剧本《终结者》2terminator

-- TERMINATOR 2 --


1 ext. city street - day 1

Downtown L.A. Noon on a hot summer day. On an EXTREME LONG LENS the
lunchtime crowd stacks up into a wall of humanity. In SLOW MOTION they
move in herds among the glittering rows of cars jammed bumper to bumper.
Heat ripples distort the torrent of faces. The image is surreal,
dreamy... and like a dream it begins very slowly to

dissolve to:

2 ext. city ruins - night 2

Same spot as the last shot, but now it is a landscape in Hell. The cars
are stopped in rusted rows, still bumper to bumper. The skyline of
buildings beyond has been shattered by some unimaginable force like a
row of kicked-down sandcastles. Wind blows through the desolation,
keening with the sound of ten million dead souls. It scurries the ashes
into drifts, stark white in the moonlight against the charred rubble. A
TITLE CARD FADES IN:

LOS ANGELES, July 11, 2029

3 ANGLE ON a heap of fire-blackened human bones. Beyond the mound is
a 3 vast tundra of skulls and shattered concrete. The rush hour
crowds burned down in their tracks.

4 WE DISSOLVE TO a playground... where intense heat has half-melted
the 4 jungle gym, the blast has warped the swing set, the
merry-go-round has sagged in the firestorm. Small skulls look
accusingly from the ash-drifts. WE HEAR the distant echo of
children's voices... playing and laughing in the sun. A silly,
sing-songy rhyme as WE TRACK SLOWLY over seared asphalt where the
faint hieroglyphs of hopscotch lines are still visible.

CAMERA comes to rest on a burnt and rusted tricycle... next to the
tiny skull of its owner. HOLD ON THIS IMAGE as a female VOICE
speaks: *

VOICE * 3 billion human lives ended on August 29th, * 1997. The
survivors of the nuclear fire called * the war Judgment Day. They
lived only to * face a new nightmare, the war against the *
Machines... *

A metal foot crushes the skull like china.

TILT UP, revealing a humanoid machine holding a massive battle rifle.
It looks like a CHROME SKELETON... a high-tech Death figure. It is the
endoskeleton of a Series 800 Terminator. It's glowing red eyes
compassionlessly sweep the dead terrain, hunting.

TERMINATOR 2 - Rev. 9/10/90 2

4 The SOUND of ROARING TURBINES. Searchlights blaze down as a 4
formation of flying HK (Hunter-Killer) patrol machines passes
overhead. PAN WITH THEM toward the jagged horizon, beyond which
we see flashes, and hear the distant thunder of a pitched battle in
progress.

5 ext. battlefield - night 5

THE BATTLE. Human troops in desperate combat with the machines for
possession of the dead Earth. The humans are a ragtag guerrilla army.
Skynet's weapons consist of the Ground HKs (tank-like robot
gun-platforms), flying Aerial HKs, four-legged gun-pods called
Centurions, and the humanoid Terminators in various forms.

SEQUENCE OF RAPID CUTS: 5A Explosions! Beam-weapons firing like
searing strobe-lights. 5A* 5B A gunner in an armored personnel
carrier fires a LAW rocket at a pursuing 5B Aerial HK, bringing it
down in a fiery explosion. 5C Another APC is crushed under the treads
of a massive Ground HK. 5C

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


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

6 IN A BLASTED GUN EMPLACEMENT at the edge of battle, a man watches
6 the combat with night vision binoculars. He wears the uniform of
a guerrilla general, and a black beret. He is still amid running,
shouting techs and officers.

C.U. MAN, pushing slowly in as the battle rages O.S. He lowers the
binoculars. He is forty-five years old. Features severe. The left
side of his face is heavily scarred. A patch covers that eye. An
impressive man, forged in the furnace of a lifetime of war. The name
stitched on the band of his beret is CONNER. We push in until his eyes
fill frame, then...

DISSOLVE TO

FIRE. SLOW ROILING, ENORMOUS. FILLING FRAME. *

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

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


TERMINATOR 2 - Rev. 9/10/90 3

6 VOICE (SARA CONNER) 6* The second was set to strike at John himself,
* when he was still a child. As before, the * Resistance was able
to send a lone warrior. A * protector for John. It was just a
question of * which one of them would reach him first... *

DISSOLVE TO: 7 ext. truckstop - night 7

Wild fingers of BLUE-WHITE ELECTRIC ARCS dance in a steel canyon formed
by two TRACTOR TRAILERS, parked side by side in the back lot of an all
night truck stop. Then...

The strange lightning forms a circular opening in mid-air, and in the
sudden flare of light we see a FIGURE in a SPHERE OF ENERGY. Then the
FRAME WHITES OUT with an explosive THUNDERCLAP!

Through the clearing vapor we see the figure clearly... a naked man.
TERMINATOR has come through. Physique: massive, perfect. Face:
devoid of * emotion. Terminator stands and impassively surveys its
surroundings.

8 INT. TRUCK STOP DINER - NIGHT 8

On a back route north of L.A. A handful of local TRUCKERS hunch over
chili-sizes, CAT hats pushed back on the heads. Three BIKERS are
playing a game of pool in the back, their Miller empties line the
table's rail. The dive's owner, LLOYD, a fat, aging biker-type in a
soiled apron, stands behind the bar. Nothing much going on...

Then the front door opens and a big naked guy strolls in-- that doesn't
happen here every night. All eyes simultaneously swivel toward
Terminator. It's emotionless gaze passes over the customers as it walks
calmly through the room. Everyone freezes, not sure how to react.

8A TERMINATOR POV. A digitized electronic scan of the room, overlaid
with 8A alphanumeric readouts which change faster than the human
eye can follow. In POV we move past the staring truckers, past the
owner, and the awestruck WAITRESS, and approach a large
nasty-looking biker puffing on a cigar. His body is outlined, or
"selected", and thousands of estimated measurements appear. His
clothing has been analyzed and deemed suitable...

8B terminator 8B I need your clothes, your boots, and your motorcycle.

The big biker's eyes narrow. He takes a long draw on his cigar,
getting the tip * cherry-red hot. cigar biker You forgot to say
please.

He grinds the cigar out on Terminator's chest. Which produces not the
slightest reaction of pain. Terminator calmly, and without expression,
grabs Cigar by his meaty upper arm... Cigar screams from the hydraulic
grip.


8B Terminator doesn't see Cigar's friend, behind him, holding his pool
cue by the 8B narrow end like a Louisville slugger. The heavy end
whistles in a powerful swing and CRACKS IN TWO across the back of
Terminator's head.

Terminator seems not to notice. Doesn't even blink. Without releasing
his grip on Cigar, he snaps his arm straight back and grabs Pool Cue by
the front of his jacket. Suddenly the heavyset biker finds himself
flying through the nearest window. CRAASSH!

Terminator hurls Cigar, all 230 pounds of him, clear over the bar,
through the serving window into the kitchen, where he lands on the big
flat GRILL. We hear a SOUND like SIZZLING BACON as Cigar screams,
flopping and jerking. He rolls off in a smoking heap.

The third biker whips out a knife with an eight inch blade and slashes
at Terminator's face.

Terminator grabs the arcing blade with his bare hand. Holding it by the
razor-sharp blade he jerks it from the guy's hand. Ultra-fast here: He
flips it. Grabs the handle like you're supposed to hold a knife. Grabs
the biker and slams him face-down over the bar. Then brings the knife
whistling down, pinning the biker's shoulder to the bar top with his own
steel.

9 INT. KITCHEN 9

The door BANGS OPEN and Terminator strides in. The Mexican cook does a
fast fade as Terminator walks toward Cigar, who is cursing in pain on
the floor.

With his deep-fried fingers he struggles to get out the .45 auto tucked
under his leather jacket. But he can't even hold onto it. Terminator
takes it from him. Instead of pointing it at him, Terminator carefully
examines the weapon, analyzing its caliber and operating condition.
Terminator never threatens... that's a human thing. He just takes.

Cigar senses what he must do when the emotionless eyes come back to him.
He slides the keys to his bike across the floor to Terminator's foot.
Then painfully starts getting out of his jacket.

10 INT. truck stop 10

Terminator strides from the kitchen, fully clothed now in a black
leather jacket, leather riding pants, and heavy cleated boots. He moves
toward the moaning biker pinned to the pool table. Without slowing his
stride he jerks the knife out. The guy slumps to the floor, groaning,
behind him.

Terminator continues toward the front of the diner, passing Lloyd, the
owner. At the door, he comes abreast of two truckers who sit frozen
like a snapshot in mid bite. One of the truckers finally nods.

10 TRUCKER 10 Evening...

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

11 EXT. TRUCK STOP 11

Terminator walks out, surveying the parked Harleys. Sticks the .45 in
his belt and swings one leg over a massive CUSTOM ELECTRO-GLIDE. He
slips the dagger in his boot and the key in the ignition. Kicks over
the engine. It catches with a roar and he slams the heavy iron into
gear with a KLUNK.

Lloyd appears at the diner's door with a sawed-off 10 GAUGE WINCHESTER
LEVER-ACTION SHOTGUN. He fires into the air and jacks another round in
fast, aiming at Terminator's back.

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

Terminator turns and considers him coldly. He eases the shifter up into
neutral. Rocks the bike onto its kickstand. Swings his leg over and
walks calmly toward the guy.

Terminator strides right up to Lloyd, staring straight into the
shotgun's muzzle. Lloyd starts sweating, trying to decide if he's going
to kill a man in cold blood. He's still trying to decide when
Terminator's hand blurs out like a striking cobra and is somehow
suddenly holding the shotgun.

Lloyd gapes, knowing he is screwed. Then... Terminator reaches toward
him. Oh shit... And slips the sunglasses out of Lloyd's shirt pocket.
Puts them on. Strides back to the Harley and roars off in a shower of
gravel.

12 EXT. freeway - NIGHT 12

Terminator roars down the freeway, heading into L.A. Cold neon flares
across the chrome of the big bike. The 10 gauge is jammed through the
clutch and brake cables, across the handlebars. The lights flow over
Terminator's wrap-around sunglasses like the tracks of tracer rounds.

cut to:

13 EXT. STREET/ high school - NIGHT 13

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

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

TERMINATOR 2 - Rev. 9/10/90 6

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

13B The cop climbs from his cruiser as the glow fades. The schoolyard
is dark. 13B He sees vapor dissipating as he approaches the spot
where he saw the strange light. He draws his revolver and
cautiously moves into the shadows between two buildings.

A NAKED MAN glides from a shadowed doorway behind the cop. Nothing
special about him. Certainly not built like a terminator. The flash of
light and the fact that he is naked are pretty good clues that he just
arrived from the future. His features are handsome bordering on severe.
His eyes are gray ice. Penetrating. Intelligent.

THE COP spins at a sound. Too late. Mr. X is already on him. The blow
is lightning fast and the cop drops like a bag of sand.

LOW ANGLE as the unconscious cop hits the deck, his BERETTA 9mm
AUTOMATIC clattering next to him. A hand ENTERS FRAME and picks up the
pistol. cut to:

13C HIGHLY POLISHED BLACK SHOES rounding the rear tire of the police
13C cruiser. FOLLOW THE SHOES to the cruiser's door then MOVE UP as
Mr. X, dressed now in LAPD blue, climbs behind the wheel. He looks
and acts exactly like a cop. Cool, alert, confident in his power,
his expression emotionless and judgmental. Mr. X, now Officer X,
puts the car in gear and drives into the night.

cut to:

14 int. suburban house / garage - day 14

TIGHT ON YOUNG JOHN CONNER, who at this moment is ten years old and busy
reassembling the carburetor on his Honda 125 dirtbike. He has ripped
Levi's and long stringy hair. A sullen mouth. Eyes which reveal an
intelligence as sharp as a scalpel. The Ramones' "I Wanna Be Sedated"
blasts from a boom box next to him.

A WOMAN, JANELLE VOIGHT, stands in the doorway of the garage, yelling
over the music.

woman ...John? John! Get in here right now and clean up that pigsty
of yours.

John's friend TIM, a thirteen-year old Hispanic kid, watches as John
replies * by turning up the volume on the boom box. Janelle
gives up with a SLAM of the house's back door.

tim Your foster parents are kinda dicks, huh?

14 john 14 Gimme that Phillips right there.

15 INT. HOUSE - living room 15

Janelle storms into the room. TODD VOIGHT, her husband watches sports
on the TV. They're both in their thirties. Middle class working
stiffs.

janelle I swear I've had it with that goddamn kid. He won't even answer
me. (neither does he) Todd? Are you gonna sit there or are you gonna
do something?

He sighs. Throws down the TV's remote and heads for the garage.

16 INT. GARAGE 16

John hops on the bike. Kick starts it. Tim picks up John's nylon bag
then climbs on the back. Todd ENTERS and shouts over the engine, which
John revs louder and louder.

todd John! Get your ass inside right now and do what your mother says!

John pins Todd with a defiant glare.

john She's not my mother, Todd!

He revs the engine and peels out of the garage, with Tim almost falling
off the back. They take off down the street.

17 EXT. vacant lot/ drainage canal 17

John cuts through a vacant lot to a trail running beside a fenced-in
drainage canal. He guns the bike through a hole in the retaining
fence. Tim's eyes go wide as they roar down the concrete embankment.

17A IN THE DRAINAGE CANAL John zig-zags along, throwing up a roostertail
17A of muddy water. Tim shouts, pretending he didn't just see his
life flash before his eyes. He slaps John on the back.

tim Major moves, homes! So... where is your real mom, anyway? (John
doesn't answer) She dead or something?

It's hard to read John's expression.

17A john 17A She might as well be.

John twists the throttle angrily and the bike lunges forward.

cut to:

18 ext. pesCADERO state hospital - day 18

A SIGN on a chain link fence topped with concertina wire reads:
PESCADERO STATE HOSPITAL FOR THE CRIMINALLY INSANE. Beyond it squats
an imposing four story building. Institutional brick. Barred windows.
About as inviting as KGB headquarters. Security cars patrol the
manicured grounds.

19 int. hospital - MAXIMUM SECURITY WING 19

Sunlight is a barred slash on the bare institutional wall. The room is
empty of all furnishings save the bed, a stainless steel sink, toilet,
and a dented metal mirror. WE HEAR a rhythmic grunting, small
explosions of breath in perfectly metered time.

PAN TO a bedframe leaned upright against the wall, legs facing outward.
A pair of sweaty hands grip one leg. Tendons knot and release as
SOMEONE does pullups. A mane of tangled hair hides the face that comes
INTO FRAME, dips out, comes back.

WIDER. A WOMAN in a tank top and hospital pants is hanging from the top
leg of the vertical bedframe. Her body is straight and taut. Knees
bent so the feet clear the ground. The arms are lean and muscular.
The inmate, face hidden, pulls up, dips, pulls up. Like a machine. No
change in rhythm.

20 int. hospital / corridor 20

FIGURES MOVE TOWARD US down a corridor of polished tile and two-tone
walls. DR. PETER SILBERMAN, a smug criminal psychologist, leads a group
of young INTERNS. Following, laconically, are THREE BURLY ATTENDANTS.

silberman The next patient is a 29 year old female diagnosed as acute
schizo-affective disorder. The usual indicators... depression, anxiety,
violent acting-out, delusions of persecution. (the interns nod
judiciously) Here we are.

Silberman stops at one of the SOUNDPROOF STEEL DOORS. There is a
two-way speaker beneath a tiny window. Silberman flips the intercom
switch.

21 int. cell 21

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

21 silberman 21 'Morning, Sara.

REVERSE ANGLE as she turns slowly into CLOSE UP. SARA CONNER is not the
same woman we remember from last time. Her eyes peer out through a wild
tangle of hair like those of a cornered animal. Defiant and intense,
but skittering around looking for escape at the same time. Fight or
flight. Down one cheek is a long scar, from just below the eye to her
upper lip. Her VOICE is a low and chilling monotone.

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

22 int. corridor 22

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

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

Sara watches them talking about her through the glass, but can't hear
them. She feels like a lab animal. The interns look in at her through
the glass as Silberman talks. With her face drawn, eyes haggard and
hair wild, she looks like she belongs where she is.

silberman The delusional architecture is interesting. She believes a
machine called a "terminator", which looks human of course, was sent
back through time to kill her. And also that the father of her child
was a soldier, sent to protect her... he was from the future too... (he
smiles) The year 2029, if I remember correctly. (the interns chuckle)
Let's move on, shall we.

As the interns walk on, Silberman steps close to DOUGLAS, the head
attendant, and speaks low.

silberman Douglas, I don't like the patients disrupting their rooms like
this. See that she takes her thorazine, would you.

DOUGLAS is 6'4", 250 pounds and warmhearted as a rattlesnake. He nods,
catching Silberman's meaning, and gestures for the other attendants to
hang back as Silberman moves on in his rounds.

23 int. cell 23

Sara looks up as the cell door opens. Douglas walks in slow, idly
tapping his POLICE BATON against the door in an ominous rhythm. The
other two orderlies ease in behind him. One of them carries a STUN
BATON (like a sawed off cattle prod). The other has a tray with cups of
red liquid-thorazine

DOUGLAS Time to take your meds, Conner.

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

SARA You take it.

Douglas grins, casual--

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

SARA I'm not taking it. Now I don't want any trouble...

douglas Ain't no trouble at all--

He whips the baton in a whistling backhand which-- WHAP! Takes her
square in the stomach. She doubles over and drops to her knees, unable
to breath. Douglas tips the bed and it slams down with a crash, right
next to her. He takes the stun wand from the other attendant and walks
forward.

TIGHT ON SARA, grimacing and struggling to breathe.

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

The stun wand hits her between the shoulder blades as she tries to rise.
It drives her to the floor, pinning her like a bug. Little ELECTRIC
ARCS CRACKLE as the baton makes her writhe in pain. Douglas grabs her
by the hair and jerks her up to her knees. Holds the cup of thorazine
in front of her lips.

douglas Last call, sugar.

Gasping, she chokes the zombie juice down.

cut to:

24 ext. bank parking lot- day 24

John furtively hunches before a Ready Teller machine at the rear of a
local bank while his friend Tim stands lookout. John slips a stolen ATM
card into the machine's slot. It is something he's rigged up, because
trailing from the card is a ribbon-wire which goes to some kind of
black-box electronics unit he's got in his ever-present knapsack. He
holds the pack between his knees and pulls out a little lap-top
keyboard, which is also connected to the black-box.

John enters a few commands and the plasma-screen displays the PIN number
for that account. He quickly enters the number on the Ready Teller's
key pad and asks it for 300 bucks. The machine whirs then begins
dispensing twenty dollar bills. Tim looks back over his shoulder
amazed.

John Easy money!

tim Where'd you learn all this stuff?

John collects the twenties as the machine kicks them out. A cool and
professional electronic-age thief at ten years old.

john From my mom. My real mom, I mean. Come on baby... (he grabs the
last bills) Let's go!

They sprint around the corner to an--

25 Ext. alley behind bank 25

They huddle behind the building as John counts out Tim's share. He folds
five twenties and palms them to the other kid. When John opens his
wallet to put in his money, Tim notices a picture in a plastic sleeve.

tim That her?

John reluctantly shows his friend the Polaroid. It is a shot of Sara.
Pregnant, in a jeep near the Mexican border. John doesn't know it now,
but he will carry that photo with him for over 30 years, and give it to
a young man named Kyle Reese, who will travel back in time to become his
father. Yes, that photo.

tim So she's pretty cool, huh?

25 john 25 Actually, no, she's a complete psycho. That's why she's
up at Pescadero. She tried to blow up a computer factory, but she got
shot and arrested.

tim No shit?

john Yeah, she's a total loser. C'mon let's check out the Seven Eleven,
whatya say?

John has tried to sound macho casual, but we see in his eyes that it
really hurts. He slaps Tim on the shoulder and they jump onto his
Honda. John fires up and they whine off down the alley.

cut to:

26 int. police cruiser - day 26

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

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

27 int./ext. voight house - day 27

TIGHT ON FRONT DOOR as Todd Voight opens it, revealing the unsmiling
face of Officer X beyond the screen door. Todd greets him with a weary
sigh.

officer x Are you the legal guardian of John Conner?

todd That's right, officer. What's he done now?

Officer X ignores the question. He casually scans the living room.

officer X Could I speak with him, please?

Todd shrugs, showing the cop he's past his patience with the boy.

todd Well, you could if he was here. But he took off on his bike this
morning. Could be anywhere. You gonna tell me what this is about?

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

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

janelle There was a guy here this morning asking about him, too.

todd Yeah, big guy. On a bike. Has that got something to do with it?

Officer X registers the significance of that. He realizes who the big
guy must be. He smiles. Reassuringly shakes his head no.

officer x I wouldn't worry. Do you have a photo-graph of John?

Todd stares unhappily at the cop. Turns to Janelle.

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

ANGLE THROUGH AN ALLEY from the main street. We see John and Tim flash
by on the Honda a block away. Hold a beat. Then...

A BIG CHROME WHEEL ENTERS FRAME. BOOM UP a leather-clad leg to
Terminator's implacable face. It surveys the area slowly as the bike
idles, then kicks it into gear and moves on, scanning in a slow
shark-like manner, not aware that it missed its prey by seconds. cut to:

29 int. SARA's cell - day 29

CLOSE ON SARA. She is shackled, hands and feet, to the bed. Sunlight
falls across her pale face. A hand enters frame, gently stroking her
cheek. She wakes up to see--

KYLE REESE. Sitting on the edge of her bed, looking exactly the same as
we last saw him in 1984. Scruffy blond hair and a long raincoat.

SARA Kyle..? You're dead.

He gives her a gentle smile.

reese I know. This is a dream, Sara.

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

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

SARA Hold me.

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

reese I love you. I always will.

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

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

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

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

SARA They took him away from me.

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

SARA I know!

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

SARA (struggling not to cry) I know, but I'm not as strong as I'm
supposed to be. I can't do it. I'm screwing up the mission.

reese Remember the message... the future is not set. There is no fate
but what we make for ourselves.

He turns toward the door.

SARA Kyle don't go!

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

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

30 int. corridor 30

Sara staggers from her cell. Reese is already, impossibly a hundred
feet away, striding down the dim corridor. A silhouette in a long coat,
disappearing around a corner.

Sara runs after him, her bare feet slapping the cold linoleum. Her
hospital gown floats out behind her as she dream-runs along the
seemingly infinite corridor. She reaches the corner, slides around it,
and...

30A Slams right into the arms of Douglas and his three helpers. They
grab her as 30A she struggles and screams. Then Silberman is
there, smiling soothingly. They force her down and she is pinned
to the floor, screaming. A new figure approaches... one even more
menacing.

TERMINATOR walks toward her, with heavy, measured steps. Backlit, eyes
concealed by the sunglasses, it stands over her like the angel of death
itself. It reaches down and... Takes her hand. Lifts her up. Leads
her to a door. They go through together. Emerging into...

30B A BEAUTIFUL SUNLIT MORNING. CHILDREN are playing nearby... 30B
sliding down slides, clambering through a jungle gym. Sara knows
this dream now... it is the worst of all her nightmares. She starts
to scream but no sound comes out.

30C THE SKY EXPLODES into WHITE LIGHT. Everything is seared by the
30C unholy glare, hotter than a thousand suns. The children ignite
like match heads. Sara is burning, screaming silently, everything
silent and overexposed. Terminator's flesh and clothing are
burning, silently. It grips her hand, Virgil to her Dante in this
tour of the nuclear age Inferno.

30D THE BLAST WAVE HITS... a near-solid wall of compressed air followed
by 30D 250 mph winds. The children, charcoal statues frozen in
positions of play, explode into black leaves of ash and swirl away.
SOUND hits now, with a thunderous roar. Sara's scream merges with
the howl of the wind as the blast hits her, exploding the flesh from
her bones. Beside her, Terminator is stripped of its burnt flesh,
becoming a smoking skeleton of steel.

30E Then she wakes up... in her cell, shackled to the bed. Sunlight
hurts her 30E eyes. She looks desperate and defeated. She
knows the war is coming. It visits her every time she closes her
eyes. Lost and alone, Sara feels all hope recede for herself and
for humanity.

cut to:

31 int. Pescadero state hospital - interview room 31

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

video SARA ... it's... like a giant strobe light, burning right
through my eyes... but somehow I can still see. Look, you know the
dream's the same every night, why do I have to--

video silberman Please continue...

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

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

Video Sara can't go on. Real Sara watches herself cry on tape, her
expression cold. We hear Silberman speak on the tape.

video silberman Dreams about cataclysm, or the end of the world, are
very common, Sara...

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

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

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

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

video silberman Relax now, Sara--

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

TERMINATOR 2 - Rev. 9/10/90 17

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

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

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

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

Silberman gives a calculated paternal smile.

silberman Yes. Your attitude has been very positive lately.

Sara looks up at him. Her voice is hopeful.

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

silberman And what is that?

As she answers, WE PULL BACK, revealing that we have been looking
through a one-way mirror from an adjacent OBSERVATION ROOM. In the
shadows of the observation room we see the interns from the earlier
rounds, and a couple of STAFF PSYCHOLOGISTS. They smoke and make the
occasional note.

SARA You said I could be transferred to the minimum security wing and
have visitors if I showed improvement in six months. Well, it's been
six months, and I was looking forward to seeing my son.

silberman I see. Let's go back to what you were saying about these
terminator machines. Now you think they don't exist?

CLOSE ON SARA. Her voice sounds hollow.

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

Silberman leans back, studying her. Toying with her.

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

SARA If I had, there would have been some evidence. They would have
found something at the factory.

silberman I see. So you don't believe anymore that the company covered
it up?

Sara shakes her head no. cut to:

32 ext. cyberdyne systems - day 32

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

33 INT. second floor/ elevators 33

The elevator doors slide open with a whisper and MILES DYSON strides
out. Black. In his early thirties. The star of the Special Project's
division. He's brilliant, aggressive, driven. Dyson walks down the
corridor, swinging his arms... a man in a hurry. A man with much to do.

He reaches a solid security door and zips his ELECTRONIC KEY-CARD
through the scanner. The door unlocks with a clunk. The sign next to
the door reads: SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY.

34 int. security station 34

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

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

The lab is quite large, comprising banks of processors, disk drives,
test bays, prototype assembly areas. Extremely high tech.

Dyson Greetings, troops.

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

35 bryant 35 Mr. Dyson? The materials team wants to run another test
on the uh... on it.

dyson Yup. Come on. I'll get it.

Dyson produces an unusual-looking KEY from his pocket as they stride
through the lab. Bryant has to hustle to keep up.

bryant Listen, Mr. Dyson, I know I haven't been here that long, but I
was wondering if you could tell me... I mean, if you know...

Dyson Know what?

bryant Well... where it came from.

dyson I asked them that question once. Know what they told me? Don't
ask.

36 int. vault room 36

Dyson enters with Bryant. Dyson and a GUARD stand together before what
looks like a high-tech bank vault. It requires two keys to open, like
the launch controls in a nuclear silo. The guard and Dyson insert their
keys and turn them simultaneously. Dyson then enters a passcode at a
console and the vault unlocks itself with a sequence of clunks. The
door swings open and Dyson enters. Bryant stays outside with the guard,
who notes Dyson's name and the time on a clipboard.

37 INT. VAULT 37

Dyson walks to a stainless steel cabinet and opens it. Inside is a small
artifact in a sealed container of inert-gas. IT --a ceramic rectangle,
about the size of a domino, the color of liver. It has been shattered,
painstakingly reconstructed and mounted on a metal frame.

Dyson removes the artifact, in its inert-gas flask, and sets it on a
specially designed cart. He handles it like the Turin shroud. Dyson
closes the cabinet. Turns to the one next to it. Opens its door. In
this cabinet is a larger object... an intricate METAL HAND AND FOREARM.

At the elbow, the metal is twisted and crushed. But the forearm and
hand are intact. Its metal surface scorched and discolored, it stands
upright in a vacuum flask, as if saluting. This is all that remains of
the terminator Sara destroyed. Dyson stares at it, lost in thought.
Then he closes the cabinet, BLACKING OUT FRAME.

cut to:

38 int. interview room/ observation room 38

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

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

silberman You see, Sara... here's the problem. I know how smart you
are, and I think you're just telling me what I want to hear. I don't
think you really believe what you've been telling me today.

We go tight on Sara's reaction. And we see that Silberman is right. She
was playing him and it didn't work. And she knows she's fucked. Her
tone becomes quietly pleading.

SARA You have to let me see my son. Please. It's very important. He's
in danger. At least let me call him--

Silberman pins her with his sweet reptilian gaze.

silberman I'm afraid not. Not for a while. I don't see any choice but
to recommend to the review board that you stay here another six months.

Sara's eyes turn cold and lethal in one second. She knows she's lost.
She knows this guy is just playing with her, and she-- LEAPS ACROSS THE
TABLE AT HIM.

SARA YOU SON OF BITCH!!

Silberman jumps back and the attendants dive on her. She is writhing
and twisting like a bobcat. Silberman whips open a drawer and pulls out
a syringe. He jabs it into her as she yells--

SARA Goddammit. Let me go!! Silberman! You don't know what you're
doing! You fuck! You're dead! You hear me!!

Silberman signals and the attendants drag her out. He looks at the
doctors behind the glass. Shrugs.

silberman Model citizen.

TERMINATOR 2 - Rev. 9/10/90 21

cut to:

39 EXT. 7-eleven store - DAY 39

Officer X has stopped two young girls in front of a 7-Eleven. He is
leaning out the cruiser window and showing them the picture of John.
The first girl nods. *

FIRST GIRL Yeah, he was here about fifteen minutes ago. I think he said
he was going to the Galleria.

officer X The what?

The second girl points toward a massive complex visible above the houses
several blocks away. Officer X stares at it.

40 EXT. STREET 40

Terminator cruises slowly on the bike. Scanning. He crosses an
overpass above a drainage canal and whips his head around at the sound
of a dirt-bike engine.

40A TERMINATOR POV-- of two kids on a bike down in the canal. 40A The
IMAGE snap-zooms in. FREEZES on the driver's face. IDENT POS
flashes next to the blurry image of John.

40B Terminator wheels the Harley around, cutting onto a street which
40B runs parallel to the canal. Terminator hauls ass to keep John
in sight. He catches glimpses of the kid through trees and houses.
Loses him. Catches one last glimpse of him heading into the parking
garage of a large SHOPPING MALL.

41 INT. GALLERIA - DAY 41

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

42 int. galleria parking garage 42

TERMINATOR'S idling Harley shakes the parking garage walls. He stops
at a row of bikes near the escalators. John's little Honda sits proudly
with the big street bikes. Terminator parks.

43 int. galleria 43

OFFICER X is moving through the flow of shoppers. The place is a zoo.
He stops some kids and shows them the picture. They shrug.

43A IN A CROWDED VIDEO ARCADE JOHN is lost in an intense battle, going
43A for a new high score at "Missile Command". He parries deftly
as the enemy ICBMs deploy their MIRVs... the warheads stream down...
it's more than he can deal with. The world gets nuked. Game over.
He slouches away from the game, looking for another. Bored.

RACK FOCUS to Officer X passing the entrance of the store behind
him. The cop moves on, down the concourse, out of sight. John gets
into an "Afterburner" simulator game.

43B ON TERMINATOR, walking through the crowd in slow motion. Scanning.
43B It moves with methodical purpose, knowing the target is close.
We see that it is, incredibly, carrying a box of LONG STEM ROSES.
Like some hopeful guy with a hot date.

43C THE COP is pointed toward the arcade by some kids hanging out at the
43C multi-cinema. He walks into the maze of kids engaged in
synthesized conflict. Cheap electronic sound effects blare above
the crowd noise.

43D JOHN is shooting down MiGs at Mach 2. His friend Tim slides up next
to 43D him. Taps him on the shoulder, trying to play it cool.

tim Some cop is scoping for you, dude.

John looks around the corner of the "Afterburner" ride. Sees the cop
showing a picture to some of the kids. The kids point his way.

John ducks just as the cop glances over. He slinks out the other side
of the ride and heads for the back of the store, instinctively
retreating. Sara has taught him that cops are bad news.

THE COP scans the crowded arcade. Glimpses John, looking back as he
moves around a row of machines. Starts toward him.

JOHN sees the cop homing in and starts walking fast. Looks back. THE
COP is shoving through clots of kids. One of them is slammed to the
floor. An eddy of outrage behind the cop as he gains speed. John
breaks into a run. So does the cop. Kids scatter like ten-pins as the
cop charges after John. John sprints through the arcade's back office
and store-rooms.

44 int. SERVICE CORRIDOR 44

John emerges through a firedoor into a long corridor which connects to
the parking garage. He's running full out, when around the corner ahead
of him comes...

TERMINATOR. Time stretches to nightmarish crawl as John tries to brake
to a stop. Terminator reaches into the box of roses.

SLOW MOTION. The cold black steel of the SHOTGUN emerges as the box
falls open, the roses spilling to the floor. TERMINATOR'S BOOT crushes
the flowers as it moves forward.

44 JOHN, transfixed by terror, is trapped in the narrow featureless
shooting 44 gallery of the corridor. THE SHOTGUN COMES UP.
Terminator expressionlessly strides forward. Jacks a round into the
chamber, slow and fluid.

John looks behind him for a place to run. Sees the cop coming toward
him, pulling his Beretta pistol. Incredibly, John realizes the cop is
aiming his gun at him! John looks back at Terminator. He is staring
into the black muzzle of the 10 gauge now. Aimed right at his head. He
realizes he's screwed. Then something crazy happens...

terminator Get down.

John instinctively ducks. Terminator pulls the trigger. KABOOM!

THE COP catches the SHOTGUN'S BLAST square in the chest just as he fires
his pistol. The pistol's shot goes wild.

TERMINATOR pumps another round into him. Then another. And another.
And another. Advancing a step each time he fires, he empties the
shotgun into the cop, blowing him backward down the corridor. The sound
is DEAFENING. Then silence.

THE COP lies still on his back.

44A Terminator is now standing right over John. They both watch as the
cop, 44A incredibly, sits up unharmed and gets to its feet.
Terminator grabs John roughly by his jacket. Clutches the kid to
his chest then spins around as the cop opens fire with the Beretta.

44B The "cop", who not only isn't a cop, he clearly isn't even human,
pulls 44B the trigger so fast it almost seems like a
machine-pistol.

ON TERMINATOR'S BACK, as the 9mm slugs slam into it, punching bloody
holes in the motorcycle jacket.

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

JOHN is bug-eyed with fear, but completely unscratched. Terminator's
body has blocked the bullets.

The Beretta CLACKS empty. Terminator turns at the sound. Shoves John
behind a coke machine. Drops the empty shotgun, Starts walking toward
the "cop". The empty magazine clatters to the floor. The cop inserts
another one. Snaps back the slide. Terminator still has twenty feet
to go. It doesn't break its purposeful stride.

44B The cop opens fire. Bullets rake Terminator's chest. It
doesn't even flinch. 44B Ten feet to go. BLAM BLAM BLAM BLAM!
Neither the cop nor Terminator show the slightest change in
expression as the gun rips Terminator's wardrobe to shreds.

CLACK. The pistol empties again. Terminator stops two feet in front of
the cop. They appraise each other for a second.

We realize now that the cop is a terminator too. We don't know the
details yet, but let's call him the T-1000 (since that's what he is). A
newer model than the one we've come to know so well (the 800 Series
"Arnold"). This guy's an advanced prototype... and he's got quite a few
surprises.

T-1000 AND TERMINATOR size each other up. Terminator moves first. It
grabs the T-1000 in its massive hands but the T-1000 snaps back with a
counter-grip. After about two seconds of intense slamming, the walls on
both sides of the corridor have all the plaster smashed in, and the two
battling machines have blasted through the wall and disappeared.

JOHN, totally stunned by all of this, remembers to move. He staggers to
his feet. Stumble-runs toward the parking garage.

44C THIRD LEVEL CONCOURSE. A plate glass window EXPLODES and the 44C
Terminator crashes through to the tile floor like a sack of cement
amid the screaming crowd.

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

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

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

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

45 int. parking garage 45

John is frantically pumping the kick starter of his bike, scared
shitless and the damned thing won't start. His hands are shaking so
badly he can't find the choke. He looks up to see-- The T-1000 running
down the corridor toward him. John fumbles with the choke. The bike
catches. He slams it in gear and spins the bike out into the main
aisle of the garage.

45 John looks back... the T-1000 is behind him, running. He twists the
throttle 45 and guns the little bike forward. Incredibly, the
T-1000 is gaining. This nightmare isn't happening. John races out
the exit ramp, and charges right into the street.

46 EXT. STREET 46

John shoots into the busy traffic. Cuts off a BIG-RIG TOW TRUCK. The
DRIVER swears. Hits his air horn. What the driver doesn't see is the
cop, running faster than O.J. Simpson at the airport, who emerges onto
the street and runs right at his truck.

46A IN THE TRUCK. The driver hears a thump as something slams against
46A his door, then feels himself pulled right out. T-1000 slides in
and takes his place. The truck is still rolling along about 25 mph.
T-1000 accelerates after John without missing a beat. It can see
him, up ahead, weaving through traffic.

46B Out of the garage entrance, Terminator roars onto the street on the
Harley. 46B It accelerates after the others.

47 EXT. FLOOD CONTROL CHANNEL 47

John slides his bike down the service ramp faster than he's ever done it
before. He races along the bottom of the canal, turning into a narrower
tributary which has vertical sides.

He looks back. No sign of pursuit. 47A Suddenly he sees the sun blocked
out by a great shadow. 47A The Kenworth tow-truck... big as house, all
chrome and roaring diesel engine... crashes through the fence and
launches itself right into the center of the canal.

It crashes down, 15 feet to the ground, going about 60, hits at an angle
and tears into the concrete wall with a hideous grinding of metal. It
ricochets back and forth between the walls then, bellowing like a
gutshot stegosaurus, it just keeps on plowing forward, gathering speed.

47B John looks back and sees this wall of metal almost filling the
narrow 47B concrete canal and he milks every last bit of throttle
the little bike has. The Kenworth is all muscle, tearing along the
canal like a train in a tunnel. Its big tires send up huge sheets
of muddy spray, backlit in the setting sun. It looks like some kind
of demon. And... it's gaining.

47C ABOVE THEM, on the service road running parallel, Terminator is
47C fighting to overtake them. It looks down and sees John with the
tow-truck from Hell catching up to him. It is only about twenty
feet behind him and still gaining.

47D ANGLE IN THE CANAL, looking back past a desperate John, at the wall
of 47D metal filling frame behind him.

TERMINATOR 2 - Rev. 9/10/90 26

47E ABOVE, Terminator cuts the bike suddenly hard to the left, leaving
the 47E road. Hitting an earth embankment just right, it jumps the
bike into the air like Steve McQueen in "The Great Escape" and
vaults the fence bordering the canal. It slams down at the edge of
the canal and tears along, inches from the drop-off on a dirt path,
accelerating past the truck in the channel below.

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

47G SLOW MOTION as Terminator jumps the bike again. This time the 700-
47G pound Harley sails out into space and drops into the canal. It
arcs down between the truck and John, hitting on its wheels. It
bottoms out, an explosion of sparks from under the frame. Only the
ultra-fast reflexes of a machine could keep the bike upright.
Terminator fights for control.

47H It guns the throttle and the powerful bike roars up beside John's
tiny Honda. 47H Terminator sweeps the kid off his machine with one
arm and swings him onto the Harley, in front of him. John's Honda
weaves and falls, smashed instantly under thundering tires.

The Harley roars ahead. It hits eighty. Ahead is an overpass, and
supporting it is an abutment which bisects the canal into two channels.
The Harley thunders into one channel, which is essentially a short
tunnel.

47I The truck can't fit on either side. Neither can it stop, at that
speed. Tires 47I locked, it slides on the muddy concrete and
piles into the concreted abutment at seventy.

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

Terminator stops the Harley. John peers around its body to see the
destruction. A burning wheel wobbles out of the tunnel and flops in the
mud. Terminator revs the bike and they roar away, down the canal,
disappearing around a bend.

47K ANGLE ON THE FIRE, as a column of black smoke rises from the
overpass. 47K Smoke boils from the tunnel as well, and inside
it is a solid wall of flame. A figure appears in the fire. Just an
outline. Walking slowly... calmly. The figure emerges from the
flames.

It is human-shaped but far from human. A smooth chrome man. Not a
servomechanism like Terminator is underneath, with its complex
hydraulics and cables... this thing is a featureless, liquid chrome
surface, bending seamlessly at knees and elbows as it walks. It reminds
us of mercury. A mercury man. Its face is simple, unformed. Unruffled
by thousand degree heat, it walks toward us.

With each step detail returns. First the shapes and lines of its
clothing emerge from the liquid chrome surface, then finer
details... buttons, facial features, ears... *

TERMINATOR 2 - Rev. 9/10/90 27

47K But it's still all chrome. With its last step, the color
returns to everything. It is 47K the cop again... handsome young
face, blond hair, moustache. Icy eyes. It stops and looks around.

It is a perfect chameleon. A liquid metal robot. A killing machine
with the ultimate skills of mimicry for infiltration of human society.

47L ANGLE NEARBY, as several police cruisers and a fire truck pull up.
47L T-1000 climbs out of the canal behind them. More cops arrive.
T-1000 blends in perfectly. There are always cops at disasters and
scenes of violence. We now see why its choice of protective mimicry is
so perfect. It walks among the other cops unnoticed. Gets into one of
the squad cars. Starts it and drives away.

48 EXT. SIDE STREET - DUSK 48

Terminator, with John in front of him, on the Harley roars down the
empty street. John cranes his neck around to get a look at the
person/thing he is riding with. The image is strangely reminiscent of
father/son, out for an evening ride.

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

john Whoa... time out. Stop the bike!

Terminator immediately complies. He leans the bike into a turn.
They head * into a nearby alley.

49 EXT. ALLEY 49

Terminator and John roll into the alley and come to a stop. John slides
off the gas tank. Terminator impassively stares at him. John checks
him out. Tentatively speaks.

john Now don't take this the wrong way, but you are a terminator, right?

terminator Yes. Cyberdyne Systems, Model 101.

john No way!

John touches Terminator's skin. Then the blood on his jacket.
* His mind overloads as the reality of it hits him.


49 john 49 Holy shit... you're really real! I mean... whoah!
(stepping back) You're, uh... like a machine underneath, right... but
sort of alive outside?

TERMINATOR I'm a cybernetic organism. Living tissue over a metal
endoskeleton.

john This is intense. Get a grip, John. Okay, uh... you're not here
to kill me... I figured that part out for myself. So what's the deal?

terminator My mission is to protect you.

john Yeah? Who sent you?

terminator You did. Thirty five years from now you reprogrammed me to
be your protector here, in this time.

John gives him an amazed look.

john This is deep.


50 EXT. street - NIGHT 50

John and Terminator on the bike again, weaving through the side streets.
They blend into the evening traffic. In the darkness, Terminator's
wounds are not readily visible. John cranes his head up and back.

john So this other guy? He's a terminator too, right, like you?

terminator Not like me. A T-1000. Advanced prototype. A mimetic
polyalloy.

john What's that mean?

terminator Liquid metal.

john Radical.


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

John mulls that over.

john Where we going?

terminator We have to leave the city, immediately. And avoid the
authorities.

john Can I stop by my house?

terminator Negative. The T-1000 will definitely try to reacquire you
there.

john You sure?

terminator I would. cut to:

51 ext. payphone 51

John is quickly going through his pockets for change. He has plenty of
bills but no quarters.

john Look, Todd and Janelle are dicks but I gotta warn them. Shit! You
got a quarter?

Terminator reaches past John and smashes the cover plate off the phone's
cash box with the heel of his hand. A shower of change tumbles out.
Terminator hands one to John. John dials.

52 INT. VOIGHT HOUSE - KITCHEN - NIGHT 52

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

janelle Hello?

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


52 In the backyard John's German Shepherd is going bonkers, barking at
52 something.

janelle John? Where are you, honey? It's late. You should come home,
dear. I'm making a casserole.

AT THE PAYPHONE. John listens, an odd look on his face. He covers the
phone's mouthpiece and turns to Terminator.

john (whispering) Something's wrong. She's never this nice.

IN THE VOIGHT'S KITCHEN. Todd comes in through the kitchen's back
door. Just home from work. He ignores Janelle and opens the
fridge. Grabs a Coors. Takes a sip. Frowns at the dog's barking.

todd What the hell's the goddamn dog barking at? SHUT UP YOU MUTT!

TIGHT ON JANELLE as Todd growls around the kitchen behind her. He
passes OUT OF FRAME next to her. Janelle switches the phone to her
other hand then... THUNK! Her free hand seems to do something out of
frame. There is a gurgling, and the sound of liquid dribbling onto the
floor. (Don't go away. We'll found out what happened in a moment)

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

john The dog's really barking. Maybe it's already there. What should I
do?

Terminator takes the phone from John's hand. Janelle's voice is
floating through the receiver.

janelle (filtered) John? John, are you okay?

Terminator speaks into the phone in a perfect imitation of John's
voice...

terminator (in John's voice) I'm right here. I'm fine. (to John, a
whisper) What is the dog's name?

john Max.


TERMINATOR 2 - Rev. 9/10/90 31

52 Terminator nods. Speaks into the phone. 52

terminator Hey Janelle, what's wrong with Wolfy? I can hear him
barking. Is he okay?

janelle (filtered) Wolfy's fine, honey. Where are you?

Terminator unceremoniously hangs up the phone. Turns to John.

terminator Your foster parents are dead. Let's go.

Terminator heads for the bike. John, shocked, stares after him.

53 int. voight house / kitchen 53

Janelle hangs up the phone. Her expression is neutral. Calm.

PAN OVER along her arm, which is stretched out straight from the
shoulder. Partway along its length her arm has turned smoothly into
something else-- a * metal cylinder which tapers into a
sword-like spike. Now we see Todd Voight PINNED TO A KITCHEN
CABINET by the spike which has punched through his beer can, through
his mouth and exits the back of his head into the cabinet door. His
eyes are glassy and lifeless.

The spike is withdrawn-- SWIISHHTT!-- so rapidly, Todd is actually
standing there a second before he slumps out of sight. THUMP. 53A
Janelle doesn't bat an eye as the spike smoothly changes shape and
color, 53A transforming back into a hand, and then...

53B JANELLE CHANGES rapidly into the COP we now know as the T-1000. The
53B change has a liquid quality. T-1000 opens the back door.

54 ext. voight house/ backyard - night

T-1000 approaches the big German Shepherd, which slinks away from him,
barking in fear. T-1000 walks right into CLOSE UP. Reaches down, OUT
OF FRAME. We hear that sickening THUNK followed by a shrill YELP.
Then T-1000's hand snaps up INTO FRAME holding a bloody dog collar. The
tag reads "MAX". T-1000 nods thoughtfully. Heads back to the house.

55 EXT. parking lot - NIGHT 55

Dark. Off a quiet street. Terminator stands near the Harley watching
John pace before him. John's brain is calling time-out. This is all
too weird.

john I need a minute here, okay? You're telling me it can imitate
anything it touches?


TERMINATOR 2 - Rev. 9/10/90 32

55 terminator 55 Anything it samples by physical contact.

John thinks about that, trying to grasp their opponent's parameters.

john Like it could disguise itself as anything... a pack of cigarettes?

terminator No. Only an object of equal size.

John's still reeling from meeting one terminator, which now seems
downright conventional next to the exotic new model.

john Well, why didn't it just become a bomb or something to get me?

terminator It can't form complex machines. Guns and explosives have
chemicals, moving parts. It doesn't work that way. But it can form
solid metal shapes.


56 INT. VOIGHT HOUSE - night 56

T-1000 walks down the dark hall. It passes the bathroom and we see the
real Janelle's legs through the half-open door. The shower is running.
Her blood mixes with water on the white tile floor.

56A In John's bedroom the T-1000 begins searching methodically in the
dark. 56A Calmly and dispassionately ripping the room apart for
any clues that could lead it to its target. T-1000 finds a box of
audio cassettes marked "Messages from Mom". In it are * some
letters, and envelopes filled with snapshots. It begins looking
through * some of the photos... *

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


57 EXT. PARKING LOT - NIGHT 57

John is now sitting on the curb, lost in stunned thought. Terminator
stands above him, watching the street like a Doberman. He glances down
at John.

john We spent a lot of time in Nicaragua... places * like that. For a
while she was with this crazy * ex-green beret guy, running
guns. Then there * were some other guys. *

TERMINATOR 2 - Rev. 9/10/90 33

57 JOHN 57* She'd shack up with anybody she could learn * from.
So then she could teach me how to be this * great military
leader. Then she gets busted and * it's like... sorry kid, your
mom's a psycho. * Didn't you know? It's like... everything I'd
* been brought up to believe was just made-up * fantasy, right? I
hated her for that. * (he looks up) But everything she said was
true. * (he stands) We gotta get her out of there. *

terminator Negative. The T-1000's highest probability for success now
would be to copy Sara Conner and wait for you to make contact with her.

john Oh, great. And what happens to her? *

Terminator's reply is matter-of-fact.

terminator Typically, the subject being copied is terminated.

john TERMINATED!? Shit! Why didn't you tell me? We gotta go right
now!

terminator Negative. She is not a mission priority.

john Yeah, well fuck you, she's a priority to me!

John strides away. Terminator goes after him and grabs his arm. John
struggles against the grip. Which doesn't do him much good.

john Hey, goddammit! What's your problem?

Starts dragging John back to the bike. John spots a couple of
college-age slab-o-meat JOCK-TYPES across the street and starts yelling
to them.

john Help! HELP!! I'm being kidnapped! Get this psycho off of me!

The TWO JOCKS start toward them. John yells in outrage at Terminator

john Let go of me!!

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

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

john Oww! Why'd you do that?


57 terminator 57 You told me to.

John stares at him in amazement as he realizes...

john You have to do what I say?!

terminator That is one of the mission parameters.

john Prove it.... stand on one foot.

Terminator expressionlessly lifts one leg. John grins. He's the first
on his block...

john Cool! My own Terminator. This is great!

The two guys get there and look at Terminator standing there calmly with
one leg up in the air. This big guy in black leather and dark glasses,
standing like a statue.

first jock Hey, kid. You okay?

John turns to him. No longer needing to be rescued.

john Take a hike, bozo.

first jock Yeah? Fuck you, you little dipshit.

john Dipshit? Did you say dipshit?! (to Terminator) Grab this guy.

Terminator complies instantly, hoisting him one-handed by the collar.
The guy's legs are pinwheeling.

john Now who's a dipshit, you jock douchebag?

Immediately, things get out of hand. The guy's friend jumps behind
Terminator and tries to grab him in a full nelson-- Terminator throws
the first guy across the hood of a car-- Grabs the second by the hair,
whips out his .45 in a quick blur, and aims the muzzle at the guy's
forehead.


57 John grabs Terminator's arm with a yell as he pulls the
trigger-- John's 57 weight is just enough to deflect the gun a
few inches. The guy flinches, stunned by the K-BOOM next to his
ear. He stares, shocked. Pissing himself. John is freaking out
too. He screams at Terminator.

john Put the gun down! NOW!!

Terminator sets the .45 on the sidewalk. John scoops it up fast then
turns to the shocked civilians, who can't believe what just happened.

john Walk away.

They do. Fast. John grabs Terminator by the arm and tugs him toward
the bike. John still holds the gun, reluctant to give it back.

john Jesus... you were gonna kill that guy!

terminator Of course. I'm a terminator.

John stares at him. Having your own terminator just became a little bit
less fun to him.

john Listen to me, very carefully, okay? You're not a terminator
anymore. Alright? You got that? You can't just go around killing
people!

terminator Why ?

john Whattaya mean, why? Cause you can't!

terminator Why?

john You just can't, okay. Trust me on this.

Terminator doesn't get it. John just stares at him. Frightened at
what just almost happened. He gets a glimpse of the responsibility that
comes with power. Finally he hands the .45 back to Terminator, who
puts it away.

john Look, I'm gonna go get my mom. You wanna come along, that's fine
with me.

cut to


TERMINATOR 2 - Rev. 9/10/90 36

58 int. voight house/ bedroom - night 58

T-1000 finds an envelope... a letter from Sara to John sent since
she's been at * Pescadero State Hospital. It reads the return
address on the envelope. It has * what it needs. It picks up a
tape player and the battered shoebox full of * Sara's tapes and
exits.

cut to:

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

A black-clad figure stands at the end of the corridor. The guy has
short-cropped hair and dark glasses. An AR-180 assault rifle in one
hand, and a 12-gauge in the other--holding them both like toy pistols.
ANOTHER PHOTO is slapped on top of the first. Another still-frame
blow-up is placed over the last. Terminator looms in CLOSE UP.

DETective weatherby (O.S.) These were taken at the West Highland police
station in 1984. You were there.

WIDER. We're in--

59A int. INTERVIEW ROOM/ peSCADERO - night 59A

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

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

Weatherby slaps another black and white eight-by-ten on the table. A
close up of Terminator taken by the Japanese tourist at the mall. It's
the same face.

mossberg This one was taken by a Japanese tourist today.

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

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


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

mossberg We're wasting our time.

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

Silberman Sorry, gentleman...

TIGHT ON SARA, slumped under the bright lights. Totally out of it.
Then we see her hand, creeping along the edge of the table toward the
stack of photos. She slips off the paper clip binding the stills
together, and hides it between her fingers. Douglas jerks her up by the
arm and leads her out.

cut to: 60 int. SARA's cell 60

Douglas cinches up the last of Sara's restraints. Then leans over
her... looking down. Even wrecked as she is, we see the beauty in her
face. He bends down. We think he's going to kiss her. Instead he
runs his tongue across her face like a dog would. She seems not to
even see him. Her dull eyes see past him. He can't provoke a
reaction. Even here, strapped down, the two of them alone, she gives
him no superiority. He smirks and leaves. We hear the sound of his
night-stick tapping its way down the corridor, growing fainter.

Sara's eyes snap suddenly alert. There is intensity and resolve in
them. She slips the paper clip out from between her fingers and
awkwardly spreads it open into a straight piece of wire. With slow,
painful concentration she moves it toward the lock of the restraints
that bind her wrists to the bed at her sides. cut to:

61 EXT. road - NIGHT 61

Terminator and John charge through the night on the Harley.
Streetlights flare past them like comets. Two serious guys with a
mission. One a ten year old kid, the other a half-man/ half-machine
cyborg killer from the post-apocalypse future.

cut to: 62 INT. SARA'S CELL 62

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

SARA, her hands free, sits up and releases the Velcro straps on her
feet. She rolls off the bed and we see her in a whole new light. She
is totally alert, almost feral in her movements. CUT TO:


63 EXT. hospital entrance 63

GUARD SHACK. A bored security guard glances up as an LAPD
black-and-white pulls up. He raises the barricade and nods at the
T-1000/cop as he passes.

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

64 int. SARA's cell/ corridor 64

Sara is using the paper clip on the door lock. She hears an echoing
tapping sound. It's getting louder, coming her way. She goes back to
work on the lock.

65 IN THE CORRIDOR. Douglas the attendant is tapping his stick along
the wall 65 like he does every night on his rounds. It is dark.
He shines a little mag-light in the windows of the cells as he
passes, barely slowing.

65A He rounds the corner. His footsteps echo in the dark hallway. 65A
The tip of the stick hits the wall. Tap, tap, tap... getting closer to
Sara's cell. He stops at her door. He is about to shine his light in
when he notices that a utility closet across the hall is open. He goes
to shut it, absently flicking his light into the dark closet. He
notices something strange among the buckets and cleaning supplies. A
mop lies on the floor, with its handle snapped off about halfway up.
The other half is missing.

Douglas ponders that for half a second, then hears a SOUND behind him
and spins around. The sound he heard was Sara's cell door. The missing
two feet of MOP HANDLE fills his vision as it CRACKS viciously across
the bridge of his nose.

250 pounds of doughy attendant hit the floor like a sack of cement.
Sara slams the makeshift baton down expertly across the back of his
head, bouncing him off the linoleum. Lights out, Douglas. She drags
him into her cell and locks him in with his own keys. Then swaps her
mop-handle for his nice heavy night-stick.

65B Sara moves down the dark corridor, cat-stepping in her bare feet.
She holds 65B the baton like a pro, laid back along her forearm,
police-style. She looks dangerous. CUT TO:

66 INT. HOSPITAL ENTRANCE/ CORRIDOR 66

A long corridor ends at a reception area, which is closed, and a NIGHT
RECEIVING DESK, which is a glass window where they can buzz you in
through a heavy door. A NIGHT NURSE types at a desk nearby. She looks
up at the sound of footsteps and sees a young cop (T-1000) walking
toward her. t-1000 You have a Sara Conner here?

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


66 night nurse 66 Running late, aren't you?

She turns to the inner door to buzz him in and sees Silberman and the
cops coming toward the door from the other side.

night nurse Your friends are on their way out now...

When she turns back to the window, T-1000's no longer there. She goes
to the counter and leans out to see if he's at the drinking fountain or
someplace. No. Reception is empty. And so is the long corridor
beyond. She frowns. Too weird.

66A Silberman comes through the solenoid door with Mossberg and
Weatherby, 66A the two uniform cops, and the hospital security
guard. The guard retrieves his 9mm pistol from a lock-out box
behind the night desk. Silberman faces him.

silberman Lewis, see these gentleman out and then lock up for the night.

The security guard nods. Silberman goes back into the secure area of
the hospital and the cops walk down the long corridor to the main doors.
No sign of T-1000. Mossberg and the other cops exit, and the guard
locks the door behind them.

66B The guard walks slowly back along the long corridor. The hall is
dark, with 66B the light at the night desk far ahead like a
sanctuary. His footsteps ring hollowly on the tile floor. His keys
jingle.

66C ANGLE ON FLOOR as the guard's feet pass through FRAME. An instant
66C later the floor starts to move. It shivers and bulges upward
like a liquid mass, still retaining the two-tone checkerboard of the
tile. It hunches up silently into a quivering shadow in the
darkness behind the guard.

66D Up ahead we hear typing. The night nurse has her back to us,
working. The 66D guard stops at the drinking fountain. Bends
to take a sip. Behind him the fluid mass has reached six feet of
height and begins to resolve rapidly into a human figure. It loses
the color and texture of the tile and becomes... THE GUARD.

T-1000's mass had been spread out a quarter of an inch thick over
several square yards of floor. The guard walked over the T-1000, and
his structure was sampled in that instant. Now we see it drawing in and
pulling up to form the figure of the guard.

The T-1000/Guard's feet are the last to form, the last of the "liquid
floor" pulling in to form shiny black guard shoes. The shoes detach
with a faint sucking sound from the real floor as the T-1000/Guard takes
its first step.


66E The real guard spins at the sound of footsteps to see... himself.
66E He has one deeply disturbing moment to consider the ramifications of
that. Then he sees his double calmly raise his hand and, inexplicably,
point his right index finger directly at the real guard's face, about a
foot away. In a split second, the finger spears out, elongating into a
thin steel rod which snaps out like a stiletto, slamming into the
guard's eye. It punches into the corner of the eye, past the eyeball
like a trans-orbital lobotomy tool, and emerges from the back of the
guard's skull.

Life quietly empties from the guard's face. He is dead weight now,
hanging from the rod/finger, which suddenly retracts-- SSSNICK. As the
guard slumps, the T-1000 takes his weight easily with one hand and walks
him, like he's carrying a suit on a hanger, back toward the night desk.
The wounds are so tiny, no blood drips onto the floor.

66F ON THE NURSE, glancing up as the T-1000/guard walks past, dragging
66F something casually which she can't see because it's below the
countertop.

night nurse Whatcha got, Lewis?

t-1000/guard Just some trash.

She nods, uninterested. Keeps typing. T-1000 moves past, dragging the
unseen guard toward a closet down the hall from the night receiving
station. T-1000/Guard removes the Browning High-Power pistol and the
keys from the real guard's belt, then stuffs his body into the utility
closet.


66G int. corridor / night receiving desk 66G

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

T-1000/guard All set.

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

night nurse Gotta to check the gun first, Lewis.

t-1000/guard Yeah, sorry.

T-1000 opens the locker and blocks it from her view with its body as it
mimes putting the gun in.

66H CLOSE ANGLE ON T-1000'S CHEST, from inside the locker. Instead of
66H setting the gun in the locker, it inserts the pistol into its
own chest, where it disappears inside like it was dropped into a pot
of hot fudge. It withdraws its hand. The chest is once again a
surface that looks like cloth, buttons, name-tag etc. You'd never
guess it was really an intelligent liquid metal.


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

CUT TO: 67 int. isolation SECURITY CHECKPOINT 67

A small room before a short SALLY-PORT corridor designed to prevent
violent inmates from making a run for it. There are doors at each end.
The first one is barred like a jail-cell door, and the second is a
steel fire door. The attendants have a video monitor with which they
can see the corridor on the other side of the doors.

The two bored attendants barely notice the T-1000/Guard as it
approaches. Looks briefly at a chart next to the door, seeing SARA
CONNER is in #19. T-1000/Guard goes into the Isolation Ward through the
two doors, which lock behind it.

67A IN THE ISOLATION WARD, the T-1000 passes a nurses' station which
looks 67A like a cage, walled in by heavy metal mesh. Silberman,
leaning in the open doorway, is talking to an attendant in the cage.
He doesn't glance twice at Lewis the guard passing by.

68 SARA, moving like a ghost in the darkened corridor, hears footsteps
coming 68 and quietly but quickly unlocks a cell next to her with
Douglas's master key. 68A She slips into the cell and waits as
the footsteps pass. 68A We glimpse the T-1000/Guard pass the
window. She waits as the footsteps fade away. She looks over. A
female inmate, strapped to a bed, watches her with bird-like eyes.
She puts a finger to her lips-- SSHHH. The inmate nods. Sara
exits.

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

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

Silberman lunges for the alarm button and she cracks down hard on his
arm. He cries out and grabs his wrist. She grabs him by the hair and
slams him face down on the desk, smacking him behind the knees expertly
with the baton. His legs buckle and he drops to his knees with his chin
on the desk. She pins him with one hand. His face is full of outraged
disbelief.

silberman You broke my arm!

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


TERMINATOR 2 - Rev. 9/10/90 42

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

She jabs the empty syringe into the plastic jug. Draws back the plunger.
The syringe fills with blue liquid. She whips it out of the jug and jams
the needle into Silberman's neck. His horrified eyes rack toward it.
10 cc's of blue death fill the cylinder. Her thumb hovers over the
plunger. * She jerks him to his feet by the collar and gets a tight
grip on him, then hauls * him through the door. *

69 IN THE CORRIDOR outside cell #19 the T-1000 stops and looks in the
69 window. Douglas, his face a bloody mess, yells to be heard.

douglas Open the door! The goddamn bitch is loose in the halls!

To Douglas's amazement, Lewis the Guard turns impassively and walks
away, leaving him shouting soundlessly at the window.

cut to:

70 ext. hospital 70

Terminator and John are approaching the guard gate on the Harley. They
can see the guard inside look up at the sound of the engine.

john Now remember, you're not gonna kill anyone, right?

terminator Right.

John looks at him. He's not convinced.

TERMINATOR 2 - Rev. 9/10/90 43

70 john 70 Swear.

terminator What?

john Just say "I swear I won't kill anyone."

John holds his hand up, like he's being sworn in. Terminator stares at
John at beat. Then mimics the gesture.

terminator I swear I will not kill anybody.

Terminator stops the bike and gets off. The guard, sensing trouble, has
his gun drawn as he comes out of the shack. Terminator walks toward him
drawing his .45 smoothly. BLAM! He shoots the guard accurately in the
thigh. The guy drops, screaming and clutching his leg. Terminator kicks
the guard's gun away, then smashes the phone in the shack with his fist.
He pushes the button to raise the gate and walks back to the bike.

terminator He'll live.

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


71 int. isolation floor 71

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

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

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

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

Silberman's face is the color of suet. *

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

Her voice is a deadly cold hiss. *

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

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


71 Silberman 71 Open the goddamn door!

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

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

SARA Step back!

He does. She faces both of them.

SARA Down on the floor! Now!

They comply. She comes through with Silberman, giving them a wide
berth. Starts backing down the hall away from them, still holding her
hostage. She's actually pulling this off.

71B ANGLE FROM BEHIND HER. What we can see, but she can't, is a third
71B orderly waiting just around the corner. He's poised, ready to
jump her when she comes abreast of him.

ON SARA backing up. She reaches the corner. The third attendant lunges,
grabbing her syringe-hand. Sara spins on the orderly and catches him
across the throat with the nightstick. He loses interest fast, dropping
to his knees and gagging. Silberman pulls away, screaming at the top of
his lungs.

silberman Get her!

They scramble up as Sara takes off like a shot around the corner. One of
them hits the panic button and ALARMS begin to sound.

72 IN THE ISOLATION WARD, the T-1000 is looking in at a very stoned
72 attendant inside the nurses' station when the alarms shriek
through the halls. It reaches into its chest and pulls out the 9mm
pistol. Heads for the security entrance.

73 IN ANOTHER CORRIDOR in the maze of the vast hospital, Sara flies
past 73 us, her bare feet slapping on the cold tiles. The
orderlies charge after her. She's like an animal in a maze. She
turns a corner, glancing off the wall, and sprints on without
slowing. She reaches a steel door. Tries it. Locked. Footsteps
like a drum solo behind her.

She fumbles with Douglas's keys, breathing hard. Jams the master in.
The orderlies are bearing down on her at full tilt. Sara gets the door
open. Dives through. Slams it. She turns a deadbolt knob just as the
first orderly grabs the latch on the other side. He's too late.

TERMINATOR 2 - Rev. 9/10/90 45

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

73A Sara is in another sally-port corridor. A jail-cell type barred
door is 73A between her and the corridors of the ward beyond.
She sprints to the wall of bars, jams her key into the door. She
unlocks and pulls open this door just as she hears the latch of the
one she just came through being unlocked.

She flings herself frantically through the barred door as the first
orderly comes through behind her. She slams the bars shut. CLANG. Her
keys are dangling from the lock on the other side from her. The orderly
is racing at her, white-lipped with rage.

She reaches back through the bars, turns the key, and purposefully snaps
it off in the lock. An instant later the big orderly slams against
the door, grabbing through the bars for her as she dances back just out
of reach. He lunges against the steel bars, unbelievably pissed off.

Sara takes off running, looking back at the frustrated orderlies.
They're shouting at each other, unable to fit their keys into the
lock-- The broken-off key tip makes it impossible to get their keys in.
Silberman shouts at them.

silberman Go around, goddammit! Go around!!

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

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

TERMINATOR steps out... his head swivelling to face her. Sara reacts,
stricken by the image from her worst nightmares. Her eyes go wide as
momentum carries her forward. Her bare feet slip on the slick tile. She
slams to the floor, staring up at the leather clad figure with the
shotgun.

She loses all semblance of courage and some of her sanity. She's not
even aware that she is screaming, or what would be screaming if she
could get the breath to do it. In slowed down dream-time, Sara
scrambles back along the floor like a crab, spinning and clawing her way
to her feet along the wall.

She runs like the wind, like in her nightmare. If she looked back she
would have seen John step warily out of the corridor behind Terminator.
John, however, catches a glimpse of the fleeing Sara and figures out
instantly what happened.

john Mom!! Wait! *


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

73C She is pelting down the long corridor, back the way she came. As
she 73C reaches an intersection with a cross corridor a white-clad
figure blurs from that corridor. The orderly hits her in a flying
tackle. She skids across the floor, shrieking and struggling. The
other two orderlies leap into the fray.

SARA No! Help me! Goddammit, it's gonna kill us all!!!

She is shouting, pleading, trying to get them to understand what is
coming. They grab her thrashing arms and legs. They don't even look
where the out-of-control woman is pointing... back along the corridor.

They have her pinned to the cold tiles, a ring of faces above her.
Silberman leans down to her, holding a syringe with a heavy dose of
trank. Sara cranes her neck and sees the dark silhouette of Terminator
coming up behind them. It is exactly her nightmare. She screams in
utter hopelessness.

Terminator, holding the shotgun in one hand, reaches down and grabs one
of the orderlies with his other hand. He hurls the 200 pound guy
against the far wall of the corridor. SMACK! He drops to the floor.

The other two orderlies react instantly, leaping onto the intruder.
Terminator seems to disappear for a moment under the two big guys. Then
there is an explosion of white-clad figures, as the orderlies are flung
outward like they stepped on a land mine. One crashes through a window
of safety glass and is caught before a two-story fall by the outer steel
bars. The other crashes through an office door, splintering it into
kindling.

Silberman has jumped in to hold Sara. He is grabbed by a roll of skin
at the back of his neck and lifted like a cat. The doctor feels his
feet pedaling above the ground. He looks into the expressionless face.
And it hits him. Sara was right... this guy isn't human. He feels the
fabric of his reality crumbling. Then he feels himself flying through
the air. The wall smacks him, then the floor kicks him in the face. He
decides to lie there a second.

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

john Mom, are you okay?


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

Incredibly, Terminator politely reaches its hand down to her, offering
to help her up. The last thing she ever expected to see.

terminator Come with me if you want to live.

The orderlies are stirring.

john It's all right, Mom. He's here to help.

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

73D John sees a COP standing thirty feet away, on the other side of the
wall of 73D bars. John doesn't know what we know, but he knows
something's not right with this guy. Terminator turns to follow
John's gaze. The T-1000 has his pistol in his hand, at his side.
Terminator pushes John behind him. They start backing up.

73E The T-1000 walks forward, reaching the bars. It doesn't stop.
73E Its body divides like jello around the bars. As it squeezes itself
through like metal playdough, its surface reforms perfectly on our side.
We see it deform and squeeze through like a viscous paste forced past an
obstacle. Silberman has recovered enough to be sitting up and watching
this. That faint snapping sound is his mind.

There is a CLINK and we see that the guard's gun has caught against the
bars... the only solid object. The T-1000 turns its wrist and tries
again, slipping the gun endwise through the gap.

73F Sara is agape. Not reacting. It's been a heavy day for her. 73F
Terminator grabs John by the seat of his pants and hooks him up onto his
back. John grabs him around the neck. Terminator raises the shotgun
and starts backing up.

terminator Go! Run!

Sara doesn't need to be told twice. T-1000 walks toward them, opening
fire with the Browning Hi-Power. Terminator straight-arms the 12 gauge
like a pistol and FIRES. The stunned orderlies flop face down on the
floor as the corridor is filled with high-velocity lead. One of them,
stupidly running for the cross-corridor, gets hit by the T-1000.

Terminator is hammered by several slugs, and the T-1000 is cratered by
two buckshot hits. It staggers, but comes on. In the craters we see
bright mercury before they close and reseal, disappearing in a second.


73G Terminator makes it around the corner and breaks into a run. Ahead,
73G Sara is already at the elevator. Terminator and John pile in
and John slaps the button for "Garage Level".

The doors start to close. T-1000 clears the corner. Terminator slams
John and Sara back against the side walls as the T-1000 charges at them,
rapid-firing the Browning. The rounds hit the steel doors as they close.
T-1000 keeps pumping them at the closing gap. 73H Inside, they see the
backside of the doors denting with the hits that are 73H punching
holes in the other side.

73I The Browning locks open, empty. T-1000 drops it without a glance
back. The 73I doors close. K-WHAM! The T-1000 hits them a
split second later. The elevator hasn't moved yet. SSWWIKK!

73J A sword-like blade rams in between the doors forcing them open.
Terminator 73J jams the shotgun through the widening gap.
Punches the muzzle right INTO the T-1000's face -- BOOM!! 73K We
get a glimpse of the T-1000's head blown apart by the blast. It is
hurled 73K back. The doors close. The car descends.

73L ON THE T-1000, outside the elevator. Its head, which is blown apart
into two 73L doughy masses lying on the shoulders, reforms
quickly. There is no trace of the injury. It sees the closed
doors and jams its hands between them, its fingertips becoming
pry-bars. It pulls the doors apart with inhuman strength 73M and
LEAPS INTO THE OPEN SHAFT. 73M It falls two floors and...

74 IN THE ELEVATOR. Our trio hears a loud THUMP on the roof. 74
Terminator, reloading the shotgun, looks up. Sara grabs the .45 from
his waistband and aims it at the ceiling. BEAT... Then CLANGG!! a
swordlike shaft punches through the ceiling and spears down four feet
into the elevator car. It is inches from Sara's face. She opens fire,
BAM-BAM-BAM-- right through the roof. Lightning fast the lance
withdraws and thrusts down again, slashing Terminator's jacket, and
missing John by inches. Terminator chambers a round and K-BOOM! the 12
gauge opens a hole in the ceiling.

Terminator rocks out in a fury of firing/cocking/firing as the metal
shafts slash down again and again. Sara yells in pain as one of them
slices open her upper arm.

75 The doors open. Sara pulls John out as soon as the gap is wide
enough. 75 They emerge into the basement. We see the Harley
parked nearby.

Terminator, in a rearguard action, fires another blast through the
ceiling and runs out. He throws his leg over the Harley, kicks it to
life with one powerful stroke and then whips something out of the inner
pocket of his jacket. He throws it to John. A road flare !?


76 In the elevator, the T-1000 has bashed a hole in the ceiling big
enough to... 76 Pour itself through. A massive blob of mercury
extrudes from the opening. The mass drops through the hole, down out of
frame, then comes back up into frame as Officer X.

It seems to need just a second to get its mental act together after
doing this kind of taffy-pull with itself. It opens its eyes and sees--

77 TERMINATOR, the shotgun held in his teeth, astride the roaring
Harley 77 twenty feet away. Terminator twists the throttle and
pops the clutch. The back tire screams on the concrete. The front
wheel lifts off the ground and the heavy bike launches in a
thundering wheelie.

Terminator gets off just before the bike hurtles into the elevator. The
Harley slams the T-1000 square and smashes it right through the back
wall of the elevator. Terminator rolls to his feet. John strikes the
flare on the concrete. Tosses it. Terminator catches the lit flare with
one hand. Levels the shotgun with the other. With his last round he
blows a big hole in the bike's gas tank. Gas splashes everywhere,
covering the struggling T-1000. Terminator tosses the flare. KA-VOOOM!

The explosion knocks Terminator backward off his feet, enveloping him in
the fireball. He gets up, smoking, and runs after John and Sara toward
the exit ramp.

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

SARA Out of the car!!

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

SARA RIGHT NOW!

The door opens and the guy is coming out with his hands up as Terminator
arrives. The cyborg flings the rent-a-cop out of the way and slides
behind the wheel. Sara gets John into the back seat and dives into the
front passenger seat as--

78A Terminator slams the car in reverse and punches it, lighting up the
tires on 78A the slick ramp. Terminator hands the shotgun over
his shoulder to John and tells him to reload. John pulls some
shells from the pocket of his army jacket and starts feeding them
in. Terminator powers backward up the ramp, scraping along one
wall, barely in control. Because...

TERMINATOR 2 - Rev. 9/10/90 50

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

80 Terminator hands Sara another magazine for the .45. She snatches
it, 80 drops the other out, and slaps in the new one. Cocks the
slide. The car backs along the service driveway toward the security
gate. John hands the shotgun back to Terminator. He leans out the
window and takes aim at the pursuer. The T-1000's face is right in
the headlights. 80A Terminator fires, blowing a hole in its
shoulder. Shiny liquid metal visible in 80A the hole, which then
closes. 80B Sara, half out the passenger window, opens fire. 80B
The car crashes backward through the security barricade.

terminator (calmly) Hang on.

He cuts the wheel hard. The car slews into a reverse 180, swapping ends
with a screech. T-1000 is almost on them. Terminator punches it. The
car accelerates forward.

80C T-1000 leaps. Lands on the trunk. 80C Its hand is a metal
crowbar slammed down through the trunk lid. Feet dragging on the
pavement, it slams its other hand down, punching another metal hook into
the trunk lid, pulling itself up. Terminator turns to Sara

terminator Drive.

Terminator heaves himself half out of the driver's window. Sara slaps
her foot down on he throttle and steers from the passenger side.

80D T-1000, fully on the car now, holds on with one hook-hand while it
slams the 80D other into the back window, sweeping away the glass
and missing John by inches as he ducks. It draws back for another
swing, lunging forward as--

80E Terminator whips the shotgun down over the roof of the car. 80E
Fires point-blank. Hits the T-1000's arm just above the "hand" which
anchors it to the car. The 12 gauge blows the arm apart, severing the
hook-hand.

80F T-1000 tumbles backward off the accelerating car. 80F John looks
out the back window, his eyes wide. He sees the T-1000 roll to his feet
and continue running. But he's dropping way behind now. Sara has the
car floored and the liquid-metal killer won't catch them on foot.

80G John watches, in awe, as the "crowbar hand", stuck into the trunk
right in 80G front of him, reverts to the neutral polyalloy... a
kind of thick mercury. The gray metal slides off the trunk of the
car and falls onto the road to lie there in a quivering blob.

80H The car speeds off into the night. 80H REVERSE on the T-1000,
walking now, coming right up into close up, watching the tail lights
recede. It looks down.

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


81 int./ ext. security car 81

A GHOST CAR blasts out of the darkness on a long stretch of moonlit
highway. Headlights off, the Hospital Security car punches a hole in
the wind.

81A INSIDE THE SPEEDING CAR the energy is still high. The air is
blasting in 81A the shattered windows as Terminator drives the car
easily by electronic night-vision. His eyes glow faintly red.

john Can you even see anything?

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

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

terminator Everything.

john Cool.

Sara looks at Terminator, still not quite believing this is happening.
But this is a different Sara than the waitress of 1984. She spends only
a second or two dealing with the unbelievable. Then she turns to John in
the back seat.

SARA You okay?

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

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

john I said I was okay.


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

SARA It was stupid of you to go there.

John stares at her, surprised.

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

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

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

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

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

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

terminator What is wrong with your eyes?

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

SARA So what's your story?

cut to: 82 ext. mental hospital 82

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

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

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


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

83 int. car 83

Terminator drives steadily into the black night.

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

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

Sara thinks about that. Then.

SARA Can it be destroyed?

terminator Unknown.

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

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


84 EXT. SERVICE STATION - NIGHT 84

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

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

85 INT. GAS STATION 85

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

SARA You look like handmade shit.

terminator So do you.

CUT TO:

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

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

terminator I have detailed files on human anatomy.

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

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

terminator Correct. Cut to:

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

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

john Does it hurt?

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

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

SARA Will these heal up?

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

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

She concentrates on removing the slugs. CLINK. CLINK.


TERMINATOR 2 - Rev. 9/10/90 55

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

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

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

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

Terminator turns toward him.

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

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

terminator No.

john Can we reset the switch? CUT TO:

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

terminator Now open the port cover.

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

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

terminator Hold the CPU by its base tab. Pull.

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

CUT TO:

TERMINATOR 2 - Rev. 9/10/90 56

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

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

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

john Can you see the pin switch?

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

john No!!!!

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

SARA Out of the way, John!

john No! Don't kill him!

SARA It, John. Not him. It.

john Alright, it. We need it! *

John keeps his hand right where it is.

SARA We're better off by ourselves. *

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

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

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

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

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


TERMINATOR 2 - Rev. 9/10/90 57

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

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

terminator Was there a problem? *

John glances sheepishly at Sara. Then smiles at Terminator.

john No problem. None whatsoever.

CUT TO:

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

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

DISSOLVE TO:

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

cut to:

92 ext. gas station - day (later) 92

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

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

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


TERMINATOR 2 - Rev. 9/10/90 58

92A john 92A Are we learning yet?

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

92C terminator 92C We need to