ýýýý r˙˙˙˙˙˙˙˙ 2 Final Draft, Inc. Final Draft ô ô˙˙˙˙˙˙˙˙ 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03150232021408401C47EAE1CB4E25EB13038800911CB36FB1CB4E14F00002000006EC00000000 6E6,TERMINATOR 3- THE NUCLEAR FIRE
INT. A MEETING HALL IN CYBERDYNE SYSTEMS HEADQUARTERS- NORTHERN CALIFORNIA- THE YEAR 2006
The room is full of people milling about. The mood of the crowd is up. Several people wear straw hats like those worn at presidential primaries. In fact, it is a campaign rally. The walls are draped in red, white and blue bunting and there are signs that read Haney IN 2006, RE-ELECT Haney, etc. There is a raised platform with a podium. The ANNOUNCER walks on stage to the accolades of the enthusiastic crowd.
ANNOUNCER
Thank you, thank you. It's good to see such a great turnout. But I know it's not me you came to see today so without any further delay, I'll announce the man of the hour. Ladies and gentlemen, Senator Thomas Haney.
The ovation is tremendous as THOMAS HANEY, age 52, steps to the podium. He has trouble getting them to quiet down. On the wall behind him is the company logo. It reads CYBERDYNE- TECHNOLOGY FOR A BRIGHTER TOMORROW.
In the audience, everyone is cheering-- except one. SARAH CONNOR, age 40, looks to the podium with a vicious sneer. The crowd noise begins to die down.
Haney
Oh, I tell ya. It's nice to be loved. You know, I think we finally got the attention of those dim bulbs in Washington. I remember two years ago when I was talking to some of my fellow Senators. I told them, "They are doing amazing things at Cyberdyne Systems." And when I told them about your plans to automate the stealth bombers, you know what they did? They laughed. Well, who's laughing now?
Not Sarah. As the crowd CHEERS at Haney's last comment, she removes a .45 automatic from under her coat. She cocks the slide and begins to move through the crowd toward the podium. Her rage is even more intensified.
00020000068C000006E6 686,Haney (CONT'D)
I've been lobbying for months and I
am certain that tomorrow, the Skynet
funding bill will finally be passed.
The crowd CHEERS again. Sarah is moving rapidly through the crowd now. She has tunnel vision. She isn't aware of what's going on around her as she bumps anyone aside who is in her way. This draws the attention of several people in the crowd who see her gun.
A WOMAN SCREAMS.
Sarah stops a few yards shy of the stage and levels her gun at Haney. A MAN standing in the crowd near Sarah grabs her arm and pulls it down as she FIRES.
The bullet ricochets off the corner of the podium. Haney's aides grab him and quickly pull him off stage.
Sarah breaks the grip of the man that holds her. She jabs him in the abdomen with the stock of the handgun then gives a straight-leg karate kick to his upper chest. He falls backward, incapacitated. Sarah swings to see if anyone else is going to challenge her. Everyone close to her is frozen in horror. In the distance, more people SCREAM.
Security guards are running, gun in hand, through the crowd toward Sarah. She aims the gun at the ceiling and FIRES several more rounds off. This causes a panic as everyone runs for an exit. Sarah drops the gun and strips her overcoat. She mixes with the others in the crowd, also heading for an exit.
EXT. THE GROUNDS OF THE CYBERDYNE BUILDING- NIGHT
Panic stricken people pour from every available exit. Sarah emerges and runs for a van that has SACRAMENTO VALLEY CLEANING SERVICE written on the side. She jumps in the passenger seat.
INT. THE VAN
ENRIQUE SALCEDA, age 56, sits behind the wheel.
ENRIQUE
Did you get him?
SARAH
Drive!
He takes off.
00020000073900000D6C 733,EXT. THE FRONT GATE OF THE COMPOUND
There is a high fence topped with concertina wire and a guard station. Apparently Cyberdyne has had problems with saboteurs in the past. Two guards have run out of their station and begin to quickly close the sliding gate. The van is speeding toward the gate at eighty plus miles an hour. They dive for cover as the van smashes through the not-quite-closed gate. It speeds off.
INT. THE VAN
ENRIQUE
Where to now, Connor?
SARAH
L.A., but we gotta dump this van
first.
EXT. THE DARK STREET
The van disappears into the night.
TITLE SEQUENCE
EXT. A TAXIWAY JUST OUTSIDE THE LOS ANGELES INTERNATIONAL AIRPORT
TERMINAL BUILDING- NIGHT
A pet carrier is laying on its side. Hanging half out of the box is the skeleton of a dog. A TITLE CARD FADES IN:
LOS ANGELES, 2029 A.D.
WE BEGIN TO TRACK along the ground seeing luggage of all sorts and a set of golf clubs. They look as if they have been laying there for decades. They have. We see the overturned luggage transport vehicle they once sat on. It has a bumper sticker that reads MY OTHER CAR IS A PORSCHE. Finally, we see the skeleton of the transport driver, a half melted Walkman lays nearby.
TILT UP, to show the hulking corpse of a jetliner. A flying HK (Hunter-Killer) rises up from behind it and disappears over the gutted hull of the terminal building.
VOICE (JOHN CONNOR)
In the early years of the twenty-first century, it was decided to trust our country's stockpile of nuclear weapons to an artificial intelligence called Skynet. In its infinite wisdom, it decided that it would be best for everyone involved to just go ahead and launch all of the missiles. On that day, everything north of the equator was destroyed. Those who
were unlucky enough to survive the nuclear fire had a new obstacle to overcome, the war against the machines.
0002000008030000149F 7FD,The CHROME ENDOSKELETON of a series 800 terminator walks INTO FRAME. It hefts a large battle rifle. The machine's glowing red eyes sweep across the ashen wasteland, searching.
ENDOSKELETON POV (DIGITIZED) as it sees a lone human figure slip into the ruins of the terminal building.
THE ENDOSKELETON begins to walk toward the building.
INT. THE TERMINAL BUILDING
It appears to be empty, save the numerous human skeletons that litter the floor. The endoskeleton enters and begins to walk the length of the complex. Its metal footsteps ECHO loudly. It stops and begins to scan again.
ENDOSKELETON POV (DIGITIZED) It sees no sign of human life.
THE ENDOSKELETON stops oscillating its head. Its right eye begins to pulse rapidly.
EXT. A RUNWAY JUST OUTSIDE THE TERMINAL
Five more identical ENDOSKELETONS are walking across the open landscape. All five stop walking as their right eyes begin to rapidly pulse in synch. They are somehow communicating with each other. All five terminators turn and begin to walk back toward the terminal.
INT. THE TERMINAL BUILDING
The lone ENDOSKELETON resumes its forward progression. Five members of the human resistance rise up from behind ticket booths, luggage claim carousels, etc. They catch the terminator in a crossfire of energy bolts from their beam-weapons. It is destroyed.
One of the SOLDIERS runs over to retrieve the downed terminator's battle rifle. Just as he reaches it, the flash of an energy bolt rips through his chest.
The five endoskeletons enter the complex. Laser blasts crisscross the room as the high-tech gunplay begins. One terminator is blasted to bits. Two humans go down. The remaining two SOLDIERS dive behind a luggage check-in counter. They nod to each other. Each takes a hand grenade from their vests. The first SOLDIER tosses his grenade back over the counter toward the endoskeletons. It is a smoker that fills the room with billows of smoke. The second soldier tosses his grenade and they both make a break for it. They are heading out of the building.
00020000100100001C9C FFB,ENDOSKELETON POV (DIGITIZED) The smoke obscures its view of the counter. It raises its battle rifle in the direction of the soldiers and begins to fire in a sweeping motion.
EXT. JUST OUTSIDE THE TERMINAL BUILDING
The two soldiers dart through an open wall that was at one time covered with paned glass. One of them is shot down in his tracks. The LONE SOLDIER continues running at a breakneck speed.
The grenade EXPLODES, ripping through the ground level of the building behind him. He stops to look back, aiming his rifle back into the building. No terminators emerge. He lowers his weapon and breathes a sigh of relief.
Before he can catch his breath, an aerial HK rises up from behind the terminal building. He runs for his life toward a jet. The underbelly turret of the HK swings toward him and strafes the concrete with laser fire just behind him. He finds sanctuary under the jet just as the laser gun blasts the wing from the huge aircraft. The lone soldier runs back into the open and aims his rifle up at the flying killer. With one blast, he destroys the gun that hangs down. The machine continues to hover overhead, only now it is unarmed.
A three story high tank with a robot weapon platform smashes through the terminal building. A good portion of the terminal is reduced to rubble. This machine is a ground HK.
The lone soldier drops his rifle and begins to run as the ground HK rolls forward. The lone soldier stumbles and falls. When he stands, he is face to face with a terminator ENDOSKELETON. It levels its gun at him. Before it can fire, its glowing red eyes die out. The soldier is puzzled. He turns quickly to look over his shoulder.
The ground HK has frozen in its tracks. The aerial HK drops out of the sky, crashing on the concrete.
The soldier turns back to the endoskeleton. He gives it a slight shove and it topples over. He reaches to his helmet and turns on the built-in radio headset.
HEADSET VOICE
...The Colorado Division confirms that
Skynet has been destroyed... The war is
over... I repeat, Skynet has--
He removes his helmet and it is only then that we realize the soldier is a woman. She looks to the heavens and drops to her knees with tears in her eyes. The CAMERA RISES UP to a HIGH ANGLE SHOT looking down on the soldier. It continues going up, lifting us out of the devastation.
INT. THE TIME DISPLACEMENT COMPLEX- L.A.- LATER
A STAINLESS STEEL ELEVATOR SHAFT, going deep into the bowels of the earth. A tiny figure stands on an open platform which descends rapidly, becoming a speck.
ON THE PLATFORM. An imposing man stands on the platform as it descends. He is JOHN CONNOR, age 45. He is chiseled and stern and the left side of his face is heavily scarred. An impressive man, and clearly one forged in the furnace of a lifetime of war. In his right hand, he holds something wrapped in a tattered olive drab cloth.
The platform reaches its destination. FUENTES, one of his officers, is waiting at the base of the shaft. As John steps off the elevator, Fuentes salutes him. John reaches out and gently lowers the man's hand. Military protocol is no longer necessary in this world. They begin moving down a long corridor.
INT. CORRIDOR
This place was designed for machines by machines. The architecture is alien, without aesthetics, without even such human basics as doorknobs and lights. Connor and Fuentes walk past more frozen terminator endoskeletons, deactivated like the ones on the surface. The only light comes from portable units that are set up here and there.
FUENTES
There is no power anywhere down here,
only the portable cells we brought with
us. We finally found the time
displacement chamber about an hour ago.
How did you know it would be here?
JOHN
I've known it all my life.
INT. THE TIME DISPLACEMENT CHAMBER
Vault-like doors open. Connor strides through with authority and purpose. The chamber is the size of a high-school gym and consists totally of machine surfaces. Nothing in the design makes any sense. We can't tell what anything does. It is technology we cannot imagine.
0002000007ED00002C97 7E7,John sets down his package and walks over to a TECHNICIAN who has removed several floor panels. The technician has used a portable power cell and an antique lap top computer to patch into the computer cabling.
JOHN
How's it going?
TECHNICIAN #1
We've isolated the time displacement
lines from the others and I'm patching
into its memory bank now.
JOHN
Good. Keep on it.
High explosive charges are being placed at strategic places around the room. Fuentes oversees this part of the operation. John walks over to him.
JOHN (CONT'D)
How are the explosives coming?
FUENTES
Almost ready. You know, my men keep asking me what we're doing. Do you have to be a technician to know anything around here?
JOHN
It's nothing personal Fuentes, you're a good man. But it was necessary for us to keep this in total secrecy up to this point. This room contains time displacement equipment. Two hours ago when Skynet knew its defense grid was
about to go down, it sent several terminators back through time.
FUENTES
Valgame Dios!
JOHN
The first one is programmed to kill my mother before I was born. The second is set to kill me when I'm
ten years old.
FUENTES
What are you going to do?
JOHN
Just watch and see, Fuentes. Just watch and see.
Another TECHNICIAN walks over to John.
TECHNICIAN #2
We've deciphered the actuating procedures
for the equipment. Our team is ready.
JOHN
How about Reese?
TECHNICIAN #2
We're getting him ready now.
At the far end of the room, a young soldier stands surrounded by a team of technicians. KYLE REESE, Sarah Connor's defender, teacher, and lover in the first film. A simple soldier who is about to walk point into the gaping maw of history. At the moment, he is the center of activity. As he finishes stripping off his battle uniform, the techs begin smearing his body with a conductive so the time field will follow his outline.
Reese looks around at all the activity. Battle and the prospect of death have never scared him. But the importance of what he is about to do terrifies him.
000200000CFE0000347E CF8,The techs move aside and suddenly John Connor is standing beside him. Connor... their grim messiah. Their leader. He fixes Reese with an intense gaze. There is so much he wants to say, but cannot bring himself to. Finally Reese speaks.
REESE
Did you know I'd be the one who
volunteered?
John nods.
John
I've always known. Sarah told me.
Reese nods, suddenly understanding everything.
REESE
That's why you moved me to your unit?
Kept me so close?
John shrugs enigmatically. One of the techs interrupts them.
TECHNICIAN #2
We're ready, Sergeant.
THREE ENORMOUS CHROME RINGS, one inside the other, are suspended in a circular hole in the center of the room's floor. John and Reese approach them.
TECHNICIAN #1
(reading from his lap-top)
The first terminator is from the 800
series, model unknown. Date and time
of arrival, May 12, 1984- 1:52 a.m.
City of Los Angeles, exact location
unknown.
ANOTHER TECHNICIAN begins to set the appropriate coordinates on the time displacement equipment.
Reese steps onto the first ring. It bobs slightly under his weight. We see that the rings are freely floating in a magnetic field. Reese steps to the inner ring and looks into the hole. A vast echoing darkness below. He looks back at John. The messiah is waiting for him to step into the bottomless pit.
JOHN
Sometimes you have to put your faith in the machine.
Reese takes a breath, then steps into open space and is buoyed up by an unseen field of force. He floats in the middle of the rings. The techs start the time displacement sequence.
THE RINGS BEGIN TO MOVE, slowly rotating around each other on different axes like some complex gyroscope.
THE FLOOR BEGINS TO SPLIT OPEN, like wedges in a pie which begin to pull back from the center. The rings are spinning faster now, suspended in space in the middle of the receding floor wedges.
The rings begin to descend.
JOHN AND REESE LOCK EYES as they move apart. Reese is dropping into an unbelievably vast circular space... the time-field generator. John watches him go, until Reese is a tiny figure.
The rings are spinning so rapidly now they almost disappear, becoming a sphere of whirling steel. Technicians pull John back from the edge.
LIGHTNING BEGINS TO ARC across the vast room below. A huge charge of energy is building up. Everyone takes cover behind blast walls they have set up. They put on goggles like they used at A-bomb tests. This is going to be big.
The chamber below has become a Hell of energy with Reese at its center. The drone and crackle of the machine builds to a thunder, there is a BLINDING FLASH OF LIGHT.
When the glare fades, the floating rings are empty. They slow to a stop, seared and smoking. Reese is gone.
Fuentes turns to John.
FUENTES
Now what happens to Reese? I mean, what did happen?
John's gaze seems far away from this time and place.
JOHN
He accomplishes his mission and in
doing so, he dies.
FUENTES
He is a good soldier.
John nods solemnly.
JOHN
He's also my father.
Fuentes looks at him in shocked disbelief. John does not even acknowledge him. He picks up his package and walks off to another part of the room.
TIGHT ON MASSIVE DOORS OF STEEL, covered with a thin sheet of ice. Locking bolts slam back. Ice shatters like glass as the doors begin to open. We are in--
INT. THE COLD STORAGE FACILITY
00020000079700004176 791,John walks into the darkness, followed by a few technicians who set up portable lights. Hanging in steel racks from ceiling tracks are hundreds of what appear to be men. They are in rows of ten. Within each row, each of the bodies are absolutely identical. They are UNACTIVATED TERMINATORS. The men walk past several rows of the muscular cyborgs. They stop at a row in which the terminators are identical to the one which was sent to kill Sarah in the first film. It is the Arnold model. John pushes a button on the side of one of the racks. There is a WHINE OF HYDRAULICS as it is lowered to the ground. A technician opens a small step ladder and sets it beside the rack. John climbs on it.
TIGHT ON THE CLOTH COVERED PACKAGE, as John unwraps it. He places the cloth on the terminator's shoulder. Inside the cloth is an extremely old tackle box. It looks as if it could easily fall apart. He carefully opens the box to reveal it is full of cryptic electronic repair equipment. Once considered state-of-the-art, they are now relics. He removes a rusty dissecting scalpel.
He uses it to carefully cut open the terminator's forehead along its hairline. He gently pulls back the scalp to reveal the chrome dome of its skullcap. He uses the cloth to wipe away some blood. We can now see the plate cover for the maintenance port of the CPU. He uses a ratchet tool to unscrew the port cover.
He removes it and hands it to a tech. He then unscrews the inner plug and hands that also to the tech. He reaches a pair of needle-nose pliers into the hole and with a good yank, removes the CPU chip.
He flings it to the ground with contempt. Finally, he reaches into his tackle box again and pulls out another chip. He holds it up for a final inspection.
CUT TO:
INT. THE TIME DISPLACEMENT CHAMBER
The technicians have all resumed their places around the time displacement equipment.
TECHNICIAN #1
(reading from his lap-top)
00020000073000004907 72A,The second terminator...
(almost scared to say it)
Sir, It's a T-1000!
JOHN
I know. Date and time please.
TECHNICIAN #1
Yes, sir. It arrived on June 8, 1995-
10:27 p.m. City of Los Angeles, exact
location unknown.
The technicians set the proper coordinates on the time displacement equipment. The terminator has been standing by silently, its scalp sutured back together.
JOHN
(to terminator)
Step into the machine.
The terminator steps up into the the middle of the rings and is suspended there. John and the techs all step behind the blast walls again. They activate the machine and after a few seconds, there is another blinding flash of light. They lower their goggles and step from behind the walls.
FUENTES
Send a terminator to fight a terminator. That's brilliant. Should I start the timer on the explosives?
JOHN
Not yet.
(to Technician #1)
Keep scanning.
TECHNICIAN #1
Yes sir.
FUENTES
Scanning for what?
JOHN
More terminators.
TECHNICIAN #1
No sir. The computer shows that
Skynet sent only the two.
FUENTES
Are you sure there were more?
JOHN
I lived it.
He starts to walk around, pondering. Fuentes follows behind him.
JOHN (CONT'D)
This has never made any sense to me. When I was twenty-one, they sent more terminators after me. But that time, I didn't send a protector. I've never been able to figure out why.
FUENTES
Maybe you did and something happened
to it.
JOHN
But why doesn't the computer even show that the terminators have been sent?
FUENTES
I don't know.
JOHN
I'm going to send a protector anyway. Let's go reprogram another cyborg.
They walk back into the cold storage facility.
INT. THE COLD STORAGE FACILITY
John has lowered another rack. It is yet another model 101 (the Arnold model). He stands atop the step ladder and is just about to cut into its scalp. Technician #1 runs into the room.
00020000080D00005031 807,TECHNICIAN #1
Sir, I'm getting some strange readings.
JOHN
What is it?
TECHNICIAN #1
I'm showing that Skynet has reserve
power.
JOHN
That's impossible. Their defense grid is smashed.
TECHNICIAN #1
No, I'm talking about the inner sanctum. The room we're in now. It's on reserve power.
JOHN
If that were true then all of these...
A sudden realization comes over all of them.
FUENTES
It's an ambush.
John slowly steps down off the ladder and they begin to slowly walk out of the room. All of the suspended racks are lowered simultaneously. All sixty-plus terminators open their eyes.
INT. THE TIME DISPLACEMENT CHAMBER
Technician #1 runs out of the cold storage facility.
TECHNICIAN #1
Terminators!
John and Fuentes back cautiously out of cold storage.
JOHN
Everybody out! Head for the elevators!
The men all scramble for the door. Before they reach it, the vault doors swing closed on their own. The LOCKING BOLTS CLANG into place.
Fuentes and his munitions team of three men are the only ones in the room with rifles. The rest of the men are electronics experts, not soldiers. The four armed soldiers take the point, putting themselves between the other men and the terminators which have begun to emerge from the cold storage facility.
The terminators begin to advance. There are seven different models, 101-107, ten of each. None have weapons and the first terminators are sitting ducks.
The soldiers shoot them with their pulse rifles. Several of them EXPLODE, sending out shrapnel that slightly damages some of the terminators in the second wave. However, the shrapnel also pierces two of the soldiers' body armor. They go down and two of the technicians immediately pick up their guns and continue firing. John notices that the timer on the explosives has not yet been activated. He runs across the room toward it. John has to move past one of the terminators to get to the timing switch. As he runs past it, the cyborg swings its fist, hitting John in the small of the back. We HEAR John's SPINE CRACK and he slumps to the floor.
00020000075100005838 74B,FUENTES
Connor!
JOHN
I can't move my legs.
The terminators have totally enveloped the men. Their screams are quickly choked out. The terminators are killing the soldiers with their bare hands.
The terminators have ignored John as a non-threat. He is now desperately trying to drag his body across the floor toward the timing switch. He is almost there.
All the terminators turn back to face John. Many have blood on their hands. All terminators remain still except for one Arnold model. He advances toward John. The terminator reaches him just as he hits the switch. An LED read-out signals ten minutes on the clock and begins its countdown.
The terminator turns him over on his back. He sees the cloth name patch over John's left breast.
TERMINATOR
Connor?
JOHN
That's right, you bastard. Go ahead, kill me. In ten minutes you and this whole place will go right behind me.
The terminator picks up the timer read-out. It has several wires attached to the back of it.
JOHN (CONT'D)
It's booby trapped. You try and disarm it and the timer goes straight to zero. It's over.
TERMINATOR
Not yet.
The terminator sets down the timer, turns and walks over to the time control console. Without a word being said, the rest of the terminators form a long line. The five remaining model 101's stand in the front of the line. The model 102's stand behind them, the 103's next, etc. The line faces the time equipment!
JOHN
No!
He begins to drag himself toward the time equipment.
The first model 101 steps into the time machine. The process begins. John shields his eyes from the blinding flash as the first terminator disappears. He looks back to the timer. Almost nine minutes are left on the timer.
The second model 101 steps up into the time sphere. This one has some superficial shrapnel damage to its chest and right arm. The process begins again.
000200000AAF00005F83 AA9,John shields his eyes from the second brilliant flash. He looks back to the timer. Over eight minutes are left.
The third terminator steps into the machine.
John crawls back to the timer as electricity arcs around the third terminator. He grabs it and rolls over on his back so he can look back at the terminators. He has the timer in one hand and the wires in the other.
JOHN (CONT'D)
Now it's over.
Just as he pulls the wires, there is another brilliant flash of light. We also HEAR the beginning of an EXPLOSION.
CUT TO:
INT. JOHN'S BEDROOM- THE YEAR 2006
The EXPLOSION fades into a distant ECHO. John Connor sits up in bed quickly, awakened by a nightmare. He is twenty-one years old. Except for sweat, his face is smooth, unmarred by the ravages of the coming war. ELLY MARKHAM, age 21, was sleeping next to him. She wakes to see John, sweating and hyperventilating. She does her best to comfort him.
ELLY
Is it the same nightmare?
JOHN
Yeah.
ELLY
It's been almost a year. I thought
you were over them.
JOHN
Guess not.
CUT TO:
EXT. A HEAVILY WOODED FOREST- NIGHT
We are far from any signs of civilization. A TITLE CARD FADES IN:
SAN BERNADINO NATIONAL FOREST, 3:32 a.m.
A deer is walking through the moonlit forest. It pauses and looks around. It senses something just beyond human perception. It quickly bolts away. A wind rises up from out of nowhere, blowing leaves from the trees.
BRIGHT FLASHES like flash cubes are accompanied by loud POPS of static electricity. A small circular opening forms in mid-air. It is a sphere of energy that expands to six feet in diameter.
Then the FRAME WHITES OUT with an explosive THUNDERCLAP.
Through the clearing vapor, we see the first terminator. He is kneeling next to a huge Redwood tree. Part of the tree is smoking. The energy sphere has burned a smooth, rounded depression into it.
The terminator stands, assessing its surroundings. It begins to walk off into the night. The CAMERA RISES UP. We see that the forest stretches out for miles. The terminator has a long walk ahead of it.
EXT. THE GUARD STATION OF THE MAIN GATE AT CAMP PENDLETON- NIGHT
A TITLE CARD FADES IN:
OCEANSIDE, CALIFORNIA, 4:47 a.m.
THE CORPORAL OF THE GUARD has been walking the perimeter. He walks into the guard station.
INT. THE GUARD STATION
THE SERGEANT OF THE GUARD is sitting in a chair behind the console. The corporal walks in and signs into a log book.
SGT. OF THE GUARD
All's quiet I take it?
CPL. OF THE GUARD
As always.
Through the window, there can be seen a bright FLASH OF LIGHT in the distance.
CPL. OF THE GUARD (CONT'D)
Did you see that?
SGT. OF THE GUARD
I sure did. What do you think it was?
CPL. OF THE GUARD
I couldn't tell you. We better check
it out.
0002000007B900006A2C 7B3,They both step outside.
EXT. AT THE GATE
The second terminator, the one with the shrapnel damage, begins to walk toward the gate. They see that he is not wearing a stitch of clothing.
SGT. OF THE GUARD
I thought streaking went out in the
1970's.
He is close enough now where they can see his damaged skin.
CPL. OF THE GUARD
Looks like he's been shot.
The terminator stops a few feet away from them.
TERMINATOR'S POV. A digitized scan assesses that their clothing is not the appropriate size.
SGT. OF THE GUARD
Are you all right?
The terminator ignores him and begins to walk into the compound. The corporal runs over in front of him.
CPL. OF THE GUARD
Hey, hey, hey. This is a military
installation. You can't just walk
in here. If you need some help we
can call somebody for...
The terminator once again begins to walk into the compound. The corporal draws his gun and puts it to his head.
CPL. OF THE GUARD (CONT'D)
Hold it right there.
The sergeant draws his gun and points it at him also. In one swift motion, the terminator snatches the gun from the corporal's hand. The sergeant shoots the terminator in the back. He is shocked to see it has no effect on him.
The terminator turns and shoots the sergeant in the chest. The corporal slams his body into the terminator, trying to knock him to the ground. However, he only succeeds in breaking his collarbone. He falls to the ground, holding his shoulder. The terminator shoots him, point blank. He calmly drags both bodies over to the guard station.
INT. THE QUARTERMASTER'S WAREHOUSE- A FEW MINUTES LATER
The terminator enters and walks past the dry goods to the uniform storage area. The shelves seem to stretch on forever. There are T-shirts, underwear, summer and winter uniforms as well as fatigues. Hanging from the side of a shelf is a colonel's combat uniform. It has a paper tag pinned to it that reads SAVE FOR COL. MERCER. The terminator picks up the hanger and looks at the clothes.
000200000AEB000071DF AE5,INT. THE ARMORY- A FEW MINUTES LATER
The terminator walks in. He looks menacing in his fatigues. From this point forth he is known as SOLDIER.
The walls of this room are covered with military style, centerfire rifles. He takes down a gunbelt and straps it on. He then throws several of the automatic rifles on the floor. He starts grabbing different weapons, a mortar and several shells, a rocket launcher, a flame thrower, a crate of hand grenades etc., throwing them all on the floor.
He looks around for some way to carry his collection. He walks out of the building, leaving his arsenal on the floor.
EXT. THE GROUNDS OF THE COMPOUND- A MINUTE LATER
SOLDIER is walking across the seemingly deserted base. He passes by a NERVOUS M.P. who stops. SOLDIER also stops and looks at him. The M.P. snaps to a salute and SOLDIER moves his hand for his side arm. When he sees that the M.P. is not attempting an attack, he simply turns and begins to walk away.
NERVOUS M.P.
Is... there anything I can get for you Colonel?
He stops again and turns to face the M.P.
SOLDIER
I need a vehicle.
CUT TO:
EXT. BY THE MAIN GATE OF CAMP PENDLETON- A FEW MINUTES LATER
SOLDIER drives a Humvee out of the base. The back of it is loaded with his weapons and it has a roof mounted .50 caliber machine gun mounted to the roll bar. The roof hatch is open.
EXT. RODEO DRIVE- BEVERLY HILLS CALIFORNIA- NIGHT
A TITLE CARD FADES IN:
BEVERLY HILLS, 5:54 a.m.
The street is empty, save one lone BMW. It stops at a stop light and its engine dies.
INT. THE BMW
A frail looking EXECUTIVE sits behind the wheel. He tries to restart the engine. It won't turn over.
EXECUTIVE
What now?
EXT. ON RODEO DRIVE
His headlights flicker, then fade out all together. A wind picks up and fingers of electricity start to arc all around the car.
INT. THE BMW
EXECUTIVE
Oh my God!
Through the windshield, he can see a small ball of energy appear just over the middle of his hood. It expands outward, totally enveloping the front of his car up to the fire wall. He shields his eyes from the brilliant FLASH that follows.
EXT. ON RODEO DRIVE
As the outline of the sphere fades, the front of his car drops to the ground. It no longer has any wheels to hold it up. Or an engine for that matter. The metal that outlines the frame of the fire wall is glowing orange. The executive is now looking directly at the third terminator who is stooped in the street. He stares on, in shock. The terminator stands, then walks over to what is left of the car. He opens the driver's door. The executive continues to stare at him.
TERMINATORS POV (DIGITIZED)- He determines that the man's clothes are not a match.
The terminator turns to survey the street. The first thing he sees is a posh "Big and Tall" men's clothing store.
000200000C2A00007CC4 C24,EXT. LOOKING AT THE FBI TRAINING ACADEMY- QUANTICO, VA- MORNING
A TITLE CARD FADES IN:
QUANTICO, VIRGINIA 9:00 a.m.
INT. A HALLWAY IN ONE OF THE BUILDINGS
SPECIAL AGENT RHODES, age 42, and SPECIAL AGENT DRUMMOND, age 25, are walking down the hall. They are dressed in suits, but they hardly look like Secret Service. Rhodes is dressed stylishly but conservative. Drummond dresses a little more trendy. They enter a wing that is designated as the Behavioral Science Unit (BSU).
INT. AN OFFICE IN THE BSU
Sitting behind his desk is DOUGLAS JOHNSON, age 48. He is the director of this unit. There is a knock on the door.
JOHNSON
Yeah, come on in.
Rhodes and Drummond enter as Johnson finishes signing some paperwork.
RHODES
You wanted to see us?
JOHNSON
I'm reopening the Connor case, I want you on it.
RHODES
Why now?
JOHNSON
She's back in the country. She tried to assassinate Senator Haney in Sacramento last night.
RHODES
Jesus.
DRUMMOND
Who's Connor?
Rhodes and Johnson both smile.
JOHNSON
Don't worry Drummond, Rhodes will have plenty of time to brief you during your flight.
RHODES
Sacramento?
JOHNSON
No, L.A. Her son still lives there. I doubt she would be dumb enough to visit him, but I want you to talk to him anyway. You should get there by mid-morning. It's about six a.m. there now.
CUT TO:
INT. THE POSH CLOTHING STORE ON RODEO DRIVE- 6:10 A.M.
The third terminator is dressed to the nines in an Armani suit. From this point on, he is known as YUPPIE. He is holding a police shotgun and the STORE ALARM can be heard in the b.g. He begins to walk out of the store. He stops just inside the door.
CAMERA TILTS DOWN. There are two DEAD POLICEMEN laying at his feet. He reaches down and removes both of their handguns. He slips one into the back of his waistband, the other in the front.
EXT. JUST OUTSIDE THE STORE
The sun has just started to rise. YUPPIE walks out of the store. The lights are still rotating on the roof of the parked police car. He gets in it and drives off.
INT. COLONEL MERCER'S OFFICE- AT THE SAME TIME
Two LIEUTENANT COLONELS and three MAJORS are standing at attention while COL. MERCER, age 42, paces the room.
MERCER
I want to know how this can possibly happen! Two of my men are killed while pulling guard duty before they can even sound a general alarm. And some asshole wearing my uniform takes off with a fuckin' arsenal in a Humvee that an M.P. gave him!
MAJOR
Sir, that private was just transferred
here from...
MERCER
When I want your two cents I'll ask for it. Well gentlemen, I guarantee you one thing. We will recover that vehicle and every single ammo cartridge. I'll catch that sorry son-of-a-bitch and personally grind his ass into the dirt. The only thing he can do with that equipment is sell it on the black market. He'll either take it to Los Angeles or San Diego. The state police are setting up stakeouts on the out-skirts of both cities on Interstate 5 and the Pacific Coast Highway. I'm going to go them one step farther. I want you to assemble two
retrieval details, one for each city.
And I want them rolling in fifteen
0002000006D6000088E8 6D0,minutes.
(pause)
Well, what are we waiting for?
The officers walk quickly from the room.
EXT. A SIDEWALK IN BEVERLY HILLS- EARLY MORNING
ECU of an open telephone book. A finger runs down the list of Connors. There are two listings for John Connor.
It is YUPPIE who is looking up this information. He turns to walk back to the police cruiser. Another police car has stopped and the POLICE OFFICER is looking into the empty cruiser. The officer turns back to his own car and grabs the radio to report what he has found. He has his back to YUPPIE'S car.
YUPPIE calmly walks to the stolen police car and stands while he listens to the radio.
DISPATCHER
(over police radio)
Attention all units in the Laguna area. State police request assistance with a roadblock on Interstate 5 and Pacific Coast Highway. Suspect sought is driving a military vehicle and is wearing a Colonel's uniform. He is considered to be armed and dangerous.
YUPPIE stands perfectly still as if he has been deactivated.
YUPPIE'S POV (DIGITIZED)- At the top of the screen, the word
OUTPUT is flashing.
EXT. ON INTERSTATE 5- AT THE SAME TIME
The Humvee is driving along with the rest of the cars. Suddenly, its wheels lock up and it skids to a stops in the middle of traffic. Other cars swerve and HONK to avoid the vehicle.
INT. THE HUMVEE
SOLDIER is sitting frozen, his hands still on the wheel.
SOLDIER'S POV (DIGITIZED)- At the top of the screen, the word INPUT is flashing. Below it is printed, STATE POLICE ROADBLOCK ON INTERSTATE 5 AND PACIFIC COAST HIGHWAY ENTERING LOS ANGELES.
EXT. ON THE HIGHWAY
The Humvee begins to move again. It pulls off the next exit.
EXT. THE SIDEWALK IN BEVERLY HILLS
POLICEMAN
Hey, buddy! You listening to me? I said move along.
000200000B0900008FB8 B03,YUPPIE looks at the policeman. He turns and walks away.
INT. THE KITCHEN OF JOHN'S APARTMENT
Elly is dressed and ready for work. She is watching a news show on a small counter-top television. John walks into the kitchen wearing a bath robe.
ELLY
Well, look who's alive. What are
you up to today?
She gives him a kiss.
JOHN
I'm going to finish that program
for Kodak.
Something on t.v. has caught John's attention.
NEWSCASTER
(on the television)
A near miss for Senator Haney in Sacramento last night. A lone female assassin made an attempt on his life during a campaign rally at the Cyberdyne Systems Headquarters. Several witnesses identified the assassin as this woman.
A mugshot of Sarah when she was 30 years old appears on thescreen.
NEWSCASTER (CONT'D)
She is forty year old Sarah Connor,
a longtime fugitive wanted by the FBI. Anyone who has seen her is requested to call local police or the FBI.
ELLY
Oh my God. Is that...
JOHN
Yeah, that's her. My "natural" mother.
ELLY
You don't think she'd come here, do
you?
JOHN
No way. Not with the police and the
FBI tracking her. She's probably
already out of the country.
ELLY
I have to go to work. Are you going to
be all right?
JOHN
I'm fine. Don't give it a second thought. You know I won't.
ELLY
O.K., I'll see you tonight at your parent's house.
She leaves. John switches off the TV.
EXT. A SMALL SECONDARY ROAD LEADING INTO LOS ANGELES
The Humvee is now driving on this road. There are very few cars travelling it. He passes a sign that reads LAST CHANCE FOR GAS- 40 MILES.
EXT. AN EXOTIC USED CAR LOT- BEVERLY HILLS
YUPPIE walks onto the lot. He is looking all around at the cars. They are mainly expensive sports cars, playtoys of the wealthy.
YUPPIE'S POV (DIGITIZED)- He is scanning the cars. He stops at a Viper. He begins to rapidly print out information about the car. FIVE SPEED- TWELVE CYLINDER, TWIN OVERHEAD CAMSHAFTS PER CYLINDER BANK OPERATING FOUR VALVES PER CYLINDER. COMPRESSION RATIO 9.2:1, DISPLACEMENT CC 4942, FRONT AND REAR INDEPENDENT WISHBONE SUSPENSION. MAXIMUM SPEED 180 MPH.
INT. THE DEALERSHIP
The DEALER can see YUPPIE eyeing the Viper. He grabs a set of keys from a pegboard and rushes out.
DEALER
It's going to be a good day.
EXT. ON THE LOT
YUPPIE has opened the door and is now sitting behind the wheel. He smashes the steering column open and resets the ignition. The dealer runs over and jingles the keys in front of YUPPIE'S face.
DEALER
Want to take it for a spin?
YUPPIE
Yes.
The engine jumps to life and YUPPIE speeds out of the lot. The dealer stands flabbergasted, the keys still dangling from his fingers.
INT. A PRIVATE GOVERNMENT JET
Both of the special agents are sitting at a small table. A file folder two inches thick is open and Rhodes is sifting through the documents and photographs.
000200000C4A00009ABB C44,RHODES
Welcome to the Twilight Zone. Sarah Connor, one seriously crazy bitch.
He shows Drummond a phogoraph of her.
RHODES (CONT'D)
A model citizen until she was nineteen. Not even so much as a speeding ticket. Then on May 12, 1984, all that changes.
First off, two other women named Sarah
Connor are murdered at close range with
a high caliber hand gun.
He shows him police photographs of the victims.
RHODES (CONT'D)
That night, her roommate and another man are killed in her apartment. She calls the police from a bar saying that someone is trying to kill her. Before the police can get to the bar, there's a shootout where two innocent by-standers are killed.
DRUMMOND
Holy shit.
RHODES
Hold on, it gets much better. Two hours later after a high speed chase, her and this man are arrested.
He shows Drummond a police mugshot of Kyle Reese.
RHODES (CONT'D)
He says his name is Kyle Reese. No Social Security number, no driver's
license, no records of this guy's
existence of any kind. To this day, we still don't know what his real name was. Anyway, he gives the police this bullshit story that he's from the future and it was a machine that killed all the others.
DRUMMOND
This Reese guy is the killer.
RHODES
Maybe. But it could possibly be
this guy.
He shows him a photo of the terminator.
DRUMMOND
Who's he?
RHODES
We don't know. We don't even have
so much as a name. But later that
night this one guy smashed into the
police station and broke them both
out. He single-handedly killed
seventeen policemen.
DRUMMOND
The West Highland police massacre. I read about that in a criminology class. What happened next?
RHODES
Sarah's mother and the guy who calls himself Reese get killed under suspicious
circumstances. By this time, Sarah is
suspect number one. But before it can be
investigated fully, she flees the country.
DRUMMOND
And she's been gone ever since.
RHODES
It doesn't end that easy. Ten years later, she comes back into the country.
By now she has a kid. He's nine years
old and the two of them are caught
trying to blow up a computer factory.
She starts running the same bullshit
story the Reese guy was saying.
DRUMMOND
Insanity plea. To avoid the murder
charges.
RHODES
The doctors at Pescadero didn't think she was faking it. They diagnosed her as a paranoid schizophrenic. And who do you guess comes to break her out of the funny farm?
DRUMMOND holds up the photo of the terminator.
RHODES (CONT'D)
That's right. Our Mr. X kills John's foster parents then takes John with him to break Sarah out. The very next night, all three of them blow up a Cyberdyne lab. They all escape, presumedly leaving the
country again.
DRUMMOND
And they've been gone ever since.
RHODES
No. In 1997, Sarah and her son John come back again. This time, she's trained him in computers and they set up a hacking station. They tap into the Cyberdyne computer and start to set up viruses to wipe out their entire data base. That's when they decide to call us. In two days, we run a trace and arrest them both. John gets sent to live with another set of foster parents. Sarah on the other hand escapes while being
0002000006290000A6FF 623,transferred to a maximum security facility. Once again, she leaves the
country.
DRUMMOND
And she's been gone ever since?
RHODES
And she's been gone ever since.
DRUMMOND
How many of the murders do you think she's directly responsible for?
RHODES
Who knows? But if we can ever get her to trial, we can connect her to enough of them to put her away for life.
DRUMMOND
Especially considering we have a dozen witnesses who saw her try to assassinate
a United States Senator.
RHODES
Exactly.
EXT. THE SECONDARY ROUTE HEADING TOWARD LOS ANGELES
The Humvee starts to SPUTTER. It pulls off to the side of the road as it comes to a stop.
INT. THE HUMVEE
SOLDIER looks at the gas gauge. Sure enough, the tank is empty.
EXT. BY THE HUMVEE
SOLDIER steps out of the car. He places his left hand on the frame of the vehicle. He holds the steering wheel with his right. He begins to slowly push it down the road.
EXT. A BAD NEIGHBORHOOD IN EAST LOS ANGELES
The Viper pulls up in front of low income housing. It parks on the street. YUPPIE steps out, holding the shotgun in his hand. He walks into one of the buildings.
INT. THE TENEMENT
TWO GANG MEMBERS are sitting on the steps of the run down hallway. YUPPIE moves past them, up the stairs.
GANG YOUTH
God damn, I hope that ain't the rent collector.
INT. AN UPSTAIRS HALLWAY IN THE TENEMENT
YUPPIE knocks on one of the doors. AN OVERWEIGHT BLACK MAN answers the door.
BLACK JOHN CONNOR
What do you want?
YUPPIE
I'm looking for John Connor.
BLACK JOHN CONNOR
I'm John Connor. What do you want?
YUPPIE turns and walks away.
0002000007A00000AD22 79A,EXT. THE STREET IN FRONT OF THE TENEMENT
YUPPIE walks past a STREET MUSICIAN who is sitting on the sidewalk, playing a guitar. YUPPIE stops and looks down at him. There is an open guitar case with loose change in it. YUPPIE picks it up, dumps the change out, places the shotgun in it and closes it. He takes it with him back to the Viper.
STREET MUSICIAN
Hey, come on man.
YUPPIE drives off.
EXT. THE EDGE OF THE SAN BERNADINO NATIONAL FOREST- MORNING
The terminator emerges from the woods, still stark naked. Not 500 yards from the forest, a housing development is going up.
INT. A HOUSE UNDER CONSTRUCTION
Several burly CONSTRUCTION WORKERS are nailing up drywall. The terminator enters the structure. When they see him, they all burst into laughter. The terminator walks over to one of the larger men.
TERMINATOR
I need your clothing.
CONSTRUCTION WORKER #1
I can see that.
TERMINATOR
Now.
CONSTRUCTION WORKER #1
Why don't you go ahead and take it?
The terminator takes the hard hat from his head. The construction worker punches him in the jaw, breaking every bone in his hand. The terminator pushes him backward into the drywall. The man slumps to the floor, in serious pain. He hit the drywall so hard that his back left an impression in it. CONSTRUCTION WORKER #2 rushes the cyborg. The terminator slings him outside. He lands in a trough of cement.
CONSTRUCTION WORKER #3 removes a utility knife from a sheath on his belt. He lunges forward, attempting to stab the terminator in the chest. The terminator holds his hand up. The blade goes all the way through his palm, emerging through the back of his hand. The construction worker lets go of the knife and just stands, shocked. The terminator calmly pulls the knife from his hand. He uses it to stab his attacker in the stomach. As construction worker #3 slowly drops to his knees, the terminator pulls a bandana from his head. He uses it to wrap his bloody hand.
000200000AE70000B4BC AE1,The terminator turns back to construction worker #1 who has been sitting by, watching.
TERMINATOR
Your clothing.
EXT. IN FRONT OF THE CONSTRUCTION SITE- a minute later
The terminator emerges wearing the man's hard hat, work boots, jeans and form fitting t-shirt. He is known from this point forth as HARD HAT. He walks over to a dump truck that is parked nearby.
The back of it is loaded with topsoil. HARD HAT gets in it and drives off.
INT. JOHN'S LIVING ROOM
John walks into the living room, tucking his shirt tail in. He jumps when he sees that someone is in his apartment.
Sarah is sitting in an armchair, her feet propped up on the coffee table.
SARAH
Hello John. Long time no see.
JOHN
Hello Sarah. I see you're still
breaking and entering.
SARAH
Among other things.
JOHN
Like attempted murder?
SARAH
You know what that was about!
JOHN
Don't tell me, Judgement Day?
SARAH
That's right, Judgement Day. If they pass the Skynet funding bill today, we're all dead. And there's not a God damn thing we can do about it.
JOHN
What is the matter with you? We blew up the Cyberdyne lab, remember? August 29, 1997, "Judgement Day" came and went. We're still here, we changed the future.
SARAH
Not changed-- postponed. Dyson's people must have carried on his work.
JOHN
How?
SARAH
From personal computer files, from memory. I don't know, but they did it.
She pulls a CPU chip from her pocket. It is identical to the ones housed in the terminator skulls. She throws it on the coffee table and John picks it up.
JOHN
A computer chip.
SARAH
A neural-net processor, just like the one in the terminator. I stole it from a Cyberdyne lab two weeks ago.
JOHN
It's been over ten years. If anything was going to happen it would have happened by...
SARAH
...It's happening now ! What do you think will happen when they get Skynet on line?
JOHN
Come on, Sarah. With world-wide
disarmament, there are hardly any
nuclear weapons left.
SARAH
How can you be so naive? With all that we've been through, how could you have convinced yourself that everything was going to just "work itself out"?
JOHN
I got on with my life, Sarah. Which is
more than I can say for you.
SARAH
What is with this "Sarah" business? It
used to be mom.
JOHN
I'm having dinner with my mother.
This last comment has truly hit home with Sarah. Her entire existence has been devoted to her son. Now, she stands before him. He is a man, one she does not know. She walks over to the mantle. There are several framed pictures sitting on it. She picks up a photograph of John's foster parents. They look like good people.
SARAH
Is this them?
JOHN
Yes. They're my family now. They gave me what I needed, stability, self-confidence... love.
SARAH
I've always loved you. Everything I've ever done was for you.
00020000061B0000BF9D 615,JOHN
No, everything you did was for the cause. There's a difference.
SARAH
You're right. I have made a lot of mistakes, but I did what I had to. And I'm not about to stop now.
JOHN
What do you want from me?
SARAH
You know what's coming. We have to get you out of the country, out of the HEMISPHERE.
JOHN
No, Sarah. This is my home now. If the end of the world is coming, I can't think of a better place to be.
Sarah pulls out a gun.
SARAH
What's it going to be, John?
JOHN
What are you going to do Sarah, shoot
me? That's a big help to your cause.
SARAH
I'll wound you if I have to, or knock you out.
JOHN
I think you'd better leave.
He turns to walk away from her and she rushes toward him. She is intent on knocking him unconscious. He anticipates the move and grabs her hand as she swings the gun at him. They swing each other around, slamming each other into walls and furniture. They are fighting for control of the gun, but in reality, they are fighting for control of John's life.
John finally wins control, tossing his mother backward over the armchair. He now points the gun at her.
JOHN (CONT'D)
You taught me too well. Get out...
and don't ever come back.
SARAH
I'm not leaving without you.
JOHN
I think you will. I'm calling 911. I'm sure the police will be glad to know where you are.
He picks up the phone receiver. He dials 411.
OPERATOR
(through the phone)
Directory, what city please?
JOHN
I need a police car sent right away.
OPERATOR
Sir, this is 411 information. If you need the police you need to hang up and dial 911.
0002000006130000C5B2 60D,JOHN
It's 312 Waring. I have Sarah
Connor here.
OPERATOR
Can you hear me? Hello?
JOHN
Thank you.
He hangs up.
JOHN (CONT'D)
There's a car in the area.
SARAH
This isn't over.
She rushes out of the apartment. John throws the gun in a waste basket. The phone rings and he answers it. As he talks on the phone he picks up the chip that Sarah left. He is examining it.
JOHN
Hello.
INT. A PLUSH OFFICE IN THE ELITE ADVERTISING AGENCY
DEBRA LEIMAN is talking on the phone.
DEBRA
John, this is Debra Leiman at Elite Advertising. We need you to save our life again. Our system is down and it is chaos here. We have a huge account presentation today and all our graphics are locked up in the computer. We can't trust this to a repairman, if you know what I mean. We need a real SME.
INT. JOHN'S APARTMENT
JOHN
Yeah, that's me, Mr. Subject Matter Expert. I'll be right out. Sure.
Bye.
He hangs up, and without even thinking about it, he pockets the chip.
INT. THE LOBBY OF JOHN'S APARTMENT BUILDING
The elevator doors open and Sarah steps off. She walks out the back door, heading for the parking lot. As soon as she is gone, YUPPIE walks in the front door.
He looks at the mail boxes and sees that John's apartment is on the third floor.
INT. JOHN'S KITCHEN
John has a black back pack over his shoulder. It is similar to the one he used to carry around with him when he was ten. There is a message board attached to the refrigerator door. John writes on it with a felt tip pen. He writes WENT ON JOB AT ELITE ADVERTISING, JOHN. He leaves.
0002000006F80000CBBF 6F2,INT. THE LOBBY
YUPPIE pushes the button for the elevator. It opens and he steps inside.
INT. THE UPSTAIRS HALLWAY OF JOHN'S APARTMENT BUILDING
John locks his apartment door and walks over to the elevators. He pushes the button to summons one. The elevator doors open to reveal... the elevator is empty. John steps into it and the doors close. Simultaneously, the doors open on the adjacent elevator and YUPPIE steps out. Neither John nor YUPPIE see each other.
EXT. A RUNWAY AT LAX- MORNING
The government jet is taxiing up to a terminal gate. The FBI logo is emblazoned on its tail. In the f.g., a jolly looking OVERWEIGHT AIRPORT WORKER is driving a luggage transport vehicle. He happily bops along to the music on his Walkman. As he drives past, we see the rear end of his cart. It has a bumper sticker that reads MY OTHER CAR IS A PORSCHE.
EXT. THE PARKING LOT BEHIND JOHN'S APARTMENT BUILDING
John gets in his car.
INT. A STEP VAN
Sarah is sitting behind the wheel of the step van. The van is parked on the far side of the lot. She watches John through a pair of binoculars. When she sees him get in his car, she starts the van. She follows him as he drives off.
INT. JOHN'S APARTMENT
YUPPIE smashes the door frame as he pushes the door open. He enters, looking around the room. He removes the hand gun from the back of his waistband. He walks back into the bedroom, then quickly comes back out. He walks into the kitchen.
INT. THE KITCHEN
YUPPIE sees the note on the refrigerator.
INT. JOHN'S BEDROOM
There is a desk with a computer terminal. YUPPIE sees a photograph of John and Elly. He grabs an appointment book and a Rolodex and throws them both on a bedside table. He then picks up the handset of the cordless telephone. It has speed dialing.
00020000093B0000D2B1 935,ECU of the base of the telephone. The #3 memory button is designated as ELLY'S WORK. YUPPIE dials that number.
YUPPIE'S POV (DIGITIZED)- A smart window appears in the upper
right hand corner of his vision. We see a replay of John at 45, lying on his back in the time displacement chamber.
REPLAY JOHN
Now it's over.
As we see the replay, a readout beneath the window reads VOICE SAMPLING. There is also a bar graph that fluctuates up and down like the readout on a graphic equalizer. We HEAR the PHONE RING and a receptionist answers.
RECEPTIONIST
(through the phone)
Golden State Realty.
YUPPIE
(in John's voice)
I need to speak to Elly.
INT. THE OFFICE OF GOLDEN STATE REALTY
RECEPTIONIST
Sure John, hold on.
She puts the line on hold.
RECEPTIONIST (CONT'D)
(calling across the room)
Elly, it's John. Line two.
Elly answers the phone.
ELLY
Hello? Hello? John? Hello?
INT. JOHN'S BEDROOM
YUPPIE hangs up. He immediately begins to look up a number in the Rolodex.
INT. THE OFFICE OF GOLDEN STATE REALTY
Elly is now standing next to the receptionist's desk.
ELLY
Are you sure it was John?
RECEPTIONIST
He sounded kind of throaty, like he had a cold, but yeah, it sounded like John.
ELLY
Can I use your phone real quick?
She motions for Elly to go ahead. Elly dials their home number back. We hear a BUSY SIGNAL. Elly hangs up.
ELLY (CONT'D)
(to herself)
Oh my God, Sarah.
RECEPTIONIST
Who?
ELLY
Johns mom. I'm going to run home. I'll be back in an hour. Take any messages for me, will you?
RECEPTIONIST
Sure.
Elly leaves.
INT. DEBRA LEIMAN'S OFFICE
Debra's phone rings. She answers it.
DEBRA
Elite Advertising, Debra Leiman.
ELLY'S VOICE
(through the phone)
I need to speak to John Connor.
DEBRA
I don't know if he's here yet. Hold
on, I'll check.
INT. THE OUTER OFFICES OF THE ELITE AGENCY
John has just opened the back of the company's computer CPU. He lays his back pack on the ground and opens it. He removes the same tackle box he had in the future. It looks like new. He opens it to reveal his intricate, electronic diagnostic equipment. It is the same tools he used to reprogram the terminator but they look brand new, state-of-the-art.
Debra is now standing over him.
DEBRA
John, there's a call for you.
JOHN
For me?
DEBRA
You can take it here. Line one.
He picks up the nearby desk phone. Debra stands by, eavesdropping.
00020000072A0000DBE6 724,JOHN
Hello?
ELLY'S VOICE
John, it's Elly.
JOHN
How did you know where I was?
ELLY'S VOICE
I saw your note. John, I have an emergency. I need you to meet me someplace.
JOHN
What's wrong?
ELLY'S VOICE
I can't talk right now.
JOHN
Oh my God. Is Sarah there with you?
ELLY'S VOICE
I need you to meet me at Griffith Park,
right away. At the playground near the
lake.
JOHN
The playground at Griffith Park? It'll take me a while, but I'm on my way.
INT. JOHN'S BEDROOM
YUPPIE
(in Elly's voice)
Please hurry.
He hangs up. He turns and leaves the room, taking the appointment book, Rolodex and photograph of Elly.
INT. JOHN'S LIVING ROOM
YUPPIE walks past the mantle as he walks through the room. He takes the picture of John's foster parents and leaves the apartment.
EXT. THE STREET IN FRONT OF JOHN'S APARTMENT BUILDING
The Viper is parked on the street in front of the building. A rental car pulls up and parks across the street from it. Rhodes and Drummond are in the rental car.
INT. THE RENTAL CAR
RHODES
This is it.
They see YUPPIE get into the Viper.
Rhodes (CONTD)
Mr. X.
DRUMMOND
Let's get him.
RHODES
No. He's going to take us straight to
Sarah Connor.
YUPPIE drives off and they follow him.
EXT. IN FRONT OF A LARGE CONVENTION CENTER
There is a large computerized sign that reads GUN AND KNIFE SHOW TODAY.
INT. THE CONVENTION CENTER
HARD HAT is walking around, looking at the myriad of weaponry on display. A kid in a candy store. A large area is roped off and a sharpshooter is entertaining a large crowd with his shooting prowess.
HARD HAT walks over to a display booth. The GUN SALESMAN sits, reading a gun enthusiasts magazine. He sees HARD HAT and jumps up. No one notices them as they talk. Everyone is watching the sharpshooter.
GUN SALESMAN
Hi, how are doing? Are you in the
market for a hand gun?
0002000006CC0000E30A 6C6,HARD HAT
Yes.
GUN SALESMAN
OK. What would you say are your
particular firearm needs?
HARD HAT
A small, easily concealed weapon with a maximun number of rounds that can be fired without reloading.
GUN SALESMAN
I have just the thing.
He takes out a self loading pistol.
GUN SALESMAN (CONT'D)
This is the newest in extended fire
hand guns. Usually, this gun has a
twenty round magazine, but...
He pulls out a shoulder stock and attaches it to the gun.
GUN SALESMAN (CONT'D)
...with this shoulder stock we have an advantage. This switch on the stock can be set for single fire or to fire a three shot burst. Nothing new, right? Here's the catch, this shoulder stock is also a 75 shot magazine extension. It feeds the ammo through an opening down here at the bottom of the hand stock. What do you think?
HARD HAT
Perfect.
GUN SALESMAN
Are you registered to carry a hand gun?
HARD HAT
No.
GUN SALESMAN
No problem, I have some forms in the back.
The gun salesman disappears behind a curtain at the rear of the booth. HARD HAT climbs over the table that acts as the counter-front of the booth. He grabs a large hunting knife from the display on the table. HARD HAT also goes behind the curtain. He emerges a second later with blood on the blade.
HARD HAT grabs a canvas bag that sits behind the counter. He places the hand gun with the shoulder stock into the bag. He also takes a target shooting pistol (extremely accurate) and an automatic assault pistol.
EXT. ON THE SECONDARY ROUTE LEADING TO LOS ANGELES
SOLDIER continues to push the Humvee. The only other vehicle on the road is an old Ford. It stops on the road just beside the Humvee. The car is occupied by two REDNECKS.
REDNECK
Hey, soldier boy. Come here a minute.
00020000075A0000E9D0 754,SOLDIER walks over to them.
REDNECK (CONT'D)
Would you like me to give you a lift
to the next gas station?
SOLDIER
Yes.
REDNECK
I'll bet you would.
He gives SOLDIER the middle finger. Both occupants of the car laugh as they start to drive off.
INT. THE FORD
Both REDNECKS look around, puzzled. Their engine is REVVING HIGH, but the car is standing still. They both look out the window.
EXT. ON THE ROAD
SOLDIER has lifted the rear wheels of the car off the road. They spin freely in mid-air. Expressionless, he flips the car over on its side. Both REDNECKS climb out of the window and run off down the street. SOLDIER rips the gas tank from the bottom of the car. He carries it over to the Humvee and begins to pour it into his own tank.
INT. THE RENTAL CAR
Drummond is watching the parked Viper with a pair of binoculars. They are in a parking lot beside Griffith Park.
RHODES
What's he doing?
DRUMMOND
Nothing. He's just sitting there.
RHODES
Something's getting ready to go down. I'm going to call for a SWAT backup.
Rhodes takes out his cell phone.
INT. THE Viper
YUPPIE is looking at the photograph of Elly. He stops moving.
EXT. ON THE ROADSIDE BESIDE THE HUMVEE
SOLDIER has finished filling up with gas. He holds the empty tank up over his head. Just before he throws it, he freezes.
SOLDIER'S POV (DIGITIZED)- The word INPUT is flashing at the top of his field of vision. A smart window appears with the photograph of Elly. At the bottom of his vison appears the words VOICE SAMPLING. The graphic equalizer bars also appear. They dance up and down as we hear:
ELLY'S VOICE
Hello? Hello? John? Hello?
Everything disappears from the field except the blinking INPUT graphic. Now we also see printed, PROCEED TO 312 WARING, AWAIT FURTHER CONTACT.
SOLDIER comes back on line and throws the tank to the roadside. He gets in the Humvee and drives off.
000200000BE90000F124 BE3,EXT. FARTHER DOWN THE ROAD
SOLDIER has caught up to the two REDNECKS who are now walking. He slows down. It looks like he is drawing a handgun, but instead, he shoots them the middle finger, then continues off down the road.
INT. THE Viper
YUPPIE sets aside the photgraph of Elly. He opens the appointment book.
ECU OF THE APPOINTMENT BOOK. He looks up the page for that day's date. On that page is an entry DINNER, 5:00- MOM AND DAD. He sets the book aside and grabs the Rolodex. He looks up another address. One of the cards reads MOM AND DAD'S NEW ADDRESS, 1527 ST. ANDREWS DR., GLENDALE. He sets the Rolodex aside and grabs the photograph of John's Foster parents.
EXT. THE PARKING LOT OF THE CONVENTION CENTER
HARD HAT is walking back to his truck, carrying the canvas bag. He stops in mid-stride, a statue.
HARD HAT'S POV (DIGITIZED)- INPUT is flashing. A smart window appears with the photograph of John's parents. Beside it is printed, PROCEED TO 1527 ST. ANDREWS DR., GLENDALE. AWAIT CONTACT.
HARD HAT continues walking to his truck.
INT. JOHN'S APARTMENT
Elly runs in. She sees the door frame smashed. She gasps.
ELLY
John!
She runs through the apartment, looking for him. She is frantic.
INT. THE KITCHEN
Elly runs in. She is out of breath. She sees the note on the fridge. She grabs the phone book off the counter. On the inside back cover is a place for frequently called number. She finds where John has written down the number for Elite Advertising. She grabs the kitchen wall phone and quickly dials the number.
INT. DEBRA LEIMAN'S OFFICE
Debra is at her desk and answers the phone when it rings.
DEBRA
Debra Leiman, Elite Advertising.
INTERCUT PHONE CONVERSATION
ELLY
I need to speak to John Connor right away. It's urgent.
DEBRA
He just left a few minutes ago. He had an emergency. Arent you the one who called?
elly
No.
debra
I heard him say something about the playground at Griffith Park.
ELLY
Thank you.
Elly hangs up and rushes out of the apartment.
EXT. THE PARKING LOT NEAR GRIFFITH PARK
YUPPIE gets out of the Viper. He is carrying the guitar case with him as he walks into the park.
INT. THE RENTAL CAR
Drummond is still looking out with the binoculars.
DRUMMOND
He's moving.
RHODES
Keep on him. The SWAT team is here.
Rhodes gets out of the car and walks over to the SWAT van that has just pulled into the parking lot.
EXT. BY THE VAN
CAPTAIN CHILDERS, the leader of the SWAT team emerges from the van as Rhodes walks over to him. Rhodes shows him his ID.
RHODES
Special agent Rhodes. Thanks for getting out here so quick.
CHILDERS
I'm Captain Childers. What do we have?
RHODES
Murder suspect in the park, possibly waiting to contact Sarah Connor.
CHILDERS
The one who tried to knock off the
Senator last night?
RHODES
That's the one.
CHILDERS
What do you want us to do?
RHODES
We're going to wait it out, see if she shows up. I want your men in position, but out of sight. I don't want to spook him.
Drummond walks over to them.
DRUMMOND
He's just waiting over by the playground.
000200000C5F0000FD07 C59,This could get hairy.
CHILDERS
Don't worry, my men can put a bullet within an inch of where they want it.
And they can do it from the length of a football field. As for spooking him, he won't even see 'em. I can guarantee it.
CUT TO:
EXT. VARIOUS PLACES IN THE PERIMETER AROUND THE PLAYGROUND
SWAT team members move stealthily into firing positions behind bushes, trees and other cover.
EXT. THE PARKING LOT
John pulls into the lot and parks. He gets out of his car and walks into the park.
INT. THE STEP VAN
Sarah has seen the SWAT van and avoids driving into the parking lot. She parks across the street on a road not too far from the park. She gets out her binoculars and looks out to see where John is going.
SARAH
Where are you going, John?
She gets up and walks to the back of the van. The large walls of the van are covered with automatic rifles, shotguns, everything a mercenary could ask for. She grabs a military style auto rifle and walks to the front of the van. She grabs the binoculars again.
EXT. BY THE PLAYGROUND
YUPPIE is standing not too far from a set of hobby horses. There is a horse, a sea horse, a turtle and a chipmunk. This is the same park we saw burning at the beginning of the second movie.
John begins to walk toward the playground area. It is alive with activity, children playing.
YUPPIE begins to walk to a grassy area several yards from the
playground. He stops and begins to look around, scanning for John. John is cutting through the playground on his way to the grassy area. He stops at the edge of the sandy playground area and begins to look around for Elly.
YUPPIE now sees John, but John does not see him. YUPPIE calmly opens the guitar case and removes the shotgun.
EXT. IN THE PARKING LOT
Drummond is looking into the park with the binoculars.
DRUMMOND
He has a shotgun!
RHODES
Take him out.
Childers talks into a radio walkie-talkie.
CHILDERS
Take him!
EXT. IN THE PARK
YUPPIE cocks the shotgun. He begins to raise it in John's direction. Just as he does, his head lurches forward slightly. It is from the impact of a rifle shot that ricochets off the back of his metal skull. He turns to assess this new threat. We hear the CLANG of METAL STRIKING METAL. YUPPIE grabs his silk tie and moves it aside slightly. We see that a bullet has punched a neat hole through his tie, shirt and chest.
YUPPIE'S POV (DIGITIZED)- The words THREAT ASSESSMENT appear in his field of vision. He is panning back and forth, but he cannot see his adversaries behind their cover.
INT. THE STEP VAN
Sarah sees the terminator through her binoculars.
SARAH
Oh my God!
She drops the binoculars and puts the van in gear.
EXT. THE STREET NEAR THE PARK
Sarah drives across the street, cutting off traffic. She drives the van up over the curb and onto the grass, heading directly into the park.
EXT. IN THE PARK
Another bullet hole is punched into YUPPIE'S chest.
YUPPIE'S POV (DIGITIZED)- He still cannot see his aggressors. However, the words THREAT ASSESSMENT are now replaced by REVERSE TRAJECTORY.
BACK TO SCENE, YUPPIE removes the handgun from the back of his waistband. He levels it and fires in one fluid motion.
000200000CB900010960 CB3,Behind a bush, a SWAT TEAM MEMBER recoils backward. He has been shot in the upper part of his body armor.
In the playground, John turns to the sound of YUPPIE'S handgun. He sees the terminator. It brings a puzzled expression and a smile to his face. He has only known a terminator as a friend and protector.
YUPPIE is shot in several places on his body. Other SWAT team members are shooting him. He ignores these gunshots as he replaces the handgun in his waistband. He raises the shotgun as he walks toward John.
John's smile fades as he realizes the terminator's true intent.
Before YUPPIE can fire the shotgun, the step van slams into him. He flies several yards through the air and bounces off a jungle gym. Mothers have started to grab their children and flee the area.
The van is now stopped and Sarah opens one of the sliding doors. She is holding the automatic rifle in her hand.
EXT. THE PARKING LOT
Drummond is still looking through the binoculars.
DRUMMOND
It's Connor! She has a weapon!
RHODES
(to Chilton)
Keep her in that van.
EXT. IN THE PARK
Sarah leans out of the van. She aims the rifle at the terminator. Before she can fire her weapon, a SWAT man's bullet shatters the side view mirror, not an inch from her head. She instinctively dives back into her vehicle and closes the sliding door.
YUPPIE picks himself up off the ground and grabs his shotgun.
INT. THE STEP VAN
Sarah is yelling out of the window at John.
SARAH
Get in the van!
EXT. ON THE PLAYGROUND
John is stuck. He can't make it to the van. It's in the grassy area, and he and YUPPIE are on the playground. A SMALL BOY stands between John and the terminator.
YUPPIE once again levels the shotgun at John.
John grabs the boy and dives behind the bottom of the spiral slide. YUPPIE shoots, and the slide absorbs the impact of the blast.
Behind the slide, John is looking around. There is no place to go for cover. He looks up to the top of the slide. It has an enclosed metal housing.
JOHN
Stay here, you'll be OK.
EXT. THE PARKING LOT
RHODES
(to Childers)
I don't want anyone firing into
that playground.
EXT. THE PLAYGROUND
John is quickly climbing up the backside of the slide's ladder. When he reaches the top, he shifts around to the front of the ladder and crawls into the metal housing.
YUPPIE reaches the bottom of the slide. He sees that the small boy is the only one there. He looks around for John but does not see him. He looks up, realizing where he must have went. The small boy runs to his mother and they escape.
INT. THE STEP VAN
Sarah can see the slide. She tries to open the door and slip out. Two bullets pierce the door near her head. She closes it again. She looks around at the van, she's trapped and she knows it. She gives a sidearm punch to the van wall in anger.
INT. THE SLIDE HOUSING
John looks around at the metal housing, he's trapped and he knows it. He gives a sidearm punch to the housing wall in anger.
EXT. THE PLAYGROUND
YUPPIE stands in the sand, looking up at the top of the slide. He raises the shotgun and fires at the housing.
INT. THE SLIDE HOUSING
John jumps as the metal wall bends inward, absorbing the blast.
EXT. IN THE PARK
The SWAT team members have started to run toward the playground.
00020000072900011613 723,INT. THE STEP VAN
Sarah slides open the small window in one of the sliding doors. She aims her auto-rifle out and FIRES.
EXT. IN THE PARK
Bullets strafe the dirt just in front of the SWAT men. They quickly run back to their cover.
EXT. IN THE PLAYGROUND
YUPPIE has started to climb the ladder of the slide.
INT. THE SLIDE HOUSING
John is now lying on his stomach and begins to lower himself down the slide as he HEARS the FOOTSTEPS ON THE LADDER.
EXT. ON THE LADDER
YUPPIE stops climbing. He hears something on the slide. He aims the shotgun at the underside of the slide and FIRES.
EXT. ON THE SLIDE
John hangs on as the slide jolts from the impact of the shotgun round. He slowly begins to lower himself some more.
EXT. ON THE LADDER
YUPPIE wraps his legs around the sides of the ladder and slides back to the ground.
INT. THE STEP VAN
Sarah looks back toward the playground. She sees the terminator walk to the other end of the slide. It begins to cautiously walk up the slide portion. She runs to the back of the van and grabs a shotgun.
INT. THE SLIDE HOUSING
John pulls himself back into the housing. He can HEAR FOOTSTEPS ON THE SLIDE. He carefully looks out, down the ladder.
EXT. ON THE SLIDE
YUPPIE continues to slowly walk up the slide. Every two or three steps, he stops and leans around the slide. Each time he does, he points the shotgun toward the ladder.
INT. THE SLIDE HOUSING
John takes off his shoe and reaches it down toward the ladder.
EXT. ON THE SLIDE
YUPPIE sees the shoe. It looks like someone is beginning to walk down the ladder. He aims and FIRES.
INT. THE SLIDE HOUSING
The shoe is shot out of John's hand.
INT. THE STEP VAN
Sarah sits behind the wheel and restarts the engine.
EXT. IN THE PARK
Sarah drives the van into the playground. It skids to a stop at the foot of the ladder.
000200000B6000011D36 B5A,EXT. ON THE SLIDE
YUPPIE reaches the top of the slide. He is now face to face with John. He starts to raise the shotgun toward him. Before he can, Sarah rises up from the top of the ladder. She reaches out with her own shotgun and fires into YUPPIES CHEST, point blank. YUPPIE tumbles backward, all the way down the spiral slide.
EXT. THE PLAYGROUND
Sarah and John quickly race down the ladder. They get inside the van and Sarah begins to drive off, out of the playground.
YUPPIE gets up. His chest cavity is now blown open, exposing the metal chest plate beneath it. He grabs his shotgun and races off for the van. The merry-go-round is between him and the van.
YUPPIE sprints over the handrails of the plaything as he moves over it. He has timed this maneuver perfectly. He reaches out to grab the large side mirror just as the van passes.
INT. THE STEP VAN
Sarah jerks the wheel hard right.
EXT. THE PLAYGROUND
The van hits the merry-go-round. It spins, whirling the cyborg out of reach of the van. YUPPIE is once again thrown to the ground. The van continues off, speeding out of the park.
YUPPIE quickly gets to his feet and runs to the parking area. As he does, the SWAT team begins to run toward him.
SWAT MAN
Freeze! Drop the gun! Drop it!
YUPPIE continues running and they start to shoot him. It doesn't make him miss a step.
EXT. THE PARKING LOT
DRUMMOND
He's coming this way.
RHODES
What?
YUPPIE runs over and gets into the Viper. He speeds off in pursuit of the step van. Rhodes is dumbfounded.
RHODES (CONT'D)
(to Childers)
I guess you better call this in.
Childers switches bands on his handset.
CHILDERS
(into walkie-talkie)
This is SWAT 1. I have two felons
heading west on Los Feliz toward
Hollywood Freeway...
EXT. AN ONRAMP FOR HOLLYWOOD FREEWAY
The step van speeds onto the freeway.
EXT. THE PARKING LOT
Elly drives into the lot as two police cars speed past on the street behind her. She parks and quickly gets out of her car. There are police and SWAT men all over.
EXT. THE HOLLYWOOD FREEWAY ONRAMP
The Viper speeds onto the freeway. The two police cars are right behind it.
EXT. THE PARKING LOT
Elly has walked over to a policeman. She fears the worst.
ELLY
What happened?
PARK COP
We had a little bit of trouble, but it's all over now.
ELLY
It was Sarah Connor, wasn't it?
PARK COP
Yes, it was. Who are you?
ELLY
My fiance is her son. I think he's in trouble.
PARK COP
Come with me.
INT. THE STEP VAN
Sarah is speeding along the freeway.
SARAH
Did we lose him?
JOHN
I think so.
EXT. ON THE FREEWAY
The two police cars are still keeping pace with the Viper. Their sirens are BLARING. All three are zipping around the other cars on the freeway as if they were standing still. The first police car manages to pull up alongside the Viper. YUPPIE levels his shotgun and fires a round into the door of the police car. It drops back behind the sports car.
00020000087700012890 871,On the highway just ahead is a shiny silver milk tanker. The Viper speeds past the tanker truck and swerves right. It is now directly in front of the truck. YUPPIE brakes the car very suddenly. The truck can't stop as quickly and the driver is forced to cut the wheel hard left, to avoid a collision. As soon as the truck starts to turn, YUPPIE raises his shotgun again and FIRES.
INT. THE CAB OF THE TANKER
The passenger window is shattered and the driver is shot. He slumps over the steering wheel.
EXT. ON THE FREEWAY
The tanker flips over. The first police car cannot avoid smashing into it. It ruptures the metal tank and milk spills out onto the freeway. The second police car manages to drive around the truck, but it skids a little on the milk before regaining control.
The second police car attempts to pull along the driver's side of the Viper. This cruiser has two occupants and the passenger is aiming a shotgun at YUPPIE. The driver has the radio microphone to his mouth. He speaks through the public address system.
FREEWAY COP
Pull it over, now!
Once again, YUPPIE raises his shotgun. Before he can even fire, the police car slows down and falls in behind him.
On the freeway ahead, is a flatbed trailer truck. It has two huge sections of cement sewer pipe anchored down to the trailer.
YUPPIE drives up alongside the trailer and maintains equal pace with it.
INT. THE Viper
YUPPIE looks into the rearview mirror to see how close behind the police car is. He then looks up to the cement pipe. He is running a hundred different calculations at once.
EXT. ON THE FREEWAY
YUPPIE begins to drift toward the trailer. He lifts the shotgun toward one of the pipes and FIRES. The anchoring chain SHATTERS as the convertible disappears under the trailer. The huge cement pipe rolls off the truck and smashes on the freeway. The police car crashes into the debris.
The Viper emerges on the far side of the trailer and speeds off.
INT. THE STEP VAN
Through the good side view mirror, Sarah sees the Viper approaching. It is travelling at 100+ miles an hour. She instinctively knows what it means.
SARAH
We got trouble. Lock and load.
0002000007F500013101 7EF,John runs to the back of the van and grabs an automatic rifle. He slaps a magazine into it.
JOHN
I don't believe this.
SARAH
Stay in the back. Keep away from the windows.
EXT. ON THE FREEWAY
YUPPIE drives up to the passenger side of the step van. He lifts his shotgun and shoots the window of the sliding door on that side. It takes out that window and part of the windshield, but doesn't hit anyone.
The Viper speeds up and drifts across the lane the van is in. It continues over to the far left lane and slows down again. He is now driving side by side with Sarah. He raises the shotgun again. It is pointing directly at Sarah. Sarah glances over, looking directly down the barrel of the gun. YUPPIE pulls the trigger. It CLICKS. He has exhausted his eight rounds. He flings the shotgun out onto the highway.
Sarah cuts the steering wheel a hard left. The Viper is
sandwiched between the step van and the concrete barrier. Sparks are flying from the friction created by the Viper rubbing against the barrier.
INT. THE STEP VAN
Sarah begins to repeatedly jerk the wheel right then left.
EXT. ON THE FREEWAY
The van is slamming the sports car into the concrete barrier over and over again.
INT. THE Viper
YUPPIE is being shaken up. He draws one of his handguns and shoots up at the van.
EXT. ON THE FREEWAY
The van drifts away from the Viper and YUPPIE speeds up to a position in front of the van.
INT. THE STEP VAN
JOHN
Are you shot?
SARAH
No, bring that rifle up here.
INT. THE Viper
YUPPIE adjusts the rear view mirror so he has a good view of the step van. He raises his arm up out of the open roof and points his arm backward, toward the van. He begins to FIRE the gun at the van like a trick shooter.
EXT. ON THE FREEWAY
Bullet holes begin to punch their way up the grill of the van, heading for the windshield. Sarah swerves into the left lane.
INT. THE STEP VAN
John aims the automatic rifle out the broken portion of the windshield. He begins RAPID FIRING at the rear of the Dodge.
EXT. ON THE FREEWAY
0002000007B3000138F0 7AD,The Viper slows down again and resumes its position along the passenger side of the van. John drops down out of sight as YUPPIE shoots two more rounds off before the gun begins to CLICK. The handgun is now empty and he throws that out of the car also.
INT. THE STEP VAN
John runs to the back of the van. It has two rear doors that can swing open, outward. They both have small windows in them. John breaks the glass out of the door on the passenger side.
INT. THE Viper
YUPPIE has drawn the other handgun. He is looking for John through the side window but can't see him.
INT. THE STEP VAN
John opens the rear door on the driver's side. He steps out onto the running board. He is holding the window frame of the closed door with his left hand, the rifle with his right.
EXT. ON THE FREEWAY
John reaches from around the back side of the van and RAPID FIRES at the Viper.
YUPPIE immediately slows down and falls in behind the step van.
INT. THE STEP VAN
John drops the rifle and swings himself back into the van just as YUPPIE begins to SHOOT again. He takes cover behind the closed door, which takes most of the bullets.
SARAH
Are you trying to get yourself killed?
Grab that gun, there. Use it on the
windshield.
It is a gun that shoots paint pellets, like those used in war game simulations. John reaches it out the back door and fires.
EXT. ON THE FREEWAY
The paint pellet splatters on the windshield of the Viper. Green paint now obscures YUPPIE'S view. The terminator leans out of the car and fires another round at the van.
INT. THE STEP VAN
John ducks back behind the closed door.
SARAH
Shoot the tire!
John grabs a shotgun. He drops to the floor and rolls over onto his stomach. He is now aiming out the open door. He FIRES.
EXT. ON THE FREEWAY
YUPPIE'S left front tire is shot out. He begins to slow down as he loses control of the car.
INT. THE Viper
YUPPIE throws the handgun to the floorboard and grabs the steering wheel with both hands.
000200000C1C0001409D C16,INT. THE STEP VAN
John closes the rear door.
JOHN
OK. We're clear.
EXT. FARTHER BACK ON THE FREEWAY
The Viper is veering over to a compact car. He slams into its passenger side.
INT. THE Viper
As their car doors collide, YUPPIE punches the glass out of the compact car door.
INT. THE COMPACT CAR
COMPACT CAR DRIVER
Oh my God!
YUPPIE hooks his arm over the door. He grabs the handle that is usually used to pull the door shut.
EXT. ON THE FREEWAY
YUPPIE lifts himself out of the Viper. The sports car veers away and YUPPIE is now hanging from the compact car door. His feet drag the ground. The driver comes to a quick stop. He sits, shaking and hyperventilating. The terminator walks over to the driver side door and rips it off. The driver flinches.
YUPPIE is now standing over the driver who is sitting, jaw agape. YUPPIE is covered with swat team bullet holes and his chest is bloody and open. The sun is glimmering off his chest plate.
YUPPIE
Get out.
The driver quickly gets out of the car. YUPPIE gets in it and speeds off, leaving skid marks.
INT. THE COMPACT CAR
YUPPIE is zipping past the other cars on the road. He punches the windshield and it spiderwebs. He punches it several more times and it pops out completely.
INT. THE STEP VAN
SARAH
We have to get off this freeway. The
police will be looking for us.
EXT. ON THE FREEWAY
The step van swings off onto the Harbor Freeway. The compact car follows them off. It is travelling twice as fast as the van and rams into the back of it.
INT. THE STEP VAN
John and Sarah are jolted by the impact.
EXT. ON THE FREEWAY
The front bumper of the car is now locked up with the rear bumper of the van. YUPPIE climbs out through the windshield onto the hood of the car. Just as he does, the vehicles disengage. He leaps, grabbing a trailer hitch that is mounted on the running board of the step van. YUPPIE is now being dragged on the highway. His clothes and skin on his lower extremities are being shredded. His endoskeleton begins to spark on the pavement.
INT. THE STEP VAN
John looks out the window. He doesn't see the terminator at first, but looks down when he HEARS it DRAGGING THE GROUND.
JOHN
It's hanging from the trailer hitch.
Sarah starts to swerve from side to side.
EXT. ON THE FREEWAY
The van is now rocking as it speeds along. YUPPIE now has both hands on the hitch and one leg on the running board.
INT. THE STEP VAN
SARAH
Shoot him off!
John is still holding the shotgun. He kicks open one of the doors. He does not see the terminator. Suddenly, YUPPIE stands up on the running board. We can see him through the window of the closed door. John SCREAMS as he FIRES the shotgun at the terminator's head, but YUPPIE moves away from the window. John cocks the slide-action shotgun and fires the last three rounds into the door. When he is done, the door slowly swings open. Both doors are now open and YUPPIE is nowhere to be seen.
EXT. ON THE FREEWAY
The terminator is on the roof of the van. He is walking on all fours.
INT. THE STEP VAN
John can hear the cyborg scurrying around on the roof.
000200000CA000014CB3 C9A,JOHN
It's on the roof.
Sarah begins to drive erratically, trying to throw the terminator off.
EXT. ON THE ROOF
YUPPIE begins to slide around but there is a rail that runs along the edge of the roof that keeps him from falling off.
INT. THE STEP VAN
John is now holding two auto-rifles, one in each hand. He has the stock of each gun planted firmly on his hips. He spins himself around as he fires both guns into the ceiling.
EXT. ON THE ROOF
All sixty rounds punch through the roof. YUPPIE holds firm to the railing as the top of the van is riddled with bullets. He is shot all over but gets only one facial wound, near his right eye.
INT. THE STEP VAN
John has emptied both guns. He drops them and grabs a side by side shotgun. He aims it right at the spot where the terminator's chest is. He FIRES.
EXT. ON THE ROOF
YUPPIE is jolted by the blast but does not let go. He merely slides down a little so he can look into the gaping hole the shotgun has made. John aims the shotgun up at him. YUPPIE grabs the barrel, lightning quick. John FIRES OFF the second round. It blasts another large hole, right next to YUPPIE'S head. The terminator then punches out the section between the two holes. There is now one large hole in the roof. The terminator reaches his head and one arm in through the hole.
INT. THE STEP VAN
John drops to the floor of the van, just out of YUPPIE'S reach. He is trying to pull himself all the way in, but the hole is not quite that large. John grabs a fire extinguisher that is sitting nearby. He stands as he swings it up at YUPPIE. It CLANGS against his skull and knocks his head back out of the hole. John then squirts the foam contents of the canister in YUPPIE'S face.
Sarah sees a sign on the road ahead stating that the Santa Monica Freeway exit ramp is just ahead.
EXT. ON THE ROOF
YUPPIE is wiping the foam from his eyes. John sticks the nozzle of the fire extinguisher out through the hole and coats the top of the roof with the slick substance.
INT. THE STEP VAN
SARAH
Hold on!
Sarah cuts the wheel, sharp. John is thrown against the wall of the van.
EXT. ON THE FREEWAY
There is a fly-over, cloverleaf exit ramp just ahead. Sarah has swerved onto it, taking the ramp at about seventy miles an hour. She clips the concrete barrier wall, and the terminator flies right off the roof.
EXT. A PARKING LOT JUST BELOW THE EXIT RAMP
The terminator falls about three stories, slamming into the blacktop.
INT. THE STEP VAN
JOHN
We did it!
EXT. IN THE PARKING LOT UNDER THE EXIT RAMP
YUPPIE stands. He is a mess. Most of his clothes are shredded and his metal legs are exposed. His chest is open, exposing that part of his endoskeleton. His face has only the one bullet hole, but the rest of his body is covered with bullet wounds, powder burns and foam. He slicks back his extinguisher foamed hair, straightens what is left of his tie and calmly walks off.
INT. THE STEP VAN
SARAH
What was that you were saying about
Judgement Day?
JOHN
I have to admit, this does make a strong argument for your story. Where do we go now?
SARAH
A landing field at LAX. Enrique has a small plane he can smuggle us out on.
JOHN
O.K., but we have to pull off and find a phone first.
SARAH
0002000007100001594D 70A,No way. You can make your call from
Argentina.
JOHN
Sarah, I'm willing to leave the country with you, but not without Elly.
SARAH
Who the hell is Elly?
JOHN
She's my fiancee.
SARAH
Fiancee?
JOHN
That's right. And I'll die here before I leave her. Now, find a phone.
SARAH
God damn it.
Sarah pulls off the freeway.
INT. AN INTERROGATION ROOM IN A LOS ANGELES POLICE STATION
Elly, Rhodes and Drummond are sitting at a table.
RHODES
You say you went back to your apartment and found the door smashed in.
ELLY
That's right.
RHODES
Do you know where John might have went?
Or how we might be able to get in touch
with him?
ELLY
No, he... wait, I know his beeper
number. He might be wearing it.
There is a phone on the desk.
RHODES
By all means.
She picks up the receiver.
EXT. A STREET SOMEWHERE IN WEST HOLLYWOOD
The step van pulls off the street and parks near a public pay phone. John gets out of the van and goes to the phone. Before he reaches it, his beeper goes off. He turns it off and looks at the number. Sarah walks up behind him.
JOHN
I don't recognize the number.
SARAH
It's the terminator. It has your beeper number.
JOHN
I'll call her work number.
He picks up the pay phone receiver, deposits a few coins and dials a number.
INT. THE OFFICE OF GOLDEN STATE REALTY
The phone RINGS and the receptionist answers it.
RECEPTIONIST
Golden State Realty.
JOHN
(through the phone)
I have to speak to Elly.
RECEPTIONIST
She's on her way to see you right now.
EXT. ON THE SIDEWALK
JOHN
She's going to the house? Thanks.
John hangs up the phone. He deposits more change and dials a new number.
SARAH
You can't call her. It could be the
terminator.
JOHN
There's no way he could have gotten there this quick.
ELLY'S VOICE
(through the phone)
Hello?
JOHN
Elly! You have to get out of the house,
0002000006D300016057 6CD,right away.
ELLY'S VOICE
(through the phone)
John, what is it? I came home and found
the front door smashed in.
JOHN
There's no time to explain right now. But you have to get out of the house. I want you to meet me at...
He looks around. He sees a sign for the Santa Monica Freeway.
JOHN (CONT'D)
Meet me at the Santa Monica Pier. Go right now!
INT. JOHN'S APARTMENT
SOLDIER
(in Elly's voice)
I'm on my way.
SOLDIER hangs up and stands, frozen.
EXT. ON THE GLENDALE FREEWAY
The dump truck is driving along. Suddenly, its brakes lock up and it skids to a stop. The car behind it collides into the rear of the large truck. The DRIVER gets out of his car. He runs over to the front of the dump truck.
DRIVER
What the fuck did you think you were doing? Hey, asshole! I'm talking to
you!
HARD HAT'S POV (DIGITIZED) INPUT is flashing. The following is also printed out. TARGET ACQUIRED- PROCEED TO SANTA MONICA PIER.
EXT. ON THE GLENDALE FREEWAY
HARD HAT comes back on line. He looks down at the driver of the accident car who continues to rant. HARD HAT pulls a lever. With the WHINE of HYDRAULICS, the bed of the dump truck rises up. It dumps the two tons of topsoil onto the car, then drives off.
INT. THE INTERROGATION ROOM
Drummond and Elly are sitting quietly at the table. Rhodes enters the room.
RHODES
We're sending a police car to your apartment. If your fiancé goes back
there, he'll be brought here.
ELLY
Shouldn't I go back there and wait for him?
DRUMMOND
No. You'll be safer here.
RHODES
And you say you've never met John's natural mother.
ELLY
No. Never.
Drummond shows her a photo of the terminator.
DRUMMOND
Have you ever seen this man before?
ELLY
No.
EXT. ON THE LOADING DOCK OF A DISCOUNT CLOTHING STORE
000200000ADB00016724 AD5,A WAREHOUSE WORKER is lying unconscious on the loading dock. An overturned, rolling-type clothes rack is laying next to him. YUPPIE steps out of the warehouse. He is wearing a new suit, his hair still slicked back. Except for the bullet wound near his eye, we cannot tell that he has been damaged.
EXT. IN FRONT OF AN AUTO DETAILING SHOP
Four TEENAGE BOYS have just finished waxing a Ferrari. They start to clean the tires as YUPPIE walks over and gets into the car.
AUTO DETAILER
What are you doing?
YUPPIE removes a pair of sunglasses from the youth's face. He puts them on, covering his bullet wound. He speeds off, out of the lot.
EXT. A PARKING LOT AT SANTA MONICA BEACH
The step van pulls in and parks.
INT. THE STEP VAN
Sarah walks to the back of the van and grabs an automatic rifle. She pulls the clip out of it and checks to see if the clip is full.
SARAH
Go get something to put these in.
He starts to leave. She grabs his arm.
SARAH (CONT'D)
Be careful.
EXT. ON WILSHIRE BOULEVARD
The dump truck is driving along Wilshire. It reaches the end of the street, where it meets Ocean Ave. HARD HAT drives the dump truck onto the curb into Palasides Park. The truck comes to a halt and HARD HAT jumps out. He is holding the loaded crossbow pistol in one hand and the shoulder stock for the hand gun in the other. He climbs over a small retaining fence and walks to the edge of the cliff. HARD HAT slides all the way down the extremely steep bluff.
EXT. ON SANTA MONICA BEACH
John picks up a large wetsuit bag off the sand and carries it with him back to the parking lot.
EXT. IN THE SURF
Two SURFERS are sitting on their boards waiting for a good wave.
SURFER #1
Dude! That guy just took your
wetsuit bag.
SURFER #2 starts to quickly paddle back to shore.
INT. THE SPEEDING FERRARI
There is a car phone. It RINGS and YUPPIE answers it.
FERRARI OWNER
(through the phone)
I hope you're enjoying my car. I just called the police. It won't take them long...
YUPPIE hangs up.
EXT. THE BEACH PARKING LOT
John walks back over to the van. The back of it is open and Sarah is loading bullets into the rifle magazine. John opens the bag and removes a t-shirt and pair of shorts. He throws them both into the van. He also removes a pair of high tops. These he puts on to replace the shoe that was shot out of his hand. Surfer #2 walks over to John.
SURFER #2
You got some sort of a problem, man?
Sarah slaps the clip into the rifle and points it at the surfer.
SARAH
No, no problem.
SURFER #2
It's cool.
He backs away. Sarah drops the rifle.
SARAH
Load the bag.
John gets in the van. He places the automatic rifle in the bag. He also puts two strange looking guns in it. Sarah opens the double barrel shotgun and loads a fresh shell into each chamber.
00020000061A000171F9 614,EXT. ON SANTA MONICA BEACH
HARD HAT walks onto the beach. He is walking, searching for John. It is very windy.
EXT. FARTHER UP SANTA MONICA BEACH
John and Sarah walk onto the beach. John carries the bag as they walk toward the pier.
HARD HAT is about to walk up to the pier. He stops when he sees John and Sarah on the beach. He walks toward them, raising the crossbow pistol. The wind picks up even more. HARD HAT fires the pistol.
The dart whizzes past John's face, missing him by centimeters. It embeds itself into a palm tree right next to him.
SARAH
Run!
They both take off running toward the closest cover, a small enclosed life guard station.
HARD HAT throws down the crossbow and draws the hand gun. He quickly attaches the shoulder stock and runs off for them.
John and Sarah run up the ramp into the small wooden shack. The LIFE GUARD is sitting at the top of the ramp.
JOHN
Get out of here! Run!
LIFE GUARD
What?
A bullet hits the wooden hut. The life guard jumps down to the sand and runs away.
HARD HAT hits the switch on the gun, converting it from single shot to the three shot burst feature.
INT. THE LIFE GUARD STATION
John and Sarah are both lying on the floor.
SARAH
Give me a gun.
John opens the bag. He hands her the automatic rifle.
EXT. ON THE BEACH
HARD HAT begins to walk around the raised shack, firing bursts of bullets into the wood panels.
INT. THE LIFE GUARD STATION
The walls just barely absorb the impact of the bullets. John takes the shotgun out of the bag also.
SARAH
What else do we have?
JOHN
Just these.
0002000006370001780D 631,He pulls out a pistol with an extremely wide barrel.
SARAH
That's a flare gun.
He pulls out the paint gun.
SARAH (CONT'D)
The paintball gun?
JOHN
I just grabbed stuff!
SARAH
Is that it?
JOHN
(sarcastically)
Yeah, that's it.
EXT. ON THE BEACH
HARD HAT has walked completely around the hut. He stops shooting it as he walks up the ramp. As he reaches the top, Sarah swings around to face him. She has the shotgun in one hand and the automatic rifle in the other. She uses the shotgun to blast the hand gun out of HARD HAT'S hand. She then begins to empty the rifle clip into his chest.
HARD HAT lumbers backward down the ramp as Sarah shoots him. He reaches the end of the ramp as Sarah runs out of bullets. Sarah throws the rifle onto the sand then empties the second barrel of the shotgun into HARD HAT. He falls onto his back, but immediately begins to sit back up.
SARAH
Oh, shit.
Before he can get to his feet, John reaches over Sarah's shoulder and points the paintball gun at HARD HAT'S face. He fires it. The paint pellet splatters, covering most of the terminator's face with green paint.
John and Sarah bolt off toward the pier.
HARD HAT tries to wipe the paint from his eyes. He stands and gropes as he walks around.
HARD HAT'S POV (DIGITIZED)- The entire frame is blanked out. The words VISUAL NOISE are blinking.
EXT. ON THE PIER
Sarah and John run up onto the pier.
JOHN
I don't know how he could have gotten here so quick.
SARAH
It won't take him long to see again. Hurry up and find that fiancée of yours.
They begin to walk out on the pier, over the water.
00020000063B00017E3E 635,EXT. ON THE CONCRETE BRIDGE AT THE END OF COLORADO AVENUE
SOLDIER is driving the Humvee over the bridge and is heading for the connecting pier.
EXT. ON THE BEACH
HARD HAT has tried to wipe the paint from his eyes. Mostly he has just smeared it.
HARD HAT'S POV (DIGITIZED)- Vague images can be seen through the paint. Just ahead, he can see a woman in a bikini rinsing herself under an outdoor shower.
EXT. BY THE OUTDOOR SHOWER
HARD HAT pushes the woman aside and begins to wash his eyes out.
EXT. ON THE PIER
John and Sarah have run to the very end of the pier.
JOHN
She's not here.
SARAH
We can't wait. We have to go.
EXT. FARTHER UP THE PIER
SOLDIER has parked the Humvee. He gets out, straps on the flame thrower and begins to walk toward the end of the pier.
EXT. THE END OF THE PIER
JOHN
She'll be here.
SARAH
So will the term...
Sarah has seen SOLDIER approaching them through the crowd.
SARAH (CONT'D)
Oh, my God. There's two of them.
SOLDIER draws his side arm and starts to shoot it at them. Several people are in the way. They get shot, but Sarah and John do not. SOLDIER empties the clip and throws the gun on the pier. He then raises the flame thrower nozzle toward them.
SARAH (CONT'D)
Jump!
Sarah and John climb up on the railing of the pier as other bystanders move out of the way. They both jump as SOLDIER shoots a long stream of flame. It just misses them.
EXT. IN THE WATER
John and Sarah land in the water. They quickly resurface and tread water.
EXT. ON THE PIER
SOLDIER reaches the railing and aims the flame thrower down to the water.
ext. in the water
00020000061C00018473 616,SARAH
The boat.
Sarah motions toward an open outboard pleasure craft that is floating several hundred feet out from the pier. They both dive under the water just as flames rake the surface. Steam is rising off the water.
EXT. ON THE PIER
SOLDIER stops throwing flames. He is looking out to see where his target could have gone. After a few seconds, he sees them resurface many yards out from the pier. He shoots the flames at them again, but they are just out of reach. SOLDIER unstraps the flame thrower and drops it on the pier. He freezes, not moving.
EXT. ON THE BEACH
HARD HAT is walking quickly along the beach, looking for John. Its eyes are now clear. He freezes, not moving. After a second, he comes back on line and immediately runs toward the water.
EXT. IN THE WATER
Sarah and John are very close to the boat. The BOAT OWNER sees them and puts down his fishing pole. He grabs an oar and reaches it out to them.
EXT. ON THE PIER- BY THE HUMVEE
SOLDIER walks over to the Humvee. He grabs the mortar and a wooden box full of shells. As he walks back to the edge of the pier, the Ferrari pulls in and parks next to the Humvee.
EXT. IN THE OPEN BOAT
JOHN
We should be safe. Terminators are too heavy to swim.
Sarah jerks the pull starter and the outboard roars to life.
SARAH
I wouldn't relax yet.
She points to something.
HARD HAT is speeding toward them on a jet ski.
John pushes the boat owner overboard and throws him a life vest.
JOHN
It's safer for you there.
Sarah sits behind the wheel and the boat speeds off.
EXT. ON THE PIER
0002000006F800018A89 6F2,YUPPIE walks over and stands next to SOLDIER at the railing. SOLDIER has the mortar in one hand and a shell in the other. He slightly adjusts the way he points the mortar, fixing the trajectory. He drops a shell in and it is fired off.
EXT. IN THE WATER
The mortar shell EXPLODES in the water right next to the boat, sending up a spray of water.
HARD HAT draws his assault pistol and begins to shoot at the speeding boat.
Sarah is cutting back and forth in the water as she drives, trying to keep the cyborgs from getting a bead on them. Bullets and exploding mortars are hitting the water all around them. Finally, they drive out of reach of the mortars. However, HARD HAT is still right behind them. Just ahead, is an area heavily populated with sailboats. Sarah zig-zags around the boats, coming dangerously close to some of them. The terminator flawlessly duplicates her every maneuver. They emerge from the regatta, heading to the open sea. Ahead is a fast moving yacht. Sarah aims the boat right into the path of the speeding craft. Her boat cuts right in front of the bow of the yacht. HARD HAT attempts to follow her, but is plowed under by the expensive ship.
The motor on the small boat has choked down and they are buoyed up by the wake from the yacht. John and Sarah hold their breath for a second. Not three yards from the boat, the jet ski POPS to the surface. HARD HAT is nowhere to be seen. Sarah restarts the motor and they drive off.
EXT. ON THE PIER
SOLDIER drops the mortar. Both he and YUPPIE turn and walk back toward their vehicles. They walk side-by-side in perfect synch.
SOLDIER goes to the Humvee, YUPPIE to his Ferrari. They both simultaneously open their car doors, get in and close them. They drive off.
EXT. IN THE OPEN BOAT
000200000B680001917B B62,John's beeper goes off. He looks at the number.
JOHN
It's the same number as before.
SARAH
It's a terminator.
JOHN
It could be Elly.
Sarah stops the boat.
SARAH
For God's sake John, you talked to a terminator before. If he sampled her voice, she's dead.
JOHN
I have to know for sure.
SARAH
My best guess is that there are at least three of them. There's no way we can chance it.
JOHN
You don't care if she lives or dies,
do you?
Sarah is mad now. She grabs John by the shirt and begins to shake him violently.
SARAH
Do I care? Listen to yourself!
She throws him into a seat.
SARAH (CONT'D)
Three billion people are going to die! The existence of the entire human race is at stake! I don't care if I die. The only thing that matters now is you.
John stands.
JOHN
And she's the only thing that matters
to me.
He throws Sarah into the seat.
JOHN (CONT'D)
From now on, I make the rules. I WILL take this boat back to shore and get my car.
SARAH
They'll see you coming from a mile
aw...
JOHN
They don't know what I'm driving, so
it'll be safe. And I WILL call the
number on my beeper and see if it's Elly.
SARAH
You can't call...
JOHN
I can quiz her. There are things that only she and I could possibly know. After that, I WILL see if my parents are still alive. If you don't like it...
He grabs a life vest and slings it at her.
JOHN (CONT'D)
You get out now and I'll go it alone.
Sarah throws the life vest to the floor of the boat in disgust. John sits behind the wheel.
SARAH
At least go to the air strip first.
We can get more guns from Enrique.
John drives the boat back toward the shore.
EXT. A STREET RUNNING ALONG THE OCEANFRONT
The Ferrari is driving slowly along the road. YUPPIE is looking around, scanning the area as he drives. He finally sees the step van in the parking lot. He pulls in and parks the Ferrari next to it.
INT. THE FERRARI
YUPPIE grabs the Rolodex and looks up the number for Golden State Realty. He then looks up to the van and stops moving.
YUPPIE'S POV (DIGITIZED)- OUTPUT is flashing. The step van is "outlined" as various longitude and latitude coordinates are printed out. Also printed out is the address for Golden State Realty.
INT. A POLICE CRUISER DRIVING ON THE STREET THAT RUNS ALONG THE OCEANFRONT
The BEACH COP slows down when he sees the Ferrari in the parking lot. He grabs his radio microphone.
BEACH COP
This is R 29 Lincoln. I need the license number on that stolen Ferrari.
EXT. THE BEACH PARKING LOT
YUPPIE has gotten out of the Ferrari and is now in the back of the step van. He grabs a snub nose revolver and puts it into the back of his waistband. He grabs two automatic rifles and checks the clips.
The police cruiser pulls into the parking lot and stops not too far from the van. The beach cop gets out of his car and draws his handgun. YUPPIE steps out of the van and the officer aims his gun at him.
BEACH COP
Drop the weapons, now!
00020000062700019CDD 621,YUPPIE aims the rifle at the cop. The cop manages to put one bullet through the lapel of the terminator's expensive jacket before YUPPIE mows him down with rifle fire. YUPPIE calmly puts the rifles in the Ferrari, gets in it, and drives off.
EXT. THE BEACH NEAR THE SANTA MONICA PIER
Several yards out from the edge of the water, something appears in the surf. It is the top of HARD HAT'S head. He slowly rises up into view as he walks onto the beach. He has just finished walking the mile back to the beach, underwater. He pauses and looks around as if he is searching for something.
EXT. THE BEACH PARKING LOT- A MINUTE LATER
HARD HAT walks through the parking lot, dripping water on the body of the dead beach cop as he steps over it. He gets into the step van through the back door. He grabs the t-shirt from the floor and puts it on to cover his bullet covered chest and stomach. He starts the van and drives off.
INT. JOHN'S APARTMENT
APARTMENT COP #1 is sitting on John's couch, looking at the newspaper. APARTMENT COP #2 walks into the apartment carrying a box of donuts and two faxes. He sets all three items on the coffee table. The faxes are photos of Sarah and the terminator.
APARTMENT COP #1
All right, donuts.
APARTMENT COP #2
Here's the faxes of those two psychos we're supposed to be looking out for.
They each grab a donut. Just as they do, SOLDIER walks into the apartment through the broken door. The only weapon he has is another handgun in his side holster.
APARTMENT COP #1
Are you looking for someone?
SOLDIER
Where is John Connor?
0002000007550001A2FE 74F,Both cops look at each other then the fax on the table. They quickly drop their donuts and reach for their guns. SOLDIER is infinitely quicker. He has a bullet in each cop before they can even draw their weapons. SOLDIER calmly replaces his gun and walks over next to an end table with a telephone on it. He simply stands next to it, staring at it.
A voice comes over apartment cop #1's radio walkie-talkie.
DISPATCHER
(through the radio)
R 17 Charlie, we have a report of shots fired at your location. Can you confirm? Over.
SOLDIER walks over and removes the walkie-talkie from the cop's belt. He talks to the dispatcher.
SOLDIER
(in apartment cop #1's voice)
This is R 17 Charlie. That's a negative. We had a domestic dispute across the hall. Someone was throwing some plates. We're checking into that now. Just be sure to let us know when you find John Connor so we can get out of here.
DISPATCHER
(through the radio)
Ten four, R 17 Charlie.
SOLDIER sets the walkie-talkie on the table next to the phone. He stands, staring at both of them.
INT. THE INTERROGATION ROOM
Drummond and Elly are still sitting at the table. Rhodes is standing, drinking a cup of coffee.
ELLY
I told the receptionist at work I'd be back in an hour. Can I call her and tell her I won't be in?
Drummond looks to Rhodes for approval. Rhodes nods.
DRUMMOND
Sure, go ahead.
She dials a number.
INT. THE OFFICE OF GOLDEN STATE REALTY
The large, open room has several desks. The CAMERA PANS across the room to show that none of the desks are occupied. We HEAR a phone RING. Someone answers it but we do not yet see them.
RECEPTIONIST (o.s.)
Golden State Realty.
ELLY
(through the phone)
Hi. It's Elly. I won't be able to get back into the office today.
RECEPTIONIST
John's called here twice. He's out of his mind trying to find you. If you hear from him, let me know, OK.?
000200000B220001AA4D B1C,ELLY
Sure. If you hear from him first, tell him to call me at this number, 555-8736.
The CAMERA stops at the receptionist's desk. She is sitting, slumped in her chair, her eyes wide open. She is dead. It is HARD HAT who is talking on the phone in her voice.
HARD HAT
I will.
INT. THE TERMINAL BUILDING AT LOS ANGELES INTERNATIONAL AIRPORT
John is standing in the same area that the battle sequence transpired at the beginning of the film. He hangs up the receiver of a pay phone.
JOHN
It's busy. Why don't you take my car out to the airfield and get the guns while I keep trying?
He hands Sarah his keys and she walks off.
INT. THE INTERROGATION ROOM
Elly hangs up the phone.
ELLY
I need to make one more.
RHODES
Keep it short. We want to keep the line open in case John tries to call.
INT. JOHN'S FOSTER PARENTS' HOUSE
A news broadcast is on the television.
NEWSCASTER
(on television)
Senator Thomas Haney was back in Washington today, just one day after an assassination attempt on his life. The near miss didn't keep him from finally getting his pet project passed. Today the Senate ratified the controversial Skynet funding bill by a narrow margin. Under the project, all strategic...
The phone RINGS. YUPPIE walks past the TV on his way to the phone. The picture on the television distorts and breaks-up as he passes it, returning to normal behind him. He answers the phone.
YUPPIE
(in a woman's voice)
Hello?
ELLY
(through the phone)
Mrs. Newman. Hi. This is Elly.
Has John been to your house today by any chance?
YUPPIE
No. Why, is something wrong?
ELLY
(through the phone)
No, no. But if you hear from him will you tell him to call me. I'm at 555-8736. Did you get it?
YUPPIE
I have it. If you here from John, you'll call and let me know, won't you?
ELLY
I promise.
YUPPIE hangs up but continues to stand next to the phone.
EXT. ON THE AIRFIELD- DAY
Enrique has a small charter plane. Sarah drives John's car across the field over to the remote area where the plane sits. She gets out of the car and walks over to the plane. She knocks on the window. Enrique was sleeping inside. He wakes and opens the door.
ENRIQUE
Where the hell have you been?
INT. THE AIRPORT TOWER
The AIR TRAFFIC MANAGER is looking out to the field with a pair of binoculars. He lowers them and grabs a console phone.
MANAGER
Port authority... this is the tower. I have an unauthorized vehicle on the west field. Check it out.
INT. THE INTERROGATION ROOM
The PHONE RINGS. Rhodes answers it.
RHODES
Hello.
INT. THE TERMINAL BUILDING
JOHN
Who is this?
INTERCUT PHONE CONVERSATION
RHODES
This is special agent Rhodes of the
F.B.I.
JOHN
Yeah, I'll just bet.
RHODES
We're here with your fiancée Mr. Connor.
You're not in any trouble. Just tell us where Sarah is.
JOHN
I don't know. I got away from her about an hour ago. Put Elly on.
00020000061B0001B569 615,RHODES
Where were you when you got away...
JOHN
Put Elly on, now!
Rhodes hands the phone to Elly.
ELLY
John?
JOHN
Elly, what's your mom's first name?
ELLY
What?
JOHN
I need you to answer some questions. Trust me. What is your mother's first name?
ELLY
It's Susan. You know that.
JOHN
What did I give you for your last
birthday?
ELLY
You gave me a pair of ruby earrings.
John, what's going on? You're scaring me.
JOHN
Everything is fine. I have something to do. You're not under arrest are you?
ELLY
No. I'm just here because it's safer.
JOHN
Good. Don't go anywhere or talk to anyone. Do you understand me?
ELLY
John, what...
JOHN
I'm not trying to scare you, but it's crucial that you listen to me. I'll call you later, but don't do anything I tell you unless I call myself "Reese". Do you understand?
ELLY
I guess.
JOHN
This is the most important part. When I call you back, you have to identify yourself as "Dyson". All right?
ELLY
All right.
JOHN
I'll call you soon. I love you.
He hangs up.
EXT. ON THE AIRFIELD
Sarah is gone. A port authority cruiser drives up to Enrique's plane. Two PORT AUTHORITY COPS get out of the car.
PORT AUTHORITY
Where did the car go?
ENRIQUE
What car?
PORT AUTHORITY
All right, wise ass. I guess you don't
mind if we search your plane, then.
The second port authority cop opens a luggage hatch and rifles tumble out of it.
INT. THE TERMINAL BUILDING
John dials another number.
INT. JOHN'S FOSTER PARENTS' HOUSE
The phone RINGS and YUPPIE answers it.
INTERCUT PHONE CONVERSATION
YUPPIE
(in a woman's voice)
0002000006160001BB7E 610,Hello?
JOHN
Mom, it's John. Is everything all right there?
YUPPIE
Everything is fine. What's the matter?
Where are you?
JOHN
I want you and dad to meet me at the Ranger's station at Marshall Canyon
Park, immediately. If you don't see me, I want you both to wait for me. I'll be there.
YUPPIE
We're on our way.
INT. THE TERMINAL BUILDING
John hangs up just as Sarah runs over to him.
SARAH
We have to get out of here. The port authority must have seen me.
They both rush off.
INT. JOHN'S FOSTER PARENTS' HOUSE
YUPPIE is now standing in front of a large wooden desk. He grabs a hand full of letters from a letter holder. He sifts through them, throwing most of them on the floor. He stops to look at one particular bill.
ECU- THE PACIFIC BELL PHONE BILL
Among the list of phone services on their bill is "call forwarding".
BACK TO SCENE, YUPPIE throws the bill aside and walks into the kitchen.
INT. THE KITCHEN OF JOHN'S PARENTS' HOUSE
YUPPIE picks up the receiver and dials a number. He then hangs up and dials the operator.
OPERATOR
(through the phone)
Operator.
YUPPIE
I think something is wrong with my phone here. Can you call me back?
He hangs up and walks out of the kitchen into the adjoining garage.
INT. THE GARAGE OF JOHN'S PARENTS' HOUSE
YUPPIE walks into the garage. Parked there is the Ferrari and a pickup truck with the logo of a construction company on the door.
YUPPIE hits a switch on the wall and the automatic garage door starts to open. He gets in the Ferrari.
INT. THE FERRARI
The car phone RINGS. YUPPIE answers it.
00020000061E0001C18E 618,OPERATOR
(through the phone)
This is the operator returning your call.
YUPPIE hangs up and drives out of the garage.
INT. JOHN'S CAR
John is driving.
JOHN
I called home and told them to meet me at a remote location. If it was my parents, they'll be on their way to a safe place. If it was a terminator, he'll be leaving the house now. Grab that back pack out of the back seat.
INT. THE INTERROGATION ROOM
A uniformed policeman slips into the room and whispers something to Rhodes. Rhodes then motions for Drummond to leave the room with him.
RHODES
You can wait here, Ms. Markham. We'll be back in a few minutes.
Rhodes, Drummond and the officer leave Elly alone in the room.
INT. A SECOND INTERROGATION ROOM
Enrique is sitting in a chair. His hands are cuffed behind his back. Rhodes and Drummond enter the room. Rhodes is looking at the paperwork for Enrique's arrest.
RHODES
Hello, Mr. Salceda. I'm sure you've been informed of your rights. I'm special agent Rhodes of the FBI. This is my partner, special agent Drummond. I'm looking at the report that the port authority gave to the police. They give a positive identification of you talking with Sarah Connor. Aiding and abetting a known felon, harboring a fugitive, smuggling guns into the country.
DRUMMOND
Doesn't look good.
RHODES
But, if you cooperate with us and help us catch Sarah Connor, the federal government might be able to get your sentence reduced. What do you say?
ENRIQUE
I say, "Why don't you go fuck yourself?"
EXT. THE STREET IN FRONT OF JOHN'S PARENTS' HOUSE- AFTERNOON
0002000006180001C7A6 612,John parks his car several houses back and he and Sarah quickly slip out of the vehicle. They quickly run over to his parents' house. They each have a shotgun in one hand and an auto rifle in the other. They both also have several replacement clips tucked into their waistbands and John wears his back pack. The front door is cracked open and they both slip inside.
INT. THE LIVING ROOM OF JOHN'S PARENTS' HOUSE
John and Sarah enter and quietly start to look around. Sarah goes into the kitchen as John moves to the back of the house.
JOHN
(screaming, o.s.)
No!
Sarah runs to the back of the house.
INT. THE BEDROOM OF JOHN'S PARENTS
Sarah rushes into the room to see John on the floor. He is leaning over the dead bodies of his foster parents. He has just checked them both for a heartbeat. He leans back away from them. He is now sitting on the floor, his back against a dresser. Anger, sorrow, guilt. He feels them all, but expresses none. He is numb.
A tear streams down Sarah's face. John's pain is hers. She pulls a sheet from the bed and drapes it over the couple.
SARAH
(somber)
We have to go.
JOHN
Not without Elly.
He stands with purpose and marches out of the room.
INT. THE LIVING ROOM OF JOHN'S PARENTS' HOUSE
John grabs a phone and dials a number.
INT. THE FIRST INTERROGATION ROOM
Elly is still alone in the room. The phone RINGS and she answers it.
ELLY
Hello?
INTERCUT PHONE CONVERSATION
JOHN
Elly, this is Reese.
ELLY
Oh, um, this is... Dyson.
JOHN
How far are you from my parents'
house?
ELLY
Not far at all. Why?
JOHN
0002000006310001CDB8 62B,Listen to me very carefully. I want you to leave there right now, but don't tell them where you're going. Tell them you have to go to the bathroom. Tell them
anything, but don't let them follow you. Get in your car and drive straight to my parents' house. Don't stop anywhere along the way. Promise me that.
ELLY
I promise.
JOHN
Go now. I'll meet you.
He hangs up.
INT. THE SECOND INTERROGATION ROOM
Rhodes and Drummond are still standing over Enrique. Rhodes throws a photograph of the terminator on the table in front of Enrique.
RHODES
Do you know who this is?
ENRIQUE
Yeah, sure I do.
DRUMMOND
Who is it?
ENRIQUE
That's John's Uncle Bob.
Rhodes and Drummond look at each other. "Uncle Bob?"
EXT. THE PARKING LOT OF THE POLICE STATION- DAY
Elly gets into her expensive four door and drives off.
INT. THE LIVING ROOM OF JOHN'S PARENTS' HOUSE
John is standing by the front window. Every few seconds, he cautiously peeks through the curtains. Sarah walks back into the room through the kitchen.
SARAH
There's a truck full of sheet metal in the garage.
JOHN
My father works for a construction
company.
SARAH
Does he have an arc welder?
JOHN
No, but he has a rivet gun. Elly's car is a V-6, we'll use that. Wait in the garage. Please.
INT. ELLY'S CAR
She is on her way to John's parents' house. She grabs her car phone and dials a number.
INT. THE LIVING ROOM OF JOHN'S PARENTS' HOUSE
John is peeking through the curtains. There is half of a RING on the telephone. John looks at the telephone. It does not ring anymore, so he goes back to looking out the window.
00020000061E0001D3E3 618,INT. THE FERRARI
YUPPIE is speeding down a mountain road, heading toward Marshall Canyon Park. His car phone RINGS and he answers it.
YUPPIE
(Johns foster mother's voice)
Hello.
INT. ELLY'S CAR
ELLY
It's me again. I called to let you
know I heard from John. I'm worried
about him. He doesn't sound like
himself. You'll see what I mean in
a few minutes. He's on his way to
your house.
INT. THE FERRARI
YUPPIE
Thanks for calling.
He hangs up.
EXT. ON A MOUNTAIN ROAD
The Ferrari spins around as it brakes. The car speeds off in the direction it just came from.
INT. THE FERRARI
YUPPIE dials a number on the car phone.
INT. JOHN'S APARTMENT
The phone RINGS and SOLDIER answers it.
SOLDIER
(in Elly's voice)
Hello?
YUPPIE
(through the phone)
Proceed to 1527 St. Andrews Drive.
SOLDIER hangs up, grabs the police radio and quickly leaves the room.
INT. THE OFFICE OF GOLDEN STATE REALTY
The phone RINGS and HARD HAT answers it.
HARD HAT
(in the receptionists voice)
Golden State Realty.
YUPPIE
(through the phone)
Proceed to 1527 St. Andrews Drive.
HARD HAT hangs up and walks quickly from the room.
INT. THE GARAGE OF JOHN'S PARENTS' HOUSE
John enters from the kitchen and hits the switch on the wall. The automatic garage door starts to open. Elly's car is pulling into the driveway. John waves her into the garage. She drives in and parks next to the pickup. John hits the button and the door closes. Elly gets out and John pulls her away from the car.
ELLY
What's going on?
JOHN
We have to get out of here. There's no time to explain.
ELLY
What?
00020000065F0001D9FB 659,During the above conversation, Sarah picks up a sledge hammer and walks toward Elly's car. She steps onto the hood and smashes the glass out of the sun roof.
ELLY (CONT'D)
My car!
John points to their rifles and shotguns which lay on the floor.
JOHN
Grab those guns and get in the
back seat.
Elly doesn't move.
SARAH
I'd do what he says.
Sarah swings the maul again, this time smashing in the windshield. Elly starts to protest, but a LOUD metallic "POP" draws her attention. John has pop-riveted a short piece of sheet metal over the rear wheel well of her car. The piece of metal hangs down over the tire. Elly looks back at Sarah, who grins at her.
ELLY
You're both crazy.
EXT. ON SUNSET BOULEVARD
SOLDIER is speeding past the other cars on the road.
EXT. ON VENTURA FREEWAY
HARD HAT is driving the step van like a crazed person.
INT. THE GARAGE- A FEW MINUTES LATER
The car is now almost completely covered with the metal panels. The front and rear windshields have been removed and replaced with the steel sheeting. There are only two one foot by one foot openings in the front and rear portions on the driver's side. The car now looks like a small tank. The only entrance is through the sun roof. The doors have been covered over with metal panels, riveted shut. The trunk of the car is open and John is loading it with items from the garage. He places a toolbox, cordless power drill, a chain saw, everything but the kitchen sink into the trunk. Elly is in the back seat of the car. She has the trunk access hatch open and is looking at John as he loads the items.
ELLY
Sweetie, you have to tell me what's
00020000063F0001E054 639,going on.
JOHN
You remember that crazy story I told
you? The one they put Sarah in the
nut house for talking about.
ELLY
The one about machines being sent back
through time to kill you?
JOHN
Right. Well, there's one part of the
story I left out. It's true.
He throws more boxes into the trunk, obscuring her view.
Sarah is standing next to the work bench. She has three large mason jars sitting in a row. She squirts about an inch worth of liquid soap into each jar then fills them the rest of the way up with gasoline. She then drapes a strip of cloth across the mouth of one of the jars. Half of it is in the gasoline, the other half hangs down the outside of the jar. She clamps the lid shut and shakes it. She rips another strip of cloth and begins to prepare the second jar.
EXT. IN FRONT OF JOHN'S PARENTS' HOUSE
The Ferrari pulls up and stops in front of the house. YUPPIE gets out of the car and moves quickly to the front door. He doesn't appear to be carrying any weapons.
INT. THE GARAGE
John has the trunk fully loaded. The last thing he throws in is his back pack. He closes it and begins to walk around the car, checking the strength of the armor. Sarah is now stooped in the back of the pickup, sifting through the scrap metal.
INT. THE LIVING ROOM
YUPPIE enters and walks quickly to the back bedroom.
INT. THE GARAGE
John is on the far side of the car, opposite the kitchen door. He kneels down out of sight to check the sheet metal again. YUPPIE enters the garage, quietly walks over and steps up onto the open tailgate of the truck. Sarah thinks it is John.
0002000007800001E68D 77A,SARAH
Hand me the...
She looks back over her shoulder and sees the terminator. It pulls the snub nose revolver from the back of its waistband and aims it at Sarah's head.
John rises up from the far side of the car, into sight.
JOHN
What?
YUPPIE sees John and raises the gun toward him. John ducks back behind the car as YUPPIE fires off four rounds which ricochet off the plating. The revolver CLICKS, empty. The rivet gun is sitting right next to Sarah. She grabs it and rivets YUPPIE'S foot to the tailgate.
Sarah dives over the side of the truck as the cyborg lunges for her. It almost grabs her, but stops just short as its foot slams the tailgate shut.
John quickly scrambles into the sun roof of Elly's car as Sarah hits the button for the garage door. The door starts to rise as Sarah climbs into the sun roof.
TIGHT ON YUPPIE'S FOOT. There is a visible electric arc as he wrenches his foot from the rivet.
John starts the engine. YUPPIE leaps from the back of the truck to the back of Elly's car. He starts to climb to the top, toward the open sun roof as John speeds out of the garage. YUPPIE is knocked off the car by the not-quite-open garage door.
EXT. THE STREET IN FRONT OF JOHN'S PARENTS' HOUSE- AFTERNOON
Elly's car (now called the tank) speeds onto the street and takes off through the neighborhood. YUPPIE runs/limps over to the Ferrari and gets in. He speeds off in pursuit.
The tank and the Ferrari speed through the residential area ignoring all stop signs. At the first intersection, the step van pulls in behind the tank, joining the chase. At the second intersection, the Humvee pulls in behind them also.
EXT. AT THE ENTRANCE TO THE NEIGHBORHOOD
The residential street leads out to a large boulevard. The tank speeds out onto the busy street. The other three vehicles are close behind. All of them are skidding around corners and narrowly missing other cars on the road.
0002000006950001EE07 68F,INT. THE TANK
JOHN
They've got your van, and a military
vehicle.
SARAH
Head for the nearest freeway.
EXT. ON THE BOULEVARD
The Ferrari pulls ahead of the other pursuit vehicles and cruises up alongside the tank. YUPPIE aims an auto rifle at it and FIRES.
INT. THE TANK
The metal plating over the side windows begins to dent up from the impact of the bullets. Elly screams.
EXT. ON THE BOULEVARD
YUPPIE sees it has no effect. He aims at the metal that covers the wheel wells and FIRES again. Once again, the sheeting holds fast. The Ferrari falls back behind the tank again.
INT. THE TANK
Sarah picks up the rear view mirror from the broken glass on the floorboard. She reaches it up out of the sun roof and uses it like a periscope to see where the other cars are in relation to them. Elly is the only one in the back seat. The two shotguns and auto rifles are at her feet.
SARAH
Grab that rifle and shoot it at
the Ferrari.
ELLY
I can't shoot anybody.
SARAH
Do it!
Elly picks up a shotgun. She obviously wants nothing to do with the weapon.
ELLY
I can't.
SARAH
I'm going to kill her myself.
Sarah snatches the shotgun out of her hand.
EXT. ON THE BOULEVARD
Sarah stands up in the tank, the upper part of her body poking up through the sun roof. She aims at the Ferrari and FIRES.
A large hole is punched through the windshield of YUPPIE'S car.
HARD HAT leans out of his open door as he drives. He aims a hand gun at the tank and FIRES.
Sarah drops down into the tank again, just avoiding several bullets.
INT. THE TANK
JOHN
Here's the freeway.
SARAH
Good. Once we get on, I want you to keep changing lanes. I don't want them to shoot you through that rear opening.
0002000007090001F496 703,EXT. ON THE BOULEVARD/FREEWAY
The tank speeds onto an entrance ramp for the freeway. The terminators are right behind them. The Humvee takes the point, pulling ahead of the other two commandeered vehicles. SOLDIER has a wooden crate sitting in the seat next to him. He reaches into it and grabs a hand grenade. He pulls the pin with his teeth and lobs it toward the sun roof of the tank.
INT. THE TANK
The grenade lands in Sarah's lap. She instinctively grabs it and throws it back out through the roof.
EXT. ON THE FREEWAY
The grenade EXPOLDES in mid-air.
SOLDIER grabs another grenade.
INT. THE TANK
Sarah grabs the floor mats and holds them up to cover the sun roof.
SARAH
(to Elly)
Get the tool box.
EXT. ON THE FREEWAY
SOLDIER pulls the pin from the second grenade and allows the handle to pop off of it. He waits several seconds before throwing it. The second grenade bounces off the carpeted floor mats and EXPLODES just to the side of the tank. This causes the tank to rock on its own shocks, but it does not cause it to stop.
INT. THE TANK
Elly turns the interior light on so they can see. She then uses a cordless, power screwdriver to attach the floor mats to the headboard.
SARAH
Don't let him get a grenade under us. If we get a flat, we're as good as dead.
EXT. ON THE FREEWAY
Just as she predicted, the Humvee pulls up in front of the tank.
SOLDIER grabs more grenades. As he does, one falls unnoticed onto the passenger floorboard. He tosses grenades onto the street in front of the armored luxury car. John swerves around the small explosives as they EXPLODE all around him. Other cars on the road are pulling off to the shoulder to avoid the mayhem. The Ferrari speeds ahead of the tank and past the Humvee. It drifts over to the shoulder as it picks up speed.
0002000009D20001FB99 9CC,SOLDIER has used all of the grenades in the small crate. He gropes to the rear of the vehicle and lays his hands on an auto rifle. He aims it at the rear portion of a mini-van on the freeway and FIRES. He shoots most of the glass out of it.
The tank swerves to avoid the glass that is now on the asphalt.
The Ferrari is a mile ahead of the action and continues to zip past the other cars on the freeway as if they were standing still. Suddenly, YUPPIE cuts the wheel hard and slams on brakes. The Ferrari skids to a stop in the middle of the freeway, spinning around as it does. Other cars swerve around the Ferrari that now sits stationary in the road. YUPPIE spins wheels as he puts the Ferrari back in motion. He is now speeding the wrong way down the freeway, headlong into the oncoming traffic.
The Humvee now drops back behind the tank, driving alongside the step van. There are no cars in sight behind them. Most either wrecked or stopped when the hand grenades started to go off.
The Ferrari continues to shoot down the center of the freeway. Many cars on this part of the road have collisions as they brake and swerve to avoid the sports car.
INT. THE TANK
John sees the Ferrari speeding toward him. It is planning to kamikaze into him with a combined impact of over 150 miles an hour.
JOHN
Hold on!
EXT. ON THE FREEWAY
Both cars are speeding right toward one another. At the very last possible second, John cuts the wheel and the Ferrari only clips the rear end of it. The tank skids a little, rebounds off the concrete barrier and continues on.
The Ferrari zips between the step van and Humvee. He attempts to stop the car, but it flips over. The car rolls over several times before finally coming to rest upside down.
The step van speeds ahead of the tank and drifts in front of it. The Humvee speeds up also, but it does not pass the tank. It rear-ends the armored car and pushes it into the rear of the step van. They now have John sandwiched in between them.
INT. THE TANK
The speedometer begins to drop as the tachometer begins to rise. John's engine is REVVING.
JOHN
We're slowing down.
ELLY
If they get us to a complete stop, we'll be sitting ducks.
SARAH
No shit.
EXT. FARTHER DOWN THE FREEWAY
YUPPIE is now standing outside the Ferrari. He flips it back over onto its wheels and gets back into it. It starts back up and he drives off to continue the pursuit.
INT. THE TANK
Sarah is holding one of the mason jars. She lights the strip of cloth and hands it to Elly.
00020000075D00020565 757,SARAH
Throw it at the jeep.
Elly takes the Molotov cocktail and does little more than drop it out of the rear opening.
EXT. ON THE FREEWAY
The jar rolls down the trunk of Elly's car and falls, breaking on the pavement. It makes a nice little fireball on the roadside.
INT. THE TANK
Sarah grabs Elly by the shirt and shakes her violently.
SARAH
You're supposed to break it!
John looks at his speedometer. He is down to about twenty miles an hour.
JOHN
Hurry!
Sarah lights the cloths on the remaining two jars and hands one to Elly.
SARAH
Now do it!
Elly is mad. She heaves the mason jar out the window.
EXT. ON THE FREEWAY
The jar shatters on the windshield of the Humvee. Flames obscure the terminator's view.
Sarah rips one of the floor mats away and stands up. She flings the last mason jar into the step van through a shot-out rear window. It also bursts into flames and Sarah drops back down into the tank.
HARD HAT and SOLDIER can't correlate as well through the flames.
A gap of only a few inches allows John to drive from between them.
The tank begins to pick up speed again. Just as it does, the Ferrari slams into its passenger side.
INT. THE TANK
Elly is helping Sarah screw the floor mat back up to the headboard.
EXT. ON THE FREEWAY
The Humvee and step van have caught back up to them. The flames have died down considerably on the hood of the Humvee. There is nothing there to continue burning.
However, the fire inside the step van is starting to spread. The ammo cartridges in the van start to DISCHARGE. It's like the fourth of July. HARD HAT puts his hand gun in the back of his waistband and drifts the van over toward the Ferrari.
The step van pulls up and HARD HAT simply climbs onto the roof of the Ferrari. The step van drifts away and wrecks as HARD HAT calmly lies face down on the roof of the speeding car. He holds on to both door frames.
000200000B7000020CBC B6A,The Ferrari slams back into the side of the tank and HARD HAT grabs the sheet metal. YUPPIE drifts away and the sheet metal begins to rip away from the car. Sarah sticks the blade of the chain saw out through the gap in the steel plating. HARD HAT lets go as she starts to cut into his fingers.
The Humvee slams into the driver's side of the tank. The Ferrari drifts back over and resumes ramming it also. On the road just ahead is a tractor trailer truck. They are all speeding toward the rear end of the trailer. As they approach it, the cars split apart. The Humvee and the tank shoot to the driver's side of the trailer while the Ferrari travels on the right.
The Humvee continues its assault, ramming the tank into the trailer of the truck.
INT. THE CAB OF THE TRACTOR TRAILER
The TRUCK DRIVER is fighting the steering wheel. He can barely keep control over his truck.
TRUCK DRIVER
What the hell...
EXT. ON THE FREEWAY
On the passenger side of the truck, the Ferrari pulls in close and HARD HAT grabs the chrome handle on the side of the cab. He hoists himself up so that he stands, looking into the passenger window. He draws his gun from his waistband and holds it up for the driver to see.
HARD HAT
Don't stop.
HARD HAT begins to climb up the cab to the trailer.
The Ferrari speeds up in front of the truck and drifts over to the driver's side. He slows down enough to position himself just in front of the tank. John now has the truck to his right, the Humvee to the left, and the Ferrari in front.
INT. THE TANK
JOHN
At least we know things can't get
any worse.
EXT. ON TOP OF THE TRAILER
HARD HAT is standing on top of the moving trailer, aiming down to the sun roof. He FIRES a single shot.
INT. THE TANK
The bullet punches through the floor mat and lodges into the cushion of John's seat, between his legs. John jams on the breaks, locking them up.
EXT. ON THE FREEWAY
The tank skids to a stop as the other vehicles continue to move.
HARD HAT leaps from the top of the trailer onto the top of the speeding Humvee. He climbs in through the open roof hatch.
INT. THE TANK
SARAH
Let's get moving!
EXT. ON THE FREEWAY
The tank starts to move again. The Humvee is backing toward them at high speed. HARD HAT is standing and mans the .50 caliber machine gun. They pass each other and HARD HAT shoots the small car. The IMPACT of the bullets are THUNDEROUS. They nearly pierce the steel.
INT. THE TANK
Two bullets get inside the car from the damaged section. They puncture the rear seat cushion not a foot from Elly.
EXT. ON THE FREEWAY
The Humvee stops and resumes in a forward direction again. Parked on the shoulder of the road just ahead is the Ferrari. As the tank approaches, it begins to move again.
INT. THE TANK
Sarah looks out through the damaged section of the armor. She sees that a section of it near the bottom is bent. A jagged piece of metal is jutting out.
SARAH
Slow down.
00020000072F00021826 729,JOHN
What? Are you crazy?
SARAH
Slow down!
John begins to slow down and the Humvee quickly catches up to them. It pulls up along their passenger side. HARD HAT reaches across the roof for the steel plating. He is about to rip it completely off. Before he can, Sarah grabs the steering wheel and jerks it to the right.
EXT. ON THE FREEWAY
The tank collides with the Humvee. The piece of metal that protrudes from the tank slices the rear tire of the Humvee. SOLDIER can no longer control the military vehicle. He veers off to the shoulder. HARD HAT grabs a rocket launcher, aims at the tank and fires. It misses the rear of the armored car by inches and EXPLODES on the street next to it.
INT. THE TANK
The car is rocked by the shock wave.
JOHN
We're almost out of gas. I have
to pull off.
SARAH
Where?
JOHN
I think I know a place.
EXT. ON THE FREEWAY/SECONDARY ROUTE
The Ferrari follows John off an exit ramp, onto a secondary road. A sign on the roadside reads PRICE'S SALVAGE 1 MILE.
EXT. ON THE FREEWAY
HARD HAT is standing beside the Humvee. He holds the rear of the vehicle off the ground with his right hand. In his left he holds the spare tire. SOLDIER is quickly unscrewing the lug nuts with his fingers. He pulls the flat tire off and HARD HAT puts the spare on.
EXT. PRICE'S SALVAGE YARD
This place is an auto graveyard that stretches out for several miles. The rusted corpses of automobiles sit in tall stacks throughout the lot. Narrow dirt roads weave around the walls of steel, forming a complex maze. It looks very much like a battlefield of the post-Apocalyptic future. The perimeter of the lot is encased by an eight foot tall chain link fence, topped with barbed wire. Huge electrical power towers rest just outside this boundary and the high tension wires actually pass over a part of the lot.
00020000093D00021F4F 937,In the middle of the lot is a large clearing. In the clearing sits an auto compactor and a derrick crane with a large electromagnet attached. Parked in the clearing is an old Ford Econoline van. It sits with its rear doors open next to a wrecked station wagon. PETE PRICE, age 42, has just used an engine lifting rig to hoist the engine from the wrecked car. He starts to roll it toward the open doors of the van. His brother BILL PRICE, age 45, drives up in an auto chassis. The car only has one seat and no body. Behind him sits two junk yard dogs.
PETE
It's about time.
Bill gets up from the auto chassis and climbs into the cab of the derrick crane. He drops the electromagnet onto the wrecked station wagon and lifts it into the air. He drops it into the auto compactor and Pete throws a lever that starts the car crushing machine. The car is compacted sideways, pushing its doors together.
EXT. ON THE FREEWAY
HARD HAT and SOLDIER sit patiently in the Humvee that is still parked on the shoulder of the road.
EXT. PRICE'S SALVAGE
The tank smashes into the chain link gate, tossing it aside. The Ferrari speeds into the lot right behind them. The chase continues as they zip past the tall stacks of cars, heading deep into the lot.
IN THE CLEARING, Pete has just retracted the walls of the
compactor and Bill uses the electromagnet to lift the crushed car out. He drops the car into the clearing from twenty feet in the air.
The tank zooms into the clearing, only to have the crushed car dropped right in front of it. John swerves, and winds up smashing into the side of the auto compactor. He misses Pete by only a few feet. The Ferrari skids to a stop beside the derrick and YUPPIE quickly climbs up to the cab. The dogs are barking at the terminator.
INT. THE TANK
John is feverishly trying to restart the engine. It's no use. Elly is trying to look out the rear opening.
ELLY
I can't see him.
EXT. THE YARD
YUPPIE grabs Bill and knocks him unconscious on the frame of the crane. He throws Bill to the ground and Pete jumps into the car chassis and speeds off toward the office building. YUPPIE lifts the electromagnet and drops it down onto the tank.
INT. THE TANK
The vehicle is shaken by the impact of the magnet.
JOHN
What was that?
Sarah rips away one of the floor mats. All they can see is the smooth metal of the magnet.
000200000C1E00022886 C18,EXT. THE YARD
YUPPIE lifts the car up and drops it down into the compactor.
INT. THE TANK
SARAH
Climb out through the side!
EXT. THE YARD
YUPPIE drops down to the ground and begins to walk toward the car compactor. The dogs begin to viciously bite into his legs. The terminator walks over to the compactor lever with a dog on each leg. He pulls the lever.
INT. THE TANK
Elly has started to climb out through the damaged section of the metal plating. Before she is halfway out, the walls begin to push the metal back toward the car. She barely manages to pull herself back into the car. Sarah tries to push up on the magnet, but it is still magnetized to the roof.
EXT. THE YARD
YUPPIE begins to walk back toward the Ferrari. He stops, grabs one of the dogs by the back of the neck, pulls it off his leg and flings the animal away. The dog lands several yards away but quickly scrambles back to its feet and runs back over to the anthropomorphic machine.
INT. THE TANK
The walls of the car have started to cave in. Elly opens the trunk access door in the back seat.
ELLY
We can get out through the trunk.
However, the trunk is still loaded with the garage items. She starts to frantically pull them out as John and Sarah climb over the seat.
EXT. THE YARD
YUPPIE has almost reached the Ferrari. One of the dogs jumps up and bites hold of his wrist. YUPPIE shakes his arm, but the dog holds firm.
IN THE COMPATOR, the crushing action has popped the trunk open. Elly pushes out the last few boxes and climbs out. Sarah and John are right behind her. John grabs his back pack from the trunk as they climb up, out of the compactor. They escape just as the car is completely crushed.
YUPPIE reaches into his car and grabs one of the auto rifles. He does not see John, Sarah and Elly run off through the lot. He shoots both of the dogs.
PETE
Freeze!
YUPPIE turns to see Pete standing in the parked auto chassis. Pete is aiming a shotgun at him. YUPPIE shoots Pete. Without a second thought, YUPPIE walks over and grabs the lever. He pulls it back to retract the walls of the compactor.
ON A NEARBY HILL, John, Sarah and Elly are looking down to the clearing. They are hidden behind a junked car.
SARAH
It didn't see us get away.
The terminator uses the crane to lift the crushed car out of the compactor and sets it on the ground.
JOHN
We have to get out of here.
John opens his back pack and removes the tackle box.
IN THE CLEARING, YUPPIE is now standing beside the crushed tank. He starts to peel away layers of the metal to confirm his kill. When he sees the car is empty, he begins to look around, surveying the lot. He stops moving.
EXT. ON THE FREEWAY
HARD HAT and SOLDIER continue to sit stationary in the Humvee. Suddenly, SOLDIER starts it up and speeds off.
EXT. ON THE HILL IN THE SALVAGE YARD
Sarah and Elly continue to sit, concealed by the old vehicle.
ELLY
I can't believe we didn't grab a gun.
SARAH
We're lucky to be alive.
John has removed a pair of wire snips from the tackle box. He replaces the box in the back pack and slings it back over his shoulder.
0002000008500002349E 84A,JOHN
What's it doing now?
ELLY
It's climbing.
IN THE CLEARING, YUPPIE has climbed to the top of the derrick. He is scanning the lot, looking for any movement.
ON THE HILL, John pulls Elly back behind the cover of the auto body.
JOHN
Keep down. Don't let him see you. As soon as it climbs down, we'll make a break for the fence. I'll cut the barbed wire.
IN THE CLEARING, the Humvee drives in and stops. SOLDIER and HARD HAT both step out of the military vehicle. HARD HAT picks up the dead mans shotgun.
YUPPIE grabs the derrick cable and slides down to the ground. Both HARD HAT and SOLDIER walk over and stand shoulder to shoulder with him. They scan the area for their prey.
SARAH
Oh my God, they look like the
Village People.
JOHN
Let's go.
John, Sarah and Elly run off toward the fence.
SOLDIER walks to the Humvee and removes the rocket launcher. He loads a rocket into it and aims it up to one of the huge electrical towers. He FIRES the rocket. It shoots up to the steel tower and EXPLODES, breaking one of the cables. The cable drops down onto the fence. 100,000 volts electrify it.
IN ANOTHER PART OF THE LOT, John, Sarah and Elly have just reached this part of the fence. John is just about to grab it when sparks begin erupting.
AT THE FRONT ENTRANCE, HARD HAT walks over and stands guard where the gate used to sit.
IN THE CLEARING, YUPPIE limps off through the lot, searching.
SOLDIER gets in the Humvee and begins to slowly drive through the labyrinth of rusted car hulls. There are no more small arms for him to utilize, but he does still have the roof mounted machine gun, if necessary.
AT THE FENCE, Elly is starting to panic.
ELLY
We're trapped.
JOHN
It's time to take the offensive.
AT THE CLEARING, A FEW MINUTES LATER, Sarah and John run down to the open area. Sarah jumps into the cab of the derrick. She yaws the crane arm, dragging the magnet across the ground. It hits the smashed tank with great force and upends. It now stands on its side with the smooth bottom portion of the magnet facing away from the crushed automobile. John jumps into the car chassis and drives off.
00020000072300023CE8 71D,AT THE FRONT GATE, HARD HAT continues his vigil until John speeds past him in the open car. HARD HAT fires at him but misses. John is moving too fast. HARD HAT begins to run, chasing John on foot. John zips around corners, barely missing the car stacks that loom up all around him. HARD HAT continues to SHOOT as he runs. Shotgun BLASTS punch into the stacked cars and one impacts on the rear portion of the chassis car. But the shotgun quickly runs out of shells and HARD HAT tosses it aside.
John drives into the clearing and the car skids to a stop. He jumps up out of the car and begins to run. HARD HAT is just behind him. Just as John runs past the upended magnet, HARD HAT grabs him by the back of his shirt collar.
IN THE DERRICK CAB, Sarah throws a lever.
IN THE CLEARING, HARD HAT is pulled to the electromagnet with a RESONANT CLANG. This motion causes him to fling John through the air. John tumbles headlong several yards into the dirt. When he sits up, he can see that HARD HAT is now stuck to the electromagnet. His arms and legs are spread out wide and the left side of his face is plastered against the metal. He cannot move a finger. John pulls a scalpel, a socket set and a pair of needle nose pliers from his back pack.
JOHN (CONT'D)
Let's just see what we can see.
John uses the scalpel to slice open HARD HAT'S forehead, along his hairline. After making the incision, he slips his fingers under its scalp and rips it back off of his head. HARD HAT'S hair, ears and part of his neck now hang down like the hood of a sweatshirt. John uses the ratchet tool to quickly open the maintenance port in the terminators skull.
HARD HAT'S POV (DIGITIZED)- The left side of his vision is distorted from the magnetic field. The word OUTPUT begins to flash. TARGET ACQUIRED is also printed.
000200000B9600024405 B90,IN ANOTHER PART OF THE LOT, YUPPIE stops walking. After a
second, he turns and begins to run/limp back toward the clearing.
IN YET ANOTHER PART OF THE LOT, SOLDIER stops the Humvee. After receiving his input, he turns the vehicle around and speeds back to the clearing.
IN THE CLEARING, John has just removed the inner plug from the terminator's head. He reaches in with the pliers and grabs hold of the CPU chip.
JOHN (CONT'D)
Hasta la vista, baby.
John yanks the chip out.
HARD HAT'S POV (DIGITIZED)- There is a BURST OF STATIC and the screen goes BLACK.
EXT. THE CLEARING
John has the chip in his hand. He is just about to break it in half when he suddenly has an idea. Sarah runs over to him.
SARAH
Break it.
JOHN
I have an idea. Help me load it into the van.
John is referring to HARD HAT. He slips the chip into his pocket just as the Humvee speeds into the clearing.
JOHN (CONT'D)
Do it!
John runs over and jumps behind the wheel of the chassis car. Before SOLDIER can get out of his vehicle, John starts to drive off. SOLDIER also streaks off. They disappear into the maze.
The Humvee continuously rams into the rear of the bare-bones vehicle. He is trying to force John to wreck into one of the smashed auto heaps.
IN THE CLEARING, Sarah has lifted the electromagnet back into the air. HARD HAT is still stuck to it. She swings the derrick arm and releases the magnet. HARD HAT drops ten feet to the ground, kicking up a cloud of dust. Sarah and Elly run over to it. It remains spread eagle, stiff as a board. Its joints are all locked up, off line. They both use all of their strength, but they can barely lift its shoulders an inch off the ground.
ELLY
We'll never get this into the van.
SARAH
Yes we will.
Sarah walks off.
IN THE MAZE, John skids around a corner into a new passage. The Humvee doesn't negotiate the corner as well as the smaller vehicle. Its fender gets caught in the twisted metal of a wrecked car. The sheer brute force of the 4x4 vehicle eventually rips it free and it continues on.
IN THE CLEARING, Sarah has lowered the station wagon's motor to the ground. She begins to unchain it from the engine lifting rig. Sarah does not notice when YUPPIE limps into the clearing, but Elly does. She runs over and tackles Sarah just as bullets from the auto rifle punch into the nearby wrecked tank. Sarah and Elly take cover behind Elly's former car.
SARAH (CONT'D)
Stay here.
Sarah runs to the far side of the auto compactor as YUPPIE walks into the clearing, toward the crushed car. Elly has no place to go.
IN THE MAZE, John turns a corner into another aisle. He only drives down this dirt road a short time before turning the vehicle again. The Humvee is now a good bit behind him. It also skids into the aisle and SOLDIER stops. He did not see where John turned off. He is at a junction where John could have went in one of two directions.
IN THE CLEARING, YUPPIE has almost reached the smashed car.
00020000075700024F95 751,Sarah climbs up into the cab of the derrick and swings the magnet over toward him. YUPPIE looks over to the deactivated HARD HAT. He begins to back up realizing what the magnet can do. Sarah continues to swing the magnet trying to get it directly over him. YUPPIE reaches the edge of the clearing and slips into a space between two stacks of cars. Sarah can't reach him with the magnet, not here.
IN THE MAZE, SOLDIER continues to sit. He turns the Humvee's engine off.
SOLDIER'S POV (DIGITIZED)- The graphic equalizer style bar graph reappears in his vision. They barely move. AUDITORY POWER BOOST also appears and the bars begin to rise higher. We can now HEAR the sound of the CHASSIS CAR ENGINE.
BACK TO SCENE, SOLDIER restarts the engine and speeds off in John's direction.
IN THE CLEARING, Sarah is swinging the magnet into the stacks of cars like a wrecking ball. The cars sway but remain in their upright piles. She then starts to use the magnet to remove cars from the top of the stack one by one.
YUPPIE leans out from between the stacks and FIRES at the derrick cab. Most of the glass is shot out. We can no longer see Sarah standing behind the console. Has she been shot?
YUPPIE steps out from his sanctuary and begins to walk toward the derrick to confirm his kill. As he does, Sarah quickly stands and throws a lever. The magnet releases a car that was suspended beneath it. It drops straight down onto YUPPIE. The car begins to slowly rise back up from the ground and she drops another car on top of it.
IN THE MAZE, John has stopped the car but left the motor running. He runs to the back of the car and hooks a towing chain onto one of the stacks of cars. He gets back into the chassis car and starts to drive again. The chain pulls tight and the car stops advancing. The wheels spin in the dirt and the car slides from side to side.
000200000B8A000256E6 B84,The Humvee rounds a corner and begins to drive toward John at high speed. The stack of crushed cars finally topples over into the path of the oncoming vehicle. One of the cars even falls on the hood. John quickly unhooks the chain and starts to speed off. As he does, SOLDIER leaps from the top of the overturned cars and lands on the back of the chassis car. He starts to climb toward John and John leaps from the moving vehicle. The chassis car slams into the electric fence.
SOLDIER remains frozen in his crouched position on the back of the vehicle. The chassis car is now SPARKING like the fence and the car battery EXPLODES. John sees that the terminator is being fried, so he runs back toward the clearing.
SOLDIER'S POV (DIGITIZED)- POWER SURGE is flashing at the top of his field of vision. Below that is printed SYSTEMS OVERLOAD, ALL SERVOS LOCKED.
BACK TO SCENE, SOLDIER continues to crouch on the back of the electrified car. There is no cap on the pipe leading to the gas tank and sparks are flying all around it. It eventually EXPLODES. There is not much gas in the tank and the explosion is just enough to throw the terminator several yards through the air. It lands on its back, still frozen in the crouched position. Its clothes are charred and its body smoking.
SOLDIER'S POV (DIGITIZED)- ALL SERVOS LOCKED is still printed. At the top, however, the word WAIT is now flashing.
IN THE CLEARING, John runs back over to the van. Sarah and Elly have HARD HAT hooked to the lifting rig and are raising him off the ground.
SARAH (CONT'D)
(to Elly)
You finish here.
John grabs his back pack and climbs into the van.
JOHN
Where's the last one?
SARAH
Under those cars. It won't take it long to escape. What do you want with the deactivated one?
John has removed some of his diagnostic equipment. He has a lap top computer that has wire ribbons attached to it.
JOHN
I still have the chip you gave me at my apartment.
SARAH
So?
JOHN
So, I can load the memory files from the terminators chip into your blank chip. Then all we need is a new system command.
ELLY
What does that mean?
SARAH
It means we can reprogram it.
John hooks each chip to a different ribbon wire. He begins frantically typing on the hand held device.
BY THE FENCE, SOLDIER continues to lay motionless, his body still smoking.
SOLDIER'S POV (DIGITIZED)- The word WAIT disappears and ALL SERVOS LOCKED is replaced with UNSYNCHRONIZED PHYSICAL OPERATIONS STABILIZING.
BACK TO SCENE, SOLDIER attempts to stand. His movements are ungainly as he finally makes it to his feet. He begins to walk slowly in a jerky motion. As he moves, his joints begin to loosen up and his movement becomes more fluid. By the time he is up to full speed, he looks like a human running.
IN THE CLEARING, Sarah sets behind the wheel of the van as Elly disconnects the chains from HARD HAT.
ELLY
O.K., let's go!
As Sarah starts to drive off, SOLDIER runs into the clearing.
0002000006330002626A 62D,John continues to feverishly work at the keyboard as SOLDIER runs up and grabs the open door at the rear of the van. Elly screams as SOLDIER pulls himself into the back of the vehicle.
JOHN
Got it!
He rips the chip from the ribbon and pops it into HARD HAT'S skull. HARD HAT immediately comes on line and jumps up between John and SOLDIER. Before SOLDIER can appreciate what has happened, he is pushed from the back of the speeding van.
SOLDIER picks himself up and begins to walk back into the yard. As he does, his head twitches twice, a malfunction.
INT. THE VAN
Sarah is driving back toward the freeway.
JOHN
Why did you have the lift rig on it?
ELLY
Do you have any idea how much one
of those things weigh?
HARD HAT
427 point 8 pounds.
JOHN
How many terminators are here now?
HARD HAT
Three, counting me.
SARAH
Oh, only three. I feel so much better now.
JOHN
Sarah, please. What's the next logical
step for the remaining two?
HARD HAT
To continue their search until Skynet is
put on line. The next logical move would
be to leave the northern hemisphere before Judgement Day and continue their search.
JOHN
We have to destroy them.
EXT. IN THE CLEARING
SOLDIER grabs HARD HAT'S discarded shotgun and walks over to the cars that sit atop YUPPIE. He pushes the first one off then lifts up the second one. YUPPIE crawls from beneath it, auto-rifle still in hand. Both machines walk off in different directions. Every so often, SOLDIER'S head twitches.
YUPPIE takes Bill's wallet and gets into the Ferrari.
INT. THE VAN
HARD HAT
Series 800 terminators have an interface
00020000072600026897 720,capability designed for data sharing and
information retrieval. When...
He freezes, off line.
ELLY
What's wrong with it?
JOHN
I don't know. It just went off line.
Maybe the chip isn't in tight enough.
He looks into the open port.
EXT. THE CLEARING
YUPPIE sits frozen behind the wheel of the Ferrari. When he comes back on line, he speeds off.
INT. THE VAN
HARD HAT comes back on line also.
HARD HAT
(to Sarah)
Get off the highway, immediately. They just requested our location from my on-board directional system.
JOHN
And you told them?
HARD HAT
The retrieval command cannot be overridden. It's a mandatory
output.
JOHN
Great. An asset just became a
liability.
(thinking, planning)
Can we communicate with you the same way?
HARD HAT
Yes. One way communication is possible. Our receptors are set to continually scan the human resistance radio band in the year 2029. Here, in this time, it is
an unused frequency. A simple citizens band radio could be set for the appropriate channel. But, it will not be a secure line. All transmissions broadcast on that frequency will be received by all three terminators.
JOHN
That's alright.
EXT. IN THE SALVAGE YARD
SOLDIER is standing beside the Humvee. He pushes the cars from the hood of the military vehicle and climbs inside. He begins to back out of the lot.
INT. THE VAN
JOHN
You went off line before...
HARD HAT
In order for information to be broadcast, both the transmitting and receiving parties must be stationary. When either an input or output command is received, the CPU automatically ceases all motor functions.
JOHN
Can you override that command?
HARD HAT
No.
JOHN
Good. I'm taking you off line until we need you. Will that keep them from getting our location?
HARD HAT
Yes.
John reaches the needle nose pliers into the port and pops out the CPU chip.
000200000B8300026FB7 B7D,JOHN
Turn left ahead.
Sarah is now driving down a city street. She turns off, following John's instructions.
INT. THE FERRARI
YUPPIE is speeding down the freeway, scanning for the van. He picks up the car phone and dials 911.
DISPATCHER
(through the phone)
911 emergency.
YUPPIE
I want to report a murder at Price's salvage yard.
DISPATCHER
What is your name?
YUPPIE
(looking at wallet)
Bill Price.
DISPATCHER
And you say someone's been killed?
YUPPIE
Yes, he was shot.
DISPATCHER
Who was shot?
YUPPIE
My co-worker.
DISPATCHER
Do you know who shot him?
YUPPIE
No, but he stole our van, a white, Ford
Econoline, license number...
CUT TO:
INT. THE HUMVEE
SOLDIER is also driving along the freeway. He has the police walkie-talkie on and is monitoring the police dispatcher.
POLICE DISPATCHER
Attention all units, be on the lookout for a possible murder suspect driving a stolen, white, Ford Econoline van, California license...
EXT. A HIGHRISE CONSTRUCTION SITE- LATE AFTERNOON
The skyscraper that is under construction is nearly finished. The top ten stories are lacking windows and curtain walls, but the basic structure is complete. There is a tall wooden fence that encloses the site. The gate portion of it is open and workers pour out onto the street. It is quitting time. The workers look annoyed as they step aside to allow Sarah to drive the van into the lot. She parks the van and John steps out through the sliding door in the side.
In another part of the yard sits a large truck. It has a huge box bed and a 25 foot long hydraulic claw arm. A worker sits at the base of the arm, working the control levers. The arm is powerful enough to lift huge, broken slabs of limestone curtain wall. The worker swings the arm over the bed of the truck and drops the large stone.
The FOREMAN, age 52, walks over to the truck.
FOREMAN
(calling up to the worker)
Finish that tomorrow! Let's go!
John walks over to the foreman.
FOREMAN (CONT'D)
Hi, John. What are you doing here?
JOHN
I need to ask you a favor.
FOREMAN
Sure, hold on a minute.
The foreman looks up to the top stories of the building. He takes a c.b. walkie-talkie from his belt.
FOREMAN (CONT'D)
(into walkie-talkie)
Kirby! Get your men out of the building. I want to get out of here sometime today.
KIRBY
(through walkie-talkie)
Just another minute.
FOREMAN
(into walkie-talkie)
I'm cutting the power off the elevators in two minutes. You come down now or you can walk down forty stories.
(to John)
Where's your dad? He didn't come back from lunch.
JOHN
(stumbling for the words)
He's... he's not feeling well.
FOREMAN
Did he tell you about this shit?
The foreman has started to walk toward the front doors of the building. Just in front of them, construction of a car port has begun. A crane holds up the leader cage of a pile driver. The cage rises up eight stories and encases the hammer. It is set up to drive the support foundation for the columns.
00020000085A00027B34 854,FOREMAN (CONT'D)
This building is almost done and the
architects come to us saying they need
to add on a car port. I tell you...
JOHN
About that favor...
FOREMAN
Oh, shit. I'm sorry, John. What do you need?
JOHN
I need you to let me and Elly stay
in the trailer tonight.
The foreman is puzzled.
FOREMAN
You want to stay in the office trailer?
Here, on the lot?
JOHN
It's important.
FOREMAN
Are you in some kind of trouble?
JOHN
Yes. I am. I need this.
FOREMAN
Why don't you and Elly come stay with me then?
JOHN
We can't. It's too dangerous. And I can't tell you anything else about it.
FOREMAN
You know I'd do anything for you and your dad, but I could lose my job over something like this.
JOHN
My life depends on it.
FOREMAN
OK. But promise me that you'll stay in the trailer, with the shades drawn. And you have to be gone before sunup.
JOHN
I promise.
INT. A HOSPITAL ROOM- SEVERAL HOURS LATER
Bill Price is in the hospital bed. He has a bandage on his head
and an i.v. running to his arm. Rhodes and Drummond walk into his room.
RHODES
Mr. Price?
BILL
(groggy)
Who are you?
RHODES
I'm special agent Rhodes of the F.B.I.,
and this is my partner, special agent
Drummond. I know you have a slight
concussion and probably don't feel much
like talking, but it's important that we speak to you.
BILL
If it'll help you find the guy who
killed my brother, talk away.
Rhodes holds up a police sketch that looks somewhat like the terminator.
RHODES
You helped a police artist make this sketch. Is this the man who assaulted you?
He hands him a photograph of the terminator.
BILL
Yeah. That's the guy. Who is he?
RHODES
We don't know yet. But he's wanted for the murder of 17 police officers and is a suspect in a dozen more. You say he drove into your lot in a red Ferrari, is that right?
BILL
Yeah. He was chasing a car covered with sheet metal.
DRUMMOND
We found that car compacted. Do you know anything about that?
BILL
No. He knocked me out as soon as they came in the lot.
RHODES
So you didn't see who was driving the
sheet metal car?
BILL
No, I don't remember seeing anybody.
But, then again, I don't remember
0002000007CD00028388 7C7,calling 911.
DRUMMOND
You didn't. It was the man who assaulted
you. Enhanced 911 shows that he called from a cellular phone. Phone company
records show that phone belongs to a man
whose car was stolen earlier today, a red Ferrari.
RHODES
That's all we need for now. Get some rest.
DRUMMOND
Thanks for your help.
BILL
Catch that son of a bitch.
RHODES
We will.
EXT. THE CONSTRUCTION SITE- NIGHT
John and Sarah slip out of the trailer and get into the van through the rear doors.
INT. THE VAN
JOHN
Are you ready?
Sarah sets down a phone book and the foreman's c.b. walkie-talkie. She then pulls out a needle with a fine wire threaded through it.
SARAH
Ready.
John takes the CPU out of his pocket. He then pulls back a tarp that covers the off-line HARD HAT. John pops the chip in its skull. HARD HAT comes back on line as John begins to quickly screw the inner plug back in.
JOHN
(to HARD HAT)
Where are they and how are they armed?
HARD HAT goes back off line again. As he does, Sarah begins to quickly ratchet down the port cover. When it is closed, she pulls his hood/scalp back up. John grabs the c.b. as HARD HAT comes back on line.
HARD HAT
The Ferrari is closest. The driver has two automatic rifles. ETA, twelve minutes.
John hands it the c.b.
JOHN
Set it. What about the other one?
The terminator sets the proper band on the c.b. as he talks.
HARD HAT
The last terminator has a shotgun as
well as the roof mounted machine gun,
a rocket launcher with one rocket and
some plastic explosives. ETA, twenty
minutes.
He hands John back the walkie-talkie. Sarah is feverishly stitching his scalp together.
CUT TO:
EXT. IN THE CONSTRUCTION SITE
The lot is quiet, no sign of life. Oddly, the main gate is open. The Ferrari drives into the compound with its lights off. It stops and YUPPIE steps out with an auto rifle in each hand. He looks across the lot, sees the van and limps over to it. He can HEAR VOICES inside the van.
SARAH
When they get here, you'll stay on the
00020000079900028B4F 793,ground to intercept the second one.
HARD HAT
Affirmative.
JOHN
Hurry up. They'll be here any minute.
As soon as YUPPIE hears John's voice, he steps back away from the van. He aims both rifles at it and empties their clips into the side of the van. When they are empty, he ejects them and slaps in two more. He walks around to the other side of the van, emptying the new clips as he goes. The van is now covered with bullet holes. YUPPIE drops both rifles and walks over to the rear doors of the van. He opens them only to see that HARD HAT is the only one in the van. HARD HAT knocks YUPPIE off his feet with a side kick to his chest.
INT. THE SECOND FLOOR OF THE HIGH RISE building
John and Sarah stand near the windows, looking down to the van.
JOHN
He took the bait.
EXT. IN THE LOT
YUPPIE and HARD HAT are throwing each other around the yard, a power struggle between the blue collar worker and the white.
INT. THE SECOND FLOOR
JOHN
You only have two minutes before he takes his dive.
Sarah rushes across the room toward a bank of passenger elevators.
EXT. IN THE LOT
YUPPIE throws HARD HAT into a pallet of thin metal pipes. The impact breaks the metal bands that bind them together and they fan out across the dirt. Each machine grabs a pipe as a weapon. They swing at each other. The pipes impact with a solid CLANG, sometimes striking their target, sometimes blocked by the opponents pipe.
YUPPIE finally knocks the pipe from HARD HAT'S hand, then bats his head from left to right repeatedly. HARD HAT finally falls onto his back. He lies motionless as YUPPIE poises over him, ready to skewer him with the pipe.
INT. THE SECOND FLOOR
John throws a one-foot-thick spool of electrical wire through the window.
EXT. IN THE LOT
YUPPIE is just about to spear HARD HAT when he HEARS the WINDOW SHATTER. He turns, sees John and runs off toward the building.
As soon as he is gone, HARD HAT gets up.
INT. THE OFFICE TRAILER
000200000C9A000292E2 C94,Elly peeks out of the blinds to see what is going on.
EXT. IN THE LOT
HARD HAT reaches behind one of the treads of the pile driver crane. He pulls out the phone book that is hidden there.
INT. THE SECOND FLOOR/ELEVATOR SHAFT
YUPPIE runs in from the stairwell. He sees John on the far side of the room, standing in a temporary freight elevator. The elevator is not much more than an open faced box that moves up and down a regular passenger elevator shaft.
YUPPIE sprints toward the elevator. The freight elevator has no door and an old fashioned lever to operate it. John pulls back on the handle and the elevator starts to rise. The box just disappears up the shaft as YUPPIE reaches it. The cyborg leaps into the open shaft, grabbing cables that hang from the bottom of the car.
YUPPIE can see the opening to each floor zip past as he rises. None of the doors for this shaft have been installed. The cab continues up to the very top of the building. It stops on the top floor and John rushes out. YUPPIE, of course, has to get off on the penultimate floor. They both bolt for the stairs.
INT. THE STAIRS/ENGINE ROOM
YUPPIE runs upward, trying to catch John. When he reaches the engine room, he stops. This is a small room on the roof of the building that houses the engines that lift the elevators. YUPPIE has stopped to survey his surroundings. He sees that the roof of this room is comprised of several tarps. One of them is not secured down and is flapping in the breeze. YUPPIE looks up into the night sky. He then looks down. Just below the open tarp, one of the motors is missing, but the sheave is intact. He also sees the door on the far side of the room is open. It leads out to the roof.
EXT. THE ROOF
YUPPIE steps cautiously out onto the roof. He sees John standing on the far edge, looking back at him. He looks up and sees a huge T crane rising up several stories above the roof. Suspended from the crane is the missing three-ton motor. If he were to walk straight toward John, he would pass directly beneath it. He can't see if anyone is up in the cab, but he takes no chances. He continues walking toward John, but avoids walking beneath the motor.
John is beginning to panic. He has nowhere to go but down.
YUPPIE is now running toward him.
INT. THE T CRANE CAB
Sarah was ready to drop the motor. She now grabs the c.b. walkie-talkie from her belt.
SARAH
(into c.b.)
Now!
EXT. IN THE LOT
HARD HAT is standing, looking into the open phone book.
ON THE ROOF, YUPPIE freezes in mid-stride, not four yards from John.
YUPPIE'S POV (DIGITIZED)- The word INPUT is flashing. Names, addresses and telephone numbers from the phone book are being printed out also.
EXT. ON THE ROOF
Sarah is hurrying down the ladder that drops down the middle of the crane structure.
John gives YUPPIE a good shove and he topples over like a lead statue. Sarah runs over to John and they each grab a shoulder. They begin to slowly drag the cyborg toward the edge of the building.
IN THE LOT, HARD HAT continues to stand, off-line, while he outputs the information. The Humvee drives into the lot.
INT. THE OFFICE TRAILER
Elly is still looking out the window. She sees the Humvee park.
ELLY
Uh-oh.
0002000006C100029F76 6BB,EXT. IN THE LOT
SOLDIER steps out of his vehicle and begins to walk toward HARD HAT.
ON THE ROOF, Sarah and John continue to drag YUPPIE to the edge. They are no further than four feet from their objective.
IN THE LOT, SOLDIER has climbed up to the cab of the derrick crane. He throws a lever that starts the pile driver then drops down to the ground.
ON THE ROOF, John and Sarah have pulled YUPPIE to within two feet of the edge.
IN THE LOT, SOLDIER'S head twitches as he picks up one of the pipes from the ground. He swings it like a baseball bat, striking HARD HAT in the head.
ON THE ROOF, they have YUPPIE at the very edge, his head hanging over the side. They have him by the ankles and begin to lift his legs, tipping him like a wheel barrow. But, before they can pitch him over, he comes back on line with a jerk. John and Sarah immediately jump back away from him as he stands.
SARAH
Run!
Sarah and John run off in different directions. John runs back toward the motor room with YUPPIE close behind him.
IN THE LOT, SOLDIER swings the pipe at HARD HAT again, but this time, he catches it. They each hold an end of the pipe now and begin swinging each other around with it.
ON THE ROOF, Sarah grabs the c.b. from her belt again.
SARAH (CONT'D)
(into c.b.)
We need you up here, now!
IN THE LOT, SOLDIER and HARD HAT stop swinging each other. They both look up to the top of the building. HARD HAT uses this distraction to push on the pipe, jabbing SOLDIER in the mid-section.
INT. THE TOP FLOOR/ELEVATOR SHAFT
John runs into the freight elevator and quickly starts it moving down the shaft. YUPPIE reaches it after the car disappears. He grabs the cables and silently slides down to the roof of the car.
00020000081F0002A631 819,EXT. ON THE LOT
HARD HAT and SOLDIER are still fighting for the pipe. SOLDIER pushes HARD HAT'S back against the pile driver leader. SOLDIER then forces the pipe up under his opponent's neck. HARD HAT'S head is pushed backward between the rungs into the leader cage.
HARD HAT can actually see the hammer suspended high above his head. It begins to drop with tremendous force. HARD HAT puts his foot on SOLDIER'S chest and pushes him away. HARD HAT removes his head from the cage just before the pile driver takes it off.
INT. THE ELEVATOR SHAFT
YUPPIE is looking at the top of the elevator car. There are guide wheels that ride along tracks mounted to the shaft. YUPPIE places his foot on one of the wheels and pushes down. The wheel stops revolving and begins to SCREECH as it moves along the track.
John hears the SCREECH and lifts the handle, stopping the elevator between floors. If he looks up, he can see into the 31st floor. If he looks down, he can see into the 30th floor.
YUPPIE jumps from the top of the elevator to the 31st floor. He then tries to dive head first into the top of the elevator.
As soon as YUPPIE'S feet hit the floor, John starts the elevator moving downward again. When YUPPIE dives, his waist is pinned between the top of the elevator and the 31st floor. He is hanging halfway in the car at the very top. The force of the motor prevents him from pulling himself completely in. He reaches toward John, but he is well out of reach.
JOHN
Got ya!
EXT. IN THE LOT
HARD HAT has SOLDIER by the shirt and is repeatedly ramming him into the leader, breaking out the rungs. Eventually, SOLDIER winds up inside the leader. He pushes himself out, just avoiding the hammer as it smashes down. The hammer lands on the pile which is now even with the ground.
INT. THE ELEVATOR
YUPPIE places his hands on the section of cement that separates the floors. He pushes with incredible force. The skin around his waist rips loose as he begins to push himself inside the car. As he does, the elevator flays the skin from his endoskeleton legs.
000200000ADF0002AE4A AD9,JOHN
Oh, shit!
John drops to the floor just out of YUPPIE'S newly extended reach. He then rolls out of the elevator onto the 30th floor.
EXT. IN THE LOT
HARD HAT and SOLDIER are still trying to throw each other under the pile driver. HARD HAT is tossed into it so hard, he breaks out the rungs on the opposite side. He emerges on the other side, again, barely missing the driver as it drops.
INT. THE ELEVATOR/30TH FLOOR
YUPPIE has pulled himself inside the car far enough to grab the operating lever. He pushes it down until it rises up high enough to release his legs.
John has pushed all the buttons trying to summons a passenger elevator but he realizes that none will reach him in time. He runs into the open area of the 30th floor. Except for an occasional support column, there is no place to hide.
YUPPIE has stopped the elevator at the 31st floor. He finishes ripping the flesh from his lower extremities. He now stands, human and clothed on the top, shiny chrome skeleton on the bottom.
John has found a large wrench and contemplates using it as a weapon. He throws it aside, realizing the futility of hand-to-hand combat with a terminator. He rushes over to the windows and sees two ropes hanging outside the large glass panes. John turns back to look at the wrench on the other side of the room.
He runs toward it, but before he reaches it, YUPPIE rounds the corner from the elevator banks. The terminator picks up the wrench and begins to slowly walk toward John. He knows his prey has nowhere to flee.
EXT. IN THE LOT
SOLDIER grabs HARD HAT by the back of the neck and begins to ram his head against the treads on the derrick crane. After doing this several times, he throws HARD HAT backward into the dirt.
HARD HAT lies motionless and SOLDIER begins to drag him toward the pile driver. He stops with HARD HAT'S head resting only inches from the hammer as it slams down. As the driver starts to rise again, SOLDIER stands overtop HARD HAT. It reaches down, grabbing him under each arm, ready to toss him under the pile driver. Before he can, HARD HAT reaches up, grabs both of SOLDIER'S shoulders, puts one foot on his abdomen and kicks upward. SOLDIER does a flip, landing on his back under the hammer. The pile driver falls, crushing his chest cavity. As it starts to rise again, HARD HAT uses a pipe to break the cable it is suspended from. The hammer remains, resting on top of the motionless SOLDIER.
SOLDIER'S POV (DIGITIZED)- A schematic of his internal power system appears. Below it, is printed the words ALTERNATE POWER SEARCH. After trying several routes, it finally seeks out the smallest, most remote reserve. The words REROUTE TO CRANIAL CELL are printed out.
BACK TO SCENE, SOLDIER starts to move his arms and head again.
00020000087B0002B923 875,INT. THE 30TH FLOOR
John has backed up against the windows as YUPPIE continues to slowly advance. John now begins to crab walk, sliding his back against the windows as he goes. He reaches a sill without glass and almost falls out. This is the floor where the workmen have stopped installing the glass.
John notices a stack of glass sheets sitting nearby. On top sits two large suction cups, used for installing the windows. John grabs them and quickly climbs out the open window frame. He sticks the cups to the outside of the adjacent window. His body is now hanging outside the skyscraper. John begins to quickly climb straight down to the windows on the 29th floor.
EXT. THE LOT
SOLDIER is trying to lift the hammer but it is too heavy. HARD HAT has picked up a pipe and raises it high over his head. He is about to smash SOLDIER'S skull when he notices John hanging from the building.
HARD HAT
I'll be back.
He drops the pipe and walks over to the derrick crane.
INT./EXT. THE 29TH/30TH FLOOR
John is on the outside of the 29th floor window. YUPPIE uses the wrench to smash the window just above him. John ducks his head and pulls in close to the building as the glass rains down on him.
IN THE LOT, HARD HAT uses the crane to tip the leader toward the building. It now forms a bridge to a swing stage that hangs outside the seventh floor of the building. The swing stage is a metal platform like those used by window washers. It hangs from two ropes that are anchored to the roof.
HARD HAT climbs up the leader and onto the swing stage. He starts the small electric motor and it begins to slowly rise.
ON THE BUILDING, John begins to move down to the window on the 28th floor. Just as he gets one cup on that window, YUPPIE reaches down and breaks the glass on the 29th floor. The suction cup is still stuck to a large piece of broken glass that almost pulls John off the building. John hits the release button and the glass shard drops off. He looks up to YUPPIE, then over to the ropes that hang five windows over to his right. He begins to move sideways toward them. The swing stage itself, however, is still twenty stories below him.
0002000006D70002C198 6D1,YUPPIE sees the swing stage and walks back into the building, out of sight.
ON THE GROUND, the leader remains tilted. One end of it is now off the ground. SOLDIER is trying to push the hammer out through the bottom, but the rungs that remain prevent him from doing so.
INT. THE 35TH FLOOR
Sarah steps out of the stairwell and immediately starts looking for John. She does not see him, so she rushes back to the stairs.
INT./EXT. THE SIDE OF THE BUILDING/30TH FLOOR
YUPPIE breaks the window over the swing stage on the 30th floor. The glass falls down onto HARD HAT. YUPPIE looks down. He sees that John has just reached the ropes and grabs one. YUPPIE starts to violently shake the rope, flailing John around like a rag doll. He can't take much of this, so John quickly grabs the cups again. He is still several stories below YUPPIE so the machine can't break the pane he is on.
ON THE GROUND, SOLDIER grabs the pipe.
INT. INSIDE THE 30TH FLOOR
YUPPIE punches into the freshly nailed drywall. He rips out several yards of electrical conduit and uses it to lower himself outside the building. John continues to climb down as YUPPIE drops down toward him.
ON THE GROUND, SOLDIER uses the pipe to break loose several rungs.
Elly quietly opens the door to the trailer and sneaks over to the van. She carefully looks through the windows, keeping tabs on SOLDIER.
ON THE BUILDING, YUPPIE has lowered himself to the very end of the conduit. He is on the pane just above John. He tries to smash the lower window with the wrench, but it won't quite reach.
John smiles, but his victory is short-lived. YUPPIE simply pulls on the conduit and it stretches like a phone cord. He swings the wrench again and breaks out the top of the window.
0002000009B00002C869 9AA,The piece of glass that John is on leans out from the building but doesn't fall from the frame altogether. John is dangling fifteen stories above the slow moving swing stage. YUPPIE throws the wrench, shattering the glass. John and the glass shards start their rapid descent toward the ground.
HARD HAT barely manages to catch John. John slams into the side of the swing stage pretty hard. HARD HAT hoists John back onto the platform. John has a large cut on the left side of his face, as well as a half dozen other nicks all over. On top of that...
JOHN
My arm is broken.
HARD HAT puts the swing stage in reverse and it starts to lower.
ON THE GROUND, SOLDIER pushes the hammer out of the bottom of the leader. We stay TIGHT ON HIS FEET, as he climbs from beneath the steel cage and walks to the Humvee. We see his arm reach into the vehicle and remove the shotgun.
ON THE BUILDING, YUPPIE lets go of the conduit and drops straight down, twenty stories onto the moving platform. His steel legs punch right through it, but his torso stops him from going all the way through. His skeletal legs hang out through the bottom and one is now broken, hanging from one of the cable/muscles.
INT. THE 30TH FLOOR
Sarah enters from the stairwell. She sees the broken window and runs over to it. She looks down to the swing stage.
EXT. ON THE GROUND
Elly looks into the back of the Humvee.
ON THE SWING STAGE, YUPPIE has started to lift himself out of the hole. HARD HAT grabs him and pulls him up. He then tries to toss YUPPIE over the side, but YUPPIE has a large shard of glass and is attempting to stab John with it. He misses and nicks one of the ropes. It starts to fray immediately. The combined weight of the two terminators plus John equals over 1,000 pounds.
INT. THE 30TH FLOOR
Sarah has found a huge spool of cable. It stands five feet off the floor. She has tied the end of the cable around a support column and rolls the spool toward the broken window.
EXT. OUTSIDE THE BUILDING
HARD HAT and YUPPIE struggle more and YUPPIE ends up slicing the second rope. The second rope breaks in two, and the stage drops down, hanging vertically from the fraying rope. John holds onto the rope with his good arm while HARD HAT and YUPPIE hold onto the platform itself.
INT./EXT. THE 30TH FLOOR/OUTSIDE THE BUILDING
Sarah pushes the spool out the window. It unrolls as it falls twenty stories. When it reaches the end, the spool pops off and falls to the ground.
00020000089A0002D213 894,HARD HAT grabs the cable with one hand and John with the other. Just as he does, the rope breaks, sending YUPPIE and the platform plummeting ten stories to the ground. He lands on his good leg, the swing stage falling on top of him.
HARD HAT puts both feet on the window of the tenth floor. He pushes off, swinging away from the building. He and John both swing back, smashing through the window.
INT. THE 10TH FLOOR
John and HARD HAT land on the floor. The elevator doors open and Sarah runs over to them as they stand. All three walk over to the broken window and look down to the ground.
EXT. ON THE GROUND
YUPPIE pushes the swing stage off. Both of his legs are broken, but the upper half of his body is intact and he starts to drag his body back toward the building.
INT. THE 10TH FLOOR
John, Sarah and HARD HAT continue to look down. John slowly turns to see SOLDIER standing on the far side of the room. We see his caved-in chest for the first time. His head twitches twice as he levels the shotgun at John.
Standing near the stairs is Elly. She has the rocket launcher resting on her shoulder. She fires the rocket. It hits SOLDIER in the upper portion of his body. It blows his chest and arms into little pieces. His lower body remains intact and is thrown across the room.
Elly screams and drops to the floor. A piece of terminator shrapnel is embedded in her leg. With a strain, she pulls it out.
SARAH
(to HARD HAT)
Do you need the phone book again?
HARD HAT
No.
SARAH
Start jamming it.
John and Sarah help Elly stand and they all walk off toward the elevators. On the way, John pauses to pick up SOLDIER'S head.
JOHN
We should destroy this, too.
CUT TO:
EXT. IN THE LOT- A FEW MINUTES LATER
The back doors to the van are still open. John throws SOLDIER'S head in as Elly sits on the edge. They also have a first aid kit and Elly begins to bandage her leg.
In another part of the yard, YUPPIE lies motionless in the dirt, off-line. Sarah is driving the truck with the hydraulic arm. She parks it right next to YUPPIE.
At the van, Elly has finished her leg and begins disinfecting John's facial cut. It is the first of many he will sustain over the coming years.
0002000008620002DAA7 85C,Sarah is now sitting in the seat at the base of the arm. She works the arm for several seconds, getting a feel for it. She finally uses it to grab YUPPIE at his mid-section. When she is sure she has a good grip on the terminator, she grabs her c.b.
SARAH
(into c.b.)
OK, go to the roof.
YUPPIE starts to move again. He is trying to pull himself free of the claw, but it is fruitless. Sarah climbs back down to the truck cab and restarts the engine. She drives, dragging YUPPIE alongside the truck. She stops again at another location near the building. YUPPIE continues to struggle against the iron grip that holds him.
SARAH (CONT'D)
(into c.b.)
Swing the motor out over the north side of the building. I'll guide you.
John and Elly limp over to the parked truck. They all stand, looking up to the top of the building as the T crane swings out. It suspends the elevator motor directly overhead.
SARAH (CONT'D)
(into c.b)
To your left. In a little. Stop.
Sarah, John and Elly all walk away from the truck. They stand near the van.
SARAH (CONT'D)
(into c.b.)
Drop it.
The motor remains suspended.
SARAH (CONT'D)
(into c.b.)
Drop it.
The motor is still hanging. They all look over to YUPPIE who continues to struggle.
SARAH (CONT'D)
He can't be off line. This one is still moving.
John looks into the van at SOLDIER'S head. He grabs it and hands it to Elly. She holds it while John opens his back pack. He removes an X-acto knife and cuts a circular incision into the top of its head. He rips the patch of hair off like a bad toupee and starts to unratchet the port cover. Finally, he unscrews the inner plug and reaches the needle-nose pliers inside.
ELLY'S VOICE
No! Wait!
John looks at Elly. She shrugs her shoulders. She didn't say anything. John looks down at the head.
SOLDIER
(in Elly's voice)
Don't.
John yanks out the chip.
SARAH
(into c.b.)
Drop it.
The motor is released, dropping forty stories. It crashes down with the force of a freight train, almost missing YUPPIE as it falls on his torso. The end of the claw arm is crushed and some of YUPPIE'S mangled steel legs stick out from beneath the motor.
0002000007C10002E303 7BB,SARAH (CONT'D)
(into c.b.)
Get down here.
When the dust cloud settles, Sarah, John and Elly walk over to the motor. John carries his back pack.
SARAH (CONT'D)
We have to get a crane to lift this up. We have to confirm the kill.
JOHN
We don't have time. The police could be here any minute.
SARAH
But what if we didn't crush it? What if it was just pushed down into the dirt?
John takes out some of his diagnostic equipment.
JOHN
If there's any power left, minute
electrical pulses will show up in the servos.
He hooks several clips onto the legs in strategic places.
SARAH
But the legs are broken.
JOHN
It doesn't matter if they work or not. As long as they're part of him, the current will register.
He checks the readout on his device.
JOHN (CONT'D)
(continuing)
Nothing. No power. It's terminated.
Behind them, HARD HAT has set scrap wood, a bucket of water and a bag of patching plaster into the back of the van. HARD HAT then starts the van and drives over to John and the others.
HARD HAT
We have to set your arm and get out of the country as soon as possible.
John nods and all three climb into the van. They drive off out of the lot. This would be the perfect place to end the movie, except... in the f.g., FINGERS poke up through the dirt. YUPPIE'S head and arms slowly burrow upward out of the ground. He lifts himself out of the hole and we see that there is nothing below his waist. The force of the motor bisected him. He walks across the lot, on his hands, to the Humvee.
INT. THE VAN
Sarah is manipulating the bones in John's arm, trying to set it. Elly is breaking the wood, sizing it for a splint.
JOHN
(to HARD HAT)
Drive back to the salvage yard.
(to Sarah and Elly)
We have to trash it. It increases our chances of getting caught. It's bad enough the F.B.I. are tracking Sarah.
Sarah has set the bone and Elly places two wooden splits on either side of his forearm. Sarah dips a bandage into the plaster and begins to wrap it around his arm.
0002000006E30002EABE 6DD,INT. THE OFFICE TRAILER- A FEW MINUTES LATER
YUPPIE throws a small wooden box on the desk, then climbs up also. He rips the box open and removes several packets of C-4. He removes their wrappers and starts to wad them together. Eventually, he has two large balls of the plastic explosive. He pushes several blasting cap detonators into each ball. He then forces each ball up into his chest cavity through the opening at his severed waist. They now rest in the area where a human's lungs would be. He wraps the detonator wires around his steel spinal column.
Next, he reaches down to the desk chair and grabs a large wrench. He tightens this onto the very end of his exposed spinal column. Finally, he reaches down and pulls up... SOLDIER'S legs. There is a wrench already tightened onto the spinal column on the legs.
YUPPIE slides the legs into place and grabs both wrenches. He forces them in different directions until there is a loud CLICK. The legs immediately begin to move and YUPPIE removes the wrenches. He stands, power broker on top, commando on bottom.
EXT. THE SALVAGE YARD CLEARING- NIGHT
Yellow police line ropes off the area around the auto compactor. The van parks just outside the line and they walk into the clearing.
JOHN
(to Elly)
See if you can find some license plates. If the police were here, they'll be looking for the van.
HARD HAT sits on the edge of the compactor and Sarah begins to clip his stitches.
EXT. IN THE CONSTRUCTION SITE- AT THE SAME TIME
The newly renovated YUPPIE gets behind the wheel of the Humvee. He sits, frozen.
EXT. IN THE SALVAGE YARD
HARD HAT'S scalp hangs across his back again and the port in his skull is open. He sits, motionless as John reaches the needle-nose pliers into the port.
0002000006B90002F19B 6B3,JOHN
Any last words?
HARD HAT'S POV (DIGITIZED)- The words MANDATORY OUTPUT are flashing. Also, latitude and longitude coordinates are printed out.
BACK TO SCENE, HARD HAT continues to sit, off-line.
JOHN (CONT'D)
Guess not.
John pulls the chip and smashes it with a mallet.
EXT. IN THE CONSTRUCTION SITE
The Humvee speeds out of the lot.
EXT. IN THE SALVAGE YARD
Sarah and John both tip HARD HAT backward into the compactor. Elly pulls the lever and HARD HAT is crushed.
SARAH
Let's get out of here.
EXT. ON THE FREEWAY
The Humvee is speeding through the night.
EXT. IN FRONT OF THE SALVAGE YARD
Sarah drives the shot-up van out of the yard and back onto the road.
INT. THE VAN
John and Elly are sitting on the floor in the back. John picks up one of the many bullets that litters the floor.
JOHN
(somber)
Stay east of the city. Stay off of major roads. We'll pull off into the desert for the night and leave the country first thing in the morning.
EXT. IN THE CLEARING IN THE SALVAGE YARD
The Humvee rips through the police line and skids to a stop.
YUPPIE jumps out and begins searching for his target. He finds the broken chip and looks into the compactor to see HARD HAT.
YUPPIE'S POV (DIGITIZED)- The words ENEMY BROADCAST SCAN is printed at the top of his vision. The graphic equalizer bars also appear but are all at the very bottom. The word INAUDIBLE is flashing at the bottom. After a few seconds, the word INAUDIBLE disappears and is replaced by AUDITORY POWER BOOST. The bars start to rise and we hear Sarah's voice.
SARAH'S VOICE
Where do you want me to pull off?
CUT TO:
INT. THE VAN
TIGHT ON C.B., It is still clipped to Sarah's belt and has a small red light on it. Sarah has left it on.
000200000B0E0002F84E B08,JOHN
Head toward Sherwood Lake and keep going up into the desert. We'll drive along the west fork of the Mojave so we won't get lost. No one could possibly find us up there.
EXT. THE SALVAGE YARD
YUPPIE rushes over to the Humvee, jumps in and speeds off.
EXT. ON THE OUTSKIRTS OF THE MOJAVE DESERT- A FEW MINUTES LATER
Sarah drives the van along the river, finally stopping and shutting off the engine. The only light is from the full moon.
INT. THE VAN
Sarah walks to the back and has a seat next to Elly. John grabs the tarp that once covered HARD HAT and pulls it across them as a blanket. They all drift off to sleep immediately, exhausted.
EXT. THE DESERT- LATER
The Humvee is driving quickly along the edge of the Mojave River. Just ahead, his headlights shine on the driver's side of the van.
INT. THE VAN
John was half asleep. Some of the light from the Humvee shines on his face through the bullet holes. He wakes.
EXT. BY THE VAN
YUPPIE turns the headlights off and stands through the roof hatch.
INT./EXT. THE VAN/ BY THE HUMVEE
John is looking through a bullethole. He sees the Humvee and immediately wakes Sarah and Elly.
YUPPIE grabs the roof mounted machine gun and points it at the van.
John opens the sliding door on the passenger side and all three occupants of the van dive out.
YUPPIE begins to shoot the van with the heavy gun. The bullets punch large holes into the side of the van and rock the vehicle on its shocks. He also immobilizes it by shooting out the tires on that side. After several seconds, he stops. YUPPIE climbs out of his vehicle through the roof hatch and drops to the ground. He quickly walks to the far side of the two ton sieve.
John, Sarah and Elly are just starting to stand as YUPPIE walks around to their side of the van. They are tired, injured and weaponless as they stand face to face with a fully functioning terminator. John backs away from the women as YUPPIE slowly advances toward him.
Sarah and Elly jump back into the van and Sarah starts it. Steam pours from the punctured radiator as Sarah starts to drive on the flat tires.
John has started to run up into the dunes, followed by YUPPIE. The van rushes up right behind them. Sarah is intent on running YUPPIE over. Before she can, the van runs into the soft sand of the dunes and stops.
EXT. THE DUNES
John is stumbling through the sand as he runs. The terminator has trouble catching him because his immense weight makes him sink nearly up to his knees with each step. As John reaches the top of another dune, he slips and tumbles head over heels, coming to rest face down in the sand. He is in agony from his arm, but he manages to turn over. When he does, he sees YUPPIE standing directly behind him. The cyborg reaches down for him but stops when he hears the ROAR of the Humvee ENGINE.
000200000ACA00030356 AC4,The Humvee shoots over the top of the dune. Sarah drives while Elly stands, manning the machine gun. It stops very suddenly.
INT. THE HUMVEE
The final, stray hand grenade rolls out from under the passenger seat.
EXT. THE DUNES
Elly shoots. The high caliber bullets cause YUPPPIE to recoil from the impact. They strike with enough force to shred his clothes and strip away his flesh. By the time the gun is empty, YUPPIE is nothing more than a dented up chrome endoskeleton with strips of flesh and clothes draped across his body. Sarah steps out of the vehicle holding the hand grenade.
SARAH
John! Bajo!
John runs away from the Humvee as Sarah tosses the grenade. He dives face down as it EXPLODES. It blows both of YUPPIE'S legs off and throws his upper half four feet in the air.
YUPPIE lands back in the soft sand and immediately begins to drag himself toward John. Elly stays in the military vehicle as Sarah runs over to John. Sarah helps her son stand as the terminator continues to drag itself toward him.
SARAH (CONT'D)
Are you OK?
JOHN
Yeah.
The top half of the endoskeleton is now only a few feet from them. They begin to back away from it.
JOHN (CONT'D)
What do we do with it now?
SARAH
We'll drive that jeep over it
and blow gas tank.
As if to acknowledge Sarah's last statement, the terminator stops crawling. It props itself up in the sand, looking at them. He gives them the middle finger and freezes as if off line. His glowing red eyes begin to flash rapidly. Almost immediately, the flashing begins to slow down.
SARAH (CONT'D)
Run!
John and Sarah both start to run away from the terminator and the Humvee. YUPPIE'S eyes slow down and eventually stop. When they cease to flash, he EXPLODES.
Sarah and John are running as fast as they can. Just as YUPPIE explodes, Sarah jumps onto John's back, shielding him. The shock wave throws them both to the ground.
Elly is safe inside the Humvee, shielded from the blast. She immediately jumps back out.
ELLY
John!
She runs across the open sandy area to the spot where they went down. Sarah lifts herself off of John.
SARAH
(in a delirium)
You aren't hit, are you?
Elly runs over and grabs Sarah. John sits up and now can see that Sarah's back is covered with shrapnel wounds.
JOHN
Oh my God!
Elly and John both sling one of Sarah's arms over their shoulder and rush her to the Humvee. John and Sarah get in the back seat as Elly speeds out of the desert.
INT. THE HUMVEE
John takes off his makeshift sling and uses it to apply pressure to her wounds.
JOHN
You hold on! You're gonna make it!
Sarah starts to cough up blood.
SARAH
Not this time, John.
She strokes his cheek.
SARAH (CONT'D)
You take care of yourself.
She is now gasping for breath as blood fills her lungs.
0002000006EE00030E1A 6E8,JOHN
I love you, Mom.
Sarah smiles and then her expression goes blank. She is dead. John pulls her close.
DISSOLVE TO:
EXT. LOOKING AT A HOSPITAL- MORNING
INT. THE MORGUE OF THE HOSPITAL
Rhodes and Drummond follow the MORGUE ATTENDANT over to the sliding drawers that contain the cadavers. He pulls one out and throws back the sheet that covers Sarah's body.
ATTENDANT
That who you're looking for?
RHODES
That's the one. How did they find her?
ATTENDANT
Anonymous tip, called in first thing this morning.
RHODES
Can you get us a copy of the pictures and fingerprints?
ATTENDANT
Sure.
He walks off.
DRUMMOND
What now?
RHODES
Case closed. We're out of here.
DRUMMOND
What about Mr. X?
RHODES
That's not our case. It's still under
local police jurisdiction.
DRUMMOND
So we just fly home? That's it?
RHODES
That's it.
EXT. A TAXIWAY AT LAX- afternoon
The FBI jet is being prepped for take-off.
INT. THE TERMINAL BUILDING
John and Elly are walking through the terminal toward their boarding gate. John has a fresh sling and clean dressing on his face. He has his back pack across his shoulder and Elly carries two, small, new-looking suitcases.
ELLY
We should board separately, just in case. I'll check the bags.
She hands John his ticket then walks over to the luggage check-in counter.
IN ANOTHER PART OF THE TERMINAL, Rhodes and Drummond are walking through a metal detector. It BEEPS because of their guns and they flash their badges to the port authority cop. Drummond looks up and sees Elly checking in her bags.
DRUMMOND
Well, I'll be damned.
Rhodes also sees her now and they walk over to her.
RHODES
Going someplace, Ms. Markham?
ELLY
As a matter of fact, I was.
DRUMMOND
Where's John?
ELLY
He left the country last night. I'm flying out to meet him.
000200000B2500031502 B1F,Drummond is now looking at her ticket.
DRUMMOND
(to Rhodes)
Argentina. She's flying under an assumed name.
AT THE GATE ENTRANCE, John is just about to give his ticket to the gate attendant when he sees the federal agents talking to Elly. They don't see him from across the room.
RHODES
I'm afraid we'll have to take you in for more questioning.
Without looking back, Elly walks off with the two men.
STEWARDESS
(to John)
Sir, it's final call. I need your
boarding pass if you're going to fly.
John is in a quandary. He looks at the attendant, then his ticket, then to Elly as she walks away from him. This is the toughest decision of his life. If she stays, she will die in the nuclear fire. If John stays, the entire human race will die. He makes his choice and runs to catch up to Elly and the FBI men.
Before he reaches them, John stops when he overhears a conversation.
KYLE'S FATHER
Now Kyle, we've been over this before...
The man speaking is wearing a military uniform. The name patch over his left breast reads REESE. He is talking to his son, 7 year old KYLE REESE. John stands, transfixed. He is looking for the first time at the boy who will grow up to be his father.
KYLE
Why do we have to leave the country?
KYLE'S FATHER
When you're in the military, you have to go where they tell you.
KYLE
But all my friends are here.
KYLE'S FATHER
We'll come back to Los Angeles someday.
KYLE
It won't be the same.
This is fate at its most profound level. John watches Kyle and his mother board their plane as Kyle's father bids them good-bye. John turns to watch Elly walk out of his life. He realizes his destiny.
INT. THE JET TO ARGENTINA- LATER
The plane is in flight and John sits alone, looking out the window. The seat next to him is vacant.
JOHN (v.o.)
I look down on the city and think about all that I have lost and all that is yet to be lost.
He looks down at his wallet.
INSERT- THE WALLET
John is looking at two different pictures in his wallet. One is the picture of Sarah that he will give Kyle. The other is a picture of Elly.
JOHN (o.s.)
The faces of the ones left behind are what keep me going now.
BACK TO SCENE
JOHN (o.s.) (CONT'D)
It is my responsibility to make sure that these faces and 3 billion like them will not die in vain.
CUT TO:
INT. THE UNITED STATES WAR/SITUATION ROOM IN A SECRET BUNKER SOMEWHERE IN COLORADO
CLOSE SHOT, the innards of an extremely complex computer. A computer board is covered with CPU chips like those in the terminators. It is inserted into its place in the computer. We never see the faces of the computer installation personnel as they finish their work. When they are done, they lift the cover plate into place. It LOCKS with a sound like a JAIL DOOR SLAMMING. The cover plate reads, simply, "Skynet".
FADE OUT
THE END
written by
Bobby White
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Action 1 Action˙˙˙˙˙˙˙˙ ą Action˙˙˙˙˙˙˙˙ ? Courier Final Draft ˙˙ ˙˙ ˙˙ ˙˙˙˙˙˙˙˙ 0˙˙˙˙˙˙˙˙
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Action 2 Character˙˙˙˙˙˙˙˙ ş Character˙˙˙˙˙˙˙˙ ? Courier Final Draft ˙˙ ˙˙ ˙˙ ˙˙˙˙˙˙˙˙ 0˙˙˙˙˙˙˙˙
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Dialogue 3
Parenthetical˙˙˙˙˙˙˙˙ ş
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Ć Dialogue 4 Character˙˙˙˙˙˙˙˙ ˇ Dialogue˙˙˙˙˙˙˙˙ ? Courier Final Draft ˙˙ ˙˙ ˙˙ ˙˙˙˙˙˙˙˙ 0˙˙˙˙˙˙˙˙
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Parenthetical˙˙˙˙˙˙˙˙ ź
Transition˙˙˙˙˙˙˙˙ ? Courier Final Draft ˙˙ ˙˙ ˙˙ ˙˙˙˙˙˙˙˙ 0˙˙˙˙˙˙˙˙
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Action
Scene Heading 7 Character˙˙˙˙˙˙˙˙ ć˙˙˙˙˙˙˙˙ Ú ˙˙˙˙˙˙˙˙
GENERAL ˙˙˙˙˙˙˙˙
SCENE HEADING ˙˙˙˙˙˙˙˙ ACTION ˙˙˙˙˙˙˙˙ CHARACTER ˙˙˙˙˙˙˙˙
PARENTHETICAL ˙˙˙˙˙˙˙˙ DIALOGUE ˙˙˙˙˙˙˙˙
TRANSITION ˙˙˙˙˙˙˙˙
SHOT ňsTCH O ˙˙˙˙˙˙˙˙ Rhodes ˙˙˙˙˙˙˙˙ elly ˙˙˙˙˙˙˙˙
debra sTCE ˙˙˙˙˙˙˙˙
(V.O.)˙˙˙˙˙˙˙˙
(O.S.)˙˙˙˙˙˙˙˙
(O.C.)˙˙˙˙˙˙˙˙ (CONT'D)˙˙˙˙˙˙˙˙
(SUBTITLE)˙˙˙˙˙˙˙˙ (CONTD) sTTR
˙˙˙˙˙˙˙˙ Cut To:˙˙˙˙˙˙˙˙ Fade In:˙˙˙˙˙˙˙˙
Fade Out.˙˙˙˙˙˙˙˙ Fade To:˙˙˙˙˙˙˙˙ Dissolve To:˙˙˙˙˙˙˙˙ Back To:˙˙˙˙˙˙˙˙
Match Cut To:˙˙˙˙˙˙˙˙ Jump Cut To:˙˙˙˙˙˙˙˙ Fade To Black.˙˙˙˙˙˙˙˙ THE END "sTSI T ˙˙˙˙˙˙˙˙ Int˙˙˙˙˙˙˙˙ Ext˙˙˙˙˙˙˙˙ I/E˙˙˙˙˙˙˙˙ written˙˙˙˙˙˙˙˙ ˙˙˙˙˙˙˙˙ by sTST Ű ˙˙˙˙˙˙˙˙ Day˙˙˙˙˙˙˙˙ Night˙˙˙˙˙˙˙˙
Afternoon˙˙˙˙˙˙˙˙ Morning˙˙˙˙˙˙˙˙ Evening˙˙˙˙˙˙˙˙ Later˙˙˙˙˙˙˙˙
Moments Later˙˙˙˙˙˙˙˙
Continuous˙˙˙˙˙˙˙˙ The Next Day 2lmCRO ˙˙˙˙˙˙˙˙ 9 INT INT.
Scene Heading 0111 ˙˙˙˙˙˙˙˙ 9 EXT EXT.
Scene Heading 0112 ˙˙˙˙˙˙˙˙ 8 I/E I/E
Scene Heading 0113 ˙˙˙˙˙˙˙˙ @ DAY - DAY
Scene Heading Action 0114 ˙˙˙˙˙˙˙˙ D NIGHT - NIGHT
Scene Heading Action 0115 ˙˙˙˙˙˙˙˙ H SUNRISE
- SUNRISE
Scene Heading Action 0116 ˙˙˙˙˙˙˙˙ D MAGIC - MAGIC
Scene Heading Action 0117 ˙˙˙˙˙˙˙˙ G CONT
continuing
Parenthetical Dialogue 0118 ˙˙˙˙˙˙˙˙ J INTER interrupting
Parenthetical Dialogue 0119 ˙˙˙˙˙˙˙˙ $ 0110 ˙˙˙˙˙˙˙˙ G CUTTO CUT TO:
Transition
Scene Heading 1111 ˙˙˙˙˙˙˙˙ E FADEIN FADE IN: Action
Scene Heading 1112 ˙˙˙˙˙˙˙˙ K FADEOUT FADE OUT.
Transition
Scene Heading 1113 ˙˙˙˙˙˙˙˙ I FADETO FADE TO:
Transition
Scene Heading 1114 ˙˙˙˙˙˙˙˙ M DISSLV DISSOLVE TO:
Transition
Scene Heading 1115 ˙˙˙˙˙˙˙˙ I BACKTO BACK TO:
Transition
Scene Heading 1116 ˙˙˙˙˙˙˙˙ P MATCHCUT
MATCH CUT TO:
Transition
Scene Heading 1117 ˙˙˙˙˙˙˙˙ N JUMPCUT JUMP CUT TO:
Transition
Scene Heading 1118 ˙˙˙˙˙˙˙˙ B FBLACK FADE TO BLACK.
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Suggestion * ˙˙˙˙˙˙˙˙ ~˙˙˙˙˙˙˙˙ 3 Courier ˙˙ ˙˙ ˙˙ (MORE) (CONT'D) (CONTINUED)
CONTINUED: ˙˙˙˙˙˙˙˙ ˙˙˙˙˙˙˙˙ ˙˙˙˙˙˙˙˙ ˙˙˙˙aCTR Ň
˙˙˙˙˙˙˙˙ 5 Man 1˙˙˙˙˙˙˙˙ `Q|Çg(Đ{DEST ˙˙˙˙˙˙˙˙ = Man 2˙˙˙˙˙˙˙˙ ( `]ĂĹDÚŃąń řäV mtk3 ˙˙˙˙˙˙˙˙ ? Woman 1˙˙˙˙˙˙˙˙ ( pQ|Çg(Đ{DEST gala Ň ˙˙˙˙˙˙˙˙ ? Woman 2˙˙˙˙˙˙˙˙ ( ÔPO|uŃú `°â mtk3 ˙˙˙˙˙˙˙˙ = Boy 1˙˙˙˙˙˙˙˙ ( ÔPO|uŃú `°â mtk3 ˙˙˙˙˙˙˙˙ = Boy 2˙˙˙˙˙˙˙˙ ( ÔPO|uŃú `°â mtk3 ˙˙˙˙˙˙˙˙ > Girl 1˙˙˙˙˙˙˙˙ ( ÔPO|uŃú `°â mtk3 ˙˙˙˙˙˙˙˙ > Girl 2˙˙˙˙˙˙˙˙ ( pQ|Çg(Đ{DEST mtk3 ˙˙˙˙˙˙˙˙ 7 Old Man˙˙˙˙˙˙˙˙ `]ĂĹDÚŃąń řäV ˙˙˙˙˙˙˙˙ 9 Old Woman˙˙˙˙˙˙˙˙ pQ|Çg(Đ{DEST ˙˙˙˙˙˙˙˙ e˙˙˙˙˙˙˙˙ E˙˙˙˙˙˙˙˙ 9 ˙˙˙˙˙˙˙˙ CHARACTER ˙˙˙˙˙˙˙˙ DIALOGUE ˙˙˙˙˙˙˙˙ ˙˙˙˙˙˙˙˙ o˙˙˙˙˙˙˙˙ 5 Helvetica ˙˙ ˙˙ ˙˙ ˙˙˙˙˙˙˙˙ ˙˙˙˙˙˙˙˙ K˙˙˙˙˙˙˙˙ 3 Courier ˙˙ ˙˙ ˙˙ 6 Cast List ˙˙˙˙˙˙˙˙ yFFFF000000060002000177AA0000000000580000000020001101-7E7F67000Â480048-25F2BD0Á-10ÂE02BD264FFFF010ÂDA000010000003B000000010DA8405F482BD21CDA038E0002AF482BD4800002000000DF00000000 DA,
(Name of Project)
by
(Name of First Writer)
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Name
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