Week 1 Day 2: Living Into Their Future – THE TERMINATOR

[A J Ferrara]

Sarah is reluctantly accepting what her new life will become. She shifts between not wanting to know, but asking questions that will propel her into accepting what is happening to her. Kyle gives her information but hesitates at times. The dialogue drives the both into a world they’re not prepared for.

I chose a scene from a recently written TV PILOT that has similar subtext and characters who aren’t really prepared for what awaits them.

INT. KITCHEN – NIGHT (1915 Italy)

A KNOCK-KNOCK at the door startles them. Marianna’s eyes widen in fear.

Giuseppe jumps from his seat and brings a finger to his lips – SHH!

He creeps to the door and reaches for a thick, gnarled walking stick that rests near the stove.

Marianna wants to scream, but can only manage a loud whisper.

MARIANNA

Giuseppe!

Giuseppe shakes his head (no.) He approaches the door, stick in hand. He listens.

SILENCE.

GIUSEPPE

Who’s there?!

ZIA ANNUNZIATA MOSCA, 70, speaks with a Calabrese accent and a firm, commanding voice.

ZIA

Zia Annunziata.

Marianna jumps out of her seat, relieved.

MARIANNA

My God, Zia! Why didn’t you say so!

Giuseppe opens the door.

ZIA

I just did.

Zia Annunziata, the respected matriarch of the Mosca clan, enters. She’s a little bit of a thing and her tan, weathered face reveals a difficult life; but she still packs a punch in any fight, verbal or otherwise.

A bit out of breath, Zia smiles.

ZIA

Are you going to hit me with that stick?

GIUSEPPE

This is what happens when you scare people half to death in the middle of the night.

Marianna reaches for a pitcher of water.

MARIANNA

Zia, would you like some water?

ZIA

Oh, Marianna dear, you know I would prefer grappa, but water will do.

Giuseppe rolls his eyes. Marianna smiles, pours water and hands her a glass.

MARIANNA

Zia, it’s dangerous for you to be out so late.

ZIA

Well, who told you to move all the way up here, like a mountain goat?

GIUSEPPE

See how she starts, Marianna? Maybe you’re why we moved up here, Zia.

ZIA

So, this is how you treat me when I climb up halfway to God to bring you something?

MARIANNA

No, Zia. He doesn’t mean it. Tell her you don’t mean it, Babo.

Giuseppe just grins. Zia sits at the table and opens her overfilled purse. She retrieves a shoe-sized package wrapped in twine and lays it on the table.

GIUSEPPE

You plan on staying a while?

He reaches for the package and Zia slaps his hand.

ZIA

Leave it. I have something else for you.

He pulls his hand back, trying not to laugh, but Marianna giggles. Zia frowns.

ZIA

I know you both like to tease your Zia but this is not a laughing matter.

MARIANNA

I’m sorry, Zia.

Giuseppe and Marianna share more stifled giggles.

Zia pulls a bulging envelope out and lays it on the table beside the package. She nudges the package toward Marianna.

ZIA

These are homemade biscotti for the children. It is their favorite.

Zia puts her hand on the envelope and stands.

ZIA

Now, I have given this extraordinary thought and more than a little bit of prayer. Before coming here, I went to San Bruno, day after day on my knees, seeking guidance. The answer was clear. There is only one choice.

Zia slides the envelope to Giuseppe.

Giuseppe hesitates – he’s not laughing now.

ZIA

Well, go on, open it.

Giuseppe takes the envelope. He studies it. He glances at Marianna, then folds back the flap, reaches in and slides out a thick wad of paper lire. His jaw drops. Marianna GASPS.

ZIA

It comes with a condition.

Giuseppe recoils, surprised.

ZIA

There is no need to count it or question me. It is a precise amount. Exactly what you’ll need.

Marianna steps closer, concerned.

MARIANNA

Zia, what are you talking about?

ZIA

And you, Marianna Mosca, will support him in this.

MARIANNA

Support him – in what? Where did you get all this money? What are we supposed to do?

ZIA

He will go. You will stay.

Marianna and Giuseppe exchange a fearful gaze.

ZIA

This is enough money for passage, for Giuseppe and one of your sons. Passage from Palermo to L’America.

ZIA

Stop! Both of you! You will not defy me, and you certainly will not defy San Bruno.

Marianna side-steps to Giuseppe. They clasp hands, their panic growing.

ZIA (O.S.)

Look at you. This town, this, God help me, this country is no place to raise your family. Of the Moscas left, you, Giuseppe, you are the one to carry on the name. But not here.

ZIA

Not in this hell hole.

Zia takes Giuseppe’s other hand and caresses it.

ZIA

These are not for prickly pears. I want to spit when I look at your nails, full of this mountain. You are a tailor, Giuseppe, an artist. Never in my life, have I seen someone who could sew like you. It is a gift, a gift from God and you are wasting it on dirt.

Zia releases his hand.

ZIA

I will not put up with it anymore. You are going – to L’America.

SILENCE. Giuseppe and Marianna’s heads are spinning like they’ve been smacked in the face.

ZIA

You will have work. You will send Marianna money and she and the rest of the children will follow. And there is nothing else to say.

MARIANNA

But how? Where did you get all-

ZIA

I sold the donkey.

MARIANNA

Zia no! That was for your future.

ZIA

You are my future. The arrangements have been made. You have some time to put things in order. The Santa Ana leaves from Palermo in a few weeks. I like the name. It is a good sign. Ana was the Madonna’s mother and the grandmother of our Lord Jesus. You can not get better than that.

GIUSEPPE

A few weeks! Zia, no!

Marianna backs away in shock. She turns away and leans on the stove, her breathing, desperate.

ZIA (O.S.)

Listen to me, young man. You do not tell Zia no. You will do this for the family, for all of us. You will do this.

GIUSEPPE

But where will I go? I can’t leave Marianna. Adelina isn’t well. Zia, please.

ZIA

Your whole family is sick, not just the little girl. And it will be worse for all of you if you stay. That I can guarantee. You must do this. You must make a sacrifice. That is what a man does. Be a man, Giuseppe. Be a man.

Stunned, and trying to hide the fear in his eyes, Giuseppe can’t even look at Marianna.

ZIA

I will take care of Marianna and the other children while you are away. That is my promise to you.

Zia considers.

ZIA

Oh, and another thing, you should take Franco with you.

Marianna whips around, horror etched on her face.

ZIA (O.S.)

Leave Stefano with Marianna and the little one. He is very confused right now. He has one foot in childhood and the other in manhood. He is a thinker – but also a hardhead. He will consider this an abandonment of the homeland. Trust me. You must give him time.

Giuseppe wavers – he knows he’s losing this argument.

GIUSEPPE

How will I know what to do? Where would I go?

ZIA

Do you think I would throw you to the wolves. A man, Signore Rodolfo Moretti, will meet you at the dock in New York. He is a padrone from Reggio.

Marianna listens, completely overwhelmed.

ZIA (O.S.)

I have told him of your skills as a tailor. He will help you with some work and a place to stay. This is what he does. You will give him a little of what you make. You will send a little back to Marianna.

Giuseppe listens, stone-faced.

ZIA (O.S.)

You will live on the rest. In time, you will be able to send for her and the children. This is all too much right now, I know. You take some time with your family. But you be at that boat. Do you hear me?

SILENCE.

ZIA

Answer me now!

GIUSEPPE

I hear you!

Marianna trades a heartbroken look with Giuseppe.

[Constance Gillam]

I’ve seen this movie at least a dozen times but never thought of the characters in relation to each other. I always thought of Kyle coming back through time to save Sarah but never her saving him. Obviously, he dies at the end but for those brief hours, they lived a lifetime. (I think that was mentioned in the movie)

Sarah’s traits: Kyle’s traits:

naive resilient

curious fanatical

strength tough

evolving

[Steven Delisi]

The scene begins with the over arching drama that they are on the run … Kyle is being hunted in a large manhunt, etc., & literally out of gas. And, maybe figuratively for Sarah (or both?) as we find out she does not feel important enough to be the one.

Sarah will find out how important she really is though, which this scene is about living into her future.

Kyle will successfully deliver an important message & have it acted upon.

Sarah’s transformation:

She will go from being unsure of herself and living an insignificant life, to saving the world. And, by helping her son survive in the future … she will become fulfilled in the present.

Insight: one character can help another fulfill their character journey. I’m wondering if it can be an obstacle for themselves at the same time? (maybe a breakthrough realization)

[Marti Wheat]

Against the backdrop of just witnessing a devastating scene of killing an entire precinct of policemen and being hunted into the night, Sarah’s role in shaping and saving the future is revealed to her by Kyle. And, while she protests that she’s not capable of doing any of the things necessary to fulfill that role, she doesn’t hesitate to take control when she realizes that Kyle has been shot and she field dresses his wound like a champ. Clearly, despite her own lack of self-awareness and confidence, she already possesses the very traits (strength, courage, organization and determination) that she stresses she does not have.

Kyle’s character’s sole purpose is to mold Sarah into the person she is destined to become, perhaps at the risk of his own life and future. He is practically a zealot in his hero worship of John Connor and Sarah, as John’s future mother. There is no question that he is ready to martyr himself in order for Sarah to survive and fulfill her destiny.

[Neil Werenskjold]

CM Week 1 Day 2: Living Into Their Future – THE TERMINATOR

What I learned rewriting my scene/character is that I do not have to rewrite my characters for this aspect. My stories have the character’s walk and future built-in during my development phase, which starts when I conceive an idea for a story with a moral truth that has seemed to have gotten lost in our awareness. My characters have to ad-lib their way to an unknown future. Searching for their place in the sun.

Sarah Connor’s great traits

-She is in an unbelievable situation. She is hanging out with someone from the future. Never before has that ever happened, but it is happening. She shows the ability to keep going, although she does not know where things are heading.

-Sarah is kind

-She responds appropriately and very quickly to danger instinctively.

Kyle Reese’s great traits

Kyle is in a situation of being the first to go back in time. He is going by feel too. No one has ever done this before to write an operations manual. But he knows and communicates to Sarah how important it is to keep her safe and move forward.

Kyle has to adjust to older ways and resources than he is used to.

Both adjust appropriately to save their lives. High stakes. Adjust and overcome. To live another day…yada-yada-yada…

Background: Military Family Blues is about two reservist Military families on the verge of divorce. In the two scenes below, two military members, one spouse from each doomed family, are sitting in an aircraft for the long six-hour flight to Honduras. They find out that each spouse back home wants the divorce.

Ironically, while Samantha (Sam) and Bill are deployed, their spouses, Tom, Sam’s husband, and Mary, Bill’s wife, meet in a snowy grocery store parking lot for the first time. They begin a relationship unaware that their spouses are together during the deployment.

This sets the beginning plot for all four spouses during this deployment time frame. All their futures are up in the air from here on until the big event and the big reveal.

Scenes from Military Family Blues

9. INT. AIR FORCE TRANSPORT AIRCRAFT – DAY

The aircraft is in flight.

Sam and Bill are sitting together alone in their row of seats. Their team is seated close around them. Bill wakes.

SAM

Well, you are awake. Feel better? You looked like crap when we sat down.

Bill, waking up, grabs a water bottle out of his carry-on.

SAM

How’s baby Christina?

BILL

(subdued)

Fine.

SAM

Mary breastfeeding her?

BILL

Yes.

SAM

Tom wanted me to breastfeed our son. Maybe I should have.

BILL

Maybe you should have?

SAM

Yeah, I haven’t told anyone yet. Tom and I are separated. I seem to rub him the wrong way a lot. Maybe if I had tried to breastfeed our son and not volunteered so much for deployments, we would still be together.

BILL

(surprised)

What?? — What’s going on? You guys are so good together. He saved your ass.

Bill’s spirit drops.

SAM

It’s been three months now. Something about some pictures…

10. INT. GROCERY STORE PARKING LOT – EVENING

It is snowing lightly, beginning to accumulate.

Exhausted, Mary struggles with the grocery cart full of bags of groceries and a CRATE OF WATER at the BOTTOM of the cart. She is slipping in the snow with her three children in tow. James, Noah, and Christina.

Mary slips in the snow and almost falls onto the snow-cover asphalt.

MARY

Thank God it’s the start of the weekend and no daycare till Monday.

Mary arrives at their older model SUV and discovers it has a flat tire. Dead tired, Mary looks up, ready to cry, but soldiers on.

She quickly seats the children in the SUV. He starts the engine and prepares herself to go out to change the tire.

Snow mingles with the tears in her eyes as she knees down in the snow and begins to set the jack-up behind the tire.

Out of nowhere, a STRANGER appears.

TOM

Here let me do that. You have your hands full with the kids. Just get in out of the snow.

MARY

Oh no, I can’t expect you to do that.

Mary turns and sees this very handsome gentleman standing over her. He knees down, taking the jack from her. Then, he jacks up the SUV.

Astonished and so thankful, Mary kneeling in the snow, watches Tom quickly loosen the lug nuts.

Sensing she is in his way, Mary slips, trying to stand up. Grabbing onto Tom to steady herself, her cheek rubs his day-old beard. She gets a whiff of his COLOGNE.

Mary’s eyes light up in delight as he helps her stand up.

TOM

I can get this. You get inside the car and take care of your children.

She thankfully complies with this command without the slightest hesitation.

Mary watches Tom through the side-view mirror as he quickly finishes up as the snow falls heavier.

Mary pops out of the door just as Tom puts the flat snowy tire in the back of the SUV. Then they quickly load the snow-covered groceries on top of the wet tire as the snow comes down faster.

MARY

Thank you so much. Here is a little something for your help.

Mary tries to give him ten dollars.

TOM

No, thank you. You keep it. You get yourself and the kids home safely.

MARY

I’m Mary. What’s your name so I …can pray for you.

TOM

Thanks. My name is Tom, and I could use some prayers. Thank you.

MARY

Anything, in particular, I can pray for, Tom?

Tom hesitates.

TOM

No, I just gotta figure some important things out.

Smiling, Mary gets into the SUV, flipping it into 4-wheel drive. Then slowly drives out of the congested parking lot.

11. INT. AIR FORCE TRANSPORT AIRCRAFT – DAY (CONTINUED)

Bill looks at Sam hard.

BILL

There must be something in the air.

SAM

What do you mean?

Bill chokes up.

BILL

Mary wants a divorce. — She just told me this morning as I was leaving.

SAM

Bill, I’m so sorry. — Yeah, what in the hell is going on? Why?

BILL

I didn’t have time to fix a few things around the house before leaving. I guess. I am numb.

SAM

Look at me. Me to. I’m shaking, my stomach hurts, and I cannot sleep well. Tom is my life…

Bill takes her hand.

BILL

I felt like I could not breathe as I left the house. My stomach hurts, too. — Well, we aren’t going anywhere for a few more hours. Do you want to talk or get some more rest?

SAM

I haven’t been sleeping well for a while. Can you hold my hand a little longer?

Bill nods.

SAM

Let’s get some more rest.

BILL (smiling)

Yeah, and Rojas can say we slept together.

Rojas pops his head over the seat.

ROJAS

What’s that? Did I hear my name?

BILL

No Rojas. Go back to sleep.

ROJAS

Okay. I’ll give you two your privacy. Wink-wink…

Rojas sits back down.

Troubled, Bill stares off into space before he closes his eyes.

[Kristina Zill]

At the start of the conversation under the bridge, Sarah asks Kyle what it’s like to travel through time. That’s an elegant way of showing us that she finally believes his story, without having to say it on-the-nose.

What future is Sarah Connor living into?
She’s going to be a legend, who teaches her son to fight, organize

What future is Kyle Reese living into?
A future where he is a fighter who will give his life for John Connor, who at this point hasn’t been born.

What is Sarah’s transformation implied by this scene?
Sarah will become a survivor and fighter and teach her son to survive and fight.

What drama was built around this scene?
The message from her son: she must survive or he will never be born. The whole film is about making sure that Sarah survives the attack from the Terminator.

What traits showed up in these 2 characters’ words and actions?

Sarah
• Disorganized
• Impatient
• Passionate
• Rational

Reese
• Earnest
• Brave
• Loyal
• Sweet, loving

What makes these characters great from a writing perspective:

We know Sarah’s potential since Kyle has come from the future to tell her, and the pleasure is in watching her begin her transformation, even though she doesn’t want to.
We know Kyle’s motivation for saving Sarah is just as strong as the Terminator’s to kill her.

[Daisy Khalifa]

CHARACTER MASTERY WEEK1 DAY 2

Sarah Conner is the reluctant “mother of the future”. She leads an unremarkable life as a waitress, and she is for the most part unhappy and lonely. And while she says emphatically to Kyle, “I don’t want this honor,” the prospect of being a mother seems to warm her heart, as does the thought of having a son. She is an excellent character for a writer because her prosaic life serves as a perfect backdrop for being the mother of the man who is destined to save civilization. This formula alone is incredibly relatable for the audience. It is Science Fiction, unplugged! Much like ET, we are given obscure, average, run-of-the-mill adult characters, or naive children, who must interface and deal firsthand with the most important people and events in the universe.

Kyle’s future hinges on protecting Sarah. The world in which he lives is safe only because John Connor has control and many good people, according to Kyle, rely on John’s guidance for their safety and prosperity. Kyle tells Sarah he volunteered, and based on his description of their way of life, it becomes clear that it would have been easy to volunteer to go back in time and protect John Connor’s mother. In essence, Kyle implies that he would not be alive, nor would his world be safe, without John Connor to protect them. In short, Kyle is in awe of Sarah. He is loyal, he is committed and, as he himself says, “I’d die for John Connor.”

Meanwhile, Sarah is a typical young woman who exhibits maternal instincts straightaway—she nurses Kyle’s wound and quickly exudes a reassuring, caring nature. From Kyle’s response, the audience sees that anyone would want to be in Sarah’s care. Sarah’s implied transformation is her acceptance about being a mother, and, furthermore, she is starting to believe that the world is going to change drastically in her lifetime.

Others in the class have pointed out that Kyle is a zealot and a martyr, which is true, and, yet, he is also vulnerable and figuring out as he goes along his game plan for Sarah given he is adjusting to time travel. They need each other, and, yes, they save each other in different ways, even though Kyle dies in the end. His meeting Sarah fulfills him and he is tireless and fearless when it comes to her safety and well being.

What I learned is that we have to keep in mind all perspectives as we write characters—and we have to revisit and refresh our understanding of what it means to “suspend our disbelief”. In this case we have to train our characters to not only be able to suspend their disbelief with what’s going on, but also convey to the audience that this is a plausible and excellent story!

To make it easy on myself, I think about the ultimate “human-confronts-super-human” tale: the New Testament. I think this scene from The Terminator is a good example of “Biblical Sci-Fi.” In this case, we’re watching the Annunciation, with Kyle in the role of the angel Gabriel and Sarah as the Virgin Mary. What is most important from each scene is the “bringing of the news” or “the telling”, “the notifying”, and then figuring out how it is handled in dialog and imagery—and, most importantly, character mastery.

We have to know (internalize) what they think about life, the unexpected—and death. Even if it is just an exercise, ask yourself as a writer, how this character views death, and anything far-fetched, for that matter. I am also learning how to write a character that must face and accept a totally inexplicable situation, like meeting a person from another point in time and being told you have to be protected because all of civilization relies on the child you are going to have (even though you’re not pregnant and don’t even like anyone at the moment). Yes, my characters’ reactions needs to be handled and written as well as Sarah’s and Kyle’s—and any number of individuals in the Bible!

[jeffrey jeff glatz glatz]

A few things that stood out to me:

Kyle is accepting that he will do anything including sacrificing his life for John and Sarah.

Kyle will help Sarah become who she needs to become

Sarah is taking on the “mother” role in taking care of Kyle’s wound, starting her journey to be the mother of the future.

Sarah still wants to be surprised about the future, even though she could find out much from Kyle.

Sarah will be the savior of mankind and does not want it

Kyle Traits:

Warrior

Honor and Sacrifice

Strength

Sarah Traits:

Stronger than she thinks

Motherly becoming a leader

Inquisitive

Delicate that will become powerful

Sense of humor

[CHRISTOPHER WEBB]

Week 1 Day 2: Living Into Their Future – THE TERMINATOR

Breakthrough

Kyle Reese is enamored with John Connor so much that Sarah Connor the idea is more important than Sarah Connor the person. It’s not love or lust, it’s admiration. All of his admiration is based on things she hasn’t done yet, primarily raising John Connor to be a man that Reese will die for. He talks about John Connor with such reverence that It borders on worship. Sarah Connor is just an extension of that.

Sarah Connor understates her abilities. She applies a pretty good field dressing to a wounded arm on her first attempt ever. She keeps Kyle talking to keep morale up and not fall into despair despite being cold, injured, on the road, and roofless, with a car that just had to abandon. For someone who lived a comfortable life she’s acclimating well.

[SCENE]

SET-UP: Ciella just found out that she will be training the newest recruit, Martin, the details of insurance fraud investigations. They’ve just got their first case and are driving to the location to do an interview. For reference, Martin’s father, David, owns a Private security business that is currently under federal investigation.

INT. CAR – DAY

Ciella – So I assume you don’t want to talk about what your father.

Martin – We can talk about him if you want. No issues with that.

Ciella – Hmm. That means you don’t know anything.

Martin – Or I just won’t say anything.

Ciella – Nope. You don’t know anything. Cause If you did, and I were your father, I wouldn’t let you too far out of my sight. And the Feds wouldn’t either.

Martin – Wow. You assume a lot. But you’re not just being a know-it-all, that’s part of your investigation tactic. Cause in my experience if you assume things about people and you end up being right they’ll say, “How’d you know?” and you’ll come up with some Sherlock Holmes-ian level story about how exceptional your observational skills are and you’ll try and pass it off as natural ability. But if you’re wrong, people will tell you you’re wrong and will go out of their way just prove it to you. Either way you get the information you wanted and maybe even a little more than that.

Ciella stays silent as she drives. Martin gives her an odd look but she doesn’t wait long before speaking.

Ciella – So I was right, you don’t know anything.

He chuckles as he shakes his head. She joins in as they chuckle together.

Ciella – So how long were you in the military?

Martin – Seven years. And you don’t get points for that.

Ciella – Not trying to earn ‘em. Just trying to get to know my trainee.

• This reply was modified 3 years, 2 months ago by  CHRISTOPHER WEBB.

[Zev Ledman]

What future is
Sarah Connor living into? To
save the world.
What future is Kyle Reese
living into? To protect Sarah
What is Sarah’s
transformation that is implied by this scene? Sarah thinks she’s a nothing. She will transform into
the leader to save the earth from the machines and bear a son who will lead
the fight after her.

Traits:

Sarah – caring, seeks
understanding, questions abilities, inquisitive, compassionate, lacks
confidence but begins to wonder when Kyle tells her what a great dressing
she did.
Kyle – Strong, idolizes Sarah,
protector, emotional, willing to sacrifice his all.

What makes this character great
from a writing perspective?

Kyle – Subtext- what he’s saying is not the real reason he came to protect Sarah.

Sarah – She must reinvent herself to become the person she needs to be.

[Christopher Phillips]

In the terminator scene, they have to abandon the car. To a certain extent, they are letting go the last of Sarah’s old world, her life as a waitress and the naivete of what’s to come.

Sarah and Reese huddle in a tunnel and Sarah asks Reese’s first name – she now sees him as a real person and not just a crazy nut case.

In this scene, they both reveal a bit about themselves – Sarah feels the pressure of her collapsing world, but also the pressure of being a legend when she doesn’t believe in herself – yet, she has a natural take command instinct when she realizes that Reese is shot and applies a bandage to his arm without even thinking about it. She’s a survivor, runs best on instinct when it comes to helping others, even when her own life is a mess.

For Reese, we learn that he’s in love with Sarah – looks her straight in the eyes like he’s been staring at her forever, longing to meet the great Sarah Connor – he even volunteered to go to the past to meet her. In a way, Sarah is already a hero to him and he’ll do anything to protect her.

What I learned about this scene is how we can reveal character through stories. But also, how the other characters in the scene react to those stories – supporting the story or denying the story. And we can also take that scene and use it to paint a broader picture of where we’ve been (abandoning the car, gunshot wound) and potentially the troubles ahead (surviving a coming war and the subsequent dark times ahead).

[Judith Resell]

It’s challenging to write a mix of human and superman characters and get the audience to genuinely care about them all and experience all as believable. In this scene, Sarah shows her nuturant and maternal qualities, which are key to her future as John Connor’s mother. She learns that she will have to fight for her life in the future and is not prepared for that. Suggests an interesting arc. Kyle seems caring and loyal, but his lack of response to getting shot reveals to us his superhuman aspect, that he is not of this world, in a behavioral way–not just the knowledge that he is from the future.

[Elizabeth Corinth]

FUTURE:

Sarah: Becoming the legend she feels like she could never possibly be
Becoming a mother to the son who saves the world — the mother who shapes him to be ready to do that

Kyle: Helping Sarah become the legend she doesn’t know how to be
Bringing about the future he has seen and needs to happen

<div>

Sarah’s implied TRANSFORMATION:

From scared to courageous </div><div>

From helpless to powerful

From ignorant to expert

DRAMA:

They’re on the run; there’s a huge manhunt going on. Will they be found? </div><div>

Kyle has a bullet wound that needs dressing.

Sarah is trying to process the news that she is somehow supposed to be “the legend” who is key to saving the future of humanity.

TRAITS:

Sarah:

Lacks self confidence

More capable and tougher than she realizes

Open

Kyle:

Committed </div>

Principled

Faithful

[Rosemary Lismore]

The sarah connor character is great here as we see her behaving effectively, naturally, yet she herself is unaware of her natural abilities This scene allows us to see the infancy of her becoming a great heroine. The character moves the story forward by both asking about her future and pushing against it in her ‘present’.