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Ãëàâíàÿ>Êèíîñöåíàðèè>Òåðìèíàòîð II/ Terminator II

Ñöåíàðèé ôèëüìà Òåðìèíàòîð II/ Terminator II íà àíãëèéñêîì ÿçûêå áåñïëàòíî

Çäåñü âû ìîæåòå íàéòè ñöåíàðèé ê ôèëüìó: Òåðìèíàòîð II/ Terminator II.

Òåðìèíàòîð II/ Terminator II

1 ext. city street - day 1

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 2

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 3 vast tundra of skulls and shattered concrete. The rush hour crowds burned down in their tracks.

4 WE DISSOLVE TO a playground... where intense heat has half-melted the 4 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 TRACK 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. It's glowing red eyes compassionlessly sweep the dead terrain, hunting.

TERMINATOR 2 - Rev. 9/10/90 2

4 The SOUND of ROARING TURBINES. Searchlights blaze down as a 4 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 5

THE BATTLE. Human troops in desperate combat with the machines for possession of the dead Earth. The humans are a ragtag guerrilla army. Skynet's weapons consist of the 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-lights. 5A* 5B A gunner in an armored personnel carrier fires a LAW rocket at a pursuing 5B Aerial HK, bringing it down in a fiery explosion. 5C Another APC is crushed under the treads of a massive Ground HK. 5C

5D A TEAM OF GUERRILLAS in an intense fire-fight with terminator 5D 5E endoskeletons in the ruins of a building. Three terminator endoskeletons 5E* 5F advance, firing rapidly. Another (complete cyborg), with flesh ripped open 5F and back broken, gropes for a rifle on the ground.

5G A Centurion overruns a human firing position. Soldiers are cut down as they 5G run. Fiery explosions light the ranks of advancing machines.

6 IN A BLASTED GUN EMPLACEMENT at the edge of battle, a man watches 6 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 CONNER. We push in until his eyes fill frame, then...

DISSOLVE TO

FIRE. SLOW ROILING, ENORMOUS. FILLING FRAME. *

VOICE (SARA CONNER) * Skynet, the computer which controlled the * Machines, sent two terminators back through * time. Their mission: to destroy the leader of the * human Resistance... John Conner. My son. *

The first terminator was programmed to strike * at me, in the year 1984... before John was born. * It failed. *

TERMINATOR 2 - Rev. 9/10/90 3

6 VOICE (SARA CONNER) 6* 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 7

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 8

On a back route north of L.A. A handful of local TRUCKERS hunch over chili-sizes, CAT hats pushed back on the heads. Three BIKERS are playing a game of pool in the back, their Miller empties line 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 here every night. All eyes simultaneously swivel toward Terminator. It's emotionless gaze passes over the customers as it walks calmly through the room. Everyone freezes, not sure how to react.

8A TERMINATOR POV. A digitized electronic scan of the room, overlaid with 8A 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 8B I need your clothes, your boots, and your motorcycle.

The big biker's eyes narrow. He takes a long draw on his cigar, getting 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 slightest reaction of pain. Terminator calmly, and without expression, grabs Cigar by his meaty upper arm... Cigar screams from the hydraulic grip.

8B Terminator doesn't see Cigar's friend, behind him, holding his pool cue by the 8B narrow end like a Louisville slugger. The heavy end 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 and jerking. He rolls off in a smoking heap.

The third biker whips out a knife with an 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 it 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 9

The door 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 the 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 10

Terminator strides from the kitchen, fully clothed now in a black leather jacket, leather riding pants, and heavy cleated 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.

10 TRUCKER 10 Evening...

Terminator impassively stares back. Then moves on out the door.

11 EXT. TRUCK STOP 11

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 another round in fast, aiming at Terminator's back.

LLOYD I can't let you take the man's bike, son. Now get off or I'll put you down!

Terminator turns and considers him coldly. He eases the shifter up into neutral. Rocks the bike onto its kickstand. Swings his 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 if 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 is 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 12

Terminator roars down the freeway, heading into 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. STREET/ high school - NIGHT 13

A South-Central L.A. HIGH SCHOOL. Rusting chain link fences and graffiti-covered buildings. An L.A.P.D. BLACK-AND-WHITE cruises the empty street.

A TREMENDOUS BLUE-WHITE GLARE suddenly spills out between the buildings. The young UNIFORMED COP in the car whips his head around at the source of the light. He pulls quickly into the school parking lot, in time to see...

TERMINATOR 2 - Rev. 9/10/90 6

13A The powerfully arcing electrical discharge reaches its peak between two of the 13A buildings. Lightning climbs the fire-escapes, lighting up the night, and papers swirl in a blasting whirlwind.

13B The cop climbs from his cruiser as the glow fades. The schoolyard is dark. 13B 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 two buildings.

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 the 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 lightning 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 the pistol. cut to:

13C HIGHLY POLISHED BLACK SHOES rounding the rear tire of the police 13C 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 14

TIGHT ON YOUNG JOHN CONNER, who at this 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, JANELLE 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, huh?

14 john 14 Gimme that Phillips right there.

15 INT. HOUSE - living room 15

Janelle storms into the room. TODD 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 16

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 17

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 17A 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.

17A john 17A She might as well be.

John twists the throttle angrily and the bike lunges forward.

cut to:

18 ext. pesCADERO state hospital - day 18

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 cars patrol the manicured grounds.

19 int. hospital - MAXIMUM SECURITY WING 19

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 pullups. A mane of tangled hair hides the face that comes INTO FRAME, dips out, comes back.

WIDER. A WOMAN in a tank top and hospital pants is 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 20

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 21

Silberman's scrubbed and cheerful face at cell window. HIS VOICE comes over the tinny speaker.

21 silberman 21 'Morning, Sara.

REVERSE ANGLE as she turns slowly into CLOSE UP. SARA CONNER 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.

SARA Good morning, Dr. Silberman. How's the knee?

22 int. corridor 22

Silberman's smug composure drops a second. Then returns.

silberman Fine, Sara. (he switches off, speaks to the interns) She uh... stabbed me in the kneecap with a screwdriver a few weeks ago.

Sara 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 through 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 the patients disrupting their rooms like this. See that she takes her thorazine, would you.

DOUGLAS is 6'4", 250 pounds and warmhearted as 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 23

Sara looks up as the cell door opens. Douglas walks in slow, idly tapping his POLICE BATON against the door in an 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 your meds, Conner.

Sara faces him, weight centered. Feral eyes darting from one to the other.

SARA You take it.

Douglas grins, casual--

douglas Now you know you got to be good cause you up for review this afternoon...

SARA 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 breath. Douglas tips the bed and it slams down with a crash, right next to her. He takes the stun wand from the other attendant and walks forward.

TIGHT ON SARA, grimacing and struggling to breathe.

SARA You... son of a... AAARRGH!!

The stun wand hits her between the 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 24

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's slot. It is something he's rigged up, because trailing from the card is a 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 key pad 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 25

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 Sara. Pregnant, in a jeep near the Mexican border. John doesn't know it now, but he will carry that 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?

25 john 25 Actually, no, she's a complete psycho. That's why she's up at Pescadero. She tried 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 Seven Eleven, whatya say?

John has tried to sound macho casual, but we see in his eyes that it 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 26

CLOSE ON COMPUTER TERMINAL, attached to the dash. A Juvenile Division file. Subject; John Conner. Below his ARREST RECORD are his vital stats. Mother; Sara Conner. Legal Guardians; Todd and Janelle Voight. And below their names, an address; 523 S. Almond. Reseda, Ca.

OFFICER X stares at the screen a moment. Then gets out of the car.

27 int./ext. voight house - day 27

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 Conner?

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. But he took off on his bike this morning. Could be anywhere. You gonna tell me what this is about?

officer x I just need to ask him a few questions.

27 Janelle appears in the doorway behind Todd, concerned. 27

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 photo-graph of John?

Todd stares unhappily at the cop. Turns to Janelle.

todd Get the album, Janelle. cut to 28 ext. street 28

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. SARA's cell - day 29

CLOSE ON SARA. She is shackled, hands and feet, to the bed. Sunlight falls across her pale face. A hand enters 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 blond hair and a long raincoat.

SARA Kyle..? You're dead.

He gives her a gentle smile.

reese I know. This is a dream, Sara.

SARA Oh. Yeah. They... make me take this stuff...

29 He puts a finger to her lips. Then silently unfastens her restraints. They gaze 29 into each other's eyes. And in that look we see that his death and the horror she has been through since hasn't touched their love at all.

SARA Hold me.

She melts into Reese's arms. Pulls him to her.

reese I love you. I always will.

SARA Oh, god... Kyle. I need you so much.

She kisses him passionately. They are locked together in a timeless moment. PUSH IN TIGHT on Sara as she buries her face in his shoulder. She shuts her eyes tight. Stay on Sara as Reese speaks. His voice strangely cold.

reese (O.S.) Where's John, Sara?

Sara opens her eyes and he is no longer in her arms. He is standing across the room. Pinning her with an accusing gaze.

SARA They took him away from me.

reese It's John who's the target now. You have to protect him. He's wide open.

SARA I know!

reese Don't quit, Sara. Our son needs you.

SARA (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 no fate but what we make for ourselves.

He turns toward the door.

SARA Kyle don't go!

29 reese 29 (turning back to her) There's not much time left in the world, Sara.

Reese goes out the door. Sara jumps from the bed, frantic. Yanks the door open. Follow her out.

30 int. corridor 30

Sara 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.

Sara 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 30A she struggles and screams. Then 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 SUNLIT MORNING. CHILDREN are playing nearby... 30B sliding down slides, clambering through a jungle gym. Sara knows this dream now... it 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 30C unholy glare, hotter than a thousand suns. The children ignite like match heads. Sara 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 30D 250 mph winds. The children, charcoal statues frozen in positions of play, explode into black leaves of ash and swirl away. SOUND hits now, with a thunderous roar. Sara'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 wakes up... in her cell, shackled to the bed. Sunlight hurts her 30E eyes. She looks desperate and defeated. She knows the war is coming. It visits her every time she closes her eyes. Lost and alone, Sara feels all hope recede for herself and for humanity.

cut to:

31 int. Pescadero state hospital - interview room 31

TIGHT ON VIDEO SCREEN, playing a previously-recorded session. Sara is in a strait-jacket, talking softly.

video SARA ... 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 SARA dispassionately watches herself on the screen. Her 31A expression is controlled. Silberman watches her watching. They are in a brightly lit interview room. TWO ATTENDANTS stand nearby.

31B video SARA 31B The children look like burnt paper... black, not moving. Then the blast wave hits them and they fly apart like leaves..."

Video Sara can't go on. Real Sara 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, Sara...

Video Sara cuts him off, her mood shifting to sudden rage.

VIDEO SARA It 's not just a dream. It's real, you moron! I know the date it happens!!

video silberman I'm sure it feels very real to you--

video SARA On August 29th 1997 it's going to feel pretty fucking real to you, too! Anybody not wearing number two million sunblock is gonna have a real bad day, get it?!

video silberman Relax now, Sara--

video SARA You think you're alive and safe, but you're already dead. Everybody, you, him... (she gestures at the attendant) everybody... you're all fucking dead!

TERMINATOR 2 - Rev. 9/10/90 17

31B She is raving, half out of her chair. The orderly moves to inject her with 31B something.

VIDEO SARA You're the one living in a dream, Silberman, not me! Because I know it happens. It happens!

31C Silberman pauses the tape... freezing Sara's contorted face. 31C Real Sara turns away from the screen, her expression stony.

SARA I was afraid... and confused. I feel much better, now. Clearer.

Silberman gives a calculated paternal smile.

silberman Yes. Your attitude has been very positive lately.

Sara looks up at him. Her voice is hopeful.

SARA It has helped me a lot to have a goal, something to look forward to.

silberman And what is 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 the interns from the earlier rounds, and a couple of STAFF PSYCHOLOGISTS. They smoke and make the occasional note.

SARA 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 SARA. Her voice sounds hollow.

SARA They don't exist. I see that now.

Silberman leans back, studying her. Toying with her.

31C Silberman 31C But you've told me on many occasions about how you crushed one in a hydraulic press.

SARA 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?

Sara shakes her head no. cut to:

32 ext. cyberdyne systems - day 32

The corporate headquarters of a mega-electronics corporation. An imposing cubist castle of black glass.

33 INT. second floor/ elevators 33

The elevator doors slide open with a whisper and MILES DYSON strides out. Black. In his early thirties. The star of the Special Project's 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 34

He nods to the guards as he passes through the security checkpoint. They can see all activities on the floor on their bank of video monitors. He unlocks another secure door with his card and enters--

35 int.artificial intelligence (A.i.) lab 35

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 workers. Not a lab coat in sight. This is a strictly jeans and sneakers crowd. All young and bright. They sit at their consoles drinking Cokes and changing technology as we know it. A young LAB ASSISTANT rushes over to Dyson. Name tag says he's BRYANT.

35 bryant 35 Mr. Dyson? The materials team 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 36

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 the time on a clipboard.

37 INT. VAULT 37

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, in its inert-gas flask, 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 Sara destroyed. Dyson stares at it, lost in thought. Then he closes the cabinet, BLACKING OUT FRAME.

cut to:

38 int. interview room/ observation room 38

We can see through the one way mirror into the interview room where Sara is still talking with Silberman. The OTHER PSYCHOLOGISTS are still watching through the mirror. Reviewing Sara's condition.

SARA So what do you think, doctor? I've shown a lot of improvement, haven't I?

silberman You see, Sara... 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 what you've been telling me today.

We go tight on Sara'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 quietly pleading.

SARA 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.

Sara'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.

SARA YOU SON OF 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 as she yells--

SARA 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.

TERMINATOR 2 - Rev. 9/10/90 21

cut to:

39 EXT. 7-eleven store - DAY 39

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 above the houses several blocks away. Officer X stares at it.

40 EXT. STREET 40

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. 40A The IMAGE snap-zooms in. FREEZES on the driver's face. IDENT POS flashes next to the blurry image of John.

40B Terminator wheels the Harley around, cutting onto a street which 40B runs parallel to the canal. Terminator hauls ass to 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 garage of a large SHOPPING MALL.

41 INT. GALLERIA - DAY 41

John works his way through a crowded video arcade. Sees some guys he knows. Stops to talk, striking a pose. Mall rats in their element. We don't hear the dialogue.

42 int. galleria parking garage 42

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 43

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 43A for a new high score at "Missile Command". He parries deftly as 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 into an "Afterburner" simulator game.

43B ON TERMINATOR, walking through the crowd in slow motion. Scanning. 43B It moves with methodical purpose, knowing the target is close. We see that it 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 some kids hanging out at the 43C multi-cinema. He walks into the maze of kids engaged in synthesized conflict. Cheap electronic sound effects blare above the crowd noise.

43D JOHN is shooting down MiGs at Mach 2. His friend Tim slides up next to 43D 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. Sara 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. An eddy of outrage behind the cop as he gains speed. John breaks into a run. So does the cop. Kids scatter like ten-pins as the cop charges after John. John sprints through the arcade's back office and store-rooms.

44 int. SERVICE CORRIDOR 44

John emerges through a firedoor into a long corridor which 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 black steel of the SHOTGUN emerges as the box falls open, the roses spilling to the floor. TERMINATOR'S BOOT crushes the flowers as it moves forward.

44 JOHN, transfixed by terror, is trapped in the narrow featureless shooting 44 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 staring 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 his pistol. The pistol's shot goes wild.

TERMINATOR pumps another round into him. Then another. And another. And another. Advancing a step each time he fires, he empties the shotgun into the cop, blowing him 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, 44A incredibly, sits up unharmed and gets to its feet. Terminator grabs John roughly by his jacket. Clutches the kid to his chest then spins around as the cop opens fire with the Beretta.

44B The "cop", who not only isn't a cop, he clearly isn't even human, pulls 44B 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.

A MAN emerges from a restroom and steps right between the cop and his target. He's instantly cut down by the fusillade.

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. It doesn't break its purposeful stride.

44B The cop opens fire. Bullets rake Terminator's chest. It doesn't even flinch. 44B 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. They 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 an advanced prototype... and he's got quite a few surprises.

T-1000 AND TERMINATOR size each other up. Terminator moves first. It grabs the T-1000 in its 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 of 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 the 44C Terminator crashes through to the tile floor like a sack of cement amid the screaming crowd.

44D The T-1000, swatting mannequins aside, emerges through the broken window. 44D Picks up the stunned Terminator by its jacket. Hurls him against the balcony, which shatters at the impact. Terminator crashes through and falls two levels to the courtyard below!

T-1000 turns without a word and heads back through the store after John, accelerating slowly into a loping, predatory run.

44E DOWN ON THE COURTYARD. Terminator is totally still. A JAPANESE 44E TOURIST cautiously steps forward and takes a picture of the body. Suddenly, Terminator's eyes snap open. The stunned tourist backs away.

It sits up and looks around. Gets its bearings. Rises smoothly to its feet. All servos seem to be working fine. The tourist's camera whirs as the motor-drive runs on by itself, taking shot after shot. The owner isn't even looking through the eyepiece, he's so shocked.

45 int. parking garage 45

John is frantically pumping the kick starter 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.

45 John looks back... the T-1000 is behind him, running. He twists the throttle 45 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 46

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 right at his truck.

46A IN THE TRUCK. The driver hears a thump as something slams against 46A 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. 46B It accelerates after the others.

47 EXT. FLOOD CONTROL CHANNEL 47

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. 47A The Kenworth tow-truck... big as 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 gutshot stegosaurus, it just keeps on plowing forward, gathering speed.

47B John looks back and sees this wall of metal almost filling the narrow 47B 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 47C fighting to overtake them. It 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 47D metal filling frame behind him.

TERMINATOR 2 - Rev. 9/10/90 26

47E ABOVE, Terminator cuts the bike suddenly hard to the left, leaving the 47E road. Hitting an earth embankment just right, it 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 channel below.

47F John hits some water and slews momentarily, losing speed. The massive 47F push-plate on the front of the truck slams his back fender. Panicked, he pulls a little ahead. All this is happening at about sixty miles an hour. Top speed for the little dirt bike.

47G SLOW MOTION as Terminator jumps the bike again. This time the 700- 47G 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 from under the frame. Only the ultra-fast reflexes of a machine could keep the bike upright. Terminator fights for control.

47H It guns the throttle and the powerful bike roars up beside John's tiny Honda. 47H 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, smashed 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 47I locked, it slides on the muddy concrete and piles into the concreted abutment at seventy.

47J Terminator and John emerge from the tunnel, looking back to see a fireball 47J blasting through behind them as the truck's side-tanks explode.

Terminator stops the Harley. John peers around its 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. 47K 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 servomechanism 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 shapes and lines of its clothing emerge from the liquid chrome surface, then finer details... buttons, facial features, ears... *

TERMINATOR 2 - Rev. 9/10/90 27

47K But it's still all chrome. With its last step, the color returns to everything. It is 47K the cop again... handsome young face, blond hair, moustache. 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. 47L T-1000 climbs out of the canal behind them. More cops arrive. T-1000 blends in perfectly. There are always cops at disasters 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 - DUSK 48

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 shaking from the experience of what just happened and he's just a ten year old kid, but he's also the John Conner who will someday rise to greatness, and we see a bit of that in him even now.

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 49

Terminator and John roll 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.

49 john 49 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 is 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 five 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 50

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's that mean?

terminator Liquid metal.

john Radical.

50 terminator 50 You are targeted for termination. The T-1000 will not stop until it completes 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 51

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 52

Janelle Voight picks up the kitchen phone and cradles it with her shoulder while she continues to chop vegetables with a large knife. She answers sweetly.

janelle Hello?

john (filtered through phone) Janelle? It's me.

52 In the backyard John's German Shepherd is going bonkers, barking at 52 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 VOIGHT'S KITCHEN. Todd comes in through the kitchen's back door. Just home from work. He ignores Janelle and opens the fridge. Grabs a Coors. 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 found out what happened in a moment)

AT THE PAYPHONE. John cups the phone again. Turns to Terminator.

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 is the dog's name?

john Max.

TERMINATOR 2 - Rev. 9/10/90 31

52 Terminator nods. Speaks into the phone. 52

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 53

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 beer can, 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, 53A transforming back into a hand, and then...

53B JANELLE CHANGES rapidly into the COP we now know as the T-1000. The 53B change has a 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 him, barking in fear. T-1000 walks 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 55

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 2 - Rev. 9/10/90 32

55 terminator 55 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 didn't it just 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 56

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. 56A 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... *

SHOTS OF JOHN AND SARA during the missing years. Sara in olive * cammos with an RPG 7 grenade launcher, teaching John how to aim. Sara * with a group of military-clad Guatemalan men, standing next to cases of * stinger missiles. John and Sara in a Contra camp, deep in the mountains. *

57 EXT. PARKING LOT - NIGHT 57

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. *

TERMINATOR 2 - Rev. 9/10/90 33

57 JOHN 57* 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 Sara Conner 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 go 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 his 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 college-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 them. John yells in outrage at Terminator

john Let go of me!!

TERMINATOR 2 - Rev. 9/10/90 33A

57 To his surprise, Terminator's hand opens so fast John falls right on his butt. 57 He looks up at the open hand.

john Oww! Why'd you do that?

57 terminator 57 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 the 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 a 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.

57 John grabs Terminator's arm with a yell as he pulls the trigger-- John's 57 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 anymore. 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

TERMINATOR 2 - Rev. 9/10/90 36

58 int. voight house/ bedroom - night 58

T-1000 finds an envelope... a letter from Sara 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 * Sara's tapes and exits.

cut to:

59 CLOSE ON A BLACK & WHITE PHOTOGRAPH. The image is a nightmare 59 from the past. It is a surveillance camera still-frame from the LA police station where the first terminator made such an impression in 1984. We see the blurry forms of cops 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-180 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 CLOSE UP.

DETective weatherby (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 59A

The photos are lying on the table in front of Sara, placed there by DETECTIVE WEATHERBY. His partner DET. MOSSBERG, and Dr. Silberman, sit at the table as well. Two uniformed cops, plus Douglas, stand by the door. Sara stares listlessly at the top photo. She's withdrawn, haggard... drugged-looking.

mossberg He killed seventeen police officers that night. Recognize him?

Weatherby slaps another black and white eight-by-ten on the table. A close up 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.

Sara doesn't react. It's hard to tell she's thinking. Whether she's given up hope or is just in a drugged stupor.

weatherby Ms. Conner, you've been told your son's missing. His foster parents have been murdered, and we know this guy's involved. Talk to us. Don't you care?

59A Sara looks up at him. A cold and empty stare. He glances at Silberman. 59A Then at his partner.

mossberg We're wasting our time.

One of the uniformed cops opens the door and Mossberg strides into the hall. Weatherby and the two uniforms follow him out, with Silberman right behind.

Silberman Sorry, gentleman...

TIGHT ON SARA, 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 arm and leads her out.

cut to: 60 int. SARA's cell 60

Douglas cinches up the last of Sara's restraints. Then 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 see past him. He can't provoke a reaction. Even here, strapped down, the two of them alone, she gives him no superiority. He smirks and leaves. We hear the sound of his night-stick tapping its way down the corridor, growing fainter.

Sara'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 61

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 killer from the post-apocalypse future.

cut to: 62 INT. SARA'S CELL 62

TIGHT ON RESTRAINT LOCK as it unlatches... successfully picked by Sara's paper clip. This is not an easy thing to do. But Sara taught herself a lot of things in her years of hiding.

SARA, 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 63

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 he passes.

THE CRUISER pulls in next to the other police vehicles. The T-1000 walks toward the main entrance. cut to:

64 int. SARA's cell/ corridor 64

Sara 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 65 like he does every night on his rounds. It is dark. 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. 65A The tip of the stick hits the wall. Tap, tap, tap... getting closer to Sara's cell. He stops at her 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 that for half a second, then hears a SOUND behind him and spins around. The sound he heard was Sara's cell door. The missing two feet of MOP HANDLE fills 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. Sara 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 Sara moves down the dark corridor, cat-stepping in her bare feet. She holds 65B the baton like a pro, laid back along her forearm, police-style. She looks dangerous. CUT TO:

66 INT. HOSPITAL ENTRANCE/ CORRIDOR 66

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 Sara Conner here?

She assumes he's with the other cops. Smiles.

66 night nurse 66 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 Weatherby, 66A the two uniform 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 then 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 66B 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 66C 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 behind the guard.

66D Up ahead we hear typing. The night nurse has her back to us, working. The 66D guard stops at the drinking fountain. Bends to take a sip. Behind him the fluid mass has reached 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 had 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 in 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. 66E He has one deeply disturbing moment to consider the ramifications of that. Then he sees his double calmly raise his hand and, inexplicably, point 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 now, hanging from the rod/finger, which suddenly retracts-- SSSNICK. As the guard slumps, the T-1000 takes his weight easily with one hand and walks him, like he'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 NURSE, glancing up as the T-1000/guard walks past, dragging 66F 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 his body into the utility closet.

66G int. corridor / night receiving desk 66G

T-1000 / Guard comes back out and glances at the nurse.

T-1000/guard All set.

She glances toward him. Sees the Beretta in his holster.

night nurse Gotta to 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 66H setting the gun in the locker, it inserts the pistol into its own chest, where it 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 never guess it was really an intelligent liquid metal.

66H T-1000 slams the locker door and waits as the nurse hits the button unlocking 66H the door with a BUZZ-CLACK. T-1000/Guard goes through.

CUT TO: 67 int. isolation SECURITY CHECKPOINT 67

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 SARA CONNER is in #19. T-1000/Guard goes into the Isolation Ward through the two doors, which lock behind it.

67A IN THE ISOLATION WARD, the T-1000 passes a nurses' station which looks 67A like 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 SARA, moving like a ghost in the darkened corridor, hears footsteps coming 68 and quietly but quickly unlocks a cell next to her with Douglas's master key. 68A She slips into the cell and waits as the footsteps pass. 68A 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. Sara exits.

68B POV MOVING TOWARD nurse's station. We hear Silberman's voice, 68B reviewing medication with the night attendant.

ON SILBERMAN yawning, looking at his watch. He turns to go... Sara is there. She slams into him, hurling him through the door into the cage and following him in. The orderly jumps up, going for his stunner, but she nails him with Douglas's baton. WHAP-WHAP-WHAP! You can barely see the thing she's swinging it so fast. The guy 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. His face is full of outraged disbelief.

silberman You broke my arm!

SARA There's 215 bones in the human body, motherfucker. That's one. Now don't move!

TERMINATOR 2 - Rev. 9/10/90 42

68B Moving rapidly, she whips open a medication drawer and grabs a syringe. 68B They keep a few of these handy for tranking unruly patients. She jams it into the guard's butt and fires the whole shot. Still holding the empty syringe, she sees what she needs next. They keep the toxic cleaning supplies in here to keep the inmates from drinking the Drano. She grabs a plastic jug of LIQUID PLUM'R and slams it * down on the desk inches from Silberman's eyes.

She jabs 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 69 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's amazement, Lewis the Guard turns impassively and walks away, leaving him shouting soundlessly at the window.

cut to:

70 ext. hospital 70

Terminator and John are approaching the guard gate on the Harley. They can see the guard inside look 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.

TERMINATOR 2 - Rev. 9/10/90 43

70 john 70 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 at beat. Then mimics the gesture.

terminator I swear I will not kill anybody.

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 on the bike. They drive toward the hospital, heading down an ambulance ramp to an underground receiving area.

71 int. isolation floor 71

The attendants at the security checkpoint look up at the monitor as someone enters the corridor. They see Sara, holding Silberman at syringe-point. Sara speaks to them through an intercom on the wall. Her voice comes through the speaker.

SARA Open it or he'll be dead before he hits the floor. *

The attendants' adrenalin levels just went off the scale. The first attendant adamantly shakes his head no. The amperage here is really high. The second attendant keys the intercom mike.

2nd attendant There's no way, Conner. Let him go.

Silberman's face is the color of suet. *

SILBERMAN * It won't work, Sara. You're no killer. I * don't believe you'd do it. *

Her voice is a deadly cold hiss. *

TERMINATOR 2 - Rev. 9/10/90 43A

71 SARA 71* You're already dead, Silberman. Everybody * here dies. You know I believe that. So don't * fuck with me! *

71 Silberman 71 Open the goddamn door!

The attendants look at one another. One of them finally hits the solenoid button. The far door unlocks.

71A IN THE LOCKOUT CORRIDOR. Sara pushes Silberman ahead of her. 71A The nearer, barred door must be unlocked manually. One of the attendants cautiously approaches. Nervously unlocks it.

SARA Step back!

He does. She faces both of them.

SARA 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, is a third 71B orderly waiting just around the corner. He's poised, ready to jump her when she comes abreast of him.

ON SARA backing up. She reaches the corner. The third attendant lunges, grabbing her syringe-hand. Sara 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 Sara 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 72 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, Sara flies past 73 us, her bare feet slapping on the cold tiles. The orderlies charge after her. She's like an animal in a maze. She turns a 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's keys, breathing hard. Jams the master in. The orderlies are bearing down on her at full tilt. Sara 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.

TERMINATOR 2 - Rev. 9/10/90 45

73 Sara sees them beyond the window, fumbling with their keys. 73

73A Sara is in another sally-port corridor. A jail-cell type barred door is 73A between her and the corridors of the ward beyond. She sprints to the wall 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.

Sara 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, goddammit! Go around!!

The orderlies run back the way they came, and along a cross-corridor to another set of doors.

73B ON SARA as she rounds a corner and sees the elevators ahead. 73B Now she's home-free. At a full tilt sprint, she's nearly there when the elevator doors part...

TERMINATOR steps out... his head swivelling to face her. Sara 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, Sara 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 Sara and figures out instantly what happened.

john Mom!! Wait! *

73B Sara doesn't hear. She has clicked fully into her own nightmare. 73B They take off running after Sara. *

73C She is pelting down the long corridor, back the way she came. As she 73C 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.

SARA No! Help me! Goddammit, 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 her pinned to the cold tiles, a ring of faces above her. Silberman leans down to her, holding a syringe with a heavy dose of trank. Sara 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 guy 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 in to hold Sara. He is grabbed by a roll of skin at the back of his neck and lifted like a cat. The doctor feels his feet pedaling above the ground. He looks into the expressionless face. And it hits him. Sara was right... this guy isn't human. He feels the fabric of his 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.

Sara blinks, staring up at the figure looming over her. John kneels next to her.

john Mom, are you okay?

73C She looks from Terminator to John. Back to Terminator. 73C Is this a nightmare? Or has she finally gone truly mad?

Incredibly, Terminator politely reaches its 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.

Sara, in a daze, takes the huge hand in her shaking fingers. Terminator lifts her to her feet.

73D John sees a COP standing thirty feet away, on the other side of the wall of 73D 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 has his pistol in his hand, at his side. Terminator pushes John behind him. They start backing up.

73E The T-1000 walks forward, reaching the bars. It doesn't stop. 73E 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 CLINK 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 Sara is agape. Not reacting. It's been a heavy day for her. 73F 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!

Sara doesn't need to be told twice. T-1000 walks toward them, opening fire with the Browning Hi-Power. Terminator straight-arms the 12 gauge 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 buckshot 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, 73G Sara 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 Sara 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 73H punching holes in the other side.

73I The Browning locks open, empty. T-1000 drops it without a glance back. The 73I 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 in between the doors forcing them open. Terminator 73J jams the shotgun through the widening gap. Punches the muzzle right INTO the T-1000's face -- BOOM!! 73K We get a glimpse of the T-1000's head blown apart by the blast. It is hurled 73K back. The doors close. The car descends.

73L ON THE T-1000, outside the elevator. Its head, which is blown apart into two 73L doughy masses lying on the shoulders, reforms quickly. There is no trace of the injury. It sees the closed doors 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. 73M It falls two floors and...

74 IN THE ELEVATOR. Our trio hears a loud THUMP on the roof. 74 Terminator, reloading the shotgun, looks up. Sara 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 Sara's face. She opens fire, BAM-BAM-BAM-- right through the roof. Lightning 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 gauge 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. Sara yells in pain as one of them slices open her upper arm.

75 The doors open. Sara pulls John out as soon as the gap is wide enough. 75 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... 76 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 kind of taffy-pull with itself. It opens its eyes and sees--

77 TERMINATOR, the shotgun held in his teeth, astride the roaring Harley 77 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. John strikes the flare on the concrete. Tosses it. Terminator catches the lit 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 Sara toward the exit ramp.

78 AT THE EXIT RAMP. They are partway up when a blue-and-white hospital 78 security car comes screeching down the other way. Without breaking stride Sara runs right at the car. It skids to a shrieking halt. She's in the guy's face with the .45 in both hands.

SARA Out of the car!!

The patrol guy is thinking what he can try when BAM! she puts a round through the glass next to his head.

SARA 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. Sara gets John into the back seat and dives into the front passenger seat as--

78A Terminator slams the car in reverse and punches it, lighting up the tires on 78A 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 powers backward up the ramp, scraping along one wall, barely in control. Because...

TERMINATOR 2 - Rev. 9/10/90 50

79 The T-1000 is running at them out of the inferno below. 79* This guy won't quit. Shifting from chrome mode to the cop-form as it runs. It sprints up the ramp after the retreating car. T-1000 is gaining.

80 Terminator hands Sara another magazine for the .45. She snatches it, 80 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 shotgun 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 80A the hole, which then closes. 80B Sara, half out the passenger window, opens fire. 80B 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. 80C 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 Sara

terminator Drive.

Terminator heaves himself half out of the driver's window. Sara slaps her foot down on he 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 80D 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 down over the roof of the car. 80E Fires point-blank. Hits the T-1000's arm just above the "hand" which anchors it to the car. The 12 gauge blows the arm apart, severing the hook-hand.

80F T-1000 tumbles backward off the accelerating car. 80F 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. Sara 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 80G front of him, reverts to the neutral polyalloy... a kind of thick 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. 80H REVERSE on the T-1000, walking now, coming right up into close up, watching the tail lights recede. It looks down.

80I ANGLE ON BLACKTOP, tight on the liquid metal blob. Next to it is the T- 80I 1000's shiny cop shoe. The mercury blob crawls and rejoins the main mass, disappearing into the "shoe".

81 int./ ext. security car 81

A GHOST CAR blasts out of the darkness on a long stretch of moonlit 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 blasting in 81A the shattered windows as Terminator drives the car easily by electronic night-vision. His eyes glow faintly red.

john Can you even see anything?

81B TERMINATOR'S POV. A monochrome image of the highway lit bright as 81B day.

81C Terminator replies in a matter of fact tone. 81C

terminator Everything.

john Cool.

Sara looks at Terminator, still not quite believing this is happening. But this is a different Sara 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.

SARA You okay?

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