John Brancato & Michael Ferris
SUPER ON BLACK:
LONGVIEW STATE CORRECTIONAL FACILITY, TEXAS, 2003.
FADE IN ON:
INT. DEATH ROW/CELL - DAWN
START TIGHT ON MARCUS WRIGHT. He's an intense, powerful man,
20's-30's, his head shaven. Marcus stares INTO CAMERA with a
resigned expression. We hear the voice of a PRIEST:
Yea, though I walk through the valley
of the shadow of death, I will fear
no evil: for thou art beside me; thy
rod and thy staff they comfort me...
CAMERA PULLS BACK, straight up. MARCUS lies in his cot,
staring at the ceiling. He's smoking a CIGARETTE. This
OVERHEAD ANGLE reveals a PRIEST with a BIBLE, in a folding
chair beside him. A CHESS SET, stacks of BOOKS, WRITING
MATERIALS in the cell. TWO GUARDS wait, shackles in hand.
MARCUS has no interest in scripture. He blows a cloud of
SMOKE which drifts in the direction of the PRIEST, who blinks
and shuts his bible.
One of the GUARDS unlocks the cell door for--
DR. SERENA KOGAN. She's in her 30's-50's, brilliant,
attractive, but thin and pale, a scarf tied around her head.
She carries a CLIPBOARD. The PRIEST backs off to give her
some privacy with Marcus.
Marcus-- I'm Doctor Serena Kogan, I'm
with Project Angel. You consented to
donate your body to science...
Yeah, I'm pretty much done with it.
You've been chosen for our research.
Chosen? Lucky me.
We just need a couple of signatures...
Marcus sits up, she passes him the clipboard and pen-- he
notes that her hands are SHAKING.
You don't need to be scared.
I'm not. It's nerve degeneration.
MARCUS looks up from the form, takes in the scarf covering
her sparse hair.
You're not the only one with a
MARCUS meets her eyes. She studies him a beat.
What you're doing is important,
Marcus. Our work is still highly
experimental... but you may be
helping people in ways you can't
begin to imagine.
I'm a regular hero.
With that sarcastic comment, he SIGNS HIS NAME-- we see the
words "PROJECT ANGEL" at the top of DENSE TYPE on the form.
SERENA takes the clipboard, starts to rise. She touches his
hand for a moment.
Thank you. And... I'm sorry.
No one lives forever.
THE GUARD sees SERENA out.
INT. DEATH ROW/CORRIDOR - NIGHT
LOW ANGLE - MARCUS' CHAINED ANKLES clank as the GUARDS lead
him down the corridor, past PRISONERS in their cells; some
avert their eyes, others give a nod or raise a fist.
Marcus, this is your last
opportunity to make a confession...
MARCUS stares straight ahead, taking deep, steady breaths,
struggling not to succumb to fear.
PRIEST (V.O.) (cont'd)
Is there nothing you would say to
Officer Martinez' family?
INT. DEATH ROW/EXECUTION CHAMBER - NIGHT
CLOSE - BUCKLES TIGHTEN... AN ALCOHOL SWAB on MARCUS'
FOREARM... A NEEDLE punctures his skin.
What can I say. I was seventeen, I
was angry, I was stupid.
FINGERS turn the VALVE to release the LETHAL CHEMICALS.
CLOSE ON MARCUS' EYES, looking up toward--
THE DEADLY I.V., running into his arm.
From this, he looks toward--
HIS REFLECTION in a one-way mirror, the dim shapes of
MARCUS (V.O.) (cont'd)
Yeah... I'm sorry about it. I'm
sorry about everything. The whole
As the lethal injection takes hold, his POV moves to BRIGHT
LIGHTS overhead, losing FOCUS and BLEACHING TO WHITE...
From the WHITE SCREEN, a FACE emerges, backlit, blurred--
it's SERENA. She's in focus for just a moment, leaning INTO
CAMERA-- then moves OUT OF FRAME.
CUT TO BLACK.
SUPER ON BLACK:
SOUTH-CENTRAL SECTOR, NORTH AMERICA, 2018
EXT. CORNFIELD - DUSK
CORNSTALKS as far as the eye can see, rustling in a summer
breeze. FIGURES are moving within the FIELD. We only make
them out in SILHOUETTE, but all carry HEAVY RIFLES.
INT. A-10 COCKPIT - DUSK
A COMPUTER TARGETING SCREEN - the FIGURES are HIGHLIGHTED in
this tactical display, as is an OCTAGONAL HATCH into the
ground beneath the corn.
EXT. CORNFIELD - DUSK
THE FIGURES in the corn look up-- we hear an AIRCRAFT
APPROACH with a JET WHINE--
FWOOM! A MASSIVE CONCUSSION as a BUNKER-BUSTING MISSILE
BORES into the earth at high-velocity, burrowing deep--
--then a HUGE BLAST - FLAME and DIRT are thrown high in the
air, many of the FIGURES blown sky-high.
A FLAMING BODY hits the ground IN FG, FACE TO CAMERA... we
now see it was a STEEL TERMINATOR-- its METAL SKULL BLOWN
OPEN and SCORCHED, its RED EYES SHATTERED.
A-10 WARTHOGS-- stubby attack planes-- SCREAM from the sky,
RAKING THE REMAINING FIGURES with CANNON FIRE, BLASTING THEM
to bits. These aircraft no longer bear traditional U.S.
insignia-- they're painted in WILD COLORS, graffiti lettering
says things like: "BOT BLASTER," "KILL FOR CONNOR," "RAGE
AGAINST THE MACHINES," etc... Resistance fighters.
Motley military and civilian CHOPPERS LAND in the CORNFIELD,
disgorging RESISTANCE SOLDIERS. These are human troops in
high-tech HELMETS, carrying slightly futuristic conventional
THE WARTHOGS veer off, laying NAPALM in the distance behind
the SOLDIERS. The troops run toward--
--AN OPENING which has been blown into the ground, the
remains of the octagonal hatch where the bunker-buster hit.
A surviving TERMINATOR rises from the SINGED CORN, FIRES its
--DROPPING A SOLDIER. His comrades FIRE EXPLOSIVE BULLETS--
and BLOW THE ROBOT APART. The LEADER of this assault group
waves his soldiers to enter the dark hatchway.
INT. UNDERGROUND FACILITY/CORRIDOR - NIGHT
COLLAPSED CEILINGS, FLAMES, a high-tech installation in
ruins; RED LIGHTING, distinctive of Skynet environments.
SOLDIERS flick on HELMET LAMPS and make their way carefully
inside-- pretty deserted. They kick aside rubble to enter--
INT. UNDERGROUND FACILITY/ROBOTIC ROOM - NIGHT
HELMET BEAMS play over BANKS OF ELECTRONICS and--
--a dozen fixed, INDUSTRIAL ROBOTS-- not remotely HUMANOID--
engaged in mysterious tasks, mechanical arms at work.
THE SOLDIERS rake the room with GUNFIRE-- MACHINERY
collapses, SPARKS from EXPLODING CIRCUITRY.
INT. UNDERGROUND FACILITY/CORRIDOR - NIGHT
Deeper into the complex, A HEAVY DOOR BLOWS off its hinges.
SOLDIERS move from cover and through the blown door.
INT. UNDERGROUND FACILITY/STORAGE ROOM - NIGHT
TUBES and FIBER-OPTIC CABLES run into DOZENS OF GLASS
CYLINDERS filled with translucent PINK LIQUID. The SOLDIERS
make their way in, alert-- but nothing's moving in here.
THE TEAM LEADER peers into a cylinder, aims his HEADLAMP at--
--A small MASS OF TISSUE floating inside, connected to a
dense network of FIBER-OPTIC CABLES... it's a HUMAN BRAIN.
THE TEAM LEADER recoils-- but before he can say more, the
ROOM SHAKES with a DEAFENING ROAR.
EXT. CORNFIELD - NIGHT
A huge ESCAPE SHIP rises straight up from an open HATCHWAY.
Nearby TROOPS crouch and FIRE after it. THE SHIP PIVOTS in
mid-air and ROARS OFF, SOLDIERS dodging the ENGINE BLAST.
INT. UNDERGROUND FACILITY/STORAGE ROOM - NIGHT
THE TEAM LEADER speaks into his headset. The OTHER SOLDIERS
inspect the many CYLINDERS, react in horror and shock.
You will not believe the shit we
found down here--
As he speaks, CAMERA FINDS a GREEN LED on the ceiling-- which
suddenly FLASHES RED and BLINKS RAPIDLY--
EXT. CORNFIELD - NIGHT
WIDE - AN IMMENSE SUBTERRANEAN BLAST causes a few hundred
yards square to SWELL and then COLLAPSE.
JETS of FLAME, SMOKE and DIRT RISE in the aftermath.
INT. CHOPPER - NIGHT
A PANICKED PILOT on the radio:
--repeat, that was not us! A ship
escaped, they musta blown the place
themselves! Jesus, a lot of our
guys were still down there...
EXT. CORNFIELD - NIGHT
SOLDIERS above ground help the WOUNDED to EVAC CHOPPERS.
IN FG, FIND the STEEL SKULL of the dead TERMINATOR.
EXT. CORNFIELD - DAY
SAME ANGLE-- the TERMINATOR now half-sunk in mud. A FIELD
MOUSE has nested in its skull cavity, seeking shelter from
Months have passed, the season changed-- CORN long dead, a
black stubble. RAIN falls.
A PATCH OF MUD stirs-- something below is moving. The MUD
roils, seeming to assume a HUMAN SHAPE...
EYES OPEN, looking around in shock, the naked FIGURE is so
drenched in mud we can't recognize it at first. The figure
rises, looks up at the sky, and FALLING RAIN washes away mud
from his face... it's MARCUS WRIGHT. He opens his mouth,
makes a few GUTTURAL NOISES... then SCREAMS.
CAMERA PULLS UP from MARCUS' AGONIZED FACE...
EXT. PLATEAU - EVENING
BARE FEET trudge through the dirt. MARCUS moves along a
slight rise, wrapped in torn and filthy RAGS, mud caked on
his body. Eerie silence. Reaching the edge of a rise, he
sees in the distance--
A DECIMATED CITY, buildings collapsed into rubble.
EXT. DEAD CITY - NIGHT
MOONLIGHT. THE SKELETON of a large DOG lies on the ground,
partially covered by a dusting of SNOW. It still bears a
rotting COLLAR attached to a CHAIN.
MOVE to a CHAIN-LINK FENCE, partially collapsed, a singed,
faded sign: "BEWARE OF DOG."
WIDER, we're in the low-rent district of this CITY IN RUINS--
rubble, random walls still stand. Hulks of cars, rusted,
windowless. It's been over a decade since the bombs fell.
MARCUS is the only thing alive here. He moves down this
block, picks up a handful of SNOW, brings it to his lips.
A COLLAPSED NEWSSTAND. MARCUS walks past the racks, picks up
a MAGAZINE which crumbles in his hands.
A HUMAN SKELETON, clothes in tatters, is half-buried behind
the collapsed counter. There's a bulge in its shirt pocket.
MARCUS gingerly reaches into the pocket and fishes out a
cellophane-wrapped PACK OF CIGARETTES and a butane LIGHTER.
MARCUS sits on a piece of rubble by the skeleton. He tears
open the packet and puts a dried-out, stale cigarette to his
lips, tries the lighter a few times, finally gets a flame.
He lights the cig, inhales deeply-- he waits for a rush,
feels nothing. He takes a few more drags, increasingly
disappointed, then flicks the cigarette away.
He rises, looks toward a caved-in STOREFRONT, makes out a
clothing store's TATTERED SIGN on the ground, amidst broken
glass: "SALE! GOING OUT OF BUSINESS! EVERYTHING MUST GO!"
INT. RUINED CLOTHING STORE - NIGHT
FALLEN RACKS, CLOTHES and SHOES covered in years of dust and
rubble. MARCUS, grateful to be rid of the rags, has pulled
on jeans and sneakers, using the CIGARETTE LIGHTER for
illumination. He kicks away some FALLEN CEILING TILES from a
RACK OF ARMY JACKETS. He holds one up-- looks good.
INT. RUINED BAR - NIGHT
Partially collapsed, a downscale watering hole. Broken
stools, booths, a dead pinball machine. MARCUS, dressed now,
again using the LIGHTER to find his way, sorts through the
broken glass and rubble behind the bar, comes up with--
A DUSTY BOTTLE OF WHISKY.
He unscrews the cap, raises the bottle to a SKELETON on the
floor nearby. Marcus takes a long pull-- and CHOKES,
instantly dizzy. He sinks to the floor, passing out.
CUT TO BLACK.
MEMORY MONTAGE: quick, fragmentary, impressionistic POVs,
blurred, altered. SFX of HEARTBEATS, a RESPIRATOR.
--WEBS of TUBES and FIBER-OPTICS FILLS THE FRAME.
--GRIDS OF LASER LIGHT scan rapidly INTO CAMERA.
--DIGITAL DISPLAYS blink through murky LIQUID. SERENA moves
INTO FRAME, a look of concentration on her face as she peers
through the LIQUID, INTO CAMERA. She starts to smile.
EXT. DEAD CITY - DAY
BLUE SKY. TILT DOWN to find MARCUS, who plods on through the
dead city's outskirts. He pauses near a collapsed BUS KIOSK.
A SMILING WOMAN stares out at him from a faded ADVERTISEMENT.
MARCUS studies the woman. She's nothing like Serena, but her
expression recalls the beckoning vision.
He runs his hand over the image of her face, pulls away a
chunk of cracked, graffitied GLASS over the poster. Then he
carefully tears the poster to remove the woman's face, folds
the paper, slips it in a pocket and continues on.
EXT. HIGHWAY - NIGHT
Deserted, CAR HULKS about, crumbling SKELETONS at the wheels.
MARCUS moves down the center of the freeway on this MOONLIT
NIGHT, paying little attention to anything around him. We're
in mostly flat, treeless plains.
From the opposite direction, FIGURES approach, moving through
the darkness. Marcus hurries excitedly toward them, the
first living creatures he's seen. He waves.
Hey! Yo, over here!
The FIGURES pause, turning toward him in unison.
Damn it's good to see you guys, I felt
like I was the last man on...
He freezes in his tracks. These aren't humans. They're T-
400s-- PLASTIC-SKINNED TERMINATORS-- armed with PLASMA
RIFLES. They wear a motley collection of found CLOTHING, but
their male humanoid faces are identical, unnatural and
motionless, like masks. Their EYES FLICKER RED as they scan
Marcus backs away, runs. The T-400s stare after him-- but
ANGLE THROUGH BINOCULAR MASK - MARCUS running for all he's
worth, heading toward the viewer. We hear a muttering VOICE:
Hey mister, where you goin' in such
ANGLE ON A BOY, scrawny and filthy, in his early to mid
teens. He crouches on the supports of a FREEWAY SIGN.
He wears layers of TATTERED, OVER-SIZED CLOTHING. He
scrambles quickly down from the sign.
AT AN OFF-RAMP, Marcus' pace slows as he moves to get off the
THE BOY emerges from behind some RUBBLE, holding a HANDGUN in
one hand, a lit OIL LANTERN in the other.
Whoah, whoah-- hang on there. Got
Marcus raises his hands, shakes his head. The boy looks him
You look like you been eating
The boy moves closer, puts down the LANTERN, frisks Marcus
with one hand while holding the gun on him with the other.
You're human... you can see me, you
can touch me. This place is real.
THE BOY makes a dubious face, yanks a handful of PAPER SCRAPS
from Marcus' pocket.
I thought I was in hell.
(raises an eyebrow)
This sure ain't heaven.
Those things with masks, red eyes--
Terminators-- T-400s. What is this stuff?
THE BOY unfolds the paper scraps in the LANTERN LIGHT--
ANGLE ON PAPER SCRAPS - the WOMAN'S FACE from the poster, a
fragment of a MODEL'S PHOTO from a MAGAZINE AD, a painting of
a FEMALE FACE from a PAPERBACK COVER.
THE BOY looks puzzled, intrigued by the pictures. But with
sudden speed, MARCUS GRABS THE BOY'S GUN HAND and wrenches it
hard-- it FIRES into the air. MARCUS gets control of the
gun, wraps one arm around the boy's throat.
If I'm not in hell, where am I?!
The NOISE of a SHOTGUN PUMPING close behind MARCUS--
MARCUS spins to face his attacker, pressing the handgun into
the boy's cheek. He's face to face with--
A GIRL, a couple of years younger than the BOY, training the
shotgun at Marcus' head-- she looks ready to shoot.
Let him go!
First put down the shotgun.
THE GIRL shakes her head angrily. She wears an aged, beloved
BASEBALL CAP with a STAR on it.
Do what he says.
He'll kill us both!
I don't wanna kill anyone.
Do it, Star. Put it down.
She shakes her head slightly, aiming carefully at Marcus'
head, just a few feet away, a slight smile on her face.
There was only one bullet in that gun.
MARCUS hooks his foot around the oil lantern and deftly--
--BOOTS IT at the GIRL. BURNING OIL spills across her leg,
she cries out and fumbles the shotgun. MARCUS tosses the BOY
at her, the two of them SPRAWL on the ground, the shotgun
falling to one side--
MARCUS quickly snatches up the shotgun.
Using SNOW, the BOY helps the GIRL extinguish the flames from
MARCUS stands over the kids with a gun in each hand. He
struggles to control anger, speaks quietly.
I don't like it when people point
guns at me.
It wasn't loaded.
MARCUS quickly checks the chambers of both the shotgun and
handgun-- indeed, both are empty.
You took on a guy like me with one
bullet and an empty shotgun?
(studies them admiringly)
He shoves the handgun in his belt, puts the shotgun down and
kneels to pick up fallen scraps of paper-- a few have caught
FIRE and are incinerated.
THE BOY and GIRL get to their feet, stare at Marcus.
Can I have my gun back?
MARCUS shrugs, gestures for her to pick it up. He still
looks at the PICTURES in his hands.
Where'd you get those?
In the city.
(steps away from him)
The city? Oh man. That place is
(a small smile)
Seemed kinda dead to me.
A SPOTLIGHT appears in the distance-- a ROVING HUNTER-KILLER
moving in their direction.
Quickly, automatically, the kids dive for cover behind a WALL
OF DEBRIS. MARCUS looks toward the LIGHT, unaware of danger.
THE BOY bolts from behind cover, grabs MARCUS by the arm--
Get down, they've seen the light!
He drags Marcus back behind the debris wall, just in time--
As the H-K nears, the LIGHT FINDS the BURNING OIL. It FIRES
BLUE PULSES, which CHEW up the asphalt nearby-- then it moves
on, failing to pick out the humans. Marcus is dumbfounded.
That wasn't a helicopter...
It's an H-K-- hunter-killer. Where
the hell have you been?
Rads musta fried his brains. Let's
The H-K has vanished in the distance. The girl rises. The
boy-- KYLE-- shakes his head, stays at Marcus' side.
What's your name?
(after a beat)
Marcus. Marcus Wright.
She doesn't remember her name--
(re: her cap)
--so I call her Star.
STAR gives Marcus a small, reluctant wave.
Gonna be light soon, Marcus, better
find cover. We spotted some
buildings half a mile that way.
KYLE points but gets no response. He shrugs, sets off with
Star in that direction. Kyle calls over his shoulder:
You can come if you want.
(hissing at him)
Why? We don't need him.
(a shrug, sotto)
I like him. He's funny.
MARCUS looks around at the desolate world-- and the two teens
receding ahead of him. After a beat, he follows.
EXT. HIGHWAY - DAWN
A FALLEN SIGN - "GAS FOOD LODGING."
KYLE, STAR and MARCUS move along the roadside, heading toward
dark BUILDINGS a few hundred yards off near an overpass.
What year is it?
Are you sure?
Yup. Two thousand eighteen.
Fifteen years... I've lost 15 years.
So who did it to us? Terrorists?
The Russians, the Chinese--?
The nukes. There was a war, right?
Who started it?
KYLE cocks his head at him.
Something fall on your head? The
machines did it, the computers--
they got smart.
Judgment Day... I was just a baby.
What's the last thing you remember?
EXT. REST STOP - DAY
A MEXICAN FAST FOOD JOINT, windows broken, sign collapsed,
near a two-story MOTEL with a COVERED CARPORT. The pavement
is CRACKED, the structures WEATHERED, abandoned for a decade.
MARCUS, KYLE and STAR suddenly rise from a hiding spot by a
DUMPSTER in a parking area. KYLE scans the FAST-FOOD PLACE
with the binoculars, while STAR studies a WATCH she carries.
Eyeball. Only one.
They drop down again.
ONE AEROSTAT patrols the area. It's a surveillance drone the
size of a softball, shiny steel, an inset camera lens with a
RED GLOW. It flies in a geometric pattern, hovering every
few seconds before continuing on. It vanishes around the
corner of the fast-food joint, moving in the direction of the
motel. STAR has been timing its moves.
KYLE and STAR dash for the fast-food entrance, MARCUS just
behind. They round the doorway and--
INT. FAST FOOD JOINT - DAY
--drop down inside behind an upended table in what was once a
taco place, remnants of Mexican decor.
THROUGH A DIRTY WINDOW, they see the AEROSTAT buzz past,
flying its pattern. It moves on without spotting them, then
takes off in a new direction.
KYLE and STAR set to searching the place, something they've
done many times. They go through trash cans, check behind
the counters and in the kitchen. MARCUS gets up, still
looking out the windows.
That flying grapefruit, what was it?
Aerostat-- one of Skynet's eyes.
They patrol places like this,
looking for survivors.
She's come up with some UNOPENED PACKETS OF CONDIMENTS from a
bag of TRASH. KYLE trots over.
Any red ones?
She nods excitedly, hands him a packet. He tears it open,
sucks down the contents eagerly.
STAR discards one packet, sucks at another-- and immediately
makes a pained face and tosses the packet aside.
MARCUS picks up the packet, looks at it.
STAR and KYLE pause in their eating, stare at him.
You can read.
MARCUS shrugs modestly.
So can I.
(off Star's look)
Well, sort of... a little.
With obvious reluctance, STAR holds a packet of mustard
Marcus gallantly waves it away.
No thanks. Not hungry.
Never heard anyone say that before.
INT. ABANDONED MOTEL ROOM - DAY
ANGLE IN MIRROR - MARCUS stares at his own reflection in a
I look the same.
STAR closes tattered curtains, plops on the bare bed, ready
for sleep. The room's a mess, GRAFFITI here and there, trash
scattered about; they're not the first squatters who've been
here. THE GUNS and STAR'S WATCH lie on a dresser.
KYLE sits before the TV-- he's scratching STICK FIGURES onto
the screen with a rusted POCKETKNIFE. One is clearly meant
to be him; the smaller one, wearing a baseball cap, is Star.
You ever watch television?
Oh yeah. Was about all I ever had
to look forward to in the joint.
What's a joint?
Prison. Spent half my life there.
I remember TV a little. Cartoons.
It was great.
KYLE plops on the bed next to STAR, who's already out.
MARCUS studies them.
She your sister?
Dunno. Been together since we was
little. Bunch of us kids was at
the day-care center when the bombs
fell... she and me are the only
ones still around.
(disturbed; gestures around)
So this is it? Your life?
We're gonna find the Resistance, fight
for John Connor against Skynet. You
oughta join us, you're pretty cool.
You don't know me.
You're strong, you can read... you
didn't kill us. Good enough for me...
Skynet runs the machines...? So
who's this John Connor?
He's... I don't know. The best.
Everybody talks about him. He's
the one who's gonna save us.
Yeah, right. Him and Jesus.
You're asking the wrong guy.
(closing his eyes)
So why were you in prison?
(a long beat)
I killed a cop.
Were cops like terminators?
Well... Nah, some of `em were all right.
My little brother Max, pretty wild
kid, not much older than you-- he
stole a car, just joy-riding,
y'know, showing off.
Cop chased him right into our front
yard, pulled him outta the car...
and started whaling on him, kicking
the shit out of him. No reason for
it, Max was already in cuffs. I ran
out of the house, guy tried to pull
his gun on me-- guess I just went
off on him. Don't even remember it
really... they say I broke his neck.
Max must be dead too, now... like
MARCUS notices now that Kyle is asleep-- it's as if he's
lulled him with a bedtime story. Marcus is oddly touched,
pulls a cover over both the kids. KYLE starts, half-asleep--
You gonna be here when I wake up?
Good. Stay away from the windows.
So saying, KYLE falls back asleep. MARCUS sighs, moves
through the room, quietly opens a drawer or two and finds--
INT. MOTEL CORRIDOR - DAY
AFTERNOON LIGHT, MARCUS sits on the floor by a room door,
shotgun leaned on the wall at his side. He has the bible
open in his lap, head bowed over it. CLOSER-- his eyes are
closed, he's asleep.
THE DOOR OPENS behind him, STAR peers out-- and looks
relieved to see Marcus is still with them. As she takes a
step toward him, he starts awake.
MARCUS relaxes, she sits down beside him.
The bible. My grandma always tried
to get me into it, but-- it always
put me to sleep.
Would you read something to me?
MARCUS shrugs and nods, flips to a random page, squints at
"...of the tribe of Simeon, Shaphat
the son of Hori. Of the tribe of
Judah, Caleb the son Jephunneh--"
There's a book inside with pictures.
She's already on her feet.
CLOSE - A PHONEBOOK, minutes later. We hear MARCUS reading:
"Guaranteed lowest prices... open
STAR sits at his side, looking over his shoulder as he turns
pages. She points to something:
It's a flower. A rose.
(full of wonder)
So... all those numbers... you
could call them and get, like,
flowers, or someone to come over
and fix stuff, or bring you food...
Guess people had it pretty good.
What else we got... movers,
You know, pianos, guitars...
I don't remember music.
Come on. You must...
(approximating the tune)
"I can't get no... satisfaction..."
(off her blank look)
"We are family... I got all my sisters
with me..." No, huh. How about...
"Twinkle twinkle little star..."
Star's face lights up, she nods eagerly, sings along:
MARCUS & STAR
"How I wonder what you are... up
above the world so high, like a
diamond in the sky..."
STAR is dizzy with emotion, wipes an eye, turning away.
(shakes her head)
Somebody used to sing that to me.
MARCUS puts the phonebook aside, puts a hand on her arm; and
she leans into him for a hug, tears forming in her eyes.
Stay with us, Marcus. Please.
MARCUS looks down at her, affected.
EXT. MOTEL - DAY
AEROSTAT POV - a PIXELLATED ELECTRONIC IMAGE as it patrols
the MOTEL AREA in its geometric pattern. It ZOOMS into the
CARPORT, quickly scanning the abandoned VEHICLES, among which
is an aged, open JEEP WRANGLER, its HOOD UP, parked beside a
customized VAN. The cars are covered in DUST, the TIRES
FLAT, they've been sitting here for a decade.
OBJECTIVE ANGLE - the AEROSTAT zips off on its rounds. After
a moment, the VAN DOOR slides open. MARCUS moves quickly
back to the JEEP, KYLE and STAR behind him.
STAR checks her WATCH while MARCUS goes back to work on the
JEEP'S ENGINE. He's found some tools, already has removed
and cleaned SPARK PLUGS, dismantled the DISTRIBUTOR. KYLE,
meanwhile, returns to INFLATING one of the tires with a
If we get it to move, will you
teach me to make it go?
It's called driving. Sure.
STAR wipes DIRT off the side of the VAN, revealing air-
brushed ARTWORK beneath...
Wow. What were these like?
MARCUS looks up from his work to see--
A WHITE UNICORN in a FIELD OF FLOWERS.
Not too many around in my time.
EXT. MOTEL - NIGHT
THE AEROSTAT zips past the CARPORT. As soon as its gone--
THE JEEP is suddenly PUSHED from the carport, tires somewhat
inflated. MARCUS is on one side of the rear, KYLE on the
other, STAR behind the wheel, the seat moved all the way up.
They get the vehicle to a slight SLOPE, it begins to roll on
Pop the clutch! Let your foot up!
ANGLE IN JEEP
We see it's been hot-wired. STAR has her foot all the way
down on the clutch, now lets up--
THE JEEP BUCKS and SPUTTERS... but CATCHES. As soon as it
does, MUSIC BLARES from the tape deck-- raucous HEAVY METAL,
the aged cassette SPEEDS and SLOWS. MARCUS runs for the
driver's side, but the JEEP is pulling ahead fast.
ANGLE IN JEEP
STAR is staring at the speaker, mesmerized at the sound of
the MUSIC. When she looks out the windshield--
--she's about to HIT A WALL, SQUEALS in terror--
--MARCUS vaults in and pushes her aside, squeezing behind the
wheel, hitting the brakes and throwing the Jeep into neutral.
KYLE hops in back as MARCUS adjusts the seat and FLOORS IT.
THE KIDS are exhilarated as MARCUS zooms out of there,
heading off-road across the plains, LIGHTS OFF, MUSIC LOUD.
MARCUS turns the MUSIC DOWN. He looks up to see--
--THE AEROSTAT, right over their heads, keeping pace with the
vehicle, RED LIGHTS FLASHING.
KYLE rises in back, SWINGS at it with the SHOTGUN BUTT--
THE AEROSTAT deftly dodges the blows.
Oh no! It's gonna call a
Harvester, we're dead--
MARCUS SLAMS on the brakes-- the AEROSTAT stops a few feet
ahead of them, hovering in the air.
MARCUS picks up an X-shaped LUG WRENCH from behind his seat,
rises, taking aim--
--and HURLS THE WRENCH with amazing speed and power--
--it flies like a throwing star and SMASHES the AEROSTAT to
BITS in a shower of SPARKS and METAL.
The three of them stare breathlessly for a moment.
Wow. You're good.
MARCUS flexes his hand, startled at his own strength.
EXT. TEXAS PLAINS - NIGHT
The JEEP moves off-road, HEADLIGHTS OFF, traveling by
MOONLIGHT. It SWERVES and BUCKS from time to time. MUSIC
PLAYS from the TAPE DECK, something more melodic.
ANGLE IN JEEP - KYLE behind the wheel, having the time of his
life, MARCUS supervising, STAR enjoying the breeze and the
unfamiliar sensation of a moving vehicle.
No! You're doing fine.
The SONG suddenly GARBLES, turning to NOISE. MARCUS ejects
the tape, pulls it out-- it's unspooled, tangled in the
stereo's guts. THE KIDS groan disappointedly. STATIC from
the radio now... but a FAINT VOICE audible beneath it.
MARCUS FIDDLES with the dial. He can't get the SOUND clear,
rolls through the dial. Varying levels of STATIC, then a
relatively CLEAR VOICE:
--proper ratio of ammonium nitrate
to diesel fuel. A bomb of this
type can be contained in an
ordinary plastic garbage bag, and
will detonate on impact...
This recording has described booby-
traps and explosive devices. It
will repeat every two hours on
different frequencies to avoid
STAR points toward the horizon. Marcus looks up.
Stop the car.
Other pedal, other pedal!
They SCREECH to a halt.
IN THE DISTANCE - a RED GLOW of FLAMES far away. SILHOUETTED
against this, strange FLYING VEHICLES and spindly, spider-
like MACHINES are just visible.
Do not give in to despair. As
bleak as things seem, I assure you,
humanity will triumph.
HIGH ANGLE - THE JEEP turns away from the conflagration,
moves off in a new direction and vanishes into the darkness.
RADIO VOICE (cont'd)
The machines only win when we give
up hope... this is John Connor.
EXT. SERVICE STATION - DAWN
HIGH ANGLE - a crumbling SERVICE STATION with a RUSTING
TANKER on flat tires, the cab long gone. MOVE TO FIND the
JEEP approaching off-road.
THE JEEP pulls to a stop, MARCUS gets out from behind the
wheel and moves to the TANKER. STAR and KYLE, with his
binocs, scan the area for signs of Skynet surveillance.
We oughta find a place to hole up
for the day...
MARCUS pounds on the TANKER-- a deep echo.
Damn it. Empty.
KYLE sniffs the air.
You smell that?
STAR sniffs the air herself, eyes going wide.
They both hop out of the Jeep, running toward the GARAGE,
each carrying their unloaded GUNS.
HIGH ANGLE - from BEHIND THE RUSTING SIGN, an AEROSTAT
appears, aimed at the kids, LIGHTS BLINKING.
INT. SERVICE STATION - DAWN
KYLE and STAR slither under a partially open GARAGE DOOR.
The space is dark, SMOKE-FILLED... STRIPS OF DRIED MEAT hang
from the hydraulic lift. The two youths look amazed and
delighted. Kyle shoves the gun into his waistband, moves to
the closest strip and PEELS OFF A PIECE, takes a tentative
bite, then gnaws ravenously. Star leans the shotgun against
the wall and follows suit.
MARCUS lifts the garage door and enters, DAWN LIGHT streaming
in behind him.
What is this?
Marcus squints at something in the darkness. He takes a step
forward, then grabs Star's arm.
Spit it out!
Now KYLE reacts to what Marcus saw, GAGS and SPITS out meat.
He's staring at--
--a dried, severed HUMAN HAND, resting on a GRILLE in the
sunken SERVICE PIT, where a CHARCOAL FIRE smolders.
Star sees it too, turns and RETCHES, just as--
--three animal-like CANNIBALS emerge from the back of the
garage-- two burly, ugly, unshaven MEN and a wild-eyed,
unhealthy-looking WOMAN with matted hair. We'll call them
PIG, BULL and COW. PIG grabs the SHOTGUN, BULL grabs KYLE
and yanks the HANDGUN from his waistband.
COW grabs STAR, shoves her into the center of the garage,
beside Kyle and Bull. Bull tosses the handgun to COW who
keeps it trained on the kids, sizing them up.
Not much meat on `em.
PIG eyes Marcus, points the shotgun in his face.
This one's fi-i-ine--
MARCUS raises two fingers like a peace sign-- then shoves
them into the barrels of the shotgun. PIG snorts and PULLS
THE TRIGGER-- CLICK.
MARCUS yanks the gun away and tosses it aside, HEAD-BUTTS
Pig, who staggers backward, BLOOD SPRAYING from his nose.
COW points the unloaded HANDGUN at Marcus-- CLICK CLICK.
KYLE and STAR get free of BULL and dash for the exit, they're
out of there in a flash.
BULL CHARGES MARCUS, who dodges him, grabs the man and--
--HURLS HIM HEAD FIRST into the CHARCOAL PIT-- his BODY
SIZZLES against the coals, he SCREAMS and WRITHES.
COW picks up an AXE with two hands and SWINGS it at MARCUS
who GRABS the HANDLE with one hand and YANKS it away.
COW knows she's met her match, turns and flees, heading out
the way Kyle and Star went.
MARCUS advances on PIG and BULL, brandishing the AXE. Pig
squirms back across the floor, wiping BLOOD from his face.
We didn't kill `em! I swear to
God, they was dead already, we
wasn't gonna let `em rot--
BULL has scrambled out of the coal pit, but is in too much
pain to rise.
Go `head, take as much as you want,
we're on the same side here--
Marcus looks ready to finish them off-- but reacts to CRIES
from outside, a loud MECHANICAL RUMBLE.
EXT. SERVICE STATION - DAY
A HARVESTER-- a GIANT INSECT-LIKE TERMINATOR-- is outside the
station. Many times the size of a human being, MULTIPLE ARMS
and LEGS sprout from its thorax, it has multiple CAMERA EYES
on long, swiveling stalks-- it carries KYLE and STAR, the
kids struggle frantically, caught in the harvester's jointed
One unblinking EYE SCANS KYLE, another STAR; the harvester
produces a NEEDLE from one of its arms, INJECTS the boy-- who
instantly goes limp, unconscious. It does the same to STAR.
As COW emerges--
--THE HARVESTER SPRINGS on her, with startling speed. She
SCREAMS as the enormous terminator hoists her into the air
with the others, INJECTS her and begins moving toward--
--A TRANSPORT. This consists of CONTAINER resembling a semi-
trailer or wheeled dumpster, attached within a FRAMEWORK that
features movable ENGINE PODS and a mysterious ARMATURE at the
front. A STEEL LID in the top of the container OPENS
hydraulically, the Harvester DEPOSITS the HUMAN CAPTIVES
inside, and the LID SLAMS SHUT.
MARCUS has emerged from the garage, still carrying the AXE.
He stays low, hidden behind the tanker, watching as--
--PIG and BULL flee through a back entrance to the garage,
immediately attracting the attention of--
--the Harvester, which sets off in pursuit.
Marcus comes to a decision. He SPRINTS into the open, toward
the TRANSPORT, and--
--CLAMBERS up the side, hitting the thing at full speed,
using an engine pod to boost himself higher. He's still
short but swings the AXE and--
--hooks the AXE HEAD over the top of the container, like a
grappling hook. He pulls himself up and--
--crawls across the roof, to the LID. There's a barred,
reinforced MESH PANEL here, through which he can see--
ANGLE IN TRANSPORT
--about TWENTY HUMAN PRISONERS, unconscious on the steel
floor. Among them are KYLE and STAR. Star MOANS, opens her
eyes briefly and sees--
--MARCUS' SILHOUETTE above her.
Her eyes flutter shut again.
MARCUS struggles to raise the sealed lid, but there's no
purchase available, just a smooth seam. Suddenly--
--the TRANSPORT JERKS. MARCUS nearly loses his footing as
the TRANSPORT STARTS ROLLING forward. He drops to his belly,
seeing that the transport is approaching--
--the HARVESTER, which now carries PIG and BULL, both
unconscious. THE LID OPENS and the Harvester DROPS the two
men INSIDE-- but its camera eyes fail to register Marcus, who
crouches behind the open lid. As the lid BEGINS TO CLOSE,
the Harvester attaches to the armature at the front of the
transport, making itself an aerodynamic part of the machine.
MARCUS THRUSTS THE HEAD OF THE AXE under the closing LID in
order to prevent it from sealing. THE LID grinds against it,
but remains ajar. A moment later--
--THE ENGINE PODS ROTATE DOWNWARD, FIRE and--
--THE TRANSPORT LIFTS OFF THE GROUND. Within moments, the
airborne dumpster has risen hundreds of feet in the air.
EXT. AERIAL - DAY
MARCUS moves to the edge, looks down in astonishment at the
fallow plains far below. Looking to the side, he sees--
--A PAIR OF HUNTER KILLERS, swooping in quickly to provide an
escort for the slower moving transport.
WIND buffets Marcus, he hangs on for dear life. Clinging to
the top of the transport, he slowly makes his way back toward
the LID. As the transport BANKS, he almost loses his grasp,
dangling for a moment before the craft rights itself.
MARCUS reaches under the jammed lid and pulls with all his
might. This thing is really heavy, plus he's fighting the
WIND BLAST. MARCUS hears something behind him--
THE HARVESTER has spotted him and is now prying itself loose
from the armature. Also buffeted by the wind, it starts to
move gingerly down the length of the transport toward Marcus.
MARCUS must let the LID CLOSE. He snatches up the AXE, takes
a couple of WHACKS at the thing, DENTING the metal, but doing
no serious damage. The Harvester KNOCKS the weapon out of
his hand, Marcus has no choice but to keep backing away.
MARCUS is driven to the back of the transport. Struggling
for handholds, he lowers himself out of sight, down the
framework along the side, getting out of the wind. Suddenly--
--STEEL CLAWS WRAP around him FROM BELOW, YANK him downward.
THE HARVESTER has crawled around the SIDE of the TRANSPORT,
and under the BOTTOM, in order to GRAB HIM. The hideous
machine now holds him in its clutches, hundreds of feet in
the air, its CAMERA EYES fixed on him.
THE HARVESTER produces its needle, it's coming at his face--
but MARCUS frees one hand, grabs the syringe, managing to
hold it back, inches from his skin. His strength is
weakening, but as the Harvester makes its final thrust--
--he JERKS the NEEDLE to one side and it BENDS against one of
the Harvester's own steel limbs.
Undaunted, the creature crawls up the side of the transport,
Marcus still in its clutches. It moves to the lid, which
OPENS. It lets go of Marcus to drop him inside when--
--MARCUS seizes two of its appendages and swings up onto the
harvester's back, where he--
--GRABS a couple of EYE STALKS, trying to RIP them from the
harvester's thorax, LOOSE WIRES SPARK. The Harvester twists
and thrashes, it's like he's a rodeo rider. A LIMB wraps
around him, starting to CRUSH him in a vise-like grip, when
--CANNON FIRE RIPS through the towering HARVESTER, blowing
its thorax to PIECES, barely MISSING MARCUS.
A PAIR OF A-10 WARTHOGS-- the same colorful ground attack
aircraft we saw in the first battle-- ROAR PAST on either
side of the transport.
THE CRIPPLED HARVESTER topples off the side of the transport,
still clutching MARCUS and--
--CATCHES on an ENGINE POD, the creature and Marcus both
suspended in the air. THE HARVESTER ROASTS in the ENGINE
BLAST, its CPU finally dies. Marcus is suspended below the
engine, the steel limb RELEASES HIM, he has to cling to it
now, to keep from falling.
The HUNTER-KILLERS peel out in pursuit of the two Resistance
A DOGFIGHT ensues between the much larger, more heavily
armored H-Ks, and the smaller, more maneuverable WARTHOGS.
CANNON FIRE CATCHES an H-K but has no effect. The H-Ks' BLUE
PLASMA PULSES barely miss the planes, which loop and bank.
An AIR-TO-AIR MISSILE STREAKS from a WARTHOG and BLASTS the
ENGINE of an H-K. AN EXPLOSION, the thing starts flying
erratically, heading downward and--
--CRASHING to earth in a glorious FIREBALL.
EXT. AERIAL & RIVER - DAY
The planes are nearing a RIVER, bordered by sickly TREES. On
the far banks, even from above, we see ominous MILITARY
FORTIFICATIONS-- CONCRETE BUNKERS, ANTI-AIRCRAFT GUNS, etc.
MARCUS meanwhile, is trying to climb up the dead Harvester,
avoid the ENGINE BLAST and find a handhold on the transport.
THE A-10 that shot down the H-K comes around for another pass
at the transport, but--
--ANTI-AIRCRAFT GUNS at the far side of the river let out a
VOLLEY of BLUE PLASMA-FIRE. The BURSTS arc toward the A-10,
which swerves and climbs, but--
--PLASMA FIRE destroys a wing, the A-10 SPINS out of control.
THE OTHER A-10 breaks off its dogfight with its H-K and
speeds away from the river.
MARCUS is tantalizingly close to the upper lip of the
transport, he reaches out and--
--THE FRIED HARVESTER suddenly dislodges from the ENGINE POD,
taking Marcus with it, into FREEFALL.
WITH MARCUS, plummeting downward toward earth, a hundred feet
below, the transport continuing on its way above, crossing
MARCUS' POV - the ground and treetops getting closer. At the
last moment, his continuing forward momentum takes him OVER
THE RIVER and--
MARCUS and the DEAD HARVESTER HIT THE WATER, hard, vanishing
below the surface with enormous SPLASHES.
The surviving H-K and the TRANSPORT continue across the river
into Skynet territory, vanishing in the distance.
CAMERA MOVES to FIND a PARACHUTE, drifting earthward on the
unfortified side of the river.
EXT. RIVERBANK - DUSK
HOLD ON LAPPING WATER for a beat. Then--
--MARCUS breaks the surface, staggering toward shore, he
drops to his knees in the shallows.
WAKES APPEAR behind him. Hearing the water stir, Marcus
turns to see numerous DARK SHAPES moving rapidly in on him,
from different directions, FLASHES OF METAL visible beneath
the surface. These are HYDROBOTS-- AQUATIC TERMINATORS-- but
we don't get a good look at them (yet) and Marcus isn't
sticking around. He scrambles for the riverbank and makes
his way into the leafless trees.
EXT. TREES - EVENING
MARCUS moves past the trunks of bare trees, pauses, looks
over the water in the direction the transport took.
Yo! Up here!
BLAIR WILLIAMS, the helmeted pilot who ejected, hangs from
the tangled remains of her parachute, caught in the trees
about fifteen feet in the air above Marcus.
MARCUS moves closer. Blair struggles to saw through her
lines with a KNIFE.
Who are you--
The LINES suddenly SNAP, Blair FALLS from the tree.
Marcus' reflexes are fast as ever, he's beneath her in an
instant and CATCHES HER. He holds her in his arms:
You can put me down now, Marcus.
He does so. Blair pulls off her helmet, her hair is short.
She's in her 20s, pretty, petite but strong, a no-nonsense,
battle-hardened member of the Resistance. She pulls a
COMPASS from her flight suit, consults it briefly as she
I've got an ELT, but I can't call
for a rescue here. There's an
outpost a few miles upriver-- not
my favorite people in the world,
but it's safe. Let's move.
Blair is already moving, Marcus hesitates, then points across
I'm heading that way.
(a short laugh)
The hot zone? No you're not.
I've got to get to my friends--
Couple of kids. They were in that
The Skynet transport? It was
(off his nod)
Christ, we almost shot it down.
There've been rumors about a
concentration camp, but...
She shakes her head, gestures toward the river.
You can't get across-- river's
They can't see, but they have killer
sonar. They'll attack anything that
moves or makes a sound. Even if you
get past them, you'd be dead before
you covered a hundred yards. If the
terminators don't get you, the fallout
will-- heavy rads all the way to the
Gulf coast, nothing can live there.
Marcus absorbs this, starts walking with her.
You're with the Resistance.
Lt. Blair Williams, I fly for what
used to be the Air National Guard.
She puts a hand out, listening. She signals for him to lay
low, behind a fallen tree.
NEARBY-- a pair of T-1s on patrol rumble into view. They
pause, scanning the area, chain-guns at the ready. They
start to move toward BLAIR and MARCUS' hiding place.
BLAIR quickly grabs a STONE and, staying down, hurls it as
far away as she can--
THE STONE strikes a few BRANCHES--
THE T-1s suddenly turn in that direction, GUNS BLAZING--
THE WOODS in the immediate vicinity are torn to pieces by the
GUNFIRE, small FIRES erupt from the incendiary bullets-- it's
THE T-1s roll over to inspect the damage, out of view.
Stupid bastards. Come on.
She and Marcus move away quickly, away from the trees. When
they're a safe distance from the robots--
I don't know... this has gotta be
some kind of, like, dream or
hallucination. Like what happens
to people right before they die...
Blair SLUGS him hard, in the arm. He doesn't flinch, but he
That snap you out of it?
MARCUS shakes his head. They keep walking.
Well hell, maybe you are dreaming. Do
us all a favor and wake up already.
EXT. MUTANT FOREST - NIGHT
THE MOON over a scrubby forest, trees just a few feet high.
BLAIR and MARCUS seem like giants as they move among them.
They've been talking a while, Blair's absorbing something.
So let me get this straight, Marcus.
There you are on death row, they stick
a needle in your arm...
and the next thing you know, you're
(off his nod)
Since this ain't the resurrection,
there's only one possibility.
Let's hear it.
Whatever they pumped into your veins just
knocked you out. This Angel Project you
signed up for-- there was a lotta
cryogenic stuff going on before the bombs
fell, they musta froze your ass.
What the hell for?
Drug tests, medical experiments, organ
harvesting, who knows? You said you
had no family, no friends-- why let a
body like yours go to waste?
She's looking him over as she says this, it almost sounds
flirtatious. Marcus changes the subject.
I've never seen trees like these.
We're in a mutation zone. I saw a
two-headed squirrel here once--
Tasted like chicken.
BLAIR pauses, checking a small GEIGER COUNTER she carries--
it CLICKS a bit.
Levels are tolerable now, but just.
We can't spend the night here.
They start moving again. Marcus pauses, listens:
What was that?
I didn't hear anything--
Now they both hear an eerie HOWL, changing in pitch-- like a
coyote on crack. More than one picks up the CHORUS.
She pulls a SIDEARM, holds it at the ready as she starts
running, away from the direction of the noise. Marcus keeps
up at her side, looking behind them.
WITH THE DOGS
We don't get a good look at them, but there's a pack of large
BEASTS moving quickly through the undergrowth, gaining on the
BLAIR sees they won't outrun them. She spins, FIRES in the
direction of the approaching PACK. Suddenly it's quiet-- the
animals fan out, forming a circle around Blair and Marcus.
They're surrounding us.
QUICK SHOTS of MUTANT EYES, glowing in the dark-- ENLARGED
TEETH-- DARK, MASSIVE FORMS moving through the brush.
They're smart. And they don't
After a few tense beats, from the foliage--
A SKINDOG leaps at BLAIR from behind-- it's hideous, the size
of a Great Dane, hairless, with veiny, wrinkled skin and
long, catlike CLAWS. Before Blair can react, MARCUS leaps
between her and the dog, grabs the slavering creature by the
throat. It SNAPS its ELONGATED TEETH at him, but he manages
to BREAK its neck and hurl it toward--
TWO MORE SKINDOGS moving in for an attack.
BLAIR FIRES a few SHOTS at the encroaching pack, we hear a
MARCUS protects her, effortlessly tosses a few more SKINDOGS
aside, ignoring vicious bites and scratches.
The other SKINDOGS turn on dead and injured pack members,
begin TEARING INTO THEM. There's an opening now, the two
humans make a run for it.
BLAIR catches her breath, looking him over, seriously
impressed by his strength and calm.
You saved my ass. Thanks.
MARCUS shrugs, turns back to see the feeding frenzy.
Dog eat dog world.
EXT. NORMAL FOREST - NIGHT
It's darker now, the moon is down. MARCUS and BLAIR move
gingerly-- she TRIPS, he catches her before she falls.
BLAIR sighs, yawns, sits against a tree.
It's not far, but we'll never get
across the mine field at night.
Might as well STAF till morning.
MARCUS nods, sits a few feet away from her.
C'mere, it's cold. I don't bite.
MARCUS slides toward her, she nestles against him.
Staf? What's that mean?
It's a resistance term. Sit tight
Soon they're kissing passionately. But MARCUS pulls away,
rolls onto his back.
You holding out for lipstick?
Lingerie? Or am I not your... type?
I'm not gay. In prison, I thought
about puss-- women all the time. But
now... it's not working. Who knows,
all those years on ice...
Maybe it's just gonna take some time.
Before you're completely thawed out.
She's slipped a hand inside his pocket for warmth... now she
pulls out the SCRAPS of paper, with women's faces. She
squints at these in the dark.
What are these?
I dunno. They just... sorta
reminded me of her.
MARCUS speaks carefully, unsure how to articulate this.
There's a woman, the last woman I
saw before... when I was under, the
dead time-- she kept coming to me.
I think she must've saved me.
I can't compete with that.
She closes her eyes, settling against him, her head against
his chest. Marcus stares up into the darkness.
INT. TRANSPORT - NIGHT
DARKNESS. We just make out KYLE and STAR among the other
PRISONERS, most of whom are awake now in the steel container.
Star still wears her baseball cap. The prisoners are JOSTLED
as the transport touches down.
EXT. LOADING ZONE - NIGHT
The TRANSPORT has landed amongst numerous CONTAINERS, CRANES
and VEHICLES-- all is dimly lit, enveloped in a vague reddish
HAZE. THE FLYING FRAMEWORK and ARMATURE detach from the
TRANSPORT, and TAKE OFF into the air again-- leaving the
trailer-like wheeled CONTAINER. Something resembling the CAB
of a semi-truck backs into position, latching onto attachment
points on the container.
INT. TRANSPORT - NIGHT
--A SMALL PANEL SLIDES OPEN at the front of the transport,
and a half-dozen PROCESSING AEROSTATS buzz inside from the
cab. These are larger than the spy drones, with attached
PINCERS that can encircle a person's arm.
PRISONERS duck, try to dodge these things. But they quickly
buzz from captive to captive, latching onto their arms-- we
hear SCREAMS, see FLASHES OF LIGHT from the aerostats.
KYLE tries to bat away an AEROSTAT, but its PINCERS latch
onto his forearm. A SIZZLING SOUND-- Kyle CRIES OUT with the
pain, a flash of RED LIGHT-- then the aerostat DETACHES and
moves to its next victim.
STAR gets the same treatment from a different AEROSTAT. She
moves to Kyle's side, tears in her eyes, sucking on her
burned wrist to ease the pain.
What's going to happen to us?
I don't know...
KYLE looks grimly down at--
--a fresh BAR CODE seared into his arm.
EXT. LOADING ZONE/HIGHWAY - NIGHT
THE CAB and CONTAINER, now resembling a semi, pulls out of
the loading area. Digitally controlled, it needs no
headlights as it rolls in the near-darkness.
OVERHEAD ANGLE as the vehicle moves onto a cloverleaf access
ramp leading to a HIGH SPEED SUNKEN HIGHWAY, a river of fast-
moving TRAFFIC heading in both directions-- unlit vehicles
moving close together at 120 mph through the reddish gloom.
EXT. FOREST CLEARING - DAWN
CLOSE - BLAIR and MARCUS's feet trudge through low brush,
step over undergrowth. CAMERA MOVES to find a STRAND OF
BARBED WIRE, emerging from the dirt a few feet away.
MARCUS pauses, almost having stepped on a WATERMELON.
We're in somebody's garden.
BLAIR stops walking, alarmed, a few feet away from him.
Christ... there's supposed to be
barbed wire along the edge.
MARCUS looks around them, points.
A few yards away, STRINGS OF BARBED WIRE... CAMERA MOVES to
reveal it's behind as well as ahead of them. They've come
through a gap where the wire had fallen.
Whatever you do, don't move.
Yo! Morrison, Barnes! Can anybody
We're in the middle of the mine field.
INT. OUTPOST/BARRACKS & COMMUNICATIONS AREA - DAY
DARK. We hear BABIES CRYING from nearby, FUMBLING in the
dark, muttered CURSES-- then a MATCH lights a CANDLE.
BARNES, 20-ish, good-looking and cocky, yawns and sneers,
annoyed at being awakened. TWO WOMEN share his mattress.
Somebody feed those things!
Start up the generator, Barnes.
MORRISON is bearded, long-haired, bleary-eyed, a middle-aged
man in charge here. He sits up in bed, also beside A COUPLE
OF WOMEN. This place has become an underground crash pad,
communal living for about a dozen people-- Morrison and
Barnes the only men, four or five WOMEN and quite a few
CHILDREN of varying age.
BARNES grunts, yanks the blanket off his bedmates, who CRY
OUT in protest. He wraps it around himself, carries the
candle as he steps around other SLEEPING FIGURES, makes his
way toward a METAL STAIRCASE winding downward. Moments
later, we hear a GAS ENGINE start up-- LIGHTS flicker on.
The place is pretty grimy and run-down, but it was once a
military environment. There's a BANK OF TV MONITORS against
one wall, which COME TO LIFE. A couple of the WOMEN move
toward the adjacent NURSERY AREA to tend to the babies-- one
of them, LISA, moves to the TV MONITORS. She squints at one.
We got company!
ON A SCREEN
MARCUS and BLAIR in the exact positions we last saw them,
looking exhausted. They CRY OUT, unheard.
EXT. FOREST CLEARING - DAY
BARNES pokes his head up from a concealed TRAPDOOR thirty
yards from BLAIR and MARCUS, who are hoarse from shouting.
Blair? Good to see you.
(off her glare)
What's the password?
Eat shit and die, Barnes!
Close enough. Who's your friend?
Could you get us outta here please?
Kinda dumb-ass, wandering around in
a mine field.
You didn't maintain the perimeter!
Where are your sentries?
It's too early for that military crap.
BARNES consults a MAP, turning it to orient himself.
OK, if you keep walking straight
you're gonna get blown all to
hell... turn to your left and take,
oh... five steps.
BLAIR and MARCUS obey, moving cautiously.
OK, face me now. Three steps.
They do as told.
Almost home. Turn to your right
and take another five steps...
They slowly pace five steps. On the fifth one, there's a
CLICK beneath Marcus' foot--
A horrified moment of eye contact between him and Blair-- she
DIVES TO THE GROUND, away from him as--
BOOM! MARCUS is thrown through the air by the EXPLOSION--
MARCUS' BODY lands a few feet from the trap door.
INT. OUTPOST/CORRIDOR - DAY
Frantic action-- the unconscious MARCUS is carried down a
corridor from the open trap door by BARNES, MORRISON and a
couple of women, NANCY and LISA. BLAIR, bleeding from
shrapnel injuries, assists. She yells at BARNES:
You goddamn idiot!
He was takin' bigger steps!
Son of a bitch is heavy.
INT. OUTPOST/INFIRMARY - DAY
MARCUS is deposited gingerly on a METAL TABLE in this crude
MEDICAL AREA. Numerous INFANTS and TODDLERS about.
JANE, a doctor, moves toward MARCUS with scissors and other
medical tools, cuts away a tattered pants leg, the shreds of
his sneaker. She stops and stares, palpates a BLACKENED LEG
briefly. She looks up in alarm.
He stepped on a Claymore? This guy
oughta be in a hundred pieces...
She takes a scalpel, pulls it across the CHARRED, HEAT-
DEFORMED SKIN. It doesn't even leave an incision.
What are you doing?
Does he have a prosthetic limb?
I don't think so.
JANE opens Marcus' shrapnel-torn shirt, takes the scalpel and
gingerly pulls it across the flesh of his chest. No effect.
This is not skin... oh Jesus-- oh God--
JANE looks at MORRISON, backing away from Marcus.
He's a terminator.
CUT TO BLACK.
MEMORY MONTAGE: QUICK SHOTS-- altered, impressionistic, as
before. SFX of STATIC, high-pitched, complex DIGITAL NOISE.
--a detached, fleshless metal framework for a ROBOTIC HAND is
suspended by wires-- it FLEXES, forming a FIST.
--CAMERA CIRCLES a muscular MALE TORSO, without arms, legs or
head. METALLIC ATTACHMENT POINTS await these missing parts.
--the inside of MARCUS' FACE, a thin membrane of artificial
skin with eye, nose and mouth holes, is lowered through an
AQUEOUS environment TOWARD CAMERA.
THROUGH AN EYEHOLE we see SERENA, face distorted by the
LIQUID. She looks worried. We hear her MUFFLED VOICE:
Why isn't he conscious?
Something's wrong, he should be
coming out of it by now...
INT. OUTPOST/LAUNCH TUBE - DAY
START TIGHT ON MARCUS as he opens his eyes, a beam of bright
SUNLIGHT in his face. CAMERA PULLS BACK and ROTATES to
reveal that he is suspended UPSIDE-DOWN from a winch by a two-
inch thick STEEL CABLE.
MARCUS thrashes, trying to free himself, then looks up and
--the CABLES are strung through HEAVY STEEL BOLTS which have
been DRILLED THROUGH HIS CALVES, locking them together. His
FOREARMS have been immobilized in the same grotesque fashion.
From above, the BEAM OF SUNLIGHT shines through the narrow
crack between an enormous pair of SLIDING STEEL PANELS.
MARCUS twists his neck to look downward--
MARCUS' POV-- a circular pit below, the dark bottom invisible
to him-- he's hanging near the top of an empty MISSILE SILO,
its ICBM launched years ago.
At one edge of the silo pit, near scaffolding and tool carts,
SMALL CHILDREN have gathered to stare. Also there is BARNES--
he leans back, eyes closed, in a folding chair, with an RPG
in his lap. One of the KIDS taps Barnes' leg and he jerks
upright. He immediately trains his weapon on MARCUS, clearly
nervous now that the terminator is conscious.
MARCUS stares at Barnes, deadpan, for a beat.
INT. OUTPOST/BARRACKS & COMMUNICATIONS AREA - DAY
CLOSE ON X-RAYs of MARCUS' TORSO and LIMBS-- clearly
mechanical gears, steel plating, hydraulics, etc.
Thermoplastic skin, some larger
hydraulics, but mostly titanium
microgears... This looks like some sort
of aeration and hydration system,
function unclear at this point. Valves
and what looks like an access panel
below the ribcage...
WIDER, JANE holds up an X-ray of his SKULL, which shows
Eyes are polymer optics, very lifelike.
Lead shielding all around the skull,
presumably to protect the CPU.
MATTRESSES have been piled to one side, we now see framed,
cracked and yellowing POSTERS of MILITARY EQUIPMENT-- AIR
FORCE JETS, ATLAS ROCKETS, etc. These are interspersed with
crude CHILDREN'S DRAWINGS on the walls.
BLAIR sits at a battered dining table, surrounded by angry
outpost RESIDENTS, including JANE and MORRISON.
Whatever he is-- he's on our side--
How can he be?
He saved my life!
Winning your trust would aid his
At the communications area by the TVs, LISA wears a HEADSET,
speaking into a SHORTWAVE RADIO. She calls to the others:
Regional doesn't know what to do.
They're gonna patch us through to
Command Los Angeles.
NANCY, an overwrought older WOMAN, gets in Blair's face,
pointing at the X-rays.
How could you bring this monster here?!
This is our home! Our children--
What do you want from me-- I didn't know!
A KID runs into the room.
INT. OUTPOST/LAUNCH TUBE - DAY
BLAIR is first to reach the edge of the silo, horrified at
the sight of the dangling MARCUS. BARNES keeps the RPG
trained on him, they shout over each other.
Get me the hell down from here!
Shut up! I told you to shut up!
Leave him alone!
(turning away from him)
Marcus, I'm so sorry...
MORRISON and the OTHERS join them, eyes fixed on Marcus.
It keeps talkin' at me. God this
thing gives me the creeps.
Why are you doing this? What is
We're trying to--
Don't say anything! It's probably
uplinked to Skynet.
Morrison puts a hand on her arm.
Then it's already too late.
This used to be an ICBM silo, we're
just trying to stay alive here.
Your turn-- where'd you come from?
Corpus Christi. It's in Texas. Or
It sounds completely human... it
really could pass.
Didn't John Connor say they'd start
building things like this?
Not yet-- not for years.
So, you're programmed with false
memories, a human history--
What are you talking about?
You can skip the act, we know what
Why are you even speaking to it?!
She's right, let's just waste the
It'll kill us all if we give it a
During the above, other KIDS and ADULTS IN BG AD LIB-- "Kill
it," "Goddamn robot," etc.-- increasing mob anger, until--
I'm a man!
His impassioned CRY silences the onlookers. He speaks more
Even if I never been treated like
Year after year after year on death
row, I just wanted it to end! I
cut my own wrists. But they nursed
me back to health, `cause that
wouldn't be fair, they needed to
kill me themselves. For Chrissake,
you all want me dead so bad-- just
His CRY ECHOES through the silo. The CHILDREN cower behind
the adults. BLAIR is genuinely moved by his plight.
BARNES hefts the RPG, looks toward MORRISON-- "should I?"
Morrison seems torn, about to give the order--
LISA rushes in from the communications area, breathless,
amazed by her own news:
Regional got through to CLA-- they
want us to rig a video feed.
(gesturing at Marcus)
He wants to see him.
They all seem astonished-- this has gone right to the top.
INT. OUTPOST/COMMUNICATIONS AREA - DAY
MARCUS sits impatiently in a wooden chair, facing a VIDEO
CAMERA and a MICROPHONE. BARNES trains an RPG at his head
while MORRISON finishes PADLOCKING HEAVY CHAINS to the BOLTS
in Marcus' arms and legs-- these attach to a nearby STEEL
POST. BLAIR stands nearby. LISA fumbles nervously with the
TRANSMITTER, plugging in wires.
So this guy is what, like king of
the world, or what's left of it?
John Connor founded the Resistance.
When the war began, no one even
knew who the enemy was-- Connor
taught us how to fight back. He
Yeah, well, humanity's never done
all that much for me. Why can't I
Nobody sees him. Skynet can't be
allowed to discover his location,
even his appearance is kept secret.
LISA makes a connection, we hear CONNOR'S VOICE, the same one
we heard on the car radio.
--hello-- standing by--
Sir, we can hear you, sir, working
on a visual, sir...
INT. COMMAND CENTER/CONFERENCE AREA - DAY
MARCUS' FACE pops to life on a VIDEO MONITOR. We're in a
Spartan, windowless space, it feels like it's underground.
Not what I expected...
JOHN CONNOR leans INTO FRAME, studies the screen. He wears a
dark sweater, nothing like a uniform. Connor is 40ish now,
but looks older, prematurely grey, years of war have taken a
toll. There's an ever-present sadness in his eyes.
INT. OUTPOST/COMMUNICATIONS AREA - DAY
MARCUS listens to the disembodied VOICE, unimpressed. The
OTHERS almost stand at attention.
It does seem lifelike-- is the face
able to mimic emotions--?
MARCUS rolls his eyes, makes an angry FACE at the CAMERA.
This shit is ridiculous. What the
hell do you want from me?
I-- I need to know what you are.
So do I! I don't know what I am, what
I'm doing here, I don't know shit--
maybe I never did, but-- I'm sick of it!
Just blow my head off or let me go.
This isn't right. I can't be
having a conversation with a
terminator, Skynet isn't that
sophisticated yet. Unless... were
you sent here from the future?
Skynet's developing a time
displacement field, we've decrypted
recent data transmissions.
I know for a fact that soon machines
will be travelling back decades. To
try and stop us from winning this war
before it begins...
Marcus takes this in for a sober moment.
You're out of your mind, aren't you?
This earns outraged glares from the others, but Blair stifles
a smile. Barnes moves to strike him, Morrison stops him.
Jesus... I've seen enough. Stand
by for further instructions.
The CONNECTION goes dead.
INT. COMMAND CENTER/CONFERENCE AREA - DAY
Densely marked MAPS on a CONFERENCE TABLE. CONNOR is now
flanked by a couple of SENIOR ADVISORS, older military men--
along with KATE BREWSTER, late 30s, now his wife-- and
visibly PREGNANT. She's poring over FAXES of the X-RAY
IMAGES. (Like Connor, all military personnel here favor
casual dress, at most pins or patches to indicate rank.)
He's not a cyborg-- no blood, no
human tissue over the endoskeleton.
Besides, the first T-800s won't be
manufactured until `26.
Maybe he's a one-off, an experiment.
Let's hope. If there are more out there
like him, we're in serious trouble.
Christ, a terminator with attitude...
Where did they find him?
East-central Texas, near an area of
heavy Skynet concentration. The
outpost where they're holding him is
reasonably secure, but it's not much
more than a commune.
I want him extracted.
Done. What then?
CONNOR picks up the FAXES, disturbed by them.
Get him to our best people for
disassembly, find out what makes him
tick. We need to get into that metal
skull, crack his CPU at all costs.
THE ADVISORS nod, pick up their papers and exit. As soon as
they're gone, Connor sits wearily in a chair, tosses the X-
rays and papers onto the table, his authoritative mask
slipping. Kate touches his arm. He leans his head against
her pregnant belly.
Kate, why did I become leader of
Because people trust you... you
give them faith--
No. Because I knew I would be, I
was told. I know when and where the
major battles are going to take
place. I know I'm going to send my
own father back through time to save
my mother-- even though I haven't
met him yet. Christ, I even know
the year I'm going to die...
So how could I not know about this?!
He BANGS HIS FIST on the table atop the PAPERS.
INT. OUTPOST/CORRIDOR & LAUNCH TUBE - DAY
MARCUS is marched down the corridor to the launch tube,
Frankenstein-like, MORRISON holding the chains, keeping a
safe distance from him, while BARNES keeps the RPG trained at
Marcus shuffles awkwardly, the bolts hampering his ankles.
It's reminiscent of his death walk at film's opening.
Feels like I been here before...
what are you gonna do to me?
Nothing. Los Angeles is sending a
chopper-- seems you're some kind of VIP.
They reach the edge of the SILO PIT-- a long drop, smooth
walls, a long METAL LADDER leading down into darkness.
MARCUS pauses by the ladder, holds up his bolted arms
questioningly-- "now what?"
At a look from Morrison, he and Barnes BODY-CHECK MARCUS at
once, sending him flying over the edge--
MARCUS FALLS the thirty feet or so, strikes the concrete
FLOOR of the launch tube with a sickening THUD, the CHAINS
clattering down around him.
MARCUS is stunned, barely conscious as the LADDER is PULLED
UPWARD. It's like the bottom of a well, twenty feet in
diameter, sheer concrete walls, the floor BLACKENED from a
ANGLE UP - his captors look down at him for a moment, then
move out of view.
INT. TRANSPORT - NIGHT
CAMERA MOVES past the PRISONERS, a couple dozen total... An
HISPANIC COUPLE huddle against one wall, whispering to each
other IN SPANISH... COW rocks in despair, head in her hands,
BULL and PIG mutter to each other nearby... an OLDER WOMAN
prays, going through rosary beads... FIND STAR and KYLE.
She's watching as KYLE uses his pocket knife to CARVE an
image in the wall of the transport. He looks up.
The BACK PANEL rolls upward. CONTROL ROBOTS-- reminiscent of
the treaded T-1s but without the heavy weaponry-- flank a
path from the rear of the transport towards BRIGHT LIGHT up a
RAMP a short distance away.
THE PRISONERS instinctively move away from the robots, moving
to the front of the container... until ZZZAP! BLUE ENERGY
crackles across the floor. THE PRISONERS CRY OUT in pain at
the electrified surface, and dash toward the opening at the
rear, leaping out of the container.
LOW ANGLE, as the prisoners run by, we hold a moment on
Kyle's graffiti-- it's the STICK FIGURE IMAGES of KYLE and
STAR we saw before, they both hold hands with a LARGER STICK
FIGURE who stands between them, meant to be MARCUS.
INT. UNDERGROUND GARAGE - NIGHT
THE CONTAINER has stopped in a large subterranean space.
There are numerous FUTURISTIC VEHICLES here-- hydrogen CARS,
three-wheeled ATVs, electric BUSES. CONTROL `BOTS closest to
the container start to close in on the huddling PRISONERS.
A ROBOT BUMPS into BULL, sending another JOLT OF ELECTRICITY
through his body, like a cattle prod. Everyone gets the
picture, starts hurrying down the line, the ROBOTS closing
COW looks around nervously, clearly freaking out. Spotting a
gap between the robots, she bolts--
--a ROBOT SWIVELS and CUTS HER DOWN with an ENERGY BLAST.
She lies still, SMOKE rising from her body.
The other PRISONERS pick up the pace.
Whatever happens, we stick together.
The LIGHT emanates from FROSTED WINDOWS at the top of the
RAMP, through which we make out the SILHOUETTES of human
GLASS DOORS part ahead of the prisoners-- a stark white,
sterile environment beyond. THE ROBOTS stop here. THE
PRISONERS disappear inside... and the DOORS CLOSE.
INT. OUTPOST/LAUNCH TUBE - NIGHT
BARNES remains on guard duty with the RPG, propped up on some
cushions, a LANTERN by his side-- it's pretty late, the
generator's shut down. He's reading an old, yellowed COMIC
BOOK, he has a small stack at his side.
MARCUS' VOICE echoes up from below, startling him.
Hello? Anyone there?
Want some motor oil?
I need water.
Bullshit. Machines don't drink.
Shut up, robot!
BARNES returns to his reading. He reacts to FOOTSTEPS from
the long corridor into the living area behind him.
BLAIR approaches with a FLASHLIGHT, her manner conciliatory.
How's it going, Barnes? Thought
you might like a late-night snack.
She pulls a crumpled plastic PACKAGE out of a pocket of her
flight suit-- ancient Hostess snack cakes. BARNES' eyes
light up as he puts the RPG aside and grabs it.
Where in hell'd you get these?
We got a stash back at the base.
BARNES tears open the package hungrily, takes a bite. He
grins, but as he chews, his expression darkens.
You need something to wash it down.
From another pocket, she produces a plastic water bottle
filled with a murky gray liquid.
I'm on duty, you know.
So saying, he takes the bottle, unscrews the cap and takes a
long pull. It's powerful hootch, he gasps for air, passes
her the bottle as she sits beside him. She doesn't drink.
Twinkies and moonshine. You trying
to seduce me again?
You know I always liked you, Barnes. I
just didn't want to join the harem.
What can I say? It's our duty to
repopulate the planet.
Noble of you to make the sacrifice.
He pulls her close to him for a kiss. After a moment, she
pulls away and moves to the corridor entrance. There's a
large SLIDING STEEL DOOR here.
I prefer a little privacy.
With some effort, she pulls the door CLOSED. BARNES rises
with a grin, undoing his shirt, coming close to her. He's
already unsteady on his feet.
You're so twentieth century...
He puts his arms around her for a full body embrace--
Admit it, I'm the best you ever had...
His words are slurring. He slides to the floor, slowly
losing his grip. He rolls onto his back with a drugged-out
expression of bliss on his unconscious face.
Men. You're all talk.
IN THE BOTTOM OF THE PIT
MARCUS leans against the wall in the dark, rolls out of the
way as the LADDER drops. BLAIR descends quickly, the
FLASHLIGHT in her belt, a battery BLADE SAW in one hand. She
sets the flashlight on the ground and moves to his side--
I used up the last of my Valium for
you... Hold out your arms.
He does, she fires up the SAW, moves it carefully to the bolt
joining his forearms. SPARKS fly from the BUZZING BLADE as
it digs into the metal-- it's going to take some time.
Why are you doing this?
I don't believe you're a terminator.
So what am I...?
Whatever you are-- I owe you one.
Once you're free, I'll lie down
next to Barnes-- they'll assume you
escaped while we were passed out--
You think they'll buy that?
Worth a shot.
(looking at him)
Marcus, Command wants to take you
apart, cut open your head. One
thing I know, you're alive-- and
you've got a right to live.
THE BUZZING SAW BLADE sound-bridges to:
EXT. FOREST CLEARING - NIGHT
THE WHIR OF CHOPPER BLADES. A SPOTLIGHT shines over the low
growth in the minefield as a BLACKHAWK HELICOPTER circles,
coming in for a landing. WEAPONS RACKS are jury-rigged
beside the spotlight, the chopper bristles with AUTOMATED
CANNONS, MISSILES and NAPALM TANKS.
THE SPOTLIGHT picks out the CONCRETE and STEEL CAP of the
INT. OUTPOST/LAUNCH TUBE - NIGHT
THE SAW finishes cutting the BOLT between Marcus' legs; his
arms are already free. The BUZZING cuts out, but now they
hear the CHOPPER LANDING directly overhead.
They're already here for you--
MARCUS slides the BOLTS out of his legs, freeing himself from
Hide in the forest, then aim west
for open country--
I'm heading across the river.
No human being can survive there--
I'm not human, remember?
You're gonna try and save those kids.
It's the only thing I can think of
that makes any sense...
Marcus, for all you know, they're
For all I know, they're the reason
I'm back from the dead.
BLAIR studies him a moment, no changing his mind. But she
admires him. She starts up the ladder, MARCUS following.
BARNES is still passed out as BLAIR and MARCUS ascend to the
platform around the pit. They move to the sliding door--
BLAIR starts to open it, but sees a LIGHT and hears VOICES
and FOOTSTEPS at the far end, SLIDES IT SHUT again.
Damn it, we're too late--
Where's that go?
MARCUS points to a LARGE VENTILATION FAN behind STEEL
GRATING, eight feet above them, on the far side of the pit.
It's not running, but there's no way to get through it.
Should lead out, but there's no way
past the fan--
MARCUS is already picking up the RPG-- but he points it
backwards, has no idea how to shoot it--
BLAIR grins, grabs the RPG from him-- then braces herself,
takes aim and FIRES--
KABOOM! The EXPLOSION rips OPEN the GRATE, destroys the FAN.
INT. OUTPOST/CORRIDOR - NIGHT
MORRISON escorts a pair of powerful UNIFORMED SOLDIERS armed
with HIGH-TECH RIFLES with explosive shells-- they react to
the EXPLOSION beyond the closed door-- and break into a run,
the soldiers readying their weapons.
INT. OUTPOST/LAUNCH TUBE - NIGHT
MARCUS and BLAIR have moved around the narrow walkway to the
far end of the pit, beneath the SMOKING HOLE. Blair thinks
of something, pulls a small DEVICE from her flight suit, the
size of a pack of cigarettes, holds it toward Marcus.
Here. My ELT-- emergency locator
transmitter. If you find the camp,
activate it like this. It could
really help the Resistance.
She indicates a button. MARCUS takes the device--
--then grabs her, KISSES HER hard on the mouth-- she's
startled-- it felt very human.
MARCUS grabs the sharp, still smoking STEEL projecting from
the hole and pulls himself upward as--
THE DOOR SLIDES OPEN and the SOLDIERS open FIRE at MARCUS--
BLAIR hits the deck as EXPLOSIVE SHELLS tear HOLES in the
--SHRAPNEL hits MARCUS in the back, he's thrown into the
INT. VENTILATION SHAFT - NIGHT
MARCUS has a CHUNK OF REBAR lodged in his left SHOULDER, but
he doesn't even notice this yet. He picks himself up and
moves quickly in the darkness, crouching in this cramped
tube. There's a TURN up ahead, he just makes it as--
An EXPLOSIVE SHELL rockets through the shaft behind him--
BOOM! THE BLAST TEARS through the metal tube, DIRT POURS IN,
blocking the tunnel from his pursuers.
EXT. FOREST CLEARING - NIGHT
Near the edge of the clearing, a low STEEL VENT with a peaked
CAP. DENTS appear in it from within--
MARCUS finally PUNCHES his way out, pulls himself up and
rolls onto the dirt-- for a moment he seems safe, laying low
in the grass. Then--
--he registers the REBAR in his shoulder. It goes right
through him, emerging from his chest. Marcus is stunned.
With some effort, he YANKS OUT the REBAR and tosses it aside.
TORN METAL of his steel endoskeleton is now exposed, along
with a glimpse of circuitry. Marcus reels, puts a hand over
the hole in his chest where a heart should be; he really
isn't human. He doesn't have much time to deal with this as--
--THE CHOPPER emerges from behind the treeline, the SPOTLIGHT
picks him out and AUTOMATIC FIRE erupts--
MARCUS runs a few yards and throws himself to the ground as--
GUNFIRE STRAFES around and ahead of him-- setting off several
MINES which send up clouds of dirt.
MARCUS picks himself up and runs for the trees, leaping over
the barbed wire.
EXT. FOREST - NIGHT
MORE GUNFIRE rips apart the trees around Marcus as he sprints
and weaves, making his way toward the river. The SPOTLIGHT
picks him up and loses him again-- it's tough for the chopper
to get a clear shot at him here.
EXT. RIVERBANK - NIGHT
MARCUS has reached the edge of the trees, he can see the
river just beyond. He starts to move for it, when--
--FWOOM! The forest around him ERUPTS INTO FLAME, the
chopper has laid NAPALM along the river's edge.
MARCUS reels from the intense heat, bats out FLAMES on his
clothes, but his skin remains undamaged. Realizing he can
keep on moving--
--MARCUS DASHES through the dense FIRE to--
EXT. RIVER - DAWN
--the RIVER, where the sky is just starting to LIGHTEN.
MARCUS SPLASHES into the shallows, extinguishing the FLAMES.
He fills his hands with water and sucks it down gratefully.
ANGLE ON THE WATER - A GLIMMER of METAL below the surface,
heading for the source of the splashing. Suddenly--
--the BLACKHAWK CHOPPER drops down directly in front of
Marcus, hovering a few feet above the water, the GUNNER
pointing his weapon directly at Marcus (he's one of the two
soldiers we saw before). The BLADE WASH swirls the water in
a whirlpool and beats back the FIRE behind Marcus. As the
GUNNER OPENS FIRE--
--MARCUS DIVES below the surface, BULLETS ZINGING through the
UNDERWATER - MARCUS is winged by a couple of shots, his
thermoplastic flesh getting torn apart--
WITH THE GUNNER - He pauses a moment, squinting into the
WATER for a glimpse of Marcus, but failing to register that--
--BELOW THE CHOPPER, right beneath him, the WATER ROILS as if
teeming with piranha. Suddenly--
--HYDROBOTS ERUPT from the RIVER with a hideous BUZZING
SOUND. Hydrobots resemble segmented serpents, eyeless, but
with razor-sharp heads that DRILL into their victims-- they
respond to sound and vibrations. About a dozen of these four-
foot long, glistening steel snakes shoot from the water to
attack the chopper.
INSIDE THE CHOPPER - HYDROBOTS PIERCE the aluminum FLOOR, and
shoot into the cabin, the PILOT and the two SOLDIERS CRY OUT.
The GUNNER tumbles out of the chopper and FALLS in the water.
THE PILOT attempts to maintain control, but the hydraulics
are damaged and the steel serpents thrash about in the cabin.
THE GUNNER surfaces, trying frantically to swim to shore.
But the hydrobots are upon him, he SHRIEKS and disappears
beneath the bubbling surface, which now boils with BLOOD.
IN THE CHOPPER - A WHIRRING HYDROBOT penetrates the other
soldier's leg. He SCREAMS and wrenches the thing back out,
tossing it from the chopper just before--
--THE CHOPPER CRASHES INTO THE SHALLOWS.
THE PILOT leaps from the cabin and makes it to shore, where
he collapses. But the remaining, wounded SOLDIER can't get
out of the hip-deep water before the HYDROBOTS are upon him.
Suddenly, HANDS BURST from the water, grabbing the soldier.
A second later, MARCUS SURFACES, slinging the man over his
shoulder. He strides to shore, as if rescuing the man from
enemy fire, hydrobots thrashing and bubbling at his waist.
MARCUS reaches the amazed pilot, lays the wounded soldier
down beside him, then tears a whirring, writhing HYDROBOT
from the soldier's belly and WHIPS its head against a ROCK--
it SPARKS, micro-machine parts fly. The pilot and wounded
soldier stare at him, astonished.
Don't mention it.
He tosses the dead robo-snake aside, then turns and moves
back into the water, quickly vanishing below the surface.
UNDERWATER - MARCUS moves steadily across the silty river
bottom. He doesn't need air. HYDROBOTS come at him, he
swats them away as if they were mosquitoes, CRUSHING in his
hand those that linger too long. Those which make contact
with his artificial skin can't get far, turn and swim off.
EXT. FAR RIVERBANK - DAY
MARCUS emerges, the FLAMES still visible on the other side of
the river, behind him. He doesn't look back, as he moves
into Skynet turf. This side of the river isn't wooded,
everything has a concrete, industrial feel. Marcus is a
mess, both clothing and skin are shredded and charred.
He nearly bumps into a SKELETAL STEEL TERMINATOR, which
emerges from behind a concrete wall. The terminator trains
its PLASMA RIFLE on MARCUS, scans him, RED EYES glowing...
TERMINATOR'S POV - RED FILTER, MARCUS' FORM is TARGETED.
READ-OUTS on the side, the HIGHLIGHTED WORDS "NON-ORGANIC -
DO NOT TERMINATE."
THE TERMINATOR turns from MARCUS, no longer interested,
moving off on its preprogrammed patrol.
MARCUS moves up a sloping, CONCRETE EMBANKMENT. At the top
of the rise, he sees, spread out before him--
EXT. SKYNET TERRITORY - DAY
--a hideous industrial sprawl, OPEN GAS FLAMES, SMOKING
FACTORIES, rumbling VEHICLES, H-Ks, TERMINATOR TROOPS on
patrol. Nothing green, a GREY HAZE hangs over the landscape.
After a moment, MARCUS shakes his head and gamely soldiers
on, moving along the edge of the elevated embankment.
EXT. SKYNET PERIPHERY - DAY
MARCUS moves past banks of ANTI-AIRCRAFT guns and MISSILE
LAUNCHERS, interspersed with slowly rotating RADAR TRACKING
DISHES-- the first line of defense. From this fortress-like
wall he descends into the nightmarish environment beyond.
MARCUS reacts to a CAWING SOUND above, looks up to see--
--A CROW perching on an overhead WIRE. A second later--
ZAP! A BLUE PLASMA PULSE blasts the thing to smithereens, a
few BLACK FEATHERS drift down as--
--a T-400 (same mask-like face we saw earlier) lowers its
plasma weapon and strolls on. Target practice.
MARCUS stays out of the way of the TERMINATOR LEGIONS
patrolling near the riverside.
EXT. DEMOLITION SITE - DAY
MARCUS heads inland, past the ruins of a CHURCH-- WALLS with
the remains of stained glass WINDOWS, STATUES OF SAINTS.
Hearing RUMBLING NOISES, Marcus hurries out of the way as--
A WALL collapses, pushed down by an automated SKYNET
BULLDOZER. This gigantic, self-operated construction machine
has a swivelling CAMERA HEAD instead of a cab. Its giant
TREADS roll over the STONE STATUES, crushing them to dust.
EXT. CONSTRUCTION SITE - DAY
MARCUS keeps moving into Skynet's turf. The demolition gives
way to massive CONSTRUCTION, as the robots remake the human
world in their own image.
CONSTRUCTION ROBOTS erect a low-slung STEEL FRAME structure,
automated CRANES and SUPPLY TRUCKS about. These robots are
oversized versions of the steel terminators we know, but with
multiple limbs bearing WELDING TOOLS, and TREADS instead of
legs. Marcus watches as BEAMS are quickly welded into place
by telescoping steel arms.
EXT. SKYNET STREET - DAY
MARCUS continues into the completed robot city. Skynet's
ARCHITECTURE is featureless, bland, purely practical: single-
story, windowless CONCRETE or STEEL structures with massive
open DOORWAYS to accommodate their largest machines. A RED
GLOW emanates from the interiors, the robots' preferred
lighting scheme. No sidewalks or signs, just thick GRIDS of
POWER LINES and PIPES overhead. Constant NOISE of BUZZING
POWER, RATTLING MACHINES, etc.
MARCUS steps inside one of these buildings--
INT. TERMINATOR FACTORY - DAY
This TERMINATOR ASSEMBLY PLANT is an intricate, multi-leveled
clockwork maze of moving CONVEYORS and INDUSTRIAL ROBOTICS.
ELECTRONICS and HYDRAULICS are ROBOTICALLY SOLDERED in place.
STEEL PRESSES stamp out TERMINATOR PARTS-- TORSOS, FACE
PLATES, SPINAL COLUMNS, LIMBS.
Partially-completed PARTS are moved by CONVEYOR to ASSEMBLY
STATIONS, where LIMBS and HEADS are JOINED to TORSOS,
elaborate OPERATIONS carried out by INDUSTRIAL ROBOTS, like
the ones in present-day factories.
SYNTHETIC SKIN is SPRAYED OVER a METAL ENDOSKELETON in
precise amounts, building up to create human features... this
is a T-400.
An INDUSTRIAL ROBOT ARM picks up a CPU from a DRY-ICE
CONTAINER. The CPU features the distinctive, linked
rectangles familiar from the earlier films. The arm lifts
this gingerly to a TERMINATOR SKELETON and INSERTS IT into
the STEEL SKULL, SCREWING A SEAL over the hole.
THE RED EYES flicker to life, and THE ARMATURE releases the
TERMINATOR, which moves away under its own power. It removes
a PLASMA WEAPON from a WALL RACK, moving past--
--the dumbfounded MARCUS.
THE TERMINATOR joins a dozen identical robots, who ride on a
treaded SKYNET TANK with a PLASMA CANNON and FLAMETHROWER.
There are numerous TANKS here, awaiting deployment.
EXT. SKYNET STREET - DAY
Rounding a corner on a straight, narrow street, MARCUS sees
all the ROBOTS and SMALL VEHICLES clearing into small NICHES
built into the walls on either side, as if clearing a path
for him. It takes him a moment to realize it's not him
they're responding to-- a RUMBLE BUILDS...
A convoy of GIGANTIC SKYNET TRUCKS-- a half-dozen modified
SEMIS now driven by CPUS-- bear down on MARCUS at extremely
high speed. They carry construction supplies: massive STEEL
BEAMS, CONCRETE PIPES, etc. And there's barely inches of
clearance on either side.
These things aren't slowing down. There's nowhere for Marcus
to duck out of the way. He has no choice but to RUN, as fast
as he can, the lead vehicle gaining on him rapidly.
MARCUS THROWS HIMSELF to the concrete in the middle of the
street, pressing his body flat as the LEAD TRUCK passes over
him, the wheels missing him by inches.
But he has only a moment's respite. THE NEXT TRUCK has a
lower undercarriage, a steel CROSSMEMBER catches his back--
--and DRAGS MARCUS beneath the vehicle, ripping off chunks of
Marcus CRIES OUT, crawls ahead and clings to a forward
portion of the undercarriage, keeping himself just above the
pavement. His LEFT LEG, twisted and damaged, still drags on
the asphalt, throwing up SPARKS.
OVERHEAD ANGLE ON THE TRUCK - CAMERA PULLS BACK straight
above the MOVING VEHICLE, amidst the convoy speeding down
this sunken artery. CAMERA KEEPS MOVING UPWARD to reveal an
AERIAL VIEW of Skynet's city. Seen from above, the
rectilinear STRUCTURES, criss-crossing POWER LINES and
SPEEDING VEHICLES strongly resemble a PULSING CIRCUIT BOARD.
INT. COMMAND CENTER/CORRIDOR - DAY
JOHN CONNOR moves grimly down a narrow, steel passageway,
FOOTSTEPS ECHOING. He reaches the MP, outside the door.
I need to talk to the prisoner.
The MP looks a little surprised, but says nothing. He undoes
the LATCH on the door and opens it for Connor.
INT. COMMAND CENTER/INTERROGATION CELL - DAY
A bare, windowless space with only a cot, a metal chair and a
bedpan. BLAIR looks up, bleary-eyed, exhausted and scared.
CONNOR gestures for the MP to close the door behind him.
Lieutenant Williams. I'm sorry
about the way you've been treated,
but we're forced to take every
precaution. I'm John Connor.
Blair's mighty impressed, in spite of the circumstances. She
leaps to her feet, stands at attention and salutes.
At ease. Please, sit.
CONNOR pulls up the chair, close to Blair, who sits on the
bed. His tone is careful, controlled.
I've gone over your record,
lieutenant. You're a good soldier,
flown a lot of missions...
Why in God's name would you help a
Sir-- he isn't a terminator. He's
We know he's crossed into Skynet
territory, why would he do that if
He's trying to find his friends.
A couple of kids. They were taken
in a Skynet transport, probably to
some kind of prison camp-- he said
their names were Star and Kyle.
Connor blinks at this, alert.
Blair picks up on his interest, but doesn't understand it.
Mm... Kyle something. With an `R.'
That's it. How did you...?
CONNOR is already on his feet, BANGING on the door-- the MP
unlatches it to let him out--
INT. COMMAND CENTER/CORRIDOR - DAY
Partway down the hallway, CONNOR encounters KATE, who walks
with him, takes in his expression.
What is it, John?
I always knew I'd have to find him
someday. I just didn't know how.
What? Find who?
INT. LABORATORY - DAY
START CLOSE on KYLE'S HAND, clutching STAR'S tightly. We
hear them SINGING faintly, together:
KYLE AND STAR
Twinkle, twinkle, little star...
WIDER, their heads, feet and chests are clamped onto SLIDING
TRAYS, a long row of these hold OTHER PRISONERS as well.
Kyle and Star must reach across a gap between the trays to
hold hands. (It's the first time we've seen her hatless.)
The trays are all poised before panel-covered SEMI-CIRCULAR
OPENINGS built into the wall, in a sterile, hospital-like
environment. Above each opening is a MONITOR SCREEN. An
ominous HUM is building.
IN AN ADJACENT OPERATING THEATER, visible through GLASS
WALLS, MEDICAL LASERS mounted on ROBOTIC ARMS work on
anesthetized patients (we needn't see the grisly details).
BEHIND STAR and KYLE, the PANELS OPEN, the trays slowly SLIDE
into the OPENINGS. SCREAMS and SOBS from other prisoners.
Oh no, oh no...
Shh, keep singing.
Kyle and Star hold hands for as long as possible, then
release their grip as their bodies enter the chambers and the
panels slide shut.
INT. STAR'S TESTING CHAMBER - DAY
Immobilized in this small, tubular chamber, like an MRI, STAR
closes her eyes as she's bathed in BRIGHT LIGHT, LASER GRIDS
projecting over her skull. The HUMMING is LOUDER.
Up above the world so high, like a
diamond in the sky...
INT. KYLE'S TESTING CHAMBER - DAY
The same thing is happening to Kyle. He's no longer singing.
Stop it stop it STOP IT!
EXT. SKYNET HIGHWAY - DAY
WITH MARCUS beneath the truck. He's moved to the edge of the
chassis, near a WHEEL, moving slowly, carefully. There's a
bit more clearance at the sides of the sunken highway now,
but they're still moving awfully fast.
THE WHEEL TURNS, the vehicle suddenly SLOWS to negotiate a
turn, braking downhill. Marcus seizes this opportunity.
ANOTHER ANGLE as MARCUS LAUNCHES himself from below the
vehicle, rolling into the GAP between the convoy and the
concrete wall. The remaining vehicles RUMBLE PAST, as MARCUS
presses himself against the wall.
When they're gone, he gets to his feet, limping down the
highway on foot for a short distance, dragging his damaged
leg behind him. He hears ANOTHER CONVOY approaching.
Just in time, he finds a SEAM in the poured concrete, it's
enough to give him purchase-- he struggles to climb up the
eight feet of freeway wall.
MARCUS makes it over the top, TRUCKS RUMBLING past below.
This is desolate, hilly country.
ANGLE DOWN - among the vehicles below is a CONTAINER, like
the one that held Kyle and Star. We glimpse the anguished
FACES and REACHING HANDS of CAPTIVES within.
MARCUS reacts, moves as fast as he can alongside the trucks
for a short distance until--
THE VEHICLES shoot ahead around a curve and out of sight. In
the distance is a COMPLEX OF BUILDINGS, clearly the
Marcus begins moving along the edge of the freeway, heading
for the complex. He reaches the edge of a plateau, looks
down, his expression changing. This is the last thing he
expected to see. CAMERA MOVES to reveal--
EXT. COASTAL VALLEY - DAY
--a panoramic view of a GORGEOUS COASTAL COMMUNITY. The
place is lush, green, with well-maintained, lovely HOMES in
the distance, a BLUE SEA beyond. The complex of buildings
stands a few miles away, at the far end of the valley.
MARCUS, amazed, limps down a gentle slope leading to this
EXT. GOLF COURSE - DAY
MARCUS emerges from a small stand of trees and finds himself
looking at a groomed FAIRWAY. Marcus hears a NOISE nearby--
--a GOLF BALL bouncing on the ground not far away. MARCUS
turns in the direction it came from.
An electric GOLF CART approaches, driven by a handsome,
middle-aged golfer-- JEREMY-- who wears casual country club
attire, eating from a clear BAG OF TRAIL MIX. Jeremy comes
to a stop beside Marcus.
Are you all right?
Marcus slowly shakes his head, as Jeremy climbs out of the
cart, looking him over carefully, taking in the exposed metal
at his shoulder and leg.
What the hell is this?
You look like you've been hit by a truck--
Among other things. Look, I'm
trying to find some friends-- a
couple of kids. They were taken
here, I saw some buildings--
JEREMY eyes him, a little surprised at his ignorance.
The facility, sure. Hop in, I'll
take you there.
Marcus hesitates a beat, can he trust this guy? But Jeremy
simply seems eager to help, as he guides him to the passenger
seat, then gets behind the wheel. With a smile:
This round was gonna blow my
handicap anyway. I'm Jeremy.
He extends a hand. After a beat, Marcus reaches toward it--
Jeremy clutches Marcus' hand tightly. Marcus blinks, Jeremy
cocks his head, then lets go.
I can't connect with you at all...
your interface must've been
damaged. Don't worry, soon they'll
have you as good as new.
With that, he hits the gas.
EXT. RESIDENTIAL STREET - EVENING
JEREMY drives the cart down the road, past well-kept homes
with generous lawns-- it's a beautiful, upscale community at
MAGIC HOUR. BICYCLISTS and FUTURISTIC CARS pass, Jeremy
waves to NEIGHBORS. Marcus takes it all in with disbelief.
I didn't think there was-- anything
like this left... anywhere.
Yes. We're very lucky. Want some?
He holds the plastic bag out to Marcus, who obligingly takes
a handful of trail mix, pops it in his mouth. After a beat,
he spits it back out in his hand, stares at it.
This isn't food.
Well, of course not. Seems you got
a little memory loss going on.
Marcus stares at him, confused. Jeremy is starting to
realize just how out of it he is, speaks as if to a child.
It's a foam resin. It can taste like
anything you want it to-- but of
course, we don't really need to eat.
Our brains are powered by fuel cells,
Marcus just stares, Jeremy gestures at the world around them.
We're in a transitional phase.
Most of us need the comfort of the
familiar a little while longer--
food, shelter, sex. Until we
forget the old life.
As he speaks, he notices his BAG is nearly empty. He
casually lifts his sport shirt and CLICKS OPEN a PANEL
beneath his rib cage. We glimpse CIRCUITS, FIBER-OPTICS.
Eating-- well, chewing-- it's one of
the hardest habits to break... but
before long, none of this will be
necessary. We won't even need these
From within he removes an identical BAG FILLED with TRAIL MIX
(the stuff he just ate), and replaces it with the empty bag.
He clicks the panel shut again, pops a NUT in his mouth.
Marcus stares at this, appalled, then blinks and looks away.
He reacts to the sound of PIANO MUSIC, a difficult piece
being played expertly-- PASSING a PICTURE WINDOW, he sees a
In front of this home, a GARDENER and WINDOW WASHER are hard
at work. They're both T-400s, with the eerie mask-like
faces. Marcus reacts.
Jeremy winces, as if at a racial epithet. He's starting to
regret giving Marcus a lift, his manner is careful, as if
he'd picked up some homeless guy.
We don't call them that here.
Marcus grabs Jeremy, who pulls back a bit, alarmed.
What are you?
A hybrid. The same as you.
A hybrid-- human and machine?
Of course. That's what this community
is for-- people like us.
You should be grateful to have been
What about the ones who weren't?
You mean like Janet and the kids.
For a moment, Jeremy's expression darkens. Then he shuts his
eyes, and his features relax.
Your family. You lost them?
Jeremy nods and SMILES, looking at him once more.
Why are you smiling?
`Cause I feel good. The interface
recognizes negative emotions-- rage,
grief, despair-- and stimulates
positive endorphins in response. Thank
God, life would be pretty unbearable
otherwise, don't you think?
EXT. PARK - DUSK
They've left the main street now, driving down a WOODED PATH
leading to the "facility." There are lawns, fountains, etc.
Marcus SLAMS ON the brakes, then clutches Jeremy by the
throat-- the man looks more annoyed than frightened.
Tell me everything. How did you
people get here?
Most of us worked at NASA or DARPA.
I was an engineer on Project Angel--
Marcus drags the man from the cart by his throat, squeezing
Angel-- what is it?
Advanced Nexus of Genetic and
Electronic Life-forms... A-N-G-E-L.
You can stop choking me, it's not
like I need to breathe.
Marcus releases him, but remains in his face. Jeremy takes a
moment to recover his composure.
We replaced the body's hydrocarbons
with plastinated compounds while
maintaining cellular structure--
analog neural impulses were converted
to wireless digital signals,
controlling the micro-tech chassis--
The goal was a superior support
system for the human brain-- to go
anywhere, do anything-- explore
deep space, the bottom of the sea.
I specialized in optics.
He taps his own eye with an audible CLICK, not flinching.
Marcus takes a couple steps away, looking at his own hands.
Jeremy points to nearby BUILDINGS, a little peevish.
The facility is just ahead. I'll
let them know you're coming.
So saying, he's back in the cart, pulling away in a hurry. A
moment later, Marcus moves off amongst the trees.
Nearing the complex, Marcus reacts to BIRDSONG above. He
looks up, stops as he sees--
--a TINY SPEAKER, concealed amongst the LEAVES.
MARCUS moves to this tree, touches it-- the bark feels
unnatural. He RAPS it with his FIST-- it sounds hollow, made
of FIBERGLAS. He fingers a LEAF, tries to bend it-- PLASTIC.
He crouches, studying the GRASS. After a moment, he finds a
SEAM in the pristine lawn. He starts to peel it up... it's
ASTROTURF. Beneath it is SANDY DIRT.
Marcus KEEPS PEELING the plastic covering back... more dirt--
and BITS OF BONE. As he continues to uncover the ground we
see recognizable CHUNKS of SKULLS, LEGBONES, etc.
By now he's rolled back a few square yards, numb with horror.
Marcus moves on toward the complex with new determination,
trying to stay out of sight.
INT. LABORATORY - NIGHT
ON THE MONITORS above the long row of chambers-- colorful 3-D
IMAGES of the prisoner's BRAINS are being constructed, like
PET scans. DENSE DIGITAL READ-OUTS BELOW, as data is
analyzed. (Levels of seratonin, endorphins, etc.) Beside
these are BARCODES and small INSET PHOTOS taken within the
chamber, the subjects looking frightened.
IN THE OPERATING THEATER, the LASERS are still now, their
grisly work done for the moment, awaiting the next batch.
An ENGINEER, a nice-looking, well-built young man in loose
black clothing, moves down the row of chambers, studying
results. He speaks into a subtle HEAD-SET:
32578 - acceptable. 32579 - no,
insufficient neural capacity.
32580 - eh, this one shouldn't have
even been brought here...
As he speaks, the BARCODES on the monitors in question turn
either RED or GREEN in response to his judgments.
He reaches KYLE'S CHAMBER, we see Kyle's anguished FACE on
the monitor photograph.
32581 looks good...
Kyle gets a GREEN BARCODE, the engineer is on to Star, he
strokes his chin.
32582... hm, borderline. May not
be emotionally compatible. Pass.
On STAR'S MONITOR-- RED BARCODE.
The engineer KICKS something on the floor, bends down to pick
it up-- STAR'S BASEBALL CAP. He flings it expertly into--
--a nearby TRASH RECEPTACLE.
EXT. OFFICE PARK FACILITY - NIGHT
A series of LOW-RISE BUILDINGS, attractively LIT, surrounded
by lawn, trees and water features. A HUMAN TRANSPORT heads
down a RAMP into a parking structure; a GATE closes.
FIND MARCUS, watching this from behind some plastic foliage.
He sets his jaw, removes something from his pocket, fiddles
with it and places it carefully in the bushes. He moves on.
Nearing an entrance, he hears a familiar voice from nearby.
A BACKLIT FIGURE approaches-- as her face enters the light,
we see that it's SERENA, looking healthy, beautiful. Marcus
stares at her coldly.
Marcus... it is you. You're alive,
you found us. Welcome to paradise.
It's a graveyard.
SERENA takes in his anger, adopts a regretful tone.
There was no choice-- the old
civilization had to be eliminated.
To make way for a new world... a
world without death or suffering.
SERENA puts her arms around him. He doesn't return the
embrace, but he doesn't resist her.
You were the first... I'm sorry.
So saying, she presses a small, taser-like device at the base
of his skull-- ZAP! MARCUS SPASMS and goes limp in her arms.
SERENA lets him down gently on the ground.
We should never have left you behind.
A pair of T-400s now approach from the shadows. They pick up
Marcus and carry him toward the building. CAMERA MOVES to
find, hidden in the bushes where Marcus placed it--
--the ELT, the EMERGENCY BEACON Blaire gave him... activated
now, a single GREEN LIGHT PULSES.
INT. SLEEPING CABIN - NIGHT
DARKNESS, then a KNOCK and a DOOR FLIES OPEN.
JOHN CONNOR sits up in bed. KATE blinks beside him.
Sir, I'm sorry to disturb you, but you
said you wanted to know immediately--
What is it?
We found our terminator.
INT. COMMAND CENTER - NIGHT
CONNOR and KATE, hastily dressed, cross through the command
center we've seen before, and step through a HATCHWAY into--
INT. SUBMARINE/BRIDGE - NIGHT
--a MASSIVE CONTROL AREA for a HUGE SUBMARINE. SONAR and
RADAR stations, a CREW of NAVAL PERSONNEL, most do not wear
uniforms. This sub is where Connor has been the whole time.
THE AIDE leads CONNOR to a GPS TRACKING TERMINAL, where NAVAL
and AIR FORCE OFFICERS hover.
AIR FORCE OFFICER
The signal's coming from near what used
to be Galveston, right on the coast.
There can't be any prisoners there.
The whole area's a nuclear
wasteland-- only machines can
survive the radiation levels for
any length of time.
Mobilize a combined air and naval
assault, all available resources.
We're sending in a rescue team ASAP.
The OFFICERS raise AD LIB objections ("but sir--"). CONNOR
raises a hand to silence them and moves a few steps away,
beside KATE. They speak in hushed tones:
All to find one teenage boy...?
John, you really think this can work?
I'm standing here, I exist-- so it
must have worked. We will find him.
He turns back to the OTHERS, holding their gaze.
Call it an act of faith.
EXT. UNDERWATER - NIGHT
We see now that Connor's on board a NUCLEAR ATTACK SUB, with
TWO MORE SUBS moving in tandem behind it.
HOLD ON the LEAD SUB and MOVE IN ON the STENCILLED NAME as it
PASSES CAMERA: "LOS ANGELES SSN-688."
INT. REPAIR LAB - DAY
START ON MARCUS' DAMAGED LEG. It has been DETACHED from his
body, halfway down the thigh. Elaborate CIRCUITS are
exposed, as SURGICAL MACHINES perform repairs with LASERS,
MECHANICAL ARMS replacing damaged parts.
NEARBY, MARCUS opens his eyes, coming to. He's CLAMPED onto
an elaborate, mobile SURGICAL TABLE, the stump exposed. His
body and head are secured within its framework. MORE
MACHINES swiftly repair the damage to his chest and shoulder.
MARCUS twitches, freaking out, struggling in his bonds--
THE DETACHED LEG twitches as well.
Calm down, Marcus. It's all right.
SERENA is on the other side of a GLASS PANEL, operating
computer controls. This is an automated surgical
environment, the work on Marcus carried out by various
MACHINES and MICROTOOLS-- busy HYDRAULIC ARMS, LASERS, etc.
Like fuck it is. I'm sick of being
your guinea pig, what are you doing
to me now?!
You all work for Skynet!
Please. Skynet works for us. It's only
a program-- a tool, a means to an end.
The end of the world.
Its sole purpose is to protect humanity.
MARCUS lets out a horrified, bitter laugh.
Listen to me. Skynet was designed to
detect threats, make projections and
implement solutions. As soon as it
came on line, it factored in war,
disease, environmental destruction--
and calculated a high probability of
total human extinction within two
hundred years. The human race was
doomed... unless we were transformed.
THE SURGICAL TABLE swivels, bringing MARCUS into alignment
with the repaired leg. In moments it's reattached, the
plastic skin thermosealed at the joint.
Into-- this? A brain in a box?
Skynet had access to the entire
defense web-- including Project
Angel. It determined hybrids were
the only path to salvation.
Destroying the human race in order
to save it.
THE LASER TOOLS and HYDRAULIC ARMS now move on their ceiling
racks, coming close to MARCUS' FACE. The TABLE INVERTS,
exposing the back of his head.
What are you doing?
When the resistance attacked our
installation, we were forced to
self-destruct. We would have taken
you with us, but we thought you
were in a permanent coma...
THE LASERS start cutting into the back of Marcus' head,
BURNING through the plastic SKIN. MARCUS lets out a CRY of
rage, strains at his bonds.
Your interface was never installed.
CLOSE as the HYDRAULIC ARM attaches to the back of Marcus'
head and removes a section of STEEL SKULL...
REVEALING THE SURFACE of a HUMAN BRAIN, gray matter enmeshed
in WIRES and CIRCUITRY beneath a clear PLASTIC CASING, in a
bath of pale reddish LIQUID. Tiny NEURAL SPARKS fire.
No, stop... I don't want it!
You're dead inside, all of you!
We're immortal. No sane person
would choose to live in pain,
forever. Soon you'll understand.
CLOSE as an elaborate ELECTRONIC INTERFACE MODULE is fixed at
the base of Marcus' exposed brain.
ON MARCUS' FACE - his expression of agony vanishes, his
features become peaceful.
EXT. OFFICE PARK FACILITY - NIGHT
MARCUS is dressed in fresh clothes, his damage repaired-- and
he seems more at ease than we've yet seen him. He walks
beside SERENA, who wears a small EARPIECE, a high-tech
cellphone device. They smile as they pass other HYBRIDS on
the late shift.
How are you feeling, Marcus?
I'm not sure I know how to describe it.
It's called happiness. You've been
angry all your life. You don't
know what it's like to feel... a
part of something.
She clasps his hand in both of hers. MARCUS closes his eyes,
a jolt of pleasure shooting through him.
FLYING POV, THROUGH BANKS OF CLOUDS, RICH COLORS in the sky,
glinting GOLDEN LIGHT--
ROCKET DOWNWARD to a PRISTINE COASTLINE, some place like
Hawaii-- PLUNGE INTO THE WATER--
RISE and come face to face with SERENA, SMILING... moving in
for a kiss... CAMERA IRISES OPEN TO WHITE...
EXT. OFFICE PARK - NIGHT
SERENA releases Marcus' hands. He opens his eyes slowly,
reeling from the intense moment. CAMERA REVEALS a subtle
BULGE at the base of his skull, the implanted interface.
Pure ecstasy... we can share in it
When I was a kid my grandmother
would go on about heaven... it
always sounded so boring.
Were you bored just now?
Marcus shakes his head-- far from it. Serena laughs.
That sensation is always there for
you, whenever you desire. But most of
us here are scientists... our greatest
joy is using our minds to explore, to
discover... I'll show you.
She leads him up steps into one of the buildings.
INT. CORRIDOR - NIGHT
CAMERA TRACKS past GLASS WINDOWS, we glimpse ARTIFICIAL SKIN
growing on a steel terminator skeleton... a prototype T-800,
perhaps with a strong resemblance to Arnold.
Elsewhere ENGINEERS observe a SHIMMERING COLUMN of LIQUID
METAL, twisting and assuming different shapes within a sealed
WITH MARCUS and SERENA, moving past these observation areas.
Nanotechnology, polymimetic metals...
working with Skynet, we're making
amazing breakthroughs, well beyond
anything possible before Judgment Day.
INT. TIME DISPLACEMENT CHAMBER - NIGHT
START on a glowing TIME SPHERE, just a vague, translucent
blue ball right now, dwarfed by the MACHINERY which sustains
it. The sphere is set into a dome-shaped depression in the
floor. There's a distinctive, loud HUM.
A PHYSICIST here at a TERMINAL. He nods toward--
--SERENA and MARCUS as they enter.
We've already freed ourselves from
biological limits... soon we'll
transcend the laws of physics.
SERENA gestures at a large DIGITAL DISPLAY of a 24-hour
CLOCK: the date, 10.16.18, 00:25, SECONDS FLASHING PAST.
Right now, we can only go back a
few days at most...
A time machine... Connor was right.
The Resistance leader? You know him?
...I've just heard him speak.
He's a dangerous man. Delusional.
He thinks he's a savior, but all he's
really fighting for is... death.
They move to an exit, Marcus looking back over his shoulder
at the glowing blue sphere.
EXT. OFFICE PARK FACILITY - NIGHT
MARCUS and SERENA cross the attractive campus.
In the world outside-- the
survivors think Skynet is the
enemy, out to destroy them. Why
don't you tell them about all this?
Not everyone can become like us,
Marcus. We just don't have the
resources to sustain more than a
few thousand hybrids.
Then why... Some people I knew were
picked up, taken here...
INT. NEURAL NET CHAMBER - NIGHT
CAMERA MOVES over TUBES and FIBER-OPTIC CABLES, which run
into multiple GLASS CYLINDERS filled with translucent PINK
LIQUID. These contain HUMAN BRAINS... there are hundreds of
them hooked up in here.
A boy and a girl-- in the last day
Yes... what is this place?
Part of the neural net-- human minds
linked directly with artificial
intelligence. The processing power
of the human brain is still beyond
anything Skynet can manufacture.
SERENA has moved to a COMPUTER TERMINAL, one of a few here.
Display recent arrivals for processing.
IMAGES begin to appear on the screen-- small inset PHOTOS,
each with a BARCODE. They quickly fill the screen. MARCUS
leans forward, squinting.
ON SCREEN - dozens of FACES, PHOTOS taken inside the TUBES,
mostly looking terrified.
MARCUS shakes his head.
ON SCREEN - a new SET OF FACES appears one by one on the
screen. This time, STAR and KYLE are among them, next to
MARCUS touches the screen, two fingers, one on each of the
kid's faces. THEIR IMAGES expand to fill the screen, side by
side, KYLE on the left.
KYLE'S IMAGE, the date 10.16.18... the time, 22:19:23. The
word, in green: PROCESSED.
Good news. He'll soon be part of
the network-- you'll be able to
connect with him.
Move to STAR'S IMAGE. 10.15.18... 22:20:49... and the word,
in red: TERMINATED.
I'm sorry about the girl, Marcus.
She didn't suffer.
Marcus takes this in, his face shows pain. Then SERENA
grasps his hand-- in moments, he's smiling.
Of course. I... I understand.
Suddenly the building SHAKES, the sound of a distant
EXPLOSION. SERENA releases MARCUS, listens in her earpiece.
What is it?
I don't know-- I have to go. Will
you be all right?
(off his smile and nod)
Of course you will.
She touches him once more and moves off, leaving him alone
here. We'll hear other far off EXPLOSIONS from time to time
during the following. MARCUS stares at--
HIS FRIENDS' FACES, which slowly FADE TO BLACK, replaced by
his own REFLECTION. Seeing his own face, his smile vanishes.
MARCUS is going through a terrible internal struggle, the
interface fighting his own natural emotions. He backs away
from the machine, looks around at the brains, all the lives
Hurrying past the wall of brains, he moves a hand to the base
of his skull... with an ANGRY CRY--
--his FINGERS dig into the plastic skin at the back of his
MARCUS grits his teeth, this is incredibly hard to do, but--
--he RIPS THE INTERFACE MODULE from his skull-- CONNECTIONS
SPARK, we glimpse STEEL SKULL and the encased BRAIN beneath.
MARCUS hurls the DEVICE to the floor, its elaborate CIRCUITRY
SHATTERS. He reels with momentary anguish at what he's just
given up-- then he moves out of there with determination.
EXT. OFFICE PARK FACILITY - NIGHT
FIRE and SMOKE in the distance, VEHICLES MOVING fast amidst
the destruction. It looks like the place is under attack.
MARCUS moves purposefully across the campus-- suddenly
HEADLIGHTS illuminate him. He dives out of the way as--
A FUTURISTIC ATV roars past at high speed. It's followed
moments later by a massive SKYNET TANK.
MARCUS scrambles to his feet, continues on his way.
INT. TIME DISPLACEMENT CHAMBER - NIGHT
THE PHYSICIST is SLAMMED against a wall. He never loses his
unperturbed expression as MARCUS manhandles him. THE CLOCK
I need to go back!
The wormholing fluctuates, right
now it's oscillating between three
and six hours--
What do I do?
Just breach the sphere. But you
could materialize anywhere in a
MARCUS tosses the man aside, regards the GLOWING, CRACKLING
TIME SPHERE-- it doesn't look too inviting.
THE DOOR bursts open. SKELETAL TERMINATORS storm in,
wielding PLASMA RIFLES-- they mean business--
THE PHYSICIST finally looks alarmed, getting in front of
MARCUS as he yells--
No, don't shoot in here--!
A TERMINATOR FIRES anyway, BLOWING A HUGE HOLE through the
center of the Physicist's chest and throwing him backward to
the floor-- the man looks down and shakes his head at the
damage to his plastinated body.
A SECOND TERMINATOR spins his weapon on--
--MARCUS, who LEAPS into the center of the sphere just as THE
ROBOT FIRES and HITS nearby MACHINERY which EXPLODES--
ENERGY ERUPTS around MARCUS, the CRACKLING BLUE LIGHT of the
time sphere surrounds him. We experience this from--
--INSIDE THE SPHERE. Marcus instinctively crouches in a
FETAL POSITION. An instant later, his CLOTHING BURNS OFF HIS
FLESH. The HIGH TECH ENVIRONMENT around him TRANSFORMS into--
EXT. PARK - DUSK
STAY WITH MARCUS-- FOLIAGE APPEARS around the SPHERE. The
BLUE ENERGY fades, leaving him naked, 20 FEET IN THE AIR--
MARCUS PLUNGES to the ground and rolls. He looks up--
THE PLASTIC TREE has been melted with the heat like a candle,
DRIPPING down around him.
MARCUS tries to get his bearings-- he's in the park area, the
FACILITY not too far off. He moves in that direction.
EXT. OFFICE PARK FACILITY - NIGHT
THE GATE to the garage OPENS, an empty HUMAN TRANSPORT
emerges... FIND MARCUS, concealed, still unclothed. He dives
under the GATE as it rolls shut.
INT. UNDERGROUND GARAGE - NIGHT
MARCUS moves stealthily through the space where the prisoners
were off-loaded, keeping out of sight behind parked vehicles.
He starts at the sight of--
THE CONTROL ROBOTS, hooked to CHARGING POSTS along one wall.
MARCUS makes his way to the GLASS DOORS. Using all his
strength, he manages to PRY THEM OPEN.
INT. LABORATORY - NIGHT
The ENGINEER as we saw him before, consulting the MONITORS
above the CHAMBERS.
32581 looks good... 32582... hm,
borderline. May not be emotionally
The engineer picks up STAR'S BASEBALL CAP and flings it into
Just then he hears SHATTERING GLASS behind him. He spins--
MARCUS trains a ripped-off ROBOTIC LASER ARM at him like a
weapon. The arm trails heavy CABLES and CIRCUITS, linking it
to the operating theater we saw earlier. (These also
artfully conceal Marcus' nakedness.)
Let them go.
What? Who are you?
MARCUS takes a step closer.
I said, let them go!
THE ENGINEER moves to a RED ALARM BUTTON on a COMMUNICATION
PANEL mounted in the wall, extending a hand--
MARCUS connects two wires to FIRE UP the LASER and--
A RED BEAM neatly SEVERS the ENGINEER'S HAND at his WRIST.
THE ENGINEER studies the metal STUMP of his severed hand with
a blank expression.
You can't hurt me.
The ENGINEER smirks and WHACKS the ALARM BUTTON with his
other hand. An ELECTRONIC KLAXON sounds.
Now you're pissing me off.
MARCUS FIRES OFF THE LASER again--
--THE ENGINEER stares at him-- we see a flaming STRIP in the
wall behind his head. He takes a step toward Marcus and--
--his HEAD TUMBLES OFF, bounces on the ground, and rolls to
MARCUS' FEET. (There's no blood, just laser-severed
MARCUS picks up the ENGINEER'S HEAD by the hair. The man's
brain is unharmed.
How'd that feel?
THE MAN'S MOUTH twists and grimaces, making ELECTRONIC STATIC
from the FRIED VOICEBOX. MARCUS is taken by surprise when--
--THE DECAPITATED BODY lunges at him, knocks the LASER from
his grasp. After a brief STRUGGLE, MARCUS spins the
engineer's HEAD to face his body. He grabs the INTERFACE at
the base of his neck.
I pull this off and you'll be in a
world of pain!
THE ENGINEER'S FACE suddenly shows fear-- his body FREEZES.
Last chance. Let them out.
AT A CONTROL TERMINAL, the one-handed, headless BODY taps
keys and controls. MARCUS holds the Engineer's HEAD so that
he can see over his own shoulder. Moments later--
--the MACHINE HUM winds down. THE MONITORS flash the word
"ABORT," the PANELS begin to OPEN.
MARCUS addresses the HEAD in his hand.
I'm gonna need your clothes.
THE HEADLESS BODY begins to unbutton its shirt.
MOMENTS LATER - CLOSE as KYLE'S TRAY slides out of his
CHAMBER. The RESTRAINTS retract automatically. He sits up,
--STAR, on the next tray. She hasn't moved, her eyes closed.
He climbs off his tray, takes her in his arms. She starts
Around them, the dozen OTHER PRISONERS are getting to their
feet, surprised at their sudden freedom.
MARCUS approaches KYLE, buttoning his new shirt.
The two kids hurry to him, Marcus hands Star her BASEBALL
CAP, rescued from the trash. As she puts it on:
I knew you'd come.
THE PRISONERS are already on the move, frantically dashing
out of the lab ahead of our heros.
We've gotta get out of here.
He leads the kids out the way he came, passing...
THE ENGINEER, in underwear, sitting in a corner, cradling his
head in his lap. His remaining hand strokes his interface,
his eyes closed in a blissful expression.
INT. UNDERGROUND GARAGE - NIGHT
THE PRISONERS smash the GLASS DOORS off their hinges, and
THE CONTROL ROBOTS, which are now coming to life. ELECTRIC
BURSTS drop a couple of slow-moving ESCAPEES as they dash
into the garage and make for--
--ANY AVAILABLE VEHICLE. Former PRISONERS hijack BUSES,
HYDROGEN CARS. Pure chaos, it feels like a prison riot.
MARCUS, STAR and KYLE weave amidst the robots and humans.
KYLE and STAR take cover behind a concrete post just as--
--PLASMA BURSTS explode around them.
SKELETAL TERMINATORS armed with PLASMA RIFLES are pouring in
through the OPENING GARAGE GATE.
A STOLEN BUS heads for the exit, KNOCKING a couple of
TERMINATORS aside and SMASHING through the rising GATE,
clearing a path for others to follow.
A SKELETAL TERMINATOR sets its sights on a MOVING HYDROGEN
CAR, which follows the bus--
TERMINATOR POV - RED FILTER, HIGHLIGHTING BULL, the DRIVER.
"TARGET ACQUIRED - TERMINATE."
THE TERMINATOR SHOOTS HIS RIFLE through the car's windshield--
it EXPLODES, close to KYLE and STAR, the building SHAKES.
KYLE and STAR flee the flames, THE TERMINATOR'S HEAD swivels
quickly, taking them in. It starts to pursue, but MARCUS
gets in front of it. Before it can fire--
It's OK, I'm not human!
The Terminator pauses, looks him over.
TERMINATOR POV - MARCUS is quickly scanned, comes up "NON-
ORGANIC - DO NOT TERMINATE."
THE TERMINATOR starts to move past Marcus, who LEAPS on it
and WRENCHES THE RIFLE from its grasp. As the robot spins on
him he BLOWS ITS HEAD OFF, then looks around frantically for
the kids. A moment later--
--KYLE ROARS up at the controls of a futuristic ATV, STAR
clinging to him.
You can't drive!
No time to argue, MARCUS leaps into the back beside STAR and
KYLE GUNS IT out of there, careening off walls and other
vehicles, he's still not much of a driver. MARCUS meanwhile
PICKS OFF potential threats with the PLASMA RIFLE.
EXT. OFFICE PARK FACILITY - NIGHT
KYLE has to swerve to avoid the stolen BUS, which is now on
its side, IN FLAMES. It was taken out by--
--an automated SKYNET TANK, one of THREE TANKS here. They're
positioned to take out escaping vehicles. But the ATV is a
small, maneuverable target, swerving and speeding crazily. A
TANK FIRES and MISSES, the BLAST taking out a chunk of wall.
KYLE WHOOPS, heading across the campus--
--ONE TANK pursues, it moves surprisingly fast, capable of
flattening anything in its path. MARCUS FIRES at it, but the
PLASMA RIFLE BLASTS don't have much effect on the ARMOR.
THE TANK FIRES again, but--
--KYLE ROARS around a corner, just in time. However, in so
doing, he nearly runs over--
--MARCUS, from earlier, on his way to the time sphere,
visible in the HEADLIGHTS for only an instant before he LEAPS
OUT OF THE WAY.
KYLE, focused on the pursuing tank, didn't even see this.
But STAR did. She looks wide-eyed at MARCUS beside her.
That looked like--
I know. Long story.
PLAY THE CHASE, as the TANK pursues the ATV through the
KYLE takes his vehicle through a large FOUNTAIN, which the
TANK SMASHES to bits.
KYLE OVERSTEERS, putting them up on two wheels, then
recovers, narrowly avoiding--
--PLASMA BLASTS, which obliterate the FACADE of a building.
SKELETAL TERMINATORS appear in their HEADLIGHTS, weapons
MARCUS stands and FIRES over KYLE'S HEAD, BLOWING them out of
NEAR THE PARK, MARCUS points.
Take that path!
EXT. PARK/WOODS - NIGHT
THE TANK is gaining on them, KYLE steers around a GAZEBO, the
tank SMASHES right through it, turning it to splinters.
Kyle steers toward THE WOODS, dodging between the thick
TREES. Too many obstacles for the TANK here, it SCREECHES TO
A HALT and lets off a JET OF FLAME.
THE TREES behind the ATV all IGNITE, turning to acrid pools
of MELTING PLASTIC. KYLE barely stays ahead of the FIRE.
THE TANK backs up and takes a new route, around the woods.
IN THE WOODS, KYLE strikes a GLANCING BLOW against a tree
trunk, and the ATV TOPPLES on its side, spilling its
passengers. After a beat, they rise, shaken.
You two all right?
Why don't you drive?
Come on I was doing good!
MARCUS rights the vehicle, taking the wheel, the kids climb
EXT. RESIDENTIAL STREET - NIGHT
THE ATV comes rocketing down the main street, MARCUS driving
now. Suddenly, directly in front of them--
--THE TANK APPEARS, moving swiftly around a corner, GUN
TURRET SWIVELING at them.
AS IT FIRES, MARCUS SWERVES onto a LAWN and--
--CRASHES THROUGH a PICTURE WINDOW.
INT. LUXURY HOME - NIGHT
A handsome HYBRID COUPLE, in pajamas in front of a BIG SCREEN
TV. They turn and react as the ATV skitters through the room
and down a hallway. The ATV is followed a moment later by--
--THE TANK, which TAKES OUT THE ENTIRE WALL, BARRELLING
through the living room and BURYING the HYBRIDS in RUBBLE.
MARCUS takes the ATV UP A FLIGHT OF STAIRS.
THE TANK keeps SMASHING through the house, as its TURRET
SWIVELS upward and BLASTS AWAY.
UPSTAIRS - THE PLASMA BLAST COMES THROUGH the FLOOR, just
missing the ATV as it rockets through a MASTER BEDROOM,
toward a BALCONY.
DOWNSTAIRS - THE TANK tears through an upscale RECREATION
ROOM, splintering a POOL TABLE, smashing through PINBALL
UPSTAIRS - MARCUS takes the ATV straight out onto the
BALCONY, THROUGH THE RAILING and INTO THE AIR.
DOWNSTAIRS - THE TANK BLASTS THROUGH a KITCHEN and BATHROOM
on its way out the other side of the house.
EXT. LUXURY HOME/BACK YARD - NIGHT
THE ATV JUST CLEARS an enormous SWIMMING POOL, landing hard
on the far deck and moving on, fast.
THE TANK SMASHES THROUGH THE BACK WALL and--
--TAKES A NOSEDIVE into the pool, out of commission.
INT. LUXURY HOME - NIGHT
THE RUBBLE in the living room shifts and the HYBRID COUPLE
extract themselves, taking in their destroyed home with
EXT. RESIDENTIAL SIDESTREET - NIGHT
A moment's breather. Marcus slows the vehicle, which WOBBLES
and SMOKES from all it's been through. He looks around.
Where are we going?
He points toward the COAST, we see a MARINA in the distance,
a BOAT moored at a DOCK.
MARCUS steers the ATV down a slope toward the shoreline.
EXT. COASTLINE/DOCK - NIGHT/DAWN
MARCUS, KYLE and STAR leap off the ATV and sprint for a
MOTORBOAT. Kyle carries the rifle now.
As they near the boat, MARCUS reacts to the sight of--
--RED EYES FLICKERING in the darkness at the END OF THE DOCK,
the BLUE GLOW of a RIFLE CHARGING.
MARCUS leaps in front of KYLE and STAR shielding them with
his BODY. The PLASMA BLAST envelops him, MARCUS is blown--
--INTO THE WATER. KYLE and STAR are flattened by the force
of the blast, lie motionless on the dock. Their PLASMA RIFLE
lies a few feet away.
THE SKELETAL TERMINATOR who shot Marcus moves swiftly down
the dock, its PLASMA RIFLE trained on the water now. It
moves past Kyle and Star, who remain motionless on the
ground, and goes to the edge of the dock--
--BLAM! STAR snatches up their own PLASMA WEAPON, and BLASTS
the thing in the back, knocking it INTO THE WATER, which is
only a few feet deep here. As it rises, SHE FIRES again,
taking the Terminator's head off. It goes under.
THE SKY is beginning to LIGHTEN now as, a moment later,
MARCUS EMERGES. As he climbs from the shallow water back
onto the dock, Kyle and Star stare at him with astonishment.
Seeing their expressions, he checks himself for damage--
there's METAL exposed at his shoulder, arm and hand, his FACE
partially TORN AWAY, ONE EYE MISSING. He tries to speak, but
can only manage an ELECTRONIC CROAK.
Kyle and Star back away from him.
He's not real.
Marcus shakes his head, starts to move toward them. STAR
raises the rifle, points it at him.
Don't come any closer!
They hear a WHISTLING SOUND from shore, hit the deck as--
--a MISSILE BLAST TAKES OUT THE BOAT and a large chunk of
Laying low, they look up to see--
--a small army of TANKS and TERMINATORS approaching... even a
HUNTER-KILLER moving in from the horizon, swinging its
SPOTLIGHT in all directions. It looks like the last stand.
MARCUS turns back to KYLE and STAR. His voice is a distorted
Star puts the rifle aside, with an apologetic expression.
She moves to Marcus, gingerly touches his exposed metal--
then hugs him tightly.
Kyle, more stoical, looks out to sea. His expression
changes, becomes almost hopeful as--
--IN THE DISTANCE, a HUGE, BLACK SHAPE rises to the surface
of the water, just visible against the dawn horizon.
FIREWORKS! MISSILES blast the H-K... NAPALM erupts around
the TANKS and TERMINATOR ARMY as--
--A SQUAD OF A-10s SCREAM IN from over the land, FIRING
CANNONS, launching AIR-TO GROUND MISSILES to take out the
TANKS. ONE A-10 flies low overhead and WAGS ITS WINGS.
INT. A-10 COCKPIT - DAWN
BLAIR at the controls, helmeted with her face exposed, lets
out a VICTORY WHOOP as she looks out her canopy at the
huddled humans below.
EXT. COASTLINE - DAY
KYLE points to the dark shape on the water-- now visible as a
huge SUBMARINE with the RISING SUN behind it.
HIGH ANGLE as ZODIAC BOATS reach land. HAZ-MAT SUITED
SOLDIERS leap out and run to our heroes at what remains of
the dock, others head inland to provide covering FIRE.
MARCUS addresses a TEAM LEADER, who's taken aback at his
frightening appearance and distorted voice:
There are more prisoners, a complex
about a mile in--
As MARCUS gives the man a few more directions--
--ONE HAZ-MAT FIGURE, standing a few feet off, studies Kyle
What's your name, son?
The figure pulls off a glove and unzips his mask, extends a
hand. It's JOHN CONNOR.
John Connor. I'm glad you made it.
KYLE is amazed to be meeting the man face-to-face. He shakes
hands, wide-eyed and speechless. It's a strange moment for
Connor, too, for different reasons.
CONNOR turns away from his first meeting with his father to
be, a bit dizzy at the experience. He addresses Marcus.
Seems I owe you an apology.
MARCUS smiles as best he can, given his ruined face.
Yeah, well. Get in line.
WIDER, as CONNOR replaces his mask, moves to direct his
troops. MARCUS, KYLE and STAR stay close together.
INT. SUBMARINE/HATCH AREA - DAY
Near the ENGINE ROOM, a couple dozen RESCUED PRISONERS are
being treated by unarmed MEDICAL PERSONNEL, others huddle
under blankets with food and drink. KATE is among those
helping the former prisoners.
KYLE and STAR eat ravenously, he finishes one MRE and grabs
up another. A few feet away, MARCUS leans against a wall,
plasma RIFLE at his side. A DOCTOR examines him warily,
prodding his injured face.
Does this hurt?
I don't feel a thing. Help
The doctor moves on as a couple of HAZ-MAT SUITED FIGURES
come down the ladder from the hatch, FACE-MASKS removed.
Among them is CONNOR. KATE moves to his side as more dazed
HUMANS come down. She speaks quietly, eying KYLE nearby.
Your dad-- he seems like a nice kid.
Connor can't deal with that at the moment, speaks loudly.
The last boatload is right behind
me. Skynet's pouring in
reinforcements, we can't hold this
place. And the people in the
houses, they won't leave--
They're not people anymore...
He trails off, reacting to the sight of--
A FAMILIAR FIGURE descending the ladder, in a long coat, head
down. She looks up to make eye contact... SERENA.
SLO-MO: seeing Marcus, Serena reaches into her coat--
MARCUS moves at the same time, to grab his PLASMA RIFLE--
SERENA leaps off the ladder, aiming a small, powerful PLASMA
SERENA fires first--
BLAM! THE PLASMA BLAST catches MARCUS in the shoulder and
BLOWS his GUN ARM clean off. His PLASMA RIFLE discharges,
BLOWING a HOLE in the side of the sub, near the floor-- WATER
gushes in like a FIREHOSE.
LEAVE SLO-MO. Spun around by the force of the blast, MARCUS
lands on his back, SPARKS and SEVERED CABLES protruding from
his damaged shoulder. An ALARM KLAXON SOUNDS.
PRISONERS and DOCTORS SCREAM and scramble for cover--
CONNOR steps in front of KATE to shield her, they back away
through the WATER BLAST, CONNOR FIRING at SERENA--
SERENA takes numerous HITS from the EXPLOSIVE BULLETS, which
take off PIECES of her, but she keeps coming, FIRES again--
--HITTING CONNOR in the lower abdomen. He's thrown backward,
KATE cries out and throws herself on top of him. His gun has
SERENA turns her attention to MARCUS, standing over him,
plasma weapon aimed point-blank at his head.
Why, Marcus? You were immortal...
MARCUS manages a smile as he shakes his head.
No one lives forever.
BLAM! MULTIPLE PLASMA BLASTS from behind RIDDLE SERENA'S
TORSO, the BLUE PULSES burning right through her-- her HEAD
takes a hit, the STEEL is RUPTURED.
THE PLASMA WEAPON flies out of her arms, she COLLAPSES.
TIGHT ON HER FACE, as she turns to see who got her--
There's no one there. But ON THE FLOOR lies--
--MARCUS' SEVERED ARM, still holding his PLASMA RIFLE. The
hand RELEASES the weapon.
SERENA'S HEAD tilts, her eyes go blank-- she's dead.
MEDICAL PERSONNEL are doing what they can to help CONNOR,
blood at his lips, KATE and KYLE at his side.
This... this can't happen...
UNDERWATER - DAY
THE SUBMARINE "LOS ANGELES" moves TOWARD CAMERA as it slowly
SINKS deeper beneath the water's surface. We see a makeshift
STEEL PATCH welded near the hatch.
INT. SUBMARINE/CORRIDOR - DAY
MARCUS waits outside the entrance to the SICKBAY. He's
cleaned up a bit, wears fresh clothes (one sleeve pinned up).
He seems weary, wrung out, his systems damaged. He'll move
stiffly through the following scene, like a stroke victim.
STAR sits beside him, a hand on his arm. BLAIR approaches
from down the corridor.
Marcus... I need to head back to my
MARCUS nods, keeps his head bowed.
What about you?
His voice is still WEAK.
I have no idea. I should be dead...
But you're alive.
So to speak.
We've been ordered not to talk
about it-- the hybrids, everything
about that place is top secret...
Yeah, simpler to keep it man versus
Star gingerly reaches up to touch the torn plastic at the
back of Marcus' head, where the interface was.
What did it feel like? To be...
one of them?
Better than anything. Everything made
sense. For the first time in my life,
I felt... right. It was heaven.
How could you give that up?
He turns to her, exposing his mangled face, one eye gone.
I never really believed in heaven.
BLAIR takes this in, fishes in a pocket.
Here. You need these more than I do.
She holds out a PAIR OF SUNGLASSES. MARCUS, a bit amused,
slips them on.
THE DOOR opens nearby and an ashen-faced KATE emerges.
He wants to see you.
BLAIR gives MARCUS a farewell hug.
INT. SUBMARINE SICKBAY - DAY
CONNOR has a PRIVATE MEDICAL AREA set aside. He's not
looking good-- pale, weak, only semi-conscious. I.V.s and
MONITORS, other LIFE-SUPPORT EQUIPMENT. KYLE is with Connor,
staring at a small POLAROID PHOTO in his hand. CONNOR can
barely speak above a whisper.
Her name was Sarah... she was...
I don't remember my mother.
KYLE starts to hand the photo back, CONNOR waves it away.
KYLE is a bit puzzled, but obediently keeps the snapshot.
KATE enters with MARCUS, touches the boy's shoulder.
Kyle, could you give us a minute?
KYLE reluctantly leaves, still looking at the photo, with a
nod to MARCUS on the way out. He joins STAR in the doorway,
they go off together.
KATE, CONNOR and MARCUS are alone now. Throughout scene,
Kate fights to maintain a steely control-- but she's clearly
not far from tears.
Marcus... you're going to need to
be rebuilt. Your face, your body,
(off his shrug)
We have people who can do it.
She pulls some MEDICAL DIAGRAMS out of a drawer, lays them
before Marcus. He examines--
--a SCANNED IMAGE of his FACE, various elements HIGHLIGHTED.
But you won't be the same...
MARCUS moves to the NEXT IMAGE-- it shows his features
TRANSFORMED into another's-- something closer to JOHN
CONNOR'S FACE, with a JAGGED SCAR over part of his features.
The scar will help hide the change.
Marcus lowers the papers, absorbing this.
You're asking me to become...
(gesturing at Connor)
Connor can barely speak above a whisper:
We can't keep him alive much longer.
(shakes her head, swallows)
Very few people know what John
actually looks like. Only the
technicians and our closest advisors
need ever know the truth.
Who else? Only you know the enemy
from the inside. You liberated a
Skynet camp... you're a hero.
Connor gestures for Marcus to move closer, he speaks with
I never knew how I was supposed to
win this war. But I finally
understand: the idea of John Connor
is more important than the person.
(sinks back, spent)
I can die. He cannot.
Kate leans toward Marcus, who's lost in thought.
Please. We need you.
MARCUS bows his head for a long beat, as if seeking an answer
from within. Then he looks up again with resolve.
He lifts his hand-- the SKIN TATTERED, METAL exposed at
finger joints-- and moves to take CONNOR'S TREMBLING HAND.
EXT. MOUNTAIN WAR - NIGHT
SLOW-MOTION, MOS - a SNOWY, MOUNTAINOUS ENVIRONMENT...
STEEL TERMINATORS go down in HAILS OF BULLETS. We hear
Marcus' VO, his voice strong and assured:
Yea, though I walk through the
valley of the shadow of death...
AN ARMY of HUMAN RESISTANCE FIGHTERS marches through the
SNOW, GUNS BLAZING.
MARCUS (V.O.) (cont'd)
...I shall fear no evil...
AN H-K goes down IN FLAMES, SMASHES in the MOUNTAINSIDE.
THE GOLDEN EXPLOSION silhouettes a single FIGURE, who stands
on a PROMONTORY, surveying the battle below. AIDES and
SOLDIERS surround him, but he towers over them, giving
orders, in complete control. MOVE IN SLOWLY on him.
MARCUS (V.O.) (cont'd)
I died, and was reborn. I wear
another man's face, lead another
man's life... yet only now do I
have a reason for living. I once
was lost, but now I'm found...
ANOTHER BLAST illuminates his face for an instant-- scarred,
craggy, a blend of Marcus and Connor-- but fierce, determined
and proud. [Perhaps shoot this with both actors.]
MARCUS (V.O.) (cont'd)
...was blind, but now I see.
THE LIGHT FADES, shadowing him in darkness again and we...