WE OPEN ON: Q THE BLACKNESS OF A COUNTRY HIGHWAY AT NIGHT. We're at ground level, speeding along the asphalt\ here’s nothing to see, just the sensation of forward movement as our POV eats up mile after mile. VOICE OVER I will die. I will die and sé\\vull you. Death gives no man‘\% Death is patient. Death Death waits and ares little what you do ege days Your struggles, your chtorles, every tlny moment belon s t h Death is generous \) ll The asphalt begins to show more deflnltl the road line clearer as the to\llghten VOICE OVER A It thatt“‘desplte what they you/\cannot'f heat\lt The bill omes due and\ygu /pay it. Everyo has. It’s early morning linesg \fly by} .(We\’a/:e speeding... h VOICE OYER U Gezth(ls an immorta \l\aeast makJ.ng way from the \\ mov1ngfat 1tsx< weet pace. THE\SPEEDING CAR._- MORNING m (30)4 dr:.ves a bat out of hell. I could dgscm.be her but if you’'re not her friend or C}jenemy you She barely understands. It's er /YOICE OVER'._\ W /\ K\SARAH (v.0.) Your, friends, your enemies, your ) nes \v All loved ones. Death will meet us all soon enough. EXT. A HIGH SCHOOL - MORNING - MINUTES LATER Sarah Connor screeches to a stop. Jumps out. She's wearing a WAITRESS UNIFORM.

INT. A HIGH SCHOOL - MORNING - SAME Kids filtering into class. Sarah appears, grabs a _kid and braces him hard against a locker. SARAH John Connor? (before he can respond s grabs another kid) John Connor? (a third) John Connor? The kid’'s terrified but manages to eke, KID English Lit. Down the e INT. ENGLISH CLAS IVORNING\::§AME ( JOHN CONNOR, 15 shag attltude, art Doodllng on the front of hlS on Anthology \s o s. John. John! He looks his mother in d@o , frantic. <§\\ Now. He grabs his backpack no better” than to argue with her. Stlll,‘she grabs the arm and begins half-jogging with the hallwa (re her/ggltress outfit) The &t makfc§;5; At the diner? SARAH I dunno T\think s0. Maybe. / They burst throug&:gge front doors and into the morning \\\::;j sunlight. They're gfeeted by: THREE SQUAD CARS and A HALF DOZEN COPS with guns drawn. SARAH Yes. Definitely. One of the cops always has a bullhorn.

BULLHORN COP Sarah Connor. John Connor. Drop what you’re carrying. Put your hands behind your heads and drop to your knees. SARAH Do what they say, sweet1e<> JOHN Mom-- SARAH John. We'’'re done. P John drops his backpack. They ralse thelr hands /helr\ ver heads, get down on their knées and\a_;e swarmed b pol/lcemen EXT./INT. POLICE LATER x Sarah and John ar to separate and roughly thrown 1rkthe back{ There’ "?ienera “chaos outside. INT. SARAH'S.. E%}ICE CAR - SAME (:i\—//}:S) Her handg/are Adocked behind COP shoves in next to 1@ \ BIdQEOP You're an earl Easter eggy lady. Pink and blue and ainted for Jesus / Sa» past hwd\vj hn{s car. He's alone. Defeated. i/ / IG co v we\know <yc_>5. Even a little jayvee to 1ike ours. We know you. guess can’t run forever, carnyou? You can’t fight forever. ¥ e But not really listening to him anymore. She’s looking through the windshield and across the school parking lot: A LARGE MAN strides through the chaos. Purposeful, determined, inevitable. Sarah’s eyes go wide. This man terrifies her, as he should you. Let’s not fuck around here. He’s a Terminator.

Sarah shimmies in her seat, her skirt hiking up couple inches, almost revealing her panties. To the cop: SARAH (re her skirt) Do me a favor, willya? Fix it? The cop reaches over to tug on her s 1rt— rseelng Sarah’s knee as it drives up and smashes hlS nose. The big cop's head snaps back as g\}ah I&fts er legs to the ceiling and pulls her cuffed hands ove her eet just as the cop starts to focus. A vicious elbow knocks him out. he got fhe keys~to, her cuffs, his gun. BACK OUTSIDE The Terminator closes. Sarah climbs over/;h\\ nd\ro 1s out hilg door, 1dden between his car nd Jo n*s John sé She gestures for him to look sees the mafi\qgifihg/towards them. He freaks“ Get down. <::j:>)\\ He can’'t fig;;\her but he knows what.she”s gonna do. He rolls onto the(flo the car. She and pulls\the trl ger. draws on the window SN \ BOOM. ??: glass”shatters John starts, pulling himself up. <::::::ji>stay there~\ when it starts. JOH <i:> Mom—— When it s And by the way\ t’'s started Sarah’'s shot has every cop drawing a bead he%/ But she couldn’t care less about them. She only cares about THE TERMINATOR FIRING THE VERY LARGE GUN. Before the cops can figure what's going on two of them have been winged by the man walking towards them. Another one falls right in front of Sarah as she belly-crawls around the back of the car.

Now the cops start firing back at the man, a barra of bullets hitting him. But he keeps coming. The after another. Small town boys, too young for 5. SARAH (to no one in particular) I'm sorry. I'm sorry. <> She gathers their weapons and hldes beh\nd eye on the car with John in it, one eye on>the toppable foe casually walking to her. \3::> Suddenly John makes a break for of the car and sprinting across the parking 1 SARAH No! No! She stands up and shootin distract him from John. smfiies at\her, his head at her pathee?c attpmpts, draws aim on ‘boy, and drops him with shot—te_the-head. AR Silence. Then Sarah cream;l drops her guns and.rins to John, tumbling to the asph 1t of top of i3 dead. Let there be no doubt. Q\M/9 \\é A shadow covers her. She looks u The/TE}mina or. % N / SARAH Do me! me' It doeén’'t matter anymored Nethlng matters anymore' Rill ‘me! H 3 I;R OR é:::::l:i>¥ou re rigfié\\Nothmng matters You t\matter anymore. anymor /:7 Only the boy. future is ours. / be t) fif igi::glns a Terminator rai arms in the air. And behind him, in the distanceé, \we‘iii/jroke begin to rise. And take shape. A mushroom cloud Sarah sees it now, begins to feel it. A warm wind brushes her face and suddenly its upon her: The world melting in a nuclear apocal

() < The Terminator looks at her, smiles peacefully as él&wo of them remain untouched, an island in the middle of/}th\atomlc storm. And then, just like a dog shaking off the Terminator shrugs off his skin as it melts from his body He stands before her a gleaming metal skelet6—n\ deatth head grin. Red eyes eternal. Immortal He e to him in an embrace. She opens her mouth in \screa INT. SARAH CONNOR’'S BEDROOM - MORNIN .and wakes up. TITLE: Sarah’s in the embrace of a<\an B Did you,/y l o@ng? (beat) Hey. Lemme see it. SARAH ? He pul\ls hand. at her hand. There’s a ENGAGEMENT RING ON HER FINGER. S ’7\ { P pxayfwlf) \ Yod forget” B I di{i I'm just...not N used U BURKE You sure we don’'t need it sized? SARAH No. It’s perfect.

He rolls her over and kisses her. she is rocked by that dream. Rocked. i There’s real lgve e{S;\But BURKE Is Johnny happy? And we see real emotion cross over her. SARAH | He really likes you. <i::z\\ ) LEs She/has the body of She pulls out of the embrace and an athlete, defined, tough. She p;gks up\\he ring box from the bedside table. Fllps it open, clo§e\w open, closed. He h crosses behind her and heads for the er. RN BURKE Just make sure right-/size. L < // i CUT-TO ) MORNING N ock posters, a PC A INT. JOHN CONNOR{EVEE R6b3 A typical S\ circa . computer with some parts/spread ear the monltor motorcycle helmet. A t%finager 651353~i§ be; John wakeé/gg:‘ind his mother_ watching him. \ \\Mom' How 1me hav told \Q freaky when you do that! a // \\::::fi>50rry, sfi/etle;\\Q§<> What tlm i i s Almost\hihé R \ J JOHN ., You're gon a be late for work. \:?\\ \gwxp She shakes her head. He studies her. She seems very serious, even for her. He sits up. JOHN Hey. Where’s the ring?

o < SARAH It’s...don't worry about my ring. JOHN What‘s going on? . She hesitates. This is very hard fosc?er.<5?t<%§jr§>firm: SARAH We can’'t stay here, John JOHN What? SARAH It’s...not safe. JOHN Not safe? Who2 N knows sks)fifigstions 8 It’'s péénT\Like, Schqp% \Ei::::;i§> We need\&é;go./// You No.,_ We don’t need to gol g;é@ N S You're scared! He\gav?\zsp a 4 N ahd you're freaking out! | N SARAH {/ T.know you like\ him-- \\ JQOHN . s0 gé;&a§7\pomé So do you! You //7\ love hL\xriI %do! A t &; can see i \\E:Eél\}ace. She does. The never find us. We're ’i safe! ,\<>\«. . And now she’s ace, intense. SARAH Don’t you ever think that, John. Don’t you ever think that. No one is EVER safe. (beat) Half an hour. One bag. Plus the guns. make pancakes.

INT. THE KITCHEN - MORNING Sarah stands in the kitchen. John eats his panca e jammlng his fork angrily into his food. She wears her engagement ring, fingers it with her other hand. She adly she could let this be their life. <£ She reaches out of frame and WEE OFE\§H®TGUN into our view. She clears it, and stuffs it in a very large bag filled with other weapons. C N EXT./INT. SARAH’'S CAR - DESERT HIGHWAT N She and John drive across the esert, th sun over, thelr heads. They aren't speahin\ ///’A\ERAH )fJ It back What life you v edv who you’'ve lon ed what 'S, gone is gone This is their life. INT. SARAH'S HOUSE - SUNDOWN Burke retd;n;\fo the house. Pokes his_head)from room to room looking £6r Sarah and John YOI / EXT./INT. CAR - DESERT HIGHWAY - SUNDOWN John\leans his head on_t the“window, watches the land go by. Sarah\takes his handwmholds~1t He doesn’t pull away. SARAH\(V.0}) // V7 T know how~that sounds And perhaps S here’l time to mourn ~ (w/4/ e past now. INT. SARAH'S HOUSE - EVENING ] Burke sits on thé\éage of their bed. He holds the ring box. Looks at the ring inside. He’'s at a loss. INT. THE CAR - NIGHT John sleeps while Sarah drives. She looks at him.

10. SARAH (V.O.) Right now there’s only the future. INT. A POLICE STATION INTERVIEW ROOM - NIGH Burke sits opposite a pollce officer. The églyer holds a photo of Sarah and Burke in happler<t1mes OFFICER I mean she’s not exactly sihg; right? The way you explain iQiQ§> BURKE Right. The way I explain it he s ” not missing. She flN\\\ you think: I am ln\such\@a551ve \ denial that my fianeege of one/fiay i would just skip, out-- FICER It Qggpens more\phan you thlnk < You don’ now, her As the door opens and\ MAN in ZOS, YfiN METER, walks in. He’s holdlng a flle folder N A VAN METER / I ld say the same\to you, r Da nlels & \ He_flas fie Burke an ID and badge FBI? 7 METER Y i (re thewphoto) - ] ? Been togsi?:: ‘BURKE / Bit of a whirlwind= Van Meter nods. VAN METER You have no idea the whirlwind. Van Meter opens a folder, scans it...

11. Does the “Skynet Defense System” mean anything to you? < VAN METER KZ? Burke shakes his head. Van Meter turns a page in the file and she s Buark\e\a newspaper article along with a photo\.of a 7 for the camera. The headline reads~' “MILES CYBERDYNE'S RISING STAR” VAN METER How ‘bout this guy? BURKE /’“\/ Miles...Dyson?.. .Never\s\ecixyfl\ K That’s dead. Your / flancee,/frgsfily escapef from the/\w Pescadero\Me s;}.tal blew him to preces a e”ar\gfi Leveled\a \ \ story/research lab along \i& th hlm.\But/ ince tl}sere s no lethal \_/ J.njectlan for /the destruction of\ property let\,'s//just stlcfwrth the, murder of our country s brlghtest computer \:J.\}s ané dedlcated father of two. Van Metej xp\}shes another photo a—~family photo with Mlles/\, fllfe/g and tw0\k1ds. .. \\\\:’/ R}E\ AN L That’s. ..lt s jl}St not...Why would \she do T~ Vg ™ N AN VAN, | \? Well, Dam.el It s the robots. { //Toff am.els/s look) The oneg™from the’ future. The ones 7 Ny To kill her son. N ) . BURKE VAN METER Which, you know, makes total sense because in the future...John is not just her son...but... (reading from the file) (MORE)

12. VAN METER (cont'd) Q .the leader of the resistance fighting artificially intelligent machines determined to annihilate the human race. \:> BURKE (trying to catch up) Skynet. VAN METER Did he strike you that Leader of a scrappy band of rebe\ u e L Skywalker type? E:::: BURKE /\ % You can’'t really be k VAN METER No. I'm not. This Is_ just patter, Mr. Danlels is—jus me 1mpre551ng t at I here not”becaus youlhave lost your flan;ge, the/ioug llfe\and all(\round/good\tlme girl. I here h\cause my boss, the Unlted\ States og thlnks Sarah Connor 1S\Q deluded dangefbus,\ grade A whacgr a-mole W] 1lled _man_because she believe \tggt the\future he w111\3nvent a 2 7 ’fcomputer system that\geclareswx/r the Jworld! S - G He lets\that craziness with Bur§3>for a second. VAN ME%ER (CONT'D) ) becafiée\my is almost subterrénean biy ambltlon knows no llmlts, I, and\myvboss, are happy here as long as kes\to*wrlng/the tiniest bit g of salient 1nformatlon from you. So. Let’ s\begln with her name. I unde{itiij>lt s not Connor? \/ CUT TO: A SERIES OF SHOTS --Van Meter types Burke'’'s report into a computer. --Sarah stands on the roadside, watching the sky --Van Meter scans Sarah’s current photo into the computer

13. —-Burke studies the warrant, stunned Meter pushes ENTER and the updated Sarah «€onnor information gets logged into the computer... The camera pushes into the screen//;;;\lnformatlon blurring, turning into a series of green lights pushing data like junk a . BEEP. BEEP. BEEP. CUT TO: A DARK ROOM. A computer sits dormant. Sud enlyxgt comes to llfe and’ beglns BEEPING. Information streams aq;osg:;be screen. FIGURE SITS BOLT UPRIGHT NEXT TO THE // The figure is a SLlhogeé;\\tg us F%ut we ¢ flfzggi\lt s\very interested in the comp uter Spec1fflcally THE\NEW SARAH CONNOR INFORMATION New’locatlon New photo:\New name \ In the reflection of the screen RED low, bright. END ACT 1

14. EXT. ESTABLISHING SHOT - A SMALL TOWN HIGH SCHOOL MORNING Students dressed in a Front Range style 1m \<§> > SUPER: “TWO WEEKS LATER. MISSOULA, INT. A HIGH SCHOOL CLASSROOM - MORNING A teacher stands in front. His naéé)\ E;LERMAN, written on the board. John sits in the and indifferent. chapters a week. Yo hav//é quiz each Frlday You allowed .one maké\up with af Parent’sfn% <, VOICE (O.S. What "s yo r nam John looks to his le@d sees A starlng at him, JOHN talklng to me’\\_/:fiii> (/ {) HOT GIRL if/you dom't &gn to. back to Hellermah's lectur no hats... HELLE There w1ll bey JO And no talking while I’'m talking! INT. HALLWAY - LATER John and Cameron walk the hallway.

15. CAMERON % My dad sells tractors for John Deere. What about yours? JOHN Insurance. CAMERON Really? What kind? JOHN The boring kind. CAMERON W Yeah, that’s the kJ.nd trac ors my dad sells. What about you /o N \ ! \ & My mom? NSNS S N m&MfibN\j Does, /she work”or stay home’ My \mo staysxhomzy\ \TOH /’ This is my\lo?cer So. e CAMERON So see ya later maybe i\ JOHN ? ll \\ Ug t, sure Yeah I-Ie watches her walk off. Ex{lales, sh kes his head. \ GUIDANCE COUNSELORY, S}\()FEICE — MORNING \ ) b rs.:.ts across 'FERGUS, the guidance counselor. // j 4 Because of\your late registration we had jiggle your schedule a b1t~...your period science </ classx;iwg/ow too crowded...not enough mi€roscopes or somesuch . .S0 you’ll need to find something else. She pushes a piece of paper towards him. MRS. FERGUS If I can recommend--

\ \ ¢ If she only\knew But he shakes his head. JOHN I’'1l1l take that one. ;;i§i>\ \'} \QUT TO* AN A SIGN: COMPUTER SCIENCE LAB \':7 \> Pan down to find John working on a\g late BOS PC. He looks around, makes sure no one's a button...a page comes up: MISSOULA HIg? STUDENT DATABASE. hacked into the school’'s a couple buttons: FIND SCHEDULE FOR: He !types in: \ Just as a page comes up: <:\f}::::;2):§\ CAMERON C//‘ Whatcha workinq on? We pull out to f;nd“CAMERON smtt;ng down at the terminal next to John. He qulckly hi button obscur g /JOHN Nothlng You Just.. whatever I was suppo ed to be 1n(11fe\ science-- CAMERON E fN9t enough mlcroscop s. Me, too \ff/)(re computer) N any good with them NN NS N N JOHN I guess. /g/“e\\ - 4 @ER@N\ I don’ flPSt thing. They scare the oufi of me if you wagga now~the trgth They don’'t S?Fre youO {:jQ OHN They’re Jist...machines. They do what you tell them to do. CAMERON I guess. Maybe I always say the wrong thing. She smiles at him, completely melting him.

17. . CAMERON P \ You wanna get together after school <§<i N sometime? Go over History? Maybe help me with this computer stuff? More than anything... JOHN I...I really can’t. Sorry. <t§:\\ CAMERON JOHN I’d like to. It’s usually help my mom-- \\\\mm///\>\ CAMERON It’'s okay. Like I sald.\I always//f say the wrong thing. { She scoots her chalr hér-desk, uslng B, to conversation. <John s restfallen Belng\a fugltlve INT. HALLWAY - LATEI&/ John’s at hls\}ocker He sees Cameron down hall, leaning on her lockerq talklng to a couplé\of,,guys1 She glances his way but qulcklygturns back ‘her conversaflon Belng\? A NN o P ) Sghn enters and flnds Sa ah rn\palnt spattered work gear. She’ s\rolllng a frésh coa of palnt over a section of wall. The\floor s drywa 1 dust. She steps back and iadmlres her handlwg?k~’/ ' / ~ \SARAH AR How4s N JOHN Great. SARAH You don’'t sound enthusiastic. She studies it, cocks her head. Rolls a little more on.

18. JOHN It's fine. \§;> He flops down on the couch. Dark. Edgy. <\:::> N, - N SARAH / How was your first day? ( \f7 JOBN A Also fine. SARAH \\:> Anything I need to know JOHN Like what? ~ Unusual_— UnusuaI\attentloé unusual questlong unmotivated af friendship, anLtatlonSth‘éecluded locations, lgv1tatlons(to \Q> SARAH | You know \ locations... ll rlght John—— Anyone saying fggaklng to \\the new kid who sits in the back ‘ \;;)trylng tg/bgfx.sfihiler than o sn’t know Just stands there. / \\JOHNw/ / Yeah know exactly what you mean. \:\\ He walks by her=-she geaches for him but he just puts a rag N in her paint- and leaves the room. ~ N INT. JOHN'S BEDROOM - LATER Sarah enters John’'s room. He’'s laying on his bed listening to a Discman. He sees her, doesn’t take off the headphones. Sarah’'s eyes flare from the disrespect. John’s not an idiot-- he takes off the headphones. She waits on him.

Y P 19. JOHN This is a hicktown. <f SARAH We’'ve been in worse places. A lot worse. JOHN ~ My clothes are all wrong. I Qg like, some different shlrts lot of ‘em wear boots. boots. I hate cowboy boots SARAH \> I'll see what I can do-— /E;“J | \ And their computers«are llk e, the freakln flftles—~ (eff h5s/1ook) r What are;you d01ng with thei computerg% It ought we agreed—~ \*\v switched my class okay’ fault—- N ! Because the last is you,gettlng caught N\, _JOHN \ (lylgg-o{\course) "I'm {okay? I, t. Geez. I know the rules?\They re, like, On&th 1n31de of my eyeballs She makes a face ugh~ He smiles a little. Seeing a way in \,) she sits down\next Pushes his hair out of his eyes. ) /SARAH (trying hard) So. Meet any pretty girls? JOHN (lying again) Nope. I'm telling you: hicktown.

20. EXT. MISSOULA AIRPORT - MORNING - OVERCAST & AGENT VAN METER stands at the curb with an ove;\lght bag ‘A SHERIFF'S DEPUTY approaches. DEPUTY N { Agent Van Meter? Welcome to \ the Missoula. Deputy Ridge fxom Sheriff’'s Department. Van Meter shakes his hand. VAN METER My plain brown wrapp%:i Deputy Ridge gestures him té\ard\i:flgDDY &CKUP TRES 3 N \(\Q”Z Nice \\:::T\,f ((/—\\\\:\\ e They jump in th%ifruc DE‘;[—I;RIDGE N N4 N Sl Sherlff\s detached me you around ofi\you;;bu51ness:here, whatever 1%\&5 He say VAN METE a6 know. Van Mé%er\pul scrap paper of his pocket. Shows it to Ridge. \\<:> Let’s hustle meé there. INT. A RESTAURANfi:&;;@HEN - DAY Sarah ties on her apron as prep cooks ready the grill for the morning rush. A little black and white 13” tv plays in the background. A weatherman does a “STORMWATCH” segment.

21. INT. HIGH SCHOOL - ENTRANCE - SAME Students push inside. They’re herded through METALxDETECTORS by a security guard. \\\& GUARD Your keys, people. In the® a‘ The kids toss their keys into the\bowl d\plck/them up on the other side. A PASSING BOY addressgs Johm- BOY six buck knife fighté{ist/}qe@:{ : . JOHN \ Huh. N RING...Kids begin hustllng‘* téérr lockers and classrooms... \\ N N /{\ \\\} (re the detectors) e N A N . S N INT. RIDGE'S RLGKUP TRUCK} y DAY - Ridge and Van Meter ;topped at’a trafflc llght Ridge notes the 9mm Van Mete blazer. Van Meter’s hand rests on it unconsc1ously. 1\:\ Ridge shakes~hls head slightdy. fiéaches acress Van Meter and opens thé? glove compartment He retrleves/AfLARGE HOLSTERED PISTOL. .,tsjit>1n his lap \ i DEPUT¥ RIDGE Your business 1§\your business, \\\Agent But theréKg a difference “between/fi§:fl hlng and bear Van\Meter nods. turns green and the truck moves on. (0N, \\ INT. JOHN'S CLASSROQM\¥ MORNING The high mill around. Hellerman’s not there yet. John sits afi:g%g/aesk situated near the first floor bank of windows can while away his time staring out the window... Cameron sits next to him, flipping through her textbook. He feels bad about yesterday. JOHN I hear you guys had some...buck knife fights last year?

22. < CAMERON N Wasn't me. {C;Q:lzt\ v JOHN I didn’'t mean to say it was.. But she’s back to her book. Fllpplng the pages qulckly, obviously not reading it. And yet occa51onaily she”il make a little surprised noise--sort of a “huh/\dldn know that. JOHN I lied to you “ > - JOHN \ My dad doesn’'t séfi\lnsurafiée (beat) (\(/// He's dead \\:§E> She looks at hlm & !r@rm\ He was.u.a soldler He was kllle on a mission. / C _sorry. @2 JOHN It’s a}rlght My mom\yas pregnant g\ when jt happenea~ I never N, anW/hlm So alright. tell it’s _not. T She turns and looks at him. ;3//fl7::\\ My mom\s(;:;\ uptlgpt Really uptlght actu 1lyq She likes me to come._ & & Bt alght home, hang out with her, that\blnda stuff. I'm all she 5 Cameron nods)@}\ CAMERON Thanks for explaining. I won’'t tell anyone. (beat) It'll be our secret. He doesn’t know how to respond. RING! Saved by the bell. All the kids face forward. Hellerman’'s not at his desk yet.

23. INT. THE HALLWAY METAL DETECTORS - SAME (/f CROMARTIE, A SUBSTITUTE TEACHER, walks through 1\:}1\\ detectors. BEEP! -~ SECURITY GUARD f Please try again, sir. Q u: S Flustered, the geeky sub backs up and tr:Les dgain. BEEP! CROMARTIE ON Please. I'm a subst:.tute for Mz > Hellerman. Cromartle{’ \ ) (7 SECURITY GUARD N N Nice to meet you J \ Again with the detecfors. e N | ~ / -/ S P \\/ Cromartie pulls hls~pocke of his deliberately wal)cs/thrfiugh t@etectors. .fiEP' 4 /CROMARTIE There\s\obVLOusly some malfunct,(m. . SECURITY GUAR (w:Lth a walkle \ /Let ne call over to the off:Lce.‘ \\\. s Cromartle head drops to chin, def‘ea‘ted. INT. THE CLASSROOM - SAME ,St\LTElents\walt, penc1ls tapplng, whispers and giggling. What's the~ru".|.e Lsn t there like a ten mlnute~rule and then we get to 907 N i A John the darkenlng skies out the window. Beyond, the parking lot edges a huge stand of trees. Thunder rolls in the sky. Missoula: INT. THE HALLWAY - SAME Cromartie run-walks down the hallway to his class.

24. EXT. RESTAURANT - DAY — OVERCAST Van Meter and Ridge sit in a parking lot outsiéglofi\a llttle restaurant. Van Meter’s pulling on a flanneL/Ehlrt\ Rldge studies a photo of Sarah. He pulls BINOCULARS to hi\\eyes and peers into the restaurant: BINOCULAR POV: Sarah’s inside, waetres QSiY§;e of the threat waiting in the parking loti\\\\j\\\ DEPUTY RIDGE She don’'t look like much VAN M.E'I‘ER Yeah...well. She is / - N AN He gestures for Ridge to open Qer verywthlck file / INT. THE CLASSROOM CONTINUOUS AN / Cromartie enters, the classlqulets down as he, hurrles to the desk and sits beQii it. / /”“\\ Mr. Hellerman is today y\{lame 1s“Cromart1e—— //7 A AWISEASS \\/ 3 Is that your only lee ? (\ \\yadonna The class cracks up. Cromartle s clueless - //&\ \\\;;*Jhadonn /7%§§GM%RTIE ?‘k‘ gjt\ \Q / /He fles through\som ap rs. J AN CROMAR’I’IE Let s take attendance, then? Joey Aa{ins7 Mafiy Buhai? Donald Chase. RN As the kids requ&é:to roll call our POV floats back towards the classroom by i \ CROMARTIE/STUDENTS (0.S.) Franklin Lane. Here...Cynthia Nolan...Present...Wayne Parker...

25. WE CLOSE IN ON THE CLASSROOM DOOR WINDOW just as TfiE\BLOODIED FACE AND HAND OF THE SECURITY GUARD fill the win¢ forsa second and then slide slowly down out of s1ght:fifiieav1ng smear of blood on the window... ON CROMARTIE: whose eyes may have flickered door, the only one to notice... & /Qfl\ ~ AR AND ON CROMARTIE’S LAP: where, hldden by\Ghe(desk} he uses a letter opener to casually tear open\hls p@ntszexp051ng his thigh. He then digs the letter opener\iNTO HIS THIGH--which suddenly POPS OPEN--revealing GLE ING\ AD\PISTONS. CROMARTIE Cameron Phillips? N N, Cameron stares at Cromartle\ ulntlng elng a teenager&.q \ CROM 7§> Here. BEHIND THE DESK " v?/ /R\ Cromartie reaches 1nto thlgh\and pufilS\put one of the metal plstons. Well, not really a pisten. \More like A PISTOL. i b CROMART% W ¢ F»‘John Reese’ Do we)h%ve\a John~W’ ~ . »CROM.ARTIE /,z«\\\ Excellent \Q /\‘- \. Cromartle stands, hls metabllc parts shining... CAMERON v ‘SCREAMS jumplnghfrom—her desk just as Cromartie levels his N JohanThé\boy duck under his desk as Crdmartie the\yrlgger...Suddenly John’s BOWLED OVER by a FREAKING OUT Camero\ -her leg is stuck in her chair and she’s trlpped\pver knocking into John and accidentally burying them l\hlswdesk as the BULLET GOES HIGH. There’s chaos in the classroom now as Cromartie starts walking calmly towards John, knocking kids out of the way. John kicks away from an hysterical Cameron-- JOHN Get away from me!

26. < He scrambles out from the desk and goes sprlntlngffor\the window as fast as he can. Cromartie fires once, gust John as the boy THROWS HIS SHOULDER INTO THE WI<NDOW AND\\> SMASHES THROUGH ONTO THE GRASS. John’s up and running, sprinting as fast ag/fi??éfin ih%b the parking lot. Within seconds begfgd a(iér. BACK IN THE CLASSROOM CROMARTIE can’'t get a bead on John——the ca£§\mak1ng him hard to see. He steps through the tO\go aftér him. As he's leaving he flips the flap of hlS/thlgh élosed. CROMARTIE Class dismissed. (}\ “\ He exits. Thirty kids stare }h\sllenceb..Suddenly\gn\ nlson they PULL OUT THEIR CELLFPHONES and sprlnt for«the doox. . ./ \\\;\\:;/ BACK IN THE PARKII\@T . { ™~ : AN John stares through afcar\erear window towards\thg;school sees Cromartie strlq;ng toqards him. John crab—walks to the next car, trying to\compose ™~ BOOM! A WINDOW from the car nextk 30 h;\\EXPLODES, just missing crlnges...crawls to the ne xt .. INT. DEPU@{DGE 'S CAR - SAME\ ‘/:i N The two through the w1ndsh;eld into the restaurant. Suddenly\Rldge s police radlo crackles. .. ) "“\ ' ve got a Missoula Valley N 1 High. Repeat 1925 Mlssoula Valley 7/ 7 High. All\unlts BAll units. S’ { 7 / / \\\ off Meter'’s look) ShotS\flred The high school. I VAN METER You DEPUTY RIDGE Shots. Fired. At our high school. (beat) (MORE)

27. DEPUTY RIDGE (cont'd) Might as well come. That’s where the boy is, right? VAN METER The boy? / DEPUTY RIDGE i Her boy. < Ridge doesn’t even wait for an answer.{ée\guns the engine. INT. SARAH'S RESTAURANT - CLOSE ON: THE KITCHEN flews breaking the story of the school\shootung There;s g video yet, just graphics with the thel school...\ VRN Sarah walks by, carrying an order...q}anges at_the t v...She continues on...A beat gqges by, we\hearwplai§s~crasb \\N ' EXT. THE SCHOOLVPARi/NG‘LGR >-SAME John’s almostégéé\og/é;;;;vfhe s near th back ofiw;he lot. There’'s trees sofie yards He 5 little shot of getting there...Con51ders ducklng to aQother car...Turns: (R And suddenlywthere s CROMARTIE. n him. It’s over. Cromartle,takes two strldes “to John,jllfts up his pistol and by an careand thrown FIFTY YARDS 1ntofthe like a & John looks up_to see CAMERON THE PASSENGER DOOR TO A PICKUP TRUCK. He scrambles car. They. Are. Outta. Here. Y ':} wEND 2 :.,(

28. ACT 3 \ EXT. THE HIGH SCHOOL - MINUTES LATER \ A half-dozen cop cars parked in front of Officers combing the grounds, looking for Cromarti foififiohn, some clue as to what the fuck happened. We see students talklng to deputles, pantomi. lfia what they thought they saw in the classroom. 7 INT. RIDGE'S TRUCK - SCHOOL PARKING LOT Van Meter sits in the car solemn Rld e gets b N DEPUTY RIDGE ‘ ) You know why ahyg?e would want t shoot thls\boy? L Van Meter shakesfhls ead:\ //;DEPUTY>RIDGE Well so e wants to RN (beat) Found the real teacher‘dead din his /car Neck broke. N He gestures to a crowd of hysterical adults hugging hysterlcal ¢hildren. N RIDGE Think she’ ll show? She’s gotta METER Too mHChVEfi// 3) \fie/é{als hlsfég\irghonef\ggreen says: “System Busy.” \\*\ \\VAN METER the process of screw1nqwé/very large pooch. INT. THE WOODS EDGING THE PARKING LOT - SAME Sarah’s hidden behind a large tree trunk. Staring at the same signal on her phone. Snaps it shut.

29. Y She holds up a military grade pair of binocs. Scannlng the lot looking for him. Her breath catches. She wha\ happened here... \ She returns to her binocs. Suddenly A RED LIGHT~fllls Jher view. /}’“} o o\ TO: ON ~ ™., > EXT. WOODS - SAME N \> We see Cromartie hanging upside dowfi\from:Sarah s tree, looking back through the he{. 7 She jerks the field glasses, down\and f&nds herself faéé to, " upside-down and mangled face w%Eh\ggg/nlghtmare.\> \ - She grabs for a gun in her walstband‘but Crfifi;;fle“s ther%/ just as she is, wrest1n§\the gud herias he drqu\down from the tree ony > He has the her Afade is straddil her chegt. It’s beginning to NS CROMARTTE Sarah \?\s\ | She’s struggllng, - ) / Y he? dld\ q\fo with want to One\of hfs eyes flashes red his face smashed in on one side the‘%olllslon{;éarah reallzes John escaped. She smiles. 7 You don* Q?hu.kfiow..u - (r‘f j \She/laughs,{almost crazilx; Zthen without warning grabs for the trlgger\of the\gun pointed at her face--Cromartie jerks the gun to the\left ]ust as BLAM! Sarah fires the gun-- narrowly mlsslng killir g herself. S CROMARTIE Yes. Killing yourself is the best strategy. You're dead anyway... He stands, jerking her to her feet by her throat. He fishes out her cell phone from her pants.

30. CROMARTIE Why stay alive and provide me RN leverage to find him? 3 He flips open the phone and hits redial on / N Busy”... Cromartie shrugs, more annoyed than frdstrat d. . pushes Sarah against the tree and pins her\ here _his foot. With two hands free he opens the phone and pulls\out the computer chip. He pushes the card down lnto\the depths>of his open thigh, fishing around...Clicks 1t somewhere Cromartie smiles. /?::? N Out of his mouth comes the sq\nd\ a phone dialling. JOHN (FILT{}W e Y Hello? Mom? /;wd\:\ Run llke hel = Q \\::\ Cromartie slamé\hls foot to her throat 511 her \CROMARTIE Do you knowxwho this 1s Silence. Flnally A ;;/ 3.‘» JOHN (FIHTERED) understand I have her. [ /EJ\H} FILTERED) \\ - CROMARTIE fi:g\\hurt hgggfif strang}ed desperate) No t—— Yes. | Cromartie pushes harder on her throat, silencing her again. CROMARTIE John. I will let her go. When I see you. I won’t need her anymore.

31. JOHN (FILTERED) ) <:\\\ I don’t believe you. (;> CROMARTIE You don’t have to believe me. = you know what I'11l do if you NS O On Sarah: This is the worst kind of torture 4 JOHN (FILTERED\\\ &\N«/ Come to the house. \QE:>\\<:> On Sarah, beginning to cry. It’ S/ Ve .. JOHN (FILTER\E\I\) Q ~ But Cromartie has cut the connectlon He’ g drags her off through t <;// v AN INT. SARAH ANQ/JOHN S HOUSE —WDAY - s s \ Cromartie and Sarah/enter the front door into the living e, SuddenlyfiCromaftie s eyes né&row J CROMARTIE Jéfififs\QQice comes out of Cromartie. (The cell phone.) JO\}Q\I:(\FILTERED) I wanna_know she s obay \ SARAH Please John. Go! Now! He'll kill us‘both—— . He grabs her throat™again, silencing her. CROMARTIE Now what, John? JOHN (FILTERED) Sit her in the leather chair by the wall,

32. ® o Cromartie marches her over and puts her in the chalr, .a large brown swivelly Lazy-Boy. He stands next to her, waltlng \“) (**Note: This chair sits in front of the newly paJ;nted wall we saw Sarah working on days ago.) /}\ \ > Now, John.CROMARTIE Cromartie punches Sarah in the f,ac/,,e\she\gz}reams. JOHN (FILTERED) < .. CROMARTIE Still alive, John. break Mom! fi\ stog!{Justs /"”m\ . V ANGLE ON: THE FRONT \DOORX“/AS IT SLOWLY“OPENS . N \ John steps in from tRe. raln, cupped\ t\o fils face to shield the gell phone from the wet\He/hldes halfway behind the door,x’hes:l.tatlng. NS ) //:’/ ({\ Z\,/ JoEw {\\ h: Defeated. \> \ N //JOHN F} TERED) “1 love Lyou Mom—— ;But \Cromartle s not\"one‘)of villain’s gonna give a blg;}speech and k111 ygu}. He takes two strides towards NN {o}}n and before th\e\\poor*-kld can even get in the door-- BLAM. BLAM. \B%M. He’'s just a wet:ig\g%crumpled on the floor. SARAH No! But Cromartie couldn’t give a shit about her, he’s heading over to John’'s body.

33. ® o He should, probably, have given a shit about her?,Because Sarah’'s spun her chair around so she’s facing thé waIl\\She leans back in the recliner, coiling her legs bod N BACK ON JOHN'S DEAD BODY /\b As Cromartie turns over the corpse to OHN a DEAD CAMERON. What the fuck? W BACK ON SARAH: as she KICKS through\the new (false) wall--it rips through like construction paper. She\rEaches inside the wall and pulls out A FUCKI Gmw o arricaded-pehind Cromartie turns at the noise, flnds San the Lazy-Boy pointing the barréll right /?/ T e BOOM! She hits him in the shoulderh_§p{nn1ng hlm‘\Hé?turns“ and fires at her, hitting the\chalr. The bu;;et rlcochets off the chair with a thumplng\\eund the chalrf ~back. 1s N // reinforced with egmetp;ngfl:.\\v// { BOOM! She hltszhlm agaln hlm‘gackw He rights himself again/ mov;ng o .. \\::::://} N\ 1 I'm kllllng\he now, Jo@n' Nowi, Last You got that sweét killed With that %138k and now your mothenh_x/ z;flf A ces fi%r, know1ng she'il runéout of ammo soon... . BACK ON\P DEJ\BODY \> h As\we\sfiend a second on face, wondering why she made this sg;rlflce;;.she opens\h :\\\es§>They flash electric blue. He advan AN THE FIREFIGHT 4 ’Sarah runs oq;figf She dlves back into the hole in the xwall grabblng desperately/for another gun. Cromartie strides Eowards her!, 'S over... JOHN (FILTERED) She’ S\notffihat sweet, the girl? Not that sweet. Cromartie hesitates, turns just as Cameron runs across the room at a non-human speed and launches herself at him, slamming him viciously into a wall.

34. ° o JOHN (FILTERED) ‘\ Not a girl, either. As it turns out. ™ Something Cromartie’s realizing the hard way as\CamQron throws him around the house like a Mex1canfwrestler on’ cyborg steroids. She gets him in on the ground pressing Into him with all her might, smashing him w1th>her uron/flsts. CAMERON <<:\ (to Sarah) He’'s outside. :g\\ Sarah pulls a duffel bag and the holefiln the wall and sprints for the door §s Croma; tle bellows anger, unable to throw Cameron off. Si ens can be'heard in the distance... Cameron notes the 51rens~and rears ba@k/botfl:iéixhands\gnq; SMASHES them down across ge of Cromartle §\§osevfflls eyes flicker andféle~ \Q} EXT. THE OF!THE HOUSE - DAY - RAINING Sarah runs outside screechés up in Gameron s pickup. She throws her stuff 1Q/€he back{(opensu@he d{}ver s side door and smothers John in a huge\embrace.‘ SARAH (fe the Q\ V. He slldes over as she jumpE in and takes off--almost RUNNING OVER\CAMERON standlng in front of the truck. The girl jumps . squeeilng John/between the two of them. CAMERON 120\§econds land the system reboots. I was semt here to protect-- SARAH No. Not now. I need...Not yet. Sarah floors it, fishtailing in the slick rain... END ACT 3

35. ACT 4 <::;\ INT. SARAH’'S HOUSE - DAY - RAINING The place looks like it was bombed. Van Meter xamlnes the recliner. Behind him a cop pulls two\,rlfles> out o f‘the hole in the wall. Deputy Ridge approaches. DEPUTY RIDGE Her vehicle’s outside SO\x\naybe\ \\> they’re on foot, maybe’they boosted a car. No calls on that front THe S Phillips girl--the other mlss:Lng student?--her address checked\qqt i to a Radio Shack 4 the No " family anywhere. No h:.ng DOn,/ \x\ Yy know how she fits in. //memma// \ \ (peellr}g/back ledther) She/does spooked. DEPUTY We've got\gn APB out ony {he and Cromartlg/ .But wi hout pla}ces chase we're pretty screwed' “¢re the chair) E Isz"that .Kevlar? } 5 ) ) Van Méterx, hls knuck‘les l DEPUTY RIDGE What the hell happened here? ' /the\{wreckqge ) Why don t we ‘have any bodies? (beat) JINN W Where'’ s\thelblood s Yeah. Thathis a very good question. !/ On Van Meter \; so' screwed. INT. A MOTEL ROOM - WASHINGTON STATE - EARLY MORNING Sarah sits up with a start. She’s been sleeping on a ratty motel sofa. John’'s asleep on the bed...

36. < EXT. THE MOTEL PARKING LOT - EARLY MORNING { truck is parked facing out to the hlghway The sits in the front seat. Sarah gets in next her\\Cameron s naked from the waist up (shot in a PG way\\\§hegs repairing the damage made by Cromartie’s her “skin” back tight. (re Cameron’s boobs) \:> You might wanna put thoge back in the holster. N CAMERON She pulls her bra and < rmSéRAH We should\qq two hoursi/filt;the\anadlan border\)\\QT\ durlng lunch/"Best time to cro /) N \\\\“/// Cameron nods. finalls ventures P‘v/ SARAH L S What year are you e CAMERON N —t S . How long have y\ been looklng for S us? \ i, Seventytthree days)\} r /GAME RON The Skyrét Missile Defense System becomes self-aware April 19th 2011. It declares war on mankind and triggers a nuclear apocalypse two days later. Sarah’s eyes fill with tears—-

SARAH But Miles Dyson-- CAMERON Someone else builds Skynet. SARAH CAMERON We don’'t know. SARAH - \ How i1s that-- Who? CAMERO@A\ We’re working on “igs bg\_/e know-- S . You dog/t*know the, the world 7 62;;26 I wasn't, sent here for ® \ No . were sent here te\ggep ‘sof getting assa551nated ) fWhlch by the wayA works a lot.//) E \petter if you don)t\walt to shbt at. A \\\ CAMERON (matter of faqt) Xour flancee the police. \\ K?/i?;t\\ You should’ve ;;énged~your alias. \SAR{H { 5 Sérew ;Ef s N v Sarah gets out of thg car, slams the door and leans against ! the truck. In31de, Cameron sits unaffected. After all, she N '/ 1is a robot. Whlch“probably angers Sarah more than anythlng it After a few she gets back in the car, slamming it N again. Sits quiet, composing herself. SARAH I've loved...two men in my life. You don’t know squat about me, but lemme tell you--two’s a lot. (beat) (MORE)

38. SARAH (cont'd) I should’ve dropped Reese’'s name. I know that. But it takes time to get //\\<\\ new papers and John wanted to start ™ school--needed to start school. <fi&\ \§i> He’s emotional. He was so upset about leaving...These are things ™\ N you “people” never consider. (beat, thinking) ( /\\ I...never thought Burke’ d<go to the( cops. She kicks the dashboard, furious with herself} CAMERON They’'d have found . (beat) They always do. /"Af\\ Cameron returns to mending a gash leavrng Sarah to contemplate how much<?er life trul ;ucked\ ™, \ INT. SARAH'S CQFFEE SHOP™-, MORNING Deputles 1nterv1ewusa§;;\é co-workers. Van\Meter 51ts in a booth in front of\a<half eéfen haTBBxger. He\f pondering A POLICE ARTIST SKETCH. OF CROMARTIE Ridge slldes 1nto the booth with e\cup of coffee. VAN METE(}\ v, the burger) You ever had elk’{I elkburger menu ang, I gotte\admlt...lt . seemed an odd breakfast cholce... \But since my case‘as lead agent I it “the. he;l let's splurge- Rldge‘}wav1ng paper) Twenty- two~w1tnesses, Deputy Ridge. Tyenfyvtwo~of your good town folk. Tnat whole*football team, offense and\defense And you know what nlneteen of ‘em saw? ~ PUTY RIDGE A with some kind of robot leg. VAN METER A shooter with some kind of robot leg. The two of them stare at the drawing.

39. DEPUTY RIDGE e You want a brownie to chase down that elk? N0y VAN METER \\ Yes, Deputy Ridge. I believe I ,/ would. :> Ridge slides out to get the food. Meter stares back at the drawing, dismayed. VAN METER Freaking X-file. INT. A DARKENED KITCHEN - MORNINS\\~M51F\ (f/Awi’”“4 A kitchen light 1llumlnates\\\f1gure. Cri martle. Wewcan t see him very well, but his varlous lnjurles ref electrlcal/ and metallic. He pulids clothes off and.we that\he in pretty bad shape“\fifis me al/&c skeleton ahow1ng\§hrough the skin in qult a few”places Camerorh and Sarah kicked his / \\/ N Cromartie pulls A\LARGE KITCHEN KNIFE‘from a\wooden block. He slices himself down\fhe/kreastboné/EHa bengS\PEELING OFF HIS DAMAGED SKIN. After a“feWw tugs he |STEPS) The last touch: he pulls off his damaged face, reveallng the entire terrlfylng/Termlnator metallic skeleton” He lays the suit of skln t of the“kitchen table next to theé face( He/fllps the sult back and studies it. There left\that damaged except THE BUTT. takes the knlfe/gfia:ellces\a section from the butt. He ,/putg it the 1n$1de of»the\ ace mask, covering the damage from\the 1n51de...He si é\down~at the table and begins the ,moregdellcate work\gfzfeparrlng the face with the new skin. { / \As/the camera PULLS\QUT(ES/gllde past a photo--a loving couple for the\camera...As our shot continues to pull out we find‘THE BODIES, OF THE COUPLE lying on the floor next to the kltchen\tqgie) Wrong place. Very wrong time. INT. THE MOTEL ROOM - EARLY MORNING Sarah lays down next to a sleeping John, putting an arm around him. He wakes. move from her hug.

40. JOHN (quiet) Why is this happening again? . . N O SARAH AN I don't know, sweetie. ////\/\\ » (| JOHN You stopped it. I guess we \\§\\ JOHN ou? But...you can, can’t} SN He turns and looks at her. <\WQI You changed, the ftl\ture.j‘”)You just right? \¥ou \ can do/it 7ga;in~.\ N N \ And now he sits O\ 1 Bedalge I can't ké‘eb\gunning,\I/ I'm not thifik 1 me. . never be. ou don’t_know that-- [ fio\m‘ A /) I ;I\ canjzfl‘lqadvan army. Maybe N7 that’s yqlf»bt!tj never be me. to/stop it. Please. ( S ' \// / ( (Beat.) Mom. ) / \ AN She gets it nows. He terrified. Live or die. The future terrifies him. “She-ndds, trying to reassure him. S All right. All right. JOHN All right what?

41. Vo SARAH I'll...stop it. (}B EXT. THE MOTEL PARKING LOT - EARLY MORNING . :\\ Y and opens the door. Cameron sits in the front seat, keeping watch, ar: appears N\ ~ SARAH Time to go. CAMERON You said that statis 1cally RN not going to Canada. \\ y CAMERQN - . ) Where are—we g01n‘\\,/:}> N To flnd \\\\\::fj/ She turns around and walk%/off We-Hang on\gameron for a second, who, quite lmprdbably smiles. . “\\\ \:> EXT. DARgf/REEWAY - EARLY MORNING Ve \ The came¥a trackfi the Jellow O N \ CAMERON S TRUCK - MO NG SO the/Connors south .John sleeps against the x/lendOW addresse§>}ameron Y ~SARAH believed the futu;E\could(QE/saved That we dldn t have to follow this certain path to degtruction. \(beat) He . (bedt) Do you know why? Cameron looks at her, waits for an answer. SARAH Because the man he respected most in the world said it was so.

42. Sarah’s eyes drift to John. This man. //g\\\<\\ SARAH (re John) But how was he so sure? Who told ™ him? She turns back to face the road. It rises Mp(\w/meet them. %\% INT. THE DARKENED HOUSE - MORNING Cromartie sits in a desk chair. WE CLOSE\IN ON ONE OF HIS EYES...Entering HIS CPU POINT \OVEE his POV-of the room we see text: A\ STORAGE"..." TIMESINPUT: =L, 04;\ minutes"\ “ ) CROMARTIE'S POV: Like watchlng you; Tivo ju§p~bacgwards at/ the superfast settlng.. wé\speedfback through hours until we N e~ CROMARTIE'S HUQ\FNG IN THE SCHOOL\P. ING /) AN~ He fast-forwards through/most of lt”“slow1ng\thlngs down just as he’s SMASHED BY 5 TRUGK/'Weire\ln super-slo-mo as Cromartie’s POV tumbles Ass-overitea kettle onto the wet pavement.;t::; \\\\_/// \\ There. Fiééze.gBack up a frame...CROMARTIE/S UPSIDE POV: RN A very\qu glance at GAMERQN' S\LICENSE PLATE. And even then, only\the/flrst NUMBERS\AND LETTERS. Cromartie ZoQms the plate, cleanlng up thé blurred image: V34 . N . BACK™ SCENE' . 4»" N Cromartie sits 1n front of\a computer. He rips the keyboard ;open.KHe OPENS ONE\OENHIS FINGERTIPS, revealing more 01rcu1try the keyboard. computer blinks to llfe, screen after screen flying through at llght We see a Department of Motor Vehicles screen and the@\just quickly we see hundreds and hundreds of plate all of them beginning with v34... The numbers begin shrinking as Cromartie eliminates poor candidates, focusing on trucks...Finally one number remains: V34CH3... ECU: the license plate V34CH3 WE PULL BACK TO FIND CAMERON’'S TRUCK PARKED AT A GAS STATION.

43. ® “~ EXT. THE BATHROOM BEHIND THE GAS STATION - DAY A{?> A NEWLY BLACK-HAIRED JOHN sits waiting OutSLde<éh$\batherm Cameron rounds the corner with a paper bag//E es thn ‘s hair, nods approval. Sits down next to him. CAMERON Back at school you apolo 1ze&}for lying to me. So I should apologlze for lying to you. He shrugs. JOHN S’'alright. I get it. \You needéd‘to . get close to me. éfifle\jfiggjigtfié § way you're...”programmed. "<::j;f . »K\ (beat) Q\ \\ /] Like ls/gonna make(/fl\\ e frlende/w1th the\geird/ new kld \;f I’ d%/thoughtbabeuf\1t I shouid Ve known<someth1ng was messed up. N She watches him d1§8a5519gately, COmpletely understanding his teen angst. She reachés up to,hls temple;ia bit of hair dye is on his skin. She/éubs it off, a more tender gesture than she reallzes Shows him the\qufi‘//he fifger. j o s CAMERON o \\In/the future you'have many - g\ N frlends \ Sarah opens the door, her alr newly\dyed blond. Funyuns’(f A&fRO;><§> K} / am%ron holds out thewbag of\ chips. /\\ /INT. CAMERON S - 170 FREEWAY - DAY Cameron pll:és the tr k through a great river of traffic and the Connors eat\qpnk ood as the truck passes under a sign reading: LOS ANGELES. DISSOLVE TO: EXT. LOS ANGELES STREETS - DAY The truck stuck in nasty traffic. Creeping.