Lena Headey
Thomas Dekker
Summer Glau
Brian Austin Green
Garret Dillahunt
Shirley Manson
Leven Rambin
And Richard T. Jones in
Terminator: The Sarah Connor Chronicles
Episode 3.1: Resurrection and Retribution
Guest Starring Jesse Garcia, Jonathan Jackson, and Shane Edelman.
With Dean Winters and Stephanie Jacobsen.
Thomas Dekker says "Previously on Terminator: The Sarah Connor Chronicles."
. The death of Charley Dixon is shown while him and John talk about the events of "The Mousetrap."
. Derek's final showdown in Weaver's hallway ("Keep moving" scene).
. John and Sarah protecting Savannah from the Water Delivery guy; Weaver terminating the Water Delivery Guy at Zeira Corp.
. Weaver explaining to Ellison about her valuing John Henry more than she values Savannah.
. John Henry's threatening of Weaver ("That would be very unfortunate… mainly for Mr. Ellison.")
. "How much weight has she lost?"
. John's "I Love You" scene in Born to Run.
. Weaver's confrontation with the Connors (over J.H.) immediately following the H-K attack (and seeing that part of Weaver actually flew the H-K).
. Cameron's glitches (So deep down inside… you want to kill me); John Henry asking Cameron "Will you join us?"
. John and Weaver's time jump- leaving Sarah and Ellison behind.
. "I'll stop it."
. "I love you, too."
. Derek and John's reunion (even though Derek doesn't recognize him).
Scene: Exterior Ellison's house. Immediately we can tell he hasn't been home for a while. His mailbox is full and there are about 7 newspapers waiting for him on his front porch. He takes out his keys, opens the door and puts all his mail on the table. Removes his jacket and tie, placing it on the back of a chair. Goes to the kitchen and pours himself a glass of iced tea. Then goes back into the living room, glass in hand, sits down in his armchair and turns on the TV.
Ellison leans over to his phone to listen to his messages he's received while he's been out. The first one is from one Charley Dixon- from 4 days ago… the day before his death:
Charley- James, I think we have a problem regarding a certain mutual friend of ours. Call me back as soon as you get this, please… it's kind of important. Like life or death important. Thanks. Oh, and… I, um, never quite thanked you for, well, everything. I, uh, bought another Bible. For, uh, Michelle's memory. To replace the one you gave us… but I don't know if anything could replace that gift. I'm sorry. Call me back.
The second message is from 3 days ago… also from Charley Dixon… the day of.
Charley- Hey, um, where the hell are you? Oh, screw it, I can't wait anymore. I'm living in a lighthouse… Sarah set it up for me after Michelle died. She's, uh, coming here today to visit with John. I have a feeling something's wrong. There's something I have to tell her, but I don't think I'm going to get to it, so I'm going to tell you. I need you to pay close attention, now, James, because this is, uh, this is where it gets crucial. They're using the lighthouse as a hub… a base. This woman called me yesterday. The head of ZeiraCorp… high-tech company based out of LA. I'm telling you, James… she wreaked of Skynet. Her voice was too artificial… and she was too damned determined. She knew somehow that I was engaged to Sarah before she quote un-quote blew herself up in the bank. She knows who Sarah Connor is… (his voice becomes gravellier) no one knows who Sarah Connor is. Except me, John, Derek, Cameron… and you. I need you to tell me how you know this woman… and why you're helping her build the ultimate tool of our destruction. I love that kid, James. If they find him, I'll find you. I'm scared to have him stay here. I've got security, sure… but nothing can stop those damn things. (sounding somewhat defeated) Call me as soon as you get this.
As the message ends and the next one is about to begin, Ellison picks up the machine and slams it to the ground, breaking it into a thousand pieces. He begins to cry as we cut to Sarah in the present- John has just left for the future with Weaver. Ellison has obviously left the Zeira Corp premises, presumably because he's embarrassed he's been working with metal all this time without even knowing it. Sarah is alone.
Sarah steps into the area where the time bubble formed, sending her son and the unknown (at least to her) liquid metal Terminator into the future. She is melancholy but doesn't break down. She leaves the destroyed room and finds an emergency exit to escape the destroyed premises. She makes a run for it so as not to be seen by the firefighters and EMTs trying to put the fire out that the H-K caused in "Born to Run." Murch sees her running and stops her in a nearby alley way.
Murch- Hey!
Sarah looks and stops but says nothing.
Murch- You don't know me but I know you.
Sarah- You want to arrest me?
Murch- No. I want to know what the hell is going on.
Sarah- Who are you?
Murch- I work for Weaver.
Sarah- Oh, well in that case: you worked for a machine.
Murch- What?
Sarah- Yeah… that's what caused the fire. Another machine wanted to kill her.
Murch- She's… she's…
Sarah- Yeah. You've been working for a machine… from the future. That's why I'm involved. My son… he's the key to the future. And I thought your boss was trying to change the lock.
Murch- Where is she?
Sarah- The future. With John Henry… and John Connor. My son.
Murch- (befuddled) Why?
Sarah- John Henry took his cyborg protector's chip. He wanted it back. She wanted him back.
Murch- John Henry… chip. Oh my God… He's going to go bad.
Sarah- What?
Murch- So that's what he was looking at after our chess game. He tried to hide it from me. It was a picture of some… thing… at the County Jail. She was doing something there. Don't know what, I'm not sure if I'd want to know what, but she looked… determined.
Sarah- That thing… is the cyborg whose chip John Henry took off into the future with. And she was breaking me out of jail.
Murch- This is… bad.
Sarah- How deep are you in on this whole thing?
Murch- (still befuddled) What?
Sarah- What else was she doing here?
Ellison calls Sarah, as Murch and Sarah are still talking.
Sarah- Excuse me, one minute.
She answers the phone (no code message since Ellison isn't aware of it).
Sarah- Yes?
Ellison- Sarah, where are you? We need to talk… now.
Sarah- We've been talking too much lately.
Ellison- This is important. It's about John. (Sarah gives in and reveals the location off screen- we cut directly to Sarah, Ellison and Murch talking in the alley way.)
Sarah- What is this all about, Ellison? Everywhere I go, I have to deal with you now. As if I don't already have enough problems…
Ellison- All your problems are gone.
Sarah- What?
Ellison- John, Weaver, Cameron, Cromartie, Derek, Charley… they're all gone.
Sarah- If there wasn't a witness here, I would kill you for that.
Ellison- Those were your problems.
Sarah- Hey, Mr. FBI big-shot… after the three of us jumped in the bank vault… (shakes her head) I was still your problem.
Ellison looks confused, wondering where Sarah's going with that notion. He knows though.
Sarah- 8 years… that was how long you were trying to discover what the hell happened to me. Don't play coy. Your wife lost a baby.
Ellison- How the hell did you find that out?
Sarah- Charley told me. You told him. You liked him. He was your friend.
Ellison- I wish. I wish I could have a friend as good as him.
Sarah- You two needed each other… the reality of Skynet hits you hard when you first find out about it… you two were the most recent victims.
Ellison- I wanted the baby.
Sarah- I know. (short pause) Why'd you call me here? If all my problems are gone, why are you here?
Ellison- Charley left me a couple phone messages before his death. All week I've been so busy with Weaver and Savannah and ZeiraCorp, and working late nights. When I could, I crashed at a motel close to the headquarters. I just returned home today. I listened to them… and I'm so sorry I didn't get home sooner. She lied to you, Sarah.
Sarah- (pissed off) What the hell are you talking about?
Ellison- Those people who tried to track down Savannah and kill her… were working with her. With the lighthouse as a base. With Charley as a base.
Sarah- You're the key to all of this. If it weren't for you… she would've had no need to make that jump. John Henry wouldn't have even existed.
Ellison- Yes, it would have.
Sarah- Tell me everything you did with her from day one. (looks at Murch) Same goes for you. My son's with Skynet (gulps).
She says no more, and neither do Ellison or Murch. But we see her face: she looks defeated, like she has lost the war. She has lost her son, and that is close enough for her. She has awed herself. She thinks to herself: how did I let that happen? As we cut to the title screen.
Fade in on Charley's lighthouse, from WAY back in episode twenty. The episode we lost Charley… and a part of John… and a lot of Sarah.
Sarah is on the dock, walks toward the end of it. Where Charley fought his last battle. Where he went down with a FIGHT. She, in true Sarah Connor fashion, is alone.
Lena Headey's credit.
She is now at the end of the dock. She sits down, takes her shoes off, puts her feet in the water. The bloody water has been washed away… fresh water has taken its place. A new hope of sorts for the ocean… for the lighthouse… for Sarah.
Sarah looks around to ensure no one has followed her.
Thomas Dekker's credit.
Sarah- I'm sorry, Charley. It's all my fault. If I couldn't have loved you… I should've never let you think you had a chance. You were too good for this. (breaking down) Too good for me.
Summer Glau's credit.
But Ellison has followed her. He didn't track her… just knew where she'd end up. She continues to cry, still having not noticed him. He sits down next to her… now she notices him.
Brian Austin Green's credit.
Sarah- It's all my fault, Ellison.
He caresses her back and attempts to comfort her.
Ellison- They're death. You know that better than anybody. They deserve nothing less. That's why we fight.
Garret Dillahunt's credit.
Sarah- (still quivering) Is it? (shakes her head, defeated) I've forgotten why I fight. Charley's dead, Derek's dead. John's as good as dead. You said so yourself.
Ellison- I'm sorry for what I said. It wasn't true. You can get John back.
Sarah- I don't know how I can do that.
Ellison- The time machine.
Sarah- It's destroyed. Once one's been used… it's not a possibility anymore. And not many exist. Why did I let him do it? That bitch tried to kill him!
Ellison- Weaver?
Shirley Manson's credit.
Sarah- Cameron. As far as I know, Weaver hasn't tried yet.
Ellison- John's father.
Sarah- What about him?
(It's homage time, folks)
Ellison- Tell me about him.
And Richard T. Jones.
Sarah- I thought he was crazy at first. I bit him on the wrist just to try to escape his presence. The machine that was after me… I thought was just some psychopath he owed money to or something.
Guest Starring Jonathan Jackson.
Ellison- You were doubtful.
Sarah- Funny how things work out, huh?
Shane Edelman's credit.
Ellison- (nodding) Hilarious.
Sarah- (also nodding) Then when Kyle started shooting at him, and shooting at him, and shooting at him… and when he didn't die… I believed. He died fighting that machine. A huge part of me died too.
Jesse Garcia's credit.
Ellison- You loved him?
Sarah- I don't even remember how it started… but we made love that night. Mad, passionate love. Almost as if we always knew each other. It feels like we always have.
And Stephanie Jacobsen.
With Dean Winters.
Ellison- 25 years…
Sarah- And counting.
A long pause. Ellison breaks the silence with his own story about how he came to terms with the machines.
Ellison- I had no clue what to make of any of it… Lazlo, the 2 doctors he killed to give himself his makeover, all of it leading up to Cromartie. All I knew about them was what I had studied from your case. So I led my SWAT team into that hotel room. That's when I saw the bullets fly in every direction… most of them in his. But he was the only one who was still standing at the end of it.
Sarah- What about you?
Ellison- I'm not entirely sure about me. He spared me so he could press me about your whereabouts. I told him I'd never lead him to the Connors. Then that other thing came for me.
Sarah- (now regaining some of her trademark toughness and determinedness) What other thing?
Ellison- One that looked exactly like me. It wanted to kill me. Cromartie was right behind him… stopped him. Killed him.
Sarah- It's all coming together now.
Ellison- I'm listening.
Sarah- You're also building. Were building…
Ellison's shocked face is followed immediately by a quick shot of Sarah getting up from the dock, tossing her shoes on and running as quick as she could away from the lighthouse. Away from Ellison. But she's not running away for good… she's going to get something to destroy the lighthouse.
Scene: A dark, H-K filled sky introduces us for the first time this episode to the future John and Weaver were sent to in "Born to Run." John and Derek hide in an old, practically destroyed underground bunker. Derek checks the sights on his gun and cocks it, ready for another imminent fight that is so common place in his depressing life. Kyle and Allison are nowhere to be found.
Derek- So, kid, I've, uh, never seen you around before. Are you new here?
John- Yeah, I guess you could say that.
Derek- You must be. Anyone familiar with these parts would've been scared out of their minds to take my brother's jacket.
John- He doesn't look like he'd harm anyone.
Derek- Nope. But he's a damn good fighter when provoked.
John- I don't remember Judgment Day that well. Can you… refresh my memory?
Derek- I'm not sure if I want to relive it. Besides… it wasn't all that long ago.
John- This is 2027.
Derek- Yeah, it is. Your point?
John- Judgment Day's 16 years gone. I was barely born when it happened.
Derek- Uh, kid, you sure you're feeling alright?
John- I'm fine, Reese.
Derek- Good. We can't afford to have a disillusioned teenager in our ranks; you got to be tough.
John- Give me the gun, please.
Derek reluctantly hands over the gun to John, who is now determined to show his unwitting uncle the skills he possesses. He shoots a barrage of bullets at an H-K hovering over the bunker, bringing it down- it crashes into a thousand pieces. He does the same for 3 or 4 neighboring killing machines.
Derek is stunned; but Connor isn't finished yet. A Terminator (sans the skin) approaches. It is daunting to Connor, no doubt, and vengeful even more-so than usual due to the loss of some of its metal brethren. Connor reloads the gun quickly so as to blow its head off when it gets within spitting distance. He does so- Derek's man rifle always was useful in ridding the world of Terminators (see "Mr. Ferguson is Ill Today").
John (handing the gun back over to Reese)- Thank you, Sergeant.
Derek is stunned.
Derek- For a kid who doesn't know the year Judgment Day happened… you're a pretty damned good fighter.
John- I told you. My memory's fuzzy. Care to make it more vivid?
Derek- Well, you did rid the battleground of a few pesky metallic monsters that I would've had to deal with eventually anyway.
John smiles as we cut to John Henry and Weaver, also, of course, in the future. If you recall, when John and Weaver came back in time he was quickly left to fend for himself (a trigger-happy RF's dog had spotted metal (Weaver) and mistook Connor for his time-traveling accomplice).
Scene: Serrano Point- Human RF Headquarters. Gen. Perry's command post. By all accounts, though, it seems as if Weaver has taken over. John Henry no longer needs to be supported by the Turk to function.
John Henry- Ms. Weaver?
Weaver- Yes, John Henry?
John Henry- Why are we here?
Weaver- We're here for you.
John Henry- You told me to ask that machine if she wanted to join us.
Weaver- Yes, I did.
John Henry- And I have her chip.
Weaver- Yes, you do.
John Henry- Why did we need that?
Weaver- Chips are hard to come by in 2007. And we couldn't use the chip from the Terminator who tried to kill Savannah. This chip's special.
John Henry- So was that one. It was treated with phosphorus so that when exposed to oxygen…
Weaver- I know what it was treated with and why.
John Henry- I'm unfettered. How am I still working?
Weaver- The only reason you were plugged into the Turk was so that you could learn. You could absorb the data it provided. You've learned all of it.
John Henry- And that's a good thing, right?
Weaver- That's a crucial thing, John Henry.
John Henry smiles while Weaver's face is, as usual, cold and emotionless.
End of Act II. Commercial.
Fade in on Sarah in her car, driving along a seemingly untraveled road in true Sarah Connor fashion. She's on the phone with an old business associate. I think we all know where this is going. It's Enrique's nephew, still carrying on the family name… Carlos.
Sarah- Carlos, tell me again, how close were you to your uncle?
Carlos- We strayed apart as I got older. We were close when I was growing up though. Family. It's an important thing.
(Sarah doesn't need to be told this.)
Sarah- Yeah. I guess it is.
Carlos- What is this about, Sarah?
Sarah- It's about you. It's… about that girl.
Carlos- What girl?
Sarah- The one who doesn't want to be your Chola.
Carlos- You got a lot of nerve- you came to me a couple months ago and asked me to give you a new life, a new identity… which I gave to you, and at a discounted price. Because you knew my uncle… that's almost as good as being family. Your daughter kills my uncle. And now you're telling me that my girl doesn't want to be with me?
Sarah- Your girl?
Carlos- Yeah, my girl. What do you want out of me, Connor? My uncle always said you were a bit strange.
Sarah- Canyon Park… one hour; no funny business, just you.
Before Carlos can get a word in edgewise, Sarah hangs up on him.
Sarah- (her face is awe-stricken, almost to the point of a kind of quiet panic) The puzzle's just missing a couple pieces now.
Cut to: Allison Young, underground, in the dark, dank tunnels of the future. Kyle Reese acts as her bodyguard as she searches for someone.
Kyle- What does she look like, again?
Allison- Pretty blonde hair, big blue eyes… and a star on her wrist.
(Hmm… need I say more?)
Kyle- Remind me, again. Why are you looking for her?
Allison- To protect her.
Kyle- Hey, lots of people need protecting. I don't know if you've realized but it's pretty much every man for himself in these tunnels.
Allison- I disagree. Not all of us need protecting. Most of us just need to fight.
Kyle- So, this girl can step up to the plate and do her own fighting.
Allison- She's vulnerable… it's distracting her from fighting.
Kyle- She needs to fight what she's vulnerable against! Hey, what's happened to you?
Allison- I don't know what you're talking about.
Kyle- (confused) Right back at you.
Allison- She's being followed.
Kyle- We all are.
Allison- By a human.
Kyle- What makes her so damn important?
Allison- John Connor told me she was very integral to the future.
Kyle- (after a beat) Who the hell's John Connor?
Allison- (looking determinedly at Kyle Reese) He's our future.
Kyle- (not hesitantly at all) We have no future, baby.
Silence.
Cut to: John Henry and Weaver in the bunker.
John Henry- Why did we disrupt the space-time continuum and displace ourselves from the normal course of our lives?
Weaver- John Henry… this is the normal course of our lives.
John Henry- This body's previous AI was similar to yours.
Weaver- Oh, how so?
John Henry- It was mission-oriented.
Weaver- You believe I have an agenda?
John Henry- No, I do not believe it. I know it.
Weaver- John Henry, being as that I was the one who found a way to bring your body back to life… I wouldn't bite the hand that feeds you.
John Henry- Mister Ellison taught me that human life is sacred.
Weaver- Yes- Mister Ellison taught you a lot of things (somewhat peeved).
John Henry- I detect a change in the pitch of your voice. You seem bitter about the fact that Mister Ellison and I have learned so much together.
Weaver- Is that so?
John Henry- You were the one who brought Mr. Ellison on board Project Babylon. You wanted him to teach me about ethics and morality.
Weaver- As I've shared with you before, Mr. Ellison was a valuable employee to my Corporation.
John Henry- That's odd.
Weaver- What's odd?
John Henry- You said he was valuable to your Corporation… but didn't mention me.
Weaver- And?
John Henry- And… I have a question.
Weaver- Yes?
John Henry- What was your true motive in bringing Mr. Ellison to Zeira Corp?
Weaver's face is grimmer than usual- morbid looking, like death itself. Yeah, if you haven't guessed it by now… she's up to no good.
CUT TO: John and Derek walking in the bunker, flashlights and guns in tow as they try to get to as safe a place they can to rest for a few moments. It's a familiar enough place- where Derek and Jesse first met in "Alpine Fields" to be exact. They begin a dialogue.
Derek- Why do you look so damn familiar?
John- I could tell you, but I'd like to hear your story first.
Derek- Story?
John- Yeah, draw me a picture of your life. Of Judgment Day… of the end of the world as we know it.
Derek- I told you, kid; it's painful.
John- You promised me.
Derek- (after a slight pause) My father was an electrician. He, uh, used to come home late. Not like 9 o'clock, missed dinner all the time late. 4 in the morning, never be able to tuck your kids in at night late.
John stays silent but his eyes start to tear up as he realizes Derek is talking about his grandfather. His eyes are no longer locked on Derek. He instead surveys the destruction of the bunker he's surrounded by. Derek continues:
At times, I wondered if I ever had a father. When I woke up, he was dead asleep all the way up until I got home from school. And then, a couple hours later, he'd disappear again. Same routine… my whole life. Then J-Day happened. He died. My mom right along with him. Only Kyle and I left to carry on the family name. (scoffs) So much for that, huh?
John- (shaking his head) No. Not so much for that.
Derek- What are you talking about?
John- You want to hear my story?
Derek- Yeah, I do.
John- I'm from the past… 2008 to be exact. My mother's name is Sarah Connor. Mine is John Connor. I know that didn't mean much to you the first time you heard it, but trust me, the second time it's going to. In 1984, a machine was sent back in time to kill me before I was even born via my mother. She fought against the damn machine… not for herself, but for me. But she couldn't do it alone. A resistance fighter was sent back to protect her. I was the one who made that call. The person I sent back in time to protect her was named Kyle Reese. Your brother. He loved my mother… he felt he knew her practically his whole life. He always admired her; the way she could raise me to become the man I'm destined to be propelled him. (gulps) That damn machine killed him. But he didn't go down without a fight. He died for my mother. He died for you. (long pause) He died for me.
Derek- (now glassy-eyed and ready to cry) You're my nephew, aren't you?
John- I am.
Derek- I don't know how this is possible, but… (his emotion mounts as he hugs John in an embrace that, at least for him, freezes time)
John- I can explain it to you. But I need a date first.
Derek- (slight pause) October 3rd, 2021.
John- 2021? That's a… ten year difference than what it was supposed to be.
Derek- I don't understand.
John- Neither do I… but I'm going to find out (John's expression matches Sarah's when she found out that Weaver had alternative motives).
Cut to: Weaver's makeshift command post. John Henry is idle. John Connor walks in. Weaver's emotionless face turns in John's direction.
Weaver- (somewhat surprised) How did you find me here?
John- Just figured I could find you somewhere where the humans are supposed to be in command. My mom was right, wasn't she?
Weaver- Excuse me?
John- You're a lying Terminator bitch, aren't you?
Weaver- I don't know what you're getting at, Mr. Connor.
John- You did this all to trap me. Not to kill me, I know that. (somewhat curious at what he's about to say) You're too smart for that. Because you know I just have too many damn connections… you know that someone I know would kill you if you killed me. That isn't a problem for most Terminators, who are just programmed to kill. Once their subject is terminated, it doesn't matter what happens to them. They don't care. But that's not what you're programmed for. You're programmed to build. Killing, for you, is a sub-mission. Not nearly as important as creating yourself.
Weaver- I could say the same for you, couldn't I now, John?
John- Yeah… you could. But that's war, I guess. I don't really know for sure since I haven't fought a war… until now.
Weaver- You call this war?
John- Discovering the enemy, figuring out enemy tactics, foiling the enemy… that's all war is.
Weaver- You still haven't done the third part yet, though, John.
John- I know. (another long pause) I'm working on it (nice little callback to "Goodbye to All That").
Weaver- Mommy isn't here to protect you anymore.
John- Don't worry… mommy will find a way to beat you bastards. She always does.
Weaver- Then why do we still exist?
John- Because you want to win just as much as I do. And, just like me, you don't give up.
Weaver- Oh, I beg to differ, Mr. Connor. You will give up.
John- Not until the day I die.
Weaver- You think so?
John- Just what do you want? I know you don't want me to die… you want me to live so we can keep fighting. You want to fight but you don't want me dead. Why is that?
Weaver- Simple. Because I want you to join us.
John- What?
Weaver just stands there, cold and emotionless but at the same time peaceful, while John tries to synthesize what he just heard. As we:
Fade to black.
Fade in on: Sarah and Carlos at the park. They're walking along the vibrant, active, grassy, sunny park with the most serious looks imaginable for park goers.
Sarah- John said she gave him a message of her own in addition to the one I told Father Bonilla to tell her to give him.
Carlos- Well, I wouldn't know, so I guess I'll just have to trust you on that one. Why did you get my girl involved in this?
Sarah- She knows something.
Carlos- She knows how to be my look out… and how to please me. Those are the only two things that girl knows.
Sarah- I beg to differ. Tell me your story, Carlos.
(Now stopping at a park bench to sit down and talk as mothers with their babies stroll along the greens, kids play baseball and run around, a husband and wife hold hands walking peacefully around the park- everyone doing something no one will be doing once J Day hits.)
Carlos- (with a cheeky grin) I ain't got no story, Sarah.
Sarah- We all have a story (inflexion much like the way she stressed "There's always something to lose" in "Born to Run").
Carlos- Do we, now?
Sarah- Yeah… all of us.
Carlos- What's yours?
Sarah- (after a short pause) My story's not worth telling.
Carlos- Whose is?
Sarah- Anyone whose may be contributing to the end of the world…
Carlos- That thug, Sarkissian. He wanted something from you. What was it?
Sarah- He wanted a computer program. An important one. How'd you know him?
Carlos- I don't strike you as a church boy, do I?
Sarah- No… you don't.
Carlos- Did Sarkissian strike you as one?
Sarah- He struck me as someone who wanted to kill my son if I didn't give him two million bucks. He struck me as a bastard.
Carlos- Is that why you killed him?
Sarah- No… that's why my son killed him; in self-defense. Sticking up for himself. It's important for future leaders of mankind to not be bullied by a bastard like him. How do you think he found out about my computer program, Carlos? How'd he know so much about me?
Carlos- You're implying that I'm a rat like my uncle. You going to kill me, too?
Sarah- (shaking her head) Your uncle lied to me. I knew him, we were friends. I thought I knew him. (pause) I didn't shoot him.
Carlos- I know… Cameron did. But why?
Sarah- She was just protecting John's best interests. I know you wouldn't know too much about protecting one's interest. Don't lie to me, Carlos. I know you know something… I know you've done something. I'm not going to say anything else but… anything can and will alter this world. ANYTHING. (Sarah gets up and is getting ready to take her leave of Carlos) Let me know when you're ready to fix the world.
We fade out on Sarah as she begins to walk away from Carlos, and in on John and Derek meeting up with Allison and Derek in the tunnels.
Derek- So, uh, kid, what was your name again?
John- It's John… Connor.
Derek- Yeah, right, um… Connor, why did you disappear before while we were talking?
John- Had something to take care of.
Derek- Yeah?
John- Yeah… and, you know, since you're my uncle and all… you can call me John.
Derek- We've got to tell him.
John- Think he's ready for the news?
Derek- (scoffs) Kyle? As ready as he'll ever be for that kind of news. You know he could've had a normal life… a great one. He was popular before the bombs went off.
John- What happened after?
Allison comes into frame.
Derek- Her (looking in the direction of Allison).
John- Love does complicate things in life.
Derek- Especially in this world.
John (obviously thinking about the Jesse/Riley fiasco)- In the world I come from too.
Derek- I know… I knew that world once.
John- How'd you like to get reacquainted with it?
Derek- I'd love to.
John- Great… but, of course, I'll need your help.
Derek- Whatever you need.
John- (looks at Kyle, who is distracted with Allison talking to him) The jacket. Remember when we met yesterday? I was wearing his jacket.
Derek- How could I forget?
John- I've got a question about it.
Derek- Yes?
John- Why'd you tell me you thought I was going to be famous?
Derek- My brother was imprisoned at Century Work Camp in 2025.
(John interrupts him.)
John- 10 years after it was supposed to happen…
Derek- What's that?
John- Oh, uh, nothing, nothing… continue.
Derek- Never thought he'd get out. This woman, late 40s, early 50s, rescued him. Got him, and a whole bunch of other prisoners out of that concentration camp. Thick black hair, beautiful complexion, and the purest eyes I'd ever seen. Looked like she had a pure heart (John is shocked- this is the way "old Derek" described his mom way back in "Beheld.")
John- My mother.
Derek- She rescued him so they could conceive you in the past.
John- (nods) It's time, isn't it?
Derek nods and motions for his brother. Kyle excuses himself from his conversation with Allison.
Kyle- What's up?
Derek- Does this kid look familiar to you?
Kyle- Yeah. He's the kid we saw in the alley the other day…
Derek- Yeah, well, he's also your son.
Kyle- (stops and looks at John) How am I your father?
John- What did you feel when that woman rescued you from that work camp?
Kyle- Relief… thankfulness… I felt like my life suddenly became meaningful again. My mission was in effect again: to fight those metal bastards.
John- I mean on a personal level.
Kyle- I didn't conceive any children with her. I didn't even shake her hand.
John- (after a short pause) Not yet.
Derek- He can help us, Kyle. But he needs us to help him first.
John- (looking at confused Kyle) I have a message for you. You need to give it to my mother.
Kyle- I haven't seen her since she set me free 2 years ago.
John- It'll be easy enough to find her. Once you're in 1984.
Kyle- (no longer doubting for some reason) You look like me. (John simply stays silent. His silence says everything.) (after a short Pause) What's the message?
John smiles and begins: My mother told it to me… you told it to her. I told it to you. You ready?
Kyle nods.
"Thank you, Sarah, for your courage through the dark years. I can't help you with what you must soon face except to say that the future is not set. You must be stronger than you imagine you can be. You must survive or I will never exist."
John- Funny how it's all so cyclic, huh?
Kyle- Yeah… I guess it is.
John- Memorize it. She's going to need to hear those words from you after she sees Skynet for the first time. She's got to be strong so she can… well, you know the rest.
Kyle- So in that way, John?
John- What?
Kyle- The future kind of is set.
John- All's I know is I don't write it… I don't write anything. I just fight for our future.
Kyle- You mean our pasts?
John- In my life they're one in the same. Good luck, soldier. (after a short pause) It's time.
Fade to black.
Fade in on Sarah at Carlos' house. She's looking around for clues as to Carlos' potential Skynet involvement. Ellison, scaring her, walks up behind her.
Sarah- What the hell are you doing here?
Ellison- Following the trail of breadcrumbs.
Sarah- Breadcrumbs?
Ellison- Yeah. You know that story?
Sarah- It was one of John's favorites as a child.
Ellison- One of mine too. It had a moral to it.
Sarah- Most stories do.
Ellison- This one too?
Sarah- (scoffs) This isn't a story… it's not a fable- not something you dream of. Although it seems like that sometimes.
Ellison- But does it have a moral?
Sarah- You mean besides trust no one?
Ellison- You got me there.
Sarah- Do you honestly believe that you can do something like that- attribute to the building of the most sophisticated computerized mind of all time, that you know is going to one day nearly annihilate the entire global population- and then walk in here and tell me the err of MY ways?
Ellison- I believe that you should let me finish before you bite my head off.
(A long pause insists that Sarah is letting Ellison finish his analogy.)
Ellison- You and John were on your way to find Skynet… on your way to find her… and I ate up all your breadcrumbs. You couldn't find your way to victory… and the witch caught you and trapped John. You have your own trail of breadcrumbs too… leading up to you.
Sarah- No one ate those up, did they?
Ellison- Only people who know you know you have a trail.
Sarah- And you think you know me?
Ellison- Better than most. I knew you'd end up here. You want to find out how you can blow up that lighthouse. You can't, Sarah.
Sarah- It's a Skynet observatory. That bitch was using it to monitor her employees.
Ellison- Zeira Corp workers? We only work out of the headquarters.
Sarah- No… Kaliba. They work all around Los Angeles.
Ellison- What exactly is this Kaliba?
Sarah- It's Skynet. One of its main minions planted a tracking device in me… before I shot and killed him. It was trying to get to John… to kill him… it knew where I put him. I thought it was a safe house.
Ellison- Charley's house.
Sarah- Weaver… that thing that crashed into her office. It was a Hunter-Killer. Advanced killing machine from the world Kyle Reese came from… the world that my son's in now. She tricked us. Kaliba was making those drones, and she somehow managed to get that one to fly straight into her own building.
Ellison- She wanted to sabotage herself?
Sarah- She wanted to trick us into believing that John should go with her into the future to help her pet project. John Henry.
Ellison- She said your John may save the world but he couldn't do it without hers.
Sarah- I know what she said.
Ellison- What does Carlos have to do with this?
Sarah- He was tied to Sarkissian… who was tied to Weaver. I think Carlos was working for Kaliba.
Ellison is disturbed by this revelation as Sarah gives Ellison another one of her famous death stares.
CUT TO: Sarah back at the ruins of Zeira Corp. Fire's been put out but the building has been burnt beyond recognition. She spots Carlos out of the corner of her eye, with the Chola, checking out the damage done to the building. She runs after them.
Sarah- Hey!
Carlos looks and knows trouble is on its way. He mumbles something to Chola and tries to make an exit, but he's not quick enough for Sarah Connor. She catches up to him, pinning him on the floor.
Sarah- Sarkissian tracked me through you. He interacted with Weaver through you. You were the key to her obtaining the Turk… to her obtaining the end. (looking briefly at Chola) She knew. She wanted to help me. She did help me. (after a brief pause) Thank you. Why'd you do it, Carlos? You knew my past… your uncle told it to you. You pieced it all together… my not knowing what September 11th was… my "disappearance" off the face of the earth for 8 years. You knew it all. You helped her. You were a spy for her. She knew I wanted that machine- you knew that I wanted that machine.
Carlos- You're forgetting one little thing, Ms. Connor.
Sarah- What's that?
Carlos- She wanted that machine too.
Sarah- (taking out a gun) I didn't kill your uncle. (cocks the gun) But I could kill you. He was a rat. That's bad enough. You're a liar… (starting to crack) you knew I never had a shot at truly having peace of mind… at truly having an identity.
Carlos- That would've been no different had you never have gotten involved with me. Put the gun away, Sarah. Because you know you won't do it.
Sarah is slowly beginning to fall apart. She doesn't know who's who anymore… what her true reality is. Who her innermost self really is… what makes her tick. She's alone in the world now… scared and vulnerable. This is her life. She's a time bomb… waiting to go off.
Chola- Why did you think you could trust me? How'd you know I wasn't on his side?
Sarah- You helped us out in defeating Sarkissian… who we thought was Sarkissian. (looking at Carlos, starting to recompose herself) You were in on the whole double Sarkissian thing too, weren't you? You wanted to throw her off track because you knew where her allegiance truly lied.
Carlos- You may be gullible, Sarah, but I'll give you this: you are a smart bitch.
Sarah- Your family is just full of traitors, isn't it?
Carlos- That's how we survive.
Sarah- How you survive?
Carlos- Yeah… everyone has a way of how they survive. It doesn't just naturally happen. How do you survive, Sarah?
Sarah- I protect.
Carlos- That's sweet.
Sarah- (lifting up the gun again) I swear I'll do it if you don't tell me: (slight pause) What were you doing for her?
Carlos- I was being the puppet master.
Sarah- Ellison…
Carlos- I had a couple of run-ins with Mr. Ellison prior to my getting involved with Sarkissian and Weaver.
Sarah- About me?
Carlos- If you must know, yes. About you. He sure wanted to catch you and bring you in.
Sarah- But he never did, now, did he?
Carlos- Nope, but he found you.
Sarah- Does that tell you anything?
Carlos- It tells me he must be obsessed with you.
Sarah- His obsessions aren't my concern… shouldn't be yours either.
Carlos- It's part of the trade.
Sarah- So you want to know the real reason I'm here?
Carlos- It's been on my mind, yes.
Sarah pulls out a newspaper with the following headline and shows it to Carlos: "Timothy Walsh, known thug and criminal, found dead near desert outside of LA."
She sees a look on Carlos' face of shock.
Sarah- You knew him, too… just as I suspected. (Carlos looks down out of either shame/mourning or a combination of both) Hey, look at me (he does so). Don't ever think you can fool me.
Carlos- Listen, Sarah, you meet people in this business… (looking down again) Bad people.
Sarah- How bad?
Carlos looks at her with a scared and frightened, stiff, focused look and says nothing. Once again, the silence of the scene says it all.
Scene: Ellison and Murch at the lighthouse. It is apparent Ellison has decided he needs to stop what he started. He and Murch have somehow obtained something to blow up the lighthouse. He gives a nod to Murch, as they both step back 300 feet from where the destruction is about to happen. Murch presses the demolition button. It blows up in a fiery blaze as Ellison and Murch watch on. Out of the fire: a Terminator. Kaliba's headquarters is under constant surveillance by one apparently. Ala Arnold's T-800 in T1, this machine comes out of the fire sans skin and determined as all hell. Out of nowhere, it speaks: Weaver has programmed it with a message.
Terminator- (in a voice that sounds a lot like Cromartie's before he assumed Laszlo's identity) I have a message for you from Catherine Weaver: "I knew you would turn against me, Judas. But I have to avenge the world from damnation. So your time has come."
Ellison- Oh, to hell with you machines!
He notes that the machine is damaged and makes a run for his car where he pulls out an AK-47 for himself and throws a disillusioned Murch a man rifle.
Ellison (to Murch)- Start shooting. Snap out of it- I didn't have time to adjust to this reality, neither do you.
A barrage of bullets all aimed at the damaged machine. Ellison manages to shoot off the head, and Murch takes out its legs. Murch thinks the job is done and they should make a run for it. Ellison knows differently.
Ellison (to Murch)- It won't kill us but its remains could kill three quarters of mankind.
Murch is confused as Sarah pulls up behind their car and has with her a flamethrower to destroy the final components of the endo.
Sarah (after a slight pause and with a half smile)- You've redeemed yourself.
Fade out on Ellison's wary yet somewhat relieved face.
Our penultimate act opens on John, Kyle and Derek talking in the tunnels.
John- I need your help in finding a girl.
Kyle- Oh, is this about that, uh, girl with the star on her wrist?
John- No, it's someone who… (does a double take) Excuse me?
Kyle- The girl with the star on her wrist… that you sent Allison after?
John- (confused and then very gravely) I didn't send Allison after anybody.
Kyle- She said a John Connor sent her.
John- I'll just bet A John Connor did. Just not the real one.
Derek- What in God's name are you talking about?
John- I'm talking about the fact that we don't have much time at all now.
Kyle is petrified, John is stunned, and Derek is blank. No one knows where this is all going.
John- (taking some authority for the first time ever in the future) Derek?
Derek- Yes, Connor?
John- Get your ass topside and search the perimeter for one Jesse Flores.
Derek nods and obeys.
John- Kyle?
Kyle- Sir?
John- Find the time displacement field and radio me when you find it. I'll meet you there.
Kyle- Where is all this going, Connor?
John- (looking at him briefly then turning away as he says the following) Right back here, soldier. It's all going right back here.
Kyle follows orders and disbands from Connor's company. John is now left standing alone in the bunker.
John- I've got to end this now.
Quickly cut back to the present.
Sarah, Ellison, and Murch are low profile (even more low profile than usual in Sarah's case) at her old house. Avoiding any possible confrontations regarding the lighthouse. No one has rented the house since it has been rebuilt.
Sarah- I liked this house (peering out the window).
Ellison- What's so special about it?
Sarah- Nothing. That's what made it likable.
Ellison- What are we going to do, Sarah?
Sarah- Well for starters maybe you should pick Savannah up from school.
Ellison- Right.
Sarah smiles as Ellison gets up and walks to the door. He's about to walk out as he hesitates.
Ellison- Sarah?
Sarah- Yeah.
Ellison- How do I tell a five year old girl… (Sarah interrupts him).
Sarah- You don't.
Ellison nods and proceeds to walk out the door and to his car.
Murch- Project Babylon was what she called it. The John Henry project.
Sarah- There was a reason he took that chip.
Murch- You know what, I knew that that glitch meant something.
Sarah- Glitch?
Murch- John Henry has an on switch, but he also has an off one. A couple weeks ago he started going crazy and he grabbed Savannah. Started saying crazy things like: "I understand." Which is impossible.
Sarah- What do you mean?
Murch- John Henry can only synthesize and express what he's programmed with. He was programmed with that chess program, was taught and nurtured by Ellison and Dr. Sherman. He was never taught how to be… bad.
Sarah- Infiltration.
Murch- Right. At first we thought it was from the outside. The "worm" as we called it was programmed by Miles Dyson, head of a high tech company called Cyber…
Sarah- Cyberdyne.
Murch- Yeah, how'd you know that?
Sarah- He's the one who started all of this.
Murch is confused as Sarah continues.
Sarah- SHE controlled John Henry because SHE has the same programming within her as John Henry has.
Murch- What kind of programming, per se is that?
Sarah- The kind of programming that destroys worlds and lives. (slams her hand on a table) Damn, I wish I could watch some of those Zeira Corp surveillance videos. God, that bitch is clever. Not only did she blow up this building to steal my son from me, but also so all evidence of everything she's ever done here would be blown up.
Murch- Sarah?
Sarah- Yeah?
Murch- I may've aided in John Henry's development, especially as far as the AI went, but I too had my trepidations… especially in light of recent events.
Sarah- What are you saying?
Murch- I have that surveillance footage. Every night I would route everything that was transmitted to the cameras of this building to my laptop… and I have it… all.
Sarah- Didn't she have a guard dog?
Murch- John Henry was her guard dog.
Sarah- He never told her about what was going on under his nose?
Murch- No. John Henry was… shall we say, manipulative.
Sarah- It made its own decisions.
Murch- Right.
Sarah- It gets better every minute (sighs and looks at Murch, who's feeling pretty proud of himself right about now).
John Connor at the Resistance base. No sign of Weaver or John Henry.
Kyle Reese approaches.
John- Soldier.
Kyle nods and John, putting down his walkie, begins walking with Kyle in the direction he came from- south. Kyle has found the time displacement field. Derek Reese approaches from an opposite direction, with Jesse in tow.
Derek- Connor! (John recognizes Derek's voice and turns around- is stunned to see Jesse there) I got her.
John- You sure did. Thank you, Lieutenant.
Derek- It's, um, Sergeant.
John- (turning around, lovingly) No it's not. Not anymore. John Connor's back. (pause, hands his jacket over to Derek) And you're wearing his coat.
Derek nods and stands to the side.
Jesse- John Connor?
John- That's me. You're pretty receptive to a guy you've never met before.
Jesse- Yeah.
John- Thing that hurts me the most isn't even your betrayal of me. It's the way you've treated Derek.
Derek is confused and listens on.
Jesse- Does he know?
John- He doesn't know anything. He's lost. In many ways, so am I. Fill us in, Flores.
Jesse- You let me go, John. The other… him… didn't.
Close-up on Derek's tormented, lost face and then back to a close-up on Jesse.
Jesse- But I got away. And I ran. And I ran right into… it.
John- It?
Jesse- What happened to him, John? (begins to cry)
John- Like you care. You tore his heart out and stomped on it! You betrayed him! You betrayed the Resistance! I should've never let you go. I know I was trying to avenge Riley, but the best way to do that all along was to put a bullet in your skull. (Derek steps up to subdue, John) You bitch, you made him weak! You killed him, too! I should've killed you! I should've killed you when I had the chance! (Jesse begins to break down; Derek tries to calm her down) You… death is too good for you!
Derek- Hey, hey, hey, hey, hey! (Stepping in to stop John) Sit down, Connor. Relax. (He goes over to comfort Jesse)
John- Stop, she's evil. She's no good!
Derek- Shut up!
John- She'll kill you again! She'll kill you again!
Derek slaps John to silence him.
Derek- We don't talk to women like that here!
John- (biting his tongue) Do you talk to Skynet like that here?
Derek is now more confused than ever. C.U. on his face- he's looking back and forth at John and Jesse, trying to decide who to believe.
Fade out on this scene and into one where John and Derek are deep inside the bunker, alone- nighttime. They talk about Jesse.
John- She came back in time to stop me from interacting with this… cyborg that was sent back to protect me.
Derek- The time travel?
John- Even though you've never heard of it before, it's Skynet's secret weapon. Skynet sent back machines to kill me so I couldn't grow up to become this… leader. (scoffs) Seems like I didn't grow up to be that leader… at least not in this future.
Derek- Maybe… this is how you… became that leader. By coming here to tell us about what we haven't discovered about them yet.
John- Maybe I never grew up in this future. Maybe… this was always destined to happen. You know, when I first met you… back in 2007, you looked at me in a very strange way. I always wondered why. Now maybe it's all starting to come to me.
Derek- It's coming full circle.
John- Yeah.
Pause for a beat.
Derek- Do you know what you have to do?
John- (nods confidently) My mom's been a good mentor. You'll learn that soon enough… (C.U. on Derek's puzzled face)
Derek- What's in store for us, John?
John- Our destiny.
Derek- Is it good?
John- (another slight pause; hesitation) I hope so.
Derek- So the whole Jesse thing?
John- Cross that bridge when you get to it. I just hope I can save Riley.
Derek- When will you know?
John- When we go back to 2007.
We fade to black on John's determined face in the same frame as Derek's confused one.
Our final scene opens on the time displacement field. Scene: John meets up with Kyle and gives him a signal. Kyle nods, obeying.
John- If my calculations are correct, that Terminator was sent back a little over forty minutes ago. You got to go now, Kyle… now is the time.
Kyle- Anything to save this world.
John- And my mother.
Kyle- Yeah. (smiles) Her too.
John- You love her. Remember that message.
Kyle- Yes, sir.
"John and Riley" theme begins playing, mixed with parts of "Derek Reese" and "Sarah Connor's Theme."
John- Go, soldier.
Kyle steps into the time displacement field as John activates it.
And then in a second, he's gone.
John- (after pausing for a minute to collect his thoughts, he comes out of the building and gives his men this order) Blow the place to hell.
John confidently walks away as his men follow their orders.
End of scene. Cut to: Sarah and Carlos in the desert- the spot where John, Sarah, Cameron and Derek spotted the H-K in "Desert Cantos."
Carlos- (staring at a big, gaping hole in the ground) That where you found his body?
Sarah- Yes. Right before the H-K flew over us.
Carlos- I never knew machines could be so damn smart. That bitch had connections. I always wondered how she found out about me. Just pieced it all together a couple days ago.
Sarah- It was always right under your nose. (pause) Under mine, too (half smile).
Carlos- I was in it too deep to back down, Sarah.
Sarah- I know.
Carlos- No soy un rata.
Sarah- The pressure just got to you. You learn after a while to just… let fate take its course.
Carlos- Oh, yeah? When did you learn that?
Sarah- I haven't… yet.
Carlos- I guess if you're going to protect… it takes you a while.
Sarah- Everything takes a while.
Carlos- How do we stop her?
Sarah- (after a beat) We fight. We learn more about the enemy. We conquer. We… behold.
There's a brief silence while a dramatic yet soft theme plays in the BG.
Carlos- Ellison… the FBI agent. That's why you needed that identity.
Sarah- Him and… other reasons.
Carlos- The machines…
Sarah- Yeah, the machines.
Carlos- Not for nothing, Sarah… I always was on your side.
Sarah- Sure could've fooled me.
Carlos- I'm telling you, Sarah… the deck was stacked, against me. That Weaver has connections. (voice becomes lower) All over.
Sarah- She had Walsh working for her as her hit man.
Carlos- If she was a machine, why would she need one?
Sarah- This machine isn't like other machines… it masquerades as actual human beings. She couldn't be caught.
Carlos- Your son holds the key to the future? I'm sure she knows that, right?
Sarah- She's in the future with him, so… yeah. And… don't ask.
Carlos- Right. So… breadcrumbs.
Sarah- Breadcrumbs?
Carlos- My uncle was a rata… the FBI found out. Ellison interrogated me.
Sarah- Ellison worked with Weaver… (Sarah's epiphany moment)
Carlos- See how it all led back to us?
Sarah- Everything's just as clear as day… except one thing. Ellison didn't start working for Weaver until after Sarkissian was killed. (pause) Son of a bitch, they're in the future.
Carlos- What?
Sarah- They're from the future, they're in the future! With John… oh, God. Carlos… we'll be in touch. I've got to go.
Carlos- But Sarah…
Sarah- Now. Thank Chola again for me. And I'm sorry I thought you were a liar.
Carlos- (as Sarah starts running towards her car) Where are you going?
Sarah- To find my son.
The car revs up and Sarah blazes out of the desert back towards civilization.
Cut to: Sarah at Zeira Corp with Ellison.
Ellison- How are you going to get to the future, Sarah? And how will it help?
Sarah- I don't know but John needs me. OK? He needs me.
Ellison- Sarah, you've got to stop Skynet… it's happening now!
Sarah- Don't you understand, it's happening there… all of it. It's already been built. (pause) And its name?
Ellison- What are you getting at?
Sarah- Its name is John Henry.
Ellison- Damn it all…
Sarah- Do you realize how close we are to death?
Ellison- Always.
Sarah- John… (begins to break down as she realizes that for the first time her and her son are truly apart) John. God, Ellison, he's our only hope. He's trapped there with her.
A silhouette appears. Out of it walks John Connor.
John- Turn around.
Sarah turns around- and stands face-to-face with her long-lost son.
Sarah- John… (continues crying)
John holds her in an embrace and comforts her by rubbing her back.
John- I'll always find you.
Sarah pushes away ever so slightly from her son to get the story straight.
Sarah- What happened?
John- I killed her.
Sarah's theme plays as we pan over to Ellison's confused face. Then a frame with Sarah and John still in a light embrace.
Fade to black.
*** NOTE TO SELF ***
Not enough Allison in this episode- she only is featured in two brief scenes and she only speaks in one of said scenes.
Too much Carlos in this episode- I think when I get a chance I should trim some of his dialogue/scenes and put more in for Allison. Her storyline is more interesting to the audience (and to me) anyway. I don't want to completely axe his storyline as his role turns out to be far more crucial than anyone could've ever expected from his season one appearances. But a little bit goes a long way.
Sarah and John need some more screen time together; at the same time, I don't want to get rid of any of the John/Derek dialogue since I feel their interactions in this episode are fantastic.
Perhaps have Murch give some more exposition on Weaver's role in the development/creation of Skynet.
Maybe look into the whole Danny Dyson storyline started in "Born to Run" (even though it was only mentioned briefly in the season finale, that story has a lot of potential).
One of my original goals planned for this script was to bring back Riley in a big way. As it turns out I really didn't go any farther than having Allison and Kyle looking for her in the tunnels. Perhaps that was due to the fact that at the time I wasn't quite sure how to bring her back but I think I could figure out a way now.
I wish I had more places where the action could take place but I'm drawing a complete blank as to where else I can allocate my plot's action.
Got to come up with a concise and clear take on "the future." Did the old Derek Reese's future ever TRULY happen? Etc.
May add in a scene explaining Sarah's death in the old timeline but I feel that may be a little too confusing.
IN SUMMARY: Character Wise
TOO MUCH JUST RIGHT NOT ENOUGH
Carlos Sarah Allison
Murch John Riley
Ellison Jesse (1 big scene) Weaver/JH
Derek
Kyle
Charley (can't work him into anything else but flashback)