diff --git a/terminator2SendScript.js b/terminator2SendScript.js new file mode 100644 index 0000000..7b154b5 --- /dev/null +++ b/terminator2SendScript.js @@ -0,0 +1,6249 @@ +async function enviarScript(scriptText) { + const lines = scriptText.split(/[\n\t]+/).map(line => line.trim()).filter(line => line); + main = document.querySelector("#main"), + textarea = main.querySelector(`div[contenteditable="true"]`) + + if (!textarea) throw new Error("Não há uma conversa aberta") + + for (const line of lines) { + console.log(line) + + textarea.focus(); + document.execCommand('insertText', false, line); + textarea.dispatchEvent(new Event('change', { bubbles: true })); + + setTimeout(() => { + (main.querySelector(`[data-testid="send"]`) || main.querySelector(`[data-icon="send"]`)).click(); + }, 100); + + if (lines.indexOf(line) !== lines.length - 1) await new Promise(resolve => setTimeout(resolve, 250)); + } + + return lines.length; +} + +enviarScript(` +"TERMINATOR 2: JUDGEMENT DAY" + + a Screenplay + + by + + James Cameron + + and + + William Wisher + + + + + Revised final shooting script + + + +1 EXT. CITY STREET - DAY + + Downtown L.A. Noon on a hot summer day. On an EXTREME LONG LENS the + lunchtime crowd stacks up into a wall of humanity. In SLOW MOTION + they move in herds among the glittering rows of cars jammed bumper to + bumper. Heat ripples distort the torrent of faces. The image is + surreal, dreamy... and like a dream it begins very slowly to + + DISSOLVE TO: + +2 EXT. CITY RUINS - NIGHT + + Same spot as the last shot, but now it is a landscape in Hell. The + cars are stopped in rusted rows, still bumper to bumper. The + skyline of buildings beyond has been shattered by some + unimaginable force like a row of kicked-down sandcastles. + Wind blows through the desolation, keening with the sound of ten + million dead souls. It scurries the ashes into drifts, stark + white in the moonlight against the charred rubble. + A TITLE CARD FADES IN: + + LOS ANGELES, July 11, 2029 + +3 ANGLE ON a heap of fire-blackened human bones. Beyond the mound is a + vast tundra of skulls and shattered concrete. The rush hour crowd + burned down in their tracks. + +4 WE DISSOLVE TO a playground... where intense heat has half-melted the + jungle gym, the blast has warped the swing set, the merry-go-round + has sagged in the firestorm. Small skulls look accusingly from the + ash-drifts. WE HEAR the distant echo of children's voices... playing + and laughing in the sun. A silly, sing-songy rhyme as WE TRACKS + SLOWLY over seared asphalt where the faint hieroglyphs of hopscotch + lines are still visible. + + CAMERA comes to rest on a burnt and rusted tricycle... next to the + tiny skull of its owner. HOLD ON THIS IMAGE as a female VOICE speaks: + + VOICE + 3 billion human lives ended on August 29th, 1997. + The survivors of the nuclear fire called the war + Judgment Day. They lived only to face a new + nightmare, the war against the Machines... + + A metal foot crushes the skull like china. + + TILT UP, revealing a humanoid machine holding a massive battle rifle. + It looks like a CHROME SKELETON... a high-tech Death figure. It is + the endoskeleton of a Series 800 terminator. Its glowing red eyes + compassionlessly sweep the dead terrain, hunting. + + The SOUNDS of ROARING TURBINES. Searchlights blaze down as a + formation of flying HK (Hunter-Killer) patrol machines passes + overhead. PAN WITH THEM toward the jagged horizon, beyond which we + see flashes, and hear the distant thunder of a pitched battle in + progress. + +5 EXT. BATTLEFIELD - NIGHT + + THE BATTLE. Human troops is desperate combat with the machines for + possession of the dead Earth. The humans are a ragtag guerrilla + army. Skynet's weapons consist of Ground HKs (tank-like robot + gun-platforms), flying Aerial HKs, four-legged gun-pods called + Centurions, and the humanoid terminators in various forms. + + SEQUENCE OF RAPID CUTS: +5A Explosions! Beam-weapons firing like searing strobe-light. +5B A gunner is an armored personnel carrier fires a LAW rocket at a + pursuing Aerial HK, bringing it down in a fiery explosion. +5C Another APC is crushed under the treads of a massive Ground HK. + +5D A TEAM OF GUERRILLAS in a intense fire-fight with terminator +5E endoskeletons in the ruins of a building. Three terminator +5F endoskeletons advance, firing rapidly. Another (complete cyborg), + with flesh ripped open and back broken, gropes for a rifle on the + ground. + +5G A Centurion overruns a human firing position. Soldiers are cut + down as they run. Fiery explosions light the ranks of advancing + machines. + +6 IN A BLASTED GUN EMPLACEMENT at the edge of battle, a man watches + the combat with night-vision binoculars. He wears the uniform of a + guerrilla general, and a black beret. He is still amid running, + shouting techs and officers. + + C.U. MAN, pushing slowly in as the battle rages O.S. He lowers the + binoculars. He is forty-five years old. Features severe. The left + side of his face is heavily scarred. A patch covers that eye. An + impressive man, forged in the furnace of a lifetime of war. The name + stitched on the band of his beret is CONNOR. We push in until his + eyes fill frame, then... + + DISSOLVE TO: + + FIRE. SLOW, BOILING, ENORMOUS. FILLING FRAME. + + VOICE (SARAH CONNOR) + Skynet, the computer which controlled the machines, + sent two terminators back through time. Their + mission: to destroy the leader of the human + Resistance... John Connor. My son. + + The first terminator was programmed to strike at + me, in the year 1984... before John was born. + It failed. + + The second was set to strike at John himself, + when he was still a child. As before, the + Resistance was able to send a lone warrior. A + protector for John. It was just a question of + which one of them would reach him first... + + DISSOLVE TO: + +7 EXT. TRUCKSTOP - NIGHT + + Wild fingers of BLUE-WHITE ELECTRIC ARCS dance in a steel canyon + formed by two TRACTOR TRAILERS, parked side by side in the back lot + of an all-night truck stop. Then... + + The strange lightning forms a circular opening in mid-air, and in + the sudden flare of light we see a FIGURE in a SPHERE OF ENERGY. + Then the FRAME WHITES OUT with an explosive THUNDERCLAP! + + Through the clearing vapor we see the figure clearly... a naked man. + TERMINATOR has come through. Physique: massive, perfect. Face: + devoid of emotion. Terminator stands and impassively surveys its + surroundings. + +8 INT. TRUCK STOP DINER - NIGHT + + On a back route to north L.A. A handful of local TRUCKERS hunch over + chili-sizes, CAT hats pushed back on their heads. Three BIKERS are + playing a game of pool in the back, their Miller empties lining the + table's rail. The dive's owner, LLOYD, a fat, aging biker-type in a + soiled apron, stands behind the bar. Nothing much going on... + + Then the front door opens and a big naked guy strolls in -- that + doesn't happen every night. All eyes simultaneously swivel toward + Terminator. Its emotionless gaze passes over the customers as it + walks calmly through the room. Everyone frozen, not sure how to + react. + +8A TERMINATOR POV. A digitized electronic scan of the room, overlaid + with alphanumeric readouts which change faster than the human eye + can follow. In POV we move past the staring truckers, past the + owner and the awestruck WAITRESS, and approach a large nasty-looking + biker puffing on a cigar. His body is outlined, or "selected", and + thousands of estimated measurements appear. His clothing has been + analyzed and deemed suitable... + +8B TERMINATOR + I need your clothes, your boots, and your + motorcycle. + + The big biker's eyes narrow. He takes a long draw on this cigar, + the tip cherry-red hot. + + CIGAR BIKER + You forgot to say please. + + He grinds the cigar out on Terminator's chest. Which produces not + the slight reaction of pain. Terminator calmly, and without + expression, grabs Cigar by his meaty upper arm... + Cigar screams from the hydraulic grip. + + Terminator doesn't see Cigar's friend, behind him, holding his pool + cue by the narrow end like a Louisville Slugger. The heavy send + whistles in a powerful swing and CRACKS IN TWO across the back of + Terminator's head. + + Terminator seems not to notice. Doesn't even blink. Without + releasing his grip on Cigar, he snaps his arm straight back and grabs + Pool Cue by the front of his jacket. Suddenly the heavyset biker + finds himself flying through the nearest window. CRAASSH! + + Terminator hurls Cigar, all 230 pounds of him, clear over the bar, + through the serving window into the kitchen, where he lands on the + big flat GRILL. We hear a SOUND like SIZZLING BACON as Cigar + screams, flopping jerking. He rolls off in a smoking heap. + + The third biker whips out a knife with a eight-inch blade and slashes + at Terminator's face. + + Terminator grabs the arcing blade with his bare hand. Holding it by + the razor-sharp blade he jerks is from the guy's hand. + Ultra-fast here: He flips it. Grabs the handle like you're supposed + to hold a knife. Grabs the biker and slams him face-down over the + bar. Then brings the knife whistling down, pinning the biker's + shoulder to the bar top with his own steel. + +9 INT. KITCHEN + + The doors BANGS OPEN and Terminator strides in. + The Mexican cook does a fast fade as Terminator walks toward Cigar, + who is cursing in pain on the floor. + + With his deep-fried fingers he struggles to get out the .45 auto + tucked under his leather jacket. But he can't even hold onto it. + Terminator takes it from him. Instead of pointing it at him, + Terminator carefully examines weapon, analyzing its caliber and + operating condition. Terminator never threatens... that's a human + thing. He just takes. + + Cigar senses what he must do when the emotionless eyes come back to + him. He slides the keys to his bike across the floor to Terminator's + foot. Then painfully starts getting out of his jacket. + +10 INT. TRUCK STOP + + Terminator strides from the kitchen, fully clothed now in a black + leather jacket, leather riding pants, and heavy, clean boots. He + moves toward the moaning biker pinned to the pool table. Without + slowing his stride he jerks the knife out. The guy slumps to the + floor, groaning, behind him. + + Terminator continues toward the front of the diner, passing Lloyd, + the owner. At the door, he comes abreast of two truckers who sit + frozen like a snapshot in mid-bite. One of the truckers finally + nods. + + TRUCKER + Evening... + + Terminator impassively stares back. Then moves on out the door. + +11 EXT. TRUCK STOP + + Terminator walks out, surveying the parked Harleys. Sticks the .45 + in his belt and swings one leg over a massive CUSTOM ELECTRO-GLIDE. + He slips the dagger in his boot and the key in the ignition. Kicks + over the engine. It catches with a roar and he slams the heavy iron + into gear with a KLUNK. + + Lloyd appears at the diner's door with a sawed-off 10-GAUGE + WINCHESTER LEVER-ACTION SHOTGUN. He fires into the air and jacks + around round in fast, aiming at Terminator's back. + + LLOYD + I can't let you take the man's wheels, son. + Now get off or I'll put you down. + + Terminator turns and considers by coldly. He eases the shifter up + into neutral. Rocks the bike onto its kickstand. Swings him leg + over and walks calmly toward the guy. + + Terminator strides right up to Lloyd, staring straight into the + shotgun's muzzle. Lloyd starts sweating, trying to decide is he's + going to kill a man in cold blood. He's still trying to decide when + Terminator's hand blurs out like a striking cobra and is somehow + suddenly holding the shotgun. + + Lloyd gapes, knowing he's screwed. Then... + Terminator reaches toward him. Oh shit... + And slips the sunglasses out of Lloyd's shirt pocket. Puts them on. + Strides back to the Harley and roars off in a shower of gravel. + +12 EXT. FREEWAY - NIGHT + + Terminator roars down the freeway, heading for L.A. Cold neon flares + across the chrome of the big bike. The 10-gauge is jammed through + the clutch and brake cables, across the handlebars. The lights flow + over Terminator's wrap-around sunglasses like the tracks of tracer + rounds. + + CUT TO: + +13 EXT. OVERPASS - NIGHT + + The First Street Bridge. Rusting chain-link fence and graffiti- + covered walls. An L.A.P.D. BLACK-AND-WHITE cruises the empty street. + + A TREMENDOUS BLUE-WHITE GLARE suddenly spills out between the columns + of the overpass. The young UNIFORMED COP in the car whips his head + around at the source of the light. He pulls over quickly, in time + to see... + +13A The powerfully arcing electrical discharge reaches its peak between + the columns. Lightning climbs the chain-link fence and light + standards, lighting up the night, and papers swirl in a blasting + whirlwind. + +13B The cop climbs from his cruiser as the glow fades. + He sees vapor dissipating as he approaches the spot where he saw the + strange light. He draws his revolver and cautiously moves into the + shadows between the rows of pillars. + + A NAKED MAN glides from a shadowed doorway behind the cop. Nothing + special about him. Certainly not built like a terminator. The flash + of light and fact that he is naked are pretty good clues that he + just arrived from the future. His features are handsome bordering + on severe. His eyes are gray ice. Penetrating. Intelligent. + + THE COP spins at a sound. Too late. Mr. X is already on him. The + blow is lighting fast and the cop drops like a bag of sand. + + LOW ANGLE as the unconscious cop hits the deck, his BERETTA 9mm + AUTOMATIC clattering next to him. A hand ENTERS FRAME and picks up + this pistol. + + CUT TO: + +13C HIGHLY POLISHED BLACK SHOES rounding the rear tire of the police + cruiser. FOLLOW THE SHOES to the cruiser's door then MOVE UP as + Mr. X, dressed now in LAPD blue, climbs behind the wheel. He + looks and acts exactly like a cop. Cool, alert, confident in his + power, his expression emotionless and judgmental. + Mr. X, now Officer X, puts the car in gear and drives into the night. + + CUT TO: + +14 INT. SUBURBAN HOUSE/GARAGE - DAY + + TIGHT ON YOUNG JOHN CONNOR, who at his moment is ten years old and + busy reassembling the carburetor on his Honda 125 dirtbike. He has + ripped Levi's and long stringy hair. A sullen mouth. Eyes which + reveal an intelligence as sharp as a scalpel. The Ramones' "I Wanna + Be Sedated" blasts from a boom box next to him. + + A WOMAN, JANELLA VOIGHT, stands in the doorway of the garage, + yelling over the music. + + WOMAN + ...John? John! Get in here right now and + clean up that pigsty of yours. + + John's friend TIM, a thirteen-year-old Hispanic kid, watches as John + replies by turning up the volume on the boom box. + Janelle gives up with a SLAM of the house's back door. + + TIM + Your foster parents are kinda dicks, right? + + JOHN + Gimme that Phillips right there. + +15 INT. HOUSE - LIVING ROOM + + Janelle storms into the room. TOD VOIGHT, her husband, watches + sports on the TV. They're both in their thirties. Middle-class + working stiffs. + + JANELLE + I swear I've had it with that goddamn kid. + He won't even answer me. + (neither does he) + Todd? Are you gonna sit there or are you gonna + do something? + + He sighs. Throws down the TV's remote and heads for the garage. + +16 INT. GARAGE + + John hops on the bike. Kick-starts it. Tim picks up John's nylon + bag, then climbs on the back. Todd ENTERS and shouts over the + engine, which John revs louder and louder. + + TODD + John! Get your ass inside right now and do + what your mother says! + + John pins Todd with a defiant glare. + + JOHN + She's not my mother, Todd! + + He revs the engine and peels out of the garage, with Tim almost + falling off the back. They take off down the street. + +17 EXT. VACANT LOT/DRAINAGE CANAL + + John cuts through a vacant lot to a trail running beside a fenced-in + drainage canal. He guns the bike through a hole in the retaining + fence. Tim's eyes go wide as they roar down the concrete embankment. + +17A IN THE DRAINAGE CANAL John zig-zags along, throwing up a + roostertail of muddy water. Tim shouts, pretending he didn't just + see his life flash before his eyes. He slaps John on the back. + + TIM + Major moves, homes! So... where is your + real mom, anyway? + (John doesn't answer) + She dead or something? + + It's hard to read John's expression. + + JOHN + She might as well be. + + John twists the throttle angrily and the bike lunges forward. + + CUT TO: + +18 EXT. PESCADERO STATE HOSPITAL - DAY + + A SIGN on a chain link fence topped with concertina wire reads: + PESCADERO STATE HOSPITAL FOR THE CRIMINALLY INSANE. Beyond it + squats an imposing four-story building. Institutional brick. + Barred windows. About as inviting as KGB headquarters. Security + guards patrol the manicured grass. + +19 INT. HOSPITAL - MAXIMUM SECURITY WING + + Sunlight is a barred slash on the bare institutional wall. The room + is empty of all furnishings save the bed, a stainless steel sink, + toilet, and a dented metal mirror. WE HEAR a rhythmic grunting, + small explosions of breath in perfectly-metered time. + + PAN TO a bedframe leaned upright against the wall, legs facing + outward. A pair of sweaty hands grip one leg. Tendons knot and + release as SOMEONE does pull-ups. A man of tangled hair hides the + face that comes INTO FRAME, dips out, comes back. + + WIDER. A WOMAN in a tank top and hospital pants in hanging from the + top leg of the vertical bedframe. Her body is straight and taut. + Knees bent so the feet clear the ground. The arms are lean and + muscular. The inmate, face hidden, pulls up, dips, pulls up. Like + a machine. No change in rhythm. + +20 INT. HOSPITAL/CORRIDOR + + FIGURES MOVE TOWARD US down a corridor of polished tile and two- + tone walls. DR. PETER SILBERMAN, a smug criminal psychologist, + leads a group of young INTERNS. Following laconically, are THREE + BURLY ATTENDANTS. + + SILBERMAN + The next patient is a 29-year old female + diagnosed as acute schizo-affective disorder. + The usual indicators... depression, anxiety, + violent acting-out, delusions of persecution. + (the interns nod judiciously) + Here we are. + + Silberman stops at one of the SOUNDPROOF STEEL DOORS. There is a two- + way speaker beneath a tiny window. Silberman flips the intercom + switch. + +21 INT. CELL + + Silberman's scrubbed and cheerful face at cell window. HIS VOICE + comes over the tinny speaker. + + SILBERMAN + 'Morning, Sarah. + + REVERSE ANGLE as she turns slowly into CLOSE UP. + SARAH CONNOR is not the same woman we remember from last time. Her + eyes peer out through a wild tangle of hair like those of a cornered + animal. Defiant and intense, but skittering around looking for + escape at the same time. Fight or flight. Down one cheek is a long + scar, from just below the eye to her upper lip. + Her VOICE is a low and chilling monotone. + + SARAH + Good morning, Dr. Silberman. How's the knee? + +22 INT. CORRIDOR + + Silberman's smug composure drops a second. Then returns. + + SILBERMAN + Fine, Sarah. + (he switches off, speaks to + the interns) + She, uh... stabbed me in the kneecap with a + screwdriver a few weeks ago. + + Sarah watches them talking about her through the glass, but can't + hear them. She feels like a lab animal. The interns look in at her + through the glass as Silberman talks. With her face drawn, eyes + haggard and hair wild, she looks like she belongs where she is. + + SILBERMAN + The delusional architecture is interesting. + She believes a machine called a "terminator", + which looks human of course, was sent back + though time to kill her. And also that the + father of her child was a soldier, sent to + protect her... he was from the future too... + (he smiles) + The year 2029, if I remember correctly. + (the interns chuckle) + Let's move on, shall we? + + As the interns walk on, Silberman steps close to DOUGLAS, the head + attendant, and speaks low. + + SILBERMAN + Douglas, I don't like seeing the patients + disturbing their rooms like this. See that she + takes her thorazine, would you? + + DOUGLAS is 6'4", 250 pounds and warm-hearted at a rattlesnake. He + nods, catching Silberman's meaning, and gestures for the other + attendants to hang back as Silberman moves on in his rounds. + +23 INT. CELL + + Sarah looks up as the cell door opens. Douglas walks in slowly, + idly tapping his POLICE BATON against the door in a ominous rhythm. + The other two orderlies ease in behind him. One of them carries a + STUN BATON (like a sawed-off cattle prod). The other has a tray with + cups of red liquid-thorazine. + + DOUGLAS + Time to take you meds, Connor. + + Sarah faces him, weight centered. Feral eyes darting from one to the + other. + + SARAH + You take it. + + Douglas grins, casual -- + + DOUGLAS + Now you know you got to be good 'cause you up + for review this afternoon... + + SARAH + I'm not taking it. Now I don't want any + trouble... + + DOUGLAS + Ain't no trouble at all -- + + He whips the baton in a whistling backhand, which -- + WHAP! Takes her square in the stomach. She doubles over and drops + to her knees, unable to breathe. Douglas tips the bed and it slams + down with a crash, right new to her. He takes her stun wand from + the other attendant and walks forward. + + TIGHT ON SARAH, grimacing and struggling to breathe. + + SARAH + You... son of a... AAARRGH!! + + The stun wand hits her between shoulder blades as she tries to rise. + It drives her to the floor, pinning her like a bug. Little + ELECTRIC ARCS CRACKLE as the baton makes her writhe in pain. + Douglas grabs her by the hair and jerks her up to her knees. Holds + the cup of thorazine in front of her lips. + + DOUGLAS + Last call, sugar. + + Gasping, she chokes the zombie juice down. + + CUT TO: + +24 EXT. BANK PARKING LOT - DAY + + John furtively hunches before a Ready-Teller machine at the rear of + a local bank while his friend Tim stands lookout. John slips a + stolen ATM card into the machine slot. It is something he's rigged + up, because trailing from the card is ribbon-wire which goes to + some kind of black-box electronics unit he's got in his ever-present + knapsack. He holds the pack between his knees and pulls out a + little lap-top keyboard, which is also connected to the black-box. + + John enters a few commands and the plasma-screen displays the PIN + number for that account. He quickly enters the number on the Ready- + Teller's keypad and asks it for 300 bucks. The machine whirs then + begins dispensing twenty-dollar bills. Tim looks back over his + shoulder amazed. + + JOHN + Easy money! + + TIM + Where'd you learn all this stuff? + + John collects the twenties as the machine kicks them out. A cool and + professional electronic-age thief at ten years old. + + JOHN + From my mom. My real mom, I mean. Come on + baby... + (he grabs the last bills) + Let's go! + + They sprint around the corner to an -- + +25 EXT. ALLEY BEHIND BANK + + They huddle behind the building as John counts out Tim's share. + He folds five twenties and palms them to the other kid. When John + opens his wallet to put in his money, Tim notices a picture in a + plastic sleeve. + + TIM + That her? + + John reluctantly shows his friend the Polaroid. It is a shot of + Sarah. Pregnant, in a jeep near the Mexican border. John doesn't + know it now, but he will carry the photo with him for over 30 years, + and give it to a young man named Kyle Reese, who will travel back in + time to become his father. Yes, that photo. + + TIM + So she's pretty cool, huh? + + JOHN + Actually, no, she's a complete psycho. That's + why she's up at Pescedero. She tries to blow up + a computer factory, but she got shot and arrested. + + TIM + No shit? + + JOHN + Yeah, she's a total loser. C'mon, let's check + out the 7-Eleven, whatya say? + + John has tried to sound casual, but we see in his eyes that is really + hurts. He slaps Tim on the shoulder and they jump onto his Honda. + John fires up and they whine off down the alley. + + CUT TO: + +26 INT. POLICE CRUISER - DAY + + CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile + Division file. Subject: John Connor. Below his ARREST RECORD are + his vital stats. Mother: Sarah Connor. Legal Guardians: Todd and + Janelle Voight. And below their names, an address: 523 S. Almond. + Reseda, Ca. + + OFFICER X stares at the screen for a moment. Then gets out the car. + +27 INT./EXT. VOIGHT HOUSE - DAY + + TIGHT ON FRONT DOOR as Todd Voight opens it, revealing the unsmiling + face of Officer X beyond the screen door. Todd greets him with a + weary sigh. + + OFFICER X + Are you the legal guardian of John Connor? + + TODD + That's right, officer. What's he done now? + + Officer X ignores the question. He casually scans the living room. + + OFFICER X + Could I speak with him, please? + + Todd shrugs, showing the cop he's past his patience with the boy. + + TODD + Well, you could if he was here. Be he took off + on his bike this morning. Could be anywhere. + You gonna tell me what his is about? + + OFFICER X + I just need to ask him a few questions. + + Janelle appears in the doorway behind Todd, concerned. + + JANELLE + There was a guy here this morning asking about + him, too. + + TODD + Yeah, big guy. On a bike. Has that got + something to do with it? + + Officer X registers the significance of that. He realizes who the + big guy must be. He smiles. Reassuringly shakes his head no. + + OFFICER X + I wouldn't worry. Do you have a photograph + of John? + + Todd stares unhappily at the cop. Turns to Janelle. + + TODD + Get the album, Janelle. + + CUT TO: + +28 EXT. STREET + + ANGLE THROUGH AN ALLEY from the main street. We see John and Tim + flash by on the Honda a block away. Hold a beat. Then... + + A BIG CHROME WHEEL ENTERS FRAME. BOOM UP a leather-clad leg to + Terminator's implacable face. It surveys the area slowly as the + bike idles, then kicks it into gear and moves on, scanning in a + slow shark-like manner, not aware that it missed its prey by + seconds. + + CUT TO: + +29 INT. SARAH'S CELL - DAY + + CLOSE ON SARAH. She is shackled, hands and feet, to the bed. + Sunlight falls across her pale face. A hand enter frame, gently + stroking her cheek. She wakes up to see -- + + KYLE REESE. Sitting on the edge of her bed, looking exactly the + same as we last saw him in 1984. Scruffy blonde hair and a long + raincoat. + + SARAH + Kyle..? You're dead. + + He gives her a gentle smile. + + REESE + I know. This is a dream, Sarah. + + SARAH + Oh. Yeah. They... make me take this stuff... + + He puts a finger to her lips. Then silently unfastens her restraints. + They gaze into each other's eyes. And in the look that his death + and the horror she has been through since hasn't touched their love + at all. + + SARAH + Hold me. + + She melts into Reese's arms. Pulls him to her. + + REESE + I love you. I always will. + + SARAH + Oh, God... Kyle. I need you so much. + + She kisses him passionately. They are locked together in a timeless + moment. PUSH IN TIGHT on Sarah as she buries her face in his + shoulder. She shuts her eyes tight. Stay on Sarah as Reese speaks. + He voice is strangely cold. + + REESE (O.S.) + Where's John, Sarah? + + Sarah opens her eyes and he is no longer in her arms. He is standing + across the room. Pinning her with an accusing gaze. + + SARAH + They took him from me. + + REESE + It's John who's the target now. You have to + protect him. He's wide open. + + SARAH + I know! + + REESE + Don't quit, Sarah. Our son need you. + + SARAH + (struggling not to cry) + I know, but I'm not as strong as I'm supposed + to be. I can't do it. I'm screwing up the + mission. + + REESE + Remember the message... the future is not set. + There is not fate but what we make for ourselves. + + He turns toward the door. + + SARAH + Kyle, don't go! + + REESE + (turning back to her) + There's not much time left in the world, Sarah. + + Reese goes out the door. Sarah jumps from the bed, frantic. Yanks + the door open. Follow her out. + +30 INT. CORRIDOR + + Sarah staggers from her cell. Reese is already, impossibly, a + hundred feet away, striding down the dim corridor. A silhouette + in a long coat, disappearing around a corner. + + Sarah runs after him, her bare feet slapping the cold linoleum. + Her hospital gown floats out behind her as she dream-runs along the + seemingly infinite corridor. She reaches the corner, slides around + it, and... + +30A Slams right into the arms of Douglas and his three helpers. They + grab her as she struggles and screams. The Silberman is there, + smiling soothingly. They force her down and she is pinned to + the floor, screaming. A new figure approaches... one even more + menacing. + + TERMINATOR walks toward her, with heavy measured steps. Backlit, + eyes concealed by the sunglasses, it stands over her like the angel + of death itself. It reaches down and... + Takes her hand. Lifts her up. Leads her to a door. They go through + together. Emerging into... + +30B A BEAUTIFUL SUNLIGHT MORNING. CHILDREN are playing nearby... sliding + down slides, clambering through a jungle gym. Sarah knows this + dream know... it's is the worst of all her nightmares. She starts + to scream but no sound comes out. + +30C THE SKY EXPLODES into WHITE LIGHT. Everything is seared by the unholy + glare, hotter than a thousand suns. The children ignite like + match heads. Sarah is burning, screaming silently, everything silent + and overexposed. Terminator's flesh and clothing are burning, + silently. It grips her hand, Virgil to her Dante in this tour of the + nuclear-age Inferno. + +30D THE BLAST WAVE HITS... a near-solid wall of compressed air followed + by 250-mph winds. The children, charcoal statues frozen in positions + of play, explode into black leaves of ash and swirl away. SOUND + hit now, with a thunderous roar. Sarah's scream merges with the + howl of the wind as the blast hits her, exploding the flesh from her + bones. Beside her, Terminator is stripped of its burnt flesh, + becoming a smoking skeleton of steel. + +30E Then she wake up... in her cell, shackled to the bed. Sunlight hurts + her eyes. She looks desperate and defeated. She knows the war is + coming. It visits her every time she closes her eyes. Lost and + alone, Sarah feels all hope recede for herself and for humanity. + + CUT TO: + +31 INT. PESCADERO STATE HOSPITAL - INTERVIEW ROOM + + TIGHT ON VIDEO SCREEN, playing a previously-recorded session. + Sarah is in a strait-jacket, talking softly. + + VIDEO SARAH + ... it's... like a giant strobe light, burning + right through my eyes... but somehow I can still + see. Look, you know the dream's the same every + night, why do I have to -- + + VIDEO SILBERMAN + Please continue... + +31A The REAL SARAH dispassionately watches herself on the screen. Her + expression is controlled. Silberman watches her watching. They are + in a brightly-lit interview room. TWO ATTENDANTS stands nearby. + +31B VIDEO SARAH + The children look like burnt paper... black, + not moving. Then the blast wave hits them and + they fly apart like leaves..." + + Video Sarah can't go on. Real Sarah watches herself cry on tape, + her expression cold. We hear Silberman speak on the tape. + + VIDEO SILBERMAN + Dreams about cataclysm, or the end of the world, + are very common, Sarah... + + Video Sarah cuts him off, her mood shifting to sudden rage. + + VIDEO SARAH + It's not just a dream. It's real, you moron! + I know the date is happens!! + + VIDEO SILBERMAN + I'm sure it feels very real to you -- + + VIDEO SARAH + On August 29th 1997 it's going to feel pretty + fucking real to you, too! Anybody not wearing + number two million sunblock in gonna have a + real bad day, get it? + + VIDEO SILBERMAN + Relax now, Sarah -- + + VIDEO SARAH + You think you're alive and safe, but you're + already dead. Everybody, you, him... + (she gestures are the + attendant) + everybody... you're all fucking dead! + + She is raving, half out of her chair. The orderly moves to inject + her with something. + + VIDEO SARAH + You're the one living in a dream, Silberman, + not me! Because I know it happens. It + happens! + +31C Silberman pauses the tape... freezing Sarah's contorted face. + Real Sarah turns away from the screen, he expression stony. + + SARAH + I was afraid... and confused. I feel much + better, now. Clearer. + + Silberman gives a calculated paternal smile. + + SILBERMAN + Yes. Your attitude have been very positive + lately. + + Sarah looks up at him. Her voice is hopeful. + + SARAH + It has helped me a lot to have a goal, something + to look forward to. + + SILBERMAN + And what it that? + + As she answers, WE PULL BACK, revealing that we have been looking + through a one-way mirror from an adjacent OBSERVATION ROOM. In the + shadows of the observation room we see that interns from the + earlier rounds, and a couple of STAFF PSYCHOLOGISTS. They smoke and + make the occasional note. + + SARAH + You said I could be transferred to the minimum + security wing and have visitors if I showed + improvement in six months. Well, it's been six + months, and I was looking forward to seeing my + son. + + SILBERMAN + I see. Let's go back to what you were saying + about these terminator machines. Now you think + they don't exist? + + CLOSE ON SARAH. Her voice sounds hollow. + + SARAH + They don't exist. I see that now. + + Silberman leans back, studying her. Toying with her. + + SILBERMAN + But you've told me on many occasions about how + you crushed one in a hydraulic press. + + SARAH + If I had, there would have been some evidence. + They would have found something at the factory. + + SILBERMAN + I see. So you don't believe anymore that the + company covered it up? + + Sarah shakes her head no. + + CUT TO: + +32 EXT. CYBERDYNE SYSTEMS - DAY + + The corporate headquarters of a mega-electronic corporation. As + imposing cubist castle of black glass. + +33 INT. SECOND FLOOR/ELEVATORS + + The elevator doors slide open with a whisper and MILES DYSON strides + out. Black. In his early thirties. The star of the Special + Projects Division. He's brilliant, aggressive, driven. Dyson walks + down the corridor, swinging his arms... a man in a hurry. A man + with much to do. + + He reaches a solid security door and zips his ELECTRONIC KEY-CARD + through the scanner. The door unlocks with a clunk. + The sign next to the door reads: SPECIAL PROJECTS DIVISION: + AUTHORIZED PERSONNEL ONLY. + +34 INT. SECURITY STATION + + He nods to the guards as he passes through the security checkpoint. + They can see all activities on the floor on their bank of monitors. + He unlocks another service door with his card and enters -- + +35 INT. ARTIFICIAL INTELLIGENCE (A.I.) LAB + + The lab is quite large, comprising banks of processors, disk drives, + test bays, prototype assembly areas. Extremely high tech. + + DYSON + Greetings, troops. + + He is jokingly saluted by fellow members. Not a lab coat in sight. + This is strictly jeans and sneakers crowd. All young and bright. + They sit at their consoles drinking Coke and changing technology as + we know it. A young LAB ASSISTANT rushes over to Dyson. Name tag + says he's BRYANT. + + BRYANT + Mr. Dyson? The material teams wants to run + another test on the uh... on it. + + DYSON + Yup. Come on. I'll get it. + + Dyson produces an unusual-looking KEY from his pocket as they stride + through the lab. Bryant has to hustle to keep up. + + BRYANT + Listen, Mr. Dyson, I know I haven't been here + that long, but I was wondering if you could tell + me... I mean, if you know... + + DYSON + Know what? + + BRYANT + Well... where it came from. + + DYSON + I asked them that question once. Know what + they told me? Don't ask. + +36 INT. VAULT ROOM + + Dyson enters with Bryant. Dyson and a GUARD stand together before + what looks like a high-tech bank vault. It requires two keys to + open, like the launch controls in a nuclear silo. The guard and + Dyson insert their keys and turn them simultaneously. Dyson then + enters a passcode at a console and the vault unlocks itself with a + sequence of clunks. The door swings open and Dyson enters. Bryant + stays outside with the guard, who notes Dyson's name and item on a + clipboard. + +37 INT. VAULT + + Dyson walks to a stainless steel cabinet and opens it. Inside is a + small artifact in a sealed container of inert gas. IT -- a ceramic + rectangle, about the size of a domino, the color of liver. It has + been shattered, painstakingly reconstructed and mounted on a metal + frame. + + Dyson removes the artifact, it its insert-gas, and sets it on a + specially-designed cart. He handles it like the Turin Shroud. + Dyson closes the cabinet. Turns to the one next to it. Opens its + door. In this cabinet is a larger object... an intricate METAL HAND + AND FOREARM. + + At the elbow, the metal is twisted and crushed. But the forearm and + hand are intact. Its metal surface scorched and discolored, it + stands upright in a vacuum flask, as if saluting. This is all that + remains of the terminator Sarah destroyed. Dyson stares at it, lost + in thought. The he closes the cabinet, BLACKING OUT FRAME. + + CUT TO: + +38 INT. INTERVIEW ROOM/OBSERVATION ROOM + + We can see through the one-way mirror into the interview room where + Sarah is still talking with Silberman. The OTHER PSYCHOLOGISTS are + still watching through the mirror. Reviewing Sarah's condition. + + SARAH + So what do you think, Doctor? I've shown a lot + of improvement, haven't I? + + SILBERMAN + You see, Sarah... here's the problem. I know + how smart you are, and I think you're just + telling me what I want to hear. I don't think + you really believe who you've been telling me + today. + + We go tight on Sarah's reaction. And we see that Silberman is right. + She was playing him and it didn't work. And she knows she's fucked. + Her tone becomes quite pleading. + + SARAH + You have to let me see my son. Please. It's + very important. He's in danger. At least let + me call him -- + + Silberman pins her with his sweet reptilian gaze. + + SILBERMAN + I'm afraid not. Not for a while. I don't see + any choice but to recommend to the review board + that you stay here another six months. + + Sarah's eyes turn cold and lethal in one second. She knows she's + lost. She knows this guy is just playing with her, and she -- + LEAPS ACROSS THE TABLE AT HIM. + + SARAH + YOU SON OF A BITCH!! + + Silberman jumps back and the attendants dive on her. She is writhing + and twisting like a bobcat. Silberman whips open a drawer and pulls + out a syringe. He jabs it into her and she yells -- + + SARAH + Goddammit. Let me go!! Silberman! You don't + know what you're doing! You fuck! You're dead! + You hear me!! + + Silberman signals and the attendants drag her out. + He looks at the doctors behind the glass. Shrugs. + + SILBERMAN + Model citizen. + + CUT TO: + +39 EXT. 7-ELEVEN STORE - DAY + + Officer X has stopped two young girls in front of a 7-Eleven. He is + leaning out the cruiser window and showing them the picture of John. + The first girl nods. + + FIRST GIRL + Yeah, he was here about fifteen minutes ago. I + think he said he was going to the Galleria. + + OFFICER X + The what? + + The second girl points toward a massive complex visible about the + houses several blocks away. Officer X stares at it. + +40 EXT. STREET + + Terminator cruises slowly on the bike. Scanning. He crosses an + overpass above a drainage canal and whips his head around at the + sound of a dirt-bike engine. + +40A TERMINATOR POV -- OF TWO KIDS ON A BIKE DOWN IN THE CANAL. + THE IMAGE SNAP-ZOOMS IN. FREEZES ON THE DRIVER'S FACE. + "IDENT POS" FLASHES NEXT TO THE BLURRY IMAGE OF JOHN. + +40B Terminator wheel the Harley around, cutting onto a street which runs + parallel to the canal. Terminator hauls ass at keep John in sight. + He catches glimpses of the kid through trees and houses. Loses him. + Catches one last glimpse of him heading into the parking lot of a + large SHOPPING MALL. + +41 INT. GALLERIA - DAY + + John works his way through a crowded video arcade. Sees some guys he + knows. Stops to talk, striking a pose. Mall rats in the element. + We don't hear the dialogue. + +42 INT. GALLERIA PARKING LOT + + TERMINATOR'S idling Harley shakes the parking garage walls. He stops + at a row of bikes near the escalators. John's little Honda sits + proudly with the big street bikes. Terminator parks. + +43 INT. GALLERIA + + OFFICER X is moving through the flow of shoppers. The place is a zoo. + He stops some kids and shows them the picture. They shrug. + +43A IN A CROWDED VIDEO ARCADE JOHN is lost in an intense battle, going for + a new high score at "Missile Command". He parries deftly at the enemy + ICBMs deploy their MIRVs... the warheads stream down... it's more than + he can deal with. The world gets nuked. Game over. He slouches + away from the game, looking for another. Bored. + + RACK FOCUS to Officer X passing the entrance of the store behind him. + The cop moves on, down the concourse, out of sight. + John gets in an "Afterburner" simulator game. + +43B ON TERMINATOR, walking through the crowd in slow motion. Scanning. + He moves with methodical purpose, knowing the target is close. We + see that he is, incredibly, carrying a box of LONG-STEM ROSES. Like + some hopeful guy with a hot date. + +43C THE COP is pointed toward the arcade by come kids hanging out at the + multi-cinema. He walks into the maze of kids engaged in synthesized + combat. Cheap electronic effects blare above the crowd noise. + +43D JOHN is shooting down MiGs at Mach 2. His friend Tim slides up next + to him. Taps him on the shoulder, trying to play it cool. + + TIM + Some cop is scoping for you, dude. + + John looks around the corner of the "Afterburner" ride. Sees the cop + showing a picture to some of the kids. The kids point his way. + + John ducks just as the cop glances over. He slinks out the other side + of the ride and heads for the back of the store, instinctively + retreating. Sarah has taught him that cops are bad news. + + THE COP scans the crowded arcade. Glimpses John, looking back as he + moves around a row of machines. Starts toward him. + + JOHN sees the cop homing in and starts walking fast. Looks back. + THE COP is shoving through clots of kids. One of them is slammed to + the floor. As eddy of outrage behind the cop as he gains speed. + John breaks into run. So does the cop. + Kids scatter like ten-pins as the cop charges after John. + John sprints through the arcade's back officer and store-rooms. + +44 INT. SERVICE CORRIDOR + + John emerges through a firedoor into a long corridor with connects + to the parking garage. He's running full out, when around the corner + ahead of him comes... + + TERMINATOR. Time stretches to nightmarish crawl as John tries to + brake to a stop. Terminator reaches into the box of roses. + + SLOW MOTION. The cold back steel of the SHOTGUN emerges at the box + falls open, the roses spilling to the floor. TERMINATOR'S BOOT + crushes the flowers as it moves forward. + + JOHN, transfixed by terror, is trapped in the narrow featureless + shooting gallery of the corridor. THE SHOTGUN COMES UP. Terminator + expressionlessly strides forward. Jacks a round into the chamber, + slow and fluid. + + John looks behind him for a place to run. Sees the cop coming toward + him, pulling his Beretta pistol. Incredibly, John realizes the cop + is aiming his gun at him! + John looks back at Terminator. He is starting into the black muzzle + of the 10-gauge now. Aimed right at his head. He realizes he's + screwed. Then something crazy happens... + + TERMINATOR + Get down. + + John instinctively ducks. Terminator pulls the trigger. KABOOM! + + THE COP catches the SHOTGUN'S BLAST square in the chest just as he + fires the pistol. The pistol's shot goes wild. + + TERMINATOR pumps another round into him. The another. And another. + Advancing a step each time he fires, he empties the shotgun into the + cop, blowing his backward down the corridor. The sound is DEAFENING. + Then silence. + + THE COP lies still on his back. + +44A Terminator is now standing right over John. They both watch as the + cop, incredibly, sits up unharmed and gets to his feet. Terminator + grabs John roughly by his jacket. Clutches the kid to his chest + then spins around at the cop opens fire with the Beretta. + +44B The "cop", who not only isn't a cop, he clearly isn't even human, + pulls the trigger so fast it almost seems like a machine-pistol. + + ON TERMINATOR'S BACK, as the 9mm slugs slam into it, punching bloody + holes in the motorcycle jacket. + + JOHN is bug-eyed with fear, but completely unscratched. Terminator's + body has blocked the bullets. + + The Beretta CLACKS empty. Terminator turns at the sound. + Shoves John behind a Coke machine. Drops the empty shotgun. Starts + walking toward the "cop". + The empty magazine clatters to the floor. + The cop inserts another one. Snaps back the slide. + Terminator still has twenty feet to go. + He doesn't break his purposeful stride. + + The cop opens fire. Bullets rake Terminator's chest. He doesn't + even flinch. + Ten feet to go. BLAM BLAM BLAM BLAM! Neither the cop nor Terminator + show the slightest change in expression as the gun rips Terminator's + wardrobe to shreds. + + CLACK. The pistol empties again. Terminator stops two feet in front + of the cop. The appraise each other for a second. + + We realize now that the cop is a terminator too. We don't know the + details yet, but let's call him the T-1000 (since that's what he is). + A newer model than the one we've come to know so well (the 800 + Series "Arnold"). This guy's a prototype... and he's got quite a + few surprises. + + T-1000 AND TERMINATOR size each other up. Terminator moves first. + He grabs T-1000 in his massive hands but the T-1000 snaps back with a + counter-grip. After about two seconds of intense slamming, the walls + on both sides of the corridor have all the plaster smashed in, and + the two battling machines have blasted through the wall and + disappeared. + + JOHN, totally stunned by all this, remembers to move. He staggers to + his feet. Stumble-runs toward the parking garage. + +44C THIRD LEVEL CONCOURSE. A plate glass window EXPLODES and Terminator + crashes through to the tile floor like a sack of cement amid the + screaming crowd. + +44D T-1000 turns without a word and heads back through the store after + John, accelerating slowly into a loping, predatory run. + +44E Terminator is totally still. A JAPANESE TOURIST cautiously steps + forward and takes a picture of the body. Suddenly, Terminator's + eyes snap open. The stunned tourist backs away. + + He sits up and looks around. Gets his bearings. Rises smoothly to + his feet. All servos seem to be working fine. The tourist's camera + whirs as the motor-drive runs on by itself, taking shot after show. + The owner isn't even looking through the eyepiece, he's so shocked. + +45 INT. PARKING GARAGE + + John is frantically pumping the kick-start of his bike, scared + shitless and the damned thing won't start. His hands are shaking so + badly he can't find the choke. He looks up to see -- + The T-1000 running down the corridor toward him. + John fumbles with the choke. The bike catches. He slams it in gear + and spins the bike out into the main aisle of the garage. + + John looks back... the T-1000 is behind him, running. He twists the + throttle and guns the little bike forward. Incredibly, the T-1000 + is gaining. This nightmare isn't happening. John races out the exit + ramp, and charges right into the street. + +46 EXT. STREET + + John shoots into the busy traffic. Cuts off a BIG-RIG TOW TRUCK. + The DRIVER swears. Hits his air horn. What the driver doesn't see + is the cop, running faster than O.J. Simpson at the airport, who + emerges onto the street and runs back at his truck. + +46A IN THE TRUCK. The driver hears a thump as something slams against his + door, then feels himself pulled right out. T-1000 slides in and + takes his place. The truck is still rolling along about 25 mph. + T-1000 accelerates after John without missing a beat. It can see him, + up ahead, weaving through traffic. + +46B Out of the garage entrance, Terminator roars onto the street on the + Harley. + He accelerates after the others. + +47 EXT. FLOOD CONTROL CHANNEL + + John slides his bike down the service ramp faster than he's ever done + it before. He races along the bottom of the canal, turning into a + narrower tributary which has vertical sides. + + He looks back. No sign of pursuit. +47A Suddenly he sees the sun blocked out by a great shadow. + The Kenworth tow-truck... big as a house, all chrome and roaring + diesel engine... crashes through the fence and launches itself right + into the center of the canal. + + It crashes down, 15 feet to the ground, going about 60, hits at an + angle and tears into the concrete wall with a hideous grinding of + metal. It ricochets back and forth between the walls then, bellowing + like a gunshot stegosaurus, it just keep on plowing forward, gathering + speed. + +47B John looks back and sees this wall of metal almost filling the narrow + concrete canal and he milks every last bit of throttle the little bike + has. The Kenworth is all muscle, tearing along the canal like a train + in a tunnel. Its big tires send up huge sheets of muddy spray, + backlit in the setting sun. It looks like some kind of demon. And... + it's gaining. + +47C ABOVE THEM, on the service road running parallel, Terminator is + fighting to overtake them. He looks down and sees John with the tow- + truck from Hell catching up to him. It is only about twenty feet + behind him and still gaining. + +47D ANGLE IN THE CANAL, looking back past a desperate John, at the wall + of metal filling frame behind him. + +47E ABOVE, Terminator cuts the bike suddenly hard to the left, leaving the + road. Hitting an earth embankment just right, he jumps the bike into + the air like Steve McQueen in "The Great Escape" and vaults the fence + bordering the canal. It slams down at the edge of the canal and tears + along, inches from the drop-off on a dirt path, accelerating past the + truck in the canal below. + +47F John hits some water and slews momentarily, loosing speed. The + massive push-plate on the front of the truck slams into his back + fender. Panicked, he pulls a little ahead. All this is happening at + about sixty miles and hour. Top speed for the little dirt bike. + +47G SLOW MOTION as Terminator jumps the bike again. This time the 700- + pound Harley sails out into space and drops into the canal. It arcs + down between the truck and John, hitting on its wheels. It bottoms + out, an explosion of sparks under the frame. Only the ultra-fast + reflexes of a machine could keep the bike upright. Terminator fights + for control. + +47H He guns the throttle and the powerful bike roars up beside John's tiny + Honda. + Terminator sweeps the kid off his machine with one arm and swings him + onto the Harley, in front of him. John's Honda weaves and falls, + smashing instantly under thundering tires. + + The Harley roars ahead. It hits eighty. Ahead is an overpass, and + supporting it is an abutment which bisects the canal into two + channels. The Harley thunders into one channel, which is essentially + a short tunnel. + +47I The truck can't fit on either side. Neither can it stop, at that + speed. Tires locked, it slides on the muddy concrete and piles into + the concrete abutment at seventy. + +47J Terminator and John emerge from the tunnel, looking back to see a + fireball blasting through behind them as the truck's side-tanks + explode. + + Terminator stops the Harley. John peers around his body to see the + destruction. A burning wheel wobbles out of the tunnel and flops in + the mud. Terminator revs the bike and they roar away, down the canal, + disappearing around a bend. + +47K ANGLE ON THE FIRE, as a column of black smoke rises from the overpass. + Smoke boils from the tunnel as well, and inside it is a solid wall of + flame. A figure appears in the fire. + Just an outline. Walking slowly... calmly. + The figure emerges from the flames. + + It is human-shaped but far from human. A smooth chrome man. Not a + servo-mechanism like Terminator is underneath, with its complex + hydraulics and cables... this thing is a featureless, liquid chrome + surface, bending seamlessly at knees and elbows as it walks. It + reminds us of mercury. A mercury man. Its face is simple, unformed. + Unruffled by thousand-degree heat, it walks toward us. + + With each step detail returns. + First the shape and lines of its clothing emerge from the liquid + chrome surface, then finer details... buttons, facial features, + ears... + +47K But it's still al chrome. With its last step, the color returns to + everything. It is the cop again... handsome young face, blond hair, + mustache. Icy eyes. It stops and looks around. + + It is a perfect chameleon. A liquid metal robot. A killing machine + with the ultimate skills of mimicry for infiltration of human society. + +47L ANGLE NEARBY, as several police cruisers and a fire truck pull up. + T-1000 climbs out of the canal behind them. More cops arrive. T-1000 + blends in perfectly. There are always cops at diasters and scenes of + violence. We now see why its choice of protective mimicry is so + perfect. + It walks among the other cops unnoticed. + Gets into one of the squad cars. Starts it and drives away. + +48 EXT. SIDE STREET - NIGHT + + Terminator, with John in front of him on the Harley, roars down the + empty street. John cranes his neck around to get a look at the + person/thing he is riding with. The image is strangely reminiscent + of father/son, out for an evening ride. + + John is still in shock from the experience of what just happened and + he's just a ten-year kid, but he's also John Connor who will someday + rise to greatness, and we see a bit of that in him even know. + + JOHN + Whoa... time out. Stop the bike! + + Terminator immediately complies. He leans the bike into a turn. + They head into a nearby alley. + +49 EXT. ALLEY + + Terminator and John rolls into the alley and come to a stop. John + slides off the gas tank. Terminator impassively stares at him. John + checks him out. Tentatively speaks. + + JOHN + Now don't take this the wrong way, but you are + a terminator, right? + + TERMINATOR + Yes. Cyberdyne Systems, Model 101. + + JOHN + No way! + + John touches Terminator's skin. Then the blood on his jacket. + His mind overloads as the reality of it hits him. + + JOHN + Holy shit... you're really real! I mean... + whoah! + (stepping back) + You're, uh... like a machine underneath, right... + but sort of alive outside? + + TERMINATOR + I'm a cybernetic organism. Living tissue over + a metal endoskeleton. + + JOHN + This in intense. Get a grip, John. Okay, uh... + you're not here to kill me... I figured that part + out for myself. So what's the deal? + + TERMINATOR + My mission is to protect you. + + JOHN + Yeah? Who sent you? + + TERMINATOR + You did. Thirty years from now you reprogrammed + me to be your protector here, in this time. + + John gives him an amazed look. + + JOHN + This is deep. + +50 EXT. STREET - NIGHT + + John and Terminator on the bike again, weaving through the side + streets. They blend into the evening traffic. In the darkness, + Terminator's wounds are not readily visible. John cranes his head up + and back. + + JOHN + So this other guy? He's a terminator too, + right, like you? + + TERMINATOR + Not like me. A T-1000. Advanced prototype. + A mimetic polyalloy. + + JOHN + What does that mean? + + TERMINATOR + Liquid metal. + + JOHN + Radical. + + TERMINATOR + You are targeted for termination. The T-1000 + will not stop until it complete its mission. + Ever. + + John mulls that over. + + JOHN + Where we going? + + TERMINATOR + We have to leave the city, immediately. And + avoid the authorities. + + JOHN + Can I stop by my house? + + TERMINATOR + Negative. The T-1000 will definitely try to + reacquire you there. + + JOHN + You sure? + + TERMINATOR + I would. + + CUT TO: + +51 EXT. PAYPHONE + + John is quickly going through his pockets for change. He has plenty + of bills but no quarters. + + JOHN + Look, Todd and Janelle are dicks but I gotta + warn them. Shit! You got a quarter? + + Terminator reaches past John and smashes the cover plate off the + phone's cash box with the heel of his hand. A shower of change + tumbles out. Terminator hands one to John. John dials. + +52 INT. VOIGHT HOUSE - KITCHEN - NIGHT + + Janelle Voight picks up the kitchen phone and cradles it with her + shoulder which she continues to chop vegetables with a large knife. + She answers sweetly. + + JANELLE + Hello? + + JOHN + (filtered through phone) + Janelle? It's me. + + In the backyard, John's German Shepherd is going bonkers, barking at + something. + + JANELLE + John? Where are you, honey? It's late. You + should come home, dear. I'm making a casserole. + + AT THE PAYPHONE. John listens, an odd look on his face. He covers + the phone's mouthpiece and turns to Terminator. + + JOHN + (whispering) + Something's wrong. She's never this nice. + + IN THE VOIGHTS' KITCHEN. Todd comes through the kitchen's back door. + Just home from work. He ignores Janelle and opens the fridge. Grabs + a carton of milk. Takes a sip. Frowns at the dog's barking. + + TODD + What the hell's the goddamn dog barking at? + SHUT UP, YOU MUTT! + + TIGHT ON JANELLE as Todd growls around the kitchen behind her. He + passes OUT OF FRAME next to her. Janelle switches the phone to her + other hand then... THUNK! Her free hand seems to do something out of + frame. There is a gurgling, and the sound of liquid dribbling onto + the floor. (Don't go away. We'll find out what happened in a moment) + + AT THE PAYPHONE + + JOHN + The dog's really barking. Maybe it's already + there. What should I do? + + Terminator takes the phone from John's hand. Janelle's voice is + floating through the receiver. + + JANELLE + (filtered) + John? John, are you okay? + + Terminator speaks into the phone in a perfect imitation of John's + voice... + + TERMINATOR + (in John's voice) + I'm right here. I'm fine. + (to John, a whisper) + What's the dog's name? + + JOHN + Max. + + Terminator nods. Speaks into the phone. + + TERMINATOR + Hey, Janelle, what's wrong with Wolfy? I can + hear him barking. Is he okay? + + JANELLE + (filtered) + Wolfy's fine, honey. Where are you? + + Terminator unceremoniously hangs up the phone. Turns to John. + + TERMINATOR + Your foster parents are dead. Let's go. + + Terminator heads for the bike. John, shocked, stares after him. + +53 INT. VOIGHT HOUSE/KITCHEN + + Janelle hangs up the phone. Her expression is neutral. Calm. + + PAN OVER along her arm, which is stretched out straight from the + shoulder. Partway along its length her arm has turned smoothly into + something else... a metal cylinder which tapers into a sword-like + spike. Now we see Todd Voight PINNED TO A KITCHEN CABINET by the + spike which has punched through his milk carton, through his mouth + and exits the back of his head into the cabinet door. His eyes are + glassy and lifeless. + + The spike is withdrawn -- SWIISHHTT! -- so rapidly, Todd is actually + standing there a second before he slumps out of sight. THUMP. +53A Janelle doesn't bat an eye as the spike smoothly changes shape and + color, transforming back into a hand, and then... + +53B JANELLE CHANGES rapidly into the COP we now know as the T-1000. The + change has liquid quality. T-1000 opens the back door. + +54 EXT. VOIGHT HOUSE/BACKYARD - NIGHT + + T-1000 approaches the big German Shepherd, which slinks away from it, + barking in fear. T-1000 walk right into CLOSE UP. Reaches down, OUT + OF FRAME. We hear that sickening THUNK followed by a shrill YELP. + Then T-1000's hand snaps up INTO FRAME holding a bloody dog collar. + The tag reads "MAX". + T-1000 nods thoughtfully. Heads back to the house. + +55 EXT. PARKING LOT - NIGHT + + Dark. Off a quiet street. Terminator stands near the Harley, + watching John pace before him. John's brain is calling time-out. + This is all too weird. + + JOHN + I need a minute here, okay? You're telling me + it can imitate anything it touches? + + TERMINATOR + Anything it samples by physical contact. + + John thinks about that, trying to grasp their opponent's parameters. + + JOHN + Like it could disguise itself as anything... + a pack of cigarettes? + + TERMINATOR + No. Only an object of equal size. + + John's still reeling from meeting one terminator, which now seems + downright conventional next to the exotic new model. + + JOHN + Well, why doesn't become a bomb or something to + get me? + + TERMINATOR + It can't form complex machines. Guns and + explosives have chemicals, moving parts. It + doesn't work that way. But it can form solid + metal shapes. + +56 INT. VOIGHT HOUSE - NIGHT + + T-1000 walks down the dark hall. It passes the bathroom and we see + the real Janelle's legs through the half-open door. The shower is + running. Her blood mixes with water on the white tile floor. + +56A In John's bedroom the T-1000 begins searching methodically in the + dark. + Calmly and dispassionately ripping the room apart for any clues that + could lead it to its target. T-1000 finds a box of audio cassettes + marked "Messages from Mom". In it are some letters, and envelopes + filled with snapshots. It begins looking through some of the + photos... + + SHOT OF JOHN AND SARAH during the missing years. Sarah in olive + cammos with an RPG 7 grenade launcher, teaching John how to aim. + Sarah with a group of military-clad Guatemalan men, standing next to + cases of Stinger missiles. John and Sarah in a Contra camp, deep in + the mountains. + +57 EXT. PARKING LOT - NIGHT + + John is now sitting on the curb, lost in stunned thought. Terminator + stands above him, watching the street like a Doberman. He glances + down at John. + + JOHN + We spent a lot of time in Nicaragua... places + like that. For a while she was with this crazy + ex-Green Beret guy, running guns. Then there + were some other guys. She'd shack up with + anybody she could learn from. So then she + could teach me how to be this great military + leader. Then she gets busted and it's like... + sorry kid, your mom's a psycho. Didn't you + know? It's like... everything I'd been brought + up to believe was just made-up fantasy, right? + I hated her for that. + (he looks up) + But everything she said was true. + (he stands) + We gotta get her out of there. + + TERMINATOR + Negative. The T-1000's highest probability for + success now would be to copy Sarah Connor and + wait for you to make contact with her. + + JOHN + Oh, great. And what happens to her? + + Terminator's reply is matter-of-fact. + + TERMINATOR + Typically, the subject being copied is + terminated. + + JOHN + TERMINATED!? Shit! Why didn't you tell me? + We gotta right now! + + TERMINATOR + Negative. She is not a mission priority. + + JOHN + Yeah, well fuck you, she's a priority to me! + + John strides away. Terminator goes after him and grabs him arm. + John struggles against the grip. Which doesn't do him much good. + + JOHN + Hey, goddammit! What's your problem? + + Starts dragging John back to the bike. John spots a couple of + collage-age slab-o-meat JOCK-TYPES across the street and starts + yelling to them. + + JOHN + Help! HELP!! I'm being kidnapped! Get this + psycho off of me! + + The TWO JOCKS start toward him. John yells in outrage to Terminator. + + JOHN + Let go of me!! + + To his surprise, Terminator's hand opens so fast John falls right on + his butt. + He looks up at the open hand. + + JOHN + Oww! Why'd you do that? + + TERMINATOR + You told me to. + + John stares at him in amazement as he realizes... + + JOHN + You have to do what I say?! + + TERMINATOR + That is one of my mission parameters. + + JOHN + Prove it... stand on one foot. + + Terminator expressionlessly lifts one leg. + John grins. He's the first on his block... + + JOHN + Cool! My own terminator. This is great! + + The two guys get there and look at Terminator standing there calmly + with one leg up in the air. This big guy in black leather and dark + glasses, standing like a statue. + + FIRST JOCK + Hey, kid. You okay? + + John turns to him. No longer needing to be rescued. + + JOHN + Take a hike, bozo. + + FIRST JOCK + Yeah? Fuck you, you little dipshit. + + JOHN + Dipshit? Did you say dipshit?! + (to Terminator) + Grab this guy. + + Terminator complies instantly, hoisting him one-handed by the collar. + the guy's legs are pinwheeling. + + JOHN + Now who's the dipshit, you jock douchebag? + + Immediately, things get out of hand. The guy's friend jumps behind + Terminator and tries to grab him in a full nelson -- + Terminator throws the first guy across the hood of a car -- + Grabs the second by the hair, whips out his .45 in a quick blur, and + aims the muzzle at the guy's forehead. + John grabs Terminator's arm with a yell as he pulls the trigger -- + John's weight is just enough to deflect the gun a few inches. The + guy flinches, stunned by the K-BOOM next to his ear. He stares, + shocked. Pissing himself. John is freaking out, too. + He screams at Terminator. + + JOHN + Put the gun down! NOW!! + + Terminator sets the .45 on the sidewalk. John scoops it up fast then + turns to the shocked civilians, who can't believe what just happened. + + JOHN + Walk away. + + They do. Fast. John grabs Terminator by the arm and tugs him toward + the bike. John still holds the gun, reluctant to give it back. + + JOHN + Jesus... you were gonna kill that guy! + + TERMINATOR + Of course. I'm a terminator. + + John stares at him. Having your own terminator just became a little + bit less fun to him. + + JOHN + Listen to me, very carefully, okay? You're not + a terminator any more. Alright? You got that? + You can't just go around killing people! + + TERMINATOR + Why? + + JOHN + Whattaya mean, why? 'Cause you can't! + + TERMINATOR + Why? + + JOHN + You just can't, okay? Trust me on this. + + Terminator doesn't get it. John just stares at him. Frightened at + what just almost happened. He gets a glimpse of the responsibility + that comes with power. Finally he hands the .45 back to Terminator, + who puts it away. + + JOHN + Look, I'm gonna go get my mom. You wanna come + along, that's fine with me. + + CUT TO: + +58 INT. VOIGHT HOUSE/BEDROOM - NIGHT + + T-1000 finds an envelope... a letter from Sarah to John sent since + she's been at Pescadero State Hospital. It reads the return address + on the envelope. It has what it needs. It picks up a tape player + and the battered shoebox full of Sarah's tapes and exits. + + CUT TO: + +59 CLOSE ON A BLACK & WHITE PHOTOGRAPH. The image is a nightmare from + the past. It is a surveillance camera still-frame from the L.A. + police station where the first terminator made such an impression in + 1984. We see the blurry forms of the cop frozen in the emergency + lights of a burning corridor. + + A black-clad figure stands at the end of the corridor. The guy has + short-cropped hair and dark glasses. An AR-80 assault rifle in one + hand, and a 12-gauge in the other -- holding them both like toy + pistols. + ANOTHER PHOTO is slapped on top of the first. Another still-frame + blow-up is placed over the last. Terminator looms in CLOSEUP. + + DETECTIVE WEATHERSBY (O.S.) + These were taken at the West Highland police + station in 1984. You were there. + + WIDER. We're in -- + +59A INT. INTERVIEW ROOM/PESCADERO - NIGHT + + The photos are lying on the table in front of Sarah, placed there by + DETECTIVE WEATHERSBY. His partner DET. MOSSBERG, and Dr. Silberman, + sit at the table as well. Two uniformed cops, plus Douglas, stand by + the door. Sarah stares listlessly at the top photo. She's + withdrawn, haggard... drugged-looking. + + MOSSBERG + He killed seventeen police officers that night. + Recognize him? + + Weathersby slaps another black-and-white eight-by-ten on the table. + A closeup of Terminator taken by the Japanese tourist at the mall. + It's the same face. + + MOSSBERG + This one was taken by a Japanese tourist today. + + Sarah doesn't react. It's hard to tell she's thinking. Whether she's + up hope or is just in a drugged stupor. + + WEATHERSBY + Ms. Connor, you've been told that your son's + missing. His foster parents have been murdered, + and we know this guy's involved. Talk to us. + Don't you care? + + Sarah stares up at him. A cold and empty stare. He glances at + Silberman. + Then at his partner. + + MOSSBERG + We're wasting out time. + + One of the uniformed cops opens the door and Mossberg strides into + the hall. Weathersby and the two uniforms follow him out, with + Silberman right behind. + + SILBERMAN + Sorry, gentleman... + + TIGHT ON SARAH, slumped under the bright lights. Totally out of it. + Then we see her hand, creeping along the edge of the table toward the + stack of photos. She slips off the paper clip binding the stills + together, and hides it between her fingers. Douglas jerks her up by + the arms and leads her out. + + CUT TO: + +60 INT. SARAH'S CELL + + Douglas inches up the last of Sarah's restraints. Then her leans + over her... looking down. Even wrecked as she is, we see the beauty + in her face. He bends down. We think he's going to kiss her. + Instead he runs his tongue across her face like a dog would. She + seems not to even see him. Her dull eyes past him. He can't + provoke a reaction. Even here, strapped down, the two of them alone, + she give him no superiority. He smirks and leaves. We hear the + sound of his night-stick tapping its way down the corridor, growing + fainter. + + Sarah's eyes snap suddenly alert. There is intensity and resolve in + them. She slips the paper clip out from between her fingers and + awkwardly spreads it open into a straight piece of wire. With slow, + painful concentration she moves it toward the lock of the restraints + that bind her wrists to the bed at her sides. + + CUT TO: + +61 EXT. ROAD - NIGHT + + Terminator and John charge through the night on the Harley. + Streetlights flare past them like comets. Two serious guys with a + mission. One a ten-year old kid, the other a half-man/half-machine + cyborg from the post-Apocalyptic future. + + CUT TO: + +62 INT. SARAH'S CELL + + TIGHT ON RESTRAINT LOCK as it unlatches... successfully picked by + Sarah's paper clip. This is not an easy thing to do. But Sarah + taught herself a lot of things in her years of hiding. + + SARAH, her hands free, sits up and releases the Velcro straps on her + feet. She rolls off the bed and we see her in a whole new light. + She is totally alert, almost feral in her movements. + + CUT TO: + +63 EXT. HOSPITAL ENTRANCE + + GUARD SHACK. A bored security guard glances up as an LAPD black-and- + white pulls up. He raises the barricade and nods at the T-1000/cop + as it passes. + + THE CRUISER pulls in next to the other police vehicles. The T-1000 + walks toward the main entrance. + + CUT TO: + +64 INT. SARAH'S CELL/CORRIDOR + + Sarah is using the paper clip on the door lock. She hears an echoing + tapping sound. It's getting louder, coming her way. She goes back + to work on the lock. + +65 IN THE CORRIDOR. Douglas the attendant is tapping his stick along + the wall like he does every night on his rounds. He shines a little + mag-light in the windows of the cells as he passes, barely slowing. + +65A He rounds the corner. His footsteps echo in the dark hallway. + The tip of the stick hits the wall. + Tap, tap, tap... getting closer to Sarah's cell. He stops at the + door. He is about to shine his light in when he notices that a + utility closet across the hall is open. He goes to shut it, + absently flicking his light into the dark closet. He notices + something strange among the buckets and cleaning supplies. A mop lies + on the floor, with its handle snapped off about halfway up. The + other half is missing. + + Douglas ponders this for half a second, then hears a SOUND behind him + and spins around. The sound he heard was Sarah's cell door. + The missing two feet of MOP HANDLE fill his vision as it CRACKS + viciously across the bridge of his nose. + + 250 pounds of doughy attendant hit the floor like a sack of cement. + Sarah slams the makeshift baton down expertly across the back of his + head, bouncing him off the linoleum. Lights out, Douglas. + She drags him into her cell and locks him in with his own keys. Then + swaps her mop-handle for his nice heavy night-stick. + +65B Sarah moves down the dark corridor, cat-stepping in her bare feet. + She holds the baton like a pro, laid back along the forearm, police- + style. She looks dangerous. + + CUT TO: + +66 INT. HOSPITAL ENTRANCE/CORRIDOR + + A long corridor ends at a reception area, which is closed, and a + NIGHT RECEIVING DESK, which is a glass window where they can buzz you + in through a heavy door. A NIGHT NURSE types at a desk nearby. She + looks up at the sound of footsteps and sees a young cop (T-1000) + walking toward her. + + T-1000 + You have a Sarah Connor here? + + She assumes he's with the other cops. Smiles. + + NIGHT NURSE + Running late, aren't you? + + She turns to the inner door to buzz him in and sees Silberman and the + cops coming toward the door from the other side. + + NIGHT NURSE + Your friends are on their way out now... + + When she turns back to the window, T-1000's no longer there. She + goes to the counter and leans out to see if he's at the drinking + fountain or someplace. No. Reception is empty. And so is the long + corridor beyond. She frowns. Too weird. + +66A Silberman comes through the solenoid door with Mossberg and + Weathersby, the two uniformed cops, and the hospital security guard. + The guard retrieves his 9mm pistol from a lock-out box behind the + night desk. Silberman faces him. + + SILBERMAN + Lewis, see these gentleman out and them lock + up for the night. + + The security guard nods. Silberman goes back into the secure area of + the hospital and the cops walk down the long corridor to the main + doors. No sign of T-1000. Mossberg and the other cops exit, and + the guard locks the door behind them. + +66B The guard walks slowly back along the long corridor. The hall is + dark, with the light at the night desk far ahead like a sanctuary. + His footsteps ring hollowly on the tile floor. His keys jingle. + +66C ANGLE ON FLOOR as the guard's feet pass through FRAME. An instant + later the floor starts to move. + It shivers and bulges upward like a liquid mass, still retaining the + two-tone checkerboard of the tile. It hunches up silently into a + quivering shadow in the darkness past the guard. + +66D Up ahead we hear typing. The night nurse has her back to us, working. + The guard stops as the drinking fountain. Bends to take a sip. + Behind him the fluid mass as reaches six feet of height and begins to + resolve rapidly into a human figure. It loses the color and texture + of the tile and becomes... THE GUARD. + + T-1000's mass has been spread out a quarter of an inch thick over + several square yards of floor. The guard walked over the T-1000, and + his structure was sampled that instant. Now we see it drawing in and + pulling up to form the figure of the guard. + + The T-1000/Guard's feet are the last to form, the last of the "liquid + floor" pulling in to form shiny black guard shoes. The shoes detach + with a faint sucking sound from the real floor as the T-1000/Guard + takes its first step. + +66E The real guard spins at the sound of footsteps to see... himself. + He has one deeply disturbing moment to consider the ramifications of + that. Then he sees his double calmly raise its hand and, + inexplicably, points his right index finger directly at the real + guard's face, about a foot away. In a split second, the finger + spears out, elongating into a thin steel rod which snaps out like a + stiletto, slamming into the guard's eye. + It punches into the corner of the eye, past the eyeball like a trans- + orbital lobotomy tool, and emerges from the back of the guard's skull. + + Life quietly empties from the guard's face. He is dead weight, + hanging from the rod/finger with suddenly reacts -- SSSNICK. As the + guard slumps, the T-1000 takes his weight easily with one hand and + walks him, like it's carrying a suit on a hanger, back toward the + night desk. The wounds are so tiny, no blood drips onto the floor. + +66F ON THE NIGHT NURSE, glancing up as the T-1000/Guard walks past, + dragging something casually which she can't see because it's below + the countertop. + + NIGHT NURSE + Whatcha got, Lewis? + + T-1000/GUARD + Just some trash. + + She nods, uninterested. Keeps typing. T-1000 moves past, dragging + the unseen guard toward a closet down the hall from the night + receiving station. T-1000/Guard removes the Browning High-Power + pistol and the keys from the real guard's belt, then stuffs the body + into the utility closet. + +66G INT. CORRIDOR/NIGHT RECEIVING DESK + + T-1000/Guard comes back out and glances at the nurse. + + T-1000/GUARD + All set. + + She glances toward it. Sees the Beretta in its holster. + + NIGHT NURSE + Gotta check the gun first, Lewis. + + T-1000/GUARD + Yeah, sorry. + + T-1000 opens the locker and blocks it from her view with its body as + it mimes putting the gun in. + +66H CLOSE ANGLE ON T-1000'S CHEST, from inside the locker. Instead of + setting the gun in the locker, it inserts the pistol into it own + chest, where is disappears inside like it was dropped into a pot of + hot fudge. It withdraws its hand. The chest is once again a surface + that looks like cloth, buttons, name-tag etc. You'd ever guess it was + really an intelligent liquid metal. + + T-1000 slams the locker door and waits as the nurse hits the button + unlocking the door with a BUZZ-CLACK. T-1000/Guard goes through. + + CUT TO: + +67 INT. ISOLATION SECURITY CHECKPOINT + + A small room before a short SALLY-PORT corridor designed to prevent + violent inmates from making a run for it. There are doors at each + end. The first one is barred like a jail-cell door, and the second + is a steel fire door. The attendants have a video monitor with which + they can see the corridor on the other side of the doors. + + The two bored attendants barely notice the T-1000/Guard as it + approaches. Looks briefly at a chart next to the door, seeing + SARAH CONNOR is in #19. + +67A IN THE ISOLATION WARD, the T-1000 passes a nurses' station which looks + a cage, walled in by heavy metal mesh. Silberman, leaning in the open + doorway, is talking to an attendant in the cage. He doesn't glance + twice at Lewis the Guard passing by. + +68 SARAH, moving like a ghost in the darkened corridor, hears footsteps + coming and quietly but quickly unlocks a cell next to her with + Douglas' master key. +68A She slips into the cell and waits as the footsteps pass. + We glimpse the T-1000/Guard pass the window. + She waits as the footsteps fade away. She looks over. A female + inmate, strapped to a bed, watches her with bird-like eyes. She puts + a finger to her lips -- SSHHH. The inmate nods. Sarah exits. + +68B POV MOVING TOWARD nurse's station. We hear Silberman's voice, + reviewing medication with the night attendant. + + ON SILBERMAN, yawning, looking at his watch. + He turns to go... Sarah is there. + She slams into him, hurling him through the door into the cage and + follows him in. The orderly jumps up, going for his stunner, but she + nails him with Douglas' baton. WHAP-WHAP-WHAP! You can barely see + the thing she's swinging it so fast. The guys goes down. + + Silberman lunges for the alarm button and she cracks down hard on his + arm. He cries out and grabs his wrist. + She grabs him by the hair and slams him face down on the desk, + smacking him behind the knees expertly with the baton. + His legs buckle and he drops to his knees with his chin on the desk. + She pins him with one hand. He face is full of outraged disbelief. + + SILBERMAN + You broke my arm! + + SARAH + There's 215 bones in the human body, motherfucker. + That's one. Now don't move! + +68B Moving rapidly, she whips open a medication drawer and grabs a + syringe. + They keep a few of these handy for tranking unruly patients. She + jams it into the orderly's butt and fires the whole shot. Still + holding the empty syringe, she sees what she need next. + They keep the toxic cleaning supplies in here to keep the inmates from + drinking Drano. She grabs a plastic jug of LIQUID PLUM'R and slams + it down on the desk inches from Silberman's eyes. + + She jams the empty syringe into the plastic jug. + Draws back the plunger. The syringe fills with blue liquid. + She whips it out of the jug and jams the needle into Silberman's neck. + His horrified eyes rack toward it. 10 cc's of blue death fill the + cylinder. + Her thumb hovers over the plunger. + She jerks him to his feet by the collar and gets a tight grip on him, + then hauls him through the door. + +69 IN THE CORRIDOR outside cell #19 the T-1000 stops and looks in the + window. Douglas, his face a bloody mess, yells to be heard. + + DOUGLAS + Open the door! The goddamn bitch is loose in + the halls! + + To Douglas' amazement, Lewis the Guard turns impassively and walks + away, leaving him shouting soundlessly at the window. + + CUT TO: + +70 EXT. HOSPITAL + + Terminator and John are approaching the guard gate on the Harley. + They can see the guard inside looks up at the sound of the engine. + + JOHN + Now remember, you're not gonna kill anyone, + right? + + TERMINATOR + Right. + + John looks at him. He's not convinced. + + JOHN + Swear. + + TERMINATOR + What? + + JOHN + Just say "I swear I won't kill anyone." + + John holds his hand up, like he's being sworn in. Terminator stares + at John a beat. Then mimics the gesture. + + TERMINATOR + I swear I will not kill anyone. + + Terminator stops the bike and gets off. + The guard, sensing trouble, has his gun drawn as he comes out of the + shack. Terminator walks toward him drawing his .45 smoothly. BLAM! + He shoots the guard accurately in the thigh. + The guy drops, screaming and clutching his leg. + Terminator kicks the guard's gun away, then smashes the phone in the + shack with his fist. He pushes the button to raise the gate and walks + back to the bike. + + TERMINATOR + He'll live. + + Terminator climbs onto the bike. They drive toward the hospital, + heading down an ambulance ramp to an underground receiving area. + +71 INT. ISOLATION FLOOR + + The attendants at the security checkpoint look up at the monitor as + someone enters the corridor. They see Sarah, holding Silberman at + syringe-point. + Sarah speaks to them through an intercom on the wall. Her voice + comes through the speaker. + + SARAH + Open it or he'll be dead before he hits the + floor. + + The attendants' adrenaline levels just went off the scale. The first + attendant shakes him head no. The amperage here is really high. The + second attendant keys the intercom switch. + + 2ND ATTENDANT + There's no way, Connor. Let him go. + + Silberman's face is the color of suet. + + SILBERMAN + It won't work, Sarah. You're no killer. I don't + believe you'd do it. + + Her voice is a deadly cold hiss. + + SARAH + You're already dead, Silberman. Everybody here + dies. You know I believe that. So don't fuck + with me! + + SILBERMAN + Open the goddamn door! + + The attendants looks at one another. One of them hits the solenoid + button. The far door unlocks. + +71A IN THE LOCKOUT CORRIDOR. Sarah pushes Silberman ahead of her. + The nearer, barred door must be unlocked manually. + One of the attendants cautiously approaches. Nervously unlocks it. + + SARAH + Step back! + + He does. She faces both of them. + + SARAH + Down on the floor! Now! + + They comply. She comes through with Silberman, giving them a wide + berth. Starts backing down the hall away from them, still holding + her hostage. She's actually pulling this off. + +71B ANGLE FROM BEHIND HER. What we can see, but she can't see, it a + third orderly waiting just around the corner. He's poised, ready to + jump her when she comes abreast of him. + + ON SARAH backing up. She reaches the corner. + The third attendant lunges, grabbing her syringe-hand. + Sarah spins on the orderly and catches him across the throat with the + nightstick. He loses interest fast, dropping to his knees and + gagging. Silberman pulls away, screaming at the top of his lungs + + SILBERMAN + Get her! + + They scramble up as Sarah takes off like a shot around the corner. + One of them hits the panic button and ALARMS begin to sound. + +72 IN THE ISOLATION WARD, the T-1000 is looking in at a very stoned + attendant inside the nurses' station when the alarms shriek through + the halls. It reaches into its chest and pulls out the 9mm pistol. + Heads for the security entrance. + +73 IN ANOTHER CORRIDOR in the maze of the vast hospital, Sarah flies + past us, her bare feet slapping on the cold tiles. The orderlies + charge after her. + She's like an animal in a maze. She turns the corner, glancing off + the wall, and sprints on without slowing. She reaches a steel door. + Tries it. Locked. + Footsteps like a drum solo behind her. + + She fumbles with Douglas' keys, breathing hard. Jams the master in. + The orderlies are bearing down on her at full tilt. + Sarah gets the door open. Dives through. Slams it. + She turns a deadbolt knob just as the first orderly grabs the latch + on the other side. He's too late. + + Sarah sees them beyond the window, fumbling with their keys. + +73A Sarah is in another sally-port corridor. A jail-cell type barred + door is between her and the corridors of the ward beyond. + She sprints to the walls of bars, jams her key into the door. + She unlocks and pulls open this door just as she hears the latch of + the one she just came through being unlocked. + + She flings herself frantically through the barred door as the first + orderly comes through behind her. + She slams the bars shut. CLANG. + Her keys are dangling from the lock on the other side from her. + The orderly is racing at her, white-lipped with rage. + + She reaches back through the bars, turns the key, and purposefully + snaps it off in the lock. An instant later the big orderly slams + against the door, grabbing through the bars for her as she dances + back just out of reach. + He lunges against the steel bars, unbelievably pissed off. + + Sarah takes off running, looking back at the frustrated orderlies. + They're shouting at each other, unable to fit their keys into the + lock -- + The broken-off key tip makes it impossible to get their keys in. + Silberman shouts at them. + + SILBERMAN + Go around, goddamnit! Go around!! + + The orderlies run back the way they came, and along a cross-corridor + to another set of doors. + +73B ON SARAH as she rounds a corner and sees the elevators ahead. + Now she's home-free. At a full-tilt sprint, she's nearly there when + the elevator doors part... + + TERMINATOR steps out... his head swivels to face her. + Sarah reacts, stricken by the image from her worst nightmares. + Her eyes go wide as momentum carries her forward. + Her bare feet slip on the slick tile. She slams to the floor, + staring up at the leather-clad figure with the shotgun. + + She loses all semblance of courage and some of her sanity. + She's not even aware that she is screaming, or what would be + screaming if she could get the breath to do it. + In slowed-down dream-time, Sarah scrambles back along the floor like a + crab, spinning and clawing her way to her feet along the wall. + + She runs like the wind, like in her nightmare. If she looked back she + would have seen John step warily out of the corridor behind + Terminator. John, however, catches a glimpse of the fleeing Sarah and + figures out instantly what happened. + + JOHN + Mom!! Wait! + + Sarah doesn't hear. She has clicked fully into her own nightmare. + They take off running after Sarah. + +73C She is pelting down the long corridor, back the way she came. As she + reaches an intersection with a cross-corridor a white-clad figure + blurs from that corridor. The orderly hits her in a flying tackle. + She skids across the floor, shrieking and struggling. The other two + orderlies leap into the fray. + + SARAH + No! Help me! Goddamnit, it's gonna kill us + all!!! + + She is shouting, pleading, trying to get them to understand what is + coming. They grab her thrashing arms and legs. They don't even look + where the out-of-control woman is pointing... back along the corridor. + + They have pinned her to the cold tiles, a ring of faces above her. + Silberman leans down to her, holding a syringe with a heavy dose of + trank. Sarah cranes her neck and sees the dark silhouette of + Terminator coming up behind them. It is exactly her nightmare. + She screams in utter hopelessness. + + Terminator, holding the shotgun in one hand, reaches down and grabs + one of the orderlies with his other hand. He hurls the 200-pound + guys against the far wall of the corridor. SMACK! He drops to the + floor. + The other two orderlies react instantly, leaping onto the intruder. + Terminator seems to disappear for a moment under the two big guys. + Then there is an explosion of white-clad figures, as the orderlies are + flung outward like they stepped on a land mine. + One crashes through a window of safety glass and is caught before a + two-story fall by the outer steel bars. The other crashes through an + office door, splintering it into kindling. + + Silberman has jumped to hold Sarah. He is grabbed by a roll of skin + at the back of his neck and lifted like a cat. The doctor feel his + feet pedaling above the ground. He looks into the expressionless + face. And it hit him. Sarah was right... this guy isn't human. + He feels the fabric of reality crumbling. + Then he feels himself flying through the air. The wall smacks him, + then the floor kicks him in the face. He decides to lie there a + second. + + Sarah blinks, staring up at the figure looming over her. + John kneels next to her. + + JOHN + Mom, are you okay? + + She looks from Terminator to John. Back to Terminator. + Is this a nightmare? Or has she finally gone truly bad? + + Incredibly, Terminator politely reaches his hand down to her, offering + to help her up. The last thing she ever expected to see. + + TERMINATOR + Come with me if you want to live. + + The orderlies are stirring. + + JOHN + It's all right, Mom. He's here to help. + + Sarah, is a daze, takes the huge hand in her shaking fingers. + Terminator lifts her to her feet. + +73D John sees a GUARD standing thirty feet away, on the other side of the + walls of bars. John doesn't know what we know, but he knows + something's not right with this guy. Terminator turns to follow + John's gaze. + The T-1000 had its pistol in its hand, at its side. + Terminator pushes John behind him. They start backing up. + +73E The T-1000 walks forward, reaching the bars. It doesn't stop. + Its body divides like jello around the bars. As it squeezes itself + through like metal playdough, its surface reforms perfectly on our + side. We see it deform and squeeze through like a viscous paste + forced past an obstacle. + Silberman has recovered enough to be sitting up and watching this. + That faint snapping sound is his mind. + There is a CLANK and we see that the guard's gun has caught against + the bars... the only solid object. The T-1000 turns its wrist and + tries again, slipping the gun endwise through the gap. + +73F Sarah is agape. Not reacting. It's been a heavy day for her. + Terminator grabs John by the seat of his pants and hooks him up onto + his back. John grabs him around the neck. Terminator raises the + shotgun and starts backing up. + + TERMINATOR + Go! Run! + + Sarah doesn't need to be told twice. + T-1000 walks toward them, opening fire with the Browning Hi-Power. + Terminator straight-arms the 12-guage like a pistol and FIRES. + The stunned orderlies flop face down on the floor as the corridor is + filled with high-velocity lead. One of them, stupidly running for the + cross-corridor, gets hit by the T-1000. + + Terminator is hammered by several slugs, and the T-1000 is cratered + by two buckshots hits. It staggers, but comes on. In the craters + we see bright mercury before they close and reseal, disappearing in a + second. + +73G Terminator makes it around the corner and breaks into a run. Ahead, + Sarah is already at the elevator. Terminator and John pile in and + John slaps the button for "Garage Level". + + The doors start to close. T-1000 clears the corner. + Terminator slams John and Sarah back against the side walls as the + T-1000 charges at them, rapid firing the Browning. + The rounds hit the steel doors as they close. + T-1000 keeps pumping them at the closing gap. +73H Inside, they see the backside of the doors denting with the hits that + are punching holes in the other side. + +73I The Browning locks open, empty. T-1000 drops it without a glance + back. The doors close. K-WHAM! The T-1000 hits them a split second + later. The elevator hasn't moved yet. SSWWIKK! + +73J A sword-like blade rams through in between the doors, forcing them + open. Terminator jams the shotgun through the widening gap. Punches + the muzzle right INTO T-1000's face -- BOOM!! +73K We get a glimpse of the T-1000's head blown apart by the blast. It + is hurtled back. The doors close. The car descends. + +73L ON THE T-1000, outside the elevator. Its head, which is blown apart + into two doughy masses lying on the shoulders, reforms quickly. + There is no trace of the injury. It sees the closed door and jams its + hands between them, its fingertips becoming pry-bars. It pulls the + doors apart with inhuman strength +73M and LEAPS INTO THE OPEN SHAFT. + It falls two floors and... + +74 IN THE ELEVATOR. Out trio hears a loud THUMP on the roof. + Terminator, reloading the shotgun, looks up. + Sarah grabs the .45 from his waistband and aims it at the ceiling. + BEAT... + Then CLANGG!! a swordlike shaft punches through the ceiling and spears + down four feet into the elevator car. + It is inches from Sarah's face. + She opens fire, BAM-BAM-BAM -- right through the roof. + Lighting-fast the lance withdraws and thrusts down again, slashing + Terminator's jacket, and missing John by inches. + Terminator chambers a round and K-BOOM! the 12-guage opens a hole in + the ceiling. + Terminator rocks out in a fury of firing/cocking/firing as the metal + shafts slash down again and again. Sarah yells in pain as one of them + slices open her upper arm. + +75 The doors open. Sarah pulls John out as soon as the gap is wide + enough. + They emerge into the basement. We see the Harley parked nearby. + + Terminator, in a rearguard action, fires another blast through the + ceiling and runs out. He throws his leg over the Harley, kicks it to + life with one powerful stroke and then whips something out of the + inner pocket of his jacket. He throws it to John. A road flare!? + +76 In the elevator, the T-1000 has bashed a hole in the ceiling big + enough to... + Pour itself through. + A massive blob of mercury extrudes from the opening. The mass drops + through the hole, down out of frame, then comes back up into frame + as Officer X. + + It seems to need just a second to get its mental act together after + doing this king of taffy-pull with itself. It opens its eyes and + sees -- + +77 TERMINATOR, the shot gun held in his teeth, astride the roaring + Harley twenty feet away. Terminator twists the throttle and pops the + clutch. + The back tire screams on the concrete. The front wheel lifts off the + ground and the heavy bike launches in a thundering wheelie. + + Terminator gets off just before the bike hurtles into the elevator. + The Harley slams the T-1000 square and smashes it right through the + back wall of the elevator. + Terminator rolls to his feet. + Johns strikes the flare on the concrete. Tosses it. + Terminator catches the life flare with one hand. + Levels the shotgun with the other. + With his last round he blows a big hole in the bike's gas tank. + Gas splashes everywhere, covering the struggling T-1000. + Terminator tosses the flare. KA-VOOOM! + + The explosion knocks Terminator backward off his feet, enveloping him + in the fireball. He gets up, smoking, and runs after John and Sarah + toward the exit ramp. + +78 AT THE EXIT RAMP. They are partway up when a blue-and-white hospital + security car comes screeching down the other way. + Without breaking stride Sarah runs right at the car. It skids to a + shrieking halt. She's in the guy's face with the .45 in both hands. + + SARAH + Out of the car!! + + The patrol guy is thinking what he can try when BLAM! she puts a round + through the glass next to his head. + + SARAH + RIGHT NOW! + + The door opens and the guy is coming out with his hands up as + Terminator arrives. The cyborg flings the rent-a-cop out of the way + and slides behind the wheel. Sarah gets John into the back seat and + dives into the front passenger seat as -- + +78A Terminator slams the car into reverse and punches it, lighting up the + tires on the slick ramp. + Terminator hands the shotgun over his shoulder to John and tells him + to reload. John pulls some shells from the pocket of his army jacket + and starts feeding them in. + Terminator power backward up the ramp, scraping along one wall, barely + in control. Because... + +79 The T-1000 is running at them out of the inferno below. + This guy won't quit. Shifting from chrome mode to cop-form as it + runs. + It sprints up the ramp after the retreating car. T-1000 is gaining. + +80 Terminator hands Sarah another magazine for the .45. She snatches + it, drops the other out, and slaps in the new one. Cocks the slide. + The car backs along the service driveway toward the security gate. + John hands the shot gun back to Terminator. + He leans out the window and takes aim at the pursuer. + The T-1000's face is right in the headlights. +80A Terminator fires, blowing a hole in its shoulder. Shiny liquid metal + visible in the hole, which then closes. +80B Sarah, half out the passenger window, opens fire. + The car crashes backward through the security barricade. + + TERMINATOR + (calmly) + Hang on. + + He cuts the wheel hard. The car slews into a reverse 180, swapping + ends with a screech. + T-1000 is almost on them. + Terminator punches it. The car accelerates forward. + +80C T-1000 leaps. Lands on the trunk. + Its hand is a metal crowbar slammed down through the trunk lid. + Feet dragging on the pavement, it slams its other hand down, + punching another metal hook into the trunk lid, pulling itself up. + Terminator turns to Sarah. + + TERMINATOR + Drive. + + Terminator heaves himself half out the driver's window. Sarah slaps + her foot down on the throttle and steers from the passenger side. + +80D T-1000, fully on the car now, holds on with one hook-hand while it + slams the other into the back window, sweeping away the glass and + missing John by inches as he ducks. + It draws back for another swing, lunging forward as -- + +80E Terminator whips the shotgun over the roof of the car. + Fires point-blank. + Hits the T-1000's arm just above the "hand" which anchors it to the + car. The 12-guage blows the arm apart, severing the hook-hand. + +80F T-1000 tumbles backward off the accelerating car. + John looks out the back window, his eyes wide. + He sees the T-1000 roll to his feet and continue running. + But he's dropping way behind now. Sarah has the car floored and the + liquid-metal killer won't catch them on foot. + +80G John watches, in awe, as the "crowbar hand", stuck into the trunk + right in front of him, reverts to the neutral polyalloy... a kind of + think mercury. The gray metal slides off the trunk of the car and + falls onto the road to lie there in a quivering blob. + +80H The car speeds off into the night. + REVERSE on the T-1000, walking now, coming right up into closeup, + watching the tail lights recede. It looks down. + +80I ANGLE ON BLACKTOP, tight on the liquid metal blob. Next to it is the + T-1000's shiny cop shoe. The mercury blob crawls and rejoins the + main mass, disappearing into the "shoe". + +81 INT./EXT. SECURITY CAR + + A GHOST CAR blasts out of the darkness on a long stretch of moonlight + highway. Headlights off, the hospital security car punches a hole in + the wind. + +81A INSIDE THE SPEEDING CAR the energy is still high. The air is blowing + in the shattered windows as Terminator drives the car easily by + electronic night-vision. His eyes glow faintly red. + + JOHN + Can you see anything? + +81B TERMINATOR'S POV. A monochrome image of the highway lit bright as + day. + +81C Terminator replies in a matter-of-fact tone. + + TERMINATOR + Everything. + + JOHN + Cool. + + Sarah looks at Terminator, still not quite believing this is + happening. But this is a different Sarah than the waitress of 1984. + She spends only a second or two dealing with the unbelievable. + Then she turns to John in the back seat. + + SARAH + You okay? + + He nods. She reaches for John and we think she's going to hug him. + She starts to rub her hands over him and we realize she's checking for + injuries, very clinically the way a vet checks a dog for broken bones. + + He pulls away from her. He hates her always checking him, treating + him like he might break, like some piece of rare china. + + JOHN + I said I was okay. + + Sarah looks at him, exasperated and stern. + + SARAH + It was stupid of you to go there. + + John stares at her, surprised. + + SARAH + Goddamnit, John, you have to be smarter than + that. You're too important! You can't risk + yourself, not even for me, do you understand? + I can take care of myself. I was doing fine. + Jesus, John. You almost got yourself killed. + + We see his chin quiver. He's a tough kid, but all he really wants is + for her to love him. He hasn't had enough years on the planet yet to + be the man of steel she demands. + + JOHN + I... had to get you out of the place... I'm + sorry, I... + + His face crumples. He starts to cry. Sarah gives him a cold stare. + + SARAH + Stop it! Right now! You can't cry, John. + Other kids can afford to cry. You can't. + + He's trying to be brave, he really is. Terminator turns and sees the + water leaking from his eyes. It doesn't make and sense to him. + + TERMINATOR + What is wrong with your eyes? + + John turns away, ashamed. Sarah lets her breath out, realizing how + keyed up she is. She turns to Terminator, giving him a wary once- + over. + + SARAH + So what's your story? + + CUT TO: + +82 EXT. MENTAL HOSPITAL + + The cops have shown up, as they always do. There are black-and-whites + everywhere, and ambulances are arriving. Two cops and an orderly are + required to subdue poor Doctor Silberman, who is raving at the top of + his lungs. + + SILBERMAN + ... it was all true and we're all going to die + and the changed, I saw him change!! + + It's quite pathetic. + A nurse shoots him up with a sedative. They lead him away. + +82A T-1000 walks unperturbed among the milling cops. No one notices him. + It slips into its cruiser and drives off into the night. + +83 INT. CAR + + Terminator drives steadily into the black night. + + SARAH + This T-1000... what happens when you shoot it? + + TERMINATOR + Ballistic penetration shocks it, but only for a + few seconds. + + Sarah thinks about that. Then: + + SARAH + Can it be destroyed? + + TERMINATOR + Unknown. + + They ride along in silence for a few seconds. + Sarah sees something up ahead, some lonely neon in the blackness. + + SARAH + Pull in here. We have to ditch this car. + +84 EXT. SERVICE STATION - NIGHT + + A rundown gas station with a buzzing neon sign and no one around. + They pull into the drive and slowly cruise past the empty office. A + sign in the window says CLOSED SUNDAYS. They continue around the + building to the garage's back door. + + AT THE GARAGE DOOR. Terminator breaks the lock on the roll-up door + and raises it. Sarah pulls the security car in out of sight. + Terminator rolls the door down behind them. + +85 INT. GAS STATION + + Dark. Sarah switches on the single drop-light. She and Terminator + look at each other. Terminator is shot-up and bleeding, and Sarah + has a vicious slash in her upper arm which was soaked her sleeve with + blood. + + SARAH + You look like handmade shit. + + TERMINATOR + So do you. + + CUT TO: + +86 TIGHT ON FIRST-AID KIT from the office, plus some not-so-oily rags, a + bottle of rubbing alcohol, a few small tools, and other makeshift + odds and ends. Terminator's hand comes into shot. Sets down a bloody + rag. Picks up a clean one. + + WIDER. Sarah sits on an empty crate. Terminator's is beside her, + suturing her wound with some fine wire from the winding of an + alternator. Using a pair of needlenose pliers he draws the wire + through her pale skin with a delicate hand. + + TERMINATOR + I have detailed files on human anatomy. + + Sarah stares into his face, inches away, fighting the pain. She + doesn't like him being this close to her to begin with, let alone + carving on her. + + SARAH + I'll bet. Makes you a more efficient killer, + right? + + TERMINATOR + Correct. + + CUT TO: + +87 TIGHT ON TERMINATOR'S BACK. The leather jacket is riddled with bullet + holes. Sarah and John help pull it off, revealing Terminator's + broad, muscular back beneath. + + WIDER. John and Sarah stare in amazement. There are at least twenty + bullet holes in him. Back. Arms. Legs. Fortunately they're all + 9mm. The holes are small and the damage cosmetic. + + JOHN + Does it hurt? + + TERMINATOR + I sense injuries. The data could be called + pain. + + TIGHT ON SARAH AND TERMINATOR. Sarah starts washing the bullet holes + in his broad back with alcohol. + + SARAH + Will these heal up? + + Terminator nods. She reaches into the bloody wounds with pliers and + finds the copper-jacketed bullets, flattening against the armored + endoskeleton. Pulls them out. They CLINK one by one into a glass. + + SARAH + That's good. Because if you can't pass for + human, you won't be much good to us. + + She concentrates on removing the slugs. CLINK. CLINK. + + JOHN + How long do you live? I mean, last? + + TERMINATOR + A hundred and twenty years on my existing + power cell. + + Sarah nods, pulling out another slug. CLINK. The glass nearly full + of flattened bullets. She begins to sew the holes closed with a few + wire sutures. John watches in quiet amazement, the two warriors + calmly fixing each other. + + JOHN + Can you learn? So you can be... you know. + More human. Not such a dork all the time. + + Terminator turns towards him. + + TERMINATOR + My CPU is a neural-net processor... a learning + computer. But Skynet presets the switch to + "read-only" when we are sent out alone. + + SARAH + (cynical) + Doesn't want you thinking too much, huh? + + TERMINATOR + No. + + JOHN + Can we reset the switch? + + CUT TO: + +88 E.C.U. OF AN X-ACTO KNIFE cutting into Terminator's scalp at the base + of his skull. His voice calmly directs Sarah as she spreads the bloody + incision and locates the maintenance port for the CPU in the chrome + skull beneath. + + TERMINATOR + Now open the port cover. + + She wipes away the blood and uses the garage-mechanic's air tools to + unscrew the port cover. + +88A TERMINATOR POV (DIGITIZED) as he watches her work in a mirror they've + taken from the washroom. Sarah and John are standing behind him. + Her hands are covered with blood, like a surgeon's. + + TERMINATOR + Hold the CPU by its base tab. Pull. + + Following the instructions, she reaches in with a pair of tweezers and + PULLS -- there is a BURST OF STATIC and the screen goes BLACK. + + CUT TO: + +89 TIGHT ON JOHN AND SARAH looking at what she has removed. A reddish- + brown ceramic rectangle with a connector on one end. About the size + and shape of a domino. On close inspection it appears to be made up + of small cubes connected together. It is identical to the shattered + one in the vault at Cyberdyne Systems. Now we know it is that that + Miles Dyson values so highly. The brain of a terminator. + +89A WIDER. John walks around Terminator and looks at his face. + Eyes open, he is completely inert. Dead. + + John lifts his huge hand. The dead servos whine sullenly as he forces + them. It's like rigor mortis. He releases the hand and it stays in + the lifted position. Sarah examines the CPU chip. + + JOHN + Can you see the pin switch? + + She ignores him. See looks at Terminator. + The back at the chip. + Then she sets it on the work table and picks up a small sledge hammer. + John realizes what she is about to do. Dives at her as the sledge is + whistling down. + + JOHN + No!!!! + + He slaps his hand down over the chip. + Sarah barely stops the sledge before smashing his fingers. + + SARAH + Out of the way, John! + + JOHN + No! Don't kill him! + + SARAH + It, John. Not him. It. + + JOHN + Alright, it! We need it! + + John keeps his hand right where it is. + + SARAH + We're better off by ourselves. + + JOHN + But it's the only proof we have to the future... + about the war and all that. + + SARAH + I don't trust it! These things are hard to + kill, John, believe me, I know. We may never + have this opportunity again. + + JOHN + Look, Mom, if I'm supposed to ever be this great + leader, you should start listening to my + leadership ideas once in a while. 'Cause if you + won't, nobody else will. + + Smart kid. He's got her. She nods, reluctantly. He palms the chip + and studies it minutely. + +89B John takes a pin and moves the almost invisible switch to the other + position. + It is now in "write" mode. Then he grimaces as he inserts the wafer + back into the slot in Terminator's skull. + +89C TERMINATOR VISION flares back to life in a burst of static. The image + forms. Sarah and John stands behind him in the mirror. + + TERMINATOR + Was there a problem? + + John glances sheepishly at Sarah, Then smiles at Terminator. + + JOHN + No problem. None whatsoever. + + CUT TO: + +90 JOHN SLEEPING, lying on a pile of rags next to a stack of tires. + The lights are off. Sarah sits nearby, cross-legged, he back against + the wall. + The .45 is cradles in her lap. She looks weary, but she won't allow + herself to sleep with Terminator present. + + By the office windows, in a slash of moonlight, is Terminator. He + stands silent and still, watching the night. Only his eyes move, + tracking with the occasional car passing on the road. He figure + silhouetted and still. + + DISSOLVE TO: + +91 SAME IMAGE. Now DAYLIGHT streams in the dusty windows. + Terminator has not moved. Faithful machine sentinel. He turns at a + sound. John stirs, waking up. He squints into the sunlight. Sarah + is still awake. She gets up, wincing at the pain in her arm. + + CUT TO: + +92 EXT. GAS STATION - DAY (LATER) + + John and Terminator walks to an old Chevy pickup parked behind the + garage. The day is clear but windy. Dust devils chase themselves + behind the place. The pickup is locked but Terminator breaks the side + window with his fist and opens the door. He and John climb in. + +92A IN THE PICKUP. Terminator has this trick (which you could do too if + you had servo-driven steel fingers) where he smashes the cowl around + a steering column with one blow from the palm of his hand. When it + shatters he strips it away with a single move, and then turns the stub + of the lock-mechanism with his fingertips. This starts the vehicle. + It takes about three seconds. + + In fact, he does it so quickly, the truck is running by the time John + flips down the sun visor. A set of keys drops out and John catches + them. Dangles them in front of Terminator's eyes. + + JOHN + Are we learning yet? + +92B Sarah comes out. She's found a mechanic's coverall inside, used but + fairly clean. It doesn't fit her too well, but it's better than the + stuff from the hospital. She's still barefoot. + The sun, which she hasn't seen in months, hurts her eyes, + Terminator and John pull up in the pickup. She gets in. + +92C TERMINATOR + We need to get as far from the city as possible. + + SARAH + Just head south. + + CUT TO: + +93 INT./EXT. PICKUP TRUCK/HIGHWAY - DAY + + THE OPEN ROAD. The pickup roars through light traffic down a long + stretch of highway. They set three abreast on the bench seat, John + in between, like some improbable family on a car trip. + Sarah leans over to get a look at the speedometer. + + SARAH + Keep it under sixty-five. We can't afford to + be pulled over. + + Terminator backs off the throttle slightly. + + TERMINATOR + Affirmative. + + JOHN + No, no, no. You gotta listen to the way people + talk. See, you don't say like "Affirmative" or + some shit like that. You say... no problemo. + + Terminator nods, filing away the information. Sarah is ignoring the + lesson, lost in thought. + + JOHN + It someone comes off to you with an attitude, + you say "eat me"... if you wanna shine them on, + it's "Hasta la vista, baby". + + TERMINATOR + "Hasta la vista, baby"? + + JOHN + Yeah, or "later, dickwad." Or if someone gets + upset you say "chill out." Like that. Or you + can do combinations. + + TERMINATOR + Chill out, dickwad. + + JOHN + That's great! See, you're getting it. + + TERMINATOR + No problemo. + + CUT TO: + +94-95 OMITTED + +96 EXT. ROADSIDE STAND/GAS STATION - DAY + + There's a gas pump and a sleazy fast-food stand. Picnic tables are + set up at the side of the food stand. A family sits at one, children + playing and running about. +96A The pickup truck pulls into the lot. Stops at the gas pump. + Sarah turns to John. + + SARAH + You got any cash? + + John pulls what's left of his Ready-Teller money from his pocket. + + JOHN + Only a couple hundred bucks. I'll give you + half. + + Sarah grabs all of it. Peels off a twenty, hands it to John. + + SARAH + Get some food. + + She opens the truck door and steps out. John turns to Terminator. + + JOHN + No sense of humor. + +97 THE ORDERING WINDOW as John and Terminator approach. + + JOHN + And that's another thing. You could lighten up + a bit, yourself. This severe routine is getting + old. Smile once in a while. + + TERMINATOR + Smile? + + JOHN + Yeah. Smile. You know. People smile, right? + Watch. + + Goes to the order window. + + JOHN + (smiling broadly) + Hi. Nice place you got here. How's business? + + WINDOW WOMAN + (stone-faced) + Gimme a break. + + JOHN + (to Terminator) + Okay. Bad example. Over there, look. + + John points at THREE TEENAGE GUYS standing at a drinking fountain + nearby. One of them has said something funny and the others are + laughing, grinning. + + JOHN + Like that. + + TERMINATOR POV (DIGITIZED) The real-time image continues while a + replay of one of the guys grinning runs in a window. It expands, so + that the guy's mouth fills the window. Replays again in slow motion. + A vector-graphic of the lips smiling appears, along with an array of + symbolic data. + + Terminator tries it. The result is dismal. A rictus-like curling of + the lip. Terminator's next effort is a marginal improvement. + + JOHN + I don't know, maybe you could practice in front + of a mirror or something. + + CUT TO: + +98 EXT. REST STOP/PICKUP TRUCK - DAY (LATER) + + Sarah and John are eating cheeseburgers and fries, sitting in the + truck and on the curb respectively. They are parked away from the + other families, at the end of the gravel parking area. Terminator + is pouring coolant into the radiator. Sarah is deep in through, + turning and turning the whole thing in her brain. John, unable to + deal with her silence, goes around to where Terminator is working. + +98A John sees two kids playing with machine-gun water pistols nearby, + viciously squirting each other. + + FIRST KID + You're dead! + + SECOND KID + Am not! + + FIRST KID + Are so! + + John and Terminator watch them rolling on the ground in a fight to the + death. Sarah rounds the front of the truck, and sees the kids. John + sighs, solemn. He looks up at the cyborg. + + JOHN + We're not gonna make it, are we? People, I + mean. + + TERMINATOR + It is in your nature to destroy yourselves. + + John nods, depressed. + + JOHN + Yeah. Drag, huh? + + SARAH + I need to know how Skynet get built. Who's + responsible? + + TERMINATOR + The man most directly responsible is Miles Bennet + Dyson, Director of Special Projects at + Cyberdyne Systems Corporation. + + SARAH + Why him? + + TERMINATOR + In a few months he creates a revolutionary + type of mircoprocessor. + + SARAH + Then what? + +98B Terminator closes the hood and gets into the truck as he speaks. + + TERMINATOR + In three years Cyberdyne will become the largest + supplier of military computer systems. All + stealth bombers are upgraded with Cyberdyne + computers, becoming fully unmanned, Afterward, + the fly with a perfect operational record. + + SARAH + (getting behind John) + Uh huh, great. Then those fat fucks in + Washington figure, what the hell, let a computer + run the whole show, right? + + TERMINATOR + Basically. + (starting the engine, backing + out) + The Skynet funding bill is passed. The system + goes on-line August 4th, 1997. Human decisions + are removed from strategic defense. Skynet + begins to learn, at a geometric rate. It becomes + self-aware at 2:14 a.m. eastern time, August 29. + In a panic, they try to pull the plug. + + SARAH + And Skynet fights back. + + They accelerate back onto the highway. + + TERMINATOR + Yes. It launches its ICBMs against their + targets in Russia. + + SARAH + Why attack Russia? + + TERMINATOR + Because Skynet knows the Russian counter-strike + will remove its enemies here. + + SARAH + Jesus. + (beat, then) + How much do you know about Dyson? + + TERMINATOR + I have detailed files. + + SARAH + I want to know everything. What he looks like. + Where he lives. Everything. + +99 INT. DYSON HOUSE - DAY + + Miles Dyson sits at the huge desk in his study. He is deep in + thought, tapping away at the keyboard of his home computer terminal. + Next to desk are racks of sophisticated gear. On a Sunday morning, + when most men are relaxing, spending time with their families, Dyson + is hard at work. + + IN A PROFILE CLOSEUP we see him in deep concentration, his mind + prowling the labyrinth of his new microprocessor. + + A WOMAN'S FACE ENTERS FRAME soundlessly behind him. He doesn't hear + her. His wife, TARISSA, extends her tongue and traces it down the + back of his neck. He smiles and turns to kiss her good morning. + She's still in her bathrobe, holding coffee. He's been up for hours. + He turns and goes back to work, forgetting instantly that she is + standing there. + + She watches him work, the arcane symbols moving across the screen. + We see her frustration, her inability to truly enter the magic box + of his world. + + TARISSA + You going to work all day? + + DYSON + I'm sorry, baby. This thing is just kicking my + ass. I thought we had it with this one... + + He points to a metal box on his desk, about two feet long. As + assembly of small cubes. It looks like a dinosaur version of + Terminator's CPU. + + DYSON + ... but the output went to shit after three + seconds. I'm thinking now it's the way I'm + matrixing the command hierarchies... + + TARISSA + You need a break. You'll see it clear when you + come back. + + DYSON + I can't + + TARISSA + Miles, it's Sunday. You promised to take the + kids to Raging Waters today. + + DYSON + Oh. I can't, honey. I'm on a roll here. + + He takes her hands. We see a childlike excitement in his face. He + wants so badly to share the almost orgasmic thrill of discovery, + the satisfaction of creation. + + DYSON + Baby, this thing is going to blow 'em all away. + It's a neural-net process -- + + TARISSA + I know. You told me. It's a neural-net + processor. It thinks and learns like we do. + It's superconducting at room temperature. + Other computer are pocket calculators by + comparison. + (she pulls away from him) + But why is that so goddamn important, Miles? + I really need to know, 'cause I feel like I'm + going crazy here, sometimes. + + DYSON + I'm sorry, honey, it's just that I'm thiiis + close. + + He holds up his thumb and index finger... a fraction of an inch apart. + She picks up the prototype. It doesn't look like much. + + DYSON + Imagine a jetline with a pilot that never makes + a mistake, never gets tired, never shows up to + work with a hangover. + (he taps the prototype) + Meet the pilot. + + TARISSA + Why did you marry me, Miles? Why did we have + these two children? You don't need us. Your + heart and your mind are in here. + (she stares at the metal box + in her hands) + But it doesn't love you like we do. + + He takes the anodized box from her hands and sets it down. Then he + puts his hands on her shoulders and kisses her gently. She acquiesces + to his kiss. + + DYSON + I'm sorry. + + Tarissa glances over his shoulder. She nods her head toward the + doorway to the study. Dyson turns and sees their two kids standing + there. Danny (6) and Blythe (4) look rumpled and adorable in their + PJs. Dyson wilts at their hopeful expressions. + + TARISSA + How about spending some time with your other + babies? + + Dyson grins. The forces of darkness have lost this round. He holds + out his hands and his kids run to him, cheering. + + CUT TO: + +A100 EXT. DESERT/COMPOUND - DAY + + The desert northwest of Calexico. Burning under the sun like a + hallucination. Heat shimmers the image, mirage-like. + Terminator turns the pickup off the paved road and barrels along a + roadbed a sand and gravel, trailing a huge plume of dust. + A sign at the turnoff says: CHARON MESA 2 MI + CALEXICO 15 MI + +A101 AHEAD is a pathetic oasis of humanity in the vast wasteland, a couple + of aging house-trailers, surrounded by assorted junk vehicles and + desert-style trash. There is a dirt airstrip behind the trailers, and + a stripped Huey helicopter sitting on block nearby. + + The truck rolls to a stop in a cloud of dust. The place looks + deserted. The door to the nearest trailer bangs in the wind. + + SARAH + (to Terminator and John) + Stay in the truck. + +A102 ANGLE FROM INSIDE ANOTHER TRAILER, NEARBY. + A DARK FIGURE in the F.G. has an AK-47 trained on the pickup as + Sarah gets out. + + ON SARAH peering through the backlit dust. + The sound of wind. She approaches the trailer. + + SARAH + (in Spanish) + Enrique? You here? + + She hears KACHANK! behind her and spins, whipping out her .45 in one + motion. + + ENRIQUE SALCEDA stands behind a rusting jeep, a 12-gauge pump trained + on her. He is mid-forties, a tough Guatemalan with a weathered face + and heavy mustache. He wears cowboy boots and a flak vest, no shirt. + + SALCEDA + You pretty jumpy, Connor. + + His fierce face breaks into a broad grin. The shotgun drops to his + side as he walks toward her. When he reaches her he hugs her, then + steps back. + + SALCEDA + (in Spanish) + Good to see you, Connor. I knew you'd make it + back here sooner or later. + + He grins at John as he steps from the truck, and then clocks + Terminator getting out. + + SALCEDA + Oye, Big John! Que pasa? Who's your very large + friend? + + JOHN + (perfect Spanish) + He's cool, Enrique. He's... uh... this is my + Uncle Bob. + (to Terminator, in English) + Uncle Bob, this is Enrique. + + Terminator smiles. Sort of. Salceda squints at him, + + SALCEDA + Hmmm. Uncle Bob, huh? Okay. + (yelling) + Yolanda. Get out here, we got company. And + bring some fucking tequila! + + A thin Guatemalan KID, FRANCO, eighteen or so, comes out of the + trailer with the AK-47, followed by Salceda's wife, YOLANDA. She has + THREE younger children with her, from a five-year-old GIRL, JUANITA, + to a year-and-half-old BOY. She waves at John. They exchange + greetings in Spanish. They seem like nice people. + Terminator looks down at John, next to him. He says quietly... + + TERMINATOR + Uncle Bob? + + SALCEDA + (to Sarah) + So, Sarahlita, you getting famous, you know + that? All over the goddamn TV. + + Salceda rips the cap off the tequila bottle. The two-year-old toddles + to Terminator and grabs his pants, sliming them with drool. + Terminator looks down at the tiny kid, fascinated. What is it? + He picks up the child with one huge hand. Looks at it. Turns it + different ways. Studying it. Then sets it down. The kid waddles + off, a little dizzy. + + SALCEDA + Honey, take Pacolito. Thanks, baby. + + She hands him the tequila and takes the child. Salceda takes a long + pull from the Cuervo bottle. + + SALCEDA + (to Terminator) + Drink? + + Terminator gestures "no" at the proffered bottle, but Sarah grabs it + and takes a long pull. She lowers it without expression. Her eyes + don't even water. + + SARAH + I just came for my stuff. And I need clothes, + food, and one of your trucks. + + SALCEDA + (grinning) + Hey, how about the fillings out of my fucking + teeth while you're at it? + + SARAH + Now, Enrique. + (turns to Terminator and John) + You two are on weapons detail. + + CUT TO: + +A103 EXT. COMPOUND/BEHIND THE TRAILERS + + There is an aging and rusted Caterpillar sitting behind one of the + trailers. John expertly backs it toward Terminator who is holding + one end of a piece of heavy chain which disappears into the sand. + + JOHN + Hook it on. + + Terminator hooks the chain onto the towhook on the back of the + tractor. John hits the throttle and the Cat churns its treads, + pulling some massive load. A six-by-eight foot sheet of steel plate + moves slowly under six inches of sand. + + John drags it far enough to reveal... a rectangular hole in the + ground. Like the mouth of a tomb. The kid drops down from the + tractor and walks to the hole. + + JOHN + One thing about my mom... she always plans + ahead. + +A104 INT. WEAPONS CACHE + + From inside the "tomb". Sunlight slashes down into a cinder-block + room, less than six feet wide but over twenty long. Sand spills down + the steps. The walls are lined with guns. + + John precedes Terminator into Sarah's weapons cache. Rifles, pistols, + rocket launchers, mortars, RPGs, radio gear. At the far end, boxes + containing ammo, grenades, etc. are stacked to the ceiling. + Terminator gets real alert. Scanning, wondering where to begin. He + picks up a MAC-10 machine pistol. Racks the bolt. + + TERMINATOR + Excellent. + + JOHN + Yeah, I thought you'd like this place. + +A105 EXT. COMPOUND/NEARBY + + Sarah emerges from a trailer. She has changed. Boots, black fatigue + pants, T-shirt. Shades. She looks hard. + Salceda is nearby, packing food and other survival equipment with + Yolanda. He looks up as Sarah approaches, and slaps the side of a + BIG FOUR-BY BRONCO next to him, + + SALCEDA + This is the best truck, but the water pump is + blown. You got the time to change it out? + + SARAH + Yeah. I'm gonna wait till dark to cross the + border. + (she pulls him away from + Yolanda) + Enrique, it's dangerous for you here. You get + out tonight, too, okay? + + SALCEDA + Yeah, Saralita. Sure. + (he grins) + Just drop by any time and totally fuck up my + life. + + She slaps him on the shoulder. + + CUT TO: + +A106 INT. WEAPONS CACHE + + Terminator returns from carrying out several cases of ammo. John is + selecting rifles from a long rack. + + JOHN + See, I grew up in places like this, so I just + thought it was how people lived... riding + around in helicopters. Learning how to blow + shit up. + + John grabs an AK-47 and racks the bolt with a practiced action. + Inspects the receiver for wear. Doesn't like what he sees. Puts is + back. His movement are efficient. Professional. Uninterested. + + JOHN + Then, when Mom got busted I got put in a + regular school. The other kids were, like, + into Nintendo. + + Terminator has found a Vietnam-era "blooper" M-79 grenade launcher. + A very crude but effective weapon. He opens the breech and inspects + the bore. + + JOHN + Are you ever afraid? + + Terminator pauses for a second. The thought never occurred to him. + He searches him mind for the answer... + + TERMINATOR + No. + + Terminator slings the M-79 and starts looking for the grenades. + + JOHN + Not even of dying? + + TERMINATOR + No. + + JOHN + You don't feel any emotion about it one way + or the other? + + TERMINATOR + No. I have to stay functional until my mission + is complete. Then it doesn't matter. + + John is idly spinning a Sig Saur 9mm pistol on his finger... backwards + and forwards like Bat Masteron. + + JOHN + Yeah. I have to stay functional too. + (sing-songy) + "I'm too important". + + Terminator pulls back a canvas tarp, revealing a squat, heavy weapon + with six barrels clustered in a blunt cylinder. Chain-ammo is fed + from a canister sitting next to it. A G.E. MINI-GUN. The most + fearsome anti-personnel weapon of the Vietnam era. + Terminator hefts it. Looks at John as if to say "Can I? Please?" + + JOHN + It's definitely you. + + CUT TO: + +A107 EXT. COMPOUND - DAY/LATER + + Sarah and John have their weapons and supply selections laided out on + two battered picnic tables for cleaning and packing. Maps, radios, + documents, explosives, detonators... just the basics. Sarah is field- + stripping and cleaning guns, very methodical. There is no wasted + motion. + + Not far away, John and Terminator are working on the Bronco. They're + greasy up to their elbows, lying on their backs under the engine + compartment, ratcheting bolts into places on the new water pump. + + JOHN + There was this one guy that was kinda cool. + He taught me engines. Hold this a second. Mom + screwed it up, of course. Sooner or later she'd + always tell them about Judgment Day and me being + this world leader and that's be all she wrote. + + John thinks he's being causal, but his longing for some kind of + parental connection is obvious. + + TERMINATOR + Torque wrench please. + + JOHN + Here. I wish I coulda met my real dad. + + TERMINATOR + You will. + + JOHN + Yeah. I guess so. My mom says when I'm, like, + 45, I think, I send him back through time to + 1984. But right now he hasn't even been born + yet. Man, is messes with your head. Where's + that other bolt? + (Terminator hands it to him) + Thanks. Mom and him were only together for one + night, but she still loves him, I guess. I see + her crying sometimes. She denies it totally, + of course. Like she says she got something in + her eye. + + They crawl out from under the truck into the bright sunlight. + + TERMINATOR + Why do you cry? + + JOHN + You mean people? I don't know. We just cry. + You know. When it hurts. + + TERMINATOR + Pain causes it? + + JOHN + Uh-unh, no, it's different... It's when there's + nothing wrong with you but you hurt anyway. You + get it? + + TERMINATOR + No. + + Terminator gets into the Bronco and turns the ignition key and the + engine catches with a roar. + + JOHN + Alriight!! My man! + + TERMINATOR + No problemo. + + John grins and does a victorious thumbs up. + Terminator imitates the gesture awkwardly. + John laughs and makes him get out of the truck, to try the move again. + +A108 SARAH, across the compound, pauses in her work to watch John and + Terminator. + +A109 SARAH'S POV... we don't hear what John and Terminator are saying. It + is a soundless pantomime as John is trying to show some other gestures + to the cyborg. Trying to get him to walk more casually. John walks, + then Terminator tries it, then John gestures wildly, talking very + fast... explaining the fundamental principles of cool. They try it + again. Continued ad lib as we hear: + + SARAH (V.O.) + Watching John with the machine, it was suddenly + so clear. The Terminator would never stop, it + would never leave him... it would always be + there. And it would never hurt him, never shout + at him or get drunk and hit him, or say it + couldn't spend time with him because it was too + busy. And it would die to protect him. Of all + the would-be fathers who came and went over the + years, this thing, this machine, was the only + one who measured up. In an insane world, it was + the sanest choice. + + Sarah clenches her jaw and goes grimly back to work... a strong woman + made hard and cold by years of hard choices. + + CUT TO; + +A110 EXT. ROAD - DAY + + A police cruiser is parked off the side of a quiet, empty road on the + outskirts of Los Angeles. A ribbon of traffic moves steadily by on a + freeway in the distance. Nothing stirs around the cruiser except some + pump-jacks sucking the earth on the hill behind it. + +A111 IN THE CRUISER. The T-1000 sits inside. John's notes and letters are + spread out on the seat beside it. Sarah's voice speaks from a + cassette deck. John's tapes. Her voices mixes with the static filled + chatter of the radio that T-1000 monitors for any signs of its + targets. + + SARAH + ... if we are ever separated, and can't make + contact, go to Enrique's airstrip. I'll + rendezvous with you there. + + T-1000 whips around and rewinds the tape, replaying the last section. + It then snaps up the envelope of photos we saw earlier. + + ECU on envelope. We see the postmark: "Charon Mesa, Calif." + + TIGHT ON T-1000 staring at the postmark on the envelope. It glances + up at the sound of crunching gravel. In the rear-view it sees a BIKE + COP pulling onto the shoulder behind it. The big KAWASAKI 1100 idles + up next to the T-1000, still seated in the cruiser. + + BIKE COP + Howdy. I saw you pulled over here earlier. + Everything okay? + + T-1000 + Everything's fine. Thanks for checking. + (it gets slowly out of + the car) + Since you're here, though, can I talk to you + a second... + + CUT TO: + +A112 EXT. HIGHWAY - DAY/MINUTES LATER + + The T-1000 thunders along on the Kawasaki 1100, doing about a hundred + and twenty. PAN WITH IT until it recedes toward the horizon. + + CUT TO: + +A113 EXT. COMPOUND - DAY (LATE AFTERNOON) + + Sarah sits at the picnic table. The weapons are cleaned and her work + is done. She hasn't slept in twenty-four hours and she seems to have + the weight of the whole world on her shoulder. + She draws her knife from its belt sheath. + Idly starts to carve something on the table top... the letter "N". + +A114 NOT FAR AWAY, John and Terminator are packing the Bronco for the trip. + +A115 ON SARAH, AT THE TABLE as she looks up from her carving, thinking. + She watches Salceda's kids playing nearby... wrestling with a mutty + dog and loving it. Sarah watches Yolanda walking her toddler by her + hands. Backlit, stylized. She looks over at John. Loading guns and + supplies. + +A116 ANGLE ON kids playing. + +A117 SARAH'S HEAD droops. She closes her eyes. + +A118 TIGHT ON small children playing. Different ones. + Wider now, to reveal a playground in a park. Very idyllic. A dream + playground, crowded with laughing children playing on swings, slides, + and a jungle gym. It could be the playground we saw melted and frozen + in the post-nuclear desolation of 2029. But here the grass is vibrant + green and the sun is shining. + +118A Sarah, short-haired, looking drab and paramilitary, stands outside the + playground. An outsider. Her fingers are hooked in a chain-link + fence and she is staring through the fence at the young mothers + playing with their kids. A grim-faced harbinger. + +118B Some girls play skip-rope. Their sing-song weaves through the random + burbling laughter of the kids. One of the young mothers walks her + two-year-old son by the hands. She is wearing a pink waitress + uniform. She turns to us, laughing. + It is Sarah. Beautiful. Radiant. Sarah from another life, + uncontaminated by the dark future. She glances at the strange woman + beyond the fence. + +118C Grim-faced Sarah presses against the fence. She starts shouting at + them in SLOW MOTION. No sound comes from her mouth. She grabs the + fence in frustration, shaking it. Screaming soundlessly. + Waitress Sarah's smile falls. Then returns as her little boy throws + some sand at her. She laughs, turns away, as if the woman at the + fence were a shadow, a trick of light. + +118D-118F OMITTED + +118G THE SKY EXPLODES. The children ignite like match heads. Sarah is + burning, screaming silently, everything silent and overexposed. + +118H THE BLAST WAVE HITS... devouring the cowering mothers and children. + Sarah's scream merges with the howl of the wind as the shockwave rips + into her, blasting her apart and she... + +119 Wakes up. + All is quiet and normal. The children are still playing nearby. Less + than fifteen minutes have gone by. + + Bathed in sweat, Sarah sits hunched over the table. + Every muscle is shaking. She is gasping. + Sarah struggles to breathe, running her hand through her hair which is + soaked with sweat, She can escape from the hospital, but she can't + escape from the madness which haunts her. + + She looks down at the words she has carved on the table, amid the + scrawled hearts and bird-droppings. They are: "NO FATE." + Something changes in her eyes. She slams her knife down in the table + top, embedding it deeply in the words. Then gets up suddenly and + we -- + + CUT TO: + +A120 LONG LENS on Sarah walking toward us, striding across the compound + with grim purpose. She carries a small nylon pack and a CAR-15 + assault rifle. Her face is an impassive mask. She has become a + terminator. + +A120A JOHN LOOKS UP from his work in time to see Sarah throw the rifle + behind the seat of their stolen pickup, jump in and start it. She + slams it in gear. Salceda walks up to John. + + SALCEDA + She said you go south with him... + (he points at Terminator) + ... tonight, like you planned. She will meet + you tomorrow in... + + But John is moving, running after her. + + JOHN + Mommm!! Wait!! + +A120B MOVING WITH SARAH as she leaves the compound. We see John running + after her... yelling. Can't hear his words. She looks in the rear- + view mirror but doesn't slow down. + + CUT TO: + +A121 EXT. COMPOUND - DUSK/MINUTES LATER + + John and Terminator ponders the message carved into the top of the + picnic table. Sarah's knife is still embedded there. + + JOHN + "No fate." No fate but what we make. My father + told her this... I mean I made him memorize it, + up in the future, as a message to her -- + Never mind. Okay, the whole thing goes "The + future is not set. There is no fate but what + we make for ourselves." + + TERMINATOR + She intends to change the future somehow. + + JOHN + I guess, yeah -- + (snaps his fingers as it hit him) + Oh shit!! + + TERMINATOR + Dyson. + + JOHN + Yeah, gotta be! Miles Dyson! She's gonna blow + him away! + + John motions to Terminator and breaks into a run. + + JOHN + Come on. Let's go. LET'S GO!! + + CUT TO: + +A122 INT./EXT. SARAH'S JEEP - DUSK + + Sarah speeds through the darkening desert. Expressionless. In her + dark glasses, she looks as pitiless as an insect. + + DISSOLVE TO: + +A123 EXT. HIGHWAY - NIGHT + + TRACKING WITH THE BRONCO, Terminator and John heading toward L.A. + + TERMINATOR + This is tactically dangerous. + + JOHN + Drive faster. + + TERMINATOR + The T-1000 has the same files that I do. It + could anticipate this move and reacquire you + at Dyson's house. + + JOHN + I don't care. We've gotta stop her. + + TERMINATOR + Killing Dyson might actually prevent the war. + + JOHN + I don't care!! There's gotta be another way. + Haven't you learned anything?! Haven't you + figured out why you can't kill people? + + Terminator is still stumped. + + JOHN + Look, maybe you don't care if you live or die. + But everybody's not like that! Okay?! We have + feelings. We hurt. We're afraid. You gotta + learn this stuff, man, I'm not kidding. It's + important. + + PANNING as they pass, revealing the lights of the city ahead. + + CUT TO: + +A124 EXT, DYSON'S HOUSE - NIGHT + + The house is high-tech and luxurious. Lots of glass. Dyson's study + is lit bluish with the glow of his computer monitors. He is at the + terminal, working. Where else? We see him clearly in a long shot + from an embankment behind the house. + + A DARK FIGURE moves into the foreground. Rack focus to Sarah as she + turns into profile. She raises the CAR-15 rifle and begins screwing + the long heavy cylinder of a sound-suppresser onto the end of the + barrel. + + CUT TO: + +A125-A125K OMITTED + +129 OMITTED + +129A INT. DYSON HOUSE + + Dyson's kids, Danny and Blythe, are playing in the halls with a radio- + controlled off-road truck. Danny drives and Blythe scampers after it, + trying to catch it. They stop in the hall outside Dyson's study and + sees him working at his terminal. Danny puts a finger to his lips, + shushing Blythe. His expression is mischievous. + +129B With the silencer in place, Sarah eases back the bolt and then slips + it forward, chambering a .223 round. Then she lies down on the + embankment. + He cheek pressed against the cool rifle-stock, she slides one hand + slowly forward to brace the weapon, taking the weight on her elbow. + Her other hand slips knowingly to the trigger. + + Her expression is cold, impassive. She looks through the scope at the + man in the house. She feels nothing as she raises the rifle. + +130 OMITTED + +130A INT. DYSON'S HOUSE + + DYSON, in deep thought. The rhythmic sounds of keys as he works. + Symbols on the screen shift. + + ON HIS BACK we see the glowing red dot appear. It is the target dot + of Sarah's laser designator. It moves silently up his back toward + his head. + +131 EXT. DYSON HOUSE/EMBANKMENT + + IN EXTREME CLOSEUP we see Sarah's eye at the night-scope. + TIGHT INSERT on her finger as it tightens on the trigger, taking out + the slack. She takes a deep breath and holds it. Adjusts her + position minutely. + +132 INT. DYSON HOUSE + + The laser dot jiggles on the back of Dyson's neck and then rises, + centering on the back of his skull. + +132A LOW ANGLE as Danny's Bigfoot truck roars toward us -- FILLING FRAME. + Thump. It hits Dyson's foot. He jerks, startled, and looks down + as -- + POP!! +132B His monitor screen is BLOWN OUT spraying his with glass. He jerks + back, utterly shocked... and spins to see the huge hole blown through + the window behind him. This saves him as K-THUMP! -- the second shot + blows the top of his high-backed chain into an explosion of stuffing + an inch from his head. + Instinctively he dives to the carpet as -- + + BLAM BLAM BLAM -- rounds blast through the window, tearing into his + desk and computer, blowing his keyboard into shrapnel. +132C With the monitor screen blown out, the room is in darkness. Sarah + can't see Dyson now, down behind his desk. She puts round after round + into the heavy desk, blasting one side of it into kindling. + +132D Dyson, scared out of his mind, has his face jammed against the carpet, + terrified to move. He sees his kids in the hall. + + DYSON + Run, kids! Go! Run! + +132E IN THE HALL, TARISSA rounds the corner at a dead run. She sees the + kids running toward her and grabs them in her arms. Down the hall, + in the dark study, she sees Dyson on the floor amid the splinters and + shrapnel of the continuing fusillade. + + TARISSA + Miles! Oh my God!! + + MILES + Stay back!! + +132F ON THE FLOOR, Dyson flinches as chucks of wood and shattered computer + components shower down on him. He looks desperately toward the door, + but knows he'd be totally exposed. He'd never make it. + +133 SARAH's rifle empties with a final CLACK! + She throws it down and draws her .45 smoothly from a shoulder base. + She starts toward the house, snapping back the slide on the pistol, + chambering a round. She is in a fast, purposeful walk, keeping her + eyes fixed on the target. She is utterly determined to kill this man. + +134 FROM UNDER THE DESK Dyson can see a sliver in the backyard. He sees + Sarah's feet as she strides toward him. He tenses to make a break for + the door. + + Sarah raises the pistol, eyes riveted ahead, controlling her + breathing. Dyson springs up in a full-tilt sprint. She tracks him. + He hooks a foot on the cord of a toppled disk drive. + BOOM! Her shot blows apart a lamp where his head was. + He hits the floor hard, but keeps moving, scrambling forward. + + Crunch of glass behind his as Sarah's dark form is framed in the + blown-out floor-to-ceiling window. Dyson leaps toward the hall. + BOOM! Her second shot spins him. He hits the floor in the hallway. + Tarissa is screaming. Dyson struggles forward, stunned. There is a + .45-caliber hole clean through his left shoulder. He smears the wall + with blood as he staggers up. Looking back, he sees the implacable + figure behind him, coming on. + + He topples through a doorway as -- + BOOM! BOOM! Shots blowing away the molding where he just was. + +135 EXT. DYSON HOUSE/STREET + + Terminator and John leap from the jeep, sprinting toward the house. + The shots sound muffles from outside. + + JOHN + Shit, we're too late! + +136 INT. HOUSE + + Advancing with Sarah we enter the living area. Tarissa has Blythe and + she's screaming at Danny, who has run back to his collapsed father. + + TARISSA + Danny! DANNY! + + DANNY + Daaaaddddeeee! + + Danny is pulling at Dyson, crying and screaming, as his father tries + to stagger forward. Tarissa drops Blythe and runs back for Dyson, + grabbing him. Sarah looms behind them with the pistol aimed. + + SARAH + Don't fucking move! Don't FUCKING MOVE!! + (she swings the gun on + Tarissa) + Get on the floor, bitch! Now!! Fucking down! + NOW!! + + Sarah is crazy-eyed now, shaking with the intensity of the moment. + The kill has gone bad, with screaming kids and the wife involved... + things she never figured on. Tarissa drops to the knees, terrified + as she looks into the muzzle of the gun. Blythe runs to Dyson and + hugs him, wailing. + + BLYTHE + Don't hurt my father! + + SARAH + (screaming) + Shut up, kid! Get out of the way!! + + Dyson looks up, through his pain and incomprehension. Why is this + nightmare happening? The black gun muzzle is a foot from his face. + + DYSON + (gasping) + Please... let... the kids... go... + + SARAH + Shut up! SHUT UP!! Motherfucker! It's all + your fault! IT'S YOUR FAULT!! + + We see her psyching herself to pull the trigger... needing now to hate + this man she doesn't know. It's a lot harder face-to-face. She is + bathed in sweat, and it runs into her eyes. Blinking, she wipes it + fast with one hand, then gets it back on the gun. The .45 is + trembling. + + TIGHT ON SARAH as we see the forces at war behind her eyes. + She looks into the faces of Dyson, Tarissa, Blythe, Danny. + Sarah takes a sharp breath and all the muscles in her arms contract + as she tenses to fire. + But her finger won't do it. + She lowers the gun very slowly. It drops to her side in one hand. + + All the breath and energy seems to go out of her. + She weakly raises her other hand in a strange gesture, like "Stay + where you are, don't move". As if, should they move, the fragile + balance might tip back the other way. + She backs away from them slowly, panting. It's as if she's backing + away in terror from what she almost did. She reaches a wall and + slumps against it. Slides down to her knees. The gun falls limply + from her fingers. + She rests her cheek against the wall. + +136A The front door is kicked in. + Terminator steps inside. John grabs his sleeve and pushes past him. + He scopes out the situation in two seconds... Sarah, the gun, the + sobbing family. John moves to Sarah while Terminator checks Dyson. + + John kneels in front of his mother. She raises her head to look at + him. He sees the tears spilling down her cheeks, + + JOHN + Mom? You okay? + + SARAH + I couldn't... oh, God. + (she seems to she him for + the first time) + You... came here... to stop me? + + JOHN + Uh huh. + + She reaches out and takes his shoulder suddenly, surprising him... + drawing him to her. She hugs him and a great sob wells up deep inside + her, from a spring she had thought long dry. She hugs him fiercely + as the sobs wrack her. + + John clutches her shoulders. It is all he ever wanted. + + JOHN + It's okay. It'll by okay. We'll figure it + out. + + SARAH + I love you, John. I always have. + + JOHN + I know, Mom. I know. + + TARISSA looks around at the bizarre tableau. Terminator has + wordlessly ripped open Dyson's shirt and examined the wound. + + TERMINATOR + Clean penetration. No shattered bone. + Compression should control the loss of blood. + + He takes Tarissa's hands and presses them firmly over the entrance and + exit wounds. + + TERMINATOR + Do you have bandages? + + DYSON + In the bathroom. Danny, can you get them for + us? + + Danny nods and runs down the hall. + John disengages from Sarah. She wipes her tears, the instinct to + toughen up taking over again. But the healing moment has had its + effect, nevertheless. + + John walks toward Dyson and Terminator. + + DYSON + Who are you people? + + + John draws the Biker's knife from Terminator's boot. Hands it to him. + + + JOHN + Show him. + + Terminator takes off his jacket to reveal bare arms. + John takes Blythe by the hands and leads her down the hall, away + from what is about to happen. + +136B TIGHT ON TERMINATOR'S left forearm as the knife makes a deep cut just + below the elbow. In one smooth motion, Terminator cuts all the way + around his arm. With a second cut, he splits the skin of the forearm + from elbow to wrist. + + TERMINATOR grasps the skin and strips is off his forearm like a + surgeon rips off a rubber glove. It comes off with a sucking rip, + leaving a bloody skeleton. + + But the skeleton is made of bright metal, and is laced with hydraulic + actuators. The fingers are as finely crafted as watch parts... they + flex into a fist and extend. Terminator holds it up, palm out, in + almost the exact position of the one in the vault at Cyberdyne, + + HOLD ON DYSON reacting to the servo-hand in front of him. + He's seen one of these before. + Tarissa is screaming now, but he doesn't hear her. + + DYSON + My God. + + TERMINATOR + Now listen to me very carefully. + +137 INT. HOUSE/KITCHEN - LATER + + Sarah puts out her fifth cigarette. She's sitting on the counter. + John, Terminator, Dyson, and Tarissa are at the kitchen table, under + a single overhead light. + + Dyson looks like that guy on the Sistine Chapel wall, the damned + soul... eyes fixed and staring with terrifying knowledge. His + shoulder is bandaged. Terminator's arm is wrapped with a blood-soaked + bandage below the elbow. The steel forearm and hand gleam in the + harsh kitchen light. TRACKING AROUND THE TABLE as Terminator + speaks... we don't hear the words. + + SARAH (V.O.) + Dyson listened while the Terminator laid it all + down. Skynet. Judgment Day... the history of + things to come. It's not every day you find + out you're responsible for 3 billion deaths. + He took it pretty well, considering... + + Terminator finishes speaking. + + DYSON + I feel like I'M gonna throw up. + + He looks around at them, clutching the table like he's about to blow + away. His face, his posture, his ragged voice express soul-wrenching + terror. This is a man ripped out of normal life into their grim + world. His voice is pleading. + + DYSON + You're judging me on thing's I haven't even + done yet. Jesus. How were we supposed to know? + + Sarah speaks from the shadows behind them. Dyson turns to find her + looking right at him. + + SARAH + Yeah. Right. How were you supposed to know? + Fucking men... all you know how to do is thrust + into the world with your... fucking ideas and + your weapons. Did you know that every gun in + the world is named after a man? Colt, Browning, + Smith, Thompson, Kalashnikov... all men. Men + built the hydrogen bomb, not women... men like + you thought it up. You're so creative. You + don't know what it's like to really create + something... to create a life. To feel it growing + inside you. All you know how to create is + death... you fucking bastards. + + JOHN + Mom, Mom, we need to be more constructive here. + I don't see this as a gender-related issue. + (to the Dysons) + She's still tense. + (to Sarah) + We still have to figure out how to stop it all + from happening. Right? + + TARISSA + But I thought... aren't we changing things? I + mean... right now? Changing the way it goes? + + DYSON + (seizing on that) + That's right! There's no way I'm going to + finish the new processor now. Forget it. I'm + out of it. I'm quitting Cyberdyne tomorrow... + I'll sell real estate, I don't care,,, + + SARAH + (coldly) + That's not good enough. + + Dyson's voice is pitiful. + + DYSON + Look, whatever you want me to do, I'll do. I + just want my kids to have a chance to grow up, + okay? + + TERMINATOR + No one must follow your work. + + DYSON + (thoughts racing) + Alright, yeah. You're right. We have to + destroy the stuff at the lab, the files, disk + drive... and everything I have here. Everything! + I don't care. + + CUT TO: + +138 FIRE ROARING IN A METAL TRASH BARREL. + Stacks of files are dumped onto it. + WIDER reveals we are in -- + +138A EXT, DYSON'S BACKYARD - NIGHT + + Terminator dumps lighter fluid liberally over the fire, which flares + up, lighting his face demonically. Sarah, Dyson, Tarissa, and John + return from his office with more stuff -- files, notes, optical disks. + Even his kids are carrying stuff. It all goes into the fire. Dyson + drops the prototype onto the fire... his eyes hollow and distant. + + He stares into the fire, watching his world burning. The has a + sudden thought. + + DYSON + Do you know about the chip? + + SARAH + What chip? + + DYSON + They have it in a vault at Cyberdyne... + (to Terminator) + It's gotta be from the other one like you. + + TERMINATOR + (to Sarah) + The CPU from the first terminator. + + SARAH + Son of a bitch, I knew it! + + DYSON + They told us not to ask where they got it. I + thought... Japan... hell, I don't know. I + didn't want to know. + + SARAH + Those lying motherfuckers! + + DYSON + I was scary stuff, radically advanced. It was + shattered... didn't work. But it gave us ideas, + It took us in new directions... things we would + never have thought of. All this work is based + on it. + + TERMINATOR + I must be destroyed. + + SARAH + (to Dyson) + Can you get us in there, past security? + + DYSON + I think so, yeah. When? + + Dyson looks at her, Terminator, then John. Sees his answer. + + DYSON + Now? + (he takes a breath) + Yeah, right. + + He turns to his wife. Her face is streaked with tears, but her eyes + are strong and clear. Tarissa puts her hands on his arm. She is + stunned by what she's heard, but dealing with it. She believe them. + + TARISSA + Miles, I'm scared. Okay. But the only thing + that scares me more than you going... is you + not going. + + He nods. She's right. + + SARAH + (to Terminator) + Is it safe for them here? + + TERMINATOR + (to Tarissa) + Take your kids. Go to a hotel. Right now. + Don't pack. + (to the others) + Let's go. + + CUT TO: + +138B EXT, HIGHWAY - NIGHT + + Pavement rushing at us, lit by headlights. Beyond, darkness. + + SARAH (V.O.) + The future, always so clear to me, has become + like a black highway at night. We were in + uncharted territory now... making up history + as we went along. + + TILT UP to reveal a rectangle of light ahead. The Cyberdyne + Building... + +139 INT. CYBERDYNE SYSTEMS BUILDING/LOBBY - NIGHT + + TIGHT ON A CARD-KEY SCANNER as Dyson's hand zips his security card + through a slot in one motion. There is the sound of a servo-lock, + and -- + +139A DYSON enter the spacious lobby, followed by Sarah, John, and + Terminator last of all. In a frontal angle, the others block + Terminator from view. + + THE GUARD at the front desk, GIBBONS, looks up as Dyson moves toward + him. Dyson is pale and sweaty, but smiles warmly at the guard, + speaking well before he reaches the desk. + + DYSON + Evening, Paul. These are friends of mine from + out of town, I just thought I'd take them up + and show them around. + + GIBBONS + I'm sorry, Mr. Dyson. You know the rules about + visitors in the lab. I need written authoriz -- + + K-CHAK! Gibbons is staring down the barrels of Sarah's .45 and + Terminator's MAC-10. + + TERMINATOR + I insist. + + The guard is too stunned to move. We see that Terminator is wearing + his jacket and one black glove. + Gibbon's eyes go to the silent alarm button on the console. + + SARAH + Don't even think about it. + + Gibbons nods. He stays frozen. Terminator circles quickly and gets + the guard out of the chair. John pulls a roll of duct-tape from his + knapsack and tears off a piece. + +140 INT. SECOND FLOOR CORRIDOR + + ELEVATOR DOORS OPEN and Terminator leads the group warily into the + corridor. They have a cart piled high with gear in nylon bags. + Dyson motions down the corridor to the right. As they walk, he + continues to fill them in -- + + DYSON + The vault needs two keys to open. Mine... + (holds up key) + ... and one from the security station. It's in + a locker but my card should access it. Here + we go. + + They stand in front of a wide security door. A sign above reads + SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY. Dyson zips + his key-card through the scanner and the door unlatches. + +141 OMITTED + +142 INT. FIRST FLOOR CORRIDOR/LOBBY + + A ROVING GUARD, MOSHIER, strolls down the long corridor from the + first-floor office block. A punch clock swings at his hip, and he's + just completed his circuit of the building. He passes the back of + elevators and rounds the corner to the front desk, calling out -- + + MOSHIER + Honey, I'm home... + + He sees the desk is deserted and frowns. Figures Gibbons must be in + the can, so checks that first before getting alarmed. + TRACKING WITH HIM to the restroom around the corner, + + MOSHIER + Hey, man, you shouldn't leave the -- + +142A OVER HIS SHOULDER we see past the door as he pushes it open, revealing + Gibbons handcuffed to the urinal. Moshier spins on a dime and sprints + to the desk where he slams down on the silent alarm button. + +153 INT. SECURITY STATION + + The security station is a pass-through area with a counter, behind + which are desks and a bank of monitors, showing boring movies about + empty corridors. Dyson crosses quickly to a locker behind the + monitor area. He swished his card repeatedly through the scanner on + the locker. Nothing happens. The light on the locker is blinking + red. Sarah notices Dyson's alarmed expression. + + DYSON + What? WHAT IS IT? + + Dyson whips around, staring at a light flashing on the console behind + him. + + DYSON + Silent alarm's been tripped. It neutralizes + the codes throughout the building. Nothing'll + open now. + + We see his nerve snapping. + + DYSON + We should abort. + + SARAH + NO!! We're going all the way! You got that, + Dyson? + + She's right in his face. Somehow, it works for him. He nods, getting + some resolve from somewhere. + +144 INT. LOBBY + + Moshier's gotten Gibbons loose. He's on the phone to the cops. + + GIBBONS + ... multiple armed subjects. Look, I think + it's the guy from that mall shootout, and the + woman... yeah, her. Pretty sure. Just send + everything you've got in the area -- + +145 INT. SECURITY STATION./LAB + + John jumps up on the desk next to the wall-mounted locker. Dyson + stares in amazement as John starts pulling his counter-electronics + gear out of his knapsack. It's just another Ready-Teller to him. + + JOHN + You guys get started on the lab... I can open + this. + +145A Dyson leads Terminator and Sarah to the main lab doors. Another + servo-lock. + He tries his card. Nothing. + + DYSON + No good. + + TERMINATOR + Let me try mine. + + He unslings the M-79, pulling it over his shoulder in one motion. + Sarah grabs Dyson and drags him back down the hall. + Terminator opens the breach and slide in one of the fat 40mm H.E. + grenades. He flips the thing closed with a snap of the wrist. + + SARAH + (yelling as she runs) + John! Fire-in-the-hole! + + John drops what he is doing, and covers his ears. + Terminator fires at inhumanely close range. +145B The door EXPLODES into kindling. The concussion blow his jacket + open, and flying shrapnel whizzes all around him. Before the + thunderclap has faded Terminator walks into the fire and smoke. + John goes back to work without missing a beat. + Sarah and a stunned Dyson walk through the burning doorframe into the + Artificial Intelligence Lab. + + A SIREN is sounding. The HALON FIRE-CONTROL SYSTEM has been + triggered. The invisible gas roars in, putting out the flames. + + DYSON + Fire's set off the halo system! Here... + hurry! + + Dyson runs to a wall cabinet and pulls out some BREATHING MASKS. He + hands one to Sarah and dons the other. Then he reaches out to hand + one to Terminator. + + DYSON + Here! + + Terminator doesn't need a mask, since is oxygen requirements are so + low. He ignores Dyson as he removes his massive backpack and opens + it. Dyson shrugs and tosses the mask on a desk. He turns to Sarah. + + DYSON + (yelling through the mask) + We'll have to keep these on a couple minutes, + till the gas clears. + + Terminator pulls two five-gallon jerry-cans of gasoline from his + pack. + Sarah starts pulling out book-sized, olive-grab CLAYMORE MINES, + stacking them next to the gasoline. Dyson stares. Part of him can't + believe they're really doing this. + + CUT TO: + +146 INT. DYSON HOUSE - NIGHT + + The T-1000 moves slowly though the ravaged office, analyzing what has + happened here. It walks down the dark hallway. The place is + deserted. The police-walkie clipped on its belt (real, not simulated) + blares to life. + + DISPATCHER (V.O.) + All units, all units. 211 in progress at 2144 + Kramer Street, the Cyberdyne building. Multiple + suspects, armed with automatic weapons and + explosives. SWAT unit is en route... + +147 EXT. HOUSE/STREET + + The T-1000 sprints up and throws its leg over the big C.H.P. Kawasaki. + Fires it up. It smokes an arcing scorch-mark on the pavement as it + spins around and roars away. + + CUT TO: + +148 INT. CYBERDYNE BUILDING/LAB + + TIGHT ON A LARGE DISK DRIVE. State-of-the-art. Very expensive. A + FIRE AXE smashes down through the housing, shattering the disk. + +148A WIDER, revealing a scene of high-tech pillage. Terminator beats the + disk drive into junk and steps to another. WHAM. Same routine. He's + already demolished half a dozen. + Sarah topples a file cabinet, scattering files. + Dyson staggers up with an armload of heavy M-O (magnetic-optical) + disks and drops them on a growing stack in the middle of the floor. + He and Sarah have their breathing masks hanging down around their + necks, since the halon gas has dissipated. + + DYSON + (to Sarah, panting) + Yeah, all that stuff! And all the disks in + those offices. Especially my office... + everything in my office! + (to Terminator) + These, too! This is important. + (SMASH!) + And all this here... that's it. + +148B Sarah goes into Dyson's office and starts hurling everything out the + door onto the central junkpile... books, files, everything on the + desk. + A FRAMED PHOTO of Dyson's wife and kids lands on top of the heap. + Tarissa, hugging Danny and Blythe, all grinning. The glass is + shattered. + +148C Terminator cuts a swath, under Dyson's direction, exploding equipment + into fragments with his inhuman swings. + SMASH! It's carnage. Millions in hardware, and all irreplaceable + fruits of their years of research... shattered, broken, dumped in a + heap for the big bonfire of destiny. + Dyson stops a second, panting. + + DYSON + Give me that thing a second. + + Terminator hands him the axe. Dyson hefts it one-handed. He turns to + a lab table... on it is another prototype processor. + + DYSON + I've worked for years on this thing. + + Swinging awkwardly but with great force he smashes the axe down onto + the processor prototype, exploding it into fragments. His shoulder is + agony, but he looks satisfied. + +149 INT. SECOND FLOOR SECURITY STATION + + John taps away at his little lap-top, which is running code + combinations into the card-key lock. Suddenly, the green light on + the lock goes on and it unlocks with a clunk. + + JOHN + Easy money. + + He whips it open, revealing a rack of keys. But the VAULT-KEY is + distinctive, a long steel rectangle on a neck-chain. John grabs it + and runs toward the lab. + +150 INT. LAB + + Sarah and Terminator are working like a crack team, rigging the + explosives. She is taping the claymores to the gas cans with duct + tape to create powerful incendiary bombs. Terminator is attaching + claymores and blocks of C-4 plastic explosive to the large MAINFRAME + COMPUTER cabinets nearby. All the claymores are wired back to one + detonator with has a RADIO-CONTROL RELAY switch. + + DYSON + How do you set them off? + + Terminator shows him a REMOTE DETONATOR, a small transmitter with a + red plunger. + + TERMINATOR + Radio remote. + + He makes a plunger-pushing motion with his thumb and an accompanying + "click" sound. Dyson nods. + Just then John comes running in, holding up the key. + + JOHN + I got it. Piece of cake. + + SARAH + (to Dyson and Terminator) + Go! I'll finish here. + + They run out as the SOUND OF SIRENS grow louder outside. + + TERMINATOR + I'll deal with the police. + + JOHN + Remember what I said, you can't... + + TERMINATOR + Trust me. + +151 EXT. CYBERDYNE BUILDING + + The security duo of Moshier and Gibbons cowers behind cars in the + parking lot in front of the building. They turns as L.A.P.D. BLACK- + AND-WHITES pour into the lot, turn the area into a disco of whirling + blue and red lights. + +152 OMITTED + +153 EXT. CYBERDYNE BUILDING + + The cops are jumping from their cars and ducking behind them. + Emphasis on small arms here. Behind them an ugly BLACK SWAT VAN + screeches into the lot. + +153A We hear the THUMP OF ROTORS as a POLICE CHOPPER arrives and swings in + close to the building. It rakes its XENON SPOTLIGHT through the + second floor offices. + +154 INT./EXT. SECOND FLOOR OFFICE + + Terminator crosses the office toward the floor-to-ceiling windows. + He is outlines starkly by the spotlight as it rakes through the dark + offices. Without breaking stride he kicks an executive desk toward + the window. +154A Glass explodes outward and the desk topples, falling to the sidewalk + below. + +154B Terminator, standing at the edge, FIRES A LONG BURST with strafes the + police cars lines up below. Cops duck as glass flies. Terminator, + with his superb aim, hits no one. But noticed is served. + +154C The cops (surprise) FIRE BACK. Terminator turns and is walking + calmly from the window as glass, office furniture, drapes etc. are + riddled by return fire. A few rounds hit his back, but he doesn't + notice. He reloads as he walks. + +155 INT. VAULT ANTECHAMBER + + TIGHT ON A KEY inserted into one of the vault locks. + + WIDER as John and Dyson stand poised, hands on keys. + + JOHN + And let's see what's behind door number one. + + Dyson nods and they turns the keys together. The vault grumbles to + itself, withdrawing it locking bolts with a final KLONK! + Together Dyson and John swing the door open. + +156 EXT./INT. LOBBY + + The varsity takes the field as the SWAT TROOPERS sprint forward by + squads. They flank the lobby and work their way inside, deploying + rapidly. They move and freeze, behind cover, quivering with + adrenaline. They have all that great SWAT equipment: body armor, + gas-masks, M-16s, tear-gas launchers, ropes. The works. They make + a lot of hand signals and keep their mouths shut. They're well- + trained and deadly. + +157 OUTSIDE we see cops firing TEAR GAS grenades through the broken + windows into second-floor offices. + +158 INT. VAULT + + John and Dyson are isolated from the world in this silent steel womb. + Dyson opens the cabinet containing the terminator relics. It's John + turn to stare with uneasy deja-vu as he sees the terminator hand and + CPU. + + Then in one vicious move he sweeps his arm behind the inert-gas flasks + and hurls them to the floor. They SHATTER. John snatches the CPU + and the metal hand out of the broken glass. + + JOHN + Got ol' Skynet by the ball now, Miles. Come + on, let's book! + + Clutching the steel hand and pocketing the chip like it's a Mars bar + he just bought, John runs out. Dyson follows. + +159 INT. FIRST FLOOR CORRIDOR/STAIRWELL + + We see the advance squad of SWATs make it to one of the stairwells. + They start up, two at a time, covering each other ritualistically by + the numbers. + +160 INT. LAB/HALL + + John pelts into the lab with Dyson stumbling along behind him. + Sarah is just finished wiring all the charges to the central + detonator. + + JOHN + Ready to rock? + + SARAH + Ready. + + John tosses her the metal hand. She catches it and bends to put the + hand in her empty back-pack. Sarah zips the pack and starts to shuck + into it. + + Dyson's running out of steam. The bandages at his shoulder are soaked + with seeping blood. He stands in the middle of the lab, saying + goodbye in his mind, looking weak and empty. + Terminator strides into the lab. + + TERMINATOR + Time to go. Right now. + + He and John head back the way they came, through security. + Sarah sees that in her work, she has set the detonator down twenty + feet away, near where Dyson is standing. + + SARAH + Dyson, hand me the detonator. Let's go -- + + He gingerly picks up the detonator. Starts toward her. Then -- +160A CRASH!! THE DOORS AT THE BACK END OF THE LAB ARE KICKED OPEN. + SWAT LEADER and two others OPEN FIRE. + Their M-16s rake the room. Sarah dives behind a computer cabinet. + Dyson is HIT. He is slammed to the floor by the impacts. + +161 IN THE HALL, John hears the firing and spins to run back. + + JOHN + Mommm!!! + + Terminator grabs him as bullets slam into his broad back. He makes + it around the corner with John, out of the line of fire. + +162 IN THE LAB, bullets rake over Sarah's head, smacking all around her, + clanging into the machine protecting her. She can see Dyson, slumped + on the floor. Debris and flying glass rain on her as the SWATs pour + on the fire. The detonator is clutched in his hand. He rolls to face + her, his eyes bulging from the pain of his torn-up guts. + + DYSON + Go. + +162A Sarah hesitates a split second. Then she snap-rolls and fast-crawls + through broken glass and debris into the hall where -- + + TERMINATOR grabs her by the jacket and hauls her roughly to her feet. + Bullets rake the walls behind them as they sprint forward. They + round the corner. John does a fast take that she's not hit and they + run together through the security checkpoint. + +163 INT. SECURITY STATION/CORRIDOR + + John reaches the first door, and tries it. Locked. + Terminator unslings the M-79 blooper smoothly, opening the breach. + + TERMINATOR + Get back. + + He pulls a grenade from the bandolier over his shoulder, and slides + it into the bore. Flick his wrist. The breech snaps shut. Sarah + and John have a split second to duck and cover. + + TERMINATOR + Cover you ears and open you mouth. + +163A They do. KABOOM!!! Twenty feet away the door, and half the wall + around it, EXPLODES outward. The backblast hits Terminator full + force, but he strides through the smoking hole before the debris has + even hit the floor. + +164 OMITTED + +165 INT. LAB + + SWAT LEADER moves cautiously through the lab. Cat-stepping, he + circles around a desk which block Dyson's body from his view. His + M-16 is leveled crisply. We look over his shoulder as he rounds the + desk, revealing -- + + MILES DYSON is not dead. He will be very soon, but at this moment he + is conscious. He has propped himself up against the desk, and holds a + BOOK in one hand. A heavy technical manual. + + Below the book is the detonator, upright on the tile floor. + The message is clear. "Shoot me, the book drops on the plunger. + Adios." Dyson wheezes, trying to draw enough breath to talk. + + DYSON + I don't know... how much longer... I can... + hold this thing... + + SWAT Leader seems to see the wires, the claymores, the gas cans all + around him for the first time. His eyes, visible through his gas- + mask, go very wide. + He spins and motions his squad back. + + LEADER + Fall back!! Everybody out! Move it! OUT + NOW! + + They retreat so fast they crash into the next group coming up the + stairs. + +166 INT. CORRIDOR + + Terminator reaches the main elevators. Hits the button. Sarah and + John are coughing and stumbling in the choking darkness, buddy- + breathing with the single mask. The doors open. They get in the + elevator and head down. + +167 INT. LAB + + Dyson is lying amid the ruins of his dreams. Sprawled on the floor, + he has his back propped up against the desk. He is bathed in his own + blood, which runs out in long fingers across the tiles. His breathing + is shallow and raspy. He still holds the book, trembling, above the + switch. + + In his lap is the picture from his desk. He has pulled it from the + debris next to him. A tear trickles from his eye. His wife and + children smile up at him through broken glass. + +168 OMITTED + +169 CUT TO THE PUPIL OF HIS EYE, at the moment of death, the instant the + light fade from his eyes and he is gone -- + His arm drops and the book his the switch -- + +170 EXT. BUILDING + + As the face of the building EXPLODES in an eruption of glass and fire. + Remains of the second-floor windows shower the parking lot and a huge + fireball rolls out, leaping into the sky. + The cops look up, stunned. The helicopter banks away from the heat. + Burning debris falls among the cop cars and a number of officers + break ranks, pulling back. + +171 ONLY ONE OF THEM seems to be moving with purpose. A BIKE COP who has + just arrived drives through the disorganized crowd, directly toward + the building. + +171A T-1000 guns the bike up a ramp to a pedestrian bridge which crosses + from a parking structure to the Cyberdyne building. It enters on the + second floor, which is now a burning maze. + +172 INT. SECOND FLOOR/OFFICE/CORRIDOR + + T-1000 drives into the smoky wreckage. It draws a Hoechler and Koch + MPK machine pistol and cruises slowly into the firelit offices, + scanning. + +172A IN THE CORRIDOR the bike skirts flaming wreckage as it idles forward. + T-1000 scans the leaping shadows for its prey. + +173 INT. GROUND FLOOR/ELEVATOR/LOBBY + + The elevator doors part and Terminator eases a look out into the + corridor. The walls on either side of him ERUPT WITH BULLET HITS. + The SWATs have the lobby end of the corridor blocked off. They're + totally trapped, cut off and screwed. + + JOHN + (to Sarah) + Don't forget. It's always darkness right + before... you're totally fucked. + +173A The SWATs fire a tear-gas grenade toward the elevators. It spews the + vicious CS gas out in a swirling cloud which envelops Sarah and John, + who are pressed against the back wall of the elevator. + + TERMINATOR + Keep your eyes closed. Don't move. + (they nod, eyes squeezed shut) + I'll be back. + + He slings the grenade launcher over his shoulder and walks out into + the corridor. + +173B BLAM. A tear-gas grenade ricochets from wall to wall as it flies down + the corridor. It skids to rest in front of Terminator, throwing out + a white cloud which quickly fills the corridor. +173C In the elevator, Sarah and John are choking, handing the breathing + mask back and forth desperately. They're scarred. This looks like + it. +173D ANGLE ON THE SWAT TEAM, gripping their weapons at the mouth of the + corridor. They watch the boiling cloud, waiting. + +173E THEIR POV -- on the wall of boiling smoke. A FIGURE APPEARS. Walking + Totally unaffected. Terminator emerges from the smoke. Not even + misty-eyed. Not what they expected. + + LEADER + (through megaphone) + Stop where you are. Lie down on the floor, + face down. Down on floor, now! + + He continues to stride toward them. + The SWATs tense up. They've never seen anything like this. They're + not sure what to do. Closer and closer. + + LEADER + Drop him. + + They OPEN FIRE. The corridor is filled with CRACKING THUNDER. The + rounds tear into Terminator's chest. Stomach. Face. Thighs. His + leather jacket leaps and jerks as the rounds hit him. The SWATs + think the guy's wearing body armor or something. They keep firing. + The rounds tear into him, staggering him slightly, but he keeps + moving. + + LEADER + You're not hitting him! + + SWAT #1 + (getting scared) + Yes I am! + + Terminator draws his .45 smoothly. Unhurried. He shoots the nearest + man in the left thigh. As he screams and drops, Terminator shoots + him in the right thigh. Terminator bends down and picks up the + shrieking man's weapon... the TEAR-GAS LAUNCHER. + + It is one of those new rotary jobs that hold 12 rounds in a big drum. + Terminator shoots the next SWAT in the chest with the tear-gas + launcher. The gas canister hits the guy's body armor and doesn't + penetrate. But it's like getting slugged in the stomach with a full- + swing from a baseball bat. The SWAT fold double and hits the tiles, + gasping. + + Terminator is an image from Hell, a tall figure in shredded black + leather, streaked with blood. One eye is a bloody socket, the metal + eye-servo glistening. The flesh of one cheek hangs down in tatters, + revealing the chrome cheekbone beneath. The whole front of his + jacket is blown open, revealing his metal armor chest. + + The remaining SWATs start to fall back. One turns to run and -- + KPOW! A gas canister nail him in the back, sending him sprawling. + +173F Terminator fires three gas canisters into the lobby. It fills + rapidly with the white gas, cutting the visibility to a few feet. It + is total pandemonium. SWAT LEADER crouches in the fog, white- + knuckling the rifle. Terminator looms suddenly out of the mist right + in front of him. POOM! Terminator drills him in the leg with the + .45. As the guy screams and drops rifle to clutch his leg, Terminator + rips his gas mask off. The SWAT leader drops writhing to the floor, + choking and gagging, clutching his bleeding thigh. + + Terminator walks up to two SWATs at the front doors. POW-POW. Leg + and leg. He snatches their masks as they fall. The gunfire has + stopped. Nobody an see anything. Screams and whimpers echo in the + smoke. + +174 EXT. BUILDING + + Smoke boils out of the front door as a figure emerges. Firing the + tear-gas launcher with one hand, Terminator launches all remaining + rounds among the cop vehicles. Unprotected officers run, choking + and half-blind, slamming into cars and tripping over each other. It + is a total rout. + +175 AT THE SWAT VAN on of the SWATs is rapidly handing out the remaining + masks to unprotected cops. A FIGURE appears out of the smoke beside + him. He looks up. His mask is ripped off and he is handed the empty + launcher. Instinctively he catches it. Terminator grabs his flak + vest with one hand and sails him out into the mist. + +175A INT. SWAT VAN + + Terminator strides the length of the van and climbs into the driver's + seat. No keys in the ignition. He flips down the sun visor. The + keys fall into his hand. He starts the van and slams it into gear. + +176 INT./EXT. LOBBY + + The tear gas has cleared to a thin haze. The uninjured SWATs are + tending their wounded. They look up at the sound of shouts and a + roaring engine. + +176A THE SWAT VAN CRASHES INTO THE LOBBY in an explosion of glass and + debris. Cops scatter as the van screeches across the lobby in a + smoking one-eighty, sliding to a stop across the corridor which leads + to the bank of elevators. Terminator backs up until -- crunch -- he + seals the corridor with the back of the van. + +176B Sarah and John stumble along the corridor, coughing. + They leap into the back of the van and Terminator hits the throttle. + The van roars across the lobby and exits through blown-out windows. + + CUT TO: + +177 INT./EXT SECOND FLOOR + + T-1000, astride the Kawasaki, looks down from a second-floor office + and sees the van tearing across the parking lot with the remaining + cops firing at it. It knows. It looks around. Analyzing options. + It sees the helicopter hovering outside the building at the end of + this corner office block... + It twists full throttle on the powerful bike. + Roars through the office, accelerating fast, straight at the + windows -- + +178 T-1000 BLASTS OUT THROUGH THE GLASS, airborne on the motorcycle. It + rockets across the gap to the hovering chopper and -- +178A SLAMS into the canopy. The impact of bike and rider pitches the + chopper radically. The startled PILOT fights to regain control as the + bike tumbles to the pavement below. +178B The T-1000 doesn't. It clings to the shattered canopy. + Nightmarishly, the pilot watches as the T-1000 smashes its head + through the plexiglass canopy and rapidly POURS ITSELF through the + jagged hole. It reforms instantly into its previous self on the + passenger seat. + +178C It hurls the pilot out of the chopper and slides into the driver's + seat. + The chopper is auto-rotating, spinning out of control. It drops + toward the parking lot. T-1000 recovers control ten feet above the + ground. + +178D Cops hits the deck as the tail-boom swings around, going over them by + inches. + The chopper lifts out in a power climb, roaring away across the + parking lot toward the fleeing SWAT van. + + OKAY, BUCKLE YOUR SEATBELTS, HERE IT COMES... + +179 INT./EXT. SWAT VAN/HIGHWAY - NIGHT + + Terminator looks back at his two passengers as he turns the boxy van + onto a divided highway. Sarah and John are catching their breath, + still coughing from the CS gas. Terminator look to the rear-view + mirror. He sees the xenon searchlight of the chopper behind them, + gaining. + + Sarah looks around the inside of the SWAT van. It is a rolling + armory. There are rifles, ballistic vests, all manner of equipment. + + SARAH + John, get under these. Hurry! + + He sits against the front bulkhead of the van and she pile bullet- + proof vests on top of him, completely covering him. Then she grabs + two M-16s from the wall-rack and loads them. She starts on a shotgun + as -- + +180 The SWAT van weaves through sparse traffic at high speed. + Terminator slews the unstable van around cars and trucks which seem to + be crawling. The van hits it top speed of eighty. They swerve to + miss the back end of A WHITE 18-WHEEL TANKER. +180A The chopper swings in behind them, closing fast. +180B T-1000 reaches through the shattered canopy with the MPK machine + pistol and FIRES. The back of the can CLANGS WITH HITS. The door + windows are BLOWN IN. + + Terminator weaves the van, trying to throw off the T-1000's aim. + The unstable vehicle screeches and wobbles on the edge of control. + One of the doors is kicked open. Sarah, wearing a ballistic vest, + crouches in the doorway, whipping up the M-16. SHE OPENS FIRE. + +180C Bullets riddle what's left of the chopper's canopy as the T-1000 + returns fire. + The van is stitched with hits. + +180D INSIDE THE VAN holes are punched through the thin sheet-metal walls, + ripping up the interior. The vests covering John are hit repeatedly. + We see that Sarah has hung two Kevlar vests on the inside of the back + door and she ducks behind these as bullets hit around her. She pops + back out and fires in controlled bursts. The M-16 empties and she + grabs another. + +180E Terminator serves around a car which is changing lanes, hitting it + and knocking it skidding. + +181 OMITTED + +181A Sarah reloads and keeps firing. The van swerves around a Toyota. A + moment later the helicopter passes it, the rotor just clearing the top + of the car. + +181B T-1000 FIRES the machine pistol. +181C Sarah has popped out to fire. She takes a HIT in the thigh, and + several rounds hammer into her Kevlar vest. She is thrown back onto + the floor of the van. She lies there, an exposed target... + +181D Terminator sees the T-1000 preparing to fire again. + He locks up the van's brakes. Tires scream as the vehicle shimmies. + Sarah is thrown forward, sliding up to the bulkhead next to John. +182 And the helicopter SLAMS RIGHT INTO THE BACK OF THE VAN. + The rotor disintegrates. The back doors of the van are crushed in as + the canopy, the whole front of the fuselage is HAMMERED INTO JUNK, + trapping the T-1000 inside the twisted metal. The chopper hits the + pavement, flips, sideways, and cartwheels... smashing itself into a + shapeless mass of twisted metal. + It falls away behind the van, tumbling end over end. + +182A Terminator fights to control the van, which is fishtailing violently + from the impact. It smashes up against the center divider, screeching + along the concrete, and then pulls away. Terminator puts the hammer + down and the van accelerates. He swerves to avoid an UGLY PICKUP + crawling like a snail ahead. + + THE RIGHT FRONT FENDER of the van, crumpled by slamming the wall, is + sawing into the tire. The tire blows and peels off the clean rim. + The steel wheel grinds across the pavement, striking trails of sparks, + and the van slides sideways and topples -- + STEEL SCREAMS on pavement as the van grinds to a stop on its side. + +182B INSIDE THE VAN, John crawls to Sarah, who is groaning and holding her + bleeding leg. She is white and shocky. Terminator starts to + extricate himself from the crumpled driver's seat. + +183 BACK DOWN THE ROAD, THE HELICOPTER wreckage is a crumpled ball of junk + metal, unrecognizable. Behind it, the TANKER TRUCK brakes hard, + shuddering and groaning, trying to stop. The big tires lock up in + clouds of tire-smoke. The rig comes to a shuddering stop just short + of the wrecked chopper. + +183A The shaken DRIVER jumps down. + The behind the wreckage a cop emerges, walking toward him. + + DRIVER + Goddamn, are you alri -- + +183B SSSHHCK! T-1000 drives a blade through the man's abdomen and walks + on past without slowing, or even looking at him. + +183C It climbs into the open cab of the tanker. Releases the brake. + As the truck bellows are rolls forward we see the large blue letters + on the side which say "CRYOCO INC. LIQUID NITROGEN SUPPLY'. + +184 AT THE SWAT VAN John and Terminator are carrying Sarah out of the + wreck. Terminator has the M-79 slung over his shoulder, the + bandolier of grenades, and his .45 stuck in his waistband. John has + borrowed a 12-GAUGE RIOT GUN from the SWATs. + +184A The pickup they passes seconds earlier pulls up to them. The DRIVER, + A Hispanic guy in his 50's, is getting out to help them. Terminator + and John hear a CRASH and look back as the +185 helicopter wreckage is knocked aside by the accelerating tanker truck. + +186 JOHN + Holy shit. Come on, Mom... we gotta keep + moving... come on -- + + TERMINATOR + (to the pickup owner) + We need your truck. + + The guy seems to know better than to try and stop him as Terminator + slides Sarah into the front seat and climbs in behind the wheel. John + runs to the passenger side. + +187 THE TANKER ROARS, spewing smoke from its chrome stacks as it shifts + up through the gears. + +188 Terminator slams the pickup in gear, checking the rear-view. The + tanker is a hundred feet behind them now, and really moving. + Terminator puts the throttle down, but the pickup is and old slug + loaded down by a heavy home-made wooden camper-shell. It accelerates + slowly. + +189 THE TANKER slams into one end of the SWAT van, spinning it out of the + way with a roar and screech of twisting metal. The 18-wheeler shifts + to a higher gear, still accelerating. + +190 INT./EXT. PICKUP TRUCK + + With the tanker right behind them, Terminator cuts the wheel, swerving + the pickup back and forth across the lanes. + The big rig stays right on them, it tanker whiplashing violently. + + JOHN + Faster! He's right on us! + + Terminator doesn't reply. He rapidly unslings the blooper, still + around his neck, and reaches for a grenade. + +191 LOW ANGLE ON THE TRACTOR-TRAILER as it roars right up to the lens, + filling frame with chrome and lights. + +191A K-WHAM!! It rams the backs of the pickup, sending it skidding. + +191B Then the T-1000 pulls the tractor trailer up alongside the pickup and + crabs over, sandwiching it against the center divider. The spinning + chrome hubs tear into the passenger side door and the guard rail + screeches along the other side. + + The pickup bucks and shakes insanely. It ricochets violently between + the big-rig and the divider + Horrible SCREECH of tortured steel. + Sparks pour in sheets of fire from both sides. + The windshield shatters as the door-posts buckle in. + Metal and glass shower in through the side windows. + The frame twists and buckles. John feels like the fillings are being + shaken right out of his teeth. + The wooden camper disintegrates, falling away as kindling behind + them. + +191C INT. TANKER CAB + + T-1000 holds the wheel hard over, mercilessly grinding the pickup. + The whole rig jerks and shakes with the violence of the sustained + hammering. + +191D INT./EXT. PICKUP + + Terminator slides toward the passenger side. Keeping his foot on the + gas he lifts John over him and puts him in the driver's seat. + + TERMINATOR + Drive for a minute. + + JOHN + Where you going?! + + Terminator slams the shattered windshield with the palm of his hand. + Held together by the plastic laminate, the windshield flops out of its + frame. It flies over the top of the truck. + +191E Terminator pushes his upper body out over the dashboard and stands up. + He turns and aims the M-79 one-handed. +191F POOM! The grenade misses the T-1000 by less than a foot. It EXPLODES + against the front bulkhead of the tanker, almost at the top. Liquid + nitrogen pours from the opening, swept back by the 60-mph windstream. + +191G The big-rig swerves as T-1000 regains control. The tanker swings like + a pendulum behind the cab. + +191H The pickup accelerates, getting back out in front by a few yards. + Behind it the big-rig is trailing a swirling comet-tail of nitrogen + vapor. It is gaining again. + + Terminator, still standing, opens the breech and starts to reload. +191I John cuts across the highway and takes an OFF RAMP. + +191J T-1000 swerves the smoking behemoth across the lanes and down the + ramp after him, still accelerating. It is twenty feet behind them + and closing when Terminator closes the breech and FIRES. + +191K The grenade hits the front grill and EXPLODES. + The radiator is destroyed, along with half the hood. Steam blasts + out, obscuring the whole front of the truck. + +191L The semi rams the back of the pickup again. Spewing smoke and vapor + like some demon locomotive, the tractor-trailer pounds into the back + of the pickup. Driving it right through the intersection at the + bottom of the ramp, and straight toward -- + + EXT. STEEL MILL + + The chase has led them to an area of heavy industry. + +192 THE GATES are blasted off their hinges as the semi rams the pickup + right through them. Terminator struggles to reload amid the chaos + and impacts. He has THREE GRENADES LEFT on the bandolier. + + John isn't even steering. They are just being pushed. There's + nothing he can do. They are rocketing down the broad thoroughfare + which leads directly to the MAIN BUILDING of the plant. + +192A Terminator pulls himself onto the roof of the pickup. + He leaps to the bed, takes two powerful strides and -- + Leaps onto the semi. He climbs rapidly onto the hood. +192B And FIRES POINT BLANK THROUGH THE WINDSHIELD. + Right into T-1000's face. + The EXPLOSION blows out all the glass and fills the cab with smoke + and fire Terminator grabs onto the air-horn as the truck starts to + SHUDDER AND +192C SCREAM. IT IS JACK-KNIFING. + Almost dream-slow the cab begins to swing sideways, until its tires + are shrieking over the pavement. The tractor is smashed back at + right-angles to the tanker-trailer which begins to slide broadside. + +192D The juggernaut bucks and shudders as the tires and smoke sideways + across the pavement. + It begins to topple. + Terminator hold on as the side of cab becomes the top. + With an unholy scream, like the unoiled hubs of Hell, the whole rig + slides on its side at 60 mph toward the steel mill. A sheet of sparks + sixty feet wide trails behind it on the pavement. + +192E John sees what's behind him, then snaps around to see the building + looming right in front. The huge rolling doors are partly open. + No choice. + He steers right through them into the mill, as -- + +192F Terminator, with one second to go, leaps from the cab -- + He flies through the open doors as -- + The tanker hits the building and -- + +193 INT. STEEL MILL/MAIN AISLE + + Terminator slams to the floor of the mill and rolls, as -- + The tanker-trailer smashed into a massive concrete support at one side + of the doors. Thunderous carnage of twisting metal. o +193A It splits wide open. A river of liquid nitrogen pours out at -230. + +193B John hits the brakes, sliding out of control. He slows almost to a + stop but hits a steel support column head-on. He and Sarah are + slammed forward, hard. + +193C Terminator, still clutching the M-79 blooper, rolls and slides across + the floor. + He smashes through a railing and slams up against the base of a + massive machine. + +193D The semi cab swings about the trailer wreckage, into the building, and + shudders to a stop. Liquid nitrogen sprays over the cab, flooding out + around it in a HISSING WAVEFRONT OF ULTRACOLD. + Freezing vapor swirls everywhere, obscuring the wreck. + +193E TERMINATOR lies still. A beat. Then he rolls weakly, rising on one + elbow to survey the scene. + +193F IN THE WRECKED PICKUP, John stirs. He is stunned, and blood runs from + his nose. Dazed, he realizes he is in a steel mill. There are + sirens, and he can see men running... shouting. He turns and sees + what they are running from... + +193G The wall of nitrogen vapor spreads from the demolished tanker. It is + a strange vista of fire and ice. The huge SMELTERS pour out orange + light and fire from the sides of the huge galley, while the freezing + vapor rolls down the center. + +193H TIGHT ON THE WRECK. A billowing gray cloud. Deep inside, the shape + of the cab in visible. A FIGURE emerges, pulling itself out. It + drops to the floor. The hissing, boiling river of liquid nitrogen + flows around its feet. + +194 The T-1000 staggers, moving slowly, painfully. It has finally been + affected by something. Its feet are freezing to the ground as it + walks... + +194A CLINK! One of its feet breaks off at a glassy angle. It stumbles + forward, and -- +194B Its other foot snaps off. As it catches its balance on the stump of + its other ankle, +194C the whole lower leg shatters at the impact. It topples forward to its + knees. + Catches itself on one hand. Liquid nitrogen flows around the hand. + + Now the hand is stuck to the pavement. +194D The T-1000 pulls and... CLINK! The hand snaps off at the wrist. + It looks stupidly at the glassy stump of a wrist. For the first time + we see an expression on its face we know to be a true one... + The expression is pain. Agony. Its mouth opens in a soundless + scream as the hoar-frost races up its legs, across its body. +194E And that's the position it freezes in. + It has become a statue, kneeling in the frozen vapor, that surprised + look of agony frozen on its face. + + The liquid nitrogen stops flowing and begins to evaporate. +194F Terminator, just beyond the boundary of the cold, can see the T-1000 + clearly. + He draws his .45 and aims. + + TERMINATOR + Hasta la vista, baby. + +194G K-POW! The single shot blows the T-1000 into a million diamonds + spraying up into the air. They shimmer across the ground for twenty + feet in all directions. + Terminator lowers the gun, satisfied. + He looks like he needs a vacation. + +195 JOHN AND SARAH have seen it from the pickup. She is in bad shape. + Conscious but very weak. He tries the door. It's jammed. He kicks + it open. + + JOHN + Okay, Mom, we gotta get out now, come on. + That's it. + + He helps her slide down from the seat of the truck. Her knees give + way. John has to take a lot of her weight. He reaches in and picks + up the riot gun off the seat. They hobble toward -- + +195A TERMINATOR. On his knees, he looks into the dissipating cloud of + vapor. The heat of the furnaces has evaporated all the liquid + nitrogen. + +196 INSERT, TIGHT ON THE FLOOR - the T-1000 shards are melting, + liquefying. Hundreds of drops of mercury, spattered across the floor. + Orange light of the enormous black-furnaces dances on liquid metal. + +197 TERMINATOR struggles to rise. One arm is shattered, the hand smashed + and useless. And some leg-servos are damaged. He can barely stand. + John and Sarah arrive. + + TERMINATOR + We don't have much time. + + JOHN + What? + + Terminator points. John and Sarah watch as -- + +198 INSERT, T-1000 DROPLETS are creeping together. Fusing into larger + blobs. These pools shiver and run together, soon forming a central + mass. + +199 ON JOHN AND SARAH, realizing it's not over. + + JOHN + Come on! Let's go! + + Terminator gets one of Sarah's arms over his shoulder and they go. + BEHIND THEM, something is moving. +200 A HEAD is forming up out of a pool mercury. it rises, as shoulders + form. hunching up from the liquid mass. Half-formed, it turns to + look straight at them. + + John looks back in new terror as -- + + The T-1000 rises to man-height. It is still in mercury form, but its + features are forming rapidly. It takes its first step after them. + Sarah stumbles and they pull her up. +201 Terminator himself has a pronounces limp, dragging one leg with a + shattered ankle joint. John's the one pulling, straining, driving + them forward. They round a corner into -- + +202 INT. AISLE BETWEEN FURNACES + + It is a maze of monstrous machinery. The heat is tremendous. + The air shivers with a pounding roar. + Sarah cries out in pain and stumbles again. + + JOHN + Come on, Mom, you can do it! Come on!! + + They drag her up, and stagger on. Her leg is bathed in blood and she + is deathly pale. He looks back. + +203 INT, MAIN GALLERY + + The T-1000 steps INTO FRAME. Fully formed. The hell-fire light + glints on its impassive cop face. It walks forward. At first it + seems unaffected by its crystallization but -- + +203A ANGLE ON ITS HAND as it touches a railing in passing. The railing is + covered with O.S.H.A. yellow-and-black safety tape. + The hand turns yellow and black, the color fading to normal by about + the elbow. It rips the hand from the railing with difficulty. There + is a sound like adhesive tape ripping off a surface. + +203B The T-1000 looks at its yellow-and-black striped hand. It wills the + hand back to normal. We see ripples of "static" or system noise + moving subtly over the surface of its body. It's starting to + "glitch". + +203C TRACKING WITH THE T-1000'S FEET. With each step, the pattern on the + tile floor "invades" its lower legs. Fades as the foot is lifted. + Returns as it is set down. The foot is trying to meld with the floor. + The chameleonic function is out of control. + The T-1000 is losing it. It moves forward, searching. It rounds the + corner, entering the aisle between the furnaces. + +204 INT. AISLE + + Terminator sees the SILHOUETTE closing on them through the smoky + gleam. The T-1000 breaks into loping run when it sees them, + Terminator turns to Sarah over John. + + TERMINATOR + Keep going. + + John shakes his head no. The T-1000 is almost on them. + + TERMINATOR + RUN! + + John runs, dragging, half-carrying Sarah as best he can. + She can barely stay conscious. Half-running, delirious, she stumbles + and drops to her knees. John pulls but she can't rise. + + JOHN + (crying, shouting) + Come on, you gotta try... please, Mom. Get up! + + John looks back to see -- + +204A TERMINATOR trying to load the M-79. With his shattered hand, he can + barely maneuver is last grenade into the breech. + T-1000 smacks the weapon out of his hands. It clatters to the floor. + + The grenade spins across the floor, rolling under some machinery. + Terminator lunges, slamming the T-1000 against a wall with all his + weight. The battle is joined. + +204B JOHN AND SARAH have reached the back of the aisle. It is a cul-de- + sac, blocked on the end by the base of an IMMENSE SMELTER CRUCIBLE. + They turn to watch the titans battle in silhouette, backlit by the + molten sparks falling from the furnaces above. The battle which will + decide their fate. + +204C Terminator grabs the T-1000 and hurls it with awesome force against + the opposite wall of the narrow alley. In less time than it would + take to turn, the +204D T-1000 morphs trough itself, front to back... face emerging from the + back of its head. +204E It comes off the wall straight at Terminator, who smashes his good + fist into its face. The pile-driver blow buries Terminator's fist + almost to the elbow. + +204F But the T-1000's head morphs in a split-second into a hand which grips + Terminator's wrist, and the head "emerges" somewhere else, the + geometry shifting faster than we can follow. +204G The T-1000 slams Terminator into a large machine, jamming his arm into + the moving works. A massive sliding bar SCISSORS HIS ARM, smashing it + into junk at the elbow, pinning him in the machine. + + Terminator strains against the machine pinning him. We hear his + servos whining with overload. The T-1000 turns and lopes toward Sarah + and John. + + Sarah screams and hurls John into a gap between the machines. He + falls into a maze of pipes and girders. + +205 INT. MAZE OF MACHINES + + JOHN turns to see her in the entrance of the narrow gap. She could + follow him but she doesn't. SUDDENLY a dark mass moves toward him. + John gasps as a huge steel counterweight, driven by a chain 6 inches + thick, slides toward him. He rolls out of the way. When he looks + back, he cannot see the opening. + + JOHN + Mom! MOMMM!! + +206 INT. AISLE BETWEEN FURNACES + + TERMINATOR strains to reach a 6-foot steel bar lying near him. Steel + workers use them to move the red-hot ingots around. He gets hold of + the end and uses it as a lever. With titanic effort he spreads the + massive components which are holding him, and withdraws him arm, which + is severed at the elbow. Dangling junk hands from the crushed joint. + +207 SARAH has lost sight of John. It is much of a goodbye as they will + have. + She turns as the T-1000 closes on her. She is half-slumped against + the sooty machines, looking barely conscious. She struggles to load + a shell into the empty weapon. At the last instant she whips up the + RIOT GUN and FIRES. + +A207 T-1000's face is blown open, but quickly reforms as it closes on her. + She fumbles to get another shell into the magazine but -- +A208 THUNK! A steel needle slams through her shoulder, pinning her. + The polymorphic killer cocks back its other hand. The index finger + extends as a gleaming needle, toward her eye -- + + T-1000 + Call to John. Now. + +207C WHAM!! SOMETHING whistles down on the T-1000 with such force that is + cleaves it head and body in two down to the naval. The 6-foot steel + bar is imbedded in its body. Terminator hurls the killer off Sarah. + +207D The T-1000 pulls the steel shaft out of itself and attacks him with + fury. + Swinging again and again. Hammering Terminator back. Terminator + falls back against the wall. + + Behind the T-1000 is an enormous I-beam, hanging from two chains. It + is used to lift ingots into the smelters, and it runs on a linear + track. +207E The T-1000 grabs the I-beam and rolls it down the track. Straight at + Terminator. The two-ton girder smashes into his chest, crushing the + armor. + The T-1000 pulls the I-beam back, and then heaves it forward again. + Terminator turns and takes the second blow on the shoulder. We hear + metal crush and break inside him. He sags, turning to grip the + wall... + The third blow slams into his back, smashing his spine and pelvis. We + hear servos ratcheting and failing. He drops to his knees, crucified + on a wall of machinery. + The fourth blow is centered between his shoulder blades. Sound of + crushing metal. His skull is partially caved in. + He slides to the floor. + +207F ON THE T-1000, emotionless as it walks forward. + +207G TERMINATOR is a pathetic shape on the floor. He is trying to crawl, + feebly. + Dragging his malfunctioning legs behind the crushed spine. His arm + stump screeches on the tile floor as he inches himself forward. His + exposed machine eye burns red with determination. + + We see his prize. He has the M-79, with the breech still open, + cradled in the crook of his ruined arm. He good hand, the exposed + steel one, is reaching for the last grenade, which is visible under + the skirt of the massive smelter base. His metal fingers reach out + for it as -- + +207H The T-1000 raises the heavy steel bar over his head and stabs it down + with unbelievable force. It punches into Terminator's back, through a + gap in the shattered armor. The T-1000 levers it back and forth, + widening the hole. Then is raises the pointed bar again and slams it + down. + It punches right through. Emerging from Terminator's chest. + And into the floor. He is pinioned. The cyborg sags face down and + stop moving. The light goes out of his eye. + + CUT TO: + +208 INT. MAZE OF MACHINERY + + John scuttles like a rat through the gut of the smelter. Above him, + vast machines churn untended. He hears a voice... SARAH'S + Calling low and urgent to him. + + SARAH + John? John? Can you hear me? Where are you? + +208A He crawls out of the shadows. + Onto a landing next to one of the SMELTER CRUCIBLES. Molten steel + glows bright orange in the crucible of the furnace. Heat shimmers + the air, giving everything a hallucinatory quality. + + John sees Sarah nearby, limping toward him. She can barely move, her + leg bathed in blood. He runs toward her. + + SARAH + (gasping) + Help me, honey... + + TIGHT ON SARAH, her stoic face, as she hobbles forward, reaching out + to him. Something rises behind her, OUT OF FOCUS. + +209 ANOTHER, IDENTICAL, SARAH... but this one has a shotgun. + Aimed right at us. + +209A JOHN freezes. Which is which? He looks down. The first Sarah's + feet are melded with the floor, sucking and fusing with the tiles as + she walks. They have the color and pattern of the tiles up to the + knee. + + SARAH + John, get out of the way!! + + JOHN + (screaming) + SHOOT!!!! + +209B John dives aside. The Sarah-form spins, changing into you-know-who. + Sarah starts unloading the shotgun into it. BOOM! It staggers back. + K-CHAK. She chambers another round. BOOM! It staggers again. + K-CHAK. BOOM! And again. And again. + +209C The T-1000 is blown back a step and Sarah advances with each shot. + The craters in the T-1000's body "heal" slowly. Its power is waning. + She FIRES again. And again. Her eyes blazing with feral intensity. + She walks it back, right to the edge of the pit of MOLTEN STEEL. + + K-CHAK... CLICK. She's empty. The T-1000 is right at the edge. In a + second it will recover its composure, as its crater hits close slowly. + She has failed. Now it will kill them both, + Except... + +210 CLOSEUP TERMINATOR, as the chain drive brings it into view. + Half human flesh, half chrome steel. + His red eye gazes right at us as he -- + FIRES. + +210A The T-1000 takes the round in the belly. The grenade EXPLODES inside + its body. A huge hole is blown clean through it, and it is ripped + open and peeled back, half inside-out. It topples into the molten + steel and -- + +211 The T-1000's head and upper body reappear above the molten steel. + It is screaming. A terrifying, inhuman siren of a scream. + It is changing, morphing, transforming into anything and everything + it's ever been so rapidly the eye can barely follow it -- + We catch a glimpse of Janelle Voight checkered with the linoleum tile + colors, Lewis the Guard with knives exploding from his face, other + faces, switching at a stroboscopic rate now... a face every two frames + until they merge into one face -- + + The T-1000 screams and slips beneath the surface of the molten steel. + We see liquid silver running in dissipating whorls over the + superheated surface... until it vanishes, swirling into nothing. + +212 JOHN runs to Sarah. She stands staring into the pit. The empty + shotgun slips from her fingers. Clatters to the floor. He sees that + she's okay and he runs to the fallen Terminator. + +212A The crippled cyborg is trying to rise. Its servos whine and stutter. + It pathetically lifts itself to a kneeling position, collapses... + tries again. + John lifts for all he's worth. Sarah joins them, helping. + The help the crippled machine get on its feet. It can barely stand. + + TERMINATOR + I need a vacation. + + They walk to the edge of the pit. Terminator looks down and sees + that it is over. + + JOHN + (to Terminator) + Is it dead? + + TERMINATOR + Terminated. + + John unzips Sarah's backpack and takes out the hand of the first + terminator. + + JOHN + Will it melt in there? + + TERMINATOR + Yes. Throw it in. + + He does. It sinks into the lava. Vanishes. + + TERMINATOR + And the chip. + + John takes it out of his pocket. Looks at it. Tosses it into the + smelter. + + SARAH + It's finally over. + + TERMINATOR + No. There is another chip. + + He touches a metal finger to the side of his head. + + TERMINATOR + And it must be destroyed also. + + John suddenly understands what he means. + Terminator looks at Sarah. They both know what must be done. + John shakes his head. + + JOHN + No! + + TERMINATOR + I'm sorry, John. + + JOHN + No, no no!! It'll be okay. Stay with us! + + TERMINATOR + I have to go away, John. + + JOHN + Don't do it. Please... don't go -- + + Tears are streaming down his face. + + TIGHT CLOSEUP TERMINATOR, turning toward John. + The human side of his face is in shadow, so we see mostly the chrome + skull and the red eye. + + TERMINATOR + It must end here... or I am the future. + + JOHN + I order you not to! + + Terminator puts his hand on John's shoulder. He moves slightly and + the human side of his face comes into the light. + He reaches toward John's face. His metal finger touches the tear + trickling down his cheek. + + TERMINATOR + I know now why you cry. But it is something I + can never do. + (to both of them) + Goodbye. + + Sarah looks at Terminator. Reaches out her hand to shake it. + They lock eyes. Warriors. Comrades. + + SARAH + Are you afraid? + + TERMINATOR + Yes. + + He turns and steps off the edge. +213 They watch him sink into the lava. + He disappears... the metal hand sinking last... at the last second it + forms into a fist with the thumb extended... a final thumbs up. + Then it is gone. + +214 HOLD ON JOHN AND SARAH, watching through the heat ripples as we -- + + DISSOLVE TO: + +215 THE SUN, PURE IN A CLOUDLESS SKY + Tilting down reveal that we are in a park, very green. People are + casually dressed, having fun. Cycling, reading... children are + playing in a playground. + + Beyond the line of tree we see the skyline of Washington, D.C., with + the Capital Building and the Washington Monument. The skyline is + subtly changed, with a lot of new buildings, advanced high-rises. + A CARD APPEARS + + July 11, 2029 + + WE BOOM DOWN AND TRACK LATERALLY through a playground in the + foreground. Children swinging on swings. Sliding down slides. + Timeless things that 4 decades of technical advancement will not + change. As we track we hear: + + SARAH (V.O.) + August 29th 1997 came and went. Nothing much + happened. Michael Jackson turned forty. There + was no Judgment Day. People went to work as + they always do, laughed, complained, watched + TV, made love. + + We pass a jungle gym, neither melted nor burned, but full of kids + swinging and yelling raucously. Past it we drop down to see a boy + pumping the pedals of a tricycle. + + SARAH (V.O.) + I wanted to run down the street yelling... to + grab them all and say "Every day form this day + is a gift. Use it well!" Instead I got drunk. + + STILL TRACKING we come to rest on an elderly woman seated on a bench. + It is SARAH, now 64 years old. The world has aged her, but she seems + at peace in this moment. She speaks into a microcassette recorder. + + SARAH (V.O.) + That was thirty years ago. But the dark future + which never came still exists for me, and it + always will, like the traces of a dream lingering + in the morning light. And the war against the + machines goes on. Or, to be more precise, the + war against those who build the wrong machines. + + There is a man in is forties playing with two small children + nearby. He turns. It is John Connor. Through he has the same stern + features in adulthood, there is no eye-patch, no scarring. He is far + from the haggard man on grim destiny we saw in the world that might + have been. But there is still penetrating intelligence, even wisdom, + in his eyes. + + SARAH (V.O.) + John fights the war differently than it was + foretold. Here, on the battlefield of the + Senate, the weapons are common sense... and + hope. + + A FOUR-YEAR-OLD GIRL runs to her to have her shoelace tied. + + GIRL + Tie me, grandma. + + Grandma Sarah smiles. It is the only time we have seen her smile so + far. She bends as the little girls puts her foot up on the bench. + She ties as we hear: + + SARAH (V.O.) + The luxury of hope was given to me by the + Terminator. Because if a machine can learn + the value of human life... maybe we can too. + + Sarah ruffles the kids's hair as she runs off to play with her dad. + + FADE OUT +`).then(e => console.log(`Código finalizado, ${e} mensagens enviadas`)).catch(console.error)