In Plain Sight / Sarah Connor Chronicles
this is all that came into my head...if you like it, feel free to use it.
MARY SHANNON:
Keeping low over my steering wheel, I pull up to where our witness is crouched low between two parked cars...crouched in a cracked and depressed patch of road. They told me they fixed this road. Goddamn paperpushers.
She looks up at me when I shove the passenger door open. When she isn't immediately coming here so we can get the hell out of here, I say, "What, you got a death wish? Get in!" How did I let Marshall talk me into letting him look for John Connor while I watch the kid?
Well, at least the kid's good at following orders - nearly broke a land speed record getting into the car.
***
CAMERON 2:
Once the van has begun accelerating toward - and beyond - an acceptible safe limit, I inform Mary Shannon - who has not buckled her safety belt - "I prefer 'Come with me if you want to live'," as politely as my subroutines can imitate.
"Whatever," Mary Shannon says, her vocal tone, pitch, and chemical signatures informing me that she is tired, overworked, and hungry. And exasperated. In an undertone signifying she is speaking to herself, she questions, "Why didn't I trade with Marshall? I would've found Connor by now." To me, Mary Shannon questions, "Who was that who was shooting at us? And why does she look just like you?"
"There are differences appearant to the naked eye," I state. Cosmetic ones only. "The answer is not complicated."
"Oh goodie."
"It involves time travel."
I am unfamiliar with this sound. I do not believe SkyNet has ever recorded its utterance. "Marshall, oh Marshall, how you are going to owe me for the rest of your life."
MARY SHANNON:
Keeping low over my steering wheel, I pull up to where our witness is crouched low between two parked cars...crouched in a cracked and depressed patch of road. They told me they fixed this road. Goddamn paperpushers.
She looks up at me when I shove the passenger door open. When she isn't immediately coming here so we can get the hell out of here, I say, "What, you got a death wish? Get in!" How did I let Marshall talk me into letting him look for John Connor while I watch the kid?
Well, at least the kid's good at following orders - nearly broke a land speed record getting into the car.
***
CAMERON 2:
Once the van has begun accelerating toward - and beyond - an acceptible safe limit, I inform Mary Shannon - who has not buckled her safety belt - "I prefer 'Come with me if you want to live'," as politely as my subroutines can imitate.
"Whatever," Mary Shannon says, her vocal tone, pitch, and chemical signatures informing me that she is tired, overworked, and hungry. And exasperated. In an undertone signifying she is speaking to herself, she questions, "Why didn't I trade with Marshall? I would've found Connor by now." To me, Mary Shannon questions, "Who was that who was shooting at us? And why does she look just like you?"
"There are differences appearant to the naked eye," I state. Cosmetic ones only. "The answer is not complicated."
"Oh goodie."
"It involves time travel."
I am unfamiliar with this sound. I do not believe SkyNet has ever recorded its utterance. "Marshall, oh Marshall, how you are going to owe me for the rest of your life."