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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
A DARK FIGURE in the f.g. has an AK-47 trained on the pickup as Sarah gets out.
ON SARAH
Peering through the backlit dust. The sound of wind. She approaches the trailer.
SARAH
(in Spanish)
Enrique? You here?
She hears KACHANK! behind her and spins, whipping out her .45 in one motion.
ENRIQUE SALCEDA stands behind a rusting jeep, a 12-gauge
pump trained on her. He is mid-forties, a tough Guatemalan with a weathered
face and heavy mustache. He wears cowboy boots and a flak vest, no shirt.
SALCEDA
You pretty jumpy, Connor.
His fierce face breaks into a broad grin. The shotgun drops to his side as he walks toward her. When he reaches her he hugs her, then steps back.
SALCEDA
(in Spanish)
Good to see you, Connor. I knew you'd make it back
here sooner or later.
He grins at John as he steps from the truck, and then clocks Terminator getting out.
SALCEDA
Oye, Big John! Que pasa? Who's your very large friend?
JOHN
(perfect Spanish)
He's cool, Enrique. He's... uh... this is my Uncle
Bob.
(to Terminator, in English)
Uncle Bob, this is Enrique.
Terminator smiles. Sort of. Salceda squints at him,
SALCEDA
Hmmm. Uncle Bob, huh? Okay.
(yelling)
Yolanda. Get out here, we got company. And bring some
fucking tequila!
A thin Guatemalan KID, FRANCO, eighteen or so, comes out of the trailer with the AK-47, followed by
Salceda's wife, YOLANDA. She has THREE younger children with her, from a
five-year-old GIRL, JUANITA, to a year-and-half-old BOY. She waves at John. They exchange greetings
in Spanish. They seem like nice people. Terminator looks down at John, next to
him. He says quietly...
TERMINATOR
Uncle Bob?
SALCEDA
(to Sarah)
So, Sarahlita, you getting famous, you know that? All
over the goddamn TV.
Salceda rips the cap off the tequila bottle. The two-year-old toddles to Terminator and grabs his pants, sliming them with drool. Terminator looks down at the tiny kid, fascinated. What is it? He picks up the child with one huge hand. Looks at it. Turns it different ways. Studying it. Then sets it down. The kid waddles off, a little dizzy.
SALCEDA
Honey, take Pacolito. Thanks, baby.
She hands him the tequila and takes the child. Salceda takes a long pull from the cuervo bottle.
SALCEDA
(to Terminator)
Drink?
Terminator gestures "no" at the proffered bottle, but Sarah grabs it and takes a long pull. She lowers it without expression. Her eyes don't even water.
SARAH
I just came for my stuff. And I need clothes, food,
and one of your trucks.
SALCEDA
(grinning)
Hey, how about the fillings out of my fucking teeth
while you're at it?
SARAH
Now, Enrique.
(turns to Terminator and John)
You two are on weapons detail.
CUT TO:
EXT. COMPOUND / BEHIND THE TRAILERS
There is an aging and rusted Caterpillar sitting behind one of the trailers. John expertly backs it toward Terminator who is holding one end of a piece of heavy chain which disappears into the sand.
JOHN
Hook it on.
Terminator hooks the chain onto the towhook on the back of the
tractor. John hits the throttle and the Cat churns its treads, pulling some
massive load. A six-by-eight foot sheet of steel plate moves slowly under six
inches of sand.
John drags it far enough to reveal... a rectangular hole in the
ground. Like the mouth of a tomb. The kid drops down from the tractor and walks
to the hole.
One thing about my mom... she always plans ahead.
INT. WEAPONS CACHE
From inside the "tomb". Sunlight slashes down into a
cinder-block room, less than six feet wide but over twenty long. Sand spills
down the steps. The walls are lined with guns.
John precedes Terminator into Sarah's weapons cache. Rifles,
pistols, rocket launchers, mortars, RPGs, radio gear. At the far end, boxes
containing ammo, grenades, etc. are stacked to the ceiling. Terminator gets
real alert. Scanning, wondering where to begin. He picks up a MAC-10 machine
pistol. Racks the bolt.
Excellent.
JOHN
Yeah, I thought you'd like this place.
EXT. COMPOUND / NEARBY
Sarah emerges from a trailer. She has changed. Boots, black fatigue
pants, T-shirt. Shades. She looks hard. Salceda is nearby, packing food and
other survival equipment with Yolanda. He looks up as Sarah approaches, and
slaps the side of a BIG FOUR-BY BRONCO next to him,
SALCEDA
This is the best truck, but the water pump is blown.
You got the time to change it out?
SARAH
Yeah. I'm gonna wait till dark to cross the border.
(she pulls him away from Yolanda)
Enrique, it's dangerous for you here. You get out
tonight, too, okay?
SALCEDA
Yeah, Saralita. Sure.
(he grins)
Just drop by any time and totally fuck up my life.
She slaps him on the shoulder.
CUT TO:
INT. WEAPONS CACHE
Terminator returns from carrying out several cases of ammo. John is selecting rifles from a long rack.
JOHN
See, I grew up in places like this, so I just thought
it was how people lived... riding around in helicopters. Learning how to blow
shit up.
John grabs an AK-47 and racks the bolt with a practiced action. Inspects the receiver for wear. Doesn't like what he sees. Puts is back. His movement are efficient. Professional. Uninterested.
JOHN
Then, when Mom got busted I got put in a regular
school. The other kids were, like, into Nintendo.
Terminator has found a Vietnam-era "blooper" M-79 grenade launcher. A very crude but effective weapon. He opens the breech and inspects the bore.
JOHN
Are you ever afraid?
Terminator pauses for a second. The thought never occurred to him. He searches him mind for the answer...
TERMINATOR
No.
Terminator slings the M-79 and starts looking for the grenades.
JOHN
Not even of dying?
TERMINATOR
No.
JOHN
You don't feel any emotion about it one way or the
other?
TERMINATOR
No. I have to stay functional until my mission is
complete. Then it doesn't matter.
John is idly spinning a Sig Saur 9mm pistol on his finger... backwards and forwards like Bat Masteron.
JOHN
Yeah. I have to stay functional too.
(sing-songy)
"I'm too important".
Terminator pulls back a canvas tarp, revealing a squat, heavy weapon
with six barrels clustered in a blunt cylinder. Chain-ammo is fed from a
canister sitting next to it. A G.E. MINI-GUN. The most fearsome anti-personnel weapon of
the Vietnam era. Terminator hefts it. Looks at John as if to say "Can I?
Please?"
JOHN
It's definitely you.
CUT TO:
EXT. COMPOUND – DAY / LATER
Sarah and John have their weapons and supply selections laided out
on two battered picnic tables for cleaning and packing. Maps, radios,
documents, explosives, detonators... just the basics. Sarah is field-stripping
and cleaning guns, very methodical. There is no wasted motion.
Not far away, John and Terminator are working on the Bronco. They're
greasy up to their elbows, lying on their backs under the engine compartment,
ratcheting bolts into places on the new water pump.
There was this one guy that was kinda cool. He taught
me engines. Hold this a second. Mom screwed it up, of course. Sooner or later
she'd always tell them about Judgment Day and me being this world leader and that's
be all she wrote.
John thinks he's being causal, but his longing for some kind of parental connection is obvious.
TERMINATOR
Torque wrench please.
JOHN
Here. I wish I coulda met my real dad.
TERMINATOR
You will.
JOHN
Yeah. I guess so. My mom says when I'm, like, 45, I
think, I send him back through time to 1984. But right now he hasn't even been
born yet. Man, is messes with your head. Where's that other bolt?
(Terminator hands it to him)
Thanks. Mom and him were only together for one night,
but she still loves him, I guess. I see her crying sometimes. She denies it
totally, of course. Like she says she got something in her eye.
They crawl out from under the truck into the bright sunlight.
TERMINATOR
Why do you cry?
JOHN
You mean people? I don't know. We just cry. You know.
When it hurts.
TERMINATOR
Pain causes it?
JOHN
Uh-unh, no, it's different... It's when there's
nothing wrong with you but you hurt anyway. You get it?
TERMINATOR
No.
Terminator gets into the Bronco and turns the ignition key and the engine catches with a roar.
JOHN
Alright!! My man!
TERMINATOR
No problemo.
John grins and does a victorious thumbs up. Terminator imitates the gesture awkwardly. John laughs and makes him get out of the truck, to try the move again.
SARAH
Across the compound, pauses in her work to watch John and Terminator.
SARAH'S POV
... we don't hear what John and Terminator are saying. It is a soundless pantomime as John is trying to show some other gestures to the cyborg. Trying to get him to walk more casually. John walks, then Terminator tries it, then John gestures wildly, talking very fast... explaining the fundamental principles of cool. They try it again. Continued ad lib as we hear:
SARAH (V.O.)
Watching John with the machine, it was suddenly so
clear. The Terminator would never stop, it would never leave him... it would
always be there. And it would never hurt him, never shout at him or get drunk
and hit him, or say it couldn't spend time with him because it was too busy.
And it would die to protect him. Of all the would-be fathers who came and went
over the years, this thing, this machine, was the only one who measured up. In
an insane world, it was the sanest choice.
Sarah clenches her jaw and goes grimly back to work... a strong woman made hard and cold by years of hard choices.
CUT TO:
EXT. ROAD – DAY
A police cruiser is parked off the side of a quiet, empty road on the outskirts of Los Angeles. A ribbon of traffic moves steadily by on a freeway in the distance. Nothing stirs around the cruiser except some pump-jacks sucking the earth on the hill behind it.
IN THE CRUISER
The T-1000 sits inside. John's notes and letters are spread out on the seat beside it. Sarah's voice speaks from a cassette deck. John's tapes. Her voices mixes with the static filled chatter of the radio that T-1000 monitors for any signs of its targets.
SARAH
... if we are ever separated, and can't make contact,
go to Enrique's airstrip. I'll rendezvous with you there.
T-1000 whips around and rewinds the tape, replaying the last section. It then snaps up the envelope of photos we saw earlier.
EXTREME CLOSEUP on envelope
We see the postmark: "Charon Mesa, Calif."
TIGHT ON T-1000
Staring at the postmark on the envelope. It glances up at the sound of crunching gravel. In the rear-view it sees a BIKE COP pulling onto the shoulder behind it. The big KAWASAKI 1100 idles up next to the T-1000, still seated in the cruiser.
BIKE COP
Howdy. I saw you pulled over here earlier. Everything
okay?
T-1000
Everything's fine. Thanks for checking.
(it gets slowly out of the car)
Since you're here, though, can I talk to you a second...
CUT TO:
EXT. HIGHWAY – DAY / MINUTES LATER
The T-1000 thunders along on the Kawasaki 1100, doing about a
hundred and twenty. PAN WITH IT until it recedes toward the horizon.
CUT TO:
EXT. COMPOUND – DAY (LATE AFTERNOON)
Sarah sits at the picnic table. The weapons are cleaned and her work is done. She hasn't slept in twenty-four hours and she seems to have the weight of the whole world on her shoulder. She draws her knife from its belt sheath. Idly starts to carve something on the table top... the letter "N".
NOT FAR AWAY
John and Terminator are packing the Bronco for the trip.
ON SARAH, AT THE TABLE
As she looks up from her carving, thinking. She watches Salceda's kids playing nearby... wrestling with a mutty dog and loving it. Sarah watches Yolanda walking her toddler by her hands. Backlit, stylized. She looks over at John. Loading guns and supplies.
ANGLE ON
... kids playing.
SARAH'S HEAD
... droops. She closes her eyes.
TIGHT ON
... small children playing. Different ones. Wider now, to reveal a playground in a park. Very idyllic. A dream playground, crowded with laughing children playing on swings, slides, and a jungle gym. It could be the playground we saw melted and frozen in the post-nuclear desolation of 2029. But here the grass is vibrant green and the sun is shining.
Sarah, short-haired, looking drab and paramilitary, stands outside the playground. An outsider. Her fingers are hooked in a chain-link fence and she is staring through the fence at the young mothers playing with their kids. A grim-faced harbinger.
Some girls play skip-rope. Their sing-song weaves through the random
burbling laughter of the kids. One of the young mothers walks her two-year-old
son by the hands. She is wearing a pink waitress uniform. She turns to us,
laughing. It is Sarah. Beautiful. Radiant. Sarah from another life,
uncontaminated by the dark future. She glances at the strange woman beyond the
fence.
Grim-faced Sarah presses against the fence. She starts shouting at
them in SLOW MOTION. No sound comes from her mouth. She grabs the fence in frustration,
shaking it. Screaming soundlessly. Waitress Sarah's smile falls. Then returns as
her little boy throws some sand at her. She laughs, turns away, as if the woman
at the fence were a shadow, a trick of light.
THE SKY EXPLODES. The children ignite like match heads.
Sarah is burning, screaming silently, everything silent and overexposed.
THE BLAST WAVE HITS... devouring the cowering mothers and
children. Sarah's scream merges with the howl of the wind as the shockwave rips
into her, blasting her apart and she...
Wakes up.
All is quiet and normal. The children are still playing nearby. Less
than fifteen minutes have gone by.
Bathed in sweat, Sarah sits hunched over the table. Every muscle is
shaking. She is gasping. Sarah struggles to breathe, running her hand through
her hair which is soaked with sweat, She can escape from the hospital, but she
can't escape from the madness which haunts her.
She looks down at the words she has carved on the table, amid the
scrawled hearts and bird-droppings. They are: "NO FATE." Something changes
in her eyes. She slams her knife down in the table top, embedding it deeply in
the words. Then gets up suddenly and we –
CUT TO:
LONG LENS on Sarah
Walking toward us, striding across the compound with grim purpose. She carries a small nylon pack and a CAR-15 assault rifle. Her face is an impassive mask. She has become a terminator.
JOHN LOOKS UP
... from his work in time to see Sarah throw the rifle behind the seat of their stolen pickup, jump in and start it. She slams it in gear. Salceda walks up to John.
SALCEDA
She said you go south with him...
(he points at Terminator)
... tonight, like you planned. She will meet you
tomorrow in...
But John is moving, running after her.
JOHN
Mommm!! Wait!!
MOVING WITH SARAH
As she leaves the compound. We see John running after her... yelling. Can't hear his words. She looks in the rear-view mirror but doesn't slow down.
CUT TO:
