The Connors Chronicles: F05E03 - So Long And Thanks For All The Sheep

7/30/2019 The Connors Chronicles: F05E03 - So Long And Thanks For All The Sheep

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Terminator:The Connors Chronicles

"So Long And Thanks For All The Sheep"

F05E03

Written by

Lumir G Janku

This document is fan-produced fiction based on the television series,

Terminator - The Sarah Connor Chronicles, and two seasons worth of fan-

fiction, F03 and F04, written by CJ Carter. This is done in spirit of fan

fiction, to have fun and enrich the total fan experience beyond the

limitation of the original story vehicle.

In that spirit, and holding to the long tradition of free promotion and

support that fanfic brings to the fictional verse, this story is being made

available to the show fans for entertainment purposes.

Copyright 2011 Lumir G Janku


2/45

2.

ACT ONE

FADE IN:

EXT. SIERRAS, NEAR CONNORS' LOG HOUSE -- NIGHT

BRANDI SUMMERTON is unpacking her backpack in a ravine that

is parallel to Connors' log house, about 250 meters fromit. She pulls out a large folded rain hat first and coversher head with it, to keep the backpack content dry. Thesheep is standing, tied to a tree, at the end of ravinethat levels with the clearing on which the house is built.Brandi looks up the slope that leads to the clearing, topick the best location. There is a slight indent to herleft, with a tree root bridging across, forming a goodsupport for her feet. Brandi checks her watch.

BRANDITwenty minutes till they turntheir lights off. Plenty of time.

BRANDI (CONT'D)Don't presume you have it!

BRANDI (CONT'D)Shut up for once! I need toconcentrate on my task.

Brandi pulls out a tightly packed bundle and a metalsupport rod. She enfolds the bundle into an impromptu tent,large enough so she can spread her items on its floor andprotect them from rain.

INT. SIERRAS, CONNORS' LOG HOUSE -- NIGHT

CAMERON is sitting at the table in the center of the roomand reads a book. It is one of a 12-volume set of world'shistory that they found in the house when they moved in.Her reading consist mostly of flipping pages as she readsthe densely formatted text with an impressive speed, sheonly rest on the page if there is a picture, looking at itfor 20 or so seconds as if waiting for them to come alive.JOHN sits on a stool in front of a fireplace that is at thecarport side of the house and watches a log consumed byfire with a crackling sound. He half turns toward Cameron.

JOHNCameron, you've read this one atleast four times already.

CAMERONIt's more interesting the more Iread it. I can see connectionsthat I didn't notice before.


3/45

3.

CAMERON (CONT'D)There are so many stories that arehiding behind the dry text. It'sfascinating. I imagine what itwould be like living in thosetimes and places.

JOHNHow about now and here?

CAMERONIf you had an option to see amovie, would you go?

JOHNSure. I bet you'd go with me, no?

Cameron is QUIET for a few seconds.

CAMERON

Right. You're a wise man, JohnConnor. It's not that I don't knowthat... but it... manifesting ofit always surprises me.

JOHNI see it more as a common sense.

CAMERONNot that common. Many people cango about their lives quite withoutit.

Cameron closes the book and goes to sit beside John andwraps her arm around his waist.

CAMERON (CONT'D)These stories, they're more likedisconnected fragments. I don'tknow yet how to thread themtogether.

JOHNThat's because you keep theminside. If you tried to get themout, by telling them, you maynotice many things around youthat'll give you the thread tolink them.

CAMERONThey're like soap bubbles,floating, and the surface tensionprevents them from joining.


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4.

John half turns from Cameron, and cups his hand around hismouth.

JOHN(pretending to whisper)

She reads minds!

Cameron bursts into laughter and slaps John on his thigh.John turns toward Cameron.

JOHN (CONT'D)Got the moral?

CAMERONI think so. Just no story tonight,I want to watch the burning logswith you for a while. It's almostlike in a theater.

Cameron tilts her head closer to John and leans on his

forearm.

EXT. SIERRAS, NEAR CONNORS' LOG HOUSE -- LATER

BRANDI climbs up the slope, slipping a couple of times onthe softened clay. She reaches the top, tries a few timesto stomp on the supporting root. It seems to be firmly inposition. She leans on her elbows for support and looksthrough the clearing toward the log house. She turns herhead left and right, as if checking that she did not missanything important. Then she starts pulling a rope thatlies in front of her and drops the end of it into theravine behind her. The sheep approaches with every pull,

decreasing the distance of 70 meters from her originalposition. The rain is getting heavier again and the ropebecomes slippery--Brandi has to hold it tighter. It takes awhile for the sheep reaching Brandi's spot.

BRANDIHere you're, m'dear!

Brandi reaches into a pocket at the side of her pants andbrings up a bunched wreath of juicy white clover. The sheepgrabs the offering with the tongue and starts chewing.Brandi pulls the sheep closer to her, unties the leash andturns the sheep by its rear toward her. Then waits for thewreath completely disappear and counts.

BRANDI (CONT'D)One, two, three--

Brandi just nods her head for the numbers in sequence.

BRANDI (CONT'D)Fifteen!


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5.

The moment Brandi says fifteen, she slaps the sheep overher hind side, hard. The sheep starts to run as if lifedepended on it, in the diagonal direction across theclearing. Brandi immediately reaches over her shoulder andbrings over the cross bow that she brought with her. Sheinserts a steel arrow and looks up to fixate on her target.She follows the sheep with the sights and then releases the

trigger. The arrow, just a blur, pierces the sheep's neckthrough the arteries and leaves an open wound through whichthe blood gushes out. The sheep runs for a few meters dueto a momentum, and then crashes into saplings at the edgeof the clearing, breaking them, and then collapses with aTHUD.

INT. SIERRAS, CONNORS' LOG HOUSE -- NIGHT

JOHN and CAMERON are still sitting in front of thefireplace. Cameron suddenly lifts her head and listens.

CAMERON

John, did you hear it?

JOHNHear what?

CAMERONI'm not sure. It was like ... abig animal trashing through woodsand falling down.

JOHNAll I hear is the rain. It almostputs me asleep.

CAMERONI should check it out.

JOHNCameron, it's night. If it fell,it would be there probably in themorning.

CAMERONSomething doesn't add up. I'm notsure what, exactly. I heardanother sound, just before, it waslike... wheezing?

JOHNWheezing?

CAMERONNot sure. It sounded similar, butI can't match the sound.


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6.

CAMERON (CONT'D)It may have been two sounds, oneright after another. I'll go checkit out.

JOHNI should go with you.

CAMERONNO. I can see in the night. Youcan't.

JOHNWish I had the night visiongoggles with us.

CAMERONI'd feel better if you stay here.Don't go out. I'll call to you orcome back to get you if I need

your help.

Cameron stands up and walks toward the front door.

JOHNWait! You should take a gun, or ahandgun at the least. You'll neverknow...

CAMERONRight. Get me my glock.

John takes the few steps that separate him from the closet,

opens the door and reaches right behind it, pulling out thehandgun. He checks the clip, it is full, then walks towardCameron and hands her the weapon.

JOHNBe careful.

Cameron NODS and exits the house.

EXT. SIERRAS, NEAR CONNORS' LOG HOUSE -- LATER

Cameron goes forward a few meters and turns her head in asemi-circle, but the rain is like a gray impenetrable sheetin front of her. Cameron switches to IR mode and goesforward about 20 meters to walk past the depression thatthe house sits on, to see more of the clearing. She scansagain, in a wider angle, and zeroes on an animal shape. Sheturns toward as if she would walk closer, but then shecatches something by the corner of her eye. She stops andturns toward another object. Cameron sees something that isutterly incomprehensible.


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7.

P.O.V. CAMERON

An object of a size and shape of human brain is floatingone and half feet above ground at the end of the clearingwhere a ravine cuts through. Cameron looks at it for 3seconds, unable to identify and make sense of what she isseeing. Then the object nearly splits in half.

Cameron suddenly senses a danger and starts turning towardher left.

CAMERONJohn!

Cameron realizes that John can't hear her.

She sees a bright flash and a sound of a SHOT, muted by thecurtain of rain. The force of the impact throws her on herback and she feels like falling into a dark, bottomlessabyss. Her last thought reverberates through like a fading

echo.

CAMERON (V.O.)John, don't go out.

Then, there is nothing but darkness.

END OF ACT ONE


8/45

8.

ACT TWO

P.O.V. BRANDI

Brandi's hand grabs a small bag and takes it off a hookthat is embedded in the tree to her right. She places thebag in front of her. Then she lifts herself by her arms and

her feet reach the clearing lever. She takes the bag andruns fast to clear the distance between her and her prey.She reaches Cameron and stands above her, a 50 DE pistol inher hands, waiting. The reboot time passes. Cameron doesnot move. Brandi squats down and turns Cameron's head toleft. An impact on Cameron's right side, at the chip areais now clearly visible. Brandi shakes Cameron's head for afew seconds. No response.

BRANDIGood. Now the most important taskof your life is ahead of you.

Brandi opens the bag. She pulls out a large rain hat, atwin of the one she had on earlier. Then she unzipsCameron's jacket and starts pulling out of her bag claylike strips, positioning them on Cameron's chest. Once shelays 8 strips down, she pulls a bundle of short copperwires and starts connecting the strips. Then she pull out aspool of cable, split at the end with attached blastingcaps. She inserts the blasting caps into the first and laststrip and unwinds the spool along Cameron's body, thenmakes a few loops around a steel spike that she forces intoground. She zips Cameron's jacket back up.

BRANDI (CONT'D)

(toward Cameron)Don't go anywhere.(laughs)

Brandi is going back, unwinding the cable, until shereaches her previous spot. She lowers her feet, reachingthe root support. Then she pulls on a rope tied to thenearby tree, until she pulls up a detonator. She splits thecable's two threads and attaches them to the connectors.Then she arms the detonator and places her right hand onthe lever, directing her gaze toward Cameron's body. Shewaits. 3 minutes into her waiting, she gets impatient.

BRANDI (CONT'D)Where are you, Johnny. Come out!

BRANDI (CONT'D)Give him ten, fifteen minutes,when he becomes suspicioussomething's amiss.


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9.

BRANDI (CONT'D)I just want it over with.

BRANDI (CONT'D)You're losing your grip. Shape up!

EXT. SIERRAS, RAVINE NEAR CONNORS' LOG HOUSE -- LATER

The rain intensifies and starts eroding the softened clayof the ravine wall, Brandi does not pay attention, herfocus is entirely on Cameron, and if John comes out, onhim. She does not notice the thinner end of the root beingexposed rapidly. The ravine bottom starts filling withmuddy water. Her small tent support collapses and the tentis being swallowed by the pool. The exposed root endsuddenly gives under Brandi's weight. Her handgun drops outof her jacket pocket and disappears in the mud below. Asshe tries to grab on something, she pulls on the detonatorlever.

EXT. SIERRAS, CLEARING NEAR CONNORS' LOG HOUSE -- LATER

BOOM! A large explosion lifts Cameron's body andobliterates her torso. The parts are flying whichever way.The detached head hits the ground 10 meters away, closer tothe house. In a few seconds John runs out, holding a pumpaction gun in his right hand. He can barely see. He goes ina zigzag pattern, 25 meters in one direction and 25 metersin another.

JOHNCameron!

No reply.

EXT. SIERRAS, RAVINE NEAR CONNORS' LOG HOUSE -- LATER

Brandi collects herself a the bottom of the ravine. Shechecks her jacket side pocket, but her pistol is missing.There is no trace of her tent either.

BRANDIWhat now? This is not good.

BRANDI (CONT'D)What's the plan B?

BRANDI (CONT'D)There was... no plan B, butthere's now. I need to bringJohnny to my turf. He won't go farnow, he's like a blind kitten. Hehas to wait until morning.

BRANDI (CONT'D)How'd you make sure he finds you?


10/45

10.

BRANDI (CONT'D)I just need to make sure he won'tmiss the trail.

BRANDI (CONT'D)Okay.

I can't believe that you've messedthis up! He was in your grasp. Youshould have thought of the erosion.

BRANDI (CONT'D)Shut up! He won't slip away. Andbe quiet, he may hear us.

BRANDI (CONT'D)Hear that din? I doubt he can makeout anything beyond 15 meterradius. Blind and deaf.

BRANDI (CONT'D)Maybe. Except the explosion. Iwant him stay that way. And I hadenough of you for tonight!

Brandi turns toward the ravine exit side and walks up,dragging her feet through the muddy pool. It is easier thantrying to climb the ravine slope. At the end, she lookstoward the clearing. She feel uncomfortable to be standingin the open and finds a bush that she can hide behind. Shehas not lost her binocular and scans the clearing for signsof John.

BRANDI(lowering her voice to nearwhisper)

There he is!

BRANDIWhat is he doing?

BRANDI (CONT'D)Searching for his pet? Or maybeboth of them if I was right.

BRANDI (CONT'D)Right. I am kind of surprised thatthe wolf took the bait, it seems.

BRANDI (CONT'D)Yeah, that was a good one.

BRANDI (CONT'D)You ok? Haven't heard a word ofpraise from you in days!


11/45

11.

BRANDI (CONT'D)None deserved. Almost none.

BRANDI (CONT'D)Tell you what... Let's switchsides. You'll be doing and I'llbitch about everything you do.

QUIET.

BRANDI (CONT'D)Something got your tongue?

QUIET.

BRANDI (CONT'D)What say you?

QUIET.

BRANDI (CONT'D)Great! At least I know now how toshut you up!

John cris-crosses the clearing in his pattern, with a widerangle to cover the breadth of it. Then he suddenly stops,and drops on his knees.

BRANDI (CONT'D)(laughs)

Johnny found his pet!

John lifts his head and turns it from side to side as if

trying to pierce the darkness and the rain curtain.

BRANDI (CONT'D)Keep quiet, you nitwit! He's got agun and we've none.

BRANDI (CONT'D)All right, better be safe thansorry.

He lifts Cameron's head, and holds it in his lap. His kneesare buried in the mud, but he does not seem to notice, norcare.

BRANDI (CONT'D)Cry, Johnny, cry for me, make mehappy!

Brandi checks John's face with her binocular, but she isunable to decide whether she sees tears or rain water onJohn's face.


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12.

BRANDI (CONT'D)Sonofabitch! I can't tell! Tis' sounfair!

BRANDI (CONT'D)Don't get too sentimental! Keepyour wits about.

BRANDI (CONT'D)You're starting to get on mynerve. Who invited your inanecommentary? Get lost!

Brandi turns around and walks slowly, shifting her fullweight on one foot at the time, making sure her tracks aredeep enough not to be washed away by the downpour.

BRANDI (CONT'D)Wait! Johnny needs more clues. Wedon't want him to lose his

bearings!

Brandi breaks a twig at her right side. She nods with asatisfied grin.

BRANDI (CONT'D)We've got all night--

Brandi occasionally breaks a twig here and there, to keepwith the pattern, leaving enough clues.

BRANDI (CONT'D)Don't make it too obvious!

BRANDI (CONT'D)Right. He may not notice in hisquest for revenge. But point taken.

EXT. SIERRAS, CLEARING NEAR CONNORS' LOG HOUSE -- LATER

John gets up, holding Cameron's head in his left arm andwalks back toward the house. He nearly trips over Lars thatlies motionless on the ground, his fur soaked with rainwater and spiked with mud. Beside him is a chunk ofregurgitated meat. John squats down, and strokes wolf'shead with his free hand.

JOHNShe got you too, Lars?

John enters the house. He wraps Cameron's head in a toweland sits on the floor, wrapping and locking his handsaround his bent knees. Numbness overcomes him. He does notmove, he just stares into the wall.


13/45

13.

INT. SIERRAS, BRANDI'S CABIN -- NIGHT

BRANDI sits in on a chair her cabin, in dry wear. Herclothes from the night adventure lie in a heap in thecabin's corner. She gets up and takes the table in thecenter of her cabin and places it in against a wall. Sheturns and goes back to the center and sweeps the dust of

the wooden floor. She digs with her nail into a crackbetween boards and pulls out a nylon thread about thethickness of a lower E guitar string. She wraps the endaround her hand and pulls. A small trap door lifts up andBrandi then opens it fully, letting it drop by the top sideon the boards. She pulls a blue box from a floor cavity.

BRANDILet's see what we've got here--

Brandi breaks the seal enters a combination of numbers onthe pad and lifts the top. There is another, innercompartment and on the top is a small instructions sheet.

She reads it and then presses a button that is hidden undera rim of the outer case. A small digital display in thecenter of the inner case top lights up with a series of LCDnumbers and letters that change for a couple of seconds.Then the display sets on two letters--I D.

Brandi removes the sleeve from her left forearm and placesthe forearm parallel with the display. A green laser beamis now visible on her skin. It moves along a fewcentimeters and then back. Brandi does not have any barcode tattoo, but it seems there is another identificationmethod deployed. The display shows P O S I D and there is afaint click coming from the inner case.

Brandi opens the inner case and removes a seal from theinner compartment that holds a stack of vials, 10 each in 7rows. The instruction display on the removed lid flashes IN S T. Brandi looks at the sheet she got earlier to consultfor a step to activate instruction sequence.

Something catches Brandi's attention before she returns tothe box. She hears a rumble that sounds like a rollingthunder.

BRANDI (CONT'D)What the h--

She is jerked suddenly, the wall facing up slope is sweptin an instant and she sees a wall of mud and stones headingfor her. Brandi does not have any time to react, themudslide envelopes her.

FULL SHOT - SIERRAS, CREEK BELOW BRANDI'S CABIN -- DAWN

The tongue of the mudslide reaches the creek in its middle.There is a hint of blue a few meters left of the center.


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14.

ZOOM AT: BLUE STREAK

The blue box sides are covered with mud, except andoccasional clear spot that stands out from thesurroundings. The box is open and many vials are broken.

PAN OVER: BOX TOP

The sunrise makes the contrast between the box and mudcolors clearer. The shadow covering the box graduallyshrinks. Sun rays hit the box, refracting on the brokenvial glass. The blue liquid starts to boil and evaporate.Eastern wind helps drying the content out of the vials andcarries the mist with it, toward the western coast.

INT. SIERRAS, NEAR BEAR CREEK, CONNORS' LOG HOUSE -- MORNING

JOHN is still sitting in front of the wall. His head istilted downward and his eyes closed. The mud on his pantsdried up into a hardened shell. The sun rays entering

through window reach John's face and John wakes up.

John turns around, as if trying to ascertain he was justdreaming. But the bundle that he made last night is stillon the table. He does everything automatically, not givingto a depression that cuts deep inside. He gets up and takesthe bundle into the closet, then goes toward back, opens asmall wooden box and pulls 4 fragmentation grenades andplaces them in a backpack hanging right behind the door. Hethen grabs his glock, a pump-action gun and ammo for bothweapons and takes it all to the table in the living room.He goes back for a binocular, locks the closet door andreturns to the table.

The backpack is already half-stuffed with items one mayneed in the wilderness--a hiking rope and slings, foldedfield spade, and a medipack. John wraps the grenades in atowel and inserts them in the backpack over the top of theitems inside and adds the ammo boxes. Then he slides thepump-action gun in front strip holders, puts the glock intohis jacket pocket and hangs the binocular around his neck.

John looks the room over, almost absent-mindedly. Then helocks the front door from inside and exits through thecarport door, locking it too and places the keys under aremovable plank on the carport's house wall. John goes tothe front of the house and scans the clearing with hisbinocular.

EXT. SIERRAS, NEAR BEAR CREEK, CONNORS' LOG HOUSE -- MORNING

JOHN walks past the spot where he nearly tripped over Larslast night.

Lars is not there, just an indent in the mud thatcorresponds to Lars' body and tracks leading towards woods.


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15.

JOHNAt least some good news for today.

John returns to the location of explosion. He finds thelower part of Cameron, hopelessly mangled in grotesque heapand shards of her torso skeleton are strewn all over theplace.

JOHN (CONT'D)Nothing I can do here. You neverknow when a spare comes handy.

He finds the cable leading him to the ravine. The tracksleft in the mud of the ravine's bottom are easy to follow.

JOHN (CONT'D)Almost too easy.

John reaches the end of ravine and again, the tracks seemto be deep enough not to be washed away by the downpour

last night.

JOHN (CONT'D)Too easy.

John follows the tracks and stops every now to check thesurroundings with his binocular. He crosses the Co Route107. The tracks look more fresh, as if made after the rainstopped, and John pays more attention to the surroundings.

END OF ACT TWO


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16.

ACT THREE

EXT. SIERRAS, CREEK NEAR BRANDI'S CABIN -- DAY

JOHN squats on the small hill facing the creek in front ofhim. He looks through his binocular and sees the tracks

ending at the creek. On the other creek bank, the foot of ahill displays signs a recent mudslide. There is a largemudslide tongue, about 300 meters wide, reaching with itstip the creek waters.

JOHNWhere is she--

John looks at the hill, checking carefully for signs of anypresence, but there is nothing that would indicate it. Helooks carefully again at the line of tracks and follows itto the other bank. The tracks on the other bank seems toend at the right side of the mudslide tongue.

JOHN (CONT'D)A trap? Doesn't make a sense.

John decides to go parallel to the creek, keeping hisdistance, in both directions, downstream and upstream about1 kilometer in each direction. He checks the hill from bothpoints, but there is nothing that would indicate that he isnot alone. He returns to the original point near the tracks.

JOHN (V.O.)Maybe the track continue beyondthe hill.

John again looks at the mudslide tongue and somethingcatches his attention. A streak of blue amidst of browns,ochre and grays. He can't make it out from the distance. Hethen hesitantly follows the path of tracks towards thecreek. John stops at the bank and then backs up a bit. Thenhe runs toward the creek again and jumps across the exposed3 boulders. He almost slips when reaching the opposite bank.

John climbs across the mudslide. The blue object is about10 meters in the tongue, but his movement is difficult ashe sinks ankles deep in some spots. John reaches thelocation and it is apparent that the object is a box. Thereare many broken, empty vials.

John clears the mud around the box with his field spade andlifts it out of the mud, then he tilts it on its side tospill the shards of broken glass. He looks again and thereare 4 vials that seem to be intact. John pulls them out,checking again the box content, but the rest of vials isdecidedly broken. He puts the vials in his jacket's frontpocket and turns back following his own tracks.


17/45

17.

When clear, John follows the mud slide edge on the side ofthe box location and then turns back to go the other way.He almost turns to get back to his original position whenhe caught something by the corner of his eye.

JOHN (V.O.) (CONT'D)Odd stone color--

He follows the creek's bank 50 meters and looks down at theobject nearly submerged in a still part of the creek.Threads reminiscent of human hair swept by the creek's mildcurrent flow to one side.

John takes off his backpack, then his jacket and lies downon the bank. He reaches into the creek and after stretchinga bit, he wraps the threads around his two fingers andpulls. Then he sits and at the same time lifts the objectand looks at its features.

JOHN

There is a god after all!

John puts Brandi's head down, opens his backpack and pullsout a large plastic bag. Then he puts the head in it,closes the bag and after removing the grenades he drops itinto the backpack. He places the grenades back in, closesthe flap and heads toward the directions he came from.

EXT. SIERRAS, NEAR BEAR CREEK, CONNORS' LOG HOUSE -- MORNING

John stops his buggy and turns back toward the log house.He looks for 3 seconds, as if trying to etch the image intohis memory. He then looks at his backpack, fastened to the

seat beside him and pulls at the rope to make sure thebackpack is secured.

EXT. LOS ANGELES, OLD ZEIRA CORP. -- AFTERNOON

John parked his buggy in the usual place. The compound isexactly as he remembers it, with more wear and tear. Agroup of five onlookers comes to greet him.

OLD MANJohn Connor! Long no see! Whatbrings you here?

JOHNI've heard Zeira has been rebuilt.Apparently, somewhere else.

OLD MANYeah, I bet it was easier to buildfrom a scratch than level thisexcavation here. And people stilllive here. Not many, but they do.


18/45

18.

JOHNThey still do?

OLD MANSure. It takes a while to reclaimand renovate buildings and housesthat were left over from war and

are in a decent shape. Some peoplealready fixed their houses, somestill are working on it and livehere for time being.

JOHNHow that works?

OLD MANOne has to file a reclaim noticewith the government after findinga suitable dwelling. Then aninspector will go out to check it

out, whether it's safe and ifyou've got two live chickens, itis.

JOHNI see. More the things change,more they stay the same.

OLD MANYeah, something in that mold. Thenyou get the building permit andit's up to you to get the materialand tools or a tradesman to help.

Then another inspector comes whenyou're done and marks you off onhis sheet.

JOHNJust like that?

OLD MANNo, this one likes booze.

JOHN(laughs)

The civilization is safe!

OLD MANWell, it's understandable. Theinspectors are not paid much, thegovernment does not have muchmoney, so they are trying to getby as everyone else. Except Zeira.

JOHNHow come?


19/45

19.

OLD MANIt's run well. But getting a jobthere... You've got to be special.High level skills. And they've gotenough guards and low level staffalready.

JOHNInteresting. There must be othercompanies out there, no?

OLD MANThey're, and more of them everyday. But Zeira's above all. Mybaby brother works there. He washired two moths ago and he saysit's not comparable, not evenclose.

JOHN

How do I get there?

OLD MANDo you remember where the oldWillowbrook Park was? That's theplace.

JOHN(nodding)

Thanks! Wish I had something withme to offer for your help.

OLD MANThat's... It's us that will be indebt to you until our last day.

JOHNSkynet defeat wasn't an one-manshow.

OLD MANTrue. But without yours truly, itwould've been no-man show by now.

JOHNI'll be in L.A. probably for awhile, so I may come by.

OLD MANYeah, please do. My wife makes asoup nobody can beat.

JOHNYou're on! Thanks again and bye!


20/45

20.

John turns on the key and waves to people in response. Onthe way, he stops at a strip mall. One third of the longbuilding is still bearing signs of the war, with parts ofthe beams sticking out, but the rubble is cleared. The resthosts several small shops and one larger grocery store.John now felt hungry, having no food since that fatefulnight.

JOHN (V.O.)I should've taken that man on hisoffer and get some soup.

He parks his buggy, and puts the backpack on his back andenters the grocery store. The store seems to have the basicfoods, but very little of processed or packaged items. Somecanned food, but not in tin cans, it was in glass jars.John saw the price signs everywhere.

JOHN (V.O.) (CONT'D)So money did not go out of

fashion...

John grabs a baguette, a jar that claims to be a beef soup,a small bag of oranges and a few pepperoni sticks at meatsection. He then goes to checkout. When it is his turn, hepulls Cameron's glock from his pocket and puts it on thecounter. The young cashier got suddenly very pale.

JOHNI don't have any money. This isall I have.

CASHIER

I... sorry, we take only money andfood stamps.

John does not move, nor responds. Just looking at thecashier with an expression that seems to be saying "theremust be something you can do, young man".

CASHIER (CONT'D)I'll call the supervisor. Pleasewait.

The cashier speaks rather quietly into the internal phone,John can only hear a few words.

CASHIER (CONT'D)...gun ... money ... over here?

A man in his fifties approaches the register and looks atthe cashier that POINTS to gun and then to John. The storesupervisor looks at John and his expression changes into awide smile.


21/45

21.

MANAGERJohn Connor! Sir, it's a pleasure!I... Please take your gun back,this goes on my tab!

The line of buyers behind John suddenly becomes alive withwhispers.

JOHNThat's very kind, but--

MANAGERSir, I insist! Please come by anytime.

JOHNThank you. And I will.

John quickly grabs the paper bag that the manager hands tohim. He starts to feel a bit uncomfortable with all the

attention. He walks fast to his buggy, then puts thebackpack on the passenger seat and secures it again, withthe paper bag top tucked under the rope as well and headsoff back on the freeway. There is already a large crowd infront of the store, watching him as he leaves.

JOHN (CONT'D)(muttering under his breath)

I guess I need to be more out forthe novelty to wear itself out.

EXT. ZEIRA CENTER, GATE -- EVENING

John reaches the Zeira Center gated entrance. A securityguard comes out of the small station at the entrance .

ZEIRA GUARDYou have to get around and get tothe main... oh! Wait! You are JohnConnor, right? Just a moment--

The guard heads back into his station and makes a quickcall. He hangs up and returns outside.

ZEIRA GUARD (CONT'D)Please follow the signs, to thebuilding A and get into the B1basement parking. Ms Weaver willbe expecting you. Have a good day,sir!

John gets to B1 parking and sees Catherine who is waitingfor him.


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22.

CATHERINEJohn! What a nice surprise! Whereis Cameron?

JOHN(John's voice breaks showingstress)

She is... with me.

CATHERINEI don't--

Catherine looks at John's face and realizes that somethingis not right.

CATHERINE (CONT'D)John, what's wrong?

John takes his backpack and the grocery bag.

JOHN(apologetically)

I am hungry. I'll explain.

CATHERINEJohn, please follow me. My officemay be a better place for aprivate talk.

Catherine and John enter an elevator and get to theCatherine's office on the third floor.

INT. ZEIRA CENTER, CATHERINE'S OFFICE -- EVENING

John puts the groceries on a coffee table and opens thebackpack and removes two plastic bags and a small bundle.He opens one box and pulls out a round object wrapped in atowel and unwraps Cameron's head.

CATHERINEOh my god! What happened?

JOHNCatherine, first we need to findout how to fix her.

CATHERINEOf course, I'll get Toshiro, giveme a moment.

Catherine calls Toshiro on the intercom.

CATHERINE (CONT'D)Toshiro, can you please come to myoffice right away? Thanks!


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23.

John pulls the bundle with Brandi's head. Catherine lookspuzzled.

CATHERINE (CONT'D)What's that?

JOHN

Brandi Summerton. She blew upCameron

John unwraps the package.

CATHERINEJohn, I am so sorry... I did lether go. It's my fault.

JOHNNo, you couldn't know that shewould still be after us. Youneeded to make sure that we are

alive, and able to get out, first.

CATHERINEI'm not so sure, there wasprobably enough time to end thelife of this miserable creature.

JOHNThings were pretty fluid.

CATHERINEYou're right. My priority was toget you all out.

JOHNWe got too careless.

John unwraps the small bundle and exposes four vials withblue liquid.

JOHN (CONT'D)Lauren's working here?

Catherine NODS.

JOHN (CONT'D)I think this may be in her field.

CATHERINEJohn, can you tell me what hashappened, so I have a bit cleareridea what this all means?

END OF ACT THREE


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24.

ACT FOUR

INT. ZEIRA CENTER, CATHERINE'S OFFICE -- LATER

JOHN and CATEHRINE sit at the coffee table. John drinksfrom a glass of water and Catherine looks like in deep

thought.

CATHERINEI'll send someone to search thearea. I want to find the remains,so we can be sure. John, do youthink this was purely an act ofgod?

JOHNThat's the best way to put it. Seehow the left side is pushed in? Ithink the body was held by the mud

when a boulder rolling on thesurface of the slide knocked offthe head.

TOSHIRO enters the room. He looks at Catherine and John andthen notices two heads on the table in front of them. Hestops in his tracks, and open his mouth, but no sound iscoming out.

JOHN (CONT'D)Hi Toshi!

TOSHIRO

What is going on?

TOSHIRO (CONT'D)Hi John! Sorry, the display got methinking I must be in a horrormovie set. What happened?

JOHNI'll explain later. We need to fixCameron first.

TOSHIROBut it's just her head.

JOHNYes, the most important part.

Toshiro takes Cameron's head and looks at the area where itwas hit.

TOSHIROJohn, that may take a while.


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TOSHIRO (CONT'D)The area around the chip has anextensive damage. I don't want todo anything rush. This would be avery delicate job.

JOHN

How long... you think?

TOSHIROGive me a few days. I need tox-ray it from all angles to seehow it looks inside and thenfigure out how to get the chip out.

JOHNYou're right. Take as much time asyou think you need.

TOSHIRO

What about this?

Toshiro point at Brandi's head.

JOHNToshi, meet Brandi Summerton.

TOSHIROI am certainly pleased I can meether in this form!

CATHERINEI need you to work on this

together with Lauren. The matterinside is organic, but there mustbe some kind of interface. Youboth need to decide how to proceed.

TOSHIROThe vials?

CATHERINELauren needs to take a look at it.

TOSHIROIs she coming?

CATHERINEHaven't called Lauren yet. You cantake Summerton's head and vials toher. We meet tomorrow at ten a.m.

TOSHIROJohn, nice to see you again, justwish it was under differentcircumstances.


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JOHNThat's two of us.

John places the heads in plastic bags and into his backpackand add the rewrapped bundle of vials. Then he hands thebackpack to Toshi.

TOSHIROSee you around, John!

JOHNI'd say it is guaranteed!

Toshiro grabs the backpack and exits the office.

CATHERINEJohn, I can keep you a company.

JOHNI need to find a place to crash,

maybe the old Zeira. And need toeat something.

John points to his grocery bag.

JOHN (CONT'D)Haven't had a meal for a while.

CATHERINEYou have a place to stay already.

Catherine goes to her desk and pulls out a plastic card anda small elongated object from a drawer.

CATHERINE (CONT'D)This is a mag key to a room atOasis. It's for now, we'll lookfor a better accommodation later.Turn left at the gate and go 3kilometers. You can't miss it.There is a big neon sign "Oasis".

JOHNThanks! Your hotel?

CATHERINE(NODS)

Yes. For my employees that do nothave a permanent accommodation andVIPs. This is also your bank card.You are now on a salary. It alsoconnects to your pension account.There is probably a nice round sumalready accumulated on it.


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27.

JOHNWait! Salary? Pension?

CATHERINESalary, yes. I just hired you. Idon't want to hear any objections!

JOHNWhat is my job description? Imean... I have to do some work,right?

CATHERINEIndeed. You are a researchassociate. And I am sure therewould be more work for you thanyou can handle.

JOHNAll right. But the pension? What

is that about?

CATHERINEAll veterans from the Skynet warhave one. It is a small sum, thegovernment is on a very tightbudget, but it does coveressentials.

JOHNI don't want it.

CATHERINE

John, take it up with VeteranAffairs Office. But I suggest youthink it over, and not be rush.

JOHNI don't see--

CATHERINEAs I said, it is a decent chunk ofmoney by now. You can decide whatto do with it. If you leave it inhands of the government, you canbe almost sure it would getwasted. You can redirect the fundsto any cause you like.

JOHNYou're right. I have something inmind already. There are peoplestill living at the old Zeira. Imay be able to help them.


28/45


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29.

CATHERINE (CONT'D)These are the numbers of peopleworking here.

JOHNAllison? Jason?

CATHERINEAllison's working with Toshi onsome projects. And Jason, he workson our communications, too.

JOHNThere is not that many people onthe list. I thought there is morepeople working here.

CATHERINEYes, about two hundred people workhere, but only the managerial or

research positions come with acell. For now.

JOHNA perk.

CATHERINENo, a necessity. The hierarchy ofthe center is flatter than whatwas usual for a typicalcorporation. We have an internalphone system, but because thedepartments are not really

isolated entities, theavailability of cells proved to bebeneficial. Some projects involvemore than one department.

JOHNHow do you manufacture the phones?

CATHERINEOne of Moss' ventures.

JOHNHeard quite a bit about him.

CATHERINEHe proved to be a fast learner.

JOHN(laughs)

Is still a bit surprising to me.The cell phone is quite asophisticated device.


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30.

CATHERINEYes. Moss' people discovered quitea few former Skynet facilities.Many of them needed only minormodifications to shift productionto what is needed. It's not a masstype of production, but in due

time, I'm sure that would change.

JOHNIn such a short time after thewar, that's quite a progress.

CATHERINEJohn, I'm so sorry! So glad to seeyou that I've forgotten you mustbe hungry.

JOHNI've forgotten too.

CATHERINEFrom the way you play with yourgrocery bag, it seems your bodydid not forget!

JOHN(taking hands off the bag,laughs)

You've got a point.

CATHERINEYou need your meal and a rest.

Oasis has a snack bar and a smallgrocery store. Coffee and tea ison the company's tab. No toofthough, I'm afraid! Let me showyou the way.

INT. ZEIRA CENTER, B1 PARKING -- NIGHT

Catherine and John are standing beside his buggy. Catherinegives John a hug. John seems to be a bit surprised by thatoutpouring and that there was nearly nothing robotic aboutCatherine's posture. John takes off and Catherine standsstill, watching John's buggy departure.

CATHERINEIt's my fault. I should havekilled that bitch on the spot. I'dlose 10 seconds at most. What wasI thinking?

END OF ACT FOUR


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31.

ACT FIVE

INT. ZEIRA CENTER, C WING -- NIGHT

CATHERINE walks toward TOSHIRO's office. Not surprisingly,

the lights are on. She enters the office front room. Seeingno presence, Catherine goes to the door on the side andlooks through the glass into Toshiro's lab. Toshiro hashis back toward the door. In front of him is a large desk,covered with x-ray photos. Catherine sweeps her key andenters.

CATHERINEToshi, I knew I'll find you here.Maybe you should take it easy andgo home.

TOSHIRO

Hey! I just wanted to do all thex-rays today, so I can concentrateon the extraction plan.

CATHERINEWhat's the prognosis so far?

TOSHIROReally hard to tell. The wholearea is severely damaged, and thechip seems to have a fracture.But I won't know the extent untilI extract it.

CATHERINELet's hope that the chip is nottoo damaged.

TOSHIRODid you tell John?

CATHERINENo. I'd have told him if he asked,but it seemed to me that be likerubbing salt into his wound. Ithink we need to wait for youranalysis and then decide what wedo.

TOSHIRO(NODS)

Right.


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CATHERINEToshi, don't forget, we've ameeting tomorrow at ten in themorning.

TOSHIROJust about done for tonight. Have

you checked with Lauren?

CATHERINEShe's gone already. Summerton isnot a priority. She did somepreliminary tests on the vials,but nothing yet.

TOSHIROOK, I'll wrap it up here. See youin the morning.

INT. ZEIRA OASIS FOYER -- NIGHT

TONYA (K, apparent age 30s) is sitting in reception,reading a book. John enters and Tonya lifts her head,almost automatically. A smile appears on her face.

TONYAJohn! Here you are!

JOHNHi Tonya, long no see!

TONYACatherine called me that you are

arriving but that was almost threehours ago. She called already 3times! We've been worried--

JOHNHad to see some friends at the oldZeira. Just tell Catherine if shecalls again that I am soundlyasleep, which I'll be in a fewminutes.

TONYAWill do. I've made a chicken piefor you, give me a sec, I'll pullit out or the oven.

JOHNAlready had a dinner, but it maybe a nice breakfast meal. I'llclaim it in the morning, okay?

TONYAHave a good night!


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33.

JOHNYou too.

John climbs the stairs already. Tonya dials Catherine'snumbers when John disappears on the staircase's turn.

INT. ZEIRA OASIS, JOHN'S ROOM -- NIGHT

John is in bed and stares into the ceiling. Then he turnsthe bedside lamp off.

ZOOM AT:

The clock on the bedside drawer shows 1:17 in red LEDlights.

EXT. STREET FULL OF PEOPLE -- DAY

John walks on a sidewalk, trying to weave his way throughthe crowd.

CAMERON (O.S.)John!

John stops and tries to pinpoint the direction.

CAMERON (O.S.) (CONT'D)John!

John crosses the street and there are no people on thesidewalk.

CAMERON (O.S.) (CONT'D)

John!

The sound comes out of a shop with a sign "Toshiro's Sushi& Chips Repairs". John enters. There is no one behind thecounter.

CAMERON (O.S.) (CONT'D)JOHN!

The sound comes from the back of the shop. John lifts thecounter side to pass through. He sees Toshiro with a hugedrill. Cameron sits in a chair. Toshiro lowers the drilltoward the Cameron's head and turns the drill on. It makesa deep sound. Sparkles are coming from the exposed chiparea. Toshiro lifts the drill, changing its angle. Johnrushes toward the chair.

JOHNNO!

CAMERONJohn, it's okay. I'll be okay.


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34.

INT. ZEIRA OASIS, JOHN'S ROOM -- MORNING

The clock on the bedside drawer shows 10:34. John looks atthe clock and for a moment seems to be disoriented. Thecell phone is vibrating on the top of the drawer. Johnpicks it up.

JOHNYes?

CATHERINEJohn, good morning! How do youfeel?

JOHNI don't know... Just woke up.

CATHERINEJohn, you have to stay in yourroom.

JOHNWhy? What's up?

CATHERINEQuarantine. We don't know yetwhat's going on, but everyone'ssick.

JOHNEveryone? People, K's--

CATHERINE

No, just people.

JOHNHow would I--

CATHERINETonya would be bringing food.Although, that particular itemdoes not seem to be on people'sminds.

JOHNWhat do you mean?

CATHERINEEveryone's throwing up. I startedgetting calls 2 hours ago and thephone did not stop since.

JOHNI don't feel sick.


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35.

CATHERINEGlad to hear that. Please stay inyour room in any case. I have togo... will call you back in a fewhours.

JOHN

OK, no worries. If there's any wayI can help--

CATHERINEI'll let you know. Dial poundthree six if you need Tonya.

JOHNThanks! Talk to you later.

CATHERINELater.

John puts the phone down and gets out of bed. He stretcheshis arms and does a couple of situps.

JOHNNothing. Sore muscles.

John dials Tonya's number.

JOHN (CONT'D)Hi Tonya! I think I'd claim thatpie.

TONYA

Good morning, John! Are you sure?Nobody seems to want to eat today.

JOHNI want to try. I don't feel sick.

TONYAAll right. I'll be there infifteen minutes. Have to put thepie in the oven and waiting forhelp to arrive in a few minutes.Catherine is sending two Kstaffers... a good thing, it'scrazy here, non-stop since morning.

JOHNAny ideas what it is? Flu?

TONYANo idea. But it's like flu.

JOHNDamn!


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TONYAWhat? Something's wrong?

JOHNNo. I think I have an idea whereit's coming from. I think I'llcall Catherine right away.

TONYAShe's very busy at the moment.Better wait for her to call you,you may not get through. I triedfor an hour earlier, until I got acall from her.

JOHNRight. Well, see you in a bit.

INT. ZEIRA CENTER, B WING -- DAY

CATHERINE walks through the hallway, she switches off herphone and turns toward Lauren's lab. She sweeps the mag keyand enters. She sees Lauren sitting behind a desk, peeringinto a microscope monitor. Beside her is a bucket.

CATHERINELauren! What are you doing here?You've called in sick 2 hours ago.You look very pale.

LAURENSomeone has to be here and do thejob. Besides, I have a bucket

handy.

Lauren POINTS to the bucket beside her.

CATHERINEI understand, but I think it's nota good idea to push it. I could dothe analysis myself and I canassign someone from my K staff.

LAURENIt doesn't make much differencefor me to be at home or here. Butif you can arrange it, a cot maybe a good idea.

CATHERINEVery well, I'll get you a cot assoon as I can. Any preliminaries?

LAURENNot much, yet.


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37.

LAUREN (CONT'D)A virus--that is certain. Veryvirulent. Haven't seen anythinglike it before. Wait--

CATHERINEWhat?

LAURENNot sure. It seems somewhatfamiliar, but to what is eludingme. I think I need a rest. My eyesare playing tricks on me.

CATHERINEYou may have to use chairs puttogether for now. I'll get you thecot or a couch quick, an hour orso.

LAURENThanks! One more favor... Can youarrange a connection with mainlibrary and tell them to feed allthe info on viruses, anything theyget their hands on?

CATHERINENobody's working--

LAURENRight! I forget that everyoneseems to be ill.

CATHERINEI'll send Ks as soon as some arefree to get that set up. First,the cot. Get your rest, I'll beback when we get your furniture.

INT. ZEIRA OASIS, JOHN'S ROOM -- DAY

TONYA enters the room, with pie on a plate. John sits bythe window at a table and making some notes on an Oasis pad.

TONYAHi John! Your pie!

JOHNGreat! I think I am hungry.

TONYAI have a break for fifteenminutes. I can keep you a companywhile you eat.


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JOHN(laughing)

I think you want to make sure thatI don't barf the pie up!

TONYAWell, that too. But I really need

to sit down for a while. It's beencrazy.

John gestures toward one of the two chairs. Tonya puts theplate in front of John and sits down.

TONYA (CONT'D)John, you look quite... good.

JOHNHow so?

TONYA

Everyone else is very pale...almost like a sheet of paper.

JOHNReally? I don't look pale?

TONYA(shaking head NO)

No. Not like others.

John braves a bite into the pie. Suddenly, he gets up andhis abdomen seems to contact in spasms, three times.

TONYA (CONT'D)That's what I've seen.

John waits for a few seconds and takes another bite. Thistime it does not cause the reaction.

TONYA (CONT'D)That's different! How do you feel?

JOHNA bit of discomfort. But it is notthat bad. Like too much acid.

TONYAThat's a good sign. Probably. Ihope it doesn't mean you're at theinitial stage of infection.

JOHNHope so too.

END OF ACT FIVE


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ACT SIX

INT. ZEIRA OASIS, JOHN'S ROOM -- DAY

JOHN picks up a buzzing phone.

JOHN

Yes?

CATHERINEJohn! How are you?

JOHNNot bad. Had a pie a while ago.

CATHERINEThat's good to hear!

JOHNCatherine, I think that I am the

carrier.

CATHERINEThought at first you may be, butthat is highly unlikely.

JOHNWhy?

CATHERINEWe mapped the spread. Lauren--

JOHN

Lauren is working? She's not sick?

CATHERINEShe is very sick. But she came in,insisting she'd work. I'd send herhome, but she found a way aroundit! Very stubborn.

JOHNOK, so why it's not me?

CATHERINEFrom the rate of replication,Lauren estimates that the virushad to be present before the timeof your arrival. Two days. Also,the first cases appeared at thewestern part of Sierras and thenit spread to L.A. We are receivingcalls from other locations thatare connected through air traffic.


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40.

JOHNThe broken vials.

CATHERINEYes. Lauren matched the content ofthose you brought in with thesamples, hers and what she got

from other people.

JOHNAir traffic?

CATHERINEThere are regular bi-weeklyflights to Asia and Australia.Unfortunately, they left yesterday.

JOHNNot good. Any fatalities?

CATHERINEWe don't know yet. I amcoordinating with Savannah. We'dhave a field hospitals up inseveral locations by tomorrow. Ifthe illness does not abate soon,we need to setup IV feeds.John, any reaction when you dideat?

JOHNYes. At first, I thought I'd throw

up. But then it just faded away.Just a feeling like too much acid.

CATHERINEHope Lauren can make a sense ofit.

JOHNMy quarantine?

CATHERINEJohn, let's stick to it for a fewdays. Until we know more.

JOHNRight. Makes sense. I'll ask Tonyato bring in some books, so I don'texpire from boredom.

CATHERINEI'll patch a feed to yourphone--the results as they arecoming in and Lauren's briefs.


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JOHNGood idea. I hope I can help insome way.

CATHERINEIt would have a connection tolibrary feed by tomorrow, so I'll

ask my staff to provide a bookselection list as well. The mainfeed would have a viruses atlas.

JOHNGood, the atlas that is. The bookscan wait.

John SIGHS.

CATHERINEJohn, what is it?

JOHNI wonder what else is out there.

CATHERINEYes. That's been on my mind forsome time. I gotta go, will callwhen the feed is available.

JOHNThanks! Later.

CATHERINELater.

INT. ZEIRA CENTER, C WING, TOSHIRO'S LAB -- FIVE DAYS LATER

TOSHIRO is siting behind his desk. LAUREN is standing nextto him and they are looking at a monitor. Toshiro ispointing at a list of amino acid bases.

TOSHIROSee this here? That's what iscalled a "hook" in cyberspeak.Now, I'll switch to a graph viewso you can see the whole thing andhow it fits.

The graphical codon representation starts scrolling on thescreen. This goes on for 30 seconds.

LAURENWow!

TOSHIROThat's exactly what I said, anhour ago.


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LAURENBut what that means?

TOSHIRONot entirely there yet. But let meshow you--

Toshiro switches to another output representation.

TOSHIRO (CONT'D)What do you see?

LAURENJust zeros and ones.

TOSHIROAND?

LAURENNO!

TOSHIROYes! Afraid that's what this is.

LAURENWe better call Catherine rightaway.

Lauren pulls her cell from her coat's pocket and dials.

LAUREN (CONT'D)Catherine, you better come downhere.

LAUREN (CONT'D)No. Toshi's lab.

LAUREN (CONT'D)Yes, right away. You must see this!

INT. ZEIRA CENTER, C WING, TOSHIRO'S LAB -- LATER

CATEHRINE comes in the lab. Toshiro and Lauren turn theirheads.

CATHERINEWhat you have?

LAURENToshi, show what you showed to me.

Catherine takes a position beside Toshiro.

TOSHIROThis here is a connection, a hook.


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43.

CATHERINEYes, I see that, please continuethe sequence.

Toshiro runs the modes without any further comment. Whenthe last screen appears, Lauren looks at Catherine, and shewould swear that Catherine suddenly became pale, if that's

possible.

CATHERINE (CONT'D)Decoding?

TOSHIRONot yet.

Catherine looks like thinking.

CATHERINEWait! Can I?

Toshiro gets up and Catherine takes a seat in his place.She types in "S P A T C H 204". A password prompt appears.She keys in a password.

CATHERINE (CONT'D)Toshi, please compare the file Ipulled in with your code.

TOSHIROA sec.

Toshiro types in some code and a split screen appears. Thefile on the left is Catherine's, the file on the right is

Toshiro's. Both files start to scroll, highlightingmatches. They run identical. Then Toshiro's file stops andCatherine's file continues.

TOSHIRO (CONT'D)What is it?

CATHERINEIt is a Skynet core code.

TOSHIROWHAT??

CATHERINEYour file's a part of it. Not acomplete sequence.

Toshiro and Lauren look at each other.

CATHERINE (CONT'D)This is not a good news.


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44.

CATHERINE (CONT'D)Toshi, please overlay and send tome. Where are we with Cameron?

TOSHIROLater today. Almost finished withextraction. Not sure how much time

I need to spend on assessingfunctionality.

CATHERINEKeep me posted. Lauren, pleasecome with me.


CATHERINE and LAUREN sit at a conference table.

CATHERINEWhat areas specifically?

LAURENBone marrow and reproductiveorgans.

CATHERINEThe news gets better and better.

LAURENI'm sorry.

CATHERINENot yours or anyone's fault. Any

ideas yet about different agegroups and how it affects them?

LAURENNot yet. The samples are coming,but we need probably another weekbefore we have 80 percent in.

CATHERINEWe have to get an exact picturewhat we are dealing with, as soonas possible. Even partial interimassessment would help.

LAURENOK, I'll update the resultsfrequently.

CATHERINEI have to tell Toshi, too. Thecode and its origin is arestricted information.


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INT. ZEIRA CENTER, LAUREN'S LAB -- TWO DAYS LATER

JOHN stands near Lauren's desk, reading a book. Laurenfeeds John's genetic markers sheet into a scanner and thenruns a comparison routine. She suddenly looks at John. Johnnotices by the corner of his eye.

LAURENJohn, I have to see Catherine. Canyou wait here, I'll be backsoon... fifteen, twenty minutes?

JOHNSomething's wrong.

LAURENNo. I just forgotten... a meeting.

JOHNSure.

Lauren leaves the lab in a hurry. John goes over toLauren's desk and looks at the monitor. Then he goes backto his previous spot and returns to reading the book.


LAUREN and CATHERINE sit at a conference table beside eachother. Lauren seems a bit out of her usual composure.

LAURENAllison has a gene that gives herdescendants fifty-fifty chances to

be free of it.

CATHERINEYes, I understood that from youryesterday's report.

LAURENJohn has two of them.

CATHERINEWhat... You mean--

LAURENHe is not infected at all!

Catherine turns to Lauren with a big smile.

CATHERINEThat explains EVERYTHING!

Documents

The Connors Chronicles: F05E03 - So Long And Thanks For All The Sheep