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Terminator:
The Across Time Chronicles
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F05E01
"Same where, Different when"
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Written by
Stefan1994
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This document is fan-produced fiction based on the television series, Terminator - The Sarah Connor Chronicles, and a fan-made season of fan fiction, F03 and F04 Terminator - The Resistance Fighters Chronicles, written by Stefan1994, eyeshieldTe and Mario28. This is done in spirit of fan fiction, to have fun and enrich the total fan experience beyond the limitation of the original story vehicle. In that spirit, and holding to the long tradition of free promotion. This story is being made available to the show fans for entertainment purposes.
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TEASER
WE OPEN ON:
EXT. TOPANGA CANYON – DAY
SUPERIMPOSE: "JUDGEMENT DAY"
SARAH CONNOR, bleeding, tired and weak, is standing on the top of Topanga Canyon, watching the nukes that are flying on the sky to attack many cities in the view she can watch.
AT THE BIG STONE BEHIND HER:
PREVIOUS FUTURE WARAPOP PICHITCHAI aka THE ENGINEER E. BOYKINS puts a high tech box behind it, the screen on it shows: "Calculation for time jumping..." He wears like the senior resistance fighter. He pushes on the green button on it and the screen says: "Jumping target: July, 2030", "Please wait...";
The engineer walks toward Sarah. His hand gently touches on Sarah's shoulder, turning her to face him. She looks really surprised this time.
SARAH
Who are you?
THE ENGINEER E. BOYKINS
I'm really glad to see the legend right now.
You and Kyle and the terminator. I'm sorry
about that. I can't help you that time.
SARAH
You know me, grandpa?
THE ENGINEER E. BOYKINS
We lost ones we love, Ms. Connor.
Sarah looks more confused. The engineer smiles so proudly.
THE ENGINEER E. BOYKINS
It's 49 years I never forget. I came across time
to change things and saw what would happen after
the change. My friends confirmed a lot about you.
SARAH
Who are you?
THE ENGINEER E. BOYKINS
It doesn't matter anymore. The nukes are attacking.
I'm really nice to see you today even it's our last
day for living.
ON THE SCREEN OF THE BOX: "TIME JUMP READY..." "Automatically work in 1...2...3..."
The engineer reaches his hand.
THE ENGINEER E. BOYKINS
I'm Warapop Pichitchai. Nickname's Stefan.
Current alias is E. Boykins. I built the
vault for you and your son 49 years ago.
This is Sarah's surprised time, surprising last time of her life as a fighter of the human resistance. The engineer who never showed up, now he's beside her and he's gonna die at the same when same where with her. Sarah thinks about this surprise for a few seconds. She takes his hands and they shake hands as the nuke falls closer and closer but it's just not their time. We can see the mushroom cloud but they are still out of nuke ranges.
SARAH
It's more than I expected. You are the
last surprise in my life. I'm sorry for
this. I tried but couldn't stop it.
THE ENGINEER E. BOYKINS
Derek Reese, Kyle Reese, Timms, Sumner, Sayles,
Cameron, T-1001, and Wells. They all traveled
back and didn't stay long. Cameron's become
deactivated. T-1001 went across time again.
The rest are dead. So what about me?
SARAH
Die here with the legend.
They smile to each other so friendly. Then they turn to look the view together. The engineer closes his eyes, being peaceful as his tears flow.
THE ENGINEER E. BOYKINS
(whispering)
I love you, Allison.
Sarah closes her eyes. She doesn't notice the time bubble which is surrounding around her. With pain of every time travel, someone may scream out of pain.
THE ENGINEER E. BOYKINS
Not today, Sarah Connor.
The nuke falls onto the Topanga city nearby. THE SKY EXPLODES. SOUNDS OF THE LARGE EXPLOSIONS. THE BLAST WAVE HITS...The world melting in a nuclear apocalypse. And it fills our frame with the WHITE LIGHT and the sounds of many people are screaming including Sarah Connor.
DISSOLVE TO:
A FULL MOON FILLS THE FRAME - Luminous, tinged with gold. Slowly, a penumbral shadow begins to spread across the moon's surface, darkening it from left to right...
CAMERON (V.O.)
Time is the thing that never wait for us.
... until the moon is enveloped in shadow; a new moon...which disappears into the darkness.
CAMERON (V.O.) (cont'd)
Like when the planets, the moons and everything
in this universe move. Time never stops running.
OVER BLACK - A RUFFLED TULIP appears, isolated against the blackness.
CAMERON (V.O.) (cont'd)
Even the psychics or even any scientists in the
world can't stop it. We can displace our selves
in any time like the rules of science behind the
physical logic of the universe. The time changes
but the location in the system never changes.
HOLD ON the tulip as the background FADES UP around it to reveal we're now in -
EXT. FOREST - ECU ON THE TULIP - DAY
It's surrounded by the dark, lush, greenery of the forest floor.
CAMERON (V.O.) (cont'd)
This forth dimension always changes thing which will
happen to the same location. It always changes every
physical objects and proves that relativism is right.
SUDDENLY A FOOT SLAMS DOWN next to the tulip, nearly crushing it. As the foot immediately lifts off again, it grazes the tulip, knocking its petals off -
ON THE RUNNING PAIR OF FEET
They abruptly change direction. Race on. INCLUDE ALLISON PICHITCHAI, of about 21, her left arm still has Skynet barcode tattoo. It looks very faded. She is desperately searching the woods - SHORT, SURREAL CUTS of her frenetic quest-
ALLISON
Stefan!
Ahead, through the darkness of the thick forest, she SEES SUNLIGHT; a clearing. She hurtles toward it-
EXT. MEADOW – DAY
ALLISON
Stefan!
- as Allison bursts into the sunlight. She sees-
ACROSS THE MEADOW - AN OLD WOMAN, white hair framing her withered face. Allison's eyes widen with surprise as she recognizes-
ALLISON
Gran?
GRAN looks as surprised as Allison. Allison smiles and waves, as does Gran. Allison starts toward her but-
E. BOYKINS (O.S.)
Alise...
She spins to the voice behind her to SEE-
WARAPOP PICHITCHAI who is known as STEFAN and some people including us always know him as E. BOYKINS, emerge from the forest. She beams at him, relieved, in love...until he moves to edge of the shade, inches from sun's rays-revealing him as a 20s year old man.
ALLISON
Stefan. You look...good.
Yes, he looks much older than her. But E. Boykins just smiles and steps into the sunlight.
JUMP CUT TO: E. Boykins now inches from Allison, still glistening, entrancing her. She wraps an arm around his waist, then arranges her face into a calm expression. They turn to -
Gran, whose expression is calm, too. Gran's arm is extended, as if she also holds someone.
JUMP CUT TO: E. Boykins and Allison, only feet from Gran now. Allison's about to present her husband, but then SEES that -
Gran mimics Allison's movement exactly. With growing horror, Allison reaches out to Gran...and touches glass!
PULL BACK TO FIND Gran is now surrounded by a GILDED FRAME. It's a MIRROR, mounted on a wall with wallpaper reflecting a surreal dreamlike version of the forest behind Allison.
ALLISON
Oh! Stefan. What is this?
-as she realizes that's not Gran; it's Allison herself, sixty-five years older.
Allison spins to her perfect, eternally 26-year-old E. Boykins. He takes her now WRINKLED, age-spotted hand. Kisses it.
Then he leans in very close to her 83-YEAR-OLD FACE and whispers into her ear-
E. BOYKINS
Mind can control everything. But my love
is over my mind. I love you, Allison.
We'll live together. As long as we can.
SMASH TO:
INT. KIDROOM – MORNING
ON ALLISON - her eyes snap open. Allison is now four month pregnant. She lies atop her son's bed. An I-pad, with saved web page "Mind power and Immortality," lays turned on on her chest with her two-year-old boy-SITTIPONG PICHITCHAI. Allison sits up, the dream still weighing on her...
INCLUDE THIS ROOM, cluttered with pictures of E. Boykins, of the Connors and of other resistance fighters; memorabilia of all things they did together. Those pictures aren't big but not too small for us to see. A KNOCK on the door. E. BOYKINS on his wheelchair enters, seeing Allison with her son who is still asleep on her arms.
E. BOYKINS
That pad has the files you wanted?
Allison glances at the I-pad she has putted on the small bed beside her son. And looks up at him with a warm smile.
ALLISON
Yes. It has.
E. BOYKINS
You should turn it off. The battery looks low.
Maybe you can charge its power from the 850's
cells we have. John and Cameron modified them.
ALLISON
Yes. I know what they had done together.
Allison looks at the I-pad and reaches her hand to turn it off.
E. BOYKINS
How is your last night?
ALLISON
Plumb loco, sweetie. My dream's plumb loco.
E. BOYKINS
Dream effects everything in our lives, Allison.
Especially, psychic's dream is very powerful.
It also sometimes can become real.
ALLISON
I know. I read that. But I'm not.
E. BOYKINS
You know what? I've never had bad dream since the
Connors came through time. It means good. It means
that there may be nothing bad happen soon.
Allison just smiles. She tries to forget her dream
ALLISON
I've hoped that you've been happy here.
E. Boykins looks around himself and his wheelchair, and shrugs.
E. BOYKINS
Yeah. I think.
ALLISON
I wish to know why, Stefan.
E. BOYKINS
Why what?
ALLISON
Why can you or even any psychics be immortal?
E. BOYKINS
You mean about never-age-being, right?
Allison nods. Her expression has curiosity. E. Boykins thinks about it very fast and seems to understand it.
E. BOYKINS (cont'd)
That's unlikely. Not every psychic can be immortal.
It's about how we control our body to be and I've
never trained to stop my aging. It shouldn't be hard
for me but I just don't want it.
ALLISON
I'm sorry. I just feel tired. I haven't cooked yet.
E. Boykins smirks.
E. BOYKINS
No. Your sis has done it all. Get him. I'll call Glau.
ALLISON
Do I have to wake him up?
E. BOYKINS
Yes, you do.
INT. HALL – MORNING
This is exactly same as before but there is a wooden 2x3 square meter elevator which is designed for wheelchair. The control of this small elevator is on its edge. Allison with her son, and E. Boykins on a wheelchair get in the elevator floor. Allison pushes on the button and mini elevator motor below starts working, bringing them down to the first floor.
E. BOYKINS (cont'd)
This morning, we have pancakes.
ALLISON
I know. I smell it.
The elevator reaches the first floor. They exit the elevator floor and head to the kitchen.
E. BOYKINS
And it also smells good.
ALLISON
Yeah. Good.
They enter the kitchen.
INT. KITCHEN – CONTINUOUS
JOHN CONNOR, MARCUS YOUNG and KYLE REESE sit pembroke table. Marcus and Kyle already had their plates of pancakes. Beside John is a seat for CAMERON CONNOR who comes and serves John a plate of pancakes. The Pichitchais come.
ALLISON
Good morning.
CAMERON
You were deep.
Allison sits on the free seat. E. Boykins moves toward the space that has no chair and turns on the brake.
ALLISON
Yes. That's tough luck.
CAMERON
No. Cooking is so fun for me, Allison.
This is my recipe. A teaspoon of vanilla
to the recipe on the box. John loves it.
John looks at Cameron and smiles. Cameron just glances at him and turns back to look at Allison.
ALLISON
We'll try.
NEVLIN GLAU serves them their plates. They get more pancakes than the Connors.
ALLISON
Thank you, Nevlin.
Nevlin smiles friendly.
NEVLIN
Maybe I have some good food for him.
Allison looks down at her son. Then she looks at Nevlin who smiles at her. E. Boykins nods to her. She turns to Nevlin again and sends him her son, carefully.
ALLISON
He likes to...
NEVLIN
I know.
E. BOYKINS
Let's eat it. We have a lot of things to do.
CAMERON
Yes. A lot of things.
They start their breakfast.
EXT. COFFEE BAR – DAY
New Coffee bar near Zeira center has couple of metallic tables and couple of wooden ones outside and the most of bar is in the unfinished repaired building, PRESIDENT SAVANNAH WYMAN and PATRICK WYMAN are sitting at wooden table and drinking Coffee.
SAVANNAH
What do you think about that scientist?
PATRICK
I can't really tell, Savy. He's not that kind
of suspicious person. And his story seems real.
Maybe Stefan can tell us more about this Thai.
SAVANNAH
People still don't know yet where they are. If we
get to them, their lives won't be as they want.
PATRICK
What if we send someone to greet them?
Savannah sips her coffee.
SAVANNAH
What if we date them around here?
PATRICK
Some people may follow them back. Then it'll be like
we thought. Only one way we can do is to send someone
there and date them out of this city.
SAVANNAH
Your plan is good, my love.
PATRICK
Yes. I'm your husband. That's what I should be
for you. A clever husband of the president.
Savannah smiles bashfully. Then they reach their hands to hold each other's at the center of their table.
PATRICK
I know you can be very busy and have a lot of
problems to think about. But thank anyway for
this, Savy. It's not usual for us to have time
together. This is very valuable moment for me.
Savannah just smiles.
SAVANNAH
Thank you for understanding me. I think I'll be
with you this night. Our time for good date.
Patrick releases her hand and gives her a small smile.
PATRICK
I'm so proud of you, Savy. Honestly, Mrs.
President, I never thought that woman can
do all these works. But now I think woman
is so good of these too.
SAVANNAH
(proudly)
Feeling the power of androgen, Mr. Wyman.
They both take a sip of coffee, and pause for a moment.
PATRICK
Good luck to you, Savy. I think I have a
job now. See you again this evening.
SAVANNAH
Yeah. Good luck to you too. Bye.
Patrick stands and leaves her. Savannah just pauses.
ACT 1
(Three-headed wolves VS. a terminator)
EXT. PARK – DAY
John and Cameron are walking together in a park near Lake Palmdale. Cameron has her new pink dress with her favorite jacket and John has his blue jeans and his new green shirt. No one else is around here, just them both. Their expressions are happy as their hands hold each other's. When the sun shines on their hands, the diamonds on their wedding rings reflect the beautiful glittering light.
Cameron laughs.
CAMERON (cont'd)
So that's why you wear green.
JOHN
Yes. It displays my peace attitude. I don't want
anyone more around here. It's just you and me.
They stop walking, hands holding still. Lock eyes.
JOHN (cont'd)
Today is the day, Cameron. The day I never expected
to see or even live for. I had always lived for my
own idea and my own life. I had never thought of
you. Anything about you. Never.
CAMERON
But this time. What about this time?
JOHN
Since I came across time to this future, I've known
what will happen or would happen. I thought I knew
how the life in this future would be but I need you.
Cameron looks in his eyes, fearful. But she relaxes, takes a breathe and touches his face. She's done all these with the real feelings she has or has had for him all her life.
CAMERON (cont'd)
John, this human brain works unlike machine.
It learns so fast but also it loses some data.
Cameron looks a lot like her older self by this. John just smiles as his left foot moves around on the ground and his hands cross, completely bashful.
CAMERON (cont'd)
Allison ever said that if I become a human, I'll
learn why humans love and how humans love and how
it feels like about love.
JOHN
She's right?
CAMERON
Yes, John. I love you.
JOHN
Maybe this place is right for just us both.
Thank you for your accommodation. This is
very good date for me.
Cameron looks confused.
CAMERON
We just walk away from home?
JOHN
Yeah. Just that. But my attitude has told me
that this is very good moment for us both.
Cameron seems to understand that. She smiles very happily. And she completely melts him.
CAMERON
Your heart beat is fast. Do you want to...
With that, John quickly silences her, interrupting her by a kiss. Just his lips press on hers and he deepens it hungrily. Her eyes have widely opened before she closes them. Her hands release from his back and caress his back very gently, kissing him back and joining his tongue game beneath the small space between their lips and mouths. Eyes keep close as their tongues dance with each other inside that space. Depth of this kiss isn't long but Cameron just breaks the kiss and steps back just one step.
CAMERON
You have an erection, John.
JOHN
Yeah. Yes. I do.
CAMERON
Can I do you favor?
Then they both step into another kiss.
EXT. GARDEN – DAY
Kyle Reese and Marcus Young are in the garden, gathering some strawberries into their 6" shallow basket. They do it gently, snap the stalk behind the fruit to remove it from the plant. And they do the same with all grown strawberries.
KYLE
Is this exactly the good lives we want?
MARCUS
Why do you think it's not?
KYLE
I don't know. Sometimes I feel bored.
Marcus smirks.
MARCUS
Do you want to get in the forest, Reese?
KYLE
To do what?
MARCUS
Hunt mutant animals or some deers. They can
be good food for us in the near future.
KYLE
Negative. I don't like hunting. I never want to
kill living. Only bad machines I like to kill.
You have anymore choice?
Marcus laughs, happy.
MARCUS
Like I ever expected, Reese. You don't really agree.
Kyle looks down at the last strawberry he is gathering.
KYLE
You know what? Nothing is more useful than fruit.
Vitamin C, A, B and a lot of useful nutrients. This
must be why Stefan had sent some of his men here
to grow it before he died and resurrected then.
MARCUS
You are saying that this psychic is very sharp.
KYLE
Yes. You can say that. But only sometimes in the
past we don't like his laziness.
MARCUS
Stefan's lazy. How can you tell?
KYLE
If he were not, we'd win Skynet before the Connors
and those allied machines came to help and win it.
Kyle gently puts that strawberry into the basket. They stand.
KYLE (cont'd)
And you know as well that this psychic can kill
many machines in a few seconds. You know as well
that this psychic can destroy the factory with
only his mind. I think. This psychic is playing
a game with us. The game which has been running
and staking on the human race.
MARCUS
I don't think so, Kyle. I think. He might not can control
all his power. Might be this reason he couldn't destroy
them by just one shot you ever thought.
Marcus grabs the basket.
MARCUS (cont'd)
Don't forget this. No one now can unlock all real mind
power human has. No one can take over the whole. And it
is really not about the brain but the whole mind.
They start to walk, heading toward front door.
KYLE
Even Cameron's overclocked brain?
MARCUS
Science strategy can't control it. The whole
brain is just a platform which is out matched.
Like when Xander couldn't implant the software
of Emma Akagi into the low tech chip.
KYLE
What if we humans become like machine?
MARCUS
Definitely, not at this age. But it can be
possible in the far far away future.
They reach the front door and just stop there, continue their long conversation.
KYLE (cont'd)
Good to know, Mr. Young. How can you know all this?
MARCUS
We've downloaded many pages from computers we found
into our I-pads. Some of this knowledge is in them.
KYLE
Maybe I should read some too.
MARCUS
Yeah. I think. Maybe you can also see that why I've
changed to be Buddhism like Allison and Stefan.
KYLE
You never believe in God?
MARCUS
At this point, who you'd believe if you were me.
Everything in this age, bible can't tell all.
Sometimes we just need the real reason, not just
deism. Buddhist teaching has just basic rules.
KYLE
I know. Everything has its own reason to happen,
so please believe in what its reason is and also
believe that the middle way is the best strategy
to find the universe truth.
Marcus smiles proudly.
MARCUS
Now do you want to be like us? Believe in Buddhist?
KYLE
I think I won't. And I know you know why.
MARCUS
I understand. I really understand. Besides, I've not
wanted to insult the God but I just want to tell my
friends more about this good belief. I just want us
to share our believes.
KYLE
I know your goodwill. Thank you so much, Mr. Young.
I've got much new knowledge about human mind. Like
you said, I should read them.
Kyle smiles and enters the house with the basket. Marcus follows him in.
EXT. FOREST – DAY
The forest is like the forest. Nevlin Glau walks, fully armed with hunting rifle, shotgun and THE PLASMA PISTOL, through the woods, searches for his victim.
NEVLIN
This should be a good spot, Glau.
Nevlin then steps and then stops.
NEVLIN
Careful, Glau. Careful. Your friends are waiting.
Nevlin ducks behind the tree. After a couple of moments, deer is calmly walking, and stops like it is hearing something. Nevlin carefully draws and aims his rifle.
NEVLIN'S H.U.D.: His T-888 display scans the whole endoskeleton of that deer in very new X-ray mode and quickly changes to be normal mode. His cursor locks the left leg as the first target, right leg as second and the head as third. The first shot is fired and attacks the deer, crippling its left leg.
The deer, now is trying to run.
Nevlin shows up and fires another shot right at its right leg. It falls and cries out loudly. Nevlin doesn't want to torture.
NEVLIN (cont'd)
(whispering)
I'm sorry.
The last shot is fired and head-splats the deer, killing it without mercy. Nevlin lowers his rifle and a couple of tears flow from his eyes. Only these are from that dead deer.
ON THE DOOR, it's just right there. Dead. One of its eyes still open and another was completely destroyed by that shot.
Nevlin kneels down beside the dead deer.
NEVLIN
Hopefully, next life you'll be born to
be higher class living and I won't kill
you again like this. Bye.
Nevlin says it so humanly. He slowly reaches his hand toward its eye lid and gently closes it. The eyelid is completely closed. Nevlin smiles and relaxes. As a terminator, he slowly reaches for the dead and lifts it up on his arms, carries its body with him toward the south.
EXT. TRUCK – DAY
Nevlin closes the big freezing box which is cold and big enough to keep that deer inside. He stands, carries it up in his strong hands and puts it down on the back of the truck.
NEVLIN
Finish the job, Glau. Get back your home.
Nevlin puts his rifle and his shotgun onto the back of the truck and closes the hood. As he steps just one step, he hears something from the forest nearby.
NEVLIN
Oh! They can be big ones. Far from home.
Nevlin pulls a pistol, holds it at the ready as he starts walking, into the direction of the noise.
Nevlin looks around. He spins and fires in the direction of the approaching PACK. Suddenly it's quiet- the animals fan out, forming a circle around him.
NEVLIN
I don't want to play a game, dogs.
QUICK SHOTS of MUTANT EYES, glowing in the dark-ENLARGED TEETH-DARK, THREE-HEADED MASSIVE FORMS moving through the brush.
NEVLIN
You follow the blood but I can't let
you get it, dogs. It's mine. I found.
After a few tense beats, from the foliage-
A THREE-HEADED WOLF leaps at Nevlin from behind-it's hideous, the size of a Great Dane, hairless, with veiny, wrinkled skin, long, catlike CLAWS and three heads on its neck. Nevlin grabs the slavering creature by the throats. It SNAPS its ELONGATED TEETH at him, but he manages to BREAK its neck and hurl it toward-
TWO MORE WOLVES moving in for an attack.
NEVLIN
Damn it!
Nevlin quickly runs across the forest toward his truck.
THE WOLVES move, bark, thunderously SNARL and SNAP as Nevlin runs pass his truck into the glade. The wolves run after him.
Nevlin SWINGS at the dark silver three-headed wolf, SMACKING the wolf half-way across the glade. Another wolf lunges at him- he kicks it and it sails into a tree, SPLINTERING it.
NEVLIN
This isn't your day, dogs.
The wolves recover. One of the dark silver one's heads is distorted, one of its three lives has died. It can't be good for other two lives. And another one looks painful but this seems that they won't surrender easily.
Nevlin draws his pistol and blasts one plasma shot at the dark silver one as it moves toward him. It has one head now. But Nevlin is slow to aim again, he intends to punch-and yes, he punches into its head, throws it across the glade.
Another wolf moves around him, watches his manner carefully.
NEVLIN
Come on, dog. I don't have much time.
Nevlin stares hard at the last wolf, doesn't see another one who rises and jumps and moves toward him from backward.
The two wolves rush at the same time. Nevlin just kicks the one in front of him away. Another one bites on his shoulder, rips his skin around his left shoulder off like buck, chewing that bite as its good food. Nevlin quickly nudges its stomach and kicks it away from him with anger.
Nevlin turns to see another one rises and rushes toward him. He quickly evades and it just jumps over his head. Nevlin grabs his pistol so quickly, spins and FIRES a plasma round at its chest as its legs tread on grass. The round burns and destroys its heart, causing it dead.
NEVLIN
Like I said, it's not your day.
The last one, the dark silver one, rises, looks at Nevlin and it is revengeful and ready to fight Nevlin again.
NEVLIN
Don't think that, dog. Your friends
are dead. I don't want to kill anyone
if it's not compulsory.
All the wolf's heads thunderously SNARL and SNAP at Nevlin. Its legs shrink, targets Nevlin and jumps so powerfully.
NEVLIN (cont'd)
Okay. You want it yourself, dog.
Nevlin takes aim and fires.
EXT./INT. TRUCK – LATER
Nevlin is on the driver seat, the door is still open. He completely bandages his shoulder by a big piece of cotton.
NEVLIN
Okay. I think I should go back home.
Nevlin moves completely into his seat, closes the door, smashes the cowl around a steering column with one blow from the palm of his hand. When it shatters he strips it away with a single move, and then turns the stub of the lock-mechanism with his fingertips. This starts the vehicle. It takes about three seconds. In fact, he does it so quickly, the truck is running.
Nevlin drives the truck carefully.
INT. GARAGE – DAY
No cars. Allison's mountain bicycle props against the left side wall nearby the iron gate. Allison sits on a chair in front of it. She touches it, remembers the good past in her memories. E. Boykins rolls his chair into the garage, seeing Allison. He doesn't want to distract her so he just pumps his chair in very carefully and softly. And he stops as he hears a loud exhale from her and sees her touch the gearwheel.
ALLISON
I'm sorry, mom.
Sadness is on her face. She looks tearful.
FLASHBACK TO:
INT. GARAGE - PAST – DAY
ON THE FLOOR: it is like a kind of secret door in this house at this time. The whole garage is burnt. Some parts of roof are destroyed. The glasses on a car are broken by shock wave. This is the day after Judgement Day.
SUPERIMPOSE: "JANUARY 1, 2013"
YOUNGER ALLISON YOUNG(4)and her mother, MRS. CLAIRE YOUNG(S02E04), open the secret door and exit from the basement. Claire and Allison look around.
CLAIRE
We have to go, Alise.
YOUNGER ALLISON'S POV.: The mountain bicycle is near the iron gate. The gearwheel is damaged. Some parts of its lose shapes.
YOUNGER ALLISON (cont'd)
No. No. No. My bike.
CLAIRE (cont'd)
Allison! Leave it.
Allison runs toward her bike, her face is full with tear. She touches the gearwheel, crying for it. Claire exhales and walks toward her, touches on her shoulder.
CLAIRE
We have to go, Allison. I'll buy you a new one soon.
YOUNGER ALLISON
(crying)
No one is like her. She'd been with me all time
I was alone. I can't leave her, mom. Can you just
fix it? Can we just stay here and fix it?
CLAIRE
I'm sorry. But we have to go. We don't have much time.
YOUNGER ALLISON
No. I won't go anywhere if she's still here.
Claire can't do anything. She tries to change Allison's mind but Allison that time is very persistent. Claire just kneels beside her and gropes on her hair.
CLAIRE
We need to go, Allison.
YOUNGER ALLISON
Come on, mom.
Claire exhales, she has a millstone.
CLAIRE
Okay. Alise. I'm gonna fix it.
Allison looks happy and quickly hugs her. Claire suddenly wraps her arms around Allison, lifts her up.
CLAIRE (cont'd)
I'm sorry for lying to you.
Allison notices that, she quickly pounds on her mother, trying to get out of her embrace.
YOUNGER ALLISON
Let me go, mom. She's there. I have to fix her.
Allison jumps out of Claire's embrace and quickly runs toward the bike. MARCUS YOUNG with ANNA YOUNG(Allison's sister, 2), YOUNGER KYLE REESE(S01E09) and YOUNGER DEREK REESE(S01E09), enter from another way behind Claire. Only Derek and Kyle have shotguns on their hands. Marcus shouts to them.
MARCUS (cont'd)
Get out of that way, Alise.
Claire suddenly realizes, she quickly rushes toward Allison at the same time someone out there pounds on the wall nearby Allison. Claire wraps her arms around Allison and throws her toward Reese brothers. The wall is broken, a T-500 gets in and aims its machinery gun at Claire's chest.
MARCUS
NOOOOOO!
Claire loses her mind. With her own fear, she can't move. The robot quickly blasts her chest. And then it rakes at the rest but they are faster, evade and hide behind the wall and the car. Marcus has some tears but he has to protect his daughters, sadness won't help him better. He quickly spins and under the space of the car, Marcus lies and fires his pistol at the robot leg. Nothing is useful but...
...that just gets its attention at him.
The Reese brothers both show up and blast their shotguns at its head, again and again. The shots can destroy its eyes and then its sensor. Marcus shows up and helps firing, killing that robot.
The T-500 falls, deactivated.
MARCUS
Claire!
Marcus with Anna and Allison quickly rush toward Claire who is almost dead. The shot from that T-500, blasted at around her chest near her heart. Blood is flowing from her wounds like waterfall.
MARCUS
Claire, you will be okay.
Marcus puts Anna down on floor and looks at Claire, gets all his attention at her. Allison is kneeling beside her.
CLAIRE
(weakly)
Marcus, it's too late. I'm gonna die.
YOUNGER ALLISON (cont'd)
MOM!
MARCUS
Claire, don't say anything.
Marcus tries to carry her up but she doesn't want so. She shakes her head. And looks at Allison. And looks back at Marcus who is tearing. She touches his face so gently and weakly.
CLAIRE
Marcus, swear with me. You will...
Claire coughs.
CLAIRE (cont'd)
You'll take care of our daughters.
MARCUS
I swear.
YOUNGER ALLISON
No, mom. I'm sorry.
Claire reaches her hand to the soft cheek of Allison's, touches it with her weakness.
CLAIRE (cont'd)
(weakly)
Don't be persistent to him, Alise.
Claire's hand falls, lifeless. Allison cries out of her painful loss. She hugs her dead mother and that's only one thing she can do for her mother, one last time.
BACK TO PRESENT
A couple of tears flow from both of her eyes as her hand still touches at her loved bike. E. Boykins is watching her four meters away from her, somewhat feeling with her.
Allison keeps this sad moment for awhile and doesn't notice him.
ALLISON
I'm sorry, mom. I'm so sorry. It's because of me.
I'm a problem to everyone. Most of my people I
loved have been always stricken because of me.
Allison starts to cry.
ALLISON
(crying)
I don't know why. Why have I always made my
loves many problems?
FOCUS ON E. BOYKINS as he looks down at his incontrollable legs. Allison is still saying off scene. Tired Marcus Young enters the garage from behind E. Boykins.
ALLISON (O.S.)
(crying)
Why does it have to be like this? Why didn't
anyone let me die when I was supposed to die?
On Allison, she cries on the croggy, very sad. E. Boykins and Marcus both just look at her. E. Boykins looks down at his legs again and turns away from her, faces Marcus.
E. BOYKINS
(whispering)
She needs you. You're her father.
Marcus shakes his head.
MARCUS
(whispering)
No. Not me. You. She needs you.
E. Boykins turns his chair and looks at her. He sighs and rolls toward her slowly and quietly. She is still crying on it and nothing or no one can help her better but he may can.
Allison tilts up, still crying.
ALLISON
(crying)
Why?
E. BOYKINS
Because you have been so valuable to them too.
With that, Allison quickly turns to face him. He smiles.
E. BOYKINS
Including me.
FADE OUT.
END OF ACT 1
ACT 2
(Old data from the satellites)
INT. THE CONNORS' TRUCK – DAY
It's a day but they are doing all this with carefulness. Her jacket is on the steering wheel. Both are breathing heavily as she gracefully and without hesitation grabs the hem of her dress and pulls it off over her head, revealing the body he's wanted to make love with. And he helps her put off her bras.
Her eyes never waver or leave his as she reaches over and undoes his belt, the button of his jeans and pulled down his zipper without looking. He lets out a soft groan, his eyes half-closing with the sensation of her warm, smooth hand fishing him out of the fly of his boxers. His cock pulses against the grip of her fist as she skims it lightly along his length.
JOHN
(moaning)
Oh! Cameron. I need you so much.
She shifts onto her knees, facing him, on the seat next to him. Finally, she takes her attention away from his face and puts it onto her slowly rising and falling fist. He sucks in a heavy breath through his nose and mouth and expels it in a slow hiss as she leans forward, the heat of her breath engulfing his dick head for a moment before her wet, warm mouth does. He groans heavily as she sucks and nurses at his dickhead, her tongue a soft velvet caresses as it swirls along his skin. His hips rise as her head lowers, her lips sliding down his length engulfing him in liquid heat. His hands hover over her head, she bobs her head slightly, dragging her lips up and down the top third of his cock, her tongue bathing him with feathery strokes that sent sparking, itchy shivers up his spine. Her hands are on his thighs and are rhythmically massaging them.
The heat, pressure and friction so echo his memories of what it feel like to be in her sex that his hips buck without conscious thought, thrusting himself even deeper, burying her nose into his pubes. Her hands tighten on his thighs, but she makes no move to resist him as his fingers wind into her hair, gathering it and drawing its dark curtain away from her face; holding her head in place as his hips rise and fall.
She sucks at him as he guides her head in unison with his hips making him groan and hiss, his spine arching and his eyes closing to slits with the pleasurable sensation of the friction of sliding along her wet heat. This somewhat never happened before and it's the first time they are doing fellatio. John hasn't been like E. Boykins who didn't want Allison to do this with him but John himself seems to like it as well. And Cameron seems to be a former cyborg who resurrected as a human. She still has data about this and keeps it as long as he wants. Only one thing she wants is just to make him love her and won't leave her or even harm her again like he ever did to Riley.
One moment he can feel the tension building in his body, a heavy, enjoyable tightening in his belly and balls as he enjoys the friction of her throat and lips sliding along his cock, the next he cries out and is desperately gasping for air as waves of intense pleasure rip through him on hard electric surges of energy. His spine locks into a taut bow, slamming his head back into the headrest; his ass clenching and unclenching as he pumps his seed into her sucking mouth. His nerves burn with the crackling energy of his release. He closes his eyes. His hands tense on her head, but don't seem to hinder her in the least as her head continues to bob over his crotch. John hisses, shuddering and trying to marshal his breathing as his balls empty and her oral attentions begin to border on painful on his now over-sensitive shaft.
JOHN
(pleading)
Oh! Cameron. Please stop. That's enough.
Cameron finally drags her lips off him in a final searing burst of friction that has him panting after a heavy sigh of relief and he lets his hand drop from her head to lie limply at his side. She sweeps her hair back and out of her face with on hand. A shiver runs up his spine as she slowly sticks her tongue out.
CAMERON
Did you like it?
JOHN'S POV.: He sees a pool of his semen on it as she daintily collects the last drop of liquid that wells up from the slit at the top of his dick and then swallows the whole lot with an audible gulp.
JOHN
You enjoyed that?
CAMERON
Yeah. I did.
She grins at him and then surprises him by quickly straddling his thighs and before he can do something pressed her lips to his.
He reacts, tilting his head and opening his mouth at the strong, insistent urging of her tongue. This moment is like when he was with Riley many years...Oh! Few years for him...ago. She kisses him very hungrily as if she was never a machine before.
Her naked female body presses against his, her sex, hot and moist, squirming against his once-again stiff cock does a lot to off set that, as his hands wind into wealth of dark curls as he kisses her back.
Cameron's hands clutch at the sides of his shirt when she breaks their kiss. He lifts his arms at her urging and she drags the shirt off over his head.
The second turn has started.
He cups her cheeks and pulls her lips back to his. Her breasts flatten against his chest, soft, warm firm pillows that surround the hard, hot embers of her nipples. Those hard pebbles drag along his skin as she rises up and reaching down between them, grasp the base of his cock to steady it and lowers herself, rocking her hips, sliding through her silken folds until he is seated at her entrance.
They separate slightly. Her eyes widen before fluttering close and her breath hitching as she slowly sinks down on him. He groans as her sex surrounds him with pressure and liquid heat, flow by electric, tingling friction as she slides down along his length. The happiness and enjoyment cross their faces as they have sex with each. Her tight sex clutch at his throbbing shaft, resisting his passage, seemingly trying to defy gravity and Cameron's will, but failing. John bucks his hips in a slow upward thrust, making that failure complete as she settles onto his lap and he settles back onto the seat with her completely impale on him. He draws in a long, shuddering breath as she makes tight little circles with her hips, her sex flexing in a velvet, rippling caress that makes the small of his back twitch with a wave of pleasure. This isn't just lust but it can be the real relation between them both. And she seems to be a good wife.
John cups her ass, cradling the firm globes that fit perfectly in his hands and squeezes, testing their resilience.
JOHN'S POV.: The pink tip of her tongue peeks out between her sexy lips and makes a slow circuit of them before she opens her eyes. Beneath her eyes, nothing machinery is in there.
Cameron runs her hands along his ribs and then her fingers are testing the hard planes of his chest muscles before slide up to curl around his neck.
CAMERON
(moaning)
That's so good, John. Don't stop.
JOHN
Okay, Cam.
He swallows hard in answer as she rocks her hips a few times before she rises. He gasps as she plunges down on him with a little twisting motion and then starts to ride him in earnest.
She looks more human and completely becomes a human without flaw. Her sex is a molten, velvet death grip that squeezes and twists with delectable pleasure as it slides along the skin of his shaft, testing his hardness.
Their breathings become heavy and heavier, and quickens and they both make strained sounds, hisses, groans, moans and grunts of enjoyment. She catches him off guard when she crushes her lips to his with near-bruising force, sucking, nipping and licking with urgent hunger, her fingers winding in his hair, pushing a puling as he shifts his head to accommodate her passionate kiss. He kneads her ass more firmly and can feel her lips vibrate against his when she moans as she grinds her clitoris into his pubes at the same time.
She breaks the kiss and frowns.
CAMERON
(moaning)
Arhh! That's good. I also want my breasts
kissed and my nipples sucked. Please do it.
And John leans forward to capture the upturned, dusky pink tube of her nipple. Her hand tightens in his hair, pressing his lips more firmly to her breasts as he sucks in a mouthful of her tit flesh while his tongue lavishes attention on her nipple.
CAMERON
(softly)
It's okay. It's good, John.
Cameron feels exquisite as she rises and falls on his dick and he shifts from one of her breasts to her other. Her hard, smooth belly slides against his as an added stimulus as he fondles her ass. She lets out soft panted sounds, part way between a moan and a cry every time she plunges down on him. It means a lot to him and sounds so erotic.
Her flesh flexes and twists around his as she grinds down on him with a drawn out shuddering sigh that mingles with his loud groan as his hips buck in response. They continue to move in unison and he soon can feel the tension in his balls return. He is aware of the build up this time as he processes everything they do to cause it.
John finally has to abandon her breasts as he needs his mouth to drag in air.
JOHN'S POV.: With, his head has raised, he can see Cameron's face again. Her features are surrounded by the rising and falling halo of her dark hair.
Her straight white teeth pin back her full lower lip. Her fingers clutch at his shoulders, testing the muscles underneath.
They both almost finish it but they are trying to keep this paradise as long as they can do for each other. He clutches at her hips, trying to keep her still as he reaches the limit of his control. She stills, but her sex continues to flutter around him, a firm massage that he can't deny. Her head, which has been thrown back, lifts and her eyes lock with his. She leans her head forward. This moment of paradise isn't long and isn't boring too. They both pant and cry out loudly as they nearly reach their climaxes. He shudders as his muscles misfire in rapid succession as his nerves song with the joy of release. Her head drops onto his shoulder, her hair tickling the skin of his neck and her breasts flatten against his chest as it rises against it as he gulps in air.
His spine tingles as it locks with sweet tension and his hips continue to jerk even after his balls has emptied. He runs his hands up her back, feeling muscles shift under her silky smooth skin through a light layer of sweat. He becomes aware of the sweat on his own skin as they slide across his skin in little rivulets and droplet, which are starting to cool.
John takes a deep, shuddering breath, feeling his chest expand against the firm flesh of her breasts, her nipples pressing slightly into his skin before she lifts her head and creates some separation between them. Her head titles slightly to the side and then she grins at him.
CAMERON
(softly)
That was very good, John.
She hands him his shirt and she sinuously slips back into her dress and bras. The front of his boxers are damp with their juices, but he tucks his now limp cock away and tugs his jeans back into place. He puts his shirt back on and does up his pants and buckles his belt. By the time he has himself more or less presentable she is sitting quietly beside him looking out at the late morning sky. She doesn't have a hair out of place.
Cameron turns to face him.
CAMERON
We should go back home, John.
Cameron grabs her jacket and wears it. John turns the key in the ignition and the engine roars into life.
He puts the truck in reverse and backs it in a turn until he is facing the road. He puts the truck into gear, but pauses for a moment, looking over at Cameron. Wind ruffles her hair through the open window as she looks passively straight ahead. John smiles happily, this is somewhat familiar to him. She has her nature to be like this, her cyborg form and now her human form, they're all her characteristics he likes.
Cameron turns and sees his smile.
CAMERON
What?
John smirks.
JOHN
Nothing. I just feel...er...today,
you are so beautiful. Very beautiful.
Cameron blushes and turns away from him, looking straight ahead.
CAMERON
JOHN!
John quickly turns and...
JOHN'S POV. THROUGH WINDSHIELD: A MAN stands in the middle of the road.
John HITS the brakes. Not fast enough - THEY CRASH INTO THE MAN.
His body goes up and over the truck, rolling off the top of the back, hitting the ground behind them.
John YANKS THE WHEEL, sending the truck into a tailspin across the road. It comes to a SCREECHING HALT.
Everything goes silent. John turns to Cameron.
JOHN
Are you okay?
CAMERON
Hopefully, that man isn't a human. Oh! God.
John reaches for his plasma rifle under his seat. Opens the door.
JOHN
Stay here, okay?
John hops out of the truck. Leaving Cameron alone. She turns to look out her side window, looking at the man. And John is running toward him.
EXT. ROAD – CONTINUOUS
John races across the road, where the MAN lies. Still.
JOHN
Hey! Are you okay?
John still keeps his direction away from the man. And he steps back a few steps.
INT. TRUCK – CONTINUOUS
Cameron sighs and gets out of the truck, staying at the open door, looking at John and shouting.
CAMERON
Is he okay, John?
EXT. ROAD – CONTINUOUS
John squints at the man and turns back to Cameron.
JOHN
I don't...
FLASH CUT TO:
THE T-950'S H.U.D. WITH CLOSED EYELIDS but it can hear and get recognition of every voice getting into its ears and also hear the voice of John Connor...
JOHN (O.S.)(cont'd)
...know, Cam.
THE T-950'S H.U.D. compares the voice it got and then the result shows: "Voice Match: John Connor" Mission override: "TERMINATE".
CUT TO:
E.C.U. THE MAN;
JOHN (O.S.)
Maybe he's...
The man's eyes open with a red glow beneath his eyes.
JOHN (O.S.) (cont'd)
...still alive.
John, he looks back at Cameron.
JOHN
We should help him anyway.
Cameron sees something. She quickly starts running toward John and shouts:
CAMERON
JOHN! METAL!
John realizes and turns to see a man who has completely risen, turns on a switchblade in a flash and stabs it at John who evades and that man misses John's heart...But still can get his left shoulder, causing him to fall with a small cut on his shoulder. And his plasma rifle falls to the ground near the man.
The man wants to grab the gun but Cameron is faster, she runs fast, jumps and kicks the man by one foot right at his chest, pushing him out of the way near John and getting herself between the man and John.
CAMERON
Skynet?
JOHN
Skynet is no more. This one might just want
to do what he was programmed to do. I think
we can reprogram him easily.
THE MAN is rising slowly. And now we can see the man more clearly. He's a Caucasian of about 20s, 5'6" tall like Cameron, has black hair and black hair. And this one is a T-950.
CAMERON
We have much time to do so. And maybe we can
learn a lot from this one. But how we can
capture him for that.
The man completely rises. Both John and Cameron face him as he starts rushing toward them.
JOHN
Maybe stop him first.
John quickly evades as the man punches at him. Cameron steps her left foot back a bit, spins and kicks him away. She then bends down, grabs the rifle and aims at him.
The man rises and Cameron fires at his elbows, his knees and his other important movement parts, causing him to fall again and can't even move. And very sure, his skins around his wounds are repairing themselves like other T-950s.
CAMERON
He's so stupid.
JOHN
Yeah, I think.
Cameron and John both then move toward the man. The man looks up and is threatening.
JOHN
You could kill my mother, Sarah Connor, you could
kill my father, Kyle Reese. But you know what?
You can't kill me and my wife. Your master too.
He's dead. Power off. Deleted. Whatsoever.
CAMERON
You can't kill us now. Tell us what you think
or we'll reprogram you and make you tell us.
THE MAN
It's not over, John Connor. Cameron Connor.
The man starts to laugh, crazy. He picks out a remote control which looks like a bomb detonator. And pushes on the red button.
THE MAN
(happily)
We'll be back.
(Skynet's voice)
I'll be back.
The man is laughing. John and Cameron glance and see a red light at his chest.
JOHN
Damn it!
John and Cameron both quickly run toward the truck. Cameron gets in the driver seat and she...
INT. TRUCK – CONTINUOUS
...starts the truck and drives out as fast as the truck can.
EXT. ROAD – CONTINUOUS
The truck quickly roars forward like hell. And the man explodes into a hydrogen fuel cell explosion.
THE NON-NUCLEAR MUSHROOM CLOUD FILLING FRAME...
DISSOLVE TO:
INT. GARAGE – DAY
E. Boykins and Allison just as we left them. Tears are streaming down her face.
E. BOYKINS
You are so valuable to me, Allison.
ALLISON
(crying)
My mom died because of me, my father almost
died because of me, you become a cripple
because of me. I'm a kiss of death.
Allison turns away from him.
ALLISON
(crying)
My family has become like this because of me.
E. BOYKINS
No one blames you. Me too.
Allison just rests her head onto her croggy. E. Boykins is about to reach his hand to console her but he takes it back and looks down at his legs. Allison tries to stop her sadness but it's too much, it never was like this before. Maybe E. Boykins' cripple effects her mind to be like this or maybe her temperamental pregnancy has done it.
E. Boykins sighs and turns back.
E. BOYKINS
Maybe I should leave you alone with your
loved bicycle. Maybe let you fix it alone.
Allison realizes something from his speech.
FLASH ON:
Claire suddenly wraps her arms around Allison, lifts her up.
CLAIRE (cont'd)
I'm sorry for lying to you.
Allison notices that, she quickly pounds on her mother, trying to get out of her embrace.
YOUNGER ALLISON
Let me go, mom. She's there. I have to fix her.
FLASH ON:
Claire quickly rushes toward Allison at the same time someone out there pounds on the wall nearby Allison. Claire wraps her arms around Allison and throws her toward Reese brothers. The wall is broken, a T-500 gets in and aims its machinery gun at Claire's chest. Claire loses her mind. With her own fear, she can't move. The robot quickly blasts her chest.
BACK TO PRESENT
Allison's fear is up as her sadness is down a bit. She quickly leaves her chair and her bicycle and she rushes toward him, hugs him before he could leave her. Surprising him, she hugs him as firmly as she hugs her own mom or her own dad. With love and fear of the event ever happened to her mom when she chose her bike, not the person she should love. Guilt and contrition make her remember it, she doesn't want it to happen to him.
ALLISON
(crying)
Please stay here. Don't go.
E. Boykins looks a bit confused but smiles. His hand slowly rises and fondles the back of her head, touches her hair and kisses on her shoulder and then her hair.
E. BOYKINS
Okay, Alise. I won't go.
ALLISON
(crying)
Live here. I don't want to see anyone die
because of me again. I don't want it again.
E. Boykins exhales, gropes on her hair, consoling her.
E. BOYKINS
I'll be here. Fix your bike. It's okay.
It'll be okay. It's gonna be okay.
ALLISON
Swear?
E. BOYKINS
I swear.
They separate. E. Boykins touches her face, wipes some tears. She smiles and relaxes. E. Boykins sweeps her hair back and out of her face by his hand.
E. BOYKINS
See this. You are not beautiful as you were.
See it, Allison. Sadness never improve anyone.
Allison smiles and wipes some tears herself. She looks better. The sadness is no longer in her mind and he could kill it. Only he can do it.
ALLISON
I understand. Thank you.
E. BOYKINS
Finish it, Alise. And maybe we can ride it
after you give birth to our daughter.
ALLISON
Yes. And thank again.
E. BOYKINS
Never mind, sweetie. I'm happy when you are happy.
If you aren't, I won't be. I can't see you be sad.
Allison looks at his legs and shrugs. She then looks up and looks in his eyes.
E. BOYKINS
Don't worry about them. You didn't cripple them.
One who did, now is in a grave and no one will
worship him even the machines. He's dead.
ALLISON
You always strengthen me. But I...
E. Boykins shakes his head.
E. BOYKINS (cont'd)
No, Alise. You strengthen me too. You always have.
You are my power. You are the only one I live for.
You, our son and this baby inside of you are all
I have and all I have to protect, need to protect
and want to live with.
ALLISON
You never thought of yourself. You always
help people. You are selfish like many
men are, Stefan.
E. BOYKINS
I'm a selfish, Alise. If I ain't, can you
explain to me why I want to be your husband,
why I got you from Nick, why I destroy the
relation between you and Nick Corbin?
Allison can't answer. But she just thinks about it. E. Boykins looks at her and smiles.
E. BOYKINS
Forget it, Alise. Just always remember that every
human is selfish. No one isn't. They all just act.
Allison considers that.
ALLISON
Yeah. I think so.
Allison giggles.
ALLISON (cont'd)
But you know that if we humans couldn't leave
selfishness behind, we wouldn't be like this.
E. BOYKINS
Yeah. I see the truth.
E. Boykins turns and rolls toward the bike. Allison walks with him and she now looks happy like she was never sad.
E. BOYKINS (cont'd)
Maybe this bike needs something new.
ALLISON
The gearwheel needs to be changed. Maybe I can go
and find it tomorrow. Can you stay here tomorrow?
E. BOYKINS
Oh! No. I will. You stay. Don't forget. You're pregnant.
Allison lowers her head in fake sadness like a kid.
ALLISON
Okay, babe.
E. BOYKINS
Let's see the rest parts.
E. Boykins smiles and looks around the bike, checking it like an engineer who is professional for it.
END OF ACT 2
ACT 3
(The Unknown Utopia)
INT. TRUCK – DAY
John and Cameron are in their truck not far from their house. Now Cameron is on the driver seat and John is on the seat next to her, Cameron just finished bandaging his shoulder. John just looks as she binds the bandage firmly.
CAMERON
Okay. I finish it.
JOHN
Thank you, Cam.
Cameron closes the first-aid kit box.
CAMERON (cont'd)
It's lucky we have our bandage, alcohol,
antibiotic and tampon enough to clean it.
JOHN
Yeah, if not, I would die.
CAMERON
Don't say about death again, John.
I don't want to see you die again.
John looks at her and sees her sad. She's really sad with few tears which flow from her eyes. John cups her chin, lifts her face up to look at him.
JOHN
It won't happen, my love.
CAMERON
I don't know how to get you back, John. If you die,
I can't be alive. Live with suffering is what no
girl wants. I don't want to be a widow.
John turns away.
JOHN
Just that.
CAMERON
No. John.
Cameron turns John's face to face her.
CAMERON (cont'd)
No. Not just that. John. I love you.
John smiles, looks better. Like he just got a new power for his life. His smile is wider and widened. Cameron smiles back, her emotion is all love. She won't betray him as Delilah cut off Samson's hair. Cameron gropes his hair like Sarah ever did but John's mind can tell that it's different. John grabs that hand in his and looks in her eyes.
JOHN
I love you too, Cam. I came across time for you.
And you know what? You startled me out of my
mind when you had gone through that bubble with
John Henry. It was like I was gonna be killed.
CAMERON
I'm sorry. You know that if I saved him, Catherine
would become your alliance. And this is the result
after all, John. We win Skynet.
"We win Skynet", this a bit effects John's mind. He releases her hands and remembers what that cyborg had said just before it self-destructed itself.
Cameron looks at him, worries him.
CAMERON
What's wrong, John?
JOHN
You heard the cyborg.
CAMERON
Yes, I did. But you know that we already destroyed it.
John Henry confirmed it. Our soldiers had checked the
core installation for months. Skynet is no more.
John thinks about it and he relaxes. Smiles. Relieved.
JOHN
Okay, Cam. Let's go home.
CAMERON
Yeah. Go home.
Cameron keeps the kit box inside a case, starts the gear and drives the truck.
EXT. SERRANO POINT NUCLEAR POWER PLANT – DAY
The Serrano Point looks a bit like in the present day, only the technologies are upgraded. This place now isn't military base as in the war against machines. The whole plant are modified to be a research center.
INT. SERRANO PASSAGEWAY – DAY
DR. ART-ONG JUMSAI NA AYUDHAYA and OLIVER WEAVER are walking in the empty passageway. There are sounds of factory working in b.g.
DR. ART-ONG
So I have to meet him again.
OLIVER
Yes, doctor.
DR. ART-ONG
Your president doesn't trust me.
OLIVER
It'd been a long time before we found you in
the cell of Skynet, doctor. They don't trust
you as well as they don't trust other secret
prisons from those cells.
They reach the secured door and stop.
OLIVER (cont'd)
And you don't have tattoo.
DR. ART-ONG
Which tattoo?
OLIVER
Tattoo like this, doctor.
Oliver reaches his left arm, rolls up shirtsleeve and slowly displays a Skynet barcode tattoo...but it has no number and it's not the real, it's MORPHED from his liquid metal mass around his own arm. Dr. Art-ong looks at it. He seems a bit surprised.
OLIVER
I'm a metal.
DR. ART-ONG
That's good to know. You are Mimetic Poly Alloy.
And you are working with your quantum neural
network cell processors. Very intelligent.
Oliver smirks.
OLIVER
Yeah. That's right, doctor. 1001 series.
DR. ART-ONG
This world has many things I still don't know.
Maybe you can help me. Teach me about the new.
OLIVER
World changes fast. At this point, I may be
immortal but perhaps, in the future I'll be
killed by someone someday.
DR. ART-ONG
I hope Oliver terminator won't be humans.
Then they both laugh like they're best friends. Oliver steps closer the door. Oliver presses on the keyhole. A small laser light shoots out of the keyhole and scans his eyeball. Oliver's eyes quickly change to be which are matched. One eye is purple and another is orange. Oliver gets pass the security system.
OLIVER
Get inside. He's waiting.
Oliver opens the door and they enter.
INT. BIG SECURED ROOM – DAY
EMILY positions chairs in her auditory room, converted from a large room, and serving as a hub of the group associated with John Henry and Lucy Ann. DONALD stands beside her. A group of seven Serrano Point engineers are in this room including T-KAPLAN T-CHARLEY DIXON and T-MICHELLE DIXON. T-Charley exchanges a few words with T-Michelle and T-Michelle NODS and motions with her hand toward unoccupied chairs.
The silent room is now alive with low ambient sound of quiet conversations, and an occasional screech of a chair being moved with its occupant.
The room quiets down again as soon as JOHN HENRY's and EMMA HENRY aka "LUCY ANN"'s motion pictures walk from the high tech wall, heading toward the chairs behind a small table, facing the rest of the room, functioning as an impromptu lectern.
JOHN HENRY
Good morning. I'm glad to be with you again.
I see some new faces. Please feel welcomed
in our study group. We begin, as always, with
a reminder and a blessing.
John Henry pauses for a few seconds.
LUCY ANN
We are here to talk about what we're gonna face
in the near future. The cold war between us and
those bad machines. They're gonna raise again.
JOHN HENRY
We found many exhibits about the back-up forces
on other planets in this solar system. The war
seem not to be ended as easily as we thought.
Two pairs of eyes, those of T-Charley and T-Michelle, meet with a puzzled expression. John Henry notices and a hint of smile appears on his face.
JOHN HENRY
But don't worry about it. Skynet weapons on those
planets aren't like the old in here we just
destroyed. We can send our force to battle them.
LUCY ANN
Only machines can join this war.
JOHN HENRY
Do all of you want to join us?
John Henry pauses and turns his head in a sweep motion to maintain an eye contact with the participants.
JOHN HENRY
We don't have another choice. We have to destroy
them all by most of machines we have. I don't care
about those reprogrammed. They can serve us as well.
Oliver and Dr. Art-ong enter this big room. John Henry's and Lucy Ann's images look up at them, John Henry indicates Dr. Art-ong with his pride.
JOHN HENRY
And that is Dr. Art-ong Jumsai Na Ayudhaya.
The scientist and engineer who could help
NASA landing on Mars many years ago.
Eyes look at Dr. Art-ong.
DR. ART-ONG
I'm so proud to be here, everybody.
The room becomes alive with whispers. Dr. Art-ong seems to be blushing as the focus of the attention is concentrating on him.
JOHN HENRY
Attention, please. Attention.
Those people turn back to John Henry's and Lucy Ann's images.
JOHN HENRY
Our spaceships will be ready in few years if you all
agree to help. This isn't for humanity, brothers.
But it's for our future too.
They all flash electric blue eyes. John Henry seems to be happy with that.
JOHN HENRY
Okay. You chose it. Thank you.
John Henry disappears. Lucy Ann is still there. She looks at Dr. Art-ong and gives him a small smile.
LUCY ANN
Good luck to you, doctor.
DR. ART-ONG
Thank you, Ma'am.
Lucy Ann leaves.
FOCUS ON DR. ART-ONG'S EYES: They look intense with the power in his mind, the scientist mind. He smiles proudly.
DR. ART-ONG
I won't disappoint you.
FLASH CUT TO:
EXT. SPACE - NIGHT
THE SPACESHIPS which have Zeira logos on them, fly through us. They head toward the Mars weird spaceship armada waiting for them. The unknown enemy Alien-like spaceships quickly fire big plasma-like rounds at us by their weird cannons. We are between the space battle between machines and Zeira soldier ships.
SUPERIMPOSE: "MARS, 2080"
A Zeira spaceship slips right under the enemy vanguard ship and ducks and weaves between dozens more. The Zeira force hits the machines head on - and several ships do just that, smashing into bigger ships kamikaze-style, everything exploding –
The fleet mobilizes, blasting Zeira ships, circling around, and an air war begins, a frenzied, balletic ecstasy of destruction that the camera hurtles through as ships and parts of ships fly at and past it.
ANGLE AN OLD ZEIRA SHIP WE EVER TRACKED:
It nearly makes it all the way through the machine fleet before a barrelling chunk of debris - which is twice their size - forces them to come hard about and remain in the fray.
FULL SHOT
Few Zeira spaceships fly through and make their way past the carnage and heads down toward the tiny satellite moon. Another four move through and go directly toward two real moons- Phobos and Deimos. The battle is still raging in b.g.
EXT. RED LAND – DAY
-landing on A VAST PLAIN. This place isn't on the Earth. The landscape and sky look red. Atmosphere is like when it rains but really it doesn't. The hilltops have no tree. The air looks stable. No city, no skull and trash piles. Peaceful and quiet.
WE PAN around to see the whole vast plain. It's peaceful until we see the figure moving.
CLOSE ON and reveals it: A wounded man is walking on mars' surface. He approaches a LARGE ROCK FORMATION which blocks his path. We can see a metal endoskeleton inside him but we can't be sure what he is. Hybrid or cyborg?
He lifts the large rock with his hands and throws it toward the way he left. A MASSIVE PLASMA SHOT destroys it in the air. He quickly runs out of the way.
We are still here to see what is gonna happen.
A few seconds later, a machine wheels over there, the way the stone was destroyed. This looks a bit like an Ogre but it's smaller and more advanced. We'll call it "ARES". The gun swings around to hunt.
ARES' H.U.D.: The head-up display looks very wonderful. It sees the guy running across the martian plain. It can scan him from this area so fast. Gets data as a human with adamantium endoskeleton and special eugenic skin. Mission: "TERMINATE".
THE ARES, blasts a MASSIVE PLASMA ROUND FORWARD.
The round goes almost over the head of that guy in angle but it really blows up the guy. The skin disappears and the endoskeleton falls on the ground. Dead.
But the victory hasn't been at the Ares for a long time. A few seconds later, three plasma shots attack and places the big three dots wounded on the Ares.
Four weird planes fly through and the Ares then explodes in a big fiery explosion.
WE TRACK AFTER A PLANE as it flies in the air toward the battlefield on Mars.
The gun fires and plasma-blasts go crazy everywhere. The plane greets the big HK-VTOLS and exchanges fire. The below is ruined robot city. Machines are fighting against machines. All humans around here are hybrids with adamantium endoskeletons.
The war in hell can't find the winner. The spaceships come and join and battle against machines below. Plasma rounds and missiles firing around.
The cannon blasts and then...
THE NON NUCLEAR MUSHROOM CLOUD of a massive explosion forms in the center of the large battlefield.
We focus on the new coming spaceship as it hovers and blasts rounds toward the below enemy army.
INT. SPACESHIP – BRIDGE – DAY
The bridge is small: two pilot seats on either side, and a tangle of wires and machinery all about.
Oliver Weaver enters the bridge. Donald and Emily are driving the spaceship. They all look exactly same as in 2030.
OLIVER
When will we reach the facility?
DONALD
Three. Two. One.
OLIVER
I guess. Minutes.
EMILY
No. Seconds.
The ship bucks-
EXT. LANDING STRIP – CONTINUING
We can see it, a long strip, which halfway along becomes a kind of hanger. The spaceship arcs at it uncomfortably fast.
INT. BRIDGE - CONTINUING
Emily and Donald are fighting the stick with extreme concentration as Oliver stands watching, so calmly.
EXT./INT. LANDING STRIP/HANGER - CONTINUING
And the ship HITS the ground - the landing gear folds and snaps under the weight - the ship keeps going, now inside the hanger, heading towards the entrance to the facility, slowing, fishtailing and coming about a full one eighty - it goes beyond the strip and crashes down into the pedestrian area, so that the nose is sticking back out at the runway but the body of the ship is hidden from it.
INT. BRIDGE - CONTINUING
There is a moment of quiet.
DONALD
I am good at it. Watch -
A massive harpoon CRASHES through the windshield and impales him to his chair. It's as thick around as a telephone pole.
EMILY
DONALD!
Almost forgot what he is, Emily relaxes after Donald silvers himself, flows and then morphs to be a human figure near his seat, standing next to it. And becomes Donald again.
DONALD
They didn't learn anything.
OLIVER
Let's go.
EXT. LANDING STRIP – CONTINUOUS
We see the ship that has fired the harpoons as unknown armored terminators look like T-950, start out of it. A second enemy vessel enters frame from above, about to land next to it.
EXT. SPACESHIP – MOMENTS LATER
The door opens- just the little door housed inside the ramp- and Donald comes out with his big plasma term cannon. He looks up, toward the edge of the runway, but no other machines have arrived yet.
DONALD
Go!
The entire crew piles out, all heavily bedecked with weapons.
OLIVER
Head inside!
INT. BLACK ROOM/INNER HALL - FACILITY – DAY
A small double-sized doorway leads to the "Black room", which is the entrance proper to the facility.
Donald hits a button and huge, thick, blast doors open from the sides AND the top and bottom, creating the effect of a square hole getting bigger. The hall itself is smaller than the black room, but still has the arrows on the ceiling, that point to an elevator some sixty feet away.
DONALD
Let's go. Get it and go back to the world.
The trio and their followers walk toward the elevator.
INT. FACILITY HQ – MOMENTS LATER
The elevator stops and they make their way to the island of screens and machines in the center of the Mars.
They explore around in the HQ, looking for whatever they want.
ANGLE ON A BLOWN DOOR.
OLIVER (O.S.)
This way.
ZOOM OUT and Oliver walks into the room.
INT. LABORATORY - FACILITY – DAY
OLIVER AND HIS TEAM walk toward the center of the lab and we can see everything in this lab now.
It looks like a kind of NASA small laboratory we always saw in many movies. And it's like in we saw in many animation/manga, we see the dense capsules arranged in row along nearby the wall with the number and model of ten unknown model terminators. All capsules are open. Blood on the texts which say the models, only one big capsule can say it: "T-2000".
ON THE MONITORS above the long row of chambers- colorful 3-D IMAGES of the new model structure including physical research simulation, common combat simulation and molecule structure. They all look like some kind of high technology things in the world of chemistry and nanotechnology physics. These things are unlike the old MPA we know. The metal cell molecule 3D programming IDE and the secret of new kind MPA. Oliver looks around. Surprise across his face.
OLIVER
T-2000. Like the reprogrammed metal ever
said. It's a sentient frequency matter.
DONALD
Trillions of molecular engineered particles which
can take on any physical form. Interesting.
EMILY
That would make it ineffective in battle. It can't
be destroyed by us or even any weapons. Now it's
out there and it becomes very very big problem.
A man looks around and as he looks down under the capsule of a T-2000, he sees hydrogen fuel cells look like in the avatar body.
MAN
(indicates cells)
Everyone looks there.
Everyone looks at the cells right there. Too late...And they explode. INSERT OUR FRAME WITH FLAME.
EXT. THE FACILITY – DAY
The whole facility explodes in a NUCLEAR-LIKE EXPLOSION. The atomic cloud rises to the red sky. The facility is over.
CLOSE ON A HILLTOP ONE KILOMETER AWAY FROM THE FACILITY:
We see a man of about 30s standing and watching the explosion. He looks very handsome and his hair is red. He's 5'6" tall and looks very strong.
FOCUS ON THE MAN as he smiles proudly.
FADE TO:
INT. PICHITCHAIS' BEDROOM – NIGHT
Back to 2030 again; Allison is helping E. Boykins moving from his wheelchair onto the bed. Both look happy.
E. BOYKINS
Maybe we should sleep together. Just one night.
ALLISON
You know I can't. Sam still needs some milk.
E. BOYKINS
Oh! Allison. You are not a soldier anymore.
You need time for real sleep. Let Nevlin brew
or bring cow milk to Sam. Our daughter can be
very weak if you sleep unlike pregnant girl.
Allison puts his legs in easy sleep manner and gives him a small smile as he looks like he doesn't want her to be tired.
ALLISON
Don't worry. I'll be okay.
E. BOYKINS
Allison, you need real sleep.
Allison looks in his eyes, senses his care. Allison just pauses.
E. BOYKINS
Please, Alise. You really need a real sleep.
ALLISON
Okay. Stefan. I'll be with you.
Allison moves closer him and gently places a kiss on his forehead.
ALLISON
I'll be back. Just awhile.
Allison reaches for his blanket.
E. BOYKINS (cont'd)
Really?
ALLISON
Yeah. Really.
Allison blankets him and kisses on his cheek.
ALLISON
Just awhile.
Allison slowly and carefully rises from the bed and walks off. E. Boykins always looks after her with worry.
END OF ACT 3
ACT 4
(Rise of The T-2000)
EXT. GRAVEYARD – DAY
We are closing on a gravestone. It is rounded, looks more like a bell than a headstone. It is topped by a jar built "into the stone. The jar is weathered tin at top and bottom, but glass in the middle. Inside the glass we can see one of those slightly moving photos. It is of 20-year-old John Connor and 18-year-old Cameron Connor, and the names Mr. John Connor and Mrs. Cameron Connor are carved roughly in the stone beneath.
CAMERON (V.O.)
Different time always makes things different.
The camera moves to the right and we see another such stone, this one bearing the image and inscription: Mr. Warapop Pichitchai aka "Enigma E. Boykins" and Mrs. Allison Pichitchai.
CAMERON (V.O.) (cont'd)
Even no one moves or touches them.
The third is very weird: it's Mr. Kyle Reese and Mrs. Sarah Reese. Their photos say that they were taken in 2030. And at that time Sarah looks about 10 years older than Kyle Reese.
CAMERON (V.O.) (cont'd)
They'll be changed anyway. Nothing stops.
The forth is Mr. Sittipong Pichitchai and Mrs. Kitty Pichitchai.
CAMERON (V.O.) (cont'd)
We grow up. We age. We die. Everything happens
because of the change of this forth dimension.
The camera continues moving right, but the next stone houses a small home-made rocket with pieces of paper taped to it instead of a picture-jar. And fixing another slip of paper to it is STEFAN JR.(20s, like E. Boykins)
CAMERON (V.O.) (cont'd)
This is the truth which will happen in every age.
He moves away from the stone as the CONNOR HEIR(male, looks like John but has only brown eyes, about 40s) does likewise. They're flanked by the big family: CONNOR WOMAN(50s, looks like Cameron), MAGGIE MOON(older than Maggie Moon in 2064, 20s), NEVLIN GLAU(never age) and other ten persons we will or won't know soon. The Connor woman moves to a man who is at same year. Stefan Jr. and Maggie Moon hand in hand. Maggie's finger has engagement ring same as Stefan's. Maggie looks at Stefan Jr. with a faint smile.
MAGGIE MOON
Are you okay, sweetie?
Stefan Jr. looks really sad. Maggie turns away and looks at the gravestones.
MAGGIE MOON
Everyone has to die, Stefan. It's what happens.
STEFAN JR.
I know. They have their long stories. At this
point, who will remember them, excepting us.
MAGGIE MOON
Many people die because of war, Stefan.
Are you sure you wanna change it?
STEFAN JR.
They always tell me. Que sera sera. Whatever
or whatsoever will be, will be. They said so
even they already had a TDE they built.
There is a moment, then the Connor heirs and few people move aside, saying nothing. Nevlin and the rest persons step closer Maggie and Stefan Jr. Those persons, one is a woman who looks a bit like Sarah Connor and another is a common American. They both are couple.
STEFAN JR.
They never tried to change anything.
MAGGIE MOON
What if we change it ourselves?
STEFAN JR.
The T-2000 will know the location of the TDE.
It's better to leave them and let it happens.
NEVLIN
No one wants it happen, Stefan. Humans are
gonna extinct. We can change it as well.
Everyone turns to look at Nevlin.
MAGGIE MOON
How can we do that, Glau? We don't have the Weavers.
We don't have leader. We're just running and running.
You know it as well. We can't fight those zombies.
NEVLIN
We have last chance. We now have the last psychic.
Stefan Jr. sighs and shakes his head as they look at him.
NEVLIN
We don't have much time. We have to...
STEFAN JR.
Okay. I'll do it. Where is the TDE?
Nevlin smiles and walks off. Everyone looks after him.
EXT. DESERT - NIGHT
A light illuminating the valley beyond. As we move closer, we see the glow comes from -
A MASSIVE HUMAN BASE
Now set up around the crater - vehicles, trailers, barricades. Armed GUARDS man a gate in the razor wire fence that runs fifty yards from the crater's edge, enclosing the complex.
Clear, plastic access tubes with junction boxes lead to a translucent cube structure erected in the middle of the crater. Through the glass walls of the base's command trailer, we see CONNOR HEIR directing TECHNICIANS, busy at work.
Within the cube structure itself, a team of SCIENTISTS work with high-tech machinery, analyzing the chamber of new version TDE.
INT. BASE – NIGHT
Nevlin with Stefan Jr. and Maggie Moon walk through the passageway toward the platform. Stefan Jr. and Maggie Moon wear buck and Maggie hold a small fell bag.
NEVLIN
We already upgraded it. Only few hundred people
survive now. We don't have another choice. Only
you both can do it right.
STEFAN JR.
What about you, uncle?
NEVLIN
It's my honor to fight against enemies with last
group of humans and good machines. My honor to be
the friend of the chronicles.
They stop. Stefan Jr. looks at Nevlin. His look shows sadness. His heartbeat goes faster. He doesn't want to leave this cyborg but he has to.
STEFAN JR.
You can go through. I know.
NEVLIN
I'm but an old model cyborg. I'm but a reprogrammed.
I can't be trusted. I can't help you anymore.
Stefan Jr. and Nevlin lock eyes. Like they're family. Stefan Jr. has his tears streaming through his cheeks. They are more than friends, but the uncle and the nephew.
STEFAN JR.
Then who will read me bedtime stories?
Nevlin smiles, reaches toward Stefan Jr's face. His metal finger touches the tear trickling down his cheek.
NEVLIN
I'm sorry. I know now why human life is so important,
why only one man can be so important to the others,
why we have to fight for one man. And I know why you
all have tried to teach me about human lives.
STEFAN JR.
Oh! My uncle.
Stefan Jr. quickly gets into Nevlin's hug, feels uncle-being behind this cyborg. Maggie Moon just looks at them, being proud. Nevlin hugs back slowly and warmly.
NEVLIN
You're like your sister. I'm sorry for what
happened. I really couldn't protect her when
the T-2000 arrived on our Earth.
STEFAN JR.
I'll miss you, Nevlin.
NEVLIN
I will too.
They separate.
STEFAN JR.
Okay. Good bye, uncle.
NEVLIN
Good bye.
INT. NEW TDE CHAMBER – NIGHT
With the sounds of thunder, the rain starts out of the base. Humans and cyborgs are surrounding the chamber. Four are at controls, working with 4D calculation workshop. Nevlin is standing and watching with worry. Stefan Jr. and Maggie Moon get onto the chamber.
And then sirens blare. Stefan Jr. and Maggie turn around. Everyone here looks frightened.
STEFAN JR.
(to Nevlin)
What's wrong, Nevlin?
FOCUS ON NEVLIN as he looks to the passageway.
NEVLIN
They're coming.
INT. BEDROOM - NIGHT
Back to 2030: Allison enters the bedroom, walks toward the bed and lies next to E. Boykins who is looking at the lamp near his side. Allison looks at him and calls him.
ALLISON
Stefan.
No response.
ALLISON
Earth to Stefan.
No response.
Allison bends over and gives E. Boykins a kiss on the cheek. E. Boykins' mind comes back from far far away place. He suddenly turns and smiles to her.
E. BOYKINS
You are back.
ALLISON
Yes. And what's wrong with you?
Anything I has to worry about?
E. BOYKINS
Nothing.
ALLISON
You can't lie to me. We have been a couple for
almost three years. Nothing you can hold back.
E. Boykins slides his hand up from his side toward her cheek, touches it gently. His smile on his face displays his happiness.
E. BOYKINS
It won't be surprised if I tell you.
Allison grasps his hand and locks eyes.
ALLISON
I'll know it soon.
E. BOYKINS
And you have a surprise here.
E. Boykins has reached his hand down for her belly. He gently touches her belly and subtly glances at it.
E. BOYKINS (cont'd)
Daughter is what I want. And this is daughter.
Thanks to the ultrasound. Nevlin did it like
he's real doctor. He's very valuable to us.
ALLISON
Machines always do these duties better than humans.
E. BOYKINS
That's not what I'm gonna say. He thinks like human.
I hope that someday he can become a human like Cam.
Allison smiles, deep in thought.
E. BOYKINS
Did I say anything wrong?
Allison smiles.
ALLISON
No. Nothing.
E. BOYKINS
I can't imagine how hard for me to see
you with other men. Can you promise me
that you'll only give me your heart?
Allison flushes up. It's not an easy question for somebody but not for her. She plays thinking to make him joking apart.
E. Boykins looks anxious.
Allison still plays impishly.
E. BOYKINS
What's the answer?
Allison grins.
ALLISON
Okay. I can.
E. Boykins is relieved. Allison laughs happily as she sees him relax like that.
ALLISON
It was fun. You're stupid.
E. BOYKINS
Only to you. I'm serious, Alise.
I sacrifice everything for you.
ALLISON
So do I. I know that some other women will leave
if their husbands become cripple. But I haven't.
I'm here to take care of you. Not just because
of me who caused you crippled. But I love you.
E. BOYKINS
Thank you for that, Allison.
E. Boykins leans closer her and kisses on her forehead together with smells it. He then looks in her eyes, almost sees her soul beneath them. Allison becomes a woman who will always surrenders to him every time, everything he wants or needs to do with her, he can do it without negative manner at this point.
E. BOYKINS (cont'd)
You are still my teenage wife. In my mind,
you never age, you still look same. My girl.
Allison's hand touches his cheek.
ALLISON
Oh! My love. You are not older than me too.
I read your diary. You wrote that I might
leave you because we're different.
E. BOYKINS
Yes. I wrote that. You're angel and I'm but a man.
ALLISON
So I'll birth as human for you. Thank you too.
E. BOYKINS
For what?
ALLISON
My bike.
E. Boykins smiles and sweeps her hair out of her face. He cups her hair up and smells it. He looks proud.
E. BOYKINS
My honor to do everything for you.
ALLISON
Let me cuddle you, Stefan.
E. Boykins lowers his hand and nods. Allison wraps her arms around him, hugs him with love. They sleep together. Their lives and their minds belong together. This moment means a lot to E. Boykins. He seems enchant as his eyes slowly close, like a kid after hearing a lot of bedtime stories.
EXT. PORCH/THE CONNORS' BEDROOM – NIGHT
John stands looking the view of Palmdale. Cameron is asleep(or not)abed in their bedroom. John inhales and exhales, thinking about that cyborg.
A few seconds then John turns back and looks at Cameron abed inside the room. She sits up like a girl whom the mom or dad isn't with.
CAMERON
John!
JOHN
I'm here.
Cameron turns to look at him. She stands and walks toward him, hand in hand with him. And they look the view together.
CAMERON
Why don't you sleep?
JOHN
I'm just sleepless.
John looks at her. The wind ruffles her hair, makes her angelic.
JOHN (cont'd)
I wish to know what it meant.
CAMERON
You mean about that cyborg's words?
JOHN
Yes. That tin-can said: It's not over, John Connor.
Cameron Connor. We'll be back. I'll be back.
CAMERON
Skynet isn't stupid but...wait...since when?
John is confused.
JOHN
When what?
CAMERON
When did you start worrying about it?
JOHN
What should I be, Cam? That selfish
John Connor in the past?
Cameron laughs happily. Looks like Allison's laughing.
CAMERON
(cheerfully)
You are not that selfish man. If you were,
I wouldn't get married with you and let you
get on top of me abed.
JOHN
Cameron, I'm thinking I miss my mom.
CAMERON
Catherine can build TDE but I don't know why she
doesn't want to. Maybe she doesn't want you to...
JOHN
Go back. She can't let anything bad happen to
the time line she likes. I surely want it too.
Cameron looks a bit confused.
CAMERON
Why?
John gives her a small smile.
JOHN
I want to live here with you.
John surprises Cameron with a fast hug, carries her up onto his arms as she wraps her arms around his neck. She looks very like Bella when she was with Edword Cullen in Esme Island. John is like a hero in her mind, not just Edword but she can think that he's the best hero of the world. This deep eyes lock ends when he throws her onto the bed and jumps on top of her.
JOHN
I'm so proud to be here with you.
CAMERON
So am I.
They giggle. Cameron flashes a kiss upward his lips. They giggle again. John now seems to forget about what that cyborg said. She's all he interests in now. John bends down slowly as they both still lock their eyes, breathing faster. They slowly get into a deep passionate kiss.
They break the kiss, quickly strip off and kiss again. Cameron falls her back onto the bed again and at this time John feels so good to kiss her and only his underwear is between the cock and the entrance. Her fingers slide over his neck and then into his hair, her nails lightly scratching his scalp and his hips humped of their own volition, sliding his dick back and forth over the smooth curve of her hip, separates from her warm skin only by a thin layer of cotton.
Her hand in his hair urges his lips away from hers and downward. He nibbles lightly at her jaw and then lets his sucking lips and licking swirling tongue move lower, exploring the strong column of her beck and her throat. With, the heat, her skin feels warm as she undulates slowly, sinuously with long, draws out sighs as he continues to fondle her breast.
He sucks and runs his tongue across the pulse at the side of her neck. It matches the heartbeat he can feel under his hand perfectly.
He moves on, dipping his tongue into the hollow at the base of her throat before slithering down onto her chest. Cameron's other hand finds his when his lips find the upper slope of her breast after a leisurely exploration of her skin. She guides it away from her breast and he releases the firm globe reluctantly. As she guides his hand lower, he closes his eyes and indulges himself.
His lips blindly find her nipple and he nips lightly at the pert little tube before suckling hungrily at it and as much of her tit flesh he can fit into his mouth while his fingers slit between her silky folds, finding them hot, swollen, open and slickly moist. She lets out a soft gasp followed by a low moan as he slides two of his fingers into her and his thumb finds the hood of clitoris and works its way down with circling pressure to find the little bundle of nerves. Her sex flexes and twists around his digits as he saws them in and out of her tight confines, her legs shifting wider and then closing on his hand, with smooth, warm pressure before opening again.
JOHN
Is tonight good for you?
CAMERON
Yeah. It's good. Please do me favor.
Her fingers lightly caress his cheek as he suckles at first one teat and then the other feeling her other hand press against the back of his head while she shifts her shoulders to press her flesh into his hungry lips.
His dick twitches and throbs against her skin through the thin material of his underwear. He groans, his lips vibrating around her nipple as his ass clenches.
He lowers his head, extending his tongue and hesitantly running it slowly up the length of her slit. She draws in a sharp breath and her hips rise slightly, her fingers tightening in his hair. Her folds surround his tongue and he collects the dew off her petals. John starts lapping at her, running his tongue along her length, collecting every drop of her ambrosia. She groans, wriggling his tongue deeper in search of the source of the delicious, exquisite taste. Her guidance is subtle, but insistent as she adjusts his pace. She gasps as he dips into her entrance and her nectar floods onto his tongue.
Cameron starts to give him breathy, yet concise and precise instructions as she shudders under his lips and against his tongue. He follows them. He spreads her with his fingers to lick more directly at her sex and she moans her response, her smooth thighs press against his shoulders as her hips undulated. She lets out a little cry when he diddles her clitoris with his tongue, flicking the little pebble back and forth before rolling it and then sucking it and the hood behind it into his mouth. She cries out and then pants each time he sucks at her flesh or scrapes his teeth lightly along the ridge of her hood. His fingers delve into her while his mouth attends to her clit.
His dick throbs to the beat of his heart hammering against his ribcage, bobbing against his stomach and beating against the cotton prison of his underwear. Her tremors grow to a long, heavy shudder, her legs pressing hard against his shoulders and sides, her ass rising off the bed as she presses herself into his face. Her cry has a different timbre to it and it becomes a wail before ending in her panting heavily. The dark curls of her pubes tickle his nose and her channel clutches at his fingers while her juices flood around them.
He continues to lick and suck at her, collecting her sweet.
CAMERON
I need the real sex, John.
She shifts up to recline on her elbows, her hair flowing out behind her head, chocolate against the white linen cover of the pillow behind her.
CAMERON (cont'd)
We can have sex now.
Leaning further forward and reaching for the waistband of his underwear, having to stretching it clear of his erection before pushing them off his hips. John draws in a heavy breath, air hissing through his teeth as her warm hand wraps around the base of his cock. She tugs him towards her and he hardly needs her urging as he shuffles forward. He feels her heat on his cock, just as he had against his face and then the tip of his cock is sliding through her slippery folds and she guides him to her entrance. John tries to focus as the tension inside him that he has been successfully ignoring spikes, tensing his butt and tightening his balls.
She draws up her legs and they slide along his sides, her toes tickle the outside of his thighs. He grabs her legs and spreads them, maneuvering them past and then over his shoulders, her calves and heels rest on his back. He thrusts forward, and at the same time let his weight shift forward and down, pressing her thighs back and her knees toward her chest.
Then John pounds repeatedly in and out of her, makes her let out painful cries, groans, pants and lose her controls. His attack is not just a soldier but a man who is like a superman. Her adamantium endoskeleton never makes him pain but it's from the frictions during these long penetrations. John gnashes his teeth to keep his loud cry inside his throat as he penetrates her powerfully like when he fires his gun, rakes at enemies.
Her sex grips him like a velvet covered vice, which he forces apart in order to forges a tingling, sparking trail of delectable friction to her snug, molten core.
His balls are already boiling, his control hanging by a thread. Her hands reach for his face and he doesn't know if his control will withstand her touch, so he intercepts them, grasping her wrists. Her hands don't stop and she resists him as he pushes against him. The struggle shifts him inside her and he grits his teeth as the shiver of pleasure the simple shift causes snakes up his spine. He pushes harder and suddenly her resistance vanishes and he presses her wrists and arms onto the bed.
John is breathing heavily through his nose, his face poises over hers, her eyes half-lid and partially hiding her usually intense and unwavering stare.
With, a grunt, he starts to pound into her again. His strokes are short, fast and powerful. He sees her pearly white teeth dig into her lower lip so hard, he is surprised she doesn't draw blood as her back arches, pressing her torso up to meet his. His flesh collides with hers in a staccato beat so fast the shock wave of one-collision merges with the next. The sound merges with the rhythmic creak of the bed and their cries and his fingers slide from her wrists to link and tangle with hers.
John can feel his hips stutter with fast rapid-fire thrusts stabbing at her sweet core, grinding against her trying to get deeper although it is physically impossible. He throws his head back and bellows with the white hot surge of pleasure that blazes through him...that tenses his back into a taut bow, his vertebrae grinding together with the tension while his hips continued to buck. Their climaxes sear across their nerves, overloading their senses. His chest is on fire and his heart feels like it will burst as his dick convulses and he pumps his seed into Cameron in heavy, draining spurts. Their cries become a series of grunts connected to each of those spurts, her sex squeezing against him as he expands before each one.
The time of happiness, love and enjoyment ends with their powerfully and painfully climaxes. Tiredness replaces their emotion and...He collapses on top of Cameron. Their eyes are closed, his face buries in her hair above her shoulder. She hugs him in her embrace and...let's them sleep with each other in peace...and it's what they want. They don't want anything else...only their happy lives here. Skynet is no longer. Marshal Connor and Major General Connor aren't here to destroy that AI but only to live their lives together with their love friends.
They completely fall asleep. Happiness is on their each face. They both smile as they sleep deeper still in their love embrace.
DISSOLVE TO:
EXT. BASE – NIGHT
In the Utopia Future again; The war starts for the rest of tomorrow. Powerful plasma-blasts, laser weapons, light sabers and cannons blast everywhere. Human troops are less than the enemies who are humans but only their minds aren't humans. This hell night happens to buy the time for the humanity saviors.
INT. NEW TDE CHAMBER – NIGHT
The utopia future again. With sirens blaring, there is no time for Stefan Jr. and Maggie Moon to help their friends as the new style energy bubble surrounding them.
Nevlin is trying to protect them. They can just watch what the hell night is happening. Around the chamber is some kind of laser or plasma shield which is protecting them from every shots.
Nevlin jumps toward a zombie human and kills him by his fist. The body falls on the ground with high tech plasma rifle. Nevlin grabs the rifle as the METAL PARASITE pieces through the head of that zombie guy and flies up toward his head...but he grasps it in his fist, throws it into the air and blasts it.
STEFAN JR.
I can't leave you alone, uncle.
Nevlin kicks two of four men away and turns to look at Stefan Jr.
NEVLIN
You are the hope. Good bye, Stefan.
STEFAN JR.
No, uncle.
The light bubble becomes a beautiful chrome covering both Maggie and Stefan Jr. This isn't the time bubble we always saw in Terminator franchises but this looks different. Blue, purple, violet and cyan lightning sphere is shaped rapidly. Stefan Jr. and Maggie Moon seem to be very sad as they see many people die around them.
Their eyes roll and see...
THE MAN ON MARS walks in the room, meet Nevlin.
NEVLIN
You son of a bitch!
Nevlin blats his rifle at that man but he can recover the mimetic poly alloy skin in a few seconds after blasting. We realize that this guy is THE T-2000. Nevlin rushes to kick that T-2000 ten meters away toward the big generator.
Nevlin turns back.
NEVLIN
Don't worry about me. We'll see.
Nevlin reaches in his jacket, grabs a soap...what?...no...not just a soap but some kind of bomb or something.
Stefan Jr. is about to step off the chamber but Maggie seizes his arm, stops him.
STEFAN JR.
No. Nitroglycerine.
Nevlin smiles happily, picks out a knife, stabs the soap and throws it down on floor.
NEVLIN
Hasta la vista, baby.
The high tech time bubble dances about then the light explodes, Maggie and Stefan Jr. disappear and the whole scene becomes white with the light.
EXT. DESERT – NIGHT
From the point away from the base, we can see the base EXPLODE and the semicircular explosion expands territory of about 1 km diameter. The light slowly swells, goes wide and covers all armies around here. Then the explosion expands its territory to be bigger than every nuclear explosion.
HIGH ANGLE, revealing the area of desert near Palmdale. The explosion expands at the point it can't go wider. Then it explodes again with the blue barrier light which destroys everything including the area of the base.
The light of the explosion withdraws and reveals the result of the large explosion, it's like the large meteoritic hole. No one survives and nothing is around here. No body count. The T-2000 may be dead.
EXT. DESERT – MORNING
The smooth ground has nothing, not even one piece of MPA mass. But in the sky, we see an air ship flying low and slowly descends on the land.
A man gets out of the ship with two other men. They're T-KAPLAN, T-WANG PICHAO and...Oh! My god...THE T-2000. They look around.
T-WANG
Interesting.
T-2000
Thanks to you, Mr. Wang. It's like you think.
T-KAPLAN
What's the last words?
T-2000
There are two of them have traveled back through time.
Can you create me a time displacement equipment?
T-KAPLAN
You know we can.
The T-2000 smiles as the METAL PARASITES pierce through the heads of the two TOKs and join the main mass of the T-2000 at the back of his head. The eyes glow red. Looks powerful.
T-2000 (cont'd)
Thank you for your information.
The T-2000 walks off.
We focus on those TOKs and see that their chips were destroyed. This T-2000 has many surprises. Mind controls. Nanotechnology. Control other machines. We may know other surprises soon.
DISSOLVE TO:
EXT. TOPANGA CANYON – NIGHT
Back to 2030 again; The same spot of Sarah's time travel in the first scene: it's quiet and peaceful. Wild fingers of BLUE-WHITE ELECTRIC ARCS dance in a stone.
The strange lightning forms a circular opening in mid-air, and in the sudden flare of light we see two FIGURES in a SPHERE OF ENERGY. Then the FRAME WHITES OUT with an explosive THUNDERCLAP!
Through the clearing vapor we see the figures clearly...a naked old man and a woman. SARAH CONNOR and THE ENGINEER E. BOYKINS have come through. From now on, we'll call the engineer E. Boykins just "PF E. BOYKINS"(From: Previous Future E. Boykins).
They both rise. Sarah Connor looks around herself, learn the future. PF E. Boykins just smiles proudly. He never looks proud like this before. He may sense someone he loves in this time line. Allison Young is still alive around here.
Sarah thinks about it, turns to PF E. Boykins who turns to look at her, sees her nudity but doesn't feel anything with it. Sarah doesn't notice anything from this guy. Sarah catches her breath and asks him.
SARAH
Where...are we? Where are we?
PF E. BOYKINS
Same where, different when.
They both turn to the direction of the city, see the unfinished repaired ruins.
PF E. BOYKINS
It's the time to search for our friends.
SARAH
Resistance won?
PF. E. BOYKINS
Yes. But Ellison and Auldridge and other
friends you know are dead. We have to go.
SARAH
Where?
CLOSE ON PF E. BOYKINS as he smiles happily.
PF E. BOYKINS
Zeira Corporation.
FADE OUT.
END OF ACT 4
THE END
