THE CONNOR WARS

"Allison Wonderland"

EXTRA #4

Written by
CJ Carter

This document is fan-produced fiction based on the television series, Terminator—The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle.

In that spirit, and holding to the long tradition of free support and promotion that fanfic brings to a fictional "universe", this story is being made available for entertainment purposes of the loyal fans of the show for as long as the powers that be don't object.

Originally published: January 2, 2011

ACT ONE

FADE IN:

EXT. SAN LUIS OBISPO - EVIDENCE OF EVOLUTION ARTWORK - NIGHT

Evidence of Evolution stands at the corner of a palm-lined street. Behind it are two-story apartments. TENDRILS of ELECTRICITY appear around the wheel and axle of the sculpture. The tendrils increase in number and intensity.

AN ENERGY BUBBLE appears on the pedestal and quickly grows--obliterating the sculpture--to a size suitable for containing a time-traveler. The grass lining the bubble burns.

The BUBBLE dissipates, revealing a naked ALLISON YOUNG (or is it Cameron), kneeling on one knee. She leans forward and tosses her cookies. It is in fact ALLISON YOUNG (44)--her left side, from foot to neck, including her arm, is scarred from long-healed 2nd and 3rd degree burns (not too gross). The little finger of her left hand long since shot off. She spits out the last of the vomit.

ALLISON

Great.

Allison stands, smirks and rolls her eyes at her nudity, and runs across the empty multi-lane street to the nearby deserted shopping center.

EXT. S.L.O. GAS STATION - NIGHT

The area around the pumps is deserted and well-lit. There is just one car getting gassed up.

A guy wearing a RED-SHIRT puts the gas nozzle back on the pump.

Red-shirt walks to the Mini-Mart.

INT. RED-SHIRT CAR - NIGHT

Red-shirt drives down an empty street. He eats a chili-dog.

A mass of chili slips off the dog and PLOPS onto his lap.

RED-SHIRT

Oh...son of a...

He takes another bite of the dog before setting it on the passenger seat.

EXT. STRIP MALL PARKING LOT - NIGHT

Red-shirt's car pulls into an empty parking lot.

INT. RED-SHIRT CAR - NIGHT

Red-shirt grabs the wad of chili from his lap and shovels it into his mouth. He looks at movement in his rear-view mirror.

ALLISON sits up from the back seat--she's clothed now--and CONKS Red-shirt behind the neck with a brick or rock. Red-shirt is out.

EXT. STRIP MALL PARKING LOT - NIGHT

Allison replaces the real license plate.

INT. RED-SHIRT CAR - NIGHT

Allison sits in the driver's seat and starts the car. She sniffs the air.

She picks up the rest of the chili-dog and gives it a sniff. She scrunches her nose.

ALLISON

Not that hungry.

EXT. STRIP MALL PARKING LOT - NIGHT

As the car drives off, the chili-dog is tossed out the window...landing with extreme stainability on Red-shirt.

EXT. DESERT - DAY

A dust-covered off-road SUV sits in the middle of a rock outcrop. No road in site. SARAH CONNOR (35) sits on the SUV's rear gate; her shirt is off and her back is to JAMES ELLISON who's stitching up a long cut on Sarah's back.

ELLISON

You know, one of these days Kaliba isn't going to miss.

SARAH

They aren't going to kill me.

ELLISON

You don't know that.

SARAH

Yeah. I do.

Ellison snips the thread.

ELLISON

Done. I suppose you want to go back?

Sarah's shirt is back on.

SARAH

I thought about it.

ELLISON

But.

SARAH

Thanksgiving is almost here.

Ellison stows the medic kit. Sarah walks to the driver's side.

ELLISON

You surprise me.

SARAH

It's quiet in L.A. for now. No reason not to let Savannah enjoy it.

ELLISON

I guess not.

Sarah gets in the SUV. Ellison closes the gate.

EXT. MULHOLLAND DRIVE - DAY

Allison looks down at greater Los Angeles.

ALLISON

It's different.

Allison turns back to the car.

INT. GUN SHOP - DAY

Allison walks into the stereotypical Terminator gun shop. The MANAGER tends to a customer looking at a pump-action shotgun.

MANAGER

Miss?

Allison turns to face the Manager

MANAGER (cont'd)

It'll just be a few minutes. Feel free to-- to look around.

ALLISON

Thanks.

Allison returns to her looking.

INT. UNDER COUNTER - DAY

Manager trips two silent alarm switches.

INT. GUN SHOP - LATER

Manager hands receipt to Customer.

MANAGER

There you go. You can pick it up in ten days.

Customer leaves.

MANAGER (cont'd)

So, Miss, how can I help you?

Allison flashes a grin.

ALLISON

I want to buy my husband a Christmas present. He likes guns.

MANAGER

Well, you've come to the right place. Do you have an idea of what you want?

Allison smiles.

EXT. GUN SHOP - DAY

A POLICE CRUISER parks near the shop entrance.

INT. GUN SHOP - DAY

A bolt-action rifle rests on the counter. Allison holds a Glock handgun, the slide pulled back. She releases it and it springs into place.

ALLISON

That is so smooth.

MANAGER

It's a nice weapon. I'm surprised your husband doesn't have one.

ALLISON

Oh, he does. This one's for me.

Two uniformed POLICE OFFICERS enter the store, trying to look casual.

MANAGER

You know what? I've got something new that I think you'll really like.

Manager holds out his hand, Allison hands back the gun.

Manager steps back from the counter as the POLICE OFFICERS pull their guns and both aim at Allison.

POLICE OFFICER #1

Step away from the counter.

From the back of the store, two more POLICE OFFICERS step into view.

Allison assesses her situation, a smirk on her face as she STARES at the Manager and takes a step back from the counter.

POLICE OFFICER #1 (cont'd)

Put your hands on your head.

Allison pauses.

POLICE OFFICER #1 (cont'd)

DO IT!!!

Manager has moved out of harm's way--but not Allison's stare.

INT. ZEIRA SUB-BASEMENT - DAY

The large concrete-walled area has a pleather couch, old coffee table, motorcycles, a small armory, and other tools of terrorism.

Sarah and Ellison get out of the dusty SUV to see the suited AGENT ALDRIDGE waiting impatiently for their return.

SARAH

What's wrong?

ALDRIDGE

Come with me. You have to see this.

Aldridge leads Sarah and Ellison toward the elevators.

INT. SERVER ROOM - DAY

The John Henry server fills the room. There are chairs, a table, and several projected images. Aldridge leads the way in followed by Sarah and Ellison. Aldridge quickly scans the screens. One has a plastically handsome thirty-something NEWSCASTER.

ALDRIDGE

John Henry, please unmute two.

NEWSCASTER

...[con]dition of two of the officers has been upgraded to serious. Excuse me, we seem to have fixed our technical difficulties. Can you hear me, Holly?

On screen is HOLLY (24), holding a microphone. Manager stands behind and to the side. In b.g. is a crowd and some police tape.

HOLLY

Yes I can. I'm here with the Manager of--

EXT. GUN SHOP - DAY

HOLLY

--TIC-TOK Guns and Ammo who called in police when he recognized the suspect.

Holly turns to Manager and puts the mic in front of his face.

MANAGER

That's right. I remembered seeing her in that footage from the bank robbery they played a few months back? The one with...uh, Susan Connor or something?

HOLLY

You recognized the young woman?

INSERT bank camera footage of CAMERON holding a gun on a Bank Teller from S0101.

MANAGER (V.O.)

Yeah. She was a pretty thing, hard not to notice.

HOLLY (V.O.)

What happened when the police arrived?

BACK TO SCENE

MANAGER

I never saw nothing like it. She--

INT. SERVER ROOM - DAY

SARAH

Was that right?

ALDRIDGE

John Henry, bring up the jail camera.

On a different screen comes the view of a dingy interrogation room. There are two FBI GUARDS. Allison sits at the table, handcuffed and manacled.

ELLISON

Son of a bitch.

SARAH

That's not Cameron.

ALDRIDGE

How can you tell?

SARAH

She's a robot. She doesn't grow old. That woman there looks older than me.

ELLISON

If she isn't--

SARAH

Wait. Freeze on her left arm and zoom.

The picture shifts. Even with the burn scars, the lingering smeared bar code on Allison's left arm is clearly visible.

SARAH (cont'd)

She's from the future.

ALDRIDGE

What?

SARAH

We have to get her out.

On screen, the interrogation room door opens.

ALDRIDGE

Uh-oh.

A suited man enters: AGENT BROWN. The two FBI Guards exit.

ALDRIDGE (cont'd)

That's Brown. He's called in for--

Brown pulls out a device from his pocket and presses a button. The screen goes to static.

ALDRIDGE (cont'd)

--special interrogations.

SARAH

Torture.

ALDRIDGE

(shrugs)

Hard to say. All I know is that it's off-book and he gets results.

SARAH

We have to get her out of there.

ELLISON

How?

No one has an immediate answer.

INT. INTERROGATION ROOM - DAY

Allison sits relaxed despite the restraints. Brown stands behind her.

AGENT BROWN

You've seen action. Looking at your arm, I'm guessing that you're one tough customer. Honestly, I don't care about that. Rambo couldn't exist after the Patriot Act. Neither will you.

Brown walks around to face Allison.

AGENT BROWN (cont'd)

Allison Young.

Allison subtly reacts.

AGENT BROWN (cont'd)

The funny thing isn't that you don't exist but that you are everywhere. We got you at the half-way house two years ago as a sixteen-year-old, at the bank robbery ten years ago, again as a sixteen year old, and you were born last year in Palmdale. See, I don't care about whether or not you committed any crimes, I want to know why you are three other people. Until I find out, you and I are going to be seeing a lot of each other.

Allison smirks.

INT. INTERROGATION ROOM (UNDER TABLE) - DAY

Allison slips her hand out of the handcuffs.

END OF ACT ONE

ACT TWO

EXT. DETENTION CENTER PARKING LOT- DAY

ALDRIDGE'S CAR pulls into a parking space in the shadow of the large, multi-story facility that looks very much like a government complex...but with palm trees.

INT. ALDRIDGE'S CAR - DAY

Aldridge stops the car and unbuckles his seatbelt.

ALDRIDGE

I still don't think you coming was a good idea.

Aldridge turns to the back seat where Sarah is hunkered down in the wells.

SARAH

Not your call.

Aldridge shakes his head. A few AGENTS rush toward the building, weapons out.

ALDRIDGE

Wait. Something's going on.

Sarah starts to rise.

ALDRIDGE (cont'd)

Stay down. I'll check it out.

SARAH

Keep the mic open.

Aldridge pulls out his phone and presses a button.

ALDRIDGE

I'll keep in touch.

Aldridge exits the car.

EXT. DETENTION CENTER - DAY

Aldridge quickly catches up with AGENT SZILARI who has stationed herself at a building corner in sight of a side entrance.

ALDRIDGE

Joyce, what's going on?

AGENT SZILARI

Escape.

Aldridge pulls out his sidearm.

INT. INTERROGATION ROOM - DAY

The handcuffs and manacles lay on the floor...as does the unmoving Agent Brown, his face a bloody mess. The door is open.

AGENT SZILARI (V.O.)

The bank robbery suspect we caught this morning.

INT. ALDRIDGE'S CAR - DAY

Sarah sits low, scanning outside.

AGENT SZILARI (COMM)

She's a capture if possible.

INT. DETENTION CENTER OFFICE - DAY

The empty room holds no furniture, just a dried up potted plant in a corner. Allison, with a semi-auto pistol, stands at the window.

ALLISON'S POV

AGENTS on the ground supervising the evacuation of EMPLOYEES.

The SNIPER on the roof.

The TACTICAL SQUAD going through the front entrance.

EXT. DETENTION CENTER PARKING LOT- DAY

Sarah crouches next to Aldridge's car, assessing the situation. As she looks up at the offices, she sees:

SARAH'S POV

Allison looking out the window.

BACK TO SCENE

Sarah follows Allison gaze to also see the Tactical Squad entering the building.

INT. DETENTION CENTER HALLWAY - DAY

An ARMED AGENT carrying a handgun quickly goes down the hall making sure offices are clear.

INT. DETENTION CENTER OFFICE - DAY

Armed Agent steps into the empty office and gets coldcocked by Allison with the potted plant. The Agent drops like a rock.

Allison takes the Agent's gun and his jacket. She puts on the too big suit jacket, stuffs the gun in one pocket, and something small that she'd been carrying in her palm into the other pocket. Allison quickly scans the hallway and runs out.

EXT. DETENTION CENTER PARKING LOT - DAY

Aldridge returns and sees Sarah outside the car.

ALDRIDGE

Sarah.

They both get into the car.

INT. ALDRIDGE'S CAR - DAY

Aldridge in the driver's seat, Sarah in the back.

SARAH

I saw her. An office in the north wing.

ALDRIDGE

She's not getting out. I can't think of how we could help her without putting us at risk. Do you?

Sarah ducks to avoid being seen.

SARAH

Not at the moment.

ALDRIDGE

Stay down.

Aldridge pulls out his phone and pretends to use it.

EXT. DETENTION CENTER - ROOF - DAY

A SNIPER lies on the roof of a wing of the detention center with a clear view...

INSERT SCOPE VIEW

...of the front of the building.

BLACK SCREEN

BACK TO SCENE

The Sniper is now unconscious. Allison leans over behind him.

Allison relieves the Sniper of his M110 SASS sniper rifle bedecked with targeting doo-dads.

ALLISON

Ooh, nice. John would've loved you.

Allison steps away, out of ground view, and runs across the roof.

INT. ALDRIDGE'S CAR - DAY

Aldridge still on the phone, Sarah still hiding.

ALDRIDGE

I hope you had a good breakfast. Looks like we're going to be waiting a--

A LOUD EXPLOSION.

EXT. DETENTION CENTER - DAY

Black smoke rises from the far end of the detention center where a pair of doors have been blown out.

AN EXPLOSION sends more debris flying as the opening widens.

INT. ALDRIDGE'S CAR - DAY

Sarah cautiously pokes her head up to see the commotion...

SARAH'S POV

...And PEOPLE running to and away from its source.

BACK TO SCENE

Sarah sees something out of the corner of her eye and turns.

SARAH'S POV

Allison, wearing a jacket and cradling a sniper rifle briefly runs in full view before being hidden by landscaping.

BACK TO SCENE

SARAH

Now's our chance. She's heading that way.

ALDRIDGE

Got it. Get down.

Aldridge grabs his radio mic and starts the car. He talks as he pulls out of the parking spot and speeds out of the parking lot.

ALDRIDGE (cont'd)

(on radio)

This is Agent Aldridge. Suspect seen escaping L.A.F.D.C. on foot heading east. Overalls. In pursuit through gate 2.

EXT. DETENTION CENTER PARKING LOT - DAY

Aldridge's car goes through the parking lot gate, scattering the GUARDS, and heading off in a direction not in any way resembling where Allison was headed.

INT. ALDRIDGE'S CAR - DAY

ALDRIDGE

(on radio)

Aldridge. Sorry for the gate.

Sarah sits up.

SARAH

I need to get back to Zeira.

ALDRIDGE

You can get out at the intersection. I'll start doing a sweep so they don't get suspicious. Think she got away?

SARAH

Yeah. I wonder how we're going to find her again. Or where.

The car pulls up at a traffic light. Sarah exits.

EXT. FIRST CONNOR HOUSE - NIGHT

The house is still fire-damaged. Condemned notices on windows and doors.

INT. FIRST CONNOR HOUSE - LIVING ROOM - NIGHT

Four freshly DEAD BODIES are stacked against a graffiti- covered wall along with bags and bricks of drugs.

Allison has a selection of pistols, rifles, assault weapons, and shotguns arranged on the floor to join her M110. Also on the floor is just under $100,000 cash. In the adjoining room are scales and other drug-trafficking supplies.

INT. FIRST CONNOR HOUSE - SARAH'S BEDROOM - NIGHT

Allison wanders in. She scans the room. Her eyes fix on a bump under the rug.

Allison pulls up the rug, revealing one of Sarah's safes. Allison dials in a combination and the safe opens.

Allison pulls out a Glock, two boxes of ammunition, a small manila envelope with a key plus a coded note, and a cloth bag holding five diamonds. She rolls her eyes and calls out to the other room:

ALLISON

You should be happy I killed you.

(turning back)

You're too stupid to live.

Allison puts the loot in her pockets.

INT. ZEIRA SUB-BASEMENT - NIGHT

Sarah lies on the battered pleather couch, her arm covering her eyes.

Ellison quietly walks up, thinks Sarah's asleep.

SARAH

Well?

ELLISON

She's totally off grid.

Sarah sits up.

SARAH

How can a woman carrying a sniper rifle just disappear in broad daylight?

ELLISON

YOU are seriously asking that?

Sarah surrenders a smirk.

SARAH

Yeah, good point.

ELLISON

If she's from the future, she probably knows where to find us.

SARAH

That's not the point.

ELLISON

What is?

SARAH

We don't know WHY she's here. We have to know.

(beat)

But it'll wait until morning. You should get some sleep. You look like hell.

ELLISON

Have you eaten?

Sarah stares in reply.

ELLISON (cont'd)

Well?

SARAH

Cafeteria is closed.

Now Ellison stares.

SARAH (cont'd)

Fine. I'll raid the kitchen.

ELLISON

Let's go.

Sarah pauses a bit before submitting to Ellison's nag and standing up.

INT. WI-FI'D IT - DAY

The wi-fi bar from S0109 isn't what it used to be. It's a bit more "hipster". It's populated by PATRONS on laptops and other computer devices at scattered tables. In a corner someone plays with a robot. Geek-oriented posters and nihilist art are on the walls.

Allison enters and quickly scans the room. She sees the way to the office area and heads straight for it.

The COUNTERPERSON rushes out...

COUNTERPERSON

Hey, you have to pay first.

...and grabs her by the arm.

COUNTERPERSON (cont'd)

You have to--

Allison flashes the patented I'm-Allison-and-I'm-about-to-kill-you look.

Counterperson backs off. Allison heads to the offices as Patrons don't pay much attention.

INT. WI-FI'D IT OFFICES - DAY

Allison looks at the unpainted cinderblock repair from Cameron's previous destruction.

ADMINISTRATOR (O.S.)

Hello?

Through the open office door, the techy Administrator steps out.

ADMINISTRATOR (cont'd)

Can I help you with something?

Allison flashes a smile.

ALLISON

Yeah. I'm looking for the owner? Sark-- Sar--

ADMINISTRATOR

Sarkissian. Yeah, I know who you mean. He hasn't been around for about two years.

Allison's smile fades.

ALLISON

Oh. I didn't know that.

Awkward. It doesn't stop Allison from reaching for the gun tucked in her waistband at the small of her back.

END OF ACT TWO

ACT THREE

INT. SERVER ROOM - DAY

Aldridge casually paces as Sarah enters.

SARAH

What's up?

JOHN HENRY (COMM)

Hello, Ms Connor. How are you, today?

SARAH

Fine.

(to Aldridge)

You find something?

ALDRIDGE

John Henry?

JOHN HENRY (COMM)

I have been attempting to track Allison Young since her escape from the Los Angeles Federal Detention Center.

SARAH

And?

JOHN HENRY (COMM)

It appears that she is following the trail of Margos Sarkissian from the days prior to his death.

SARAH

That doesn't make any sense.

ALDRIDGE

Just listen.

JOHN HENRY (COMM)

It seems reasonable to conclude that she is trying to find people connected to the events surrounding Sarkissian's death.

SARAH

I'm the only one still here. Oh, and Alex.

JOHN HENRY (COMM)

No. Not just you two. According to your report, Sarkissian's daughter was also--

SARAH

That's it. That's gotta be it.

JOHN HENRY (COMM)

Also, there was an attempted incursion at Serrano detected by Automite.

ALDRIDGE

The girl?

JOHN HENRY (COMM)

I don't think so. It felt like my brother.

SARAH

Kaliba. We need to focus on that, first.

ALDRIDGE

What about the girl?

SARAH

Call Alex.

Aldridge pulls out his phone.

EXT. ELEMENTARY SCHOOL - DAY

TELESCOPIC RIFLE SCOPE VIEW

Through the window of a classroom, the crosshairs are aligned on the head of BRANDI SUMMERTON (10) (from S0109). Brandi turns around and starts talking to someone behind her. She quickly turns back, as if caught by the teacher.

INTERCUT WITH CLOSE-UP OF ALLISON'S FINGER ON TRIGGER

Allison's finger wraps gently around the trigger.

Brandi stands. Her head is re-centered in the crosshairs.

Allison's finger presses against the trigger.

Brandi stands very still.

Allison presses the trigger all the way. THE QUIET CLICK of an unloaded rifle.

Brandi is oblivious to the drama.

BACK TO SCENE

Allison back off from the sniper stance.

ALLISON

Not today, Brandi. Not today.

Allison stands, grabs the rifle, and heads through some wild brush overlooking the school toward a mountain trail.

INT. LOS ANGELES FBI HQ OFFICE - DAY

DEPUTY DIRECTOR SIMPSON sits behind a desk in a borrowed office. Opposide him is Agent Aldridge.

ALDRIDGE

All I can figure is that she had someone waiting for her. There's no way she disappears that fast.

SIMPSON

You called in that she was headed east.

ALDRIDGE

That's what it looked like. The landscaping blocked my view. Did the lab find anything?

SIMPSON

No. There were two blind spots in that area.

ALDRIDGE

I just find it hard to believe she could do this much damage. She had to be working with someone.

SIMPSON

Sarah Connor's still on the loose.

ALDRIDGE

True.

SIMPSON

We put out a BOLO. You interviewed her.

ALDRIDGE

Just before she escaped.

SIMPSON

I want you to do a parallel investigation. Get in her head.

ALDRIDGE

That's quite a challenge.

Simpson stands.

SIMPSON

Probably nothing will come of it, but I don't want to waste a resource.

ALDRIDGE

I understand. I'll do my best not to let you down.

They shake hands.

INT. ELLISON'S OFFICE - NIGHT

The office is efficient. A wooden desk, bookshelves, credenza, couch, small meeting table, and a mini-fridge.

SAVANNAH WEAVER (7) is on the floor making Thanksgiving hand-turkeys--coloring them and cutting them out.

Sarah sits on the couch, lost in thought.

Ellison steps across the threshold but doesn't go farther into the room.

ELLISON

You got a minute?

Savannah holds up some finished turkeys.

SAVANNAH

Do you like them?

Ellison has trouble breaking his serious mood.

ELLISON

Those are wonderful turkeys.

SARAH

I'll be right outside. OK?

SAVANNAH

OK, Aunt Sarah.

Ellison leads Sarah out.

EXT. HALL OUTSIDE ELLISON'S OFFICE - NIGHT

Sarah and Ellison stand a few paces away from the door and speak quietly.

ELLISON

John Henry found a data trail indicating Kaliba tried to disable security on the south perimeter of Serrano.

SARAH

What's there?

ELLISON

Spent fuel rods in a holding tank. Other radioactive waste.

SARAH

So we're thinking theft.

ELLISON

It's possible. John Henry thinks sabotage at a pumping station.

Sarah thinks.

ELLISON (cont'd)

What?

SARAH

They're trying to discredit Automite. If we lose the contract and Kaliba gets it--

ELLISON

--Skynet gets Serrano.

SARAH

No fighting, just a stroke of a pen.

ELLISON

You got to give Weaver credit. Her security worked.

SARAH

What if we made sure there was a flaw?

ELLISON

A flaw?

SARAH

Every trap needs some bait.

Ellison happily smirks.

SAVANNAH (O.S.)

Aunt Sarah?

SARAH

(to Savannah)

Coming!

(to Ellison)

We'll talk about it tomorrow.

Sarah goes back into the office.

SARAH (cont'd)

I'm here.

Ellison shakes his head and exits down the hall.

INT. GROCERY STORE - DAY

Standing at the CASHIER of the chain grocery store, NANCY MURCH (27), a special needs adult, puts her change into a coat pocket and gathers up two cloth bags of groceries.

CASHIER

You got everything?

NANCY

Looks like it.

CASHIER

See you Friday?

NANCY

Probably. Bye.

CASHIER

Bye. Have a nice day.

Nancy walks off.

NANCY

Thank you.

And exits the store.

EXT. PALMDALE SIDEWALK - DAY

There aren't many people walking and traffic is light. Nancy walks unhurried.

Allison waits by the far side of the building. After Nancy walks past the other end of the building, Allison starts following. Quickly.

EXT. PALMDALE SIDEWALK - DAY

Nancy walks down the sidewalk with her groceries.

ALLISON (O.S.)

Miss!

Allison jogs up to Nancy.

ALLISON (cont'd)

Miss. Excuse me, I think you dropped this.

Nancy stops. Allison hands her some paper money.

ALLISON (cont'd)

I didn't want you wondering if you'd lost it.

NANCY

Thank you.

Puts down her bags and accepts the money.

NANCY (cont'd)

I have to go.

ALLISON

OK. Do you mind if I walk with you?

Nancy shrugs.

ALLISON (cont'd)

I'm Alice.

NANCY

Nancy.

Allison can't help looking at Nancy with some longing.

ALLISON

I guess you must live close-by, since you're walking.

NANCY

Sort of. I don't know how to drive.

ALLISON

Oh. That sucks.

NANCY

How did you get hurt?

Nancy looks at Allison's scars.

ALLISON

War.

NANCY

Does it hurt?

ALLISON

Sometimes. Better that than if I'd lost.

NANCY

Yeah. I guess so.

ALLISON

So, what do you do, if I may ask?

Allison turns a corner toward Nancy's house before Nancy does. It goes unnoticed.

NANCY

I work with animals, at Doctor Hawkins; especially the dogs. And I help Mrs. Young when she gives music lessons.

ALLISON

You do? How?

NANCY

I play the piano.

ALLISON

Are you any good?

Nancy smiles shyly and nods.

NANCY

I enjoy it.

(beat)

And I get to play with Allison. She's Mrs. Young's baby.

ALLISON

So, you're like her big sister.

Nancy smiles and shrugs.

ALLISON (cont'd)

I think it's important for everyone to have a big brother or sister--or someone like that. Don't you?

NANCY

I have a brother. What about you?

ALLISON

No. But there was a woman--she was like a big sister. She raised me; looked out for me. I don't know what I'd have done without-- without her. I think Allison is lucky to have you.

NANCY

I'm home.

Nancy puts down a bag and takes out the money Allison had given her.

NANCY (cont'd)

This isn't mine. I know how much money I had. I'm not stupid.

ALLISON

You're honest. Tell you what: why don't you buy Allison a doll or something? Tell her its from her big sister and you'll always look out for her.

(beat)

Please. It's important. To me. It's important.

Allison eyes glisten--Nancy notices.

NANCY

Are you OK?

Allison shakes her head--tears flow. She hugs Nancy, who is both surprised and compassionate.

Eventually, Allison breaks the embrace, but the tears don't stop.

ALLISON

I'm sorry. I don't usually...

She gives Nancy another real quick hug. As they part, Allison gives Nancy a quick peck on the cheek. Allison walks off quickly.

Nancy stands dumbfounded. She watches Allison until Allison disappears from view. Nancy puts the money back in her pocket, picks up her bag, and goes to her house.

EXT. SIDE STREET, PALMDALE - DAY

Allison almost has regained her composure.

ALLISON

Damn it, Ali, get a grip.

Allison stops and looks back whence she came. It's calming.

Turning back, Allison takes a cleansing breath and strides over to an SUV.

INT. ZEIRA CONFERENCE ROOM - DAY

Savannah carefully puts place settings for six. One setting is immaculate--Savannah uses that for reference.

Sarah pokes her head in the door.

SARAH

Everything OK?

Savannah happily nods.

SARAH (cont'd)

OK. I'm just going to check on Uncle James.

SAVANNAH

OK.

Savannah turns back to the settings, Sarah exits.

INT. CAFETERIA KITCHEN - DAY

The shiny, industrial kitchen is very much in the process of making a Thanksgiving meal, but it's very organized with a minimum of mess. Ellison chefs about as Sarah enters.

SARAH

Smells good.

ELLISON

Family recipes.

SARAH

There's a report of a break-in at the Marine base in Barstow.

ELLISON

Think Kaliba is taking the bait?

SARAH

I don't think so. I think it's our time traveler. I'll ask Alex to check it out after we eat.

Ellison extends a spoon holding some veggies.

ELLISON

What do you think?

Sarah tastes.

SARAH

Mmm. Could use some salt.

ELLISON

You always think it could use some salt.

SARAH

You don't use enough.

ELLISON

I use just the right amount. You can add some at the table if you need to.

A timer BEEPS.

SARAH

I better check on Savannah.

Sarah exits as Ellison checks one of the ovens.

EXT. MOUNT LINCOLN - DAY

Patchy snow marks the landscape on this range NE of Lake Tahoe. Allison has dug a pit almost two meters deep into a ridge about thirty meters below the summit. She's dusty and cold despite the ski-jacket she wears.

From the SUV, Allison retrieves laptop-sized bricks of "explosive" and carefully adds them to the growing stack in her pit.

Back and forth she goes.

END OF ACT THREE

ACT FOUR

INT. ZEIRA CONFERENCE ROOM - DAY

Sitting around the table are Sarah, Ellison, ALEJANDRA "ALEX" CRUZ (21), Aldridge, and Savannah. No one sits at the head or foot of the table. The feast includes: turkey, dressing, yams, collards, mashed potatoes, bread, latkes, cranberry sauce, green beans, gravy. Plates are filled and people are eating.

ALEJANDRA

You did this all yourself?

ELLISON

It was either that or let Sarah cook.

LAUGHTER, and only brief indignation from Sarah before she also joins in.

ELLISON (cont'd)

And I made sure everything was kosher.

ALDRIDGE

That really wasn't necessary, but I appreciate it.

ELLISON

It wasn't any more trouble.

SAVANNAH

What's for dessert?

Some adult smiles at that. Ellison leans in.

ELLISON

That's a surprise for after we all finish. I promise you'll like it.

Savannah smiles.

EXT. MOUNT LINCOLN - DAY

Allison packs large rocks and small boulders back into the entrance of her pit.

A cable extends out and to the side of the entrance; it's attached to a "black box".

Allison stops. She breathes heavily as she leans against an outcrop.

ALLISON

It would have been so much easier to kill you at the school.

She pulls out a bottle of water from inside her jacket and takes a long drink.

INT. CAFETERIA KITCHEN - AFTERNOON

Sarah and Alejandra carry in dirty dishes.

SARAH

...so, if you could try to pick up her trail after we're done here?

ALEJANDRA

Of course.

SARAH

I need to know that she's not working against us.

In through the door comes Aldridge, with the rest of the dirty dishes, and Savannah and Ellison with some of the food platters.

ALDRIDGE

I'm just saying that it's tradition.

SARAH

What's going on?

ELLISON

He wants to watch football.

SARAH

Football.

ALDRIDGE

It's not Thanksgiving until the Lions lose.

ELLISON

You do realize the game's already over, right?

ALEJANDRA

Packers, Cowboys, and Broncos.

ALDRIDGE

No way. New York's offense is--

ALEJANDRA

Two hundred.

That stops Aldridge for a moment. He chuckles.

ALDRIDGE

You're on.

ELLISON

Wasn't that fun? Can we have dessert, now?

Adult eyes glance at Savannah, who's trying hard not to look like a hungry puppy.

INT. DENNY'S - AFTERNOON

A PLATE O' THANKSGIVING is deposited on a table.

In the all-too-cliche Denny's dining area sit PETE and GEORGE, both over-dressed in suits and in late 20s. The rest of the DINERS are much more casual. A couple of KIDS (4-5) run amok between the tables.

GEORGE

Just like Dad used to make.

Pete smirks mockingly.

GEORGE (cont'd)

I'm serious. Almost every year. Denny's, or some place like it.

PETE

What? You want a hug?

GEORGE

Just saying.

Pete takes his first bite. It doesn't meet his standards but he keeps eating. George seems to really like the fare.

Stepping up to the table is JONAS (40), dressed in jeans and a light jacket.

JONAS

Sorry I'm late. I-- On second thought, I think I'll just grab something later.

GEORGE

What? It's good.

Jonas sits at the table.

JONAS

First, let me commend you both on blending in.

PETE

His idea.

GEORGE

Oh come on. Like you never dressed for Thanksgiving.

PETE

It's Denny's.

GEORGE

So?

JONAS

Whatever.

Jonas takes a UFD from his pocket and puts it on the table near Pete.

JONAS (cont'd)

Automite uploaded a patch to their software yesterday. We found something we can probably exploit. Details are on the chip.

PETE

Everything?

JONAS

Everything. All the equipment will be in place at the time listed.

George happily takes a big bite of dressing. Jonas cringes.

JONAS (cont'd)

I got to leave or else I'm going to lose my appetite completely.

(stands)

Get it done.

Jonas exits. A WAITRESS walks up and deposits two obscenely large slices of pumpkin pie with whipped cream. She also refills their cups of coffee.

WAITRESS

Two doubles. Anything else?

George's mouth is full; he shakes his head.

PETE

No. Thank you.

WAITRESS

You let me know.

Waitress exits. George nods to Pete's plate. Pete pushes his dinner to George, replacing it with the pie.

EXT. STORAGE FACILITY - NIGHT

Allison puts more explosive bricks into the back of the nearly-full SUV. She's tired. She pauses. She steps away and turns...

...and is startled by Alejandra standing less than two meters away--relaxed, with a pistol in her hand.

END OF ACT FOUR

ACT FIVE

EXT. STORAGE FACILITY - NIGHT

Alejandra--relaxed, with a pistol in her hand--stands less than two meters away from Allison

Allison doesn't recognize her at first, but then:

ALLISON

Sandy?

Alejandra is momentarily surprised but stays cool.

ALLISON (cont'd)

I'm sorry. You don't know me, but we've known each other for about thirty years.

Alejandra is an expert at being cool.

ALLISON (cont'd)

I'm Allison Young. We both fight for John and Cameron. I'm the one Cameron was copied from...well, not me, a different me. I'm not here to cause problems. If I was...

Allison slowly raises her hand--the hand holding the detonator.

Alejandra lets out a small smile. She tucks away her gun.

ALEJANDRA

Why are you here?

ALLISON

To kill someone in the future.

ALEJANDRA

A trap.

ALLISON

For my time.

ALEJANDRA

That's all?

Allison considers.

ALLISON

No. There's more. In fact, it's something that you can do. I know I can trust you. You've proven that enough over the years. But first--I could use some help moving the rest of this stuff.

With a shrug, Alejandra joins Allison in entering the storage building.

INT. ALLISON'S SUV - DAY

Allison drives down the interstate, Alejandra is a passenger.

ALLISON

I'm going to tell you things that are just for you to know. Not Sarah.

Alejandra nods.

ALLISON (cont'd)

We're the two humans John trusts most. That Cameron trusts most. They depend on us. Without us we don't win the war...

Allison lifts her damaged arm.

ALLISON (cont'd)

And we only just barely win. You know Savannah Weaver?

Alejandra nods.

ALLISON (cont'd)

Keep looking out for her. After her mother, I don't think she loves anyone more than her Aunt Sandy. She'll become president one day.

Allison pulls off the highway.

EXT. FREMONT PEAK - NIGHT

Alejandra carries explosive bricks from the SUV over to where Allison has dug another pit near an overhang.

ALLISON

There are some things I'll need you to make sure Sarah does. Critical supplies for the future. I've-- I've left you a list

(staggers)

At Sarah's old house.

Allison falls to the ground--faint but not unconscious. Alejandra puts the brick on the ground (gently) and rushes over to Allison. Allison tries to be tough, but she's clearly sick and thankful for the help. With an smirk:

ALLISON (cont'd)

We all die for John Connor.

With Alejandra's help, Allison regains her feet.

ALLISON (cont'd)

But not today. Come on, let's finish this up.

Alejandra goes back to retrieve the explosive.

INT. ZEIRA SUB-BASEMENT - DAY

Sarah and Ellison stand. Sarah paces. Ellison slakes his drowsiness with coffee.

A DING precedes elevator doors opening. Aldridge walks out, rushed. He's dressed casually, not in a suit (for once).

ALDRIDGE

Sorry. Just waiting for John Henry.

SARAH

You have it?

Aldridge pulls out his phone.

ALDRIDGE

Got it.

SARAH

Let's go. You're driving.

Aldridge is tossed the keys.

ELLISON

Good luck.

Aldridge and Sarah get in the SUV. It starts and drives out.

Ellison turns and goes to the elevator. When the elevator doors close, it's quiet.

...until Allison's SUV drives up.

Allison and Alejandra get out of the vehicle. Alejandra was driving.

ALLISON

I'll just be a few minutes.

Allison rushes to the elevator. Alejandra waits. Patiently.

INT. SUB-LEVEL 5 - DAY

Allison heads right to the vault.

Allison arrives at the vault and enters the well-practiced combination. She opens the door.

INT. VAULT - DAY

BLACK SCREEN

We look up at Allison as a tarp is lifted from our view.

BACK TO SCENE

The vault is moderately organized, but not nearly as filled with boxes, cabinets, and supplies as it will be.

Allison stands at a gurney that CAMERON's body rests on. With the tarp partially removed, some compact equipment is revealed at Cameron's side that is connected to her body via tubes and wires...but only a half-dozen or fewer in total.

Cameron is somewhat (about 50%) healed from the consequences of S0222. She now has a (barely) healed/closed eyelid over her left eye, but there is still a lot of endoskeleton showing on the left side of her face.

Allison looks at CAMERON and SIGHS.

ALLISON

Back where we'll meet.

(beat)

I've missed you.

Allison touches Cameron's exposed skull.

ALLISON (cont'd)

Anything for John.

Tears start leaking from Allison's eyes.

ALLISON (cont'd)

At least you'll see him again.

A TEAR

falls and lands on Cameron.

Allison throws the tarp back over the cyborg.

CAMERON'S POV

The tarp covers the view and we're again at a BLACK SCREEN.

BACK TO SCENE

Allison walks over to a box labeled "History". She pulls an envelope from her jacket.

INSERT ENVELOPE

On it is written "For Cameron: Read Immediately".

BACK TO SCENE

She raises the box's lid and tucks the envelope inside before closing the box.

Allison surveys the vault...remembering. She walks to the exit.

INT. SERVER ROOM - DAY

Allison steps in like a child into her parent's room. She sees her picture flash on John Henry's monitors.

ALLISON

Hello, John Henry. How are you, today?

JOHN HENRY (COMM)

I'm well. Thank you for asking.

ALLISON

John Henry, code kilt not trousers. The part of Cameron in you will add confirmation of my identity.

JOHN HENRY (COMM)

How can I help you, Miss Young?

Allison smiles.

ALLISON

We need to help John win a war. So I need you to store some information using Catherine's sixth encryption. It's to be stored in all backups.

JOHN HENRY (COMM)

That will not be a problem. What is the information?

Allison walks around the table and sits on it.

INT. SUB-LEVEL 5 - DAY

Allison quickly walks back to rejoin Alejandra at the SUV.

ALLISON

Let's go.

Alejandra gets in the driver's side, Allison the passenger.

The SUV drives out and exits.

EXT. MOUNTAIN NE OF SERRANO POINT - AFTERNOON

Allison and Alejandra stand behind cover at the tree line of the mountain overlooking the Serrano Point Nuclear Power Plant. They both have binoculars and...

INSERT BINOCULAR VIEW

...are scoping out the grounds at the south end of Serrano.

BACK TO SCENE

Allison whips around, pulling out her Glock and aims it at...

...Sarah Connor, who is also aiming a Glock at Allison. Aldridge stands nervously behind Sarah.

Allison's eyes widen just a little.

ALLISON

Sarah Connor.

With a little contriteness, Allison lowers her weapon. Soon after, so does Sarah.

SARAH

Why are you here?

Allison looks at Aldridge, then to Alejandra. Alejandra subtly nods and raises an eyebrow.

ALLISON

Privately.

As Allison walks off she plants her binoculars into Aldridge's gut, surprising him. Sarah follows after Allison.

ALDRIDGE

Thank you.

Aldridge steps up to join Alejandra. She holds out her hand. Aldridge reluctantly deposits $200 cash.

EXT. WOODS - AFTERNOON

Allison and Sarah walk in the mountain's tree line, staying out of easy view of the foothills.

ALLISON

I'm here to make sure Skynet loses.

Allison shows her scarred arm.

ALLISON (cont'd)

It does, by the way. I told Sandy what-- Alex what needs to be done.

SARAH

John?

Allison pauses.

ALLISON

I'm not going to tell you that. The less you know of most things the better it will be. I'll say that your John did travel to my time. And that's all I'm going to say about that to you.

SARAH

Wait, haven't you already changed the future by coming back?

ALLISON

No. Not every trip back changes future events. More importantly, I got a note from the past telling me that I did this. If I didn't come back, then the future might change.

(beat)

I just have one more thing to do--something that wasn't in my note but in the data.

SARAH

What's that?

ALLISON

Help you defeat Kaliba here and die doing it.

SARAH

What?

ALLISON

I'm already dead. There was an accident--here at Serrano, in fact. In one or two weeks I'll be dead anyway. At least this way they'll stop looking for that girl who held up a bank a few years ago.

(smirk)

Maybe even make her a hero.

SARAH

You know about Cameron.

Allison almost says something but stops short.

ALLISON

We should go back. There isn't much time left.

Allison goes back. Sarah is a bit confused and frustrated.

EXT. SERRANO MAIN GATE - NIGHT

Pete and George in a blue SUV, license 1PCE101 are at the gate that's manned by three GUARDS, all with M16/AR15 assault rifles slung to their chests. Pete and George, holding their IDs, have both been wanded. The SUV is being checked for contraband by two Guards.

The SUV Guards step from the SUV back to the guard house.

GUARD #1

Alright, gentlemen.

PETE

Clear to go?

GUARD #1

Clear to go.

As Guard back away and opens the barrier, Pete and George enter the SUV and drive onto the plant grounds.

END OF ACT FIVE

ACT SIX

EXT. SERRANO SOUTH FENCE - NIGHT

A section of ground lifts up a couple of centimeters before sliding a meter to the side. From the resulting hole emerge Allison, Sarah, and Alejandra. Sarah and Alejandra are in black, Allison wears a mid/dark gray. They all have assault rifles and sidearms.

SARAH

(hushed)

This was convenient.

ALLISON

(hushed)

Catherine installed it after Automite took control.

A PERIMETER GUARD comes within view but doesn't see them. As the Perimeter Guard comes closer, Allison shoots him with a stream of pellets from an air pistol. The stunned guard drops. Sarah rushes over and renders the guard unconscious.

ALLISON (cont'd)

(hushed)

Let's go.

Allison, Sarah, and Alejandra quickly and quietly head to the nuclear plant buildings that are nearly a hundred meters away.

EXT. MOUNTAIN NE OF SERRANO POINT - NIGHT

Aldridge lowers his night vision scope. He pulls out his phone and speed dials.

ALDRIDGE

This is Special Agent Aldridge. Terrorist alert for Serrano Nuclear Plant. Detain blue SUV, license 1PCE101. Consider armed and dangerous. Deadly force authorized. Code Alpha Tango Sierra Alpha. On site, Kansas Kansas.

Aldridge ends the call.

EXT. SERRANO OIL STORAGE - NIGHT

Allison, Sarah, and Alejandra have found cover in the oil storage area just as the plant goes on alert. Lights pop on. Guards and others run about.

ALEJANDRA

There.

Alejandra points.

SARAH'S POV

Pete and George are near the non-descript, 2-story RADWASTE Building that sits one taller building away from the even taller containment buildings farther back.

BACK TO SCENE

SARAH

Let's go.

Clinging to cover, Sarah leads Allison and Alejandra toward Pete and George.

EXT. RADWASTE BUILDING - NIGHT

Pete holds an AR-15 while George works on two bowling-ball-case-sized devices.

PETE

Will you hurry?

George just works. Pete is vigilant but increasingly tense.

PETE (cont'd)

Anytime, now.

Pete sees something, raises his weapon quickly in practiced fashion, and fires a 3-shot burst.

INTERCUT WITH: EXT. RADWASTE BUILDING SIDE - NIGHT

About thirty meters away, Allison, Sarah, and Alejandra reduce their profiles and begin firing back.

RICOCHETS of bullets off the building and PLINKS cause Pete to be defensive while still firing cover rounds for George.

PETE (cont'd)

George...?

GEORGE

Done.

PETE

Go-go-go!

George grabs the devices and carries them to the wedged-open door. He enters the building.

Allison moves next to Sarah.

ALLISON

I'll stop the one inside.

SARAH

We'll be stronger together.

Allison smirks.

ALLISON

I'm already dead. On three. One. Two.

Allison glances at Sarah and then gives her a kiss on the cheek.

ALLISON (cont'd)

That's from John. Three.

Stunned, Sarah doesn't provide cover for a second. During that pause, Allison gets a bullet through her left arm. She stumbles to the ground from the impact.

Sarah and Alejandra are now both providing cover fire.

ALLISON (cont'd)

Frag it!

Angry, Allison gets up and follows after George into the building.

Pete has maneuvered himself so that the SUV gives him protection from Sarah and Alejandra--who close in.

INT. RADWASTE BUILDING SAFE AREA - NIGHT

George fumbles to get the right keycard for the door lock.

PLING! A bullet misses him by a hairsbreadth. George pulls out a semi-auto pistol and fires back.

The lock opens. George opens the door and uses his feet to slide the devices across while using all his ammo to keep Allison away.

George goes through the door and locks it behind him.

Allison runs up to the door and smiles as she taps the lock.

Allison runs off down a side corridor.

EXT. RADWASTE BUILDING - NIGHT

Automatic fire rains down on Pete--as well as Sarah and Alejandra--as SECURITY FORCES converge on their location.

SARAH

Time to go.

At that moment, shots from behind Pete cause him to stand and face the opposite direction.

Alejandra fires one shot to...

...Pete's head and he goes down, leaving behind a cloud of pink fog.

With no hesitation, Sarah and Alejandra run back the way they came.

INT. RADWASTE BUILDING STORAGE - NIGHT

George rushes through a very secure door and locks it behind him. When he turns, the blood drains from his face.

GEORGE

Oh crap!

Lit by an eerie blue glow, George finds himself in the very hazardous large water-pool room where spent nuclear fuel rods are stored underwater.

His hands shaking, George tries reopening the door.

PLING! A bullet shatters on the door near the lock. George turns to see a very scary Allison bearing down on him.

GEORGE (cont'd)

We have to get out of here!

ALLISON

Too late. What's in the boxes?

GEORGE

You're crazy.

Allison fires, hitting George's left leg. He goes down in considerable pain.

ALLISON

You know, you're not the first person to say that.

George focuses. He stares the devices and coils to lunge for them.

BANG! George dies instantly, his aorta destroyed. He lands face first onto the floor.

The accumulated rads are getting to Allison. She stumbles as she walks to where George is. She falls to her knees. She stays that way for a second or two...then comes the vomit.

EXT. MOUNTAIN NE OF SERRANO POINT - NIGHT

With some help from Alejandra, Sarah makes it back to the tree line where Aldridge has been waiting. They are too tired to talk. Aldridge helps them into the SUV.

INT. RADWASTE BUILDING STORAGE - NIGHT

Allison has made a calculated mess out of one device and using a multi-tool struggles with the second. Hair is falling out, her arm wound bleeds profusely, and she's very disoriented.

CLOSE ON INSIDE OF DEVICE

A wire is snipped and a component is extracted.

BACK TO SCENE

With effort, Allison sits with her back against the wall. She glances up and sees the lock indicator changing from red to green. She steels herself and lifts her gun.

ALLISON

(hoarsely)

Michael.

Allison puts the gun in her mouth.

THE DOOR opens as we hear a muffled gunshot. A radiation-hardened robot rolls inside.

INT. SERVER ROOM - DAY

Ellison sits at a table. Sarah walks in. She's dirty and exhausted. Ellison stands.

SARAH

Aldridge went to the bureau. He's got some explaining to do.

Sarah sits heavily on the chair that Ellison vacated. She also drinks his coffee.

ELLISON

The news is pretty quiet. A few mentions of a training exercise testing preparedness at Serrano.

SARAH

Sweep it under the rug. That's original.

ELLISON

The talk over the secured channels is a bit more animated.

SARAH

And?

ELLISON

John Henry?

JOHN HENRY (COMM)

I made certain that there was evidence showing that Automite discovered the terrorist attempt and instituted timely warnings including a message to Agent Aldridge.

SARAH

What about Young?

ELLISON

Off-the-record they are saying she saved the plant. There's going to be an investigation as to why she was there and who helped her.

SARAH

Yeah, good luck with that.

ELLISON

I thought we could slip a message in saying if they didn't look too deep there wouldn't be any information leaks about what really happened.

SARAH

Can we do that?

JOHN HENRY (COMM)

I can ensure that any message can't be traced back to us.

SARAH

Even by Kaliba?

An ominous pause.

JOHN HENRY (COMM)

I can't say with one-hundred-percent certainty.

SARAH

Of course not.

Sarah rests her face in her hands.

ELLISON

You OK?

Sarah sits up and then stands.

SARAH

It's been a long day. We'll talk about it later.

Sarah exits.

EXT. LOT OPPOSITE THE SKUNK WORKS, PALMDALE - NIGHT

The large vacant lot across from the famed Lockhead Skunk Works is dark. Alejandra digs a hold more than a meter deep. She's shielded from view only by her motorcycle.

ALLISON (V.O.)

Sandy, there are some things I need you to do. When I die, I want most of my ashes placed at the coordinates on the last page. I want to be where my family will be.

Alejandra takes a box off her motorcycle and places it in the ground. She crosses herself and prays.

EXT. MOUNT LINCOLN - DAY

Alejandra reaches the area where Allison planted explosives.

ALLISON (V.O.)

I also want you to place some of my ashes at the second location. I want to be there when she dies. I have to be.

Alejandra removes a vial from her jeans pocket. She pours the ashes onto the ground.

EXT. CAHUENGA PEAK - AFTERNOON

Alejandra stands on the peak, looking out on the bustling Los Angeles basin.

ALLISON (V.O.)

You have to be patient.

The background changes, L.A. facing Judgment Day nukes. Alejandra stands.

ALLISON (V.O.) (cont'd)

Fight in the shadows. Trust me. Trust John. Trust Cameron. Trust Savannah.

The city is in ruins. Alejandra is now the older LA CAZADORA, complete with her two parallel, finger-thick scars on the left side of her face, and a sniper rifle leaning against her hip.

ALLISON (V.O.) (cont'd)

And wait for John.

ALLISON (20)--young, vigorous, unscarred, casually holding a plasma rifle--joins La Cazadora on the hill.

ALLISON (V.O.) (cont'd)

Never forget that we will win.

Allison and La Cazadora walk off the peak together.

FADE OUT:

END OF ACT SIX

THE END

Table of Contents

- Title Page

- Act One

- Act Two

- Act Three

- Act Four

- Act Five

- Act Six