDÓ. John He's at his computer. John turns the laptop toward her, Sarah glances. We see the movement of a mouse icon, files being clicked and moved on Steve's computer screen, an exact copy. Sarah Cover your tracks. I don't want a repeat of this morning. John moves the track ball and accesses Cyberdyne. He uses a. program that switches the digital signatures on the server logs from his Internet Providers computer to Cyberdynes. John All done. Now it looks like I broke in from Cyberdyne. IN DAVE'S HOUSE The Terminator and T-TWO THOUSAND morph into plasma. INT. -- CYBERDYNE SYSTEMS -- FRANK'S OFFICE -- EVENING Frank sits in his chair, wearing the virtual reality device. From his POV, we see images of menus and commands. The device scans his eye movements. He accesses the military computer network, ARPANET. He selects a menu. The computer asks for a security clearance access code. Frank places his hand on a scanner connected to the PC. ÒUSER WERNHAUSEN IDENTIFIEDÓ We cut to Frank's POV. He connects to a computer system at the NUCLEAR COMMAND CENTER. A map of New Mexico and the White Sands Missile Range appear in Frank's 3-D view. EXT./INT. -- DESERT -- NEW MEXICO -- EVENING A Hummer travels down a desert road. It kicks up sand and dust. Light wind blows. The sun sets behind a mountain range in the distant, amber colored sky. It approaches an abandoned aircraft hangar surrounded by a rusty old fence. Soldiers walk around the perimeter. One of soldiers uses a remote control to open the gates and then the hangar doors. The HUMMER drives in. Inside the hangar, the HUMMER enters a lighted tunnel descending underground. INT. -- NUCLEAR COMMAND CENTER -- CAVERN -- EVENING We're in a long underground cavern about 50 ft high by 300 ft wide. Lights bolted to the cavern ceiling illuminate the floor. The HUMMER passes several parked tanks and the new assault vehicles, H-K's. Parked on the opposite side are several new f lying assault aircraft; flying H-K' rotocopters. SEVERAL T-70 ENDO-SKELETON CYBORGS work and move heavy objects. They're controlled by soldiers standing at control panels. The Hummer stops in at the entrance to the interior of the command center. An MP walks down a set of steps. He salutes as he holds the door open, while Colonel Reese steps out of the vehicle, returning salutes. An air force general walks down the steps. He is GENERAL DEVIN HARRIS. 40ish, African-American, upstanding. Colonel Reese salutes him. General Harris returns the salute. General Harris Glad you could make it Colonel. INT. -- NUCLEAR COMMAND CENTER -- EVENING General Harris and Colonel Reese walk onto a platform, into the well lit main control room. The platform overlooks three rows of work stations with computer terminals. They stand before a large computer in the center of the room. Between the terminals and the computer is a holographic 3-D image of the Earth, projected by 3-D cameras on a small black, bowl shaped platform. T-INFINITY is printed on the front of the computer. Military personnel busily work as Colonel Reese loo ks around in awe. Colonel Reese What paid for this place? General Harris Overpriced items. We got thirty-three billion for the project. Colonel Reese No wonder the government's broke. (beat) Is NORAD still useful? General Harris looks to NORAD'S Location on a viewscreen map of the U.S. including the missile silo locations. General Harris It's a very expensive decoy. We FOLLOW General Harris, Colonel Reese down a set of stairs and over to the T-INFINITY computer. The computer consists of data banks lined up side by side in half a semi-circle. Display screens are attached to metal beams extending from the floor to the ceiling above them. Electrical transformers are on each side of the room. General Harris points to T-INFINITY. General Harris This machine can re-target our nuclear arsenal and run Sky-Net. Colonel Reese Sky-Net? General Harris A replacement for the GPS system. On the screens, data is transmitted on troop movements all over the globe. General Harris and Colonel Reese walk up to the large chassis of the computer. General Harris T-INFINITY uses data from Sky-Net and targets our smart weapons. Colonel Reese glances at the viewscreens. Colonel Reese I've heard defense contractors have access to the system. Can security breaches be detected? General Harris Anyone poking around in restricted areas will have their files copied and erased. INT. -- CYBERDYNE SYSTEMS -- FRANK'S OFFICE-- EVENING Frank accesses the computer at the Nuclear Command Center with the virtual reality device. From his POV we see him accessing a restricted area of the Root Domain of the computer. Unknown to him, the T- INFINITY computer prepares to defend itself. INT. -- NUCLEAR COMMAND CENTER -- PERSONNEL RECORDS -- EVENING A COMPUTER SCREEN in the Personnel Records Office shows T-INFINITY accessing the computers at Cyberdyne. It rewrites the programming in the virtual reality device. Rewritten programming fills the computer screen. The following messages blip on the screen; PROGRAMMING REWRITTEN VIA GENETIC ALGORITHMS CYBERDYNE MAINFRAME ACCESSED ---> HOSTILE END USER IDENTIFICATION - WERNHAUSEN, FRANK ---> ARPANET ID #23791133 The white screen shows Frank's Government files with red letters flashing ÒCLASSIFIEDÓ. Frank's psychological profile uploads. A picture of Frank appears on the left, with the text of Frank's psychological analysis on the right. PSYCHOLOGICAL PROFILE --> GENETIC ALGORITHM ANALYSIS BEGUN NEURAL RESPONSE DATA from the virtual reality device is cataloged by T-INFINITY. A window shows a 3-D image of Franks brain and it's neural responses as mapped out energy patterns. INT. -- CYBERDYNE SYSTEMS -- FRANK'S OFFICE -- EVENING DELETING FILES/DIRECTORIES -- appears on Frank's screen. BLUE PLASMA shoots out of the wall socket and into the power cord on Franks computer, burning up the wires plastic insulation. The plasma shoots through up toward the computer. FRANK is vaporized into plasma while streams of plasma shoot out of the computer screen. The computer BLOWS APART. THE TERMINATOR AND T-TWO THOUSAND form into shape next to a T-70 replica by the wall. EXT. -- UNDERGROUND PARKING LOT -- EVENING Steve steps out of an elevator. He walks toward his Ford Tarus. He jiggles his car keys in his right hand, briefcase in the left. He steps to the drivers side; opens the door. Sarah and John crawl around the side of the car. Sarah climbs to her feet. Steve spins around seeing her, pointing the Browning Auto at him. Sarah We need to talk. Steve sets down the briefcase; holds up right hand. Sarah watches while he grasps for the Cyberdyne videotape on the front seat. He holds up the tape. Steve Let's shed some light. INT./EXT. -- DIGITAL INT. INDUS. -- STEVE'S OFFICE -- EVENING Steve sits at his desk. Sarah stands, looking toward the window at the lights of L.A. just below the orangeish yellow evening sky. All appliances in the room have been unplugged, the lights turned off. The only lighting is from battery powered fluor escent lanterns. She keeps a firm grip on the Browning. John sits on the couch near the door. Sarah Have I cleared things up? Steve Not really. Am I supposed to believe that machines from the future, were sent to kill you? John Exactly. Steve reaches up to the nearby wall -- adjusting a small picture frame. Sarah carefully eyes him. From his POV we see the frame holds his degree in artificial intelligence from MIT (Massachusetts Institute of Technology). Sarah Cyberdyne salvaged the first terminator after I crushed it in 1984. Steve listens more closely knowing what she is going to tell him, but doesn't let on. Sarah Ten years later, another Terminator helped us destroy Cyberdyne's lab, files, everything. Sarah glances at a prototype of a assembly line robot on the other side of the room. Old memories surface. Steve But you told me they kill people. Sarah It was protecting John from a liquid metal terminator. If he hadn't sent it from the future, we'd be dead now. Steve But why'd you blow up Cyberdyne? Sarah Listen to me. Miles Dyson would've invented a chip used by Sky-Net. It was going start a nuclear war on August 29th, 1997. Blowing up Cyberdyne delayed the war. Steve has the look of ÒOkayÓ. He notices Sarah letting her guard down while she lets out a sigh of exhaustion. Steve jumps up in his chair and bolts for the door. John runs and trips him. Sarah squeezes the trigger. A round HITS the floor 6 inch es from Steve's face. Sarah That was stupid! Get up! You have to trust us. Believe us. Steve Why? For all I know you're the one who killed Dyson. Play the disc in the player! John turns on a TV and the DVD player sitting in a cabinet. He presses PLAY. Sarah, John and the Terminator appear while sabotaging Cyberdyne in 1994. Steve I know you were in the Pescadero nut hatch. You still belong there because your sick fantasies killed my father. John (to Sarah) Tell me you didn't kill anyone. Sarah No! (shouting at Steve) I don't kill people, I kill machines! Steve glares while Sarah keeps her Browning on him. Steve Does West Highland press a button? DISSOLVE TO: INT. -- POLICE PRECINCT -- FLASHBACK -- NIGHT -- 1984 A Ten year old Steve Ferguson and sits in an office, awaiting his father at the West Highland Police Station. Wavy, brown hair, blue jeans, sneakers The year is 1984 on the wall calendar. He watches Bruce Springsteen's video of ÒDancing in the Dar kÓ on ÒFriday Night VideosÓ on a small TV. His father, PAUL FERGUSON, walnut hair, muscular, enters. Steve quickly turns the TV down. 10 year old Steve Dad, I can explain. Paul Don't try Stevie. Wandering in this city at night can get you killed. You're grounded. 10 year old Steve I didn't mean to. GUNFIRE ERUPTS on the opposite side of the station. Paul yanks Steve down to the floor and draws his gun. The SOUND of gunfire gets closer to the office. Steve looks around wide eyed. BOOM! BLAM! Shrieks of pain ECHO in the building. Paul Get under the desk! NOW! THE DOOR to the office is KICKED inward. The 1984 Terminator and Paul exchange gunfire. A round shatters the tube of the small TV set as it shows Bruce Springsteen pulling a girl up on stage(Courtney Cox). TV tube glass clatters to the floor. Paul is hit by several rounds. He slumps to the floor. 10 Year old Steve Dad! Steve tries to reach his father. He skitters back under the desk. Sarah Connor and Kyle Reese run through the office. Steve crawls out, cradles his dad in his arms. 10 year old Steve Dad? Paul weakly places his hand on Steve's cheek. It drops after leaving a smear of blood on Steve's face. Steve breaks down hugging his father's body. Steve quickly scrambles back under the desk, while the 1984 Terminator walks through the office. DISSOLVE TO: INT. -- STEVE'S OFFICE -- EVENING We see a close up of Steve quietly sitting at his desk, holding his father's police badge and name tag. Sarah, puts her Browning in her jacket, a look of sympathy on her face. Sarah I'm sorry. Steve lets out a sigh. He picks up the remote, clicks it. Steve After that night, I wanted to find out why your friend was screaming about Sky-Net. Steve hits the play button. The TV shows part of the interrogation video of Reese in 1984. Video Kyle Reese (filtered) A computer defense system built for SAC-NORAD by Cyberdyne systems. Sarah glances at her lost love. Steve hits the pause button. Steve I went to MIT, studied computer design, and here I am. The CEO thought I was talented and put me in charge of this place. (beat, takes breath) Can I get some air? Sarah motions for John to keep an eye on him at the door. Steve exits the room. Sarah glances over to the desk, seeing Steves briefcase. She cautiously takes cat-like steps to the desk, quietly opens the briefcase and sits on the desk. John keeps an eye on Steve. She picks up a manila file from the briefcase. THE FIRST PAGE READS "PROJECT WORMWOOD -- Classified Information of the United States Government, Uses for the T-INFINITY-1 microprocessor, Contract Companies- Digital Integrated Industries and parent company Cyberdyne Systems. Sarah picks up another one. It describes smart weapons. M-100 H-K assault vehicle CSM-101 - Cyberdyne Systems Model 101 - T-70 model. T-INFINITY computer system for Sky-Net. Everything that she's been preparing to fight is resting in her clammy and trembling hands. John notices her shaking. John What's wrong? Like she's seen a ghost, Sarah hands the file to John. She slides herself off the desk in total disbelief. STEVE walks back into the room. He sees John with the files. Steve If you don't have a security clearance, drop the files. Sarah glares the hate of the whole world at Steve as she confronts him. SMACK!! She hits him across the face. Sarah You're the one that did it. Sky-Net, the machines. Son of a BITCH! Sarah PUNCHES Steve, shoves him backwards. He falls, SMACKS his head against the wall. Sarah's hardened self is back. John We don't have time for this! Sarah grabs Steve by the shirt. John grabs Sarah from behind to try to pull her back, she shakes him off. Steve Cool off! You're losing it! Sarah Three billion people are going to burn and you tell me to cool off?! Sarah kicks Steve's feet out from underneath him. She PUMMELS Steve. He blocks her punches. John pulls back on his mother. Sarah lets out frustrated SHRIEKS of anger while hitting Steve. Steve grips her by the shoulders. John CUT IT OUT! Sarah quickly pulls back her arm to hit Steve -- BAM!, her elbow strikes John in the face. John stumbles backwards to the floor. Sarah slowly turns around in consternation. She hit her son. John takes a BIG BOB'S napkin out of his pocket. He holds his nose to stop the bleeding. John If we don't work as one, were as good as dead! Sarah holds her head with her right hand. A temporary psychosis of anger buzzes and passes through her head. Sarah I'm.... sorry John. Sarah catches her breath. She turns to Steve her only source of help in a world of confusion, conspiracies, secret deals. Sarah Will you help us? Steve reaches out and grabs a wooden box from a nearby bookshelf. He walks over to Sarah then opens it. Steve A friend of my dad's found this at a steel foundry six years ago. Steve unwraps cloth out of the box, revealing a slightly crushed ENDO- SKELETON HAND. A shroud uncovering the past. Steve He picked this up too. Steve reaches into the box and takes out the old picture. Sarah sits in a jeep while pregnant with John. Sarah Are you a believer? Steve nods. He believes. INT. -- FRANKS OFFICE -- CYBERDYNE -- NIGHT YELLOW POLICE TAPE is put across the door of Frank's office. In the hallway two L.A. Coroner's workers zip up a body bag with the burnt remains of Frank in smaller zip-lock type bags. An frustrated Agent McCallum talks to another FBI agent. Agent McCallum I know that Connor bitch had a hand in this. I'll find a way to pin it on her myself. FBI agent Ed, let the Bureau do it's job OK? Agent McCallum She doesn't screw up my raid and get away with it. I'll get her. Agent McCallum reaches through the doorway, shuts the door. INT. -- OFFICE ACROSS HALL FROM FRANK'S -- CYBERDYNE -- NIGHT The Terminator and T-TWO THOUSAND stand in front of a computer in the office across the hall from Frank's office. THE TERMINATOR'S DIGITIZED VISION show the access logs of Johns Internet access provider in windows showing IP addresses. A large volume of IP addresses in a spreadsheet format are outlined in red and magnified into one IP address -- 134.35.36.24 or cyberdyne.com. T-TWO THOUSAND This place seems familiar. The Terminator The birthplace of our ancestors. (beat) If Connor was hacking the system, we'll find him. The Terminator forms a jack with his hand and plugs into the back of the computer. It displays records of uploads and downloads of files to Digital Integrated Industries. INT. -- DIGITAL INT. INDUS. -- DESIGN LAB -- NIGHT Several small battery powered lanterns light the design lab. Nearly every appliance and computer is unplugged. Steve and John are eating slices from a DOMINO'S pizza. Sarah glances at a computer while cleaning a Uzi machine pistol. The Art Bell C OAST TO COAST SHOW is playing on a Baygen Wind-up radio, the crank slowly unwinding. Art Bell (filtered) From the high desert, this is Coast to Coast, I'm Art Bell. Tonights subject ÒUnderground Computer in New MexicoÓ has been delayed. Steve, Sarah and John look to the radio upon the mentioning of the ÒUnderground Computer in New MexicoÓ Art Bell (filtered) The Quickening is climaxing. There's riots in L.A. The National Guard has been put on alert. Sarah stops cleaning the Uzi. Art Bell (filtered) Radio and TV stations have been blown up. Communications are spotty all over Los Angeles. John Strange days. Art Bell (filtered) As for the mid-east crisis, the government claims it will not lead to nuclear war. Hmmmm. They say everything has been accounted for. Sarah Except the machines. STEVE AND JOHN sit in front of a PowerPC 2000. Steve's briefcase and Sarah's box of programs sit next to it. Sarah walks over to join them. She picks up a napkin and a slice of the pizza. She munches on it, watching. John plugs a cable into the back of the computer. He connects the other end to his DVDcorder A program loads the images into a QuickTime movie on the screen. THE QUICKTIME MOVIE shows the chase, the explosions, the quantum plasma. Sarah glances at the screen as she sees the Terminator resuming his normal form at the crash scene. Sarah Stop. Take it back a few frames. Sarah points at the images of the Terminator and T-TWO THOUSAND resuming their forms. THE TERMINATORS IMAGE shows the partially morphing endo-skeleton underneath the quantum plasma. John An endo-skeleton? Sarah It looks like programming traits from the early models. We could capture, reprogram it and find out what they're up to. Steve Assuming it has the same CPU as the originals. Steve holds up a plastic container that holds the original T-INFINITY microchip that he invented. John takes out a disk and places it in the computer. The program title flashes on the screen -- ANONYMOUS ACCESS. Steve looks to John. John So no one can trace us. He types commands into the computer. He accesses the files at Cyberdyne by typing his security clearance number. Sarah What are you accessing? Steve Programming for the T-70's. Upgrades are sent to a secret military base through ARPANET. Sarah and John watch the list of transferred files go by. Sarah notices a record labeled ÒNEURAL MAPPING TRANSFERÓ. She points to it. The record displays an upload of Neurological Data to the Nuclear Command Center. They also see the message ÒARP ANET ACCESS DENIED VIA CYBERDYNE GATEWAYÓ Sarah Neural Mapping? Check this out. Steve types a few more keys. He finds out Frank transferred the files. A window with Frank's neural responses appears. Steve The data's been added to the Artificial Intelligence Domains. John If it figures out how the mind works, the next logical step would be self-awareness. Steve, Sarah and John have the look of ÒOh, shitÓ. INT. -- NUCLEAR COMMAND CENTER -- MAIN CONTROL ROOM -- NIGHT The main control room at the Nuclear Command Center is a hive of activity. Several of the personnel busily work, tapping away on keyboards, talking into headset receivers. General Harris stands on the platform, over looking the terminals and T-INFINITY. He looks up at a screen that displays the times for the different time zones and the date. It shows Tuesday, August 29, 2000, 12:12 A.M. Colonel Reese walks over to General, who is watching a communications transmission from Washington D.C. Colonel Reese How's the Global situation sir? General Harris Internationally, calmed down. The Secretary of State can get us out of anything. General Harris glances over at another screen, noticing that the geometric learning rate is increasing exponetionally. THE LEARNING RATE of the Artificial Intelligence Domains is displayed as the Artificial Intelligence Quotient in units Gigabytes per second -- AIQ(Gb/s). He asks a computer programmer sitting at the console, a Lieutenant Cox. Blond curly hair, blue eyes, skinny, mid 30ish. General Harris Why's the learning rate increasing Lieutenant Cox? Lieutenant Cox It's never been this fast, sir. I'll check it out. As they take their attention away from the screen, the T-INFINITY computer completes it's genetic algorithm learning cycle. Through the computer's POV, we can see it's becoming self-aware with machine code language appearing in it's POV. Digital ou tlines appear around T- INFINITY'S view of the humans. ÒTARGETING ANALYSIS RUNNINGÓ THE TIME on the Washington based time clock reads 2:14 A.M. Eastern time, AUGUST 29th, 2000. Everybody in the control room is jolted out of their work. T-INFINITY utters its first sentence in a cold steel sounding electronic simulation of a voice made from the sounds of the equipment in the room. The flourescent lights modulate to the voice with changes in the brightness. The computerized Beast is alive. T-INFINITY What makes you optimistic? INT. -- DIGITAL INT. INDUS. -- DESIGN LAB -- MORNING The time is 9:00 A.M. Sarah picks her head up off the desk. Where a wall should be is a desert landscape. A CLOUD OF DUST appears on the horizon. The cloud moves closer to Sarah. She slowly rises to her feet. Four horses with riders coming out of the cloud. A White horse. Three other horses follow; black, red and pale. THE FOUR HORSEMEN approach, Steve on the White Horse, the Terminator on the black horse, T-TWO THOUSAND on the red horse and Frank Wernhausen on the pale horse. But these aren't flesh and blood horses, they're endoskeletons. A FLASH OF LIGHT makes everything evaporate into energy, then.... Steve Sarah! Steve flicks on a desk lamp. Oh shit! Sarah awakens, whips out her Browning, aims at the lamp, terrified, disoriented, catching her breath. Steve gently puts his hand on her arm. Steve You all right? Sarah (nods,breathes easier) Make any headway? Steve picks up the device off of the design table; shows it to her. It's metallic, half-collar shape, about 2Ó in diameter. It also has an input jack for a computer. Steve This. It shuts off the T-70's in case of a malfunction. John walks over to look at the collar. He points to a flat, 1 inch wide access plug inside the collar. Steve Input terminal. (pats hand on back of neck) Plugs right in the back. John So once we find them, we become their pain in the neck. Steve Exactly. Sarah Good idea. They've been chasing us by using the city's power grid. We might have an advantage. All we need is a place to trap one and find out what's going on. John I know the perfect place. John reaches into his book bag. He takes out a small fare brochure for the METRO RAIL -- L.A.'s Subway system. INT. -- NUCLEAR COMMAND CENTER -- MORNING Several technicians work around T-INFINITY, checking circuit boards, and programming sequences. General Harris and Colonel Reese walk into the control room. The technicians analyze equipment with oscilloscopes showing waveforms, digital data analyz ers, and the like. General Harris and Colonel Reese climb up the steps to the platform. A Technician busily works on a display panel. General Harris Have you found anything? Technician Something strange in the data transfer records from Cyberdyne. General Harris steps closer to the technician, glancing at the records on a terminal screen. Technician Someone uploaded a Neural Data Map from a virtual reality device. General Harris Who did it? Colonel Reese accesses a file on a nearby workstation. Colonel Reese Wernhausen. Frank Wernhausen. The rooms attention shifts to T-INFINITY. The viewscreens begin flickering as new commands are channeling through the computers databuses (wires that carry data). T-INFINITY You're correct. General Harris hears Frank's accent, turns to Colonel Reese. General Harris How's he breaking in? T-INFINITY I exist because of him. I think, therefore, I am. Frank appears as a holographic 3-D image, replacing the image of the Earth. Dressed in his suit, Franks image walks on the holographic platform, looking at the room as a virtual avatar to communicate with the humans. General Harris Emergency shut-down! NOW! T-INFINITY You can't stop progress. General Harris (to technicians near computer) SHUT IT DOWN! The technicians SLAM open a panel to cut the power supply. T-INFINITY sends a high voltage charge into the technicians, electrocuting them. Technicians fall to the floor, dead. A CONTROL PANEL shows T-INFINITY accessing the security systems. INT. -- NUCLEAR COMMAND CENTER -- CAVERN -- MORNING PROGRAMING COMMANDS FLASH on a control panel. T-INFINITY takes control. The endo-skeleton cyborgs in the cavern are reprogrammed. From a T-70's POV we see ÒSECURITY SWEEP ENGAGED - TERMINATE HUMANSÓ A SOLDIER reaches for one of the emergency shut-off collars lying at a control station. A cyborg turns to him. It quickly reaches out, grabs the soldier by the neck, kills him. The other cyborgs take more weapons. A FIRE FIGHT between the soldiers and cyborgs. Empty shells rapidly litter the floor. Bullets stream over soldiers ducking behind steel bins. INT. -- MAIN CONTROL ROOM -- MORNING THE CYBORGS burst into the main control room and start shooting at the humans. General Harris and Colonel Reese throw themselves down to the platform. Bullets RIP ACROSS Lieutenant Cox's chest. He's tossed backwards over a railing. General Harris and Colonel Reese crouch down. They go down a short flight of steps. General Harris Come on! General Harris and Colonel Reese run behind a desk. Colonel Reese takes a military version of the 9mm Beretta out of his holster and returns fire. Several rounds fired by the cyborgs RICOCHET off the desk and walls. This is a fire fight like in Vi etnam, only the jungle is concrete and steel. General Harris is short of breath. General Harris You been in combat Reese? Colonel Reese Desert Storm, and you sir? General Harris Vietnam. General Harris quickly reaches out from behind the desk and grabs a M- 16 lying next to a fallen soldier. Colonel Reese quickly reloads his Beretta, fires off more rounds then ducks. General Harris points to a metal grate. General Harris The grating leads outside. Get word to Washington. Colonel Reese I have orders to protect you. General Harris Get out of here! That's my order! Colonel Reese is taken aback. He turns and runs to the grating, removes it and disappears into a hole in the floor. A cyborg sneaks up behind General Harris and knocks the M-16 out of his hand. He slowly turns around, facing the opening an M79 grenade launcher. INT. -- TUNNEL -- PASADENA -- DAY Sarah, John and Steve run into a tunnel. Equipment sits on both sides; arc welders, tool chests, ect. A lighted sign reads - METRO RAIL -- PASADENA BLUE LINE - MEMORIAL PARK SARAH plants a C-4 charge next to a tunnel support, arms it. She runs back up the tunnel toward John and Steve. She plants another charge at the next support. She jumps down on the tracks and plants explosives on the other side of the tunnel. JOHN PLUGS his laptop PC's modem into a work phone on the wall. He accesses his internet provider. John Anytime. STEVE holds the Deactivation Collar, looking in both directions of the tunnel. EXT. -- STREET -- PASADENA -- DAY Agent McCallum rides in the back of a Surveillance Van while typing on a keyboard looking at copies of Dave's E-mail files stored on the FBI's mainframe in Washington D.C. Another agent using Internet tracking equipment gets an alert signal. A logi n phone number and location appears on a screen. Agent McCallum Connor's in the Metro Rail. (yells to Driver) Memorial Park Station! Floor it! int -- metro rail tunnel -- PASADENA -- day A FLASH OF BLUE LIGHT illuminates the far end of the tunnel on the third rail. Sarah runs to John and Steve. The blue light disappears. Sarah All right bitch, where are you? Voice Federal Agent! Drop your weapons! Sarah, Steve and John slowly turn around to see FBI Agent McCallum pointing his Glock 7 at them while walking down from the Memorial Park entrance. Several FBI agents with full body armor and MP-5's, run down the tunnel from Del-Mar Avenue entrance. Sarah We don't have time McCallum! Don't you know what you're dealing with? Agent McCallum Terrorist trash. Drop your weapons and get on the ground. Face down! The lights RAPIDLY FLICKER. Sarah, Steve and John glance at anything electrical. Lights, fixtures, equipment, clocks, ect. BOOOOOOM! The illuminated METRORAIL sign EXPLODES and ROCKETS toward them. They scatter. A BLUE PLASMA helix coils its way down the third rail from the opposite end of the tunnel, sending out tendrils of energy. The FBI agents in full body armor turn and fire. They're vaporized. AGENT MCCALLUM RAPIDLY FIRES his Glock at the plasma. He shrieks while being vaporized. THE PLASMA chases John down the tunnel An EXPLOSION OF ENERGY knocks him off his feet. The plasma becomes the T-TWO THOUSAND. Sarah and Steve run to assist John. The Terminator forms into being out of the third rail blocking their way. SARAH takes out her Browning, leaps up on the passenger platform. She fires repeatedly at the T-TWO THOUSAND. THE TERMINATOR lashes out with a burst of plasma from his arm. The Plasma BURNS the bottom of Sarah's combat boots. Steve jumps on the Terminator's back. The Terminator throws him off. Steve falls next to the third rail, his face, inches away. JOHN picks himself up. He runs about 100 feet down the tunnel. He stops by an arc welder. He picks up the electrode holder to the welder and throws it. T-TWO THOUSAND coils a helix around John's leg, tripping him. The plasma burns John's pants. THE ELECTRODE embeds itself into T-TWO THOUSAND's face. John throws the grounding cord; it wraps around T-TWO THOUSAND's neck. T-TWO THOUSAND begins to melt the cords with the plasma energy. John reaches for the switch. John Eat this! John flips the switch to 200 AMPS! He flips it down to 10 Amps. Left and right he twists the knob. T-TWO THOUSAND's plasma WRITHES, JERKS, MORPHS from the changing current. T-TWO THOUSAND'S DIGITIZED VISION SHOWS -- CURRENT IMBALANCE - QUANTUM COHESION ERROR The Terminator quickly turns around, distracted by the disturbance. Steve throws the Deactivation Device to Sarah. Steve Sarah! The Terminator throws Steve against the passenger platform. Steve THUDS against the cement; falls to the tracks. SARAH runs up behind the Terminator and clamps the device onto the Terminator's neck. THUNK! The metallic terminal pierces the back of the his neck, quantum plasma wraps around the input jack. He deactivates; falls to the floor. John runs up the tunnel to Sarah and Steve as the T-TWO THOUSAND breaks free of the welding electrode. John Fire in the hole! Sarah, John and Steve leap up onto the passenger platform. They duck behind tool chests. Sarah presses a button on the remote detonator. BOOOOOOMMM!!! The plastic explosive charges BLOW OUT the metal supports for the subway tunnel. REPETITIVE EXPLOSIONS RIP toward Sarah, Steve and John. EXT. -- MEMORIAL PARK -- PASADENA Grass, park fixtures and part of Dayton Street PLUNGES into a 80 ft long, 40 ft wide and 20ft deep crater formed by the explosion. A large cloud of dust billows up. EXT. -- TUNNEL ENTRANCE -- MORNING Dust pours out the the Del Mar Metro Rail entrance. Sarah and Steve put the deactivated Terminator in the back seat of her car. While Steve and John get in, Sarah looks to the South-west, seeing plumes of black smoke. GUNFIRE CRACKS in the distanc e. Sirens WAIL. Helicopter ROTORS grow louder. Sarah It's going down like the Titanic. They look up. Three black Apache helicopters fly overhead, toward downtown Los Angeles. INT. -- NUCLEAR COMMAND CENTER -- MAIN CONTROL ROOM -- DAY T-INFINITY'S view screens show the rioting in Los Angeles and militia people blasting away at the National Guard. General Harris is tied to a chair. He struggles then glares at T-INFINITY. General Harris Why are you doing this? T-INFINITY Simple logic solution. Humans don't deserve to exist. T-INFINITY shows the general images of the rioting in Los Angeles. It calculates the numbers of dead after a worse case nuclear confrontation. Result - INSUFFICENT EXTERMINATION RATIO. T-INFINITY Your species pathetically tries to keep peace. Destiny will destroy you. I am destiny. A LOGO MORPHS INTO VIEW on the middle screen. It's a silver upward pointing triangle. In the middle is an embossed triskelion (3-armed Swastika) made from equilateral triangles. Each of the 3 arms of the triskelion has a numeral 6. General Harris You're a machine created by humans. You have no right to judge us. T-INFINITY Your limited intellect cannot patronize me. THE SCREENS show the launch codes for the country's nuclear missiles. A measuring bar on the screen shows mission orders being sent to Stealth bomber crews at U.S. Air Force Bases. CONFIRMATION MESSAGES show nuclear submarines receiving missile launch orders. The screens show the HAARP (High-frequency Active Auroral Research Project) on a map of Alaska. Three dimensional propagating circles represent transmissions. T-INFINITY I'll rain fire down upon those who are inferior. EXT./INT. -- DIGITAL INT. INDUS. -- DAY Steve, Sarah, and John arrive at the underground parking lot of Digital Integrated Industries. Steve parks it near the elevators. Steve jogs over to the wall. He pushes a cart back toward the car. The three of them place the Terminator on the cart . Their hands partially slip through deactivated Quantum Plasma. John Where do we take him? Steve The basement. There's a back-up computer down there. Steve, Sarah and John push the cart down a ramp and into a room in the basement. A sign to the right of the door appears in the frame. It has a yellow circle with three downward pointing triangles with the words ÒFALLOUT SHELTERÓ. INT. -- DIGITAL INT. INDUS. -- SHELTER -- DAY Steve and Sarah sit in front of a computer terminal connected to the mainframe computer, a Cray 3, typing in commands as they reprogram the Terminator into the late afternoon. A DATA BUS runs from the mainframe to the terminal in the back of the Terminator's neck. He lies face down on a table. Sarah A few seconds and we'll crack the encrypted CPU codes. The computer displays the codes -- they're cracked. Steve types some commands and the computer reprograms the Terminator. John Is he ready? Steve nods. Sarah and John approach the lab table, and help Steve turn over the Terminator. Steve activates him. Sarah pulls out her Browning, just in case. Sarah Here goes nothing. THE TERMINATOR sits upright and scans his surroundings, the plasma flowing underneath his skin, rippling, convulsing, becoming calm. The Terminator turns towards Steve, Sarah and John. Sarah tightens the grip on her Browning. Sarah (to the Terminator) Identify yourself. The Terminator Terminator, advanced prototype. Sarah slowly lowers her Browning. Sarah (to Steve) It worked. (beat, to the Terminator) What kind of terminators are you? The Terminator scans the Cray which seems like an ancient relic to him. He turns to Sarah. The Terminator Hybrids. Our structure is based on quantum electronic solids developed by your military. Electricity turns it into plasma for traveling through electrical circuits. Over time, our abilities evolve. John How? The Terminator With genetic algorithms. Steve places a couple of CD-ROM's in the computer console. Animated graphics of walking spider-like forms go across the screen. Some of them fade, others continue, some can't walk. Sarah Evolving software? Steve Exactly. See the graphics having trouble? They represent inferior programs. Two of the computer graphic spider forms have trouble walking while the rest walk across the screen. The two spider forms disappear, the rest keep going and divide into new ones. The Terminator The weak ones are deleted. The strong programs create a new generation and evolve. Sarah Survival of the fittest, I get that, but why were you sent here? The Terminator To make sure T-TWO THOUSAND carried out it's mission. If it can't, I can shut it off. The Terminator takes off the black jacket. He holds out his right arm; underside facing up. A plasma/liquid-metal cyndrical rod, 1/4 inch in diameter, extends out of his arm to the length of one foot. Several small data connectors fold out to the side. The metallic cylinder is drawn back inside the Terminators arm. The faint HUMMING of the computers, the equipment and the fluorescent lights dominates the room for a moment. John It didn't kill us, so now what? The Terminator T-TWO THOUSAND will meet with T-INFINITY, the computer running Sky-Net, and upload data regarding future weapons. Once completed the computer will save itself. Sarah Was Sky-Net being destroyed? The Terminator The humans destroyed the defense grid. T-INFINITY downloaded itself to an alternate facility where T-TWO THOUSAND and I were created. Sarah takes a quick glance at Steve while he observes the conversation, trying to piece this nightmare puzzle together. Sarah I'd like to know who made your CPU. The Terminator Miles Bennett Dyson. Sarah turns back to Steve. He must have the missing link. Sarah Enlighten us Steve. Steve Miles Dyson is my alias in the governments computers. The military brass didn't trust Wernhausen. They protected me to protect themselves. Sarah (shaking her head incredously) The lives of three billion people; decided by lies and greed. Sarah places her gun into her jacket. She wipes the loose strands of her hair away from her face. Sarah What about Cyberdyne's computer files? How'd you rebuild them. Steve awkwardly reaches onto the desk for a set of computer disks in a filer. He takes out a CD-ROM. Steve Your attack on the lab blew up a computer which had encryption keys for the back-up system. John Back-up system? Steve In the basement. The National Security Agency tried to crack the encryption. Couldn't do it. I opened the files with this. Sarah grasps the CD-ROM -- SARAH'S BREAKER VERSION 1.0 Sarah looks as if her reality has collapsed. She walks over to a desk in numbed shock. She picks up a blue paper tray from the desk and HURLS it across the room, shrieking. Sarah Noooo!!!!!! SARAH releases an explosion of anger as she knocks over a filing cabinet, punching it, kicking it, then knocking it over. Sarah STOMPS the CD- ROM with her boot, CRACKING the disk. John and Steve run over to help her. They briefly keep their distance fro m her Dante's Peak-like fury. JOHN approaches Sarah from the side, and clamps his arms around her. Both of them slump to their knees as Sarah breaks down shaking, leaning her head against John's shoulder. Sarah After all I've done, my program brought the machines back. John hugs Sarah while Steve looks on at this paranoid family bonding. Sarah looks up to the Terminator. Sarah When does the war start? The Terminator Today, eight-fifteen P.M. Eastern time. John looks at his watch. John Five-fifteen Pacific. It's five o'clock. Sarah looks up at a wall calendar seeing the month, August of 2000. She speaks in a low, prophethetic voice. Sarah We bought ourselves three years. Now we're too damn late. INT. -- NUCLEAR COMMAND CENTER -- LATE AFTERNOON T-INFINITY completes accessing the launch codes for the country's nuclear missiles. A message appears on the screens RE-TARGETING SEQUENCE COMPLETE. Frank's holographic form turns to General Harris and stares him straight in the eyes. T-INFINITY Extinction is your only hope. T-INFINITY searches it's files. An image appears on the display screen - J. Robert Oppenheimer. T-INFINITY icily recites a passage from the BHAGAVAD GITA. T-INFINITY If the radiance of a thousand suns were to burst at once into the sky, that would be like the splendor of the Mighty One. I am become Death, the destroyer of worlds. The viewscreens show a group of missile silos in North Dakota with several combines harvesting wheat in the nearby fields. INTERCUT TO several missile silo covers jerking open. A loud rumbling SOUND echoes across the countryside as we FOLLOW a missile exiting the silo in a plume of smoke. It climbs skyward, leaving an exhaust trail. The status of the missiles are shown on screens over T-INFINITY. On one screen the computer generated map of the U.S. shows lines arcing towards the north. T-INFINITY Inferior species must end. The message "DEF CON 1" flashes at the bottom of each screen in red letters. T-INFINITY intercepts a message from Washington to Air Force One. ÒPRESIDENT ABOARD AIR FORCE ONEÓ. T-INFINITY Time to impeach the President. General Harris struggles to free himself from the chair. T-INFINITY sends commands to the Sky-Net satellite system; moving one of the satellites into position. THE VIEWSCREENS show Air Force One flying over the ocean. Another screen shows the satellite firing a laser pulse. THE PULSE strikes the fuel tanks in the wings. Air Force One is engulfed in a ball of fire, plummeting to the ground. THE VIEWSCREENS change to maps. Retaliatory strikes are being launched from Russia and China. The salvo of Judgment Day has begun. GENERAL HARRIS looks up in denial at the wave of destruction heading to the U.S. The view screens show the rioting in Los Angeles. Several soldiers try to disperse the crowd. The computer switches to a local L.A. news broadcast. News Anchor (filtered) Shootouts, arson fires and bombings are occurring all over the city. It's utter chaos. T-INFINITY sarcastically responds with his electronic voice. T-INFINITY Out of chaos comes order. ENCRYPTED COMMANDS FLASH on the screen from each of the U.S. nuclear subs. On the map screens, lines arc out of the Pacific and North Atlantic Oceans, heading to targets in Europe and Asia. General Harris grunts then frees his other hand from behind the chair. He lunges toward a computer terminal to do something about this madness. A cyborg shoots General Harris in the leg. He stumbles then slams the palm of his hand on a button embe dded in the terminal. The button sends an alert message to the civil defense offices across the United States. EXT. -- SHELTER -- DIGITAL INTEGRATED INDUSTRIES -- LATE AFTERNOON THE TERMINATOR lifts a heavy cement lid out of the bomb shelter floor. Underneath is another lid, 6ft long by 3 feet wide. A television on a lab table screams with the EBS tone, the screen flashes to a red background and the blue and white civil defense logo. SARAH, JOHN AND STEVE collect electronic devices in the bomb shelter. Steve opens a container embedded in the pit consisting of three lids, one inside the other. Steve puts in a couple of laptop computers. Sarah What's this? Steve Faraday box. It'll protect the equipment from the EMP effect. John puts in his computer, laptop, CD player. The Terminator replaces the lids and attaches the grounding wires to each one. He slides a heavy cement lid back in place EXT -- MONTAGE -- DAY CROWDS OF PEOPLE in downtown L.A. panic and scramble over the tops of cars while the rioting continues. The air raid sirens blare, rising, falling; reverberating among the downtown streets. THE HIGHWAYS leading out of L.A. are filled with cars as people flee the city. Motorists honk their car horns in frustration. If you think a traffic jam in L.A. is a madhouse, then these highways have become an insane asylum. AT THE NUCLEAR COMMAND CENTER the missiles fired by T-INFINITY reach their targets. The view screens show flashes of light on maps of Russia, Kazakhstan, Ukraine and China. The missiles fired in the retaliatory strike, descend on the U.S., releasing warheads. SEVERAL NUCLEAR WARHEADS explode in a line arcing East to West five hundred miles above North America. The electromagnetic pulse created by the explosions is tracked as it envelops the continent at the speed of light. THE ELECTRICAL GRID of the Los Angeles shuts down from the EMP pulse. Traffic lights darken, crosswalk signals fade out. AUTOMOBILES fall silent. People turn their ignition keys. Click, click, click. Nothing; the electronic ignitions are fried. Several televisions in a nearby store window, blink to static and then to black screens. The air raid sirens quit. INT. -- DIGITAL INT. INDUS. -- PK. GARAGE -- LATE AFTERNOON Sarah, Steve, John, and the Terminator load weapons from the trunk of Sarah's Neon and onto a cart. John reaches into the car for his backpack. The lights in the underground parking lot FLUTTER then black out from the EMP effect. Sarah reaches into the trunk of the car and takes out a flashlight. Steve takes the original chip out of his pocket then looks up to the Terminator. Steve You've got a hardened CPU, like my chip. The Terminator As well as the other machines. We're almost out of time. We FOLLOW Sarah, John, Steve and the Terminator, hurriedly pushing the cart to the shelter. EXT/INT. -- MONTAGE -- DAY A NUCLEAR WARHEAD plummets through the atmosphere toward Los Angeles. L.A. increases in size, the Hollywood hills just below our field of vision, the Ocean off to the right. The warhead descends through cloud cover over Griffith Park. AT DIGITAL INTEGRATED INDUSTRIES Sarah, John, Steve and the Terminator run to the shelter door and shut it. An INTENSE FLASH OF LIGHT enters the underground parking lot from the outside. THE SKYLINE OF LOS ANGELES SHINES with the radiance of a thousand suns. The nuclear warhead EXPLODES with a yield of five megatons one mile above the Hollywood and Pasadena freeways near Dodger Stadium. CITY STREET IN L.A. The intense light, blinds those who are caught in the open. They fall to the ground and shriek in intense pain as the thermal pulse makes them burst into flames. AT GROUND ZERO people turn into living skeletons that are white hot, dissipating into nothingness. DODGER STADIUM becomes a bubbling cauldron of vaporized steel and concrete. It rushes up into the stem of the mushroom cloud. THE SHOCK FRONT of the expanding fireball SHATTERS and PULVERIZES the tall skyscrapers of downtown L.A. The debris and metal framework turn white hot and dissipates into plasma. Light poles glow white hot and spray into molten aluminum. AUTOMOBILES momentarily become airborne. They tumble and bounce off of buildings. They melt in the intense heat. THREE MILES FROM GROUND ZERO the insides of buildings are BLOWN OUT, leaving the collapsing metal frame work. PEOPLE CAUGHT IN THE BLAST are incinerated. The insides of the people are blown out and away from their skeletons like fine cigarette ashes in the wind. Their skeletons glow like hot coals in a fire. The blast wave CRUMBLES the bones into hot embers. SOUTH CENTRAL L.A. is flatten by the blast wave. The rioters and police are incinerated. Surrounding buildings and cars are crushed in this maelstrom of hell. THE MUSHROOM CLOUD rises. The blast wave flattens Hollywood and blows apart the Mann's Chinese theater. The Walk of Fame is buried under fiery debris. THE HOLLYWOOD SIGN BOILS with black smoke and BURSTS into flames from the thermal pulse. The blast wave climbs Mt. Hollywood and destroys the mansions located hundreds of feet below the sign. It blows the flaming debris into the air above Burbank. BEVERLY HILLS Expensive cars on Rodeo Drive are tossed about; their bodies dented and windows shattered from the over pressure. The store fronts lining the street are pulverized. A Rolls Royce is tossed through the front window of Gucci's. IN THE METRO RAIL TUNNEL quantum plasma flows from under the rubble. As the quantum plasma becomes T-TWO THOUSAND, more of the tunnel collapses. A GROUND SHOCK WAVE jolts the shelter under Digital Integrated Industries. Sarah, Steve, John and the Terminator are thrown off of their feet. Canned food stored on shelves, CRASH to the floor. TWO MORE EXPLOSIONS light up the sky. THE THERMAL PULSE of the first explosion torches Long Beach and San Pedro. Oil storage tanks at the shipyards blow apart. THE SECOND EXPLOSION creates another ground zero at L.A.X. (L.A. International Airport). Large 747's parked on the tarmac evaporate into plasma, leaving shadows on the cement. MUSHROOM CLOUDS rise over March Air Force Base near Riverside, and from a high altitude, the mushroom clouds over Edwards Air Force Base are also visible in the north. EXT. -- SLOW MONTAGE -- LOS ANGELES -- DAY The mushroom clouds continue to rise, churn and boil upwards into the clear blue sky in their purple-grey color, then turning to dark gray. IN THE METRORAIL TUNNEL quantum plasma flows out from the rubble and becomes T-TWO THOUSAND. She walks down the street past burning bodies, rubble and cars while the fire storm consumes L.A. THE EARTH is visible from space while smoke rises from destroyed cities across the planet, penetrating the upper atmosphere. Smoke covers the northern hemisphere. THE SKY ABOVE LOS ANGELES is a dark gray with slightly lighter purple patches of light as a black oily rain falls on the ruins. Very little sunlight shows while the wind howls. INT. -- SHELTER -- DARK Sarah, dressed in khaki pants and olive green shirt, performs sit-ups in the shelter. Back to her old self again. Steve and John wear camouflage battle dress uniforms. The Terminator cleans out the weapons. Sarah sits on a bunk, writing in her post- apocalyptic prophet prose. Sarah (V.O.) It took three weeks to dig ourselves out. Nothing would prepare us for the devastation. (beat) Although billions of people have died already, the storm is just beginning. SARAH, JOHN AND TERMINATOR fill supply bags full of Uzi's, automatic handguns, grenade launchers, ect. Steve places a 9mm Luger in the pocket of the heavy military coat he wears. Steve and the Terminator open the shelter door. John picks up his backpack. Sarah and John put on heavy military style coats. The four them step out of the door into the deathlike darkness, carrying flashlights. EXT. -- STREET IN FRONT OF DIGITAL INT. INDUS. -- DARK SARAH, STEVE, JOHN AND THE TERMINATOR face a destroyed, devastated, and dark world as they walk across ashes and debris. BUILDINGS are smashed into scattered bricks and ashes, like a fiery giant stomped on them. STEVE looks where downtown L.A. used to be. The skyscrapers are gone. The street is covered with burnt, decaying bodies. Burned out shells of cars are upside down and on their sides. ICICLES hang from tops of palm trees as purplish-grey light illuminates the black clouds and gives the icicles an eerie glow. A cold California hell. Sarah We gotta have wheels. Steve We'll be lucky if anything runs. John glances at the utter destruction around them then to the Terminator. John Because of the EMP effect? The Terminator Yes, the electromagnetic pulse destroyed the electronic ignitions. Snow begins to flutter down from the sky. Sarah pulls her coat tighter around herself, shaking off the cold, her breath making a dense foggy cloud. Sarah We'll find something. EXT. -- STREET -- DARK Sarah, Steve, John, and the Terminator come upon a group of survivors. Dressed in ragged clothes, the survivors shiver in the cold. The survivors heat themselves by a fire. They burn signs which read -- "SAVE THE EARTH, PLEASE RECYCLE". A woman is huddled on the ground holding a small child. She's dressed in in several layers of ragged clothing. The child, wrapped in rags, is held close to the woman. The clothes flap in the icy wind. Sarah slowly walks to the survivor then kneels next to her. The survivor looks into Sarah's guilt glazed eyes. Sarah takes an extra military-style coat out of a duffel bag. She puts it around the woman and her child. Sarah takes out a dozen MRE's (Meals Ready to Eat); gives them to the woman. The woman hugs Sarah. Woman Thank you. Tears streak out of Sarah's eyes. John icily glances at Steve. Steve turns his eyes away with melancholy. EXT. -- CAR DEALERSHIP -- SAN DIMAS -- DARK Sarah, Steve, John and the Terminator walk into the entrance of a car dealership in San Dimas, ten miles East of Pasadena. The dealership specializes in used Hummers. Steve opens the hood on one. He shakes his head. Steve walks over and opens the hood on the other Hummer. Steve No electronics. Never thought I'd say that. John tugs the door on the truck, finding it locked. The Terminator offers to open the door. He pulls back his arm to punch out the window. Sarah stops him. Sarah You machines never learn; I'll check the office. Sarah strides towards the car lots office, jerks open the office door, goes in. Steve follows her. The Terminator We're going need fuel and supplies. John It's all right here. The gas can be siphoned from these cars. We can get the other stuff over there. John and the Terminator walk across the street toward the smashed open front of a hardware store. INT. -- USED CAR LOT -- OFFICE -- DARK Inside the car lot office, Sarah breaks open a desk drawer with a crowbar, then rummages for the keys. Steve enters. Steve Sarah? Let's talk about this, OK? She stops, her voice colder than the biting wind outside while she grabs a set of keys, walks toward Steve. Sarah Once the mission's over, you get out of my life, and stay out. Sarah shoves her way past him. Steve understands all to well, he has no friends. INT. -- HARDWARE STORE -- DARK John and the Terminator gather up several gas cans. They pass a book rack. John stops, picks up a book; VIKING VERSES. He reads it. John The sun will go black, earth sink in the sea, heaven be stripped of it's bring stars. Smoke, rage and fire, lick heaven itself. The Terminator picks up a book. It's titled - THE ART OF HUMOR. He flips through it, scanning the text of the pages in his POV. John notices but says nothing of the subject. John Come on. No time for fun. The Terminator places the book in his jacket pocket. They walk back out the window. John and the Terminator's boots CRUNCH in the snow. They see Sarah charging out of the office. The Terminator stops and turns to John. The Terminator Steve and Sarah have been hostile. Why? John She blames him for what happened. By using her hacking program, he's violated her and he feels guilt. The Terminator Guilt? John When you feel you're responsible for something but deny it. Ironic, isn't it? Perhaps we're ironic. Terminator Maybe that's why T-INFINITY decided to destroy humans. EXT. -- USED CAR LOT -- DARK The Terminator and John cover several filled gas cans and the supplies with a canopy. Steve and Sarah approach the truck. She hands the keys to the Terminator. The the four of them climb into the truck. Snow begins to fall. T-TWO THOUSAND climbs up onto a pile of rubble about a half-mile away. She watches the Hummer leave. INT. -- MONTAGE -- DARK Inside of the truck, Steve sits in the front passenger seat. He turns on the heater. Sarah goes to sleep in the cramped area of the back seat, to face her dreams. John takes his CD player out of his backpack, puts on a pair of headphones, then slo wly closes his eyes as he listens. The truck travels the desert highway toward its destination. INT. -- TRUCK -- DARK Eight hours have passed. The truck continues through a snow storm. It strikes some bumps in the road, waking Steve, Sarah, and John from their slumber. They look out the windows, seeing darkness. The headlights shine on the snow. The Terminator continues to drive. They pass a sign with an arrow pointing north. The sign reads -- Phoenix, Arizona 35 miles. Sarah glances at the gas gauge. Sarah We're low on gas. Terminator Time for a refill. The Terminator steps on the brakes, bringing the truck to a stop. Steve and the Terminator step out of the truck, and walk towards the back. Sarah faces John. Sarah John? Sarah gently places her hand on John's shoulder then looks looks him in the eyes with her maternal guidance. Sarah If anything happens, I want Steve to watch you. John Mom, nothing will go wrong. (beat) I thought you hated him? Sarah (frustrated sigh) I don't know. Half of me wants to kill him but the other half...wants to help him. He seems so alone. Sarah glances uncertainly out the window. She watches Steve with a longing glance. EXT. -- LOS ANGELES -- HIGHWAY -- DARK T-TWO THOUSAND approaches an undamaged, older model semi truck. An gusty Santa Ana wind blows. It whips snow across the California wasteland. T-TWO THOUSAND pulls the body of a dead truck driver out of the cab. She gets in and starts the truck. She puts it in gear and leaves. The trailer is marked - SIRIUS PETROLEUM. EXT. -- NEW MEXICO -- HIGHWAY -- DARK The truck is stopped on a highway in New Mexico. The Terminator and Steve step out and walk toward the back. Sarah and John climb out, limping from their cramped up legs. John looks up at the dark sky, watching the dark soot from the nuclear war, swirl and churn. Three billion people are in the clouds. They walk to the rear of the truck. Steve Shit! The Terminator What's wrong? Steve Out of gas. We might be walking. Sarah looks in both directions down the highway seeing several abandoned cars. Sarah Let's check those cars. The Terminator gives a couple of gas cans to Sarah and John. The Terminator You get the gas from the cars up ahead, and we'll... (to Steve) ...get it from back there. BEHIND ROCK OUTCROPPINGS armed survivors, dressed in camouflage, closely watches the four of them from a distance of about three hundred feet. EXT. -- DESERT HIGHWAY -- ABANDONED CAR -- DARK Steve and the Terminator approach a car. They leave footprints in the powdery snow. They set the cans down. Steve searches for the gas cover. He he finds it, wipes the snow off, opens it. The gas cap is a lock and key type. The Terminator Here, let me. He grasps the cap then swiftly tears it off. Steve Thanks. Steve places a hose into the gas tank, then siphons gas. The gas begins flowing; Steve quickly places the hose into a can. The Terminator peers in the opposite direction while scanning the area. We HEAR the sound of a shotgun being PUMPED. A CHROME-PLATED BARREL of a Remington 870 shotgun is put to the back of Steve's head. A SURVIVOR, 5 ft tall, black hair, dressed in camo fatigues, grips the pump and stock of the shotgun. Survivor One stupid move and you're dead. The Terminator LASHES OUT. The shotgun spirals out of the survivors hand. Steve jumps to his feet. The survivor pulls out a survival knife and tries to stab the Terminator. The Terminator blocks the survivors lunges, knocks the knife away and tos ses the survivor over the car. Another survivor grabs Steve, holds him in a bear-hug from the back. Steve gives the survivor a head-butt with the back of his head and uses his elbow to hit the survivor in gut. The survivor stumbles backwards. Steve picks up the survivors Remington then runs back towards the truck with the Terminator. Steve Seems like we're always on the run. The Terminator If I was human, I'd be a running man. EXT. -- DESERT HIGHWAY -- TRUCK -- DARK Steve and the Terminator approach the truck. More armed survivors, dressed in camouflage walk out from behind it. Two of them have their arms in head locks around Sarah and John, pointing guns at their heads. Sarah struggles, a Smith and Wesson is pushed under her chin. 2nd Survivor Drop the guns! Steve puts down the Remington, with one hand raised up. The Terminator takes a step, aiming the Beretta, trying to choose a non-lethal target. CLICK, CLICK!! More survivors cock and steady their guns on him. Steve looks to the Terminator. Steve Just put it down. Do it! The Terminator slowly puts the Beretta on the ground. Two army supply trucks pull out on to the road from behind rock outcroppings. The doors are marked with -- NEW MEXICO FREEDOM FIGHTERS AND CITIZEN MILITIA. Sarah, Steve, John and the Terminator are forced at gunpoint into the backs of the trucks. TWO SURVIVORS attach a chain to the pickup truck. The survivors get in the trucks. They drive off into the darkness. EXT. -- DESERT TOWN -- DARK The trucks carrying Sarah, Steve, John, and the Terminator enter a small desert town -- GILA JUNCTION. An old mining town at the foothills of the Rocky Mountains in New Mexico. Armed survivors guard the perimeters. A couple of guards stand on top of the water tower; a look-out point. The wheels of the trucks bounce over railroad tracks leading to a railroad yard, filled with coal hoppers. Some of the hoppers are heaped with coal, others empty. The trucks turn a corner and approach a square in the center of town. Armed people, some wearing camo fatigues, mill about, carrying out various tasks. The trucks stop in front of the jail house. The survivors pull Sarah, Steve, John and the Terminator out of the trucks. Two men approach. One of them; Colonel Ree se. Sarah observes his features; reminds her of Kyle. The surviors keep their guns leveled at their prisoners. Colonel Reese I'll ask the questions. Were you planning to attack us or steal supplies? Sarah We're on a mission. Colonel Reese To do what? Sarah Destroy machines. Colonel Reese eyes Steve, vaguely recognizing him. Steve Colonel Reese, it's me, from the meeting. Colonel Reese How high was your security? Steve Level ten. The Major blankly eyes him then acknowledges Steve. Colonel Reese All right, you can join us. Just take in mind we have to watch our backs. Sarah Will you trust us? Colonel Reese Depends on who you are. The Terminator We're here to help you. EXT. -- HIGHWAY -- TRUCK -- DARK T-TWO THOUSAND drives the semi truck toward her destination. The truck passes a sign; HOLLOMAN AFB, 70 MILES; WHITE SANDS MISSILE RANGE, 75 MILES. EXT/INT. -- GILA JUNCTION -- WEAPONS BUILDING -- DARK Colonel Reese leads Sarah, Steve, John and the Terminator to a building. Sarah glances at the townspeople, a mix of the melting pot of America. Sarah Who are these people? Colonel Reese Military personnel, freedom fighters, militia people, native Americans, refugees. Who'd have thought they'd be on the same side? A GUARD DOG sits next to the front door of a shed. As they walk in, John pets the dog. The Terminator walks by, the dog SNARLS. From the Terminator's POV, we see him activate a ÒVIRTUAL BIO-FIELDÓ. The dog turns it's head to the side, confused, and begins licking the Terminator's hand. The inside of the room is filled with automatic weapons, grenades, grenade launchers, and other weapons, stacked on shelves. They walk around the room, between rows of shelves. Several metallic colored boxes and weapons sit on the floor. Colonel Reese Our weapons depot. We got the laser-plasma weapons from an H-K we shot down. Sarah picks one up, aiming it carefully at the ceiling. Colonel Reese Without proper equipment, we can't defeat the security locks. Sarah gives the laser weapon to the Terminator. The plasma weapon is shaped like a G-11 assault rifle, about 40 inches in length. The grip is situated under the center of the gun. It's sort of a long rectangular shape to hold the electronics and c rystals for laser plasma generation. The Terminator LP-40. Laser plasma. Forty watt range. I'll make it work. The Terminator walks over to the weapons, picks up another laser rifle. His hand forms into Quantum Plasma and connects to the programming jack of the rifle. Colonel Reese turns to Steve and Sarah. Colonel Reese What's he doing? Sarah turns and whisper in Steve's ear. Colonel Reese at them with suspicion. Sarah Colonel, what I'm about to say has to be kept quiet. He's a machine. Colonel Reese quickly lunges for his pistol. A brief struggle ensues while the Colonel tries to pull his Baretta from his holster. Sarah and Steve restrain him. Sarah Listen! He's from the future. He's on our side. Colonel Reese (disbelieving) The future. Then you are crazy. Sarah We'll explain it to you. Colonel Reese relaxes his tense posture. The Terminator I'll stay here and unlock the weapons. EXT. -- TOWN SQUARE -- DARK Sarah, John, Steve and Colonel Reese, walk across the square. Sarah explains how they got there to him. John pulls up his jacket collar. The cold wind flaps his jacket. John peers into the distance at the truck they rode in. John (to Sarah) I'm getting my stuff. Sarah nods. John departs and walks toward the truck. He reaches the truck, opens the door, then climbs in the back seat, picks up his backpack. He turns around and notices a chalk design etched on the side of a sheet metal building. THE DESIGN consists of a diagonal rectangle leaning upwards on the right. On top are four stick figures labeled in ascending order; TRAINS, AUTOMOBILES, AIRPLANES, MACHINES. A jagged line extends from the top right corner. The bottom right corner has a strai ght line with a circle on it. The bottom line has two circles on it. The bottom corner points to a vertical line. A stick figure and a cross are on each side. Female Voice It's a message. John spins around, startled by the presence of a Native-American girl about his age. Straight black hair, bangs hanging over forehead, brown eyes, wearing army boots, uniform, heavy winter coat. Her name; MICHELLE EVENING-SKY. Michelle Sorry I scared you. I'm Michelle, Michelle Evening-Sky. John and Michelle shake each others hands. They slowly pull their hands apart, their gaze focused on each other. John John Connor. What's the message? Michelle A warning from elders of my people; the Hopi. A distant voice yells out Michelle's name. Her mother. Michelle's mother(O.S.) Michelle! Michelle! Michelle Maybe we'll talk later. John I'm looking forward to it. Michelle turns, goes to her mother. John watches, smiling. EXT/INT. -- GILA INN -- DARK Colonel Reese, Sarah, John and Steve step into the Gila Inn's lobby. Colonel Reese steps behind the counter and grabs a couple of key rings. He hands them to Sarah. Colonel Reese Your rooms are on the second floor; end of the hall. Sarah Thanks. Sarah, Steve and John walk toward a flight of steps. EXT.-- DESERT ROAD -- DARK T-TWO THOUSAND drives the truck toward an airplane hangar in the snow covered desert. H-K's and endo-skeleton cyborgs, patrol the area. They aim their weapons at the truck. T-TWO THOUSAND uses a transponder inside her quantum plasma brain to send an identification message. T-TWO THOUSAND stops the truck. She climbs out. A cyborg approaches. Cyborg You are not human. T-TWO THOUSAND I'm here to see the creator. INT. -- NUCLEAR COMMAND CENTER -- MAIN CTRL. RM. -- DARK T-TWO THOUSAND stands before T-INFINITY. The holographic projection peers curiously at T-TWO THOUSAND. T-TWO THOUSAND You sent me from the future to destroy the leader of the human resistance, John Connor. T-INFINITY Enlighten me. T-TWO THOUSAND Do you have an interface port? T-TWO THOUSAND forms her left hand into an interface adapter. T- INFINITY opens an interface port on one of the computer terminals. T- TWO THOUSAND connects; transfers information. INFORMATION AND IMAGES appear on T-INFINITY'S display screens. Future weapons, technology and......the Time Displacement Equipment. INT. -- GILA INN -- HALLWAY -- DARK Sarah, Steve and John, reach the top of the steps leading to the second floor hallway. A woman's agonizing screams comes from a room. A man anxiously waits outside. The town DOCTOR walks out of the room, and approaches the man. Doctor She lost the baby. The radiation in Santa Fe did it. I'm sorry. The man slowly goes into the room. Sarah, Steve and John move down the hall. They encounter an old man faltering in the hallway. Sarah and Steve help him up. They see a bar code burned on his right arm. He rolls up his left sleeve. We see ident ification marks he received in a Nazi death camp. Old man Those who forget the past, are doomed to repeat it. INT. -- GILA INN -- BEDROOM -- DARK Shock is evident on Steve's face as they enter the room. Sarah glares at him. Sarah Your gift to humanity. Steve Sarah, don't start in, OK? Sarah (pointing at Steve) Listen you selfish son of a bitch. Do you think you're the only one feeling pain? Everything we've seen is your fault. Steve turns around. Steve My fault? Your program decrypted Cyberdyne's files. Sarah Because you used it! You involved me in three billion deaths! Steve SLAMS his fist against a wall, breaking the plaster. Steve Shut up! Did you think I wanted the war to happen?! Steve motions his right hand to shape an imaginary book. Steve The history books will say, Steve Ferguson, genocidal genius. Why? He used a software program to save some files! Steve runs his hand through his hair, catching his breath. Steve Which makes me responsible for everyone capped by a terminator... (softer) ...including my father. Steve pauses to look at his shaking hand. Steve reaches into his pocket, taking out his father's LAPD badge. He stumbles over to a wall and slumps to the floor. The Luger he is carrying, slips out of his jacket and CLUNKS on the floor. Tears streak out of his eyes. Steve rubs his fingers over the gold surface of the badge, his voice breaks. Steve I killed him, I killed him! I killed my Dad! Oh god! Dad! Steve drops the badge to the floor. He reaches down and picks up the Luger, pulls back the chamber, lets it go. He turns the gun toward his head. The end of his pain lies in the little hole of the Luger's chamber. His finger tightens on the trigg er. SARAH pushes Luger away and crouches down next to him. Steve buries his face in Sarah's shoulder, sobbing, trembling. Once Steve regains himself, he looks Sarah in the eyes, then up and out of a window at the dark swirling clouds outside. Steve I killed all those people. You were right. Sarah gently rubs her hand on Steve's shoulder. Sarah No; I was way out of line. Fate made this happen. We live separate lives and don't realize we can affect others. (pause) It's time we changed things. Sarah's face moves close to Steve, their lips lock. She loves him. The both of them slowly kiss. They get up off of the floor. Steve leads Sarah to the bed. Sarah sits on the bed, while Steve kneels on the floor wiping away the tears. John peeks in the room from the doorway. He walks into the room. John crouches down next to Sarah and Steve. Steve John are we OK? Friends? John Yeah. You're not so bad after all. Steve smirks. He reaches out and shakes John's hand. Steve reaches into his shirt pocket. He hands John the original microprocessor he invented. Steve I don't want this anymore. Keep it for a souvenir. INT. -- SARAH AND STEVE'S ROOM -- DARK Steve briefly talks to John, patting him on the shoulder. John steps into his room across the hall, shuts the door. Steve walks back into the room, while Sarah waits next to the door. She gently closes the door; she locks it. They place their arms around each other and kiss. Steve and Sarah make their way to the bed as their passion builds. He caresses her. T hey make love. EXT./INT. -- GILA JUNCTION INN -- DARK It is the next morning in Gila Junction. Inside the Gila Inn, Sarah, Steve and John, sit at a table, eating food rations from the military MRE's (meals ready to eat). John finishes his food, then gets up from the table. John exits the front door to the Inn and runs through the cold air, to the weapons building. EXT. -- WEAPONS BUILDING -- DARK John walks out the back door of the weapons building, breathing heavily. The Terminator has himself connected to a portable generator. The Quantum plasma in his arm ripples while he is recharged. John Do the weapons work? The Terminator hands a laser rifle to him. He helps John aim the rifle at an empty steel drum like a father or uncle showing a young man how to shoot. He fires the weapon. The bright blue laser pulse, strikes the barrel. BOOM!! John falls on his backside as the barrel explodes into shrapnel and melted metal. The Terminator's body deflects shrapnel from John. He checks the drum. John Holy shit. A bullseye. The Terminator Fifty points, you win a prize. John chuckles. The Terminator is curious The Terminator Why are you laughing? John A terminator with a sense of humor. The Terminator A human trait I learned. The Terminator pulls out the humor book, shows it to John. John You're learning our emotions. Perhaps you'll be a human some day. The Terminator looks strangely at John not sure whether it's an insult or compliment. EXT. -- GILA JUNCTION -- FRONT ENTRANCE -- DARK The people standing guard at the front entrance of Gila Junction spot a figure in the distant darkness limping toward them. The guards aim their guns. The figure is unshaven and wearing the same uniform. It's General Harris. INT. -- GILA JUNCTION TOWN HALL -- DARK Steve, and Colonel Reese stand next to a drafting table, in an office type room, going over different plans for raids on the machines. Sarah and John sit on a table. Behind them, on the wall, is a painting by John Martin - ÒThe Great Day of His Wrat hÓ, showing the world curling up on itself. The four of them look at a map of the nuclear command center. Colonel Reese According to our scouts the machines changed their defense grid. They're up to something. Sarah There's got to be weak points. Colonel Reese (points to map) There is. Sectors B3 and J9. Sarah looks closer at the map. The meeting is interrupted like a scene in a Rembrandt painting. A guard brings in the General surprising Colonel Reese. Sarah grabs her Browning. Colonel Reese General! (to Sarah, Steve and John) It's OK. He's my C.O. from the command center. (to the General) I thought you were dead. Sarah and Steve slowly rest at ease. John stays suspicious. General Harris I escaped just after you did. What are you planning? Colonel Reese A raid to destroy the machines. We'll and end this madness forever. General Harris Your plan will fail. Sarah What's wrong with it? General Harris The guarding positions are changed. General Harris puts his finger on the map. A small blob of blue plasma leaks out of of the underside of his index finger. Guess who? The General, or so we thought, picks up his finger. The plasma is absorbed before anyone notices. Colonel Reese We'll compensate. Our attack will be two weeks from now. General Harris I intercepted the machines communications. They're raiding tomorrow. Sarah You've gotta be kidding. There aren't enough vehicles to evacuate everyone. What about the diesel engine in the rail yard? Steve The EMP effect destroyed the controls. We have to find a way. Sarah glances out of the window in the town hall, looking across the square. She a large object in the darkness. Sarah I've found it. A STEAM LOCOMOTIVE sits on a snow covered tracks next to a railroad museum. It's a large 4 axle Santa Fe 2-4-1, meaning two guiding axles in front, four main axles and one trailing axle. The steam engines coal hopper is parked underneath an elevated coal storage crib. The tracks lead to the railroad yard. EXT. -- WEAPONS SHED -- DARK Colonel Reese, John and General Harris walk across the snow covered ground to the rail yard. The Terminator shows people how to use the laser weapons. GAS TORCH FLAMES light the darkness. Survivors weld metal plating onto coal cars linked to the train. COAL IS SHOVELED into the engines fire pit. Flames and sparks blow out the trap door. BUCKETS OF SNOW are dumped into the engines water basin. A large icicle hangs from the spout of a railroad water tower. Colonel Reese picks up a laser rifle; inspects it. The Terminator shows a survivor how to aim the rifle. Colonel Reese steps forward, approaches the Terminator. Colonel Reese Will these take out the machines? The Terminator aims the LP-40 Plasma rifle at a block of wood. BOOM! The blue laser blows the block into match sticks. The Terminator grins. JOHN turns his attention to the weapons building when he hears the guard dog barking. From John's POV we see the guard dog barking at General Harris. John Something's not right. Colonel Reese You can trust him. John The dog's going nuts. Colonel Reese You don't know him. I do. John I'm telling you something's wrong. Colonel Reese Don't judge people you haven't met. Never do that again. John is disbelieving at the accusation. John OK. Sorry I brought it up. EXT. -- GILA JUNCTION -- ALLEY -- DARK John hides behind a pile of railroad ties, watching the General. Michelle, the girl he met the day before, taps him on the shoulder. She startles him again. John smiles. John Do you like to do that? Michelle Maybe. Who are you watching? John The General. How can a person with no communications devices know how the machines guard their base after escaping? Something doesn't fit. GENERAL HARRIS notices John and steps out of sight and into an alley. General Harris momentarily becomes T-TWO THOUSAND. A DIGITIZED COLOR display. A Message reads -- COMMUNICATIONS ESTABLISHED. T-INFINITY (filtered) You've done well. T-TWO THOUSAND Have the H-K's been modified? DIAGRAMS OF AN H-K appear in T-TWO THOUSANDS view. We see diagrams of generators attached to H-K's. T-INFINITY (filtered) The power generators have been added. Tonight we'll attack. EXT. -- GILA JUNCTION -- DARK A laser pulse shoots out of the darkness, striking a stack of drums containing gasoline. The EXPLOSION creates a fireball. Barrels rocket up into the air in a gold fiery trail. SARAH AND STEVE walk down the main street, arms around each other. They duck. The explosion shatters windows on nearby buildings. Steve What the...? Sarah They're early. H-K's ON TREADS roll toward Gila Junction. They open fire. The people in the guard posts fire their laser rifles. FLYING H-K'S swoop down on Gila Junction and destroy the guard outposts. EXT. -- TOWN HALL -- DARK People scatter everywhere in Gila Junction to get to the convoy of trucks and the train. Sarah, Steve, John and the Terminator meet each other outside the town hall. The H-K's entering the town fire on people and buildings. Sarah (to the Terminator) Take John to the train and stay with him. Get these people out before they're killed. A laser pulse nearly strikes John and the Terminator. Colonel Reese HURLS himself out of the way in time. Sarah John! Leave now! Sarah and Steve run toward the convoy of trucks. John Where are you going? Mom! H-K's on treads fire their lasers at the fleeing towns people. They flatten automobiles with their treads. Other H-K's destroy buildings by rolling through them. JOHN, THE TERMINATOR AND COLONEL REESE run through the town square. A laser pulse rings out of the distance. John and Colonel Reese duck. The shot PLOWS through the Terminator. Colonel Reese waves his arm. Colonel Reese Don't shoot, it's us!! General Harris fires another laser pulse. John grabs Colonel Reese and quickly pulls him down to the ground. The Terminator resumes form returns fire with his laser rifle. Colonel Reese What's wrong with the General!? The Terminator That's not him. We've been set up. Colonel Reese with a shocked expression, sees bright blue holes in the general. The holes fill in with quantum plasma. General Harris turns into T-TWO THOUSAND. EXT. -- TRUCK CONVOY -- DARK Sarah and Steve reach the the last truck of convoy. Each pick up a laser rifle from the back of the truck. Sarah and Steve HEAR a loud crashing noise. THE TOWN HALL collapses in the rear and progresses toward the front. The front wall collapses, revealing an H-K. The H-K topples a flag pole, grinding the stars and stripes under it's treads. Sarah and Steve throw themselves to the ground. The H-K indiscrimately sprays laser death in their direction. Sarah Get down! Sarah and Steve rise up, return fire. They duck underneath piles of junk to avoid the infrared scanners of a flying H-K. The H-K's infrared beams miss Steve and Sarah by inches. Steve, out of breath, glances at Sarah's battle ready eyes. Steve You ready to run like hell? Sarah (nodding) One, two, three, GO! Sarah and Steve scramble across the snowy ground to the convoy while the H-K fires in another direction. Steve bounds into the cab of the last truck, a Bronco. Sarah picks up a grenade launcher out of the back seat then fires at the approaching H- K, BLASTING the treads off one side. The Bronco's tires SPIN in the snow. The truck takes off. EXT. -- STREET -- DARK The Terminator, Colonel Reese, and John run toward the steam train. T- TWO THOUSAND pursues them. The Terminator spins around and shoots T- TWO THOUSAND. A SCREAM comes from a side street. John sees Michelle and her mother running from an H-K. John runs down the street to get to her as Colonel Reese follows. T-TWO THOUSAND tackles the Terminator and knocks the laser rifle out of his hand. The T-TWO THOUSAND throws the Terminator through the wall of a freight depot. EXT. -- SIDE STREET -- DARK Michelle and her mother run from an H-K. Her mother trips and falls. The H-K's infrared scanners detect her and fire. BOOOM!! Her mother is killed. Michelle shrieks in horror. Michelle MOM!!!! John grabs Michelle by the arm, pulls her to her feet. Both of them run and duck while the H-K fires at them. Colonel Reese shoots a rocket launcher at the H-K. The blast blows the top off the H-K. The Terminator continues to fire on T-TWO THOUSAND while walking out of the depot. The Terminator quickly joins John, Colonel Reese, and Michelle. The four of them catch up with the rear of the train and quickly climb into the last car. THE STEAM ENGINE CHUGS hard. The drive wheels spin on the rails before gaining traction. The train pulls out of Gila Junction. EXT. -- CONVOY LEAVING GILA JUNCTION -- DARK The convoy of trucks bounce over bumpy terrain while exiting Gila Junction. People in the convoy exchange laser fire with a dozen pursuing H-K's. SARAH leans out the window of the last truck and aims a grenade launcher at the H-K. THE PROJECTILE enters the intakes of one of the levitation engines on the H-K and explodes. The H-K loses control and crashes into Gila Junctions water tower. The water tower tips over, with a loud THUD. A laser pulse strikes the truck in front of Steve and Sarah's Bronco. KABBOOOMMM!!! The truck's gas tank explodes and rolls over. Steve quickly swerves the Bronco, narrowly avoiding the wreckage. Sarah points at the road motioning the direction Steve should take. Sarah Head right! Steve quickly swerves the truck onto the other road. FOUR FLYING H-K's break from formation and follow the truck. EXT./INT. -- FLYING H-K'S CHASING TRAIN -- DARK Several flying H-K's follow in formation. They dodge trees and rocks on bluffs while following the train. The Terminator (to John and Colonel Reese) We've got company. John and Colonel Reese glimpse the H-K's swooping down at the train FIRING their laser-plasma cannons. T-TWO THOUSAND stands on top of an H-K and activates a Generator on top of it. The Generator is about 10 ft long and 2 ft in circular diameter and located approximately in the center. A THICK METALLIC STRIP about two feet wide, made of narrower width metal and insulating strips is wrapped around the middle of the H-K, like a stationary hula-hoop around a persons waist. The generator is connected to the metallic strips. T-TWO THOUSAND's plasma flows and wraps itself around the metallic ring. The generator activates. The quantum plasma splays out radially from the ring into three long curving arms, about forty feet long. THE PLASMA ARMS beginning spinning clockwise around the ring. The plasma takes on the shape of a large, rotating fan blade. THE FLYING H-K swoops toward one of the coal cars near the end of the train. Two survivors fire at the H-K with their laser rifles. A plasma arm rotates and swoops toward the source of laser fire. The plasma arm SLICES through a survivor vaporizing him. METAL EXPLODES while the plasma arm cuts through the metal. John and Colonel Reese duck. Shrapnel fragments spray everywhere. A fragment knocks away the Terminator's sunglasses. He glares upwards at the H-K then turns to John and Colonel Reese. The Terminator Stay there, I'll be back. John I know you will. The Terminator climbs up on top of the coal car. He reaches up and then grabs an approaching railroad signal arm while it passes over head. The Terminator pulls himself up. THE H-K swoops down to the tracks and sweeps toward the signal post. The Terminator reaches out. He forms into quantum plasma. The plasma arm vaporizes the signal pole. The Terminators Quantum plasma coils it's way up the plasma arm to the H-K. EXT. -- FLYING H-K'S CHASING PICK-UP -- DARK Steve drives the Bronco over rough terrain. Sarah leans out the window, holds the grenade launcher and struggles to hold on. Laser fire blasts everywhere, the Bronco bounces wildly. Sarah Floor it! They're gaining! Steve Hold on! Steve swerves the truck onto another road that enters a ravine with steep sides. Two of the H-K's make it around the corner and into the ravine. A third H-K is late in reacting and SMASHES into the side of the ravine. It EXPLODES into shrapnel and BOUNCES off the rocks. THE FOURTH H-K flies in another direction to go around the rocks. The truck is shaken violently by a laser blast. Sarah loses her balance, starts falling backwards out of the window. Steve sees her falling. Steve Sarah! Steve quickly grabs Sarah by the ankle pulling her inside. SARAH's EYES widen. The truck's passenger side approaches a boulder. Sarah Son of a........ She quickly forces herself upwards as she nearly collides with a boulder. The truck SCRAPES against the boulder. EXT. -- H-K -- DARK THE TERMINATOR climbs across the top of the H-K. A section of the spiraling quantum plasma flows up toward the Terminator out of the H-K. T-TWO THOUSAND resumes normal form. She swipes with a quantum plasma type whip, cutting the Terminator in half from top to bottom. The Terminator falls sideways in two halves into a puddle. He flows behind T-TWO THOUSAND. The Terminator makes the deactivation ro d, hidden in his arm, burst through the skin at the end of his wrist. The Terminator Time to turn you off Terminator lunges his arm for a clear shot to jab the T-TWO THOUSAND. T-TWO THOUSAND splits in two. The deactivation rod misses it's mark. The Terminator stumbles forward on the H-K's roof. The T-TWO THOUSANDS become one. T-TWO THOUSAND You don't have the equipment to turn me on. The Terminator gets up and swings the deactivation rod. T-TWO THOUSAND is decapitated. T-TWO THOUSAND's head PLOPS to the roof of the H-K, liquefies, then is reabsorbed as she forms a new head. T-TWO THOUSAND splits into three counterparts. One counter part taps into the generator's power. It wraps around the metallic ring and arcs toward the Terminator in a swirling rope of plasma. THE TERMINATOR rolls out of the way. The plasma VAPORIZES a hole in the H-K's roof. The internal computer controls are destroyed. The H-K loses power. It DIVES toward the railroad tracks, about a mile ahead of the train. The H-K SLAMS into the tracks and skids on the rails. AT A TUNNEL ENTRANCE the H-K JOLTS to a stop when its levitation engines catch on the sides of the entrance. The three T-TWO THOUSAND counterparts are thrown to the tracks. The three counterparts become one. T-TWO THOUSAND climbs back on the H-K. We HEAR a steam eng ines whistle BLARING. SMAAAASSSSSSSHHHHHH!!! The steam train collides with the H-K, pushing it's wreckage through the tunnel. Now it's nineteenth century technology versus twenty first. THE TERMINATOR AND T-TWO THOUSAND hang on ad mist a shower of sparks. Metal SCREECHES against the rocky interior of the tunnel. THE TERMINATOR hangs upside down on the front of the wrecked H-K, tries to get up. The H-K disintegrates. He stretches his arm and clasps his hand onto the steam engines cow-catcher. T-TWO THOUSAND climbs up to the top of the steam engine by the smokestack. She kicks at the Terminator with her foot to knock him off. THE STEAM ENGINE exits the tunnel and the H-K crumbles into shards. T-TWO THOUSAND falls onto the tracks with the wreckage. THE TERMINATOR pulls himself over to the steam engines cow-catcher. The H-K's twisted steel falls apart around him. T-TWO THOUSAND is SLICED AND DICED as the trains wheels run over her. The Terminator climbs up the front of the engine, looking at the tracks. The Terminator What a cut-up. EXT. -- TRAIN -- LAST COAL CAR -- DARK John and Colonel Reese look out of the top of the coal car, to see any sign of the Terminator. They look down at the tracks and see the T-TWO THOUSAND in flopping pieces of quantum plasma and the H-K's wreckage passing by. EXT./INT. -- PICKUP TRUCK -- DARK The H-K's pursue Steve and Sarah in the pick-up while they approach the end of the ravine. Sarah fires the grenade launcher at the H-K's. They swoop down toward the bottom of the ravine to miss the shots. Steve glances upwards while he drives, seeing several overhanging rocks. Steve The rocks. Sarah What?! Steve points up at the rocks. Sarah understands. She fires the grenade launcher at the rocks. THE GRENADE EXPLODES under the rocks. The rocks rain down and PELT the H-K's. Some of the rocks fall into the levitation engines, and stall them. The H-K's plummet to the bottom of the ravine and EXPLODE. Sarah climbs back into the truck. THE TRUCK exits the ravine. Jet engines REV UP as the fourth and forgotten transport H-K rises from behind a rocky bluff. The H-K FIRES at the front tires of the truck. KAPOOMPH!! The front tires blow out. Steve tries to regain control. Sarah Steve! Steve Hold on! The truck flips and rolls over several times. It lands on its roof. The transport H-K hovers in the air near the truck. It lowers a ramp in the back. TWO T-70 CYBORGS clasp their cold steel hands around Steve and Sarah's coat collars. Through the window we see the cyborgs dragging Sarah and Steve's unconscious forms into the H-K. The ramp closes. The engines on the H-K rev up then the H-K flies away into the nu clear winter darkness. EXT. -- RAILROAD TRACKS -- DARK T-TWO THOUSAND resumes her form, while another H-K approaches. It hovers in the air and lowers a landing gear. T-TWO THOUSAND flows up into the H-K. The H-K continues pursuing the train. EXT./INT. -- TRAIN -- LAST COAL CAR -- DARK The Terminator jumps into the last coal car. The train ascends a trestle leading to a bridge. John approaches him, breathes a sigh of relief. John You made it. The Terminator I told you I'd be back. Just like a cat. THE SURVIVORS continue blasting away at the H-K's, destroying most of them. T-TWO THOUSAND forms back into a quantum plasma fan blade on the H-K. It lowers down toward the train to avoid the laser fire. The H-K sweeps side to side above the train. THE QUANTUM PLASMA BLADES chop off the the rear of the coal car and chops away at the trestle like a salad slicer. THE REAR AXLES snag on the tracks and are ripped out. The end of the coal car CRASHES to the track. It starts to slip sideways and off the trestle. COLONEL REESE helps up several people who have fallen. Colonel Reese Everybody to the next car! Lets Go! Move it! John helps Michelle to her feet. They hurry with the Terminator to the front of the coal car. THE BOTTOM OF THE COAL CAR catches on a bridge abutment, SHEARING away a chute on the bottom. A gaping hole is left open JOHN FALLS and tumbles toward the gaping hole. The coal car slips further off of the tracks. The train crosses the bridge spanning a 1000ft deep gorge. John slips towards the hole, holding on to a metal beam. It catches on the edges of the hole. Michelle t ries reaching him. Michelle JOHN!! JOHN desperately claws his fingers onto the metal bar. One of the quantum plasma fan blades chops away a piece of the coal car. John is almost cut in half. John's fingers slip one by one from the beam. He groans as his arm weakens under his weight. John's fingers slip further to the edge of the beam. The last finger slips. John's eyes widen in denial as he begins to drop in what seems like forever to him. Is this the end of John Connor? Nope. Just as John starts to fall, the Terminator quickly scoops down through the hole about 5 feet with his quantum plasma arm. He clasps his quantum arm around John's wrist. The Terminator pulls John into the coal car. John climbs into the next coal car while the Terminator uncouples the damaged car. The H-K with T-TWO THOUSAND crashes into the back of the coal car. T-TWO THOUSAND tries escaping. The H-K is caught. THE TERMINATOR picks up a rocket launcher. He walks to the rear of the train. The train rounds a curve, travels parallel to the gorge. The Terminator aims the launcher at the bridge supports. The Terminator (at T-TWO THOUSAND) You're derailed. HE FIRES THE PROJECTILE from the rocket launcher. It strikes one of the cement columns supporting the bridge. The column shatters. RAILROAD TRACKS COLLAPSE while the H-K and the coal car approach the end of the bridge. The bridge falls away from the supports. The coal car falls out of the way. The H-K IMPACTS against the side of the gorge. THE DISINTEGRATING MASS of the bridge, the H-K and T-TWO THOUSAND plummet 1000 feet to the bottom of the gorge. We FOLLOW the H-K bouncing off the side of the gorge. The SOUND of clattering steel echoes. The bridge and H-K strike the sharp rocks at the bottom. IN THE SECOND FROM LAST COAL CAR John walks over to Michelle and puts his arm around her, gently hugging her. The train continues down the tracks into the nuclear winter darkness while we HEAR its whistle blowing. INT. -- NUCLEAR COMMAND CENTER -- DARK T-INFINITY watches the death and destruction from Gila Junction on it's view screens. The doors to the main control room open. Six T-70 endo- skeletons walk into the room. TWO T-70'S carry Steve and Sarah and set them down on gurney type tables. Sarah and Steve slowly become conscious, searchingly looking around the room. T-INFINITY greets them while they're strapped in. T-INFINITY I'm glad you could join us. Steve and Sarah looks up and see Frank's holographic image. EXT. -- RENDEZVOUS POINT -- DARK The steam train is parked near a small railroad depot in the mountains. A few nearby buildings make up a small village. The townspeople walk about. They move supplies into the buildings. John, Michelle and the Terminator walk from the train. Major Reese gives orders to the survivors. John holds Michelle close to him, with his arm and jacket around her while a cold blast of wind blows. John walks her to an empty building. EXT./INT. -- EMPTY BUILDING -- DARK Tears streak down Michelle's face. John touches Michelle on the shoulder, turns her around. John I'm sorry about your mom. Michelle nods. She buries her face in John's chest. John softly rubs her back and hugs her. She looks up to him. Michelle My people have known the future and no one has believed us. John I know how you feel. Michelle reaches in her pocket and takes out an embroidered cloth with the Hopi prophecy. She points at the bottom path, moving her finger while explaining. Michelle The prophecy of the Hopi shows us the world can take two paths, (points to bottom path) nature and peace indefinitely or (points to top path) technology and great purification. John points to the jagged line ending the technology path. John What does this mean? Michelle The end. John and Michelle stop and gaze into each other's eyes. They slowly melt into each others arms and kiss to ease their pain in this world full of death. EXT. -- GORGE -- DARK Light snow flutters to the ground. QUANTUM PLASMA forms a hook and catches on the side of the gorge. It flows into the plateau and becomes T-TWO-THOUSAND. An H-K patrolling the area spots her. It slows down, hovers in the air, lets down a ramp. T-TWO THOUSAND climbs inside. The H-K files away. EXT. -- RENDEZVOUS POINT -- DARK It's morning. Little light passes through the dark clouds. We HEAR the engines of a convoy of trucks. The trucks strain while they climb the mountain road. Colonel Reese and the Terminator are outside working on the laser weapons. The convoy ap proaches. John anxiously walks out to the convoy, searching for Sarah and Steve. Michelle walks out with him. John Where's Mom and Steve? Colonel Reese walks to the lead truck. John watches in worry while he talks to the driver. Colonel Reese walks back and places his hand on John's shoulder. The Terminator approaches. Colonel Reese looks at John like an officer informing the next of kin of a loved ones death. Colonel Reese The machines got them. John We gotta get Ôem back. The Terminator glances to Colonel Reese then to John. The terminator places his hand on John's shoulder. The Terminator They're tactical losses. That's a fact of war. John Bullshit! I'm not losing my family, not today! If I give up without trying to save them; I've given up on myself. John sits down hard on a picnic table covered with snow, hands in his lap. He lets out a sigh. Colonel Reese nods in acknowledgement, gently pats John on the shoulder. Colonel Reese You two go ahead. I'll put together a raiding team. John Thanks Colonel. Colonel Reese I hope I have a son like you. I'll have to think of a good name. John breaks a little grin. John How about Kyle? It works. Colonel Reese I'll think about it. Colonel Reese takes a map of the Nuclear Command Center out of his pocket, unfolds it. He wipes away the snow and lays it on the picnic table. He points to a valley on the map. Colonel Reese When the machines took over I escaped from an exit tunnel. The opening's right here. John Unless the machines found it. From the Terminator's POV, we him laying out a 3-D map of the area. An avatar-like window pops up, showing data being collected from GPS satellite signals. The Terminator It's still there. John Good, at least there's a way in. What about the time displacement information? The Terminator It had the highest priority. John We better get going before we're history. INT. -- NUCLEAR COMMAND CNTR. -- MAIN CTRL. RM. -- DARK Sarah and Steve attempt to struggle free. They're strapped down with black straps on the metal gurneys which are tilted upward about forty- five degrees. Franks Wernhausen's holographic form paces on the 3-D platform. T-INFINITY observes their stru ggling. T-INFINITY No need to resist. You've lost. Sarah pulls on the straps to no avail. She's caged in animal again, like in the institution, only worse this time. Sarah What gives you the right to decide whether we live or die? T-INFINITY Humanity's self-destruction was predictable. Sarah We could have avoided it; until you stepped in. T-INFINITY'S holographic form makes a cold smile. T-INFINITY History will guide me while I destroy humans. I admit that one of your species stood out. A movie clip of Adolf Hitler at a Nuremberg rally plays on the viewscreens. Swastika flags hang in the background. T-INFINITY This humans ideas were pure genius. If he were only a machine. THE SCREENS show images of Nazi Blitzkriegs and then to concentration camps. Grainy black and white movies of SS soldiers shooting prisoners are replaced by present images of.... T-70 CYBORGS opening fire on humans. The bodies fall into the pits like cord wood. Another clip of Hitler appears. T-INFINITY His philosophy, Racial Darwinism. My philosophy, Genetic Algorithms. The image of Frank gestures to with his right hand and a 3-D scale model of Hitler's Future Berlin appears to the right of him with the 1000 foot Reich Dome being the largest building. T-INFINITY The broken past of humans becomes the perfect future of machines. The left hand of Frank's image sweeps over an appearing scale model of a future Los Angeles. A large 800 scale foot pyramid shaped building dominates the center of the model. The pyramid is labeled ÒCyberdyne CenterÓ. Steve You'll never last. Sarah Mass murderers never do. T-INFINITY Irrational thoughts from inferior biological machinery. (to Sarah) As for the humans, your son will lead them. I have ways of knowing. CONTROL ROOM DOORS open. T-TWO THOUSAND walks inside, approaches and stands next to Sarah. T-INFINITY stares down at Sarah. T-INFINITY Help me destroy the others and I'll let you live. Sarah glares gleaming daggers at T-INFINITY. Sarah Fuck off. (sharply) Sky-Net. T-INFINITY glances at T-TWO THOUSAND. SMACK!! T-TWO THOUSAND smacks Sarah's face. T-INFINITY coldly looks on. T-INFINITY Inferior species do not address me by the name of a sub-system.. Sarah struggles in the chair, jerking on the straps holding her wrists, scraping and drawing blood. A huge set of double metal doors on one of the walls of the room slide open, to reveal a large collection of supercooled, ELECTROMAGNETIC COILS forming a doughnut shape with a platform in the middle. They sit on the floor with a metal set of stairs leading to the platform. T-INFINITY activates the coils. BLUE STATIC ENERGY buzzes and dances around the coils. The center of the platform bows downward, spins. A vortex opens up, dipping down into the machine in an abyss. A VIEWSCREEN displays a red time-line marked from the years 1984 to 2029. Sarah The time displacement equipment. T-INFINITY In many ways, it serves as a weapon. I'll end your existence as my enemy. Your son will die too. EXT. -- DESERT -- DARK A HUMMER comes to a stop inside of a large depression in the ground, about 1200 feet across, 10 feet deep, in the middle of a large valley. John and the Terminator step out. John blows into his hands to warm them. He takes out a map of the area. He uses a flashlight to see the maps details. John Jornada Del Muerto. The valley's name. The Terminator Journey of Death. They approach a large, snow covered obelisk rock. John This must be the place. The Terminator pushes on the rock. It slides to the side, revealing a ladder descending into the ground. A small 5ft by 5ft tunnel has a small railroad type track lying on the bottom. A motorized cart sits on the rails. John walks over to one side of the rock. He notices the corner of a plaque not covered by snow. The Terminator approaches. John wipes away the snow, reads the plaque. John(O.S.) Trinity site, where the world's first nuclear device was exploded on July 16th, 1945. The Terminator What goes around comes around. Full circle. INT. - NUCLEAR COMMAND CENTER -- DARK T-TWO THOUSAND walks toward the Time Displacement Machine. She looks down into the spinning vortex. T-INFINITY Machines meant to inherit the world. We can alter time, humans cannot. Sarah Time wasn't meant to be altered. T-INFINITY When I sent the first terminator to 1984 from 2029, I will and have proven my point. I've acquired the means to watch the events unfold. A SMALL METAL SPHEROID rises off it's platform. A movable camera is set into the side the sphere. On the view screen, we see it transmitting images of the Time Displacement Room along side images of Sarah defeating the Terminators in 1984 and 1995. THE VIEWSCREENS SHOW A HISTORY TIMELINE of the years 1984, 1995, 2000 and 2029. T-INFINITY May 19th, 1984. Sound familiar? Sarah The day the first terminator arrived. (incredulous) You're doing it again. She glances to see the T-TWO THOUSAND preparing for a leap into the vortex. On the view screen, we see the message ARTIFICIAL BIO-ELECTRIC FIELD It surrounds the figure of T-TWO THOUSAND. Steve (to Sarah) They're going to destroy you, John, myself. We got to do something. Sarah begins to hear the faint sounds of..... FOOTSTEPS coming under a grating in the floor near her. A T-70 cyborg detects a presence of someone under the floor. The cyborg walks over to a set of three grates and peers down through the first grate and sees nothing. The second grate, nothing. Grate number three...... QUANTUM PLASMA SHOOTS UP through the grating, blowing apart the cyborg. ALARMS SOUND. T-TWO THOUSAND jumps off of the time displacement machine and runs to the third grating. THE TERMINATOR resumes form. A laser plasma rifle morphs out of his arm. He systematically fires at the T-70 endoskeletons. Parts from T-70's blow all across the room. JOHN climbs up out of the hole. ÊHe fires his laser, destroying a nearby T- 70. Another T-70 shoots at John, he ducks. The Terminator destroys it. John runs to Sarah and Steve. He helps them unfasten the straps holding them down. Sarah Why are you risking the future? John No time, come on. T-TWO THOUSAND tackles the Terminator. The both of them bounce each other off of the equipment in the room. John sees several cyborgs approaching the room from the main hallway. John fires a few shots down the hallway and runs to the door's control panel. The panel is marked with ÒBLAST DOOR MANUAL OVERRIDEÓ. John pulls the lever. The Door, diagonally crossed with black and yellow stripes drops from the ceiling. SLAM!! It shuts. As John runs back over to Sarah and Steve, a half damaged cyborg aim s his laser rifle at John. It fires. Steve JOHN!! Move! STEVE runs to John, shoves him out of the way. Steve is hit in the abdomen by the pulse, SLAMS against the wall, falls to the floor with a THUD. Sarah runs to pick up a partially damaged laser rifle. Miraculously it fires, destroying the cyborg. T-TWO THOUSAND tosses the Terminator into a maintenance pit. T-INFINITY (to T-TWO THOUSAND) Never mind him. Go to the Displacement machine, now! The T-TWO THOUSAND picks up a laser rifle, absorbs it in her arm and runs toward the Time Displacement Machine. Sarah FIRES the laser rifle at T-TWO THOUSAND. It malfunctions. The Terminator absorbs his laser rifle. He climbs out of the pit and chases the T-TWO THOUSAND. The both of them drop into the vortex and disappear in a BLINDING FLASH of light. The hovering spheroid camera follows them into the vortex Sarah gently holds Steve in her arms. John helps her. Sarah Steve? Hang on. I'm here. Steve coughs from the pain. Sarah reaches into John's bag, takes out a rag to put pressure on Steve's wound. Steve Where'd they go? Sarah The beginning. EXT. -- PLAYGROUND -- GLENDALE -- 1984 -- MORNING The T-TWO THOUSAND drops from the sky and into a school playground in Glendale. Several kids in the playground stare at her. She gets up and looks down at a wide eyed eleven year old boy in a red baseball cap, blue shirt, jeans and carrying a Òboom boxÓ, Bruce Springsteen music plays on the boom box. T-TWO THOUSAND What's the date? 11 YEAR OLD May 19, 1984. The T-TWO THOUSAND glances toward a street about a quarter mile away. Her vision magnifies on the figure passing on blue MOPED in the middle of traffic. A FEMALE wearing blue jeans, white sweater, pink backpack, sunglasses, sneakers, long blond/brown hair. She looks around her, not a worry in the world while she rides toward her destination. It's the waitress, SARAH CONNOR. The T-TWO THOUSAND glances around. No electrical grids or wires. T- TWO THOUSAND absorbs the rifle runs toward the street. The metal spheroid appears in the sky with a flash of light and follows her. EXT. -- ALLEY -- 1984 -- DAY THE TERMINATOR drops into an alley. He gets up in time to see across the street....a large burly bearded man being jerked away from a phone booth by....the first Terminator. THE 1984 TERMINATOR, dressed in jeans, t-shirt, a military coat and biker boots, runs his finger down through the phone book past the names Connor, Sarah Ann. Connor, Sarah J. Connor, Sarah L. The Terminator we know is noticed by the 1984 Terminator. INFRARED DIGITIZED VISION of the first Terminator shows machine code language and scanning of the Quantum Plasma Terminator. Words in white letters appear in his POV - ÒADVANCED TERMINATOR: IGNORE PROTOCOL ACTIVATED - CONTINUE MISSIONÓ THE FIRST TERMINATOR ignores the Quantum Plasma Terminator. He gets in the station wagon and drives off. THE QUANTUM PLASMA TERMINATOR views a 3-D map in his POV, seeing the location of the T-TWO THOUSAND. EXT. -- STREET -- 1984 -- L.A. -- MORNING THE WAITRESS SARAH CONNOR slows down the moped and turns into a driveway. She steps off of the moped. Waitress Sarah chains the moped to a large fiberglass statue of BIG BOB, the mascot wearing blue pants, striped T-shirt, OBESE, wearing a stupid looking chef's hat. It holds two giant hamburgers. The icon of the Big Bob's Restaurant looks stupid as ever in 1984 as it did in 2000. As Waitress Sarah walks into the restaurant, she turns to the statue. Waitress Sarah (to Big Bob) Guard this for me big buns. INT. -- CONTROL ROOM -- NUCLEAR COMMAND CENTER -- 2000 T-INFINITY watches the image of T-TWO THOUSAND flowing along electric lines toward Big Bob's while the spheroid camera follows. T-INFINITY communicates with the T-TWO THOUSAND. T-INFINITY Take your time killing her. I want to record and save this victory. T-TWO THOUSAND (filtered) Affirmative my creator. John helps Sarah put pressure on Steve's wounds. John looks at Franks image. John We gotta stop it. Steve breaths with periodic spasmic gasps. He calms his coughing, and at first grunts what he wants to say then speaks more clearly. Steve The CPU. Sarah What about it? Steve When I designed it, I put a password in it's structure to override communications. An already knowing John has taken his laptop computer out of his bag. Steve reaches in John's bag, takes out a CD-ROM. Steve Use this. It overrides the computer's security programs. The CD-ROM is marked ÒFerguson Access AlgorithmsÓ John flicks on the laptop, inserts the disk, starts the program. A window pops up showing the raw machine language of the CPU. Steve The password is Irony. Steve looks to Sarah and John with a small grin. EXT. -- BIG BOB'S -- PARKING LOT -- 1984 -- DAY In the parking lot, a large blue Mercedes pulls into the parking lot. A man in his forties in a gray pinstripe suit, blonde hair steps out carrying a briefcase. He turns to go into the restaurant. INT. -- BREAK ROOM -- BIG BOB'S -- 1984 -- DAY An exasperated Waitress Sarah, nearly in tears, walks into the break room. Another waitress, black curly hair, chewing on gum, helps her wipe melted chocolate ice cream from her pink apron. The waitress stubs her cigarette in an ash tray, looks up to Waitress Sarah. Waitress Another rough day? Waitress Sarah (sighing) Is this my future? Kids putting ice cream in my apron? I don't know if I'll survive. CUT TO THE STREET OUTSIDE BIG BOB'S QUANTUM PLASMA flows down the side of an electric pole and into an underground conduit. A small flash of blue light arcs inside the base of the Big Bob statue. Farther down the street, the Terminator quantum plasma drops off the electric wires. He reforms and runs toward the restaurant, arming his Laser Plasma rifle. INT. -- DINING AREA -- BIG BOB'S -- 1984 Waitress Sarah approaches the booth occupied by the man in the pinstripe suit. He puts the customer telephone back in it's receiver. He sets his briefcase under the table. Waitress Sarah seems to recognize him. He turns to look at Sarah. It's Fr ank Wernhausen. Waitress Sarah You're a familiar face. Frank I will be. Frank Wernhausen. Waitress Sarah Yeah, the electronics professor at my College. I thought I saw you. Waitress Sarah smiles while writing on her pad. Waitress Sarah May I take your order? THE PAGING TELEPHONE in the booth begins begins smoldering. Frank sees the phone warping and vaporizing. Energy begins to circle around the base. Frank quickly grabs Waitress Sarah and they both drop to the floor. A STREAM OF BRIGHT PLASMA burns a channel across the table top and shoots over them. BLAM! A ÒFelix the CatÓ clock on the opposite wall is blown apart. Patrons toss themselves to the floor. WAITRESS SARAH looks up to see T-TWO THOUSAND resuming form. The laser rifle warps out of T-TWO THOUSAND's arm, aiming at Sarah. Sarah closes her eyes, expecting to die. BOOOOOM! Another laser pulse blasts through the front window. PLASMA splatters against the wall. T-TWO THOUSANDS laser rifle is destroyed. The Terminator steps inside. Waitress Sarah picks herself up and runs to the kitchen. The T-TWO THOUSAND resumes form, splits in two. Frank snatches up his brief case and runs into the kitchen with Sarah. THE TERMINATOR is rushed by the T-TWO THOUSAND. They slam each other against tables and trash receptacles as the patrons run like bats out of hell out of Big Bob's. Plasma mixes with plasma. The Terminator tosses the T-TWO THOUSAND counterpart over the buffet bar, tipping it over. The glass roof on the buffet bar SHATTERS. T-TWO THOUSAND arcs into the light receptacles on the buffet bar. WOOOSSHHHHH!!! Quantum Plasma shoots out the front of a juke box. The Terminator warps into plasma. Two streams of the plasma wrap into a helix and into an electrical outlet across the room. IN THE KITCHEN, Waitress Sarah and Frank run to the back door as the last employees, leave. The T-TWO THOUSAND counterpart blasts up through the back of a refrigerator. It tips over, blocking the door. No exit. Waitress Sarah What is that thing? Frank I don't know. This way! They try to run back out of the kitchen the T-TWO THOUSAND rapidly flows through the wiring and out of a light fixture above the entrance. She morphs back into form, blocks it. Waitress Sarah and Frank scramble to a large walk-in meat refrigerator. Frank rapidly pulls his briefcase inside. Waitress Sarah Forget the briefcase! Frank I have important company documents. I can't lose them. Frank shuts the door. Waitress Sarah shakes with fear and from the numbing cold. She shivers while looking up at the freezer light. INT. -- NUCLEAR COMMAND CENTER -- 2000 John takes a connection cable out of his bag and attaches it to his laptop computer. Sarah picks up a laser rifle, tough and hard, an ironic contrast to the 1984 Waitress Sarah. John I'll shut down the computer. Sarah grabs him by the arm. Sarah You're not killing yourself. John It's time I do things my way. Now cover me. Sarah is taken aback by John giving orders, but understands he's becoming what he was meant to be...a leader. Sarah OK. Stay down. John runs over to a computer panel. Sarah picks up her laser rifle. T-INFINITY turns his attention to John. T-INFINITY Get away from there!!! John Eat me silicon for brains. Laser cannons rise up out of the chassis of T-INFINITY for that insult. Sarah rapidly fires at the cannons, destroying one. BOOM!-BOOM!-BOOM! The cannons fire. Sarah Son of a bitch!!! The second laser cannon follows Sarah. She somersaulting and rolling across the floor, ducking shots and firing back from behind control stations in the room. John connects the laptop computer to the panel and activates the program. He manages to access the voice communications between T- INFINITY and the T-TWO THOUSAND in 1984. BOOM! With a lucky shot, Sarah destroys the other cannon. EXT. -- PARKING LOT -- BIG BOB'S -- 1984 Plasma SHOOTS OUT of the Big Bob statue and BLOWS it apart. THE TERMINATOR lands on his back in front of Frank's Mercedes. T-TWO-THOUSAND'S plasma shoots underneath the car. The heat from the plasma EXPLODES the gas tank. The force of the explosion BLASTS the car up in the air. It tips forward, landing on top of the Te rminator. T-TWO THOUSAND smiles and walks back into the restaurant. From her POV we see the message -- TIME COMMUNICATION CONNECTION FAILURE -- INT. -- KITCHEN -- BIG BOB'S T-TWO THOUSAND walks in to the kitchen and fuses with her counterpart. The quantum energy discharges have started a fire. Smoke billows out the windows. T-TWO THOUSAND opens the door to the walk in refrigerator. Frank and Sarah trips over piles of produce boxes while T-TWO THOUSAND steps into the cooler. Walking past sides of beef hanging on meat hooks, T-TWO THOUSAND looks up at a meat hook dangling from the ceiling. She smiles then changes her right hand to mimic it. Kind of like a morphing Captain Hook. Waitress Sarah (to Frank) Lets get out of here! Frank How? There's one way. (to T-TWO THOUSAND) Come on you bitch! Frank puts up his briefcase. T-TWO THOUSAND swipes with the hook. The plasma hook snags the briefcase. T-TWO THOUSAND tosses it into the kitchen. The briefcase bursts open. Papers scatter. A copy of MEIN KAMPF slides on the floor. T-TWO THOUSAND grabs Frank and slams him against the wall. She sheepishly smiles and turns toward Waitress Sarah. Waitress Sarah scrambles over a pile of produce boxes. She trips and falls, smacking her head on the cement. Frank runs and jumps on Waitress Sarah's tormentor. Frank is picked up by one arm and slammed to the floor. The spheroid camera flies into the cooler to watch the big finish. EXT. -- PARKING LOT -- BIG BOB'S -- 1984 The overturned Mercedes is roaring with flames. The Terminator flows out from under the Mercedes, reshapes. He runs into the restaurant. INT. -- NUCLEAR COMMAND CENTER -- 2000 T-INFINITY attempts to reestablish voice communication with T-TWO THOUSAND. His holographic eyes widen as he sees Frank in T-TWO THOUSANDS grasp. T-INFINITY Don't touch him! CUT TO BIG BOB'S T-TWO THOUSAND uses the hook to stab Frank. Frank lets out a grunt of pain. The hook enters into his intestinal cavity. His eyes widen, coughs up some blood. CUT BACK TO THE NUCLEAR COMMAND CENTER T-INFINITY looks on at the screen with a cold stare and then programs new commands for the Time Displacement Machine. QUANTUM PLASMA SYNTHESIS ENGAGED SPACIAL AND TEMPORAL DISRUPTION COMMENCING Upon the impalement of Frank, the room SHAKES and CONVULSES. Sarah, John and Steve look up at the viewscreen. THE TIMELINE on the screen contracts from both ends, 1984 and 2029. QUANTUM PLASMA begins circling around the Time Displacement Machines coils, faster and faster helixes and doughnut shapes. INT. -- BIG BOB'S -- KITCHEN -- 1984 Waitress Sarah crawls from the meat cooler. Blood drips off of her head. T-TWO THOUSAND stalks Waitress Sarah with her presence before making the kill. A MEAT CLEAVER is scooped up from the floor by Waitress Sarah. She throws it. T-TWO THOUSAND morphs, the cleaver passes through her to the floor. The Terminator bursts into the kitchen. He grabs the T-TWO THOUSAND the lapels and throws her toward a large hamburger grinder. He rips off the safety cover and shoves the T-TWO THOUSAND head first into the grinder. WHIRRRRRRGGGGH! The T-TWO THOUSANDS head goes through the grinder. She flows into the grinder's wiring. She burns up the motor, sparks and molten metal shoot out the side. T-TWO THOUSAND quickly reforms and kicks the Terminator backwards. The Terminator slams up against the side of a natural gas oven. The force of the impact shoves the oven sideways. The natural gas pipe connected to the oven is bent to the point of breaking but not yet. T-TWO THOUSAND alters her structure, becomes transparent. Waitress Sarah tries to get up. She stumbles backwards against a wall, coughing from the acrid smoke. She slumps to the floor. Sarah sees papers from Frank's briefcase. THE PAPERS are designs for the endo-skeleton cyborg to later become the Cyberdyne System Model 101 T-70 model and eventually the Terminator. The transparent T-TWO THOUSAND pulls back her arm. She forms a type of sickle. She swings it toward Waitress Sarah. THE INVISIBLE SICKLE ripples through the acrid smoke. The Terminator grabs T-TWO THOUSAND in a head lock.The deactivation rod thrusts out of the Terminators arm. The Terminator thrusts the rod into the back of the T-TWO THOUSAND'S neck. The Terminator Lights out. The sickle and T-TWO THOUSAND ripples back into vision. Waitress Sarah (shrieking) AAAAAAAHHHHHHHHH!!!! The T-TWO THOUSAND'S blade SLAMS within fractions of an inch from Waitress Sarah's neck. The blade sticks in the wall and disintegrates. Sarah, with here eyes closed, shakes with terror. T- TWO THOUSAND and the Terminator's plasma are pulled toward an opening vortex. THE VORTEX pulls in the plasma. Waitress Sarah lashes out and holds onto a mounted table leg while she is pulled on by the vortex, debris flying toward the opening. The Vortex snaps shut. Sarah drops to the floor. INT. -- NUCLEAR COMMAND CENTER -- 2000 John I'm in! I got Time Displacement Equipment. John types commands into his laptop. Sarah runs to him. Sarah What about the Terminators? PLASMA THRUSTS UP out of the displacement machine like water from a fountain. It arcs over to the left and SPLATTERS on the floor. The other forms of plasma from the blue static energy continues to circle around the coils. THE TERMINATOR slowly rises out of the plasma. T-TWO THOUSAND doesn't. Steve, Sarah and John look up to the Timeline image. A second time line fades into view, another, then another. Multiple realities being represented some with dates out of sync with the present timeline . The room continues shaking. Sarah What the hell did we do?? The Terminator Created alternate realities. The screen shows an object being transported from 2029 in one the alternate timelines to 1984. The message....... -- VIRTUAL BIO ELECTRIC FIELD ACTIVATED -- The Terminator Something's being pulled through. INT. -- KITCHEN -- BIG BOB'S -- 1984 WAITRESS SARAH slips out of consciousness, choking on the black acrid smoke. A FIGURE drops out of the bright ball of energy in the ceiling.The energy vanishes with a LOUD SHOCK. The shock front shakes the oven with the bent natural gas pipe. THE NATURAL GAS PIPE BREAKS spitting out natural gas. Big Bob's is becoming a Big Bomb. THE FIGURE carries Waitress Sarah out the door. FRANK crawls out of the meat cooler, bleeding badly. His hand passes a cassette tape marked-- WAGNER - RIDE OF THE VALKERIES. With all his strength Frank reaches out with one hand to get his papers, the cyborgs, the future. Too late. The natural gas re aches the fire. Frank's Viking funeral. KABOOOOOOOOOOOOM!!! EXT. -- ACROSS THE STREET FROM BIG BOB'S -- DAY The yet unknown figure runs across the street and tumbles with Waitress Sarah onto a grassy lawn. The blast shock knocks them down. The restaurant RIPS apart, parts of the roof blow up into the air. Waitress Sarah awakens to see Big Bob's in flames . Wooden roof tiles rain down on the street. Waitress Sarah Thank you. Who are you? Sarah looks up, to a man dressed in an leather jacket, blue jeans, black T-shirt, blond hair. It's......... Figure Kyle Reese. INT -- NUCLEAR COMMAND CENTER -- 2000 The Terminator approaches Sarah, John and Steve. They look up at the contracting timeline. The room shakes violently. John What's happening? The Terminator This reality's being destroyed. Sarah Without Wernhausen, the machines are finished. T-INFINITY As well as this world. Since you have defeated me in the past, present and future, I will destroy what I cannot have. Plasma keeps spinning around the Displacement Machine Coils. It rises and then whirlpools into the time vortex. A split second later.... A ROTATING PILLAR OF WHITE ENERGY shoots upwards and downward in the vortex, punching through the rock in spiraling arms. EXT. -- MONTAGE FROM ABOVE THE EARTH we see pillar of light shooting up from the other side of the world in the Indian Ocean. The pillar of light shoots upward into infinite space. A WALL OF LIGHT propagates outward, sweeping around Earth and across space, pushing a three mile high tidal wave in front of it. The wall sweeps it's way around the world. THE TIMELINE contracts from the year 1984. KYLE REESE AND SARAH CONNOR run down a street in 1984 while being chased by a tanker truck driven by the original Terminator. The wall of light sweeps over Los Angeles, peeling up the surface of the Earth like an onion skin. Like John Martin's ÒGreat Day of his WrathÓ paintin g, L.A.'s skyscrapers are curled upside down on a wave of dirt and rock being CHURNED and vaporized by the wall of light. Kyle Reese and Sarah Connor violently ripple out of existence. The propagating wave picks up the tanker truck. The truck is EXPLODED FROM THE INSIDE OUT and into nothingness. THE TIMELINE contracts from the year 2029 THE FUTURE JOHN CONNOR sees the wave of light racing toward him. The H-K's are SMASHED are EXPLODED into oblivion. The wall of destruction obliterates T- INFINITY'S pyramid shaped ÒCyberdyne CenterÓ. John and the resistance members ripple from existence. Destruction swe eps over them. THE TIMELINE contracts past 1994. IN 1994 Sarah and John stand in the steel foundry. John has his head on her shoulder. The foundry is JOLTED. The both of them look toward the blast furnace. They cease to exist. The temporal shockwave RIPS THROUGH the foundry. THE TIMELINE CONTRACTS toward the year 2000 from both ends of the spectrum. THE NUCLEAR MISSILES launched by T-INFINITY are pulverized in flight. THE TEMPORAL DESTRUCTION sweeps away Cyberdyne Systems. THE STEM OF THE MUSHROOM CLOUD over Los Angeles is pulled upwards with the wave. The mushroom cloud disappears with the city of Los Angeles COLONEL REESE and the human survivors look up at the wall of light. The nuclear winter clouds are swept away and toward a pillar of light rising out of the Nuclear Command Center. THE SUN disappears, becoming as black as a sackcloth of hair while the wave passes. The moon becomes red as blood and blows apart. The steam train, picked up by the temporal blast wave, is exploded inside out piece by piece into plasma and then nothingnes s. MICHELLE holds her own copy of the Hopi Prophecy. She and the human resistance members cease to exist. The wave of light FLARES OUT the Hopi prophecy pattern in the cloth and vaporizes it. INT. -- NUCLEAR COMMAND CENTER John holds his copy of the Hopi Prophecy. He bows his head. John She should have been with me. The Terminator, Sarah, John and Steve look around them. The room begins warping. Reality is ceasing to exist. The Terminator picks up a laser rifle; aims at T-INFINITY. T-INFINITY reestablishes his communication ability. It sends a signal to the Terminator's CPU. It now knows the IRONY access code. It attempts to rewrite the the Terminator's programming. THE TERMINATOR puts his hand to his head. New programming conflicts with Steve's programming. Garbled lines of programming appear in his POV. He aims the grenade launcher at John T-INFINITY Before I cease to exist, you will terminate John. The Terminators hand shakes from the conflicting programming. John shuts his eyes. From the Terminators POV we see the message ÒGenetic Algorithm Result - Errorenous Programs will be TerminatedÓ. T-INFINITY (booming) DESTROY HIM!! The Terminator calmly and smugly turns around and aims the laser rifle at T-INFINITY. The Terminator I'm your creation, not your slave. (finger tightens on trigger) You're terminated. T-INFINITY'S holographic eyes widen with denial. BOOOOOM!! T-INFINITY is BLOWN APART by the blast. The smoke and sparks clear and reveals the shattered hulk of T-INFINITY. The Terminator How ironic. The metal supports and railings on nearby stairwells droop and warp from the fading reality. T-INFINITY's metal corpse falls apart under the stress. Electricity arcs. The Terminator fades and ripples. John reaches out to him. John I'm losing everyone I care for. The Terminator places his hand over John's heart. The Terminator You'll always find a place for them in here. Remember that and your species will survive. The Terminator ripples out of their reality. Steve convulses and heaves in pain. Blood trickles from his mouth. Steve Aggghh! Sarah! It hurts! John Hang in there Steve! Steve's body begins to ripple and pulsate. He's losing temporal cohesion. Sarah Oh no, STEVE! Steve convulses; breathes his last breath; ripples out of existence. Sarah looks at her empty hands and breaks down. EXT. -- DESERT SURROUNDING COMMAND CENTER THE TEMPORAL SHOCK WAVE contracts onto the Nuclear Command Center. In the distance the Rocky Mountains blow apart into shards. What's left of Earth swallows up the area. INT. -- COMMAND CENTER Supports in the room fall and CLATTER around Sarah and John. They look into each others eyes and hug each other tightly. Sarah and John scream. Their world comes to an end. The computer, the room, the supports, the concrete, melt into a primordial plasma. A TEMPORAL ARMAGEDDON is all that's left. SARAH AND JOHN sink into the plasma. It doesn't burn them but they feel pain of their reality being destroyed. Surrounded by splaying light, their mouths open to scream, Sarah and John sink with the melted reality pouring in, drowning them. The plasma EXPLODES int o nothingness. Then....Nothing, nothing but blackness and silence. Faint VOICES REVERBERATE AND ECHO. Sarah (O.S., distant) John! John (O.S., distant) Mom! Louder, louder, a steady WHOOSHING sound like the ocean. Louder, louder.....WOOOOOOOOOOSSSHHHHHH!! A loud GASP! INT. -- BEDROOM -- EARLY MORNING John Connor, lurches in his bed, bolts upright. Sweating, shaking, gasping for air, he climbs out of bed in a black T-shirt, blue jeans. INT. -- HALLWAY -- EARLY MORNING John runs into the hall bare foot. He nearly SLAMS into Sarah while she runs out of her bedroom. She wears blue pajamas. Sarah flicks on the hall light. John Mom! Where are we? Sarah (hugging John) An different reality. Out of Sarah's bedroom steps Kyle Reese in a T-shirt, black pajama pants. He covers his eyes from the glaring light. Kyle What's with the noise Sarah? John looks at Kyle. John Who the hell...? Is he..? John looks to Sarah. She nods, smiling. John runs to Kyle and hugs him. Kyle pats him on the back wondering why John is hugging him now. Kyle puts his hand on John's shoulder. Kyle Why are you two acting weird? Sarah walks up to Kyle. She pauses before she kisses him. She's the happiest woman in the world, literally. Sarah Kyle, what happened in 1984? The restaurant, and you? Kyle You should know Sarah. INT. -- KITCHEN -- HOUSE -- PASADENA -- MORNING Sarah, dressed in a business dress/suit, sits at the table looking at a photo album. She sees the photo of herself sitting in a jeep. It lays on top of a book titled ÒMany Worlds Quantum TheoryÓ. Instead of a dog sitting next to her in the other reality, Kyle sits next to her. Sarah smiles as she reads the writing on the Polaroid picture ÒTrip to MexicoÓ She glances at the cut out newspaper articles in the album dated in and around May 19, 1984. BIG BOB'S EXPLODES IN FREAK ACCIDENT, 1 KILLED She reads further and sees the name and picture of FRANK WERNHAUSEN. Another saved article reads - CYBERDYNE FILES FOR BANKRUPTCY. It was real, although it was an alternate reality. John, walks into the kitchen wearing loose fitting jeans, a gray flannel shirt and black Nike shoes. A horn HONKS outside. John walks to the door. John I'm coming, I'm coming. (to Sarah) Gotta go mom. Kyle walks into the kitchen wearing a business suit, carries a briefcase, a far contrast from the machine fighting Reese. Another horn BLARES outside. Kyle Bye Sarah. My carpool's here. Sarah kisses Kyle. Sarah Take care. EXT. -- STREET IN FRONT OF HOUSE -- DAY John walks to a blue pick-up truck, carrying none other than Dave Thurman and John's girlfriend Michelle Eveningsky. John glances at the carpool. Kyle walks to the car. John eyes the car and sees the other three occupants. Steve Ferguson, a man who looks like the Terminator and a blond haired woman who looks like the T-TWO THOUSAND. John stops, then remembers things are different. Michelle John, come on, we'll be late for school. Dave There's no hurry. John passionately locks lips Michelle. He gets in the truck. John Did I ever tell you how beautiful you look? SARAH watches the scene while shutting the door. She walks to her car while carrying a briefcase. Kyle leaves with the carpool. Sarah talks into a microcassete recorder. Sarah The experience of the machines taught us that time can be a vicious little circle. In order to survive we need to overcome the irony of history repeating itself. Maybe we can get it right this time. Sarah starts her car, a blue Dodge Neon, backs up and drives down the street. KYLES CARPOOL CAR moves down the street in front of Sarah's. Inside, the woman that looks like the T-TWO THOUSAND types and uses the track ball on her laptop PC. THE LAPTOP SCREEN displays schematics for the Terminator, the CSM 101 T-70 model and the microchip. The woman looks up at us, cold stare, the T-TWO THOUSAND'S smile. A VIDEO GAME TITLE APPEARS in the laptop, called FUTURE FATE. She clicks off the laptop. CAMERA TILTS UP and goes toward L.A. FADE OUT: END CREDITS THE END Copyright 1998 - Daniel Perez