- —四川最大高校综合门户网
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 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 find out what happened in a moment)
AT THE PAYPHONE
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's the dog's name?
JOHN
Max.
Terminator nods. Speaks into the phone.
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.
INT. VOIGHT HOUSE / KITCHEN
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 milk carton, 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The spike is withdrawn – SWIISHHTT!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. Janelle doesn't bat an eye as the spike smoothly changes shape and color, transforming back into a hand, and then...
JANELLE CHANGES rapidly into the COP we now know as the T-1000. The change has
liquid quality. T-1000 opens the back door.
EXT. VOIGHT HOUSE / BACKYARD – NIGHT
T-1000 approaches the big German Shepherd, which slinks away from it, barking in fear. T-1000 walk right into CLOSEUP. 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.
EXT. PARKING LOT – NIGHT
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
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 doesn't 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.
INT. VOIGHT HOUSE – NIGHT
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.
In John's bedroom the T-1000 begins searching methodically in the
dark. 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...
EXT. PARKING LOT – NIGHT
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. 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 Sarah Connor 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
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 him 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
collage-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 him. John yells in outrage to Terminator.
JOHN
Let go of me!!
To his surprise, Terminator's hand opens so fast John falls right on his butt. He looks up at the open hand.
JOHN
Oww! Why'd you do that?
TERMINATOR
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 my 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 the 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. John grabs Terminator's arm with a yell as he pulls the trigger – John's 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 any more. 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:
INT. VOIGHT HOUSE / BEDROOM – NIGHT
T-1000 finds an envelope... a letter from Sarah 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 Sarah's tapes and exits.
CUT TO:
CLOSE ON A BLACK & WHITE PHOTOGRAPH
The image is a nightmare from the past. It is a surveillance camera
still-frame from the L.A. police station where the first terminator made such
an impression in 1984. We see the blurry forms of the cop 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-80 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 closeup.
DETECTIVE WEATHERSBY (O.S.)
These were taken at the West Highland police station
in 1984. You were there.
WIDER
INT. INTERVIEW ROOM / PESCADERO – NIGHT
The photos are lying on the table in front of Sarah, placed there by
DETECTIVE WEATHERSBY. His partner DET. MOSSBERG,
and Dr. Silberman, sit at the table as well. Two uniformed cops, plus Douglas,
stand by the door. Sarah stares listlessly at the top photo. She's withdrawn,
haggard... drugged-looking.
MOSSBERG
He killed seventeen police officers that night.
Recognize him?
Weathersby slaps another black-and-white eight-by-ten on the table. A closeup 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.
Sarah doesn't react. It's hard to tell she's thinking. Whether she's up hope or is just in a drugged stupor.
WEATHERSBY
Ms. Connor, you've been told that your son's missing.
His foster parents have been murdered, and we know this guy's involved. Talk to
us. Don't you care?
Sarah stares up at him. A cold and empty stare. He glances at Silberman. Then at his partner.
MOSSBERG
We're wasting out time.
One of the uniformed cops opens the door and Mossberg strides into the hall. Weathersby and the two uniforms follow him out, with Silberman right behind.
SILBERMAN
Sorry, gentleman...
TIGHT ON SARAH
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 arms and leads her out.
CUT TO:
INT. SARAH'S CELL
Douglas inches up the last of Sarah's restraints. Then her 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 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.
Sarah'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:
EXT. ROAD – NIGHT
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 from the post-Apocalyptic future.
CUT TO:
INT. SARAH'S CELL
TIGHT ON RESTRAINT LOCK as it unlatches... successfully picked by Sarah's
paper clip. This is not an easy thing to do. But Sarah taught herself a lot of
things in her years of hiding.
SARAH
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:
EXT. HOSPITAL ENTRANCE
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 it passes.
THE CRUISER pulls in next to the other police vehicles.
The T-1000 walks toward the main entrance.
CUT TO:
INT. SARAH'S CELL / CORRIDOR
Sarah 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.
IN THE CORRIDOR
Douglas the attendant is tapping his stick along the wall like he
does every night on his rounds. He shines a little mag-light in the windows of
the cells as he passes, barely slowing.
He rounds the corner. His footsteps echo in the dark hallway. The
tip of the stick hits the wall. Tap, tap, tap... getting closer to Sarah's
cell. He stops at the 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 this for half a second, then hears a SOUND behind him and spins
around. The sound he heard was Sarah's cell door. The missing two feet of MOP
HANDLE fill 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.
Sarah 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.
Sarah moves down the dark corridor, cat-stepping in her bare feet.
She holds the baton like a pro, laid back along the forearm, police-style. She
looks dangerous.
CUT TO:
INT. HOSPITAL ENTRANCE / CORRIDOR
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 Sarah Connor here?
She assumes he's with the other cops. Smiles.
NIGHT NURSE
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 lon
