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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
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. Johns strikes the flare on the
concrete. Tosses it. Terminator catches the life 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!
Without breaking stride Sarah runs right at the car. It skids to a
shrieking halt. She's in the guy's face with the .45 in both hands.
Out of the car!!
The patrol guy is thinking what he can try when BLAM! she puts a round through the glass next to his head.
SARAH
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. Sarah gets John into the back seat and dives into the front passenger seat as –
Terminator slams the car into reverse and punches it, lighting up
the tires on 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 power backward up the ramp,
scraping along one wall, barely in control. Because...
The T-1000 is running at them out of the inferno below. This guy won't quit. Shifting from chrome mode to cop-form as it runs. It sprints up the ramp after the retreating car. T-1000 is gaining.
Terminator hands Sarah another magazine for the .45. She snatches
it, 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 shot
gun back to Terminator. He leans out the window and takes aim at the pursuer.
The T-1000's face is right in the headlights.
Terminator fires, blowing a hole in its shoulder. Shiny liquid metal
visible in the hole, which then closes.
Sarah, half out the passenger window, opens fire. The car crashes
backward through the security barricade.
(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.
T-1000 leaps. Lands on the trunk. 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 Sarah.
Drive.
Terminator heaves himself half out the driver's window. Sarah slaps her foot down on the throttle and steers from the passenger side.
T-1000, fully on the car now, holds on with one hook-hand while it slams the 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 –
Terminator whips the shotgun over the roof of the car. Fires point-blank. Hits the T-1000's arm just above the "hand" which anchors it to the car. The 12-guage blows the arm apart, severing the hook-hand.
T-1000 tumbles backward off the accelerating car. 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. Sarah has the car floored and the liquid-metal killer won't catch them on foot.
John watches, in awe, as the "crowbar hand", stuck into
the trunk right in front of him, reverts to the neutral polyalloy... a kind of
think mercury. The gray metal slides off the trunk of the car and falls onto
the road to lie there in a quivering blob.
The car speeds off into the night.
REVERSE
On the T-1000, walking now, coming right up into closeup, watching
the tail lights recede. It looks down.
ANGLE ON BLACKTOP
Tight on the liquid metal blob. Next to it is the T-1000's shiny cop shoe. The mercury blob crawls and rejoins the main mass, disappearing into the "shoe".
INT. / EXT. SECURITY CAR
A GHOST CAR blasts out of the darkness on a long stretch of moonlight highway.
Headlights off, the hospital security car pulls in the wind.
INSIDE THE SPEEDING CAR
The energy is still high. The air is blowing in the shattered windows as Terminator drives the car easily by electronic night-vision. His eyes glow faintly red.
JOHN
Can you see anything?
TERMINATOR'S POV
A monochrome image of the highway lit bright as day.
Terminator replies in a matter-of-fact tone.
TERMINATOR
Everything.
JOHN
Cool.
Sarah looks at Terminator, still not quite believing this is happening. But this is a different Sarah 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.
SARAH
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.
I said I was okay.
Sarah looks at him, exasperated and stern.
SARAH
It was stupid of you to go there.
John stares at her, surprised.
SARAH
Goddamnit, 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 the place... I'm sorry,
I...
His face crumples. He starts to cry. Sarah gives him a cold stare.
SARAH
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 and sense to him.
TERMINATOR
What is wrong with your eyes?
John turns away, ashamed. Sarah lets her breath out, realizing how keyed up she is. She turns to Terminator, giving him a wary once-over.
SARAH
So what's your story?
CUT TO:
EXT. MENTAL HOSPITAL
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.
Sarah grabs all of it. Peels off a twenty, hands it to John.
SARAH
Get some food.
She opens the truck door and steps out. John turns to Terminator.
JOHN
No sense of humor.
THE ORDERING WINDOW
As John and Terminator approach.
JOHN
And that's another thing. You could lighten up a bit,
yourself. This severe routine is getting old. Smile once in a while.
TERMINATOR
Smile?
JOHN
Yeah. Smile. You know. People smile, right? Watch.
Goes to the order window.
JOHN
(smiling broadly)
Hi. Nice place you got here. How's business?
WINDOW WOMAN
(stone-faced)
Gimme a break.
JOHN
(to Terminator)
Okay. Bad example. Over there, look.
John points at THREE TEENAGE GUYS standing at a drinking fountain nearby. One
of them has said something funny and the others are laughing, grinning.
JOHN
Like that.
TERMINATOR POV (DIGITIZED)
The real-time image continues while a replay of one of the guys grinning runs in a window. It expands, so that the guy's mouth fills the window. Replays again in slow motion. A vector-graphic of the lips smiling appears, along with an array of symbolic data.
Terminator tries it. The result is dismal. A rictus-like curling of
the lip. Terminator's next effort is a marginal improvement.
JOHN
I don't know, maybe you could practice in front of a
mirror or something.
CUT TO:
EXT. REST STOP / PICKUP TRUCK – DAY (LATER)
Sarah and John are eating cheeseburgers and fries, sitting in the truck and on the curb respectively. They are parked away from the other families, at the end of the gravel parking area. Terminator is pouring coolant into the radiator. Sarah is deep in through, turning and turning the whole thing in her brain. John, unable to deal with her silence, goes around to where Terminator is working.
John sees two kids playing with machine-gun water pistols nearby, viciously squirting each other.
FIRST KID
You're dead!
SECOND KID
Am not!
FIRST KID
Are so!
John and Terminator watch them rolling on the ground in a fight to the death. Sarah rounds the front of the truck, and sees the kids. John sighs, solemn. He looks up at the cyborg.
JOHN
We're not gonna make it, are we? People, I mean.
TERMINATOR
It is in your nature to destroy yourselves.
John nods, depressed.
JOHN
Yeah. Drag, huh?
SARAH
I need to know how Skynet get built. Who's
responsible?
TERMINATOR
The man most directly responsible is Miles Bennet
Dyson, Director of Special Projects at Cyberdyne Systems Corporation.
SARAH
Why him?
TERMINATOR
In a few months he creates a revolutionary type of
mircoprocessor.
SARAH
Then what?
Terminator closes the hood and gets into the truck as he speaks.
TERMINATOR
In three years Cyberdyne will become the largest
supplier of military computer systems. All stealth bombers are upgraded with
Cyberdyne computers, becoming fully unmanned, Afterward, the fly with a perfect
operational record.
SARAH
(getting behind John)
Uh huh, great. Then those fat fucks in Washington
figure, what the hell, let a computer run the whole show, right?
TERMINATOR
Basically.
(starting the engine, backing out)
The Skynet funding bill is passed. The system goes
on-line August 4th, 1997. Human decisions are removed from strategic defense.
Skynet begins to learn, at a geometric rate. It becomes self-aware at 2:14 a.m.
eastern time, August 29. In a panic, they try to pull the plug.
SARAH
And Skynet fights back.
They accelerate back onto the highway.
TERMINATOR
Yes. It launches its ICBMs against their targets in
Russia.
SARAH
Why attack Russia?
TERMINATOR
Because Skynet knows the Russian counter-strike will
remove its enemies here.
SARAH
Jesus.
(beat, then)
How much do you know about Dyson?
TERMINATOR
I have detailed files.
SARAH
I want to know everything. What he looks like. Where
he lives. Everything.
INT. DYSON HOUSE – DAY
Miles Dyson sits at the huge desk in his study. He is deep in
thought, tapping away at the keyboard of his home computer terminal. Next to
desk are racks of sophisticated gear. On a Sunday morning, when most men are
relaxing, spending time with their families, Dyson is hard at work.
IN A PROFILE CLOSEUP
... we see him in deep concentration, his mind prowling the
labyrinth of his new microprocessor.
A WOMAN'S FACE ENTERS FRAME soundlessly behind him. He doesn't hear
her. His wife, TARISSA, extends her
tongue and traces it down the back of his neck. He smiles and turns to kiss her
good morning. She's still in her bathrobe, holding coffee. He's been up for
hours. He turns and goes back to work, forgetting instantly that she is
standing there.
She watches him work, the arcane symbols moving across the screen.
We see her frustration, her inability to truly enter the magic box of his
world.
TARISSA
You going to work all day?
DYSON
I'm sorry, baby. This thing is just kicking my ass. I
thought we had it with this one...
He points to a metal box on his desk, about two feet long. As assembly of small cubes. It looks like a dinosaur version of Terminator's CPU.
DYSON
... but the output went to shit after three seconds.
I'm thinking now it's the way I'm matrixing the command hierarchies...
TARISSA
You need a break. You'll see it clear when you come
back.
DYSON
I can't
TARISSA
Miles, it's Sunday. You promised to take the kids to
Raging Waters today.
DYSON
Oh. I can't, honey. I'm on a roll here.
He takes her hands. We see a childlike excitement in his face. He wants so badly to share the almost orgasmic thrill of discovery, the satisfaction of creation.
DYSON
Baby, this thing is going to blow 'em all away. It's a
neural-net process –
TARISSA
I know. You told me. It's a neural-net processor. It
thinks and learns like we do. It's superconducting at room temperature. Other
computer are pocket calculators by comparison.
(she pulls away from him)
But why is that so goddamn important, Miles? I really
need to know, 'cause I feel like I'm going crazy here, sometimes.
DYSON
I'm sorry, honey, it's just that I'm thiiis close.
He holds up his thumb and index finger... a fraction of an inch apart. She picks up the prototype. It doesn't look like much.
DYSON
Imagine a jetline with a pilot that never makes a
mistake, never gets tired, never shows up to work with a hangover.
(he taps the prototype)
Meet the pilot.
TARISSA
Why did you marry me, Miles? Why did we have these two
children? You don't need us. Your heart and your mind are in here.
(she stares at the metal box in her hands)
But it doesn't love you like we do.
He takes the anodized box from her hands and sets it down. Then he puts his hands on her shoulders and kisses her gently. She acquiesces to his kiss.
DYSON
I'm sorry.
Tarissa glances over his shoulder. She nods her head toward the doorway to the study. Dyson turns and sees their two kids standing there. Danny (6) and Blythe (4) look rumpled and adorable in their PJs. Dyson wilts at their hopeful expressions.
TARISSA
How about spending some time with your other babies?
Dyson grins. The forces of darkness have lost this round. He holds out his hands and his kids run to him, cheering.
CUT TO:
EXT. DESERT / COMPOUND – DAY
The desert northwest of Calexico. Burning under the sun like a hallucination. Heat shimmers the image, mirage-like. Terminator turns the pickup off the paved road and barrels along a roadbed a sand and gravel, trailing a huge plume of dust. A sign at the turnoff says: CHARON MESA 2 MI CALEXICO15 MI
AHEAD is a pathetic oasis of humanity in the vast
wasteland, a couple of aging house-trailers, surrounded by assorted junk
vehicles and desert-style trash. There is a dirt airstrip behind the trailers,
and a stripped Huey helicopter sitting on block nearby.
The truck rolls to a stop in a cloud of dust. The place looks
deserted. The door to the nearest trailer bangs in the wind.
SARAH
(to Terminator and John)
Stay in the truck.
ANGLE FROM INSIDE ANOTHER TRAILER, NEARBY
