Games Cameron witn Gale Anne Hurc Property of:- Pacific Western Productions 13951 Mulholland Drive Registered WGAw Beverly Hills, California 90210 Fourth Draf (233) 986-8222 April 20, 1983ExT. SCHOOLYARD + NIGHT . Silence. Gradually the sound of distant traffic pecores audipie, A LOW ANGLE Bounded on one sice by a chain-link fence and on the other by the one-story public scnecl putt ings. Spray-can hieroglypnics and distant streetiignt sra- dows. This is a Los Angeles pusiic senocl in a Stue collar neignbarnood. ANGLE BETWEEN SCHOOL BULLOINGS, where a trash dumaster Tcors in a LOw ANGLE, part of tne cl g the gytnestun enters FRAME. A DOLL rough the landscepe of trash rec CLOSE ON Cat, whicn freezes, alert, sensing sometning 15% r' perception. A sourceless wine ses, ang witn it a keening wre Papers blow across the pavenen The cat YOWL$ and nices under Windows rattle in their frames The WHINE intensifies, accompanied now by & wasn ef frigis PURPLE LIGHT. A CONC ION Téke a thunderctap ri sver= heag slows in all tne windows facing the yard. e dumpster. = CAT, its eyes are wide as the glare dies. = DUMPSTER aAIPR CAL DISCHARGES arc from tne cumpster to a meter et and climp a drain pipe like a Jacob's Lacder. cut TO: EXT. SCHOOLYARD © NIGHT 2 SLOW PAN as the sound of stray electrical CRACKLING subsides. FRAME comes to rest an the figure of a NAKED MAN kneeling, faced away, {n the previously empty yard. He stands, siowly. The man is in his late th moving with graceful pr ies, tall and powerfully duilt, ston. C.U. © MAN, his facial features reiterate the power of his body and are dominated by tne eyes, which are intense, olue and depthless, His hair 4s military short. This man is the TERMINATOR. CONTINUEDCONT INGER z He glances down, taking cal Rotices that a fine white ash covers his skin, ae it unconcernedly as ne walks toware tne fence, his surrouneings. CRANE SHOT = SCHOOLYARD/CITY - NIGHT CAMERA MOVES UP as Terminator approacnes tne schoo beyond which is an embankment rolling down in Garkness Cityseape below. The sencol is perched ac the ecge cf 2 3° montory offering @ respectable view of the uroan $ ing and glistering under a sullen sxy.. The nigns shot through with occasional flashes of LIGHT 2 thunderstorm. Terminator stands, hands o down at the city as the CA) 7. PLAYGROUND + NIGHT 7 3 A beer bottle SMASHES on the ground, PULL BACK to include Sts exeowner ane nis two compatriots, YOUTH GANG Jounging on the jungle gym of a deserce Slaysrou sport mondescriss PUNK T LIA. torn Teshirts, fatigee pants, combat boots or fh tep sneakers, teaches fezeess. The leader notices something and sits up. LEADER (pointing) Hey, hey...wnaz's wrong with this picture? ANGLE - REVERSE, seen past the lounging toughs. walks naked inte a pool of streeti‘gnt, stricing P} fully toward them. ANGLE = OVER TERMINATOR'S SHOULDER, as he approaches srer They slide from their perches and drop easily to the groune liquid shadows. LEADER Mice night for a walks eh? Termin: or stops right in front of them. CONTINUEDTERMINGT ut infies. ( tion) Nice nignt for a wats. They surround him, ail swagger anc malign good nunc- SECOND PUNK Wasnday tomorrow, nun? Nothing clean, rignt? Terminator eyes them without expression, unnurried. Reptiltian, TERMINATOR Nothing clean. Right. LEADER ts guy's a couple Bricks sro naisr turns to tne second punk, ignoring sre TERMINATOR Your clothes, Give them to me Tne punks exchange glances, dismayed. TERMINATOR (coldly) Now. SECOND PUNK (racing) Fuck you, assncle. Witho rning Terminator hammer-punches him in the tems’ with blinding speed. The blow flings him with 2 CLANS in the jungle gym. He drops to the ground in a still reas, eyes open, twitching. The leader whips out Ais SWITCHBLADE and siasnes in one motion, Terminator ducks back and catcnes the k wielder's wrist {nan innuman grip, Then he puncnes che leader with piledriver force just below the breastoone. CONTIN'ANGLE = PAY as the knife clatters down. The punk's sombat boots are on tiptoe, barely touching the ground. ANGLE © TWO SHOT, Terminator and the leader are close together as if dancing, but motionless. Their bodies are in total shadow. The punk's eyes are wide, Nis veins distended with an agonizing pressure. Terminator jerks his fist back with a WET SOUND and the other drops OUT OF FRAME. The last tough fs stumbling away, gaping with terror. We backs into a chainlink fence, turns to run along it, fines he ina corner, Terminator takes a step toward nim, his gaze ominous. The punk begins shakily stripping off his clothes. Thunder peals overnead. CUT 7a: REY = NIGHT A light RAIN begins to fall. Terminator emerges anto the street from the playground, pausing in tne pool of Tight uncer a streetlight co nice the collar af the punk's jackes, The rain streams down over nis face, running into and over his eyes. They de not blink. CUT TO: = NIGHT 5 EXT. DOWNTOWN STREET/ALL Another part of the city. Seedy apartments and storefronts The streets glisten, hissing with Sporadic late nignt traffic. SLOW PAN AND DOLLY into the mouth of a narrow alley lined with trash containers and fire escapes. From a recessed doorway, two filthy legs spraw! out onco the wet pavements. An angry, {narticulate DRUNKARD'S MONOLOGUE rises occasiona above the rain sounds. ANGLE - DOORWAY, The derelict rouses from his bitter stuzor as a brilliant purple glare Tights up the wet brickwork around him. A Shockwave nurls trash into the air. Painted over windows shatter. Rats scurry, blinded, A FIGURE drops INTO FRAME as if out of the sky and smacks the pavement with a muddy splash. C.U. + DERELICT, as he blinks at the fading glare, amazed. CONTINUEDa 8/20/82 CONTINUED ANAKED MAN, compact and muscular, rises in a defensive crouch. KYLE REESE is 22, but nis face has been agec by ordeal, the moutn nard, eyes grim. A crinkled burn scar traverses one side of his face from chin to foreneac, Otner scars, from burns and bullets, mar his hard-muscled Dody. The rain washes a fine coating of white ash from his skin as electrical ARCS lace back and forth between the fire escapes behind Aim, KISSING and SPUTTERING. The soune fades, then stops altogetner, to be replaced by a rising scream of animal agony. Reese lurches to his feet and sprints across the alley. cur ESCAPE - NIGHT CAMERA MOV! clambers up S$ WITH REESE as he teaps to the fire escave anc the first landing to craucn beside anocher NAKED MAN who appears to be entangled in the ironwork. The man is contorted witn pain as his scream dies to a shivering gasp. CLOSER ANGLE reveals that he has deen skewe rouge e abdome: the horizontal iron slats and througr tne by Shoulder by 2 railing. He has materialized in_she same Space occupied by tne fire escape structure. The figure slumps, motionless. Reese quickly checks him for signs cf life, The man is dead. Reese descends to tne alley floor and crosses to rhe crunk huddled in the doorway. A pair of flamboyantly dressed women, obviously working girls, passes by the alley mouth. They do a doudle take when they see Reese, but walk on without breaking stride, completely jaded. He's certainly not a potential customer. Reese crouches down as if to speak to tne drunk. DERELICT Say, duddy...did you see a reat brignt iignt? cuT TO:10 n EXT. ALLEY/SAME + NIGHT 2 A prilifant white glare stabs inte tne alley mouth 2s at Ux?) crusser glides stowly by on the strees. The Tignt iiluminates the figure of Reese, crouching over ine sprawled drunk, just pulling on tne other's trousers. The cruiser chirps to a stop. The doors fly open and two cops leap out. FIRST COP Hold it, rignt there! Reev- nitches his pants and bolts like a snot. The cozs draw tneir guns and race into the alley after hin HANDHELD CAMERA or PANAGLIDE, rushing h Reese along che narrow alley, He vaults a pile of tumbied trasheans. Whips around a corner. Leaps the hoce of &@ parked car in the cross alley. ANAGLIOE PRECEDING COPS, es they snake through tne aight maze. cut TO: EXT. CROSS ALLEY = NIGHT $ PANAGLIDE WITH REESE as he dead run and scrambles over EXT. ALLEY JUNCTION + NIGHT 19 WHIP PAN ON COPS, skigding te a_stop at the corner in time te see Reese vault the fence. They secarate. COLLY WITH SECOND COP, as he runs to the gate. CUT TO: EXT. ALLEY/NEARBY = °° Si LOW PANAGLIDE WITH REiac, running full tilt, displaying incredible agility. REESE'S POV, the alley walls blur by. The view of @ hot- wired rat in an urban maze. C.U. = REESE, CAMERA hugging him as he sprints and turns, alternately front-lit, side-tit and silhouetted as the electric glare of the city wheels about nim. CONTINUEDuv 12 CONTINUED nw ANGLE + ALLEY MOUTH, Reese flashes through intermitzent cross-lighting in the B.G. Another unit arrives out front anc Reese melts back in the alley, only to see a cop round the corner bening n Sandwiched. Reese crashes into a steel door, rending tne lock, and vanishes into tne darkness witnin. The newly arrived cops are a K-9 unit, They open the dack door of the squad car to release a ge black Ooberma: cut To: INT. DEPARTMENT STORE ~ NIGHT se finds himself among the ‘display racks of a discount deoartment store. A searchlight stabs in the front window as he dashes f cf aistes. Tar cops enter behing him through the snattered coor. FAST PANAGLIDE WITH REESE, as he craberuns Tow among t moving shadows where flasniignts quarter tne darkness. He bolts the open space behind a display window. Sees tne Outside searchlight sweep toward him, Freezes. ANGLE + R fea Z, nis feral faze frozen among the snos ec, smiling mannequins. As the light passes, Reese ilently moves on. ANGLE + COP, passing the end of a long the F.G. a hand ENTERS FRAME hanger. Reese slips the shir: on quietly and does a fast crabewalk across the aisles to meit into the other racks and shadows, CAMERA MOVING LOW with him. sle 8.G. white in moving a knit Shirt froma cur To: INT, DEPARTMENT STORE/AISLE - NIGHT 13 With a shocking GROWL the police dog hurtles out of the shadows, LEAPING RIGHT AT CAMERA. ANGLE - REESE AND DOG, a dark blur with teeth, extrenely Doberman, flies toward Reese. He spins. Catches it by the throat in mideair, Arcs it to the floor with unfiincning precision. C.U. + DOSERMAN, suddenly on its back and held by the snroe THE DOG YELPS and stares at Reese, who leans very close. Inches from its eyes he fixes it with a gaze of uncompromis~ ing dominance. Some ancient communication seems to cass between the two. CONTINUED13 CONTINUED a Reese releases tne animal ane turns nis b along overcoat from a rack. The dog ba stiffelegged and confused. CUT TO: 4 INT. DEPARTMENT STORE = NIGHT 14 TRACKING WITH REESE as he rounds a corner on the run, shrugging into nis long coat Running smack at nim is another cop, gun afmed, Without slowing, Reese leaps toward nim, twisting in mis-acr like a cat. Tne cop FIRES. Misses. Goes down e tackle and they slide together on the polished Before they even come to rest Reese snatches tne coo'’s gn, aris face twoehanded. Wnat day is it? The date... co Thursdey..cun...May twelf EESE (vietously} whet year? A SHCT wines off the metal side Reese's head. He vaults tne esca amazed cop lying on the fioor. fan escatero- pening or rail, leaving the Reese bounds up tne frozen stees, docks Special in his coat. Caps dash tnrough the maze cf aisies, converging az cre escalators. CUT TO: INT. DEPARTMENT STORE/SECOND FLOOR ~ NIGHT if 1s WHIP PANNING WITH REESE, as he hurties between displays. He stops for a moment beside a rack of shoes. Slaps one of a pair of tennis shoes sole-to-sole against his bare fo Too small. Another. Holding the shoes he runs on. CUT TO:1 1 6 7 R 8/25/83 NDING = NIGHT OND FLOOR FIRE ESCA A door opens quietly and Reese slizs out. CAMERA TRACKS WITH HIM as he moves like @ panther alons tre harrow catwatk. TILT DOWN to include the first LAPD cruiser parked at tne mouth of the alley. cut TO: EXT. ALLEY/STREET - NIGHT Ww Reese drops cat-like beside the unattended police car. Cautiously, he opens the door of the cruiser, removes the RIOT GUN, an Ithaca pump model, from the dash rack and slizs it under Nis coat. Cradled ina vertical position, the shortened weapon is virtually invisible. lks out onto the street and away, unhurriedly, an cus pedestrian soon lost’ in the rain. STREET/ RBY + NIGHT 18 Reese enters a telephone booth. Harsn light rakes across his face, outlining the long scar. He opens the directory, leafs through it. ANGLE - MACRO ON-PAGE, Reese's finger slides ¢cwn a co? . ps beside the following listings in the big metropolis white pages: CONNOR, SARAH CONNOR, SAHAH ANN CONNOR, SARAH J, EXT. CITY STREET + MORNING ws The might's rain has given wey to a typical L.A. morning of diffuse sunlight. MOVING WITH_A GIRL on a MOPED as she zips throusn fic. SARAH CONNOR ig 19, small and delicate-featured. Pretty in a flawed, accessible way. She doesn't stop the party when she walks in, but you'd like to get to know her. Her vulner~ able quality masks a strength even she doesn't know exists. Sarah maneuvers nimbly, apparently in a hurry, cUT TO:a Re/20/83 1G BOB'S RESTAURANT ~ DAY n buzzes into the parking lot of Big Bob's Family churant and chains her mopec zo the icon of Bic 89: himself. The fidergiass cherub holds up nis mammozr hamburger in perpetual homage to whatever diety watcnes out for fat kids. Sarah removes a stack of cotlege textbooks from the luggage carrier and turns to go into the restaurant. SARAH (to Big Bod) Watch this for me, big duns. cut TO: INT. BIG BOB'S/CINING AREA a HIGH WIDE SHOT prominently featuring a VIDEO SURVE CAMERA F.G. as Saran enters below. She passes under an Video eye as sne crosses the main floor of tne whe! eso: Appointed eatery. Saran goes trough the swinging STA doers uncer a third camera. “$ OFF MANAGE 22 the cffice is closet-like, lit by the glow of severat rity monitors. CHUCK BREEN, day manager, pimriy 2n¢ officious,watenes Sarah in an overneac view of je service corridor. Ne punches a switch and reaches fer a micropnone on a studio gooseneck. CUT TO: © CORRIDOR 23 SERVI Sarah glances up as Breen's voice rasps from a ceiling speaker BREEN (V.0.) Saran? She answers the empty hallway. SARAH Yes, Chuck? BREEN (¥.0.) Come to the office, please. She turns back toward the off corridor. door at the end of the cut To:a e/32 83 26 «INT. MANAGER'S OFFI Saran opens the door to Breen’s closet contro’ cencer. SARAH Missfon control to Chuck, come in... BREEN (without Tooking SARAH Aren't 1 wartn wetting for? BREEN Not really. Oo you think you can get here on time if J put you on the floor as a waitress? SARAK (grinning) 1 don't know, I kinds had my heart set on being a shier the rest cf my life. N The pay's the seme but you'l make more in tips. SARAH Thanks, Chuck. I need the money. Can I still work the hours around my classes? Sreen turns to punch up a display on cne resteurer inal] accounting computer. Saran looks over tis snoutder as ne modifies the week's schedule. BREEN Mmm, Same scheduie's okay. SARAK Alright! (gravely) rave Can a hande 10? ‘SARAH It's not brain surgery. Chuck. Breen hands her an apron ceremoniousty. CONTINUED26 25 26 ar 28 CONTINUED we BR Here you go. You're a Bob's Girl now. Nancy will check you out. SARAH T won't let the fat kid down. cur TO: OM:TTED 2 INT. LOCKER ROOM - DAY 28 ANGLE = TIGHT ON LOCKER OOGR as it slams smut, revealing Saran transformed into a "Sot's Girl". Wer hair is in a dun. White blouse. Snert flared skirt and apron witn 2 bow She resembles a susurpanized peasent maic looking for a goat to milk. Sarah confronts her reflection in the mirror, pondering its absurdity. She pincnes ner shesks. Smiles vacuousty. SARAH Hi, I'm Saran ane I'11 be your waitress. (pause) rim so wnolesome, I could puke. cur TO: EXT, PARKING LOT = DAY er IGHT ON CAR SIDE WINDOW, 2s a figure appr nthe glass. A fist puncnes through the win The thief unlocks the door and gets behing the wi 1 i It!s Terminator. cuT TO: INT. YELLOW MAVERICK = DAY 28 With a blow from the heel of his hand Terminator smasnes locs¢ the ignition assembly and strips the wires with a brutal twist of his fingers. Touching the proper wires he stan the car. cut TO:288 29 ExT. PAWN SHOP = DAY Terminator walks past the long display window of an enormous pawnshop emporium. Signs declare, among ctzer things, GUNS and AMMO in red block letters. Terminator passes the appliance section, and the pictures on a row of TY sets distort and break-up sequentially as he walks by, returning to normal bening him. enters the store. CUT TO: INT, PAWN SHOP = DAY 23 IGHT ON GLASS COUNTERTOP as an AR-180 ASSAULT R COPE is laid beside a number of other guns: a CO pe zAS ACP, a SMITH AND WESSON 38 FOUR-INCH, ac! . ERMINATOR (¥.0.) agton 1100 Auzoloader... he R rere, pallid . Ke lays it human arsfilery who looks like a sick 1 the rifle from a wall ri of perfectly legai ant on the glass counter. scans expressioniessly for additione! setec- CLERK Anything else? TERMINATOR A phased plasma pulse-laser in the forty watt range CLERK (annoyed) Just what you see, pal. He indicates the display case and wall racks with & minimal gesture. TERMINATOR The Uzi 9 milline: : CLERK (setting ft out) You know your weapons, buddy. Terminator examines each in turn, working the actions with curt, precise movements. cLerx (continuing) Any one of then's ideal for home defense. Which'll it be? CONTINUED2s un CONTIN TERMINATOR ann. The clerk digs deep and finds a scrap of a smite. CLERK rly. Maybe I'l) close Casn or charge? Instead of replying, Terminator takes a box of shotgun snel's from a stack on the display case. CLERK Sorry, I can't sell the ammo with the guns, You'll have Terminazer has calmly degun shotgun. ding the shells inte = ( 7 You can't do th TERMINATOR feventy) Wrong. We raises the barrel and pulls the trigger. The gun THUNGEAS. cut To: EXT, GAS STATION/PHONE BOOTH - DAY 3c The yellow Maverick pulls to a stop beside a single phone booth. MOVING WITH TERMINATOR, he gets out, walks to the booth anc rapidiy pulls its occupant out by his greesy T-sn¢ flinging him backward into the parking lot. The guy bear-like, slab-handed, but Terminator doesn't even glani back as he steps in to take the man's place. MAN fi (outraged) Hey, man... cut INT. PHONE BOOTH A woman's voice, a faint reedy monologue, issues from the dangling recet Terminator 3 Tapidly through the directory. CONTINUED32 Pee ANGLE = CU. PAGES FLIPPING ANGLE = MACRO SHOT, as Terminator's finger comes to rest beside a now-familiar listing: CONNOR, SARAH cut TO: INT, BIG BOB'S/DINING AREA Sarah is bustling about, trying to service the the dinner rush. In waitress parlance, she's ‘in it She runs the gauntlet between tables, precariously balancing two full dinner plates on one arm and hand-carrying & tnird. A customer tugs on her apron for attention anc sre barely averts contributing the chili size to his wardrooe. CusToMER Honey, can I get that coffee now? SARAH Yes sir, just a second. She reacnes ner table after near collisions with a Mex Dusboy and two teenage giris doing cheerleading rout in Tock-step. SARA Who gets the Suriy Beef? cu! Two I ordered Barbecue Beef. CUSTOMER THREE Does mine come with fries? CUSTOMER FOUR he Barbecue Beef, a Chili-Seef Deluxe. SARAH ‘i Okay, who gets the Burty Beef? MER AT NEXT TABLE dy to order, 7 cu: Miss, we're ri In the process of setting down all the plates Sarah knocks over someone's water glass. CONTINUED32 32 CONTINUED SARAR (mozping frane tically) On, sorry. “hat's not real Teather, is it? the next booth reaces into the tip poucn of As she cleans up the spill, @ eid over and dumps a scoop of ice crea Sarah's apron. She stares down at the mess meiting over ner hard-earned and sags with defeat. NANCY, & plump, gum-chewing waitress, stops beside her to whisper: NANCY Look at it tnis way: ina hundred years, who's gonna care? EXT. SUBURBAN STR! = DAY ANGLE on a stangard-issue L.A. scourban street with Kids racing Bis Wheels 2.6. R ingle nose, toys a mailbox. by the curd, is ¢ TRUCK. TInere is the sound of 2 CAR ENGINE approacning, and af the yellow Maverick appears, stopzing at front tire CRUSHES the toy. PANAGLIDE ON TERMINATOR, preceding him as he steps our of the des car, pauses by the mailbox to check toward the house. fe name, ang sz A YOUNG BOY, playing in the criveway, wacches him pass boy's DOG, &@ small Terrier, growis low and mean, crow back from Terminator. He rings the doorbell and weits, motionless. The door opens a few inches, held by a security chain, revealing a frail MIDDLE-AGED WOMAN in apron and rubter cleaning gloves. i TERMINATOR Sarah Connor? WOMAN No, she's upstairs, Who shall T say 4 Terminator breaks the chain and pushes past ner as if she didn't exist. CUT TO:33a 33¢ INT, HOUSE/FOY PANAGLIDE ON TERMINATOR, preceding nim as he crosses ine foyer ang mounts the stairs. Tne woman starts after nin, WOMAN What do you think you'ress My God! She gasps and stops in her tracks as Terminator smoothly pulls the .45 from under nis jacket and snaps the cocking slide. WOMAN (screeching) Oh my God...Sarah! CUT TO: INT, BEDROOM 338 Installee on ner bee for an afternoon of ‘soaps’ 15 WRONG SARAH CONNOR. ELECTRO! PADS exercise ner doughy thighs as the 35 year old divorces watches “GENERAL ACS?I7 She calls out distractedly: WRONG SARAH CONNOR Wnat is it, Mon? She jumps 2s the coor BANGS epen, And stares in duro amazement as the good-looking, intense-eyed man in tne strange clothes raises a pistol. Ang aims it at her It all seems less real than "GENERAL HOSPITAL” in thas half-second before he FIR cut Ta: INT, FO) 33¢ The mother is fumbling wi ‘Tepnone when she neers the SHOT. The silence stretches for several BEATS. Tren FIVE MORE SHOTS are heard. The woman screams and drops the phone as she stares upward. ANGLE ON CEILING above her. With each successive snot a chunk of plaster explodes off tne ceiling. cuT To:33 a3 ae R 4/20/83 INT, BEDROOM LOW ANGLE ON TERMINATOR, standing with the .45 aimed down at the dead woman, just OUT OF FRAME on the floor. ne unhurriedly removes the spent clip, reloads the weapon and replaces 1t under his jacket. Crouching down, he turns the woman's body over, confirming that she 1s dead. INT. FOYER The motner is frantically dialing the phone, She mis- dials, starts over. Then stops as she hears the becroor door open. Terminator stands at the head of the stairs. Hig hand is Bloody wnere he grasped tne dead woman's shoulder. He starts down the stzirs. The mother stands paralyzed, unable to breathe. Ke reaches the main floor and walks toward her. Sne edges intc a corner, eyes wide. he reaches out. And wipes his hand clean on her apron. Terminator walks out, without expression, 7 woman to sag to the floor in a faint. ving the cuT TO: INT. /EXT. SERVICE TUNNEL = DAY 34 TIGHT ON KYLE REESE'S HANDS as they make the Ta strokes with a hacksaw to sever the wooden stock from the riot gun. It clatters ti ground, leaving a short stump, like a pistol grip. CUT WIDER as Reese hefts the weapon. He is crouched in an underground service tunnel below a busy street. Shadows of people walking across a grating in the sidewalk abov him flicker past. They can't see him in the darkness below their feet as he checks the gun's action carefully. He Slips it under his overcoat where it hangs from a jerry- rigged sting. cur TI34k o~ \ ' ,i ~~ ! ' a8 358 Cr RS éulee + DAY Reese emerges from a stairwell behing 2 service station, his overcoat done up to the top button. He walks through the sparse morning crowd on the ¢ overbuiit commercial street. He is out of sync. A stranger in a strange land. He holds himself tightly reined, cautious and feral as he Roves among the unconcerned pedestrians. His eyes fitck rapidly about. He is seeing this Babylon for the first time Reese stops at @ hol wall take-out stand. He watches people walk away with food. Moves closer. Scrutinizes the next man as he orders. TAKE-OUT CUSTOMER Gimme a falafel with yogu dressing and, uh, Baco-bits. The counterman hands him his food and change wordlessty as Reese steps up. Gimme a falafel wi yogurt and Baco-bits. gh, The councerman 3a through the window. y locks up as he passes tne ness COUNTERMAN That'll de one-sixty. He glances up and Reese is gone. He leans half ov window. SOUNTERMAN (continuing) Hey! Son-of-aebitch. cut EXT. ALLEY - DAY Reese crouches in an alley, out of sight of passersby, wolfing his food. The sauce runs down his sleeve bus ne doesn't notice. CUT TO: INT, B1G BOB'S/DINING AREA = DAY 325A An old man with a shrunken, ungenerous face scowls at the menu as Sarah wipes the tabletop in front of him. CONTINUED36 CONTINUED SARS T haven't seen you in here Tately, Mr. Miller. MR. MILLER What's it to ya SARAH You must have a girtfriend. WR, MILLER That's none of your business. SARAH Anal Is she young? fir, Miller lowers his menu and glares at ner. MR, MILLER Compared tc me she is. How come you're not at the casz anyme They cateh ya szeat- ing? SARAH (smiling) what's 12 0 ya? when she leaves, the old man is grinning, Deming tne ner., where noone can see him. cur To INT. BIG BOS'S/SERVICE CORRIDOR 36 Sarah rounds the corner, walking fast as she undoes nent apron. She calls out to tne wells without looking up. SARAH mon break, Chuck. Carla's got my station. As she approaches the locker room wnere the girls taxe their coffee breaks, the door bursts open and Nancy beckons to Saran. : NANCY (excitedly) Hurry up. It's about you... Tomean sort of...Come on!7 38 39 INT. BIG BO3'S/BREAK ROOM 3 Nancy guides Saran to tne small black ang write porzaove TV in the corner. Two other girls, smoking cigareszes with their shoes off and nylonec feet on the tasie, are already watching. One glances at Saran. WAITRESS Hey, Sarah. This is weird. They huddle around the set, intent on a newscast in prosress. TV_ANCHORWOMAN s.:tnd a police spokesman at the scene refused to speculate on a motive for the execution- style staying of the Encino Rousewife. He cid however say that an accurate description of the suspect nas been compiled from several witnesses. Once again, Sarah Connor, thirty-five, mother of twc, brutally shot to dea in her home snis afternoon. As the news grincs on, Sarah gazes unseeirgty et t Nancy claps her on the shouider, laugring. NANCY You're dead, honey. CLUB + DUSK 38 Sunlight ts dying wnen Sarah swings her moped to the curs in front of the ‘GOOD LIFE SPA', a iargse, crowced neatcn INT. HEALTH CUB/AEROBICS STUDIO 35 MUSIC BOOMS and masses of leotarded cellulite sway in ctose F.G. as CAMERA DOLLIES along a row of panting, stre women. In deep 8.3. Saran slips in through the co Against the wall while tne human dynamo, GINGER VENTURA, Yeads the class ergetically. Ginger, Sarah's roommate, is a party-stopper. Red-haired, athletic, sensuous. Sne's Pretty enough when still, but stunning in motion, And she's in motion. ettons Ginger yells commands and cheerfully dives into con to the BEAT of a MOTOWN FAVOR! MARCO, a handsome, well-defined guy wearing a tight STAFF Teshirt, strolls up for a drink at tne water fountain next CONTINUED40 CONTINGED to Sarah. MARZO Hi. I've seen you around. You're cute. Cute I remember. SARAH I'm Sarah, Ginger's roommate. MARCO Year, right. I'm Marco. The dance tape ends. GINGER sestnd three aaand four! that's it ladies! Now, digr's tnat feel good? The group collapses ensemie. A chorus of groans. SINGER Let's shink positive or next time [‘'t play tne F¥ version. Ginger walks over to Sarah is leaning on enzion. s the class cisperses. Macco e wall next to Sarah, whe 1s ensoying sre SARAK ceayaah, really? Say some- thing in Isalien. Marco can reply, Ginger pulls the front of nis gy out and peers down, She shakes ner head. GINGE! (to Saran) You're wasting your time, kiddo. het's go. She grabs Saran by the arm and pulls her out the door. Saran catches a glimpse of Marco's expression over her shoulder as the door closes. INT. HEALTH CLUB/STAIRS AND CORRIDOR 4c PANAGLIDE WITH THE TWO GIRLS, as they descend to the first floor and enter a hallway Saran is gasping with laughter. SARAH (weakly) 1 don't Believe you did that. CONTINUEDCONTINUED ee Ginger is adjusting her ever-persent WALKMAN-TYPE CAS PLAYER at her hip. Sne slips on the earphones atong. Saran feigns outrage. SARAH (continuing) I nad him hooked. He was just about to ask me out. T could tet). GINGER That guy's a jerk. I did you a favor. SARAH I'11 do the same for you sometime. Saran laugns ang claps ner frieng on tre back, They turn in at a door marked WEIGHT ROOM. cur 7 INT, WEIGHT ROOM 4 SEVERAL ANGLES, on glistening arms, legs, torsos merging into bioemechanical kinetic Sculptures with the chrome-steel Levers and tubes. The CRASH and SQUEAL of metal agains: metal. In F.G., two Conan-esque arms thrust uoward, glistening. Ginger's boyfriend, MATT MECALLISTER, tne assistant manager of the club, strains out his last reos, bench-oressing enormous weight on the Nautilus machine. Despite his imposing appearance, Matt is one of the warmest people you'd ever want to His face is contorted, muscles kno es it up with a guttural cry. Lowering the weights with a CLANG, Matz lies panting, arms dangling at his side, eyes closed. A pair of female legs appears. GINGER (V.0.) What's this? Sleep therapy? ng for tne last pusn. Matt opens his eyes. GINGER (continuing) You think somebody's gonna do this for you? Look at those shrivelled bi's. And you haven't worked lat's or ad's since Wednesday. CONTINUEDa az CONTINUED e MATT (smiling) Hello, sweetneart, Had @ rough day? GINGER (softening) Come here, wimp. She leans down as he sits up and they meet in @ kiss thac’s bad for the other guys’ discipline. Sarah waits until they break the clinch to speek. SARAH Hi, Matt. Matt looks backward over the bench, and replies, upside-cown. MATT (grinning broadly) Heeey! It's my favorite Saran. Hi, babe. Ginger pulls the pin on Maz's weights and resinsercs i? beneath the entire stack, tne maximum weignt. SIN Alright, warm-ups are over. Back to work, Bunky. Ginger readjusts her headphones 2s she two girls walk eway. MATT ‘Bye beautiful. You too, Ginger. Two weignhtlifters nearby Took at each other, then az Ma ee WEIGHTLIFTER junky? EXT. HEALTH CLUB/STREETS = DUSK az Sarah lurches away from the curb on her moped, almost spilling Ginger who 1s attempting to ride double. They Swing out onto a main thoroughfare and careen through the bumper-to-bumper traffic. Saran maneuvers deftly though overloaded and unstable. Ginger doesn't know whether to laugh or scream at the near-misses. She does both. cuT TO:43 46 46 R 4/20/83 28, OMITTED 43 EXT. STREET/CONSTRUCTION SITE = DUSK On a side street the girls pass an excavation s between high-rises. They pass OUT OF FRAME as CAMERA HOLDS on tne construction area and Ginger's shrieks fade. In the F.G., under an overpass, Reese sits in a car watcning the powerful machines moving earth. He's in a late-model non-descript GREY SEDAN, one of a row of cars gathering dirt beside the construction site. Crabearmed back-noes and massive caterpillars ROAR through a curtain of dust, under intense floodiignts. A power-shovet moves its great erm, \ighting its own way with an arceT isnt, cut TO: INT. GREY SEDAN 43 tne dark. A fazuous POP ROCK STATION. ff the dirty floor, His over- fe shotgun on tne seat seside ese sits motionless The siock tn e gash ticks quitely He flips on the radic Reese fishes a magazine coat is off, draped over hin, His bare arms are sinewy and scarred. Reese flips the pages of COSMOPOLITAN. He locks at the glossy pnotos, tne glossy women. Fantasy women. Svelte and seamless. The ads fascinate nim too: Caribbean vacations anc dlended whiskeys. His heac sags against He gazes dully at the chew througn the dirt. Fhe RCAR and CLATTER of treads intensifies as his eyes close. e do: acks of 2 passing CA RPILLAR as EXT. MELT TIGHT ON A GLEAMING STEEL TREAD as it grinds through debris. The debris {s ferroconcrete, girders, and jackstraw heaps of HUMAN BONES, burned b! D RUINS © NIGHT There 1s the sound of EXPLOSIONS, distant, and an intermiz electronic WHINE. Incredibly bright searchlights play over the ground. PANNING with the moving treacs through twisted wreckage, F.G. The screen WHITES OUT with a BLAST, very close. AS the debris clatters down, a helmetted head snaps up into FRAME, EXTREME F.G. CONTINUED46 Rafeee CONTINUED Tne visor of the HIGH-TECH HELMET 1s shatterec, presu by the explosion. The wearer rips it off, revealing younger Reese, minus nis burn scar. His face is bathed in sweat, lit by tne glow from a CRT SCOPE-SIGKT on a strange-looking rifle. The sound of SCREAMS and HOARSE SHOUTS not far off, anc @ continuous low murmuring of RADIO CHATTER, grid coordinates, casualties, unit placements, medic requests. e looks over nis shoulder at nis teammate, a GIRL of about sixteen, gaunt, dirty, neavily armed like ninsel?. DOLLYING as they start to belly craw! through the bones and wreckage. Reese looks up. Through spires of a collapsed building a terrifying SPHINX-LIKE SHAPE moves against the sky...obscured by du and blinding sweeps of its searchiignts. Though we see little, this is an H-K,Munter-Killer mobile ground-uniz. Reese crawis, pacing the H-K, under and through, on elbows and knees, past mounds of charree skulls. They pass the BODY OF A CHILD, a boy of about-10, cencer- punchee with a smoking hole. The dey clutcnes a rifie. More bodies. Some in rags, some in uniforms like theirs. WOMEN, OLD MEN. CHILDREN, They're all dirty and gaunt, scabrou: And stili b scrapbles past @ dark rat-hole and there are human rats in it. Some cf are sobbing, or screaming. Another EXPLOSION. The GLARE lights the huddied few. Human vermin with mud-caked weapons that haven't been invented yet. Soldfers in a nightmare war. Reese anc mis teammate stop behind a blasted wall, naving outflanked she massive HeK. its flashing biue Tignts flick asross the walls, its searchlights sear through tne depris. WIDER, showing the HeK more clearly...a Db arred CHROME LEVIATHON, with hydraulic arms folded mantis-like against its ‘torso’, and huge undersiung GUN TURRETS. Reese leaps up and straight-arms a satchel-charge into its One tread rolls over the explosive. ind searchlights swivel. The head tur S partner rises, poised to throw hers A POWER-BOLT catches her at the top of her arc, BLOWING HER INTO RED MIST. s ponderously. Reese is knocked down by the concussion. Gets up, running, as the charges blow. The HeK's tread carriers ere RIPPED APART. It lurches to a stop, burning. CONTINUED46 -_ i r 7 ; | 7 | 48 CONTINUED 4g The following SEQUENCE is extremely FORESHORTENED. CUT FAST. IMPRESSTONS ONLY. Running. Explosions lignt the ruins like flashbulbs ENERGY WEAPONS criss-cross the night like tracers. LOW ANGLE, up past the burning H-K as its flying counter- part, an AERIAL H-K, arcs into view with a TURBOJET WH Reese hauls two survivors of his unit into a PERSON CARRIER, a CHEVY CAMARO with steel plate weldec over it and the roof cut away to access the 50 CALIBER MACHINE GUN. It's stripped and rusted and bullet-riddiec, glassiess. The TIRES are OFF-ROAD and very gnarly. They're driving through the ruins, up and over and throw Reese drives like a demon. Under other circumstances it would be considered insane. Here f% is merely very geod. The macnine gun CHATTERS. A BLACK SHAPE descends, & demon witn searchtights. A BOLT OF LIGHT Reese's car flips Tike a kicked beer can, rotting and crumpling. He's pinned in tne wreck, dloody, screa despite his training. The only other survivor, an emaciazed BOY of twelve, is culling for all he's worth o drag Reese out before it burns. ng CUT To: EXT. STREET/GREY SEDAN = NIGHT ay CLOSE ON A BOY, about twelve, clean and nealthy, wearing a blue plastic DODGERS HELM ches through the window of the sedan. BOY Hey, miste! cut TO: INT. GREY SEDAN 48 se's Ss open in a split-second, and suddenly there is a SHOTSUN MUZZLE AIMED RIGHT AT US. Reese quivers with a curious spasm, similar to the tremors of his arrival, and blinks at the boy. CONTINUED48 4g a 52 53 R 4/20/83 CONTINUED 4a The boy is white-faced, staring down the bore. He backs away, We see that he is straddling a bicycle. cut TO: EXT. GREY SEDAN - NIGHT 4g The boy's SISTER, slightly younger and also on a Sicycle, can't see the shotgun from where sne's waiting. SISTER (taunting) See, I told you he wasn't You owe me skin dead. Robbins. The boy rides past her like a shot. Bor (urgently) tome on. Just come on. INT. GREY SEDAN » NIGHT se relaxes slowly, the voltage draining aut of hin INSERT. - MACRO, Reese's finger on the trigger is white pressure. He slips the safety to tne OFF position. The gun can now be fired. He sets {¢ on the seat and reacnes for the cangling ignition wires, starting the car. Sut TO: EXT. STREET/OVERPASS = NIGHT a Lit by streetlights, the car moves away with its Tignts off and vanishes inthe shadows, i cuT TO: OMITTED §2 INT. SARAH'S APARTMENT/BATHROOM/LIVING ROOM = NIGHT = 52 Saran and Ginger are crammed into the tiny bathroom, pecoming inextricably tangled in each other's cords as they blow-dry, curl hair, and apply makeeup. Ginger CONTINUEDCONTINUED 5 has her headphones inverted under ner chin put in piece, and is bouncing to music as she dries her hair. She is wearing a short terry-cloth bathrobe that reveals tne greater part of ner legs. Saran is in a skirt ang bra. Tne phone rings and Sarah goes out into the living room to get it. SARAH (answering the phone) Hello? VOICE (V.0.) (on phone, deep and breathy) First I'm going to rip the buttons off your blouse, one by one...then run my tongue along your neck, down to your are, gleaming breasts... cups her hand over the moutnpfece and cal?s out reofefactiy: SARAH Ginger! It's Metz. She resumes listening. MATT (V.0.) and then slowly pull your jeans off inch by inch and lick your belly in circles, further and further down then I'll pull off your panties with my teeth... Sarah {s repressing her laughter. SARAK (crossly) Who is this? Silence. Then Matt realizes to his horror who he's beer talking to. MATT (V.0.) Oh my God! Sarah! Oh, shit. Jesus, I'm sorry. I thought you were...Can i talk to Ginger? CONTINUEDSARAH Sure, Bunky. As Ginger approaches, Sarah hangs her the receiver anc goes into the bedroom. GINGER Hello? MATT (V.0.) First I'm gonna rip the buttons off your blouse... CUT TO: BEDROOM Saran picks up four blouses on hangers lying on the dec and goes back inte the haliwey. + LIVING ROOM enters by one Ginger ¢s stil] listening to Matt, nodding, as Se anc starts holding the biouses against herself on for Binger's inspection. SARAR de you think? GiNGE (covering mouth- Sarah holds up another one. SARAH How about this? . GINGER Great. SARAH You're a big help. GINGER (advisory tone) Alright, the beige one. CONTINUED5é 87 SARAK T hate the beige one. GINGER (same advisory tone) Don't wear the beige one. Saran gathers up the blouses and walks out. SARAH (V.0.) ‘This guy's propably a schmuck and I gon't care wnat I wear, A couple of BEATS, an¢ she's pack in the doorway with a concerned expression. SARAH (sontinuing) You think the beige? cur VENI + NIGHT An unmerkee car with a clamp-on light and siren blarin screeches to the curb behind two ked black-and-wn‘ tes jn front of a funky Venice apartment building. A smail growe is gathered around the front steps. LIEUTENANT ED VUKOVICH, Homicide Division, gets out of tne car ang strides througn the crowd. He's fiftyish, short, but square and solid, 2 human duttdog gone a lizzie to pau He chews Juicy Fruit gum like a maniac: a chain-chewer, He's homely as an old boot. he's a wise one; rarer still. The onlookers, gatherec patientiy for their ten second glimpse of something under a sheet, separate for him to pass. cut TO: INT, VENICE APARTMENT BUILDING/STAIRWELL/APARTMENT CAMERA PANAGLIDES AHEAD OF VUKOVICH, as he climbs the switch= back “staircase two steps at 2 ti He passes TWO UNIFORME COPS at the doorway of a second-floor @ nt, and to find a quiet flurry of activity. Se DETECTIVES and a PHOTOGRAPHER prow? around, taking evidence, taking pictures In the cenzer of the living room floor is the body of a young woman, crumpled face down in a small lace of blood. Two bags of groceries lie split open on the floor fn front of her. CONTINUEDcon Vuxovich glances up as ne 4s jotnee py DETECTIVE S67. TRAXLER. Traxler is black, lean and very jaged. VUKOVICK Give me the short version. TRAXLER Six shots at Tess than ten feet. Weapon was a large caliber-= Vukovich is looking at the body. VUKOVICH No shit. Traxler turns to a passing DETECT! TRAX! Come on, man. it all over. professional. he turms pack to Vukevich, gesturing TRAX! (continuing) Okay, let's see...Goz a pos- itive on her, She's Saran Connor, works a3 2 legai-- VUKOVICK (interrupting) That can't be right the name of the one Valley Division moppec up this after- noon. shing off nis clipboard and nancs te Traxler slips som it to the Lieute: TRAXLER s her driver's license. YUKOVICH (pondering) You gotta be kidding me. The new guys‘! be short-stroking it over this one. A one-day pattern killer. Hert CONTINUED$7 CONTINUED TRAXLER 7~ 1 hate the weird ones. cur 5B «INT. SARAH'S APARTMENT/BATHROOM 38 Sarah poses with Ginger in front of the mirror. They are 1 dressed, made-up, hair-styled anc READY. GINGER ; (studying their 7 reflection) Better than mortal man deserves. Saran grins ané goes inte the other room. cut TO: LIVING ROOY Saran walks aroune the room, searching for something. SARAH ‘ (carting) rf Ginger, have you seen Pugsiey? Ginger enters, stopping beside their phone answering machine. - GINGER Not lately. Did you cneck messages? SARAH (sti11 looking) I thought you did. She checks under the couch, then behing the drapes. She bends down. ' SARAK (from bening tains) here young man. King mother. C.U. + PUGSLEY, as the GREEN IGUANA cocks its head, blinking vapidly. RESUME WIDE, Sarah lifts the three foot long lizard from nis perch on the windowsill. She gives the complacent reptile a kiss on its blunt snout. CONTINUED55 6 (groanin: Totally nauseating. Sarah drapes the lizard across her shoulders where it sits contentedly as she looks for her purse. Ginger has beer rewinding the message tape. She punches PLAY and a MA; VOICE i$ heard. VOICE (recorded) Hi, Sarah...Stan Morsky. hy something's come up and t'looks like 1 won't be able to make it tonight. I'm really sorry. Call you in a day or so. Sorry. By: Saran stands stil), crestfalien. GINGER That bum. So what if he nas a Porsche, he can't treat you like that...it's Friday night for crissakes. SARAH (stumping) I'll live. GINGER I'l) break his kneecaps. Sarah resignedly slips Pugsley off her shoutders. SARAH You still love me, don't you, Pugsley? Sne places Pugsley in a large terrarium with 8 ‘BEWARE OF DOS’ sign tapec on the side. SARAH (continuing) I'm going to a movie, kiddo. See ya'. You and Matt have a good time. CONTINUED53 60 6 62 ae CONTINUED 5 GINGER (as Saran exits) We wiil, kidde. cut TO: INT. PARKING GARAGE = NIGHT Saran is a small figure in the shadowed echoing garage of her pbuilding. CONVERGING DOLLY, PACING their inky shadows. The light near her moped is out. She fumbles tn the dark to unlock the chain. She looks up. . Did she near something...masked by the rattie of the cnein? + OS she passes the stalls with POV = SARAH, there is no movement for the length of tne garage. ON SARAH = C.U., inexplicably nervous. She stows the chain and starts the bike. It whines reassuringly. Sevan jumps on ang whirs ovt of the garage. CUT TO: INT. CAR/NEARBY > NIGHT 6 Seran fs visible through tne windshield as she pulis once the street. PAN WITH HER to reveal Kyle Reese, hunched dowr in snadow, watening. We puts the car in gear ang pulls out to foliow her receding tail-light. Streetlignts flash across nis face, in stark-linec profile, Mouth cruel where the scar tugs at it. CUT TO: INT. DIVISION HEADQUARTERS = NiGHT 62 DOLLYING WITH VUKOVICH AND TRAXLER, as they pass through & group of REPORTERS. Mostly newspaper stringers but there 4s also one bored Tocal TV MINICAM CREW. CONTINUED62 CONTINUED ez REPORTER ve .bieutenant, are you aware that these two killings occurrec in the same order as their listings in the phone book? VUKOVICK No comment. their office and shut the door. cut TO: He and Traxler en INT. VUKOVICH'S 0 Vukovich drops his gum in the wastebasket, picks ur ac of coffee from his desk and uses {t to wasn cowr a Aanc of aspirins. Traxler grimaces. TRAXLER That stuff's twe hours cole. VUKOVICH (nodding ab- sently) 1 know. TRAX {eyeing him) 1 put a cigarette out in i. VYukovich, lost in thought, turns on him suddenly. VUKOVICH Did you reach the next girl yer? TRAX! No. Keep getting an answer- ing machine. VUKOVicH Send a unit. : TRAXLE! talready did. No the door and the manager's out. I'm keeping them there. VUKOVICH Call ner. CONTINUEDbE CONTINUED TRAXLE I just catted. VUKOVICH Call her again. Traxler picks up the phone and begins to ¢ial her number as Vukovich sets down his coffee cup, unwraps a stick of gum and pops it in his mouth. VUKOVICH (continuing) Got a cigarette? cur INT. SARAH'S APARTMENT = NIGHT CLOSE ON PHONE, connected to the answering machine. The Outgoing message triggers after the second ring. GINGER'S VOICE imachine Vi.) i there. (long pause) : Ha he ha, footed you. You're talking to a machine, but don't be shy, it's okay. nines need love too Tk to it and Ginger, that's me, or Sarah will get back to you. Wait for the beep. As the message plays, CAMERA DOLLIES OFF the phone machine ang down the corridor of the dark apartment. As the bedro! door draws near, Ginger's recordee voice fades and is super ceced by CRIES anc MOANS. cut TO: INT. BEDROOM é: ULL SHOT, framed against the streetlit curtains, Sing: Matt form a beautiful tableau of lovemaking in silhouecce. Their perfect bodies giisten with backlight as they strata in passion. 0 + TIGHT TWO, revealing that Ginger 1s wearing her ‘phones. Matt. without bre nent rhythm, reaches out tc night table and thumbs the volume higher. Ginger cries out louder, apparently enjoying his sure touch on her volume control. cuT TO:6& INT. DIVISION HEADQUARTERS - NIGHT Traxler hangs up the phone. ee TRAXLER : Same shit. - VUKOVICK ' I can hear it now, it's gonna ) be the goddamned ‘Phone Book killer’. \ TRAXLER 1 hate the press cases. Especially the weird press Wa cases. Where you going? VUKOVICH (heading for the doo To make a statement. I'm gonna give them the name. Maybe the jackals can help us out for once. 1 He looks at his watch, then stratgntens his tie. | VUKOVICH ‘ (continuing) 4 If they 7 get this on the tube by eleven, she may just ee call us. (pause) How do 1 look? TRAXLER Like shit, boss. VYukovich goes out and the Minicam light nits him as the door closes. CUT TO: 67 INT, PIZZA PARLOR © NIGHT 67 TIGHT ON A TV SCREEN, a news cast in progress. . ANCHORMAN (V.0.) i ' sspolice had no further comment on the apparent similarity between the shooting death of an Encino woman earlier today... CUT WIDE to show Sarah watching the TV which is suspended over the bar. The place isa crowded, postemovie hangout, raucous with laughter and videogames. The newscast continues, ignored by all except Sarah. CONTINUED67 68 CONTINUED ANCHORMAN (V.0.) (continuing) ++sand this almost identical Kiiling two hours ago of a Venice resident with virtually the same name, Sarah Ann Connor, a 24 year old legal secretary, was pronounced dead her beachfront apartment... A customer gestures for the bartender's attention. CUSTOMER Hey, can we change this and catch the ball scores? BARTENDER (reaching for the knob) Sure. Sarah leaps half over the ber, rtling everyone. SARAH (shouting) Leave it where it is! ANCHORMAN (V.0.) (continuing) +:RO other connection bet the two victims has been e ished. (pause) On a lighter note, there was cause for celebration at the L.A. Zoo today, as... Sarah leaves her half-finished pizza and beer, getting ur ina daze. Followed by puzzled glances, she makes her way through the crowd. CUT TO: INT, PIZZA PARLOR HALLWAY 68 In the crowded hallway by the restrooms, Sarah goes to the Single payphone and seizes the directory. She flips rapidly through 4%, then stops, looking down. She sees that her name 1% next on the list. The book slips out of her fingers. Saran turns and scans the crowd. She's getting looks, covert and otherwise, Tike any unaccom- panted girl ona Friday nignt. But is that all they mean? Sarah backs into the women's restroom. cuT TO:65 rn ' : 70 is i n ' \ a - 7 INT. RESTROOM és Saran stumbles numbly to the sink. She splasnes ner face with cold water. In the mirror her terrified reflection looks back. Why me? She hears a loud clatter and spins around. It's Just a drunken woman fumbling with a toflet statl coor Saran eages back out into the corridor. cut To: INT. HALLWAY 70 Sarah walks stiffly to the pay phone. It's QUT OF ORDER. EXT. T/SIDEWALK = NIGHT n Sarah exits the pizza place into the sparse crowd on tne sidewalk. As she passes a figure leaning against tne wai! just outside, the man turns his head to watcn her. It is Reese, his gaze impassive Streetlight catches the burn scar on his cheek. He is motionless, sinister in his long co Sarah shudders. She walks on. POV - SARAH, ON CROWD, moving toward and through approacning groups of pedestrian: hey seem to be glancing az ner. Was it always like that and she just never notices? ¢.U. + SARAH as she looks over her shoulcer. POV = SARAH, ON PIZZA PARLOR DOORWAY. Reese is gone. She resists the urge to run. On the opposite side of the street an LAPD cruiser glides slowly by. Sarah {s about to call out but a bus blocks her view and when ft has passed, the car is turning away down a side street. She passes a large window with STOKER'S written on it, anc ducks quickly through the door, CUT TO: INT. STOKER'S = NIGHT 12 ANGLE THROUGH WINDOW, SARAH F.G., as Reese approaches. Her knuckles clench white as he reaches the ent: walks by, unhurriedly, without a glance inside. : She turns and scans the gloomy interior, which rev: als itselt to be less than savory. Pool tables and uppersmiddle lowlife in submarine depths of smoky haze. CONTINUED78 CONTIN ah draws stares, menacing in their own right, as sn ves between the pocl tables to the back of the bar Her hands are trembling as she drops a dime in the pay phone and dials, VOICE (V.0./RECORDED) You have reached the Los Angeles Police Department Emergency Number, All lines are busy. If you need a police car sent out to you, please Stay on the line... Saran holds the receiver pressed to her ear, glancing around, fear feeding on frustration. cur TO: EXT. SARAH'S APARTMENT BUILDING = NIGHT : 73 An LAPD black-and-white sits at the curb in front of Saran's building with two cops inside, drinking coffee. Througn the open window we hear the dispatcher's voice on tne radio. DISPATCHER (V¥.0.) asstwo eleven in progress at Seven-Eleven market, Third and Tamarac. One suspect believed to be armed... The car pulls out with Tights and siren on. A moment later, Terminator rounds the corner of the buiiding and climbs the stairs to the entryway. He surveys the bank of call buttons, then turns to consider the barred security gate. cut INT, SARAH'S APARTMENT - NIGHT 74 PANAGLIDE WITH GINGER as she ties her terry-cloth robe and, leaving Matt in a dead sleep, pads through the dark aparcment Down the hall, past the phone with Traxler's message. Through the dark living room. She has her Walkman in the pocket of her robe and bops to herself in tt silent gloom as she enters the kitchen. When she opens the refrigerator to remove snack fixings, the light briefly {iluminates the kitchen and in that moment, SOMETHING MOVES in the F.G. TIGHT ON GINGER, MOVING WITH HER as she backs tow counter with her arms full of snack stuff. he CONTINUEDnuts A SUDDEN CRASH. A flurry of motion pening her. She spins, dropping half her load. Ginger fumbles for tne lightswiten. Revealing Pugsley, sitting there blinking innocently among overturned spice bottles on the counter-top. GINGER Shoo. Goon. I'l] make a belt out of you. Pugsley disappears into a large fern by the window anc Ginger sets about her task, slathering crunchy peanut butter on stalks of celery. cuT INT. BEDROOM 13 EDIUM ON MATT, as rustling curtains play pa ignt over his sleecing face. The sound of a faint breeze, In tne B.G. is the balcony, empty. The sliding door is open. ferns of street- TON MATT, as Mis eyes open at the sound of a qui ted CLICKING. repe UP ANGLE + PAST MATT, as the fiveeinch blade of an industria” rezoreknife reaches full extension in Terminator's hand, right above hin It slashes victously downward. Matt rolls and the pillow ts SLIT OPEN where his throat hac been. Whoah! Terminator catches him by the hair and stashes down again. Matt grabs his wrist fn both hands. The enormous muscles of his arms, which seem capable of benct BI fing Chrysler, strain and knot against the pressure of the killer's single 7 And still the biade moves closer to his throat. With’a final heave Matt deflects the down-pressure sideways and the blade snaps with a CLINK against the headboard. HANDHELD WITH MATT as he rolls off the bed, spins and slams his fists together into Terminator's temple. He picks up a brass deco lamp and brings it down with piledriver force. Unperturbed, Terminator knocks the lamp away and huris M over tne bed. cuT TO:78 78 EXT. BALCONY - NIGHT 1 Matt crashes rough tne glass doors and slams against tne balcony railing. cur To: INT, KITCHEN 77 Obtivious to the noise, Ginger croons in rock-and-roll ecstasy, singing to a celery stalk as ff it were a micro- phone. cut To: EXT./INT, BALCONY AND BEDROOM = NIGHT 78 Matt heaves himself up, powerful body gleaming with sweat ang hurls himself upon the intruder. The titans CRASH INTO A DRESSER, reducing ft to kindling. Then into the closet door, EXPLODING THE FULL-LENGTH MIRROR. Terminator piaces one hand on either side of Matt's barrel chest, SINKS MIS FINGERS INTO THE FLESH. An inhuman griz. Matt is raised off tne floor, contorted with agony, above the other's head. cuT To: INT. HALLWAY 79 DOLLY PRECEDING GINGER as she returns from the kitchen with a plate full of celery stalks and a glass of milk. CAMERA passes the closed bedroom door and STOPS, as Ginger pauses to set the plate on top of the glass, freeing one hand to open the door. a AN EXPLOSION OF SPLINTERS in close F.G. as a shape smashes through the door right in front of her...Matt's body propelled halfway through the door by enormous force. Ginger snrieks and leaps back, flinging milk and all into the air. The door begins to open but the pressure of Matt's bocy creates resistance. Ginger SCREAMS and backs away. The door {s wrenched open and Terminator steps through with the massive .45 drawn, HANDHELD WITH GINGER, the wi s blur by as she runs. TIGHT ON TERMINATOR as the pistol RISES INTO FRAME, aligning with nis eyes. BOOM! CONTINUED19 Bo 81 CONTINUED Tf LOW FAST DOLLY WITH GINGER as the bullet punches {nto he- shoulder, pitching her on her face outside the bathroom cose LOW WIDE ANGLE as she craw]s forward, gasping, drowning. Tne implacable figure looms benind ner. Her expression is agony and reeling, nauseating terror. And incomprenension: Why am 1 suddenly dying? Her eyes roll, showing the whites, like @ horse tetherec in a burning stable. cuT TO: INT. BATHROOM ac Ginger scrabbles pathetically for a grip en the tile fiocm as she pulls herself into the bathroom. She clutches the rim of the toilet. LOW ANGLE PAST HER, ON TERMINATOR, as he stands beninc her. PAN UF, off her, he takes aim, And empties the clip. He calmly reloads. cut Te: INT. HALLWAY/BEDROOM Bi CLOSE OM PHONE MACHINE, as the telephone rings Toucly in tne ensuing silence. Terminator spins, drawing an instantaneous bead on the source of the sound, but doesn't fire. GINGER'S VOICE (recorded) Hi there. (pause) Hahaha, fooled you. You're talking to a machine... C.U. - TERMINATOR, motionless, listening. GINGER'S VOICE (recorded, continuing) but don't be shy, it's okey. Machines need love too... Terminator turns abruptly back to Ginger's body. He turns it over, assuring himself that she 1s dead. GINGER'S VOICE (continuing, recorded) «so talk to {t and Ginger, that's me, or Sarah will get back to you. wait for the beep. CONTINUED8 rn ! ’ ee a os ies az i 1a \ 83 ~~ R ay2e/83 cont There is a love tone and the income call is nearc. SARAH'S VOICE (on machine) Ginger, tnis 15 Saran... KUED e Terminator's head snaps around ang ne freezes, listening. He rises slowly as Sarah's voice continues. TIGHT OK HIS UNBLINKING EYES. SARAH'S VOICE chine, conting (on ving) seelim in this sleazy bar called Stoker's on Pico but I'm too scared to leave. I'm realty seared, kiddo... cut Te: INT. STOKER'S BAR © NIGHT 82 Saran cups the telepnone’s mouthpiece with her hang anc Glances around frequently. SARAK ntinuing, into phone) veel think somebody's after me and I sure hope you play this soon ‘cause I need you ang ha to come pick me up. The police keep transferring me around, Dut I'm going to try them again. cur To: INT, SARAH'S APARTMENT/BEDROOM - NIGHT 83 SARAH (continuing, B. The number here is 468-9375. Call me, kiddo. I need you. It's Stoker's on Pico. Bye. Terminator 1s rapidly ang methodically rifling the contents of Sarah's smi k. SIREN'S WAIL, approaching. He picks up & - 1 card. E.C.U. + CARD, It {5 Sarah's college 1.0. card, comstete with color photo of her. MACRO ON PICTURE CONTINUEDBe » ae 87 R ey20/83 con E.C.U. + TERMINATORS EVES as he tosses tne care gown after a fraction of a@ secone’s scan. Picks up sore ers TIGHT ON SARAH'S ADDRESS BOCK, Terminator pockets tris anc slips out the balcony door. Climbing over the ratiing, ne is gone cut TO: INT, STOKER'S BAR = NIGHT Bs Saran is hugdted, back to the wall, beside the phone. SARAK (on prone, upset) -..look, Lieutenant...uh, Vukovieh, don't on hole and don't transfer me to another department... cut Te: INT, VUKOVICH’S OFPICE = NIGHT BE VUROVICK cn prone) 1 won't. Now §ust relax. wnere are you? (pause) Yeah, 1 know it Are you alright? son Pico. tur Te: INT, STOKER'S BAR © NIGHT ae UKDVICH'S OFFICE » NIGHT 87 - OVICK (on phone) Alright, Ms. Connor. Listen efully. You're in a public place, you'll be safe ‘ti] w CONTINUEDmozioning te Traxler cut TO: warSER ANS street “s Face in far tne pulses: gut TO: INT. PLAIN AR = NIGHT 9 colt Pytnon 2357 Magnum anc necks the ariving- wuKOvice vg sea now this OU vines Sag nardebel > cut 70: qnT. STOKER'S an + NIGHT ” qe wartress S008 ® cup of correr gront of Sarah MALTRESS anyening e180? een meres contampiates ner trembling CONTINUEDa1 R 4/20/83 CONTINUED 91 hands. She halfetuens, catching a glimpse of hersel# én the mirror behind the bar. TIGHT ON SARAN, reflected in the mirror, In the F.G. a man ut the bar Toots up fron nis Beer, atratghs Into ner eves. 5 7 We gazes at her coolly for a moment, then glances awey. C.U. = SARAH, feeling trapped, frantic. ANGLE ON FRONT DOOR as it opens and a figure stands siinou- etted briefly against a streetlight. turns, nis eyes flicking to the mirror, the figy = REESE as ne mechanically raises his beer. His knucktes ite. He slowly undoes tne top button of Ais overcoat e {8 a glint of metal in the snacows within. Reese turns stowly on nis barstoo!l as tne figure prusnes hin, ovteot-fosus 7.6. Saran looks uc. + + REESE'S WAND sie acaress. His finger slice niet gun. MEDIUM ON SARS he sits slowly HIS SHOULDER, as the man stops in fro tne booth opposite her. SARAH (uncersainty) Lieutenant Vukovien? ANGLE + it {$ not Lt. Vukovien, rminator sits motionless for a BEAT. Blue eyes so pure an¢ deep. The eyes of a saint, pernazs. The .45 {5 out and cocked and AIMED DIRECTLY AT CAMERA, & in,one motion. The bore seems enormous. BACK ON SARAH, over the gun barrel, her eyes go wide. Ke news a BEAT, Tike a frozen slice of nightmare, MEDIUM ON REESE tion, nis overcoa 3 he whips the riot-gun to a hipefiring sosi+ failing back with a snap. ME PIRES. ON TERMINATOR, as the shotgun blast nits Mis arm and he FIRES, Simultaneously. Sarah screams as the .65 round blows stuff: out of the Dooth seat inches from her face, Her hair is singed by burning gunpowder. An involuntary ery is punched out of ner by the double concussion. CONTINUEDCONTINUES %: Reese is stroking up anotner snetl as Terrinazcr nalforsses from the boctn, OVER REESE'S SHOULDER, as he fires, cocks the siige, fires again, agvancing on Saran's booth. Terminator {$ blown backward over the center divider, Crashing through the glasses and pitchers of beer on tne table opposite, and onto the floor. Saran 1s screaming, scrunched down in the bootn. Terminator is lying on his back at the feet of a tadle- full of drunk patrons. He has two rifled 12 gauge slugs in his ches in the arm, and one The bar customers are frozen in the weire tableau, cowering, gazing. : Saran stops screaming. Reese stancs motiontess, gun aimed. In the sudcen silence, the soun of him cocking the s ts abnormally loud. ON TERMINATOR, very still he smosthly rolis to a crouch anc slips tne UZI machine at, whe-e it nas been hang- ing on a Shoulder strap. Me doesn't seem too impaired as he swings arounc to fire. Reese rolls like a cat and comes up firing. A burst from the UZI rakes the bar where he stood. An orgy of shattering glass. Total pandemont SEVERAL ANGLES a5 patrons of the bar run, scream or dive fer cover, depending upon their level of intelligence. Reese slides through the glass to Sarah's bootn and seizes her wrist. ON TERMINATOR, kneeling amid the chaos, raising the UZI one-handed. Reese tugs viciously on Sarah's arm and she sprawls across the booth seat a moment before the divider and seat cushion erupt with hits from the UZI. ANGLE ON A RUNNING PATRON as a burst of 9mm fire cazches bia in the chest. He pitches into Sarah's booth, pinning er. CONTINUED4 wuze “~ Reese fires, ducks, fires again. Tables crasn over. . A window fs blown out. A table candle rolls inte a poe) of nigneproct a bening the bar. It ignites with a WHOOSH. Reese feeds two snelis into the riot-gun. . TIGHT OW TERMINATOR, an ‘sland of slow, precise moverers amig the confusion, He grops a spent clic. Reaches fo- . anotner with his ploody hang. MOVING WITH REESE as ne vaults the row of Doctns ars starts firing. At point By range ne unioags tne snozs.> * Terminators belly. Cur Te: : INT. /EXT, STOKER'S/STREET = $2 Terminator crashes bac rd tnrougnh two castes anc 2 Giass wincow into the street. Te: vo $3 7. STOKER'S BAR = NIG) 53 qre roaring fire behing the bar is spreacing ver, ye air fg thick with smoke. Reese tosses the UZ!, for which he has ne ammc, inte tre 7 fire, He hauls the dead man off Saran anc reaches ‘o> new TIGHT ON SARAH, shrinking away from Reese, nyster . Wnen ne grads her wrist sne struggles, eyes wice C.U. = REESE, very intense. REESE Come with me {f you want to live. She Jooks where he 1s pointing. cur TO: 94 EXT. STOKER'S BAR/STREET - HIGHT se Terminator is rising unsteadily to nis f Shatterec glass rains from h townere 1t st to nis os= a CONTINUEDos 98 cout INES $e drenchee snirt ang coat. TERMINATOR, as he Sionty looks us, Mis Bioe eyes ng STARLGHT INTO TRE CANERS. cut te: INT, STOKER'S BAR © NIGHT : C.U. = SARAH, feeling a ligntning bolt of terror grester than she could ever imagine as the cold gaze fixes or nev. SARZY (awed watsper) Or my God... Oe = NIGHT 5 sone ciambers = e burning bar. cyt 70 INT. STOKER'S BAR © NIGHT $7 OVING IN ON REESE AND SARAN as he runs, nim, toward the PANAGLI ging her w REVERSE ON TERMINATOR, DOLLYING as he crashes wreckage in the swirling smoxe, hurling Burning th of Ais way. INT. KRITCHEN/HALLWAY/EXIT CORRIDOR 98 PANAGLIDE FOLLOWING REESE AND SARAH, running headi through the clustered kitchen, then down a narrow Dack hallway. Saran stumbles anc Reese brutally pulls ner to her’ feet without slowing. He hits a closed door, which crashes open. Mauls Sarah through, into another corridor. Slams and bolt-latenes {t. An instant later an impact from the far side tears the Jaten-screws half out of tne wall. They run on. cut Te:103 ye NIG IKT. HAL! k from the closec coor a carts te give way. a CAN OF CLEANING 5: cut To kes a step D ain, It ames engul ermini sians or ante Bening him tre INT. /EXT. EXIT CORRIDOR/ALLEY = NIGHT : Reese and Saran pelt down the narrow corrigor, filing eper the outside door and spin out into the alley. TIGHT ON DOOR at far end. It splinters oper anc Tesrinatcr sprints down the corrigor. cur 7 aay © NIGHT KA The cleaning selvert EXPLODE cut Te: CORRIDOR = NIGHT 1 AMEAD OF TERMINATOR, very fast, as he runs fut) Bering nim a firenall of superneasec gas hurzies @ narrow hallway. He clears outer doce an before the tongue of flame roars out into tne alley. cut TO: EXT. STREET IN FRONT OF STOKER'S = NIGHT Vukovienh's plain car arrives, slewing to a stop in cne giass-litterec street in front of the blazing buileing. He leaps out, Traxler right behing him, VUKOVICH (sneusing) What the fuck {5 going on? TWO LAPD UNITS arrive behing them. He motions to tre nearest one. vuKOVICH (continuing) Cover the alley in back. Ke heads for the inferne at a run. cut To:ext. KER'S © NIGHT tis 1 DOLLYING WITH R gare alley. Sa eese pulls her SE AND SARRH as they run throusr tre stumbles over trasncans. ong mercitessty. : wer ANNING as they clear a corner. The B.G. is a dlur. The night-maze 45 8 blur in all of these shots. ' Wo static angles. Relentiess foward metion. : cut TO: 1O8/FX EXT. ALLEY © NIGHT Bering then Terminator is moving with innuman sees. bounding like a pantner, Teaning trash cans anc \ opstacies. cf a ree glow fn tne p total shadow. ROB/FK EXT. Be JPCY « TERMINATOR (RANDHE We know tris is Terminator’s POY because Saran a re just aneac of us. t the image 18 bizarre ' Bright ang nyper-real hint of digt and the fleeing figures ahead are more lutinous than the background, suggesting infrasr ' The margins of the FRAME are crammed with columns of CRT type characters: columns ef numbers and acronyms, “The i changes more rapidly than any human eye coulc follow. There 4s AO Goubs that we are seeing as a Machine would see. The sounc effects are bright and clear, as if they are digitized and enhanced as well. cut 107 EXT. ADJOINING ALLEY - NIGHT icy Reese and Sarah turn off the wel) without slowing ai This one is lined with a row of sand connects to the street. There is littie room to run. Reese {5 reloading on the run, dropping shells. corner by caromin: Bening them Terminator enters the alley, gaining. a CONTINUEDa2? wn Hace 1 \ 1 ' , \ a ' 108 109 wn cont: LOW ANGLE, FAST PANAGLIDE ahead of tne fleeing pair. As they breast the last car Reese snoves Sarah harc, pitching her on ner face to the pavement. He flings open the car cocr...e snielc. Drops to the ground. Fires into the gas tank of a car fursher back in tne ron Just before Terminator reaches ft. Ine car EXLODES, Fi11ing the alley w funneled dDetween the enciesing walls fire, An interns ANGLE OK REESE AND SARAH bening the car docr as flares roar over the hood. ON TERMINATOR, as he Slides to a stop, cut off by the well of flame. any time stuffing Serer inte sre cer. Cover ner he twists two wires tosetnen as Mis stolen GREY SEDAN. Reese doesn't was Climsing tn after ane we recognize t Tne engine catches. AK SILHOUETTE rockets out of the flames. Terminator, leaping from the rocf of the blazing ¢ son the hood of Reese's car, His Mair anc coe ee cur To: INT. /EXT. GREY SEDAN/ALLEY = NT Reese jams reverse and nails the throctie. ‘The car backs down the alley. Terminator draws back his fist. Punches into the windshield. Inside, Sarah {3 sprayed with glass as the killer's fist shoots through, The lacerated fingers grope for her. WIDE as the car shoots backward out of the alley onto the street, narrowly missing an arriving LAPD CRUISER. Sarah p rs herself tightly into the seat as the Magers grasp her bicuse and pull, Reese cranks the wheel hard. cut To: EXT. STREET - NIGHT 109 The sedan skids, 81 ing sideways into a parked car, CONTINUEDuz contd Terminator is thrown off onto the pavement. Reese's car nerties forwarc. PANKING WiTH SEDAN as {t roars past. Vukovich, the gacnere: minions of the law, the burning Duilding, an arriving fire Snoots through a red light and continues to ecce’~ Terminator rolls to a kneeling position, then slowly sca S Out Mis smoldering clothing as Me watches nis cue eur 7 KOVIEY ag he runs te his car, exhorting the neardy to feilow suit, while Trazier grabs the rac:c VURCVICK (snouting) Gc. Go! He's got her. TRAXLER (overtape 11. Suspect wes Grey sedan. Has cur To: STREET/NEARBY = RIGHT : Low igh’ The ROAR of an engine buitds. The sedan, Vike a nightedemon, hurties out of the snacows with its Tights off, doing ninety plus. IDE ANGLE on the empty street, which 1s narrow anc y lined with parked cars. cut TO: INT. GREY SEDAN © NIGHT 12 Sarah 4s in shock Paralyzi Face bioodiess. She (8 shivering, silently, uncontrollably. Her eyes are fixed, and it seems likely that she doesn’? quite comprenend the roaring blur outside her window. REESE (eatmly) Hold on. cuT To:12 CONTIN: Terminator is thrown off onto the pavement, Reese's car urtles forwarc. PANNING WITH SEDAN as {t roars past Vukovich, the gatne minions of tne law, the burning building, an arrsving * truck,..shoots through a red light and continues to a erate. Terminator rolls to a kneeling position, then slowly He pats out his smoldering clothing as me watcnes mis ¢ escape. EXT. STREET + NIGHT Ch VUKOVISH as he runs to his car, exhorting the neem LAPD guys to fellow sutt, while Traxier grats tne r VUKOVICH (shouting) Se. Go! He's got her. TRAXLER (overtapping) Suspect westoound on secan, Hes cut Te: EXT. ST LOW WIDE ANGLE on the empty street, whizr fs tigntty lined with parked Cars. The ROAR of an engine builds. The sedan, Tike a night-demon, hurties out of the snac with fs Isgnts eff, doing ninety plus. cur TO: T/NEARBY © RIGHT 1NT,. GREY SEDAN © NIGHT Sarah is in shock. Paralyzed, Face bloodtess. She {8 shivering, silently, uncontrotlaply. Her eyes are fixed, and it seems likely that she does: quite comprenend the roaring blur outside her wincow. REESE (calmly) Hold on. cut TO:ExT, CITY STREETS = NIGHT un ANGLE, CLOSE TC SEDAN, ane following fz as it rertes around a corner in an expertly controliee sitge Then a high speed sprint down the cross-street. Reese squirrels the venicle Detween & slow-moving car and oncoming traffic, into anotner dark side street. cur To: INT, GREY SEDAN + NIGHT tt Reese drives with total, nerve bsorption, wis eyes flfek to the mirror, to the road, over Mis snoulaer, dace ..ang the world spins outsice. occasional glances at Sarah, he spegis ton c, military voice. REESE Are you injured? Are you sn Nc response. Me reacnes over ang runs his hand over he~ arms, Tess, chest. Seran flincnes. Sne feels the BLIND PANIC Sne pushes his hand away and o Reese slams her pack in her se Ri (continuing) yowhat Tsay. OILING UF WITHIN s the goor. and slaps her, macs. Do exa Exactly. Don't move un- less I say. Don't make a sound untess I say. Do ~ stand? you uni As ne speeks he {s locking the door and fastening Sarar’s seatbelt over her, cinching tt very tigntly, Tike you woule for a child. She doesn't answer. REESE (continuing/ Shouting) 7 De you understand? Yes. ¢ to help you. Rees: nt/Tech-Com, DN38416... I Sergi CONTINUEDR 4/26/82 cont: Saran stares numoly at nis outstretched hang, With zees Strength she automatically returns his handshake. REESE (continuing) Assigned to protect you. You've been targetted for termination. cut To: EXT. SIDE STREET/ALLEY - NIGHT The walls of a narrow alley, inky black, frame a pot erufser parked on the street beyond. Firelignt from back of Stoker's lights the street garisniy. A young cop stands beside the car talking via rads weer the Mike cord Dulles through the side window. he sreacs with a Gistinetive twang--a cisplaced soutnerner. cor sss don't know, {t looks like it might spread to this furniture warenouse across the alley, the saint on the wall's starting to blister UBeee The sweeping headlights of & turning car mone! tne face of Termin front of us. Eyes open, Listening. rity ¢ituminase fr, motionless in tne dark rig cop (continuing) Better get anoth round to this side. truck Terminator's silhouette emerges from the blackness and Strides purposefully toward the cop, CAMERA following. The officer whirls and reaches for his gun but Terminator flings him brutally into the side of the car, steps over him and opens the door. Gefore getting in he noses che unit nu yn he slides benind the wheel, slips ir, and pulls out. ron the roof: 143. e squad car inte CAMERA PRECEDING CAR, HIGH WIDE ANGLE, as {t accelerates diy, until the lines across the street are flashing under It in @ staccato rhythm, cur To:WwW R 4/26/83 . GREY SEDAN + NIGHT 6 Saran is slumped way down in the sea wingow, trying not to see the SARAK (hoarse wns This is a wistak done anything. REESE No. But you will, It's very imporcant thet you ve. turnee away fram tte reeling outsice. haven't Sarah closes her eyes, as sf to shut ft all out. SARAK I can't believe this ts happen- ing. How could that man get ur after you... hatred and respect as he rez? REESE Not aman. A Terminator. Cyber Dynamics Model 101. Reese's tone ts equal part. cuT TO: INT. SQUAD CAR = NH Terminator drives expressionlessly, monitoring tne babnte from Central Dispatch. He hears nis number. DISPATCHER (V.0.) (filtered) ...Suspect vehicle sighted on Motor at Pico, southbound. Units TwoeZeroeSix and Fives Seven, attempt intercept. Unit One-Four-Three, come in. Terminator picks up the mite. We speaks fn a chilling the young cop's southern twang, TERMINATOR This 1s One-Four-Three. West- bound on Olympic, approaching Overland. cuT TO:8 ng 120 121 R 4/20/83 52 EXT, SANTA MONICA FREEWAY + NIGHT The grey sedan moves through traffic like a hell-bent wraith, Reese hes the hammer down. He handles tne car with nerves of steel. CUT TO: EXT. POLICE HELICOPTER = NIGHT ig Below, Reese's sedan snakes along at 110 plus. The chopper, F.G., drops toward tt. PILOT (V.0.) (filtered) Aireunit Two. We're on hin. Westbound Santa Monica at 605. cut To: INT, GREY SEDAN = NIGHT vee SARAH Amachine? You mean, Vike a... robot? REESE Not a rebet. Cyborg. fybernetic Organism. They have to yell over the roar cf air through the broken wingshield. SARAK But...he was bleeding. at moment a blinding Tight sears down on th above. Reese looks over nis left shoulder and s1 CHP cruiser coming alongside. REESE dust a second. Keep your head down. cuT To: EXT. FREEWAY - NIGHT 121 The helicopter is right above the, its spotlight burning on Reese. The cruiser flanks-them, closing. Reese peels off to the right, inches in front of a tractor-t ri brakes hard d slides into a four. To arift through a curving off. ‘The helicopter banks, following. CONTINUEDR ay2c/83 CONTINUED ‘The cruiser swaps ends side into the guararat ying the maneuver anc stams Out of action. cur TO: 122) EXT. OFF RAMP/INTERSECTION + NIGHT The sedan roars across the street without slowine and vanisnes down a tree-lined side street. cur To: 123 EXT. POLICE HELICOPTER = NIGHT DOWN ANGLE + AERIAL past the chopoer, F.6., as its seacsr tose sweeps over the closesknit treetops. tut TO: 126 DE TERSECTION = NIGHT ves n Skids around a corner, F.G., as the searcnlight sin shafts through the trees further down the streez, sweeping futilely back ard fortn. cur Te: 125 EXT. POLICE HELICOPTER = NIGHT 125 It hovers indecisively, then banks off. PILOT (V.0.) (filtered) Lost hin, 126 INT. GREY SEDAN = NIGHT 128 Reese fs ultra-alert, craning to look up, back, forwarc. REESE Good cover pause) Alright. Listen The Terminater's tration unit. Part man, part machi Underneath, {t's @ hyperalloy combat chassis, aicroprocessor-controlled, fully armored. Very tough. CONTINUEDlam Vee , 127 | 1 t28 a : 1 nm 4 Roay2e/e3 6 CONTINUED ree He pauses as they slide arounc another corner, cut To: EXT. STREET » NIGHT 127 Reese's se: glices out to ain @rag. very subdued. He turns the lignts on and blends with traffic. The helicopter crosses laterally in the distance. cut To: GREY SEDAN = NIGHT yee REESE (continuing) But outside, it's tiving, human tissue. Flesn, skin, hatr...bloog. Grown for the cyborgs. SARAK Look, Reese, I know you want help, but... REESE (cutting ner off) everything. hare to Spot. I had to watt ‘tit ha moved on you before I could zero him. SARAH Mey, I'm not stupid, y'know. They can't builé anything like that yet. 7 nee REESE jo. Not yet. forty yar Not for about Reese 15 driving sedately for a low profile, but his eyes rove constantly, searching for a plac ten the car. Saran's eyes are alert as well, and her tone becomes a bit too coal. CONTINUED12e R 4/20/83 CONTIN SARAK So, it's from the future, {8 that right? REESE One possibie future. From your point of view. I don't know the tech stuff. SARAH And you're from the future too? REESE Rigne. They come to a red 1ight and Reese stops. SARAW (patronizingly) Right... pelt, pulls the deer tock Reese can react. He cater k inte the car. Like a shot she untatches the s anc s the docr ma 9" her arm and Rauls Rer struggling Saran sinks her teeth inte Nis hang with all her strengt His grip oes! Slowiy, wi tho other hand and shuts the door. His face shows no he reaches across with his eartion Saran draws back and stares at the blooé running down his arn from the bite, that at his grim, scarred face, The Tight turns green and Reese drives on. Saran tastes blood and wipes her mouth. REESE (coldly) Cyborgs don't feel pain. 1 do. Bon't,..do that...again. We wipes his hand on his pants. rig Steve akly, plead~ ing) dust Tet REESE (slow, but intense) Listen, Understand. That Tereinator is cut there. It an't be reasoned with, 1t be bargained with...it 6 feel pity or remorse or fear... CONTINUED131 132 Ro4s20/B3 CONTINUES ste REESE (continuing) wand ft absolutely wit Ever. uneit tae Saran slumps tn utter resignation. SARAH (quietty) Can you stop it? Reese doesn’t look at her. REESE Maybe. WIth these weapons... T don't know. cur 7 EXT, PARKING LOT + NIGHT 128 he parking lot of a large nos with sporadic parked cars. Reese's car turns into acres of pavement dott cut Te: JINT, TERMINATOR'S CRUISER + NIGHT nae ANGLE THROUGH WINDSHIELD, ON TERMINATOR, as ne searches. Streetiights flare across rhythmically. cut TO: EXT. POLICE HELICOPTER - NIGHT wn It moves between two buildings, searchlight sweeping back ang for: DOWN ANGLE tthe chopper, as the circie of ligne moves across & row of parked cars. It passes a grey Sedan with a shattered windshield. Fiteks back, Holds. TIGHTER ON CAR, GROUND LEVEL, {nm the glare and propwasn. It looks empty. cuT TO: EXT. PARKING LOT/NEARBY = NIGHT 132 LOW ANGLE DOLLY, MOVING WITH REESE AND SARAH as they Craw’ benind a row of parked cars. CONTINUED132 133 136 Ro 20/83 CONTINUED 132 He nas firm notd of her arm but she seems to be cocpe 5 the chopper hovers, on tne far sige of tne tot ches the door of a late mode! brown Buick wri: eft with (ts window partway i Ke unlocks {t and they slip insia cut TO: EXT./INT. TERMINATOR'S CRUISER » NIGHT TIGHT ON TERMINATOR, through the windshield of the black andewnite DISPATCHER (V.0.) (fi 1 tered) Suspect venicle located at parking Tot, Cedar and Glen- haves FULL SHOT as Terminator's cruiser slews {ne radical turn ang roars off in the opposite direction. cut Te: BROWN BUICK/PARKING LOT = NIGHT 138 Reese uses the butt of the shotgun. to smash Tocse tne ignition assembly. Ke begins working on the wires. A police cruiser appears, moving slowly between tne sows of cars. Reese grabs Sarah and pulls her down to huddle below cash level. A moment later a spotlight flashes across tne sezts apove them, They hear the helicopter circling closer. SARAK Reese. ..why me? idny does 42 want me? Ty, are lying very close, a forced intimacy, Reese's voice in -urgent whisper, almost in her ear. A crutser passes 10 clearly. SARAH Tell me. Just start at the beginatay Reese musters his thoughts. And starts. CONTINUED134 R 4/20/83 CONTINUED ae REESE There was a war, A few years from now. Nuclear war. The whole thing. All thisee His gesture includes the car, the city, the world. REESE (continuing ryting...15 gone. Just There were survivors. There. Nobody knew wno started ft. (pause) 1t was the machines. SARAH I don’t understand... i REESE Defense network computer. New. Powerful. ‘Hooked tnto everything. Trusted to run it all. They say it get smart...a new order of intel ts. Gence. Then 1t saw all people as a threat, not just the ones on the other side. Decided our microsecond... .exte: ation. ang when he continues ft's less like a mit Reese pauses briefing, qu eceeeate REESE (continuing Didn't see the war. I was born after, tn the ruins. Grew up there. Starving. Hiding from the WoK's, SARAH The what? Hunter Killers QuiTt in automated factorie: Most of us were rounded up, put tn s...for orderly disposal. Patrol machines. e He pushes up the sleeve of his jacket and shows her a ten didget number etched on the skin of his forearm. Beneath the numbers is a pattern of lines like the avto- maticepricing marks on product packeg CONTINUED138 ro ' ae oe ; 136 ' ' , 137 ~ R 4/20/83 és CONTINUED 136 REESE (continuing) Burned {n by laser scan. (pase) of us units 7 thatvelene fo'gotng out forever. helfcopter moves Its searchifgnt {Tlum tes the car rior, mR. Before tne rotor sound fades, Reese starts the car. cur TO: EXT, PARKING LOT + NIGHT vas Several black-and-wnites are moving among the parked cars, slowly. ANSLE ON TERMINATOR'S CRUISER rolling along just apeve idle. He peers inte the row of cars, listening anc seeing on levels we can't. cur TO: INT, BROWN BUICK = NIGHT Reese ts holding onto Sarah's shoulders tigns REESE (continuing) sssbut there was one gar. ..who thught us to fight. To storm the wire of the camps. To seash those metal mother- fuckers into junk, He tur 4% around brought us back from the brink. (pause) Wis name 4s Connor, John Connor... your son, Sarah, Your unborn son. Sarah stares at hin. CUT TO: EXT. PARKING LOT © NIGHT 137 mn Buick 48 F.G. as the nose of Terminator's cruiser rs behind it, moving slowly. The b CONTINUED137 wi CONTINUED 137 C.U. + TERMINATOR, scanning. LOw ANGLE, past the back of the Buick, as Terminator Cruises by. The tailpipe, F.G., puffs quietly. Terminator’s head snaps around. His eyes lock on Reese's car, Ke ches for his shotgun. CUT TO: INT. BU Ck = NIGHT 1 Reese's head jerks up, looking in the mirror, tur 7 PARKING LOT + NIGHT 139 unches forward from its space, tires erninator fires from the window of the Reese's car scinning as cruiser. cuT TO: INT. BUICK + NIGHT 240 The rear window expiodes and Reese ducks, then cranks the wheel. CUT TO: EXT. PARKING LOT + NIGHT Reese and Terminator race along opposite sides of @ row of cars, approaching the exit. The cruiser pulls anead and closes diagonally as they clear the last car. Reese sees the other's shotgun levelled. He ducks, steering blind, keeps it floored. The windshield and side window EXPLODE INWARD. The Buick slams into the black-and-white, spinning it inci a parked truck. TIRES SCREAM as the two cars siew around heading for the exit. SEVERAL ANGLES, as the police react. CONTINUED162 14d 145 CONTING The chopper banks tight anc dives across the tors cé the parkec cars. Cruisers race to converge. tut TO: EXT. STREET + NIGHT LOW WIDE ANGLE, PRECEDING REESE'S BUICK as {t nits street, accelerating. Terminator's cruiser slides ovt behing dt, fisntails, races forward. Engines roar as the cars go flat out. Buildings ining the street become a blur. The chopper arcs in benind them. Legitimate police, lights blazing, enter the pursuit one by one. LOW ANGLE, MOVING WITH TERMINATOR'S CAR as Reese cocses ross ali lanes ahead of it. eminazor 4s gaining. They run an intersection at a hundree plus. cyt INT. BUICK + NIGHT Reese is feeding nis last two shetis into tne riot gun. REESE (yelling) teer! Holding the gun in both hands be leans out the window, still keeping the throttle mashed down. Sarah grabs the wheel, fignting to contrcl the car. cuT To: EXT. STREET/BUICK - NIGHT es MOVING WITH THE BUICK, looking back, as Reese aims the shotgun, buffeted by the windstrean. Terhinator's car, B.G., overtakes rapidly. SARAH (shouting) Reese! cut To:er INT, BUICK © NIGHT OVER SARA'S SHO ER as they approach an interseccicr.. rec tiget tnesr way ane an ALPHA BETA TRUCK entering cross~ wise. CUT 10: STREET/CARS + NIGHT ar Termin F.G., nis shotgun aimed as he comes a°or seat Ri are staring down each other's barrels. cur INT, BUICK = RIGHT Sarah grabs the snift lever. DETAIL = SH Ry es she slams it inte reverse. O: S STREET/CARS + NIGHT es BOTH CARS as the Buick skids with reer tires locked. Reese and Terminator FIRE simultaneously. TIGHT ON REESE as the doorpost next to his shoulder is torn out by the other's blast. ON TERMINATOR, leaning to see arounc his shattered winc- snield. Too la He hurtles inte the intersection, past tne skidcing Evick Clips the back of the semi. Spins radically. Vaults the curb in a screeching front-end roll. WHIP-PANNING WITH THE CRUISER as it crashes upside-down through the counter area of an A & W. LOW ANGLE as Reese and Sarah slide to a stop in a clouc of tire smoke. Transmission fluid pours out of the car like blood An instant later they are surrounded by an assortment of LAPD, SHERIFF'S DEPT., and CHP CARS. The helicopter hovers overnead. MEDIUM ON SARAH AND REESE, he raises his hands, through the side window, in plain sight. A phalanx of cops, guns drawn, approaches the car warily. CONTINUEDVe 3 CONTINGES i Sarah looks at Reese. Then at tne cops. She opens the coz- and runs, staggering, toward them. Vukovich stecs forwers ang pulls her away to safety. C.U. = REESE watching her go as a cop eases Nis door oper. cut To: f ABW + NIGHT Two cops approach the overturned squac car janmec wreckage of the small building. They shine their flashlights inside. It is empty. The cyborg has VANISHED. Rosign which reags ‘DRIVE iN’ detaches from an awning arc crashes down across the crushed auto. Int VUKOVICH'S OFFICE + NIGHT gi Saran, huddied in a blanket, is sitting on @ bench opocsize Vukovien's desk, Motionless. Her eyes are fixed on the miccle distance. She's been crying, Now sne's emptiec out. The goor opens. the sound of the latch Sarah jerks as ff struck, ang_crin involuntarily. Vukovich enters with Traxler ang DR. PETE? SILBERMAN, a criminal psychologist. Silberman is smootn of skin and manner, young, ambitious and t. He is enthusiastic about the workings of the human psyche, as emotionally involved as Someone pulling tne wings of Vukovich sits beside Sarah ang hands ner @ cup of coffee. He puts a paternal arm around her shoulders. VUKOVICH Here, drink some of this... 7 SARAH (voice flat, perate) Lieutenant, are you sure {t* them? Maybe I should see the ++ -dodies. vuKoview They've already been identi~ fied. There's no doubt. CONTINUEDR 6/20/83 CONTINUES Sarah begins to cry again, slowly and very quietiy. SARAH (to herself} On, God...Ginger...kiddo, I'm so sorry. Vukovicn takes the coffee cup from her as her arms sag enc it starts to spill. VUKOVICH (gently) Saran. (pause) Sarah, this is Dr. Silbers man, ‘I'd like you to tell nim everything Reese said to you. De you feel up to it?” SARAH (almost ine audible) T guess so. (to Silberman) You're a doctor? STLBERMAN A criminal psychologist. SARAH Is Reese crazy? SILBERMAK at's what we're going & find out. INT. HOTEL ROOM - NIGHT 152 The room costs five dollars a might and that's steer, but the FIRE ESCAPE outside the window adds an element of strategic value. A silhouette slips in through the window and clicks on the single BARE LIGHT BULB. It's Terminator, and he's a mess. A bloody scarecrow with bullet wounds in stomach, chest, shoulder and right wrist. MEDIUM ON TERMINATOR as he sits at a ratty folding table under the light. His eyebrows are singed off. Hair a charred stubble. Left eye glistening with imbedded glass shards. CONTINUED182 J (a , 1 jai | y > ’ 153 1 am 186 a CONTIN! Before him on tne table is an array of SMALL TOOLS. He removes the charred remains of his jacket an¢ props one elbow on the table. ANGLE PAST HIS NON-FUNCTIONAL RIGHT ARM, F.G., a5 he exer- ines it. He picks up an X-ACTO KNIFE and cuts deeply into the skin of his forearm. His expression is one of mild concentration. E.C.U. + FOREARM, as he pulls back a large flap of skin to reveal a complex trunk of SHEATHED CABLES AND HYDRAUL:7S They slide as he moves his fingers. RESUME MEDIUM, as Terminator uses & rag to wipe away the bloce. With small screwdrivers he begins to patiently dis- assemble the damaged mechanism around the 12-gauce Miz. cut Te: INT. DIVISION HC/ TERROGATION ROOM - NIGHT The roor is small, furnished with only @ table and two cnatr Reese, his arms handcuffed benind him, sits opposite Dr berman. Bening Silberman is a large mirror. & DETEC ns against the wall. SILBERMAN So. You're a soldier. Fighting for whom? REESE With the One Thirty Second under Perry, from ‘21 to ‘27-- I (interrupting) The year 2027? CUT TO: INT. OBSERVATION ROOM ase Vukovich and Traxler are seated in the dark room, watching R B.6., through the two-way mirror. Just behing the ¢ 4s a VIDEO CAMERA ON A TRIPOD, aimed at Reese, anc P CART noleing @ SMALL MONITOR and VIDEOCASSETTE RECORDER. REESE (through speaker) That's right. CONTINUED155 156 TRAXLER (quietly, to Vukovien) This 1s fucking gre Cut TO: ERROGATION ROOM REESE Then I was assigned Recon/ Security, last two years, under John Connor. SILBERMAN And who was the enemy? REESE SKYNET. A computer defense system built for SAC-NORAD by Cyber Dynamics. A modified Series 4boo. SILBERMAN (gravely) I see. And this...comput thinks it can win by ee the mother of i enemy, ki ing him, fn » before he is even conceiv A sort of retroactive abortion? REESE Yes. cut To: INT. OBSERVATION BOOTH Traxler snorts and grins. TRAXLER (to Vukovieh) That an rage just cracks me up. se He had this guy in here last week who set his Afghan on fire. Screwed it first, then se’ VUKOVICK (leaning forward) Shut up. it one- CUT TO: :87 158 R 4/20/83 72. INT. INTERROGATION ROOM REESE z.s1t had no choice. The defensive grid was smashed. We'd taken the mainframes We'd won king out Connor then would make no difference. Skynet had to wipe out Mis entire exist- ence, We captured the lab complex. Found thi ever it was called time-displacement The Terminator had already gone through. They sent two of us to intercept, then zeroed the whole place. Sumner didn't make ft. SILBERMAN Then how are you supposed to get back? REESE Can't, Nobody goes home. Nobody else comes through. It's just nim and me. CUT TO: INT. HOTEL ROOM - NIGHT E.C.U. = TERMINATOR, in profile, showing his lacerated eye. He is close to a mirror, practically touching it, staring intently. ; MACRO - X-ACTO KNIFE lying on the dresser rrinator's fingers lift it. CAMERA TILTS TO FOLLOW as it rises to his face, holds TIGHT ON Teft eye. With a smooth motion the knife point enters the eyebal) and cuts away the ruins sclera and carnea, as well as part of the damaged eyelids. He wipes with a rag to clear th tronic eye's vision. Revealing the faintly glowing lens mechanism, suspended in a chrome socket by tiny servos. The eye whirs quietly as it tracks. SEQUENCE OF SHOTS, showing various repairs. Terminator's right hand, its wrist SUTURED crudely, holes a needle and sewing thread and starts to work on abdominal wound out of frame below. He slips a glove over the damaged hand. A motoring cap over the blistered scalp. CONTINUEDA fresh shirt to hide his body wounds. This is followed by a new overcoat. C.U. = TERMINATOR, contemplating nis reflection in tne mirror. With the hat pulled down, the collar pulled uo, and favoring his rignt profile he looks unhurt... tnougr a bit gaunt and pale. A turn of his head brings the balefully glowing left eye in its metal socket into view. He slips on a pair of tight, wrapearound sunglasses. FULL SHOT as he goes to the bed and flips uo the stainec mactress. He picks up the Remington 12 gauge, the AR-189 and the .38 off the springs and leaves by tne fire escape cut To: INT. VUKOVICH'S OFFI = NIGHT 183 TIGHT ON VIDEO MON? Room. ‘OR showing Reese in the interrogetion REESE (recorded) veslt's just him ang me. CUT WIDE revealing Sarah, Silberman, Vukovich and Traxter watching a monitor sitting amid incredible paperwork clutter on a desk top. SILBERMAN (recorded) why didn't you bring any weapons? Something more advanced. Don't you have ray guns? Traxler, standing fn the back, grins and nudges Silberman, who nods appreciatively. TIGHT ON REESE'S RECORDED IMAGE - He glares at Silbermen. ON SRRAH, as Silberman's voice 1s heard. STLBERMAN (recorded) Show a piece of future technology. CONTINUEDCONTINUED 155 REESE (recorded/con- trolling ats hostility) You go naked. Something about the field generated by a living organism, Nothing dead will go. SILBERMAN (recorded) why? REESE (recorded) 1 didn't build the fucking thing. SILBERMAN (recorded) Okay. Okay, Bu (consults his notes) cyborg...if it's metal REESE (recorded) Surrounded by living tissue. SILBERMAN (recorded) Of course. this The real Silberman puts the tape on "PAUSE". : SILBERMAK (excited) This 4s great stuff. I could make a career cut of this guy. You see how clever this part is...how ft doesn't require a shred of proof. Most parancid delusions are intricate...but this is brilliant. He starts the tape again. SILBERMAN (recorded) ny were the two other women killed? CONTINUED138 ee ee CONTINUED REESE (recorded) Most official records were lost in the war, The computer knew almost nothing about Connor's mother. Her name. Where she lived, just the city. No scanner pictures. TI Terminator was just being systematic. C.U. = REESE, ON SCREEN, as he goes on. REESE (recorded, con tinuing) You've heard enough. Decide. Are you going to release me? SILBERMAN (recorded) I'm afraig that's net up to me. REESE (recorded/voice rising) Then why am I talking to you? Set out. ON SARAH, DOLLYING SLOWLY IN TO C.U. as we hear Reese begin tc shout. SILBERMAN (recorded) I can help you... ) who 43 fn authority here? C.U. REESE, ON SCR: + GS he looks straight at the camera. REESE (recorded) ~ You still don't get it. He'll find her That's what he does. A1l he does... MEDIUM ON VUKOVICH, gesturing to Silberman, who ‘s near the machine, to kill ft. REESE (recorded, con- $iquing) You can't stop him. He'll wade through you... CONTINUED158 CONTINUED 188 C.U, = REESE, ON SCREEN, rising partway out of his chair, yelling. REESE (recorded, continuing) speach down her throat, and pull her fucking heart out... The screen goes black. Vukovich has cut off the tape. SILBERMAN (glancing around) Sorry. C.U. - SARAK staring at the empty screen. SARAH (turning) So Reese is crazy. SILBERMAN In technical terminology, he's a loon, SARAH But... Vukovich hands her something that looks Tike umpire's padding. VUKOVICH Saran, this is body armor. Our TAC ys wear it. It'll stop a 12 gauge round. This other individual must've had one under his coat. Sarah wants to believe him. God help her 1f he's wrong. SARAK But what about him punching through the windshield? TRAXLER - (shrugs) Probably on PC! bone in his hi it for hours guy once that. broke every and won't feel There was this Vukovich cuts him off with a gesture and sits beside Saran on the bench. CONTINUED185 wn 1 1 LT 160 wn R 4/20/83 CONTINUED VUKOVICH Wry don't you just streten out here and get some sleep. It'1! take your mom a geod nour to get here from Redlands. SARAH Tcan't sleep YUKOVICH Go anead. You're safe. There're thirty cops in this building. SARAH Okay. She lays her head on a wadded up blanket es everyone Teaves the office. CUT TO: INT. CORRIDOR Vukovich pauses outside the door, lost in thought. Traxler studies him for a second. TRAXLER What? (pause) Ee, come on...the guy's a wacko. Vukovich glances up. VUKOVICH (quietly) He'd better be. CUT TO: INT, POLICE DEPARTMENT FOYER + NIGHT 160 Silberman can be seen through a glass partition next te the Bullet-proof 9 closing the NIGHT DESK SERGEANT'S counter. nt hits a button and there 4s a loud BUZZ-CLACK eric bolt on the security decr opens and Silberman steps out. As he exits the station, he passes Terminator just coming in the front door, He glances at the pale apparition in cap and dark wrap-arounds, but goes on. Terminator approaches the Desk Sergeant who barely glances up when he speaks, CONTINUEDvec 16t 162 R 4/20/82 CONTINUED TERMINATOR I'ma friend of Saran Connor. Iwas told she is here. Can I see her, please? SERGEANT You can't see her. She's making a sta t. TERMINATOR Where {s she? SERGEANT (laconically) Look. It's gonna be a while. You wanna wait. There's & bench. Terminator steps back, scanning the booth, the electric door, the rooms beyond. TERMINATOR 1°11 come back. He turns and walks out through the front doors. ANGLE PAST DESK SERGEANT, F.G. - ON FRONT DOORS, tne officer bsorbed in paperwork, not watching as a pair of Tights BRIGHTER outside the doors. RAPIDLY. He glances up as the last second as the glare falls fully on him. CRASH! Several cops and late night loiterers scatter as a car Smashes into the foyer. It blasts through the serg booth, crushing nim in the wreka cuT TO: INT. DIVISION HQ/VUKOVICH'S OFFICE 161 Sarah, lying on the couch, jerks awake as the crash REVERBERATES through the building. She sits up, bleary- cuT TO: INT, DIVISION HQ/CORRIDOR 162 Through the hole in the splinterec wall we see Terminator leap out of the car. He vaults the hood wall. nd smashes through the debris of the CONTINUED182 163 168 165/FX 166 60 Lengs to the corridor floor in a snower of plesser fragrents He brandishes the AR-180 like a pistol in one mang, tne .38 in the other. the shotgun cangies at his side on a shoulder sling. 162 LOW ANGLE DOLLY, preceding him as he starts down tne corridor. ANGLE ON LOUNGE DOORWAY as TWO COPS run into the hall. one carrying a cup of coffee. Ferminator fires a burst from the assault rifle. ANGLE ON COPS - They are flung backward in a spray of coffee and plaster. tut TO: INT, DIVISION HO/VUKOVICH'S OFFICE Saran 4s alert now with growing alarm. The sound of GUNFIRE {5 faing...but unmistakable. Her expression Shows the dawning certainty of what is happening. cut To: INT. DIVISION HG/CORRIDOR 168 Terminator steps over the bodies of the two cops without breaking stride. OVER HIS SHOULDER, MOVING WITH HIM as he walks down cre hall. Comes te a door. Tries it. Locked. Kicks it in. A DESK COP, Grawing his gun, sprints for cover. =. ANGLE ON TERMINATOR raising the AR-180. INT, DIVISION HQ/OFFICE = TERMINATORS POV 165 /F In computersenhanced vision we see the cop dash around & forner in SLOW MOTION, As he disappears behind tne wall GR AAIMATED OUTLINE OF HIM fs still visfple...a PROBABILISTI EXTRAPOLATION OF HIS MOTION. There is a target cross- hair following the figure. cur TO: INT. DIVISION HQ/OFFICE - BEHIND WALL 166 The wall erupts with volley of shots beside the runnin The mn eree se abr’ gE KARE. : . cut 70:167 167A 1678 168 169 INT. VUKOVICH'S OFFICE 187 Shots are echoing in the Mallway as Vukovicn wrips oper the door, startling the nell out of Saran. vuKovic# Stay here. He turns the locking knob and slams the door. Leaving her alone. She flinches as more SHOTS SOUND. CLOSER. cut TO INT. CORRIDOR Vere Terminator rips the cover off the station's main panel. He pulls loose the hose-like 640 volt fncoming line and feeds tt directly into tne lighting circuft. ctrice? All down the corridor the overhead fluorescent units explode, showering sparks and glass. The building is plunged into darkness. Ares SPUTTER and FLARE, lighting the corridors strobo- seopicatly. cuT TO: INT. VUKOVICH'S OFFICE 1678 Sarah's terror skyrockets when the ceiling lamp explodes and the office goes btack. cut TO: INT. CORRIDOR 165 Through the smoke and emergency spotlights Terminator moves forward, inexorably. A door beside him opens. A COP fires, nitting him in the shoulder, Terminator fires straight-arm with the .38 without slowing, killing the cop, then fires down the Corridor with the assault rifle. CUT TO: INT, INTERROGATION ROOM 165 Traxler leaves the other detective to guard Reese, who ts still handcuffed to the chair. CONTINUED165 170 wn V2 173 176 R 4/20/82 ff CONTINUE 183 TRAXLER (exiting) Watch him, The door closes. An instant later a chafr smasnes over the detective's back, just es he ts turning toward his prisoner. Reese is on him, serabbling for the keys. cuT TO: INT. CROSS CORRIDOR re Traxler ts running down the hall through smoke and the wild srobing of electrical fires as Vukovich steps out of an armory room, He tosses Traxler an M-16 and they run on. cut To: INT. MAIN CORRIDOR wn Terminator stops before another door. He BLASTS the lock with the riotegun. Flings op.n the door, scanning. Moves on. He is hit twice, chest and Teg. : Firelight flickers from an office doorway as he passes. CUT TO: INT. VUKOVICH'S OFFICE 172 Sarah scrabbie's for a place to hide in the darkened room but it's so tiny. Behind the desk. She crouches unable to believe she has awakened into the same nightmare. cut To: INT. OFFICE NEARBY ANGLE OM DOOR as it splinters open and Terminator stands, uns raised. A COP fires from behind a desk. erminator sprays the room. Starts to reload. Cut TO: INT. CORRIDOR Vukovich edges open a door and fires half a clip into CONTINUEDqe 178 77 A seeros az. CONTIN je ate Terminator’s back. His eyes bulge as the intruder turns, Slamring a clip into nis rife and calmly fires two rcunes. Traxler drags Vukovich’s body back inside the room. TRAXLER fd! Ed...? cut 70: INT. CORRIDOR TIGHT ON TERMINATOR, moving forward, intent cur TO: « VUKOVICH'S OFFICE 176 MEDIUM ON SARAH, her teeth are chattering with fear as SHOTS echc nearby. There is the RHYTHMIC THUNDER cf the Shotgun, rattling AUTOMATIC FIRE, SCREAMING, and the sound of RUNNING FEET. Getting closer. SLOW DOLLY IN ON SARAH begins, ending in TIGHT C.U. as the sounds get louder, More SHOTS. Smoke begins to seep under the door. DETAIL = DOORKNOB rattling as it is tried from outside. ou 8 SHOT DETAIL - DOORKNOB, @ series of SHOTS shatter the lock. = SARAK stifling a ery. She flinches as if slapped sound. FULL ON DOORWAY = The door bangs open and a figure ‘silhouetted in the smoky hallway, holding a pistol. tangs £.C.U. + SARAH, as she closes her eyes. Holds her breatn. REESE (V,0.) Saran? "FULL SHOT = She serabbles out from beneath the desk and runs to him in the thickening smoke. cuT To: INT. CONNECTING OFFICES 77 PANAGLIDE FOLLOWING REESE AND SARAH as they eross the corridor and move through a series of offices, doudling back toward the main entrance. CUT TO:378 ~~ r~ 375 | 180 wn INT. OFFICE Saran ang Reese move rapidly through the smoke. Gunfire sounds nearby. ‘They pass bocies. VUKOVICH (V.0.) (weakly) Reese! They fing the Lieutenant propped in a corner, dying. Reese bends toward him. Vukovich holds out nis custom Colt Python .357. VUKOVICK (continuing) You just keep her alive. De what’ you have to. Reese snatcnes the gun and the keys and runs on. C.U. = VUKOVICH watching them go. /EXT. OFFICES/SIDE ENTRANCE - NIGHT a7 FAST PANAGLIDE PRECEDING TERMINATOR as he runs through the smoky rooms. A fire is burning, lighting everything a flickering orange. Ke emerges onto a landing through a side entrance, PAN to follow nis line of sight as ne snaps AR-180 to his shoulder. B.S. a BLUE VOLKSWAGEN RABBIT is roaring away across the parking lot. TIGHT ON TERMINATOR aiming carefully. He pulls the trigger. It clicks...empty. Slowly he lowers the scope-signt from his eye and watches then go. Terminator limps down the steps from the landing and walks yas the fire spreads behind the windows of Division dquarters. . cut To: INT. RABBIT + NIGHT 180 DETAIL - GAS GAUI St reads EMPTY. cuT To:Ra 20/8S EXT. HIGHWAY = NIGHT Tne Rabbit is stopped on the shoulder of a two lane Secondary road winding through tne hills north of Reese is fishing objects out of the car's trunk anc handing then to Sarah, who holds a flashlight. He hands her a blanket, some road flares, and a first aid kit, Then he slams the trunk Reaching througr cre side window, he turns the wheel anc pushes the car of? the shoulder, over the embankment. DOWN ANGLE INTO RAVINE, past Saran and Reese, as tne car trundies down, crasning through the underbrusn to cis- appear among the trees. Reese looks out across the valley and the lights of © A copter circles in the distance, searchiis: REESE Let's get off the road. cut Te J. DRAINAGE CULVERT = NIGHT 1a ANGLE LOOKING OUT from the mouth of an enclosed concre> storm drain thas sses under the roac. Reese, followed by Sarah, trugges down the slope and ducks inside. The floor is wet but he doesn't seem to ming. hey both hunker down with their backs to the concn facing each other. They look beaten, grimy, exhausted. She huddles under the Blanket, watf-Tike. REESE You cold? SARAH Freezing. REESE Come here. She sits beside him and they wrac their arms around each other with the blanket covering both of them. ts SARAH Reese...you got a first name? REESE kyle. SARAH kyle, what's it lke when you go through time182 CONTINUED 182 REESE White light. Pain. Like being ripped inside out... slowly. Like being born, maybe. Sarah scowls and draws her hand out from under his jacket. SARAH You're wet. On my god. In the beam of the flashlight her hand is glistening with blood. REESE I caught one, back there. SARAH (incredulous) Caught one? You mean you got shot? Reese shrugs. REESE It's not bad. Sarah sits up and turns toward him. SARAH We gotta get you to a doctor. REESE It's okay, Forget it. SARAH Fo 2?) Are you crazy? Let me see it. Sarah opens his jacket and the flashlight beam shows his shirt bloodsoaked at the shoulder. SARAH (continuing) ” Jeez. You idiot. Take this off. She cradles the flashlight between her knees and opens the first aid kit as he removes his jacket. REESE (looking at the wound) See. Missed everythin: Passed through the m CONTINUEDSM aur ee 8 CONTINUED ; Sarah starts swabbing the flesh wound. SARAH This is gonna make me puke. Talk about something. ieee REESE at? SARAH dust talk. T ry son. is 1 me about e tall? hie She puts a gauze pad in place and starts to wrap it. REESE About my height. He has your-= (he winces) seedamn...ne has your eyes. Saran glances at his face for a second and then goes back to work. SARAH What's ne like? pea REESE (thoughtful) You trust nim. He's got that strength. You'd die ina second for John. SARAH be Well, at least I know what to name him. I don't suppose you'd know who the father is? Seiroaon't tell nin to get Tost when I meet htm. REESE dohn never said much abot hin. dies. fven befor the war... ie : SARAH (interrupting) Step! I don't want to know. : Hold still. So...it wes John that ordered you here? REESE I volunteered. SARAK. - You volunteered? CONTINUED182 CONTINUED REESE It wan an honor. A chance to meet the legend. Saran Connor. Who taught her son to fight...organize, prepar From when he was & kid. When you were in hiding, before the war. She stops taping. She seems lost, her bravado dissipated. SARAH You talk about things I haven't done yet in the past tense. It's making me crazy. I can't think, pause) Are you sure you've got the right person? Reese appraises her coldly. She pulls the REESE cl'm sure. SARAH Come on, me? The mother of the future? Am I tough? Organized? I can't even balance my checkbook. I cry when I see a cat that's been run over... and I don't even iike cats. bandage tight with a knot. REESE Ow! No, it's okay. It's better tight. SARAK And anyway, what do T know about guerilla warfare? REESE You'll Tearn. SARAH angry) Look, Reese, I didn't ask for this honor and 1 don't want it. Any of {t. CONTINUEDR 9/20/83 182 CONTINUED REE: io Jonn gave me a message for ou. Made me memorize it. Sarah'.,.this is the message... ‘Sarah, thank you. For your courage through the dark years. TI can't help you with what you Bust soon face, except to tell you that the future is not set... there is no such thing as Fate, but what we make for ourselves by our own will. You must be stronger tnan you imagine you can be. You must survive, or I will never exist.’ That's all. Sarah stares at him as the enormity of it all becomes reat to her. Reese moves his arm, testing the bandage. REESE (continuing) Good fieldedressing. SARAH (brightening) You like 1t? It's my first. Tr He rebuttons his shirt and they return to the warmth- conserving emsrace. Saran gazes out the entrance, inte the night. REESE Sleep. It'll be Tight soon. i SARAK (closing her eyes) Okay. Talk some more. REESE About what? SARAH (murmuring) About where you're from. Kyle watches the helicopter circling far in the distance. REESE Alright. (pausing) You stay down by day, but at : night you can move around. wn The HeK'S use infra-red $0 you still have to watch out. : CONTINUED182 183/FK 1B4/FX 185 RR S/EUSBD ee CONTINUED ; REESE (continuing) But they're not too brignt. John taught us ways todust them them. That's when the infiltra- tors started to appear. The Terminators were the newest the worst. During his monologue we have PANNED into the darkness outside and to the helicopter, whicn flies OUT OF FRAME, leaving black. A ROTOR ROAR fades up. cuT IN BLACK 7 EXT. CITY RUINS, 2029 - NIGHT 383/FX Black sky. Stars. With a roar an AERIAL PATROL CRAFT enters close overhead. It has flashing red and dive lights and powerful searcn- lights whicn stab down, 7 DOWN to wnt Blackened bones lie everywhere in heaps. Searchlights sweep the night. Another aerial unit hovers several blocks away, firing tracers into the ruins. vista of moonlit devastation. h blows in drifts among fire gutted ruins. cut TO: EXT. RUINS/ST! LOW ANGLE T+ RIGHT 1BA/FK as ming chrome H-K grinds through the debris of the shattered street on its tank-lfke tracks, crushing burnt skulls. Its head turns slowly, playing highein nsity Tights over the buildings. Its hydraulic arms are folded, mantis-like, against its ‘torso’. After it passes a number of human figures dart from shadow to shadow, B.G. CuT TO: INT, TUNNELS + NIGHT 185 Reese {1s among a SQUAD OF MEN in black f equipment and energy rifles, who enter & tunnel. igues, carrying pris-littered CONTINUED1as 186 CONTINUED PANAGLIDE WITH THEM as they trot through a labyrintn of tunnels, past several guard-posts, Reese has & GER! SHEPHERD on a short leasn. Cut TO: INT. PARKING STRUCTUI ° NIGHT 188 The platoon enters a cavernous chamber, an old parking structure, in which a large group is gathering. At the entrance, ARMED SENTRIES with dogs are passing in new arrivals: men wearing mismatched uniforms or rags anc carrying all types of weapons from lasers to shotguns. Weapons are left at the sentry post. FOLLOWING REESE as he patrols the perimeter. He walks along a row of CARS, models from the eighties anc Rineties, now stripped, rusty anc modified to carry weapors. There are conventional military venicles as well. He passes several family groups. Gaunt kids are huddled around an old TV SET. Its glow bathes them. REVERSE ANGLE reveals that the set has been gutted and a 1 cookfire crackles inside the shell. Nearby a kid has a LARGE RAT cornered and is whacking it with 2 stick. Reese pauses at the end of the row of vehicles and unsnacs AQ pocket in his tunic, removing a small paper rectangle, 2 worn photograph. C-U. > REESE. gazing down. Wis hand snaps around at the sudden sound of BARKING. ANGLE ON SENTRY POST as the dogs go crazy. SENTRY (shouting) Terminator! An innocuous, RAG-DRESSED MAN flips back his poncho to reveal a powerful PLASMA-RIFLE. He opens FIRE, running forward. ENERGY BOLTS rip into the crowd. MOVING WITH REESE, running toward the Terminator. RAPID CUTS: POWERBOLTS EXPLODE among the fleeing people. Beams sear the darkness. A running CHILD is BURST by a plasma hit. CONTINUED186 187 Pee et eee eet gt CONTINUED 18: ANGLE ON REESZ running. He levels nis energy-rifle ang starts firing. A powerbolt grazes nis cheek, EXPLODING a support column benind him. Part cf the ROOF COLLAPSES as Reese tumbles. Everything is lit as if by lightning. C.U. = REESE, semi-conscious. Burned. Bleeding. ressions implode on nim: running feet, flashes, energy beams raking the ground leaving molten worm-tracks, screan- fing, a burning dog howling. DETAIL ~ The picture Reese had been looking at has fatier, forgotten, It catches fire and starts to curl. Before the image vanishes we see that it ts a picture of Saran Reese looks up. A figure looms above, a silhouette in the smoky, netiisn glare. THE TERMINATOR. Its eyes glow red. A brilliant EXPLOSION WHITES OUT TI INT. CULVERT + DAWN 187 C.U. + SARAH, brightly Tit by daylight. Astee>. She grimeces and groans. In the distance a dog is barking. Reese, stil! holding ner, Tightly lifts her hair from her face.” An uncharacteristically tender gesture. gently caresses her cheek with the backs of his fingers. . Wren she awakens suddenly he snaps his hand away. gerah looks around, momentarily disoriented, Looks ep at ease. SARAH Iwas dreaming about dogs. Reese extricates himself from her and steps cut of the : REESE to spot Terminators. th We us: Sarah groans as she straightens her legs. SARAH Your world...it's pret terrifying.188 ~~ : 185 wn 1B98 wn EXT. CULVERT/RAVINE = DAWN 18 Reese helps her out of the tunnel. REESE 1 could say the same thing. Let's get going. SARAH We need a car. Reese draws his pistol and heads for the road above. REESE I'11 get one. cut To: EXT. HIGHWAY = DAWN 1e9 Sarah catches up to him just as he is about to try anc stop an approaching car. She pulls his gun hand down with both of hers. SARAH Put that away. 111 get one. She holds out her thumb to passing traffic. Reese watches this incomprehensible ceremony skeptically. SARAH (continuing) This works...really. CUT TO: EXT. HIGHWAY/PICKUP = DAY 1854 Reese and Sarah are crammed into the cab of a beat-to-hei? PICKUP TRUCK with the DRIVER, obviously a surfer. Laid- back, long-haired and well-tanned. Reese glowers and watches the scenery through slitted eyes. DRIVER s,and when {t breaks right REESE (to Sarah) Rad tubes? SARAH (to Reese) He's a surfer. CONTINUED1B9A CONTINUED 190 R 4/20/83 DRIVER You from back East or something? SARAK No, he's from the future. DRIVER Whoah, I hear that. (pause) Listen, I had a rough aight. I gotta stop and bag some 2's. They pull off the highway toward a ges station/rest area. cut To: EXT. SERVICE STATION = DAY 199 The gas station is like an oasis of clutter in a rolling stretch of meadows and woods. It consists of a bunker- Tike building with restrooms and a flanking PICNIC ARi beyond which are WOODS. People sit under the trees, enjoying the beautiful day while children tear around after the forced inactivity of a long trip. The three of them get out on unsteady legs. DRIVER You can still ride if you wanna hang out for a couple hours. SARAH Thanks. REESE Bag some 2's? SARAH Let's get cleaned up, Kyle. ds for the WOMEN'S RESTROOM and Kyle follows her REESE (pushing him out) Yours 1s over there. CONTINUED199 191 CONTINUED Insteadof following her Girections to the Men's Room, kyle wanders toward the drinking fountain. & buncn of kids are running around and throwing water at each otner with paper cups. Reese shambles through them like a zombie. He stands among the children, an alien in this land without fear. He watches people at picnic tables laughing and listening to portable music. Kids squeal. Dogs bark. LITTLE GIRL (V.0.) Can you get my balloon? DOWN ANGLE on an achingly beautiful LITTLE GIRL of about four. She points above his head. Reese looks up to see a helium-filled mylar balloon stuck ? the foliage of a tree just above him. He pulls it ¢own by its string and holds tt, turning it over dully. He crouches down to her eye-level. She smiles. REE: Aren't you afraid to be out in the open like this? LITTLE GIRL Huh? Reese whirls reflexively at a SCREAM behind him. The mylar balloon bursts in his tense hands. A teenage girl is being doused with water by two boys witn plastic jugs. The little girl looks at the broken balloon, then glares at Reese. She punches him soundly on the shoulder and storms off. At this moment she is bowled over by an IRISH SETTER that Ticks her face while she shrieks with laughter. Reese seems about to smile but doesn't quite know how to go about it. cut TO: EXT. SERVICE STATION/PAY PHONE = DAY 1 Sarah {4s talking on an open pay phone. SARAH veel know, Mom, This fs the soonest I could...1 know. Mom...Mom, I can't talk Tong. No, okay. ause i“ CONTINUED192 CONTINUED vst SARAH (conzinuing) 1 was on TV?) Really? (pause) Oh no, I hate that picture... why didn't you give them my graduation picture? (pause) I'm okay, really. Listen, 7 want you to pack some stuff and go up to the cabin for a few days. dust don't...no, don't ask any questions. dust do it. I gotta get going...gotca go. Bye, bye. Saran has been idly leafing through the DIRECTORY. Or a wnim she looks up something. She freezes for a moment when she finds the listing. Then with a sriumphant expression she rips the page out of the book. cut Te EXT. SERVICE STATION/PICNIC TAB = DAY 192 Sarah is sitting at a table under a tree, letsering something with a lipstick on a cardboard box-flap. E.C.U. = ST It reacs: SILICON VALLEY. FULL ON SARAH as she retracts the lipstick and leans across to hand it to a girl at the next table. SARAH Thanks a lot. REESE (V.0.) What's that? N, as the last letters are finished. Sarah looks up, stersied to si him standing beside her. : SARAH That's where w REESE ‘re going. why? Sarah points to the directory page lying on the table. MACRO = PAGE CONTINUED192 CONTINUED Sarah's finger points to a listing which reads: ee CYBER DYNAMICS CORPORATION Vela £1 Camino Real, S'vale ANGLE ON SARAH AND REESE She Tooks smug. SARAH Look. I found it. Isn't that it? Cyber Dynamics Corporation? REESE What about it? SARAH Didn't you say ‘that they're going to develop this revolutionary new thing... REESE Molecular-memory. SARAH Whatever...they become the hotshot computer guys so they Cn get the job to build £1 Computer Grande...Skynet...for the government. Right? a REESE (uneasy) That's the way it was told to me. Sarah's fear has been replaced by excitement, F SARAH Well, we're gonna uninvent the bastard. Efghty-six it. we'll blow up the place...burn it down, Something. a REESE i (very cold) Tactieally dangerous, we Jay Tow. CONTINUED182 193 R 4/20/83 ge. CONTINUED SARAH Reese. Think it through. We can prevent the war. Nobody else {s gonna do it. If we go to anybody official we wind up back in jafl and then that walking cuisinart has got us again. We have to do it ourselves. REESE That's not my mission. SARAK (upset, mocking nis manner) Listen, Understand. I'm not a military objective, Reese. I'm a person... You don't own ne. Reese takes her arm and pulls her to her feet. REESE Let's go. Time to move out. SARAH Fuck you! Let go of me! She jerks her arm free. He reaches for her again but she butdistances him, running. REESE (warning tone) Saran! She dashes down a footpath among the trees, clutching her sign. Reese follows her inte the woods. cur EXT. WOODS/CLEARING » DAY 183 Only a few yards from the picnic ar comptetely. PANNING WITH SARAH as she runs down the path. se tackles her from behind and they fall together in the long spring grass. She struggles violently to get away. the woods take over CONTINUED193 Cee eee CONTINUED 1s3 SARAH Let...go...dastard... She gets one arm free and whacks him hard in the face. Reese reacts instinctively, leaping back in a defensive crouch. Saran freezes when she sees the .357 in his and. SARAH (continuing, scared, but agry) Oh, that's real smart, Go on, shoot me. That's brilliant. s@ i$ trembling as he lowers the gun Saran too i$ snaking with emotion. Tears roll down her cheeks and her voice cracks. SARAH (continuing) Jesus Christ, Reese. Can't you see I'm scared? " He straightens up and his arms go limp at his sides. Ke turns away. SARA (continuing) 1 can't spend my life waiting for that thing to catch up with me...always looking over ay shoulder, wondering if 1 ett some tiny clue behind... Reese doesn't respond. The gun slips from his fingers. His will seems to drain from him and he sags to his knees. The moment stretches. There is only the sunlight moving. tn shafts through the ves, the sound of a small stream nearby, birds chirping. ‘SARAH = Reese? She crawls over to him. C.U, = REESE ith Sarah B.G. closed. nders down his cheek. in profil His eye: A tear CONTINUED193 ge. CONTIN’ SARAH (continuing, quietly) kyle? REESE (a whisper) I'm wrong here. 1 wasn't Meant to see this... He gestures at their surroundings. REESE (continuing) Tike some dream. this... It's. This. He touches the grass, the trunk of a tree. REESE (continuing) ang you...all so ~ Tt hurts, Sar than death. He locks at her beseechingly. REESE (continuing) Don't you understand...it's ait gone! Sarah puts her arms arcund him. She sniffs and wipes at her nose with the back of her hand. SARAH We can change it, Kyle. We have to try. She takes his shoulders in her hands. SARAH (continuing) There's no fate but what we make for ourselves. Right? a Come on. Let's go, kiddo. Whaddya say? We picks up her sign and they look at each otner for a Second, then get up. CUT TO:1geas/Fx 196 a eel eS INT, TERMINATOR'S HOTEL ROOM - DAY Terminator sits in his room with the blinds drawn tight. Murky. Claustrophobic. With knifeeslits of not sunlig MEDIUM ON TERMINATOR sitting on the edge of the bed. His appearance isn't improving. A patch of SCALP is blown away, revealing CHROME underneatn. A flap of skin dangles from his cheek, which exposes so of the DRIVE CABLES which move the lips. He is scanning Saran's address book, turning a page every two seconds. C.U.- TERMINATOR his eyes tracking rapidly, His skin is waxy, WHITE, BRU! GANGRENOUS tn places. He ignores the FEW FLIES crawling on his face. cut To: POV = TERMINATOR yeearrs Showing Sarah's book, In microseconds the into CRT-type charac screen. This update Adwritten entries are translat Sand displayed to one side of instantly as the page is turned. cut TO; INT. HOTEL CORRIDOR + DAY 198 A MIDDLE-AGED MAN with a torn T-shirt covering his paunch knocks on the door. He i$ wheeling a trash cart. MAN Hey, buddy, you got a dead cat in there or what? cut TO: INT, TERMINATOR'S HOTEL ROOM = DAY 196 TIGHT ON TERMINATOR as he looks up. . CUT TO:ST/FK POV © 196 200 201 MINATOR The digitized image PANS to the door ang a LOGIC-FLOW DIAGRAM appears overlaid in color-coded words. 1% con- cludes with a list of potential appropriate responses: YES/NO OR WHAT GO_AWAY PLEASE COME BACK LATER FUCK YOU FUCK YOU, ASSHOLE The last begins to FLASH, and enlarges to fill the screen. cuT TO: TERMINATOR Fuck you, assnole. He returns to his scan. curt TO INT, HOTEL CORRIDOR - DAY 19s The man shrugs and walks on down the hall. cut EXT. MOTEL + DUSK 200 The two fugitives walk toward an economy motel of the two-story parkeby-the-door variety. Sarah turns to wave as a TRACTOR-TRAILER pulls away noisily, heacing back to e Interstate. The dr roanswers her wave ut the side window. Reese stops for # moment outside the motel office to pet a GERMAN SHEPHERD sitting on the porch. The dog wags its tail and Vicks his hand. Reese opens the door and they go in. cut Te: INT..MOTEL OFFICE » DUSK 201 Reese pulls a crumpled wad of bills from his jeans and shows it to Sarah. REESE Is this enough? SARAH Yes. And I don't want to know where you got {t. CONTINUED201 o~ ‘ if 202 I ~~ 203 = 204 rn R 4/20/85 wee CONTINUED aor She turns to the desk clerk, a female version of the Sawn. shop lizard. SARAH (to clerk) We need a room...with & kitchen. cuT TO: INT, MOTEL ROOM = DUSK 2cz kyle and Sarah enter the spartan room SARAH I'm dying for a shower, You could use one too. And we'd better check that bandage. REESE Later, I'm going out for materiel. Keep this. He hands her the .38 he took off She takes it without thinking as that she has A LOADED GUN IN HER dea of how to use it. She lays As an afterthought, she turns 1% 1s pointing the other way. Sarah moves the curtain slightly EXT. MOTEL - DUSK the detective. he leaves then realizes HAND, without the slight it gently on the dress with one finger so tha and looks outside. CUT TO: 203 Reese walks away toward a commercial area visible down the road. INT, MOTEL ROOM - NIGHT CUT TO: 208 Sarah is on the phone, her hair still wet from a shower. She sits on the bed with a towel SARAH wrapped around her. veeNo, Mom, I can't tell you where Iam. I was to say. told not CONTINUED20: 206 CONTINUED 206 SARAH'S MOM (V.0.) (filtered) But honey, I need to know where T can reach you or ['11 be worried sick. It turns out I can't stay up here... the electricity's off...and I don't know just where I'll be. Sarah hesitates, the! SARAH Okay, here’s the number. Are you ready? SARAH'S MOM (V.0.) (filtered) Go anead. - cut TO: INT, MOUNTAIN CABIN © NIGHT 205 SLOW PAN around the room as the conversation between Saran and her Mom continues, completely VOICE OVER. SARAH (V.0.) (filtered) It's 408-972-1439. Room 14, SARAH'S MOM (V.0.) (filtered) I've got it. The’ PAN continues, revealing an overturned chair. SARAK (V.0.) (filtered) Okay, I've gotta go. I'm sorry I can't tell you very much now, Mon. I Tove you. The PAN comes to a table. Smashed plates. Spilled coffee. Aspatter of blood. A phone. It follows the phone cord onto Terminator in CLOSE-UP as he continues in a pe simulation of her mother's voice TERMINATOR (MOTHER'S VOICE) I Tove you too, sweetheart. cur TO: INT. MOTEL ROOM - NIGHT 206 Saran hangs up the phone, vaguely disturbed. : cut TO:207 208 209 R 4/20/83 le. INT. MOUNTAIN CABIN = NIGHT Terminator rapidly dials the number Saran gave. TERMINATOR (HIS VOICE) Hello. (pause) Tell me the address there. cuT TO: INT. MOTEL ROOM - NIGHT 208 TIGHT ON SEVERAL GROCERY BAGS covering the counter beside the hot-plate in the tiny kitchen. Reese's hands split one open and its contents spill out. FULL SHOT Sarah looks through Reese's haul. SARAH Let's see. Corn syrup. Ammonia, Meth balls. Mmm. What's for dinn REESE (prececupied) Plastique. ‘There are also boxes of shotgun shells, road flares, tape, scissors, pans, a strainer and many other odd utensils, substances, and chemicals. SARAH What's that? REESE Nitroglycerin, basically stable. It ke it when I asa Sarah looks a bit stricken as she contemplates the evening ahead. cut TO: EXT. HIGHWAY/CHEVY CAMARO - NIGKT 208 The dashlight illuminates Terminator from beneath as he driv through the night. He looks Tike Death. His left eye Glows a faint red in the darkness. cuT TO:INT, MOTEL ROOM + NIGHT ate A heartwarming domestic scene. Saran anc Kyle have pullec the dresser out to use as 2 Rorktable. Pans, packages and botcies clutter tne k B15. On the table between them are eight ten-inch lengons of PLUMBER'S PIPE, threaded each end. Kyle is showing Sarah how to tamp the HIGH-EXPLOSIVE PUTTY into the pipe bombs and seal them shut. REESE Make sure there's none on the threads, like this. Now screw the end-cap on...very gently. SARAK You must have had a fun child- hood. z "s good. Now, seven more ke that while I make fuses. SARAH 1 was thinking, there's so much I've got to show you wh we get through this. It's mind boggling, the pos- sibilities...Disneyland, the beach, movies...matinees with popcorn and foot-long hot dogs... REESE Thi VW Hot dogs? SARAH I want to buy you a hot dog so bad,Kyle...all the things you've never seen and done. You're here, but wherever you go, and whateve’ you touch, you bring the war with you. REESE My whole life hes been comba SARAH a I want it to be over for you. REESE Not possible SARAH I want 4t to be over for me too. I feel like I slipped over some invisible line, that I'm in your world now. Everything's the same, put I see it differently. CONTINUED219 | a SARAH (continuing) It's like, there's you ang me, ang him...but nobody else can understand or heip or even touch us. Reese looks up finally and catches her gaze. He reacnes out for her hand and it seems he may be taking it to comfort her. But he turns her wrist to read her watch. REESE We'll head out at 0200. That gives you four hours to sleep if you want, I'1T finish. : CUT TO: INT. MOTEL ROOM - NIGHT aun ANGLE ON TABLE - The bombs are nei ly ranked, finisnec. Aonylon sat hel lies nearby. The mess is cleanec uz. WIDE SHOT reveals Reese sitting in silent vigil at the window. The room is dark, lit only by a streetlight outside. Sarah is asleep on the bed. Reese sits cross-legged, shirtless, his bocy held rigid. The image of discipline. The .357 is held loosely in one hand on his lap, There is a fresh bandage on nis shoulder. Sarah wakes up and goes to him in the darkness. He looks ner for a moment as she sits beside him, then back outside SARAH He'll find us, won't he? REESE Probably. Sarah, if I get zeroed... SARAH i Don't say that. REESE If I do, you have to get away, disappear without a trace. Different country, different name, everything. In case they send another one. SARAH It'l] never be over, will it? CONTINUEDany CONTINUE! Reese doesn’t respond. SARAH (continuing) Look at me, I'm shaking. Some legend, huh? You must be pretty disappointed. REESE not. No. 1* Several beats before Saran speaks again. Her eyes seem luminous in the dark. SARAH (softly kyle, the women in your time...what were they like? REESE Good fighters. SARAK That's not what I meant. Was there someone special? REESE Someone? SARAH A girl. You know. REESE (mechanically) No. (pause) Never. He looks away, out the window SARAH (softly) I'm sorry. Sarah studies him for a moment. She's sitting slightly behind him and she puts her hands on his shoulders and back, tracing the lines of his scars with her fingertips. SARAH So much pain. REESE Paincan be controlled. You disconnect tt. CONTINUEDa R 4/20/83 Ve? CONTINUED a SARAH And so you feel nothing. REES: It's better th SARAH (with great sympathy) Oh, kyle. Reese takes a lonc, slow breath before he answers, anc wher he does nis voice has a new quality, an unfamiliar tenderness REESE John Connor gave me a picture of you once. I never knew why. It was very old. Torn. Faded. You were young, Itke you are now. You weren't Smiling...just a little sad... I always wondered what you were thinking at that second. He closes his ches toward her. His fingertips trace the con Rose, chin, cheeks. REESE (continuing) I memorized every line, every curve... He opens his eyes, looking right at hers. REESE (continuing) Sarah, I came across time for you. I love you. I always have, Sarah {s quietly overwhelmed. Reese looks away. REESE . (continuing) : I'm sorry. I shouldn't have said... SARAH kyle... She leans forward and kisses him. CONTINUEDR4as2eses ice. CONTINUES ait His face is frozen. A mask. Sne continues, tenderly. He begins to respond. The dam breaks and he holds her in a tight, trembling embrace, clinging to ner like life itself. Kyle picks her up and carries her to the bed. She kisses his neck and chest, tracing his scars with her lips. He unbuttons her blouse very slowly. Saran guides his powerful hands over nh A SEQUENCE OF CUTS. DETAILS. IMPRESSIONS: Saran, a very close angle, as she grimaces in divine agory. Reese, his face rapt. His hand, clutching the pillow as if to kill it. it is explosive, torrential. A confluence of fate anc will. INT. MOTEL ROOM/LATER + NIGI TIGHT ON SARAH AND REESE in each other's arms. Lying across his chest, she surveys his face as nis eyes close drowsily. 212 SARAH I bet you're ticklish. REESE (uncompre- ending) Ticktisn? Sarah's nands move OUT OF FRAME. After a moment Reese looks down, puzzled. REESE What are you doing? SARAH (continuing - doggedly) You'll beg for mercy in a second. Reese seems unperturbed. Finally he begins to squirm. REESE I don't think I like this. SARAH You're not supposed to. CONTINUED213 arasFx CONTINUED an Now Reese is becoming desperate. A grimace spreads across his face. It becomes a grin. Then he's laugning, trying to escape but she won't let him, and they collapse, laugrin: Sarah gazes at his grin, a glimpse of the Reese that might have been, in another life. A moment later the grin vanishes at the sound of dogs barking outside. Reese is off the bed in an instant, crouched tense, eyes alert. Feral as ever. He gestures her to remain silent. REESE (whispering) Listen to the dogs. cut To EXT, MOTEL OFFICE - NIGHT 213 The German Shepherd, barking furfousty, LUNGES TOWAR? CAMERA repeatedly, at the end of a chain. A dark figure moves by in the F.G., out of the dog's reach. cut 70 INT. /EXT. MOTEL/TERMINATOR'S POV = MIGHT 2ayrx The digitized view is image-intensified, bright and stark as a lunar landscape. PAN OFF the lunging dog to the row of rooms facing the parking Tot. HANDHELD as we approach the doors. It fs WIDE ANGLE and the barrel of the AR-180 is visibie at the bo: of FRAME, The nearest venicle parked in front is a LARGE PICKUP TRUCK WITH TWO DIRT BIKES lashed in the bed, seen prominently as we pass. The POY approaches a door. Number 14. The door 4s KICKED OPEN. Moving inside. The assault rifle sprays the room, exploding the indistinct forms on the bed. Staccato glare. Approaching the bed. Nothing there by the shredded remains of sheets and pillows. The POV shifts to the BACK DOOR, which is aj and moves CONTINUED214a/FK Co 21s : 1 : aie ~ 7 217 CONTIN! toward it. Through the docr. Revealing an &¥ CUT TO: INT. PICKUP TRUCK/PARKING LOT = NIGHT 235 Reese {5 under the dasn, playing with the wires. Sarah lfes on the seat, clutcning the nylon satchel, wnicr bulges with the explosive charges. She has Gressec nasvity ang is barefoot. REESE Light it now. Saran has been holding a BIC LIGHTER near the tip of a fuse. Sne thumbs tne flame on. The fuse catches as Reese twists the wires and the engine starts to turn over. CUT TO: INT. /EXT, MOTEL ROOM » NIGHT Terminator spins at the sound of the truck engine cate! FAST PANAGLIDE WITH HIM as he runs the Tength of the suite, stops outside the front door. Whips the AR to nis shoulder. The truck 1s BACKING WILDLY across the lot B.G, Terminator turns, looking into CAMERA as a SIZZLING SOUND pecomes audible. DETAIL = PIPE CHARGE, lytng just inside the door, in tne shadows. The fuse is burning. WIDE SHOT - On doorway, from the parking lot, as Termingzor takes two leaping strides forward and the CHARGE EXPLODES. The front of the building 1s BLOWN TO KINDLING. Terminator is flung forward by the blast. cut TO: EXT. STREET/PICKUP TRUCK = NIGHT 2u7 PANNING RAPIDLY as the truck shoots out of the parking lot and tears down the street. CUT TO:219/Fx 223 & Terminator lies face down, motionless, F.G., as the desrss from the blast settles. A YOUNG GUY ON A HCNSA TEC cecsses the parking lot and stops near nim, running forwa Terminator starts to get up, moving slowly. MOTEL © NIGHT aie RIDER (erouching be- side hin) Don't try to move, buddy. MOVING WITH TERMINATOR as he shoves the cyclist aside anc approacnes the BIKE, which is STILL RUNNING. Cut TO: EXT, PARKING LOT/TERMZKATOR'S POV = NIGHT 2isstk Digitized POV, approaching the cycle. The image recuces to GRAPHIC OUTLINES, with separate systems COLOR-CODED. breaks down suddenly into individual SiDE, TOP anc PLAN VIEWS. AIT in Tess than four seconds. cut TO: JEXT, FREEWAY/PICKUP TRUCK ~ NIGHT 220 Reese slides the truck into an ON-RAMP and guns it onto the freeway, burying the throttle. Traffic is light...a few lB-wheelers. The truck tops out at 110 and he holds it. They flicker rapidly through pools of light and shadow. E'S SHOULDER as they hurtle forwarc. An change flashes by in an instant. PACING WITH THE TRUCK, looking back as a single headlight arcs radically across all lanes behind them and grows IGHTER, CLOSING. cut TO: EXT, FREEWAY + NIGHT 222 LOW WIDE ANGLE preceding Terminator on the bike. He fs eagetine tt much speed as possible out of tne 750. GAINS ON THE CAMERA, FILLING FRAME, he unsiings the lt rifle. Raises {t against the windstream in a one- handed pistol grip. CUT TO:222 ~~ 223 ~~ 224 INT. PICKUP TRUCK - NIGHT 2 Reese motions Sarah to keep her head down. He auiis the Colt Python from his coat pock Steering with nis elzons, he checks the load. Snaps the cylinder shut. Glances in the rear mirror, Turns the wheel. cuT TO: FREEWAY + NIGHT : 223 WIDE ANGLE, following close to Terminator, as he closes on tne pickup, B.G. The truck swerves suddenly, diving eroune A TRACTOR-TRAILER. Terminator leans hard to follow. LOW WIDE-ANGLE preceding the pickup and Terrinator as tney Swerve at high speec. Reese uses the slow semis as static obstacles. them by. inches, TIRES SQUEALING. ANGLE OVER SARAH'S SHOULDER, through the front window as the back of & SEMI-TRAILER hurties toward them, straight shee HIGH ANGLE, following both vehicles as Reese feincs RIGHT and then skids LEFT. He Slides toward the trailer in FOUR-WHEEL DRIFT as Terminator commits to the right. M.C.U. © TERMINATOR, over the barrel of the AR, as he FIRES. SIDE ANGLE - PASSING TRUCK-TRAILER, bullets strafe across Tt as the pickup vanishes behind, Terminator skids the ke, barely missing an abutment, and is forced onto an OFF-RAMP. LOW SIDE ANGLE preceding Terminator as he roars down the off-ramp without slowing. Runs the red ligne at the botcor a hundred miles an hour. Climbs the ON-RAMP. CUT TO: INT. PICKUP TRUCK + RIGHT 228 Sarah is_buffe truck. The Ternin Joins the fi das Reese fights to control the skidding is past Reese, F.G., on Sarah. 3 B.6., converging rapidly as the on-ra' ye REESE Switch places with m She slides over him while he keeps the hammer down. cut TO:225 f7~ 226 ~~ 227 WAY o ONT se is out the window to the waist, aiming dourte- hanced. He FIRES. ON qT AGAIN, They enter an interchange. Ahead Ties a WONG, Swi CURVE, two lanes wide and elevated. Terminator rocks back from a round between the eyes tnez bares metal, then FIRES. Bullets rake the pickup. The windows are blown out. The side mirror explodes. Reese is hit. Orops the .357 Sarah screams and es, Da y in control. cut To: INT, PICKUP TRUCK = NIGHT 2zé Sarah reaches across and pulls Reese's limp docy back inside. He slumps on the seat, moaning. Stunnec. SARAH kyle...oh God... He has a bullet in the chest Saran feels ai] nope reced Another has broken his arr. cuT TO: EXT. FREEWAY + NIGHT 227 pareinacey crosses behing the truck, coming up on Saran’s $1 He FIRES. Saran shrieks as the doorpost next to her head CLANGS WITH The short burst EMPTIES THE GUN. It CLATTERS TO THE PAVEMENT a moment later, discarded. rminator draws the .38. Takes atm. Sarah SCREAMS. HITS THE BRAKES HARD. CRANKS THE WHEEL. GLASS behind her EXPLODES with gunfire. SWERVING VICIOUSLY the truck SLAMS THE BIKE, sending {t. FLYING INTO A GUARDRAIL. Terminator goes over the handle bars at a hundred miles per hour. cut TO:228 225 230 aan INT. PICKUF + RIGR Saran fights the wheel, losing control of tne slewing pickus. cur Te: EXT. FREEWAY OVERPASS - NIGHT 225 Terminator hits the pavement, tumbling, rolling, stigin with @ CHATTERING SCREECH and spraying sheets of S as flesh strips away and steel screams on concrete. The pickup SWAPS ENDS violently, smashing into the guaccre Terminator hits the guardrail, bounces up, tumbles glory tne top and then pitenes OUT INTO SPACE. cut TO: ExT. 3 FREEWAY = NIGHT 230 Terminator smasnes to the pavement in the miccie lane anc lies there, face-down. Still. cut INT. /EXT. PICKUR/OVERPASS = NIGHT 2 Sarah is slammed hard as the truck grinds to a stor agains? the guarcratl, She checks Kyle. He is barety conscious. Saran heaves open the door. Runs to the guardrai}. iooxs dow CUT TO: EXT. LOWER FREEWAY » NIGHT 232 After a long moment Terminator slowly rolls over and sits up. LOW ANGLE as he rises into FRAME, a mass of blood. CT and skin in tatters. HEADLIGHTS FLARE benind him and an AIRHORN BLARES. FULL SHOT as a DOUBLE-TRAILER KENWORTH GASOLINE TANKER bin Gown and under with a METALLIC CRASH. ANGLE UNDER TANKER as Terminator rolls, clattering, anc the mass blurs above him. He RICOCHETS between the pavement anc the speeding undercarriage until a stray bounce flings him up into the rear suspension. ing ashe cut TO:237 ExT, FREEWAY OVERPASS = NIG) UP ANGLE ON SARAH at the railing, looking down. She raises one fist ints the air triumphantly. SARAH Alrisight! CUT TO: INT, TANKER CAB > NIGHT 23s The stunned DRIVER hits the brakes. His PARTNER grazs nis arn. PARTNER Don't stop. They lock eyes for a moment. DRIVER T have to, man. cut TO: EXT. FR! BY TI KER ANGLE UKDER THE REAR TRAILER Terminator clings with inhuman strength to the rear suspen- sion. The pavement blurs by beneath him. The air brakes howl, cut EXT. FREEWAY OVERPASS - NIGHT 236 Sarah watches the truck roll on without leaving a body in {ts wak She feels a premonitory dread. CUT TO: EXT. FREEWAY/TANKER + NIGHT 237 Beneath the braking semi, Terminator CRAWLS UPSIDE DOWN, CONTINUED237 CONTIN: hand over hand like @ HUMAN FLY, toward CAMERA. The “~~ Vert eye GLOWS LIKE A COAL in the dark. As the pavement stops beneath him he drops off and rolls out from under the truck. cut To: 238 INT, TANKER CAB + NIGHT 232 The driver looks around in astonishment as nis door is ripped open. Terminator appears. A grisly apparition. FLINGS THE DRIVER OUT and takes his place bering the whee’. Ignoring the terrified partner, he examines the contre's. cut TO: 238/Fx POV = TERMINATOR In digitized cyborgevision we see an ABSTRACT OF THE INSTRUMENTS. ‘The shift lever is extended graphically down into a three-dimensional SCHEMATIC OF THE TRANS- MISSION. Analytical DATA PRINTS OUT RAPID-FIRE. wn CUT TO: RESUME ANGLE Terminator down-shifts and turns the wheel. The partner opens the door and leaps out as the truck accel- erates. cut TO: 235 EXT. FREEWAY OVERPASS - NIGHT 233 From the railing Sarah sees the tanker below as a body falls beside it, rolling. The truck swings in a slow arc. TEARS THROUGH THE DIVIDING FENCE. Heads back toward her on the wrong side of the freeway. She stares in numb horror. The nightmare refuses to end. She runs to the crippled pickup and sees a front tire fiat, shredded by a crumpled fender. CONTINUEDCONTINUED She searches tne cab frantically for the KEYS TO 7! MOTORCYCLES. Finds them above the sun visor. Saran leaps into the bed of the pickup and attacks tne motorcycle strap-downs frantically. Panting with terror she rolis the bike off the truck. It crashes on its side and she falis on it painfully. CONTINUED240 CONTINUED Straining until she CRIES OUT IKVOLUNTARILY, sne lifts it upright. KICKS the engine over. LOW ANGLE as the tanker crashes UP THE OVERPASS. Sa She kicks for her 14 Tne bike catches for a moment, Dies. ack through the divider and start is trapped in that concrete corric The truck BELLOWS, down-shifting on the curving grace. Saran kicks again and again, crying out with each strone. Agein and again, furiously. The engine CATCHES, SARAH (rapidhy) - Come on, come on, come on eeTUMy YOU... The bike runs with a healthy roar. LOW ANGLE up the face of the tractor-trailer, the retaining wall plure ring by. Terminator's reg eye can be seen bering tne winc- shield. Sarah drags Reese, stumbling, to the bike, props him on the seat behing ner. He clutches the satchel weakly. SARAH Hold on real tight, okay? She guns the engine and roars off. LOW ANGLE as the tanker | IT OVER THE Si olishes the pickup a moment later, TOSSING LIKE A BEER CAN. cuT TO: EXT. FREEWAY - NIGHT ze Sarah hits level freeway with a quarteremile lead on the nker, distant B.G., but the little bike is overloaded and she can't coax it above seventy-five, CONTINUED2ec 241 262 CONTINUED ANGL the ON TANKER roaring forward, shifting up througr rs. CLOSE ON SARAK AND KYLE, his head Tolling on her snoute He starts to fall sideways. SARAH (shouting) Hold on, godéamnit! He rouses slightly, gripping her tighter. HIGH ANGLE - MOVING WITH BOTH VEHICLES as Saran ZIGZAG desperately across all four lanes. The t with her, closing, its trailer WHIPLASHING VIOLENTLY. CUT TO: EXT. /INT. TUN = NIGHT 282 The truck is right behing them as they enter a TI A halfemile of exitiess concrete and strobing fluorescert Tights. H.C.U. = SARAK AND KYLE (PROCESS SHOT) - He blinks an¢ looks back at a SOLID WALL OF METAL AD LIGHTS looming bening ther. Sarah hunches down. They hit etgnty. FULL SHOT = The leviathan dwarfs them, its big tires ROA Vike the hubs of Hell. cut TO: EXT. FREEWAY ~ NIGHT The tanker 1s twenty feet benind them as the tunnel. Sarah dodges to one side and LOCKS The bike slides, fisn-tatling. The truck roars hitting its afr-brakes. The trailers force her closer and closer to the guardrail as Terminator tries to sandwich her, The bike slides to a stop. The rearmost set of trailer wheels slams into tne guarcrai! right in front of Sarah. Sarah emerges from a cloud of tire smoke, cutting across all four lanes behing the stoppec semi. CUT TO:2a3/FX 2ae wn o 245 : 246 wn EXT. FREEWAY EMBANKMERT ~ NIGHT Saran tries to ride down the steep embankment dit loses control, spilling the bike, She and kyle tumble down the slope. MOVING WITH HER as she scrambles, half-dragging Kyle, tnrouse ts a row of trees to a chainlink retaining fence. She cr under the fence, tugs Kyle and the satchel through efte Sarah looks up at the source of a SUDDEN THUNDEROUS RCAF. cut TO: ANGLE ON TANKER Tt appears above them, grinding over the embankme rolls down tne steep slope TOWARD CAMERA, FLATT EXT. INDUSTRIAL SITE = NIGHT 2ee Sarah and Kyle scramble up and run across the STORAGE LCT Gf a MODERN FACTORY COMPLEX of LOW BUILDINGS. Kyle strugsies te keep up, holding the satchel. LIKE A JUGGERNAUT the truck follows, smashing throug parked Cars and FLATTENING A PRE-FAB STORAGE BUILDING They enter an alley-like space bi no two buildings. kyle fs fumpling to open the satel ANSLE BACK as the tanker enters the alley. It TEARS THE CORNER OFF ONE BUILDING as {t turns in. Terminator looks down from his mountain of metal. cut TO: INT. TANKER CAB + NIGHT 268 OVER TERMINATOR'S SHOULDER, looking down at a tiny figure below, running in the headlights’ gla It is Saran, alone. CUT TO: EXT. ALLEY - NIGHT 266 Reese crouches in a TRASH-DUMPSTER which 1s sandwiched between the wall and the tanker. There are only inches of clearance as the trailers pass by. CONTINUED246 267/FX 2e8/FX 249 280 re, ONT D He lights a PIPE CHARGE, jumps up and wedges it under tre tank-cylinder of the second trailer. He ducks as it rolls on. Sarah ts stumbling in the glare of the truck's lights. E.C.U. + PIPE BOMB, the fuse burning. M.C.U. = TERMINATOR, through the windshield, his eye slowing. C.U, = REESE huddled tn the dumpster. cut TO: LOW WIDE ANGLE ON SARAH AND TRAILER (PROCESS SHCT 2er/Fx The REAR TRAILER EXPLODES. An unbelievable FIREBALL SKYWARD, sSThouetting Saran’s running figure F.G. The cumpster is enveloped by fire and hurled, rolling, down the alley. RurTs Sarah makes {t around a corner as the FORWARD TRAILER EXPLODES and an OCEAN OF FLAME rolls forward, Blasting by her The dumpster topples and Kyle rolls out, surrounded by fire. SEQUENCE + TERMINATOR 248/FX In the center of the inferno Terminator struggles violently. His FLESH FRIES AND SIZZLES. He tears loose from the TWISTED WRECKAGE and collapses to the ground. Sinks into a CHARRED MASS. STOPS MOVING. C.U. © TERMINATOR, mouth open, skull-like, motionvess in the flames. CUT TO: EXT, ALLEY = NIGHT 289 Sarah craw]s away from the intense heat and lies watching the Motioniess figure in the bla; cuT To: EXT. ALLEY/FAR END = NIGHT 250 Sareh rounds the corner, staggering, searching. She sees kyle crumpled face-down near the dumpster, shelterec from the heat by its mass. CONTINUED230 251 CORTINUE She drags him away. Rolls him over. C.U. + KYLE, nis ead Tolls, We opens nis eyes. REESE (weakly) Saran, SARAK we did {t, Kyle. We got it. She hugs him. cut Te: FULL SHOT (PROCESS) : so/Fx They hold the embrace, silnouetted by the diminisning flames. ould be a wonderful final image. VeTERMINATOR STAGGERS OUT OF THE BLAZE BEHIND THEN. TERMINATOR, the 1 t flakes of flesn are failing from him like burning Teav His gleaming structure 15 revealed \iits intricacy, No longer a ‘He’, but an ' 1t looks Jeath rendered in steel. A CHROME ‘ON with HYDRAULIC MUSCLES ang TENDONS OF FLEXIBLE CABLE. In the sockets of the metal skuil, che eyeballs swivel with @ WHIR of tiny servos, both glowing red now. : It turns slowly and fixes its gaze directly INTO CAMERA. cuT TO: EXT. ALLEY = NIGHT 252 C.U. = SARAH + She chokes on @ scream, crams knuckles in her mouth. FULL SHOT (FX), as the machine takes a step toward then, dragging one MALFUNCTIONING LEG. PANAGLIDE WITH KYLE AND SARAH as they stagger to their feet ‘and run to the nearest building. They come to a giass door. kyle kicks it 1m, Unlatches {t. They enter dark OFFICES to the sound of ALARMS and DISTANT SIRENS. CUT TO:252 256 122 INT. CORRIDORS © NIGHT Sarah ang kyle run down @ corridor, Through a door, which they close and lock. They move off down a ¢ross-corridor. The Terminator BLASTS THE DOOR OFF 17S HINGES, F.G., anc Staggers through. It starts their receding figures as they round the corner at the end of the hall, cut TO: INT. OPEN OFFICES.» NIGHT Wracked, exhausted, they stumble through a maze of PA: TIONED OFFICE CUBICLES. cut INT. CORRIDOR = NIGHT 256 The Termingzor catches signt of them through a fioor-to- ceiling window, It makes an unnesitating rignt turn throusn the giass. cut TO: INT. OPEN OFFICES - NIGHT 255 Saran and Kyte iook back at the sound cf SHATTERING GLASS. LIDE PRECEDING THE TERMINATOR as it crashes forward, of-sight, through the It splinters partitions. jesks out of the way, : FOLLOWING SARAH AND KYLE as they reach a heavy FIREDOOR arc go through, CUT TO: INT. MANUFACTURING AREA © NIGHT 256 kyle slides the bolts on the metal firedoor. Behind ther are acres of machinery in darkness. Silence. CRASH! The Terminator hits the docr from the far side. Hinges SQUEAL. Kyle goes to a LARGE BREAKER PANEL and opens it. Starts throwing switches. Behind them, machines START UP ONE BY ONE. SARAH (panting) What are you doing? CONTINUED256 KR Slevles CONTINUED REESE (weakly) Cov our footsteps... He sags, sliding down the wall. She pulls him up. Half-carries him into the maze of machines. The dark geiiery is filled with WHIRRING, CLANKING SHA SHATTERING CONVEYER BELTS and improbable mechanisms lashing mindlessly. Reese slips to tne floor and Sarah is no longer able to support him. REESE (faintly) Leave me here. Sarah crouches beside him. Grabs his shirt front. Yells over the machines. SARAH I'm not leaving you anywhere you jerk. Haven't you figured Jz out? Kyle, John is our son. Reese's eyes refocus. SARAH (continuing) There isn't going to be anybody else...1 don't want anybody else. Listen to me! She pauses, then resumes in a commanding, military shout. SARAH (continuing) Move! Reese! Let's go. Move your ass! She drags him to nis feet and he staggers on. Hinges SHATTER and the firedoor is huried inward. ‘The -Ferminator scans the darkness. ANGLE - PANNING WITH SARAH AND KYLE as they move through the machines. The cyborg steps forward, scanning methodically. CONTINUED