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Niki Wurster Visit our Movie Scripts Page screenplay 451:http://www.geocities.com/~screenplay451/ Mao Guangqin 5 1 2000-01-15T04:24:00Z 2000-01-24T14:22:00Z 5 27677 157762 Pumpkin Software 1314 315 193742 9.2504 75 21 6 磅 5.2 磅 0 0
TIGHT ON FRONT DOOR as Todd Voight opens it, revealing the unsmiling face of Officer X
beyond the screen door. Todd greets him with a weary sigh.
OFFICER X
Are you the legal guardian of John Connor?
TODD
That's right, officer. What's he done now?
Officer X ignores the question. He casually scans the living room.
OFFICER X
Could I speak with him, please?
Todd shrugs, showing the cop he's past his patience with the boy.
TODD
Well, you could if he was here. Be he took off on his
bike this morning. Could be anywhere. You gonna tell me what his is about?
OFFICER X
I just need to ask him a few questions.
Janelle appears in the doorway behind Todd, concerned.
JANELLE
There was a guy here this morning asking about him,
too.
TODD
Yeah, big guy. On a bike. Has that got something to do
with it?
Officer X registers the significance of that. He realizes who the big guy must be. He smiles. Reassuringly shakes his head no.
OFFICER X
I wouldn't worry. Do you have a photograph of John?
Todd stares unhappily at the cop. Turns to Janelle.
TODD
Get the album, Janelle.
CUT TO:
EXT. STREET
ANGLE THROUGH AN ALLEY from the main street. We see John and Tim flash by on the Honda a
block away. Hold a beat. Then...
A BIG CHROME WHEEL ENTERS FRAME. BOOM UP a leather-clad leg to Terminator's implacable face. It surveys the
area slowly as the bike idles, then kicks it into gear and moves on, scanning
in a slow shark-like manner, not aware that it missed its prey by seconds.
CUT TO:
INT. SARAH'S CELL – DAY
CLOSE ON SARAH
She is shackled, hands and feet, to the bed. Sunlight falls across
her pale face. A hand enter frame, gently stroking her cheek. She wakes up to
see –
KYLE REESE
Sitting on the edge of her bed, looking exactly the same as we last
saw him in 1984. Scruffy blonde hair and a long raincoat.
SARAH
Kyle...? You're dead.
He gives her a gentle smile.
REESE
I know. This is a dream, Sarah.
SARAH
Oh. Yeah. They... make me take this stuff...
He puts a finger to her lips. Then silently unfastens her restraints. They gaze into each other's eyes. And in the look that his death and the horror she has been through since hasn't touched their love at all.
SARAH
Hold me.
She melts into Reese's arms. Pulls him to her.
REESE
I love you. I always will.
SARAH
Oh, God... Kyle. I need you so much.
She kisses him passionately. They are locked together in a timeless
moment. PUSH IN TIGHT on Sarah as she buries her face in his shoulder. She shuts her eyes
tight. Stay on Sarah as Reese speaks. He voice is strangely cold.
REESE (O.S.)
Where's John, Sarah?
Sarah opens her eyes and he is no longer in her arms. He is standing across the room. Pinning her with an accusing gaze.
SARAH
They took him from me.
REESE
It's John who's the target now. You have to protect
him. He's wide open.
SARAH
I know!
REESE
Don't quit, Sarah. Our son need you.
SARAH
(struggling not to cry)
I know, but I'm not as strong as I'm supposed to be. I
can't do it. I'm screwing up the mission.
REESE
Remember the message... the future is not set. There
is not fate but what we make for ourselves.
He turns toward the door.
SARAH
Kyle, don't go!
REESE
(turning back to her)
There's not much time left in the world, Sarah.
Reese goes out the door. Sarah jumps from the bed, frantic. Yanks the door open. Follow her out.
INT. CORRIDOR
Sarah staggers from her cell. Reese is already, impossibly, a
hundred feet away, striding down the dim corridor. A silhouette in a long coat,
disappearing around a corner.
Sarah runs after him, her bare feet slapping the cold linoleum. Her
hospital gown floats out behind her as she dream-runs along the seemingly
infinite corridor. She reaches the corner, slides around it, and...
Slams right into the arms of Douglas and his three helpers. They
grab her as she struggles and screams. The Silberman is there, smiling
soothingly. They force her down and she is pinned to the floor, screaming. A
new figure approaches... one even more menacing.
TERMINATOR walks toward her, with heavy measured
steps. Backlit, eyes concealed by the sunglasses, it stands over her like the
angel of death itself. It reaches down and... Takes her hand. Lifts her up.
Leads her to a door. They go through together. Emerging into...
A BEAUTIFUL SUNLIGHT MORNING
CHILDREN are playing nearby... sliding down slides, clambering through a jungle gym. Sarah knows this dream know... it's is the worst of all her nightmares. She starts to scream but no sound comes out.
THE SKY EXPLODES into WHITE LIGHT. Everything is seared by the unholy glare, hotter than a thousand
suns. The children ignite like match heads. Sarah is burning, screaming
silently, everything silent and overexposed. Terminator's flesh and clothing
are burning, silently. It grips her hand, Virgil to her Dante in this tour of
the nuclear-age Inferno.
THE BLAST WAVE HITS... a near-solid wall of compressed air
followed by 250-mph winds. The children, charcoal statues frozen in positions
of play, explode into black leaves of ash and swirl away. SOUND hit now, with a thunderous roar. Sarah's
scream merges with the howl of the wind as the blast hits her, exploding the
flesh from her bones. Beside her, Terminator is stripped of its burnt flesh,
becoming a smoking skeleton of steel.
Then she wake up... in her cell, shackled to the bed. Sunlight hurts
her eyes. She looks desperate and defeated. She knows the war is coming. It
visits her every time she closes her eyes. Lost and alone, Sarah feels all hope
recede for herself and for humanity.
CUT TO:
INT. PESCADERO STATE HOSPITAL – INTERVIEW ROOM
TIGHT ON VIDEO SCREEN, playing a previously-recorded session. Sarah is in a
strait-jacket, talking softly.
VIDEO SARAH
... it's... like a giant strobe light, burning right through
my eyes... but somehow I can still see. Look, you know the dream's the same
every night, why do I have to –
VIDEO SILBERMAN
Please continue...
The REAL SARAH dispassionately watches herself on the screen. Her expression is
controlled. Silberman watches her watching. They are in a brightly-lit
interview room. TWO ATTENDANTS stands
nearby.
VIDEO SARAH
The children look like burnt paper... black, not
moving. Then the blast wave hits them and they fly apart like leaves..."
Video Sarah can't go on. Real Sarah watches herself cry on tape, her expression cold. We hear Silberman speak on the tape.
VIDEO SILBERMAN
Dreams about cataclysm, or the end of the world, are
very common, Sarah...
Video Sarah cuts him off, her mood shifting to sudden rage.
VIDEO SARAH
It's not just a dream. It's real, you moron! I know
the date is happens!!
VIDEO SILBERMAN
I'm sure it feels very real to you –
VIDEO SARAH
On August 29th 1997 it's going to feel pretty fucking real
to you, too! Anybody not wearing number two million sunblock in gonna have a
real bad day, get it?
VIDEO SILBERMAN
Relax now, Sarah –
VIDEO SARAH
You think you're alive and safe, but you're already
dead. Everybody, you, him...
(she gestures are the attendant)
... everybody... you're all fucking dead!
She is raving, half out of her chair. The orderly moves to inject her with something.
VIDEO SARAH
You're the one living in a dream, Silberman, not me!
Because I know it happens. It happens!
Silberman pauses the tape... freezing Sarah's contorted face. Real Sarah turns away from the screen, he expression stony.
SARAH
I was afraid... and confused. I feel much better, now.
Clearer.
Silberman gives a calculated paternal smile.
SILBERMAN
Yes. Your attitude have been very positive lately.
Sarah looks up at him. Her voice is hopeful.
SARAH
It has helped me a lot to have a goal, something to
look forward to.
SILBERMAN
And what it that?
As she answers, WE PULL BACK, revealing that we have been looking
through a one-way mirror from an adjacent OBSERVATION ROOM. In the shadows of the observation room we
see that interns from the earlier rounds, and a couple of STAFF
PSYCHOLOGISTS. They smoke and make the
occasional note.
SARAH
You said I could be transferred to the minimum
security wing and have visitors if I showed improvement in six months. Well,
it's been six months, and I was looking forward to seeing my son.
SILBERMAN
I see. Let's go back to what you were saying about
these terminator machines. Now you think they don't exist?
CLOSE ON SARAH
Her voice sounds hollow.
SARAH
They don't exist. I see that now.
Silberman leans back, studying her. Toying with her.
SILBERMAN
But you've told me on many occasions about how you crushed
one in a hydraulic press.
SARAH
If I had, there would have been some evidence. They
would have found something at the factory.
SILBERMAN
I see. So you don't believe anymore that the company
covered it up?
Sarah shakes her head no.
CUT TO:
EXT. CYBERDYNE SYSTEMS – DAY
The corporate headquarters of a mega-electronic corporation. As imposing cubist castle of black glass.
INT. SECOND FLOOR / ELEVATORS
The elevator doors slide open with a whisper and MILES DYSON strides out. Black.
In his early thirties. The star of the Special Projects Division. He's
brilliant, aggressive, driven. Dyson walks down the corridor, swinging his
arms... a man in a hurry. A man with much to do.
He reaches a solid security door and zips his ELECTRONIC KEY-CARD through
the scanner. The door unlocks with a clunk. The sign next to the door reads:
"SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY"
INT. SECURITY STATION
He nods to the guards as he passes through the security checkpoint. They can see all activities on the floor on their bank of monitors. He unlocks another service door with his card and enters –
INT. ARTIFICIAL INTELLIGENCE (A.I.) LAB
The lab is quite large, comprising banks of processors, disk drives, test bays, prototype assembly areas. Extremely high tech.
DYSON
Greetings, troops.
He is jokingly saluted by fellow members. Not a lab coat in sight.
This is strictly jeans and sneakers crowd. All young and bright. They sit at
their consoles drinking Coke and changing technology as we know it. A young LAB ASSISTANT rushes over to
Dyson. Name tag says he's BRYANT.
BRYANT
Mr. Dyson? The material teams wants to run another
test on the uh... on it.
DYSON
Yup. Come on. I'll get it.
Dyson produces an unusual-looking KEY from his pocket as they stride through the
lab. Bryant has to hustle to keep up.
BRYANT
Listen, Mr. Dyson, I know I haven't been here that
long, but I was wondering if you could tell me... I mean, if you know...
DYSON
Know what?
BRYANT
Well... where it came from.
DYSON
I asked them that question once. Know what they told
me? Don't ask.
INT. VAULT ROOM
Dyson enters with Bryant. Dyson and a GUARD stand together before what looks like a
high-tech bank vault. It requires two keys to open, like the launch controls in
a nuclear silo. The guard and Dyson insert their keys and turn them
simultaneously. Dyson then enters a passcode at a console and the vault unlocks
itself with a sequence of clunks. The door swings open and Dyson enters. Bryant
stays outside with the guard, who notes Dyson's name and item on a clipboard.
INT. VAULT
Dyson walks to a stainless steel cabinet and opens it. Inside is a
small artifact in a sealed container of inert gas. IT – a ceramic rectangle, about the size of a
domino, the color of liver. It has been shattered, painstakingly reconstructed
and mounted on a metal frame.
Dyson removes the artifact, it its insert-gas, and sets it on a
specially-designed cart. He handles it like the Turin Shroud. Dyson closes the cabinet.
Turns to the one next to it. Opens ist door. In this cabinet is a larger
object... an intricate METAL HAND AND FOREARM.
At the elbow, the metal is twisted and crushed. But the forearm and
hand are intact. Its metal surface scorched and discolored, it stands upright
in a vacuum flask, as if saluting. This is all that remains of the terminator
Sarah destroyed. Dyson stares at it, lost in thought. The he closes the
cabinet, BLACKING OUT FRAME.
CUT TO:
INT. INTERVIEW ROOM / OBSERVATION ROOM
We can see through the one-way mirror into the interview room where
Sarah is still talking with Silberman. The OTHER
PSYCHOLOGISTS are still watching through
the mirror. Reviewing Sarah's condition.
SARAH
So what do you think, Doctor? I've shown a lot of
improvement, haven't I?
SILBERMAN
You see, Sarah... here's the problem. I know how smart
you are, and I think you're just telling me what I want to hear. I don't think
you really believe who you've been telling me today.
We go tight on Sarah's reaction. And we see that Silberman is right. She was playing him and it didn't work. And she knows she's fucked. Her tone becomes quite pleading.
SARAH
You have to let me see my son. Please. It's very
important. He's in danger. At least let me call him –
Silberman pins her with his sweet reptilian gaze.
SILBERMAN
I'm afraid not. Not for a while. I don't see any
choice but to recommend to the review board that you stay here another six
months.
Sarah's eyes turn cold and lethal in one second. She knows she's lost. She knows this guy is just playing with her, and she – LEAPS ACROSS THE TABLE AT HIM.
SARAH
YOU SON-OF-A-BITCH!!
Silberman jumps back and the attendants dive on her. She is writhing and twisting like a bobcat. Silberman whips open a drawer and pulls out a syringe. He jabs it into her and she yells –
SARAH
Goddammit. Let me go!! Silberman! You don't know what
you're doing! You fuck! You're dead! You hear me!!
Silberman signals and the attendants drag her out. He looks at the doctors behind the glass. Shrugs.
SILBERMAN
Model citizen.
CUT TO:
EXT. 7-ELEVEN STORE – DAY
Officer X has stopped two young girls in front of a 7-Eleven. He is leaning out the cruiser window and showing them the picture of John. The first girl nods.
FIRST GIRL
Yeah, he was here about fifteen minutes ago. I think
he said he was going to the Galleria.
OFFICER X
The what?
The second girl points toward a massive complex visible about the houses several blocks away. Officer X stares at it.
EXT. STREET
Terminator cruises slowly on the bike. Scanning. He crosses an overpass above a drainage canal and whips his head around at the sound of a dirt-bike engine.
TERMINATOR POV OF TWO KIDS ON A BIKE DOWN IN THE CANAL.
The IMAGE SNAP-ZOOMS IN. FREEZES on the DRIVER'S FACE. "IDENT POS" FLASHES NEXT TO THE BLURRY IMAGE OF JOHN
