Archive of Our Own ^beta

1. EXT. CREST VIEW MOTEL - DAY

A sarge green Jeep Wrangler sits parked by the front door of a rustic two-story motel. The building's pale exterior has been colored tan by time, a nice compliment to the dark red awning. Up on the veranda, KATHERYN "KATE" PARKER, 16, stands, her arms stretched across the railing, looking out at the horizon. Behind her, a door opens. JOHN CONNOR, 17, emerges, a Polaroid camera in hand. He doesn't announce his presence, but Kate turns to look at him. She smiles. John snaps a picture.

KATE

John!

JOHN

One more!

He tears the picture from its slot, runs over to the railing, and puts an arm around Kate. She grips his shirt and buries her head in his chest.

JOHN (CONT'D)

Don't hide, you're beautiful.

Reluctantly, she peers out at the camera, her smile now bashful. John takes the picture. As it develops, he shows her the first.

JOHN (CONT'D)

See? See how pretty you look?

KATE

I know you think I'm pretty.

JOHN

Damn right I do. And I'm always right, so you should believe me.

KATE

Oh, are you?

JOHN

Yeah, I am.

She huffs out a laugh and rolls her eyes. John smiles in spite of himself. He can't help it. He loves to make her laugh. It used to be something he dreamed about.

JOHN (CONT'D)

Come here.

He leans in to kiss her, but the door next to them suddenly swings open, distracting them both. SARAH CONNOR, 36, steps onto the veranda with a paper bag.

SARAH

John? Kate? Lunch.

John and Kate snap to attention like kids caught in the act. John takes the bag and opens it, revealing two six-inch subs. He glances over the veranda at the nearby Subway restaurant.

SARAH (CONT'D)

I wasn't sure what you liked, Kate, so I just got turkey and swiss. I hope that's alright.

KATE

That's perfect.

She might be brown-nosing, just a little bit. John can't exactly blame her. While his mother has more or less given them the green light, booking a separate room, she just displayed some impeccable timing.

JOHN

Thanks, Mom.

SARAH

Eat up. And get some rest. You're on the next driving shift.

JOHN

Don't worry about me.

Sarah shoots him a skeptical look. Not unexpected. Telling her not to worry is like telling the earth to stop turning.

SARAH

I'm right here if you need me.

She pats both John and Kate firmly on the shoulder. One corner of her mouth twitches into a half-smile. As if to hide it, she turns away and retreats into her room.

JOHN

You get some rest too!

She waves him off as the door shuts behind her.

JOHN (CONT'D)

(to Kate)

It was worth a try.

KATE

Does she ever sleep?

JOHN

Yeah, with one eye open.

He shuts one eye and peers at Kate with the other. She smiles at his bit, but it quickly falls a few notches. John follows her gaze as she looks towards Sarah's window. The blinds are shut, but her pacing shadow is still visible.

KATE

Is she gonna be okay?

JOHN

She'll be fine once we're back on the road.

At least, she'll be her definition of 'fine.' John hasn't known her to be anything less than wary, even in that precious pocket of time between Judgment Day and Skynet's resurrection. Although, truth be told, he's as much to blame for that as any supercomputer. He'd lost himself for a while there and, as much as they love each other, they've never really known how to help each other.

KATE

Are we gonna be okay?

Really that depends on what she means. Will they be okay as a unit? He sure as hell hopes so. But he has a feeling she means to ask if she will be okay, if she'll ever escape the fear and anxiety left in the Terminator's wake. He hasn't the heart to tell her it will define her life, as it defines his mother's and his own.

JOHN

As long as we stick together, someone's always gonna have your back.

Whatever that's worth.

Kate puts her arms around him and squeezes like it's everything.

KATE

You too.

JOHN

I'm a lucky man.

He rubs her shoulder encouragingly and holds up the paper bag.

JOHN (CONT'D)

And a hungry man. What do you say? Lunch?

KATE

Let's go for it.

He leads her back to their door.

2. INT. MOTEL ROOM - CONTINUOUS

John and Kate sit opposite each other on their queen-sized bed, eating sandwiches. John has some mayo on the corner of his mouth. Kate reaches over with a napkin, wipes his mouth clean, and gives his cheek a pinch. He scrunches his nose playfully. She purses her lips back at him. They share a laugh and go back to their meal.

JOHN

You know, I still owe you a date.

KATE

Don't worry about that.

JOHN

Nope, I'm a man of my word.

He hops off the bed, his mostly-eaten sandwich forgotten.

JOHN (CONT'D)

I'll tell Mom we're taking the Jeep.

Kate scrambles to the edge of the bed, frantic and shocked.

KATE

Are you sure that's such a good idea? Maybe we should wait until the heat has died down.

Canada may not be the United States, but news travels fast, and she imagines they have a pretty good extradition policy. Not the best place to be out and about as a wanted terrorist and his radicalized recruit.

JOHN

Kate, by the time the heat dies down we'll be stuck at some cabin in the woods. I wanna take you out on a real date, in a real city. Can you let me do that for you?

Her face softens.

KATE

This means a lot to you, doesn't it?

JOHN

Of course it does. I've been waiting for seven years to date you, and the last time I tried, I got boxed out by a drone. So can we please just be teenagers for one lousy fucking night? Please?

Kate leans back, takes a long hard look at him, and nods.

KATE

Alright. As long as Sarah's on board, I'm game.

John's face lights up.

JOHN

Oh, I'll get her on board.

He bounces over to the door and swings it open.

JOHN (CONT'D)

You get ready. Dress sexy.

Kate raises an eyebrow. John's grin only widens.

JOHN (CONT'D)

I'm just kidding. You're always sexy.

And with a wink, he is gone.

3. EXT. JEEP WRANGLER - DAY

Sarah stands, arms crossed, by the driver's side door. John slips behind the wheel, his enthusiasm untempered by her steely gaze.

SARAH

Remember--

JOHN

(rotely)

"Be back by dinner. Stay away from crowds. Avoid cameras."

He honks the horn excitedly. Sarah reaches through the window and stays his hand.

SARAH

"Keep quiet."

He smiles guiltily. It looks exceptionally childlike, even on his mature face. For a moment Sarah wants to call the whole thing off and lock him in their room. But John is practically an adult now, and he's proven himself more than capable. If he's ever going to be the man she's been training him to be, she'll have to untie the apron straps.

Kate comes down the steps leading off the veranda. John's smile turns earnest, and he breathes out an awed sigh. Sarah no longer sees a child, but a young man in love, through and through. She steps back from the Jeep. As Kate passes, they catch each other's eye. She nods at Sarah. Sarah nods back.

KATE

(to John)

Are we ready?

JOHN

Hop in.

She slides into the passenger seat and wrings her hands excitedly. Sarah recalls dreams of hot dogs and Disneyland that never came to be. They have a chance. She never did. Not without Kyle.

SARAH

John?

John pokes his head out the window.

SARAH (CONT'D)

Have fun.

He pauses, taken aback. When he speaks, his voice is soft and heavy with emotion.

JOHN

Thanks, Mom.

He goes back under. Sarah waves them goodbye as the Jeep pulls out of the lot.

4. EXT./INT JEEP WRANGLER - DAY

The Wrangler cruises through downtown Vancouver, passing storefronts, hotels, and opulent marquees. On the radio, the intro of Spacehog's "In the Meantime" plays, casting an otherworldly aura on the city. Kate has her face glued to the window like an eager child. John glances at her, amused.

JOHN

It's not all trees and maple syrup.

KATE

It's incredible.

JOHN

Where do you wanna go?

They pass the Vogue Theater. Though it's now a live performance house, the art-deco structure still screams old school cinema.

KATE

Maybe a movie? I don't know. I've never really done this before.

JOHN

Me neither.

Kate tears herself away from the window and looks him over, her brow furrowed in disbelief. Fugitive or not, John is attractive. Almost objectively so. She can't have been the only one to notice.

KATE

You've never been on a date before?

John shakes his head.

KATE (CONT'D)

Ever?

JOHN

No.

She scoffs.

KATE

You mean to tell me you never considered being with another girl? Just to try it?

JOHN

Sure, I thought about it. But I couldn't. Not when I knew you were out there. It felt like cheating.

If it was anyone else, Kate wouldn't believe them, but John has yet to lie to her. The truth of it only makes it more astounding. Such a level of devotion is not fit for someone like her. She's too plain, too ordinary, especially when compared to John.

KATE

Do you ever regret it?

JOHN

Not for a second.

A blush creeps upon Kate's cheeks. She looks down, shaking her head.

KATE

I don't deserve you.

JOHN

Hey. That's up to me, alright? And I say you deserve it all. But let's start with a movie.

The Wrangler rides down the street and out of sight, blaring the chorus of "In the Meantime."

5. INT. CINEMA, SCREENING ROOM - DAY

On screen, Godzilla tosses a train car from his mouth and stomps it underfoot. His trademark roar floods a mostly empty theater. John and Kate sit dead center. He has his ankles crossed over the seat in front of him. Her head rests on his shoulder. Their hands are intertwined in her lap.

6. INT. CINEMA, LOBBY - LATER

John and Kate exit the theater, still hand in hand.

KATE

That was so good!

JOHN

Yeah, I'm glad it was the original Japanese version and not that weird American cut.

KATE

It was almost like... trying to process the horror of the atomic bombings by turning it into something fantastical. But it goes even deeper than that, because Godzilla is a bombing victim, too.

JOHN

Sure, but he's way too powerful and way too dangerous. They have to take him down.

KATE

Exactly. So what does Godzilla represent? The bomb? Imperial Japan?

JOHN

The United States?

Kate nods in agreement.

KATE

The United States? They all work!

She tosses her hands in the air. John looks her up and down. He can't imagine having this conversation with someone else. It's a movie about a guy in a rubber monster suit. Your average moviegoer wouldn't put that much thought into it. But Kate does. Smart and beautiful, she really is the whole package. John chuckles at his luck, and her face turns red.

KATE (CONT'D)

What is it? Am I being weird?

JOHN

No. You're perfect.

She tucks her hair behind her ear.

KATE

Stop it.

JOHN

You know me. Once I get started, I never stop.

KATE

What am I gonna do with you?

JOHN

I have a couple of ideas.

KATE

Oh yeah? And what are those?

He smirks.

7. INT. ROLLER RINK - DAY

In the light of day, the roller disco looks particularly aged. The floor is covered in scuff marks, and the woodgrain DJ booth has faded with time. It's currently empty, but The Cars' "Just What I Needed" blasts through the air. A family rolls by on skates, the parents guiding their young child. John and Kate are seated by the snack bar, each holding an ice cream cone.

JOHN

You ready to get out there?

She doesn't know how to skate, but she's not ready to say that yet.

KATE

Actually, can we just sit here for a minute?

JOHN

Sure. Sure.

He takes a bite from his cone.

JOHN (CONT'D)

How's your ice cream?

KATE

It's good. Hard to mess up chocolate. How about yours?

JOHN

It's even harder to mess up vanilla.

KATE

I didn't expect you to be a vanilla man. I thought you'd go for something wild and crazy, like bubblegum.

JOHN

Mm, bubblegum was tempting, but sometimes you just want something... safe. You dig?

KATE

Yeah, I dig.

She licks a trail of melting ice cream from the side of her cone.

JOHN

Only sometimes, though. If you play it safe all the time, life gets boring.

He's not talking about ice cream anymore. Kate looks away from him, biting her lip.

JOHN (CONT'D)

Will you skate with me?

KATE

(softly)

I can't.

JOHN

Sure you can.

KATE

I don't know how.

JOHN

I'll show you.

He jabs a thumb in the direction of the skating family.

JOHN (CONT'D)

If that kid can get the hang of it, I'm sure you'll do fine.

On some level, Kate recognizes she's being silly. They're on the run together. There is no such thing as a comfort zone anymore.

KATE

But what if I fall?

JOHN

Then I'll pick you up.

A smile breaks out across her face.

KATE

Okay.

JOHN

Okay?

She nods. John gobbles down the rest of his ice cream, hops out of his chair, and extends a hand towards her. She hurriedly finishes her own ice cream and puts her hand in his. The music switches to Spandau Ballet's "True" as they step onto the rink. Kate stumbles slightly, but John helps her regain her balance.

JOHN (CONT'D)

See? I've got you.

She clings tightly to his arm. They begin to skate, gliding slowly around the rink. The longer they skate, the more comfortable Kate becomes. She starts to laugh. John laughs in turn. Overhead, a disco ball glitters.

8. INT. MOTEL ROOM - DAY

John and Kate lie in bed, Kate on her stomach, John on his back. They're both shirtless and spent. His head rests atop hers, while her hand traces circles around one of the many scars on his chest.

KATE

Can I ask you something?

JOHN

Right now? You could ask me to give you the moon and I'd at least try.

KATE

Let the moon stay where it is.

JOHN

You sure?

KATE

I'm sure.

JOHN

Then what is it?

Her hand stills.

KATE

Are all of these from training?

JOHN

Most of them, yeah.

KATE

And the rest?

He's silent for a long moment.

JOHN

The rest... aren't.

KATE

Don't be a wise guy. Who did this to you?

JOHN

Nobody.

She doesn't push any further. Somehow, that makes all the difference. John sucks his teeth and sighs deeply.

JOHN (CONT'D)

When I was around 13, something happened. I don't know what it was.

KATE

Puberty?

JOHN

Okay, two things happened.

He briefly holds up two fingers.

JOHN (CONT'D)

It started with all the running. I was tired. And angry. And lonely. I couldn't make friends. Or, when I did, it wasn't for very long. So I stopped trying. Spent a lot of time by myself. I was really in my head. Then I went a little out of my head.

KATE

You were depressed?

JOHN

I guess? I didn't really have a word for it. I just knew something was wrong.

Kate's heart beats faster against his chest. She raises her head to look him in the eye.

KATE

What did you do?

JOHN

I was stupid.

KATE

Don't say that.

JOHN

But I was. I thought if I could just feel something, that would be enough.

KATE

(incredulous)

Nobody did this to you...

JOHN

No. Does that freak you out?

She looks down at his chest. There's no way to tell which scars are from his training and which are not. It doesn't matter. She caresses a particularly large one, just beneath his collar bone, and shakes her head. It breaks her heart, but it doesn't freak her out.

KATE

Do you still...?

JOHN

No way. I cut that shit out years ago, when I started feeling like me again. That's not who I am.

KATE

It's not who you were, either.

JOHN

Yeah, but it was a part of me. I can't erase that.

KATE

Your scars don't define you.

JOHN

I know, I know.

Kate eyes him pensively. He doesn't sound like he knows; he sounds like he's suffering through platitudes. It will take more than words to get through to him. She reaches for his Polaroid camera on the nightstand.

JOHN (CONT'D)

Whoa, wait. What are you doing?

KATE

Don't hide, you're beautiful.

John shifts uncomfortably, but smiles for the camera. Kate kisses his cheek and the smile grows into something more honest and authentic. She snaps a picture. It develops slowly, revealing a moment of raw intimacy. She hands it to him. He should feel more self-conscious about having his imperfections put on film, but they're dwarfed by Kate, staring through the fourth wall.

JOHN

I love you.

KATE

I love you too.

He pulls her in for a kiss. She blindly positions the camera and takes another picture. Passion devolves into play. They pull faces at each other. Tensions are lost in a sea of laughter and silly photographs.

9. INT. MOTEL ROOM - LATER

The digital display on the room clock reads 5:30. John and Kate, now fully dressed, inspect each of their Polaroids as John places them in his suitcase.

JOHN

These are all great.

KATE

Which one is your favorite?

JOHN

That's easy.

He pulls out the picture he took earlier of Kate on the veranda.

KATE

You don't have to pick the one I'm wearing clothes in.

JOHN

No, I mean it. I like this one. It's the way you look at me. Like I'm something special. Not because of who I'm supposed to be, just because I'm me.

Kate cups his chin in her hand.

KATE

You are special.

John smiles broadly, like a child that's been praised.

A sudden and urgent rapping starts at the door. John slams his suitcase shut and answers it. Sarah charges into the room.

SARAH

Turn on the TV.

JOHN

Wha--?

SARAH

Now!

John grabs the remote and fumbles with it. The TV comes on. MuchMusic is playing the video for Nickelback's "How You Remind Me," same as they were when he turned it off last night.

SARAH (CONT'D)

Channel 59. Hurry!

He obediently punches in the numbers, unceremoniously cutting off Nickelback in favor of the news channel. They're airing a press conference. A GRIM-FACED MAN and a TEARY-EYED WOMAN, both similar-looking, stand at a podium.

KATE

Oh my God.

John turns to look at her.

JOHN

What?

T.V. WOMAN

This is a message for John Connor.

He turns back to the TV.

KATE

That's my aunt and uncle.

Yes, he sees the family resemblance now, round about the nose and the shape of her face. He missed it at first, because neither of them have Kate's eyes. She must have gotten those from her father. Their meeting had been so contentious, John didn't really take note.

T.V. WOMAN

My name is Vanna Lee, and this is my brother Thom. On March 20, 2001, we lost our sister, Sophea. We never thought we would experience a pain like that again. Then, we got a call that our niece, Sophea's daughter, Katheryn Parker, had been kidnapped. What's worse, we had to listen to all the rumors and speculation that she had become someone we didn't recognize: a criminal, a terrorist. That is not our Katheryn. She's a smart girl, a good girl. We understand why you would want her. But she is not yours. She belongs to us. She's the last piece of our sister that we have left, and we want her back. So please, please let her go.

She starts to lose her composure, tightening her shaky hands around the paper. Tears stream down her face.

T.V. WOMAN (CONT'D)

SHE DOES NOT BELONG TO YOU, JOHN CONNOR!

John jumps back as if physically stricken. Sarah takes the remote from his hand and turns off the television.

SARAH

We can't stay here overnight. Pack your bags. John, are you good to drive?

He doesn't answer. He's staring into the void of the blank TV screen.

SARAH (CONT'D)

John!

JOHN

Wha? Oh. Yeah. Yeah, I'm fine.

SARAH

Good. We leave in 30. We'll pick up dinner on the way.

She marches out of the room, leaving John and Kate alone in an uncomfortable silence.

JOHN

So you have an aunt and uncle.

KATE

(awkward)

Yup.

JOHN

How come you never mentioned them?

She shrugs.

KATE

They weren't really a part of my life.

JOHN

That's not how it sounded.

Her expression turns fearful.

KATE

John, are you mad at me?

His stomach drops. He hates that look on her face, and hates that he put it there. How careless of him. How stupid of him. He shakes his head and gently, carefully takes Kate's hands in his.

JOHN

Of course not, Kate. I'm just a little freaked out. Your aunt totally reamed me out on live TV.

KATE

We never really saw my mom's side of the family. I don't think he let her. But Aunt Vanna was the first person she called when we left. I guess they were pretty close. And now...

JOHN

She's gone and your dad's gone and now would be the perfect chance to have a relationship with you, if not for me.

KATE

Please, don't let what she said get to you.

JOHN

I'm not.

He is.

JOHN (CONT'D)

It's just... I never had another option besides this. You do.

KATE

No, I don't.

JOHN

Is that what you think?

He runs a hand through his hair.

JOHN (CONT'D)

Jesus, of course that's what you think. I told you we were meant to be. But Kate, if this isn't what you want, then fuck it, you know? You can go back home.

KATE

And then what? Wait for Skynet to kill me?

JOHN

Skynet only wants you dead because of me. If you walk away, it'll have no reason to target you. You'll be safe.

KATE

John, I love you, but will you please shut up?

Well, that was unexpected.

KATE (CONT'D)

So what if I'd be safe? You expect me to just forget about you? Forget about us?

JOHN

I--

KATE

That's not an option. Are we clear?

JOHN

Crystal.

He tries to contain a smile, but only partially succeeds.

KATE

Good. Then you won't send me away?

JOHN

I'm too selfish to send you away. You'd have to leave me.

KATE

I won't. Why fight fate?

She winks, and he snorts. He's been fighting his fate tooth and nail for years. But not her. She is the only fate that has not felt like a curse to him. He still fears he might be one for her, but knowing that she doesn't think so almost makes him believe in himself.

10. INT. JEEP WRANGLER - NIGHT

John's in the driver's seat with Sarah in the passenger side and Kate in the backseat. The tension hasn't entirely left the air, but Sarah does appear to be more at ease. She's even letting John listen to music, instead of the news.

JOHN

You can go to sleep, Mom. I'll be good for at least a few hours.

SARAH

I'm fine.

JOHN

When's the last time you slept?

She flashes a sly smile.

SARAH

Who's the parent here?

JOHN

I'm just looking out for you. For all of us. Can't have you dozing off behind the wheel.

SARAH

John. You know I'd never do anything that would put you at risk.

He does know that. But he also learned long ago that she cares more about his safety than her own. It's about the only bargaining chip he has.

SARAH (CONT'D)

I took a nap while you two were on your little date.

That sounds a little hard to believe. John would have thought she spent the whole time pacing, wondering if they would ever come back. He scans her face for tells, but she has none.

JOHN

Okay. But promise me you'll get some more rest at the next stop.

SARAH

Alright, John.

JOHN

Cool.

As if to promote sleep, he turns the radio down a tad.

JOHN (CONT'D)

That goes for you too, Kate. Don't think you've gotta keep me company.

KATE

I'd feel bad just sleeping. I'm already not driving.

JOHN

That's not your fault.

SARAH

Folks never taught you to drive?

KATE

No.

SARAH

We'll fix that once we get up north.

KATE

About that, where exactly are we going?

SARAH

I have a friend. He has his own reasons for staying off the grid. He's got a little cabin up in the Yukon, very discrete, with plenty of supplies. We should be safe there for a while.

JOHN

You'll like it up there.

KATE

You've been?

JOHN

Mm-hm. It's right by this lake. Great for fishing. You'll see. We're gonna eat like kings. And you can see the mountains. They're beautiful. And at night, the stars shine real bright. It's probably my favorite place we've ever stayed.

SARAH

You're making it sound like a vacation.

JOHN

Isn't it? We're getting away from all the bullshit, taking some down time, having a little peace and quiet. We've just gotta get through this drive.

Sarah leans her head back and closes her eyes.

SARAH

You know, I used to hate road trips.

KATE

What changed?

SARAH

Everything.

That one word, heavy with meaning and history, renders John and Kate silent. The music duels with the hum of the engine as they continue down the highway. One song ends, and another begins. John glances at Sarah. Her eyes are still closed.

JOHN

Mom?

She doesn't respond. John turns off the radio.

11. EXT. LHEIDLI T'ENNEH MEMORIAL PARK - DAY

The sun hasn't fully risen, painting the sky a mural of deep blues and purples. A children's spray park stands dry and empty. John and Kate walk through, him rubbing her back. Sarah straggles behind them, taking in their surroundings.

KATE

I'm sorry.

JOHN

It's a long drive. No shame in getting a little car sick. You feeling any better?

KATE

Much.

They follow the path to a playground. John spots a vintage fire truck cab sitting next to a climbing structure. His eyes light up. He looks at Kate, as if to ask, "Can we?"

KATE (CONT'D)

You go on ahead. I'll catch up.

He runs over to the cab, gets in the driver's seat, and starts turning the wheel furiously. Kate watches, endeared. John is many things to her, but when it comes down to it, he is just a boy. She waves at him. He pretends to honk the horn back at her.

SARAH

I never got to take him to places like this. His playgrounds were obstacle courses, shooting ranges.

Kate glances at her from the corner of her eye. She knew this, but hearing it said makes it all the sadder, somehow.

SARAH (CONT'D)

I know what you're thinking. That doesn't sound like much of a childhood.

KATE

I never really got to come to places like this either.

Ever so slightly, Sarah's mouth drops.

SARAH

No?

KATE

Maybe once or twice, when I was little. Mostly we stayed home. My dad liked it that way.

SARAH

That why he didn't teach you how to drive?

KATE

Probably.

SARAH

He sounds like a real piece of work.

She laughs sardonically.

SARAH (CONT'D)

Then again, I guess I'm not one to talk.

KATE

Don't say that. Everything you did was for John. Everything my dad did, he did to us.

Sarah stares pensively at her. It's an important distinction, and not one she expected from someone so young. She'd come to think it was just something she said to ease her own guilt.

SARAH

Thank you, Kate.

She nods. They turn back to John, still happily steering the cab. He waves Kate over.

SARAH (CONT'D)

I think he's getting impatient. Go on.

Kate rushes over and joins him in the passenger seat. Sarah sits down on a nearby bench and watches them. From even a short distance, it looks like they're just a pair of playmates. She smiles. They need this, a chance to make up for lost time. She needs this, a glimpse of what might have been. Reality blurs into a dream.

12. INT. PARKER HOUSE, LIVING ROOM - DAY

The lights are dimmed, curtains drawn. A thin layer of dust coats the room. Nobody lives here anymore. If not for the photographs on the wall, it would be easy to think no one ever did. There are only three. Vanna inspects them as she climbs the staircase. Whether by design or serendipity, they're hung in chronological order. First comes Sophea and Harvey on their wedding day, then Harvey in uniform and, finally, a kindergarten graduation photo of Kate. Vanna's lip trembles.

There's a knock at the door.

DIAZ (O.S.)

LAPD. We have a warrant to search the premises.

Thom rises from the couch and opens the door. OFFICER DIAZ and OFFICER FLORES step inside, each giving him a passing nod.

DIAZ (CONT'D)

Afternoon.

FLORES

We saw your car in the driveway. Didn't expect anyone to be here.

THOM

We came to grab some of Katheryn's things. Should we wait?

Before either officer can respond, Vanna bolts down the staircase.

VANNA

What's going on? Have you found her?

FLORES

We've been following up on all reported sightings in the neighborhood and surrounding areas, but so far there have been no credible leads.

DIAZ

We regret to inform you that, based on Connor's MO, they've most likely left the state, and possibly the country by now.

Vanna's hands fly to her cheeks. Thom puts a hand on her shoulder to ground her.

VANNA

The country?! That can't be. Katheryn has never even left LA. She wouldn't just pick up and leave the country because of some boy.

FLORES

John Connor is not just "some boy." He's got the face of a teen idol with the skills of a seasoned soldier and the charisma of a cult leader.

Diaz clears his throat.

DIAZ

What Officer Flores means is you have to consider the idea that Katheryn has been taken in by his charms. We haven't found any evidence yet, but we're working on it.

He flashes the warrant.

DIAZ (CONT'D)

I know you don't want to believe this, but there's a very real chance she's taken on his cause.

Thom shakes his head fervently and waves off such notions.

THOM

No. No. Katheryn is way too smart to believe in... killer robots taking over the world?

DIAZ

It's not about how smart she is. It's about manipulation. If she showed him any vulnerabilities, Connor would know how to exploit them.

THOM

So, what now? If they've left the state, what can we do? Just sit around and hope for the best?

FLORES

I can assure you, we aren't giving up. We're working closely with the FBI and coordinating with local law enforcement across state lines.

VANNA

What does that mean?

DIAZ

It means wherever they are, we'll find them.

13. EXT. CABIN - NIGHT

In the dead of night, the weathered wooden cabin blends seamlessly into the surrounding pines. The flickering flames of a firepit provide the only light. Seated by the fire is OWEN TAGGERT, 49, a rugged and muscular man. His hair, once red as the flame, is graying at the temples, and his blue eyes seem to glow under the light. With him is his dog, JIMBO, a Siberian Husky. A pot of stew bubbles over the firepit. Taggert takes a spoonful, eats it, then gives one to Jimbo.

The Jeep Wrangler pulls up in front. Taggert rises. He doesn't often get visitors out here, save for the occasional lost traveler. A vehicle is a practical novelty. Jimbo starts barking.

Sarah, John, and Kate emerge from the Wrangler.

TAGGERT

Well, I'll be.

Jimbo's tail wags. He runs over to John and butts him gently about the legs, demanding to be petted. John obliges.

JOHN

Hey, Jimbo! Hey, boy. How's it going?

Kate inspects the large dog cautiously.

JOHN (CONT'D)

Don't worry, he's real sweet.

(to Jimbo)

Say hi to Kate.

Jimbo barks obediently. Kate gives him a cursory scratch under the chin. He whines. Kate looks to John. He nods. She starts to massage Jimbo's ruff.

Taggert makes his way over to the Wrangler. Sarah meets him halfway.

SARAH

Hi, Owen.

TAGGERT

Sarah Connor. It's been a while. You in trouble again?

SARAH

A bit.

TAGGERT

Nothing to do with the, uh, new recruit there, is it?

He gestures at Kate.

SARAH

You might say that.

Taggert tilts his head and gives her the look of a disappointed father.

TAGGERT

So you stole John a playmate.

SARAH

It's nothing like that. She's a part of everything. If we'd left her behind, she'd be dead.

TAGGERT

(skeptical)

You sure about that?

SARAH

Yes.

He sighs. Much of Sarah's doomsaying is too fantastical for him to believe, but he knows she does everything tactically. If she's put herself--and John--at risk, she must have good reason.

TAGGERT

Alright then. Come on inside.

SARAH

Thank you, Owen.

TAGGERT

Just don't bring the world crashing down on my head.

SARAH

Not if I can help it.

14. INT. CABIN - CONTINUOUS

Taggert leads Sarah, John, and Kate inside. Jimbo trots happily beside him. The interior of the cabin is rustic and cozy, with wooden beams overhead and a stone fireplace. Much of the furniture is also wooden, save for a worn leather couch.

TAGGERT

Sit down. Make yourselves at home.

John takes a seat at the couch, motioning for Kate to join him. She hesitates for a moment, but then settles beside him. Jimbo curls up at their feet.

JOHN

Not much has changed around here.

TAGGERT

Can't say the same about you, kid.

JOHN

Yeah, my beard's coming in nicely.

He rubs his (very much smooth) chin. Taggert chuckles.

TAGGERT

At least you've still got your sense of humor.

JOHN

It's part of the appeal. Isn't that right?

He nudges Kate. She blushes.

JOHN (CONT'D)

(proud)

She loves me.

TAGGERT

Is that why you're in this mess?

The humor leaves John's face. Kate rests her hand on the back of his neck.

KATE

Yes. And no. It's a long story.

TAGGERT

I got time.

KATE

Uh, okay. Then I guess it all started when we met...

The sound of her voice gets lost under the fireplace. Soft crackles and pops fill the room. As Kate tells their story, John's tension builds. He leans into her, seeking comfort in her presence. Without missing a beat, she wraps her arm around his shoulders and holds him close.

15. EXT. KLUANE LAKE - NIGHT

The night sky has dyed the water a dark, almost black, blue. Mountains are far off shadows in the distance. Kate stands by the shore, looking up at the stars. John approaches, but does not speak, simply joins her in stargazing.

KATE

It's just as beautiful as you said.

JOHN

I knew you'd love it.

She's never seen so many stars before. It's hard to look away, but she does, towards John. They catch each other's eye. Kate asks a question that's hung in the air since their arrival.

KATE

Do you really think we'll be safe here?

JOHN

Yeah. At least for a little while.

KATE

And after that?

JOHN

I don't want to think about that yet.

KATE

What do you want to do?

A pregnant silence falls between them. The rippling lake sounds like a rushing ocean in the stillness.

JOHN

Wanna go for a swim?

KATE

What?

JOHN

Why not? It'll be fun. Just you and me, under the stars.

KATE

John, it's the middle of the night. We're in Canada.

It's too late. He's already got the idea in his head, and once John has his mind set on something, it's going to happen. He starts stripping his layers off.

KATE (CONT'D)

What are you doing?!

He doesn't answer, as it should be pretty obvious. His clothes pile up on the shore. Clad only in his boxers, he climbs into the lake.

JOHN

Come on in, the water's fine.

KATE

And by "fine," do you mean "freezing?"

JOHN

It's really not that bad, I swear.

Kate glances around for any prying eyes, then starts to strip down.

KATE

I can't believe I'm doing this.

She steps out of her pants and into the surf. John openly admires her form, his eyes lingering on each curve of her body.

KATE (CONT'D)

Those are the kind of looks my dad was afraid I'd get at the beach.

JOHN

Sorry.

KATE

No, it's okay. I like the way you look at me. Like I'm the only girl in the world.

JOHN

You might as well be.

Suddenly, she wants to be close to him. She wades out into the water and immediately regrets it as the initial shock of cold hits.

KATE

Oh my God, you're insane!

JOHN

Just give it a second.

He swims out a few feet and, when she catches up, a few feet further. She pouts, but follows. In time, the water turns from harsh to pleasantly chill.

KATE

Okay, you were right. It's not that bad.

JOHN

See, I told you!

(mockingly)

You've gotta trust me.

KATE

I do trust you.

JOHN

I know.

He swims closer, bringing their faces mere inches apart. A cool breeze blows through their hair, mingling it together. Kate shivers, more from the intimacy than the cold.

JOHN (CONT'D)

You alright? Should we go back?

KATE

Not yet.

She closes the space between them, kissing him softly. Soft, but electric. Warmth floods their bodies and tempers the chill water. She pulls away before John is ready, leaving him starved for more, more of her kisses, more of her affection. He cups her face in his hands and brings it close to his, their foreheads touching.

JOHN

Don't leave me hanging.

KATE

Wouldn't dream of it.

They lean in for another, deeper kiss. Deeper still, and John's hunger only grows. He captures her bottom lip in both of his and devours it. She presses her body close to his. The water stirs around them as they drift out further into it.

JOHN

God, this is all I ever wanted.

KATE

To freeze in a lake?

JOHN

To do things with you.

He caresses her jaw.

JOHN (CONT'D)

I've wanted you to be a part of my life for so long. And now that you are, it's like... I can't get enough of you.

KATE

I'm still waiting for you to realize I'm not all that.

JOHN

Are you kidding? You're amazing. I always knew you would be.

Kate rolls her eyes and smiles bashfully.

JOHN (CONT'D)

I'm waiting for you to realize just how royally I've fucked up your life.

KATE

Stop.

JOHN

You know it's true.

KATE

John, you didn't fuck up anything. You're the reason I'm here right now. You gave me this.

She goes prone on her back and floats, staring up at the sky once more. John follows suit. They intertwine their hands. The world shrinks down to just the two of them, bathed in water and starlight.

16. INT. CABIN - SIMULTANEOUS

Sarah stands, arms crossed, by a window, staring at empty trees. Taggert sits by the fireplace, nursing a bowl of stew. Jimbo hops up and begs for some. He gives the dog his bowl and rises to fetch himself another.

TAGGERT

Seconds, Sarah?

SARAH

No thank you, Owen.

He joins her at the window.

TAGGERT

You don't have to worry about the kids. I haven't seen any drones out here.

SARAH

So you believe her.

TAGGERT

Not for nothing, but John is your son. If anyone is gonna pick up your jargon, it's him. But the girl--

SARAH

Kate.

TAGGERT

--Kate's got no reason to be on about killer robots. You can't all be crazy.

Sarah snorts.

SARAH

Thanks.

TAGGERT

Better late than never, am I right?

He taps her arm with the back of his hand.

TAGGERT (CONT'D)

Now, what's the deal about this Skynet thing?

SARAH

It's real. Right now it's just a surveillance program, but if we don't stop it soon, they'll turn it into a full-on automated defense network. Once that happens, it's only a matter of time before it becomes self-aware and launches its attack on humanity.

TAGGERT

Shit.

SARAH

I tried to tell you before.

TAGGERT

You did. But you also swore the world was gonna end in 1997.

SARAH

It would have.

TAGGERT

But it didn't.

SARAH

Because we stopped it.

Jimbo, either ignorant or indifferent to the tension, brings his empty bowl over, whimpering for more stew. Taggert kneels down, pours out about half of his, and absentmindedly scratches Jimbo behind the ear.

TAGGERT

Jesus, it's all coming together. I thought you'd lost your damn mind when you started blowing shit up, but you knew exactly what you were doing, didn't you?

SARAH

Not exactly. I thought we'd stopped them for good, but it's all happening again.

She buries her face in her hand. Taggert stands up and puts an arm around her shoulders.

TAGGERT

Chin up. You're doing the best you can.

SARAH

It's not enough.

TAGGERT

You can't save the world alone, Sarah.

SARAH

That's just it. I'm not alone.

She raises her head and gazes out the window with weary eyes.

SARAH (CONT'D)

I have to protect them.

TAGGERT

Give John some credit. He's a strong kid. And Kate... she chose this. That alone says a lot.

SARAH

She can't even drive.

TAGGERT

But she took out one of those Terminators.

SARAH

So did I. Trust me, it doesn't mean you're ready for war.

TAGGERT

Well, isn't that why you brought them here? To prepare?

SARAH

That was definitely part of it.

TAGGERT

Only a part?

Jimbo, having eaten his fill, nudges Sarah, looking for more affection. She pats him on the head.

SARAH

You want to know something? John says this might be his favorite place we've ever stayed.

TAGGERT

Here? Why? This ain't no Ritz.

SARAH

But it is a home.

She finally meets Taggert's gaze.

SARAH (CONT'D)

I thought he could have a home for a few days, while we wait for the heat to die down.

TAGGERT

If that's what you're after, stay as long as you like.

SARAH

Are you sure? Do you realize what you're offering?

TAGGERT

Sure enough I do. It's not much, but we can make it work.

He gives Sarah's shoulder a reassuring squeeze. She nods, a rare softness settling in her eyes.

SARAH

You're a good man, Owen.

TAGGERT

Just trying to make up for all the times I wasn't.

Outside, trees rustle. Sarah's eyes narrow.

SARAH

Did you hear that?

Taggert steps away from her and towards the door.

TAGGERT

Keep calm, it's probably an animal.

In spite of his words, he reaches for a rifle mounted on the wall. Sarah takes that as a cue to unholster her own pistol.

17. EXT. CABIN - CONTINUOUS

Taggert crosses the threshold, followed by Sarah, guns at the ready. The rustling grows louder. Taggert approaches the edge of the woods, squinting into the darkness.

SARAH

Owen, wait--!

The trees part. John and Kate emerge, still soaked from their swim. Sarah sighs with relief. Taggert lowers his gun. John gapes at him.

JOHN

What the hell is that for?!

TAGGERT

The hell is this for? What the hell are you up to? You scared us half to death.

JOHN

We just went for a swim.

SARAH

In the middle of the night?! You must be freezing!

JOHN

It was totally worth it! Right, Kate?

KATE

The view was amazing.

SARAH

I don't care if you could see forever. Get back in here before you catch cold.

JOHN

Aw, Mom, that's just an old wives' tale. Isn't it?

SARAH

I'm not going to sit around and find out.

She jabs her thumb towards the door.

SARAH (CONT'D)

Inside!

18. INT. CABIN - CONTINUOUS

John and Kate saunter inside, dripping water onto the floor. Jimbo barks happily at their return and restlessly weaves through their legs. A drop of water hits him directly on top of the head. He shakes it off and rubs up against John's leg, undeterred.

TAGGERT

Towels are in the bathroom.

JOHN

Thanks.

He and Kate head there together. She grabs a towel from the cupboard and playfully wraps it around his neck. Smiling, he peels off his jacket. Taggert raises an eyebrow as the door closes behind them.

TAGGERT

(to Sarah)

They're pretty close, huh?

SARAH

As close as can be.

TAGGERT

And you're okay with that?

SARAH

John's smart. I know he'll be safe.

TAGGERT

That's not what I mean.

Sarah tilts her head quizzically.

TAGGERT (CONT'D)

You aren't the only woman in his life anymore.

SARAH

A boy needs more than just his mother.

TAGGERT

Yes, but are you ready to share him?

From the bathroom, muffled laughter can be heard. Sarah points at the door.

SARAH

You hear that? There was a whole year where I didn't hear John laugh. I didn't see him smile. He wouldn't let me see him cry. I thought I'd lost him.

TAGGERT

What happened?

SARAH

Well, he fought me tooth and nail, but eventually I got him to tell me the truth. It was everything. All the things I couldn't protect him from.

TAGGERT

And she can?

SARAH

No. But when we decided he'd start looking for her... the light came back to his eyes. He felt hope again.

TAGGERT

So now you have to share.

SARAH

As long as he's happy, I don't mind.

The bathroom door swings open. John and Kate step out, wearing robes. Kate's damp hair is slicked back, while John's clings to his head. Their cheeks are still flush from the cold swim, and smiles barely contain their laughter. No one can dare say the boy's not happy.

KATE

What time is it?

Taggert glances at a clock on the wall.

TAGGERT

Looks like it's midnight.

KATE

Yikes! We should probably get to bed.

JOHN

You sure?

KATE

Yeah.

SARAH

I agree with Kate. It's been a long night.

JOHN

Okay, okay. Let's go, Kate.

He sets his hand on the small of her back and leads her through the cabin. Jimbo trails after them, tail wagging. Taggert leans against the wall and shakes his head, a hint of wry amusement on his face.

TAGGERT

I'm gonna have to sue that boy for alienation of affection.

SARAH

It would never hold up in court.

TAGGERT

And why not?

SARAH

Because it's a dog.

TAGGERT

Alright, fair point.

SARAH

He's just excited to have company.

TAGGERT

I guess he is.

He and Sarah exchange knowing glances.

19. EXT. KLUANE LAKE - NIGHT (DREAM)

The moon shines bright over an empty lake. From the depths, flames and smoke billow upward. The source is all but lost between them. Sad and broken, like a child's toy, the Ford Explorer lays, overturned, waiting to burn out or be put out.

Kate crawls out of the shattered passenger side window. Glass and gravel scratch at her knees with every move, and her left wrist cries out in pain. It must be broken. But she's alive. She breathes deeply through a smile, looks back, and loses her breath.

Her mother hangs limply from the driver's seat, arms dangling over her head.

KATE

(small)

Mom?

The corpse's eyes shoot open wide. It extends a hand towards Kate, a hand that swiftly turns into a blade, racing to sear through her head.

20. INT. CABIN, SPARE ROOM - NIGHT (REALITY)

Kate awakens in bed. She and John are warm under a handknit quilt, wearing oversized t-shirts and sweatpants for pajamas. He has his head buried in her chest and his arms wrapped firmly around her waist. When he feels her body jolt, he squeezes her tighter.

JOHN

You okay?

KATE

Just a nightmare.

He lifts his head.

JOHN

Wanna talk about it?

She opens her mouth to say no, but thinks better of it. If anyone understands nightmares, it's John.

KATE

It was about the crash.

JOHN

The one with your mom?

KATE

Yeah.

He sits up fully at that. His hand comes to rest reassuringly on her ankle.

JOHN

Oh God, I'm so sorry.

KATE

It was like it was happening all over again. I crawled out of the car and I saw her, hanging there, but then... it wasn't her.

JOHN

Not her?

KATE

It was the Terminator.

JOHN

(whispering)

Oh no.

KATE

It tried to kill me.

JOHN

It's gone. It can't hurt you.

KATE

I know. But it felt so real.

She closes her eyes and lets out a deep sigh. John bends over and pets her hair.

JOHN

I don't want this for you.

KATE

What do you mean?

JOHN

The nightmares.

Kate gazes upon him with a mixture of awe and pity.

KATE

Is this what it's like for you?

JOHN

Not all the time.

KATE

But a lot of the time.

His hand stills. She wonders if she's crossed a line. But then he lies down beside her, his eyes staring directly into hers.

JOHN

Yeah, a lot of the time.

KATE

It never stops, does it?

JOHN

No. And you never get used to it. That's why I'd hoped...

KATE

You can't protect me from everything, John.

He smiles ruefully.

JOHN

I wish I could.

KATE

I know you do. But it's okay. I can handle a few nightmares. Just be there when I wake up, and I'll be fine.

She raises her hand, offering it to him. He takes it, threading his fingers in hers.

JOHN

Always.

The lingering tension leaves her body, replaced by a sense of a comfort. She brings John's hand to her lips and gives it a soft kiss.

KATE

I'm tired. Tell me something good.

JOHN

You mean like a bedtime story?

KATE

Not a story. Your dreams.

JOHN

What kind of dreams are we talking about?

KATE

Keep it PG.

John snaps his fingers in mock disappointment.

JOHN

In that case, I guess I dream about... us. Still.

KATE

What about us?

JOHN

Well, sometimes it's about the future. You and me, married, with a couple of kids. A house. White picket fence. The works. But mostly it's just us doing normal things, like going on dates or to prom.

KATE

You want to go to prom?

JOHN

I mean, it sounds pretty cheesy, but it could be fun. You'd look beautiful in a nice dress.

KATE

What kind of dress?

JOHN

Green. Like your eyes. Long. One of those strapless little numbers with the slit up the side.

She closes her eyes again.

21. EXT. PARKER HOUSE - NIGHT (FANTASY)

Kate stands on the doorstep, wearing the dress John described. She has her hands folded in front of her. They're shaking slightly.

KATE (V.O.)

You really want to show me off.

JOHN (V.O.)

You know it.

KATE (V.O.)

And what about you?

JOHN (V.O.)

Me? I'm in a regular old tux.

A motorcycle pulls up to the house. John hops off, impeccably dressed in a black tuxedo. He removes his helmet and tucks it under his arm.

KATE (V.O.)

So we don't match.

JOHN (V.O.)

No, I'm not going to prom as Lucky the Leprechaun.

KATE (V.O.)

Hey, it might go with the theme.

JOHN (V.O.)

The theme is Love Under the Stars.

22. INT. GLENDALE HIGH SCHOOL, GYM - NIGHT (FANTASY)

John and Kate walk inside, arm in arm. Cardboard stars and cotton filling clouds hang from the ceiling. In the dark, under the glow of fairy lights, they look like magic.

KATE (V.O)

So, midnight blue, then.

JOHN (V.O.)

Okay. Midnight blue.

Pop! His tuxedo changes color.

KATE (V.O.)

You look nice in blue.

JOHN (V.O)

I do?

KATE (V.O.)

Yeah.

John takes Kate by the hand and leads her onto the dance floor. They assume a closed position.

JOHN (V.O.)

Nobody's gonna be looking at me anyway. Not when I'm dancing with you.

KATE (V.O)

What's our first dance?

JOHN (V.O)

Tears for Fears, "Head Over Heels."

KATE (V.O)

Sing it to me.

23. INT. CABIN, SPARE ROOM - NIGHT (REALITY)

John blinks slowly. His face is blank.

JOHN

What?

Kate cuddles up to him.

KATE

Sing for me.

JOHN

You know I can't sing.

KATE

I know, but I like it when you try. I think it's cute.

JOHN

You think my terrible singing is... cute.

KATE

Mm-hm. So will you please? For me?

John grumbles, but gives in.

JOHN

(singing)

"Something happens and I'm head over heels / I never find out until I'm head over heels..."

24. INT. GLENDALE HIGH SCHOOL, GYM - NIGHT (FANTASY)

John and Kate dance to Tears for Fears. She rests her head on his shoulder. He pulls her into a close embrace. They disappear in a crowd of dancing couples. The dream fades into blackness.

25. INT. CABIN - DAY

Sunshine spills through the windows and beats down on Taggert, asleep on the couch. He drags a hand down his face and sits up. Sarah shuffles in from the bedroom, ironically looking more tired than ever.

SARAH

Morning, Owen.

TAGGERT

Morning.

With a heavy groan, he rises from the couch and approaches the kitchenette.

TAGGERT (CONT'D)

I need coffee. Want some?

SARAH

Please.

He fills a pot with water and puts it on to boil. His movements are slow, but not in a methodical way, rather zombified.

TAGGERT

How'd you sleep?

SARAH

Great. You?

TAGGERT

Dandy.

She remains unconvinced.

SARAH

I told you I could have taken the couch.

TAGGERT

Nonsense. You're my guest. Besides, I've fallen asleep on that couch plenty. Just a heck of a night, is all.

SARAH

Sorry about that.

TAGGERT

Nothing to be sorry about.

He grabs a can of coffee grounds and pours some into a saucepan.

TAGGERT (CONT'D)

How do you like your coffee?

SARAH

Black.

TAGGERT

Ah, a true connoisseur. What about John? Is he old enough for coffee yet?

SARAH

No, he hates the stuff.

She peers down the hallway leading towards the spare room.

SARAH (CONT'D)

Speaking of, I should probably go wake up the kids.

TAGGERT

I wouldn't worry about that.

SARAH

Why?

TAGGERT

Trust me.

26. INT. CABIN, SPARE ROOM - DAY

Jimbo climbs into bed with John and Kate, licks their faces, and barks eagerly. Kate gasps like she's been soaked. John just laughs.

JOHN

Whoa, boy!

The indication that they're awake only excites Jimbo further. He jumps back off the bed, runs around in a circle, and looks at them, panting with anticipation.

KATE

I think he wants to play.

Jimbo barks, as if to confirm.

JOHN

Eat first, play later, okay, boy?

At the mention of food, his ears perk up. He barks again and trots towards the door. John throws back the covers. Kate rubs the sleep and slobber from her eyes, sits up, and stretches.

KATE

What do you think we're having?

John swings his legs over the side of the bed and stands up, yawning.

JOHN

I dunno. Leftover stew maybe?

Jimbo's tail wags furiously.

KATE

Looks like Jimbo's all for it. Let's go see.

She gets up and ruffles his fur, all previous apprehension forgotten. He leans into her touch, preening at the attention. John opens the door.

JOHN

Alright, let's get fed.

Jimbo leads the charge out of the room.

27. INT. CABIN - CONTINUOUS

Taggert pours two mugs of coffee. He sets one in front of Sarah, seated at the dining table. Before he's had a chance to sit down himself, Jimbo comes running, followed by John and Kate.

TAGGERT

See, what'd I tell you? Jimbo's practically an alarm clock.

JOHN

Yeah, a hungry one.

TAGGERT

I've got him covered.

He steps away from the table and over to the fridge.

TAGGERT (CONT'D)

What do you kids want for breakfast?

JOHN

I'm down for anything. Kate?

KATE

Me too. We don't want to be too much trouble.

TAGGERT

What's the trouble? I'd be eating with or without you.

There's a bowl of leftover stew in his hand. Jimbo whimpers piteously until he sets it down on the floor. Immediately, the dog's back to his cheerful self. He dives at it and chows down.

JOHN

Got any cereal?

TAGGERT

Ah, no. I got plenty of oatmeal, though.

JOHN

Oatmeal's fine. Kate, are you alright with oatmeal?

KATE

Sure.

SARAH

Or I could whip us up some pancakes, if you've got the ingredients.

John lights up.

JOHN

Now you're talking my language. Please say we can have pancakes.

TAGGERT

My baking powder might be a little out of date.

SARAH

I'm sure it'll be fine.

She brings her mug with her to the kitchenette and motions Taggert towards the dining table.

SARAH (CONT'D)

Go, enjoy your coffee.

TAGGERT

You sure?

SARAH

It's the least I can do.

Taggert nods approvingly and takes a seat. John joins him. Kate takes pause, glancing from Sarah to the table and back again. She goes over to the kitchenette.

KATE

Can I help?

Sarah looks surprised.

SARAH

If you want.

KATE

So long as I'm not in the way.

SARAH

Pass me the sugar.

Taggert sips his coffee, watching them work. They run a tight kitchen, Kate measuring out dry ingredients while Sarah melts butter. She even knows to do the fluff and scoop method for flour.

TAGGERT

You didn't tell me your lady could cook, John.

JOHN

I didn't know.

Sarah pours the wet ingredients into the bowl and allows Kate to whisk it, waiting to take over in case she beats the tar out of it. Her worries are for naught. Kate is cautiously gentle with the batter.

SARAH

Good. Who taught you to cook?

KATE

I taught myself.

SARAH

No kidding?

KATE

Yeah.

SARAH

How long have you been at it?

KATE

About a year.

John nearly chokes on nothing. "About a year" means since her mother died. Either the wound is still too fresh, or she just doesn't want to make the morning awkward. But she must know he knows.

JOHN

Didn't your dad help at all?

Yeah, he's not sure where he was going with that one. It's no surprise when she snorts. It is pretty cute, though.

KATE

I don't think my dad cooked a day in his life.

TAGGERT

(to John)

Don't you be like that. A man's gotta know how to fend for himself.

JOHN

(sheepishly)

I make a mean Kraft Dinner.

Taggert sets down his mug and looks at John like he's a stranger.

TAGGERT

Boy... get your ass over there.

JOHN

Yes, sir.

He ambles over to the kitchenette. Sarah is pouring batter onto a stovetop griddle.

JOHN

Need any help?

SARAH

You can be our flipper.

JOHN

How do I know when it needs flipping?

Sarah gestures at the edges of the pancake. John fumbles his first one, but Kate and Sarah both give him a pat on the back. He looks eager to try again. Sarah points at another pancake, giving him the go ahead. This one turns out much better. Cheering and sizzling add to the warmth of the cabin.

28. INT. CABIN - LATER

Empty plates sit upon the dining table. Sarah starts to clear them, but Taggert stops her and does it himself. John is draped comfortably over his chair, having eaten his fill, while Kate nurses a mug of hot chocolate. Jimbo sneaks out from underneath the table, rummages through a box of toys, and drops a toy rope into John's lap. Taggert laughs.

TAGGERT

Sorry about Jimbo. He's a real ball of energy.

JOHN

It's alright. I need some exercise after that breakfast anyway.

He stands up and dangles the rope over Jimbo's head. Jimbo jumps and snaps at it until he's got a firm hold. John pulls the rope with all his might, but so does Jimbo. They're evenly matched. So far.

SARAH

Should we take bets?

TAGGERT

My money's on Jimbo.

JOHN

Oh, come on!

TAGGERT

You haven't seen what that dog can really do.

JOHN

And you haven't seen what I can do.

With John momentarily distracted, Jimbo takes the upper hand, giving the rope a good yank. John stumbles, but quickly regains his balance.

KATE

Careful, John!

He leans back, trying to leverage his weight against Jimbo's strength. Jimbo growls playfully and thrashes his head back and forth. With a sudden burst of energy, he runs around the dining table, dragging John along with him.

TAGGERT

See what I mean?

JOHN

I haven't let go yet!

TAGGERT

Just wait until he really gets going.

JOHN

He hasn't yet?

TAGGERT

Not a chance.

Jimbo makes another lap around the table, practically galloping in his enthusiasm. John tries his best to keep up, but trips and winds up on his knees. The rope flies out of his hand. Jimbo howls victoriously and takes his prize as a chew toy.

SARAH

Are you okay, John?

He gets to his feet and brushes himself off.

JOHN

I'm fine. I just can't believe I lost to a dog.

TAGGERT

Better men than you have. Jimbo is a beast.

JOHN

Yeah, well, next time the beast is going down.

Taggert pats him on the shoulder.

TAGGERT

Maybe stick to fetch.

JOHN

Gee thanks for the vote of confidence!

Jimbo, oblivious to the conversation, gnaws happily at his rope.

29. INT. MOTEL ROOM - DAY

A police K-9 unit prowls around, sniffing intently. His handler, DETECTIVE JONES kneels beside him, visibly disappointed. She smells nothing but stale cigarettes and cleaning supplies. Judging by the dog's movements, he's having no better luck. Jones looks to her partner, DETECTIVE KIM, and shakes her head. The MANAGER, standing in the doorway, shrugs.

MANAGER

I told you guys, we wash the linens here once a day.

KIM

But you're sure this is the girl you saw?

He holds up a picture of Kate, the same school photo that John carries on his person, but much crisper.

MANAGER

Yeah, that's her. She was with the boy and the woman.

Jones signals for the dog to move on. He slips into the bathroom and walks around in futile circles, his nose twitching against the floor tiles. Jones gets to her feet, frowning.

JONES

When was this?

MANAGER

Just a couple days ago.

KIM

And how long were they here?

MANAGER

Not long. They checked in that morning and were out by dinner time.

KIM

Did they say where they were going?

MANAGER

Nope. They just took off and ran.

KIM

Vehicle?

MANAGER

It was an SUV. Green, I think. Didn't catch the make.

Jones rounds on the manager.

JONES

Listen. This girl, she's got family looking for her. If you know more than you're saying...

He put his hands up.

MANAGER

No, I swear! I've got nothing to hide. I'm the one who called you guys.

KIM

And we appreciate that. But you have to understand, this is serious. Those people she's with are dangerous. We might not have much time. If you remember anything else, please, don't hesitate to contact us.

He offers his card. The manager takes it with a shaky hand.

MANAGER

I don't get it. They looked so... normal.

JONES

Trust us, Sarah and John Connor are anything but normal. They're wanted for more crimes between them than you can count on your fingers.

MANAGER

You really think they'd hurt that girl?

KIM

We don't know. We hope not. But there's no telling with them. That's why we have to find her.

The K-9 unit, having finished its search, slinks out of the bathroom, seemingly ashamed of his failure. Jones gives him a conciliatory pat.

JONES

Alright, let's wrap it up. We're not going to find anything here.

MANAGER

Sorry, guys.

He steps out of the doorway, making room for Jones and Kim to exit. The K-9 unit trails closely behind them.

KIM

Keep an eye out. If you see anything suspicious, give us a call.

MANAGER

You got it.

With a curt nod, Kim shuts the door. The manager, left alone, fans himself with his card.

30. EXT. CREST VIEW MOTEL - CONTINUOUS

Jones and Kim jog down the staircase leading off the veranda.

JONES

So what now?

KIM

We keep searching.

JONES

For what? All we've got is an SUV that might be green.

KIM

That's better than nothing. Let's put out an APB. In the meantime, we can canvas local gas stations. Maybe one caught them on surveillance footage.

JONES

Good idea.

They reach their car, an unmarked sedan parked at the far end of the lot. Jones opens the back door and the K-9 unit hops inside.

JONES (CONT'D)

What about the family?

KIM

Let's keep them out of it until we've got something concrete. Anything else will just make them worry more.

He slides into the driver's seat, while Jones takes the passenger side. They buckle their seatbelts, and Kim starts the engine.

31. INT. POLICE SEDAN - CONTINUOUS

JONES

Do you think she's okay?

KIM

I sure hope so. And the Connors better, too. For their sake.

His face is grim. He pulls the picture of Kate from his pocket.

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

Where are you, kid?

32. INT. CABIN, SPARE ROOM - DAY

John tucks his copy of the picture into the left breast pocket of a flannel. Kate looks up from tying her combat boots to watch him.

KATE

You really carry that everywhere?

JOHN

I have to. You're my lucky charm. How am I ever gonna catch a fish without you?

KATE

You actually know how to fish. I think I'm the one who needs a lucky charm.

JOHN

Driving's easy.

KATE

Says you. You probably learned at seven.

JOHN

Don't be silly.

(a beat)

I was six.

She can't tell if he's joking or not, and his smirk isn't helping. After a few seconds, it softens. He sits down beside her on the bed and places a hand on her knee.

JOHN (CONT'D)

Don't sweat it. You'll be fine. You totally rocked the wheel last time.

KATE

It's amazing what you can do when your life depends on it.

JOHN

Just think how much easier it'll be when it doesn't.

KATE

Remember you said that when I crash into a tree.

JOHN

Hey. Don't joke like that.

He gives her a kiss on the forehead.

JOHN (CONT'D)

There. For luck.

Kate kicks up her feet and bites back a smile.

SARAH (O.S.)

Come on, you two! Let's go!

JOHN

We're coming!

(to Kate)

You ready?

KATE

I don't know. I'm still pretty nervous. Can I get a little more luck?

She folds her hands, pleading, and grins expectantly. With a face like that, John can deny her nothing. He plants a big, wet kiss directly over his last.

JOHN

That oughta do it.

KATE

I think I feel it working already.

JOHN

Then we better get out there before it wears off!

He pulls her onto her feet and towards the door.

33. INT. CABIN - CONTINUOUS

As John and Kate step out of the spare room, Sarah awaits, her arms crossed, brow furrowed in a mix of exasperation and concern.

SARAH

Finally! I thought I was gonna have to come in there and drag you out myself.

JOHN

Sorry, Mom. Kate needed a little more luck.

SARAH

Luck?

JOHN

Never mind. Where's Owen?

TAGGERT (O.S.)

Right here!

He climbs up from the basement with a large tackle box in hand and a pair of fishing rods slung over his shoulder. Jimbo trails after him, sniffing curiously at the box. Taggert sets it down on the dining table with a heavy thud and hands John a rod.

TAGGERT (CONT'D)

Ready to catch some lunch?

JOHN

Hell yeah!

TAGGERT

Atta boy! Grab the cooler.

SARAH

Do you want a ride out to the lake?

TAGGERT

Naw. Fresh air will do us good. Right, Jimbo?

Jimbo barks in agreement, clearly excited by the prospect of adventure.

SARAH

Then it's just you and me, Kate. Ready to hit the road?

Kate shoots John a look of uncertainty. He smiles encouragingly. His belief in her is genuine and unwavering, but not quite infectious. She gulps.

KATE

Ready as I'll ever be.

SARAH

That's good enough for me.

She holds the front door open and gestures Kate through.

SARAH (CONT'D)

You boys be careful down by the water.

TAGGERT

Don't worry, I'll bring him back in one piece.

He pats John firmly on the shoulder. Sarah gives him a once over through narrowed eyes.

JOHN

Mom, it's just fishing.

She nods, acquiescent.

SARAH

Good luck out there.

The door creaks shut behind her.

34. INT. JEEP WRANGLER - CONTINUOUS

The driver's seat feels foreign to Kate, despite her brief foray behind the wheel. To keep her nerves at bay, she focuses on the rear view mirror, instead of the steering wheel in front of her. John, Taggert, and Jimbo roam through its reflection, on their way to the lake. They look excited. Kate's heart reaches out for John's, begging for more of his assurance. He glances at the car and gives her a thumbs up. It's probably a coincidence, but she'll take credit for it anyway.

Sarah taps the dashboard to gain Kate's attention.

SARAH

Come on, Kate. This is the easy part. Start the car.

KATE

Oh. Right.

She fits the key into the ignition and turns it. The engine roars to life.

SARAH

There you go. Now put it in drive.

Kate shifts the gear into drive. The Jeep lurches forward slightly. She clutches the steering wheel.

KATE

Is it supposed to do that?

SARAH

You're fine. Just ease into it.

KATE

Ease into it. Okay.

With a deep breath, she gently presses down on the accelerator. The Jeep rolls smoothly ahead.

KATE (CONT'D)

Am I doing it?

SARAH

You're doing it. You're driving.

KATE

(incredulous)

I'm driving.

As they ride through the trees, Kate starts to gain some confidence. She relaxes her posture and eases her grip on the steering wheel. Sarah looks on with a mixture of pride and relief.

35. EXT. KLUANE LAKE - DAY

The water is still and reflective, casting a mirror image of the mountains and sky. It looks like a painting on the lake's surface, soft and blended, with perfect clouds and vibrant colors. John and Taggert stand on the shore, lines cast. Jimbo sits next to Taggert, staring out at the lake with his head tilted, as if taking in the majestic sight.

JOHN

Think we'll catch anything?

TAGGERT

Don't be impatient. It's all up to the fish.

John checks his watch.

JOHN

Well, the fish only have a couple more hours until it's lunch time.

Taggert playfully shoves his head. The next few moments pass in companionable silence. Suddenly, John's rod twitches.

JOHN (CONT'D)

Holy shit, I think I got something!

TAGGERT

Reel it in!

John turns the wheel. The line goes taught. He tugs on the rod, unearthing a lake trout. Jimbo barks in celebration.

TAGGERT

You did it, kid!

He takes over, carefully removing the hook and placing the trout in the cooler.

JOHN

I can't wait to show Kate.

Taggert smiles, amused, as John casts his line out again.

TAGGERT

Always thinking about your girl, aren't you?

JOHN

Well, yeah. That's just what it's like when you're in love, right?

TAGGERT

I wouldn't know.

JOHN

You've never been in love?

TAGGERT

Not with a woman.

John raises an eyebrow.

JOHN

Men?

Taggert sputters.

JOHN (CONT'D)

C'mon, man, it's the 2000s. You can tell me.

TAGGERT

Get your mind outta the gutter, boy. I'm in love with the wilderness, the outdoors. I've gotta be, or I'd never survive out here.

JOHN

So you're not even curious?

TAGGERT

I'm not a young man anymore.

JOHN

You don't have to be young to be in love.

TAGGERT

But it helps.

John ponders this statement. He gets the feeling there's more that Taggert isn't telling him, but doesn't expect he would, even if John asked.

The Jeep pulls up to the shore, and Jimbo runs over to greet it. Kate pokes her head out of the driver's side window.

KATE

Look at me! I'm driving!

John looks over his shoulder and points to the cooler.

JOHN

I caught a fish!

KATE

You did?!

JOHN

Yup!

TAGGERT

He's quite the little fisherman.

Kate puts the car in park. She and Sarah approach the water.

KATE

Can I see?

TAGGERT

Go on ahead.

She lifts the lid of the cooler just far enough to take a peek.

KATE

It's a big one!

JOHN

Not really, but thanks. How was driving?

KATE

It was great!

SARAH

She's a fast learner.

JOHN

(to Kate)

Didn't I tell you?

KATE

Yeah.

They kiss.

TAGGERT

Hey now, don't get distracted. We're still fishing here.

JOHN

Sorry.

He doesn't look sorry in the least. But he does turn his focus back onto the water, as does everyone else. They stand in a line: Kate, John, Taggert, Jimbo, and Sarah. It's another painting, one moment of tranquility.

36. INT. CABIN, SPARE ROOM - DAY

A sketch of the lake scene looks remarkable in its accuracy. Working in bed, by the first rays of sunlight, John puts a few final touches on it. Kate peers over his shoulder.

KATE

It's beautiful.

John jumps.

JOHN

Hey. I didn't know you were awake.

KATE

I'm sorry. I didn't mean to disturb you.

JOHN

You're not disturbing me. I'm done.

He closes the book on it.

KATE

It must have taken a while.

JOHN

I've been working on it on and off for the past couple weeks.

KATE

Weeks?!

JOHN

Yeah, I may have thrown out a few rough drafts. I wanted to get it just right.

KATE

My boyfriend, the tortured artist.

JOHN

Am I that cliché?

Kate holds her index finger and her thumb just inches apart. John reaches for a pillow and whacks her in the face. She does the same to him. They trade blows for a bit, laughing. A strange rustling from beyond the door interrupts their play.

KATE

What was that?

JOHN

You stay here. I'm gonna check it out.

He tucks his sketchbook under the mattress and gets out of bed.

37. INT. CABIN - CONTINUOUS

John tiptoes into the living area. Dirty pawprints color the walls. The cabinets above the kitchenette have been thrown open without care. A bag of nuts lies ravaged on the countertop. Flour coats the floor like snow, disrupted by more footprints.

JOHN

What the hell?

He follows the trail to Jimbo's food bowl. A raccoon is unabashedly eating his leftovers. As if it senses John's presence, it stands up and turns around to look at him. He screams at the top of his lungs.

On the couch, Taggert awakens with a start. Sarah, Kate and Jimbo come rushing in.

SARAH

John?!

He points at the raccoon. Sarah gasps. Jimbo sees the intruder at his bowl and starts barking.

TAGGERT

Jimbo, no!

(to Kate)

Get him out of here!

Kate nods and, with great effort, drags Jimbo back into the spare room by his collar.

TAGGERT (CONT'D)

John? Back away slowly.

John does just that. As soon as he's close enough, Sarah grabs his arm and pulls him behind her. Kate returns from the spare room, alone and slightly winded.

KATE

Jimbo's safe.

TAGGERT

Good.

He inches over to the door and eases it open.

TAGGERT (CONT'D)

Sarah, fetch me a broom.

SARAH

Kate.

KATE

Got him.

Sarah hands John off to Kate. Kate cradles his head in her arms, close to her cheek.

TAGGERT

Okay, kids, now don't panic.

Suddenly, the raccoon hops on the kitchenette counter. Sarah grabs the broom from beside the fridge and wields it like a sword, bristles up. John and Kate hold each other and scream. Frightened, the raccoon runs deeper into the cabin. Taggert watches it go, groans, and snatches the broom from Sarah.

TAGGERT (CONT'D)

Dammit, I said don't panic! You all can fight robots, but you're scared of a little raccoon?!

JOHN

Robots don't have rabies!

TAGGERT

Go back to your rooms. I can handle this.

JOHN

Are you kidding? It's probably back there!

TAGGERT

Just relax. As soon as it smells you guys instead of food it'll move on.

JOHN

(croaking)

Okay.

He and Kate reluctantly venture into raccoon country.

38. INT. CABIN, SPARE ROOM - CONTINUOUS

Kate has John's head in her lap, petting his hair. They're both much calmer.

JOHN

That was... not my proudest moment.

KATE

We can't all be a man of the woods.

TAGGERT (O.S.)

(to raccoon)

This way. Come on.

JOHN

How the hell did the little bastard get in?

KATE

Maybe there's a hole in the roof.

JOHN

When we get a house, it's gonna be impenetrable, okay? I never wanna see another one of those things up close and personal in my life.

KATE

Okay.

She gives him an Eskimo kiss on the cheek.

JOHN

Sto-op.

He doesn't actually mean it, but then there's a knock at the door, and she does stop.

TAGGERT (O.S.)

Are you kids decent?

John rolls his eyes.

JOHN

No, the raccoon got us so hot and bothered we just had to have each other.

TAGGERT (O.S.)

Alright, ya smartass.

He opens the door.

TAGGERT (CONT'D)

I just wanted to let you know I got it back outside. You're free to come out now.

JOHN

Thanks, but I think we're gonna stay here just a minute.

Taggert raises his hands and backs away.

TAGGERT

That's fine. Don't mind me. Just remember, your mother is awake and these walls are thin.

He shuts the door.

JOHN

(mockingly)

"These walls are thin."

Kate laughs.

JOHN (CONT'D)

Forget him. Where were we?

KATE

I think I remember.

She showers his cheek in butterfly kisses.

39. INT. CABIN - LATER

John and Kate wander into the empty living area.

JOHN

Mom? Owen?

Nobody answers.

JOHN (CONT'D)

Where are they?

SARAH (O.S.)

Be careful...

TAGGERT (O.S.)

I'll be fine.

John follows their voices outside.

40. EXT. CABIN - CONTINUOUS

Sarah holds a ladder in place while Taggert traverses the roof. John and Kate come out of the cabin and go over to her.

JOHN

How's it looking up there?

SARAH

Too soon to tell.

TAGGERT (O.S.)

Dammit!

SARAH

Owen?

John takes a few steps back to get a better view of him.

TAGGERT

It tore through the beam.

SARAH

Can you fix it?

TAGGERT

Not right now, I can't.

He climbs back down the ladder.

TAGGERT (CONT'D)

I'll have to go back into town and get lumber.

JOHN

Can we come with?

Kate lights up.

KATE

Yeah, can we?

Sarah steps away from the ladder, dusts off her hands, and shakes her head.

SARAH

Absolutely not.

JOHN

Aw, come on, Mom. You can't keep us cooped up forever. Please?

Sarah puts her head into her hand and sighs.

SARAH

Alright.

John and Kate take each other by the hands and spin around. Sarah snaps her fingers.

SARAH

Enough.

They halt.

SARAH (CONT'D)

This is no pleasure cruise. We're going to get lumber and that's it.

JOHN

We can't even get lunch? I'm dying for a burger.

SARAH

We just had burgers!

JOHN

One not made of venison.

TAGGERT

What's wrong with venison?

JOHN

Too gamey.

He sticks out his tongue. Taggert laughs.

TAGGERT

Tell you what. How about we split the difference? I'll pick up some beef. I've got some shopping to do anyway. Our friend did a real number on the kitchen.

SARAH

Owen, let's not make a day of this.

TAGGERT

In and out, I swear.

Sarah looks to the heavens and throws her hands up in defeat.

SARAH

In and out.

KATE

Really? We're going grocery shopping?

TAGGERT

No, I am going grocery shopping. You--

He points between her and John.

TAGGERT (CONT'D)

--are staying in the car.

JOHN

Staying in the car? What bullshit. You're gonna treat us like dogs?

TAGGERT

Don't be ridiculous.

(a beat)

The dog doesn't get to come into town. Now, let's go.

He and Sarah start towards the Wrangler. Kate runs after them. Catching up to Sarah, she folds her hands pleadingly.

KATE

Can I drive? Please, Sarah, can I drive?

SARAH

Maybe on the way back.

KATE

Yes!

She pumps her fist like it's a sure thing. Doors open all around her, and she opens her own, eager not to be left behind. But before anyone can get in the Wrangler, a pair of hikers, ELLEN and TED, approach.

ELLEN

Excuse us.

The group jerk their heads in the hikers' direction. Ellen and Ted wave sheepishly, unnerved by all the eyes on them.

ELLEN (CONT'D)

Hi.

Sarah looks her up and down, nods curtly, and slides into the driver's seat. John and Kate follow her lead, filling out the back. Taggert is the last man standing.

TED

Uh, we're a little lost. Could you point us in the direction of Silver City?

TAGGERT

Why would you want to go there? It's a ghost town.

TED

That's exactly why!

ELLEN

We go to ghost towns all over the country.

She holds up her camera, an Olympus C-2.

ELLEN (CONT'D)

I put the pictures on my LiveJournal.

Taggert has never heard the word "LiveJournal" in his life, and it shows.

TAGGERT

Okay. Well, you're on the right track if you want to get to Silver City. Just keep going north. If you hit the bed and breakfast, you've gone too far.

TED

Thanks!

TAGGERT

No problem. Good luck.

He settles into the passenger seat and shuts the door. Sarah pounds on the gas. Ellen and Ted watch the Wrangler shrink into the horizon.

TED

Didn't they look familiar?

ELLEN

Yeah, but I just can't place it.

TED

Maybe we saw them on a trail?

ELLEN

No, I'd remember that.

She turns on her camera and starts scrolling through pictures.

ELLEN (CONT'D)

Oh my God. Look.

Ted cranes his neck to get a better look at the small screen. Ellen zooms in and pans over a wanted poster, centering John and Sarah's mugshots.

TED

Holy shit.

They stare at each other, their faces identical masks of shock and dread.

END