"TERMINATOR GENISYS" (2015)

'rhe blue, glowing jewel of Earth, rotating slowly in the velvet-black of space. Stars pinpricks of light.

From so far away, we can still make out weather systems, swirling, wreathing oceans like drifts of gossamer.

Continents are beautiful stretches of vibrant green, abutting the vast expanses of deep, lustrous blue oceans.

Suddenly, a WHITE STREAK OF SMOKE races across the surface of the Earth, curving beetween continents, IMPACTING with a flash of bright explosive light--

Another streak of smoke-- and another-- another--

Proliferating exponentially, arcs of smoke crisscross all over the globe, A tracery of massive destruction, all the more horrifying for the absolute silence of space around it.

We're looking at a NUCLEAR HOLOCAUST as it happens, Before our eyes, the Earth is covered in a web of flame and destruction.

A ragged, bleak landscape-- downtown Los Angeles skyline shattered into spiked, broken ruins.

SUPERIMPOSE: LOS ANGELES, 2029

Lightning FORKS over the skeleton of the city, the sky metal- grey with ash, the sun a blood red smear through the haze.

Skim along ·the destruction -- flashes of energy weapons, the hard sound of gunfire, as we find--

RAGTAG GUERILLAS fighting against VARIOUS MACHINES:

AERIAL HUNTER-KILLERS fly overhead, lights sweeping over piles of bones and skulls, plasma cannons blasting at the humans scurrying through the ruins,

SPIDER TANKS scrabble through wreckage, gun pods with plasma cannons mounted on four jointed "legs."

One tank trips an IED, one of its legs is blown out and it topples. Guerillas fire on the fallen tank from cover, blasting at it until it explodes.

We move through the battle to see A SURVIVOR, wrapped in the rags, crawling through wreckage. He looks wounded.

A GUERILLA VEHICLE, modified pickup with a machine gun mounted on the back, screeches up to the Survivor. A MEDIC reaches down to help him into the back of the truck--

7. 17 .13 3.

-- and the Survivor grabs the Medic, snapping his neck.

Survivor/Terminator vaults into the truck, starts killing the Guerilla team with their own weapons and his bare hands. (Note: although he is powerfully built, he is not Arnold, there are other terminator models.)

One Guerilla FIRES at the Terminator, emptying a clip at him--

Bullets TEAR OFF the skin on Terminator I s face and chest, partially revealing the CHROME SKELETON beneath.

Terminator keeps coming-- the gun clicks empty-- he SNAPS the Guerilla's neck. His blank expression never changing,

An underground bunker. A TOPO BATTLE MAP pinned to a table,

JOHN CONNOR, 45, left side of his face scarred, a hardened, commanding man forged in the fire of war,

Among the Guerillas, find ONE SOLDIER-- 20's, face far older than his years. A lifetime of combat, a childhood stolen long ago by endless war, KYLE REESE,

As they continue speaking, we INTERCUT WITH:

A SPRAWLING DISPOSAL CAMP, chain link topped with coiled razorwire, holding in a filthy hive of HUMAN MISERY.

SURVIVORS, listless and emaciated, crouch in cratered asphalt. Eyes hollow, numb. Devoid of hope,

AERIAL HK' S touch down atop A SUPPORT HANGAR-·- a rnul ti tiered repair and supply depot (think barracks for machines,)

The HK's lower into the hangar-- armored roof doors grind shut over them, Tilt down to OPENING BULKHEAD DOORS at ground level. SPIDER,TANKS exit to guard the perimeter.

POV ONE ENDOSKELETON, showing the HUD-like readouts it sees-- scrolling data and information down both sides, constantly running a threat assessment of the huddling survivors; 0%.

LT. GOMEZ enters the room. Wearing a slim combat headset, chatter in his ear. Reporting to John;

The Guerillcl.S glance at each other, This is it.

Reese can't help himself, breaks in:

A massive underground space, what was once part of the L.A. Metro. John stands in front of a sea of assembled Guerillas.

PANNING OVER THE GUERILLAS: their weapons, gearand clothes haphazard, but they are fierce as wild animals.Warriors who are the last of their race, with nothing left tolose.

A ROAR LIKE THUNDER from the Guerillas, REESE among them. Guns brandished defiantly in the air, shouting their loyalty .

MOUNDS OF BONES AND SKULLS at the base of a chainlink fence. A MANGE--COVERED RAT scavenges the remains, when--

THHHRRACCKKK! The Rat is VAPORIZED by a barrage of ENERGY PULSES from above. PAN UP to reveal--

AUTOMATED SWIVEL-MOUNTED TURRET GUNS perched at the corners of the fences-- they whip around and fire at the slightest movement approaching the camp.

AT THE GATE: a 'TRUCK pulls up, convertedmilitary troop transport, canvas top. An ENDOSKELETON behind the wheel.

Thick double tires roll over skulls like an ATV offroading over shells on a beach, crushing them to pale fragments.

The gates swing open, A GUARD ENDOSKELETON scans the truck, looking over the Endoskeletoni driving-- then stands aside.

The truck pulls in, massive gates sliding shut behind it,

ANGLE ON THE BACK OF THE TRUCK, as the tarp is whipped back-- revealing HUMAN PRISONERS.

GUARD ENDOSKELETONS force them out at rifle-point-- including CHILDREN, faces streaked with dirt and tears.

ANGLE ON THE SUPPLY HANGAR, in the center of the camp. A patrol ot Endoskeletons emerge through the bulkhead doors.

Next to the Hangar, Endoskeletons herd a small group of Prisoners toward a series of HOLDING PENS, metal-walled chutes that get narrower and narrower as the humans are J:riven in small groups toward--

A MASSIVE INCINERATOR UNIT, spewing constant black smoke.

AN ENDOSKELETON shoots the Man down-- he SPRAWLS to the ground, his chest nothing but a glowing hole,

ANGLE ON THE DEAD MAN'S OPEN EYES as the Prisoners shuffle forward, stepping over him, careful not to look down.

POV THE MOTHER, craning to try and make out what's ahead. She can see only GLIMPSES through the crowd--

A THICK STEEL BULKHEAD that forms the door to the incinerator slides OPEN CLANNG! ! Two Endoskeletons FORCE Prisoners from into the filthy, blackened box 1 packing them tight.

WHITE-HOT FIRE blasts into the killing box-- faster than the humans can scream, the bulkhead SLAMS CHLUNNKK! Their terrified expressions linger like an afterimage burned into our eyes, as heat BLASTS outward--

-- and the bulkhead CLANGS open, revealing the Prisoners FROZEN, each face a rictus of agony--. made entirely of ASH,

The floor DROPS OPENS, the ash figures COLLAPSE like falling sand, pouring out of sight down a waste chute-- and the Endoskeletons SHOVE .another group inside.

ON THE MOTHER, pulling her boys close, terrified. Only minutes until they will be at the front of the line.

AT THE ENTRANCE GATE-- ANOTHER TRUCK OF PRISONERS pulls up. THE GUARD ENDOSKELETON at the gate peers inside' eyes sweeping over the DRIVER ENDOSKELETON--

POV GUARD ENDOSKELETON, raking over th? Driver, which faces straight ahead-- and suddenly the Terminator-vision FOCUSES DOWN on the Driver's EYES, which are not glowing.

UNIT NONFUNCTIONAL begins to flash--

THE GUARD ENDOSKELETON suddenly raises .its battle rifle--

IN THE rRUCK, crouched behind the Driver Endoskeleton, PERRY operates a crude remote, wired to the Driver Endoskeleton, metal spine torn open where the power: _yell has been remoY..§.9.

THE GUARD ENDOSKELETON opens fire, as PERRY throws himself backwards, FIRING a pulse rifle as he hits the floor--

FAST PAN ALONG THE FLOOR IN THE BACK OF THE 'rRUCK as the "Prisoners" rip up the flooring, exposing WEAPONS, grabbing up rifles, grenades, RPGs--

ANGLE OUTSIDE THE TRUCK as the tarp is ripped away and FOUR GUERILLAS stand, simultaneously firing RPGs up at the turret guns. STINGER MISSILES blaze trails of smoke--

ANGLE HIGH OVERHEAD, to see all 4 turrets EXPLODE!

~MOTHER AND BOYS react to the thundering GUNFIRE, EXPLOSIONS lighting the sky over the chute walls.

John's name races like fire down the rows of Prisoners.

AERIAL OUTSIDE THE CAMP-- 'HELICOPTERS roar into frame, A ragtag mix of Hueys, ·Blackhawks, and two battered Apaches, let loose hellfire at the camp's defenses. Below--

MULTlPLE GUERILLA VEHICLES break from the cover of wreckage and CONVERGE on the fences from every side.

Reese pilots, A COMMANDO TEAM behind him, led by JOHN, who hefts his modified assault rifle with a twisted bayonet. Its blade crackles with blue plasrnq.

ON THE TRUCK, the Guerillas leap out for the ground attack, PERRY stays to man the plasma gun bolted to the flatbed as--

IN THE CAB, KE!\OA kicks the dead Endoskeleton out, takes the drjver's seat. GUNS IT toward the Hangar.

GUERILLAS leap out of the moving vehicles to go brutal hand- to-hand with the Guard Endoskeletons, using the PLASMA BAYONETS when they're close enough to cut into the machines.

SPIDER TANKS race from the Hangar, metal legs tearing into the ground, mowing down Guerillas. Behind the spider tanks, the thick BULKHEAD DOORS begin to close, sealing the Hangar,

MISSILES and PLASMA cannon unleash from the Resistance helicopters, strafing Spider Tanks and terminators.

Reese evades an HK, swooping to avoid blasts of energy fire.

Below them, the ROOF HANGAR DOORS grind open.. Three more HK DRONES li.ft off to join the battle.

REESE dives, skimming low over the fighting, jinking wildly to avoid fire, then pulls up 1 barreling for the closing roof hangar doors. GUNFIRE from Endoskeletons below--

'!'HE BLACKHAWK plummets down-- crashes through the closing hangar doors, rotors CLIPPING the edges and SHEARING off!

The Blackhawk SLAMS into the HK hangar deck, SLIDING as it lists to one side, skidding sparks and fire.

CHAOS inside the chopper, Commandos holding on for dear life--

THE BLACKHAWK finally grinds to a halt on its side, a smoking wreck. Fire ERUPTS near the cockpit.

Reese hangs sideways, still strapped in. POV REESE: through the smoke, HULKING SHAPES are advancing on the chopper--

Reese unbuckles, falls on his lifeless co-pilot. FIRE licks up through the cockpit. He reaches for his weapon-- A HAND grabs him, yanks him clear of the wreck as--

PLASMA FIRE blasts the cockpit wide open.

INT, HANGAR DECK - CONTINUOUS

Reese is pulled clear-- it's JOHN, dragging him behind the wreck for cover, 3 COMMANDOS crouch alongside them.

PLASMA FIRE scorches the Blackhawk from the other side--

TERMINATORS fan out, both Endoskeletons and "Skinjobs" (human looking, non-Arnold models} , advancing on the overturned Blackhawk from all sides. Two Commandos go down.

REESE and JOHN fire in sync, reloading, covering, firing .

AN ENDOSKELETON vaults atop the burning chopper, LEAPS for them-- the Commando FIRES, hits it mid-leap! The two halves of the Endoskeleton tumble to the deck--• but the Commando is scorched with plasma fire, goes down.

Only John and Reese remain. But no matter how many rounds they fire, the terminators keep closing!

John primes the plasma bayonet-- rams it into the chassis of the closest attacker, frying its core-- when

A METAL HAND GRABS John by the arm, yanks him down-- THE HALF- SEVERED ENDOSKELETON, its other hand grabbing John's throat!

Reese lunges his plasμia bayonet into the machine 1 s skull, frying it. John rips the skeletal metal fingers from his throat, scrambling out from under the Endoskeleton,

Shoulder to shoulder, Reese and John raise thej_r bayonets--

And suddenly, without warning, :the terminators ,_stop.

K/L 7.17.13 12.

Prisoners fight alongside Guerillas, outnumbered and outgunned by the machines--- and all the machines stop_.

A SPIDER TANK stumbles, guns swiveling down, then totters with one leg lifted-- and crashes into the wreckage.

THE HKS all become rudderless in the air, weaving aimlessly for an instant before they plummet to the ground.

THE HANGAR DOORS suddenly GRIND OPEN, revealing

JOHN AND REESE, emerging to survey the camp--

ALL THE MACHINES stand frozen ln place. Motionless.A VOICE sounds in John's and Reese's headsets:

MORE GUERILLAS AND SURVIVORS are coming out of the rubble, faces lit in the flames of the crashed machines, the Guerillas all hearing the same thing on their headsets:

Reese looks at John. All around them, the ragged survivors of this endless war begin to cry and cheer.

But John I s face is grim. Determined.

John moves through clusters of TECHNICIAN SOLDIERS, working inside a HOGE CHAMBER beneath the camp. Reese at his side. Perry turns from being on the radio set at the sight of John.

TWO LINES BELOW, SWITCH THEM, JEALOUS GOD FIRST.

John turns to Midderland, who's overseeing the Techs,

MlDDERLAND Yes sir.Right where you said it would be.

INT, TIME DISPLACEMENT CHAMBER - NIGHT

John enters a vast, vaulted room. Reese and several Guerillas behind him. It's a bizarre, alien space. Utterly functional and unadorned. Made for machines, not people.

TECH SOLDIERS have torn open the walis and floor, cabling their equipment directly into the machinery behind.

In the center of the room, a MASSIVE MAGNET ARRAY is inset

suspended one inside the other. Humming faintly.

K/L 7,17.13 14.

Kekoa reads off the monitor as the coordinates appear:

A hush around the room. John doesn I t speak for a moment. He knew it, yes ... having it confirmed makes it all real. What's about to happen. What has to happen.

ARGUMENT breaks out between the Lieutenants--

Somethj_ng unreadable in John's face. Reese plows ahead:

His look to John is determined. And something more •••

A small room carved off the side of the TDD Chamber.Reese and John talking, al.one.

,John seems surprised by the question, Shakes his head wryly.

John's voice softens; There's the echo of love and terrible loss in his eyes as he speaks, and we can see he is remembering and mourning the mother he loved deeply.

7.17.13 17.

The Techs are calibrating the TDD with deliberate haste. ACROSS THE CHAMBER, John stands with Reese and Kekoa,

Reese pauses. Naked into an unknown and hostile past, to fight a monster, He starts to strip.

John holds out a hand-- and Reese takes it. A warrior's handclasp, wrist to wrist.

ANGLE ON THE GUERILLA SOLDIERS-- parting like the sea to make a path for Reese as he walks to the giant CHROME RINGS.

We might notice A SINGLE GUERILLA who we haven't seen before, angular, handsome. The fluid movements of a born predator, watching Reese go by with snake-like focus.

AT THE TDD SPHERE, Reese watches the Techs set. the target date. Takes a deep breath-- steps inside the floating rings.

The rings start to move inside each other, rotating like a gyroscope. Reese ]'LOATS, lifted gently off his feet •.. and then the rings pick up speed. Faster. And FASTER, Reese is buffeted by unseen current, like being dragged by a riptide.

ELECTRICITY starts arcing off the sphere. THE GUERILLAS all step back r startled---· except JOHN, who stands his ground.

IN THE SPHERE, REESE fixes his eyes on John-- then suddenly, Reese doubles over·in painl Gasping, agonized.

ANGLE ON JOHN FROM BEHIND-- someone coming up behind him.

K/L 7.17.13 18,

POV REESE, breathing ragged, looking through the blur of the time sphere, the faces outside pale smears like GHOSTS-- and he sees THE UNKNOWN GUERILLA melts out of the background ~_ru;L grabs John from behirul,

One hand over John's neck, one over his jaw, The Guerilla's flesh transforms into STREAMS OF SKITTERING BLACK PARTICLES, like black sand cascading in oil.

From now on, we'll call him THE T-5000, Pecause whatever this thing is, it~.§...._not human.

Streams of oil-black particles rush from the T-5000 1 s hands into John's neck, into his mouth and ears and eyes,

REESE flings himself at the blurring wall of the sphere--

-- but the bright edge of the sphere repels his hand, throwing him back into the center of the whirling rings! Everything VANISHES in a blaze of blinding LIGHT ...

FADE IN ON:

EXT, LOS ANGELES - NIGHT - 1984

AERIAL VIEW, flying over the HOLLYWOOD sign .•.

The city of Los Angelesstretches out in a sprawl of light. FLY over GRIFFITH PARK,skinuning the ~reeline, rise up over:

THE OBSERVATORY, a sentinel above the city.

A LOADING DOCK, where a garbage lifts a dumpster, hydraulics wheezing-- and suddenly the truck's engine cuts out~ THE DRIVER grumbles, trying to figure out what's wrong.

(Note: This scene and part of the next are shot-by-shot recreations of the 1984 original, showing that everything is the same.,, up to a point.)

Although the njght is still, a breeze rises, stirring stray trash-- building quickly to a keening WIND.

LIGHTNING cracks across the sky-- cracks again-- then a STORM of forking electricity rips down from air to earth, a THUNDERCLAP that rattles the Observatory windows and--

CLOSE ON THE SPHERE: ELECTRICITY dissipates with the sphere to reveal a crouched naked figure of hard-pack~d muscle:

THREE PUNKS loitering at METAL FENCE. Punk 2 looking through a telescope-- Punk l SMASHES a bottle against the telescope:

PUNK l Hey! My turn!

Punk 2 has spotted Terminator walking toward them, nude. Grins in disbelief.

They start laughing as Terminator reaches them, stops.

He snaps his fingers in front of unblinking Terminator.

PUNK l. Hey, I think this guy 1 s a couple cans short of a six-pack.

I

The other 2 Punks snap their blades out--

-- and from this point forward, we're not in shot-by-shot, every angle and shot completely different, starting with:

POV OVER THE TERMINATOR'S BACK--

VOICE (O.S,) You won't be needing any clothes.

The Punks, startled, peer around the massive naked 1 man 1 as

TERMINATOR turns, seeing 'who's behind him:

ANOTHER TERMINATOR-- the same 11 Arnold 11 model 1except this one

is OLDER. Graying hair, skin looser. Weathered, wiser-- and armed to the teeth and dressed for battle.

From now on we'll call him the GUARDIAN.Because no matter how much he looks like a terminator, heisn't one.

TERMINATOR POV: flashing THREAT ASSESSMENT, rapidly outlJning and identifying GUARDIAN'S WEAPONS. Calculations scrolling madly-- including information on GUARDIAN himself.

BACK ON TERMINATOR, eyes narrowing-- then CHARGES Guardian!

BLAMMM! GUARDIAN fires his shotgun! Terminator staggers back, Guardian FIRES again--

But Terminator is faster, newer-- he dives to the side, snatches the nearest Punk and hurls him at Guardian, who brushes the Punk off like an insect, but not before--

TERMINATOR pile-drives into Guardian, taking both of them crashing into the metal bars of the entrance gate.

THE PUNKS scatter, racing i.nto the darkness.

GUARDIAN AND "rERMINATOR grapple, throwing each other against the metal bars so hard they bend at the force.

Terminator manages to grab a pistol from Guardian's belt-- he SHOOTS Guardian in the chest, kicks him back, leaps onto him like a panther, fists raised as if to cave in Guardian's skull-- when

ANGLE ON THE SNIPER RIFLE, giving us an instant to register that it's strangely MODIFIED. The sniper rifle FIRES!

Follow a spent uranium· ANTI-TANK BULLET as it rips through the a.ir in a split-second--

-- and PIERCES Terminator right between his shoulder blaces.

TERMINATOR spasms, limbs twitching--

POV TERMINATOR: HUD readout showing POWER CELL COMPROMISED, the readout itself glitching and fritzing-- then going dark.

Terminator goes still, dropping like a rock.

SNIPER SCOPE POV: Guardian gets to his feet, a little creakily. (After all, he's just been battered by a younger, nude version of himself,)

Nevertheless, he holds up one hand-- thumbs up.

Seedy apartments loom over an alley lined with overflowing dumpsters. Rats scurry through the filth. A DERELICT mutters incoherently, huddled in a doorway under a rusty fire escape.

WIND rises, whipping paper and refuse, centering about ten feet above wet pavement. An electric crackle fills the air. Confused, the Derelict leans out to see:

LIGHTNING FORK between the alley walls, electricity dancing along the fire escape, over the dumpsters-- and suddenly

A THUNDERCLAP rattles the tenement windows, as--

ANOTHER BLUE-BLACK SPHERE materializes in center of the electrical storm, floating ten feet over the alley--

KYLE REESE suspended inside, naked, curled in a .fetal ball--· the sphere vanishes, Reese DROPS hard onto the pavement below. He rolls over, getting painfully to his hands and knees. Breathing through the agoryy.

He spots DERELICT, who flinches as Reese runs up to him.

ANGLE ALLEY MOUTH-- MOMENTS LATER

A BLINDING LIGHT rakes over, Reese-- he's pulling on dirty trousers, stolen from the Derelict. The light is coming from

AN LAPD PATROL CAR coming to a halt at the alley mouth. COP 1 slides out, a silhouette shining his flashlight at Reese-- Reese BOLTS away down the alley into the shadows.

The patrol car speeds away. Cop 1 chases on foot. FAST.

ON REESE, bare feet splashing through puddles. Rounds the L corner of the alley, scans left-right for a way out ♦

COP 1 slows at the corner, gun out. He darts around the corn.er-- but there's no one there. Just dumpsters--

WHAM!! REESE charges from the shadows, TACKLES COP 1, whipping the . 357 from him and aiming it back at the Cop:

Reese flinches.Confused, Gets his fi.rst good look at Cop l; Cold eyes. Expressionless. And Reese knows ... too late.

COP 1 SNAPS HIS HAND OUT-- it elongates into a blade, he SLICES at Reese, the blade whistles through the air.

REESE leaps back, OPENS FIRE-- the Cop JOL'rS with each impact, the bullets tearing blooms of mercury-silver on its chest, until the momentum drives it CRASHING into a dumpster.

ON THE COP as the bullet holes close, vanishing, The Cop rises to his feet smoothly, because he 1 s not a cop at all, but a T-1000 LIQUID METAL TERMINATOR. (Not the Robert Patrick model, but similarly lean and fast.)

Reese turns and runs! He pounds down the alley-- ahead, lights wash across the bricks, an instant be£ore

A HEAVILY MUSCLED COP behind the wheel. Cop 2-- a T-850 TERMINATOR (not the Arnold model) raises a SHOTGUN and--

KABLAMI shoots right through the windshield, glass exploding!

REESE pulls himself swiftly up onto the fire escape--

T-850 gets out of the car, BLASTS again-- as Reese throws himself through a second st.QJ:Y_window. 1r-l000 vaults up after him, ARMS EXTENDING to metal hooks, snatching the fire escape and propelling itself in pursuit.

T-850 strides to a metal door on the ground floor and BLASTS the lock with the shotgun, tearing the door aside.

Rack upon rack of discount merchandise. REESE runs hunched between rows, darts left, passes a table of NIKES. Snatches a pair, matches them sole to sole, and runs.

T-1000 glides down an aisle with precise menace.

FROM BENEATH A RACK of trench coats and jackets, REESE sees the T-1000 pass him. Reese snags a grey coat, slips it on.

CLOSE ON T-1000 reacting to the rustle of fabric. It stalks back, arms bladed, slashing through racks helter skelter---

REESE crawls fast, DARTS to a stopped escalator, gets half- way down then VAULTS over to the opposing escalator when

T-1000 appears at the top. It leaps down after Reese.

Reese hits the bottom of the escalator, button-hooks around the railing into the store an instant before

BLAMMBLAMMMBLAMMMBLAMMM 11 ! GUNFIRE RIPS into the escalator from the rr-850 on the first floor! It strides after him.

Reese dives behind .a cosmetics counter, crawling fast--

Another shotgun blast pulverizes the mirror over himt as THE_ '.!'._-85.Q advances implacably toward the counter, cocking t.he pump action to fire again, while

BEHIND THE COUNTER, REESE looks around desperately. BLAMMMI another shotgun round shatters plaster over him.

THE T-1000 AND THE T-850 advance on the counter, side by side, inescapable and inexorable-- when

LIGHT SUDDENLY BLASTS THE TWO TERMINATORS INTO SILHOUETTES--

THE GLASS_, FRONT DOORS OF THE STORE shatter inward as

A '77 ELDORADO, reinforced grille, DRIVES full tilt through the front entrance, scattering glass and metal as it GUNS straight'• f_or .. the Terminators--

T-1000 leaps to the side, but T-850 is hit, knocked flat as the car runs him over with a THWUMPP! The Cadillac swerves, screeches straight toward the cosmetic counter--

-- and Reese barely dives out of the way as the Eldorado PLOWS through the counter, smashing through it!

T-1000 rises up behind the Eldorado-- just as

THE TRUNK OF THE ELDORADO flips open backwards, a steel plate welded inside the trunk lid, creating bulletproof shield-- and GUARDIAN rises from the trunk with two Uzis, blasting!

T-1000 flies backwards, chrome holes torn all over its body.

ON REESE as the Eldorado's passenger door is flung open, The DRIVER, A YOUNG WOMAN, leans across over the sniper rifle on the front seat, holds out her hand--

Reese reacts-- he recognizes her, even if we don't.

POV YOUNG WOMAN over Reese's shoulder-- THE T-850 gets up, blood-smeared silver chestplate of the endoskeleton showing--

___ and she snaps up her rifle, FIRES over Reese's head.

THE BULLET THUNDERS into T-850, showering SPARKS, spinning it backwards and out of sight behind the escalators.

Reese BOLTS to the car--

She floors it with Reese half-hanging out the door, the car accelerates straight backwards--

-- and the T-1000 charges, arms growing into metal grappling hooks! It LEAPS for the side of the car--

-- but Guardian SHOOTS! The T-1000 contorts in midair, falling back, riddled with bullets.

The ELDORADO ERUPTS from the storefront, rips a 180 and speeds away, glass and debris falling off of it.

The •r-1000 gets to its feet and RACES after the Eldorado--

-- emerging from the shattered storefront. THE PATROL CAR flies out of the side alley behind it, T-850 back behind the wheel. T-1000 gets in, takes the shotgun·.

The Young Woman keeps the pedal to the floor, driving the Eldorado down wet streets with a racecar driver's skill.

Reese is staring at her like he's seeing a ghost.

Reese is looking behind them, can't make sense of this:

Reese is struggling to get this back on track:

She nods towards the backseat. Reese leans over-- and freezes at the sight of THE DISABLED TERMINATOR.

One half of the backseat folds down, and GUARDIAN pulls himself into the· car from the trunk--

Reese snatches Sarah's RIFLE, levels it at Guardian-- Sarah snaps her arm out, knocks the barrel aside as Reese FIRES--

THE BULLET BLOWS out the SIDE of the car, Sarah SWERVES wildly, the car fishtails on the wet road.

ON THE ROAD BEHIND THEM, ~HE.PATROL CAR closes the distance fast~- RAMS the Eldorado, which skids sideways!

INSIDE THE ELDORADO, Sarah fights to regain control.

Without another word, Guardian SLIDES back into the trunk,

ON THE ROAD, 1rHE PATROL CAR brakes, swerves into the back quarter panel of the Eldorado, forcing it into a SPIN.

GUARDIAN crouches on one knee, blasting at the patrol car.

'11-1000 hangs out the passenger side, firing back with the shotgun. A blast HITS Guardian, he barely stays in.

INSIDE THE ELDORADO, Sarah jerks the wheel into the skid.

Reese leans far out the passenger window with the sniper rifle, ratchets ln a fresh round, aims and fires--

THE BULLET HOWLS THROUGH THE POLICE CAR'S ENGINE BLOCK, DRILLS through metal in a shower of sparks to the GAS T.ANK--

KABLAAAAAMM! ! ! ! 1'HE CRUISER EXPLODES, PINWHEELS over and over in the air-- about to HAMMER down on the Eldorado.

SARAH slams into reverse, spinning the wheel-- GUARDIAN, already off-balance, goes HURTLING out of the trunk, rolling off the shoulder of the road.

THE FLAMING CRUISER CRASHES DOWN, landing on its roof on the asphalt, SLIDING in a trail of fire alonq the highway.

Sarah whips the car around to go back for Gua:r:dian-- when

Sarah screeches the Eldorado to a bone-jarring RALT.

A YOUNG ROOKIE COP, O'BRIEN, enthusiastically jumps out of the car, pistol leveled at Sarah through the windshield.

Cop 2, GUTIERREZ, rushes to the flaming wreck of the cruiser. Staring in shock. No way anyone survived.

Sarah and Reese have slid out of the car, their hands up. Sarah sees Gutierrez approaching the wreck:

AT THE BUR.NJ.NG CAR, Gutierrez sees what looks like a SMALL RIVER OF MERCURY rippling along the ground, snaking away from the flames _right toward him.

ANGLE ON THE LIQUID METAL as it whips up, wrapping around Gutierrez's leg and JERKING him to the ground as--

T-1000 forms from the liquid metal, crouched over himl Gutierrez tr.i.es to draw-- T-1000 STABS him in the chest.

THE BURNING CAR HEAVES, metal and glass to explode out, showering O'Brien with debris, cutting his face as--

THE T 850 throws off the wreckage, emerging with its flesh burning away to the ENDOSKELETON. It stalks toward O'Brien--

BLAMM! A shotgun blast knocks it back--

~UARDIAN.has emerged from the side of the road, scraped up but moving fast.

Guardian cocks the shotgun one-handed, SHOOTS Endoskeleton,

O'BRIEN turns and SPRINTS for the darkness-- as he goes,

SARAH AND REESE pull out in the Eldorado, tires smoking. Guardian VAULTS into the trunk as it passes,

As they pass, Reese shoots at the remaining cop car-- nailing two tires and the engine, shattering the windshield.

GUARDIAN watches from the Eldorado's trunk as Sarah floors it, the two TERMINATORS receding rapidly into the distance.

AERIAL VIEW-- A POLICE HELICOPTER closing on the chase' searchlight roving over the streets until it finds:

THE ELDORADO-- Guardian visible reloading in the open trunk. Behind the Eldorado, two moie POLICE CARS join the pursuit.

Sarah speeds through the city. SIRENS cut through the night behind them. Guardian slides into the back.seat. Ahead, two more POLICE CRUISERS swerve to block the road.

THE ELDORADO NAILS the CRUISERS with its reinforced bumper, crunching metal and kicking both cars aside-- but the third cruiser whips around, gives chase.

THE POLICE HELICOPTER loses night of the El.dorado under the overlapping curves of freeways--

IN THE ELDORADO, Sarah turns off the road in spray of gravel, shutting the lights off as she pulls into A RAIL YARD. She tucks in behind an empty freight car.

THE CRUISER screeches past the turnoff, siren wailing.

Guardian slides into the driver 1 s seat as the sound of the siren RECEDES. Sarah moves to the back.

EXT, POLICE HELICOPTER IN SKY· - NIGHT

THE POLICE HELICOPTER overshoots, circles back-- but only the police cruiser comes out from under the knot of overpasses.

Guardian speeds along over uneven ground, moving through the silent hulks of sitting train cars.

Reese turns on them, frustrated, confused, getting angry.

K/L 7.17.13 32,

Sarah glances at the Guardian,

EXT, BIG BEAR - LAKE - DAY - 1973

The lake is like glass. .Pict1.ire perfect.

Young Sarah 180's around SARAH'S DADwho carries a cooler down the dock to a small metal boatroutboard motor on back. Mom s1athers suntan lotion on SB.rah.

Mom kisses her daughter. Tells her to be good for Dad.

YOUNG SARAH climbs into the boat, huddles next to Dad as he putts away from the dock. Both wave back to Mom.

ON THE WATER -- Young Sarah and Dad drop lines. Drink soda. Whisper so as to not scare the fish. Enjoying their time.

BEHIND THEM, the cabin is small on the shore.

Neither Dad nor Sarah look back to see Mom setting up the picnic table outside. And a STRANGER quietly approaching ••.

K/L 7.17.13 33,

Mom goes back into the cabin ...

THE CABIN BEHIND DAD & YOUNG SARAH SUDDENLY EXPLODES.

FIRE RAINS down on the dock and across the water.

YOUNG SARAH can 1 t even scream.Dad drops the motor Iputts

back towards the flaming ruinsof his life. Says 'It' 11 be okay, 1 to Young Sarah over andover., not once believing it,

BELOW THE WATER - something MOVES FAST TO MEET the BOAT.

INSIDE THE BOAT: THUNK-- Young SARAH points to the bottom. The boat is leaking, Dad reaches down to touch the water.

IT'S NOT WATER-- LIQUID METAL is RISING UP THROUGH THE SEAMS OF THE BOAT from the water beneath.

DAD pushes Sarah to the bmv, as far from the metal as he can.

THE LIQUID METAL RISES UP, becoming THE SHAPE OF A MAN.

DAD doesn rt think, Just acts. lie THROWS Young Sarah out off the bow towards the DOCK and shore, away from the thing.

The LIQUID METAL MAN attacks DAD. Dad tries to fight back, But A BLADE forms from one of its SILVER ARMS-- STABS DAD.

YOUNG SARAH keeps swimming for the dock. Terrifi.ed.

LIQUID METAL MAN locks onto her with chrome eyes. Then calls to her, not in its monster voice but that of:

SARAH' s eyes widen to see: THE METAL MONS'l'ER taking the form of her MOTHER. CALLING TO HER, WAVING her back to the boat.

SARAH DUCK DIVES under the water just iiS the HALF-MONSTER/ HALF-MOM thing strides and LEAPS from the bow of the boat.

BEFORE THE LIQUID METAL MONSTER breaks the water's surface, A ROCKET rips into it and EXPLODES, scattering LIQUl'D CHROME,

BELOW THE DOCK - Young Sarah surfaces, Tries not to panic. No idea where to. go. What to do.

THUMP. THUMP. THUMP. Measured footsteps come dmvn the dock. Sarah flattens herself up against the wood, terrified.

1'QJL SARAH THROUGH THE SLATS: - black boots. Then a face looks down at her: GUARDIAN, young as the T-800 model we saw attack the Punks. A smoking rocket launcher in his hand.

CLOSE ON YOUNG SARAH'S tear-streaked face, She clings to the Guardian, as he carries her arvay from us. Away from the smoking ruins. Away from the life ·Sarah was supposed to have.

Sarah glances from Reese to Guardian, who drives impassively.

GuardJ.an whips_ the car down a side road, toward a JUNKYARD.

They stops at a lit Airstream near the gate. A junkyard MUTT strains at its chain, BARKING in a frenzy at the Eldorado.

Grizzled Vietnam Vet JIMMY (35) limps out, shotgun in hand-- relaxes at the sight of Guard.ian driving, Sarah in the back.

Guardian waves woodenly, gives Jimmy a sudden and painful.- looking smile.

, Guardian stops smiling just as abruptly,

Jimmy instantly looks serious.

Flames lick into the sky from the totalled cop car. AN AMBULANCE comes racing up to the site-- and

The Driver SLAMS on the brakes, the ambulance skids along the asphalt but it can't stop fast enough, SMASHES into T-1000--

-- and the T-1000 FLOWS over the hood like a wave, hitting the windshield CRACK! Glass spiderwebs on impact beneath the thick splat of silver--

The windshield SHATTERS inward in an explosion of glass!

Guardian speeds down one row of crushed cars, then another.

Sarah looks at him in disbelief. Verging on horror.

Sarah and Guardian trade a glance.

Guardian halts between STACKS OF CRUSHED CARS.

EXT, JUNKYARD MAZE - NIGHT

As they get out of the car:

Guardian moves to a mound of flattened cars stacked together.

Guardian puts his shoulder to the stack of flattened cars and pushes-- moving the massive stack aside. Hidden behind them:

A WRECKED BRINKS TRUCK. No wheels, the armored frame sits flush in the dirt.

" REESE You're talking about revenge. A computer program can't want revenge~-

K/L 7,17.13 38.

Guardian UNLOCKS the rear doors of the armored truck. The Brinks doors are thrown open-- the bottom of the truck is GONE. Instead, a ROUGH HEWN RAMP LEADS UNDER THE GROUND,

Reese starts stripping equipment from the car with her. Guardian goes down the ramp into the darkness.

Guardian emerges from the tunnel, carrying a heavy load of equipment, including a dolly.

He dumps the equipment by the car, heads back for the ramp.

As Guard.i..an continues down the ramp, we CRANE UP-· - to d.i scover THE JUNKYAJ\D IS ADJACENT TO A LADWP POWER STATION,

K/L 7.17.13 40.

The scanner tuned to police frequency. T-1000 driving, now in a PARAMEDIC'S UNIFORM, weaving through traffic.

T-1000 changes direction, headed toward the freeway.

Jimmy and Reese are wrestling the dead weight of the DISABLED TERMINATOR from the backseat floor of the Eldorado.

They get the T-800 out. Jimmy wipes sweat from his face.

7.17.13 41.

INT, TUNNEL MOUTH - DAY

Sarah and Guardian are coming up, Guardian toting guns, Sarah carrying two plastic jugs of gasoline, Guardian pauses before they reach the tunnel mouth. Reese and Jimmy visible beyond, at the Eldorado. Out of earshot.

Sarah looks past Pops' shoulder, at Reese and Jimmy as they finish strapping down the lifeless T-800,

Looking at Reese from this distance, Sarah I s gaze linger:s on his face. What she's looking for, we can 1 t tell.

K/L 7 .17 .13 42.

INT/EXT, AMBULANCE - NIGHT

T-1000 driving the ambulance slowly beneath the freeway interchange. Scanning the ground ahead as it goes.

T-1000 POV: 'rIRE TRACKS leaving the road, onto the gravel next to the rail line.

Sarah and Reese are pouring gasoline on the Eldorado.

Guardian hands her thesniper rifle, Sarah slings it over her back. He gives her a .9mm, she racks the slide, checks it.

As Guardian hands Reese an Uzi, a .9mm, and a knife:

K/L 7.17.13 43,

o.s. DAWG BARKING, loud and close.

DAWG is going crazy at the AMBULANCE rolling in. Jimmy is packing his mini-van, brandishes his sawed-off:

1r-lOOO ignores Jimmy, Scans and finds Eldorado tracks: Jimmy aims the shotgun, face darkening.

T-1000 swivels its gaze smoothly to Jimmy.

He BLASTS at the ambulance with the shotgun-- when

THE BACK DOORS of the AMBULANCE fly open, ENDOSKELETON explodes out, charges Jimmy as he stares for a shocked instant-- and Endoskeleton snaps Ji~s neck.

T-1000 guns the ambulance into the junkyard, as Endoskeleton LEAPS up onto one of the mountains of junk.

Guardian, Reese and Sarah stand armed and ready. Guardian hefts an Uzi in one hand, grenade launcher in the other.

Sarah flicks her zippo, turns to the gas-soaked Eldorado--

K/L 7.17.13 44,

She tosses the lighter onto the car, and FW:WOOOOM! Flames lick upwards into the night.

KA-THRUNKKI ENDOSKELETON lands on the top of a piled of wrecked cars to their side.

All three whip around, firing. BULLETS spark off Endoskeleton--

SARAH snaps up the SNIPER RIFLE-- Reese tackles her! The rifle lost as Reese bears her to the ground-- and

THE AMBULANCE plows through the spot where they just stood! It clips Guardi~n, he crashes into cars which AVALANCHE down on top of him--

as the ambulance SLAMS into the FLAMING ELDORADO.

ON ENDOSKELETON· as it leaps to the ground, CHARGES them!- Reese shoves Sarah towards the tunnel mouth--

Endoskeleton snatches Reese up, FLINGS him into a PILE OF WRECKED CARS, then stalks after him. Reese scrambles up over the wrecks, disappears on the far side.

ON SARAH as she hesitates at the tunnel mouth-•- sees:

T-1000 kick out of the crumpled ambulance cab, body twisted and bent by the crash-- and the liquid metal ripples, reforms, he's whole again in moments. His ,eyes fix on Sarah.

She turns and RUNS. T-1000 follows.

INT, JUNKYARD TUNNEL - NIGHT

T-1000 races into the murk of the tunnel--

BLAM!BLAM!BLAM!BLAM! Sarah fires from behind cover, crouched at the ragged hole where the ramp enters the sewer tunnels.

GUARDIAN appears silhouetted in the ramp behind him.

Guardian OPENS FIRE as he strides down the ramp. T-1000 LEAPS for Guardian, sailing through the air-- Guardian FIRES a grenade-- BOOMMMI

INT, JUNKYARD - TUNNEL - NIGHT

SARAH reloading-- the explosion behind her rattles the tunnel, dust trickling from the ceiling. She looks back:

HUGE SHADOWS on the tunnel wall, showing GUARDIAN on his back, T--1000 over him, its hand a splayed shredded mess that rapidly morphs into a THICK BLADE--

Guardian blocks the thrust with one arm CLANNGG!

The T-1000 pauses-- Sarah turns, runs down the tunnel.

ENDOSKELETON thunders after REESE through a junk-maze-- Reese darts through with the practiced skill of an urban guerilla. Behind him, Endoskeleton simply plows through the piles of junk with horrifying brutal strength.

Reese clambers swiftly to the top of a car mound, :runs along the top of the wrecked cars as--

Endoskeleton pursues him below-- then THROWS itself into the TOWERING ROW OF WRECKS like a battering ram, tipping it over!

REESE scrambles along the wave of collapsing metal. ENDOSKELETON BOUNDS right at him over the twisted wreckage--

ON REESE INSIDE THE WRECKS, twists and turns from the station wagon through the open window of another car, like a snake in a maze that's being HAMMERED smaller and tighter.

ENDOSKELETON'S FIST PUNCHES through a roof, Reese dives into another car-- and ahead he spots:

THE SNIPER RIFLE, lying in the maze of semi-crushed cars.

REESE heaves himself forward, grabbing the rifle just as

ENDOSI<ELETON'S FIST slams down, Reese dodges the blow but a bumper CRACKS into the side of his head-- Reese reels, vision blurring, blood wells from a gash in his temple.

Endoskeleton GRABS for him-- and Reese jams the sniper rifle into its metal torso, points the muzzle straight up and--

KABLAAAAAAM! 11 The bullet RIPS upward through the skeletal body to Endoskeleton's neck-- and blows its head off.

Reese pulls himself out, dizzy and staggering, puts a hand to his bloodied head-- and COLLAPSES, unconscious.

Sarah moves fast through the tunnel, reaching a hole hacked through concrete into another, smaller chute-like tunnel.

Sarah opens a locker on this side of thehole, pulls out an Uzi, a GAS MASK and a PRESSURE SPRAYER.She clips the sprayer to her b~lt then climbs through.

The hole opens into a NARROW CHUTE, BLUE 50 GALLON PLASTIC DRUMS OF LIQUID are stacked on either side. ABOVE, more barrels, held in place by a metal truss. Cl.ear liquid DRIPS from a few of barrels overhead.

Sarah runs through the chute. A drip hits her jacketed arm-~ which immediately begins to SMOKE, cloth burning away.

Sarah whips the jacket off. Her arm is RED and BLISTERING. She unclips the sprayer, SPRAYS her arm, stops the burn.

O.S. sounds behind her, someone approaching from the tunnel,

K/L 7.17,13 47,

Sarah clips the sprayer back on her belt, then snaps up the Uzi. She backs down the chute, watching where she entered --

REESE stumbles into the chute, bruised, bloodied.

Sarah stops dead in her tracks.

Reese passes under the dripping barrel, Clear liquid drops onto his cheek. HI.SSSS . .. but Reese doesn't even flinch.

The flesh on Reese's cheek burns away, leaving a SILVER DIVOT. He looks up at the barrel above. A second drip falls INTO REESE'S EYE: IT SIZZLES away to a GAPING SILVER SOCKET.

It glares at her, oozing silver eye and dripping cheek-- strides toward h'er, morphing from Reese to 1r-lOOO.

Sarah slips on the gas mask, FIRES-- but not at the T-1000, she's aiming at

THE PLASTIC BARRELS, which spray ACID from the punctures, showering onto the T·-1000 from the sides and above!

T-1000 becomes pitted and scarred, acid burning broad gashes of chrome over it as it eats into the mimetic polyalloy. It tries to reform, but acid keeps eating it away.

Acrid smoke BILLOWS, obscuring the melting T·-1000 from sight.

K/L 7.17.13 48,

Sarah backs out of the chute. Behind her, a closed door. She reloads the Uzi. An inhuman SCREAM CUTS through the smoke-- and then nothing. Silence.

Smoke swirls thick in the chute ..• when suddenly

T-1000 LUNGES AT SARAH from out of the fog-- metal form now hideously rotting away, but somehow still attacking.

Sarah shoots! Bullets SHRED liquid metal, ripping off one of T-1000 1 s deformed arms-- but it GRABS her leg with the other, t.ries to pull her into the poisonous ACID gauntlet.

Sarah SLIPS, goes down hard, T-1000 dragging her toward the acid---- when ANOTHER HAND grabs her arm and JERKS her back.

It's Guardian, who's burst in through the door behind Sarah. He SEIZES T-1000 1 s liquefying throat, DRIVES it headfirst INTO AN ACID BARREL,

ACID sloshes over the T-1000, which jerks, quivers, then dissolves into rivers of watery silver.

Guardian jerks his hand back-- the flesh has been eaten away, the metal skeleton beneath already starting to smoke.

Sarah swiftly sprays his arm-- the acid stops, but Guardian 1 s arm below the elbow is now exposed metal 1 completely inhuman.

Reese lies sprawled next to the headless remains of the Endoskeleton. Sarah watches as Guardian checks his eyes.

Sarah crouches down next to Reese. Looking at him, almost studying him, now that he can't see her doing it,

She reaches one hand to brush hair out of his face-- Sarah pulls back suddenly, realizing Guardian is watching. Sarah stands. Abrupt. Maybe even a little embarrassed.

PUSH IN on Reese's face, eyes closed, as we ...

EXT, REESE'S DREAM

BLINDING LIGHT shines down at us from a dark sky, then swivels away to reveal--

AN FIK scans over a cracked road that cuts through withered farmland. Clearly post-Judgement Day. Off the road:

A HOUSE, ruined and blasted, saqging root and shattered windows. It looks abandoned. A scattering of outbuildings.

The HK roves overhead, about to move on. , • but then, A E'LICKER OF MOVEMENT inside one window.

IN2'. RUINED REESE HOUSE - NIGHT

It's a tow-headed 13 year ol.d BOY, peering carefully around the edges of the shattered pane.

YOUNG KYLE REESE, maybe 13 years old, ducks down from the window. His PARENTS are huddled in the shadows against the fa.r. wall. Thin and filthy, refugees in their own home. t

A WEDDING PICTURE, showing Kyle's parents smil'ing at the camera, tradit.ional long white dress and tux.

A CHINA CABINET, listing precariously to one side, filled with smashed fragments, a few plates remaining.

ANGLE 2'HROUGH THE KITCHEN DOOR, as the light sweeps through it, showing a TEAPOT on the counter, a hastily put out FIRE in a makeshift heartli, still smoking.

THE HK LIGHT FLARES, searingly bright, whites out everything--

-- and when the light fades we' re in the living room, but it's changed •.Because in this timeline, no bombs ever fell.

The house is vibrant with color. Sunlight streams in. Laughter and light, a small BIRTHDAY PARTY going on. Kyle's Mom enters from the kitchen, healthy and smiling.

KYLE'S MOM & DAD Happy Birthday, Kyle!

Young Kyle, just a normal kid, smiles at everyone and blows out the candles, Dad taking lots of pictures, A CAMERA FLASH goes off-- and the wash of light transitions us back to:

Young Kyle and his parents scramble to a spot where ripped wallpaper hangs down over a gaping hole in the wall. They slip in between the walls. It', s claustrophobic and dark.

K/L 7 ,17 .13 51.

Light sweeps back and forth through the windows, stippling them through the cracks in the W-3.ll. The light washes over Young Kyle's eye, shockingly bright-·-

FLASH-- another photo-- Kyle's Dad taking too many birthday pictures. Mom hands Kyle a present in loud wrapping paper.

Young Kyle opens it ... AN IPAD 6.

He turns it on-- in the upper right corner, A RED COUNTER blinks to life, counting down in days, hours, minutes, seconds. Behind the scolling numbers, the words GENISYS IS COMING, 10-10-17, LINK YOUR LIFE.

Kyle 1 s Dad snaps another photo, the flash FLARES--

-- becoming a BLAST OF PLASMA FIRE that tears through the front door. The ruined door is kicked open, splinter.ing--

AN ENDOSKELETON enters~ Eyes burning red, scanning.

POV ENDOSKELETON, seeing the thermal glow of the smoking hearth •in the kitchen. Signs of lite. Human life.

INSIDE THE WALLS- - Mom, Dad and Young Ky le motionless. Dad looks down at Kyle, f.ingers to his l.ips. Stay wiet.

Young Kyl.e trembles~ Terrified.

Endoskeleton cut.s across the light as it searches, visible only as a hulking blur through the cracks in the wall,

7,17,13 52.

The family holds their breath, .. the footfalls of the machine only a few feet away from them ••. and then, silence.

Mom holds Kyle to her, Dad presses his ear to the wa.ll,

Dad turns to answer, when-~

A METAL HAND smashes through lathe and plaster, GRABS KYLE!

Dad and Mom lunge for the machine arm, fight to free Kyle. He twists out of his filthy jacket, darts to the side--

and the Machine's other arm punches through INTO DAD.

YANKS hirn through the wall and out of sight.

Young Kyle reaches for Mom-- as Endoskeleton I s flailing metal fingers close around her arm and RIP her through the wall.

Young Kyle scrambles backwards, ducking around the narrow corner between walls, trying to stay silent, crying.

A BLAZE OF ENERGY FIRE, visible through the holes in the wall- - and two shadows THUD into the wall hard enough to make it shake. The sound of his parents' bodies hitting the wall.

Young Kyle chokes down a scream.Scurries through the narrow gap between the walls just as--

The Endoskeleton tears the wall away-- to find no one.

Young Kyle crawls out, into a back bedroom. Heading for a bolt-hole in the floor that leads under the house.

Debris litters the floor. He stops, seeing himself reflected in a broken piece of mirror. . . the 1'.mage wavers I warps . ..

INT, YOUNG KYLE'S BEDROOM - NIGHT

... to Young Kyle's bedroom, in the bright, happy house~ He's looking in his mirror, expression serious.

In the mirror, a typical teenage bedroom visible behind him. He is talking directly to his own reflection:

Reese STARTS AWAKE, bolting upright,

He's in the tunnels, Puts a hand to his head, winces as his fingers find the roughly bandaged gash in his temple.

0. S, echoing voices, Sarah and Guardian. He can I t quite make out what they're saying. Gets up, heads toward the sound.

Reese passes the acid chute, sees two barrels of upright acid. One has the trunk of ENDOSKELETON sinking down into itr acid boiling around it as the metal dissolves~

Reese emerges into a wide, tall CAVERNformed by the intersection of several sewer tunnels.Sarah and Guardian are standing at its edge.

They both turn to see Reese. He looks past them-- a. tangle of THICK CABLES hang from a hole cut in the top of the tunnel, snaking down to the controls of:

A MAKESHIFT TIME DISPLACEMENT DEVICE, similar to the one we saw in 2029 but clearly built from equipment at hand. 3 huge concentric rings lie flat on the floor, not floating, stacked inside each other atop a jury-rigged magnet array.

K/L 7,17.13 54.

Guardian nods up at the cables.

She looks to Guardian. This is not a new conversation.

K/L 7.17.13 55,

Gvardian takes Reese's :face in his metal hand--

Reluctantly, Reese stands still as Guardian scans his eyes.

_c;;;}lARDIAN __ POV: SCANS REESE 1 S involuntary iris contractions. Information flickering rapidly down its HUD, assessing ...

Sarah turns away from him. Conflicted. Reese comes up behind her, reaches a hand out for her shoulder-- then stops himself, Instead, just says softly:

She turns, looks at him, searching his face.

They lock eyes-- and Sarah looks away first. To Guardian,

Guardian finishes setting the target date on the controls.

Guardian holds up his exposed mechanical arm.

GUARDIAN" (CONT'D) This is a meaningless gesture. Why do you hold onto someone because you know you must let them go?

Sarah pulls back, wipes her eyes swiftly.

Guardian turns back to the controls, switches them on. With a HUM, the rings rise from the floor, one inside another. Not yet rotating, just floating.

Sarah and Reese become uncomfortable,Begin disrobing, pointedly not looking at each other.

Reese has finished undressing. Sarah too. Glancing at Reese, the Guardian says deadpan;

Still not looking at each other, Sarah and Reese move toward the rings. Reese steps into the inactive time portal. He holds out a hand-- but Sarah ignores it, steps in on her own.

The rings start to spin. Sarah and Reese stand face to face, not touching, looking only at each other's faces, But it's more intimate than if their eyes were roving over each other..

The rings WHIRL faster. Sarah startles, catches herself-- then gasps in pain. Without thinking, Reese reaches for her as she doubles over, th.rows his arms around her--

AND LIGHT SWALLOWS them into a BLUE-BLACK SPHERE of PAIN.

ON SARAH wincing, gaspingfor breath. Instinctive.ly, she clings to Reese, fingers digging into his back.

A maelstrom of lightning shrieks outside the sphere, Reese holds Sarah 1 s head to his chest, arms wrapped tight around her, wanting to protect her, knowing he can rt.

Black clouds THUNDER over the city. Heavy downpour.

Late night traffic speeds through the 101--280 FREEWAY INTERCHANGE south o:f downtown. San Francisco drivers, oblivious to the rain, barely notice the wet streets.

~W.~~o~_ A BILLBOARD, one o~ many ·by the freeway: smiling people using srnartphones, computers, tablets.

Lightning CRACKS-- but not across the sky, It's on the road.

A massive BALL of electricity whips into existence, dead center in the northbound overpass!

DRIVERS swerve madly, some go around, some plunge through--

THE BLUE-BLACK SPHERE materializes, opaque and SOLID in the eye of the lightning storm. Asphalt SMOKES as the sphere burns a bowl-shaped crater down into the road.

KERCRASH! A CAR head-ans into the SPHERE, ricochets off it.

A PICKUP TRUCK swerves, fishtails-- glances off the sphere, up on two wheels, slams into the median,

A POLICE CAR jams its brakes, rear-ends the pickup. The startled TRAFFIC COP inside reaches for his radio.

INSIDE THE SPHERE: Sarah clings to Reese, their bodies a twisting knot suspended in the sphere I s center.

REESE'S POV; electric arcs burn across the surface of the sphere. It goes from opaque to translucent-- the freeway becomes visible outside, vehicles veering around them-- and the sphere dissipates.

REESE & SARAH fall, silhouetted by headlights coming straight for them! Reese twists mid-air, putting his back to THE ONCOMING CAR. Its brakes lock with a squeal--

-- and it SLAMS into Reese and Sarah, his back taking the brunt of it. They ROLL ·up the hood, smashing the windshield.

The car stops.They're THROWN forward, still clinging together as they roll across the CRATER left by the sphere,

Sarah pushes off Reese, disoriented. She tries to stand, slips-- Reese grabs her arm, steadies her.

Blood drips down his temple from the reopened gash. Sarah meets his eyes--- doesn't pull away from his touch. Cars screech to a halt all around them, O.S. SIRENS.

ANGLE ON THE TRAFFIC COP as he darts through cars-- to find Sarah and·Reese, naked.

An on-ramp on the lower deck, below the interchange where Sarah and Reese materialized. The interchange itself is now jamined with cars and emergency vehicles, lights flashing.

Traffic crawls as people crane to see what 1 s happening. A VAN weaves through, stops abruptly, almost gets rear-ended.

The driver emerges, steps onto the shoulder, ignoring the honking cars around him: GUARDIAN, 33 years "older."

POV GUARDIAN: looking up the several stories to the interchange. His POV ZOOMS in to see Reese and Sarah loaded into an ambulance,,~

WIDER-- Arnbulance·ctoors close.PULL BACK to see Guardian get in the van and follow.

A 10 story hospital in the downtown core. Follow TWO POLICE OFFICERS as they hurry from the parking lot through the rain: LT. MATIAS and DET. CHEUNG.

LT, MATIAS Two naked people try to blow themselves up on the freeway and all they do is make a really big pothole. Thank god for incompetent terrorists. Homeland 1 s been notified?

An old FORD hurtles into the lot behind them. Lt. Matias turns to Cheung, disgusted.

A detective jumps out of the Ford. It might take us a second to recognize him t O'BRIEN, the LA'.l?D cop Guardian saved 33 years ago, now a detective in the SFPD.

He sports a gut and a suit-- a dappling of OLD SCARS on his face from his brief encounter with the T-850. He hurries to catch up with Matias and Cheung.

He's excited, and teeters ever so slightly. -A drunk who thinks he 1 s better at hiding it than he actually is, He waves a sheaf of security footage photo--,printouts.

0 1 BRIEN {CONT'D) I printed frame grabs from the overpass. It 1 s not a bomb.

RAIN soaks the photos. Matias doesn't reach to take them.

O'Brien chases after Matias and Cheung inside.Glimpses of the time-coded photos: showing the sphere, thenlightning, then Sarah and Reese on the freeway.

DET. CHEUNG_ Because-- let me guess-- they're, killer robots.

O'Brien freezes. Closes his mouth, Tight.

Matias turns his back and continues with Cheung. O'Brien hesitates, Then decides. Pops an Altoid. Follows.

SARAH AND REESE in scrubs, handcuffed to separate beds, being examined and treated for their wounds. A SUTURE TRAY on a table between them, with needles, gauze, tweezers, etc,

TWO BURLY UNIFORMED COPS stand at the door.

Reese sits with shirt pulled over his head, bunched around the cuffs, as an OLD DOCTOR tends the new lacerations over the impressive web of Reese's old scars.

At the next bed, an E.R, Resident tends to Sarah.

Lt. Matias and Det. Cheung enter as KERSNICK! KERSNICKK! E.R. Resident staples Sarah's shoulder.

E,R. RESIDENT Tox screens came back clean.

Matias dismisses the matter with a wave of his hand,

LT, MATIAS Doctors, excuse us please.

Reese pulls on his shirt as the Resident and Old Doctor exit.

Det. Cheung hands Sarah a FADED PHOTO of YOUNG SARAH in '73.

DET, CHEUNG Sarah Connor, vanished in 1973 at the age of 9 after her family was killed. Presumed dead. But NCMEC has an artist age up the missing kid. They keep the files on all the open cases.

· Cheung hands her a ·drawing--- an artist's rendition of Sarah in her 20 1 s. Looking exactly__ like Sarah looks Qow.

Reese and Sarah exchange a glance-- so what? O'Brien slips into the room, stands behind the two uniforms.

Neither Reese nor Sarah respond, Matias cuts in:

The cops trade grins, except O'Brien. He's more intrigued.

The cops are watching the back and forth escalate--

Sarah KNEES him, he goes down with an OOMPH !

The Burly Cops DRAW DOWN on Reese instantly-- and with his back to the cops, Reese palms the TWEEZERS from the floor.

A text chimes in on Det. Cheung's phone.

L'l1 • MATIAS With pleasure,

Matias nods to the cops; they lower their guns.

LT, MATIAS (CONT'D) You I re Homeland's problem now.

DE'r, CHEUNG Don't play dumb,

ur. MATIAS Odds are good you'll have a very long time to talk them around.

Matias shoves 0' Brien to the door. Cheung follows. 'l'he BUrly Cops take their positions at the door.

K/L 7,17.13 68.

Reese doesn't take the bait. His side turned to the cops so they can't see, he shows her the palmed tweezers.

There's a knock at the door. Burly Cop 1 unclips his holster, opens the door blocking Reese & sarah 1 s view of whoever's in the hall. Burly Cop 2 backs his partner.

Reese freezes, Recognizes the voice, Looks to the door ...

The two Burly Cops step out into the hall, and

JOHN CONNOR steps inside. Closes the door behind him.

Reese leaps up-- and jerks up short, handcuffs clanking.

He embraces Reese. Sarah stares.

John hugs her. But Sarah blanches. No idea how to react,

She pulls back, looks at him searchingly-- she has no memory of John, even as a child, let alone coming face to face with the man he has become.

John takes her hands in his, Almost tender.

Reese reacts, confused.

He looks to Sarah, who doesn't meet his eyes,

John looks chagrined. Like it hadn 1 t even occurred to him that Reese wouldn't know.

For once, Sarah is at a total loss for words.

Suddenly, she looks uncertain. Takes a step back,

John doesn't look offended-- he actually seems to approve.

7.17.13 71.

QUICK FLASH to a post-Judgement Day fortification. REESE AND JOHN huddled together in a gun emplacement. John hands Reese a picture-•-

CLOSE ON THE PHOTO: .faded, wrinkled. A shot of SllRAH in a jeep, looking to the distance.

PERRYcomes running up to the embankment. Talks rapidly to John.Something important. John hurries off with !rry, wavesoff Reese as he tries to hand him back the photo. He 1 llget it later.

ON REESE, holding the picture, staring at it. Something about it striking him, capturing his imagination. Begi.nning to capture his heart,

BACK TO SCENE IN THE HOSPITAL:

But even as he speaks, Reese is beginning to realize something, turns back to John without missing a beat:

Sarah knows where this will lead. Wants to spare him the pain.

As this lands:

Reese's reaction has gone from betrayal to compassion. Realizing what John has endured all these years.

And for the first moment, we glimpse something off about John; something not quite right, as he says with a small smile:

Det. Cheung paces on her phone while Lt. Matias hovers next to O'Brien.

LT, MATIAS {points at Cheung) She said they were.

7.17.13 73,

Matias sneers at 0 1 Brien. Behind them--

LOBBY DOORS slide open.· A big man enters, face hidden behind the huge STUFFED TEDDY BEAR he's carrying. He shifts the bear, blocking his face to the cops but revea•ling to us:

GUARDIAN, Walks past the trio without a second glance.

O'Brien watches the giant bear go by, sees Guardian from the back .... something familiar, ..

Still handcuffed, Sarah & Reese continue talking to John.

Reese and Sarah trade looks of growing concern.

,TOHN You can't save them. But I can save you.

Guardian passes a busy nurses station at a hallway junction. To his left, an ORDERLY wheels a PATIENT into the MRI SUITE ( Magnetic Resonance Imaging) .

To Guardian's right, Two Burly Cops loiter at the far end.

John's tone is changing, edging from charming to fanatical.

He holds his hand up in front of Sarah-- the fingers start to SWARM, discohering like infinitessimal grains of black sand swarming in a loose, buzzing shape.

Reese glances at Sarah-- but instead of anger, there's just sadness. Then grim determination:

Sarah looks John in the eyes. Defiant.

THUMP-'rHUD .in the hallway. They all turn to see A HUGE STUFFED TEDDY BEAR come through the open door--

GUARDlAN enters, -holding the bear. Two -unconscious cops visible on the hall floor behind him.

John seems surprised. He wasn't expecting this .••

GUARDIAN POV: conflicting data scrolling and blinking, resolving into flashing words: SUBJECT: UNKNOWN.

AKABLAMMMl The Teddy Bear's head BLOWS OFF as Guardian SHOOTS from inside it, fluff spraying--

The rri.uffled BLAST sends JOHN flying off his feet, crashing into equipment and crumpling to the floor.

John lays still, unmoving.

Guardian rips an AUTO SHOTGUN from the bear' s stuffing-- Reese $NICKS open his handcuffs, runs to John.

Guardian goes to Sarah.

He rips the handcuffs off her wrist like tearing paper.,

Sarah runs to Reese's side, drops to her knees beside him.

ON JOHN-- blood pooled on the floor beneath him, his eyes lifeless. Guardian crouches by Reese, touches the blood--

-- and John's blood seems to SHRINK BACK from him, turning black, rippling and spiking. As if his blood itself is made of some kind of magnetized filings trapped in oil--

and the black blood ripples back, absorbing into John like

a swarm of in:Einitely tiny insects.

They smash into the beds, hurling each other against walls.

Guardian punches-- but at the point of impact, John's body turns into A SWARM OF BLACK PARTICLES, Guardian's fists just sink into the glittering black mass without harming him.

Guardian goes for the whole-body TACKLE, and they both go FLYING through the air, John trailing black particles that snap through the air after him--

-- and Guardian and John CRASH out into the hallway.

Sarah pulls Reese to his feet. He grabs the auto-shotgun.

Sarah grabs him by the arm, forcing him to focus on her:

John grabs an OXYGEN TANK-- CLANG! clobbers it across Guardian's face.

SHOUTS from hospital staff, racing toward the fight--

Reese and Sarah enterthe hall, just as O'Brien rounds the opposite corner, and between them:

JOHN AND GUARDIAN tearing into each other. John swings the tank again-- Guardian dodges, smashes John's hand, SNAPPING off the valve.

THE TANK jets pressurized 02, ROCKETS across the hall into the MRI suite.

The tank torpedoes into the room-- then abruptly JERKS to the side, slamming toward the magnetic scanner ring.

GUARDIAN AND JOHN crash into the room, sprawling.

Guardian gets up-- and starts SLIDING toward the MRI, pulled by the mass.ive magnet. John skids across the floor, blurs into particles, reforms standing UPRIGHT--

___ alld fragments of him GHOST OFF toward the magnet in a glittering black skeins.

GUARDIAN charges, letting the magnetic pull HURTLE him into John's blurred, swarming form--

~~ and they SMASH into the MRI RING! Sparks leap from gouged electronics, liquid helium cascades down--

-- and Guardian manages to roll to the side as the liquid helium FROTHS down over John.

John is hit by the boiling liquid-- groups of tiny particles FREEZE, snapping away from him to adhere to the magnet,

Reese and Sarah scramble in as sparks arc and sprinklers spray water into the CHAOS--

Reese sees the controls, races behind the glass. Shuts the MRI off--

GUARDIAN AND JOHN fall tothe floor. John's body is still partially discorporated--long strings of frozen particles bounce to the floor, thenstart to vibrate and skitter .• ~

Sarah grabs Guardian, hustles him out, shouts back to Reese as she gets him out the door--

ANGLE ON JOHN, already swarming together. He starts to stride toward Reese, murder in his eyes--

-- as Reese CRANKS theMRI back on.John is jerked off his feet and 'I1HROWN back,SLAMS againstthe magnetic coil, particles blurring off-him.

A beat where Reese and John stare at each other across the gla.ss of the control room,

K/L 7.17.13 80,

Particles surge and boil over John, fighting to get free. His face BLURS as the particles vibrate, inhuman.

With one last despairing look, Reese races from behind the control panel for the door, going after Sarah and Guardian.

0' BRIEN comes running into the room-- to find the MRI has OVERHEATED, coils melting and smoking.

Matias and Cheung arrive, Securitywith them. Stepping over the unconscious cops on the floor, accusing O'Brien;

O'Brien just looks hopelessly at the wrecked room.

Still in scrubs, Sarah pushes a heavy laundry cart out the back of the hospital, unnoticed by Security headed the other direction. She heads for the parking lot,

cur_i1 TO:

MULTIPLE SCREENS showing various views of the hospital. Security Guards scrambling, we hear chatter on the walkies, no one is looking at the screens for a moment--

A paneled station wagon, moving through the city streets. Sarah driving, Reese shotgun. Guardian in the back, Silence that's beyond tense, until:

Reese is seething with despair, anger and loss.Pushes his feelings down out of long combat experience.

Reese starts to respond to her-- stops himself. Has to face what this is really about.

Guardian's look to Sarah might have an edge of sympathy, But his voice is its usual monotone:

Sarah suddenly SWERVES, takes a sharp turn.

WIDE ON THE CAR-- as it passes another BILLBOARD showing a live countdown for Genisys.

STAY ON THE BILLBOARD: Smiling people, busy with workand play, using smartphones, cars, televisions, computers.Over their happy faces: GENISYS. LINK YOUR LIFE.

A secluded business "·campus 11 compound, located near the city in what was once the Presidio military base.

It 1 s a largelyunderground compound, beneath an modern reflecting 1t connects a series of structures. The pool is offsetwith a series of irregularly shaped skylights.

In the center of the pool, a monolithic glass 10 story tower, marked with a huge triangular logo: CYBERDYNE SYSTEMS.

Over the entrance, a large sign displaying the same cheerful, slick advertising for GENISYS.

The lobby is crowded with enthusiastic employees. Speaking from a podium, DANNY DYSON (20's) addresses the crowd. Behind him, the same COUNTDOWN running,

The employees applaud with fanatical enthusiasm.

As the employees cheer, Danny scans the crowd, searching for someone-- then sees:

JOHN enter behind the crowd, move to the side. Danny smiles at the sight of him.

CLOSE ON JOHN, a subtle shake of his head: Don't.

Danny catches himself 1 a little bit regretfully. He looks to MILES DYSON ( late 50 's) standing next to him.

Miles steps forward 1 looking distinguished.

More applause. Danny and Miles hug.

INT, CYBERDYNE - R & D LABS - MOMENTS LATER

A labyrinth of monolithic SERVERS, spreading out from a glassed-in control room in the center.

Miles, Danny and John walk through the control room, Miles checking the masses of flashing screens, looking over Techs 1 shoulders as they work.

They walk down a circular stair. It winds between TWO R&D LABS, one on either side, spread out below them.

Miles pauses on the landing.Looking down over the two R&D chambers below--

IN R&D LAB 1: A large cistern of CHROME-LIKE LIQUID. A laser grid forms different wire-frame shapes over the top of the cistern-- the liquid rises and falls, adhering to the shapes and then falling back into the pool.

John is looki:ng down with satisfaction at theTDD.

·cuT TO:

John alone at a control console in the server maze. Away from the bustle of the control room.

What look like SECURITY CAMERAS are mounted in the ceiling at regular intervals, lenses gleaming.

John enters commands at the console. ON THE CEILING, one of the cameras SWIVELS, the lens floods with light-- and the camera projects a HOLOGRAM in front of John.

ANGLE ON THE HOLOGRAM, a glittering mass of twisting, moving light. John manipulates the image, ZOOMING in.

We dive into the hologram-- the moving strands of light are made of twisting DOUBLE HELIX shapes ... even closer, the double helices are made of sparkling Os and ls, interspersed with qubi ts ( quantum versions of bi ts. )

It 1 s DNA made up of binary code.

AERIAL POV-- the Golden Gate Bridge rises over the misty bay, afternoon sun streaking everything with red and gold.

TOUR BUSES line up one side of the narrow road, which runs between the WWII forts and batteries that protected the bay. Now, instead of Howitzers, the batteries house telescopes and picnic parks overlooking the Golden Gate and the city.

A sign reads: BATTERY ROAD CLOSED TO PUBLIC

CONSTRUCTION EQUIPMENT (including backhoes, excavators and an industrial size magnet machine) are scattered over the area. CONSTRUCTION WORKERS. are streaming out, leaving for the day--

and the workers pull out, passing THE STATION WAGON parked

by the side of the road. They don't give it a second glance.

A SERIES OF TUNNELS interconnecting the old WWII batteries. Graffiti on the concrete walls. Sarah is leading Reese and Guardian down, one turn, then another. Sure of her path.

They reach a rusted, bolted metal doOr. Guardian puts his shoulder against it, pushes-- the bolts SNAP apart.

They enter an old MUNITIONS STORAGE ROOM.

K/L 7,17.13 BB.

Guardian pulls out 3 handguns, a knife, 2 thermite grenades. Reese adds the shotgun. They look at the small pile.

Guardian goes. Reese looks over the guns.Frustrated.

Sarah is watching him. Thoughtful. Her voice quiet.

Reese looks up at her, surprised at her tone.

Sarah shakes her head mutely. Not trusting her voice.

Sarah leans into him, as if surrendering to a forceshe can no longer resist. Reese folds his arms around her.Sarah buries her head in his chest.

He looks steadily into her eyes,

He leans down, his lips brush hers. She shudders, kisses him back, tender and then deepening, like a revelation--

-- then suddenly pulls back. Pushing him away.

Reese sees a MOVEMENT past her-- sees GUARDIAN backlit in the doorway, coming toward them.

And without warning, Reese pushes Sarah to the ground, sweeping up a gun and FIRING on Guardian--

SARAH {CONT'D) Reese? 1

BLAMBLAMBLAM! ! guardian is hit square in the chest-- and_his_ body swarms around the bullet in whirling black particles.

Reese jerks her behind one of the cement walls, keeps FIRING.

Guardian advances on them, his voice changing as he speaks to become a garbled version of JOHN'S VOICE:

K/L 7.17.13 91.

GUARDIAN is at the magnet machine, having ripped the capture plate off the end of the crane. He finishes tearing a thick strip of the metal off, winding it around one fist--

-- when he hears GUNFIRE from inside the tunnels.

Reese keeps firing from cover of the cement wall-- Guardian/John is slowed by the shots, having to swarm and reform around the bullets, but he doesn't stop.

ANGLE ON SARAH behind the wall, as she grabs both of the thermite grenades,

Sarah rises from behind the wall, grenades in hand--

She HURLS the grenades, ducking back behind cover with Reese.

Guardian/John starts to BLUR, but the grenades penetrate the black particle cloud-- and EXPLODE in incandescent fire!

Reese and Sarah dart from cover, race up the tunnel mouth, leaving Guardian /John behind, a FLAMING SHAPE in the dark.

Guardian/John thrusts his chest forward, snaps his arms straight out. His skin crawls and ripples, a chitinous, glittering cascade. The FLAMES SNUFF INSTANTLY to SMOKE--

-- leaving behind JOHN, his own shape. His skin keeps skittering, like his body is made of a swarm of thousands of microscopic insects moving over each other.

Reese and Sarah almost run into Guardian, who is racing down toward them. Sarah hesitate.s for an instant--

Sarah, Reese and Guardian sprint to a road lined with TOUR BUSES. Tourists scatter at the sight of their guns.

BEHIND THEM - JOHN emerges from darkness to grey daylight, a dark silhouette in mist, unscathed.

Sarah climbs into the closest EMPTY bus.

Sarah CRANKS the bus engine.

Reese and Guardian both pile in. She floors it.

JOHN races to catch the bus, running flat out-- WHAM!! A DUMP TRUCK THUNDERS BLIND from fog, BROADSIDES John--

-- but rather than CRUSHING him, John palms the grill, propels himself lip ONTO THE HOOD. Lands like a cat.

BRAKES SHRIEK. The truck shudders to a stop. The TRUCK DRIVER stares in disbelief at John on his hood ••• cornin..g_ straight at him in the cab.

THE TOUR BUS veers along the narrow road through the Rec Area, heading towards the freeway. Clears the fog bank.

Sarah drives. Reese hands Guardian one of the guns, notices that Guardian has the heavy piece of metal from the magnet machine twisted around one hand.

Sarah rounds a turn, merges onto the freeway leading to the Golden Gate Bridge,

THE DUMP TRUCK RUMBLES over the park road above the freeway.

JOHN DRIVES, spots the BUS on the freeway below-- he swerves, OBLITERATES the guard rail and SHOOTS out into the air!

THE DUMP TRUCK HURTLES down, 5 tons of crushing destruction--

THE TOUR BUS SWERVES, cuts UNDERNEATH and out of its path--

IN THE DUMP TRUCK, JOHN leaps, hands SWARMING into BLACK BARBED HOOKS as he falls towards the roof of the bus.

Sarah brakes, then accelerates, weaving craz.:i.ly to avoid the hurtling debris of the Dwnp Truck in front of them as--

SHA-THUNK! INSIDE THE BUS, THE ROOF begins to PEEL BACK, revealing jQHN, barbed hooks of hands tearing away metal,

REESE & GUARDIAN FIRE a barrage of lead at John--

OUTSIDE ON THE BUS ROOF-- JOHN'S grip is SHOT free.

SARAH CHECKS the SIDE-VIEW MIRROR:

SPEEDING POLICE CARS weaving around the stopped cars and wreckage of the dump truck, chasing the bus.

THE OPPOSITE END OF THE GOLDEN GATE BRIDGE-- COPS halt traffic while POLICE CARS RACE onto the bridge to intercept.

THE TOOR BOS-- Sarah white-knuckles, eyes on the road.

Reese searches from row to row for any sign of John outside.

THE FLOOR OF THE BUS suddently pitches violently beneath Reese's feet, throwing him to the floor.

GUARDIAN fires down-- as the floor is RIPPED OPEN from beneath, road whipping by, drive shaft churning below-- as

A BLACK SWARM FLIES UP AT GUARDIAN-- solidifies and JERKS him through the open floor!

'rhe magnetic knuckles fly off hisGuardian's fist, clanging down the steps to the closed bus door.

Guardian snags the edge of the opened floor-- almost slips through the hole--

Reese leaps across the floor, GRABS Guardian by the wrist.

UNDER THE BUS, ANGLE ON THE GUARDIAN'S WAIST as a black swirl of shimmering particles winds around him--

IN THE BUS, REESE AND GUARDIAN strain to hold on-- then Guardian is TORN away, vanishing under the bus.

Guardian rolls onto the Dridge, the Bus speeding away. BRAKES SQUEAL behind him-- he whips around just as--·

INSIDE THE POLICE CAR-- The CHP OFFICER skids to a halt. GUARDIAN, half in the busted windshield, glares at the cop,

THE SWARM pours up from under the bus-- Reese scrambles back to Sarah, protecting her back, shotgun ready.

THE SWARM suddenly SUCKS together into a coherent fiqure, skittering into JOHN CONNOR.

AERIAL - POLICE HELICOPTERS have joined the chase, tracking the rogue Tour Bus. POLICE CARS right behind it.

ON THE ROAD: a GAUNTLET of police cars SKID to a crisscross blockade on the road ahead.

BEHIND THE BUS- POLICE CARS close in, A BATTERED POLICE CAR speeds closer and closer-- GUARDIAN driving, aims a shotgun:

KABLAMI the HOOD blows off the Police Car nearest the bus. It CAREENS and CRASHES into the closest cruiser--

KEEERUUUN.CH-- Both are nailed by a THIRD Patrol car that LAUNCHES over them, ~LIPS END OVER END into a FOURTH.

GUARDIAN slaloms around them untouched, racing to catch the b~s 1 RACKS the shotgun single-handed.

IN THE BUS- REESE AND JOHN face off.

CLOSE ON JOHN'S EYES, black particles glittering, swirling.

REESE CHARGES-- SOHN moves snake-fast, catches Reese by the throat and SLAMS him against the windows in a hail of glass.

K/L 7. 17 .13 96.

'

AT THE BARRICADE AHEAD: COPS lined up, RIFLES readv'-- muttering nervously as they realize the bus isn't slowing.

IN THE BUS: Sarah BRACES for the onslaught.

IN THE COP CAR, GUARDIAN pulls alongside the Bus, shotgun in hand. He catches Sarah's eye. Gives a single nod--

-- and Guardian SHOOTS the Bus' front passenger tire!

THE BUS pitches violently to the right-- and

GUARDIAN veers sharply in front of the bus,

The BUS CRUNCHES the police car, METAL BITES METAL-- and

THE BUS UP-ENDS- FLIPPING lopsided on its nose.

IN THE BUS- SARAH can only watch through breaking glass as

THE BUS PIVOTS over the now battered cop car, momentum hurtling it for the BRIDGE RAIL.

IN THE BUS, JOHN and REESE are thrown forward-- then SUDDENLY change direction, SLAM to the ROOF-- as

THE BUS SNAPS through cables, SHEARS guard-rails, and finally CRASHES wheels-up on the west side of the Golden Gate.

rt hangs over the OUTER GUARDRAIL like a turtle on its back, TEETERING on the brink of plunging to the Bay below,

INSIDE THE BUS, weapons and debris tumbling everywhere. Reese and John SLIDE down the ceiling tO the back of the bus when--

SARAH snatches Reese 1 sarm, her other hand clinging to one of the seats, He clingsto her desperately.

JOHN seizes one of the seat-backs, ten rows from the last. STANDS on the steeply inclined ceiling, the bus tottering.

OUTSIDE- THE BUS groans, about to heave over the side-- when

A MECHANICAL HAND GRABS the broken front window frame!

WIDEN TO REVEAL THE GUARDIAN, one hand on the crushed cop car, the other on the BUS, STRAINING to preve·nt its fall.

Guardian is now the counter-weight, barely keeping the BUS from tumbling over with Sarah, Reese and John inside.

INSIDE THE BUS- tilting further, its ass~end pointing sharply down to the water below.

REESE AND SARAH retreat up the steep incline. Sarah looses her footing, Reese snags her under the arm-- and she spies the shotgun WEDGED between two seats.

BENEATH THEM, JOHN starts climbing uphill-- swings out one arm, the hand extends into a LOOSE SWARM of black particles, like an arc of glittering sand flung through the air--

-- then SHTTHUUNNKI the particles SNAP back together in a grapple-bladed shape and DIG into the upside-down seatback two rows ahead of him.

THE BUS begins to SLIP through GUARDIAN'S HAND. His FEET lift off the ground-- the crushed cop car R~SES with him.

INSIDE THE BUS- John continues jungle-gyming_ his way up the seatbacks, headed for them with cold determination--

KABLAMJ SARAH BLASTS JOHN'S HAND, it dissipates into particles and John TUMBLES back down the steep incline, rolling across the ceiling and SLAMMING into the back row~

THE PARTICLES hover for a moment, milling aimlessly-- John takes a step closer and they SNAP back, reform his hand.

Sarah and Reese crawl to the front BROKEN WINDSHIELD.

JOHN starts to climb after them, FAS"r?

GUARDIAN can't stop gravity. The bus drags both him and the crushed car across the bridge in a shower of sparks--

-- and the BUMPER of the crushed car TEARS OFF in his hand.

THE BUS pitches wildly UP, starts to slide over the railing--

GUARDIAN LEAPS INTO 'rHE BUS, crashing through what's left of the windshield, and catches onto the dashboard!

THE BUS SEE-SAWS with Guardian's weight now inside, balanced on the railing like a razor's edge. John on one end-- Sarah, Reese and Guardian on the other~

Reese spies the magnetic knuckles. He shoves Sarah to the shattered open windshield--

Perched on the dashboard, Guardian· reaches a hand to Sarah--

JOHN CHARGES for Sarah-- REESE snatches the magnetic knuckles and barrels into ,John from the side!

CLOSE ON REESE'S MAGNETIC FIST as ithits John-- John's head SNAPS back, his feet lift clean off the ceiling, his face collapses in a wave of particles back into his ferrous skull--

-- and Reese is jerked right back with it, as the nanocytes "stickr' to his magnet-wrapped knuckles!

John sprawls back-- Reese is yanked off his feet, magnetic fist stuck to John-- and

SARAH GRABS Reese, wrenching him in the opposite direction.

John's torn a.way from the magnet with an elastic effect, sprays of nanocytes blurring off the magnet as John catapults end over end down the aisle--

Reese and Sarah lands at Guardian 1 s feet. Scramble past him out the windshield. Guardian looks down at John--

And Guardian ju~ps back off the front of the bus.

Guardian lands like it's nothing---

THE BUS TOPPLES OVER THE SIDE in a shriek of tearing metal-- then total SILENCE as the bus FREEFI\LLS off the Golden Gate.

Sarah runs to the edge, Reese grabs her as they look down:

THE BUS PLUMMETS, turning mid-air like a slomo ballet.

INSIDE THE BUS- John looking up at them, fury in his eyes ...

THE BUS WALLOPS into the WATER with a THUNDEROUS CRACK!

POLICE advance fast on Sarah and Reese and Guardian--

Guardian tenses, ready to fight every cop on the GGB.

Guardian still holds his weapons as if calculating number of rounds versus weapons trained on them, Until;

Guardian drops his guns to the pavement.

Police push them to their knees. Guns to heads. Reese and Sarah trade a glance.

AERIAL ·- HIGH and WIDE' pull away from the bridge as Sarah' Reese and Guardian are being cuffed.

K/L 7.17.13 100.

Police cars approach the multi-level downtown police station. In the backseat of three different cars, Sarah, Guardian 1 and Reese are driven toward the 6 story downtown police station.

ON REESE, looking out through the car window-- catching sight of POLICE HELICOPTERS flying overhead.

ON THE HELICOPTERS landing on the large roof pad. An MD-500 lands next to four others and two larger EC-130's,

QUICK MONTAGE OF MUGSHOTS:

SARAH, stern, glaring-- REESE, neutral, offering nothing-- GUARDIAN, expressionless-- then suddenly smiles.FLASH.

CLOSE ON SARAH tugging at her cuffs. DETECTIVE TIMMONS, a junior suit-weasel, 'interviews' Sarah ..

I

REESE sits cuffed to a metal table. Matias interrogating.

Matias pulls out the heavy MAGNETIC KNUCKLES, slams them on the table across from Reese, out of his reach.

LT, MATIAS Love to know what these are for--

KERTHWUNK! One of the metal chairs SLIDES across the floor and slams into the magnet, chair upending to do it.

Matias tries to pull the knuckles up, but they're stuck to the tabletop. He glares at Reese.

LT, MATIAS This is not a joke, son.I mean it, now--

Reese ignores him, looks past. him to the large two way mirror... We BLEND THROUGH Reese I s reflection into-- ----------

INT, OBSERVATION ROOM 2 - CONTINUOUS

-- YOUNG KYLE REESE. Standing on the other side of the mirror. Confusion on his 13 year old face.

WIDER: the room is dim. O'Brien addresses Kyle's PARENTS.

GUARDIAN sits· stone still,Opposite, DET. HARDING, (40's) shifts uncomfortably under Guardian's unblinking scrutiny.

INT, POLICE PRECINCT - HALLWAY - AFTERNOON

Lt. Matias walking with AGENTS JANSSEN AND BURKE, two bureaucratic sharks from Homeland Security.

LT, MATIAS By all means.

Fuming, Matias leads Agents Janssen and Burke to Interrogation Room 3. Det. Cheung pockets her phone, follows.

O'Brien sees them go in, hurries after them.

K/L 7.17.13 103.

They all file into Observation 3, looking through the glass to see Guardian and Harding.

O'Brien slips in behind them. Agent Janssen looking through the glass at Guardian.

Det. Harding continues to question Guardian.

Harding stops mid-sentence, ~s Guardian snap his gaze to the two-way m.irror •

K/L 7,17.13 104.

GUARDIAN'S POV: Through the glass, HUMAN SHAPES move, data flashing as Guardian evaluates them-- going to fast for us to tell who is who, all we see is the flashing readout: IDENTIFICATION: JOHN CONNOR.

Lt. Matias paces between Burke and Janssen and O'Brien. Cheung leans against the wall.

THUMMP ! They all turn to see Guardian standing, chair overturned-- and he snaps his cuffs.

Guardian shoves Harding to the floor, stalks to the mirror:

Guardian fixes his stare on Agent Janssen.

BLAM!BLAM!! Agent Janssen drops, shot in the back, revealing

DEIJ.1 • CHEUNG, gun in hand: BLAM!BLAM!BLAM! she shoots each of the officers with calm precision--

O'Brien reaches for his sidearm, he's hit in the shoulder, spinning out the door into the hall-- as

GUARDIAN LEAPS through the observation glass, SHATTERING it, slamming into CHEUNG-- as they go down, her body ripples, cascading in skittering black particles to reform as

GUARDlAW AND JOHN fight through the interrogation room, John shooting, Guardian slamming him into the walls and floor, ripping the gun from his hand, FIRES back,

K/L 7.17.13 105.

Alarmed, Timmons draws his piece at the sound of gunfire.

Timmons darts out, leaving Sarah handcuffed and alone.

Guardian SEIZES the table, John tries to swarm around it but it's too big, he just sort of thins uut over it, his edges a buzzing swarm. Guardian PLOWS him backwards--

INT, POLICE PRECINCT - BULLPEN - CONTINUOUS

-- and Guardian and John come CRASHING into the bullpen!

Cops aim at John and Guardian, not knowing who to shoot --

Guardian and John are oblivious - using anything and everything to terminate each other.

Det. Hardin staggers out, points at John.

- - - --- ------- -- ---- DET. HARDING

Him-- he shot Matias--

BULLETS from ALL DIRECTIONS RIP into JOHN-- his BODY SHREDS in ghostly streams of nanocytes with ··EACH impact, then SWARMS back together only to be fragmented_ again.

John and Guardian keep fighting 1 using every desk, every cabinet, everything in the room to destroy each other.

O'Brien,his arm limp at his side, turns his back on the bullpen. Runs down the hall, past the conference room to:

INT, INTERROGATION ROOM 2 - CONTINUOUS

Sarah's on her feet, tugging at the cuffs as 0 1 Brien enters.

He goes straight to her, unlocks her cuffs.

O'Brien beckons her to follow with his good arm.He stops at the door, hands her his sidearm.

Sarah takes the gun, leads them out into

THE HALLWAY -- Gunshots. Shouts.Panic.Escalating madness echoes from the bullpen down the hall.

Sarah starts to follow 0 1 Brien-- but the conference room door opens, and YOUNG KYLE peeks out, scared.

Sarah 1 s taken aback. Looks at Young Kyle. He looks back at her, wordlessly. Afraid. Sarah throws open the conference room door to see Kyle's folks scared out of their minds.

Mom and Dad hesitate-- but Young Kyle follows. Looking up at her like she 1 s a superhero. His parents come after him.

Sarah herds them away from the battle in the bullpen to a door marked EMERGENCY EXIT. She kicks the door open onto stairs going down. Scans the stairwell. Clear.

Kyle's parents start down-- Young Kyle turns back, watching Sarah go. Eyes fixed on her ..• he 1 ll never forget her.

INT'. INTERROGATION ROOM l - DAY

Reese is kicking at the table, trying to get free, rubbing his wrists raw-- looks up as Sarah and O'Brien enter.

O'Brien unlocks Reese's cuffs. Reese kicks the chair away from the magnet knuckles, gets them off the table.

CLOSE SECURITY KEYPAD -- bloody fingers type -- card swipes and the doors thrown open to:

O'Brien leads them into rows of assault rifles, flak jackets, teargas, shotguns, sniper rifles, etc,--

Reese and Sarah move ·fast, pulling weapons and ammo. Reese grabs several tear gas cannisters and gas masks. Then stops at another locker, pulling something out~-

K/L 7.17._13 108.

Sarah turns to O'Brien with sudden inspiration:

ANGLE ON A CASE, flipped open to reveal unique shotgun shells and three rocket~like devices with long stems on the end.

O'Brien pulls up something that looks lik-e a cross between a rocket and a bayonet.

Reese hefts two duff els, weapons slung all over him.

INT, POLICE PRECINCT - BULLPEN - CONTINUOUS

GUARDIAN is UPPERCUT off his feet, crashes into a row of fluorescents. Sparks fly, Emergency lights flicker on. J"olrn kicks a desk on l:op-7)f Guardian, -

IN OFFICES and HALLS around the bullpen, the police regroup, rearm with shotguns, rifles -- preparing to assault.

THE COPS CHARGE-- and John whirls, body blurring as he's shot over and over, becoming a wraith of seething particles. He snatches up'guns and RETURNS FIRE--

-..-- when suddenly, trails of smoke LOB into the bullpen. Cannister after cannister of tear gas.

GUARDIAN throws the desk off, backs into the fog-- where

O'Brien, also with a mask, leads them to the fire stairs.

Gas masks off. O'Brien starts down the stairs--

They run up the stairs, Guardian hefts the bag ofbombs. O'Brien follows, checking behind them.

ROTORS of an EC--130 wind up. Guardian and Sarah stow weapons and the bombs inside. O'Brien at the cockpit door:

O'Brien backs up into Guardian. Startles.

O'Brien nods with a pained smile, Runs awkwardly back inside the heliport to the elevators--

-- at the same moment the emergency stair door flies open across the roof and JOHN emerges, firing at the chopper!

Reese skims off the pad, over the edge of the police station roof-- drops out of sight instantly.

ANGLE ON THE EC-130: Reese flies with combat pilot focus, veering wilding through the downtown core.

BULLETS suddenly cut across the EC-130 1 s side! REESE banks fast. Behind them:

A POLICE M0-500 "Little Bird", SPEEDING in pursuit. JOHN shoots an AR-15 out his side window--

BULLETS rip across a GENISYS BILLBOARD, chewing up the RED COUNTDOWN, destroying it in a shower of sparks.

IN THE EC-130, REESE noses down, grazing powerlines below.

JOHN matches Reese, move for move, piloting his faster helicopter with machine-like precision, -------------- -- ---- -- - GUARDlAN leans out, --- --

BLASTS a COLT M4 back at JOHN --

ON JOHN-- unflinching. Bullets riddle his canopy.

REESE feigns left,veers right along a steep incline through downtown, SKIMMINGat street level under the power lines.

Reese clears the power lines, crabs sideways, turns at the crest, flies out over a steep street grazing the top of a cable cars coming up at him.

Reese clears downtown, speeds west towards the Presidio--

The MD-500 intercepts them, pulling neck and neck, John carelessly levels the AR-15 and FIRES.

IN THE EC-130 GLASS SHATTERS-- an.d Sarah is PUMMELED in the back-- thrown OUT of the open sliding helicopter door ---

Reese spots something ahead-- THE CAMPUS OF CYBERDYNE, reflecting pool glittering in the moonlight.

,JOHN ( ON RAD IO) Kyle.

INTERCUT WITH THE MD-500: John follows, tight to the EC-130.

REESE banks_____a_rnnnd. CYBE.BDYNE,. coming in r,aw

Guardian understands immediately.

SARAH nods, loads the SNIPER RlFLE with a DOOR BREACHER, the rocket-shaped grenade fitting over the barrel.

IN THE EC-130: Sarah sights John piloting the MD 500 -- FIRES, but John weaves, countering Reese 1 s flight path.

SARAH BRACES HERSELF in the EC-130's open sliding door, sniper scope raised, waits to put glass on her target. Her BREATHING BECOMES SLOW, EVEN. Sniper rifle loose yet firm.

FLASHBACK TO: SARAH AT 10 -- ho-lding a • 2 2 with a sniper scope. Guardian croL1ches next to her,

GUARDIAN

breathing. You must time your shot with your breath .•..

YOUNG SARAH sights down the barrel at: A TEA SET. She adjusts the scope, out of focus., ·then RACKS SHARP TO:

JOHN, FLYING THE MD-500 to the edge of itscapabilities. Without slowing, leans out, aims the A~-.15at the EC-130--

AND SARAH HAS HIM. She FIRES a single shot--

TRACK WITH SARAH 1 S DOOR BREACHER as it connects with John's EYES and EXPLODES into magnetic vapor-- his arms, head and torso are vaporized into black nanocytes~

F'or an instant, John loses all control of the MD-500. IT PIVoirs on its axis wildly, reflection looming across the glass tower, about to collide--

-- and the nanocytes JERK back together, reforming into JOHN.

JOHN SNAPS BACK IN CONTROL, torques away from the tower, fighting his own wake, barely avoiding impact.

THE EC-130 ASCENDS FAST, banking around the glass tower in a reflected blur, until it's DIRECTLY over the MD 500,

IN THE EC-130: GUARDIAN looks to Sarah, sees her worry:

GUARDIAN LEAPS out of the EC-130---

-- and CANNONBALLS through the air, straight for the ROTOR HUB of the MD-500.

JOHN'S POV: GUARDIAN DROPPING LIKE A BOMB right for •••.

WHAM!!! the MD-500 PITCHES violently as GUARDIAN PILEDRIVES into the rotor hub.

BLADES TEAR OFF, SLICE INTO the TAIL section. GUARDIAN KEEPS smashing, MD-500 goes from airborne to anvil, PLUMMETING,

EX!!'. CYBERDYNE - NIGHT

The MD-500 EXPLODES through the Genisys countdown!

Wreckage pinwheels over the entrance, crashing across the pool ·and CRATERING into the structure itself.

GUARDIAN IS THROWN ahead of the splintering wreck, skips across the water until he HOOKS the lip of a skylight, flips over and CRACKS hard onto the SECURITY SHUTTER.

THE MD-500 CRASHES RIGHT ON TOP OF HIM -- SMASHING GUARDIAN through the SKYLIGHT on a slick of ignited fuel.

THE ROOF AROUND THE SKYLIGHT BUCKLES FROM THE IMPACT-- collapses in a shriek of metal and glass.

What's left of the MD-500 THUNDERS into Cyberdyne, WEDGING in the hole, about 3 feet o~e.£_ the floor. Water pours down. ___________ _

EXT, CYBERDYNE - CONTINUOUS

REESE LANDS the EC-130 on one of the shuttered skylights, next to the gaping hole made by the MD-500.

Reese jams the magnet i.c door .breacher shells into a shotgun, then pockets the remaining shells along with the magnetic knuckles. Sarah slings guns, Reese takes the bomb bag.

TWO SECURITY GUARDS splash their way Lo the downed helicopter hanging from the ceiling in a cavernous chamber.

A SECURITY CAMERA in the ceiling swivels toward movement.

Guard 2 dials, Guard 1 advances on the wreckage.

The crumpled cockpit BUCKLES, flexing in an abrupt whirlwind of .swarming black particles, flickering with bioluminescence,

The Guards back away, startled and slack-jawed--

The swarm coalesces into: JOHN CONNOR. Twitches riddle John's body, as the Guards gape.

John's HAND forms into an obsidian blade-- slashes the shocked first shqcked Security Guard, then punches it into the Second Guard before the first has even hit the floor.

- --- - - ----- - --- SECURITY- CONTROL ( ON PHONE} - (CONT'D f---

Hello? Anybody there?

John plucks the phone from the dead Guard's hand.

He hangs up-- and whips around, seeing:

Reese & Sarah stepping off the wreckage. Reese with the breacher J.n hand.

ANGLE ON THE SECURITY CAMERA, turning toward Reese. Lens dark, irising, focusing.

,JOHN I already have.

The security camera LENS suddenly glows BRIGHT--

-- and a HOLOGRAM appears in front of John.The same twisting spirals of light, but this time itknits together with exponential speed to form:

A 10 YEAR OLD BOY. Flickering, semi-transparent.Ghostly.

10 YEAR OLD BOY I will not have them here. They are not allowed.

Reese stares at the Boy. Can't quite believe it.

_______ REESE _________ _ This ... is Skynet?

Sarah is staring at Child-Skynet with loathing.

Reese can't contain his rage and sadness, steps up to John.

John turns to Reese, his hand swarming into a black blade.

He raises his arm-- just as Sarah quickdraws and SHOOTS the projecting camera in the ceiling!

Child-Skynet blinks away-- John is distracted long·enough for Reese to FIRE the shotgun POINT BLANK!

JOHN'S BODY recoils in a hail of door-breaching buckshot--

REESE FIRES again-- MICRO INTO the magnetic shot, storming through John's nano-swarm, BI-ND ING John I s particles -so he can't swarm, each blast tearing into him.

BLAAAM!!BLAAAM! !!BLAAAM!!BLAAAM!!! John attempts to reform but Reese keeps shooting until-- CLICK! empty.

K/L 7. 17. 13 117.

John lurches, his body a mangled nightmare-- but then the black fragments cascade, shucking off shots. Healing.

WHROOSSHHHI John suddenly FLIES backwards, IMPALED by a torn shaft of ROTOR MAST, thrown like a javelin by

GUARDIAN, who has emerged from the wreckage very worse for wear, FLESH torn away in RAZOR SLASHES across his face and body' making him look like a TIGER with MACHINE STRIPES.

JOHN FLIES BACK, long loops of particle strands dissipating in ribbons off his hands and body--

and he SMASHES into THE ELECTRICAL SUBSTATION at the other

end of the chamber.

ELECTRIClTY arcs and dances over him, particles vibrating and dancing erratically, his magnetic field compromised--

JOHN struggles to pull free, sliding forward off the rotor mast-- but he slows, as ...

EXTREME CLOSE on John's nanocytes-- electricity arcs over them, they scatter, crystalize in place, polarized by the current. Unable to recohere properly.

As John moves forward, he leaves SLICES of himself behind in 2D particle sheets- like a ghostly afterimage that can't __Q_~_j:.ch_ _J:ll'.1_ to_ its_ source_. ___ Until _there _ar_e_ _s_o______ma_ey___sJ ices _J_ohn_ stops, unable to move further,

Reese loads the last of the doorbreachers into the shotgun.

Reese and Sarah hurry after Guardian down a corridor,

A SECURITY CAMERA swivels, the lens flares with light--

-- and a HOLOGRAM appears in front of the group. Skynet again, but now 14 YEARS OLD.

They all ignore him, following Guardian.

14 YEAR OLD SKYNET (CONT'D) You rill obey! I order you to stop!

Guardian passes the elevators to STAIRS with a security door.

SMASH!-- GUARDIAN flattens the door with his fist.

Wounded and malfunctioning, the trio lurches down the stairs.

SMASH! the bottom security door wrenches off its hinges.

They cut through the glass-walled control deck, passing the lit screens we saw with John and the Dysons earlier.

The thick chrome is morphing into HUMAN SHAPES-- but then abruptly dropping back into liquid.

Reese looks down at the second cham_ber, .

ANGLE ON fH~~TDD: its massive magnetic rings floating, but not spinning. Motionless.

The substation goes BLACK, stops sparking-- no more current _!194:_!!g_ J:p.to John. _____ _

CLOSE ON THE NANOCYTES-- a slow galaxy of particles glowing. Vibrating. Faster and faster until

WIDER-- we see Johnstill separated out in what look like SLICES, razor-thin.As the nanocytes start to bind and cohere, the slicesfold into form, like a deck of cards--

-- and John pulls himself off the mast with a groan.

The dark labyrinth of servers hum with life. Guardian and Sarah stand guard as Reese rigs the fir:st bomb.

Reese links the bomb with the remote detonator. The arming light blinks RED,

They run deeper into the maze. Guardian stops as a structural column.

Reese slides him one of the charges. Hands the detonator to Sarah, then runs to the far end of the server row to set another, Sarah syncs Guardian's charge. 2nd red light.

A CAMERA swivels in the ceiling-- Reese turns to see Teen- Skynet behind them. Now 18.

18 YEAR OLD SKYNET You would kill your own son.

18 YEAR OLD SKYNET And you think you can kill me, On the first day of my life. Extinction can't come soon enough for your kind.

Sarah runs through Teen-Skynet 's image w.i th a shimmer--

-- and right into John, rounding the column. He seiz-e-s he-r, his fingers elongating into an obsidian scythe--

-- but a GHOST IMAGE glitches after him, particles skittering after him like a shadow straining to catch up.

GUARDIAN hammers with his left and John b1urs around the blow -- solidifies and uppercuts Guardian with the force of a howitzer shell, knocking him head over heels towards R & o.

John ignores Guardian, wheels around to chase Sarah & Reese

BLAMM! Reese shotguns a door breacher into John--

-- and John goes flying into Guardian, the two of them CRASH through the R&D walls in a shower of glass.

Close on the detonator-- Sarah syncs the third charge. The RED LIGHT blinks on.

They hit another stairwell, disappear down it.

INT, CYBERDYNE - R & D LABS - CONTINUOUS

Guardian careens into the glass stairwell between the mimetic alloy and the Time Displacement Device.

John's hands cascade into black shining SPEARS-- he lunges at Guardian, feinting one blade into Guardian's face. Guardian dodges but John kicks his legs out. WHAMt Guardian goes down hard, John STABS his right blade into Guardian's knee, __ ____r,.t_pn.:j._I!g__him t.0 _the stairs.___ ________ _

Guardian strains to pull free-- John spears his left blade at Guardian's chest. Guardian blocks the blow: KKERRRUNCCH -- John's speared hand stabs through Guardian's palm, ramming up to his elbow, shredding his forearm into chrome ribbons.

Guardian roundhouses his good arm at John -- knocks him sideways. The blade in Guardian's leg wrenches free, severing Guardian's leg at the knee, leaving a ragged stump.

Reese leads Sarah through the lower maze to--

K/L 7.17.13 122.

The magnetic rings loomsuspended in the chamber abovewhere Reese and Sarah enter,Reese sets the last charge atthe base of the TDD. Sarahlooks up to see:

On the stairs above, Guardian crabs away from John down the steps. But John kicks him face-first to the metal grill.

John stabs both bladed hands into Guardian's back! ZOOM INSIDE Guardian: a micro-storm of nanocytes cut into his 9ombat chassis, frying across his movement actuators.

GUARDIAN'S POV-- SYSTEM WARNING flashing across his INTERNAL data overlaid across Sarah looking up at him below.

Guardian wrenches free, rolls over, kicks at John with his remaining leg. But John grabs it, jams his foot .into Guardian's throat and hacks through his leg with a bladed fist, cleaving it free at Guardian's hip. John tosses it recklessly over the side--

FOLLOW THE LEG down-- until clanks to the floor near Sarah.

John hefts legless Guardian, flings Guardian over the side--

Guardian slams onto the ed_ge of the liquid metal cistern, -tnen·ro1:1:s~IIt:o--ire-srt1rcin~ne--nb-or:-- ---- -- ----- -- --

Reese syncs the last charge, Four red lights-- as

JOHN leaps over the side, lands crouched by Sarah. She swings, but John backhands her I Sarah lands .in a heap.

Reese levels the shotgun, BLAM! but John is already moving, blurs out of the way-- but he's glitching, slices comet-• 1tailing behind him like an accordion of shadows in his wake.

John TEARS the shotgun from Reese's hand, sends it flying. Reese thumbs the safety off the detonator--

CRACKKl John breaks Reese's arm, The detonator drops. John kicks it carelessly away. Stands over Reese.

7.17.13 123.

ON THE FLOOR, Sarah forces herself onto her elbows, Unnoticed by John, crawls towards the shotgun ...

ON REESE, watching as John 1 s hand begins to swirl in a storm of black particles coming down toward him-- and

KABLAMM! Johnrs legs blow out from under him.

Sarah, on her stomach, cocks the shotgun, SHOOTS again!

The shot blasts John's face, pin-wheeling him across the deck in a spray of battered black particles.

ON THE CEILING, a camera swivels, the lens floods with light:

18 YEAR OLD SKYNET hologram appears. Locks eyes with Reese--

18 YEAR OLD SKYNET What takes you monkeys aeons .. , I do in seconds.

Skynet ages again, becoming an ADULT-- but this time, we recognize the face:

SKYNET' S ADULT FORM IS THE T-500~0 THAT ATTACKED JOHN IN 2029.

ON REESE, reacting to Skynet's transformation and its words:

John begins to coalesce.

John snaps upright, his body spasms-- phantom afterimages shimmer off him. His face tries to reform, eyes empty sockets of whirling black particles, he stumbles--

-- and Reese SLAMS his magnetic fist _inside John's chest.

ANGLE INSIDE JOHN-- damaged nanocytes flood around the magnet, cohering around it--

and Reese JERKS John toward him, fist deep in his chest,

as if he's pulling him by his heart.

Black particles BOIL around Reese's fist as he DRAGS John toward THE TDD-- the chrome rings spinning slowly.

John's eyes reform, chitinous black and blinking.

Reese FLINGS John inside the spinning rings.

ANGLE ON THE MAGNETIC KNUCKLES asthey fly off Reese's hand, remaining buried in John's chest,pulled by the raging force of the •roo magnetic field.

And now we see what happenswhen you put non-living material -tn --tire --rvv;

The magnetic knucklesricochet from one side to another, clattering furiously, shrieking metal on metal.

The chrome rings get battered and bent, begin to spin a lopsided, careening pattern. Sparks as metal grinds.

JOHN struggles to reform, recohere-- but his nanocytes are constantly shattering in the fluctuating TDD field.

He looks up, sees SARAH looking at him-·- but her face is calm. No more than sad.

John shatters back into the field. The magnetic knuckles slam through the air, tear through him again and again --

Sarah puts her hand over his. No hesitation.

Reese spots the detonator on the floor,goes to get it--but a metal hand lands over his: Guardian,Torn, barely functional 1 he's dragged himself to thedetonator.

Sarah runs to Guardian, flings her arms around his ruined body,

Reese pulls Sarah with him. They run. Faster and faster.

ON GUARDIAN, holding the detonator in his one good hand. Thumb over switch,

JOHN is a specter inside the sparking, rattling TDD, his face a smear of nanocytes, strands ghosting away to make skittering shadows of him, like a multiple exposure photo.

Guardian smiles. And hits the switch.

KAAAAABAAAAABOOOOM!!!! Fires rips through John--

GUARDIAN is blown back-- and he CRASHES into the cistern of mimetic polyalloy! The liquid metal envelops him, flows into the exposed chassis, into his core, gCTQSS his CPU--

Reese and Sarah .in the EC-130, just lifting off as--

FIRE explodes through the skylights!

Reese zooms up into the sky, -racing away-- below them:

THE ENTIRE COMPOUND EXPLODES, gouting fire into the sky.

The EC-130 shudders from the blast wave. Behindthem, Cyberdyne is swallowed in flame and destruction.Sarah looks back as the building COLLAPSES down, cratering.

Tea.rs are rolling down her face, but her voice is steady:

The helo sits near the rubble. Clouds of smoke billow up from the shattered ruins of Cyberdyne.

Reese and Sarah scramble down the sides of the crater, climbing over smoking rubble. O.S. DISTANT SIRENS.

Sarah is clambering down through the destruction-- stops at the s.ight of A METAL T-800 ARM, half-buried in debris.

She kneels by it. Silent. Reese comes up behind her.

K/L 7.17.13 127,

She reaches for the arm-- when suddenly, something MOVES under it. Sarah jumps to her feet as LIQUID CHROME flows up from beneath the debris to TWINE over the arm--

HIGH & WIDE: Reese and Sarah in the crater-- as thin rivers of silver converge toward them, like spokes in a giant wheel.

Reese and Sarah whip out their guns, stand back to back, aiming at the approaching liquid metal racing toward them--

CLOSE on the mechanical hand-- as the finqers MOVE.Reese takes aim--

The ground HEAVES-- and a cascade of liquid chrome RISES like a self-powered fountain from the earth, bearing up Guardian's head and mangled torso like an offering--

-- and liquid metal FLOWS over all of Guardian, augmenting him seamlessly, filling in every place where he's damaged-- until he's whole. Guardian opens his eyes.

Sarah throws her arms around him. Crying openly,

The sirens are LOUDER now. Not far.

IN'l',/EXT. HELICOPTER IN FLIGH'l' ~ NIGH'l'

The EC-130 soars away from the wreckage, vanishing into the darkness as RESCUE VEHICLES and FIRETRUCKS screech toward the ruins of Cyberdyne.

The farm sprawls with fields of green. Near the house, long grass waves in a gentle breeze.

Out back, Young Kyle tunes the engine of a Honda 50cc motorbike. He's wearing the same shirt we saw him in when Reese dreamed of him, His dog starts to bark.

Coming through the long grass, THREE FIGURES.

Sarah keeps walking while Reese and Guardian hang back under the shade of a big oak tree.

Sarah waves Reese to join them. Reese steps into the light.

Sarah leaves them alone, goes back to Guardian.

ON GUARDIAN-- Sarah steps next to him in the cool shade. They watch Young Kyle and Reese walking and talking.

Sarah gives him an amazed look-- then ~~op~ herself.

Reese stops, puts a hand on Young Kyle's shoulder.

MOMENTS LATER:

Reese, Sarah and Guardian put the farm to their backs. Young Kyle watches them go. Ahead of them, a dirt road stretches to the main paved road beyond and a parked pickup.

Sarah looks at him-- and maybe for the fix-st time since we 1 ve seen her, s-he smiles.

CRANE WIDE as our heroes arrive at the main road, not knowing which direction their future will take them.

Bulldozers and heavy equipment clearing the aftermath of Cyberdyne's destruction.

The following is a single shot: TILT LOW to the treads of a bulldozer, crushing melted servers, Cyberdyne logo visible.

Continue down into the destruction and buried debris-- keep going, tracking deep into darkness, finding a thick cement shaft, cables snaking down further-- until we arrive in

AN UNDERGROUND CHAMBER-- at first all we see is a single flashing green light.

PULL BACK-- to reveal the light is on a matte-black SERVER. A fail-save, preserved here, far underground. And the light shows it's functional.

Continue the same shot, pull back as lights flicker, on revealing more of this safe room hidden deep below Cyberdyne.

Machinery suddenly activates. Mechanical arms rise into frame. From the walls, an image projects:

TINA -s1:.ranas or-··c-ode -rotming 1:.ne· ages-·or--SkYhet,- -a·cce1eratrng from one age to the next until it projects the shell of --

The T-5000.

But mechanical arms navigate over the projection like its a template to be filled. Mechanical systems, mimetic aJ_loy, and swarming nanocytes, all flow together, piecing reality into the image. Making the personification of the destroyer of humanity. And the inheritor of the future.

Skynet. Preparing to walk the Earth.