Creative Computers/Creative Computers CD-ROM, Volume 1 (Legendary Design Technologies, Inc.)(1994).iso/text/misc/t2.txt.pp/t2.txt

Text File | 1994-11-17 | 224KB | 6,806 lines

                        - TERMINATOR 2 SCRIPT -


1   ext. city street - day  1

Downtown L.A.  Noon on a hot summer day.  On an EXTREME LONG LENS
the lunchtime crowd stacks up into a wall of humanity.  In SLOW MOTION
they move in herds among the glittering rows of cars jammed bumper
to bumper.  Heat ripples distort the torrent of faces.  The image
is surreal, dreamy...  and like a dream it begins very slowly to

dissolve to:

2   ext. city ruins - night 2

Same spot as the last shot, but now it is a landscape in Hell.  The
cars are stopped in rusted rows, still bumper to bumper.   The skyline
of buildings beyond has been shattered by some unimaginable force
like a row of kicked-down sandcastles.
Wind blows through the desolation, keening with the sound of ten
million dead souls.  It scurries the ashes into drifts, stark white
in the moonlight against the charred rubble.
A TITLE CARD FADES IN:

LOS ANGELES, July 11, 2029

3   ANGLE ON a heap of fire-blackened human bones.  Beyond the mound
is a   3
vast tundra of skulls and shattered concrete.   The rush hour crowds
burned down in their tracks.

4   WE DISSOLVE TO a playground... where intense heat has half-melted
the   4
    jungle gym, the blast has warped the swing set, the merry-go-round
has sagged in the firestorm.  Small skulls look accusingly from the
ash-drifts.  WE HEAR the distant echo of children's voices... playing
and laughing in the sun.  A silly, sing-songy rhyme as WE TRACK SLOWLY
over seared asphalt where the faint hieroglyphs of  hopscotch lines
are still visible.

    CAMERA comes to rest on a burnt and rusted tricycle... next to
the tiny skull of its owner.  HOLD ON THIS IMAGE as a female VOICE
speaks:   *

    VOICE   *
    3 billion human lives ended on August 29th, *
    1997.  The survivors of the nucear fire called  *
    the war Judgment Day.  They lived only to   *
    face a new  nightmare, the war against the  *
    Machines... *

A metal foot crushes the skull like china.

TILT UP, revealing a humanoid machine holding a massive battle rifle.
 It looks like a CHROME SKELETON... a high-tech Death figure.  It
is the endoskeleton of a Series 800 Terminator.   It's glowing red
eyes compassionlessly sweep the dead terrain, hunting.

    TERMINATOR 2 - Rev.  9/10/90        2

4   The SOUND of ROARING TURBINES.  Searchlights blaze down as a
   4
    formation of flying HK (Hunter-Killer) patrol machines passes
overhead.    PAN WITH THEM toward the jagged horizon, beyond which
we see flashes, and hear the distant thunder of a pitched battle
in progress.

5   ext. battlefield - night    5

THE BATTLE.  Human troops in desperate combat with the machines for
possession of the dead Earth.  The humans are a ragtag guerrilla
army.   Skynet's weapons consist of the Ground HKs (tank-like robot
gun-platforms), flying Aerial HKs, four-legged gun-pods called Centurions,
and the humanoid Terminators in various forms.

SEQUENCE OF RAPID CUTS:
5A  Explosions!  Beam-weapons firing like searing strobe-lights.
   5A*
5B  A gunner in an armored personnel carrier fires a LAW rocket at
a pursuing   5B
    Aerial HK, bringing it down in a fiery explosion.
5C  Another APC is crushed under the treads of a massive Ground HK.
5C

5D  A TEAM OF GUERRILLAS in an intense fire-fight with terminator
  5D
5E  endoskeletons in the ruins of a building.  Three terminator endoskeletons
  5E*
5F  advance, firing rapidly.   Another (complete cyborg), with flesh
ripped open    5F
    and back broken, gropes for a rifle on the ground.


5G  A Centurion overruns a human firing position.  Soldiers are cut
down as they    5G
    run.  Fiery explosions light the ranks of advancing machines.

6   IN A BLASTED GUN EMPLACEMENT at the edge of battle, a man watches
  6
    the combat with night vision binoculars.   He wears the uniform
of a guerrilla general, and a black beret.  He is still amid running,
shouting techs and officers.

C.U. MAN, pushing slowly in as the battle rages O.S.  He lowers the
binoculars.  He is forty-five years old.  Features severe.  The left
side of his face is heavily scarred.  A patch covers that eye.  An
impressive man, forged in the furnace of a lifetime of war.  The
name stitched on the band of his beret is CONNER.  We push in until
his eyes fill frame, then...

                                DISSOLVE TO

    FIRE.  SLOW ROILING, ENORMOUS.  FILLING FRAME.  *

    VOICE (SARA CONNER) *
    Skynet, the computer which controlled the   *
    Machines, sent two terminators back through     *
    time.  Their mission: to destroy the leader of the  *
    human Resistance... John Conner.  My son.   *

    The first terminator was programmed to strike   *
    at me, in the year 1984... before John was born.    *
    It failed.  *


    TERMINATOR 2 - Rev.  9/10/90        3

6   VOICE (SARA CONNER) 6*
    The second was set to strike at John himself,   *
    when he was still a child.  As before, the  *
    Resistance was able to send a lone warrior.  A  *
    protector for John.  It was just a question of  *
    which one of them would reach him first...  *

DISSOLVE TO:
7   ext. truckstop - night  7

Wild fingers of BLUE-WHITE ELECTRIC ARCS dance in a steel canyon
formed by two TRACTOR TRAILERS, parked side by side in the back lot
of an all night truck stop.  Then...

The strange lightning forms a circular opening in mid-air, and in
the sudden flare of light we see a FIGURE in a SPHERE OF ENERGY.
  Then the FRAME WHITES OUT with an explosive THUNDERCLAP!

    Through the clearing vapor we see the figure clearly... a naked
man. TERMINATOR has come through.  Physique: massive, perfect. Face:
devoid of  *
    emotion.  Terminator stands and impassively surveys its surroundings.

8   INT. TRUCK STOP DINER - NIGHT   8

On a back route north of L.A.    A handful of local TRUCKERS hunch
over chili-sizes, CAT hats pushed back on the heads.  Three BIKERS
are playing a game of pool in the back, their Miller empties line
the table's rail.  The dive's owner, LLOYD, a fat, aging biker-type
in a soiled apron, stands behind the bar.  Nothing much going on...

Then the front door opens and a big naked guy strolls in-- that doesn't
happen here every night.  All eyes simultaneously swivel toward Terminator.
 It's emotionless gaze passes over the customers as it walks calmly
through the room.  Everyone freezes, not sure how to react.

8A  TERMINATOR POV.  A digitized electronic scan of the room, overlaid
with     8A
    alphanumeric readouts which change faster than the human eye
can follow.  In POV we move past the staring truckers, past the owner,
and the awestruck WAITRESS, and approach a large nasty-looking biker
puffing on a cigar.  His body is outlined, or "selected", and thousands
of estimated measurements appear.  His clothing has been analyzed
and deemed suitable...

8B  terminator  8B
I need your clothes, your boots, and your motorcycle.

    The big biker's eyes narrow.   He takes a long draw on his cigar,
getting the tip   *
    cherry-red hot.
cigar biker
You forgot to say please.

He grinds the cigar out on Terminator's chest.  Which produces not
the slightest reaction of pain.  Terminator calmly, and without expression,
grabs Cigar by his meaty upper arm...
Cigar screams from the hydraulic grip.


8B  Terminator doesn't see Cigar's friend, behind him, holding his
pool cue by the  8B
    narrow end like a Louisville slugger.   The heavy end whistles
in a powerful swing and CRACKS IN TWO across the back of Terminator's
head.

Terminator seems not to notice.  Doesn't even blink.   Without releasing
his grip on Cigar, he snaps his arm straight back and grabs Pool
Cue by the front of his jacket.   Suddenly the heavyset biker finds
himself flying through the nearest window.  CRAASSH!

Terminator hurls Cigar, all 230 pounds of him, clear over the bar,
through the serving window into the kitchen, where he lands on the
big flat GRILL.  We hear a SOUND like SIZZLING BACON as Cigar screams,
flopping and jerking.  He rolls off in a smoking heap.

The third biker whips out a knife with an eight inch blade and slashes
at Terminator's face.

Terminator grabs the arcing blade with his bare hand.  Holding it
by the razor-sharp blade he jerks it from the guy's hand.
Ultra-fast here:  He flips it.  Grabs the handle like you're supposed
to hold a knife.  Grabs the biker and slams him face-down over the
bar.  Then brings the knife whistling down, pinning the biker's shoulder
to the bar top with his own  steel.

9   INT. KITCHEN    9

The door BANGS OPEN and Terminator strides in.
The Mexican cook does a fast fade as Terminator walks toward Cigar,
who is cursing in pain on the floor.

With his deep-fried fingers he struggles to get out the .45 auto
tucked under his leather jacket.  But he can't even hold onto it.
 Terminator takes it from him.  Instead of pointing it at him, Terminator
carefully examines the weapon, analyzing its caliber and operating
condition.  Terminator never threatens... that's a human thing.
He just takes.

Cigar senses what he must do when the emotionless eyes come back
to him.  He slides the keys to his bike across the floor to Terminator's
foot.  Then painfully starts getting out of his jacket.

10  INT. truck stop 10

Terminator strides from the kitchen, fully clothed now in a black
leather jacket, leather riding pants, and heavy cleated boots.  He
moves toward the moaning biker pinned to the pool table.  Without
slowing his stride he jerks the knife out.  The guy slumps to the
floor, groaning, behind him.

Terminator continues toward the front of the diner, passing Lloyd,
the owner.   At the door, he comes abreast of two truckers who sit
frozen like a snapshot in mid bite.  One of the truckers finally
nods.


10  TRUCKER 10
Evening...

Terminator impassively stares back.  Then moves on out the door.

11  EXT. TRUCK STOP     11

Terminator walks out, surveying the parked Harleys.  Sticks the .45
in his belt and swings one leg over a massive CUSTOM ELECTRO-GLIDE.
  He slips the dagger in his boot and the key in the ignition.  Kicks
over the engine.  It catches with a roar and he slams the heavy iron
into gear with a KLUNK.

Lloyd appears at the diner's door with a sawed-off 10 GAUGE WINCHESTER
LEVER-ACTION SHOTGUN.  He fires into the air and jacks another round
in fast, aiming at Terminator's back.

LLOYD
I can't let you take the man's bike, son.  Now get off or I'll put
you down!

Terminator turns and considers him coldly.  He eases the shifter
up into neutral.  Rocks the bike onto its kickstand.  Swings his
leg over and walks calmly toward the guy.

Terminator strides right up to Lloyd, staring straight into the shotgun's
muzzle.  Lloyd starts sweating, trying to decide if he's going to
kill a man in cold blood.   He's still trying to decide when Terminator's
hand blurs out like a striking cobra and is somehow suddenly holding
the shotgun.

Lloyd gapes, knowing he is screwed.    Then...
Terminator reaches toward him.  Oh shit...
And slips the sunglasses out of Lloyd's shirt pocket.  Puts them
on.  Strides back to the Harley and roars off in a shower of gravel.

12  EXT. freeway - NIGHT    12

Terminator roars down the freeway, heading into L.A.   Cold neon
flares across the chrome of the big bike.  The 10 gauge is jammed
through the clutch and brake cables, across the handlebars.  The
lights flow over Terminator's wrap-around sunglasses like the tracks
of tracer rounds.

cut to:

13  EXT. STREET/ high school - NIGHT    13

A South-Central  L.A. HIGH SCHOOL.  Rusting chain link fences and
graffiti-covered buildings.  An L.A.P.D. BLACK-AND-WHITE cruises
the empty street.

A TREMENDOUS BLUE-WHITE GLARE suddenly spills out between the buildings.
 The young UNIFORMED COP in the car whips his head around at the
source of the light.  He pulls quickly into the school parking lot,
in time to see...


    TERMINATOR 2 - Rev.  9/10/90        6

13A The powerfully arcing electrical discharge reaches its peak between
two of the  13A
    buildings.  Lightning climbs the fire-escapes, lighting up the
night, and papers swirl in a blasting whirlwind.

13B The cop climbs from his cruiser as the glow fades.  The schoolyard
is dark.     13B
    He sees vapor dissipating as he approaches the spot where he
saw the strange light.  He draws his revolver and cautiously moves
into the shadows between two buildings.

A NAKED MAN glides from a shadowed doorway behind the cop.  Nothing
special about him.  Certainly not built like a terminator.  The flash
of light and the fact that he is naked are pretty good clues  that
he just arrived from the future.  His features are handsome bordering
on severe.  His eyes are gray ice.  Penetrating.  Intelligent.

THE COP spins at a sound.  Too late.  Mr. X is already on him.  The
blow is lightning fast and the cop drops like a bag of sand.

LOW ANGLE as the unconscious cop hits the deck, his  BERETTA 9mm
AUTOMATIC clattering next to him.  A hand ENTERS FRAME and picks
up the pistol.
cut to:

13C HIGHLY POLISHED BLACK SHOES rounding the rear tire of the police
   13C
    cruiser.  FOLLOW THE SHOES to the cruiser's door then MOVE UP
as Mr. X, dressed now in LAPD blue, climbs behind the wheel.  He
looks and acts exactly like a cop.  Cool, alert, confident in his
power, his expression emotionless and judgmental.
Mr. X, now Officer X, puts the car in gear and drives into the night.


cut to:

14  int. suburban house / garage - day  14

TIGHT ON YOUNG JOHN CONNER, who at this moment is ten years old and
busy reassembling the carburetor on his Honda 125 dirtbike.  He has
ripped Levi's and long stringy hair.  A sullen mouth.  Eyes which
reveal an intelligence as sharp as a scalpel.   The Ramones'  "I
Wanna Be Sedated" blasts from a boom box next to him.

A WOMAN, JANELLE VOIGHT, stands in the doorway of the garage, yelling
over the music.

woman
...John?  John!   Get in here right now and clean up that pigsty
 of yours.

    John's friend TIM, a thirteen-year old Hispanic kid, watches
as John replies    *
    by turning  up the volume on the  boom box.
Janelle gives up with a SLAM of the house's back door.

tim
Your foster parents are kinda dicks, huh?


14  john    14
Gimme that Phillips right there.

15  INT. HOUSE - living room    15

Janelle storms into the room.  TODD VOIGHT, her husband watches sports
on the TV.  They're both in their thirties.  Middle class working
stiffs.

janelle
I swear I've had it with that goddamn kid.  He won't even answer
me.
(neither does he)
Todd?  Are you gonna sit there or are you gonna do something?

He sighs.  Throws down the TV's remote and heads for the garage.


16  INT. GARAGE 16

John hops on the bike.  Kick starts it.  Tim picks up John's nylon
bag then climbs on the back.   Todd ENTERS and shouts over the engine,
which John revs louder and louder.

todd
John!  Get your ass inside right now and do what your mother says!

John pins Todd with a defiant glare.

john
She's not my mother, Todd!

He revs the engine and peels out of the garage, with Tim almost falling
off the back.  They take off down the street.

17  EXT. vacant lot/ drainage canal 17

John cuts through a vacant lot to a trail running beside a fenced-in
drainage canal.    He guns the bike through a hole in the retaining
fence.   Tim's eyes go wide as they  roar down the concrete embankment.

17A IN THE DRAINAGE CANAL John zig-zags along, throwing up a roostertail
   17A
    of muddy water.  Tim shouts, pretending he didn't just see his
life flash before his eyes.  He slaps John on the back.

tim
Major moves, homes!  So... where is your real mom, anyway?
(John doesn't answer)
She dead or something?

It's hard to read John's expression.


17A     john    17A
She might as well be.

John twists the throttle angrily and the bike lunges forward.

cut to:

18  ext. pesCADERO state hospital - day     18

A SIGN on a chain link fence topped with concertina wire reads: PESCADERO
STATE HOSPITAL FOR THE CRIMINALLY INSANE.  Beyond it  squats an imposing
four story building.  Institutional brick.  Barred windows.  About
as inviting as KGB headquarters.  Security cars patrol the manicured
grounds.

19  int. hospital  - MAXIMUM SECURITY WING  19

Sunlight is a barred slash on the bare institutional wall.  The room
is empty of all furnishings save the bed, a stainless steel sink,
toilet, and a dented metal mirror.  WE HEAR a rhythmic grunting,
small explosions of breath in perfectly metered time.

PAN TO a bedframe leaned upright against the wall, legs facing outward.
  A pair of sweaty hands grip one leg.  Tendons knot and release
as SOMEONE does pullups.   A mane of tangled hair hides the face
that comes INTO FRAME, dips out, comes back.

WIDER.  A WOMAN in a tank top and hospital pants is hanging from
the top leg of the vertical bedframe.  Her body is straight and taut.
 Knees bent so the feet clear the ground.  The arms are lean and
muscular.   The inmate, face hidden, pulls up, dips, pulls up.  Like
a machine.  No change in rhythm.

20  int. hospital / corridor    20

FIGURES MOVE TOWARD US down a corridor of polished tile and two-tone
walls.  DR. PETER SILBERMAN, a smug criminal psychologist, leads
a group of young INTERNS.  Following, laconically, are THREE BURLY
ATTENDANTS.

silberman
The next patient is a 29 year old female diagnosed as acute schizo-affective
disorder.  The usual indicators... depression, anxiety, violent acting-out,
delusions of persecution.
(the interns nod judiciously)
Here we are.

Silberman stops at one of the SOUNDPROOF STEEL DOORS.  There is a
two-way speaker beneath a tiny window.  Silberman flips the intercom
switch.

21  int. cell   21

Silberman's scrubbed and cheerful face at cell window.  HIS VOICE
comes over the tinny speaker.


21  silberman   21
'Morning, Sara.

REVERSE ANGLE as she turns slowly into CLOSE UP.
SARA CONNER is not the same woman we remember from last time.  Her
eyes peer out through a wild tangle of hair like those of a cornered
animal.  Defiant and intense, but skittering around looking for escape
at the same time.  Fight or flight.  Down one cheek is a long scar,
from just below the eye to her upper lip.
Her VOICE is a low and chilling monotone.

SARA
Good morning, Dr. Silberman.   How's the knee?

22  int. corridor   22

Silberman's smug composure drops a second.  Then returns.

silberman
Fine, Sara.
(he switches off, speaks to the interns)
She uh... stabbed me in the kneecap with a screwdriver a few weeks
ago.

Sara watches them talking about her through the glass, but can't
hear them.  She feels like a lab animal.  The interns look in at
her through the glass as Silberman talks.  With her face drawn, eyes
haggard and hair wild, she looks like she belongs where she is.

silberman
The delusional architecture is interesting.  She believes a machine
called a "terminator", which looks human of course, was sent back
through time to kill her.  And also that the father of  her child
was a soldier, sent to protect her...  he was from the future too...

(he smiles)
The year 2029, if I remember correctly.
(the interns chuckle)
Let's move on, shall we.

As the interns walk on, Silberman steps close to DOUGLAS, the head
attendant, and speaks low.

silberman
Douglas, I don't like the patients disrupting their rooms like this.
 See that she takes her thorazine, would you.

DOUGLAS is 6'4", 250 pounds and warmhearted as a rattlesnake.  He
nods, catching Silberman's meaning, and gestures for the other attendants
to hang back as Silberman moves on in his rounds.


23  int. cell   23

Sara looks up as the cell door opens.   Douglas walks in slow, idly
tapping his POLICE BATON against the door in an ominous rhythm.
 The other two orderlies ease in behind him.   One of them carries
a STUN BATON (like a sawed off cattle prod).  The other has a tray
with cups of red liquid-thorazine

DOUGLAS
Time to take your meds, Conner.

Sara faces him, weight centered.  Feral eyes darting from one to
the other.

SARA
You take it.

Douglas  grins, casual--

douglas
Now  you know you got to be good cause you up for review this afternoon...

SARA
I'm not taking it.  Now I don't want any trouble...

douglas
Ain't no trouble at all--

He whips the baton in a whistling backhand which--
WHAP!  Takes her square in the stomach.  She doubles over and drops
to her knees, unable to breath.   Douglas tips the bed and it slams
down with a crash, right next to her.  He takes the stun wand from
the other attendant and walks forward.

TIGHT ON SARA, grimacing and struggling to breathe.

SARA
You... son of a... AAARRGH!!

The stun wand hits her between the shoulder blades as she tries to
rise.  It drives her to the floor, pinning her like a bug.   Little
ELECTRIC ARCS  CRACKLE as the baton makes her writhe in pain.
Douglas grabs her by the hair and jerks her up to her knees.  Holds
the cup of thorazine in front of her lips.

douglas
Last call, sugar.

Gasping, she chokes the zombie juice down.

cut to:


24  ext. bank parking lot- day  24

John furtively hunches before a Ready Teller machine at the rear
of a local bank while his friend Tim stands lookout.  John slips
a stolen ATM card into the machine's slot. It is something he's rigged
up, because trailing from the card is a ribbon-wire which goes to
some kind of black-box electronics unit he's got in his ever-present
knapsack.   He holds the pack between his knees and pulls out a little
lap-top keyboard, which is also connected to the black-box.

John enters a few commands and the plasma-screen displays the PIN
number for that account.   He quickly enters the number on the Ready
Teller's key pad and asks it for 300 bucks.  The machine whirs then
begins dispensing twenty dollar bills.  Tim looks back over his shoulder
amazed.

John
Easy money!

tim
Where'd you learn all this stuff?

John collects the twenties as the machine kicks them out.  A cool
and professional electronic-age thief at ten years old.

john
From my mom.  My real mom, I mean.  Come on baby...
(he grabs the last bills)
Let's go!

They sprint around the corner to an--


25  Ext.  alley behind bank 25

They huddle behind the building as John counts out Tim's share.
He folds five twenties and palms them to the other kid.  When John
opens his wallet to put in his money, Tim notices a picture in a
plastic sleeve.

tim
That her?

John reluctantly shows his friend the Polaroid.  It is a shot of
Sara.  Pregnant, in a jeep near the Mexican border.  John doesn't
know it now, but he will carry that photo with him for over 30 years,
and give it to a young man named Kyle Reese, who will travel back
in time to become his father.  Yes, that photo.

tim
So she's pretty cool, huh?


25  john    25
Actually, no, she's a complete psycho.  That's why she's up at Pescadero.
 She tried to blow up a computer factory, but she got shot and arrested.

tim
No shit?

john
Yeah, she's a total loser.  C'mon let's check out the Seven Eleven,
whatya say?

John has tried to sound macho casual, but we see in his eyes that
it really hurts.   He slaps Tim on the shoulder and they jump onto
his Honda.  John fires up and they whine off down the alley.

cut to:

26  int. police cruiser - day   26

CLOSE ON COMPUTER TERMINAL, attached to the dash.  A Juvenile Division
file.  Subject; John Conner.  Below his ARREST RECORD are his vital
stats.  Mother; Sara Conner.  Legal Guardians; Todd and Janelle Voight.
 And below their names, an address; 523 S. Almond.  Reseda, Ca.


OFFICER X  stares at the screen a moment.  Then gets out of the car.


27  int./ext. voight house - day    27

TIGHT ON FRONT DOOR as Todd Voight opens it, revealing the unsmiling
face of Officer X beyond the screen door.   Todd greets him with
a weary sigh.

officer x
Are you the legal guardian of John Conner?

todd
That's right, officer.  What's he done now?

Officer X ignores the question.  He casually scans the living room.


officer X
Could I speak with him, please?

Todd shrugs, showing the cop he's past his patience with the boy.

todd
Well, you could if he was here.  But he took off on his bike this
morning.  Could be anywhere.  You gonna tell me what this is about?

officer x
I just need to ask him a few questions.


27  Janelle appears in the doorway behind Todd, concerned.  27

janelle
There was a guy here this morning asking about him, too.

todd
Yeah, big guy.  On a bike.  Has that got something to do with it?

Officer X registers the significance of that.  He realizes who the
big guy must be.  He smiles.  Reassuringly shakes his head no.

officer x
I wouldn't worry.   Do you have a photo-graph of John?

Todd stares unhappily at the cop.  Turns to Janelle.

todd
Get the album, Janelle.
cut to
28  ext. street     28

ANGLE THROUGH AN ALLEY from the main street.  We see John and Tim
flash by on the Honda a block away.  Hold a beat.  Then...

A BIG CHROME WHEEL ENTERS FRAME.  BOOM UP a leather-clad leg to Terminator's
implacable face.  It surveys the area slowly as the bike idles, then
kicks it into gear and moves on, scanning in a slow shark-like manner,
not aware that it missed its prey by seconds.
cut to:

29  int. SARA's cell - day  29

CLOSE ON SARA.  She is shackled, hands and feet, to the bed.  Sunlight
falls across her pale face.  A hand enters frame, gently stroking
her cheek.  She wakes up to see--

KYLE REESE.  Sitting on the edge of her bed, looking exactly the
same as we last saw him in 1984.  Scruffy blond hair and a long raincoat.

SARA
Kyle..?  You're dead.

He gives her a gentle smile.

reese
I know.  This is a dream, Sara.

SARA
Oh.  Yeah. They... make me take this stuff...


29  He puts a finger to her lips.  Then silently unfastens her restraints.
 They gaze   29
    into each other's eyes.  And in that look we see that his death
and the horror she has been through since hasn't touched their love
at all.

SARA
Hold me.

She melts into Reese's arms.  Pulls him to her.

reese
I  love you.  I always will.

SARA
Oh, god... Kyle.  I need you so much.

She kisses him passionately.  They are locked together in a timeless
moment. PUSH IN TIGHT on Sara as she buries her face in his shoulder.
 She shuts her eyes tight.  Stay on Sara as Reese speaks.  His voice
strangely cold.

reese (O.S.)
Where's John, Sara?

Sara opens her eyes and he is no longer in her arms.  He is standing
across the room.  Pinning her with an accusing gaze.

SARA
They took him away from me.

reese
It's John who's the target now.  You have to protect him.  He's
wide open.

SARA
I know!

reese
Don't quit, Sara.  Our son needs you.

SARA
(struggling not to cry)
I know, but I'm not as strong as I'm supposed to be.  I can't do
it.  I'm screwing up the mission.

reese
Remember the message... the future is not set.  There is no fate
but what we make for ourselves.

He turns toward the door.

SARA
Kyle don't go!


29      reese   29
(turning back to her)
There's not much time left in the world, Sara.

Reese goes out the door.  Sara jumps from the bed, frantic.  Yanks
the door open.  Follow her out.

30  int. corridor   30

Sara staggers from her cell.  Reese is already, impossibly a hundred
feet away, striding down the dim corridor.  A silhouette in a long
coat, disappearing around a corner.

Sara runs after him, her bare feet slapping the cold linoleum.  Her
hospital gown floats out behind her as she dream-runs along the seemingly
infinite corridor.  She reaches the corner, slides around it, and...


30A Slams right into the arms of Douglas and his three helpers.
They grab her as   30A
    she struggles and screams.  Then Silberman is there, smiling
soothingly.   They force her  down and she is pinned to the floor,
screaming.  A new figure approaches... one even more menacing.

TERMINATOR walks toward her, with heavy, measured steps.  Backlit,
eyes concealed by the sunglasses, it stands over her like the angel
of death itself.  It reaches down and...
Takes her hand.  Lifts her up.  Leads her to a door.  They go through
together.  Emerging into...

30B A BEAUTIFUL SUNLIT MORNING.  CHILDREN are playing nearby...
   30B
    sliding down slides, clambering through a jungle gym.  Sara knows
this dream now... it is the worst of all her nightmares.  She starts
to scream but no sound comes out.

30C THE SKY EXPLODES into WHITE LIGHT.  Everything is seared by the
    30C
    unholy  glare, hotter than a thousand suns.  The children ignite
like match heads.  Sara is burning, screaming silently, everything
silent and overexposed.  Terminator's flesh and clothing are burning,
silently.  It grips her hand, Virgil to her Dante in this tour of
the nuclear age Inferno.

30D THE BLAST WAVE HITS... a near-solid wall of compressed air followed
by  30D
    250 mph winds.  The children, charcoal statues frozen in positions
of play, explode into black leaves of ash and swirl away.  SOUND
hits now, with a thunderous roar.  Sara's scream merges with the
howl of the wind as the blast hits her, exploding the flesh from
her bones.  Beside her, Terminator is stripped of its burnt flesh,
becoming a smoking skeleton of steel.

30E Then she wakes up...  in her cell, shackled to the bed.  Sunlight
hurts her     30E
    eyes.  She looks desperate and defeated.  She knows the war is
coming.  It visits her every time she closes her eyes.  Lost and
alone, Sara feels all hope recede for herself and for humanity.

cut to:


31  int. Pescadero state hospital - interview room  31

TIGHT ON VIDEO SCREEN, playing a previously-recorded session.
Sara is in a strait-jacket, talking softly.

video SARA
...  it's... like a giant strobe light,   burning right through my
eyes... but somehow I can still see.  Look, you know the dream's
the same every night, why do I have to--

video silberman
Please continue...

31A The REAL SARA dispassionately watches herself on the screen.
 Her   31A
    expression is controlled.  Silberman watches her watching.  They
are in a brightly lit interview room.  TWO ATTENDANTS stand nearby.

31B video SARA  31B
The children look like burnt paper... black, not moving.  Then the
blast wave hits them and they fly apart like leaves..."

Video Sara can't go on.  Real Sara watches herself cry on tape, her
expression cold.  We hear Silberman speak on the tape.

video silberman
Dreams about cataclysm, or the end of the world, are very common,
Sara...

Video Sara cuts him off, her mood shifting to sudden rage.

VIDEO SARA
It 's not just a dream.  It's real, you moron!  I know the date it
happens!!

video silberman
I'm sure it feels very real to you--

video SARA
On August 29th 1997 it's going to feel pretty fucking real to you,
too!   Anybody not wearing number two million sunblock is gonna have
a real bad day, get it?!

video silberman
Relax now, Sara--

video SARA
You think you're alive and safe, but you're already dead.  Everybody,
you, him...
(she gestures at the attendant)
everybody... you're all fucking dead!


    TERMINATOR 2 - Rev.  9/10/90        17

31B     She is raving, half out of her chair.  The orderly moves
to inject her with     31B
    something.

VIDEO SARA
You're the one living in a dream, Silberman, not me!  Because I know
it happens.  It happens!

31C Silberman pauses the tape... freezing Sara's contorted face.
   31C
Real  Sara turns away from the screen, her expression stony.

SARA
I was afraid... and confused.  I feel much better, now.  Clearer.

Silberman gives a calculated paternal smile.

silberman
Yes.  Your attitude has been very positive lately.

Sara looks up at him.  Her voice is hopeful.

SARA
It has helped me a lot to have a goal, something to look forward
to.

silberman
And what is that?

As she answers, WE PULL BACK, revealing that we have been looking
through a one-way mirror from an adjacent OBSERVATION ROOM.  In the
shadows of the observation room we see the interns from the earlier
rounds, and a couple of STAFF PSYCHOLOGISTS.  They smoke and make
the occasional note.

SARA
You said I could be transferred to the minimum security wing and
have visitors if I showed improvement in six months.  Well, it's
been six months, and I was looking forward to seeing my son.

silberman
I see.  Let's go back to what you were saying about these terminator
machines.  Now you think they don't exist?

CLOSE ON SARA.  Her voice sounds hollow.

SARA
They don't exist.  I see that now.

Silberman leans back, studying her.  Toying with her.


31C     Silberman   31C
But you've told me on many occasions about how you crushed one in
a hydraulic press.

SARA
If I had, there would have been some evidence.  They would have found
something at the factory.

silberman
I see.  So you don't believe anymore that the company covered it
up?

Sara shakes her head no.
cut to:

32  ext. cyberdyne systems - day    32

The corporate headquarters of a mega-electronics corporation.  An
imposing cubist castle of black glass.

33  INT. second floor/ elevators    33

The elevator doors slide open with a whisper and MILES DYSON strides
out.  Black.  In his early thirties.  The star of the Special Project's
division.  He's brilliant, aggressive, driven.  Dyson walks down
the corridor, swinging his arms... a man in a hurry.  A man with
much to do.

He reaches a solid security door and zips his ELECTRONIC KEY-CARD
through the scanner.  The door unlocks with a clunk.
The sign next to the door reads:  SPECIAL PROJECTS DIVISION: AUTHORIZED
PERSONNEL ONLY.

34  int. security station   34

He nods to the guards as he passes through the security checkpoint.
 They can see all activities on the floor on their bank of video
monitors.
He unlocks another secure door with his card and enters--

35  int.artificial intelligence (A.i.) lab  35

 The lab  is quite large, comprising banks of processors, disk drives,
test bays, prototype assembly areas.  Extremely high tech.

Dyson
Greetings, troops.

He is jokingly saluted by fellow workers.  Not a lab coat in sight.
 This is a strictly jeans and sneakers crowd.  All young and bright.
 They sit at their consoles drinking Cokes and changing technology
as we know it.   A young LAB ASSISTANT rushes over to Dyson.  Name
tag says he's BRYANT.


35  bryant  35
Mr. Dyson?  The materials team wants to run another test on the uh...
on it.

dyson
Yup.  Come on.  I'll get it.

Dyson produces an unusual-looking KEY from his pocket as they stride
through the lab.  Bryant has to hustle to keep up.

bryant
Listen, Mr. Dyson, I know I haven't been here that long, but I was
wondering if you could tell me... I mean, if you know...

Dyson
Know what?

bryant
Well... where it came from.

dyson
I asked them that question once.  Know what they told me?  Don't
ask.

36  int. vault room 36

Dyson enters with Bryant.  Dyson and a GUARD stand together before
what looks like a high-tech bank vault.  It requires two keys to
open, like the launch controls in a nuclear silo.  The guard and
Dyson insert their keys and turn them simultaneously.  Dyson then
enters a passcode at a console and the vault unlocks itself with
a sequence of clunks.  The door swings open and Dyson enters.  Bryant
stays outside with the guard, who notes Dyson's name and the time
on a clipboard.

37  INT. VAULT  37

Dyson walks to a stainless steel cabinet and opens it. Inside is
a small artifact in a sealed container of inert-gas.  IT --a ceramic
rectangle, about the size of a domino, the color of liver.  It has
been shattered, painstakingly reconstructed and mounted on a metal
frame.

Dyson removes the artifact, in its inert-gas flask, and sets it on
a specially designed cart.  He handles it like the Turin shroud.

Dyson closes the cabinet.  Turns to the one next to it.  Opens its
door.  In this cabinet is a larger object... an intricate METAL HAND
AND FOREARM.

At the elbow, the metal is twisted and crushed.  But the forearm
and hand are intact.  Its metal surface scorched and discolored,
it  stands upright in a vacuum flask, as if saluting.   This is all
that remains of the terminator Sara destroyed.   Dyson stares at
it, lost in thought.  Then he closes the cabinet, BLACKING OUT FRAME.

cut to:

38  int. interview room/ observation room   38

We can see through the one way mirror into the interview room where
Sara is still talking with Silberman.  The  OTHER PSYCHOLOGISTS are
still watching through the mirror.  Reviewing Sara's condition.

SARA
So what do you think, doctor?  I've shown a lot of improvement, haven't
I?

silberman
You see, Sara... here's the problem.  I know how smart you are, and
I think you're just telling me what I want to hear.  I don't think
you really believe what you've been telling me today.

We go tight on Sara's reaction.  And we see that Silberman is right.
She was playing him and it didn't work.  And she knows she's fucked.
 Her tone becomes quietly pleading.

SARA
You have to let me see my son.  Please.  It's very important.  He's
in danger.  At least let me call him--

Silberman pins her with his sweet reptilian gaze.

silberman
I'm afraid not.  Not for a while.  I don't see any choice but to
recommend to the review board that you stay here another six months.

Sara's eyes turn cold and lethal in one second.  She knows she's
lost.  She knows this guy is just playing with her, and she--
LEAPS ACROSS THE TABLE AT HIM.

SARA
YOU SON OF BITCH!!

Silberman jumps back and the attendants dive on her.  She is writhing
and twisting like a bobcat.  Silberman whips open a drawer and pulls
out a syringe.  He jabs it into her as she yells--

SARA
Goddammit.  Let me go!!  Silberman!  You don't know what you're doing!
 You fuck!  You're dead!  You hear me!!

Silberman signals and the attendants drag her out.
He looks at the doctors behind the glass.  Shrugs.

silberman
Model citizen.

    TERMINATOR 2 - Rev.  9/10/90        21

cut to:

39  EXT. 7-eleven store - DAY   39

    Officer X has stopped two young girls in front of a 7-Eleven.
 He is leaning out the cruiser window and showing them the picture
of John. The first girl nods.  *

FIRST GIRL
Yeah, he was here about fifteen minutes ago.  I think he said he
was going to the Galleria.

officer X
The what?

The second girl points toward a massive complex visible above the
houses several blocks away.  Officer X stares at it.

40  EXT. STREET 40

Terminator cruises slowly on the bike.  Scanning.  He crosses an
overpass above a drainage canal and whips his head around at the
sound of a dirt-bike engine.

40A TERMINATOR POV-- of two kids on a bike down in the canal.   40A
    The IMAGE snap-zooms in.  FREEZES on the driver's face.  IDENT
POS flashes next to the blurry image of John.

40B Terminator wheels the Harley around, cutting onto a street which
   40B
    runs parallel to the canal.   Terminator hauls ass to keep John
in sight.  He catches glimpses of the kid through trees and houses.
 Loses him.  Catches one last glimpse of him heading into the parking
garage of a large SHOPPING MALL.

41  INT. GALLERIA -  DAY    41

John works his way through a crowded video arcade.  Sees some guys
he knows.  Stops to talk, striking a pose.  Mall rats in their element.
 We don't hear the dialogue.

42  int. galleria parking garage    42

TERMINATOR'S idling Harley shakes the parking garage walls.   He
stops at a row of bikes near the escalators.  John's little Honda
sits proudly with the big street bikes.  Terminator parks.

43  int. galleria   43

OFFICER X is moving through the flow of shoppers.  The place is a
zoo.  He stops some kids and shows them the picture.  They shrug.


43A IN A CROWDED VIDEO ARCADE JOHN is lost in an intense battle,
going  43A
    for a new high score at "Missile Command".   He parries deftly
as the enemy ICBMs deploy their MIRVs... the warheads stream down...
it's more than he can deal with.  The world gets nuked.  Game over.
 He slouches away from the game, looking for another.  Bored.

    RACK FOCUS to Officer X passing the entrance of the store behind
him.
    The cop moves on, down the concourse, out of sight.
John gets into an "Afterburner" simulator game.

43B ON TERMINATOR, walking through the crowd in slow motion.  Scanning.
    43B
    It moves with methodical purpose, knowing the target is close.
 We see that it is, incredibly, carrying a box of LONG STEM ROSES.
 Like some hopeful guy with a hot date.

43C THE COP is pointed toward the arcade by some kids hanging out
at the    43C
    multi-cinema.  He walks into the maze of kids engaged in synthesized
conflict.  Cheap electronic sound effects blare above the crowd noise.

43D JOHN is shooting down MiGs at Mach 2.  His friend Tim slides
up next to     43D
    him.  Taps him on the shoulder, trying to play it cool.

tim
Some cop is scoping for you, dude.

John looks around the corner of the "Afterburner" ride.  Sees the
cop showing a picture to some of the kids.  The kids point his way.

John ducks just as the cop glances over.  He slinks out the other
side of the ride and heads for the back of the store, instinctively
retreating.  Sara has taught him that cops are bad news.

THE COP scans the crowded arcade.  Glimpses John, looking back as
he moves around a row of machines.  Starts toward him.

JOHN sees the cop homing in and starts walking fast.  Looks back.

THE COP  is shoving through clots of kids.  One of them is slammed
to the floor.  An eddy of outrage behind the cop as he gains speed.

John breaks into a run.  So does the cop.
Kids scatter like ten-pins as the cop charges after John.
John sprints through the arcade's back office and store-rooms.

44  int.  SERVICE CORRIDOR  44

John emerges through a firedoor into a long corridor which connects
to the parking garage.  He's running full out, when around the corner
ahead of him comes...

TERMINATOR.  Time stretches to nightmarish crawl as John tries to
brake to a stop.  Terminator reaches into the box of roses.

SLOW MOTION.  The cold black steel of the SHOTGUN emerges as the
box falls open, the roses spilling to the floor.  TERMINATOR'S BOOT
crushes the flowers as it moves forward.


44  JOHN, transfixed by terror, is trapped in the narrow featureless
shooting   44
    gallery of the corridor.
THE SHOTGUN COMES UP.  Terminator expressionlessly strides forward.
 Jacks a round into the chamber, slow and fluid.

John looks behind him for a place to run.  Sees the cop coming toward
him, pulling his Beretta pistol.  Incredibly, John realizes the cop
is aiming his gun at him!
John looks back at Terminator.  He is staring into the black muzzle
of the 10 gauge now.  Aimed right at his head.  He realizes he's
screwed.  Then something crazy happens...

terminator
Get down.

John instinctively ducks.  Terminator pulls the trigger.  KABOOM!

THE COP catches the SHOTGUN'S BLAST square in the chest just as he
fires his pistol.  The pistol's shot goes wild.

TERMINATOR pumps another round into him.  Then another. And another.
 And  another.   Advancing a step each time he fires, he empties
the shotgun into the cop, blowing him backward down the corridor.
 The sound is DEAFENING.  Then silence.

THE COP lies still on his back.

44A Terminator is now standing right over John.  They both watch
as the cop,    44A
    incredibly, sits up unharmed and gets to its feet.   Terminator
grabs John roughly by his jacket.  Clutches the kid to his chest
then spins around as the cop opens fire with the Beretta.

44B The "cop", who not only isn't a cop, he clearly isn't even human,
pulls 44B
     the trigger so fast it almost seems like a machine-pistol.

ON TERMINATOR'S BACK, as the 9mm slugs slam into it, punching bloody
holes in the motorcycle jacket.

A MAN emerges from a restroom and steps right between the cop and
his target.  He's instantly cut down by the fusillade.

JOHN is bug-eyed with fear, but completely unscratched.  Terminator's
body has blocked the bullets.

The Beretta CLACKS empty.  Terminator turns at the sound.
Shoves John behind a coke machine.  Drops the empty shotgun,  Starts
walking toward the "cop".
The empty magazine clatters to the floor.
The cop inserts another one.   Snaps back the slide.
Terminator still has twenty feet to go.
It doesn't break its purposeful stride.


44B     The cop opens fire.  Bullets rake Terminator's chest.  It
doesn't even flinch.      44B
    Ten feet to go.  BLAM BLAM BLAM BLAM!  Neither the cop nor Terminator
show the slightest change in expression as the gun rips  Terminator's
wardrobe to shreds.

CLACK.  The pistol empties again.  Terminator stops two feet in front
of the cop.   They appraise each other for a second.

We realize now that the cop is a terminator too.  We don't know the
details yet, but let's call him the T-1000 (since that's what he
is).  A newer model than the one we've come to know so well (the
800 Series "Arnold").  This guy's an advanced prototype... and he's
got quite a few surprises.

T-1000 AND TERMINATOR size each other up.  Terminator moves first.
 It grabs the T-1000 in its massive hands but the T-1000 snaps back
with a counter-grip.  After about two seconds of intense slamming,
the walls on both sides of the corridor have all the plaster smashed
in, and the two battling machines have blasted through the wall and
disappeared.

JOHN, totally stunned by all of this, remembers to move.  He staggers
to his feet.  Stumble-runs toward the parking garage.

44C THIRD LEVEL CONCOURSE. A plate glass window EXPLODES and the
   44C
    Terminator crashes through to the tile floor like a sack of cement
amid the screaming crowd.

44D The T-1000, swatting mannequins aside, emerges through the broken
window.   44D
    Picks up the stunned Terminator by its jacket.  Hurls him against
the balcony, which shatters at the impact.  Terminator crashes through
and falls two levels to the courtyard below!

 T-1000 turns without a word and heads back through the store after
John, accelerating slowly into a loping, predatory run.

44E DOWN ON THE COURTYARD.  Terminator is totally still.  A JAPANESE
   44E
    TOURIST cautiously  steps forward and takes a picture of the
body.  Suddenly, Terminator's eyes snap open.  The stunned tourist
backs away.

It sits up and looks around.  Gets its bearings.  Rises smoothly
to its feet.  All servos seem to be working fine.  The tourist's
camera whirs as the motor-drive runs on by itself, taking shot after
shot.  The owner isn't even looking through the eyepiece, he's so
shocked.

45  int. parking garage 45

John is frantically pumping the kick starter of his bike, scared
shitless and the damned thing won't start.  His hands are shaking
so badly he can't find the choke.  He looks up to see--
 The T-1000 running down the corridor toward him.
John fumbles with the choke. The bike catches.   He slams it in gear
and spins the bike out into the main aisle of the garage.


45  John looks back... the T-1000 is behind him, running.  He twists
the throttle   45
    and guns the little bike forward.  Incredibly, the T-1000 is
gaining.  This nightmare isn't happening.  John races out the exit
ramp, and charges right into the street.

46  EXT.  STREET    46

John shoots into the busy traffic.  Cuts off a BIG-RIG TOW TRUCK.

The DRIVER swears.  Hits his air horn.  What the driver doesn't see
is the cop, running faster than O.J. Simpson at the airport, who
emerges onto the street and runs right at his truck.

46A IN THE TRUCK.  The driver hears a thump as something slams against
 46A
    his door, then feels himself pulled right out.  T-1000 slides
in and takes his place.  The truck is still rolling along about 25
mph.  T-1000 accelerates after John without missing a beat.  It can
see him, up ahead, weaving through traffic.

46B Out of the garage entrance, Terminator roars onto the street
on the Harley.     46B
    It accelerates after the others.

47  EXT. FLOOD CONTROL CHANNEL  47

John slides his bike down the service ramp faster than he's ever
done it before.  He races along the bottom of the canal, turning
into a narrower tributary which has vertical sides.

He looks back.  No sign of pursuit.
47A Suddenly he sees the sun blocked out by a great shadow. 47A
The Kenworth tow-truck... big as  house, all chrome and roaring diesel
engine... crashes through the fence and launches itself right into
the center of the canal.

It crashes down, 15 feet to the ground, going about 60, hits at an
angle and tears into the concrete wall with a hideous grinding of
metal.  It ricochets back and forth between the walls then, bellowing
like a gutshot  stegosaurus, it just keeps on plowing forward, gathering
speed.

47B John looks back and sees this wall of metal  almost filling the
narrow  47B
    concrete canal and he milks every last bit of throttle the little
bike has.  The Kenworth is all muscle, tearing along the canal like
a train in a tunnel.  Its big tires send up huge sheets of muddy
spray, backlit in the setting sun.  It looks like some kind of demon.
 And... it's gaining.

47C ABOVE THEM, on the service road running parallel, Terminator
is     47C
    fighting to overtake them.  It looks down and sees John with
the tow-truck from Hell catching up to him.  It is only about twenty
feet behind him and still gaining.

47D ANGLE IN THE CANAL, looking back past a desperate John, at the
wall of  47D
    metal filling frame behind him.


    TERMINATOR 2 - Rev.  9/10/90        26

47E ABOVE, Terminator cuts the bike suddenly hard to the left, leaving
the  47E
    road.  Hitting an earth embankment just right, it jumps the bike
into the air like Steve McQueen in "The Great Escape" and vaults
the fence bordering the canal.  It slams down at the edge of the
canal and tears along, inches from the drop-off on a dirt path, accelerating
past the truck in the channel below.

47F John hits some water and slews momentarily, losing speed.  The
massive  47F
    push-plate on the front of the truck slams his back fender.
Panicked, he pulls a little ahead.  All this is happening at about
sixty miles an hour.  Top speed for the little dirt bike.

47G SLOW MOTION as Terminator jumps the bike again.  This time the
700- 47G
    pound Harley sails out into space and drops into the canal.
It arcs down between the truck and John, hitting on its wheels.
It bottoms out, an explosion of sparks from under the frame.  Only
the ultra-fast reflexes of a machine could keep the bike upright.
 Terminator fights for control.

47H It guns the throttle and the powerful bike roars up beside John's
tiny Honda.   47H
    Terminator sweeps the kid off his machine with one arm and swings
him onto the Harley, in front of him.  John's Honda weaves and falls,
smashed instantly under thundering tires.

The Harley roars ahead.  It hits eighty.  Ahead is an overpass, and
supporting it is an abutment which bisects the canal into two channels.
 The Harley thunders into one channel, which is essentially a short
tunnel.

47I The truck can't fit on either side.  Neither can it stop, at
that speed.  Tires     47I
    locked, it slides on the muddy concrete and piles into the concreted
abutment at seventy.

47J Terminator and John emerge from the tunnel, looking back to see
a fireball  47J
    blasting through behind them as the truck's side-tanks explode.

Terminator stops the Harley.  John peers around its body to see the
destruction.  A burning wheel wobbles out of the tunnel and flops
in the mud.  Terminator revs the bike and they roar away, down the
canal, disappearing around a bend.

47K ANGLE ON THE FIRE, as a column of black smoke rises from the
overpass.      47K
    Smoke boils from the tunnel as well, and inside it is a solid
wall of flame.  A figure appears in the fire.
Just an outline.  Walking slowly... calmly.
The figure emerges from the flames.

It is human-shaped but far from human.  A smooth chrome man.   Not
a servomechanism like Terminator is underneath, with its complex
hydraulics and cables... this thing is a featureless, liquid chrome
surface, bending seamlessly at knees and elbows as it walks.  It
reminds us of mercury.  A mercury man. Its face is simple, unformed.
Unruffled by thousand degree heat, it walks toward us.

With each step detail returns.
    First the shapes and lines of its clothing emerge from the liquid
chrome surface, then finer details... buttons, facial features, ears...
  *

    TERMINATOR 2 - Rev.  9/10/90        27

47K     But it's still all chrome.  With its last step, the color
returns to everything.  It is 47K
    the cop again... handsome young face, blond hair, moustache.
 Icy eyes.  It stops and looks around.

It is a perfect chameleon.  A liquid metal robot.  A killing machine
with the ultimate skills of mimicry for infiltration of human society.


47L ANGLE NEARBY, as several police cruisers and a fire truck pull
up.  47L
T-1000 climbs out of the canal behind them.  More cops arrive.  T-1000
blends in perfectly.  There are always cops at disasters and scenes
of violence.  We now see why its choice of protective mimicry is
so perfect.
It walks among the other cops unnoticed.
Gets into one of the squad cars.  Starts it and drives away.


48  EXT. SIDE STREET - DUSK 48

Terminator, with John in front of him, on the Harley roars down the
empty street.  John cranes his neck around to get a look at the person/thing
he is riding with.  The image is strangely reminiscent of father/son,
out for an evening ride.

John is still shaking from the experience of what just happened and
he's just a ten year old kid, but he's also the John Conner who will
someday rise to greatness, and we see a bit of that in him even now.

john
Whoa... time out.  Stop the bike!

    Terminator immediately complies.  He leans the bike into a turn.
 They head     *
    into a nearby alley.

49  EXT. ALLEY  49

Terminator and John roll into the alley and come to a stop.  John
slides off the gas tank.  Terminator impassively stares at him.
John checks him out.  Tentatively speaks.

john
Now don't take this the wrong way, but you are a terminator, right?

terminator
Yes.  Cyberdyne Systems, Model 101.

john
 No way!

    John touches Terminator's skin.  Then the blood on his jacket.
     *
His mind overloads as the reality of it hits him.


49  john    49
Holy shit... you're really real!  I mean... whoah!
(stepping back)
You're, uh... like a machine underneath, right...  but sort of alive
outside?

TERMINATOR
I'm a cybernetic organism.  Living tissue over a metal endoskeleton.

john
This is intense.  Get a grip, John.   Okay, uh... you're not here
to kill me... I figured that part out for myself.  So what's the
deal?

terminator
My mission is to protect you.

john
Yeah? Who sent you?

terminator
You did.  Thirty five years from now you reprogrammed me to be your
protector here, in this time.

John gives him an amazed look.

john
This is deep.


50  EXT. street - NIGHT 50

John and Terminator on the bike again, weaving through the side streets.
  They blend into the evening traffic.  In the darkness, Terminator's
wounds are not readily visible.   John cranes his head up and back.

john
So this other guy?  He's a terminator too, right, like you?

terminator
Not like me.  A T-1000.  Advanced prototype.   A mimetic polyalloy.


john
What's that mean?

terminator
 Liquid metal.

john
Radical.


50  terminator  50
You are targeted for termination.  The T-1000 will not stop until
it completes its mission.  Ever.

John mulls that over.

john
Where we going?

terminator
We have to leave the city, immediately.  And avoid the authorities.

john
Can I stop by my house?

terminator
Negative.  The T-1000 will definitely try to reacquire you there.


john
You sure?

terminator
I would.
cut to:

51  ext. payphone   51

John is quickly going through his pockets for change.   He has plenty
of bills but no quarters.

john
Look, Todd and Janelle are dicks but I gotta warn them.  Shit!  You
got a quarter?

Terminator reaches past John and smashes the cover plate off the
phone's cash box with the heel of his hand.  A shower of change tumbles
out.  Terminator hands one to John.  John dials.

52  INT. VOIGHT HOUSE - KITCHEN - NIGHT 52

Janelle Voight  picks up the kitchen phone and cradles it with her
shoulder while she continues to chop vegetables with a large knife.
  She answers sweetly.

janelle
Hello?

john
(filtered through phone)
Janelle?  It's me.


52  In the backyard John's German Shepherd is going bonkers, barking
at     52
    something.

janelle
John?  Where are you, honey?  It's late.  You should come home, dear.
 I'm making a casserole.

AT THE PAYPHONE.  John listens, an odd look on his face.  He covers
the phone's mouthpiece and turns to Terminator.

john
(whispering)
Something's wrong.  She's never this nice.

    IN THE VOIGHT'S KITCHEN.  Todd comes in through the kitchen's
back
    door.  Just home from work.  He ignores Janelle and opens the
fridge.  Grabs a Coors.  Takes a sip.  Frowns at the dog's barking.

todd
What the hell's the goddamn dog barking at?  SHUT UP YOU MUTT!

TIGHT ON JANELLE as Todd growls around the kitchen behind her.  He
passes OUT OF FRAME next to her.  Janelle switches the phone to her
other hand then... THUNK!  Her free hand seems to do something out
of frame.  There is a gurgling, and the sound of liquid dribbling
onto the floor.  (Don't go away.  We'll found out what happened in
a moment)

AT THE PAYPHONE.  John cups the phone again. Turns to Terminator.

john
The dog's really barking.  Maybe it's already there.  What should
I do?

Terminator takes the phone from John's hand.  Janelle's voice is
floating through the receiver.

janelle
(filtered)
John?  John, are you okay?

Terminator speaks into the phone in a perfect imitation of John's
voice...

terminator
(in John's voice)
I'm right here.  I'm fine.
 (to John, a whisper)
What is the dog's name?

john
Max.


    TERMINATOR 2 - Rev.  9/10/90        31

52      Terminator nods.  Speaks into the phone.    52

terminator
Hey Janelle, what's wrong with Wolfy?  I can hear him barking.  Is
he okay?

janelle
(filtered)
Wolfy's fine, honey.  Where are you?

Terminator unceremoniously hangs up the phone.  Turns to John.

terminator
Your foster parents are dead.  Let's go.

Terminator heads for the bike.  John, shocked, stares after him.


53  int. voight house / kitchen 53

Janelle hangs up the phone.  Her expression is neutral.  Calm.

    PAN OVER along her arm, which is stretched out straight from
the shoulder.  Partway along its length her arm has turned smoothly
into something else-- a    *
    metal cylinder which tapers into a sword-like spike.  Now we
see Todd Voight PINNED TO A KITCHEN CABINET by the spike which has
punched through his beer can, through his mouth and exits the back
of his head into the cabinet door.  His eyes are glassy and lifeless.

The spike is withdrawn-- SWIISHHTT!-- so rapidly, Todd is actually
standing there a second before he slumps out of sight.  THUMP.

53A Janelle doesn't bat an eye as the spike smoothly changes shape
and color,   53A
    transforming back into a hand, and then...

53B JANELLE CHANGES rapidly into the COP we now know as the T-1000.
 The    53B
    change has a liquid quality.   T-1000 opens the back door.

54  ext. voight house/ backyard - night

T-1000 approaches the big German Shepherd, which slinks away from
him, barking in fear.    T-1000 walks right into CLOSE UP.  Reaches
down, OUT OF FRAME.  We hear that sickening THUNK followed by a shrill
YELP.   Then T-1000's hand snaps up INTO FRAME holding a bloody dog
collar.
The tag reads "MAX".
T-1000 nods thoughtfully.  Heads back to the house.

55  EXT. parking lot - NIGHT    55

Dark.  Off a quiet street.  Terminator stands near the Harley watching
John pace before him.  John's brain is calling time-out.   This is
all too weird.

john
I need a minute here, okay?  You're telling me it can imitate anything
it touches?


    TERMINATOR 2 - Rev.  9/10/90        32

55  terminator  55
Anything it samples by physical contact.

John thinks about that, trying to grasp their opponent's parameters.

john
Like it could disguise itself as anything... a pack of cigarettes?

terminator
No.  Only an object of equal size.

John's still reeling from meeting one terminator, which now seems
downright conventional next to the exotic new model.

john
Well, why didn't it just become a bomb or something to get me?

terminator
It can't form complex machines.  Guns and explosives have chemicals,
moving parts.  It doesn't work that way.   But it can form solid
metal shapes.


56  INT. VOIGHT HOUSE - night   56

T-1000 walks down the dark hall.  It passes the bathroom and we see
the real Janelle's legs through the half-open door.  The shower is
running.  Her blood mixes with water on the white tile floor.

56A In John's bedroom the T-1000 begins searching methodically in
the dark.     56A
    Calmly and dispassionately ripping the room apart for any clues
that could lead it to its target.
    T-1000 finds a box of audio cassettes marked "Messages from Mom".
In it are     *
    some letters, and envelopes filled with snapshots.  It begins
looking through   *
    some of the photos...   *

    SHOTS OF JOHN AND SARA during the missing years.  Sara in olive
    *
    cammos with an RPG 7 grenade launcher, teaching John how to aim.
 Sara  *
    with a group of military-clad Guatemalan men, standing next to
cases of     *
    stinger missiles.  John and Sara in a Contra camp, deep in the
mountains.   *


57  EXT. PARKING LOT - NIGHT    57

John is now sitting on the curb, lost in stunned thought.  Terminator
stands above him, watching the street like a Doberman.  He glances
down at John.

john
    We spent a lot of time in Nicaragua... places   *
    like that.  For a while she was with this crazy     *
    ex-green beret guy, running guns.  Then there   *
    were some other guys.   *

    TERMINATOR 2 - Rev.  9/10/90        33

57  JOHN    57*
    She'd shack up with anybody she could learn     *
    from.  So then she could teach me how to be this    *
    great military leader. Then she gets busted and *
    it's like... sorry kid, your mom's a psycho.    *
    Didn't you know?   It's like... everything I'd  *
    been brought up to believe was just made-up *
    fantasy, right?  I hated her for that.      *
(he looks up)
    But everything she said was true.   *
(he stands)
    We gotta get her out of there.  *

terminator
Negative.  The T-1000's highest probability for success now would
be to copy Sara Conner and wait for you to make contact with her.

john
    Oh, great.  And what happens to her?    *

Terminator's reply is matter-of-fact.

terminator
Typically, the subject being copied is terminated.

john
TERMINATED!?  Shit!  Why didn't you tell me?  We gotta go right now!


terminator
Negative.  She is not a mission priority.

john
Yeah, well fuck you, she's a priority to me!

John strides away.  Terminator goes after him and grabs his arm.
John struggles against the grip.  Which doesn't do him much good.


john
Hey, goddammit!  What's your problem?

Starts dragging John back to the bike.  John spots a couple of college-age
slab-o-meat JOCK-TYPES  across the street and starts yelling to them.

john
Help!  HELP!! I'm being kidnapped!  Get this psycho off of me!

The TWO JOCKS  start toward them.  John yells in outrage at Terminator

john
Let go of me!!

    TERMINATOR 2 - Rev.  9/10/90        33A

57  To his surprise, Terminator's hand opens so fast John falls right
on his butt.  57
    He looks up at the open hand.

john
Oww!  Why'd you do that?


57      terminator  57
You told me to.

John stares at him in amazement as he realizes...

john
You have to do what I say?!

terminator
That is one of the mission parameters.

john
Prove it.... stand on one foot.

Terminator expressionlessly lifts one leg.
John grins.  He's the first on his block...

john
Cool! My own Terminator. This is great!

The two guys get there and look at Terminator standing there calmly
with one leg up in the air.  This big guy in black leather and dark
glasses, standing like a statue.

first jock
Hey, kid.  You okay?

John turns to him.  No longer needing to be rescued.

john
Take a hike, bozo.

first jock
Yeah?   Fuck you, you little dipshit.

 john
Dipshit?  Did you say dipshit?!
(to Terminator)
Grab this guy.

Terminator complies instantly, hoisting him one-handed by the collar.
 The guy's legs are pinwheeling.

john
Now who's a dipshit, you jock douchebag?

Immediately, things get out of hand.  The guy's friend jumps behind
Terminator and tries to grab him in a full nelson--
Terminator throws the first guy across the hood of a car--
Grabs the second by the hair, whips out his .45 in a quick blur,
and aims the muzzle at the guy's forehead.


57      John grabs Terminator's arm with a yell as he pulls the trigger--
John's    57
    weight is just enough to deflect the gun a few inches.  The guy
flinches, stunned by the K-BOOM next to his ear.  He stares, shocked.
 Pissing himself.  John is freaking out too.
He screams at Terminator.

john
Put the gun down!  NOW!!

Terminator sets the .45 on the sidewalk.  John scoops it up fast
then turns to the shocked civilians, who can't believe what just
happened.

john
Walk away.

They do.  Fast.  John grabs Terminator by the arm and tugs him toward
the bike.  John still holds the gun, reluctant to give it back.

john
Jesus... you were gonna kill that guy!

terminator
Of course.  I'm a terminator.

John stares at him.  Having your own terminator just became a little
bit less fun to him.

john
Listen to me, very carefully, okay?  You're not a terminator anymore.
 Alright?  You got that?  You can't just go around killing people!

terminator
Why ?

john
Whattaya mean, why?  Cause you can't!

terminator
Why?

john
You just can't, okay.  Trust me on this.

Terminator doesn't get it.   John just stares at him.  Frightened
at what just almost happened.  He gets a glimpse of the responsibility
that comes with power.  Finally he hands the .45 back to Terminator,
 who puts it away.

john
Look, I'm gonna go get my mom. You wanna come along, that's fine
with me.

cut to


    TERMINATOR 2 - Rev.  9/10/90        36

58  int. voight house/ bedroom - night      58

    T-1000 finds an envelope... a letter from Sara to John sent since
she's been at     *
    Pescadero State Hospital.   It reads the return address on the
envelope.  It has    *
    what it needs.  It picks up a tape player and the battered shoebox
full of      *
    Sara's tapes and exits.

cut to:

59  CLOSE ON A BLACK & WHITE PHOTOGRAPH.  The image is a nightmare
 59
    from the past.  It is a surveillance camera still-frame from
the LA police station where the first terminator made such an impression
in 1984.  We see the blurry forms of cops frozen in the emergency
lights of a burning corridor.

A  black-clad figure stands at the end of  the corridor.  The guy
has short-cropped hair and dark glasses.  An AR-180 assault rifle
in one hand, and a 12-gauge in the other--holding them both like
toy pistols.
ANOTHER PHOTO is slapped on top of the first.  Another still-frame
blow-up is placed over the last.  Terminator looms in CLOSE UP.


DETective  weatherby (O.S.)
These were taken at the West Highland police station in 1984.  You
were there.

WIDER.  We're in--

59A int. INTERVIEW ROOM/ peSCADERO  - night 59A

The photos are lying on the table in front of Sara, placed there
by DETECTIVE WEATHERBY.  His partner DET. MOSSBERG, and Dr. Silberman,
sit at the table as well.  Two uniformed cops, plus Douglas,  stand
by the door.  Sara stares listlessly at the top photo.  She's withdrawn,
haggard... drugged-looking.

mossberg
He killed seventeen police officers that night.  Recognize him?

Weatherby slaps another  black and white eight-by-ten on the table.
 A close up of Terminator taken by the Japanese tourist at the mall.
 It's the same face.

mossberg
This one was taken by a Japanese tourist today.

Sara doesn't react.  It's hard to tell she's thinking.  Whether she's
given up hope or is just in a drugged stupor.

weatherby
Ms. Conner,  you've been told your son's missing.  His foster parents
have been murdered, and we know this guy's involved.  Talk to us.
 Don't you care?


59A     Sara looks up at him.  A cold and empty stare.  He  glances
at Silberman.   59A
    Then at his partner.

mossberg
We're wasting our time.

One of the uniformed cops opens the door and Mossberg strides into
the hall.  Weatherby and the two uniforms follow him out, with Silberman
right behind.

Silberman
Sorry, gentleman...

TIGHT ON SARA, slumped under the bright lights.  Totally out of it.
 Then we see her hand, creeping along the edge of the table toward
the stack of photos.  She slips off the paper clip binding the stills
together, and hides it between her fingers.  Douglas jerks her up
by the arm and leads her out.

cut to:
60  int. SARA's cell    60

Douglas cinches up the last of Sara's restraints.  Then leans over
her... looking down.  Even wrecked as she is, we see the beauty in
her face.  He bends down.  We think he's going to kiss her.  Instead
he runs his tongue across her face like a dog would.  She seems not
to even see him.  Her dull eyes see past him.  He can't provoke a
reaction.  Even here, strapped down, the two of them alone, she gives
him no superiority.  He smirks and leaves.  We hear the sound of
his night-stick tapping its way down the corridor, growing fainter.

Sara's eyes snap suddenly alert.  There is intensity and resolve
in them.  She slips the paper clip out from between her fingers and
awkwardly spreads it open into a straight piece of wire.  With slow,
painful concentration she moves it toward the lock of the restraints
that bind her wrists to the bed at her sides.
cut to:

61  EXT. road - NIGHT   61

Terminator and John charge through the night on the Harley.  Streetlights
flare past them like comets.  Two serious guys with a mission.  One
a ten year old kid, the other a half-man/ half-machine cyborg killer
from the post-apocalypse future.

cut to:
62  INT. SARA'S CELL    62

TIGHT ON RESTRAINT LOCK as it unlatches... successfully picked by
Sara's paper clip.  This is not an easy thing to do.  But Sara taught
herself a lot of things in her years of hiding.

SARA, her hands free, sits up and releases the Velcro straps on her
feet.  She rolls off the bed and we see her in a whole new light.
 She is totally alert, almost feral in her movements.
CUT TO:


63  EXT. hospital entrance      63

GUARD SHACK.  A  bored security guard glances up as an LAPD black-and-white
pulls up.  He raises the barricade and nods at the
T-1000/cop as he passes.

THE CRUISER pulls in next to the other police vehicles.  The T-1000
walks toward the main entrance.
cut to:

64  int. SARA's cell/ corridor  64

Sara is using the paper clip on the door lock.    She hears an echoing
tapping  sound.  It's getting louder, coming her way.  She goes back
to work on the lock.

65  IN THE CORRIDOR. Douglas the attendant is tapping his stick along
the wall  65
    like he does every night on his rounds.  It is dark.  He shines
a little mag-light in the windows of the cells as he passes, barely
slowing.

65A He rounds the corner.  His footsteps echo in the dark hallway.
 65A
The tip of the stick hits the wall.
Tap, tap, tap... getting closer to Sara's cell.  He stops at her
door.  He is about to shine his light in when he notices that a utility
closet across the hall is open.  He goes to shut it, absently flicking
his light into the dark closet.  He notices something strange among
the buckets and cleaning supplies.  A mop lies on the floor, with
its handle snapped off about halfway up.  The other half is missing.

Douglas ponders that for half a second, then hears a SOUND behind
him and spins around.  The sound he heard was Sara's cell door.

The missing two feet of MOP HANDLE fills his vision as it CRACKS
viciously across the bridge of his nose.

250 pounds of doughy attendant hit the floor like a sack of cement.
 Sara slams the makeshift baton down expertly across the back of
his head, bouncing him off the linoleum.  Lights out, Douglas.
She drags him into her cell and locks him in with his own keys.
Then swaps her mop-handle for his nice heavy night-stick.

65B Sara moves down the dark corridor, cat-stepping in her bare feet.
 She holds    65B
    the baton like a pro, laid back along her forearm, police-style.
 She looks dangerous.
CUT TO:

66  INT. HOSPITAL ENTRANCE/ CORRIDOR    66

A long corridor ends at a reception area, which is closed, and a
NIGHT RECEIVING DESK,  which is a glass window where they can buzz
you in through a heavy door.  A NIGHT NURSE types at a desk nearby.
 She looks up at the sound of footsteps and sees a young cop (T-1000)
walking toward her.
t-1000
You have a Sara Conner here?

She assumes he's with the other cops.  Smiles.


66  night nurse 66
Running late, aren't you?

She turns to the inner door to buzz him in and sees Silberman and
the cops coming toward the door from the other side.

night nurse
Your friends are on their way out now...

When she turns back to the window, T-1000's  no longer there.   She
goes to the counter and leans out to see if he's at the drinking
fountain or someplace.  No.  Reception is empty.  And so is the long
corridor beyond.  She frowns.  Too weird.

66A Silberman comes through the solenoid door with Mossberg and Weatherby,
 66A
    the two uniform cops, and the hospital security guard.  The guard
retrieves his 9mm pistol from a lock-out box behind the night desk.
 Silberman faces him.

silberman
Lewis, see these gentleman out and then lock up for the night.

The security guard nods.  Silberman goes back into the secure area
of the hospital and the cops walk down the long corridor to the main
doors.  No sign of T-1000.  Mossberg and the other cops exit, and
the guard locks the door behind them.

66B The guard walks slowly back along the long corridor.  The hall
is dark, with    66B
    the light at the night desk far ahead like a sanctuary.  His
footsteps ring hollowly on the tile floor.  His keys jingle.

66C ANGLE ON FLOOR as the guard's feet pass through FRAME.  An instant
 66C
    later the floor starts to move.
It shivers and bulges upward like a liquid mass, still retaining
the two-tone checkerboard of the tile.  It hunches up silently into
a quivering shadow in the darkness behind the guard.

66D Up ahead we hear typing.  The night nurse has her back to us,
working.  The     66D
    guard stops at the  drinking fountain.  Bends to take a sip.
 Behind him the fluid mass has reached six feet of height and begins
to resolve rapidly into a human figure.  It loses the color and texture
of the tile and becomes... THE GUARD.

T-1000's mass had been spread out a quarter of an inch thick over
several square yards of floor.  The guard walked over the T-1000,
and his structure was sampled in that instant.  Now we see it drawing
in and pulling up to form the figure of the guard.

The T-1000/Guard's feet are the last to form, the last of the "liquid
floor" pulling in to form shiny black guard shoes.  The shoes detach
with a faint sucking sound from the real floor as the T-1000/Guard
takes its first step.


66E The real guard spins at the sound of footsteps to see... himself.
  66E
He has one deeply disturbing moment to consider the ramifications
of that.  Then he sees his double calmly raise his hand and, inexplicably,
point his right index finger directly at the real guard's face, about
a foot away.  In a split second, the finger spears out, elongating
into a thin steel rod which snaps out like a stiletto, slamming into
the guard's eye.
It punches into the corner of the eye, past the eyeball like a trans-orbital
lobotomy tool, and emerges from the back of the guard's skull.

Life quietly empties from the guard's face.  He is dead weight now,
hanging from the rod/finger, which suddenly retracts-- SSSNICK.
As the guard slumps, the T-1000 takes his weight easily with one
hand and walks him, like he's carrying a suit on a hanger, back toward
the night desk.  The wounds are so tiny, no blood drips onto the
floor.

66F ON THE NURSE, glancing up as the T-1000/guard walks past, dragging
 66F
    something casually which she can't see because it's below the
countertop.

night nurse
Whatcha got, Lewis?

t-1000/guard
Just some trash.

She nods, uninterested.  Keeps typing.  T-1000 moves past, dragging
the unseen guard toward a closet down the hall from the night receiving
station.  T-1000/Guard removes the Browning High-Power pistol and
the keys from the real guard's belt, then stuffs his body into the
utility closet.


66G int. corridor / night receiving desk    66G

T-1000 / Guard comes back out and glances at the nurse.

T-1000/guard
All set.

She glances toward him.  Sees the Beretta in his holster.

night nurse
Gotta to check the gun first, Lewis.

t-1000/guard
Yeah, sorry.

T-1000 opens the locker and blocks it from her view with its body
as it mimes putting the gun in.

66H CLOSE ANGLE ON T-1000'S CHEST, from inside the locker.  Instead
of  66H
    setting the gun in the locker, it inserts the pistol into its
own chest, where it disappears inside like it was dropped into a
pot of hot fudge.  It withdraws its hand.  The chest is once again
a surface that looks like cloth, buttons, name-tag etc.  You'd never
guess it was really an intelligent liquid metal.


66H     T-1000 slams the locker door and  waits as the nurse hits
the button unlocking  66H
    the door  with a BUZZ-CLACK.  T-1000/Guard goes through.

CUT TO:
67  int. isolation SECURITY CHECKPOINT  67

A small room before a short SALLY-PORT corridor designed to prevent
violent inmates from making a run for it.  There are doors at each
end.  The first  one is barred like a jail-cell door, and the second
is a steel fire door.    The attendants have a video monitor with
which they can see the corridor on the other side of the doors.


The two bored attendants barely notice the T-1000/Guard as it approaches.
 Looks briefly at a chart next to the door, seeing SARA CONNER is
in #19.  T-1000/Guard goes into the Isolation Ward through the two
doors, which lock behind it.

67A IN THE ISOLATION WARD, the T-1000 passes a nurses' station which
looks  67A
    like a cage, walled in by heavy metal mesh.  Silberman, leaning
in the open doorway, is talking to an attendant in the cage.  He
doesn't glance twice at Lewis the guard passing by.

68  SARA, moving like a ghost in the darkened corridor, hears footsteps
coming  68
     and quietly but quickly unlocks a cell next to her with Douglas's
master key.
68A  She slips into the cell and waits as the footsteps pass.   68A
We glimpse the T-1000/Guard pass the window.
She waits as the footsteps fade away.  She looks over.  A female
inmate, strapped to a bed, watches her with bird-like eyes.  She
puts a finger to her lips-- SSHHH.  The inmate nods.  Sara exits.

68B POV MOVING TOWARD nurse's station.  We hear Silberman's voice,
 68B
    reviewing medication with the night attendant.

    ON SILBERMAN yawning, looking at his watch.
He turns to go...  Sara is there.
She slams into him, hurling him through the door into the cage and
following him in.  The orderly jumps up, going for his stunner, but
she nails him with Douglas's baton.  WHAP-WHAP-WHAP!  You can barely
see the thing she's swinging it so fast.  The guy goes down.

Silberman lunges for the alarm button and she cracks down hard on
his arm.  He cries out and grabs his wrist.
She grabs him by the hair and slams him face down on the desk, smacking
him behind the knees expertly with the baton.
His legs buckle and he drops to his knees with his chin on the desk.

She pins him with one hand.  His face is full of outraged disbelief.

silberman
You broke my arm!

SARA
There's 215 bones in the human body, motherfucker.  That's one.
Now don't move!


    TERMINATOR 2 - Rev.  9/10/90        42

68B     Moving rapidly, she whips open a medication drawer and grabs
a syringe.     68B
    They keep a few of these handy for tranking unruly patients.
 She jams it into the guard's butt and fires the whole shot.  Still
holding the empty syringe, she sees what she needs next.
    They keep the toxic cleaning supplies in here to keep the inmates
from drinking the Drano.  She grabs a plastic jug of LIQUID PLUM'R
and slams it   *
    down on the desk inches from Silberman's eyes.

She jabs the empty syringe into the plastic jug.
Draws back the plunger.  The syringe fills with blue liquid.
She whips it out of the jug and jams the needle into Silberman's
neck.  His horrified eyes rack toward it.  10 cc's of blue death
fill the cylinder.
    Her thumb hovers over the plunger.  *
    She jerks him to his feet by the collar and gets a tight grip
on him, then hauls    *
    him through the door.   *

69  IN THE CORRIDOR outside cell #19 the T-1000 stops  and looks
in the     69
    window.  Douglas, his face a bloody mess, yells to be heard.

    douglas
Open the door!  The goddamn bitch is loose in the halls!

To Douglas's amazement, Lewis the Guard turns impassively and walks
away, leaving him shouting soundlessly at the window.

cut to:

70  ext. hospital   70

Terminator and John are approaching the guard gate on the Harley.
 They can see the guard inside look up at the sound of the engine.

john
Now remember, you're not gonna kill anyone, right?

terminator
Right.

John looks at him.  He's not convinced.

    TERMINATOR 2 - Rev.  9/10/90        43

70  john    70
Swear.

terminator
What?

john
Just say "I swear I won't kill anyone."

John holds his hand up, like he's being sworn in.  Terminator stares
at John at beat.  Then mimics the gesture.

terminator
I swear I will not kill anybody.

Terminator stops the bike and gets off.
The guard, sensing trouble, has his gun drawn as he comes out of
the shack.  Terminator walks toward him drawing his .45 smoothly.
 BLAM!
He shoots the guard accurately in the thigh.
The guy drops, screaming and clutching his leg.
Terminator kicks the guard's gun away, then smashes the phone in
the shack with his fist.  He pushes the button to raise the gate
and walks back to the bike.

terminator
He'll live.

Terminator climbs on the bike.  They drive toward the hospital, heading
down an ambulance ramp to an underground receiving area.


71  int. isolation floor    71

The attendants at the security checkpoint look up at the monitor
as someone enters the corridor.  They see Sara, holding Silberman
at syringe-point.
Sara speaks to them through an intercom on the wall.  Her voice comes
through the speaker.

SARA
    Open it or he'll be dead before he hits the floor.  *

The attendants' adrenalin levels just went off the scale.  The first
attendant adamantly shakes his head no.  The amperage here is really
high.  The second attendant keys the intercom mike.

2nd attendant
There's no way, Conner.  Let him go.

    Silberman's face is the color of suet.  *

    SILBERMAN   *
    It won't work, Sara.  You're no killer.  I  *
    don't believe you'd do it.  *

    Her voice is a deadly cold hiss.    *

    TERMINATOR 2 - Rev.  9/10/90        43A

71  SARA    71*
    You're already dead, Silberman.  Everybody  *
    here dies.  You know I believe that.  So don't  *
    fuck with me!   *


71  Silberman   71
Open the goddamn door!

The attendants look at one another.  One of them finally hits the
solenoid button.  The far door unlocks.

71A IN THE LOCKOUT CORRIDOR. Sara pushes Silberman ahead of her.
   71A
    The nearer, barred door must be unlocked manually.
One of the attendants cautiously approaches.  Nervously unlocks it.

SARA
Step back!

He does.  She faces both of them.

SARA
Down on the floor!  Now!

They comply.  She comes through with Silberman, giving them a wide
berth.  Starts backing down the hall away from them, still holding
her hostage.  She's actually pulling this off.

71B ANGLE FROM BEHIND HER.  What we can see, but she can't, is a
third  71B
    orderly waiting just around the corner.  He's poised, ready to
jump her when she comes abreast of him.

ON SARA backing up.  She reaches the corner.
The third attendant lunges, grabbing her syringe-hand.
Sara spins on the orderly and catches him across the throat with
the nightstick.  He loses interest fast, dropping to his knees and
gagging.  Silberman pulls away, screaming at the top of his lungs.

silberman
Get her!

They scramble up as Sara takes off like a shot around the corner.
One of them hits the panic button and ALARMS begin to sound.

72  IN THE ISOLATION WARD, the T-1000 is looking in at a very stoned
   72
    attendant inside the nurses' station when the alarms shriek through
the halls.  It reaches into its chest and pulls out the 9mm pistol.
 Heads for the security entrance.

73  IN ANOTHER CORRIDOR in the maze of the vast hospital, Sara flies
past   73
    us, her bare feet slapping on the cold tiles.  The orderlies
charge after her.
She's like an animal in a maze.   She turns a corner, glancing off
the wall, and sprints on without slowing.  She reaches a steel door.
 Tries it.  Locked.
Footsteps like a drum solo behind her.

She fumbles with Douglas's  keys, breathing hard.  Jams the master
in.
The orderlies are bearing down on her at full tilt.
Sara gets the door open.  Dives through.  Slams it.
She turns a deadbolt knob just as  the first orderly grabs the latch
on the other side. He's too late.

    TERMINATOR 2 - Rev.  9/10/90        45

73  Sara sees them beyond the window, fumbling with their keys. 73


73A Sara is in another sally-port corridor.  A jail-cell type barred
door is    73A
     between her and the corridors of the ward beyond.
She sprints to the  wall of bars, jams her key into the door.
She unlocks and pulls open this door just as she hears the latch
of the one she just came through being unlocked.

She flings herself frantically through the barred door as the first
orderly comes through behind her.
She slams the bars shut.  CLANG.
Her keys are dangling from the lock on the other side from her.

The orderly is racing at her, white-lipped with rage.

She reaches back through the bars, turns the key, and purposefully
snaps it off in the lock.    An instant later the big orderly slams
against the door, grabbing through the bars for her as she dances
back just out of reach.
He lunges against the steel bars, unbelievably pissed off.

Sara takes off running, looking back at the frustrated orderlies.
 They're shouting at each other, unable  to fit their keys into the
lock--
The broken-off key tip makes it impossible to get their keys in.

Silberman shouts at them.

silberman
Go around, goddammit!  Go around!!

The orderlies run back the way they came, and along a cross-corridor
to another set of doors.

73B ON SARA as she rounds a corner and sees the elevators ahead.
   73B
Now she's home-free.  At a full tilt sprint, she's nearly there when
the elevator doors part...

TERMINATOR steps out... his head swivelling to face her.
Sara reacts, stricken by the image from her worst nightmares.
Her eyes go wide as momentum carries her forward.
Her bare feet slip on the slick tile.  She slams to the floor, staring
up at the leather clad figure with the shotgun.

She loses all semblance of courage and some of her sanity.
She's not even aware that she is screaming, or what would be screaming
if she could get the breath to do it.
In slowed down dream-time, Sara scrambles back along the floor like
a crab, spinning and clawing her way to her feet along the wall.


She runs like the wind, like in her nightmare.   If she looked back
she would have seen John step warily out of the corridor behind Terminator.
 John, however, catches a glimpse of the fleeing Sara and figures
out instantly what happened.

john
    Mom!!  Wait!    *


73B     Sara doesn't hear.  She has clicked fully into her own nightmare.
  73B
    They take off running after Sara.   *

73C She is pelting down the long corridor, back the way she came.
  As she  73C
    reaches an intersection with a cross corridor a white-clad figure
blurs from that corridor.  The orderly hits her in a flying tackle.
 She skids across the floor, shrieking  and struggling.  The other
two orderlies leap into the fray.

SARA
No!  Help me!  Goddammit, it's gonna kill us all!!!

She is shouting, pleading, trying to get them to understand what
is coming.  They grab her thrashing arms and legs.  They don't even
look where the out-of-control woman is pointing... back along the
corridor.

They have her pinned to the cold tiles, a ring of faces above her.
 Silberman leans down to her, holding a syringe with a heavy dose
of trank.  Sara cranes her neck and sees the dark silhouette of Terminator
coming up behind them.  It is exactly her nightmare.
She screams in utter hopelessness.

Terminator, holding the shotgun in one hand, reaches down and grabs
one of the orderlies with his other hand.  He hurls the 200 pound
guy against the far wall of the corridor.  SMACK!  He drops to the
floor.

The other two orderlies react instantly, leaping onto the intruder.
Terminator seems to disappear for a moment under the two big guys.
Then there is an explosion of white-clad figures, as the orderlies
are flung outward like they stepped on a land mine.
One crashes through a window of safety glass and is caught before
a two-story fall by the outer steel bars.  The other crashes through
an office door, splintering it into kindling.

Silberman has jumped in to hold Sara.  He is grabbed by a roll of
skin at the back of his neck and lifted like a cat.  The doctor feels
his feet pedaling above the ground.  He looks into the expressionless
face.  And it hits him.  Sara was right... this guy isn't human.
He feels the fabric of his reality crumbling.
Then he feels himself flying through the air.  The wall smacks him,
then the floor kicks him in the face.  He decides to lie there a
second.

Sara blinks, staring up at the figure looming over her.
John kneels next to her.

john
Mom, are you okay?


73C She looks from Terminator to John.  Back to Terminator.     73C

Is this a nightmare?  Or has she finally gone truly mad?

Incredibly, Terminator politely reaches its hand down to her, offering
to help her up.  The last thing she ever expected to see.

terminator
Come with me if you want to live.

The orderlies are stirring.

john
It's all right, Mom.  He's here to help.

Sara, in a daze, takes the huge hand in her shaking fingers.  Terminator
lifts her to her feet.

73D John sees a COP standing thirty feet away, on the other side
of the wall of     73D
    bars.  John doesn't know what we know, but he knows something's
not right with this guy.  Terminator turns to follow John's gaze.
The T-1000 has his pistol in his hand, at his side.
Terminator pushes John behind him.  They start backing up.

73E The T-1000 walks forward, reaching the bars.   It doesn't stop.
    73E
Its  body divides like jello around the bars.  As it squeezes itself
through like metal playdough, its surface reforms perfectly on our
side.  We see it deform and squeeze through like a viscous paste
forced past an obstacle.
Silberman has recovered enough to be sitting up and watching this.
 That faint snapping sound is his mind.

There is a CLINK and we see that the guard's gun has caught against
the bars... the only solid object.  The T-1000 turns its wrist and
tries again, slipping the gun endwise through the gap.

73F Sara is agape.  Not reacting.  It's been a heavy day for her.
  73F
Terminator grabs John by the seat of his pants and hooks him up onto
his back.  John grabs him around the neck.  Terminator raises the
shotgun and starts backing up.

terminator
Go!  Run!

 Sara doesn't need to be told twice.
T-1000 walks toward them, opening fire with the Browning Hi-Power.

Terminator straight-arms the 12 gauge like a pistol and FIRES.
The stunned orderlies flop face down on the floor as the corridor
is filled with high-velocity lead.  One of them, stupidly running
for the cross-corridor,  gets hit by the T-1000.

Terminator is hammered by several slugs, and the T-1000 is cratered
by two buckshot hits.  It staggers, but comes on.  In the craters
we see bright mercury  before they close and reseal, disappearing
in a second.


73G Terminator makes it around the corner and breaks into a run.
 Ahead,    73G
    Sara is already at the elevator.  Terminator and John pile in
and John slaps the button for "Garage Level".

The doors start to close.  T-1000 clears the corner.
Terminator slams John and Sara back against the side walls as the
T-1000 charges at them, rapid-firing the Browning.
The rounds hit the steel doors as they close.
T-1000 keeps pumping them at the closing gap.
73H Inside, they see the backside of the doors denting with the hits
that are   73H
    punching holes in the other side.

73I The Browning locks open, empty.  T-1000 drops it without a glance
back.   The   73I
    doors close.  K-WHAM!  The T-1000 hits them a split second later.
 The elevator hasn't moved yet.  SSWWIKK!

73J A sword-like blade rams in between the doors forcing them open.
 Terminator     73J
    jams the shotgun through the widening gap.  Punches the muzzle
right INTO the T-1000's face -- BOOM!!
73K We get a glimpse of the T-1000's head blown apart by the blast.
 It is hurled   73K
    back.   The doors close.  The car descends.

73L ON THE T-1000, outside the elevator.  Its head, which is blown
apart into two   73L
    doughy masses lying on the shoulders, reforms quickly.  There
is no trace of the injury.   It sees the closed doors and jams its
hands between them, its fingertips becoming pry-bars.  It pulls the
doors apart with inhuman strength
73M and LEAPS INTO THE OPEN SHAFT.      73M
It falls two floors and...

74  IN THE ELEVATOR.  Our trio hears  a loud THUMP on the roof.
   74
Terminator, reloading the shotgun, looks up.
Sara grabs the .45 from his waistband and aims it at the  ceiling.
BEAT...
Then  CLANGG!! a swordlike shaft punches through the ceiling and
spears down four feet into the elevator car.
It is inches from Sara's face.
She opens fire, BAM-BAM-BAM-- right through the roof.
Lightning fast the lance withdraws and thrusts down again, slashing
Terminator's jacket, and missing John by inches.
Terminator chambers a round and K-BOOM! the 12 gauge opens a hole
in the ceiling.

Terminator rocks out in a fury of firing/cocking/firing as the metal
shafts slash down again and again.  Sara yells in pain as one of
them slices open her upper arm.

75  The doors open.  Sara pulls John out as soon as the gap is wide
enough.     75
    They emerge into the basement.  We see the Harley parked nearby.


Terminator, in a rearguard action, fires another blast through the
ceiling and runs out.   He throws his leg over the Harley, kicks
it to life with one powerful stroke and then whips something out
of the inner pocket of his jacket.  He throws it to John.  A road
flare !?


76  In the elevator, the T-1000 has bashed a hole in the ceiling
big enough to...   76
Pour itself through.
A massive blob of mercury extrudes from the opening.  The mass drops
through the hole, down out of frame, then comes back up into frame
as Officer X.

It seems to need just a second to get its mental act together after
doing this kind of taffy-pull with itself.  It opens its eyes and
sees--

77  TERMINATOR, the shotgun held in his teeth, astride the roaring
Harley   77
     twenty feet away.  Terminator twists the throttle and pops the
clutch.
The back tire screams on the concrete.  The front wheel lifts off
the ground and the heavy bike launches in a thundering wheelie.


Terminator gets off just before the bike hurtles into the elevator.

The Harley slams  the T-1000 square and smashes it right through
the back wall of the elevator.
Terminator rolls to his feet.
John strikes the flare on the concrete.  Tosses it.
Terminator catches the lit flare with one hand.
Levels the shotgun with the other.
With his last round he blows a big hole in the bike's gas tank.
Gas splashes everywhere, covering the struggling T-1000.
Terminator tosses the flare.  KA-VOOOM!

The explosion knocks Terminator backward off his feet, enveloping
him in the fireball.  He gets up, smoking, and runs after John and
Sara toward the exit ramp.

 78 AT THE EXIT RAMP.  They are partway up  when a blue-and-white
hospital  78
    security car comes screeching down the other way.
Without breaking stride Sara runs right at the car.  It skids to
a shrieking halt.  She's in the guy's face with the .45 in both hands.

SARA
Out of the car!!

The patrol guy is thinking what he can try when BAM! she puts a round
through the glass next to his head.

SARA
RIGHT NOW!

The door opens and the guy is coming out with his hands up as Terminator
arrives.  The cyborg flings the rent-a-cop out of the way and slides
behind the wheel.  Sara gets John into the back seat and dives into
the front passenger seat as--

78A Terminator slams the car in reverse and punches it, lighting
up the tires on    78A
    the slick ramp.  Terminator hands the shotgun over his shoulder
to John and tells him to reload.  John pulls some shells from the
pocket of his army jacket and starts feeding them in.
Terminator  powers backward up the ramp, scraping along one wall,
barely in control.  Because...

    TERMINATOR 2 - Rev.  9/10/90        50

79  The T-1000 is running at them out of the inferno below. 79*
This guy won't quit.  Shifting from chrome mode to the cop-form as
it runs.
It sprints up the ramp after the retreating car.  T-1000 is gaining.

80  Terminator hands Sara another magazine for the .45.  She snatches
it,   80
    drops the other out, and slaps in the new one.  Cocks the slide.

The car backs along the service driveway toward the security gate.
John hands the shotgun back to Terminator.
He leans out the window and takes aim at the pursuer.
The T-1000's face is right in the headlights.
80A Terminator fires, blowing a hole in its shoulder.  Shiny liquid
metal visible in    80A
    the hole, which then closes.
80B Sara, half out the passenger window, opens fire.    80B
The car crashes backward through the security barricade.

terminator
(calmly)
Hang on.

He cuts the wheel hard.  The car slews into a reverse 180, swapping
ends with a screech.  T-1000 is almost on them.
Terminator punches it.  The car accelerates forward.

80C T-1000 leaps.  Lands on the trunk.      80C
Its hand is a metal crowbar slammed down through the trunk lid.
Feet dragging on the pavement, it slams its other hand down, punching
another metal hook into the trunk lid, pulling itself up.
Terminator turns to Sara

terminator
Drive.

Terminator heaves himself half out of the driver's window.   Sara
slaps her foot down on he throttle and steers from the passenger
side.

80D T-1000, fully on the car now, holds on with one hook-hand while
it slams the    80D
    other into the back window, sweeping away the glass and missing
John by inches as he ducks.
It draws back for another swing, lunging forward as--

80E Terminator whips the shotgun down over the roof of the car. 80E
Fires point-blank.
Hits the T-1000's arm just above the "hand" which anchors it to the
car.  The 12 gauge blows the arm apart, severing the hook-hand.

80F T-1000 tumbles backward off the accelerating car.   80F
John looks out the back window, his eyes wide.
He sees the T-1000 roll to his feet and continue running.
But he's dropping way behind now.  Sara has the car floored and the
liquid-metal killer won't catch them on foot.

80G John watches, in awe, as the "crowbar hand", stuck into the trunk
right in  80G
    front of him, reverts to the neutral polyalloy... a kind of thick
mercury.  The gray metal slides off the trunk of the car and falls
onto the road to lie there in a quivering blob.

80H The car speeds off into the night.  80H
REVERSE on the T-1000, walking now, coming right up into close up,
watching the tail lights recede.  It looks down.

80I ANGLE ON BLACKTOP, tight on the liquid metal blob.  Next to it
is the T-    80I
    1000's shiny cop shoe.  The mercury blob crawls and rejoins the
main mass, disappearing into the "shoe".


81  int./ ext. security car 81

A GHOST CAR blasts out of the darkness on a long stretch of moonlit
highway.  Headlights off, the Hospital Security car punches a hole
in the wind.

81A INSIDE THE SPEEDING CAR the energy is still high.  The air is
blasting in   81A
    the shattered windows as Terminator drives the car
easily by electronic night-vision.  His eyes glow faintly red.

john
Can you even see anything?

81B TERMINATOR'S POV.  A monochrome image of  the highway lit bright
as     81B
    day.

81C Terminator replies in a matter of fact tone.    81C

terminator
Everything.

john
Cool.

Sara looks at Terminator, still not quite believing this is happening.
  But this is a different Sara than the waitress of 1984.
She spends only a second or two dealing with the unbelievable.
Then she turns to John in the back seat.

SARA
You okay?

He nods.  She reaches for John and we think she's going to hug him.
  She starts to rub her hands over him and we realize she's checking
for injuries, very clinically the way a vet checks a dog for broken
bones.

He pulls away from her.  He hates her always checking him, treating
him like he might break, like some piece of rare china.

john
I said I was okay.


81C Sara looks at him, exasperated and stern.   81C

SARA
It was stupid of you to go there.

John stares at her, surprised.

SARA
Goddammit, John,  you have to be smarter than that.  You're too important!
  You can't risk yourself, not even for me, do you understand?
I can take care of myself. I was doing fine.  Jesus, John.  You almost
got yourself killed.

We see his chin quiver.  He's a tough kid, but all he really wants
is for her to love him.  He hasn't had enough years on the planet
yet to be the man of steel she demands.

john
I...  had to get you out of that place... I'm sorry, I...

His face crumples.  He starts to cry.  Sara gives him a cold stare.

SARA
Stop it!  Right now!  You can't cry, John.  Other kids can afford
to cry.  You can't.

He's trying to be brave, he really is.  Terminator turns and sees
the water leaking from his eyes.  It doesn't make any sense to him.


terminator
What is wrong with your eyes?

John turns away, ashamed.  Sara lets her breath out, realizing how
keyed up she is.    She turns to Terminator, giving him a wary once-over.

SARA
So what's your story?

cut to:
82  ext. mental hospital    82

The cops have shown up, as they always do.  There are black and whites
everywhere, and ambulances are arriving.  Two cops and an orderly
are required to subdue poor doctor Silberman, who is raving at the
top of his lungs.

Silberman
...it was all true and we're all going to die and the guy changed,
I saw him change!!

It's quite pathetic.
A nurse shoots him up with a sedative.  They lead him away.


82A T-1000 walks unperturbed among the milling cops.  No-one notices
him.   82A
    He slips into his cruiser and drives off into the night.

83  int. car    83

Terminator  drives steadily into the black night.

SARA
This T-1000... what happens when you shoot it?

terminator
Ballistic penetration shocks it, but only for a few seconds.

Sara thinks about that.  Then.

SARA
Can it be destroyed?

terminator
Unknown.

They ride along in silence for a few seconds.
Sara sees something up ahead, some lonely neon in the blackness.

SARA
Pull in here.  We have to ditch this car.


84  EXT.  SERVICE STATION - NIGHT   84

A rundown gas station with a buzzing neon sign and no-one around.
 They pull into the drive and slowly cruise past the empty office.
 A sign in the window says CLOSED SUNDAY.   They continue around
the building to the garage's back door.

AT THE GARAGE DOOR.  Terminator breaks the lock on the roll-up door
and raises it.  Sara pulls the security car in out of sight.  Terminator
rolls the door down behind them.

85  INT. GAS STATION    85

Dark.  Sara switches on the single drop-light.  She and Terminator
look at each other.  Terminator is shot-up and bleeding, and Sara
has a vicious slash in her upper arm which has soaked her sleeve
with blood.

SARA
You look like handmade shit.

terminator
So do you.

CUT TO:

86  TIGHT ON FIRST AID KIT from the office, plus some not-so-oily
rags, a bottle    86
    of rubbing alcohol, a few small tools, and other makeshift odds
and ends.  Terminator's hand comes into shot.  Sets down a bloody
rag.  Picks up a clean one.

WIDER.  Sara sits on an empty crate.  Terminator is beside her, suturing
her wound with some fine wire from the winding of an alternator.
 Using a pair of needlenose pliers he draws the wire through her
pale skin with a delicate hand.

terminator
I have detailed files on human anatomy.

Sara stares into his face, inches away, fighting the pain.  She doesn't
like  him being this close to her to begin with, let alone carving
on her.

SARA
I'll bet.  Makes you a more efficient killer, right?

terminator
Correct.
Cut to:

87  TIGHT ON TERMINATOR'S BACK.  The leather jacket is riddled with
bullet  87
    holes.  Sara and John help pull it off, revealing Terminator's
broad, muscled back beneath.

WIDER.  John and Sara stare in amazement.  There are at least twenty
bullet holes in him.  Back Arms.  Legs.  Fortunately they're all
9mm.  The holes are small and the damage cosmetic.

john
Does it hurt?

terminator
I sense the injuries.  The data could be called pain.

TIGHT ON SARA AND TERMINATOR.Sara starts washing the bullet holes
in his broad back with alcohol.

SARA
Will these heal up?

Terminator nods.  She reaches into the bloody wounds with pliers
and finds the  copper-jacketed bullets, flattened against his armored
endoskeleton.  Pulls them out.  They CLINK one by one into a glass.

SARA
That's good.  Because if you can't pass for human, you won't be much
good to us.

She concentrates on removing the slugs.  CLINK.  CLINK.


    TERMINATOR 2 - Rev.  9/10/90        55

87  john    87
How long do you live.  I mean last?

terminator
A hundred and twenty years on my existing power cell.

Sara nods, pulling out another slug.  CLINK.  The glass is nearly
full of flattened bullets.   She begins to sew the holes closed with
a few wire sutures.  John watches in quiet amazement, the two warriors
calmly fixing each other.

john
    Can you learn?  So you can be be... you know.  More human.  Not
such a dork all the time.   *

Terminator turns toward him.

terminator
My CPU is a neural-net processor... a learning computer.   But Skynet
presets the switch to "read only" mode when we are sent out alone.

SARA
(cynical)
Doesn't want you thinking too much, huh?

terminator
No.

john
Can we reset the switch?
CUT TO:

88  E.C.U. OF AN X-ACTO KNIFE cutting into Terminator's scalp at
the base of    88
    his skull.  His voice calmly directs Sara as she spreads the
bloody incision and locates the maintenance port for the CPU in the
chrome skull beneath.

terminator
Now open the port cover.

She wipes away the blood and uses the garage-mechanic's air tools
to unscrew the port cover.

88A TERMINATOR POV (DIGITIZED) as he watches her work in a mirror
  88A
    they've taken from the washroom.  Sara and John are standing
behind him.  Her hands are covered with blood, like a surgeon's.


terminator
Hold the CPU by its base tab.  Pull.

Following his instructions, she reaches in with a pair of tweezers
and PULLS--
There is a BURST OF STATIC and the screen goes BLACK.

CUT TO:

    TERMINATOR 2 - Rev.  9/10/90        56

89  TIGHT ON JOHN AND SARA looking at what she has removed.  A reddish
 89
    brown ceramic rectangle with a connector on one end.  About the
size and shape of a domino.  On close inspection it appears to be
made up of small cubes connected together.  It is identical to the
shattered one in the vault at Cyberdyne Systems.  Now we know what
it is that Miles Dyson values so highly.  The brain of a terminator.

89A WIDER.  John walks around Terminator and looks at his face.
   89A
Eyes open, he is completely inert.  Dead.

John lifts his huge hand.  The dead servos whine sullenly as he forces
them.  It's like rigor mortis.  He releases the hand and it stays
in the lifted position.  Sara examines the CPU chip.

john
Can you see the pin switch?

She ignores him.  She looks at Terminator.
Then back at the chip.
Then she sets it on the work table and picks up a small sledge hammer.
 John realizes what she is about to do.  Dives at her as the sledge
is whistling down.

john
No!!!!

He slaps his hand down over the chip.
Sara barely stops the sledge before smashing his fingers.

SARA
Out of the way, John!

john
No!  Don't kill him!

SARA
It, John.  Not him.  It.

john
    Alright, it.  We need it!   *

John keeps his hand right where it is.

SARA
    We're better off by ourselves.  *

    JOHN    *
    But it's the only proof we have of the future...    *
     about the war and all that.    *

    SARA    *
    I don't trust it!  These things are hard to kill,   *
    John, believe me, I know.  We may never have    *
    this opportunity again. *
    TERMINATOR 2 - Rev.  9/10/90        56A

89A john    89A
    Look, Mom, if I'm supposed to ever be this great leader, you
should start listening to my   *
    leadership ideas once in a while.  'Cause if you    *
    won't, nobody else will.    *

Smart kid.  He's got her.  She nods, reluctantly.  He palms the chip
and studies it minutely.


    TERMINATOR 2 - Rev.  9/10/90        57

89B John takes a pin and moves the almost invisible switch to the
other position.   89B
    It is now in "write" mode.  Then he grimaces as he inserts the
wafer back into the slot in Terminator's skull.

89C TERMINATOR VISION flares back to life in a burst of static.
The image  89C
    forms.  Sara and John stand behind him in the mirror.

terminator
    Was there a problem?    *

John glances sheepishly at Sara.  Then smiles at Terminator.

john
No problem.  None whatsoever.

CUT TO:

90  JOHN  SLEEPING, lying on a pile of rags next to a stack of tires.
  90*
    The lights are off.   Sara sits nearby, crosslegged, her back
against the wall.     *
     The .45 is cradled in her lap.  She looks weary, but she won't
allow herself to    *
    sleep with Terminator present.  *

By the office windows, in a slash of moonlight, is Terminator.  He
stands silent and still, watching the night.  Only his eyes move,
tracking with the occasional car passing on the road.
    His figure silhouetted and still.   *

DISSOLVE TO:

91  SAME IMAGE.  Now DAYLIGHT streams in the dusty windows.     91
    Terminator has not moved.  Faithful machine sentinel.  He turns
at a sound.  John stirs, waking up.  He squints at the sunlight.
 Sara is still awake.  She     *
    gets up, wincing at the pain in her arm.    *

cut to:

92  ext. gas station - day (later)  92

John and Terminator walk to an old Chevy pickup parked behind the
garage.  The day is clear but windy.  Dust devils chase themselves
behind the place.  The pickup is locked but Terminator breaks the
side-window with his fist and opens the door.  He and John climb
in.

92A IN THE PICK UP.  Terminator has this trick (which you could do
too if you   92A
had servo-driven steel fingers) where he smashes the cowl around
a steering column with one blow from the palm of his hand.  When
it shatters he strips it away with a single move, and then turns
the stub of the lock-mechanism with his fingertips.  This starts
the vehicle.  It takes about three seconds.

In fact, he does it so quickly, the truck is running by the time
John flips down the sun visor.  A set of keys drops out and John
catches them.  Dangles them in front of Terminator's eyes.


    TERMINATOR 2 - Rev.  9/10/90        58

92A     john    92A
Are we learning yet?

92B Sara comes out.  She's found a mechanic's coverall inside, used
but fairly  92B
    clean.  It doesn't fit too well but it's better than the stuff
from the hospital.  She's still barefoot.
The sun, which she hasn't seen in months, hurts her eyes.
Terminator and John pull up in the pickup.  She gets in.

92C terminator  92C
We need to get as far from the city as possible.
        *
SARA
Just head south.

cut to:

93  int. / ext. pickup truck / highway - day    93*

    THE OPEN ROAD.  The pick-up roars through light traffic down
a long stretch of highway.  They sit three abreast on the bench seat,
John in between, like some improbable family on a car trip.
*
    Sara leans over to get a look at the speedometer.   *

SARA
Keep it under sixty five.  We can't afford to get pulled over.

Terminator backs off the throttle slightly.
        *
terminator
Affirmative.

john
No, no, no.  You gotta listen to the way people talk.  See, you don't
say like "Affirmative" or some shit like that.  You say... no problemo.


Terminator nods, filing away the information.  Sara is ignoring the
lesson, lost in thought.

    TERMINATOR 2 - Rev.  9/10/90        *59

93  john    93*
If someone gets upset you say " chill out".  If someone comes off
to you with attitude, you say "eat me"...  if you wanna shine them
on it's "Hasta la vista, baby".

Terminator
Hasta la vista, baby?

John
Yeah, or "later, dickwad."  Or if someone gets upset you say "chill
out." Like that.  Or you can do combinations.

terminator
Chill out, dickwad.

john
That's great!  See, you're getting it.

terminator
No problemo.
cut to:

94  OMITTED 94*

94A OMITTED 94A*

95  OMITTED 95*


    TERMINATOR 2 - Rev.  9/10/90        60

96  ext. roadside stand/gas station - day   96

There's a gas pump and a sleazy fast-food stand.   Picnic tables
are set up at the side of the food stand.  A  family sits at one,
children playing and running about.
96A The pickup truck pulls into the lot.  Stops at the gas pump.
   *
    Sara turns to John. *

SARA
You got any cash?

John pulls what's left of his Ready Teller money from his pocket.

john
Only a couple of hundred.  I'll give you half.

Sara grabs all of it.  Peels off a twenty,  Hands it to John.

SARA
Get some food.

She opens the truck door and steps out.  John turns to Terminator.

john
No sense of humor.

97  THE ORDERING WINDOW as John and Terminator approach.    97*

john
And that's another thing.  You could lighten up a bit, yourself.
 This severe routine is getting old.  Smile once in a while.

terminator
Smile?

John
Yeah.  Smile. You know.  People smile, right?  Watch.

Goes to the order window.

John
(smiling broadly)
Hi.  Nice place you got here.  How's business?

window woman
(stone faced)
Gimme a break.

John
(to Terminator)
Okay.  Bad example.  Over there, look.


    TERMINATOR 2 - Rev.  9/10/90        60A

97  John points at THREE TEENAGE GUYS standing at a drinking fountain
  97*
    nearby.  One of them has said something funny and the others
are laughing, grinning.

John
Like that.

TERMINATOR POV (DIGITIZED)  The real-time image continues while a
replay of one of the guys grinning runs in a window.  It expands,
so that the guy's mouth fills the window.  Replays again in slow
motion.  A vector-graphic of lips smiling appears, along with an
array of symbolic data.

Terminator tries it.  The result is dismal.  A rictus-like curling
up of the lip.  Terminator's next effort is a marginal improvement.

John
I don't know, maybe you could practice in front of a mirror or something.

                                    CUT TO:

98  EXT.  REST STOP/PICKUP TRUCK - DAY (LATER)  98*

    Sara and John are eating cheeseburgers and fries, sitting in
the truck and on the curb respectively.  They are parked away from
the other families, at the end of the gravel parking area.   Terminator
is pouring coolant into the radiator.  Sara is deep in thought, turning
and turning the whole thing in her brain.  John, unable to deal with
her silence, goes around to where Terminator is working.

98A John sees two kids playing with machine-gun watering pistols
nearby,    98A*
    viciously squirting each other.

first kid
You're dead!

second kid
Am not!

first kid
Are so!

John and Terminator watch them rolling on the ground in a fight to
the death.  Sara rounds the front of the truck, and sees the kids.
 John sighs, solemn.  He looks up at the cyborg.

john
We're not gonna make it, are we?  People, I mean.

terminator
It is in your nature to destroy yourselves.

John nods, depressed.


    TERMINATOR 2 - Rev.  9/10/90        *61

98A john    98A*
Yeah.  Drag, huh?

SARA
I need to know how Skynet gets built.  Who's responsible?

terminator
The man most directly responsible is Miles Bennet Dyson, director
of  Special Projects at Cyberdyne Systems Corporation.

SARA
Why him?

terminator
In a few months he creates a revolutionary type of microprocessor.


SARA
Then what?

98B Terminator closes the hood and gets into the truck as he speaks.
   98B*

    terminator
In three years Cyberdyne  will become the largest supplier of military
computer systems.  All stealth bombers are upgraded with Cyberdyne
computers, becoming fully unmanned.  Afterward, they fly with a perfect
operational record.

SARA
(getting in behind John)
Uh huh, great.  Then those fat fucks in Washington figure, what the
hell, let a computer run the whole show, right?


terminator
Basically.
(starting the engine, backing out)
The Skynet funding bill is passed.  The system goes on-line August
4th, 1997.  Human decisions are removed from strategic defense.
Skynet begins to learn, at a geometric rate.  It becomes self-aware
at 2:14 a.m. eastern time, August 29.  In a panic, they try to pull
the plug.

SARA
And Skynet fights back.

They accelerate back onto the highway.

    TERMINATOR 2 - Rev.  9/10/90        62

98B terminator  98B*
Yes. It launches  its ICBMs  against their targets in Russia.

SARA
Why attack Russia?

terminator
Because Skynet knows the Russian counter-strike will remove its enemies
here.

SARA
Jesus.
(beat, then)
How much do you know about Dyson?

terminator
I have detailed files.

    SARA
I want to know everything.  What he looks like.  Where he lives.
 Everything.

99  int. dyson house - day  99

    Miles Dyson sits at the huge desk in his study.  He is deep in
thought, tapping away at the keyboard of his home computer terminal.
 Next to his desk are racks of sophisticated gear.  On a Sunday morning,
when most men are  *
    relaxing, spending time with their families, Dyson is hard at
work.

IN A PROFILE CLOSEUP we see him in deep concentration, his mind prowling
the labyrinth of his new microprocessor.

A WOMAN'S FACE ENTERS FRAME soundlessly behind him.  He doesn't hear
her.  His wife, TARISSA, extends her tongue and traces it down the
back of his neck.  He smiles and turns to kiss her good morning.
 She's still in her bathrobe, holding coffee.  He's been up for hours.
 He turns and goes back to work, forgetting instantly that she is
standing there.

She watches him work, the arcane symbols moving across the screen.
 We see her frustration, her inability to truly enter the magic box
of his world.

tarissa
You going to work all day?

dyson
I'm sorry, baby.  This thing is just kicking my ass.  I thought we
had it with this one...


    TERMINATOR 2 - Rev.  9/10/90        63

99  He points to a  metal box on his desk, about two feet long.
An assembly of     99
    small cubes.  It looks like a dinosaur version of Terminator's
CPU.

dyson
... but the output went to shit after three seconds.  I'm thinking
now it's in the way I'm matrixing the command hierarchies

tarissa
You need a break.  You'll see it clearer when you come back.

dyson
I can't.

tarissa
Miles, it's Sunday.  You promised to take the kids to Raging Waters
today.

dyson
Oh.  I can't honey.  I'm on a roll here.

He takes her hands.  We see a childlike excitement in his face.
He wants so badly to share the almost orgasmic thrill of discovery,
the satisfaction of creation.

dyson
    Baby, this thing is going to blow 'em all away.  It's a neural-net
process--    *

Tarissa
I know.  You told me. It's a neural-net processor.  It thinks and
learns like we do.   Its superconducting at room temperature.  Other
computers are pocket calculators by comparison.
(she pulls away from him)
But why is that so goddamn important, Miles?  I really need to know,
cause I feel like I'm going crazy here, sometimes.

dyson
I'm sorry honey, it's just that I'm  thiiis close.

He holds up his thumb and index finger... a fraction of an inch apart.
She picks up the prototype.  It doesn't look like much.

Dyson
Imagine a jetliner with a pilot that never makes a mistake, never
gets tired, never shows up to work with a hangover.
(he taps the prototype)
Meet the pilot.


    TERMINATOR 2 - Rev.  9/10/90        64

99      tarissa 99
Why did you marry me, Miles?  Why did we have these two children?
 You don't need us. Your heart and your mind are in here.
(she stares at the metal box in her hands)
But it doesn't love you like we do.

He takes the anodized box from her hands and sets it down.  Then
he puts his hands on her shoulders and kisses her gently.  She acquiesces
to his kiss.

dyson
I'm sorry.

    Tarissa glances over his shoulder.  She nods her head toward
the doorway to the study.  Dyson turns and sees their two kids standing
there.  Danny (6) and Blythe (4) look rumpled and adorable in their
PJs.  Dyson wilts at their hopeful     *
    expressions.

tarissa
How about spending some time with your other babies?

Dyson grins.  The forces of darkness have lost this round.  He holds
out his hands and his kids run to him, cheering.

                                    CUT TO:

100-117 OMITTED *

A100    EXT. desert / compound - DAY    a100*

The desert northwest of Calexico.  Burning under the sun like a hallucination.
 Heat shimmers the image, mirage-like.
Terminator turns the pickup off the paved road and barrels along
a roadbed of sand and gravel, trailing a huge plume of dust.
A sign at the turnoff says:  CHARON MESA 2 MI
                                                    CALEXICO
     15 MI

A101    AHEAD is a pathetic oasis of humanity in the vast wasteland,
a couple of    A101*
aging house-trailers, surrounded by assorted junk vehicles and desert-style
trash.  There is a dirt airstrip behind the trailers, and a stripped
Huey helicopter sitting on blocks nearby.

The truck rolls to a stop in a cloud of dust.   The place looks deserted.
 The door to the nearest trailer bangs in the wind.

SARA
(to Terminator and John)
Stay in the truck.

A102    ANGLE FROM INSIDE ANOTHER TRAILER, NEARBY.  A102*
    A DARK FIGURE in the F.G. has an AK 47 trained on the pickup
as Sara gets out.


    TERMINATOR 2 - Rev.  9/10/90        *65

A102    ON SARA peering through the backlit dust.   A102*
The sound of wind.  She approaches the trailer.

SARA
(in Spanish)
Enrique?  You here?

She hears KACHACK! behind her and spins, whipping out her .45 in
one motion.

ENRIQUE SALCEDA stands behind a rusting jeep, a 12-gauge pump trained
on her.  He is mid-forties, a tough Guatemalan with a weathered face
and heavy moustache.  He wears cowboy boots and a flak vest, no shirt.


salceda
You pretty jumpy, Conner.

His fierce face breaks into a broad grin.  The shotgun drops to his
side as he walks toward her.  When he reaches her he hugs her, then
steps back.

salceda
(in Spanish)
Good to see you, Conner.  I knew you'd make it back here sooner or
later.

He grins at John as he steps from the truck, and then clocks Terminator
getting out.

salceda
Oye, Big John!  Que pasa?  Who's your very large friend?

John
(perfect Spanish)
He's cool, Enrique.  He's... uh...  this is my Uncle Bob.
(to Terminator, in English)
Uncle Bob, this is Enrique.

Terminator smiles.  Sort of.  Salceda squints at him.

salceda
Hmmm.  Uncle Bob, huh?  Okay.
(yelling)
Yolanda.  Get out here, we got company.   And bring some fucking
tequila!

A thin Guatemalan KID, FRANCO, eighteen or so, comes out of the trailer
with the AK-47, followed by Salceda's wife, YOLANDA.   She has THREE
younger children with her, from a five year old GIRL, JUANITA, to
a year-and-half old BOY.   She waves at John.  They exchange greetings
in Spanish.  They seem like nice people.
Terminator looks down at John, next to him.  He says quietly...


    TERMINATOR 2 - Rev.  9/10/90        *66

A102    TERMINATOR  A102*
Uncle Bob?

    SALCEDA
(to Sara)
So, Saralita, you getting famous, you know that?  All over the goddamn
TV.

Salceda rips the cap off the tequila bottle.  The two year old toddles
to Terminator and grabs his pants, sliming them with drool.
Terminator looks down at the tiny kid, fascinated.  What is it?
He picks the child up with one huge hand.  Looks at it.  Turns it
different ways.  Studying it.  Then sets it down.  The kid waddles
off, a little dizzy.

salcedA
Honey, take Pacolito.  Thanks, baby.

She hands him the tequila and takes the child.  Salcedo takes a long
pull from the Cuervo bottle.

salcedA
(to Terminator)
Drink?

Terminator gestures "no" at the proffered bottle, but Sara grabs
it and takes a long plug.  She lowers it without expression.  Her
eyes don't even water.

SARA
I just came for my stuff.  And I need clothes, food, and one of your
trucks.

salceda
(grinning)
Hey, how about the fillings out of my fucking teeth while you're
at it?

SARA
Now, Enrique.
(turns to Terminator and John)
You two are on weapons detail.
cut to:

A103    Ext. compound/ behind the trailers  A103*

There is an aging and rusted Caterpillar sitting  behind one of the
trailers.  John expertly backs it toward Terminator who is holding
one end of a piece of heavy chain which disappears into the sand.

John
Hook it on.

Terminator hooks the chain onto the towhook on the back of the tractor.
 John hits the throttle and the Cat churns its treads, pulling some
massive load.   A six-by-eight foot sheet of  steel plate moves slowly
under six inches of sand.

    TERMINATOR 2 - Rev.  9/10/90        *67

A103    John drags it far enough to reveal...  a rectangular hole
in the ground.  Like  A103*
    the mouth of a tomb.  The kid drops down from the tractor and
walks to the hole.

John
One thing about my mom... she always plans ahead.

A104    int. weapons cache  A104*

From inside the "tomb".   Sunlight slashes down into a cinder-block
room, less than six feet wide but over twenty long.   Sand spills
down the steps.  The walls are lined with guns.

John precedes Terminator into Sara's weapons cache.  Rifles, pistols,
rocket launchers, mortars, RPGs, radio gear.  At the far end boxes
containing ammo, grenades etc. are stacked to the ceiling.  Terminator
gets real alert.  Scanning, wondering where to begin.
He picks up a MAC 10 machine pistol.  Racks the bolt.

Terminator
Excellent.

john
Yeah, I thought you'd like this place.

A105    ext. compound / nearby  A105*

Sara emerges from a trailer.  She has changed.   Boots, black fatigue
pants, T-shirt.   Shades.  She looks hard.
Salceda is nearby, packing food and other survival equipment with
Yolanda.  He looks up as Sara approaches, and slaps the side of a
BIG FOUR-BY BRONCO next to him.

salceda
This is the best truck, but the water pump is blown.  You got the
time to change it out?

SARA
Yeah.  I'm gonna wait till dark to cross the border.
(she pulls him away from Yolanda)
Enrique, it's dangerous for you here.  You get out tonight, too,
okay?

salceda
Yeah, Saralita.  Sure.
(he grins)
Just drop by any time and totally fuck up my life.

She claps him on the shoulder.

cut to:

    TERMINATOR 2 - Rev.  9/10/90        *68

A106    int. weapons cache  A106*

Terminator returns from carrying out several cases of ammo.  John
is selecting rifles from a long rack.

John
See, I grew up in places like this, so I just thought it was how
people lived... riding around in helicopters.  Learning how to blow
shit up.

John grabs an AK-47 and racks the bolt with a practiced action.
Inspects the receiver for wear.  Doesn't like what he sees.  Puts
it back.  His movements are efficient.  Professional.  Uninterested.

John
Then, when Mom got busted I got put in a regular school.  The other
kids were like, into Nintendo.

Terminator has found a Vietnam era "blooper" M-79 grenade launcher.
 A very crude, but effective, weapon.  He opens the breech and inspects
the bore.

John
Are you ever afraid?

Terminator pauses a second.  The thought never occurred to him.
He searches his mind for the answer...

terminator
No.

Terminator slings the M-79 and starts looking for the grenades.

John
Not even of dying?

Terminator
No.

john
You don't feel any emotion about it one way or the other?

terminator
No.  I have to stay functional until my mission is complete.  Then
it doesn't matter.

John is idly spinning a Sig Saur 9mm pistol on his finger... backwards
and forwards like Bat Masterson.

john
Yeah.  I have to stay functional too.
(sing-songy)
"I'm too important".


    TERMINATOR 2 - Rev.  9/10/90        *69

A106    Terminator pulls back a canvas tarp, revealing a squat, heavy
weapon with   A106*
    six barrels clustered in a blunt cylinder.  Chain-ammo is fed
from a cannister sitting next to it.  A G.E. MINI-GUN.  The most
fearsome anti-personnel weapon of the Vietnam era.
Terminator hefts it.  Looks at John as if to say "Can I?  Please."

John
It's definitely you.
cut to:

A107    ext. compound - day /LATER  A107*

Sara and John have their weapons and supply selections laid out on
two battered picnic tables for cleaning and packing.  Maps, radios,
documents, explosives, detonators... just the basics.
Sara is field-stripping and cleaning guns, very methodically.  There
is no wasted motion.

Not far away, John and Terminator are working on the Bronco.  They're
greasy up to their elbows, lying on their backs under the engine
compartment, ratcheting bolts into place on the new water pump.

John
There was this one guy that was kinda cool.  He taught me engines.
 Hold this a second.  Mom screwed it up, of course.  Sooner or later
she'd always tell them about Judgment Day and me being this world
leader and that'd be all she wrote.

John thinks he's being casual, but his longing for some kind of parental
connection is obvious.

Terminator
Torque wrench please.

john
Here.  I wish I coulda met my real dad.

Terminator
You will.

John
Yeah.  I guess so.  My mom says when I'm like, 45, I think, I send
him back through time to 1984.  But right now he hasn't even been
born yet.  Man, it messes with your head.  Where's that other bolt?
(Terminator hands it to him)
Thanks.  Mom and him were only together for one night, but she still
loves him, I guess.  I see her crying sometimes.  She denies it totally,
of course. Like she says she got something in her eye.


    TERMINATOR 2 - Rev.  9/10/90        *70

A107    They crawl out from under the truck into the bright sunlight.
  A107*

terminator
Why do you cry?

john
You mean people?  I don't know.  We just cry.  You know.  When it
hurts.

terminator
Pain causes it?

john
Uh-unh, no, it's different...  It's  when there's nothing wrong with
you but you hurt anyway.  You get it?

terminator
No.

Terminator gets into the Bronco and turns the ignition key and the
engine catches with a roar.

John
Alriiight!!  My man!

 Terminator
No problemo.

John grins and does a victorious thumbs up.
Terminator imitates the gesture awkwardly.
John laughs and makes him get out of the truck, to try the move again.


A108    SARA, across the compound, pauses in her work to watch John
and A108*
    Terminator.


    TERMINATOR 2 - Rev.  9/10/90        *71

A109    SARA'S POV... we don't hear what John and Terminator are
saying.  It is a   A109*
    soundless pantomime as John is trying to show some other gestures
to the cyborg.  Trying to get him to walk more casually.  John walks,
then Terminator tries it, then John  gestures wildly, talking very
fast... explaining the fundamental principles of cool.  They try
it again.  Continued ad lib as we hear:

SARA (V.O.)
    Watching John with the machine, it was suddenly so clear.  The
Terminator would never stop, it would never leave him... it would
always be there.   And it would never hurt him, never shout at him
or get drunk and hit him, or say it couldn't spend time with him
because it was too busy.  And it would die to protect him.  Of all
the would-be fathers who came and went over theyears, this thing,
this machine, was the only
    one who measured up.  In an insane world, it was the sanest choice.

Sara clenches her jaw and goes grimly back to work... a strong woman
made hard and cold by years of hard choices.

cut to:

A110    ext.  road - day    A110*

A police cruiser is parked off the side of a quiet, empty road on
the outskirts of Los Angeles.   A ribbon of traffic moves steadily
 by on a freeway in the distance.  Nothing stirs around the cruiser
except some pump-jacks sucking the earth on the hill behind it.


A111    IN THE CRUISER.  The T-1000 sits inside.  John's notes and
letters are  A111*
spread out on the seat beside him.  Sara's voice speaks from a cassette
deck.  John's tapes.  Her voices mixes with the static filled chatter
of the radio that T-1000 monitors for any sign of its target.

SARA
... if we are ever separated, and can't make contact, go to Enrique's
airstrip.  I'll rendezvous with you there.

T-1000 whips around and rewinds the tape, replaying the last section.
 It then snaps up the envelope of photos we saw earlier.

ECU on envelope.  We see the postmark:  "Charon Mesa, Calif."

TIGHT ON T-1000 staring at the postmark on the envelope.  He glances
up at the sound of crunching gravel.   In the rearview he sees a
BIKE COP pulling onto the shoulder behind him.  The big KAWASAKI
1100 idles up next to the
T-1000, still seated in the cruiser.

    TERMINATOR 2 - Rev.  9/10/90        *72-78

A111    bike cop    A111*
Howdy.  I saw you pulled over here earlier.  Everything okay?

T-1000
Everything's fine.  Thanks for checking.
(he gets slowly out of the car)
Since you're here, though, can I talk to you a second...

cut to:

A112    ext. highway - day / minutes later  A112*

The T-1000 thunders along on the Kawasaki 1100, doing about a hundred
and twenty.  PAN WITH IT until it recedes toward the horizon.

cut to:

    TERMINATOR 2 - Rev.  9/10/90        79

A113    ext. compound - day (late afternoon)    A113*

Sara sits at the picnic table.  The weapons are cleaned and her work
is done.  She hasn't slept in twenty four hours and she seems to
have the weight of the whole world on her shoulders.
She draws her knife from its belt sheath.
Idly starts to carve something on the table top... the letter "N".

A114    NOT FAR AWAY, John and Terminator are packing the Bronco
for the trip.  A114*

A115    ON SARA, AT THE TABLE as she looks up from her carving, thinking.
 She  A115*
     watches Salceda's kids playing nearby...  wrestling with a mutty
dog and loving it.  Sara watches Yolanda walking her toddler by the
hands.  Backlit, stylized.  She looks over at John.  Loading guns
and supplies.

A116    ANGLE ON kids playing.  A116*

A117    SARA'S HEAD droops.  She closes her eyes.   A117*

118 TIGHT ON small children playing.  Different ones.   118
Wider now, to reveal a playground in a park.  Very idyllic.  A dream
playground, crowded with laughing kids playing on swings, slides,
and a jungle gym.  It could be the playground we saw melted and frozen
in the post-nuclear desolation of 2029.  But here the grass is vibrant
green and the sun is shining.

118A    Sara, short-haired, looking drab and paramilitary, stands
outside the   118A
    playground.  An outsider.  Her fingers are hooked in a chain
link fence and she is staring through the fence at the young mothers
playing with their kids.   A grim-faced harbinger.

118B    Some girls play skip-rope.  Their sing-song chant weaves
through the random     118B
    burbling laughter of the kids.  One of the young mothers walks
her two year old son by the hands.  She is wearing a pink waitress
uniform.  She turns to us, laughing.
It is Sara.  Beautiful.  Radiant.  Sara from another life, uncontaminated
by the dark future.  She glances at the strange woman beyond the
fence.

118C    Grim-faced Sara presses against the fence.  She starts shouting
at them in  118C
    SLOW MOTION.  No sound comes from her mouth.    She grabs the
fence in frustration, shaking it.  Screaming soundlessly.
Waitress Sara's smile falls.  Then returns as her little boy throws
some sand at her.  She laughs, turning away, as if the woman at the
fence were a shadow, a trick of the light.


    TERMINATOR 2 - Rev.  9/10/90        80

118D    Behind her the earth splits open.   118D
In a wide shot we see everyone stop and stare as the ground heaves
upward all around them.  As far as the eye can see the monstrous
caps of missile silos are hinging up, ripping up through the grass
and soil.  Now the mothers are screaming, pulling their children
to them... but it is too late to run.  The silo caps are open, rows
of them marching to the horizon.  As if a tranquil reality has split
open to reveal another horrible reality which has always been there,
hidden beneath it.

118E    Thunder shakes the earth.  We see the obscene heads of the
missiles     118E*
    thrusting up out of the holes in the ground.  Walls of fire erupt
as the fat    *
    cylinders rise like awakened monsters from the earth.

118F    Sara stares in numb horror as the tail-nozzles clear the
silo rims, and a wall  118F
    of flame roars out, devouring the cowering mothers and children.
 Incinerating them and rolling on, toward her.
She screams and we hear it now, shrill and terrifying, mixing with
the thunder as the flames wrap around her, blasting her apart and
she...

119 Wakes up.   119*
All is quiet and normal.  The children are still running through
the sprinkler nearby.   Less than fifteen minutes have gone by.

Bathed in sweat, Sara sits hunched over the table.
Every muscle is shaking.  She is gasping.
    Sara struggles to breathe, running her hand through her hair
which is   *
    soaked with sweat.  She can escape from the hospital, but she
can't escape  *
    from the madness which haunts her.

    She looks down at the words she has carved on the table, amid
the scrawled hearts and bird-droppings.  They are:  "NO FATE."
 *
Something changes in her eyes.  She slams her knife down in the table
top, embedding it deeply in the words.  Then gets up suddenly and
we--

CUT TO:

A120    LONG LENS on Sara walking toward us, striding across the
compound with  A120*
    grim purpose.  She carries a small nylon pack and a heavy FN
FAL .308 assault rifle.   Her face is an impassive mask.  She has
become a terminator.

A120A JOHN LOOKS UP from his work in time to see Sara throw the rifle
behind    A120A*
the seat of their stolen pickup, jump in and start it.  She slams
it in gear.  Salceda walks up to John.

salceda
She said you go south with him...
(he points at Terminator)
... tonight, like you planned.  She will meet you tomorrow in...


But John is moving, running after her.

john
Mommm!!  Wait!!


TERMINATOR 2 - Rev.  9/10/90        *81

A120B MOVING WITH SARA as she leaves the compound.  We see John running
    A120B*
    after her... yelling.  Can't hear his words.  She looks in the
rear-view mirror but doesn't slow down.

cut to:

A121    ext. compound - dusk / minutes later    A121*

John and Terminator ponder the message carved into the top of the
picnic table.  Sara's knife is still imbedded there.

john
"No fate."  No fate but what we make.  My father told her this...
I mean I made him memorize it, up in the future, as a message to
her--
Never mind.  Okay, the whole thing goes "The future is not set. There
is no fate but what we make for ourselves."

terminator
She intends to change the future somehow.

john
I guess, yeah--
(snaps his fingers as it hits him)
Oh shit!!

Terminator
Dyson.

john
Yeah, gotta be!  Miles Dyson!  She's gonna blow him away!  We gotta
stop her.

John motions to Terminator and breaks into a run.

john
Come on.  Let's go.  LET'S GO!!

cut to:

A122    int. / ext. SARA's jeep - dusk  A122*

Sara speeds through the darkening desert.  Expressionless.  In her
dark glasses, she looks as pitiless as an insect.

dissolve to:

A123    ext. highway - night    A123*

TRACKING WITH THE BRONCO, Terminator and John heading toward L.A.

terminator
Why do you want to stop her?  Killing Dyson may prevent the war.

    TERMINATOR 2 - Rev.  9/10/90        *82

A123    John    A123
I don't care!!  There's gotta be another way.  Haven't you learned
anything?!
Haven't you figured out why you can't kill people?

Terminator is still stumped.

john
Look, maybe you don't care if you live or die. But everybody's not
like that!  Okay?! We have feelings.  We hurt.  We're afraid.  You
gotta learn this stuff, man, I'm not kidding.  It's important.

PAN THEM BY as they pass, revealing the lights of the city ahead.

cut to:

A124    EXT. DYSON'S HOUSE - NIGHT  A124*

The house is high-tech and luxurious.  Lots of glass.  Dyson's study
is lit bluish with the glow from his computer monitors.  He is at
the terminal, working.  Where else?  We see him clearly in a long
shot from an embankment behind the house.

A DARK FIGURE moves into the foreground.  Rack focus to Sara as she
turns into profile.  She raises the FN FAL rifle and begins screwing
the long heavy cylinder of a sound-suppressor onto the end of the
 barrel.

cut to:

A125    ext. salceda's camp - night A125*

SALCEDA'S DOG, teeth bared, barks a furious warning.  The SOUND of
machine gun fire erupts, drowning him out.
YOLANDA, clutching a .45 Officer's Colt, sweeps Paco and Juanita
up in her arms and races away.

SALCEDA is firing an MP5K on full auto, its strobing barrel flash
lighting up the camp.  CAMERA PUSHING IN ON HIM AS...

A125A THE T-1000 calmly walks toward him, unbothered by the stream
of bullets.  A125A*
Unhurried.   Salceda, amazed, is backing toward his truck, and the
stacks of crated grenades and ammo boxes beside it.
The T-1000 keeps coming.  Steps right up to Salceda, knocks the weapon
away  and slams him to the ground.

A125B Salceda sprawls against one of the open wooden crates.    A125B*

T -1000 kneels before him.  Points his finger.  THUNK.   Salceda
screams, pinned to the crate by a two-foot steel needle through his
left lung.

t-1000
Where is John Conner?

    TERMINATOR 2 - Rev.  9/10/90        *83

A125B   salceda A125B*
John who?

A125C THUNK!!  Another needle slams through him.   Salceda struggles
to breathe     A125C*
    against the excruciating pain.

A125D   T-1000  A125D*
(almost soothingly)
I know this hurts.  Where is John Conner?

Salceda's hand gropes in the open crate of grenades behind him.
He clutches one.  Then apparently ready to cooperate he clutches
T-1000's shoulder and struggles to pull himself closer, up along
the impaling spikes.

Behind the T-1000's neck, Salceda pulls the grenade's pin with his
free hand.  The spoon flies off... CLINK.

salceda
FUCK YOU!!

A125E The truck, Salceda, and the T-1000 vanish in a MASSIVE EXPLOSION
as the   A125E*
    grenade sets off the other munitions.  A huge ball of fire ascends
into the night.

A125F YOLANDA, huddled with her children, the .45 held before her
in a combat   A125F*
    grip, screams as--

A125G A CHROME HEAD rolls out of the inferno and comes to rest in
the dirt, the A125G*
     liquid metal mouth gulping like a gaffed fish.
A125H A figure appears, silhouetted by the fire... or most of a figure.
A125H*

A125I We TRACK WITH the polished black cop shoes toward the head
lying in the   A125I*
     dirt.  A hand enters frame.  The head dissolves and fuses with
the hand, like two blobs of solder running together.

A125J IN CLOSE-UP, the T-1000 rises into frame, whole again.  It
trains its gaze on     A125J*
    Yolanda and the children.

A125K She stares in shock at the thing approaching.  She slowly lowers
the useless  A125K*
    pistol.  The T-1000 walks right up to her.  It reaches down and
picks up little Juanita.  Gives her a friendly smile.

t-1000
Do you know where John Conner is?

The child mutely shakes her head no.  T-1000 nods, unperturbed.
Points toward the road.  Juanita follows with her eyes.

t-1000
When they reached the main road, did they go north...
(indicating)
...or south?

She points north.  T-1000 smiles.  Sets her down, unharmed.

    TERMINATOR 2 - Rev.  9/10/90        84-85

A125K   t-1000  A125K*
Thank you for your cooperation.

With that, T-1000 turns and strides to his motorcycle parked a few
yards away.   Yolanda and her children silently watch as the Cop
from Hell climbs onto the bike and and roars off into the night.

cut to:

120-    OMITTED 120-*
128G        128G*

129 EXT. DYSON'S HOUSE  129*

With the silencer in place, Sara eases back the bolt and then slips
it forward, chambering a .308 round.  Then she lies down on the embankment.

Her cheek pressed against the cool rifle-stock, she slides one hand
slowly forward to brace the heavy weapon, taking the weight on her
elbow.  Her other hand slips knowingly to the trigger.

Her expression is cold, impassive.   She looks through the scope
at  the man in the house.  She feels nothing as she raises the rifle.


130 int. dyson house    130

Dyson's kids, Danny and Blythe, are playing in the halls with a radio-controlled
off-road truck.  Danny drives and Blythe scampers after it, trying
to catch it.  They stop in the hall outside Dyson's study and see
him working at his terminal.  Danny puts a finger to his lips, shushing
Blythe.  His expression is mischievous.

DYSON, in deep thought.  The rhythmic sounds of keys as he works.
 Symbols on the screen shift.

130A    ON HIS BACK we see a glowing red dot appear.  It is the target
dot of Sara's    130A
    laser designator.  It moves silently up his back toward his head.


    TERMINATOR 2 - Rev.  9/10/90        86

131 EXT. DYSON HOUSE/ EMBANKMENT    131

IN EXTREME CLOSEUP we see Sara's eye at the night-scope.
TIGHT INSERT on her finger as it tightens on the trigger, taking
out the slack.  She takes a deep breath and holds it.  Adjusts her
position minutely.

132 int. dyson house    132

The laser dot jiggles on the back of Dyson's neck and then rises,
centering on the back of his skull.

132A    LOW ANGLE as Danny's Bigfoot truck roars toward us-- FILLING
FRAME. 132A
Thump.  It hits Dyson's foot.
He jerks, startled, and looks down as--
POP!!
132B    His monitor screen is BLOWN OUT spraying him with glass.
 He jerks  132B
back, utterly shocked... and spins to see the huge hole blown through
the window behind him.   This saves him as K-THUMP! -- the second
shot blows the top of his high-backed chair into an explosion of
stuffing an inch from his head.
Instinctively he dives to the carpet as --

    BLAM BLAM BLAM -- rounds blast through the window, tearing into
his desk and computer, blowing his keyboard into shrapnel.  *

132C    With the monitor screen blown out, the room is in darkness.
 Sara can't see     132C
    Dyson now, down behind the desk.  She puts round after round
into the heavy desk, blasting one side of it into kindling.

132D    Dyson, scared out of his mind, has his face jammed against
the carpet,  132D
    terrified to move.  He sees his kids in the hall.

dyson
Run, kids!  Go!  Run!

132E    IN THE HALL, TARISSA rounds the corner at a dead run.  She
sees the kids    132E
    running toward her and grabs them in her arms.  Down the hall,
in the dark study, she sees Dyson on the floor amid the splinters
and shrapnel of the continuing fusillade.

tarissa
Miles!  Oh my God!!

dyson
Stay back!!

132F    ON THE FLOOR, Dyson flinches as chunks of wood and shattered
computer   132F
    components shower down on him.  He looks desperately toward the
door, but knows he'd be totally exposed.  He'd never make it.


133 SARA's rifle empties with a final CLACK!    133
She throws it down and draws her .45 smoothly from a shoulder holster.
 She starts toward the house, snapping back the slide on the pistol,
chambering a round.  She is in a fast, purposeful walk, keeping her
eyes fixed on the target.  She is utterly determined to kill this
man.

134 FROM UNDER THE DESK Dyson can see a sliver of the back yard.
 He sees   134
    Sara's feet as she strides toward him.  He tenses to make a break
for the door.

Sara raises the pistol, eyes riveted ahead, controlling her breathing.
 Dyson springs up in a full-tilt sprint.  She tracks him.
He hooks a foot on the cord of a toppled disk-drive.
BOOM!  Her shot blows apart a lamp where his head was.
He hits the floor hard, but keeps moving, scrambling forward.

Crunch of glass behind him as Sara's dark form is framed in the blown-out
floor-to-ceiling window.  Dyson leaps toward the hall.
BOOM!  Her second shot spins him.  He hits the floor in the hallway.
 Tarissa is screaming.
Dyson struggles forward, stunned.  There is a .45 caliber hole clean
through his left shoulder.  He smears the wall with blood as he staggers
up.  Looking back, he sees the implacable figure behind him, coming
on.
He topples through a doorway as ---
BOOM!  BOOM!  Shots blowing away the molding where he just was.

135 EXT. DYSON HOUSE/ STREET    135

Terminator and John leap from their jeep, sprinting toward the house.
 The shots sound muffled from outside.

john
Shit, we're too late!

136 INT. HOUSE  136

Advancing with Sara we enter the living room.  Tarissa has Blythe
and she's screaming at Danny, who has run back to his collapsed father.


tarissa
Danny!  DANNY!

danny
Daaaaddddeeee!

Danny is pulling at Dyson, crying and screaming, as his father tries
to stagger forward.  Tarissa drops Blythe and runs back for Dyson,
grabbing him.  Sara looms behind them with the pistol aimed.

SARA
Don't fucking move!  Don't FUCKING MOVE!!
(she swings the gun on Tarissa)
Get on the floor, bitch!  Now!!  Fucking down!  NOW!!


136     Sara is crazy-eyed now, shaking with the intensity of the
moment.  The kill     136
    has gone bad, with screaming kids and the wife involved... things
she never figured on.  Tarissa drops to her knees, terrified as she
looks into the muzzle of the gun.  Blythe runs to Dyson and hugs
him, wailing.

blythe
Don't you hurt my father!

SARA
(screaming)
Shut up, kid! Get out of the way!!

Dyson looks up, through his pain and incomprehension.  Why is this
nightmare happening?  The black gun muzzle is a foot from his face.

dyson
(gasping)
Please... let... the kids... go

SARA
Shut up!  SHUT UP!! Motherfucker! It's all your fault!  IT'S YOUR
FAULT!!

We see her psyching herself to pull the trigger... needing now to
hate this man she doesn't know.
It's a lot harder face-to-face.  She is bathed in sweat, and it runs
into her eyes.  Blinking, she wipes it fast with one hand, then gets
it back on the gun.  The .45 is trembling.

TIGHT ON SARA as we see the forces at war behind her eyes.
She looks into the faces of  Dyson, Tarissa, Blythe, Danny.
Sara takes a sharp breath and all the muscles in her arms contract
as she tenses to fire.
But her finger won't do it.
She lowers the gun very slowly.  It drops to her side in one hand.

All the breath and energy seems to go out of her.
She weakly raises her other hand in a strange gesture, like "Stay
where you are, don't move".  As if, should they move, the fragile
balance might tip back the other way.
She backs away from them slowly, panting.  It's as if she's backing
away in terror from what she almost did.  She reaches a wall and
slumps against it.  Slides down to her knees.  The gun falls limply
from her fingers.
She rests her cheek against the wall.

136A    The front door is kicked in.    136A
Terminator steps inside.  John grabs his sleeve and pushes past him.
He scopes out the situation in two seconds... Sara, the gun, the
sobbing family.  John moves to Sara while Terminator checks Dyson.

John kneels in front of his mother.  She raises her head to look
at him.  He sees the tears spilling down her cheeks.


136A    john    136A
Mom?  You okay?

SARA
I couldn't... oh, God.
(she seems to see him for  the first time)
You... came here... to stop me?

john
Uh huh.

She reaches out and takes his shoulders suddenly, surprising him...
drawing him to her.  She hugs him and a great sob wells up from deep
inside her, from a spring she had thought long dry.  She hugs him
fiercely as the sobs wrack her.

John clutches her shoulders.  It is all he ever wanted.

john
It's okay.  It'll be okay.  We'll figure it out.

SARA
I love you, John.  I always have.

John
I know, Mom.  I know.

TARISSA looks around at the bizarre tableau.  Terminator has wordlessly
ripped open Dyson's shirt and examined the wound.

terminator
Clean penetration.  No shattered bone.
Compression should control the loss of blood.

He takes Tarissa's hands and presses them firmly over the entrance
and exit wounds.

terminator
Do you have bandages?

dyson
In the bathroom.  Danny, can you get them for us?

Danny nods and runs down the hall.
John disengages from Sara.  She wipes at her tears, the instinct
to toughen up taking over again.  But the healing moment has had
its effect, nevertheless.

John walks toward Dyson and Terminator.

dyson
Who are you people?

John draws the Biker's knife from Terminator's boot.  Hands it to
him.

    TERMINATOR 2 - Rev.  9/10/90        90

136A    john    136A
Show him.

Terminator takes off his jacket to reveal bare arms.
John takes Blythe by the hand and leads her down the hall, away from
what is about to happen.

136B    TIGHT ON TERMINATOR'S  left forearm as the knife makes a
deep cut just  136B
    below the elbow.  In one smooth motion, Terminator cuts all the
way around his arm.  With a second cut, he splits the skin of the
forearm from elbow to wrist.

TERMINATOR grasps the skins and strips it off his forearm like a
surgeon rips off a rubber glove.  It comes off with a sucking rip,
leaving a bloody skeleton.

But the skeleton is made of bright metal, and is laced with hydraulic
actuators.  The fingers are as finely crafted as watch parts... they
flex into a fist and extend.  Terminator holds it up, palm out, in
almost the exact position of the one in the vault at Cyberdyne.

HOLD ON DYSON reacting to the servo-hand in front of him.
He's seen one of these before.
Tarissa is screaming now, but he doesn't hear her.

dyson
My God.

terminator
Now listen very carefully.

137 int. house/ kitchen - later 137

Sara puts out her fifth cigarette.  She's sitting on the counter.
 John, Terminator, Dyson, and Tarissa are at the kitchen table, under
a single overhead light.

    Dyson looks like that guy on the Sistine Chapel wall, the damned
soul ... eyes fixed and staring with terrifying knowledge.  His shoulder
is bandaged.  Terminator's arm is wrapped with a blood-soaked bandage
below the elbow.  The steel forearm and hand gleams in the harsh
kitchen light.  TRACKING   *
    AROUND THE TABLE as Terminator speaks... we don't hear the words.

    SARA (v.o.) *
    Dyson listened while the Terminator laid it all     *
    down.  Skynet.  Judgment Day... the history of  *
    things to come. *
    It's not every day you find out you're  *
    responsible for 3 billion deaths.  He took it pretty    *
    well, considering...    *

Terminator finishes speaking.


    TERMINATOR 2 - Rev.  9/10/90        91

137     DYSON   137*
I feel like I'm gonna throw up.

He looks around at them, clutching the table like he's about to blow
away.  His face, his posture, his ragged voice express soul-wrenching
terror.  This is a man ripped out of normal life into their grim
world.  His voice is pleading.

dyson
You're judging me on thing's I haven't even done yet.  Jesus.  How
were we supposed to know?

Sara speaks from the shadows behind them.  Dyson turns to find her
looking right at him.

SARA
Yeah.  Right.  How were you supposed to know?  Fucking men... all
you know how to do is thrust into the world with your... fucking
ideas and your weapons.   Did you know that every gun in the world
is named after a man?  Colt, Browning,  Smith, Thompson, Kalashnikov...
 all men.  Men built the hydrogen bomb, not women...  men like you
thought it up. You're so creative.   You don't know what it's like
to really create something... to create a life.  To feel it growing
inside you.  All you know how to create is death...  you fucking
bastards.

John
Mom, Mom,  we need to be more constructive  here.  I don't see this
as a gender related issue.
(to the Dysons)
She's still tense.
(to Sara)
We still have to figure out how to stop it all from happening.  Right?

TARISSA
But I thought... aren't we changing things?  I mean... right now?
 Changing the way it goes?

Dyson
(seizing on that)
That's right!  There's no way I'm going to finish the new processor
now.  Forget it.  I'm out of it.  I'm quitting Cyberdyne tomorrow...
 I'll sell real estate, I don't care--


137     SARA    137
(coldly)
That's not good enough.

Dyson's voice is pitiful.

Dyson
Look, whatever you want me to do, I'll do.  I just want my kids to
have a chance  to grow up, okay?

terminator
No one must follow your work.

dyson
(thoughts racing)
Alright, yeah.  You're right.  We have to destroy the stuff at the
lab, the files, disk drives... and everything I have here.  Everything!
 I don't care.

cut to:

138 FIRE ROARING IN A METAL TRASH-BARREL.   138
Stacks of files are dumped onto it.
WIDER reveals we are in--

138A    ext. dyson's backyard - night   138A

Terminator dumps lighter fluid liberally over the fire, which flares
up, lighting his face demonically.  Sara, Dyson, Tarissa and John
return from his office with more stuff-- files, notes, optical disks.
 Even his kids are carrying stuff.  It all goes into the fire.  Dyson
drops the prototype processor onto the fire... his eyes hollow and
distant.

He stares into the fire, watching his world burning.  Then has a
sudden thought.

dyson
Do you know about the chip?

SARA
What chip?

Dyson
They have it in a vault at Cyberdyne...
(to Terminator)
It's gotta be from the other one like you.

terminator
(to Sara)
The CPU from the first terminator.


    TERMINATOR 2 - Rev.  9/10/90        93

138A    SARA    138A
Son of a bitch, I knew it!

dyson
They told us not to ask where they got it.  I thought... Japan...
hell, I don't know.   I didn't want to know.

SARA
Those lying motherfuckers!

Dyson
It was scary stuff, radically advanced.   It was shattered...  didn't
work.  But it gave us ideas.  It took us in new directions... things
we would never have thought of.  All this work is based on it.


Terminator
It must be destroyed.

SARA
(to Dyson)
Can you get us in there, past security?

dyson
I think so, yeah.  When?

Dyson looks at her, Terminator, then John.  Sees his answer.

dyson
Now?
(he takes a breath)
Yeah, right.

He turns to his wife.  Her face is streaked with tears, but her eyes
are strong and clear.  Tarissa puts her hands on his arm.  She is
stunned by what she's heard, but dealing with it.  She believes them.

tarissa
Miles, I'm scared. Okay.  But the only thing that scares me more
than you going... is you not going.

He nods.  She's right.

    SARA    *
(to Terminator)
    Is it safe for them here?   *


    TERMINATOR 2 - Rev.  9/10/90        94

138A    TERMINATOR  138A*
( to Tarissa)
    Take your kids.  Go to a hotel.  Right now.     *
    Don't pack.     *
(to the others)
    Let's go.   *

cut to:

138B    ext. highway - night    138B*

Pavement rushing at us, lit by headlights.  Beyond, darkness.

SARA (V.O.)
The future, always so clear to me, had become like a black highway
at night.   We were in uncharted territory now...   making up history
as we went along.

TILT UP to reveal a rectangle of light ahead.  The Cyberdyne Building...

139 int. cyberdyne systems building/ lobby - night  139

TIGHT ON A CARD-KEY SCANNER as Dyson's hand zips his security card
through the slot in one motion.  There is the sound of a servo-lock,
and--

139A    DYSON enters the spacious lobby, followed by Sara, John,
and Terminator     139A
    last of all.  In a frontal angle, the others block Terminator
from view.

THE GUARD at the front desk, GIBBONS, looks up as Dyson moves toward
him.  Dyson is pale and sweaty, but smiles warmly at the guard, speaking
well before he reaches the desk.

Dyson
Evening, Paul.  These are friends of mine from out of town, I just
thought I'd take them up and show them around.

gibbons
I'm sorry, Mr. Dyson.  You know the rules about visitors in the lab.
I need written authoriz--

K-CHAK!  Gibbons is staring down the barrels of Sara's .45 and Terminator's
MAC 10.

Terminator
I insist.

The guard is too stunned to move.  We see that Terminator is wearing
his jacket and one black glove.
Gibbons' eyes go to the silent alarm button on the console.

SARA
Don't even think about it.

    TERMINATOR 2 - Rev.  9/10/90        94A

139A    Gibbons nods.  He stays frozen.  Terminator circles quickly
and gets the guard  139A*
    out of the chair.  John pulls a roll of duct-tape from his knapsack
and tears off a piece.

    TERMINATOR 2 - Rev.  9/10/90        95

140 int. second floor corridor  140

    ELEVATOR DOORS OPEN and Terminator leads the group warily into
the corridor.  They have a cart piled high with gear in nylon bags.
 Dyson motions   *
    down the corridor to the right.  As they walk, he continues to
fill them in--

Dyson
The vault needs two keys to open. Mine...
(holds up key)
...and one from the security station.  One of the guards has it on
a chain around his neck.  Here we go.

They stand in front of a wide security door.  A sign above reads
SPECIAL PROJECTS DIVISION: AUTHORIZED PERSONNEL ONLY.  Sara grabs
Dyson in a headlock from behind and jams the muzzle of the .45 up
against his temple.  He doesn't flinch.  They've talked about this.


terminator
Go.

Dyson zips his key-card through the scanner and the door unlatches.

141 int.  security station  141

The security station is a pass-through area with a counter, behind
which are desks and a bank of monitors, showing boring movies about
empty corridors.

It's lunch-time for the graveyard shift.  THREE GUARDS choke on their
egg salad sandwiches as the door bangs open and Terminator charges
into the security station with the MAC 10 leveled.  Sara drags Dyson
in like a hostage, causing them to hesitate that fateful moment.


SARA
FREEZE!!  Don't make me say it twice.

Terminator backhands the nearest guard into a file cabinet.  The
guy loses some teeth and slumps.  John snatches the pistol from his
holster and pockets it.  Sara releases Dyson and spins the other
two around... slamming them face-down over a desk.  She kicks their
legs apart, cop style.  They  are disarmed in seconds.  John uses
heavy-duty tie-wraps, cinched very tight, to bind their wrists. Terminator
pushes them down to their knees.
Sara notices Dyson's alarmed expression.

SARA
What?

Dyson
He's not here.
(to the nearest guard)
Where's the other guy?  The fat guy?

guard #1
Elkins?  He went home sick.


141     Dyson   141
Shit.  Did he leave the key?

guard #1
What key?

SARA
The key to the vault, fuckface!!  Where is it?

guard#1
I don't know... I swear--

John nods almost imperceptibly to Terminator.  The guard is slammed
against the wall and lifted by his throat.  Terminator's gloved hand
tightens.  The guy's face bulges, going red.
John pulls at Terminator's arm, pretending to try pulling him away.
 He speaks earnestly to the choking guard.

john
Open it, man.  I'm not kidding around.  I can't reason with this
guy when he gets like this.  I've seen him do things made the coroner
puke.

guard #1
(barely intelligible)
Okay... okay...

Terminator releases him.  The guy coughs and looks defiantly at the
other guards.

guard #1
I ain't dyin' for a goddamn key.
(to Sara et al)
In there.  He locked it in there.

The guard nods toward a safe-like LOCKER on the wall.  There is a
key-card slot with a green light next to it.

guard #1
Key-card's in my shirt pocket.

John winks at Terminator and shoots him a THUMBS UP.
The cyborg winks back, like he's been doing it all his life.

142 int. first floor corridor/ lobby    142

A ROVING GUARD, MOSHIER,  strolls down the long corridor from the
first-floor office block.  A punch clock swings at his hip, and he's
just completed his circuit of the building.  He passes the bank of
elevators and rounds the corner to the front desk, calling out--

moshier
Honey, I'm home...


142     He sees the desk is deserted and frowns.  Figures Gibbons
must be in the can,   142
    so check that first before getting alarmed.
TRACKING WITH HIM to the restroom around the corner.

moshier
Hey, man, you shouldn't leave the --

142A    OVER HIS SHOULDER we see past the door as he pushes it open,
revealing  142A
    Gibbons handcuffed to the urinal.  Moshier spins on a dime and
sprints to the desk where he slaps his hand down on the silent alarm
button.

143 int. security station   143

Terminator's hand swishes the card repeatedly through the scanner
slot on the locker.  Nothing happens.  The light on the locker is
blinking red.

SARA
What?  WHAT IS IT?

Guard #2  motions toward a light flashing on the console.

guard #2
Silent alarm's been tripped.  It neutralizes the codes throughout
the building.  Nothing'll open now.

Dyson takes that in, and we see his nerve snap.

Dyson
We should abort.

SARA
NO!!  We're going all the way!  You got that, Dyson?

She's right in his face.  Somehow, it works for him.  He nods, getting
some resolve from somewhere.

144 int. lobby  144

Moshier's gotten Gibbons loose.  He's on the phone to the cops.

gibbons
... multiple armed suspects.  Look, I think it's the guy from that
mall shootout, and the woman...  yeah, her.  Pretty sure.  Just
send everything you've got in the area--

145 int. security station/ lab  145

John jumps up on a desk next to the wall-mounted locker.  Dyson stares
in amazement as John starts pulling his counter-electronics gear
out of his knapsack.  It's just another Insta-Teller to him.


145     John    145
You guys get started on the lab... I can open this.

145A    Dyson leads Terminator and Sara to the main lab doors.  Another
servo lock.     145A
    He tries his card.  Nothing.

Terminator
Let me try mine.

He unslings the M-79, pulling it over his shoulder in one motion.

Sara grabs Dyson and drags him back down the hall.
Terminator opens the breech and slides in one of the fat 40mm H.E.
grenades.  He flips the thing closed with a snap of the wrist.

SARA
(yelling as she runs)
John!  Fire-in-the-hole!

John drops what he's doing, and covers his ears.
Terminator fires at inhumanly close range.
145B    The door EXPLODES into kindling.  The concussion blows his
jacket open, and 145B
    flying shrapnel whizzes all around him.  Before the thunderclap
has faded Terminator walks into the fire and smoke.
John goes back to work without missing a beat.
Sara and a stunned Dyson walk through the burning doorframe into
the Artificial Intelligence lab.

A SIREN is sounding.  The HALON FIRE-CONTROL SYSTEM has been triggered.
 The invisible gas roars in, putting out the flames.

Dyson
Fire's set off the halon system!  Here... hurry!

Dyson runs to a wall cabinet and pulls out some BREATHING MASKS.
 He hands one to Sara and dons the other.  Then he reaches out to
hand one to Terminator.

Dyson
Here!

Terminator  doesn't need a mask, since his oxygen requirements are
so low.   He ignores Dyson as he removes his massive back-pack and
opens it.  Dyson shrugs and tosses the mask on a desk.  He turns
to Sara.

Dyson
(yelling through the mask)
We'll have to keep these on a couple minutes, till the gas clears.



145B    Terminator pulls two five gallon jerry-cans of gasoline from
his pack.  145B
Sara starts pulling out book-sized, olive-drab CLAYMORE MINES, stacking
them next to the gasoline.  Dyson stares.  Part of him can't believe
they're really doing this.

cut to:

146 int. dyson house - night    146

The T-1000 moves slowly through the ravaged office, analyzing what
has happened here.  He walks down the dark hallway.  The place is
deserted.  The police-walkie clipped on his belt (real, not simulated)
blares to life.

dispatcher (V.O.)
All units, all units.  211 in progress at 2144 Kramer Street, the
Cyberdyne building.  Multiple suspects, armed with automatic weapons
and explosives. SWAT unit is en route...

147 ext. house/ street  147

The T-1000 sprints up and throws his leg over the big C.H.P. Kawasaki.
 Fires it up.  It smokes an arcing scorch-mark on the pavement as
it spins around and roars away.

cut to:

148 int. cyberdyne building/ lab    148

TIGHT ON A LARGE DISK-DRIVE.  State-of-the-art.  Very expensive.
 A FIRE AXE smashes down through the housing, shattering the disk.


148A    WIDER, revealing a scene of high-tech pillage. Terminator
beats the disk drive  148A
    into junk and steps to another.  WHAM.  Same routine.  He's already
demolished half a dozen.
Sara topples a file cabinet, scattering the files.
Dyson staggers up with an armload of heavy M-O (magnetic-optical)
disks and drops them on a growing stack in the middle of the floor.
 He and Sara have their breathing masks hanging down around their
necks, since the halon gas has dissipated.

Dyson
(to Sara, panting)
Yeah, all that stuff!  And all the disks in those offices.  Especially
my office... everything in my office!
(to Terminator)
These, too!  This is important.
(SMASH!)
And all this here... that's it.


148B    Sara goes into Dysons office and starts hurling everything
out the door onto    148B
    the central junkpile... books, files, everything on the desk.
A FRAMED PHOTO of Dyson's wife and kids lands on top of the heap.
 Tarissa, hugging Danny and Blythe, all grinning.  The glass is shattered.

148C    Terminator cuts a swath, under Dyson's direction, exploding
equipment into  148C
    fragments with his inhuman swings.
SMASH!  It's carnage.  Millions in hardware, and all the irreplaceable
fruits of their years of research... shattered, broken, dumped in
a heap for the big bonfire of destiny.
Dyson stops a second, panting.

Dyson
Give me that thing a second.

Terminator hands him the axe.  Dyson hefts it one-handed.  He turns
to a lab table... on it is another prototype processor.

Dyson
I've worked for years on this stuff.

Swinging awkwardly but with great force he smashes the axe down onto
the processor prototype, exploding it into fragments.  His shoulder
is agony, but he looks satisfied.


149 int. second floor security station  149

John taps away at his little lap-top, which is running code-combinations
into the card-key lock.  Suddenly, the green light on the locker
goes on and it unlocks with a clunk.

John
Easy money.

He whips it open, revealing a rack of keys.  But the VAULT-KEY is
distinctive, a long steel rectangle on a neck-chain.  John grabs
it and runs toward the lab.

150 int. lab    150

Sara and Terminator are working like a crack team, rigging the explosives.
 She is taping the claymores to the gas-cans with duct-tape to create
powerful incendiary bombs.  Terminator is attaching claymores and
blocks of C-4 plastic explosive to the large MAINFRAME COMPUTER cabinets
nearby.   All the claymores are wired back to one detonator which
has a RADIO-CONTROL RELAY switch.

Dyson
How do you set them off?

Terminator shows him a REMOTE DETONATOR, a small transmitter with
a red plunger.


            101

150     Terminator  150
Radio remote.

He makes a plunger-pushing motion with his thumb and an accompanying
"click" sound.  Dyson nods.
Just then John comes running in, holding up the key.

John
I got it.  Piece a cake.

SARA
(to Dyson and Terminator)
Go!  I'll finish here.

They run out as the SOUND OF SIRENS grows louder outside.

151 ext. cyberdyne building 151

The security duo of Moshier and Gibbons cowers behind cars in the
parking lot in front of the building.  They turn as L.A.P.D. BLACK-AND-WHITES
pour into the lot, turning the area into a disco of whirling blue
and red lights.

152 int. second floor security station/ stairs  152

John and Dyson sprint through the security station, heading for the
vault.  Terminator herds the three guards to the stairwell, pushing
them through the door.  With their wrists bound, they stumble down
the stairs.  Terminator FIRES A BURST from the MAC 10 over their
heads, showering them with plaster dust.   Their feet fly as they
clatter down the steps.

Terminator
Later, dickwads.

153 ext. cyberdyne building 153

The cops are jumping from their cars and ducking behind them.  Emphasis
on small arms here.  They react to the sound of automatic weapon
fire inside the building.  Behind them an ugly BLACK S.W.A.T. VAN
screeches into the lot.

153A    We hear the THUMP OF ROTORS as a POLICE CHOPPER arrives and
swings  153A
    in close to the building.  It rakes its XENON SPOTLIGHT through
the second floor offices.

154 int./ext. second floor office   154

Terminator crosses the office toward the floor-to-ceiling windows.
 He is outlined starkly by the spotlight as it rakes through the
dark offices.  Without breaking stride he kicks an executive desk
toward the window.
154A    Glass explodes outward and the desk topples, falling to the
sidewalk below.     154A

154B    Terminator, standing at the edge, FIRES A LONG BURST which
strafes the  154B
    police cars lined up below.  Cops duck as glass flies.  Terminator,
with his superb aim, hits no one.  But notice is served.


154C    The cops (surprise) FIRE BACK.  Terminator turns and is walking
calmly  154C
    from the windows as glass, office furniture, drapes etc. are
riddled by return fire.   A few rounds hit his back, but he doesn't
notice.  He reloads as he walks.

155 int. vault antechamber  155

TIGHT ON A KEY inserted into one of the vault locks.

WIDER as John and Dyson stand poised, hands on keys.

John
And let's see what's behind door number one.

Dyson nods and they turn the keys together.  The vault grumbles to
itself, withdrawing its locking bolts with a final KLONK!
Together Dyson and John swing the door open.

156 ext./ int. lobby    156

The varsity takes the field as the SWAT TROOPERS sprint forward by
squads.  They flank the lobby and work their way inside, deploying
rapidly.  They move and freeze, behind cover, quivering with adrenalin.
 They have all that great SWAT equipment: body armor, gas-masks,
M-16s, tear-gas launchers, ropes.  The works.  They make a lot of
hand signals and keep their mouths shut.  They're well-trained and
deadly.

157 OUTSIDE we see cops firing TEAR GAS grenades through the broken
    157
    windows into second floor offices.

158 int. vault  158

John and Dyson are isolated from the world in this silent steel womb.
Dyson opens the cabinet containing the terminator relics.   It's
John's turn to stare with uneasy dj-vu as he sees the terminator
hand and CPU.

Then in one vicious move he sweeps his arm behind the inert-gas flasks
and hurls them to the floor.  They SHATTER.  John snatches the CPU
and the metal hand out of the broken glass.

John
Got ol' Skynet by the balls now, Miles.  Come on, let's book!

Clutching the steel hand and pocketing the chip like it's a Mars
bar he just bought, John runs out.  Dyson follows.

159 int. first floor corridor/ stairwell    159

We see the advance squad of SWATs make it to one of the stairwells.
 They start up, two at a time, covering each other ritualistically
by the numbers.


160 int. lab/ hall  160

John pelts into the lab with Dyson stumbling along behind him.
Sara has just finished wiring all the charges to the central detonator.


John
Ready to rock?

SARA
Ready.

John tosses her the metal hand.  She catches it and  bends to put
the hand in her empty back-pack.  Sara zips the pack and starts to
shuck into it.

Dyson's running out of steam.  The bandages at his shoulder are soaked
with seeping blood.  He stands in the middle of the lab, saying goodbye
in his mind, looking weak and empty.
Terminator strides into the lab.

Terminator
Time to go.  Right now.

He and John head back the way they came, through security.
Sara sees that in her work, she has set the detonator down twenty
feet away, near where Dyson is standing.

SARA
Dyson, hand me the detonator.  Let's go--

He gingerly picks up the detonator.  Starts toward her.  Then--
160A    CRASH!!  THE DOORS AT THE BACK OF THE LAB ARE KICKED OPEN.
     160A
    SWAT LEADER and two others OPEN FIRE.
Their M-16s rake the room.  Sara dives behind a computer cabinet.
Dyson is HIT.  He is slammed to the floor by the impacts.

161 IN THE HALL, John heres the firing and spins to run back.   161

John
Mommm!!!

Terminator grabs him as bullets slam into his broad back.  He makes
it around the corner with John, out of the line of fire.

162 IN THE LAB, bullets rake over Sara's head, smacking all around
her,     162
    clanging into the machine protecting her.  She can see Dyson,
slumped on the floor.  Debris and flying glass rain on her as the
SWATs pour on the fire.  The detonator is clutched in his hand.
He rolls to face her, his eyes bulging from the pain of his torn-up
guts.

Dyson
Go.

162A    Sara hesitates a split second.  Then she snap-rolls and fast-crawls
through     162A
    broken glass and debris into the hall where--


162A    TERMINATOR grabs her by the jacket and hauls her roughly
to her feet.   162A
     Bullets rake the walls behind them as they sprint forward.
They round the corner.  John does a fast take that she's not hit
and they run together through the security checkpoint.

163 INT. security station/ CORRIDOR 163

John reaches the door first, and tries it.  Locked.
Terminator unslings the M-78 Blooper smoothly, opening the breech.

Terminator
Get back.

He pulls a grenade from the bandolier over his shoulder, and slides
it into the bore.  Flicks his wrist.  The breech snaps shut.  Sara
and John have a split second to duck and cover.

Terminator
Cover your ears and open your mouth.

163A    They do.  KABOOM!!!  Twenty feet away the door, and half
the wall around it,    163A
    EXPLODES outward.  The backblast hits Terminator full force,
but he strides through the smoking hole before the debris has even
hit the floor.

164 int. corridor   164

Terminator leads John and Sara down the dark corridor.  Tear gas
seeps under office doors and hangs in the air.   They start to cough.
 She pulls off her breathing mask and hands it to him.

Terminator strides ahead of them.   He reloads the blooper as he
walks.  Up ahead is another security door.
He closes the breech with a wrist-snap and fires one-handed.
KABOOM!!  The door vanishes in a FLASH- THUNDERCLAP.  Plaster chunks
and burning debris shower around him.  He doesn't flinch or slow
down.   They enter another corridor.
Terminator reloads the grenade launcher.

165 int. lab    165

SWAT LEADER moves cautiously through the lab.   Cat-stepping, he
circles around a desk which blocks Dyson's body from his view.  His
M-16 is levelled crisply.  We look over his shoulder as he rounds
the desk, revealing--

MILES DYSON is not dead.  He will be very soon, but at this moment
he is conscious.  He has propped himself up against the desk, and
holds a BOOK in one hand.  A heavy, technical manual.
Below the book is the detonator, upright on the tile floor.
The message is clear.  "Shoot me, the book drops on the plunger.
Adios."  Dyson wheezes, trying to draw enough breath to talk.


165     Dyson   165
I don't know... how much longer... I can... hold this thing...

Swat leader seems to see the wires, the claymores, the gas cans all
around him for the first time.  His eyes, visible through his gas-mask,
go very wide.
He spins and motions his squad back.

leader
Fall back!!  Everybody out!  Move it!  OUT NOW!

They retreat so fast they crash into the next group coming up the
stairs.

 166    int. corridor   166

Terminator reaches the main elevators.  Hits the button.  Sara and
John are coughing and stumbling in the choking darkness, buddy- breathing
with the single mask.  The doors open.  They get in the elevator
and head down.

167 int. lab    167

Dyson is lying  amid the ruins of his dream.  Sprawled on the floor,
he has his back propped up against the desk.  He is bathed in his
own blood, which runs out in long fingers across the tiles.   His
breathing is shallow and raspy.  He still holds the book, trembling,
above the switch.

In his lap is the picture from his desk.  He has pulled it from the
debris next to him.  A tear trickles from his eye.  His wife and
children smile up at him through broken glass.

168 DYSON'S POV-- He see's only the picture.  WE PUSH IN SLOWLY.
 The   168
    sounds from outside are fading... megaphones, the helicopter,
distant sirens, all become fainter... replaced by a ROARING SOUND
which swells as the image of the picture grows dark.  Darker and
darker, the blackness rushing at us now with the sound of thunder.
 It gets louder, and LOUDER.  Like a black train pounding at us,
only it is a roiling cloud of red and black... blood-red fire boiling
up through a cloud-mass black as iron.  It is the cloud-column of
a hydrogen bomb, FILLING FRAME, shaking our senses with its power.

And then--
It begins to recede.  The thunder rolls away, dying into a wind which
is like the last winds of a great storm, ebbing into a soothing breeze
as the iron clouds swirl away, giving way to an image of gauzy light.
 As if behind a soft veil we see--

168A    Danny and Blythe running toward us, laughing, in slow motion.
 Tarissa is   168A
    behind them, smiling.  They are in bright sunlight, an image
of motion and life, a slice of memory so vivid and precious a man
needs only this to face eternity.  We see their hair blown by the
wind, the wind which blows through history now, changing it...

We tilt up into a pure blue sky until the sun comes into frame, spearing
straight into the lens with pure light and we...


    TERMINATOR 2 - Rev.  9/10/90        106

169 CUT TO THE PUPIL OF HIS EYE, the sun becoming a glint of light
in that  169
    pupil, as we do a SNAP-PULLBACK to see Miles Dyson at the moment
of death.  His face is almost blank,  his gaze fixed, seeing what
we cannot see, seeing a future which is changed... there is the faintest
hint of a smile, the instant the light fades from his eyes and he
is gone--
His  arm drops and the book hits the switch--

170 ext. building   170

As the face of the building EXPLODES in an eruption of glass and
fire.  Remains of the second-floor windows shower the parking lot
and a huge fireball rolls out, leaping into the sky.
The cops look up, stunned.  The helicopter banks away from the heat.
 Burning debris falls among the cop cars and a number of officers
break ranks, pulling back.

171 ONLY ONE OF THEM seems to be moving with purpose.  A BIKE COP
who   171
    has just arrived drives through the disorganized crowd, directly
toward the building.

171A    T-1000 guns the bike up a ramp to a pedestrian bridge which
crosses from a  171A
    parking structure to the Cyberdyne building.  It enters on the
second floor, which is now a burning maze.

172 int. second floor/ office/ corridor 172

    T-1000 drives into the smoky wreckage.  It draws a Hoechler and
Koch MPK machine pistol and cruises slowly into the firelit offices,
scanning.  *

172A    IN THE CORRIDOR the bike skirts flaming wreckage as it idles
forward.   172A
    T-1000 scans the leaping shadows for its prey.

173 int. ground floor/ elevator/ lobby  173

The elevator doors part and Terminator eases a look out into the
corridor.  The walls on either side of him ERUPT WITH BULLET HITS.
 The SWATs have the lobby end of the corridor blocked off.
They're totally trapped, cut off and screwed.

John
(to Sara)
Don't forget.  It's always darkest right before...  you're totally
fucked.

173A    The SWATs fire a tear-gas grenade toward the elevators.
It spews the vicious   173A
    CS gas out in a swirling cloud which envelopes Sara and John,
who are pressed against the back-wall of the elevator.

Terminator
Keep your eyes closed.  Don't move.
(they nod, eyes squeezed shut)
I'll be back.


173A    He slings the grenade launcher over his shoulder and walks
out into the     173A
    corridor.

173B    BLAM.  A tear-gas grenade ricochets from wall to wall as
it flies down the  173B
    corridor.  It skids to rest in front of Terminator, throwing
out a white cloud which quickly fills the corridor.
173C    In the elevator, Sara and John are choking, handing the breathing
mask  173C
    back and forth desperately.  They're scared.  This looks like
it.

173D    ANGLE ON THE SWAT TEAM, gripping their weapons at the mouth
of the  173D
    corridor.  They watch the boiling cloud, waiting.

173E    THEIR POV-- on the wall of boiling smoke.  A FIGURE APPEARS.
 Walking   173E
    calmly.  Totally unaffected.  Terminator emerges from the smoke.
 Not even misty-eyed.  Not what they expected.

leader
(through megaphone)
Stop where you are.  Lie down on the floor, face down.  Down on the
floor, now!

He continues to stride toward them.
The SWATs tense up.  They've never seen anything like this.  They're
not sure what to do.  Closer and closer.

leader
Drop him.

They OPEN FIRE.  The corridor is filled with CRACKING THUNDER.  The
rounds tear into Terminator's chest.  Stomach.  Face.  Thighs.  His
leather jacket leaps and jerks as the rounds hit him.  The SWAT's
think the guy's wearing body armor or something.  They keep firing.
 The rounds tear into him, staggering him slightly, but he keeps
coming.

leader
You're not hitting him!

SWAT #1
(getting scared)
Yes I am!

Terminator draws his .45 smoothly.  Unhurried.  He shoots the nearest
man in the left thigh.  As he screams and drops, Terminator shoots
him in the right thigh.  Terminator bends down and picks up the shrieking
man's weapon... the TEAR-GAS LAUNCHER.

It is one of those new rotary jobs that holds 12 rounds in a big
drum.
Terminator shoots the next SWAT square in the chest with the tear-gas
launcher.  The gas canister hits the guy's body armor and doesn't
penetrate.  But it's like getting slugged in the stomach with a full-swing
from a baseball bat.  The SWAT folds double and hits the tiles, gasping.


173E    Terminator is an image from Hell, a tall figure in shredded
black leather,  173E
    streaked with blood.  One eye is a bloody socket, the metal eye-servos
glinting.  The flesh of one cheek hangs down in tatters, revealing
the chrome cheekbone beneath.  The whole front of his jacket is blown
open, revealing his metal chest armor.

The remaining SWATs start to fall back.  One turns to run and--
KPOW!  A gas canister nails him in the back, sending him sprawling.

173F    Terminator fires three gas grenades into the lobby.  It fills
rapidly with the  173F
    white gas, cutting the visibility to a few feet.  It is total
pandemonium.  SWAT LEADER crouches in the fog, white-knuckling his
rifle.  Terminator looms suddenly out of the mist right in front
of him.
POOM!  Terminator drills him in the leg with the .45.  As the guy
screams and drops rifle to clutch his leg, Terminator rips his gas
mask off.  The SWAT leader drops writhing to the floor, choking and
gagging, clutching his bleeding thigh.

Terminator walks up to two SWATs at the front doors.  POW-POW. Leg
and leg.  He snatches off their masks as they fall.  The gunfire
has stopped.  Nobody can see anything.  Screams and whimpers echo
in the smoke.

174 ext. building   174

Smoke boils out the front door as a figure emerges.  Firing the tear-gas
 launcher with one hand, Terminator launches all remaining rounds
among the cop vehicles.  Unprotected officers run, choking and half-blind,
slamming into cars and tripping over each other.  It is a total route.

175 AT THE SWAT VAN one of the SWATs is rapidly handing out the remaining
  175
    masks to unprotected cops.  A FIGURE appears out of the smoke
beside him.   He looks up.  His mask is ripped off and he is handed
the empty launcher.  Instinctively he catches it.  Terminator grabs
his flak vest with one hand and sails him out into the mist.

175A    int. swat van   175A

Terminator strides the length of the van and climbs into the driver's
seat.  No keys in the ignition.  He flips down the sun visor.  The
keys fall into his hand.  He starts the van and slams it into gear.

176 int. / ext.  lobby  176

The tear gas has cleared to a thin haze.  The uninjured SWATs are
tending their wounded.  They look up at the sound of shouts and
a roaring engine.

176A    THE SWAT VAN CRASHES INTO THE LOBBY in an explosion of glass
and    176A
    debris.  Cops scatter as the van screeches across the lobby in
a smoking one-eighty, sliding to a stop across the corridor which
leads to the bank of elevators.  Terminator backs up until-- crunch--
he seals the corridor with the back of the van.


176B    Sara and John stumble along the corridor, coughing. 176B
They leap into the back of the van and Terminator hits the throttle.
The van roars across the lobby and exits through blown-out windows.

cut to:

177 int. / ext. second floor    177

T-1000, astride the Kawasaki, looks down from a second-floor office
and sees the van tearing away across the parking lot with the remaining
cops firing at it.  It knows.  It looks around.  Analyzing options.
 It sees the helicopter hovering outside the building at the end
of this corner office block...
It twists full throttle on the powerful bike.
Roars through the office, accelerating fast, straight at the windows--

178 T-1000 BLASTS OUT THROUGH THE GLASS, airborne on the motorcycle.
 It    178
    rockets across the gap to the hovering chopper and--
178A    SLAMS into the canopy.  The impact of bike and rider pitches
the chopper    178A
    radically.  The startled PILOT fights to regain control as the
bike tumbles to the pavement below.
178B    The T-1000 doesn't.  It clings to the shattered canopy.
Nightmarishly, the pilot   178B
    watches as the T-1000 smashes its head through the plexiglas
canopy and rapidly POURS ITSELF through the jagged hole.   It reforms
instantly into its previous self on the passenger seat.

178C    It hurls the pilot out of the chopper and slides into the
driver's seat.    178C
The chopper is auto-rotating, spinning out of control.  It drops
toward the parking lot.  T-1000 recovers control ten feet above the
ground.

178D    Cops hit the deck as the tail-boom swings around, going over
them by inches.    178D
    The chopper lifts out in a power climb, roaring away across the
parking lot toward the fleeing SWAT van.

OKAY, BUCKLE YOUR SEATBELTS, HERE IT COMES...

179 int. / ext. swat van/ highway - night   179

Terminator looks back at his two passengers as he turns the boxy
van onto a divided highway.  Sara and John are catching their breath,
still coughing from the CS gas.  Terminator looks to the rearview
mirror.   He sees the xenon searchlight of the chopper behind them,
gaining.

Sara looks around the inside of the SWAT van.  It is a rolling armory.
 There are rifles, ballistic vests, all manner of equipment.

SARA
John, get under these.  Hurry!

He sits against the front bulkhead of the van and she piles bullet-proof
vests on top of him, completely covering him.  Then she grabs two
M-16s from the wall-rack and loads them.   She starts on a shotgun
as--


    TERMINATOR 2 - Rev.  9/10/90        110

180 The SWAT van weaves through sparse traffic at high speed.   180
Terminator slews the unstable van around cars and trucks which seem
to be crawling.  The van hits its top speed of 80.  They swerve to
miss the back end of A WHITE 18-WHEEL TANKER .
180A    The chopper swings in behind them, closing fast.    180A
180B    T-1000 reaches through the shattered canopy with the MPK
machine pistol     180B
    and FIRES.  The back of the van CLANGS WITH HITS.  The door windows
are BLOWN IN.

Terminator weaves the van, trying to throw off the T-1000's aim.
The unstable vehicle screeches and wobbles on the edge of control.
One of the doors is kicked open.  Sara, wearing a ballistic vest,
crouches in the doorway, whipping up the M-16.  SHE OPENS FIRE.

180C    Bullets riddle what's left of the chopper's canopy as the
T-1000 returns fire.      180C
    The van is stitched with hits.

180D    INSIDE THE VAN holes are punched through the thin sheet-metal
walls,    180D
    ripping up the interior.  The vests covering John are hit repeatedly.
 We see that Sara has hung two Kevlar vests on the inside of the
back door and she ducks behind these as bullets hit around her.
She pops back out and fires in controlled bursts.  The M-16 empties
and she grabs another.

180E    Terminator serves around a car which is changing lanes, hitting
it and  180E*
    knocking it skidding.   *

181 OMITTED     181*

181A    Sara reloads and keeps firing.  The van swerves around a
Toyota.  A moment  181A
    later the helicopter passes it, the rotor just clearing the top
of the car.

181B    T-1000 FIRES the machine pistol.    181B
181C    Sara has popped out to fire.  She takes a HIT in the thigh,
and several rounds  181C
    hammer into her Kevlar vest.  She is thrown back onto the floor
of the van.  She lies there, an exposed target--

181D    Terminator sees the T-1000 preparing to fire again.     181D
He locks up the van's brakes.  Tires scream as the vehicle shimmies.
 Sara is thrown forward, sliding up to the bulkhead next to John.
182 And the helicopter SLAMS RIGHT INTO THE BACK OF THE VAN.    182
The rotor disintegrates.  The back doors of the van are crushed in
as the canopy, the whole front of the fuselage is HAMMERED INTO JUNK,
trapping the T-1000 inside twisted metal.  The chopper hits the pavement,
flips sideways, and cartwheels... smashing itself into a shapeless
mass of twisted metal.
It falls away behind the van, tumbling end over end.

    TERMINATOR 2 - Rev.  9/10/90        111

182A    Terminator fights to control the van, which is fishtailing
violently from the   182A
    impact.  It smashes up against the center divider, screeching
along the     *
    concrete, and then pulls away.   Terminator puts the hammer down
and the van accelerates.  He swerves to avoid an UGLY PICKUP crawling
like a snail ahead.

    THE RIGHT FRONT FENDER of the van, crumpled by slamming the wall,
is sawing into the tire.  The tire blows and peels clean off the
rim.  The steel wheel grinds across the pavement, striking trails
of sparks, and the van     *
    slides sideways and topples--   *
    STEEL SCREAMS on pavement as the van grinds to a stop on its
side.  *

182B    INSIDE THE VAN, John crawls to Sara, who is groaning and
holding her    182B
    bleeding leg.  She is white and shocky.  Terminator starts to
extricate himself from the crumpled driver's seat.

183 BACK DOWN THE ROAD, THE HELICOPTER wreckage is a crumpled ball
 183*
    of junk metal, unrecognizable.  Behind it, the TANKER TRUCK brakes
hard, shuddering and groaning, trying to stop.   The big tires lock
up in clouds of tire-smoke.  The rig comes to a shuddering stop just
short of the wrecked chopper.

183A    The shaken DRIVER jumps down.   183A
From behind the wreckage a cop emerges, walking toward him.

driver
Goddamn, are you alri---

183B    SSSSHHCK!  T-1000 drives a blade through the man's abdomen
and walks on     183B
    past without slowing, or even looking at him.

183C    It climbs into the open cab of the tanker.  Releases the
brake. 183C
As the truck bellows and rolls forward we see the large blue letters
on the side which say "CRYOCO INC.  LIQUID NITROGEN SUPPLY".

184 AT THE SWAT VAN John and Terminator are carrying Sara out of
the    184
    wreck.  Terminator has the M-79 slung over his shoulder, the
bandolier of grenades, and his .45 stuck in his waistband.  John
has borrowed a 12 GAUGE RIOT GUN from the SWATs.

184A    The pickup they passed seconds earlier pulls up to them.
 The DRIVER, a     184A
    Hispanic guy in his 50's, is getting out to help them.  Terminator
and John
185 hear a CRASH and look back as the helicopter wreckage is knocked
aside by   185*
    the accelerating tanker truck.

186 John    186
Holy shit.  Come on, Mom... we gotta keep moving... come on--


    TERMINATOR 2 - Rev.  9/10/90        112

186     Terminator  186
(to the pickup owner)
We need your truck.

The guy seems to know better than to try and stop him as Terminator
slides Sara into the front seat and climbs behind the wheel.  John
runs to the passenger side.

187 THE TANKER ROARS, spewing smoke from its chrome stacks as it
shifts up  187
    through the gears.

188 Terminator slams the pickup in gear, checking the rear-view.
 The tanker is a   188
    hundred feet behind them now, and really moving.  Terminator
puts the throttle down, but the pickup is an old slug loaded down
by a heavy home-made wooden camper-shell.  It accelerates slowly.


189 THE TANKER slams into one end of the Swat van, spinning it out
of the way   189
    with a roar and screech of twisting metal.  The 18-wheeler shifts
to a higher gear, still accelerating.

190 int. / ext. pickup truck    190*

With the tanker right behind them,  Terminator cuts the wheel, swerving
the pickup back and forth across the lanes.
The big rig stays right on them, its tanker whiplashing violently.

John
Faster!  He's right on us!

    Terminator doesn't reply.  He rapidly unslings the blooper, still
around his neck, and reaches for a grenade.

191 LOW ANGLE ON THE TRACTOR TRAILER as it roars right up to the
lens,  191
    filling frame with chrome and lights.

191A    K-WHAM!! It rams the back of the pickup, sending it skidding.
  191A*

191B    Then the T-1000 pulls the tractor trailer up alongside the
pickup and crabs 191B*
    over, sandwiching it against the center divider.  The spinning
chrome hubs tear into the passenger side door and the guard rail
screeches along the other side.

The pickup bucks and shakes insanely.  It ricochets violently between
the big-rig and the divider.  Horrible SCREECH of tortured steel.
Sparks pour in sheets of fire from both sides.
The windshield shatters as the door-posts buckle in.
Metal and glass shower in through the side windows.
The frame twists and buckles.  John feels like the fillings are being
shaken right out of his teeth.  The wooden camper disintegrates,
falling away as kindling behind them.


191C    int. tanker cab 191C

T-1000 holds the wheel hard over, mercilessly grinding the pickup.
 The whole rig jerks and shakes with the violence of the sustained
hammering.

191D    int. / ext. pickup  191D

Terminator slides toward the passenger side.  Keeping his foot on
the gas he lifts John over him and puts him in the driver's seat.


Terminator
Drive for a minute.

John
Where you going?!

Terminator slams the shattered windshield with the palm of his hand.
 Held together by the plastic laminate, the windshield flops out
of its frame.  It flies back over the top of the truck.

191E    Terminator pushes his upper body out over the dashboard and
stands up.  He  191E
    turns and aims the M-79 one-handed.
191F    POOM!  The grenade misses the T-1000 by less than a foot.
 It EXPLODES  191F
    against the front bulkhead of the tanker, almost at the top.
 Liquid nitrogen pours from the opening, swept back by the 60 mph
windstream.

191G    The big-rig swerves as T-1000 regains control.  The tanker
swings like a    191G
    pendulum behind the cab.

191H    The pickup accelerates, getting back out in front by a few
yards.   191H
Behind it the big-rig is trailing a swirling comet-tail of nitrogen
vapor.  It is gaining again.

Terminator, still standing, opens the breech and starts to reload.
191I    John cuts across the highway and takes an OFF RAMP. 191I

191J    T-1000 swerves the smoking behemoth across the lanes and
down the ramp  191J
    after them, still accelerating.  It is twenty feet behind them
and closing when Terminator closes the breech and FIRES.

191K    The grenade hits the front grill and EXPLODES.      191K
The radiator is destroyed, along with half the hood.  Steam blasts
out, obscuring the whole front of the truck.

191L    The semi rams the back of the pickup again.  Spewing smoke
and vapor like   191L
    some demon locomotive, the tractor-trailer pounds into the back
of the pickup.  Driving it right through the intersection at the
bottom of the ramp, and straight toward---

    ext. steel mill

The chase has led them to an area of heavy industry.

192 The GATES are blasted off their hinges as the semi rams the pickup
right    192
    through them.   Terminator struggles to reload amid the chaos
and impacts.  He has THREE GRENADES LEFT on the bandolier.

John isn't even steering.  They are just being pushed.  There's nothing
he can do.  They are rocketing down the broad thoroughfare which
leads directly to the MAIN BUILDING of the plant.

192A    Terminator pulls himself onto the roof of the pickup.   192A
He leaps to the bed, takes two powerful strides and--
Leaps onto the semi.  He climbs rapidly onto hood.
192B    And FIRES POINT BLANK THROUGH THE WINDSHIELD.   192B
Right into T-1000's face.
The EXPLOSION blows out all the glass and fills the cab with smoke
and fire.  Terminator grabs onto the air-horn as the truck starts
to SHUDDER AND
192C    SCREAM.  IT IS JACK-KNIFING.    192C
Almost dream-slow the cab begins to swing sideways, until its tires
are shrieking over the pavement.  The tractor is smashed back at
right-angles to the tanker-trailer which begins to slide broadside.


192D    The juggernaut bucks and shudders as the tires are smoke
sideways across    192D
    the pavement.  It begins to topple.
Terminator holds on as the side of the cab becomes the top.
With an unholy scream, like the unoiled hubs of Hell, the whole rig
slides on its side at 60 mph toward the steel mill.  A sheet of sparks
sixty feet wide trails behind it on the pavement.

192E    John sees what's behind him, then snaps around to see the
building looming  192E
    right in front.  The huge rolling doors are partly open.
No choice.
He steers right through them into the mill, as--

192F    Terminator, with one second to go, leaps from the cab-- 192F
He flies through the open doors as--
The tanker hits the building and--

193 int. steel mill / main aisle    193

Terminator slams to the floor of the mill and rolls, as--
The tanker-trailer smashes into a massive concrete support at one
side of the doors.  Thunderous carnage of twisting metal.
193A    It splits wide open.  A river of liquid nitrogen pours out
at -230. 193A

193B    John hits the brakes, sliding out of control.  He slows almost
to a stop but hits a 193B
    steel support column head-on.  He and Sara are slammed forward,
hard.

193C    Terminator, still clutching the M-79 blooper, rolls and slides
across the floor.    193C
    He smashes through a railing and slams up against the base of
a massive machine.

193D    The semi cab swings about the trailer wreckage, into the
building, and  193D
    shudders to a stop.  Liquid nitrogen sprays over the cab, flooding
out around it in a HISSING WAVEFRONT OF ULTRACOLD.
Freezing vapor swirls everywhere, obscuring the wreck.


193E    TERMINATOR lies still.  A beat.  Then he rolls weakly, rising
on one elbow to   193E
    survey the scene.

193F    IN THE WRECKED PICKUP, John stirs.  He is stunned, and blood
runs from  193F
    his nose.   Dazed, he realizes he is in a steel mill.  There
are sirens, and he can see men running... shouting.  He turns and
sees what they are running from...

193G    The wall of nitrogen vapor spreads from the demolished tanker.
It is a strange  193G
    vista of fire and ice.  The huge SMELTERS pour out orange light
and fire from the sides of the huge gallery, while the freezing vapor
rolls down the center.

193H    TIGHT ON THE WRECK.  A billowing gray cloud.  Deep inside,
the shape of     193H
    the cab is visible.  A FIGURE emerges, pulling itself out.  It
drops to the floor.  The hissing, boiling river of liquid nitrogen
flows around its feet.

194 The T-1000 staggers, moving slowly, painfully.  It has finally
been affected by     194
    something.  Its feet are freezing to the ground as it walks...

194A    CLINK!  One of its feet breaks off at a glassy ankle.  It
stumbles forward, and--   194A
194B    Its other foot snaps off.  As it catches its balance on the
stump of its other  194B
    ankle, the whole lower leg shatters at the impact.  It topples
forward to its
194C    knees.  Catches itself on one hand.  Liquid nitrogen flows
around the hand. 194C

Now the hand is stuck to the pavement.
194D    The T-1000 pulls and... CLINK!  The hand snaps off at the
wrist.    194D
It looks stupidly at the glassy stump of a wrist.  For the first
time we see an expression on its face we know to be a true one...
The expression is pain.  Agony.  Its mouth opens in a soundless scream
as the hoar-frost races up its legs, across its body.
194E    And that's the position it freezes in.  194E
It has become a statue, kneeling in the frozen vapor, that surprised
look of agony frozen on its face.

The liquid nitrogen stops flowing and begins to evaporate.
194F    Terminator, just beyond the boundary of the cold, can see
the T-1000 clearly.   194F
    He draws his .45 and aims.

Terminator
Hasta la vista, baby.

194G    K-POW!  The single shot blows the T-1000 into a million diamonds
spraying up    194G
    into the air.   They shimmer across the ground for twenty feet
in all directions.
Terminator lowers the gun, satisfied.
He looks like he needs a vacation.

195 JOHN AND SARA have seen it from the pickup.  She is in bad shape.
  195
    Conscious but very weak.  He tries the door.  It's jammed.  He
kicks it open.

John
Okay, Mom, we gotta get out now, come on.  That's it.


195     He helps her  slide down from the seat of the truck.  Her
knees give way.  John     195
    has to take a lot of her weight.  He reaches in and picks up
the riot gun  off the seat.   They hobble toward the--

195A    TERMINATOR.  On his knees, he looks into the dissipating
cloud of vapor.    195A
    The heat of the furnaces has evaporated all the liquid nitrogen.

196 INSERT, TIGHT ON THE FLOOR-- the T-1000 shards are melting, liquefying.
    196
    Hundreds of drops of mercury, spattered across the floor.  Orange
light of the enormous blast-furnaces dances on liquid metal.

197 TERMINATOR struggles to rise.  One arm is shattered, the hand
smashed   197
    and nearly useless.  And some leg-servos are damaged.  He can
barely stand.  John and Sara arrive.

Terminator
We don't have much time.

John
What?

Terminator points.  John and Sara watch as--

198 INSERT, T-1000 DROPLETS are creeping together.  Fusing into larger
blobs.   198
    These pools shiver and run together, soon forming a central mass.

199 ON JOHN AND SARA, realizing it's not over.  199

John
Come on!  Let's go!

Terminator gets one of Sara's arms over his shoulder and they go.
BEHIND THEM, something is moving.
200 A HEAD is forming up out of a pool of mercury.  It rises, as
shoulders form,    200
    hunching up from the liquid mass.  Half formed, it turns to look
straight at them.

John looks back in new terror as--

The T-1000 rises to man-height.  It is still the mercury form, but
its features are forming rapidly.  It takes its first step after
them.
Sara stumbles and they pull her up.
201 Terminator himself has a pronounced limp, dragging one leg with
a shattered 201
    ankle joint.  John's the one pulling, straining, driving them
forward.  They round a corner into--

202 int. aisle between furnaces 202

It is a maze of monstrous machinery.  The heat is tremendous.
The air shivers with a pounding roar.
Sara cries out in pain and stumbles again.

John
Come on, mom, you can do it!  Come on!!


202     They drag her up, and stagger on.  Her leg is bathed in blood
and she is    202
    deathly pale.  He looks back.

203 int. main gallery   203

The T-1000 steps INTO FRAME.  Fully formed.  The hell-fire light
glints on its impassive cop face.  It walks forward.   At first it
seems unaffected by its crystallization but--

203A    ANGLE ON ITS hand as it touches a railing in passing.  The
railing is covered   203A
    with O.S.H.A. yellow-and-black safety tape.
The hand turns yellow and black, the color fading to normal by about
the elbow.  It rips the hand from the railing with difficulty.  There
is a sound like adhesive tape ripping off a surface.

203B    The T-1000 looks at its yellow and black striped hand.  It
wills the hand back to   203B
    normal.  We see ripples of "static" or system noise moving subtly
over the surface of its body.  It's starting to "glitch".

203C    TRACKING WITH THE T-1000'S FEET.  With each step, the pattern
of the tile   203C
    floor "invades" its lower legs.  Fades as the foot is lifted.
 Returns as it is set down.  The foot is trying to meld with the
floor.  The chameleonic function is out of control.
The T-1000 is losing it.  It moves forward  searching.  It rounds
the corner, entering the aisle between the furnaces.

204 int. aisle  204

Terminator sees the SILHOUETTE closing on them through the smoky
gloom.  The T-1000 breaks into a loping run when it sees them.
Terminator turns Sara over to John.

Terminator
Keep going.

John shakes his head, no.  The T-1000 is almost on them.

Terminator
RUN!

John runs, dragging, half-carrying Sara as best he can.
She can barely stay conscious.  Half-running, delirious, she stumbles
and drops to her knees.  John pulls but she can't rise.

John
(crying, shouting)
Come on, you gotta try... please, mom.  Get up!

John looks back to see--

204A    TERMINATOR trying to load the M-79.  With his shattered hand,
he can    204A
    barely maneuver his last grenade into the breech.
T-1000 smacks the weapon out of his hands.  It clatters to the floor.

    TERMINATOR 2 - Rev.  9/10/90        118

204A    The grenade spins across the floor, rolling under some machinery.
  204A
    Terminator lunges, slamming the T-1000 against a wall with all
his weight. The battle is joined.

204B    JOHN AND SARA have reached the back of the aisle.  It is
a cul-de-sac,  204B
    blocked on the end by the base of an IMMENSE SMELTER CRUCIBLE.
 They turn to watch the titans battle in silhouette, backlit by the
molten sparks falling from the furnaces above.  The battle which
will decide their fate.

204C    Terminator grabs the T-1000 and hurls it with awesome force
against the     204C
    opposite wall of the narrow alley.  In less time than it would
take to turn, the
204D    T-1000 morphs through itself, from front to back... face
emerging from the  204D
    back of its head.
204E    It comes off the wall straight at Terminator, who smashes
his good fist into its    204E
    face.  The pile-driver blow buries Terminator's fist almost to
the elbow.

204F    But the T-1000's head morphs in a split-second into a hand
which grips  204F
    Terminator's wrist, and the head "emerges" somewhere else, the
geometry shifting faster than we can follow.
204G    The T-1000 slams Terminator into a large machine, jamming
his arm into  204G
    the moving works.  A massive sliding bar SCISSORS HIS ARM, smashing
it into junk at the elbow, pinning him in the machine.

Terminator  strains against the machine pinning him.  We hear his
servos whining with overload.  The T-1000 turns and lopes toward
Sara and John.

Sara screams and hurls John into a gap between the machines.  He
falls into a maze of pipes and girders.

205 int. maze of machines   205

JOHN turns to see her in the entrance of the narrow gap.  She could
follow him but she doesn't.  SUDDENLY a dark mass moves toward him.
 John gasps as a huge steel counterweight, driven by a chain 6 inches
thick, slides toward him.  He rolls out of its way.  When he looks
back, he cannot see the opening.

John
Mom!  MOMMM!!


206 int. aisle between furnaces 206

TERMINATOR strains to reach a 6-foot steel bar lying near him.  Steel
workers use them to move the red-hot ingots around.  He gets hold
of the end and uses it as a lever.   With titanic effort he spreads
the massive components which are holding him, and withdraws his arm,
which is severed at the elbow.  Dangling junk hangs from the crushed
joint.

207 SARA has lost sight of John.  It is as much of a goodbye as they
will have.     207
    She turns as the T-1000 closes on her.  She is half-slumped against
the sooty machines, looking barely conscious.  She struggles to load
a shell into the   *
    empty weapon.  At the last instant she whips up the RIOT GUN
and FIRES. *

    TERMINATOR 2 - Rev.  9/10/90        119

207A    OMITTED 207A*
207B    OMITTED 207B*

A207    T-1000's face is blown open, but quickly reforms as it closes
on her.  She  A207*
    fumbles to get another shell into the magazine but--    *
A208    THUNK!  A steel needle slams through her shoulder, pinning
her. A208*
The polymorphic killer cocks back its other hand.  The index finger
extends as a gleaming needle, toward her eye...

T-1000
Call to John.  Now.

207C    WHAM!!  SOMETHING whistles down on the T-1000 with such force
that it   207C*
    cleaves its  head and body in two down to the navel.  The 6-foot
steel bar is imbedded in its body.  Terminator hurls the killer off
Sara.

207D    The T-1000 pulls the steel shaft out of itself and attacks
him with fury.   207D*
    Swinging again and again.  Hammering Terminator back.  Terminator
falls     *
    back against the wall.

Behind the T-1000 is an enormous I-beam, hanging from two chains.
 It is used to lift ingots into the smelters, and it runs on a linear
track.
207E    The T-1000 grabs the I-beam and rolls it down the track.
 Straight at   207E
    Terminator.  The two-ton girder smashes into his chest, crushing
the armor.
The T-1000 pulls the I-beam back, and then heaves it forward again.
 Terminator turns and takes the second blow on the shoulder.  We
hear metal crush and break inside him.  He sags, turning to grip
the wall...
The third blow slams into his back, smashing his spine and pelvis.
 We hear servos ratcheting and failing.  He drops to his knees, crucified
on a wall of machinery.
The fourth blow is centered between his shoulder blades.  Sound of
crushing metal.  His skull is partially caved in.
He slides to the floor.

207F    ON THE T-1000, emotionless as it walks forward. 207F

207G    TERMINATOR is a pathetic shape on the floor.  He is trying
to crawl, feebly.    207G
    Dragging his malfunctioning legs behind the crushed spine.  His
arm stump screeches on the tile floor as he inches himself forward.
 His exposed machine eye burns red with determination.

We see his prize.  He has the M-79, with the breech still open, cradled
in the crook of his ruined arm.   His good hand, the exposed steel
one,   is reaching for the last grenade, which is visible under the
skirt of the massive smelter base.  His metal fingers reach out for
it as--

207H    The T-1000 raises the heavy steel bar over his head and stabs
it down with  207H
    unbelievable force.  It punches into Terminator's back, through
a gap in the shattered armor.  The T-1000 levers it back and forth,
widening the hole.  Then it raises the pointed bar again and slams
it down.
It punches right through.  Emerging from Terminator's chest.
And into the floor.  He is pinioned.  The cyborg sags face down and
stops moving.  The light goes out of his eye.

cut to:

208 int. maze of machinery  208

John scuttles like a rat through the guts of the smelter.  Above
him, vast machines churn untended.  He hears a voice... SARA'S.
Calling low and urgent to him.

SARA
John?  John?  Can you hear me?  Where are you?

208A    He crawls out of the shadows.   208A
Onto a landing next to one of the SMELTER CRUCIBLES.   Molten steel
glows bright orange in the crucible of the furnace.  Heat shimmers
the air, giving everything a hallucinatory quality.

John sees Sara nearby, limping toward him.  She can barely move,
her leg bathed in blood.   He runs toward her.
SARA
(gasping)
Help me, honey...

TIGHT ON SARA, her stoic face, as she hobbles forward, reaching out
to him.  Something rises behind her, OUT OF FOCUS.

209 ANOTHER, IDENTICAL,  SARA... but this one has a shotgun.    209
Aimed right at us.

209A    JOHN freezes.  Which is which?  He looks down.  The first
Sara's feet are   209A
    melding with the floor, sucking and fusing with the tiles as
she walks.  They have the color and pattern of the tiles up to the
knee.

John
(screaming)
SHOOT!!!!

209B    John dives aside.  The Sara-form spins, changing into you-know-who.
 Sara   209B
    starts unloading the shotgun into it.  BOOM! It staggers back.
 K-CHAK.  She chambers another round.  BOOM!  It staggers again.
K-CHAK. BOOM!  And again.  And again.

209C    The T-1000 is blown back a step and Sara advances a step
with each shot.  The   209C
    craters in the T-1000's body "heal" slowly.  Its power is waning.
 She FIRES again.  And again.  Her eyes blazing with feral intensity.
 She walks it back, right to the edge of the pit of MOLTEN STEEL.

K-CHAK... CLICK.  She's empty.  The T-1000 is right at the edge.
 In a second it will recover its composure, as its crater hits close
slowly.  She has failed.  Now it will kill them both.
Except...

209D    TIGHT INSERT as steel fingers slide a grenade into the bore
of the M-79.    209D


    TERMINATOR 2 - Rev.  9/10/90        121

210 CLOSEUP TERMINATOR, lying on the floor among the machines.  It
raises   210
    its head. Half human flesh, half chrome skull. Its red eye gazes
right at us as--
It snaps the breech closed with a flick of its wrist and--
The muzzle is right in the lens as it--
FIRES.

210A    The T-1000 takes the round in the belly.   The grenade EXPLODES
inside its  210A
    body.  A huge hole is blown clean through it, and it is ripped
open and peeled back, half inside out. It topples into the molten
steel and--

211 The T-1000's head and upper body reappear above the molten steel.
  211
It is screaming.  A terrifying, inhuman siren of a scream.
It is changing, morphing, transforming into anything and everything
it's ever been so rapidly the eye can barely follow...
    We catch a glimpse of Janelle Voight checkered with linoleum
tile colors, Lewis the Guard with knives exploding from his face,
other faces, switching   *
    at a stroboscopic rate now... a face every two frames until they
merge into one face--

The chrome figure screams and slips beneath the surface of the molten
steel.  We see liquid silver running in dissipating whorls over the
superheated surface... until it vanishes, swirling into nothing.

212 JOHN runs to Sara.  She stands staring into the pit.  The empty
shotgun slips   212
    from her fingers.  Clatters to the floor.  He sees that she's
okay and he runs to the fallen Terminator.

212A    The crippled cyborg is trying to rise.  Its servos whine
and stutter.  It   212A
    pathetically lifts itself to a kneeling position, collapses...
tries again.
John lifts for all he's worth.  Sara joins them, helping.
They help the crippled machine get on its feet.  It can barely stand.
It walks to the edge of the pit.  Terminator looks down and sees
that it is over.  John unzips Sara's back-pack and takes out the
hand of the first terminator.

John
(to Terminator)
Will it melt in there?

Terminator
Yes.  Throw it in.

He does.  It sinks in the lava.  Vanishes.

Terminator
And the chip.

John takes it out of his pocket.  Looks at it.  Tosses it into the
smelter.

SARA
It's finally over.

Terminator
No.  There is another chip.


    TERMINATOR 2 - Rev.  9/10/90        122

212A    He touches a metal finger to the side of his head.  John
suddenly   212A
    understands what he means.
Terminator looks at Sara.  They both know what must be done.
John shakes his head.  Tears are streaming down his face.

John
No!

TIGHT CLOSE-UP TERMINATOR, turning toward John.

Terminator
I have to go away, John.  It must end here... or I am the future.

The human side of his face is in shadow, so we see mostly the chrome
skull and the red eye.

John
Don't do it.  Please... don't go--

Terminator puts his hand on John's shoulder.  He moves slightly and
the human side of his face comes into the light.
He reaches toward John's face.  His metal finger touches the tear
trickling down his cheek.

Terminator
    I know now why you cry, though it is    *
    something I can never do.
(to both of them)
Goodbye.

SARA
Are you afraid?

Terminator
Yes.

He turns and steps off the edge.
213 They watch him sink into the lava.  213
He disappears... the metal hand sinking last...  at the last second
it forms into a fist with the thumb extended... a final thumbs up.
Then it is gone.

214 HOLD ON JOHN AND SARA, watching through the heat ripples as we--
   214

dissolve to:

215 THE SUN, PURE IN A CLOUDLESS SKY.   215*
    Tilting down reveals that we are in a park, very green.  People
are casually dressed, having fun.  Cycling, reading... children are
playing in a playground.

    TERMINATOR 2 - Rev.  9/10/90        123

215 Beyond the line of trees we see the skyline of Washington, D.C.,
with the   215*
Capital Building and the Washington monument.  The skyline is subtly
changed, with a lot of new buildings, advanced high-rises.
 A CARD APPEARS.

July  11, 2029

WE BOOM DOWN AND TRACK LATERALLY through a playground in the foreground.
 Children swinging on swings.  Sliding down slides.  Timeless things
that 4 decades of technical advancement will not change.  As we track
we hear:

SARA (v.o.)
August 29th 1997 came and went.  Nothing much happened.  Michael
Jackson turned forty.  There was no Judgment Day.  People went to
work as they always do, laughed, complained, watched TV, made love.


We pass a jungle gym, neither melted nor burned, but full of kids
swinging and yelling raucously.  Past it we drop down to see a boy
pumping the pedals of a tricycle.

SARA (V.O.)
I wanted to run down the street yelling... to grab them all and say
"Every day from this day on is a gift.  Use it well!"   Instead I
got drunk.

STILL TRACKING we come to rest on an elderly woman seated on a bench.
 It is SARA, now 64 years old.  The world has aged her, but she seems
at peace in this moment.  She speaks into a microcassette recorder.

SARA (V.O.)
That was thirty years ago.  But the dark future which never came
still exists for me, and it always will, like the traces of a dream
lingering in the morning light.   And the war against the machines
goes on.  Or, to be more precise, the war against those who build
the wrong machines.

There is a man in his forties playing with two small children nearby.
 He turns.  It is John Conner.  Though he has the same stern features
in adulthood, there is no eye-patch, no scarring.  He is far from
the haggard man of grim destiny we saw in the world that might have
been.  But there is still penetrating intelligence, even wisdom,
in his eyes.

SARA (V.O.)
John fights the war differently than it was foretold.  Here, on the
battlefield of the Senate, the weapons are common sense... and hope.


A FOUR-YEAR OLD GIRL runs to her to have her shoelace tied.


    TERMINATOR 2 - Rev.  9/10/90        124

215     girl    215*
Tie me, grandma.

Grandma Sara smiles.  It is the only time we have seen her smile
so far.   She bends as the little girl puts her foot up on the bench.
 She ties as we hear:

SARA (V.O.)
The luxury of hope was given to me by the Terminator.  Because if
a machine can learn the value of human life... maybe we can too.

Sara ruffles the kid's hair as she runs off to play with her dad.

fade out
~vc
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This file was submitted by: The Dark Overlord
                      Date: May 12, 1992
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