>> II/ Terminator II

II/ Terminator II ( 2)

: II/ Terminator II.

II/ Terminator II

He nods. She reaches for John and we think she's going to hug him. She starts to rub her hands over him and we realize she's checking for injuries, very clinically the way a vet checks a dog for broken bones.

He pulls away from her. He hates her always checking him, treating him like he might break, like some piece of rare china.

john I said I was okay.

81C Sara looks at him, exasperated and stern. 81C

SARA It was stupid of you to go there.

John stares at her, surprised.

SARA Goddammit, John, you have to be smarter than that. You're too important! You can't risk yourself, not even for me, do you understand? I can take care of myself. I was doing fine. Jesus, John. You almost got yourself killed.

We see his chin quiver. He's a tough kid, but all he really wants is for her to love him. He hasn't had enough years on the planet yet to be the man of steel she demands.

john I... had to get you out of that place... I'm sorry, I...

His face crumples. He starts to cry. Sara gives him a cold stare.

SARA Stop it! Right now! You can't cry, John. Other kids can afford to cry. You can't.

He's trying to be brave, he really is. Terminator turns and sees the water leaking from his eyes. It doesn't make any sense to him.

terminator What is wrong with your eyes?

John turns away, ashamed. Sara lets her breath out, realizing how keyed up she is. She turns to Terminator, giving him a wary once-over.

SARA So what's your story?

cut to: 82 ext. mental hospital 82

The cops have shown up, as they always do. There are black and whites everywhere, and ambulances are arriving. Two cops and an orderly are required to subdue poor doctor Silberman, who is raving at the top of his lungs.

Silberman ...it was all true and we're all going to die and the guy changed, I saw him change!!

It's quite pathetic. A nurse shoots him up with a sedative. They lead him away.

82A T-1000 walks unperturbed among the milling cops. No-one notices him. 82A He slips into his cruiser and drives off into the night.

83 int. car 83

Terminator drives steadily into the black night.

SARA This T-1000... what happens when you shoot it?

terminator Ballistic penetration shocks it, but only for a few seconds.

Sara thinks about that. Then.

SARA Can it be destroyed?

terminator Unknown.

They ride along in silence for a few seconds. Sara sees something up ahead, some lonely neon in the blackness.

SARA Pull in here. We have to ditch this car.


A rundown gas station with a buzzing neon sign and no-one around. They pull into the drive and slowly cruise past the empty office. A sign in the window says CLOSED SUNDAY. They continue around the building to the garage's back door.

AT THE GARAGE DOOR. Terminator breaks the lock on the roll-up door and raises it. Sara pulls the security car in out of sight. Terminator rolls the door down behind them.


Dark. Sara switches on the single drop-light. She and Terminator look at each other. Terminator is shot-up and bleeding, and Sara has a vicious slash in her upper arm which has soaked her sleeve with blood.

SARA You look like handmade shit.

terminator So do you.


86 TIGHT ON FIRST AID KIT from the office, plus some not-so-oily rags, a bottle 86 of rubbing alcohol, a few small tools, and other makeshift odds and ends. Terminator's hand comes into shot. Sets down a bloody rag. Picks up a clean one.

WIDER. Sara sits on an empty crate. Terminator is beside her, suturing her wound with some fine wire from the winding of an alternator. Using a pair of needlenose pliers he draws the wire through her pale skin with a delicate hand.

terminator I have detailed files on human anatomy.

Sara stares into his face, inches away, fighting the pain. She doesn't like him being this close to her to begin with, let alone carving on her.

SARA I'll bet. Makes you a more efficient killer, right?

terminator Correct. Cut to:

87 TIGHT ON TERMINATOR'S BACK. The leather jacket is riddled with bullet 87 holes. Sara and John help pull it off, revealing Terminator's broad, muscled back beneath.

WIDER. John and Sara stare in amazement. There are at least twenty bullet holes in him. Back Arms. Legs. Fortunately they're all 9mm. The holes are small and the damage cosmetic.

john Does it hurt?

terminator I sense the injuries. The data could be called pain.

TIGHT ON SARA AND TERMINATOR.Sara starts washing the bullet holes in his broad back with alcohol.

SARA Will these heal up?

Terminator nods. She reaches into the bloody wounds with pliers and finds the copper-jacketed bullets, flattened against his armored endoskeleton. Pulls them out. They CLINK one by one into a glass.

SARA That's good. Because if you can't pass for human, you won't be much good to us.

She concentrates on removing the slugs. CLINK. CLINK.

TERMINATOR 2 - Rev. 9/10/90 55

87 john 87 How long do you live. I mean last?

terminator A hundred and twenty years on my existing power cell.

Sara nods, pulling out another slug. CLINK. The glass is nearly full of flattened bullets. She begins to sew the holes closed with a few wire sutures. John watches in quiet amazement, the two warriors calmly fixing each other.

john Can you learn? So you can be be... you know. More human. Not such a dork all the time. *

Terminator turns toward him.

terminator My CPU is a neural-net processor... a learning computer. But Skynet presets the switch to "read only" mode when we are sent out alone.

SARA (cynical) Doesn't want you thinking too much, huh?

terminator No.

john Can we reset the switch? CUT TO:

88 E.C.U. OF AN X-ACTO KNIFE cutting into Terminator's scalp at the base of 88 his skull. His voice calmly directs Sara as she spreads the bloody incision and locates the maintenance port for the CPU in the chrome skull beneath.

terminator Now open the port cover.

She wipes away the blood and uses the garage-mechanic's air tools to unscrew the port cover.

88A TERMINATOR POV (DIGITIZED) as he watches her work in a mirror 88A they've taken from the washroom. Sara and John are standing behind him. Her hands are covered with blood, like a surgeon's.

terminator Hold the CPU by its base tab. Pull.

Following his instructions, she reaches in with a pair of tweezers and PULLS-- There is a BURST OF STATIC and the screen goes BLACK.


TERMINATOR 2 - Rev. 9/10/90 56

89 TIGHT ON JOHN AND SARA looking at what she has removed. A reddish 89 brown ceramic rectangle with a connector on one end. About the size and shape of a domino. On close inspection it appears to be made up of small cubes connected together. It is identical to the shattered one in the vault at Cyberdyne Systems. Now we know what it is that Miles Dyson values so highly. The brain of a terminator.

89A WIDER. John walks around Terminator and looks at his face. 89A Eyes open, he is completely inert. Dead.

John lifts his huge hand. The dead servos whine sullenly as he forces them. It's like rigor mortis. He releases the hand and it stays in the lifted position. Sara examines the CPU chip.

john Can you see the pin switch?

She ignores him. She looks at Terminator. Then back at the chip. Then she sets it on the work table and picks up a small sledge hammer. John realizes what she is about to do. Dives at her as the sledge is whistling down.

john No!!!!

He slaps his hand down over the chip. Sara barely stops the sledge before smashing his fingers.

SARA Out of the way, John!

john No! Don't kill him!

SARA It, John. Not him. It.

john Alright, it. We need it! *

John keeps his hand right where it is.

SARA We're better off by ourselves. *

JOHN * But it's the only proof we have of the future... * about the war and all that. *

SARA * I don't trust it! These things are hard to kill, * John, believe me, I know. We may never have * this opportunity again.

* TERMINATOR 2 - Rev. 9/10/90 56A

89A john 89A Look, Mom, if I'm supposed to ever be this great leader, you should start listening to my * leadership ideas once in a while. 'Cause if you * won't, nobody else will. *

Smart kid. He's got her. She nods, reluctantly. He palms the chip and studies it minutely.

TERMINATOR 2 - Rev. 9/10/90 57

89B John takes a pin and moves the almost invisible switch to the other position. 89B It is now in "write" mode. Then he grimaces as he inserts the wafer back into the slot in Terminator's skull.

89C TERMINATOR VISION flares back to life in a burst of static. The image 89C forms. Sara and John stand behind him in the mirror.

terminator Was there a problem? *

John glances sheepishly at Sara. Then smiles at Terminator.

john No problem. None whatsoever.


90 JOHN SLEEPING, lying on a pile of rags next to a stack of tires. 90* The lights are off. Sara sits nearby, crosslegged, her back against the wall. * The .45 is cradled in her lap. She looks weary, but she won't allow herself to * sleep with Terminator present. *

By the office windows, in a slash of moonlight, is Terminator. He stands silent and still, watching the night. Only his eyes move, tracking with the occasional car passing on the road. His figure silhouetted and still. *


91 SAME IMAGE. Now DAYLIGHT streams in the dusty windows. 91 Terminator has not moved. Faithful machine sentinel. He turns at a sound. John stirs, waking up. He squints at the sunlight. Sara is still awake. She * gets up, wincing at the pain in her arm. *

cut to:

92 ext. gas station - day (later) 92

John and Terminator walk to an old Chevy pickup parked behind the garage. The day is clear but windy. Dust devils chase themselves behind the place. The pickup is locked but Terminator breaks the side-window with his fist and opens the door. He and John climb in.

92A IN THE PICK UP. Terminator has this trick (which you could do too if you 92A had servo-driven steel fingers) where he smashes the cowl around a steering column with one blow from the palm of his hand. When it shatters he strips it away with a single move, and then turns the stub of the lock-mechanism with his fingertips. This starts the vehicle. It takes about three seconds.

In fact, he does it so quickly, the truck is running by the time John flips down the sun visor. A set of keys drops out and John catches them. Dangles them in front of Terminator's eyes.

TERMINATOR 2 - Rev. 9/10/90 58

92A john 92A Are we learning yet?

92B Sara comes out. She's found a mechanic's coverall inside, used but fairly 92B clean. It doesn't fit too well but it's better than the stuff from the hospital. She's still barefoot. The sun, which she hasn't seen in months, hurts her eyes. Terminator and John pull up in the pickup. She gets in.

92C terminator 92C We need to get as far from the city as possible. * SARA Just head south.

cut to:

93 int. / ext. pickup truck / highway - day 93*

THE OPEN ROAD. The pick-up roars through light traffic down a long stretch of highway. They sit three abreast on the bench seat, John in between, like some improbable family on a car trip. * Sara leans over to get a look at the speedometer. *

SARA Keep it under sixty five. We can't afford to get pulled over.

Terminator backs off the throttle slightly. * terminator Affirmative.

john No, no, no. You gotta listen to the way people talk. See, you don't say like "Affirmative" or some shit like that. You say... no problemo.

Terminator nods, filing away the information. Sara is ignoring the lesson, lost in thought.

TERMINATOR 2 - Rev. 9/10/90 *59

93 john 93* If someone gets upset you say " chill out". If someone comes off to you with attitude, you say "eat me"... if you wanna shine them on it's "Hasta la vista, baby".

Terminator Hasta la vista, baby?

John Yeah, or "later, dickwad." Or if someone gets upset you say "chill out." Like that. Or you can do combinations.

terminator Chill out, dickwad.

john That's great! See, you're getting it.

terminator No problemo. cut to:

94 OMITTED 94*


95 OMITTED 95*

TERMINATOR 2 - Rev. 9/10/90 60

96 ext. roadside stand/gas station - day 96

There's a gas pump and a sleazy fast-food stand. Picnic tables are set up at the side of the food stand. A family sits at one, children playing and running about. 96A The pickup truck pulls into the lot. Stops at the gas pump. * Sara turns to John. *

SARA You got any cash?

John pulls what's left of his Ready Teller money from his pocket.

john Only a couple of hundred. I'll give you half.

Sara grabs all of it. Peels off a twenty, Hands it to John.

SARA Get some food.

She opens the truck door and steps out. John turns to Terminator.

john No sense of humor.

97 THE ORDERING WINDOW as John and Terminator approach. 97*

john And that's another thing. You could lighten up a bit, yourself. This severe routine is getting old. Smile once in a while.

terminator Smile?

John Yeah. Smile. You know. People smile, right? Watch.

Goes to the order window.

John (smiling broadly) Hi. Nice place you got here. How's business?

window woman (stone faced) Gimme a break.

John (to Terminator) Okay. Bad example. Over there, look.

TERMINATOR 2 - Rev. 9/10/90 60A

97 John points at THREE TEENAGE GUYS standing at a drinking fountain 97* nearby. One of them has said something funny and the others are laughing, grinning.

John Like that.

TERMINATOR POV (DIGITIZED) The real-time image continues while a replay of one of the guys grinning runs in a window. It expands, so that the guy's mouth fills the window. Replays again in slow motion. A vector-graphic of lips smiling appears, along with an array of symbolic data.

Terminator tries it. The result is dismal. A rictus-like curling up of the lip. Terminator's next effort is a marginal improvement.

John I don't know, maybe you could practice in front of a mirror or something.



Sara and John are eating cheeseburgers and fries, sitting in the truck and on the curb respectively. They are parked away from the other families, at the end of the gravel parking area. Terminator is pouring coolant into the radiator. Sara is deep in thought, turning and turning the whole thing in her brain. John, unable to deal with her silence, goes around to where Terminator is working.

98A John sees two kids playing with machine-gun watering pistols nearby, 98A* viciously squirting each other.

first kid You're dead!

second kid Am not!

first kid Are so!

John and Terminator watch them rolling on the ground in a fight to the death. Sara rounds the front of the truck, and sees the kids. John sighs, solemn. He looks up at the cyborg.

john We're not gonna make it, are we? People, I mean.

terminator It is in your nature to destroy yourselves.

John nods, depressed.

TERMINATOR 2 - Rev. 9/10/90 *61

98A john 98A* Yeah. Drag, huh?

SARA I need to know how Skynet gets built. Who's responsible?

terminator The man most directly responsible is Miles Bennet Dyson, director of Special Projects at Cyberdyne Systems Corporation.

SARA Why him?

terminator In a few months he creates a revolutionary type of microprocessor.

SARA Then what?

98B Terminator closes the hood and gets into the truck as he speaks. 98B*

terminator In three years Cyberdyne will become the largest supplier of military computer systems. All stealth bombers are upgraded with Cyberdyne computers, becoming fully unmanned. Afterward, they fly with a perfect operational record.

SARA (getting in behind John) Uh huh, great. Then those fat fucks in Washington figure, what the hell, let a computer run the whole show, right?

terminator Basically. (starting the engine, backing out) The Skynet funding bill is passed. The system goes on-line August 4th, 1997. Human decisions are removed from strategic defense. Skynet begins to learn, at a geometric rate. It becomes self-aware at 2:14 a.m. eastern time, August 29. In a panic, they try to pull the plug.

SARA And Skynet fights back.

They accelerate back onto the highway.

TERMINATOR 2 - Rev. 9/10/90 62

98B terminator 98B* Yes. It launches its ICBMs against their targets in Russia.

SARA Why attack Russia?

terminator Because Skynet knows the Russian counter-strike will remove its enemies here.

SARA Jesus. (beat, then) How much do you know about Dyson?

terminator I have detailed files.

SARA I want to know everything. What he looks like. Where he lives. Everything.

99 int. dyson house - day 99

Miles Dyson sits at the huge desk in his study. He is deep in thought, tapping away at the keyboard of his home computer terminal. Next to his desk are racks of sophisticated gear. On a Sunday morning, when most men are * relaxing, spending time with their families, Dyson is hard at work.

IN A PROFILE CLOSEUP we see him in deep concentration, his mind prowling the labyrinth of his new microprocessor.

A WOMAN'S FACE ENTERS FRAME soundlessly behind him. He doesn't hear her. His wife, TARISSA, extends her tongue and traces it down the back of his neck. He smiles and turns to kiss her good morning. She's still in her bathrobe, holding coffee. He's been up for hours. He turns and goes back to work, forgetting instantly that she is standing there.

She watches him work, the arcane symbols moving across the screen. We see her frustration, her inability to truly enter the magic box of his world.

tarissa You going to work all day?

dyson I'm sorry, baby. This thing is just kicking my ass. I thought we had it with this one...

TERMINATOR 2 - Rev. 9/10/90 63

99 He points to a metal box on his desk, about two feet long. An assembly of 99 small cubes. It looks like a dinosaur version of Terminator's CPU.

dyson ... but the output went to shit after three seconds. I'm thinking now it's in the way I'm matrixing the command hierarchies

tarissa You need a break. You'll see it clearer when you come back.

dyson I can't.

tarissa Miles, it's Sunday. You promised to take the kids to Raging Waters today.

dyson Oh. I can't honey. I'm on a roll here.

He takes her hands. We see a childlike excitement in his face. He wants so badly to share the almost orgasmic thrill of discovery, the satisfaction of creation.

dyson Baby, this thing is going to blow 'em all away. It's a neural-net process-- *

Tarissa I know. You told me. It's a neural-net processor. It thinks and learns like we do. Its superconducting at room temperature. Other computers are pocket calculators by comparison. (she pulls away from him) But why is that so goddamn important, Miles? I really need to know, cause I feel like I'm going crazy here, sometimes.

dyson I'm sorry honey, it's just that I'm thiiis close.

He holds up his thumb and index finger... a fraction of an inch apart. She picks up the prototype. It doesn't look like much.

Dyson Imagine a jetliner with a pilot that never makes a mistake, never gets tired, never shows up to work with a hangover. (he taps the prototype) Meet the pilot.

TERMINATOR 2 - Rev. 9/10/90 64

99 tarissa 99 Why did you marry me, Miles? Why did we have these two children? You don't need us. Your heart and your mind are in here. (she stares at the metal box in her hands) But it doesn't love you like we do.

He takes the anodized box from her hands and sets it down. Then he puts his hands on her shoulders and kisses her gently. She acquiesces to his kiss.

dyson I'm sorry.

Tarissa glances over his shoulder. She nods her head toward the doorway to the study. Dyson turns and sees their two kids standing there. Danny (6) and Blythe (4) look rumpled and adorable in their PJs. Dyson wilts at their hopeful * expressions.

tarissa How about spending some time with your other babies?

Dyson grins. The forces of darkness have lost this round. He holds out his hands and his kids run to him, cheering.


100-117 OMITTED *

A100 EXT. desert / compound - DAY a100*

The desert northwest of Calexico. Burning under the sun like a hallucination. Heat shimmers the image, mirage-like. Terminator turns the pickup off the paved road and barrels along a roadbed of sand and gravel, trailing a huge plume of dust. A sign at the turnoff says: CHARON MESA 2 MI CALEXICO 15 MI

A101 AHEAD is a pathetic oasis of humanity in the vast wasteland, a couple of A101* aging house-trailers, surrounded by assorted junk vehicles and desert-style trash. There is a dirt airstrip behind the trailers, and a stripped Huey helicopter sitting on blocks nearby.

The truck rolls to a stop in a cloud of dust. The place looks deserted. The door to the nearest trailer bangs in the wind.

SARA (to Terminator and John) Stay in the truck.

A102 ANGLE FROM INSIDE ANOTHER TRAILER, NEARBY. A102* A DARK FIGURE in the F.G. has an AK 47 trained on the pickup as Sara gets out.

TERMINATOR 2 - Rev. 9/10/90 *65

A102 ON SARA peering through the backlit dust. A102* The sound of wind. She approaches the trailer.

SARA (in Spanish) Enrique? You here?

She hears KACHACK! behind her and spins, whipping out her .45 in one motion.

ENRIQUE SALCEDA stands behind a rusting jeep, a 12-gauge pump trained on her. He is mid-forties, a tough Guatemalan with a weathered face and heavy moustache. He wears cowboy boots and a flak vest, no shirt.

salceda You pretty jumpy, Conner.

His fierce face breaks into a broad grin. The shotgun drops to his side as he walks toward her. When he reaches her he hugs her, then steps back.

salceda (in Spanish) Good to see you, Conner. I knew you'd make it back here sooner or later.

He grins at John as he steps from the truck, and then clocks Terminator getting out.

salceda Oye, Big John! Que pasa? Who's your very large friend?

John (perfect Spanish) He's cool, Enrique. He's... uh... this is my Uncle Bob. (to Terminator, in English) Uncle Bob, this is Enrique.

Terminator smiles. Sort of. Salceda squints at him.

salceda Hmmm. Uncle Bob, huh? Okay. (yelling) Yolanda. Get out here, we got company. And bring some fucking tequila!

A thin Guatemalan KID, FRANCO, eighteen or so, comes out of the trailer with the AK-47, followed by Salceda's wife, YOLANDA. She has THREE younger children with her, from a five year old GIRL, JUANITA, to a year-and-half old BOY. She waves at John. They exchange greetings in Spanish. They seem like nice people. Terminator looks down at John, next to him. He says quietly...

TERMINATOR 2 - Rev. 9/10/90 *66

A102 TERMINATOR A102* Uncle Bob?

SALCEDA (to Sara) So, Saralita, you getting famous, you know that? All over the goddamn TV.

Salceda rips the cap off the tequila bottle. The two year old toddles to Terminator and grabs his pants, sliming them with drool. Terminator looks down at the tiny kid, fascinated. What is it? He picks the child up with one huge hand. Looks at it. Turns it different ways. Studying it. Then sets it down. The kid waddles off, a little dizzy.

salcedA Honey, take Pacolito. Thanks, baby.

She hands him the tequila and takes the child. Salcedo takes a long pull from the Cuervo bottle.

salcedA (to Terminator) Drink?

Terminator gestures "no" at the proffered bottle, but Sara grabs it and takes a long plug. She lowers it without expression. Her eyes don't even water.

SARA I just came for my stuff. And I need clothes, food, and one of your trucks.

salceda (grinning) Hey, how about the fillings out of my fucking teeth while you're at it?

SARA Now, Enrique. (turns to Terminator and John) You two are on weapons detail. cut to:

A103 Ext. compound/ behind the trailers A103*

There is an aging and rusted Caterpillar sitting behind one of the trailers. John expertly backs it toward Terminator who is holding one end of a piece of heavy chain which disappears into the sand.

John Hook it on.

Terminator hooks the chain onto the towhook on the back of the tractor. John hits the throttle and the Cat churns its treads, pulling some massive load. A six-by-eight foot sheet of steel plate moves slowly under six inches of sand.

TERMINATOR 2 - Rev. 9/10/90 *67

A103 John drags it far enough to reveal... a rectangular hole in the ground. Like A103* the mouth of a tomb. The kid drops down from the tractor and walks to the hole.

John One thing about my mom... she always plans ahead.

A104 int. weapons cache A104*

From inside the "tomb". Sunlight slashes down into a cinder-block room, less than six feet wide but over twenty long. Sand spills down the steps. The walls are lined with guns.

John precedes Terminator into Sara's weapons cache. Rifles, pistols, rocket launchers, mortars, RPGs, radio gear. At the far end boxes containing ammo, grenades etc. are stacked to the ceiling. Terminator gets real alert. Scanning, wondering where to begin. He picks up a MAC 10 machine pistol. Racks the bolt.

Terminator Excellent.

john Yeah, I thought you'd like this place.

A105 ext. compound / nearby A105*

Sara emerges from a trailer. She has changed. Boots, black fatigue pants, T-shirt. Shades. She looks hard. Salceda is nearby, packing food and other survival equipment with Yolanda. He looks up as Sara approaches, and slaps the side of a BIG FOUR-BY BRONCO next to him.

salceda This is the best truck, but the water pump is blown. You got the time to change it out?

SARA Yeah. I'm gonna wait till dark to cross the border. (she pulls him away from Yolanda) Enrique, it's dangerous for you here. You get out tonight, too, okay?

salceda Yeah, Saralita. Sure. (he grins) Just drop by any time and totally fuck up my life.

She claps him on the shoulder.

cut to:

TERMINATOR 2 - Rev. 9/10/90 *68

A106 int. weapons cache A106*

Terminator returns from carrying out several cases of ammo. John is selecting rifles from a long rack.

John See, I grew up in places like this, so I just thought it was how people lived... riding around in helicopters. Learning how to blow shit up.

John grabs an AK-47 and racks the bolt with a practiced action. Inspects the receiver for wear. Doesn't like what he sees. Puts it back. His movements are efficient. Professional. Uninterested.

John Then, when Mom got busted I got put in a regular school. The other kids were like, into Nintendo.

Terminator has found a Vietnam era "blooper" M-79 grenade launcher. A very crude, but effective, weapon. He opens the breech and inspects the bore.

John Are you ever afraid?

Terminator pauses a second. The thought never occurred to him. He searches his mind for the answer...

terminator No.

Terminator slings the M-79 and starts looking for the grenades.

John Not even of dying?

Terminator No.

john You don't feel any emotion about it one way or the other?

terminator No. I have to stay functional until my mission is complete. Then it doesn't matter.

John is idly spinning a Sig Saur 9mm pistol on his finger... backwards and forwards like Bat Masterson.

john Yeah. I have to stay functional too. (sing-songy) "I'm too important".

TERMINATOR 2 - Rev. 9/10/90 *69

A106 Terminator pulls back a canvas tarp, revealing a squat, heavy weapon with A106* six barrels clustered in a blunt cylinder. Chain-ammo is fed from a cannister sitting next to it. A G.E. MINI-GUN. The most fearsome anti-personnel weapon of the Vietnam era. Terminator hefts it. Looks at John as if to say "Can I? Please."

John It's definitely you. cut to:

A107 ext. compound - day /LATER A107*

Sara and John have their weapons and supply selections laid out on two battered picnic tables for cleaning and packing. Maps, radios, documents, explosives, detonators... just the basics. Sara is field-stripping and cleaning guns, very methodically. There is no wasted motion.

Not far away, John and Terminator are working on the Bronco. They're greasy up to their elbows, lying on their backs under the engine compartment, ratcheting bolts into place on the new water pump.

John There was this one guy that was kinda cool. He taught me engines. Hold this a second. Mom screwed it up, of course. Sooner or later she'd always tell them about Judgment Day and me being this world leader and that'd be all she wrote.

John thinks he's being casual, but his longing for some kind of parental connection is obvious.

Terminator Torque wrench please.

john Here. I wish I coulda met my real dad.

Terminator You will.

John Yeah. I guess so. My mom says when I'm like, 45, I think, I send him back through time to 1984. But right now he hasn't even been born yet. Man, it messes with your head. Where's that other bolt? (Terminator hands it to him) Thanks. Mom and him were only together for one night, but she still loves him, I guess. I see her crying sometimes. She denies it totally, of course. Like she says she got something in her eye.

TERMINATOR 2 - Rev. 9/10/90 *70

A107 They crawl out from under the truck into the bright sunlight. A107*

terminator Why do you cry?

john You mean people? I don't know. We just cry. You know. When it hurts.

terminator Pain causes it?

john Uh-unh, no, it's different... It's when there's nothing wrong with you but you hurt anyway. You get it?

terminator No.

Terminator gets into the Bronco and turns the ignition key and the engine catches with a roar.

John Alriiight!! My man!

Terminator No problemo.

John grins and does a victorious thumbs up. Terminator imitates the gesture awkwardly. John laughs and makes him get out of the truck, to try the move again.

A108 SARA, across the compound, pauses in her work to watch John and A108* Terminator.

TERMINATOR 2 - Rev. 9/10/90 *71

A109 SARA'S POV... we don't hear what John and Terminator are saying. It is a A109* soundless pantomime as John is trying to show some other gestures to the cyborg. Trying to get him to walk more casually. John walks, then Terminator tries it, then John gestures wildly, talking very fast... explaining the fundamental principles of cool. They try it again. Continued ad lib as we hear:

SARA (V.O.) Watching John with the machine, it was suddenly so clear. The Terminator would never stop, it would never leave him... it would always be there. And it would never hurt him, never shout at him or get drunk and hit him, or say it couldn't spend time with him because it was too busy. And it would die to protect him. Of all the would-be fathers who came and went over theyears, this thing, this machine, was the only one who measured up. In an insane world, it was the sanest choice.

Sara clenches her jaw and goes grimly back to work... a strong woman made hard and cold by years of hard choices.

cut to:

A110 ext. road - day A110*

A police cruiser is parked off the side of a quiet, empty road on the outskirts of Los Angeles. A ribbon of traffic moves steadily by on a freeway in the distance. Nothing stirs around the cruiser except some pump-jacks sucking the earth on the hill behind it.

A111 IN THE CRUISER. The T-1000 sits inside. John's notes and letters are A111* spread out on the seat beside him. Sara's voice speaks from a cassette deck. John's tapes. Her voices mixes with the static filled chatter of the radio that T-1000 monitors for any sign of its target.

SARA ... if we are ever separated, and can't make contact, go to Enrique's airstrip. I'll rendezvous with you there.

T-1000 whips around and rewinds the tape, replaying the last section. It then snaps up the envelope of photos we saw earlier.

ECU on envelope. We see the postmark: "Charon Mesa, Calif."

TIGHT ON T-1000 staring at the postmark on the envelope. He glances up at the sound of crunching gravel. In the rearview he sees a BIKE COP pulling onto the shoulder behind him. The big KAWASAKI 1100 idles up next to the T-1000, still seated in the cruiser.

TERMINATOR 2 - Rev. 9/10/90 *72-78

A111 bike cop A111* Howdy. I saw you pulled over here earlier. Everything okay?

T-1000 Everything's fine. Thanks for checking. (he gets slowly out of the car) Since you're here, though, can I talk to you a second...

cut to:

A112 ext. highway - day / minutes later A112*

The T-1000 thunders along on the Kawasaki 1100, doing about a hundred and twenty. PAN WITH IT until it recedes toward the horizon.

cut to:

TERMINATOR 2 - Rev. 9/10/90 79

A113 ext. compound - day (late afternoon) A113*

Sara sits at the picnic table. The weapons are cleaned and her work is done. She hasn't slept in twenty four hours and she seems to have the weight of the whole world on her shoulders. She draws her knife from its belt sheath. Idly starts to carve something on the table top... the letter "N".

A114 NOT FAR AWAY, John and Terminator are packing the Bronco for the trip. A114*

A115 ON SARA, AT THE TABLE as she looks up from her carving, thinking. She A115* watches Salceda's kids playing nearby... wrestling with a mutty dog and loving it. Sara watches Yolanda walking her toddler by the hands. Backlit, stylized. She looks over at John. Loading guns and supplies.

A116 ANGLE ON kids playing. A116*

A117 SARA'S HEAD droops. She closes her eyes. A117*

118 TIGHT ON small children playing. Different ones. 118 Wider now, to reveal a playground in a park. Very idyllic. A dream playground, crowded with laughing kids playing on swings, slides, and a jungle gym. It could be the playground we saw melted and frozen in the post-nuclear desolation of 2029. But here the grass is vibrant green and the sun is shining.

118A Sara, short-haired, looking drab and paramilitary, stands outside the 118A playground. An outsider. Her fingers are hooked in a chain link fence and she is staring through the fence at the young mothers playing with their kids. A grim-faced harbinger.

118B Some girls play skip-rope. Their sing-song chant weaves through the random 118B burbling laughter of the kids. One of the young mothers walks her two year old son by the hands. She is wearing a pink waitress uniform. She turns to us, laughing. It is Sara. Beautiful. Radiant. Sara from another life, uncontaminated by the dark future. She glances at the strange woman beyond the fence.

118C Grim-faced Sara presses against the fence. She starts shouting at them in 118C SLOW MOTION. No sound comes from her mouth. She grabs the fence in frustration, shaking it. Screaming soundlessly. Waitress Sara's smile falls. Then returns as her little boy throws some sand at her. She laughs, turning away, as if the woman at the fence were a shadow, a trick of the light.

TERMINATOR 2 - Rev. 9/10/90 80

118D Behind her the earth splits open. 118D In a wide shot we see everyone stop and stare as the ground heaves upward all around them. As far as the eye can see the monstrous caps of missile silos are hinging up, ripping up through the grass and soil. Now the mothers are screaming, pulling their children to them... but it is too late to run. The silo caps are open, rows of them marching to the horizon. As if a tranquil reality has split open to reveal another horrible reality which has always been there, hidden beneath it.

118E Thunder shakes the earth. We see the obscene heads of the missiles 118E* thrusting up out of the holes in the ground. Walls of fire erupt as the fat * cylinders rise like awakened monsters from the earth.

118F Sara stares in numb horror as the tail-nozzles clear the silo rims, and a wall 118F of flame roars out, devouring the cowering mothers and children. Incinerating them and rolling on, toward her. She screams and we hear it now, shrill and terrifying, mixing with the thunder as the flames wrap around her, blasting her apart and she...

119 Wakes up. 119* All is quiet and normal. The children are still running through the sprinkler nearby. Less than fifteen minutes have gone by.

Bathed in sweat, Sara sits hunched over the table. Every muscle is shaking. She is gasping. Sara struggles to breathe, running her hand through her hair which is * soaked with sweat. She can escape from the hospital, but she can't escape * from the madness which haunts her.

She looks down at the words she has carved on the table, amid the scrawled hearts and bird-droppings. They are: "NO FATE." * Something changes in her eyes. She slams her knife down in the table top, embedding it deeply in the words. Then gets up suddenly and we--


A120 LONG LENS on Sara walking toward us, striding across the compound with A120* grim purpose. She carries a small nylon pack and a heavy FN FAL .308 assault rifle. Her face is an impassive mask. She has become a terminator.

A120A JOHN LOOKS UP from his work in time to see Sara throw the rifle behind A120A* the seat of their stolen pickup, jump in and start it. She slams it in gear. Salceda walks up to John.

salceda She said you go south with him... (he points at Terminator) ... tonight, like you planned. She will meet you tomorrow in...

But John is moving, running after her.

john Mommm!! Wait!!

TERMINATOR 2 - Rev. 9/10/90 *81

A120B MOVING WITH SARA as she leaves the compound. We see John running A120B* after her... yelling. Can't hear his words. She looks in the rear-view mirror but doesn't slow down.

cut to:

A121 ext. compound - dusk / minutes later A121*

John and Terminator ponder the message carved into the top of the picnic table. Sara's knife is still imbedded there.

john "No fate." No fate but what we make. My father told her this... I mean I made him memorize it, up in the future, as a message to her-- Never mind. Okay, the whole thing goes "The future is not set. There is no fate but what we make for ourselves."

terminator She intends to change the future somehow.

john I guess, yeah-- (snaps his fingers as it hits him) Oh shit!!

Terminator Dyson.

john Yeah, gotta be! Miles Dyson! She's gonna blow him away! We gotta stop her.

John motions to Terminator and breaks into a run.

john Come on. Let's go. LET'S GO!!

cut to:

A122 int. / ext. SARA's jeep - dusk A122*

Sara speeds through the darkening desert. Expressionless. In her dark glasses, she looks as pitiless as an insect.

dissolve to:

A123 ext. highway - night A123*

TRACKING WITH THE BRONCO, Terminator and John heading toward L.A.

terminator Why do you want to stop her? Killing Dyson may prevent the war.

TERMINATOR 2 - Rev. 9/10/90 *82

A123 John A123 I don't care!! There's gotta be another way. Haven't you learned anything?! Haven't you figured out why you can't kill people?

Terminator is still stumped.

john Look, maybe you don't care if you live or die. But everybody's not like that! Okay?! We have feelings. We hurt. We're afraid. You gotta learn this stuff, man, I'm not kidding. It's important.

PAN THEM BY as they pass, revealing the lights of the city ahead.

cut to:


The house is high-tech and luxurious. Lots of glass. Dyson's study is lit bluish with the glow from his computer monitors. He is at the terminal, working. Where else? We see him clearly in a long shot from an embankment behind the house.

A DARK FIGURE moves into the foreground. Rack focus to Sara as she turns into profile. She raises the FN FAL rifle and begins screwing the long heavy cylinder of a sound-suppressor onto the end of the barrel.

cut to:

A125 ext. salceda's camp - night A125*

SALCEDA'S DOG, teeth bared, barks a furious warning. The SOUND of machine gun fire erupts, drowning him out. YOLANDA, clutching a .45 Officer's Colt, sweeps Paco and Juanita up in her arms and races away.

SALCEDA is firing an MP5K on full auto, its strobing barrel flash lighting up the camp. CAMERA PUSHING IN ON HIM AS...

A125A THE T-1000 calmly walks toward him, unbothered by the stream of bullets. A125A* Unhurried. Salceda, amazed, is backing toward his truck, and the stacks of crated grenades and ammo boxes beside it. The T-1000 keeps coming. Steps right up to Salceda, knocks the weapon away and slams him to the ground.

A125B Salceda sprawls against one of the open wooden crates. A125B* T -1000 kneels before him. Points his finger. THUNK. Salceda screams, pinned to the crate by a two-foot steel needle through his left lung.

t-1000 Where is John Conner?

TERMINATOR 2 - Rev. 9/10/90 *83

A125B salceda A125B* John who?

A125C THUNK!! Another needle slams through him. Salceda struggles to breathe A125C* against the excruciating pain.

A125D T-1000 A125D* (almost soothingly) I know this hurts. Where is John Conner?

Salceda's hand gropes in the open crate of grenades behind him. He clutches one. Then apparently ready to cooperate he clutches T-1000's shoulder and struggles to pull himself closer, up along the impaling spikes.

Behind the T-1000's neck, Salceda pulls the grenade's pin with his free hand. The spoon flies off... CLINK.

salceda FUCK YOU!!

A125E The truck, Salceda, and the T-1000 vanish in a MASSIVE EXPLOSION as the A125E* grenade sets off the other munitions. A huge ball of fire ascends into the night.

A125F YOLANDA, huddled with her children, the .45 held before her in a combat A125F* grip, screams as--

A125G A CHROME HEAD rolls out of the inferno and comes to rest in the dirt, the A125G* liquid metal mouth gulping like a gaffed fish. A125H A figure appears, silhouetted by the fire... or most of a figure. A125H*

A125I We TRACK WITH the polished black cop shoes toward the head lying in the A125I* dirt. A hand enters frame. The head dissolves and fuses with the hand, like two blobs of solder running together.

A125J IN CLOSE-UP, the T-1000 rises into frame, whole again. It trains its gaze on A125J* Yolanda and the children.

A125K She stares in shock at the thing approaching. She slowly lowers the useless A125K* pistol. The T-1000 walks right up to her. It reaches down and picks up little Juanita. Gives her a friendly smile.

t-1000 Do you know where John Conner is?

The child mutely shakes her head no. T-1000 nods, unperturbed. Points toward the road. Juanita follows with her eyes.

t-1000 When they reached the main road, did they go north... (indicating) ...or south?

She points north. T-1000 smiles. Sets her down, unharmed.

TERMINATOR 2 - Rev. 9/10/90 84-85

A125K t-1000 A125K* Thank you for your cooperation.

With that, T-1000 turns and strides to his motorcycle parked a few yards away. Yolanda and her children silently watch as the Cop from Hell climbs onto the bike and and roars off into the night.

cut to:

120- OMITTED 120-* 128G 128G*


With the silencer in place, Sara eases back the bolt and then slips it forward, chambering a .308 round. Then she lies down on the embankment. Her cheek pressed against the cool rifle-stock, she slides one hand slowly forward to brace the heavy weapon, taking the weight on her elbow. Her other hand slips knowingly to the trigger.

Her expression is cold, impassive. She looks through the scope at the man in the house. She feels nothing as she raises the rifle.

130 int. dyson house 130

Dyson's kids, Danny and Blythe, are playing in the halls with a radio-controlled off-road truck. Danny drives and Blythe scampers after it, trying to catch it. They stop in the hall outside Dyson's study and see him working at his terminal. Danny puts a finger to his lips, shushing Blythe. His expression is mischievous.

DYSON, in deep thought. The rhythmic sounds of keys as he works. Symbols on the screen shift.

130A ON HIS BACK we see a glowing red dot appear. It is the target dot of Sara's 130A laser designator. It moves silently up his back toward his head.

TERMINATOR 2 - Rev. 9/10/90 86


IN EXTREME CLOSEUP we see Sara's eye at the night-scope. TIGHT INSERT on her finger as it tightens on the trigger, taking out the slack. She takes a deep breath and holds it. Adjusts her position minutely.

132 int. dyson house 132

The laser dot jiggles on the back of Dyson's neck and then rises, centering on the back of his skull.

132A LOW ANGLE as Danny's Bigfoot truck roars toward us-- FILLING FRAME. 132A Thump. It hits Dyson's foot. He jerks, startled, and looks down as-- POP!! 132B His monitor screen is BLOWN OUT spraying him with glass. He jerks 132B back, utterly shocked... and spins to see the huge hole blown through the window behind him. This saves him as K-THUMP! -- the second shot blows the top of his high-backed chair into an explosion of stuffing an inch from his head. Instinctively he dives to the carpet as --

BLAM BLAM BLAM -- rounds blast through the window, tearing into his desk and computer, blowing his keyboard into shrapnel. *

132C With the monitor screen blown out, the room is in darkness. Sara can't see 132C Dyson now, down behind the desk. She puts round after round into the heavy desk, blasting one side of it into kindling.

132D Dyson, scared out of his mind, has his face jammed against the carpet, 132D terrified to move. He sees his kids in the hall.

dyson Run, kids! Go! Run!

132E IN THE HALL, TARISSA rounds the corner at a dead run. She sees the kids 132E running toward her and grabs them in her arms. Down the hall, in the dark study, she sees Dyson on the floor amid the splinters and shrapnel of the continuing fusillade.

tarissa Miles! Oh my God!!

dyson Stay back!!

132F ON THE FLOOR, Dyson flinches as chunks of wood and shattered computer 132F components shower down on him. He looks desperately toward the door, but knows he'd be totally exposed. He'd never make it.

133 SARA's rifle empties with a final CLACK! 133 She throws it down and draws her .45 smoothly from a shoulder holster. She starts toward the house, snapping back the slide on the pistol, chambering a round. She is in a fast, purposeful walk, keeping her eyes fixed on the target. She is utterly determined to kill this man.

134 FROM UNDER THE DESK Dyson can see a sliver of the back yard. He sees 134 Sara's feet as she strides toward him. He tenses to make a break for the door.

Sara raises the pistol, eyes riveted ahead, controlling her breathing. Dyson springs up in a full-tilt sprint. She tracks him. He hooks a foot on the cord of a toppled disk-drive. BOOM! Her shot blows apart a lamp where his head was. He hits the floor hard, but keeps moving, scrambling forward.

Crunch of glass behind him as Sara's dark form is framed in the blown-out floor-to-ceiling window. Dyson leaps toward the hall. BOOM! Her second shot spins him. He hits the floor in the hallway. Tarissa is screaming. Dyson struggles forward, stunned. There is a .45 caliber hole clean through his left shoulder. He smears the wall with blood as he staggers up. Looking back, he sees the implacable figure behind him, coming on. He topples through a doorway as --- BOOM! BOOM! Shots blowing away the molding where he just was.


Terminator and John leap from their jeep, sprinting toward the house. The shots sound muffled from outside.

john Shit, we're too late!

136 INT. HOUSE 136

Advancing with Sara we enter the living room. Tarissa has Blythe and she's screaming at Danny, who has run back to his collapsed father.

tarissa Danny! DANNY!

danny Daaaaddddeeee!

Danny is pulling at Dyson, crying and screaming, as his father tries to stagger forward. Tarissa drops Blythe and runs back for Dyson, grabbing him. Sara looms behind them with the pistol aimed.

SARA Don't fucking move! Don't FUCKING MOVE!! (she swings the gun on Tarissa) Get on the floor, bitch! Now!! Fucking down! NOW!!

136 Sara is crazy-eyed now, shaking with the intensity of the moment. The kill 136 has gone bad, with screaming kids and the wife involved... things she never figured on. Tarissa drops to her knees, terrified as she looks into the muzzle of the gun. Blythe runs to Dyson and hugs him, wailing.

blythe Don't you hurt my father!

SARA (screaming) Shut up, kid! Get out of the way!!

Dyson looks up, through his pain and incomprehension. Why is this nightmare happening? The black gun muzzle is a foot from his face.

dyson (gasping) Please... let... the kids... go

SARA Shut up! SHUT UP!! Motherfucker! It's all your fault! IT'S YOUR FAULT!!

We see her psyching herself to pull the trigger... needing now to hate this man she doesn't know. It's a lot harder face-to-face. She is bathed in sweat, and it runs into her eyes. Blinking, she wipes it fast with one hand, then gets it back on the gun. The .45 is trembling.

TIGHT ON SARA as we see the forces at war behind her eyes. She looks into the faces of Dyson, Tarissa, Blythe, Danny. Sara takes a sharp breath and all the muscles in her arms contract as she tenses to fire. But her finger won't do it. She lowers the gun very slowly. It drops to her side in one hand.

All the breath and energy seems to go out of her. She weakly raises her other hand in a strange gesture, like "Stay where you are, don't move". As if, should they move, the fragile balance might tip back the other way. She backs away from them slowly, panting. It's as if she's backing away in terror from what she almost did. She reaches a wall and slumps against it. Slides down to her knees. The gun falls limply from her fingers. She rests her cheek against the wall.

136A The front door is kicked in. 136A Terminator steps inside. John grabs his sleeve and pushes past him. He scopes out the situation in two seconds... Sara, the gun, the sobbing family. John moves to Sara while Terminator checks Dyson.

John kneels in front of his mother. She raises her head to look at him. He sees the tears spilling down her cheeks.

136A john 136A Mom? You okay?

SARA I couldn't... oh, God. (she seems to see him for the first time) You... came here... to stop me?

john Uh huh.

She reaches out and takes his shoulders suddenly, surprising him... drawing him to her. She hugs him and a great sob wells up from deep inside her, from a spring she had thought long dry. She hugs him fiercely as the sobs wrack her.

John clutches her shoulders. It is all he ever wanted.

john It's okay. It'll be okay. We'll figure it out.

SARA I love you, John. I always have.

John I know, Mom. I know.

TARISSA looks around at the bizarre tableau. Terminator has wordlessly ripped open Dyson's shirt and examined the wound.

terminator Clean penetration. No shattered bone. Compression should control the loss of blood.

He takes Tarissa's hands and presses them firmly over the entrance and exit wounds.

terminator Do you have bandages?

dyson In the bathroom. Danny, can you get them for us?

Danny nods and runs down the hall. John disengages from Sara. She wipes at her tears, the instinct to toughen up taking over again. But the healing moment has had its effect, nevertheless.

John walks toward Dyson and Terminator.

dyson Who are you people?

John draws the Biker's knife from Terminator's boot. Hands it to him.

TERMINATOR 2 - Rev. 9/10/90 90

136A john 136A Show him.

Terminator takes off his jacket to reveal bare arms. John takes Blythe by the hand and leads her down the hall, away from what is about to happen.

136B TIGHT ON TERMINATOR'S left forearm as the knife makes a deep cut just 136B below the elbow. In one smooth motion, Terminator cuts all the way around his arm. With a second cut, he splits the skin of the forearm from elbow to wrist.

TERMINATOR grasps the skins and strips it off his forearm like a surgeon rips off a rubber glove. It comes off with a sucking rip, leaving a bloody skeleton.

But the skeleton is made of bright metal, and is laced with hydraulic actuators. The fingers are as finely crafted as watch parts... they flex into a fist and extend. Terminator holds it up, palm out, in almost the exact position of the one in the vault at Cyberdyne.

HOLD ON DYSON reacting to the servo-hand in front of him. He's seen one of these before. Tarissa is screaming now, but he doesn't hear her.

dyson My God.

terminator Now listen very carefully.

137 int. house/ kitchen - later 137

Sara puts out her fifth cigarette. She's sitting on the counter. John, Terminator, Dyson, and Tarissa are at the kitchen table, under a single overhead light.

Dyson looks like that guy on the Sistine Chapel wall, the damned soul ... eyes fixed and staring with terrifying knowledge. His shoulder is bandaged. Terminator's arm is wrapped with a blood-soaked bandage below the elbow. The steel forearm and hand gleams in the harsh kitchen light. TRACKING * AROUND THE TABLE as Terminator speaks... we don't hear the words.

SARA (v.o.) * Dyson listened while the Terminator laid it all * down. Skynet. Judgment Day... the history of * things to come. * It's not every day you find out you're * responsible for 3 billion deaths. He took it pretty * well, considering... *

Terminator finishes speaking.

TERMINATOR 2 - Rev. 9/10/90 91

137 DYSON 137* I feel like I'm gonna throw up.

He looks around at them, clutching the table like he's about to blow away. His face, his posture, his ragged voice express soul-wrenching terror. This is a man ripped out of normal life into their grim world. His voice is pleading.

dyson You're judging me on thing's I haven't even done yet. Jesus. How were we supposed to know?

Sara speaks from the shadows behind them. Dyson turns to find her looking right at him.

SARA Yeah. Right. How were you supposed to know? Fucking men... all you know how to do is thrust into the world with your... fucking ideas and your weapons. Did you know that every gun in the world is named after a man? Colt, Browning, Smith, Thompson, Kalashnikov... all men. Men built the hydrogen bomb, not women... men like you thought it up. You're so creative. You don't know what it's like to really create something... to create a life. To feel it growing inside you. All you know how to cr eate is death... you fucking bastards.

John Mom, Mom, we need to be more constructive here. I don't see this as a gender related issue. (to the Dysons) She's still tense. (to Sara) We still have to figure out how to stop it all from happening. Right?

TARISSA But I thought... aren't we changing things? I mean... right now? Changing the way it goes?

Dyson (seizing on that) That's right! There's no way I'm going to finish the new processor now. Forget it. I'm out of it. I'm quitting Cyberdyne tomorrow... I'll sell real estate, I don't care--

137 SARA 137 (coldly) That's not good enough.

Dyson's voice is pitiful.

Dyson Look, whatever you want me to do, I'll do. I just want my kids to have a chance to grow up, okay?

terminator No one must follow your work.

dyson (thoughts racing) Alright, yeah. You're right. We have to destroy the stuff at the lab, the files, disk drives... and everything I have here. Everything! I don't care.

cut to:

138 FIRE ROARING IN A METAL TRASH-BARREL. 138 Stacks of files are dumped onto it. WIDER reveals we are in--

138A ext. dyson's backyard - night 138A

Terminator dumps lighter fluid liberally over the fire, which flares up, lighting his face demonically. Sara, Dyson, Tarissa and John return from his office with more stuff-- files, notes, optical disks. Even his kids are carrying stuff. It all goes into the fire. Dyson drops the prototype processor onto the fire... his eyes hollow and distant.

He stares into the fire, watching his world burning. Then has a sudden thought.

dyson Do you know about the chip?

SARA What chip?

Dyson They have it in a vault at Cyberdyne... (to Terminator) It's gotta be from the other one like you.

terminator (to Sara) The CPU from the first terminator.

TERMINATOR 2 - Rev. 9/10/90 93

138A SARA 138A Son of a bitch, I knew it!

dyson They told us not to ask where they got it. I thought... Japan... hell, I don't know. I didn't want to know.

SARA Those lying motherfuckers!

Dyson It was scary stuff, radically advanced. It was shattered... didn't work. But it gave us ideas. It took us in new directions... things we would never have thought of. All this work is based on it.

Terminator It must be destroyed.

SARA (to Dyson) Can you get us in there, past security?

dyson I think so, yeah. When?

Dyson looks at her, Terminator, then John. Sees his answer.

dyson Now? (he takes a breath) Yeah, right.

He turns to his wife. Her face is streaked with tears, but her eyes are strong and clear. Tarissa puts her hands on his arm. She is stunned by what she's heard, but dealing with it. She believes them.

tarissa Miles, I'm scared. Okay. But the only thing that scares me more than you going... is you not going.

He nods. She's right.

SARA * (to Terminator) Is it safe for them here? *

TERMINATOR 2 - Rev. 9/10/90 94

138A TERMINATOR 138A* ( to Tarissa) Take your kids. Go to a hotel. Right now. * Don't pack. * (to the others) Let's go. *

cut to:

138B ext. highway - night 138B*

Pavement rushing at us, lit by headlights. Beyond, darkness.

SARA (V.O.) The future, always so clear to me, had become like a black highway at night. We were in uncharted territory now... making up history as we went along.

TILT UP to reveal a rectangle of light ahead. The Cyberdyne Building...

139 int. cyberdyne systems building/ lobby - night 139

TIGHT ON A CARD-KEY SCANNER as Dyson's hand zips his security card through the slot in one motion. There is the sound of a servo-lock, and--

139A DYSON enters the spacious lobby, followed by Sara, John, and Terminator 139A last of all. In a frontal angle, the others block Terminator from view.

THE GUARD at the front desk, GIBBONS, looks up as Dyson moves toward him. Dyson is pale and sweaty, but smiles warmly at the guard, speaking well before he reaches the desk.

Dyson Evening, Paul. These are friends of mine from out of town, I just thought I'd take them up and show them around.

gibbons I'm sorry, Mr. Dyson. You know the rules about visitors in the lab. I need written authoriz--

K-CHAK! Gibbons is staring down the barrels of Sara's .45 and Terminator's MAC 10.

Terminator I insist.

The guard is too stunned to move. We see that Terminator is wearing his jacket and one black glove. Gibbons' eyes go to the silent alarm button on the console.

SARA Don't even think about it.

TERMINATOR 2 - Rev. 9/10/90 94A

139A Gibbons nods. He stays frozen. Terminator circles quickly and gets the guard 139A* out of the chair. John pulls a roll of duct-tape from his knapsack and tears off a piece.

TERMINATOR 2 - Rev. 9/10/90 95

140 int. second floor corridor 140

ELEVATOR DOORS OPEN and Terminator leads the group warily into the corridor. They have a cart piled high with gear in nylon bags. Dyson motions * down the corridor to the right. As they walk, he continues to fill them in--

Dyson The vault needs two keys to open. Mine... (holds up key) ...and one from the security station. One of the guards has it on a chain around his neck. Here we go.

They stand in front of a wide security door. A sign above reads SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY. Sara grabs Dyson in a headlock from behind and jams the muzzle of the .45 up against his temple. He doesn't flinch. They've talked about this.

terminator Go.

Dyson zips his key-card through the scanner and the door unlatches.

141 int. security station 141

The security station is a pass-through area with a counter, behind which are desks and a bank of monitors, showing boring movies about empty corridors.

It's lunch-time for the graveyard shift. THREE GUARDS choke on their egg salad sandwiches as the door bangs open and Terminator charges into the security station with the MAC 10 leveled. Sara drags Dyson in like a hostage, causing them to hesitate that fateful moment.

SARA FREEZE!! Don't make me say it twice.

Terminator backhands the nearest guard into a file cabinet. The guy loses some teeth and slumps. John snatches the pistol from his holster and pockets it. Sara releases Dyson and spins the other two around... slamming them face-down over a desk. She kicks their legs apart, cop style. They are disarmed in seconds. John uses heavy-duty tie-wraps, cinched very tight, to bind their wrists. Terminator pushes them down to their knees. Sara notices Dyson's alarmed expression.

SARA What?

Dyson He's not here. (to the nearest guard) Where's the other guy? The fat guy?

guard #1 Elkins? He went home sick.

141 Dyson 141 Shit. Did he leave the key?

guard #1 What key?

SARA The key to the vault, fuckface!! Where is it?

guard#1 I don't know... I swear--

John nods almost imperceptibly to Terminator. The guard is slammed against the wall and lifted by his throat. Terminator's gloved hand tightens. The guy's face bulges, going red. John pulls at Terminator's arm, pretending to try pulling him away. He speaks earnestly to the choking guard.

john Open it, man. I'm not kidding around. I can't reason with this guy when he gets like this. I've seen him do things made the coroner puke.

guard #1 (barely intelligible) Okay... okay...

Terminator releases him. The guy coughs and looks defiantly at the other guards.

guard #1 I ain't dyin' for a goddamn key. (to Sara et al) In there. He locked it in there.

The guard nods toward a safe-like LOCKER on the wall. There is a key-card slot with a green light next to it.

guard #1 Key-card's in my shirt pocket.

John winks at Terminator and shoots him a THUMBS UP. The cyborg winks back, like he's been doing it all his life.

142 int. first floor corridor/ lobby 142

A ROVING GUARD, MOSHIER, strolls down the long corridor from the first-floor office block. A punch clock swings at his hip, and he's just completed his circuit of the building. He passes the bank of elevators and rounds the corner to the front desk, calling out--

moshier Honey, I'm home...

142 He sees the desk is deserted and frowns. Figures Gibbons must be in the can, 142 so check that first before getting alarmed. TRACKING WITH HIM to the restroom around the corner.

moshier Hey, man, you shouldn't leave the --

142A OVER HIS SHOULDER we see past the door as he pushes it open, revealing 142A Gibbons handcuffed to the urinal. Moshier spins on a dime and sprints to the desk where he slaps his hand down on the silent alarm button.

143 int. security station 143

Terminator's hand swishes the card repeatedly through the scanner slot on the locker. Nothing happens. The light on the locker is blinking red.


Guard #2 motions toward a light flashing on the console.

guard #2 Silent alarm's been tripped. It neutralizes the codes throughout the building. Nothing'll open now.

Dyson takes that in, and we see his nerve snap.

Dyson We should abort.

SARA NO!! We're going all the way! You got that, Dyson?

She's right in his face. Somehow, it works for him. He nods, getting some resolve from somewhere.

144 int. lobby 144

Moshier's gotten Gibbons loose. He's on the phone to the cops.

gibbons ... multiple armed suspects. Look, I think it's the guy from that mall shootout, and the woman... yeah, her. Pretty sure. Just send everything you've got in the area--

145 int. security station/ lab 145

John jumps up on a desk next to the wall-mounted locker. Dyson stares in amazement as John starts pulling his counter-electronics gear out of his knapsack. It's just another Insta-Teller to him.

145 John 145 You guys get started on the lab... I can open this.

145A Dyson leads Terminator and Sara to the main lab doors. Another servo lock. 145A He tries his card. Nothing.

Terminator Let me try mine.

He unslings the M-79, pulling it over his shoulder in one motion. Sara grabs Dyson and drags him back down the hall. Terminator opens the breech and slides in one of the fat 40mm H.E. grenades. He flips the thing closed with a snap of the wrist.

SARA (yelling as she runs) John! Fire-in-the-hole!

John drops what he's doing, and covers his ears. Terminator fires at inhumanly close range. 145B The door EXPLODES into kindling. The concussion blows his jacket open, and 145B flying shrapnel whizzes all around him. Before the thunderclap has faded Terminator walks into the fire and smoke. John goes back to work without missing a beat. Sara and a stunned Dyson walk through the burning doorframe into the Artificial Intelligence lab.

A SIREN is sounding. The HALON FIRE-CONTROL SYSTEM has been triggered. The invisible gas roars in, putting out the flames.

Dyson Fire's set off the halon system! Here... hurry!

Dyson runs to a wall cabinet and pulls out some BREATHING MASKS. He hands one to Sara and dons the other. Then he reaches out to hand one to Terminator.

Dyson Here!

Terminator doesn't need a mask, since his oxygen requirements are so low. He ignores Dyson as he removes his massive back-pack and opens it. Dyson shrugs and tosses the mask on a desk. He turns to Sara.

Dyson (yelling through the mask) We'll have to keep these on a couple minutes, till the gas clears.

145B Terminator pulls two five gallon jerry-cans of gasoline from his pack. 145B Sara starts pulling out book-sized, olive-drab CLAYMORE MINES, stacking them next to the gasoline. Dyson stares. Part of him can't believe they're really doing this.

cut to:

146 int. dyson house - night 146

The T-1000 moves slowly through the ravaged office, analyzing what has happened here. He walks down the dark hallway. The place is deserted. The police-walkie clipped on his belt (real, not simulated) blares to life.

dispatcher (V.O.) All units, all units. 211 in progress at 2144 Kramer Street, the Cyberdyne building. Multiple suspects, armed with automatic weapons and explosives. SWAT unit is en route...

147 ext. house/ street 147

The T-1000 sprints up and throws his leg over the big C.H.P. Kawasaki. Fires it up. It smokes an arcing scorch-mark on the pavement as it spins around and roars away.

cut to:

148 int. cyberdyne building/ lab 148

TIGHT ON A LARGE DISK-DRIVE. State-of-the-art. Very expensive. A FIRE AXE smashes down through the housing, shattering the disk.

148A WIDER, revealing a scene of high-tech pillage. Terminator beats the disk drive 148A into junk and steps to another. WHAM. Same routine. He's already demolished half a dozen. Sara topples a file cabinet, scattering the files. Dyson staggers up with an armload of heavy M-O (magnetic-optical) disks and drops them on a growing stack in the middle of the floor. He and Sara have their breathing masks hanging down around their necks, since the halon gas has dissipated.

Dyson (to Sara, panting) Yeah, all that stuff! And all the disks in those offices. Especially my office... everything in my office! (to Terminator) These, too! This is important. (SMASH!) And all this here... that's it.

148B Sara goes into Dysons office and starts hurling everything out the door onto 148B the central junkpile... books, files, everything on the desk. A FRAMED PHOTO of Dyson's wife and kids lands on top of the heap. Tarissa, hugging Danny and Blythe, all grinning. The glass is shattered.

148C Terminator cuts a swath, under Dyson's direction, exploding equipment into 148C fragments with his inhuman swings. SMASH! It's carnage. Millions in hardware, and all the irreplaceable fruits of their years of research... shattered, broken, dumped in a heap for the big bonfire of destiny. Dyson stops a second, panting.

Dyson Give me that thing a second.

Terminator hands him the axe. Dyson hefts it one-handed. He turns to a lab table... on it is another prototype processor.

Dyson I've worked for years on this stuff.

Swinging awkwardly but with great force he smashes the axe down onto the processor prototype, exploding it into fragments. His shoulder is agony, but he looks satisfied.

149 int. second floor security station 149

John taps away at his little lap-top, which is running code-combinations into the card-key lock. Suddenly, the green light on the locker goes on and it unlocks with a clunk.

John Easy money.

He whips it open, revealing a rack of keys. But the VAULT-KEY is distinctive, a long steel rectangle on a neck-chain. John grabs it and runs toward the lab.

150 int. lab 150

Sara and Terminator are working like a crack team, rigging the explosives. She is taping the claymores to the gas-cans with duct-tape to create powerful incendiary bombs. Terminator is attaching claymores and blocks of C-4 plastic explosive to the large MAINFRAME COMPUTER cabinets nearby. All the claymores are wired back to one detonator which has a RADIO-CONTROL RELAY switch.

Dyson How do you set them off?

Terminator shows him a REMOTE DETONATOR, a small transmitter with a red plunger.


150 Terminator 150 Radio remote.

He makes a plunger-pushing motion with his thumb and an accompanying "click" sound. Dyson nods. Just then John comes running in, holding up the key.

John I got it. Piece a cake.

SARA (to Dyson and Terminator) Go! I'll finish here.

They run out as the SOUND OF SIRENS grows louder outside.

151 ext. cyberdyne building 151

The security duo of Moshier and Gibbons cowers behind cars in the parking lot in front of the building. They turn as L.A.P.D. BLACK-AND-WHITES pour into the lot, turning the area into a disco of whirling blue and red lights.

152 int. second floor security station/ stairs 152

John and Dyson sprint through the security station, heading for the vault. Terminator herds the three guards to the stairwell, pushing them through the door. With their wrists bound, they stumble down the stairs. Terminator FIRES A BURST from the MAC 10 over their heads, showering them with plaster dust. Their feet fly as they clatter down the steps.

Terminator Later, dickwads.

153 ext. cyberdyne building 153

The cops are jumping from their cars and ducking behind them. Emphasis on small arms here. They react to the sound of automatic weapon fire inside the building. Behind them an ugly BLACK S.W.A.T. VAN screeches into the lot.

153A We hear the THUMP OF ROTORS as a POLICE CHOPPER arrives and swings 153A in close to the building. It rakes its XENON SPOTLIGHT through the second floor offices.

154 int./ext. second floor office 154

Terminator crosses the office toward the floor-to-ceiling windows. He is outlined starkly by the spotlight as it rakes through the dark offices. Without breaking stride he kicks an executive desk toward the window. 154A Glass explodes outward and the desk topples, falling to the sidewalk below. 154A

154B Terminator, standing at the edge, FIRES A LONG BURST which strafes the 154B police cars lined up below. Cops duck as glass flies. Terminator, with his superb aim, hits no one. But notice is served.

154C The cops (surprise) FIRE BACK. Terminator turns and is walking calmly 154C from the windows as glass, office furniture, drapes etc. are riddled by return fire. A few rounds hit his back, but he doesn't notice. He reloads as he walks.

155 int. vault antechamber 155

TIGHT ON A KEY inserted into one of the vault locks.

WIDER as John and Dyson stand poised, hands on keys.

John And let's see what's behind door number one.

Dyson nods and they turn the keys together. The vault grumbles to itself, withdrawing its locking bolts with a final KLONK! Together Dyson and John swing the door open.

156 ext./ int. lobby 156

The varsity takes the field as the SWAT TROOPERS sprint forward by squads. They flank the lobby and work their way inside, deploying rapidly. They move and freeze, behind cover, quivering with adrenalin. They have all that great SWAT equipment: body armor, gas-masks, M-16s, tear-gas launchers, ropes. The works. They make a lot of hand signals and keep their mouths shut. They're well-trained and deadly.

157 OUTSIDE we see cops firing TEAR GAS grenades through the broken 157 windows into second floor offices.

158 int. vault 158

John and Dyson are isolated from the world in this silent steel womb. Dyson opens the cabinet containing the terminator relics. It's John's turn to stare with uneasy dj-vu as he sees the terminator hand and CPU.

Then in one vicious move he sweeps his arm behind the inert-gas flasks and hurls them to the floor. They SHATTER. John snatches the CPU and the metal hand out of the broken glass.

John Got ol' Skynet by the balls now, Miles. Come on, let's book!

Clutching the steel hand and pocketing the chip like it's a Mars bar he just bought, John runs out. Dyson follows.

159 int. first floor corridor/ stairwell 159

We see the advance squad of SWATs make it to one of the stairwells. They start up, two at a time, covering each other ritualistically by the numbers.

160 int. lab/ hall 160

John pelts into the lab with Dyson stumbling along behind him. Sara has just finished wiring all the charges to the central detonator.

John Ready to rock?

SARA Ready.

John tosses her the metal hand. She catches it and bends to put the hand in her empty back-pack. Sara zips the pack and starts to shuck into it.

Dyson's running out of steam. The bandages at his shoulder are soaked with seeping blood. He stands in the middle of the lab, saying goodbye in his mind, looking weak and empty. Terminator strides into the lab.

Terminator Time to go. Right now.

He and John head back the way they came, through security. Sara sees that in her work, she has set the detonator down twenty feet away, near where Dyson is standing.

SARA Dyson, hand me the detonator. Let's go--

He gingerly picks up the detonator. Starts toward her. Then-- 160A CRASH!! THE DOORS AT THE BACK OF THE LAB ARE KICKED OPEN. 160A SWAT LEADER and two others OPEN FIRE. Their M-16s rake the room. Sara dives behind a computer cabinet. Dyson is HIT. He is slammed to the floor by the impacts.

161 IN THE HALL, John heres the firing and spins to run back. 161

John Mommm!!!

Terminator grabs him as bullets slam into his broad back. He makes it around the corner with John, out of the line of fire.

162 IN THE LAB, bullets rake over Sara's head, smacking all around her, 162 clanging into the machine protecting her. She can see Dyson, slumped on the floor. Debris and flying glass rain on her as the SWATs pour on the fire. The detonator is clutched in his hand. He rolls to face her, his eyes bulging from the pain of his torn-up guts.

Dyson Go.

162A Sara hesitates a split second. Then she snap-rolls and fast-crawls through 162A broken glass and debris into the hall where--

162A TERMINATOR grabs her by the jacket and hauls her roughly to her feet. 162A Bullets rake the walls behind them as they sprint forward. They round the corner. John does a fast take that she's not hit and they run together through the security checkpoint.

163 INT. security station/ CORRIDOR 163

John reaches the door first, and tries it. Locked. Terminator unslings the M-78 Blooper smoothly, opening the breech.

Terminator Get back.

He pulls a grenade from the bandolier over his shoulder, and slides it into the bore. Flicks his wrist. The breech snaps shut. Sara and John have a split second to duck and cover.

Terminator Cover your ears and open your mouth.

163A They do. KABOOM!!! Twenty feet away the door, and half the wall around it, 163A EXPLODES outward. The backblast hits Terminator full force, but he strides through the smoking hole before the debris has even hit the floor.

164 int. corridor 164

Terminator leads John and Sara down the dark corridor. Tear gas seeps under office doors and hangs in the air. They start to cough. She pulls off her breathing mask and hands it to him.

Terminator strides ahead of them. He reloads the blooper as he walks. Up ahead is another security door. He closes the breech with a wrist-snap and fires one-handed. KABOOM!! The door vanishes in a FLASH- THUNDERCLAP. Plaster chunks and burning debris shower around him. He doesn't flinch or slow down. They enter another corridor. Terminator reloads the grenade launcher. b 165 int. lab 165

SWAT LEADER moves cautiously through the lab. Cat-stepping, he circles around a desk which blocks Dyson's body from his view. His M-16 is levelled crisply. We look over his shoulder as he rounds the desk, revealing--

MILES DYSON is not dead. He will be very soon, but at this moment he is conscious. He has propped himself up against the desk, and holds a BOOK in one hand. A heavy, technical manual. Below the book is the detonator, upright on the tile floor. The message is clear. "Shoot me, the book drops on the plunger. Adios." Dyson wheezes, trying to draw enough breath to talk.

165 Dyson 165 I don't know... how much longer... I can... hold this thing...

Swat leader seems to see the wires, the claymores, the gas cans all around him for the first time. His eyes, visible through his gas-mask, go very wide. He spins and motions his squad back.

leader Fall back!! Everybody out! Move it! OUT NOW!

They retreat so fast they crash into the next group coming up the stairs.

166 int. corridor 166

Terminator reaches the main elevators. Hits the button. Sara and John are coughing and stumbling in the choking darkness, buddy- breathing with the single mask. The doors open. They get in the elevator and head down.

167 int. lab 167

Dyson is lying amid the ruins of his dream. Sprawled on the floor, he has his back propped up against the desk. He is bathed in his own blood, which runs out in long fingers across the tiles. His breathing is shallow and raspy. He still holds the book, trembling, above the switch.

In his lap is the picture from his desk. He has pulled it from the debris next to him. A tear trickles from his eye. His wife and children smile up at him through broken glass.

168 DYSON'S POV-- He see's only the picture. WE PUSH IN SLOWLY. The 168 sounds from outside are fading... megaphones, the helicopter, distant sirens, all become fainter... replaced by a ROARING SOUND which swells as the image of the picture grows dark. Darker and darker, the blackness rushing at us now with the sound of thunder. It gets louder, and LOUDER. Like a black train pounding at us, only it is a roiling cloud of red and black... blood-red fire boiling up through a cloud-mass black as iron. It is the cloud-column of a hydrogen bomb, FILLING FRAME, shaking our sen ses with its power.

And then-- It begins to recede. The thunder rolls away, dying into a wind which is like the last winds of a great storm, ebbing into a soothing breeze as the iron clouds swirl away, giving way to an image of gauzy light. As if behind a soft veil we see--

168A Danny and Blythe running toward us, laughing, in slow motion. Tarissa is 168A behind them, smiling. They are in bright sunlight, an image of motion and life, a slice of memory so vivid and precious a man needs only this to face eternity. We see their hair blown by the wind, the wind which blows through history now, changing it...

We tilt up into a pure blue sky until the sun comes into frame, spearing straight into the lens with pure light and we...

TERMINATOR 2 - Rev. 9/10/90 106

169 CUT TO THE PUPIL OF HIS EYE, the sun becoming a glint of light in that 169 pupil, as we do a SNAP-PULLBACK to see Miles Dyson at the moment of death. His face is almost blank, his gaze fixed, seeing what we cannot see, seeing a future which is changed... there is the faintest hint of a smile, the instant the light fades from his eyes and he is gone-- His arm drops and the book hits the switch--

170 ext. building 170

As the face of the building EXPLODES in an eruption of glass and fire. Remains of the second-floor windows shower the parking lot and a huge fireball rolls out, leaping into the sky. The cops look up, stunned. The helicopter banks away from the heat. Burning debris falls among the cop cars and a number of officers break ranks, pulling back.

171 ONLY ONE OF THEM seems to be moving with purpose. A BIKE COP who 171 has just arrived drives through the disorganized crowd, directly toward the building.

171A T-1000 guns the bike up a ramp to a pedestrian bridge which crosses from a 171A parking structure to the Cyberdyne building. It enters on the second floor, which is now a burning maze.

172 int. second floor/ office/ corridor 172

T-1000 drives into the smoky wreckage. It draws a Hoechler and Koch MPK machine pistol and cruises slowly into the firelit offices, scanning. *

172A IN THE CORRIDOR the bike skirts flaming wreckage as it idles forward. 172A T-1000 scans the leaping shadows for its prey.

173 int. ground floor/ elevator/ lobby 173

The elevator doors part and Terminator eases a look out into the corridor. The walls on either side of him ERUPT WITH BULLET HITS. The SWATs have the lobby end of the corridor blocked off. They're totally trapped, cut off and screwed.

John (to Sara) Don't forget. It's always darkest right before... you're totally fucked.

173A The SWATs fire a tear-gas grenade toward the elevators. It spews the vicious 173A CS gas out in a swirling cloud which envelopes Sara and John, who are pressed against the back-wall of the elevator.

Terminator Keep your eyes closed. Don't move. (they nod, eyes squeezed shut) I'll be back.

173A He slings the grenade launcher over his shoulder and walks out into the 173A corridor.

173B BLAM. A tear-gas grenade ricochets from wall to wall as it flies down the 173B corridor. It skids to rest in front of Terminator, throwing out a white cloud which quickly fills the corridor. 173C In the elevator, Sara and John are choking, handing the breathing mask 173C back and forth desperately. They're scared. This looks like it.

173D ANGLE ON THE SWAT TEAM, gripping their weapons at the mouth of the 173D corridor. They watch the boiling cloud, waiting.

173E THEIR POV-- on the wall of boiling smoke. A FIGURE APPEARS. Walking 173E calmly. Totally unaffected. Terminator emerges from the smoke. Not even misty-eyed. Not what they expected.

leader (through megaphone) Stop where you are. Lie down on the floor, face down. Down on the floor, now!

He continues to stride toward them. The SWATs tense up. They've never seen anything like this. They're not sure what to do. Closer and closer.

leader Drop him.

They OPEN FIRE. The corridor is filled with CRACKING THUNDER. The rounds tear into Terminator's chest. Stomach. Face. Thighs. His leather jacket leaps and jerks as the rounds hit him. The SWAT's think the guy's wearing body armor or something. They keep firing. The rounds tear into him, staggering him slightly, but he keeps coming.

leader You're not hitting him!

SWAT #1 (getting scared) Yes I am!

Terminator draws his .45 smoothly. Unhurried. He shoots the nearest man in the left thigh. As he screams and drops, Terminator shoots him in the right thigh. Terminator bends down and picks up the shrieking man's weapon... the TEAR-GAS LAUNCHER.

It is one of those new rotary jobs that holds 12 rounds in a big drum. Terminator shoots the next SWAT square in the chest with the tear-gas launcher. The gas canister hits the guy's body armor and doesn't penetrate. But it's like getting slugged in the stomach with a full-swing from a baseball bat. The SWAT folds double and hits the tiles, gasping.

173E Terminator is an image from Hell, a tall figure in shredded black leather, 173E streaked with blood. One eye is a bloody socket, the metal eye-servos glinting. The flesh of one cheek hangs down in tatters, revealing the chrome cheekbone beneath. The whole front of his jacket is blown open, revealing his metal chest armor.

The remaining SWATs start to fall back. One turns to run and-- KPOW! A gas canister nails him in the back, sending him sprawling.

173F Terminator fires three gas grenades into the lobby. It fills rapidly with the 173F white gas, cutting the visibility to a few feet. It is total pandemonium. SWAT LEADER crouches in the fog, white-knuckling his rifle. Terminator looms suddenly out of the mist right in front of him. POOM! Terminator drills him in the leg with the .45. As the guy screams and drops rifle to clutch his leg, Terminator rips his gas mask off. The SWAT leader drops writhing to the floor, choking and gagging, clutching his bleeding thigh.

Terminator walks up to two SWATs at the front doors. POW-POW. Leg and leg. He snatches off their masks as they fall. The gunfire has stopped. Nobody can see anything. Screams and whimpers echo in the smoke.

174 ext. building 174

Smoke boils out the front door as a figure emerges. Firing the tear-gas launcher with one hand, Terminator launches all remaining rounds among the cop vehicles. Unprotected officers run, choking and half-blind, slamming into cars and tripping over each other. It is a total route.

175 AT THE SWAT VAN one of the SWATs is rapidly handing out the remaining 175 masks to unprotected cops. A FIGURE appears out of the smoke beside him. He looks up. His mask is ripped off and he is handed the empty launcher. Instinctively he catches it. Terminator grabs his flak vest with one hand and sails him out into the mist.

175A int. swat van 175A

Terminator strides the length of the van and climbs into the driver's seat. No keys in the ignition. He flips down the sun visor. The keys fall into his hand. He starts the van and slams it into gear.

176 int. / ext. lobby 176

The tear gas has cleared to a thin haze. The uninjured SWATs are tending their wounded. They look up at the sound of shouts and a roaring engine.

176A THE SWAT VAN CRASHES INTO THE LOBBY in an explosion of glass and 176A debris. Cops scatter as the van screeches across the lobby in a smoking one-eighty, sliding to a stop across the corridor which leads to the bank of elevators. Terminator backs up until-- crunch-- he seals the corridor with the back of the van.

176B Sara and John stumble along the corridor, coughing. 176B They leap into the back of the van and Terminator hits the throttle. The van roars across the lobby and exits through blown-out windows.

cut to:

177 int. / ext. second floor 177

T-1000, astride the Kawasaki, looks down from a second-floor office and sees the van tearing away across the parking lot with the remaining cops firing at it. It knows. It looks around. Analyzing options. It sees the helicopter hovering outside the building at the end of this corner office block... It twists full throttle on the powerful bike. Roars through the office, accelerating fast, straight at the windows--

178 T-1000 BLASTS OUT THROUGH THE GLASS, airborne on the motorcycle. It 178 rockets across the gap to the hovering chopper and-- 178A SLAMS into the canopy. The impact of bike and rider pitches the chopper 178A radically. The startled PILOT fights to regain control as the bike tumbles to the pavement below. 178B The T-1000 doesn't. It clings to the shattered canopy. Nightmarishly, the pilot 178B watches as the T-1000 smashes its head through the plexiglas canopy and rapidly POURS ITSELF through the jagged hole. It reforms instantly into its previous self on the passenger seat.

178C It hurls the pilot out of the chopper and slides into the driver's seat. 178C The chopper is auto-rotating, spinning out of control. It drops toward the parking lot. T-1000 recovers control ten feet above the ground.

178D Cops hit the deck as the tail-boom swings around, going over them by inches. 178D The chopper lifts out in a power climb, roaring away across the parking lot toward the fleeing SWAT van.


179 int. / ext. swat van/ highway - night 179

Terminator looks back at his two passengers as he turns the boxy van onto a divided highway. Sara and John are catching their breath, still coughing from the CS gas. Terminator looks to the rearview mirror. He sees the xenon searchlight of the chopper behind them, gaining.

Sara looks around the inside of the SWAT van. It is a rolling armory. There are rifles, ballistic vests, all manner of equipment.

SARA John, get under these. Hurry!

He sits against the front bulkhead of the van and she piles bullet-proof vests on top of him, completely covering him. Then she grabs two M-16s from the wall-rack and loads them. She starts on a shotgun as--

TERMINATOR 2 - Rev. 9/10/90 110

180 The SWAT van weaves through sparse traffic at high speed. 180 Terminator slews the unstable van around cars and trucks which seem to be crawling. The van hits its top speed of 80. They swerve to miss the back end of A WHITE 18-WHEEL TANKER . 180A The chopper swings in behind them, closing fast. 180A 180B T-1000 reaches through the shattered canopy with the MPK machine pistol 180B and FIRES. The back of the van CLANGS WITH HITS. The door windows are BLOWN IN.

Terminator weaves the van, trying to throw off the T-1000's aim. The unstable vehicle screeches and wobbles on the edge of control. One of the doors is kicked open. Sara, wearing a ballistic vest, crouches in the doorway, whipping up the M-16. SHE OPENS FIRE.

180C Bullets riddle what's left of the chopper's canopy as the T-1000 returns fire. 180C The van is stitched with hits.

180D INSIDE THE VAN holes are punched through the thin sheet-metal walls, 180D ripping up the interior. The vests covering John are hit repeatedly. We see that Sara has hung two Kevlar vests on the inside of the back door and she ducks behind these as bullets hit around her. She pops back out and fires in controlled bursts. The M-16 empties and she grabs another.

180E Terminator serves around a car which is changing lanes, hitting it and 180E* knocking it skidding. *

181 OMITTED 181*

181A Sara reloads and keeps firing. The van swerves around a Toyota. A moment 181A later the helicopter passes it, the rotor just clearing the top of the car.

181B T-1000 FIRES the machine pistol. 181B 181C Sara has popped out to fire. She takes a HIT in the thigh, and several rounds 181C hammer into her Kevlar vest. She is thrown back onto the floor of the van. She lies there, an exposed target--

181D Terminator sees the T-1000 preparing to fire again. 181D He locks up the van's brakes. Tires scream as the vehicle shimmies. Sara is thrown forward, sliding up to the bulkhead next to John. 182 And the helicopter SLAMS RIGHT INTO THE BACK OF THE VAN. 182 The rotor disintegrates. The back doors of the van are crushed in as the canopy, the whole front of the fuselage is HAMMERED INTO JUNK, trapping the T-1000 inside twisted metal. The chopper hits the pavement, flips sideways, and cartwheels... smashing itself into a shapeless mass of twisted metal. It falls away behind the van, tumbling end over end.

TERMINATOR 2 - Rev. 9/10/90 111

182A Terminator fights to control the van, which is fishtailing violently from the 182A impact. It smashes up against the center divider, screeching along the * concrete, and then pulls away. Terminator puts the hammer down and the van accelerates. He swerves to avoid an UGLY PICKUP crawling like a snail ahead.

THE RIGHT FRONT FENDER of the van, crumpled by slamming the wall, is sawing into the tire. The tire blows and peels clean off the rim. The steel wheel grinds across the pavement, striking trails of sparks, and the van * slides sideways and topples-- * STEEL SCREAMS on pavement as the van grinds to a stop on its side. *

182B INSIDE THE VAN, John crawls to Sara, who is groaning and holding her 182B bleeding leg. She is white and shocky. Terminator starts to extricate himself from the crumpled driver's seat.

183 BACK DOWN THE ROAD, THE HELICOPTER wreckage is a crumpled ball 183* of junk metal, unrecognizable. Behind it, the TANKER TRUCK brakes hard, shuddering and groaning, trying to stop. The big tires lock up in clouds of tire-smoke. The rig comes to a shuddering stop just short of the wrecked chopper.

183A The shaken DRIVER jumps down. 183A From behind the wreckage a cop emerges, walking toward him.

driver Goddamn, are you alri---

183B SSSSHHCK! T-1000 drives a blade through the man's abdomen and walks on 183B past without slowing, or even looking at him.

183C It climbs into the open cab of the tanker. Releases the brake. 183C As the truck bellows and rolls forward we see the large blue letters on the side which say "CRYOCO INC. LIQUID NITROGEN SUPPLY".

184 AT THE SWAT VAN John and Terminator are carrying Sara out of the 184 wreck. Terminator has the M-79 slung over his shoulder, the bandolier of grenades, and his .45 stuck in his waistband. John has borrowed a 12 GAUGE RIOT GUN from the SWATs.

184A The pickup they passed seconds earlier pulls up to them. The DRIVER, a 184A Hispanic guy in his 50's, is getting out to help them. Terminator and John 185 hear a CRASH and look back as the helicopter wreckage is knocked aside by 185* the accelerating tanker truck.

186 John 186 Holy shit. Come on, Mom... we gotta keep moving... come on--

TERMINATOR 2 - Rev. 9/10/90 112

186 Terminator 186 (to the pickup owner) We need your truck.

The guy seems to know better than to try and stop him as Terminator slides Sara into the front seat and climbs behind the wheel. John runs to the passenger side.

187 THE TANKER ROARS, spewing smoke from its chrome stacks as it shifts up 187 through the gears.

188 Terminator slams the pickup in gear, checking the rear-view. The tanker is a 188 hundred feet behind them now, and really moving. Terminator puts the throttle down, but the pickup is an old slug loaded down by a heavy home-made wooden camper-shell. It accelerates slowly.

189 THE TANKER slams into one end of the Swat van, spinning it out of the way 189 with a roar and screech of twisting metal. The 18-wheeler shifts to a higher gear, still accelerating.

190 int. / ext. pickup truck 190*

With the tanker right behind them, Terminator cuts the wheel, swerving the pickup back and forth across the lanes. The big rig stays right on them, its tanker whiplashing violently.

John Faster! He's right on us!

Terminator doesn't reply. He rapidly unslings the blooper, still around his neck, and reaches for a grenade.

191 LOW ANGLE ON THE TRACTOR TRAILER as it roars right up to the lens, 191 filling frame with chrome and lights.

191A K-WHAM!! It rams the back of the pickup, sending it skidding. 191A*

191B Then the T-1000 pulls the tractor trailer up alongside the pickup and crabs 191B* over, sandwiching it against the center divider. The spinning chrome hubs tear into the passenger side door and the guard rail screeches along the other side.

The pickup bucks and shakes insanely. It ricochets violently between the big-rig and the divider. Horrible SCREECH of tortured steel. Sparks pour in sheets of fire from both sides. The windshield shatters as the door-posts buckle in. Metal and glass shower in through the side windows. The frame twists and buckles. John feels like the fillings are being shaken right out of his teeth. The wooden camper disintegrates, falling away as kindling behind them.

191C int. tanker cab 191C

T-1000 holds the wheel hard over, mercilessly grinding the pickup. The whole rig jerks and shakes with the violence of the sustained hammering.

191D int. / ext. pickup 191D

Terminator slides toward the passenger side. Keeping his foot on the gas he lifts John over him and puts him in the driver's seat.

Terminator Drive for a minute.

John Where you going?!

Terminator slams the shattered windshield with the palm of his hand. Held together by the plastic laminate, the windshield flops out of its frame. It flies back over the top of the truck.

191E Terminator pushes his upper body out over the dashboard and stands up. He 191E turns and aims the M-79 one-handed. 191F POOM! The grenade misses the T-1000 by less than a foot. It EXPLODES 191F against the front bulkhead of the tanker, almost at the top. Liquid nitrogen pours from the opening, swept back by the 60 mph windstream.

191G The big-rig swerves as T-1000 regains control. The tanker swings like a 191G pendulum behind the cab.

191H The pickup accelerates, getting back out in front by a few yards. 191H Behind it the big-rig is trailing a swirling comet-tail of nitrogen vapor. It is gaining again.

Terminator, still standing, opens the breech and starts to reload. 191I John cuts across the highway and takes an OFF RAMP. 191I

191J T-1000 swerves the smoking behemoth across the lanes and down the ramp 191J after them, still accelerating. It is twenty feet behind them and closing when Terminator closes the breech and FIRES.

191K The grenade hits the front grill and EXPLODES. 191K The radiator is destroyed, along with half the hood. Steam blasts out, obscuring the whole front of the truck.

191L The semi rams the back of the pickup again. Spewing smoke and vapor like 191L some demon locomotive, the tractor-trailer pounds into the back of the pickup. Driving it right through the intersection at the bottom of the ramp, and straight toward---

ext. steel mill

The chase has led them to an area of heavy industry.

192 The GATES are blasted off their hinges as the semi rams the pickup right 192 through them. Terminator struggles to reload amid the chaos and impacts. He has THREE GRENADES LEFT on the bandolier.

John isn't even steering. They are just being pushed. There's nothing he can do. They are rocketing down the broad thoroughfare which leads directly to the MAIN BUILDING of the plant.

192A Terminator pulls himself onto the roof of the pickup. 192A He leaps to the bed, takes two powerful strides and-- Leaps onto the semi. He climbs rapidly onto hood. 192B And FIRES POINT BLANK THROUGH THE WINDSHIELD. 192B Right into T-1000's face. The EXPLOSION blows out all the glass and fills the cab with smoke and fire. Terminator grabs onto the air-horn as the truck starts to SHUDDER AND 192C SCREAM. IT IS JACK-KNIFING. 192C Almost dream-slow the cab begins to swing sideways, until its tires are shrieking over the pavement. The tractor is smashed back at right-angles to the tanker-trailer which begins to slide broadside.

192D The juggernaut bucks and shudders as the tires are smoke sideways across 192D the pavement. It begins to topple. Terminator holds on as the side of the cab becomes the top. With an unholy scream, like the unoiled hubs of Hell, the whole rig slides on its side at 60 mph toward the steel mill. A sheet of sparks sixty feet wide trails behind it on the pavement.

192E John sees what's behind him, then snaps around to see the building looming 192E right in front. The huge rolling doors are partly open. No choice. He steers right through them into the mill, as--

192F Terminator, with one second to go, leaps from the cab-- 192F He flies through the open doors as-- The tanker hits the building and--

193 int. steel mill / main aisle 193

Terminator slams to the floor of the mill and rolls, as-- The tanker-trailer smashes into a massive concrete support at one side of the doors. Thunderous carnage of twisting metal. 193A It splits wide open. A river of liquid nitrogen pours out at -230. 193A

193B John hits the brakes, sliding out of control. He slows almost to a stop but hits a 193B steel support column head-on. He and Sara are slammed forward, hard.

193C Terminator, still clutching the M-79 blooper, rolls and slides across the floor. 193C He smashes through a railing and slams up against the base of a massive machine.

193D The semi cab swings about the trailer wreckage, into the building, and 193D shudders to a stop. Liquid nitrogen sprays over the cab, flooding out around it in a HISSING WAVEFRONT OF ULTRACOLD. Freezing vapor swirls everywhere, obscuring the wreck.

193E TERMINATOR lies still. A beat. Then he rolls weakly, rising on one elbow to 193E survey the scene.

193F IN THE WRECKED PICKUP, John stirs. He is stunned, and blood runs from 193F his nose. Dazed, he realizes he is in a steel mill. There are sirens, and he can see men running... shouting. He turns and sees what they are running from...

193G The wall of nitrogen vapor spreads from the demolished tanker. It is a strange 193G vista of fire and ice. The huge SMELTERS pour out orange light and fire from the sides of the huge gallery, while the freezing vapor rolls down the center.

193H TIGHT ON THE WRECK. A billowing gray cloud. Deep inside, the shape of 193H the cab is visible. A FIGURE emerges, pulling itself out. It drops to the floor. The hissing, boiling river of liquid nitrogen flows around its feet.

194 The T-1000 staggers, moving slowly, painfully. It has finally been affected by 194 something. Its feet are freezing to the ground as it walks...

194A CLINK! One of its feet breaks off at a glassy ankle. It stumbles forward, and-- 194A 194B Its other foot snaps off. As it catches its balance on the stump of its other 194B ankle, the whole lower leg shatters at the impact. It topples forward to its 194C knees. Catches itself on one hand. Liquid nitrogen flows around the hand. 194C

Now the hand is stuck to the pavement. 194D The T-1000 pulls and... CLINK! The hand snaps off at the wrist. 194D It looks stupidly at the glassy stump of a wrist. For the first time we see an expression on its face we know to be a true one... The expression is pain. Agony. Its mouth opens in a soundless scream as the hoar-frost races up its legs, across its body. 194E And that's the position it freezes in. 194E It has become a statue, kneeling in the frozen vapor, that surprised look of agony frozen on its face.

The liquid nitrogen stops flowing and begins to evaporate. 194F Terminator, just beyond the boundary of the cold, can see the T-1000 clearly. 194F He draws his .45 and aims.

Terminator Hasta la vista, baby.

194G K-POW! The single shot blows the T-1000 into a million diamonds spraying up 194G into the air. They shimmer across the ground for twenty feet in all directions. Terminator lowers the gun, satisfied. He looks like he needs a vacation.

195 JOHN AND SARA have seen it from the pickup. She is in bad shape. 195 Conscious but very weak. He tries the door. It's jammed. He kicks it open.

John Okay, Mom, we gotta get out now, come on. That's it.

195 He helps her slide down from the seat of the truck. Her knees give way. John 195 has to take a lot of her weight. He reaches in and picks up the riot gun off the seat. They hobble toward the--

195A TERMINATOR. On his knees, he looks into the dissipating cloud of vapor. 195A The heat of the furnaces has evaporated all the liquid nitrogen.

196 INSERT, TIGHT ON THE FLOOR-- the T-1000 shards are melting, liquefying. 196 Hundreds of drops of mercury, spattered across the floor. Orange light of the enormous blast-furnaces dances on liquid metal.

197 TERMINATOR struggles to rise. One arm is shattered, the hand smashed 197 and nearly useless. And some leg-servos are damaged. He can barely stand. John and Sara arrive.

Terminator We don't have much time.

John What?

Terminator points. John and Sara watch as--

198 INSERT, T-1000 DROPLETS are creeping together. Fusing into larger blobs. 198 These pools shiver and run together, soon forming a central mass.

199 ON JOHN AND SARA, realizing it's not over. 199

John Come on! Let's go!

Terminator gets one of Sara's arms over his shoulder and they go. BEHIND THEM, something is moving. 200 A HEAD is forming up out of a pool of mercury. It rises, as shoulders form, 200 hunching up from the liquid mass. Half formed, it turns to look straight at them.

John looks back in new terror as--

The T-1000 rises to man-height. It is still the mercury form, but its features are forming rapidly. It takes its first step after them. Sara stumbles and they pull her up. 201 Terminator himself has a pronounced limp, dragging one leg with a shattered 201 ankle joint. John's the one pulling, straining, driving them forward. They round a corner into--

202 int. aisle between furnaces 202

It is a maze of monstrous machinery. The heat is tremendous. The air shivers with a pounding roar. Sara cries out in pain and stumbles again.

John Come on, mom, you can do it! Come on!!

202 They drag her up, and stagger on. Her leg is bathed in blood and she is 202 deathly pale. He looks back.

203 int. main gallery 203

The T-1000 steps INTO FRAME. Fully formed. The hell-fire light glints on its impassive cop face. It walks forward. At first it seems unaffected by its crystallization but--

203A ANGLE ON ITS hand as it touches a railing in passing. The railing is covered 203A with O.S.H.A. yellow-and-black safety tape. The hand turns yellow and black, the color fading to normal by about the elbow. It rips the hand from the railing with difficulty. There is a sound like adhesive tape ripping off a surface.

203B The T-1000 looks at its yellow and black striped hand. It wills the hand back to 203B normal. We see ripples of "static" or system noise moving subtly over the surface of its body. It's starting to "glitch".

203C TRACKING WITH THE T-1000'S FEET. With each step, the pattern of the tile 203C floor "invades" its lower legs. Fades as the foot is lifted. Returns as it is set down. The foot is trying to meld with the floor. The chameleonic function is out of control. The T-1000 is losing it. It moves forward searching. It rounds the corner, entering the aisle between the furnaces.

204 int. aisle 204

Terminator sees the SILHOUETTE closing on them through the smoky gloom. The T-1000 breaks into a loping run when it sees them. Terminator turns Sara over to John.

Terminator Keep going.

John shakes his head, no. The T-1000 is almost on them.

Terminator RUN!

John runs, dragging, half-carrying Sara as best he can. She can barely stay conscious. Half-running, delirious, she stumbles and drops to her knees. John pulls but she can't rise.

John (crying, shouting) Come on, you gotta try... please, mom. Get up!

John looks back to see--

204A TERMINATOR trying to load the M-79. With his shattered hand, he can 204A barely maneuver his last grenade into the breech. T-1000 smacks the weapon out of his hands. It clatters to the floor.

TERMINATOR 2 - Rev. 9/10/90 118

204A The grenade spins across the floor, rolling under some machinery. 204A Terminator lunges, slamming the T-1000 against a wall with all his weight. The battle is joined.

204B JOHN AND SARA have reached the back of the aisle. It is a cul-de-sac, 204B blocked on the end by the base of an IMMENSE SMELTER CRUCIBLE. They turn to watch the titans battle in silhouette, backlit by the molten sparks falling from the furnaces above. The battle which will decide their fate.

204C Terminator grabs the T-1000 and hurls it with awesome force against the 204C opposite wall of the narrow alley. In less time than it would take to turn, the 204D T-1000 morphs through itself, from front to back... face emerging from the 204D back of its head. 204E It comes off the wall straight at Terminator, who smashes his good fist into its 204E face. The pile-driver blow buries Terminator's fist almost to the elbow.

204F But the T-1000's head morphs in a split-second into a hand which grips 204F Terminator's wrist, and the head "emerges" somewhere else, the geometry shifting faster than we can follow. 204G The T-1000 slams Terminator into a large machine, jamming his arm into 204G the moving works. A massive sliding bar SCISSORS HIS ARM, smashing it into junk at the elbow, pinning him in the machine.

Terminator strains against the machine pinning him. We hear his servos whining with overload. The T-1000 turns and lopes toward Sara and John.

Sara screams and hurls John into a gap between the machines. He falls into a maze of pipes and girders.

205 int. maze of machines 205

JOHN turns to see her in the entrance of the narrow gap. She could follow him but she doesn't. SUDDENLY a dark mass moves toward him. John gasps as a huge steel counterweight, driven by a chain 6 inches thick, slides toward him. He rolls out of its way. When he looks back, he cannot see the opening.

John Mom! MOMMM!!

206 int. aisle between furnaces 206

TERMINATOR strains to reach a 6-foot steel bar lying near him. Steel workers use them to move the red-hot ingots around. He gets hold of the end and uses it as a lever. With titanic effort he spreads the massive components which are holding him, and withdraws his arm, which is severed at the elbow. Dangling junk hangs from the crushed joint.

207 SARA has lost sight of John. It is as much of a goodbye as they will have. 207 She turns as the T-1000 closes on her. She is half-slumped against the sooty machines, looking barely conscious. She struggles to load a shell into the * empty weapon. At the last instant she whips up the RIOT GUN and FIRES. *

TERMINATOR 2 - Rev. 9/10/90 119

207A OMITTED 207A* 207B OMITTED 207B*

A207 T-1000's face is blown open, but quickly reforms as it closes on her. She A207* fumbles to get another shell into the magazine but-- * A208 THUNK! A steel needle slams through her shoulder, pinning her. A208* The polymorphic killer cocks back its other hand. The index finger extends as a gleaming needle, toward her eye...

T-1000 Call to John. Now.

207C WHAM!! SOMETHING whistles down on the T-1000 with such force that it 207C* cleaves its head and body in two down to the navel. The 6-foot steel bar is imbedded in its body. Terminator hurls the killer off Sara.

207D The T-1000 pulls the steel shaft out of itself and attacks him with fury. 207D* Swinging again and again. Hammering Terminator back. Terminator falls * back against the wall.

Behind the T-1000 is an enormous I-beam, hanging from two chains. It is used to lift ingots into the smelters, and it runs on a linear track. 207E The T-1000 grabs the I-beam and rolls it down the track. Straight at 207E Terminator. The two-ton girder smashes into his chest, crushing the armor. The T-1000 pulls the I-beam back, and then heaves it forward again. Terminator turns and takes the second blow on the shoulder. We hear metal crush and break inside him. He sags, turning to grip the wall... The third blow slams into his back, smashing his spine and pelvis. We hear servos ratcheting and failing. He drops to his knees, crucified on a wall of machinery. The fourth blow is centered between his shoulder blades. Sound of crushing metal. His skull is partially caved in. He slides to the floor.

207F ON THE T-1000, emotionless as it walks forward. 207F

207G TERMINATOR is a pathetic shape on the floor. He is trying to crawl, feebly. 207G Dragging his malfunctioning legs behind the crushed spine. His arm stump screeches on the tile floor as he inches himself forward. His exposed machine eye burns red with determination.

We see his prize. He has the M-79, with the breech still open, cradled in the crook of his ruined arm. His good hand, the exposed steel one, is reaching for the last grenade, which is visible under the skirt of the massive smelter base. His metal fingers reach out for it as--

207H The T-1000 raises the heavy steel bar over his head and stabs it down with 207H unbelievable force. It punches into Terminator's back, through a gap in the shattered armor. The T-1000 levers it back and forth, widening the hole. Then it raises the pointed bar again and slams it down. It punches right through. Emerging from Terminator's chest. And into the floor. He is pinioned. The cyborg sags face down and stops moving. The light goes out of his eye.

cut to:

208 int. maze of machinery 208

John scuttles like a rat through the guts of the smelter. Above him, vast machines churn untended. He hears a voice... SARA'S. Calling low and urgent to him.

SARA John? John? Can you hear me? Where are you?

208A He crawls out of the shadows. 208A Onto a landing next to one of the SMELTER CRUCIBLES. Molten steel glows bright orange in the crucible of the furnace. Heat shimmers the air, giving everything a hallucinatory quality.

John sees Sara nearby, limping toward him. She can barely move, her leg bathed in blood. He runs toward her. SARA (gasping) Help me, honey...

TIGHT ON SARA, her stoic face, as she hobbles forward, reaching out to him. Something rises behind her, OUT OF FOCUS.

209 ANOTHER, IDENTICAL, SARA... but this one has a shotgun. 209 Aimed right at us.

209A JOHN freezes. Which is which? He looks down. The first Sara's feet are 209A melding with the floor, sucking and fusing with the tiles as she walks. They have the color and pattern of the tiles up to the knee.

John (screaming) SHOOT!!!!

209B John dives aside. The Sara-form spins, changing into you-know-who. Sara 209B starts unloading the shotgun into it. BOOM! It staggers back. K-CHAK. She chambers another round. BOOM! It staggers again. K-CHAK. BOOM! And again. And again.

209C The T-1000 is blown back a step and Sara advances a step with each shot. The 209C craters in the T-1000's body "heal" slowly. Its power is waning. She FIRES again. And again. Her eyes blazing with feral intensity. She walks it back, right to the edge of the pit of MOLTEN STEEL.

K-CHAK... CLICK. She's empty. The T-1000 is right at the edge. In a second it will recover its composure, as its crater hits close slowly. She has failed. Now it will kill them both. Except...

209D TIGHT INSERT as steel fingers slide a grenade into the bore of the M-79. 209D

TERMINATOR 2 - Rev. 9/10/90 121

210 CLOSEUP TERMINATOR, lying on the floor among the machines. It raises 210 its head. Half human flesh, half chrome skull. Its red eye gazes right at us as-- It snaps the breech closed with a flick of its wrist and-- The muzzle is right in the lens as it-- FIRES.

210A The T-1000 takes the round in the belly. The grenade EXPLODES inside its 210A body. A huge hole is blown clean through it, and it is ripped open and peeled back, half inside out. It topples into the molten steel and--

211 The T-1000's head and upper body reappear above the molten steel. 211 It is screaming. A terrifying, inhuman siren of a scream. It is changing, morphing, transforming into anything and everything it's ever been so rapidly the eye can barely follow... We catch a glimpse of Janelle Voight checkered with linoleum tile colors, Lewis the Guard with knives exploding from his face, other faces, switching * at a stroboscopic rate now... a face every two frames until they merge into one face--

The chrome figure screams and slips beneath the surface of the molten steel. We see liquid silver running in dissipating whorls over the superheated surface... until it vanishes, swirling into nothing.

212 JOHN runs to Sara. She stands staring into the pit. The empty shotgun slips 212 from her fingers. Clatters to the floor. He sees that she's okay and he runs to the fallen Terminator.

212A The crippled cyborg is trying to rise. Its servos whine and stutter. It 212A pathetically lifts itself to a kneeling position, collapses... tries again. John lifts for all he's worth. Sara joins them, helping. They help the crippled machine get on its feet. It can barely stand. It walks to the edge of the pit. Terminator looks down and sees that it is over. John unzips Sara's back-pack and takes out the hand of the first terminator.

John (to Terminator) Will it melt in there?

Terminator Yes. Throw it in.

He does. It sinks in the lava. Vanishes.

Terminator And the chip.

John takes it out of his pocket. Looks at it. Tosses it into the smelter.

SARA It's finally over.

Terminator No. There is another chip.

TERMINATOR 2 - Rev. 9/10/90 122

212A He touches a metal finger to the side of his head. John suddenly 212A understands what he means. Terminator looks at Sara. They both know what must be done. John shakes his head. Tears are streaming down his face.

John No!

TIGHT CLOSE-UP TERMINATOR, turning toward John.

Terminator I have to go away, John. It must end here... or I am the future.

The human side of his face is in shadow, so we see mostly the chrome skull and the red eye.

John Don't do it. Please... don't go--

Terminator puts his hand on John's shoulder. He moves slightly and the human side of his face comes into the light. He reaches toward John's face. His metal finger touches the tear trickling down his cheek.

Terminator I know now why you cry, though it is * something I can never do. (to both of them) Goodbye.

SARA Are you afraid?

Terminator Yes.

He turns and steps off the edge. 213 They watch him sink into the lava. 213 He disappears... the metal hand sinking last... at the last second it forms into a fist with the thumb extended... a final thumbs up. Then it is gone.

214 HOLD ON JOHN AND SARA, watching through the heat ripples as we-- 214

dissolve to:

215 THE SUN, PURE IN A CLOUDLESS SKY. 215* Tilting down reveals that we are in a park, very green. People are casually dressed, having fun. Cycling, reading... children are playing in a playground.

TERMINATOR 2 - Rev. 9/10/90 123

215 Beyond the line of trees we see the skyline of Washington, D.C., with the 215* Capital Building and the Washington monument. The skyline is subtly changed, with a lot of new buildings, advanced high-rises. A CARD APPEARS.

July 11, 2029

WE BOOM DOWN AND TRACK LATERALLY through a playground in the foreground. Children swinging on swings. Sliding down slides. Timeless things that 4 decades of technical advancement will not change. As we track we hear:

SARA (v.o.) August 29th 1997 came and went. Nothing much happened. Michael Jackson turned forty. There was no Judgment Day. People went to work as they always do, laughed, complained, watched TV, made love.

We pass a jungle gym, neither melted nor burned, but full of kids swinging and yelling raucously. Past it we drop down to see a boy pumping the pedals of a tricycle.

SARA (V.O.) I wanted to run down the street yelling... to grab them all and say "Every day from this day on is a gift. Use it well!" Instead I got drunk.

STILL TRACKING we come to rest on an elderly woman seated on a bench. It is SARA, now 64 years old. The world has aged her, but she seems at peace in this moment. She speaks into a microcassette recorder.

SARA (V.O.) That was thirty years ago. But the dark future which never came still exists for me, and it always will, like the traces of a dream lingering in the morning light. And the war against the machines goes on. Or, to be more precise, the war against those who build the wrong machines.

There is a man in his forties playing with two small children nearby. He turns. It is John Conner. Though he has the same stern features in adulthood, there is no eye-patch, no scarring. He is far from the haggard man of grim destiny we saw in the world that might have been. But there is still penetrating intelligence, even wisdom, in his eyes.

SARA (V.O.) John fights the war differently than it was foretold. Here, on the battlefield of the Senate, the weapons are common sense... and hope.

A FOUR-YEAR OLD GIRL runs to her to have her shoelace tied.

TERMINATOR 2 - Rev. 9/10/90 124

215 girl 215* Tie me, grandma.

Grandma Sara smiles. It is the only time we have seen her smile so far. She bends as the little girl puts her foot up on the bench. She ties as we hear:

SARA (V.O.) The luxury of hope was given to me by the Terminator. Because if a machine can learn the value of human life... maybe we can too.

Sara ruffles the kid's hair as she runs off to play with her dad.

fade out


II/ Terminator II.
Copyright 2005-2018. ! ! homeenglish@mail.ru