- —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
Silberman comes through the solenoid door with Mossberg and
Weathersby, the two uniformed cops, and the hospital security guard. The guard
retrieves his 9mm pistol from a lock-out box behind the night desk. Silberman
faces him.
Lewis, see these gentleman out and them 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.
The guard walks slowly back along the long corridor. The hall is
dark, with the light at the night desk far ahead like a sanctuary. His
footsteps ring hollowly on the tile floor. His keys jingle.
ANGLE ON FLOOR
As the guard's feet pass through FRAME. An instant 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 past the guard.
Up ahead we hear typing. The night nurse has her back to us,
working. The guard stops as the drinking fountain. Bends to take a sip. Behind
him the fluid mass as reaches 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 has 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 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.
The real guard spins at the sound of footsteps to see... himself. He
has one deeply disturbing moment to consider the ramifications of that. Then he
sees his double calmly raise its hand and, inexplicably, points 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,
hanging from the rod / finger with suddenly reacts – SSSNICK. As the guard
slumps, the T-1000 takes his weight easily with one hand and walks him, like
it's carrying a suit on a hanger, back toward the night desk. The wounds are so
tiny, no blood drips onto the floor.
ON THE NIGHT NURSE
Glancing up as the T-1000 / Guard walks past, dragging 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 the body into the utility closet.
INT. CORRIDOR / NIGHT RECEIVING DESK
T-1000/Guard comes back out and glances at the nurse.
T-1000/GUARD
All set.
She glances toward it. Sees the Beretta in its holster.
NIGHT NURSE
Gotta 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.
CLOSE ANGLE ON T-1000'S CHEST
From inside the locker. Instead of setting the gun in the locker, it inserts the pistol into it own chest, where is 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 ever guess it was really an intelligent liquid metal.
T-1000 slams the locker door and waits as the nurse hits the button
unlocking the door with a BUZZ-CLACK. T-1000/Guard goes through.
CUT TO:
INT. ISOLATION SECURITY CHECKPOINT
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 SARAH CONNOR is in #19.
IN THE ISOLATION WARD
The T-1000 passes a nurses' station which looks 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.
SARAH
Moving like a ghost in the darkened corridor, hears footsteps coming
and quietly but quickly unlocks a cell next to her with Douglas' master key.
She slips into the cell and waits as the footsteps pass. 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. Sarah exits.
POV MOVING TOWARD
... nurse's station. We hear Silberman's voice, reviewing medication with the night attendant.
ON SILBERMAN
Yawning, looking at his watch. He turns to go... Sarah is there. She
slams into him, hurling him through the door into the cage and follows him in.
The orderly jumps up, going for his stunner, but she nails him with Douglas'
baton. WHAP-WHAP-WHAP! You can barely see the thing she's swinging it so fast.
The guys 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. He face is full of outraged disbelief.
You broke my arm!
SARAH
There's 215 bones in the human body, motherfucker.
That's one. Now don't move!
Moving rapidly, she whips open a medication drawer and grabs a
syringe. They keep a few of these handy for tranking unruly patients. She jams
it into the orderly's butt and fires the whole shot. Still holding the empty
syringe, she sees what she need next. They keep the toxic cleaning supplies in
here to keep the inmates from drinking Drano. She grabs a plastic jug of LIQUID PLUM'R and slams it
down on the desk inches from Silberman's eyes.
She jams 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.
IN THE CORRIDOR
Outside cell #19 the T-1000 stops and looks in the 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' amazement, Lewis the Guard turns impassively and walks away, leaving him shouting soundlessly at the window.
CUT TO:
EXT. HOSPITAL
Terminator and John are approaching the guard gate on the Harley. They can see the guard inside looks 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.
JOHN
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 a beat. Then mimics the gesture.
TERMINATOR
I swear I will not kill anyone.
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.
He'll live.
Terminator climbs onto the bike. They drive toward the hospital, heading down an ambulance ramp to an underground receiving area.
INT. ISOLATION FLOOR
The attendants at the security checkpoint look up at the monitor as someone enters the corridor. They see Sarah, holding Silberman at syringe-point. Sarah speaks to them through an intercom on the wall. Her voice comes through the speaker.
SARAH
Open it or he'll be dead before he hits the floor.
The attendants' adrenaline levels just went off the scale. The first attendant shakes him head no. The amperage here is really high. The second attendant keys the intercom switch.
2ND ATTENDANT
There's no way, Connor. Let him go.
Silberman's face is the color of suet.
SILBERMAN
It won't work, Sarah. You're no killer. I don't
believe you'd do it.
Her voice is a deadly cold hiss.
SARAH
You're already dead, Silberman. Everybody here dies.
You know I believe that. So don't fuck with me!
SILBERMAN
Open the goddamn door!
The attendants looks at one another. One of them hits the solenoid button. The far door unlocks.
IN THE LOCKOUT CORRIDOR
Sarah pushes Silberman ahead of her. The nearer, barred door must be unlocked manually. One of the attendants cautiously approaches. Nervously unlocks it.
SARAH
Step back!
He does. She faces both of them.
SARAH
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.
ANGLE FROM BEHIND HER
What we can see, but she can't see, it a third orderly waiting just
around the corner. He's poised, ready to jump her when she comes abreast of
him.
ON SARAH
Backing up. She reaches the corner. The third attendant lunges, grabbing her syringe-hand. Sarah 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 Sarah takes off like a shot around the corner.
One of them hits the panic button and ALARMS begin to sound.
IN THE ISOLATION WARD
The T-1000 is looking in at a very stoned 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.
IN ANOTHER CORRIDOR
In the maze of the vast hospital, Sarah flies past us, her bare feet
slapping on the cold tiles. The orderlies charge after her. She's like an
animal in a maze. She turns the 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' keys, breathing hard. Jams the master in.
The orderlies are bearing down on her at full tilt. Sarah 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.
Sarah sees them beyond the window, fumbling with their keys.
Sarah is in another sally-port corridor. A jail-cell type barred
door is between her and the corridors of the ward beyond. She sprints to the
walls 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.
Sarah 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.
Go around, goddamnit! Go around!!
The orderlies run back the way they came, and along a cross-corridor
to another set of doors.
ON SARAH
As she rounds a corner and sees the elevators ahead. Now she's home-free. At a full-tilt sprint, she's nearly there when the elevator doors part...
Terminator steps out... his head swivels to face her. Sarah 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, Sarah 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 Sarah and figures out instantly
what happened.
Mom!! Wait!
Sarah doesn't hear. She has clicked fully into her own nightmare. They take off running after Sarah.
She is pelting down the long corridor, back the way she came. As she 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.
SARAH
No! Help me! Goddamnit, 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 pinned her to the cold tiles, a ring of faces above her.
Silberman has jumped to hold Sarah. He is grabbed by a roll of skin
at the back of his neck and lifted like a cat. The doctor feel his feet
pedaling above the ground. He looks into the expressionless face. And it hit
him. Sarah was right... this guy isn't human. He feels the fabric of 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.
Sarah blinks, staring up at the figure looming over her. John kneels
next to her.
Mom, are you okay?
Incredibly, Terminator politely reaches his 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.
Sarah, is a daze, takes the huge hand in her shaking fingers. Terminator lifts her to her feet.
John sees a GUARD standing thirty feet away, on the other side of the walls of 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 had its pistol in its hand, at its side. Terminator
pushes John behind him. They start backing up.
The T-1000 walks forward, reaching the bars. It doesn't stop. 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 CLANK 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.
Sarah is agape. Not reacting. It's been a heavy day for her. 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!
Sarah doesn't need to be told twice. T-1000 walks toward them,
opening fire with the Browning Hi-Power. Terminator straight-arms the 12-guage
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 buckshots hits. It staggers, but comes on. In the craters we see bright
mercury before they close and reseal, disappearing in a second.
Terminator makes it around the corner and breaks into a run. Ahead,
Sarah 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 Sarah 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.
Inside, they see the backside of the doors denting with the hits
that are punching holes in the other side.
The Browning locks open, empty. T-1000 drops it without a glance
back. The doors close. K-WHAM! The T-1000 hits them a split second later. The
elevator hasn't moved yet. SSWWIKK!
A sword-like blade rams through in between the doors, forcing them open.
Terminator jams the shotgun through the widening gap. Punches the muzzle right INTO T-1000's face – BOOM!!
We get a glimpse of the T-1000's head blown apart by the blast. It is hurtled back. The doors close. The car descends.
ON THE T-1000
Outside the elevator. Its head, which is blown apart into two doughy
masses lying on the shoulders, reforms quickly. There is no trace of the
injury. It sees the closed door and jams ist hands between them, its fingertips
becoming pry-bars. It pulls the doors apart with inhuman strength and LEAPS INTO THE OPEN SHAFT. It
falls two floors and...
IN THE ELEVATOR
Out trio hears a loud THUMP on the roof. Terminator, reloading the
shotgun, looks up. Sarah 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 Sarah's face. She opens
fire, BAM-BAM-BAM – right through the roof. Lighting-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-guage 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. Sarah yells in pain as one of them
slices open her upper arm.
The doors open. Sarah pulls John out as soon as the gap is wide
enough. 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!?
