ACT TWO
(T-950 vs. TOK-725)
INT. STUFFED ANIMAL STORE - DAY
The store sells stuffed animals. Large, small, and everything in between. Stuffed animals fill every shelf, every counter, and hang from the ceiling.
The store is very crowded with CUSTOMERS, and the SALESPEOPLE are very busy. SARAH CONNOR as Sarah Gage wears sunglasses, lightly disguised but still recognizable, wanders through the aisles looking for...something. As Sarah wanders among the crowd, in b.g. we see OUT-OFFOCUS a BLACK WOMAN tracking her.
OVER THE SHOULDER of the Black Woman we see Sarah wandering toward the exit.
Sarah and a SHOPPER find themselves in each other's way.
SARAH
Excuse me.
FOLLOW SARAH as she exits the store.
EXT. STUFFED ANIMAL STORE - CONTINUOUS
Sarah walks past the large display window and melds into the SHOPPING HORDE.
Once Sarah disappears, the Black Woman, TERISSA DYSON (45) emerges from the store and...
TERISSA'S POV
Scans the Crowd for any sign of Sarah
BACK TO SCENE
She curses to herself before being shooed out of the way by CUSTOMERS.
EXT. SMALL ALLEY – DAY
WE TILT DOWN AND SEE SARAH and Ellison meet with Terissa who follows them into this alley.
CLOSE ON THEM as Sarah puts her sunglasses off.
TERISSA
How is this safer?
SARAH
No cameras. And a little money buys
a lot of privacy. Your son is missing.
Four months now.
TERISSA
You know that.
SARAH
Did the FBI give you any information?
Terissa's mouth opens as if to say "how", but she skips it.
TERISSA
No. They never told me any more information
than I'd gathered myself. Can you help me?
Help Danny? Help my son?
SARAH
Why me?
Terissa's face at first looks pleading but then turns resolute.
TERISSA
You owe me. You'd asked me to help your son
once and I gave you my car. You remember?
SARAH
Yeah. I do.
Ellison sees something out there, someone's coming.
ELLISON
Sarah. A woman.
Sarah and Terissa turn to the same way that Ellison's looking to.
OUR POV TURN FOLLOW THEIR SIGHT.
We see T-Monica slowly walks to them and aims the gun from the long distance.
SARAH
Not a woman, a metal bitch.
(beat)
Run!
They immediately run off the alley backward. T-Monica suddenly fires her gun to, and runs follow them.
INT. GROUND FLOOR OFFICE - DAY
It's still the debris strewn, dusty, office with the west facing window. General Perry and Pichitchai, sitting on a pile of debris, seem very intense. John and Weaver stand in front of them.
PERRY
And there are people to confirm this?
JOHN
A few. They're coming. They are the
only ones who know. For now.
PERRY
For now?
JOHN
Others will know soon enough, but we
aren't there yet.
PERRY
For what?
Perry stands, being commanding. Pichitchai still sits there. John seriously considers his next words.
JOHN
There aren't enough people to defeat Skynet.
PERRY
I know.
JOHN
No sir...There aren't enough people
to defeat Skynet.
Perry's eyes widen as he understands.
PERRY
That's insane.
WEAVER
And risky. A lot of people will get
killed when we do it wrong.
PERRY
But if you both do it right...
JOHN
When we do it right...Mostly expendable
soldiers just as strong and single-minded
as the enemy. The more Skynet builds,
the more we have to use against it.
PICHITCHAI
You think this can work?
JOHN
It already has.
PERRY
Really? Where did...oh, you mean...
JOHN
Yeah.
PICHITCHAI
I suppose you are going to be wanting to
capture endos, not kill them?
JOHN
As long as we can get them into reboot,
it's not that tough.
PERRY
And in this past future,
I went along with it?
JOHN
That's what everyone tells me.
Perry paces around. This plan is "out there".
PERRY
I'll have to think about it some more.
(beat) Lieutenant.
John snaps to.
JOHN
Thank you, sir.
Perry and Pichitchai exit, a very slight smile on their faces and shaking their heads.
EXT. LITTLE RUN DOWN HOUSE – DAY
A small run – down house is under the canyon. Cameron/John Henry with all problem fixed (he still has some cuts and some marks) is far from it about 200 meters. Someone is watching him from a window of that house.
CLOSE ON
...someone that is Older MATT MURCH (45-ish). He is looking him by using a spyglass.
INT. LIVING ROOM, LITTLE RUN DOWN HOUSE – SAME
A small living room in the house, basically a very disordered room, contains a wood door connect to forecout, a bucket, one light bulb, two worn – out sofas, broken windows (from bomb force after JD), three watchers at the largest window including MATT MURCH who is using a spyglass, FATHER ARMANDO BONILLA (52-ish) who is sitting on the floor with a bible in his hands, and EX – FBI AGENT ALBERT AULDRIDGE (49-ish)who is watching with a sniperscope that installed on his AWP sniper rifle.
MURCH
No, that's John Henry.
ALDRIDGE
Yeah, he is.
BONILLA
Are you sure?
Murch and Auldridge put their spyglass and sniper rifle on the floor. They exit. Bonilla puts his bible on the floor then picks an AWP up and aims it to Cameron/John Henry.
EXT. LITTLE RUN DOWN HOUSE – SAME
Cameron/John Henry walks to an area draw back from the house about 100 meters. He sees Matt Murch and Albert Auldridge exit from the house. They are running to him.
TERMINATOR H.U.D. (CAMERON/JOHN HENRY)
A full color, blue frame display like Cameron's. His cursor points at Murch then his lower command display shows : "IDENTIFICATION :" after that, it shows : "MATT MURCH".
BACK TO SCENE
Cameron/John Henry starts walking to them.
INT. LIVING ROOM, LITTLE RUN DOWN HOUSE – A WHILE LATER
Matt Murch, Albert Aldridge, and Father Armando Bonilla sit on a sofa. They are looking at Cameron/John Henry who is standing on the floor draw back from them about three or four steps.
MURCH
How are you John Henry? Did you
meet with Ms. Weaver here?
JOHN HENRY
Yes, Mr. Murch. I'm okay and I met
with Ms. Weaver two days ago.
BONILLA
So how is she? Cameron?
JOHN HENRY
Father Armando Bonilla. Cameron. She's okay.
She's here, in part. I'll call her.
They stop for little seconds.
CAMERON
Buenos dias, Father Bonilla.
BONILLA
Buenos dias to you too, Cameron.
CAMERON
Why did you know my name?
I never told you that thing.
BONILLA
The same answer of why I have
survived from J-Day, Sarah Connor.
CAMERON
Sarah Connor. Where is she now?
BONILLA
In the grass.
CAMERON
I'm sorry.
BONILLA
For what?
CAMERON
For her death. How did she die?
MURCH
She fought for us. She built this house and
the basement for us. On the judgement day,
she called us then sent us to this house's
basement. (beat) She was a heroine.
ALDRIDGE
(interrupt)
Excuse me, sir. But we've no time for this.
We've to move from here but the machines
obstruct us in the way to Topanga city.
CAMERON
(to Aldridge)
No, Mr. Aldridge. I and John Henry
led them all to the hell three days ago.
They all smile.
ALDRIDGE
That's a good news. So move.
They all stand up then exit to other rooms. Cameron/John Henry is still standing alone in that living room.
EXT. ALLEY – DAY
This is another alley. BLAM! BLAM! BLAM!
WE TURN AND SEE T-MONICA RUNS FOLLOW THEM. T-Monica has emptied her gun but the bullets have not attacked on anyone.
BACK TO SCENE
Sarah, Ellison and Terissa run into our scene. Terissa falls on ground. For them, there's no hope now but...
CLOSE ON THE WINDOW NEARBY THEM T-Lampage who wears a white T-shirt cover with a black jacket, dark blue jeans, a shotgun in his left hand, and sunglasses jumps through the window to them.
BACK TO SCENE
T-Lampage doesn't interest anyone. He glances hard at T-Monica who stops running and starts to examine him as in b.g., Sarah and Ellison holds Terissa up to her feet.
T-LAMPAGE
Go if you want to live.
They all nod then walk off this alley together as in f.g., Lampage still stands like a statue, blocking T-Monica from the way to run after Ellison, Terissa, and Sarah.
LAMPAGE'S H.U.D.
Lampage's display scans T-Monica, getting recognition of new model's endoskeleton shape inside of Monica. Result shows: "MODEL MATCH: T-950" and another line shows: "SKYNET'S TERMINATOR". Mission-Override. "RESIST".
CUT TO MONICA'S H.U.D.
Monica's display scans Lampage, getting recognition of the resistance cyborg model's endoskeleton shape inside of Lampage. Result shows: "MODEL MATCH: Template of Kill – Lampage Moore (TOK-725)" and another line shows: "Resistance cyborg". Mission-Override. "Terminate".
BACK TO SCENE
LAMPAGE aims his shotgun to Monica then fires.
ON MONICA, as the shotgun blast hits her arm and he FIRES, simultaneously. She bounces and falls on the ground backward.
Lampage starts running out at the same way where Sarah and her friends have run pass, and stroking up another shell as Monica half-rises behind him.
Lampage has left from our scene as Monica successfully rises up and starts running after him.
EXT. STREET – DAY
LOW ANGLE TO: Lampage with his shotgun, runs across the street faster than every cars that drive pass the incident. A few seconds later, Monica runs following him, crossing the street as some cars screech to the stops. There's chaos on the street now but both terminators has run pass. Nothing happens more.
EXT. PARKING LOT – LATER
Lampage runs from the street into the parking lot somewhere as he turns and sees Monica who's faster than him. She runs into the parking lot with a non-human speed.
Lampage lefts his shotgun to the car, taking just a second for thinking. He lowers the gun and fires into the gas tank of a car just before Monica reaches it.
The car EXPLODES, filling the scene with fire. An inferno funneled between the cars.
PAN TO LAMPAGE who smiles and turns to leave just as the PICKUP TRUCK runs from another way and stops at him.
LAMPAGE looks and sees ELLISON PUSHING OPEN THE PASSENGER DOOR
TO A PICKUP TRUCK. He scrambles into the car. They are outta here.
BACK TO THE BLOWN-UP CAR as a heap of fire has covered it. Monica who looks like hell and some paths of her clothes are burnt, walks off the flame together with her cuts and burns are healing until she becomes her old form as before she was attacked by the fire. She stops nearby us for a while before she walks off the scene silently.
INT. PICKUP TRUCK – DAY
Ellison drives as Lampage sits on the passenger seat. Ellison talks with him while he drives.
ELLISON
Who are you?
LAMPAGE
Lampage Moore. (beat) TOK-725
ELLISON
TOK what?
LAMPAGE
I'm template of Lampage Moore. He was killed
on his mission. TOK is an abbreviation for
"Template Of Kill". TOK-725.
ELLISON
You was built by?
LAMPAGE
I'm the special TOK that was
built up by the Asian alliance.
Ellison turns the gear to stop the truck and turns to talk with Lampage again.
LAMPAGE (cont'd)
I was sent here to protect ten
people or more in the termination
list of those terminators.
ELLISON
There are others? Can you defeat her?
LAMPAGE
Hard to say. She was a new model,
newer than T-888. The T-950.
ELLISON
Nine-fifty?
LAMPAGE
Her endoskeleton is re-designed for
flexibility and lightness. She can
defeat the re-programmed triple-eight
more easily. Her skin is re-designed
for non-human regenerative. She's
faster and stronger.
ELLISON
So you can't kill her.
Lampage shakes his head, "no".
LAMPAGE
I'm not sure about that. I was
re-designed to fight with the
T-950 but I'm not sure.
ELLISON
Why?
LAMPAGE
I'm like her but my system still
looks like every TOK. I can't
access myself into the server by
wireless connecting like her.
She can find her targets so
easily. We should kill her
before she finds them.
Ellison starts the truck again.
LAMPAGE (cont'd)
Where're Sarah Connor
and Terissa Dyson now?
ELLISON
Sarah brought Terissa to
Zeira Corp.
Ellison continues to drive now.
END OF ACT TWO